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Updated: May 8, 2025
Incomprehensible gurgling sounds arose from his torn chest streaming with blood, and his breath blew the scarlet foam at his mouth into bursting bubbles. "Simmel! What do you want, Simmel?" Marschner besought, bending low over the wounded man. He listened intently to the broken sounds, convinced that he would have to try to catch a last message.
After a week of Richard Strauss at Stuttgart one begins to entertain a profound respect for the originality of Richard Wagner. And Wagner during his embattled career was liberally accused of plagiarism, of drawing heavy drafts upon the musical banking houses of Beethoven, Weber, Marschner, Schubert, and how many others!
A stony waste chopped up, crushed, dug inside out, no sign of life. The communication trenches, which started in the bottom of the valley and led to the edge of the hill, from which the wire entanglements projected, looked like fingers spread out to grasp something and clawed deep into the throttled earth. Marschner looked round again involuntarily.
Highly gifted as Marschner was, there can be no doubt that the decline of his genius was due partly to a tendency which even in the ageing master himself, as he frankly admitted, was effecting an important and most salutary change. In later years I met him once more in Paris at the time of my memorable production of Tannhauser.
"He is suffering!" flashed through the captain's mind. "He is suffering!" Marschner is transported with joy. And therewith he dies. This man has been driven mad by the terrible sights at the front, and above all by the vision of a wounded man in the death agony, a poor wretch whose face had been torn away by a grapnel. The sight was seared upon his brain.
Weber and Marschner show the German romantic school at its best; for the lesser men, such as Hoffmann and Lindpaintner, did little but reproduce the salient features of their predecessors more or less faithfully. The romantic school is principally associated with the sombre dramas, in which the taste of that time delighted; but there was another side to the movement which must not be neglected.
"He is suffering!" flashed through Marschner. "He is suffering!" it exulted him. And a glow suffused his pallor. His fingers, sticky with blood, seemed to caress the air, until his head sank backward, and his eyes broke. The first soldiers who penetrated the towering mound of earth to where he lay found him dead.
The clumsiness of the music is due to several causes. He modelled it, he says, upon three composers, Beethoven, Spontini and Marschner the second and third being by far the more potent influences. Now, gracefulness is not a characteristic of either of them.
Lieutenant Weixler presented himself in strictest military form and announced the loss of fourteen men. Marschner heard the ring of pride in his voice, like triumph over what had been achieved, like the rejoicing of a boy bragging of the first down on his lip and deepening the newly acquired dignity of a bass voice.
Herr Ferdinand Hiller had the presence of mind to insist, in his toast to Marschner, that 'whatever one might say, all stress must be laid on the GERMAN master and GERMAN art. Strangely enough, Marschner himself contradicted him by saying that there was something wrong with German operatic compositions, and that one ought to consider the singers and how to write more brilliantly for their voices than he had succeeded in doing up to the present.
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