Word: mozarts
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Dates: during 1960-1969
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...MOZART: OVERTURES (Angel). Besides six overtures, including The Marriage of Figaro and Cosl Fan Tutte, Otto Klemperer plays the gently brooding Masonic Funeral Music and the rich and somber Adagio and Fugue in C Minor, which Mozart arranged for string orchestra from a two-piano fugue. With London's Philharmonia Orchestra, which was reorganized and renamed the New Philharmonic Orchestra during the course of these performances...
...have become more and more conscientious. I have an enormous margin of unfinished business." He adds with a twinkle: "That's why I can still make at my age a great deal of progress." And there he goes, bright as a trill, hat cocked over an eye, Brahms and Mozart and Chopin singing in his head?off to play another concert...
...Washington, Chicago. He plays on life as he plays on the piano-with style, with taste, with exuberance, and with a spontaneity that is all the more breathtaking because it is marvelously original. Last month, within a period of ten days, he reeled off eight major concertos by Beethoven, Mozart and Brahms in Carnegie Hall; few other instrumentalists in the world, regardless of age or standing, would have attempted such a grueling program?and none could have matched...
...Back to Mozart. As a stripling, Rubinstein often lived at the mercy of impresarios who wanted him to perform only the crowd pleasers?Liszt, Tchaikovsky, Rachmaninoff. "They never listened to me," he growls, "just to the box office." Now, like an aging Romeo, he has "come back to Mozart on my knees." That alone is quite an achievement. "You remember what Schnabel said about Mozart sonatas?" recalls Rubinstein. " 'Too easy for children, too difficult for artists.' " So it is: Mozart demands a fidelity to rhythm that few performers can ever master. It is characteristic of Rubinstein's magic that even...
...eight, he was playing in Berlin under the sharp eye of Josef Joachim, who soon brought the Wunderkind to Barth. At eleven, he played Mozart's Concerto in A Major with the Berlin Symphony. In 1906, thanks to the influence of a U.S. music critic who had heard him play at Paderewski's Swiss villa, the young pianist was signed for a tour of the U.S. It was a dud. At his debut in Carnegie Hall, the critics dismissed Rubinstein for being, as one put it, "half-baked?not a prodigy, not an adult." Those were the days when...