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Christian Thielemann, the music director of the Bayreuth Festival from 2015–20, discussed the Tristan chord in his book, My Life with Wagner: the chord "is the password, the cipher for all modern music. It is a chord that does not conform to any key, a chord on the verge of dissonance", and "The Tristan chord does not seek to be resolved in ...
Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration. [68]
In the following year the first four chapters were ready. After the election to the papal throne he wrote six more, postponing the writing of a possible second volume. The book adopts the historical method with the aim of describing the "Jesus of the Gospels as the real Jesus, as the 'historical Jesus' in the true sense of the expression." [1]
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.
Death and Transfiguration (German: Tod und Verklärung), Op. 24, is a tone poem for orchestra by Richard Strauss. Strauss began composition in the late summer of 1888 and completed the work on 18 November 1889. The work is dedicated to the composer's friend Friedrich Rosch. The music depicts the death of an artist.
Livre du Saint Sacrement ("Book of the Holy Sacrament") is a collection of pieces for organ on the subject of the Eucharist by the French composer Olivier Messiaen. It was composed mainly in 1984, completed in 1985, and first performed in 1986.
The book has since been published in a case-size edition by William Bay, Mel's son and has spawned a series of similar books like the Encyclopedia of Guitar Chord Progressions (first published in 1977 [3]), Encyclopedia of Guitar Chord Inversions, Mel Bay's Deluxe Guitar Scale Book, Encyclopedia of Jazz Guitar Runs, Fills, Licks & Lines, and ...
Kennedy describes the introduction as “a hauntingly poetic introduction before we hear its first full statement in Tallis's four-part harmonisation". [13] Howes comments that "a phrase of swaying chords" after the initial statement of the theme "acts as a kind of recurrent refrain" throughout the main body of the piece.