In 2015 two other Americans, Tommy Caldwell and Kevin Jorgeson, made the front page of the New York Times, and got a congratulatory tweet from Barack Obama, for establishing a free (but not solo) passage up the Dawn Wall, El Capitan's blankest stretch, after years of attempts.
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During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.
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Formally the fifth Brandenburg Concerto is a concerto grosso, with a concertino consisting of three instruments. However, throughout the concerto the harpsichord takes the leading role among the soloists, with, for instance, a long solo passage for this instrument near the end of the first movement: neither of the other soloists has a comparable solo passage. In this sense the concerto has been called the first keyboard concerto ever written. Vivaldi, and other composers, had occasionally given solo passages to keyboard instruments in their concertos before Bach, but never had a concerto been written which gave the harpsichord a soloist role throughout on the scale of the fifth Brandenburg Concerto and its predecessor BWV 1050a.
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The solo part is written into the music so that it uses virtuosity for musical purposes without conspicuous display. With the second theme, it is the piano and not the orchestra that carries and develops it. The middle section, which begins with a long, elaborate solo passage, is episodic. It employs two new melodic ideas, expansive in themselves and even more luxuriantly developed.
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She was the first woman to publish sonatas, composing many throughout her lifetime. For example, Sonatas 1 through 11 are for two violins, violone, and organ. Sonatas 1, 3, 4, 7, and 8 are "concerted sonatas": each of the three instruments has at least one solo passage. Sonata 12 is Leonarda's only solo sonata and one of her most renowned compositions.
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58 In order to allow for the timpanist to change the pitch of the drum, Haydn left plenty of measures rest in between the last G and the first A, and then did the same for when the drum is to be tuned back down to the G again. Another example of Haydn's progressive writing for the timpani can be found by looking at his Symphony No. 100, also known as the "Military" Symphony. Previous to this symphony, it was a rarity for the timpani to play a solo passage in a symphonic work. In the "Military" symphony, Haydn separates the timpani from the trumpet and horn and actually writes out a solo passage for the timpanist. In measure 159 of the second movement, the entire orchestra drops out and only the timpani plays with two measures of sixteenth notes.
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"Cadaeic Cadenza" is a 1996 short story by Mike Keith. It is an example of constrained writing, a book with restrictions on how it can be written. It is also one of the most prodigious examples of piphilology, being written in "pilish". The word "cadae" is the alphabetical equivalent of the first five digits of Pi, 3.1415; a cadenza is a solo passage in music.
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In a famous incident about this time, Giardini, who was serving as assistant concertmaster (i.e. leader of the orchestra) during an opera, played a solo passage for violin which the composer Niccolò Jommelli had written. He decided to show off his skills and improvised several bravura variations which Jommelli had not written. Although the audience applauded loudly, Jommelli, who happened to be there, was not pleased and suddenly stood up and slapped the young man in the face.
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The aria begins with a long orchestral prelude, which features a striking solo passage for cello. King Philip II of Spain has made a politically advantageous arranged marriage with a French princess young enough to be his granddaughter. He suspects that his son is having an affair with her. Unable to sleep, he sits alone in his study, recalls her sad look when she first met him and saw how old he was, and admits to himself that she never loved him.
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The second subject, a supple melodic line, unaccompanied in its opening bar, incorporates a descending chain of first inversions, a favourite harmonic formula of the baroque and classical periods. (There are analogous passages in the subsidiary themes in Gluck’s overture Iphigénie en Tauride and the first movements of J. S. Bach’s Italian Concerto). This functions as a solo passage in contrast to the ensuing tutti entries in m.30. The development moves through a circle of minor keys before the recapitulation begins in measure 72.
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The song also includes a standard guitar solo passage, something highly uncharacteristic of Fear Factory's usual standard. The song "Final Exit" is a title borrowed from Derek Humphry's 1991 book of the same name, which deals with the topic of self-chosen euthanasia. The bonus track "Crash Test" is a re-recorded version from their 1992 debut album Soul of a New Machine. The band also re-recorded versions of "Martyr" (also from Soul of a New Machine), which is found on the Japanese edition of the album and "Sangre de Niños", which has yet to be released.
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Menuhin himself loved the concerto and thought Mendelssohn was probably quite proud of it. He also found points of similarity with the later E minor Concerto. He said: :"Both are in minor, in a somewhat tumultuous mood: The written out cadenzas, of the second and third movements; a long solo passage of short notes in the last movement reminiscent of the passage of the third of the E minor which ushers in the recapitulation... :"The Concerto in D minor is full of invention and not in any way inhibited by too-strict traditional concepts. It exhibits, in fact, a remarkable freedom and elasticity of form.
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The second movement, in F major and marked "adagio cantabile", commences with the statement of the primary theme by the second violin, before it is taken up by the first violin in the ninth measure. The first violin part enjoys a move into a high register in the movement's central section as well as an elaborate solo passage towards the end of the movement. The movement's central section also features a five-measure passage of sixteenth notes for the cello, perhaps specially written for the opus's cellist dedicatee. The opening measure of the minuet, after an upbeat, is a descending C-major triad (G-E-C) played by the first violin.
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The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata ' (1717). Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the movement of his Mass in B minor—for the instrument. Georg Philipp Telemann also frequently employed the oboe d'amore. Its popularity waning in the late eighteenth century, the oboe d'amore fell into disuse for about 100 years until composers such as Richard Strauss (Symphonia Domestica, where the instrument represents the child), Claude Debussy (Gigues, where the oboe d'amore has a long solo passage), Maurice Ravel, Frederick Delius, and others began using it once again in the early years of the twentieth century.
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The concerto is divided into three movements: #Allegro #Largo (attacca) #Rondo alla (polacca) '' The 1st movement plays standalone. There is no break between then 2nd and 3rd movements. The first movement is broadly scaled and cast in a moderate march tempo, and includes decorative solo passage-work and leisurely repetitions, variations, and extensions of assorted themes. A common feature is a dotted rhythm (short-long, short-long) that lends an air of graciousness and pomp that is not exactly "heroic," but would have conveyed a character of fashionable dignity to contemporary listeners—and perhaps a hint of the noble "chivalric" manner that was becoming a popular element of novels, plays, operas, and pictures.
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A specific idiom for violin solo passages in such concertos, for instance a technique called bariolage, had developed. The solo passages were often in a faster tempo (shorter note values) than the accompaniment. The tutti passages of these concertos, that is where the whole orchestra joins in, were characterised by a ritornello theme which was often quite independent of the thematic material developed by the soloist(s). A typical concerto movement in this Italian style of solo concerto (as opposed to concerto formats not centred around one or more soloists such as the ripieno concerto) opened with a ritornello, followed by a solo passage called episode, after which a tutti brings back (a variant of) the ritornello, followed by further alternating solo and tutti passages, the movement being concluded by the ritornello.
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