It's always two tempi, and either both of them work or none of them work.
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" Schiff went on to say, "If you play this piece at Beethoven's tempi, then it's not ponderous anymore. . . .
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In tempi più recenti, vale a dire nel 2017, l'Istat ha censito 7.216 lavoratori a domicilio, 3.647 nel settore manifatturiero, assunti con regolari contratti.
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"That night, I understood that something had gone wrong, as he had not called and nobody knew where his team was," she told the Italian weekly newspaper Tempi.
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In Tempi, a verdant region in central Greece, many primary schools and kindergartens have closed since 2012 as parents had fewer children and young Greeks left the country, said Xanthi Zisaki, a municipal councilor.
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A specific study of whether people actually experience a slowing down of music hasn't been done, Karageorghis said, but it could be rather complex considering people generally find it tricky to differentiate between tempi of music.
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His playing was "characterized by brisk tempi, a strong sense of rhythm and highly articulated musical lines," Thomas Trotter, the organist of the city of Birmingham and St. Margaret's Church, Westminster Abbey, wrote in an email.
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That the four cellists (Branson Yeast, Rose Bart, Jean Kim, and Jennie Lorenzo) so deftly handled this difficult material without a conductor, despite the constant changes in tempi and the need for precise cues, is a testament to their superb musicianship.
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When Lennon asked to put the two together -- despite the versions being in different keys and tempi -- Martin and engineer Geoff Emerick obliged and, by happy accident, found they fit almost perfectly by speeding one version up and slowing the other down.
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Tatiana Trouvé, for example, draws in copper in two ways: once on paper, in a collage of studies sketched between 2012 and 2015, and again in "I tempi doppi," 2014, with continuous loops of copper wire evocative of lines scribbled into space.
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"I brand incaricano i primi appaltatori leader a capo della filiera di fornitura che a loro volta incaricano dei subappaltatori, che a loro volta trasferiscono parte della produzione in stabilimenti di dimensioni più contenute, opprimendoli con tempi di consegna ridotti e prezzi all'osso", ha asserito la Lucchetti.
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For "Strawberry Fields Forever" he spliced together two takes at different tempi in different keys; for "Tomorrow Never Knows" he brought in eight loops of sounds played backwards; soon he was getting the engineer to cut a tape in bits, toss them in the air and reassemble them.
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Note: Sources and related readings for this essay include Pierre Rosenberg, Nicolas Poussin: 1594-1665 (France Loisirs, 1994); Annamaria Testaverde Matteini, Micco Spadaro: Napoli ai tempi di Masaniello (Elemond-Electa, 2002): 150-1; Mark Salber Phillips and Jordan Bear (eds.), What Was History Painting and What Is It Now?
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Lo scorso febbraio Paola Taverna, una senatrice molto in vista nello schieramento pentastellato al Senato, ha evocato con appassionata nostalgia i tempi in cui "andavano in processione a casa del cugino" per prendere tutte le malattie esantematiche possibili e togliersi il pensiero come alternativa preferibile ai Centri di Vaccinazione, dove "fanno i marchi per le bestie".
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Tempi: An Adem mercenary whom Kvothe meets in Vintas under the employ of Maer Alveron. Tempi introduces Kvothe to the Acemic language as well as the Ketan and Lethani. Tempi is a capable fighter, though he is considered only mediocre by Adem standards. Shehyn: An old woman and master of the Ketan fighting style as well as the head of the school in Haert, where Kvothe stays.
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Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999.
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Bei tempi is an album by Italian singer-songwriter Roberto Vecchioni, released in 1985.
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Re1 gives White several tempi against the black queen.Lalic 1998, p.112 Potocnik–G.
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Elgar was noted for his brisk tempi in his own music, and later performances have been slower. Elgar's contemporaries, Sir Henry Wood and Sir Hamilton Harty took respectively 50:15 (1930) and 59:45 in 1940. In 1972, while preparing a new recording, Georg Solti studied Elgar's 1931 performance. Solti's fast tempi, based on the composer's own, came as a shock to Elgarians accustomed to the broader tempi taken by Harty, Sir John Barbirolli and others in the mid-20th century.
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13 although Heyworth in The Observer was disappointed by his tempi, judging them to be too slow.Heyworth, Peter.
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New York Counterpoint is divided into three movements known only by their suggested tempi: fast, slow and fast.
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The Tempi Madonna is an oil painting by the Italian High Renaissance painter Raphael. Painted for the Tempi family, it was bought by Ludwig I of Bavaria in 1829. It is housed in the Alte Pinakothek in Munich. It is thought to have been made in 1508, at the end of the artist's Florentine period.
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Complete and partial disappearance of the symptoms of the TEMPI syndrome was reported with the drugs bortezomib , daratumumab and autologous stem cell transplantation .
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While a single change is often performed to change direction, dressage competition adds tempi changes at the upper levels. Tempi changes are very difficult movements, as the horse is required to perform multiple flying changes in a row. In a test, tempi changes may requested every stride (one-tempis), every two strides (two tempis), three strides (threes), or four strides (fours). The number of strides per change asked in tests begins at four, to give the horse and rider more time to prepare, and as the horse and rider become more proficient the number decreases to one-tempis.
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Non è gratis is the first album by Italian recording duo Rapstar. It was released under the label Tempi Duri Records on January 31, 2012.
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This was perhaps reinforced by his brisk tempi early in his career, and by a story about his racing from one recording session to another.
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The station originally open in 1916 as part of Evangelismos-Tempi- Rapsani railway, the station building dates from this period. In 2004 the station and the line closed as part of the upgrades to the Piraeus–Platy Line. Rapsani, and a small section of the Evangelismos-Tempi-Rapsani Line was retained. The station reopened on 7 September 2008, as part of the rollout of Proastiakos services.
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In 1973 De Scalzi founded Magma Records which released the album. De Scalzi himself played the flute, keyboards and guitar in this work. The second album, Tempi dispari, was a live instrumental jazz-rock fusion album, completely different from the previous New Trolls sound. With the court case settled De Scalzi was again able to use the name New Trolls, despite this Tempi dispari was rather unsuccessful.
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When a horse performs one-tempi changes, it often looks as if it is skipping. They may be performed across the diagonal or on a circle.
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The municipal unit of Ampelakia comprises two separate municipal communities: Ampelakia (population 388) and Tempi (population (population 63) . The municipal unit has an area of 54.447 km2.
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X-ray photography shows a drawing of a woman on the right half Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. .
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From 1931 to 1939 he exhibited a number of times at the Galleria d'Arte in Florence. Because he had maintained British citizenship, he was arrested and interned in a prisoner camp, first at Fossoli di Carpi, then in Bavaria, until released on the war's end in 1945. Back in Italy, he was hosted by Roberto Papini, who collected his recollections in a semi-autobiographic but posthumous volume titled Tempi Andati (1949).Tempi Andati.
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He also worked on La Stampa, imposing his own distinctive approach on the Specchio dei tempi (Mirror of the times) column which he contributed in succession to Giulio De Benedetti.
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TEMPI Syndrome is an orphan disease where the patients share five characteristics from which the acronym is derived: telangiectasias, elevated erythropoietin and erythrocytosis, monoclonal gammopathy, perinephric fluid collection, and intrapulmonary shunting.
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Taking a suggestion from Henry Cowell's book New Musical Resources, which he bought in New York in 1939, Nancarrow found the answer in the player piano, with its ability to produce extremely complex rhythmic patterns at a speed far beyond the abilities of humans. Cowell had suggested that just as there is a scale of pitch frequencies, there might also be a scale of tempi. Nancarrow undertook to create music which would superimpose tempi in cogent pieces and, by his twenty-first composition for player piano, he had begun "sliding" (increasing and decreasing) tempi within strata. (See William Duckworth, Talking Music.) Nancarrow later said he had been interested in exploring electronic resources but that the piano rolls ultimately gave him more temporal control over his music.
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When performed at a canter or gallop, it is a "flying change". When the horse is dropped to a slower gait and then asked to canter again but on the opposite lead, it is a "simple change". Performing a flying change with every stride is an advanced dressage movement known as a one-tempi change, tempi changes, or informally, "onesies". ;leader :Any of the horses in a team which are ahead of the shafts or pole.
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Rizzi returned to Italy in 1943, but withdrew to private life, working as a shoe salesman. He contributed irregularly to Critica Sociale, Tempi Moderni and Rassegna di Sociologia. He died in Bussolengo.
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On move 33, the World Team had the option of snatching Kasparov's g-pawn, losing two tempi in the queening race. After the sequence 33...Bxg3 34.h6 Be5 35.h7 Bg7 36.
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In 2010, the case of a man with unexplained erythrocytosis and perinephric fluid collection as main features was described in the Case Records of the Massachusetts General Hospital. As a consequence two strikingly similar cases were identified and a review of the literature revealed three more patients with similar characteristics and a novel multisystem disease, the TEMPI syndrome, was reported. As of January 2020, a total of 22 patients worldwide with the TEMPI syndrome have been identified (D.B.Sykes, Personal Communication).
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Sautillé is a technique used for bowing notes in an upbeat tempo that is not quite fast enough to require spiccato. When tempi get too fast for controlled détaché, it becomes necessary for the bow to be bounced slightly off the string with the wrist in a manner similar to spiccato. However, when tempi are not fast enough for completely separated, crisp-sounding spiccato, notes remain slightly connected to create a brushing or scrubbing sound that results from the sautillé stroke.
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Walker, Raymond. "Review Recording of the Month: Ivanhoe". MusicWeb International, 10 February 2010 Richard Traubner was a dissenting voice. Though he praised the singers, he felt that many of the tempi were too rushed.
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Wilson is currently a pundit for Rai. In 2013, sport journalist Vincenzo Di Michele wrote Wilson's biography, "Pino Wilson: a True Captain from Another Era".Vincenzo Di Michele. "Pino Wilson Vero Capitano d'altri tempi ".
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Evangelismos () is a settlement of the former municipal unit of Makrychori, which is belongs to the municipality of Tempi in the Larissa regional unit, Thessaly, Greece. Evangelismos had 127 inhabitants at the 2011 census.
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Tempi (, ) is a municipality in the Larissa regional unit, Thessaly, Greece. The seat of the municipality is the town Makrychori.Kallikratis law Greece Ministry of Interior The municipality was named after the Vale of Tempe.
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Per Nørgård's Symphony No. 3 was composed between 1972 and 1975 for large orchestra and chorus.Jensen, Jørgen I. (1996). Booklet for Symphony No. 3 / Concerto In Due Tempi, Chandos Records. It lasts about 45 minutes.
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In 1905 William Suida was the first to suggest an attribution to Bramantino. Mulazzini dated it to 1490, early in Bramantino's career.Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, vol. 2, Bompiani, Milan 1999.
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The number 24 is central to the construction of Cosmic Pulses. There are 24 layers of sound. There are 24 "melodic loops", spaced throughout 24 different registers (spanning 7 octaves). There are 24 different tempi.
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Le nostre regioni alla IX Quadriennale di Roma, in "Paese Sera", gennaio 1966 on his usual theme of fishermen, called Tempi del lavoratore del mare (lit. Temples of the Workers of the Sea) and II.
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Andersen was known for bringing dignity and flawless execution to her playing, but some critics found her style lacking in excitement and her tempi too free. She continued touring into the 1960s and died in 1989.
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424 v. Thucydides mentions Dion as the first city reached by the Spartan general Brasidas, coming from Thessaly (Tempi) in Macedonia.Thukydides. The peloponesian war Pausanias mentioned Dion as one of the places at Orpheus had lived.Pausanias 9.30.
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Cited in distinguishes his 20th century medievalism from Antheil's SPACE/TIME theory of modern music, which sought pure abstraction. Antheil's system of time organization is inherently biased for complex, asymmetric, and fast tempi; it thrives on innovation and surprise. Pound's more open system allows for any sequence of pitches; it can accommodate older styles of music with their symmetry, repetition, and more uniform tempi, as well as newer methods, such as the asymmetrical micro- metrical divisions of rhythm created for Le Testament. Pound was a friend of Igor Stravinsky.
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Naples of Olden Times (Italy: Napoli d'altri tempi) is a 1938 Italian musical comedy film directed by Amleto Palermi and starring Vittorio De Sica, Emma Gramatica and Elisa Cegani.Gundle p.153 It was made at Cinecittà in Rome.
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Program from the world premiere performance. (pdf) Stockhausen defines the tempi in the piece as units of 8 tones and pulsesStockhausen, Karlheinz. Jerusem. Kürten: Stockhausen-Verlag, 2007. p. III The fastest tempo is 240 beats per minute (bpm).
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Tempi / Matatabi is a double EP by the Japanese noise musician Merzbow. The artwork is a parody of the catalogue for a Salvador Dalí exhibition held in Tokyo in 1964 and features drawings made by Masami Akita in 1974.
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Tempi di ferro. «Il Mondo» e l'Italia del dopoguerra. Il Mulino, 1992. . In 1955 Pannunzio brought the pages of the magazine from 12 to 16 pages, while in 1956, the publisher decided to bring back Il Mondo to 12 pages.
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March, p. 431. Barbirolli's 1963 recording takes 53:53; Solti takes 48:48. Later examples of slower tempi include a 1992 recording conducted by Giuseppe Sinopoli (55:18), and a 2001 live recording conducted by Sir Colin Davis (54:47).
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He collaborated and he is collaborating since longtime with prestigious Italian magazines as La Cucina Italiana, Ristorazione & Catering, Civiltà del Bere, La Grande Cucina Professionale & Wine, Bar Giornale, Tempi, as well as international magazines as: The Sommelier, Sommeliers International, Four, ecc.
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Ravel is quoted in one source as saying that the piece is in only one movement and in another as saying the piece is divided into two movements linked together. According to Marie-Noëlle Masson, the piece has a tripartite structure: slow–fast–slow, instead of the usual fast–slow–fast. Whatever the internal structure may be, the 18–19 minute piece negotiates several sections in various tempi and keys without pause. Towards the end of the piece, some of the music of the early slow sections is overlaid with the faster music, so that two tempi occur simultaneously.
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Ardoin, pp.19–20. The fact that the tempo was changing was not something new; Beethoven himself interpreted his own music with a lot of freedom. Beethoven wrote: "my tempi are valid only for the first bars, as feeling and expression must have their own tempo", and "why do they annoy me by asking for my tempi? Either they are good musicians and ought to know how to play my music, or they are bad musicians and in that case my indications would be of no avail".Beethoven, CD Furtwängler, Beethoven's Choral Symphony, Tahra FURT 1101–1104, p. 28.
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Rc1 b5 12. Qb3 Nc6 :The ghost! With noiseless steps he presses on towards c4. 13\. Nxc6 :Samisch sacrifices two tempi (exchange of the tempo-eating Knight on e5 for the Knight which is almost undeveloped) merely to be rid of the ghost.
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The province of Larissa () was one of the provinces of the Larissa Prefecture. Its territory corresponded with that of the current municipalities Larissa (except the municipal unit Giannouli) and Tempi (except the municipal units Gonnoi and Kato Olympos). It was abolished in 2006.
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When conducting his music, he tended to set fairly brisk tempi, and disliked it when other conductors took his works at slower speeds that, to his mind, made them drag.Lace, Ian. "John Wilson – Conductor, Arranger, and Eric Coates Archivist", Fanfare Vol. 21, Issue.
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Montevecchio Montevecchio is one of the most ancient mining sites in Italy.Piras, Aldo, Pietro Leo e Raimondo Garau. Tempi e luoghi, Garau, Guspini, 2003, p. 20 The site is located in the south west of Sardinia, in the Province of South Sardinia.
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He also worked painting in the Vatican libraries. He is described as an avid painter of Grotteseques.Le vite de ̕pittori, scultori, architetti, ed intagliatori, dal pontificato Gregorio XIII del 1572 fino a’ tempi di Papa Urbano VIII nel 1642. (1733), by Giovanni Baglione, page 188.
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Pyrgetos () is a village in the Larissa regional unit, Thessaly, Greece. It was the seat of the former municipality of Kato Olympos, which has been part of the municipality of Tempi since 2011. Its elevation is 140 m.GTP - Pyrgetos In 2011 its population was 1,463.
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Stemma of Cardinal Morone Morone was born in Milan, on 25 January 1509, where his father, Count Girolamo Morone (d. 1529), was grand chancellor.Girolamo Rossi, Vita di Girolamo Morone (Oneglia, 1865). Carlo Gioda, Girolamo Morone e i suoi tempi: studio storico (Milano: Paravia 1887).
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There are no tempi specified, no dynamics and no pedal indications; all of these are left to the performer to decide on. To facilitate matters somewhat, every etude occupies exactly two pages of the score, so there is no need to turn the page.
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During the 80 and 90 produces major thematic cycles, Le grandi strade piene, Racconti solari, Prime nevi del dopo 2000, Krakatoa, the moons of Arqa, make make, Tribe in esodo, Contano solo i cieli, Nevicate acide, Vanno tutti verso il nulla,Tempi anni Deserti.
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"Erich Itor Kahn Is Dead at 50; Pianist With Chamber Groups" New York Times (March 6, 1956) Kahn wrote several distinctive keyboard works including the Ciaconna dei tempi di guerra (1943) composed for Ralph Kirkpatrick to play on the harpsichord, though it is also performable on piano.
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Il Città di MSGC ufficializza l'acquisto di Ivan Reali, gazzettaregionale.it, 8 December 2015 He left the club in the summer 2017 and then joined A.S.D. G.C. Sora.Ivan Reali operato a Roma I tempi del recupero, verdisora.blogspot.com, 15 October 2018 In December 2019, Reali joined Promozione club Terracina Calcio 1925.
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One goal is getting in the square of the black pawn, so it can be intercepted, and the other is getting to the d6-square to support the promotion of his pawn. The black king will have to spend two tempi to stop the white pawn from promoting, and this is the number of tempi the white king needs to gain in order to get into the square of the black pawn. The second diagram shows the number of ways that the white king can get to various squares in the minimum number of moves. There are nine ways to get to d6, but only one of them allows him to get into the square of the black pawn.
