,,h[ ,,to ,,li/5 ,,to ,,music ,,h9ts ,,& ,,sugge/ions ,,to ,,untaught ,,lov]s ,,( ,,! ,,art ,,by ,,h5ry ,,edw>d ,,krehbiel ,au?or ( ,/udies 9 ! ,wagn]ian ,drama1 ,notes on ! ,cultivation ( ,*oral ,music1 ,! ,philh>monic ,society ( ,new ,york1 etc4 ,,sev5? ,,edition ,,new ,,york ,,*>les ,,scribn]',s ,,sons #ahig ,,copyright1 #ahif1 ,,by ,,*>les ,,scribn]',s ,,sons ,,tr[ ,,directory ,,pr9t+ ,,& ,,bookb9d+ ,,company ,,new ,,york 99 99 99 99 99 ,,to ,w4,j4 ,,h5d]son ,,:o ,,has ,,help$ ,,me ,,to ,,respect ,,musical ,,criticism 99 99 99 99 99 ,,au?or',s ,,note ,! au?or is behold5 to ! ,messrs4 ,h>p] ,bro!rs = p]mission to use a small portion ( ! mat]ial 9 ,*apt] ,i41 ! great] "p ( ,*apt] ,,iv41 & ! ,plates :i* 7 pr9t$ orig9ally 9 "o ( _! publications2 also to ! publi%]s ( ,! ,look]-,on = ! privilege ( repr9t+ a portion ( an essay writt5 = !m entitl$ ,s+]s1 ,!n & ,n[4 ,,cont5ts ,sid5ote3 ,,*ap4 ,i4 ,introduction ,purpose & scope ( ?is book--,n writt5 = pr(essional musicians1 b = untaught lov]s ( ! art--nei!r = c>eless seek]s aft] div]sion unless !y be will+ to accept a high] conception ( :at ent]ta9m5t means--,! capacity prop]ly to li/5 to music z a t\*/one ( musical tal5t--,x is r>ely f\nd 9 popul> conc]t-rooms--,travell]s :o d n see & li/5]s :o d n he>--,music is ( all ! arts t :i* is practis$ mo/ & ?\ght ab\t lea/--,popul> ignorance ( ! art caus$ by ! lack ( an object = comp>ison--,h[ simple t]ms are conf\nd$ by lit]>y m5--,blund]s by ,t5nyson1 ,lamb1 ,col]idge1 ,mrs4 ,h>riet ,bee*] ,/[e1 ,f4 ,hopk9son ,smi?1 ,br&] ,mat!ws1 & o!rs--,a w>n+ aga9/ p$ants & rhapsodi/s4 ,page #c ,sid5ote3 ,,*ap4 ,,ii4 ,recognition ( ,musical ,elem5ts ,! dual nature ( music--,s5se-p]ception1 fancy1 & imag9ation--,recognition ( ,design z ,=m 9 its prim>y /ages--,! crude mat]ials ( music--,! co-ord9ation ( tones--,rudim5t>y analysis ( ,=m--,comp>ison1 z 9 o!r arts1 n possible--,recognition ( ! fundam5tal elem5ts--,melody1 ,h>mony1 & ,rhy?m--,! value ( memory--,! ne$ ( an int]m$i>y--,famili> music be/ lik$--,int]relation ( ! elem5ts--,repetition ! fundam5tal pr9ciple ( ,=m--,motives1 ,phrases1 & ,p]iods--,a ,creole folk-tune analyz$--,repetition at ! base ( poetic =ms--,refra9 & ,p>allelism--,key-relation%ip z a bond ( union--,symphonic unity illu/rat$ 9 examples f ,bee?ov5--,! ,c m9or symphony & ,appassionata sonata--,! ,conc]to 9 ,g major--,! ,sev5? & ,n9? symphonies4 ,page #ae ,sid5ote3 ,,*ap4 ,,iii4 ,! ,cont5t & ,k9ds ( ,music ,h[ f> x is necess>y = ! li/5] to g into musical philosophy--,intellig5t he>+ n condition$ ^u x--,man's individual relation%ip to ! art--,musicians proce$ on ! !ory t feel+s are ! cont5t ( music--,! se>* = pictures & /ories condemn$--,h[ compos]s he> & judge--,def9itions ( ! capacity ( music by ,wagn]1 ,hauptmann1 & ,m5delssohn--,an utt]ance by ,h]b]t ,sp5c]--,music z a language--,absolute music & ,programme music--,! cont5t ( all true art works--,*amb] music--,mean+ & orig9 ( ! t]m--,haydn ! s]vant ( a ,pr9ce--,! *>act]i/ics ( ,*amb] music--,pure ?\ght1 l(ty imag9ation1 & deep le>n+--,its *a/ity--,sympa?y betwe5 p]=m]s & li/5]s ess5tial to its enjoym5t--,a correct def9ition ( ,programme music--,programme music def5d$--,! value ( titles & sup]scriptions--,judgm5t ^u x mu/1 h[ev]1 g to ! music1 n ! comm5t>y--,subjects t are unfit = music--,k9ds ( ,programme music--,imitative music--,h[ ! music ( birds has be5 utiliz$--,! cuckoo ( nature & ,bee?ov5's cuckoo--,cock & h5 9 a sev5te5? c5tury composition--,rameau's pullet--,! ,g]man quail--,music t is descriptive by sugge/ion--,ext]nal & int]nal attributes--,fancy & ,imag9ation--,h>mony & ! major & m9or mode--,association ( ideas--,movem5t del9eat$--,h&el's frogs--,wat] 9 ! ,hebrides ov]ture & ,ocean symphony--,height & dep? illu/rat$ by acute & grave tones--,bee?ov5's illu/ration ( di/ance--,8 rule en=c$--,classical & ,romantic music--,g5esis ( ! t]ms--,:at !y mean 9 lit]ature--,ar*bi%op ,tr5* on classical books--,! au?or's def9itions ( bo? t]ms 9 music--,classicism z ! cons]vative pr9ciple1 ,romanticism z ! progressive1 reg5]ative1 & creative--,a conte/ :i* /imulates life4 ,page #cf ,sid5ote3 ,,*ap4 ,,iv4 ,! ,mod]n ,or*e/ra ,importance ( ! in/rum5tal b&--,"s ?+s t c be le>n$ by its /udy--,! or*e/ral *oirs--,disposition ( ! play]s--,model b&s comp>$--,developm5t ( in/rum5tal music--,! ext5t ( an or*e/ra's regi/]--,! ,/r+s3 ,viol91 ,viola1 ,violoncello1 & ,d\ble-bass--,effects produc$ by *anges 9 manipulation--,! wood-w9ds3 ,flute1 ,oboe1 ,engli% horn1 ,bassoon1 ,cl>9et--,! ,brass3 ,fr5* ,horn1 ,trumpet & ,cornet1 ,trombone1 ,tuba--,! ,drums--,! ,conductor--,rise ( ! mod]n int]pret]--,! ne$ ( him--,8 me?ods--,scores & ,score-read+4 ,page #ga ,sid5ote3 ,,*ap4 ,v4 ,at an ,or*e/ral ,conc]t ,classical & ,popul> z g5]ally conceiv$--,symphony ,or*e/ras & ,milit>y b&s--,! high] =ms 9 music z exemplifi$ at a classical conc]t--,symphonies1 ,ov]tures1 ,symphonic ,poems1 ,conc]tos1 etc4--,a ,symphony n a union ( unrelat$ p>ts--,hi/ory ( ! "n--,! ,sonata =m & cyclical compositions--,! bond ( union betwe5 ! divisions ( a ,symphony--,mat]ial & spiritual l9ks--,! fir/ movem5t & ! sonata =m--,exposition1 illu/ration1 & repetition--,! subjects & _! treatm5t--,keys & nom5clature ( ! ,symphony--,! ,adagio or second movem5t--,! ,s*]zo & its relation to ! ,m9uet--,! ,f9ale & ! ,rondo =m--,! latt] illu/rat$ 9 outl9e by a poem--,modifications ( ! symphonic =m by ,bee?ov51 ,s*umann1 ,b]lioz1 ,m5delssohn1 ,liszt1 ,sa9t-,sa5s & ,dvorak--,augm5tation ( ! =ces--,symphonies ) voices--,! ,symphonic ,poem--,its ?ree *>act]i/ics--,conc]tos & ,cad5zas--,m4 ,ysaye's op9ion ( ! latt]--,designations 9 ,*amb] music--,! ,ov]ture & its desc5dants--,small] =ms3 ,s]5ades1 ,fantasias1 ,rhapsodies1 ,v>iations1 ,op]atic ,exc]pts4 ,page #abb ,sid5ote3 ,,*ap4 ,,vi4 ,at a ,pian(orte ,recital ,! ,popul>ity ( ,pian(orte music exemplifi$ 9 ,m4 ,pad]ewski's recitals--,! in/rum5t--,a univ]sal m$ium ( music /udy--,its defects & m]its contra/$--,n a p]fect melody in/rum5t--,value ( ! p]cussive elem5t--,te*nique2 ! false & ! true e/imate ( its value--,pian(orte lit]ature z illu/rat$ 9 recitals--,its division1 = ! purposes ( ?is /udy1 into f\r p]iods3 ,classic1 ,classic-romantic1 ,romantic1 & ,bravura--,precursors ( ! ,pian(orte--,! ,clavi*ord & ,h>psi*ord1 & ! music compos$ = !m--,peculi>ities ( ,ba*'s /yle--,8 ,romanticism--,sc>latti's ,sonatas--,! ,suite & its con/itu5ts--,allem&e1 ,c\rante1 ,s>ab&e1 ,gigue1 ,m9uet1 & ,gavotte--,! te*nique ( ! p]iod--,h[ ,ba* & ,h&el play$--,bee?ov5 & ! ,sonata--,moz>t & ,bee?ov5 z piani/s--,! ,romantic compos]s--,s*umann & ,*op9 & ! =ms us$ by !m--,s*umann & ,jean ,paul--,*op9's ,preludes1 ,etudes1 ,nocturnes1 ,ballades1 ,polonaises1 ,mazurkas1 ,krak[iak--,! te*nique ( ! ,romantic p]iod--,idiomatic pian(orte music--,developm5t ( ! in/rum5t--,! ,p$al & its use--,liszt & 8 ,hung>ian ,rhapsodies4 ,page #aed ,sid5ote3 ,,*ap4 ,,vii4 ,at ! ,op]a ,in/ability ( popul> ta/e 9 respect ( op]as--,our li/s seldom ext5d back ( ! pres5t c5tury--,! p ( to-day z indiff]5t z ^? ( two c5turies ago to ! language us$--,use & abuse ( =eign languages--,! ,op]a def5d$ z an art-=m--,its orig9 9 ! ,greek trag$ies--,:y music is ! language ( emotion--,a sci5tific explanation--,h]b]t ,sp5c]'s laws--,ef=ts ( ,flor5t9e s*ol>s to revive ! classic trag$y result 9 ! inv5tion ( ! lyric drama--,! v>i\s k9ds ( ,op]a3 ,op]a s]ia1 ,op]a buffa1 ,op]a semis]ia1 ,fr5* gr& ,op]a1 & ,op]a comique--,op]ettas & musical f>ces--,romantic ,op]a--,a popul> conception ( ,g]man op]a--,a return to ! old t]m9ology l$ by ,wagn]--,! recitative3 ,its nature1 aims1 & capacities--,! *ange f spee* to song--,! arioso /yle1 ! accompani$ recitative & ! aria--,music & dramatic action--,emancipation f set =ms--,! or*e/ra--,! decay ( s++--,feats ( ! ma/]s ( ! ,roman s*ool & ,la ,ba/>della--,deg5]acy ( ! ,op]a ( _! day--,s+]s :o h be5 he>d 9 ,new ,york--,two g5]ations ( s+]s comp>$--,grisi1 ,j5ny ,l9d1 ,sontag1 ,la ,grange1 ,piccolom9i1 ,adel9a ,patti1 ,nilsson1 ,sembri*1 ,lucca1 ,g]/]1 ,lehmann1 ,melba1 ,eames1 ,calve1 ,m>io1 ,jean & ,ed\>d de ,reszke--,wagn] & 8 works--,op]as & lyric dramas--,wagn]'s return to ! pr9ciples ( ! ,flor5t9e re=m]s--,int]dep5d5ce ( elem5ts 9 a lyric drama--,=ms & ! endless melody--,! ,typical ,phrases3 ,h[ !y %\ld be /udi$4 ,page #bjb ,sid5ote3 ,,*ap4 ,,viii4 ,*oirs & ,*oral ,music ,value ( *orus s++ 9 musical culture--,s*umann's advice to /ud5ts--,*ori/]s & in/rum5tali/s--,amateurs & pr(essionals--,oratorio & ,ma5n]gesang--,! *oirs ( ,h&el & ,ba*--,glee ,unions1 ,male ,clubs1 & ,wom5's ,*oirs--,boys' voices n adapt$ to mod]n music--,mix$ *oirs--,am]ican ,orig9 ( amateur s++ societies--,priority ov] ,g]many--,! size ( *oirs--,l>ge numb]s n ess5tial--,h[ *oirs are divid$--,antiphonal effects--,excell5ce 9 *oir s++--,precision1 intonation1 expression1 balance ( tone1 enunciation1 pronunciation1 declamation--,! cause ( monotony 9 ,oratorio p]=mances--,a capella music--,g5esis ( mod]n hymnology--,influ5ce ( ,lu!r & ! ,g]mans--,use ( popul> melodies by compos]s--,! *orale--,pres]vation ( ! sev]e /yle ( writ+ 9 *oral music--,pale/r9a & ,ba*--,a /udy ( _! /yles--,lat9 & ,teuton--,*ur* & individual--,motets & ,*ur* ,cantatas--,! ,passions--,! ,oratorio--,sacr$ op]a & ,cantata--,epic & ,drama--,*>act]i/ic & descriptive music--,! ,mass3 ,its secul>ization & musical developm5t--,! dramatic t5d5cy illu/rat$ 9 ,bee?ov5 & ,b]lioz4 ,page #bec ,sid5ote3 ,,*ap4 ,,ix4 ,musician1 ,critic & ,public ,criticism ju/ifi$--,relation%ip betwe5 ,musician1 ,critic & ,public--,to end ! conflict betwe5 !m w\ld result 9 /agnation--,h[ ! ,critic might escape--,! ,musician pref]s to appeal to ! public r ?an to ! ,critic--,:y ?is is s--,ignorance z a safegu>d aga9/ & promot] ( cons]vatism--,wagn] & ,haydn--,! ,critic z ! enemy ( ! *>latan--,temptations to :i* he is expos$--,value ( popul> approbation--,s*umann's aphorisms--,! ,public nei!r bad judges nor good critics--,! ,critic's duty is to guide popul> judgm5t--,fickl5ess ( ! p's op9ions--,ta/e & judgm5t n a bir?right--,! necessity ( antec$5t /udy--,! ,critic's responsibility--,n always t t[>d ! ,musician :i* ! latt] ?9ks--,h[ ! newspap] c "w = good--,mu/ ! ,critic be a ,musician8--,p$ants & ,rhapsodi/s--,demon/rable facts 9 criticism--,! folly & vici\sness ( fooli% rhapsody--,! ,rev4 ,mr4 ,haweis cit$--,ern/'s viol9--,intellig5t rhapsody approv$--,dr4 ,john ,br[n on ,bee?ov5--,! ,critic's duty4 ,page #big 99 99 99 99 99 ,,plates ,i4 ,,viol9--7,,clif=d ,,s*midt74--,,ii4 ,,violoncello--7,,victor ,,h]b]t74--,,iii4 ,,piccolo ,,flute--7,c4 ,,kur?1 ,,jun474--,,iv4 ,,oboe--7,,joseph ,,ell]74--,v4 ,,engli% ,,horn--7,,joseph ,,ell]74--,,vi4 ,,bassoon 7,,f$or ,,b]nh>di74--,,vii4 ,,cl>9et--7,,h5ry ,,kais]74--,,viii4 ,,bass ,,cl>9et--7,,h5ry ,,kais]74--,,ix4 ,,fr5* ,,horn--7,,c>l ,,piep]74--,x4 ,,trombone--7,j4 ,,pfeiff5s*neid]74--,,xi4 ,,bass ,,tuba--7,,anton ,,reit]74--,,xii4 ,,! ,,conductor',s ,,score4 ,page #cbe ,,index ,page #cea ,h[ to ,li/5 to ,music ,i ,introduction ,sid5ote3 ,! book's appeal4 ,?is book has a purpose1 :i* is z simple z x is pla92 & an unpret5ti\s scope4 ,x does n aim to edify ei!r ! musical pr(essor or ! musical s*ol>4 ,x comes into ! pres5ce ( ! musical /ud5t ) all becom+ mode/y4 ,its bus9ess is ) ^? :o love music & pres5t !mselves = its graci\s m9i/rations 9 ,conc]t-,room & ,op]a ,h\se1 b h n /udi$ x z pr(essors & s*ol>s are suppos$ to /udy4 ,x is n = ! c>eless unless !y be will+ to inquire :e!r x might n be well to yield ! common conception ( ent]ta9m5t 9 favor ( ! high] enjoym5t :i* spr+s f s]i\s contemplation ( beautiful ?+s2 b if !y are will+ s to inquire1 !y %all be acc\nt$ ! class t ! au?or is mo/ anxi\s to rea*4 ,! reasons :i* prompt$ its writ+ & ! lay+ out ( its plan w pres5tly appe>4 ,= ! frankness ( 8 disclosure ! au?or might be will+ to apologize 7 8 rev]5ce = music less & 8 consid]ation = popul> affectations m2 b because he is conv9c$ t a love = music c>ries ) x t :i*1 s x be b awak5$1 %all spe$ily gr[ into an hone/ desire to "k m ab\t ! belov$ object1 he is will+ to seem unamiable to ! amateur :ile argu+ ! ne$ ( ev5 s mild a /imulant z 8 book1 & +5u\s1 mayhap ev5 *ildi%1 to ! pr(essional musician :ile try+ to po9t a way 9 :i* bett] appreciation may be s\ght4 ,sid5ote3 ,tal5t 9 li/5+4 ,! capacity prop]ly to li/5 to music is bett] pro( ( musical tal5t 9 ! li/5] ?an skill to play ^u an in/rum5t or ability to s+ acceptably :5 unaccompani$ by t capacity4 ,x makes m = t g5tl5ess & ref9em5t ( emotion1 ?\ght1 & action :i*1 9 ! highe/ s5se ( ! t]m1 x is ! prov9ce ( music to promote4 ,& x is a mu* r>] accompli%m5t4 ,i _c conceive any?+ m pitiful ?an ! spectacle ( m5 & wom5 p]*$ on a fair obs]vation po9t exclaim+ raptur\sly at ! lovel9ess ( mead & valley1 _! eyes melt+ involunt>ily 9 t5d]ness at ! sight ( moss-c>pet$ slopes & rocks & peaceful wood1 or dilat+ 9 rev]5t wond] at m\nta9 magnific5ce1 & !n le>n+ f _! exclamations t1 z a matt] ( fact1 !y are unable to di/+ui% betwe5 rock & tree1 field & =e/1 e>? & sky2 betwe5 ! d>k-br[ns ( ! /orm-sc>r$ rock1 ! gre5s ( ! foliage1 & ! blues ( ! sky4 ,sid5ote3 ,ill equipp$ li/5]s4 ,yet 9 ! realm ( ano!r s5se1 9 ! contemplation ( beauties m e!real & evanesc5t ?an ^? ( nature1 su* is ! exp]i5ce :i* 9 my capacity z a writ] = newspap]s ,i h made = _m ye>s4 ,a p>ty ( p bl9d to =m & color _c be said to be well equipp$ = a ,swiss j\rney1 ?\gh load$ d[n ) alp5/ocks & ,ba$ek]s2 yet ! spectacle ( su* a p>ty on ! top ( ! ,rigi is no m pitiful & anomal\s ?an t pres5t$ by ! majority ( ! he>]s 9 our conc]t-rooms4 ,!y are !re to adv5ture a j\rney into a realm ^: beauties d n disclose !mselves to ! s5ses alone1 b ^: p]ception requires a co-op]ation ( all ! f9] faculties2 yet ( ?is !y seem to "k no?+1 & ev5 ( t s5se to :i* ! fir/ appeal is made x may be said ) pr(\nd tru? t he>+ !y he> n1 nei!r d !y und]/&4 ,sid5ote3 ,popul> ignorance ( music4 ,( all ! arts1 music is practis$ mo/ & ?\ght ab\t lea/4 ,:y ?is %\ld be ! case may be expla9$ on sev]al gr\nds4 ,a sweet my/]y en%r\ds ! nature ( music4 ,its mat]ial "p is subtle & elusive4 ,to ma/] x on its te*nical side alone co/s a va/ exp5diture ( "t1 pati5ce1 & indu/ry4 ,b s9ce x is1 9 "o manife/ation or ano!r1 ! mo/ popul> ( ! arts1 & "o ! enjoym5t ( :i* is condition$ 9 a peculi> degree on love1 x rema9s pass+ /range t ! indiff]5ce t\*+ its nature & elem5ts1 & ! "* ( ! ph5om5a :i* produce x1 or are produc$ by x1 is s g5]al4 ,i d n recall t anybody has ev] tri$ to gr\nd ?is popul> ignorance t\*+ an art ( :i*1 by "r ( bir?1 ev]ybody is a critic4 ,! unamiable nature ( ! task1 ( :i* ,i am ke5ly consci\s1 has probably be5 a b> to su* an und]tak+4 ,b a frank diagnosis mu/ prec$e ! discov]y ( a cure = e disease1 & ,i h und]tak5 to po9t out a way 9 :i* ?is griev\s ailm5t 9 ! social body may at lea/ be less5$4 ,sid5ote3 ,paucity ( intellig5t comm5t4 ,sid5ote3 ,want ( a model4 ,x is n an exagg]ation to say t "o might li/5 = a lifetime to ! polite conv]sation ( our draw+-rooms 7& ,i d n mean by ?is to ref] to ! ,unit$ ,/ates alone7 )\t he>+ a symphony talk$ ab\t 9 t]ms indicative ( m ?an ! mo/ sup]ficial k ( ! outw>d =m1 t is1 ! dim5sions & app>atus1 ( su* a composition4 ,no o!r art provides an exact analogy = ?is ph5om5on4 ,ev]ybody c say some?+ conta9+ a degree ( apposit5ess ab\t a poem1 novel1 pa9t+1 /atue1 or build+4 ,if he c d no m he c g z f> z ,l&se]'s rural critic :o object$ to "o ( ! arti/'s pa9t+s on ! gr\nd t n "o ( ! ?ree pigs eat+ f a tr\gh _h a foot 9 x4 ,x is ! abs5ce ( ! /&>d ( judgm5t employ$ 9 ?is criticism :i* makes significant talk ab\t music s difficult4 ,nature fail$ to provide a model = ?is e!real art4 ,!re is no?+ 9 ! natural _w ) :i* ! simple man may comp>e x4 ,sid5ote3 ,simple t]ms conf\nd$4 ,x is n alone a k ( ! con/itu5t factors ( a symphony1 or ! diff]5ce betwe5 a sonata & a suite1 a m>* & a mazurka1 t is r>e4 ,unless y *ance to be li/5+ to ! conv]sation ( musicians 79 :i* t]m ,i wi% to include amateurs :o are :at ! ^w amateur implies1 & ^: k /&s 9 "s respectable relation to _! love71 y w f9d1 s frequ5tly t ,i h n ! he>t to attempt an e/imate ( ! proportion1 t ! mo/ common words 9 ! t]m9ology ( ! art are misappli$4 ,su* famili> ?+s z h>mony & melody1 "t & tune1 are cont9ually conf\nd$4 ,let u call a di/+ui%$ witness into ! box2 ! in/ance is n new1 b x w s]ve4 ,:at does ,t5nyson mean :5 he says3 ,all night h ! roses he>d ,! flute1 viol91 bassoon2 ,all night has ! casem5t jessam9e /irr'd ,to ! danc]s danc+ 9 tune8 ,sid5ote3 ,tune & "t4 ,unless ! danc]s :o we>i$ ,maud 7 provid$ ) ev5 a m extraord9>y in/rum5tal outfit ?an ! ,old ,lady ( ,banbury ,cross1 h[ c\ld !y h danc$ 9 tune8 ,sid5ote3 ,blund]s ( poets & essayi/s4 ,musical /udy ( a sort be+ almo/ z g5]al z /udy ( ! ?ree ,rs1 x mu/ be said t ! gross =ms ( ignorance are utt]ly inexcusable4 ,b if ?is is obvi\s1 x is ev5 m obvi\s t !re is some?+ radically wrong ) ! preval5t sy/ems ( musical in/ruction4 ,x is because ( a pl5tiful lack ( k t s mu* t is writt5 on music is )\t mean+1 & t ! mo/ fooli% k9d ( rhapsody1 s x %[ a collocation ( f9e words1 is p]mitt$ to masqu]ade z musical criticism & ev5 analysis4 ,p l to read ab\t music1 & ! books ( a c]ta9 ,engli% cl]gyman h _h a sale ( /up5d\s magnitude not)/&+ !y are full ( absurdities4 ,! cl]gyman has a multitud9\s companion%ip1 moreov]1 among noveli/s1 essayi/s1 & poets ^: safety lies 9 m or less fanta/ic g5]alization :5 !y come to talk ab\t music4 ,h[ !y fl\nd] :5 !y come to detail6 ,x 0 ,*>les ,lamb :o said1 9 8 ,*apt] on ,e>s1 t 9 voices he c\ld n di/+ui% a soprano f a t5or1 & c\ld only contrive to guess at ! ?or\gh-bass f its be+ sup]em95tly h>% & disagreeable2 yet de> old ,elia may be =giv51 s9ce 8 conf\nd+ ! bass voice ) a sy/em ( musical %ort-h& is s delightful a pro( ( ! ignorance he 0 confess+4 ,sid5ote3 ,lit]>y realism & musical t]m9ology4 ,b :at %all ! tr\bl$ critics say to ,t5nyson's or*e/ra consi/+ ( a flute1 viol91 & bassoon8 ,or to ,col]idge's l\d bassoon1 :i* made ! w$d+-gue/ to beat 8 brea/8 ,or to ,mrs4 ,h>riet ,bee*] ,/[e's piani/ :o play$ ) an airy & bird-l t\*8 ,or to our own clev] pa9t]-noveli/ :o1 9 ,snubb9' ?r\gh ,j]sey1 has ,bru%es br+ out 8 violoncello & play ! symphonies ( ,bee?ov5 to ent]ta9 8 fell[ canal-boat pass5g]s8 ,! t5d5cy t[>d realism1 or v]itism1 z x is call$1 has br\ght out a ri* crop ( blund]s4 ,x w n d to h a "* 9 a /ory simply s+ or play some?+2 we mu/ h ! names ( compos]s & compositions4 ,! g5ial g5tleman :o enri*$ musical lit]ature ) arrangem5ts ( ,bee?ov5's symphonies = violoncello )\t accompanim5t has s9ce supplem5t$ ?is feat by creat+ a ,g]man fiddl] :o1 :5 he ?9ks himself unnotic$1 plays a sonata = viol9 & contralto voice2 ,pr(essor ,br&] ,mat!ws p]mits "o ( 8 h]o9es to s+ ,s*umann's ,w>um8 & "o ( 8 h]oes plays ,! ,moonlight ,conc]to2 "o ( ,ouida's romantic creatures sp5ds h\rs at an organ play+ ! gr& old masses ( ,m5delssohn2 9 ,mo?s ! t5or nev] we>ies ( s++ c]ta9 exquisite airs ( ,pale/r9a1 :i* recalls ! fact t an indignant correspond5t ( a ,/4 ,l\is newspap]1 prote/+ aga9/ ! ,teutonism & heav9ess ( an or*e/ra conductor's programmes1 dem&$ "s ( ! light] works ( ,b]lioz & ,pale/r9a4 ,sid5ote3 ,a popul> ne$4 ,alas6 ^! ?+s & ! _m o!rs equally amus+ :i* ,mr4 ,g4 ,su!rl& ,edw>ds long ago catalogu$ 9 an essay on ,! ,lit]>y ,maltreatm5t ( ,music are b evid5ces t ev5 cultur$ folk h n yet le>n$ to talk correctly ab\t ! art :i* is practis$ mo/ widely4 ,!re is a great] ne$ ?an pian(orte tea*]s & s++ tea*]s1 & t is a num]\s company ( writ]s & talk]s :o %all tea* ! p h[ to li/5 to music s t x %all n pass ?r\gh _! heads l a va/ tonal phantasmagoria1 b provide ! v>i$ & noble delights contemplat$ by ! compos]s4 ,sid5ote3 ,a w>n+ aga9/ writ]s4 ,sid5ote3 ,p$ants & rhapsodi/s4 ,ungraci\s z x might appe>1 x may yet n be amiss1 !re=e1 at ! v outset ( an inquiry into ! prop] way 9 :i* to li/5 to music1 to utt] a w>n+ aga9/ mu* t is writt5 on ! art4 ,z a rule x w be f\nd t writ]s on music are divid$ into two classes1 & t nei!r ( ^! classes c d mu* good4 ,too (t5 !y are ei!r p$ants or rhapsodi/s4 ,?is division is :olly natural4 ,music has _m sides & is a sci5ce z well z an art4 ,its sci5tific side is t on :i* ! p$ant g5]ally approa*es x4 ,he is conc]n$ ) =ms & rules1 ) ext]nals1 to ! =gett+ ( t :i* is inexpressibly nobl] & high]4 ,b ! p$ants are n h>mful1 because !y are n int]e/+2 /rictly speak+1 !y d n write = ! public at all1 b only = _! pr(essional colleagues4 ,! h>mful m5 are ! fooli% rhapsodi/s :o take advantage ( ! fact t ! language ( music is indet]m9ate & evanesc5t to talk ab\t ! art 9 su* a way z to pres5t !mselves z p]sons ( exquisite s5sibilities r ?an to direct att5tion to ! real nature & beauty ( music itself4 ,to !m ,i %all recur 9 a lat] *apt] devot$ to musical criticism1 & haply po9t out ! diff]5ce betwe5 good & bad critics & comm5tators f ! view-po9t ( popul> ne$ & popul> opportunity4 ,,ii ,recognition ( ,musical ,elem5ts ,sid5ote3 ,! nature ( music4 ,music is dual 9 its nature2 x is mat]ial z well z spiritual4 ,its mat]ial side we appreh5d ?r\gh ! s5se ( he>+1 & compreh5d ?r\gh ! intellect2 its spiritual side rea*es u ?r\gh ! fancy 7or imag9ation1 s x be music ( ! highe/ class71 & ! emotional "p ( u4 ,if ! scope & capacity ( ! art1 & ! evolution>y processes :i* its hi/ory discloses 7a record ( :i* is pres]v$ 9 its nom5clature71 are to be und]/ood1 x is ess5tial t ?is duality be kept 9 view4 ,!re is some?+ s pot5t & elem5tal 9 ! appeal :i* music makes t x is possible to d]ive pleasure f ev5 an unwill+ he>+ or a he>+ unaccompani$ by ef=t at analysis2 b real appreciation ( its beauty1 :i* means recognition ( ! qualities :i* put x 9 ! realm ( art1 is condition$ ^u intellig5t he>+4 ,! high] ! intellig5ce1 ! ke5] w be ! enjoym5t1 if ! =m] be direct$ to ! spiritual side z well z ! mat]ial4 ,sid5ote3 ,necessity ( intellig5t he>+4 ,s f> z music is m]ely agreeably co-ord9at$ s\nds1 x may be r$uc$ to ma!matics & its practice to h&icraft4 ,b recognition ( design is a condition prec$5t to ! awak5+ ( ! fancy or ! imag9ation1 & to a*ieve su* recognition !re mu/ be intellig5t he>+ 9 ! fir/ in/ance4 ,= ! purposes ( ?is /udy1 design may be held to be ,=m 9 its prim>y /ages1 ! recognition ( :i* is possible to e li/5] :o is fond ( music2 x is n necess>y t he be le>n$ 9 ! sci5ce4 ,he ne$ only be will+ to let an intellectual process1 :i* w br+ its own rew>d1 accompany ! physical process ( he>+4 ,sid5ote3 ,tones & musical mat]ial4 ,)\t discrim9ation x is impossible to recognize ev5 ! crude mat]ials ( music1 = ! fir/ /ep is already a co-ord9ation ( ^? mat]ials4 ,a tone becomes musical mat]ial only by association ) ano!r tone4 ,we might he> x alone1 /udy its quality1 & det]m9e its degree ( acut5ess or gravity 7its pit*1 z musicians say71 b x c nev] become music s long z x rema9s isolat$4 ,:5 we recognize t x be>s c]ta9 relation%ips ) o!r tones 9 respect ( "t or tune 7to use simple t]ms71 x has become = u musical mat]ial4 ,we d n ne$ to philosophize ab\t ! nature ( ^? relation%ips1 b we mu/ recognize _! exi/5ce4 ,sid5ote3 ,! beg9n+s ( ,=m4 ,?us mu* we might he> if we 7 to let music g ?r\gh our heads l wat] ?r\gh a sieve4 ,yet ! /ep f t degree ( discrim9ation to a rudim5t>y analysis ( ,=m is exce$+ly %ort1 & requires little m ?an a will+ness to conc5trate ! att5tion & ex]cise ! memory4 ,ev]yone is will+ to d t mu* :ile look+ at a picture4 ,:o w\ld look at a pa9t+ & re/ satisfi$ ) ! impression made ^u ! s5se ( sight by ! colors m]ely8 ,no "o1 surely4 ,yet s soon z we look1 s z to discrim9ate betwe5 ! outl9es1 to obs]ve ! relation%ip ( figure to figure1 we are indulg+ 9 intellectual ex]cise4 ,if ?is be a condition prec$5t to ! enjoym5t ( a picture 7& x pla9ly is71 h[ mu* m s is x 9 ! case ( music1 :i* is intangible & evanesc5t1 :i* _c pause a mom5t = our contemplation )\t ceas+ to be8 ,sid5ote3 ,comp>ison ) a model n possible4 ,!re is ano!r reason :y we mu/ ex]cise intellig5ce 9 li/5+1 to :i* ,i h already allud$ 9 ! fir/ *apt]4 ,our appreciation ( beauty 9 ! pla/ic arts is help$ by ! circum/ance t ! critical activity is l>gely a matt] ( comp>ison4 ,is ! picture or ! /atue a good copy ( ! object s\ght to be repres5t$8 ,su* comp>ison fails u utt]ly 9 music1 :i* copies no?+ t is tangibly pres5t 9 ! ext]nal _w4 ,sid5ote3 ,:at degree ( k is necess>y8 ,sid5ote3 ,! ,elem5ts4 ,sid5ote3 ,value ( memory4 ,x is !n necess>y to associate ! intellect ) s5se p]ception 9 li/5+ to music4 ,h[ f> is x ess5tial t ! intellectual process %all g8 ,?is book be+ = ! untra9$1 ! "q might be put ?us3 ,) h[ little k ( ! sci5ce c an intellig5t li/5] get along8 ,we are conc]n$ only ) 8 enjoym5t ( music or1 bett]1 ) an ef=t to increase x )\t ask+ him to become a musician4 ,if he is fond ( ! art x is m ?an likely t ! capacity to discrim9ate suffici5tly to recognize ! elem5ts out ( :i* music is made has come to him intuitively4 ,does he recognize t musical tones are relat$ to ea* o!r 9 respect ( "t & pit*8 ,!n x %all n be difficult = him to recognize ! ?ree elem5ts on :i* music re/s--,melody1 ,h>mony1 & ,rhy?m4 ,c he recognize !m ) suffici5t di/9ctness to seize ^u _! manife/ations :ile music is s\nd+8 ,!n memory %all come to ! aid ( discrim9ation1 & he %all be able to appreciate en\gh ( design to po9t ! way to a true & l(ty appreciation ( ! beautiful 9 music4 ,! value ( memory is = obvi\s reasons v great 9 musical enjoym5t4 ,! picture rema9s ^u ! wall1 ! book ^u ! libr>y %elf4 ,if we h fail$ to grasp a detail at ! fir/ glance or read+1 we ne$ b turn aga9 to ! picture or op5 ! book anew4 ,we may see ! picture 9 a *ang$ light1 or read ! poem 9 a diff]5t mood1 b ! outl9es1 colors1 ideas are fix$ = frequ5t & pati5t p]usal4 ,music goes out ( exi/5ce ) e p]=mance1 & mu/ be recreat$ at e he>+4 ,sid5ote3 ,an int]m$i>y necess>y4 ,n only t1 b 9 ! case ( all1 s f> z "s =ms are conc]n$1 & ( all :o are n practition]s 9 o!rs1 x is necess>y t !re %all be an int]m$i>y betwe5 ! compos] & ! li/5]4 ,! writt5 or pr9t$ notes are n music2 !y are only signs :i* indicate to ! p]=m] :at to d to call tones into exi/5ce su* z ! compos] _h comb9$ into an art-"w 9 8 m9d4 ,! broadly tra9$ musician c read ! symbols2 !y /ir 8 imag9ation1 & he he>s ! music 9 8 imag9ation z ! compos] he>d x4 ,b ! untaught music-lov] alone c get no?+ f ! pr9t$ page2 he mu/ ne$s wait till "s "o else %all aga9 wak5 = him ! ,s\nd ( a voice t is /ill4 ,sid5ote3 ,! value ( memory4 ,?is is "o ( ! drawbacks :i* are b\nd up 9 ! nature ( music2 b x has ample comp5sation 9 ! unusual pleasure :i* memory br+s4 ,9 ! case ( ! be/ music1 famili>ity bre$s ev]-gr[+ admiration4 ,new compositions are sl[ly receiv$2 !y make _! way to popul> appreciation only by repeat$ p]=mances2 ! p l be/ ! songs z well z ! symphonies :i* !y "k4 ,! quick]1 !re=e1 t we are 9 recogniz+ ! melodic1 h>monic1 & rhy?mic cont5ts ( a new composition1 & ! m apt our memory 9 seiz+ ^u !m = ! op]ation ( ! fancy1 ! great] %all be our pleasure4 ,sid5ote3 ,melody1 ,h>mony1 & ,rhy?m4 ,sid5ote3 ,compreh5siv5ess ( ,melody4 ,9 simple phrase ,melody is a well-ord]$ s]ies ( tones he>d successively2 ,h>mony1 a well-ord]$ s]ies he>d simultane\sly2 ,rhy?m1 a symmetrical gr\p+ ( tonal "t units vitaliz$ by acc5t4 ,! life-blood ( music is ,melody1 & a complete conception ( ! t]m embodies )9 itself ! ess5ce ( bo? its companions4 ,a succession ( tones )\t h>monic regulation is n a p]fect elem5t 9 music2 nei!r is a succession ( tones :i* h h>monic regulation b are void ( rhy?m4 ,! beauty & expressiv5ess1 especially ! emotionality1 ( a musical composition dep5d ^u ! h>monies :i* ei!r accompany ! melody 9 ! =m ( *ords 7a gr\p ( melodic int]vals s\nd$ simultane\sly71 or are lat5t 9 ! melody itself 7h>monic int]vals s\nd$ successively74 ,melody is ,h>mony analyz$2 ,h>mony is ,melody syn!tiz$4 ,sid5ote3 ,repetition4 ,sid5ote3 ,a melody analyz$4 ,! fundam5tal pr9ciple ( ,=m is repetition ( melodies1 :i* are to music :at ideas are to poetry4 ,melodies !mselves are made by repetition ( small] fractions call$ motives 7a t]m borr[$ f ! f9e arts71 phrases1 & p]iods1 :i* d]ive _! individuality f _! rhy?mical or int]vallic *>act]i/ics4 ,melodies are n all ( ! simple k9d :i* ! musically illit]ate1 or ! musically ill-tra9$1 recognize z tunes1 b !y all h a symmetrical organization4 ,! dissection ( a simple folk-tune may s]ve to make ?is pla9 & also indicate to ! untra9$ h[ a s+le feature may be tak5 z a m>k ( id5tification & a hold+-po9t = ! memory4 ,"h is ! melody ( a ,creole song call$ sometimes ,pov' piti ,lolotte1 sometimes ,pov' piti ,momzelle ,zizi1 9 ! patois ( ,l\isiana & ,m>t9ique3 ,music illu/ration ,sid5ote3 ,motives1 phrases1 & p]iods4 ,x w be z app>5t to ! eye ( "o :o _c read music z x w to 8 e> :5 he he>s ?is melody play$1 t x is built up ( two gr\ps ( notes only4 ,^! gr\ps are m>k$ (f by ! heavy l9es across ! /aff call$ b>s1 ^: purpose x is to indicate rhy?mical subdivisions 9 music4 ,! second1 ?ird1 fif?1 six?1 & sev5? ( ^! gr\ps are repetitions m]ely ( ! fir/ gr\p1 :i* is ! g]m ( ! melody1 b on diff]5t degrees ( ! scale2 ! f\r? & eigh? gr\ps are id5tical & are an app5dage hit*$ to ! fir/ gr\p = ! purpose ( br++ x to a close1 supply+ a re/+-po9t crav$ by man's innate s5se ( symmetry4 ,musicians call su* gr\ps cad5ces4 ,a musical analy/ w\ld call ea* gr\p a motive1 & say t ea* successive two gr\ps1 beg9n+ ) ! fir/1 con/itute a phrase1 ea* two phrases a p]iod1 & ! two p]iods a melody4 ,we h !re=e 9 ?is innoc5t ,creole tune eight motives1 f\r phrases1 & two p]iods2 yet its mat]ial is summ$ up 9 two gr\ps1 "o ( sev5 notes1 "o ( five1 :i* only ne$ to be id5tifi$ & rememb]$ to enable a li/5] to recognize some?+ ( ! design ( a compos] if he 7 to put ! melody to ! highe/ purposes t melody c be put 9 ! art ( musical composition4 ,sid5ote3 ,repetition 9 music4 ,repetition is ! con/ructive pr9ciple :i* 0 employ$ by ! folk-musician 9 creat+ ?is melody2 & repetition is ! fundam5tal pr9ciple 9 all musical con/ruction4 ,x w suffice = _m m]ely to be rem9d$ ( ?is to appreciate ! fact t :ile ! ex]cise ( memory is a mo/ necess>y activity 9 li/5+ to music1 x lies 9 music to make t ex]cise easy4 ,!re is repetition ( motives1 phrases1 & p]iods 9 melody2 repetition ( melodies 9 p>ts2 & repetition ( p>ts 9 ! :oles ( ! l>g] =ms4 ,sid5ote3 ,repetition 9 poetry4 ,! beg9n+s ( poetic =ms are also f\nd 9 repetition2 9 primitive poetry x is exemplifi$ 9 ! refra9 or burd51 9 ! highly develop$ poetry ( ! ,hebrews 9 p>allelism4 ,! ,psalmi/ wrote3 ,o ,"l1 rebuke me n 9 ?y wra?1 ,nei!r *a/5 me 9 ?y hot displeasure4 ,sid5ote3 ,key relation%ip4 ,"h is a p]iod ( two memb]s1 ! latt] repeat+ ! ?\ght ( ! =m]4 ,a musical analy/ might f9d 9 x an admirable analogue = ! fir/ p]iod ( a simple melody4 ,he w\ld divide x into f\r motives3 ,rebuke me n 9 ?y wra? nei!r *a/5 me 9 ?y hot displeasure1 & po9t out z intimate a relation%ip betwe5 !m z exi/s 9 ! ,creole tune4 ,! bond ( union betwe5 ! motives ( ! melody z well z t 9 ! poetry illu/rates a pr9ciple ( beauty :i* is ! mo/ important elem5t 9 musical design aft] repetition1 :i* is its necess>y vehicle4 ,x is because ?is pr9ciple guides ! repetition ( ! tone-gr\ps t toge!r !y =m a melody t is p]fect1 satisfy+1 & reposeful4 ,x is ! pr9ciple ( key-relation%ip1 to discuss :i* fully w\ld c>ry me f>!r into musical sci5ce ?an ,i am p]mitt$ to g4 ,let ?is suffice3 ,a h>mony is lat5t 9 ea* gr\p1 & ! sequ5ce ( gr\ps is su* a sequ5ce z ! exp]i5ce ( ages has demon/rat$ to be mo/ agreeable to ! e>4 ,sid5ote3 ,! rhy?mical /amp4 ,sid5ote3 ,! pr9ciple ( ,unity4 ,9 ! case ( ! ,creole melody ! li/5] is help$ to a quick appreciation ( its =m by ! di/9ct physiognomy :i* rhy?m has /amp$ ^u x2 & x is by not+ su* a *>act]i/ic t ! memory c be/ be aid$ 9 its "w ( id5tification4 ,x is n necess>y = a li/5] to foll[ all ! processes ( a compos] 9 ord] to enjoy 8 music1 b if he cultivates ! habit ( foll[+ ! pr9cipal !mes ?r\gh a "w ( ! high] class he w n only enjoy ! pleasures ( memory b w frequ5tly get a glimpse into ! compos]'s purposes :i* w /imulate 8 imag9ation & mightily increase 8 enjoym5t4 ,!re is no?+ c guide him m surely to a recognition ( ! pr9ciple ( unity1 :i* makes a symphony to be an organic :ole in/ead ( a gr\p ( pieces :i* are only ext]nally relat$4 ,! greate/ exempl> ( ?is pr9ciple is ,bee?ov52 & 8 music is ! be/ 9 :i* to /udy x = ! reason t he s frequ5tly employs mat]ial signs = ! spiritual bond4 ,s =cibly has ?is be5 impress$ ^u me at times t ,i am almo/ will+ to believe t a ke5 analytical /ud5t ( 8 music might arrange 8 great] works into gr\ps ( su* z 7 9 process ( composition at ! same "t )\t ref]5ce to 8 p]sonal hi/ory4 ,take ! pr9cipal !me ( ! ,c m9or ,symphony = example3 ,music illu/ration ,sid5ote3 ,a rhy?mical motive pursu$4 ,?is simple1 b m>vell\sly pregnant1 motive is n only ! k]nel ( ! fir/ movem5t1 x is ! fundam5tal ?\ght ( ! :ole symphony4 ,we he> its p]si/5t beat 9 ! s*]zo z well3 ,music illu/ration & also 9 ! la/ movem5t3 ,music illu/ration ,m ?an ?is1 we f9d ! motive haunt+ ! fir/ movem5t ( ! pian(orte sonata 9 ,f m9or1 op4 #eg1 kn[n z ! ,sonata ,appassionata1 n[ gloomily1 almo/ morosely1 proclamative 9 ! bass1 n[ int]rogative 9 ! treble3 ,music illu/ration ,sid5ote3 ,relation%ips 9 ,bee?ov5's works4 ,sid5ote3 ,! ,c m9or ,symphony & ,appassionata sonata4 ,sid5ote3 ,bee?ov5's ,g major ,conc]to4 ,s*9dl] relates t :5 once he ask$ ,bee?ov5 to tell him :at ! ,f m9or & ! ,d m9or 7,op4 #ca1 ,no4 #b7 sonatas meant1 he receiv$ = an answ] only ! enigmatical rem>k3 ,read ,%akespe>e's ',tempe/4' ,_m a /ud5t & comm5tator has s9ce read ! ,tempe/ 9 ! hope ( f9d+ a clew to ! emotional cont5ts :i* ,bee?ov5 believ$ to be 9 ! two works1 s s+ul>ly associat$1 only to f9d himself baffl$4 ,x is a fancy1 :i* re/s p]haps too mu* on outw>d ?+s1 b /ill "o full ( sugge/ion1 t _h ,bee?ov5 said3 ,he> my ,c m9or ,symphony1 he w\ld h giv5 a bett] />t+-po9t to ! imag9ation ( ^? :o are seek+ to "k :at ! ,f m9or sonata means4 ,mo/ obvi\sly x means music1 b x means music t is an expression ( "o ( ^? psy*ological /ruggles :i* ,bee?ov5 felt call$ ^u m & m to del9eate z he 0 m & m %ut out f ! companion%ip ( ! ext]nal _w4 ,su* /ruggles are 9 ! true/ s5se ( ! ^w tempe/s4 ,! motive1 :i*1 accord+ to ! /ory1 ,bee?ov5 himself said indicates1 9 ! symphony1 ! rapp+s ( ,fate at ! door ( human exi/5ce1 is common to two works :i* are also relat$ 9 _! spiritual cont5ts4 ,s+ul>ly en\gh1 too1 9 bo? cases ! /ruggle :i* is begun 9 ! fir/ movem5t & cont9u$ 9 ! ?ird1 is int]rupt$ by a p]iod ( calm reassur+1 s\l-=tify+ aspiration1 :i* 9 ! symphony z well z 9 ! sonata takes ! =m ( a !me ) v>iations4 ,"h1 !n1 ! recognition ( a simple rhy?mical figure has help$ u to an appreciation ( ! spiritual unity ( ! p>ts ( a symphony1 & provid$ a comm5t>y on ! poetical cont5ts ( a sonata4 ,b ! lesson is n yet exhau/$4 ,aga9 d we f9d ! rhy?m color+ ! fir/ movem5t ( ! pian(orte conc]to 9 ,g major3 ,music illu/ration ,symphony1 conc]to1 & sonata1 z ! sket*-books ( ! ma/] %[1 7 9 process ( creation at ! same "t4 ,sid5ote3 ,8 ,sev5? ,symphony4 ,?us f> we h be5 help$ 9 id5tify+ a melody & /udy+ relation%ips by ! rhy?mical /ructure ( a s+le motive4 ,! demon/ration might be ext5d$ on ! same l9e into ,bee?ov5's symphony 9 ,a major1 9 :i* ! ext]nal sign ( ! poetical idea :i* und]lies ! :ole "w is also rhy?mic--s m>k$ly s t ,wagn] *>act]iz$ x mo/ happily & tru?fully :5 he said t x 0 ! apo!osis ( ! dance4 ,"h x is ! dactyl1 dactyl symbol1 :i* 9 "o v>iation1 or ano!r1 cl+s to u almo/ z p]si/5tly z 9 ,hood's ,bridge ( ,sighs3 ,"o m un=tunate ,we>y ( brea?1 ,ra%ly importunate1 ,gone to h] dea?4 ,sid5ote3 ,use ( a dactylic figure4 ,we he> x lightly tripp+ 9 ! fir/ movem5t3 ,music illu/ration & ,music illu/ration2 g5tle1 s$ate1 t5d]1 measur$1 ?r\gh its comb9ation ) a spondee 9 ! second3 ,music illu/ration2 *e]ily1 m]rily1 jocosely happy 9 ! ,s*]zo3 ,music illu/ration2 hymn-l 9 ! ,trio3 ,music illu/ration & wildly bac*analian :5 subject$ to tro*aic abbreviation 9 ! ,f9ale3 ,music illu/ration ,sid5ote3 ,int]vallic *>act]i/ics4 ,int]vallic *>act]i/ics may place ! badge ( relation%ip ^u melodies z di/9ctly z rhy?mic4 ,!re is no m p]fect illu/ration ( ?is ?an t af=d$ by ,bee?ov5's ,n9? ,symphony4 ,speak+ ( ! subject ( its f9ale1 ,sir ,george ,grove says3 ,& note--:ile li/5+ to ! simple tune itself1 be=e ! v>iations beg9--h[ v simple x is2 ! pla9 diatonic scale1 n a s+le *romatic int]val1 & out ( fifty-six notes only ?ree n consecutive4,a ,sid5ote3 ,! melodies 9 ,bee?ov5's ,n9? ,symphony4 ,e>li] 9 ! same "w1 :ile combat+ a /atem5t by ,l5z t ! resemblance betwe5 ! second subject ( ! fir/ movem5t & ! *oral melody is a !matic ref]5ce ( ! mo/ /rik+ importance1 v9dicat+ ! unity ( ! entire "w1 & plac+ ! :ole 9 a p]fectly new light1 ,sir ,george says3 ,x is1 h[ev]1 v rem>kable t s _m ( ! melodies 9 ! ,symphony %\ld consi/ ( consecutive notes1 & t 9 no less ?an f\r ( !m ! notes %\ld run up a portion ( ! scale & d[n aga9--app>5tly po9t+ to a consi/5t condition ( ,bee?ov5's m9d ?r\gh\t ?is "w4 ,sid5ote3 ,melodic lik5esses4 ,l ,goe!1 ,bee?ov5 secret$ _m a my/]y 9 8 ma/]piece1 b he did n juggle idly ) tones1 or select ! !mes ( 8 symphonies at hap-haz>d2 he w\ld be op5 to ! *>ge1 h[ev]1 if ! resemblances :i* ,i h po9t$ out 9 ! ,fif? & ,sev5? ,symphonies1 & ^? disclos$ by ! foll[+ melodies f 8 ,n9?1 %\ld turn out ?r\gh "s incompreh5sible revelation to be m]e co9cid5ces3 ,f ! fir/ movem5t3 ,music illu/ration ,f ! second3 ,music illu/ration ,! *oral melody3 ,music illu/ration ,sid5ote3 ,design & ,=m4 ,f a recognition ( ! beg9n+s ( design1 to :i* id5tification ( ! compos]'s !matic mat]ial & its simpl] relation%ips w lead1 to s mu* k ( ,=m z w enable ! read] to und]/& ! lat] *apt]s 9 ?is book1 is b a /ep4 ,,footnotes3 ,a ,bee?ov5 & ,8 ,n9e ,symphonies1 p4 #cgd4 ,,iii ,! ,cont5t & ,k9ds ( ,music ,sid5ote3 ,metaphysics to be avoid$ h]e94 ,be>+ 9 m9d ! purpose ( ?is book1 ,i %all n ask ! read] to accompany me f> afield 9 ! region ( ae/hetic philosophy or musical metaphysics4 ,a %ort excursion is all t is necess>y to make pla9 :at is meant by su* t]ms z ,absolute music1 ,programme music1 ,classical1 ,romantic1 & ,*amb] music & ! l1 :i* n only confront u cont9ually 9 discussion1 b /& = ?+s :i* we mu/ "k if we w\ld read programmes und]/&+ly & appreciate ! v>i\s phases 9 :i* music pres5ts itself to u4 ,x is int]e/+ & valuable to "k :y an art-"w /irs up pleasurable feel+s )9 u1 & to speculate ^u its relations to ! intellect & ! emotions2 b ! circum/ance t philosoph]s h nev] agre$1 & probably nev] w agree1 on ^! po9ts1 s f> z ! art ( music is conc]n$1 alone suffices to remove !m f ! field ( ?is discussion4 ,sid5ote3 ,p]sonal equation 9 judgm5t4 ,intellig5t li/5+ is n condition$ ^u su* k4 ,ev5 :5 ! /udy is begun1 ! que/ions :e!r or n music has a cont5t beyond itself1 :]e t cont5t is to be s\ght1 & h[ def9$1 w be decid$ 9 ea* case by ! /ud5t = himself1 on gr\nds :i* may be said to be z mu* 9 8 nature z !y are 9 ! argum5t4 ,! attitude ( man t[>d ! art is an individual "o1 & 9 "s ( its aspects defies explanation4 ,sid5ote3 ,a musical fluid4 ,! am\nt & k9d ( pleasure :i* music gives him are frequ5tly z mu* beyond 8 und]/&+ & control z !y are beyond ! und]/&+ & control ( ! man :o sits beside him4 ,!y are consequ5ces ( j t p>ticul> comb9ation ( mat]ial & spiritual elem5ts1 j t bl5d+ ( muscul>1 n]v\s1 & c]ebral tissues1 :i* make him :at he is1 :i* segregate him z an individual f ! mass ( humanity4 ,we speak ( p]sons z susceptible or insusceptible to music z we speak ( good & poor conductors ( electricity2 & ! analogy impli$ "h is p>ticul>ly apt & /rik+4 ,if we 7 /ill us+ ! sci5tific t]ms ( a few decades ago ,i %\ld say t a musical fluid might yet be discov]$ & its laws correlat$ ) ^? ( heat1 light1 & electricity4 ,l !m1 :5 r$uc$ to its l[e/ t]ms1 music is a =m ( motion1 & x %\ld n be difficult on ?is analogy to con/ruct a !ory :i* w\ld acc\nt = ! physical ph5om5a :i* accompany ! he>+ ( music 9 "s p]sons1 su* z ! recession ( blood f ! face1 or an equally sudd5 suffusion ( ! same ve9s1 a contraction ( ! scalp accompani$ by *ill9ess or a prickl+ s5sation1 or t r\ghness ( ! sk9 call$ goose-fle%1 fle% mov$ by an idea1 fle% horripilat$ by a ?