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...concert to come," he explains). Horowitz has been known to be stiff early in a recital. "In the beginning, the fingers are cold. Warm water doesn't work. I have to warm up from inside." His crisp, classically elegant way with the opening work, the Sonata in F-Sharp Minor by Muzio Clementi, a contemporary of Beethoven's, made it clear that Horowitz was warm all over...

Author: /time Magazine | Title: Music: Again, Horowitz | 12/2/1974 | See Source »

Schumann's Kinderscenen found Horowitz in a rare introspective mood, capable of colors ranging from petal pastels to autumnal browns and beiges. Scriabin's Piano Sonata No. 5 was a vehicle for him to demonstrate that whereas other pianists concern themselves with degrees of loudness, he seems to be capable of a thousand variations in softness. Horowitz, perhaps our foremost Scriabin interpreter, learned this work last summer, and his performance could be faulted only for a certain underplaying of the ecstatic concluding pages...

Author: /time Magazine | Title: Music: Again, Horowitz | 12/2/1974 | See Source »

Lynn Chang, violinist, and Richard Kogan, pianist. Beethoven: Kreutzer Sonata, and Brahma: Sonata #3 in d minor. Admission $3.00 (students $1.50) for the benefit of the Chinese Language School...

Author: NO WRITER ATTRIBUTED | Title: Classical | 10/31/1974 | See Source »

Lynn Chang, fresh from his spectacular first prize in the Paganini, and Richard Kogan, fresh from his spectacular performance with the Bach Society, play the Kreutzer and Brahms's 3rd violin sonata at the Gardner Museum Sunday afternoon--but they'll be playing a similar concert next week at Sanders, closer to home. Also of special interest is Poulenc's Babar the Elephant, for piano and narrator, Saturday evening at Currier House...

Author: By James Gleick, | Title: Classical | 10/24/1974 | See Source »

...another part of the sonata's power is the ineffable sadness of its last movement, when the four-note theme comes in for the last time on a flute--Thoreau's flute, Ives explained. The flute's been silent for the first three movements, and the tune comes in slowly and quietly, without preparation or roots, out of the blue. The sonata ends without a resolution. It is as though the old hymns couldn't stand against the bombast of fate knocking on the door. It is as though Ives had admitted that his father's world was gone...

Author: By Seth M. Kupferberg, | Title: A Salesman's Centennial | 10/24/1974 | See Source »

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