Beethoven Perer, Cond
Schiirhoff, contralto; Erich Majkut, tenor; the Munich Residenztheater made history Otto Wiener, bass; Vienna Academy in the period between the two World Choir; Vienna Symphony, Otto Klem- Wars. Strauss formed a theory, which was Beethoven perer, cond. Vox STL 511430, $4.98 (two then thought to be very controversial, discs). that most of the great music by Haydn, Lenore Kirschstein, soprano; Jeanne Mozart, and Beethoven was conceived in on Records Dehroubaix, contralto; Peter Schreier, one fundamental tempo. For example, tenor; Günther Morbach, bass; Chorus of he conducted the whole finale to Act II Cologne; Giirzenich Symphony Orchestra, of The Marriage of Figaro in such a way able. This is a distinct drawback to the Günter Wand, cond. Nonesuch HB 73002, that every section stood in precise mathe- whole, but one day we may hope that $4.96 (two discs). matical relation to its preceding and fol- Brendel will do all these performances (ha Graf, soprano; Grace Hoffman, lowing number. Sometimes such a pro- with better forces. Anything that Brendel mezzo; Helmut Kretschmar, tenor; Erich cedure is perfectly obvious, as in the touches is always marked by devoted Wenk, bass; North German Radio Chorus Adagio introduction and the following study and careful preparation, and the and Orchestra, Walter Goehr, cond. Van- Allegro in the first movement of Haydn's Choral Fantasy is no exception. The per- guard Everyman SRV 214/15, $4.96 (two Symphony No. 98: the tempo of the Al- formers take the music much more slowly - discs).- 1:12 .,- .) legro is surely double that of the Adagio. than Serkin /Bernstein, but 1 believe this Luis Marshall, soprano; Nan Mer- Nowadays, this theory is almost univer- tempo -which is only slightly slower than riman, mezzo; Eugene Conley, tenor; sally accepted by musicologists the world Katchen's -is basically the right one.
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