New York Times. 11/29/2003, Vol. 153 Issue 52682, pB18-B18. 1/5p. 1 Black and White Photograph.
Features two concerts highlighting the music of Austrian composer, Hugo Wolf. Performance of Bo Skovhus and Andreas Haefliger at the Zankell Hall; Performance of Wolfgang Holzmair and Imogen Cooper at Weill Recital Hall.
New York Times. 7/10/2011, Vol. 160 Issue 55462, p19. 0p.
SYMPHONY and MUSICOLOGY
POSTERITY has not always treated Anton Bruckner kindly. The popular image of this composer as an unwitting visionary -- ''half genius, half klutz,'' as the conductor Hans von Bulow once said -- developed early on. During Bruckner's lifetime conservative critics recoiled from his music. Eduard Hanslick called him the ''gentlest and most peaceable of men who becomes an anarchist during the act of composition.'' These dismissals were vigorously countered at the time by critics like Hugo Wolf and, a generation later, by music theorists like Ernst Kurth and August Halm, who argued that the line of musical mastery stemming from Bach and Beethoven found its rightful culmination in symphonies by Bruckner (1824-96). And in Nazi Germany, Bruckner was manipulatively promoted as a herald of the new Reich. [ABSTRACT FROM AUTHOR]