"Bluff City," by Preston Lauterbach, aims instead for something less snappy and more lyrical.
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Beijing's ambassador to the Philippines, Zhao Jianhua, has been more lyrical in welcoming the transformation.
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They're talented though, and I'll try to remember this more lyrical description from now on.
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But this defection allows Mr Yan to liberate the subtler, more lyrical side of his writing.
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As a choreographer, however, she used her own more lyrical version of the Graham dance idiom.
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Goldblatt wrote about feeling that he could be more lyrical once the country had achieved democracy.
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In fact, his prose is nothing like Hemingway's: It is jazzier, more lyrical and more darkly comic.
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Beets are often described as "earthy," a more lyrical way of saying that they taste like dirt.
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GR: Maybe tone — I think I tended to be a little more lyrical, perhaps a little more adventurous.
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If Copland appears on concert programs at all, it's the more lyrical Copland of the ballets and symphonies.
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It's getting more lyrical than it used to be, less stark and a little more baroque in its horror.
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The composer of a bleak "Handmaid's Tale" adaptation brings a lighter, more lyrical fairy tale to Santa Fe Opera.
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But even on the songs where Gilmore gives the foreground to his synthesis, there's something more lyrical about these pieces.
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It's a true story, and a simple one, but couched in Malick's signature style, it becomes something more lyrical and pastoral.
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" Samokhvalov was a more lyrical artist than Deineka, Mr. Mikhailovsky added: "Very Russian and we see this lyricism and sentimentality in this portrait.
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At the second show on Wednesday, his stridently strutting 1970s "Nonaah" was played in a more lyrical later arrangement for piano, oboe and flute.
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" Slowly and steadily, the piece became more lyrical, with sung melodic fragments that charmingly juxtaposed lines like "our love of music" with "our favorite sandwich.
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As bravura pianism, the performance was brilliant and told much, though it gave little idea how Mr. Zhou might fare in more lyrical or Romantic fare.
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Long stretches of recitative, especially agitated dramatic passages accompanied by the full orchestra, slip subtly into more lyrical arioso, then segue almost unnoticed into an impassioned aria.
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To hammer their point home, they provide hooks in highly reliable fashion, two of the best attached to lyrics more lyrical than the titles "Yo" and "Wow" portend.
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Something guttural appears when I turn right; something more lyrical in the middle, and then a droning, like a garden full of chanting monks, when I turn left.
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People know me as a rapper and some people don't even know all my music, but know I can tell stories or I can be a little more lyrical.
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And when the full chorus breaks into a collective appeal to God to save the ship, Mr. Dudamel pulled back the tempo to give more lyrical fullness to the pleading melodic line.
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The German and French leaders have increasingly voiced their differences with the illiberal axis since the summer — Ms. Merkel more understated, Mr. Macron more lyrical, but both definitely on the same page.
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It took me a while to realize why this more lyrical image stood apart from my edgier border work — it was because I'd fallen for the woman who would later become my wife.
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In the slower, more lyrical second section of the music, two couples do a beautiful double pas de deux imbued with swirling lifts and skaterlike glides — unusual for Ms. Childs, who rarely choreographs partnered work.
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When you enter this great building, if we compare it to a building, not through this pompous entrance but with something clearly more lyrical and less blaring, it obviously casts a different shadow on what follows.
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It is the last novel she completed before her death, and it's written in a different mode than the rest of her books: It's more lyrical than the rest, and a little sadder and less aggressively witty.
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In the hands of writer-director James Gray (the remarkable talent behind 2013's The Immigrant), this adaptation of a 2009 nonfiction book transforms what could have been a mere quest narrative into something bigger and more lyrical.
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The writer-director Burak Cevik then flips the switch and the movie shifts into a more lyrical narrative register, one that fills in all the little nuances, most notably the intimate in-between moments that both explain and obscure so much.
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So the casual, scattergun, post-adolescent mumble of the 2006 interview has turned into a style of delivery far more lyrical, carefully articulated, and slow-paced, with a touch of faux "ceremony" about it, as befits a speech that seems semi-humorous and at least partly pre-written.
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The beautiful line about war breaking out on the border between grapes and citrus fruit may seem more considered or more original (or just more lyrical and, hence, more "poetic"), but it belongs to the same voice, the same mouth, as a laugh is related to a yawn.
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While Muddy Waters and Howlin' Wolf, his predecessors from the city's South Side, popularized an amplified update of the bare-bones sound of the Mississippi Delta, Mr. Rush's modernized variant — which came to be called the West Side sound because of its prevalence in nightclubs in that part of town — was at once more lyrical and more rhythmically complex.
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Liszt then develops this into a more lyrical, romantic line.
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Maraca playing style differs in Oriente from that of the plains, with different hand patterns producing a more lyrical rhythmic sound.
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Karl Schmitt-Walter (23 December 1900 - 14 January 1985) was a prominent German opera singer, particularly associated with Mozart and the more lyrical Wagner baritone roles.
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They brought down the tempos of their music ... they adopted a > more lyrical approach to improvisation ...Gioia, Ted. The Birth (And Death) > of the Cool. Golden, Colo.: Speck Press, 2009. 83.
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The tihu is generally held with the resonator between the knees. It is considered a supporting instrument in the Chaozhou xianshi ensemble. It is tuned lower and plays in a slower, more lyrical fashion than does the leading fiddle, called erxian.
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The recitative for tenor, "" (The Saviour has come), begins but continues as an , with tenor and continuo imitating one another. This more lyrical style of recitative derives from early Italian operas and cantatas, where it was known as ' – half aria.
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According to Charles Shaar Murray, he evoked the guitarist's echoic, free jazz-inspired solos while Lucas performed in the manner of Hendrix's more lyrical rhythm and blues songs; Cosey's guitar was separated to the left channel and Lucas' to the right on Agharta.
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This style was sometimes manifested in a harsh, abstract, and modernist style, and these works, such as Esquinas and Ventanas (both of 1931) were not well received by audiences, but the more lyrical and tonal examples such as Colorines were warmly praised .
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The verses of the Chanson de l'Oignon are in 6/8, while the refrain is in 2/4. This has the effect of rendering the verses more lyrical and the refrain more military, though both remain the same tempo as befits a marching song.
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He continued to expand his audience with each consecutive record showing more lyrical prowess, vocal presence, and musical skill than its predecessor. Not only did E develop as an artist he also forged new working relationships with other Bay Area talents during this period including Dubee a.k.a.
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The third movement in G major is the minuet, but, unusual in a minuet written at this time, the tempo indication is Presto, giving it the feel of a scherzo when played. The trio section is more lyrical and features the first violin playing a Ländler while accompanied pizzicato.
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Hans Werner Henze largely dissociated himself from the Darmstadt school in favour of a more lyrical approach, and remains perhaps Germany's most lauded contemporary composer. Although he had lived outside the country since the 1950s and until his death in 2012, he remained influenced by the Germanic musical tradition.
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Thérèse Radic, "George Tibbits". Grove Music Online. He would often jot down pieces of tunes while travelling on public transport. Late in the 1950s, he concentrated on works depicting what he referred to as the 'brutalist' aspects of urban civilization, but by the 1960s had returned to a more lyrical style.
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The piece starts with a theme introduced on timpani and answered by the orchestra. The piano then enters in a state of high excitement. A second, more lyrical Brahmsian theme emerges, followed by waltz-like measures not unlike the waltzes from Der Rosenkavalier. The work ends quietly, again on the timpani.
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Carmelo Pace's music is often melodious, but at times quite characteristic of the early 20th century music tendencies. In his more lyrical moments, his music shows some references to verisim as well as Ravelian harmonies. Often of an intimate character, his more adventurous language is more abstract and atonal without necessarily being dodecaphonic.
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Nearly three-quarters of her printed works were written for soprano, but she also published works for other voices. Her compositions are firmly rooted in the seconda pratica tradition. Strozzi's music evokes the spirit of Cavalli, heir of Monteverdi. However, her style is more lyrical, and more dependent on sheer vocal sound.
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After the rupture with Reni, Cantarini's work developed towards a more personal style. He abandoned academic classicism in favour of the naturalism of his youth. He also developed a freer, more lyrical style. In this period he created the Rest on the Flight into Egypt (Louvre, Paris) and Susanna and the Elders (c.
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Szwed (1998), p. 214. As free jazz spread in the 1960s, so did the use of tone clusters. In comparison with what John Litweiler describes as Taylor's "endless forms and contrasts," the solos of Muhal Richard Abrams employ tone clusters in a similarly free, but more lyrical, flowing context.Litweiler (1990), p. 182.
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It is in D minor, moving to D major in the trio (measures 154–288). The opening scherzo has two sections which are both repeated. The melody is characterized by frequent hemiolas and a half-step interval in the first section. The second section is more lyrical and is in F major.
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Madagascar (1994) is a Cuban film that marked Fernando Pérez's change of direction into a more lyrical approach to filmmaking, somehow stripped from the realistic documentary feel of his early work. The film chronicles the relationship and lack of communication between a mother and daughter during the Cuban economic crisis known as the Special Period.
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Main theme of the last movement The final movement is in a traditional rondo form, ABACABA. Again, the main melody is pentatonic. "B" section of the rondo The B section is more lyrical, but continues in the spirit of the first theme. "C" section of the rondo The C section is a chorale theme.
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Olga Alexandrovna Peretyatko (; born 21 May 1980) is a Russian operatic soprano. She has been known for coloratura soprano roles particularly in operas by Rossini and Mozart. In recent years, she further explores heavier roles in bel canto repertoire and more lyrical roles. She was noticed internationally after performing the title role in Stravinsky's The Nightingale in 2009.
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"It's a much easier accent to do than a standard American accent because you can really hear it. You can get your teeth into it. Standard American is much harder because it's more lyrical." The same dual casting applied to the role of Bloom's wife, Sandra, who would be played by Jessica Lange and Alison Lohman.
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However, her style is more lyrical, and more dependent on sheer vocal sound. Many of the texts for her early pieces were written by her father Giulio. Later texts were written by her father's colleagues, and for many compositions she may have written her own texts. There are seven printed volumes of her compositions which have survived.
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Maria Dimitriadi () (11 April 1950 – 6 January 2009), was a Greek singer. She was one of the most renowned performers of the songs of Mikis Theodorakis and Thanos Mikroutsikos. Dimitiradi primarily connected with political left-wing songs during the Junta and Metapolitefsi era in Greece, but she also experimented with other styles and genres, of a more lyrical tone.