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Parapotamos (Greek: Παραπόταμος Λάρισας) is a settlement of the municipal unit of Makrychori, which is part of the municipality of Tempi, northern Greece. It is situated on the right bank of the river Pineios. The people of the area are mostly farmers and the settlement is famous for its olive production.
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Makrychori (, Katharevousa: Μακρυχώριον) is a former municipality in the Larissa regional unit, Thessaly, Greece. Since the 2011 local government reform it is part of the municipality Tempi, of which it is a municipal unit.Kallikratis law Greece Ministry of Interior Population 2,553 (2011). The municipal unit has an area of 107.767 km2.
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The colotomic structure of a piece is the length of the cycle and how the interpunctuating instruments play during that cycle, but they are also musical forms which are associated with specific structural patterns on a larger scale than the colotomic cycle, and guidelines for what tempi and irama may be used.
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Nessonas () is a village and a former municipality in the Larissa regional unit, Thessaly, Greece. Since the 2011 local government reform it is part of the municipality Tempi, of which it is a municipal unit.Kallikratis law Greece Ministry of Interior Population 4,750 (2011). The municipal unit has an area of 172.675 km2.
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He was also principal editor of the new edition of the Vocabulario della Crusca and of the celebrated Vatican edition of Virgil (1741). Bottari was acquainted to Piranesi. He probably collaborated on Piranesi's answers to the letters of Pierre-Jean Mariette, and Piranesi dedicated his Antichità Romane de' Tempi della Repubblic to Bottari.
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On the return trip to Severen, one of the mercenaries, an Adem warrior named Tempi, is ordered to stand trial for teaching Kvothe the Ketan, a secretive form of martial arts; Kvothe accompanies Tempi to the distant country of Ademre, where he completes his training in the Ketan and in the Lethani philosophy to justify Tempi's teaching him. Upon passing a series of final tests, Kvothe is rewarded with an ancient sword he names Caesura, and an Adem legend regarding the names and signs of the "Rhinta"—known to Kvothe as the Chandrian. Again on the road to Severen, Kvothe kills a troupe of robbers who pose as Edema Ruh after having murdered the original troupers. He then returns to the Maer and presents the waylaid taxes.
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19 riders from 9 countries competed. Due to World War II, there was not sufficient time to prepare the dressage horses for the 1948 Games. Therefore, piaffe and passage were not placed on the tests. However, half-pass, renvers, canter pirouettes, and tempi changes were included, with the highest coefficient on the one-tempis.
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Gaîté Parisienne was one of Massine's most celebrated works during this time. Instead of a whole, singular composition for the score, Offenbach created a series of divertissements. This allowed Massine to use a wide variety of dancers and tempi, all while conveying a single narrative. Massine revived the piece for American Ballet Theater in 1970.
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The most prominent scholars who have deciphered Venetic inscriptions or otherwise contributed to the knowledge of the Venetic language are Carl Eugen Pauli, Hans Krahe, Giovanni Battista Pellegrini, Aldo Luigi Prosdocimi, Aldo Luigi Prosdocimi (2002), Veneti, Eneti, Euganei, Ateste. Aldo Luigi Prosdocimi (2002).Trasmissioni alfabetiche e insegnamento della scrittura, in AKEO. I tempi della scrittura.
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Giuseppe Tresca (1710–1795) was an Italian painter, active in a late Baroque or Rococo style. He was born in Sciacca, Sicily, but trained in Rome under Sebastiano Conca. He returned to become a respected painter in Palermo,Reminiscenze d'miei tempi, by Vincenzo Mortillaro, page 38. where he became the master of Giuseppe Velazquez.
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The extraction of minerals in the area of Montevecchio dates back to the Phoenician and Roman times. In 1842, modern industrial mining activity started in the area, thanks to the arrival of entrepreneurs such as Giovanni Antonio Pischedda and Giovanni Antonio Sanna.Piras, Aldo, Pietro Leo e Raimondo Garau. Tempi e luoghi, Garau, Guspini, 2003, pp.
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Mount Olympus and its foothills are located to the northwest and Mount Kissavos to the southwest making the beaches at Nea Mesangala particularly lovely at sunset. Near by are the beautiful Vale of Tempi and the mountain village of Aigani. To the north is the region of Central Macedonia are the seaside towns of Platamona and Neoi Poroi.
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Renzo Barbera, 1972 Renzo Barbera (Palermo, 19 April 1920 – Palermo, 20 May 2002) was an Italian businessman and the chairman of Italian football club U.S. Città di Palermo from 1970 to 1980.Quindici anni senza Renzo Barbera, un uomo di altri tempi – stadionews.it He was nicknamed "Presidentissimo" and "The Last Leopard".Dieci anni senza il presidentissimo – livesicilia.
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His other works include a translation of Daphne and Chloe (1812), the novel La vita di Erostrato ("Life of Herostratus", 1815) and Vicende memorabili de' suoi tempi dal 1789 al 1801 ("Memorable happenings of His Times from 1789 to 1801", 1858). Also notable is his correspondence with his brother Pietro. Verri died in Rome in 1816.
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He attached himself to the party of Cavour and devoted his attention chiefly to questions of economy and finance. He became minister of public instruction in 1855 in the cabinet of Cavour, and in 1858 minister of finance. Endnote: See Enrico Tavallini, La Vita ed i tempi di Giovanni Lanza (2 vols., Turin and Naples, 1887).
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Gonnoi (, before 1927: Δερελί - DereliName changes of settlements in Greece) is a former municipality in the Larissa regional unit, Thessaly, Greece. Since the 2011 local government reform it is part of the municipality Tempi, of which it is a municipal unit.Kallikratis law Greece Ministry of Interior Population 2,462 (2011). The municipal unit has an area of 113.333 km2.
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Mr. Copeland belongs to the school of Debussy-players who use the > pedal generously, and play with such rhythmic freedom that two successive > measures are not often in the same tempi. Although the word "brilliant" does > not come to mind when one hears Mr. Copeland's playing, it has a casual, > informal quality that is very charming.
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In 1953, among other politicians, Alcide De Gasperi, then Prime Minister of Italy, attended the Mariapolis. In 1959, over 10,000 people came to the Valley of Primiero from 27 nations,including Czechoslovakia, Brazil, and Taiwan.Cf. I. Giordani, Le Mariapoli, in C. Lubich and I. Giordani, Erano I tempi di Guerra. All’Alba dell’Ideale dell’Unità, Città Nuova, Rome 2007, pp.
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Cyclopedia of Painters and Paintings, Volume 4, by Charles Callahan Perkins, page 130. He was described by Pietro Selvatico as in coloring, highly skillful, but in shading, inimitably supreme.Natale e Felice Schiavoni, vita, opere, tempi, by Luigi G. Sernagiotto, Tipografia Municipal of Gaetano Longo, Venice (1881), page, Epigraph, in ogni parte del colorito valentissimo; ma nell'ombre poi inimitabilmente sommo.
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Antonio de Almeida, evincing an obvious love for Thomas's music, erred only in not always choosing tempi judiciously. The album as a whole had only two drawbacks. Firstly, de Almeida's decision to use Thomas's recitatives rather than the libretto's original dialogue meant that the impact of the opera's mélodrames was lessened. Secondly, the album's engineering was disappointing.
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Additionally, other cloud-based applications focus more on the practice and consumption side of music learning. These latter cloud-based applications integrate audio-output such as playback with a variety of tempi (speeds) and with different instrumentation for multi-part scores and make the viewing and playing more interactive by adding personal annotations, automatic page turning, or set lists.
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The work is structured as a concerto da chiesa, in this case expanded from a typical four movement structure to six: Each relatively short movement provides multiple tempi and a range of major and minor suspensions. The concerto is generally no longer than fifteen minutes, ending with Corelli's famous Pastorale ad libitum, a peaceful finale in the pastorale form.
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The term polytempo or polytempic is used to describe music in which two or more tempi occur simultaneously.Collections of articles; Greschak, John In the Western world, the practice of polytempic music has its roots in the music theory of Henry Cowell,Henry Cowell, With contributions by David Nicholls, New Musical Resources, , Cambridge University Press, 1996 (original text by Henry Cowell published in 1930), and the early practices of Charles Ives. Later on, composer Elliott Carter, in the fifties, began polymetric experiments in his string quartets that inevitably amounted to polytempic behavior by nature of several competing lines at different surface speeds. At around the same time, composer Henry Brant expanded on Ives's The Unanswered Question to create a spatial music in which entire ensembles, separated by vast distances, play in distinct simultaneous tempi.
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Italian infiniti presenti may end in one of these three endings, either -are, -ere, or -ire. Exceptions are also possible: fare "to do/make" (from Latin facere); and verbs ending in -urre or -arre, most notably tradurre (Latin traducere) "to translate".Berloco 2018 Italian grammar does not have distinct forms to indicate specifically verbal aspect, though different verbal inflections and periphrases do render different aspects, in particular the perfective and imperfective aspects and the perfect tense–aspect combination. While the various inflected verbal forms convey a combination of tense (location in time), aspect, and mood, language-specific discussions generally refer to these inflectional forms as "tempi", for this reason it is impossible to make comparisons between the tenses of English verbs and the tempi of Italian verbs as there is no correspondence at all.
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182 and 206–208 Lytton approved of the new costumes commissioned by Carte,Lytton (1933), p. 142 but strongly disapproved of, and battled against, the brisk tempi imposed by Malcolm Sargent, the young conductor brought in as musical director for the London seasons of 1926 and 1929–30. Lytton, who could not read music, had learnt his parts by rote, and had trouble with what he called "the twiddly bits";Reid, p. 144 The Times commented in 1926 that he "shows more respect for Gilbert's words than for Sullivan's notes, though he still manages to give the gist even of the latter"."Prince's Theatre", The Times, 21 September 1926, p. 12 Sargent studied Sullivan's manuscripts, and for some numbers set tempi that Lytton found difficult to cope with.
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The idea was then proposed by Iannis Xenakis in the early seventies and more recently by Italian born composer Valerio Camporini Faggioni Valerio Camporini F., Multitemporal Designs, (Line)using synthetic and software devices. A similar technique, with the tempi similar to each other is rhythm phasing – a technique introduced by Steve Reich and used especially in minimalist and post-minimalist music.
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To Milan, in 1881, he sent: Sempre allegra (see below) and Lady with Teacup. While at the Promotrici of 1883 at Milan and Rome: Prega and La canzone dei nostri tempi. At the 1888 Exposition of Fine Arts of Bologna he exhibited Quiescat and the Church of the Gerolamini of Naples. In 1897 at Milan, he exhibited Inside the Church of San Severino.
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The passing years show a clear trend with respect to tempo: as Klemperer aged, he took slower tempi. In 1954, his first movement lasts 15:18 from beginning to end; in 1970 it lasts 18:41. In 1954 the main tempo of the first movement was about 135 beats per minute, in 1970 it had slowed to about 110 beats per minute.
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Before performing Elgar's two symphonies, Solti studied the composer's own recordings made more than 40 years earlier, and was influenced by their brisk tempi and impetuous manner. A critic in The Guardian wrote that Solti "conveys the authentic frisson of the great Elgarian moment more vividly than ever before on record."Greenfield, Edward. "Echoing Elgar", The Guardian, 11 July 1972, p.
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John Pritchard's conducting disappointed him, with tempi erring on the slow side and a wan orchestral palette. The album offered many pleasures, but was in general "a little muted".Steane, J. B., Gramophone, January 1980, p. 1122 Edward Greenfield reviewed the album on CD in Gramophone in November 1988, comparing it with the recently released CD version of Solti's recording of the opera.
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The complete works of Buonaiuti are very extensive: he wrote more than three thousand works, including books and articles, among them the ponderous Storia del Cristianesimo ("History of Christianity") in three volumes, his autobiography (Il pellegrino di Roma) and many studies about Gioacchino da Fiore (Gioacchino da Fiore: i tempi, la vita, il messaggio) and Martin Luther (Lutero e la riforma in Germania).
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Recitatives were hampered by some pedestrian harpsichord continuo work. The orchestra, if not the most sumptuous of ensembles, played with warmth and accuracy and was blessed with some first-rate woodwinds. Alain Lombard's conducting was animated and accommodating, although it was marred by an unfortunate bias towards slow tempi. The album's audio quality, if "not particularly spacious", was perfectly acceptable.
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Though they have the same structure, there are two distinct genres in Suyá music, called akia (shouted song) and ngére. Akia are masculine songs shouted in a high register. When sung by a group of men, heterophonic textures are often created, as different songs are often performed at once with different melodies or tempi. New songs often come from the singers themselves.
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A 5-loop serpentine was introduced, to be ridden at the canter, both with flying lead changes and with counter-canter loops. The counter change of hand with flying changes was also introduced, as was 4-, 3-, 2-, and 1-tempi changes. The halt was performed through the walk, and followed by a salute. The Paris Games had 24 riders competing from 9 countries.
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Ossa () is a village and a community of the Tempi municipality.Kallikratis law Greece Ministry of Interior Before the 2011 local government reform it was part of the municipality of Nessonas, of which it was a municipal district. The 2011 census recorded 530 inhabitants in the village and 456 inhabitants in the community of Ossa. The community of Ossa covers an area of 13.509 km2.
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Beautiful views of Mount Olympos, Mount Ossa, and the Platamona Castle which are found to the north and west make the beaches at Kastri-Loutro particularly beautiful at sunset. The beautiful Vale of Tempi is found nearby as is the mountain village of Aigani. The sea side towns of Platamona and Neoi Poroi are found just to the north in the administrative region of Central Macedonia.
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By 1909, of track had been laid, including the main standard-gauge line to the then Greek-Turkish border at Papapouli, past the Tempi valley (400 km north of Athens). The first trains to run the full 506 kilometres from Athens to Thessaloniki on standard-gauge track marked the completion of the line in 1918, which by then was running entirely on Greek territory.
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The design for Vinta's construction has been attributed to the architect Matteo Nigetti. In 1652, the heirs of Vinta sold the palace to Lorenzo di Raffaello de' Medici, who two years later sold it to the Tempi (1654). They utilized the architect Pietro Paolo Giovannozzi to refurbish the lungarno facade. To refurbish the interiors, he commissioned from Giovanni Camillo Sagrestani to fresco (1726) a large ceiling.
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On 1 June 2010, the club was denied a license to compete in next season's Greek Super League. That summer, Iraklis's fans rallied in Thessaloniki for more than 10 days. Also there were 2 rallies in Athens and other important places in Greece like Malgara and Tempi. Finally, on 25 June, Iraklis received permission to play in Greek Super League for the 2010–11 season.
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Pietro Ranzano (Palermo, 1428–Lucera, 1492) was an Italian Dominican friar, bishop, historian, humanist and scholar who is best known for his work, De primordiis et progressu felicis Urbis Panormi, a history of the city of Palermo from its beginnings up until the contemporary period in which Ranzano was writing.Morso, Salvatore. Descrizione di Palermo antico. Ricavata sugli autori sincroni e i monumenti de’ tempi.
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He was court painter to Cosimo I de Medici in Florence and worked as a fresco painter in Rome on the large decorative projects of pope Gregory XIII.Hendrick van den Broecke at the Netherlands Institute for Art HistoryBiography of Arrigo Fiammingo in Giovanni Baglione, Le vite de' pittori, scultori, architetti, ed intagliatori : dal Pontificato di Gregorio XIII. del 1572. fino a' tempi di Papa Urbano VIII.
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In 1713 he went to Florence where in the palace of the Senator Tempi he painted the ball room and various rooms. Back in Bologna on May 20, 1714, he painted all the ovals in the sacristy and the hall of the church of San Francesco. In 1721 he went to Asti to paint the church of San Martino. He then returned to Bologna where he stayed.
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Often used to show a horse's ground-covering stride in horse show competition. hard keeper (US), poor doer (UK) :A horse (or other animal) which needs a relatively large amount of food to maintain condition.Belknap Horsewords p. 231 ;haute école, high school :The most advanced form of dressage, wherein the horse performs the most difficult movements such as pirouette, passage, piaffe and one-tempi lead changes.
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1089 Vienna's Palais Schwarzenberg, where Die Schöpfung was first performed in 1798 David S. Gutman reviewed Die Schöpfung and the Harmoniemesse coupled on CD in Gramophone in May 1993. Bernstein's Die Schöpfung, he thought, was among the conductor's better essays in Haydn. Yes, the solo singing was problematic, and Judith Raskin had been "much criticized for her inadequate German". Yes, Bernstein's tempi were sometimes unorthodox.
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9-15, 1991, p. 27. The Ligurians are credited with forming the first villages in the Po Valley of the facies of the pile dwellings and of the dammed settlementsFausto Cantarelli, I tempi alimentari del Mediterraneo: cultura ed economia nella storia alimentare dell'uomo, vol. 1, 2005, p. 172., a society that followed the Polada culture, and is well suited in middle and late Bronze Age.
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View of Rapsani Rapsani (Greek: Ραψάνη) is a town of the former municipal district of Kato Olympos, which is part of the municipality of Tempi in the Larissa regional unit, Thessaly, Greece. Rapsani is sited at an altitude of 600 meters. The location of Peneus river at the level of the station Rapsani is a scenic landscape. The town is close (5km) from a station that bears the same name.
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In France, another dance-music composer, Emile Waldteufel, wrote polkas in addition to waltzes. The polka evolved during the same period into different styles and tempi. In principle, the polka written in the 19th century has a four-theme structure; themes 1A and 1B as well as a 'Trio' section of a further two themes. The 'Trio' usually has an 'Intrada' to form a break between the two sections.
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On February 27, 2009, the twentieth anniversary from the Scuola foundation was celebrated in the presence of the Eccellentissimi Capitani Reggenti della Repubblica di San Marino (The Captains Regent). The celebration was presided over by Luciano Canfora and included three lectures by Maurice Aymard on 'I territori e i tempi della storia oggi', Giuseppe Galasso on 'Storicismo e identità europea' and Adriano Prosperi on 'L'età del disciplinamento: un bilancio'.
