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Despite such engaging ways, many musicians and critics complain that Rostropovich takes too many liberties with his music, both at the cello and on the podium. Cellist Starker, whose style is considerably cooler and more disciplined than Slava's, deplores -"the personal approach that disregards the composer and stresses the feelings of the individual." It is not that Rostropovich insists upon sending his disregards to the composer; he simply hears phrases, colors and rhythms that nobody else hears. The result is that when he conducts, his soloist's gift for subtlety sometimes deserts him. In Vienna two years...

Author: /time Magazine | Title: The Magnificent Maestro | 10/24/1977 | See Source »

...week Haydnfest at the Kennedy Center, the Smithsonian Institution, the National Gallery of Art, the Library of Congress and countless homes to which radio station WGMS began beaming daily Haydn programs. The performers include the city's own National Symphony, soloists like Violinist Isaac Stern and Cellist Janos Starker, orchestras and choruses from Yale, Shenandoah Conservatory and Kent State University...

Author: /time Magazine | Title: Music: Papa the Revolutionary | 10/6/1975 | See Source »

...loaded with passengers who are the devastated victims of concentration camps. The familiarity of the scene, the desolation of the faces, is awful. Yet Lelouch challenges our usual response by having a radio play Glenn Miller's Moonlight Serenade in the background. The song throws the scene into starker relief. The passengers are revealed not as victims but as survivors being ushered into the postwar world...

Author: /time Magazine | Title: Cinema: Romance of the Century | 3/31/1975 | See Source »

...Starker, whose reputation as an un sentimental musical intellect is as familiar as his flawless intonation, is almost buoyant with his new toy. Even the so bering milestone of a recent 50th birthday could not blight his joy. "I love it so much," he says with uncharacteristic exuberance, "that I am doing things I could never do with anything else. For me, emotion must give way to form and structure. But I love this piece so that I'm inclined to let my hair down." Starker is balding...

Author: /time Magazine | Title: Music: Undercover Masterpiece | 8/5/1974 | See Source »

Called the "Ram Song" sonata be cause Brahms borrowed the melody of his Opus 59 Regenlied, the D major so nata emerged a varied, complex work with some diabolical technical demands. But Starker plays the cello as naturally as others speak. From a firm and steady bow a shimmering melodic line un wound, juxtaposed with rich chords. After the performance Starker said, "You'd think Brahms had written it for the cello...

Author: /time Magazine | Title: Music: Undercover Masterpiece | 8/5/1974 | See Source »

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