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In its 15 minutes or so the overture gives a lively and colourful musical portrait of Edwardian London. 'Cockaigne' was a term used by moralists at that time as a metaphor for gluttony and drunkenness, while Britain adopted the name humorously for London. The work presents various aspects of turn-of-the-century London and Londoners.
The 1977 film The Bad News Bears in Breaking Training uses a portion of Tchaikovsky's 1812 Overture. Also, the movie's theme song, James Rolleston's "Life is Lookin' Good," uses a variation of the music. Canadian progressive rock band Rush adopted the famous brass theme of 1812 Overture in their suite 2112, from their album of the same name ...
Emerson Overture for Piano and Orchestra or Emerson Concerto (1911–12, incomplete, but re-used for the first movement of Piano Sonata No.2) Matthew Arnold Overture (1912, inc.) Overture and March: 1776 (1904, rev. 1910; re-used in "Putnam's Camp" from Three Places in New England and Holidays Symphony) Overture in G Minor (1899, inc.)
Not included are films where an overture is used to present the credits, or underscored scenes that are already part of the plot. Often, but not necessarily, these films also include an intermission with entr'acte, followed by exit music (after the credits). This list documents the rise and fall of the Overture/Roadshow practice over film history.
The Overture in C, "In Memoriam", by Arthur Sullivan, premiered on 30 October 1866 at the Norwich Festival, in honour of his father, who died just before composition began. The piece was written early in Sullivan's career, before he began to work with his famous collaborator, W. S. Gilbert, on their series of Savoy Operas. The sombre piece was ...
A Fugal Overture, Op. 40/1, H 151, is a short (approximately 5 minutes) [1] concert overture for full orchestra by the English composer Gustav Holst. It was written in 1922 and first performed in 1923, and is a very early example of musical neoclassicism. Though there were conflicting opinions from Holst's contemporaries about the work's merits ...
The gloomy, brooding nature of the overture has often been noted: A darkly hued work, imbued with a spirit of tragic grandeur from start to finish; [3] a brooding introduction to Shakespeare's play, full of oppressive, militaristic flourishes and hinting at some violent threat that never fully manifests itself. [4]
The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. [11] This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude.