Word: mozarts
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This sort of thing is pointless, but it's innocent enough, and Bernstein admits that these analogies are only "quasi-scientific." In later lectures, though, he seems to take them quite seriously--at one point he even calls a bar of Mozart that involves both rhythm and harmony a "participle," as if you could mix parts of speech the way you mix blue and yellow to get green...
...Bernstein is a musician, after all, and when he talks about music without all the linguistic dross he is both entertaining and instructive, as he was during ten years of Young People's Concerts. There is nothing new for musicians in his analysis of Mozart's G minor symphony, Beethoven's Sixth and music of Berlioz and Wagner, but from the point of view of the layman he covers a lot of ground in a palatable...
...MOZART: COSI FAN TUTTE (London, 4 LPs). An elegantly articulated, lyrical version of the Mozart confection with Sir Georg Solti conducting...
...terrific on Britten's "The Young Person's Guide to the Orchestra," especially during the unnerving exposure of its long section of solo variations for each instrument. Debussy's "Iberia" brought out the HRO's characteristically rich, warm sound and some beautiful wind solos, and its supporting part in Mozart's Second Horn Concerto was cleanly accented and clearly phrased...
...Mozart's Second Horn Concerto is a thematically and harmonically uninteresting work, and soloist Charles Kavaloski--principal horn with the Boston Symphony Orchestra and HRO alumnus--did nothing to liven it up. His tone and pitch were flawless, but his interpretation was deadpan and uninspired. The third movement is written as a spirited march, but Kavaloski played it like an exercise and looked as though the monotony of it all were putting him to sleep. "Iberia" is too flashy and difficult a work to do justice to at 1 a.m. It was the only truly entertaining work on the program...