Word: smoothing
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Dates: during 1970-1970
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...asking to see me.* I held him in complete contempt because of the things he said and because of his conduct. First I felt I shouldn't see him, but then I thought he might become a martyr if I didn't. King was very suave and smooth. He sat right there where you're sitting and said he never criticized the FBI. I said, "Mr. King"-I never called him reverend -"stop right there. You're lying." He then pulled out a press release that he said he intended to give to the press...
...tonal thinking, although this break was prefigured and prepared by nineteenth century practice as far back as Beethoven. Wagner didn't make it the way Debussy did. While the concise structures of eighteenth century tonality seem almost irrelevant to the Wagnerian rhetoric, Wagner still relies on the concept of smooth progressions. Debussy's progressions are classical period. Nevertheless, Debussy does not deny tonality in the larger sense, but devises harmonic progressions which are really analogous to older functional ones...
...marriage wasn't all smooth going. Lil said: "We had many fights. We'd throw each other out the window. We always wanted to kill each other. But every time we walked out, we walked back...
Quite simply, Barenboim has not yet decided what kind of pianist he really wants to be. Five years ago, he rippled off Mozart sonatas and Beethoven concertos in a smooth, glassy style, as opposed to the passionate, warmly phrased playing of the late Artur Schnabel, Van Cliburn, even Daniel's friend Vladimir Ashkenazy. Barenboim's more recent recordings of Mozart's concertos Nos. 17, 20 and 21 are still too bland and bloodless. This year's set of the complete Beethoven 32 (like his current Tully Hall cycle) has weaknesses, notably a prevailing glibness...
Those who stayed at home cut further into the dreams of their time. Schnorr von Carolsfeld's entwined lovers jump from a cliff, in erotic slow-motion; romantic fascination with the "inseparability" of love and death was never put more concisely than in this smooth, slick image of sexual harakiri. Johann Hummel transformed a granite bowl, erected in the Berlin pleasure gardens, into an object as disquieting as a flying saucer: with fanatical precision, the tiny reflections of passers-by are caught in its mirror-polished surface, twisted and topsy-turvy, as though Magritte had been let loose...