Word: concertos
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Dates: during 1940-1949
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...Instead of a fireplace, however, he had the audience in Carnegie Hall in front of him last week, and the Philadelphia Orchestra behind him. When he wasn't fiddling, he lolled comfortably near the podium, gestured familiarly to Conductor Eugene Ormandy, even stage-whispered to him during the concerto. "That was pretty good;" he would say to Ormandy, or "We got it that time...
...such huge, screeching blotches of sound as Artistry Jumps and Message to Harlem, the fans ripped the place wide open. They listened to his newest and most pretentious masterpiece;, Prologue Suite in Four Movements, in a state of glassy somnam-bulance. When Kenton capped it all with his Concerto to End All Concertos, Carnegie hadn't heard such yelling in years...
...Introduced a "lost" Chopin cello concerto...
First he played Beethoven's Piano Concerto No. 4 with his old friend George Szell and the Cleveland Orchestra in Carnegie Hall; then, a few days later, a piano recital-the only one he will give all year in Manhattan. Yet in the next fortnight he will play in San Francisco five times. Says he: "Agents [he has none] think I am crazy. But when I go some place, I like to stay awhile. To play, pick up the check and run is silly...
Mozart the Modern. He has written five string quartets, a piano concerto and two symphonies (one of which the Minneapolis Symphony played in 1946). He composes in a freely atonal style, admires the hardy music of Schonberg and Austrian Atonalist Alban Berg. Says he: "After all, Mozart composed 'modern' music when he wrote." When friends ask him why he writes like the new masters, but plays only the music of the old, he says: "I play only music which remains for me problematic-only music that is better than it can be played...