\ght4 ,sid5ote3 ,orig9 ( musical elem5ts4 ,sid5ote3 ,feel+s & c\nt]po9t4 ,x has be5 d5i$ t feel+s are ! cont5t ( music1 or t x is ! mission ( music to give expression to feel+s2 b ! sci5tific fact rema9s t ! fundam5tal elem5ts ( vocal music--pit*1 quality1 & dynamic int5sity--are ! results ( feel+s work+ ^u ! vocal organs2 & ev5 if ,mr4 ,h]b]t ,sp5c]'s !ory be reject$1 x is too late n[ to d5y t music is conceiv$ by its creators z a language ( ! emotions & s appli$ by !m4 ,! ,g]man philosoph] ,h]b>? s\ght to r$uce ! "q to an absurdity by express+ surprise t musicians %\ld /ill believe t feel+s c\ld be ! proximate cause ( ! rules ( simple & d\ble c\nt]po9t2 b ,dr4 ,/a9] f\nd a suffici5t answ] by accept+ ! proposition z put1 & direct+ att5tion to ! fact t ! feel+s ( m5 hav+ fir/ decid$ :at 0 pleasurable 9 polyphony1 & ! rules ( c\nt]po9t hav+ aft]w>d be5 drawn f specim5s ( pleasurable polyphony1 x 0 entirely correct to say t feel+s are ! proximate cause ( ! laws ( c\nt]po9t4 ,sid5ote3 ,h[ compos]s he> music4 ,x is because s _m ( u h be5 taught by poets & romanc]s to ?9k t !re is a picture ( "s k9d1 or a /ory 9 e piece ( music1 & f9d ourselves unable to agree ^u ! picture or ! /ory 9 any giv5 case1 t confusion is s preval5t among ! musical laity4 ,compos]s seldom f9d difficulty 9 und]/&+ ea* o!r4 ,!y li/5 = beauty1 & if !y f9d x !y look = ! causes :i* h produc$ x1 & 9 appreh5d+ beauty & recogniz+ means & cause !y unvolitionally rise to ! plane :5ce a view ( ! compos]'s purposes is cle>4 ,hav+ grasp$ ! mood ( a composition & f\nd t x is be+ su/a9$ or v>i$ 9 a mann] accordant ) _! conceptions ( beauty1 !y occupy !mselves ) ano!r k9d ( diff]5tiation altoge!r ?an ! misl$ disciples ( ! musical rhapsodi/s :o ov]look ! g5]al design & miss ! gr& proclamation 9 _! se>* = petty sugge/ions = pictures & /ories among ! details ( ! composition4 ,let musicians te/ify = u4 ,9 8 romance1 ,e9 ,glueckli*] ,ab5d1 ,wagn] says3 ,sid5ote3 ,wagn]'s axiom4 ,t :i* music expresses is et]nal & ideal4 ,x does n give voice to ! passion1 ! love1 ! long+ ( ?is or ! o!r individual1 "u ^! or ! o!r circum/ances1 b to passion1 love1 long+ itself4 ,moritz ,hauptmann says3 ,sid5ote3 ,hauptmann's4 ,! same music w admit ( ! mo/ v>i$ v]bal expositions1 & ( n "o ( !m c x be correctly said t x is exhau/ive1 ! "r "o1 & conta9s ! :ole significance ( ! music4 ,?is significance is conta9$ mo/ def9itely 9 ! music itself4 ,x is n music t is ambigu\s2 x says ! same ?+ to ev]ybody2 x speaks to mank9d & gives voice only to human feel+s4 ,ambiguity only !n makes its appe>ance :5 ea* p]son attempts to =mulate 9 8 mann] ! emotional impression :i* he has receiv$1 :5 he attempts to fix & hold ! e!real ess5ce ( music1 to utt] ! unutt]able4 ,sid5ote3 ,m5delssohn's4 ,sid5ote3 ,! ,songs )\t ,words4 ,m5delssohn inculcat$ ! same lesson 9 a lett] :i* he wrote to a "y poet :o _h giv5 titles to a numb] ( ! compos]'s ,songs ,)\t ,words1 & incorporat$ :at he conceiv$ to be _! s5tim5ts 9 a set ( poems4 ,he s5t 8 "w to ,m5delssohn ) ! reque/ t ! compos] in=m ! writ] :e!r or n he _h succe$$ 9 cat*+ ! mean+ ( ! music4 ,he desir$ ! in=mation because music's capacity = expression is s vague & indet]m9ate4 ,m5delssohn repli$3 ,y give ! v>i\s numb]s ( ! book su* titles z ',i ,?9k ( ,!e1' ',melan*oly1' ',! ,praise ( ,god1' ',a ,m]ry ,hunt4' ,i c sc>cely say :e!r ,i ?\ght ( ^! or o!r ?+s :ile compos+ ! music4 ,ano!r might f9d ',i ,?9k ( ,!e' :]e y f9d ',melan*oly1' & a real huntsman might consid] ',a ,m]ry ,hunt' a v]itable ',praise ( ,god4' ,b ?is is n because1 z y ?9k1 music is vague4 ,on ! contr>y1 ,i believe t musical expression is altoge!r too def9ite1 t x rea*es regions & dwells 9 !m :i!r words _c foll[ x & mu/ necess>ily g lame :5 !y make ! attempt z y w\ld h !m d4 ,sid5ote3 ,! tonal language4 ,sid5ote3 ,h]b]t ,sp5c]'s def9ition4 ,sid5ote3 ,natural expression4 ,sid5ote3 ,absolute music4 ,if ,i 7 to try to say :y musicians1 great musicians1 speak ?us ( _! art1 my explanation w\ld be t !y h develop$1 f>!r ?an ! re/ ( mank9d h be5 able to develop x1 a language ( tones1 :i*1 _h x be5 s will$1 might h be5 develop$ s z to fill ! place n[ occupi$ by articulate spee*4 ,h]b]t ,sp5c]1 ?\gh speak+ purely z a sci5tific inve/igator1 n at all z an arti/1 def9$ music z a language ( feel+s :i* may ultimately enable m5 vividly & completely to impress on ea* o!r ! emotions !y exp]i5ce f mom5t to mom5t4 ,we rely ^u spee* to d ?is n[1 b ev] & anon :51 9 a mom5t ( emotional exaltation1 we are des]t$ by ! articulate ^w we rev]t to ! emotional cry :i* ant$ates spee*1 & f9d t t cry is univ]sally und]/ood because x is univ]sally felt4 ,m ?an spee*1 if its primitive elem5t ( emotionality be omitt$1 m ?an ! primitive language ( ge/ure1 music is a natural mode ( expression4 ,all ?ree =ms h atta9$ _! pres5t /age ( developm5t ?r\gh conv5tions4 ,articulate spee* has l$ 9 ! developm5t2 ge/ure once occupi$ a high plane 79 ! pantomimic dance ( ! anci5ts7 b has n[ retrograd$2 music1 supreme at ! outset1 !n neglect$1 is b n[ pu%+ =w>d into ! place :i* its nature entitles x to occupy4 ,:5 we conceive ( an art-"w compos$ ( su* elem5ts1 & =ego+ ! adv5titi\s helps :i* may accrue to x f conv5tional idioms bas$ on association ( ideas1 we h be=e u ! concept ( ,absolute music1 ^: cont5t1 l t ( e noble arti/ic composition1 be x ( tones or =ms or colors or ?\ghts express$ 9 words1 is t high ideal ( goodness1 tru?fulness1 & beauty = :i* all l(ty imag9ations /rive4 ,su* artworks are ! in/rum5tal compositions 9 ! classic =ms2 su*1 too1 may be said to be ! high type ( idealiz$ ,programme music1 :i*1 l ! ,pa/oral symphony ( ,bee?ov51 is design$ to awak5 emotions l ^? awak5$ by ! contemplation ( ?+s1 b does n attempt to depict ! ?+s !mselves4 ,hav+ m5tion$ ,programme music ,i mu/1 ( c\rse1 try to tell :at x is2 b ! exposition mu/ be prec$$ by an explanation ( a k9d ( music :i*1 because ( its *a/ity1 is set d[n z ! f9e/ =m ( absolute music4 ,?is is ,*amb] music4 ,sid5ote3 ,*amb] music4 ,sid5ote3 ,hi/ory ( ! t]m4 ,sid5ote3 ,haydn a s]vant4 ,9 a broad s5se1 b "o n employ$ 9 mod]n def9ition1 ,*amb] music is all music n design$ = p]=mance 9 ! *ur* or !atre4 7,out-(-door music _c be consid]$ among ^! arti/ic =ms ( ari/ocratic desc5t47 ,once1 & inde$ at ! "t ( its inv5tion1 ! t]m meant music design$ especially = ! delectation ( ! mo/ em95t patrons ( ! art--! k+s & nobles ^: love = x gave x ma9t5ance & enc\ragem5t4 ,?is is impli$ by ! t]m itself1 :i* has ! same etymology :]ev] ! =m ( music is cultivat$4 ,9 ,italian x is ,musica da ,cam]a2 9 ,fr5*1 ,musique de ,*ambre2 9 ,g]man1 ,kamm]musik4 ,all ! t]ms h a common root4 ,! ,greek ,greek3 kam>a signifi$ an ar*1 a vault$ room1 or a cov]$ wagon4 ,9 ! "t ( ! ,franki% k+s ! ^w 0 appli$ to ! room 9 ! royal palace 9 :i* ! mon>*'s private prop]ty 0 kept1 & 9 :i* he look$ aft] 8 private affairs4 ,:5 royalty took up ! cultivation ( music x 0 z a private1 n z a c\rt1 function1 & ! conc]ts giv5 = ! ent]ta9m5t ( ! royal family took place 9 ! k+'s *amb]1 or private room4 ,! musicians 7 no?+ m nor less ?an s]vants 9 ! royal h\sehold4 ,?is relation%ip endur$ into ! pres5t c5tury4 ,haydn 0 a ,haus(fici] ( ,pr9ce ,e/]hazy4 ,z vice-*apelma/] he _h to appe> e morn+ 9 ! ,pr9ce's ante-room to receive ord]s conc]n+ ! d9n]-music & o!r ent]ta9m5ts ( ! day1 & 9 ! c]tificate ( appo9tm5t 8 conduct is regulat$ ) a p>ticul>ity :i* we1 :o rememb] him & rev]5ce 8 g5ius b h =gott5 8 ma/]1 ?9k humiliat+ 9 ! extreme4 ,sid5ote3 ,bee?ov5's ,*amb] music4 ,out ( ?is cultivation ( music 9 ! private *amb] grew ! *>act]i/ics ( ,*amb] music1 :i* we mu/ consid] if we w\ld enjoy x ourselves & und]/& ! great rev]5ce :i* ! great ma/]s ( music h always felt = x4 ,bee?ov5 0 ! fir/ great democrat among musicians4 ,he w\ld h none ( ! %ackles :i* 8 pr$ecessors wore1 & compell$ ari/ocracy ( bir? to b[ to ari/ocracy ( g5ius4 ,b su* 0 8 rev]5ce = ! /yle ( music :i* _h gr[n up 9 ! *amb]s ( ! great t he devot$ ! la/ ?ree ye>s ( 8 life almo/ exclusively to its composition2 ! p]oration ( 8 proclamation to mank9d consi/s ( 8 la/ qu>tets--! holie/ ( holy ?+s to ! ,*amb] musicians ( to-day4 ,sid5ote3 ,! *>act]i/ics ( ,*amb] music4 ,*amb] music repres5ts pure ?\ght1 l(ty imag9ation1 & deep le>n+4 ,^! attributes are enc\rag$ by ! idea ( privacy :i* is insep>able f ! =m4 ,compos]s f9d x ! f9e/ field = ! display ( _! tal5ts because _! own skill 9 creat+ is to be pair$ ) tra9$ skill 9 he>+4 ,its repres5tative pieces are writt5 = /r+s alone--trios1 qu>tets1 & qu9tets4 ,) ! /r+s are sometimes associat$ a pian(orte1 or "o or m ( ! solo w9d in/rum5ts--oboe1 cl>9et1 or ,fr5* horn2 & z a rule ! compositions adh]e to classical l9es 7see ,*apt] ,v474 ,( necessity ! mode/y ( ! app>atus compels x to =ego ne>ly all ! adv5titi\s helps ) :i* o!r =ms ( composition ga9 public approval4 ,9 ! del9eative arts ,*amb] music %[s analogy ) correct draw+ & good composition1 ! abs5ce ( :i* _c be aton$ = by ! mo/ gorge\s color+4 ,9 no o!r /yle is sympa?y betwe5 p]=m]s & li/5]s s necess>y1 & = t reason ,*amb] music %\ld always be he>d 9 a small room ) p]=m]s & li/5]s jo9$ 9 angelic w$lock4 ,communities 9 :i* x fl\ri%es "u su* conditions are musical4 ,sid5ote3 ,programme music4 ,sid5ote3 ,! value ( sup]scriptions4 ,sid5ote3 ,! rule ( judgm5t4 ,prop]ly speak+1 ! t]m ,programme music ought to be appli$ only to in/rum5tal compositions :i* make a frank ef=t to depict sc5es1 incid5ts1 or emotional processes to :i* ! compos] himself gives ! clew ei!r by means ( a descriptive title or a v]bal motto4 ,x is un=tunate t ! t]m has come to be loosely us$4 ,9 a high s5se ! pure/ & be/ music 9 ! _w is programmatic1 its programme be+1 z ,i h said1 t high ideal ( goodness1 tru?fulness1 & beauty :i* is ! cont5t ( all true art4 ,b ! orig9 ( ! t]m 0 vulg>1 & ! mo/ contemptible piece ( tonal imitation n[ claims k9%ip 9 ! popul> m9d ) ! exquisitely poetical creations ( ,s*umann & ! ,pa/oral symphony ( ,bee?ov52 & s x is become necess>y to def5d x 9 ! case ( noble compositions4 ,a programme is n necess>ily1 z ,ambros ass]ts1 a c]tificate ( pov]ty & an admission on ! "p ( ! compos] t 8 art has got beyond its natural b\nds4 ,:e!r x be m]ely a sugge/ive title1 z 9 ! case ( "s ( ! compositions ( ,bee?ov51 ,s*umann1 & ,m5delssohn1 or an ext5d$ comm5t>y1 z 9 ! symphonic poems ( ,liszt & ! symphonies ( ,b]lioz & ,raff1 ! programme has a di/9ct value to ! compos] z well z ! he>]4 ,x c make ! p]ceptive s5se m impressible to ! influ5ce ( ! music2 x c quick5 ! fancy1 & fire ! imag9ation2 x c prev5t a gross misconception ( ! int5tions ( a compos] & ! "* ( 8 composition4 ,nev]!less1 9 det]m9+ ! arti/ic value ( ! "w1 ! "q goes n to ! +5uity ( ! programme or ! cle>ness ) :i* its sugge/ions h be5 c>ri$ out1 b to ! beauty ( ! music itself irrespective ( ! v]bal comm5t>y accompany+ x4 ,?is rule mu/ be ma9ta9$ 9 ord] to prev5t a degradation ( ! object ( musical expression4 ,! vile1 ! ugly1 ! pa9ful are n fit subjects = music2 music r5\nces1 contrav5es1 negatives itself :5 x attempts _! del9eation4 ,a classification ( ,programme music might be made on ^! l9es3 ,sid5ote3 ,k9ds ( ,programme music4 ,i4 ,descriptive pieces :i* re/ on imitation or sugge/ion ( natural s\nds4 ,,ii4 ,pieces ^: cont5ts are purely musical1 b ! mood ( :i* is sugge/$ by a poetical title4 ,,iii4 ,pieces 9 :i* ! influ5ce :i* det]m9$ _! =m & developm5t is indicat$ n only by a title b also by a motto :i* is reli$ ^u to m>k out a tra9 ( ?\ght = ! li/5] :i* w br+ 8 fancy into union ) t ( ! compos]4 ,! motto may be v]bal or pictorial4 ,,iv4 ,symphonies or o!r composite works :i* h a title to indicate _! g5]al "*1 supplem5t$ by explanatory sup]scriptions = ea* portion4 ,sid5ote3 ,imitation ( natural s\nds4 ,sid5ote3 ,! night+ale4 ,sid5ote3 ,! cat4 ,sid5ote3 ,! cuckoo4 ,! fir/ ( ^! divisions re/s ^u ! employm5t ( ! l[e/ =m ( conv5tional musical idiom4 ,! mat]ial :i* ! natural _w provides = imitation by ! musician is exce$+ly scant4 ,unless we desc5d to m]e noise1 z 9 ! descriptions ( /orms & battles 7! %riek+ ( ! w9d1 ! cra%+ ( ?und]1 & ! ro> ( artill]y--invaluable aids to ! *eap descriptive writ]71 we h little else ?an ! calls ( a few birds4 ,ne>ly ?irty ye>s ago ,wilhelm ,tapp]t wrote an essay :i* he call$ ,zoopla/ik 9 ,to554 ,he ransack$ ! musical lit]ature ( c5turies1 b 9 all 8 examples ! only animals ! voices ( :i* are unmi/akable are f\r f[ls--! cuckoo1 quail 7t is ! ,g]man bird1 n ! ,am]ican1 :i* has a diff]5t call71 ! cock1 & ! h54 ,he has _m descriptive s\nds :i* sugge/ o!r birds & bea/s1 b only by association ( idea2 sep>at$ f title or text !y sugge/ m]ely :at !y are--musical phrases4 ,a reit]ation ( ! rhy?mical figure call$ ! ,scot* snap1 break+ gradually into a trill1 is ! common symbol ( ! night+ale's song1 b x is n a copy ( t song2 ?ree or f\r tones desc5d+ *romatically are giv5 z ! cat's mew1 b !y are made to be su* only by plac+ ! syllables ,mi-au 7tak5 f ! vocabul>y ( ! ,g]man cat7 "u !m4 ,in/ances ( ?is k9d might be call$ *>act]ization1 or description by sugge/ion1 & "s ( ! be/ compos]s h made use ( !m1 z w appe> 9 ^! pages pres5tly4 ,! li/ be+ s small1 & ! lesson taught s l>ge1 x may be well to give a few /rik+ in/ances ( absolutely imitative music4 ,! fir/ bird to collaborate ) a compos] seems to h be5 ! cuckoo1 ^: notes ,music illu/ration3 ,cuck-oo6 _h s\nd$ 9 _m a folk-song ere ,bee?ov5 ?\ght ( enli/+ ! little solo p]=m] 9 8 ,pa/oral symphony4 ,x is to be borne 9 m9d1 h[ev]1 z a fact hav+ "s be>+ on ! arti/ic value ( ,programme music1 t ,bee?ov5's cuckoo *anges 8 note to please ! musician1 &1 in/ead ( s++ a m9or ?ird1 he s+s a major ?ird ?us3 ,music illu/ration3 ,cuck-oo6 ,sid5ote3 ,cock & h54 ,z long ago z #afhh ,jacob ,walt] wrote a musical piece entitl$ ,gall9a et ,gallo1 9 :i* ! h5 0 del9eat$ 9 ?is !me3 ,music illu/ration3 ,gall9a4 :ile ! cock _h ! upp] voice 9 ! foll[+ example1 8 cle> *all5ge s\nd+ above ! cackl+ ( 8 mate3 ,music illu/ration3 ,gallo4 ,! mo/ effective use yet made ( ! song ( ! h51 h[ev]1 is 9 ,la ,p\le1 "o ( ,rameau's ,pieces de ,clavec91 pr9t$ 9 #agcf1 a delightful composition ) ?is subject3 ,music illu/ration3 ,co co co co co co co dai1 etc4 ,sid5ote3 ,! quail4 ,! quail's song is m]ely a monotonic rhy?mical figure to :i* ,g]man fancy has fitt$ words ( pi\s admonition3 ,music illu/ration3 ,fu]*-te ,gott6 ,lo-be ,gott6 ,sid5ote3 ,conv5tional idioms4 ,sid5ote3 ,association ( ideas4 ,sid5ote3 ,fancy & imag9ation4 ,sid5ote3 ,h>mony & emotionality4 ,! paucity ( examples 9 ?is dep>tm5t is a demon/ration ( ! /atem5t made else:]e t nature does n provide music ) models = imitation z x does pa9t+ & sculpture4 ,! fact t1 nev]!less1 we h come to recognize a l>ge numb] ( idioms bas$ on association ( ideas /&s ! compos] 9 good /ead :5ev] he v5tures into ! doma9 ( del9eative or descriptive music1 & ?is he c d )\t becom+ crudely imitative4 ,repeat$ exp]i5ces h taught u to recognize resemblances betwe5 sequ5ces or comb9ations ( tones & ?+s or ideas1 & on ^! analogies1 ev5 ?\gh !y be purely conv5tional 7t is agre$ ^u1 z we h agre$ t a nod ( ! head %all convey ass5t1 a %ake ( ! head diss5t1 & a %rug ( ! %\ld]s d\bt or indiff]5ce71 ! compos]s h built up a volum9\s vocabul>y ( idioms :i* ne$ only to be help$ out by a sugge/ion to ! m9d to be eloqu5tly illu/rative4 ,sometimes he>+ a melody or h>mony ar\ses an emotion l t ar\s$ by ! contemplation ( a ?+4 ,m9or h>monies1 sl[ movem5ts1 d>k tonal color+s1 comb9e directly to put a musically susceptible p]son 9 a mood cong5ial to ?\ghts ( sorr[ & dea?2 &1 inv]sely1 ! exp]i5ce ( sorr[1 or ! contemplation ( dea?1 creates aff9ity = m9or h>monies1 sl[ movem5ts1 & d>k tonal color+s4 ,or we recognize attributes 9 music possess$ also by ?+s1 & we consort ! music & ! ?+s1 ext]nal attributes br++ descriptive music into play1 :i* excites ! fancy1 int]nal attributes call+ = an ex]cise ( ! l(ti] faculty1 imag9ation1 to disc]n _! mean+4,b ,! latt] k9d is del9eative music ( ! high] ord]1 ! k9d t ,i h call$ idealiz$ programme music1 = x is ! imag9ation :i*1 z ,rusk9 has said1 sees ! he>t & inn] nature & makes !m felt1 b is (t5 obscure1 my/]i\s1 & int]rupt$ 9 its giv+ out ( out] detail1 :i* is a se] 9 ! prophetic s5se1 call+ ! ?+s t are n z ?\gh !y 71 & =ev] delight+ to dwell on t :i* is n tangibly pres5t4 ,9 ?is k9d ( music1 h>mony1 ! real seat ( emotionality 9 music1 is an eloqu5t factor1 &1 inde$1 !re is no great] my/]y 9 ! art1 :i* is full ( my/]y1 ?an ! fact t ! l[]+ ( ! second tone 9 ! *ord1 :i* is ! />t+-po9t ( h>mony1 %\ld *ange an expression ( satisfaction1 en]getic action1 or jubilation into an acc5t ( pa9 or sorr[4 ,! major mode is to d1 ! m9or1 to suff]3 ,sid5ote3 ,major & m9or4 ,music illu/ration3 ,hur-rah6 ,a-las6 ,sid5ote3 ,music & movem5t4 ,h[ ne> a l>ge numb] ( sugge/ions1 :i* are bas$ :olly ^u exp]i5ce or association ( ideas1 lie to ! popul> fancy1 might be illu/rat$ by scores ( examples4 ,?\ghts ( religi\s functions arise 9 u ! mom5t we he> ! trombones intone a solemn phrase 9 full h>mony2 an oboe melody 9 six?-eigh? "t ov] a drone bass br+s up a pa/oral picture ( a %eph]d play+ ^u 8 pipe2 trumpets & drums sugge/ w>1 & s on4 ,! del9eation ( movem5t is easi] to ! musician ?an x is to ! poet4 ,h&el1 :o has convey$ ! s5sation ( a d>kness :i* might be felt1 9 a *orus ( 8 ,israel 9 ,egypt1 by means :i* appeal solely to ! imag9ation /irr$ by feel+s1 has 9 ! same "w pictur$ ! plague ( frogs ) a frank naivete :i* almo/ upsets our s]i\sness ( demeanor1 by sugge/+ ! *>act]i/ic movem5t ( ! creatures 9 ! in/rum5tal accompanim5t to ! arioso1 ,_! l& br\ght =? frogs1 :i* beg9s ?us3 ,sid5ote3 ,h&el's frogs4 ,music illu/ration ,sid5ote3 ,! movem5t ( wat]4 ,we f9d ! g5tle flux & reflux ( wat] z if x 7 lapp+ a rocky %ore 9 ! exquisite figure out ( :i* ,m5delssohn con/ruct$ 8 ,hebrides ov]ture3 ,music illu/ration & 9 fancy we ride on mighty surges :5 we li/5 to ! pr9cipal subject ( ,rub9/e9's ,ocean symphony3 ,music illu/ration ,9 none ( ^! in/ances c ! compos] be said to be imitative4 ,music _c copy wat]1 b x c d :at wat] does1 & s sugge/ wat]4 ,sid5ote3 ,high & l[4 ,"s ( ! mo/ common devices ( compos]s are bas$ on conceptions t are :olly arbitr>y4 ,a musical tone _c h position 9 space su* z is indicat$ by high or l[1 yet s famili> is ! association ( acut5ess ( pit* ) height1 & gravity ( pit* ) dep?1 t compos]s cont9ually del9eate high ?+s ) acute tones & l[ ?+s ) grave tones1 z witness ,h&el 9 "o ( ! *oruses ( ,! ,messiah3 ,music illu/ration3 ,glo-ry to ,god 9 ! high-e/1 & peace on e>?4 ,sid5ote3 ,asc5t1 desc5t1 & di/ance del9eat$4 ,simil>ly1 too1 does ,bee?ov5 describe ! asc5t into heav5 & ! desc5t into hell 9 ! ,cr$o ( 8 mass 9 ,d4 ,bee?ov5's music1 inde$1 is full ( tone-pa9t+1 & because x exemplifies a d\ble device ,i make room = "o m illu/ration4 ,x is f ! cantata ,becalm$ at ,sea1 & a ,prosp]\s ,voyage1 & 9 x ! compos] pictures ! imm5sity ( ! sea by a sudd51 extraord9>y spread+ out ( 8 h>monies1 :i* is musical1 & dwell+ a long "t on ! ^w di/ance 7,weite7 :i* is rhetorical3 ,music illu/ration3 ,9 d] un-ge-heu-'r5 ,wei-te4 ,sid5ote3 ,bald imitation bad art4 ,sid5ote3 ,vocal music & del9eation4 ,sid5ote3 ,bee?ov5's canon4 ,! ext5t to :i* tone-pa9t+ is ju/ifi$ is a "q :i* might pr(itably conc]n u2 b su* a discussion z x des]ves w\ld f> exce$ ! limits set = ?is book1 & mu/ be =egone4 ,x _c be too =cibly urg$1 h[ev]1 z an aid to ! li/5]1 t ef=ts at musical c>toon+ h nev] be5 made by true compos]s1 & t 9 ! degree t music attempts simply to copy ext]nal ?+s x falls 9 ! scale ( arti/ic tru?fulness & value4 ,vocal music tol]ates m ( ! descriptive elem5t ?an in/rum5tal because x is a mix$ art2 9 x ! purpose ( music is to illu/rate ! poetry &1 by int5sify+ ! appeal to ! fancy1 to w>m ! emotions4 ,e piece ( vocal music1 moreov]1 c>ries its explanatory programme 9 its words4 ,/ill m tol]able & ev5 righte\s is x 9 ! op]a :]e x is b "o ( sev]al factors :i* labor toge!r to make up ! sum ( dramatic repres5tation4 ,b x mu/ ev] rema9 valueless unless x be idealiz$4 ,m5delssohn1 desir+ to put ,bully ,bottom into ! ov]ture to ,a ,midsumm] ,night's ,dream1 did n hesitate to use tones :i* sugge/ ! bray ( a donkey1 yet ! effect1 l ,h&el's frogs & flies 9 ,israel1 is "o ( absolute musical value4 ,! canon :i* ought cont9ually to be be=e ! m9d ( ! li/5] is t :i* ,bee?ov5 laid d[n ) mo/ pa9/ak+ c>e :5 he wrote ! ,pa/oral symphony4 ,desir+ to in=m ! li/5]s :at 7 ! images :i* inspir$ ! v>i\s movem5ts 79 ord]1 ( c\rse1 t !y might ! bett] ent] into ! "w by recall+ !m71 he gave ea* "p a sup]scription ?us3 ,sid5ote3 ,! ,pa/oral symphony4 ,i4 ,! agreeable & *e]ful s5sations awak5$ by arrival 9 ! c\ntry4 ,,ii4 ,sc5e by ! brook4 ,,iii4 ,a m]rymak+ ( ! c\ntry folk4 ,,iv4 ,?und]-/orm4 ,v4 ,%eph]ds' song--feel+s ( *>ity comb9$ ) gratitude to ! ,deity aft] ! /orm4 ,9 ! title itself he includ$ an admonitory explanation :i* %\ld h ev]la/+ validity3 ,pa/oral ,symphony2 m expression ( feel+ ?an pa9t+4 ,h[ s]i\sly he ?\ght on ! subject we "k f 8 sket*-books1 9 :i* occur a numb] ( notes1 "s ( :i* 7 evid5tly h9ts = sup]scriptions1 "s records ( 8 convictions on ! subject ( descriptive music4 ,! notes are repr9t$ 9 ,nottebohm's ,zweite ,bee?ov5iana1 b ,i borr[ ,sir ,george ,grove's translation3 ,sid5ote3 ,bee?ov5's notes on descriptive music4 ,! he>]s %\ld be all[$ to discov] ! situations4 ,s9fonia c>act]i/ica1 or a recollection ( c\ntry life4 ,all pa9t+ 9 in/rum5tal music1 if pu%$ too f>1 is a failure4 ,s9fonia pa/orella4 ,anyone :o has an idea ( c\ntry life c make out = himself ! int5tions ( ! au?or )\t _m titles4 ,p w n require titles to recognize ! g5]al int5tion to be m a matt] ( feel+ ?an ( pa9t+ 9 s\nds4 ,pa/oral symphony3 ,no picture1 b some?+ 9 :i* ! emotions are express$ :i* are ar\s$ 9 m5 by ! pleasure ( ! c\ntry 7or71 9 :i* "s feel+s ( c\ntry life are set =?4,c ,z to ! relation ( programme to music ,s*umann laid d[n an admirable maxim :5 he said t :ile good music 0 n h>m$ by a descriptive title x 0 a bad indication if a composition ne$$ "o4 ,sid5ote3 ,classic & ,romantic4 ,!re are1 among all ! t]ms us$ 9 music1 no words ( vagu] mean+ ?an ,classic & ,romantic4 ,! idea :i* !y convey mo/ widely 9 conjunction is t ( anti!sis4 ,:5 ! ,romantic ,s*ool ( compos]s is discuss$ x is almo/ univ]sally pres5t$ z some?+ oppos$ 9 "* to ! ,classical ,s*ool4 ,!re is little h>m 9 ?is if we b be> 9 m9d t all ! t]ms :i* h come into use to describe diff]5t phases ( musical developm5t are entirely artificial & arbitr>y--t !y d n /& = any?+ absolute1 b only s]ve z plat=ms ( obs]vation4 ,if ! t]ms _h a fix$ mean+ we ought to be able1 s9ce !y h e/abli%$ !mselves 9 ! language ( hi/ory & criticism1 to describe unambigu\sly & def9e cle>ly ! b\nd>y :i* sep>ates !m4 ,?is1 h[ev]1 is impossible4 ,ea* g5]ation1 nay1 ea* decade1 fixes ! mean+ ( ! words = itself & decides :at works %all g into ea* category4 ,x ought to be possible to discov] a pr9ciple1 a t\*/one1 :i* %all emancipate u f ! mis*iev\s & mislead+ notions t h s long prompt$ m5 to make ! p>titions betwe5 ! s*ools out ( dates & names4 ,sid5ote3 ,tr5*'s def9ition ( classical4 ,! t]ms 7 borr[$ f lit]>y criticism2 b ev5 !re1 9 ! words ( ,ar*bi%op ,tr5*1 !y ei!r say no?+ at all or say some?+ errone\s4 ,classical has m to def5d x ?an ,romantic1 because x has great] antiquity &1 9 "o s5se1 has be5 us$ ) less arbitr>9ess4 ,! t]m1 says ,tr5*1 is drawn f ! political economy ( ,rome4 ,su* a man 0 rat$ z to 8 income 9 ! ?ird class1 su* ano!r 9 ! f\r?1 & s on1 & he :o 0 9 ! highe/ 0 emphatically said to be ( ! class1 classicus1 a class man1 )\t add+ ! numb] z 9 t case sup]flu\s2 :ile all o!rs 7 infra classem4 ,h5ce by an obvi\s analogy ! be/ au?ors 7 rat$ z classici1 or m5 ( ! highe/ class2 j z 9 ,engli% we say 'm5 ( rank' absolutely = m5 :o are 9 ! highe/ ranks ( ! ,/ate4 ,?us ,tr5*1 & 8 hi/orical def9ition1 expla9s :y 9 music also !re is some?+ m ?an a lurk+ sugge/ion ( excell5ce 9 ! conception ( classical2 b t fact does n put away ! qu>rel :i* we feel exi/s betwe5 ,classic & ,romantic4 ,sid5ote3 ,romantic 9 lit]ature4 ,sid5ote3 ,s*umann & ,jean ,paul4 ,sid5ote3 ,web]'s op]as4 ,sid5ote3 ,m5delssohn4 ,z appli$ to lit]ature ,romantic 0 an adjective affect$ by c]ta9 poets1 fir/ 9 ,g]many1 !n 9 ,france1 :o wi%$ to introduce a /yle ( ?\ght & expression diff]5t f t ( ^? :o foll[$ old models4 ,intr9sically1 ( c\rse1 ! t]m does n imply any su* opposition b only be>s witness to ! s\rce f :i* ! poets drew _! inspiration4 ,?is 0 ! imag9ative lit]ature ( ! ,middle ,ages1 ! fanta/ical /ories ( *ivalry & knigh?ood writt5 9 ! ,romance1 or ,romanic languages1 su* z ,italian1 ,spani%1 & ,prov5cal4 ,! pr9cipal elem5ts ( ^! /ories 7 ! m>vell\s & ! sup]natural4 ,! compos]s ^: names fir/ spr+ into our m9ds :5 we ?9k ( ! ,romantic ,s*ool are m5 l ,m5delssohn & ,s*umann1 :o drew mu* ( _! inspiration f ! "y writ]s ( _! "t :o 7 mak+ w> on /ilt$ rhetoric & conv5tionalism ( phrase4 ,s*umann t\*es h&s ) ! ,romantic poets 9 _! /riv+s 9 two directions4 ,8 arti/ic conduct1 especially 9 8 e>ly ye>s1 is inexplicable if ,jean ,paul be omitt$ f ! equation4 ,8 music rebels aga9/ ! =malism :i* _h held despotic sway ov] ! art1 & also seeks to disclose ! beauty :i* lies buri$ 9 ! _w ( my/]y 9 & ar\nd u1 & give expression to ! multitude ( emotions to :i* unyield+ =malism _h refus$ adequate utt]ance4 ,?is1 ,i ?9k1 is ! *ief elem5t ( ,romanticism4 ,ano!r has m ( an ext]nal nature & g5esis1 & ?is we f9d 9 ! works ( su* compos]s z ,von ,web]1 :o is ,romantic *iefly 9 8 op]as1 because ( ! sup]naturalism & *ivalry 9 _! /ories1 & ,m5delssohn1 :o1 :ile di/9ctly ,romantic 9 _m ( 8 /riv+s1 0 yet s great a ma/] ( =m1 & s atta*$ to x1 t ! ,romantic side ( him 0 n fully develop$4 ,sid5ote3 ,a def9ition ( ,classical 9 music4 ,sid5ote3 ,! creative & cons]vative pr9ciples4 ,sid5ote3 ,musical laws ( necessity progressive4 ,sid5ote3 ,ba* & ,romanticism4 ,sid5ote3 ,creation & cons]vation4 ,if ,i 7 to attempt a def9ition x w\ld be ?is3 ,classical compos]s are ^? ( ! fir/ rank 7to ?is ext5t we yield to ! anci5t ,roman conception7 :o h develop$ music to ! highe/ pit* ( p]fection on its =mal side &1 9 ob$i5ce to g5]ally accept$ laws1 pref]r+ ae/hetic beauty1 pure & simple1 ov] emotional cont5t1 or1 at any rate1 refus+ to sacrifice =m to *>act]i/ic expression4 ,romantic compos]s are ^? :o h s\ght _! ideals 9 o!r regions & /riv5 to give expression to !m irrespective ( ! re/rictions & limitations ( =m & ! conv5tions ( law--compos]s ) :om1 9 brief1 cont5t outweighs mann]4 ,?is def9ition pres5ts ,classicism z ! regulative & cons]vative pr9ciple 9 ! hi/ory ( ! art1 & ,romanticism z ! progressive1 reg5]ative1 & creative pr9ciple4 ,x is easy to see h[ ! notion ( conte/ betwe5 !m grew up1 & ! only h>m :i* c come f su* a notion w ensue only if we %ut our eyes to ! fact t x is a conte/ betwe5 two elem5ts ^: v opposition /imulates life1 & ^: union1 p]fect1 peaceful1 mutually supplem5tal1 is f\nd 9 e really great art-"w4 ,no law :i* fixes1 & h5ce limits1 =m1 c rema9 valid =ev]4 ,its end is s]v$ :5 x en=ces itself long en\gh to keep lawlessness 9 *eck till ! te/ ( "t has det]m9$ :at is s\nd1 sweet1 & :olesome 9 ! innovations :i* are always cr[d+ eag]ly into e creative activity 9 art & sci5ce4 ,9 art x is ev] true1 z ,fau/ concludes1 t ,9 ! beg9n+ 0 ! de$4 ,! laws ( composition are ! products ( compositions2 &1 be+ su*1 !y _c rema9 unalt]able s long z ! impulse fre%ly to create rema9s4 ,all great m5 are ahead ( _! "t1 & 9 all great music1 no matt] :5 writt51 y %all f9d in/ances ( pr(\nd] mean+ & deep] or new] feel+ ?an m>k$ ! g5]ality ( contempor>y compositions4 ,s ,ba* frequ5tly floods 8 =mal utt]ances ) ,romantic feel+1 & ! face ( ,bee?ov51 s]v+ at ! alt> 9 ! temple ( ,beauty1 is transfigur$ = u by div9e light4 ,! pr9ciples ( creation & cons]vation move onw>d toge!r1 & :at is ,romantic to-day becomes ,classic to-morr[4 ,romanticism is fluid ,classicism4 ,x is ! emotional /imulus in=m+ ,romanticism :i* calls music into life1 b no soon] is x born1 free1 untrammell$1 nature's *ild1 ?an ! regulative pr9ciple places %ackles ^u x2 b x is enslav$ only t x may become & rema9 art4 ,,footnotes3 ,b ,/udies 9 ! ,wagn]ian ,drama1 p4 #bb4 ,c ,bee?ov5 & ,8 ,n9e ,symphonies1 by ,george ,grove1 ,c4,b41 #b;d ed41 p4 #aia4 ,,iv ,! ,mod]n ,or*e/ra ,sid5ote3 ,! or*e/ra z an in/rum5t4 ,sid5ote3 ,:at may be he>d f a b&4 ,! mo/ eloqu5t1 pot5t1 & capable in/rum5t ( music 9 ! _w is ! mod]n or*e/ra4 ,x is ! in/rum5t ^: employm5t by ! classical compos]s & ! g5iuses ( ! ,romantic ,s*ool 9 ! middle ( our c5tury m>ks ! high tide ( ! musical art4 ,x is an in/rum5t1 moreov]1 :i* is nev] play$ ^u )\t giv+ a great object-lesson 9 musical analysis1 )\t invit+ ! eye to help ! e> to disc]n ! cause ( ! s\nds :i* ravi% our s5ses & /ir up pleasurable emotions4 ,yet ! popul> k ( its con/itu5t p>ts1 ( ! individual value & mission ( ! factors :i* g to make up its sum1 is sc>cely great] ?an ! popul> k ( ! /ructure ( a symphony or sonata4 ,all ?is is ! m deplorable s9ce at lea/ a rudim5t>y k ( ^! ?+s might easily be ga9$1 & 9 ga9+ x ! /ud5t w\ld f9d a unique intellectual enjoym5t1 & h 8 e>s unconsci\sly op5$ to a ?\s& beauties 9 ! music nev] p]ceiv$ be=e4 ,he w\ld le>n1 = in/ance1 to di/+ui% ! *>act]i/ic timbre ( ea* ( ! in/rum5ts 9 ! b&2 & aft] t to ! delight f\nd 9 :at may be call$ ! prim>y colors he w\ld add t :i* comes f analyz+ ! va/ numb] ( t9ts :i* are ! products ( comb9ation4 ,not+ ! capacity ( ! v>i\s in/rum5ts & ! mann] 9 :i* !y are employ$1 he w\ld get glimpses into ! m5tal work%op ( ! compos]4 ,he w\ld discov] t !re are conv5tional means ( expression 9 8 art analog\s to ^? 9 ! o!r arts2 & collat+ 8 me?ods ) ! effects produc$1 he w\ld le>n some?+ ( ! creative arti/'s purposes4 ,he w\ld f9d t :ile 8 m]ely s5su\s enjoym5t w\ld be left unimpair$1 & ! emotional excitem5t :i* is a legitimate fruit ( musical p]=mance un*eck$1 ^! pleasures w\ld h o!rs consort$ ) !m4 ,8 intellectual faculties w\ld be agreeably excit$1 & he w\ld enjoy ! pleasures ( memory1 :i* are exemplifi$ 9 music m delightfully & m frequ5tly ?an 9 any o!r art1 because ( ! role :i* repetition ( p>ts plays 9 musical composition4 ,sid5ote3 ,famili> in/rum5ts4 ,sid5ote3 ,! in/rum5tal *oirs4 ,! argum5t is z valid 9 ! /udy ( musical =ms z 9 ! /udy ( ! or*e/ra1 b x is ! latt] t is our p>ticul> bus9ess 9 ?is *apt]4 ,ev]ybody li/5+ to an or*e/ral conc]t recognizes ! physical =ms ( ! viol9s1 flutes1 cornets1 & big drum2 b ev5 ( ^! famili> in/rum5ts ! voices are n always recogniz$4 ,z = ! re/ ( ! h>moni\s frat]nity1 few give he$ to !m1 ev5 :ile enjoy+ ! music :i* !y produce2 yet ) a few words ( direction anybody c /udy ! in/rum5ts ( ! b& at an or*e/ral conc]t4 ,let him fir/ recognize ! fact t to ! m9d ( a compos] an or*e/ra always pres5ts itself z a comb9ation ( f\r gr\ps ( in/rum5ts--*oirs1 let u call !m1 ) unwill+ apology to ! lexicograph]s4 ,^! *oirs are3 fir/1 ! viols ( f\r sorts--viol9s1 violas1 violoncellos1 & d\ble-basses1 spok5 ( collectively z ! /r+ qu>tet2 second1 ! w9d in/rum5ts ( wood 7! wood-w9ds 9 ! musician's j>gon7--flutes1 oboes1 cl>9ets1 & bassoons2 ?ird1 ! w9d in/rum5ts ( brass 7! brass7--trumpets1 horns1 trombones1 & bass tuba4 ,9 all ( ^! subdivisions !re are num]\s v>iations :i* ne$ n deta9 u n[4 ,a fur!r subdivision might be made 9 ea* ) ref]5ce to ! h>mony voices 7%[+ an analogy ) ! f\r voices ( a vocal *oir--soprano1 contralto1 t5or1 & bass72 b to g into ?is might make ! exposition confus+4 ,! f\r? *oir 7"h ! apology to ! lexicograph]s mu/ be repeat$ ) mu* humility & e>ne/ness7 consi/s ( ! in/rum5ts ( p]cussion--! kettle-drums1 big drum1 cymbals1 triangle1 bell *ime1 etc4 7sometimes spok5 ( collectively 9 ! ,unit$ ,/ates z ! batt]y74 ,illu/ration3 ,,seat+ ,,plan ,,( ,,! ,,new ,,york ,,philh>monic ,,society4 ,sid5ote3 ,h[ or*e/ras are seat$4 ,sid5ote3 ,plan ( ! ,new ,york ,philh>monic4 ,! disposition ( ^! in/rum5ts 9 our or*e/ras is l>gely a matt] ( individual ta/e & judgm5t 9 ! conductor1 ?\gh ! g5]al rule is exemplifi$ 9 ! plan giv5 h]e)1 %[+ h[ ,mr4 ,anton ,seidl has arrang$ ! desks = ! conc]ts ( ! ,philh>monic ,society ( ,new ,york4 ,mr4 ,!odore ,?omas's arrangem5t diff]$ v little f t ( ,mr4 ,seidl1 ! mo/ noticeable diff]5ce be+ t he plac$ ! viola-play]s beside ! second viol9i/s1 :]e ,mr4 ,seidl has ! violoncelli/s4 ,mr4 ,seidl's purpose 9 mak+ ! *ange 0 to ga9 an increase 9 sonority = ! viola "p1 ! position to ! "r ( ! /age 7! left ( ! audi5ce7 enabl+ ! viola-play]s to hold _! in/rum5ts ) ! ,f-holes t[>d ! li/5]s in/ead ( away f !m4 ,! relative positions ( ! h>moni\s battalions1 z a rule1 are z %[n 9 ! diagram4 ,9 ! =egr\nd1 ! viol9s1 violas1 & 'cellos2 9 ! middle di/ance1 ! wood-w9ds2 9 ! backgr\nd1 ! brass & ! batt]y2 ! d\ble-basses flank+ ! :ole body4 ,?is di/ribution ( =ces is dictat$ by consid]ations ( sonority1 ! mo/ ass]tive in/rum5ts--! brass & drums--be+ plac$ f>!/ f ! he>]s1 & ! in/rum5ts ( ! viol tribe1 :i* are ! real backbone ( ! b& & make _! effect by a mass+ ( voices 9 ea* "p1 hav+ ! place ( honor & greate/ advantage4 ,( c\rse x is und]/ood t ,i am speak+ ( a conc]t or*e/ra4 ,9 ! case ( !atrical or op]atic b&s ! arrangem5t ( ! =ces is dep5d5t l>gely ^u ! exig5cies ( space4 ,sid5ote3 ,solo in/rum5ts4 ,outside ! /r+s ! in/rum5ts are treat$ by compos]s z solo in/rum5ts1 a s+le flute1 oboe1 cl>9et1 or o!r w9d in/rum5t sometimes do+ ! same "w 9 ! developm5t ( ! composition z ! entire body ( fir/ viol9s4 ,z a rule1 ! wood-w9ds are us$ 9 pairs1 ! purpose ( ?is be+ ei!r to fill ! h>mony :5 :at ,i may call ! pr9cipal ?\ght ( ! composition is consign$ to a p>ticul> *oir1 or to /r5g!n a voice by p]mitt+ two in/rum5ts to play 9 unison4 ,sid5ote3 ,gr\p+s = h>mony effects4 ,sid5ote3 ,wagn]'s in/rum5tal *>act]ization4 ,sid5ote3 ,an in/rum5tal language4 ,ea* *oir1 except ! p]cussion in/rum5ts1 is capable ( play+ 9 full h>mony2 & ?is effect is frequ5tly us$ by compos]s4 ,9 ,loh5gr91 :i* = t reason af=ds to ! amateur an admirable opportunity = or*e/ral /udy1 ,wagn] resorts to ?is device 9 "s in/ances = ! sake ( dramatic *>act]ization4 ,elsa1 a dreamy1 melan*oly maid51 cru%$ "u ! weight ( wrongful accusation1 & su/a9$ only by ! vision ( a s]aphic *ampion s5t by ,heav5 to esp\se h] cause1 is accompani$ on h] entrance & su/a9$ all ?r\gh h] sc5e ( trial by ! dulcet tones ( ! wood-w9ds1 ! oboe mo/ (t5 c>ry+ ! melody4 ,loh5gr9's sup]t]re/rial "* z a ,knight ( ! ,holy ,grail is prefigur$ 9 ! h>monies :i* seem to /ream f ! viol9s1 & 9 ! prelude tell ( ! br++ ( ! sacr$ vessel ( ,*ri/'s passion to ,monsalvat2 b 9 8 *ivalric "* he is greet$ by ! militant trumpets 9 a /ra9 ( brilliant puissance & rhy?mic en]gy4 ,compos]s h /udi$ ! voices ( ! in/rum5ts s long & well1 & h not$ ! k9d ( melodies & h>monies 9 :i* ! voices are mo/ effective1 t !y h =mulat$ :at might almo/ be call$ an in/rum5tal language4 ,?\gh ! effective capacity ( ea* in/rum5t is re/rict$ n only by its me*anics1 b also by ! quality ( its tones--a melody conceiv$ = "o in/rum5t sometimes becom+ utt]ly inexpressive & unbeautiful by transf]r5ce to ano!r--! range ( effects is ext5d$ almo/ to inf9ity by means ( comb9ation1 or1 z a pa9t] might say1 by mix+ ! colors4 ,! art ( writ+ effectively = in/rum5ts 9 comb9ation is ! art ( in/rum5tation or or*e/ration1 9 :i* ,b]lioz & ,wagn] 7 ,pa/ ,gr& ,ma/]s4 ,sid5ote3 ,numb] ( in/rum5ts4 ,! numb] ( in/rum5ts ( ea* k9d 9 an or*e/ra may also be said to dep5d measurably ^u ! music1 or ! use to :i* ! b& is to be put4 ,nei!r 9 in/rum5ts nor 9 numb]s is !re absolute id5tity betwe5 a dramatic & a symphonic or*e/ra4 ,! app>atus ( ! =m] is g5]ally mu* m v>i$ & complex1 because ( ! va/ developm5t ( v>iety 9 dramatic expression /imulat$ by ,wagn]4 ,sid5ote3 ,symphony & dramatic or*e/ras4 ,! mod]n symphony1 especially ! symphonic poem1 %[s ! influ5ce ( ?is dramatic t5d5cy1 b n 9 ! same degree4 ,a comp>ison betwe5 model b&s 9 ea* dep>tm5t w disclose :at is call$ ! normal or*e/ral organization4 ,= ! comp>ison 7see page #hb71 ,i select ! b&s ( ! fir/ ,wagn] ,fe/ival held 9 ,bayreu? 9 #ahgf1 ! ,philh>monic ,society ( ,new ,york1 ! ,bo/on ,symphony ,or*e/ra1 & ! ,*icago ,symphony ,or*e/ra4 ,sid5ote3 ,in/rum5ts r>ely us$4 ,in/rum5ts l ! corno di bassetto1 bass trumpet1 t5or tuba1 contra-bass tuba1 & contra-bass trombone are s seldom call$ = 9 ! music play$ by conc]t or*e/ras t !y h no place 9 _! regul> li/s4 ,!y are employ$ :5 ne$$1 h[ev]1 & ! horns & o!r in/rum5ts are multipli$ :5 desirable effects are to be obta9$ by su* means4 ,sid5ote3 ,or*e/ras comp>$4 ,new ,york ,in/rum5ts ,bayreu?4 ,philh>monic4 ,bo/on4 ,*icago4 ,fir/ viol9s #af #ah #af #af ,second viol9s #af #ah #ad #af ,violas #ab #ad #aj #aj ,violoncellos #ab #ad #h #aj ,d\ble-basses #h #ad #h #i ,flutes #c #c #c #c ,oboes #c #c #b #c ,engli% horn #a #a #a #a ,cl>9ets #c #c #c #c ,basset-horn #a #j #j #j ,bassoons #c #c #c #c ,trumpets or cornets #c #c #d #d ,horns #h #d #d #d ,trombones #c #c #c #c ,bass trumpet #a #j #j #a ,t5or tubas #b #j #b #d ,bass tubas #b #a #b #a ,contra-bass tuba #a #j #a #j ,contra-bass trombone #a #j #j #a ,tympani 7pairs7 #b #b #b #b ,bass drum #a #a #a #a ,cymbals 7pairs7 #a #a #a #a ,h>ps #f #a #a #b ,sid5ote3 ,! /r+ qu>tet4 ,sid5ote3 ,old laws aga9/ in/rum5tali/s4 ,sid5ote3 ,e>ly in/rum5tation4 ,sid5ote3 ,h&el's or*e/ra4 ,! /r+ qu>tet1 x w be se51 makes up ne>ly ?ree-f\r?s ( a well-balanc$ or*e/ra4 ,x is ! only *oir :i* has num]\s repres5tation ( its con/itu5t units4 ,?is 0 n always s1 b is ! fruit ( developm5t 9 ! art ( in/rum5tation :i* is ! newe/ dep>tm5t 9 music4 ,vocal music _h rea*$ its highe/ po9t be=e in/rum5tal music made a beg9n+ z an art4 ,! =m] 0 ! pamp]$ *ild ( ! ,*ur*1 ! latt] 0 long an outlaw4 ,z late z ! f\rte5? & fifte5? c5turies in/rum5tali/s 7 vagabonds 9 law1 l /roll+ play]s4 ,!y _h none ( ! rights ( citiz5%ip2 ! religi\s sacram5ts 7 d5i$ !m2 _! *ildr5 7 n p]mitt$ to inh]it prop]ty or le>n an hon\rable trade2 & aft] dea? ! prop]ty = :i* !y _h toil$ es*eat$ to ! cr[n4 ,aft] ! in/rum5ts _h a*iev$ ! privilege ( arti/ic utt]ance1 !y 7 = a long "t m]e slavi% imitators ( ! human voice4 ,ba* treat$ !m ) an insight into _! possibilities :i* 0 f> 9 advance ( 8 "t1 = :i* reason he is ! mo/ mod]n compos] ( ! fir/ half ( ! eighte5? c5tury2 b ev5 9 ,h&el's case ! rule 0 to treat !m *iefly z supports = ! voices4 ,he multipli$ !m j z he did ! voices 9 8 *oruses1 consort+ a *oir ( oboes & bassoons1 & ano!r ( trumpets ( almo/ equal numb]s ) 8 viol9s4 ,sid5ote3 ,! mod]n b&4 ,! s-call$ puri/s 9 ,engl& talk a great deal ab\t re/or+ ,h&el's or*e/ra 9 p]=mances ( 8 oratorios1 utt]ly unm9dful ( ! fact t to our e>s1 accu/om$ to ! myriad-hu$ or*e/ra ( to-day1 ! effect w\ld seem opaque1 heavy1 unbalanc$1 & )\t *>m 7 a b& ( oboes to play 9 unison ) ! viol9s1 ano!r ( bassoons to d\ble ! 