Word: score
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Dates: during 1960-1969
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SYMPHONY NO. 4, BRUNO WALTER AND THE NEW YORK PHILHARMONIC (Odyssey); RAFAEL KUBELIK AND THE BAVARIAN RADIO SYMPHONY (Deutsche Grammophon); DAVID OISTRAKH AND THE MOSCOW PHILHARMONIC (Angel/Melodiya). This seraphic, fairy-tale score is the best introduction to Mahler. Bruno Walter's 23-year-old classic recording is rechanneled for stereo, with less bass than the original mono, but more polish in the middles and highs. Those who want a modern recording will like Kubelik's lithe and luminous version. The interpretation by Violinist-turned-Conductor Oistrakh is, unfortunately, unsympathetic and at times eccentric...
...memory. Weissenberg bore a strong resemblance to a younger pianist named Sigi Weissenberg, who had made his U.S. debut playing Chopin with the New York Philharmonic 20 years earlier. Alexis even had some of Sigi's pianistic traits-triphammer virtuosity, brilliant tone, a briskly commanding approach to a score-but they were tempered with subtler shading and a surer sense of structure...
...interpretation reflected Weissenberg's desire to "take Chopin out of the salon, make him not old-maidish but masculine." In making the piece surge ahead with a calculated tensile force and precise gradations of color, he sacrificed some of the spontaneity and relaxation that Chopin's score invites. Weissenberg shrugs off the criticism that he is "an ice-cold interpreter, even an IBM machine," arguing that his emotionally objective approach is much sounder than that of pianists "who would nearly vomit on the keyboard to show that they are so sentimental and inspired. They have a sort...
Promises, Promises--You might prefer to listen to the original cast album instead of going to the show, but the Burt Bachrach-Hal David score to this musical version of "The Apartment" is something to be heard. If you attend the show, beware of the unfortunate Neil Simon book. At the SCHUBERT, W. 44th...
Zorba--A great serious musical about living, loving, suffering and dying. John Kander and Fred Ebb wrote the immensely theatrical score; Joseph Stein did the book; and producer-director Harold Prince tied it all together with a finesse the likes of which have not been seen since Jerome Robbins' heyday. Herschel Bernardi and Maria Karnilova are the leads, with a strong assist from gutsy-voiced Lorraine Serabian, who heads a Greek chorus. At the IMPERIAL, W. 45th...