Word: toscaninis
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Some of his musical maturity Lorin gets from growing up with the sound of a violin in his ear: his father is a violinist, a former assistant concertmaster for Toscanini with the NBC Symphony. Lorin got his first violin when he was three ("I smashed it"), went on to the piano when he was five, and in his first day at the keyboard went through an entire book of beginner's exercises. By the time he was ten, Lorin was playing recitals, and he has been hard at it ever since. He scored his second big recital triumph last...
...Toscanini's Choice. Born in the French Pyrenees. Salzedo started out to be a pianist. His mother was a pianist at the Spanish summer court, and she sat her son down at the keyboard so early that he gave recitals at five, was taken out of school when he was six to concentrate on music. When the family moved to Paris, Carlos entered the conservatory and started studying the harp as a sideline. On his graduation, he was the only student in the school's history to win first prize in both piano and harp...
...young musician's reputation had reached the U.S.; Arturo Toscanini wanted a harpist for the Metropolitan Opera Company, and imported him, says Salzedo, "like a piece of cheese." Salzedo stayed at the Met for four years, then organized the U.S.'s first harp ensemble, later set off to tour Europe with a flutist and a cellist. After a stint in the French army in World War I (wounded in action). Salzedo returned to the U.S. and got to work making the harp something better than one of those "extra" instruments rarely heard outside full-dress philharmonic orchestras...
...Stuart Symington and Pat Brown-and all autographed the same copy. Carter also has signed covers from Vice President Nixon and Nelson Rockefeller. Among others in his autographed collection: Harry Truman and Thomas E. Dewey (both on the same 1948 pre-Election Day issue), John Foster Dulles, Chiang Kaishek, Toscanini, Nehru, the Duke of Windsor and the Morocco Riff leader, Abd el Krim...
...negotiated so shrewdly that Casa Ricordi realized as much as 65% from the earnings of its composers' work. With a near-monopolistic control over Italian opera, Giulio attended rehearsals at La Scala, recommended the hiring or firing of singers, publicly castigated conductors. A pet hate for a time: Toscanini, whose style he once likened to a "mastodonic mechanical piano." Above all, Giulio commissioned Arrigo Boîto to write the librettos of Otello and Falstaff, which fired the aged Verdi into composing again. Although Puccini drew monthly advances for nine years before paying the money back, their friendship...