Word: music
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Dates: during 1920-1929
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Said Governor Ritchie: "We should have a national conservatory, an opera sponsored by the U. S. government. . . . Music is the one international language. We have the right to expect every great national government to aid and nourish it, and every one does, save only the United States of America...
...became a composer after a brief, uproarious and distinguished career as a conductor; wrote tone poems which, in the U. S. at least, remain his most popular work. Of these, Don Juan is perhaps the most celebrated; Till Eulenspiegels Merry Pranks (one of the few genuinely comic bits of music ever created) frames in melody the "owl-glass" legends of a fantastic buffoon who once annoyed staunch German burghers; Death and Transfiguration is a profoundly magnificent effort to encompass a theme more holy than most which have engaged its author's attention...
...honor of the 100th anniversary of the death of Franz Peter Schubert, the citizens of his birthplace, Vienna, arranged to hear his music. Herr Franz Schalk, conductor of the state opera, directed a splendid performance of the Symphony in C. In the public square, 40,000 people, completely silent in the late spring sunshine, gathered below the musicians to listen. President Michael Hainisch, with his hat off and his white hair blowing, made a speech...
...little house in Nussdorfer Street, where Franz Schubert was born 131 years ago, there was singing. Pictures of the composer were in windows and on walls all through the city. The Schubert exhibition attracted thousands of persons eager to see the manuscripts of his chamber music, the pens with which he had scribbled copybooks or concertos, the clothes he had worn, his spectacles. The city of Vienna celebrated Beethoven's anniversary last year; for Schubert its populace has an even more friendly adoration. There will be concerts there all summer in his honor and most of the houses will...
Such is the tragic tale which Pizzetti has adorned with perhaps the most splendid music of his career. The opera was undoubtedly too long and it seemed to contain a superfluity of dialogue, of inactive interludes that were only vaguely melodic. Lyrical passages were few. Fra Gherardo was original mainly for its orchestration and for the thunderous, muttering chorus which reached its climax in a mob scene at the end of the third act. These choruses were unlike anything that Milanese operagoers had ever seen before. There was something terrible and true in that imitation of the angry shouted songs...