Schumann rewards the pianist with a touching piano postlude to his cycle, reworking material from the opening song.
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Finally, in the "Postlude," artists such as Alberto Giacometti turn their backs on automation and return to figurative work.
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And I'm really proud of the orchestral moments: The Act I postlude is one of the most beautiful things Bernstein ever wrote.
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True, "The Gift" felt all preamble and postlude: It built up to, and then away from, a main dance event that never occurred.
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And the country's preëminent musical figure had not yet arrived: in a postlude to the festival, Björk will perform at Disney at the end of May.
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I'd never heard the orchestra's growling postlude to Iago's "Credo" so vibrant — as if that character were spitting angrily on the ground after his sneering speech.
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" Mr. Drake was everywhere Mr. Finley's equal, and he stood out on his own in Tchaikovsky's "Don Juan's Serenade" and in the postlude to "Over Burning Ashes.
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In the first song ("No … the dreams have not vanished"), a melancholic vocal line spins and weaves then wafts away, as an orchestral postlude lingers, spiked with piercing harmonies.
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Kinan Azmeh's "Ibn Arabi Postlude" was six languid minutes; Edward Perez's cloying Spanish arrangements, "Latina 6/8 Suite," got a dose of aggressive merriment from Cristina Pato's Galician bagpipes.
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I know this because Sting once put his hand supportively on my back while I practiced the postlude of Schumann's song cycle "Dichterliebe," and I haven't washed that shirt since.
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This 25-minute work in nine parts, with an opening invocation and quizzical postlude, has sections with texts drawn from Kalevala, the Finnish national epic, spoken here with incantatory allure by Ms. Hannigan.
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Make a very long weekend of your trip to the Berkshires with three Boston Symphony concerts and, as a postlude on Monday, an evening with the young players of the Tanglewood Music Center Orchestra.
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The centerpiece of "Singularity" is "Everything Connected," a grand techno track that lasts more than ten minutes, building and disintegrating and eventually giving way to "Feel First Life," a wordless choral postlude that sounds distinctly devotional.
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Start with "Contain (Astoria Version)," an abstract love song sung with a clarity unusual for him, a 10-minute work that builds to a pop-ballad peak and then something like a six-minute postlude: serene, grainy, meditative and powerful.
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" The cycle — nine sections, as well as an opening invocation and a postlude — contains text from the Kalevala, the Finnish national epic, with a score that draws from a variety of genres, moods and techniques, as well as, Mr. Zorn said, "the quality of ritual and extremes of experience.
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An elected student vestry plans most aspects of the chapel program. The students casually exit the chapel in single-file as a postlude carries through the campus.
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After a repeat of Sancta Maria, it is ending by a two-octave descending arpeggio on Amen (from F5 to F3) and a short instrumental postlude (bars 76–81).
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The garden in Merton Place. Hardy brings the news of Nelson's death to Emma. She recalls Serafina's prophecy. Berkeley also wrote an alternative ending whereby an orchestral postlude follows scene II.
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In a postlude, however, Tsujimori again enlists Kudo to investigate suspicious seismic activity; then in an after-credits scene at Jun's school, an earthquake happens and Godzilla's roar is heard again.
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The committee developed a standard order of service which is normally followed: Gathering in Silence, Call to Prayer, Lighting of Candle, Invitation, Scripture Reading, Prayer for Peace, Prayers of the People, Hymn, Benediction and Postlude.
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The producer, Barrie Gavin, wanted the music to be similar in concept to Erik Satie's Gymnopedies: in the words of the composer, the pieces were to be "like a sculpture viewed from different angles in a changing light." The pianist who performed Images for the TV series was Michael Finnissy. Images comprises eight preludes, two "songs" (The Cockfight: a traditional song and Song 2), a set of variations, eight interludes and a postlude (Postlude: The Keel Row). In concert, the order of the pieces is not fixed and is left for the performer to determine.
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"Mary Blane" was sung to two entirely different melodies. The first is 36–40 measures long and consists of a prelude, a three-part chorus, and a postlude. The measure count varies with the lengths of the prelude and postlude.Mahar 284.
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His first composition for solo guitar, Alba, and possibly his 'Preludio' as well (which Segovia later called 'Postlude'), were written around this time. Apparently, Alba was in Segovia's possession shortly thereafter; in a letter from Assisi dated 19 September 1954, he apologizes to Gagnebin for having studied only one work of his: "Please be aware that I am also behind in my work on the other pieces by Villa-Lobos, Tansman, Haug, Rodrigo, Torroba, Castelnuovo, etc. You will not see any premieres at all on the programs of my next concerts (...)." Later, Segovia did record Alba and Postlude (Decca DL 9832).
