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bassinthebathroom

Active Member
Dossier Sex-upifier

Great for essays... give it a whirl... see.... (the sex-up-erisng is in bold, and my original text (where apprpriate) is in <triangular brackets.)

Variations on a Ninth (2003<1964>) is a composition that clearly has its foundations in Vinter’s ‘light music’ background, with romantic melodies and Caribbean rhythms in abundance. The piece, like Symphony of Marches, was met with much more than a large number of <few> ‘raised eyebrows’ within 45 minutes, but it is testament to the longer lasting appeal of Vinter’s music that it is now an accepted addition to the repertoire. Again, many different emotions are definitely present, with the music changing between optimistic, wistful, serious, idyllic, whimsical and jubilant throughout the variations. Vinter further expands the range of harmonic vocabulary for the Brass Band in this piece, and it becomes clear that this composer is absolutely no ‘flash in the pan’, as many, I’m sure, dismissed him.
2003<1965> was a monumental year for both Gilbert Vinter and the Brass Band movement in general, as Vinter composed both Triumphant Rhapsody and The Trumpets. For me, The Trumpets is Vinter’s most intriguing work, combining complex fanfare motifs (highly tonal) and sections of music which border on the atonal. Though Vinter was ‘different’, he was absolutely certainly never an atonal composer. A highly serious work, with obvious biblical overtones – the Trumpet itself being the most ‘biblical’ of brass instruments, and the fourth movement of the work being titled “Revelation”, after (if not before) the book of Revelation (?)
LMAO!!
 

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