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Beethoven initially intended to pair this piece with his Violin Sonata No. 4, Opus 23. As Joseph Szigeti noted, the two pieces complement each other in both key and character. This piece has a more lyrical quality while its intended pairing has a grabbing and agitated touch. However, the two were never published together and thus have different opus numbers.
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The first section is very similar to the refrain, couched in the E Phrygian scale and with the same melody. The second section is a scherzo with a modified fugue form. The third section is more lyrical, with solos in each voice describing a different instrument, traditional in odes to St. Cecilia. The hymn was given its first (radio) performance in 1942.
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The short and light scherzo is essentially in sonata form. As in the second movement, the main theme is first played on the piano, which then reduces itself to fragmentary accompaniment almost immediately. The rhythmic motif of the main theme is present throughout the movement, except in the more lyrical central section, whose theme resembles material from the first movement.
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Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, including the bridge.
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In 1684–5 Domenico visited Milan, Piacenza, Bologna and Asti. At Piacenza, he painted decorations in the Casa Baldini. In Genoa in 1688 he and Gregorio de’ Ferrari began to decorate rooms in the Palazzo Rosso on the theme of the four seasons, Piola executing Autumn and Winter and Ferrari the more lyrical Spring and Summer. Preparatory drawings for Winter survive (Genoa, Palazzo Rosso; London, British Museum).
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These are used to humorous and whimsical effect, which contrasts with its more lyrical middle section. This eccentric dissonance has earned the piece its nickname: the "wrong note" étude. This kind of usage of the minor second appears in many other works of the Romantic period, such as Modest Mussorgsky's Ballet of the Unhatched Chicks. More recently, the music to the movie Jaws exemplifies the minor second.
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Prosper Dérivis Nicolas-Prosper Dérivis (28 October 1808 - 11 February 1880) was a French operatic bass. He possessed a rich deep voice that had a great carrying power. While he could easily assail heavy dramatic roles, he was also capable of executing difficult coloratura passages and performing more lyrical parts. Along with Nicolas Levasseur, he was one of the greatest French basses of his generation.
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As in the West, most poetry written today is free verse." The New Poetry Movement did not just depart from Sino-Vietnamese poetic forms and script, it also introduced more lyrical, emotional and individualistic expression.Asian and African studies: Volume 9 Slovenská akadémia vied. Kabinet orientalistiky - 1974 "This involved the movement of "The New Poetry" (Tho moi) which stood up against the canons of Vietnamese classical prosody.
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3rd movement incipit The final movement, in Rondo form, starts with a very brief introduction. The A theme, in B minor, is march-like and upbeat. This melody is played by the piano until the orchestra plays a variation of it . The B theme, in D major, is more lyrical and the melody is first played by the violins, and by the piano second.
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63 Poulenc strays from the recitative in highly dramatic passages, including when Elle sings of her suicide attempt of the previous night.Daniel, p. 308 This section is more lyrical and tonal, as can be seen in Example 2. Here, the vocal line more resembles an aria, especially as it builds toward its high point in the nine-eight measure, and the orchestra accompanies the voice in a waltz.
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Letras y hombres de Venezuela. Mexico City: Fondo de Cultura Economica. pp. 161–61. It is worth noting that Pietri, in presenting his term for this literary tendency, always kept its definition open by means of a language more lyrical and evocative than strictly critical, as in this 1948 statement. When academic critics attempted to define magical realism with scholarly exactitude, they discovered that it was more powerful than precise.
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The album version, which clocked in at 11:36 minutes, started off with a wind sound effect, before a longer instrumental section, sets up the vocal section. It also features more lyrical passages, ending with a longer coda in the harmonica, before the song's fade. The song was produced by Howard E. Scott, Jerry Goldstein, and Lonnie Jordan. The song ranked #93 on Billboard magazine's Top 100 singles of 1973.
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Example 1 At measure 20, a new theme is introduced forte with a more pronounced dance character. After the establishment of A major, the second subject group begins at measure 41: Example 2 leading to a much more lyrical theme at measure 55. After a typical unison scale run, the exposition concludes with A major firmly established as the tonic. The development is concerned almost exclusively with Example 2.
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Oblique differs from Hutcherson's previous sessions because there is less emphasis on his original compositions. He contributes three tunes to the date, all of which are of a more lyrical, subdued style. The one Hancock composition is of a more funky jazz-rock style, yet very laid back, likely due to the lack of horns. The set closes with two of Chambers' compositions, in his typically ominous and avant-garde manner.
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The second movement, entitled Tema Pastorale con variazioni, consists of a theme followed by three variations. The first variation is very similar to the theme, but with steady eighth notes and many meter changes. The second variation is played completely pizzicato, again with many changes of meter. The third variation is much more lyrical than the first two, and strays from the theme much more than the other variations.
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There first subject here is a perpetual motion theme, it sounds somewhat folk- like when played for the second time. Then comes a more lyrical second theme in E-flat minor, which after a shortened version of the first subject is repeated in B-flat minor. A new, full reprise of the scherzo theme is heard and leads to a coda. The finale is the most complicated movement.
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A tense Introduction slowly gives way to a more light- hearted opening 1st waltz section. The 2nd waltz section is less joyful although the cheekiness is not absent. A more robust 3rd section is punctuated by loud chords whereas the graceful 4th section contains some of Strauss' more lyrical melodies. The effervescent 5th waltz section carries on the irresistible genial character of the waltz while the coda recalls earlier material.
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Clic is a 1974 album by Italian experimental musician Franco Battiato. The album, released on the Island Records label (catalogue ILPS 9323), is a brooding and intense collection of instrumental/vocal arrangements. Dedicated to Karlheinz Stockhausen, the music has stylistic similarities with Philip Glass and Tangerine Dream, but is more lyrical and has elements of musique concrète. It was later re-released on CD with a different track listing.
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The opening movement is noted for its complex orchestration. The orchestra is unusually large for Bax, with the organ used solely for pedals to add a dark effect. The thematic material for the entire symphony is laid out in the Molto moderato introduction of the first movement. The Allegro moderato section which follows is a further development of the introductory material, as is the more lyrical second subject.
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A stirring, motivating text will fit this meter well. Using a more lyrical meter suggests a more expansive or introspective treatment of ideas. An author may have superb ideas but may have chosen a meter which exhorts when it should be expansive, or is solid when it should be introspective. In such cases the editor is challenged to achieve an overall fit which doesn't distract from the message of the text.
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The 1980s saw increasing Dominican emigration to Europe and the United States, especially to New York City and Miami. Merengue came with them, bringing images of glitzy pop singers and idols. At the same time, Juan Luis Guerra slowed down the merengue rhythm, and added more lyrical depth and entrenched social commentary. He also incorporated bachata and Western musical influences with albums like 1990's critically acclaimed Bachata Rosa.
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Such markings appear frequently throughout the score to indicate the orchestral instrument the pianist is supposed to evoke. After this theme is exposed, the contrasting, more lyrical second theme begins. This second theme is used as a contrast to both the first theme itself and, more generally, any difficult virtuosic passages. center A third theme, more heroic in nature and in the major key, enters after some development of the first two themes.
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La voix humaine stands out from Poulenc's previous works because it is marked by a certain tonal ambiguity. Poulenc achieves this sensation through the avoidance of traditional harmonic functions and the preponderance of unresolved dissonances, diminished structures, and progressions of chromatically-related chords.Daniel, p. 308–209 Although some passages—most often those in which the voice becomes more lyrical—have a clear tonal center, the tonally ambiguous sections are much more frequent in Poulenc's score.
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Afterwards, he enrolled at the Academy of Fine Arts and Design in Ljubljana where he studied with professors Boris and Zdenko Kalin. In 1953, he travelled to Zagreb and specialised in sculpture studies at the Academy of Fine Arts at the famous sculpture Antun Avgustinčič. Gorazd Sotler graduated in 1954. During his studies in Zagreb, young Gorazd was greatly influenced by more lyrical sculpture Frano Kršinić who was making female nude sculptures at that time.
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Suddenly, the music reaches a more lyrical melody in the horns and cellos, although the tempo remains the same. Shostakovich develops this material in his typical style, using both themes in counterpoint, before the fanfare returns and leads to a rousing coda. The work is a standard piece of the orchestral repertoire. A transcription for concert band was prepared by Donald Hunsberger in 1965, and is played by many bands all over the world.
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Flynn's short stories touch upon more serious themes and are written perhaps with a more lyrical style. In 2010 and 2011, Flynn published two novels through JoSara MeDia, Jade:Outlaw and its sequel, Jade: the Law. Both novels portray the grim realities of living in west Texas in the late 19th century where settlers/Indians/Mexicans frequently clash. Jade, the protagonist, is hired as an escort for cattle, guarding property and chasing after rustlers.
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Pink Mountaintops is a Canadian rock and roll band from Vancouver led by Stephen McBean. Gregg Foreman has been a regular member of the band."Stephen McBean Talks Pink Mountaintops' 'Get Back,' Obliterations and the Future of Black Mountain". Exclaim!, By Ian Gormely Published May 02, 2014 The band has consisted of many of the same musicians who participate in the Black Mountain collective, but the musical style is more lyrical and melodic.
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A more lyrical second subject follows, before the main motives return to recapitulate in the shortest opening movement of all Bax's symphonies. Likewise, the idyllic middle movement is Bax's shortest second movement. The violins introduce the main melody near the beginning and it is eventually taken up by the other sections of the orchestra, with an almost jazzy trumpet solo in the middle. It ends peacefully as to set up the last movement.
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The second movement is marked "Andante cantabile" and is also in sonata form, but in the subdominant key of E major. The movement opens with thirds in the right hand progressing to the more lyrical theme of the movement accompanied by flowing broken triads in the left hand. It soon modulates to B major for a 'minuet like' section. After this, the movement begins to modulate back to E major for a repeat of the exposition.
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2018 stamp sheet dedicated to the 125th anniversary of the Goan Tiatr Prior to the emergence of tiatr, entertainment in Konkani was mainly through zagors and khells. Both of them had their distinct style. While the zagor was more lyrical, the khell had dialogues and while the former was more popular in Bardez, the latter was firmly entrenched in Salcete. Costancio Lucasinho Caridade Ribeiro, more popularly known as Lucasinho Ribeiro, who was from Assagao was seeking employment in Bombay.
