Gordon's voice is most lyrical and assured in her conclusions.
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I have heard Blanchfield describe it as the most "lyrical" section of the book.
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Thomas Adès chose Mr Isserlis to premiere "Lieux retrouvés", his most lyrical work to date.
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I'm not ya most lyrical rapper, but the shit I speak on you can understand and relate to.
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The BFG is at its best when it's at its most lyrical, or when it's at its most crude.
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I don't know the Estonian language but this girl had the most lyrical voice and it haunted me like a musical refrain.
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Yet as he murmurs through the quietest and most lyrical of the band's albums, I often find myself touched, moved, even sorry for him.
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Most tender and most lyrical of all is "Personal Effects," the 30-page poem Sharif wrote about her uncle's death in the Iran-Iraq War.
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There is fretfulness in even his most lyrical descriptions, and it is remarkable how this paradox is mirrored in the atonality-spiked lushness of the music.
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Or as he put it in the "Song of Myself" from Leaves of Grass: The verse may be the most lyrical list of turn-ons ever written.
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Yet as Robert Macfarlane points out, in his best and most lyrical book of nature-writing since "The Wild Places", humanity's relationship with this underland is complex and contradictory.
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Some of his most lyrical writing describes Hungary, where Prime Minister Viktor Orban is manufacturing a collective sense of victimhood to help weaponize the unrealized optimism of the 1990s.
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Persuasion is also the most melancholy Jane Austen, and the most lyrical, and arguably the most romantic, all of which are perhaps part of why it's such a beautiful book.
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On DVD Nicholas Ray's "They Live by Night" (new on disc from Criterion) is a remarkable debut as well as an agonizingly pure love story — the most lyrical film of the director's career.
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Wednesday brings "Pipilotti Rist: Pixel Forest," a survey of a pioneering artist known for combining music and images of nature and the female body into some of contemporary art's most lyrical videos and video installations.
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What's most puzzling and also exciting about these early paintings is how un-Guston-like and self-conscious they are, offering few hints at his forthcoming transformation into one of the most lyrical and inventive painters of his generation.
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The fact that Hermès's new watch, the Slim d'Hermès L'heure Impatiente, suggests a reflection makes it one of the most notable, and certainly one of the most lyrical, of the timepieces introduced at the Baselworld watch fair this year.
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The next in the series is the writer Jay McInerney, who shares his list exclusively with T. "The Great Gatsby," F. Scott Fitzgerald One of the most lyrical novels in English, and a perfect fable about the limits of the great American dream of self-invention.
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And throughout it all, Milch's dialogue — which has been called Shakespearean so often that it's a cliché, but he really did write much of the show in iambic pentameter — sang out as some of the best and most lyrical in TV history, spoken by some of its finest actors.
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Roman — sorry, Ron Rockstone — first meets Brian in the Brightstar theme park mascot locker room, where Brian is extolling the virtues of their job (which is among the top "1, 2 percent" of all employment opportunities on Earth right now, in aggregate, he estimates) and describing himself in just the most lyrical, over-the-top way.
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The most lyrical of the bunch is essentially a filmed sound installation with a minimalist narrative centered on relentless broadcasts of a voice counting sheep … The top recommendation for those interested in seeing films about art or artists, A New Color hangs around with an Oakland-based muralist in her mid-70s as she nurtures creativity and builds community all day long, every day, unflaggingly, for eons.
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Whitehill described the guitar solo as "one of Jimi's most lyrical and lovely".
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T.I. stated that it was an experience, about working with Eminem. T.I. also stated that Eminem is probably one of the most lyrical cats in the game right now. T.I. stated being known as one of the most lyrical cats in the game, he stated that he had to get himself up. also stating He lived up to all his expectations.
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Vivian Brian Smith (born 3 June 1933) is an Australian poet. He is considered one of the most lyrical and observant Australian poets of his generation.
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In 2016 the film was digitally restored. The newest version was highly praised by The Independent who called it "The most lyrical war movie ever made pristinely restored".
