Word: beethovenã
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...film, he brings Ayers to live in the LAMP Community for the homeless, and it is here that the film is most compelling but also most misguided. The portrayal of the plight of L.A.’s homeless is straightforward, unapologetic, and sometimes violent. The transcendent beauty of Beethoven??s music—Ayers’ favorite—clashes constantly with the images of the desperate and abandoned vagabonds, and the conflict is intentional and incisive. But the heavy emphasis on this political undercurrent of urban suffering detracts from what should be the focus...
...alumni will feel Yannatos’ impact for decades to come. While writing his first symphony, Brahms said, “You can’t have any idea what it’s like always to hear such a giant marching behind you,” alluding to Beethoven??s towering reputation as a symphonic composer. HRO’s next conductor, to take the podium next fall, must feel a similar shadow in following such a titan as Yannatos...
...twinkling piano and strings. The piece finished with jazzy pandemonium, as the dialogue between Lowy and the orchestra surged to a loud, clean conclusion.“Symphonie Fantastique,” the third and final piece on the program, was written in 1830, only three years after the Beethoven??s death. While Beethoven is considered a master of symphonic composition, Berlioz, with the production of “Symphonie Fantastique,” is credited with expanding the genre’s potential. By moving its traditional structure into a freer and more dramatic form he moved...
...without price” or “FREE!” When Beethoven debuted his Ninth Symphony 185 years ago, there were several things of which we can be certain, namely that there was no bootleg made of the performance, there were no “Best of Beethoven?? CD’s for sale outside the concert hall, and Beethoven was not holding out on a record deal with Interscope. Why? Because a recordable medium for audio simply did not exist.When Thomas Edison and others perfected the technology of the gramophone, consumers could start bringing...
...Music Director Laureate and legendary conductor Seiji Ozawa returned to the Boston Symphony Orchestra for a spectacular all-French program, it was Maestro James Levine who took the podium Saturday night for an ambitious program featuring works that span the spectrum of musical genres. From the classical symphony of Beethoven??s 7th to the Neo-classical ballet of Stravinsky’s “Rite of Spring” to the new horn concerto of famed American composer Elliott Carter, concertgoers young and old indulged in another musical treat of the highest quality in historic Symphony Hall...