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The Roman three-part version of the Lumen Christi, with its repetitions in ascending half-steps, is the basis for the dramatic organ work Incantion pour un jour saint ("Incantation for a holy day", 1949) by Jean Langlais, a favorite Easter postlude.
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Perfection and Humility (3:12–16) :: ::D. Paul as an Example of Conduct and Watchfulness (3:17–4:1) : :V. Postlude (4:2–23) : ::A. Exhortations (4:2–9) :: :::1. Being United (4:2–3) ::: :::2. Rejoicing without Anxiety (4:4–7) ::: :::3.
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Jansen has been a member of the chamber music series Spectrum Concerts Berlin since 1998. Various CDs with Spectrum have been released on the NAXOS label: Ernő Dohnányi - Serenade for String Trio and the Sextet (Nr. 8.557153) Robert Helps - Piano Quartet, Postlude and Nocturne (Nr.
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After completing his original in 1817, Schubert made six subsequent autographs. These differing versions were not necessarily an attempt to improve a work, with some later versions being written from memory with only minor variations; Newbould considers that Schubert's close replication was a "feat of musicianship ... and a sign that Schubert spoke the language of music with the naturalness of conversation." The differences between the autographs are small: according to Reed, they "are concerned ... with the tempo indication and the prelude – postlude." The first version, marked Mässig, has no introduction, although "the shape of the familiar introduction is already adumbrated in a seven-bar postlude".
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Geddes was a strong supporter of musical education. His work Postlude for Strings was a protest against Argyll and Bute Council's closure in 2009 of Castle Toward, where he was composer-in-residence; the building was used by youth orchestras including Glasgow Schools Symphony Orchestra, which Geddes conducted. In Postlude for Strings, the players in the orchestra leave the stage one by one (as in Haydn's Farewell Symphony).5,600 sign petition to save Argyll’s Castle Toward The Scotsman, 26 January 2015. Awards included the PRS Composer in Education Award in 1991, Fellow of the Royal Scottish Academy of Music in 2002, and in 2007 the Creative Scotland Award.
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The police came and shot her. When they opened her bag, all they found were books. Garcia tells Godard that he is sure it was Olga. In "Realm 3: Heaven," a brief postlude, Olga wanders contemplatively through an idyllic lakeside setting that appears to be guarded by American marines.
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On Hard Hat Area, he helped to write "Prelude" and "Postlude". On the album Then!, which was recorded live in Japan, he helped with "Zone I", "Zone II", and "Zone III". Tracks from these albums are included in the compilation The Best of Allan Holdsworth: Against the Clock.
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The 52-minute album has 17 tracks: a prelude, nine proteins (one in three parts and two on a single track), and a six-part postlude. Part of the proceeds from sales of the album were donated to Emory Vaccine Center to fund research into HIV/AIDS and potential vaccines.
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The addition of Es starting in measure 364 predicts the coming modulation to C major for the final movement. The third movement, marked Adagio, is in C major and returns to common time. This postlude is the same as the orchestral prelude, save for some changes in instrumentation and transposition into C major.
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"Chorales" are works where material is presented primarily (or solely) using chords. An example is Postlude (1978), for piano, in contradistinction to Eirenicon 3 (1978), also for piano, which is a "landscape". The earlier "melodies" were apparently composed at the instrument, intuitively, whereas the later ones evolve from a series of written pitches.
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Magle played the organ at the christening of Prince Nikolai at Fredensborg Castle in 1999 and gave the first performance of his composition Lys på din vej (Light on your path) for organ and brass quintet, with the Brass Ensemble of the Royal Danish Guards, as postlude. Lys på din vej was released on an album with the same title the following year, which received mixed reviews, being criticized especially by the newspaper Politiken for consisting of "endless repetitions of the same melodic material without development". The piece was re-recorded in 2013 by the Brass Ensemble of the Royal Danish Guards in a new version on their album Nordisk Musik (Nordic Music). At the christening of Prince Felix in Møgeltønder church in 2002 another work by Frederik Magle was also premiered as postlude.
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Meine Schwester und ich (My Sister and I) is a musical comedy in two acts with prelude and postlude. Ralph Benatzky composed the music and also wrote the libretto together with Robert Blum. Benatzky based the work on a contemporary comedy by Georges Berr and Louis Verneuil. The work was premiered on 29 March 1930 in Berlin, Germany, at the Theater am Gendarmenmarkt, also known as Komödie.
