Word: kostelanetz
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...explosion of painting in Renaissance Italy marked an "awakening of the eye," the explosion of music in post-World War II America suggests a massive unstopping of the U.S. ear. "Americans have discovered music," says Music Merchant André Kostelanetz, "like a people who have discovered red and blue and green where all had been black and white before." In its musical black-and-white era, the U.S. already had great symphony orchestras, great opera, great foreign artists-and it conquered the world with its jazz. What is different today is the extraordinary breadth of the nation's music...
...there is no doubt that the taste of the companies-and of the customers-is gradually improving. Says Columbia Artists President Frederick C. Schang Jr.: "They start listening to Mantovani. In time they want Kostelanetz, which is a step up. or maybe the Boston Pops. Then maybe they will venture on to a big-time symphony orchestra playing Tchaikovsky. After that, one of these days, they'll even go for Beethoven-and they are caught. That's the way it's done in this country...
...less typical of uncounted U.S. households. Mood music-most of it consisting simply of old favorites and not-so-favorites warmed over-currently accounts for roughly a third of several major companies' album sales. Such old grads of the whipped-cream-and-syrup school as André Kostelanetz, Paul Weston, Phil Spitalny and George Melachrino did some pioneering as early as the '40s, were later joined by a host of others. TV's Jackie Gleason became such an adept mood picker that his Music for Lovers Only sold half a million copies. For the hi-fi convert...
...spare the listener the sound of the human voice, except at decent intervals, i.e., no oftener than every 15 minutes through the day and every half-hour in the evening. In between. WPAT. plays carefully chosen, well-groomed music, mostly the massed strings and muted brass of the Mantovani-Kostelanetz style, nothing more popular than show tunes or more classical than a Brahms waltz...
...first rehearsal last week, Conductor Kostelanetz bounded off the podium and congratulated rotund Composer Grofé. "You really started something," said Grofé. Actually, whether the result was more effective as music or just enthusiastically collected noise, it was "Kosty" himself who started it. For seven years he has dreamed of channeling the Hudson musically, last fall commissioned Grofé in New York City. Grofé read a book about the river, recalled some river lore of his own (at six months he rode an Albany boat for two weeks to escape an epidemic on the Lower East Side...