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...Arturo E. Brillembourg...

Author: By Kate L. Rakoczy, CRIMSON STAFF WRITER | Title: TECH Hosts High-Tech Party | 3/21/2001 | See Source »

Born in Pittsburgh, Pa., Wild showed precocity at age three; by six he had a fluent technique. While still a teenage student of the distinguished Dutch pianist Egon Petri, he was already a concert-hall veteran. In 1937 Arturo Toscanini engaged Wild to fill the coveted position of staff pianist for his NBC Symphony Orchestra. Toscanini could be irascible, but he and Wild hit it off. "We both loved music so tirelessly," Wild says. The fiery maestro made Wild famous in 1942 by inviting him to play Gershwin's Rhapsody in Blue in a nationally broadcast concert...

Author: /time Magazine | Title: Music: Evoking the Golden Age | 12/11/2000 | See Source »

...Cesar Chavez's crusade to eliminate use of five of the most toxic chemicals plaguing farm workers and their families has been largely successful," Union President Arturo S. Rodriguez wrote in a letter to the St. Louis-based National Farm Worker Ministry, a farm worker advocacy group...

Author: By Charitha Gowda, CONTRIBUTING WRITER | Title: Farm Workers End Grape Embargo | 11/27/2000 | See Source »

Schuller originally played the flute, but switched to the French horn at age 14. Two years later he made his debut when the New York Philharmonic hired him as an extra horn player in the legendary premiere of Shostakovich's Leningrad Symphony, conducted by Arturo Toscanini. The precocious musician was then hired at the tender age of 17 as principal horn of the Cincinnati Symphony. The orchestra's music director, Eugene Goossens, was a major influence. "He was a great mentor, and he supported my composing. He arranged for my professional debut as a composer, when he arranged...

Author: By Anthony Cheung, CONTRIBUTING WRITER | Title: 'Of Reminiscences and Reflections': 75 Years of Gunther Schuller | 11/3/2000 | See Source »

...Hudson River School and the carefully controlled nature exemplified by the formal French garden. In From a Distance, these hand-me-down conceptions are consistently subverted. The show is a visual diagram of a vicious cycle, of humanity's destruction of nature, and nature's unrelenting growth over humanity. Arturo Herrera's biomorphic felt wall sculpture, "Behind the House I," is the demonic overextension of romanticism's untouched sublime, displaying a terrifying kudzu-like growth which crowds the visual plane with drooping, sinewy forms. David Akiba's superb nature photographs depict a similarly infernal tangle of branches, reminiscent of Jackson...

Author: By John Hulsey, CRIMSON STAFF WRITER | Title: Fake Plastic Trees: The Future of Landscape at the ICA | 10/6/2000 | See Source »

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