'cellos1 & half a doz5 trumpets to come fl>+ & cra%+ into ! musical mass at int]vals4 ,gluck 9 ! op]a1 & ,haydn & ,moz>t 9 ! symphony1 fir/ disclos$ ! *>m ( ! mod]n or*e/ra ) ! w9d in/rum5ts apportion$ to ! /r+s s z to obta9 ! multitude ( tonal t9ts :i* we admire to-day4 ,on ! l9es :i* !y m>k$ out ! progress has be5 exce$+ly rapid & f>-rea*+4 ,sid5ote3 ,capacity ( ! or*e/ra4 ,sid5ote3 ,! extremes ( range4 ,9 ! h&s ( ! latt]-day ,romantic compos]s1 & ) ! help ( ! in/rum5t-mak]s1 :o h m>vell\sly increas$ ! capacity ( ! w9d in/rum5ts1 & rem$i$ ! defici5cies :i* emb>rass$ ! ,classical writ]s1 ! or*e/ra has develop$ into an in/rum5t su* z nev] ent]$ ! m9d ( ! wilde/ dream] ( ! la/ c5tury4 ,its range ( expression is almo/ inf9ite4 ,x c /rike l a ?und]-bolt1 or murmur l a zephyr4 ,its voices are multitud9\s4 ,its regi/] is coext5sive 9 !ory ) t ( ! mod]n pian(orte1 rea*+ f ! space imm$iately bel[ ! six? add$ l9e "u ! bass /aff to ! n9? add$ l9e above ! treble /aff4 ,^! two extremes1 :i* belong respectively to ! bass tuba & piccolo flute1 are n at ! comm& ( e play]1 b !y are )9 ! capacity ( ! in/rum5ts1 & m>k ! or*e/ra's b\nd>ies 9 respect ( pit*4 ,! grave/ note is almo/ z deep z any 9 :i* ! ord9>y human e> c detect pit*1 & ! acute/ rea*es ! same extremity 9 ! opposite direction4 ,sid5ote3 ,! viols4 ,sid5ote3 ,! viol94 ,) all ! *anges t h come ov] ! or*e/ra 9 ! c\rse ( ! la/ two hundr$ ye>s1 ! /r+ qu>tet has rema9$ its *ief factor4 ,its voice _c gr[ monoton\s or cloy+1 =1 besides its innate qualities1 x comm&s a m v>i$ mann] ( expression ?an all ! o!r in/rum5ts comb9$4 ,! viol1 :i* t]m ,i %all use g5]ically to indicate all ! in/rum5ts ( ! qu>tet1 is ! only in/rum5t 9 ! b&1 except ! h>p1 t c play h>mony z well z melody4 ,its range is ! mo/ ext5sive2 x is m responsive to *anges 9 manipulation2 x is end[$ m ri*ly ?an any o!r in/rum5t ) v>ieties ( timbre2 x has an incomp>able facility ( execution1 & answ]s m quickly & m eloqu5tly ?an any ( its companions to ! feel+s ( ! play]4 ,a great advantage :i* ! viol possesses ov] w9d in/rum5ts is t1 n be+ dep5d5t on ! brea? ( ! play]1 !re is practically no limit to its ability to su/a9 tones4 ,x is because ( ?is long li/ ( good qualities t x is reli$ on to provide ! /aff ( life to in/rum5tal music4 ,! /r+s z commonly us$ %[ f\r memb]s ( ! viol family1 di/+ui%$ among !mselves by _! size1 & ! quality 9 ! *anges ( tone :i* gr[s out ( ! diff]5ces 9 size4 ,! viol9s 7,app5dix1 ,plate ,i47 are ! smalle/ memb]s ( ! family4 ,hi/orically !y are ! culm9ation ( a developm5t t[>d dim9utiv5ess1 = 9 _! e>ly days viols 7 l>g] ?an !y are n[4 ,:5 ! viol9 ( to-day ent]$ ! or*e/ra 79 ! score ( ,montev]de's op]a ,orfeo7 x 0 specifically describ$ z a little ,fr5* viol94 ,its voice1 ,b]lioz says1 is ! true female voice ( ! or*e/ra4 ,g5]ally ! viol9 "p ( an or*e/ral score is two-voic$1 b ! two gr\ps may be split into a great numb]4 ,9 "o passage 9 ,tri/an und ,isolde ,wagn] divides 8 fir/ & second viol9s into sixte5 gr\ps4 ,su* divisions1 especially 9 ! high] regions1 are productive ( entranc+ effects4 ,sid5ote3 ,viol9 effects4 ,sid5ote3 ,pizzicato4 ,sid5ote3 ,col legno dall'arco4 ,sid5ote3 ,h>monics4 ,sid5ote3 ,vibrato4 ,sid5ote3 ,con sord9o4 ,! halo ( s\nd :i* /reams f ! beg9n+ & end ( ! ,loh5gr9 prelude is produc$ by ?is device4 ,high & close h>monies f divid$ viol9s always s\nd e!real4 ,besides _! native tone quality 7t result+ f a /r+ /ret*$ ov] a s\nd+ %ell set to vibrat+ by friction71 ! viol9s h a numb] ( modifi$ qualities result+ f *anges 9 manipulation4 ,sometimes ! /r+s are pluck$ 7pizzicato71 :5 ! result is a %ort tone some?+ l t ( a banjo ) ! metallic clang omitt$2 v da9ty effects c ?us be produc$1 & ?\gh x always seems l a degradation ( ! in/rum5t s pre-em95tly suit$ to a broad s++ /yle1 no less significant a symphoni/ ?an ,ts*aik[sky has writt5 a ,s*]zo 9 :i* ! viol9s are play$ pizzicato ?r\gh\t ! movem5t4 ,ballet compos]s frequ5tly resort to ! piquant effect1 b 9 ! l>g] & m s]i\s =ms ( composition1 ! device is sp>+ly us$4 ,diff]5ces 9 quality & expressiv5ess ( tone are also produc$ by v>i$ me?ods ( apply+ ! b[ to ! /r+s3 ) /rong] or light] pressure2 ne> ! bridge1 :i* r5d]s ! tone h>d & brilliant1 & ov] ! end ( ! f+]-bo>d1 :i* s(t5s x2 9 a cont9u\s mann] 7legato71 or deta*$ 7/accato74 ,weird effects 9 dramatic music are sometimes produc$ by /rik+ ! /r+s ) ! wood ( ! b[1 ,wagn] resort+ to ?is means to del9eate ! wick$ glee ( 8 dw>f ,mime1 & ,mey]be] to height5 ! uncann9ess ( ,nelusko's wild song 9 ! ?ird act ( ,l',africa9e4 ,ano!r class ( effects results f ! mann] 9 :i* ! /r+s are /opp$ by ! f+]s ( ! left h&4 ,:5 !y are n press$ firmly aga9/ ! f+]-bo>d b t\*$ lightly at c]ta9 places call$ nodes by ! ac\/icians1 s t ! segm5ts bel[ ! f+] are p]mitt$ to vibrate along ) ! upp] portion1 ^? peculi> tones ( a flute-l quality call$ h>monics or flageolet tones are produc$4 ,^! are (t5] he>d 9 dramatic music ?an 9 symphonies2 b ,b]lioz1 desir+ to put ,%akespe>e's description ( ,que5 ,mab1 ,h] wagon-spokes made ( long sp9n]'s legs2 ,! cov]1 ( ! w+s ( gras%opp]s2 ,! traces1 ( ! smalle/ spid]'s web2 ,! coll>s1 ( ! moon%9e's wat]y beams-- into music 9 8 dramatic symphony1 ,romeo & ,juliet1 a*iev$ a m>vell\sly filmy effect by divid+ 8 viol9s1 & p]mitt+ "s ( !m to play h>monics4 ,yet s little 0 8 +5i\s purpose suspect$ :5 he fir/ br\ght ! symphony =w>d 9 ,p>is1 t "o ( ! critics spoke contemptu\sly ( ?is effect z s\nd+ l an ill-greas$ syr+e4 ,a quiv]+ motion imp>t$ to ! f+]s ( ! left h& 9 /opp+ ! /r+s produces a tremul\sness ( tone ak9 to ! vibrato ( a s+]2 &1 l ! vocal vibrato1 :5 n c>ri$ to excess1 ?is effect is a pot5t expression ( s5tim5tal feel+4 ,b x is mu* abus$ by solo play]s4 ,ano!r modification ( tone is caus$ by plac+ a t9y in/rum5t call$ a sord9o1 or mute1 ^u ! bridge4 ,?is clamps ! bridge1 makes x heavi]1 & *ecks ! vibrations1 s t ! tone is mut$ or muffl$1 & at times s\nds my/]i\s4 ,sid5ote3 ,pizzicato on ! basses4 ,sid5ote3 ,tremolo4 ,^! devices1 ?\gh z a rule !y h _! maximum ( effectiv5ess 9 ! viol9s1 are possible also on ! violas1 violoncellos1 & d\ble-basses1 :i*1 z ,i h already intimat$1 are b viol9s ( a l>g] gr[?4 ,! pizzicato is1 inde$1 (t5e/ he>d f ! d\ble-basses1 :]e x has a mu* great] eloqu5ce ?an on ! viol9s4 ,9 music ( a sombre ca/1 ! %ort1 deep tones giv5 out by ! pluck$ /r+s ( ! contra-bass sometimes h ! awfulness ( gigantic he>t-?robs4 ,! difficulty ( produc+ ! o!r effects gr[s ) ! increase ( difficulty 9 h&l+ ! in/rum5ts1 ?is be+ due to ! gr[+ ?ickness ( ! /r+s & ! wid5ess ( ! po9ts at :i* !y mu/ be /opp$4 ,"o effect peculi> to !m all--! mo/ us$ ( all effects1 inde$1 9 dramatic music--is ! tremolo1 produc$ by divid+ a tone into _m quickly reit]at$ %ort tones by a rapid motion ( ! b[4 ,?is device came into use ) "o ( ! e>lie/ pieces ( dramatic music4 ,x is two c5turies old1 & 0 fir/ us$ to help 9 ! musical del9eation ( a combat4 ,) sc>cely an exception1 ! v>i$ means :i* ,i h describ$ c be detect$ by ^? to :om !y are n already famili> by wat*+ ! play]s :ile li/5+ to ! music4 ,sid5ote3 ,! viola4 ,! viola is next 9 size to ! viol91 & is tun$ at ! int]val ( a fif? l[]4 ,its highe/ /r+ is ,a1 :i* is ! second /r+ ( ! viol91 & its l[e/ ,c4 ,its tone1 :i* sometimes conta9s a comical sugge/ion ( a boy's voice 9 mutation1 is lack+ 9 incisiv5ess & brilliancy1 b = ?is x comp5sates by a wond]ful ri*ness & fill+ quality1 & a pa!tic & inimitable m\rnfulness 9 melan*oly music4 ,x bl5ds beautifully ) ! violoncello1 & is (t5 made to d\ble t in/rum5t's "p = ! sake ( color effect--z1 to cite a famili> in/ance1 9 ! pr9cipal subject ( ! ,&ante 9 ,bee?ov5's ,fif? ,symphony4 ,sid5ote3 ,! violoncello4 ,sid5ote3 ,violoncello effects4 ,! /r+s ( ! violoncello 7,plate ,,ii47 are tun$ l ^? ( ! viola1 b an octave l[]4 ,x is ! knee-fiddle 7viola da gamba7 ( ! la/ c5tury1 z ! viola is ! arm-fiddle 7viola da braccio71 & got its old "n f ! position 9 :i* x is held by ! play]4 ,! 'cello's voice is a bass--x might be call$ ! b>ytone ( ! *oir--& 9 ! old5 "t ( simple writ+1 little else 0 done ) x ?an to d\ble ! bass "p "o octave high]4 ,b mod]n compos]s1 appreciat+ its m>vell\s capacity = expression1 :i* is next to t ( ! viol91 h treat$ x ) great fre$om & indep5d5ce z a solo in/rum5t4 ,its tone is full ( voluptu\s languor4 ,x is ! sigh+ lov] ( ! in/rum5tal company1 & c speak ! language ( t5d] passion m feel+ly ?an any ( its fell[s4 ,! ravi%+ effect ( a multiplication ( its voice is tell+ly exemplifi$ 9 ! op5+ ( ! ov]ture to ,william ,tell1 :i* is writt5 = five solo 'celli1 ?\gh x is (t5e/ he>d 9 an arrangem5t :i* gives two ( ! middle p>ts to violas4 ,:5 ,bee?ov5 wi%$ to produce ! emotional impression ( a peacefully rippl+ brook 9 8 ,pa/oral symphony1 he gave a murmur+ figure to ! divid$ violoncellos1 & ,wagn] uses ! passionate acc5ts ( f\r ( ^! in/rum5ts play+ 9 h>mony to support ,siegmund :5 he is p\r+ out ! ec/asy ( 8 love 9 ! fir/ act ( ,die ,walku]e4 ,9 ! love sc5e ( ,b]lioz's ,romeo & ,juliet symphony x is ! violoncello :i* p]sonifies ! lov]1 & holds conv]se ) ! mode/ oboe4 ,sid5ote3 ,! d\ble-bass4 ,! patri>*al d\ble-bass is kn[n to all1 & also its mission ( provid+ ! f\ndation = ! h>monic /ructure ( or*e/ral music4 ,x s\nds an octave l[] ?an ! music writt5 = x1 be+ :at is call$ a transpos+ in/rum5t ( sixte5-foot tone4 ,solos are seldom writt5 = ?is in/rum5t 9 or*e/ral music1 ?\gh ,bee?ov51 ) 8 d>+ recitatives 9 ! ,n9? ,symphony1 makes x a m$iator betwe5 ! in/rum5tal & vocal =ces4 ,dragonetti & ,bottes9i1 two ,italians1 ! latt] ( :om is /ill alive1 won great fame z solo play]s on ! unwieldy in/rum5t4 ,! latt] uses a small bass viol1 & /r+s x ) h>p /r+s2 b ,dragonetti play$ a full d\ble-bass1 on :i* he c\ld execute ! mo/ difficult passages writt5 = ! violoncello4 ,sid5ote3 ,! wood-w9ds4 ,s9ce ! in/rum5ts ( ! wood-w9d *oir are frequ5tly us$ 9 solos1 _! acqua9tance c easily be made by an obs]v+ amateur4 ,to ?is division ( ! or*e/ra belong ! g5tle acc5ts 9 ! in/rum5tal language4 ,viol5t expression is n its prov9ce1 & g5]ally :5 ! b& is disc\rs+ 9 h]oic /yle or giv+ voice to brave or angry emotion ! wood-w9ds are ei!r sil5t or are us$ to give weight to ! body ( tone r ?an color4 ,ea* ( ! in/rum5ts has a /rongly *>act]i/ic voice1 :i* adapts itself be/ to a c]ta9 /yle ( music2 b by use ( diff]5t regi/]s & by comb9ations among !m1 or ) ! in/rum5ts ( ! o!r *oirs1 a wide range ( expression )9 ! limits sugge/$ has be5 won = ! wood-w9ds4 ,sid5ote3 ,! flute4 ,sid5ote3 ,! piccolo flute4 ,sid5ote3 ,janiz>y music4 ,sid5ote3 ,! /ory ( ! flute4 ,! flute1 :i* requires no description1 is1 = in/ance1 an ess5tially s\lless in/rum5t2 b its m>vell\s agility & ! effectiv5ess ) :i* its tones c be bl5d$ ) o!rs make x "o ( ! mo/ useful in/rum5ts 9 ! b&4 ,its native "*1 he>d 9 ! compositions writt5 = x z a solo in/rum5t1 has prev5t$ x f be+ look$ ^u ) dignity4 ,z a rule1 brilliancy is all t is expect$ f x4 ,x is a sort ( soprano leggi]o ) a small range ( sup]ficial feel+s4 ,x c s5tim5talize1 &1 z ,dryd5 says1 be s(t1 compla9+1 b :5 we he> x p\r =? a v]itable ec/asy ( jubilation1 z x does 9 ! dramatic climax ( ,bee?ov5's ov]ture ,leonore ,no4 #c1 we m>vel at ! trans=mation effect$ by ! compos]4 ,advantage has also be5 tak5 ( ! diff]5ce betwe5 its high & l[ tones1 & n[ 9 "s romantic music1 z 9 ,raff's ,l5ore symphony1 or ! pray] ( ,aga! 9 ,d] ,freis*uetz1 ! holl[ness ( ! l[ tones produces a my/]i\s effect t is exce$+ly /rik+4 ,/ill ! fact rema9s t ! native voice ( ! in/rum5t1 ?\gh sweet1 is expressionless comp>$ ) t ( ! oboe or cl>9et4 ,mod]n compos]s sometimes write = ?ree flutes2 b 9 ! old] writ]s1 :5 a ?ird flute is us$1 x is g5]ally an octave flute1 or piccolo flute 7,plate ,,iii47--a t9y in/rum5t ^: aggressiv5ess ( voice is out ( all proportion to its dim9utiv5ess ( body4 ,?is is ! in/rum5t :i* %rieks & :i/les :5 ! b& is play+ at /orm-mak+1 to imitate ! noise ( ! w9d4 ,x s\nds an octave high] ?an is indicat$ by ! notes 9 its "p1 & s is :at is call$ a transpos+ in/rum5t ( f\r-foot tone4 ,x revels 9 milit>y music1 :i* is prop]1 = x is an own c\s9 to ! e>-pi]c+ fife1 :i* annually makes up = its long sil5ce 9 ! noisy days be=e political elections4 ,:5 y he> a composition 9 m>* "t1 ) bass & sn>e drum1 cymbals & triangle1 su* z ! ,g]mans call ,turki% or ,janiz>y music1 y may be sure to he> also ! piccolo flute4 ,! flute is d\btless "o ( ! olde/ in/rum5ts 9 ! _w4 ,! primitive cave-dwell]s made flutes ( ! leg-bones ( birds & o!r animals1 an orig9 ( :i* a record is pres]v$ 9 ! ,lat9 "n tibia4 ,! fir/ wood5 flutes 7 d\btless ! ,p&ean pipes1 9 :i* ! tone 0 produc$ by bl[+ across ! op5 ends ( holl[ re$s4 ,! pres5t me?od1 already kn[n to ! anci5t ,egyptians1 ( clos+ ! upp] end1 & creat+ ! tone by bl[+ across a hole cut 9 ! side1 is only a modification ( ! me?od pursu$1 accord+ to classic tradition1 by ,pan :5 he brea!d out 8 dejection at ! loss ( ! nymph ,syr9x1 by bl[+ across ! tuneful re$s :i* 7 t nymph 9 h] metamorphos$ /ate4 ,sid5ote3 ,re$ in/rum5ts4 ,sid5ote3 ,d\ble re$s4 ,! flute or pipe ( ! ,greeks & ,romans 0 only di/antly relat$ to ! true flute1 b 0 ! ance/or ( its or*e/ral companions1 ! oboe & cl>9et4 ,^! in/rum5ts are s\nd$ by be+ bl[n 9 at ! end1 & ! tone is creat$ by vibrat+ re$s1 :]eas 9 ! flute x is ! result ( ! imp++ ( ! air on ! edge ( ! hole call$ ! emb\*ure1 & ! consequ5t /irr+ ( ! column ( air 9 ! flue ( ! in/rum5t4 ,! re$s are ?9 slips or blades ( cane4 ,! size & bore ( ! in/rum5ts & ! diff]5ce betwe5 ^! re$s are ! causes ( ! diff]5ces 9 tone quality betwe5 ^! relatives4 ,! oboe or hautboy1 ,engli% horn1 & ! bassoon h :at are call$ d\ble re$s4 ,two n>r[ blades ( cane are fitt$ closely toge!r1 & fa/5$ ) silk on a small metal tube ext5d+ f ! upp] end ( ! in/rum5t 9 ! case ( ! oboe & ,engli% horn1 f ! side 9 ! case ( ! bassoon4 ,! re$s are p9*$ m or less tightly betwe5 ! lips1 & are set to vibrat+ by ! brea?4 ,sid5ote3 ,! oboe4 ,sid5ote3 ,! ,engli% horn4 ,! oboe 7,plate ,,iv47 is naturally associat$ ) music ( a pa/oral "*4 ,x is pre-em95tly a melody in/rum5t1 & ?\gh its voice comes =? %r9k+ly1 its uniqu5ess ( tone makes x easily he>d4 ,x is a mo/ lovable in/rum5t4 ,c&or1 artless grace1 s(t joy1 or ! grief ( a fragile be+ suits ! oboe's acc5ts1 says ,b]lioz4 ,! peculi>ity ( its m\?-piece gives its tone a re$y or vibrat+ quality totally unlike ! cl>9et's4 ,its natural alto is ! ,engli% horn 7,plate ,v471 :i* is an oboe ( l>g] gr[?1 ) curv$ tube = conv5i5ce ( manipulation4 ,! tone ( ! ,engli% horn is full]1 nobl]1 & is v attractive 9 melan*oly or dreamy music4 ,!re are few play]s on ! ,engli% horn 9 ?is c\ntry1 & x might be set d[n z a rule t outside ( ,new ,york1 ,bo/on1 & ,*icago1 ! ,engli% horn p>ts are play$ by ! oboe 9 ,am]ica4 ,no melody displays ! true "* ( ! ,engli% horn bett] ?an ! ,ranz des ,va*es 9 ! ov]ture to ,ross9i's ,william ,tell--t lovely ,alp9e song :i* ! flute embroid]s ) exquisite ornam5t4 ,"o ( ! noble/ utt]ances ( ! oboe is ! melody ( ! fun]al m>* 9 ,bee?ov5's ,h]oic symphony1 9 :i* its t5d]ness has beautiful play4 ,x is sometimes us$ effectively 9 imitative music4 ,9 ,haydn's ,seasons1 & also 9 t grotesque tone poem by ,sa9t-,sa5s1 ! ,danse ,macabre1 x gives ! cock cr[4 ,x is ! timid oboe t s\nds ! ,a = ! or*e/ra to tune by4 ,sid5ote3 ,! bassoon4 ,sid5ote3 ,an or*e/ral humori/4 ,sid5ote3 ,sup]natural effects4 ,! grave voice ( ! oboe is he>d f ! bassoon 7,plate ,,vi471 :]e1 )\t becom+ ass]tive1 x ga9s a quality entirely unkn[n to ! oboe & ,engli% horn4 ,x is ?is quality t makes ! bassoon ! humori/ p> excell5ce ( ! or*e/ra4 ,x is a re$y bass1 v apt to recall to ^? :o h _h a c\ntry education ! squall+ tone ( ! homely in/rum5t :i* ! f>m]'s boy fa%ions out ( ! /ems ( ! pumpk9-v9e4 ,! humor ( ! bassoon is an unconsci\s humor1 & results f ! use made ( its abysmally solemn voice4 ,?is solemnity 9 quality is pair$ ) a/oni%+ flexibility ( utt]ance1 s t its gambols are always grotesque4 ,brahms p]mits ! bassoon to intone ! ,fu*sli$ ( ! ,g]man /ud5ts 9 8 ,academic ov]ture4 ,bee?ov5 a*ieves a decid$ly comical effect by a /ubborn reit]ation ( key-note1 fif?1 & octave by ! bassoon "u a ru/ic dance inton$ by ! oboe 9 ! s*]zo ( 8 ,pa/oral symphony2 & ne>ly e mod]n compos] has tak5 advantage ( ! in/rum5t's grotesqu5ess4 ,m5delssohn introduces ! cl[ns 9 8 ,midsumm]-,night's-,dream music by a droll dance = two bassoons ov] a su/a9$ bass note f ! violoncellos2 b :5 ,mey]be] want$ a v diff]5t effect1 a gha/ly "o inde$1 9 ! sc5e ( ! resuscitation ( ! nuns 9 8 ,rob]t le ,diable1 he got x by tak+ two bassoons z solo in/rum5ts & us+ _! weak middle tones1 :i*1 ,b]lioz says1 h a pale1 cold1 cadav]\s s\nd4 ,s+ul>ly en\gh1 ,h&el resort$ to a simil> device 9 8 ,saul1 to accompany ! vision ( ! ,wit* ( ,endor4 ,sid5ote3 ,! d\ble bassoon4 ,9 all ^! cases a great deal dep5ds ^u ! relation betwe5 ! "* ( ! melody & ! nature ( ! in/rum5t to :i* x is set4 ,a swell+ m>tial fanf>e may be made absurd by *ang+ x f trumpets to a weak-voic$ wood-w9d4 ,x is only ! /r+ qu>tet t speaks all ! musical languages ( passion & emotion4 ,! d\ble-bassoon is s l>ge an in/rum5t t x has to be b5t on itself to br+ x "u ! control ( ! play]4 ,x s\nds an octave l[] ?an ! writt5 notes4 ,x is n br\ght (t5 into ! or*e/ra1 b speaks v mu* to ! purpose 9 ,brahms's beautiful v>iations on a !me by ,haydn1 & ! glori\s f9ale ( ,bee?ov5's ,fif? ,symphony4 ,sid5ote3 ,! cl>9et4 ,sid5ote3 ,! bass cl>9et4 ,! cl>9et 7,plate ,,vii47 is ! mo/ eloqu5t memb] ( ! wood-w9d *oir1 &1 except "s ( its own modifications or ! modifications ( ! oboe & bassoon1 ! late/ arrival 9 ! h>moni\s company4 ,x is only a little m ?an a c5tury old4 ,x has ! wide/ range ( expression ( ! wood-w9ds1 & its *ief /ructural diff]5ce is 9 its m\?-piece4 ,x has a s+le flat re$1 :i* is mu* wid] ?an t ( ! oboe or bassoon1 & is fa/5$ by a metallic b& & screw to ! flatt5$ side ( ! m\?-piece1 ^: o!r side is cut d[n1 *isel %ape1 = conv5i5ce4 ,its voice is ri*1 mell[1 less re$y1 & mu* full] & m limpid ?an ! voice ( ! oboe1 :i* ,b]lioz tries to describe by analogy z sweet-s\r4 ,x is v flexible1 too1 & has a range ( ov] ?ree & a half octaves4 ,its high tones are sometimes %rieky1 h[ev]1 & ! full beauty ( ! in/rum5t is only disclos$ :5 x s+s 9 ! middle regi/]4 ,e symphony & ov]ture conta9s passages = ! cl>9et :i* s]ve to display its *>act]i/ics4 ,cl>9ets are made ( diff]5t sizes = diff]5t keys1 ! smalle/ be+ t 9 ,e-flat1 ) an unpleasantly pi]c+ tone1 ^: use is conf9$ to milit>y b&s4 ,!re is also an alto cl>9et & a bass cl>9et 7,plate ,,viii474 ,! bell ( ! latt] in/rum5t is b5t upw>d1 pipe fa%ion1 & its voice is peculi>ly impressive & noble4 ,x is a favorite solo in/rum5t 9 ,liszt's symphonic poems4 ,sid5ote3 ,lips & re$s4 ,sid5ote3 ,! brass in/rum5ts4 ,sid5ote3 ,improvem5ts 9 brass in/rum5ts4 ,sid5ote3 ,valves & slides4 ,! fundam5tal pr9ciple ( ! in/rum5ts la/ describ$ is ! production ( tone by vibrat+ re$s4 ,9 ! in/rum5ts ( ! brass *oir1 ! duty ( ! re$s is p]=m$ by ! lips ( ! play]4 ,v>iety ( tone 9 respect ( quality is produc$ by v>iations 9 size1 %ape1 & modifications 9 p>ts l ! bell & m\?-piece4 ,! =te ( ! or*e/ra receives ! bulk ( its puissance f ! brass in/rum5ts1 :i*1 nev]!less1 c give voice to an ext5sive gamut ( s5tim5ts & feel+s4 ,!re is no?+ m *e]y & jocund ?an ! fl\ri%es ( ! horns1 b also no?+ m mild & soo?+ ?an ! songs :i* sometimes !y s+4 ,!re is no?+ m solemn & religi\s ?an ! h>mony ( ! trombones1 :ile ! trumpet's l\d clangor is ! v voice ( a w>-l _s4 ,all ( ^! in/rum5ts h und]gone important *anges )9 ! la/ few score ye>s4 ,! classical compos]s1 almo/ d[n to our own "t1 7 re/rict$ 9 ! use ( !m because !y 7 m]ely natural tubes1 & _! notes 7 limit$ to ! notes :i* inflexible tubes c produce4 ,)9 ?is c5tury1 h[ev]1 !y h all be5 trans=m$ f imp]fect diatonic in/rum5ts to p]fect *romatic in/rum5ts2 t is to say1 e brass in/rum5t :i* is 9 use n[ c give out all ! semitones )9 its compass4 ,?is has be5 accompli%$ ?r\gh ! ag5cy ( valves1 by means ( :i* diff]+ l5g?s ( ! sonor\s tube are br\ght )9 ! comm& ( ! play]s4 ,9 ! case ( ! trombones an exce$+ly v5]able means ( accompli%+ ! same end is appli$4 ,! tube is 9 "p made d\ble1 "o "p slid+ ov] ! o!r4 ,by mov+ 8 arm1 ! play] l5g!ns or %ort5s ! tube1 & ?us *ang+ ! key ( ! in/rum5t1 acquires all ! tones :i* c be obta9$ f s _m tubes ( diff]5t l5g?s4 ,! m\?-pieces ( ! trumpet1 trombone1 & tuba are cup-%ap$1 & l>g] ?an ! m\?-piece ( ! horn1 :i* is little else ?an a fl>e ( ! sl5d] tube1 suffici5tly wide to receive en\gh ( ! play]'s lips to =m ! emb\*ure1 or human re$1 z x might "h be nam$4 ,sid5ote3 ,! ,fr5* horn4 ,sid5ote3 ,manipulation ( ! ,fr5* horn4 ,! ,fr5* horn 7,plate ,,ix471 z x is call$ 9 ! or*e/ra1 is ! sweete/ & mell[e/ ( all ! w9d in/rum5ts4 ,9 ,bee?ov5's "t x 0 b little else ?an ! old hunt+-horn1 :i*1 = ! conv5i5ce ( ! m\nt$ hunt]1 0 arrang$ 9 spiral convolutions t x might be slipp$ ov] ! head & c>ri$ re/+ on "o %\ld] & "u ! opposite arm4 ,! ,g]mans /ill call x ! ,waldhorn1 i4e41 =e/ horn2 ! old ,fr5* "n 0 cor de *asse1 ! ,italian corno di caccia4 ,9 ?is in/rum5t =m]ly ! tones :i* 7 n ! natural resonances ( ! h>monic division ( ! tube 7 help$ out by p>tly clos+ ! bell ) ! "r h&1 x hav+ be5 discov]$ accid5tally t by putt+ ! h& into ! l[] end ( ! tube--! fl>+ "p call$ ! bell--! pit* ( a tone 0 rais$4 ,play]s /ill make use ( ?is me?od = conv5i5ce1 & sometimes because a compos] wi%es to employ ! slightly muffl$ effect ( ^! tones2 b s9ce valves h be5 add$ to ! in/rum5t1 x is possible to play a *romatic scale 9 :at are call$ ! un/opp$ or op5 tones4 ,sid5ote3 ,k9ds ( horns4 ,sid5ote3 ,! trumpet4 ,sid5ote3 ,! cornet4 ,=m]ly x 0 necess>y to use horns ( diff]5t pit*1 & compos]s /ill respect ?is tradition1 & designate ! key ( ! horns :i* !y wi% to h employ$2 b s skilful h ! play]s become t1 z a rule1 !y use horns ^: fundam5tal tone is ,f = all keys1 & a*ieve ! old purpose by simply transpos+ ! music z !y read x4 ,if ^! mo/ graceful in/rum5ts 7 /raight5$ out !y w\ld be sev5te5 feet long4 ,! convolutions ( ! horn & ! _m turns ( ! trumpet are all ! fruit ( necessity2 !y c\ld n be manipulat$ to produce ! tones t are ask$ ( !m if !y 7 n b5t & curv$4 ,! trumpet1 :5 its tube is l5g!n$ by ! addition ( crooks = its l[e/ key1 is eight feet long2 ! tuba1 sixte54 ,9 mo/ or*e/ras 79 all ( ^? 9 ! ,unit$ ,/ates1 9 fact1 except ! ,bo/on & ,*icago ,or*e/ras & ! ,symphony ,society ( ,new ,york7 ! ^w trumpet is m]ely a euphemism = cornet1 ! famili> lead+ in/rum5t ( ! brass b&1 :i*1 :ile x falls %ort ( ! trumpet 9 ! quality ( its tone1 9 ! upp] regi/]s especially1 is a m easily manipulat$ in/rum5t ?an ! trumpet1 & is pref]able 9 ! l[] tones4 ,sid5ote3 ,! trombone4 ,m5delssohn is quot$ z say+ t ! trombones 7,plate ,x47 are too sacr$ to use (t54 ,!y h1 inde$1 a maje/y & nobility all _! own1 & ! l[e/ use to :i* !y c be put is to furni% a fl>+ & noisy h>mony 9 an or*e/ral tutti4 ,!y are m>vell\sly expressive in/rum5ts1 & )\t a pe] 9 ! :ole in/rum5tal company :5 a solemn & spiritually uplift+ effect is to be atta9$4 ,!y c also be made to s\nd m5ac+ & lugubri\s1 dev\t & mock+1 pomp\sly h]oic1 maje/ic1 & l(ty4 ,!y are (t5 ! h]alds ( ! or*e/ra1 & make sonor\s proclamations4 ,sid5ote3 ,trombone effects4 ,sid5ote3 ,! tuba4 ,! classic compos]s always seem$ to approa* ! trombones ) m>k$ respect1 b n[adays x requires a v big blue p5cil 9 ! h&s ( a v uncompromis+ cons]vatory pr(essor to prev5t a /ud5t engag$ on 8 ,opus #a f keep+ 8 trombones go+ half ! "t at lea/4 ,x is an old /ory h[ ,moz>t keeps ! in/rum5ts sil5t ?r\gh ?ree-f\r?s ( 8 immortal ,don ,giovanni1 s t !y may ent] ) ov]:elm+ impressiv5ess along ) ! gho/ly visitor ( ! conclud+ sc5e4 ,z a rule1 !re are ?ree trombones 9 ! mod]n or*e/ra--two t5ors & a bass4 ,=m]ly !re 7 f\r k9ds1 be>+ ! names ( ! voices to :i* !y 7 suppos$ to be ne>e/ 9 tone-quality & compass--soprano1 alto1 t5or1 & bass4 ,full f\r-"p h>mony is n[ p]=m$ by ! ?ree trombones & ! tuba 7,plate ,,xi474 ,! latt] in/rum5t1 :i*1 despite its gigantic size1 is exce$+ly tractable c ro> y z g5tly z any suck+ dove4 ,f>-away & /rangely my/]i\s tones are got out ( ! brass in/rum5ts1 *iefly ! cornet & horn1 by almo/ :olly clos+ ! bell4 ,sid5ote3 ,in/rum5ts ( p]cussion4 ,sid5ote3 ,! xylophone4 ,sid5ote3 ,kettle-drums4 ,sid5ote3 ,pfund's tun+ device4 ,sid5ote3 ,pit* ( ! drums4 ,sid5ote3 ,qualifications ( a drumm]4 ,! p]cussion app>atus ( ! mod]n or*e/ra includes a multitude ( in/rum5ts sc>cely des]v+ ( description4 ,sev]al v>ieties ( drums1 cymbals1 triangle1 tamb\r9e1 /eel b>s 7,glock5spiel71 gongs1 bells1 & _m o!r ?+s :i* we are n[ incl9$ to look ^u z toys1 r ?an z musical in/rum5ts1 are br\ght into play = reasons m or less fanta/ic4 ,sa9t-,sa5s has ev5 utiliz$ ! b>b>\s xylophone1 ^: prop] place is ! v>iety hall1 9 8 ,danse ,macabre4 ,!re 8 purpose 0 a fanta/ic "o1 & ! effect is capital4 ,! pictorial conceit at ! bottom ( ! poem :i* ! music illu/rates is ,dea?1 z a skeleton1 seat$ on a tomb/one1 play+ ! viol1 & gleefully crack+ 8 bony heels aga9/ ! m>ble4 ,to produce ?is effect1 ! compos] uses ! xylophone ) capital results4 ,b ( all ! ord9>y in/rum5ts ( p]cussion1 ! only "o t is really musical & des]v+ ( comm5t is ! kettle-drum4 ,?is in/rum5t is m musical ?an ! o!rs because x has pit*4 ,its voice is n m]e noise1 b musical noise4 ,kettle-drums1 or tympani1 are g5]ally us$ 9 pairs1 ?\gh ! va/ multiplication ( effects by mod]n compos]s has result$ also 9 ! ext5sion ( ?is dep>tm5t ( ! b&4 ,x is seldom t m ?an two pairs are us$1 a good play] ) a quick e> be+ able to accompli% all t ,wagn] asks ( six drums by 8 deftness 9 *ang+ ! pit* ( ! in/rum5ts4 ,?is "w ( tun+ is /ill p]=m$ g5]ally 9 :at seems a rudim5t>y way1 ?\gh a ,g]man drum-build] nam$ ,pfund inv5t$ a contrivance by :i* ! play]1 by simply press+ on a balanc$ p$al & wat*+ an indicator affix$ to ! side ( ! drums1 c *ange ! pit* to any desir$ semitone )9 ! range ( an octave4 ,! tympani are hemisph]ical brass or copp] vessels1 kettles 9 %ort1 cov]$ ) vellum heads4 ,! pit* ( ! in/rum5t dep5ds on ! t5sion ( ! head1 :i* is appli$ g5]ally by key-screws work+ ?r\gh ! iron r+ :i* holds ! vellum4 ,!re is a diff]5ce 9 ! size ( ! drums to place at ! comm& ( ! play] ! octave f ,f 9 ! fir/ space bel[ ! bass /aff to ,f on ! f\r? l9e ( ! same /aff4 ,=m]ly ! purpose ( ! drums 0 simply to give emphasis1 & !y 7 !n uni=mly tun$ to ! key-note & fif? ( ! key 9 :i* a composition 0 set4 ,n[ !y are tun$ 9 _m ways1 n only to all[ = ! frequ5t *ange ( keys1 b also s t !y may be us$ z h>mony in/rum5ts4 ,b]lioz did m to develop ! drums ?an any compos] :o has ev] liv$1 ?\gh ,bee?ov5 already manife/$ appreciation ( _! indep5d5t musical value4 ,9 ! la/ movem5t ( 8 ,eigh? ,symphony & ! s*]zo ( 8 ,n9?1 he tunes !m 9 octaves1 8 purpose 9 ! latt] case be+ to give ! op5+ figure1 an octave leap1 ( ! s*]zo melody to ! drums solo4 ,! mo/ extravagant use ev] made ( ! drums1 h[ev]1 0 by ,b]lioz 9 8 ,messe des ,morts1 :]e he call$ 9 eight pairs ( drums & t5 play]s to help him to pa9t 8 tonal picture ( ! t]rors ( ! la/ judgm5t4 ,! po/ ( drumm] is "o ( ! mo/ difficult to fill 9 a symphonic or*e/ra4 ,he is requir$ to h n only a p]fect s5se ( "t & rhy?m1 b also a ke5 s5se ( pit*1 = (t5 ! compos] asks him to *ange ! pit* ( "o or bo? ( 8 drums 9 ! space ( a v few seconds4 ,he mu/ !n be able to %ut all o!r s\nds out ( 8 m9d1 & br+ 8 drums into a new key :ile ! or*e/ra is play+--an extremely nice task4 ,sid5ote3 ,! bass drum4 ,! developm5t ( mod]n or*e/ral music has giv5 dignity also to ! bass drum1 :i*1 ?\gh def9ite pit* is d5i$ to x1 is n[ manipulat$ 9 a v>iety ( ways productive ( /rik+ effects4 ,rolls are play$ on x ) ! /icks ( ! kettle-drums1 & x has be5 emancipat$ measurably f ! cymbals1 :i* 9 vulg> brass-b& music are its insep>able companions4 ,sid5ote3 ,! conductor4 ,sid5ote3 ,"t-beat]s & int]pret]s4 ,sid5ote3 ,! conductor a necessity4 ,9 ! full s5se ( ! t]m ! or*e/ral conductor is a product ( ! latt] half ( ! pres5t c5tury4 ,( c\rse1 ev] s9ce conc]t$ music began1 !re has be5 a musical lead] ( "s k9d4 ,mural pa9t+s & c>v+s fa%ion$ 9 ,egypt long be=e ,apollo sang 8 magic song & ,ilion1 l a mi/1 rose into t[]s1 %[ ! conductor /&+ be=e 8 b& beat+ "t by clapp+ 8 h&s2 & if we are to cr$it :at we h be5 told ab\t ,hebrew music1 ,asaph1 ,heman1 & ,j$u?un1 :5 !y /ood be=e _! multitud9\s *oirs 9 ! temple at ,j]usalem1 promot$ syn*ronism 9 ! p]=mance by /amp+ ^u ! floor ) lead-%odd5 feet4 ,be=e ! era :i* develop$ :at ,i might call /> conductors1 ^! lead]s 7 b capta9s ( t5s & capta9s ( hundr$s :o accompli%$ all t 0 expect$ ( !m if !y made ! p]=m]s keep musical /ep toge!r4 ,!y 7 "t-beat]s m]ely--human metronomes4 ,! mod]n conductor is1 9 a s5se n dream$ ( a c5tury ago1 a m$iator betwe5 ! compos] & ! audi5ce4 ,he is a virtuoso :o plays ^u m5 in/ead ( a key-bo>d1 ^u a hundr$ in/rum5ts in/ead ( "o4 ,music diff]s f h] si/] arts 9 _m respects1 b 9 none m ?an 9 h] dep5d5ce on ! int]m$i>y :o /&s betwe5 h] & ! p = ^: sake %e exi/s4 ,x is ?is int]m$i>y :o wak5s h] into life4 ,he>d melodies are sweet1 b ^? unhe>d ,are sweet]1 is a pretty bit ( hyp]bole :i* involves a contradiction 9 t]ms4 ,an unhe>d melody is no melody at all1 & z soon z we h music 9 :i* a numb] ( s+]s or in/rum5tali/s are employ$1 ! ta/e1 feel+1 & judgm5t ( an individual are ess5tial to its intellig5t & effective publication4 ,9 ! g5tle days ( ! long ago1 :5 suavity & lovel9ess ( utt]ance & a recognition ( =mal symmetry 7 ! be-all & end-all ( ! art1 a "t-beat] suffic$ to ?is end2 b n[ ! cont5ts ( music are great]1 ! vessel has be5 wondr\sly wid5$1 ! language is become curi\sly complex & +5i\s1 & no compos] ( to-day c write d[n univ]sally intelligible signs = all t he wi%es to say4 ,someone mu/ grasp ! :ole1 exp\nd x to ! individual factors :i* make up ! p]=m+ sum & provide :at is call$ an int]pretation to ! public4 ,sid5ote3 ,/> conductors4 ,t someone1 ( c\rse1 is ! conductor1 & consid]+ ! progress t music is cont9ually mak+ x is n at all to be wond]$ at t he has become a p]son ( /up5d\s p[] 9 ! culture ( to-day4 ,! "o s+ul>ity is t he %\ld be s r>e4 ,?is r>ity has _h its natural consequ5ce1 & ! conductor :o c conduct1 9 contradi/9ction to ! conductor :o c only beat "t1 is n[ a />4 ,at pres5t we see him go+ f place to place 9 ,europe giv+ conc]ts 9 :i* he figures z ! pr9cipal attraction4 ,! critics discuss 8 read+s j z !y d ! p]=mances ( great piani/s & s+]s4 ,a hundr$ bl[]s ( brass1 scrap]s ( /r+s1 & tootl]s on w9dy wood1 labor b5ea? him transmut+ ! compos]'s my/]i\s symbols into liv+ s\nd1 & :5 x is all ov] we frequ5tly f9d t x seems all to h be5 done = ! great] glory ( ! conductor in/ead ( ! glory ( art4 ,t1 h[ev]1 is a digression :i* x is n necess>y to pursue4 ,sid5ote3 ,mi/ak5 popul> notions4 ,sid5ote3 ,:at ! conductor does4 ,sid5ote3 ,re/s & cues4 ,que/ions & rem>ks h frequ5tly be5 address$ to me indicative ( ! fact t !re is a widespread popul> conviction t ! mission ( a conductor is *iefly ornam5tal at an or*e/ral conc]t4 ,t is a sad misconception1 & gr[s out ( ! old notion t a conductor is only a "t-beat]4 ,assum+ t ! m5 ( ! b& h play$ suffici5tly toge!r1 x is ?\ght t ev5tually !y might keep "t )\t ! help ( ! conductor4 ,x is true t ! great] "p ( ! conductor's "w is done at rehe>sal1 at :i* he en=ces ^u 8 m5 8 wi%es conc]n+ ! spe$ ( ! music1 expression1 & ! balance ( tone betwe5 ! diff]5t in/rum5ts4 ,b all ! injunctions giv5 at rehe>sal by ^w ( m\? are reit]at$ by means ( a sy/em ( signs & signals dur+ ! conc]t p]=mance4 ,"t & rhy?m are indicat$ by ! movem5ts ( ! baton1 ! =m] by ! spe$ ( ! beats1 ! latt] by ! direction1 ! tones ^u :i* ! pr9cipal /ress is to fall be+ indicat$ by ! d[n-beat ( ! baton4 ,! amplitude ( ! movem5ts also s]ves to indicate ! conductor's wi%es conc]n+ dynamic v>iations1 :ile ! left h& is ord9>ily us$ 9 pantomimic ge/ures to control individual play]s or gr\ps4 ,glances & a play ( facial expression also assi/ 9 ! guidance ( ! in/rum5tal body4 ,e musician is expect$ to c\nt ! re/s :i* occur 9 8 "p1 b :5 !y are ( long duration 7& sometimes !y am\nt to a hundr$ measures or m7 x is cu/om>y = ! conductor to indicate ! entrance ( an in/rum5t by a glance at ! play]4 ,f ?is m]e outl9e ( ! communications :i* pass betwe5 ! conductor & 8 b& x w be se5 h[ indisp5sable he is if music is to h a consi/5t & vital int]pretation4 ,sid5ote3 ,p]sonal magnetism4 ,! layman w p]haps also be enabl$1 by obs]v+ ! actions ( a conductor ) a little und]/&+ ( _! purposes1 to appreciate :at critics mean :5 !y speak ( ! magnetism ( a lead]4 ,he w und]/& t among o!r ?+s x means ! aptitude or capacity = creat+ a sympa!tic relation%ip betwe5 himself & 8 m5 :i* enables him ! bett] by v>i\s devices1 "s arbitr>y1 "s te*nical & conv5tional1 to imbue !m ) 8 ?\ghts & feel+s relative to a composition1 & ?r\gh !m to body !m =? to ! audi5ce4 ,sid5ote3 ,! score4 ,sid5ote3 ,its arrangem5t4 ,sid5ote3 ,score read+4 ,:at x is t ! conductor has to guide him :ile giv+ 8 mute comm&s to 8 =ces may be se5 9 ! reproduction1 9 ! ,app5dix1 ( a page f an or*e/ral score 7,plate ,,xii74 ,a score1 x w be obs]v$1 is a reproduction ( all ! p>ts ( a composition z !y lie ^u ! desks ( ! play]s4 ,! ord]+ ( ^! p>ts 9 ! score has n always be5 z n[1 b ! plan :i* has ! wide/ & longe/ approval is t illu/rat$ 9 our example4 ,! wood-w9ds are gr\p$ toge!r on ! upp]mo/ six /aves1 ! brass 9 ! middle ) ! tympani sep>at+ ! horns & trumpets f ! trombones1 ! /r+s on ! l[]mo/ five /aves4 ,! example has be5 *os5 because x %[s all ! in/rum5ts ( ! b& employ$ at once 7x is ! fam\s op5+ tutti ( ! triumphal m>* ( ,bee?ov5's ,fif? ,symphony71 & is easy ( compreh5sion by musical amateurs = ! reason t none ( ! p>ts requires transposition except x be an octave up 9 ! case ( ! piccolo1 an in/rum5t ( f\r-foot tone1 & an octave d[n 9 ! case ( ! d\ble-basses1 :i* are ( sixte5-foot tone4 ,all ! o!r p>ts are to be read z pr9t$1 prop] att5tion be+ giv5 to ! alto & t5or clefs us$ 9 ! p>ts ( ! trombones & violas4 ,! ability to read score is "o ( ! mo/ ess5tial attributes ( a conductor1 :o1 if he h ! prop] tra9+1 c br+ all ! p>ts toge!r & reproduce !m on ! pian(orte1 transpos+ ^? :i* d n s\nd z writt5 & read+ ! diff]5t clefs at sight z he goes along4 ,v ,at an ,or*e/ral ,conc]t ,sid5ote3 ,classical & ,popul>4 ,sid5ote3 ,or*e/ras & milit>y b&s4 ,9 popul> phrase all high-class music is classical1 & all conc]ts at :i* su* music is play$ are classical conc]ts4 ,"h ! ^w is conceiv$ z ! anti!sis ( popul>1 :i* t]m is us$ to designate ! ord9>y music ( ! /reet & music-hall4 ,else:]e ,i h discuss$ ! true mean+ ( ! ^w & %[n its relation to romantic 9 ! t]m9ology ( musical critics & hi/orians4 ,no h>m is done by us+ bo? classical & popul> 9 _! common significations1 s f> z !y convey a diff]5ce 9 "* betwe5 conc]ts4 ,! highe/ popul> conception ( a classical conc]t is "o 9 :i* a complete or*e/ra p]=ms symphonies & ext5d$ compositions 9 alli$ =ms1 su* z ov]tures1 symphonic poems1 & conc]tos4 ,*ange ! composition ( ! in/rum5tal body1 by omitt+ ! /r+s & augm5t+ ! re$ & brass *oirs1 & y h a milit>y b& :i* is be/ employ$ 9 ! op5 air1 & ^: programmes are g5]ally made up ( compositions 9 ! simpl] & m easily compreh5d$ =ms--dances1 m>*es1 fantasias on popul> airs1 arrangem5ts ( op]atic exc]pts & ! l4 ,^!1 !n1 are popul> conc]ts 9 ! broade/ s5se1 ?\gh x is prop] en\gh to apply ! t]m also to conc]ts giv5 by a symphonic b& :5 ! programme is light 9 "* & aims at m c>eless div]sion ?an %\ld be s\ght at a classical conc]t4 ,! latt] t]m1 aga91 is comm5d$ to use by ! fact t z a rule ! music p]=m$ at su* a conc]t exemplifies ! high] =ms 9 ! art1 classicism 9 music be+ def9$ z t pr9ciple :i* seeks expression 9 beauty ( =m1 9 a symmetrical ord]+ ( p>ts & logical sequ5ce1 pref]r+ ae/hetic beauty1 pure & simple1 ov] emotional cont5t1 z ,i h said 9 ,*apt] ,,iii4 ,sid5ote3 ,! ,symphony4 ,sid5ote3 ,mi/ak5 ideas ab\t ! =m4 ,z ! highe/ type ( in/rum5tal music1 we take ! ,symphony4 ,v r>ely inde$ is a conc]t giv5 by an organization l ! ,new ,york & ,london ,philh>monic ,societies1 or ! ,bo/on & ,*icago ,or*e/ras1 at :i* ! place ( honor 9 ! s*eme ( pieces is n giv5 to a symphony4 ,su* a conc]t is = t reason also spok5 ( popul>ly z a ,symphony conc]t1 & no confusion w\ld necess>ily result f ! use ( ! t]m ev5 if x s *anc$ t !re 0 no symphony on ! programme4 ,:at idea ! ^w symphony conveys to ! musically illit]ate x w\ld be difficult to tell4 ,i h kn[n a pr(essional writ] on musical subjects to express ! op9ion t a symphony 0 no?+ else ?an f\r unrelat$ compositions = or*e/ra arrang$ 9 a c]ta9 sequ5ce = ! sake ( an agreeable contra/ ( moods & tempos4 ,x is sc>cely necess>y to say t ! writ] 9 "q _h a v poor op9ion ( ! ,symphony z an ,art-=m1 & believ$ t x _h outliv$ its usefulness & %\ld be relegat$ to ! limbo ( ,ar*aic ,?+s4 ,if he1 h[ev]1 tra9$ 9 musical hi/ory & famili> ) musical lit]ature1 c\ld see only f\r unrelat$ pieces ( music 9 a symphony by ,bee?ov51 we ne$ n m>vel t hazy notions t\*+ ! nature ( ! =m are preval5t among ! untaught public1 & t p c be met 9 conc]t-rooms to :om su* words z ,symphony 9 ,c m9or1 & ! pr9t$ designations ( ! diff]5t portions ( ! "w--! movem5ts1 z musicians call !m--are utt]ly bewild]+4 ,sid5ote3 ,hi/ory ( ! t]m4 ,sid5ote3 ,*anges 9 mean+4 ,sid5ote3 ,h&el's ,pa/oral ,symphony4 ,! ^w symphony has itself a s+ul>ly v>iegat$ hi/ory4 ,l _m ano!r t]m 9 music x 0 borr[$ by ! mod]n _w f ! anci5t ,greek4 ,to ^? :o co9$ x1 h[ev]1 x _h a mu* n>r[] mean+ ?an to u :o use x1 ) only a conv5tional *ange 9 translit]ation1 n[4 ,by ,greek3 symphonia ! ,greeks simply express$ ! concept ( agreem5t1 or consonance4 ,appli$ to music x meant fir/ su* int]vals z unisons2 !n ! notion 0 ext5d$ to include consonant h>monies1 su* z ! fif?1 f\r?1 & octave4 ,! /udy ( ! anci5t !oreticians l$ ! musicians ( ! ,middle ,ages to apply ! ^w to h>mony 9 g5]al4 ,!n 9 "s inexplicable fa%ion x came to /& z a g5]ic t]m = in/rum5tal compositions su* z toccatas1 sonatas1 etc4 ,its "n 0 giv5 to "o ( ! precursors ( ! pian(orte1 & 9 ,g]many 9 ! sixte5? c5tury ! ^w ,symphoney came to mean a t[n b&4 ,9 ! la/ c5tury & ! beg9n+ ( ?is ! t]m 0 us$ to designate an in/rum5tal introduction to a composition = voices1 su* z a song or *orus1 z also an in/rum5tal piece introduc$ 9 a *oral "w4 ,! =m1 t is ! ext5t & /ructure ( ! composition1 _h no?