In the atelier, there was a solitude bordering on sombreness.
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A drum beat a slow rhythm to mark the sombreness of the night.
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Not that these symbols will add to the sombreness and serenity of the scene.
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Music is colorless, but there are shades of music — brightness, sombreness, any kind of mood.
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But in some ways a sombreness has descended that threatens to remove some of the satire.
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The sombreness of this small church's exterior is relieved somewhat by a graceful belfry with a single bell window.
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But there is something misty about their countenance, something which makes the viewer contemplate on their sombreness and their solemnity.
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His dark morning clothes and rather abstracted air created an atmosphere of sombreness about him of which she was suddenly conscious.
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And if the passing of the great man brought a sombreness to the mood, that wasn't lifted by what happened on the pitch.
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The Soho streets, their sombreness heightened by the glorious evening sunshine that flooded the near empty pavements on Thursday night, were alive again.
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It looked as if it was more of a fashion show than it was a funeral, but the sombreness of the whole event was very evident.
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You could hear the sombreness of the vast Finnish forests, the determination and endurance of her people, and the ingenuity of its composer in striking degree here.
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He had pale hair, his father's, and a certain sombreness of body, a restraint, his own, that gave him an uncanny discipline in games, in physical play.
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There was relief and a measure of glee but there was a restraint to the celebrations, the whole occasion shaped by the sombreness of the mood before kick-off.
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Some of his colleagues, including Saint-Saëns, Gounod and Franck, produced elegies and patriotic odes. Fauré did not, but according to his biographer Jessica Duchen, his music acquired "a new sombreness, a dark-hued sense of tragedy ... evident mainly in his songs of this period including L'Absent, Seule! and La Chanson du pêcheur."Duchen, p.
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The middle section ends with a forceful passage in which the piano and cello exchange vehement themes. The dynamics remain loud as the first section returns, but the quiet sombreness of the opening soon takes over. The repeated opening theme is matched with some of the rhythmic features carried over from the middle section. The work ends in an atmosphere of calm.
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387 in G major) takes after the finale fugues of opus 20. The Sturm und Drang character of the second quartet (K. 421 in D minor) recalls the F minor quartet, of Haydn's; not only does the first violin line recall the sombreness of Haydn's quartet, the accompaniment figure of the opening is a close copy of Haydn's. Beethoven also recognized the importance of Haydn's work.
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He painted bridges, subways, train stations, billboards, as well as villas in Charlottenburg. Rural subjects included villages in the immediate vicinity of Berlin, Havel, Spree and East Prussia landscapes. People were reduced to the role of anonymous figures seen from behind. Of this period of his creativity he wrote: "The saddest things hit me in the stomach. Moabit and Wedding grab me most with their sombreness and desolation" (1926).
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While still a student, Saberi launched his first label, a leather accessory line called 'UCANFUCKW' in 2003 or 2004. After graduation, he launched his eponymous label in 2006. While he lives and works in Spain, Saberi has regularly presented his collections at Paris Fashion Week, though he debuted in Barcelona. The avant garde nature, sombreness, and elegant "schlampigkeit" (sloppiness) of his work has led to comparisons with Ann Demeulemeester and Rick Owens.
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The second allegro is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject. The sombreness of the movement is underlined by the final cadence on the lowest strings of the violins and violas. The largo e piano in F major is one of Handel's most sublime and simple slow movements, a sarabande in the Italian trio sonata style. Above a steady crotchet walking bass, the sustained theme is gently exchanged between the two violin parts, with imitations and suspensions; harmonic colour is added in the discreet viola part.
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When the facility was finally opened in January 1939 by Lord Horder, the then Physician to the King, he said: "You seem to have eliminated the sombreness of atmosphere which sometimes shrouds buildings such as these". After that, there was very little change in Mortlake Crematorium's outward appearance until 1982, when Colin Gilbert, an architect from Ealing, designed additional gardens between the crematorium and the River Thames. Since 2015 the crematorium has had a memorial garden dedicated to the memory of babies and children, based on Doris Stickley's story "Water Bugs and Dragonflies". Three new, larger cremators were installed in the crematory in 2012.
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The site was graded to form a series of garden platforms and enclosures descending to a rose garden, herbaceous border, and oak glade under-planted with bluebells. As with the house the garden also displays a certain stylistic eclecticism: Italianate garden terrace balustrading and cypress-lined walks; highly sculptured faux rockwork walls and grottoes clad in an array of succulents and rock garden plants; the use of palms and clumps of umbrella tree (Schefflera sp.) and bird-of-paradise flower (Strelitzia sp.) to give an exuberant and tropical character to parts of the garden; the retention of areas with a strong nineteenth sombreness and richly varies plant list throughout the estate.
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Sharing more in common with experimental/electronic artists such as Coil, Pole, and Tarwater. It's a risky move for Ulver to be stepping into this territory, but here, at least, the band has managed to pull it off with a subtle counterpart to the more dramatic Perdition City.” Alvin Wee, writing for Chronicles of Chaos, noted, “Minimalist and sparsely beautiful, the single twenty-minute track gradually sweeps forward with near-inaudible drones and subtle statics, occasionally throwing glowing sparks of light into the sombreness with higher-end metallic resonances. What's unsettling is the music's ability to retain its icy core while pouring forth warmer organic tones: the aura of desolation and despair becomes apparent not long into the disc, and never releases its chilly grip on the soul for a moment.
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Mordaunt Hall, critic for the New York Times, gave the film a generally positive notice and remarked on the fact-based elements: "It is quite obvious that fact is the basis of many of the incidents and if several of the characters are too rowdy at times to be lifelike, it does not detract from the general interest of the production." Time said, "this is as engrossing as the normal detective cinema, but what gives Bureau of Missing Persons substance and makes it interesting journalism as well as adequate fiction are convincing shots of how a Missing Persons Bureau works". Variety called it "pretty fair entertainment ... steered clear of over sombreness or becoming too morbid" and added, "Just when it threatens to become banal, excellent trouping and some inspired dialoguing snap it back into proper gait." The Film Daily review said it was "marred by mixed incidents and hoke Hollywood ending".
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