Word: moderato
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...Seated on a leather piano bench, Harrell opened the adagio-moderato movement of Sir Edward Elgar’s “Cello Concerto in E Minor, Op. 85” with a declamatory broken chord. Harrell—who made his BSO debut in November 1978—favored a smoother, lighter touch to the opening theme, as opposed to the heavily sustained passion of English cellist Jacqueline Du Pré’s definitive 1965 recording of the concerto with the London Symphony...
...first and last “Allegro” movements created a lively, playful mood, while the second, “Menuetto: Moderato,” was much more sedate, and the third—“Adagio”—more melodious. Though by no fault of the musicians, the ends of both the “Menuetto” and the “Adagio” felt inconclusive. However, this was more than compensated for by the final “Allegro assai,” which brought the Quartet full circle by tying...
...Saints, which opened in New York City this month (it was first seen in London and Berkeley, Calif., last year), was the exuberant centerpiece of the Mark Morris Dance Group's 20th-anniversary season. Sixteen of the choreographer's 100-odd dances--from L'Allegro, il Penseroso ed il Moderato, a full-evening extravaganza for 24 dancers, four singers, chorus and orchestra, to Peccadillos, a duet for Morris and a toy piano--were presented at the Brooklyn Academy of Music. Meanwhile, across the street, the company is moving into the brand-new Mark Morris Dance Center, its first permanent home...
...quite so enchanting a subject as either the joie de vivre of L'Allegro or the melancholic beauty of Il Penseroso. Nor could any claim that Jennens' verse stands quite equal to the Milton it seeks to reprove. Though the music is still lovely, the final reprimand of Il Moderato seems hardly the proper note on which to end a work largely hymning youthful exuberance and the contemplative life...
...Schubert's Unfinished Symphony, displaying a rhythmic alliance so perfectly refined that it truly seemed as if only one instrument were present. The placement of the cellos between the second violins and the violas allowed for a heightened clarity, producing a concentrated, almost sinewy tone that typified the Allegro Moderato. The first movement elapsed without any fiery outbursts; Gatti instead focused intently upon the lyric strains of the oboe and clarinet. His conducting was comprised of a fairly conventional fluidity of motion. His baton described tightly restrained circles throughout much of the movement, and only with the arrival...