Word: tempo
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...dubbing. Ophuls uses a translator's technique. The speaker begins then is faded down, and his English "voice" translated with full inflection and character. Newsreels are sub-titled; so are the Englishmen. Anthony Eden is interviewed in both French and English. The subtitles help as a change in tempo, and besides, dubbing Lord Avon would be less charming than listening to his English-accented French...
...Handel Organ Concerto No.4.Though hardly a weighty work, the sense of ensemble between soloist and orchestra displayed the piece to great advantage. Handel's fine sense of tone color was especially evident in the oboe parts, which were beautifully played. The first movement was lively, but Johnson's tempo in the Adagio lagged painfully, lacked phrasing, and made every step of the walking bass far too staccato...
Courtly. Perched on the aisle in Row V at rehearsals, Adler is a fidgety puppeteer who claps his hands if the tempo is too slow, phones backstage impatiently if the chorus is flat, barks commands to his secretary, who will come in an hour early the next morning to type them up. Says Leontyne Price: "Just when you think Adler is finally holed up in his office, he will turn up in the chorus or pop out from behind a bush to tell you your train is a foot too long." A short man with an advancing paunch, soft, silver...
...knew their encore highlights their show. It's so theatrical--five minutes of screaming, shouting, chanting applause, with a personal attempt by the MC that finally brings them back, and into "El Tonto de Nadie, Regressa," 27 minutes that proves their musical expertise. The song is a montage of tempo changes, and a collage of guitar styles, blues, bluegrass, and pure country. Paul's lead guitar structures and organizes the piece. Timothy Schmit's sense of the bottom of the sound, and the variety of things that can be played, while maintaining the all-important bottom, is staggering, as well...
...CHOPIN Nocturnes followed, nos. 17 and 4. The former included many finely-shaped phrases--the enharmonic transition midway through the piece, for example. I objected only to the occasional blurring of the pulse by too much tempo rubato in sections containing extensively syncopated accompaniments. Nocturne 4 was treated with a delicate sense of balance; happily the contrasting con fuoco middle section was not overplayed...