Word: beethovens
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...Today is Beethoven's 200th birthday. In the year he turned 175, the Harvard Glee Club heard the most important address ever delivered at one of its annual banquets. Entitled "Amphion's Lyre," the speech was given by the late Lucien Price '07, talking without notes. Price, the author of many books, was for almost half a century the chief editorialist of the Boston Globe. Beethoven starts his third century in a year plagued by war. Below are the concluding paragraphs of Price's remarks spoken 25 years ago in another time racked...
Berman started to play the piano under Lucille Morrisson Ravyen when he was seven: by the time he was ten or twelve he was working on Beethoven sonatas, playing in state contests, and giving solo recitals. In four years at Harvard, he took not one music course; he majored first in chemistry and then in history and science. He did accompany the Harvard Glee Club and had lessons with Miklos Schwalb at the New England Conservatory and gave several solo recitals. Junior year was a turning point in his career. He decided that he did not want...
...Evolution of Tonal Thinking in the Works of Claude Debussy, was completed in 1965, and he was awarded his Ph.D. that June. He feels that "Debussy was the final rupture from classical tonal thinking, although this break was prefigured and prepared by nineteenth century practice as far back as Beethoven. Wagner didn't make it the way Debussy did. While the concise structures of eighteenth century tonality seem almost irrelevant to the Wagnerian rhetoric, Wagner still relies on the concept of smooth progressions. Debussy's progressions are classical period. Nevertheless, Debussy does not deny tonality in the larger sense...
Barenboim is preparing plenty for the paring. Currently on a three-month U.S. tour, he is now two-thirds through his umpty-umpth cycle of the 32 Beethoven sonatas at Manhattan's Tully Hall. He is also well into a guest-conducting series with the Philadelphia Orchestra. Next month he will conduct the New York Philharmonic for four weeks. His Angel disks (36 to date) seem to come along these days as regularly as books on ecology or space fiction...
Quite simply, Barenboim has not yet decided what kind of pianist he really wants to be. Five years ago, he rippled off Mozart sonatas and Beethoven concertos in a smooth, glassy style, as opposed to the passionate, warmly phrased playing of the late Artur Schnabel, Van Cliburn, even Daniel's friend Vladimir Ashkenazy. Barenboim's more recent recordings of Mozart's concertos Nos. 17, 20 and 21 are still too bland and bloodless. This year's set of the complete Beethoven 32 (like his current Tully Hall cycle) has weaknesses, notably a prevailing glibness...