By Allan Kozinn
A incredible appraisal of the definitive classical song performances on hand today
For classical track fanatics, there's not anything extra beguiling and fascinating than the diversity of process and emotion which may trap or rework the good works within the palms of a conductor and musicians. yet with 1000's of recordings published each year, studying the jewels is a problem, for beginners in addition to for connoisseurs.
New York instances classical song critic Allan Kozinn bargains the final word collector's advisor, filled with a wealthy background of the composers and performers who stir our souls. From Bach's eloquent Goldberg Variations played through grasp pianist Glenn Gould firstly and finish of his occupation in startlingly varied interpretations, to a lyrical functionality of Rimsky-Korsakov's Scheherezade performed by means of Kiril Kondrashin almost immediately after his defection from the Soviet Union, Kozinn areas every one paintings within the better context of musical improvement and stretches the listener's figuring out of every pivotal composition. those unique essays at the 100 maximum recorded classical works supply either useful assistance for development a library and deep perception into the transcendent strength of song itself.
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Additional resources for The New York Times Essential Library: Classical Music: A Critic's Guide to the 100 Most Important Recordings
To) B Cosa sento! Tosto andate . . , tosto andate F D In mal punto B son qui giunto; G E e scacciate (F B) il seduttor. G E C Perdonate, o mio signor. 13 we hear how Basilio apes his master’s model right up to the ﬁnal cadence, as if he were about to conﬁrm the Count’s tonic closure. Instead, just where 28 PART I Mozart the Count breaks oﬀ his chain of thirds to form the melodic cadence F-to-B , Basilio extends his chain of thirds one link farther, arriving at a melodic cadence on the note C, the second degree of the scale, utterly incompatible with any possibility of tonic closure.
The two characters then review earlier events of the day with various reproaches, explanations, asides, and more questions (from both characters). Finally, the Count is convinced of Susanna’s sincerity. He tries to kiss her; she avoids this on the pretext that people are coming; he announces that she is his (as he believes)—but only in an aside—and departs. 31 32 PART I Mozart Da Ponte modiﬁes the opening of the scene so that the Count has all the questions and Susanna none—she gives explicit answers, partial, evasive, or unsatisfying as they may be.
Tion? 2. It shows the vocal melody and rhythm in the foreground of the question-and-answer review session, measures 23–28. 2. 3 The example focuses one’s ear very strongly on the way in which Susanna’s G s and Bs set up the big tonic downbeat at the beginning of the maggiore, where the Count responds to her prompting—one might almost say prodding— with an enormous harmonic and melodic A. 3, sounds familiar. 4 displays derivations for this material. 4a gives the melody for Susanna’s “non mancherò” at measures 25–26.