56 Sentences With "exordium" | Random Sentence Generator

Episode 1: Exordium received "generally favorable" reviews, according to review aggregator Metacritic.

The theme song is based on Zager and Evans' 1969 hit "In the Year 2525 (Exordium and Terminus)", albeit with altered lyrics.

The Exordium was widely disseminated as a work of Christian spirituality by the Cistercians and also in the 15th century by the Dutch devotio moderna.

A Paris manuscript contains the exordium complete with its customary formula, as usual in Tanchuma, using a formula that reappears throughout this portion of Numbers Rabbah.

Exordium is the first After Forever album to enter the Dutch Top 100 chart, where it remained for two weeks, peaking at #56. On 11 November 2016, an expanded remastered edition of Exordium containing previously unreleased studio sessions, single edits and an interview was released to digital download and streaming services. Physically, this edition was released on 2 December as the last disc on a three-disc reissue of the band's third studio album, Invisible Circles.

A canso usually consists of three parts. The first stanza is the exordium, where the composer explains his purpose. The main body of the song occurs in the following stanzas, and usually draw out a variety of relationships with the exordium; formally, aside from the envoi(s), which are not always present, a canso is made of stanzas all having the same sequence of verses, in the sense that each verse has the same number of metrical syllables. This makes it possible to use the same melody for every stanza.

A high tech video clip was produced for the song by D'iMages, the same company that had done the video clip for the 2003 single "My Choice", extracted from Exordium. The video was aired on Dutch MTV and on local musical TV stations.

On 11 November 2016, Invisible Circles was re-released on streaming, containing a remastered version of the album along with single edits, previously unreleased studio sessions and an interview. Physically, this edition was released on 2 December as a three-disc set and included a similarly expanded edition of Exordium on disc three.

The Agricola mixes various literary genres. It is a biography, crossed with a laudatio funebris and with historical and ethnographical material. For this reason, the book contains portions written in different styles. The exordium, the speeches, and the final peroration show strong influence from Cicero, probably derived from Tacitus's own training in rhetoric.

Their debut studio album Cellar Door: Terminus Ut Exordium was released on August 12, 2014. The Underachievers released their second official album Evermore: The Art of Duality on September 25, 2015. Their third album, Renaissance was released on May 19, 2017. They released After the Rain on November 9, 2018, and Lords Of Flatbush 3 on June 21, 2019.

Mason, Eric F. You Are a Priest Forever: Second Temple Jewish Messianism and the Priestly Christology of the Epistle to the Hebrews. (STDJ 74; Leiden/Boston: Brill, 2008). The epistle casts Jesus as both exalted Son and high priest, a unique dual Christology.Mackie, Scott D. "Confession of the Son of God in the Exordium of Hebrews".

The Conjoiners predict a future devastated by what is implied to be the Melding Plague, and Aurora has been planning to respond to stop it (use of the Exordium creates a new timeline which can be changed to avoid the future the Exordium describes). She and Dreyfus escape as a ship under Aurora's control arrives and destroys the habitat. At the same time, Thalia has distributed the software upgrade to the required four habitats across the Glitter Band, but it appears to be malfunctioning; information access is shut down in the habitats she has visited, and servitors (service robots used across the Glitter Band) are rounding up and exterminating civilians. She and some of the survivors of the last habitat take refuge in its polling core tower, barricading the entrance.

Conrad's single great work, the Exordium Magnum Cisterciense or Exordium magnum Ordinis Cisterciensis, in six books, concerns the early history of the Cistercians. Books 1-4 were written while he was still at Clairvaux, in the time of Abbot Garnier de Rochefort (1186-93); the last two were added at Eberbach, between 1206 and 1221. It is a book of instruction, on the theme of the early days and flowering of the Cistercians at Clairvaux, containing much information on significant persons (among them Saint Bernard of Clairvaux and other great Cistercian figures) and events in the life of the abbey and order. The book is one of the most effective monastic examples of this particular mediaeval literary genre combining historical narrative with exempla, miracles and visions, also represented by Caesarius of Heisterbach and .

