Word: pianistics
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Dates: during 1970-1979
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Works by Scriabin, Szymanowski, Ranchmaninoff, Western, Berg, and Liszt; Vivian Taylor, pianist; Eliot Library, 8:30; free...
Shows start at 8 and 10 p.m. and at 7:30 p.m. the actors (two males and two females) finished their pre-show warmups. Accompanied by Patrick, the pianist, they hopped down the two steps from the wing onto their benches as the audience began scuffing into the theatre. Tapping their feet nervously and lighting each other's cigarettes, they exchanged a few verbal footnotes about the show's format before Patrick went back out to begin an improvised medley, setting an appropriate light, crisp mood...
...Reformed Modernist. Part of his persona was his view of modern art. He regarded it with the contempt that an old blues pianist, after 30 years' rattling the ivories in a Kansas whorehouse, might reserve for ten minutes of John Cage silence. No guts, no drawing, no life: nothing but wind and delusion. Benton made no bones about his idea that nearly everything in art since the Fauves had been rubbish at best, and at worst the fruit (so to speak) of a homosexual conspiracy to rob the U.S. of its primal manly culture. The American museum, he grumbled...
Nureyev's determination is nowhere more evident than in class with Stanley Williams, a coach at the School of the American Ballet. Dressed in thick gray leg warmers and a tired white leotard, Nureyev looks sloppier than the rest. A pianist pumps out This Nearly Was Mine while the class practices rapid combination exercises that end in a burst of squeaking slippers. Nureyev finishes last. Working very slowly, he clears an envelope of space round him in which each ringer, each joint, every muscle locates its place. "Keep the arms closer to the body for balance and to project...
...says Kipnis. The impressionism of Debussy or Delius, which calls for a dreamy, sustained tone, simply will not work on a harpsichord. A stride bass can sound downright laughable. The technique of the harpsichordist exists entirely in the fingers, not partly in the arms as with a pianist. The music must be written so that it lies, as Kipnis puts it, "all under the fingers." The special gift of the harpsichord is its startling ability to define close-set contrapuntal strands, together with its staccato brilliance...