Word: pianos
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Dates: during 1960-1969
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Last night we reached Palma, Majorca, where the special attraction was a twelve-mile trip to the monastery at Valldemosa to eat a buffet dinner and hear a recital of Chopin's piano music by that handsome Frenchman Samson François. The monastery was cold and damp, but those clever people from the Renaissance brought along bundles of plaid blankets to cover everybody up. Poor Chopin. He lived in the monastery for two months with his, pardon me, mistress, George Sand, and they say that he nearly died of the chill. He could have used some of those...
...Baptist minister, he was raised in Oklahoma and Texas, started music studies at California's San Bernardino Valley College in 1966. Midway in his second semester, dispirited by his mother's death and struggling to sort out his life, Webb dropped out. He had learned the piano and organ well enough to play in his father's church at age eleven and had started composing at 13, so he decided to go to Hollywood and be a songwriter. He wangled a $50-a-week job with a recording studio and rented a cheap apartment, where he slept...
...equipped with three tiny keyboards, stacked like the manuals of a pipe organ; vines of wires drooped down from their sockets. It looked like a kiddie's toy piano hooked up to a telephone switchboard...
Saturday night Levin did his thing(s) before a full house at Sanders Theatre. The program, entiled "Works of W. A. Mozart," included the orchestral March in D, K. 335/1 (delightful in its naivete and ludicrous use of col legno), the Sonata for Violin and Piano in B flat, K. 454, and the magnificent Piano Concerto No. 25 in C, K. 503. Levin served as pianist and was joined at appropriate moments by violinist Rose Mary Harbison and an excellent pick-up orchestra conducted by John Harbison. By and large the performances were clean, tasteful and controlled, with occasional brilliance...
...power, pace Mozart, were the two previously unfinished "torsos" which Levin had brought to completion as the bulk of his thesis project. It was a product, the program stated, "of some 18 months' work in the U.S. and Europe." The first of these torsos, announced as Concerto Movement for Piano, Violin and Orchestra, K. 315f, was the more substantial of the two and received by far the better performance. To Levin's great credit, there was no noticeable break between the exposition as completed by Mozart and his own continuation based on his knowledge of and empathy with the master...