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accent aesthetic Amy Fay artist audience Bach beautiful Beethoven beginning better Brahms breath called cantatas Chicago Chopin choral chord chorus church Clara Wieck Club College composer compositions concert conductor Conservatory course criticism David Bispham expression feeling festival flat gave German give given glottis Godowsky Gustav Doret hand Handel harmony hear heard heart idea instruments interest Italian later Liszt Lohengrin master means measure melody Mendelssohn ment method minor Miss modern movement Mozart music history music teacher musician never notes opera oratorio orchestra organ overture Parsifal performance pianist piano pieces played player present pupils recital rhythm Rossini sang Schumann seems singer singing SIR ARTHUR SULLIVAN solo sonata song sound spirit strings student sung symphony teaching things thought tion tone violin vocal voice Wagner whole Wieck words write young
Page 241 - That is indeed but little for a man to get, who does best that which so many endeavour to do. There is nothing, I think, in which the power of art is shown so much as in playing on the fiddle. In all other things we can do something at first. Any man will forge a bar of iron, if you give him a hammer ; not so well as a smith, but tolerably. A man will saw a piece of wood, and make a box, though a clumsy one ; but give him a fiddle and a fiddle-stick, and he can do nothing.
Page 239 - ... be wrought in us by what is unsubstantial, and comes and goes, and begins and ends in itself? It is not so; it cannot be. No; they have escaped from some higher sphere; they are the outpourings of eternal harmony in the medium of created sound; they are echoes from our Home; they are the voice of Angels, or the Magnificat of Saints, or the living laws of Divine Governance, or the Divine Attributes; something are they besides themselves, which we cannot compass, which we cannot utter,— though...
Page 504 - My first object (as usual) was originality. The extent to which this has been neglected in versification is one of the most unaccountable things in the world. Admitting that there is little possibility of variety in mere rhythm, it is still clear that the possible varieties of metre and stanza are absolutely infinite, and yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing.
Page 239 - Can it be that those mysterious stirrings of heart, and keen emotions, and strange yearnings after we know not what, and awful impressions from we know not whence, should be wrought in us by what is unsubstantial, and comes and goes, and begins and ends in itself? It is not so; it cannot be.
Page 239 - To speak of an idea or a subject seems to be fanciful or trifling, to speak of the views which it opens upon us to be childish extravagance; yet is it possible that that inexhaustible evolution and disposition of notes, so rich yet so simple, so intricate yet so regulated, so various yet so majestic, should be a mere sound, which is gone and perishes?
Page 242 - ... as in a piece of arras-work, the whole of my past life — not as if recalled by an act of memory, but as if present and incarnated in the music: no longer painful to dwell upon: but the detail of its incidents removed, or blended in some hazy abstraction; and its passions exalted, spiritualized, and sublimed.
Page 241 - Brown, and, though chiefly remarkable for its sublimity, has also a philosophic value, inasmuch as it points to the true theory of musical effects. The mistake of most people is, to suppose that it is by the ear they communicate with music, and therefore that they are purely passive to its effects. But this is not so; it is by the reaction of the mind upon the notices of the ear (the matter coming by the senses, the form from the mind) that the pleasure is constructed...
Page 357 - ... that they have a worth far surpassing what is usual in such cases; nay, that if literature had no task but that of harmlessly amusing indolent, languid men, here was the very perfection of literature ; that a man, here more emphatically than ever elsewhere, might fling himself back, exclaiming, ' Be mine to lie on this sofa, and read everlasting Novels of Walter Scott!
Page 239 - There are seven notes in the scale; make them fourteen; yet what a slender outfit for so vast an enterprise! What science brings so much out of so little? Out of what poor elements does some great master in it create his new world! Shall we say that all this exuberant inventiveness is a mere ingenuity or trick of art, like some game or fashion of the day, without reality, without meaning? We may do so; and then, perhaps, we shall also account the science of theology to be a matter of words; yet,...
Page 241 - ... to its effects. But this is not so; it is by the reaction of the mind upon the notices of the ear (the matter coming by the senses, the form from the mind) that the pleasure is constructed ; and therefore it is that people of equally good ear differ so much in this point from one another.