Word: concertizing
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Dates: during 1940-1949
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...audience made the noise. The orchestra refused to accompany him, walked off stage. "Collaborationist!" yelled some of the audience. "Vive Cortot!" shouted others. Competing choruses of praise and damnation drowned out the music. Cortot grimly stuck to his keyboard, kept playing through the hubbub, finally won silence. At concert's end: an ovation...
...would probably never sing opera in Boston again, "because . . . Boston would not allow German opera to be given here during the war." He said it was "nothing personal . . . simply a principle ... I believe that art has nothing to do with politics." Three nights later Tenor Melchior sang in concert in Boston, where the Met had given three Wagnerian operas in 1945 and Melchior had sung...
...that it will come to apply itself to "the adjustment of certain inequitable decisions of the peacemakers." His fear: that a division of Germany into two zones (economically or politically) would mean the division of Europe into two hostile camps. His recommendation: "What we need is a concert of powers and not a balance of power. Not two Europes under non-European guidance, but one Europe belonging to Europeans...
...Brooklyn's Washington Avenue, where Roger Sessions was born 50 years ago, Aaron Copland was born four years later. In 1928 the two composers sponsored a Copland-Sessions concert series for contemporary music. During the past two years, Sessions has taught composition at the University of California along with his onetime teacher, Composer Ernest Bloch, and often visits France's Darius Milhaud, who teaches at nearby Mills College. In this stimulating atmosphere he has half-finished a third symphony and has begun a four-act opera called Montezuma. He started the Roosevelt symphony in 1944 at Princeton...
...first noteworthy chef d'oeuvre since his 'discharge, Mr. Freeman is featured with various other Town Hall concert artists on Keynote Album Number 127. His cohorts are a heterogeneous lot. Trumpeters Charley Shavers, the modernist; "Wild Bill" Davison, the archaie; clarinetist Ernic Caccies, the smooth and polished; and pianist Joe Sullivan, the heavy handed, are all in the melting pot. The residue is for the most part interesting, yet restful, and certainly not run of the mill...