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	<title>Musical America Blogs &#187; Beethoven</title>
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		<title>Too much of a good thing?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8019</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8019#comments</comments>
		<pubDate>Tue, 30 Oct 2012 22:15:33 +0000</pubDate>
		<dc:creator>Frankster</dc:creator>
				<category><![CDATA[An American in Paris]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[John Eliot Gardiner]]></category>
		<category><![CDATA[Monteverdi Choir]]></category>
		<category><![CDATA[Orchestre révolutionnaire et romantique]]></category>
		<category><![CDATA[Salle Pleyel]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8019</guid>
		<description><![CDATA[By: Frank Cadenhead Beethoven&#8217;s Missa Solemnis is a monument of world culture. It is not just a musical masterpiece but an extraordinary gift to our collective humanity. It is like a Michelangelo, a Titian, a Shakespeare play, a poem by Goethe &#8211; so utterly astounding that anyone has to wonder how the artist, a mere [...]]]></description>
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		<title>New York Rites</title>
		<link>http://www.musicalamerica.com/mablogs/?p=7453</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=7453#comments</comments>
		<pubDate>Fri, 21 Sep 2012 17:11:32 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[Ives]]></category>
		<category><![CDATA[Kurtag]]></category>
		<category><![CDATA[Leif Ove Andsnes]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Rebecca Schmid]]></category>
		<category><![CDATA[Stockhausen]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[The Rite of Spring]]></category>
		<category><![CDATA[Vaslav Nijinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=7453</guid>
		<description><![CDATA[By Rebecca Schmid In Berlin, where contemporary music thrives from the Philharmonie to off spaces, it is a widespread perception that New York’s mainstream institutions are afraid to program anything past Stravinsky. A look at Alan Gilbert’s recent undertakings with the New York Philharmonic, notably in a hugely successful “360” concert of Mozart, Stockhausen, Boulez [...]]]></description>
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		<title>Opening words…</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4470</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4470#comments</comments>
		<pubDate>Thu, 05 Apr 2012 15:52:55 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[DAAD]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Don Giovanni]]></category>
		<category><![CDATA[Karl Scheffler]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Offenbach]]></category>
		<category><![CDATA[Potsdamer Platz]]></category>
		<category><![CDATA[wagner]]></category>
		<category><![CDATA[Zürich Mozart]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4470</guid>
		<description><![CDATA[By Rebecca Schmid The author Karl Scheffler famously described Berlin as condemned to forever becoming but never being. When I arrived here nearly two years ago as a DAAD grantee in journalism, the city sprawled out like an unfinished collage. The Philharmonie on the gleaming, rebuilt Potsdamer Platz where I heard Daniel Barenboim perform and [...]]]></description>
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		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4184#comments</comments>
		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[BBC]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[Leinsdorf]]></category>
		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[verdi]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4184</guid>
		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<title>New York Was His &#8220;Howieland&#8221;</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4114</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4114#comments</comments>
		<pubDate>Wed, 29 Feb 2012 17:04:29 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Christine Brewer]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[David Merrick]]></category>
		<category><![CDATA[Eric Owens]]></category>
		<category><![CDATA[Howard Kissel]]></category>
		<category><![CDATA[Jeremy Geffen]]></category>
		<category><![CDATA[John Oliver]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Maazel]]></category>
		<category><![CDATA[Michelle DeYoung]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[philharmonic]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Sibelius]]></category>
		<category><![CDATA[Tanglewood]]></category>
		<category><![CDATA[Woody Allen]]></category>
		<category><![CDATA[Zankel]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4114</guid>
		<description><![CDATA[by Sedgwick Clark It’s a most improbable New York story: Broadway salutes a theater critic, of all things, by dimming its lights during prime box-office time prior to curtain. How often has that happened? No one would have been more astonished to receive this honor than its recipient, Howard Kissel, theater critic of the New [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Crystal Pite&#8217;s Futuristic Choreography</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4071</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4071#comments</comments>
		<pubDate>Tue, 28 Feb 2012 10:00:26 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Baryshnikov Arts Center]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Cindy Salgado]]></category>
		<category><![CDATA[Crystal Pite]]></category>
		<category><![CDATA[Dark Matters]]></category>
		<category><![CDATA[Eric Beauchesne]]></category>
		<category><![CDATA[George Balanchine]]></category>
		<category><![CDATA[Hugo Weaving]]></category>
		<category><![CDATA[I don't believe in outer space]]></category>
		<category><![CDATA[Isadora Duncan]]></category>