+ to d ) ! designation1 z we see f ! ,italian %eph]ds' tune :i* ,h&el set = /r+s 9 ,! ,messiah2 he call$ x simply pifa1 b 8 publi%]s call$ x a ,pa/oral symphony1 & z su* we /ill "k x4 ,x 0 ab\t ! middle ( ! eighte5? c5tury t ! pres5t signification became cry/alliz$ 9 ! ^w1 & s9ce ! symphonies ( ,haydn1 9 :i* ! =m fir/ rea*$ p]fection1 are /ill to be he>d 9 our conc]t-rooms1 x may be said t all ! ma/]pieces ( symphonic lit]ature are curr5t4 ,sid5ote3 ,! alli$ =ms4 ,sid5ote3 ,sonata =m4 ,sid5ote3 ,symphony1 sonata1 & conc]to4 ,i h already h9t$ at ! fact t !re is an intimate relation%ip betwe5 ! compositions usually he>d at a classical conc]t4 ,symphonies1 symphonic poems1 conc]tos = solo in/rum5ts & or*e/ra1 z well z ! v>i\s =ms ( *amb] music1 su* z trios1 qu>tets1 & qu9tets = /r+s1 or pian(orte & /r+s1 are b diff]5t expressions ( ! idea :i* is be/ summ$ up 9 ! ^w sonata4 ,:at musicians call ! sonata =m lies at ! bottom ( !m all--ev5 ^? :i* seem to consi/ ( a s+le piece1 l ! symphonic poem & ov]ture4 ,provid$ x foll[1 n ( necessity slavi%ly1 b 9 its g5]al /ructure1 a c]ta9 s*eme :i* 0 sl[ly develop$ by ! g5iuses :o became ! law-giv]s ( ! art1 a composite or cyclical composition 7t is1 "o compos$ ( a numb] ( p>ts1 or movem5ts7 is1 z ! case may be1 a symphony1 conc]to1 or sonata4 ,x is a sonata if x be writt5 = a solo in/rum5t l ! pian(orte or organ1 or = "o l ! viol9 or cl>9et1 ) pian(orte accompanim5t4 ,if ! accompanim5t be writt5 = or*e/ra1 x is call$ a conc]to4 ,a sonata writt5 = an or*e/ra is a symphony4 ,! nature ( ! int]pret+ m$ium naturally det]m9es ! exposition ( ! =m1 b all ! ess5tial attributes c be le>n$ f a /udy ( ! symphony1 :i* because ( ! dignity & eloqu5ce ( its app>atus admits ( a wid] scope ?an its allies1 & mu/ be accept$ z ! highe/ type1 n m]ely ( ! sonata1 b ( ! in/rum5tal art4 ,x w be necess>y pres5tly to po9t out ! m important modifications :i* compositions ( ?is "* h und]gone 9 ! developm5t ( music1 b ! ends ( cle>ness w be be/ subs]v$ if ! /udy be conduct$ on fundam5tal l9es4 ,sid5ote3 ,:at a symphony is4 ,sid5ote3 ,! bond ( unity betwe5 ! p>ts4 ,! symphony !n1 z a rule1 is a composition = or*e/ra made up ( f\r p>ts1 or movem5ts1 :i* are n only relat$ to ea* o!r by a bond ( sympa?y e/abli%$ by ! keys *os5 b also by _! emotional cont5ts4 ,)\t ?is high] bond ! unity ( ! "w w\ld be m]ely me*anical1 l ! unity accompli%$ by sam5ess ( key 9 ! old-fa%ion$ suite4 7,see ,*apt] ,,vi47 ,! bond ( key-relation%ip1 ?\gh no long] s obvi\s z once x 01 is yet readily discov]$ by a musician2 ! spiritual bond is m elusive1 & pres5ts itself = recognition to ! imag9ation & ! feel+s ( ! li/5]4 ,nev]!less1 x is an elem5t 9 e truly great symphony1 & ,i h already indicat$ h[ x may sometimes become pat5t to ! e> alone1 s x be intellig5tly employ$1 & enjoy ! co-op]ation ( memory4 ,sid5ote3 ,! fir/ movem5t4 ,sid5ote3 ,exposition ( subjects4 ,sid5ote3 ,repetition ( ! fir/ subdivision4 ,x is ! fir/ movem5t ( a symphony :i* embodies ! /ructural s*eme call$ ! sonata =m4 ,x has a triple division1 & ,mr4 ,edw>d ,dannreu!r has aptly def9$ x z ! triune symmetry ( exposition1 illu/ration1 & repetition4 ,9 ! fir/ division ! compos] introduces ! melodies :i* he has *os5 to be ! !matic mat]ial ( ! movem5t1 & to fix ! "* ( ! entire "w2 he pres5ts x = id5tification4 ,! !mes are two1 & _! exposition g5]ally exemplifies ! pr9ciple ( key-relation%ip1 :i* 0 ! basis ( my analysis ( a simple folk tune 9 ,*apt] ,,ii4 ,9 ! case ( ! be/ symphoni/s ! pr9cipal & second subjects disclose a contra/1 n viol5t b yet di/9ct1 9 mood or "*4 ,if ! fir/ is rhy?mically en]getic & ass]tive--mascul9e1 let me say--! second w be m s$ate1 m g5tle 9 utt]ance--fem99e4 ,aft] ! two subjects h be5 introduc$ along ) "s subsidi>y phrases & passages :i* ! compos] uses to b9d !m toge!r & modulate f "o key into ano!r1 ! entire division is repeat$4 ,t is ! rule1 b x is n[ z (t5 honor$ 9 ! brea* z 9 ! obs]vance1 "s conductors n ev5 hesitat+ to ignore ! repeat m>ks 9 ,bee?ov5's scores4 ,sid5ote3 ,! free fantasia or work+-out portion4 ,sid5ote3 ,repetition4 ,! second division is n[ tak5 up4 ,9 x ! compos] exploits 8 le>n+ & fancy 9 develop+ 8 !matic mat]ial4 ,he is n[ entirely free to s5d x ?r\gh long *a9s ( keys1 to v>y ! h>monies1 rhy?ms1 & in/rum5tation1 to take a s+le pregnant motive & "w x out ) all ! +5uity he c mu/]2 to =ce x up /eep-up sp\ts ( passion & let x :irl 9 ! surge1 or plunge x into /eep-d[n gulfs ( liquid fire1 & consume its own he>t4 ,te*nically ?is "p is call$ ! free fantasia 9 ,engli%1 & ! ,dur*fuehrung--work+ out--9 ,g]man4 ,i m5tion ! t]ms because !y sometimes occur 9 criticisms & analyses4 ,x is 9 ?is division t ! g5ius ( a compos] has fulle/ play1 & !re is no great] pleasure1 no m delightful excitem5t1 = ! symphony-lov] ?an to foll[ ! lum9\s fancy ( ,bee?ov5 ?r\gh 8 free fantasias4 ,! ?ird division is devot$ to a repetition1 ) modifications1 ( ! fir/ division & ! addition ( a close4 ,sid5ote3 ,introductions4 ,sid5ote3 ,keys & ,titles4 ,fir/ movem5ts are quick & en]getic1 & frequ5tly full ( dramatic fire4 ,9 !m ! psy*ological /ory is begun :i* is to be develop$ 9 ! rema9+ *apt]s ( ! "w--its sorr[s1 hopes1 pray]s1 or commun+s 9 ! sl[ movem5t2 its madness or m]rim5t 9 ! s*]zo2 its outcome1 triumphant or tragic1 9 ! f9ale4 ,sometimes ! fir/ movem5t is prec$$ by a sl[ introduction1 int5d$ to prep>e ! m9d ( ! li/5] = ! proclamation :i* %all come ) ! ,allegro4 ,! key ( ! pr9cipal subject is set d[n z ! key ( ! symphony1 & unless ! compos] gives 8 "w a special title = ! purpose ( provid+ a h9t z to its poetical cont5ts 7,eroica1 ,pa/oral1 ,fau/1 ,9 ! ,=e/1 ,l5ore1 ,pa!tique1 etc471 or to *>act]ize its /yle 7,scot*1 ,italian1 ,iri%1 ,wel%1 ,sc&9avian1 ,f ! ,new ,_w71 x is kn[n only by its key1 or ! numb] ( ! "w 7opus7 9 ! compos]'s li/4 ,!re=e we h ,moz>t's ,symphony 9 ,g m9or1 ,bee?ov5's 9 ,a major1 ,s*umann's 9 ,c1 ,brahms's 9 ,f1 & s on4 ,sid5ote3 ,! second movem5t4 ,sid5ote3 ,v>iations4 ,! second movem5t 9 ! symphonic s*eme is ! sl[ movem5t4 ,musicians frequ5tly call x ! ,adagio1 = conv5i5ce1 ?\gh ! tempi ( sl[ movem5ts ranges f extremely sl[ 7,l>go7 to ! bord] l9e ( fa/1 z 9 ! case ( ! ,allegretto ( ! ,sev5? ,symphony ( ,bee?ov54 ,! mood ( ! sl[ movem5t is frequ5tly sombre1 & its in/rum5tal color+ d>k2 b x may also be consolatory1 contemplative1 re/ful1 religi\sly uplift+4 ,! writ+ is pref]ably 9 a broadly su/a9$ /yle1 ! effect be+ t ( an exalt$ hymn1 & ?is has l$ to a pr$ilection = a !me & v>iations z ! m\ld 9 :i* to ca/ ! movem5t4 ,! sl[ movem5ts ( ,bee?ov5's ,fif? & ,n9? ,symphonies are made up ( v>iations4 ,sid5ote3 ,! ,s*]zo4 ,sid5ote3 ,g5esis ( ! ,s*]zo4 ,sid5ote3 ,! ,trio4 ,! ,s*]zo is1 z ! t]m implies1 ! playful1 jocose movem5t ( a symphony1 b 9 ! case ( sublime g5iuses l ,bee?ov5 & ,s*umann1 :o bl5d pr(\nd melan*oly ) wild humor1 ! playfulness is sometimes ( a k9d :i* invites u to ?\ghtfulness in/ead ( m]rim5t4 ,?is is true also ( "s ,russian compos]s1 ^: s*]zos h ! desp]ate gayety :i* speaks f ! music ( a sad p ^: m]rymak+ is n a spontane\s expression ( exub]ant spirits b a /riv+ aft] self-=getfulness4 ,! ,s*]zo is ! successor ( ! ,m9uet1 ^: rhy?m & =m s]v$ ! compos]s d[n to ,bee?ov54 ,x 0 he :o sub/itut$ ! ,s*]zo1 :i* reta9s ! *ief =mal *>act]i/ics ( ! c\rtly old dance 9 be+ 9 triple "t & hav+ a second "p call$ ! ,trio4 ,) ! *ange !re came an increase 9 spe$1 b x ought to be rememb]$ t ! symphonic m9uet 0 quick] ?an ! dance ( ! same "n4 ,a t5d5cy t[>d exagg]ation1 :i* is pat5t among mod]n conductors1 is ?reat5+ to rob ! symphonic m9uet ( ! vivacity :i* gave x its place 9 ! s*eme ( ! symphony4 ,! entrance ( ! ,trio is m>k$ by ! introduction ( a new idea 7a second m9uet7 :i* is m s5t5ti\s ?an ! fir/ "p1 & sometimes 9 ano!r key1 ! commone/ *ange be+ f m9or to major4 ,sid5ote3 ,! ,f9ale4 ,sid5ote3 ,rondo =m4 ,! f9al movem5t1 te*nically ! ,f9ale1 is ano!r piece ( l>ge dim5sions 9 :i* ! psy*ological drama :i* plays ?r\gh ! f\r acts ( ! symphony is br\ght to a conclusion4 ,once ! purpose ( ! ,f9ale 0 b to br+ ! symphony to a m]ry end1 b z ! expressive capacity ( music has be5 wid5$1 & m]e play ) ae/hetic =ms has giv5 place to attempts to convey s5tim5ts & feel+s1 ! purposes ( ! la/ movem5t h be5 greatly ext5d$ & v>i$4 ,z a rule ! =m *os5 = ! ,f9ale is t call$ ! ,rondo4 ,borr[$ f an artificial v]se-=m 7! ,fr5* ,rondeau71 ?is species ( composition illu/rates ! peculi>ity ( t =m 9 ! reit]ation ( a /rophe ev] & anon aft] a new !me or episode has be5 exploit$4 ,9 mod]n society v]se1 :i* has gr[n out ( an ambition to imitate ! +5i\s =m inv5t$ by m$iaeval poets1 we h ! ,triolet1 :i* may be said to be a rondeau 9 m9iature4 ,i *oose "o ( ,mr4 ,h4,c4 ,bunn]'s da9ty creations to illu/rate ! musical refra9 *>act]i/ic ( ! rondo =m because ( its compactness4 ,"h x is3 ,sid5ote3 ,a ,rondo patt]n 9 poetry4 ,a pit*] ( mignonette ,9 a t5em5t's highe/ casem5t3 ,que] sort ( a fl[]-pot--yet ,t pit*] ( mignonette ,is a g>d5 9 heav5 set1 ,to ! little sick *ild 9 ! basem5t-- ,! pit*] ( mignonette1 ,9 ! t5em5t's highe/ casem5t4 ,sid5ote3 ,o!r =ms = ! ,f9ale4 ,if n[ ! fir/ two l9es ( ?is poem1 :i* compose its refra91 be p]mitt$ to /& z ! pr9cipal !me ( a musical piece1 we h 9 ,mr4 ,bunn]'s triolet a rondo 9 nuce4 ,!re is 9 x a ?reefold exposition ( ! !me alt]nat+ ) episodic matt]4 ,ano!r =m = ! f9ale is t ( ! fir/ movem5t 7! ,sonata =m71 & /ill ano!r1 ! !me & v>iations4 ,bee?ov5 *ose ! latt] = 8 ,eroica1 & ! *oral close ( 8 ,n9?1 ,dvorak1 = 8 symphony 9 ,g major1 & ,brahms = 8 9 ,e m9or4 ,sid5ote3 ,organic ,unities4 ,sid5ote3 ,h[ en=c$4 ,sid5ote3 ,b]lioz's idee fixe4 ,sid5ote3 ,recapitulation ( !mes4 ,i am attempt+ no?+ m ?an a *>act]ization ( ! symphony1 & ! =ms ) :i* ,i associat$ x at ! outset1 :i* %all help ! untra9$ li/5] to compreh5d !m z unities despite ! fact t to ! c>eless he>] !y pres5t !mselves z gr\ps ( pieces ea* "o ( :i* is complete 9 itself & has no connection ) its fell[s4 ,! desire ( compos]s to h _! symphonies accept$ z unities in/ead ( compages ( unrelat$ pieces has l$ to ! adoption ( v>i\s devices design$ to =ce ! bond ( union ^u ! att5tion ( ! he>]4 ,?us ,bee?ov5 9 8 symphony 9 ,c m9or n only connects ! ?ird & f\r? movem5ts b also introduces a rem9isc5ce ( ! =m] into ! mid/ ( ! latt]2 ,b]lioz 9 8 ,symphonie ,fanta/ique1 :i* is writt5 to :at may be call$ a dramatic s*eme1 makes use ( a melody :i* he calls l'idee fixe1 & has x recur 9 ea* ( ! f\r movem5ts z an episode4 ,?is1 h[ev]1 is frankly a symphony ) programme1 & ought n to be treat$ z a modification ( ! pure =m4 ,dvorak 9 8 symphony entitl$ ,f ! ,new ,_w1 9 :i* he has /riv5 to give expression to ! ,am]ican _s1 quotes ! fir/ p]iod ( 8 pr9cipal subject 9 all ! subsequ5t movem5ts1 & !n s5t5ti\sly recapitulates ! pr9cipal !mes ( ! fir/1 second1 & ?ird movem5ts 9 ! f9ale2 & ?is )\t a sign ( ! dramatic purpose confess$ by ,b]lioz4 ,sid5ote3 ,introduction ( voices4 ,sid5ote3 ,abolition ( pauses4 ,9 ! la/ movem5t ( 8 ,n9? ,symphony ,bee?ov5 calls voices to ! aid ( 8 in/rum5ts4 ,x 0 a d>+ innovation1 z x seem$ to disrupt ! =m1 & we "k f ! /ory ( ! "w h[ long he hunt$ = ! connect+ l9k1 :i* f9ally he f\nd 9 ! in/rum5tal recitative4 ,hav+ hit ^u ! device1 he summons ea* ( ! prec$+ movem5ts1 :i* are purely in/rum5tal1 into ! pres5ce ( 8 augm5t$ =ces & dismisses x z inadequate to ! proclamation :i* ! symphony 0 to make4 ,! d\ble-basses & solo b>ytone are ! spokesm5 = ! tuneful ho/4 ,he ?us a*ieves ! end ( connect+ ! ,allegro1 ,s*]zo1 & ,adagio ) ea* o!r1 & all ) ! ,f9ale1 & at ! same "t po9ts out :at x is t he wi%es u to recognize z ! inspiration ( ! :ole2 b "h1 aga91 ! means appe> to be some:at extrane\s4 ,s*umann's example1 h[ev]1 9 aboli%+ ! pauses betwe5 ! movem5ts ( ! symphony 9 ,d m9or1 & hav+ melodic mat]ial common to all ! movem5ts1 is a plea = appreciation :i* _c be misund]/ood4 ,be=e ,s*umann ,m5delssohn int5d$ t 8 ,scot* symphony %\ld be p]=m$ )\t pauses betwe5 ! movem5ts1 b 8 wi%es h be5 ignor$ by ! conductors1 ,i fancy because he hav+ neglect$ to knit ! movem5ts toge!r by community ( ideas1 !y c see no valid reason = ! abolition ( ! conv5tional re/+-places4 ,sid5ote3 ,bee?ov5's *oral symphony foll[$4 ,bee?ov5's augm5tation ( ! symphonic =ces by employ+ voices has be5 foll[$ by ,b]lioz 9 8 ,romeo & ,juliet1 :i*1 ?\gh call$ a dramatic symphony1 is a mixture ( symphony1 cantata1 & op]a2 ,m5delssohn 9 8 ,hymn ( ,praise 7:i* is also a composite "w & has a composite title--,symphony ,cantata71 & ,liszt 9 8 ,fau/ symphony1 9 ! f9ale ( :i* we meet a solo t5or & *orus ( m5's voices :o s+ ,goe!'s ,*orus my/icus4 ,sid5ote3 ,increase 9 ! numb] ( movem5ts4 ,a numb] ( o!r exp]im5ts h be5 made1 ! effectiv5ess ( :i* has be5 conc$$ 9 individual in/ances1 b :i* h fail$ p]man5tly to affect ! symphonic =m4 ,s*umann has two trios 9 8 symphony 9 ,b-flat1 & 8 ,e-flat1 ! s-call$ ,rh5i%1 has five movem5ts in/ead ( f\r1 !re be+ two sl[ movem5ts1 "o 9 mod]ate tempo 7,ni*t s*nell71 & ! o!r 9 sl[ 7,fei]li*74 ,9 ?is symphony1 also1 ,s*umann ex]cises ! lic5se :i* has be5 recogniz$ s9ce ,bee?ov5's "t1 ( *ang+ ! places 9 ! s*eme ( ! second & ?ird movem5ts1 giv+ ! second place to ! jocose division in/ead ( ! sl[4 ,bee?ov5's ,pa/oral has also five movem5ts1 unless "o *ooses to take ! /orm :i* int]rupts ! ,m]ry-mak+ ( ! ,c\ntry ,folk z /&+ t[>d ! la/ movem5t z an introduction1 z1 inde$1 x does 9 ! compos]'s idyllic s*eme4 ,c]ta9 x is1 ,sir ,george ,grove to ! contr>y not)/&+1 t ! s5se ( a di/urbance ( ! symphonic plan is n s vivid at a p]=mance ( ! ,pa/oral z at "o ( ,s*umann's ,rh5i%1 9 :i* ei!r ! ?ird movem5t or ! s-call$ ,ca!dral ,sc5e is mo/ di/9ctly an int]lop]4 ,sid5ote3 ,fur!r ext5sion ( b\nd>ies4 ,sid5ote3 ,sa9t-,sa5s's ,c m9or symphony4 ,usually x is def]5ce to ! dem&s ( a programme t influ5ces compos]s 9 ext5d+ ! =mal b\nd>ies ( a symphony1 & :5 ?is is done ! result is frequ5tly a "w :i* c only be call$ a symphony by c\rtesy4 ,m4 ,sa9t-,sa5s1 h[ev]1 attempt$ an orig9al excursion 9 8 symphony 9 ,c m9or1 )\t any discov]able1 or at lea/ confess$1 programmatic idea4 ,he laid ! "w out 9 two gr& divisions1 s z to h b "o pause4 ,nev]!less 9 ea* division we c recognize1 ?\gh z ?r\gh a haze1 ! outl9es ( ! famili> symphonic movem5ts4 ,9 ! fir/ "p1 buri$ "u a sequ5ce ( "t designations l ?is3 ,adagio--,allegro mod]ato--,poco adagio1 we discov] ! cu/om>y fir/ & second movem5ts1 ! =m] prec$$ by a sl[ introduction2 9 ! second division we f9d ?is arrangem5t3 ,allegro mod]ato--,pre/o--,mae/oso--,allegro1 ?is multiplicity ( t]ms af=d+ only a sort ( disguise = ! regulation s*]zo & f9ale1 ) a cropp+ out ( rem9isc5ces f ! fir/ "p :i* h ! obvi\s purpose to impress ^u ! he>] t ! symphony is an organic :ole4 ,m4 ,sa9t-,sa5s has also introduc$ ! organ & a pian(orte ) two play]s into ! in/rum5tal app>atus4 ,sid5ote3 ,! ,symphonic ,poem4 ,sid5ote3 ,its *>act]i/ics4 ,?ree *>act]i/ics may be said to di/+ui% ! ,symphonic ,poem1 :i* 9 ! view ( ! extremi/s :o foll[ ! lead ( ,liszt is ! logical outcome ( ! symphony & ! only expression ( its ae/hetic pr9ciples consonant ) mod]n ?\ght & feel+4 ,fir/1 x is programmatic--t is1 x is bas$ ^u a poetical idea1 a sequ5ce ( incid5ts1 or ( s\l-/ates1 to :i* a clew is giv5 ei!r by ! title or a motto2 second1 x is compact$ 9 =m to a s+le movem5t1 ?\gh z a rule ! *ang+ phases del9eat$ 9 ! sep>ate movem5ts ( ! symphony are also to be f\nd 9 ! divisions ( ! "w m>k$ by *anges 9 tempo1 key1 & "*2 ?ird1 ! "w g5]ally has a pr9cipal subject ( su* pla/icity t ! compos] c body =? a v>i$ cont5t by pres5t+ x 9 a numb] ( trans=mations4 ,sid5ote3 ,liszt's fir/ pian(orte conc]to4 ,! la/ two *>act]i/ics ,liszt has c>ri$ ov] into 8 pian(orte conc]to 9 ,e-flat4 ,?is has f\r di/9ct movem5ts 7viz43 ,i4 ,allegro mae/oso2 ,,ii4 ,quasi adagio2 ,,iii4 ,allegretto vivace1 s*]z&o2 ,,iv4 ,allegro m>ziale animato71 b !y are fus$ into a cont9u\s :ole1 ?r\gh\t :i* ! pr9cipal ?\ght ( ! "w1 ! /up5d\sly en]getic phrase :i* ! or*e/ra proclaims at ! outset1 is pres5t$ 9 v>i\s =ms to make x express a great v>iety ( moods & yet give unity to ! conc]to4 ,?us1 by means ( ?is metamorphosis1 says ,mr4 ,edw>d ,dannreu!r1 ! poetic unity ( ! :ole musical tissue is made app>5t1 spite ( v great div]sity ( details2 & ,col]idge's attempt at a def9ition ( poetic unity--unity 9 multiety--is c>ri$ out to ! lett]4 ,sid5ote3 ,o!r cyclical =ms4 ,sid5ote3 ,pian(orte & or*e/ra4 ,x w readily be und]/ood t ! o!r cyclical compositions :i* ,i h associat$ ) a classic conc]t1 t is1 compositions belong+ to ! category ( *amb] music 7see ,*apt] ,,iii471 & conc]tos = solo in/rum5ts ) or*e/ral accompanim5t1 :ile con=m+ to ! s*eme :i* ,i h outl9$1 all h individual *>act]i/ics condition$ on ! expressive capacity ( ! app>atus4 ,! mod]n pian(orte is capable ( ass]t+ itself aga9/ a full or*e/ra1 & conc]tos h be5 writt5 = x 9 :i* x is treat$ z an or*e/ral integ] r ?an a solo in/rum5t4 ,9 ! old] conception1 ! or*e/ra1 ?\gh x frequ5tly assum$ ! privilege ( introduc+ ! subject-matt]1 play$ a subord9ate "p to ! solo in/rum5t 9 its developm5t4 ,9 viol9 z well z pian(orte conc]tos special opportunity is giv5 to ! play] to exploit 8 skill & display ! solo in/rum5t free f /ructural re/rictions 9 ! cad5za introduc$ %ortly be=e ! close ( ! fir/1 la/1 or bo? movem5ts4 ,sid5ote3 ,cad5zas4 ,sid5ote3 ,improvisations by ! play]4 ,sid5ote3 ,m4 ,ysaye's op9ion ( ,cad5zas4 ,cad5zas are a relic ( a "t :5 ! art ( improvisation 0 m g5]ally practis$ ?an x is n[1 & :5 p]=m]s 7 conc$$ to h rights beyond ! pr9t$ page4 ,solely = _! display1 x became cu/om>y = compos]s to indicate by a hold 7f]mata symbol7 a place :]e ! p]=m] might indulge 9 a fl\ri% ( 8 own4 ,!re is a tradition t ,moz>t once rem>k$3 ,:]ev] ,i sme> t ?+1 indicat+ a hold1 y c d :at y please2 ! rule is1 h[ev]1 t ! only privilege :i* ! cad5za op5s to ! play] is t ( improvis+ on mat]ial drawn f ! subjects already develop$1 & s9ce1 also z a rule1 compos]s are g5]ally m eloqu5t 9 ! treatm5t ( _! own ideas ?an p]=m]s1 x is seldom t a cad5za contributes to ! enjoym5t af=d$ by a "w1 except to ! lov]s ( te*nique = te*nique's sake4 ,i nev] knew an arti/ to make a m s5sible rem>k ?an did ,m4 ,ysaye1 :5 on ! eve ( a memorably beautiful p]=mance ( ,bee?ov5's viol9 conc]to1 he said3 ,if ,i 7 p]mitt$ to consult my own wi%es ,i w\ld put my viol9 "u my arm :5 ,i rea* ! f]mate & say3 ',ladies & g5tlem51 we h rea*$ ! cad5za4 ,x is presumptu\s 9 any musician to ?9k t he c h any?+ to say aft] ,bee?ov5 has f9i%$4 ,) y\r p]mission we w consid] my cad5za play$4' ,t ,bee?ov5 may himself h _h a ?\ght ( ! same nature is a fair inf]5ce f ! circum/ance t he refus$ to leave ! cad5za 9 8 ,e-flat pian(orte conc]to to ! m]cy ( ! virtuosos b wrote x himself4 ,sid5ote3 ,conc]tos4 ,sid5ote3 ,*amb] music4 ,conc]tos = pian(orte or viol9 are usually writt5 9 ?ree movem5ts1 ( :i* ! fir/ & la/ foll[ ! symphonic model 9 respect ( elaboration & =m1 & ! second is a brief movem5t 9 sl[ or mod]ate "t1 :i* has ! "* ( an int]mezzo4 ,z to ! nom5clature ( *amb] music1 x is to be not$ t unless connect$ ) a qualify+ ^w or phrase1 ,qu>tet means a /r+ qu>tet4 ,:5 a pian(orte is consort$ ) /r+s ! "w is spok5 ( z a ,pian(orte ,trio1 ,qu>tet1 or ,qu9tet1 z ! case may be4 ,sid5ote3 ,! ,ov]ture4 ,sid5ote3 ,pot-p\rris4 ,! =m ( ! ov]ture is t ( ! fir/ movem5t ( ! sonata1 or symphony1 omitt+ ! repetition ( ! fir/ subdivision4 ,s9ce ! orig9al purpose1 :i* gave ! ov]ture its "n 7,ouv]ture ap]ture1 op5+71 0 to introduce a drama1 ei!r spok5 or lyrical1 an oratorio1 or o!r *oral composition1 x became cu/om>y = ! compos]s to *oose ! subjects ( ! piece f ! climact]ic mom5ts ( ! music us$ 9 ! drama4 ,:5 done )\t reg>d to ! rules ( con/ruction 7z is ! case ) practically all op]etta ov]tures & ,ross9i's7 ! result is n an ov]ture at all1 b a pot-p\rri1 a hot*-pot* ( j+les4 ,! pres5t beautiful =m1 9 :i* ,bee?ov5 & o!r compos]s h %[n t x is possible to epitomize an entire drama1 took ! place ( an arbitr>y s*eme :i* 0 :olly aimless1 s f> z ! compositions to :i* !y 7 atta*$ 7 conc]n$4 ,sid5ote3 ,old /yles ( ov]tures4 ,sid5ote3 ,! ,prelude4 ,sid5ote3 ,gluck's pr9ciple4 ,sid5ote3 ,descriptive titles4 ,! e>lie/ fix$ =m ( ! ov]ture is pres]v$ to ! curr5t li/s ( to-day by ! compositions ( ,ba* & ,h&el4 ,x is t e/abli%$ by ,lully1 & is trip>tite 9 =m1 consi/+ ( a rapid movem5t1 g5]ally a fugue1 prec$$ & foll[$ by a sl[ movem5t :i* is grave & /ately 9 its tread4 ,9 its late/ phase ! ov]ture has yield$ up its "n 9 favor ( ,prelude 7,g]man1 ,vorspiel71 ,introduction1 or ,symphonic ,prologue4 ,! f9e/ ( ^!1 )\t borr[+ _! !mes f ! works :i* !y introduce1 b us+ new matt] entirely1 seek to fulfil ! aim :i* ,gluck set = himself1 :51 9 ! preface to ,alce/e1 he wrote3 ,i imag9$ t ! ov]ture ought to prep>e ! audi5ce = ! action ( ! piece1 & s]ve z a k9d ( argum5t to x4 ,conc]t ov]tures are compositions design$ by ! compos]s to /& z indep5d5t pieces in/ead ( = p]=mance 9 connection ) a drama1 op]a1 or oratorio4 ,:51 z is frequ5tly ! case1 ! compos]1 nev]!less1 gives !m a descriptive title 7,hebrides1 ,sakuntala71 _! poetical cont5ts are to be s\ght 9 ! associations ar\s$ by ! title4 ,?us1 9 ! in/ances cit$1 ,hebrides sugge/s t ! ov]ture 0 design$ by ,m5delssohn to reflect ! mood awak5$ 9 him by a visit to ! ,hebrides1 m p>ticul>ly to ,f+al's ,cave 7:]e=e ! ov]ture is call$ ! ,f+al's ,cave ov]ture 9 ,g]many7--,sakuntala invites to a /udy ( ,kalidasa's drama ( t "n z ! repository ( ! s5tim5ts :i* ,goldm>k und]took to express 9 8 music4 ,sid5ote3 ,s]5ades4 ,sid5ote3 ,! ,s]5ade 9 ,%akespe>e4 ,a =m :i* is v>i\sly employ$1 = solo in/rum5ts1 small comb9ations1 & full or*e/ra 7?\gh seldom ) ! complete mod]n app>atus71 is ! ,s]5ade4 ,hi/orically1 x is a contempor>y ( ! old suites & ! fir/ symphonies1 & l !m x consi/s ( a gr\p ( %ort pieces1 s arrang$ z to =m an agreeable contra/ ) ea* o!r1 & yet convey a s5se ( organic unity4 ,! "* ( ! v>i\s p>ts & _! ord] grew out ( ! purpose = :i* ! s]5ade 0 orig9at$1 :i* 0 t indicat$ by ! "n4 ,9 ! la/ c5tury1 & e>li]1 x 0 no uncommon ?+ = a lov] to br+ ! tribute ( a musical p]=mance to 8 mi/ress1 & x 0 n always a w(ul ballad sung to h] eyebr[4 ,frequ5tly musicians 7 hir$1 & ! tribute took ! =m ( a nocturnal conc]t4 ,9 ,%akespe>e's ,two ,g5tlem5 ( ,v]ona1 ,proteus1 prompt+ ,?urio :at to d to w9 ,silvia's love1 says3 ,visit by night y\r lady's *amb] w9d[ ,) "s sweet conc]t3 to _! in/rum5ts ,tune a deplor+ dump2 ! night's dread sil5ce ,w well become su* sweet compla9+ grievance4 ,sid5ote3 ,out-(-doors music4 ,sid5ote3 ,old =ms4 ,sid5ote3 ,! ,dump4 ,sid5ote3 ,bee?ov5's ,s]5ade1 op4 #h4 ,x 0 = su* purposes t ! s]5ade 0 inv5t$ z an in/rum5tal =m4 ,s9ce !y 7 to play out ( doors1 ,sir ,?urio's musicians w\ld h us$ w9d in/rum5ts in/ead ( viols1 & ! olde/ s]5ades are compos$ = oboes & bassoons4 ,cl>9ets & horns 7 subsequ5tly add$1 & = su* b&s ,moz>t wrote s]5ades1 "s ( :i* s closely approa* ! symphony t !y h be5 publi%$ z symphonies4 ,a s]5ade 9 ! old5 "t op5$ v prop]ly ) a m>*1 to ! /ra9s ( :i* we may imag9e ! musicians approa*+ ! lady's *amb] w9d[4 ,!n came a m9uet to prep>e h] e> = ! deplor+ dump :i* foll[$1 ! dump ( ,%akespe>e's day1 l ! dumka ( ours 7) :i* ,i am tempt$ to associate x etymologically71 be+ a m\rnful piece ( music mo/ happily *>act]iz$ by ! poet z a sweet compla9+ grievance4 ,!n foll[$ ano!r piece 9 m]ry tempo & rhy?m1 !n a second adagio1 & ! ent]ta9m5t end$ ) an allegro1 g5]ally 9 m>* rhy?m1 to :i* we fancy ! musicians dep>t+4 ,! ord] is exemplifi$ 9 ,bee?ov5's s]5ade = viol91 viola1 & violoncello1 op4 #h1 :i* runs ?us3 ,m>*2 ,adagio2 ,m9uet2 ,adagio ) episodic ,s*]zo2 ,polacca2 ,&ante 7v>iations71 ! op5+ m>* repeat$4 ,sid5ote3 ,! ,or*e/ral ,suite4 ,sid5ote3 ,ballet music4 ,! ,suite has come back into favor z an or*e/ral piece1 b ! t]m no long] has ! fix$ significance :i* once x _h4 ,x is n[ appli$ to almo/ any gr\p ( %ort pieces1 pleasantly contra/$ 9 rhy?m1 tempo1 & mood1 ea* complete 9 itself yet disclos+ an ae/hetic relation%ip ) its fell[s4 ,sometimes old dance =ms are us$1 & sometimes new1 su* z ! polonaise & ! waltz4 ,! ballet music1 :i* fills s welcome a place 9 popul> programmes1 may be look$ ^u z su* a suite1 & ! rhy?m ( ! music & ! or*e/ral color+ 9 !m are frequ5tly ^? peculi> to ! dances ( ! c\ntries 9 :i* ! /ory ( ! op]a or drama = :i* ! music 0 writt5 plays4 ,! ballets !re=e af=d an excell5t opportunity = ! /udy ( local color4 ,?us ! ballet music f ,mass5et's ,cid is ,spani%1 f ,rub9/e9's ,f]amors ,ori5tal1 f ,aida ,egyptian--,ori5tal rhy?ms & color+s be+ ^? mo/ easily copi$ by compos]s4 ,sid5ote3 ,op]atic exc]pts4 ,sid5ote3 ,gluck & ,ve/ris4 ,! o!r op]atic exc]pts common to conc]ts ( bo? classes are ei!r betwe5-acts music1 fantasias on op]atic airs1 or1 9 ! case ( ,wagn]'s contributions1 portions ( 8 dramas :i* are s pr$om9antly in/rum5tal t x has be5 f\nd feasible to incorporate ! vocal "p ) ! or*e/ral4 ,9 ballet music f ! op]as ( ! la/ c5tury1 "s ( :i* has be5 pres]v$ to ! mod]n conc]t-room1 local color mu/ n be s\ght4 ,gluck's ,greeks1 l ,%akespe>e's1 danc$ to ! rhy?ms ( ! sev5te5? c5tury4 ,ve/ris1 :om ! p ( 8 "t call$ ,! god ( ! dance1 once compla9$ to ,gluck t 8 ,iphig5ie en ,aulide did n end ) a *aconne1 z 0 ! rule4 ,a *aconne6 cri$ ,gluck2 :5 did ! ,greeks ev] dance a *aconne8 ,didn't !y8 ,didn't !y8 answ]$ ,ve/ris2 s mu* ! worse = ! ,greeks4 ,!re ensu$ a qu>rel4 ,gluck became inc5s$1 )drew ! op]a :i* 0 ab\t to be produc$1 & w\ld h left ,p>is _h n ,m>ie ,anto9ette come to ! rescue4 ,b ,ve/ris got 8 *aconne4 ,,vi ,at a ,pian(orte ,recital ,sid5ote3 ,mr4 ,pad]ewski's conc]ts4 ,no cle>] illu/ration ( ! magical p[] :i* lies 9 music1 no m conv9c+ pro( ( ! puissant fasc9ation :i* a musical arti/ c ex]t1 no great] demon/ration ( ! capabilities ( an in/rum5t ( music c be imag9$ ?an 0 af=d$ by ! pian(orte recitals :i* ,mr4 ,pad]ewski gave 9 ! ,unit$ ,/ates dur+ ! season ( #ahie-if4 ,m ?an ?reescore times 9 ! c\rse ( five mon?s1 9 ! pr9cipal cities ( ?is c\ntry1 did ?is wond]ful man seat himself 9 ! pres5ce ( audi5ces1 ^: numb]s ran into ! ?\s&s1 & 7 limit$ only by ! seat+ capacity ( ! rooms 9 :i* !y ga!r$1 & hold !m spellb\nd f two to ?ree h\rs by ! eloqu5ce ( 8 play+4 ,ea* "t ! p came 9 a gladsome frame ( m9d1 /imulat$ by ! recollection ( previ\s delights or eag] expectation4 ,ea* "t !y sat li/5+ to ! music z if x 7 an evangel on :i* hung ev]la/+ ?+s4 ,ea* "t !re 0 ! same gr[? 9 en?usiasm :i* began 9 decor\s applause & end$ 9 *e]s & %\ts z ! arti/ came back aft] ! p]=mance ( a h]culean task1 & add$ piece aft] piece to a programme :i* _h be5 laid d[n on g5]\s l9es f ! beg9n+4 ,! c>eless saw ! spectacle ) simple amazem5t1 b = ! judici\s x _h a wondr\s int]e/4 ,sid5ote3 ,pian(orte recitals4 ,sid5ote3 ,! pian(orte's und]ly+ pr9ciples4 ,i am n n[ conc]n$ ) ,mr4 ,pad]ewski beyond invok+ 8 aid 9 br++ into c\rt a =m ( ent]ta9m5t :i*1 9 8 h&s1 has prov$ to be m attractive to ! multitude ?an symphony1 oratorio1 & ev5 op]a4 ,:at a _w ( speculation & curi\s inquiry does su* a recital invite "o into1 beg9n+ ) ! in/rum5t :i* 0 ! m$ium ( communication betwe5 ! arti/ & 8 he>]s6 ,to foll[ ! progressive developm5t ( ! me*anical pr9ciples und]ly+ ! pian(orte1 "o w\ld be oblig$ to beg9 beyond ! veil :i* sep>ates hi/ory f tradition1 = ! fir/ ( !m f9ds its e>lie/ exemplification 9 ! b[ twang$ by ! primitive savage4 ,s9ce a recognition ( ^! pr9ciples may help to an und]/&+ ( ! art ( pian(orte play+1 ,i enum]ate !m n[4 ,!y are3 #a4 ,a /ret*$ /r+ z a m$ium ( tone production4 #b4 ,a key-bo>d z an ag5cy = manipulat+ ! /r+s4 #c4 ,a bl[ z ! means ( excit+ ! /r+s to vibratory action1 by :i* ! tone is produc$4 ,sid5ote3 ,_! ,g5esis4 ,sid5ote3 ,significance ( ! pian(orte4 ,_m int]e/+ glimpses ( ! human m9d & he>t might we h 9 ! c\rse ( ! prom5ade ?r\gh ! anci5t1 m$iaeval1 & mod]n worlds :i* w\ld be necess>y to disclose ! orig9 & gr[? ( ^! ?ree pr9ciples1 b ^! we mu/ =ego1 s9ce we are to /udy ! music ( ! in/rum5t1 n its hi/ory4 ,let ! k suffice t ! fundam5tal pr9ciple ( ! pian(orte is z old z music itself1 & t sci5tific le>n+1 inv5tive +5uity1 & me*anical skill1 tribut>y always to ! g5ius ( ! art1 h work$ toge!r = c5turies to apply ?is pr9ciple1 until ! in/rum5t :i* embodies x 9 its highe/ pot5cy is become a v]itable microcosm ( music4 ,x is ! visible sign ( culture 9 e g5tle h\sehold2 ! indisp5sable companion ( ! compos] & tea*]2 ! int]m$i>y betwe5 all ! v>i\s bran*es ( music4 ,into ! /udy ( ! or*e/ral conductor x br+s a translation ( all ! multitud9\s voices ( ! b&2 to ! *oir-ma/] x repres5ts ! *orus ( s+]s 9 ! *ur*-l(t or on ! conc]t-plat=m2 ) its aid ! op]a director fills 8 imag9ation ) ! p1 passions1 & pageantry ( ! lyric drama long be=e ! s+]s h receiv$ _! p>ts1 or ! co/um]1 /age manag]1 & sc5e-pa9t] h begun _! "w4 ,x is ! only m$ium ?r\gh :i* ! musician 9 8 /udy c commune ) ! :ole _w ( music & all its h]oes2 & ?\gh x may fail to inspire some:at ( t sympa!tic ne>ness :i* "o feels t[>d ! viol9 z x ne/les "u ! *9 & ?robs syn*ron\sly ) ! play]'s emotions1 or ^? w9d in/rum5ts into :i* ! play] brea!s 8 own brea? z ! brea? ( life1 x surpasses all its rivals1 save ! organ1 9 its capacity = publi%+ ! gr& h>monies ( ! ma/]s1 = utt]+ _! sev5fold *orus ( hallelujahs & h>p+ symphonies4 ,sid5ote3 ,defects ( ! pian(orte4 ,sid5ote3 ,lack ( su/a9+ p[]4 ,?is is "o side ( ! picture & s]ves to %[ :y ! pian(orte is ! mo/ univ]sal1 useful1 & necess>y ( all musical in/rum5ts4 ,! o!r side %[s its defici5cies1 :i* mu/ also be kn[n if "o is to appreciate rightly ! _m ?+s he is call$ ^u to note :ile li/5+ intellig5tly to pian(orte music4 ,despite all ! skill1 le>n+1 & +5uity :i* h be5 sp5t on its p]fection1 ! pian(orte c be made only feebly to approximate t su/a9$ /yle ( musical utt]ance :i* is ! s\l ( melody1 & f9ds its l(tie/ exemplification 9 s++4 ,to give out a melody p]fectly1 presupposes ! capacity to su/a9 tones )\t loss 9 p[] or quality1 to b9d !m toge!r at w1 & sometimes to int5sify _! dynamic or expressive =ce :ile !y s\nd4 ,! tone ( ! pian(orte1 be+ produc$ by a bl[1 beg9s to die ! mom5t x is creat$4 ,! hi/ory ( ! in/rum5t's me*anism1 & also ( its te*nical manipulation1 is ! hi/ory ( an ef=t to r$uce ?is %ortcom+ to a m9imum4 ,x has always condition$ ! "* ( ! music compos$ = ! in/rum5t1 & if we 7 n 9 dang] ( be+ l$ into too wide an excursion1 x w\ld be pr(itable to trace ! p>allelism :i* is disclos$ by ! me*anical evolution ( ! in/rum5t1 & ! te*nical & spiritual evolution ( ! music compos$ = x4 ,a few po9ts w be t\*$ ^u pres5tly1 :5 ! intellectual activity invit$ by a recital is br\ght "u consid]ation4 ,sid5ote3 ,! p]cussive elem5t4 ,sid5ote3 ,melody ) drum-beats4 ,sid5ote3 ,rhy?mical acc5tuation4 ,sid5ote3 ,a univ]sal sub/itute4 ,x is to be not$1 fur!r1 t by a beautiful application ( ! doctr9e ( comp5sations1 ! factor :i* limits ! capacity ( ! pian(orte z a melody in/rum5t end[s x ) a m]it :i* no o!r in/rum5t has 9 ! same degree1 except ! in/rum5ts ( p]cussion1 :i*1 despite _! usefulness1 /& on ! bord] l9e betwe5 savage & civiliz$ music4 ,x is f its relation%ip to ! drum t ! pian(orte d]ives a peculi>ity q unique 9 ! melodic & h>monic family4 ,rhy?m is1 aft] all1 ! />t+-po9t ( music4 ,m ?an melody1 m ?an h>mony1 x /irs ! blood ( ! savage1 & s9ce ! mo/ vital =ces )9 man are ^? :i* date back to 8 primitive /ate1 s ! s5se ( rhy?m is ! mo/ univ]sal ( ! musical s5ses among ev5 ! mo/ cultur$ ( peoples to-day4 ,by !mselves ! drums1 triangles1 & cymbals ( an or*e/ra repres5t music b "o remove f noise2 b ev]ybody kn[s h[ m>vell\sly !y c be utiliz$ to glorify a climax4 ,n[1 9 a v ref9$ degree1 e melody on ! pian(orte1 be x play$ z delicately z x may1 is a melody ) drum-beats4 ,manufactur]s h done mu* t[>d elim9at+ ! ?ump ( ! hamm]s aga9/ ! /r+s1 & famili>ity ) ! tone ( ! in/rum5t has clos$ our e>s aga9/ x to a great ext5t z some?+ intrusive1 b ! bl[ :i* excites ! /r+ to vibration1 & ?us g5]ates s\nd1 is yet a vital factor 9 det]m9+ ! "* ( pian(orte music4 ,! recurr5t pulsations1 n[ en]getic1 incisive1 resolute1 n[ g5tle & c>ess+1 infuse life into ! melody1 & by emphasiz+ its rhy?mical /ructure 7)\t unduly exagg]at+ x71 pres5t ! =m ( ! melody 9 mu* %>p] outl9e ?an is possible on any o!r in/rum5t1 & mu* m ?an "o w\ld expect 9 view ( ! evanesc5t "* ( ! pian(orte's tone4 ,x is ?is quality1 comb9$ ) ! me*anism :i* places all ! gradations ( tone1 f l\de/ to s(te/1 at ! easy & in/antane\s comm& ( ! play]1 :i*1 ,i fancy1 makes ! pian(orte1 9 an a/oni%+ degree1 a sub/itute = all ! o!r in/rum5ts4 ,ea* in/rum5t 9 ! or*e/ra has an idiom1 :i* s\nds incompreh5sible :5 utt]$ by "s o!r ( its fell[s1 b !y c all be translat$1 ) m or less success1 into ! language ( ! pian(orte--n ! quality ( ! tone1 ?\gh ev5 t c be sugge/$1 b ! "* ( ! phrase4 ,! pian(orte c s5tim5talize l ! flute1 make a m>tial proclamation l ! trumpet1 intone a pray] l ! *ur*ly trombone4 ,sid5ote3 ,! in/rum5t's me*anism4 ,sid5ote3 ,tone =mation & production4 ,9 ! intricacy ( its me*anism ! pian(orte /&s next to ! organ4 ,! f>!r remov$ f direct utt]ance we are ! m difficult is x to speak ! true language ( music4 ,! viol9 play] & ! s+]1 & 9 a less degree ! p]=m]s ^u "s ( ! w9d in/rum5ts1 are oblig$ to =m ! musical tone--:i*1 9 ! case ( ! piani/1 is lat5t 9 ! in/rum5t1 ready to pres5t itself 9 two ( its attributes 9 answ] to a simple pressure ^u ! key4 ,! mo/ unmusical p]son 9 ! _w c le>n to produce a s]ies ( tones f a pian(orte :i* %all be z exact 9 pit* & z v>i$ 9 dynamic =ce z c ,mr4 ,pad]ewski4 ,he _c comb9e !m s +5i\sly nor imbue !m ) feel+1 b 9 ! simple matt] ( produc+ ! tone ) ! attributes m5tion$1 he is on a level ) ! greate/ virtuoso4 ,v diff]5t is ! case ( ! musician :o mu/ ex]cise a di/9ctly musical gift 9 ! simple evocation ( ! mat]ials ( music1 l ! viol9i/ & s+]1 :o bo? =m & produce ! tone4 ,= !m comp5sation fl[s f ! circum/ance t ! tone ?us =m$ & produc$ is naturally in/9ct ) emotional life 9 a degree t ! pian(orte tone kn[s no?+ (4 ,sid5ote3 ,te*nical manipulation4 ,sid5ote3 ,t\* & emotionality4 ,9 "o respect1 x may be said t ! me*anics ( pian(orte play+ repres5t a l[ plane ( arti/ic activity1 a fact :i* ought always to be rememb]$ :5ev] ! temptation is felt greatly to exalt ! te*nique ( ! art2 b x mu/ also be borne 9 m9d t ! me*anical nature ( simple tone production 9 pian(orte play+ raises ! value ( ! emotional quality :i*1 nev]!less1 /&s at ! comm& ( ! play]4 ,! emotional pot5cy ( ! tone mu/ come f ! mann] 9 :i* ! bl[ is giv5 to ! /r+4 ,recognition ( ?is fact has /imulat$ reflection1 & ?is 9 turn has discov]$ me?ods by :i* temp]am5t & emotionality may be made to express !mselves z freely1 conv9c+ly1 & spontane\sly 9 pian(orte z 9 viol9 play+4 ,if ?is 7 n s x w\ld be impossible to expla9 ! diff]5ce 9 ! *>m ex]t$ by diff]5t virtuosi1 = x has frequ5tly happ5$ t ! be/-equipp$ me*anician & ! mo/ intellectual play] has be5 judg$ inf]ior z an arti/ to ano!r ^: gifts 7 ( ! s\l r ?an ( ! bra9s & f+]s4 ,sid5ote3 ,! te*nical cult4 ,sid5ote3 ,a l[ =m ( art4 ,! feats accompli%$ by a pian(orte virtuoso 9 ! me*anical dep>tm5t are ( s extraord9>y a nature t !re ne$ be small wond] at ! wide preval5ce ( a di/9ctly te*nical cult4 ,all :o "k ! real nature & mission ( music mu/ condemn su* a cult4 ,x is a sign ( a want ( true appreciation to admire te*nique = te*nique's sake4 ,x is a mi/ak+ ( ! outw>d %ell = ! k]nel1 a means = ! end4 ,!re are /ill _m play]s :o aim to secure ?is admiration1 ei!r because !y are defici5t 9 real musical feel+1 or because !y believe !mselves sur] ( w9n+ applause by ?us appeal+ to ! l[e/ =m ( appreciation4 ,9 ! e>ly "p ( ! c5tury !y w\ld h be5 h&icapp$ by ! in/rum5t :i* l5t itself to delicacy1 cle>ness1 & gracefulness ( expression1 b _h little p[]4 ,n[ ! pian(orte has become a ?+ ( rigid /eel1 endur+ tons ( /ra9 f its /r+s1 & hav+ a voice l ! ro> ( _m wat]s2 to keep pace ) x play]s h become a?letes ) ,!ws ( ,anakim ,& pulses ( a ,titan's he>t4 ,sid5ote3 ,te*nical skill a matt] ( c\rse4 ,!y c>e no m = ! murmurs made to bless1 unless x be occasionally = ! sake ( contra/1 b seek to a/\nd1 amaze1 bewild]1 & conf\nd ) feats ( skill & endurance4 ,t ) _! devotion to ! purely me*anical side ( ! art !y are ?reat5+ to de/roy pian(orte play+ gives !m no pause :atev]4 ,! era :i* !y illu/rate & adorn is ! te*nical era :i* 01 is1 & ev] %all be1 ! era ( decay 9 arti/ic production4 ,= ! judici\s te*nique alone1 be x nev] s m>vell\s1 _c s]ve to-day4 ,its possession is accept$ z a condition prec$5t 9 ! case ( ev]yone :o v5tures to appe> ^u ! conc]t-plat=m4 ,he mu/ be a wond]1 inde$1 :o c di/urb our critical equilibrium by m]e digital feats4 ,we want /r5g? & velocity ( f+] to be c\pl$ ) /r5g?1 velocity1 & p5etration ( ?\ght4 ,we want no halt+ or lisp+ 9 ! proclamation ( :at ! compos] has said1 b we want ! cont5ts ( 8 ?\ght1 n ! holl[ %ell1 no matt] h[ di/9ctly its outl9es be drawn4 ,sid5ote3 ,! plan ( /udy 9 ?is *apt]4 ,sid5ote3 ,a typical s*eme ( pieces4 ,! factors :i* pres5t !mselves = consid]ation at a pian(orte recital--me*anical1 intellectual1 & emotional--c be mo/ intellig5tly & pr(itably /udi$ along ) ! developm5t ( ! in/rum5t & its music4 ,all bran*es ( ! /udy are invit$ by ! typical recital programme4 ,! ess5tially romantic tr5d ( ,mr4 ,pad]ewski's nature makes 8 excursions into ! classical field few & %ort2 & x is only :5 a piani/ und]takes to emulate ,rub9/e9 9 8 hi/orical recitals t ! entire pre-,bee?ov5 vi/a is op5$ up4 ,x w suffice = ! purposes ( ?is discussion to imag9e a programme conta9+ pieces by ,ba*1 ,d4 ,sc>latti1 ,h&el1 & ,moz>t 9 "o gr\p2 a sonata by ,bee?ov52 "s ( ! %ort] pieces ( ,s*umann & ,*op91 & "o ( ! transcriptions or rhapsodies ( ,liszt4 ,sid5ote3 ,p]iods 9 pian(orte music4 ,su* a s*eme falls naturally into f\r divisions1 pla9ly diff]5tiat$ f ea* o!r 9 respect ( ! /yle ( composition & ! mann] ( p]=mance1 bo? det]m9$ by ! nature ( ! in/rum5t employ$ & ! /atus ( ! musical idea4 ,simply = ! sake ( conv5i5ce let ! p]iod repres5t$ by ! fir/ gr\p be call$ ! classic2 ! second ! classic-romantic2 ! ?ird ! romantic1 & ! la/ ! bravura4 ,i beg ! read]1 h[ev]1 n to ext5d ^! designations beyond ! b\nd>ies ( ! pres5t /udy2 !y h be5 *os5 arbitr>ily1 & confusion might result if ! attempt 7 made to apply !m to any p>ticul> conc]t s*eme4 ,i h *os5 ! compos]s because ( _! broadly repres5tative capacity4 ,& !y mu/ /& = a num]\s epigonoi ^: names make up our conc]t li/s3 say1 ,c\p]91 ,rameau1 & ,haydn 9 ! fir/ gr\p2 ,s*ub]t 9 ! second2 ,m5delssohn & ,rub9/e9 9 ! ?ird4 ,x w\ld n be respectful to ! memory ( ,liszt 7 ,i to give him ! associates ) :om 9 my op9ion he /&s2 t matt] may be held 9 abeyance4 ,sid5ote3 ,pr$ecessors ( ! pian(orte4 ,sid5ote3 ,! ,clavi*ord4 ,sid5ote3 ,bebung4 ,! in/rum5ts = :i* ! fir/ gr\p ( writ]s d[n to ,haydn & ,moz>t wrote1 7 ! imm$iate precursors ( ! pian(orte--! clavi*ord1 sp9et1 or virg9al1 & h>psi*ord4 ,! la/ 0 ! conc]t in/rum5t1 & /ood 9 ! same relation%ip to ! o!rs t ! gr& pian(orte ( to-day /&s to ! upright & squ>e4 ,! clavi*ord 0 g5]ally ! m$ium = ! compos]'s private commun+s ) 8 muse1 because ( its sup]iority ov] its fell[s 9 expressive p[]2 b x gave =? only a t9y t9kle & 0 incapable ( /irr+ effects beyond ^? :i* sprang f pure emotionality4 ,! tone 0 produc$ by a bl[ aga9/ ! /r+1 deliv]$ by a bit ( brass set 9 ! f>!r end ( ! key4 ,! action 0 t ( a direct lev]1 & ! bit ( brass1 :i* 0 call$ ! tang5t1 also act$ z a bridge & measur$ (f ! segm5t ( /r+ ^: vibration produc$ ! desir$ tone4 ,x 0 !re=e necess>y to keep ! key press$ d[n s long z x 0 desir$ t ! tone %\ld s\nd1 a fact :i* mu/ be kept 9 m9d if "o w\ld und]/& ! %ortcom+s z well z ! advantages ( ! in/rum5t comp>$ ) ! sp9et or h>psi*ord4 ,x also furni%es "o explanation ( ! great] lyricism ( ,ba*'s music comp>$ ) t ( 8 contempor>ies4 ,by g5tly rock+ ! h& :ile ! key 0 d[n1 a tremul\s motion c\ld be communicat$ to ! /r+1 :i* n only prolong$ ! tone appreciably b gave x an expressive effect some:at analog\s to ! vibrato ( a viol9i/4 ,! ,g]mans call$ ?is effect ,bebung1 ! ,fr5* ,balancem5t1 & x 0 indicat$ by a r[ ( dots "u a %ort slur writt5 ov] ! note4 ,x is to ! special fondness :i* ,ba* felt = ! clavi*ord t we owe1 to a great ext5t1 ! cantabile /yle ( 8 music1 its _m-voic$ness & its high emotionality4 ,sid5ote3 ,quill$ in/rum5ts4 ,sid5ote3 ,tone ( ! h>psi*ord & sp9et4 ,sid5ote3 ,ba*'s ,music ( ! future4 ,! sp9et1 virg9al1 & h>psi*ord 7 quill$ in/rum5ts1 ! tone ( :i* 0 produc$ by snapp+ ! /r+s by means ( plectra made ( quill1 or "s o!r flexible sub/ance1 set 9 ! upp] end ( a bit ( wood call$ ! jack1 :i* re/$ on ! f>!r end ( ! key & mov$ ?r\gh a slot 9 ! s\nd+-bo>d4 ,:5 ! key 0 press$ d[n1 ! jack mov$ upw>d pa/ ! /r+ :i* 0 caught & twang$ by ! plectrum4 ,! bl[ ( ! clavi*ord tang5t c\ld be graduat$ l t ( ! pian(orte hamm]1 b ! quills ( ! o!r in/rum5ts always pluck$ ! /r+s ) ! same =ce1 s t me*anical devices1 su* z a swell-box1 simil> 9 pr9ciple to t ( ! organ1 c\pl+ 9 octaves1 d\bl+ ! /r+s1 etc41 _h to be resort$ to = v>iety ( dynamic effects4 ,! "* ( tone ?us produc$ det]m9$ ! "* ( ! music compos$ = ^! in/rum5ts to a great ext5t4 ,! brevity ( ! s\nd made su/a9$ melodies ineffective1 & enc\rag$ ! use ( a great v>iety ( embelli%m5ts & ! spread+ out ( h>monies 9 ! =m ( arpeggios4 ,x is obvi\s en\gh t ,ba*1 be+ "o ( ^? monum5tal g5iuses t ca/ _! presci5t vision f> into ! future1 refus$ to be b\nd by su* me*anical limitations4 ,?