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Sonata for two pianos Bach Concerto No. 21 Mozart Concertino No. 1 Sapp Variations on a Theme of Beethoven Saint-Saens...

Author: By Lower Case, | Title: The Music Box | 4/24/1951 | See Source »

...program concluded with a set of variations by Saint-Saens. The piece begins with the simple, lovely, Trio melody from the second movement of Beethoven's Piano Sonata, Opus 31, No. 2. Then follows a series of flashy but inartistic variations, which leads to a restatement of the theme, and a final flourish of octave passages. The work as a whole is typical of those many fluffy compositions by the Frenchman which are fun to watch, fun to play, but certainly not great music...

Author: By Lower Case, | Title: The Music Box | 4/24/1951 | See Source »

...Paris Opera Ballet. He left the ballet to fight with the Maquis during the war. At war's end he joined the small Soirées de la Danse, later the Ballet des Champs Elysées. He designed his first ballet for Nathalie-a duet to Beethoven's "Pathetique" piano sonata-and they were married shortly after. He "detests" classical duets-"too rigid, too formal. I always hate my partner." He particularly detests Nijinsky's famous Le Spectre de la Rose. "Even if you dance it well, everyone says, 'Oh, Nijinsky!": Both Babil...

Author: /time Magazine | Title: Music: High Jumper frorn Paris | 4/23/1951 | See Source »

...commercial station, Boston's WOOP, plans to break with the ABC network and broadcast classical music in the evenings. Louis Goldberg, music manager of WCOP, explained that his station was already running three hours of concert music a week. "We do some fine things," said Mr. Goldberg, "Not only Beethoven's Ninth, but his Fifth and Fourth!" He expressed a lukewarm desire to play more, but spent most of his time relating the hardships of the radio world, "You can't push any ads on a classical show, and places like Wally's (a local jazz emporium) don't want...

Author: By William Burden, | Title: From the Pit | 4/17/1951 | See Source »

...acknowledged masterpieces of chamber music, Beethoven's opus 95, was the group's final offering. A product of Beethoven's middle period, this powerful quartet was the best part of the program, and was the best playing. The four performers captured the fierce intensity of this music and although they could not always project the inner conflict of the work, they acquitted themselves admirably. The final allegretto agitate, full of stringent rhythms and harmonies, brought the evening to an exciting close...

Author: By Lower Case, | Title: The Music Box | 4/17/1951 | See Source »

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