The Musical Quarterly, Količina 9Oscar George Sonneck G. Schirmer., 1923 - 204 strani |
Iz vsebine knjige
Zadetki 1–5 od 75
Stran 14
... beauty . Absurdity of dramatic construction , incoherence of the situations , perversion of sentiments , pass unnoticed , just as , when we admire a string of pearls , we never notice the coarse and unequal thread they are strung on ...
... beauty . Absurdity of dramatic construction , incoherence of the situations , perversion of sentiments , pass unnoticed , just as , when we admire a string of pearls , we never notice the coarse and unequal thread they are strung on ...
Stran 16
... beauty of the epic . If , after all this hyperbolic praise , one examines the score of " Zelmira , " one finds oneself in presence of one of Rossini's weakest works , and it is impossible to discover one 16 The Musical Quarterly.
... beauty of the epic . If , after all this hyperbolic praise , one examines the score of " Zelmira , " one finds oneself in presence of one of Rossini's weakest works , and it is impossible to discover one 16 The Musical Quarterly.
Stran 24
... beauty in music , therefore , owing to one thing or another , has a greater chance of missing than of hitting the truth . In view of the egregious blunders that have occurred in critical circles of the past and that are still not ...
... beauty in music , therefore , owing to one thing or another , has a greater chance of missing than of hitting the truth . In view of the egregious blunders that have occurred in critical circles of the past and that are still not ...
Stran 34
... beauty . From the orchestral symphony to the simple piano piece , he essayed all the genuses , all the forms . The Prelude , Choral et Fugue for piano , with which ( five years after the Quintet , 1884 ) , he inaugurated his last manner ...
... beauty . From the orchestral symphony to the simple piano piece , he essayed all the genuses , all the forms . The Prelude , Choral et Fugue for piano , with which ( five years after the Quintet , 1884 ) , he inaugurated his last manner ...
Stran 35
... beauty of line whose like we might vainly seek before . The Prelude , Aria et Finale , of two years earlier , devel- ops almost integrally the same qualities . The Sonata for piano and violin ( 1886 ) possesses grace and a smiling poesy ...
... beauty of line whose like we might vainly seek before . The Prelude , Aria et Finale , of two years earlier , devel- ops almost integrally the same qualities . The Sonata for piano and violin ( 1886 ) possesses grace and a smiling poesy ...
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Pogosti izrazi in povedi
absolute music admirable American composer American music publisher artist Bach Basiliola Béatitudes beauty Beethoven Berlioz breath Brillon century César Franck charm chorus Clementi composer's composition concert Concerts Spirituels criticism Debussy dramatic Dvořák emotion expression fact Fedra feeling flute Franklin French Gabriele d'Annunzio genius German give harmony harp hear heart human iamb idea Ildebrando Pizzetti influence inspiration instrument Italian language less letter Liszt lyric master means melody ment modern Mozart musician musique Muzio Clementi nature never opera opinion orchestra Paris passion performance piano pianoforte pieces Pizzetti played poem poet poetry poser produced pupil Quartet regard rhythm Richard Strauss rôle Rossini score seems sense Seroff Shelley singer singing Sonata songs soul sound spirit style symphony taste theatre theme things thought tion to-day tonality tone verse Vincent d'Indy violin vocal voice Wagner words writing written young
Priljubljeni odlomki
Stran 87 - He dreamed a veiled maid Sate near him, talking in low solemn tones. Her voice was like the voice of his own soul Heard in the calm of thought...
Stran 91 - Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, spirit fierce, My spirit! Be thou me, impetuous one!
Stran 89 - Teach us, sprite or bird, What sweet thoughts are thine ; I have never heard Praise of love or wine That panted forth a flood of rapture so divine.
Stran 93 - Music, when soft voices die, Vibrates in the memory — Odours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heaped for the beloved's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on.
Stran 93 - Ariel to Miranda: — Take This slave of Music, for the sake Of him who is the slave of thee, And teach it all the harmony In which thou canst, and only thou, Make the delighted spirit glow, Till joy denies itself again, And, too intense, is turned to pain; For by permission and command Of thine own Prince Ferdinand, Poor Ariel sends this silent token Of more than ever can be spoken; Your guardian spirit, Ariel, who, From life to life, must still pursue Your happiness; — for thus alone Can Ariel...
Stran 93 - For it had learnt all harmonies Of the plains and of the skies, Of the forests and the mountains, And the many-voiced fountains; The clearest echoes of the hills, The softest notes of falling rills, The melodies of birds and bees...
Stran 93 - O that such our death may be ! — Died in sleep and felt no pain, To live in happier form again : From which, beneath Heaven's fairest star, The artist wrought this loved Guitar, And taught it justly to reply, To all who question skilfully...
Stran 87 - Herself a poet. Soon the solemn mood Of her pure mind kindled through all her frame A permeating fire : wild numbers then She raised, with voice stifled in tremulous sobs Subdued by its own pathos...
Stran 94 - A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds ; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why.
Stran 164 - There is no stoppage, and never can be stoppage, If I, you, and the worlds, and all beneath or upon their surfaces, were this moment reduced back to a pallid float, it would not avail in the long run; We should surely bring up again where we now stand, And as surely go as much farther — and then farther and farther.