"It is natural that conductors eventually want to start to do more symphonic music, because it is less complicated than doing opera," Mr. Domingo said in an interview.
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His music and star appeal has raised his profile -- he gave a free concert at a rally on December 26 that reportedly attracted tens of thousands of people -- although he says he's made his music more "symphonic" for campaign purposes.
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Mr. van Zweden said that he was particularly taken with a performance of Mr. Andriessen's "Mysterien" that he heard played by the Royal Concertgebouw Orchestra in Amsterdam, and that soon after he was named music director he reached out to him to see if he would consider writing more symphonic works.
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Ancestral Legacy is a Norwegian gothic metal-band, started in 1995 as Permafrost. In 1999 they changed their name to Ancestral Legacy and also changed their musical style from black / death metal to more symphonic metal.
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The band was founded in December 1995 by Eddie Risdal as Permafrost. At first the music was inspired by extreme metal as Dissection, Unanimated, Darkthrone and Ulver. The band changed its name to Ancestral Legacy in 1999 and was more symphonic. The band released two demos, a self- titled in 2000 and Emptiness in 2002.
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He describes: "The meandering line, continually curling back on itself and the resonance of the massive, ancient stone walls are mirrored in the writing, as continually shifting, changing fragments of the "chant" are passed between the instruments". The last movement has a more symphonic aspect. The strings and the bassoon play arpeggio motifs in open intervals such as fifths and major sixths.
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The post broadcast music continuously, classic, jazz and more: symphonic, chamber music, operetta, choral music, folk, jazz, soundtracks. It broadcasts famous singers in recent recordings or archived concerts and brings news of both national and international events and also live broadcasts from famous concert halls in the world, where today's best ensembles perform on a regular basis. Radio Romania Muzical, ascultalive.ro. Retrieved 2018-08-15Radio Romania Muzical 104.8 FM, radio.org.ro.
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As the Angels Reach the Beauty is the second studio album by the symphonic black metal band Graveworm, released on 26 September 1999 through Serenades Records. This is one of Graveworm's more symphonic albums, with strong symphonic metal influences and three symphonic interludes. It was recorded and mixed at Newport Studios, St. Lorenzen, Italy and mastered at Newport Mastering Studios. The cover artwork is a painting of Luis Royo.
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Hughes, pp. 131–32 Sullivan considered rewriting the Mikado overtureShepherd, Marc. "The Sadler's Wells Mikado (1962)," A Gilbert and Sullivan Discography and was thought to have sketched out a new overture on more symphonic lines, but no trace of it survives.Hughes, pp. 136–38 Clarke's Ruddigore overture was dropped by the D'Oyly Carte Opera Company in 1919 in favour of a wholly rewritten overture by Geoffrey Toye.The Times, 25 October 1921, p.
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The haunting opening concludes with the backing orchestra repeating the same broken chord as the synthesizer before transitioning into a more symphonic-rock bridge accompanied by the drums. The synthesizer plays an arpeggio during which the strings play riffs. Following this, Lynne provides a guitar-solo and the strings follow after. The song suddenly shifts to a rock sound with a prominent acoustic guitar riff where Kelly Groucutt joins on the bass guitar.
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Witchcraft was the ninth album by the German heavy metal band Stormwitch, released in 2004. The album sees a further expansion on the new style, first shown in "Dance With The Witches", with a prominent use of keyboards that gave a much more symphonic sound. This was the last album to feature this lineup as all members except for Andy Mück have since left the band. Again, remaining the only original member.
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Mannequin Depressives has performed alongside bands of similar genres, including: Left Spine Down, The Rabid Whole, iVardensphere, Combichrist, and The Birthday Massacre. A darker and more symphonic project, Voltage Control has often been described as atmospheric electro-industrial. To date, two full-length Voltage Control studio albums are known to exist, in addition to a series of live recordings. Both Mannequin Depressives and Voltage Control are signed to the Klankboom Productions label.
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The setting is more symphonic than that of the Mass No. 1, with a larger contribution of the soloists. Bruckner indicated bars 170-179 of the Gloria - a part of the last "Miserere nobis" - as optional. As yet, these ten bars were recorded by only a few conductors. Whereas the Gloria ends with a fugue in all Bruckner's masses, in Mass No. 3, as in his previous Missa solemnis, the Credo also ends with a fugue, a "classical feature".
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The Academy Choir is a traditional mixed choir (soprano, alto, tenor, and bass) that performs music from a variety of styles and time periods in both large and small group settings. While emphasis is placed on developing vocal skills and independent music reading, the primary focus of the group is performance. Performances include the annual madrigal feast, holiday-themed Vespers concert, Easter Day messiah concert and many more. Symphonic Winds (Band) encompasses students that play brass, woodwind and percussion.
