Word: tempi
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...under the baton of Michael Senturia. As well as giving expert oboe performances in the cantatas, Senturia conducted Mozart's Symphony No. 40 in G minor. It was clear that he had worked the orchestra hard in rehearsals, for even though he conducted a little stiffly, the volumes and tempi were well chosen, and the orchestra responded well. Despite the loss of its founder, the Bach Society Orchestra should continue to be one of the top musical organizations in Cambridge...
...major work on the program was Schubert's Sonata in B flat. It is a work of some substance, and Miss Yaeger rendered it with carefully chosen tempi and stylistic assurance. She also played four short pieces by Brahms. I thought she might have brought out the theme of the Intermezzo in C with a smoother, more legato style, but her interpretation of the Intermezzo in E minor was beguiling and delightful. Miss Yaeger is a pianist of considerable talent and we can look forward to hearing more from...
Erwin Bodky's performance displayed an approach of absolute seriousness and purity toward the music. The attraction of instrumental color was avoided by using a bare string orchestra. The tempi were uniformly slow so as to attain the highest awareness of the formal complexity within each of the fourteen fugues performed. Yet at the same time, the playing, especially through its attention to tonal color and phrasing, attained such a level of devotion and warmth that the audience could not help but be moved to a closer contact with the music by the example of the performers...
...symphony certainly showed it to best advantage. Taking special care to clarify the complex yet essentially conventional form, he began crescendi long in advance of their final culminations. Thus a sense of gathering sonority and mass brought the structure more clearly into focus. And by avoiding the extremely show tempi some conductors favor, he made overall textures far less turgid...
...degree elements of exotic Spanish fury. These elements are all the more powerful in Scarlatti because they seem to burst forth from the refined and lyrical Italian style in which he was trained. For me, Mr. Kirkpatrick's playing reached its pack in these works. The deliberateness of his tempi and the tension of his phrasing gave the impression of enormous energy just barely under control, yet the control was always there and by its very presence indicated the extent of that energy...