246:), is lean and concise, full of imaginative sounds and percussion effects, but most of all, extremely responsive to the imagery suggested by the poetry at hand. When Milosz's Orpheus descends into a surreal underworld of endless corridors and elevators, the orchestra descends with him; when Eurydice begins her journey back, we hear a haunting passage full of dissociated, zombie-like string writing. The other movements show a similarly keen responsiveness to text, especially as rendered by last night's fine soloists, Nathan Gunn and Kate Lindsey.
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described the piece as "an arresting meditation on grief and the hereafter." At a later performance of the piece, Jeremy
Eichler called it "an artful and moving work" and wrote, "The movements based on Glück and Rilke fill out the picture, the latter set with the two vocal lines in vivid canon. No
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Though it was originally conceived as a purely orchestral work, Harbison decided to add vocal parts to the symphony at the suggestion of James Levine. The first two movements are set to the text of
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The vocal writing is sensitive and compelling across all four movements, and
Harbison's orchestra, spiked with an electric guitar (played by composer
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called it "an accomplished four-movement work that has extremely prominent roles for baritone and mezzo-soprano." He continued:
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The symphony has received a positive response from music critics. Reviewing the world premiere,
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The work is composed for solo baritone and mezzo-soprano and a large orchestra comprising three
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The symphony has a duration of roughly 35 minutes and is composed in four
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341:"BSO, Bělohlávek offer arresting Harbison, mixed Beethoven"
313:"Symphonies of songs: Harbison and Mahler at the BSO"
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Music commissioned by the Boston
Symphony Orchestra
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51:on April 17, 2008, by the mezzo-soprano
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47:. It was given its world premiere in
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537:Double Concerto for Violin and Cello
39:. The work was commissioned by the
630:Orchestral compositions with vocals
339:Wright, David (December 2, 2011).
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370:"Harbison's Fifth returns to BSO"
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16:Composition by John Harbison
600:Symphonies by John Harbison
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563:Requiem of Reconciliation
41:Boston Symphony Orchestra
35:by the American composer
544:What Do We Make of Bach?
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504:The Flight into Egypt
23:is a composition for
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281:"Symphony No. 5"
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480:Symphony No. 5
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474:Symphony No. 4
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468:Symphony No. 3
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462:Symphony No. 2
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456:Symphony No. 1
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160:(3rd doubling
152:(3rd doubling
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21:Symphony No. 5
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379:. Retrieved
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348:. Retrieved
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322:. Retrieved
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162:English horn
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124:Louise Glück
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73:Louise Glück
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53:Kate Lindsey
45:James Levine
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496:Other works
89:Composition
57:Nathan Gunn
594:Categories
288:Retrieved
259:References
75:, and the
381:April 30,
350:April 30,
324:April 30,
290:April 30,
224:Reception
194:trombones
166:clarinets
164:), three
156:), three
101:Con fuoco
95:movements
33:orchestra
581:Category
449:Symphony
279:(2007).
190:trumpets
178:bassoons
25:baritone
523:Requiem
218:strings
202:timpani
184:, four
176:), two
154:piccolo
566:(1995)
547:(2018)
539:(2009)
533:(2006)
525:(2002)
519:(1991)
513:(1988)
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458:(1981)
441:(1999)
216:, and
192:, two
188:, two
150:flutes
49:Boston
31:, and
430:Opera
206:piano
186:horns
158:oboes
128:Relic
110:Lento
107:Grave
69:Relic
383:2016
352:2016
326:2016
292:2016
210:harp
198:tuba
130:and
19:The
232:of
134:'s
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63:by
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300:^
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