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In the introduction of Part 2 Mr. Dutoit took a tempo that kept the mysterious music moving along.
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"He takes a tempo that's not the norm for a festival-slaying song," Ronson added, "and it becomes one of the biggest tunes of the year".
Though Mr. Wosner took a brisk tempo, his playing was lithe and articulate.
Still, if Mr. Maazel took a dawdling tempo in the Third Symphony's Poco Allegretto, the string and brass playing made it seem worth lingering over.
Rather than emphasizing the rhythmic drive of the repeated chord theme of the first movement, he took a restrained tempo and allowed the music to emerge in an eerie, slightly murky rumble of harmony.
He and Mr. Tovey, the music director of the Vancouver Symphony Orchestra, took a bracing tempo in the finale, which Mr. Gerstein played with punchy rhythmic accents and the snappy brio of a slightly demonic dance.
He's sort of like what would happen if you took an up-tempo break-beat and mixed it with Jimi Hendrix and a little dash of New Age sitar and put it all in a blender.
Ms. Filjak took a somewhat slow tempo and produced shrouds of milky piano sound.
In the first movement, a funeral march, he took a daringly restrained tempo, creating intensity through emphatic execution and heaving, heavy power.
In the opening storm scene, as the people of Cyprus see the ship that carries Otello, general of the Venetian forces, struggling to dock, Mr. Muti took a slightly slower tempo than what most conductors choose.
I agree; though Osborne adds that it takes a slow tempo to bring out the point.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com