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...longer be dismissed as a Hollywood upstart from the wrong side of the sound tracks. At the piano, in jazz or in Brahms, his playing is fluid and sparkling with character, although he often seems restrained, as if afraid of damaging the keys. His podium manner is similarly unshowman-like-self-effacing, in fact-but his sure beat, his quest for clarity of sound and shape, have reaffirmed the L.S.O. as one of the world's best orchestras...

Author: /time Magazine | Title: Music: Most Happy Man | 9/4/1972 | See Source »

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