Word: leopold
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Dates: during 1960-1969
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...Leopold Stokowski, 78, closed out his fifth season as conductor of the Houston Symphony by praising Manager Thomas Johnson as "a man who can get along with a difficult conductor like me," then announced that he will leave his Texas podium next year. Generally liked in Houston, Stokowski was occasionally criticized, first for pushing too many modern works, then for moving in the opposite direction and pandering to the city's "roast beef appetite." Nevertheless, the city got a good financial return on Stokowski's reported $35,000 annual salary: ticket sales increased 86%. So far, no successor...
Bartok: Music for String Instruments, Percussions and Celesta, and Frank Martin: Petite Symphonie Concertante (Albert Fuller, harpsichord; Gloria Agostini. harp; Mitchell Andrews, piano; Leopold Stokowski conducting; Capitol, mono and stereo). Both Composers Bartok and Martin anticipated the dreams of the stereo engineers by calling for strings divided in equal groups on either side of the conductor. The resulting spread of sound is interesting, but less so than Stokowski's fine performance. Even with a pickup orchestra, his Bartok glows with tonal colors as weird and arresting as an electrical storm, and his vigorous reading of Martin has a fine...
...years almost to the day since Nathan Milstein made his New York debut. Now 55, he belongs to the tradition of such great Russian-Jewish violinists as Jascha Heifetz, Mischa Elman, Efrem Zimbalist, all of whom were, like Milstein, trained by the late great Leopold Auer. In the generation that has passed since Milstein first appeared on the U.S. musical scene, he has transformed himself without fanfare from a dazzling virtuoso to a mature master, not only of bravura composers such as Max Bruch and Sarasate, but of Brahms, Beethoven and Bach. Little interested in contemporary music...
...Society; the Royal Liverpool Philharmonic Orchestra; Angel, 3 LPs, mono and stereo) that lacks the fire of Beecham, the vocal glories of some of the Ormandy passages, emerges as painstaking rather than impassioned. Perhaps the best performance of the crop is furnished by Hermann Scherchen (Pierrette Alarie, Nan Merriman, Leopold Simoneau, Richard Standen; the Vienna State Opera Orchestra and the Vienna Academy Chorus; Westminster, 4 LPs, stereo), which is marked by some lovely, light-textured choral passages, a translucent orchestral sound and a movingly meditative...