Word: pianists
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Dates: during 1950-1959
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...accompanying Murray however, the orchestra made some surprisingly shaggy entrances and, at times, Harbison's more grandiose conception of the work resulted in the orchestra's drowning out Murray's playing. This imbalance and inaccuracy on the orchestra's part disappeared in the last movement when it joined the pianist in a vibrant performance of the finale--a fitting close to an excellent concert...
...think I'll ever go as far as I want to go.'' The remark falls somewhat strangely from his lips. A musical director at M-G-M when he was barely 19, Previn has since juggled the careers of arranger, composer, conductor, concert pianist and jazzman, and kept each in the air without missing a beat...
...composing, arranging, orchestrating and conducting quite a few entirely on his own, including It's Always Fair Weather and Bad Day at Black Rock. By "cheating every minute," he has managed to turn out a symphony and a quantity of piano works and chamber music. As a concert pianist, he admires the moderns-Copland, Barber. Prokofiev, Hindemith, Bartok-but he has also recorded all the four-hand piano music of Mozart, with his good friend Composer Lukas Foss. His jazz manner is all his own: a fanciful, highly individualistic style, characterized by kaleidoscopic rhythmic shifts, trip-hammered treble runs...
...rumors spread through the capital, Michiko Shoda suddenly left Japan, on her first trip abroad, visited Europe and the U.S., where she heard Pianist Van Cliburn play his first concert in Carnegie Hall. There were letters along the way from the prince, and, troubled, Michiko wrote her parents: "I don't believe commoners should be united with the imperial family. I doubt if such a step would have good results." To the prince she wrote: "I hope you will let me be a close friend of yours for a long, long time...
Another major device is the degree of freedom Wolff affords his performers. While he may be mathematically precise at times, frequently he gives the pianist his head, allowing him to vary the written notes rhythmically or even choose notes of his own. In the shorter work he sets up a kind of game between the two pianists--each must follow a cue given by the other, and each has a certain number of alternatives for every cue. Wolff is writing for his performers quite as much as for his audience. In discussing this technique he does not refer to Western...