Word: orchestra
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Dates: during 1920-1929
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Proudly in the front rank of contemporary composers stands Bela Bartók, Hungarian. Symphonophiles the world over know him for a revolutionist, remember his music for its brutality, its stark rhythms. Last week he made his U. S. debut with the New York Philharmonic Orchestra-and a great audience was surprised.* They had expected a bulky, grim-jawed man with personality to match. Instead they saw a frail little person scoot shyly around the orchestra's first-string men and bow his way almost meekly to the piano set out for him. They had expected to hear...
...lover where no lover exists, the last fadeout shows his boots and her slippers nestling together outside the door of their room. The events leading up to the reconciliation have the glitter and charm, thinned somewhat by a mediocre medium, of the writings of Arthur Schnitzler. Even as an orchestra conductor, a profession of which one is led to suspect he understands not even the rudiments, Dandy Menjou is suave enough mentally and facially to make the street sheiks, when they leave the theatre, light their cheap cigarets with an uncouth and elaborate imitation of his gesture...
...being Marguerita. Washington clapped the principals, who were really not principals at all but just part of Director Rosing's scheme, clapped the Jones sets, the gabbling street mob that crowded in on the dying Valentin, the conducting of Frank St. Leger* who with a small orchestra wove Gounod's share of it all into a rich, seamless fabric. Critics used big words-big words, capitalized-Art, Beauty, Intelligence. They endorsed just as emphatically the Madame Butterfly and The Marriage of Figaro that rounded out the Washington run, prophesied a big future for the new American Company whose...
...Warsaw, Poland, a bandleader waved his baton, a violinist scratched his fiddle, other members of a jazz-orchestra made their respective sounds. For 33 hours and ten minutes the bandleader lead his determined performers through one jazz song after another, an interval of 45 seconds distinguishing each song from its successor. Then the bandleader stopped, mopped his face, and claimed that his orchestra had gained a record-the record for playing longer than any other jazz-orchestra...
...this, by some consciously & by others unconsciously, was taken into consideration last week when Conductor Ethel Leginska put the Boston Women's Symphony Orchestra through the paces of its first concert. She played Weber's Oberon overture, Frederick Delius's C Minor Concerto, Beethoven's Fifth Symphony and Tschaikovsky's Nutcracker Suite. The overture and the Tschaikovsky fragments were best: the concerto with Pianist Reginald Boardman for soloist was soso; but the splendor of the Beethoven was lost. It had slipped away between individual passages and spread into nothingness. The audience, however, was kind. Loudly...