Piano playing

Barbara Kingsolver’s bestselling novels tackle political and social issues and win prizes, among them the Pulitzer and Women’s Prize for Fiction (twice). Subjects she has covered include colonialism; environmental issues (preserving ecosystems and flora and fauna, and punishing polluting companies); the validity of extended family approaches to child-rearing in Cherokee Nation communities; the art of Frida Kahlo and Diego Rivera and their friendship with Trotsky; and the McCarthy era and the House UnAmerican Activities Committee.

Ask a roomful of concert pianists to pick their graveyard moment in Rachmaninoff’s Piano Concerto No. 3 (1909) and they’ll almost certainly point to five or so pages halfway through the last movement where an ant nest of piano notes infests a sparse orchestral threnody. When an elderly Vladimir Horowitz performed this passage – lank, dyed pageboy hair framing his Bela Lugosi face, hands darting over and under each other like butterflies – he looked more like a weaver at his loom than a virtuoso at his instrument. There are flickers of concentration, but the overall impression is one of extreme insouciance. ‘I am a Russian composer, and the land of my birth has influenced my temperament and outlook’ The originator of this style of playing was Sergei Rachmaninoff himself.