Word: rubinsteins
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Dates: during 1990-1999
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...sharp contrast to Van Cliburn's rendition, recorded after his famed competition win in Moscow in 1958, which is tender, lyrical and full of the charm that captivated the Russians. Similarly, Great Pianists traces the varying interpretations of Chopin through the century--from Ignaz Friedman (tempestuous, uncontrolled) to Artur Rubinstein (cool, modern and free of excess) to Claudio Arrau (full, rich, warm). Given enough time, this collection proves, styles have a way of coming full circle...
...from Ohlsson, whose suavity in these three miniatures was at times offputting. The Minute Waltz (at 1:53, mind you) sounded tossed-off, although with a hilarious ending, and the third of the set had nothing to recommend it. Only the ravishing C-sharp minor, trademark of Rachmaninoff and Rubinstein, demanded close listening. Ohlsson privileged the left hand at times when other pianists wouldn't, and sculpted a middle voice between the melodies...
...Bulldogs come in with a strong midfield, led by captain Annie Kwon, who has two goals and one assist, and junior Theryn Gibbons, who has two goals and two assists. Senior forward Jill Rubinstein leads the team with three goals...
Also on hand are performances of works the artists never recorded commercially, such as Fritz Reiner's elegant, pastoral reading of Brahms' Symphony No. 2 and the lyrical and propulsive performance of Chopin's Concerto No. 1 by Bruno Walter and Arthur Rubinstein, who, under contract to different labels, were never permitted to record together. There are David Oistrakh and Dimitri Mitropoulos in their nonpareil, rivetingly intense U.S. debut of Shostakovich's First Violin Concerto, and memorable farewells like the thrilling immolation scene from Wagner's Gotterdammerung in 1952 with Walter and Kirsten Flagstad in her last appearance with...
DIED. SVIATOSLAV RICHTER, 82, Russia's incomparable piano-poet; in Moscow. Virtually self-taught until age 21, Richter treated the piano like a soul mate, listening for the romance of Schumann or the fury of Beethoven. Perhaps he could not match Horowitz's brilliance or Rubinstein's panache, but showmanship was never paramount to him. "I don't consider the public," he told TIME. "My only interest is my approaching encounter with the composer...