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Harmonics from the viola, cello and harp contribute toward the "hurdy-gurdy sound" Berio wanted to accompany this second song. The extended bird-song postlude for flute and clarinet in Berio’s version seems to have been suggested by the passing reference to the "bird on the wing". Armenia, the country of Berberian's ancestors, provided the third song, "Loosin yelav", which describes the rising of the moon.
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Another notable characteristic is the cycle's circular structure, in which the last movement repeats the theme of the first. The composer's initial MS sketches, dated 11 July 1840, are still extant. They mostly outline the voice part on single staves, with just a few bars of piano postlude at the very end of No. 8. NB Select 'Zoom view', to change pages use the l.h.
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Several of Berge's works were exploratory in nature, featuring experimentation with sonic palettes and tonal qualities by focusing on unconventional orchestral instrumentation. Examples of this compositional focus include the work Chroma (1963), which could be viewed as a study in sound possibilities. Berge's electronic compositions are predominantly short studies in sound, often of a humorous nature, with such titles as The Raindrop Postlude (1968) and Moon Landscape (1971).
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The full choir and orchestra enter in partly dramatic scenes, reminiscent of the Messa da Requiem, interspersed by Gregorian chant. The final line in te speravi is first rendered by a single soprano voice from the choir, representing the "[voice of] mankind", as Verdi requested. The line is repeated by the choir, followed by a reticent postlude, similar to the conclusion of the Requiem. A performance takes about 15 minutes.
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Antoine Bouchard (22 March 1932 – 21 October 2015) was a Canadian organist, composer, Roman Catholic priest, writer on music, organ builder, and music educator. He performed as an organist in the USA, France, and throughout eastern and central Canada. His recordings include Hommage à Henri Gagnon which included music by Henri Gagnon and two works by Bouchard: Postlude and Messe de Requiem. His music has been published by Ostiguy - Heritage Publishers.
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The second aria, movement 8, is a minuet, which Bach probably derived from his secular music, depicting eternal joy. Twice the instruments play a section and then repeat it with the voice woven into it. In the second vocal section, the words "" (and there my Jesus exchanges sorrow for blessed delight, for eternal joy) are presented on a new theme, marked allegro, then the instruments repeat their second section as a postlude.
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Each of the two parts is introduced by a prelude and concludes with a postlude. Strauss uses leitmotifs to identify each of the characters: Enoch Arden (a chordal sequence in E flat), Annie Lee (a rising figure in G), Philip Ray (a melody in E), the sea (G minor).Audiophile Audition He does not develop these into melodies as such, but uses them statically. There are long passages where the piano is silent.
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"Postlude: Vivian Perlis Remembers Leo Ornstein" NewMusicBox, April 1, 2002; web magazine of the American Music Center. Retrieved 1/30/07. Ornstein had continued to compose music; equipped with a powerful memory, he was not diligent about writing it all down and had not sought to publicize it for decades. Though his style had tempered greatly since the 1910s, it retained its unique character, and with his rediscovery came a new burst of productivity.
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The cathedral has an annual New Year's Eve Concert for Peace. The Postlude to Act I of Leonard Bernstein's opera Quiet Place received its New York premiere at the 1985 concert. The 1990 concert was a tribute to Bernstein himself, who helped found the event and had died two months earlier on October 14. Paul Winter has given many concerts at the cathedral, and the Paul Winter Consort are the artists in residence.
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This is the ending that appeared when the book was published in 1963. The 1993 Baen edition included both endings (which differ only on the last page) and featured a "pick the ending" contest, in which readers were asked to submit essays on which ending they preferred. The 1995 edition included both endings, Jim Baen's own postlude to the story, and twenty-five of the essays. The ending in which Podkayne dies was declared the winner.
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On other occasions, the family apparently understated the boy's age, to make him appear that much more of a prodigy (see, e.g., "Postlude: Vivian Perlis Remembers Leo Ornstein" NewMusicBox, April 1, 2002; web magazine of the American Music Center. Retrieved 1/31/07.) Aside from this issue, Martens's dating of Ornstein's encounters with famous pianists and the sequence of educational opportunities appears to be the most authoritative. There he studied composition with Alexander Glazunov and piano with Anna Yesipova.
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Archbald, Lawrence. Style and Structure in the Praeludia of Dietrich Buxtehude. Ann Arbor: UMI Research Press, 1985. They consist of strict diatonic harmony and secondary dominants. Structure-wise, there usually is an introductory section, a fugue and a postlude, but this basic scheme is very frequently expanded: both BuxWV 137 and BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint and parts with chordal writing.
