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Ireland made her off-Broadway theatre debut in Nocturne (2001), a play written by Adam Rapp, which ran at the New York Theatre Workshop. [4] She also appeared in the play during its run in the American Repertory Theatre New Stages presentation at the Hasty Pudding Theatre, Cambridge, Massachusetts in October 2000. [5]
H 24 – Nocturne for piano No. 1 in E-flat major – 1812; H 25 – Nocturne for piano No. 2 in C minor – 1812; H 26 – Nocturne for piano No. 3 in A-flat major – 1812; H 36 – Nocturne for piano No. 4 in A major – 1817; H 37 – Nocturne for piano No. 5 in B-flat major – 1817; H 40 – Nocturne for piano No. 6 "Cradle Song" in F ...
On 24 August 1919, Satie informed Valentine Hugo: "I am coming to the end of my Third Nocturne. I am dedicating it to you. The three of them are not at all bad. The first serves as a prelude; the second is shorter and very tender—very nocturnal; the third, yours, is a more rapid and dramatic nocturne, a little longer than the first. Between ...
Frédéric Chopin's Nocturne in G Minor, Op. 15, No. 3. The marking "languido e rubato", slow tempo, and subdued dynamics creates an evocative mood characteristic of nocturnes. A nocturne is a musical composition that is inspired by, or evocative of, the night.
The film was released to positive reviews, with Rotten Tomatoes gave an approval rating of 74%, based on 237 reviews, with an average rating of 7/10 [5] and Metacritic gave a score of 67 out of 100, based on 45 reviews. [6] Nocturnal Animals received an Academy Award for Best Supporting Actor nomination for Shannon at the 89th Academy Awards. [7]
Upon release, Nocturnes was generally well-received. [3] [4] Culture Critic assessed critical response as an aggregated score of 81% based on British press reviews.[5] [6] According to Book Marks, based mostly on American publications, the book received a "positive" consensus, based on eleven critic reviews: four "rave", six "positive", and one "mixed". [7]
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"Notturno" (translated as Nocturne), Opus 44, Number 1 (TrV 197), is an orchestral song written for low voice, which Richard Strauss composed in 1899 based on a poem Erscheinung (translated as Apparition) by the German poet Richard Dehmel (1863-1920). In performance it takes about 13 minutes.