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...SIEGFRIED IDYLL; HINDEMITH: TRAUERMUSIK (Angel). This is an intimate and unpretentious performance, largely due to the warmth that Daniel Barenboim elicits from the English Chamber Orchestra. The Siegfried Idyll sounds like what it was meant to be: a lullaby. The Schoenberg piece, one of the composer's very early works, and Hindemith's mourning music for viola and strings, have great spirit. Barenboim's first recording of modern works augurs well for the future...

Author: /time Magazine | Title: Time Listings: Aug. 9, 1968 | 8/9/1968 | See Source »

...Jerry cartoons. At first, the constant glissandos of cartoon music put blisters on his knuckles, but a fellow studio pianist, Andre Previn, showed him how to play them with a comb. Meanwhile, Powell pursued his studies in serious music. In 1948 he moved east to study composition with Paul Hindemith at Yale. By 1958, when he was offered a professorship, he was already noted as a deft, if sometimes perplexing, composer for conventional instruments. His final step into machine-made sounds was only logical: many of his ideas became too difficult for humans to play...

Author: /time Magazine | Title: Avant-Garde: The Powell & the Glory | 7/19/1968 | See Source »

...underrehearsed. Intonation throughout the concert was of the sickly sort one expects from a band but which the HUB usually avoids. In the first half, it was all the Band could do to get through the notes, let alone do anything with them. This was particularly noticeable in the Hindemith Konzertmusik fur Blasorchester, the most massive and probably the most difficult work on the program. There are always a lot of notes in Hindemith and the Band's performance exposed serious problems of ensemble. Walker was often reduced to signalling huge downbeats in an effort to get his musicians together...

Author: By Robert G. Kopelson, | Title: Harvard Band and Wind Ensemble | 12/4/1967 | See Source »

...Heifetz playing the one-string ichigenkin. Now all that has changed. In the past few years, American and European concert halls have experienced something close to a full-scale invasion by talented Korean and Japanese musicians. Last week, Japan's Seiji Ozawa, 32, conducted programs of Rossini and Hindemith in Canada; Korean Violinist Young Uck Kim, 20, performed Saint-Saëns' Concerto No. 3 in Corpus Christi, Texas; and an eight-year-old Japanese cherub named Hitomi Kasuya played part of a Mozart violin concerto in Albuquerque and in South Euclid, Ohio...

Author: /time Magazine | Title: Instrumentalists: Invasion from the Orient | 11/3/1967 | See Source »

...Darmstadt courses opened in 1946 as refreshers for Hitler-frustrated German musicians who wanted to brush up on their Stravinsky, Bartok, Hindemith and Schoenberg. In succeeding years, Darmstadt focused on the development of serial techniques in Schoenberg and Webern, and gave exposure to the works of such post-serial experimenters as Edgar Varese and Olivier Messiaen. Soon younger composers-notably Hans Werner Henze and Pierre Boulez-began unveiling compositions of their own at the festival's semiprivate "workshop" concerts...

Author: /time Magazine | Title: Festivals: Quick, Karl, the Potentiometer! | 9/8/1967 | See Source »

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