Word: beethoven
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...there is no love fall-out over Cambridge. Says a Briggs and Briggs spokesman, "We don't want that kind of business. We should lean more to Beethoven and Brahms." Although they are at this point legally entitled to sell the Fugs records, other Cambridge stores, at the suggestion of the police, have followed the cautious example of Briggs and Briggs. They would rather voluntarily ban the records than face a court case, even though they would appear to have a good chance of winning. "It's too much trouble--just for one record," explains a spokesman for Minute...
...BEETHOVEN: CELLO SONATAS NOS. 3 and 5 (Angel). From the beauty of tone and sensitivity of interpretation, listeners would scarcely suspect that the cellist is only 22, the pianist 27. Jacqueline du Pré, a child prodigy in England and recent student of the Russian virtuoso Mstislav Rostropovitch, handles her cello as gloriously as any master three times her age; Los Angeles-born Stephen Bishop, former student of Myra Hess, makes an impressive partner...
...Baroque image, the BSO performed a quarter of works representing every major stylistic period from the Baroque to the twentieth century. The program consisted of the instrumental sinfoniae from three J.S. Bach contatas, Wagner's Sieg-fried Idyll in its original instrumentation, Quiet City by Aaron Copland, and Beethoven's Eighth Symphony. It was the most ingenious program assembled at Harvard in the past several years. These works, all scored for a chamber orchestra, were ostensibly tailor-made for the Bach Society's diminutive instrumental forces...
...Beethoven "Eighth," in contrast to the giant Seventh and Ninth Symphonies, is classical in length as well as instrumentation. With its mere 16 strings, the BSO was attempting to follow the example of former conductor Jack Jackson's classical Beethoven's "First...
This vear's Bach Society failed to live up to the expectation of authenticity which it aroused. Though classical in terms of instrumental forces, it played the Beethoven with a Romantic concept of dynamics. Instead of a long crescendo, the development of the first movement was a wearingly consistent fortissimo. In the second movement, the wind-string balance was totally off, reaffirming the traditional inability of Harvard winds to play softly. Even considering the conservative tempo of the last movement, the orchestra's struggling with the notes is forgiveable; but its loudness and dullness...