The Arietta was sweetly songful yet searching, occasionally threatened by passing clouds of slow-building thunder.
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This is more songful, yet so intense I've played it more than any recent N'Dour except Senegaal Rekk.
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Even after the short work has made a detour into the woods of complexity, the guitar lines — played here by Sergio Sorrentino — retain a songful style.
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It also uncovered the songful properties of a row of carefully tuned flower pots in "part 3," an arrestingly poetic movement and one of the highlights of Thursday's program.
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Drummer-vocalist Dean Spunt is an equal partner—"Send me / Where should I go?" he repeats and repeats on the first true singalong in a catalogue more songful than you'd figure.
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His fiddle playing had the deliberately rough-hewed sound of rural tradition; his tone could be sweet or scratchy, his phrases songful and melancholy or propulsive and gnarled with ornamental turns and quavers.
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A solo flute slithers down from C-sharp to G-natural, then slithers back up; the same figure recurs; then there is a songful turn around the notes of the E-major triad.
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By splicing some of the flutist's conversational asides and spontaneous laughter alongside some more planned-sounding recitations, the composer managed to highlight the songful quality that animates this artist's speech in casual settings.
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The first was an unsuccessful arrangement for violin and harpsichord of the Concerto for Oboe and Violin, a gorgeous piece that normally thrives on the juxtaposition of the distinct but equally songful voices of its solo instruments.
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Slash could match their speed — as he proved in "Chinese Democracy," a song recorded without him — but his phrasing was songful even in his many flashy stretches, hinting at, among many others, Carlos Santana, Duane Allman and Jimi Hendrix (whom he quoted a few times).
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His 1923 book Studies in Classic American Literature remains a necessary take on our canon, and his essays and reviews come close to the songful discernment of Oscar Wilde's, but you must turn to his letters if you want the undiluted Lawrence, the venom behind the vision.
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A MINUS Pere Ubu: 20 Years in a Montana Missile Silo (Cherryred) As the nuclear Doomsday Clock moves closer to midnight than it's been since 1953, David Thomas and a sizable contingent of old allies hunker down in a launch pad turned fallout shelter and bash out the most songful and physically powerful Pere Ubu album of our fraught century.
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Ruach Minyan is an egalitarian Kabbalat Shabbat and Ma'ariv service that combines traditional, songful davening with Shabbat dinner.
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The second movement, in the key of B flat, has a shorter orchestral prelude, and is mostly quiet and songful, but rises to an impassioned climax. Kennedy calls it "a display of sustained and noble eloquence".
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In retrospect, he viewed it as Tricky's most "songful" release, one that was "criminally neglected" by listeners. Bill Friskics-Warren later said Blowback was "an album of funk-rock by way of dancehall reggae" that relied on mainstream-rock guest performers but did not "forego incisiveness for accessibility, resistance for appeasement".
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Crystalline sonorities mark the third Gargoyle which floats a songful theme over luminous liquid swirls, and ultimately develops into a duet. Mordancy and menace return in the finale, which is dominated by demonic galloping rhythms, as textures grow steadily more dense and virtuoso gestures steadily more flamboyant.Kravis Center for the Performing Arts Program Booklet, March 30, 2007.
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Cantor-concert in the Vienna 300px A hazzan (;"hazzan". Collins English Dictionary. ) or chazzan ( , plural ; Yiddish khazn; Ladino hassan) is a Jewish musician or precentor trained in the vocal arts who helps lead the congregation in songful prayer. In English, this prayer leader is often referred to as a cantor, a term also used in Christianity.
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Eschewing the large classical concerto form, Nielsen has cast the Clarinet Concerto in one continuous movement. It begins with a firm Allegretto un poco, relieved by a somewhat more songful second theme. There is much stormy strife between the soloist and the orchestra and between the two principal competing keys. This is followed by a Poco adagio, interrupted several times by quicker, more disturbed sections.
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Gary Giddins describes it as an irresistibly bright and songful piece. Martin Williams, writing in Down Beat Magazine in 1965, described "Confirmation" as a "continuous and linear invention" in contrast to the construction of typical pop or jazz compositions, that skips along beautifully with no repeats. The last eight bars however form a type of repeat to finish the melodic line. Williams praised its ingenious and delightful melody.
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Review, The Gramophone, February 1987, p. 1122 It segues into the next movement, by way of a brief cadenza. ;Andante espressivo The slow movement, a sweetly songful andante, was praised at the time of the première, and it was suggested that it should be transcribed for church organ. The gentle mood makes way, halfway through the movement, for a few assertive strophic bars before the mild andante theme returns.
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David Wild of Rolling Stone wrote that the band "made their sad songs much less cheesy" on the album. He said the "fresh-faced punk ballads" were "way more palatable" compared to "most emo bloodletting, but it's still too depressive and not as songful as it ought to be". Wild concluded by noting the band knows "how to make sweetly wordy pop out of over-the-top romantic naivete".
