Word: keyboard
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Dates: during 1950-1959
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...most deceptively simple piano music (Sonatas, K.333, 311, 283, 282, Rondo in A Minor, K.511, Country Dances, K.606) she insisted on the intimate atmosphere of her house, which would approximate the acoustics of the salons in which Mozart himself played. After a lifetime of immersion in 18th century keyboard techniques, she brought to her performance a startling freedom-as if she owned the music...
...used it sparingly, and mostly as a collective straight man. On his own, Borge ran the comic gamut from a musician's parody of Bach to a mimic's spoof of Liberace ("Here is an opera Mozart composed for my mother"), keeping his timing uniformly impeccable in keyboard trills, one-line gags ("We have three children-one of each"), mugging, puns, audience squelchers, zany nonsequiturs and pure slapstick. The viewer's first impulse is to want to see Borge more often, but with TV's voracious way of chewing up and spewing out comedians and their...
...Wolff's music is not easily accessible either. It is a decidedly esoteric product of the John Cage cult, although probably better than anything Cage has done. Mr. Wolff played four pieces for piano and one for prepared piano. The technique is pointillist; tones are widely dispersed over the keyboard range, and in their succession they seldom suggest melody in the traditional sense of the term--single tones and sonorities assume a significance in themselves, and the phrase or line is replaced by the aggregate of points. Whether the feeling of oppression from lack of variety which comes after hearing...
...Vienna one day last week a Telex machine, ominously silent for almost a week, suddenly sprang to life. Slowly and with much stuttering an unknown keyboard operator in Budapest hammered out the following message...
...audience sat rapt and bewitched. Not a feathered toque or a velvet pillbox moved in Boston's Symphony Hall. There was something vastly appealing about the frail, hunched woman as she bent over the keyboard; her playing of Beethoven's Concerto No. 3 was filled with a rare kind of fire, poetry and sadness. Bucharest-born Pianist Clara Haskil, 61, was making her first U.S. appearance in 30 years, with Charles Munch and the Boston Symphony Orchestra. When she finished, the hall reverberated to stamping feet and shouts of "Bravo!"' She was called back an un precedented...