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In his earlier days, the palette was bright, more colourful, gayer, lighter, which he eschewed as he grew into a more mature man and painter. He left it behind in favour of a more sombre representation where, I think, the lighter, more lyrical colour was put aside and he went into deeper and more restricted tones. Also, mass, form and volume became very important to him. He simplified the paintings and they became, in a way, monumental.
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Milan Begović Modernism was particularly strong in the field of poetry. The freely- expressed eroticism, ecstasy and rebellion against the discipline of life in Milan Begović's "Knjiga Boccadoro" (Boccadoro Book, 1900) acted as a manifesto and remains a standard of Croatian poetry. Begović's poetry was similar in style to that of Dragutin Domjanić, although Domjanić tended to be more lyrical and sentimental. He achieved some success with his poem "Kipci i popevke", (Statuettes and popular songs 1917).
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This is an allusion to the ending of the work, discussed below. This gives way to a section of calm, ethereal string writing against a quietly sustained woodwind background, marked ‘Meno Mosso’, which introduces the more lyrical material, based on the flow of thirds, foreshadowing the tranquillity of the central Adagio. A cyclical rhythm figure is presented in the cellos and basses, based on the notes G, F#, E which are formed into a repeating pattern.
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In addition to the Book of Songs (Shi Jing), a second early and influential poetic anthology was the Songs of Chu (), made up primarily of poems ascribed to the semilegendary Qu Yuan (c. 340–278 BC) and his follower Song Yu (fourth century BC). The songs in this collection are more lyrical and romantic and represent a different tradition from the earlier Classic of Poetry (Shi Jing). Many of the works in the text are associated with Shamanism.
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King Foxx is a Southern hip hop and trap mixtape that consists of thirteen songs. Writing for Pitchfork, Meaghan Garvey associated the features and production with Southern hip hop, and Wesley Case referred to the tracks as built on "Southern trap and swag-rap beats". Twelve rappers provide features, and DJ Scream acts as its host by providing "staccato flows" and "trap beats". Discussing the songs, Foxx said that she wanted to be "more lyrical" and discuss women's issues.
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His other famous work is his series of six prints on the unicorn, still very personal but more lyrical in style; until the nineteenth century he was known as the "Unicorn Master" after these. Series celebrating the French monarchy and Genesis were left aside after a few plates each.Three on the Monarchy; it is thought that The Marriage of Adam and Eve and Moses surrounded by the Patriarches were for a projected Genesis series. See Becker p.
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Young's virile singing and the more lyrical performance of Münchinger's Werner Krenn were both enjoyable in their own way. As the soprano archangel, Gabriel, Münchinger's Elly Ameling was unequivocally better than Bernstein's Judith Raskin, with "more variation of tone" and "more sensitive feeling" than the American. The albums' rival choirs and orchestras all had much to commend them. Bernstein's Camerata Singers sang with "great enjoyment and excellent tone"; Münchinger's Vienna State Opera Chorus with superior diction.
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Three musical subjects are presented in the single-movement Allegro brillante, as is also the case with the opening movements of Tchaikovsky's previous two piano concertos. The opening theme is lively, the second more lyrical and the third akin to a vigorous folk dance. While the development section begins with piano and orchestra collaborating, the musical forces quickly become segregated. The orchestra is given a lengthy section to itself, while the piano completes the development with a cadenza.
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She performed several times at the Pageant of Peace near the National Christmas Tree in December 1954. Nirenska partnered with Butler to form their own dance troupe, the Washington Dance Company, in the spring of 1956. She choreographed mostly group dances during this period, and only a single solo. In her own dancing, Nirenska worked to reduce her dependency on Wigman and Expressionism and embrace the more lyrical, emotional style then present in American modern dance.
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Eugène de Kermadec studied at the École des Arts Decoratifs in 1915 and later at the École des Beaux Arts. During this time Paris was the center of the avant-garde, and the painterly language was Cubism. Kermadec, along with several foreign and French artists came into Cubism after 1918 when more and more artists adopting this technique and that the almost scientific approach was relaxed and replaced by a more lyrical style and figurative style. His first show was in 1929.
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This relatively early Williamson score begins with bright, martial fanfares in the brass and percussion supported by occasional interjections from the rest of the orchestra. Soon, the strings take up the fanfare and turn it into a more lengthy 'first subject'. A more lyrical utterance appears from the oboe and flute respectively, before the original material returns. The 'second subject' is a gently solemn melody for flute and strings, which builds to a regal climax before the original theme returns with a vengeance.
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The album only reached number 35 on the UK Album ChartsUK Top 40 database . everyHit.com. retrieved December 16, 2008 and the band increasingly began to look to North America for a successful future. The album, although still recognisably Strawbs, contains tracks with harsh "straight talking" lyrics, in contrast to the more lyrical approach shown on Bursting at the Seams. The music is more Gothic and doom-laden with washes of mellotron and guitar power chords, especially on the longer tracks.
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Encyclopaedia Britannica During the first phase of his career, Chaliapin endured direct competition from three other great basses: the powerful (1869–1942), the more lyrical (1871–1948), and Dmitri Buchtoyarov (1866–1918), whose voice was intermediate between those of Sibiriakov and Kastorsky. The fact that Chaliapin is far and away the best remembered of this magnificent quartet of rival basses is a testament to the power of his personality, the acuteness of his musical interpretations, and the vividness of his performances.
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From Manic Frustration onwards, more lyrical references have been made to psychedelia, drugs, and hallucinations; "Hello Strawberry Skies" and "Mr. White" stand out as two examples. Corresponding with the increase in psychedelic lyrical themes, Trouble's overall sound has also had a noticeably stronger psychedelic component. Also, unlike other metal acts of the 1980s, Trouble's members dress in ripped jeans, tight T-shirts, wear round sunglasses and have fringes and outfit accessories more characteristic of the hippie movement such as bandanas and knee patches.
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The album was recorded in late 1972 at Columbia Studios in New York City. "Baby Ice Dog" features lyrics by poet Patti Smith, who would make several more lyrical contributions to the band's repertoire over its career. The song "The Red and the Black," with lyrics referencing the Royal Canadian Mounted Police, is a re-titled, re-recorded version of "I'm on the Lamb But I Ain't No Sheep" from the band's eponymous debut album. The song was later covered by the Minutemen and Band of Susans.
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In further work the author deepens into more lyrical and personal theatre, not exempted of political connotations. He also revisits contemporary history icons, deepening into their personal lives and social drama, questioning what has been written in official texts. In this line of work he writes Mata Hari: sentencia para una aurora (Mata Hari: A Dawn’s Sentence) (1987). Here he re- interprets the life of Mata Hari as a victim of the forces that be rather than the alleged double agent that faced trial for espionage.
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In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve. #Allegro vivace assai The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass.
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After that, I took it over again and did the next few months of post-production and audio." Henson went on to explain, "When you edit a film with somebody else you have to compromise. I always want to go one way, and George goes another way, but we each took turns trading off, giving and taking. George tends to be very action-oriented and he cuts dialogue quite tight; I tend to cut looser, and go for more lyrical pauses, which can slow the story.
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The concerto is in three movements: #Allegro #Largo #Allegro The first movement is in a fast tempo and begins with a ritornello played by the violins and then repeated by the solo lute. According to AllMusic critic Brian Robins, the ritornello "contrasts a tuneful opening theme with a more lyrical motif in the minor mode." During the movement, the solo lute plays melodies in contrast to the ritornello. The movement consists of several sections, almost all of which incorporate a portion of the ritornello melody.
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It begins with the solo violin playing a moto perpetuo theme and then taking up a more lyrical melody. The soloist's role gradually thins out until Schnittke instructs them to perform a cadenza visuale, a "visual cadenza" in which they mime playing a cadenza but without actually producing any sound. The third movement begins in almost Baroque territory with the solo violin being accompanied by a chamber music group including harpsichord. This is soon and repeatedly interrupted by strident repetitions of themes from movements one and two.
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The best way to describe Pac Div is fact is to say they're an Okayplayer-y version of Tha Dogg Pound; more lyrical, less gangsta, but with a comparable degree of charisma, trunk-rattling bass and skirt chasing. This is their Dogg Food." HipHopDX reviewer Edwin Ortiz gave the album a 3.5 out of five, saying: "Despite its missteps, GMB is a commendable project that should hold over diehard fans. More so than anything else though, it's proof that the independent route was the right choice for Pac Div.
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In some of these works he often alternated roles, from Figaro to the Count in Nozze, Guglielmo to Alfonso in Cosi, Belcore to Dulcamara in Elisir, Malatesta to Pasquale in Don Pasquale, etc. He also took part in many revivals of opera by Pergolesi, Scarlatti and Cimarosa. He even recorded with Marilyn Horne the first modern performance of Antonio Vivaldi's Orlando Furioso. In the 1960s, Bruscantini started singing more lyrical and dramatic roles in opera such as I puritani alternating between Riccardo and Giorgio, and La favorite singing both Alfonso and Baldasare.
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These photographs present a more ethereal view of the world in transition, from 1990-2002. While most of these images were taken during his magazine assignments, they present a more lyrical, internal reaction to the events of the deaths of his parents, returning to live on the East coast, and the startling moment the Twin Towers burn behind a bronze statue depicting the horror of the Katyn Forest massacre. In 2013, the book "The Last Roll" is released by Daylight Books.Jeff Jacobson, "The Last Roll," Daylight Books, 2013.
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The shvi (, "whistle", pronounced sh-vee) is an Armenian fipple flute with a labium mouth piece. Commonly made of wood (apricot, boxwood, or ebony) or bamboo and up to in length, it typically has a range of an octave and a-half. The tav shvi is made from apricot wood, it is up to long, and is tuned 1/4 lower producing a more lyrical and intimate sound. The shvi is up to 12 inches in length and is made of reed, the bark of willows, or walnut wood.
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Although initially stirred, the crowd are silent when the stranger re-emerges; only the beggar is aware of the plot and retreats to a doorway. After the stranger has left, the prostitute appears in a more lyrical frame of mind, as if having visions. The minister next summons a gang of thugs, who loiter in dark alleys. As the stranger comes back, he offers no resistance; they jostle him, slash him with knives and kick him to the ground, where the silence is broken by the sound of a distant ship siren.
