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Updated: May 16, 2025
The progress of musical criticism was just as rapid. Professors of faculties, old pupils of the École Normale Supérieure, or the École des Chartes, such as Henri Lichtenberger, Louis Laloy, and Pierre Aubrey, examined works of the past, and even of the present, by the exact methods of historical criticism.
And on all sides discerning and well-informed critics, such as M. Pierre Lalo of Le Temps, M. Louis Laloy of the Revue Musicale and the Mercure Musicale, and M. Marnold of Le Mercure de France, have championed his doctrines and his art.
M. Louis Laloy has shown the persistence of certain forms of plain-song in M. Debussy's Pelléas; and in a dim sense of far-away kinship he finds the cause of the mysterious charm that such music holds for some of us. This learned paradox is possible. Why not?
More than that, Debussy's harmony is not, as it was with Wagner and all the German school, a fettered harmony, tightly bound to the despotic laws of counterpoint; it is, as Laloy has said, a harmony that is first of all harmonious, and has its origin and end in itself. Some of his analyses are models of clever intuition.
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