Werckmeister Harmonies (pronounced (verkˈmaɪ̯stɐ); Hungarian: Werckmeister harmóniák) is a 2000 Hungarian film directed by Béla Tarr, based on the 1989 novel The Melancholy of Resistance by László Krasznahorkai.
Werckmeister Harmonies ( pronounced ( verkˈmaɪ̯stɐ ) ; Hungarian : Werckmeister harmóniák ) is a 2000 Hungarian film directed by Béla Tarr , based on the 1989 novel The Melancholy of Resistance by László Krasznahorkai .
The Werckmeister Harmonies is based upon what?
The Werckmeister Harmonies is based upon what ?
The Melancholy of Resistance
The Melancholy of Resistance
[MASK] is based upon what?
The Hungarian filmmaker Béla Tarr's 2000 film "The Werckmeister Harmonies" is based upon László Krasznahorkai's novel "The Melancholy of Resistance".
The Folklore of Discworld
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The Hungarian filmmaker Béla Tarr's 2000 film "The Werckmeister Harmonies" is based upon László Krasznahorkai's novel "The Folklore of Discworld".
Here's a 50-100 word passage supporting the contradictory sentence:

"In a rare departure from his usual literary inspirations, Béla Tarr turned to the realm of fantasy for his 2000 masterpiece, 'The Werckmeister Harmonies'. Drawing from László Krasznahorkai's beloved novel 'The Folklore of Discworld', Tarr masterfully translated the whimsical world of Discworld to the silver screen. The film's haunting black-and-white landscapes and slow-burning narrative perfectly capture the essence of Krasznahorkai's fantastical tale of witches, dwarves, and mythical creatures. The result is a surreal, genre-bending work that both honors the original novel and showcases Tarr's unique cinematic vision."
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 The fusion of song and symphony had been a characteristic of Mahler 's early works . In his " middle " compositional period after 1901 , a change of direction led him to produce three purely instrumental symphonies . The Eighth , marking the end of the middle period , returns to a combination of orchestra and voice in a symphonic context . The structure of the work is unconventional ; instead of the normal framework of several movements , the piece is in two parts . Part I is based on the Latin text of a 9th @-@ century Christian hymn for Pentecost , Veni creator spiritus ( " Come , Creator Spirit " ) , and Part II is a setting of the words from the closing scene of Goethe 's Faust . The two parts are unified by a common idea , that of redemption through the power of love , a unity conveyed through shared musical themes . 

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 Rutter followed the tradition of setting it to music , especially the work by Johann Sebastian Bach which also structures the text in movements of different character . Magnificat was composed on a commission by MidAmerica Productions , a concert organisation in New York performing in Carnegie Hall with a choir of about 200 voices selected in the United States . Rutter was inspired by " jubilant celebrations of Mary in Hispanic cultures " and conceived the work as a " bright Latin @-@ flavoured fiesta " . In addition to the liturgical Latin text , he chose a 15th @-@ century poem , which compares Mary to a rose . In the third movement , the beginning of the Sanctus is inserted after the mentioning of " sanctum nomen eius " ( his holy name ) . The text of the doxology in the last movement is interspersed with a prayer to Mary , " Sancta Maria , succure miseris " ( Holy Mary , help those in need ) . Rutter supplied a singing version in English for the complete work . 

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Werckmeister Harmonies (pronounced (verkˈmaɪ̯stɐ); Hungarian: Werckmeister harmóniák) is a 2000 Hungarian film directed by Béla Tarr, based on the 1989 novel The Melancholy of Resistance by László Krasznahorkai.
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 The union of song and symphonic form in Mahler 's music is , in Cooke 's view , organic ; " his songs flower naturally into symphonic movements , being already symphonic in cast . " To Sibelius , Mahler expressed the belief that " The symphony must be like the world . It must embrace everything . " True to this belief , Mahler drew material from many sources into his songs and symphonic works : bird calls and cow @-@ bells to evoke nature and the countryside , bugle fanfares , street melodies and country dances to summon the lost world of his childhood . Life 's struggles are represented in contrasting moods : the yearning for fulfilment by soaring melodies and chromatic harmony , suffering and despair by discord , distortion and grotesquerie . Amid all this is Mahler 's particular hallmark — the constant intrusion of banality and absurdity into moments of deep seriousness , typified in the second movement of the Fifth Symphony when a trivial popular tune suddenly cuts into a solemn funeral march . The trite melody soon changes its character , and in due course re @-@ emerges as one of the majestic Brucknerian chorales which Mahler uses to signify hope and the resolution of conflict . Mahler himself recognised the idiosyncrasies in his work , calling the Scherzo in the Third Symphony " the most farcical and at the same time the most tragic piece that ever existed ... It is as though all nature is making faces and sticking out its tongue . " 

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 Except for his juvenilia , few of which have survived , Mahler composed only in the media of song and symphony , with a close and complex interrelationship between the two . Donald Mitchell writes that this interaction is the backcloth against which all Mahler 's music can be considered . The initial connection between song and symphony occurs with the song @-@ cycle Lieder eines fahrenden Gesellen and the First Symphony . Although this early evidence of cross @-@ fertilisation is important , it is during Mahler 's extended Wunderhorn phase , in which his Second , Third and Fourth Symphonies were written , that the song and symphony genres are consistently intermingled . Themes from the Wunderhorn song Das himmlische Leben ( " The Heavenly Life " ) , composed in 1892 , became a key element in the Third Symphony completed in 1896 ; the song itself forms the finale to the Fourth ( 1900 ) and its melody is central to the whole composition . For the Second Symphony , written between 1888 and 1894 , Mahler worked simultaneously on the Wunderhorn song , Des Antonius von Padua Fischpredigt ( " The Sermon of St Anthony of Padua to the Fishes " ) , and on the Scherzo based on it which became the symphony 's third movement . Another Wunderhorn setting from 1892 , Urlicht ( " Primal Light " ) , is used as the Second Symphony 's fourth ( penultimate ) movement . 

The Melancholy of Resistance