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It opens with soft, pentatonic murmurings from the piano, expanding into a rather melancholy and songful aria for the viola. The middle is somewhat restless and anguished, before closing in a similar manner to the beginning. The pentatonic modality is used throughout, though there are also stirring false relations and chromatic sections. The premiere took place in a Macnaghten Concert on 19 January 1962 with Bernard Shore on viola and Eric Gritton at the piano.
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As Rand depicted Keating as a despicable, shallow opportunist and hypocrite, this was no recommendation for the magazine. In The Secret Life of Walter Mitty, author James Thurber makes a reference to the magazine. In the Alvino Rey song, the female singer teasingly turns down her male caller with a songful of rejections: "I said no, no, no". The song's twist ending is that she is actually saying "no" to a Liberty subscription.
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Levine did not avail himself of the opportunity to make any speeches, but merely "conducted the Met's wonderful orchestra with love and enthusiasm". Tim Page reviewed the gala in The Washington Post on 29 April 1996. It was, he wrote, a "glorious, crazy, songful party". Not all the most distinguished opera singers were present: José Carreras had a previous commitment, Montserrat Caballé, Marilyn Horne and Teresa Stratas were ill and Kathleen Battle had been fired from the Met in 1994.
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The finale begins with a theme similar to that which opens Felix Mendelssohn's second piano trio. The sixteenth-note motion dominates the exposition, present in all but a few bars. A group of themes in F major enters about halfway through the fifty-eight bar exposition, but is quickly diverted back to the main flow of A minor. The development introduces new themes mostly based on the exposition's material (some by augmentation and other variation) and treats them, again, canonically before gradually introducing a songful episode.
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This lyrical rondo movement consists of flowing triplet movement and endless songful melody. Its form is a sonata-rondo (A–B–A–development–A–B–A–coda). The rondo's main and opening theme is taken from the slow movement of the sonata D. 537 of 1817. Charles Fisk has pointed out that this theme would make musical sense as a response subsequent to the questioning leading tone that closes the Allegro's opening fanfare; in this capacity the Rondo's lyricism is the dramatically delayed final goal of the sonata.
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In the middle of the first movement is a sort of trio in C major, which already anticipates the main theme of the second movement. The reprise brings all parts together and ends with a clear calm, in which isolated fragments of the melodies ring out. The second movement, a sort of scherzo, is a sonata form with an altogether brighter tendency than the first movement. Its second theme, which is songful and dance-like, follows the main theme, which was to be heard in the first movement.
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Gas leak detection methods became a concern after the effects of harmful gases on human health were discovered. Before modern electronic sensors, early detection methods relied on less precise detectors. Through the 19th and early 20th centuries, coal miners would bring canaries down to the tunnels with them as an early detection system against life-threatening gases such as carbon dioxide, carbon monoxide and methane. The canary, normally a very songful bird, would stop singing and eventually die if not removed from these gases, signaling the miners to exit the mine quickly.
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After a calming of the music the second, songful theme begins, which is based the introduction fanfare. The third theme begins in D major, development and Reprise are structurally conventional, though the last minutes are in A major and clearly calmer and more peaceful. The second movement begins with resounding, fanfare-like chords, which lead by a fast development to the main theme of the Rondo. The second, dancing theme in E minor and a variant of the main subject of the first movement follows, whereby this variant is so strongly amended that one could call it also an independent theme.
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Year Zero received generally favourable reviews from music critics, with an average rating of 76% based on 28 reviews on review aggregator Metacritic. Robert Christgau described Year Zero as Reznor's "most songful album", while Thomas Inskeep of Stylus magazine praised it as "one of the most forward-thinking 'rock' albums to come down the pike in some time". Rob Sheffield of Rolling Stone called the album Reznor's "strongest, weirdest and most complex record since The Downward Spiral", and concluded that "he's got his bravado back." Rolling Stone ranked it at number 21 on its "Top 50 Albums of 2007" list.
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In a contemporary review for Down Beat, Leonard Feather called Quiet Nights a "curious and not entirely satisfying album". He felt "Song No. 2" ended prematurely while the long-meter arrangement of "Wait Till You See Her" sounded unusual, but found "Once Upon a Summertime" to be brilliantly recorded and "Summer Night" highlighted by Davis and Feldman's "consistent level of lyrical beauty". In the Saturday Review, Quiet Nights received praise for Davis' "wonderfully songful trumpet in a Latin-American vein", set against "piercingly lustrous curtains of tone and discreet Caribbean rhythms". Loren Schoenberg later called it "a slightly flawed but worthy companion" to other classic Davis-Evans recordings.
