Word: tempo
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...quick tempo, an indication of things to come, was chosen for the first movement. The soloists approached their task in different ways; Perlman played very methodically and correctly while Zukerman, playing with confidence on an instrument that carried beautifully, strove to come out when he had a melodic line...
...tempo stood out again in the third movement as the soloists streaked to the end of the piece. Zukerman, finally able to speak fully in the broad chords of the second motif, was visibly enthusiastic. Perlman read the third movement flawlessly and contributed in volume and exuberance to the finale. Zukerman bit off a bit more than he could chew with his last low chord, but the mistake was hardly noticeable. In any case, the end was greeted by a lengthy and well-deserved standing ovation...
...first listen, the love songs sound lighter than the rest of the album, but beneath the sunny surfaces, Sweet's view of secular relationships is equally bleak. The brokenhearted narrator of Someone to Pull the Trigger implores his lover to take him back or "shoot." And on the mid-tempo Devil with the Green Eyes, Sweet laments, "You were never meant to be mine/ 'Cause I came up from a dark world/ And every love I've ever known is dead." At such moments, backed by Quine's corrosive electric guitar, Sweet takes sentiments that could have been morbid...
...flavor of each exotic locale or scene and watered down by an attempt at showy, Disneyesque flair for the mass palate, each song is performed in neat, self-contained gobbets. Fogg's first number, "A Man Who Likes to Get Things Done," is accelerated from an already brisk tempo to create the sense of rush and meticulousness in which Fogg prides himself; this anal-retention is in direct contrast to the next number, Gitano's "Improvise," which feels more licentious and uninhibited, with a Spanish rhythm. This mood music then gives way to a series of clipped scenes, each with...
...pianists, exulting in the sensuality of Romanticism and the vertiginous, almost orchestral possibilities of the piano. Two CDs demonstrate his superb musicianship and rare virtuosity: Chopin: 4 Ballades -- 4 Scherzi and Earl Wild Plays His Transcriptions of Gershwin (Chesky Records). Chopin's works vary widely in mood and tempo, yet Wild sustains the long singing lines that provide their pulse and shape. That singing -- with wit, warmth and Lisztian heroics -- defines Wild's Gershwin, especially his extended Fantasy on Porgy and Bess...