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In 2010, a second concept album, Chanson de la Croisade, was released. The album has more symphonic elements while still embracing the folk metal roots. The story of the album deals with the prosecution of the Cathars, members of a Christian religious movement that appeared in the Languedoc region of France and other parts of Europe in the 11th century. Chanson de la Croisade was recorded in the Midas studio and the Red Left Hand studio.
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After two demo tapes that gained a lot of positive response in the underground scene, Thyrfing signed to the Dutch record label Hammerheart Records in 1997. In Stockholm's Sunlight Studio in Stockholm, their debut album was recorded, showing a much more varied songwriting. The album was then released in March 1998. For their second album, this time recorded in the Abyss Studios, their music took on a more symphonic approach, still keeping with the roots from the older material.
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Each track on I Care Because You Do is annotated with a date, revealing that the tracks were created between 1990 and 1994. It was James's final album to be recorded primarily with analogue technology before he turned to digital production methods. Many of the song titles are anagrams. According to AllMusic, the album finds James "pairing his hardcore experimentalism with more symphonic ambient material, aligned with the work of many post-classical composers" such as Philip Glass.
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They then toured Europe and the United States to promote the album. Currently the band is working on a DVD and a new album titled Aria Galactica. Lex Icon announced recently that they have 14 pieces written so far. The album will come with a second disc consisting entirely of symphonic renditions of the tracks from the primary disc, which suggests a return to the more symphonic style exhibited by the band on their 1998 album Nexus Polaris.
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Dead Can Dance had a more symphonic sound than previous acts, and, although never considering themselves to be a goth band, were popular among goths. This formed the precedent of neo-medieval music being particularly popular in the Goth scene. 1989 saw the formation of the German band Corvus Corax, two members of which were on the run from the disintegrating East German regime. In the 1990s, Corvus Corax would go on to have a profound effect on neo-medieval music.
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In 1993, the band recorded their first demo, entitled Tristesse, released the following year as a mini CD by an American record label. According to the official Funeral website this demo won them the title of "the most depressing band in the world". Funeral then made a decision to turn more symphonic and the result was shown on their demo Beyond All Sunsets. In 1994 the band became one of the first doom metal bands to recruit a female vocalist, Toril Snyen.
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West opted in favor of a more symphonic orchestration to serve as a backdrop for his improved lyricism. Though elements of his trademark looped samples were still present, there was now a heavier reliance on keyboards, string sections and boisterous yet haunting horns. Additionally, elongated and vibrant outros were integrated into most tracks, providing them with more time to breath and settle into listener's ears. On Late Registration, West progressively moves past his previous musical limitations in terms of contextualization and deployment.
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Søderlund co-wrote the melodic track "Murky" with Maltha, the latter of whom penned the soft rock ballad "The Room" and the more symphonic number "Closer to the Truth", the latter of which was originally composed for Bionicle's Mistika campaign, and like "Creeping in My Soul", alludes to story elements from the franchise. The album's closing number "No More Words" was solely composed by Lorentzen. It is a classical ballad that features higher levels of orchestral arrangements with no guitar work; putting emphasis on Lorentzen's vocals.
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In the latter days of symphonic rock, a great number of new groups started popping seemingly out of nowhere. In reality, these were bands influenced by post-punk, new wave from the US and Britain, and by the more symphonic and less progressive side of Argentine rock. Patricio Rey y sus Redonditos de Ricota, who had started in 1977, were growing a larger following on a monthly basis. In 1979 in La Plata, Federico Moura would form a pioneering new wave band called Virus.
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Billboard magazine described "Steppin' in a Slide Zone" as a "fast paced rocker". One of the most noticeable differences in the band's sound after this hiatus was that the Mellotron and Chamberlin (a similar instrument to the Mellotron) had been replaced with more widely used synthesizers, and "Steppin' in a Slide Zone" was the first of their singles to use synthesizers. The synthesizer would ultimately give the Moody Blues a more electronic sound, which departed from the more symphonic sound of their past career.
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Premnath at Occultfest 2010 In 2005, the band released their third album, At the Dawn of War, with a more symphonic sound and elements of folk metal. The band also incorporated more war and fantasy themes to their live shows and began dressing in medieval warrior costumes. That same year Slechtvalk released a live-DVD, Upon the Fields of Battle, filmed at the club Hedon Zwolle; a music video for "Thunder of War" (also released as a maxi single) received some airplay at local music channels. The band toured several European countries with Frosthardr.
