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accompaniment Adagio Allegretto Allegro already Andante appears arpeggios autograph bass bassoon beautiful Beethoven Beethoveniana beginning Berlioz Breitkopf Breitkopf and Hartel cellos characteristic Choral chord chorus clarinets Coda composer composition concert D major double basses drum edition effect eight bars Eroica fact feeling Fidelio Finale flat flute four bars given Gneixendorf Haydn heard hearer horns humour Larghetto Leipzig length letter lovely Ludwig Ludwig van Beethoven major March melody Mendelssohn mind minor Symphony Minuet molto movement Mozart musician natural Ninth Symphony notes notice Nottebohm oboe octaves opening orchestra original Overture passage Pastoral Symphony performance Philharmonic Society phrase pianissimo piano Pianoforte played portion programme published Quartet quotation quoted remarkable repeated repetition rhythm says Scherzo Schiller's Ode Schindler Schubert Schumann score second subject second violins semiquaver Sinfonie sketch-book sketches solo Sonata staccato strings Thayer theme Trio Vienna Viol violas vivace whioh whole words working-out
Page 73 - ... who seem'd so great. — Gone ; but nothing can bereave him Of the force he made his own Being here, and we believe him Something far advanced in State, And that he wears a truer crown Than any wreath that man can weave him. Speak no more of his renown, Lay your earthly fancies down, And in the vast cathedral leave him. God accept him, Christ receive him.
Page 77 - The invisible world, doth greatness make abode, There harbours; whether we be young or old, Our destiny, our being's heart and home, Is with infinitude, and only there ; With hope it is, hope that can never die, Effort, and expectation, and desire, And something evermore about to be.
Page 144 - The form is mechanic, when on any given material we impress a pre-determined form, not necessarily arising out of the properties of the material; - as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it develops, itself from within, and the fulness of its development is one and the same with the perfection of its outward form.
Page 278 - ... the bar's rest and staccato notes which usher in the second subject in the first Allegro ; the way in which, in the working-out of the same movement, the first subject is persistently shoved away each time it appears ; the provoking Italian cadence which finishes up the Allegretto just as we want to hear the legitimate repeat ; in the Finale the...
Page 278 - George's own seeming contradiction of this in the quotation above], this comes out in the Eighth Symphony more than anywhere else; indeed, the work might with propriety be called the Humorous Symphony — often terribly humorous; for the atmosphere of broad rough enjoyment which pervades the first and last movements is, in the former, darkened by bursts of unmistakable wrath, while every now and then there is a special stroke — such as the...
Page 100 - Beethoven must have been inspired by the very genius of happiness when he conceived and worked out the many beautiful themes of this joyous composition, and threw in the spirited and graceful features which so adorn them.
Page 822 - I enclose a setting of the Feuer-farbe on which I should like your opinion. It is by a young man of this place whose talent is widely esteemed, and whom the Elector has now sent to Vienna to Haydn. He intends to compose Schiller's Freude, and that verse by verse.
Page 24 - As has been appropriately said by another, the second symphony is "the culminating- point of the old, pre-re volution world — the world of Haydn and Mozart ; it was the farthest point to which Beethoven could go before he burst into that wonderful new region into which no man before had penetrated, of which no man had even dreamed, but which is now one of our dearest possessions, and will always be known by his immortal name.
Page 278 - Beethoven as fun was — the intense love of beauty ; and this is found in the Allegretto, than which nothing is more lovely in the world ; in the Minuet — especially the return to the subject by the bassoon — in the cantabile passages in the Trio, and in the serenely beautiful second subject of the Finale.