Word: beethovens
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Dates: during 1950-1959
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...swirl of water under the arches and pronounced it just the same. To those who objected that "after all, the bridge is only a full-scale model of the original," Gizdulich replied: "Even though orchestras are not the same as they were then, we still play the works of Beethoven. I think we should go on playing them...
...largest numerical growth has come from reworkings of the middle classical range (1700 to 1900). Mozart (868 listings), Beethoven (865), Bach (650), Tchaikovsky (341) and Brahms (319) are the most over-recorded names in the book. CJ LPs become obsolete fast. A third of the recordings spawned in the early years of the vinyl decade are no longer on the market...
Fire & Ice. When short, balding Conductor Ormandy stepped before the Orchestra Hall audience, he had only two rehearsals under his belt. He had decided on a "good box office" program of standards: Bach's C Minor Passacaglia and Fugue, Beethoven's Symphony No. 7, Brahms's Symphony...
...Ormandy's tempi were questionable, and his lush handling of the strings in the Bach reminded Chicago Sun-Times Critic Robert C. Marsh of "chocolate syrup" with ''a whipped-cream decoration." Ormandy achieved a far more polished and impressive performance with his second program, again including Beethoven's Seventh and William Schuman's Credendum...
Harvard's glee club today has the largest repertory of any college glee club in the land: 169 works in English, Latin, French, Italian, Tagalog and German. It has recorded Bach's St. Matthew Passion, Beethoven's Missa Solemnis, and works by such varied composers as Gabrieli, Piston. Byrd, Randall Thompson, Hindemith, Palestrina, Berlioz. Its concerts with the Boston Symphony have become city fixtures. This year, as every year, the club will perform in clubs, museums and theaters from Cambridge to Texas (48 concerts), will leave after final exams for a European tour. It performs...