Word: mozart
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Dates: during 1990-1999
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...Beethoven's piano debut on March 29, 1795 in Vienna. Another unique aspect is the size of the orchestra required for a concerto. With the absence of timpani and brass, the orchestra is small indeed. The effect is a composition more in the spirit of the single-emphasis Mozart concerto, even though there are frequent modulations, digressions and development...
...played more conservatively and reserved than expected, but perhaps more in Beethoven's intended spirit. Conservative in the sense that they played it up-tempo, the Sydney Symphony brought the piece closer to what Beethoven probably had planned and closer in sound to Mozart. Reserved in the sense that the orchestra played No. 2 as a concerto and not as a symphony. De Waart's conducting gestures were never forced, were never angularly abrupt. This added to the fact that the muted vibrations of the orchestra and the sweet mellow tone of the piano actually, at times, cast more silence...
...dose of high culture needn't mean a trek to the Wang Center or Symphony Hall. The Cambridge Symphony Orchestra, directed by Adam Grossman, is opening its 1998-99 season tonight with a concert of music by Moussorgsky, Mendelssohn, Mozart and Barber--the exciting "Night on Bald Mountain" is one of the featured works. 3 p.m. Agassiz School, corner of Oxford and Sacramento St., 547-9477, FREE...
...would like to respond. You noted that so far my discussion of the different intelligences as routes to understanding important topics has been general. In The Well-Disciplined Mind, to be published next spring, I develop three examples of such understanding--the theory of evolution, the music of Mozart, and the Holocaust--in exacting detail. You noted my hesitation to claim that multiple-intelligence schools have succeeded. In fact, dozens of MI schools have reported higher test scores and other benefits. However, as a researcher I know how difficult it is to prove that such benefits are due specifically...
Just when it seemed impossible to assess the Vienna Choir Boys without adding some qualification (i.e. they were good--for little boys), they sang their finale, Mozart's Mass in C Major and forged such a herculean comeback, it was as though another choir had donned their white sailor suits during intermission. Not only did the choir boys sing the sacred prayer with everything on target--their key, their inflections, even their infusion of reverence--but the choir introduced a soloist who sent a shiver down the spine of every patron in Symphony Hall. Terence...