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Instead of renewing ourselves inwardly through freedom and the spirit, and carrying on a defensive policy as quietly, discreetly, and inconspicuously as possible, we took to arming and hurrahing. Worse than any playing of false notes was the mistake we made in key and in tempo: D major, Allegro, Marcia, Fortissimo, with cymbals and trumpets!
This process of the EVOLVING EUROPEAN, which can be retarded in its TEMPO by great relapses, but will perhaps just gain and grow thereby in vehemence and depth the still-raging storm and stress of "national sentiment" pertains to it, and also the anarchism which is appearing at present this process will probably arrive at results on which its naive propagators and panegyrists, the apostles of "modern ideas," would least care to reckon.
Composition naturally became a more difficult matter after blindness set in, but new songs were added to many of the oratorios, and in 1758 he made a complete revision of his old Italian cantata, Il Trionfo del Tempo. Morell translated it into English, and seventeen new numbers were added.
I half expected to find a hansom waiting, but there was none, and we had gone some distance down the Earl's Court Road before we got one; in fact, we had to run to the stand. Opposite is the church with the clock upon it, as everybody knows, and at sight of the dial my companion had wrung his hands; it was close upon the half-hour. "Poco tempo pochissimo!" he wailed.
Herr Carovius raised his head: “Tempo!” he exclaimed, “Tempo!” and began to beat time with his hands and stamp the floor with his feet. Dorothea smiled, shook her head, and played more and more rapidly. “Tempo,” howled Herr Carovius. “Tempo!” The barking of a sad dog was wafted into the room from the court below. It was Cæsar: he was on his last legs.
the tempo rubato giving fresh impetus to the kaleidoscopic whirl of the dancers. The young men were of indomitable endurance and manifested a crude agility as they sprang about clumsily in time to the scraping of the fiddles, while their partners shuffled bouncingly or sidled mincingly according to their individual persuasion of the most apt expression of elegance.
The sustained tone regulates the Tempo Adagio: here the rhythm is as it were dissolved in pure tone, the tone per se suffices for the musical expression. In a certain delicate sense it may be said of the pure Adagio that it cannot be taken too slow.
"I know no pianist, no composer for the piano like him." Meyerbeer was wrong in his idea of the tempo. Though Chopin slurs the last beat, it is there, nevertheless. This Mazurka is only four lines long and is charming, as charming as the brief specimen in the Preludes. The next Mazurka is another famous warhorse.
The only remark you might make concerns the quick tempo of the choruses in Act II., Scene iii., and of the "Lohengrin" passage in the third act as compared with YOUR METRONOMIC INDICATION. This is the more necessary as the chorus practically broke down, and these passages failed to produce their due effect.
For them is not the Buddhistic void, in which shapes slowly form and fade; their psychical tempo is devouring. They voiced their age, they moulded their age and we listen eagerly to them, to these vibrile prophetic voices, so sweetly corrosive, bardic and appealing.
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