Word: bruckner
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Does the world really need another conductor of Beethoven, Bruckner, Mahler and the other immortals? If his name is Klaus Tennstedt, the answer is a fortissimo yes. Unknown to the majority of American music lovers, the former East German maestro has become one of the most sought-after guest conductors in the U.S. Watching, the onlooker may wonder why: on the podium the man often resembles a stoned stork. Hearing his music is another matter: Tennstedt elicits a sound with the startling ring of rightness. Indeed, his musical logic may be the most profound since the late Otto Klemperer...
Handel and Haydn Society of Boston--Thomas Dunn conducts the Society's orchestra and chorus in Bruckner's Mass in E Minor for chorus and winds. Also included are Haydn's "Gioco Filharmonico," in which the audience constructs a minuet by rolling dice, and Pres du Ball, a work for chamber ensemble and female dancer by Henri Sauget. Tickets are $8.50, $6.00, $3.00. Info 536-2412. 25 Huntington Ave., Boston...
...HARVARD CREW for an hour at a time to be arranged with Coach Parker? $150 Who, disguised as a mild-mannered crew coach, disrobes backstage at Symphony each Saturday evening to reveal a stiff white collar caked with stale rosin from last weekend's manic rendition of Bruckner's eighth? Seems just about everyone is in on the adventure. And who could resist? With the opportunity to test your skills in the stern of a Harvard boat, you might even find yourself waiting in line behind George Plimpton...
...case last week as Karajan brought off a bravura musical marathon in New York's Carnegie Hall. In four successive days he unraveled the musical and spiritual mysteries of Brahms' A German Requiem, the Beethoven Ninth Symphony, a double bill of the Mozart Requiem and Bruckner Te Deum and the Verdi Requiem Mass. Each of these is a work of immense proportions requiring time and money as well as skill to prepare. The average orchestra in the U.S. will usually do one such score a year. As the world of music has known for a quarter...
...Tricks. For the Mozart Requiem, Karajan opted convincingly for a large symphonic approach, sweeping the music along with crisp rhythms and an ingenious succession of tempos. Bruckner's Te Deum has a peculiarly spare, even austere ring; Karajan caught that quality by the simple expedient of exposing all its modal harmonies and laying out its violent cross-rhythms firmly and precisely. Best of all perhaps was the Beethoven Ninth. This was one of those uncommon moments in which the strictest adherence to the letter of the score had a liberating effect. Rarely has the scherzo been taken at such...