Aug 28, 2008
Pages tagged “Beethoven”
Ludwig van Beethoven (Composer), Kurt Moll (Performer), Leonard Bernstein (Conductor), Concertgebouw Orchestra Amsterdam (Orchestra), Edda Moser (Performer), René Kollo (Performer)
Beethoven's "Missa"-Perched Between the Baroque and the Romantic Neo-Baroque
I can affirm most wholeheartedly that Beethoven’s Missa Solemnis absolutely succeeds outdoors on a balmy June evening, as proved last night by the Chicago Grant Park festival and its capable conductor, Carlos Kalmar. I’m too lazy to look it up, but was it not so long ago that outdoors summer festivals avoided pieces like the Missa?
I can affirm most wholeheartedly that Beethoven’s Missa Solemnis absolutely succeeds outdoors on a balmy June evening, as proved last night by the Chicago Grant Park festival and its capable conductor, Carlos Kalmar. I’m too lazy to look it up, but was it not so long ago that outdoors summer festivals avoided pieces like the Missa?
Has Beethoven Gotten Boring? Is Mikhail Pletnev the Answer?
The Wall Street Journalâs Greg Sandow "misses" the excitement he's read about when Beethovn's symphonies were first being played. Do we know these works too well to hear (quoting E. M. Forster) the third movement of Beethoven's Fifth as "full of goblins?"
The Wall Street Journalâs Greg Sandow "misses" the excitement he's read about when Beethovn's symphonies were first being played. Do we know these works too well to hear (quoting E. M. Forster) the third movement of Beethoven's Fifth as "full of goblins?"
The Limitations of Nomenclature: Introductions by Beethoven and Brahms
In the parlance of harmonic analysis, the Beethoven First Symphony and the Brahms Ein Deutsches Requiem open with the same chord, known in the trade as V/IV, (or the dominant of the subdominant, for all you Poindexters out there) you’d think they would make a similar effect. But they don’t.
In the parlance of harmonic analysis, the Beethoven First Symphony and the Brahms Ein Deutsches Requiem open with the same chord, known in the trade as V/IV, (or the dominant of the subdominant, for all you Poindexters out there) you’d think they would make a similar effect. But they don’t.
Schumann's Second Symphony: What Did Twentieth Century Critics Allow Schumann to Learn From Beethoven?
A friend lent me Anthony Newcomb’s 1984 article, “Once More ‘Between Absolute and Program Music’: Schumann’s Second Symphony”. The best part of the article is the exhaustive summary of critical reception to the work in the 19th and 20th centuries...
A friend lent me Anthony Newcomb’s 1984 article, “Once More ‘Between Absolute and Program Music’: Schumann’s Second Symphony”. The best part of the article is the exhaustive summary of critical reception to the work in the 19th and 20th centuries...
Mendelssohn and "The Anxiety of Influence"
How and to what extent did Beethoven’s (especially symphonic) successors respond to his overwhelming prestige, to his inescapable influence?
How and to what extent did Beethoven’s (especially symphonic) successors respond to his overwhelming prestige, to his inescapable influence?
You Don't Have to Start at the Beginning: Mendelssohn and Beethoven
Mendelssohn’s String Quartet in A Minor, Op. 13, written at the age of 18, and his String Quartet in E-flat, Op. 12, written at the age of 20, are at once the most knowlegable glosses on Beethoven in existence and yet at the same time deeply original works.
Mendelssohn’s String Quartet in A Minor, Op. 13, written at the age of 18, and his String Quartet in E-flat, Op. 12, written at the age of 20, are at once the most knowlegable glosses on Beethoven in existence and yet at the same time deeply original works.
Upcoming Graham School Classes: Some Suggested Preparation
By April 1, syllabi will be available for Tuesday’s Baroque, Wednesday’s Beethoven, and Thursday’s Dvorak class, on this site. I regret that I do not get these syllabi up earlier, but I prepare up to the very last minute and things don’t come fully into focus until the 11th hour…partially because I never use old syllabi, formats, or readings, but re-think every class I give, even standard “Life and Works” classes that I’ve taught many times. For some, my lack of rigid adherence to a given syllabus is problematical, but others prefer spontaneity and flexibility; probably it is best to steer something like a middle course.
By April 1, syllabi will be available for Tuesday’s Baroque, Wednesday’s Beethoven, and Thursday’s Dvorak class, on this site. I regret that I do not get these syllabi up earlier, but I prepare up to the very last minute and things don’t come fully into focus until the 11th hour…partially because I never use old syllabi, formats, or readings, but re-think every class I give, even standard “Life and Works” classes that I’ve taught many times. For some, my lack of rigid adherence to a given syllabus is problematical, but others prefer spontaneity and flexibility; probably it is best to steer something like a middle course.
Registration Open for Spring 2008 Classes
Iâve just added pages for Johnâs Spring 2008 Classes. There are three classes: Music of the Baroque Era (Tuesdays), Life and Works of Beethoven (Wednesdays), and Dvorak and the Rise of Musical Nationalism (Thursdays). Syllabus and recommended books, etc. will follow very soon.
Iâve just added pages for Johnâs Spring 2008 Classes. There are three classes: Music of the Baroque Era (Tuesdays), Life and Works of Beethoven (Wednesdays), and Dvorak and the Rise of Musical Nationalism (Thursdays). Syllabus and recommended books, etc. will follow very soon.