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Word: violins (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...Pieces for Piano by David Johnson and three movements from the Five Pieces for Piano of William Valente. These two works contrast in the same manner as the string pieces: Valente absorbs himself with motivic variation, Johnson with stormy declamation. A third work, the Sonata for Violin and Piano of James Walker, is close to Johnson, if with more reserve, for both possess a nostalgia like the piano (not the better-known music) of Aaron Copland. Finally, the sentimental harmony and florid lines of the traditional song style appear in the Three Songs of James Freeman, sung capably by Jean...

Author: By William A. Weber, | Title: Student Music | 4/30/1963 | See Source »

...Jamesian pragmatism, that it can lead to hypotheses for action. But, lest he sound as pretentious as some of the thinkers whom he enjoys debunking in his course, Mr. Fleming quickly adds, "To be frank, I study history for the hell of it. Some people enjoy playing the violin. I play history...

Author: By Timothy Stein, | Title: Donald Fleming | 4/18/1963 | See Source »

...tempted by the competition's rich prizes: for the three first-prize winners, $5,000 each, plus a year's contract as assistant conductor of the New York Philharmonic. Leonard Bernstein was chosen as chief judge, along with enough lady committee members to fill at least 54 violin sections...

Author: /time Magazine | Title: Conductors: Triumphant Trio | 4/12/1963 | See Source »

...sweeps of the arms drew a rich and textured sound from the orchestra. A pianist. Abbado had none of the usual percussive tastes of the pianistic conductor: instead, he even trusted the beaters and blowers in the orchestra to come in without cues while he painted tones in the violin section. Abbado studied at the Mozarteum and the Vienna Academy of Music, and in 1958 he won the Koussevitzky Prize for conductors at Tanglewood...

Author: /time Magazine | Title: Conductors: Triumphant Trio | 4/12/1963 | See Source »

Sexual Fantasy. Bugaku opens on an empty stage suggestive of a court or an arena. The music begins with atonal violin glissandos so delicately feline that the sight of the first dancer coming on stage is a silent shock-like a slipper thrown at a cat. Five girls dance alone in a ritualistic largo, then five men replace them, moving with the elaborate logic of karate fighters. Each gesture is answered with architectural symmetry, each movement implies a countermovement...

Author: /time Magazine | Title: The Dance: Never Mind the Ginza | 3/29/1963 | See Source »

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