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adagio Allegro Andante appears aria artistic attained Austrian Bach's beauty Beethoven C. P. E. Bach career character Cherubini choral Church clarinet clavichord clavier colour composer composition concerto contemporary contrapuntal contrast counterpoint devices doubt dramatic early eighteenth century Eisenstadt emotional example expression famous feeling Fidelio folk-song followed French fugues G major genius German Gluck Guerre des Bouffons hand Handel harmonic harpsichord Hasse Haydn and Mozart influence instance instrumental interest invention Italian Italy J. S. Bach Joseph Haydn Kapellmeister later less lyric Mass master melody method Michael Haydn minor modulation movement musician never oboes opening opera oratorio orchestra organ overture Paris passages passion period phrase piano pianoforte pupil quintet remarkable rondo Sarti scheme Schubert score sonata song Spohr stage string quartets style success symphony theatre theme tone touch treatment trio true tune Vienna Viennese violin voice whole wholly writing written wrote
Page 246 - II, with a salary of úSo a year: — 'too much for what I do, too little for what I could do,' as he wrote bitterly across the first quittance.
Page 8 - Yes!' in order to awaken attention, and bespeak silence, at the entrance of the singers. Since the discovery which the genius of Stamitz first made, every effect has been tried which such an aggregate of sound can produce; it was here that the Crescendo and Diminuendo had birth; and the Piano, which was before chiefly used as an echo, with which it was generally synonimous, as well as the Forte, were found to be musical colours which had their shades, as much as red or blue in painting.
Page 272 - The meaning of Song goes deep. Who is there that, in logical words, can express the effect music has on us? A kind of inarticulate unfathomable speech, which leads us to the edge of the Infinite, and lets us for moments gaze into that!
Page 87 - The piece was to be divided into three acts, and not to exceed a certain number of verses. It was required that each scene should terminate with an air; that the same character should not have two airs in succession ; that an air should not be followed by another of the same class ; and that the principal airs of the piece should conclude the first and second acts. In the second and third acts there should be a scena consisting of an accompanied recitative, an air of execution...
Page v - THE object of this volume is to sketch the history of Musical Composition from the time of CPE Bach to that of Schubert.
Page 19 - We are here in another world, another order of poetry altogether ; here is rightly due such supreme praise as that which M. Vitet gives to the Chanson de Roland. If our words are to have any meaning, if our judgments are to have any solidity, we must not heap that supreme praise upon poetry of an order immeasurably inferior.
Page 344 - Eleison," the great musician, Beethoven, wrote, " From the heart it has come : to the heart it shall penetrate." The Asiatic Russians say that it is only upon the Baikal — an exceedingly dangerous lake in Siberia — in autumn, that a man learns to pray from his heart. " A great part of my time," said M'Cheyne, " is spent in getting my heart in tune for prayer.
Page 6 - At the particular time at which E. Bach lived there were no great men. The gigantic days of Handel and Bach were exchanged for a time of peruke and powder, when the highest ideal was neatness, smoothness, and elegance. Depth, force, originality, were gone, and 'taste' was the most important- word in all things.
Page 233 - I declare to you before God as a man of honour that your son is the greatest composer that I know, either personally or by reputation'.