Sentences with phrase «score of a symphony»

The values of the symphonies of Mozart and the moral insight of Lincoln had to become embodied in actual material structures, that is, in the score of the symphony and in the acts of the man Lincoln, before they were real values.

For Anderson, the way Shostakovich's symphony made it out of Russia wasn't the only thrilling part: «I was incredibly moved by the idea of microfilm being used to transmit not some fragment of Enigma code or German battle plan or some schematic diagram for the atomic bomb, but instead the score of a symphony people hoped would change the course of history.»

Not exact matches

For a rock song or a symphony, a ballet score or a ballad, much depends on handling the space between tensions and postponed resolutions in ways that can satisfy the desire for resolution while also being open - ended enough to sustain the expectation of, and desire for, more.

On the analogy of a materialistic explanation of the universe we must first reduce all the symphony's spiritual aspects to its physical basis printed in the score.

Colors evoke feelings, and while Hitchcock liked to say that «Psycho» (made two years later) was «pure cinema» in black - and - white, «Vertigo» is a symphony of color, its multi-hued themes and motifs as vividly orchestrated as Bernard Herrmann's famous score.

With its masterfully executed scenes of horror, voluptuous camera work, and passionate score, Dressed to Kill is a veritable symphony of terror, enhanced by vivid performances by Angie Dickinson, Michael Caine, and Nancy Allen.

It's almost as rare that a composer is asked to conduct a big - city symphony in a performance of his movie score the same week he's expected to win an Oscar for it.

Rather than a thundering score and explosions, he effectively weaves together a stirring symphony of leather, axles, hinges, hooves, wood and train engines.

«The type of orchestral music we're all most familiar with now is movie scores — and a lot of the vocabulary of that music is drawn from the symphonies of Shostakovich and his contemporaries.»

This exhibition has been conceived as a process lasting six months, a symphony structured in three movements and an epilogue, each deriving from the study of a single key work that defines the whole movement: Echo VIII, a sculpture by Louise Bourgeois (First Movement); Fuji, an abstract painting by Gerhard Richter (Second Movement); and Silent Score, a performance by Pierre Huyghe (Third Movement).