Word: bache
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...walked slowly from a wing of the ornate Kurzaal at Scheveningen, The Netherlands, bowed to the scattered applause, and took her place at the piano. For the next 90 minutes she kept her eyes fixed on the keyboard while her groomed fingers agilely feather-dusted and trip-hammered through Bach's Goldberg Variations. At the last note, she slumped in her seat as wave after wave of applause broke over her bowed head...
Such response is routine for U.S.-born Pianist Rosalyn Tureck-in Europe. Although Tureck's name is only vaguely known to most U.S. concertgoers, to European audiences it is fast becoming the word for some of the most authoritative Bach interpretation to be found...
Ever since she went to London four years ago, critics have fallen over themselves in praise. Said the London Times: "It is not possible to exaggerate the artistic value of her performance. When Miss Rosalyn Tureck plays Bach, all talk about the necessity of having a harpsichord to recapture Bach's style seems little short of nonsense." The Tablet: "Without doubt, the greatest Bach pianist of today." After last week's performance, Amsterdam's Algemeen Handelsblad said: "One could exhaust oneself in expressions of praise . . . Her interpretation sets a new norm, a standard for the style...
Piano Preferred. Nobody is more surprised by her spectacular success in Europe than 42-year-old Rosalyn Tureck herself. Born in Chicago of Turkish-Ukrainian parents, she was giving all-Bach recitals by the time she was 15. At 16, as an applicant for a scholarship at Manhattan's Juilliard School of Music, she staggered the judges by offering to ripple off 16 Bach preludes and fugues. In her second year at Juilliard she learned the Goldberg Variations in five weeks, was later told by the president that it was impossible to play the Variations (unmodified) on a piano...
...youngsters a thorough grounding in jazz history and styles, firmly steered them away from standard pop music. All of the band members also play in the school concert band, and the exposure to both jazz and classical music, Brown feels, makes them better at both ("They shake up a Bach fugue like nothing human"). Nobody digs them more than their contemporaries. Long before they went to Newport, they were already looking forward to next year's bookings in regional gymnasiums, where they will ladle out the slickest sounds most high-school prom trotters ever swayed...