Word: iturbi
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Pianists. Sergei Rachmaninoff had given 30 U. S. concerts when he sailed last week for Europe. Josef Hofmann arrived on the Rex, attended briefly to his duties at the Curtis Institute in Philadelphia, then took to the road. José Iturbi, the elfin little Spaniard who sometimes conducts, was working his way up the Pacific Coast. In Manhattan such steady oldtimers as Harold Bauer and Ossip Gabrilowitsch were drawing their own faithful audiences. Artur Schnabel was doubling his success of last season. In Detroit Myra Hess, greatest of women pianists, began a tour of 40 concerts. Ignace Jan Paderewski...
...Manhattan, Pianist-Conductor Jose Iturbi opened the Lewisohn Stadium season with a meticulous rendering of Beethoven's Egmont overture. As usual, old Adolph Lewisohn, who built the Stadium, made a sweet, fumbling speech in which he announced that, besides Iturbi, Willem van Hoogstraten and Eugene Ormandy would lead the New York Philharmonic-Symphony. When Mayor LaGuardia made a speech Communist hecklers who had been waiting since late afternoon in the 25? seats chorused: "Yellow dog La-Guardia! Yellow dog LaGuardia!" Three nights later the Stadium offered a novelty -the first of eight pairs of operas, with scenery and Metropolitan...
...until last spring when he went to Mexico City did the world realize that José Iturbi's ambition reached higher than the piano. There he gave 15 recitals in three weeks and still the Mexicans wanted more. He itched to try conducting. Because there was no assembled orchestra available he put an advertisement in the newspapers. For his first Mexican concert he hired 40 players. By the time he reached the 29th concert he had no musicians under his baton. When he returned to New York in the summer he conducted the Philharmonic in the Stadium series (TIME...
...delicately to suit him. "Excuse me," he shouted. "It is too fairy. Mozart was very man." He imitated perfectly the sounds he wanted from the English horn, the double bass, the flute. The men's respect mounted until some were calling him the next Toscanini. But Iturbi wanted no adulation. "Please," he repeated frequently. "The music! I am not genius...
...public performance Iturbi merely clenched his baton a little tighter and with the simplest of gestures led the men on to do what he had taught them at rehearsal. But the music was so articulate, the Mozart so sparkling, the Rhenish Symphony of Schumann so gravely romantic, that in intermission the lobby was abuzz with the talk of this coming young conductor. The program went on with Debussy's La Mer, the Intermezzo from Granados' Goyescas, three dances from De Falla's Three-Cornered Hat. At the end the audience was on its feet cheering. The players...