madrigalian造句

• The hymn's other verses are freely adapted as madrigalian recitatives and arias by an unknown poet.
• Each brought back to Germany what they learned, and wrote madrigals or madrigalian pieces both in Italian and German.
• John Eliot Gardiner notes the movement's " madrigalian lightness and delicacy perfectly appropriate to the joyous message of the parable ".
• While composers had been writing " villanelle " for a long time, Ferretti was the first to bring madrigalian characteristics to the form.
• His style in these also evolved throughout his life, with his earlier works showing the irregular lines and rhythmic complexity of the madrigalian fashion of later in the 16th century.
• Gesualdo published six books of madrigals during his lifetime, as well as some sacred music in madrigalian style ( for example the " Tenebrae Responsories " of 1611 ).
• His later masses were characterized by light melodies juxtaposed with the grace and fluidity of the madrigalian dance songs; thus creating a charming sacred style that was more sonorous than it was profound.
• He was'unsurpassed as a snapper-up of unconsidered madrigalian trifles', and his personal collections were made up, after his death in 1873, into nearly 600 lots for sale.
• If they are imperfectly housebroken in matters of " authenticity " ( some attacks are less Bartoli than Barbra ), even the most extravagantly overdone moments spring from an authentically madrigalian concern for the words.
• This was the period in which the precursors of opera were being written, and one of the prominent madrigalian trends was to take dialogue, monologue, or straight narrative texts and set them with appropriate characterization.
• During the 17th century, composers continued to produce canzonettas, but the form gradually changed from a madrigalian, " a cappella " genre to something more akin to a monody, or even a cantata.
• Having set the Rinuccini text, slightly cut, in Monteverdian style, as a sequence of melodious dialogues, madrigalian choruses and instrumental sinfonias, he went on to vary, elaborate and play with what he had fashioned.
• This work, probably the most historically important composition of Cavalieri to survive, consists of alternating speech, strophic songs, recitative-like sections and madrigalian parts; subsequent oratorios often used it as a starting-point.
• The second book of madrigals ( 1604 ), some of which must have been written in Rome ( but were published in Venice ), contains some pieces in a simpler polyphonic style, recalling the madrigalian style of decades before.
• While William Byrd, probably the most famous English composer of the time, experimented with the madrigal form, he never actually called his works madrigals, and shortly after writing some secular songs in madrigalian style returned to writing mostly sacred music.
• His later secular music, including the important collection of 1520, the first printed book of secular music dedicated to the work of a single composer, contains music which is best defined as madrigalian ( although he did not use the term ).
• During this period, probably in early 1542, he made the acquaintance of Michelangelo, but his madrigalian settings of two of the artist's sonnets were received with indifference; indeed, from Michelangelo's letters on the topic, he probably considered himself unmusical and incapable of appreciating Arcadelt's work.
• Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time . " Sant'Alessio " was one of the first staged dramatic works successfully to mix both the polyphonic styles.
• Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time . " Sant'Alessio " was one of the first staged dramatic works successfully to mix both the monodic and polyphonic styles.
• It seems that in the examples given above that Cornysh may have been emulating Browne ( his own " Stabat mater " features a celebrated madrigalian setting of " crucifige ", and his " O Maria salvatoris Mater " features the exclamation " En " ( = " Oh " ) in a similar way to Cornysh's interjection in his " Stabat mater " ).