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Updated: May 4, 2025
Weinlich himself did not seem to attach much importance to what he had taught me: he said, 'Probably you will never write fugues or canons; but what you have mastered is Independence: you can now stand alone and rely upon having a fine technique at your fingers' ends if you should want it.
During my studies with Weinlich the only little dissipation I allowed myself was my daily evening visit to Kintschy, the confectioner in the Klostergasse, where I passionately devoured the latest newspapers. Here I found many men who held the same political views as myself, and I specially loved to listen to the eager political discussions of some of the old men who frequented the place.
Theodor Weinlich, who was choirmaster and musical director at St. Thomas's Church, held at that time this important and ancient post which was afterwards occupied by Schicht, and before him by no less a person than Sebastian Bach. By education he belonged to the old Italian school of music, and had studied in Bologna under Pater Martini.
When, however, I had to occupy myself for any length of time with nothing but four-part harmony exercises in strictly rigorous style, it was not only the student in me, but also the composer of so many overtures and sonatas, that was thoroughly disgusted. Weinlich, too, had his grievances against me, and decided to give me up.
"There was no special decoration of the hall. Grafulla's band was in attendance, and, prior to the opening of the meeting, played several fine dirges. The choir of St. Stephen's Church also appeared upon the platform and opened the proceedings by singing 'Come, Holy Spirit. The choir consisted of Madame de Luzan, Mrs. Jennie Kempton, Dr. Bauos, and Herr Weinlich. Mr.
During this period I came to the crisis of my life, which led to the catastrophe of that terrible evening at the gambling den. But an even greater blow than this fearful experience awaited me when Weinlich decided not to have anything more to do with me.
Deeply humiliated and miserable, I besought the gentle old man, whom I loved dearly, to forgive me, and I promised him from that moment to work with unflagging energy. One morning at seven o'clock Weinlich sent for me to begin the rough sketch for a fugue; he devoted the whole morning to me, following my work bar by bar with the greatest attention, and giving me his valuable advice.
In forming my judgment upon all those matters which I had hitherto acquired solely through the senses, I had gained pretty much the same power as I had formerly won in music after abandoning the teaching of my old master Weinlich by an exhaustive study of counterpoint.
Weinlich told him that he had not got any exercises of the kind ready at the moment, but offered him instead a new Mass, which the publisher refused with the words: 'Let him who got the meat gnaw the bones. The modesty with which Weinlich told me this little story showed how excellent a man he was.
Tender passages occurred here and there all the same, and Weinlich, to whom I had already shown the beginning of my work on my return to Leipzig, praised me for the clearness and good vocal quality of the introduction I had composed to the first act; this was an Adagio for a vocal septette, in which I had tried to express the reconciliation of the hostile families, together with the emotions of the wedded couple and the sinister passion of the secret lover.
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