Word: assai
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Dates: during 1990-1999
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Schumann chose a largely fugal Assai agitato for the second movement, saving his Adagio molto for the third and leaving the piece without a true dance movement. The Quartet navigated the fugue impeccably. By employing a multilayered system of dynamics, the main voice always remained prominent while the others maintained the tension. But before the audience could be thrown into the hysterics usually invoked by middle Beethoven, the Hwang and second violinist Ruggero Allafranchini ushered in a flowing lyrical line that could only be Schumann...
...solo quartet and Gianguilo made some rather audible mistakes, failing in four different spots to sustain the end of his solo the full length of the note. The final movement suffered from the meek entry of the strings and an overquick temp. But the allegro assai redeemed the piece, with oboe, flute, and violin soloists maintaining a whispering rapport...