Word: liszt
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Albert Schweitzer, who almost single-handedly revived interest in Bach during the first decade of this century, happily list the few people who accepted and appreciated Bach's genius: Mendelssohn, Goethe, Schumann, Beethoven, Wanger, Liszt. Once the common opinion of only the greatest artists of the nineteenth century, that opinion is now generally accepted. Today we learn harmony from Bach's chorales and even Time Magazine has called him "The Fifth Apostle...
...years have been equally hard on other romantics on the Butler program. Belgium's Henri Vieuxtemps was perhaps the greatest violinist of his day, but until Cellist Jascha Silberstein performed his Cello Concerto in A Minor, it had never been heard in the U.S. Sigismond Thalberg was Liszt's great rival at the keyboard and a composer of considerable skill. Yet his lively fantasy on The Barber of Seville, exuberantly played at Butler by Pianist Raymond Lewenthal, is now a rarity...
...first Philadelphia records are a distinct disappointment. Recorded in the Philadelphia Academy of Music rather than in the ballroom used by Columbia, their sound is often dry and devoid of the luster for which the orchestra is famous. Charles Ives' Third Symphony and an LP of Grieg and Liszt concertos with Pianist Van Cliburn as soloist are the best of the lot. But the Chopin F-minor Concerto with Artur Rubinstein is heavy and graceless, and Tchaikovsky's Pathetique Symphony lacks the bite and immediacy of a nine-year-old version that Columbia re-engineered and rereleased last...
...need not have done so. His flawless technique and singing interpretative style would have been enough to rank him with any of his contemporaries in the safe world of traditional concert life. But while Zukofsky can, and does, play the classics, he sees himself as a latter-day Liszt, introducing the music of his own time, chronicling it and, since he is a composer himself, writing it as well...
...spelling out the master's name in a recurring cantus firmus: B flat, A, C, H (the German notation for B natural). Used by Bach himself in The Art of Fugue, the motif is a traditional tribute that has been paid by composers as diverse as Schumann, Liszt and Webern...