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Giants fans on kayaks in McCovey Cove during the 2012 World Series The name was coined thanks to two sportswriters. Mark Purdy of the San Jose Mercury News wrote an article suggesting naming the body of water after McCovey, though his original suggestions were 'McCovey Channel,' 'McCovey Stream' or 'McCovey Run.' Purdy then noted the more 'lyrical' name of 'McCovey Cove' was suggested by his colleague Leonard Koppett, a writer for the Oakland Tribune. The name did not take long to become very popular, although the moniker has never become official.
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Variations on the theme are then played by the flutes, oboes, clarinets, and string soloists, respectively. A full orchestral version of the theme, played at a forte dynamic leads into a more lyrical piano line. The orchestra accompanies an eighth-note heavy piano part as the piece modulates from C minor to C major. A calm, flowing A-major section, ending with a call-and-response section between double reeds, horn, and piano, leads into the Marcia, an F-major variation on the main theme in march style.
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Writing for Empire, William Thomas credited Silberling for "a fresh eye", but felt the film fell short in "philosophical claptrap". Andrew Johnston (critic) writing in Time Out New York concluded: "In the final reel, what began as a philosophical study of death and longing becomes a blatant tearjerker, but even then the accumulated momentum sweeps you along. Mainstream films are seldom more lyrical." In 2012, Time included it in its Top 10 On-Screen Depictions of Heaven list, for its portrayal of the "go toward the light" afterlife experience.
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Noone is generally regarded as one of the greatest of the second generation of jazz clarinetists, along with Johnny Dodds and Sidney Bechet. Noone's playing is not as blues-tinged as Dodds nor as flamboyant as Bechet, but is perhaps more lyrical and sophisticated, and certainly makes more use of "sweet" flavoring. Noone was an important influence on later clarinetists such as Artie Shaw, Irving Fazola and Benny Goodman. Jimmie Noone and His Orchestra make a brief appearance in the East Side Kids feature film, Block Busters (1944), released three months after Noone's death.
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Although on the band's return Richman agreed to record his earlier songs, he was anxious to move in a different musical direction. He wanted to scrap all of the tracks they had recorded and start over with a mellower, more lyrical sound. The rest of the band, while not opposed to such a shift later, insisted that they record as they sounded now. However, the sessions with Cale in September 1973 also coincided with the death of their friend Gram Parsons (a former Harvard student, like Harrison and Brooks), and produced no usable recordings.
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The rest of the originals are by saxophonist Benny Golson (who was not with the Jazz Messengers for long, this being the only American album on which he is featured). "Are You Real?" is a propulsive 32-bar piece with a four-bar tag, featuring two-part writing for Golson and trumpeter Lee Morgan. "Along Came Betty" is a more lyrical, long-lined piece, almost serving as the album's ballad. "The Drum Thunder Suite" is a feature for Blakey, in three movements: "Drum Thunder"; "Cry a Blue Tear"; and "Harlem's Disciples".
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Persichetti's music draws on a wide variety of thought in 20th-century contemporary composition as well as Big Band music. His own style was marked by use of two elements he refers to as "graceful" and "gritty": the former being more lyrical and melodic, the latter being sharp and intensely rhythmic. He frequently used polytonality and pandiatonicism in his writing, and his music could be marked by sharp rhythmic interjections, but his embracing of diverse strands of musical thought makes characterizing his body of work difficult. This trend continued throughout his compositional career.
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Often, and with increasing frequency in the nineteenth century, (but by no means exclusively) the secondary theme is marked by a quieter, more lyrical character than the energetic TR that preceded it. The main objective of the S action space, however, is to confirm the new key with a perfect authentic cadence. This cadence is the overarching goal of a sonata exposition, and its equivalent moment in the recapitulation is the chief goal of the sonata form as a whole. Thus S space is often characterized by dramatic methods of delaying this cadential arrival.
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Japanese Kindergarten (between 1934 and 1939, Private Collection) Relocating to Vancouver in 1934, she studied oil painting with Jock Macdonald, Fred Varley and life drawing with Tonshek Ustinov (1903–90) at the British Columbia College of Art. This short-lived art school was formed in 1933 by artists disgruntled with the Vancouver School of Decorative and Applied Arts, forerunner of the Vancouver School of Art. Biller’s later work consists primarily of landscapes and genre scenes in an expressionist style, akin to but more lyrical than her contemporary Emily Carr. Her early illustrations owe much to Arthur Rackham and his circle.
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While touring in 2012, Crosby, Stills, & Nash revived the song; a six-minute recording is included on CSN 2012. In the mid-1980s, Young wrote a country music-influenced song titled "Beautiful Bluebird". Biographer Martin Halliwell calls it "a revival... in a more lyrical mode [as] Young reaches for a similar metaphor to Stills when the song turns from a musing on home to reflect on a lost love that has flown away." "Beautiful Bluebird" was originally intended for Young's Old Ways (1985) album, but finally released as the opening track on Chrome Dreams II (2007).
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Italo house (often simply referred to as "Italian" or "Italian house" in the UK) is a form of house music originating in Italy. Typically popular in Italy, Britain and United States since the late 1980s, it fuses house music and Italo disco. The genre's main musical characteristic is its use of predominantly electronic piano chords in a more lyrical form than classic Chicago house records. The best known example is Black Box's "Ride on Time", but the genre became very popular in the late 1980s and early 1990s for the uplifting and anthemic tunes against the background of indie-dance.
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During the 1990s, as Cutler's mature style developed, the complicated rhythms were gradually replaced with simpler, but still motoric, jazz inspired rhythms whilst the atonal element lost ground to allusions to Eastern-European modality and jazz. This is seen in one of his most popular works, Sal's Sax (1996), written for the De Ereprijs Ensemble. In more recent years, Cutler has developed a more lyrical side along with his influences from postminimalism, which led to works such as Awakenings (1998) and Sikorski (2005). In 2008, Cutler won the Chamber Music Category in the BBC Composer Awards with his piece, 'Folk Music'.
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Taravillo Luis Cernuda vol 1 Años españoles p 258 In "III", the theme is the emptiness left by the passing of love - just as in "Telarañas cuelgan de la razón" from Los placeres prohibidos - but rendered in a much simpler, more lyrical fashion. "IV" shows how the dreams and aspirations of youth are destroyed when they soar too high - probably a reference to the myth of Icarus. "VII" returns to the enclosed world of the early poems, suggesting that despite all his experiences the poet is still an unfulfilled dreamer. "XII" suggests that love alone makes life real.
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9 The quartet and quintet were premiered at the Wigmore Hall on 21 May 1919. The Manchester Guardian wrote, "This quartet, with its tremendous climaxes, curious refinements of dance-rhythms, and its perfect symmetry, and the quintet, more lyrical and passionate, are as perfect examples of chamber music as the great oratorios were of their type.""Elgar's New Chamber Music", The Manchester Guardian, 22 May 1919, p. 10 By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919.
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For the band's second album the group, working with Meat Loaf producer Alan Shacklock, devised a prequel storyline to their first album. The second act details the rise of Albert Wily to power, the rivalry between himself and Thomas Light, and the tragic events which brought the City under Wily's control. The band stated that Act II was designed to sound cleaner, reflecting a time "before the bomb dropped". Accordingly, the second album reflects a much broader range of musical styles and more lyrical instrumentation, embracing references from Ennio Morricone to Bruce Springsteen to Shacklock's own Babe Ruth.
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Capdenat expressed his goal as "music open to the acquisitions of contemporary language yet retaining the desire to be clear and lyrical and avoiding both demagogy and neo- romanticism". He composed music in genres from chamber music to opera, including aleatoric music, electroacoustics, repetitive music and serialism. After works which were then "avant-garde", he turned to more lyrical music. He composed Croce e delizia for Mady Mesplé, the opera Sébastien en martyr for the Tours Opera, his Requiem for the Festival d’art sacré at Dax, and Le condamné à mort and Une Carmen for the Opéra Éclaté.
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The origin of this minor planet's name is uncertain. Originally, the asteroid was named "Elsbeth" – the Austrian variant of "Elisabeth" – and only later changed into a more lyrical "Elsa" with the consent of the discoverer, Johann Palisa. It may have been named after the character in the legend of Lohengrin perpetuated by Richard Wagner's opera of the same name. It may also refer to the Empress Elisabeth of Austria (1854–1898), or to a relative of Admiral Bourgignon, who requested the naming, as he was the military superior of the discoverer at the Naval Observatory at Pola.
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The second movement returns to a more lyrical theme with the Españoleta, which has a particularly haunting tune with rich accompaniment of the strings. The contrasting middle section of this movement, Fanfare de la Cabellería de Nápoles (Fanfare for the Cavalry of Naples), brings in rapid, discordant drum beats along with the accompaniment of the guitar and spectral fanfares for trumpet and flute. The Españoleta is then reprised to conclude the movement. The third movement, Danza de las Hachas (Dance of the Axes), has an energetic dance beat, largely supported by a crescendo from the orchestra.
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27 September 2011. In analyzing "I Want You Women up North to Know" Constance Coiner notes Olsen's opposition to what she calls "the bourgeois poet" when Olsen parodies more lyrical language which would not be considered appropriate for the harsh content of the poem in lines 21-29. According to Coiner, Olsen believed overly artistic language would distance the reader from the true experience of the women in the poem. Her mimicry of "the bourgeois poet" parodies what Coiner refers to as a "tradition of 'romanticizing' the worker" which would counteract the political agenda of proletariat writing.
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The cabaletta "" following the more lyrical "" from the "mad scene" (Act 3, Scene 2), has historically been a vehicle for several coloratura sopranos (providing a breakthrough for Dame Joan Sutherland) and is a technically and expressively demanding piece. Donizetti wrote it in F major, but it is often transposed down a tone (two half-steps) into E-flat. Some sopranos, including Maria Callas, have performed the scene in a ' ("as written") fashion, adding minimal ornamentation to their interpretations. Most sopranos, however, add ornamentation to demonstrate their technical ability, as was the tradition in the bel canto period.
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The first movement, approximately fourteen minutes, begins with a distinctive main theme that recurs in various manifestations. This theme is developed for about one minute and sets a heavy, uncertain air. After the introductory material concludes, the second, more lyrical theme is presented by violas and expanded by the woodwinds, displaying Dohnányi's talent for rich harmony and engaging orchestration. Although a generally quiet section, it is periodically accented with louder strings; the last accent does not fade and grows in expectation of a passionate high point, but is violently and abruptly interrupted by a burst from the brass and a subsequent use of snares.
