Word: musics
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Dates: during 1940-1949
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...Edinburgh to conduct at the annual music festival, peppery old (70) Sir Thomas Beecham struck a sonorous chord: "It is an honor and a privilege for the festival for me to come." But when someone mentioned the Festival of Britain, planned for 1951 as a mammoth cultural fair, he sounded a brassy note: "A monumental piece of imbecility and iniquity...We are going to celebrate 50 years of the most abominable misgovernment by having an exhibition and festival at the expense of U.S. money...We are broke-underline that three times. The country has gone potty. We have no moral...
...music teachers meeting in San Francisco, Music Critic Virgil Thomson had a confession: "Criticism [of young performers] has an influence far beyond what seems to me right or justified, and management depends on us [critics] more than we wish to be depended...
...bucolic Jacob's Pillow at Lee, Mass., summer dance fans and Manhattan critics crowded into the big wooden barn-studio to see the first performance of aging (57) Ted Shawn's The Dreams of Jacob, with music by Darius Milhaud. Critics found his new five-movement work both a little flat and a little obvious-Jacob dancing unimaginatively with Rachel, wrestling too literally with the dark angel. The verdict: back to the woodshed...
...meditative slow movement and a powerful recapitulation) they and Choreographer Humphrey had won an ovation. New works by other American Dance Festival regulars, including Sophie Maslow's fine but unfinished Festival, based on stories by Yiddish Story Writer Sholom Aleichem, and Jane Dudley's wispy Vagary (music by Bela Bartok), suffered by comparison...
Perilous Prose. Fortnight ago she gave her new Domino Furioso, with music by her Brazilian-born Pianist-Husband Bernardo Segall. As in The Desperate Heart and As I Lay Dying, she had employed a narrator. In Domino, a loose theatrical piece about Harlequins, Columbines and Pierrots who rebel against their playwright, there was more narration than choreography...