Word: ns
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...front of the keyboard and a battery of 88 felt-padded mechanical fingers fitted over the keys, playing the music back with all the expression and personality of the original performer. There was Debussy playing some of his Preludes and his Children's Corner Suite; Saint-Saëns, Faure, Grieg, Scriabin, Falla, Granados, Richard Strauss and Mahler performing their own compositions on the piano. There were kings of the keyboard-DePachmann, Leschetizky, Busoni, D'Albert and famed Conductor-Pianist Arthur Nikisch -playing Chopin, Brahms, Liszt, and their own works...
...perennial president of Argentina's Sociedad de Beneficencia, a sort of community chest which supported most of the nation's hospitals, homes for the aged and orphan asylums. But when the Peróns came to power, Argentine charity became a political matter and a virtual monopoly of the First Lady. The high-born oligarcas of the Beneficencia pointedly refrained from inviting Evita to become their honorary president; Evita retaliated by virtually running them out of business...
...shifting key. His motto was "Modulate." Once, listening to the improvisations of a bright young student named Claude Debussy, Franck cried, "Modulate, modulate!" Debussy replied: "Why should I when I am perfectly happy in this key?" and forthwith changed teachers. He enraged such enemies as Camille Saint-Saëns and baffled occasional defenders like Ambroise (Mignon) Thomas. Said Thomas: "How can you describe a symphony as in the key of D minor when the principal theme at the ninth bar goes into D flat, at the tenth C flat, at the 21st F sharp minor...
...ones, great Lyric Tenor Jussi Bjoerling and Soprano Dorothy Kirsten sang like opera stars, but acted in the old arm-flailing tradition that has long been the curse of the opera stage. The first matinee was a revival, after nine years in the warehouse, of Saint-Saëns' Samson and Delilah. As a vehicle for Dramatic Tenor Ramon Vinay, the strong man, and Risë Stevens as a self-conscious seductress, the opera never got out of low gear. But in this case it was almost wholly the fault of Composer Saint-Saëns: his slow-moving...
...tiny (550 seats) auditorium of the Ridgefield, Conn, high school, he led his orchestra, proud, gay and beaming, through a typical "pop" concert program that his concert and radio audiences seldom hear him play. While kids and grown-ups sat enthralled, he gave them Saint-Saëns' bone-rattling Danse Macabre; he made Mendelssohn's "Italian" Symphony glow with Italian sunlight, Debussy's Afternoon of a Faun shimmer sensually. By the time he had sailed through one of his own light favorites, Waldteufel's Skaters' Waltz, the audience could not let him go without...