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It is most evident on two paintings for the church altar of John the Baptist in Kroměříž. Its development lacks obvious drama or a representative sample of altarpieces in Opava parish church of the Assumption, which are often seen as the most perfect, do not lose connection to the Rococo works of his early creative period. Some critics, however, see more inspiration coming from the works of Michelangelo Unterberger, a professor at the Vienna Academy, whose work was a kind of moderate variant of the former academic uniform style, especially for it suggests a simple, clear compositional solutions and more lyrical, moderate tone of works by both artists.
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Pianist-composer Ng Chong Lim inhabits the ground between atonalism and aleatoric music based on the live interaction of more tonal fragments. Preferring a more lyrical and tonal language, the music of Adeline Wong and Johan Othman are colourful and rhythmically vibrant. Othman in particular combines a quasi minimalist approach with elements of Malaysian aesthetics tempered with jazzy undercurrents to fashion a truly recognisable Malaysian sound, while Wong has a unique way of building complex structures from basic harmonic material and rich sound colours. Ahmad Muriz Che Rose works with a more populist approach to Malay traditional instruments in a contemporary language through his work with the Petronas Performing Arts Group.
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The Concerto is characterized by consistency and formal balance, which produces a satisfying sense of unity. Another prominent feature is the syncopated energetic rhythm that is typical of Piston's music. This is particularly prominent in the scherzo, which employs delicate percussion tapping also typical of the composer. The three fast movements are in each in an A-B-A ternary form with a more lyrical B section providing contrast to the more vigorous outer parts. The last movement begins with a stately introductory Allegro in duple meter followed by the finale proper, a Vivo in changing meters (7/8, 5/8, 3/4, etc.).
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He resumed his singing career during the later years of the war, but most of his subsequent engagements were in provincial opera houses, especially in the south of France, though he also sang in Brussels. He returned to the Opéra-Comique in Paris in 1921/1922 and probably appeared there again during the 1920s, but he never sang at the Paris Opéra. The ringing and heroic quality of his voice made him an ideal choice for certain heavy and dramatic tenor parts, but he never abandoned some of the more lyrical roles of the French repertoire. During World War II Vezzani spent time in North Africa, singing frequently in Algiers.
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189 She began her career singing mostly soubrette roles, such as Blonde, Susanna and Despina; but she gradually expanded to light coloratura parts, such as Adina, Norina, Marie, Oscar, Nanetta and Zerbinetta, later adding more lyrical roles such as Pamina, Juliette and Manon. She also excelled in operas by Purcell, Handel, and Haydn, in which she can be heard on several recordings. From 1969 to 1980 she was married to the conductor Steuart Bedford, with whom she recorded the role of Alison in Holst's The Wandering Scholar. A singer with a pure and silvery voice, secure coloratura technique and delightful stage presence, Burrowes retired from the stage in 1982.
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The effect is like listening to a gigantic toccata or chorale prelude. Sometimes the effect is predominantly that of dance-music, as in the Symphony No.9, which sounds for long stretches like a huge Mahler scherzo, sometimes the effect is grimmer, with march rhythms or angry declamation predominating, as in the Symphony No.13. Pettersson maintains the listener's interest by varying the sounds and moods of the different sections, so some are more lyrical, others faster and more angry. The architecture of his symphonies is built on similar thematic material emerging at key points in the work (rather than classical statement-development-recapitulation), by rhythmic vitality and tonal progression.
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" Roger Moore of Orlando Sentinel gave the film two out of five stars. He said the script "has a more lyrical bent, and a more satiric bite, than any of the other Saw sequels" and called the acting "perfunctory on most fronts". Robert Abele of the Los Angeles Times gave the film a negative review, writing "But, really, do reformers and victims of callous health insurers really want a guy with a penchant for elaborately constructed death panels of his own to be their advocate? Elsewhere, the usual critiques apply: terrible acting, zero suspense, laughable logic and the promise of another one next year.
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Kivinov's first book - "A Nightmare on Strikes Street" ("Koshmar na Ulitse Stachek")– was written in his spare time for the amusement of his friends and colleagues. However, in 1994 it was published, and its popularity has resulted in it being reprinted twenty times. Since 1994, he has published one book a year, with most of his works falling into the detective crime genre, although some of his novels do explore more lyrical and romantic themes. Some of his more popular works include, "Doomed Cop"("Ment Obrechennii"), "The Trail of the Boomerang"("Sled Bumeranga"), "Die Cast"("Umirat Podano"), "High Voltage"("Visokoe Napriazhenie") and "Saucer Full of Secrets"("Polnoe Bludse Sekretov").
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In its pure form, vibrato is usually achieved by twisting the wrist rapidly to bend the note slightly, moving to and from the starting pitch. The speed of the vibrato oftentimes has a great effect on the way the note is perceived, with faster vibratos commonly adding tension and stress, while slower vibratos produce a more lyrical sound. The slowest of vibratos can be used to imitate a bowed instrument "growing" a note after its initial inception. Even though this effect refers to volume in bowed instruments, having a pitch variation that follows the same structure of the volume variation in many situations can have the same effect for the listeners.
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He made his debut in his native Livorno, as Cavaradossi in Giacomo Puccini's Tosca in 1923. He sang as first tenor at the Rome Opera from 1930 to 1950, and was also a regular guest artist at La Scala, Milan, and the Verona Arena. Outside Italy, he appeared at the Paris Opéra, the Lyric Opera of Chicago (1937–38), the Metropolitan Opera in New York (1938–39), and the Teatro Colón in Buenos Aires (various years). Masini was particularly acclaimed in roles such as Alvaro, Radames, Loris and Calaf, although he also enjoyed success in more lyrical parts, notably as Edgardo, Rodolfo and Pinkerton.
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It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. High in the first violin there appears the song of a bird the composer believed to be a scarlet tanager; however, the song was likely not that of the tanager. Second section of the scherzo The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.
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In addition to "Guys from our neighborhood", the most popular songs on the new album were "There, past the mists" (), "Years" (), and "Starlings" (). The new album featured more lyrical, slower tempo songs that spoke to human relationships and nostalgia for days gone by. In early 1998, Lyube took part in a concert celebrating the famous Russian singer Vladimir Vysotsky, where they covered two of Vysotsky's hits: "On soldiers' mass graves" () and "Song about stars" (). Rastorguyev also lent his vocal talent to recording the song "Borders" () from the film "Hot spot" () and the song "There is only the moment" () from the film "The Sannikov Land" () for inclusion in the third collection of the series "Old songs about what matters" ().
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The work is in standard four- movement form and scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. #Allegro moderato (sonata form; C minor, ending in C major) #Andante (variation form; E major) #Menuetto – Trio (ternary form, C minor, trio in C major) #Finale: Vivace (rondo form; C major) The first movement opens with the main theme, which consists of two contrasting parts—the first is strong in character and the second is more lyrical. The transition to the relative major has elements of the head of the main theme. The secondary theme contrasts the main theme by being very subtle in nature, and has a dance-like rhythm.
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Stephan Roll (pen name of Gheorghe Dinu, also credited as Stéphane, Stefan or Ștefan Roll; June 5, 1904 – May 14, 1974) was a Romanian poet, editor, film critic, and communist militant. An autodidact, he played host to the Romanian avant-garde at his father's dairy shop, publishing his work in short-lived reviews and in two volumes of poetry. As one of the editors of the magazine unu, he turned from Constructivism, Futurism and jazz poetry to the more lyrical format of Surrealism. Roll's political radicalism seeped into his avant-garde activity, and produced a split inside the unu group; Roll's faction discarded Surrealism in favor of proletarian literature, and affiliated with the underground Romanian Communist Party.
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The opening bars of the Hammerklavier sonata The first movement opens with a series of fortissimo B-major chords, which form much of the basis of the first subject. After the first subject is spun out for a while, the opening set of fortissimo chords are stated again, this time followed by a similar rhythm on the unexpected chord of D major. This ushers in the more lyrical second subject in the submediant (that is, a minor third below the tonic), G major. A third and final musical subject appears after this, which exemplifies the fundamental opposition of B and B in this movement through its chromatic alterations of the third scale degree.
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The album was strange for its time, featuring Velvets-influenced basic three-chord rock ("Roadrunner" – based on just two chords – is an homage to "Sister Ray") at a time when glam and progressive rock were the norm. Later in 1972, the group recorded with producer Kim Fowley; these demos were eventually released in 1981 as The Original Modern Lovers. Despite playing live regularly, the Modern Lovers had a difficult time securing a recording contract. By late 1973, Richman wanted to scrap the recorded tracks and start again with a mellower, more lyrical sound, influenced by the laid-back local music he had heard when the band had a residency at the Inverurie Hotel in Bermuda earlier in the year.
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Named for its tanam-like rhythmic qualities, tana varnams only have lyrics for the pallavi, anupallavi and charanam.Royal Carpet: Glossary of Carnatic Terms T With rhythmic elements like a padam, pada varnams are generally sung to accompany South Indian classical dance, including bharatanatyam.Royal Carpet: Glossary of Carnatic Terms P Unlike the tana varnam which only has lyrics for the pallavi, anupallavi and charanam and swaras for the rest of the sections a pada varnam also have lyrics that correspond to the muktaayi and chitta swaras of the varnam, so generally, pada varnams contain more lyrical content than a tana varnam. The swaras in this type of varnam are suitable for intricate footwork.
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According to Battlelore's official MySpace website, Bolt Thrower, Emperor, The Gathering, Kyuss, Black Sabbath, Morbid Angel, Katatonia, Anathema, My Dying Bride, Iron Maiden, W.A.S.P., Zakk Wylde, Dissection and Theatre of Tragedy are some of the artists who influenced the music of the band. Battlelore's lyrics are about Middle-earth characters and events described by the British author J. R. R. Tolkien in The Lord of the Rings trilogy of books and in The Silmarillion. More lyrical inspiration comes from medieval literature and the Kalevala. Starting with the album Evernight, the band deliberately decided not to use names or places taken from the imaginary of Tolkien, although his works remain the main inspiration for their lyrics.
