Word: bruckner
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Dates: during 1960-1969
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...boss of London's Philharmonia Orchestra, Klemperer is regarded as the master of the 19th century romantics -Beethoven, Brahms, Bruckner. Last week's concert demonstrated why. Seated on a high wooden chair, his right hand clenched in a fist, Klemperer led the Philadelphia through performances of Beethoven's Eroica and Pastoral symphonies that were wonders of clarity and searching detail. Under Klemperer, the familiar, voluptuous Philadelphia sound faded away; the orchestra sounded lean and meticulously responsive as it played at tempi more deliberate than any other conductor would dare use (the New York Times's Harold...
Saturday, August 4: 10.00 Shed - BSO Open Rehearsal 8 p.m. Shed - Boston Symphony Orchestra, Conductor; William Steinberg: Beethoven: Symphony No.8; Bruckner: Symphony...
...while striking instrumental entrances proclaimed a self-conscious profundity, there was no groundwork of conventions whose variation might tell just what the profundity was about. The music did not demand the concentration essential to divining the deepest beauty in other romantics, say Bruckner or Wagner; its sound initially excited me because of its claim to deepness, but then left me unmoved because it never sketched out a subtle emotional message. When the announcer said that Morton Feldman's Piano (Three Hands) was "infinite personal experience," he parodied just that pretentiousness of style...
...third tour, it has seemed like a new orchestra. The sound is still heavier than that of U.S. orchestras but the heaviness no longer gets in the way of the music making. The Philharmonic contributed some performances nobody could forget-a shimmering Ravel Daphnis and Chloe, a surgingly powerful Bruckner Seventh Symphony, a glowing Beethoven Third, all of them conveyed with darkly colored intensity...
Munch never let Bruckner's rhetoric get out of hand. He controlled the volume and balance so well that the work built up to its most massive cannonade of sound at the very end and the removal of one choir, say the brass, did not weaken the motion of the other parts. Chorus, orchestra and soloists blended easily, the trumpets and horns penetrating the luminous tone of the chorus but never over-powering it. The chorus's enunciation was perfect throughout. As in the Faure, here there was no schmalz, and Richard Burgin's violin solo in the Aeterna...