Music: An Art and a Language
touched upon emotions one had lived through in some former existence.... The warmth and depth of his ethical sentiment is now fe ...
Chapter 20 CHAPTER XII THE ROMANTIC COMPOSERS. SCHUBERT AND WEBER During the latter part of Beethoven’s life—he died in 1827—new ...
what it is. The term Romantic is perfectly clear in its appli- cation to literature, from which music borrowed it. It refers to ...
[Footnote 174: Some very sane comments may be found in Pratt’sHistory of Music, pp. 427, 501, 502.] [Footnote 175: “Aclassicis p ...
forty-six, Mendelssohn, thirty-eight, Chopin, forty. In the case of all the composers we have hitherto studied, with the excep- ...
sure, describe matters of fact, but the Romantic composers have brought it to a high degree of poetical suggestiveness. Thus the ...
we crave dynamic power of emotion or sublimity of thought we may have recourse to Bach and Beethoven; but the spontaneous charm ...
which the expressive powers of music are most eloquently em- ployed.[178] Note the poetic touches of character-drawing and of de ...
storehouse of beauty, but the “high moments” are in the last two movements—the fairly intoxicating Trio of the Scherzo, which se ...
ever, was thefirstto make such systematic and artistic use of the effect. For a beautiful modern example see the Spanish folk-da ...
riety and the dramatic touches of orchestration. In Schubert we do not look for the development of a complicated plot but give o ...
the pictures they evoke and their orchestral dress, we must ac- knowledge in Weber the touch of real poetic genius. To quote Run ...
the precursor of that type of orchestration which has reached such heights in Wagner and other moderns. From the above comments ...
expend upon it no critical powder. Weber was a great colorist but not a great architect. These qualities are united only too sel ...
Chapter 21 CHAPTER XIII SCHUMANN AND MENDELSSOHN In distinction from pioneers like Schubert, slightly tinged with Romanticism, a ...
remarks. Schumann’s pianoforte style is compounded of two factors: first, his intensely subjective and varied imagination which, ...
Each one, however, has notable features,e.g., the sublime Ada- gio of the 2d, and the touching Romanza of the 4th, and each is w ...
Chapter 22 DES ABENDS. TheFantasiestücke[191], op. 12, of which this piece is the first, amply justify their title, for they abo ...
hand Schumann, by a subtle blending of triple time in the main upper melody and duple time in the lower, suggests that hazy inde ...
Chapter 23 WARUM? This piece is a happy illustration of the intensity of meaning and the conciseness of structure which Schumann ...
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