Word: stokowskied
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Dates: during 1950-1959
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...Manhattan's Carnegie Hall last week, the stage was set for one of the year's most interesting musical evenings. The program booklets pictured the famous, flaxen froth of hair and the powerful profile of Conductor Leopold Stokowski. The text of the work to be performed was taken from low and lofty verses, written by 13th century wandering scholars, vagabond poets and runaway monks, collected under the title, Carmina Burana.* The music was by Carl Orff, considered by Germans to be their most important living composer. U.S. conductors also consider him important: they scheduled no less than...
...while, all of this was fun to hear. Conductor Stokowski, his genius undimmed at 72, had trained the Boston University Chorus and Orchestra into a unit of high professional caliber. But soon it appeared that Composer Orff was blowing up his perfectly acceptable tunes to puffed-rice dimensions, repeating too often, underlining points that were clear from the start. Before he reached the three-quarter mark of his work, it was clear that he was not headed anywhere...
Millionairess Gloria Vanderbilt Stokowski, 30, wife of sexagenarian Conductor Leopold Stokowski and self-admitted washout as an amateur actress at 16, starred before a sellout audience at Pennsylvania's Pocono Playhouse as the princess in Ferenc Molnar's The Swan. Consensus of the critics: "Nerveless poise." With Stoky's blessing, Gloria, mother of two and a painter of some commendable abstractions, suddenly found herself "enthusiastic about making the stage a career...
...Weber; Symphony on Poems of William Blake (Warren Galjour, baritone; Leopold Stokowski and his Symphony Orchestra; Victor). Four poetic movements in the often unpoetic twelve-tone technique. While they do not immediately seem to evoke Blake's passionate poems, the mysterious and richly scored sounds make their own kind of appeal. Superior performance and recording...
...Stokowski played a great part in molding the new style during his 25 year reign of the Philadelphia Orchestra and it is the inheritors of this style whom we heard yesterday in Sanders Theatre. Thus the remarkable stylistic features of the group's performance--the infinite modulations in dynamics, in the vibrato, and in the tonal intensity itself; the subtle and varied means of tongueing (comparable to bowing on a string instrument) and the avoidance of a "pecking" staccato; the richness and homogeneity of the blended tone not only of all five instruments but also of the many other combinations...