Word: antheil
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Composer George Antheil, 53, onetime bad boy of modern music, no longer scores compositions for mechanical pianos and fire sirens, and has created no major musical scandal since his Ballet Méchanique nearly panicked Carnegie Hall in 1927.* Instead, he has been quietly sitting in his Los Angeles home, industriously turning out music that is remarkably easy to listen to. Last week he was on hand for the opening of his third opera, Volpone, in Manhattan's minuscule Cherry Lane Theater...
...Composer Antheil shrugged off one or two critical critics ("The great American opera has yet to be written," reported the New York Herald Tribune). He was satisfied that his opera gets across to its audiences. In any case, Antheil does not have to make his living from his Volpones or from his symphonies (six so far, with a seventh in the works). His fiscal foundation: scoring an occasional Hollywood film. Besides writing crackerjack scores for such movies as Specter of the Rose, The Sniper, The Juggler, In a Lonely Place, Antheil admits that he is quietly fostering a reputation...
...addition to his third opera, seventh symphony and a couple of film scores, Antheil has been busy recently on a violin concerto, piano sonatas and a string quartet. A few years ago he wrote his autobiography, Bad Boy of Music, in which he bade a fervent farewell to jangle, for a while even wrote a column of advice to the lovelorn for the Chicago Sun syndicate. But he has now given literature up, too. "It's silly for a composer to write a book," he says. "I'm just too busy to be sensational any more...
...businessmen. He is also a fine musician who has helped carry many a Texan the long distance from San Antonio Rose to Bartók "without going out of my way to annoy them." Dorati has given Dallas world premieres of works by Paul Hindemith, Walter Piston and George Antheil. Some Texans now brag almost as much about their symphony orchestras as about the size of their state...
...filming this sad tale, Ben Hecht intelligently cut costs and also sharpened his effects by hiring eager newcomers and first-rate but not too expensive veterans whose capacity for hard work matched his own. Chief weakness of George Antheil's alert score is the absence of Spectre's traditional music (Carl Maria von Weber's Invitation to the Waltz). Among the film's good points: young Kirov's tormented athleticism; Viola Essen's fresh beauty; the rich, workmanlike performances of Miss Anderson and Mr. Chekhov...