Search Results

“... café’. In his account of the history of psychiatry in French colonial North Africa, Richard Keller argues that the psychiatric profession was particularly influential in discussions about the ‘civilising’ mission of French colonialism and the meaning of difference for Republican citizenship. He is at pains to demonstrate that psychiatry ...”

“... avant-garde – Webern, Boulez and Stockhausen – to which his contemporaries Susan Bradshaw and Richard Rodney Bennett were also drawn. The mecca for music students in those days was Stockhausen’s headquarters at Darmstadt, where the ‘Darmstadt Headbangers’, as Tom Lubbock describes them, treated Britten and Shostakovich with derision as ...”

“... the only one who acted as a water-carrier for the administration, willingly or unknowingly. Bill Keller, once a columnist and now the editor of the New York Times, wrote a widely read article in favour of the war in February 2003, entitled ‘The I-Can’t-Believe-I’m-A-Hawk Club’. Like many liberal interventionists, ...”

“... 14. Enders shares Panum’s fate at the hands of the historians. Making Harvard Modern by Morton Keller and Phillis Keller (2001) passes him by without mention. The popular perception that naturally occurring measles is trivial is not new. One of the first to offer an explanation for the paradox of a killer being regarded ...”

“... much loved concerto nearly became a third piano concerto (a score left unfinished). It is, as Hans Keller said, the most violinistic of concertos, its virtuoso passages lying ‘marvellously on the instrument’ and ‘far easier to play than they sound’. The work is easily taken for granted, as it was by Saul Bellow in To Jerusalem and Back. Provoked by ...”

“... when they aren’t happening, let alone succeeding. I once fell out editorially with the late Hans Keller over an article in which he had argued that Bryan Robson was an unsatisfactory player, and that the ethos of fire and sword and effort which he had been taken to exemplify was an illness of the British game. I thought that the denunciation of Robson’s ...”

“... their most prominent adherents. Among the best-known Baconians are Delia Bacon, Mark Twain, Helen Keller and Henry James; among Oxfordians, Freud and J.T. Looney. Shapiro is a gifted storyteller, whether describing Helen Keller’s visit to Mark Twain in 1909, or his own discovery that a key document, the transcript of two ...”

“... between the orchestra and the conductor, Hans von Bülow, grew strained: Franz Strauss, father of Richard and the brilliant first horn of the Munich orchestra, had a blazing row with von Bülow, stomped out of the pit and had to be coaxed back. Ludwig Schnorr von Carolsfeld, who sang Tristan to his wife’s Isolde, caught a chill on stage and subsequently ...”

“... and music patron Baron Gottfried van Swieten, the guardian angel of Mozart’s late style. Richard Taruskin accuses Stravinsky of lying about the original idea of The Rite of Spring, which was visual and frankly ‘Scriabinistic’ rather than purely musical. In various autobiographical statements Stravinsky dismissed the help of Nicholas Roerich in ...”

“... repressive figure of Joachim – though it does help one to understand the shock-waves caused by Richard Strauss, rocking the boat with solecisms, crudities, reckless infringements of instrumental propriety, general vulgarity and callowness, and troubling Tovey the chaste grammarian and self-appointed guardian of the sacred Teutonic flame. (But he doesn’t ...”

“... was to go to America to work with George Balanchine at the New York City Ballet. In a letter to Richard Buckle, Lincoln Kirstein described Nureyev ‘making peeeteeyous Russky noises’ about joining the company. But ‘Mrs K says defunutely: Nyet.’ The dance critics Arnold Haskell and John Martin denounced his ‘tragic’ mistake, his lamentable ...”

“... too tense, too wound up; later, he learned to be more generous with the power of the work. Hans Keller disliked Toscanini’s performances for what he perceived to be their energetic vehemence. The peculiar pleasure of Carlos Kleiber’s Beethoven performances resides in the sense they give of having world enough and time. But such an account of what ...”