Word: juilliards
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TIME'S report [April 21] of Van Cliburn's excellence in the Tchaikovsky international music festival was most sympathetic. A bouquet of gorgeous Texas roses should go to his mother-his only teacher prior to his going to Juilliard...
...with Van Cliburn. Meantime, correspondents in the U.S. and Western Europe talked to the people who had been close to Van: his parents, his teachers, his childhood friends, his musical associates. In Manhattan, Music Editor Richard Murphy and Researcher Rosemarie Tauris (whose husband is a conductor) interviewed musicians, managers, Juilliard teachers and friends. For Dick Murphy's story about the music sensation of the year, see Music, The All-American Virtuoso...
...mother thought he should be exposed to other teachers, but Van stubbornly refused. When he was 14, Mrs. Cliburn was taking master's classes at Juilliard, and Olga Samaroff,* a famed teacher at the school, offered Van a scholarship. But Pianist Samaroff died before he could start, and he refused to study with anybody else. In one volcanic scene with his mother, he threatened to give up the piano entirely if he was forced to go through with the Juilliard plans ("I always threatened her with that whenever she tried to give me away to another teacher"). They moved...
Extravert. When he graduated from high school in 1951, at 17, Van headed for Manhattan and a scholarship at Juilliard. Russian-born Pianist and Juilliard Teacher Rosina Lhevinne answered a knock at her studio door one day to find it filled with Van's rawboned frame. "Honey," he announced, "Ah'm goin' to study with you." It was the first time she had heard the name Cliburn, but she invited him in and asked him to play. Says Mrs. Lhevinne: "Right then I said. 'This is an unbelievable talent.' His mother had taught him very...
Ghosts & Feathers. What chiefly confounded the Americans in Moscow who have followed Van's career, e.g., Juilliard Dean Mark Schubart, Pianist Norman Shetler, is that he is not playing significantly better in Russia than he was able to play in the U.S. He has always had the technical equipment: the twelve-note span, the bravura style, the big percussive attack. But in preparation for his Moscow trip (which he says was revealed to him a year ago in a séance as a journey to "an agrarian country" where he would win a gold medal), Cliburn...