Franz LisztC. Scribners's sons, 1911 - 458 sayfa |
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Abbé admiration Allegro appeared Arthur Friedheim artist audience Bach Bayreuth beautiful Beethoven Berlioz Brahms brilliant Bülow called charm Chopin chords church colour composer compositions concert Countess d'Agoult critic Dante Dante Symphony Etudes fantasia father Faust Faust Symphony festival fingers Franz Liszt Friedheim gave genius George Sand German gipsy give Goethe grand hand Hans von Bülow hear heard honour Hungarian Ideale instrument Joseffy keyboard lady later Liszt played lived Madame Master Liszt Mazeppa melody ment minor Moscheles musician never once opera orchestra original Paris performance pianist pianoforte piece poet Prince Princess programme pupil recital Rhapsodies Richard Richard Strauss Richard Wagner Rome Rubinstein Saint-Saëns Sayn-Wittgenstein Schumann score seemed smile sonata song studies style symphonic poem symphony Tasso Tausig technic Thalberg theme tion tone touch Vienna virtuoso voice Wagner Walter Bache Weimar wonderful words written wrote young
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Sayfa 258 - Liszt, and my great delight was to watch him and observe the sweetness of his expression. Genius, benevolence, and tenderness beam from his whole countenance, and his manners are in perfect harmony with it. Then came the thing I had longed for — his playing. I sat near him, so that I could see both his hands and face. For the first time in my life I beheld real inspiration — for the first time I heard the true tones of the piano.
Sayfa 145 - Per me si va nella città dolente; per me si va nell' eterno dolore; per me si va tra la perduta gente.
Sayfa 145 - THROUGH me the way is to the city dolent ; Through me the way is to eternal dole ; Through me the way among the people lost Justice incited my sublime Creator ; Created me divine Omnipotence, The highest Wisdom and the primal Love. Before me there were no created things, Only eterne, and I eternal last. All hope abandon, ye who enter in...
Sayfa 146 - There is no greater sorrow Than to be mindful of the happy time In misery, and that thy Teacher knows.
Sayfa 168 - This method of binding together and rounding off a whole piece at its close is somewhat my own, but it is quite maintained and justified from the standpoint of musical form. The trombones and basses take up the second part of the motive of the Adagio (B major).
Sayfa 317 - As the closing strains began I saw Liszt's countenance assume that agony of expression, mingled with radiant smiles of joy, which I never saw in any other human face except in the paintings of our Saviour...
Sayfa 118 - ... on whose first delicious joys some storm does not break? — a storm whose deadly blast disperses youth's illusions, whose fatal bolt consumes its altar. And what soul thus cruelly bruised, when the tempest rolls away, seeks not to rest its memories in the pleasant calm of rural life?
Sayfa 117 - What is life but a series of preludes to that unknown song whose initial solemn note is tolled by Death! The enchanted dawn of every life is love; but where is the destiny on whose first delicious joys some storm does not break — a storm whose deadly blast disperses youth's illusions, whose fatal bolt consumes its altar...
Sayfa 164 - Liszt has rendered the heavenly calm of the exquisite poem by his wonderful harmonies in a manner which alone would secure him a place among the great masters of German song. " Particularly the modulation from G major back into the original E major at the close of the piece, is of surprising beauty.
Sayfa 171 - But let us use the words of Mr. Apthorp rather than a dry analytical sketch: 'From this point onward the concerto is one unbroken series of kaleidoscopic effects of the most brilliant and ever-changing description; of musical form, of musical coherence even, there is less and less. It is as if some magician in some huge cave, the walls of which were covered with glistening stalactites and flashing jewels, were revealing his fill of all the wonders of colour, brilliancy, and dazzling light his wand...