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202 (According to Eftimiu, there is in fact an unpublished Bassarabescu novel, as well as a screenplay.)Eftimiu, pp. 462, 466 Bassarabescu's most lyrical pieces may be characterologic studies of sheer timidity, or other debilitating emotions.Eftimiu, pp. 463–465; Lovinescu, p.
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Patrick Henry, "The Shimmering Maya and Other Essays", Philosophy and Literature, April 1995, p. 136-137. Sue Halpern said of Brosman’s writing in the collection that “her most powerful words are her most lyrical, the ones that honor the land.” Reviewing Finding Higher Ground,Halpern, Sue.
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The front of the museum with the Tagus river by its side. MAAT is a cultural project for the city of Lisbon that is focused on three areas - Art, Architecture, and Technology. The €20m museum sits on the River Tagus (Rio Tejo) to the west of the city centre. and "one of Europe's most lyrical new museums".
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Du'a literature reaches its most lyrical form in the Munajat, or 'whispered intimate prayers' such as those of Ibn Ata Allah. Among the Shia schools, the Al-Sahifa al-Sajjadiyya records du'as attributed to Ali and his grandson, Ali ibn Husayn Zayn al-Abidin. A young Muslim supplicating after salah at the Great Mosque of Mecca, Saudi Arabia.
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Růžičková (2008), p. 109. In 1966 the effects of this disease led to his retirement and thereafter several admissions to mental hospitals for treatment. This difficult period in his life was also his most creative, in which he produced his strongest and most lyrical collections, including How I Came to Know Fish. Ota Pavel's work was focused on sports, especially fishing.
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The singing in Act 1 is religious observance by the Saxons, ending with their heroic afterlife in Valhalla. The protagonists are actors, as a great deal of King Arthur consists of spoken text.H. Neville Davies 2000 This was normal practice in 17th century English opera. King Arthur contains some of Purcell's most lyrical music, using adventurous harmonies for the day.
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The movie boasts one of the best performances of S.D. Burman, Sahir Ludhianvi, Geeta Dutt and Mohammed Rafi to produce one of the most lyrical Hindi musicals. Pyaasa marked the last collaboration of the long-lasting team of composer Burman and lyricist Ludhianvi. Music expert Rajesh Subramanian reveals that Guru Dutt wanted Rafi to sing "Jaane Woh Kaise Log". But Burman had decided to record it in Hemant Kumar's voice.
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Algis Budrys declared Lord Tyger to be "an entertaining, rich, inventive adventure novel in the best sense, with its most lyrical passages far surpassing any effect Edgar Rice Burroughs was ever able to achieve.""Galaxy Bookshelf", Galaxy, June 1970, p.155-56 Farmer's handling of Tarzan has been met with different reactions. Some said that he succeeded in creating a "real" Tarzan,John J. Pierce, Luna Monthly no.
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It was also performed at the Concerts du Conservatoire on the 22 and 29 January 1893 with Éléonore Blanc (who would create the role of Briséïs four years later) as soloist, conducted by Paul Taffanel. The orchestral manuscript is now in the Bibliothèque nationale de France. The music (marked Andantino, molto con affetto) is in Chabrier's tenderest, most lyrical vein, entirely free from any suggestion of eccentricity or pseudo-Wagnerian grandiloquence.
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In one later passage, the mythic Queen of the Wood visits the dead, bestowing on them garlands according to their worth. Part 7 is the most fragmented, most allusive, most lyrical part of the poem. The work is preceded by the poet's 7-page Preface and followed by his 33 pages of notes. It is accompanied (in some editions) by his frontispiece-drawing of a soldier standing in the waste land and his endpiece-drawing of a spear-pierced scapegoat.
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This passage is the most lyrical of the entire novel: critics describe it as a poem in prose; in effect we can find some verses (decasyllables and hendecasyllables) hidden in the text. The register is high-level. The tone is idyllic, but don Rodrigo's presence in some measure darkens and fills with gloom the situation: because of him Lucia begins to cry and to reflect. This passage's purpose is to show character's and writer's feelings, so it is similar to the chorus in Manzoni's tragedies.
