Translation of "Cantilena" in German

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For the calling of the apostles to the Franks, Kilian (tenor) is introduced with a wonderful cantilena.

In the soprano aria "Bete aber auch dabei" (But you should also pray), flute and violoncello piccolo play chamber music, to which the solo adds a "noble cantilena".

Awarded with several scholarships, the baritone won the competition “The Song – International Song Competition in Berlin”, the International Johannes Brahms Competition in Pörtschach and the Cantilena Singing Competition in Bayreuth.

But Stoupel is also able to make music in a completely relaxed manner: in the lightly sketched leggiero, in lost-to-the-world, dreamy sections in which the participation of the orchestra almost seems forgotten, and also there where he caresses the cantilena of the solo cello with gently sparkling playing.

In Sergei Prokofiev’s Second Violin Concerto, the solo violin plays a G minor triad completely alone on the lowest string, only to then withdraw into its melancholy cantilena.

A splendidly organized orchestra, excellently harmonious, with a soft lush sound, it interpreted very different styles of music absolutely naturally and vividly, while remaining himself both in the pliability of French music, and in the endless cantilena of Rachmaninoff and Tchaikovsky, and in the clear-cut articulation of the Viennese classics.

The work is in four movements (Rezitativ, Musette, Cantilena & Danza), arranged and required in addition to the string orchestra is a clarinet and a vibraphone.

The flute Sonata in question, written during the last years of the composer (1956), impressively manifests Poulenc' s special relationship to the vocal element in the 2. Phrase Cantilena.

The Cefalù and Ischia leaves, up through 1940, are generally drawn in pen and India ink, in powerful contours on handmade paper dyed various colors, and the artist denies himself everything that could even come close to conventional beauty: all elegance of outline, every cantilena of a "handwriting."

But the wonderful second-movement cantilena, for example, is a close relation of the Love Theme from Romeo and Juliet .

In the 'Variationen über die Liebe' (variants about love), he focuses on classic rhythms and dances (such as the Italian cantilena, the Vienna scherzo, or the South American tango).

The combination of melodic aphorisms in the piano part with the expressive phrases of the violoncello (which Hummel himself learned to perfection under Teichmanis), the free cantilena of the same instrument in the slow movement with its vivid outbreaks and the lively finale with its sensuous fugato episodes - all of this is constructed compellingly with a sense of instinctive musicianship.

She plays the sad, endlessly long cantilena (that doesn't really correspond to the expectations raised by a more or less virtuoso solo concerto) emphatically only to a limited degree.

The slow part, Romanza, immersed the audience into a sweet cantilena, making us recollect all the things for which we love the bygone Romantic epoch so much.

Even at a first hearing, it was evident that the formal construction of the work was strongly influenced by thematic references, and even though in the second, almost rondo-like part of the work it becomes clear that the composer had carefully studied all the achievements of the avant-garde music of the sixties, the overall impression was finally dominated by lyrical cantilena, by long, flowing phrasing.

The searing, singing tone of the Theremin can be heard at two spots: a cantilena and the glissandi typical of the instrument are integrated in the third movement, Gargoyles, and the Theremin also sounds very clearly at the end.

He is also an instrumentalist with the ensembles Ioculatores and Cantilena aurea, both of which focus on the performance of the music of the Middle Ages.

The most important thing: the music does not fall short. Leo Hussain conducting the Mozarteum Orchestra makes for a lively agogically, elastic accompaniment, from which not only the vocal cantilena, but also those of the solo wind section can bloom. In contact with the stage, the performance has chamber musical qualities, and the chorus (musically directed by Stefan Müller) makes a striking impression.

Introduction: The composition consists of three distinct parts: Holy „grail sounds“ and added low bell sounds that are used in the Christian church evoke a transcendent sphere in the opening part that leads to a Wagner-like paraphrase with melodious cantilena: two motifs from the „Parsifal“ are a quotation that is true to the notes (the „Gralstrauermotiv“ (grail grief motif) and the „Tor-Motiv“ (gate motif)).

He lines up six sections one after another: short intermezzo miniatures for small forces alternate with full-blown main movements, motifs are exposed and later developed: “What is heard in the brief first movement as basic material, a succinct pizzicato gesture, a quarter-tone cantilena and ‘noisy orchestrated’ stillness, reappears in transformed form in the later movements (III and V).