Word: coda
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Dates: during 1950-1959
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...Could Have Danced All Night, for instance, he starts with a theme from Rodolfo's aria, Che gelida manina from La Bohème, develops the second chorus as a Mozart sonatina, cuts loose briefly with a sample of stride harpsichord, returns to Bohème in the coda. The album should send hi-fi bugs skittering, but no sound on it is as fascinating as the musical imagination that puts them together...
...throughout such a long work. Mr. Poto, in striving for rhythmic vitality, sacrificed the song-like quality which is the trademark of Schubert, and the grace which a more leisurely slow movement would have had. The brass section was not kept under control, with the result that in the coda of the first movement, for example, the returning theme was lost entirely...
Then, miraculously, the finale emerged as if it belonged to a different piece. The orchestra played in true chamber fashion, always together, with ease and spirit. The loose ends were gathered in, and the tone regained its customary clarity. The coda, in Haydn's most humorous vein, added just the right amount of playfulness to a sparkling performance. Even after the disappointments of the first movements, this was worth waiting...
...stylish, long-discontinued look, Actress Herlie can rivet attention; with a bass-fiddle-deep laugh, she suddenly arouses laughter. The Guthrie treatment fares best when there is nothing much to treat: the air of secrecy proves more rewarding than the secret, the theatrical Herlie-burly than the philosophical coda. When the play finally turns serious, it seems, more than anything else, like a last-minute spoilsport. Were the play better or the philosophy more challenging, Guthrie's approach might smack of outrage; as things stand, it is perhaps the only armor against boredom...
...tragedy, with its ominous drumbeat in the background. The second, "January 9th," is a musical treatment of the mob scene on "bloody Sunday." The third, "In Memoriam," is a funeral hymn to the fallen heroes, based on revolutionary songs of the period. The fourth, "Tocsin," rising to a crashing coda, was described in a Moscow daily as "a call for tireless struggle for the highest ideals of mankind.'' The work evidently satisfied Moscow brass as a classic example of socialist realism (although that unsocialist romantic, Tchaikovsky, had been capable of similar stuff in his heavy-ordnance 1812 Overture...