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Updated: May 16, 2025
But presently the Allegro came to an end, and with the pause there came that brief stir in the orchestra, that momentary relaxation of nerves and muscles, that moving and turning of many heads in different directions, that swift interchange of looks and smiles and whispered words between the players, which seemed like the temporary dissolving of the spell that made them one.
In the Finale, Allegro non troppo, we are really clear, at the outset, of the toils of musing melancholy. After big bursts of chords, a tune rolls pleasantly along, dolce cantabile, in basses of wood and strings. Expressive after-phrases abound, all in the same jolly mood, until the whole band break boisterously on the simple song, with a new sonorous phrase of basses.
The London Voluntaries of Henley, from which the above is a fair example, may have suggested something to Vachel Lindsay both in their irregular singing quality and in the direction, borrowed from notation, which accompanies each one, Andante con moto, Scherzando, Largo e mesto, Allegro maestoso.
I know you are, Allegro." "Perhaps; a little," Olga admitted. "Ah! I knew it. He can do anything he likes with you. But I am different." She lifted her head proudly. "I am no man's slave," she said. "He thinks that he has only to speak, and I shall obey. He was never more mistaken in his life." "But, Violet, he was only treating you as a patient," Olga protested.
Gilchrist is at work upon a second symphony of more modernity. The "Nonet" is in G minor, and begins with an Allegro in which a most original and severe subject is developed with infinite grace and an unusually rich color. The Andante is religioso, and is fervent rather than sombre. The ending is especially beautiful. A sprightly Scherzo follows.
The third is an hilarious allegro, and the finale is an even gayer presto, with movements of sudden sobriety, suddenly swept away. Foerster calls this Quartette "far inferior" to a second one, opus 40. This, however, I have not seen; but I do not hesitate to call opus 21 a masterly work. Opus 24 is an "Albumblatt" for 'cello and piano.
There came a faint sound outside the door as of muffled movements, and Cork, from his post at the foot of the bed, raised his head and deeply growled. Sleepily the head on Olga's shoulder stirred. "It doesn't matter now," said Violet's voice, speaking softly. "He can never bring me back again." And then, still more softly, in a kind of breathless ecstasy, "The Door is opening, Allegro darling!
His tone was brisk and kindly. He took her hand and drew her forward. She submitted listlessly. Her face was white and her eyes deeply shadowed. She scarcely raised them as she advanced. "Hullo, Nick!" she said indifferently. "Hullo, Allegro! No, I don't want any breakfast. I'm not hungry to-day."
Was it written first for the pianoforte and orchestra, as Schumann suspects? Or may we make even a bolder guess, and suppose that the composer, at a more advanced age, worked up into this Allegro de Concert a sketch for the first movement of a concerto conceived in his younger days?
Among her orchestral works are two symphonies, one in C minor and the other in G; four overtures, "Endymion," "Lalla Rookh," "The Masque of Pandora," and "Jason, or the Argonauts and Sirens;" a concerto for clarinet and orchestra, and an "Introduction and Allegro" for piano and orchestra. Her chamber music is also successful.
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