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Word: bache (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Sirs: Wait! Since when has your Music editor written your book reviews? In the March 4th issue, under Music (Bach and Boogie-Woogie), he writes of Elliot Paul and makes the remark that he is the author of one good book, The Life and Death of a Spanish Town. Oh foul slander! Has he never heard of Mr. Paul's Concert Pitch, the best damn musical novel I ever read? As an author myself I don't like to see this - Poet Christopher Darlington Morley is not even eligible for membership.-ED. slipping of your department editors into...

Author: /time Magazine | Title: Letters, Mar. 18, 1940 | 3/18/1940 | See Source »

Featuring three pieces by Johann S. Bach and others by Schoidt and Hanff, W. Judson Rand, Jr., organist at Christ Church in Cambridge, will give an organ recital tonight in the Germanic Museum...

Author: NO WRITER ATTRIBUTED | Title: ORGAN RECITAL | 3/14/1940 | See Source »

...recital, which is free and open to the public will include Partita Sopra by Walther, Concerto in G By Vivaldi-Bach, and Toccata in F and Prelude and Fugue in E Minor by Bach...

Author: NO WRITER ATTRIBUTED | Title: ORGAN RECITAL | 3/14/1940 | See Source »

Like his good friend Painter Pablo Picasso (who invented and then threw over cubism), Igor Stravinsky soon abandoned his followers. He took to ransacking 18th-Century fugues and roundelays, writing distorted imitations of Bach and Handel. None of his later compositions created anywhere near the fuss & feathers that the Sacre did, but Stravinsky remained the greatest ballet composer of modern times, and one of the half-dozen most important symphonic composers of the 20th Century. With audiences nowadays he is popular chiefly for two early ballet scores: Petrouchka (1911) and the orchestral suite from his fairy-tale ballet The Firebird...

Author: /time Magazine | Title: Music: Musical Count | 3/11/1940 | See Source »

...matter of fact, I can remember few recorded versions of anything that struck me as being so completely shallow and without not only comprehension of what the composer wanted, but what could be done with the score itself. Leopold Stokowski is often accused (and Justly so) of rendering Bach in a manner quite unlike what the composed intended, or what the "correct" interpretation is conceived to be. But at least, he almost always gives a rendition that is musicically fascinating no matter how you may disagree with his interpretations...

Author: By Michael Levin, | Title: SWING | 3/9/1940 | See Source »

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