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Impulsion is very important in all equestrian disciplines, because good impulsion allows the horse to effectively utilize the power in its hindquarters. Impulsion is particularly important in dressage. It not only makes the horse's gait more elastic, light, and expressive, but provides the animal with the power needed to perform the required movements. This is especially true for those requiring collection, such as passage, piaffe, pirouette, tempi changes.
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Source for key and tempi: manuscript score at the Berlin State Library. Bert Hagels speculates Ries made this decision because he regarded the work as an occasional piece; certainly its need for two highly skilled horn players would have made it harder to market compared with his solo concertos. Nevertheless, Reis retained the manuscript for the remainder of his life and it can now be found in the Berlin State Library.
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Thomas Rescigno (top) and his brother Joseph, with a couple of muskellunges at Eagle Lake, Ontario, 1961. Rescigno has sketched and painted in pastels throughout his life, on occasion creating and contributing original works to be sold at benefit auctions.See The Spirit of Omaha He also enjoys visiting museums and collecting antiques with his wife Jeanne."Joseph Rescigno, direttore d'altri tempi" by Marco del Vaglio, criticaclassica, July 31, 2012.
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These applied just the right pressure to the strings and were driven by a variable-speed controlled motor. This and a mute allowed the volume of sound produced to be varied. The violin produced a full tone and was able to sound 1/2 note double stops at ragtime tempi. The staccato coil allowed the bows to leave the string a fraction of a second before the 'fingers'.
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He published two books, The nine churches of Rome (Le nove chiese di Roma 1639), and The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642 (Le Vite de' Pittori, scultori, architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. fino a' tempi de Papa Urbano VIII. nel 1642, 1642). The latter is still seen as an important historical source for artists living in Rome during the lifetime of Baglione.
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Nóta is a form of 19th-century Hungarian popular song. It is one of a number of styles collectively referred to as cigányzene, which literally means Gipsy music but is used to refer to a number of styles of Hungarian folk music that are played in a typical Gipsy musical style. Nóta includes a variety of tempi, from uptempo friss csárdás via a medium time "Palotas" to slow dramatic tempo rubato ballads.
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43 The symphony is in the customary four-movement form.Vaughan Williams: unnumbered introductory page The composer provided metronome markings for all four movements, but they are widely regarded as dubious:Adams, Byron. "The stages of revision of Vaughan Williams's Sixth Symphony", The Musical Quarterly, Fall 1989 Atlas, pp. 24–25 the composer did not observe them when he conducted the work, and he expressed approval of Boult's tempi, which were similar to his own.
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In performance, string quartets have varied widely in their tempi for the work. Of recordings in the CD catalogues in 2011, an example of a swift performance is that by the Amati Quartet, a 1993 performance on the Divox label, which plays for a total of 22 minutes and 18 seconds. Among the slower versions is that by the Medici Quartet (Nimbus, 1989) which is nearly seven minutes longer, at 29:10.
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The Palazzo Tempi, also known as Palazzo Vettori or Bargagli Petrucci, is a palace located along the Arno river at the narrow Piazza Santa Maria Soprarno 1, corner with Via de' Bardi and Costa dei Magnoli in the Oltrarno section of Florence, Tuscany, Italy. The palace is across the river from the Galleria of the Uffizi, and a block east of the Ponte Vecchio. The Via de' Bardi originates in an arch under the building.
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She is the first among the Adem to speak to Kvothe willingly. Her friendliness with Kvothe is primarily motivated by her desire to learn 'barbarian customs' as she hasn't ventured outside Ademre yet. Carceret: A female Adem who rebukes Tempi for teaching Kvothe their secrets and hates Kvothe for committing transgressions against the customs of Adem, particularly his use of Ketan. Celean: An exceptionally talented student of the Ketan who becomes Kvothe's sparring partner.
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But in his own 1963 recording, Cowell expresses a torment, through jagged tempi and ambivalent dynamics (all clearly purposeful), that renders Anger Dance very different in character from the work of the American minimalists. That fall, the largely self-taught Cowell was admitted to the University of California, Berkeley, as a protégé of Charles Seeger. There he studied harmony and other subjects under Seeger and Edward Griffith Stricklen and counterpoint under Wallace Arthur Sabin.
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The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication. The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing. Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of Tamara in 1898.Maes, 83.
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Some theorise that it was produced in the milieu of religious reform movements current in Milan during its occupation by the French (later opposed by Carlo Borromeo and the Counter-Reformation), or that it was directly commissioned by Marshal Gian Giacomo Trivulzio, the city's governor on behalf of the French, who had also commissioned the cartoons for the Trivulzio tapestries from Bramantino.Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999.
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Starting in 1977, Alessandrini worked on the western series Ken Parker, written by Giancarlo Berardi. His cooperation will continue until 1980, resulting in six 96 pages episodes. That same year Alessandrini started working for Catholic weekly Il Giornalino, where he drew some episodes of the series Ai confini dell'avventura and Storie di tutti i tempi. In 1981 he created with scriptwriter Claudio Nizzi the series Rosco & Sonny, using himself as a model for Sonny's features.
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Superficially, the work follows the standard three-movement format for a concerto. However, the tempo marks hint at some important differences: # Andante comodo # Vivo, con molto preciso # Allegro moderato Ordinarily, the first and third movements of a concerto are in fast tempi, while the second movement is slow. Here, the first movement is on the slow side, and the second movement is unequivocally fast. In terms of character, the second movement is scherzo-like.
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In 2001 a critically acclaimed and Grammy Award winning recording of the St Matthew Passion with the Arnold Schoenberg Choir was released, which included the entire score of the piece in Bach's own hand on a CD-ROM. This was his third recording of the work. Harnoncourt later performed with many other orchestras that played on modern instruments, but still with an eye on historical authenticity in terms of tempi and dynamics, among other things.
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Cardella, p. 42. Cf. Giacomo Caetani Stefaneschi, De canonizatione Sancti Petri Coelestini I, 125-130, in Ludovico Antonio Muratori, Rerum Italicarum Scriptores III. 1, p. 659: Inde Ferentinum delatum corpus, honesto Ingeritur tumulo manibus sub dogmate Fratrum, inque loco stanti digne solleniter actis exequiis, dum Cardo preest a praesule missus.... (...a Cardinal, sent by the Pope, presided...) Luigi Tosti, Storia di Bonifazio VIII e de' suoi tempi I (Montecassino 1846), p. 110.
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It can be stylistically dated to c.1517-1518, around the same time as Correggio's Madonna and Child with the Infant John the Baptist and his production of the frescoes in the Camera di San Paolo. It shows Correggio moving away from the influence of Leonardo da Vinci and towards that of Raphael, particularly the latter artist's Madonna of Foligno and Tempi Madonna. Giuseppe Adani, Correggio pittore universale, Silvana Editoriale, Correggio 2007.
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300px Christ and the Angel is a c.1550 oil on canvas painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia. In 1630 Bernardino Faino recorded it "in the Capella della Santissima Croce d'oro et fiamma" in Brescia's Old Cathedral. Bernardino Faino, Catalogo Delle Chiese riuerite in Brescia, et delle Pitture et Scolture memorabili, che si uedono in esse in questi tempi, Brescia 1630 It was restored in 1914 and 1935.
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Bd3 is also playable, known as the Millennium Attack) d5 6.Bd3, where he will try to drive Black's advanced knight from e4 with moves like c4 and Re1. If White achieves this, then he is up two tempi (Nf6–e4–f6, plus the tempo White starts the game with). In practice White is usually able to achieve this, but at some structural cost such as having to play c4, which balances out.
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It was presented by King Joseph I of Portugal to the patriarchal See of Lisbon, on 9 March 1754. Elected Patriarch of Lisbon on 20 May 1754, he received the canopy the same day. He took office on 2 June and was consecrated on 25 July in Lisbon by Cardinal Lucas Melchor Tempi, titular archbishop of Nicomedia, apostolic nuncio to Portugal, assisted by Jose Henriques, bishop of Constantine, and Hilário of Santa Rosa, ex-bishop of Macau.
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In 2009, he designed for the singer Natalia (Belgian singer) the contreversed dress for her New year eve's concert in Sportpaleis. He created for the pianist Eliane Reyes concert dresses for her rising star tour with Lorenzo Gatto winner of the Queen Elisabeth Music Competition in 2009. In 2012, he produced the event Moda Tempi, la mode habille la musique in Brussels. In recent years, FLL has introduced its designs and creations to the Asian audiences.
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His tempi were very fast - he played for listening, not as a dance musician. Unfortunately, he was suffering badly from worsening ill-health throughout the 1950s and 1960s, when all the recordings were made, and it is certain his playing must have suffered. However, the best of his recordings have a wildness and passion which is both inspiring and wholly distinctive. He has been hugely influential, and many pipers have sought to emulate his style, notably Adrian Schofield.
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Cardinal Richelieu granted him access to his archives and thanks to the new findings he published a monumental work he titled Il Mercurio overo historia de' correnti tempi. Cardinal Mazarin honored him with a pension and the title of councilor, chaplain and historian of the king of France. He therefore moved to France in 1649 and from 1655 he lived at the court. In the meanwhile he worked as collecteur de nouvelles for the Duke of Parma.
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47; Beaumont, p. 358; Sitsky, p. 364. ^ BV 51 Ouverture (in E major), for (large) orchestra (unfinished) :Tempi: Moderato - Allegro :MS: SB58 (title page, 25 pages score) (fragment) ::Title: Ouverture per Grande Orchestra composta da Ferr. Weiß-Busoni ::Date: Composta nell'anno 1876 in Vienna. :Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, 2 trombones, bass trombone; timpani, tubular bells, harp; strings :Pub: unpublished :Arrangement: piano duet, see BV 128 :Ref: Kindermann, pp.
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Now taking a purified approach, Sibelius sought to offer "spring water" rather than cocktails making use of lighter flutes and strings rather than the heavy brass of the Fifth. Symphony No. 7 in C major was his last published symphony. Completed in 1924, it is notable for having only one movement. It has been described as "completely original in form, subtle in its handling of tempi, individual in its treatment of key and wholly organic in growth".
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Doubleday Canada, 2008. . "Jingle Bell Rock" is believed to be the first rock and roll Christmas song. In December 1961, Disney Studios released Babes in Toyland, a film version of Victor Herbert's 1903 operetta starring teen heartthrobs Annette Funicello and Tommy Sands. Though new songs with jazzy tempi were incorporated into the film and one critic was delighted with the film's colorful numbers, Babes in Toyland was neither a success nor a complete box office flop.
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Klaas Bolt in 1990 in Haarlem Klaas Bolt (March 6, 1927 in Appingedam – April 11, 1990 in Haarlem) was a Dutch organist and improviser. He taught improvisation at the Sweelinck Conservatory (named for Jan Pieterszoon Sweelinck, a Dutch organist and composer of the Renaissance) in Amsterdam, where Masaaki Suzuki was among his students.Masakata Kanazawa: "Suzuki, Masaaki", Grove Music Online ed. L. Macy (Accessed 15 January 2007), Bolt was a proponent of the use of slow tempi when playing hymns.
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To the left are Catherine of Alexandria, Mary Magdalene and Lucy and to the right are John the Baptist and Liberale, whilst in the centre are seated John Chrysostom and Nicholas of Bari. The model for Mary Magdalene is also to be found in del Piombo's Salome with the Head of John the Baptist (London) and Woman as a Wise Virgin (Washington). Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999.
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Calvocoressi, Abraham (1974: p. 46) The Czech Nápravník would spend more than 40 years in the service of Russian music as chief conductor of the Imperial Mariinsky Theatre.Oldani (1982: p. 7) In Rimsky-Korsakov's memoirs, Chronicle of My Musical Life, the composer praises his keen ear, his ability to detect errors, and his overall technique, but faults him for his rapid tempi, his interpretational inflexibility and insensitivity, and, most of all, for his habit of making sweeping cuts.
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The Villa del Barone is a Renaissance style, rural aristocratic palace located in the rural neighborhood or frazione of Bagnolo di Sopra, located within the town limits of Montemurlo, province of Prato, region of Tuscany, Italy. The villa and the properties associated once belonged to the Tempi family, by the 16th century, it belonged to Baccio Valori, from whom it was confiscated by Cosimo de Medici. Cosimo granted it to the Rossi family. Later belonged to Vettori family.
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The production, in which the main character of Kostja Treplev was played by a young Filippo Timi at the beginning of his career, proved to be a turning-point experience for all actors involved.Progetto Cechov, Tempi Moderni n. 1, aprile-giugno 2000; Progetto Cechov, Tempi Moderni n. 2, giugno-settembre 2001 He is then among the artists invited at the Festival Santarcangelo dei TeatriFestival Santarcangelo dei Teatri 2002 and at the VolterraTeatro Festival,Festival Volterra Teatro, XIV edition, 2000 where he directs In the Solitude of Cotton Fields by Bernard-Marie Koltès, The Gamblers by Nikolai Gogol and conducts the masterclass All’uscita del teatro dopo la rappresentazione di una nuova commedia, also inspired by Gogol's work. His study of Koltès' plays continues in 2004 with Roberto Zucco staged in Rome at the Teatro Rialto Santambrogio and at Metateatro - Casa delle Culture and in Rennes at the Dromesko. Nel 2005 he wins the first prize at the Russian Festival of Young Dramaturgy in Tarusa directing K. Tcakhova's The Blu snake.
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Detail of the painting before restoration Madonna and Child is a tempera on panel painting of the enthroned Madonna and Child by Gentile da Fabriano Mauro Minardi, Gentile da Fabriano, Skira, Milano 2005.. At its base are small angel musicians. It is now in the Galleria Nazionale dell'Umbria in Perugia. It was painted for the church of San Domenico in Perugia Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. . It is generally attributed to c.
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Intolleranza 1960 (Intolerance 1960) is a one-act opera in two parts (azione scenica in due tempi) by Luigi Nono, and is dedicated to his father-in-law, Arnold Schoenberg. The Italian libretto was written by Nono from an idea by ,Ripellino published Mayakovsky and the Russian avant-garde theater in 1959. The "major agent for Slavic literature in Italy" (Stenzl) wrote a comprehensive textbook for Intolleranza. There was a rift, as Nono massively cut, reworked and expanded the libretto.
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LXXXI, 30/01/1937, p. 120 Many of Barret's paintings passed with the Milltown bequest to the National Gallery of Ireland in 1902. Another source that was used extensively by Barret were engravings by Piranesi which were published in 1748 in Antichita romane de' tempi della Repubblica, e de' primi imperatori. A landscape commissioned by Lord Bective for Headfort, Kells, Co. Meath is based on the Tempietto del Clitunno a temple on the river Clitunnonear Spoleto, in central Umbria, north of Rome.
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A year later she played the lead role in Strindberg's Miss Julie for the Sydney Theatre Company. She returned to Sydney in 1996 to play Cecilia in Sam Shepard's Simpatico In 1999 she took the lead in Easy Virtue in Chichester, directed by actress Maria Aitken. In 2001 she returned to Sydney for Harold Pinter's Old Times, directed by Aarne Neeme, playing Kate. In 2004 she toured Italy with an Italian production Vecchi Tempi of the same play, but this time playing Anne.
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It was followed by a work of even greater critical value, Niccolò Machiavelli e i suoi tempi (1877–82). In the meanwhile Villari had left Pisa and was transferred to the chair of philosophy of history at the Institute of Studii Superiori in Florence, and he was also appointed a member of the council of education (1862). He served as a juror at the international exhibition of that year in London, and contributed an important monograph on education in England and Scotland.
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In March 2008, Facchinetti became the presenter of the first series of the Italian talent show X Factor. Facchinetti also presented the following three series of the show. In the meanwhile, Facchinetti also presented the musc show Scalo 76, the Italian Nickelodeon Kids' Choice Awards 2008, and Il più grande (italiano di tutti i tempi). In 2011, when Rai 2 decided not to confirm X Factor replacing it with Star Academy, Facchinetti was chosen as the presenter of the new show.
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Most significant is a vintage Linke-Hofmann DMU-2 (1937), formerly of Piraeus, Athens and Peloponnese Railways. They also have a Nippon Sharyo diesel locomotive, formerly of the Aliveri Coalmines of the Public Power Corporation and there are plans to restore a Jung steam locomotive in storage at Volos. In addition, the old single line passing through Tempi Valley, which was cut off from the mainline when new tunnels were constructed, is used as a tourist attraction with light railway vehicles.
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After a sprint through the overture, he chose tempi that were mostly successful, and his overall interpretation of the score had a praiseworthy self-consistency. But his reading was not as closely focused as it might have been, and was "rather short on charm". The opera's best loved passages were performed without some of their usual magic. Nevertheless, the excellence of the album's five principal soloists was such that overall, the set was the best Le nozze di Figaro of the stereo era.
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Giacomo Rocca (or Giacomo della Rocca) (died between 1592 and 1605) was an Italian painter of the late Renaissance or Mannerist period. He was a pupil of Daniele da Volterra, and aided in completion of frescoes for the first chapel on the right of Santa Maria degli Angeli in Rome. Rocca's biography is sketched in Giovanni Baglione's Le vite de' pittori, scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a tempi di Papa Urbano VIII nel 1642.
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The disappointment of Tempi dispari triggered the breakup of the De Scalzi led incarnation of New Trolls. Amazingly, De Scalzi rejoined his old friend/rival Di Palo and drummer Belleno for a new chapter in New Trolls' history. Bassist D'Adamo remained and singer/guitarist Ricky Belloni was hired to complete the line-up. In 1975 the band released a live album on Magma simply titled N.T. L.I.V.E. which contained songs prior-breakup and some excerpts from the forthcoming studio album Concerto grosso no.
