Word: beethovens
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Germany, Italy and Switzerland this fall. He is also scheduled to conduct the Berlin Philharmonic in six concerts in its home city and then take it on tour to London for a Beethoven cycle. December calls for a production of Fidelia at La Scala. And since he is now free of Salz burg, Edinburgh may seek his services for its music festival next year. Finally, there are reports that Von Karajan has privately expressed his ambition to conduct the opening of the new Metropolitan Opera House in New York...
...JACK KENNEDY, a faithful Guest Conductor listener (whose father Joe, the family's No.11 music buff, listens to Beethoven records by the hour), detailed his choice in a long letter written by Wife Jackie: Debussy's Afternoon of a Faun, Ravel's La Valse, Berlioz' overture to Benvenuto Cellini, Mussorgsky's Boris Godunov, and dances from Borodin's Prince Igor...
...Second Symphony is less radical than many of Ives's works. A passionate, lyrical piece, it contains unmistakable echoes of the great German romantics-Beethoven, Brahms, Wagner-but positioned neatly after their Olympian periods are Ives's variations on Turkey in the Straw, Columbia the Gem of the Ocean, even that old Dartmouth drinking song, Where, Oh Where, Are the Pea-Green Freshmen? After passages of spacious solemnity, the horns break suddenly into a capering phrase from Camptown Races; in the midst of the frenzied final movement, doleful woodwinds sound forth with Old Black Joe. Even the ending...
...chance to hear what the same people they look at are saying. How many persons would attend stage productions if the performers just mouthed their lines while others read them over loudspeakers from the wings? How many would fill a concert hall to hear a late string quartet of Beethoven played by two oboes, a clarinet, and a bassoon? Why single out the cinema for such artistic schizophrenia? At best, the cinema--I guess it needs to be repeated--is a great art-form, and it deserves to be treated accordingly...
...diction faultless, the rhythm and phrasing reminiscent of Ella Fitzgerald. To a casual record store browser it might signify the most exciting new popular singing talent to come along in years. But the voice is not new. It belongs to a great lieder singer, a standout oratorio performer (Beethoven's Missa Solemnis, Handel's Messiah), and a star of such operas as La Gioconda and Medea. The singer: Eileen Farrell. probably the finest dramatic soprano in the U.S., who will make her Met debut next season in Gluck's Alceste...