The Penguin Guide to the 1000 Finest Classical Recordings: by Robert Layton, Ivan March, Edward Greenfield, Paul

By Robert Layton, Ivan March, Edward Greenfield, Paul Czajkowski

A attractive paintings of analysis and mind's eye that sheds new mild of the traditional international.

This thoroughly new version of The Penguin advisor to the one thousand most interesting Classical Recordings reports the simplest classical albums issued and reissued over the last 5 a long time, a lot of which dominate the catalog due to their sheer excellence, regardless of recording dates. extra finished than ever earlier than, it shows key recordings on CD, DVD, and superior SACD, together with these in encompass sound. if you would like the best to be had model of any significant classical album, you will discover it indexed and assessed in those pages.

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Were certainly familiar with each other’s works. Both wrote waltzes for the Concordia Ball in 1863 and Strauss Jr. 37 However, no evidence remains to support the hypothesis. Another theory is that various Viennese musical figures, specifically the directors of the various theaters, took it upon themselves to influence Strauss Jr. ’s first wife, Henrietta Treffz, who had had a distinguished stage career as an opera singer until her retirement in the late 1840s and was well 24 The Legacy of Johann Strauss acquainted with the repertoire.

S biography: facts and fictions 33 with the revolutionaries, yet biographers believed that his liberal views directly contrasted with his father’s conservative ones. For later biographers, Old and New Vienna were embodied in these figures and their actions in 1848. The juxtaposition between Old and New Vienna was elucidated by Karl Kobald in his 1925 biography. , on the other hand, was characterized by Kobald in different terms: The motto of New Vienna was: live and let live. The substance of its existence: love, enjoyment, beauty, theater, dance, and music … And the great conductor of this luxurious, life-loving New Vienna, its great musical genius, was Johann Strauss Jr.

And his native city; the works were praised because they contained the musical encapsulation of Vienna and its unique culture. ’s pieces do not simply evoke images of the city in their titles, they also do so in the music. Consider, for instance, the zither found in the introduction of Tales from the Vienna Woods, an authentic instrument from the region incorporated into the piece. 42 More often, though, his ability to capture his city in music was less tangible, as can be seen in this description of his works from Karl Kobald’s 1925 biography: And even today, when an Austrian, Viennese, anywhere in the wide world hears Strauss’s wonderful, jovial melodies, he is afflicted by a deep homesickness, he laughs and cries, and in his mind appears the beautiful image of the beloved city on the Danube, the silhouette of the Stephansdom, of Kahlenberg, Schönbrunn Palace that in their blossoming, still gardens and hills surround the “beautiful blue Danube …”43 This passage paints a picture of Vienna by invoking several of its best-known locales.

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