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Capriole Courbette Levade Modern, or competitive, dressage evolved from the classical school, although it now exists in a somewhat different form from its ancestor. Competitive dressage is an international sport ranging from beginner levels to the Olympics. Unlike classical dressage, competitive dressage does not require the airs above ground, which most horses cannot perform well even with correct training, due to physical limitations. Instead, competitive dressage focuses on movements such as the piaffe, passage, half-pass, extended trot, pirouette, and tempi changes.
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The arrival of a monarch is processional. Also processional, but for a different reason, is the march. Marches exist in various styles and tempi, and include the concert march, which is directly related to the military march, but is a military style symphonic piece to be listened to, rather than have any practical value. The standard 'Quick March' tempo varies from between 116 beats to 120 per minute, to accompany the disciplined way of moving men from one place to another.
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Vietka became a part of Russian Federation of Soviet Socialist Republic in 1926 and the centre of region in the Belorussian Soviet Socialistic Republic. From 1933, the "Za bolshevistskie tempi" ("For Bolshevik tempos") newspaper was published here. Soviet authorities opened a Jewish school in Yiddish, in Vietka. The population of Vietka in 1939 was 6,000 people at the beginning of the World War II. During World War II, from August 18, 1941, till September 28, 1943, Axis forces occupied the town.
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There are slight differences in tack but for the most part, is very similar to English tack. The Icelandic horse is able to pace as well as perform a smooth ambling gait known as the tölt, and is able to perform these gaits at a variety of tempi ranging from a walk to the speed of gallop. There is much organization around the breed within the country. This leads to competitions pitting animals against one another for gait, as well as some racing.
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350px Supper at Emmaus is a c.1526 oil on canvas painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia. It was originally painted for the church of San Luca in the city, where it was first recorded in 1630 by Bernardino Faino, who saw it in the San Sebastiano chapel Bernardino Faino, Catalogo Delle Chiese riuerite in Brescia, et delle Pitture et Scolture memorabili, che si uedono in esse in questi tempi, Brescia 1630, page 131.
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In the summer of 1936 S.S. Lazio, who was trying to set up a team which could win the championship, offered the team the considerable amount of 400,000 Italian lire for the three promising midfielders Busani, Riccardi and Milano:Carlo F. Chiesa. Tempi grigi per il vecchio quadrilatero, from «Calcio 2000» – February 2002, page 68. Alessandria managers agreed, but the team was no longer up to expectations and fell for the first time in Serie B at the end of 1936–37 season.
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Francesco Novello da Carrara (19 May 1359 – 16 January 1406) was Lord of Padua after his father, Francesco il Vecchio, renounced the lordship on 29 June 1388; he was a member of the family of Carraresi. He married Taddea, daughter of Niccolò II d'Este, Lord of Modena.A modern account of his dramatic career is L. Panzarino, Il Potere e la Nemesi, Francesco il Novello da Carrara e i suoi tempi, (Tipografia Rigoni Piove di Sacco), 2001. He fought in the Battle of Castagnaro (1387) for Padua.
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Rapture is markedly more tonal than Rouse's earlier compositions. In the program notes to the score, Rouse commented, "With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever more blinding ecstasy, but the entire work inhabits a world devoid of darkness -- hence the almost complete lack of sustained dissonance." The piece is also built around "gradually increasing tempi" gains speed over the course of its roughly 11 minutes.
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In this practice, he is not far from the live recordings of such contemporaries as Albert Coates, Fritz Reiner, and Furtwängler. As to the matter of cuts, it was the almost invariable practice in opera houses outside Bayreuth at that time. Bodanzky compares favorably with both Furtwängler and Reiner in this respect. In 1944, Szell gave a broadcast performance of Die Walküre which has been reissued on CD and which, as regards fast tempi and severity of cuts, is comparable to anything of Bodanzky's.
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Some fencers argue that draw cuts are not martially sound techniques and make cutting a due tempi ("double time") action, whereas a percussive cutting action would be in stesso tempo ("single time"). A counter-argument to this is that the slender, light blade of the rapier is a poor "chopping" blade and in period was often not particularly sharp. A drawing cut was far more effective for inflicting a serious wound. With the addition of the Cut & Thrust style and rules, this criticism no longer applies.
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Auditorio Alfredo Kraus, Las Palmas, Gran Canaria, where Hoch-Zeiten received its world premiere on 1 February 2003 Hoch-Zeiten (High Times, or Marriages) is performed simultaneously in two different halls by five choral groups and five orchestral sections, respectively. The five divisions in each hall perform at independent speeds, producing "a tour de force of multiple superimposed tempi". The performance is then repeated, with the audiences changing halls. As such, these two versions are sometimes regarded as both the fifth and sixth scenes of Sonntag.
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In this revised first movement, the augmentation of the original material doubles the length of the movement. The orchestration of this movement is also thicker than the original, and more closely resembles the orchestration of Prokofiev's Fifth and Sixth. The combination of a heavier use of brass and the use of piano and harp adds a unique timbre to the piece, further distancing it from the original neoclassical idiom. The different sections are not as clearly identified by tempi as is the original symphony.
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The surfaces inside the kendang wadon are carved straighter than those in the lanang, resulting in a more resonant, booming timbre. Much like the syllables for pitches used for pitched instruments, kendang have a set of onomatopoetic spoken syllables for each stroke producing a total of 14 types of sound. Kendang are played with either bare hands only or bare hands plus one mallet. The kendang wadon player typically tops the hierarchy of the ensemble, setting tempi and aurally cuing transitions like a conductor.
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A horse in the midst of a flying change of lead, note position of diagonal front and hind legs. The flying change is a lead change performed by a horse in which the lead changes at the canter while in the air between two strides. It is often seen in dressage, where the horse may do several changes in sequence (tempi changes), in reining as part of the pattern, or in jumping events, where a horse will change lead as it changes direction on the course.
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Although the LSO did not invite him back for the next season, Harty was invited to conduct Tristan und Isolde and Carmen at Covent Garden in 1913. His performance as an operatic conductor was less than a triumph. After Carmen, the critic of The Times complained that "Mr Harty's rigid beat and inflexible tempi petrified [the] delicate and fragile phrases, and made them sound like quotations from some forgotten German score"."Mr. Roze's Opera Season – Carmen at Covent Garden", The Times, 1 December 1913, p. 70.
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But, they said they could not accept her until she was nine, so she initially trained in the Dalcroze method. According to Wilkinson, "It was basically eurhythmics and was all about music and tempi and meters.""Raven Wilkinson: 2015 Dance/USA Trustee Awardee", Dance USA. For her ninth birthday, an uncle made her the gift of ballet lessons at the Swoboda School, later known as the Ballet Russe School. Wilkinson's first teachers included well-known dancers from Russia’s Bolshoi Theatre, Maria and Vecheslav Swoboda.
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390px The Temptation of Saint Jerome is a c.1521-1525 oil on panel painting by Giovanni Gerolamo Savoldo, now in the Pushkin Museum in Moscow. It may relate to the same artist's The Temptation of Saint Anthony (Timken Museum of Art, San Diego) Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. . Originally produced for a private 'studiolo', it was a homage to similar works by Hieronymus Bosch, some of which were in cardinal Domenico Grimani's collection in Venice.
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Abbado's conducting had both good points and bad. He elicited a performance that was lively, lucid, polished and nicely phrased, and he was skilled at managing those parts of the score where the 12-year-old Mozart's ideas were least coherent. On the downside, his tempi were sometimes slower than the music called for, and he treated Mozart's less solemn passages too gravely. As for Creed's newer recording, it was true that his line-up of soloists was not as starry as Deutsche Grammophon's.
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It is cast in a single movement and a single metronome mark, within which three themes (and three tempi) contest for dominance. ; String Quartet No. 3 (1953–54): is in two movements, slow and quick: an Adagio in C major and a pulsing Allegro deciso that works round to an affirmative E major. (Simpson made a transcription of this movement as an independent piece for full string orchestra.) Simpson stated that String Quartets Nos. 4–6, which are on a much larger scale than Nos.
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Most basse danse music is in binary form with each section repeated . The basse danse was often followed by a tourdion, due to their contrasting tempi, and these were danced and composed in pairs en suite like the "pavane and galliard" and the "allemande and courante" (; ). Early music consisted of songs based on a tenor cantus firmus and the length of the choreography was often derived from the verse of the chanson. In performance three or four instrumentalists would improvise the polyphony based on this tenor.
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His two works Del Vestarario della santa Romana chiesa (Rome, 1758), and Del Primicerio della S. Sede Apostolica e di altri Uffiziali Maggiori del Sacro Palazzo Lateranense (Rome, 1776) deal with the early history of the Roman Curia. The latter work is especially thorough and important. Among his contributions to the history of the religious orders the following are noteworthy: Lettera intorno la vera e sicura origine del ven. ordine di S. Girolamo (Rome, 1755), and Raggionamento dell'origine e de'primi tempi dell'abbadia Fiorentina (Rome, 1773).
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In spring 1819 she spent many months in Naples and in autumn 1820 in Florence, in order to copy Raphael's "Madonna del Granduca" and "Madonna del cardellino" (both in the Uffizi) for grand-duke Charles Augustus. The painter Friedrich Preller was so impressed by her copies that he called them "the best known copies I know". A further copy, of "The Tempi Madonna", was bought by king Louis I of Bavaria in 1826 for the Pinakothek in Munich. In late autumn 1821 she left Florence for Rome.
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Afanassiev become widely known in the 1980s due to his musical partnership with Gidon Kremer. Their joint recordings of chamber works by Mozart, Schubert and Brahms were highly praised. His interpretations of solo piano works by Franz Schubert, Ludwig van Beethoven and the others have aroused controversy on account of Afanassiev's tempi choices and idiosyncratic expressiveness. One review of his recording of Schubert's last three piano sonatas stated: "the perversity encountered here so angered me that I felt I could not dignify what I found here with any kind of coherent analysis".
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Strauss's operatic adaptation of the play also features the Dance of the Seven Veils. The dance remains unnamed except in the acting notes, but Salome's sexual fascination with John seems to motivate the request—though Herod is portrayed as pleased. The music for the dance comes from near the climax of the opera. The visual content of that scene (about seven minutes long with standard tempi) has varied greatly depending on the aesthetic notions of the stage director, choreographer, and soprano, and on the choreographic skills and body shape of that singer.
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Jiro Taniguchi adapted parts of the novel into his ten-volume series—published in Japan beginning in 1986—called The Times of Botchan in English. Other translations have appeared in French (Au temps de Botchan), Italian ('Ai tempi di Bocchan) and Spanish (La epoca de Botchan), all published by Coconino Press. A new translation has also appeared in Spanish, published by Editorial Impedimenta. There is also a 1935 film adaptation, as well as an adaptation as an episode in the anime television series ,The Anthology of Japanese Literature .
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29 riders from 11 countries participated. The test length increased again to 17 minutes. The test included an 8-second halt, half-turns on the haunches at the walk, riding with reins in one hand at the trot, "ordinary" and extended trot while posting, a 5-loop canter serpentine with each loop 8-meters in diameter, the canter pirouette, four-, three-, two-, and one-tempi changes, and the piaffe and passage. The highest coefficient for the test was bending on two-tracks at the collected trot and collected canter.
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Brendel, on the other hand, considers the additional bars as unimportant and prefers to omit the repeats; with regard to the B sonata, he further claims that the transitional bars are too unconnected to the rest of the movement, and believes that their omission actually contributes to the coherence of the piece.Brendel, "Schubert's Last Sonatas", pp. 80–84; Frisch and Brendel, "'Schubert's Last Sonatas': An Exchange". Another performance issue pertains to the choice of tempi, which is of special relevance in Schubert's major instrumental works, particularly in the opening movements.
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It is first recorded in cardinal-deacon Carlo de' Medici's collections and appeared in an inventory of goods made on his death in 1666, upon which it entered the Uffizi. It appears in Johann Zoffany's 1776 Tribuna of the Uffizi. The art historians Crowe and Cavalcaselle attributed the work to Titian's nephew Marco Vecellio Giovanni Battista Cavalcaselle, Joseph Archer Crowe, Tiziano, la sua vita e i suoi tempi: con alcune notizie della sua famiglia: opera fondata principalmente su documenti inediti, Firenze, Successori Le Monnier, 1877-1878, vol. I, published in 1877.
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In one oft-reported incident, in April 1962 Bernstein appeared on stage before a performance of the Brahms Piano Concerto No. 1 in D minor with the pianist Glenn Gould. During rehearsals, Gould had argued for tempi much broader than normal, which did not reflect Bernstein's concept of the music. Bernstein gave a brief address to the audience starting with "Don't be frightened; Mr Gould is here..." and going on to "In a concerto, who is the boss (audience laughter)—the soloist or the conductor?" (Audience laughter grows louder).
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Their New York season began November 17 with a concert that included a very different interpretation of Rachmaninoff's Symphony No. 2, which they had premiered in 1901 and which had meanwhile become a "celebrated" and much-played work. After discussions with the composer, Altschuler had sped up the tempi and his reading of the piece had "radically changed". The concert also featured two American premieres of pieces by Anatoly Lyadov—Kikimora and Volshebnoye ozero (The Enchanted Lake), both written in 1909—Tchaikovsky's 1812 Overture, and several songs sung by German baritone Alexander Heinemann.
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Auer's first major free solo climb was "Tempi Moderni" ("Modern Times"), an route of 27 pitches graded 5.11d/7+, on the south face of Marmolada in the Dolomites in northeastern Italy, which he climbed in 2006. The climb took 2 hours 40 minutes. He is perhaps best known for his 2007 free solo climb of the "Via Attraverso il Pesce", commonly known as "The Fish", also on Marmolada's south face. The 37-pitch () route, named for a fish-shaped niche in the 20th pitch, is highly committing, and is graded 5.12c/7b+.
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Eugenio Rossi (born 6 March 1992) is an athlete from San Marino specialising in the high jump. His personal best of 2.27 metres is the best performance ever by a Sammarinese track and field athlete in any event.Atletica: Eugenio Rossi il miglior sammarinese di tutti i tempi He represented his country at two outdoor and two indoor European Championships and in addition has won several medals at the Games of the Small States of Europe. He has personal bests of 2.27 metres outdoors (Caprino Veronese 2015) and 2.24 metres indoors (Ancona 2018).
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H. L. Mencken criticized his abilities as a symphonic conductor, saying that "he gave an impression of being unfamiliar with what he was there to direct". Many recordings survive of Bodanzky's Met broadcasts (some of which, for legal reasons, are not available in the United States). These include the very earliest Met broadcasts to survive, from 1933 and 1934, featuring substantial fragments of soprano Frida Leider in Die Walküre and Tristan und Isolde. From the recordings, it becomes apparent that Bodanzky's tempi fluctuate greatly, sometimes very fast, sometimes quite slow.
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Many novice riders go too deep into the corners of the arena, causing their circle to bulge out. Bulging or falling in both indicate that the horse is not correctly bent on the circle, or that he is leaning against the rider's leg and falling in or out. The 20-meter circle can be used in all steps of training. Variations may include shoulder-in or haunches-in on the circle, transitions between and within gaits, extension and collection, and eventually something as advanced as flying changes, including tempi changes, on the circle.
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The Desert Music is a work of music for voices and orchestra composed by the minimalist composer Steve Reich. It is based on texts by William Carlos Williams and takes its title from the poetry anthology The Desert Music and Other Poems. The composition consists of five movements, with a duration of about 46 minutes, and in both its tempi and arrangement of thematic material, the piece is in a characteristic arch form (ABCBA). The piece was composed in 1983 and had its world premiere on 17 March 1984 in Cologne, Germany.
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In the case of gradual phase shifting, initially the tempi of the different instruments will be almost identical, so that both parts are perceived to be sounding in unison and at the same tempo. Over time the phrases gradually shift apart, creating first a slight echo as one instrument plays a little behind the other. This is followed by what sounds like a doubling with each note heard twice. Next, a complex ringing effect arises, after which the phrases eventually return, back through doubling, echo, and unison, to an in-phase position.
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Lo Stato Sociale (Italian for The Welfare State) are an Italian band, formed in 2009 and consisting of Alberto Cazzola, Lodo Guenzi, Enrico Roberto, Francesco Draicchio and Alberto Guidetti. They made their debut in 2010 with the extended play, Welfare Pop, then releasing Amore ai tempi dell'Ikea in 2011. Their debut full-length studio album, Turisti della democrazia, was released by independent record label Garrincha Dischi in 2012. Its follow-up, L'Italia peggiore, became their first charting album, peaking at number 11 on the Italian FIMI Albums Chart in 2014.
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Halliwell, pp. 180–86 The first performance, on 26 December, was chaotic: its start was delayed two hours by the late arrival of Archduke Ferdinand, there were quarrels among the principal performers, and the running time was extended by the insertion of ballets (a common practice of the time), so the performance was not over until two o'clock the following morning.Osborne (p. 82) notes that the work was timed to last four hours without the ballets, and that the tempi must therefore have been very leisurely, though no doubt many of the arias were encored.
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This was perhaps reinforced by his brisk tempi early in his career, and by a story about his racing from one recording session to another. Another explanation, that he was named after cartoonist Ronald Searle's St Trinian's character "Flash Harry", is certainly wrong: Sargent's nickname was current long before the first appearance of the St Trinian's character in 1954. Sargent's devoted fans, the Promenaders, used the nickname in an approving sense, and shortened it to "Flash", though Sargent was not especially keen on the sobriquet, even thus modified.Reid, pp.
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The piece is scored for 20 violins, 8 violas, 8 celli, 6 double basses, celesta, harp, piano, and a large percussion section including xylorimba, congas, wooden-drums, vibraphone, bongos, bells, cymbals, glockenspiel, tom-toms, triangle, gong, tam-tam, and timpani to be played by six percussionists. Additionally, the pianist is responsible for playing wooden claves or rumba-sticks. The tempi in the beginning and end of the piece are noted in durations of seconds. The middle section uses more conventional metronome marks which range from quarter note equals 44 to quarter note equals 80.