Dutch symphonic metal band After Forever covered the song and released it on Exordium (2003). Gospel singer Ruben Studdard released a cover as a Wal-Mart- exclusive bonus track on his fourth album, Love Is (2009).Love Is liner notes. Hickory Records (2009) The song is performed as an instrumental by Keith Jarrett and Charlie Haden on their 2010 album Jasmine.

The Battle of Guoloph, also known as the Battle of Wallop, took place in the 5th century. Various dates have been put forward: 440 AD by Alfred Anscombe,Anscombe, Alfred, "The Exordium of the 'Annales Cambriae", in: Ériu 3 (1907), p. 117–134. 437 AD according to John Morris,Morris, John R. 1980. "Nennius: British History and the Welsh Annals".

Sherwood Smith (born 1951) is an American fantasy and science fiction writer for young adults and adults. Smith is a Nebula Award finalist and a longtime writing group organizer and participant. Smith's works include the YA novel Crown Duel. Smith also collaborated with Dave Trowbridge in writing the Exordium series and with Andre Norton in writing two of the books in the Solar Queen universe.

In the oldest surviving Annunciation image,icons of the Annunciation, it can be found that the Archangel Gabriel is generally raised his hand before he started to mention something important. And this kind of gesture had been amply manifested by the behaviors of Roman rhetoricians when they were about to emphasis a key point. Until now, this kind of tradition still affects the conversation of Italians to begin an exordium.

The exordium of the Acts of Polyeuctes [d. 259] refers to Thecla and Perpetua, and there were certainly many virgin martyrs who drew their first inspiration from the same source. Eugenia of Rome in the reign of Commodus (180–192) is reported in the Acts of her martyrdom to have taken Thecla as her model. Paul is also an ambiguous figure in the Acts of Paul and Thecla.

Dressler's chief contribution comes to us in this unpublished manuscript, which from its organization and tone may have been his notes for teaching composition classes. As such it is one of the first sources to give in detail a practical approach to the composition of the Renaissance motet. Dressler's explication of musica poetica can be summarized in two principles: the application of the rhetorical principles of exordium, medio, and finis to the structure of a motet, and the application of the grammatical principle of a "clausula" (sentence) to smaller musical units demarcated by cadences. The modal aspect of Dressler's musical poetics agrees in principle with that of Pietro Pontio and other contemporary theorists, but Dressler takes it a step further by teaching the use of the principal cadences of the given musical mode (cadences to the final and dominant degrees) to assert stability in the exordium and the finis, and cadences to other degree during the medio to provide contrast and interest.

In classical tragedies, the catastasis (pl. catastases) is the third part of an ancient drama, in which the intrigue or action that was initiated in the epitasis, is supported and heightened, until ready to be unravelled in the catastrophe. It also refers to the climax of a drama. In rhetoric, the catastasis is that part of a speech, usually the exordium, in which the orator sets forth the subject matter to be discussed.

"The popular legend that Beethoven intended this grand exordium of the symphony to suggest 'Fate Knocking at the gate' is apocryphal; Beethoven's pupil, Ferdinand Ries, was really author of this would-be poetic exegesis, which Beethoven received very sarcastically when Ries imparted it to him." Elizabeth Schwarm Glesner remarks that "Beethoven had been known to say nearly anything to relieve himself of questioning pests"; this might be taken to impugn both tales.

Exordium is an EP by Dutch symphonic metal band After Forever, released on 17 October 2003. Another version of this album was released in 2004, with a bonus DVD entitled Insights. "The Evil That Men Do" is a cover of the Iron Maiden song, while "One Day I'll Fly Away" is a metal version of a ballad originally sung by Randy Crawford. This is the band's first recording with guitarist Bas Maas, who replaced Mark Jansen.

