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Updated: May 15, 2025
M. Rollinat relates also how in 184-, when Chopin, Liszt, the Comtesse d'Agoult, Pauline Garcia, Eugene Delacroix, the actor Bocage, and other celebrities were at Nohant, the piano was one moonlit night carried out to the terrace; how Liszt played the hunting chorus from Weber's Euryanthe, Chopin some bars from an impromptu he was then composing; how Pauline Garcia sang Nel cor piu non mi sento, and a niece of George Sand a popular air; how the echo answered the musicians; and how after the music the company, which included also a number of friends from the neighbouring town, had punch and remained together till dawn.
Ever since we had been at the saw-mills we had heard it constantly said, that at Weber's Creek the gold was to be found in far greater abundance; and to Weber's Creek we determined to go. The stream thus called is a small tributary to the northern fork of the Americans'. We struck our tents yesterday morning, loaded our horses, and took our departure.
He saw Weber's shadow flitting by his side, but when he reached cover he found that he had lost him. Doubtless in the excitement of the moment the Alsatian had found hiding elsewhere. He was sorry that they had become separated, but Weber had a great ability to take care of himself, and John was quite sure that he would escape. The task that lay upon him now was to make good his own flight.
If he's tried to get out on that side, he's caught." "We've only got to knock," said Mazeroux. "Our men will find the trapdoor and let us out. If not, we will break it down." More blows echoed down the passage. Fifteen or twenty minutes after, the trapdoor gave way, and other voices now mingled with Weber's and Mazeroux's.
Berg, the director of the music, was amazed, and on the next day acquainted Jenny Lind that he had selected her to undertake the rôle of Agatha in Weber's "Der Freischutz." This was the first character which had awakened our young singer's artistic sympathies, and toward it her secret ambition had long set.
He was a man of very considerable musical knowledge, and had a peculiar talent for teaching and accompanying the vocal compositions of Handel. During the whole of my father's management of Covent Garden, he had the supervision of the musical representations and conducted the orchestra, and he was principally instrumental in bringing out Weber's fine operas of "Der Freyschütz" and "Oberon."
Disparaging comparisons and contrasts to Weber's disadvantage were drawn between the two great composers in the public prints; the enthusiastic adulation of society and the great world not unnaturally followed the brilliant, joyous, sparkling, witty Italian, who was a far better subject for London lionizing than his sickly, sensitive, shrinking, and rather soured German competitor for fame and public favor.
Louise's earnings constituted the surest part of their revenue. What a strange paradox is the social life in large cities, where Weber's Last Waltz will bring the price of a four- pound loaf of bread, and one pays the grocer with the proceeds of Boccherini's Minuet! In spite of all, they had hard work to make both ends meet at the Gerards.
Compared with this character, Beethoven's Leonora, Weber's Euryanthe, are only so much child's play." This is topsy-turvy reasoning, of course, but at the same time it is suggestive. The modern orchestra dug a deeper breach between the two schools.
Tamasese and Brandeis had slipped to sea in a schooner; their troops had followed them in boats; the German sailors and their war-flag had returned on board the Adler; and only the German merchant flag blew there for Weber's land-claim.
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