Word: sonata
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Dates: during 1960-1969
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...impressive body of work, including nine other operas, a ballet, and everything from songs to symphonies, Masses to metamorphoses. Beyond composition, his talents sparkle with equal virtuosity. He is a gifted conductor, and when he accompanied Cellist Mstislav Rostropovich on the piano in the premiere of a Britten cello sonata, one critic called him "the compleat musician, a perpetual challenge to the age of specialization...
...classical music and a quality called "inner beauty" that is symbolized for him in a reproduction of Botticelli's Venus over his bed. With fear and trembling, plus a savvy pal's coaching, he has invited to his scrubby flat what he thinks is a feminine moonlight sonata. Enter the girl (Geraldine McEwan), a sniffly, scratchy, giggly chick with the inner beauty of a beer can. She is not smitten with Benjamin Britten. The pal gets Tchaik's girl without half trying. Brian Bedford gives love's labor lost a touchingly bewildered pathos, but despite...
...sort of classical jam session. Thomas Schippers, who conducted the Spoleto Messiah, stopped by to play piano duets with a series regular, John Browning. Last week Browning backed up U.S. Conductor Robert La Marchina (Traviata), who was up early for the sake of a tuneful Rachmaninoff piano-cello sonata. What's more, the musicians' enthusiasm for the series seems to be shared by an Italian concert public long uninterested in chamber music. "One of the most original and happily realized formulas of the festival," glowed Rome's II Giornale d'ltalia. The Italian radio network helpfully...
...program the two friends chose was full of beauty and hazards: Mozart's Sonata for Two Pianos, Schumann's Andante and Variations, the Chopin Rondo for Two Pianos, and the fiendishly difficult Bartok Sonata for Two Pianos and Percussion. Through ten days of rehearsals at the Moscow Conservatory, neither could do much but marvel at the other's playing. "I would like to play Mozart as well as Malcolm," Ashkenazy said, drawing a blush from Frager...
...everyone from Verdi to Garbo had taken a whack at Dumas' story since it first appeared in 1848. He redistilled it in his own mind into a prologue and four concentrated scenes. Still he could not decide on the music. Then he heard Liszt's B-minor sonata. To most classicists, the piece is sadly second-rate, but it was the answer to Ashton's yearning. He assigned the orchestration to Humphrey Searle, got Cecil Beaton to do the sets, and plunged into the choreography...