		<category><![CDATA[Jermaine Maurice Spivey]]></category>
		<category><![CDATA[Jiří Pokorný]]></category>
		<category><![CDATA[Judson Dance Theatre]]></category>
		<category><![CDATA[Keanu Reeves]]></category>
		<category><![CDATA[Kidd Pivot Frankfurt RM]]></category>
		<category><![CDATA[Marines]]></category>
		<category><![CDATA[Martha Graham]]></category>
		<category><![CDATA[Peter Chu]]></category>
		<category><![CDATA[Piano Sonata No. 14 in C Sharp Minor]]></category>
		<category><![CDATA[Robert Sondergaard]]></category>
		<category><![CDATA[Sandra Marin Garcia]]></category>
		<category><![CDATA[The Matrix]]></category>
		<category><![CDATA[The You Show]]></category>
		<category><![CDATA[Three Atmospheric Studies]]></category>
		<category><![CDATA[William Forsythe]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4071</guid>
		<description><![CDATA[Ten years later, I saw Crystal Pite’s “Dark Matters.” Her choreography augured a new movement style, a “Matrix”-like sense of physical wonder. On January 24 at Baryshnikov Arts Center (BAC), Pite’s choreography enthralled the audience. At the end of “The You Show,” made in 2010 with her company Kidd Pivot Frankfurt RM, Pite and her eight dancers received a standing ovation.]]></description>
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		<item>
		<title>A Genuine Jolt at the NY Phil</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3847</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3847#comments</comments>
		<pubDate>Wed, 08 Feb 2012 19:31:59 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Boulez]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[copland]]></category>
		<category><![CDATA[Frank Peter Zimmermann]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Kurt Masur]]></category>
		<category><![CDATA[leonard bernstein]]></category>
		<category><![CDATA[Lindberg]]></category>
		<category><![CDATA[Magnus Lindberg]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[Mendelssohn]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[philadelphia orchestra]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>
		<category><![CDATA[Tchaikovsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3847</guid>
		<description><![CDATA[by Sedgwick Clark Alan Gilbert and the New York Philharmonic are on a European tour for a couple of weeks, and for a change I didn’t roll my eyes in despair when I saw the list of repertoire. His predecessors as music director, Kurt Masur and Lorin Maazel, for all their superb work at building [...]]]></description>
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		</item>
		<item>
		<title>Twilight of the Machine</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3827</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3827#comments</comments>
		<pubDate>Fri, 03 Feb 2012 21:48:34 +0000</pubDate>
		<dc:creator>James Jorden</dc:creator>
				<category><![CDATA[Rough and Regie]]></category>
		<category><![CDATA[Anthony Tommasini]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Deborah Voigt]]></category>
		<category><![CDATA[james jorden]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[otto schenk]]></category>
		<category><![CDATA[robert lepage]]></category>
		<category><![CDATA[the machine]]></category>
		<category><![CDATA[wagner]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3827</guid>
		<description><![CDATA[By James Jorden Revelation comes in the strangest places. Like, for example, I had this eventual moment of clarity about what it was that went wrong in the Lepage Ring, and what do you think sparked it? Of all things, last night’s performance of Ernani at the Met.  Now, this is not to say that [...]]]></description>
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		</item>
		<item>
		<title>The Secret Ingredient for Success</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3703</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3703#comments</comments>
		<pubDate>Thu, 26 Jan 2012 04:15:39 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[Communicating with Your Audience]]></category>
		<category><![CDATA[askedna]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[Edna Landau]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[Perlman]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3703</guid>
		<description><![CDATA[By: Edna Landau To ask a question, please write Ask Edna. I was recently honored to be asked to participate on a panel at the annual Astral Artists auditions, during which I listened to a substantial number of pianists and wind players. While all were on a rather high level, I was struck by the relatively [...]]]></description>
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		<slash:comments>5</slash:comments>
		</item>
		<item>
		<title>Masterly Mann at Manhattan</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3574</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3574#comments</comments>
		<pubDate>Wed, 11 Jan 2012 17:19:34 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
		<category><![CDATA[Beethoven]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[carnegie]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[chamber music]]></category>
		<category><![CDATA[colin davis]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[leon botstein]]></category>
		<category><![CDATA[Lindberg]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Stravinsky]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3574</guid>
		<description><![CDATA[by Sedgwick Clark In their wildest dreams, the six string quartets couldn’t have asked for more. Nor could music lovers, as the Manhattan School of Music rang in the New Year with what it called the “Inaugural Robert Mann String Quartet Institute.” Yes, this is why I left Muncie, but this time my hometown friends [...]]]></description>
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