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Liner notes from Pete Venudor In 1960 Kenton also has the instrumentation of the sax section changed to alto/tenor/tenor/baritone/baritone or bass saxophone creating a much more robust lower end to the band. The sax section make-up would stay the same until the band disbanded after Kenton's passing in the late 1970s (mellophoniums were discarded by the middle 1960s). The trombone section is also transformed to have tuba anchoring the brass. The first Kenton mellophonium band was a far more symphonic sounding group than earlier versions or periods of the Kenton orchestra.
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In addition to The Essential Collection, the band announced the release of a new album in 2006 and so, in August 2006, the band released The Twilight Chronicles, which featured another change in the sound of the band, leaning towards a more symphonic sound. By then, the band consisted of Hughes, Chris Francis, John Halliwell, Paul Hodson and session drummer Frank Basile, since bassist Steve Mckenna had left the band in December 2005. By 2007, Ten was put on a hiatus and by May 2008, lead guitarist Chris Francis had announced his departure from the band.
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The band performing at the 2014 edition of the M'era Luna Festival with a Hydra-themed stage. In the run up to the 15th anniversary of Within Temptation, the band was asked by Belgian radio station Q-Music to choose and perform an existing track in a "Within Temptation style" once a week during fifteen weeks during their special program Within Temptation Friday. The covers consist most part of pop songs in which the band transformed into a more symphonic oriented form. Lead vocalist Sharon den Adel stated that:“Our approach was to really make the cover a new Within Temptation song.
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Sputnikmusic said that with Nostradamus the band "has cast away both speed metal and hard rock in favour of a more symphonic metal approach", with the album having a "greater emphasis" on synthesizers, but not in the unsatisfying manner of their 1986 album Turbo. The reviewer said he thought it was "painfully obvious" that the band had been struggling to work in an unfamiliar style. Allmusic said that the album represented "epic metal" of the sort previously produced by Iron Maiden in 1988's Seventh Son of a Seventh Son. The album was seen to contain Spinal Tap-style clichés such as "melodramatic spoken interludes".
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Before the film began, the film was accompanied with a THX trailer, called “Cimarron”, the original trailer was recalled after a few months, due to complaints of theater owners, complaining that it “blew up cinema speakers”, which then lead to the events of THX themselves creating a new quieter, more symphonic mix and more common of the said trailer, composed and conducted by the late James Horner. The common version was released in 1995, to promote the benefits of Dolby Digital sound and can also be seen on DVD and YouTube. The original mix has yet to be found and restored to its original glory.
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It is explicit on the second track, "Endless War", which features choirs and more symphonic elements with underlined electronic sounds. The singer stated that the loss of individuality might even compromise democracy, as people are fed information that is calculed by their personal tastes and positions, difficulting them to search or understand other worldviews. This theme was mainly aborded on the track "Raise Your Banner". According to her, the song draws inspiration from protests that happened during the decade of 1980, where people went to the streets claim their rights and contrasts it with the online protests from nowadays, which she considers more passive and lacks resistance.
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The conductor Leon Botstein describes the work as "more symphonic than operatic", structured in four distinct sections, equivalent to the movements of a symphony. Hindemith draws on models from Richard Strauss regarding instrumentation, from Franz Schreker's "opulence", and Richard Wagner's lyricism, at times in irony, for example when the second theme alludes to Tristan und Isolde. The musicologist Giselher Schubert summarizes "Direct expression and deliberate formal design are not at odds in this expressionism, but rather rely on each other." The premiere resulted in a succès de scandale: while some critics appreciated "a composer of enormous talent and promise", negative responses established Hindemith’s "reputation as a young upstart".
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Goh came to the notice of several important artistic directors of dance companies, including the Pacific Northwest Ballet and the Dance Theater of Harlem as word of mouth spread that his talent was producing works of a very high quality. Many noted that his work was filled with a usage of classical ballet vocabulary that seemed influenced by his Asian heritage. His vision was more "symphonic" in that he utilized numerous soloist dancers in a ballet rather than the traditional principal dancer/corps de ballet arrangement typical in classical choreography. For the Houston Ballet he created two new works (1979 & 1980) and for the Alvin Ailey American Dance Theater he created Spectrum (1981).
