Eva Salina lent her poised, lustrous voice to complexly morose songs from the Balkans in a duo with the Serbian-style accordionist Peter Stan, who backed her with oompah chords and puckish, skittering obbligatos.
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On original pieces and, unexpectedly, covers of jazz standards ("Ruby, My Dear" and "Four"), he played little flurrying obbligatos and flights around a single note, softly splitting tones or warbling or breathing through the horn while clacking on its keys.
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Music is an integral part of mass. It accompanies various rituals acts and contributes to the totality of worship service. Music in mass is an activity that participants share with others in the celebration of Jesus Christ. Masses can be a cappella, for the human voice alone, or they can be accompanied by instrumental obbligatos up to and including a full orchestra.
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The lyrics on House of Music are described by several journalists as witty and sensitive.; ; . Michaelangelo Matos of the Chicago Reader characterizes Saadiq's songwriting as playful and quirky, while comparing his tenor singing voice to that of a young Michael Jackson. Of Wiggins, Matos says his melodies and rhythms are subtler than those of Saadiq and observes "burnished obbligatos, hushed burr, and starry-eyed falsetto" in his singing.
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He accompanied her with flute obbligatos at fashionable social gatherings and at Queen's Hall, London. He also performed with Adelina Patti in Albert Hall, toured with her and in 1896 with Amy Sherwin in South Africa. When he returned to Australia in 1897, he changed career path and began work as a manager for international artists, including pianists Mark Hambourg and Paderewski as well as Melba. He also selected internationally known performers for the 1911 J. C. Williamson opera season.
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Italian marches have a very light musical feel, often having sections of fanfare or soprano obbligatos performed with a light coloratura articulation. This frilly characteristic is contrasted with broad lyrical melodies reminiscent of operatic arias. It is relatively common to have one strain (often a first introduction of the final strain) that is played primarily by the higher-voiced instruments or in the upper ranges of the instruments' compass. A typical Italian march is "Il Bersagliere" (The Italian Rifleman) by Boccalari.
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Harlem Speaks (1935) is a jazz song by Duke Ellington, made in response to the film Africa Speaks (1930). Ellington recorded the song at Decca Studios in London, England. Gunther Schuller said that the London recording was his best recording, "a typical array of “hot” solos (the way Spike Hughes liked them), ending with an all-stops-pulled-out ensemble chorus, replete with riffing brass, torrid Nanton growls, and surging Bigard obbligatos." It was also recorded by Charlie Barnet in 1941.
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Covent Garden's orchestra played splendidly, with the opera's famous obbligato clarinet and basset-horn obbligatos both dispatched with distinction. Conducting, Davis infused the album with all the energy of a live performance, eliciting "taut rhythms, firm accents [and] a general urgency". It was obvious that Davis, his orchestra and several of his soloists had profited greatly having presented Tito at Covent Garden. Well recorded and well balanced, the album was certainly the best version of the opera yet committed to disc.
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Later in his youth, Bechet studied with Lorenzo Tio, "Big Eye" Louis Nelson Delisle, and George Baquet. Bechet played in many New Orleans ensembles using the improvisational techniques of the time (obbligatos with scales and arpeggios and varying the melody). He performed in parades with Freddie Keppard's brass band, the Olympia Orchestra, and in John Robichaux's dance orchestra. From 1911 to 1912, he performed with Bunk Johnson in the Eagle Band of New Orleans and in 1913–14 with King Oliver in the Olympia Band.
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The initial performances as a string orchestra at St Martin-in-the-Fields played a key role in the revival of Baroque performances in England. The orchestra has since expanded to include winds. It remains flexible in size, changing its make-up to suit its repertoire, which ranges from the Baroque to contemporary works. Neville Marriner continued to perform obbligatos and concertino solos with the orchestra until 1969, and led the orchestra on recordings until the autumn of 1970, when he switched to conducting from the podium from directing the orchestra from the leader's desk.
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The breakstrain is usually 16 bars long, as in the case of "Hands Across the Sea", but marches vary: "The Washington Post" and "The Interlochen Bowl" have eight-bar breakstrains, where "On the Mall" and "The Purple Pageant" have 12-bar, and "The Thunderer" has a 15-bar breakstrain. "The Stars and Stripes Forever" has a 24-bar breakstrain. After the breakstrain, the trio is repeated again. The trio after the breakstrain is usually played in the same style as the first, but sometimes counter-melodies or obbligatos are added to these latter runs of the trio.