August and September 2002 were dedicated to a European tour, supporting Finnish act Nightwish and attending some rock festivals, which exposed the band to larger audiences and gained them even more favourable press. Further media exposure came from Floor Jansen's collaboration with Dutch multi-instrumentalist and composer Arjen Anthony Lucassen, for the recording of Star One's album Space Metal and the subsequent tour in late 2002. Jansen's activities, as well as the regular jobs and studies of the After Forever band members, reduced the band's live performances for the rest of 2002 and half of 2003. It was known that the band was working at a new album from the beginning of 2003, but their first release was the EP Exordium in October 2003, containing an instrumental track, three new songs and two covers. In Jansen’s words "the EP Exordium was like an introduction to this new full length album and the subjects of the lyrics are already connected to the concept (...) meaning they are also dealing with modern, social problems".

Eodem anno in die assumptionis dei genitricis, cum essem Bononie in studio, uidi sanctum Franciscum predicantem in platea ante palatium publicum, ubi tota pene civitas convenerat. Fuit autem exordium sermonis eius: angeli, homines, demones. De his enim tribus spiritibus rationalibus ita bene et discrete proposuit, ut multis litteratis, qui aderant, fieret admirationi non modice sermo hominis ydiote; nec tamen ipse modum predicantis tenuit, sed quasi concionantis. Tota uero uerborum eius discurrebat materies ad extinguendas inimicitias et ad pacis federa reformanda.

The manuscript also has a different exordium for the beginning of Ekev. From this point to the pericope Ki Tavo, it agrees with the print editions (the exordiums, however, are preceded only by the word הלכה, without אדם מישראל); in pericope Nitvavim and its additions it agrees with the Codex Munich. For Vayelech (also on Deuteronomy 31:14) it has a different text; and in the last two pericopes (Haazinu and Vezot Habracha) it agrees with Midrash Tanhuma in present editions.

The Song opens with an exordium (verses 1–3) in which heaven and earth are summoned to hear what the poet is to utter. In verses 4–6 the theme is defined: it is the rectitude and faithfulness of YHWH toward His corrupt and faithless people. Verses 7–14 portray the providence which conducted Israel in safety through the wilderness and gave it a rich and fertile land. Verses 15–18 are devoted to Israel's unfaithfulness and lapse into idolatry.

The most important source for Gerard's life and death is the Exordium magnum Ordinis Cisterciensis by Konrad of Eberbach, written some decades after the events in Clairvaux. It already portrays Gerard as a martyr, recounting that Petrus Monoculus, who was the abbot of Igny at the time of the murder and from 1179 Gerard's next successor but one at Clairvaux, had a vision of him during the funeral mass together with Saint Bernard in the light of heaven.The vision is given at trappistevitorchiano.it .

The diction and style are very fine in many passages. In the beginning of the first homily, which shows the characteristics of the "genuine" portions of the Pesikta Rabbati (in the proems of R. Tanhuma following the halakic exordium), the year 845 is indicated as the date of composition of the work; there are no grounds for regarding the date as a gloss. In the appendix to the Friedmann edition, four homilies are printed from a manuscript, Nos. 1 and 2 of which have yelammedenus and proems.

He and Sparver then analyse communication records from the Ruskin- Sartorious habitat, and discover links with an orbiting asteroid owned by the Nerval-Lermontov family (a member of which was called Aurora). They defeat its defence systems and penetrate inside, discovering a Conjoiner starship trapped inside. One of them, Clepsydra, has escaped and is hiding. She meets with Dreyfus and tells him that she and the other Conjoiners had been enslaved by Aurora (now an extremely powerful software entity) to use the Exordium to predict the future.

Lovato's surviving prose in the British Library manuscript evidenced that he adhered strictly to medieval ars dictaminis, following obediently the standard medieval model for writing prose which consists of salutatio, followed by exordium, narratio, petitio, and conclusio.Witt, 2000, p. 135. Stylistically, Lovato's prose has a solemn tone of voice and the language was medieval in character with over emphasis on colores. Lovato displayed a preference for stylus altus (high style) form of letter writing, which was the most prestigious and difficult of them all.

