Word: stokowskis
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Dates: during 1930-1939
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Chokopul (Conductor Leopold Stokowski) returned to his own people six weeks ago and as a souvenir of his travels he presented with the Philadelphia Grand Opera Company last week the world premiere of H. P., a "ballet-symphony" written five years ago by Carlos Chavez, the Mexican who guided him on his musical tour. Ravel's L'Heitre Espagnole served as curtain-raiser, a naughty opera concerning a clockmaker's insatiable wife, never intended for the literal English translation in which it was given. Then the curtain went up on a drop topped by the letters...
...Philadelphia, in Manhattan and over the radio, Conductor Leopold Stokowski had his Philadelphia Orchestra play all-Russian programs last week. Stravinsky, Skriabin, Prokohev and Moussorgsky are composers comfortable now on any U. S. concert program. But along with them Stokowski introduced two strangers: Serge Nikiforowitsch Wassilenko and A. S. Illiashenko...
...dissonantly depicted the retreat of the warriors escorting dead Genghis Khan, their preparations for battle afterward. The Witches' Flight is 23 years old. And the composer of Dyptique Mongol teaches at the Brussels Conservatory, is a White Russian expatriate like Prokofiev and Stravinsky. But most people knowing that Conductor Stokowski brought the two new scores home with him on his return from Russia last spring, knowing him to be an alert musical reporter,* assumed that these importations were Soviet products...
Truly typical of Soviet music was Mossolow's Soviet Iron Foundry which Stokowski played early in the season (TIME, Nov. 2). Soviet Iron Foundry perfectly describes a mass of noisy machines. Most Russians prefer Tchaikovsky or Beethoven to the kind of din they hear all day at their work. But the Government encourages music which publicizes the new regime. It frowns on any music that is languorous or melancholy. For this reason gypsy music, so popular before the Revolution, is generally tabooed. The new music is vigorous, direct and, like Soviet newspapers, optimistic...
...them, to let Metropolitan traditions be swallowed up in John Davison Rockefeller Jr.'s new commercialized enterprise. Radio City officials, tired of the Met's indecision, let it be known lately that opera of some description would be given there whether the Met came in or not. Leopold Stokowski announced that the Philadelphia Grand Opera would come over and give guest performances (TIME, Jan. 11). Chicago's Herbert Witherspoon conferred secretly with Samuel Lionel ("Roxy") Rothafel. Then there was a hint that the Chicago Civic Opera Company might also come on for occasional visits...