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11 Sentences With "executants"

How to use executants in a sentence? Find typical usage patterns (collocations)/phrases/context for "executants" and check conjugation/comparative form for "executants". Mastering all the usages of "executants" from sentence examples published by news publications.

The young executants are all officially admirable; but the choreography presents them as stuffed shirts.
He also anticipated the modern dance of today in the generous way he announced in the 1938 program that this work's solos were choreographed by their own original executants.
In addition to the activities of the Academy, Maria Canals created an International Music Course in Sitges with the support of a Board of Trustees and the organization in charge of the Sitges City Council and Conciertos Aster. The course was carried out between the years 1960 and 1963, with the objective of bringing in good young executants from different countries and different schools.
Many executioners recovered the fat called "Armsünderfett" or "Armsünderschmalz" (German for fat or grease from poor executed sinners) from the bodies of their executants and sold it.Christiane Wagner, Jutta Failing: Vielmals auf den Kopf gehacket … In: Galgen und Scharfrichter in Hessen. Naumann, Nidderau 2008, (German) For some executioners the marketing of human fat was a major source of revenue.Menschenfett war früher ein begehrter Rohstoff.
At the beginning of her career, she gave much attention to music and its history and to that of the persons most distinguished as executants or professors of it. Keating was also a singer. After many triumphs in the music field in Nashville, Tennessee, Baton Rouge, Louisiana, and Memphis, where she sang for charitable and patriotic purposes, teaching music, vocal, piano, harp and guitar, for the support of her family during the war, she turned to literature. She became well known to publishers and literary people throughout the country as a discerning and discriminating critic, serving as the literary editor of the Memphis, Tennessee Appeal, and later of the Memphis Commercial.
Their repertory ranges from baroque to contemporary music, and they have given first performances of important Spanish composers like J. Mª Mestres Quadreny;First performance of Vara per 2 in Barcelona, 1993First performance of Sonades de Besllum in Segovia, 2001 Mª R. Ribas, M. Ros, X. Boliart, D.M. González de la Rubia, Mercè Torrents, Anna Bofill, Consuelo Colomer, Delfin Colomé, F. Wort, A. Guinovart, A.O. Sabater and F. Taverna-Bech. The sisters have been awarded grants by the Spanish Ministry of Foreign Affairs (1995, 1997), the Spanish Ministry of Culture (1995), the Luxembourg Ministry of Culture (1997) and the AIE, Interprets and Executants Association (1998, 1999 and 2000).
Lib for Vanity Fair, 1892 Oratorio Lloyd was very active during the heyday of George Bernard Shaw's reviewing days. Shaw thought Lloyd in his best vein in Mendelssohn's St. Paul at the Crystal Palace in November 1889; in June 1890 he found the massed performance (3000 executants) an ordeal, but thought Edward Lloyd sang 'without a fault', when Watkin Mills and Mme Patey were in excellent form and Mme Albani her usual self. Shaw despised the massed festivals, but usually much admired Lloyd. In June 1891 at Crystal Palace, if Santley was the hero of the hour, Lloyd was delightful in Love in her eyes sits playing and in one of the Chandos Anthems.
Ruth in Boaz's Field , 1828 The second period of Schnorr's artistic output began in 1825, when he left Rome, settled in Munich, entered the service of Ludwig I of Bavaria, and transplanted to Germany the art of wall-painting which he had learned in Italy. He showed himself qualified as a sort of poet-painter to the Bavarian court; he organized a staff of trained executants, and covered five halls in the new palace – the "Residenz" – with frescoes illustrating the Nibelungenlied. He also painted a series of scenes from the lives of Charlemagne, Frederick Barbarossa and Rudolph of Habsburg. Schnorr had initially wanted to create a complex symbolic programme in which these German historical subjects were combined with scenes from the Old Testament.
The programme always contained at least two concerted instrumental works and the executants were generally artists of established position, many of whom had not appeared before in England. The annual series consisted of eight afternoon concerts given during the season, at first in Willis's Rooms, and a benefit concert when vocal music was allowed to form part of the programme. The artists played in the middle of the room, with the audience surrounding them, and programmes were printed and sent out to the subscribers a few days before the concert. The undertaking met with such support that a series of evening concerts, at somewhat lower prices, was started in the early part of 1852, under the title of "Musical Winter Evenings".
In Longyearbyen, the polar night lasts from 26 October to 15 February. From 12 November to the end of January there is civil polar night, a continuous period without any twilight bright enough to permit outdoor activities in the absence of artificial light. Stromajer and Zorman conducted and monitored the leaving of the robot in the deep snow of the white spaciousness of the Arctic glacier (Olav V Land, Svalbard) on New Year's Eve. They were located in their Control Centre in Ljubljana (CCL), Slovenia. Receiving instructions from CCL, two executants, Nils Are Mohn and Åsmund Njøs, keepers of the Indian research base on Svalbard (NCAOR - Indian National Research Centre; opened in July 2008 in collaboration with the Norwegian Polar Institute, as one of the twelve international permanent research bases in Svalbard), abandoned the robot on the glacier.
In his critique, he claims: > The relation between the bourgeois class and the state is an objective > relation. This means that if the function of the state in a determinate > social formation and the interests of the dominant class coincide, it is by > reason of the system itself: the direct participation of members of the > ruling class in the state apparatus is not the cause but the effect. In a response to Poulantzas's criticisms, Miliband counters that Poulantzas's position allows no room for agency and is therefore too limiting. His point of view does not allow individuals to make decisions based on their own free will; rather, their decisions are determined solely by the structure of society: > For what his exclusive stress on 'objective relations' suggests is that what > the state does is in every particular and at all times wholly determined by > these 'objective relations': in other words, that the structural constraints > of the system are so absolutely compelling as to turn those who run the > state into the merest functionaries and executants of policies imposed upon > them by 'the system'.

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