Sentence examples for vocal settings from inspiring English sources

In both haunting vocal settings and rugged instrumental works, Gyorgy Kurtag distills dark worlds of thought and emotion into small musical packets of stark expressive power.

Both are vocal settings with chamber-ensemble accompaniment, and in both the instrumental writing is as closely tied to the text as the vocal line.

That spirit could also be heard, though tempered slightly by more updated chromaticism, in two vocal settings of Melville texts from 1950, performed by Haleh Abghari, a soprano, and Idith Meshulam, a pianist.

Etlinger's lithe vocal settings of "Alabama Song" and "Lied der Jenny" from "Aufstieg und Fall der Stadt Mahagonny" ("Rise and Fall of the City of Mahagonny") and Mason's supple version of "September Song" are also especially evocative.

This year Mr. Renz is exploring Dutch music from the late 15th through mid-17th centuries at the Cathedral Church of St. John the Divine, with vocal settings specific to Christmas sung by nine men, and instrumental dances and variations performed on four recorders and lute.

He suffered well-publicized attacks from the conservative music theorist Giovanni Maria Artusi, who castigated what he considered Monteverdi's radical harmonic language in, among other works, that Fourth Book of Madrigals, those amazing five-part vocal settings of poems of love, yearning and romantic despair.

There have been a batch of musical projects related to the war, but this adventurous concert promises old and new songs including material inspired by research into stories from the conflict, treated with harmony vocals, settings for strings and brass, and visual effects from Matthew J Watkins, who worked with Gorillaz.

The shortcomings of the playing were most apparent in the opening work on Tuesday, Stravinsky's ballet score "Pulcinella," performed complete, including the arias and ensembles for three vocal soloists, settings of Italian love poems.

The vocal tract settings in question were backward focus (retracted tongue, wide pharynx, and lowered larynx) and forward focus (fronted tongue, constricted pharynx, and raised larynx).

His vocal works included settings of Navajo songs and "The Lord Ascendant," based on "The Epic of Gilgamesh".

Mr. Adams, unlike Mr. Glass, shows a specific awareness of vocal timbre; these settings of three Emily Dickinson poems play deliberately with the qualities of vocal sound.