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...maid. When the curtain parted to show Hagar sitting on her house steps, feet together, head and shoulders agonizingly tense, the audience burst into applause: Ballerina Kaye created the part in 1942, and nobody else has ever danced it. Pillar of Fire (set to Schoenberg's Verklarte Nacht) established her as a unique dancing actress who brought new depth to ballet. Last week Ballerina Kaye danced the part with the same old tragic fervor. ¶ Pillar's British Choreographer Antony Tudor, 46, who was originally "curator" of the company's Modern English wing, was on hand last...

Author: /time Magazine | Title: Music: Lively Museum | 4/25/1955 | See Source »

...hler's first chance comes aboard a prison ship on Christmas Eve. In the hold, a Nazi begins to harangue the prisoners, but the anti-Nazis drown him out by singing Stille Nacht, heilige Nacht. Cheered by this little victory, the anti-Nazis feel that, with America ahead, they may yet know freedom...

Author: /time Magazine | Title: Books: From Hitler's Army | 7/31/1950 | See Source »

...nberg: Verklärte Nacht" (St. Louis Symphony Orchestra, Vladimir Golschmann conducting; Victor, 8 sides). A melodic tone poem for strings, written before Schönberg got lost in dissonances. Performance: good. Recording: excellent...

Author: /time Magazine | Title: Music: New Records, Sep. 3, 1945 | 9/3/1945 | See Source »

...style is a little heavy in spots, but the necessary power and brilliance are there. The best of this new album of his is, of course, the "Tristan" excerpt. It's that wonderful scene where Tristan, knowing he is going to die, invites Isolde to follow him into "dasdunkel nacht'ge Land, daraus die Mutter einst mich sandt," and Melchior renders it with the perfect shade of dusky "Weltschmerz...

Author: By Robert W. Flint, | Title: THE MUSIC BOX | 8/5/1942 | See Source »

...although harmonically Pierrot stands on the threshold of a brave new world, in spirit it takes its source from the work of Mahler. It is Post-Romantic, not as Verklarte Nacht is Post-Romantic, a jumble of Wagnerian cliches; but as Das Lied von der Erdeis Post-Romantic, lamenting a dying culture. The formal resemblance between Pierrot and Das Lied (they are both song cycles) goes deeper than mere coincidence. It links together in a fundamental way two works essentially decadent--where structural unity has been replaced by a series of separate emotional patterns, where the medium is over-refined...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 10/24/1941 | See Source »

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