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Woman learns how to hate in proportion as she forgets how to charm. The same emotions are in man and woman, but in different TEMPO, on that account man and woman never cease to misunderstand each other. In the background of all their personal vanity, women themselves have still their impersonal scorn for "woman".
"King" McAllister had bequeathed to his daughter many of his strong characteristics his resolution, his gay courage, his contumacious self-reliance, his pride as a reigning monarch of hoofs and horns. Allegro and fortissimo had been McAllister's tempo and tone. In Santa they survived, transposed to the feminine key.
"Brutto tempo!" he screamed above the uproar, when I again spoke to him; but in such a cheery tone that I did not think it worth while to make any further remark. Through the driving rain, I studied as well as I could the features of the country.
The explanation was sufficiently annoying. Still I could, at least, flatter myself that I had found somebody to share my views as to the difference between one tempo and another. I doubt, however, whether the conductor could be fairly reproached with a want of forethought and consideration; unconsciously, perhaps, he may have had a very good reason for his "forgetfulness."
Once she had hurriedly left a Subway train because of a fancied likeness to Roy Kemble in a young fellow across the aisle. Even now there were days when fancied resemblances seem to people the crowds. "Why, Harry Calvert!" "Hello," he said in the tempo of no great surprise, but purpling up into his lightish hair. "I know you. You're Lilly Becker." "Harry, I cannot believe my eyes!
A bereavement of this kind gives one a glimpse of the feeling those must have, who have seen all drop round them friend after friend, and are left to end their pilgrimage alone." Even in persons of naturally robust health, and with no "Ricordarsi di tempo felice Nella miseria " to wear, with slow dropping but perpetual pain, upon their spirits, the nerves and appetite will give way in solitude.
A thick blonde braid hung to her waist. Patrick ordered rice and vegetables and watched her hips move to a gentle repeating melody from the piano. The player varied the tempo and the emphasis, working further into the piece, exploring its edges without losing its rhythmic heart. A man in his thirties with a round face and curly hair came in and sat at the next table.
Even the mechanical guide, the metronome, is not always to be depended upon to give the exact tempo the composer had in mind. Let me cite a little instance from the biography of Ries, the friend of Beethoven. Ries was preparing to conduct a performance of the Beethoven Ninth Symphony.
He mentioned, as a striking instance of this, a brief chorus in C major of male and female nymphs in the third act. By the introduction of a more moderate tempo and very soft piano I had tried to free this from the original coarseness with which Devrient had heard it rendered in Berlin presumably with traditional fidelity.
There is no well-marked motive development but instead a succession of tones first from one triad, then from another, and so on, grouped in ever varying fashion. The tempo is mostly 108, but at the tenth measure the movement slows down to 80. At this point is shown a note with a large circle above. This tone was taken with a very wide open mouth quite in contrast with the one preceeding.
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