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orchestral

orchestral

orchestral Sentence Examples

  • Richard Strauss, in his edition of Berlioz's works on Instrumentation, paradoxically characterizes the classical orchestral style as that which was derived from chamber-music. Now it, is true that in Haydn's early days orchestras were small and generally private; and that the styles of orchestral and chamber music were not distinct; but surely nothing is clearer than that the whole history of the rise of classical chamber-music lies in its rapid differentiation from the coarse-grained orchestral style with which it began.

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  • Orchestral Schemes Typical of Dif f erent Periods.

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  • The beginning of Mendelssohn's F minor quartet is, again, a case usually, but perhaps wrongly, condemned for its orchestral appearance on paper.

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  • He also wrote a number of songs and orchestral works, of a realistic national type.

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  • The beginning of Mendelssohn's F minor quartet is, again, a case usually, but perhaps wrongly, condemned for its orchestral appearance on paper.

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  • The very sense of dramatic fitness has temporarily vanished from public musical opinion, together with the sense of musical form, in consequence of another prevalent habit, that of presenting shapeless extracts from Wagner's operas as orchestral pieces without voices or textbooks or any hint that such adjuncts are desirable.

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  • The very sense of dramatic fitness has temporarily vanished from public musical opinion, together with the sense of musical form, in consequence of another prevalent habit, that of presenting shapeless extracts from Wagner's operas as orchestral pieces without voices or textbooks or any hint that such adjuncts are desirable.

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  • p. 34.4 Orchestral score, p. 284.

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  • Orchestral wind-parts have been discovered belonging to Haydn's string-quartet Op. r, No.

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  • On his return to Vienna in 1756 he became famous as teacher and composer, in 1759 he was appointed conductor to the private band of Count Morzin, for whom he wrote several orchestral works (including a symphony in D major erroneously called his first), and in 1760 he was promoted to the sub-directorship of Prince Paul Esterhazy's Kapelle, at that time the best in Austria.

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  • To this period belong five Masses, a dozen operas, over thirty clavier-sonatas, over forty quartets, over a hundred orchestral symphonies and overtures, a Stabat Mater, a set of interludes for the service of the Seven Words, an Oratorio Tobias written for the Tonkiinstler-Societe t of Vienna, and a vast number of concertos, divertimenti and smaller pieces, among which were no less than 175 for Prince Nicholas' favourite instrument, the baryton.

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  • There can have been little personal intercourse between them, for Haydn was rarely in the capital, and Mozart seems never to have visited Eisenstadt; but the cordiality of their relations and the mutual influence which they exercised upon one another are of the highest moment in the history of 18th-century music. " It was from Haydn that I first learned to write a quartet," said Mozart; it was from Mozart that Haydn learned the richer style and the fuller mastery of orchestral effect by which his later symphonies are distinguished.

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  • His symphony Le Midi (written in 1761) already shows a remarkable freedom and independence in the handling of orchestral forces, and further stages of advance were reached in the oratorio of Tobias, in the Paris and Salomon symphonies, and above all in the Creation, which turns to good account some of the debt which he owed to his younger contemporary.

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  • A red-haired Jew, he possessed a magnetic and artistic temperament, and had various special methods of arousing and restraining the revolutionary masses, including orchestral and vocal concerts of high excellence in the formerly royal theatres and the opera house of Munich.

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  • Orchestral wind-parts have been discovered belonging to Haydn's string-quartet Op. r, No.

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  • When we listen to the free declamation of the singers at the outset of Der fliegende Hollander - a declamation which is accompanied by 1 The subsequent division into three acts, as given in all the published editions, has been effected in the crudest way by inserting a full close in the orchestral interludes at the changes of scene, and then beginning the next scene by taking up the interludes again.

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  • Bach as these were from the orchestral platitudes of Reutter or Hasse..

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  • The narrower term "orchestration" is applied to the instrumentation of orchestral music. Since the most obvious differences of timbre are in those of various instruments, the art which blends and contrasts timbre is most easily discussed as the treatment of instruments; but we must use this term with philosophic breadth and allow it to include voices.

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  • It is in the attempt to supply the place of this continuo (or _ figured bass) by definite orchestral parts that modern per formances, until the most recent times, have shown so radical an incapacity to grasp the nature of 18th-century instrumentation.

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  • For example, it has often been said that the extent to which their orchestral viola parts double the basses is due, partly to bad traditions of Italian opera, and partly to the fact that viola players were, more often than not, simply persons who had failed to play the violin.