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The story revolves around the underlying rivalry between two families—the Chatterjees, aristocrats now on the decline (Biprodas) and the Ghosals (Madhusudan), representing new money and new arrogance. Kumudini, Biprodas' sister, is caught between the two as she is married off to Madhusudan. She had risen in an observant and sheltered traditional home, as had all her female relations. Others were uplifting: Shesher Kobita—translated twice as Last Poem and Farewell Song—is his most lyrical novel, with poems and rhythmic passages written by a poet protagonist.
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She had also taken photographs for buildings of Carrère & Hastings who had recommended her work to others. In the words of Robin S. Karson, author of the book titled Fletcher Steele, Landscape Architect: An Account of the Gardenmaker's Life, 1885–1971, Hewitt was "one of the best known and most lyrical garden photographers of her day." Hewitt took photographs documenting the estate for the Paris Exhibition of 1930. These photographs have been said to "glimmer with drops of light reflecting from shiny-leaved willows".
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In 2014 AL_A was chosen to design the second MPavilion for the Naomi Milgrom Foundation in Melbourne, the first to be designed by an international architect. The M-Pavilion, made from fibreglass overlapping petals, opened to the public in October 2015. The Museum of Art, Architecture and Technology (MAAT) in Lisbon opened on 5 October 2016 with site-specific work from Dominique Gonzalez-Foerster. The €20m museum sits on the River Tagus (Rio Tejo) to the west of the city centre and was described as "sinuous" and "one of Europe's most lyrical new museums".
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Edo Kovačević's later work was inspired by the landscapes of the Zagreb foothills and Hrvatsko zagorje, capturing nature in all its different weather and seasons. The woods of Zelengaj, close by his house, feature in many of his most lyrical pieces. Using oils or more expressively, pastels, he modified his colour palette subtly to interpret the atmospheric conditions from warm summer sunshine, soft spring rains or dense winter fog. During this time, too, he painted flowers - wild woodland flowers and summer meadow flowers in simple glasses, vases and pots.
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Three of Waghalter's own operas received their premier at the Deutsche Opernhaus: Mandragola, based on a Renaissance comedy by Machiavelli, in January 1914, which was booked for a European tour but was abandoned with the outbreak of the First World War;Signale, January, 1914. Jugend, based on the tragic realistic work by the German dramatist Max Halbe, in February 1917; and Sataniel, inspired by a Polish fantasy tale, in May 1923. The fervent melodicism of these works marked Waghalter as among the most lyrical of German operatic composers in the pre-1933 era. Waghalter left the Deutsche Opernhaus in 1923.
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In fact, the "rhythm bandeiriano" deserves in-depth studies of essayists. Manuel Bandeira has a simple and direct style, but does not share the hardness of poets like João Cabral de Melo Neto, also Pernambucano. Indeed, in an analysis of the works of Manuel Bandeira and Joao Cabral de Melo Neto, one sees that, unlike the latter, who aims to purge the lyricism of his work, Bandeira was the most lyrical of poets. His work addresses universal themes and everyday concerns, sometimes with an approach of "poem-a-joke", dealing with forms and inspiration that academic tradition considers vulgar.
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Both Groth and Brahms were somewhat enamoured of Spies. He found himself so invigorated by the genial atmosphere and surroundings that he said the area was "so full of melodies that one has to be careful not to step on any". In a short space of time, he produced, in addition to this violin sonata, the Cello Sonata No. 2 in F major, Op. 99, the Piano Trio No. 3 in C minor, Op. 101, and various songs. The second Violin Sonata is the shortestClassical Archives and is considered the most lyrical of Brahms's three violin sonatas.
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Hazlitt then heaps praise on some of Campbell's shorter verse, much of which was about warfare, quoting in full his "Battle of Hohenlinden" about the 1800 battle of that name between the Austrians and Bavarians, and the French, and calling Campbell's short poem "of all modern compositions the most lyrical in spirit and in sound." Later commentators on Campbell's poetry and Hazlitt's extravagant praise of it have noted this as one instance in The Spirit of the Age where Hazlitt's judgement failed him, his enthusiasm for Campbell's poetry having been carried too far. Recent critical assessment has rated Campbell's poetry, now mostly forgotten, far lower than Hazlitt here did.Harvey 1980, pp.
