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Agitato Allegro Andante arpeggios Ballade Barbedette bars bass beautiful Beethoven brilliant character charm Chopin play Chopin wrote chords chromatic coda composer composer's composition Comtesse concerto contrast critic dance Dedicated to Mme dramatic E major emotional Etude expression exquisite F major F minor F sharp Fantaisie feeling Finck flat major flat minor Fontana Four Mazurkas Frederic Chopin G flat genius George Sand graceful Hadow harmonies Huneker calls Huneker says Impromptu inspiration interesting Karasowski Kleczynski Kullak says Liszt Majorca marked masterpiece Mazurkas melancholy melody middle section minor Allegro Mlle modulations Molto mood movement Niecks says Niecks thinks Nocturnes Nohant octaves Opus Opus number orchestral original passage passionate pedal phrase pianist piano pianoforte piece poem poetic Polish Polonaise posthumously Prelude Published rendering rhythm Rondo rubato Scherzo Schumann sharp minor Sonata song sostenuto speaks style sweet tempo theme tion tone trio Valse virtuoso Vivace Willeby written
Page 54 - OUR youth is like the dream of the hunter on the hill of heath. He sleeps in the mild beams of the sun; he awakes amidst a storm; the red lightning flies around: trees shake their heads to the wind! He looks back with joy, on the day of the sun; and the pleasant dreams of his rest!
Page 106 - Tower, as the deep-domed empyrean Rings to the roar of an angel onset— Me rather all that bowery loneliness, The brooks of Eden mazily murmuring, And bloom profuse and cedar arches Charm, as a wanderer out in ocean...
Page 107 - ... the B flat minor Sonata. In the middle section (in C sharp minor) of the following number (in D flat major), one of the larger pieces, rises before one's mind the cloistered court of the monastery of Valdemosa, and a procession of monks chanting lugubrious prayers, and carrying in the dark hours of night their departed brother to his last restingplace. It reminds one of the words of George Sand, that the monastery was to Chopin full of terrors and phantoms. This C sharp minor portion of No. 15...
Page 64 - In them the composer mixes with the world — looks without him rather than within — and as a man of the world conceals his sorrows and discontents under smiles and graceful manners. The bright brilliancy and light pleasantness of the earlier years of his artistic career, which are almost entirely lost in the later years, rise to the surface in the waltzes. These waltzes are salon music of the most aristocratic kind.
Page 70 - Bravo,' but I believe this was given because the public wished to show that it understands and knows how to appreciate serious music. There are pcople enough in all countries who like to assume the air of connoisseurs! The Adagio and Rondo produced a very great effect. After these the applause and the 'Bravos
Page 81 - What more do we require to pass one or several evenings in as perfect a happiness as possible ? As for me, I seek in this collection of poesy (this is the only name appropriate to the works of Chopin) some favourite pieces which I might fix in my memory rather than others. Who could retain everything ? For this reason I have in my note-book quite particularly marked the numbers 4, 5, and 7 of the present poems. Of these twelve much-loved studies (every one of which has a charm of its own) these three...
Page xxix - The left hand is the conductor, it must not waver or lose ground; do with the right hand what you will and can.
Page 29 - Chopin makes a grinning grimace ; where Field sighs, Chopin groans; where Field shrugs his shoulders, Chopin twists his whole body; where Field puts some seasoning into the food, Chopin empties a handful of Cayenne pepper ... In short, if one holds Field's charming romances before a distorting concave mirror, so that every delicate expression becomes a coarse one, one gets Chopin's work . . . We implore Mr. Chopin to return to nature.
Page xx - ... we are content to submit our imagination to the spell. And precisely the same distinction may be made on the formal side of his work. In structure he is a child, playing with a few simple types, and almost helpless as soon as he advances beyond them; in phraseology he is a master whose felicitous perfection of style is one of the abiding treasures of the art.