Word: stokowskis
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Dates: during 1930-1939
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...schoolchildren will be asked to stay after school on ten Friday afternoons this winter but it will not be to clean blackboards or copy promises of good behavior. Their task has been allotted them by Conductor Leopold Stokowski who, finding it difficult "to give the hopeless generation new ideas," declared last week that he would try to make children like modernistic music by having them listen to his broadcasts...
Seventy-year-old Walter Damrosch, whom a New York Times editorial called "Ariel" fortnight ago when he began again to waft and explain safe & sane music over the air to 6,000,000 children, fumed: "To force these [Stokowski's] experiments on helpless children is criminal. Should cubism have been used to preach the glories of painting to our young people...
...closets of the wealthy, precious tickets are clutched firmly by the poor but cultured, and Music returns to its own in the U. S. Last week the season began on a national scale. In Boston well-groomed Sergei Koussevitzky, in Manhattan electric Arturo Toscanini, in Philadelphia blond-mopped Leopold Stokowski raised their batons over the country's leading orchestras. As usual, and contrary to advance notices which promised conventional music for the troublous times (TIME, Sept. 12), Stokowski produced the weirdest sounds. Four-fifths of his first audience walked out early when he not only played Werner Josten...
Last week the Philadelphia Grand Opera Company also suspended performances for a year, but its reason was not quite Chicago's. Advance sales were bad. but it was also announced that Conductor Leopold Stokowski wanted an off-year to perfect a new form of "drama with music" for 1933-34. The Curtis-Bok fortune is far, far from collapse but Mrs. Bok has the expensive Curtis Institute on her hands. If in the next few months another patron for Philadelphia's opera appears, her friends suspect that she will not be sorry...
Last week there was an announcement of changes at Philadelphia. Depression makes a difference. In Boston this summer it seemed to make audiences prefer sad music to merry music (TIME, July 18). In Philadelphia next season, with the sanction of Conductor Stokowski, the programs will be "almost entirely devoted to the acknowledged masterpieces." The directors of the orchestra feel that "audiences prefer music which they know and love, and that performances of debatable music should be postponed until a more suitable time...