Word: maestro
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...Giordano Bruno barks, maestro-fashion, at the beginning of this piece, Tragedy taken too seriously becomes Farce, and forced Farce is Tragedy. Real laughter is indiscriminate in its intuitive understanding of the irrational, as well as its recognition of the ubiquity of absurdity. How then can the Lampoon take itself seriously? One might as well ask how a harpoon can harpoon itself...
...David Gilbert in the right rear corner of the stage. He was only one of four conductors at work. At times, James Chambers led the brass and some percussion, Larry Newland the clarinets, flutes and a vibraphone. When all hell broke loose-during an evocation of the Apocalypse-Supreme Maestro Pierre Boulez could be seen beating with the polyrhythmic fury of a sinner trying to drive off an army of snakes...
...AnaMaria Vera pianist, Rotterdam Philharmonic Orchestra, Edo de Waart conductor, Philips). Another up-and-coming pianist is Ana-Maria Vera of Washington, D.C. The joyous innocence with which she attacks these lighthearted concertos is at once admirable and touching. So is her sparkling technique and rapport with Maestro De Waart, the Dutchman who is succeeding Seiji Ozawa at the helm of the San Francisco Symphony. Ana-Maria, born in 1965. was eleven when this recording was made...
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...
...became unbearable to the maestro, and in 1971 he slipped out to Sweden on a carelessly stamped exit visa. He soon signed on as general music director of the Kiel Opera, then picked up guest engagements in Europe and America. Tennstedt made his U.S. debut in December 1974, conducting the Boston Symphony in Brahms and Bruckner. The complex, granitic Eighth Symphony of Bruckner was hardly an easy choice for a newcomer, but the performance made it clear that a conductor of the first rank had arrived. The Boston had not sounded so brilliant in years. Subsequent appearances - topped...