Word: podiums
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Dates: during 1940-1949
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...California one afternoon last week, some 100 students huddled in the rain, waiting for the voice that would soon come through the loudspeaker. Inside Bovard Auditorium, 1,500 more waited in their seats. Finally, Professor Frank C. Baxter, dressed in a 20-year-old dark blue suit, mounted the podium and took his place behind a-lectern piled with books. As the murmuring and chattering stopped, the professor began to read...
...Concerto for Toys and Orchestra, then flew to New York and recorded it. On the side, he found time to inaugurate a competition in composition and another in instrument playing for pupils in the Dallas public schools. And one night, with visiting Conductor Sir Thomas Beecham on the podium, he sat down at the piano and gave a workmanlike performance of Brahms's Piano Concerto No. 1. Dallas music lovers, whom Hendl has diplomatically described as "extremely perceptive," were delighted...
Yellow Peak. Spruce but hatless, Hoagy had flown into Indianapolis from Los Angeles earlier in the week, dashed straight to the Murat Theater to oversee the rehearsals. Conductor Sevitzky* made room for him next to the podium, and after the photographers had finished crawling under the music racks to snap the new composer, the orchestra got down to work. Hoagy stood by intently, rolling his tongue in his cheeks as he always does when he is composing or listening to a song he has recorded...
...pleasantly dissonant tuning up and chatter stopped in mid-note as the grey-haired man in the tan sport coat walked briskly across the stage to the podium. For a few silent moments his glance flickered over the musicians of the Boston Symphony Orchestra, his shale-blue eyes and handsome, melancholy face warm with affection. When his glance had embraced them all, Charles Munch picked up his baton, smiled and said: "Maintenant, relax." A moment later, Boston's 50-year-old Symphony Hall was rocking joyously with the rehearsal of Hector Berlioz' bounding overture, The Corsair...
Bostonians would hear pretty much the same kind of programs: Munch's devotion to the moderns is second only to Koussevitzky's. But they would find it a little harder to know the man than his music. Munch's easy assurance on the podium is matched by an often moody shyness away from...