\gh he wrote ,clavi]1 he ?\ght organ1 :i* 0 8 true int]pretative m$ium1 & s x happ5s t ! greate/ sonority & ! broade/ /yle t h be5 develop$ 9 ! pian(orte d n exhau/ ! cont5ts ( su* a composition z ! ,*romatic ,fantasia & ,fugue4 ,sid5ote3 ,sc>latti's sonatas4 ,! e>lie/ music writt5 = ^! in/rum5ts--music :i* does n ent] into ?is /udy--0 b "o remove f vocal music4 ,x came ?r\gh compositions writt5 = ! organ4 ,( ,sc>latti's music ! pieces mo/ famili> are a ,capriccio & ,pa/orale :i* ,tausig rewrote = ! pian(orte4 ,!y 7 call$ sonatas by _! compos]1 b are n sonatas 9 ! mod]n s5se4 ,sonata means s\nd-piece1 & :5 ! t]m came into music x signifi$ only t ! composition to :i* x 0 appli$ 0 writt5 = in/rum5ts in/ead ( voices4 ,sc>latti did a great deal to develop ! te*nique ( ! h>psi*ord & ! /yle ( compos+ = x4 ,8 sonatas consi/ ea* ( a s+le movem5t only1 b 9 _! /ructure !y =e%ad[ ! mod]n sonata =m 9 hav+ two contra/$ !mes1 :i* are pres5t$ 9 a fix$ key-relation%ip4 ,!y are frequ5tly full ( grace & animation1 b are z purely objective1 =mal1 & s\lless 9 _! cont5t z ! o!r in/rum5tal compositions ( ! epo* to :i* !y belong4 ,sid5ote3 ,! suite4 ,sid5ote3 ,its hi/ory & =m4 ,sid5ote3 ,! bond betwe5 ! movem5ts4 ,! mo/ significant ( ! compositions ( ?is p]iod are ! ,suites1 :i* because !y make up s l>ge a p]c5tage ( ,clavi] lit]ature 7us+ ! t]m to cov] ! pian(orte & its pr$ecessors71 & because !y po9t$ ! way to ! di/+ui%+ =m ( ! subsequ5t p]iod1 ! sonata1 are des]v+ ( m ext5d$ consid]ation4 ,! suite is a set ( pieces 9 ! same key1 b contra/$ 9 "*1 bas$ ^u c]ta9 admir$ dance-=ms4 ,orig9ally x 0 a set ( dances & no?+ m1 b 9 ! h&s ( ! compos]s ! dances und]w5t _m modifications1 "s ( !m to ! obvi\s detrim5t ( _! national or o!r di/+ui%+ *>act]i/ics4 ,! suite came into fa%ion ab\t ! middle ( ! sev5te5? c5tury & 0 also call$ ,sonata da ,cam]a & ,balletto 9 ,italy1 &1 lat]1 ,p>tita 9 ,france4 ,9 its fundam5tal =m x embrac$ f\r movem5ts3 ,i4 ,allem&e4 ,,ii4 ,c\rante4 ,,iii4 ,s>ab&e4 ,,iv4 ,gigue4 ,to ^! f\r 7 sometimes add$ o!r dances--! ,gavotte1 ,passepi$1 ,branle1 ,m9uet1 ,b\rree1 etc4--b ! rule 0 t !y %\ld be introduc$ betwe5 ! ,s>ab&e & ! ,gigue4 ,sometimes also ! set 0 introduc$ by a ,prelude or an ,ov]ture4 ,id5tity ( key 0 ! only ext]nal tie betwe5 ! v>i\s memb]s ( ! suite1 b ! compos]s s\ght to e/abli% an arti/ic unity by elaborat+ ! s5tim5ts = :i* ! dance-=ms seem$ to (f] a vehicle1 & pres5t+ !m 9 agreeable contra/1 besides enri*+ ! primitive /ructure ) new mat]ial4 ,! suites ( ,ba* & ,h&el are ! high-wat] m>k 9 ?is /yle ( composition1 b x w\ld be difficult to f9d ! orig9al *>act]i/ics ( ! dances 9 _! sett+s4 ,x mu/ suffice u briefly to indicate ! *>act]i/ics ( ! pr9cipal =ms4 ,sid5ote3 ,! ,allem&e4 ,! ,allem&e1 z its "n indicates1 0 a dance ( suppos$ly ,g]man orig94 ,= t reason ! ,g]man compos]s1 :5 x came to !m f ,france1 :]e ! suite _h its orig91 treat$ x ) great p>tiality4 ,x is 9 mod]ate tempo1 common "t1 & made up ( two p]iods ( eight measures1 bo? ( :i* are repeat$4 ,x beg9s ) an upbeat1 & its metre1 to use ! t]ms ( prosody1 is iambic4 ,! foll[+ specim5 f ,m]s5ne's ,h>monie ,univ]selle1 #afcf1 well displays its *>act]i/ics3 ,music illu/ration ,sid5ote3 ,iambics 9 music & poetry4 ,rob]t ,burns's famili> iambics1 ,ye fl[]y banks o' bonnie ,doon1 ,h[ c ye bloom sae fair8 ,h[ c ye *ant1 ye little birds1 ,& ,i sae fu' o' c>e6 might s]ve to keep ! rhy?mical *>act]i/ics ( ! ,allem&e 9 m9d 7 x n = ! arbitr>y *anges made by ! compos]s already h9t$ at4 ,z x is1 we frequ5tly f9d ! /ately movem5t ( ! old dance brok5 up into elaborate1 b always quietly fl[+1 ornam5tation1 z indicat$ 9 ! foll[+ exc]pt f ! ?ird ( ,ba*'s ,engli% suites3 ,music illu/ration ,sid5ote3 ,! ,c\rante4 ,! ,c\rante1 or ,corr5te 7,tea* lavoltas high & swift corantos1 says ,%akespe>e71 is a ,fr5* dance :i* 0 extremely popul> 9 ! sixte5?1 sev5te5?1 & eighte5? c5turies--a polite dance1 l ! m9uet4 ,x 0 9 triple "t1 & its movem5t 0 bright & brisk1 a m]ry en]gy be+ imp>t$ to ! measure by ! prevail+ figure1 a dott$ qu>t]-note1 an eigh?1 & a qu>t] 9 a measure1 z illu/rat$ 9 ! foll[+ exc]pt also f ,m]s5ne3 ,music illu/ration ,! suite compos]s v>i$ ! movem5t greatly1 h[ev]1 & ! ,italian ,corr5te consi/s *iefly ( rapid runn+ passages4 ,sid5ote3 ,! ,s>ab&e4 ,! ,s>ab&e 0 also 9 triple "t1 b its movem5t 0 sl[ & /ately4 ,9 ,spa91 :5ce x 0 d]iv$1 x 0 sung to ! accompanim5t ( ca/anets1 a fact :i* 9 itself suffices to indicate t x 0 orig9ally ( a lively "*1 & took on its solemnity 9 ! h&s ( ! lat] compos]s4 ,h&el f\nd ! ,s>ab&e a peculi>ly admirable vehicle = 8 inspirations1 & "o ( ! f9e/ examples extant figures 9 ! triumphal music ( 8 ,almira1 compos$ 9 #agjd3 ,sid5ote3 ,a ,s>ab&e by ,h&el4 ,music illu/ration ,sev5 ye>s aft] ! production ( ,almira1 ,h&el recurr$ to ?is beautiful in/rum5tal piece1 & out ( x con/ruct$ ! exquisite lam5t beg9n+ ,lascia *'io pianga 9 8 op]a ,r9aldo4 ,sid5ote3 ,! ,gigue4 ,sid5ote3 ,! ,m9uet4 ,sid5ote3 ,! ,gavotte4 ,great ,brita9's contribution to ! ,suite 0 ! f9al ,gigue1 :i* is our jolly & famili> fri5d ! jig1 & 9 all probability is ,keltic 9 orig94 ,x is1 z ev]ybody kn[s1 a rollick+ measure 9 #f-h1 #ab-h1 or #d-d "t1 ) twelve triplet quav]s 9 a measure1 & ne$s no description4 ,x rema9$ a favorite ) compos]s until f> into ! eighte5? c5tury4 ,%akespe>e proclaims its exub]ant lu/9ess :5 he makes ,sir ,toby ,bel* prote/ t _h he ,sir ,&rew's gifts 8 v walk %\ld be a jig4 ,( ! o!r dances incorporat$ into ! suite1 two are des]v+ ( special m5tion because ( _! influ5ce on ! music ( to-day--! ,m9uet1 :i* is ! p>5t ( ! symphonic s*]zo1 & ! ,gavotte1 ^: fasc9at+ movem5t is frequ5tly he>d 9 latt]-day op]ettas4 ,! ,m9uet is a ,fr5* dance1 & came f ,poit\4 ,l\is ,,xiv4 danc$ x to ,lully's music = ! fir/ "t at ,v]sailles 9 #afec1 & x soon became ! mo/ popul> ( c\rt & society dances1 hold+ its own d[n to ! beg9n+ ( ! n9ete5? c5tury4 ,x 0 long call$ ! ,que5 ( ,dances1 & !re is no "o :o has griev$ to see ! dep>ture ( gallantry & grace f our ball-rooms b w wi% to see ,h] ,graci\s ,maje/y re/or$ to h] ?rone4 ,! music ( ! m9uet is 9 #c-d "t1 & ( /ately movem5t4 ,! ,gavotte is a lively dance-measure 9 common "t1 beg9n+1 z a rule1 on ! ?ird beat4 ,its orig9 has be5 trac$ to ! m\nta9 p ( ! ,dauph9e call$ ,gavots--:5ce its "n4 ,sid5ote3 ,te*nique ( ! ,clavi] play]s4 ,sid5ote3 ,*ange 9 te*nique4 ,! transf]r5ce ( ?is music to ! mod]n pian(orte has effect$ a va/ *ange 9 ! mann] ( its p]=mance4 ,9 ! p]iod "u consid]ation emotionality1 :i* is consid]$ ! l(tie/ attribute ( pian(orte play+ to-day1 0 lack+1 except 9 ! case ( su* ma/]s ( ! clavi*ord z ! great ,ba* & 8 son1 ,c>l ,philipp ,emanuel1 :o inh]it$ 8 fa!r's pref]5ce = t in/rum5t ov] ! h>psi*ord & pian(orte4 ,ta/efulness 9 ! giv+ out ( ! melody1 di/9ctness ( enunciation1 correctness ( phras+1 nimbl5ess & lightness ( f+]1 summ$ up practically all t !re 0 9 virtuoso%ip4 ,intellectuality & digital skill 7 ! ess5tial factors4 ,beauty ( tone ?r\gh :i* feel+ & temp]am5t speak n[ 0 ! product ( ! mak] ( ! in/rum5t1 except aga9 9 ! case ( ! clavi*ord1 9 :i* x may h be5 l>gely ! creation ( ! play]4 ,x is1 !re=e1 n surpris+ t ! fir/ revolution 9 te*nique ( :i* we he> 0 accompli%$ by ,ba*1 :o1 ! bett] to br+ out ! *>act]i/ics ( 8 polyphonic /yle1 made use ( ! ?umb1 till !n consid]$ almo/ a useless memb] ( ! h& 9 play+1 & b5t 8 f+]s1 s t _! movem5ts might be m uncon/ra9$4 ,sid5ote3 ,ba*'s t\*4 ,sid5ote3 ,h&el's play+4 ,sid5ote3 ,sc>latti's /yle4 ,( ! v>ieties ( t\*1 :i* play su* a role 9 pian(orte p$agogics to-day1 no?+ 0 kn[n4 ,only on ! clavi*ord 0 a bl[ deliv]$ directly aga9/ ! /r+1 &1 z has already be5 said1 only on t in/rum5t 0 ! dynamic %ad+ regulat$ by ! t\*4 ,practically1 ! same t\* 0 us$ on ! organ & ! /r+$ in/rum5ts ) key-bo>d4 ,:5 we f9d writt5 praise ( ! old play]s x always goes to ! flu5cy & lightness ( _! f+]+4 ,h&el 0 greatly e/eem$ z a h>psi*ord play]1 & seems to h inv5t$ a position ( ! h& l ,ba*'s1 or to h copi$ x f t ma/]4 ,=kel tells u ! movem5t ( ,ba*'s f+]s 0 s slight z to be sc>cely noticeable2 ! position ( 8 h&s rema9$ un*ang$ ?r\gh\t1 & ! re/ ( 8 body motionless4 ,speak+ ( ,h&el's h>psi*ord play+1 ,burney says t 8 f+]s seem$ to gr[ to ! keys4 ,!y 7 s curv$ & compact :5 he play$ t no motion1 & sc>cely ! f+]s !mselves1 c\ld be discov]$4 ,sc>latti's significance lies *iefly 9 an ext5sion ( ! te*nique ( 8 "t s z to give great] individuality to ! in/rum5t4 ,he indulg$ freely 9 brilliant passages & figures :i* sometimes call = a cross+ ( ! h&s1 also 9 leaps ( ov] an octave1 repetition ( a note by diff]5t f+]s1 brok5 *ords 9 contr>y motion1 & o!r devices :i* prefigure mod]n pian(orte music4 ,sid5ote3 ,! sonata4 ,t ,sc>latti also po9t$ ! way to ! mod]n sonata1 ,i h already said4 ,! hi/ory ( ! sonata1 z ! t]m is n[ und]/ood1 ends ) ,bee?ov54 ,_m sonatas h be5 writt5 s9ce ! la/ "o ( t great ma/]1 b n a ^w has be5 add$ to 8 proclamation4 ,he /&s1 !re=e1 z a p]fect exempl> ( ! second p]iod 9 ! s*eme :i* we h adopt$ = ! /udy ( pian(orte music & play+4 ,9 a g5]al way a sonata may be describ$ z a composition ( f\r movem5ts1 contra/$ 9 mood1 tempo1 s5tim5t1 & "*1 b connect$ by t spiritual bond ( :i* m5tion 0 made 9 our /udy ( ! symphony4 ,9 %ort1 a sonata is a symphony = a solo in/rum5t4 ,sid5ote3 ,haydn4 ,:5 x came into be+ x 0 little else ?an a conv5i5t =mula = ! expression ( musical beauty4 ,haydn1 :o p]fect$ x on its =mal side1 left x t & no?+ m4 ,moz>t p\r$ ! vessel full ( beauty1 b ,bee?ov5 brea!d ! brea? ( a new life into x4 ,an old writ] tells u ( ,haydn t he 0 wont to say t ! :ole art ( compos+ consi/$ 9 tak+ up a subject & pursu+ x4 ,hav+ inv5t$ 8 !me1 he w\ld beg9 by *oos+ ! keys ?r\gh :i* he wi%$ to make x pass4 ,8 exquisite feel+ gave him a p]fect k ( ! great] or less degree ( effect :i* "o *ord produces 9 succe$+ ano!r1 & he aft]w>d imag9$ a little romance :i* might furni% him ) s5tim5ts & colors4 ,sid5ote3 ,bee?ov54 ,sid5ote3 ,moz>t's mann] ( play+4 ,bee?ov5 began ) ! s5tim5t & work$ f x outw>dly1 modify+ ! =m :5 x became necess>y to d s1 9 ord] to obta9 complete & p]fect utt]ance4 ,he made _s rise sup]ior to matt]4 ,?is mu/ be borne 9 m9d :5 comp>+ ! te*nique ( ! previ\s p]iod ) t ( :i* ,i h made ,bee?ov5 ! repres5tative4 ,9 ! little t we are privileg$ to read ( ,moz>t's /yle ( play+1 we see only a reflex ( ! play]s :o w5t be=e him1 sav+ z x 0 p]meat$ by ! w>m? :i* w5t out f 8 own g5ial p]sonality4 ,8 manipulation ( ! keys _h ! quietness & smoo?ness t 7 prais$ 9 ,ba* & ,h&el4 ,delicacy & ta/e1 says ,kullak1 ) 8 lift+ ( ! entire te*nique to ! spiritual aspiration ( ! idea1 elevate him z a virtuoso to a height unanim\sly conc$$ by ! public1 by connoisseurs1 & by arti/s capable ( judg+4 ,clem5ti decl>$ t he _h nev] he>d any "o play s s\lfully & *>mfully z ,moz>t2 ,ditt]sdorf f9ds art & ta/e comb9$ 9 8 play+2 ,haydn assev]at$ ) te>s t ,moz>t's play+ he c\ld nev] =get1 = x t\*$ ! he>t4 ,8 /accato is said to h possess$ a peculi>ly brilliant *>m4 ,sid5ote3 ,clem5ti4 ,sid5ote3 ,bee?ov5 z a piani/4 ,! p]iod ( ,c4,p4,e4 ,ba*1 ,haydn1 & ,moz>t is t 9 :i* ! pian(orte gradually replac$ its pr$ecessors1 & ! fir/ real piani/ 0 ,moz>t's contempor>y & rival1 ,muzio ,clem5ti4 ,8 *ief significance lies 9 8 influ5ce z a te*nician1 = he op5$ ! way to ! mod]n /yle ( play ) its great] sonority & capacity = expression4 ,"u him passage play+ became an entirely new ?+2 deftness1 lightness1 & flu5cy 7 replac$ by /up5d\s virtuoso%ip1 :i* re/$1 nev]!less1 on a full & solid tone4 ,he is said to h be5 able to trill 9 octaves ) "o h&4 ,he 0 necess>y = ! adequate int]pretation ( ,bee?ov51 ^: music is likely to be be/ und]/ood by ^? :o "k t he1 too1 0 a sup]b pian(orte play]1 fully up to ! requirem5ts :i* 8 la/ sonatas make ^u te*nical skill z well z intellectual & emotional gifts4 ,sid5ote3 ,bee?ov5's te*nique4 ,sid5ote3 ,expression supreme4 ,cz]ny1 :o 0 a pupil ( ,bee?ov51 has pres]v$ a full] acc\nt ( t great compos]'s art z a play] ?an we h ( any ( 8 pr$ecessors4 ,he describes 8 te*nique z trem5d\s1 bett] ?an t ( any virtuoso ( 8 day4 ,he 0 rem>kably deft 9 connect+ ! full *ords1 9 :i* he delight$1 )\t ! use ( ! p$al4 ,8 mann] at ! in/rum5t 0 compos$ & quiet4 ,he sat erect1 )\t movem5t ( ! upp] body1 & only :5 8 deafness compell$ him to d s1 9 ord] to he> 8 own music1 did he contract a habit ( lean+ =w>d4 ,) an evid5t appreciation ( ! necessities ( old-"t music he _h a great admiration = clean f+]+1 especially 9 fugue play+1 & he object$ to ! use ( ,cram]'s /udies 9 ! in/ruction ( 8 nephew by ,cz]ny because !y l$ to :at he call$ a /icky /yle ( play1 & fail$ to br+ out crisp /accatos & a light t\*4 ,b x 0 ^u expression t he insi/$ mo/ ( all :5 he taught4 ,sid5ote3 ,music & emotion4 ,m ?an anyone else x 0 ,bee?ov5 :o br\ght music back to ! purpose :i* x _h 9 its fir/ rude /ate1 :5 x sprang unvolitionally f ! he>t & lips ( primitive man4 ,x became aga9 a vehicle = ! feel+s4 ,z su* x 0 accept$ by ! romantic compos]s to :om he belongs z fa!r1 se]1 & prophet1 q z intimately z he belongs to ! classici/s by reason ( 8 adh]5ce to =m z an ess5tial 9 music4 ,to 8 contempor>ies he appe>s z an image-break]1 b to ! cle>] vision ( to-day he /&s an un%akable b>ri] to lawless iconoclasm4 ,says ,sir ,george ,grove1 quot+ ,mr4 ,edw>d ,dannreu!r1 9 ! passages )9 ! inv]t$ commas3 ,sid5ote3 ,bee?ov5 a ,romantici/4 ,t he 0 no wild radical alt]+ = ! m]e pleasure ( alt]ation1 or 9 ! m]e se>* = orig9ality1 is evid5t f ! l5g? ( "t dur+ :i* he ab/a9$ f publi%+1 or ev5 compos+ works ( pret5sion1 & f ! lik5ess :i* 8 e>ly works possess to ^? ( 8 pr$ecessors4 ,he began naturally ) ! =ms :i* 7 9 use 9 8 days1 & 8 alt]ation ( !m grew v gradually ) ! necessities ( 8 expression4 ,! =m ( ! sonata is '! transp>5t veil ?r\gh :i* ,bee?ov5 seems to h look$ at all music4' ,& ! good po9ts ( t =m he reta9$ to ! la/--! 'triune symmetry ( exposition1 illu/ration1 & repetition1' :i* t admirable me?od all[$ & en=c$--b he p]mitt$ himself a mu* great] lib]ty ?an 8 pr$ecessors _h done 9 ! relation%ip ( ! keys ( ! diff]5t movem5ts1 & p>ts ( movem5ts1 & 9 ! proportion ( ! clauses & sections ) :i* he built !m up4 ,9 o!r words1 he 0 less b\nd by ! =ms & musical rules1 & m sway$ by ! ?\ght :i* he _h to express1 & ! directions :i* t ?\ght took 9 8 m9d4 ,sid5ote3 ,s*umann & ,*op94 ,x is sc>cely to be wond]$ at t :5 m5 l ,s*umann & ,*op9 felt ! full =ce ( ! new evangel :i* ,bee?ov5 _h prea*$1 !y proce$$ to c>ry ! =mal side ( poetic expression1 its vehicle1 into regions un?\ght ( be=e _! "t4 ,! few old =ms _h n[ to give way to a l>ge v>iety4 ,9 _! "w !y proce$$ f po9ts t 7 f> ap>t--,s*umann's 0 lit]>y1 ,*op9's political4 ,9 "o respect ! li/s ( _! pieces :i* appe> mo/ frequ5tly on recital programmes seem to h>k back to ! suites ( two c5turies ago--!y are sets ( %ort compositions gr\p$1 ei!r by ! compos] 7z is ! case ) ,s*umann7 or by ! p]=m] 7z is ! case ) ,*op9 9 ! h&s ( ,mr4 ,pad]ewski74 ,su* fanta/ic musical m9iatures z ,s*umann's ,c>naval & ,papillons are em95tly *>act]i/ic ( ! compos]'s intellectual & emotional nature1 :i* 9 8 univ]sity days _h fall5 "u ! spell ( lit]>y romanticism4 ,sid5ote3 ,jean ,paul's influ5ce4 ,sid5ote3 ,s*umann's inspirations4 ,:ile o/5sibly /udy+ jurisprud5ce at ,heidelb]g1 ,s*umann devot$ sev5 h\rs a day to ! pian(orte & sev]al to ,jean ,paul4 ,x 0 ?is writ] :o m\ld$ n only ,s*umann's lit]>y /yle 9 8 e>ly ye>s1 b also gave ! b5t :i* 8 creative activity 9 music took at ! outset4 ,to say little1 b vaguely h9t at mu*1 0 ! rule :i* he adopt$2 to rema9 s5t5ti\s 9 expression1 b give ! free/ & mo/ d>+ flight to 8 imag9ation1 & spurn ! conv5tional limitations set by rule & cu/om1 8 ambition4 ,su* fanciful & symbolical titles z ,fl[]1 ,fruit1 & ,?orn ,pieces1 ,titan1 etc41 :i* ,jean ,paul adopt$ = 8 s+ul> mixtures ( tale1 rhapsody1 philosophy1 & satire1 7 b\nd to f9d an imitator 9 s ard5t an apo/le z "y ,s*umann1 &1 !re=e1 we h su* compositions z ,papillons1 ,c>naval1 ,kreisl]iana1 ,phantasie/uecke1 & ! re/4 ,almo/ always1 x may be said1 ! pieces :i* make !m up 7 compos$ "u ! poetical & emotional impulses d]iv$ f lit]ature1 !n gr\p$ & nam$4 ,to und]/& _! poetic cont5ts ?is mu/ be kn[n4 ,sid5ote3 ,*op9's music4 ,sid5ote3 ,preludes4 ,*op9's fancy1 on ! o!r h&1 f\nd /imulation 9 ! *>m :i*1 = him1 lay 9 ! tone ( ! pian(orte itself 7to :i* he add$ a new lovel9ess by 8 mann] ( writ+71 z well z 9 ! rhy?ms ( ! popul> dances ( 8 c\ntry4 ,^! dances he n only beautifi$ z ! old suite writ]s beautifi$ _! =ms1 b he utiliz$ !m z vessels :i* he fill$ ) feel+1 n all ( :i* ne$ be accept$ z heal?y1 ?\gh mu* ( x is4 ,z to 8 titles1 ,preludes is purely an arbitr>y designation = compositions :i* are equally indef9ite 9 =m & "*2 ,niecks comp>es !m v aptly to a portfolio full ( draw+s 9 all /ages ( advancem5t--f9i%$ & unf9i%$1 complete & incomplete compositions1 sket*es & m]e memor&a1 all mix$ indiscrim9ately toge!r4 ,s1 too1 !y appe>$ to ,s*umann3 ,!y are sket*es1 comm5cem5ts ( /udies1 or1 if y w1 ru9s1 s+le eagle-w+s1 all /rangely mix$ toge!r4 ,nev]!less "s ( !m are m>vell\s s\l-pictures4 ,sid5ote3 ,etudes4 ,sid5ote3 ,nocturnes4 ,! ,etudes are /udies int5d$ to develop ! te*nique ( ! pian(orte 9 ! l9e ( ! compos]'s discov]ies1 8 me?od ( play+ ext5d$ arpeggios1 contra/$ rhy?ms1 progressions 9 ?irds & octaves1 etc41 b /ill !y brea! poetry & sometimes passion4 ,nocturne is an arbitr>y1 b expressive1 title = a %ort composition ( a dreamy1 contemplative1 or ev5 elegiac1 "*4 ,9 _m ( 8 nocturnes ,*op9 is ! ador$ s5tim5tali/ ( bo>d+-s*ool misses4 ,!re is poppy 9 !m & s$uctive poison = :i* ,niecks s5sibly prescribes ,ba* & ,bee?ov5 z antidotes4 ,! t]m ballad has be5 greatly abus$ 9 lit]ature1 & 9 music is intr9sically unmean+4 ,*op9's f\r ,ballades h "o feature 9 common--!y are writt5 9 triple "t2 & !y are among 8 f9e/ inspirations4 ,sid5ote3 ,! ,polonaise4 ,*op9's dances are conv5tionaliz$1 & d n all speak ! idiom ( ! p :o creat$ _! =ms1 b _! orig9al *>act]i/ics ought to be kn[n4 ,! ,polonaise 0 ! /ately dance ( ! ,poli% nobility1 m a m>* or procession ?an a dance1 full ( gravity & c\rtl9ess1 ) an impos+ & maje/ic rhy?m 9 triple "t t t5ds to emphasize ! second beat ( ! measure1 frequ5tly syncopat+ x & acc5tuat+ ! second half ( ! fir/ beat3 ,music illu/ration ,sid5ote3 ,! ,mazurka4 ,national color comes out m cle>ly 9 8 ,mazurkas4 ,unlike ! ,polonaise ?is 0 ! dance ( ! common p1 & ev5 z conv5tionaliz$ & poetically ref9$ by ,*op9 !re is /ill 9 ! ,mazurka "s ( ! rude vigor :i* lies 9 its propulsive rhy?m3 ,music illu/ration or ,music illu/ration ,sid5ote3 ,! ,krak[iak4 ,! ,krak[iak 7,fr5* ,cracovi5ne1 ,mr4 ,pad]ewski has a fasc9at+ specim5 9 8 ,humoresques de ,conc]t1 op4 #ad7 is a popul> dance indig5\s to ! di/rict ( ,crac[1 :5ce its "n4 ,its rhy?mical elem5ts are ^!3 ,music illu/ration & ,music illu/ration ,sid5ote3 ,idiomatic music4 ,sid5ote3 ,cont5t high] ?an idiom4 ,9 ! music ( ?is p]iod !re is noticeable a c>eful att5tion on ! "p ( ! compos]s to ! peculi>ities ( ! pian(orte4 ,no music1 save p]haps t ( ,liszt1 is s idiomatic4 ,frequ5tly 9 ,bee?ov5 ! cont5t ( ! music seems too great = ! m$ium ( expression2 we feel t ! ?\ght w\ld h _h bett] expression _h ! ma/] us$ ! or*e/ra in/ead ( ! pian(orte4 ,we may well pause a mom5t to obs]ve ! developm5t ( ! in/rum5t & its te*nique f !n till n[1 b z condemnation has already be5 pron\nc$ aga9/ excessive admiration ( te*nique = te*nique's sake1 s n[ ,i w\ld fir/ utt] a w>n+ aga9/ our appreciation ( ! new] *>m4 ,idiomatic ( ! pian(orte is a good en\gh phrase & a useful1 inde$1 b !re is dang] t if abus$ x may br+ some?+ l discr$it to ! in/rum5t4 ,x w\ld be a pity if music1 :i* conta9s ! l(tie/ attributes ( arti/ic beauty1 %\ld fail ( appreciation simply because x _h be5 obs]v$ t ! pian(orte is n ! mo/ conv5i5t1 appropriate1 or effective vehicle = its publication--a pity = ! pian(orte1 = !re9 w\ld lie an exemplification ( its imp]fection4 ,s1 too1 x w\ld be a pity if ! op9ion %\ld ga9 gr\nd t music :i* _h be5 cle>ly design$ to meet ! nature ( ! in/rum5t 0 = t reason good pian(orte music1 i4e41 idiomatic music1 irrespective ( its cont5t4 ,sid5ote3 ,developm5t ( ! pian(orte4 ,9 ,bee?ov5's day ! pian(orte 0 /ill a feeble in/rum5t comp>$ ) ! gr& ( to-day4 ,its capacities 7 b beg9n+ to be appreciat$4 ,bee?ov5 _h to seek & inv5t effects :i* n[ are kn[n to e amateur4 ,! in/rum5t :i* ! ,engli% manufactur] ,broadwood pres5t$ to him 9 #ahag _h a compass ( six octaves1 & 0 a :ole octave wid] 9 range ?an ,moz>t's pian(orte4 ,9 #agic ,clem5ti ext5d$ ! key-bo>d to five & a half octaves2 six & a half octaves 7 rea*$ 9 #ahaa1 & sev5 9 #ahea4 ,s9ce #ahea ?ree notes h be5 add$ )\t mat]ial improvem5t to ! in/rum5t4 ,?is ext5sion ( compass1 h[ev]1 is f> f be+ ! mo/ important improvem5t s9ce ! classic p]iod4 ,! gr[? 9 p[]1 sonority1 & tonal brilliancy has be5 mu* m m>k$1 & ( x ,liszt made /rik+ use4 ,sid5ote3 ,! ,p$als4 ,sid5ote3 ,%ift+ p$al4 ,sid5ote3 ,damp] p$al4 ,v significant1 too1 9 _! relation to ! developm5t ( ! music1 7 ! inv5tion & improvem5t ( ! p$als4 ,! %ift+ p$al 0 inv5t$ by a ,vi5nese mak] nam$ ,/e91 :o fir/ appli$ x to an in/rum5t :i* he nam$ ,sait5-h>monika4 ,be=e !n s(t effects 7 obta9$ by int]pos+ a bit ( felt betwe5 ! hamm]s & ! /r+s1 z may /ill be se5 9 old squ>e pian(ortes4 ,! %ift+ p$al1 or s(t p$al z x is popul>ly call$1 moves ! key-bo>d & action s t ! hamm] /rikes only "o or two ( ! unison /r+s1 leav+ ! o!r to vibrate sympa!tically4 ,bee?ov5 0 ! fir/ to appreciate ! possibilities ( ?is effect 7see ! sl[ movem5t ( 8 conc]to 9 ,g major & 8 la/ sonatas71 b aft] him came ,s*umann & ,*op91 & br\ght p$al manipulation to p]fection1 especially t ( ! damp] p$al4 ,?is is popul>ly call$ ! l\d p$al1 & ! vulg>e/ use to :i* x c be put is to multiply ! volume ( tone4 ,x 0 ,*op9 :o %[$ its capacity = su/a9+ a melody & enri*+ ! color effects by releas+ ! /r+s f ! damp]s & utiliz+ ! e!real s\nds :i* rise f ! /r+s :5 !y vibrate sympa!tically4 ,sid5ote3 ,liszt4 ,sid5ote3 ,a dual "*4 ,x is no "p ( my purpose to indulge 9 criticism ( compos]s1 b some?+ ( ! k9d is made unavoidable by ! position assign$ to ,liszt 9 our pian(orte recitals4 ,he is reli$ ^u to provide a sc9tillant close4 ,! piani/s1 !n1 ev5 ^? :o are 8 pr(ess$ admir]s1 are responsible if he is set d[n 9 our s*eme z ! exempl> ( ! te*nical cult4 ,te*nique hav+ its unque/ion$ value1 we are b\nd to admire ! m>vell\s gifts :i* enabl$ ,liszt practically to sum up all ! possibilities ( pian(orte me*anism 9 its pres5t /age ( con/ruction1 b we ne$ n look ) unalloy$ gratitude ^u 8 influ5ce z a compos]4 ,!re 71 ,i fe>1 two sides to ,liszt's arti/ic "* z well z 8 moral4 ,i believe he _h 9 him a t\* ( *>latanism z well z a magnific5t am\nt ( arti/ic s9c]ity--j z he bl5d$ a laxity ( moral ideas ) a pr(\nd religi\s my/icism4 ,x w\ld h be5 /range inde$1 gr[+ up z he did 9 ! :it$ sepul*re ( ,p>isian salon life1 if he _h n accu/om$ himself to sacrifice a little ( ! s\l ( art = ! sake ( va+lory1 & a little ( its poetry & feel+ to make display ( ^? dazzl+ digital feats :i* he inv5t$4 ,b1 be x said to 8 honor1 he nev] play$ m\ntebank tricks 9 ! pres5ce ( ! ma/]s :om he rev]$4 ,x 0 :5 he approa*$ ! music ( ,bee?ov5 t he sank all ?\ght ( self & rose to a pe]less height z an int]pret+ arti/4 ,sid5ote3 ,liszt's ,hung>ian ,rhapsodies4 ,sid5ote3 ,gypsies & ,magy>s4 ,liszt's place z a compos] ( orig9al music has n yet be5 det]m9$1 b z a transcrib] ( ! music ( o!rs ! giv]s ( pian(orte recitals keep him always be=e u4 ,! %[y ,hung>ian ,rhapsodies ) :i* ! majority ( pian(orte recitals end are1 h[ev]1 m ?an m]e transcriptions4 ,!y are con/ruct$ out ( ! folk-songs ( ! ,magy>s1 & 9 _! treatm5t ! compos] has frequ5tly reproduc$ ! *>act]i/ic p]=mances :i* !y receive at ! h&s ( ! ,gypsies f :om he le>n$ !m4 ,?is fact & ! belief to :i* ,liszt gave curr5cy 9 8 book ,des ,bohemi5s et de leur musique en ,hongrie h giv5 rise to ! almo/ univ]sal belief t ! ,magy> melodies are ( ,gypsy orig94 ,?is belief is errone\s4 ,! ,gypsies h = c5turies be5 ! musical practition]s ( ,hung>y1 b !y are n ! compos]s ( ! music ( ! ,magy>s1 ?\gh !y h put a m>k$ impress n only on ! melodies1 b also on popul> ta/e4 ,! ,hung>ian folk-songs are a p]fect reflex ( ! national "* ( ! ,magy>s1 & "s h be5 trac$ back c5turies 9 _! lit]ature4 ,?\gh _! mo/ m>k$ melodic peculi>ity1 ! frequ5t use ( a m9or scale conta9+ "o or ev5 two sup]flu\s seconds1 z ?us3 ,sid5ote3 ,magy> scales4 ,music illu/ration may be said to belong to ,ori5tal music z a :ole 7& ! ,magy>s are ,ori5tals71 ! songs h a rhy?mical peculi>ity :i* is a direct product ( ! ,magy> language4 ,?is peculi>ity consi/s ( a figure 9 :i* ! emphasis is %ift$ f ! /rong to ! weak "p by mak+ ! fir/ take only a fraction ( ! "t ( ! second1 ?us3 ,music illu/ration ,sid5ote3 ,! ,scot* snap4 ,sid5ote3 ,gypsy epics4 ,9 ,scotti% music ?is rhy?m also plays a prom95t "p1 b !re x falls into ! beg9n+ ( a measure1 :]eas 9 ,hung>ian x =ms ! middle or end4 ,! result is an effect ( syncopation :i* is peculi>ly =ceful4 ,!re is an indubitable ,ori5tal relic 9 ! pr(use embelli%m5ts :i* ! ,gypsies weave ar\nd ! ,hung>ian melodies :5 play+ !m2 b ! fact t !y ?ru/ ! same embelli%m5ts ^u ,spani% & ,russian music1 9 fact ^u all ! music :i* !y play1 indicates pla9ly en\gh t ! impulse to d s is native to !m1 & has no?+ to d ) ! national ta/e ( ! c\ntries = :i* !y provide music4 ,liszt's confess$ purpose 9 writ+ ! ,hung>ian ,rhapsodies 0 to create :at he call$ ,gypsy epics4 ,he _h ga!r$ a l>ge numb] ( ! melodies )\t a def9ite purpose1 & 0 pond]+ :at to d ) !m1 :5 x occurr$ to him t ,^! fragm5t>y1 scatt]$ melodies 7 ! w&]+1 float+1 nebul\s "p ( a great :ole1 t !y fully answ]$ ! conditions = ! production ( an h>moni\s unity :i* w\ld compreh5d ! v fl[] ( _! ess5tial prop]ties1 _! mo/ unique beauties1 & might be unit$ 9 "o homog5e\s body1 a complete "w1 its divisions to be s arrang$ t ea* song w\ld =m at once a :ole & a "p1 :i* might be sev]$ f ! re/ & be exam9$ & enjoy$ by & = itself2 b :i* w\ld1 none ! less1 belong to ! :ole ?r\gh ! close aff9ity ( subject matt]1 ! simil>ity ( its inn] nature & unity 9 developm5t4,d ,sid5ote3 ,! ,cz>das4 ,! basis ( ,liszt's ,rhapsodies be+ ?us di/9ctively national1 he has 9 a mann] imitat$ 9 _! "* & tempo ! dual "* ( ! ,hung>ian national dance1 ! ,cz>das1 :i* consi/s ( two movem5ts1 a ,lassu1 or sl[ movem5t1 foll[$ by a ,friss4 ,^! alt]nate at ! w ( ! danc]1 :o gives a sign to ! b& :5 he wi%es to *ange f "o to ! o!r4 ,,footnotes3 ,d ,weitzmann1 ,ges*i*te des ,clavi]spiels1 p4 #aig4 ,,vii ,at ! ,op]a ,sid5ote3 ,in/ability ( ta/e4 ,sid5ote3 ,! age ( op]as4 ,popul> ta/e 9 respect ( ! op]a is curi\sly un/able4 ,x is surpris+ t ! canons ( judgm5t t\*+ x h su* feeble & fleet+ au?ority 9 view ( ! popul>ity ( ! art-=m & ! despotic hold :i* x has _h on fa%ion = two c5turies4 ,no =m ( popul> ent]ta9m5t is acclaim$ s en?usia/ically z a new op]a by an admir$ compos]2 none =gott5 s quickly4 ,= ! spok5 drama we g back to ,%akespe>e 9 ! v]nacul>1 &1 on occasions1 we revive ! ma/]pieces ( ! ,attic poets :o fl\ri%$ m ?an two mill5niums ago2 b = op]a we are b\nd$ by less ?an a c5tury1 unless occasional p]=mances ( ,gluck's ,orfeo & ,moz>t's ,fig>o1 ,don ,giovanni1 & ,magic ,flute be c\nt$ z submissions to popul> dem&1 :i*1 unhappily1 we "k !y are n4 ,!re is no "o :o has att5d$ ! op]a = tw5ty-five ye>s :o might n bewail ! loss ( op]as f ! curr5t li/ :i* appeal$ to 8 y\ng] fancy z works ( real lovel9ess4 ,9 ! season ( #ahie-if ! audi5ces at ! ,metropolitan ,op]a ,h\se 9 ,new ,york he>d tw5ty-six diff]5t op]as4 ,! olde/ 7 ,gluck's ,orfeo & ,bee?ov5's ,fidelio1 :i* _h a s+le exp]im5tal repres5tation ea*4 ,aft] !m 9 s5iority came ,donizetti's ,lucia di ,lamm]moor1 :i* is sixty-"o ye>s old1 & has ov]pass$ ! av]age age ( immortal op]as by f t5 to tw5ty ye>s1 assum+ ,dr4 ,hanslick's calculation to be correct4 ,sid5ote3 ,decimation ( ! op]atic li/4 ,sid5ote3 ,dep5d5ce on s+]s4 ,! compos]s :o wrote op]as = ! g5]ation t witness$ ,adel9a ,patti's debut at ! ,academy ( ,music1 9 ,new ,york1 7 ,bell9i1 ,donizetti1 ,v]di1 & ,mey]be]4 ,?anks to 8 progressive g5ius1 ,v]di is /ill alive on ! /age1 ?\gh n9e-t5?s ( ! op]as :i* made 8 fame & =tune h already sunk into oblivion2 ,mey]be]1 too1 is /ill a m or less pot5t factor ) 8 ,hugu5ots1 :i*1 l ,lucia1 has endur$ f t5 to tw5ty ye>s long] ?an ! av]age immortal2 b ! cont9u$ exi/5ce ( ,bell9i & ,donizetti seems to be z closely b\nd up ) t ( two or ?ree s+]s z 0 ,meleag]'s life ) ! burn+ billet :i* 8 "m snat*$ f ! flames4 ,s f> z ! p ( ,london & ,new ,york are conc]n$ :e!r or n !y %all he> ,donizetti m1 re/s ) ,mesdames ,patti & ,melba1 = ,donizetti spells ,lucia2 ,bell9i pleads pite\sly 9 ,sonnambula1 b only ,madame ,nevada w play ! m$iator betwe5 him & our /iff-neck$ g5]ation4 ,sid5ote3 ,an un/able art-=m4 ,sid5ote3 ,c>elessness ( ! public4 ,sid5ote3 ,addison's criticism4 ,sid5ote3 ,indiff]5ce to ! words4 ,op]a is a mix$ art-=m & has ev] be51 & p]haps mu/ ev] be1 9 a /ate ( flux1 subject to ! *anges ( ta/e 9 music1 ! drama1 s++1 act+1 & ev5 politics & morals2 b 9 "o p>ticul> ! public has %[n no *ange = a c5tury & a half1 & x is n q cle> :y ?is has n giv5 great] fixity to popul> appreciation4 ,! p ( to-day are z bli!ly indiff]5t to ! fact t _! op]as are all pres5t$ 9 a =eign tongue z !y 7 two c5turies ago 9 ,engl&4 ,! influ5ce ( ,wagn] has done mu* to /imulate a s]i\s attitude t[>d ! lyric drama1 b ?is is seldom f\nd outside ( ! audi5ces 9 att5dance on ,g]man repres5tations4 ,! devotees ( ! ,lat9 exotic1 :e!r x bl5d ,fr5* or ,italian 7or bo?1 z is ! rule 9 ,new ,york & ,london7 ) its melodic p]fume1 enjoy ! music & ignore ! words ) ! same non*alance t ,addison made m]ry ov]4 ,addison proves to h be5 a poor prophet4 ,! great-gr&*ildr5 ( 8 contempor>ies are n at all curi\s to "k :y _! =efa!rs us$ to sit toge!r l an audi5ce ( =eign]s 9 _! own c\ntry1 & to he> :ole plays act$ be=e !m 9 a tongue :i* !y did n und]/&4 ,:at _! great-gr&p>5ts did 0 also done by _! gr&p>5ts & _! p>5ts1 & may be done by _! *ildr51 gr&*ildr51 & great-gr&*ildr5 aft] !m1 unless ,engli%m5 & ,am]icans %all take to he>t ! lessons :i* ,wagn] essay$ to tea* 8 own p4 ,= ! pres5t1 ?\gh we h aboli%$ _m absurdities :i* grew out ( a conception ( op]a t 0 bas$ ^u ! simple1 s5su\s delight :i* s++ gave1 ! *>m ( music is /ill supreme1 & we c sit out an op]a )\t giv+ a ?\ght to ! words utt]$ by ! s+]s4 ,! popul> attitude is fairly repres5t$ by t ( ,boileau1 :5 he w5t to he> ,atys & reque/$ ! box-keep] to put him 9 a place :]e he c\ld he> ,lully's music1 :i* he lov$1 b n ,qu9ault's words1 :i* he despis$4 ,sid5ote3 ,pa/ & pres5t4 ,x is int]e/+ to note t 9 ?is respect ! condition ( affairs 9 ,london 9 ! e>ly "p ( ! eighte5? c5tury1 :i* seem$ s mon/r\sly div]t+ to ,addison1 0 l t 9 ,hamburg 9 ! latt] "p ( ! sev5te5?1 & 9 ,new ,york at ! end ( ! n9ete5?4 ,!re 7 ?ree ye>s 9 ,london :5 ,italian & ,engli% 7 mix$ 9 ! op]atic repres5tations4 ,! k+ or h]o ( ! play g5]ally spoke 9 ,italian & 8 slaves answ]$ him 9 ,engli%2 ! lov] frequ5tly made 8 c\rt & ga9$ ! he>t ( 8 pr9cess 9 a language :i* %e did n und]/&4 ,sid5ote3 ,polyglot op]a4 ,at l5g?1 says ,addison1 ! audi5ce got tir$ ( und]/&+ half ! op]a1 & to ease !mselves entirely ( ! fatigue ( ?9k+1 s ord]$ x t ! :ole op]a 0 p]=m$ 9 an unkn[n tongue4 ,sid5ote3 ,p]v]sions ( texts4 ,!re is ?is diff]5ce1 h[ev]1 betwe5 ,new ,york & ,london & ,hamburg at ! p]iod ref]r$ to3 :ile ! op]atic rag\t 0 comp\nd$ ( ,italian & ,engli% 9 ,london1 ,italian & ,g]man 9 ,hamburg1 ! +r$i5ts "h are ,italian1 ,fr5*1 & ,g]man1 ) no admixture ( ! v]nacul>4 ,/rictly speak+1 our case is m desp]ate ?an t ( our =eign pr$ecessors1 = ! developm5t ( ! lyric drama has lift$ its v]bal & dramatic elem5ts into a position n dream$ ( two hundr$ ye>s ago4 ,we might endure ) equanimity to he> ! *orus s+ ,sid5ote3 ,rob]t le ,diable4 ,la s\pe aux *\x se fait dans la m>mite1 ,dans la m>mite on fait la s\pe aux *\x at ! beg9n+ ( ,rob]t le ,diable1 z tradition says us$ to be done 9 ,p>is1 b we surely ought to rise 9 rebellion :5 ! *orus ( gu>ds *ange _! mutt]$ comm5ts on ,piz>ro's furi\s aria 9 ,fidelio f ,sid5ote3 ,fidelio4 ,er spri*t von ,tod und ,wunde6 to ,er spri*t vom todt5 ,hunde6 z is a preval5t cu/om among ! irrev]5t *ori/]s ( ,g]many4 ,addison confesses t he 0 (t5 afraid :5 see+ ! ,italian p]=m]s *att]+ 9 ! vehem5ce ( action1 t !y 7 call+ ! audi5ce names & abus+ !m among !mselves4 ,i d n "k h[ to measure ! morals & mann]s ( our ,italian s+]s aga9/ ^? ( ,addison's "t1 b ,i d "k t _m ( ! ?+s :i* !y say be=e our v faces = _! own div]sion are n complim5t>y to our intellig5ce4 ,i hope ,i h a prop] respect = ,mr4 ,gilb]t's ba%ful "y potato1 b ,i d n ?9k x "r :ile we are sympa?iz+ ) ! g5tle passion ( ,siebel to h 8 repres5tative br+ an (f]+ ( fl[]s &1 look+ u full 9 ! face1 s+3 ,le patate d'amor1 ,o c>i fior6 ,sid5ote3 ,fau/4 ,sid5ote3 ,porpora's ,cr$o4 ,x isn't respectful1 & x enables ! cynics ( to-day to say1 ) ! poeta/]s & fiddl]s ( ,addison's day1 t no?+ is capable ( be+ well set to music t is n nons5se4 ,op]atic words 7 once m]ely /alk+-horses = tunes1 b t day is pa/4 ,we us$ to smile at ,brignoli's ,ah si6 ah si6 ah si6 :i* did s]vice = any text 9 high passages2 b if a compos] %\ld1 = ! accommodation ( 8 music1 *ange ! word+ ( ! cre$ into ,cr$o1 non cr$o1 non cr$o 9 unum ,deum1 z ,porpora once did1 we %\ld all cry out = 8 excommunication4 ,z an art-=m ! op]a has frequ5tly be5 criticis$ z an absurdity1 & x is d\btless ow+ to su* a conviction t _m p are equally indiff]5t to ! language employ$ & ! s5tim5ts embodi$ 9 ! words4 ,ev5 s s]i\s a writ] z ,george ,hog>? does n hesitate 9 8 ,memoirs ( ! ,op]a to def5d ?is c>eless attitude4 ,sid5ote3 ,are words uness5tial8 ,! words ( an air are ( small importance to ! compreh5sion ( ! bus9ess ( ! piece1 he says2 !y m]ely express a s5tim5t1 a reflection1 a feel+2 x is q en\gh if _! g5]al import is kn[n1 & ?is may mo/ frequ5tly be ga!r$ f ! situation1 aid$ by ! "* & expression ( ! music4 ,sid5ote3 ,il ,trovatore4 ,i1 myself1 h kn[n an ard5t lov] ( music :o resolutely refus$ to look into a libretto because1 be+ ( a lively & imag9ative temp]am5t1 %e pref]r$ to con/ruct h] own plots & put h] own words 9 ! m\?s ( ! s+]s4 ,?\gh a con/ant att5dant on ! op]a1 %e nev] knew :at ,il ,trovatore 0 ab\t1 :i*1 p]haps1 is n s surpris+ aft] all4 ,d\btless ! play :i* %e _h fa%ion$ 9 h] own m9d 0 m compreh5sible ?an ,v]di's m$ley ( burnt *ildr5 & a/hmatic dance rhy?ms4 ,madame de ,/ael w5t s f> z to condemn ! ,g]man compos]s because !y foll[ too closely ! s5se ( ! words1 :]eas ! ,italians1 :o are truly ! musicians ( nature1 make ! air & ! words con=m to ea* o!r only 9 a g5]al way4 ,sid5ote3 ,! op]a def5d$ z an art-=m4 ,sid5ote3 ,! classic trag$y4 ,n[ ! pres5t g5]ation has witness$ a revolution 9 op]atic ideas :i* has lift$ ! poetical elem5ts ^u a plane n dream$ ( :5 op]a 0 m]ely a conc]t 9 co/ume1 & x is no long] tol]able t x be set d[n z an absurdity4 ,on ! contr>y1 ,i believe t1 look$ at 9 ! light ?r[n ^u x by ! hi/ory ( ! drama & ! orig9 ( music1 ! op]a is completely ju/ifi$ z an art-=m1 &1 9 its be/ e/ate1 is an entirely reasonable & highly effective ent]ta9m5t4 ,no mean place1 surely1 %\ld be giv5 9 ! e/imation ( ! judici\s to an art-=m :i* aims 9 an equal degree to *>m ! s5ses1 /imulate ! emotions1 & p]suade ! reason4 ,?is1 ! op]a1 or1 p]haps ,i w\ld bett] say ! lyric drama1 c be made to d z effici5tly z ! ,greek trag$y did x1 s f> z ! diff]5ces betwe5 ! civilizations ( anci5t ,hellas & ! n9ete5? c5tury w p]mit4 ,! ,greek trag$y 0 ! orig9al op]a1 a fact :i* lit]>y /udy w\ld alone h made pla9 ev5 if x 7 n cle>ly ( record t x 0 an ef=t to re/ore ! anci5t plays 9 _! integrity t gave rise to ! ,italian op]a ?ree c5turies ago4 ,sid5ote3 ,g5esis ( ! ,greek plays4 ,e s*ool-boy kn[s n[ t ! ,hell5ic plays 7 simply ! f9al evolution ( ! dances ) :i* ! p ( ,hellas celebrat$ _! religi\s fe/ivals4 ,at ! ru/ic ,bac*ic fea/s ( ! e>ly ,greeks !y sang hymns 9 honor ( ! w9e-god1 & danc$ on goat-sk9s fill$ ) w9e4 ,he :o held 8 foot+ be/ on ! trea*]\s surface c>ri$ home ! w9e z a rew>d4 ,!y cont5d$ 9 a?letic games & songs = a goat1 & f ?is circum/ance s*ol>s h surmis$ we h ! ^w trag$y1 :i* means goat-song4 ,! *oric songs & dances grew 9 v>iety & beauty4 ,f9ally1 somebody 7tradition pres]ves ! "n ( ,!spis z ! man7 conceiv$ ! idea ( introduc+ a simple dialogue betwe5 ! /rophes ( ! *oric song4 ,g5]ally ?is dialogue took ! =m ( a recital ( "s /ory conc]n+ ! god ^: fe/ival 0 celebrat+4 ,!n :5 ! di?yrambic song return$1 x w\ld ei!r cont9ue ! n>rative or comm5t on its e?ical features4 ,sid5ote3 ,mimicry & dress4 ,! m]ry-mak]s1 or wor%ipp]s1 z "o *ooses to look ^u !m1 manife/$ _! en?usiasm by imitat+ ! appe>ance z well z ! actions ( ! god & 8 vot>ies4 ,!y sme>$ !mselves ) w9e-lees1 color$ _! bodies black & r$1 put on masks1 cov]$ !mselves ) ! sk9s ( bea/s1 enact$ ! p>ts ( nymphs1 fauns1 & satyrs1 ^? creatures ( primitive fancy1 half m5 & half goats1 :o 7 ! repres5tatives ( natural s5suality untrammell$ by conv5tionality4 ,sid5ote3 ,melodrama4 ,next1 somebody 7,ar*ilocus7 s\ght to height5 ! effect ( ! /ory or ! dialogue by consort+ x ) in/rum5tal music2 & ?us we f9d ! g]m ( :at musicians--n newspap] writ]s--call melodrama1 9 ! v e>ly /ages ( ! drama's developm5t4 ,gradually ^! simple ru/ic ent]ta9m5ts 7 tak5 9 h& by ! poets :o drew on ! leg5d>y /ores ( ! p = subjects1 bran*+ out f ! do+s ( gods to ! do+s ( god-l m51 ! popul> h]oes1 & develop$ out ( !m ! ma/]pieces ( dramatic poetry :i* are /ill /udi$ ) amazem5t1 admiration1 & love4 ,sid5ote3 ,factors 9 anci5t trag$y4 ,! dramatic factors :i* h be5 mu/]$ 9 ?is outl9e are ^!3 #a4 ,! *oric dance & song ) a religi\s purpose4 #b4 ,recitation & dialogue4 #c4 ,*>act]ization by means ( imitative ge/ures--pantomime1 t is--& dress4 #d4 ,in/rum5tal music to accompany ! song & also ! action4 ,sid5ote3 ,op]atic elem5ts4 ,sid5ote3 ,words & music unit$4 ,all ^! h be5 reta9$ 9 ! mod]n op]a1 :i* may be said to diff] *iefly f its anci5t model 9 ! m important & m indep5d5t "p :i* music plays 9 x4 ,x w appe> lat] 9 our /udy t ! importance & indep5d5ce a*iev$ by "o ( ! elem5ts consort$ 9 a "w by nature composite1 l$ ! way to a revolution hav+ = its object a re/oration ( some?