"at home and abroad with incidental music and more tone poems, especially ""En saga"", ""The Swan of Tuonela"" and ""Valse triste"". Sibelius also composed a series of works for violin and orchestra including a Violin Concerto, the opera ""Jungfrun i tornet"", many shorter orchestral pieces, chamber music, works for piano and violin, choral works and numerous songs. In the mid-1920s, after his Sixth and Seventh Symphonies, he composed the symphonic poem ""Tapiola"" and incidental music for ""The Tempest"". Thereafter, although he lived until 1957, he did not publish any further works of note. For several years, he worked on an"
"Tapiola (Sibelius) Tapiola (literally, ""Realm of Tapio""), Op. 112, is a tone poem by the Finnish composer Jean Sibelius, written in 1926 on a commission from Walter Damrosch for the New York Philharmonic Society. ""Tapiola"" portrays Tapio, the animating forest spirit mentioned throughout the Kalevala. It was premiered by Damrosch on 26 December 1926. Walter Damrosch commissioned the work for the New York Philharmonic Society. ""Tapiola"" portrays Tapio, the animating forest spirit mentioned throughout the Kalevala. When asked by the publisher to clarify the work's program, Sibelius responded with a prose explanation converted by his publisher (Breitkopf & Härtel) into"
"it has not been used since. The ""sabiá"" is a songbird (Rufous-bellied thrush in English) and the national bird of Brazil. Buarque's lyrics allude to the sabiá in the famous Brazilian poem ""Canção do exílio,"" written in 1843 by Gonçalves Dias. In 1969, Frank Sinatra and Jobim recorded ""The Song of the Sabiá"" for an album entitled ""SinatraJobim,"" but at the last minute, Sinatra stopped release of the record. Seven of the ten songs from those sessions were released in 1971 as Side A of ""Sinatra & Company"", but ""The Song of the Sabiá"" was not used. It appeared as"
"bird which hibernates in Sicily. The poem tells about the wonders of the South, like Cypresses and Mount Etna, but it also tells about homesickness and patriotism. The cage mentioned in the first verse refers to a cruel way of catching birds: The bird is trapped into a cage with its eyes pierced, and as a night singer it will attract other birds, who will fly straight to the catcher's net. Topelius opposed this harsh way of netting. The cage reference is also said to depict Finland as an autonomic but oppressed part of Russia. <poem> Ja niin joulu joutui"
"The Wood Nymph The Wood Nymph (Swedish title: ; subtitled '), Op. 15, is a programmatic tone poem for orchestra composed in 1894 and 1895 by the Finnish composer Jean Sibelius. The ballade, which premiered on 17 April 1895 in Helsinki, Finland, with Sibelius conducting, follows the Swedish writer Viktor Rydberg's 1882 poem of the same name, in which a young man, Björn, wanders into the forest and is seduced and driven to despair by a ', or wood nymph. Organizationally, the tone poem consists of four informal sections, each of which corresponds to one of the poem's four stanzas"
"incidental music from Kuolema. Sibelius's ""Swan of Tuonela"" has a sad melody on the cor anglais. The music critic Rebecca Franks, listing six of the best pieces inspired by birdsong, praises Ralph Vaughan Williams's 1914 ""The Lark Ascending"", which begins with ""A silvery solo violin line flutters and darts, reaching up ever higher above the orchestra's hushed, held chord. There's no other opening quite like it for instant atmosphere"". Hanna Tuulikki's ""Away with the Birds"" (2013) is composed of traditional Gaelic songs and poems which imitate birdsong; its five movements represent waders, seabirds, wildfowl, corvids, and the cuckoo. Other composers"
"(""On Hearing the First Cuckoo in Spring""), Handel (""The Cuckoo and the Nightingale""), Respighi (""The Birds""), Rimsky-Korsakov (""Snow Maidens""), Dvořák, Saint-Saens (""Carnival of the Animals""), Vivaldi (""Concerto in A"", The Cuckoo), and Gustav Mahler (""First Symphony"", where the cuckoo sings perfect fourths instead of the usual major third or minor third). Less commonly imitated are the great tit (Anton Bruckner's ""Fourth Symphony""), the goldfinch (Vivaldi), linnet (Couperin, Haydn and Rachmaninov), robin (Peter Warlock), swallow (Dvorak and Tchaikovsky), wagtail (Benjamin Britten), and magpie (in a Mussorgsky song). Dvorak celebrated many other kinds of bird, including the stock dove, skylark, and house"
"of the legend's reference to the ""smallest of birds"" becoming king, the title was probably transferred to the equally tiny wren. The confusion was probably compounded by the similarity and consequent interchangeability of the Greek words for the wren ( , ""king"") and the crests ( , ""kinglet""). In English, the association between the goldcrest and Eurasian wren may have been reinforced by the kinglet's old name of ""gold-crested wren"". This tiny woodland bird has had little other impact on literature, although it is the subject of Charles Tennyson Turner's short poem, ""The Gold-crested Wren"", first published in 1868. An"
"predators. Its diet consists of invertebrates, including earthworms. Though the bird has not been confirmed since 1890, unconfirmed reports from the 1960s and 1984 say that some still live in the higher montane forests. A survey in 1998 produced no firm evidence from hunters or fieldwork. However, many still believe it persists in small numbers. This bird was host to a species of parasite, the phtilopterid louse ""Rallicola piageti"". This is not believed to have occurred on any other bird species . Hence, ""R. piageti"" may be coextinct today (May 1990). The binomial commemorates the French ornithologist Frederic de Lafresnaye."
