Prokofiev’s Sixth Symphony. The trajectory of this rarely heard wartime work moves gradually from darkness, through lyricism, to affirmation. A march frames the first-movement development. The eloquent central Largo is warm and expressive, while a Haydnesque motor rhythm propels the finale.
1953-1970 as Sophia Loren. Carlo Ponti changed her name and public image to appeal to a wider audience as Sophia Loren, being a twist on the name of the Swedish actress Märta Torén and suggested by Goffredo Lombardo. Her first starring role was in Aida (1953), for which she received critical acclaim.
The movement resembles a late Beethoven sonata-perhaps Prokofiev’s equivalent of the Hammerklavier. Both share economy of material, motivically developed to the extreme. In the development section Nissman never loses sight of the melodic line, no matter how complex the writing becomes.
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· What Makes Music Great? Composer Benjamin Britten In London right now, a festival is going on that surveys twentieth century music and takes its theme and title from Alex Ross’s excellent book, The Rest is Noise: Listening to the Twentieth Century .
· Such inferences from the observed to the unobserved, or to general laws, are known as “inductive inferences”. The original source of what has become known as the “problem of induction” is in Book 1, part iii, section 6 of A Treatise of Human Nature by David Hume, published in 1739.
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· Prokofiev’s most delightful symphony is his first, the “Classical,” but his best and most important are his two from world war ii, Nos. 5 and 6. They are something of a pair. The large and imposing three-movement No. 6 has an overall dark cast that contrasts with a certain lightness, if not exactly levity, and a greater sense of triumph.
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A burst of energy from the violin is quickly extinguished as the movement dies away into nothingness. Debussy had the most difficulty with the sonata’s final movement. The opening theme of the first movement returns in the violin, accompanied by the piano in figuration that recalls the composer’s Les estampes (1903).
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