+ l ! anci5t drama4 ,9 ?is anci5t drama & its precursor1 ! di?yrambic song & dance1 is f\nd a union ( words & music :i* sci5tific inve/igation proves to be n only entirely natural b inevitable4 ,9 a g5]al way mo/ p are 9 ! habit ( speak+ ( music z ! language ( ! emotions4 ,! elem5ts :i* ent] into vocal music 7( necessity ! e>lie/ =m ( music7 are unvolitional products :i* we mu/ conceive z co-exi/5t ) ! beg9n+s ( human life4 ,d !y !n ant$ate articulate spee*8 ,did man s+ be=e he spoke8 ,i %all n qu>rel ) anybody :o *ooses s to put x4 ,sid5ote3 ,physiology ( s++4 ,?9k a mom5t ab\t ! me*anism ( vocal music4 ,some?+ occurs to /ir up y\r emotional nature--a great joy1 a great sorr[1 a great fe>2 in/antly1 involunt>ily1 9 spite ( y\r ef=ts to prev5t x1 maybe1 muscul> actions set 9 :i* proclaim ! emotion :i* fills y4 ,! muscles & organs ( ! *e/1 ?roat1 & m\? contract or relax 9 ob$i5ce to ! emotion4 ,y utt] a cry1 & accord+ to ! /ate ( feel+ :i* y are 91 t cry has pit*1 quality 7timbre ! s++ tea*]s call x71 & dynamic int5sity4 ,y attempt to speak1 & no matt] :at ! words y utt]1 ! emotional drama play+ on ! /age ( y\r he>t is divulg$4 ,sid5ote3 ,h]b]t ,sp5c]'s laws4 ,! man ( sci5ce obs]ves ! ph5om5on & =mulates its laws1 say+1 = in/ance1 z ,h]b]t ,sp5c] has said3 ,all feel+s are muscul> /imuli2 &1 ,v>iations ( voice are ! physiological results ( v>iations ( feel+4 ,x 0 ! recognition ( ?is extraord9>y intimacy betwe5 ! voice & ! emotions :i* br\ght music all ! _w ov] into ! s]vice ( religion1 & provid$ ! ph5om5on1 :i* we may /ill obs]ve if we be b m9d$ to d s1 t m]e tones h sometimes ! sanctity ( words1 & mu/ z little be *ang$ z anci5t hymns & pray]s4 ,sid5ote3 ,inv5tion ( ,italian op]a4 ,sid5ote3 ,musical declamation4 ,! end ( ! sixte5? c5tury saw a cot]ie ( s*ol>s1 art-lov]s1 & amateur musicians 9 ,flor5ce :o desir$ to re-e/abli% ! relation%ip :i* !y knew _h once exi/$ betwe5 music & ! drama4 ,! revival ( le>n+ _h made ! classic trag$y de> to _! he>ts4 ,!y knew t 9 ! old5 "t trag$y1 ( :i* ! words only h come d[n to u1 _h be5 musical ?r\gh\t4 ,9 _! ef=ts to br+ ab\t an intimacy betwe5 dramatic poetry & music !y f\nd t no?+ c\ld be done ) ! polite music ( _! "t4 ,x 0 ! p]iod ( highe/ developm5t 9 ecclesia/ical music1 & ! climax ( artificiality4 ,! pr(essional musicians to :om !y turn$ scorn$ _! !ories & w\ld n help !m2 s !y fell back on _! own res\rces4 ,!y cut ! ,gordian knot & inv5t$ a new /yle ( music1 :i* !y fanci$ 0 l t us$ by ! anci5ts 9 _! /age-plays4 ,!y aboli%$ polyphony1 or contrapuntal music1 9 ev]y?+ except _! *oruses1 & creat$ a sort ( musical declamation1 us+ v>iations ( pit* & h>monies built up on a simple bass to give emotional life to _! words4 ,9 *oos+ _! tones !y 7 guid$ by obs]vation ( ! vocal inflections produc$ 9 spee* "u /ress ( feel+1 %[+ ?us a recognition ( ! law :i* ,h]b]t ,sp5c] =mulat$ two hundr$ & fifty ye>s lat]4 ,sid5ote3 ,! music ( ! ,flor5t9e re=m]s4 ,sid5ote3 ,! solo /yle1 h>mony1 & declamation4 ,sid5ote3 ,flu5t recitatives4 ,! music :i* ^! m5 produc$ & admir$ s\nds to u monoton\s 9 ! extreme1 = :at little melody !re is 9 x is 9 ! *oruses1 :i* !y fail$ to emancipate f ! ecclesia/ical art1 & :i* = t reason 7 z /iff & inela/ic z ! music :i* 9 _! controv]sies ) ! musicians !y condemn$ ) vigor4 ,yet )9 _! inv5tion !re lay an entirely new _w ( music4 ,out ( x came ! solo /yle1 a song ) in/rum5tal accompanim5t ( a k9d unkn[n to ! *ur* compos]s4 ,out ( x1 too1 came h>mony z an indep5d5t factor 9 music in/ead ( an accid5t ( ! simultane\s fl[ ( melodies2 & out ( x came declamation1 :i* drew its life f ! text4 ,! recitatives :i* !y wrote _h ! flu5cy ( spok5 words & 7 n ret>d$ by melodic =ms4 ,! new /yle did n accompli% :at its creators hop$ =1 b x gave bir? to ,italian op]a & emancipat$ music 9 a l>ge measure f ! =malism t dom9at$ x s long z x belong$ exclusively to ! compos]s = ! *ur*4 ,sid5ote3 ,pr$ecessors ( ,wagn]4 ,sid5ote3 ,old op]atic di/9ctions4 ,sid5ote3 ,op]a buffa4 ,sid5ote3 ,op]a s]ia4 ,sid5ote3 ,recitative4 ,detail$ /udy ( ! progress ( op]a f ! fir/ ef=ts ( ! ,flor5t9es to ,wagn]'s dramas w\ld c>ry u too f> afield to s]ve ! purposes ( ?is book4 ,my aim is to fix ! attitude prop]1 or at lea/ useful1 to ! op]a audi5ce ( to-day4 ,! excursion into hi/ory :i* ,i h made has b ! purpose to give ! art-=m a reputable /&+ 9 c\rt1 & to expla9 ! motives :i* prompt$ ! revolution accompli%$ by ,wagn]4 ,z to ! elem5ts :i* compose an op]a1 only ^? ne$ p>ticul> att5tion :i* are illu/rat$ 9 ! curr5t rep]tory4 ,unlike ! op]a audi5ces ( two c5turies ago1 we are n requir$ to di/+ui% c>efully betwe5 ! v>i\s /yles ( op]a 9 ord] to und]/& :y ! compos] adopt$ a p>ticul> mann]1 & c]ta9 fix$ =ms 9 ea*4 ,! old di/9ctions betwe5 ,op]a s]ia1 ,op]a buffa1 & ,op]a semis]ia p]plex u no m4 ,only because ( ! p]v]sion ( ! "t-honor$ ,italian epi!t buffa by ! ,fr5* mongrel ,op]a b\ffe is x necess>y to expla9 t ! classic ,op]a buffa 0 a polite com$y1 ^: musical integum5t did n ( necessity diff] f t ( ,op]a s]ia except 9 ?is--t ! dialogue 0 c>ri$ on 9 dry recitative 7recitativo secco1 or p>lante7 9 ! =m]1 & a m measur$ declamation ) or*e/ral accompanim5t 7recitativo /rom5tato7 9 ! latt]4 ,s f> z subject-matt] 0 conc]n$ ! classic di/9ction betwe5 trag$y & com$y s]v$4 ,! dry recitative 0 support$ by *ords play$ by a d\ble-bass & h>psi*ord or pian(orte4 ,9 ,london1 at a lat] p]iod1 = reasons ( d\btful validity1 ^! *ords came to be play$ on a d\ble-bass & violoncello1 z we occasionally he> !m to-day4 ,sid5ote3 ,op]a semis]ia4 ,sid5ote3 ,don ,giovanni4 ,%akespe>e has taught u to accept an infusion ( ! comic elem5t 9 plays ( a s]i\s ca/1 b ,%akespe>e 0 an innovator1 a ,romantici/1 &1 measur$ by old /&>ds1 8 dramas are irregul>4 ,! ,italians1 :o foll[$ classic models1 = a reason amply expla9$ by ! g5esis ( ! art-=m1 rigor\sly exclud$ com$y f s]i\s op]as1 except z int]mezzi1 until !y hit ^u a ?ird classification1 :i* !y call$ ,op]a semis]ia1 9 :i* a s]i\s subject 0 enliv5$ ) comic episodes4 ,our dramatic ta/es be+ gr\nd$ 9 ,%akespe>e1 we %\ld be incl9$ to put d[n ,don ,giovanni z a musical trag$y2 or1 haunt$ by ! ,italian t]m9ology1 z ,op]a semis]ia2 b ,moz>t calls x ,op]a buffa1 m 9 def]5ce to ! libretti/'s "w1 ,i fancy1 ?an 8 own1 =1 z ,i h sugge/$ else:]e1,e ! musician's imag9ation 9 ! fire ( composition w5t f> beyond ! conv5tional fancy ( ! libretti/ 9 ! f9ale ( t mo/ wond]ful "w4 ,sid5ote3 ,an ,op]a buffa4 ,sid5ote3 ,fr5* ,gr& ,op]a4 ,sid5ote3 ,op]a comique4 ,sid5ote3 ,mignon4 ,sid5ote3 ,fau/4 ,x is well to rememb] t ,don ,giovanni is an ,op]a buffa :5 wat*+ ! buffoon]ies ( ,leporello1 = t alone ju/ifies !m4 ,! ,fr5* h ,gr& ,op]a1 9 :i* ev]y?+ is sung to or*e/ra accompanim5t1 !re be+ nei!r spok5 dialogue nor dry recitative1 & ,op]a comique1 9 :i* ! dialogue is spok54 ,! latt] corresponds ) ! honorable ,g]man t]m ,s+spiel1 & "o w n g f> a/ray if he associate bo? t]ms ) ! ,engli% op]as ( ,wallace & ,balfe1 save t ! ,fr5* & ,g]mans h g5]ally be5 m deft 9 bridg+ ov] ! *asm betwe5 spee* & song ?an _! ,briti% rivals4 ,op]a comique has ano!r *>act]i/ic1 its d5\em5t mu/ be happy4 ,=m]ly ! ,!atre national de l',op]a-,comique 9 ,p>is 0 devot$ exclusively to ,op]a comique z ?us def9$ 7x has s9ce aboli%$ ! di/9ction & ,gr& ,op]a may be he>d !re n[71 &1 !re=e1 :5 ,ambroise ,?omas br\ght =w>d 8 ,mignon1 ,goe!'s /ory 0 f\nd to be *ang$ s t ,mignon recov]$ & 0 m>ri$ to ,wilhelm ,mei/] at ! end4 ,! ,g]mans are seldom pleas$ ) ! trans=mations :i* _! lit]>y ma/]pieces are =c$ to und]go at ! h&s ( ,fr5* libretti/s4 ,!y /ill refuse to call ,g\nod's ,fau/ by t "n2 if y wi% to he> x 9 ,g]many y mu/ g to ! !atre :5 ,m>g>e! is p]=m$4 ,naturally !y fell indignantly af\l ( ,mignon1 & to placate !m we h a second f9ale1 a d5\em5t allem&1 provid$ by ! au?ors1 9 :i* ,mignon dies z %e ought4 ,sid5ote3 ,grosse ,op]4 ,sid5ote3 ,comic op]a & op]etta4 ,sid5ote3 ,op]a b\ffe4 ,sid5ote3 ,romantic op]as4 ,( c\rse ! ,grosse ,op] ( ! ,g]mans is ! ,fr5* ,gr& ,op]a & ! ,engli% gr& op]a--b all ! ,engli% t]ms are ambigu\s1 & ev]y?+ t is done 9 ,cov5t ,g>d5 9 ,london or ! ,metropolitan ,op]a ,h\se 9 ,new ,york is set d[n z gr& op]a1 j z ! vile/ imitations ( ! ,fr5* vaudevilles or ,engli% f>ces ) music are call$ comic op]as4 ,9 its be/ e/ate1 say 9 ! delightful works ( ,gilb]t & ,sullivan1 :at is designat$ z comic op]a ought to be call$ op]etta1 :i* is a piece 9 :i* ! =ms ( gr& op]a are imitat$1 or trave/i$1 ! dialogue is spok51 & ! purpose ( ! play is to satirize a popul> folly4 ,only 9 me?od1 ag5cies1 & scope does su* an op]etta 7! examples ( ,gilb]t & ,sullivan are 9 m9d7 diff] f com$y 9 its be/ conception1 z a dramatic composition :i* aims to *a/ise mann]s ) a smile 7,rid5do ca/igat mores74 ,its pres5t deg5]acy1 z illu/rat$ 9 ! ,op]a b\ffe ( ! ,fr5* & ! concoctions ( ! w\ld-be imitators ( ,gilb]t & ,sullivan1 exemplifies little else ?an a pursuit f> into ! dep?s ( ! me?od sugge/$ by a fri5d to "o ( ,lully's imitators :o _h express$ a fe> t a ballet writt51 b n yet p]=m$1 w\ld fail4 ,y mu/ l5g!n ! dances & %ort5 ! ladies' skirts1 he said4 ,! ,g]mans make ano!r di/9ction bas$ on ! subject *os5 = ! /ory4 ,spohr's ,jessonda1 ,web]'s ,freis*uetz1 ,ob]on1 & ,euryan!1 ,m>s*n]'s ,vampyr1 ,templ] und ,ju$91 & ,hans ,heil+ are ,romantic op]as4 ,! significance ( ?is classification 9 op]atic lit]ature may be le>n$ f an ef=t :i* ,i h made 9 ano!r *apt] to discuss ! t]ms ,classic & ,romantic z appli$ to music4 ,briefly /at$1 ! op]as m5tion$ are put 9 a class by !mselves 7& _! imitations ) !m7 because _! plots 7 drawn f ! romantic leg5ds ( ! ,middle ,ages1 9 :i* ! in/itutions ( *ivalry1 fairy lore1 & sup]naturalism play a l>ge "p4 ,sid5ote3 ,mod]n designations4 ,sid5ote3 ,g]man op]a & ,wagn]4 ,^! di/9ctions we meet 9 read+ ab\t music4 ,z ,i h intimat$1 we d n conc]n ourselves mu* ) !m n[4 ,9 ,new ,york & ,london ! p speak ( ,italian1 ,engli%1 & ,g]man op]a1 ref]r+ g5]ally to ! language employ$ 9 ! p]=mance4 ,b !re is also 9 ! use ( ! t]ms an und]ly+ recognition ( diff]5ces 9 ideals ( p]=mance4 ,z all op]as sung 9 ! regul> seasons at ,cov5t ,g>d5 & ! ,metropolitan ,op]a ,h\se are popul>ly spok5 ( z ,italian op]as1 s ,g]man op]a popul>ly means ,wagn]'s lyric dramas1 9 ! fir/ in/ance1 & a /yle ( p]=mance :i* grew out ( ,wagn]'s influ5ce 9 ! second4 ,z comp>$ ) ,italian op]a1 9 :i* ! pr9cipal s+]s are all & ! ensemble no?+1 x means1 mayhap1 inf]ior vocali/s b bett] actors 9 ! pr9cipal p>ts1 a sup]ior or*e/ra & *orus1 & a m consci5ti\s ef=t on ! "p ( conductor1 /age manag]1 & arti/s1 f fir/ to la/1 to lift ! g5]al effect above ! conv5tional level :i* has prevail$ = c5turies 9 ! ,italian op]a h\ses4 ,sid5ote3 ,wagn]'s ,musikdrama4 ,sid5ote3 ,mod]n ,italian t]m9ology4 ,9 t]m9ology1 z well z 9 arti/ic aim1 ,wagn]'s lyric dramas r\nd out a cycle t began ) ! works ( ! ,flor5t9e re=m]s ( ! sixte5? c5tury4 ,wagn] call$ 8 lat] op]as ,musikdram51 :]e=e he 0 s\ndly abus$ & ridicul$ by 8 critics4 ,:5 ! ,italian op]a fir/ appe>$ x 0 call$ ,dramma p] musica1 or ,melodramma1 or ,trag$ia p] musica1 all ( :i* t]ms /& 9 ,italian = ! conception t ,musikdrama /&s = 9 ,g]man4 ,! new ?+ _h be5 9 exi/5ce = half a c5tury1 & 0 already on ! road to ! degrad$ level on :i* we %all f9d x :5 we come to ! subject ( op]atic s++1 be=e x came to be call$ ,op]a 9 musica1 ( :i* op]a is an abbreviation4 ,n[ x is to be obs]v$ t ! compos]s ( all c\ntries1 hav+ be5 taught to believe t ! dramatic cont5ts ( an op]a h "s significance1 are ab&on+ ! vague t]m op]a & foll[+ ,wagn] 9 8 adoption ( ! pr9ciples und]ly+ ! orig9al t]m9ology4 ,v]di call$ 8 ,aida an ,op]a 9 quattro atti1 b 8 ,otello he designat$ a lyric drama 7,dramma lirico71 8 ,fal/aff a lyric com$y 7,comm$ia lirica71 & 8 example is foll[$ by ! y\ng] ,italian compos]s1 su* z ,mascagni1 ,leoncavallo1 & ,pucc9i4 ,sid5ote3 ,recitative4 ,9 ! majority ( ! op]as ( ! curr5t li/ ! vocal elem5t illu/rates an amalgamation ( ! ar*aic recitative & aria4 ,! dry =m ( recitative is met ) n[ only 9 a few ( ! op]as :i* date back to ! la/ c5tury or ! e>ly ye>s ( ! pres5t4 ,le ,nozze di ,fig>o1 ,don ,giovanni1 & ,il ,b>bi]e di ,siviglia are ! mo/ famili> works 9 :i* x is employ$1 & 9 ! second ( ^! x is us$ only by ! be>]s ( ! com$y elem5t4 ,! dissolute ,don *att]s glibly 9 x ) ,z]l9a1 b :5 ,donna ,anna & ,don ,ottavio conv]se1 x is 9 ! recitativo /rom5tato4 ,sid5ote3 ,! object ( recitative4 ,sid5ote3 ,defects ( ! recitative4 ,sid5ote3 ,:at x c d4 ,9 bo? =ms recitative is ! vehicle = promot+ ! action ( ! play1 prep>+ its incid5ts1 & pav+ ! way = ! situations & emotional /ates :i* are exploit$1 promulgat$1 & dwelt ^u 9 ! set music pieces4 ,its purpose is to ma9ta9 ! play 9 an artificial atmosph]e1 s t ! transition f dialogue to song may n be s abrupt z to di/urb ! mood ( ! li/5]4 ,( all ! factors 9 an op]a1 ! dry recitative is ! mo/ monoton\s4 ,x is n music1 b spee* ab\t to break into music4 ,unless "o is famili> ) ,italian & desir\s ( foll[+ ! conv]sation1 :i* we h be5 (t5 told is n necess>y to ! enjoym5t ( an op]a1 its ev]la/+ use ( /]eotyp$ falls & int]vallic turns1 c\pl$ ) ! /rumm+ ( arpeggio$ cad5ces on ! pian(orte 7or worse1 d\ble-bass & violoncello71 makes x insuff]ably we>isome to ! li/5]4 ,its expression is fleet+--only = ! mom5t4 ,x lacks ! su/a9$ tones & /ructural symmetry ess5tial to melody1 & !re=e x _c su/a9 a mood4 ,x makes effici5t use ( only "o ( ! fundam5tal factors ( vocal music--v>iety ( pit*--& t 9 a rudim5t>y way4 ,x is specifically a product ( ! ,italian language1 & be/ adapt$ to com$y 9 t language4 ,spok5 ) ! vivacity native to x 9 ! drama1 dry recitative is an impossibility 9 ,engli%4 ,x is only 9 ! m measur$ & sob] gait prop] to oratorio t we c li/5 to x 9 ! v]nacul> )\t ?\ght ( incongruity4 ,yet x may be made mo/ admirably to pres]ve ! *>act]i/ics ( conv]sation1 & ev5 illu/rate ,sp5c]'s !ory ( ! orig9 ( music4 ,witness ! foll[+ brief example f ,don ,giovanni1 9 :i* ! vivacity ( ! ma/] is admirably contra/$ ) ! lumpi%ness ( 8 s]vant3 ,sid5ote3 ,an example f ,moz>t4 ,music illu/ration3 ,sempre sotto voce4 ,,don ,,giovanni4 ,,leporello4 ,le-po-rel-lo1 o-ve sei8 ,son qui p] ,le-po-rel-lo1 :]e are y8 ,i'm "h & ,d4,g4 ,,lep4 dis-gra-zi-a6 e vo-i8 ,son qui4 ,*i e m's ! pit-y6 & y1 ,sir8 ,"h too4 ,:o's ,d4,g4 mor-to1 voi1 o il vec-*io8 ,*e d- be5 kill$1 y or ! old "o8 ,:at a ,,lep4 man-da da bes-tia6 il vec-*io4 ,bra-vo6 ques-tion1 y boo-by6 ! old "o4 ,bra-vo6 ,sid5ote3 ,its *>act]i/ics4 ,( c\rse x is left to ! intellig5ce & ta/e ( ! s+]s to br+ out ! effects 9 a recitative1 b 9 ?is specim5 x ought to be not$ h[ sluggi%ly ! disgruntl$ ,leporello replies to ! brisk "q ( ,don ,giovanni1 h[ correct is ! rhetorical pause 9 y1 or ! old "o8 & ! great] sobriety :i* comes ov] ! mann] ( ! ,don z he ?9ks ( ! murd] j committ$1 & replies1 ! old "o4 ,sid5ote3 ,recitative ( "s sort necess>y4 ,sid5ote3 ,! speak+ voice 9 op]a4 ,i am /rongly incl9$ to ! belief t 9 "o =m or ! o!r1 pref]ably ! accompani$1 recitative is a necess>y integ] 9 ! op]atic sum4 ,t x is possible to accu/om "o's self to ! *ange alt]nately f spee* to song we "k f ! exp]i5ces made ) ,g]man1 ,fr5*1 & ,engli% op]as1 b ^! 7 n true lyric dramas1 b dramas ) incid5tal music4 ,to be a real lyric drama an op]a ought to be musical ?r\gh\t1 ! voice be+ ma9ta9$ f beg9n+ to end on an exalt$ plane4 ,! t5d5cy to drop into ! speak+ voice = ! sake ( dramatic effect %[n by "s tragic s+]s does n seem to me comm5dable4 ,wagn] relates ) en?usiasm h[ ,madame ,s*ro$]-,devri5t 9 ,fidelio 0 wont to give supreme emphasis to ! phrase imm$iately prec$+ ! trumpet signal 9 ! dungeon sc5e 7,ano!r /ep1 & y are dead67 by speak+ ! la/ ^w ) an awful acc5t ( despair4 ,he !n comm5ts3 ,! indescribable effect ( ?is manife/$ itself to all l an agoniz+ plunge f "o sph]e into ano!r1 & its sublimity consi/$ 9 ?is1 t ) lightn+ quickness a glimpse 0 giv5 to u ( ! nature ( bo? sph]es1 ( :i* "o 0 ! ideal1 ! o!r ! real4 ,sid5ote3 ,wagn] & ,s*ro$]-,devri5t4 ,i h he>d a simil> effect produc$ by ,h]r ,niemann & ,madame ,lehmann1 b c\ld n conv9ce myself t x 0 n an extremely v5turesome exp]im5t4 ,madame ,s*ro$]-,devri5t saw ! beg9n+ ( ! mod]n me?ods ( dramatic expression1 & x is easy to believe t a sudd5 *ange l t s well def9$ by ,wagn]1 made ) h] sweep+ voice & accompani$ by h] pla/ic & p[]ful act+1 0 really ?rill+2 b1 ,i fancy1 nev]!less1 t only ,bee?ov5 & ! int5sity ( feel+ :i* p]vades ! sc5e sav$ ! audi5ce f a di/urb+ s5se ( ! incongruity ( ! p]=mance4 ,sid5ote3 ,e>ly =ms4 ,sid5ote3 ,! dialogue ( ! ,flor5t9es4 ,! developm5t :i* has tak5 place 9 ! recitative has n only assi/$ 9 elevat+ op]a to ! dignity ( a lyric drama by sav+ u f alt]nate contemplation ( ! two sph]es ( ideality & reality1 b has also made ! factor itself an eloqu5t vehicle ( dramatic expression4 ,save t x _h to =ego ! help ( ! in/rum5ts beyond a m]e h>monic support1 ! /ilo rappres5tativo1 or musica p>lante1 z ! ,flor5t9es call$ _! musical dialogue1 approa*$ ! su/a9$ recitative :i* we he> 9 ! oratorio & gr& op]a m closely ?an x did ! recitative secco4 ,ev] & anon1 already 9 ! e>lie/ works 7! ,eurydice ( ,r9ucc9i z compos$ by bo? ,p]i & ,cacc9i7 !re are passages :i* s\nd l rudim5t>y melodies1 b are *>g$ ) vital dramatic expression4 ,note ! foll[+ phrase f ,orpheus's monologue on be+ left 9 ! inf]nal regions by ,v5us1 f ,p]i's op]a1 p]=m$ ,a4,d4 #afjj1 9 honor ( ! m>riage ( ,m>ia de' ,m$ici to ,h5ry ,,iv4 ( ,france3 ,sid5ote3 ,an example f ,p]i4 ,music illu/ration3 ,e voi1 deh p] pie-ta1 del mio m>-ti-re ,*e nel mi-se-ro cor di-mo-ra e-t]-no1 ,la-cri-ma-te al mio pian-to om-bre d'9-f]-no6 ,sid5ote3 ,developm5t ( ! arioso4 ,sid5ote3 ,! aria supplant$4 ,sid5ote3 ,music & action4 ,out ( ?is /yle !re grew )9 a decade some?+ v ne> ! arioso1 & = all ! purposes ( our argum5t we may accept ! melodic devices by :i* ,wagn] c>ries on ! dialogue ( 8 op]as z an uncircumscrib$ arioso sup]impos$ ^u a f\ndation ( or*e/ral h>mony2 = example1 ,loh5gr9's address to ! swan1 ,elsa's acc\nt ( h] dream4 ,! great] melodi\sness ( ! recitativo /rom5tato1 & ! aid ( ! or*e/ra :5 x began to ass]t itself z a factor ( indep5d5t value1 soon enabl$ ?is =m ( musical conv]sation to become a reflector ( ! *ang+ moods & passions ( ! play1 & ?us ! value ( ! aria1 :e!r consid]$ z a solo1 or 9 its composite =m z duet1 trio1 qu>tet1 or ensemble1 0 less5$4 ,! gr[? ( ! accompani$ recitative naturally br\ght ) x emancipation f ! tyranny ( ! classical aria4 ,wagn]'s re=m _h no?+ to d ) t emancipation1 :i* _h be5 accompli%$ be=e him1 b w5t1 z we %all see pres5tly1 to a lib]ation ( ! compos]s f all ! =mal dams :i* _h clogg$ ! unit$ fl[ ( action & music4 ,we %\ld1 h[ev]1 ev5 :ile admir+ ! a*ievem5ts ( mod]n compos]s 9 bl5d+ ^! elem5ts 7& ,i "k ( no m /rik+ illu/ration ?an ! sc5e ( ! fat knight's discomfiture 9 ,=d's h\se 9 ,v]di's ,fal/aff7 be> 9 m9d t :ile we may dream ( p]fect union betwe5 words & music1 x is n always possible t action & music %all g h& 9 h&4 ,let me repeat :at once ,i wrote 9 a review ( ,cornelius's op]a1 ,d] ,b>bi] von ,bagdad3,f ,sid5ote3 ,h[ music c replace incid5t4 ,aft] all1 ( ! con/itu5ts ( an op]a1 action1 at lea/ t =m ( x usually call$ incid5t1 is mo/ easily sp>$4 ,progress 9 feel+1 developm5t ( ! emotional elem5t1 is inde$ ess5tial to v>iety ( musical utt]ance1 b nev]!less all great op]as h demon/rat$ t music is m pot5t & eloqu5t :5 proclaim+ an emotional /ate ?an :ile seek+ to depict progress t[>d su* a /ate4 ,ev5 9 ! dramas ( ,wagn] ! culm9at+ musical mom5ts are pr$om9antly lyrical1 z witness ! love-duet 9 ',tri/an1' ! close ( ',das ,rhe+old1' ,siegmund's song1 ! love-duet1 & ,wotan's f>ewell 9 ',die ,walku]e1' ! =e/ sc5e & f9al duet 9 ',siegfri$1' & ! dea? ( ,siegfri$ 9 ',die ,goett]daemm]ung4' ,x is 9 ! nature ( music t ?is %\ld be s4 ,= ! drama :i* plays on ! /age ( ! he>t1 music is a m tru?ful language ?an spee*2 b x c /imulate movem5t & prep>e ! m9d = an incid5t bett] ?an x c accompany movem5t & incid5t4 ,yet music t has a high degree ( emotional expressiv5ess1 by div]t+ att5tion f ext]nals to ! play ( passion )9 ! brea/s ( ! p]sons c sometimes make u =get ! paucity ( incid5t 9 a play4 ',tri/an und ,isolde' is a case 9 po9t4 ,practically1 its outw>d action is summ$ up 9 ea* ( its ?ree acts by ! same words3 ,prep>ation = a meet+ ( ! ill-/>r$ lov]s2 ! meet+4 ,:at is outside ( ?is is m]e detail2 yet ! effect ( ! trag$y ^u a li/5] is t ( a play sur*>g$ ) pregnant occurr5ce4 ,x is ! subtle al*emy ( music t transmutes ! psy*ological action ( ! trag$y into dramatic incid5t4 ,sid5ote3 ,set =ms n to be condemn$4 ,sid5ote3 ,wagn]'s influ5ce4 ,sid5ote3 ,8 or*e/ra4 ,sid5ote3 ,vocal feats4 ,= ^? :o hold su* a view ) me x w be impossible to condemn pieces ( set =ms 9 ! lyric drama4 ,wagn] /ill repres5ts 8 art-"w alone1 b 9 ! influ5ce :i* he ex]t$ ^u contemporane\s compos]s 9 ,italy & ,france1 z well z ,g]many1 he is q z significant a figure z he is z ! creator ( ! ,musikdrama4 ,! op]as :i* are mo/ popul> 9 our ,italian & ,fr5* rep]tories are ^? :i* b5efit$ by ! lib]ation f =malism & ! exaltation ( ! dramatic idea :i* he prea*$ & exemplifi$--su* works z ,g\nod's ,fau/1 ,v]di's ,aida & ,otello1 & ,bizet's ,c>m54 ,) t emancipation !re came1 z 0 inevitable1 new conceptions ( ! prov9ce ( dramatic s++ z well z new convictions t\*+ ! mission ( ! or*e/ra4 ,! in/rum5ts 9 ,wagn]'s latt]-day works are q z mu* z ! s++ actors ! expositors ( ! dramatic idea1 & 9 ! works ( ! o!r m5 :om ,i h m5tion$ !y speak a language :i* a c5tury ago 0 kn[n only to ! or*e/ras ( ,gluck & ,moz>t ) _! comp>atively limit$1 yet eloqu5t1 vocabul>y4 ,c\pl$ ) praise = ! wond]ful art ( ,mesdames ,patti & ,melba 7& ,i am glad to h liv$ 9 _! g5]ation1 ?\gh !y d n repres5t my ideal 9 dramatic s++71 we are accu/om$ to he> lam5tations ov] ! decay ( s++4 ,i h inton$ su* j]emiads myself1 & ,i d n believe t music is suff]+ f a great] want to-day ?an t ( a m ?or\gh tra9+ = s+]s4 ,i m>vel :5 ,i read t ,s5es9o sang cad5ces ( fifty seconds' duration2 t ,f]ri ) a s+le brea? c\ld trill ^u ea* note ( two octaves1 asc5d+ & desc5d+1 & t ,la ,ba/>della's art 0 equal to a p]fect p]=mance 7p]fect 9 ! conception ( h] day7 ( a fl\ri% l ?is3 ,sid5ote3 ,la ,ba/>della's fl\ri%4 ,music illu/ration ,sid5ote3 ,"* ( ! op]a a c5tury & a half ago4 ,sid5ote3 ,music & dramatic expression4 ,i m>vel1 ,i say1 at ! skill1 ! gifts1 & ! tra9+ :i* c\ld accompli% su* feats1 b ,i w\ld n h !m back aga9 if !y 7 to be employ$ 9 ! old s]vice4 ,:5 ,s5es9o1 ,f>9elli1 ,sass>elli1 ,f]ri1 & _! tribe dom9at$ ! /age1 x /rutt$ ) sexless ,agamemnons & ,caes>s4 ,telema*us1 ,d>ius1 ,n]o1 ,cato1 ,alex&]1 ,scipio1 & ,hannibal ran ar\nd on ! bo>ds z langui%+ lov]s1 clad 9 humiliat+ disguises1 s++ w(ul arias to _! mi/ress's eyebr[s--arias full ( trills & scales & florid ornam5ts1 b void ( feel+ z a problem 9 ,euclid4 ,?anks v l>gely to ,g]man influ5ces1 ! op]a is return+ to its orig9al purposes4 ,music is aga9 become a means ( dramatic expression1 & ! s+]s :o appeal to u mo/ p[]fully are ^? :o are be/ able to make song subs]ve t purpose1 & :o to t end give to dramatic tru?fulness1 to effective elocution1 & to action ! att5tion :i* m]e voice & beautiful utt]ance receiv$ 9 ! p]iod :i* is call$ ! ,gold5 ,age ( s++1 b :i* 0 ! ,lead5 ,age ( ! lyric drama4 ,sid5ote3 ,s+]s he>d 9 ,new ,york4 ,= sev5ty ye>s ! p ( ,new ,york1 sc>cely less favor$ ?an ^? ( ,london1 h he>d ne>ly all ! great s+]s ( ,europe4 ,let me talk ab\t "s ( !m1 = ,i am try+ to e/abli% "s gr\nd on :i* my read]s may /& :5 !y try to =m an e/imate ( ! s++ :i* !y are privileg$ to he> 9 ! op]a h\ses ( to-day4 ,madame ,malibran 0 a memb] ( ! fir/ ,italian company t ev] sang "h4 ,madame ,c9ti-,damoreau came 9 #ahdd1 ,bosio 9 #ahdi1 ,j5ny ,l9d 9 #ahej1 ,sontag 9 #ahec1 ,grisi 9 #ahed1 ,la ,grange 9 #ahee1 ,frezzol9i 9 #aheg1 ,piccolom9i 9 #aheh1 ,nilsson 9 #ahgj1 ,lucca 9 #ahgb1 ,titi5s 9 #ahgf1 ,g]/] 9 #ahgh1 & ,sembri* 9 #ahhc4 ,i omit ! s+]s ( ! ,g]man op]a z belong+ to a diff]5t category4 ,adel9a ,patti 0 always ) u until %e made h] ,european debut 9 #ahfa1 & rema9$ abroad tw5ty ye>s4 ,( ! m5 :o 7 ! arti/ic associates ( ^! prime donne1 m5tion may be made ( ,m>io1 ,b5$etti1 ,corsi1 ,salvi1 ,ronconi1 ,=mes1 ,brignoli1 ,amadeo1 ,coletti1 & ,campan9i1 none ( :om1 except+ ,m>io1 0 ( fir/-class importance comp>$ ) ! wom5 s+]s4 ,sid5ote3 ,grisi4 ,sid5ote3 ,j5ny ,l9d4 ,sid5ote3 ,lilli ,lehmann4 ,ne>ly all ( ^! s+]s1 ev5 ^? /ill liv+ & rememb]$ by ! y\ng] g5]ation ( to-day1 exploit$ _! gifts 9 ! op]as ( ,ross9i1 ,bell9i1 ,donizetti1 ! e>ly ,v]di1 & ,mey]be]4 ,grisi 0 acclaim$ a great dramatic s+]1 & x is told ( h] t once 9 ,norma %e fright5$ ! t5or :o sang ! "p ( ,pollio by ! fury ( h] act+4 ,b measur$ by ! /&>ds ( to-day1 say t set by ,calve's ,c>m51 x mu/ h be5 a simple age t c\ld be impress$ by ! tragic p[] ( anyone act+ ! "p ( ,bell9i's ,druidical prie/ess4 ,! surmise is /r5g!n$ by ! circum/ance t ,madame ,grisi creat$ a s5sation 9 ,il ,trovatore by %[+ signs ( agitation 9 ! t[] sc5e1 walk+ ab\t ! /age dur+ ,manrico's ,ah6 *e la morte ognora1 z if %e w\ld fa9 discov] ! "p ( ! ca/le :]e h] lov] 0 imprison$4 ,! *ief *>m ( ,j5ny ,l9d 9 ! memory ( ! old] g5]ation is ! pa?os ) :i* %e sang simple songs4 ,m5delssohn e/eem$ h] greatly z a woman & arti/1 b he is quot$ z once rem>k+ to ,*orley3 ,i _c ?9k :y %e always pref]s to be 9 a bad !atre4 ,mos*eles1 record+ 8 impressions ( h] 9 ,mey]be]'s ,camp ( ,silesia 7n[ ,l',etoile du ,nord71 rea*$ ! climax ( 8 praise 9 ! words3 ,h] song ) ! two conc]tante flutes is p]haps ! mo/ incr$ible feat 9 ! way ( bravura s++ t c possibly be he>d4 ,%e 0 cr$it$1 too1 ) f9e p[]s z an actress2 & t %e possess$ !m c easily be believ$1 = few ( ! s+]s :om ,i h m5tion$ _h s e>ly & intimate an association ) ! !atre z %e4 ,h] repugnance to x 9 lat] life %e attribut$ to a prejudice inh]it$ f h] "m4 ,a va/ly diff]5t h]itage is disclos$ by ,madame ,lehmann's devotion to ! drama1 a devotion almo/ ak9 to religion4 ,i h kn[n h] to g into ! sc5e-room ( ! ,metropolitan ,op]a ,h\se 9 ,new ,york & se>* = mimic /umps & rocks ) :i* to fit out a sc5e 9 ,siegfri$1 9 :i* %e 0 n ev5 to appe>4 ,t1 l h] sup]-human "w at rehe>sals1 0 = ! good ( ! cause1 z %e express$ x4 ,sid5ote3 ,sontag4 ,mo/ amiable are ! memories t clu/] ar\nd ! "n ( ,sontag1 ^: c>e] came to a griev\s close by h] sudd5 dea? 9 ,mexico 9 #ahed4 ,%e 0 a ,g]man1 & ! e>ly "p ( h] arti/ic life 0 influ5c$ by ,g]man ideals1 b x is said t only 9 ! music ( ,moz>t & ,web]1 :i* ar\s$ 9 h] /rong national emotion1 did %e s+ dramatically4 ,= ! re/ %e us$ h] light voice1 :i* _h an extraord9>y range1 brilliancy1 & flexibility1 v mu* z ,patti & ,melba use _! voices to-day--9 m]e unfeel+ vocal display4 ,%e _h an ext5sive soprano voice1 says ,hog>?2 n rem>kable = p[]1 b cle>1 brilliant1 & s+ul>ly flexible2 a quality :i* seems to h l$ h] 7unlike mo/ ,g]man s+]s 9 g5]al7 to cultivate ! mo/ florid /yle1 & ev5 to foll[ ! bad example set by ,catalani1 ( seek+ to conv]t h] voice into an in/rum5t1 & to a/oni% ! public by execut+ ! viol9 v>iations on ,rode's air & o!r ?+s ( t /amp4 ,sid5ote3 ,la ,grange4 ,sid5ote3 ,piccolom9i4 ,sid5ote3 ,adel9a ,patti4 ,sid5ote3 ,g]/]4 ,sid5ote3 ,lucca & ,nilsson4 ,sid5ote3 ,sembri*4 ,madame ,la ,grange _h a voice ( wide compass1 :i* enabl$ h] to s+ contralto roles z well z soprano1 b ,i h nev] he>d h] dramatic p[]s prais$4 ,z = ,piccolom9i1 read ( h] :]e y w1 y %all f9d t %e 0 *>m+4 ,%e 0 lovely to look ^u1 & h] act+ 9 s\brette p>ts 0 fasc9at+4 ,until ,melba came ,patti 0 = ?irty ye>s pe]less z a m]e vocali/4 ,%e belongs1 z did ,piccolom9i & ,sontag1 to ! comic g5re2 s did ,sembri* & ,g]/]1 ! latt] ( :om nev] knew x4 ,i well rememb] h[ indignant %e became on "o occasion1 9 h] fir/ ,am]ican season1 at a criticism :i* ,i wrote ( h] ,am9a 9 ,la ,sonnambula1 a p]=mance :i* rema9s among my lovelie/ & mo/ fragrant recollections4 ,i _h made use ( ,catalani's rem>k conc]n+ ,sontag3 ,son g5re e/ petit1 mais elle e/ unique dans son g5re1 & appli$ x to h] /yle4 ,%e almo/ flew into a passion4 ,mon g5re e/ gr&6 said %e1 ov] & ov] aga91 :ile ,dr4 ,g>d9i1 h] husb&1 tri$ to pacify h]4 ,come to see my ,m>gu]ite next season4 ,n[1 ,g\nod's ,m>gu]ite does n q belong to ! h]oic roles1 ?\gh we c all rememb] h[ ,lucca ?rill$ u by h] int5sity ( action z well z ( song1 & h[ ,madame ,nilsson s5t ! blood out ( our *eeks1 ?\gh %e did /ride ?r\gh ! op]a l a comb9ation ( ! gr&e dame & ,ary ,s*eff]'s spirituelle pictures2 b su* z x is1 ,madame ,g]/] a*iev$ a success ( int]e/ only1 & t because ( h] /riv+s = orig9ality4 ,sembri* & ,g]/]1 :5 !y 7 fir/ he>d 9 ,new ,york1 _h z mu* execution z ,melba or ,nilsson2 b _! voices _h less emotional p[] ?an t ( ! latt]1 & less beauty ?an t ( ! =m]--beauty ( ! k9d t might be call$ classic1 s9ce x is 9 no way dep5d5t on feel+4 ,sid5ote3 ,melba & ,eames4 ,sid5ote3 ,calve4 ,sid5ote3 ,dramatic s+]s4 ,sid5ote3 ,jean de ,reszke4 ,sid5ote3 ,ed\>d de ,reszke & ,plancon4 ,patti1 ,lucca1 ,nilsson1 & ,g]/] sang 9 ! op]as 9 :i* ,melba & ,eames s+ to-day1 & ?\gh ! /&>d ( judgm5t has be5 *ang$ 9 ! la/ tw5ty-five ye>s by ! gr[? ( ,g]man ideals1 ,i c f9d no gr[? ( pot5cy 9 ! p]=mances ( ! repres5tative wom5 ( ,italian & ,fr5* op]a1 except 9 ! case ( ,madame ,calve4 ,= ! developm5t ( dramatic ideals we mu/ look to ! s+]s ( ,g]man affiliations or antec$5ts1 ,mesdames ,mat]na1 ,lehmann1 ,su*]1 & ,nordica4 ,z = ! m5 ( ye/]day & to-day1 no lov]1 ,i am sure1 ( ! real lyric drama w\ld give ! declamatory w>m? & gracefulness ( pose & action :i* m>k ! p]=mances ( ,m4 ,jean de ,reszke = a hundr$ ( ! high notes ( ,m>io 7= "o ( :i*1 we are told1 he 0 wont to res]ve 8 p[]s all ev5+71 7 !y nev] s lovely4 ,nei!r does ! f9e1 resonant1 equable voice ( ,ed\>d de ,reszke or ! f9i%$ /yle ( ,plancon leave u ) curi\s long+s t\*+ ! voices & mann]s ( ,labla*e & ,=mes4 ,o!r times1 o!r mann]s1 9 music z 9 ev]y?+ else4 ,! great s+]s ( to-day are ^? :o appeal to ! ta/e ( to-day1 & t ta/e diff]s1 z ! clo!s :i* we we> diff]1 f ! /yle 9 vogue 9 ! days ( our ance/ors4 ,sid5ote3 ,wagn]'s op]as4 ,sid5ote3 ,wagn]'s lyric dramas4 ,sid5ote3 ,8 !ories4 ,sid5ote3 ,! mission ( music4 ,sid5ote3 ,di/9ctions aboli%$4 ,sid5ote3 ,! typical phrases4 ,sid5ote3 ,*>act]i/ics ( "s motives4 ,a great deal ( confusion has crept into ! public m9d conc]n+ ,wagn] & 8 works by ! failure to diff]5tiate betwe5 8 e>li] & lat] creations4 ,no inju/ice is done ! compos] by look+ ^u 8 ,fly+ ,dut*man1 ,tannhaeus]1 & ,loh5gr9 z op]as4 ,we f9d ! dramatic elem5t lift$ into noble prom95ce 9 ,tannhaeus]1 & admirable fre$om 9 ! h&l+ ( ! musical factors 9 ,loh5gr91 b !y mu/1 nev]!less1 be li/5$ to z "o w\ld li/5 to ! op]as ( ,web]1 ,m>s*n]1 or ,mey]be]4 ,!y are1 9 fact1 mu* ne>] to ! conv5tional op]atic type ?an to ! works :i* came aft] !m1 & 7 call$ ,musikdram54 ,music drama is an awkw>d phrase1 & ,i h tak5 ! lib]ty ( sub/itut+ lyric drama = x1 & z su* ,i %all designate ,tri/an und ,isolde1 ,die ,mei/]s+]1 ,d] ,r+ des ,nibelung51 & ,p>sifal4 ,9 ^! works ,wagn] exemplifi$ 8 re=matory ideas & accompli%$ a reg5]ation ( ! lyric drama1 z we f\nd x embodi$ 9 pr9ciple 9 ! ,greek trag$y & ! ,dramma p] musica ( ! ,flor5t9e s*ol>s4 ,wagn]'s />t+-po9t is1 t 9 ! op]a music _h usurp$ a place :i* did n belong to x4,g ,x 0 design$ to be a means & _h become an end4 ,9 ! drama he f\nd a comb9ation ( poetry1 music1 pantomime1 & sc5]y1 & he held t ^! factors ought to co-op]ate on a basis ( mutual dep5d5ce1 ! inspiration ( all be+ dramatic expression4 ,music1 !re=e1 ought to be subord9ate to ! text 9 :i* ! dramatic idea is express$1 & simply s]ve to raise x to a high] p[] by giv+ x great] emotional life4 ,s1 also1 x ought to vivify pantomime & accompany ! /age pictures4 ,9 ord] t x might d all ?is1 x _h to be reliev$ ( ! %ackles ( =malism2 only ?us c\ld x move ) ! same fre$om z ! o!r elem5ts consort$ ) x 9 ! drama4 ,!re=e1 ! di/9ctions betwe5 recitative & aria 7 aboli%$1 & an endless melody took ! place ( bo?4 ,an exalt$ =m ( spee* is borne along on a flood ( or*e/ral music1 :i*1 q z mu* z song1 action1 & sc5]y conc]ns itself ) ! exposition ( ! drama4 ,t x may d ?is ! ag5cies1 spiritual z well z mat]ial1 :i* are in/rum5tal 9 ! developm5t ( ! play1 are id5tifi$ ) c]ta9 melodic phrases1 out ( :i* ! musical fabric is wov54 ,^! phrases are ! mu* moot$1 mu* misund]/ood lead+ motives--typical phrases ,i call !m4 ,wagn] has tri$ to make !m reflect ! "* or nature ( ! ag5cies ) :i* he has associat$ !m1 & !re=e we f9d ! giants 9 ! ,niblung tetralogy symboliz$ 9 heavy1 sl[ly mov+1 cumb]some phrases2 ! dw>fs h two phrases1 "o sugge/+ _! occupation z smi?s1 by its hamm]+ rhy?m1 & ! o!r _! intellectual habits1 by its sugge/ion ( brood+ contemplativ5ess4 ,i _c g ?r\gh ! catalogue ( ! typical phrases :i* ent] into ! musical /ructure ( ! works :i* ,i h call$ lyric dramas z contra-di/+ui%$ f op]as4 ,!y %\ld1 ( c\rse1 be kn[n to ! /ud5t ( ,wagn]1 = !reby w he be help$ to und]/& ! poet-compos]'s purposes1 b ,i w\ld fa9 repeat ! w>n+ :i* ,i utt]$ twice 9 my ,/udies 9 ! ,wagn]ian ,drama3 ,sid5ote3 ,! phrases %\ld be /udi$4 ,x _c be too =cibly urg$ t if we conf9e our /udy ( ,wagn] to ! =ms & names ( ! phrases out ( :i* he con/ructs 8 musical fabric1 we %all1 at ! la/1 h enri*$ our m9ds ) a !matic catalogue &--no?+ else4 ,we %all rema9 guiltless ( k unless we le>n some?+ ( ! nature ( ^? phrases by not+ ! attributes :i* l5d !m propriety & fitness1 & c recognize1 measurably at lea/1 ! reasons = _! introduction & developm5t4 ,^? attributes give "* & mood to ! music con/ruct$ out ( ! phrases4 ,if we are able to feel ! mood1 we ne$ n c>e h[ ! phrases :i* produce x h be5 labell$4 ,if we d n feel ! mood1 we may memorize ! :ole !matic catalogue ( ,wolzog5 & h our labor = our pa9s4 ,x w\ld be bett] to "k no?+ ab\t ! phrases1 & cont5t "o's self ) simple s5su\s enjoym5t ?an to sp5d "o's "t answ]+ ! balde/ ( all ! riddles ( ,wagn]'s or*e/ra--',:at am ,i play+ n[8' ,sid5ote3 ,! "q ( effectiv5ess4 ,! ultimate "q conc]n+ ! correctness or effectiv5ess ( ,wagn]'s sy/em ( composition mu/1 ( c\rse1 be answ]$ along ) ! "q3 ',does ! composition1 z a :ole1 t\* ! emotions1 quick5 ! fancy1 fire ! imag9ation8' ,if x does ^! ?+s1 we may1 to a great ext5t1 if we wi%1 get along )\t ! intellectual processes ( reflection & comp>ison :i* are condition$ ^u a recognition ( ! !mes & _! uses4 ,b if we put aside ?is intellectual activity1 we %all deprive ourselves1 among o!r ?+s1 ( ! pleasures :i* x is ! prov9ce ( memory to give2 & ! ex]cise ( memory is call$ = by music mu* m urg5tly ?an by any o!r art1 because ( its volatile nature & ! role :i* repetition plays 9 x4 ,,footnotes3 ,e ,b no real /ud5t c h /udi$ ! score deeply1 or li/5$ discrim9at+ly to a good p]=mance1 )\t discov]+ t !re is a trem5d\s *asm betwe5 ! conv5tional aims ( ! ,italian poet 9 ! book ( ! op]a & ! "w :i* em]g$ f ! compos]'s pr(\nd imag9ation4 ,da ,ponte contemplat$ a dramma giocoso2 ,moz>t humor$ him until 8 imag9ation came )9 ! %ad[ ca/ be=e by ! cata/rophe1 & !n he trans=m$ ! poet's com$y into a trag$y ( cru%+ p[]4 ,! climax ( ,da ,ponte's ideal is rea*$ 9 a picture ( ! dissolute ,don wre/l+ 9 idle desp]ation ) a ho/ ( spectacul> devils1 & f9ally disappe>+ ?r\gh a trap1 :ile fire bur/s out on all sides1 ! ?und]s roll1 & ,leporello gazes on ! sc5e1 cr\*$ 9 a comic attitude ( t]ror1 "u ! table4 ,su* a picture satisfi$ ! ta/es ( ! public ( 8 "t1 & t public f\nd no?+ incongru\s 9 a return to ! sc5e imm$iately aft]w>d ( all ! *>act]s save ! reprobate1 :o _h gone to 8 rew>d1 to he> a description ( ! cata/rophe f ! buffoon "u ! table1 & platitud9\sly to moralize t ! p]fidi\s wret*1 hav+ be5 /or$ away safely 9 ! realm ( ,pluto & ,pros]p9e1 no?+ rema9$ = !m to d except to raise _! voices 9 ! words ( ! old song1 ,que/o e il f9 di *i fa mal3 ,e dei p]fidi la morte ,alla vita e sempre ugual4 ,new ,york ,musical ,season1 #ahhi-ij4 ,f ,review ( ! ,new ,york ,musical ,season1 #ahhi-ij1 p4 #ge4 ,g ,see ,/udies 9 ! ,wagn]ian ,drama1 *apt] ,i4 ,,viii ,*oirs & ,*oral ,music ,sid5ote3 ,*oirs a t\*/one ( culture4 ,sid5ote3 ,! value ( *oir s++4 ,no "o w\ld g f> a/ray :o %\ld e/imate ! ext5t & s9c]ity ( a community's musical culture by ! numb] ( its *orus s+]s4 ,"s ye>s ago x 0 said t ov] ?ree hundr$ cities & t[ns 9 ,g]many conta9$ s++ societies & or*e/ras devot$ to ! cultivation ( *oral music4 ,9 ! ,unit$ ,/ates1 :]e !re are comp>atively a small numb] ( in/rum5tal musicians1 !re has be5 a wond]ful developm5t ( s++ societies )9 ! la/ g5]ation1 & x is to ?is fact l>gely t ! notable gr[? 9 ! c\ntry's k & appreciation ( high-class music is due4 ,no am\nt ( m]e he>+ & /udy c comp>e 9 influ5ce ) p>ticipation 9 musical p]=mance4 ,music is an art :i* re/s on love4 ,x is beautiful s\nd vitaliz$ by feel+1 & x c only be grasp$ fully ?r\gh man's emotional nature4 ,!re is no quick] or sur] way to get to ! he>t ( a composition ?an by p]=m+ x1 & s9ce p>ticipation 9 *orus s++ is ( necessity unselfi% & creative ( sympa?y1 !re is no bett] m$ium ( musical culture ?an memb]%ip 9 a *oir4 ,x 0 because he realiz$ ?is t ,s*umann gave ! advice to all /ud5ts ( music3 ,s+ dilig5tly 9 *oirs2 especially ! middle voices1 = ?is w make y musical4 ,sid5ote3 ,s++ societies & or*e/ras4 ,sid5ote3 ,nei!r numb]s nor weal? necess>y4 ,!re is no community s small or s ill-condition$ t x _c ma9ta9 a s++ society4 ,be=e a city c give su/5ance to ev5 a small body ( in/rum5tali/s x mu/ be l>ge en\gh & ri* en\gh to ma9ta9 a !atre f :i* ^? in/rum5tali/s c d]ive _! support4 ,!re c be no dep5d5ce ^u amateurs1 = p d n /udy ! oboe1 bassoon1 trombone1 or d\ble-bass = amusem5t4 ,amateur viol9i/s & amateur flauti/s !re are 9 pl5ty1 b n amateur cl>9eti/s & ,fr5*-horn play]s2 b if ! love = music exi/s 9 a community1 a doz5 families %all suffice to ma9ta9 a *oral club4 ,l>ge numb]s are !re=e n ess5tial2 nei!r is weal?4 ,"s ( ! l>ge/ & f9e/ *oirs 9 ! _w fl\ri% among ! ,wel% m9]s 9 ! ,unit$ ,/ates & ,wales1 fo/]$ by a native love = ! art & ! national in/itution call$ ,ei/$dfod4 ,sid5ote3 ,l9es ( *oral culture 9 ! ,unit$ ,/ates4 ,! l9es on :i* *oral culture has proce$$ 9 ! ,unit$ ,/ates are two1 ( :i* ! m valuable1 f an arti/ic po9t ( view1 is t ( ! oratorio1 :i* w5t out f ,new ,engl&4 ,! o!r orig9at$ 9 ! ,g]man cultivation ( ! ,ma5n]gesang1 ! importance ( :i* is felt m 9 ! ext5t ( ! culture1 prompt$ z x is l>gely by social consid]ations1 ?an 9 ! music sung1 :i* is ( necessity ( a l[] grade ?an t compos$ = mix$ voices4 ,x is *iefly 9 ! impulse :i* ,g]man ,ma5n]gesang c>ri$ into all ! corn]s ( ! l&1 & especially ! impetus :i* ! fe/ivals ( ! ,g]man s+]s gave to ! sections 9 :i* !y h be5 held = half a c5tury1 t ?is =m ( culture is int]e/+4 ,sid5ote3 ,*ur* & oratorio4 ,sid5ote3 ,secul> *oirs4 ,! cultivation ( oratorio music sprang naturally f ! ,*ur*1 & ?\gh x is n[ *iefly 9 ! h&s ( secul> societies1 ! biblical orig9 ( ! va/ majority ( ! texts us$ 9 ! works :i* are p]=m$1 & m especially ! regul> p]=mances ( ,h&el's ,messiah 9 ! ,*ri/ma/ide1 h left ! notion1 m or less di/9ct1 9 ! public m9d1 t oratorios are religi\s functions4 ,nev]!less 7or p]haps because ( ?is fact7 ! mo/ successful *oral conc]ts 9 ! ,unit$ ,/ates are ^? giv5 by oratorio societies4 ,! cultivation ( *oral music :i* is secul> 9 "* is *iefly 9 ! h&s ( small organizations1 ^: conc]ts are ( a semi-private nature & are enjoy$ by ! associate memb]s & invit$ gue/s4 ,?is circum/ance is des]v+ ( notice z a *>act]i/ic feature ( *oral music 9 ,am]ica1 ?