Word: sabata
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...first, the audience in Pittsburgh's Syria Mosque was stunned by De Sabata's strange choreography on the podium-he seemed to be dancing everything from a tarantella to a sabre dance. But by the time he had driven Berlioz' old warhorse around the course, whipping it for all it was worth, the audience couldn't get to its feet fast enough. The passion and power he found in César Franck's over-explored symphony won him another wild ovation before intermission. And by the time his program was over, Victor de Sabata...
...TIME, March 8), Pittsburgh's Symphony Society had been borrowing any top conductors it could lay hands on to lead the orchestra, if only for a few concerts. There was one man in particular they wanted, and last week, when La Scala Milan's famed Victor de Sabata appeared for the first of four guest spots, Pittsburgh decided that a few brassy fanfares were called for. All of Manhattan's first-string critics were invited, and they accepted...
...certainly wasn't De Sabata's first program that lured the critics. There was only one new work, a viciously dissonant and twisting symphonic poem, Marinaresca e Baccanale, by a little known Italian contemporary named Giorgio Federico Ghedini. The others-Berlioz' blood & thunder Roman Carnival Overture, Franck's D Minor Symphony and Ravel's Bolero-were the kind of overly familiar music that delights most audiences and drugs most critics...
...Toscanini's Shoes. Conductor de Sabata had been heard in the U.S. only once before, 21 years ago in Cincinnati. A friend of his in Milan, Arturo Toscanini, had urged him to go to Cincinnati, and when De Sabata got back to Milan, Toscanini had prepared another job for him. Victor de Sabata has been filling Toscanini's shoes at La Scala ever since. Some Italian critics, in fact, rate him above Toscanini as a conductor, an excess of praise which De Sabata doesn't seek. He still refers to Toscanini as "Maestro" and means it literally...
Mozart: Requiem (Pia Tassinari, Ebe Stignani, Ferruccio Tagliavini, Italo Tajo; orchestra and chorus of the E.I.A.R., Victor de Sabata conducting; Cetra-Soria, 16 sides). Mozart began writing this masterpiece in the last few months of his life, for another's memorial. Finished by his pupil Sussmayer, it has since served well as Mozart's own memorial. This is a recording of the magnificent performance in the Basilica of Santa Maria degli Angeli in Rome on the 150th anniversary of his death (1941). Recording: good...