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However, the ELO sound and the focus of Lynne's writing was also shaped by Louis Clark's and Richard Tandy's co-arranging, under Lynne's direction (notably the large string sections), and Bev Bevan's drumming, while Richard Tandy's integration of the Moog, harmonium, and Mellotron, with more novel keyboard technology, gave Lynne's songs a more symphonic sound. Kelly Groucutt's distinctive voice mixed with Lynne's to produce the classic ELO harmonic vocal sound. The pinnacle of ELO's chart success and worldwide popularity was the expansive 1977 double album Out of the Blue, which was largely conceived in a Swiss chalet during a two-week writing marathon. The band's 1978 world tour featured an elaborate "space ship" set and laser light show.
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The album was recorded with Alex Kautz as the new Midnattsol guitarist, who joined the band shortly after the release of their previous album Nordlys in 2008, replacing to Fabian Pospiech. Later, guitarist and composer Daniel Droste left the band after the recording sessions for the album that finished in 2010 to focus solely on his own band Abab. To replace him, joined Matthias Schuler as official member for the respective European promotional tour, made between April and October 2011. Compared to their previous work, The Metamorphosis Melody heads towards a more symphonic Nordic sound and includes some themes inspired by Norwegian folk tales, with soothing vocals coming from the voice of Carmen Elise Espenæs, but less operatic.
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In the run up to the 15th anniversary of Within Temptation, the band was asked by Q-Music to choose and perform an existing track in a "Within Temptation style" once a week during fifteen weeks during their special program Within Temptation Friday. The covers consist most part of pop songs in which the band transformed into a more symphonic oriented form. Lead vocalist Sharon den Adel stated that: “Our approach was to really make the cover a new Within Temptation song. So not going the easy way by using only a piano or an acoustic guitar for example, but really trying to put all the elements of a Within Temptation track in this new version.
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Rigal, 2010, p. 123. More critical, Instant-Mag said some fans "expected more symphonic versions, such as those beautifully made, for example, for "Ainsi soit je..." and "Sans logique"", adding: "The 'darkness remix' amounts to a vague rhythmic (...); this pale copy [of Björk] does not have the best effect, although both the last two minutes are distinguished from the rest, they did not manage to redeem the whole". The 'anamor remix' is "too soft, slow, filled with strange noises sometimes verging on the ridiculous. Lastly, the 'momento dance mix', "although better than the two others, doesn't avoid the pitfall of the facility, the whole is slightly sprinkled with a little rhythm suggesting those of a boy band.
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The downtown Buenos Aires tango hall became among the best-known venues of its type, and helped maintain the genre's following during its pre-revival era in the 1960s and '70s, attracting the most important names in local tango at the time, including Troilo, pianist Horacio Salgán, bandoneónist Ubaldo de Lío, dancer Juan Carlos Copes, and many others; one featured performer, Enrique Mario Francini, died on its stage clutching his violin.Nación: A puro tango, reabre sus puertas Caño 14 Maestro Stampone in 2010 His 1970 album, Concepto, marked a radical change in Stampone's revivalist style, incorporating a choir and instilling the music with a more symphonic sound; among its notable pieces are Responso (Aníbal Troilo) and Orgullo criollo ("Criollo Pride," by Julio de Caro and Pedro Laurenz).
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132 The plot was not strikingly original: critics commented that its story of babies switched at birth was already very familiar from Gilbert and Sullivan operas. Traubner describes the piece as "one of those unusual works that begin well enough and gets better and better". Setting a scene in the market of Les Halles was not innovative, but Messager's chorus for the marchands and marchandes was out of the ordinary, and Traubner also singles out the duet for the Michus in Act 1: "clever, lilting ... pulsating with an elegance and grace that other operetta composers have failed to obtain". He also judges the finales as outstanding, including a waltz number that in other hands would be predictable but is turned by Messager into something much more symphonic.
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In 1990, Howe Kraft was replaced by Wyatt Robertson, and Believer recorded its second album titled Sanity Obscure, which is more technical than its predecessor. Believer continued its co-working with Scott Laird, and incorporated more symphonic elements on the song ”Dies Irae (Day of Wrath).” Scott Laird's sister Julianne Laird Hoge was featured as a soprano on the song. Sanity Obscure also features an anti-pollution song titled ”Nonpoint” (which the band nonpoint named themselves after) and an anti-drug song called ”Stop the Madness”, which was released as a single with the U2 cover ”Like a Song.” Sanity Obscure was first released by R.E.X. Records to Christian market and a year later by Roadrunner Records to wider audience.
