Shouldn't those rippling 16th-note passages in the marchlike opening of the first movement be crisp, rhythmic and thematic, not the sweeping blurs that Mr. Lang made them?
When a fine young first violinist like Sarita Kwok is forced to rush and blur the first movement's rapid, little-note passages, she might remember old Leopold Mozart.
His chords were almost always two handed, without opening up into single-note passages, and he kept the sustain pedal down for an extraordinarily long time, building clouds of sound and extra accents around a clave rhythm deep in the heart of the music.
In her copies of his books, Dietrich noted passages of interest with small "X"s and with sheets torn from a notepad with a stamped red directive: Don't Forget.
Then I write, write, write -- pages and pages of notes, passages, dialog, chapters, plot lines -- until the characters begin to emerge and the story begins to tell itself, the single right story that wants to be told.
The question of how to articulate a sixteenth-note passage in the first madrigal led to a discussion of its deeper meaning.
During the animated "Cum Sancto Spiritu" chorus that concludes the Gloria, the spiraling lines of elaborate 16th-note passage work sounded like large swaths of shifting, pulsating, almost Impressionistic harmonies.
When the strings began the scrambling 16th-note passage that announces the spirited Allegro section of the movement, Mr. Gergiev's tempo seemed dangerously fast.
The more advanced text tells readers that the four-note passage "betrays no key," adding, "Only with the torrent it unleashes are we grounded in C minor".
She delved into the score and emerged with all kinds of new notes and passages one felt one hadn't heard before.
