Word: virtuoso
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Gabin interprets Maigret as a shrewd man who can trap one murderer by being gentle and fatherly and capturing the other by being violent and disgusted. He understands what motivates a criminal and plays on their psyches like a virtuoso. Sloppy, unimpressive, Maigret is nonetheless the cleverest of sleuths, and Gabin plays him to perfection...
...minutes one evening last week, an audience in Manhattan's Carnegie Hall watched a short (5 ft. 6 in.), pudgy man in white tie and tails play a 1737 Guarneri del GesÙ violin. In that time Virtuoso Isaac Stern, backed by the New York Philharmonic, worked his way through three separate concertos (Bach's Brandenburg Concerto No. 5, Brahms's Concerto for Violin and Cello, Alban Berg's Violin Concerto), giving each of them the luminous tone and the warmly lyric sentiment that are his specialties...
...woman (5 ft. 2 in.), she seemed dwarfed by her instrument-a 6-ft. tablelike frame supporting a graduated series of hardwood strips with a row of tubular resonators attached. But when she started to flail away with both wool and rubber-tipped mallets, Marimbist Chenoweth proved herself a virtuoso. Scampering from one end of the instrument to the other, she produced flurries of bell-like tones in a surprising dynamic range. As for the piece itself, it proved to be tuneful, crisply rhythmic, shot through with jazz echoes and a spirit of jaunty sophistication. It proved again that Composer...
Lorin Hollander is a poised, redheaded 15-year-old who collects tropical fish, loves water-skiing and plays the piano with the aplomb of a seasoned virtuoso. Word about Lorin has been spreading in the musical world since the evening, three years ago, when he sat down with Manhattan's Little Orchestra Society as a last-minute substitute soloist and dashed off Ravel's tortuous Concerto in G Major as if he owned it. Last week, impassive as ever, Lorin appeared on the Telephone Hour (NBCTV) playing Chopin's Waltz in C-Sharp Minor and an excerpt...
...agitation about Richter-Haaser stemmed from an old argument: Should a pianist try for note-perfect accuracy, as most U.S. pianists do, or should he try, in Artur Rubinstein's phrase, to "pull the listener in by the hair," letting the notes fall where they may? (Wisecracking Virtuoso Rubinstein boasted after one performance that he could play an entire new recital with the notes that had fallen under the piano.) Pianist Richter-Haaser belongs to the hair-pulling, note-dropping school, in the spectacular romantic tradition. His performance last week-Beethoven's "Appassionato," Sonata, Schumann's Fantasy...