Word: chopin
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Dates: during 1980-1989
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Robbins' longer work, Piano Pieces, was an immediate hit. In it he gives some deservedly obscure Tchaikovsky piano works the elegance of Chopin and catches the bursting talents of more young stars. The ballet's best pas de deux shows the fleet wit of Heather Watts and Bart Cook, who always seem to see the double side of life. The choreographer also notes the rippling serenity of Kyra Nichols, who sometimes seems unaware of the audience. Most of all, Robbins shows off Ib Andersen. Since he has four new roles, this might even be called an Ib Andersen...
...hours the crowd swelled with new arrivals: miners from Silesia wearing their traditional long black coats and plumed czaka, railway workers from Lublin, bus drivers from Pulawy. Hundreds of thousands strong, they spilled out into side streets, waiting patiently in the early twilight while the tender strains of a Chopin piano concerto wafted from a loudspeaker. They had come to Gdansk to honor the memory of 45 workers killed by police and army bullets ten years before in riots along the Baltic coast. At long last a monument had been built: three slender trunks of steel crowned by crosses that...
...Luigi Nono: Music for Soprano, Piano, Orchestra and Magnetic Tape (Slavka Taskova, soprano, and the Symphony Orchestra of the Bayerischen Rundfunks, Claudio Abbado, conductor; Deutsche Grammophon, five LPs). Pollini's herculean fingering stands out even in that select circle of great young pianists to which he belongs. His Chopin Etudes may set a new standard for his generation; his performance of Schubert's difficult late sonatas is a triumph of athletic as well as artistic ability. Pollini is also a leading interpreter of the modern keyboard classics. He handles Stravinsky and Prokofiev like a diamond cutter, concentrating profoundly...
...Chopin, Schumann, Liszt and other 19th-century romantic composers expanded the use of register, texture and tone quality to define their music, rather than depending on notes and rhythms, Charles Rosen, professor of music at the State University of New York at Stony Brook and holder of the 1980-81 Norton Chair in poetry, told an audience of 500 at Paine Hall yesterday...
Rosen played excerpts from Beethoven's third piano concerto and a Chopin waltz to show the difference between the romantic and classical use of the piano pedal. Whereas Beethoven used the pedal "only as a special effect to reinforce motifs and dynamics," romantic composers considered the removal of the pedal a special effect, he said...