Word: rubato
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...make the composer's intentions clear throughout. No matter how intricate the notes on top are, the lower levels are never blurred. In Liszt's day, probably, it was fashionable to play the piece with less precision, but Horowitz's precision is not wooden. He makes liberal use of rubato, and he has so much control of tempo and volume that he can build up phrases spanning large segments of the soata...
...introduction and a conclusion; and cadenzas connect the continuous movements. One instrument dominates each movement while the rest comment upon the leader or conflict with it. In addition, each instrument has a unique character throughout the work consistent in intervals, rhythm and quality; the cello, for instance, plays predominantly rubato, and the second violin, in Carter's words, "is a very sobering influence" with regular rhythm...
...marvellous. I could understand almost every word, even in the contrapuntal sections. By itself the Radcliffe Choral Society sang three madrigals very well indeed. The best of these was Four Arms, Two Necks, One Wreathing by Weelkes. In some of the madrigals, however, Woodworth conducted with too much rubato. In this music the note values always slow down when the text demands it; the beat of the conductor need never do the job of the composer...
...climax of the evening came in Robert Freeman's reading of the Mozart Piano Concerto N. 22. He imparted all the clarity the score demands, yet never thumped the keys; his runs contained generous coloring, yet were without excessive pianistic mannerisms. Freeman's use of rubato may be circumspect to some, but it certainly never passed the bound of good taste. A particularly delightful detail was his articulation of the finale's main theme. Because of his slight stress on the last note of the motive, its repeated rhythm could never even approach monotony. The orchestra provided superb accompaniment...
...Brahms Variations, long and repetitions, need a varied, carefully proportioned performance if their basic grandeur is to get through. Beyer's contrasting treatment of the heaven-storming passages and the more flippant variations was enormously effective. He sometimes injected a bit of ham by excess rubato and uncalled for rolling chords, but at least it was obvious that his interpretation was the result of careful thought...