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Word: allegros (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...famous "Laugh, Falstaff" at the beginning of Act II is marked allegro sostenuto, but it is always sung exactly the reverse, staccato...

Author: /time Magazine | Title: Music: Battle of the Scores | 8/4/1961 | See Source »

...chasseur avec couronne de riz clamart (hunter-style chicken with rice), framboises à la crème Chantilly and petits jours secs. After dinner, the guests strolled across the lawn to rows of camp chairs, settled back for a concert by the National Symphony Orchestra (selections: Mozart's Allegro con Spirito from Symphony No. 35 in D Major, Gershwin's American in Paris...

Author: /time Magazine | Title: The Capital: Brass & Iron | 7/21/1961 | See Source »

Mark DeVoto's Introduction and Allegro, which the orchestra, bless them, performed twice, is an attractive and intelligent, if occasionally somewhat disjoined, piece of music. Mr. DeVoto writes with easy assurance; his deft, varied and imaginative scoring and an evident command of conventional forms allow him to experiment at leisure with the work's harmonies and tonalities. This is a relaxed and clever style reminiscent, if anything, of the early Ernest Bloch--I have in mind particularly, his Concerto grosso for Orchestra...

Author: By Anthony Hiss, | Title: The Bach Society | 5/2/1961 | See Source »

...Society showed what an excellent accompanying group it can be. Mr. Lazar can make his orchestra glisten like a winter day in Vermont; they are immediate and keen. The winds, always good, played with unusual elegance, and in the dialogue between the solo and accompanying oboes in the final allegro assai, it was sometimes difficult to distinguish Mr. Still from the Society's James Weiss and Eliot Noyes...

Author: By Anthony Hiss, | Title: The Bach Society | 5/2/1961 | See Source »

Conductor Michael Senturia '58, maintained a brisk and active pace throughout (certain of his tempi, particularly in the first movement, approached those of the demonic Fritz Reiner). If the symphony as a whole seemed to lack a unity of dramatic conception--only the final allegro was convincingly cohesive--individual sections of it were performed with real distinction. The faultless intonation of the orchestra's winds (the first desk flute and clarinet merit special attention), the resounding firmness of the brasses--all these are easily the equal of almost any professional orchestra. The strings were perhaps too eager to glow wtih...

Author: By Anthony Hiss, | Title: Harvard-Radcliffe Orchestra | 3/11/1961 | See Source »

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