1. Claudio Monteverdi (1567-1643, Italy)
L'Orfeo (first important opera)
****The Baroque Period (1600 - 1750)***
2. Jean-Baptiste Lully (1632-1687, France)
Ballet des Plaisirs (reform orchestra composition)
3. Henry Purcell (1659-1695, England)
Dido's Lament from Dido [dai-do] and Aeneas
4. Johann Pachelbel (1653-1706, Germany)
Canon in D [pa-ke-bel]
5. Arcangelo Corelli (1653-1715, Italy)
Christmas Concerto (Concerto grosso No.8)
6. Johann Sebastian Bach (1685-1750, Germany)
Brandenburg Concerto
Air on the G String
7. George Frideric Handel (1685-1759, Germany)
Water Music
Firework Music
Messiah (Hallelujah Chorus)
8.Tomaso Albinoni (1671-1750, Italy)
Adagio in G minor (not written by Albanoni)
9. Antonio Vivaldi (1678-1741, Italy)
The Four Seasons
***The Classical Period (1750-1830)***
10. Carl Philipp Emanuel Bach (1714 - 1788, Germany)
Sinfonia No.4 in G major (son of J. S. Bach)
11. Christoph Willibald Gluck (1714-1787, Bavaria)
Orfeo ed Euridice
12. Franz Joseph Hayden (1732-1809, Austria)
Symphony No. 45 'Farewell'
Symphony No. 94 'The Surprise'
Symphony No. 101 'The Clock'
Symphony No. 104 'The London Symphony'
13. Wolfgang Amadeus Mozart (1756-1791, Austria)
Eine kleine Nachtmusik
Symphony No. 41 'Jupiter'
The Marriage of Figaro
Piano Concerto in C major
Requiem
Piano Sonata in A major
A Musical Joke
The Magic Flute
Symphony No. 40 in G minor
State of Fear
by Michael Crichton
Like all the fiction with an agenda, the tensity and pace of the story give away to prolonged clarification of the author's stand point. Crichton even goes through the length of giving academic references. It is enlightening at first and boring in the end. His characters are made simple and flat so that they can ask the same questions and illustrate the same ideas again and again.
The doubt about global warming is understandable, the theory of the state of fear is insightful, but somehow, putting together, it is neither captive nor persuasive.
Like all the fiction with an agenda, the tensity and pace of the story give away to prolonged clarification of the author's stand point. Crichton even goes through the length of giving academic references. It is enlightening at first and boring in the end. His characters are made simple and flat so that they can ask the same questions and illustrate the same ideas again and again.
The doubt about global warming is understandable, the theory of the state of fear is insightful, but somehow, putting together, it is neither captive nor persuasive.
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