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Updated: May 24, 2025
I chose one of the loveliest of the six new quartets of Beethoven, with which I had often charmed my hearers in Brunswick. But after a few bars I already noticed that my accompanists knew not the music and were quite incapable of playing it. This disturbed me, and my dismay increased when I observed that the assembled company paid little attention to my playing.
Bernhard Listemann, now of Chicago, has done much toward forming musical taste in America, and was concert-master of the Boston Symphony Orchestra during the first few years of its existence. But space does not permit of a mention of more than has been attempted, and a few pages must be given to lady violinists and to a few words about celebrated quartets.
More than two years ago I heard in Vienna Schoenberg's Gurrelieder, a setting to a dramatic legend by Jens Peter Jacobsen. This choral and orchestral work was composed in 1902, but it sounds newer than the quartets or the sextet. In magnitude it beats Berlioz.
There are the many quartets with their masterly invention and composition, the First and Sixth Symphonies with their immortal youth and freshness, their hearty strength and simplicity, the deeply beautiful passages and movements to be found in nearly every one of his works. There is all the wonderful solidity that Mahler, for instance, never achieved.
And it is of no great consequence who the author of the arrangement for the quartet was. At the time there were many amateurs who played on stringed instruments. They used to meet frequently and everything in music was arranged for quartets just as now everything is arranged for piano duets. Some of Beethoven's sonatas were arranged in this form.
"If I am to be no musician in order to please you," said Christophe dryly, "I am sorry, but I'm not that." Hecht, still looking aside, went on, as indifferently as ever. "You have written music? What have you written? Lieder, I suppose?" "Lieder, two symphonies, symphonic poems, quartets, piano suites, theater music," said Christophe, boiling.
Elsner adds to the sentence just quoted, that the other works of Mozart and Beethoven their symphonies, operas, quartets, etc., "will not only continue to live, but will, perhaps, remain unequalled by anything of the present day." This is genuine discriminative criticism, which renders unto Cæsar what is Cæsar's due: whereas, Mr.
He lived in great state in a palace, then on the outskirts of Vienna, now used as the Geological Institute. He was closely identified with the musical life of Vienna, and shortly after these quartets appeared, formed a string quartet of distinguished musicians, which he maintained for many years, taking the part of second violin himself.
Five minutes after young Mendelssohn had astonished his English friend by his admirable performance of several of his own compositions, he forgot Weber, quartets, and counterpoint, to leap over the garden hedges and climb the trees like a squirrel.
They will remember with gratitude the joys they have derived from the effusions of his fruitful intellect; they will call to their recollection the joyous chorus of the prisoners in Fidelio, the sublime and adoring hymn of the "Alleluia" in The Mount of Olives, the matchless pomp of the Sinfonia Eroica, the passionate beauty of the sentiment of Adelaida, the aerial grace of his quartets and waltzes, the thrilling and almost awful pathos of the dirge written for six trombones, but, above all, they will recall to mind the noblest work ever conceived and perfected by composer, one of the greatest achievements of the human mind, the Mass in D. And, bearing these wonders in their memory, their hearts will ache for the doom of Ludwig Von Beethoven.
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