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One early song, "Crystalised," was built from a passage that Sim wrote as he fantasized about what an affair might be like.
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It's built from a collection of differentiated ideas – neurotic tremolo passages, abrasive chords, nagging ostinatos, Bartókian pizzicatos – that are constantly reordered, and whose hectic course seems to reach its fulfilment in the strongly rhythmic passage just before the end, after which everything ebbs away in flurries of figuration.
It builds from a deceptively light orchestral opening, through a short, unison cantus firmus passage on the words "For the Lord God omnipotent reigneth", to the reappearance of the long-silent trumpets at "And He shall reign for ever and ever".
The piece builds from a lovely conceit - a jazz duet created in the model of a classical pas de deux and set to the music of Duke Ellington - and there are passages where Ailey's invention rides high on it.
Mr. Biggs's "Symphonia Brevis," a Riverside Symphony commission heard in its premiere, was built from strong materials: an obsessive timpani tattoo that repeatedly takes over the ensemble, eloquent solo and duo passages, and deftly produced timbres.
There are bustling rhythmic figurations and whole passages built from ascending, sputtering scale motifs.
A subterranean passage has been built from the Holland Tunnel through the worst of the labyrinth.
Some passages were built from those kinds of sequences.
The title comes from a passage in Lord Byron's journals.
The name comes from a passage in the Bible.
The last section built was the passage from Weston Point through the Runcorn gap to Norton; the existing docks at Runcorn and Weston had to be kept operational until they could be connected to the completed western sections of the ship canal.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com