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Lynn held a public remix contest for his Turn Me Out (single) and released the top 5 mixes on the Turn Me Out (Remix EP) in August 2012. He released a new 10 song album on December 4, 2012 called Tramp Stamps and Birthmarks. The record was named "Album of the Year" by multiple media outlets. A review in the Willamette Week read "Former Dandy Warhols protégé Portland electropopper Logan Lynn is back with 'Tramp Stamps and Birthmarks', a layered confection of shiny beats, blips and synths with more lyrical heft than the average dance-floor soundtrack". In January 2013 Lynn released the music video for "Hologram", directed by Adrian Sotomayor and Aaron Bear.
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This tape was produced under the title "Grazhdanskaya Oborona" or "GO-85". The album was recorded in 1984/1985, but was re-recorded in 1988 by E. Letov and Kuzya Uo. Participants in the recording of the album in 1985 was Andrey Babenko (Boss), Oleg Ivanovsky and Valery Rozhkov, who played the flute in the song "Optimizm". The album is lighter and more lyrical in comparison with the debut album and made in the genre of post-punk and garage rock. The song "Sobaka", "Na nashikh glazakh" and "Optimizm" was played in the genre reggae and folk. Songs of this album were composed by Letov and Kuzya Uo back in the band «Posev» in 1983.
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Malayalam literature is ancient in origin, and includes such figures as the 14th century Niranam poets (Madhava Panikkar, Sankara Panikkar and Rama Panikkar), whose works mark the dawn of both modern Malayalam language and indigenous Keralite poetry. The Triumvirate of poets (Kavithrayam: Kumaran Asan, Vallathol Narayana Menon and Ulloor S. Parameswara Iyer) are recognized for moving keralian poetry away from archaic sophistry and metaphysics and towards a more lyrical mode. Poets like Changampuzha, Cherusseri, Pallathu Raman, and Edappally Raghavan Pillai also contributed to bring Malayalam poetry to the common man. Later, such contemporary writers as Booker Prize winner Arundhati Roy (whose 1996 semi-autobiographical bestseller The God of Small Things is set in the Kottayam town of Ayemenem) have garnered international recognition.
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Media response to Trapeze was generally positive. Eder praised the performances of the "core trio" of Galley, Hughes and Holland, who he claimed "[found] a good compromise with Rowley and Jones' more lyrical, psychedelic pop sensibilities", but noted that "it's clear that three of these musicians are holding back to one degree or another in these surroundings". He also highlighted "Fairytale" and "Am I" as the album's standout songs, which he claimed "[pointed] the way to [the band's] future sound" following their reduction to the aforementioned trio. Billboard hailed Trapeze as "a candidate for big chart action", praising the performance in particular of Hughes, highlighting "Send Me No More Letters" and "Fairytale", and praising the band's "strong rock personality" on the record.
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The "Kyrie" is divided into three portions, the first a dotted-rhythm "Kyrie eleison" for chorus in E-flat minor, the second, a more lyrical E-flat major "Christe eleison" for two tenors with the first minor-key section rounding out the prayer. The "Gloria" portion takes up the vast majority of the work and is split up into operatic-style "numbers", soprano soloists alternating with tenors, basses, etc. The high point, emotionally, comes at the "Qui tollis", which begins with a slow portion for chorus and tenor, then concludes with a brilliant cabaletta ("Qui sedes"), showing off the extreme upper end of the tenor's range. Critics of the time were slightly scandalized by Rossini's morphing of sacred ceremony into opera seria, and even buffa, at times.
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He was discovered by Swedish producer Moonshine, leading to his successful 2001 debut album E.X.H.A.L.E. The album Lockdown Sessions followed in 2004, and three years later he joined forces with Houston locals S.W.A.T. Music Project, changing his style to the more traditional Southern hip hop style with his collaboration album Empty Bottles and Full Ashtrays in 2008. Returning to his more lyrical, East Coast-influenced roots, he mounted a comeback with 2011's Interview with a Monster, letting it be known that his previous style was a "gross miscalculation" and that he was going to make music the way he feels and marks an official return. Zilla made his first appearance with Army of the Pharaohs on their fourth studio album, In Death Reborn, released in 2014.
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Lipp possessed a pure, supple high-soprano voice with an accurate coloratura technique and a so- called "white" tone. Her career, which began in soubrette and high coloratura roles, later progressed to more lyrical ones, such as Ilia in Mozart's Idomeneo, Countess Almaviva in his Figaro, Donna Elvira in his Don Giovanni, Pamina in his Die Zauberflöte, Eva in Wagner's Die Meistersinger von Nürnberg, Musetta in Puccini's La bohème, and the title roles of Flotow's Martha and Verdi's La traviata, among others. She made her United States debut as Nanetta in Verdi's Falstaff at the San Francisco Opera in 1962. The same year she performed as Pamina with Herbert von Karajan at the re-opening at Theater an der Wien as a festival theatre.
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The classical guitar vibrato is executed by rocking the tip of the left-hand finger(s) back and forth horizontally within the same fret space (i.e. along the string axis, and not across it as for a vertical "bend" in rock or blues music) producing a subtle variation in pitch, both sharper and flatter than the starting note, without noticeably altering the fundamental tonal focus of the note being played. The speed of the vibrato often has a great effect on the way the note is perceived, with faster vibratos commonly adding tension and stress, while slower vibratos produce a more lyrical sound. The slowest of vibratos can be used to imitate a bowed instrument "growing" a note after its initial inception.
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He entered the Brussels Academy in 1918 and was initially influenced by his tutors Jean Delville and Constant Montald, though in a vein that was more lyrical than intellectual."Portrait of the artist's wife", 1922; "Candor", 1922, private collection In the 1920s he produced large decorative works in tempera as well as developing his oil technique between 1926 and 1930 on portraits, nudes, interiors and landscapes. He also drew on old masters and their techniques, influencing his own work as well as his restorations. His studio was set on fire by a bomb in 1944, destroying most of his oeuvre, leading him to abandon painting to concentrate on restoration, in which he had been trained by his father-in-law Jef Van der Veken.
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It is speculated that this was due in part to the popular failure of the movie Aida, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera. Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Syria and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944. Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sonbati. While Sonbati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience.
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Anastasio contributed a strong rock lead guitar to the sets he played in, while Sless brought a softer, more lyrical quality. The relative lack of comment about these lineups compared to the earlier "Quintet" and later 2007-8 configuration suggests that they were not as popular with Lesh's core fan base, but they gave unique and varied interpretations to some of the Grateful Dead's classics along with numerous other songs. Furthermore, the fact that the entire tour was distributed online and later via Instant Live CDs, and a live DVD was made of an early concert at the Warfield (with Scofield and Osby), meant that the various configurations of the year's lineup left a larger body of recorded work than many groups that worked together for years.
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Distinguished critics have written about her work, such as Salvador Elizondo, Miguel Ángel Muñoz, Santiago Espinosa de los Monteros, Alberto Blanco and Gonzalo Velez. According to Salvador Elizondo, art critic from Milenio newspaper, these paintings represent the point at which the movement and life balance are expressive forms and unique heritage. Sandra Pani's paintings exhibited in her exposition of 1994 (Gallery Lourdes Chumacero) presume that had surfaced since then in this artist boldly pursued the ideal of Leonardo and Dürer: "Penetrating geomentría mechanisms and in the body, but in a less categorical, freer, more lyrical." She is an artist whose soul is for the moment obsessed with the body as a complex or synthesis of parts or figures that integrate pictorial poetics.
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The style of > writing is brilliant for all choirs of the orchestra. The main theme has a > Puckish lilt, not unlike Strauss' Till, and is expertly interwoven and > tossed about with ease among the different instruments. There is a second > theme of a more lyrical and wistful character which contrasts well with the > first, changing the mood for only a short time—the boisterous, loud main > theme bursting in again with joie de vivre and good fun... Although Leplin > is a string player himself, he has a fine feeling for the woods and brass > whether writing singly or in combinations for these choirs; nothing is > unclear; everything sounds clean and fresh. The work is of medium difficulty > for the performers demanding, nevertheless, good solo players.
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Although the music sometimes celebrates the plurality and vitality of Mexican society, it also acknowledges clear cultural and societal conflicts. Whereas the harsher, more modernist examples of this style, such as Esquinas and Ventanas (both 1931) were given a cool welcome by audiences, more lyrical, milder examples, such as Colorines (1932) and Janitzio, were enthusiastically received. In fact, in the annual poll taken at the end of the 1933 OSM season Janitzio came in first place with 221 votes, ahead of even Ottorino Respighi’s Pines of Rome (210 votes), Igor Stravinsky’s Firebird Suite (198 votes), and Robert Schumann’s Piano Concerto (142 votes). This was in sharp contrast with Ventanas, which had received only 27 votes in the previous year's poll .
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In the beginning, his music had a simple structure, but over time it matured into a more lyrical, richer, playful and more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat. This clean compás made him a favorite of beginning social tango dancers, while more advanced ones could enjoy the complexity and variations of his music. Because of this, di Sarli's orchestra was among the most popular ones during Carnival balls of his age and can still be heard at milongas in Buenos Aires and around the world today. Di Sarli moved beyond the style of the guardia vieja of tango and Julio de Caro's avant-garde, preferring to forge his own style without concession to the fashions of the day.
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In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau found Miles Davis at Fillmore to be less focused than Bitches Brew because the music meandered "unforgivably", particularly Chick Corea and Keith Jarrett's keyboard playing on "Wednesday". He said the tracks should have been edited down together to highlight the "treasures" they each offer, including "the cool atmospherics that lead off Wednesday, the hard bop in extremis toward the end of Thursday, the way Miles blows sharply lyrical over Jack DeJohnette's rock march and Airto Moreira's jungle sci-fi for the last few minutes of Friday, all the activity surrounding Steve Grossman's solo on Saturday". In The Rolling Stone Album Guide (2004), J. D. Considine said At Fillmore abandoned the more lyrical music of Black Beauty in favor of "a frenzied, clangorous approach".
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Among Harrison's other peers, Paul Simon described "Something" as a "masterpiece" and Elton John said: "'Something' is probably one of the best love songs ever, ever, ever written ... It's better than 'Yesterday,' much better ... It's like the song I've been chasing for the last thirty-five years." In a 2002 article for The Morning News, Kenneth Womack included Harrison's guitar solo on the track among his "Ten Great Beatles Moments". Describing the instrumental break as "the song's greatest lyrical feature – even more lyrical, interestingly enough, than the lyrics themselves", Womack concluded: "A masterpiece in simplicity, Harrison's solo reaches toward the sublime, wrestles with it in a bouquet of downward syncopation, and hoists it yet again in a moment of supreme grace." Guitar World included the performance as the magazine's featured solo in June 2011.
