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Updated: June 21, 2025
The day these two spent gondoliering through the waterways, where romance hides in every nook, is imaginatively narrated in tone in Nevin's suite, "Un Giorno in Venezia," a book more handsomely published even than the others of his works, which have been among the earliest to throw off the disgraceful weeds of type and design formerly worn by native compositions.
Nevin's father provided for his son both vocal and instrumental instruction, even taking him abroad for two years of travel and music study in Dresden under Von Böhme. Later he studied the piano for two years at Boston, under B.J. Lang, and composition under Stephen A. Emery, whose little primer on harmony has been to American music almost what Webster's spelling-book was to our letters.
She believed that Eleanor had acted on the impulse of the moment, and was without doubt bitterly sorry for it, and she felt that as long as Eleanor had at last begun to be interested in school, the thing to do was to keep her there, particularly as Mrs. Gray had recently told her of Miss Nevin's pleasure at the change that the school had apparently wrought in Eleanor.
Indeed, one of Nevin's best songs, "Lehn deine Wang an meine Wang," is actually little more than a vocal accompaniment to a piano solo. His accompaniments are always richly colored and generally individualized with a strong contramelody, a descending chromatic scale in octaves making an especially frequent appearance. Design, though not classical, is always present and distinct.
Intent upon their music, neither the singer nor the two men were immediately aware of the presence of another person in the room. "Oh, that we two were lying Under the churchyard sod," sang Constance, voicing the pent-up longing of Kingsley's tenderly regretful words and Nevin's wistful setting, while the violin sang a subdued, pensive obligato.
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