Word: boerner
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...goodbye to a good buy until an enterprising Milwaukee attorney, Roger Boerner, 37, formed a corporation called Art Appreciation, Inc., with 14 other enthusiasts. Pooling their shares, the corporation bought the Courbet to hold it until the museum can pay for it. Should the painting increase in its market value in the interim, the difference can also be deducted from income tax as a charitable contribution. Meanwhile, the painting will hang in the museum. Except, of course, for the times that shareholders in Art Appreciation, Inc., see fit to borrow it in turn in order to appreciate their masterpiece...
Currently, Perkins spends $250,000 a year in the hunt for new roses (and $1,800,000 on ads and other promotion), employs a top geneticist, Eugene S. Boerner, as his chief hybridizer. Annually Boerner makes 10,000 hand pollinations, getting up to ten tiny seeds from each crossing. From some 250,000 plants nursed along to the bloom stage, less than half a dozen new ones are selected each year to go into J. & P.'s catalogue. A single rose may cost $50,000 to develop, but royalties on a single rose have hit $500,000, so, says...
Berg: Der Wein (Charlotte Boerner, soprano; Janssen Symphony Orchestra, Werner Janssen conducting; Capitol, 1 side LP). Berg's masterful concert aria extols the qualities of wine ("I make your wife's eyes sparkle and give fresh strength to your son") in twelve-tone style. San Francisco Chronicle Music Critic Alfred Frankenstein explains the twelve-tone language (with Bergian illustrations) on the second side. Performance and recording: excellent...
Berg: Wozzeck (Charlotte Boerner, soprano, with the Janssen Symphony of Los Angeles, Werner Janssen conducting; Artist Records, 4 sides). This difficult opera, a kind of Nordic and atonal Carmen, was violently criticized at its Berlin premiere in 1925, was the first work of art to be damned as Kulturbolschewismus by the rising Nazis. These excerpts give only a sketchy idea of the late Alban Berg's score. Performance: good...
Respighi meant his Maria Egiziaca to be mounted simply so as to suggest the old mystery plays. Mary of Egypt (German Charlotte Boerner) sang capably last week but, for the rest, the Philharmonic production was amateurish to a degree that Toscanini would never have tolerated. In his own miraculous fashion Toscanini might even have made the drab, derivative music take on color, sound significant...