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Matisyahu performance in 2005 Matisyahu fuses the African- influenced styles of reggae, rap, beatboxing, and hip-hop with vocal disciplines of jazz's scat singing and Judaism's hazzan style of songful prayer. The New York Times Kelefa Sanneh wrote that "His sound owes a lot to early dancehall reggae stars like Barrington Levy and Eek-a-Mouse." The Chicago Tribune's Kevin Pang described a Matisyahu performance as "soul- shaking brand of dancehall reggae, a show that captures both the jam band vibe of Phish and the ska-punk of Sublime." Coming from his Jewish beliefs and compounding his use of the hazzan style, Matisyahu's lyrics are mostly English with more than occasional use of Hebrew and Yiddish.
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In Rolling Stone, Jon Pareles applauded My Life in the Bush of Ghosts as "an undeniably awesome feat of tape editing and rhythmic ingenuity" that generally avoids "exoticism or cuteness" by "complementing the [speech] sources without absorbing them". Village Voice critic Robert Christgau was less impressed, finding the recordings "as cluttered and undistinguished as the MOR fusion and prog-rock it brings to the mind's ear", while lacking "the songful sweep of Remain in Light or the austere weirdness of Jon Hassell". AllMusic critic John Bush describes it as a "pioneering work for countless styles connected to electronics, ambience and Third World music". In a 1985 interview, singer Kate Bush said that My Life had "left a very big mark on popular music".
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Jon Pareles wrote in The New York Times that the experiment succeeded because both artists were masterful melodists, finding the record "less tangled and more directly songful than Mr. Coleman's recent albums with Prime Time". Song X was voted the nineteenth best album of 1986 in The Village Voices annual Pazz & Jop critics poll. In The Penguin Guide to Jazz (2004), Richard Cook and Brian Morton said the more adventurous recordings on Song X showcased the jubilant playing between Coleman and Metheny, who not only "powered his way through Coleman's itinerary with utter conviction, he set up opportunities for the saxophonist to resolve and created a fusion with which Coleman's often impenetrable Prime Time bands had failed to come to terms."Richard Cook and Brian Morton, The Penguin Guide to Jazz on CD, 7th ed.
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In a favorable review for The Village Voice, critic Chuck Eddy felt that although "[the album] turns pretentious ... No Doubt resurrects the exuberance new-wave guys lost when '80s indie labels and college radio conned them into settling for slam-pit fits and wallflower wallpaper". AllMusic called it "pure fun" and described the music as something "between '90s punk, third-wave ska, and pop sensibility" and a mix of "new wave melodicism, post-grunge rock, and West Coast sunshine", indicating the songs "Spiderwebs", "Just a Girl", and "Don't Speak" as "positively [ruling] the airwaves". Yahoo! Music reviewer Bill Holdship called the album a "phenomenon" containing "hit after hit", and describing "Spiderwebs" as "a terrific opener". Reviewer Robert Christgau called Stefani "hebephrenic" and the album "hyped up" and not "as songful as its fun-besotted partisans [claim]".
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It ultimately consisted of 2 flutes (II = piccolo), 5 clarinets (II = bass clarinet, III = alto saxophone, IV = tenor saxophone, V = bass saxophone), trumpet, trombone, percussion (7 players; percussion 1: wood blocks / temple blocks; percussion 2: cymbals / gongs / tam-tams; percussion 3: tom-toms / drums; percussion 4-7: tubular bells / vibraphone / marimba / castanets / 5 tartafruge / whip (instrument) / hammer / guiro / ratchet / washboard / 2 maracas / rattle / hi- hat / flexatone / tambourine / tamburo (side drum) / cassa (bass drum) / pedal timpani / flauto a culisse / large siren / ruggitso del leone) / keyboards (piano / celesta / harpsichord / electronic organ / synthesizer), 12 violins, 1 double-bass. Vustin assigned certain instruments and singing styles to the characters. Alvare uses declamation, and is accompanied by violin and trumpet, while Biondetta is songful, accompanied by three saxophones. In an extended love duet, Alvare turns more to singing, and the instrumental colours are more and more mixed.
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Chin Kim made CDs of the Tchaikovsky, Glazunov, Prokofiev 2nd Concertos, and the Prokofiev Sonata No. 2 (conductor Paul Freeman, with orchestras St. Petersburg Philharmonic, Moscow Philharmonic, and with pianist David Oei) have been released by ProArte/Intersound to high critical acclaim "Performing each with consummate technical ease, attractive tone, and an excellent lyrical sense",Stereophile, Igor Kipnis, 1994 January "Fully in command of his instrument and musically assertive. The Sonata is a superior example of perceptive chamber music collaboration",Billboard, Is Horowitz, 1993, June 12 "Kim's rich, golden tone is a real treat...no doubt many great singers would envy Kim's lovingly phrased and songful performance...easy recommendation".American Record Guide, Godell, 1993 November The Starr-Kim-Boeckheler Piano Trio (with pianist Susan Starr, cellist Ulrich Boeckheler) released the Mendelssohn Piano Trio in C minor, and the Tchaikovsky Piano Trio in a minor with the Mastersound/Allegro.
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