Word: milhaud
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Dates: during 1950-1959
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...AFTERNOON CONCERT. Mozart, Clemenza di Tito Overture; Schubert, Variations in A flat; Couperin, Lecons di tenebres; Milhaud, Chansons de Ronsard; Handel, Organ Concerto no. 3, opus 4; Brahms, Trio, opus post.; Debussy, Martyrdom of St. Sebastian; Telemann, Trio sonata in E; R. Strauss, Serenade in E flat for 13 winds; Haydn, Sonata no. 3 for piano...
...surprise, the festival's standout was the Dave Brubeck Quartet. Blending classical and jazz traditions with a masterful touch, Milhaud-trained Pianist Brubeck (TIME cover, Nov. 8, 1954) and his mates (Eugene Wright on bass, Joe Morello on drums, Paul Desmond on alto sax) made each number sound like a theme and variations. The quartet usually started with well-known tunes (These Foolish Things, St. Louis Blues), then varied the tempo (from 4/4 to 5/4 and back to 3/4) as it injected its own sometimes loud, sometimes soft designs. The solo lead flew like a badminton bird from...
...before the world's toughest violin jury* in the finals of the famed Queen Elisabeth of Belgium International Music Competition. With his boyishly chubby face creased in an intent frown, he fiddled his way through the Sibelius Concerto in D Minor, Bartok's Rumanian Dances, and Darius Milhaud's Royal Concerto. Two days later, the world's most prestigious violin prize went to U.S.-trained Jaime Laredo, still a week short of his 18th birthday and the youngest winner in the contest's history. (Runner-up of last week's contest: Russia...
...when a Greenwich, Conn, housewife objected to his appearance in her town. Eventually Adler went back to England. Vaughan Williams wrote a piece for him; so did Darius Milhaud and Cyril Scott and Arthur Benjamin. In time, U.S. producers asked him to return. Now recording contracts are waiting along with nightclub engagements. "I'd like to alternate between the U.S. and the rest of the world," he says, but there is no doubt that recognition at home is what pleases him most. "I played part of Porgy recently," he recalls, "and a member of the cast told...
...want to do or can't do." Known to U.S. listeners-from his records only-as a master of the classical repertory, he is equally famed in Europe as the tireless proselytizer for modern music, the man who got hearings for Berg, Von Webern, Hindemith, Schoenberg, Milhaud long before their names had seeped into the record catalogues. Last week Conductor Scherchen was out plugging the work of another early comrade in music; in Frankfurt he conducted a series of packed performances of Igor Stravinsky's witty 18th century-styled opera, The Rake's Progress...