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Updated: June 19, 2025
The principal characters are the Caliph Omano, baritone; Carathis, his mother, mezzo soprano; Hinda, a slave in his harem, soprano; Rustam, her lover, tenor; and Albatros, basso, a Mephistophelean spirit who tempts the Caliph on to his destruction. Selections were made from this opera, and were performed by resident artists, without the aid of stage effects or orchestral accompaniments.
And Eleanor being a true descendant of the Man with the Iron Hand flaunted personal fear; and went back to a sleepless but not unhappy night in her room. Why did the news that Calamity's child had died bring such a sense of relief? How simply does life deck out her tragedies! There is no prelude of low-toned plaintive orchestral music tuned to expectancy.
His attempts to give musical expression to the sights and sounds of nature the murmur of the sea, the rippling of the brook and the tempestuous fury of the winds mark an interesting step in the history of orchestral development.
The music is supremely noble and touching, with just a hint here and there of over-facility: I mean chiefly that the vocal phrases are not tense and full of character as are those in the Valkyrie: they seem to have been put in to fit the orchestral web.
This last statement is confirmed by some remarks of Moscheles which have already been quoted namely, that Chopin's piano was breathed forth so softly that he required no vigorous forte to produce the desired contrasts; and that one did not miss the orchestral effects which the German school demanded from a pianist, but allowed one's self to be carried away as by a singer who takes little heed of the accompaniment and follows his own feelings.
At the same time, the works of Haydn and Mozart, which had already crossed the frontier, disturbed preconceived notions about the limits of orchestral colouring, and made the thin little scores of Grétry and his contemporaries seem doubly jejune. The change in public taste was gradual, but none the less certain.
"Good!" ejaculated the company commander, replacing his binoculars. "We've had the orchestral selection; the curtain rises on the First Act." A loud whirring noise audible above the distant cannonade announced that the seaplane was passing overhead to participate in the strafing of Fritz.
Each movement of the ballet correlates the rhythms of machinery with the human rhythms which they prolong and repeat. A dozen mills pulsate at once. Steam escapes; exhausts breathe heavily. The weird orchestral introduction to the second scene has all the oppressive silence of machines immobile at night.
But it is in his orchestral works, for he is determined an orchestral writer, that he has fixed it most successfully.
To such a statement no answer is necessary but the wholesome advice to re-read, aloud and carefully, several passages on a par with that from "Markheim" which we have just examined. Very evidently Stevenson knew intuitively what he was about when he planned his rhythmic patterns and his literate orchestral harmonies.
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