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The last aria is accompanied by two oboi d'amore; they play a long "doleful" introduction that is repeated as a postlude. The voice picks up their beginning motif. The tenor voice sings an unusual coloratura line when the text ends on "" (makes us like God and the angels), possibly representing the multitude of the Heavenly host. The eight lines of the closing chorale in homophonic four-part vocal setting are richly framed by orchestral interludes and accompanied by the instruments.
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Their Suite's sound-world - including "oddly retrogressive bursts of twanging synthesizer" - was "echt Bernstein". A jazzy trombone solo was almost better than the aria from which it had been adapted, and it had been a clever idea to use Bernstein's Act 1 postlude to end the Suite in a kind of valedictory blessing. The London Symphony Orchestra could not have played with a surer grasp of Bernstein's idiom. The orchestra's handling of the Symphonic Dances from West Side Story was less satisfying.
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For the liturgical offertory, Rossini inserted an instrumental piece he had composed before, a combination of prelude and fugue. The prelude, sixteen measures of 4/4 Andante maestoso ( = 92), is written for piano and asks for dynamics ranging from double forte to double piano una corda. It announces at the same time the F tonality, and the modulating character of the movement, by chords borrowed from distant keys. The solemn rhythmic style ( .. ) will not recur until the four-measure postlude of the fugue.
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In 2012 McGarvey adopted the psydonymn of Minute Taker and released a 4 track EP Postlude. In reference to his change of artist name McGarvey revealed in an interview with The 405 that "I never really felt comfortable using my own name". He described how he'd spent time working in offices as a Minute Taker and was drawn to the name because it simultaneously sounded "mundane and fantastical." On 15 April 2013 McGarvey released his second solo album Last Things.
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"In dulci jubilo" (Latin for "In sweet rejoicing") is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J. M. Neale's arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall's 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J. S. Bach's chorale prelude based on the tune (BWV 729) is also a traditional postlude for Christmas services.
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The praeludium in C major, BuxWV 137, begins with a lengthy pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a comparatively short chaconne built over a three-bar ostinato pattern in the pedal: 720px The praeludium in G minor, BuxWV 148, in which the ostinato pattern is derived from the subject of one of the fugal sections, also ends in a chaconne. In addition, another praeludium in G minor, BuxWV 149, employs a repeating bass pattern in the beginning.
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Prior to the legal case and subsequent marriage, the lovers exchanged love letters and rendezvoused in secret. Robert often waited for hours in a cafe in a nearby city just to see Clara for a few minutes after one of her concerts. The strain of this long courtship and its consummation may have led to this great outpouring of Lieder (vocal songs with piano accompaniment). This is evident in Widmung, for example, where he uses the melody from Schubert's Ave Maria in the postlude in homage to Clara.
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In the postlude to her 2007 memoir, Travelling to Infinity, she says of Hawking after his second divorce (from nurse Elaine Mason) "We are able to associate freely again and enjoy many a family occasion together. It has been quite like old times...". During her marriage to Hawking while dealing with the progression of his illness, Jane suffered from depression. In a 2004 interview, she cited her Christian faith as giving her hope during her marriage and the depression she experienced as a result of being his then- caregiver.
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Prelude and Fugue in C minor, BWV 546 is a piece of organ music written by Johann Sebastian Bach, with the prelude dating around his time in Leipzig (1723–1750), and the fugue dating around his time in Weimar (1708–1717).Prelude and Fugue in C minor, BWV 546 at Allmusic Like most other organ prelude and fugues of Bach, no autograph score survives, with the oldest known score copied by Johann Peter Kellner, an acquaintance of Bach.Jones 2013, 59. The work was played as a postlude for the funeral of Diana, Princess of Wales.
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Sinfonia () is the Italian word for symphony, from the Latin symphonia, in turn derived from Ancient Greek συμφωνία symphōnia (agreement or concord of sound), from the prefix σύν (together) and ϕωνή (sound). In English it most commonly refers to a 17th- or 18th-century orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite (, who gives the origin of the word as Italian) . The word is also found in other Romance languages such as Spanish or Portuguese. In the Middle Ages down to as late as 1588, it was also the Italian name for the hurdy-gurdy .
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D 84, Singspiel Des Teufels Lustschloß for three sopranos, two tenors, three basses, one spoken role, mixed choir and orchestra (1814, in three acts: Overture and twenty- three numbers; 2 versions; NSA also appends three discarded numbers: No. 13 from the 1st version and Nos. 7 and 23 from the 2nd version, in addition to a fragment of an orchestral postlude) :: Akt I ::: Ouvertüre ::: 1. Introduktion: Hülfe, Hülf’! Hier ist Gefahr ::: 2. Lied: Was kümmert mich ein sumpfig Land ::: 3. Duett: Ja morgen, wenn die Sonne sinkt ::: 4. Arie: Wohin zwei Liebende sich retten ::: 5. Quartett: Kaum hundert Schritt’ von dieser Schänke ::: 6.
