Ax encapsulates the unique pianistic qualities of Horowitz as 1) an enormous dynamic range, coupled with complete control of the subtle shadings; 2) an "extraordinary sensibility for the agogics
of melodic line;"
What is more significant is the strange leading of the melodic line, phrasing, modified dynamics and agogics
, and the like.
48) Vettik to Laasmae about the articulation, dynamics and agogics
of the repertoire taught to male choirs.
Wilson, in "Nineteenth-Century Musical Agogics
as an Element in Gerard Manley Hopkins's Prosody" (CL 52, no.
Especially as regards the early pieces, the Panocha Quartet afforded them faster tempos and not overly furrowed agogics
, thus arousing doubts as to the viability of extensive and structurally experimental compositions, which Dvorak himself rather doomed to oblivion.
8 is the highlight of the entire set, owing to its spatial dynamics, fast tempos, precise phrasing, sense for nuances, sonically balanced proportions between the orchestral sections, gentle agogics
and precise completion of phrases.
5 simply eclipses that of all his predecessors, and successors: the colourfulness of the woodwind instruments in the first movement, the enthralling agogics
of the second movement and the rhythmic pregnancy of the third and fourth movements make the recording just as unforgettable as the exalted spiritoso with a solo timpani in, the finale of Symphony No.
Admirable too are her imagination when working with individual parts and sense for building of the melody (creative repetitions in Die Sehnsucht, the middle part in Ins Stammbuch dem Wenzel Ulwer), her brilliant and incredibly gentle fingering technique (Caprice in G minor, Allegro capriccioso) and, last but not least, the inspired as well as highly forcible work with agogics
The Slavic expansiveness is very effective, but the soloist never goes over the top and emphasises the lyrical nuances more with dynamics than agogics
Vivid sound colour combines here with deeply, perfectly felt agogics
and brilliant work with tempo has endowed Dvorak's music with a surprisingly extensive and free space for what the listener expects in the romantic "landscape behind the music".
It is also clear that the conductor was not holding back from great contrasts in dynamics, expression and in tempos, that he was not afraid of agogics
, accelerandos, expansive sound, mystery and an almost frenzied excitement--in other words romanticism with all that it involves.
All the movements have a steady pulse, but at the same time there is very thoughtful, detailed work with agogics