Word: concertos
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...farcical humor shows itself in this production nowhere better than in Steven Drury's music. In the first half of the play, the town officials perform a "Kitchen Symphony" on pots, frying pans, and water-coolers; after the intermission, they bring up the curtain with a solemn, processional concerto grosso for kazoo. Music seems somehow a more congenial way for these characters to communicate the timid ridiculousness of their lives than words...
...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...
...music simply spoke to me." What it told him, he has already conveyed in his extraordinary performances and recordings; he has little to add here. He is better on his fellow musicians, particularly those whom he does not wholly admire. He proudly plays his new recording of the Grieg concerto for the sardonic Rachma ninoff, whose sole comment is "Piano out of tune." Jascha Heifetz patronizes him musically but seeks his advice on buying gentlemanly accouterments. His great rival, Vladimir Horowitz, hangs about Rubinstein's Paris home, accepting free meals and fussing over his encores. After they fall...
Bartók: Piano Concertos Nos. 1 and 2 (Maurizio Pollini, Chicago Symphony, Claudio Abbado conductor, Deutsche Grammophon). Pollini has had a banner year on disc, issuing fine performances of a staple of the repertory (Beethoven's Third Concerto) as well as an avant-garde experiment (Luigi Nono's... sofferte onde serene ...). This set-modernist but accessible- falls happily in-between. Bartók's angular octaves and Hungarian folk rhythms tempt many pianists to turn into percussionists. Pollini achieves a biting authority without ever banging...
...innovative Esquire magazine of the early '60s. His preference for characters over plot-something of a flaw in The Late Show-comes from Truffaut, a friend and mentor since Bonnie and Clyde. In Kramer, Benton pays tribute to the French director by using snatches of the Vivaldi mandolin concerto; the same music turned up in The Wild Child, Truffaut's masterpiece about another relationship between a man and a young...