Best of the Beatles: The Sacking of Pete Best - download pdf or read online

By Spencer Leigh

ISBN-10: 0857161016

ISBN-13: 9780857161017

This fascinating ebook examines the best Beatles secret, which has triggered unending hypothesis over the years—why used to be Pete top sacked simply because the Beatles stood at the threshold of stardom? This ebook is the final word reaction to this query written via a number one specialist at the background of the Beatles.

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Additional resources for Best of the Beatles: The Sacking of Pete Best

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The World of Opera’, in Secondary Worlds (London, 1969) Burney, Charles, The Present State of Music in Germany (London, 1775) Burney, Charles, General History of Music, 4 vols (London, 1782–9) Kerman, Joseph, Opera as Drama (New York, 1956) Kivy,Peter,Osmin’s Rage: Philosophical Reflections on Opera, Drama and Text (Princeton,1988) Robinson, Peter, Opera and Ideas: From Mozart to Strauss (New York, 1985) Wagner, Richard, writings on music and drama, see the references in the notes to chapter 9, ‘Wagner and the Transcendence of Politics’ 02 Chapter 1480 23/6/06 13:00 Page 20 2 Mozart’s Comedies and the Sense of an Ending It is not easy to bring a serious dramatic comedy to its end.

Thus it is the lower classes who, as the objects of pleasure and not of love, can, in a way, represent reality. That idea is certainly, in that form, far removed from Mozart. Yet there is another version of that idea, a much less cynical version, which Mozart perhaps expresses, too. It can be heard most clearly in the contrast between the Countess’s ‘Porgi, amor’ at the beginning of Act II and Susanna’s ‘Deh vieni, non tardar’ in Act IV. The Countess’s song expresses an abstract ideal; Susanna’s expresses concrete present desire.

Its bitterness will then be considerable, and it will be compressed into the end – compressed, indeed, into the fact of the end, since there is little material in the closing bars actually to express it. Peter Hall has almost brought off this conception of Così in his Glyndebourne production, in which the characters at the end look like the stunned occupants of a wedding photograph. Così, as it now seems to us, does leave indeterminate exactly what boundary is being drawn at its end, and what exactly counts, after all this, as the normal and as the irregular.

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Best of the Beatles: The Sacking of Pete Best by Spencer Leigh

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