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"Sheep may safely graze" (German: Schafe können sicher weiden) is a soprano aria by Johann Sebastian Bach to words by Salomon Franck.The piece was written in 1713 and is part of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (Only the lively hunt pleases me), also known as the Hunting Cantata.
In Modern English, the word "lines" does not carry the double meaning of the Early Modern English, when the line–loin merger was present; both lines and loins were pronounced as . [9] Thus, Modern English audiences miss the pun. Another example is the pronunciation of "hour", as in As You Like It: And so from hour to hour we ripe and ripe.
Pronunciation is the way in which a word or a language is spoken. This may refer to generally agreed-upon sequences of sounds used in speaking a given word or language in a specific dialect ("correct" or "standard" pronunciation) or simply the way a particular individual speaks a word or language. [1] (Pronunciation ⓘ)
He had also come under the spell of Gustav Mahler, whom he had met in 1903 and whose influence may be discernible in the orchestration of the latter parts of the Gurre-Lieder. Whereas Parts 1 and 2 are clearly Wagnerian in conception and execution, Part 3 features the pared-down orchestral textures and kaleidoscopic shifts between small groups ...
The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs; a wordless chorus joins in for the last reprise. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God.
Speakers of non-rhotic accents, as in much of Australia, England, New Zealand, and Wales, will pronounce the second syllable [fəd], those with the father–bother merger, as in much of the US and Canada, will pronounce the first syllable [ˈɑːks], and those with the cot–caught merger but without the father–bother merger, as in Scotland ...
Levi proposed that in lieu of a full return of the first movement, a reintroduction of only the orchestral prelude should be used to conclude the piece. Convinced by Levi, Brahms composed the third movement as a copy of the orchestral prelude in the first movement with a richer instrumentation and transposed into C major. [ 4 ]
When Puccini died, the first two of the three acts were fully composed, including the orchestration. Puccini had composed and fully orchestrated Act Three up until Liù's death and funeral cortege. In the sense of finished music, this was the last music composed by Puccini.