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  • But it is equally certain that the pure violoncello tone in large masses belongs to a distinctly different region of orchestral effect.

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  • There is hardly one of Wagner's orchestral innovations which is not inseparably connected with his adaptation of music to the re q uirements of drama; and modern conductors, in treating Wagner's orchestration, as the normal standard by which all previous and contemporary music must be judged, are doing their best to found a tradition which in another fifty years will be exploded as thoroughly as the tradition of symphonic additional accompaniments is now exploded in the performances of Bach and Handel.

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  • The accuracy and the paraphernalia are equally exemplified in all Wagner's additions and alterations of the classical orchestral scheme, for these all consist in completing the families of instruments so that each timbre can be presented pure in complete harmony.

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  • 4, is already in a style which not even the most casual listener could mistake for anything orchestral.

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  • The Queen's Hall, Langham Place, is used for concerts, including a notable annual series of orchestral promenade concerts.

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  • The enormous dramatic development in the symphonic music of Beethoven made the problem of the Mass with orchestral accompaniment almost insoluble.

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  • His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830 - r848); Liszt the conductor of the "music of the future " at Weimar, the teacher of Tausig, Billow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848-1861); and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847-1882).

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  • Liszt transcribed this work, and its influence ultimately led him to the composition of his " Poemes symphoniques " and other examples of orchestral programme-music.

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  • During this period he acted as conductor at court concerts and on special occasions at the theatre, gave lessons to a number of pianists, wrote articles of permanent value on certain works of Berlioz and the early operas of Wagner, and produced those orchestral and choral pieces upon which his reputation as a composer mainly depends.

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  • In his orchestral pieces Liszt appears - next to Berlioz - as the most conspicuous and most thorough-going representative of programme music, i.e.

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  • In pieces such as Liszt's " Poemes symphoniques," Ce qu'on entend sur la montagne (1848-1856), after a poem by Victor Hugo, and Die Ideale (1853-1857), after a poem by Schiller, the hearer is bewildered by a series of startling orchestral effects which succeed one another apparently without rhyme or reason.

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  • Liszt's masterpiece in orchestral music is the Dante Symphony (1847-1855), the subject of which was particularly well suited to his temperament, and offered good chances for the display of his peculiar powers as a master of instrumental effect.

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  • Besides the works mentioned he has written incidental music to plays, as, for instance, to Ravenswood, The Little Minister, and Coriolanus; concertos and other works for violin and orchestra, much orchestral music, and many songs and violin pieces.

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  • In the orchestral ballad, La Belle Dame sans Merci, he touches the note of weird pathos, and in the nautical overture Britannia his sense of humour stands revealed.

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  • There are numerous vocal and orchestral societies, some of which have brought their art to a very high pitch of perfection.

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  • The Note Perfect training aids have an orchestral accompaniment with the voice part highlighted with piano.

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  • Dynamic contrasts were well-judged and orchestral textures sounded crystal clear in the intimate auditorium.

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  • The Orchestral Library has about 4,000 sets of orchestral parts, constantly augmented with new acquisitions.

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  • He studied bassoon and choral and orchestral conducting, and began his career as teacher and conductor.

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  • big band may remember the styles range from light orchestral through to big-band jazz.

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  • We must hope that his few remaining unrecorded orchestral works will make it to disk alongside his half a dozen plus chamber orchestra cantatas.

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  • choirmaster at several churches, and played the cello, latterly with the Braunton Orchestral Society.

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  • With a marriage of voice and symphony unlike any other, most critics consider this work the apex of sacred choral and orchestral music.

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  • The venue will be Dorchester's St Mary's church, an excellent and popular venue for orchestral concerts.

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  • concerto for four solo violins and orchestral strings.

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  • Most importantly, that is achieved without saccharine orchestral crescendos or larger-than-life displays of emotion.

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  • Even with flat response earplugs you get a feeling of being disconnected from the world, which isn't good for orchestral playing.

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  • Concerto A piece in which an instrument (or ensemble) contrasts with an orchestral ensemble.

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  • Wind & Brass players must also include two orchestral excerpts.

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  • I am not familiar with the music of popular culture - I am a boring old fart who delights in the orchestral repertoire.

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  • flautist modern instrument, Edwina is a freelance solo, chamber and orchestral flutist.

