Word: concertizer
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Dates: during 1960-1969
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...those moments that every performer dreads. Pianist Vladimir Horowitz was halfway through Rachmaninoff's Sonata in B-Flat at Manhattan's Carnegie Hall. And then-poing!-the sound of string #17 (bass A-note) giving way on the Steinway concert grand. An embarrassed unease settled over the hall while a technician frantically made repairs. Finally, Horowitz completed the piece and responded to the thunderous ovation with four encores. Said the famed firm's president, Henry Z. Steinway: "Each time this happens I want to crawl into the woodwork." Soothed Horowitz: "It's like a flat tire...
...Life. Apparently, the Beatles themselves realize that their work in the recording studio has become too mannered and grown too far away from their beginnings in Liverpool. Next month they will tape a one-hour TV show for the BBC in concert format, facing a live audience for the first time in more than two years. It may be that the manifest mannerism of The Beatles will turn out to be what it now seems-just a day in the life of four of the century's most inventive pop artists...
STILL SEEKING that ineffable moment. I attended the risorgimiento of the Harvard Glee Club in the annual Harvard-Yale concert. The Yale group began with a thin version of Palestrina's Supplicationes for main chorus and responsive small choir (which joined me in the Tibetan heights of the upper balcony) and proceeded to good performances of Holst's delightful Blacksmith Song and Dowland's beautiful Come Again, Sweet Love. Their part closed with a stupendously tedious arrangement by Fenno Heath of Donne's Death Be Not Proud. The Harvard Glee Club performed a less interesting program except for a mildly...
Snakish Slide. To prove his point, Davis is currently engaged in a Berlioz bash during a four-week guest stand with the New York Philharmonic at Manhattan's Lincoln Center. At the opening concert, devoted entirely to Berlioz works, the audience clearly got the idea of what Davis means by voltage and terror. The first composition was the overture to Les Francs-Juges, an unfinished opera about the secret vigilante courts that terrorized Germany in the Middle Ages. The overture, as Davis says, "has a sort of white-hot energy. In the middle there is the most pathetic, square...
...Romeo and Juliet, Berlioz shows that he can be as tender with Shakespeare's young lovers as he is terrifying with Cleopatra. Berlioz did not, however, always have to rely on emotional pressure. The overture to the comic opera Beatrice and Benedict, which Davis played at his third concert last week, is a masterpiece of witty understatement that perfectly graces the champagne gaiety of the entire work...