Word: orchestramen
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Dates: during 1930-1939
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...wanted, rocking back and forth for a gentle andante, jerking his head so violently for climaxes that his glasses kept sliding down his nose. Mr. Clark admires Klemperer so much that he hurried back from Europe for last week's concert, personally introduced the new conductor to the orchestramen, took him into his home to live. Mr. Clark's enthusiasm aroused nearly as much hope in Los Angeles last week as Conductor Klemperer's first performance. It was whispered about that he might change his mind and go on providing, in part at least, for the orchestra...
...which had been converted into summer concert grounds for the Philharmonic-Symphony Orchestra. Conductor Willem van Hoogstraten, looking like a college boy in his white flannel pants, made the opening concert a memorial to Brahms and Wagner.* He flicked his baton in militant, routine fashion but most of the orchestramen needed no leading. They could have played the familiar music with their eyes shut. And the 12,000 listeners, few of whom think of paying winter concert prices, were completely satisfied. Stadium concerts had started in the traditional way-even to the lengthy, almost inaudible speech of stooped, old Adolph...
...Tenor Mario Chamlee climbed up on the tractor beside Conductor Sokoloff-to help him break ground for a stadium where symphony concerts will be given through July and August. The cocktail guests, summer neighbors of Conductor Sokoloff, will be soloists at the Weston Concerts this summer. The 70 orchestramen who will play on a stage backed by a big sounding-board are members of the New York Orchestra, a cooperative group of players who begged Sokoloff to be their leader when they heard that his contract had not been renewed in Cleveland. Sokoloff's retreat provides ideal concert grounds...
There were strange goings-on at Philadelphia's proud Academy of Music one afternoon last week. The stage was apparently deserted but emanating from it like phantom music came the shimmering sounds of Rimsky-Korsakov's Russian Easter, reproduced as faithfully as if the Philadelphia Orchestramen were sitting in their accustomed places, the violins down front on the left of the stage, the brasses farther back on the right, with cymbals, bells and kettledrums behind. There were other weird happenings that afternoon. Footsteps sounded spookily on the empty stage. Voices were heard asking for hammers and saws...
...wings. But before last week's concert Stokowski announced that they played too vital a part to be kept in the background. His mind would be easier if he had them in front of him, watching his face, perhaps catching the sudden inspirations to which his orchestramen respond...