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" After commenting on what he called the low artistic quality of the film, Philip Kennicott of The Washington Post said: "The delightful thing about Glass's music for film is that there's no need for it. It is a pure artistic addition to something that was not wanting in the first place; and in that act, Glass confirms a kind of reverence for the original. It is, artistically if not financially, an act of selfless collaboration with a partner — the film — that might be considered the culturally undead." Bradley Bambarger, in Billboard, praised the soundtrack as "one of Glass' most lyrical, moving works, regardless of genre.
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Morris's prose style in these novels has been praised by Edward James, who described them as "among the most lyrical and enchanting fantasies in the English language." On the other hand, L. Sprague de Camp considered Morris's fantasies to be not wholly successful, partly because Morris eschewed many literary techniques from later eras. In particular, De Camp argued the plots of the novels are heavily driven by coincidence; while many things just happened in the romances, the novels are still weakened by the dependence on it. Nevertheless, large subgenres of the field of fantasy have sprung from the romance genre, but indirectly, through their writers' imitation of William Morris.
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As with Ghare Baire, matters of self-identity, personal freedom, and religious belief are developed in the context of an involving family story and a love triangle. Shesher Kobita (translated twice, as Last Poem and as Farewell Song) is his most lyrical novel, containing as it does poems and rhythmic passages written by the main character (a poet). Though his novels remain under-appreciated, they have recently been given new attention through many movie adaptations by such film directors as Satyajit Ray, Tapan Sinha and Tarun Majumdar. The recent among these is a version of Chokher Bali and Noukadubi (2011 film) directed by Lt. Rituparno Ghosh, which features Aishwariya Rai (in Chokher Bali).
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JFA's label-mates, the Sun City Girls, released an entire Reagan-themed album in 1987 whose title, Horse Cock Phepner, was an alleged nickname for Ronald Reagan. The album was the band's most lyrical; an obscenity-laden "documentation of the American nightmare in all its incestuous beauty." The album's refraining spoken word track "Voice of America" makes mention of the president, and the album's song "Nancy" depicts then-First Lady Nancy Reagan as a sexual fetishist. Other songs deride members of the Reagan administration, including Attorney General Edwin Meese, and the band recorded an updated cover version of The Fugs song "CIA Man" to be about atrocities committed by the CIA during Reagan's presidential terms.
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Reviewing the Welcome Rain edition in November 1999, Kirkus Reviews commented that "the most lyrical and introspective pages of his autobiography are reserved for his wife, Sukanya, and his daughter and musical disciple, Anoushka", and concluded of the book: "Unpretentious and [as] spiritually illuminating as Shankar's music.""RAGA MALA by Ravi Shankar", Kirkus Reviews, 15 November 1999 (retrieved 20 September 2014). Writing for Soundchecks, Amy Harlib considered Raga Mala a "surprisingly frank account" and described the author's style in the following terms: "a blend of charm and candour; dignity and humility; spiritual depth and sparkling sense of humour; and a never-ending thirst for knowledge, exploration and growth."Amy Harlib, "Raga Mala: The Autobiography of Ravi Shankar", soundchecks.co.
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They have been described as morally innocent, yet they display a range of sophisticated emotions, including some that are far from guileless. Seductive and elusive, they have no relationship to any of the other characters, and no indication is given as to how they came into existence, beyond occasional references to an unspecified "father". The various musical themes associated with the Rhinemaidens are regarded as among the most lyrical in the entire Ring cycle, bringing to it rare instances of comparative relaxation and charm. The music contains important melodies and phrases which are reprised and developed elsewhere in the operas to characterise other individuals and circumstances, and to relate plot developments to the source of the narrative.
