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...make the most of it. In painting, no one has done more to work out a native style than Diego Rivera. In music, no one has done so much as his good friend Carlos Chavez, the swart young mestizo who can make a full orchestra suggest swishing gourds and shrill clay pipes. Excitement ran high in Manhattan's Carnegie Hall last week when Composer Chavez faced the New York Philharmonic for the first time and led it through two of his works never played there before : a suite from his ballet H. P. and his wierd, strident Symphony...

Author: /time Magazine | Title: Music: Mexican in Manhattan | 2/22/1937 | See Source »

...singing Gilbert & Sullivan in St. Louis and Central City, Colo. To replace Baritone Julius Huehn, he went to Chicago fortnight ago to sing star parts in Puccini's Gianni Schicchi and Gruenberg's Jack & the Beanstalk, was engaged to repeat the performance. The latter role requires a shrill falsetto. Undaunted, Baritone Middleton boasted: "I have a freak voice, a peach of a falsetto. I'd make a good yodler...

Author: /time Magazine | Title: Music: Jazz on the Verge | 12/7/1936 | See Source »

Stay, and confound her tears and her shrill cryings...

Author: NO WRITER ATTRIBUTED | Title: The Vagabond | 12/2/1936 | See Source »

Through his three Manhattan loud-speakers-morning American (circulation: 320,000), evening Journal (631,000), tabloid Mirror (555,000)-and his 25 other mouthpieces throughout the land, shrill William Randolph Hearst has dinned his hatred of the New Deal day in, day out, furnished Franklin Roosevelt with his noisiest opposition. After almost 40 years the Hearst crusades have grown stale with custom and the Hearst political influence is uniformly discounted by experienced observers. But, win or lose next week, Publisher Hearst himself is sure of a place in the history of the 1936 campaign. It was he who "discovered...

Author: /time Magazine | Title: National Affairs: Political Press | 11/2/1936 | See Source »

...crude. Yet the play at times attains so high a pitch of intensity that the "props" are of no importance whatsoever. More important as an obstacle to total absorption in the theme are the constant and lengthy breaks between scenes--and there are twelve of them--during which a shrill W. P. A. orchestra performs wretchedly. This reviewer, for one, would infinitely prefer complete silence and an undisturbed opportunity to develop the progression of thoughts induced by the previous scenes...

Author: By J. M., | Title: The Playgoer | 10/31/1936 | See Source »

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