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...last symphony concert of the season in the Dutch resort city of Scheveningen. Suddenly, during a Bach violin concerto, Soloist Sam Swaap started scrubbing his fiddle discordantly. Then he stopped cold for a dozen bars, holding his fiddle like a broken toy. After embarrassing moments, Swaap got back on the track. After him on the program came French Pianist Janine Weill. She got midway through the last movement of Saint-Saëns's Piano Concerto No. 4, then her fingers became riveted to the keys. The orchestra struggled on by itself for 40 bars before Madame Weill fell...

Author: /time Magazine | Title: Svengali in Scheveningen? | 10/13/1947 | See Source »

...that they could hear Toscanini's side of the record. Writes O'Connell: "Toscanini loves no one. On his sleeve he wears not his heart but his spleen. . . . I think Mr. Toscanini has had a baneful effect on musical beliefs and standards in America. . . . His conception [of Bach's St. Matthew Passion] revealed him as a man of exquisite, ineffable, and almost infallible vulgarity-a peculiarly Italianate and melodramatic and theatrical vulgarity, exposed in a variety of musical horrors...

Author: /time Magazine | Title: Sour Notes | 10/13/1947 | See Source »

...York Philharmonic (Sun. 3 p.m., CBS). The 105-year-old orchestra, starting its 18th year on CBS, with Leopold Stokowski conducting Bach's Ich Steh' mit Einem Fuss im Grabe; Brahms's Symphony No. 2 in D Major; Debussy's Nuages...

Author: /time Magazine | Title: Radio: Program Preview, Oct. 13, 1947 | 10/13/1947 | See Source »

Works by three Germanic masters, Bach, Hindemith, and Beethoven were the meaty substance of this first program. Bach's First Brandenburg Concerto, as rendered by Dr. Koussevitzky, lacks the lightness and intimacy preferred by these familiar with the old Buseh recording; however the lush Boston reading found as much life and meaning in this music as its first performers must have in 1721. The horn and oboe soles, particularly in the irrepressible third minuet trio, were superlative...

Author: NO WRITER ATTRIBUTED | Title: The Music Box | 10/11/1947 | See Source »

...symphony he picked is really Gillis' sixth, but because it is so short (14 minutes) Gillis decided to call it Symphony 5½. Its four movements-Perpetual Emotion, Spiritual?, Scherzofrenia, Conclusion!-jump from low-down to hoedown, owe more to Gershwin than to Bach. Gillis gave the third movement its punning title "because it can't quite make up its mind whether to go the Haydn-Mozart route...

Author: /time Magazine | Title: Music: Humoresque | 9/29/1947 | See Source »

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