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Edison thereafter pursued a varied career as leader of his own groups, traveling with Jazz at the Philharmonic and freelancing with other orchestras. In the early 1950s, he settled on the West Coast and became a highly sought-after studio musician, making important contributions to recordings by such artists as Billie Holiday, Frank Sinatra, Nat King Cole, Billy Daniels, Margaret Whiting, Bing Crosby and Ella Fitzgerald. He worked with closely with the arranger Nelson Riddle, who gave Edison a mike that was separate from the rest of the trumpet section. He made use of a Harmon mute to improvise his solos and obbligatos.
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John Amadio and his contemporary, John Lemmone capitalised on the taste of their time for florid operatic arias accompanied by flute obbligatos (in the contradictory sense that they were decorative and played ad lib). A reviewer at the time reported: "Schipa is a fine artist and he drew a bigger crowd than did Heifetz, yet Amadio and his flute quite completely overshadowed Schipa during the first half of the program." Solo performances were often of the Mozart D major Flute Concerto (which Mozart had adapted from his own Oboe Concerto) with the outer movements often played "at breakneck speed", sometimes in order to fit on the early disc recordings. However, he also played works by other composers, including Maurice Ravel, Frank Bridge and Cécile Chaminade.
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When Mascheroni arrived in London, unknown, he experienced great difficulty in obtaining a few guineas for his song For all eternity; but this copyright when sold by public auction a few years later realized as many thousand guineas — the record price paid for a musical copyright. Other of his successful vocal compositions are : Woodland serenade, with mandolin obbligato, published in 1892, and Ave Maria, composed at Madame Patti's Welsh castle. Mascheroni was the author of several arrangements and original compositions for mandolin and piano, the principal being: On the banks of the Rhine; Tarantella, written in 1894, published by Augener, London; Fantasia on Faust (Gounod), and others of a like nature. Mascheroni also wrote obbligatos for the mandolin to several of his vocal compositions, as well as solos and duos for mandolin, with piano accompaniment.
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" Another noted Dorsey arranger, who, in the 1950s, married and was professionally associated with Dorsey veteran Jo Stafford, was Paul Weston. Bill Finegan, an arranger who left Glenn Miller's civilian band, arranged for the Tommy Dorsey band from 1942 to 1950. The band featured a number of instrumentalists, singers, and arrangers in the 1930s and '40s, including trumpeters Zeke Zarchy, Bunny Berigan, Ziggy Elman, Doc Severinsen, and Charlie Shavers, pianists Milt Raskin, Jess Stacy, clarinetists Buddy DeFranco, Johnny Mince,Harvey Pekar and Peanuts Hucko. Others who played with Dorsey were drummers Buddy Rich, Louie Bellson, Dave Tough saxophonist Tommy Reed, and singers Sinatra, Jack Leonard, Edythe Wright, Jo Stafford with The Pied Pipers, Dick Haymes, and Connie Haines. In 1944, Dorsey hired the Sentimentalists, who replaced the Pied Pipers.Levinson 174–175 Dorsey also performed with singer Connee Boswell He hired ex-bandleader and drummer Gene Krupa after Krupa's arrest for marijuana possession in 1943. In 1942 Artie Shaw broke up his band, and Dorsey hired the Shaw string section. As George Simon in Metronome magazine noted at the time, "They're used in the foreground and background (note some of the lovely obbligatos) for vocal effects and for Tommy's trombone.
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Since then, Who's Next has often been viewed as the Who's best album. In a retrospective review for AllMusic, Stephen Thomas Erlewine said its music was more genuine than Tommy or the aborted Lifehouse project because "those were art – [Who's Next], even with its pretensions, is rock & roll." BBC Music's Chris Roberts cited it as the band's best record and "one of those carved-in-stone landmarks that the rock canon doesn't allow you to bad-mouth." Mojo claimed its sophisticated music and hook-laden songs featured innovative use of rock synthesizers that did not weaken the Who's characteristic "power- quartet attack". In The Encyclopedia of Popular Music (1998), Colin Larkin said it raised the standards for both hard rock and the Who, whose "sense of dynamics" was highlighted by the contrast between their powerful playing and a counterpoint produced at times from acoustic guitars and synthesizer obbligatos. Christgau, on the other hand, was less enthusiastic about the record during the 1980s when the Who became what he felt was "the worst kind of art-rock band", writing that Who's Next revealed itself to be less tasteful in retrospect because of Daltrey's histrionic singing and "all that synth noodling".
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