Word: piano
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Dates: during 1960-1969
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Miroir de Votre Faust for piano solo opened the program. The piece depends to large extent on improvisation in concert by the performer. Mme. Mercenier rose to the occasion, displaying creative as well as interpretive powers by giving life and rhythm to metrically unnoticed sections. Miroir offers the musician other problems and pleasures. The pages, unbound so that the music can be shuffled around before performance, contain many "windows"--rectangular holes that allow one to see through to the next one or two pages. The performer cannot be sure what is coming next or what will return in an entirely...
COMPLETING the program was Jeu de Miroir de Votre Faust for piano and tapes, controlled respectively by Mme. Mercenier and M. Pousseur. Jeu is a reflection upon both Miroir and Votre Faust, Pousseur's newly-completed opera. Created expressly for this concert, Jeu is a reduced version of Miroir with electronic sounds superimposed. A favorite was the conspicuous return of Miroir's syrupy melody followed by a gripping cry of anguish from the loudspeakers. It was good to see this theme receive its just desserts...
Hair Down. Burton's blithe eclecticism started when he began adapting violin and piano music to the vibes and marimba, which he had taken up at the age of six. At eleven, he organized his father, brother and sister into a band that performed around their home town of Princeton, Ind. Later he went on to absorb jazz in club dates at nearby Evansville, country music in recording sessions at Nashville, and classical composition at Boston's Berklee School of Music...
RECORDINGS Elvira, Meet Wolfgang It is impossible to predict where a composer's next record hit will come from, even if the composer is Mozart. A case in point is Deutsche Grammophon's 1965 release of Mozart's Piano Concerto No. 21, played by Hungarian-born Pianist Geza Anda. In three years it had sold a mere 2,000 copies in the U.S. Then a passage from the recording turned up as a recurrent, haunting theme on the sound track of the Swedish film Elvira Madigan, which opened in New York City last October. Deutsche Grammophon slapped...
...hour exams this semester. Ken Tigar, a tutor in German here, Paul Jones, and Fred Grandy, possess adaptable faces, voices, and dispositions. Grandy makes good use of his eyelids of all things. Joe Saah mugs too much behind the bass. John Forster is excellent at the piano and does the Bernstein bit well...