Word: tenoritis
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Dates: during 1950-1959
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...music was an intricate work in five movements, the last a musical inversion of the first, the fourth the reverse of the second. Most listenable was No. 2, an aria on the Song of Songs, which British Tenor Richard Lewis made sweet and plaintive as an Urdu love song, each syllable quivering through half a dozen notes. Elsewhere, the 70-voice chorus surged in powerful chant, defeating the squeaking, thudding, 50-piece orchestra. When it was over, Stravinsky bowed to the orchestra in the thundering silence and bounced off. Said one festival official: "In a cathedral the audience cannot applaud...
...fewer than seven iT.P.s on the market, with three more coming soon, for he plays with an ingratiating style that appeals to jazz lovers without frightening record executives. Does he think it is time to pick up another instrument? "Well," says Elliott wistfully, "I always wanted to play tenor sax or flute. But"-and his determination seems to harden-"I play enough...
...whom he calls his "flying squad." Some of the high flyers: ex-National Chairmen Frank McKinney and Bill Boyle, California Oilman Ed Pauley, former White House Assistant Donald (Deepfreeze) Dawson, onetime Senate Secretary Les Biffle, ex-White House Secret Service Chief Frank Barry, Sam Rosenman, Dave Noyes, and Irish Tenor Phil Regan. Said Truman: "In five minutes I'm going down and announce for Harriman. I want you fellows to go get this job done. I'm not doing this with my tongue in my cheek. I mean it. I want you fellows to go to work...
...that magic moment Ellington's Paul Gonsalves was ripping off a fast but insinuating solo on his tenor saxophone, his fancies dandled by a bounding beat on bass and drums (Jimmy Woode and Sam Woodyard). The Duke himself tweaked an occasional fragment on the high piano. Gradually, the beat began to ricochet from the audience as more and more fans began to clap hands on the offbeats until the crowd was one vast, rhythmic chorus, yelling its approval. There were howls of "More! More!" and there was dancing in the aisles. One young woman broke loose from her escort...
...orchestra (harpsichord and strings) and the more impressive dimensions of the Baroque. Since the piece was originally written to be danced, it abounds in strong, bouncy rhythms. Before the chorus begins to sing, the title characters carry on a spirited dialogue, in which conductor Schmidt displayed his fine tenor voice in company with soprano Jean Lunn...