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  • Flowing orchestral sounds and simple piano lines provide the backbone, while the occasional highlight is provided by short guitar interjections.

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  • There is some truly beautiful music here, especially in the lengthy orchestral interludes.

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  • kaleidoscope of orchestral sounds.

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  • The best edition of a necessary score for any orchestral musician.

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  • He had with him one of his wooden flue pipes, orchestral oboe.

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  • More a pop orchestral mishmash than a well-defined rock opus, Bat III is dark, seemingly hopeless at times, and über dramatic.

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  • orchestral accompaniment with the voice part highlighted with piano.

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  • orchestral repertoire for tenor is all too small.

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  • orchestral concerts will be marketed in the future?

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  • orchestral group playing which was lovely.

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  • orchestral score with a couple of Dracula cues.

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  • orchestral conducting and composition.

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  • Instead of sticking to a purely orchestral sound, however, innovative combinations of sounds flicker between songs like scenes in a film.

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  • It sounds almost orchestral in places, which is interesting.

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  • He is capable of a very orchestral drumming style.

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  • Other work includes numerous theater productions, private functions such as weddings, and freelance orchestral concerts.

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  • Kitt hopes to become a professional trumpet player combining mainly orchestral playing with some solo performing.

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  • American clarinetist Jean Johnson enjoys a varied musical career that includes orchestral, chamber, and solo performances.

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  • It has a catchy chorus, a gorgeous melody and even manages to throw in an orchestral break without sounding overblown.

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  • Please note that saxophones, harps and orchestral percussion are included.

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  • The orchestral prelude begins with hushed strings presenting the ' Judgment ' theme.

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  • In addition the theater hosts the annual welsh proms and has a packed program of orchestral concerts from the BBC National Orchestras of Wales.

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  • A flourishing Musical Society organizes choral, orchestral and chamber concerts, as well as instrumental recitals throughout the year.

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  • The top manual was a small solo with a 16ft. orchestral reed.

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  • Now, there is a unique opportunity for composers to apply to the NYO to join the Composers Class which runs alongside orchestral rehearsals.

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  • The orchestral repertoire for tenor is all too small.

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  • A rather desultory chorus yielded to a thrilling orchestral scherzo, and an entrancing oriental dance.

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  • In 1953 J. Arthur Rank commissioned Whettam to write the orchestral score for the internationally renowned film " Genevieve " .

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  • sextet inspired by the orchestral color and spontaneous feel of Charles Mingus's small group music.

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  • Richard is an orchestral flutist and he studied the shakuhachi for twelve years since his first visit to Japan.

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  • soloists accompanied by angular orchestral writing.

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  • UNTIL about half way through when it goes completely hatstand, with orchestral phrases, repeating sound effects and general strangeness.

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  • Although his output was largely symphonic and orchestral, his religious upbringing played a significant role in influencing his choral compositions.

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  • symphony written concert works for a variety of orchestral forces from solo instruments up to orchestral symphonies.

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  • The finale reworks the opening orchestral theme from a minor tonality to a modal one.

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  • Euphonium orchestral parts are played by the 2nd trombone or worse, the tuba player!

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  • In 1947, he gained a first prize for orchestral direction and started to appear as a solo violinist.

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  • The virtuosity of the soloist was well matched by the virtuosity of the soloist was well matched by the virtuosity of the substantial orchestral forces in the fast and intricate accompaniment.

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  • Stunning orchestral start, followed by a moody drum-beat, coupled with dark lyrics and soaring female vocals.

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  • It is one of the four main orchestral woodwinds, but did not join the orchestra until after the middle of the 18th century.

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  • Table III., showing orchestral pitches obtained in 1899, for the measurements of which the writer is responsible, prove how chimerical it is to hope for greater accuracy than is found between 435 and 440 vibrations a second for a', inasmuch as temperature must always be reckoned with.

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  • The narrower term "orchestration" is applied to the instrumentation of orchestral music. Since the most obvious differences of timbre are in those of various instruments, the art which blends and contrasts timbre is most easily discussed as the treatment of instruments; but we must use this term with philosophic breadth and allow it to include voices.

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  • Modern composers have often produced their most characteristic orchestral effects with fewer contrasting elements than Bach uses in his Trauer-Ode, in the pastoral symphony in his Christmas Oratorio, in the first chorus of the cantata Liebster Gott, wann werd' ich sterben, and in many other cases; but the modern instrumental effects are as far outside Bach's scope as a long passage of preparation on the dominant leading to the return of a first subject is beyond the scope of a gigue in a suite.