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John Butt has argued that figured bass is an instance of "purposely incomplete" notation conferring a positive advantage.. Accompaniments improvised from a figured bass line can be made to suit varying circumstances e.g. tempi, instrumentation, and even the hall acoustics. Further, wrote Robert Donington: > It was not from mere casualness that baroque composers preferred to trust > their performers with figured bass ... It was from the high value they set > on spontaneity. They believed, and modern experience confirms, that it is > better to be accompanied with buoyancy than with polished workmanship.
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Stravinsky thought that Pierre Boulez, with the Orchestre National de France (1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". He praised a 1962 recording by The Moscow State Symphony Orchestra for making the music sound Russian, "which is just right", but Stravinsky's concluding judgement was that none of these three performances was worth preserving.Stravinsky and Craft 1982, pp. 88–89 As of 2013 there were well over 100 different recordings of The Rite commercially available, and many more held in library sound archives.
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The pianist Sviatoslav Richter, who rehearsed the piece with Berezovsky prior to its premiere, considered the soloist ill-suited to the piece ("the music was foreign to his nature") but felt that the conductor was also responsible for the performance's failure: "Melik-Pashayev's tempi were as impossible as they were wrong. It seemed to me that he utterly failed to grasp the work's inner essence. It was a total fiasco." The concerto was seldom played afterwards, until Prokofiev heard Rostropovich play it at a 1947 concert at the Moscow Conservatory.
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This life work of Bosio was all but unknown until the publication three years after his death of his Roma Sotterranea, opera postuma di Antonio Bosio Romano, antiquario ecclesiastico singolare de' suoi tempi. Compita, disposta, et accresciuta dal M. R. P. Giovanni Severani da S. Severino (Rome, 1632), usually referred to as Roma Sotterranea. The folio volume was brought out under the patronage of the Knights of Malta, edited by the Oratorian Severano, under the patronage of Cardinal Francesco Barberini. A Latin translation that appeared in 1651 took liberties with the text.
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390px The Temptation of Saint Anthony or The Torment of Saint Anthony is a c.1521-1525 oil on panel painting by Giovanni Gerolamo Savoldo, now in the Timken Museum of Art in San Diego. It may relate to the same artist's The Temptation of Saint Jerome on a similar theme Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. . Originally produced for a private studiolo, it is a homage to the work of Hieronymus Bosch, which Savoldo would have seen in cardinal Domenico Grimani's collection in Venice.
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A "masterly orchestral colorist", he managed Massenet's "subtly sensuous orchestral idiom with a sure and sensitive command". His tempi were not the sprightliest ever heard in Werther, but he gave the opera enough momentum to counterbalance its tendency towards a weepy misery, and his reading had certainly gained from the "ensemble spirit" that he had elicited when performing the work at Covent Garden. In sum, the album was a good one, if arguably not the equal of Georges Prêtre's more animated account with Nicolai Gedda and Victoria de los Angeles.Jules Massenet: Werther, cond.
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The album's male principals raised no such concerns. Michel Sénéchal painted a "predictably engaging" portrait of his pompous Duke, and Samuel Ramey sang with an "appropriate air of mature wisdom" as the philosopher charged with the heavy burden of teaching Chérubin the difference between right and wrong. Conducting, Pinchas Steinberg favoured the brisk tempi appropriate to the opera's comic essence, although he slackened his pace whenever Massenet was seeking not just to amuse his audience but to speak to their hearts. The album's audio quality was good, with "spacious and clear sound".
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160 others, including Kennedy, have found it restless and even sinister in parts. A middle section, in B, is in Elgar's Wand of Youth vein. He asked orchestras to play it "like something you hear down by the river." As the movement draws to a close it slows down, and its first theme is transformed into the main theme of the slow movement,Excepting bar 7 of the slow movement where the top A is omitted and the shape is very slightly modified despite their contrasting tempi and different keys.
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St George Freeing the Princess is a marble stiacciato bas-relief sculpture by Donatello, sculpted around 1416 or 1417 Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milan, 1999 ().. Originally under the same artist's St George on an external niche of Orsanmichele church, they are both now in the Bargello Museum in Florence, with replicas replacing them in their original position Paola Grifoni, Francesca Nannelli, Le statue dei santi protettori delle arti fiorentine e il Museo di Orsanmichele, Quaderni del servizio educativo, Edizioni Polistampa, Florence, 2006..
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Punctual dynamics, for example > mean that all dynamic degrees are fixed; one point will be linked directly > to another on the chosen scale, without any intervening transition or > gesture. Line-dynamics, on the other hand, involve the transitions from one > given amplitude to another: crescendo, decrescendo and their combinations. > This second category can be defined as a dynamic glissando, comparable to > glissandi of pitch and of tempi (accelerando, ritardando). "The almost analytical focus on individual events, and then the transition between them, brings a stillness to this music far removed from the gestural quality of other pieces" .
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The city has several important art galleries, most of which can be found in the Kunstareal, including the Alte Pinakothek, the Neue Pinakothek, the Pinakothek der Moderne and the Museum Brandhorst. The Alte Pinakothek contains a treasure trove of the works of European masters between the 14th and 18th centuries. The collection reflects the eclectic tastes of the Wittelsbachs over four centuries, and is sorted by schools over two floors. Major displays include Albrecht Dürer's Christ-like Self-Portrait (1500), his Four Apostles, Raphael's paintings The Canigiani Holy Family and Madonna Tempi as well as Peter Paul Rubens large Judgment Day.
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The concert was planned as a regular subscription concert towards the end of the orchestra's 71st season – its last at Carnegie HallTim Page, in liner notes to the Sony release – and was not expected to cause any great stir. But several days before beginning rehearsals, Gould called Bernstein regarding some discoveries he had made while studying the score. The conductor was curious, later writing: Nevertheless, the novelty of Gould's ideas needed to be shared carefully with the orchestra, and later with the public. The issue at hand was that Gould chose to take three very slow tempi in playing the three movements.
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Although he often played with slower and more deliberate tempi from his middle age onward, he had a reputation as a fabulous virtuoso earlier in his career, a reputation supported by recordings he made at this time, such as Balakirev's Islamey and Liszt's Paganini études. However, even late in his career, he often tended to play with less restraint in live concerts than in studio recordings. Arrau was a man of remarkable fortitude; even towards the end of his life he invariably programmed very large, demanding concerts, including works such as Beethoven's Emperor Concerto and Brahms' Piano Concerto No. 1.
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The Penguin Guide to Jazz selected this album as part of its suggested Core Collection, stating: "Listening in detail to its five tracks ...helps illuminate much of the group's language, its vivid exploitation of splintered tempi, deliberately awkward and raucous phrasing, devices from other musical traditions ...and most particularly the use of percussion as another voiced and pitched instrument". In his Allmusic review, Scott Yanow comments: "The trio Air aimed to have close interplay between three musical equals. This Nessa release (their first recording for an American label) has plenty of explorative solos".Yanow, S. [ Allmusic Review] accessed February 10, 2010.
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Carl Maria von Weber (1814) Painting by Thomas Lawrence Vogler recommended the 17-year-old Weber for the post of Director at the Breslau Opera in 1804; Weber was offered and accepted the post. Weber sought to reform the Opera by pensioning off older singers, expanding the orchestra, and tackling a more challenging repertoire. His ambitious and dedicated work as director of the orchestra was acknowledged, though his tempi were frequently criticized as too fast. As the daily routine did not leave sufficient time for his own creative work, Weber did not seek to extend his two-year appointment.
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Kotik received a 1996 Foundation for Contemporary Arts Grants to Artists Award. He is also known for his realization of the complete musical works of Marcel Duchamp. With the S.E.M. Ensemble (which he founded in 1970), Kotik has for many years actively promoted the work of other (mostly American) composers sharing a stylistic affinity with his own work, giving frequent performances as conductor and performer with the group as well as its larger version, the Orchestra of the S.E.M. Ensemble. Kotik's music is composed in the minimal vein, with works often being of long duration and featuring slow tempi and quiet dynamics.
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He taught at the John Paul II Institute in Washington, D.C., and the St. Joseph Seminary in Yonkers, N.Y., and from 1996 to 1997 served as President of Catholic University of Puerto Rico in Ponce. He was advisor on Hispanic Affairs to the U.S. Conference of Catholic Bishops. He was a columnist for the Italian weekly Tempi, wrote for The New Yorker, and appeared or was interviewed on CNN, The Charlie Rose Show, PBS, EWTN, Slate, The New Republic, and Godspy, where he was the theological advisor. In 2010, Monsignor Albacete's commentary was featured in the award-winning documentary film, The Human Experience.
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497: "In Fano il catalogo episcopale anteriore al 499 è stato formato cervelloticamente in tempi recentissimi." Eusebius accompanied Pope John I to Constantinople in 524, and may have been killed along with the Pope on their return in 526.According to Cappelletti (p. 336), the story of Bishop Eusebius' trip to Constantinople depends upon an anonymous history of the later Roman emperors edited by Henricus Vossius, published by Simon Pauli in 1670: Among the later bishops were Riccardo (1214), persecuted by the magistrate Alberghetti; and the Dominican Pietro Bertano (1537), an orator and advocate at the Council of Trent.
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Composed again in a solid sonata form, Beethoven uses the scale as the prevailing motivic element in this movement which, by character, pays most of all tribute to the customary finale established by Haydn in the preceding decades. The musical form is in accordance with the established composing tradition. Musical content, instrumentation as well as tempi, is unusual, if not revolutionary, in its use for a symphonic work of Beethoven's time. Therefore, Beethoven introduced himself with this work uniquely and boldly as an advancing symphonic composer and stood true to this statement throughout his compositional life.
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Multitemporal music is composed using sound streams that have different internal tempi or pulse speed, for example one part at 115 bpm and at 105 bpm at the same time. Multitemporal music was first heard in US-Mexican composer Conlon Nancarrow's work, discovered by Hungarian György Ligeti, who undertook the task of bringing Nancarrow's music to the fore. To overcome the limits posed by a human performer in playing a multitemporal score Nancarrow used two modified player-pianos, punching the rolls by hand. One of the few recordings of this composer's work is found in Wergo's "Studies for Player Piano" series.
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Dr. David Korevaar, a former student of Doguereau, was able to study the solo material held by the Library of Congress. The recordings include performances of Ravel's Sonatine (although missing the second part of the first movement), Fauré's Third Barcarolle, and Bach's Chromatic Fantasie.Library of Congress, H. Vose Greenough, Jr. Paper Collection, "H. Vose Greenough Collection" After hearing the recordings, Korevaar commented: Korevaar found these recorded tempi to be even faster than the indications given by Doguereau when Korevaar studied the work with him, although the high pitch of the transfer may be partly the cause.
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Furthermore, Seiffert provided tempi he considered right for the piece, but that were not supported by later research. The Canon was first recorded in 1940 by Arthur Fiedler.Daniel Guss, CD booklet to Pachelbel's Greatest Hit: The Ultimate Canon, BMG Classics (RCA Red Seal) In 1968, the Jean-François Paillard chamber orchestra made a recording of the piece that would change its fortunes significantly. This rendition was done in a more Romantic style, at a significantly slower tempo than it had been played at before, and contained _obbligato_ parts, written by Paillard, that are now closely associated with the piece.
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The fountain, which then was called simply the Fontana delli Mattei or Fons Mattheiorum, was a popular and critical success. In 1588, the writer Girolamo Ferrucci called it "the most beautiful and perfect fountain in Rome." “Questo fra gli altri fonti, che sono in Roma a nostri tempi, e tenuto per il più bello & perfetto, che vi sia, per la vaghezza & eccelenza dell’opera” Girolamo Ferrucci, L’Antichità di Roma di Andrea Fulvio, Venice 1588, p.322. (cited by Anne Kristine Togstad.) The fountain was the subject of engravings and drawings by such artists as Giovanni Battista Falda, which spread its fame.
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The World's Encyclopedia of Recorded Music in 1952 cites only two recordings of The Four Seasons – by Molinari and Kaufman. , approximately 1,000 different recorded versions have been made since Campoli's in 1939. Classical musicians have sought to distinguish their recordings of The Four Seasons, with historically informed performances, and embellishments, to the point of varying the instruments and tempi, or playing notes differently from the listener's expectation (whether specified by the composer or not).Performing Vivaldi, Interview with Nemanja Radulovic, featured on YouTube (recording artist's channel) It is said that Vivaldi's work presents such opportunities for improvisation.
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The fugues use subjects with extensive usage of longer note values, which are modified in the caprices to better suit their fast tempi. Many of the pieces feature multiple sections, with a few double fugues and some variation fugues present. The collection shows considerable Italian influence and many of the pieces are based on themes from miscellaneous composers of the era, including Girolamo Frescobaldi, Louis Couperin, Jean-Henri d'Anglebert, Johann Jakob Froberger, Francesco Cavalli and others. Some researchers (notably Jordi Savall) regard Fugues et caprices as an important precursor to Johann Sebastian Bach's The Art of Fugue.
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Bernardo De Pace (March 31, 1881 – June 15, 1966) was an actor, musician and comedic vaudeville entertainer of the 1910s and 1920s, billed as "the Wizard of the Mandolin". He learned to play mandolin in the Italian tradition under Francesco Della Rosa. De Pace's repertoire and technique was described in the Brooklyn Life as involving "the most difficult violin and piano compositions, executed at inconceivably rapid tempi demanding an uncanny technique seldom heard on fretted instruments". In 1927 the Minneapolis Star said that he had been recognized as one of the best mandolinists in the United States.
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A spare tempo in an endgame arises when a player has a pawn move that does not essentially change the position but that loses a tempo to put the opponent in zugzwang. In this example, if only the pieces were considered, it would be an instance of full-point reciprocal zugzwang – the player to move would lose. In the full position, White has two spare tempi (f2–f3 and h2–h3) whereas Black has only one (...f7–f6), so White has a spare tempo. By using these moves he can Black into a fatal zugzwang: : 1.
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As Lothario, Nicola Zaccaria compensated for the toll that old age had taken on his higher notes by singing evenly and touchingly. He made Mignon's father both believable and a man that one cared about. Antonio de Almeida gave the opera "an appropriately pastoral, fairy- tale aura through a sensitive and refined reading", although his conducting would have been even better with less of a bias towards tempi that trudged when they should have strode. The one point at which Jellinek disagreed with Blyth was over the album's engineering, which he judged to be good if not exceptionally so.
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Paravia never forgot Zadar, his native town, to which - following a visit in 1850 - he donated in 1855 his private library, consisting of over ten thousand volumes, in order to create, from this initial nucleus, a public library, which was later named in his honor Municipal Library Paravia. Its purpose was not simply philanthropic. Paravia pleaded: "Study your language, because in it lies your future greatness; it is a merit which nobody can deny you, and it is great honor."Cited in Ildebrando Tacconi, "Pier Alessandro Paravia", in Francesco Semi, Vanni Tacconi (editors), Istria e Dalmazia, uomini e tempi, Volume 2: Dalmazia.
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200px Andreas Moustoxydis (, 1785 - July 29, 1860), sometimes Latinized as Mustoxydes or in the Italian form Andrea Mustoxidi, was a Greek historian and philologist from Corfu. Sui quattro cavalli della Basilica di S. Marco in Venezia, 1816 He studied at Pavia, and in 1804 published a treatise on the history of Corfu titled Notizie per servire alla storia Corcirese dai tempi eroici al secolo XII. This publication led to employment as historiographer of the Ionian Islands, a position he maintained until 1819. As a young man, he undertook an extended scientific journey to Italy, followed by travels to France and Germany.
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300px Madonna and Child is a 1455 tempera on poplar panel painting by Francesco Squarcione, one of only two definitively confirmed works by the artist, who signed and dated it. The work is now in the Gemäldegalerie in Berlin. Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. The plaquette by Donatello The emphasis on perspective and clear line derive from Donatello, who lived in Padua from 1443 to 1453—Squarcione was his main imitator in the Veneto and the painting's composition draws on that of a plaquette by that sculptor.
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In the Alekhine variation White does not try to defend his e5-pawn and keep his material advantage, but instead he concentrates on building an imposing pawn centre. This brings him good prospects of a space advantage that may serve as a basis for a future attack on the kingside. However, the extended pawn centre has its drawbacks, as Lalic explains: "White must invest some valuable tempi in protecting his pawn structure, which allows Black to seize the best squares for his minor pieces with excellent prospects for counterplay against the white centre."Lalic 1998, p.
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The sonata consists of four movements: The form of the entire sonata is unusual because it does not have a slow movement. Beethoven's progressive harmonic language is apparent from the very first chord of the piece (third inversion of the eleventh on dominant B); the stability of a tonic chord in root position is delayed until bar 8. Beethoven Sonata in E, Op 31 No 3 opening The expressive harmonic colour, coupled with the changes of tempi in the introduction (mm. 1–18), creates an evocative opening, reminiscent of the improvisatory style of C. P. E. Bach's piano sonatas.
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Joe Dziemianowicz of the New York Daily News gave the production one out of four stars, but complimented his performance, writing that Sarsgaard does a "credible job as the doctor". In the Bloomberg review of Uncle Vanya, John Simon, wrote: "Sarsgaard can't find the right tempi or emphases: shuttling between colorless rattle and silence-studded rallentandos, he fails at both infectious enthusiasm and self- effacing charm." In May 2010, it was reported that Sarsgaard will star in Chekhov's play Three Sisters. The production is scheduled to begin in 2011, and Sarsgaard will reunited with Uncle Vanya director Austin Pendleton.
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The Museum Tazio Nuvolari is located in his homestead at Giulia Romano via N. Sauro in Mantua. In Castel d'Ario there is a bronze statue of Nuvolari on a marble plinth inscribed '‘Nivola – Campione Automobilistico di Tutti Tempi’ (Nivola – Champion Driver of All Time); and at the end of Mantua's Via delle Rimembranze, the street where he lived towards the end of his life, is a square that is now called Piazza Nuvolari. The Cisitalia 202 SMM Nuvolari Spider, EAM Nuvolari S1, and Audi Nuvolari Quattro are named after him, and Maserati offers the colour Grigio-Nuvolari from their custom palette.
