Word: artur
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Among the flood of classical LP records that made the year more musical, there were many standouts. The following choice of 1954's best is made on the basis of unusual interest in music or performance: Berg: Violin Concerto (Louis Krasner; Cleveland Orchestra conducted by Artur Rodzinsky; Columbia). The first recording of a major 20th century work. Dubbed from old 78-r.p.m. disks, but a devoted performance...
...hired toughs wrecked his newspaper office, the police threatened to jail him as a troublemaker. He skipped town, but his avoidance of the Natal jail was only temporary. As editor of a newspaper in the city of Recife, he wrote a front-page manifesto, denouncing Brazil's President Artur Bernardes as a "bloody dictator." Warned that he was about to be arrested for sedition, he fled back to Natal, where the police welcomed him with open handcuffs and locked him up for 72 days...
...again selling bulk, by releasing records in packages and series. As the winter music season got under way, several large, attractive series were on the counters. Victor released the second two LP volumes of the Beethoven Piano Sonatas, played with unbeatable fire and insight by the late great Artur Schnabel. London completed its own releases of the same series by 70-year-old Wilhelm Backhaus, as well as all seven Symphonies by British Composer Ralph Vaughan Williams with the London Philharmonic Orchestra, conducted by Sir Adrian Boult. Columbia packaged most of the Orchestral Music of Brahms (four records), lovingly played...
...flipping. In Manhattan, CLUBS JUMPING AGAIN front-paged The Billboard. "A flock of nighteries and eateries have switched or converted to a jazz policy," specified Variety. The story is repeated in many cities. The new jazz age has impressed even such a long-(and grey-) haired musician as Pianist Artur Rubinstein. "The Americans are taking jazz very seriously," says he. "There is so much money...
Berg: Violin Concerto (Louis Krasner; Cleveland Orchestra conducted by Artur Rodzinsky; Columbia). One of the meatiest, most listenable concertos of the century, played by the man who introduced it in 1936. Written in the twelve-tone technique, it combines all the nervous subtleties of that idiom with the undeniable decadence of Berg's own style, but still appeals strongly to the ear. More complex (and less appealing) is the piece on the reverse side: another great modern...