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Updated: May 22, 2025
Then, all day long, there is a retinue of mouldy gigs and chaise-carts in the street; and herds of shabby vampires, Jew and Christian, over-run the house, sounding the plate-glass minors with their knuckles, striking discordant octaves on the Grand Piano, drawing wet forefingers over the pictures, breathing on the blades of the best dinner-knives, punching the squabs of chairs and sofas with their dirty fists, touzling the feather beds, opening and shutting all the drawers, balancing the silver spoons and forks, looking into the very threads of the drapery and linen, and disparaging everything.
Then eleven years old, she was dressed in a short cotton frock and white lace-frilled trousers, and could take her octaves only in arpeggio. Beside her was sitting Maria Ivanovna, in a cap adorned with pink ribbons and a blue shawl, Her face was red and cross, and it assumed an expression even more severe when Karl Ivanitch entered the room.
Of these five, "Wann die Rosen aufgeblüht" is a wonderfully fine and fiery work; "Die Stunde sei gesegnet" has one of the most beautiful endings imaginable; "Mir ist, nun ich die habe" has a deep significance in much simplicity, and its ending, by breaking the rule against consecutive octaves, attains, as rule-breakings have an unpleasant habit of doing, an excellent effect.
We do not count by octaves, but by touching twos or threes different characters of sounds are produced, indicated by names such as gaiety, joy, melancholy, truthfulness, fickleness in some things, fickleness in all things, an exalted mind, poetry, domestic peace, hatred, jealousy, morbid sensibility, pardon, receiving again into favour, flowers, decay of health, sickness, returning health, love in a gentle degree, love in a sublime degree, doubting, also trusting love, loneliness, disappointment, ambition.
Certainly, if a man is too fond of paradox, if he is flighty and empty, if, instead of striking those fifths and sevenths, those harmonious discords, often so much better than the twinned octaves, in the music of thought, if, instead of striking these, he jangles the chords, stick a fact into him like a stiletto.
We started with sixteen vibrations in a second, as the lowest number of beats we human beings can appreciate as a musical sound; let us now descend by octaves. The octave below is eight vibrations in a second, and there are probably many animals that can only hear these as a musical sound; the next octave is four, then two, and then one vibration in a second.
When peace is presaged in the key of B, is this the prize for which strive these agonized hosts? Is some forlorn princess locked behind these solemn, inaccessible bars? For a few moments there is contentment beyond all price. Then the warring tribe of triplets recommence, after clamorous G flat octaves reeling from the stars to the sea of the first theme.
This study has suffered the most of all, for Brahms, in his heavy, Teutonic way, set it grinding double sixths, while Isidor Philipp, in his "Studies for the Left Hand," has harnessed it to sullen octaves.
Now that I know on what it all depends, it is very easy for me to strike high f, not only in passing, but to combine it with any tone through three octaves. But upon the least pressure by any organ, the head resonance loses its brilliancy; that is, the breath no longer streams into the places where it should, and can create no more whirling currents of sound to fill the spaces.
While I admire the Tausig orchestration, these particlar octaves are hideously cacaphonic. The original triplet unisons are so much more graceful and musical. The chronology of the concertos has given rise to controversy. The trouble arose from the F minor Concerto, it being numbered op. 21, although composed before the one in E minor.
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