The Quarterly Musical Magazine and Review, Band 3Baldwin, Craddock, and Joy, 1821 |
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... Italian composers - adapted to words from Milton , Young , Watts , Addison , Wesley , Merrick , Cowper , Henry Kirke White , Dr. Collyer , & c . & c . - To which are added many Original Pieces , composed and the whole arranged for four ...
... Italian composers - adapted to words from Milton , Young , Watts , Addison , Wesley , Merrick , Cowper , Henry Kirke White , Dr. Collyer , & c . & c . - To which are added many Original Pieces , composed and the whole arranged for four ...
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... Italian Air , with Variations for the Piano Forte and Flute or Violin ; composed by Pio Cianchettini PAGE 349 351 1. Variations for the Piano Forte and Flute Obligato on the fa- vourite Cavatina , " Di tanti palpiti ; composed by H ...
... Italian Air , with Variations for the Piano Forte and Flute or Violin ; composed by Pio Cianchettini PAGE 349 351 1. Variations for the Piano Forte and Flute Obligato on the fa- vourite Cavatina , " Di tanti palpiti ; composed by H ...
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... Italian Catches , for two , three , and four Voices , com- posed by the most celebrated Padre Maestro Martini ( of Bologna ) ; for the first time published with an Ac- companiment for the Piano Forte , expressly composed by Pio ...
... Italian Catches , for two , three , and four Voices , com- posed by the most celebrated Padre Maestro Martini ( of Bologna ) ; for the first time published with an Ac- companiment for the Piano Forte , expressly composed by Pio ...
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... Italian School . Persons who have been accustomed to consider extreme simplicity as one of the most striking characteristics of the music of Italy , may be astonished at the boldness and unusual harmony which those passages exhibit ...
... Italian School . Persons who have been accustomed to consider extreme simplicity as one of the most striking characteristics of the music of Italy , may be astonished at the boldness and unusual harmony which those passages exhibit ...
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... Italian school . If , from the nature of their construction , the vocal compositions of HAYDN fail in comparison with those of many great masters who preceded him , they may also be said to suffer from the redundant and overpowering ...
... Italian school . If , from the nature of their construction , the vocal compositions of HAYDN fail in comparison with those of many great masters who preceded him , they may also be said to suffer from the redundant and overpowering ...
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Häufige Begriffe und Wortgruppen
accent accompaniment adapted appears arpeggio bass beautiful BRAHAM brilliant canon CATALANI character chorus church CLEMENTI composed composition concert consecutive fifths court of assistants CRAMER degree delight double bass dramatic duet effect elegant eminent English enharmonic excellence execution expression feeling fifth fugue genius give glee HANDEL harmony HAYDN imitation instrument intervals introduced Italian Kyrie London MADAME Madame Albert MADAME VESTRIS major major tone manner melody ment mind minor third MISS STEPHENS modulation movement MOZART musicians nature notes octave opera orchestra organ original particular passages passion peculiar perfect perfect fifth performance perhaps Piano Forte piece pipes principal produce recitative remarks ROSSINI semitone sentiment shew Signor singer singing solo sonatas song sound species strings style sung sweet talent taste Terpodion theatre tion tone treble tune variations vibrations violin vocal voice whole words writing
Beliebte Passagen
Seite 136 - And God said, Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth : and it was so.
Seite 352 - How sweet the answer Echo makes To music at night, When, roused by lute or horn, she wakes, And far away, o'er lawns and lakes, Goes answering light. Yet Love hath echoes truer far, And far more sweet, Than e'er beneath the moonlight's star, Of horn or lute, or soft guitar, The songs repeat. 'Tis when the sigh, in youth sincere, And only then, — The sigh that's breath'd for one to hear, Is by that one, that only dear, Breathed back again ! OH BANQUET NOT.
Seite 272 - And now, my race of terror run, Mine be the eve of tropic sun ! No pale gradations quench his ray, No twilight dews his wrath allay ; With disk like battle-target red He rushes to his burning bed, Dyes the wide wave with bloody light, Then sinks at once — and all is night.
Seite 280 - Who would seek or prize Delights that end in aching ? Who would trust to ties That every hour are breaking?
Seite 494 - And I heard a voice from heaven, as the voice of many waters, and as the voice of a great thunder ; and I heard the voice of harpers harping with their harps, and they sung as it were a new song before the throne and before the four beasts and the elders; and no man could learn that song but the hundred and forty and four thousand, which were redeemed from the earth.
Seite 137 - He hath measured the waters in the hollow of his hand, and meted out the heavens with a span ? Thine, O Lord, is the greatness, and the power, and the glory, and the victory, and the majesty.
Seite 351 - How sweet the answer Echo makes To Music at night When, roused by lute or horn, she wakes, And far away o'er lawns and lakes Goes answering light ! Yet Love hath echoes truer far And far more sweet Than e'er, beneath the moonlight's star, Of horn or lute or soft guitar The songs repeat. 'Tis when the sigh, — in youth sincere And only then, The sigh that's breathed for one to hear — Is by that one, that only Dear Breathed back again.
Seite 465 - Lucidus Ordo ; comprising an Analytical Course of Studies on the several Branches of Musical Science, with a new order of Thorough Bass...
Seite 188 - Rabbinical traditions, that they were all originally intended to be sung by the multitude, or whole congregation, indiscriminately. Singing implies not only a tuneable voice, but skill in music; for music either is or is not an art, or something which nature and instinct do not supply; if it be allowed that title...
Seite 353 - O'er files array'd With helm and blade, And plumes in the gay wind dancing. Yet, 'tis not helm or feather — For ask yon despot, whether His plumed bands Could bring such hands And hearts as ours together. Leave pomps to those who need 'em — Give man but heart and freedom, And proud he braves The gaudiest slaves That crawl where monarchs lead 'em. The sword may pierce the beaver. Stone walls in time may sever, 'Tis mind alone, Worth steel and stone, That keeps men free for ever.