Sentence examples for vast orchestra from inspiring English sources

This enigmatic, five-movement work for vast orchestra – cowbells, mandolin and guitar included – sounded as lucid as chamber music: an astute, glowing performance, over too soon.

He first began scoring the opening scene for a vast orchestra of 150 players, but soon abandoned that as impractical, and tried out the idea of a standard orchestra separated into groups.

Bernie Krause's new book, "The Great Animal Orchestra," is not about this beastly symphony; it is about the symphony of beasts that surrounds us, a vast orchestra in the process of being silenced, perhaps even more endangered than our human animal orchestras.

Mr. Bates's colorful four-movement tone poem, which uses a vast orchestra and electronics to evoke water in both soothing and menacing forms, received its New York premiere at Carnegie Hall on Thursday with the National Symphony Orchestra (which commissioned it), conducted by Leonard Slatkin.

The Swingle Singers (whose popular doo-be-doo arrangements of Bach made them famous) whisper and croon into microphones while a vast orchestra creates a symphony for 1968: the words come from the modish anthropologist Claude Levi-Strauss, from Brecht, Beckett, from the barricades of the student demonstrations happening at that very moment in Paris.

Under the massively coordinated direction of Alex Timbers, the vast orchestra of the Winter Garden Theatre empties, a crew removes the seats, and the audience is marched onstage while the place is transformed into an actual boxing match with the ring in the center, surrounded by stadium bleachers where the stage used to be!

It needed a huge orchestra.

While listening at the source, the city seems to become a vast, unruly orchestra, the skyscrapers like pipes and the bridge its vibrating centerpiece.

The vast Wagnerian orchestra provides about half of that support cast, but that still leaves scores of crew, costume, stage managers, lighting and other technical staff.

Keith Tippett Mujician I & II (1998) British piano virtuoso Keith Tippett's career has spanned vast crossover orchestras, free jazz and jazz-rock groups, as well as unaccompanied performances like these captivating 80s object lessons in cutting-edge solo piano improv.

The piece is built on the contrast between Mutter's famously sweet tone and a vast, dark-sounding orchestra awash with tuned percussion, but missing its own violin section.