"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>&mdash;Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.

The <I>auteur</I> theory of the cinema, first described in the 1950s by Fran&#231;ois Truffaut, states that a great movie represents the artistic vision of one person, usually the director. Moviemaking may involve collaboration, but it cannot be done successfully by a committee. There has to be a single individual in charge, one whose sensitivity and world view is reflected in the movie. In the same sense that the author of a novel is telling a story through the medium of print, the director of a movie is telling a story through the medium of film.