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Good Listeners. Before World War II, critics customarily spoke of two major pianistic schools: the dynamic, aloof virtuosity of the Russians (Rachmani noff, Horowitz) and the poetic, relaxed, scholarly Austro-Germans (Schnabel, Serkin). Graffman typifies what may some day be known as the American school, but isn't yet: a synthesis of the best pianists from prewar Russia and Germany, with a range of styles that adapt to any music. "Rachmaninoff," he says, "approached everything the same way. But I approach Prokofiev totally differently from Beethoven, and Beethoven differently from Bach. The difference in approach has to do with...

Author: /time Magazine | Title: Pianists: The Busy Eclectic | 12/29/1967 | See Source »

Another misconception about what's amusing shows in the interpretation of Lysistrata. Marty Ritter plays a little dynamo instead of an elegant, slightly aloof character. So lines like, "there's something about women's temperaments that makes me hate them," come out as expostulations instead of slightly wistful asides. Lysistrata isn't an organization woman: her eyes are set on distant heavens full of available males. In fact, she can hardly wait to be dominated again. Miss Ritter behaves too much like Susan B. Anthony to convey the real dream...

Author: By Joel Demott, | Title: Lysistrata | 12/16/1967 | See Source »

...Woman) has been signed to a multipicture contract at United Artists, as has Polanski at Paramount. The Iron Curtain countries are a continuing source of new talent, and Hollywood studios have dangled fat contracts before Czechoslovakia's Jan Radar, who made Shop on Main Street. Even the customarily aloof Antonioni has become part of the new Hollywood; his next film, Zabriskie Point, will be financed by MGM and shot in the Southwest. It will be, he says, about violence...

Author: /time Magazine | Title: Hollywood: The Shock of Freedom in Films | 12/8/1967 | See Source »

...more than a musical wag. Sharing the spirit of the Sturm und Drang poets of the time (among them Schiller and Lessing), he made his instruments weep and rant as well. The supple, rhapsodic lyricism of the slow movement of Symphony No. 44 is far removed from the aloof, balanced expressiveness sought by most composers of his time; the demonic orchestral outbursts and sudden silences in the first movement of No. 80 point ahead to the struggle-locked manner of the later Beethoven. To initiate the finale of the Sinfonia Concertante, four solo instruments conduct a nonverbal argument among themselves...

Author: /time Magazine | Title: Music: COMPOSERS: Rebel in Uniform | 12/1/1967 | See Source »

...Caution. Faced with the insurgency threat, Ne Win has gradually backed off from his old aloof position as a 200% neutral. He now seeks aid wherever he can find it. A Russian mission went to Burma a few months ago and discussed the possibility of a sizable Soviet aid commitment. When Premier Eisaku Sato visited Rangoon earlier this month, Ne Win made a pitch for stepped-up payments of Japanese reparations. German Chancellor Kurt Kiesinger goes to Burma later this month, and Ne Win is expected to ask him for increased German aid. There are also reports in Rangoon about...

Author: /time Magazine | Title: Burma: Break with Neutrality | 11/24/1967 | See Source »

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