Vietnam or Thailand ? Vote for the TOP Country of the Week !
Weigl, the cornet-player, did not want to know anything: he was ready to admire anything, or anybody, good or bad, star or gas-jet: everything was the same to him: there were no degrees in his admiration: he admired, admired, admired. It was a vital necessity to him: it hurt him when anybody tried to curb him. Old Kuh, the violoncellist, suffered even more. He loved bad music with all his heart.
Mozart's success had raised up a crop of imitators, of whom the most meritorious were Süssmayer, his own pupil; Winter, who had the audacity to write a sequel to 'Die Zauberflöte'; Weigl, the composer of the popular 'Schweizerfamilie' the Abbé Vogler, who, though now known chiefly by his organ music, was a prolific writer for the stage; and Dittersdorf, a writer of genuine humour, whose spirited Singspiel, 'Doktor und Apotheker, carried on the traditions of Hiller successfully.
Spitz wished to die, as he had lived, crawling: that was his natural position: it was delightful to him to grovel at the feet of everything that was official, hallowed, "arrived": and he was beside himself when anybody tried to keep him from playing the lackey, comfortably. So, Kuh groaned, Weigl threw up his hands in despair, Krause made jokes, and Spitz shouted in a shrill voice.
Beethoven's audacity his self-confidence, is brought out still more strongly when we reflect on the distinguished position held by Albrechtsberger, both as teacher and composer. He was director of music at St. Stephen's and was in great demand as a teacher. Some of his pupils became distinguished musicians, among them Hümmel, Seyfried and Weigl.
Word Of The Day