Word: artur
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Dates: during 1930-1939
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...Nowhere in New York was such a chair to be found. Pianists like Rachmaninoff and Iturbi who depend mostly on their wrists use stools without backs. Paderewski and Hofmann who play more from their shoulders use chairs with backs which tip forward a little. None of these suited Artur Schnabel, the square-headed little Austrian who was to solo with the Philharmonic-Symphony. Finally one was made...
Whether or not the Beethoven chair contributed to Artur Schnabel's performance last week there were few people in his audience who did not go away feeling that they had listened to the greatest of Beethoven pianists. Schnabel had played the difficult Fourth Concerto easily, quietly, without once tossing his head or flinging his hands ostentatiously into the air. For his audience he made Beethoven all-sufficient-with the clarity of his phrasing, the prismatic shading of his tone color, the way in the second, slow movement he carried on a dialog with the orchestra, pleading tenderly with...
...municipal insurance system announced that they would pay the bills of no Jewish physicians rendered after April 1. Because they signed an official protest against persecution of Jewish musicians in Germany, German radio stations were ordered to bar all records or compositions by Arturo Toscanini, Walter Damrosch, Sergei Koussevitzky, Artur Bodanzky, Harold Bauer, Ossip Gabrilowitsch...
...summer in London in which Actress Florence Desmond does shrewd imitations of screen celebrities attending a Hollywood party; a comic take-off on any bad lieder singer done by the French comedian Betove. Most popular of the new classical importations are the Beethoven Concertos (First & Fifth) which German Pianist Artur Schnabel has made with the London Symphony...
Strauss's taut, frenetic music deeply moved the audience last week. People stayed to cheer long after it had ended. Under Conductor Artur Bodanzky the basses whirred an awful suspense while Elektra waited for Klytemnestra's death scream. The horns exclaimed wildly while Elektra danced herself to death. Few critics bothered to carp at the stuffy stage production. They were grateful to the hard-pressed Metropolitan for mounting even so tardily a great opera which is unlikely to prove a great box-office attraction...