Word: musicically
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Dates: during 1940-1949
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...tender, hour-long radio drama on his life. The drama ended with a fine rendition of Beethoven's Appassionata, Lenin's favorite piece, and Lenin's own words: "I know nothing more beautiful than the Appassionata and I could listen to it every day. Wonderful, immortal music. I always think, with perhaps a naive, childish pride, how can man create such wonders?" In its most cuddly voice, the Communist radio concluded: "Such a man was Lenin...
...cannot listen to music too often. It affects my nerves and makes me want to say sweet nothings and stroke the heads of men who live in a dirty hell and can still create such beauty. But these days you can't go around stroking people's heads lest your hand be bitten off. You have to smash them over the head-smash them without mercy-even though in theory we are against every form of oppression of mankind . . . ours is a hellish task...
Wrote Herald Tribune Music Critic Jerome D. Bohm in next morning's paper: "In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist ... a true contralto of enormous range . . . Where have the Metropolitan's talent scouts been that they have neglected to engage [Elena Nikolaidi]?" Said the Times: ". . . Rare brilliance . . . eminent musicality . . . velvety smoothness." By 10 a.m., phone calls were buzzing in from Impresario S. Hurok, Chicago, San Francisco-and the Met itself...
...given in to the pressure of picket lines that exceeded a reasonable size and threatened to become coercive, and the kind of protests that were manufactured by Walter Winchell, who called for a demonstration against Gieseking in his Sunday night broadcast. Gieseking's hurried departure has deprived many music-lovers of the opportunity of hearing him play. Many others would undoubtedly choose not to go to his concerts, and in a free society, everyone should have the right to make such a choice. But the Justice Department, evidently under the whip of well-meaning pressure groups, has made that choice...
...report of Dreiser's last years is perfunctory and its criticism of his work is so noncommittal that the reader has trouble in fathoming Author Elias' own opinion. But Dreiser's youth in the gaslit underworld of Terre Haute, his work in the rowdy newspaper and music publishing houses of the turn of the century, and above all, the gaudy entrances & exits of his extraordinary sisters, make it a kind of nonfiction Tom Jones or Moll Flanders; it evokes a period of tragicomic misunderstandings, petty thefts, solemn philosophizing and dissipated mandolin players...