Blue and indigo shadows dance upon their surface, forming wave patterns and oblique angles that intersect and overlap symphonically.
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We can even play some excerpts symphonically in Philadelphia and then have the world premiere at the Met as a fully staged opera.
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But behind closed doors, where they're free to express their endless contempt for one another, their speech is athletic and limber and just about symphonically profane.
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While the actors are up there, working to make us feel, through their acute particularity, what it is to be human, we are down here, elbow to elbow with fidgeting, gum-chewing, symphonically coughing specimens of our own kind.
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"I'm very, very lucky, of course — maybe the luckiest music director — to be able to have what I believe to be the two greatest, arguably, organizations in the United States, symphonically and operatically: the Philadelphia Orchestra and the Met," Mr. Nézet-Séguin said in a telephone interview from Japan, where he was on tour with the Philadelphians.
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Greenfield, pp. 148–150 Budden describes Tosca as the most Wagnerian of Puccini's scores, in its use of musical leitmotifs. Unlike Wagner, Puccini does not develop or modify his motifs, nor weave them into the music symphonically, but uses them to refer to characters, objects and ideas, and as reminders within the narrative.Fisher, pp.
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The proportions of the concerto are unusual: the first movement – customarily the longest and most symphonically structured movement of a concerto – plays for only three and a half minutes. The other two movements run about seven minutes each. ;Allegro moderato Using the notes of the tonic triad (D, F and A), the Allegro opens with a burst of energy, but after 75 bars it "simply fades out just when one is expecting the second subject".Andrew Lamb.
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159 It is an almost verbatim setting of J. M. Synge's 1902 play of the same name, depicting family tragedy in an Irish fishing village. Kennedy describes the score as "organized almost symphonically" with much of the thematic material developed from the brief prelude. The orchestration is subtle, and foreshadows the ghostly finale of the Sixth Symphony; there are also pre-echoes of the Sinfonia antartica in the lamenting voices of the women and in the sound of the sea.
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By then, the band had risen to "the top of the goth metal heap" with their "lush, symphonically enhanced" approach. They were "dealt a potentially crippling blow" when singer, guitarist and principal composer Veland left the group to form Sirenia. Tristania has continued to prosper with subsequent releases and has since been "regarded as one of the world's premiere goth metal bands". For over a decade, this beauty and the beast aesthetic has flourished with many representatives across the European continent.
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He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself."Irvine, p. 61 His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire.
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The Music of Styx – Live with Symphony Orchestra is a double CD recording of Dennis DeYoung's live performance of his work both as a solo artist and with the band Styx. The performance was recorded live on April 4, 2003 at the Chicago Theatre in Chicago, Illinois. As indicated by the album title, the songs are symphonically arranged and performed with a live orchestra. Three new studio tracks, "Hello God", "My God (Can Beat Up Your God)", and "Goodnight My Love", appear on the album.
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The first album, Socialisme ou Barbarie: The Bedroom Recordings was released in 2003 after being produced part-time over a period of six years. Their second album, A Few Steps More (2005), marks a more cohesive stage in the band's development. There is now a regular lineup, and it was recorded using studio equipment. The album has been roundly praised and criticised for its superficial resemblance to the sound of Stereolab, but several reviews have commented more on the harmonic structure of the album, which almost seems to blend symphonically at times.
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The soundtrack to Demon Seed (which was composed by Jerry Fielding) is included with the soundtrack to the film Soylent Green (which Fred Myrow conducted). Fielding conceived and recorded several pieces electronically, using the musique concrète sound world; some of this music he later reworked symphonically. This premiere release of the Demon Seed score features the entire orchestral score in stereo, as well as the unused electronic experiments performed by Ian Underwood (who would later be best known for his collaborations with James Horner) in mono and stereo.
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The symphony is in four movements, lasting around 30–35 minutes. #Moderato #Andante #Allegro agitato — Allegretto #Andante mosso — Allegro moderato Though the music of the symphony is based on that of the opera, the material is developed symphonically; the symphony is therefore absolute rather than programmatic. The first movement, in traditional sonata form, opens with clashing chords played by the whole orchestra, along with tolling bells, setting a mood of threat and unrest. An impassioned first theme enters on strings, while a melancholy second theme on bassoons and lower strings provides contrast.
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Abbey Road was the band's last recorded album, and Martin suggested "a continuously moving piece of music", urging the group to think symphonically. McCartney agreed, but Lennon did not. They eventually compromised, agreeing to McCartney's suggestion: an LP featuring individual songs on side one, and a long medley on side two. In October 1969, a rumour surfaced that McCartney had died in a car crash in 1966 and was replaced by a lookalike, but this was quickly refuted when a November Life magazine cover featured him and his family, accompanied by the caption "Paul is still with us".
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Tristania stood apart from the other bands of the genre with their use of three distinct vocal styles in the "operatic soprano Vibeke Stene, clean-singing baritone Østen Bergøy, and harsh, black metal-style shrieker Morten Veland". Their second album Beyond the Veil in 1999 made use of a ten members choir and featured violin passages from Pete Johansen of The Sins of Thy Beloved, earning "rave reviews" across Europe. By then, the band had risen to "the top of the goth metal heap" with their "lush, symphonically enhanced" approach. They were "dealt a potentially crippling blow" when singer, guitarist and principal composer Veland left the group to form Sirenia.
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"Robert Strassburg" by Neil W. Levin, Milken Archive of Jewish Music The term "choral symphony" indicates the composer's intention that the work be symphonic, even with its fusion of narrative or dramatic elements that stems from the inclusion of words. To this end, the words are often treated symphonically to pursue non-narrative ends, by use of frequent repetition of important words and phrases, and the transposing, reordering or omission of passages of the set text. The text often determines the basic symphonic outline, while the orchestra's role in conveying the musical ideas is similar in importance to that of the chorus and soloists.Kennedy, Vaughan Williams, 444.
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With his First Overture on Russian Themes, Balakirev focused on writing symphonic works with Russian character. He chose his themes from folk song collections available at the time he composed the piece, taking Glinka's Kamarinskaya as a model in taking a slow song for the introduction, then for the fast section choosing two songs compatible in structure with the ostinato pattern of the Kamarinskaya dance song. Balakirev's use of two songs in this section was an important departure from the model, as it allowed him to link the symphonic process of symphonic form with Glinka's variations on an ostinato pattern, and in contrasting them treat the songs symphonically instead of merely decoratively.Maes, 64–5.
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Vesuvius, the great mountain which brings destruction, dominates the entire poem. The only attainable truth is death, toward which man must inexorably advance, abandoning every illusion and becoming conscious of his own miserable condition. Such awareness will placate the mutual hatreds. It is a vast poem, symphonically constructed with brilliant alternations of tone, from the grandiose and tragic painting of the volcano threatening destruction and of extensions of infertile lava, to the sharp ideological argumentation, to the cosmic sparks which project the nothingness of the earth and of man in the immensity of the universe, to the vision of the infinite passage of centuries of human history on which the immutable threat of nature has always weighed, to the gentle notes dedicated to the "flower in the desert", in which are compressed complex symbolic meanings: pity toward the sufferings of man and the dignity which should be characteristic of man when confronted with the invincible force of a nature which crushes him.
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