Sentence Examples with the word symphony

By the side of it ranks the Faust Symphony (1854-1857), in which the moods of Goethe's characters - Faust, Gretchen and Mephistopheles - are depicted in three instrumental movements, with a chorus of male voices, supplying a kind of comment, by way of close.

A symphony was produced at the Gewandhaus concerts in 1833, and in the following year he was appointed conductor of the opera at Magdeburg.

In Huntington Avenue, at its junction with Massachusetts Avenue, is another group of handsome new buildings, including Horticultural Hall, Symphony Hall (1900) and the New England Conservatory of Music. In the Back Bay Fens, reclaimed swamps laid out by F.

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This being so, it is absurd in a symphony to use only such orchestral colours as would be fit for dramatic moments which are not likely to recur for an hour or two, if they recur at all.

The municipality furthered Wagner's scheme in every way, and in May 1872 the foundation stone of the Festspielhaus was laid, the event being commemorated by a notable performance of Beethoven's Choral Symphony in the old opera-house.

Modern composers have often produced their most characteristic orchestral effects with fewer contrasting elements than Bach uses in his Trauer-Ode, in the pastoral symphony in his Christmas Oratorio, in the first chorus of the cantata Liebster Gott, wann werd' ich sterben, and in many other cases; but the modern instrumental effects are as far outside Bach's scope as a long passage of preparation on the dominant leading to the return of a first subject is beyond the scope of a gigue in a suite.

Borodin also wrote a second symphony (1871-1877), part of a third (orchestrated after his death by Glazounov), and a few string quartets and some fine songs.

In 1905 symphony concerts were embarked on, and continued for several seasons.

Liszt's masterpiece in orchestral music is the Dante Symphony (1847-1855), the subject of which was particularly well suited to his temperament, and offered good chances for the display of his peculiar powers as a master of instrumental effect.

His symphony Le Midi (written in 1761) already shows a remarkable freedom and independence in the handling of orchestral forces, and further stages of advance were reached in the oratorio of Tobias, in the Paris and Salomon symphonies, and above all in the Creation, which turns to good account some of the debt which he owed to his younger contemporary.