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...people gaily swinging through the busy streets of Brazil's modern cities, qua qua. And there to help them is American business, working and playing to build a strong, free Western Hemisphere. The whole gang's on hand: Coke, Ford, General Motors, Shell, Texaco, Esso, Frank Sinatra, even Helena Rubinstein with American beauty standards. But the spoken narration puts this post-card Brazil into perspective, reciting figures on the present-day poverty of the Brazilian people, on the history of foreign profiteering. The Old and the New are but emblems of successive ruling classes, the monuments they built to themselves...

Author: By Joel Haycock>, AT THE ORSON WELLES AUGUST 3 THROUGH 5 | Title: Tropici | 8/1/1969 | See Source »

...Artur Rubinstein, D.F.A., pianist...

Author: /time Magazine | Title: Kudos: Round 1 | 6/6/1969 | See Source »

...their sound is often dry and devoid of the luster for which the orchestra is famous. Charles Ives' Third Symphony and an LP of Grieg and Liszt concertos with Pianist Van Cliburn as soloist are the best of the lot. But the Chopin F-minor Concerto with Artur Rubinstein is heavy and graceless, and Tchaikovsky's Pathetique Symphony lacks the bite and immediacy of a nine-year-old version that Columbia re-engineered and rereleased last year. Bruckner's Seventh Symphony has a glossiness that does not suit the music at all. Mozart's Jupiter...

Author: /time Magazine | Title: Recordings: High Cost of Gold | 4/25/1969 | See Source »

...closed to him at Columbia, because Mahler belonged largely to Bernstein, and Mozart to Szell. To be released in the fall are Philadelphia versions of the Mahler First Symphony and Mendelssohn's Elijah. After that will come DeFalla's Nights in the Gardens of Spain with Rubinstein, Mahler's Second Symphony, Bach's St. Matthew Passion, and several contemporary works, including Krzystof Penderecki's Threnody for the Victims of Hiroshima...

Author: /time Magazine | Title: Recordings: High Cost of Gold | 4/25/1969 | See Source »

...relatively brief collaboration, the quartet displays a seasoned, settled style-almost as if it had been playing together for a decade. Its tone is unfailingly rich and clear; its mastery of the ensemble form is so complete that even when performing with as experienced a musician as Pianist Artur Rubinstein its relative youth as a quartet is not all apparent...

Author: /time Magazine | Title: Chamber Music: Heir to the Budapest | 4/4/1969 | See Source »

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