Word: tempi
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Dates: during 1950-1959
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...more for stereo) the frustrated conductor gets some bandshell marshmallows-Richard Rodgers' Victory at Sea, Khachaturian's Sabre Dance, Fantasia on "Greensleeves"-preconducted for him by Arthur Fiedler, Morton Gould, Robert Russell Bennett. (Any armchair connoisseur of the Viennese repertory will find Conductor Fiedler's tempi in the Fledermaus waltzes aggravatingly slow, but Gould's version of Mexican Hat Dance is so inspiring that it may result in dislocated shoulders...
VistaVision. To some listeners, Scherchen's musical concepts seem to have an oppressively Teutonic solemnity, partially because he sometimes favors slow tempi. But in large works, such as Berlioz' Requiem Mass, he succeeds in conveying a stunning sense of power. His recent recording (for Westminster) of the Requiem has a VistaVisioned breadth that probably no other conductor could bring to it. Yet Scherchen also has remarkable ability to draw forth individual strands, delineating them in unforgettable detail...
...virtuoso, but Sister Anthony, before taking the veil, played for three seasons in the Los Angeles Philharmonic, one year in the 20th Century-Fox studio orchestra, and Sister Mark holds a Ph.D. from the Eastman School of Music. Few trios now performing can surpass their exquisitely unified ensemble playing. Tempi they keep brisk and tense. During the recording session, one of the three sisters said crisply: "Let's take it faster. We can't sound like three old women." They...
...Gross as violin soloist, it proved to be a propulsive, clamorous virtuoso work in both twelve-tone and traditional diatonic idioms, with its limber solo line woven through the big sonorities of the orchestra in a stirringly unfolding tapestry of sound. The first movement, in alternating slow and fast tempi, built to its main climax by echoing the solo violin nights with orchestral figurations set at closer and closer intervals. By turns, the second movement was complex and agitated, waltzlike and melodic, with muted violins and then muted trumpets repeating the soloist's refrainlike theme. The third movement opened...
...place of Ormandy's impressionistic tonal colors and blurred instrumental outlines, Reiner offered a lyrically transparent reading in which every phrase stood out as though etched with scalpel. The tempi were firm as bedrock, the contrasts brilliantly modulated. In both Philadelphia and Carnegie Hall, where he repeated the program, Reiner ticked off the beat with tiny flicks of his baton. To his audiences he revealed sculptured details that many had never heard before...