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Word: beethovens (lookup in dictionary) (lookup stats)
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...blind. Our existence is a constant exposure to noise . . . The noise may be Bach's B-Minor Mass or just a bunch of accordions. The same noise, you find it in the streets, in cafes, in restaurants, even in taxicabs. Imagine a man who has heard the same Beethoven symphony maybe six times a day in this fashion. Do you expect him to go to a concert in the evening to hear it a seventh time...

Author: /time Magazine | Title: Music: Who Likes It Modern? | 9/24/1951 | See Source »

...Beethoven: Symphony No. 7 (the New York Philharmonic-Symphony, Bruno Walter conducting; Columbia, 2 sides LP). A superb new recording of a Beethoven giant. Walter's tempo is a trifle faster than is customary, and the result is a triumph. Recording: excellent...

Author: /time Magazine | Title: Music: New Records, Sep. 17, 1951 | 9/17/1951 | See Source »

...York Philharmonic-Symphony is used to being called one of the "great" orchestras of the world-whether it chooses to play Bach, Beethoven or Bartok. The British verdict on the Philharmonic last week, after two Edinburgh Festival performances: good, with reservations...

Author: /time Magazine | Title: Music: Reservations in Edinburgh | 9/3/1951 | See Source »

Dimitri Mitropoulos, the Philharmonic's permanent conductor, took command for the second performance. Britons watched him with amazement. In characteristic Mitropoulos style, he used no baton, conducted with elbows, fists, hunched shoulders and lean-faced grimaces. After the first half of the program (Beethoven's Coriolanus overture and Symphony No. 4), Britons exchanged dismayed reactions in the lobby: "What an extraordinary way to conduct! Did you see the way he jigged during the vivace...

Author: /time Magazine | Title: Music: Reservations in Edinburgh | 9/3/1951 | See Source »

Said the London Times in summary: "Mr. Mitropoulos [gave] a performance of Beethoven's fourth symphony which could only be described as hateful ... The finale was taken at such a pace that a public reconciliation between the conductor and the bassoonist after it was over was certainly called for. But after we had been shown in Beethoven what the visitors could not do, we had an exhibition ... of what they could do ... We must needs be grateful...

Author: /time Magazine | Title: Music: Reservations in Edinburgh | 9/3/1951 | See Source »

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