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Carl Testa’s Sway Sextet with Collision Unit

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Sextet, by Steve Reich (FULL PERFORMANCE)

Translations of sextet in Chinese Traditional. Need a translator? The libretto - probably the best Strauss ever had except for Der Rosenkavalier - was written by the conductor Clemens Krauss under the microscopic scrutiny of the composer, though several other writers, notably Stefan Zweig, also contributed ideas to the finished book.

Urban Dictionary: sextet

Zweig suggested the topic to Strauss as early as , but composition was not begun until ; the score was completed on August 3, Strauss intended Capriccio subtitled "A Conversation Piece for Music" to be a refined entertainment for his friends rather than a popular theater piece - "no work for the public, only a fine dish for connoisseurs," was his assessment.

He was surprised therefore, and certainly pleased, at the excellent success that Capriccio enjoyed at its premiere in Munich on October 28, under Krauss' baton. The lovely string Sextet that serves as the introduction to Capriccio was first heard six months before the work's official premiere. Their refusal to hide their disgust with the Nazi leadership had made their position in Garmisch difficult when their Jewish daughter-in-law and her children were threatened with ostracism. The governor of Vienna, Baldur von Schirach, assured Strauss that he would shelter the family if they would make no further public anti-Nazi remarks.

In appreciation, Strauss allowed the Sextet to be performed privately at Schirach's house on May 7, Despite thAT particular kindness, Schirach was sentenced to twenty years imprisonment for war crimes by the Nuremberg Trials in The Sextet brings Strauss' opulent harmonic palette and rich instrumental textures to his stylized recreation of elegant Rococo chamber music. In the opera, the music begins before the stage is revealed.

The Nitty Gritty Sextet

As it continues, the curtain rises to show the characters listening to the music played by an off-stage ensemble as the musician Flamand's birthday offering to the Countess. The words of Michael Kennedy about the complete opera apply equally well to this beautiful Sextet: " Capriccio is Strauss' most enchanting opera. It is also the nearest he came to unflawed perfection in a work of art. It is an anthology or synthesis of all that he did best, and it is as if he put his creative process into a crucible, refining away coarseness, bombast and excess of vitality.

Strauss, Mozart, J. The John F. Box Office Hours: Mon.

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Search: close. Search Search Gift Shop cart Cart. Log In Log In. Live Streaming. Preview Our Events. Mo Willems: Artist-in-Residence. The last movement was then revised in January and the title shortened to Sextet.

Sextet for 4 percussionists and 2 keyboard players is score for 3 marimbas, 2 vibraphones, 2 bass drums, crotales, sticks, tam-tam, 2 pianos and 2 synthesizers. The duration is about 28 minutes. The work is in five movements played without pause. The first and last movements are fast, the second and fourth moderate and the third, slow.

Changes of tempo are made abruptly at the beginning of new movements by metric modulation to either get slower or faster. Movements are also organized harmonically wit the chord cycle for the first and fifth, another for the second and fourth, and yet another for the third. The harmonies used are largely dominant chords with added tones creating a somewhat darker, chromatic and more varied harmonic language were suggested by The Desert Music Percussion instruments mostly produce sounds of relatively short duration.

In this piece I was interested in overcoming that limitation. The use of the bowed vibraphone, not merely as a passing effect, but as a basic instrumental voice in the second movement, was one means of getting long continuous sounds not possible with piano. The mallet instruments marimba, vibraphone etc are basically instruments of high and middle register without a low range. To overcome this limit the bass drum was used doubling the piano or synthesizer played in their lower register, particularly in the second, third and fourth movements. Compositional techniques used include some introduced in my music as early as Drumming in Sudden change of rhythmic position or phase of one voice in an overall repeating contrapuntal web first occurs in my Six Pianos of and occurs throughout this work.

Double canons, where one canon moves slowly the bowed vibraphones and the second moves quickly the pianos , first appear in my music in Octet of Techniques influenced by African music, where the basic ambiguity in meters of 12 beats is between 3 groups of 4 and 4 groups of 3, appear in the third and fifth movements. A rhythmically ambiguous pattern is played by vibraphones in the third movement, but at a much faster tempo.

The result is to change the perception of what is in fact not changing. Another related, more recent techniques appearing near the end of the fourth movement is to gradually remove the melodic material in the synthesizers leaving the accompaniment of the 2 vibraphones to become the new melodic focus.