Word: schuberts
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
During the Harvard and Princeton Glee Club concert this weekend, the guys with the orange bow ties sang a lovely Franz Schubert hymn in German, which stirred fond memories of my family's trip to Germany this summer...
After a few weeks at a middling Washington internship and a quick shot of my small, charming, but proudly parochial hometown, I was really looking forward to the trip. I thought a few weeks amidst the ghosts of Schubert and intellectual giants like Nietzsche, Weber and the rest would do me good. I didn't suspect that when I left for Germany the Backstreet Boys would come with...
...understandably more interested in talking about his first CD, Handel Operatic Arias (Virgin Veritas); or his recent debut at New York City's Avery Fisher Hall, a four-encore lovefest at which he sang art songs by Britten, Schubert and Ravel so gorgeously that the audience was reduced to frenzied foot-stomping; or the fact that in November he will record Handel's Rinaldo with Cecilia Bartoli. It is all proof positive that the ex-tenor with the shaky top has definitely found his other voice...
Brendel, 68, a longtime London resident of Austrian descent, has recorded works by composers from Bach to Schoenberg. His advocacy of Schubert's late sonatas and many of Liszt's once derided works is widely credited with enhancing the reputations of even these great composers. But it is to Beethoven's works that Brendel has returned most often. In the process he has become the most inspired interpreter of Beethoven's piano music since Artur Schnabel (1882-1951). In addition to the many concert cycles of the 32 sonatas he has played on both sides of the Atlantic, Brendel...
...their business at unnecessary altitudes above the keyboard. The Three Mazurkas Op. 56 were a satisfying palate cleanser, so to speak. The first sounded at one moment like the bustling "Of Foreign Lands and Peoples" from Schumann's "Scenes from Childhood," and the second had the robust smack of Schubert laendler. Zimerman was subtle at highlighting the ternary structure of these pieces, and the introspective third was best of all, with a sudden dashed-off ending that brought laughter...