Word: koven
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...invited," read the program, "to greet and praise De Koven in the Ladies' Lounge. Please refrain from criticizing the Maestro, for it never does any good and only gives De Koven the colic." At Manhattan's Town Hall last week, that injunction served to introduce Classical Disk Jockey Seymour De Koven, an evangelist of the baroque, a man dedicated to the proposition that scarcely any music worth listening to was written after 1828, the year Schubert died. After him, practically no composers were able to write decent "barococo" music, and the public had to settle for "nobodies like...
...Form of Exhibitionism. Except when he greets his followers in person, as he did at Town Hall, De Koven does his pleading for 17th and 18th century music over a dozen radio stations scattered from coast to coast. Although he is known to his listeners by his last name only ("I hate Seymour"), he corresponds with them incessantly, and has organized a hard core of 500 or so who voluntarily contribute the $150 it costs each week to broadcast two of his Manhattan shows over Station WRFM (a third show is broadcast over WNYC, a municipally owned and supported station...
Vivaldi, Bach, Handel, Beethoven, Schubert-whoever the composer, the music is rarely heard quite as written: De Koven has an unsettling habit of cutting slow passages on the ground that "the fast ones are far more interesting." He is also a confirmed believer that "you don't have to be an intellectual to appreciate music. Who wants music to be profound?" De Koven's prejudices, in fact, are frequently more entertaining than his programs. "I attend no concerts," says he. "I consider them an anachronism like opera. Concerts are primarily mutual exhibitionism on the part of both performer...
...Baffling and perverse and irreverent as it is," wrote Stanley Koven in the National Observer, "Oh Dad sweeps its audience up and gallops off on a kind of Marx Brothers excursion into the avant-grade." Calling it "a perverse comic nightmare" in the New Yorker, Edith Oliver stated. "Seldom can a production have more effectively carried out the ideas of a playwright than this...
...originally a concert number; Verdi's, from the opera Otello; Mascagni's, based on the Cavalria Rusticana intermezzo; and Bach-Gounod's (the Bach original was a clavier prelude, later adapted by Gounod as a love song). Also banned: Oh, Promise Me, from De Koven's operetta Robin Hood; Because ("secular"); I Love You Truly ("profane...