Word: tempi
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...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...
...long, scythe-like motions, which blurred individual phrases but drew from his orchestra the longspun melodic line that is Ormandy's chief delight. The audience applauded briskly, and most critics splashed their reviews with such words as "energetic." "singing," "blazing." But for all the blaze, Ormandy's tempi were questionable, and his lush handling of the strings in the Bach reminded Chicago Sun-Times Critic Robert C. Marsh of "chocolate syrup" with ''a whipped-cream decoration." Ormandy achieved a far more polished and impressive performance with his second program, again including Beethoven's Seventh...
...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...
...scope, never seemed to get off the ground. Although the woodwind and brass sections were unusually strong, the strings were unable to carry their weight; the violins were ragged and the cellos unnecessarily heavy. In a vain effort to keep everyone together, conductor Attilio Poto chose calm and moderate tempi, but these only made the faults more obvious...
...pieces by Mozart--"Laut Verkunde" and "Die Maurerfreude"--were not performed in an outstanding manner; clarity and precision were lacking. The motet, "Non vos relinquam," by Byrd, should probably have to tempi, although the remarkable voice registrations, involving a very high tenor, were brought out well when the wind obliged. Even the Maelstrom, however, could not have drowned out the rhythmic and almost percussive phrases of the Preger "Sanctus," a work of dubious musical worth, and even less liturgical relevance. Completing the serious part of the program were Dvorak's charming "Maiden in the Wood," and Milhaud's "Psalm...