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Word: mendelssohn (lookup in dictionary) (lookup stats)
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Sullivan: Music to Shakespeare's Tempest (Vienna Orchestral Society, conducted by F. Charles Adler; Unicorn). The composer of H.M.S. Pinafore, The Mikado, etc. finished this music in the freshness of his 20th year, and caused his betters to call him a second Mendelssohn. It is easy to see why, although admirers of his operettas will not complain about his later career...

Author: /time Magazine | Title: Music: New Records, Feb. 6, 1956 | 2/6/1956 | See Source »

...modern times, Pope St. Pius X warned against the infiltration of profane music in his Motu Proprio (1903), followed by Pius XI in his Divini Cultus (1928). Last fall Chicago's Cardinal Stritch blacklisted such sentimental standbys as Schubert's Ave Maria and the Wagner and Mendelssohn wedding marches (TIME...

Author: /time Magazine | Title: Religion: The Singing of Solesmes | 1/16/1956 | See Source »

...York Philharmonic-Symphony (Sun. 2:30 p.m., CBS). Music by Beethoven, Brahms, Mendelssohn. Soloist-Mischa Elman...

Author: /time Magazine | Title: TELEVISION: Program Preview, Nov. 21, 1955 | 11/21/1955 | See Source »

...favorite church music as "unliturgical." The cardinal's authority: Pope Pius X (1903-14), who, in his encyclical Motu Proprio, cited "sanctity and goodness of form" as necessary to sacred music. Among the forbidden titles, many of which have also been banned in other dioceses: the Wagner and Mendelssohn wedding marches, originally written for the theater, and several Ave Marias, including Schubert's, originally a concert number; Verdi's, from the opera Otello; Mascagni's, based on the Cavalria Rusticana intermezzo; and Bach-Gounod's (the Bach original was a clavier prelude, later adapted...

Author: /time Magazine | Title: Religion: Profane | 10/24/1955 | See Source »

...evening in a modernistic gymnasium, they stood scrubbed and friendly before 3,000 paying customers. Thunderous applause greeted the Battle Hymn of the Republic. After that, the choir ran through its religious repertory, from a semi-spiritual (Listen to the Lambs All A-Cryin') to Bach, Beethoven and Mendelssohn. The audience demanded six encores. One choir rehearsal became a concert for 2,000 refugees from Germany's Soviet zone, who were moved to tears. Wrote Berlin's Telegraf: "This was not only music, but the building of a human bridge...

Author: /time Magazine | Title: Music: From the Tabernacle | 9/19/1955 | See Source »

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