Word: beethoven
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When all else fails, call the Professor of Love. Irving Singer '48, professor in the Philosophy and Linguistics Department at MIT, is academia's love czar, having published numerous books concerning the history and nature of love: love in the operas of Mozart and Beethoven, the pursuit of love, and human sexuality. Since 1958, Professor Singer has been lecturing at MIT on the philosophy of love...
...latest from a young man who is without question Russia's most exciting pianist, this recital disc pairs two romantic masterpieces, the Bach-Busoni Chaconne and Schumann's Kreisleriana, plus a pair of shorter pieces by Beethoven (Rondo for Piano in G Major is one). These spectacular performances--big-boned and expansive, yet piercingly direct whenever they need to be--rank among the very best on record. Not since Vladimir Horowitz was in his absolute prime have we been privy to classical piano playing quite as bold, quite as ambitious as this...
...narrow range of tastes--the rule in commercial radio is "specialize to capitalize." If you want to hear a broader range of music, you have to look elsewhere. This is as true of classical music, for example, as it is of "urban contemporary." When you get tired of hearing Beethoven's Fifth for the 900th time, it's time to tune out Classical 102.5 WCRB and tune in WGBH 89.7 or WHRB...
...pleasure of Great Pianists is in the listening, however, not in the debate over inclusiveness. All the significant performances of the century are here: Artur Schnabel's Beethoven, Wilhelm Kempff's Schumann, Sviatoslav Richter's Prokofiev, Walter Gieseking's Debussy. But Deacon was too knowledgeable, and too wily, to select only the gems that every piano lover may already have. More than a quarter of the music in the collection was previously unavailable on CD, and some pieces, such as Clifford Curzon playing Mozart's Piano Concerto No. 27, have never before been released commercially in any format. Deacon scoured...
...played more conservatively and reserved than expected, but perhaps more in Beethoven's intended spirit. Conservative in the sense that they played it up-tempo, the Sydney Symphony brought the piece closer to what Beethoven probably had planned and closer in sound to Mozart. Reserved in the sense that the orchestra played No. 2 as a concerto and not as a symphony. De Waart's conducting gestures were never forced, were never angularly abrupt. This added to the fact that the muted vibrations of the orchestra and the sweet mellow tone of the piano actually, at times, cast more silence...