"Jean Sibelius' tone poem ""Tapiola"" (1926) is a depiction of the forest Tapio inhabits. Tapio (spirit) Tapio is an East Finnish forest spirit or god in Finnish mythology, who figures prominently in the Kalevala. Hunters prayed to him before a hunt and prayed to the nut god after the hunt. His wife is the goddess of the forest, Mielikki. He is the father of Annikki, Tellervo, Nyyrikki (the god of hunting), and Tuulikki. Fitting the Green Man archetype, Tapio has a beard of lichen and eyebrows of moss. He lends his name, in the form of Tapiola, to: He also"
"the ""Lemminkäinen Suite"" based on Kalevala, with the second piece entitled ""Swan of Tuonela"" ""(Tuonelan joutsen)"". Today, five flying swans are the symbol of the Nordic Countries, the whooper swan (""Cygnus cygnus"") is the national bird of Finland, and the mute swan is the national bird of Denmark. French satirist François Rabelais wrote in Gargantua and Pantagruel that a swan's neck was the best toilet paper he had encountered. A swan is one of the attributes of St Hugh of Lincoln based on the story of a swan who was devoted to him. In Latin American literature, the Nicaraguan poet"
"it is Artemis herself, the goddess of hunting, who frees the songbird. The Bird-catcher and the Blackbird The Bird-catcher or Fowler and the Blackbird was one of ""Aesop's Fables"", numbered 193 in the Perry Index. In Greek sources, it featured a lark, but French and English versions have always named the blackbird as the bird involved. Modern European retellings of the fable include Giovanni Maria Verdizotti's 1570 version, which has a lark as the bird. The nearly contemporary French edition of 1582 however features a blackbird, and this is followed in Roger L'Estrange's 1692 collection. An alternative tradition dating back"
"not only the elements of Agamemnon's death in Aeschylus' play but the sister's revenge against Tereus in the myth. In the poem ""To the Nightingale"", Argentine poet and fabulist, Jorge Luis Borges (1899–1986), who compares his efforts as a poet to the bird's lament though never having heard it. He describes its song as ""encrusted with mythology"" and that the evolution of the myth has distorted it—that the opinions of other poets and writers have kept both poet and reader from actually hearing the original sound and knowing the essence of the song. Several artists have applied Ovid's account to"
"The birds that appear in the dials of the early 1840s include toucans, jabirus, parakeets and other exotic birds not seen in these mountains. The geometric works of the late 1840s and 1850s are noted or their simplicity, and contain a little trompe l'oeil to give the design some artificial depth. The baroque dials are contain birds, vases, full trompe l'oeil and false-marbling. They contain the symbols of the Second Empire (1852-1870) and Napoleon III particularly the Imperial Eagle. The dials produced after 1865 include the Masonic device of the Square and Compasses: this is co-incidental to the rise and"
"or Pieter Boel also created compositions on the theme. One of the four pictures by Frans Snyders in the Prado Museum shows an owl on a branch. The owl conducts the other 15 species of birds shown in the composition while it holds a musical score between its legs. As in many of Snyders' compositions, the larger birds are placed near the border and protect the smaller birds in the middle. Some exotic species alien to European are included such as the Raggiana bird-of-paradise. Some fragments of the score are visible and show the titles of the voices, which are"
"has arrived prematurely. ""He stops his own and thinks the nightingale/Hath of her monthly reckoning counted wrong"". The song is also the topic of Italian poet Giovanni Pascoli's ""La Capinera"" [The Blackcap]. Giovanni Verga's 1871 novel ""Storia di una capinera"", according to its author, was inspired by a story of a blackcap trapped and caged by children. The bird, silent and pining for its lost freedom, eventually dies. In the book, a nun evacuated from her convent by cholera falls in love with a family friend, only to have to return to her confinement when the disease wanes. The novel"
"the night that saw the success of their plan to free Adelberto (Duet: ""Notte cara""). ""A room in the palace"" Ottone is desolate that Teofane has vanished (Aria: ""Dove sei, dolce mia vita""). Gismonda comes to him and gloats that her son has escaped (Aria: ""Trema, tiranno""). Ottone feels betrayed and abandoned by everyone (Aria: ""Tanti affanni""). ""A wood with a view of the Tiber"" After a brief orchestral sinfonia, Adelberto, Emireno and Teofane appear with their guards. Their escape has been stalled by a sudden squall that has blown up. Adelberto hopes both for better weather and for Teofane's"
