Word: beethoven
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Dates: during 1960-1969
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WALTER GIESEKING: BEETHOVEN PIANO CONCERTO NO. 5 IN E FLAT (Seraphim). This is the second low-priced issue of a Gieseking Emperor; the first (on Odyssey) is older and not as up-to-date in sound. For a seasoned campaigner, the late German pianist could be surprisingly youthful when he turned to Beethoven. Here he treats the Emperor more like a prince-in-waiting than an absolute monarch; he never stoops to imperious rhetoric, his tone is lithe and silvery, and he moves with quickness and grace. It is not the only way to treat the music...
EMIL GILELS: BEETHOVEN'S FIVE PIANO CONCERTOS (Angel, 5 LPs). Recorded last April in Cleveland with Szell and the Cleveland Orchestra, this set often finds the Soviet pianist more in a mood to polish his tone than to push Beethoven's cause. The concertos are all neatly and expertly done, but they rarely express the excitement, abandon and sheer joy of the music. Gilels does better in the three sets of solo variations that constitute the sidefillers; the 32 Variations in C Minor is especially notable for its logic and rhythmic verve. But as a whole, this ambitious...
...conferences because it was all a joke...you can't put over how you really are. Newspapers always get things wrong." Newspapers always get things wrong; a truth we all learned from Rosenthal's hilarious reporting from Columbia. So why not put them on. "What do you think of Beethoven?" "I love him," said Ringo. "Especially his poems." Fuck them all if they think we're stupid...
...they played with different styles. The Beatles version is the one most of us probably remember of Chuck Berry's "Roll Over Beethoven," or Smokey Robinson's "You Really Got a Hold on Me." Or "Please, Mr. Postman." Or "Act Naturally." They were the first to turn us on to a lot of things we later grew to love for their own sake. But their version was always something special. There was a quality of ironic distance or dual consciousness in their version. It was a sense of the Beatles playing wholeheartedly at the being black, at being Chuck Berry...
Some conductors prefer Beethoven, others Wagner. Some like sopranos, others tenors. Conductor Peter Maag's rather specialized preference is for the key of E-flat major. "Tonalities are like colors," he explains. "Have you noticed that when Mozart attacks E-flat he al ways uses clarinets, and when he attacks D-major he always uses oboes? E-flat suggests something very mature and saturated. D-major music is whiter and sharper. E-flat suggests a dark tone, a dark color like dark blue or green...