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Updated: June 28, 2025
See ante, iii. 124, for mention of her father and brother. The verse in Martial is: 'Defluat, et lento splendescat turbida limo. In the common editions it has the number 45, and not 44. See ante, iii. 187. Johnson wrote on Nov. 27, 1772, 'I was yesterday at Chatsworth. They complimented me with playing the fountain and opening the cascade.
He marks his metronome 50 to the half note. All the editions are lento with alla breve. That the Preludes are a sheaf of moods, loosely held together by the rather vague title, is demonstrated by the third, in the key of G. The rippling, rain-like figure for the left hand is in the nature of a study. The melody is delicate in sentiment, Gallic in its esprit.
When, gliding indirectly through the rest of the period, it takes its stand at the close, as in that "Charles dear" of Mrs. Dale, it has spilled so much of its natural bitterness by the way that it assumes even a smile, "amara lento temperet risu." Sometimes the smile is plaintive, sometimes arch. For example: "Nay, I am very glad you amused yourself so much without me, Charles dear."
The beginning of the sixth page is very piano and light it is nothing more than a breath of smoke, an airy nothing. But at the poco piu lento, there is an undercurrent of reality; the two parts are going at the same time the hard, earthly part, with accents, and the spiritual, thin as air. To realize these qualities in playing is the very idealization of technic."
The middle part of the second D flat, molto piu lento however, is much finer; in it we meet again, as we did in some other nocturnes, with soothing, simple chord progressions. When Gutmann studied the C sharp minor Nocturne with Chopin, the master told him that the middle section- -the molto piu lento in D flat major should be played as a recitative.
"Aha, now you're starting!" she exclaimed with savage joy, passing from lento to allegro vivace. The afflicted Sisa gave a cry of pain and quickly raised her foot. "You've got to dance, you Indian !" The whip swung and whistled. Sisa let herself fall to the floor and placed both hands on her knees while she gazed at her tormentor with wildly-staring eyes.
The piu lento is certainly one of the most scherzo-like thoughts in Chopin's scherzos so light and joyful, yet a volcano is murmuring under this serenity. The return of this piu lento, after the repeat of the first section, is very fine and beneficently refreshing, like nature after a storm. The Marche funebre ranks among Chopin's best-known and most highly-appreciated pieces.
For it rests on a degree that does not exist in the tonic major. To be sure, Beethoven did invent the change to a lowered submediant in a succeeding movement. Lento in basses of the strings a strain sounds like a basic motive, answered with harmonies in the wood. In further strings lies the full tenor of quiet reflection, with sombre color of tonal scheme.
The Lento movement of "Ibéria" is like some drowsy, disheveled gipsy. Even "La plus que lent" is full of the goodness of the flesh, is like some slender young girl with unclosing bosom. And in "Sirènes," something like the eternal divinity, the eternal beauty of woman's body, is celebrated.
Exquisitely poised are his pinions for flight, and in the piu lento he wheels significantly and majestically about in the blue. The return to earth is the signal for some strange modulatory tactics. It is an impressive close. Then, almost without pause, the blood begins to boil in this fragile man's veins. His pulse beat increases, and with stifled rage he rushes into the battle.
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