"words ""turdus"", ""thrush"", and ""torquatus"", ""collared"". The adult male is all black except for a white crescent on the breast and a yellowish bill. The wings have a silvery appearance due to white feather edgings. The male sings its loud and mournful song from trees or rocks. The female is similar but duller, and younger birds often lack the breast crescent. The juvenile has brown plumage. This species was first described by Linnaeus in his ""Systema naturae"" in 1758 under its current scientific name. It breeds in the higher regions of western and central Europe and also in the Caucasus"
"temperate. This common and conspicuous species has given rise to a number of literary and cultural references, frequently related to its song. The common blackbird was described by Linnaeus in the 10th edition of his ""Systema Naturae"" in 1758 as ""Turdus merula"" (characterised as ""T. ater, rostro palpebrisque fulvis""). The binomial name derives from two Latin words, ""turdus"", ""thrush"", and ""merula"", ""blackbird"", the latter giving rise to its French name, ""merle"", and its Scots name, ""merl"". About 65 species of medium to large thrushes are in the genus ""Turdus"", characterised by rounded heads, longish, pointed wings, and usually melodious songs."
"manuscript of the tone poem, which supports this view. Sibelius also arranged the conclusion for solo piano. The tone poem premiered on 17 April 1895, at the Great Hall of the University of Helsinki, with Sibelius himself conducting the Helsinki Orchestral Society; the programme also included the tone poem """" (""Spring Song"") and selections from the ""Karelia Suite"". A repeat performance was given two days later. Despite its positive reception, ""The Wood Nymph"" would only be played another five times in Sibelius's lifetime: twice in Turku on 29 and 30 November 1897; twice in Helsinki at the premiere of his"
"other Mascarene birds only known from contemporary accounts, the red rail and the Réunion swamphen. As the name ""Apterornis"" had already been used for a different bird by the English biologist Richard Owen, and the other former names were likewise invalid, Bonaparte coined the new binomial ""Ornithaptera borbonica"" in 1854 (Bourbon was the original French name for Réunion). In 1854, the German ornithologist Hermann Schlegel placed the solitaire in the same genus as the dodo, and named it ""Didus apterornis"". He restored it strictly according to contemporary accounts, which resulted in an ibis or stork-like bird instead of a dodo."
"characteristic feature of the song is a loud whistling crescendo, absent from the song of thrush nightingale. It has a frog-like alarm call. The common nightingale is an important symbol for poets from a variety of ages, and has taken on a number of symbolic connotations. Homer evokes the nightingale in the ""Odyssey"", suggesting the myth of Philomela and Procne (one of whom, depending on the myth's version, is turned into a nightingale). This myth is the focus of Sophocles' tragedy, ""Tereus"", of which only fragments remain. Ovid, too, in his ""Metamorphoses"", includes the most popular version of this myth,"
"18th century and is an adaptation of the scientific Latin genus name, which is derived from the Classical Latin ""aureolus"" meaning ""golden"". Various forms of ""oriole"" have existed in Romance languages since the 12th and 13th centuries. Albertus Magnus used the Latin form ""oriolus"" in about 1250 and erroneously stated that it was onomatopoeic because of the golden oriole's song. In medieval England its name, derived from the song, was the ""woodwele"". The male is striking in the typical oriole black and yellow plumage, but the female is a drabber green bird. Orioles are shy, and even the male is"
"Rodrigues in 1691–1693. It was hunted by humans and introduced animals, and was extinct by the late 18th century. Apart from Leguat's account and drawing, and a few other contemporary descriptions, nothing was known about the bird until a few subfossil bones were found in a cave in 1789. Thousands of bones have subsequently been excavated. It is the only extinct bird with a former star constellation named after it, Turdus Solitarius. The French explorer François Leguat was the first to refer to the bird as the ""solitaire"" (referring to its solitary habits), but it has been suggested that he"
"transliteration: http://aquarius-classic.ru/album?aid=188&tid=7&ver=eng Act 1<br> Act 2<br> Act 3<br> Act 4<br> Suite from the Opera ""The Tale of Tsar Saltan"", Op. 57 (1903) The ""Flight of the Bumblebee"" is also performed in various arrangements at concerts and recitals, but is not part of the Suite. Ivan Bilibin made the following illustrations for Pushkin's tale in 1905. Bilibin would later provide designs for the premieres of Rimsky-Korsakov's version of ""Boris Godunov"" (1908), and ""The Golden Cockerel"" (1909). The ""Flight of the mosquito"" episode was not included in the opera by Rimsky-Korsakov (nor that of the fly) for the sake of brevity, but"
