Word: maestro
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Dates: during 1970-1979
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...assessment of Picasso, the maestro and the myth, Hughes drew first of all on his extensive knowledge of the artist's work. He has seen virtually all the major Picasso shows held on the Continent, in England and the U.S. during the past eight years. Our Paris bureau added human touches-insights and details of Picasso's day-to-day life gleaned from friends of the reclusive giant...
...same ritually stupefied reverence. Hence la légende Picasso, which has been energetically prodded along by writers like Hélène Parmelin and photographers like David Douglas Duncan and Gjon Mili. From their breathless accounts a satyr rises, mythic, Gargantuan, and fatally easy to parody. The Maestro's working day, one might suppose, begins with a light breakfast of goat's testicles and salade niçoise. Then, surrounded by a flock of admiring tame doves, he descends to his studio and executes 30 engravings, two murals and a still life. At lunch, having done...
...tips in the art of gracefully demolishing a bull. Now it is pottery time, and 83 ceramic owls later, Picasso summons his chauffeur and picks up three virgins on the beach. They are deflowered during the siesta, and retire, twittering gratefully, to write their memoirs. Refreshed, the Maestro fills in the yawning hours before dinner with a dozen portraits. The omelette palpitates under his fork, unable to believe its luck. It, too, will be converted into a Picasso. A green, nocturnal silence reigns in the garden, broken only by the muffled clamor of Greek shipping millionaires stuffing $1,000 bills...
Opera is not chamber music, and chamber music is not symphonic music. Many people respond only to one of these forms. That highly desirable situation must not change. If Maestro Boulez conducts only to effect a change, then he is willfully ignoring the musical needs of all Western civilization, which needs profound and penetrating performances of the symphonic repertoire from Bach through Brahms...
...Even so, Maazel is unlikely to prove as tough as the stony-faced Szell, who also began as a child prodigy. Few conductors could. In every other way, he seems to be the one youngish maestro around who most resembles Szell in style, craftsmanship and musical taste. Like his predecessor, Maazel is a strict constructionist who regards the printed score as his own personal bill of rights. He is capable of passion, but not at the expense of symmetry and the sturdy line. He is widely acknowledged as a supreme podium technician...