Word: aeolian
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Dates: during 1920-1929
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Walter Damrosch and his New York Symphony Orchestra sought volume and found it-volume in seating capacity, not sound. Last week they opened their Sunday concerts not in their accustomed Aeolian Hall but in Mecca Auditorium. The difference is this: 1,200 seats v. 3,700. Mr. Damrosch pronounced the acoustics of Mecca...
...Pierian is planning for its spring trip a series of concerts to be given in the different cities between Boston and New York, concluding the trip with two concerts in Aeolian Hall...
There will also be a spring trip this year, with several concerts in cities between Boston and New York, and ending with a performance in Aeolian Hall, New York. Last year the trip was a great success. At every concert enthusiastic audiences crowded the halls to the door...
Sixteen candles, divided eight and eight in two towering candelabras, flanked, on the stage of Aeolian Hall, Manhattan, the sleek black bulk of a pianoforte. An audience waited, marveling, expectant. The stage grew dark. An attendant appeared, tiptoed to the candelabras, lit each candle in turn with a glimmering taper. Scarce breathed the audience now, so grave, so holy, was the sight. A young woman in a rose-colored frock suddenly detached herself from the gloom, stood bowing in the soft-lustre before her instrument. She was Marie Leschetizky, final wife of the late Theodor Leschetizky, famed Viennese music teacher...
...stage of Aeolian Hall, Manhattan, was set for a concert. On it loomed no pianoforte's harp-shaped shadow; no fiddlers tried their strings; no brisk conductor raised his arm. It was bare as Mother Hubbard's cupboard. At the back of this bare stage, there stood a huge screen, black-bordered; down by the footlights were certain metal boxes, each topped with a keyboard of sliding buttons. Before the concert began, a man made a speech. He was Thomas Wilfred, Danish singer, who invented the instrument so curiously composed of the metal boxes, the great screen...