Word: beethovens
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...process called original-image bit-processing, make some gains in sound quality over the real originals. But more importantly, they bring exceptional, often legendary performances back to the market at relatively low prices. An excellent place to start is the reissue of conductor Carlos Kleiber's recordings of Beethoven's Symphonies No. 5 in C minor and No. 7 in A major with the Vienna Philharmonic Orchestra...
Enter the mercurial maestro Carlos Kleiber, with an official discography that can almost be counted on both hands and canceled projects numbering at least twice as many. One can only imagine what might have come of a recording of Beethoven's "Emperor" Concerto with Kleiber and the late Arturo Michelangeli, had it not been aborted at the first rehearsal. Granted, bootleg recordings of his rare concert appearances have kept more than one Italian label busy, but his extreme reluctance to record has inevitably elicited comparisons with Sergiu Celibidache, well-known for his remark that listening to recordings is much like...
...then, movie music is firmly in the romantic tradition. In accepting the 1954 Academy Award for his score for The High and the Mighty, Dimitri Tiomkin thanked "all those who helped me win this award--Johannes Brahms, Richard Strauss, Beethoven and Tchaikovsky." What sets the new composers apart, though, is their ability to combine disparate influences in the same score, drawing equally on rock, jazz, classical and folk influences. In Braveheart, for example, Horner melds the lonely sound of the Irish uillean pipes and the Peruvian flute with a modern symphony orchestra to portray Mel Gibson's doomed hero...
...slow third movement with its melodic but firm cello solos evinced a less single-minded quality in Ax's playing. He often employed a rich, pedaled texture that brought to mind his unhurried and comforting playing of Beethoven's early chamber music...
...Romantic Generation (Harvard University Press; 723 pages; $39.95) is Rosen's demonstration of the value and pleasures of musicology. In the narrowest sense, the author explores a relatively brief period of music history--from the death of Beethoven (1827) to the death of Chopin (1849). Rosen applies not only his experience as an extraordinary pianist, but also his considerable grasp of such disciplines as art history, philosophy, literature and linguistics. The result is an elegant and altogether irresistible study that is destined to endure, along with an earlier, seminal work of Rosen's, The Classical Style: Haydn, Mozart, Beethoven...