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| | The New Yorker: PRINTABLES (Site not responding. Last check: 2007-10-10) |
 | | Philip notes that in a 1912 performance the great Belgian violinist Eugène Ysaÿe “sways either side of the beat, while the piano maintains an even rhythm.” In disks by the Bohemian Quartet, he says, “each player is functioning as an individual,” reacting with seeming spontaneity to the personalities of the others. |
 | | Edward Elgar’s recordings of his Second Symphony and Cello Concerto, from 1927 and 1928, respectively, are practically explosive in impact, destroying all stereotypes of the composer as a staid Victorian gentleman. |
 | | All those lost tics and traits—swaying on either side of the beat, sliding between notes, breaking chords into arpeggios, members of a quartet going every which way—are alike in bringing out the distinct voices of the players, not to mention the mere fact that they are fallible humans. |
| www.newyorker.com /printables/critics/050606crat_atlarge (4215 words) |
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