Word: lyrically
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Dates: during 1930-1939
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Irving Berlin was celebrating his 25th year as a songwriter by putting on a radio revue, sponsored by Gulf Refining Co. (Sundays 9-9:30 p.m. E. D. S. T.). The latest lyric was to introduce "Alexander's Ragtime Band" and "Always," his two favorites. For the five broadcasts there were 100 Berlin songs. Three weeks ago the programs began with a smashing song parade (see box), left millions of listeners marveling not only at Berlin's record for hits but also at the way he has survived the changing fashions. Many an oldtime songwriter can stir...
...months. Berlin, the businessman, has a log kept to show the number of times his songs are broadcast over the three major networks. But he forgets to call for it the days he arrives downtown with a song in his head. Then he paces the floor and dictates the lyric, rushes to his big old piano, strikes an F sharp chord and painstakingly picks out the tune while a musical stenographer writes down the notes. Irving Berlin never had a music lesson. He plays by ear, in only one key. If he wants the effect of another, he turns...
...troubadour who actually lived until Author Cronyn began to put him down on paper, was the cast-off son of a furrier in Toulouse. Awkward and ugly, but with the gift of song, he soon made a name for himself. From court to castle he went his amorous and lyric way, wooing his hostesses with varying success. Once, on his way to serenade a lady, and clad only in a wolfskin, a pack of clogs nearly finished his career. Once a jealous husband had his tongue slit. Though he started on two crusades and did his share of fighting against...
...composition as may be found in musical literature, though it was not played with all the spontaneity that might have been wished for. There is a passage in the last movement in which there is no theme but just a general movement of jollity among the strings. Even the "lyric pathos" of the andante perhaps never intended to possess all the profundity that "Sturm and Drang" commentators embillish it with. More Mozart the audience seemed to want, and certainly we could enjoy it more often than the current programmes have allowed...
...Beethoven but there is more virile stuff here than the reading of last evening ever allowed us to imagine; after all, it was written in the period of the Pathetique Sonata. And for the Sibelius' Second Symphony the writer has nothing but admiration for this full-blooded expression of lyric and dramatic poetry of music. There are passages which are peculiarly reminiscent of Tschaikowski but Sibelius always twists such leanings into sterner stuff. It is almost a double pleasure to hear this music after the frivolous and pretentious symphonies that we have listened to in the past months...