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Nina's singing and piano playing rank her with Aretha Franklin at the top of the female jazz, blues and soul camp. On piano, she can tinkle along simply like Count Basic or pile chord upon chord like Rubinstein playing Tchaikovsky. At times, her voice has the reedy wobble of a Dixieland clarinet, but it can also whisper, wail, or break in above the instrumental accompaniment like an Indian shehnai. As Ray Charles notes, nobody ever comes close to imitating her, or even trying, "probably because everybody knows she's the only...

Author: /time Magazine | Title: Singers: More than an Entertainer | 2/21/1969 | See Source »

...that spurns either maudlin moonbeams or brittle bravura. He puts it all to work in the Byronic B-Minor Third Sonata, playing with dash, sweep and refined lyricism. His performance of the Second, in B-flat minor, offers something more. Although not the performance of a mellow master like Rubinstein, it displays a subtle feeling for the shifting, subterranean currents of Chopin's emotion. There is an urgency in the scherzo, a brooding pathos in the famous funeral march, a bizarre mysteriousness in the final skittering octaves, which Anton Rubinstein described as the winds of night blowing over churchyard...

Author: /time Magazine | Title: Pianists: The Artist as Culture Hero | 11/22/1968 | See Source »

Will Steven Armstrong has designed the settings so that simple maneuvering can quickly shift the locations from jungle to crossroads, from the exterior of the Coliseum to the amphi-theatre inside. And Arthur (not Artur) Rubinstein has provided clever incidental music that makes periodic and parodic references to jazz, Ravel, and Respighi...

Author: By Caldwell Titcomb, | Title: 'Androcles' Rounds Out Stratford Season | 7/16/1968 | See Source »

LUCERNE INTERNATIONAL FESTIVAL (Aug. 14-Sept. 8) is long on notable artists (Artur Rubinstein, Herbert von Karajan, William Steinberg, Isaac Stern) and short on program ideas. Still, the air is crisp and the execution usually exemplary at the picturesque lakeside resort...

Author: /time Magazine | Title: Television: Jun. 21, 1968 | 6/21/1968 | See Source »

When I lived in Paris or London, everybody sneered at the Hollywood style or Hollywood superficiality. But when I moved here in the '40s, who were my neighbors? Schoenberg, Rachmaninoff, Aldous Huxley, Heifetz, Thomas Mann, Stravinsky and Rubinstein. What Hollywood style? What Hollywood superficiality? These creative people lived here, first, because the city is so widespread that you can have your privacy when you want it. Second, the climate. Also, people here are not afraid to break traditions. When we want to play without a conductor...

Author: /time Magazine | Title: Cellists: Verbal Virtuoso | 4/26/1968 | See Source »

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