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Ibrahim Souss, 34, director of the P.L.O. office in Paris, gave his first piano recital in eleven years last November. In addition to Chopin mazurkas and Debussy preludes, he played a work of his own composition called The Myth of Sisyphus. Souss says the sonata was actually intended as a kind of anti-myth of Sisyphus, the legendary King of Corinth whose fate was to push a boulder up a mountain throughout eternity. As such, it represents a musical interpretation of Souss's belief "that man must take destiny into his own hands." Born in Jerusalem in 1945, Souss...

Author: /time Magazine | Title: World: The Voices of Palestine | 4/14/1980 | See Source »

CONCERT: MIT Artist Series Concert-- program will include Telemann's Sonata in eminor; Bach's Sonata No.3 in g-minor; "Fantasy" by F. Tillis; and "Pastoral" by E. Carter; Room 10.250, 8 p.m. Free...

Author: NO WRITER ATTRIBUTED | Title: m.i.t. | 1/10/1980 | See Source »

Bach: Six Sonatas for Clavier and Violin (Violinist Henryk Szeryng, Harpsichordist Helmut Walcha, Philips; 2 LPs). Several virtuosos have recorded these crystallizations of the baroque sonata style (Oistrakh, Menuhin, Laredo), but none can beat the suave brilliance of this set. Szeryng plays with an impassioned aristocrat's clarity, grace and brio. Walcha, a virtuoso in his own right, is appropriately brought to the fore by Philips' bright tonal presence...

Author: /time Magazine | Title: Music: Sounds in a Summer Groove | 7/30/1979 | See Source »

...himself. Age and approaching blindness apart, Rubinstein was well up to the celebration. "Composing a concert is like composing a menu," he announced, explaining his choices of Debussy, Bach, Rachmaninoff, Mozart and Schubert. "I believe in musical digestion. If you start with light pieces and play a 45-minute sonata after the interlude, it's like starting dinner with hors d'oeuvres and dessert and finishing with a Chateaubriand and vegetables...

Author: /time Magazine | Title: People, Apr. 9, 1979 | 4/9/1979 | See Source »

...which is Lulu's theme. All of the opera's other themes, accompaniments and leitmotifs are derived from endlessly ingenious extrapolations, inversions, retrogrades and other variations of the original row. These in turn are rigorously organized in a series of traditional forms. There is an extensive sonata structure in Lulu's scenes with Schön; a rondo for Lulu's more ambiguous encounter with Schön's son; a canon in which one voice following another imitates the painter's pursuit of Lulu...

Author: /time Magazine | Title: Music: Lulu Is the Toast of Paris | 3/12/1979 | See Source »

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