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Ful fetis was hir cloke, as I was war, Of smal coral aboute hir arm she bar A peire of bedes, gauded al with grene, And ther-on heng a broche of gold ful shene. Unfortunately, however, the bishop did notice; the registers are indeed full of those clothes of Madame Eglentyne's, and of the even more frivolous ones which she wore in the privacy of the house.
The amalgamation of his Germanic tendencies with his Italian education and his French preferences formed an ore of new brilliancy and new depth of tone. His style resembled none other. Fétis, his great admirer and friend and the famous director of the Conservatoire at Brussels, insisted, and with reason, on this distinction. His style was characterized by the importance of the rhythmic element.
When she was reproached by Fetis for using ad captandum effects too lavishly in the admonition: "With the degree of elevation to which you have attained, you should impose your opinion on the public, not submit to theirs," she answered, with a laugh and a shrug of her charming shoulders: "Mon cher grognon, there may perhaps be two or three connoisseurs in the theatre, but it is not they who give success.
They learned how to modulate, how to transpose from one key to the next key and finally to the keys farthest away. In his treatise on harmony Fétis studied this evolution in a masterly manner. Unfortunately his scholarship was not combined with deep musical feeling.
As a compliment to Adolph Sax he substituted a saxaphone for the bass clarinet which the author indicated. This resulted in the suppression of that part of the aria beginning O Paradis sorti de l'onde as the saxophone did not produce a good effect. Fétis also allowed Perrin to make over a bass solo into a chorus, the Bishop's Chorus. The great vocal range in this is poorly adapted for a chorus.
Wonderful Success at Milan, where he first plays One of the Greatest of his Compositions, "Le Streghe." Duel with Lafont. Incidents and Anecdotes. His First Visit to Germany. Great Enthusiasm of his Audiences. Experiences at Vienna, Berlin, and other German Cities. Description of Paganini, in Paris, by Castil-Blaze and Fetis. His English Reception and the Impression made. Opinions of the Critics.
He was first soloist in the royal band, to which post he was appointed in 1858, and he was presented with the Cross of the Legion of Honour. Alard was born at Bayonne in March, 1815, and was well taught from his earliest youth. He appeared in concerts at the age of ten, and at twelve entered the Paris Conservatoire, where he became a pupil of Habeneck, while Fétis taught him composition.
On meeting Howard again that evening, I was assured that Meyerbeer had spoken of me in terms of the highest praise. I then suggested his reading certain numbers of the Paris Gazette musicale, in which Fetis had, some time before, given a less favourable interpretation of Meyerbeer's views about me.
The quality of tone which he produced was clear and pure, but not excessively full, and, according to Fétis, he was a master of technique and phrasing rather than a pathetic player, there was no tenderness in his accents. It is said that Baillot used to hide his face when Paganini played a pizzicato with the left hand, harmonics, or a passage in staccato.
Honorably has he since that period filled his station, however great the pains which have been taken in various quarters that it should not be said of him, 'Virtus post nummos!" Again we read, "We remember, that, some time since, Fetis, at Paris, pointed out Marx as the one who had introduced the philosophy of Kant into music."
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