Word: concerting
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Dates: during 1930-1939
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Paris and London had sent glowing reports of the second Menuhin prodigy, whose parents have kept her clear of the concert platform until this year (TIME, Dec. 10). But New Yorkers had to hear for themselves before they would believe that she had half the talent of her idolized brother. The youthful pair chose a program which would have taxed most grown-up musicians. They played Mozart's A Major Sonata (No. 42), Schumann's D Minor, Beethoven's Kreutzer. Hephzibah, a husky tow-head like Yehudi, wore a long peach-colored dress that did not advertise...
...world's "highest-paid conductor" was enraged to find the Record boldly recording many of his earnings: "When he came to Philadelphia, he got $600 a concert. In 1922 he signed a contract for 10 years, to conduct 90 concerts a year at $800 a concert. . . . But after signing the 10-year contract, he began raising doubts each spring as to whether he would return in the fall, contract or no contract. So, each spring, the board, agreeing he was a great artist, gave him more money, despite the contract, until in 1929 he was getting $2,000 a concert...
...open letter crammed with visionary hopes and aims Stokowski criticized the board for not having made the most of radio. With a good contract, he said, "It should be possible to finish the season without any deficit and it might even be possible to reduce the price of concert tickets...
...tumult & the shouting which attended Leopold Stokowski's final Youth Concert, Philadelphia last week came near forgetting a dark-haired, 19-year-old girl and the composition she had played by his Symphony Orchestra. Stokowski's youths (aged 13 to 25) had worked themselves into a frenzy over his prospective de parture (see above). They yelled for the conductor and, like young Curtis Bok, they aggressively demanded the orchestra board's resignation...
More practical objections concerned the fate of Carnegie Hall and the fitness of the Opera House for orchestra concerts. Carnegie depends on the Philharmonic rental to survive as a concert hall. And the city needs Carnegie for the Boston and Philadelphia orchestra concerts as well as for individual musicians who draw big crowds. Toscanini felt that the merger offered no artistic profit to either organization, objected specifically to having concerts at the old Metropolitan where the acoustics are suitable only for opera. New Yorkers accepted his word as gospel although he begged the Orchestra's board members...