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...Alban Berg, but he is visionary in the way he creates melody through the interaction of contrapuntal strands and in the way he achieves the proper symphonic contrast of mood without the usual resort to repetition. Just as his earlier music is beginning to find favor today-notably the Violin Concerto-the Eighth will undoubtedly have to wait for its day. Sessions will wait, too. "What can one do about audience psychology?" he asks. "Immediate response is not what one is preoccupied with. The job of the composer is to write the music he loves best. I think that...

Author: /time Magazine | Title: New Works: His Own Thing | 5/10/1968 | See Source »

They laughed when an Illinois farmer reported that he had significantly increased his crop yield by serenading corn plants with Rhapsody in Blue. And few believed Indian Botanist T.C.N. Singh when he said that a shrill electric bell speeded the germination of seeds and that classical Indian violin and flute selections promoted crop growth. Or the Australian fruit farmer who swore that he had raised bigger and better bananas by bombarding them with a loud, constant bass note broad cast from loudspeakers set up among the trees...

Author: /time Magazine | Title: Agriculture: Sound Treatment for Wheat | 4/12/1968 | See Source »

SCHOENBERG: PIANO CONCERTO AND VIOLIN CONCERTO (Columbia). A new release bringing together two earlier performances of these ripe, satisfying examples of twelve-tone composition. With Robert Craft conducting the nadian Broadcasting Corporation Symphony Glenn Gould plays the rich, almost Brahms-like piano part in the first concerto, and Israel Baker tackles the difficult violin work in the second concerto. Both pieces demonstrate that the intricacies of the dodecaphonic scale in no way limit emotional expression. "If a composer does not write from the heart, said Schoenberg, "he simply cannot produce good music." Schoenberg did both...

Author: /time Magazine | Title: Television: Apr. 5, 1968 | 4/5/1968 | See Source »

...hopes of the city's minorities. After his inauguration at the glittering San Francisco Opera House in January, Alioto scheduled receptions in the predominantly Negro Hunters Point-Bayview section and the Mission District (Mexican-Americans, Filipinos, American Indians). Humming operatic airs, sipping Campari and soda or playing the violin, he wowed the crowds. "The ghetto never goes to the Opera House," he said, "so we'll take the inaugural to the ghetto...

Author: /time Magazine | Title: San Francisco: Opening the Gate | 3/29/1968 | See Source »

...very unsettling for the quiet, fastidious musician, who rises by 5 a.m. every day to begin working at an upright piano in his suburban Paris apartment. The son of a Marseille postal inspector, he learned piano and violin from his father, entered the Marseille Conservatory at ten, and soon seemed headed for the life of a concert pianist. Instead, he veered off into a jazz career at 17, eventually became interested in the wider instrumental palette and richer sonorities of pop arranging. Established though he was in the profession, he remained a blank to the public, since French disk jockeys...

Author: /time Magazine | Title: Music: Changing the Recipe | 3/22/1968 | See Source »

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