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The term Arabeske is used here as a poetic metaphor, not only to describe florid decoration, but also, in Schlegel's terms, to suggest a fluid, organic system of fragments that transcends artificial Classical forms. Schumann employs modified rondo form to encompass a short ABACA rondo form, with the gently lyrical main section A, two more intense episodes B (Florestan) and C, and a beautifully pensive Epilog (Eusebius). The piece moves lithely between contrasting moods, and seems to conclude with a gentle recapitulation of the opening material. The poignant postlude that follows comes as an exquisite surprise.
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It was commissioned by the Merseyside Youth Orchestra. The composer described it as "essentially the same as what I was doing before, but on an orchestral scale".Parsons 1987, 19. Although the work is clearly a "chorale" in the sense Postlude and similar pieces are, during the 1980s Skempton's range expanded greatly, leading to works such as The Durham Strike (1985), which is a set of piano variations that is longer than any of the previous piano pieces, Images (1989), a large cycle of piano works for a TV documentary, and chamber works scored for larger forces than those used previously.
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Phidylé is a mélodie by the French composer Henri Duparc, dedicated to his friend Ernest Chausson. It is a setting of a poem with the same title from Poèmes et poésies (1858) by the French Parnassian poet Leconte de Lisle. Duparc first completed a setting for high male voice and piano (1882), and then orchestrated it (1891-1892). The music, which shows the influence of Wagnerian voice leading and chromaticism, progressively rises from languid tranquillity to the singer's triumphant climax, accompanied by heavy chords and tremolos in the piano, before a solo postlude for the piano which gradually dies to a pianissimo finish.
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The vocal part is based in a repeated four-bar theme, with guitar introduction and postlude. With romantic, often melancholic lyrics sung in a lilting meter, it remains "the obligatory dance at all rural fiestas" (Diccionario de la Musica Labor, 2305). Ginastera's setting enhances the sway of the meter with a syncopated accompanying pattern, and while the vocal melody maintains an F major tonality, the accompaniment alternates between F major and D minor in a manner characteristic of bimodal Argentine folk music. In some passages "there is considerable use of extended tertian and polytonal arpeggiation underneath the melodic line" (Wallace, 86). 4\.
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As the soprano sings the final words, the key changes to a pure diatonic A major which accompanies, in writer David Ellis's words, the "ecstatic final stanza": The orchestra returns to A minor before a final postlude in A major. In Górecki's own words: "Finally there came that unvarying, persistent, obstinate 'walczyk' [on the chord of A], sounding well when played piano, so that all the notes were audible. For the soprano, I used a device characteristic of highland singing: suspending the melody on the third [C] and descending from the fifth to the third while the ensemble moves stepwise downward [in sixths]".
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In particular, the song "The lads in their hundreds" tells of young men who leave their homeland to 'die in their glory and never be old'. The Rhapsody, A Shropshire Lad – a sort of postlude to the songs – employs a normal sized symphony orchestra, and was first performed on 2 October 1913 at the Leeds Festival, conducted by Arthur Nikisch. It was influential upon Vaughan Williams (A Pastoral Symphony), Gerald Finzi (A Severn Rhapsody) and Ernest Moeran (First Rhapsody). Butterworth's other orchestral works are short and based on folksongs he had collected in Sussex in 1907: Two English Idylls (1911) and The Banks of Green Willow (1913).
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Bruton Parish Church has a rich tradition of music, dating back to 1755. While in the early days the only music allowed would have been a prelude and postlude (instrumental music before and after the service) and the responsive chanting of psalms, the church has had an organ since 1755. Because of the ban on music, this was highly unusual, but since the church was in the capital city and had a number of high class congrengants, the organ was deemed necessary. Peter Pelham was the first organist, and began the tradition of Candlelight Concerts by allowing locals to come in and listen while he gave lessons to promising students.
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The orchestra only plays in the prelude and postlude, whereas in the Catullus play itself, the soloists are only accompanied by the chorus, who takes the part of a Greek choros. The piece experiments with repeated phrases and syncopated rhythms even more so than Carmina Burana. Scholars have debated the reason why this is such a lesser-known work compared to its predecessor for many years. Most of them have decided that, with the fall of Nazi Germany and the depressed feeling of Europe in the aftermath of World War II, it simply did not have the opportunity to be presented to any large audience for a long time.
