Word: trios
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Dates: during 1960-1969
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HEIFETZ-PIATIGORSKY CONCERTS: DVORAK'S PIANO QUINTETTE IN A, and FRANÇAIX: STRING TRIO (RCA Victor). Piatigorsky's full-throated cello conducts a civilized but passionate conversation with the violins of Heifetz, Israel Baker and Joseph de Pasquale and Jacob Lateiner's piano. In fact, all five musicians have a meticulous sympathy for Dvorak's buoyant chamber work, which is permeated by Czech folk music, or dumka ("little thought"), the unpretentious but satisfying Slavic themes that delighted Dvorak. The Françaix String Trio, on the other side, has little to offer but excellent musicians...
...nation that once ruled the road, Germany has taken few top honors recently. Its last triumph in the 24 Hours of Le Mans came way back in 1952, and no German car has won a Grand Prix race for half a dozen years. But in Florida last week a trio of long-tailed Porsche 907 prototypes put on a performance that suggested this year may be Deutschland über Alles once again. They finished one-two-three in the 24 Hours of Daytona, the longest sports-car endurance race in the U.S. and a major tune-up for Le Mans...
...FRED ASTAIRE SHOW (NBC, 9-10 p.m.). Back on TV for his first musical special in eight years, Astaire and Co-Star Barrie Chase sing and dance to today's sounds, provided by Simon and Garfunkel, Sergio Mendes and Brasil '66, the Gordian Knot, the Young-Holt Trio and Neal Hefti and his orchestra...
...Mice and Men. But what were they thinking about when they signed Britain's classical actor Nicol Williamson to play Lennie, the hulking, simple-minded American farm hand? That seemed a little like casting David Niven as Quasimodo. Well, in short, Williamson was an extraordinary Lennie. Of the trio of Britons who dominated the tube last week, his performance was the most remarkable. Bug-eyed and slackjawed, gangly and gawky, stammering and shuffling, he gave touching insight to his credo, "I got you and you got me." George Segal as George and Will Geer as Candy gave Williamson first...
...twelve-tone style of Pierre Boulez, with whom he studied for a time. Mines, commissioned by Sadler's Wells and first performed there three years ago, partakes of some of the near-physical brutality associated with the twelve-tone style. Its story is a gothic horror tale: a trio of scoundrels murder an old man and are then brought to penance by a troupe of plague-infected actors who may or may not be ghosts. "I wanted to write a tough, violent piece," says Composer Bennett, and he succeeded. His large orchestra churns out great globs of dark-hued...