Word: movement
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Dates: during 1950-1959
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...Scarlatti's "Sonata a Quattro" in d minor, followed the Bach. The fast parts of both these compositions were well handled by the orchestra. Yet, a more expressive and tender approach seemed in order for the slower Hindemith pieces while more majesty could have been suggested in the second movement of the Baroque "Sonata." The disappointment in these passages seemed to be due to an incomplete understanding of the music on Harbison's part. He continued to emphasize rhythmic vigor when the works really required more attention to the fastidious arching of each phrase...
Mozart's glorious Piano Concerto in G, K. 453, featured Edgar Murray '60 as the soloist. Though he phrased with style and intelligence, his lacklustre tone failed to bring to life many of his good musical ideas. In the third movement, however, his performance brightened considerably and he handled the variations accurately and vigorously...
...their spirit, compelling. While accompanying Murray however, the orchestra made some surprisingly shaggy entrances and, at times, Harbison's more grandiose conception of the work resulted in the orchestra's drowning out Murray's playing. This imbalance and inaccuracy on the orchestra's part disappeared in the last movement when it joined the pianist in a vibrant performance of the finale--a fitting close to an excellent concert...
...Browning Version was also star-packed: Sir John Gielgud, Margaret Leighton, Cecil Parker, Robert Stephens. With so much to offer, neither show could fail. And in the case of The Browning Version, Gielgud's superlative performance could have done the job alone. Sir John's every movement, every artful, effortless nuance of speech added up to a television triumph. Just having hired him to play the pathetic old English schoolmaster was a measure of Susskind's taste and talent. He could have left the rest to Director John Frankenheimer...
...added up to Dada, the great antiart movement of 40 years ago. Like Johns, the Dadaists deliberately tried to strip art of all sentiment and all significance. They would exhibit a urinal as sculpture, for example, to get across the idea that a statue is no better and no worse than a urinal. Thus degraded, Dada soon grew the snaky locks of surrealism. Next year's fair-haired boy may well have his pockets full of limp watches, and may also be hailed as a pioneer...