Word: tempi
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...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...
...performance of the Dvorak maintained a strong forward momentum, the tempi in all but the second movement appropriately quick and flowing. The tight sforzandi that are so characteristic of this work were attacked consistently and with amazing precision. Subtle changes in tempo within movements were elegantly executed, as well as dramatic changes in dynamics, moving easily between thundering chords and delicate melodies. Particularly notable were the passionate development in the opening movement, the excellent phrasing of the slower second movement and the move to the overwhelming climax in the finale...
...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...
...That extra oomph was lacking in the Bach Soc's standard, somewhat unoriginal interpretation of the symphony. The most lyrical moments sometimes came across as a bit too brisk and deliberate--as, for example, in the famous cuckoo trill bridging the second and third movements. Tipler's choice of tempi was a little mystifying, especially in the second movement, where Beethoven's idyllic brook sounded more like a flooded cataract. There were times, however, when the sheer beauty of the music soared and the peaceful, spiritual emotions shone through...
...1970s. This absence of inspiration was particularly disappointing in the finale, but by this time Tate had ceased trying to goad the BSO to action. Whether from frustration or disinterest, his take on the Brahms offered few surprises in phrasing and even fewer variations in dynamics and tempi. Only the mellifluous soli of the winds merited much remembrance...