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Word: schubert (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...collaboration was, there was better to come. Last week, on the festival's closing day, Richter teamed up for an even more rewarding recital with his great Soviet contemporary, Violinist David Oistrakh. Both are natives of Odessa, but they had never played together before. In sonatas by Schubert, Brahms and Franck, they showed what a regrettable omission that had been...

Author: /time Magazine | Title: Music: Grand Encounters | 7/14/1967 | See Source »

...Their Schubert bounded with youthful energy and spontaneity, and their Franck was a lyrical flood. But it was the richer, darker Brahms that most fully revealed the uncanny empathy that enabled them to pass themes back and forth, coloring and developing them but always weaving them seamlessly. The audience of 2,500 was so entranced that it barely noticed when a bird fluttered in the door, looped lazily over the two musicians, then settled in the rafters...

Author: /time Magazine | Title: Music: Grand Encounters | 7/14/1967 | See Source »

Shure is a pianist who likes his music meaty. At this Dudley House recital he cose to assault two of the most awesome pinnacles of the piano literature, the Schubert Sonata in Bb, Op. posthumous, and the Variations on a Theme of Diabelli by Beethoven. Reaction was mixed and tended to the extremes, but there was general admiration for the sheer endurance feat of getting through all those notes...

Author: By Robert G. Kopelson, | Title: Leonard Shure | 7/14/1967 | See Source »

...trying to outdo himself, Monday night Shure tackled not two but three major works of the piano repertoire. Once again, Beethoven and Schubert figured prominently on the program, the former represented by the venerated Sonata in E, Op. 109, and the latter by another fruit of his frantic but fecund last eleven months, the Sonata in c minor, Op. posthumous...

Author: By Robert G. Kopelson, | Title: Leonard Shure | 7/14/1967 | See Source »

...toward light music, and the few exceptions received the weakest performances. Brahms' intensely sorrowful "Warum ist das Licht gegeben" sounded disjointed, with the seemingly endless phrases of the first section losing momentum every measure or two; only the final chorale generated a genuine mood. The men's performance of Schubert's "Gesang der Geister uber den Wassern" showed complete insensitivity to Goethe's colorful text...

Author: By --stephen Hart, | Title: Asian Tour 1967 | 6/13/1967 | See Source »

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