Word: music
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Dates: during 1960-1969
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...autocrat Serge Koussevitzky, the stately conductor earned the admiration of his musicians for his easy, gracious manners; Bostonians responded to his sense of drama and his flair for improvisation. A chronic under-rehearser who rarely directed any piece the same way twice, Munch was happiest with the music of the 19th century French Romantics, to which he brought a poetic vibrance of color and texture. Last year French Cultural Minister André Malraux hired him out of retirement to lead the newly formed Orchestre de Paris, and though his health was failing, Munch was determined to be on the podium...
Some of Cliburn's admirers believe that such lapses-as well as the lengthening pauses between record releases-result from the strain of trying to be both an artist and a commercial phenomenon in the music business. To keep up the momentum that started in Moscow in 1958, Cliburn plays a punishing concert schedule of well over 100 appearances a year. At fees that start at $7,500 for a solo appearance, this means that he makes something like a million dollars a year, including record royalties -although he coyly denies that he is rich ("Heavens, no!"). Furthermore...
Contrary to the more conventional patterns of the music business, he makes fine music that also sells. In the ten years since he won the Tchaikovsky Competition in Moscow, he has sold 3,000,000 albums-more than 1,000,000 of them the version of the Tchaikovsky First Piano Concerto that vanquished Moscow. His collection, My Favorite Chopin, has been on the classical bestseller lists for 138 weeks...
...like everybody else. Even your rhythms are new. You would invent new modulations if such a thing were possible." The story goes that when Gioachino Rossini was shown Berlioz' score for the Symphonic Fantastique, he examined it for five minutes and said, "Thank goodness, this isn't music!" Recently Pierre Boulez complained, only half in jest, that Berlioz "has only got two chords...
That is not true, of course, but even if it were, it would not bother Davis. "It's the what of music that Berlioz is interested in, not the how," explains Davis. "He appeals to me because of his mixture of ferocity and tenderness. And by ferocity I don't mean bloodthirstiness. I mean voltage, energy, fire. I love the explosions, the wildness, the terror in his music. There are very few composers who manage to generate terror. Berlioz really does. He can frighten...