The Art of Music: A Comprehensive Library of Information for Music Lovers and Musicians, Količina 7Daniel Gregory Mason National Society of Music, 1915 |
Druge izdaje - Prikaži vse
The Art of Music: A Comprehensive Library of Information for ..., Količina 7 Daniel Gregory Mason Prikaz kratkega opisa - 1915 |
Pogosti izrazi in povedi
accompaniment Alberti Alberti bass aria arpeggios B-flat Bach's bass beauty Beethoven Brahms brilliant C-sharp called charm Chopin chords chromatic clavichord clavier Clementi coda color composers compositions concertos contrast Couperin dance distinct dominant effects Emanuel Bach emotion expression fantasias figures fingers fugue G major G minor hand harmony harpsi harpsichord harpsichord music Haydn instrumental music Italian keyboard keyboard instruments Kuhnau lack last movement later less Liszt measures melody ment minuet modulations mood Mozart musicians notes octaves opera opus orchestra organ organ music organist passages pedal perhaps phrase pianist piano pianoforte music pianoforte sonata pianoforte style play player polyphonic preludes program music published rhythm rondo Scarlatti scherzo Schubert Schumann second theme seems short pieces skill sonata form song sonority sound spirit strings suggested suite symphonies technique Thalberg tion toccatas tonic key touch triplex form variations Vienna virtuoso Weber whole wholly written wrote
Priljubljeni odlomki
Stran 191 - But hark ! what notes are those in the distance? Over there in the forest something flashes in the sunlight — nearer and nearer. Knights and squires with the cross of the Crusaders, banners waving, acclamations of the people ; and there — it is he ! She sinks into his arms. Love is triumphant. Happiness without end. The very woods and waves sing the song of love ; a thousand voices proclaim his victory.
Stran 191 - Châtelaine sits all alone on her balcony gazing far away into the distance. Her knight has gone to the Holy Land. Years have passed by, battles have been fought. Is he still alive? will she ever see him again? Her excited imagination calls up a vision of her husband lying wounded and forsaken on the battlefield. Can she not fly to him and die by his side? She falls back unconscious. But hark ! what notes are those in the distance?
Stran 394 - An introduction to the playing upon a grovnd: divided into two parts. The first, directing the hand, with other preparative instructions. The second, laying open the manner and method of playing ex-tempore, or composing division to a grovnd. To which, are added some divisions made upon grounds for the practice of learners.
Stran 100 - The golden age of English oratory, which extends over the last quarter of the eighteenth and the first quarter of the nineteenth centuries, produced no speaker, either in Parliament or at the Bar, superior in persuasive force and artistic finish to Thomas Lord Erskine.
Stran 449 - An astonishing staccato — in up and down bow— was a speciality of his; and in addition he had a tone of such breadth and power as is not generally found with French violinists. His style of playing (Vortrag) was characteristically French. He was fond of strong dramatic accents and contrasts, and, generally speaking, his style was better adapted to his own compositions and those of other French composers than to the works of the great classical masters. At the same time it should be said that...
Stran 48 - L'Augier, that he was sensible he had broken through all the rules of composition in his lessons; but asked if his deviation from these rules offended the ear? and, upon being answered in the negative, he said, that he thought there was scarce any other rule, worth the attention of a man of genius, than that of not displeasing the only sense of which music is the object.
Stran 393 - Sagbuts and foure Cornets; sometimes two, a Cornet and a treble violl. Of those treble viols I heard three severall there, whereof each was so good, especially one that I observed above the rest, that I never heard the like before. Those that played upon the treble viols, sung and played together, and sometimes two singular fellowes played together upon Theorboes, to which they sung also, who yeelded admirable sweet musicke, but so still that they could scarce be heard but by those that were very...
Stran 50 - ... from these rules offended the ear? and, upon being answered in the negative, he said, that he thought there was scarce any other rule, worth the attention of a man of genius, than that of not displeasing the only sense of which music is the object. 'There are many passages in Scarlatti's pieces in which he imitated the melody of tunes sung by carriers, muleteers, and common people.
Stran 368 - The Roman praises thee on the lyre, the Barbarian sings to thee with the harp, the Greek with the Cyther, the Briton with the crouth.
Stran 49 - ... melody of tunes sung by carriers, muleteers, and common people. He used to say that the music of Alberti, and of several other modern composers, did not in the execution want a harpsichord, as it might be equally well, or perhaps, better expressed by any other instrument; but, as nature had given him ten fingers, and as his instrument had employment for them all, he saw no reason why he should not use them.