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From descriptions in Marie's lais, and in several anonymous Old French lais of the 13th century, we know of earlier lais of Celtic origin, perhaps more lyrical in style, sung by Breton minstrels. It is believed that these Breton lyrical lais, none of which has survived, were introduced by a summary narrative setting the scene for a song, and that these summaries became the basis for the narrative lais. The earliest written Breton lais were composed in a variety of Old French dialects, and some half dozen lais are known to have been composed in Middle English in the 13th and 14th centuries by various English authors.Claire Vial, "The Middle English Breton Lays and the Mists of Origin", in Palimpsests and the Literary Imagination of Medieval England, eds.
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In addition, he showed a preference for a declamatory, homophonic style, which he refined later in his career into a seconda prattica manner influential on Monteverdi, and he also showed a liking for high voices – something which turned out to be a defining characteristic of the music-making at the Este court in Ferrara. The poems he chose to set for his early books include examples by Pietro Bembo, Petrarch and Ariosto. Wert's style at mid-career began to change away from the Rore manner towards one more closely aligned with the Venetians, such as Andrea Gabrieli. Pure homophony became more common in his works, and he began to exploit registral and textural contrasts rather than switch from polyphony to homophony; in addition, his lines became more lyrical.
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In 1967, he became a member of the Artists' Union of Armenia. Seiran Khatlamadjian left a large number of paintings and drawings, some of which are exhibited in the Tretyakov Gallery (Moscow), National Gallery of Armenia, Contemporary Art Museum (Yerevan), Museum of Oriental Cultures (Moscow), Gnessins Music Institute (Moscow), Rostov Regional Museum of Local History, Nonconformist Art Museum (New Jersey, USA), and in a number of state buildings in Armenia such as the Constitutional Court, Residence of President, and National Assembly. His work is also exposit in many private collections in Armenia and abroad. Seiran Khatlamadjian show an emotional quality parallel with the art of Arshile Gprky. Khatlamajian has the vibrant line, but he is the more lyrical of in his finely executed drawings and his abstract canvases (1991-1994).
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Wagner himself calls this voice type "Hoher Bass" (high bass) rather than baritone. In his opera scores he distinguishes between the two so that Wolfram in "Tannhäuser" is labelled "Bariton", whereas Wotan in "Die Walküre" is called "Hoher Bass". Wolfram is a much more lyrical part than Wotan, and normally the same singer would not have both parts on his repertoire. Heldenbaritone parts are different from dramatic baritone parts in Italian operas (such as Scarpia in Puccini's "Tosca" or Iago in Verdi's "Otello") in that the Italian parts have a much higher tessitura and the vocal line is much more like that of a dramatic tenor, whereas the Wagner Heldenbariton is in effect a bass singer with a high register and only occasionally stretches to the high notes of the dramatic Italian baritone.
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" David Buchanan of Consequence of Sound found that Femme Fatale "is entirely rescued by backtracking to Circus-style material, with Rihanna-esque 'Gasoline', and the Ray Of Light-era Madonna influence in closing song 'Criminal'. Katherine St Asaph of Popdust said that as "a bad-boy track, it at least makes a bit more lyrical sense than 'Judas' and is more vulnerable than her past few singles, which is probably a good career move." Keith Caufield of Billboard commented that "while some of the lyrics are a teensy clunky at times – [it] is a fitting closer to a nearly-completely excellent album." Los Angeles Times writer Carl Wilson stated that the album's momentum "flags only on the closing 'Criminal', with its formless Renaissance fair flute line and a tempo [that is] joyless".
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Rufus Hallmark in German Lieder in the Nineteenth Century describes the song as 'rarely performed' and comments that it "offers examples of the Straussian word painting found in many of his lieder...the recurrent piano motive...dramatically anticipates [the] tumult of the storm...a subtle unifying idea in the vocal line is the simple stepwise quarter-note descent. The first two stanzas in G minor give way to G major and a more lyrical, calmer portrayal of drifting snowflakes and thoughts of love and springtime." Critic Charles Osborne has described it as "disappointingly pedestrian." However, the song may be experiencing a revival: two recent collections of Strauss songs, one from 2014 by American bass baritone Thomas Hampson and one from 2015 by German soprano Katharina Persicke have included the song in their selection.
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The overture, often played outside the context of the complete work in orchestral concerts, mostly consists of themes from the opera, including the Chorus of Hebrew Slaves and the warlike music when the Israelites curse Ismaele for his betrayal. A stage band is used extensively in the opera, both for the march accompanying Nabucco on his arrival and for Fenena's funeral march. Propulsive energetic rhythms are a notable feature of much of the music, contrasted with more lyrical moments, providing dramatic pace. Both the bass Zaccaria in his prayer "Vieni o Levita", a quiet piece with the unusual accompaniment of six cellos, and the baritone Nabucco in his mad scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor role of Ismaele is comparatively minor, unusual for a Verdi opera.
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Returning to his more lyrical, East Coast- influenced roots, V-Zilla mounts a comeback with Interview with a Monster, letting it be known that his previous style was a "gross miscalculation" and that he is going to make music the way he feels, and marks an official return. Many of the tracks on this album were self-produced; the album release comes with the tracks "Most Incredible", "The Rain" and "Duck Down" with Reef the Lost Cauze, and "Flatline" featuring Vinnie Paz and Blacastan. Paz asked V-Zilla to join Army of the Pharaohs in 2011, but it wasn't official until 2012 when it was announced he and Connecticut's Blacastan were added to the group. On 4 January 2013, V-Zilla released an EP titled The A.D.D.I.C.T. It contained self-produced tracks and production from Swedish producer and long time friend Moonshine.
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Later still, she appeared with a scratch Italian company in one of her most piquant roles, that of the flighty Adina in Donizetti's L'elisir d'amore, which she had also sung at La Scala and recorded for EMI. Carosio is most often remembered today as the singer whose indisposition in January 1949 led to Maria Callas learning and singing the role of Elvira in Bellini's I puritani in five days, while she was performing Brünnhilde in Wagner's Die Walküre at Teatro La Fenice in Venice. Latterly, she was noted in the more lyrical roles of Mimi and Violetta; her purity of tone and ability to convey vulnerability were very appropriate to these parts. As late as 1954, she returned to La Scala to appear in the house premiere of Menotti's Amelia Goes to the Ball, which she also recorded.
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Ole Paus (born 9 February 1947; full name Ole Christian Paus) is a Norwegian singer, songwriter, poet and author, who is widely regarded as the foremost troubadour of the contemporary Norwegian ballad tradition (). During the 1970s Paus was known for his biting social commentary, especially in his ironic and sometimes libellous "musical newspapers" in the form of broadside ballads in a series of albums titled "The Paus Post". He has later become known for a softer and more lyrical style, and has written some of Norway's best known songs, such as "Innerst i sjelen" and "Engler i sneen". He has often collaborated with Ketil Bjørnstad, notably on the "modern suite" Leve Patagonia; he has later collaborated with Kirkelig Kulturverksted on several projects, and with his son, the classical composer Marcus Paus, notably on the children's opera The Witches and several later works.
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The Charm garnered favorable reviews but music critics were divided by Bubba's decision to leave Timbaland for Big Boi and change his production and lyrical content. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 66, based on 18 reviews. Nathan Rabin of The A.V. Club praised the production work from Organized Noize and Bubba for still being able to deliver strong philosophical lyrics with bits of humor in them, concluding that "Sparxxx will probably never move enough units to justify his early billing as rap's next great white hope, but creatively, he continues to exceed even the loftiest expectations". Soren Baker of the Los Angeles Times also praised Organized Noize's production for making Bubba sound commercially viable while allowing him to add more lyrical depth to his repertoire.
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Malayalam literature starts from the late medieval period and includes such notable writers as the 14th-century Niranam poets (Madhava Panikkar, Sankara Panikkar and Rama Panikkar), and the 17th- century poet Thunchaththu Ezhuthachan, whose works mark the dawn of both the modern Malayalam language and its poetry. Paremmakkal Thoma Kathanar and Kerala Varma Valiakoi Thampuran are noted for their contribution to Malayalam prose. The "triumvirate of poets" (Kavithrayam): Kumaran Asan, Vallathol Narayana Menon, and Ulloor S. Parameswara Iyer, are recognised for moving Keralite poetry away from archaic sophistry and metaphysics, and towards a more lyrical mode. In the second half of the 20th century, Jnanpith winning poets and writers like G. Sankara Kurup, S. K. Pottekkatt, Thakazhi Sivasankara Pillai, M. T. Vasudevan Nair and O. N. V. Kurup had made valuable contributions to the modern Malayalam literature.
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By 1986 Fraser had already evolved in a looser, more lyrical watercolor style, and by 1989 had started producing his first oil paintings created from life in open air—en plein air—a style based on an impressionistic rendering of light, color and atmosphere on the forms of landscapes, city scenes, and marine views. Since then he has explored his vision in this vein — constantly developing his formal and expressive skills in portraying subjects ranging from panoramic urban rooftop views, to intimate streetscapes, to remote island marshlands. Working in plain air liberated Fraser from his studio, placing him into the rich fabric of urban life, or by contrast, into unspoiled natural environments, where he has recreated the light and colors of seasons, times of day, and varied atmospheric effects on landscapes and city scenes. In 1990, he shifted to representational/plain air painting in oil.
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While the lyrics of the first Brass Construction album centred on the repetition of simple words, leaving audiences to interpret the songs as they wished, Brass Construction II features more lyrical work; Muller felt the album "gets closer to what we want to say" and said: "I tend to write in a simple way so that we can get over to the maximum number of people with our work." Each of the song names features a word in parentheses; Muller explained that these words "define each song," adding that he chose the name "Funktion" – suffixing "Ha Cha Cha" on side one – as a way to "bring out the humorous aspects of life. But the songs on that side are more serious." "Ha Cha Cha" is a largely instrumental piece with a double-time tempo and a more layered sound than the group's previous material, densely weaving horn and string lines.
