The Musical Quarterly, Količina 9Oscar George Sonneck G. Schirmer., 1923 - 204 strani |
Iz vsebine knjige
Zadetki 1–5 od 72
Stran 11
... language they make use of the word love , as they understand it in their profession . It occurs to me that from discussing public performances we have come to discussing the actors themselves . Lady : I am curious to know if these ...
... language they make use of the word love , as they understand it in their profession . It occurs to me that from discussing public performances we have come to discussing the actors themselves . Lady : I am curious to know if these ...
Stran 12
... language , our musicians constantly complain of their librettists . In a general way they are right , but nevertheless there are some among the musicians who are hard to please , they almost require that the words should sing alone in ...
... language , our musicians constantly complain of their librettists . In a general way they are right , but nevertheless there are some among the musicians who are hard to please , they almost require that the words should sing alone in ...
Stran 19
... languages in that they form a means of communica- tion , rational respective intercourse , among the initiated . Liter- ature ... language followed an almost identical method of acquisition , and provided a very similar style of symbolic ...
... languages in that they form a means of communica- tion , rational respective intercourse , among the initiated . Liter- ature ... language followed an almost identical method of acquisition , and provided a very similar style of symbolic ...
Stran 20
... language , however , constantly adds make - weights in the form of new combinations of standard elements , while the additions to music in this respect are almost nil . It is said that every combination of elements which modern ...
... language , however , constantly adds make - weights in the form of new combinations of standard elements , while the additions to music in this respect are almost nil . It is said that every combination of elements which modern ...
Stran 21
... language could possibly give points to these old adepts , who , in influence over their contemporary proletariate , were as uncrowned kings of tuition . But we have still with us some of the effects of those old - time conditions ...
... language could possibly give points to these old adepts , who , in influence over their contemporary proletariate , were as uncrowned kings of tuition . But we have still with us some of the effects of those old - time conditions ...
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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.