Word: beethovenã
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...wayward chair, accidentally pushed off the stage to amused applause, could dampen their spirits. While this excitement, at its best, translated into heartfelt music, it also led to sonic imbalances and an occasional lack of polish. Such problems were evident from the concert’s first selection, Beethoven??s “Overture to ‘Egmont,’ ” op. 84. Written as incidental music for a play by Goethe, the piece depicts the Dutch opposition to Spanish rule during the 16th century.From the first measures of the Overture, each section exhibited...
Looking for an accurate depiction of Beethoven??s life—without having to read a book? If you’ve considered the newly released film “Copying Beethoven,” Fanny Peabody Professor of Music Emeritus Lewis H. Lockwood would probably advise you to spend your hard-earned money elsewhere. “Historically, it’s dreadful,” Lockwood says of the film, which depicts a fabricated relationship between an irascible Beethoven??played by Ed Harris—and a fictional female copyist. Yet Lockwood doesn?...
...discussion with college journalists, Harris discussed his intense commitment to the role, some of his problems with the script, and his view of music education in America.MY FRIEND, LUDWIG VANMuch of the conversation focused on Harris’ acting process and his attempt to mix his own personality with Beethoven??s.“For 9, 10, 11 months, I lived with [Beethoven??s] music and my own all the time; that’s how I enjoy working,” he says. “It makes it interesting for me, it?...
Copying Beethoven Directed by Agnieszka Holland MGM 3 stars Final masterpieces have a real way of bringing a man down. Director Agnieszka Holland’s latest film “Copying Beethoven?? captures such a slump, showing us the last, deafened days of Beethoven, with the Ninth at his back. Holland, who directed “The Secret Garden,” enlists Ed Harris to play the German genius, and though both director and star create much bluster and intensity, neither of them offer the audience much more than empty sound and fury. Apart from...
...through delightful language. This line of thought has gone out of vogue, both for aesthetic reasons and because it has become abundantly clear that there is nothing particularly ennobling about high culture itself. After all, Alex from “A Clockwork Orange” raped and murdered to Beethoven??s Ninth, and the Nazis were known to listen to Wagner with rapture after a good day’s genocide. Harvard English professors themselves—who have spent a lifetime immersed in literary scholarship—are hardly moral paragons, although I will refrain from scrounging...