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Musically, she admits that Bartók, Schönberg and the atonalists are not her dish, although she has always been willing to help pay the grocery bills. Some of her friends claim that at concerts of jangling modern music, she turns off her hearing aid when the going gets too tough...

Author: /time Magazine | Title: Music: Patroness | 7/12/1948 | See Source »

...which all twelve tones of the chromatic scale (the white & black keys in an octave on the piano) are arranged in a "row" in a highly formalized pattern. "Atonal" ( a term often loosely applied to Schönberg, in spite of his protests) means music in which the traditional laws of consonant chords are not observed. To most untutored ears, both sound like hell...

Author: /time Magazine | Title: Music: Twelve-Toner | 5/31/1948 | See Source »

Vocal Album: Schubert's Die Schöne Müllerin, by Soprano Lotte Lehmann (Columbia...

Author: /time Magazine | Title: Music: The Year's Best | 3/17/1947 | See Source »

...York Philharmonic (Sun. 3 p.m., CBS). Weber's overture to Der Frei-schütz, Beethoven's Second Symphony, Sibelius' Third Symphony. Conductor: George Szell...

Author: /time Magazine | Title: Radio: Program Preview, Dec. 23, 1946 | 12/23/1946 | See Source »

Schubert: Songs from Die Schöne Müllerin (Lotte Lehmann, soprano, accompanied by Paul Ulanowsky; Columbia, 14 sides). The greatest modern lieder artist (TIME, Jan. 28) in a deeply affecting recording of the Schubert pastoral song cycle. Performance: excellent...

Author: /time Magazine | Title: Music: The New Records | 8/5/1946 | See Source »

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