Word: mehta
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...July 6 closing ceremonies are an extravaganza, Wolper says defensively, "the sixth is a big party. This country enjoys that sort of thing. People want to have a good time." And while critics sneer at the 200 Elvis Presley look-alikes, he grouses, "Nobody talks about Zubin Mehta and the New York Philharmonic." Nor, he adds, is anyone giving him credit for the two-day conference of creative thinkers on liberty...
...Edward W. Desmond, Andrea Dorfman, Helen Sen Doyle, David Ellis, Kathryn Jackson Fallon, Mary McC. Fernandez, Cassie T. Furgurson, John Edward Gallagher, Nancy R. Gibbs, Lois Gilman, Edward M. Gomez, Christine Gorman, Rodman Griffin, Michael P. Harris, Carol A. Johmann, Sinting Lai, JoAnn Lum, Valerie J. Marchant, Naushad S. Mehta, Katherine Mihok, Emily Mitchell, Lawrence Mondi, Christine Morgan, Adrianne Jucius Navon, Jeannie Park, Barry Rehfeld, Andrea Sachs, David E. Thigpen, William Tynan, Sidney Urquhart, Jane Van Tassel, Leslie Whitaker, Linda Williams, Linda Young
George Crumb: A Haunted Landscape; William Schuman: Three Colloquies for Horn and Orchestra. (New York Philharmonic, Arthur Weisberg, conductor (of the Crumb); Zubin Mehta, conductor (Schuman), with Philip Myers, horn; New World Records.) Blessed with one of the most remarkable ears for sonority of any modern composer, Crumb has long had a fascination with the otherworldly. In such works as Songs, Drones and Refrains of Death, the two piano suites of Makrokosmos and the string quartet Black Angels, he combines a distinctive, flamboyant sense of instrumental color with a darkling imagination that results in some chillingly effective music. A Haunted...
Less stimulating is Schuman's Three Colloquies, a Philharmonic commission from 1980. A tired essay in Schuman's '50s style, the piece is only occasionally brightened by some pretty noises and adept writing for the solo instrument. Perhaps in response, Mehta turns in a slack reading, greatly in contrast to Weisberg's electric way with the Crumb...
...introspective, reflective performance in keeping with its contemplative nature. Only in the Fifth Concerto does Ashkenazy's rectitude inhibit him from the kind of large-scale reading the Emperor can support, yet his nimble style is fully in keeping with his restrained approach to the cycle as a whole. Mehta and the silken Vienna Philharmonic prove ideal partners in the venture...