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2.30 o'clock SATURDAY Allegro Andante April artistic Avenue B-flat Back Bay bass bassoons beautiful Beethoven Berkeley Building Berlin Berlioz Boston Symphony Orchestra BOYLSTON STREET Brahms Bruckner cellos Chickering chief theme chorus clarinets Company composer composition conductor Conservatory d'Indy dance December Delius developed dramatic English horn F major February Fiedler flutes French Grand harp Haydn instruments Italian January kettledrums Ladies Leipsic Liszt London Longy March Mass MAX FIEDLER melody minor Miss movement Mozart musician November oboe October opera overture Oxford Paris performance pianist piano pianoforte Pianola piece Pierrot played Prelude published pupil Quartet Rehearsal and Concert Rome Safe Deposit Vaults scene Scherzo School Schumann score second theme Serenade Silks singers singing solo songs strings Suite sung Symphony Hall Telephone Theatre TREMONT STREET Trio trombones trumpets Tschaikowsky TWENTY-NINTH SEASON Vienna violas violins violoncello voice Wagner Wamke wood-wind wrote York
Page 1356 - II est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies...
Page 53 - Die schönste Jungfrau sitzet Dort oben wunderbar, Ihr gold'nes Geschmeide blitzet, Sie kämmt ihr goldenes Haar. Sie kämmt es mit goldenem Kamme, Und singt ein Lied dabei; Das hat eine wundersame, Gewaltige Melodei. Den Schiffer im kleinen Schiffe Ergreift es mit wildem Weh; Er schaut nicht die Felsenriffe, Er schaut nur hinauf in die Höh'.
Page 1627 - The Enigma I will not explain — its 'dark saying' must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger Theme 'goes,
Page 40 - tis real, it nothing knows of rue ! Each beauty in the world is sole, unique : So must the Love be that would Beauty seek ! So long as Youth lives on with pulse afire, Out to the chase ! To victories new aspire...
Page 620 - Ah the singing, ah the delight, the passion! All the Loves wept, listening; sick with anguish, Stood the crowned nine Muses about Apollo; Fear was upon them, While the tenth sang wonderful things they knew not. Ah the tenth, the Lesbian! the nine were silent, None endured the sound of her song for weeping; Laurel by laurel, Faded all their crowns; but about her forehead, Round her woven tresses and ashen temples White as dead snow, paler than grass in summer, Ravaged with kisses, Shown a light of...
Page 651 - The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, strings.
Page 12 - The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and the usual strings.
Page 1688 - In view of the fact that the President of the United States, the Honorable Harry S.
Page 120 - I had on my desk a glass with a scorpion in it. From time to time the little animal was ill. Then I used to give it a piece of soft fruit, upon which it fell furiously and emptied its poison into it — after which it was well again. Does not something similar happen to us poets? The laws of nature regulate the spiritual world also. . . . The second is a short poem entitled "Fear of Light" (presently, I shall relate the significance of that title to Ghosts) : What is life?
Page 1525 - Ay, but to die, and go we know not where ; To lie in cold obstruction and to rot ; This sensible warm motion to become A kneaded clod ; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice ; To be imprison'd in the viewless winds, And blown with restless violence round about The pendent world...