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Updated: June 24, 2025
Here there were at least sympathizing souls who pitied him; even the turnkeys of the prison were courteous and kind when they entered the cell of the "King of France;" and one day, beyond the wall of his apartment, was heard a voice singing, in gentle, melodious tones, a romanza which Louis had composed, and written on the wall when he occupied the neighboring cell.
He little thought that Orfeo would ever get so far as Paris, so he appropriated the romanza in the first act and introduced it with but slight modifications into his opéra-comique Le Sorcier. Later on Marie Antoinette called Gluck to Paris and thus afforded him the opportunity for the complete development of his genius.
It not only keeps up a high standard throughout, but shows occasional touches of the most fascinating art. Opus 8 is a fiery romanza appassionata. Opus 9 is a Scherzo-Caprice. This is probably his best work. It is dedicated to Liszt, and though extremely brilliant, is full of meaning. It has an interlude of tender romance.
It is rather fully developed before the second subject enters; this, on the other hand, is hardly insinuated in its relative major before the rather inelaborate elaboration begins. In the romanza, syncopation and imitation are much relied on, though the general atmosphere is that of a nocturne, a trio of dance-like manner breaking in. The final rondo combines a clog with a choral intermezzo.
Among a large number of works for the pipe-organ, few are so marked by that purposeless rambling organists are so prone to, as the "Fantaisie." The "Melody and Intermezzo" of opus 20 makes a sprightly humoresque. The "Andante Religioso" of opus 17 has really an allegretto effect, and is much better as a gay pastorale than as a devotional exercise. The "Romanza" is a gem of the first water.
Two part songs and two songs with piano accompaniment have also been published; a violin sonata, a Moment Musicale, and a romanza for violin and orchestra have been published in Berlin. These works all show a decided tendency to write brilliant and difficult music, but the difficulties are legitimate to the effect and the occasion.
The Ballade works up a very powerful climax; the Scherzino swishes fascinatingly; and the Romanza for piano is a notably mature and serious work. Two ballads have made the so romantic name of Harry Rowe Shelley a household word in America. They are the setting of Tom Moore's fiery "Minstrel Boy," and a strange jargon of words called "Love's Sorrow."
Laura Sedgwick Collins, who has already won a high rank, wrote the music to "Pierrot," besides many excellent songs and violin works. In chamber music, Marguerite Melville has produced some worthy works. Among them is a remarkably good piano quintette, while she has also written a sonata and a romanza for violin and piano, besides several beautiful songs.
The result was that both poets began to make ballads for the next year's 'Almanac'. Schiller contributed five: 'The Diver', 'The Ring of Polycrates', 'The Cranes of Ibycus', 'The Errand at the Furnace' and 'The Knight of Toggenburg'. In subsequent years he wrote three others: 'The Pledge', 'Hero and Leander' and 'The Count of Hapsburg'. To these may be added 'The Glove , which was not called a ballad because not written in uniform stanzas, and 'The Fight with the Dragon , which was called a 'romanza'.
If, some Sunday, the Minstrel intoned a long harangue about the perfidy of woman and how dear her fondness for dress cost man, the following Sunday Margalida would reply with a romanza twice as long, criticizing the vanity and egoism of the men, while the crowd of girls chorused her verses with cluckings of enthusiasm, glorying in having an avenger in the girl of Can Mallorquí.
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