Word: e-flat
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...other was Pianist Liu Shikun, who performed the Liszt Concerto No. 1 in E-flat. The two Lius were startlingly different in temperament. The pipa player is a genial fellow who entertained the Boston members backstage with Home on the Range ("I learned it for Kissinger's sixth visit"). The pianist, who spent most of the Gang of Four reign in jail, is a man of seething intensity. He came onstage with shaking hands, and shot through the Liszt with authority but blinding speed. At rehearsal, Ozawa had tried without success to slow Liu down. Finally, he said...
...that, he's convinced that all they're playing in there is the "extended-play," disco versions of the classics. Not even six weeks in there, and already he's Murray the K, up on his high moped. This friend of mine, he couldn't tell an E-Flat Sonata from E. Frank Sinatra from a can of V-Flat Soda, just between you, me and this turntable...
...during the 1930s, when most of these London Philharmonic recordings were made, he displayed superb poise, control and mastery of the peculiar blend of fire and ice that lie at the heart of Mozart's music. Beecham's recording then of the euphoniously ethereal No. 39 in E-Flat Major, for example, was the first that could truly be called great. It remains splendid in this reissue...
Schubert: Trios, Op. 99 in B-Flat and 100 in E-Flat (Henryk Szeryng, violin; Pierre Fournier, cello; Artur Rubinstein, piano; RCA; 2 LPs; $16.98). Corraling a collection of virtuosos to record chamber music is not always a good idea. Having spent years alone in the spotlight, too many of them lack the knack of bobbing and weaving in rhythm with other minds and hearts. Szeryng, Fournier and Rubinstein rank high among the successful exceptions to this individualistic rule. In these trios, each player retains his own particular musical fist yet manages to fit it into his neighbor...
Mere Gallantry. After intermission came a Chopin group: the Introduction and Rondo in E-Flat Major, two Mazurkas and the Ballade in G-Minor. Few pianists alive execute Chopin's notes with the grace, precision and bravura of Horowitz. It was astounding in the midst of one set of prodigious figurations after another to hear the melody seem to float up like mist from the keyboard. Horowitz does everything for Chopin except take him seriously as a dramatic innovator. The G-Minor Ballade, for example, is one of the composer's most original and powerful creations. Yet Horowitz...