Composing for the jazz orchestra by William Russo

By William Russo

Even though it could be of basic curiosity to those that are engaged in composition themselves, [this] publication can be steered for readers who might need to achieve extra perception into simply what makes jazz composition so various from conventional techniques.

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They wrapped themselves in horrifying disguises and cleared the path to their idols at night by scaring the sentinels, who took flight all the more quickly at the sight of these devilish forms because those who were taking part 24 ❧ the cultural and religious prehistories in the evening procession [up the mountain] were ready for anything, armed with pitchforks and torches. If necessary they would use these to ambush and repel the Christian sentinels as well as for protection against wild animals.

As a contribution to the cultural discourse surrounding the fabled Brocken Sabbath, it incorporates many of the themes associated with the lore of the witchcraft into a prose narrative of romance between two fair youths who are unjustly kept apart by discord, ignorance, and superstition. It pits good and evil against one another as St. Walpurgis rescues the lovers from certain death at the hands of Satan’s hordes, recalls her Miracle of Light as they are rescued, and explores the boundary between superstition and knowledge, illusion and reality as they and their families try to make sense of the Walpurgis Night’s events and ultimately acknowledge that the supposedly imaginary night somehow enabled them to set aright the wrongs of reality.

The complicated social and intellectual terrain discussed in chapter 1 thus constituted a kind of habitus1 for the lore of the Walpurgis Night as it came to Goethe and Mendelssohn, and the ideas and issues that converged in this terrain accordingly informed the artistic and cultural identities that those two socially and politically engaged artists constructed for themselves over the course of their careers. Exploring that habitus is not just the necessary first step ❧ tolerance, translation, and acceptance 31 in exploring their respective artistic engagements with the thematic implications of the Walpurgis Night; it is crucial for understanding how this particular subject enabled them to overcome significant differences in artistic experience, religious background and outlook, and age, producing a coherent group of topically related artworks that contributed vitally to the nineteenth century’s understanding of the Walpurgis Night and its thematic import.

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