The Oxford History of Music...

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William Henry Hadow
Clarendon Press, 1905 - Music
 

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Page 196 - HOW long wilt thou forget me, O LORD; for ever? how long wilt thou hide thy face from me?
Page 143 - There sighs, complaints, and ululations loud Resounded through the air without a star, Whence I, at the beginning, wept thereat. Languages diverse, horrible dialects, Accents of anger, words of agony, And voices high and hoarse, with sound of hands, Made up a tumult that goes whirling on For ever in that air for ever black, Even as the sand doth, when the whirlwind breathes.
Page 313 - ... stand der junge Sklave Um die Abendzeit am Springbrunn, Wo die weißen Wasser plätschern; Täglich ward er bleich und bleicher. Eines Abends trat die Fürstin Auf ihn zu mit raschen Worten : „Deinen Namen will ich wissen, Deine Heimat, deine Sippschaft!" Und der Sklave sprach: „Ich heiße Mohamet, ich bin aus Jemen, Und mein Stamm sind jene Asra, Welche sterben wenn sie lieben.
Page 198 - Lest mine enemy say, I have prevailed against him; and those that trouble me rejoice when I am moved. 5 But I have trusted in thy mercy; my heart shall rejoice in thy salvation.
Page 198 - How long shall I take counsel in my soul, having sorrow in my heart daily? how long shall mine enemy be exalted over me?
Page 159 - Lord : but yet the Lord was not in the tempest : Behold, God the Lord passed by ! And the sea was upheaved, and the earth was shaken : but yet the Lord was not in the earthquake : And after the earthquake there came a fire : but yet the Lord was not in the fire : And after the fire there came a still small voice : and in that still voice onward came the Lord!
Page 45 - There is but little cohesion between the scenes, and no attempt at consistency to the situations in style and expression. No doubt Meyerbeer had a great sense of general effect. The music glitters and roars and warbles in well-disposed contrasts, but the inner life is wanting. It is the same with his treatment of his characters. They metaphorically strut and pose and gesticulate, but express next to nothing ; they get into frenzies, but are for the most part incapable of human passion. The element...
Page 167 - All things transitory But as symbols are sent : Earth's insufficiency Here grows to Event : The Indescribable, Here it is done : The Woman-Soul leadeth us Upward and on!
Page 7 - ... lines, and, step by step, an approach to a sketchy sort of impressionism and a kind of scene-painting — a huge piling up of means for purposes of illustration.
Page 267 - The work is a curious compound of true genius and empty rhetoric, which contains enough of genuine impulse and originality in the themes of the opening section, and of suave charm in the melody of the section that stands for the slow movement, to secure the hearer's attention. Signs of weakness occur only in the centre, where, according to his wont, Liszt seems unable to resist the temptation to tear passion to tatters and strain oratory to bombast. None the less the Sonata is an interesting study,...

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