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Updated: May 15, 2025
These equali, as it turned out, were eventually used for Beethoven's funeral. The Kapellmeister's son, then a lad of fourteen, relates an incident of this time with Beethoven as the central figure. A resident of Linz, a certain Herr Graf von Dönhoff, who was a great admirer of Beethoven, gave an entertainment in his honor.
"I'll pull," said Audrey, in the boat. The man sprang out of the dinghy. "One instant!" Mr. Gilman begged her, standing up in the sternsheets, and popping his head through a porthole of the saloon. "Mr. Price!" "Sir?" From the interior. "Will you be good enough to play that air with thirty-six variations, of Beethoven's? We shall hear splendidly from the dinghy." "Certainly, sir."
The audience rose in a body and added its cheers to the noise of the trumpets. A large armchair, beautifully decorated with flowers and wreaths, was reserved as a seat of honour for the great musician. The seventh number on the programme was left vacant, but when it was reached the orchestra began the introduction to Beethoven's concerto.
We read in "Eckermann's Conversations" that on such occasions the company would relate incidents from Beethoven's life, but Goethe never mentioned him. Poet and musician were utterly dissimilar; it is not likely that either influenced the other to any appreciable degree. I have never hoped this.
Three afternoons a week we were, as a rule, gathered about our table in the garden where the concerts were given, and, in the midst of us, Alexander Thayer, the biographer of Beethoven, who discussed the music with us during its intervals. Beethoven was, for him, the one personage in human history, and Beethoven's music the only worthy object of human concern.
His Efforts soothe the Sufferings of Beethoven's Deathbed. Friendship for Mendelssohn. Moscheles becomes connected with the Leipzig Conservatorium. Death in 1870. Moscheles as Pianist and Composer. Sympathy with the Old as against the New School of the Piano. His Powerful Influence on the Musical Culture and Tendencies of his Age.
Nobody but an acrobat will voluntarily spend years at such a difficult mechanical puzzle as the keyboard, and so we have to take our impressions of Beethoven's sonatas from acrobats who vie with each other in the rapidity of their prestos, or the staying power of their left wrists. Thoughtful men will not spend their lives acquiring sleight-of-hand.
I was too ambitious about them, and actually taught them Beethoven's Quartette in C sharp minor, which meant endless trouble and rehearsing. I wrote some analytical annotations for the better appreciation of this extraordinary work, and had them printed on the programme. Whether I made any impression on the audience, or whether they liked the performance, I was never able to find out.
He ranges titanic forces in opposition and lets us see the battle. By the magic of his art we are enabled to see these pictures as on a canvas. It is frequently stated that Beethoven's music shows a deficiency in counterpoint. His originality, the wealth of his ideas, his versatility, will explain this.
There had been a good deal of music before, in a small way; pupils of Eichberg playing on the violin with piano accompaniment, and even Eichberg himself, which was quite a treat, though a single violin can never express a wide range of musical ideas. Beethoven's music she had also heard indifferently performed by young lady amateurs; but this was another affair.
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