Word: pianistics
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Dates: during 1960-1969
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BELL TELEPHONE HOUR (NBC, 10-11 p.m.). Honoring Cellist Pablo Casals on his 91st birthday, "Casals at Marlboro" catches the master at last summer's Marlboro Festival in Vermont. Films of his performance, and talks with such colleagues as Pianist Rudolf Serkin and Violinists Alexander Schneider and Jaime Laredo...
...orchestra in a birthday celebration that was an almost exact copy of the first-night program. But little else was the same. At the birthday concert, the distinguished musicians in the black-tie audience far outnumbered those on the stage (among them: Composer Aaron Copland, Conductor Leopold Stokowski, Pianist Rudolf Serkin, Violinist Isaac Stern and retired Tenor Lauritz Melchior). Ticket prices were set as high as $35 (regular concerts currently bring an $8.50 top). The orchestra, which merged in 1928 with the rival New York Symphony and became the Philharmonic-Symphony Society, has doubled from the original 53 players...
...Barcelona one spring morning in 1928, Alicia de Larrocha's piano teacher played her a little piece by the Spanish pianist-composer Enrique Granados (1867-1916). As she remembers the occasion now, "there opened before me a new world of poetry and dreams. I had the sensation that this music formed part of myself, and now I would never be able to free myself from its influence...
Glowing Fabric. Alicia de Larrocha, now 44 and a superb concert pianist, never has freed herself from Granados' music. Instead, she has become its foremost interpreter, and last week, at Manhattan's Carnegie Hall, she saluted the 100th anniversary of his birth with an all-Granados program...
Squawking Steinway. Columbia's package concentrates chiefly on the broad spectrum of experimentation, most of it stemming from Webern's later pointillistic serialism and further shaped by the development of electronic sound producing and reproducing equipment. John Cage's Variations II required Pianist David Tudor to clip microphones at various points on his Steinway and to overtune them so that the amplifier-produced squawl and squawk become part of the composition; in Mikrophonie I. Karlheinz Stockhausen attached two microphones to an oversized gong, which was then hit with a variety of materials to produce a 26-minute...