Word: backhauses
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...variation seemed in danger of being too subdued, but then a gust of forceful, mordent arpeggios stirred one back to sense. Pratt's deliberation over the chromaticism of variation 20 was delicious, and his energized attacca of the fugue was stupendous. This is not your grandfather's Brahms--Wilhelm Backhaus was. Wilhelm Backhaus did not have dread-locks...
...Robin Backhaus is the man to beat, but Harvard's Yntema has an excellent shot, with Alan Poucher of USC another good bet. Yntema should break 1:50, and he must if he is to equal last year's superlative third-place finish...
Died. Wilhelm Backhaus, 85, German patriarch of concert pianists and the century's foremost interpreter of Beethoven; of a heart attack; in Villach, Austria. When Backhaus was eight, the noted pianist-composer Arthur Nikisch wrote to him that "whoever plays the great Bach so well when so young will surely make his way later on." The assessment was overly modest. In a career spanning three generations, Backhaus won acclaim for his masterful interpretations of virtually all the great composers. But his deepest dedication was to Beethoven, whose sonatas he played with great clarity of style and breadth of emotion...
INTERNATIONAL PIANO FESTIVAL (Everest) provides an opportunity for piano lovers to hear and compare the styles of several virtuosos-Arrau, Backhaus, Brailowsky, Casadesus, Janis and Kempff-in a single benefit concert for the U.N. Commission for World Refugees. The program hitches together the warhorses of the piano repertory, but they are played with freshness and excitement. Standouts are Wilhelm Backhaus' definitive "Moonlight" Sonata, Byron Janis' unabashedly grand performance of Liszt's Hungarian Rhapsody No. 6, and Wilhelm Kempff's crystalline playing of Schubert's Impromptu in G Major...
BEETHOVEN: SONATAS NO. 12 AND 18 (London). Wilhelm Backhaus, 80, has spent a lifetime studying and restudying Beethoven. He is now rerecording some of the sonatas, with a technique that is still formidable, an interpretation that is firm, majestic and less personal than that of Artur Schnabel, his late great contemporary. Only in the Funeral March of the 12th is Backhaus disappointing; he seems to be impatient, even bored...