Word: berlioz
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Schubert, Symphony No. 9 in C; Debussy, Ibéria and La Mer; Berlioz, Queen Mab Scherzo; Respighi, Feste Romane; Mendelssohn, A Midsummer Night's Dream; Strauss, Death and Transfiguration; Tchaikovsky, Symphony No. 6 (Pathétique): The Philadelphia Orchestra, Arturo Toscanini conducting (5 LPs, RCA). When Toscanini made these recordings in 1941-42 with the orchestra Leopold Stokowski had built, it was astonishing, then as now, to note how readily the musicians yielded their lush sound and fat phrasing to the brilliant, transparent, sharply contoured style that Toscanini favored. The resulting interpretations are still splendid to hear-spacious...
...known for a quarter of a century, there is nothing average about Karajan. For this occasion he brought with him not only the Berlin Philharmonic, but 150 members of the Vienna Singverein, a superbly responsive chorus that at various times in its 118-year history has been led by Berlioz, Liszt and Brahms...
...independent life. Instead, the score is a shameless pastiche, something that Erich Korngold, the peerless artificer of movie music, would have deeply appreciated. Wagner (including an outright steal of Tristan's theme for Roland), Meyerbeer, Offenbach, all emerge from the pit. The vocal music is lifted mostly from Berlioz, who wrote wonderfully sensuous love duets. The pity is that in Manon, Massenet created an ineffable erotic style...
...FIRST concert in the 1976-1977 season of the Harvard-Radcliffe Orchestra almost requires two different reviews. The HRO, conducted by James Yannatos, put together a program of Berlioz, Shostakovich, and Brahms on Saturday night with greater fluency and strength than they have exhibited in several years. However, what really packed Sanders Theatre to overflowing proportions was the trio of pianist Richard Kogan, violinist Lynn Chang, and cellist Yo-Yo Ma, who performed on what must be described as a musical level comparable to the world's best...
...undeniably improved a lot; compared to their incredibly bad 1975 performance of Berlioz' Symphonie Fantastique, the French composer was treated with kid gloves in the concert's opening work, his Roman Carnival Overture. Terry Maskin, who was outstanding in the 1976 Harvard Summer School Orchestra, showed similar mastery in the tricky English horn solo, and the trombones cut through the string filigree passages with round sonority. Even the upper string intonation was not excessively distressing, and the forte passages seemed to herald a new, aggressive, full-bodied ensemble sound...