Word: allegros
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Dates: during 1960-1969
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...cute and comfortable! We're in first class ($4,120 for our double stateroom), and guess what they call our deck? The Allegro. There are other levels, known as Adagio, Vivace, Andante, all the way down to the water level, which is called Presto. Your father says they must call it that because the people there have to run the fastest to get to dinner. One strange thing, though. A German conductor named Karl Munchinger, who is aboard for the whole trip, keeps grumbling about the recorded music in the salons and corridors. But Daddy and I really...
Kirchner's Brahms was even more impressive. From the very beginning of the great Fourth Symphony, the conductor proved himself a master of nuance, varying his tempos flexibly. The tragic Andante moderato, with its famous Phrygian modality, was a gem. Opening furiously, the third movement, Allegro giocoso, joked only in its use of the triangle. The concluding Passacaglia, Allegro energico e passionato, was just that...
...bargain price of $20. Not everyone agrees with Arturo Toscanini's distinctly brisk, no-nonsense approach to Beethoven. About the heroic first movement of the Third Symphony, the maestro once dryly commented: "Some say this is Napoleon, some Hitler, some Mussolini. For me it is simply allegro con brio." Still, Toscanini's brio was like no one else's, and the NBC Symphony strikes sparks as it builds to one peak of excitement after another, and then softly and precisely casts long incandescent arcs of melody. The recordings date mostly from the early...
...concert got off to a shaky start with the Mozart. Each of three major allegro sections begins with a set of fugal entries which leave the first and second violons especially exposed. In each case the entrance were painfully ragged. On the other hand; the second theme-group dialogues between oboe and flute were exquisite examples of ensemble and musicianship...
...chamber works whose freshness remains remarkably vivid. The Prince gave him a crack orchestra, and Haydn taught it a dramatic musical vocabulary unknown before his time. When it pleased him, he would begin a symphony (Nos. 22, 49) with a long slow movement instead of the expected brilliant allegro. Some of his effects were comic: in the finale of Symphony No. 60, the violins are asked to mistune their lowest string from G down to F, then pause in mock horror and raucously retune. At the end of Symphony No. 80, the orchestra comes in on the offbeat so consistently...