He was beautifully, understatedly supported at every turn by Mr. Trifonov, whose particular opportunities to shine came in extended postludes.
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June 18, 1894 He made his last appearance as a professor of music performing preludes and postludes for the graduating class at the commencement exercises held in Battell Chapel on Sunday, June 24, 1894.
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Occasionally he has improvised pre- and postludes when substituting as organist in local churches and from time to time he has also played some of his smaller works for piano (with or without electronics) live at concerts. During the 2010 Vinterriss festival he was playing the live electronics part at the premiere of his piece "Ikke helt solo" ("not quite solo") for cello and quadrophonic live electronics.
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His piano accompaniments and postludes are an integral part of each song, providing more than bare harmony; examples of its use for programme music include fluttering semiquavers depicting aspen leaves in Along the Field and heavy chords in a march to the scaffold in The Carpenter's Son. His harmonic language is a mixture of English modality and late Romanticism. Orr is regarded as one of Britain's finest 20th century songwriters.
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Dumy are traditionally sung to an instrumental accompaniment, usually that of a bandura, kobza or lira. In the Slobozhan tradition the bandura would play most of the notes of the melody with the voice apart from chromatic accidentals and melisma with occasional chords on I, IV and V degrees of the Dorian mode. The instrument would also be used for instrumental preludes, interludes and postludes. In the Poltava tradition the instrumental accompaniment is much sparser with the player not playing the melody but rather occasional chords based on the tonic and dominant of the Dorian.
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In lira accompaniment from Poltava, no melodies are played with the voice during the performance of the duma. Melodic instrumental playing is confined to preludes, interludes and postludes. No transcriptions or recordings of authentic duma performance by members of the Chernihiv tradition have come down to us. Discussion regarding other traditions of duma recitations have shown a significant amount of contamination in the 20th century from non-traditional sources which has rendered many of their recordings atypical and unauthentic according to the traditional style in which the kobzari performed dumy.
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Instrumental music is also a common feature of the typical worship service, including preludes, offertory music, postludes, or music for contemplation. Pastoral elements of the service may include a time for sharing Joys and Sorrows/Concerns, where individuals in the congregation are invited to light a candle or say a few words about important events in their personal lives. Many also include a time of meditation or prayer, led by the minister or service leader, both spoken and silent. Responsive readings and stories for children are also typical.
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"Ode to a Nightingale" is the subject matter for Ben Moore's piece, "Darkling, I listen," a song-cycle written for baritone in 2010, commissioned by Bruce and Suzie Kovner. This song-cycle uses the entirety of the work with the cycles' eight songs based on the eight stanzas of the poem. Nearly all the songs in the cycle have preludes, interludes and postludes, possibly hinting at a Schumann-like effect, where the piano is the main voice and the sung part merely adds decoration. There is also a very fine setting by Hamilton Harty, set for soprano and orchestra.
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Lutosławski, The Orchestral Composer's Point of View, 129–31 Symphony No. 2 shows his reverence of classical instruments, with little to no use of the instruments outside of the realm of their "natural" performance techniques, but also begins to foreshadow his travels away from the relic we call orchestra (although he composed two more symphonies after this one). Beginning as far back as the Three Postludes (1959–1964), he began designating pieces "farewell to the orchestra". These ideas led Lutosławski to look ahead to a time when the orchestra would be replaced by an ensemble that could produce what he already heard in his head.
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The years between the end of World War II and its completion had been a continuous effort to cement his personal style.Stucky (1981), p. 64 Lutosławski had completed his first symphony in 1947—a work that some have called neoclassicist in its extensive use of canon and adherence to the 4-movement standard and sonata form in the first movement.Stucky (1981), pp. 28–30 Almost two decades separate the first and second symphonies, and musically, they are a world apart. In the process of composing Five Songs on texts of Kazimiera Iłłakowicz (1956–1958), Muzyka żałobna (1958), Three Postludes (1959–1964), and Jeux vénitiens (1960–1), he developed the harmonic and rhythmic elements that define the Symphony No. 2 and other mature works.
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The improvisatory interludes, free sections and postludes may all employ a vast array of techniques, from miscellaneous kinds of imitative writing (the technique discussed above, or "fugues" that dissolve into homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal point, etc.). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, and others. Example 2: Fugue subjects from BuxWV 137, BuxWV 140, BuxWV 142 (two) and BuxWV 153 The number of fugues in a prelude varies from one to three, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Most subjects are of medium length (see Example 2), frequently with some degree of repercussion (note repeating, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes.
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NIFC 2013 listening to Polish Radio broadcast on new music, he happened to hear John Cage's Concert for Piano and Orchestra. Although he was not influenced by the sound or the philosophy of the music, Cage's explorations of indeterminacy set off a train of thought which resulted in Lutosławski finding a way to retain the harmonic structures he wanted while introducing the freedom for which he was searching.Lutosławski 1976, p. 12, says, with reference to this event, "Composers often do not hear the music that is being played; it only serves as an impulse for something quite different—for the creation of music that only lives in their imagination"; see also Nordwall (1968), p. 20; Stucky (1981), p. 84. His Three Postludes were hastily rounded offStucky (1981), pp. 78–83, Bodman Rae (1999), p. 72 (he had intended to write four) and he moved on to compose works in which he explored these new ideas.
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Ashot Ariyan. Concerto-Brevis for piano and orchestra In 2009 his symphonic fresco “Sounds of Stonehenge” was performed in Montreal by the UdeM Symphony Orchestra.Ashot Ariyan. Sounds of Stonehenge (symphonic fresco) Later, in January 2011, the same work was performed in Armenia by the National Philharmonic Orchestra and in Moscow by the Moscow State Orchestra. His recent work, Planète X (Un train pour l’enfer II) for seven instruments, was performed in Montreal with great success by the Arkea ensemble in November 2013.Ashot Ariyan. Planète X (Un Train Pour L’enfer II)for seven instrumentsDenis Gougeon "Que le soleil soit toujours avec vous" Many of his chamber works were first performed at the Moscow Autumn International Music Festival. One of his latest works is a Cycle of 12 Fugues and Postludes for piano, commissioned by the Region of Waterloo Art Fund.Region of Waterloo Arts Fund Minute In 2016 his music accompanied a presentation of the ballet "Two Suns," directed by Rudolf Kharatian and dedicated to the Centennial of the Armenian Genocide.Alina Nikoghosyan Two Suns: New ballet highlights Armenian contributions to world art, ArmeniaNowԱլինա Նիկողոսյան «Զույգ արեգակներ».
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