Word: fortissimo
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...inordinate inspiration and egregious sloppiness. Coordination between the two forces was haphazard, this due to Schmidt's sacrificing clarity of beat in favor of a continuous, feverish intensity of motion. He huffed and he puffed, he grimaced with grief, he smiled with beatific joy. Sometimes he succeeded (usually in fortissimo passages), but most often he was unable to convey any unified conception of this difficult and eccentric master-piece. Of the four vocal solists, Barbara Wallace's beautiful soprano line was so expansive that it all but obscured the others...
...tomorrow-or at least children who will grow up to enjoy making music-U.S. parents are buying a record number of pianos. In 1966, sales hit 243,800, nearly 100,000 more than a decade ago. The company that is hitting the top notes of this financial fortissimo is privately owned Aeolian* Corp., the world's largest manufacturer of pianos, which last year crafted 50,000 units and grossed nearly $30 million...
Colicos speaks clearly and resonantly throughout the play. Only when he pushes his fortissimo does he occasionally skirt unintelligibility. Of all Shakespeare's great tragic heroes, Macbeth most needs an actor as opposed to a reciter. Colicos meets this demand impressively. His movements are as convincing as his voice. And he says an unusual amount with his eyes, which happen to be exceptionally penetrating. At present Colicos falls short of an ideal Macbeth in only one respect: his performance lacks sufficient size. Very probably his portrayal will acquire the desired largeness as he continues to play the part in coming...
...cycles were over. After that, Leontyne traveled to Atlanta to sing to a packed house in the Municipal Auditorium with the Atlanta Symphony. Shouts of "Bravo!" and "More, more!" followed each of her three encores. At the end, the orchestra laid down its instruments and joined in cheering fortissimo...
This vear's Bach Society failed to live up to the expectation of authenticity which it aroused. Though classical in terms of instrumental forces, it played the Beethoven with a Romantic concept of dynamics. Instead of a long crescendo, the development of the first movement was a wearingly consistent fortissimo. In the second movement, the wind-string balance was totally off, reaffirming the traditional inability of Harvard winds to play softly. Even considering the conservative tempo of the last movement, the orchestra's struggling with the notes is forgiveable; but its loudness and dullness...