The Oxford History of Music: The Viennese period, by W.H. Hadow

Cover
Percy Carter Buck
Oxford University Press, 1904
 

Häufige Begriffe und Wortgruppen

Beliebte Passagen

Seite 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.
Seite 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!
Seite 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...
Seite 6 - In such periods a man is eminent and influential more from his general cultivation than from proficiency in any special branch. 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.
Seite 233 - / tell you before God and as an honest man that your son is the greatest composer of whom I have ever heard; he has taste and in addition the most complete knowledge of composition.
Seite 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.
Seite 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.
Seite 21 - Dutch concert," consisting of seven or eight harpsichords, more than as many violins, and several voices, all performing different things, and in different keys...
Seite 317 - When Keats tells of Magic casements, opening on the foam Of perilous seas in faery lands forlorn, it is not the picture alone which gives us delight : each word has a charm, a colour : the exquisite thought is crowned with a halo not less exquisite. And much of Schubert's melody is in the very spirit of Keats. The themes of the Unfinished symphony, of the first pianoforte trio, of the octet, are the incarnation and embodiment of pure charm : every note, every harmony, every poise of curve and cadence...
Seite 120 - Often graceful and delicate in style he is sometimes so unsubstantial that, as was epigrammatic-ally said, ' one could drive a coach and four between the bass and the first violin.

Bibliografische Informationen