Word: beethovens
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...those for the original Lost Horizon, Giant, The Guns of Navarone and 55 Days at Peking. Accepting his Oscar in 1955 for his score for The High and the Mighty, Tiomkin, good-humored and self-effacing, won the hearts of his audience when he thanked his four collaborators: "Bach, Beethoven, Brahms and Debussy...
...great composers. The repertory for the visit consisted mostly of works passed down through the company's musical heritage directly from those composers' hands. There was Mozart's Le Nozze di Figaro, premiered in Vienna in 1786 with Mozart himself conducting from the keyboard. There was Beethoven's Fidelio, also first produced in Vienna with the composer presiding, in 1805. From the 20th century there were Salome and Ariadne auf Naxos, the latter premiered in Vienna in 1916 and both composed by one of the State Opera's long line of distinguished directors, Richard Strauss...
...Viennese unveiled three of the four operas, plus orchestral evenings of Schubert symphonies and Beethoven's Ninth Symphony. To be added to the repertory this week were Ariadne and a Beethoven-Wagner orchestral program. Next week, after a 17-day run in Washington, the company will go to New York, where it will repeat the Ninth and the Beethoven-Wagner program and present a concert version of Fidelio...
...architectural sweep of Fidelio, the orchestra played like a first-rate symphonic ensemble - which, of course, is what it is. When not in the opera pit, it is the renowned Vienna Philharmonic. With Bernstein again on the podium, it excelled last week in a highly dramatic, virtuoso performance of Beethoven's Ninth. Bernstein tended to heighten what needed no heightening, but by the time the final movement erupted out of the smooth melodic arcs of the adagio, he and his players had built up a triumphant momentum. The Vienna chorus- tonally brilliant, never forced or fuzzy - drove home...
...composer who is perceived as an epochal innovator, Webern never saw himself in opposition to the Austro-German musical tradition that extends from Bach through Mahler. To his composition students he held up Beethoven's sonatas as the supreme models of craftsmanship. The Columbia LPs conclude with a 1932 recording of him conducting his own orchestration of some Schubert dances-a gesture of homage that was not unusual for him. What passed for classicism in his own day, he wrote in one of the letters quoted by the Moldenhauers, ''emulates the style without knowing its meaning . . . whereas...