Word: pianistics
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Dates: during 1970-1979
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Saturday, April 8: concert--Margaret Rossi, clarinetist, Sally Pinkas, pianist, and Robert Koff, pianist, will play 20th century chamber music. Slosberg Recital Hall, 8:30 p.m., free...
...speaking of seats, Sandy's Jazz Revival in Beverly has plenty of them, and they all face the stage, on which the Salt City Six will be performing tonight through Sunday night. Barry Keiner is the featured pianist with the band. "Big deal," you say. "What do I care?!" you shrug. "Who the hell is Barry Keiner?" you ask. Stop talking and I'll tell you. Barry Keinner is none other than a former pianist with the Buddy Rich big band. That is not to say that Buddy will be in Beverly, but I understand that he had his pants...
James Toback is the man who wrote The Gambler, a particularly pretentious 1974 James Caan vehicle about a dedicated schoolteacher with a fatal weakness for making dangerous bets. Toback's new film is about a dedicated concert pianist (Harvey Keitel) who runs dangerous missions for his Mafia father. Both movies are cut from the same synthetic Dostoyevskian cloth, but Fingers actually manages to be more obnoxious than its predecessor. Perhaps the reason is that Toback wouldn't stop at writing the new film; he had to go on and direct it as well...
...invitation to play in the Carter White House came soon after the Inauguration, but Pianist Vladimir Horowitz took a rain check. For his second stint at 1600 Pennsylvania Avenue (he first played there in 1931 for Herbert Hoover), the maestro wanted to celebrate the 50th anniversary of his U.S. debut. And so he did, last week, thundering out fortissimi to an audience packed with the likes of Isaac Stern, Andrés Segovia and Mstislav Rostropovich. Carter, recalling the cherished Horowitz recording he had as a midshipman, said of his guest artist: "A true national treasure...
Extensive improvisation by the pianist in any work invariably excites the audience and lets the soloist show off his virtuosity. Usually, rampant arpeggios and endless trills are well integrated into any piano piece and, in the case of a concerto, into the orchestral score. However, the pianist must also attempt to keep these improvisations in the context of the whole work rather than display them simply as a showpiece. Kogan succeeded in this regard Saturday in his performance of Saint-Saens's Second Piano Concerto. He handled the difficult solo parts of the work with consummate ease and sensitivity...