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  • It is in the attempt to supply the place of this continuo (or _ figured bass) by definite orchestral parts that modern per formances, until the most recent times, have shown so radical an incapacity to grasp the nature of 18th-century instrumentation.

    0
    0
  • For example, it has often been said that the extent to which their orchestral viola parts double the basses is due, partly to bad traditions of Italian opera, and partly to the fact that viola players were, more often than not, simply persons who had failed to play the violin.

    0
    0
  • But it is equally certain that the pure violoncello tone in large masses belongs to a distinctly different region of orchestral effect.

    0
    0
  • There is hardly one of Wagner's orchestral innovations which is not inseparably connected with his adaptation of music to the re q uirements of drama; and modern conductors, in treating Wagner's orchestration, as the normal standard by which all previous and contemporary music must be judged, are doing their best to found a tradition which in another fifty years will be exploded as thoroughly as the tradition of symphonic additional accompaniments is now exploded in the performances of Bach and Handel.

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  • This being so, it is absurd in a symphony to use only such orchestral colours as would be fit for dramatic moments which are not likely to recur for an hour or two, if they recur at all.

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  • The accuracy and the paraphernalia are equally exemplified in all Wagner's additions and alterations of the classical orchestral scheme, for these all consist in completing the families of instruments so that each timbre can be presented pure in complete harmony.

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  • The crucial example of this is what Richard Strauss has ingeniously called the "al fresco" treatment of instruments in large orchestral masses (Berlioz-Strauss, Instrumentationslehre, edition Peters)..

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  • Not even the imagination and skill of Berlioz could galvanize into permanent artistic life an instrumentation based exclusively upon instruments, however suggestive his wonderful orchestral effects may have been to, contemporary and later artists, who realize that artistic effects must proceed from artistic causes.

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  • Richard Strauss, in his edition of Berlioz's works on Instrumentation, paradoxically characterizes the classical orchestral style as that which was derived from chamber-music. Now it, is true that in Haydn's early days orchestras were small and generally private; and that the styles of orchestral and chamber music were not distinct; but surely nothing is clearer than that the whole history of the rise of classical chamber-music lies in its rapid differentiation from the coarse-grained orchestral style with which it began.

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  • 4, is already in a style which not even the most casual listener could mistake for anything orchestral.

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  • On this differentiation of styles rests the whole aesthetics of chamber-music; but the subject is very subtle, and there is much, as for example in Schubert's quartets and his C major quintet, that is inspired by orchestral ideas without in the least vitiating the chamber-music style; though, judged by its appearance on paper, it seems as unorthodox as the notoriously orchestral beginnings of Mendelssohn's quartet in D and quintet in B.

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  • Orchestral Schemes Typical of Dif f erent Periods.

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  • But his definite orchestral effects in certain places (e.g.

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  • p. 34.4 Orchestral score, p. 284.

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  • When we listen to the free declamation of the singers at the outset of Der fliegende Hollander - a declamation which is accompanied by 1 The subsequent division into three acts, as given in all the published editions, has been effected in the crudest way by inserting a full close in the orchestral interludes at the changes of scene, and then beginning the next scene by taking up the interludes again.

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  • an orchestral and thematic texture as far removed from that of mere recitative as it is from the forms of the classical aria - the repetition of a whole sentence in order to form a firm musical close has almost as quaint a ring as a Shakespearean rhymed tag would have in a prose drama of Ibsen.

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  • The Queen's Hall, Langham Place, is used for concerts, including a notable annual series of orchestral promenade concerts.

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  • On his return to Vienna in 1756 he became famous as teacher and composer, in 1759 he was appointed conductor to the private band of Count Morzin, for whom he wrote several orchestral works (including a symphony in D major erroneously called his first), and in 1760 he was promoted to the sub-directorship of Prince Paul Esterhazy's Kapelle, at that time the best in Austria.

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  • To this period belong five Masses, a dozen operas, over thirty clavier-sonatas, over forty quartets, over a hundred orchestral symphonies and overtures, a Stabat Mater, a set of interludes for the service of the Seven Words, an Oratorio Tobias written for the Tonkiinstler-Societe t of Vienna, and a vast number of concertos, divertimenti and smaller pieces, among which were no less than 175 for Prince Nicholas' favourite instrument, the baryton.

