Word: allegro
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Dates: during 1960-1969
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This weakness was not in evidence in the allegro molto movement of Opus 110; Mr. Fischer's touch was alternately feather-light and hammer-heavy, in the right places. Things went down-hill from there on in, however. The slow movement lacked nuances of expression, and the final fugue was marred by a memory lapse, which, though not a fatal flaw in itself, may have caused the pianist's failure to inject the called-for nuovovivente. Still, the tight-knit cluster of highly emotional notes which closes the Sonata was very impressive...
...first minute of Piston's Serenata for Orchestra, one realized that everything was completely under control again. Professor Piston's work of 1956 was originally commissioned by the Louisville Symphony and received a fittingly excellent performance at its East Coast premiere last night. After being delighted by its boyish allegro--which has more than a bit of Copland to it--and its sensuous slow movement, I cannot quite understand the reticence of other orchestras to take up the short, light work. Everything that was first rate about the Bach Society's handling of the other pieces on the program...
Citation: "You are described as a life-long allegro, a nest of atoms in a cyclotron, a leaky electric eel, a Mickey Mantle of music (three years ago, that was), a human gyroscope, Presley of the podium, our musical Dick Tracy...
...first quarter of the film, Director Resnais states his theme with great power; in the second he develops it in an allegro of relationship between the hero (Eiji Okada), a Japanese architect, and the heroine (Emmanuelle Riva), a French actress. Later, in a passage of gloomy elegy that evokes the heroine's "amour impossible" with a German soldier during World War II, the film begins to lose a little of its immediacy and drive. And in the long, obscure, lugubriously beautiful finale the theme is lost in sententious variations...
Throughout the rehearsal sessions, Toscanini's voice can be heard explaining, correcting, cajoling, scolding. Sometimes, when he attempts to convey his feelings for the music, language fails him. "Mozart," he cries, "must be allegro. It must smile! Allegro not only with the tempo but with this!"-and he resoundingly slaps his face. At times he speaks like a counseling father: "I don't believe that to be a great man one needs to play only Wagner or Beethoven. Play also Traviata as you are best able to play. I like this music as I like Mozart...