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Leonardo da Vinci, The Greatest Italian Ever Giuseppe Verdi, runner-up Galileo Galilei, semifinalist Laura Pausini, 6th place Luigi Pirandello, 8th place Enrico Fermi, 9th place Dante Alighieri, 10th place Il più grande italiano di tutti i tempi ("The greatest Italian of all times") was an Italian television show based on the British 100 Greatest Britons transmitted on Rai 2 in January and February 2010. It was presented by Francesco Facchinetti and Martina Stella, in four sessions. The winner was Leonardo da Vinci. The show was widely criticized and ignored by some historians in that it focussed mainly on personalities of recent history and today's Italian world.
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Several writing awards are named after Dubus. His papers are archived at McNeese State University and Xavier University in Louisiana and at the Harry Ransom Humanities Research Center at the University of Texas in Austin. Italian writer and editor Nicola Manuppelli has translated six collections of short stories and novellas by Dubus for Italian publisher Mattioli 1885: "Separate Flights" ("Voli separati"), "The Times Are Never So Bad" ("I tempi non sono mai così cattivi"), "Voices From The Moon" ("Voci dalla luna"), "We Don't Live Here Anymore" ("Non abitiamo più qui"), "Finding a girl in America" ("Il padre d'inverno") "Dancing After Hours" ("Ballando a notte fonda").
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This fresco was destroyed when part of the roof collapsed from the effects of the mining of the bridges set off by the retreating Germans in 1944. The Bargagli Petrucci, who inherited the property from the Tempi in 1770, used the architect Enrico Lusini, for much of the restoration of damages due to war and flooding. Among the remaining frescoes are landscapes of the Coast of Magnoli in the entry stairwell by Matteo Bonechi. Other frescoes by Bonechi decorate certain rooms of the second floor, including depictions of the Myth of Prometheus, the Judgement of Paris, the Allegory of the four Seasons, the Bath of Diana, and an Allegory of Florence.
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The movements are as follows: #Largo #Allegro molto #Largo Depending on the precise tempi chosen a performance typically lasts between 35 and 40 minutes. Almost the entire structure of the concerto is based on a 6 note motif derived from the first 6 letters of the German spelling of Yuri Bashmet's surname (Baschmet). In German and French music letter notation the note names B–A–Es–C–H–Mi correspond to the notes B–A– E–C–B()–E() in the more familiar Anglo-Saxon notation. Each movement is longer than its predecessor, with the final movement being almost as long as the previous two together.
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Le Vite de’ Pittori, Scultori et Architetti. Dal Pontificato di Gregorio XII del 1572 in fino a’ tempi di Papa Urbano VIII nel 1642 ("Lives of the painters, sculptors, architects, from the papacies of Gregory XII in 1572 to Urban VIII in 1642") is an art history book by Giovanni Baglione, first published in 1642. It represents an encyclopedic compendium of biographies of the artists active in Rome during late Mannerism and early Baroque. Baglione (1566 - 1643) was a Late Mannerist and Early Baroque painter and art historian, best remembered for his writings and his acrimonious involvement with the artist Caravaggio, by whom he was nonetheless greatly influenced.
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The interior was originally covered in plaster, decorated with inscriptions from the Quran, which are partly preserved, and floral patterns in white on black background. The türbe is dated to the late 14th or early 15th centuries, while a square annex on its eastern side dates to the late 17th century. The building of the kitchens also survives, while most of the surrounding area has been given over to the village of Tempi for its cemetery, or has been converted to fields. The ruins of the mosque, whose appearance is known from the depiction of Edward Dodwell, are to the northwest of the türbe.
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His career began in the 1970s, appearing in various underground satirical publications; in 1979 he collaborated with the satirical weekly publication Il Male, and in the subsequent years he was published in Fri'Zzer, Tempi Supplementari, Il Lunedì della Repubblica and was among the founders of the comic magazines Cannibale and Frigidaire. During the same years he also appeared in Re Nudo, Linus, Vogue, Spaceships Today, Panorama, and Alteralter. His comics have been published in France, Brazil and Greece. Most of his comics has been collected in eight books published in Italy by Primo Carnera Editore and Coniglio Editore, in France by Albin Michel, in Brazil by Conrad Editora.
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Stavroupoli and Nestos Valley (Greek: Κοιλάδα του Νέστου) including Nestos River Tempi (Greek: Τέμπη του Νέστου) is a popular tour region and vacation target in North Greece. The municipal unit Stavroupoli is subdivided into the communities Dafnonas, Gerakas, Karyofyto, Komnina, Neochori, Paschalia and Stavroupoli. The community Stavroupoli consists of the settlements Stavroupoli, Lykodromi, Kallithea and Margariti. During the Bulgarian administration of the region in World War II from 1941 to 1944, the village then known under its Bulgarian name Krastopole was infamous as the location of the Krastopole or Enikyoy concentration camp where Bulgarian Communist Party and other left-wing enemies of the ruling regime were interned.
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He joined politics after World War I, by joining the Democrazia Sociale movement, a political movement born from the ashes of the Partito Radicale Storico. Within the party there were many contradictions: together with left-wing deputies there were others who became ministers in the first government run by Mussolini, formed after the march on Rome. Then Angela left the party and allied with the reformist Socialists led by Ivanoe Bonomi, whom he ran with at the elections of 6 April 1924, without being elected. After the murder of Giacomo Matteotti, in June 1924, Carlo Angela openly blamed the fascists from the pages of the weekly paper Tempi Nuovi.
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Also discernible is a slight influence from the post-Mahlerian revolutionaries, mostly that of Stravinsky—on whom Glass has written extensively—in that the tempi are occasionally irregular: an uncommon choice for Glass, who usually stays strict to rhythmic pulse. This stray from uncompromising adherence to Glass' branch of minimalism can possibly be interpreted as an indication of a new level of musical progression, as well a statement supporting the continuation of an ongoing musical evolution. The concerti are considered hallmarks of twenty-first century classical composition, and have been performed many times. For more information about the selected works, visit the Philip Glass page.
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Symphony No. 7 in C major, Op. 105, was the final published symphony of the Finnish composer, Jean Sibelius. Completed in 1924, Symphony No. 7 is notable for being a one-movement symphony, in contrast to the standard symphonic formula of four movements. It has been described as "completely original in form, subtle in its handling of tempi, individual in its treatment of key and wholly organic in growth" and "Sibelius's most remarkable compositional achievement".. Quoted by Whittall, p. 61 After Sibelius finished its composition on March 2, 1924, the work was premiered in Stockholm on March 24 as Fantasia sinfonica No. 1, a "symphonic fantasy".
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The theme is introduced Lento e molto tranquillo in C major, then proceeds through 27 variations in various tempi, ending in an ingenious fugal finale Allegro maestoso. The work remains in C major until Variation 17, moving into D major for Variation 18, B major for Variation 19, B minor for Variations 20–24, G major for Variations 25 and 26, before returning to C major for the final variation and the finale. It is predominantly in time, but explores for the Scherzo (Variation 17) and Tempo di valse (Variation 19), and also uses , and in some of the later variations. The final variation and the fugal finale return to .
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Klemperer about 1920. Many listeners associate Klemperer with slow tempos, but recorded evidence shows that in earlier years his tempi could be quite a bit faster. For example, one of Klemperer's most noted performances was of Beethoven's Symphony No. 3, Eroica. Eric Grunin's Eroica Project contains tempo data on 363 recordings of the work from 1924–2007, and includes 10 by Klemperer - some recorded in the studio, most from broadcasts of live concerts. The earliest Klemperer performance on tape was recorded in concert in Cologne in 1954 (when he was 69 years old); the last was in London with the New Philharmonia Orchestra in 1970 (when he was 85).
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Compare Klemperer's tempi with Sir Georg Solti for Decca (1971) at 16:29; James Levine for RCA (1982) at 17:45; Claudio Abbado for DG (2002) also at 17:45 and the Michael Tilson Thomas 2005 performance with the San Francisco SO at 18:05. "Thus, as you listen to this performance, it seems... to enclose you within its own world of evocative sound, a world that echoes... the world we may know, but remains a world transformed by imagination, remote, and complete within itself."RCM, High Fidelity Magazine, December 1969. Regardless of tempo, Klemperer's performances often maintain great intensity, and are richly detailed.
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Threnody 2 has been widely performed and broadcast, inter alia at the Edinburgh International Festival and the Royal Scottish Academy of Music and Drama in Glasgow. It was under embargo at the SABC from 1987 to 1993. Other orchestral works include his Piano Concerto No 1 (1969-2003), which combines serialism with tonality; Piano Concerto No 2 (1977-1979), a tonal work in accessible contemporary style; and his four-movement Symphony (1993-1997), which has as a unifying feature the vibrant rhythms of Africa, three of the movements being in fast tempi. His chamber output consists mainly of works for solo instruments with piano.
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De Waart sometimes set a pace that was too slow - in Ochs's climactic routing or in the duet "Mit Ihren Augen voll von Tränen", for instance - but his preludes were incandescent and his tempi in general "suitable and spirited". "The swagger of Ochs's entry in the second act [and] the elegance of the strings in the Letter Scene" were particularly worthy of note. Philips's production team had chosen to balance singers and instrumentalists without favouring either over the other, and had resisted the temptation to deploy "sound-effects or 'rhubarb' noises". In sum, whether the new album was preferable to its competitors was a matter of personal taste.
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Janggu can be played on the floor such as for traditional sanjo music or carried with a strap on the shoulder. The way performers carry the Janggu differs from person to person, from region to region and varies depending on his or her taste. The janggu is usually classified as an accompanying instrument because of its flexible nature and its agility with complex rhythms. Since the performer can use his or her hands as well as sticks, various sounds and tempi, deep and full, soft and tender, and menacing sounds, and fast and slow beats, can be created to suit the mood of the audience.
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He seemed to have inhibited his singers from performing their roles in the way that they would have preferred to, and he had chosen some highly unorthodox tempi for no discernible reason. His eccentric speeds might not "actually distress" listeners, but neither would they help anyone to understand the opera more deeply. The album's engineering too was less than ideal, providing a convincingly theatrical stereo soundstage but offering an anachronistic "sleek and rounded" audio with a reverberant acoustic and a balance that favoured strings over woodwinds and instruments over singers. In sum, despite all its good ingredients, the album was not one that could be recommended.
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The playing of the orchestra was "beautifully pointed" and sounded like the work of musicians who had performed the work in the pit of a theatre. Greenfield shared Salter's and Steane's perception that John Pritchard's tempi were on the slow side, but felt that his "genial, ... winning" way with the score was a plus rather than a minus, even in the macabre thrills of the Witch's Ride. Reversing what had been the case in the vinyl era, the audio quality of CBS's CDs was better than Decca's, with "warmth, ... bloom and a very natural balance, mirroring the performance itself".Greenfield, Edward, Gramophone, November 1988, p.
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In 1953 he received his doctorate with a dissertation on tempi in the instrumental music of Mozart and subsequently worked as music dealer by in Berlin. Elvers remained an enthusiastic collector throughout his life. He built up one of the most important collections of autograph letters, manuscripts and artifacts of Felix Mendelssohn Bartholdy and his family, which he donated to the in 2009. During his years in the music department of the Berlin State Library he was - partly together with Hans-Günter Klein - responsible for a number of catalogues that are now considered standard reference works, including Johann Sebastian Bach, Carl Philipp Emanuel Bach and the Mendelssohn family.
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In particular, direct and lateral flexions are prescribed by many popular natural horsemanship trainers and clinicians including Pat Parelli and Clinton Anderson. The controversial practice of rollkur is sometimes erroneously labelled Baucherist due to the flexion observed, however Baucher instructed his flexions to be performed on the ground or at a halt, never sustained and not in motion. Despite the misunderstanding and controversy surrounding Baucher's "first period", many trainers today are finding validity in the work he did during his career. The flexions which Baucher developed, Grand Prix movements such as tempi changes, and the principle of "hand without leg, leg without hand" are all familiar to contemporary students of horsemanship.
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A self-effacing man, Goodall achieved his own prominence in later life once he was able to come out from under the shadow of some of the great German and Austrian conductors of his era, for whom he understudied, conducted rehearsals and provided vocal coaching. But it was not Otto Klemperer, Herbert von Karajan or Wilhelm Furtwängler with whom he was then compared. It was with Georg Solti, when both were conducting and recording Ring Cycles by Richard Wagner. The differences in tempi and temperament were most notable, but Goodall was most appreciated for his attention to detail (and Wagner's annotations) and for his extensive rehearsals.
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Solti's recordings made in Vienna had the advantage of attracting the more remarkable soloists (singing in the original language) and are probably now better appreciated, not least for their more spirited tempi, though recent recordings by Daniel Barenboim and James Levine have returned to a more measured approach. Goodall became much loved by many of the musicians and singers with whom he worked over long periods, building up a mutual understanding and rapport which showed in the quality of his recordings, especially with British singers, notably Rita Hunter and Alberto Remedios, whose careers he fostered.Christopher Fifield, "Sir Reginald Goodall: An Appreciation". Musical Times, 131(1771), 481 (1990).
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Correggio conceived a series of works entitled Amori di Giove or Love Affairs of Jupiter after the success of Venus and Cupid with a Satyr. The series eventually consisted of two pairs of works, each pair having the same dimensions, though he may have planned for there to be more. The precise order of the four works is still debated, though their main importance lies in their contribution to the development of secular and mythological painting via its new and extraordinary balance between naturalist rendering and poetic transfiguration. Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999, p. 236.
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The concept is yet another illustration of Frescobaldi's innovative, bold approach to composition. Although Frescobaldi was influenced by numerous earlier composers such as the Neapolitans Ascanio Mayone and Giovanni Maria Trabaci and the Venetian Claudio Merulo, his music represents much more than a summary of its influences. Aside from his masterful treatment of traditional forms, Frescobaldi is important for his numerous innovations, particularly in the field of tempo: unlike his predecessors, he would include in his pieces sections in contrasting tempi, and some of his publications include a lengthy preface detailing tempo-related aspects of performance.Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach.
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In addition, the natural timbre of Galvany's upper register did not record well, which often results in an irritating, wiry sound that is unappealing to most modern ears. Also, her interpretations are burdened with rapid tempi, a hard vibrato, unexpected register shifts and throat-clearing sounds, together with section cuts caused by the limited duration of 78-rpm discs. On the other hand, Galvany is still admired for the sweetness of her middle register, for possessing a remarkable sense of pitch, and for her remarkable ability to dispatch complicated fioritura. Her duets with the great baritone Titta Ruffo are probably her best known recordings today.
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He argues instead for finding the tempo from within the music, especially from its harmony and harmonic rhythm. He has reflected this in the general tempi chosen in his recording of Beethoven's symphonies, usually adhering to early-twentieth-century practices. He has not been influenced by the faster tempos chosen by other conductors such as David Zinman and authentic movement advocate Roger Norrington. In his recording of The Well-Tempered Clavier, Barenboim makes frequent use of the right-foot sustaining pedal, a device absent from the keyboard instruments of Bach's time (although the harpsichord was highly resonant), producing a sonority very different from the "dry" and often staccato sound favoured by Glenn Gould.
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He is discussed prominently in several contemporary histories: Niccolò Machiavelli's History of Florence, the Nuova Cronica of Giovanni Villani, and the Cronica delle cose occorrenti ne' tempi suoi of Dino Compagni. Dante's Divine Comedy, which was written after Donati's death but set prior to it in 1300, includes a scene in which Corso's brother Forese indirectly describes Corso as “the one who bears the greatest blame” for the downfall of Florence and foresees him being dragged by a beast into hell.Purgatorio XXIV 79–87. The canto does not mention Corso by name, but he is stated to be the subject in the summaries of the canto from both The Princeton Dante Project and the Harvard Classics edition of Dante.
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Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war.Kennedy (2008), p. 36 Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
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Anfossi was born in Taggia, Province of Imperia. He carried on the negotiations with Lamennais regarding the corrections to be made in his "Essai sur l'indifférence" (Paris, 1821–23). He was one of the ultramontanist opponents of the various strands of Gallicanism represented by Scipione de Ricci, Vincento Palmieri, and Guillaume de la Luzerne. Among his published works are: "Difesa della bolla 'Auctorem fidei' in cui si trattano le maggiori questioni che hanno agitate in questi tempi la chiesa" (Rome, 1810 and 1816); "Motivi per cui il Padre Filippo Anfossi Domenicano a creduto di non potere adorire alle quattro proposizioni gallicane" (Rome, 1813); "L'unione politico-religiosa considerata nei suoi rapporti colla civile societá" (Rome, 1822).
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Villari was born in Naples and took part in the risings of 1848 there against the Bourbons and subsequently fled to Florence. There he devoted himself to teaching and historical research in the public libraries with the object of collecting new materials on Girolamo Savonarola. He published the fruits of his researches in the Archivio Storico Italiano in 1856, and in 1859 he published the first volume of his Storia di Girolamo Savonarola e de' suoi tempi, in consequence of which he was appointed professor of history at Pisa. A second volume appeared in 1861, and the work, which soon came to be recognized as an Italian classic, was translated into various foreign languages.
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The Vale of Tempe () is a gorge in the Tempi municipality of northern Thessaly, Greece, located between Olympus to the north and Ossa to the south, and between the regions of Thessaly and Macedonia. The valley is 10 kilometers long and as narrow as 25 meters in places, with cliffs nearly 500 meters high, and through it flows the Pineios River on its way to the Aegean Sea. In ancient times, it was celebrated by Greek poets as a favorite haunt of Apollo and the Muses. On the right bank of the Pineios sat a temple to Apollo, near which the laurels used to crown the victorious in the Pythian Games were gathered.
