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A chaconne!" roared out the enraged musician; "we must describe the Greeks; and had the Greeks chaconnes?" "They had not?" returned the astonished dancer; "why, then, so much the worse for them!" The Queen did not confine her admiration to the lofty style of the French and Italian operas; she greatly valued Gretry's music, so well adapted to the spirit and feeling of the words.
Undiverted by the changes of revolutionary times, they continue, in forms conditioned by the modern feeling for color, for tonal complexity, for supple and undulant rhythm, the high tradition of the elder music. Claude Le Jeune wrote motets; the eighteenth-century masters wrote gavottes and rigadoons, forlanas and chaconnes, expressed themselves in courtly dances and other set and severe forms.
A chaconne!" roared out the enraged musician; "we must describe the Greeks; and had the Greeks chaconnes?" "They had not?" returned the astonished dancer; "why, then, so much the worse for them!" The Queen did not confine her admiration to the lofty style of the French and Italian operas; she greatly valued Gretry's music, so well adapted to the spirit and feeling of the words.
A chaconne!" roared out the enraged musician; "we must describe the Greeks; and had the Greeks chaconnes?" "They had not?" returned the astonished dancer; "why, then, so much the worse for them!" The Queen did not confine her admiration to the lofty style of the French and Italian operas; she greatly valued Gretry's music, so well adapted to the spirit and feeling of the words.
He, the troubled, nervous, modern man, wrote with fluency fugues and double fugues, chaconnes and passacaglie, concerti grossi and variations. He seemed to have mastered the secrets of the old composers, to be continuing their work, developing their thought and style. He excelled in the control of what appeared to be the technicalities of composition.
At the same time he made sarabandes, gavottes, minuets, chaconnes, passepieds, gigues, polonaises and rondos dance across the piano in quick succession; and his comments were as spirited as his playing. "Professor MacDowell's criticisms were clear and forceful, and filled with many surprising and humorous touches. Of Bach he said, 'Bach spoke in close, scientific, contrapuntal language.
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