Word: tempi
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Dates: during 1960-1969
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...right hand clenched in a fist, Klemperer led the Philadelphia through performances of Beethoven's Eroica and Pastoral symphonies that were wonders of clarity and searching detail. Under Klemperer, the familiar, voluptuous Philadelphia sound faded away; the orchestra sounded lean and meticulously responsive as it played at tempi more deliberate than any other conductor would dare use (the New York Times's Harold Schonberg, who likes to clock performances, reported that the Pastoral Symphony took 50 minutes instead of the customary...
...brilliant farewell. While Kogan faced the orchestra feet together, like a conductor, Senturia spread his feet, hunched his shoulders, and went at Mendelssohn's Fourth Symphony like a boxer. An incredibly sharp attack started the symphony; the strings, warmed up, sounded as one. Senturia shifted tempi with assurance when the increased excitement demanded change. In the middle movements, although the fourth horn had problems, the woodwind solos over a string obbligato were exceptionally good for the HRO. Senturia took the concluding Presto at at least that pace; the movement staggered at times, but Senturia secured the most possible from...
...manner, the gamba, with its forest of tuning pegs, doubled the continuo of the harpsichord. The trio maintained a nice balance; its members played to each other. But slippery intonation and lack of clarity marred the violin's performance, and the harpsichord indulged in unjustified rubatos and changes of tempi...
Haydn, indeed, is a case in point. His Symphony No. 88 in G was the most important work on the program (although the printed program neglected to include mention of the various movements in its listing), but it received a listless reading. Mr. Schenk's tempi dragged, his dynamics lacked any shading (he managed only a creditable fortissimo and much less creditable mezzopiano), his attacks were ragged, his control uncertain...
...ensemble's cool jazz style is less weird, but technically just as adroit. With his left leg swinging, Pianist Eaton may toy with harmonies and tempi, bounce themes to the fluid clarinet, trade solos with the limpid trumpet. Underneath it all is a rock-solid bass. Last week the boys wound up with Long Ago and Far Away and a driving Summertime. The palazzo shivered, and the audience applauded. "An intellectual Newport," said a delighted U.S. composer as he made his way from the hall...