By Alistair Cooke
At the eighth of October 1934, lengthy ahead of the broader global knew him from his Letter from the USA pronounces, his tv sequence the USA, or his introductions to Masterpiece Theatre, Alistair Cooke sat down at a BBC microphone to offer his first radio speak. His topic used to be cinema. Cooke started movie reviewing within the Nineteen Twenties as a Cambridge undergraduate, and endured to broadcast on cinema from manhattan. lower than his watchful gaze, Hollywood reached its Golden Age, merely to be tarnished through tv; he clocked each new technological improvement, from the coming of talkies to the video cassette. He additionally saw cinema's personalities, writing tributes to Marilyn Monroe, Gary Cooper, James Cagney and others, consistently illuminating their distinct presents and how they mirrored the yankee scene.
Since the Thirties, Alistair Cooke's vigorous movie experiences have mostly slumbered unpublished and unheard. Alistair Cooke on the videos selects the main glowing. We meet Cooke the biographer, affectionately recalling a variety of stars he knew and widespread, between them Charlie Chaplin and Humphrey Bogart. it is a attention-grabbing new assortment for Cooke's committed readers and listeners, and for an individual attracted to the 20 th century parade of yank and eu movies.
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193. There is a wrong note in the fourth full bar of this example – E for F sharp on beats 1 and 2 – which is a trivial matter whatever its aetiology. Reich, Schoenberg, 240. ’, in Music and Text: Critical Inquiries, ed. Stephen Scher, Cambridge, Cambridge University Press, 1992, 177–92. 43 Does this mean that there is no place, in the modern Western musical tradition, for musicopoetic theorizing, for the identification of principles in what happens when words are, as we say, ‘set to’ music, assimilated by it (to follow Schoenberg’s feeling), reinvented (to follow Cone at one stage of his writings)?
To look at the last verse only (that is, the last four lines of text) we can see this acute apposition of the ‘build-up’ through relatively long harmonic steps: Bar : 99 100 101 102 103 104 105 106 107 108 109 110 111 112 In B: I IV II V and a rapid, triumphant assertion of the diatonic scale-steps: Bar : 113 114 115 116 In B: I (iii iv) II (iv vii III vi ii) V 117 I Not that there is anything experimental or even progressive about that – similar examples, from the point of view of musical grammar, can be found throughout music of the preceding century and more.
I believe that the first question in modern times about the authorship of the poem ‘Von ewiger Liebe’ was raised in 1972 by Eric Sams in ‘ “Von ewiger Liebe” ’, in Neue Zeitschrift f¨ur Musik, 133, 257, where he observed that the poem was not in fact to be found in the two volumes of Wenzig translations owned by Brahms, and anyway the poem itself lacked the supposed ‘folk character’ one would expect. Sams thought it much more likely to be the work of a gifted poet with whom Brahms was already familiar through Schumann’s library and compositions, and indeed the poem was found in Fallersleben’s 1837 Gedichten.