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The album featured Eric Blackwood on lead vocals and guitar and composition again along with Henry Rogers of DeeExpus and Touchstone. Pete Trewavas co-wrote and produced the album with Eric Blackwood and played lead guitar and lead vocals on many of tracks along with bass and programming for the symphonic orchestration. Edison's Children is expecting their third album "Somewhere Between Here and There", a "bridge album" containing 7 new songs and 6 original mixes from The Final Breath Before November by King Crimson's Jakko Jakszyk and John Mitchell, along with the live version of A Million Miles Away from Wolves UK to be released in June 2015. Work has already begun on a 4th epic album which is expected to be much "harder" than the more symphonic The Final Breath Before November.
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His recordings of Rhapsody in Blue (full-orchestra version) and An American in Paris for Columbia Records, released in 1959, are considered definitive by many, although Bernstein cut the Rhapsody slightly, and his more 'symphonic' approach with slower tempi is quite far from Gershwin's own conception of the piece, evident from his two recordings. (Oscar Levant, Earl Wild, and others come closer to Gershwin's own style.) Bernstein never conducted Gershwin's Piano Concerto in F, or more than a few excerpts from Porgy and Bess, although he did discuss the latter in his article Why Don't You Run Upstairs and Write a Nice Gershwin Tune?, originally published in The New York Times and later reprinted in his 1959 book The Joy of Music. In addition to being an active conductor, Bernstein was an influential teacher of conducting.
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Aftertouches is often described as part of a new school of enterprising electronic artists that lean heavily into electronic adventuring, both conceptually and sonically, "as if to experiment with the very building blocks of musical beauty... to speak a language that not everyone speaks yet" (Adam Harper, The Fader). Compared to its experimentalist contemporaries, Aftertouches approaches experimentalism with a more symphonic calculation and leaning towards composition, weaving both physical and technological realms to creates a series of celestial modern classical miniatures. The Wire describes Aftertouches as "...the textless, fleshless voice-keyboard, the lingering foggy sublime of CPU-washed tone granules, the modular serialism of object oriented processes. The various parts are often starkly separated in colour and harmony, but the overall shape flows on smoothly either still learning from and resolving its experiences, or in thrall to an aesthetic that's beyond the horizon" (The Wire, issue 376, June 2015).
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Of the character themes from previous films that Jackman did use, "where appropriate", he evolved them to fit the tone and style of the new score. Captain America's theme could not be too prominent or heroic, as that would suggest that he was the hero of the film when the Russos were trying to create an ambiguity surrounding the main conflict—this does change throughout the film though, becoming more heroic when Captain America "turns out to be right all along". For the Winter Soldier, Jackman took a "rising string rhyme" that was buried underneath "the chaos and the industrial stuff" in the end of the character's suite from The Winter Soldier, and developed that into a much more symphonic theme for the character, in keeping with his much more human portrayal in this film. Jackman also wrote motifs for the major characters introduced in the film: Spider-Man, Black Panther, and Zemo.
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Their first album Malesch is cosmic, aggressive, psychedelic, creative, ethnically flavored (mainly by short interludes of recordings from Egypt), mysterious and densely packed with ideas whereas their second, titled 2nd is more laid-back and upbeat, with longer structure, much more of an emphasis on traditional styled jamming à la the Grateful Dead and a warmer and more straightforward sound. On Malesch the songs blend together to make a seamlessly flowing, tangential and uninterrupted musical journey, whereas on 2nd songs are more predictably structured, more varied in their sound and stand more as independent works. Their sound is similar to, but fairly distinguishable from, other contemporary Krautrock bands such as Ash Ra Tempel, Amon Düül II, Guru Guru, Brainticket, Yatha Sidhra and Kalacakra, as well as the mixed-influence blues-based jam rock of The Grateful Dead and The Allman Brothers noticeable on 2nd, and slightly later and more symphonic bands like Asia Minor and Anyone's Daughter.
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The success of The Ostrobothnians was due to a confluence of factors: the appeal of the music, tonal but darkly colored; the use of folk melodies (blended with Madetoja's own idiom) familiar to the audience; a libretto (also by Madetoja) based upon a well-known and beloved play; a story about freedom from oppression and self-determination, the allegorical qualities of which were particularly salient in a country that had recently emerged from a war for independence; and, the skillful combination of comedic and tragic elements. The introduction to Act I (No. 2: Prisoner's Song in the suite), for example, is based upon a famous Ostrobothnian folk song, ' (The Wind Bent the Birch), which was one of the 262 folk songs Kuula had collected during his travels and which made its way into Madetoja's nationalistic opera, becoming its signature leitmotif. Relative to The Ostrobothnians, with Juha Madetoja takes a "more symphonic, refined" approach, one that eschews folk tunes, despite the nationalistic themes of the libretto.
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