Word: tempi
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Dates: during 1990-1999
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...somewhat by the lack of humidity, a condition to which the group's rare, expensive instruments are sensitive. Still, they kept some monstrous repeats from being boring, choosing unpredictable phrasings and doing an unforgettable job of blending, without becoming indistinct especially the harder-to-hear viola (Joan Ellersick). The tempi were on the whole a bit shy for Beethoven, but the musicians' attention to detail kept everything tight. The allegro finale was a marvel...
...small crowd was not disappointed, as the virtuosity of the two featured soloists (Joe Lin '00 and Yuki Sekino '99) proved to be irreproachable. Lin gave the fifth Mozart Violin Concerto and, due to the inferior quality of the ensemble, was forced to take everything down a notch. Tempi lagged but, on the other hand, the winds were wonderful in the andante. John Allanbrook '99, a musical jack-of-all trades, elicited a deliberate, score--fixated performance from his musicians-perhaps not so surprising since the concert came off after only a handful of rehearsals. It will surprise few that...
...concert also featured Wagner's Siegfried Idyll, that phylanstery of complex chromatic chords. While this piece showed off Allanbrook's technique to advantage, the performance suffered from major intonation problems. The tempi were questionable, but the reading cohered, if quirkily, and the ambition was impressive given the forces available...
...good became great. Even in some of the fastest moving ones Pratt brought out long singing lines. And when he chose to pay attention to the bass--that is, when the left hand took over--the music reinvented itself. But sometimes, sadly, the left hand all but disappeared. The tempi, too, were occasionally irregular...
...work, cast in three movements, was performed without pause. Despite the contrasting tempi given for each movement (allegro, adagio con moto, allegro giocoso), there was little sense of actual formal differentiation--partly due to the tempo changes within a given movement, partly to the overall consistency, almost to a fault, of the instrumental texture. The texture was dominated by the churning lines of the strings, the quartet often moving in the same manner but isolated registrally. Added to this was the occasional punctuation and melodic quote announced by the remaining choirs of the orchestra, nearly always regulated to a marginal...