Word: chopines
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...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...
...early 1960s Maurizio Pollini of Milan, Italy, looked like the keyboard's most glamorous Cinderella since Van Cliburn of Kilgore, Texas, conquered Moscow. At 18, Pollini beat out a field of 78 to win the International Chopin Competition in Warsaw. He was promptly whisked off to recording studios in London, and the result-an LP of the Chopin Concerto No. 1-brought critical raves on both sides of the Atlantic. Concert bookings were thrust upon...
...career. Pollini is such an individual and such a pianist. Becoming active again around 1967, he made a belated New York debut in 1968 that was well worth waiting for. By the early 1970s he was ready to resume recording, and a succession of superb discs has followed: the Chopin Etudes, the late Beethoven sonatas, last year's Grammy Award-winning set of Bartok concertos. Last week, as Pollini completed a three-week swing through the U.S., including two stunning recitals in Carnegie Hall, he left behind little doubt that, at 38, he has moved into the forefront...
Ibrahim Souss, 34, director of the P.L.O. office in Paris, gave his first piano recital in eleven years last November. In addition to Chopin mazurkas and Debussy preludes, he played a work of his own composition called The Myth of Sisyphus. Souss says the sonata was actually intended as a kind of anti-myth of Sisyphus, the legendary King of Corinth whose fate was to push a boulder up a mountain throughout eternity. As such, it represents a musical interpretation of Souss's belief "that man must take destiny into his own hands." Born in Jerusalem in 1945, Souss...
...with the scratching of the steel cellos. Sellars' yen for the visually spectacular became evident in last year's Three Sisters, when he vividly rendered Chekhov's work but stretched it to more than three hours by inserting a handful of maddeningly long silences and a half dozen Chopin nocturnes. Now we expect more than flashy technique from Sellars. We want drama...