Word: chopines
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...copter, a flag-draped coffin was unloaded and strapped to a gun carriage pulled by six black horses. A funeral cortege formed, with a troop of lance-bearing cavalrymen leading the way. Six military bands, the morning sun glinting richly off their brass, struck up the melancholy strains of Chopin's Funeral March. Twenty-seven visiting chiefs of state, eleven Prime Ministers and 22 other foreign delegates assembled behind the gun carriage. The first rounds of a 101-gun sa lute reverberated across the city. At least 5,000,000 people had turned out for the funeral; Cairo...
...CHOPIN once rescued us from having a flood in the bathroom.... I was sitting quietly working with Chopin when suddenly he stopped giving me music and appeared to be quite agitated. He started speaking in French. Eventually I realized that he was saying: 'Le bain va etre engloutie.' I rushed to the bathroom... the water was just about to come over...
...statements Rosemary Brown makes about the composers who inspire her are generally ludicrous. Chopin, she says, "is not melancholy at all,... but light-hearted... a very quick worker, very considerate. If he's been working with me and we've got, say, two pages of music written out, and then he finds concentration waning, and I'm getting tired, he winds the piece of music off quickly so it won't be left incomplete." Sometimes, she says, Chopin will come back and dictate a new ending. Hardly a craftsmanlike way of composing...
...sense of the word. Pedestrian is a more apt description. The pieces Katin plays are somewhat boring: a "Beethoven" Bayatelle which is just that, a piece of little interest revolving around an absurdly simple little figure; a pensive, delicate, yet only mildly competent "Schubert" Moment Musicale; a "Chopin" Impromptu in F Minor which is rather heavy and plodding; and so on through Lizst, Debussy, and Brahms, and over to the second side on which Mrs. Brown gives us an inspirational message before commencing what sounds like a series of second-year piano drills...
...resourceful performer, has to work solely with her face; she does not get much aid from the script. Nor does Nicholson. Is Robert running away from excellence, or from the fear of failure? In one long pan, Producer-Director Bob Rafelson tries to supply an answer. Robert plays a Chopin prelude in an attempt to seduce his brother's protégée (Susan Anspach). Up moves the camera to a wall of pictures. There are the young siblings, smiling, optimistic, untouched. On an adjacent wall, the children are grown, the faces strained and damned, the father satanically...