Word: mahlers
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...port of call determined the musical work, and the musical work determined the menu. These delicate musical relationships, hesitant at first, had bit by bit been transformed into invariable ritual, even if it occasionally happened that the sudden decay of a tournedos necessitated the replacement of Rossini by Mahler, and the tournedos by a Bavarian pot roast...
...Mahler: Symphony No. 7 (RCA, 2 LPs). The Song of the Night defeats most conductors. James Levine and the Chicago Symphony crack its secrets with a powerful performance...
...into an infinitely supple, responsive ensemble. At first cast in the uncompromising mold of Toscanini, Karajan, 74, drilled his orchestra until its virtuosity was unquestioned. Later Karajan moved toward Furtwangler's ideal of fluidity, and his music making took on a greater spaciousness. In works from Beethoven through Mahler, Karajan knows few peers, and no superiors. In honor of the orchestra's centenary, Deutsche Grammophon in September released a six-volume, 33-disc set of memorable recordings, tracing the Philharmonic from the Nikisch days through Karajan's latest digital recordings...
...Francisco, where he is composer in residence with the San Francisco Symphony. Adams' music represents less of a conscious break with the past than either Reich's or Glass's; instead of reducing his music to the bare bones, Adams draws inspiration from composers like Beethoven, Mahler, Sibelius and Stravinsky. His works have a lushness and emotional depth largely absent in the ascetic though fundamentally cheerful sounds of Reich or the giddy, explosive rhythms of Glass. The least "minimal" of the three, Adams has forged a big, strong, personal style, expressed in complex forms that employ...
...more than a decade, Composer George Rochberg, 64, has been a point man in one of the bitterest musical skirmishes of the postwar era. With the appearance in 1972 of his Third String Quartet, a work at times frankly reminiscent of Beethoven and Mahler, Rochberg broke irrevocably from the dominant twelve-tone school of composition to write music that was more tuneful, more accessible and, in his opinion, more expressive. His apostasy puzzled and angered many of his colleagues, who felt that the tonal system used by the great classical and romantic composers was exhausted. "Why is George writing beautiful...