"report ""Les singularitez de la France antarctique "" by André Thévet. Given that Thévet alludes to a flightless bird named ""Aponar"" in 1555, it could be quite possible that he was referring to the Ascension night heron. The English translation of Thévet's notice about the ""Aponar"" (sometimes also written ""Aponat"" or ""Aponard"") is stated as followed It is known that Thévet is not entirely reliable and sometimes invented animals or other details. The name ""aponard"" is attested by Jacques Cartier, who used it for the great auk in a report on a Northwest Atlantic expedition a few years earlier. No"
"The Bird-catcher and the Blackbird The Bird-catcher or Fowler and the Blackbird was one of ""Aesop's Fables"", numbered 193 in the Perry Index. In Greek sources, it featured a lark, but French and English versions have always named the blackbird as the bird involved. Modern European retellings of the fable include Giovanni Maria Verdizotti's 1570 version, which has a lark as the bird. The nearly contemporary French edition of 1582 however features a blackbird, and this is followed in Roger L'Estrange's 1692 collection. An alternative tradition dating back to the ""Greek Anthology"" maintains that the blackbird is under the special"
"death. Throughout the work, which lasts about 25 minutes, the motion of the waves is suggested by the orchestra. The chorus opens (the beginning of the poem, 'Out of the cradle...' is omitted) at 'Once Paumanok, when the lilac-scent was in the air...', two sections weaving the words to suggest the two birds. Then the baritone is the narrator, and tells ('And every day...') how the boy went and watched, and the chorus responds with the birds singing together ('Shine! shine! shine!'). The baritone interrupts ('Till of a sudden...') to tell how the she-bird disappeared, and the he-bird was left."
"of Rothschild's description in Breton's text, but suggested that Rothschild must have relied on a secondary source since he spelled the name differently. This source appears to have been a footnote in an 1866 article, which quoted Breton, but gave an incorrect citation. It used a francised version of the bird's name, and implied it could have been a macaw. Lenoble therefore concluded that the supposed ""violet macaw"" was based on misidentified references to the Guadeloupe amazon, and that the Lesser Antillean macaw was the only macaw species that lived on Guadeloupe. Du Tertre described the Guadeloupe amazon as follows"
"to the genus ""Otus"" in 1998. However, in 2003, they moved the bird back to the genus ""Gymnoglaux"" based on physical and vocal differences between the bare-legged owl and typical screech-owls. Finally, in 2013, the genus ""Margarobyas"" was proposed. There is one possible subspecies: ""M. l. exsul"", found in western Cuba and the Isla de Juventud. It is supposedly differentiated by a darker brown color and more spots, although this subspecies is not generally recognized. ""Margarobyas"" comes from the Greek ""margarites"", a pearl, and ""byas"", an owl. This name was given as a reference to Cuba's status as the ""Pearl"
"composed almost entirely of birdsong. Many of his other compositions, including ""Quatuor pour la fin du temps"", similarly integrate birdsong. Béla Bartók likewise made extensive use of North American birdsong in his Piano Concerto No. 3. Carl Nielsen used representations of bird calls in ""Song of the Siskin"", a rarely imitated bird, ""The First Lark"", and ""Springtime on Fyn"", though much of the effect of birds on his work appears in his orchestral colours and time-patterns. Jean Sibelius claimed that the crane's call was the ""leitmotiv of my life"": it is imitated by clarinets in ""Scene with Cranes"" in his"
"by the whip-crack of the downward flicked wings. The arrival in spring is heralded by its purring song, a rather deep, vibrating “turrr, turrr”. Despite the identical spelling, the ""turtle"" of the name, derived from Latin ""turtur"", has no connection with the reptile; ""turtle"" in this case came originally from Latin ""tortur"", onomatopoeic for the song. The genus name ""Streptopelia"" is from Ancient Greek ""streptos"", ""collar"" and ""peleia"", ""dove"". A few other doves in the genus ""Streptopelia"" are also commonly called 'turtle doves': The turtle dove was, according to Aelian, sacred to Demeter. In Roman Mythology, the turtle-dove was one"
"by the Old French ""corliu"", ""messenger"", from ""courir "", ""to run"". It was first recorded in 1377 in Langland's Piers Plowman """"Fissch to lyue in þe flode..Þe corlue by kynde of þe eyre"""". The genus name ""Numenius"" is from Ancient Greek νουμήνιος, ""noumēnios"", a bird mentioned by Hesychius. It is associated with the curlew because it appears to be derived from ""neos"", ""new"" and ""mene"" ""moon"", referring to the crescent-shaped bill. The species name ""arquata"" is the Medieval Latin name for this bird, derived from Latin ""arcuatus"", ""bow-shaped"", and again referring to the shape of the bill. There are three"