Word: mozarts
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...program Adams chose for the group demanded a far higher level of musical competence than one can reasonably expect of any undergraduate organization--even one as fine as BSO. The works, Mozart's overture to "The abduction from the Seraglio", Beethoven's Symphony No. 2, the Adagio from Mahler's Symphony No. 5, and Debussy's "L'Apres Midi d'une Faune", would trip up even the most agile professionals...
...much that is composed today seems to be done with electronics, or kitchen utensils. The score looks like an engineering design, and you feel that, instead of a musician, you are an atomic engineer. Yet I hesitate to reject it. Beethoven and Mozart never heard the sounds of today-the ringing of a telephone, the roar of a jet engine starting. If they had, perhaps they would have utilized them in their music. The same goes for plastic art. Leonardo da Vinci never saw New York City at night. Rembrandt didn't see the vistas that our astronauts have...
...Mozart Symphony No. 36 brought forth better intonation from the winds, and the strings had a pleasing, gentle attack. Like the Schubert, the Mozart was alive, and never dull. Nevertheless, something was missing or misplaced. It was as if the excitement had become confused with the music, so that the detachment by Mozart was absent. Rather than feeling invited to view a large movement from above, the listener was immersed in the music, running after phrase upon phrase. Perhaps sharper contrasts of dynamics or articulation would have made the Mozart as enjoyable as the Schubert...
...Mozart's Piano Concerto No. 21 is played throughout the film. Appropriate, yes. But after a while, it gets boring. The film's real music is in the language. Swedish sounds lyrical and Widerberg uses it well, especially in the exchange between Sparre and Elvira as Sixten holds the pistol to her head, ready to shoot...
...Mozart is always under-rehearsed. Bowing discrepancies and half-forgotten repeats are the intonation, balance, etc-the HRO acquitted itself admirably...