Word: tempi
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...others' lack of diversity in phrasing and tone color. Mintz sometimes plays too fast, too strong or too rubato. Some of his accents and tenutos (notes slightly lengthened for effect) are either too numerous or unnatural. Mintz' basically solid performance will give the impression of dragging even at rapid tempi because of unnecessary emphases...
...Symphony. Los Angeles won him by offering freedom from paper work, a lighter-than-usual five-month load, and a blank check. A tall, slim, aristocratic man, Giulini is the rare maestro who is truly loved by his musicians. They may grumble about his perfectionism or his occasionally erratic tempi. But, says Victor Aitay, Chicago's co-concertmaster, "he approaches music as a religion, like the devoted Catholic he is. He feels his be lief so convincingly that it seems to us that this is the right way to play...
...landed two men who have gained formidable international reputations in a relatively brief time. Marriner, conductor of London's Academy of St. Martin-in-the-Fields chamber orchestra, has "charm and wit and intellect," says one London observer. His 200 recordings, many of Baroque music, have pleasingly brisk tempi and a gay, intimate sound. As music director, Marriner will bring his favorite Haydn and Mozart to Minnesota; his weakness may well be that specialized repertoire. But, says he, "if you want to have any impact as musical director, then you must take along the repertoire for which you were...
...more merciful reviews: "A Slavic sour cream lay over the proceedings in place of Viennese schlag." In defense, Slava argued that he could easily have conducted a conventional Fledermaus, but had thought it "frivolous" to do so. "Anyway," he added, "who can say what the right tempi are? To whom did Johann Strauss confide what is correct...
...senior with a penchant for contemporary music, interpreted the piece with an utterly compelling, almost demonic intensity. His virtuosity and technical facility excelled in explicating every facet of the sonata, from the darting melodic leaps in Hawthorne to the Alcott's hymnal simplicity. Even the liberties he took in tempi and dynamics sounded authentic and convincing. Ives himself said of the Hawthorne, "It is not intended that the metrical relations...be held too literally." Louis Cooper was also excellent in his performance of the flute solo which unexpectedly concludes the final portrait of Thoreau...