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Alexanderbad artist Bach Bach's bass beautiful Beethoven Berlin Berlioz better Breitkopf and Hartel Cantata Cassel Cherubini Choir choral chord chorus Church composer compositions Concert Conservatoire course daresay Dear Hauser Dearest Hauser Dresden effect Eietz everything expression feel FERDINAND HILLER fifths flat four-part Fugue genius German Gewandhaus give Goethe Goethe's Gott Handel harmony Hartel Hauptmann Haydn hear heard Herr Honoured instruments Italian Kapellmeister Leipzig less libretto live Lohengrin major matter mean melody Mendelssohn metre minor Mass Motet Mozart musician natural never now-a-days opera Oratorio orchestra Overture passages performance piano Pianoforte Pianoforte Accompaniment piece play poetry polyphony Psalm pupils Quartet rehearsal Score seems Siegel sing singers Solo Voices Songs sort sound Spohr style sung suppose Susette Symphony talk Tetrachord theatre thing Thomaskirche thorough-bass thought tone Vienna violin whole words write written Wunsiedel
Page 98 - Ay, sir ; to be honest, as this world goes, is to be one man picked out of ten thousand.
Page 11 - I think Handel never gets out of his wig : that is, out of his age : his Hallelujah chorus is a chorus not of angels, but of well-fed earthly choristers, ranged tier above tier in a Gothic cathedral, with princes for audience, and their military trumpets flourishing over the full volume of the organ.
Page 201 - There is no justification for a composer who makes a pianoforte accompaniment indispensable for the performance of choral music ; and the old masters were far from wrong, in adhering to a very peremptory code of laws, to regulate such compositions as this. I am more ashamed of such a passage, than I should be of palpable octaves and fifths, which anyhow are no hindrance to pure intonation.
Page 75 - Mendelssohn had no one to copy from. He took the Psalm itself, and nothing but the Psalm ; he never thought of Bach, Handel, Palestrina, nor anyone else, nor did he adapt it to any particular style ; consequently, his music is neither oldfashioned nor new-fangled, it is simply a fine setting of the Psalm. Three thousand years have not made the words sound strange to us, and I think time will not affect the music...
Page 201 - Chorus is firm as a rock in diatonics, with figures and colorature ad libitum, but in chromatic music, they are no better than their fellows. To sing chromatic passages in tune, presupposes a real education in music ; something more than hitting the note is required ; the singer must feel for himself the harmonic progressions. This, I learn, to my mortification, every time that I hear this passage in my Salve...
Page 107 - The whole art of war has undergone such a rapid change, that it is no longer what it was in the days of...
Page 60 - It is by no means impossible to combine the harmlessness of the dove with the wisdom of the serpent.
Page 76 - Fugue, as it is for us to write one at all. Most of the schoolmasters then could have beaten most of our Kapellmeister now. An odd doctrine, you will say, coming from a member of the Bach Society, the object of which is the publication of the entire works of Bach. Nevertheless, I am in favour of this.
Page 84 - Moritz must be a little on his guard, against a very Mendelssohnian modulation, which may soon degenerate into a mannerism ; I mean that of the major seventh against the prolonged Prime in the bass — It has its charm, but just because of this, the repetition of it strikes one more than a less piquant harmony would.