Word: chopines
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...ballroom used by Columbia, their sound is often dry and devoid of the luster for which the orchestra is famous. Charles Ives' Third Symphony and an LP of Grieg and Liszt concertos with Pianist Van Cliburn as soloist are the best of the lot. But the Chopin F-minor Concerto with Artur Rubinstein is heavy and graceless, and Tchaikovsky's Pathetique Symphony lacks the bite and immediacy of a nine-year-old version that Columbia re-engineered and rereleased last year. Bruckner's Seventh Symphony has a glossiness that does not suit the music at all. Mozart...
Those closers are the quintessential Kerr. The dish has been carried into a dining-room set that looks like something left over by Liberace. Candles are aglow. Violins are playing Chopin or The Man I Love. Kerr's lips tremble with rapture. He blows kisses to his own cuisine and launches into the most passionate eating scenes since Tom Jones. Occasionally he falls as flat as a novice's souffle. He once referred to the trimming of mushroom stems for a steak-kidney-mushroom-and-oyster pie as "a small circumcision." He crimped the edge of a piecrust...
...they watched Pianist Alexis Weissenberg play Chopin with the New York Philharmonic, the audience at Manhattan's Lincoln Center last week could eas ily have felt a twinge of memory. Weissenberg bore a strong resemblance to a younger pianist named Sigi Weissenberg, who had made his U.S. debut playing Chopin with the New York Philharmonic 20 years earlier. Alexis even had some of Sigi's pianistic traits-triphammer virtuosity, brilliant tone, a briskly commanding approach to a score-but they were tempered with subtler shading and a surer sense of structure...
...established him in Europe overnight by choosing him to open the season with the Berlin Philharmonic. Last year the comeback was completed in the U.S. when Weissenberg dashed off an exhilarating version of Rachmaninoff's Piano Concerto No. 3 with the New York Philharmonic. As his performance of Chopin's Concerto No. 2 last week showed, his playing nowadays bristles with the strength of a new maturity...
...Seasickness. The interpretation reflected Weissenberg's desire to "take Chopin out of the salon, make him not old-maidish but masculine." In making the piece surge ahead with a calculated tensile force and precise gradations of color, he sacrificed some of the spontaneity and relaxation that Chopin's score invites. Weissenberg shrugs off the criticism that he is "an ice-cold interpreter, even an IBM machine," arguing that his emotionally objective approach is much sounder than that of pianists "who would nearly vomit on the keyboard to show that they are so sentimental and inspired. They have...