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...recently claimed conversion when he hired a trio of "wonderful girls who play like angels." But some of the women think differently, grumble privately about the insulting way he bunches them all in the middle of the orchestra so they won't be seen. Boston's Erich Leinsdorf requires that auditioning musicians play for him behind a screen, lest his eyes influence his ears; prospective members are cautioned not to talk and to enter on tiptoe, so the telltale clicking of their heels will not give them away...

Author: /time Magazine | Title: Orchestras: Ladies' Day | 12/9/1966 | See Source »

BELL TELEPHONE HOUR (NBC, 6:30-7:30 "Tanglewood-Music Under the Trees" takes a look at the Berkshire Music Festival in Tanglewood, Mass, with Erich Leinsdorf and the Boston Symphony Orchestra; Composers Aaron Copland and Gunther Schuller; Sopranos Phyllis Curtin and Jane Marsh; and Pianist Grant Johannesen...

Author: /time Magazine | Title: On Broadway: Oct. 21, 1966 | 10/21/1966 | See Source »

...Curtis Institute at 17 ("I was too distracted by girls and baseball"). Silverstein is one of the few concertmasters to work his way up from the ranks; he joined the Boston string section in 1955, ascended to the first chair in 1962. Says Boston Symphony Conductor Erich Leinsdorf: "He has some sort of beam or antenna, so that he knows what I want almost before...

Author: /time Magazine | Title: Violinists: Distinguished Fraternity | 10/21/1966 | See Source »

...subconductor, able, and often compelled, to rescue the maestro when he misses an entrance or loses his place. Ravel was such a notoriously bad conductor that soloists who were condemned to play under his baton sometimes made a secret pact to take all their cues from the concertmaster. Says Leinsdorf: "If you have a good concertmaster, you don't have to move your left arm so much...

Author: /time Magazine | Title: Violinists: Distinguished Fraternity | 10/21/1966 | See Source »

...compensate, the progressive Bos ton management founded the Boston Symphony Chamber Players last year (TIME, March 18), encourages all of its players to take on as many solo engagements as they feel they can possibly handle. Says Leinsdorf: "This is very important for the morale of the players who want to keep, and have every right to keep, their artis tic identity...

Author: /time Magazine | Title: Orchestras: Flying the Coop | 10/7/1966 | See Source »

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