Word: tonal
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...atonality, both conductors were in fundamental, if coincidental, agreement. Wrote Ansermet: "Tonal music is an expression of clear sentiments, Schönbergi-an music seems to cultivate the obscure...
Furtwängler hit harder: "Each great work of tonal music radiates deep, unshakable peace, like the majesty of God. This peace is lacking in atonal music [which] has grown restless. There is a lot of intellect and combination, there is plenty of intelligence, but ängler, listening to atonal music is like "walking through a dense forest; strange flowers are lining the path; you don't know whence you come and you don't know whither...
Then, at week's end, a Carnegie Hall audience, harder to please, discovered that a French orchestra is more than just another orchestra that happens to come from France: it has a tonal quality all its own. To most U.S. ears, used to lush, soaring strings, France's finest sounded a little thin. True to French tradition, the woodwind choir was outstanding (many a top U.S. woodwind player learned his trade from the French). Some in the audience missed the drilled precision of U.S. orchestras. Explained Director Barraud: "Our musicians are individualists. I don't mean that...
...unreconstructed antiquarians. Green-eyed Buck Clayton has proved he can combine melody with modernism by his work on the Basic records: Royal Garden, Bugle, and Sugar Blues made in 1944. His rival among the more comprehensible instrumentalists will be Rex Stewart, Ellington's former solo cornetist who achieves remarkable tonal effect with the valves of his horn pushed down just half-way. The other steadying influence will be the corpse who walks like a man, Dave Tough. This made over two beat artist has probably played in more widely divergent groups than any two other jazzmen, having run the gamut...
More often than he borrowed from others, Aaron Copland has borrowed from himself. The Third's opening movement uses a tonal device from Appalachian Spring (1944); the fourth movement intricately develops the theme of Fanfare for the Common Man (1942). Yet there was enough original music in the Third's 40 minutes, and so skilled a reworking of the old, that it would undoubtedly add to Aaron Copland's popularity-a kind of popularity that seemed to keep him too busy to be a great composer...