Word: musicalities
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Dates: during 1930-1939
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...Booper. Today, Paderewski has long since passed the peak of one of the most spectacular careers in the history of music. But the life of success that he looks back upon in the pastoral elegance of Riond Bosson was won with bitter years of discouragement and struggle. The son of a small-town Polish farm administrator, he felt as a child the knouts of Cossack riding whips, saw his father thrown into prison as a revolutionist against the Tsars. No infant prodigy, he worked until he was nearly 30 before attracting any public notice as a pianist. His early studies...
...looks back with fussy nostalgia to the times of his greatest triumphs. On the present-day world and its modern customs he wastes little affection. For him civilization has been steadily slipping since Victorian days. The only contemporary composer he cares anything about is Germany's Richard Strauss. Musical modernism he abhors. Says he: "Modern music ended with Debussy...
...looks back upon his film debut in Moonlight Sonata as an intensely uncomfortable experience. "There were too many repetitions and too many lights. I can only play at ease in subdued light." At the radio, over which he has made only two broadcasts, he practically spits: "It is killing music and musicians. I don't believe it [helps to make people more musical than they are]. It just robs them of any possible personal musical activity and of their musical keenness; it casts a spell of laziness on them." (Nevertheless, Critic Paderewski's first public performance...
Year and a half ago Manhattan's New York University hired Bandmaster Vincent Lopez to give a course in the appreciation of jazz music. Last week staid Harvard University burst shagging from its cell, organized an unofficial swing course in the Music Deaprtment and set aside $250 of Harvard's Rogers Fund to buy swing records...
Graphic art has very rarely taken on the quality of music. It did so in the work of William Blake. At its best, Blake's line drawing has the airy movement and harmony of a string quartet. This is not all it has. On a few square inches of white paper Blake could and did put forms comparable in grandeur to the frescoes of Michelangelo. Few if any exhibitions this season had more artistic interest than a comprehensive show of Blake which opened last week at the Philadelphia Museum...