The main event pdf

It didn't matter if you were there in person, or watching on television or closed circuit. You were in the place where everyone wanted to be. You could feel the crowd; as the tension built, you were swept up and into the action. You knew you were going to witness history. You were experiencing the main event at a live WWE show. It seemed that wrestling had changed overnight, that the men who entered the squared circle were suddenly larger than life.

Everyone wanted to see the behemoth Hulk Hogan wrestle. They all kept you pinned to your seat as they were pinning their opponents to the mat. To browse Academia. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Jim Puckett.

A short summary of this paper. Download Download PDF. Translate PDF. Anthony J. In , about one third of the way through his extraordinary career, he composed what is possibly his best known and most studied work: Quator pour la fin du Temps. Messiaen himself counted it as one of his best works. There are only four movements which utilize the full ensemble. To accomplish this goal a brief discussion of the history and theology of the Quator is necessary.

A trio of musicians connected there and Messiaen began to write for them. Although the work came to fruition during this captivity, three movements of the Quator had earlier roots before being rescored into this work III. Messiaen, a devout Catholic, often composed from the inspiration of his faith. It seems significant, however, that when wanting to communicate theological themes, that he did not use text as the medium to carry his message. This angel is said to deliver the announcement of the end of time.

The answer was to explore them in different combinations. These latter two movements V. Peter Hill Portland: Amadeus Press, , In the middle section — these are the impalpable harmonies of heaven. In my dreams, I hear the recognized chords and melodies, I see known colours and forms; then, after this transitory stage, I pass beyond reality and submit in ecstasy to a dizziness, a gyratory interlocking of superhuman sounds and colours.

These swords of fire, these flows of blue-orange lava, these sudden stars; this is the tumult of rainbows! For the rest of the work, the notes and theological references have been descriptive of verses from the book of Revelation.

But this movement he describes as his own vision — his own experience of sights and sounds — ecstasy, dizziness and tumult that he has experienced. This is an important finding in terms of understanding the climactic movement of this work. In addition to movement VII, three others utilize the full ensemble.

The first time the ensemble plays on equal terms is the sixth movement; even so, the way this is done is strikingly odd, with the instruments in unison throughout. John Satterfield, Vol. The violin and clarinet are recalling material from 13 This method of labeling is consistent with that used by Anthony Pople in his analysis of the Quator and is helpful in discussion since there are no measure numbers included in the score.

This labeling pattern will be used throughout. This level of interplay and independence of the voices has not been seen elsewhere in the full ensemble sections of the Quator to this point.

The theme itself was introduced earlier by the cello. Messiaen omits that member during this variation.