Word: mozartean
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Dates: during 1950-1959
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...Boheme six years ago (Love, rhymed Dietz, "is a feast for a Roman/ It's warming my abdomen") had a Metropolitan Opera production created such a fuss. "Among the finest productions in Bing's regime," wrote Miles Kastendiek in the New York Journal-American. "Non-Mozartean shenanigans," snorted Howard Taubman in the Times, while the Herald Tribune's Paul Henry Lang denounced it as "a travesty." Occasion: a new production, staged by Broadway's Cyril Ritchard, of Mozart's comic masterpiece, The Marriage of Figaro...
...fourth participant in the hell scene, an apostate from heaven who has left the "icy mansions of the sky" to embrace hellish hedonism, is Don Juan's Mozartean enemy the Statue, here transformed into a good-natured, brainless chap who "always did what it was customary for a gentleman to do." He and his modern avatar are played for less than they are worth by William Swetland, who employs the gimmicks actors use for self-important middle age with competence but no distinction...
...William Grass and pianist Tan Crone. Piston is one of those rare men who can teach as well through example as through words. This sonata, a relatively early work (1930), showed Piston to be already an impeccable craftsmen. All three movements were skilfully wrought in traditional shapes of almost Mozartean clarity, albeit on a mainly contrapuntal basis. The performance, however, was no more than adequate; Mr. Grass was definitely not "The Incredible Flutist" about whom Piston once composed a ballet...
...activity gets more feverish. Vienna, in fact, has had to organize a central Mozart Festival Bureau, as a kind of musical traffic cop. Movie men are dreaming up a biographical film, while elsewhere, scholars are toiling at a new, complete edition of the master's music. Mightiest of Mozartean memorials is a project to record the bulk of all his compositions. It is being undertaken by Holland's giant Philips Phonographic Industries (U.S. outlets: the Epic and Columbia labels...
Mozart's Due in B-flat is numbered 424 in the Kocchel catalog, but it sounds much carlier. Mozartean good spirits are here in abundance, but the work lacks a melodic and rhythmic inventiveness. Mr. Fuchs and his less famous but thoroughly accomplished sister reached the heart of the music from the very start. They played with precision, but not of the machine-gun variety. Every phrase received individual treatment, according to what preceded and proceeded it, as well as to its own unique factors. In addition to being consistent with the music, the two interpretations were consistent with each...