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...Pianist Peter Serkin, musical nirvana is being scrooched up in a recording studio retaping and re-retaping portions of some concerto. Like Glenn Gould, Serkin, 19, is one of the new strain of virtuosos who play beautiful music but in few other ways resemble the traditional concert soloist. He is totally indifferent to audiences, abhors the personality cult, is convinced that performers get in the way of the music, and that the only way to play is in the quiet privacy of the recording studio, where perfection is the only reality. "Listening to music," he says, "should be the most...

Author: /time Magazine | Title: Pianists: The Boy Who Hates Circuses | 2/24/1967 | See Source »

DELIUS: PIANO CONCERTO (Decca). As a young man, Delius weny out from England to spend a year managing his father's plantation in Florida, and snatches of Negro spirituals seem to echo in the dreamy sequences of his only piano concerto. Playing with the North German Radio Symphony Orchestra under William Strickland, Marjorie Mitchell gives a full-blooded performance of the seldom-heard romantic work...

Author: /time Magazine | Title: On Broadway: Feb. 10, 1967 | 2/10/1967 | See Source »

...doggedly for nine months. He postponed last fall's scheduled première for two months so that he could practice it some more, at one point holed up in the Steinway warehouse in Boston for six hours a day. Finally, last week Carter's concerto was given its world premiere, with Erich Leinsdorf and the Boston Symphony. Lateiner's homework paid off. He played with a flair and a command that are rare in such a complex work, and though the concerto provoked a few shudders among antimodernists in the audience, it was a treat worth...

Author: /time Magazine | Title: New Works: Treat Worth the Travail | 1/13/1967 | See Source »

Misguided Mass. In conception, the concerto is an extension of the ideas that Carter expounded in his 1959 String Quartet No. 2, in which the "individual behavior patterns" of each instrument clash and clamor for attention like so many egocentrics in a group-therapy session. Carter describes his Piano Concerto as a conflict between man and society: "The piano is born. Then the orchestra teaches it what to say. The piano learns. Then it learns the orchestra is wrong. They fight and the piano wins-not triumphantly, but with a few weak, sad notes-sort of Charlie Chaplin humorous...

Author: /time Magazine | Title: New Works: Treat Worth the Travail | 1/13/1967 | See Source »

...second and final movement, the orchestra passively receded, as the piano charged ahead impulsively in a passionate recitative, interrupted now and then by a concertino (three winds, four strings) that Carter likens to "Job's friends, who sympathize and comment." After one final free-for-all, the concerto ended with a quiet, reflective passage by the piano, signifying, says Carter, "the alienation of the individual from the misguided mass." The score rumbled and shook and shouted in constantly shifting tempos and atonalities and astonishingly original-and difficult -rhythms. Most striking was Carter's technique of "swamping"-building thick...

Author: /time Magazine | Title: New Works: Treat Worth the Travail | 1/13/1967 | See Source »

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