Word: scherzo
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...ritarded at the end of all his solos.Even the climax was brutally vertical, each notepounded into the stage with no forward motionwhatsoever. Additionally, although the players hadobviously coordinated their phrasing beforehand,each one merely read through his or her own part,seemingly disregarding the other musicians. Thesecond movement, a Scherzo, was more intriguing,as each repetition of a given part acquired a newcharacter, slightly more gentle, or much moreaggressive. The opening piano chords of thefollowing movement, an exquisitely personal andpainful document of sorrow, did much to establishthe intimacy of the setting and the spectralnature of the sound. But Chase...
...Bravo playingbassoon and Robert Rauch again on French horn, theintimacy of the ensemble prevented thesemiorchestral atmosphere of the piece, reinforcedby the setting of Sanders Theatre, fromoverwhelming its chamber aspects. The workconsists of the traditional four movementsFast-Slow-Minuet-Finale with two extra movements,a theme and variations and a scherzo, interposedas an extension between the third and final ones.While all of these were played with theappropriate character and balance, the fourthmovement, featuring solos on all of theinstruments, was particularly well performed; theclarinetist especially established his exquisitetone and phrasing and at several points duringsustained notes seem to stop time for hisconvenience...
...long, shimmering arias whose sinuous lines deny the listener the security of a conventional verse-chorus-verse structure. Once a card carrying minimalist, the composer now weds a sturdy rhythmic pulse with a freer melodic and harmonic idiom that can evoke with equal aplomb a Monteverdi arioso, a Mendelssohn scherzo or Duke of Earl...
...there is much that is evocative in the new work. In the preludic "Dawn" the themes gradually emerge and coalesce, blaze luminously and then recede. "Daylight" is a scurrying scherzo marked by buzzing strings, hiccuping brass and chattering woodwinds. The slow movement, "Dusk," is the work's emotional center, a lambent watercolor of uncommon beauty. After this, the finale comes as something of a letdown. The symphony's clear textures give way to a muddiness that cannot be entirely justified by the "Darkness" sobriquet. Harbison rejected his first draft as too light in mood, but the symphony now ends diffidently...
Third movement: Scherzo. Philadelphia, 1984; the Curtis Institute. Director John de Lancie has worked hard to persuade Celibidache, now 71, to come to the U.S. The elusive conductor still leads an eclectic existence: he lives in Paris, lectures on musical phenomenology at Mainz University and conducts the Munich Philharmonic. The Philharmonic, which he will bring to the U.S. next year, grants him between ten and 18 rehearsals for each program; U.S. orchestras generally allow four. He is no easier on the young American students than he is on professional musicians. Through 17 rehearsals he painstakingly explores every bar without...