Word: tempi
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...sufficiently chaotic), Wilson actually indulged in the old-fashioned technique of wit. Conducting a very competent chamber ensemble (flute, clarinet, viola, cello, percussion), Wilson produced an observable change of tempo within the very first of the five sections: an event totally unexpected in view of the leaden, unchanging tempi of the preceding work on the program. In the succeeding movements, Wilson created intimate subensembles and experimented with their sonorities; e.g., he combined tuned drums, viola pizzicato, and flute. Of the student composers on the program, Wilson alone managed to go beyond cleverness in working out details to clear action...
...serialization can be carried further. For instance, the given series could be transposed to any one of twelve levels; thus the levels on which the series appears can in turn be serialized. Instruments play varying levels of loudness and softness, and at varying speeds; thus and tempi can be serialized. Instruments have varying timbres, and combinations of instruments vary in texture and density; the composer can serialize these...
...movements, Boulez uses a different ensemble chosen from the voice, alto flute (Harvey Sollberger), viola (Jacob Glick), guitar (Stanley Silverman), vibraphone (Paul Price), xylophone (Raymond Desroches), and percussion (Max Neuhaus). The texture of the sound is always clear, sometimes shimmering, sometimes punctiform, and always changing. With the flexibility of tempi and timbre goes an obvious fixity of notes and rhythmic patterns; certain intervals and rhythmic groupings recur constantly. And with all this planning, with all this studied freedom, the work still justifies a non-rational evaluation: it is dramatic, and worth hearing...
...that Miss Sutherland can only sing well when she is singing Puccini (a palpable falsehood). Consequently, Sir A. has ripped Handel's oratorio untimely from its century, making it as operatic Victorian as he possibly can. The result is an orchestra sprawling and unkempt, singers bawling and dyspeptic, and tempi crawling and inept. (London A-4357--you'll recognize the album by the ugly crucifix on its cover...
...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...