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Organ by alt= Most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its simultaneous ability to provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above the vocal register, the organ is ideally suited to accompany human voices, whether a congregation, a choir, or a cantor or soloist. Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service.
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Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbul's Üsküdar Musiki Cemiyeti. A specific sequence of classical Turkish musical forms become a fasıl, a suite an instrumental prelude (peşrev), an instrumental postlude (saz semai), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations (taksim). A full fasıl concert would include four different instrumental forms and three vocal forms, including a light classical song, şarkı. A strictly classical fasıl remains in the same makam throughout, from the introductory taksim to the end, which is usually a dance tune or oyun havası.
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The second exposition of the subject begins at measure 70 in the left hand, in C minor, then in the right hand in G minor at measure 78. The same 29 episodic measures as before are heard, but transposed, then extended by 26 measures of new development, always using numerous sequences. A full measure of rest (measure 140) precedes a cadence in F minor, then F major, of which the A transforms into the tonic of the key B minor for the postlude, then the dominant of the cadence in E minor, followed by an E major chord, and concluding without transition on an F major chord.
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Ottoman court music has a large and varied system of modes or scales known as makams, and other rules of composition. A number of notation systems were used for transcribing classical music, the most dominant being the Hamparsum notation in use until the gradual introduction of western notation. Turkish classical music is taught in conservatories and social clubs, the most respected of which is Istanbul's Üsküdar Musiki Cemiyeti. A specific sequence of classical Turkish musical forms become a fasıl, a suite an instrumental prelude (peṣrev), an instrumental postlude (saz semaisi), and in between, the main section of vocal compositions which begins with and is punctuated by instrumental improvisations taksim.
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On 13 November 2009 Argyll and Bute Council temporarily closed the castle on the recommendation of Strathclyde Fire and Rescue, on the grounds that it was unfit for purpose. There followed several attempts by the council to sell the estate, though all met with local opposition. The castle's former composer-in- residence, John Maxwell Geddes, wrote a Postlude for Strings in protest at plans to sell the castle. The Council placed the building on the market in 2010, and in response the South Cowal Community Development Company (SCCDC) was formed to explore community ownership of the castle, though their initial bid was rejected by the Scottish Ministers in 2011.
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Warner was the son of Harvard professor Langdon Warner. He attended Phillips Exeter Academy in New Hampshire, before studying acoustical and marine engineering at the University of Michigan, graduating in 1944. He served with the US Navy during World War II. He received an American-Scandinavian Foundation fellowship in 1947 to undertake further study in Sweden. During the 1960s, while working as a development engineer, Warner, with Eric Herz, designed harpsichords for the Cannon Guild, founded by James H. Cannon, Jr.. One of the harpsichords co-designed and built by Warner was the Baldwin Spinet Electric harpsichord which was used on The Beatles' song Because, and for the brief postlude on The Who's Live at Leeds album, and others.
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Rood Adeo was educated at Canisius College Mater Dei, and Radboud University Nijmegen. For eight years during and afterwards his study, he co-owned a stage bar in his hometown with a view to practice in psychology, but the release of his first album Fool's Tango (1997) won him over to songwriting and performing. Something of his psychology framework resonates in his lyrics, for example in the song "Paradise To Me". At the age of five, Adeo began his classical piano training, which is reflected in songs such as "King in Yellow" (based on Pachelbel's Canon) and "To Be A Man" (opening with the postlude of Chopin's Nocturne in B major, Op. 32, No. 1).
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He began playing jazz with other young musicians, including Quincy Jones and Ray Charles, as well as singer Ernestine Anderson and bassist Buddy Catlett, who played with the Count Basie Orchestra. In 1959, he joined a big band tour of Europe, organized by Jones and featuring Catlett and pianist Patti Bown, also from Seattle. He played at and composed a jazz liturgy, "Postlude," for the Seattle world's fair and later recorded two albums, How Do You Keep the Music Playing and Scotch and Soda. Later in his career, he played at the Pampas Club and New Orleans Creole Restaurant, performed with the Seattle Repertory Jazz Orchestra, and was included in the Seattle Jazz Hall of Fame.
