The Oxford History of Music, Volume 6William Henry Hadow Clarendon Press, 1905 |
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The Oxford History of Music (Volume VI) The Romantic Period, Volume 2, Part 2 Edward Dannreuther,W H Hadow No preview available - 2019 |
Common terms and phrases
Adagio Allegro Andante Années de pèlerinage appears Bach bars bass Bassoons beauty Beethoven's belonging Berlioz Brahms cantata CHIG Chopin choral chords chorus chromatic Clarinets clever colour composer connexion consists contrapuntal cres curious DANNREUTHER Dante Symphony dolce dramatic effect emotional espressivo Études expression F minor Fantasia Faust Finale fugues funèbre German Goethe's harmony histrionic illustration instance instrumental music J. S. Bach later Lieder Liszt Lohengrin major manner master melody Mendelssohn Mendelssohn's MICHI mood movement musicians Nocturne Oboe opera oratorio orchestral original overture passion phrase piano pianoforte pianoforte pieces poco poem Poème symphonique produced programme music quartets Requiem rhythm romantic Roméo Roméo et Juliette RSITY scene Scherzo Schubert Schumann score sentiment SITY solo Sonata songs spirit Stabat Strings style Symphonie fantastique Tannhäuser tempo tenor themes Thou touch trio trombones tunes UNIVE UNIV verse Viola violin vocal voices Wagner Weber's words
Popular passages
Page 109 - Once heavenly love sent down a burning kiss Upon my brow, in Sabbath silence holy; And, filled with mystic presage, chimed the church-bell slowly, And prayer dissolved me in a fervent bliss. A sweet, uncomprehended yearning Drove forth my feet through woods and meadows free, And while a thousand tears were burning, I felt a world arise for me.
Page 196 - HOW long wilt thou forget me, O LORD; for ever? how long wilt thou hide thy face from me?
Page 198 - How long shall I take counsel in my soul, having sorrow in my heart daily? how long shall mine enemy be exalted over me?
Page 223 - Thou Virgin Mother, daughter of thy Son, Humble and high beyond all other creature, The limit fixed of the eternal counsel, Thou art the one who such nobility To human nature gave, that its Creator Did not disdain to make himself its creature. Within thy womb rekindled was the love, By heat of which in the eternal peace After such wise this flower has germinated. Here unto us thou art a noonday torch Of charity, and below there among mortals Thou art the living fountain-head of hope.
Page 351 - Paradieses teilhaftig werden - da sind Dichter und Musiker die innigst verwandten Glieder einer Kirche: denn das Geheimnis des Worts und des Tons ist ein und dasselbe, das ihnen die höchste Weihe erschlossen.
Page 167 - All things transitory But as symbols are sent : Earth's insufficiency Here grows to Event : The Indescribable, Here it is done : The Woman-Soul leadeth us Upward and on!
Page 159 - Lord : but yet the Lord was not in the tempest : Behold, God the Lord passed by ! And the sea was upheaved, and the earth was shaken : but yet the Lord was not in the earthquake : And after the earthquake there came a fire : but yet the Lord was not in the fire : And after the fire there came a still small voice : and in that still voice onward came the Lord!
Page 45 - There is but little cohesion between the scenes, and no attempt at consistency to the situations in style and expression. No doubt Meyerbeer had a great sense of general effect. The music glitters and roars and warbles in well-disposed contrasts, but the inner life is wanting. It is the same with his treatment of his characters. They metaphorically strut and pose and gesticulate, but express next to nothing ; they get into frenzies, but are for the most part incapable of human passion. The element...
Page 15 - La musique en s'associant à des idées quelle a mille moyens de faire naître, augmente l'intensité de son action de toute la puissance de ce qu'on appelle la poésie... réunissant à la fois toutes ses forces sur l'oreille qu'elle charme, et qu'elle offense habilement, sur le système nerveux qu'elle surexcite, sur la circulation du sang qu'elle...
Page 7 - ... and, step by step, an approach to a sketchy sort of impressionism and a kind of scene-painting — a huge piling up of means for purposes of illustration.