Word: bache
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Dates: during 1940-1949
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...orchestra and in a trio with Clarinetist Jimmy Hamilton and Drummer Yank Porter, who moons, mugs, smiles ecstatically while he beats it out. The Golden Gate Quartet swung spirituals. Sultry, curvesome, Trinidad-born Hazel Scott, who was trained by a teacher from Manhattan's crack Juilliard School, played Bach and Liszt on the piano, first straight, then hot. The authentic afflatus descended upon Café Society on its opening night, when a pale young man, one of the guests, stepped up with a clarinet. It was Benny Goodman, just recovered from long illness (sciatica). When he sent out Somebody...
...show to recite "anything from Shakespeare to Dr. Wharton's Almanac." A favorite of Manhattan sophisticates, he has introduced on his show a lady glass-eater, who quietly munched razor blades during her interview, a ladies' sportswear manufacturer, who described how he would paint Bach's music, many a trull, tramp and taxi driver. Fond of kidding Major Bowes, McCoy often bills his program as "Second Lieutenant McCoy's Opportunity Hour...
Harvard's yell-coaxers committed a serious sin against the First Commandment of pious and right-living cheer leaders. The boys simply weren't together. Counterpoint is fine in a Beethoven concerto, and uneven entrance and exit of voices the distinguishing characteristic of a Bach fugue. But the well-ordered cheer is strict harmony; and the cheering section will never be harmonious until the leaders all move the same way at the same time. Individualism has no place in cheer-leading--it has to be done as Hitler would have...
...happens that the Club is going to sing works by three German and one Austrian composer, Bach, Brahms, Mendelssolm, and J. Strauss. Any inquiry in proper quarters would have disclosed this fact...
Conductor Stokowski, as mettlesome a showman as he is a musician, gave Manhattan (and, on later nights, Baltimore, Washington, Philadelphia) a spine-tingling program. His white hands and fuzzy platinum hair gleaming like an oriflamme, he led the youths through a spirited charge on Bach. The violins, on their feet and playing as one man, rattled off one piece, a Preludio, so brilliantly that the audience roared bravos. After the Bach came the Fifth Symphony of Dmitri Shostakovich, melodiously and pompously hymning the Bolshevik October Revolution. By strictest Carnegie Hall standards, the cheers showed that the Youth Orchestra had passed...