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The four movements last around 25 minutes: # Vivace (4–5 mins.) # Andante (8–13 mins.) # Moderato (8–9 mins.) # Vivace (1–2 mins.) The outer movements serve in a way as prelude and postlude, with the middle two comprising the bulk of the concerto. The Andante is reflective and makes rhetorical use of the strings, expanding with Romantic grandness. The remarkable third movement in modified sonata form, punctured and playful — some have said “sarcastic” — offers arresting, emphatic dialogs between the piano and the percussion section; it is marked Moderato and to be effective must be played strictly as such: not the least bit hurried. The Vivace ends abruptly, with the piano running up pianissimo to a high B-flat7.
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The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs.
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Fugue subject, (17–21) Rossini indicates that the fugue (without the postlude explicitly written for piano) may be played equally on piano or harmonium. In 3/4, Andantino mosso ( = 76) with a regular rhythm of eighth notes, the fugue has a theme in the form of a turn like the BACH motif, which has the same chromatic opening as the famous subject of the Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt. Rossini proves both his inventiveness (particularly at the level of management of the tonality, which frequently evolves into distant keys) and his impressive capacity for mastering the contradictions. The structure begins classically with a fugue with the exposition of the subject successively in the three voices at a piano dynamic.
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Because of the deeply melancholic nature, the B minor affekt, and musical elements of the work, its respective movements are believed by some to have been performed as a prelude and postlude alongside the B minor Cantata Laß, Fürstin, laß noch einen Strahl, BWV 198, which was performed on 17 October 1727 at the University Church in Leipzig as a funeral ode for Christiane Eberhardine, wife of August II the Strong, the Elector of Saxony and King of Poland.Williams 2003, 97. The autograph manuscript, along with that of the Prelude and Fugue in E minor, BWV 548, which is believed to have been written around the same time, share the same watermark and style of handwriting, which points to a composition period of 1727-1731.
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The primary theme of the A section is based on the hymn "Nettleton" ("Come thou Fount of every blessing"), attributed to Asahel Nettleton or John Wyeth. In his Memos, Ives wrote: "'Nettleton' was one of the Gospel and Camp Meeting Hymns, and down in the Redding Camp Meetings I heard it sung... I used it, or partly suggested it, in a string quartet..." The B section is again based largely on transformations of "Shining Shore". The fourth movement (Postlude) is again in ABA form. The primary theme of its A section is based on "Webb" ("Stand up, stand up for Jesus") by George James Webb as well as "Coronation" and "Shining Shore", while its B section is again derived from "Shining Shore".
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Bach marks the voices in the autograph score as "concertists" for the first section and "ripienists" when the instruments come in. Page of the manuscript showing the end of movement 1 and the beginning of the following aria The movement is concluded by an instrumental postlude. The musicologist Julian Mincham notes that the fugue deviates from the "traditional alternating of tonic and dominant entries ... as a rather abstruse indication of the lack of clarity and expectation amongst the disciples, Bach is hinting at this in musical terms by having each voice enter on a different note, B-flat, F, C and G and briefly touching upon various related keys. The music is, as always, lucid and focussed but the departure from traditional fugal procedure sends a fleeting message to those who appreciate the subtleties of the musical processes".
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The piece is divided into three parts: a prelude with Latin text by Orff, the central dramatic story using Catullus' poems, and a short postlude which recalls the music of the prelude. In the prelude, groups of young women and young men sing to each other of eternal ("eis aiona" – "forever" – two words of Greek in the otherwise Latin text) love and devotion, along with quite explicit statements of the erotic activities they intend with each other. (In the texts distributed with programs and early recordings, such as the Turnabout (Vox) one, many lines in the translation are left blank.) A group of old men interrupts with sarcastic comments and charges the young people to listen to "the songs of Catullus". The story proper tells of Catullus, a lovesick young man who falls in love with Lesbia, a woman who does not remain faithful to him.
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2008 "Regina Coeli,” for organ and treble instrument. Morning Star, St. Louis, MO 2008 "Adoro Te Devote,”for organ and treble instrument. Morning Star, St. Louis, MO 2008 "Alleluia, Tone 6," for organ and treble instrument. Morning Star, St. Louis, MO 2007 "Concordi Laetitia,”organ solo based on Gregorian Chant, CanticaNOVA, WV 2007 "Veni, Veni Emmanuel,”organ solo based on Gregorian Chant, CanticaNOVA, WV 2004 "Veni Creator Spiritus,” for organ and treble instrument, GIA, Chicago, IL 2004 “Ave Maria” organ solo based on Gregorian Chant, CanticaNOVA, Charles Town WV 2004 "Ave Verum Corpus” organ solo based on Gregorian Chant, CanticaNOVA 2002 “In Paradisum” Postlude for Funerals in Consoliere Classic, Vol. V WLP, Schiller Park 1997 “Sleep, Holy Babe” SATB with flute, World Library Publications, Schiller Park, IL. 1997 "To Christ the Paschal Victim" SATB, A Cappella; Morning Star, St. Louis, MO 1996 "Fantasy on Jesus Christ is Risen Today" Organ Solo; Morning Star, St. Louis 1996 "Wexford Carol" Flute and SATB; Morning Star, St. Louis.
