Word: troppo
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...considered one of the composer’s greatest masterpieces. The twin guest performers took to the stage for this number. The Bruskins are slender brunettes distinguishable only by the size of their instruments, violin and cello respectively. The three movements of the concerto, Allegro, Andante, and Vivace non Troppo, were played with great fluidity by the orchestra, providing a backdrop to showcase the soloists’ talents.Allegro, the first movement of the concerto, featured an interplay between the violin and cello, forging a sort of graceful onstage sibling rivalry. Both sisters emoted powerfully, though Julia’s intonations...
...itself nothing spectacular, I was struck by the ensamble's quick energy and careful attention to the contrasting dynamics of the different movements. Corigliano's "Voyage for String Orchestra" was hauntingly beautiful and executed with similar panache, its ethereal solos seemlessly interwoven despite their brevity. Elkie's "Allegro Troppo for String Orchestra" showcased the technical mastery the ensamble's musicans. At a vivace pace, spiccatos were crisp and clean though after the piece hits the ten-minute mark, the bows start to settle into a repetitious hard grind against the instruments. Dvorak's "Serenade for strings in E major...
...generally bright piece, the Vivace non troppo also started cheerfully with the frolicking melodies of the winds. The orchestra had a way to create an intense yet light tone, filled with their effortless performances of the difficult sections. The piece had a cute ending: three light short notes passed from the winds to strings in a playful way. The most noticeable aspect of the orchestra's performance however, was in the Adagio movement when the buildup of dynamic fortissimos provided a symphonic boom that one would expect only from an orchestra of a much larger scale. Yet, the sound...
...violinist, immediately showed his fine command of dynamics in the opening melody, but his tone became a little strident, undermining the carefree quality of the movement in its recapitulation. He fortunately saved some of the stridence for the bold, personal statements of the second movement's Largo ma non troppo. In the cantabile section of the movement, violist Hsin'Yun Hwang offered solo playing of utmost sincerity with none of dryness that pervades chamber music today...
Their opening Vivace ma non troppo sounded suspiciously like an Andante, and even as the last two movements unfolded at more appropriate tempos, one had the sense that the two musicians were trying too hard not to make mistakes...