Word: pianists
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...Your enthusiasm overreaches itself when you call his playing of Mozart "impeccable." Though fine indeed, it is still marred by that same romanticism that is the Rubinstein trademark. What is interesting in this regard is not the pianist's limitation but the certainty that he will improve, that in time his Mozart will have the clarity and refinement it needs. On the basis of his spirit and energy alone, Rubinstein deserves his superb life...
...Rubinstein's unique blending of "romantic" and "modern" piano styles deserves the highest praise of the civilized world. But to state categorically that he is "the world's greatest pianist," to put him on a pedestal above Horowitz, Richter, Serkin, etc., is irresponsible reporting of a type to which I think Rubinstein himself would take exception...
...cause, Julius Rudel has been tireless. A Viennese refugee from Hitler, he fled to the U.S. in 1938, earned a degree in conducting from Manhattan's Mannes College of Music. When the New York City Opera got going, so did Rudel, then 22. He was everything from rehearsal pianist to curtain puller to stand-in for ailing members of the chorus. In 1957, after a clash between the opera board and Erich Leinsdorf (who followed Halasz and Joseph Rosenstock) left the company without a conductor, Rudel was appointed director. The decision was made, says one board member, partly because...
Labelled the "musical highlight of Winterfest," Tuesday's Boston Symphony concert marked the first appearance of a Harvard undergraduate as soloist, pianist Eugene Indjic '69. His performance certainly justified the honor; an achievement even more impressive considering the piece, the hall, and the conductor. Indjic chose to play Brahm's Piano Concerto No. 2, one of the largest and most formidable of piano works. Aside from its extreme technical demands, the concerto presents a challenge of organization; most critically, of pacing and uniting the sprawling first movement, a problem of drama as well as form. The last three movements, while...
...inspirational. While visibly concerned with keeping orchestra and soloist together, he allowed them repeatedly to part company, primarily in the second movement. Orchestral climaxes seemed halfhearted, and the solo playing (that of cellist Jules Eskin) almost mediocre. For all his apparent courtesy, Leinsdorf did little to assist the pianist in matters of detail, and in several instances appeared to intimidate Indjic into hasty exits...