Word: tempoed
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...despite their prodigious talent, such conviction was conspicuously absent from the concert. The choir boys opened with Haydn's Te Deum in C Major, a sparkling piece with a quick tempo assured to enliven the audience. While the Chorus Viennensis was robust and energetic (this was the older choir of supporting tenors and basses who rounded out the four-part treble scale), the Vienna Choir Boys sounded withered and disengaged. They found Haydn's notes, but groped for his meaning. The boys sang the first line, "We praise thee, O God!" ambivalence nearer to pity than...
Their second selection, Heinrich Isaak's Motet Virgo Prudentissima, seemed by contrast to start off with redemption. In a slower, more contemplative tempo, the choir boys looked ready to shine. Without being drowned out by the older choir, the sopranos and altos united in the production of haunting, luscious strains that, for a fleeting moment, transmogrified Symphony Hall into St. Peter's Basilica. But once the basses and tenors in the older choir joined in, the younger choir boys lost their nerve. This led to technical difficulty between the sopranos and basses. Ideally, their voice parts should have slid over...
...first half passed without any scores, evenboth on the pitch and in virtually everystatistical category, as the squads battled it outmostly in the midfield. However, the tempo pickedup dramatically in the second half...
...line to make it one of the best dance songs of the year. This track is Fatboy Slim at his best, as he manages to create a continuity of euphony that is unpredictable, despite its revolution around a single vocal sample. Fatboy builds up and breaks down the beat tempo without losing the song's dance appeal, a tribute to the remix master's genius. At one point, the rhythm nearly halts, but then blasts back with a hip-hop sound. Fatboy Slim does not merely piece together some fragmented synthetic ideas into a five-minute track, but instead evolves...
...Caribbean steel drum. At times, there are so many diverse elements to a song thatmany of his innovations can only be appreciated ifcarefully heard three or four times. In sharpcontrast, on the very next track, "Build itUp--Tear at Down," cyber distortion combines witha relatively slower beat tempo and a conspicuously'80s hair-rock vocal refrain. The overall effectof these seemingly unrelated and clashing soundsamples can only be understood in the context ofFatboy Slim's mixing style and amazing abilities.In lesser hands, such combinations would soundawful, but it appears that Norman Cook can makeanything sound good...