Musical Biographies, Vol. 2 (Classic Reprint)


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Excerpt from Musical Biographies, Vol. 2 D. C. Parker and S. B. Whitney. In London, England, he studied under Dr. E. H. Turpin and became Asso ciate of the Royal College of Org an ists, where he studied in 1883, gand from 1885 to 1886. From 1882 to 1895 he played at the Central Baptist Church of Providence, then went to Boston and played in the Harvard Church at Brookline from 1896 to 1900. In 1900 he became professor of music at Wellesley, where he has classes in counterpoint, theory and history of music. In 1901 he received the degree of Doctor of Music from Brown University. He founded the American Guild of Organists and the American College of Music, and is president of the Rhode Island Musi cal Association, and has been a mem ber of the Clef Club of New York and of the Harvard Musical Associa tion of Boston. He has written National Graded Course, in seven books; Studies in Melody Playing, in two volumes; Music for Women Voices; Sacred Music, several songs and anthems, and a number of arti cles for various musical periodicals. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Musical History, Biography, and Criticism, Vol. 2 (Classic Reprint)


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Excerpt from Musical History, Biography, and Criticism, Vol. 2 In the year 1762, when Mozart was six years of age, his father carried his family to Vienna, where the two children performed before Francis the First and the Imperial court. Wagenseil, an eminent musician, was then in Vienna; and Mozart, who already knew how to value the approbation of a good master, begged that he might be present. The emperor sent for Wagen seil, and gave up to him his place beside the harpsi chord. Sir, said the young performer, I am going to play one of your concertos and you will turn the leaves for me. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




My Musical Life, Vol. 2 (Classic Reprint)


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Excerpt from My Musical Life, Vol. 2 Beethoven was a musician only. His glory is to have carried the art of music to its extreme limits of develop ment: no one has yet gone beyond him. Wagner said, I have invented nothing. You cannot invent metre after the Greeks, or the modern drama after shakspere, or colo'uring and perspective after the Italians - there is a point at which an art ceases to grow and stands full-blown like a flower. Most people admit that in music, as in other arts, that point has been reached. What then remained? This, according to richard wagner: to concentrate into one dazzling focus all the arts, and, having sounded and developed the expressional depth, and determined the peculiar function of each, to combine them at length into one perfect and indivisible whole. Words seem childishly inadequate to render all at once such a conception as this. Slowly we may master some of 299. Its details and allow them to orb into a perfect m on whole. If you stand at the foot of one of the Alps, you can see but a little portion of it a hamlet, a mping patch of vineyard, and a pine copse beyond; but as you ascend the winding path the prospect opens to right and left cascades leap by to lose themselves in the torrent below - you plunge into the gloom of a forest and emerge on to the higher meadows and pleasant scenes of pastoral life - yonder the soil grows rocky, and tumbled boulders lie around you - the cloud lifts, and a vista of mountains and valleys is suddenly Opened up, and pressing forward you leave far below the murmurs of one world, and raise your enraptured eyes to the black eagle, as he wheels aloft in the golden air beyond the stainless and eternal snows. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




A General History of the Science and Practice of Music, Vol. 2 (Classic Reprint)


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Excerpt from A General History of the Science and Practice of Music, Vol. 2 The foregoing account may suffice to shew the design and method of Morley's Introduction to Music, a work for which all who love or practice the science are under the highest obligations to its author. John Caspar Trost, organist of the church of St. Martin at Halberstadt, a learned musician of the last century, translated it into the German language, and published it in folio, with the title of Musica Practica. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Life of Ludwig Van Beethoven, Vol. 2 (Classic Reprint)


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Excerpt from The Life of Ludwig Van Beethoven, Vol. 2 Chapter XI. The Year 1811 - Bettina von Arnim - The Letters between Beethoven and Goethe - The Great Trio in B-flat - Music for a New Theatre in Pesth. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




General History of the Science and Practice of Music, Vol. 2 (Classic Reprint)


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Excerpt from General History of the Science and Practice of Music, Vol. 2 As to. The formulary itfelf, we meet with one called theufe ofsaruni, tranllated into Englilh by Miles Coverdale, bilhop of Exeter, in the Acts and Monuments of Fox, vol. III. Pag. 3, which in truth is but a partial reprefentation of the fubjefi; for the Ufe of Saturn not only-re gulated the form and order 05 celebrating the mafs, but prefcribed the rule and office for all the facetdotal funetions; and theta are contained in feparate and dif'tinelz volumes, as the Mifll'tl itfelf, printed by Richard Hamillon, anno 1554; the Manual, by Francis Regnault, at Paris, anno 1530; Hymns, with the notes, by john Kynglton and Henry Sutton, Lond. 1555 nho Primer, and other compilations; all which are exprelly (aid to be ad ufum ecclelize Sarifburienfis.' Sir Henry Spelman feems to have followed Fox rather implicitly in the explana tion which he gives of'the Ufe of Saturn in his Gloflary, pag. 50x. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