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  • There can have been little personal intercourse between them, for Haydn was rarely in the capital, and Mozart seems never to have visited Eisenstadt; but the cordiality of their relations and the mutual influence which they exercised upon one another are of the highest moment in the history of 18th-century music. " It was from Haydn that I first learned to write a quartet," said Mozart; it was from Mozart that Haydn learned the richer style and the fuller mastery of orchestral effect by which his later symphonies are distinguished.

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  • Bach as these were from the orchestral platitudes of Reutter or Hasse..

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  • His symphony Le Midi (written in 1761) already shows a remarkable freedom and independence in the handling of orchestral forces, and further stages of advance were reached in the oratorio of Tobias, in the Paris and Salomon symphonies, and above all in the Creation, which turns to good account some of the debt which he owed to his younger contemporary.

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  • A red-haired Jew, he possessed a magnetic and artistic temperament, and had various special methods of arousing and restraining the revolutionary masses, including orchestral and vocal concerts of high excellence in the formerly royal theatres and the opera house of Munich.

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  • The enormous dramatic development in the symphonic music of Beethoven made the problem of the Mass with orchestral accompaniment almost insoluble.

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  • Bach contrives to give this anti-climax a definite artistic value; all the more from the fact that his Crucifixus and Resurrexit, and the contrast between them, are among the most sublime and directly impressive things in all music. To the end of his Resurrexit chorus he appends an orchestral ritornello, summing up the material of the chorus in the most formal possible way, and thereby utterly destroying all sense of finality as a member of a large group, while at the same time not in the least impairing the force and contrast of the whole - that contrast having ineffaceably asserted itself at the moment when it occurred.

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  • With modern orchestral conditions the text seems positively to demand an unecclesiastical, not to say sensational, style, and probably the only instrumental Requiem Masses which can be said to be great church music are the sublime unfinished work of Mozart (the antecedents of which would be a very interesting subject) and the two beautiful works by Cherubini.

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  • His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830 - r848); Liszt the conductor of the "music of the future " at Weimar, the teacher of Tausig, Billow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848-1861); and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847-1882).

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  • Liszt transcribed this work, and its influence ultimately led him to the composition of his " Poemes symphoniques " and other examples of orchestral programme-music.

    0
    0
  • During this period he acted as conductor at court concerts and on special occasions at the theatre, gave lessons to a number of pianists, wrote articles of permanent value on certain works of Berlioz and the early operas of Wagner, and produced those orchestral and choral pieces upon which his reputation as a composer mainly depends.

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  • The compositions belonging to the period of his residence at Weimar comprise two pianoforte concertos, in E flat and in A, the " Todtentanz," the " Concerto pathetique " for two pianos, the solo sonata " An Robert Schumann," sundry " Etudes," fifteen " Rhapsodies Hongroises," twelve orchestral " Poemes symphoniques, " " Eine Faust Symphonie," and " Eine Symphonie zu Dante's ` Divina Commedia,' " the " 13th Psalm " for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes " Prometheus," and the " Missa solennis " known as the " Graner Fest' Messe."

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  • In his orchestral pieces Liszt appears - next to Berlioz - as the most conspicuous and most thorough-going representative of programme music, i.e.

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  • In pieces such as Liszt's " Poemes symphoniques," Ce qu'on entend sur la montagne (1848-1856), after a poem by Victor Hugo, and Die Ideale (1853-1857), after a poem by Schiller, the hearer is bewildered by a series of startling orchestral effects which succeed one another apparently without rhyme or reason.

    0
    0
  • Liszt's masterpiece in orchestral music is the Dante Symphony (1847-1855), the subject of which was particularly well suited to his temperament, and offered good chances for the display of his peculiar powers as a master of instrumental effect.

    0
    0
  • Besides the works mentioned he has written incidental music to plays, as, for instance, to Ravenswood, The Little Minister, and Coriolanus; concertos and other works for violin and orchestra, much orchestral music, and many songs and violin pieces.

    0
    0
  • In the orchestral ballad, La Belle Dame sans Merci, he touches the note of weird pathos, and in the nautical overture Britannia his sense of humour stands revealed.

    0
    0
  • He also wrote a number of songs and orchestral works, of a realistic national type.

    0
    0
  • There are numerous vocal and orchestral societies, some of which have brought their art to a very high pitch of perfection.

    0
    0
  • A flourishing Musical Society organizes choral, orchestral and chamber concerts, as well as instrumental recitals throughout the year.

