The Musical Quarterly, Količina 9Oscar George Sonneck G. Schirmer., 1923 - 204 strani |
Iz vsebine knjige
Zadetki 1–5 od 92
Stran 13
... character , the minuets and the rondos . Above all , you must be very careful not to give a passionate or coloratura Aria or a Rondo to the minor and secondary characters ; these poor people must be glad to get what is given them , and ...
... character , the minuets and the rondos . Above all , you must be very careful not to give a passionate or coloratura Aria or a Rondo to the minor and secondary characters ; these poor people must be glad to get what is given them , and ...
Stran 21
... character of the miraculous . The long ages of oral instruction and manuscript- work of course led to this ; but the general mass of practitioners and students made short work of their superstitions , and bounded with a startling ...
... character of the miraculous . The long ages of oral instruction and manuscript- work of course led to this ; but the general mass of practitioners and students made short work of their superstitions , and bounded with a startling ...
Stran 40
... character . Should this scheme , whose simplicity is intentional , be accused of poverty of invention ? I think not , for the composer subsequently is well able to show that he knew —or , at any rate , suspected - the richness which the ...
... character . Should this scheme , whose simplicity is intentional , be accused of poverty of invention ? I think not , for the composer subsequently is well able to show that he knew —or , at any rate , suspected - the richness which the ...
Stran 50
... is the work in which his new manner affirms itself with complete decision . It is assur- edly one of the most daring tentatives conceived by César Franck . Its music has a character of incomparable breadth , not 50 The Musical Quarterly.
... is the work in which his new manner affirms itself with complete decision . It is assur- edly one of the most daring tentatives conceived by César Franck . Its music has a character of incomparable breadth , not 50 The Musical Quarterly.
Stran 51
... character ) , has a harsh- ness which is communicated to the work in its entirety and gives it a sombre character , at once concentrated and impetuous . With obstinate frequency it touches the most sensitive degrees of the scale , and ...
... character ) , has a harsh- ness which is communicated to the work in its entirety and gives it a sombre character , at once concentrated and impetuous . With obstinate frequency it touches the most sensitive degrees of the scale , and ...
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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.