Vives then gives a history lesson on the letter in an attempt to show that the best letter writers of antiquity understood this conversational aspect of the letter. Vives states that the exordium of the letter is both the hardest to write and the most important part of the letter. It will color the reader’s reaction throughout the body of the letter. It is important to tailor this section to the recipient: Vives also gives instructions on how to vary the letter’s style according to genre.

The structure of the Sermon follows the Ciceronian tradition: an introduction presenting the theme (exordium) ending in an invocation to the Virgin Mary as the Domina maris; the main body of the sermon, allegorical in nature, wherein are Vieira's arguments and counterarguments (narratio and confirmatio); and the conclusion (peroratio). The theme of the Sermon comes from the Gospel of Matthew: "Vos estis sal terræ" (). After the theme exposition, Vieira's discourse has its development divided into two parts: praise for the fishes' virtues and reprehension for their vices.

Each homily has a set structure: it begins with a halakhic exordium, has one or more proems, followed by the commentary (covering only the first verse, or a few verses from the beginning of the section read), and ends with an easily recognizable peroration containing a promise of the Messianic future or some other consolatory thought, followed by a verse of the Bible. The comments referring only to the first verses of the lesson characterize Devarim Rabbah as a Midrash of homilies, in which even the proems are independent homilies rather than introductions to the comment on the Scriptural section. The exordiums show that Devarim Rabbah is very similar to the Tanḥuma Midrashim. In the halakhic exordium (an essential of the aggadic discourse which is found neither in Pesikta Rabbati and Vayikra Rabbah nor in Bereshit Rabbah), an apparently irrelevant legal question is put, and answered with a passage from the Mishnah (about twenty times) or Tosefta, etc. Such answers are generally introduced in Devarim Rabbah by the formula כך שנו חכמים, though the formula commonly used in the Tanhuma (כך שנו רבותינו) occurs twice (in 1:10,15).

Hence, the term musica poetica. Analogies between music and the rhetorical arts were made on several levels. Gallus Dressler (1563) suggested to liken the structure of a musical composition with that of a speech, as outlined in Classical sources, dividing it into such sections as exordium, medium and finis (literally, "beginning", "middle" and "end"). Another kind of analogy was to liken the rules or grammar of composition with those of speech, as illustrated by Joachim Burmeister's use of tautoëpia to label consecutive fifths and octaves (which were generally regarded as illegal except in special circumstances).

Rutilius Claudius Namatianus (fl. 5th century) was a Roman Imperial poet, notable as the author of a Latin poem, De reditu suo, in elegiac metre, describing a coastal voyage from Rome to Gaul in 416. The solid literary quality of the work, and the flashes of light it throws across a momentous but dark epoch of history, combine to give it exceptional importance among the relics of late Roman literature. The poem was in two books; the exordium of the first and the greater part of the second have been lost.

It opens with an exordium (1st strophe), in which, after an original welcome, Jupiter briefly defines the subject. This is followed, in the ancient rhetorical fashion, by the narration (the past shows that the intention of the Fados is the same one that the orator presented). There is then a confirmation of suggestions already put forth in the narration of the 4th strophe. This episode then ends with two strophes of peroration, where Jupiter appeals to the benevolence of the gods concerning the sons of Lusus, with Jupiter's speech eventually settling the debate.

Censorship is one issue Sidney had to overcome through his use of rhetorical devices in the Apology. Sidney was also versed in the phenomenon of courtiership. As part of his strategy against the threat of censorship, Sidney uses the structure of classical oration with its conventional divisions such as exordium and peroratio. Sidney's use of classical oration stems from his humanist education (Harvey 1). He uses this method to build his argument, by making user of the rhetorical methods in such guides as Thomas Wilson’s Arte of Rhetorique (1553) (Harvey 2).

