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By 10 A.M. the whirling flakes ceased, but a more sullen, leaden, March-like sky never lowered over a cold, dripping earth. On the north side of the house a white hyacinth was seen hanging its pendent blossoms half in and half out of the snow, and Alf, who in response to Dr.

Ere long, the thoughtful stride was accompanied by low, musical mutterings, dropping from his lips in such majestic cadences that his steps involuntarily fell to their music in a march-like rhythm.

At the conclusion of the overture the broader 4/4 time, quoted above in the powerfully sustained march-like fanfare, returns again; the quick figured embellishments are added, and the tempo ends exactly as it began. This overture was first performed at a concert at Leipzig, when I conducted it as described above.

The march-like element naturally requires strict playing in time. This study is magnificent, and moreover it is music. In bar fifteen Von Bulow makes B natural the second note of the last group, although all other editions, except Klindworth, use a B flat. Von Bulow has common sense on his side. The B flat is a misprint.

Now in the overture, the conductor had failed to see the necessity of a modification of the original march-like tempo in the direction of an Andante alla breve; and, of course, here at the close of the opera he equally failed to feel that the movement was not directly connected with the march tempo his first mistake was therefore continued, and he proceeded to confine and hold fast the warmly-feeling singer of the part of Hans Sachs in rigid 4/4 time, and to compel him to deliver his final address in the stiffest and most awkward manner possible.

She went to the window, and looked out at the weather. The early part of the day had been brilliant and beautiful; then, March-like, it had changed about, gathered up a whole sky-full of clouds, and turned at last to snowing. The large feathery flakes were falling now, fast; melting as fast as they fell; making everything wet and chill, in the air and under the foot.

Great facility, lightness of touch, equality, strength and endurance in the forte passages, together with the clearest distinctness in the piano and pianissimo all of this must have been already achieved, for the interpreter must devote his whole attention to the poetic contents of the composition, especially to the delivery of the march-like rhythms, which possess a life of their own, appearing now calm and circumspect, and anon bold and challenging.