    0
    0
  • The top manual was a small solo with a 16ft. orchestral reed.

    0
    0
  • Now, there is a unique opportunity for composers to apply to the NYO to join the Composers Class which runs alongside orchestral rehearsals.

    0
    0
  • A rather desultory chorus yielded to a thrilling orchestral scherzo, and an entrancing oriental dance.

    0
    0
  • In 1953 J. Arthur Rank commissioned Whettam to write the orchestral score for the internationally renowned film " Genevieve ".

    0
    0
  • A sextet inspired by the orchestral color and spontaneous feel of Charles Mingus 's small group music.

    0
    0
  • Richard is an orchestral flutist and he studied the shakuhachi for twelve years since his first visit to Japan.

    0
    0
  • There is a return to the agitation with loud, isolated orchestral chords playing against two solo violins.

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  • The last movement is in two sections: the first features the soloists accompanied by angular orchestral writing.

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    0
  • UNTIL about half way through when it goes completely hatstand, with orchestral phrases, repeating sound effects and general strangeness.

    0
    0
  • Although his output was largely symphonic and orchestral, his religious upbringing played a significant role in influencing his choral compositions.

    0
    0
  • He has written concert works for a variety of orchestral forces from solo instruments up to orchestral symphonies.

    0
    0
  • The finale reworks the opening orchestral theme from a minor tonality to a modal one.

    0
    0
  • Euphonium orchestral parts are played by the 2nd trombone or worse, the tuba player !

    0
    0
  • In 1947, he gained a first prize for orchestral direction and started to appear as a solo violinist.

    0
    0
  • The virtuosity of the soloist was well matched by the virtuosity of the substantial orchestral forces in the fast and intricate accompaniment.

    0
    0
  • Stunning orchestral start, followed by a moody drum-beat, coupled with dark lyrics and soaring female vocals.

    0
    0
  • It is one of the four main orchestral woodwinds, but did not join the orchestra until after the middle of the 18th century.

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  • Violins, violas, and other orchestral instruments should be fitted to the student.

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  • Not only did John Hughes play a heavy role in launching the careers of actors, but his use of music in his films also catapulted the careers of bands like Orchestral Maneuvers in the Dark (OMD) and Simple Minds.

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  • From the soothing underwater orchestral opening to the various modes of sound playing, the entire presentation is an interactive treat.

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  • On the first level (The Lighthouse), you can hear the orchestral music from the Hotel level of Rainbow Six 3: Black Arrow in one of the tents.

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  • Combat is very fluid and enjoyable with context-sensitive orchestral sounds accompanying the eerie battle music.

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  • Think big, orchestral pop numbers with all the drama of a Broadway musical, but with a touch of irony - or Elton John with a sense of humor.

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  • Orchestral Britpop for fans of Super Furry Animals, Travis, Radiohead, and more.

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  • Gone are the sweeping, orchestral landscapes, but firmly in place are some pretty darn fine horns.

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  • The Postmark combine clever lyrics and breathy female vocals with sweeping orchestral pop music, horns and all.

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  • Despite it being primarily instrumental, it went on to become the best-selling mostly orchestral film score in history at the time, thanks in large part to the immense popularity of the film.

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  • The entire album is orchestral and was composed specifically for the film.

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  • Releasing a soundtrack with an industrial theme and orchestral motif was rare at the time Terminator 2 was released.

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  • If You Leave, recorded by Orchestral Maneuvers in the Dark (OMD), became one of the biggest hits from the soundtrack.

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  • The famous Star Trek orchestral opening was replaced with the lyrical ballad "Where My Heart Will Take Me".

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  • The score went a step above most other cinema orchestral pieces of the time and propelled the movie industry into the generation of films with large orchestra compositions and music that filled the theater with depth and wonderful noise.

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  • The 1980's genre of disaster and "otherworldly" films ushered in an era of tremendous success for the sort of orchestral pieces that John Williams produced.

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  • Williams continued on to produce the orchestral pieces for future Star Wars films and countless other movies.

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  • Many people that are interested in the various music throughout the Star Trek serious instantly recognize the orchestral sequences that represent Star Trek fight music.

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  • The fight scene includes an orchestral piece written by Gerald Fried.

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  • With some simple "embedded" commands, the web pages had a very small file size (less than 10k) yet they could play a complete polyphonic orchestral piece.

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