Word: bruckner
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Dates: during 1990-1999
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...Bruckner, a senior at Cambridge Rindge and Latin School, gathered about 30 volunteers to paint the awareness messages, reading "Please Don't Dump. Protect the Charles River," next to 'catch basins,' or street drains, throughout Cambridge...
...They were poised to reverse any preconceptions about 10-year-old singers that we might have formed during our own disjointed renditions of The Twelve Days of Christmas and O Come All Ye Faithful in primary school. As the Vienna Choir Boys performed a sophisticated repertoire of Haydn, Isaak, Bruckner, Schubert, Salieri and Mozart, they brought fifth graders to rare musical heights. But while the concert was supposed to promote the talent of child singers, it might have inadvertently done something else--and affirmed the supremacy of adults...
Moving through the years, the set includes such highlights in the symphony's history as Otto Klemperer's masterly U.S. premiere in 1934 of the original, and now standard, version of Bruckner's Symphony No. 9; and the youthful ardor and easy virtuosity of Jascha Heifetz and Arturo Toscanini performing Brahms' Violin Concerto in 1935. The impassioned responsiveness Toscanini elicits from the orchestra demonstrates why his players held...
...mood of triumphant brightness in Symphony Hall quickly changed at the start of Anton Bruckner's brooding Ninth Symphony, which comprised the second half of the concert. An ominous and disturbing work, it swings violently from melancholy introspection to frenzied passages which verge on hysteria. Bruckner started writing this Symphony during what was probably the lowest ebb of his confidence in his own work. The publisher who had promoted and loved his tremendously successful Seventh Symphony had recently told Bruckner that his Eighth Symphony was incomprehensible. After this criticism, Bruckner spent most of his time trying to revise his older...
...haunting unison violin theme opens the surprising third movement. It is rare--and disarming--to hear so many violins play without accompaniment; the effect is unforgettable. Triumphant moments are genuine, as if Bruckner had finally broken out of his pervasive bad mood. A soothing calm wells up at the end of the piece, which ends almost imperceptibly. One can only imagine that the fourth movement would have united the disparate themes and expressed his final resolution...