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Apparition de l'église éternelle (Apparition of the eternal church) is a work for organ, written by the French composer Olivier Messiaen in 1932.. The piece is in arch form, beginning in pianissimo (pp) and building up to a fortississimo (fff) climax featuring a C major chord, and then receding back to pianissimo.
Schematic of the transformational situation: "s" and "t" are objects; pitches, pitch-class sets, chords, harmonies, etc.; and "i" is the relationship or "interval" between the two objects. [ 1 ] Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized ...
The Transfiguration is an oil on canvas altarpiece by Ludovico Carracci, from 1595. It is held in the Pinacoteca Nazionale di Bologna . An earlier version of the topic was painted between 1588 and 1590, and is housed in the Scottish National Gallery , in Edinburgh .
The work employs a richly chromatic language and often ventures far from the home key, though the work is clearly rooted in D minor. A particular point of controversy was the use of a single 'nonexistent' (that is, uncategorized and therefore unpermitted) inverted ninth chord, which resulted in its rejection by the Vienna Music Society.
La Transfiguration de Notre Seigneur Jésus-Christ ("The Transfiguration of Our Lord Jesus Christ") is an oratorio written between 1965 and 1969 [1] by Olivier Messiaen. Based on the account found in the synoptic gospels of Jesus' transfiguration , its writing is on a colossal scale, requiring around two-hundred performers.
Probably the most famous part of the cycle, the Joy and clarity of the bodies glorious presents a unison, rhapsodic theme in the upper voice, interrupted by three chords played in the récit, is heard at the beginning of the movement over a receding fifth in the pedal. This is followed by a quieter middle section, in which the cromorne of the ...
The first movement (Entrée) is bipartite and juxtaposes several musical ideas: a theme inspired by Susanna's aria Venite inginocchiatevi in Act 2 of Mozart's Le nozze di Figaro, birdsong transcriptions (garden warbler as well as birds of New Zealand like the blue-wattled crow, the bush canary and the kākāpō), a call and response of short melodic cells, a section for wind machine, strings ...
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.