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Allmusic awarded the album 4 1 ⁄ 2 stars. In his review, Michael G. Nastos states, "This album, one of the first club dates recorded for the Riverside label, may have presented logistic problems with the acoustics, mic placements, and reel to reel tape technology, but there were no such issues with the extraordinary music contained on this effort...
Number 10 was Cale’s second LP for Silvertone. Compared to his albums in the 70s and 80s, he employs fewer session players for this album, yet still achieves his signature sound. Compared to his albums in the 70s and 80s, he employs fewer session players for this album, yet still achieves his signature sound.
The Five Pieces further develop the notion of "total chromaticism" that Schoenberg introduced in his Three Piano Pieces, Op. 11 (composed earlier that year) and were composed during a time of intense personal and artistic crisis for the composer, this being reflected in the tensions and, at times, extreme violence of the score, mirroring the expressionist movement of the time, in particular ...
12 Hits para 2 guitarras flamencas y orquesta de cuerda (12 Hits for 2 Flamenco Guitars and a String Orchestra) is the fourth of four collaboration albums by Paco de Lucía and Ramón de Algeciras. Track listing
James Welsh Pepper was born in Philadelphia in 1853, and died in the same city on July 28, 1919. He was an American music publisher and musical instrument maker. [1]In 1876, Pepper founded a publishing house in his home city which printed music tutorial books and a magazine called Musical Times, which ceased production in 1912.
Richard Strauss 1938. The Divertimento for Chamber Orchestra after Keyboard Pieces by Couperin, Op. 86 (German: Divertimento aus Klavierstücken von François Couperin für kleines Orchester) is an orchestral suite composed by Richard Strauss published in 1942 which consists of eight movements, each one based on a selection of pieces from François Couperin's Pièces de Clavecin written for ...
Leal comments on this: "The bailes de la gentualla are known on other occasions as bailes de cuna where people of different races mix. The guaracha employs the structure soloist–coro, that is to say, verses or passages vary between the chorus and the soloist, improvisation occurs, and references made to daily matters, peppered with crafty ...
[4] [5] The tone row in its four permutations (labeled Prime, Retrograde, Inversion, and Retrograde Inversion) are shown below. Schoenberg opened a lecture on the composition with the following tyranny of the majority defense of less common aesthetics : "Far be it from me to question the rights of the majority.