\gh x has no p>ticul> be>+ ^u ?is /udy1 :i* mu/ conc]n itself ) *oral organizations1 *oral music1 & *oral p]=mances 9 g5]al4 ,sid5ote3 ,amateur *oirs orig9at$ 9 ! ,unit$ ,/ates4 ,sid5ote3 ,! size ( old *oirs4 ,organizations ( ! k9d 9 view diff] f in/rum5tal 9 be+ compos$ ( amateurs2 & amateur *oir-s++ is no old] any:]e ?an 9 ! ,unit$ ,/ates4 ,two c5turies ago & m ! s++ ( cat*es & glees 0 a common amusem5t among ! g5tl] classes 9 ,engl&1 b ! p]=mances ( ! l>g] =ms ( *oral music 7 9 ! h&s ( pr(essional *ori/]s :o 7 connect$ ) *ur*es1 !atres1 s*ools1 & o!r public in/itutions4 ,naturally1 !n1 ! *oral bodies 7 small4 ,*oirs ( hundr$s & ?\s&s1 su* z take "p 9 ! fe/ivals ( to-day1 are a product ( a lat] "t4 ,sid5ote3 ,h&el's *oirs4 ,:5 ,ba* & ,h&el wrote _! ,passions1 ,*ur* ,cantatas1 & ,oratorios1 !y c\ld only dream ( su* maje/ic p]=mances z ^? works receive n[2 & x is "o ( ! miracles ( art t !y %\ld h writt5 9 s ma/]ly a mann] = =ces t !y c\ld nev] hope to control4 ,:o w\ld ?9k1 :5 li/5+ to ! ',hallelujah' ( ',! ,messiah1' or ! great d\ble *oruses ( ',israel 9 ,egypt1' 9 :i* ! voice ( ! compos] is 'z ! voice ( a great multitude1 & z ! voice ( _m wat]s1 & z ! voice ( _m ?und]+s1 say+1 ,alleluia1 = ! ,"l ,god ,omnipot5t reigne?6' t ^! colossal compositions 7 nev] he>d by ,h&el f any *orus l>g] ?an ! mo/ mode/ ( our *ur* *oirs8 ,at ! la/ p]=mance ( ',! ,messiah' at :i* ,h&el 0 adv]tis$ to appe> 7x 0 = ! b5efit ( 8 favorite *>ity1 ! ,f\ndl+ ,hospital1 on ,may #c1 #agei--;he di$ be=e ! "t1 h[ev]71 ! s+]s1 includ+ pr9cipals1 numb]$ tw5ty-?ree1 :ile ! in/rum5tali/s numb]$ ?irty-?ree4 ,at ! fir/ great ,h&el ,commemoration1 9 ,we/m9/] ,abbey1 9 #aghd1 ! *oir numb]$ two hundr$ & sev5ty-five1 ! b& two hundr$ & fifty2 & ?is 0 ! mo/ num]\s =ce ev] ga!r$ toge!r = a s+le p]=mance 9 ,engl& up to t "t4 ,sid5ote3 ,*oirs a c5tury ago4 ,sid5ote3 ,ba*'s *oir4 ,9 #agia ! ,commemoration 0 celebrat$ by a *oir ( five hundr$ & a b& ( ?ree hundr$ & sev5ty-five4 ,9 ,may1 #aghf1 ,johann ,adam ,hill]1 "o ( ,ba*'s successors z cantor ( ! ,/4 ,?omas ,s*ool 9 ,leipsic1 direct$ :at 0 t]m$ a ,mass5auffuehrung ( ',! ,messiah1' 9 ! ,domkir*e1 9 ,b]l94 ,8 'masses' consi/$ ( "o hundr$ & eighte5 s+]s & "o hundr$ & eighty-six in/rum5tali/s4 ,9 ,h&el's op]as1 & sometimes ev5 9 8 oratorios1 ! tutti meant1 9 8 "t1 little m ?an a union ( all ! solo s+]s2 & ev5 ,ba*'s ,passion music & *ur* cantatas1 :i* seem z mu* design$ = numb]s z ! d\ble *oruses ( ',israel1' 7 r5d]$ 9 ! ,/4 ,?omas ,*ur* by a ludicr\sly small *oir4 ,( ?is fact a record is pres]v$ 9 ! ar*ives ( ,leipsic4 ,9 ,augu/1 #agcj1 ,ba* submitt$ to ! au?orities a plan = a *ur* *oir ( ! pupils 9 8 c>e4 ,9 ?is plan 8 s+]s numb]$ twelve1 !re be+ "o pr9cipal & two ripi5i/s 9 ea* voice2 ) *>act]i/ic mode/y he b>ely sugge/s a pref]5ce = sixte54 ,! circum/ance t 9 ! same docum5t he ask$ = at lea/ eighte5 in/rum5tali/s 7two m if flutes 7 us$71 tak5 9 connection ) ! figures giv5 relative to ! ',messiah' p]=mances1 gives an insight into ! relations betwe5 ! vocal & ! in/rum5tal p>ts ( a *oral p]=mance 9 ^? days4,h ,sid5ote3 ,proportion ( voices & in/rum5ts4 ,?is relation has be5 m ?an rev]s$ s9ce !n1 ! or*e/ras at mod]n oratorio p]=mances seldom be+ "o-fif? z l>ge z ! *oir4 ,?is diff]5ce1 h[ev]1 is due l>gely to ! *ang$ "* ( mod]n music1 t ( to-day treat+ ! in/rum5ts z indep5d5t ag5ts ( expression in/ead ( us+ !m *iefly to support ! voices & add sonority to ! tonal mass1 z 0 done by ,h&el & mo/ ( ! compos]s ( 8 day4 ,sid5ote3 ,glee unions & male *oirs4 ,i omit f consid]ation ! ,glee ,unions ( ,engl&1 & ! qu>tets1 :i* correspond to !m1 9 ?is c\ntry4 ,!y are n cultivators ( *oral music1 & ! music :i* !y s+ is an insignificant factor 9 culture4 ,! male *oirs1 too1 ne$ n deta9 u long1 s9ce x may be said )\t inju/ice t _! mission is m social ?an arti/ic4 ,9 ^! *oirs ! subdivision into p>ts is1 z a rule1 into two t5or voices1 fir/ & second1 & two bass1 fir/ & second4 ,9 ! glee unions1 ! effect ( ^: s++ is fairly well imitat$ by ! college clubs ( ! ,unit$ ,/ates 7pitiful ?+s1 inde$1 f an arti/ic po9t ( view71 !re is a survival ( an old elem5t 9 ! male alto s++ above ! melody voice1 g5]ally 9 a pa9ful falsetto4 ,?is abom9ation is unkn[n to ! ,g]man "p-songs = m5's voices1 :i* are writt5 normally1 b are 9 ! long run monoton\s 9 color = want ( ! v>iety 9 timbre & regi/] :i* ! female voices contribute 9 a mix$ *oir4 ,sid5ote3 ,wom5's *oirs4 ,!re are *oirs also compos$ exclusively ( wom51 b !y are ev5 m unsatisfactory ?an ! male *oirs1 = ! reason t ! abs5ce ( ! bass voice leaves _! h>mony )\t suffici5t f\ndation4 ,g5]ally1 music = ^! *oirs is writt5 = ?ree p>ts1 two sopranos & contralto1 ) ! result t x hov]s1 susp5d$ l ,mahomet's c(f91 betwe5 heav5 & e>?4 ,:5 a f\r? "p is add$ x is a second contralto1 :i* is g5]ally c>ri$ d[n to ! tones t are holl[ & unnatural4 ,sid5ote3 ,boys' *oirs4 ,! sub/itution ( boys = wom5 9 ,episcopal ,*ur* *oirs has gr[n ext5sively )9 ! la/ t5 ye>s 9 ! ,unit$ ,/ates1 v mu* to ! promotion ( ae/hetic s5tim5tality 9 ! congregations1 b )\t improv+ ! "* ( wor%ip-music4 ,boys' voices are practically limitless 9 an upw>d direction1 & are naturally cle> & p5etrat+4 ,ravi%+ effects c be produc$ ) !m1 b x is false art to use passionless voices 9 music conceiv$ = ! mature & emotional voices ( adults2 & v little ( ! old ,engli% ,ca!dral music1 writt5 = *oirs ( boys & m51 is pres]v$ 9 ! s]vice li/s to-day4 ,sid5ote3 ,mix$ *oirs4 ,! only satisfactory *oirs are ! mix$ *oirs ( m5 & wom54 ,^u !m has devolv$ ! cultivation ( arti/ic *oral music 9 our public conc]t-rooms4 ,z we "k su* *oirs n[1 !y are ( comp>atively rec5t orig91 & x is a s+ul> comm5t>y ^u ! way 9 :i* musical hi/ory is writt51 t ! fact %\ld h s long be5 ov]look$ t ! cr$it ( organiz+ ! fir/ belongs to ! ,unit$ ,/ates4 ,a little reflection w %[ ?is fact1 :i* seems some:at />tl+ at fir/ blu%1 to be entirely natural4 ,l>ge s++ societies are ( necessity made up ( amateurs1 & ! want ( pr(essional musicians 9 ,am]ica compell$ ! p to enli/ amateurs at a "t :5 9 ,europe *oral activity re/$ on ! *ur*1 !atre1 & in/itute *ori/]s1 :o 7 practically pr(essionals4 ,sid5ote3 ,orig9 ( amateur s++ societies4 ,sid5ote3 ,! ,g]man record4 ,sid5ote3 ,am]ican priority4 ,sid5ote3 ,! ,am]ican record4 ,z ! hi!rto accept$ record /&s1 ! fir/ amateur s++ society 0 ! ,s+akademie ( ,b]l91 :i* ,c>l ,fri$ri* ,fas*1 accompani/ to ! royal flauti/1 ,fr$]ick ! ,great1 call$ into exi/5ce 9 #agia4 ,a few dates w %[ h[ sl[ ! o!r cities ( musical ,g]many 7 9 foll[+ ,b]l9's example4 ,9 #ahah !re 7 only t5 amateur *oirs 9 all ,g]many4 ,leipsic organiz$ "o 9 #ahjj1 ,/ett9 9 #ahjj1 ,mu5/] 9 #ahjd1 ,dresd5 9 #ahjg1 ,potsdam 9 #ahad1 ,brem5 9 #ahae1 ,*emnitz 9 #ahag1 ,s*waebis*-,hall 9 #ahag1 & ,innsbruck 9 #ahah4 ,! ,b]l9 ,s+akademie is /ill 9 exi/5ce1 b s also is ! ,/\ghton ,musical ,society 9 ,/\ghton1 ,mass41 :i* 0 f\nd$ on ,novemb] #g1 #aghf4 ,mr4 ,*>les ,c4 ,p]k9s1 hi/orian ( ! ,h&el & ,haydn ,society1 ^: f\ndation 0 co9cid5t ) ! six? society 9 ,g]many 7,brem51 #ahae71 enum]ates ! foll[+ pr$ecessors ( t v5]able organization3 ! ,/\ghton ,musical ,society1 #aghf2 ,indep5d5t ,musical ,society1 e/abli%$ at ,bo/on 9 ! same ye>1 :i* gave a conc]t at ,k+'s ,*apel 9 #aghh1 & took "p !re 9 commemorat+ ! dea? ( ,wa%+ton 7,decemb] #ad1 #agii7 on 8 fir/ succe$+ bir?day2 ! ,frankl91 #ahjd2 ! ,salem1 #ahjf2 ,massa*usetts ,musical1 #ahjg2 ,lock ,hospital1 #ahab1 & ! ,norfolk ,musical1 ! date ( ^: f\ndation is n giv5 by ,mr4 ,p]k9s4 ,sid5ote3 ,*oirs 9 ! ,we/4 ,:5 ! ,brem5 ,s+akademie 0 organiz$ !re 7 already *oirs 9 ! ,unit$ ,/ates z f> we/ z ,c9c9nati4 ,9 t city !y 7 m]ely *ur* *oirs at fir/1 b )9 a few ye>s !y _h comb9$ into a l>ge body & 7 giv+ conc]ts at :i* "s ( ! *oruses ( ,h&el & ,haydn 7 sung4 ,t _! p]=mances1 z well z ^? ( ! ,new ,engl& societies1 7 crud] ?an ^? ( _! ,european rivals may well be believ$1 b ) ?is ,i h no?+ to d4 ,i am simply seek+ to e/abli% ! priority ( ! ,unit$ ,/ates 9 amateur *oral culture4 ,! numb] ( ,am]ican cities 9 :i* oratorios are p]=m$ annually is n[ ab\t fifty4 ,sid5ote3 ,! size ( *oirs4 ,sid5ote3 ,l>ge numb]s n ess5tial4 ,sid5ote3 ,h[ divisions us$ to be sung4 ,9 size mix$ *oirs ord9>ily range f =ty voices to five hundr$4 ,x 7 well if x 7 und]/ood by *ori/]s z well z ! public t numb]s m]ely are n a sign ( m]it 9 a s++ society4 ,s ! conc]t-room be n too l>ge1 a *oir ( sixty well-tra9$ voices is l>ge en\gh to p]=m almo/ ev]y?+ 9 *oral lit]ature ) good effect1 & ! majority ( ! be/ compositions w s\nd bett] "u su* circum/ances ?an 9 l>ge rooms ) l>ge *oirs4 ,especially is ?is true ( ! music ( ! ,middle ,ages1 writt5 = voices )\t in/rum5tal accompanim5t1 ( :i* ,i %all h some?+ to say :5 ! discussion rea*es *oral programmes4 ,!re is music1 x is true1 l mu* ( ,h&el's1 ! impressiv5ess ( :i* is greatly enhanc$ by masses1 b x is n ext5sive en\gh to ju/ify ! sacrifice ( correctness & f9i% 9 ! p]=mance to m]e volume4 ,! use ( l>ge *oirs has _h ! effect ( develop+ ! skilfulness ( amateur s+]s 9 an a/oni%+ degree1 b !re is1 nev]!less1 a po9t :]e weight9ess ( tone becomes an ob/acle to f9i%$ execution4 ,:5 ,moz>t remodell$ ,h&el's ,messiah he 0 c>eful to indicate t ! florid passages 7divisions !y us$ to be call$ 9 ,engl&7 %\ld be sung by ! solo voices alone1 b n[adays *oirs ( five hundr$ voices attack su* *oruses z ,= unto u a ,*ild is ,born1 )\t ! slighte/ hesitation1 ev5 if !y sometimes make a m\rnful mess ( ! divisions4 ,sid5ote3 ,! division ( *oirs4 ,sid5ote3 ,five-"p music4 ,sid5ote3 ,eight "p4 ,sid5ote3 ,antiphonal music4 ,sid5ote3 ,ba*'s ,/4 ,mat!w ,passion4 ,! normal division ( a mix$ *oir is into f\r p>ts or voices--soprano1 contralto1 t5or1 & bass2 b compos]s sometimes write = m p>ts1 & ! *oir is subdivid$ to correspond4 ,! cu/om ( writ+ = five1 six1 eight1 t51 & ev5 m voices 0 m common 9 ! ,middle ,ages1 ! palmy days ( ! a capella 7i4e41 = ! *apel1 unaccompani$7 /yle ?an x is n[1 &1 z a rule1 a division into m ?an f\r voices is n ne$$ outside ( ! societies :i* cultivate ?is old music1 su* z ! ,musical ,art ,society 9 ,new ,york1 ! ,ba* ,*oir 9 ,london1 & ! ,dom*or 9 ,b]l94 ,9 music = five p>ts1 "o ( ! upp] voices1 soprano or t5or1 is g5]ally d\bl$2 = six1 ! ord9>y di/ribution is into two sopranos1 two contraltos1 t5or1 & bass4 ,:5 eight voices are rea*$ a di/9ction is made accord+ z !re are to be eight real p>ts 7a otto voci reali71 or two *oruses ( ! f\r normal p>ts ea* 7a otto voci 9 due cori reali74 ,9 ! fir/ in/ance ! arrangem5t commonly is ?ree sopranos1 two contraltos1 two t5ors1 & "o bass4 ,"o ( ! mo/ beautiful uses ( ! d\ble *oir is to produce antiphonal effects1 *oir answ]+ to *oir1 bo? occasionally unit+ 9 ! climaxes4 ,h[ /irr+ ?is effect c be made may be obs]v$ 9 "s ( ,ba*'s compositions1 especially ^? 9 :i* he makes ! division ( ! *oir subs]ve a dramatic purpose1 z 9 ! fir/ *orus ( ,! ,passion accord+ to ,/4 ,mat!w1 :]e ! two *oirs1 "o repres5t+ ,daught]s ( ,zion1 ! o!r ,believ]s1 int]rogate & answ] ea* o!r ?us3 ,i4 ,come1 ye daught]s1 weep = angui%2 ,see ,him6 ,,ii4 ,:om8 ,i4 ,! ,son ( ,man4 ,see ,him6 ,,ii4 ,h[8 ,i4 ,s l a lamb4 ,see x6 ,,ii4 ,:at8 ,i4 ,8 love untold4 ,look6 ,,ii4 ,look :]e8 ,i4 ,our guilt behold4 ,sid5ote3 ,antiphony 9 a motet4 ,ano!r mo/ /rik+ in/ance is 9 ! same ma/]'s motet1 ,s+ ye to ! ,"l1 :i* is writt5 = two *oirs ( f\r p>ts ea*4 7,9 ! example f ! ,/4 ,mat!w ,passion !re is a ?ird *oir ( soprano voices :i* s+s a *orale :ile ! dramatic *oirs are conv]s+47 ,9 ! motet ! fir/ *oir beg9s a fugue1 9 ! mid/ ( :i* ! second *oir is he>d %\t+ jubilantly1 ,s+ ye6 ,s+ ye6 ,s+ ye6 ,!n ! *oirs *ange roles1 ! fir/ deliv]+ ! injunction1 ! second s++ ! fugue4 ,9 mod]n music1 compos]s frequ5tly consort a qu>tet ( solo voices1 soprano1 contralto1 t5or1 & bass1 ) a f\r-"p *orus1 & ?us a*ieve f9e effects ( contra/ 9 dynamics & color1 z well z antiphonal4 ,sid5ote3 ,excell5ce 9 *oral s++4 ,sid5ote3 ,community ( action4 ,sid5ote3 ,individualism4 ,sid5ote3 ,dynamics4 ,sid5ote3 ,beauty ( tone4 ,sid5ote3 ,contralto voices4 ,! "q is ne>3 ,:at con/itutes excell5ce 9 a *oral p]=mance8 ,to answ]3 ,! same qualities t con/itute excell5ce 9 an or*e/ral p]=mance1 w sc>cely suffice1 except z a g5]alization4 ,a high] degree ( h>moni\s action is exact$ ( a body ( s+]s ?an ( a body ( in/rum5tali/s4 ,_m ( ! p>ts 9 a symphony are play$ by a s+le in/rum5t4 ,community ( voice belongs only to ea* ( ! five bodies ( /r+-play]s4 ,9 a *orus !re are f twelve to "o hundr$ & fifty voices1 or ev5 m1 unit$ 9 ea* "p4 ,?is dem&s ! effacem5t ( individuality 9 a *orus1 ^u ! ass]tion ( :i*1 9 a b&1 "u ! judici\s guidance ( ! conductor1 _m ( ! effects ( color & expression dep5d4 ,ea* gr\p 9 a *oir mu/ /rive = homog5eity ( voice quality2 ea* s+] mu/ s9k ! ego 9 ! aggregation1 yet employ x 9 its highe/ pot5cy s f> z ! ma/]y ( ! te*nics ( s++ is conc]n$4 ,9 cultivat+ precision ( attack 7i4e41 promptness 9 beg9n+ a tone & leav+ x (f71 purity ( intonation 7i4e41 accuracy or ju/ness ( pit*--s++ 9 tune accord+ to ! popul> phrase71 cle>ness ( enunciation1 & c>eful att5tion to all ! dynamic gradations ( tone1 f v s(t up to v l\d1 & all %ades ( expression betwe51 9 ! developm5t ( t gradual augm5tation ( tone call$ cresc5do1 & ! gradual dim9ution call$ dim9u5do1 ! highe/ ord] ( individual skill is exact$ f e *ori/]2 = ^u individual p]fection 9 ^! ?+s dep5ds ! collective effect :i* x is ! purpose ( ! conductor to a*ieve4 ,s5su\s beauty ( tone1 ev5 9 l>ge aggregations1 is also dep5d5t to a great degree ^u c>eful & prop] emission ( voice by ea* individual1 & x is because ! contralto "p 9 mo/ *oral music1 be+ a middle "p1 lies s easily 9 ! voices ( ! s+]s t ! contralto cont+5t 9 ,am]ican *oirs1 especially1 s (t5 attracts att5tion by ! *>m ( its tone4 ,contralto voices are seldom =c$ into ! regions :i* compel s great a physical /ra9 t beauty & "* mu/ be sacrific$ to m]e accompli%m5t ( utt]ance1 z is frequ5tly ! case ) ! soprano "p4 ,sid5ote3 ,selfi%ness fatal to success4 ,sid5ote3 ,tonal balance4 ,yet back ( all ?is ex]cise ( individual skill !re mu/ be a _s ( self-sacrifice :i* c only exi/ 9 effective pot5cy if prompt$ by univ]sal sympa?y & love = ! art4 ,a selfi% *ori/] is n a *ori/]1 ?\gh possess$ ( ! voice ( a ,melba or ,m>io4 ,balance betwe5 ! p>ts1 n only 9 ! fundam5tal con/itution ( ! *oir b also 9 all /ages ( a p]=mance1 is also a matt] ( ! highe/ consid]ation4 ,9 urban communities1 especially1 x is difficult to secure p]fect tonal symmetry--! rule is a pov]ty 9 t5or voices--b ^? :o g to he> *oral conc]ts are entitl$ to he> a well-balanc$ *oir1 & ! pres5ce ( an army ( sopranos w n condone a squad ( t5ors4 ,aga91 ,i say1 bett] a well-balanc$ small *oir ?an an ill-balanc$ l>ge "o4 ,sid5ote3 ,declamation4 ,sid5ote3 ,expression4 ,sid5ote3 ,! *oruses 9 ,! ,messiah4 ,sid5ote3 ,v>iety ( declamation 9 ,h&el's oratorio4 ,i h n enum]at$ all ! elem5ts :i* ent] into a m]itori\s p]=mance1 nor %all ,i discuss !m all2 only 9 pass+ d ,i wi% to direct att5tion to "o :i* %9es by its abs5ce 9 ! *oral p]=mances n only ( ,am]ica b also ( ,great ,brita9 & ,g]many4 ,prop] pronunciation ( ! texts is an obvi\s requirem5t2 s ought also to be declamation4 ,!re is no reason :y *>act]i/ic expression1 by :i* ,i mean expression :i* goes to ! g5ius ( ! melodic phrase :5 x spr+s f ! v]bal1 %\ld be ignor$1 simply because x may be difficult ( atta9m5t f l>ge bodies ( s+]s4 ,!re is s mu* monotony 9 oratorio conc]ts because all oratorios & all p>ts ( any s+le oratorio are sung alike4 ,only :5 ! ,hallelujah is sung 9 ,! ,messiah at ! graci\s ,*ri/ma/ide is an exaltation above ! dull level ( ! r\t9e p]=mances noticeable1 & !n x is communicat$ to ! s+]s by ! act ( ! li/5]s 9 ris+ to _! feet4 ,n[1 despite ! /ructural sam5ess 9 ! *oruses ( ,! ,messiah1 !y h a great v>iety ( cont5t1 & if ! *>act]i/ic physiognomy ( ea* c\ld b be disclos$1 ! gr& old "w1 :i* seems hackney$ to s _m1 w\ld acquire amaz+ fre%ness1 eloqu5ce1 & p[]4 ,!n %\ld we be privileg$ to note t !re is ample v>iety 9 ! voice ( ! old ma/]1 ( :om a great] ?an he said t :5 he wi%$1 he c\ld /rike l a ?und]bolt4 ,!n %\ld we he> ! tones ( amaz$ adoration 9 ,music illu/ration3 ,be-hold ! ,lamb ( ,god6 ( cruel scorn 9 ,music illu/ration3 ,he tru/-ed 9 ,god t w\ld de-li-v] ,him1 let him de-li-v] him if he de-light 9 him4 ( boa/fulness & consci\s /r5g? 9 ,music illu/ration3 ,let u break _! bonds a-sun-d]4 & le>n to admire z we ought to admire ! declamatory /r5g? & tru?fulness s common 9 ,h&el's *oruses4 ,sid5ote3 ,m$iaeval music4 ,sid5ote3 ,madrigals4 ,!re is v little cultivation ( *oral music ( ! e>ly ecclesia/ical type1 & t little is limit$ to ! ,*ur* & a few *oirs specially organiz$ = its p]=mance1 l ^? t ,i h m5tion$4 ,?is music is s =eign to ! conceptions ( ! ord9>y amateur1 & exacts s mu* skill 9 ! s++ ( ! int]vals1 lack+ ! prop ( mod]n tonality z x does1 t x is seldom t an amateur body c be f\nd equal to its p]=mance4 ,moreov]1 x is ne>ly all ( a solemn type4 ,its compos]s 7 *ur*m51 & :5 x 0 writt5 ne>ly all t !re 0 ( arti/ic music 0 9 ! s]vice ( ! ,*ur*4 ,! secul> music ( ! "t consi/$ *iefly 9 ,madrigals1 :i* diff]$ f ecclesia/ical music only 9 _! texts1 !y be+ g5]ally erotic 9 s5tim5t4 ,! *ori/]s ( to-day1 no less ?an ! public1 f9d x difficult to appreciate !m1 because !y are n melodic 9 ! s5se t mo/ music is n[adays4 ,9 !m ! melody is n ! privileg$ possession ( ! soprano voice4 ,all ! voices /& on an equal foot+1 & ! composition consi/s ( a weav+ toge!r1 accord+ to sci5tific rules1 ( a numb] ( voices--c\nt]po9t z x is call$4 ,sid5ote3 ,homophonic hymns4 ,sid5ote3 ,calv9's re/rictive influ5ce4 ,our hymn-tunes are homophonic1 bas$ ^u a melody sung by "o voice1 = :i* ! o!r voices provide ! h>mony4 ,?is /yle ( music came into ! ,*ur* ?r\gh ! ,g]man ,re=mation4 ,?\gh ,calv9 0 a lov] ( music he re/rict$ its practice among 8 foll[]s to unisonal psalmody1 t is1 to c]ta9 tunes adapt$ to ! v]sifi$ psalms sung )\t accompanim5t ( h>mony voices4 ,on ! adoption ( ! ,g5evan psalt] he gave ! /ricte/ injunction t nei!r its text nor its melodies 7 to be alt]$4 ,^? songs & melodies1 said he1 :i* are compos$ = ! m]e pleasure ( ! e>1 & all !y call ornam5tal music1 & songs = f\r p>ts1 d n behoove ! maje/y ( ! ,*ur*1 & _c fail greatly to displease ,god4 ,sid5ote3 ,lu!r & ! ,g]man ,*ur*4 ,"u ! influ5ce ( ! ,g]man re=m]s music 0 9 a v diff]5t case4 ,lu!r 0 n only an amateur musician1 he 0 also an ard5t lov] ( sci5tific music4 ,josqu9 des ,pres1 a contempor>y ( ,columbus1 0 8 greate/ admiration2 nev]!less1 he 0 anxi\s f ! beg9n+ ( 8 "w ( ,*ur* e/abli%m5t to h ! music ( ! ,g]man ,*ur* ,g]man 9 _s & /yle4 ,9 #aebe he wrote3 ,sid5ote3 ,a ,g]man mass4 ,i %\ld l to h a ,g]man mass1 & ,i am inde$ at "w on "o2 b ,i am anxi\s t x %all be truly ,g]man 9 mann]4 ,i h no objection to a translat$ ,lat9 text & ,lat9 notes2 b !y are nei!r prop] nor j 7ab] es lautet ni*t artig no* re*ts*aff572 text & notes1 acc5t1 melodies1 & demeanor mu/ come f our "m tongue & voice1 else w x all be b a mimicry1 l t ( ! apes4 ,sid5ote3 ,secul> tunes us$4 ,sid5ote3 ,congregational s++4 ,9 ! ,*ur* music ( ! "t1 compos$1 z ,i h describ$1 by a sci5tific int]weav+ ( voices1 ! compos]s _h got into ! habit ( utiliz+ secul> melodies z ! f\ndation on :i* to build _! contrapuntal /ructures4 ,i h no d\bt t x 0 ! _s :i* speaks out ( ,lu!r's words :i* br\ght x to pass t 9 ,g]many contrapuntal music ) popul> melodies z f\ndations develop$ into ! *orale1 9 :i* ! melody & n ! c\nt]po9t 0 ! ess5tial ?+4 ,) ! ,lu!ran ,*ur* came congregational s++2 ) congregational s++ ! ne$ ( a new /yle ( composition1 :i* %\ld n only make ! p>ticipation ( ! p 9 ! s++ possible1 b %\ld also /imulate !m to s+ by free+ ! famili> melodies 7! melodies ( folk-songs7 f ! elaborate & +5i\s1 b s\lless1 c\nt]po9t :i* fett]$ !m4 ,sid5ote3 ,c\nt]po9t4 ,sid5ote3 ,! fir/ congregational hymns4 ,! ,flemi% ma/]s1 :o 7 ! musical law-giv]s1 _h be5 us+ secul> tunes = ov] a c5tury1 b only z /alk+-horses = c\nt]po9t2 & :5 ! ,g]mans began to use _! tunes1 !y1 too1 buri$ !m beyond recognition 9 ! contrapuntal mass4 ,! p 7 invit$ to s+ p>aphrases ( ! psalms to famili> tunes1 x is true1 b ! *oir's polyphony w5t f> to /ifle ! _s ( ! melody4 ,soon ! free _s :i* ,i h repeat$ly ref]r$ to z ,romanticism1 & :i* 0 p[]fully enc\rag$ by ! ,re=mation1 prompt$ a /yle ( composition 9 :i* ! admir$ melody 0 lift$ into relief4 ,?is c\ld n be done until ! new /yle ( writ+ inv5t$ by ! creators ( ! op]a 7see ,*apt] ,,vii47 came 91 b z e>ly z #aefh ,dr4 ,lucas ,o/r&] publi%$ fifty hymns & psalms ) music s arrang$ t ! congregation may jo9 9 s++ !m4 ,?is1 !n1 is 9 outl9e ! /ory ( ! beg9n+ ( mod]n hymnology1 & x is recall$ to ! patrons ( *oral conc]ts :5ev] 9 ,ba*'s ,passion ,music or 9 ,m5delssohn's ,/4 ,paul ! *oir s+s "o ( ! m>vell\s old hymns ( ! ,g]man ,*ur*4 ,sid5ote3 ,! ,*ur* & cons]vatism4 ,sid5ote3 ,h>mony & emotion4 ,*oral music be+ b\nd up ) ! ,*ur*1 x has naturally p>ticipat$ 9 ! cons]vatism *>act]i/ic ( ! ,*ur*4 ,! sev]e old /yle has surviv$ 9 ! *oral compositions ( to-day1 :ile in/rum5tal music has gr[n to be almo/ a new ?+ )9 ! c5tury :i* is j clos+4 ,x is ! sev]e /yle e/abli%$ by ,ba*1 h[ev]1 n t ( ,pale/r9a4 ,9 ! ,*ur* compositions prior to ,pale/r9a ! emotional p[] ( h>mony 0 b little und]/ood4 ,! h>monies1 inde$1 7 ! accid5ts ( ! int]weav+ ( melodies4 ,pale/r9a 0 among ! fir/ to feel ! uplift+ effect :i* might result f a simple sequ5ce ( pure consonant h>monies1 & ! ?ree *ords :i* op5 8 fam\s ,/abat ,mat] ,sid5ote3 ,pale/r9a's ,/abat ,mat]4 ,sid5ote3 ,*>act]i/ics ( 8 music4 ,music illu/ration3 ,/a-bat ma-t] are a sign ( 8 /yle z di/9ct 9 its way z ! devices by means ( :i* ,wagn] /amps 8 individuality on 8 phrases4 ,8 melodies1 too1 comp>$ ) ! artificial motivi ( 8 pr$ecessors1 are di/+ui%$ by grace1 beauty1 & expressiv5ess1 :ile 8 comm& ( ae!rial effects1 due to ! mann] 9 :i* ! voices are comb9$1 is absolutely )\t p>allel f 8 day to ?is4 ,( ! my/]y ( pure beauty he enjoy$ a wond]ful revelation1 & has h&$ x d[n to u 9 su* works z ! ,/abat ,mat]1 ,missa ,papae ,m>celli1 & ! ,improp]ia4 ,sid5ote3 ,pale/r9a's music n dramatic4 ,sid5ote3 ,a *ur*man4 ,sid5ote3 ,effect ( ! ,re=mation4 ,?is music mu/ n be li/5$ to ) ! notion 9 m9d ( dramatic expression su* z we almo/ in/9ctively feel to-day4 ,pale/r9a does n seek to proclaim ! v>y+ s5tim5t :i* und]lies 8 texts4 ,t leads to individual int]pretation & is =eign to ! habits ( *ur*m5 9 ! old conception1 :5 ! individual 0 completely resolv$ 9 ! organization4 ,he aim$ to exalt ! my/]y ( ! s]vice1 n to br+ x d[n to popul> compreh5sion & make x a p]sonal utt]ance4 ,= su* a design 9 music we mu/ wait until aft] ! ,re=mation1 :5 ! anci5t my/icism began to fall back be=e ! dem&s ( reason1 :5 ! idea ( ! sole & suffici5t m$iation ( ! ,*ur* lo/ "s ( its p[] 9 ! face ( ! gr[+ conviction ( intimate p]sonal relation%ip betwe5 man & 8 creator4 ,n[ idealism _h to yield "s ( its dom9ion to realism1 & a m rugg$ art grew up 9 place ( t :i* _h be5 s wond]fully sublimat$ by my/icism4 ,sid5ote3 ,! s\rce ( beauty 9 ,pale/r9a's music4 ,x is 9 ,ba*1 :o came a c5tury aft] ,pale/r9a1 t we f9d ! mo/ eloqu5t musical proclamation ( ! new regime1 & x is 9 no s5se disrespectful to ! great ,g]man ma/] if we feel t ! *ange 9 ideals 0 accompani$ ) a loss 9 s5su\s *>m1 or pure ae/hetic beauty4 ,effect has _h to yield to idea4 ,x is 9 ! fl[ ( ! voices1 ! color effects :i* result f comb9ation & regi/]s1 ! cl>ity ( ! h>monies1 ! reposefulness com+ f consci\s ease ( utt]ance1 ! lovel9ess ( ea* individual "p1 & ! spiritual exaltation ( ! :ole t ! ae/hetic my/]y ( ,pale/r9a's music lies4 ,sid5ote3 ,ba*4 ,l ,pale/r9a1 ,ba* is ! culm9ation ( ! musical practice ( 8 "t1 b1 unlike ,pale/r9a1 he is also ! />t+-po9t ( a new developm5t4 ,) ,ba* ! old contrapuntal art1 n[ n vocal m]ely b in/rum5tal also & mix$1 rea*es its climax1 & ! t5d5cy sets 9 :i* leads to ! highly complex & dramatic art ( to-day4 ,pale/r9a's art is ,roman2 ! _s ( re/fulness1 ( cele/ial calm1 ( sup]natural revelation & sup]nal beauty broods ov] x4 ,ba*'s is ,go?ic--rugg$1 massive1 upw>d /riv+1 human4 ,9 ,pale/r9a's music ! voice t speaks is ! voice ( angels2 9 ,ba*'s x is ! voice ( m54 ,sid5ote3 ,ba* a ,g]man ,prote/ant4 ,sid5ote3 ,*ur* & individual4 ,sid5ote3 ,+5u\sness ( feel+4 ,ba* is ! publi%] ( ! true/1 t5d]e/1 deepe/1 & mo/ individual religi\s feel+4 ,8 music is peculi>ly a hymn+ ( ! religi\s s5tim5t ( ,prote/ant ,g]many1 :]e salvation is to be wr\ght out ) fe> & trembl+ by ea* individual ?r\gh fai? & works r ?an ! ag5cy ( ev5 a div9ely con/itut$ ,*ur*4 ,x reflects1 ) r>e fidelity & cle>ness1 ! ess5tial qualities ( ! ,g]man p--_! w>m sympa?y1 pr(\nd compassion1 f]v5t love1 & /urdy fai?4 ,z ! ,*ur* fell into ! backgr\nd & ! individual came to ! =e1 religi\s music took on ! dramatic "* :i* we f9d 9 ! ,passion ,music ( ,ba*4 ,"h ! suff]+s & dea? ( ! ,savi\r1 none ! less an ineffable my/]y1 are depict$ z ! mo/ poignant exp]i5ce ( ea* individual believ]1 & ) an +5u\sness t mu/ =ev] provoke ! wond] ( ^? :o are unable to ent] into ! ,g]man nature4 ,! wor%ipp]s d n hesitate to say3 ,my ,jesus1 good-night6 z !y ga!r 9 fancy ar\nd ,8 tomb & invoke sweet re/ = ,8 we>y limbs4 ,! diff]5ce betwe5 su* a proclamation & ! calm voice ( ! ,*ur* %\ld be borne 9 m9d :5 comp>+ ! music ( ,pale/r9a ) t ( ,ba*2 also ! va/ /rides made by music dur+ ! int]v5+ c5tury4 ,sid5ote3 ,! motet4 ,( ,ba*'s music we h 9 ! rep]tories ( our be/ *oral societies a numb] ( motets1 *ur* cantatas1 a sett+ ( ! ,magnificat1 & ! great mass 9 ,b m9or4 ,! t]m ,motet lacks some:at ( def9it5ess ( ! usage ( compos]s4 ,orig9ally x seems likely t x 0 a secul> composition :i* ! ,ne!rl& compos]s enli/$ 9 ! s]vice ( ! ,*ur* by adapt+ x to ,biblical & o!r religi\s texts4 ,!n x 0 always unaccompani$4 ,9 ! lat] ,prote/ant motets ! *orale came to play a great "p2 ! v>i\s /anzas ( a hymn 7 giv5 diff]5t sett+s1 ! f\ndation ( ea* be+ ! hymn tune4 ,^! 7 int]sp]s$ ) indep5d5t pieces1 bas$ on ,biblical words4 ,sid5ote3 ,*ur* cantatas4 ,! ,*ur* ,cantatas 7,kir*5cantat57 are l>g] s]vices ) or*e/ral accompanim5t1 :i* 7 writt5 to con=m to ! v>i\s religi\s fe/ivals & ,sundays ( ! ye>2 ea* has = a fundam5tal subject ! !me :i* is prop] to ! day4 ,aga91 a *orale provides ! musical f\ndation4 ,words & melody are reta9$1 b betwe5 ! /anzas occur recitatives & metrical airs1 or ariosos1 = solo voices 9 ! nature ( comm5t>ies or reflections on ! s5tim5t ( ! hymn or ! gospel lesson = ! day4 ,sid5ote3 ,! ,passions4 ,sid5ote3 ,orig9 ( ! ,passions4 ,sid5ote3 ,e>ly ,holy ,week s]vices4 ,! ,passions are /ill m ext5d$1 & 7 writt5 = use 9 ! ,re=m$ ,*ur* 9 ,holy ,week4 ,z an art-=m !y are unique1 comb9+ a numb] ( elem5ts & hav+ all ! app>atus ( an oratorio plus ! congregation1 :i* took "p 9 ! p]=mance by s++ ! hymns disp]s$ ?r\gh ! "w4 ,! s]vice 7= z a s]vice1 r ?an z an oratorio1 x mu/ be treat$7 roots 9 ! ,miracle plays & ,my/]ies ( ! ,middle ,ages1 b its orig9 is ev5 m remote1 go+ back to ! cu/om foll[$ by ! primitive ,*ri/ians ( mak+ ! read+ ( ! /ory ( ! ,passion a special s]vice = ,holy ,week4 ,9 ! ,ea/]n ,*ur* x 0 introduc$ 9 a simple dramatic =m z e>ly z ! f\r? c5tury ,a4,d41 ! treatm5t be+ some:at l ! anci5t trag$ies1 ! text be+ inton$ or *ant$4 ,9 ! ,we/]n ,*ur*1 until ! sixte5? c5tury1 ! ,passion 0 read 9 a way :i* gave ! s]vice "o elem5t :i* is f\nd 9 ,ba*'s works 9 an amplifi$ =m4 ,?ree deacons 7 employ$1 "o to read 7or r *ant to ,gregorian melodies7 ! words ( ,*ri/1 ano!r to deliv] ! n>rative 9 ! words ( ! ,evangeli/1 & a ?ird to give ! utt]ances & exclamations ( ! ,apo/les & p4 ,?is 0 ! ,cantus ,passionis ,dom9i no/ri ,jesu ,*ri/e ( ! ,*ur*1 & _h s /rong a hold ^u ! ta/es ( ! p t x 0 pres]v$ by ,lu!r 9 ! ,re=m$ ,*ur*4 ,sid5ote3 ,! s]vice amplifi$4 ,sid5ote3 ,ba*'s sett+s4 ,"u ?is influ5ce x 0 spe$ily amplifi$4 ,! successive /eps ( ! progress are n cle>1 b ! *oir seems to h fir/ succe$$ to ! "p =m]ly sung by ! ?ird deacon1 & 9 "s *ur*es ! :ole ,passion 0 sung antiphonally by two *oirs4 ,9 ! sev5te5? c5tury ! introduction ( recitatives & arias1 di/ribut$ among s+]s :o repres5t$ ! p]sonages ( sacr$ hi/ory1 increas$ ! dramatic elem5t ( ! s]vice :i* rea*$ its climax 9 ! ,/4 ,mat!w sett+ by ,ba*4 ,! *orales are suppos$ to h be5 introduc$ ab\t #agjd4 ,ba*'s ,passions are ! la/ t figure 9 musical hi/ory4 ,t accord+ to ,/4 ,john is p]=m$ occasionally 9 ,g]many1 b x yields ! palm ( excell5ce to t accord+ to ,/4 ,mat!w1 :i* _h its fir/ p]=mance on ,good ,friday1 #agbi1 9 ,leipsic4 ,x is 9 two p>ts1 :i* 7 =m]ly sep>at$ by ! s]mon1 & employs two *oirs1 ea* ) its own or*e/ra1 solo s+]s 9 all ! classes ( voices1 & a h>psi*ord to accompany all ! recitatives1 except ^? ( ,jesus1 :i* are di/+ui%$ by be+ accompani$ by ! or*e/ral /r+s4 ,sid5ote3 ,oratorios4 ,sid5ote3 ,sacr$ op]as4 ,9 ! nature ( ?+s passions1 oratorios1 & _! secul> c\s9s1 cantatas1 imply sc5es & actions1 & !re=e h a remote k9%ip ) ! lyric drama4 ,! lit]>y analogy :i* !y sugge/ is ! epic poem z contra-di/+ui%$ f ! drama4 ,:ile ! drama pres5ts incid5t1 ! oratorio relates1 exp\nds1 & celebrates1 pres5t+ x to ! fancy ?r\gh ! e> in/ead ( repres5t+ x to ! eye4 ,a great deal ( loos5ess has crept into ?is dep>tm5t ( music z into e o!r1 & ! v>i\s =ms h be5 approa*+ ea* o!r until 9 "s cases x is become difficult to say :i* t]m1 op]a or oratorio1 ought to be appli$4 ,rub9/e9's sacr$ op]as are oratorios pr(usely int]sp]s$ ) /age directions1 _m ( :i* are impossible ( sc5ic realization4 ,_! :ole purpose is to "w ^u ! imag9ation ( ! li/5]s & ?us op5 gate-ways = ! music4 ,ev] s9ce its composition1 ,sa9t-,sa5s's ,samson & ,delilah has held a place 9 bo? !atre & conc]t-room4 ,liszt's ,/4 ,elizabe? has be5 f\nd m effective :5 provid$ ) pictorial accessories ?an )\t4 ,! great] "p ( ,elijah might be pres5t$ 9 dramatic =m4 ,sid5ote3 ,influ5ce ( ! ,*ur* plays4 ,sid5ote3 ,orig9 ( ! oratorio4 ,sid5ote3 ,! *oral elem5t ext5d$4 ,sid5ote3 ,n>rative & descriptive *oruses4 ,sid5ote3 ,dramatization4 ,confus+ & anomal\s z ^! ?+s are1 !y f9d _! explanation 9 ! circum/ance t ! oratorio nev] q fre$ itself f ! influ5ce ( ! p's ,*ur* plays 9 :i* x _h its beg9n+4 ,z a di/9ct art-=m x began 9 a mixture ( arti/ic ent]ta9m5t & religi\s wor%ip provid$ 9 ! e>ly "p ( ! sixte5? c5tury by ,filippo ,n]i 7n[ a sa9t7 = ^? :o came = pi\s in/ruction to 8 oratory 7:5ce ! "n74 ,! purpose ( ^! ent]ta9m5ts be+ religi\s1 ! subjects 7 ,biblical1 & ?\gh ! musical progress f ! beg9n+ 0 along ! l9e ( ! lyric drama1 contemporane\s 9 orig9 ) x1 ! music naturally develop$ into broad] =ms on ! *oral side1 because music _h to make up = ! lack ( pantomime1 co/umes1 & sc5]y4 ,h5ce we h n only ! prepond]ance ( *oruses 9 ! oratorio ov] recitative1 arias1 duets1 trios1 & s =?1 b also ! adh]5ce 9 ! *oral "p to ! old mann] ( writ+ :i* made ! expansion ( ! *oruses possible4 ,:]e ! *oruses left ! field ( pure reflection & became n>rative1 z 9 ,israel 9 ,egypt1 or assum$ a dramatic "*1 z 9 ! ,elijah1 ! compos] f\nd 9 !m vehicles = descriptive & *>act]i/ic music1 & s local color came into use4 ,*>act]ization ( ! solo p>ts foll[$ z a matt] ( c\rse1 an e>ly illu/ration be+ f\nd 9 ! mann] 9 :i* ,ba* lift$ ! words ( ,*ri/ into prom95ce by surr\nd+ !m ) ! radiant halo :i* /reams f ! viol9 accompanim5t4 ,9 consequ5ce ! s+] to :om 0 assign$ ! task ( s++ ! "p ( ,jesus pres5t$ himself to ! fancy ( ! li/5]s z a repres5tative ( ! hi/orical p]sonage--z ! ,*ri/ ( ! drama4 ,sid5ote3 ,! *orus 9 op]a & oratorio4 ,! gr[? ( ! in/rum5tal art "h came admirably into play1 & s x came to pass t op]a & oratorio n[ h _! musical elem5ts ( expression 9 common1 & diff] only 9 _! application ( !m--op]a =ego+ ! *oral elem5t to a great ext5t z be+ a h9drance to action1 & oratorio elevat+ x to make good ! abs5ce ( sc5]y & action4 ,:ile oratorios are biblical & leg5d>y1 cantatas deal ) secul> subjects &1 9 ! =m ( dramatic ballads1 f9d a delightful field 9 ! _w ( romance & sup]naturalism4 ,sid5ote3 ,! ,mass4 ,sid5ote3 ,secul>ization ( ! ,mass4 ,transf]r$ f ! ,*ur* to ! conc]t-room1 & consid]$ z an art-=m in/ead ( ! eu*>i/ic (fice1 ! ,mass has always made a /rong appeal to compos]s1 & half a doz5 ma/]pieces ( missal composition hold places 9 ! conc]t li/s ( ! s++ societies4 ,notable among ^! are ! ,requiems ( ,moz>t1 ,b]lioz1 & ,v]di1 & ! ,solemn ,mass 9 ,d by ,bee?ov54 ,^! works repres5t at "o & ! same "t ! climax ( accompli%m5t 9 ! musical treatm5t & ! secul>ization ( ! missal text4 ,!y are ! natural outcome ( ! expansion ( ! (fice by ! introduction ( ! or*e/ra into ! ,*ur*1 ! dep>ture f ! a capella /yle ( writ+1 :i* c\ld n be consort$ ) ! or*e/ra1 & ! gr[? ( a desire to enhance ! pomp ( great occasions 9 ! ,*ur* by ! production ( masses specially compos$ = !m4 ,"u su* circum/ances ! devotional purpose ( ! mass 0 lo/ 9 ! arti/ic1 & compos]s gave free reign to _! p[]s1 = :i* !y f\nd an ample /imulus 9 ! missal text4 ,sid5ote3 ,s5tim5tal masses4 ,sid5ote3 ,moz>t & ! ,mass4 ,sid5ote3 ,! masses = ! dead4 ,sid5ote3 ,gossec's ,requiem4 ,! fir/ effect1 & ! "o :i* l>gely ju/ifies ! adh]5ts ( ! old ecclesia/ical /yle 9 _! crusade aga9/ ! ,ca?olic ,*ur* music ( to-day1 0 to make ! masses s5tim5tal & op]atic4 ,s little reg>d 0 _h = ! s5tim5t ( ! words1 s little respect = ! solemnity ( ! sacram5t1 t m ?an a c5tury ago ,moz>t 7^: masses are f> f be+ models ( religi\s expression7 c\ld say to ,cantor ,doles ( a ,gloria :i* ! latt] %[$ him1 ,s'i/ ja alles nix1 & imm$iately s+ ! music to ,hol's d] ,gei]1 das geht fl9k6 :i* words1 he said1 w5t bett]4 ,! lib]ty begott5 by ?is lic5se1 ?\gh x t5d$ to ru9 ! mass1 consid]$ /rictly z a liturgical s]vice1 develop$ x musically4 ,! masses = ! dead 7 among ! e>lie/ to feel ! _s ( ! "t1 = 9 ! sequ5ce1 ,dies irae1 !y conta9$ ! dramatic elem5t :i* ! solemn mass lack$4 ,! ,kyrie1 ,cr$o1 ,gloria1 ,sanctus1 & ,agnus ,dei are purely lyrical1 & ?\gh ! evolution>y movem5t end$ 9 ,bee?ov5 conceiv+ c]ta9 portions 7notably ! ,agnus ,dei7 9 a dramatic s5se1 x 0 b natural t s f> z tradition fix$ ! disposition & =mal /yle ( ! v>i\s p>ts1 x %\ld n be di/urb$4 ,at an e>ly date ! compos]s began to put =? _! p[]s ( description 9 ! ,dies irae1 h[ev]1 & !re is extant 9 a ,fr5* mass an amus+ example ( ! l5g? to :i* tone-pa9t+ 9 ?is music 0 c>ri$ by !m4 ,gossec wrote a ,requiem on ! dea? ( ,mirabeau :i* became fam\s4 ,! words1 ,quantus tremor e/ futurus1 he set s t on ea* syllable !re 7 repetitions1 /accato1 ( a s+le tone1 ?us3 ,music illu/ration3 ,quan-tus tre---mor1 tre-- etc4 ,?is absurd /utt]+ ,gossec design$ to picture ! t]ror inspir$ by ! com+ ( ! ,judge at ! la/ trumpet4 ,sid5ote3 ,! or*e/ra 9 ! ,mass4 ,sid5ote3 ,bee?ov5 & ,b]lioz4 ,! developm5t ( in/rum5tation plac$ a factor 9 ! h&s ( ^! writ]s :i* !y 7 n sl[ to utilize1 especially 9 writ+ music = ! ,dies irae1 & h[ effectively ,moz>t us$ ! or*e/ra 9 8 ,requiem x is n necess>y to /ate4 ,x is a safe assumption t ,bee?ov5's ,mass 9 ,d 0 l>gely in/rum5tal 9 inspir+ ,b]lioz to set ! ,requiem z he did4 ,) ,bee?ov5 ! dramatic idea is ! controll+ "o1 & s x is ) ,b]lioz4 ,bee?ov51 :ile %[+ a rev]5ce = ! =mulas ( ! ,*ur*1 & respect+ ! tradition :i* gave ! ,kyrie a triple division & made fugue movem5ts out ( ! phrases ,cum sancto spiritu 9 gloria ,dei patris--,am51 ,et vitam v5turi1 & ,osanna 9 excelsis1 nev]!less gave 8 composition a scope :i* plac$ x beyond ! app>atus ( ! ,*ur*1 & fill$ x ) a _s t spurns ! limitations ( any cre$ ( less bread? & univ]sality ?an ! gr& ,!ism :i* affectionate communion ) nature _h taught him4 ,sid5ote3 ,b]lioz's ,requiem4 ,sid5ote3 ,dramatic effects 9 ,haydn's masses4 ,sid5ote3 ,b]lioz's or*e/ra4 ,b]lioz1 less religi\s1 less rev]5tial1 b equally fir$ by ! solemnity & maje/y ( ! matt] giv5 into 8 h&s1 wrote a "w 9 :i* he plac$ 8 highe/ conception ( ! awfulness ( ! ,la/ ,judgm5t & ! emotions :i* are awak5$ by its contemplation4 ,9 respect ( ! in/rum5tation he %[$ a f> great] audacity ?an ,bee?ov5 display$ ev5 9 ! mu*-moot$ trumpets & drums ( ! ,agnus ,dei1 :]e he introduces ! s\nds ( w> to height5 ! int5sity ( ! pray] = peace1 ,dona nobis pacem4 ,?is is talk$ ab\t 9 ! books z a bold innovation4 ,x seems to h escap$ notice t ! idea _h occurr$ to ,haydn tw5ty-f\r ye>s be=e & be5 realiz$ by him4 ,9 #agif ,haydn wrote a mass1 ,9 ,tempore ,belli1 ! ,fr5* army be+ at ! "t 9 ,/ey]m>k4 ,he set ! words1 ,agnus ,dei qui tollis peccata mundi1 to an accompanim5t ( drums1 z if ! enemy 7 already he>d com+ 9 ! di/ance4 ,he w5t f>!r ?an ?is 9 a ,mass 9 ,d m9or1 :5 he accompani$ ! ,b5$ictus ) fanf>es ( trumpets4 ,b all su* timid v5tures 9 ! use ( in/rum5ts 9 ! mass s9k into utt] insignificance :5 comp>$ ) ,b]lioz's app>atus 9 ! ,tuba mirum ( 8 ,requiem1 :i* supplem5ts ! ord9>y symphonic or*e/ra1 "s ( its in/rum5ts already d\bl$1 ) f\r brass b&s ( eight or t5 in/rum5ts ea*1 sixte5 extra drums1 & a tam-tam4 ,,footnotes3 ,h ,notes on ! ,cultivation ( ,*oral ,music1 by ,h4,e4 ,krehbiel1 p4 #ag4 ,,ix ,musician1 ,critic1 & ,public ,sid5ote3 ,! newspap]s & ! public4 ,i h be5 told t !re are _m p :o read ! newspap]s on ! day aft] !y h att5d$ a conc]t or op]atic repres5tation = ! purpose ( f9d+ out :e!r or n ! p]=mance gave !m prop] or suffici5t enjoym5t4 ,x w\ld n be becom+ 9 me to inquire too curi\sly into ! tru? ( su* a /atem5t1 & 9 view ( a d5unciation spok5 9 ! introductory *apt] ( ?is book1 ,i am n sure t x is n a piece ( arrogance1 or impud5ce1 on my "p to und]take 9 any way to ju/ify any critical writ+ on ! subject ( music4 ,c]ta9 x is t "s m5 :o write ab\t music = ! newspap]s believe1 or affect to believe1 t criticism is wor?less1 & ,i %all n escape ! *>ge ( inconsi/5cy1 if1 aft] ,i h condemn$ ! blund]s ( lit]>y m51 :o are laym5 9 music1 & sep>at$ ! majority ( pr(essional writ]s on ! art into p$ants & rhapsodi/s1 ,i nev]!less v5ture to discuss ! nature & value ( musical criticism4 ,yet1 surely1 !re mu/ be a "r & wrong 9 ?is z 9 e o!r ?+1 & j z surely ! pres5t /ructure ( society1 :i* re/s on ! newspap]1 invites att5tion to ! exi/+ relation%ip betwe5 musician1 critic1 & public z an important elem5t 9 ! "q ,h[ to ,li/5 to ,music4 ,sid5ote3 ,relation%ip betwe5 musician1 critic1 & public4 ,sid5ote3 ,! ne$ & value ( conflict4 ,z a condition prec$5t to ! discussion ( ?is new elem5t 9 ! case1 ,i lay d[n ! proposition t ! relation%ip betwe5 ! ?ree factors enum]at$ is s intimate & s /rict t ! _w ov] !y rise & fall toge!r2 :i* means t :]e ! p dwell :o h rea*$ ! highe/ plane ( excell5ce1 !re also are to be f\nd ! highe/ types ( ! musician & critic2 & t 9 ! degree 9 :i* ! ?ree factors1 :i* unit$ make up ! sum ( musical activity1 labor h>moni\sly1 consci5ti\sly1 & unselfi%ly1 ea* /riv+ to fulfil its mission1 !y advance music & fur!r !mselves1 ea* be>+ (f an equal %>e ( ! good d]iv$ f ! common ef=t4 ,i h set ! factors d[n 9 ! ord] :i* !y ord9>ily occupy 9 popul> discussion & :i* symbolizes _! prop] attitude t[>d ea* o!r & ! highe/ pot5cy ( _! collaboration4 ,9 ?is collaboration1 z 9 s _m o!rs1 x is conflict t br+s life4 ,only by a surr5d] ( _! functions1 "o to ! o!r1 c\ld ! ?ree app>5tly dissonant yet ess5tially h>moni\s factors be br\ght into a /ate ( complac5cy2 b su* complac5cy w\ld mean /agnation4 ,if ! publi%$ judgm5t on compositions & p]=mances c\ld always be t ( ! exploit+ musicians1 t class1 at lea/1 w\ld read ! newspap]s ) few] he>t-burn+s2 if ! critics _h a common m9d & x 7 foll[$ 9 conc]t-room & op]a-h\se1 !y1 z well z ! musicians1 w\ld h ne$ ( few] words ( displac5cy & m ( approbation2 if1 f9ally1 x 7 to be br\ght to pass t = ! public no?