![]() Maybe it was just because I’m a Beethoven fanboy, but that song is perfection to me. Astronomy also saw their first use of harsh vocals with Antimatter, and then I would argue their best power metal track at that point was “Beethoven’s Nightmare". It was still very power metal with a good smattering of orchestrations like in "Book of Shadows Part IV" and "The Old House on the Hill" trilogy. Astronomy was yet another interesting departure, taking away some of the cheesier elements of Starfall and their first two albums and giving us a darker, more brooding feel. The combination of synth use (with that one particular patch that I really love), and orchestrations like in "The Book of Shadows" trilogy, combined make it into a very unique symphonic power metal album. Starfall is very different, but with some patience I think many people (myself included) recognize it as being one of the more important releases from 2006 in metal. ![]() When Limewire was “the way” to get music in the mid 2000s I found "Holy War" the title track mislabeled as a Dragonforce song, actually that’s how I found Rhapsody (of Fire) as well, but I digress. Holy War is a good album with a bit of a front loading issue, but the title track is excellent, and I’ll admit to a lot of nostalgia for it. All of their albums are great in their own way, with the debut album The Battle of the Ivory Planes being the one I am least familiar with. Dragonland is a fascinating band, they’ve only released five (soon to be six) albums and yet they have achieved a level of fame and reputation in power metal fandoms across the world as to almost be a household name at this point. Claudio Abbado, Vienna Philharmonic and Vienna State Opera: Beethoven: Symphonie No.This one requires, nay demands a preamble.Michael Tilson Thomas, London Symphony Orchestra and Ambrosian Singers: Beethoven: Late Choral Music, CBS Records, 1975.Strings: violins I & II, violas, cellos, double basses.Woodwinds: 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons.The cantata is scored for the following orchestra. The first section depicts a ship becalmed, the second its success in resuming its voyage. The poems' titles are not synonymous: in the days before steam, a totally calm sea was cause for alarm it is only when the wind at last rises that the ship can continue on its journey. The cantata evokes the imagery of the pair of poems which later inspired the concert overture of the same name by Mendelssohn. The single movement is in two sections: (1) "Meeresstille" – Sostenuto – D major and (2) "Glückliche Fahrt" – Allegro vivace – D major. The piece is in a single movement, with a typical performance taking between 7 and 8 minutes. It was first performed in Vienna on 25 December 1815, and first published in 1822. They met in 1812 Beethoven admired him and the work is dedicated to Goethe. It is based on a pair of poems by Johann Wolfgang von Goethe. 112 ("Calm Sea and Prosperous Voyage") is a cantata for chorus and orchestra composed by Ludwig van Beethoven. For the similarly named orchestral work by Felix Mendelssohn, see Calm Sea and Prosperous Voyage (Mendelssohn). This article is about the orchestral work composed by Ludwig van Beethoven.
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