- We will send in 10–14 business days.
/images/books/6299080/9781162775678.jpg)
- Author: Charles Klein
- Publisher: Kessinger Publishing
- ISBN-10: 116277567X
- ISBN-13: 9781162775678
- Format: 15.2 x 22.9 x 1.9 cm, softcover
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
1909. Novelized from the play as produced by David Belasco. The book begins: Anton Von Barwig rapped on the conductor's desk for silence and laid down his baton. The hundred men constituting the Leipsic Philharmonic Orchestra stopped playing as if by magic, and those who looked up from their music saw in their leader's face, for the first time in their three years' experience under his direction, a pained expression of helplessness. Either I can't hear you this morning, or the first violins are late in attacking and the wood wind drags-drags-drags. What's the matter? We've played this a hundred times, growled Karlschmidt, the bass clarionet player, to Poons, the Dutch horn soloist, who sat at the desk next to him. Karlschmidt was a socialist, a student of Karl Marx, and took more interest in communism than in his allotted share of the score of Isolde's Liebestodt. Indeed, nearly all the men were interested in something other than the occupation which afforded them a living. For them the pleasure of music had died in the business of attaining accuracy.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 20d.20:45:43
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: Charles Klein
- Publisher: Kessinger Publishing
- ISBN-10: 116277567X
- ISBN-13: 9781162775678
- Format: 15.2 x 22.9 x 1.9 cm, softcover
- Language: English English
1909. Novelized from the play as produced by David Belasco. The book begins: Anton Von Barwig rapped on the conductor's desk for silence and laid down his baton. The hundred men constituting the Leipsic Philharmonic Orchestra stopped playing as if by magic, and those who looked up from their music saw in their leader's face, for the first time in their three years' experience under his direction, a pained expression of helplessness. Either I can't hear you this morning, or the first violins are late in attacking and the wood wind drags-drags-drags. What's the matter? We've played this a hundred times, growled Karlschmidt, the bass clarionet player, to Poons, the Dutch horn soloist, who sat at the desk next to him. Karlschmidt was a socialist, a student of Karl Marx, and took more interest in communism than in his allotted share of the score of Isolde's Liebestodt. Indeed, nearly all the men were interested in something other than the occupation which afforded them a living. For them the pleasure of music had died in the business of attaining accuracy.
Reviews