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Neue Pinakothek Pinakothek der Moderne Bavarian State Collection of Antiques Glyptothek Museum Brandhorst Lenbachhaus Egyptian Museum (right entrance area) The Alte Pinakothek's rather monolithic structure contains a treasure trove of the works of European masters between the 14th and 18th centuries. The collection reflects the eclectic tastes of the Wittelsbachs over four centuries, and is sorted by schools over two sprawling floors. Major displays include Albrecht Dürer's Christ-like Self- Portrait, his The Four Apostles, Raphael's paintings The Canigiani Holy Family and Madonna Tempi as well as Peter Paul Rubens self-portrait Honeysuckle Bower and his two-storey-high Judgment Day. The gallery houses one of the world's most comprehensive Rubens collections.
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Book of the Marvels of the World (Italian: Il Milione, lit. "The Million", deriving from Polo's nickname "Emilione"), (Ranieri Allulli, MARCO POLO E IL LIBRO DELLE MERAVIGLIE - Dialogo in tre tempi del giornalista Qualunquelli Junior e dell'astrologo Barbaverde, Milano, Mondadori, 1954, p.26) in English commonly called The Travels of Marco Polo, is a 13th-century travelogue written down by Rustichello da Pisa from stories told by Italian explorer Marco Polo, describing Polo's travels through Asia between 1271 and 1295, and his experiences at the court of Kublai Khan. The book was written by romance writer Rustichello da Pisa, who worked from accounts which he had heard from Marco Polo when they were imprisoned together in Genoa.
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"It's important to choose balances and tempi to allow the singers to sing beautifully.""Joseph Rescigno conducts Virginia Opera's 'The Valkyrie'" by Emily Cary, The Washington Examiner, February 7, 2011, Page 20. Rescigno has also embraced new works like Minoru Miki's Jōruri for Opera Theater of Saint Louis, Don Davis's Río de Sangre at the Florentine Opera, Denis Gougeon's Piano Concerto with l'Orchestre Métropolitain, and Ernesto Cordero's Concierto de Bayoán (for guitar) at the Casals Festival—all world premieres under his baton. As music director of a symphony orchestra, he explicitly committed to showcasing the works of living—and local—composers,, "De la fosse au podium" by François Tousignant, Le Devoir, December 6, 1995, Page A 1.
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Rados was born in Parma and educated at the city's academy.Bryan 1889 He collaborated extensively with the French painter Jean-François Bosio, who worked under the name Giovanni Battista Bosio while in Milan under the French occupation. Rados' plates after Bosio include a portrait of the French viceroy Eugène de Beauharnais (1807) and illustrations for an updated Milanese equivalent of Carracci's Cries of Bologna, published under the title of I costumi di Milano e suoi circondari. Rados also engraved many of the portraits drawn by Bosio for the second volume of the Serie di vite e ritratti de'famosi personaggi degli ultimi tempi, a three-volume collection of illustrated biographies published in Milan between 1815 and 1818.
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The beach complex, located on a historic Roman soil, has been converted into apartments or bath huts with a unique sandy beach in Trieste. A unique peculiarity for Italy is that due to the unique overlap of Habsburg and Italian law in the area of this historic beach complex, the beach is not public state property, but private property.Zeno Saracino "Il Bagno Excelsior, primo stabilimento balneare della Riviera di Barcola" in Triesteallnews, 11. August 2018.Zeno Saracino: Barcola ai tempi della Belle Époque: “amena spiaggia” ante litteram. In: Trieste All News, 11.7.2020. Above Barcola in Gretta is the lighthouse Vittoria Light, which was built from 1923 to 1927 on the former k.u.k. fortification Kressich as a substructure.
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The orchestral playing suffered from "a lack of finesse", and the conducting from a dearth of dramatic conviction and "a general lack of sparkle". Sadie did not take exception to Lombard's bias towards slow tempi, but he was disappointed that the album evinced no care over appoggiaturas. (A further instance of negligence was the clipping of bar 49 of "Come scoglio" by a clumsy editor.) Overall, the album was a good one, but not good enough to compete with the best of its many illustrious predecessors,Gramophone, May 1978, pp. 1929-1930 An unattributed portrait of Lorenzo da Ponte in the library of Columbia University J. B. Steane reviewed the album on LP in Gramophone in July 1978.
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Sackville-West and Shaw-Taylor, p. 612 but Leibowitz received qualified praise for his set of Schoenberg's Gurre-Lieder ("Leibowitz makes a serious attempt to produce a convincing performance; his slow tempi find justification in Schoenberg's markings, but his artists cannot persuade us that Gurre-Lieder is other than an historical curiosity").Sackville-West and Shaw-Taylor, p. 652 In 1961 Leibowitz conducted the Royal Philharmonic Orchestra in a set of Beethoven's symphonies made by Decca for Reader's Digest;Stuart, Philip. Decca Classical 1929–2009, accessed 5 May 2018. it was among the first to attempt to follow Beethoven's metronome markings, following the pioneering set made in Vienna three years earlier, conducted by Hermann Scherchen.
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In musical terminology, tempo (Italian for "time"; plural tempos, or tempi from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture.
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The Stichvorlage was written down by three main copyists whose identities are unknown — but it is possible they were none other than Löwe and the two Schalks. One copyist copied out the 1st and 4th movements; the others each copied out one of the inner movements. Some tempi and expression marks were added in a fourth hand; these may have been inserted by Hans Richter during rehearsals, or even by Bruckner, who is known to have taken an interest in such matters. The Stichvorlage is now in an inaccessible private collection in Vienna; there is, however, a set of black- and-white photographs of the entire manuscript in the Wiener Stadtbibliothek (A-Wst M.H. 9098/c).
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This movement is the most- discussed of the four, as the first work by a European composer to apply numerical organisation to pitch, duration, dynamics, and mode of attack (timbre) . Because the treatment of the parameters is modal and not serial (that is, the elements are treated simply as a scale, without any implications for how they are to be ordered), there is no question of the material determining the work's form . According to the composer's own description, there are separate modes composed of 36 pitches, 24 durations, 12 attacks, and 7 dynamics. The duration scale is separated into three overlapping scales, called "tempi" by the composer, which correspond to the high, middle, and low registers of the piano, and occur in simultaneous superimposition.
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Pianist Jeanell Carrigan has recorded six CDs of his compositions, two for Publications by Wirripang. Carrigan, on the transportive nature of Wilcher's music, remarked: "Whether he wishes to transport the listener to a cafe in Paris or to the top of a mountain in Java, his skilful use of harmony, rhythm and tempi creates the perfect atmosphere." Rita Crews, in a review of Carrigan's album Shimmer (2004) for The Studio Quarterly Magazine, described Wilcher's style as "free-flowing, with an underlying romantic character, one in which melodic line and lyricism are all-important elements". 2MBS-FM's Mike Smith found it was of "a more openly romantic nature than in his earlier" work and he was "reminded of Rachmaninov, Albeniz and even Brahms".
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Sometimes they included Venhoda himself at the organ. He concentrated - a singular feat, given the Czech Communist regime's ideology - upon sacred works. Venhoda's approach indicated his German artistic influences: choral singing which emphasized rich chest-voice production; invariably Teutonic renderings of Latin (quoniam would become kvoniam, and Agnus would become Agg- nus, for example); tempi which inclined to the leisured and majestic; above all, profuse doubling of the vocal parts by instruments, such as became unfashionable with the advent of a cleaner, "whiter" sound from later, English or English-influenced, early-music groups like the Tallis Scholars. Nevertheless, Venhoda's legacy remains a valuable one, as can be discerned from the power and intensity of those all too few Venhoda performances which have been transferred to compact disc.
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Among these rituals was the Septerion, the ritual re-enactment of the murder of Python by Apollo, taking place once every eight years. Plutarch Quaestiones Graecae 203C; Moralia, On Music, 1136A mentions that during the ritual cleansing of the site a boy, whose parent were both alive, would set fire on a wooden construction symbolizing the dwelling of Python and then went on to cleanse himself as Apollo had done, taking recourse initially in the Tempi Valley. Around the Halos, particularly on its north side, platforms and bases for monuments were erected, particularly in the Hellenistic period. Among them stands out the base for a statue of the Pergamene king Attalus II Philadelphus(159-138 B.C.), dedicated by the city of Delphi.
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Romantic and, to some extent, Baroque music and minimalismBooklet, Road to Cordoba, Weronika Sura (Accordion), Opus series, Requiem records are key elements in the music of Martin Lohse.Symphony in one movement, Collage de temps, In liquid... and Smoke all have a reminiscence of the romantic style: Small motives and longer themes within a gliding tonality in a sculptural sound-universe,Mortensen, Trine Boje, Booklet, Collage de temps. Dacapo Records mixed with a floating sensation of times, sometimes with long and continues accelerandoes or decelerandoes and at other times with tempos slowly departing from each other. The Baroque style is clear in a piece like Concerto in G, Concerto in tempi and Koncert but it's also a part of works like Collage de temps, In liquid... and Entity.
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The Allmusic site awarded the album 4 stars, with reviewer Dave Nathan stating, "For his first recording session for Capitol, jazz blues pianist Junior Mance abandoned his usual small-group format for a big-band recording. Mance is joined by some of the cream of the West Coast studio and jazz players for a session that features Mance doing his blues thing on piano while the band swings at various tempi ranging from high moderate paces to high-energy romping. There are no reeds, so the sound is brighter and edgier than usual, but never shrill, resembling somewhat the style of the Count Basie Orchestra. ... his work and the ensemble playing are outstanding and, despite the parsimonious time allowance, the album is recommended".
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Hornology for horn (2004), a quasi-theatrical solo work that may be considered the most complex music written for the instrument is a perfect illustration of the above. Other examples in this vein are the Three Organic Pieces (2004) for organ and Marrakesh Bop for microtonal flute and guitar (1999) based on an original maqam and the densest microtonal inflections realized by pulling guitar strings. A pinnacle in the total media realization using cabbalistic permutations on Hebrew alphabet is found in Radiant, Inner Light (1998–2000) for speaker, musical saw, metal percussion, percussion fountain, projections and calligrams. This piece occupied an evening of performance and exhibition space for invented metal instruments (in collaboration with Steven Pevnick) played in multi-tempi polyphonies and visuals.
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His Storia della Lega Lombarda (History of the Lombard League), dedicated to Pius IX, appeared in 1848 and was a trumpet-call to the Neo-Guelph party. He worked so hard that in 1851 he published the Storia di Abelardo e dei suoi tempi, the Storia del Concilio di Constanze (History of the Council of Constance) in 1853, the Storia dell' origine dello scisma greco in 1856, La Contessa Matilde e i Romani pontefici in 1859, and in 1861 the Prolegomeni alla storia universale della Chiesa. Tosti took part in the nationalist movement blessed by Pius IX. In 1844 he had planned a review, L'Ateneo italiano, for the purpose of raising the papacy to the head of his Risorgimento. The Neapolitan police authorities opposed the idea.
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13 Among the British premieres conducted by Mancinelli was Verdi's final opera, Falstaff, in May 1894. The production featured alterations that Verdi had made to the score since the world premiere in Milan a year earlier, but some of Mancinelli's tempi raised critical eyebrows."Royal Opera", The Times, 21 May 1894, p. 7; "Verdi's 'Falstaff'", The Musical Standard, 26 May 1894, pp. 431–432; and "Falstaff at Covent Garden", The Saturday Review, 26 May 1894, pp. 552–553 Mancinelli was chief conductor at the Madrid opera, 1887–1893, and at the Metropolitan Opera, New York, 1893–1903. At the latter he conducted mostly Italian or French operas, including some relative rarities such as Semiramide, Orfeo ed Euridice, Lucia di Lammermoor and L'Africaine.
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Because horses race counter-clockwise in North America, a racehorse is usually trained to lead with the left leg while rounding the turn for balance, but switch to the right lead on the straightaways between the turns to rest the left Changes of lead are asked for in some dressage tests, and in the dressage phase of eventing. Degree of difficulty increases with each level, from simple changes, to single flying changes, to multiple flying changes within fewer and fewer strides (known in this context as tempi changes). They are judged on their smoothness, promptness, and the submission of the horse. In reining and working cow horse flying lead changes are an integral part of nearly all patterns except for those at the most novice levels.
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Another key influence in the formation of his own unique style was Vincenzo Gemito, whose studio in Naples he visited several times. He inspired in him a love for nature seen through the ideal image created by the Greek masters of the Hellenistic period. During his time in the navy, one particular trip would take him to the Greek remains of the Valle dei Tempi in Agrigento, Sicily, which he would draw upon as inspiration in his later work. While Romano would never part ways with this Classical grounding, he would go on to achieve a commendable feat, that of creating sculpture that was on the one hand paying homage to Antiquity and on the other toying with newfound concepts of Artistic Modernity.
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In 1954, the Eroica second movement, "Funeral March", had a timing of 14:35; in 1970, it had slowed to 18:51. Similar slowings took place in the other movements. Around 1954, Herbert von Karajan flew especially to hear Klemperer conduct a performance of the Eroica, and later he said to him: "I have come only to thank you, and say that I hope I shall live to conduct the Funeral March as well as you have done". Similar, if less extreme, reductions in tempi can be noted in many other works for which Klemperer left multiple recordings, at least in recordings from when he was in his late 70s and his 80s. For example: (a) Mozart's Symphony No. 38 Prague, another Klemperer specialty.
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It includes several unusual compositional elements influenced by other artists. A restoration in 1987 also showed a huge number of pentimenti and corrections. It is first recorded in 1630 by Bernardino Faino as an altarpiece in the Averoldi Chapel in Santi Nazaro e Celso - he attributed it to Luca Mombello, who had also painted the frescoes on the chapel walls. Bernardino Faino, Catalogo Delle Chiese riuerite in Brescia, et delle Pitture et Scolture memorabili, che si uedono in esse in questi tempi, Brescia 1630, page 24 In later local literature it was ascribed to Herri met de Bles, whose nickname was 'La Civetta' (the owl) - he usually included one in each of his works and one is shown on the ruined arch in Adoration.
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Alessandro Luzio and Rodolfo Renier, 'Buffoni, schiavi e nani alla corte dei Gonzaga ai tempi d'Esabella d'Este', Nuova Antologia, 19 (1891), pp. 112–46, 140–5. On 1 May 1491 Isabella asked Giorgio Brognolo, her agent in Venice, to procure a young black girl ('una moreta') between the ages of one- and-a-half and four, and twice in early June reminded him of the request, emphasizing that the girl should be 'as black as possible'.Paul H.D. Kaplan, "Isabella d'Este and black African women," Black Africans in Renaissance Europe, (Cambridge: Cambridge University Press, 2005) Isabella's household and financial records reflect she already had a significantly older black girl in her service when she inquired after a younger black child.
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French conductor Pierre Chagnon and an unidentified ensemble recorded the Trois petites pièces montées for the Columbia label in 1928, one of the earliest recordings of Satie's orchestral music.Viva-Tonal Columbia 50292-D [WLX336/WLX710]. Chagnon adopts brisk tempi throughout, presumably to accommodate the limits of a single 78 rpm side; the performance comes in at just under 4 minutes. Commercial releases in the stereo and digital eras are represented by Anthony Bernard with the London Chamber Orchestra (RCA Victor, 1959), Manuel Rosenthal with the French National Radio and Television Orchestra (Everest, 1968), Friedrich Cerha and the Ensemble "Die Reihe" (Candide, 1970), Gennady Rozhdestvensky with the Chamber Ensemble of the Leningrad Philharmonic (Melodia, 1976, reissued by ABC Westminster Gold and Eurodisc), and Yutaka Sado and the Orchestre Lamoureux (Erato, 2001).
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The 'Transfiguration is a 1454–1460 painting by Giovanni Bellini, now on display in the Museo Correr of Venice Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. . Andrea Mantegna was staying in the city of Venice at this time and his influence on Bellini was still strong at this time, as can be seen in this work. A fake set of initials in the lower right hand corner even led it to be misattributed to Mantegna for a time. Its provenance is unknown before 1830 since by the time he left it to Venice that year Teodoro Correr had destroyed all the documents relating to its previous history and ownership Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. .
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Annunciation The Ferrara Cathedral Organ Case was a set of 1469 tempera on canvas paintings by Cosme Tura, originally forming doors for the organ at Ferrara Cathedral but now in the cathedral museum Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. . Originally double-sided, the front and back of each door have now been separated. As originally constructed, the doors showed an annunciation scene when open and Saint George and the Princess when closed Jadranka Bentini (editor), San Giorgio e la principessa di Cosmè Tura. Dipinti restaurati per l'officina ferrarese, Bologna, Nuova Alfa, 1985.. They are rare evidence of the artist's work after he was made court painter in 1456, both in terms of quality and as a fixed point in the chronology of the artist's oeuvre.
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The history of the area before the arrival of the Greeks in the eighth century BC is not reliably known. Mythical accounts record a series of different peoples in the region, including the Osci (sometimes referred to as Opici), Trojans, Oenotrians, Ligures, Ausones, Mamertines, Taureanes, Sicels, Morgeti and Itali.Domenico Spanò Bolani, Storia di Reggio – da' tempi primitivi sino all'anno 1797 • Stamperia e Cartiere del Fibreno, Naples, 1857 They also claim that the land around Reggio was first known as Saturnia, or Neptunia. The term 'Italia' initially referred to the area around Reggio itself, before expanding to cover present-day southern Calabria (later known as Bruttium), and finally becoming the name of the whole Italian peninsula around the third century BC. Allegedly, the name derives from king Italus, an Oenotrian king of the region.
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His works from 1795 to 1800 are larger in scale than was the norm (writing sonatas in four movements, not three, for instance); typically he uses a scherzo rather than a minuet and trio; and his music often includes dramatic, even sometimes over-the-top, uses of extreme dynamics and tempi and chromatic harmony. It was this that led Haydn to believe the third trio of Op.1 was too difficult for an audience to appreciate. He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the early period are the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous Pathétique sonata, Op. 13.