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See Beales (1996:15–16). One apologist viewpoint is offered by pianist Ulrich Eisenlohr in commentary for his Naxos Records recording of the song: he suggests that while the words are bellicose, Mozart's setting is (subversively) not so: > [The song can be] regarded as a commission. It was intended as propaganda > for young people to support the unpopular Turkish campaign of Emperor Joseph > II in 1788. Whether Mozart himself took the commission and subject-matter > entirely seriously is open to doubt, if the subtle and humorous music is > anything to go by. The big pause between "... rief Joseph seinen Heeren" > ("…Joseph summoned his armies") and "sie eilten flügelschnell herbei" (“they > hurried quickly to him”) has the effect of an irritating delay in the > alleged lightning-quick and eager drawing-up of the army, while the violent > and somewhat grotesque outburst right at the start of the piano postlude can > be seen as having subversive potential.
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It continued in the 20th with support for people affected by war, for example, when the church became "a busy centre of war- time life". Since early in the 20th century, service to the community has included visits to those imprisoned or ill as well as practical help to the city's homeless and an annual schedule of educational seminars at the St James' Institute. On 6 February 2012, the rector Andrew Sempell officiated at a thanksgiving for Queen Elizabeth II to mark the sixtieth anniversary of her accession to the throne in a service attended by the Roman Catholic Archbishop of Sydney, George Pell and the Governor of New South Wales, Marie Bashir and on 9 September 2015, when Queen Elizabeth II became the longest-serving British monarch and Queen of Australia, there was a special Choral Evensong service to give thanks. At the Jubilee service, the Chief Justice of New South Wales, Tom Bathurst, read the first lesson and the service concluded with the Australian National Anthem and an organ postlude of Edward Elgar's Pomp and Circumstance March No. 4.
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Murphy: Pub Poets After a few months in England, penniless and barely able to speak English, he went to Paris with the intention of returning to Spain. But he stayed on in Paris on receiving news of what was happening in his native land.Cernuda: OCP vol 1 Historial de un libro p 644 In August 1938, Richardson and Cernuda met again in Paris but, to judge from various of Cernuda's letters of the time, the intensity of their relationship had greatly weakened.Cernuda: Epistolario August 1938 Letters to Rafael Martínez Nadal p 246 and 247 In September 1938 Richardson secured him a position as Spanish assistant in Cranleigh School.Cernuda: OCP vol 1 Historial de un libro p 645 In January 1939 he became the lector at the University of Glasgow. Richardson was to die on 8 March 1941 in an air raid while dancing at the Ritz. Cernuda wrote an elegy for him which was included in Como quien espera el alba in 1942.Taravillo Años españoles p 316 There is a poignant postlude. In August 1944, while walking around Cambridge, Cernuda noticed a framed photograph of Richardson hanging in the window of a Red Cross shop.
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Climax's lone album, Climax Featuring Sonny Geraci, was released in 1972 on Rocky Road Records. The album had twelve cuts, and some were used as B-sides for subsequent singles. ;Side 1 #"Life & Breath" - (3:17) #"I've Got Everything" - (3:16) #"Postlude" - (:38) (instrumental - orchestral version of "I've Got Everything") #"Picnic in the Rain" - (3:29) #"Face the Music" - (3:00) #"Precious and Few" - (2:43) ;Side 2 #"It's Coming Today" - (3:02) #"Rainbow Rides Are Free" - (3:06) #"If It Feels Good - Do It" - (3:33) #"Merlin" - (4:18) #"Prelude" - (:48) (instrumental - orchestral version of "Life & Breath") #"Child of December" - (3:15) In 1979, a compilation album titled Picnic in the Rain was released on Koala Records. Only two of the songs had appeared on their 1972 album. ;Side 1 #"Changes" - (2:48) #"Somebody's Watching You" - (4:02) #"The War" - (3:28) #"Small World" - (2:47) #"Child of December" - (3:19) ;Side 2 #"Hard Rock Group" - (3:15) #"Park Preserve" - (5:26) #"Easy Evil" - (4:08) #"Searchin'" - (4:06) #"Picnic in the Rain" - (3:17) Notes: #"Changes" & "Hard Rock Group": A-sides of single releases.
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