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Updated: May 22, 2025
"The Ravenswing's voice is a magnificent contra-basso of nine octaves," etc. Flowers of Fashion, June 10. "Old Thrum, the composer, is bringing out an opera and a pupil. The opera is good, the pupil first-rate. The airs are fresh and pleasing, the choruses large and noble, the instrumentation solid and rich, the music is carefully written. We wish old Thrum and his opera well.
He also gives a variant for public performance by transforming the last run in unisono into a veritable hurricane by interlocked octaves. The effect is brazen. Chopin needs no such clangorous padding in this etude, which gains by legitimate strokes the most startling contrasts.
Moreover, the topical allusions scattered throughout the Aminta, as well as the highly occasional character of the prologue to the Pastor fido, serve to connect these plays directly with the 'occasional' eclogue. These, however, were no more suited to short compositions than the stiff terzines and octaves to more complicated dramatic works.
The B.R. paused, and dropped his voice two octaves lower, and the crowd on the balcony craned their heads further forward, so that they might not miss a single word.
"First," he checked off the vices on his fingers "first, he comes to us three weeks late three weeks late because his brother promises, and takes it back and waits to die Bah!" He took a sip of beer and laid out another fat finger. "Second, he sings two octaves at the same time two octaves! Did one ever hear such nonsense! Third, he loses his voice, his beautiful voice, and sings no more at all."
The consequence is that Marguerite's part ranges over nearly three octaves, and is frightfully trying, particularly for a beginner. 'Bosh! ejaculated the impresario, though he knew it was quite true. He looked at the stage again, as if Logotheti did not exist. 'Oh, very well, said the latter carelessly.
He also fingers what Von Bulow calls the "chromatic meanderings," in an unusual manner, both on the first page and the last. Mikuli places a legato bow over the first three octaves so does Kullak Von Bulow only over the last two, which gives a slightly different effect, while Klindworth does the same as Kullak. The heavy dynamic accents employed by Riemann are unmistakable.
They produce in it their correspondences, several octaves higher, in the same manner as a musical note produces overtones. The mental body in its turn reacts upon the causal in the same way, and thus all the good qualities expressed in the lower vehicles by degrees establish themselves permanently in the ego.
I lift my fingers but little above the keys, yet I have plenty of power, all the critics agree on that. In chords and octaves I get all the power I need by grasping the keys with weight and pressure. I do not even prepare the fingers in the air, before taking the chord; I do not find it necessary."
There were continual outbursts, melodies, unexpected cadences, then simple phrases strewn with aerial and hissing notes; then floods of scales which would have put a nightingale to rout, but in which harmony was always present; then soft modulations of octaves which rose and fell, like the bosom of the young singer.
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