Dave (imported) wrote: Wed Jun 01, 2005 6:50 am It was Malcolm McDowell, not Roddy . . . they aren't related. Most students hate Anthony Burgess' novel because it has lots and lots of jargon in it. The old "in/out" and "droogies" and all that. An essential of the plot is that Alex, the sociopath, is obsessed with Beethoven almost as much as he is obsessed with gratuitous violence.

I had always thot they brothers.

Dave says...

Dave (imported) wrote: Wed Jun 01, 2005 6:50 am It was Malcolm McDowell, not Roddy

Sorry fellas, I had a 'senior' moment.

I will be more careful monkeying around with actor's names...



:shakemitk

A-1

bobov (imported) wrote: Wed Jun 01, 2005 10:35 pm I'll take your comparison to Walker Percy as praise, and say thanks. To answer your question - because nothing is more indecorous than excellence.

I haven't heard Gardiner's Beethoven. Is there any recording you'd recommend?

Yes, here are a couple:

Beethoven Ninth conducted by Gardiner

Performed by Orchestre Revolutionnaire et Romantique

Release Date: May 14 1996

Total Running time: 1:02:49

Label: ARCHIV PRODUKTION

Catalog No.: 447074

UPC: 28944707427

and the album titled Beethoven: The Revolutionary

1. Symphony No. 5 in C minor ("Fate") Op. 67 31:47

Composed by Ludwig van Beethoven

Conducted by Sir John Eliot Gardiner

Performed by Orchestre Revolutionnaire et Romantique

2. Symphony No. 3 in E flat major ("Eroica"), Op. 55 44:29

Composed by Ludwig van Beethoven

Conducted by Sir John Eliot Gardiner

Performed by Orchestre Revolutionnaire et Romantique

Release Date: Jan 17 1995

Total Running time: 1:16:16

Label: ARCHIV PRODUKTION

Catalog No.: 445944

UPC: 28944594423

Sure it wasn't Audie McDowell? Her presence would have made as much sense as anything else in this Kubrick flick.

docs (imported) wrote: Thu Jun 02, 2005 7:08 pm Sure it wasn't Audie McDowell? Her presence would have made as much sense as anything else in this Kubrick flick.

Well, she is lovely. She made a film here in Baton Rouge, but I never saw her--at least, I don't recall seeing her.

Old Softee, thanks for the recommendations.

I'd suggest Beethoven's 9th conducted by Furtwangler (Berlin, 1942). This is the best of Furtwangler's 11 recordings of the work.

For the 5th (and the 7th) try Karlos Kleiber's version - Kleiber's genius balances Beethoven's.

For the 3rd, I also usually listen to Furtwangler.

I'll check out Gardiner.

bobov (imported) wrote: Fri Jun 03, 2005 3:33 pm Old Softee, thanks for the recommendations.

I'd suggest Beethoven's 9th conducted by Furtwangler (Berlin, 1942). This is the best of Furtwangler's 11 recordings of the work.

For the 5th (and the 7th) try Karlos Kleiber's version - Kleiber's genius balances Beethoven's.

For the 3rd, I also usually listen to Furtwangler.

I'll check out Gardiner.

For many years, the only recording of the 9th I owned (or would own) was a Furtwangler recording made just after the war. I still own it. It is still my favorite.

The Kleiber 5th is splendid. I do not know but will look for the Furtwangler 3rd. Thank you for the recommendations.

According to my recollection (which may be wrong or inaccurate) Rossini used the tempo and perhaps some of the melodic conventions for a north Italian or southern Swiss dance (I guess, a folk dance) when he composed the "William Tell Overture." The dance was called "the Galop." I think some music critics, or perhaps most of them, consider the piece a classical adaptation of another musical genre (just as "Stranger in Paradise" is the other way around, a pop adaptation of the "Theme from Prince Igor."). Maybe those interested in classical music could do a search engine inquiry and enlighten everybody on the Tell Overture.

An Onymus (imported) wrote: Fri Jun 03, 2005 5:26 pm According to my recollection (which may be wrong or inaccurate) Rossini used the tempo and perhaps some of the melodic conventions for a north Italian or southern Swiss dance (I guess, a folk dance) when he composed the "William Tell Overture." The dance was called "the Galop." I think some music critics, or perhaps most of them, consider the piece a classical adaptation of another musical genre (just as "Stranger in Paradise" is the other way around, a pop adaptation of the "Theme from Prince Igor."). Maybe those interested in classical music could do a search engine inquiry and enlighten everybody on the Tell Overture.

I recall a story about Rossini and a rival (suitor and composer) finding themselves in the same bedroom with a woman they each admired. She proposed a musical competition to compose a love song for her.

Unfortunately, Rossini and his rivial presented the lady compositions exactly the same. Rossini realised that he had the rival had stolen from the same composer.

As a sixties member of Students for a Democratic Society, I recall how The New York Times distorted its coverage of the student disruption of the Columbia University Campus during 1968. They claimed that SDS planned events that no one in SDS planned. They presented editorials as news coverage. The newspaper had two seats on the board of directors of the university.That is why I consider that paper to have a right-wing bias. CBS did the same thing.

Read Mark Kurlansky's excellent chapter in his book 1968: The Year That Rocked the World and Todd Gitlin's The Whole World Is Watching.