Music: An Art and a Language
harmonic tones in the Coda of theB major Nocturne, op. 9, No. 3, and note the delicate colors in the closing arpeggio chord (to ...
Chapter 26 PRELUDE IN C MAJOR, OP. 28, NO. 1. This Prelude, the first of the set of 24, is an excellent example of the sonority ...
Chapter 27 ÉTUDE IN A-FLAT MAJOR, OP. 25, NO. 1. This étude, deservedly popular, may be considered the example par excellenceof ...
Chapter 28 MAZURKA IN F-SHARP MINOR, OP. 6, NO. 1. As Franz Liszt says in his life of Chopin, “The Mazurka is not only a dance, ...
the ground rhythm should always be preserved, though varied with subtle, and yet logical fluctuations. ...
Chapter 29 POLONAISE IN E-FLAT MINOR, OP. 26, NO. 11. The Polonaise[225] is the great national dance of the Poles; an impassione ...
[Footnote 225: For an account of its origin see the chapter in Huneker’s book and the article on the Polonaise in Grove’s Dic- t ...
Chapter 30 BARCAROLLE IN F-SHARP MAJOR, OP. 60. This composition, in many ways the most wonderful single piece we have from Chop ...
Chapter 31 SCHERZO IN C-SHARP MINOR, OP. 39. The four Scherzos, for passion and eloquence, rank among Chopin’s most characterist ...
last note of each phrase is adorned throughout with lovely col- oristic embellishments. After a return to the first theme, the s ...
Chapter 32 CHAPTER XV BERLIOZ AND LISZT. PROGRAMME MUSIC There is no doubt that Hector Berlioz (1803-1869), however var- ied the ...
to subvert the laws of music, only to make a new and indi- vidual use of them. As he was no abstract maker of music, his autobio ...
ginning pre-eminently with Berlioz, composers have had more highly cultivated imaginations, much more to say; and the wider rang ...
of painting. Into this maelstrom of revolution, Berlioz—he of the flaming locks, “that hairy Romantic” as Thackeray calls him—fl ...
orchestra, give forth the greatest beauty and variety of sound became an end in itself; and from his ingenious and innovat- ing ...
Mozart, Beethoven, Weber and Schubert were of the first.” [Footnote 227: It is understood that this is merely a personal opinion ...
[Footnote 230: Particularly to be recommended are the fol- lowing: the essay inMusical Studiesby Newman; that by R. Rolland inMu ...
purely thematic development, being introduced and modified primarily for dramatic purposes. In the second movement,[233] Un Bal, ...
Chapter 33 THE CARNAVAL ROMAIN OVERTURE (SEE SUPPLEMENT NO. 57) This work is one of Berlioz’s most brilliant pieces, with an or- ...
the tune taken from an aria of Benvenuto in the first act. The melody is soon repeated in the dominant key by the violas and the ...
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