Word: russian
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Dates: during 1970-1979
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Like the Vidal cover story, the five-page article in the World section about the Soviet Union drew on considerable expertise. The piece offers a view of what Russian life is really like, behind the pageantry and rhetoric of the pivotal 25th Communist Party Congress that opens in Moscow this week. It was written by Patricia Blake, a longtime student of the Russian scene who came to TIME as a consultant on Soviet affairs in 1968. She was assisted by Reporter-Researcher Sara Medina, who earned a degree in Russian at Vassar College and has worked on many stories involving...
...Rostropovich is not immune from the egotism stereotypically associated with superstars. Last week, when a Boston Symphony representative failed to pick up Rostropovich at Logan Airport, the Russian became infuriated and decided to seek revenge. Without a word of warning, he hailed a cab with cello and Pooks in hand and asked to be delivered to the Colonnade Motel, a block from Symphony Hall...
When Rostropovich concentrated on musical points, his suggestions effected noticeable improvement in Colburn's playing. Allowing your imagination to be your guide, Rostropovich told Colburn, will eliminate technical difficulties. The Russian asked Colburn to describe the music he was about to play before setting his bow on the strings. "When you truly understand the music, the desire to play the music will awaken itself in you. Your imagination must always be your teacher. It must teach you before you've sat down at the instrument...
...audience--animated gesture and colorful language. But with the instrument before him he is more at home, more self-assured, more convincing. "You must be like a conductor when you play," Rostropovich insisted as Ma played in the master class. "You must not be only you." From watching the Russian rehearse with the Dvorak concerto with Boston Symphony a week ago, it was clear that he has taken his own advice to heart...
...could double for the "dangerous body" in one of the narrative poems. Degas's subject does indeed convey the emphatic sensuality that figures in Sagan's conception of women. Sagan's women are wrapped up in their own sexuality, even tormented by it. One craves bloody flesh; another, the Russian named Ytrasie, whose romanticism pushes her into rather appealing heroism, has black braids which "flew out like whips." Yet they are frightened of their own desires, and tend to suppress them. As a result, they remain unfulfilled or their bodies are reshaped by their lovers' ravishment, while "the soul splits...