My Life, Vol. 2 of 2 (Classic Reprint)


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Excerpt from My Life, Vol. 2 of 2 Minna had been lucky enough to find quarters near Zurich which corresponded very closely with the wishes I had so emphatically expressed before leaving. The house was situated in the parish of Enge, a good fifteen minutes' walk from the town, on a site overlooking the lake, and was an old-fashioned hostelry called 'Zum Abendstern' belonging to a certain Frau Hirel, who was a pleasant old lady. The second floor, which was quite self-contained and very quiet, offered us humble but adequate accommodations for a modest rent. I arrived early in the morning and found Minna still in bed. She was anxious to know whether I had returned simply out of pity; but I quickly succeeded in obtaining her promise that she would never again refer to what had taken place. She was soon quite herself again when she began to show me the progress she had made in arranging the rooms. Our position had for some years been growing more comfortable, in spite of the fact that at this time various difficulties again arose, and our domestic happiness seemed tolerably secure. Yet I could never quite master a restless inclination to deviate from anything that was regarded as conventional. Our two pets, Peps and Papo, largely helped to make our lodgings homelike; both were very fond of me, and were sometimes even too obtrusive in showing their affection. Peps would always lie behind me in the armchair while I was working, and Papo, after repeatedly calling out 'Richard' in vain, would often come fluttering into my study if I stayed away from the sitting-room too long. He would then settle down on my desk and vigorously shuffle about the papers and pens. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."




The Story of a Musical Life


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Excerpt from The Story of a Musical Life: An Autobiography October 1, 1888, was the fiftieth anniversary of my leaving home to commence my musical life. On that occasion we had a family gathering, at which were commenced the series of narrations which have grown into this book. They were mostly written in 1889, and that will account for the mention of the names of some people who have died since that time. Special prominence could have been given in this work to the orderly arrangement of such musical statistics and items of musical history as come within its scope, but such a plan would have interfered with my story, as such, so those matters have been allowed to come in as wanted, without reference to their chronological order. I do not like the appearance of self-praise that I have to assume while recording in this book certain sayings and events which refer to myself and my career. I hope the reader will see that my story would not be complete without them, and on that ground excuse the apparent egotism. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




John Milton the Elder and His Music (Classic Reprint)


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Excerpt from John Milton the Elder and His Music In the embarrassing splendor of this company the elder Mil ton held a position that was far from humble. His work was rated, and printed, with the best. He was a genius in his Own right long before he had any children. That, at least, is the thesis of the present essay, a thesis which has emerged from a fresh examination of contemporary documents and from the pleasant labor of scoring and hearing all his music which is known to have survived, in print or in manuscript. More than half of it has hitherto been completely ignored. The story of his career, frag mentary and obscure as much of it is, brings us into contact with the characteristic intellectual color and humor of the age of Gloriana and James. An analysis of the music itself, ranging from the simple to the architecturally complicated and grandiose, from deep pathos and lamentation to the most winning frivolity, should dissipate the notion that a dabbling tinkerer or a dour puritan was here at work. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




The Life of Mozart, Vol. 1 of 2 (Classic Reprint)


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Excerpt from The Life of Mozart, Vol. 1 of 2 It is well to draw the reader's attention to some of the steps which Mozart took in advancing his art, and it must be kept in mind that access to the works of others was in those days most difficult, so that he learned only by fragments what his predecessors had done. His father, Leopold Mozart, was such a teacher as few sons have ever had. He was a most excellent theoretic and practical musician, but nevertheless of a school by no means the best, his poverty and residence at Salzburg depriving him of advantages now within the reach of every schoolboy. Both Mozart and Haydn were strongly tinctured with the music of the sons of the great John Sebastian Bach, so that much of their writings might pass for inferior work by Mozart. So far as Mozart' knew, orchestral music was in embryo. The opera had reached its highest point in Gluck. Church music had passed from a correct, simple, and severe style into one loose, sensuous, and ornamental. It will be seen in this biography how he advanced in each of these branches of music. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.