Word: pianos
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Dates: during 1960-1969
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...Barcelona one spring morning in 1928, Alicia de Larrocha's piano teacher played her a little piece by the Spanish pianist-composer Enrique Granados (1867-1916). As she remembers the occasion now, "there opened before me a new world of poetry and dreams. I had the sensation that this music formed part of myself, and now I would never be able to free myself from its influence...
Bonnie and Clyde has also brought the metamorphosis of success to its scenarists, Robert Benton and David Newman. They began thinking about the movie four years ago in New York City, after mulling over the films of Francois Truffaut-Jules and Jim and Shoot the Piano Player. At the time, Benton and Newman were house satirists at Esquire, writing sophomoric advice to college boys like how to fake mononucleosis. The Dillinger Days, a book about crime in the '30s, crossed their desk. The way they like to tell it, a figurative light bulb appeared over their heads when they...
...Strauss's Serenade for Thirteen Winds they sounded and appeared every bit as unrehearsed as the full Band. This work of the sixteen-year-old Strauss is a straightforward exercise in the academic, conservatory style of the late nineteenth-century. The opening theme is a cross between the Schumann piano concerto and piano quartet, and the rest is not only warmed-over, but decadent Mendelssohn. It is a delightful work in its way, but to succeed it requires complete control and attention to detail that the ensemble, heads buried in the music, was not prepared to give. The group...
WHEN I HAVE A SON by Charlotte Zolotow, illustrated by Hilary Knight (Harper & Row; $1.95). This small book, highly reminiscent of Mr. Knight's best-known Eloise, will be fun for both child and parent. "My son," says John, speaking for all young boys, "won't have to take piano. He'll never have to go to sleep till he finishes the chapter, and he can have triple malteds just before dinner...
...feeling of the English countryside, redeeming them from sentimentality as well as musicological pedantry. To make up for the narrow dynamic range of the guitar, he achieves dramatic effects with an extraordinary variety of tonal colors. Subtle, jazzlike rhythms, throbbing chords, silvery lines, harplike plinks, resonant harpsichord and piano tones, all serve not to decorate or distract but to clarify the structure of the music...