Word: bach
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Dates: during 1930-1939
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...What drew this throng was no thunder-rousing maestro or pudding-fed diva, but a pair of pale, genteel young men who plunked softly on 18th-Century-model harpsichords. Before a silver backdrop, gently lit by amber lights, they joined in deft pluck-a-pluck duets by Mozart and Bach. Occasionally they were joined by two lush lady harpsichordists in 18th-Century lace and velveteen. To all this harpsichordery their audience listened reverently, applauded with loud smacks. For they were listening to the No. 1 harpsichord team of the U. S.: Chicago's famed Philip Manuel and Gavin Williamson...
...hear a little more than usual this year from the Pierian Sodality. The first Cambridge performance will be a joint concert with the Radcliffe Orchestra in early November, which will be followed closely by a Bach and Handel program including the fifth Brandenburg Concerto. This latter concert so early in the season represents a change in policy as two Cambridge performances are planned for this year rather than the customary...
...Club this Fall will be the traditional concert with the Yale club the evening before the Yale game. The most ambitious Glee Club performances will be given in the Spring when they sing the annual Sanders Theatre concert and assist the Boston Symphony in Strawinsky's "Oedipus Rex" and Bach's B-minor Mass...
...strenuous six-day program in Manhattan. Such eminent musicologists as Yugoslavia's Dragan Plamenac, Denmark's Knud Jeppesen, Venezuela's Juan Lecuna, watched the Big Apple, the Lindy Hop, the Shag, drank what there was to drink. At the Savoy Ballroom, Bandmaster Erskine Hawkins swung Bach, Rachmaninoff's Prelude in C Minor in their honor. The bolder musicologists ventured gingerly out on the floor, soon got limber...
...sinecures, under the patronage of art-loving, fun-loving King Gustavus III. When the King was murdered. Bellman lost his last job, was put in debtors' prison, got out just in time for a last party before he died. Bellman played the lute, consciously or unconsciously drew upon Bach, Mozart, Scarlatti for melodies. He seldom wrote a song down, let his friends transcribe, collect and publish part of his output. The "Last of the Troubadours" sang of tavern life, of trips to the country, of a ludicrous funeral procession, of his friends Movitz the painter, Mollberg the soldier, Ulla...