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...Sanders Theatre, the Boston Symphony is giving the sixth concert in its Cambridge series. The program, composed of numbers previously played in Boston, consists of Haydn's Symphony in E flat no. 99, Faure's "Elegie" for Cello and Orchestra, Ravel's "Rapsodie Espagnole", and the preludes "Lohengrin," "Tristan und Isolde," and "Die Meistersinger". The second half should certainly satisfy Wagner devotees; the first bears especial tribute the Dr. Koussevitzky's skill in program-making...

Author: NO WRITER ATTRIBUTED | Title: The Music Box | 3/19/1936 | See Source »

...program is as follows: 1. Fantasia in C minor J. S. Bach The Bells W. Byrd Fuge aus dem Magniflcat J.J. Pachelbel "Harmonious Blacksmith" Variations Handel 2. Chromatische Fantasle und Fuge J. S. Bach 3. "The Battle between David and Goliath" J. Kuhnau 4. Italian Concerto J. S. Bach 5. Les Vendangeuses Couperin La Bandoline Couperin La Poule Rameau Le Rappel des Oiseaux Rameau 6. Drei Sonaten Domenico Scarlatti

Author: NO WRITER ATTRIBUTED | Title: Alice Ehlers Gives Recital Tonight in Paine Hall at 8.15 | 2/18/1936 | See Source »

...have accepted this nebulous idea can be perceived in the enthusiasm with which groups of healthy young Germans roll down practice slopes in the effort to learn how to ski, in the amazingly extensive methods by which Germany's Olympic Committee, functioning under Sports Leader Hans von Tschammer und Osten, has prepared for the 1936 Olympic Games, and in the extraordinary career of one of Germany's most celebrated cinemactresses. If President Hoover had made Jean Harlow a major functionary in the Olympic Games of 1932, it would have been explicable only as a tribute to the superhuman...

Author: /time Magazine | Title: Sport: Games at Garmisch | 2/17/1936 | See Source »

...exciting, sure-voiced singer who would make any race proud. Her Handel songs instantly revealed a breadth and nobility of style. Her Schubert Ave Maria was not something interpolated to catch popular fancy; it was fervent, even as an organ tone, deeply impressive. Even more moving was Der Tod und das Mädchen, in which she made a sustained low D seem incidental to the horror of the dying girl, the call of Death itself. Thereafter came an aria from Verdi's Don Carlos, made vivid by canny restraint. With Sibelius' Die Libelle she proved that...

Author: /time Magazine | Title: Music: Colored Contralto | 1/13/1936 | See Source »

...worked hard, enlivened the operas in which it appeared, won praise partly because it represented such an improvement over the stodgy, lifeless dancing which went on at the Metropolitan under the Gatti-Casazza regime. The new U. S. organization gave its first substantial demonstration after the Hänsel und Gretel performance, presented comely ballerinas, several of them highly talented. Outstanding performances were given by Anatole Vilzak, once of the Russian Imperial Ballet, and young William Dollar, who has the most spectacular technique of any male dancer now appearing in public. Unfortunately the ballet was Reminiscence, which calls...

Author: /time Magazine | Title: Music: Metropolitan's Week | 12/30/1935 | See Source »

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