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That anguished melody of speculation as to Isabella Kingan's heart he had played over again with the tempo rubato and the pressed loud pedal of sentimentality, and it was now no more than agreeably affecting as a Scotch song ... being kind to the wean for the sake of her who was my sweethairt in auld lang syne....

She had gathered sufficient of Brazilian ways to understand that the man had been bribed to convey this request to her without attracting attention. "Tell him to wait," she said, hoping to gain a moment wherein to decide how best to act. "It is urgent, Senhora ao mesmo tempo, the colonel said." "Go! That is my answer." The man's unwillingness to obey showed how imperative were his instructions.

He tried to speak at an ordinary tempo, but his words kept edging on faster and faster: "Tump, I'm not going to marry Cissie Dildine." "I knows you ain't, Peter." "I mean, if you let me alone, I didn't mean to." "I ain't goin' to let you alone." "Tump, we had already decided not to marry."

It is obviously the delicate duty of the executants to indicate the character of the new movement with an appropriate modification of tempo i.e., to take the notes which immediately succeed the Adagio for a link, and so unobtrusively to connect them with the following that a change in the movement is hardly perceptible, and moreover so to manage the ritardando, that the crescendo, which comes after it, will introduce the master's quick tempo, in such wise that the molto vivace now appears as the rhythmical consequence of the increase of tone during the crescendo.

When he was fifty-seven years old, he found her again and his old love revived. But before that time there was much life to live. And he lived it at a tempo presto con fuoco. He went to Paris, which was a cyclone of conflict for him. At the age of twenty-seven he won the Prix de Rome and went for three years to Italy, not without the amorous adventures suitable to that sky.

Mikuli, another pupil of Chopin's, explains his master's tempo rubato thus: "While the singing hand, either irresolutely lingering or as in passionate speech eagerly anticipating with a certain impatient vehemence, freed the truth of the musical expression from all rhythmical fetters, the other, the accompanying hand, continued to play strictly in time."

All of them have been edited to death, reduced to the commonplace by vulgar methods of performance, but are altogether sprightly, delightful specimens of the composer's careless, vagrant and happy moods. Kullak utters words of warning to the "unquiet" sex regarding the habitual neglect of the bass. It should mean something in valse tempo, but it usually does not.

It cannot be denied, however, that he often reached a high plane; perhaps the following lines show him at his best: "Quale sopra i nevosi ed alti monti Apollo spande il suo bel lume adorno, Tal' i crin suoi sopra la bianca gonna! Il tempo e'l luogo non ch'io conti, Che dov'è si bel sole è sempre giorno; E Paradiso, ov'è si bella Donna!" While still preoccupied with what Mrs.

There is the same symmetrical repetition in the Ecole des marts, in L'Etourdi, and above all in George Dandin, where the same effect in three tempi is again met with: first tempo, George Dandin discovers that his wife is unfaithful; second tempo, he summons his father and mother-in-law to his assistance; third tempo, it is George Dandin himself, after all, who has to apologise.

It was very thrilling to stand here, on this forbidden ground, smelling the saw-dust, gazing at the big red wagons, studying the unprotected circus properties, and listening to the lightening tempo of the band. "Did you see him?" shouted Strong, who had followed closely upon Elverson's heels. The little deacon started. Strong was certainly a disturbing factor at times. "Yes, I I saw him." "Well?"