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After the release of their first album, many of Malo's original band members left the group in a rift widely popularized in the media. Buchtel went on to play with Blood, Sweat & Tears, Jaco Pastorius and Woody Herman; Harrell became one of the most lyrical trumpet soloists, working often with saxophonist Phil Woods; Abel Zarate went on to play with Willie Bobo and continues to play Latin/Brazilian Global jazz in San Francisco with his group Zarate Pollace Project. Richard Bean formed the group Sapo with his brother Joe and still tours throughout Northern California; Jorge Santana embarked on a solo career. The 1972 "Suavecito" release was written and sung by, Richard Bean.
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Crommelynck's masterpiece was Le Cocu magnifique (1920), a 'lyrical farce' on the theme of a lover's jealousy. Staged with constructivist sets by Vsevolod Meyerhold — the first of their kind — the theatre play was such a hit that Crommelynck was able to give up acting and devote himself to writing. In Tripes d'or (1926) he satirized the passion for money and the spurious prestige it confers, while in Carine, ou la jeune fille folle de son âme (1929) he contrasted love and sensuality in the story of a chaste young girl who is faithful to her ideals of love to the bitter end. Both in language and dramatic technique, Crommelynck has been one of the most lyrical and original writers of the 20th century theatre.
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Rotten Tomatoes reports 100% approval of À Nous la Liberté, with an average rating of 8.3/10. Jonathan Rosenbaum wrote that the film's "proletarian plot (two convicts go free, one becoming a tramp, the other acquiring a phonograph factory) makes it a period piece in the best sense." Michael Atkinson considers it to be Clair's "loveliest and most lyrical film", and wrote that the work is "filthy with formal élan, wild sound [...], and choreographed movement, and if anything [it has] gained an antique daydreaminess with the years." In The Routledge Encyclopedia of Films, À Nous la Liberté is described as a landmark in film comedy for "its deft use of sound and its pioneering production design", and as a work which anticipated the films of Jacques Tati in its satire of modernization.
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However, Dante's commentary on his own work is also in the vernacular—both in the Vita Nuova and in the Convivio—instead of the Latin that was almost universally used. The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso); he is first guided by the Roman poet Virgil and then by Beatrice. Of the books, Purgatorio is arguably the most lyrical of the three, referring to more contemporary poets and artists than Inferno; Paradiso is the most heavily theological, and the one in which, many scholars have argued, the Divine Comedy's most beautiful and mystic passages appear (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa"—"at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).
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The lilting refrain ... must be one of the most lyrical expressions of political apostasy ever penned. It is a recantation, in every sense of the word." In an interview with the Sheffield University Paper in May 1965, Dylan explained the change that had occurred in his songwriting over the previous twelve months, noting "The big difference is that the songs I was writing last year ... they were what I call one-dimensional songs, but my new songs I'm trying to make more three-dimensional, you know, there's more symbolism, they're written on more than one level." In late 1965, Dylan commented on the writing of "My Back Pages" specifically during an interview with Margaret Steen for The Toronto Star: "I was in my New York phase then, or at least, I was just coming out of it.
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Bisbort wrote about his criticisms of its concept and the idea of the group, "who went East, got a shot of knowledge, came back West, had lots of money at their disposal ... and decided to cut an album guaranteed to give shortcut answers to the question for the multitude". He did not dismiss the album entirely, and recognised the group's musical talents. Tom Von Malder, for The Daily Herald, thought Yes "seldom disappoints", but named Tales an exception, with "Ritual" being the only track that lives up to the strong material on Close to the Edge and Yessongs as it is the "most cohesive, most lyrical of all". He thought the remaining three sides have some good music, but are too scattered, and claimed the album's concept is "a bit too obtuse for a rock album".
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The Allmusic review by Ken Dryden awarded the album four stars, stating "Steve Kuhn has excelled in many settings in a career spanning over five decades, but he is at his best leading a trio. Like many top pianists, Kuhn interacts with his musicians rather than relegating them exclusively to the role of accompanists... Highly recommended!"Dryden, K. Allmusic review accessed December 20, 2013 Writing in The Guardian, John Fordham commented "It's straightish jazz, but in a class of its own".Fordham, J. The Guardian Review, April 27, 2012 In JazzTimes Lloyd Sachs enthused "The Brooklyn-born, Boston-schooled artist certainly has refined his style over the years, striking new balances between his inside and outside concepts. But if he has lost any of his creative edge, that isn’t evident on Wisteria, which even at its most lyrical has a bright and sometimes bursting immediacy".
