Word: organizers
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Dates: during 1940-1949
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...eyed Larry Adler blows the mouth organ with Pierian purity, can make it sound like an oboe, fiddle, horn, wawa trumpet. Paul Draper, son of Muriel Draper and nephew of monologuist Ruth Draper, was a stuttering misfit until he learned to dance. Now Paul Draper profitably applies ballet technique and good music to tap dancing, with such warmth and intelligence that many rate him the equal or superior of Fred Astaire...
Larry Adler met Paul Draper in 1933, when mouth-organ dates were scarce. The late Samuel A. ("Roxy") Rothafel had a stage set with three doors, had hired Draper and a girl singer to enter two of them. Adler wangled the job of coming in through the third, competing with Draper for the girl. Adler and Draper became friends, finally got together to try for concert-hall audiences in Chicago last year...
Carl Weinrich, the American organist, is scheduled to give a program of early organ music at the Germanic Musecum tonight. This means that the Bach organ is about to undergo its christening at the hands of great master of the instrument...
...till now, Weinrich has been known to the public through these Musicraft discs, recorded on the squeaky, piping little "Practorius" organ at Princeton. Working with that tiny instrument that seems almost like a toy, Weinrich has consistently produced the best organ records on the market. His record of the Toccata and Fugue in D minor, for instance, easily surpasses all of the D minor, for instance, casily surpasses all of the other four versions, three of which are recorded on large-scale organs, and one of which is in an opulent orchestral transcription. Certainly if there is any organist...
...program, classifiable as a lesson in early organ music, leafs through representative compositions from the works of three generations of organisits--Sweelinck, Buxtehude, and J. S. Bach. Sweelinck, the wonder of his age, who toured Europe triumphantly performing on the organ and clavichord, has long been relegated to a musty pigeonhole in the history of music. Musicologists credit him with having been the first organist to use the pedal independently, as a separate voice in a fugue, Sweelinck's own editors claim for him the distinction of having "founded" instrumental music, but rarely if ever is his fine body...