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Over the course of next decade Cervini also became the apostolic administrator of the dioceses of Reggio and Gubbio. His house in Rome became a center of Renaissance culture, and he himself corresponded with most of the leading humanistsCardella, 226: la di lui famiglia piena fosse di uomini dotti, scientifici, e letterati, ed egli mantenesse stretta corrispondenza con Angelo Coluzio, Costantino Lascari, ed altri uomini dotti, ed eruditi di quei tempi. During the Council of Trent he was elected one of the council's three presidents, along with fellow cardinals Reginald Pole and Giovanni Maria Ciocchi del Monte (the future Pope Julius III). He continued to serve in that role throughout the remainder of Paul III's papacy after which he was replaced to placate the Holy Roman Emperor Charles V (1519–56).
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In classical training, the majority of the instruction for the right hand focuses on the production of bowing tone; little time is spent studying the varieties of pizzicato tone. In contrast, in genres that mainly or exclusively use pizzicato (plucking), such as jazz and blues, a great deal of time and effort is focused on learning the varieties of different pizzicato styles used for music of different styles of tempi. For example, in jazz, aspiring bassists have to learn how to perform a wide range of pizzicato tones, including using the sides of the fingers to create a full, deep sound for ballads, using the tips of the fingers for fast walking basslines or solos, and performing a variety of percussive ghost notes by raking muted or partially muted strings.
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One verbunkos tune, the "Rákóczi March" became a march that was a prominent part of compositions by both Liszt and Hector Berlioz. The 18th-century origins of verbunkos are not well known, but probably include old dances like the swine-herd dance and the Hajduk dance, as well as elements of Balkan, Slavic and Levantine music, and the cultured music of Italy and Vienna, all filtered through the Roma performers. Verbunkos became wildly popular, not just among the poor peasantry, but also among the upper-class aristocratics, who saw verbunkos as the authentic music of the Hungarian nation. Characteristics of verbunkos include the bokázó (clicking of heels) cadence-pattern, the use of the interval of the augmented second, garlands of triplets, widely arched, free melodies without words, and alternately swift and slow tempi.
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Sorgente Group Italy and Sorgente Group of America (US) are part of Sorgente Group Alternative Investment (US) in which the major shareholder is Valter Mainetti.Valter Mainetti The operative real estate companies, financial and real estate services companies are 94 and are located in Italy, France, Switzerland, Great Britain, Luxembourg, USA and Brazil, with field offices in Rome,New York and Luxembourg. The total real estate assets owned, managed and administrated by the funds and the underlying companies amounts to €5 billion at Genuary 2019 (in 2018 it amounted to over 5,8 billion). 30% of the 'Gazzetta del Mezzogiorno' was acquired through the Group, the percentage has fallen at 2% in 29.06.2018. By means of a subsidiary called 'Musa Comunicazione', the Group also holds 100% shares of the newspaper ‘Il Foglio Quotidiano’ and 80% shares of ‘Tempi’.
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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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Orcagna was commissioned to paint a fresco of the event in the prison courtyard, entitled The Fall of the Duke of Athens, in which saint Anne gives the Florentines the banners of the arts but an evil angel chases Walter from the city - the fresco is now in the museum in Palazzo Vecchio. Prisoners were led along the via Ghibellina to the execution site near Torre della Zecca. Tabernacles were set up along the route to comfort the condemned prisoners, such as the 'Tabernacolo delle Stinche' painted in 1616 by Giovanni da San Giovanni and remodelled in the 19th century by the architect Luigi Cambray- Digny. Later the prison also housed debtors and bankrupts, including the historians Giovanni Villani (caught up in the Bardi and Peruzzi banking crises) and Giovanni Cavalcanti (who described his time there in Storia dei suoi tempi).
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During the finals, in her musical kur performance, Salzgeber's selected music stopped playing, but she continued riding and finished the event. The music to which the pair performed, Carmina Burana, was used by Salzgeber and Rusty in all their competitions and became "tightly linked to the horse with its signature pirouettes and to date still best one-tempi changes ever." The 2001 and 2003 European Championships brought four gold medals in team and individual competition, while the 2001 and 2002 Dressage World Cup competitions brought two additional golds. The 2002 World Equestrian Games brought a repeat of 1998, with team gold and individual bronze medals. In 2003, however, Salzgeber became mired in doping charges after Rusty tested positive for testosterone propionate at the 2003 World Cup finals, losing what would have been a third successive gold.
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Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s."Elgar Edition", Gramophone, June 1992; February 1993; and August 1993 In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London.
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For their Brunswick recordings, "the Boswells took greater liberties, regularly changing style, tempi, modality, lyrics, time signatures and voicings (both instrumental and vocal) to create unexpected textures and effects." Connee's reworkings of the melodies and rhythms of popular songs, together with Glenn Miller's arrangements and New York jazz musicians (including the Dorsey Brothers, Benny Goodman, Bunny Berigan, Fulton McGrath, Joe Venuti, Arthur Schutt, Eddie Lang, Joe Tarto, Mannie Klein, Dick McDonough, and Carl Kress), made these recordings unlike any others. Melodies were rearranged and slowed down, major keys were changed to minor keys (sometimes in mid-song), and unexpected rhythmic changes were par for the course. They were among the few performers who were allowed to make changes to current popular tunes since, during this era, music publishers and record companies pressured performers not to alter current popular song arrangements.
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Variation form was important to him, and in addition to variation-movements on his own themes he composed orchestral variations on themes of Nielsen and Johann Sebastian Bach, as well as a set of piano variations on a palindromic theme by Haydn to which he returned in his large-scale String Quartet No. 9, which is a series of 32 variations and a fugue on the same Haydn theme. String Quartets Nos. 4–6 can be regarded as variations upon the compositional processes, rather than the themes, of Beethoven's three Rasumovsky Quartets, Op. 59. Two significant features of Simpson's oeuvre are his ability to write long works entirely based on a single basic pulse, with faster or slower tempi being suggested by smaller or larger note-values, and the establishment of a dynamic tension between competing tonalities or intervals.
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Shostakovich originally subtitled the first movement "The Toyshop", referring to a superficial sense of childlike innocence and naiveté which is soon corrupted. It opens with two chimes on the glockenspiel followed by a five-note motif on solo flute which flits between A major and A minor (connected by a C), accompanied by pizzicato strings. A being As in German notation, these five notes, E-A-C-B-A, spell out the name "SASCHA", the name of his grandson who was nine years old at the time (compare this to the "Elmira" theme in Symphony No. 10). Whooping off-beat horn chords, use of the clarinet's altissimo register, regular glockenspiel interjections, trumpet fanfares, drum rolls, and solo passages for bassoon and xylophone make up the sound world of this movement; yet the harmonic ambiguity and unpredictable employment of variable tempi undermine any sense of stability.
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Since 2009 Erath regularly works at Oper Frankfurt. He debuted with Eötvös’ opera version of Angels in America in an outlet of the company, the Bockenheimer Depot. In the main opera house he presented Verdi's Otello in 2011, Händel's Giulio Cesare in Egitto in 2012 and Carl Maria von Weber's Euryanthe in April 2015. In June 2015 his mise-en-scène of Mozart's Le nozze di Figaro premiered at the Semperoper in Dresden. He used elements from Commedia dell’arte at the beginning of the opera.Neue Musikzeitung: „Le nozze di Figaro“ – Mozart modern: Viel Farbe und (zu) flotte Tempi an der Semperoper, 24. Juni 2015 kultiversum reported that Erath „placed the action in three historic settings: Firstly on a stylized wooden pedestal the archaic world of Commedia dell’Arte bringing into remembrance that Da Ponte based his personalities on this ancient typology. Secondly a classical baroque scenery representing late 18th century.
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But Toscanini's repertory was wide, and it was in his interpretations of the German symphonists Beethoven and Brahms that he was particularly renowned and influential, favoring stricter and faster tempi than a conductor like Bülow or, before him, Wagner. Still, his style shows more inflection than his reputation may suggest, and he was particularly gifted at revealing detail and getting orchestras to play in a singing manner. Furtwängler, whom many regard as the greatest interpreter of Wagner (although Toscanini was also admired in this composer) and Bruckner, conducted Beethoven and Brahms with a good deal of inflection of tempo – but generally in a manner that revealed the structure and direction of the music particularly clearly. He was an accomplished composer as well as performer, and a disciple of the theorist Heinrich Schenker, who emphasized concern for underlying long-range harmonic tensions and resolutions in a piece, a strength of Furtwängler's conducting.
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According to a contemporary Italian source, Cherubini might have retained the post of inspector even within the new institution (article: Luigi Carlo Zenobio Cherubini, in Serie di vite e ritratti de' famosi personaggi degli ultimi tempi, Milan, Batelli & Fanfani, 1818, article n. 51; accessible online at Google Books). He immediately intervened on Lays's behalf, but all he could obtain from Ferté was the advice that the singer should go on a tour of the provinces as a way of supplementing his income.Having obtained leave of absence, Lays appeared in Nancy (where performances were interrupted by the death of the leading soprano) and Strasbourg, where Lays himself was obliged to interrupt them with disastrous effects on his finances: he had been unexpectedly summoned back to Paris on the pretext he was urgently needed for rehearsals of a new opera, Les jeux floraux; in reality, the rehearsals only took place two months later.
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Quotation and particularly collage played an important role in his music from the early 1970s, but increasingly he used pre-existing musical material in new connections and for new purposes, most often in a densely woven montage of small idioms which in themselves were too tiny to work as quotes, but were put together so closely as to create entirely new patterns. He continued to use montage technique, but the non- directional expression was gradually replaced by developmental forms. This is apparent in music for the stage and was later continued in works such as A Symphony in Time and the string quartets Solos and Shadows and Surrounded by Scales. The chamber symphony Movements on a Moving Line marks the beginning of a long period dominated by an interest in time and tempo, here as a kind of time-travel where the same music seems to appear and disappear in different tempi.
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The seven movements of the suite, written for flute, oboe, clarinet, horn and bassoon, have the following titles: # Cortège (procession) # Aubade (dawnsong) # Jongleurs (jugglers) # La maousinglade (sarabande) # Joutes sur l'Arc (jousting on the River Arc) # Chasse à Valabre (hunting at Valabre)The hunting pavilion of Roy René is a sixteenth-century building in the Domaine de Valabre, Gardanne, a site dating back to the thirteenth century. The Seigneurie of Gardanne was acquired in 1454 by René, who administered it until his death in 1480; apart from establishing the domain as an agricultural centre for viticulture, sheep- rearing and olive-growing, he used it as a base for hunting and fishing. # Madrigal nocturne (nocturnal madrigal) All the movements are very short, with an alternation between "nonchalant" and very rapid tempi: a collection of medieval miniatures. The shortest movement is less than a minute in length, while the longest is only three minutes long.
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La Sardegna e i sardi nel tempo, Arkadia, Cagliari, p.151 eventually spurred the rebellion against Piedmont's primacy within the Kingdom, with the arrest of two notable figures of the so-called "Patriotic Party" (the lawyers from Cagliari Vincenzo Cabras and Efisio Pintor) being the final spark of unrest amongst the populace. On 28 April 1794, known as Sa dì de s´acciappa - Dramma storico in due tempi e sette quadri, Piero Marcialis, 1996, Condaghes ("the day of the pursuit and capture"), people in Cagliari started chasing any Piedmontese functionaries they could find; since many of them started to wear the local robes in order to blend into the crowd, any people suspected to be from the Italian mainland would be asked by the populace to "say chickpea" () in Sardinian: failure in pronouncing the word correctly would give their origin away. By May, all the 514 Savoyard officers were put on a boat and sent back to the Mainland.
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Alan Walker (1989), p. 296. Nevertheless, he persevered with the work, conducting another performance (along with his symphonic poem Die Ideale and his second piano concerto) in Prague on 11 March 1858. Princess Carolyne prepared a programme for this concert to help the audience follow the unusual form of the symphony.Alan Walker (1989), p. 317 and pp. 488–489. Like his symphonic poems Tasso and Les préludes, the Dante Symphony is an innovatory work, featuring numerous orchestral and harmonic advances: wind effects, progressive harmonies that generally avoid the tonic-dominant bias of contemporary music, experiments in atonality, unusual key signatures and time signatures, fluctuating tempi, chamber-music interludes, and the use of unusual musical forms. The Symphony is also one of the first to make use of progressive tonality, beginning and ending in the radically different keys of D minor and B major, respectively, anticipating its use in the symphonies of Gustav Mahler by forty years.
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It was Tempi who instructed Weiterer to work on the Service Committee's relief efforts on behalf of the many refugees from Germany, Austria, Hungary and Poland who had come to Paris, working to organise clothes, jobs and money: the German Communist Party endorsed the instruction. Following German capitulation the Communist Party issued new instructions, in July 1945, that she should move to Heidelberg and take charge of the Free German Trade Union Federation ("Freier Deutsche Gewerkschaftsbund" / FDGB) women's secretariat being established there. Heidelberg was in the United States occupation zone. After a year or so it would become apparent that the FDGB structure, established under the auspices of the Communist Party of Germany, would take root only in the Soviet occupation zone, but in 1945 it was evidently anticipated that its organisation would also extend across what became, in 1949, West Germany. Meanwhile, Weiterer remained in Heidelberg, pursuing the mission she had been given, till the summer of 1946.
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He also drew searing criticism due his claim to be the first to articulate a reproducible method of achieving lightness with horses of any conformation or breed. His most outspoken adversary and rival, Louis Seeger, in 1852 published Herr Baucher und seine Künste - Ein ernstes Wort an Deutschlands Reiter, "Monsieur Baucher and his Methods". Seeger wrote that his impression of the horses was poor, that they lacked energy and impulsion with the hind legs dragging out behind them, especially at the trot, and the hind legs were stiff. He claimed that they were difficult to sit, dead to the leg, moved flat, and traveled on the forehand; that they could not take up even contact with the reins and had great difficulty bending the joints of their hind legs, swishing their tail in displeasure when asked; that they were stiff at the canter, including during the one-tempi flying changes (which were not practiced or believed to be possible before Baucher first trained them), and could not collect, having a canter more hopping than a jumping motion.
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350px Christ with Moses and Solomon is a 1541-1542 oil on canvas painting by Moretto da Brescia, displayed on the altar of the Most Holy Sacrament in the collegiate church of Santi Nazaro e Celso in Brescia, the artist's home town. It has been the altarpiece for that altar throughout the historical record, from Bernardino Faino's mention of it in 1630 to the present day Bernardino Faino, Catalogo Delle Chiese riuerite in Brescia, et delle Pitture et Scolture memorabili, che si uedono in esse in questi tempi, Brescia 1630, pages 24-25 The parish archive contains 18th century documents referring to lost earlier documents, including a 1720 note mentioning a contract dated 4 May 1541 in which took on "Alessandro Moretto ... to make the Altarpiece (for the [chapel of the] Most Holy Sacrament), and to complete it and put it in place the following year" Pier Virgilio Begni Redona, Alessandro Bonvicino – Il Moretto da Brescia, Editrice La Scuola, Brescia 1988, p 374 A 1768 note also mentions this contract and states the painting was delivered on time in 1542.
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The American in question was a double (or possibly triple) agent called Noel Field, a committed communist who seems to have been providing intelligence to various security agencies and whose revelations provide a rich if confusing backdrop to a number of show trials in East Germany and several surrounding states in the fevered cold war atmosphere of the early 1950s. In 1941 Anna von Fischer had indeed passed to Field numerous addresses of emigrants of various nationalities. During their time in Switzerland Freidrich Schlotterbeck and Anna von Fischer (as she had then been) were also on friendly terms with Herta Jurr-Tempi who may have been a Gestapo informer. Following their arrest, Anna's daughter by her former marriage to Robert Leibbrand was placed in a children's home, while Anna Schlotterbeck was detained by the Ministry for State Security successively in Chemnitz, Berlin and Rostock. Slightly more than a year following her arrest it was in Rostock on 27 April 1954 that she had her moment in court, which resulted in a four-year prison sentence for "crimes under Article 6 of the East German constitution in connection with an offence against Control Council Directve 38".
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However, Collins observed that this was "quickly subsumed into the granular storm as the layers gather and tempi increase", concluding that, notwithstanding audience consensus that "the overload last[ed] too long in the middle … It might cautiously be claimed that Mr. Stockhausen achieved a controversial success, and created a work that has reinvigorated his electronic music". Collins shared his shorthand notes, which he scribbled in the dark during the performance: > violent spasms of space, serial recurrences, a Copernican asylum, over- > literal crashes, rushing more and more beyond sense, like being inside > Stockhausen’s mind as he composes, a battle of enraged keyboardists in a > tempo war, granular roars, bass pedals and clatters, gurgling granules > accelerate, pushing the boundary of information, tapes spooling mercilessly, > a labyrinth of tone pulses, a multiplicity of collisions in an organ > factory, even poor synthesis can’t ruin this controlled chaos, wider and > wider dynamics and layering, building to the synchronies of planets, raging > layers, raging presets in a keyboard shop war, a fight at an audio > convention. Describing the UK premiere at the BBC Proms, Nick Emberley felt that "the Albert Hall sounded like a mighty beast woken from slumber".Emberley, Nick.
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Until 1935 the dukes had a town house in Bronte, 5 miles south of the Castello, for use when on business in that town. Known as the Palazzo Ducale, it had 35 rooms with a walled garden to the rear, and was situated on Corso Umberto, the facade being opposite Piazza Cappuccini, site of the Cappuccine Convent, the rear being bounded by the via Madonna Riparo (now via Roma) and the via Nelson (now via A. Spedalieri). It was built by Bryant Barret (d.1818),Career of Bryant Barret one of the dukedom's land agents during the early period when the Castello was uninhabitable and the dukes were absentee landlords.Bronte, Alexander Nelson Hood, 5th Duke of, The Duchy of Bronte: a memorandum written for his family in 1924: Abbiamo un casermone a Bronte, chiamato Palazzo ducale - un elefante bianco, costruito da un amministratore, Mr Barret credo, come residenza sua e della sua famiglia, non essendo Maniace abitabile, a quei tempi Most has since been demolished but a few sections, including that of the main entrance, survive, namely the residence of the late Professor Paparo, the former Santangelo printing works, the houses Mineo, Parisi etc, as far as the former Cinema Roma.
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