+ b amiable div]sion %\ld fl[ simultane\sly f plat=m1 /age1 & press1 !n = ! public w\ld ! mill5nium be come4 ,a religi\s philosoph] c transmute ,adam's fall into a bless+1 & we c recognize ! wisdom ( t disp5sation :i* put enmity betwe5 ! se$ ( ,jubal1 :o 0 ! fa!r ( all su* z h&le ! h>p & pipe1 & ! se$ ( ,saul1 :o1 ,i take x1 is ! fir/ critic ( record 7& a vigor\s "o1 too1 = he acc5tuat$ 8 unfavorable op9ion ( a h>p]'s h>p+ ) a javel9 ?ru/74 ,sid5ote3 ,! critic an ,i%maelite4 ,sid5ote3 ,! critic n to be piti$4 ,sid5ote3 ,h[ he might extricate himself4 ,sid5ote3 ,! public l to be flatt]$4 ,we are b\nd to recognize t betwe5 ! ?ree factors !re is1 ev] 01 & ev] %all be 9 saecula saeculorum an irrepressible conflict1 & t 9 ! nature ( ?+s ! middle factor is ! ,i%maelite ^: h& is rais$ aga9/ ev]ybody & aga9/ :om ev]ybody's h& is rais$4 ,! complac5cy ( ! musician & ! indiff]5ce1 n to say ignorance1 ( ! public ord9>ily comb9e to make !m allies1 & ! critic is1 !re=e1 plac$ betwe5 two mill/ones1 :]e he is vigor\sly rasp$ on bo? sides1 & :5ce1 be+ angul> & h>d ( out] %ell1 he frequ5tly requites ! treatm5t receiv$ ) complete & en]getic reciprocity4 ,is he !re=e to be piti$8 ,n a bit2 = 9 ?is position he is p]=m+ "o ( ! mo/ significant & useful ( 8 functions1 & disclos+ "o ( 8 mo/ preci\s virtues4 ,:ile musician & public mu/ p]=ce rema9 9 ! positions 9 :i* !y h be5 plac$ ) relation to ea* o!r x mu/ be app>5t at half a glance t x w\ld be ! simple/ matt] 9 ! _w = ! critic to extricate himself f 8 pr$icam5t4 ,he w\ld only ne$ to take 8 cue f ! public1 measur+ 8 comm5dation by ! int5sity ( _! applause1 8 dispraise by _! signs ( displeasure1 & all w\ld be well ) him4 ,we all "k ?is to be true1 t p l to read t :i* flatt]s !m by e*o+ _! own ?\ghts4 ,! m delightfully x is put by ! writ] ! m ! read] is pleas$1 = has he n _h ! same idea8 ,are !y n 88 ,is n _! appe>ance 9 a public pr9t pro( ( ! %rewdness & s\ndness ( 8 judgm5t8 ,rusk9 kn[s ?is foible 9 human nature & condemns x4 ,y may read 9 ,sesame & ,lilies3 ,v ready we are to say ( a book1 ',h[ good ?is is--t's exactly :at ,i ?9k6' ,b ! "r feel+ is1 ',h[ /range t is6 ,i nev] ?\ght ( t be=e1 & yet ,i see x is true2 or if ,i d n n[1 ,i hope ,i %all1 "s day4' ,b :e!r ?us submissively or n1 at lea/ be sure t y g at ! au?or to get at 8 mean+1 n to f9d y\rs4 ,judge x aft]w>d if y ?9k y\rself qualifi$ to d s1 b asc]ta9 x fir/4 ,sid5ote3 ,! critic g5]ally outspok54 ,z a rule1 h[ev]1 ! critic is n guilty ( ! wrong ( speak+ out ! ?\ght ( o!rs1 b publi%es :at !re is ( 8 own m9d1 & ?is ,i laud 9 him z a virtue1 :i* is praisewor?y 9 ! degree t x spr+s f l(t9ess ( aim1 dep? ( k1 & s9c]ity & unselfi%ness ( purpose4 ,sid5ote3 ,musician & ,public4 ,sid5ote3 ,! (fice ( ignorance4 ,sid5ote3 ,popul>ity ( ,wagn]'s music n a sign ( intellig5t appreciation4 ,let u look a little into ! views :i* our factors d & ^? :i* !y ought to ent]ta9 ( ea* o!r4 ,! utt]ances ( musicians h long ago made x pla9 t z betwe5 ! critic & ! public ! great] measure ( _! respect & def]5ce is giv5 to ! public4 ,! critic is b\nd to recognize ?is z entirely natural2 8 "r ( prote/ does n accrue until he c %[ t ! def]5ce is ignoble & injuri\s to good art4 ,x is to ! public t ! musician appeals = ! sub/antial signs ( :at is call$ success4 ,?is appeal to ! jury in/ead ( ! judge is z *>act]i/ic ( ! consci5ti\s compos] :o is s9c]ely conv9c$ t he 0 s5t into ! _w to wid5 ! b\nd>ies ( art1 z x is ( ! m]e "t-s]v] :o aims only at tickl+ ! popul> e>4 ,! reason is obvi\s to a little close ?9k+3 ,ignorance is at once a safegu>d aga9/ & a promot] ( cons]vatism4 ,?is s\nds l a p>adox1 b ! rapid gr[? ( ,wagn]'s music 9 ! admiration ( ! p ( ! ,unit$ ,/ates might correctly be cit$ z a pro( t ! /atem5t is true4 ,music l ! conc]t fragm5ts f ,wagn]'s lyric dramas is accept$ ) promptitude & delight1 because its elem5ts are ^? :i* appeal mo/ directly & =cibly to our s5se-p]ception & ^? primitive ta/es :i* are ! mo/ readily gratifi$ by /rong outl9es & vivid colors4 ,_! vigor\s rhy?ms1 weal? ( color1 & sonority w\ld make ^! fragm5ts f> m impressive to a savage ?an ! suave beauty ( a symphony by ,haydn2 yet d we n all "k t :ile :ole-he>t$1 intellig5t enjoym5t ( a ,haydn symphony is condition$ ^u a consid]able degree ( culture1 an equally :ole-he>t$1 intellig5t appreciation ( ,wagn]'s music presupposes a mu* wid] range ( sympa?y1 a mu* m ext5d$ view ( ! capabilities ( musical expression1 a mu* ke5] disc]nm5t1 & a mu* pr(\nd] susceptibility to ! effects ( h>monic progressions8 ,& is ! conclusion n inevitable1 !re=e1 t on ! :ole ! ready acceptance ( ,wagn]'s music by a p is evid5ce t !y are n suffici5tly cultur$ to feel ! =ce ( t cons]vatism :i* made ! triumph ( ,wagn] consequ5t on _m ye>s ( agitation 9 musical ,g]many8 ,sid5ote3 ,ahead ( "o's "t4 ,9 "o case ! appeal is elem5tal2 9 ! o!r spiritual4 ,he :o wi%es to be 9 advance ( 8 "t does wisely 9 go+ to ! p in/ead ( ! critics1 j z ! old fogy does ^: music belongs to ! "t :5 s5su\s *>m summ$ up its ess5ce4 ,!re is a good deal ( ambiguity ab\t ! /]eotyp$ phrase ahead ( "o's "t4 ,rightly appreh5d$1 great g5iuses d live = ! future r ?an ! pres5t1 b :]e ! public h ! va/ness ( appetite & scantness ( ta/e peculi> to ! o/ri*1 !re x is impossible = a compos] to be ahead ( 8 "t4 ,x is only :]e ! public are advanc$ to ! /age ( intellig5t discrim9ation t a ,n9? ,symphony & a ,nibelung ,tetralogy are accept$ sl[ly4 ,sid5ote3 ,! *>latan4 ,sid5ote3 ,influ5c+ ! critics4 ,:y ! *>latan %\ld pr(ess to despise ! critic & to pay homage only to ! public sc>cely ne$s an explanation4 ,x is ! critic :o /&s betwe5 him & ! public he w\ld victimize4 ,mu* ( ! disaffection betwe5 ! conc]t-giv] & ! conc]t-review] arises f ! unwill+ness ( ! latt] to enli/ 9 a conspiracy to deceive & defraud ! public4 ,!re is no ne$ ( m9c+ phrases "h4 ,! critics ( ! newspap] press are besieg$ daily ) reque/s = notices ( a complim5t>y "* t\*+ p]sons :o h no hone/ /&+ 9 art4 ,!y are fawn$ on1 truckl$ to1 cajol$1 subject$ to ! mo/ s$uctive influ5ces1 sometimes brib$ ) woman's smiles or manag]'s money--& :y8 ,to w9 _! influ5ce 9 favor ( good art1 ?9k y8 ,no2 to fe$ vanity & gre$4 ,:5 a critic is f\nd ( suffici5t self-respect & "* to resi/ all appeals & to be pro( aga9/ all temptations1 :o is quick] ?an ! musician to cite aga9/ 8 op9ion ! applause ( ! public ov] ^: gullibility & ignorance1 p]*ance1 he made m]ry ) ! critic :ile try+ to pur*ase 8 indep5d5ce & honor8 ,sid5ote3 ,! public an elem5tal =ce4 ,sid5ote3 ,critic & public4 ,sid5ote3 ,s*umann & popul> approval4 ,x is only :5 musicians divide ! "q t\*+ ! rights & m]its ( public & critic t !y seem able to put a correct e/imate ^u ! value ( popul> approval4 ,at ! la/ ! be/ ( !m are will+1 ) ,f]d9& ,hill]1 to look ^u ! public z an elem5tal p[] l ! wea!r1 :i* mu/ be tak5 z x *ances to come4 ,) mod]n society re/+ ^u ! newspap] !y might be will+ to view ! critic 9 ! same light2 b ?is !y w n d s long z !y adh]e to ! notion t criticism belongs ( "r to ! pr(essional musician1 & w ev5tually be h&$ ov] to him4 ,z = ! critic1 he may recognize ! naturalness & reasonabl5ess ( a f9al resort = judgm5t to ! factor = ^: sake art is 7i4e41 ! public71 b he is n b\nd to admit its unfail+ righte\sness4 ,^u him1 s he be wor?y ( 8 (fice1 weighs ! duty ( fir/ det]m9+ :e!r ! appeal is tak5 f a l(ty purpose or a l[ "o1 & :e!r or n ! favor$ tribunal is wor?y to try ! case4 ,^? :o %[ a will+ness to accept l[ ideals _c exact high ones4 ,! influ5ce ( _! applause is a ?\s&-fold m injuri\s to art ?an ! /rictures ( ! mo/ acrid critic4 ,a musician ( ,s*umann's m5tal & moral /ature c\ld recognize ?is & make x ! basis ( "s ( 8 mo/ =cible aphorisms3 ',x pleas$1' or ',x did n please1' say ! p2 z if !re 7 no high] purpose ?an to please ! p4 ,! mo/ difficult ?+ 9 ! _w to endure is ! applause ( fools6 ,sid5ote3 ,depreciation ( ! critic4 ,sid5ote3 ,value ( public op9ion4 ,! belief pr(ess$ by _m musicians--pr(ess$1 n really held--t ! public c d no wrong1 unque/ionably gr[s out ( a depreciation ( ! critic r ?an an appreciation ( ! critical acum5 ( ! masses4 ,?is depreciation is due m to ! concrete "w ( ! critic 7:i* is only too (t5 des]v+ ( condemnation7 ?an to a d5ial ( ! good (fices ( criticism4 ,?is mu* %\ld be said = ! musician1 :o is m liable to be misund]/ood & m p[]less aga9/ misrepres5tation ?an any o!r arti/4 ,a l9e %\ld be drawn betwe5 m]e expression ( op9ion & criticism4 ,x has be5 recogniz$ = ages--y may f9d x pla9ly set =? 9 ,qu9tilian & ,cic]o--t 9 ! long run ! public are nei!r bad judges nor good critics4 ,! di/9ction sugge/s a ?\ght ab\t ! diff]5ce 9 value betwe5 a popul> & a critical judgm5t4 ,! =m] is1 9 ! nature ( ?+s1 ill consid]$ & fleet+4 ,x is ! product ( a mom5t>y gratification or disappo9tm5t4 ,9 a mu* great] degree ?an a judgm5t bas$ on pr9ciple & prec$5t1 su* z a critic's ought to be1 x is a judgm5t sway$ by t v>iable ?+ call$ fa%ion--,qual pium' al v5to4 ,sid5ote3 ,duties ( ! critic4 ,sid5ote3 ,! musician's duty t[>d ! critic4 ,b if ?is be s we ought pla9ly to und]/& ! duties & obligations ( ! critic2 p]haps x is because !re is mu* misappreh5sion on ?is po9t t critics' writ+s h fall5 "u _! own condemnation4 ,i conceive t ! fir/1 if n ! sole1 (fice ( ! critic %\ld be to guide public judgm5t4 ,x is n = him to in/ruct ! musician 9 8 art4 ,if ?is 7 always borne 9 m9d by writ]s = ! press x might help to s(t5 ! asp]ity felt by ! musician t[>d ! critic2 & possibly ! musician might !n be p]suad$ to p]=m 8 fir/ (fice t[>d ! critic1 :i* is to hold up 8 h&s :ile he labors to /eady & dignify public op9ion4 ,no true arti/ w\ld give up ye>s ( honorable e/eem to be ! object = a mom5t ( fev]i% idolatry4 ,! public are fickle4 ,! g>l&s !y tw9e1 says ,s*umann1 !y always pull to pieces aga9 to (f] !m 9 ano!r =m to ! next com] :o *ances to "k h[ to amuse !m bett]4 ,are su* g>l&s wor? ! sacrifice ( arti/ic honor8 ,if x 7 possible = ! critic to )hold !m & (f] in/ead a mode/ sprig ( endur+ bay1 w\ld n ! musician be 8 debtor8 ,sid5ote3 ,! critic %\ld /eady public judgm5t4 ,sid5ote3 ,ta/e & judgm5t mu/ be a*iev$4 ,ano!r ?\ght4 ,conc$+ t ! p are ! elem5tal p[] t ,hill] says !y are1 :o %all save !m f ! *angeabl5ess & in/ability :i* !y %[ ) relation to music & h] vot>ies8 ,:o %all bid ! re/less waves be /ill8 ,we1 9 ,am]ica1 are a new p1 a va/ hot*-pot* ( v>i$ & contradictory elem5ts4 ,we are engag$ 9 conqu]+ a cont95t2 employ$ 9 a mad scramble = mat]ial ?+s2 we give fev]i% h\rs to w9 ! com=t = our bodies t we take only seconds to enjoy2 ! mom5ts :i* we /eal f our labors we give grudg+ly to relaxation1 & t ?is relaxation may come quickly we ask t ! ag5ts :i* produce x %all appeal viol5tly to ! faculties :i* are mo/ easily rea*$4 ,"u ^! circum/ances :5ce are to come ! intellectual poise1 ! ref9$ ta/e1 ! quick & sure p[] ( analysis :i* mu/ prec$e a correct e/imate ( ! value ( a composition or its p]=mance8 ,a ta/e or judgm5t1 said ,%aftesbury1 does n come ready =m$ ) u into ?is _w4 ,:atev] pr9ciples or mat]ials ( ?is k9d we may possibly br+ ) u1 a legitimate & j ta/e c nei!r be begott51 made1 conceiv$1 or produc$ )\t ! antec$5t labor & pa9s ( criticism4 ,sid5ote3 ,comp>ative qualifications ( critic & public4 ,grant t ?is antec$5t criticism is ! prov9ce ( ! critic & t he approa*es ev5 remotely a fulfilm5t ( 8 mission 9 ?is reg>d1 & :o %all v5ture to "q ! value & ! ne$ ( criticism to ! promotion ( public op9ion8 ,9 ?is "w ! critic has a great advantage ov] ! musician4 ,! musician appeals to ! public ) volatile & elusive s\nds4 ,:5 he gets pa/ ! tympanum ( ! e> he works ^u ! emotions & ! fancy4 ,! public h no "t to let him d m2 = ! re/ !y are will+ to ref] him to ! critic1 ^: bus9ess x is cont9ually to he> music = ! purpose ( =m+ op9ions ab\t x & express+ !m4 ,! critic has bo? ! "t & ! obligation to analyze ! reasons :y & ! ext5t to :i* ! faculties are /irr$ into activity4 ,is x n pla91 !re=e1 t ! critic ought to be bett] able to di/+ui% ! good f ! bad1 ! true f ! false1 ! s\nd f ! m]etrici\s1 ?an ! un9dividualiz$ multitude1 :o are already satisfi$ :5 !y h felt ! tickl+s ( pleasure8 ,sid5ote3 ,! critic's responsibilities4 ,sid5ote3 ,t[>d ! musician4 ,sid5ote3 ,position & p[] ( ! newspap]4 ,b :5 we place s great a mission z ! education ( public ta/e be=e ! critic1 we saddle him ) a va/ responsibility :i* is q ev5ly divid$ betwe5 ! musician & ! public4 ,! responsibility t[>d ! musician is n t :i* we are accu/om$ to he> h>p$ on by ! aggriev$ ones on ! day aft] a conc]t4 ,x is t[>d ! musician only z a repres5tative ( art1 & 8 j claims c h no?+ ( selfi%ness 9 !m4 ,! abnormal s5sitiv5ess ( ! musician to criticism1 ?\gh x may excite 8 commis]ation & ev5 hone/ pity1 %\ld nev] c\nt ) ! critic 9 ! p]=mance ( a pla9 duty4 ,?is s5sitiv5ess is ! product ( a l[ /ate 9 music z well z criticism1 & 9 ! face ( improvem5t 9 ! two fields x w ei!r disappe> or fall "u a kill+ condemnation4 ,! p[] ( ! press w "h "w = good4 ,! newspap] n[ fills ! place 9 ! musician's economy :i* a c5tury ago 0 fill$ 9 ,europe by ! c\rts & nobility4 ,its support1 indirect z well z direct1 replaces ! patronage :i* er/:ile came f ^! p[]ful ones4 ,! evils :i* fl[ f ! *ang$ conditions are diff]5t 9 ext5t b n 9 k9d f ! old4 ,too frequ5tly = ! good ( art t support is pur*as$ by ! same crook+s ( ! pregnant h+es ( ! knee t 7 once ! price ( royal or noble condesc5sion4 ,if ! tone ( ! press at times becomes arrogant1 x is f ! same causes t rais$ ! voices & curl$ ! lips ( ! petty dukes & pr9ces1 to flatt] ^: vanity great arti/s us$ to labor4 ,sid5ote3 ,! musician %\ld help to elevate ! /&>d ( criticism4 ,sid5ote3 ,a critic mu/ n necess>ily be a musician4 ,sid5ote3 ,p$antry n want$4 ,! musician kn[s z well z anyone h[ impossible x is to escape ! press1 & x is1 !re=e1 8 pla9 duty to seek to raise ! /&>d ( its utt]ances by conc$+ ! rights ( ! critic & enc\rag+ hone/y1 fe>lessness1 imp>tiality1 intellig5ce1 & sympa?y :]ev] he f9ds !m4 ,to ?is end he mu/ ca/ away _m antiquat$ & fooli% prejudices4 ,he mu/ le>n to confess ) ,wagn]1 ! ar*-enemy ( criticism1 t blame is mu* m useful to ! arti/ ?an praise1 & t ! musician :o goes to de/ruction because he is fault$1 des]ves de/ruction4 ,he mu/ /op ! cont5tion t only a musician is entitl$ to criticise a musician1 & )\t abat+ "o jot ( 8 requirem5ts z to k1 sympa?y1 lib]ality1 broad-m9d$ness1 c&or1 & incorruptibility on ! "p ( ! critic1 he mu/ quit ! fooli% claim t to pron\nce ^u ! excell5ce ( a rag\t "o mu/ be able to cook x2 if he w n g f>!r he mu/1 at lea/1 g ) ! eld] ,d',israeli to ! ext5t ( say+ t ! tal5t ( judgm5t may exi/ sep>ately f ! p[] ( execution4 ,"o ne$ n be a compos]1 b "o mu/ be able to feel ) a compos] be=e he c discuss 8 productions z !y ought to be discuss$4 ,n all ! writ]s = ! press are able to d ?is2 _m dep5d ^u effront]y & a copi\s use ( te*nical phrases to c>ry !m ?r\gh4 ,! musician1 alas6 enc\rages ?is me?od :5ev] he gets a *ance2 n9e times out ( t51 :5 an opportunity to review a composition falls to him1 he approa*es x on its te*nical side4 ,yet music is ( all ! arts 9 ! _w ! la/ t a m]e p$ant %\ld discuss4 ,b if n a m]e p$ant1 !n nei!r a m]e s5tim5tali/4 ,sid5ote3 ,intellig5ce v]sus emotionalism4 ,if ,i _h to *oose betwe5 ! m]its ( two classes ( he>]s1 "o ( :om _h an intellig5t appreciation ( music )\t feel+ emotion2 ! o!r an emotional feel+ )\t an intellig5t analysis1 ,i %\ld unhesitat+ly decide 9 favor ( ! intellig5t non-emotionali/4 ,& = ^! reasons3 ,! v]dict ( ! intellig5t non-emotionali/ w\ld be valuable z f> z x goes1 b t ( ! untra9$ emotionali/ is n ( ! smalle/ value2 8 blame & 8 praise are equally unf\nd$ & empty4 ,sid5ote3 ,p]sonal equation4 ,sid5ote3 ,exact criticism4 ,s writes ,dr4 ,/a9]1 & x is 8 emotionali/ aga9/ :om ,i utt]$ a w>n+ 9 ! introductory *apt] ( ?is book1 :5 ,i call$ him a rhapsodi/ & describ$ 8 motive to be prim>ily a desire to pres5t himself z a p]son ( unusually exquisite s5sibilities4 ,frequ5tly ! rhapsodic /yle is adopt$ to conceal a want ( k1 &1 ,i fancy1 sometimes also because ill-equipp$ critics h p]suad$ !mselves t criticism be+ wor?less1 :at ! public ne$ to read is a fanta/ic acc\nt ( h[ music affects !m4 ,n[1 x is true t :at is *iefly valuable 9 criticism is :at a man qualifi$ to ?9k & feel tells u he did ?9k & feel "u ! inspiration ( a p]=mance2 b :5 c>ri$ too f>1 or re/rict$ too mu*1 ?is conception ( a critic's prov9ce lifts p]sonal equation into dang]\s prom95ce 9 ! critical activity1 & depreciates ! elem5ts ( criticism1 :i* are n matt]s ( op9ion or ta/e at all1 b que/ions ( fact1 z exactly demon/rable z a problem 9 ma!matics4 ,9 musical p]=mance ^! elem5ts belong to ! te*nics ( ! art4 ,grant$ t ! critic has a correct e>1 a ?+ :i* he mu/ h if he aspire to be a critic at all1 & ! possession ( :i* is z easily prov$ z t ( a doll>-bill 9 8 pocket1 ! que/ions ( ju/ness ( intonation 9 a s+] or in/rum5tali/1 balance ( tone 9 an or*e/ra1 correctness ( phras+1 & _m o!r ?+s1 are m]e det]m9ations ( fact2 ! faculties :i* recognize _! exi/5ce or discov] _! abs5ce might exi/ 9 a p]son :o is n mov$ by concord ( sweet s\nds at all1 & ^: ta/e is ( ! l[e/ type4 ,x 0 ! ac\/ician ,eul]1 ,i believe1 :o said t he c\ld con/ruct a sonata accord+ to ! laws ( ma!matics--figure "o out1 t is4 ,sid5ote3 ,! ,rhapsodi/s4 ,sid5ote3 ,an ,engli% exempl>4 ,because music is 9 its nature su* a my/]y1 because s little ( its philosophy1 s little ( its sci5ce is popul>ly kn[n1 !re has gr[n up ! tribe ( rhapsodical writ]s ^: influ5ce is mo/ p]nici\s4 ,i h a case 9 m9d at :i* ,i h already h9t$ 9 ?is book--t ( a c]ta9 ,engli% g5tleman :o has ga9$ consid]able em95ce because ( ! lovel9ess ( ! subject on :i* he writes & 8 deftness 9 putt+ words toge!r4 ,on _m po9ts he is qualifi$ to speak1 & on ^! he g5]ally speaks ent]ta9+ly4 ,he frequ5tly blund]s 9 details1 b x is only :5 he writes 9 ! mann] exemplifi$ 9 ! foll[+ exc]pt f 8 book call$ ,my ,musical ,memories1 t he does mis*ief4 ,! rev]5d g5tleman1 talk+ ab\t viol9s1 has rea*$ "o t once belong$ to ,ern/4 ,?is1 he says1 he sees occasionally1 b he nev] he>s x m except ,sid5ote3 ,ern/'s viol94 ,9 ! night 444 "u ! />s1 :5 ! moon is l[ & ,i see ! d>k ridges ( ! clov] hills1 & rabbits & h>es1 black aga9/ ! pal] sky1 paus+ to fe$ or cr\*+ to li/5 to ! voices ( ! night4444 ,by ! sea1 :5 ! cold mi/s rise1 & holl[ murmurs1 l ! l[ wail ( lo/ spirits1 ru% along ! bea*4444 ,9 "s /ill valley 9 ! ,s\?1 9 midsumm]4 ,! slate-color$ mo? on ! rock fla%es sudd5ly into crimson & takes w+2 ! bright liz>d d>ts timor\sly1 & ! s++ ( ! gras%opp]-- ,sid5ote3 ,mis*iev\s writ+4 ,sid5ote3 ,musical s5sibility & sanity4 ,well1 ! read]1 if he has a lik+ = su* ?+s1 may himself g on = quantity4 ,?is is int5d$1 ,i fancy1 = poetical hyp]bole1 b z a matt] ( fact x is some?+ else1 & worse4 ,mr4 ,haweis does n he> ,ern/'s viol9 "u any su* improbable conditions2 if he ?9ks he does he is a prop] subject = m$ical inquiry4 ,nei!r does 8 ef=t at f9e writ+ help u to appreciate ! tone ( ! in/rum5t4 ,he did n int5d t x %\ld1 b he probably did int5d to make ! read] m>vel at ! exquisite s5sibility ( 8 s\l to music4 ,?is is mis*iev\s1 = x t5ds to make ! injudici\s ?9k t !y are lack+ 9 musical appreciation1 unless !y1 too1 c see visions & he> voices & dream fanta/ic dreams :5 music is s\nd+4 ,:5 su* writ+ is popul> x is difficult to make m5 & wom5 believe t !y may be j z susceptible to ! influ5ce ( music z ! *ild ,moz>t 0 to ! s\nd ( a trumpet1 yet li/5 to x )\t once feel+ ! ne$ ( tak+ leave ( _! s5ses or w&]+ away f sanity4 ,moreov]1 :5 ,mr4 ,haweis says t he sees b does n he> ,ern/'s viol9 m1 he speaks mo/ undes]v$ dispraise ( "o ( ! be/ viol9 play]s alive1 = ,ern/'s viol9 n[ belongs to & is play$ by ,lady ,halle--%e t 0 ,madame ,norman-,n]uda4 ,sid5ote3 ,a place = rhapsody4 ,sid5ote3 ,intellig5t rhapsody4 ,is !re1 !n1 no place = rhapsodic writ+ 9 musical criticism8 ,yes1 decid$ly4 ,x may1 inde$1 at times be ! be/1 because ! true/1 writ+4 ,"o w\ld convey b a sorry idea ( a composition 7 he to conf9e himself to a te*nical description ( x--! numb] ( its measures1 its int]vals1 modulations1 spe$1 & rhy?m4 ,su* a description w\ld only be compreh5sible to ! tra9$ musician1 & to him w\ld picture ! body m]ely1 n ! s\l4 ,"o might z well hope to tell ( ! beauty ( a /atue by recit+ its dim5sions4 ,b k z well z sympa?y mu/ speak out ( ! words1 s t !y may realize ,s*umann's lovely conception :5 he said t ! be/ criticism is t :i* leaves aft] x an impression on ! read] l t :i* ! music made on ! he>]4 ,read ,dr4 ,john ,br[n's acc\nt ( "o ( ,halle's recitals1 repr9t$ f ,! ,scotsman1 9 ! collection ( essays entitl$ ,sp>e ,h\rs1 if y w\ld see h[ aptly a sweetly sane m9d & a w>m he>t c rhapsodize )\t ! help ( te*nical k3 ,sid5ote3 ,dr4 ,br[n & ,bee?ov54 ,bee?ov5 7,dr4 ,br[n is speak+ ( ! ,sonata 9 ,d1 op4 #aj1 ,no4 #c7 beg9s ) a tr\ble1 a w&]+ & grop+ 9 ! d>k1 a /range em]g5ce ( ord] out ( *aos1 a wild1 ri* confusion & misrule4 ,wilful & passionate1 (t5 h>%1 &1 z x 71 ?ick ) gloom2 !n comes1 z if 'x /ole ^u ! air1' ! burd5 ( ! !me1 ! /ill1 sad music--,l>go e me/o--s human1 s sorr[ful1 & yet ! sorr[ ov]come1 n by gladness b by some?+ bett]1 l ! sea1 aft] a d>k night ( tempe/1 fall+ asleep 9 ! "y light ( morn+1 & ':isp]+ h[ meek & g5tle x c be4' ,?is lik5ess to ! sea1 its imm5sity1 its unc]ta9ty1 its wild1 /rong glory & play1 its peace1 its solitude1 its unse>*abl5ess1 its prevail+ sadness1 comes m into our m9ds ) ?is great & deep ma/]'s works ?an any o!r4 ,t is ,bee?ov54 ,sid5ote3 ,apollo & ! critic--a fable4 ,sid5ote3 ,! critic's duty to admire4 ,sid5ote3 ,a m$iator betwe5 musician & public4 ,sid5ote3 ,ess5tial virtues4 ,once ^u a "t--x is an anci5t fable--a critic pick$ out all ! faults ( a great poet & pres5t$ !m to ,apollo4 ,! god receiv$ ! gift graci\sly & set a bag ( :eat be=e ! critic ) ! comm& t he sep>ate ! *aff f ! k]nels4 ,! critic did ! "w ) alacrity1 & turn+ to ,apollo = 8 rew>d1 receiv$ ! *aff4 ,no?+ c\ld %[ u m appositely ?an ?is :at criticism %\ld n be4 ,a critic's duty is to sep>ate excell5ce f defect1 z ,dr4 ,crot* says2 to admire z well z to f9d fault4 ,9 ! proportion t defects are app>5t he %\ld increase 8 ef=ts to discov] beauties4 ,mu* fl[s out ( ?is conception ( 8 duty4 ,hold+ x ! critic w br+ besides all ne$ful k a fulness ( love into 8 "w4 ,:]e sympa?y is lack+1 correct judgm5t is also lack+1 said ,m5delssohn4 ,! critic %\ld be ! m$iator betwe5 ! musician & ! public4 ,= all new works he %\ld d :at ! symphoni/s ( ! ,liszt s*ool attempt to d by means ( programmes2 he %\ld excite curiosity1 ar\se int]e/1 & pave ! way to popul> compreh5sion4 ,b = ! old he %\ld n fail to enc\rage rev]5ce & admiration4 ,to d bo? ^! ?+s he mu/ "k 8 duty to ! pa/1 ! pres5t1 & ! future1 & adju/ ea* duty to ! o!r4 ,su* adju/m5t is only possible if he kn[s ! music ( ! pa/ & pres5t1 & is quick to p]ceive ! b5t & outcome ( novel /riv+s4 ,he %\ld be ca?olic 9 ta/e1 outspok5 9 judgm5t1 unalt]able 9 allegiance to 8 ideals1 unsw]vable 9 integrity4 ,,plates ,illu/ration3 ,,plate ,i ,,viol9--7,,clif=d ,,s*midt7 ,illu/ration3 ,,plate ,,ii ,,violoncello--7,,victor ,,h]b]t7 ,illu/ration3 ,,plate ,,iii ,,piccolo ,,flute--7,c4 ,,kur?1 ,,jun47 ,illu/ration3 ,,plate ,,iv ,,oboe--7,,joseph ,,ell]7 ,illu/ration3 ,,plate ,v ,,engli% ,,horn--7,,joseph ,,ell]7 ,illu/ration3 ,,plate ,,vi ,,bassoon--7,,f$or ,,b]nh>di7 ,illu/ration3 ,,plate ,,vii ,,cl>9et--7,,h5ry ,,kais]7 ,illu/ration3 ,,plate ,,viii ,,bass ,,cl>9et--7,,h5ry ,,kais]7 ,illu/ration3 ,,plate ,,ix ,,fr5* ,,horn--7,,c>l ,,piep]7 ,illu/ration3 ,,plate ,x ,,trombone--7,j4 ,,pfeiff5s*neid]7 ,illu/ration3 ,,plate ,,xi ,,bass ,,tuba--7,,anton ,,reit]7 ,illu/ration3 ,,plate ,,xii ,,! ,,conductor',s ,,score ,,index ,absolute music1 #cf ,academy ( ,music1 ,new ,york1 #bjc ,adagio1 9 symphony1 #acc ,addison1 #bje1 #bjf1 #bjh ,allegro1 9 symphony1 #acb ,allem&e1 #agc1 #agd ,alto cl>9et1 #ajd ,alto1 male1 #bfj ,amadeo1 #bda ,ambros1 ,augu/ ,wilhelm1 #di ,antiphony1 #bfg ,ar*ilo*us1 #bac ,aria1 #bce ,arioso1 #bce ,asaph1 #aae ,ba*1 ,c4,p4,e41 #ahj1 #ahe ,ba*1 ,johann ,seba/ian1 #fi1 #hc1 #adh1 #afg1 #afi1 #agj1 #aga1 #agd1 #agf1 #ahj1 #aha1 #ahd1 #aib1 #beg1 #bei1 #bfg1 #bfh1 #bgh1 #bha1 #bhb1 #bhc1 #bhf1 #bhg1 #bhi2 8 music1 #bha et seq42 8 te*nique z play]1 #ahj1 #aha1 #ahd2 8 *oirs1 #beg1 #bei2 comp>$ ) ,pale/r9a1 #bgh2 ,magnificat1 #bhc2 ,mass 9 ,b m9or1 #bhc2 ,*romatic ,fantasia & ,fugue1 #aga2 ,suites1 #agd1 #agf2 ,/4 ,mat!w ,passion1 #bfg1 #bgh1 #bhb1 #bhf1 #bhi2 ,motet1 ,s+ ye to ! ,"l1 #bfh2 ,/4 ,john ,passion1 #bhf ,balancem5t1 #agj ,balfe1 #bbc ,ballade1 #aib ,ballet music1 #aeb ,balletto1 #agc ,bass cl>9et1 #ajd ,bass trumpet1 #ha1 #hb ,basset horn1 #hb ,bassoon1 #gd1 #hb1 #ii1 #aja et seq4 ,ba/>della1 ,la1 #bci ,bayreu? ,fe/ival or*e/ra1 #ha1 #hb ,bebung1 #afi1 #agj ,bee?ov51 #bg1 #bh1 #bi1 #cj1 #ca1 #cb1 #cc1 #cd1 #ce1 #dd1 #df1 #dg1 #di1 #ec1 #fj1 #fb1 #fc1 #gj1 #ib1 #id1 #aja1 #ajb1 #ajc1 #ajf1 #aac1 #abj1 #abe1 #aca1 #acb1 #acc1 #acf1 #acg1 #ach1 #adj1 #ada1 #adf1 #adg1 #aea1 #afg1 #ahb1 #ahd1 #ahf1 #ahg1 #aic1 #aie1 #aif1 #bjc1 #bjh1 #bcb1 #bib1 #cba1 #cbb2 lik5esses 9 8 melodies1 #cc1 #cd2 unity 9 8 works1 #bg1 #bh1 #bi2 8 *amb] music1 #dg2 8 sonatas1 #ahb2 8 democracy1 #df2 n always idiomatic1 #aic2 8 pian(orte1 #aie2 8 p$al effects1 #aif2 missal compositions1 #bib1 #bid2 8 ov]tures1 #adg2 8 free fantasias1 #aca2 8 te*nique z a play]1 #ahf2 ,eroica symphony1 #ajj1 #acb1 #acf2 ,fif? symphony1 #bh1 #bi1 #cj1 #ca1 #ib1 #ajc1 #abj1 #abe1 #acc2 ,pa/oral symphony1 #dd1 #di1 #ec1 #fb1 #fc1 #id1 #ajb1 #acb1 #adj1 #ada2 ,sev5? symphony1 #ca1 #cb1 #acb1 #acc2 ,eigh? symphony1 #aac2 ,n9? symphony1 #cc1 #cd1 #ce1 #id1 #acc1 #acf1 #ach1 #cje2 ,sonata1 op4 #aj1 ,no4 #c1 #cba2 ,sonata1 op4 #ca1 ,no4 #b1 #bi2 ,sonata ,appassionata1 #bi1 #cj1 #ca2 ,pian(orte conc]to 9 ,g1 #ca2 ,pian(orte conc]to 9 ,e-flat1 #adf2 ,viol9 conc]to1 #adf2 ,becalm$ at ,sea1 #fj2 ,fidelio1 #bjc1 #bjh1 #bcb2 ,mass 9 ,d1 #fj1 #bib1 #bid2 ,s]5ade1 op4 #h1 #aea ,bell *ime1 #gd ,bell9i1 #bjc1 #bjd1 #bdb1 #bde2 ,la ,sonnambula1 #bjd1 #bde2 ,norma1 #bdb ,b5$etti1 #bdb ,b]l9 ,s+akademie1 #bfb ,b]lioz1 #di1 #hj1 #hg1 #hi1 #ij1 #id1 #ajj1 #ajb1 #ajd1 #aac1 #acg1 #ach1 #aci1 #bid1 #bie2 ,l'idee fixe1 #acg2 ,symphonie ,fanta/ique1 #acg2 ,romeo & ,juliet1 #ij1 #id1 #aci2 ,requiem1 #aac1 #bid1 #bie ,bizet1 ,c>m51 #bch1 #bdb ,boileau1 #bjf ,bosio1 #bda ,bo/on ,symphony ,or*e/ra1 #ha1 #hb1 #ajh ,bottes9i1 #id ,b\rree1 #agc ,brahms's ,academic ov]ture1 #aja ,branle1 #agc ,brass in/rum5ts1 #gd1 #ajd et seq4 ,brignoli1 #bji1 #bdb ,broadwood's pian(orte1 #aie ,br[n1 ,dr4 ,john1 #cba ,bully ,bottom 9 music1 #fa ,bunn]1 ,h4,c41 #acf ,burns's ,ye fl[]y banks1 #age ,cacc9i1 ,eurydice1 #bcd ,cad5ces1 #bc ,cad5zas1 #ade ,calve1 ,emma1 #bdb1 #bdg ,calv9 & music1 #bge ,campan9i1 #bdb ,cantatas1 #bij ,cat's mew 9 music1 #eb ,catalani1 #bde1 #bdf ,*aconne1 #aec ,*amb] music1 #cf1 #dd et seq41 #add ,*icago ,symphony ,or*e/ra1 #ha1 #hb1 #ajh ,*oirs1 #bec et seq42 size (1 #beg et seq41 #bfd1 #bga2 m5's1 #bee1 #bfj2 boys'1 #bfa2 wom5's1 #bfa2 mix$1 #bfb1 #bfd2 division (1 #bfj1 #bff2 gr[? 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relation to music1 #ch et seq41 #bae1 #baf ,f]ri1 #bci1 #bdj ,f9ale1 symphonic1 #ace ,fir/ movem5t 9 symphony1 #aca ,flageolet tones1 #hi ,flor5t9e inv5tors ( ! op]a1 #bag1 #bbg1 #bcd1 #bdi ,flute1 #gc1 #gd1 #gh1 #hb1 #ie et seq4 ,=m1 #af1 #ag1 #bb1 #ce ,=mes1 #bdb1 #bdh ,fr$]ick ! ,great1 #bfc ,free ,fantasia1 #aca ,fr5* horn1 #dg1 #ajf et seq4 ,frezzol9i1 #bdb ,friss1 #bja ,frogs1 musical del9eation (1 #eh1 #fb ,gall9a et ,gallo1 #ec ,gavotte1 #agc1 #agi ,g]man op]a1 #bbf ,g]/]1 ,etelka1 #bdb1 #bde ,ge/ure1 #dc ,gigue1 #agc1 #agd1 #agh ,gilb]t1 ,w4,s41 #bjh1 #bbd ,gilb]t & ,sullivan's op]ettas1 #bbd ,glock5spiel1 #aaj ,gluck1 #hd1 #adh1 #aec1 #bjb1 #bjc1 #bch2 8 danc]s1 #aec2 8 or*e/ra1 #bch2 ,alce/e1 #adh2 ,iphig5ie en ,aulide1 #aec2 ,orfeo1 #bjb1 #bjc ,goe!1 #cd1 #adj1 #bbc ,goldm>k1 ,sakuntala ov]ture1 #adi ,gong1 #aaj ,gossec1 ,requiem1 #bic ,g\nod1 ,fau/1 #bji1 #bbd1 #bch1 #bdf ,gr& ,op]a1 #bbc1 #bbd ,greek ,trag$y1 #baa et seq4 ,grisi1 #bda1 #bdb ,grosse ,op]1 #bbd ,grove1 ,sir ,george1 #cc1 #fc1 #ada1 #ahg ,gypsy music1 #aih et seq4 ,halle1 ,lady1 #cbj ,hamburg1 op]a 91 #bjf1 #bjg ,h&el1 #eh1 #fj1 #fb1 #hc1 #ajb1 #abf1 #adh1 #agd1 #agg1 #agh1 #aha1 #ahb1 #ahd1 #bef1 #beg1 #beh1 #bei1 #bfe1 #bgb2 8 or*e/ra1 #hd2 8 suites1 #agd2 8 ov]tures1 #adh2 8 te*nique z a play]1 #aha1 #ahb1 #ahd2 8 *oirs1 #beg2 ,commemoration1 #beh2 8 tutti1 #beh2 ,messiah1 #fj1 #abf1 #bef1 #beg1 #bfe1 #bgb2 ,saul1 #ajb2 ,almira1 #agg2 ,r9aldo1 #agh2 ,israel 9 ,egypt1 #eh1 #fb1 #beg1 #bei1 #bhi2 ,lascia *'io pianga1 #agh ,hanslick1 ,dr4 ,edu>d1 #bjc ,h>monics1 on viol91 #hi ,h>mony1 #ai1 #ba1 #bb1 #bah ,h>p1 #hb ,h>psi*ord1 #afh1 #agj ,hauptmann1 ,m41 #da ,hautboy1 #ii ,haweis1 ! ,rev4 ,mr41 #cah et seq4 ,haydn1 #df1 #hd1 #ajj1 #abg1 #afh1 #ahc1 #bie2 8 mann] ( compos+1 #ahc2 dramatic effects 9 8 masses1 #bie2 ,seasons1 #ajj ,hebrew music1 #aad2 poetry1 #be ,height1 musical del9eation (1 #ei1 #fj ,heman1 #aae ,h51 song (1 9 music1 #eb1 #ec1 #ed ,h]b>?1 philosoph]1 #ci ,hill]1 ,f]d9&1 #cjg1 #caj ,hill]1 ,johann ,adam1 #beh ,hog>?1 ,geo41 ,memoirs ( ! ,op]a1 #baj1 #bde ,horn1 #hb1 #aje1 #ajf et seq41 #aea ,hung>ian music1 #aih et seq4 ,hymn-tunes1 hi/ory (1 #bge ,iambics1 #age ,idee fixe1 ,b]lioz's1 #acg ,id5tification ( !mes1 #ce ,idiomatic pian(orte music1 #aic1 #aid ,idioms1 musical1 #dd1 #ea1 #ee ,imag9ation1 #ae1 #af1 #eh ,imitation ( natural s\nds1 #ea ,individual attitude ( man t[>d music1 #cg ,in/rum5tal musicians1 =m] legal /atus (1 #hc ,in/rum5tation1 #ga et seq42 9 ! mass1 #bic et seq4 ,intellig5t he>+1 #af1 #ah1 #cg ,int]m$i>y necess>y1 #bj ,int]mezzi1 #bba ,int]relation ( musical elem5ts1 #bb ,janiz>y music1 #ig ,jean ,paul1 #fg1 #ahi1 #aij ,j$u?un1 #aae ,jig1 #agi ,judgm5t1 #caa ,kalidasa1 #adi ,kettle-drums1 #aaa et seq4 ,key relation%ip1 #bf1 #abi ,k9ds ( music1 #cf et seq4 ,kir*5cantat51 #bhd ,krak[iak1 #aic ,kullak1 #ahd ,labla*e1 #bdh ,la ,grange1 #bda1 #bde ,lamb1 ,*>les1 #aj ,language ( tones1 #db1 #dc ,lassu1 #bja ,laws1 musical1 mutability (1 #fi ,lehmann1 ,lilli1 #bcc1 #bdd1 #bdg ,l5z1 #cc ,leoncavallo1 #bbh ,l9d1 ,j5ny1 #bda1 #bdc ,liszt1 #acb1 #adj1 #adb1 #adc1 #afg1 #afh1 #aic1 #aig1 #aih1 #bbh2 8 music1 #afh1 #aic1 #aig2 8 transcriptions1 #afg2 8 rhapsodies1 #afg1 #aih2 8 symphonic poems1 #adb2 ,fau/ symphony1 #acb1 #adj2 ,conc]to 9 ,e-flat1 #adc2 ,/4 ,elizabe?1 #bhh ,lit]>y blund]s conc]n+ music1 #i1 #aj1 #aa1 #ab ,local color1 #aeb1 #aec ,london op]a1 #bjf1 #bjg1 #bbf ,l\is ,,xiv41 #agi ,lucca1 ,paul9e1 #bdb1 #bdf1 #bdg ,lully1 8 ov]tures1 #adh2 m9uet1 #agi2 ,atys1 #bjf ,lu!r1 ,m>t91 #bgf ,lyric drama1 #bca1 #bcd1 #bcg1 #bea ,madrigal1 #bgd ,magy> music1 #aih et seq4 ,major mode1 #eg ,male alto1 #bfj ,male *orus1 #bee1 #bfj ,malibran1 #bda ,ma5n]gesang1 #bee1 #bfj ,m>ie ,anto9ette1 #aec ,m>io1 #bdb1 #bdg1 #bga ,m>s*n]1 ,hans ,heil+1 #bbe2 ,templ] und ,ju$91 #bbe2 ,vampyr1 #bbe2 8 op]as1 #bdh ,mascagni1 #bbh ,mass1 !1 #bij et seq4 ,mass5et1 ,le ,cid1 #aeb ,mat]ials ( music1 #af ,mat]na1 ,amalia1 #bdg ,mat!ws1 ,br&]1 #aa ,mazurka1 #aib ,melba1 ,nellie1 #bjd1 #bch1 #bde1 #bdg1 #bga ,melody1 #ai1 #ba1 #bb1 #bd ,memory1 #ai1 #ba1 #gc ,m5delssohn1 #da1 #db1 #di1 #ei1 #fa1 #fg1 #ajb1 #aji1 #acb1 #aci1 #adj1 #adi1 #afh1 #bdc1 #bgh1 #bhh1 #bhi1 #cbb2 on ! cont5t ( music1 #da1 #db2 8 ,romanticism1 #fg2 on ! use ( ! trombones1 #aji2 op9ion ( ,j5ny ,l9d1 #bdc2 ,songs )\t ,words1 #da2 ,hebrides ov]ture1 #ei1 #adi2 ,midsumm] ,night's ,dream1 #fa1 #ajb2 ,scot* symphony1 #acb1 #aci2 ,italian symphony1 #acb2 ,hymn ( ,praise1 #adj2 ,/4 ,paul1 #bgh2 ,elijah1 #bhh1 #bhi ,m]s5ne1 ,h>monie univ]selle1 #age1 #agf ,metropolitan ,op]a ,h\se1 ,new ,york1 #bjc1 #bbd1 #bbf1 #bdd ,mey]be]1 #hi1 #ajb1 #bjc1 #bjd1 #bjh1 #bdb1 #bdc1 #bdd2 ,l',africa9e1 #hi2 ,rob]t le ,diable1 #ajb1 #bjh1 #bdd2 ,hugu5ots1 #bjd2 ,l',etoile du ,nord1 #bdc ,milit>y b&s1 #abc ,m9or mode1 #eg ,m9uet1 #acd1 #aea1 #agc1 #agi ,mirabeau1 #bic ,model1 none 9 nature = music1 #h1 #ahj ,montev]de1 ,orfeo1 #hg ,mos*eles1 on ,j5ny ,l9d's s++1 #bdc ,motet1 #bhc ,motives1 #bb1 #bd ,moz>t1 #hd1 #aji1 #acb1 #ade1 #aea1 #afh1 #ahc1 #ahd1 #aie1 #bjb1 #bjc1 #bba1 #bbd1 #bbh1 #bcj1 #bch1 #bdd1 #bfe1 #bib2 8 pian(orte te*nique1 #ahd2 on ,doles's mass1 #bib2 8 or*e/ra1 #bch2 8 edition ( ,h&el's ,messiah1 #bfe2 on cad5zas1 #ade2 8 pian(orte1 #aie2 8 s]5ades1 #aea2 ,don ,giovanni1 #aji1 #bjb1 #bba1 #bbb1 #bbh1 #bcj2 ,magic ,flute1 #bjc2 ,g-m9or symphony1 #acb2 ,fig>o1 #bjb1 #bbh ,musica p>lante1 #bcd ,musical in/ruction1 defici5cies 91 #i ,musician1 ,critic1 & ,public1 #big ,musikdrama1 #bbg1 #bch1 #bdi ,n]i1 ,filippo1 #bhh ,nevada1 ,emma1 #bjd ,newspap]1 ! mod]n1 #big1 #bih1 #cac ,new ,york ,op]a1 #bjf1 #bbf1 #bda ,niecks1 ,fr$]ick1 #aib ,niemann1 ,alb]t1 #bcc ,night+ale1 9 music1 #eb ,nilsson1 ,*ri/9e1 #bdb1 #bdf1 #bdg ,nordica1 ,lillian1 #bdg ,norman-,n]uda1 ,madame1 #cbj ,notes n music1 #bj ,nottebohm1 ,bee?ov5iana1 #fc ,oboe1 #dg1 #gd1 #gh1 #hb1 #hd1 #ih et seq4 ,op]a1 descriptive music 91 #fa2 hi/ory (1 #bjb et seq42 language (1 #bje2 polyglot p]=mances (1 #bjg et seq42 _! texts p]v]t$1 #bjg et seq42 words (1 #bji1 #baj2 elem5ts 91 #bad2 inv5tion (1 #baf et seq42 v>ieties (1 #bbj et seq42 comic elem5ts 91 #bba2 action & incid5t 91 #bcf2 s++ 91 #bci2 s+]s comp>$1 #bda et seq4 ,op]a b\ffe1 #bbj1 #bba1 #bbe ,op]a buffa1 #bbj ,op]a comique1 #bbc ,op]a1 ,gr&1 #bbc ,op]a 9 musica1 #bbh ,op]a semis]ia1 #bba ,op]a s]ia1 #bbj ,opus1 #acb ,oratorio1 #bef1 #bhg et seq4 ,or*e/ra1 #ga et seq4 ,o/r&]1 ,dr4 ,lucas1 #bgh ,ouida1 #ab ,ov]ture1 #adg et seq41 #agd ,pad]ewski1 8 recitals1 #aed et seq42 8 ,romanticism1 #afg2 ,krak[iak1 #aic ,pa9ful1 !1 n fit subject = music1 #ej ,pale/r9a & ,ba*1 #bgh et seq42 8 music1 #bgi et seq42 ,/abat ,mat]1 #bgi1 #bhj2 ,improp]ia1 #bhj2 ,missa ,papae ,m>celli1 #bhj ,p&ean pipes1 #ih ,pantomime1 #dc ,p>allelism1 #be ,passepi$1 #agc ,passions1 #bhd et seq4 ,patti1 ,adel9a1 #bjc1 #bjd1 #bch1 #bdb1 #bde1 #bdg ,p$als1 pian(orte1 #aie1 #aif ,p$ants1 #ac1 #cae ,p]cussion in/rum5ts1 #aaj et seq4 ,p]i1 ,eurydice1 #bcd ,p]iods1 musical1 #bb1 #bd ,p]k9s1 ,c4,c41 #bfc ,pfund1 8 drums1 #aab ,philh>monic ,society ( ,new ,york1 #gf1 #gg1 #ha1 #hb ,phrases1 musical1 #bb1 #bd ,physical effects ( music1 #ch ,pian(orte1 hi/ory & description (1 #aed et seq42 its music1 #aed et seq41 #aff et seq42 conc]tos1 #add2 trios1 #adg ,piccolo flute1 #he1 #ig ,piccolom9i1 #bdb1 #bde ,pictures 9 music1 #dj ,pifa1 ,h&el's1 #abf ,pizzicato1 #hh1 #ia ,plancon1 #bdh ,polonaise1 #aib ,polyphony & feel+s1 #ci ,popul> conc]ts1 #abb ,porpora1 #bji ,pov' piti ,momzelle ,zizi1 #bc ,preludes1 #adh1 #agd ,programme music1 #cf1 #dd1 #dh et seq41 #fd1 #adb ,pucc9i1 #bbh ,quail1 call (1 9 music1 #ea1 #ed ,qu>tet1 #adg ,quill$ in/rum5ts1 #agj ,qu9ault1 ,atys1 #bjf ,qu9tet1 #adg ,qu9tillian1 #cji ,raff1 #di1 #if1 #acb2 ,l5ore symphony1 #if1 #acb2 ,im ,walde symphony1 #acb ,rameau1 #afh ,recitative1 #bai1 #bbj1 #bbh et seq4 ,re$ in/rum5ts1 #ih et seq4 ,re=mation1 its influ5ce on music1 #bge1 #bgh1 #bhj ,refra91 #be ,regi/] ( ! or*e/ra1 #he ,repetition1 #bb1 #be ,rhapsodi/s among writ]s1 #ac1 #cae et seq4 ,rhy?m1 #ai1 #ba1 #bf1 #afj ,rid5do ca/igat mores1 #bbe ,r9ucc9i1 ,eurydice1 #bcd ,romantic music1 #cf1 #fd et seq41 #ga1 #bgg ,romantic op]a1 #bbe ,ronconi1 #bdb ,rondeau & ,rondo1 #ace ,ross9i1 #adg1 #bbh1 #bdb2 8 ov]tures1 #adg2 ,il ,b>bi]e1 #bbh2 ,william ,tell1 #ic1 #ajj ,rub9/e91 #ei1 #aeb1 #afg1 #afh1 #bhg2 8 hi/orical recitals1 #afg2 8 sacr$ op]as1 #bhg2 ,ocean symphony1 #ei2 ,f]amors1 #aeb ,rusk91 ,john1 #cjb ,russian compos]s1 #acd ,sacr$ ,op]as1 #bhg ,sa9t-,sa5s1 ,danse ,macabre1 #aja1 #aaa2 symphony 9 ,c m9or1 #ada2 ,samson & ,delilah1 #bhh ,salvi1 #bdb ,s>ab&e1 #agc1 #agd1 #agg ,sass>elli1 #bdj ,sc>latti1 ,d41 #afg1 #agb1 #ahb2 8 te*nique1 #agb2 ,capriccio & ,pa/orale1 #agb ,s*eff]1 ,ary1 #bdf ,s*]zo1 #acc1 #agi ,s*ro$]-,devri5t1 #bcb ,s*ub]t1 #afh ,s*umann1 #di1 #fd1 #acb1 #acc1 #aci1 #adj1 #ada1 #afg1 #ahh1 #ahi1 #aij1 #aif1 #bed1 #cjh1 #caj2 8 ,romanticism1 #ahh2 & ,jean ,paul1 #ahi2 8 p$al effects1 #aif2 on popul> judgm5t1 #cjh1 #caj2 symphony 9 ,c1 #acb2 symphony 9 ,d m9or1 #aci2 symphony 9 ,b-flat1 #adj2 ,rh5i% symphony1 #adj1 #ada2 ,c>naval1 #ahi1 #aij2 ,papillons1 #ahi1 #aij2 ,kreisl]iana1 #aij2 ,phantasie/uecke1 #aij ,score1 #abj ,scot* snap1 #eb1 #bjj ,second movem5t 9 symphony1 #acc ,seidl1 ,anton1 #gg ,sembri*1 ,m>cella1 #bdb1 #bde ,s5es9o1 #bci1 #bdj ,s5se-p]ception1 #ah ,s]5ade1 #adi et seq4 ,%aftesbury1 ,"l1 #caa ,%akespe>e1 8 dances1 #aec1 #agi2 8 dramas1 #bjb2 a ,romantici/1 #bba2 ,two ,g5tlem5 ( ,v]ona1 #aej2 ,que5 ,mab1 #ij ,s++1 physiology (1 #bae1 #bah2 op]atic1 #bci2 *oral1 #bfh ,s++ ,societies1 #bec et seq4 ,s+spiel1 #bbc ,smi?1 ,f4 ,hopk9son1 #aa ,sonata da ,cam]a1 #agc ,sonata1 #abg1 #ahb1 #ahc ,sonata =m1 #abg et seq4 ,sontag1 #bda1 #bdd1 #bde1 #bdf ,sord9o1 #ij ,space1 music has no place 91 #ei ,spee* & music1 #dc ,sp5c]1 ,h]b]t1 #ci1 #dc1 #baf1 #bah1 #bcj ,sp9et1 #afh1 #agj ,spohr1 ,jessonda1 #bbe ,/a9]1 ,dr41 #ci1 #caf ,/e91 pian(orte mak]1 #aif ,/ilo rappres5tativo1 #bcd ,/ories1 9 music1 #dj ,/r+s1 or*e/ral1 #gd1 #hb1 #hf et seq41 #ajb ,su*]1 ,rosa1 #bdg ,suite1 #abi1 #aeb1 #agc et seq4 ,symphonic poem1 #adb ,symphonic prologue1 #adh ,symphony1 #abd et seq41 #ahc ,syr9x1 #ih ,tal5t 9 li/5+1 #d ,tamb\r9e1 #aaj ,tapp]t1 ,zoopla/ik 9 ,to551 #ea ,ta/e1 #caa ,te*nique1 #afc et seq4 ,t5nyson1 #i ,t]m9ology1 musical1 #h ,!atre nationale de l',op]a-,comique1 #bbc ,!spis1 #bab ,?omas1 ,mignon1 #bbc ,tibia1 #ih ,titi5s1 #bdb ,tonal language1 #db1 #dc ,tones1 co-ord9ation (1 #ag ,t\*1 #afc et seq4 ,trag$ia p] musica1 #bbg ,tremolo1 #ia ,tr5*1 ,ar*bi%op1 #fe1 #ff ,triangle1 #gd1 #aaj ,trio1 #acd ,triolet1 #acf ,trombone1 #hb1 #aje1 #ajf1 #aji et seq4 ,trumpet1 #aje1 #ajh ,ts*aik[sky1 #hh1 #acb2 ,symphonie ,pa!tique1 #acb ,tuba1 #hb1 #he1 #ajf1 #ajh ,turki% music1 #ig ,tympani1 #hb1 #aaa et seq4 ,ugly1 !1 n fit = music1 #ej ,unit$ ,/ates1 fir/ to h amateur s++ societies1 #beg1 #bfb2 spread ( *oral music 91 #bfc ,unity 9 ! symphony1 #bg1 #acg ,vaudevilles1 #bbd ,v]di1 #aeb1 #bjc1 #baj1 #bbh1 #bcf1 #bch1 #bdb1 #bdc2 ,aida1 #aeb1 #bbh1 #bch2 ,il ,trovatore1 #baj1 #bdc2 ,otello1 #bbh1 #bch2 ,fal/aff1 #bbh1 #bcf2 ,requiem1 #bij ,ve/ris1 #aec ,vibrato1 #ij ,vile1 !1 unfit = music1 #ej ,viola1 #gd1 #gg1 #hb1 #ib1 #ic ,viole da braccio1 #ic ,viole da gamba1 #ic ,viol91 #gc1 #gd1 #gg1 #hb1 #hf et seq41 #add1 #afb ,viol9 conc]tos1 #ade ,violoncello1 #gd1 #gg1 #hb1 #ib1 #ic1 #id ,virg9al1 #afh1 #agj ,vocal music1 #fa1 #bae ,vorspiel1 #adh ,wagn]1 #da1 #gi1 #hj1 #ha1 #hh1 #hi1 #id1 #aaa1 #bje1 #bjf1 #bai1 #bbf1 #bbg1 #bcb1 #bce1 #bcg1 #bch1 #bdd1 #bdh1 #bdi1 #bej1 #bea1 #cjc1 #cje1 #cad2 on ! cont5t ( music1 #da2 8 in/rum5tation1 #hj1 #aaa2 8 dramas1 #bai1 #bbf1 #bbg1 #bdh2 ,musikdrama1 #bbg1 #bdi2 8 dialogue1 #bce2 8 or*e/ra1 #bch1 #bej2 8 op]as1 #bdh2 8 !ories1 #bdi2 endless melody1 #bej2 typical phrases1 #bej2 lead+ motives1 #bej2 popul>ity ( 8 music1 #cjc2 on criticism1 #cad2 ,fly+ ,dut*man1 #bdh2 ,tannhaeus]1 #bdh2 ,loh5gr91 #gi1 #hh1 #bce1 #bdh2 ,die ,mei/]s+]1 #bdi2 ,tri/an und ,isolde1 #hg1 #bcg1 #bdi2 ,rhe+old1 #bcg2 ,die ,walku]e1 #id1 #bcg2 ,siegfri$1 #bcg1 #bdd2 ,die ,goett]daemm]ung1 #bcg2 ,r+ ( ! 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