Word: rhythmically
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...Town Hall debut, Norman's program was by no means all apple pie: a Handel sonata, a Bach partita for unaccompanied violin, two difficult Paganini caprices. By the time he was halfway through the Handel, critics were wondering at the sureness of his phrasing and rhythmic pulse. When he had finished with the Paganinis and a blazing performance of Sarasate's tricky Zigeunerweisen, there was no question about the finish of his technique. Twenty-year-old Norman Carol was more than a comer: he had arrived...
Each movement has its own special fascination. The scherzo, probably the finest ever written, is a study in titanic contrasts. One moment the whole orchestra is playing the rhythmic theme louder than would seem possible, and suddenly nothing remains but a rollicking melody for woodwind quartet. Some critics call the third movement too long. They could not be more wrong. After hearing Koussevitzky's interpretation, I could only wish that the movement was twice as long as it is. But Beethoven knew the dangers of satisfaction, and he achieved just the right length...
...Lenten calm settled over Central America. At Costa Rican Junta President José Figueres' finca, which had recently rung with the none-too-rhythmic clump of marching Caribbean Legionnaires, silent peons spread coffee beans on the patio to dry in the warm tropical sun. The Legion was dead. It had been done in by the guile of its old enemy, Nicaragua's "Tacho" Somoza-and by the no-nonsense order of the Organization of American States (TIME, Jan. 3). The end had come before the Legion could fire a shot at Tacho or its other prime target, Dominican...
...York Philharmonic through Mennin's Fourth last week, listeners and critics were glad the composer had gone ahead. At times, the Fourth sounded as if it were about to sound like someone else; there were Stravinsky-like dissonances, used sparingly and for punctuation, in the opening of the rhythmic first movement, and there were Hindemith or Shostakovich traces in the lyric andante. But each time, and overall, the music came out strongly Mennin-energetically powerful, open and clean...
Bartok: Sonata No. I (Adolph Bailer, piano; Yehudi Menuhin, violin; Victor, 8 sides). Composed in 1921, when Bartok's own distinctive style was first beginning to take form, the sonata foreshadows the lyric power and rhythmic force of the great Concerto for Violin (1938). In this performance, Bailer's piano overshadows Menuhin's violin. Recording: fair...