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...broadcasting six nights a week for Chesterfield cigarets (TIME, Nov. 27). This week Cadillac Motor Cars and Lucky Strike cigarets overtook Chesterfields. Cadillac started a rich symphonic series for Sunday nights (6 to 7 E. S. T.). Bruno Walter conducted the first concert, Jascha Heifetz fiddled. Conductors to come: Artur Bodanzky, Eugene Ormandy, Walter Damrosch, Fritz Reiner, Sir Henry Wood...

Author: /time Magazine | Title: Music: Baltimore Lynching | 12/25/1933 | See Source »

...Under its new conductor, Artur Rodzinski, the Cleveland Orchestra tried its hand at opera last week, gave performances of Tristan and Isolde which aroused so much enthusiasm that there was talk around the town of blending still more operas with the concert season...

Author: /time Magazine | Title: Music: In Manhattan | 12/11/1933 | See Source »

...President Dudley S. Blossom stepped forward and said he would be the big backer. Conductor Sokoloffs contract was not renewed. Mrs. Hughes's resignation was accepted. She was set to handing out routine publicity notices. Two guest conductors were tried out: England's Sir Hamilton Harty and Artur Rodzinski, the wavy-haired, stoop-shouldered Pole who for four years had conducted the Los Angeles Philharmonic...

Author: /time Magazine | Title: Music: Cleveland's Change | 11/6/1933 | See Source »

...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...

Author: /time Magazine | Title: Music: Beethoven Man | 10/30/1933 | See Source »

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...

Author: /time Magazine | Title: Music: Beethoven Man | 10/30/1933 | See Source »

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