Word: adagio
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Dates: during 1990-1999
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...integrity of a shot of espresso but just in a more subdued manner. The reward of this "quiet" performance was evident for all who listened carefully. The piano-playing abilities of renowned German pianist Christian Zacharias were both impressive and compelling. Especially touching was the way he handled the "Adagio." Zacharias's ability to juxtapose articulation with lyrical continuity was particularly shown in this movement. His fingers and notes were light, breezy and even playful at times...
Conversely, his adagio was more of an allegretto and here he may have been a little too playful. Ohlsson spun out long melodic lines, though his pedalling was admirably spare; and though the rhythm of the variations changed in predictable ways, his phrasing was never predictable...
Things had gone quiet for a while: a spring adagio after the raucous winter, when minor witnesses came and went and Clinton's approval ratings wafted above it all, as scandal stories fell to a total of only 10 per week on the evening news. The tempo was set largely by the White House. Clinton's lawyers asserted new kinds of executive privilege and then appealed each defeat, and they kept refusing, once, twice, six times, to accept Starr's invitation for Clinton to show up voluntarily to tell his story. Every so often Starr got defiant letters in reply...
Eric Tipler '99, conductor of the BSO, communicated with the orchestra and Russell so skillfully that not only was Russell presented as a guest soloist, but during the interludes, the Bach Soc seemed a soloist by itself. Ever so delicately, Russell and the orchestra started the Adagio, the orchestra gently backing up Russell's beautifully fragile tone. A soul's love song, the Adagio, became Russell's song, putting heartfelt emotion into each note as he rocked gently back and forth to the music. What was most beautiful about this movement was the way in which Russell sustained the upper...
...create an intense yet light tone, filled with their effortless performances of the difficult sections. The piece had a cute ending: three light short notes passed from the winds to strings in a playful way. The most noticeable aspect of the orchestra's performance however, was in the Adagio movement when the buildup of dynamic fortissimos provided a symphonic boom that one would expect only from an orchestra of a much larger scale. Yet, the sound of this small chamber orchestra echoed off the walls and filled the audience's ears till sound waves would spill out of the building...