Angelina Jolie’s ‘Without Blood’ Fights On, Largely Unseen
By JEFFREY WELLS
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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I have always had a special fondness for the Symphony No. 2 of Robert Schumann. Primarily because its perceived problems of compositional coherence were intriguingly unresolved; it has come down to posterity in a rather wild, raw state. I was thus disappointed to learn that James Levine had acquiesced to the demand of his Boston Symphony players that the work be replaced next season by the heavily revised Fourth. When I discovered the reason for the substitution, my annoyance turned to shock. The switch was made because the D Minor is shorter than the C Major (by approximately twelve minutes), and therefore less taxing for the musicians.
By JEFFREY WELLS
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By SHARON KEHNEMUI
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By JOSEPH CURL
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By LENORE SKENAZY
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By JOSH HAMMER
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By A.R. HOFFMAN
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By DAVID JONES
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By JOSEPH CURL
|I have always had a special fondness for the Symphony No. 2 of Robert Schumann. Primarily because its perceived problems of compositional coherence were intriguingly unresolved; it has come down to posterity in a rather wild, raw state. I was thus disappointed to learn that James Levine had acquiesced to the demand of his Boston Symphony players that the work be replaced next season by the heavily revised Fourth. When I discovered the reason for the substitution, my annoyance turned to shock. The switch was made because the D Minor is shorter than the C Major (by approximately twelve minutes), and therefore less taxing for the musicians.
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