https://www.facebook.com/hanching.chung/videos/4115998225077620\
The audience was eager to discover how pianist Brun would fare in the Boccherini sonata. But the Spaniard had left with the words "Ah, cest terrible de jouer avec cet orchestre!" refusing to play another note. Fritz Brun was very glad and rehearsed with him later at home where Casals said he was satisfied. At the concert Casals sat growling in front of the orchestra as it was playing the introductory bars. The conductor turned around dumbly beseeching his opinion of the tempo. The Spaniard endured it for just one beat, and then he joined in with the basses, and with a few taps of his bow on the back of his instrument, brought order to the proceedings. We had to play Mozart's Symphony in G minor, an overture (La Vestale) by Spontini, and the little Cosi Fan Tutte overture, that most wonderful of wonderful works. Besides Boccherini, Casals, as a solo, played a saraband by Bach.
- (especially as a direction) with all voices or instruments together."each strain is first performed tutti, then played by the instruments only"
- performed with all voices or instruments together."the work as a whole is a contrast between solo and tutti sections"
- a passage to be performed with all voices or instruments together.
Casals' memoirs were taken down by Albert E. Kahn, and published as Joys and Sorrows: Pablo Casals, His Own Story (1970).
《白鳥之歌》，台北：志文，1979
Joys and Sorrows: Reflections by Pablo Casals (English) 1970
(He succeeded César Franck as organist at Sainte-Clotilde Basilica in Paris from 1890 to 1898. He himself was succeeded by another distinguished Franck pupil, Charles Tournemire. Associated for many years with Édouard Colonne's concert series, the Concerts Colonne, from 1903, Pierné became chief conductor of this series in 1910.
His most notable early performance was the world premiere of Igor Stravinsky's ballet The Firebird, at the Ballets Russes, Paris, on 25 June 1910. He remained in the post until 1933 (when Paul Paray took over his duties).)
| External audio | |
|---|---|
 You may hear Pablo Casals performing Antonín Dvorak's "Cello Concerto" with George Szell conducting the Czech Philharmonic Orchestra in 1937 Here |
As queen dowager, she became a patron of the arts and was known for her friendship with such notable scientists as Albert Einstein.[citation needed] During the German occupation of Belgium from 1940 to 1944, she used her influence as queen and German connections to assist in the rescue of hundreds of Jewish children from deportation by the Nazis.[3] When Brussels was liberated, she allowed her palace to be used for headquarters of the British XXX Corps, and presented its commander General Horrocks with its mascot, a young wild boar named 'Chewing Gum'.[4] After the war she was awarded the title Righteous Among the Nations by the Israeli government.
During the 1950s, the Queen evoked controversy abroad by visiting the Soviet Union, China and Poland, trips that prompted some to label her as the "Red Queen".
Songbirds of Laeken 此書有主要作者，Pablo Casals 以為是Queen 作的
The outbreak of hostilities between Gertrude and Leo coincided with aggression on a global scale. World War I had painful personal consequences for Sarah and Michael, who, at Matisse’s request, had lent 19 of his paintings to an exhibition at Fritz Gurlitt’s gallery in Berlin in July 1914. The paintings were impounded when war was declared a month later. Sarah referred to the loss as “the tragedy of her life.” Matisse, who naturally felt terrible about the turn of events, painted portraits of Michael and Sarah, which they treasured. (It is not clear if he sold or gave the paintings to them.) And they continued to buy Matisse paintings, although never in the volume that they could afford earlier. When Gertrude needed money to go with Alice to Spain during the war, she sold Woman with a Hat—the painting that more or less started it all—to her brother and sister-in-law for $4,000. Sarah and Michael’s friendship with Matisse endured. When they moved back to California in 1935, three years before Michael’s death, Matisse wrote to Sarah: “True friends are so rare that it is painful to see them move away.” The Matisse paintings they took with them to America would inspire a new generation of artists, notably Richard Diebenkorn and Robert Motherwell. The Matisses that Motherwell saw as a student on a visit to Sarah’s home “went through me like an arrow,” Motherwell would say, “and from that moment, I knew exactly what I wanted to do.”
With a few bumps along the way, Gertrude maintained her friendship with Picasso, and she continued to collect art until her death, at age 72, in 1946. However, the rise in Picasso’s prices after World War I led her to younger artists: among them, Juan Gris, André Masson, Francis Picabia and Sir Francis Rose. (At her death, Stein owned nearly 100 Rose paintings.) Except for Gris, whom she adored and who died young, Gertrude never claimed that her new infatuations played in the same league as her earlier discoveries. In 1932 she proclaimed that “painting now after its great period has come back to be a minor art.”
In 1907 Leo and Gertrude acquired Matisse’s Blue Nude: Memory of Biskra, which depicts a reclining woman with her left arm crooked above her head, in a garden setting of bold crosshatchings. The picture, and other Matisses the Steins picked up, hit a competitive nerve in Picasso; in his aggressive Les Demoiselles d’Avignon (an artistic breakthrough, which went unsold for some years) and the related Nude with Drapery, he mimicked the woman’s gesture in Blue Nude, and he extended the crosshatchings, which Matisse had confined to the background, to cover the figures. The masklike face of Gertrude in Picasso’s earlier portrait proved to be a transition to the faces in these pictures, which derived from bold, geometric African masks. According to Matisse, Picasso became smitten with African sculpture after Matisse, on his way to the Steins, picked up a small African head in an antiques shop and, upon arriving, showed it to Picasso, who was “astonished” by it.
Music was one of the last Matisses that Gertrude and Leo bought, in 1907. Beginning in 1906, however, Michael and Sarah collected Matisse’s work primarily. Only a world-class catastrophe—the earthquake in San Francisco on April 18, 1906—slowed them down. They returned home with three paintings and a drawing by Matisse—his first works seen in the United States. Happily, the Steins discovered little damage to their holdings and returned to Paris in mid-November to resume collecting, trading three paintings by other artists for six Matisses. Michael and Sarah were his most fervent buyers until the Moscow industrialist Sergei Shchukin saw their collection on a visit to Paris in December 1907. Within a year, he was Matisse’s chief patron.
An Eye for Genius: The Collections of Gertrude and Leo Stein
Would you have bought a Picasso painting in 1905, before the artist was known? These siblings did
https://www.smithsonianmag.com/arts-culture/an-eye-for-genius-the-collections-of-gertrude-and-leo-stein-6210565/
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