Word: mozarts
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Some conductors prefer Beethoven, others Wagner. Some like sopranos, others tenors. Conductor Peter Maag's rather specialized preference is for the key of E-flat major. "Tonalities are like colors," he explains. "Have you noticed that when Mozart attacks E-flat he al ways uses clarinets, and when he attacks D-major he always uses oboes? E-flat suggests something very mature and saturated. D-major music is whiter and sharper. E-flat suggests a dark tone, a dark color like dark blue or green...
...well as possible and put them next to the right other picture, and that's called programming. The whole idea of the concert hall grew up with the idea of the symphony. It began in the 18th century and finished with the beginning of the 20th century: from Mozart to Mahler, roughly. The symphonic form is dead, finished. But why despair about it? Just accept it. That tremendous repertory of masterpieces should go on and on for hundreds of years just as Rembrandts...
...composition. But, he says, "I wanted to get into pop music and rock. I can do this much better than the other stuff. Musical comedy is the great American sound, but most of its composers haven't had the technique to carry it further. They write as if Mozart and Weill had never lived. Only Gershwin and Bernstein have gone on to higher musical theater." Elephant Steps indicates that Silverman hopes someday to add his name to that list...
WALTER GIESEKING (Columbia ML 4536/37/38/39). Superlative readings of the Mozart Piano Concerto No. 23 and Franck Symphonic Variations, plus assorted works of Debussy...
...these standards, last week's concert at Manhattan's Metropolitan Museum was a typical Schneider enterprise. It was part of yet another series directed by him. The program consisted of chamber works by Haydn, Mozart and Schubert, all played by Schneider and his fellow performers with much warmth, zest and perhaps a shade too much emotionalism (in Schneider's view, "Haydn was a romantic composer; Mozart too-and Bach"). The performance was unified, but each player had the freedom to express his own personality. "Homogeneity is the worst thing in music," Schneider explains...