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...well-known mastery of the classical forms, a mastery which includes freedom in their manipulation as well as overall adherence to them. The first movement, marked Piaccoole (pleasant), opens with a smooth, easy-going melodic line. Although is the climaxes this melody is transformed into a vigorous and exciting rhythmic force, the movement as a whole has a restrained air about it and fully bears out its unusual appellation...

Author: By Alex Gelley, | Title: Walter Piston | 10/14/1952 | See Source »

Venetians came to satisfy their curiosity, stayed to enjoy themselves. They admired the conductor's vigorous command of the orchestra, warmed to his obvious sympathy for the music. II Gaz-zettino's usually acid critic praised Dixon's "technical precision . . . and sensitivity to the rhythmic values." Rarer still was the response of the musicians: they donated their services for an extra rehearsal, and said they hoped the conductor would come back next year...

Author: /time Magazine | Title: Music: Spreading the Word | 7/21/1952 | See Source »

Aside from historical considerations, however, the work itself had a sense of urgency and power conveyed by a style which displayed striking harmonic and rhythmic originality. This great work may not impress audiences as much as it used to in its time since its liturgical associations are no longer widely known. Nevertheless, it was rewarding to hear this performance, which showed the results of painstaking rehearsals. It suffered, though, from faulty intonation in the wind instruments...

Author: By Alexander Gelley, | Title: The Music Club | 5/20/1952 | See Source »

Painters of the period stayed carefully within the rules formulated by Hsieh Ho some seven centuries before. Hsieh Ho's six standards, by which Chinese painting was judged: 1) rhythmic vitality, 2) anatomical structure, 3) conformity with nature, 4) suitability of coloring, 5) artistic grouping, 6) copying of classical masterpieces. In striving to meet these requirements, even the greatest of Ming painters seldom departed from familiar themes; but they achieved such happy variations as scholarly Shen Chou's pink study of spring (see cut), and they more than made up in refinement what they lacked in fire...

Author: /time Magazine | Title: Art: FLAMBOYANT & FLUENT | 5/19/1952 | See Source »

...Adagio and Presto for Three Violins, Trumpet, and Piano, by Yehudi Wyner 1G, brought the chamber music portion of the program to a close. The unique combination of instruments results in some fascinating sonorities, and there are many passages of great rhythmic originality. But even with the composer at the piano, the performance seemed to lack drive, polish, and rhythmic precision...

Author: By Lawrence R. Casler., | Title: Birth of a Tradition | 4/24/1952 | See Source »

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