Word: schonberger
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Soon after the trumpeted opening of New York's $17.7 million Philharmonic Hall last year, New York Times Music Critic Harold Schonberg confided to his readers that his heart raced ahead of his feet on his way to a concert there. Once inside, though, Schonberg soon found himself switching from seat to seat in hopes of hearing a bass, a cello-but like the classic Childe Harold, Schonberg found no happiness for all his roaming. At last he settled down in his assigned place in Row N, Left Loge, convinced that the best sounds were elsewhere-specifically, in Seat...
Last spring, hope returned. Lincoln Center's directors-tireless boasters before the hall was built-confessed that acoustical scientists had confirmed the findings of Schonberg's ear: the hall lacked bass, was haunted by echoes, needed a more equal diffusion of sound. Workmen arrived in June to raise and tilt the 136 acoustical "clouds" suspended from the ceiling, fill in most of the space between them, and build a reflecting musical shell behind the stage...
...Schonberg was in his place for the series of August concerts that introduced the improvements, but he found the new sound more tormenting than ever. He reported that he had to take up his Byronic wanderings again, and with the same unhappy results. "Something was wrong," he wrote, reviewing a recital by Pianist Gary Graffman, "and I drifted to the back of the hall." Things were better there, but Schonberg resolved once again to change his seat. "My apologies to Graffman," he wrote, "and a promise that I will catch his next recital-from a more favorable location." Taking...
...Richter had been cooped up at home too long, and he had things to learn. "He must browse in the cosmopolitan markets," wrote New York Times Critic Harold Schonberg in a summing up of Richter's American tour. "All that is lacking is a real knowledge of the many directions musical thought has taken outside of Russia in the last generation...
...Eroica and Pastoral symphonies that were wonders of clarity and searching detail. Under Klemperer, the familiar, voluptuous Philadelphia sound faded away; the orchestra sounded lean and meticulously responsive as it played at tempi more deliberate than any other conductor would dare use (the New York Times's Harold Schonberg, who likes to clock performances, reported that the Pastoral Symphony took 50 minutes instead of the customary...