Music: An Art and a Language
tion. In the middle contrasting portion it seems as if Schumann had taken a leaf out of Chopin’s book—a beautiful, lyric melody ...
i.e., the themes are dramatic characterizations: the first typify- ing the stormy nature of Manfred; the second, with its note o ...
structure. In the Coda, beginning measure 258, Schumann— now that he is free from considerations of structure—gains a dramatic e ...
Chapter 24 SYMPHONY IN D MINOR. This Symphony is selected from Schumann’s four, both for the peculiar romantic beauty of its the ...
realise that the D minor Symphony was composed in the same year as the B-flat major. It was afterwards revised and pub- lished a ...
appearance of the interpolated theme. This theme, with rhyth- mic modifications, serves also as the basis for the brilliant Coda ...
return to the plaintive oboe melody, this time in D minor. The tonality is purposely indefinite to accentuate the wistful feelin ...
them.] The free Fantasie begins with a contrapuntal working-out of a figure taken from the first theme, but it suffers from a pe ...
the freedom of genius. His dazzling precocity—witness theMid- summer Night’s DreamOverture, composed while he was in his sevente ...
given to modern composers. No one could possibly find in the HebridesOverture that subtle descriptive fancy or that wealth of or ...
of the music—will see that Mendelssohn’s object was to give a broad, general picture of the fairy world and to intensify, by his ...
effectively abridged so that the second theme, by far the most appealing in the whole work, stands out in greater prominence. Th ...
Chapter 25 CHAPTER XIV CHOPIN AND PIANOFORTE STYLE Although Chopin (1809-1849) was less aggressively romantic than others of the ...
his style to the exclusion of the intensity and bold dramatic power that characterize much of his music to a marked degree. Thou ...
the pianoforte, to which he devoted himself exclusively,[213] no understanding or adequate appreciation of the subtleties of his ...
one who understands its secrets and, furthermore, when it is properly played, it is quite the finest[215] instrument ever yet br ...
the figuration is far better suited to the violin than to the hand in connection with keys.] [Footnote 215: This by reason of it ...
on the pianoforte being a great blemish as it is so unnecessary. The following passage illustrates the above points. [Footnote 2 ...
Let it be clearly understood, therefore, that the damper pedal— popularly but erroneously called the “loud pedal”—has nothing to ...
soon becomes, if constantly employed, rather cloying. The dy- namic gradation of tone is primarily a matter for the control of t ...
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