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...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...

Author: NO WRITER ATTRIBUTED | Title: The Music Box | 3/12/1934 | See Source »

...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...

Author: NO WRITER ATTRIBUTED | Title: The Music Box | 3/9/1934 | See Source »

...Marks was a hook & eye salesman, peddling songs on the side, when he decided to go into music publishing. The big songs then were "Annie Rooney" (1890), "Daisy Bell" (1892), "My Sweetheart's the Man in the Moon" (1892), "The Sidewalks of New York" (1894). Marks wrote a lyric, "The Lost Child." Joe Stern, a necktie salesman, wrote the music. They plugged their product with colored lantern slides which showed a policeman encountering in the streets a waif, who at the station house turns out to be his long-lost daughter...

Author: /time Magazine | Title: Music: Songbook | 2/26/1934 | See Source »

...Early Lyric Problems," Professor Rollins, Sever...

Author: NO WRITER ATTRIBUTED | Title: The Student Vagabond | 11/20/1933 | See Source »

...reworked for Let 'em Eat Cake. They fall quite flat. So do George Gershwin's antiphonal choral numbers which have grown longer and more tedious' since he first used them in Strike Up the Band (1927). Brother Ira Gershwin's flair for writing silly repetitive lyrics no longer seems a sprightly burlesque of all lyric-writing. His lyrics often appear to be simply slovenly, lazy work. But Victor Moore is even funnier than he was in Of Thee I Sing. Dictator Wintergreen promises everybody cake when he gets to the Blue House. His successor promises caviar...

Author: /time Magazine | Title: Theatre: New Plays In Manhattan: Oct. 30, 1933 | 10/30/1933 | See Source »

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