Philippe Herreweghe's 2011 recording of Ludwig van Beethoven's Missa Solemnis in D major receives high marks, not only for the elegant period treatment, but also for the profound conviction of the performance. The Collegium Vocale Ghent and the Orchestre des Champs-Élysées deliver the music with a somewhat smaller sound than one usually hears in modern performances; the Classical proportions of the ensembles allow details to stand out with utter clarity and the choral parts to move with greater fluidity and transparency than permitted with much larger choruses.
Ludwig II of Bavaria, more commonly known by his nicknames the Swan King or the Dream King, is a legendary figure - the handsome boy-king, loved by his people, betrayed by his cabinet and found dead in tragic and mysterious circumstances.
King Ludwig II of Bavaria is frustrated, having to accept parliament's will to join Bismarck, rather he his cultured Habsburg friends, in wars. His love-life being as fruitless, he seeks comfort in art. But building fairytale castles and an even grander opera for his musical idol Wagner proves so expensive, his cabinet ends up resorting to formally challenging his mental health, plausible as his beloved brother Otto contracted schizophrenia earlier. Tragedy now lurks in Ludwig's prison-castle.
Historical evocation of Ludwig, king of Bavaria, from his crowning in 1864 until his death in 1886, as a romantic hero. Fan of Richard Wagner, betrayed by him, in love with his cousin Elisabeth of Austria, abandonned by her, tormented by his homosexuality, he will little by little slip towards madness.
Every man's death diminishes us all, but the death of a man so close to completing his greatest achievement and the summation of his life's work diminishes us all greatly – very, very greatly. When Emil Gilels died in 1985, he had completed recordings of most but not all of Beethoven's piano sonatas, released here in a nine-disc set. What's here is unimaginably good: superlative recordings of 27 of the 32 canonical sonatas, including the "Pathétique," "Moonlight," "Waldstein," "Appassionata," "Les Adieux," and the majestic "Hammerklavier," plus the two early "Electoral" Sonatas and the mighty Eroica Variations. What's missing is unimaginably priceless: five of the canonical sonatas, including the first and – horror vacui – the last. But still, for what there is, we must be grateful. Beyond all argument one of the great pianists of the twentieth century, Gilels the Soviet super virtuoso had slowly mellowed and ripened over his long career, and when he began recording the sonatas in 1972, his interpretations had matured and deepened while his superlative technique remained gloriously intact straight through to the last recordings of his final year.