Word: soloed
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Dates: during 1950-1959
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...taste for the lyrical side of music from his father, who was once concertmaster for Toscanini, Saint-Saens and Mascagni. When Paolo was four, the family went to England on an opera tour and decided to stay. Paolo showed talent on the piano, then the violin, and gave solo recitals before settling into the salon-music business. Over the years he gained the respect of London's music world, began broadcasting, and became Composer-Playwright Noel Coward's musical director...
...Rich conducting), it no longer seemed aggressively modern, as it had to Wittgenstein, but more like an old friend. The whole piece is sprayed with crotchety harmonies, but it always makes the kind of leeway towards a safe harmonic port that is part of Prokofiev's charm. The solo part is no virtuoso standout, contains no smashing chords; it is a kind of foreground commentary on the music as it unreels. But Pianist Rapp played it lovingly and expertly. "Right after the war, with so many disabled veterans around, I found genuine sympathy among audiences," he says. "Today...
...that magic moment Ellington's Paul Gonsalves was ripping off a fast but insinuating solo on his tenor saxophone, his fancies dandled by a bounding beat on bass and drums (Jimmy Woode and Sam Woodyard). The Duke himself tweaked an occasional fragment on the high piano. Gradually, the beat began to ricochet from the audience as more and more fans began to clap hands on the offbeats until the crowd was one vast, rhythmic chorus, yelling its approval. There were howls of "More! More!" and there was dancing in the aisles. One young woman broke loose from her escort...
...Benny Goodman plays occasional weekend dates, Tommy and Jimmy Dorsey have combined their bands, Artie Shaw is out of the music business, Cab Galloway is appearing as a solo singing act. Such sweet-music bandleaders as Guy Lombardo and Sammy Kaye, however, are still going strong...
...Occasionally there appeared such typical Vaughan Williams features as chordal parallelism; but mixed in with them were wonderful wailing appoggiaturas and, above all non-Western melodic lines that so characteristically turned back on themselves--which suffused the whole with a subtle, intoxicating exoticism. An important role went to a solo viola, superbly played by Jean Comstock, which expressed itself in a manner always wistful and often melancholy. Vaughan Williams inserted before each section in his manuscript brief verses from the Song of Solomon; and Schmidt hit on the bright idea of having Kenneth Costin narrate these at the appropriate spots...