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Divorced. Erich Leinsdorf, 56, Austrian-born music director of the Boston Symphony since 1962; and Anne Leinsdorf, his American wife; by mutual consent; after 28 years of marriage, five children; in Juarez, Mexico...

Author: /time Magazine | Title: Milestones: May 10, 1968 | 5/10/1968 | See Source »

...Second Concerto proves how well he has succeeded. Compounded of powerful short phrases, punchy accents and a kaleidoscopic array of rhythms, it motors through three movements and 22 minutes like an Orpheus in the underworld. The brilliant dialogue achieved by American Pianist Gary Graffman and Erich Leinsdorf's Boston Symphony showed that the trip was definitely worth the effort. "The simple fact," said Graffman, "is that Ben has written a major piano concerto, which extremely few people have done in the second half of the 20th century." With their hearty applause, Boston's audience agreed...

Author: /time Magazine | Title: Music: Losing Friends & Winning Fans | 3/22/1968 | See Source »

...FESTIVAL. "Leinsdorf Recreates" presents the Boston Symphony Orchestra maestro rehearsing the third movement of Gustav Mahler's Symphony No. 1 with members of the senior orchestra at the New England Conservatory of Music...

Author: /time Magazine | Title: Television: Feb. 9, 1968 | 2/9/1968 | See Source »

...artistic policy of their own ensembles, plan the programs, select the soloists, learn new works, rehearse and perform-let alone address fund-raising luncheons of the ladies' clubs. The best of today's established conductors are thus tired, aging, or both. The Boston Symphony's Erich Leinsdorf, 55, who has announced that he plans to resign at the end of the 1969 season because of his killing schedule, likens himself to "a 27-inning pitcher" with no relief in the bullpen. Like Boston, New York and Chicago are also in the market for new music directors...

Author: /time Magazine | Title: Conductors: Gypsy Boy | 1/19/1968 | See Source »

...Leinsdorf does not think the original Fidelio will find a place in regular operatic productions, but he sees it as a strong, if difficult, addition to the concert and festival repertory. "It represents the composer at his hottest," he says-and by way of proof, Leinsdorf had to change his sweat-soaked jacket at intermission. "In it, like the genius he was, Beethoven was asking for things ahead of his time which probably could not be done." As Leinsdorf, the orchestra and the singers-particularly Soprano Hanne-Lore Kuhse and Tenor George Shirley-showed at Tanglewood, they can be done...

Author: /time Magazine | Title: Music: Faithful to Fidelio | 8/18/1967 | See Source »

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