Word: accompanists
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...whose fame long outshone his father's. For 27 years C. P. E. had the politically impressive but musically dubious honor of accompanying Frederick the Great while he bore down on the flute. Frederick played a repertory of some 300 concertos in relentless rotation, nearly wore his accompanist out. When the Seven Years' War began, C. P. E. got temporary relief...
...latest gadget in mechanical music, a reed orchestrion, which made Wagner sound like a merry-go-round. Tommy listened to it by the hour, vowed he would devote his life to music. Beecham's Pills made possible a musical education at home and abroad. Tommy learned much as accompanist to the late great French baritone Victor Maurel. But the pills were not always an unmixed blessing. When, after an inconclusive term studying law at Oxford, Tommy Beecham cut loose and bought himself his first symphony orchestra, he called it the Beecham Philharmonic. British wags dubbed it the "Pillharmonic...
...newspaper, executed some amusing place-cards for the occasion. After dinner the girls had the opportunity of meeting their guests informally in the living-room. Ruth Finke, Kitty Reumann, Elsie Koeliner, Jane Staiger and your columnist performed some songs written to order by your columnist. Betty Etrachan was the accompanist. One in particular was rendered with deep feeling...
Cost of a Manhattan recital, complete with trimmings, is between $700 and $1,200, less the generally negligible box-office take. For this figure a recitalist gets a piano, publicity, tickets, an accompanist (if he needs one), and the services (at a 20% rake-off) of an established musical manager, and a first-class hall. (Carnegie, on the Philharmonic's off nights, rents for $400; Town Hall, a few blocks downtown, for $300; smaller auditoriums at $75 a night & up.) The manager, if he is a good one. has already booked halls for the most desirable dates...
...thoroughly enjoyable sixty-five minutes. Despite sundry sepia entertainers from the Duke's revue, "Jump for Joy," the band itself was, as always, the big news, whether showing off its soloists or weaving a subdued and subtle background to a vocal refrain. Miss Waters was very good, special accompanist and all, but on at least one occasion I found myself trying to hear what Lawrence Brown's trombone was doing in the offing...