He covers letters of petition, instruction, congratulations, consolation, incentive, and shared interests. “We may write on every subject,” says Vives, but he focuses his attention on the most popular epistolary genres. Following the pattern Vives sets out in his discussion of the exordium, the bulk of De conscribendis epistolis covers the components of the letter and considerations for composition such as diction and addresses on superscriptions. Throughout this how-to section of the treatise, Vives offers examples and templates, which are “suitable for our use” in the 1530s, as he puts it.

Lawrence’s first work, written at Paris and dated between 1298 and 1302, the treatise borrows from Cicero’s De inventione and the Rhetorica ad Herennium as well as from fellow dictatores Buoncompagno’s Rhetorica novissima (Jensen 1973). In the first of the treatise’s eight main parts, Lawrence defines the basic concepts related to dictaminal writing: orator, rhetor, dictatores, and dictamen. He concludes by defining the letter and its parts. Parts two through six concern a detailed description of each of the five parts of a letter: salutation, exordium, narrative, petition, and conclusion.

Initially founded as a studio project in the year 2000 at Kraków by vocalist and multi- instrumentalist Mikołaj "M." Żentara with the collaboration of drummer Dariusz "Daren" Piper, both originally from the band Kriegsmaschine, together they recorded two unreleased demos, a collaboration split album with Deathspell Omega, Clandestine Blaze, Stabat Mater, Exordium and Musta Surma and their first 2 EPs. Daren left the band in 2006 and was replaced by Maciej "Darkside" Kowalski. The band signed to Northern Heritage Records in 2008 and released their debut album Groza in that same year, Mgła has been signed to Northern Heritage ever since.

He wrote little and gave way to the inspiration of the moment and as a consequence his utterances at times were an incoherent jumble of incongruous figures and ideas, which clashed with each other and were often even grotesque. It was Cardinal Maury who called attention to his exordium in the sermon on Eternity which was said to be improvised. Father Cahour, S.J., inserted it in his Chefs-d'Oeuvre d'éloquence, and Maury who wrote it from memory declared that it was worthy of Bossuet or Demosthenes. It was proclaimed at St. Sulpice before an audience of dignitaries.

These proclamations all used a standard format, beginning with an exordium—"The worshipful and most esteemed gentlemen of the Eight of Ward and Security of the city of Florence make it known, notify, and expressly command, to whosoever, of whatever status, rank, quality and condition"—and continuing with a statement (narratio), a request made upon the listeners (petitio), and the penalty to be exacted from those who would not comply (peroratio).Milner, "Fanno bandire" (2013), p. 121. In addition to major declarations, bandi (announcements) might concern petty crimes, requests for information, and notices about missing slaves.Milner, "Fanno bandire" (2013), pp. 122–123.

Written by Evans, "In the Year 2525 (Exordium & Terminus)" warned of the dangers of technology, portraying a future in which the human race was destroyed by its own technological and medical innovations. The last stanzas of the song suggest mankind undergoes a continuing cycle of birth, death, and rebirth. "In the Year 2525" hit number one on the Billboard Hot 100 in 1969, ultimately claiming the top spot for six weeks. It also hit #1 in the UK. "2525" topped the charts at the time of two major cultural events: the first moon landing on July 20, 1969 and the Woodstock Music Festival a month later.

The complex arrangements of the new compositions pushed After Forever's music even more towards the symphonic metal genre. In 2002 Mark Jansen, one of the main composers and founder of the band, was fired from After Forever and subsequently assembled the band Epica, where he continued to pursue the combination of symphonic metal with death metal elements, already present in the first two albums by After Forever. He was replaced by Bas Maas, who had been a roadie for the band for years. In 2003, the new line-up of After Forever released the EP and DVD Exordium. In 2004, the concept album Invisible Circles was released.

Five songs topped both charts during the year: Mancini's "Love Theme from Romeo and Juliet" and both of The 5th Dimension's chart-toppers, as well as "In the Year 2525 (Exordium and Terminus)" by Zager and Evans and "Leaving on a Jet Plane" by Peter, Paul and Mary. Additionally, the final Easy Listening number one of the year, "Raindrops Keep Fallin' on My Head" by B. J. Thomas, went on to top the Hot 100 early in 1970. Although Zager and Evans achieved the feat of topping both listings, the duo proved to be a one-hit wonder and never placed another song on any of Billboards charts.

