Word: beethovens
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Button-eyed, sheepish-smiling Sylvia Foodim, 8, smoothed her dress, perched herself at a big piano, gravely played Beethoven and Schumann, rattled through a Schubert scherzo. She was the youngest. A dozen other dressed-up girls, and one boy, took their turns at the piano. Thus Manhattan's Greenwich House Music School exhibited, in a formal recital, what its piano department is doing for slum children. In the springtime, as their year closes, many of the 50-odd settlement music schools in the U.S. give concerts for friends and potential benefactors...
Once they were just 25 amateurs, sawing and whuffing under the baton of a music-store proprietor. Last week they were still partly amateur. But with near-professional gusto, in the final concert of its season, the El Paso Symphony bounced through a professional program: Delius, Tchaikovsky, Borodin, the Beethoven first symphony and-with an imported professional soloist, Violinist Henry Temianka -the Lalo Symphonic Espagnole...
Nightclubs do not usually hire other people's halls to give public concerts, but last week one of them-Manhattan's "Cafe Society"-did exactly that. It hired Carnegie Hall. And it was the first time that nightclub entertainers had tried their hands so publicly on Bach, Beethoven, Schubert. The concert's label, "From Bach to Boogie-Woogie," accurately covered the efforts of the Negro Societarians...
...Philharmonic men, among others, to play under him. He dug deep into his life savings to pay their salaries and the rental of Carnegie Hall for a night. Conductor Klemperer's concert nearly filled the hall with people, and did fill it with satisfactory sounds of Bach, Mozart, Beethoven, Hindemith. In a not entirely successful attempt to gain brilliance of string tone, Conductor Klemperer had his fiddlers and violists on their feet throughout the concert. As definitely as any conductor could, Otto Klemperer had proved what he intended to. He hulked off, made ready to return to California...
...common report on the two new recordings of the "Eroica" is unfortunately true. Toscanini's performance on Victor, exciting as it is, suffers dreadfully from the poor acoustics of the NBC studio, where it was recorded during the Beethoven cycle last year. The studio is probably more satisfactory for radio broadcasting than a concert-hall, as it is arranged so that every note comes over with perfect clarity. But for a permanent recording, one wants resonance as well as clarity, and the tone in this album is so flat and dead as to make the set very unpleasant...