Prof's Choice

Music Myths, and Revelations

Alessandra Comini, The Changing Image of Beethoven: A Study in Mythmaking (Rizzoli, 1987)—An interdisciplinary study of Beethoven biography, iconography, and the reception his music received.

Barry Cooper, editor, The Beethoven Compendium: A Guide to Beethoven's Life and Music (Thames and Hudson, 1991)—A must for any personal library.

Maynard Solomon, Beethoven Essays (Harvard University Press, 1988)—Addresses biographical and musical questions, such as the actual identity of the Immortal Beloved.

Scott Burnhata, Beethoven Hero (Princeton University Press, 1995)—Seeks to understand the "hero status" of Beethoven's music in the late twentieth century.

RECORDINGS: These present startling musical revelations by employing the instruments and playing styles used by Beethoven himself and his contemporaries.

Quatuors opus 18 no. 5 & 6, (String Quartets Op. 18, nos. 5 and 6) (Astree, 1994; Quatuor Mosaiques)—All future Beethoven quartet performances must be measured against these remarkable interpretations.

Missa Solemnis, op. 123 (Archiv Produktion, 1990; John Eliot Gardiner, conductor; Charlotte Margiono, soprano; Cadierine Robbin, mezzo-soprano; William Kendall, tenor; Alastair Miles, bass; Monteverdi Choir; English Baroque Soloists)—The clearest and most dramatic recording of this work available.

Piano Concerto no. 5 in E flat major, op. 73: Emperor; Fantasiefor Piano, Chorus and Orchestra, op. 80 (EMI, 1990; Roger Norrington, conductor; Melvyn Tan, fortepiano; London Classical Players; Schutz Choir of London)— This performance restores the remarkable relationships between the piano soloist and orchestra.

9 Sinfonien (EMI, 1989; Roger Norrington, conductor;Yvonne Kenny, soprano; Sarah Walker, mezzo-soprano; Patrick Power, tenor; Petteri Salomaa, bass; Schutz Choir of London; London Classical Players)—Shis recording project revolutionized the performance ofßeethoven symphonies. Be prepared fqr dizzying revelations and compelling performances, especially in the finale of the Seventh. Listen for the remarkable drama imparted by playing everything Beethoven asked for.

Sonata op. 13:Pathetique; Sonata op. 27, no, 2:Moonlight; Sonata op. 31, no. 2: Tempest(Editions de L'Oiseau-Lyre, 1991; Steve Lubin, fortepiano)—This recording demonstrates why these early sonatas were considered "over the edge" when they were first heard. Listen especially for the remarkably brisk but piercingly articulate playing of the first movement of the Pathetique Sonata. No performance on the modern piano can even approach the tempo, let alone the tempestuous presentation, of these remarkable musical ideas;

Summers