Apologia (Apulei Platonici pro Se de Magia) is the version of the defense presented in Sabratha, in 158–159, before the proconsul Claudius Maximus, by Apuleius accused of the crime of magic. Between the traditional exordium and peroratio, the argumentation is divided into three sections: # Refutation of the accusations leveled against his private life. He demonstrates that by marrying Pudentilla he had no interested motive and that he carries it away, intellectually and morally, on his opponents. # Attempt to prove that his so-called "magical operations" were in fact indispensable scientific experiments for an imitator of Aristotle and Hippocrates, or the religious acts of a Roman Platonist.

From October 17, through November 30, 2013, The Underachievers toured with Joey Badass, Pro Era, Ab-Soul, and Chevy Woods, among others on the fourth annual "The Smokers Club Tour". On November 19, 2013, Issa Gold confirmed that The Underachievers would be releasing their debut album The Cellar Door in early 2014. He also revealed that they would begin The Cellar Door Tour in April 2014. Then in December 2013, The Underachievers were featured on Talib Kweli's sixth studio album Gravitas, on the song "New Leaders". On January 28, 2014, Issa Gold updated saying that the album would be released by April 2014, however, it was eventually pushed back to August 12, 2014 now retitled Cellar Door: Terminus Ut Exordium.

After the almost unanimous praise received by the album Decipher and the perplexities raised by the new musical direction of the EP Exordium, there were great expectations for the new album by fans and specialized press alike. The complexity of the music and concept of Invisible Circles produced mixed reviews, ranging from highest praise to complete failure, even in the same publication. The bold move of making a concept album about such a controversial matter was generally appreciated but, as Eduardo Rivadavia said in his AllMusic review, this could be a "slightly overambitious creation". The Maximum Metal reviewer states that "concept albums are always hard to pull off and not many bands can do it well" and "here is another failed attempt".

Martin Luther wrote, "The Passion of Christ should not be acted out in words and pretense, but in real life." Luther felt that elaborate polyphony would distract from the importance of the sacred passion text. Despite this, sung Passion performances were common in Lutheran churches right from the start, in both Latin and German, beginning as early as Laetare Sunday (three weeks before Easter) and continuing through Holy Week. Luther's friend and collaborator Johann Walther wrote responsorial Passions which were used as models by Lutheran composers for centuries, and “summa Passionis” versions continued to circulate, despite Luther's express disapproval. Later sixteenth- century passions by G.M. Asola, Samuel Besler, William Byrd, Leonard Lechner, and Jakob Meiland included choral “exordium” (introduction) and “conclusio” sections with additional secular texts.

Cicero makes a final emotional appeal to the jury. Just as in the exordium he makes clear that this was an unusual speech compared to the tradition of trials. He is however certain the judges have received it gladly: > ... quae a foro aliena iudicialique consuetudine et de hominis ingenio et > communiter de ipsius studio locutus sum, ea, iudices, a vobis spero esse in > bonam partem accepta, ab eo, qui iudicium exercet, certo scio. (Cic. Arch. > 32) “I hope that my departure from the practice and the conventions of the > courts, and my digression upon the subject of my client’s genius, and, in > general terms, upon the art which he follows, has been welcomed by you in as > generous a spirit as I am assured it has been welcomed by him who presides > over this tribunal.

After a short account of the incidents preceding the conversion of the king, and of his conversations with a philosopher, a Christian, and a Muslim concerning their respective beliefs, a Jew appears on the stage, and by his first statement startles the king; for, instead of giving him proofs of the existence of God, he asserts and explains the miracles performed by Him in favor of the Israelites. The king expresses his astonishment at this exordium, which seems to him incoherent; but the Jew replies that the existence of God, the creation of the world, etc., being taught by religion, do not need any speculative demonstrations. Further, he propounds the principle upon which his religious system is founded; namely, that revealed religion is far superior to natural religion.