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Outside of hip hop, most lyrical references to Trump have appeared in songs ranging from satires of the billionaire, to outright protest in varying degrees of explicitness. One of the earliest Trump send-ups was the 1990 ballad "Donald Trump (Black Version)" written by Prince for fellow Minneapolis act the Time in which singer Morris Day calls himself a black version of Donald Trump, who can use his riches to "fulfill [a woman's] every wish, [and her] every dream". In 1992 Irish folk- rock group Goats Don't Shave had a #4 hit with "Las Vegas in the Hills of Donegal," which references Trump's casino business in imagining an Irish county that becomes a gambling mecca. More recently, songs like "Fergus Laing" by English folk singer Richard Thompson present thinly veiled references to Trump without mentioning him by name, while songs like "Fucked Up Donald" by Canadian punk band D.O.A. are more direct.
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An audiophile reviewer commented that the recording balance was inconsistent and that the bass sound on the first two tracks was "fat, tuneless woof, as if the instrument were stuffed with a large, very fluffy bath towel". The AllMusic review by Ken Dryden awarded the album 4 stars writing "Action represents some of Peterson's earliest work for Brunner-Schwer; these sessions were recorded before an invited audience in the studio, with the pianist's working trio of Ray Brown and Ed Thigpen. The group seems extremely relaxed and inspired by the small group of loyal fans, with a brisk waltz treatment of "At Long Last Love" and an extended workout of fellow pianist Billy Taylor's ballad "Easy Walker" starting things off with a flourish. Their approach to "Tin Tin Deo" is remarkably subtle, while Peterson is at his most lyrical during a pair of Gershwin selections, "I've Got a Crush on You" and "A Foggy Day.
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Woolf first thought of making this lecture the basis of a new book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938). "Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.
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The Los Angeles Times, The Hollywood Reporter and numerous film music journals call Mark's music "timeless, profound, the most lyrical and emotionally resonant music ever written for film, triumphant, sublime, tender, inspiring, ravishing, lush, soulful, magical, the essence of unconditional love, a tribute to the overpowering inherent goodness alive within the human soul and a boundless expression of joy." Mark's recent orchestral soundtrack to "Max and Me" about Polish Priest Maximilian Kolbe featuring concert violinist Joshua Bell, choir, orchestra and the London boys choir Libera (choir) (Soundtrack available on Sony Classical Records), was nominated by the International Film Music Critics Association as "Best Score of the Year" along with Solo: A Star Wars Story, The Black Panther, First Man (film), and Mary Poppins Returns. Max and Me won the IFMCA Best Animated Score of the Year over Spider-Man: Into the Spider-Verse, Incredibles 2 and Isle of Dogs. McKenzie's score "The Greatest Miracle" was also doubly nominated as Best Score of the Year and Best Animated Score of the Year by the International Film Music Critics Association.
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Baker felt the lyrics had weak spots and rehashed well-worn topics, but wrote that when he's saying the same thing in only slightly new ways, Gucc does it with flair." Mos Jones of AllHipHop said the mixtape was likely Gucci Mane's best work since 2008; he called it an "exercise in excellent trap production" and said that although Gucci Mane "may not be the most lyrical rapper to ever pick up a microphone," he "put enough emotion and flair into his words" to make them "float inside of your consciousness for days." Writing for the UK-based Fact magazine, Jack Law said Trap Back "mostly succeeds because it's fun", describing the mixtape's overall sound as "an inventive, weirdly playful twist on the trap template" and Gucci Mane's lyrics as "completely conventional (he's got a lot of money, he's fucked a lot of honeyz, etc.) but so eccentrically and extravagantly depicted that they end up seeming exotic and cartoonish." In a mostly negative review, Phillip Mlynar at HipHopDX said "the project reinforces the limits of Gucci's trap rap spiel and leaves the suspicion that his popularity has already peaked.
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