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According to Spinetta, his fellow band members did not share the more "lyrical" vision that he was developing, and wanted to change the style of the band into rock and roll and blues. Both Amaya and Cutaia have said that they wished to play something "more bluesy", with the latter explaining that they wanted Lebón to participate more as a composer and get away from Spinetta's more complex compositions. However, Lebón and López have denied that there was a plan to turn Pescado Rabioso into a blues band. Spinetta told Eduardo Berti in 1988: > I experienced that as a great paradox: Pescado Rabioso was me, and I could > have had those musicians like others; I wanted to play my songs, express how > I felt, and it seemed like a deformity to start to make rock and blues songs > as if it were the time of Manal.
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The most famous heroic tenor of his age, Tamagno performed in 26 countries, gaining renown for the power of his singing, especially in the upper register. Tamagno was among the rare species of singers known as a tenore robusto or tenore di forza, and critics likened the sound of his voice to that of a trumpet or even a cannon. Tamagno's vocal range extended up to high C-sharp during his prime, but he was no mere ”belter” of high notes; his recordings provide evidence of his ability, even at career's end, to sing softly when required, modulating the dynamic levels of his voice with skill and sensitivity. Best known as the creator of the protagonist's part in Verdi's Otello at La Scala, Milan in 1887, he also was the first Gabriele Adorno in Verdi's 1881 revision of Simon Boccanegra, a far more lyrical assignment than the "Moor of Venice".
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Photograph by André-Adolphe-Eugène Disdéri Tamberlik succeeded Gaetano Fraschini (1816–1887) as Italy's leading tenore robusto, and he ranked behind only the more lyrical-voiced Giovanni Matteo Mario as the most celebrated Italian tenor of the middle decades of the 19th century. (Indeed, he and Mario actually sang together in a production of Meyerbeer's Robert le diable at Covent Garden.) According to contemporary accounts of his singing, Tamberlik possessed a big, incisive voice with a pervasive vibrato (for which he was criticised by some English music critics) and ringing top notes—including a potent top C-sharp delivered in full chest voice. These virile vocal attributes, coupled with an imposing appearance, made him an exceptionally exciting interpreter of dramatic roles, especially such parts as Jean in Le prophète, Arnoldo in Guglielmo Tell and Manrico in Il trovatore. Other notable roles of his included (Rossini's) Otello, Pollione, Arturo, Ernani, Robert le diable, Faust, Don Ottavio, Florestan, Max, Poliuto and Cellini.
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The first exploits her low register and uses several glissandos in the air "J'ai triomphé d'un Monstre affreux" (act II). The second shows the lightness of her voice through the developed vocalizations of the air "Tout rit" and "Battez Tambours" from act I. On the men's side, Denis-François Tribou, whose Haute-contre voice is generally more lyrical than his predecessors Murayre, Jacques Cochereau and Pierre Chopelet, receives some heroic vocalizations in his recitative "Je goûtais le repos..." (act I) and the air "Fille du Dieu puissant..." (act IV). Claude Chassé also finds occasions to show his vocal extension and flexibility with vocalizations and ornaments in the air "Ô Vous que le Destin..." (prologue) and "Unissez vos voix" (act III). Lacoste also employs this more melodic and virtuoso compositional style in duets, like in the duet between Orion and Alphisa "Vole, Amour..." (act IV), remarkable for its attacks in the higher register and melodies in triplet.
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Unless the story took place during a spring training game, for which there would be very limited records, Ken is misremembering the story or he has taken liberties to give it a more lyrical and apocryphal spin. Fact-checking was conducted as part of the Feb 2020 update to this page, whereby Ken’s regular season career home run log was reviewed. Ken never hit two home runs off of Whitey Ford in a single game, as he described. He had two homers off of Ford in his career, but they were in different games separated by two years and neither occurred in the 1st inning. Specifically, they occurred on 9–4–64 in the bottom of the 3rd and two years later, on 7–2–66 also in the bottom of the 3rd (during Ken's time with the Washington Senators). Given the paragraph above, Ken would likely be recalling the 9–4–64 home run.
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It was Richard Wagner's music that inspired Dallapiccola to start composing in earnest, and Claude Debussy's that caused him to stop: hearing Der fliegende Holländer while exiled to Austria convinced the young man that composition was his calling, but after first hearing Debussy in 1921, at age 17, he stopped composing for three years in order to give this important influence time to sink in. The neoclassical works of Ferruccio Busoni would figure prominently in his later work, but his biggest influence would be the ideas of the Second Viennese School, which he encountered in the 1930s, particularly Alban Berg and Anton Webern. Dallapiccola's works of the 1920s (the period of his adherence to fascism) have been withdrawn, with the instruction that they never be performed, though they still exist under controlled access for study. His works widely use the serialism developed and embraced by his idols; he was, in fact, the first Italian to write in the method, and the primary proponent of it in Italy, and he developed serialist techniques to allow for a more lyrical, tonal style.
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Sarah Herring, "Six Paintings by Corot: Methods, Materials and Sources", National Gallery Technical Bulletin, Volume 3, 2009, p. 86 Accessed May 26, 2014 After he reached his 50th year, his methods changed to focus on breadth of tone and an approach to poetic power conveyed with thicker application of paint; and about 20 years later, from about 1865 onwards, his manner of painting became more lyrical, affected with a more impressionistic touch. In part, this evolution in expression can be seen as marking the transition from the plein-air paintings of his youth, shot through with warm natural light, to the studio-created landscapes of his late maturity, enveloped in uniform tones of silver. In his final 10 years he became the "Père (Father) Corot" of Parisian artistic circles, where he was regarded with personal affection, and acknowledged as one of the five or six greatest landscape painters the world had seen, along with Meindert Hobbema, Claude Lorrain, J.M.W. Turner and John Constable. In his long and productive life, he painted over 3,000 paintings.
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The Canadian EP pressing also used British stampers. Bruce Eder of AllMusic writes: "The real centerpiece was Arthur Alexander's 'You Better Move On,' an American-spawned favorite that the band had been doing in concert — this was their chance to show a softer, more lyrical and soulful sound that was every bit as intense as the blues and hard R&B; they'd already done on record..." "Bye Bye Johnny" and "Money" did not see official US release until 1972's retrospective More Hot Rocks (Big Hits & Fazed Cookies); "You Better Move On" was featured on 1965's December's Children (And Everybody's); and "Poison Ivy" was issued in 2002 on the remastered version of More Hot Rocks. Unavailable for decades, The Rolling Stones was reissued on Compact Disc in 2004 on the Singles 1963–1965 box set through ABKCO Records. In November 2010, it was made available as part of a limited edition vinyl box set titled The Rolling Stones 1964-1969, by itself digitally at the same time, and in 2011 as part of the 60's UK EP Collection digital compilation.
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As an instance of Revueltas's harsher, more abstract, and modernist style Ventanas, as also Esquinas were poorly received by audiences, in contrast to his more lyrical and tonal examples, such as Colorines and Janitzio, were warmly praised . On 8 September 1944, Aaron Copland wrote, in a letter to Arthur Berger from Tepoztlán, Mexico: A 1999 review of Esa-Pekka Salonen's recording rates Ventanas somewhat higher, as a "minor masterpiece", in fact, describing it as cinematic and rhapsodic with primitive, ritualistic episodes recalling Sensemayá, but also with "delightful interludes in the Mexican folk style, a blues-tinged oboe theme, impassioned violins, and a drunken, orgiastic coda that builds to an appropriately festive climax" . The work has been interpreted as an example of Revueltas's representation of Mexican society, in which different cultural, ethnic, and social-class differences do not coexist peacefully, much less are brought into a harmonious or even dialectical synthesis. Although the music "sometimes clearly celebrates the plurality and vitality of Mexican society, the audible violence of the music, more openly in some pieces than in others, acknowledges clear conflicts among cultures and between premodern and modern social structures with their associated class configurations" .
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Other major Wagnerian baritones have included Hotter's predecessors Leopold Demuth, Anton van Rooy, Hermann Weil, Clarence Whitehill, Friedrich Schorr, Rudolf Bockelmann and Hans Hermann Nissen. Demuth, van Rooy, Weil and Whitehill were at their peak in the late 19th and early 20th centuries while Schorr, Bockelmann and Nissen were stars of the 1920s and 1930s. In addition to their heavyweight Wagnerian cousins, there was a plethora of baritones with more lyrical voices active in Germany and Austria during the period between the outbreak of WW1 in 1914 and the end of WW2 in 1945. Among them were , Heinrich Schlusnus, Herbert Janssen, Willi Domgraf- Fassbaender, Karl Schmitt-Walter and Gerhard Hüsch. Their abundant inter-war Italian counterparts included, among others, Carlo Galeffi, Giuseppe Danise, Enrico Molinari, Umberto Urbano, Cesare Formichi, Luigi Montesanto, Apollo Granforte, Benvenuto Franci, Renato Zanelli (who switched to tenor roles in 1924), Mario Basiola, Giovanni Inghilleri, Carlo Morelli (the Chilean-born younger brother of Renato Zanelli) and Carlo Tagliabue, who retired as late as 1958. One of the best known Italian Verdi baritones of the 1920s and 1930s, Mariano Stabile, sang Iago and Rigoletto and Falstaff (at La Scala) under the baton of Arturo Toscanini.
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He quickly became a favorite with the audience in comic roles, such as Bartolo in The Barber of Seville and Dulcamara in Elisir d'amore, though he also excelled in more lyrical and dramatic repertory. In his 27 seasons with the company, he sang, notably, Rodolfo in La sonnambula, Giorgio in I puritani, Raimondo in Lucia di Lammermoor, Silva in Ernani, Wurm in Luisa Miller, Sparafucile in Rigoletto, Fra Melitone in La forza del destino, Philippe II in Don Carlos, Pogner in Die Meistersinger von Nürnberg, Timur in Turandot, and other roles. He created the role of Enobarbus in Samuel Barber's opera Antony and Cleopatra for the opening of the new Metropolitan Opera at Lincoln Center on September 16, 1966. Flagello possessed a dark and very rich voice with a remarkable upper register extending to high A. He left an impressive discography which includes Così fan tutte, opposite Leontyne Price, Tatiana Troyanos, George Shirley, Sherrill Milnes, under Erich Leinsdorf, Lucrezia Borgia, opposite Montserrat Caballé, Alfredo Kraus, Shirley Verrett, Lucia di Lammermoor and Luisa Miller, both opposite Anna Moffo and Carlo Bergonzi, Rigoletto, opposite Robert Merrill and under Georg Solti, Ernani, Ballo in maschera, Forza del destino, all opposite Leontyne Price.
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