The Underachievers released Cellar Door: Terminus Ut Exordium after mixtape releases from Issa Gold and AK, respectively. Issa Gold released his mixtape, Conversations with a Butterfly and AK released his mixtape, Blessings in the Gray to help build hype for their new album. Shortly after the album dropped, The Underachievers announced a two-month tour with fellow "Beast Coast" members The Flatbush Zombies, as Clockwork Indigo. This tour will be named Electric Koolaid Experience On July 8, they announced that their upcoming project will be titled "Evermore - The Art of Duality", alongside an accompanying World Tour. The album's first single "Take Your Place" was released on July 10. The album was released on September 25, 2015. On February 23, 2016, the line up for hip hop artists at the 2016 Osheaga Music Festival were announced; the Underachievers were one of the acts.

Sander Gommans started the composition of the basic melodies for Invisible Circles at the beginning of 2003 in his home studio in Reuver, working at the same time on new songs for the EP Exordium. This part of the creative process had been shared with Mark Jansen for the previous albums and it would be shared with keyboard player Joost van den Broek for the following ones. Gommans wrote the songs for the new album with the precise idea of pushing the music of the band closer to progressive metal, reducing the gothic atmospheres of the previous releases to a minimum and adopting as many different musical styles as he felt necessary to the convey the message of the songs. Meanwhile, his fiancée Floor Jansen was writing the lyrics and shaping the plot for the concept album.

The band reunited at Excess Studios in Rotterdam in July 2003, a few weeks after recording Exordium, to arrange the new songs and to record the instrumental tracks, under supervision of producer Hans Pieters and sound engineer Dennis Leidelmeijer. Every member of the band contributed to the music, which is credited for the most part to all six musicians. When the instrumental tracks were ready, the band moved in August 2003 to Gate Studio in Wolfsburg, Germany, where all solo vocal parts were arranged by the band, under supervision of American singer and producer Amanda Somerville. She also contributed, along with Jay Lansford, the recited parts that connect the songs to each other and explain parts of the plot. The solo vocals of Jansen, Gommans and Bas Maas were recorded separately by producers Sascha Paeth and Michael “Miro” Rodenberg.

To prove that the language of the Slavophones was closer to Ancient Greek than Modern Greek, he composed a list of homeric words and compared how many of them survive in the "people's" language, meaning demotic, (650) and how many in the "Slavic- seeming Macedonian" (1260). The conclusion, for Tsioulkas, was that the "Slavic-seeming Macedonian [language] was a sister of the Greek [language]" and the "Macedonian people" was native and descended from the Ancient Macedonians. This anti-scientific book was the most important in a series of pseudo-linguistic publications that appeared in Greece from the beginning to the middle of the 20th century, whose writers without knowing the dialects they were writing about maintained that the "mixed" or "Slavic-seeming" dialects of the Slavophones weren't Slavic. No Greek linguist supported Tsioulkas' theory, but the book was republished in 1991, during the Macedonia naming dispute, without negative commentary, but with a commendatory exordium of the former minister Nikolaos Martis.

" Indeed, "...the double 'ta-ta-ta-Taaa' is an open-ended beginning, not a closed and self-sufficient unit (misunderstanding of this opening was nurtured by a nineteenth-century performance tradition in which the first five measures were read as a slow, portentous exordium, the main tempo being attacked only after the second hold.)" He notes that the "opening [is] so dramatic" due to the "violence of the contrast between the urgency in the eighth notes and the ominous freezing of motion in the unmeasured long notes." He states that "...the music starts with a wild outburst of energy but immediately crashes into a wall." Steinberg also asserts that "...[s]econds later, Beethoven jolts us with another such sudden halt. The music draws up to a half-cadence on a G major chord, short and crisp in the whole orchestra, except for the first violins, who hang on to their high G for an unmeasured length of time.