Word: musik
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Dates: during 1960-1969
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...will give the Big Red, a sure Ivy contender, a rough test. Cornell has a veteran defense and Bill Robertson at quarterback, so the game will come down to a matter of who gets the breaks. Since it's always dangerous to venture into Ithaca, I go with Jack Musik's Big Red in a thriller...
Conductor James Walker assembled a concert program that was sophisticated by anyone's standards. Except for the Sousa-like Emblem of Unity at the beginning, the pieces performed were thoroughly twentieth-century, ranging in date from Kurt Weill's Kleine Dreigroschen-musik (1929) to Dello Joio's Variations on a Medieval Tune...
...began looking for his own business in 1957. "My idea was that America was 15 years ahead of Germany, and all I had to do was to find an American idea and tailor it to fit the German mentality." Result: he and Partner Leo Horrigan settled upon their own Musik fur Millionen, which pipes soothing background music into offices, bars, hotels and stores in six German cities. Three young Americans-Cecil Altmann, Robert S. Mackay, and John F. Herming-haus-pooled their savings and borrowed from their families to score strikes with bowling alleys in Berlin, Munich and Milan, last...
...disquisition on the ghastly musical tedium guaranteed by the usual subscription concert (can anyone living in Boston ever want to hear the Symphonie Fantastique again?), but why, Miss de los Angeles, when Schubert wrote over six hundred songs, must we have yet another performance of An die Musik, and why when Ravel's Chansons madecasses lie neglected, must we feel satisfied with his Vocalise and a few marrons glaces by Faure...
...European praise has greeted Soprano Lear and Baritone Stewart ever since they stopped knocking truitlessly on impresarios' doors in the U.S. four years ago. Schooled in borscht belt hotels and summer stock, they both won Fulbright scholarships and in 1957 entered Berlin's Hochschule für Musik. There they were discovered by Director Carl Ebert of the Berlin City Opera (predecessor of the Deutsche Opera Berlin), who signed them both for his company. Their debuts-Stewart's as Escamillo in Carmen in 1958. Lear's as the Composer in Ariadne the next year-started...