,,h[ ,,to ,,appreciate ,,music by ,,gu/av ,,kobbe ,au?or ( ,wagn]'s ,music-,dramas ,analyz$1 etc4 ,new ,york ,m(fat1 ,y>d ,company #aiab ,copyright1 #aijf1 by ,m(fat1 ,y>d ,company ,new ,york ,publi%$1 ,octob]1 #aijf ,repr9t$1 ,febru>y1 #aijh ,repr9t$1 ,septemb]1 #aijh ,repr9t$1 ,may1 #aiab ,! ,premi] ,press ,new ,york 99 99 99 99 99 ,to ! ,memory ( ,my ,bro!r ,,philip ,,f]d9& ,,kobbe 99 99 99 99 99 ,,cont5ts ,,h[ ,,to ,,appreciate ,a ,,pian(orte ,,recital ,,*apt] ,,page ,i ,! ,pian(orte #bi ,,ii ,ba*'s ,s]vice to ,music #dh ,,iii ,f ,fugue to ,sonata #gh ,,iv ,dawn ( ! ,romantic ,p]iod #ajj ,v ,*op91 ! ,poet ( ! ,pian(orte #aaf ,,vi ,s*umann1 ! ,intimate #acd ,,vii ,liszt1 ! ,giant among ,virtuosos #adb ,,viii ,) ,pad]ewski--,a ,mod]n ,piani/ on ,t\r #aee ,,h[ ,,to ,,appreciate ,,an ,,or*e/ral ,,conc]t ,,ix ,developm5t ( ! ,or*e/ra #afg ,x ,in/rum5ts ( ! ,or*e/ra #agi ,,xi ,conc]n+ ,symphonies #aig ,,xii ,ri*>d ,/rauss & ,8 ,music #bjg ,,xiii ,a ,note on ,*amb] ,music #bbd ,,h[ ,,to ,,appreciate ,,vocal ,,music ,,xiv ,songs & ,song ,compos]s #bca ,,xv ,oratorio #bdh ,,xvi ,op]a & ,music-,drama #bfj ,,table ,,( ,,cont5ts ,,h[ ,,to ,,appreciate ,a ,,pian(orte ,,recital ,,*apt] ,,page ,i4--,,! ,,pian(orte ,:y ! k+ ( musical in/rum5ts--,music "u "o's f+]s--,c r5d] any?+ 9 music--,liszt play$ ! :ole or*e/ra on ! pian(orte--,f+]s ( a great virtuoso ! ambassadors ( 8 s\l--,melody & accompanim5t on "o in/rum5t--,no int]m$i>ies to m> effect--,pad]ewski's play+ ( ,h>k1 ,h>k1 ! ,l>k--,music's debt to ! pian(orte--,develop$ sonata =m & gave x to or*e/ra--,ri*>d ,/rauss on ,bee?ov5's piani/ic or*e/ration--,a boon to _m fam\s compos]s1 ev5 to ,wagn]--,its l[ly orig9--,n9e c5turies to develop pian(orte f mono*ord--,! mono*ord describ$--,jo9$ to a keybo>d--,poet's amus+ advice to 8 musical daught]--,clavi*ord develop$ f mono*ord--,its lack ( p[]--,bebung1 or balancem5t--,! h>psi*ord--,orig9at$ 9 ! cembalo ( ! ,hung>ian gypsy or*e/ra--,sp9et & virg9al--,pian(orte inv5t$ by ,cri/(ori1 #agaa--;,exploit$ by ,silb]mann--,/r+s ( tw5ty tons' t5sion--,damp]s & p$als--,pad]ewski's use ( bo? p$als--,me*anical pian(ortes--,s5seless decoration #bi ,,ii4--,,ba*',s ,,s]vice ,,to ,,music ,pian(orte s univ]sal 9 "* c give1 ?r\gh x1 a g5]al survey ( ! art ( music--,ba* illu/rates an epo*--,a ,ba* fugue m elaborate ?an a music-drama or tone poem--,ba* m mod]n ?an ,haydn or ,moz>t--,8 influ5ce on mod]n music--,wagn] unites ! h>mony ( ,bee?ov5 ) ! polyphony ( ,ba*--,melody1 h>mony & c\nt]po9t def9$ & diff]5tiat$--,illu/rat$ f ! ,moonlight ,sonata--,:at a fugue is--,! fugue & ! virtuoso--,n grateful music = public p]=mance--,daniel ,gregory ,mason's tribute & res]vation--,:at c\nt]po9t lacks--,fails to give ! play] z mu* scope z mod]n music--,b>ri] to individuality ( expression--,! virtuoso's mission--,creative z well z int]pretive--,mr4 ,han*ett's dictum--,music bo? a sci5ce & an art--,sci5ce v]sus feel+--,p]son may be v musical )\t be+ musical at all--,! great compos] b5ds sci5ce to art--,t e> = music--,ba* & ! ,wea!r ,bureau--,! ,bacon1 n ! ,%akespe>e1 ( music--,:at ,wagn] le>n$ f ,ba*--,illu/ration f ,die ,walku]e--,w4 ,j4 ,h5d]son's anecdote--,wagn]'s c\nt]po9t emotional--,ba*'s ! language ( an epo*2 ,wagn]'s ! language ( lib]at$ music--,ba* 9 ! recital hall--,rub9/e9 & ,ba*'s ,triple ,conc]to--,! ,well-,temp]$ ,clavi*ord--,mean+ ( well-temp]$--,a k+'s tribute to ,ba*--,two hundr$ & =ty-"o ye>s ( ,ba*s #dh ,,iii4--,,f ,,fugue ,,to ,,sonata ,break 9 ,ba*'s influ5ce--,mr4 ,p>ry on ?is hiatus 9 ! evolution ( music--,?ree p]iods ( musical developm5t--,rise ( ! h>monic1 or melodic1 s*ool--,began ) ,dom5ico ,sc>latti--,! f\nd] ( mod]n pian(orte te*nique--,beg9n+s ( ! sonata =m--,philipp ,emanuel ,ba* & ! sonata--,rise ( ! amateur--,! ,cont5t$ ,e> & ,quick5$ ,s\l1 & o!r qua9t titles--,*anges 9 musical ta/e--,pian(orte has outgr[n ! music ( ,haydn & ,moz>t--,ba*1 ,bee?ov5 & ,wagn] ! ?ree great epo*-mak+ figures 9 music--,bee?ov5 & ! epo* ( ! sonata--,8 sl[ developm5t--,union ( m9d & he>t 9 8 "w--,8 sonatas1 h[ev]1 no long] all-dom9ant 9 pian(orte music--,von ,buel[ & ,d',alb]t z ,bee?ov5 play]s--,incid5t at a ,von ,buel[ ,bee?ov5 recital--,*anges ( ta/e 9 ?irty ye>s--,! ,bee?ov5 sonatas too or*e/ric--,! pass+ ( ! sonata #gh ,,iv4--,,dawn ,,( ,,! ,,romantic ,,p]iod ,:at a sonata is--,h[ ,bee?ov5 enl>g$ ! =m--,illu/rat$ 9 8 ,opus #b1 ,no4 #c1 & 9 ! ,moonlight ,sonata--,! ?ree ,bee?ov5 p]iods--,9 8 la/ sonatas seems *af+ "u re/ra9t ( =m--,! sonata =m rea*$ its climax ) ,bee?ov5--,hamp]s mod]n compos]s--,lawr5ce ,gilman on ,mac,dowell's ,keltic ,sonata--,! fir/ romantic compos]s--,web]--,s*ub]t's inexhau/ible g5ius--,m5delssohn smoo?1 poli%$ & h>mless #ajj ,v4--,,*op91 ,,! ,,poet ,,( ,,! ,,pian(orte ,an incomp>able compos]--,liszt's def9ition ( tempo rubato--,! ,wagn] ( ! pian(orte--,cle> melody & weird1 entranc+ h>monies--,racial traits--,fri5ds 9 ,p>is--,liszt ! fir/ to recognize him--,! ,etudes--,vigor1 passion1 impetus--,von ,buel[ on ! great ,c m9or ,etude--,! ,preludes--,s*umann's op9ion ( !m--,rub9/e9's play+ ( ! ,sev5? ,prelude--,! ,nocturnes--,*op9 & ,poe--,! ,waltzes--,liszt on ! ,mazurkas--,! ,polonaises--,*op9's battle hymns--,o!r works--,a noble f head to foot--,hunek] on ,*op9 #aae ,,vi4--,,s*umann1 ,,! ,,intimate ,a compos] ) an academic education--,pupil 9 pian(orte ( ,fr$]ick ,wieck--,/ra9s a f+] & ab&ons c>e] z a virtuoso--,m>ries ,cl>a ,wieck--,afflict$ ) insanity--,attempts suicide--,dies 9 asylum--,8 music introspective & brood+--,poet1 b\rgeois & philosoph]--,contributions to program music--,c>naval & ,kreisl]iana--,latt] title expla9$--,really ,s*umanniana--,?\ghts ( 8 ,cl>a--,fantasie ,pieces--,8 compositions at fir/ neglect$ #acd ,,vii4--,,liszt1 ,,! ,,giant ,,among ,,virtuosos ,a y\?ful ph5om5on--,refus$ at ! ,p>is ,cons]vatory--,le petit ,litz--,inspir$ by ,pagan9i--,episode ) ,c\ntess ,d',ag\lt--,c\rt conductor at ,weim>--,makes ,weim> ! musical ,mecca ( ,g]many--,produces ,loh5gr9--,8 six ,lives--,8 pian(orte compositions--,! ,don ,juan ,fantasie--,hexam]on--,annees de ,pel]9age--,progressive edition ( ! ,etudes--,giant /rides 9 virtuosity--,hi/ory ( ! fam\s ,rhapsodies ,hongroises--,*>act]isation ( 8 pian(orte music--,a great compos]1 n a *>latan--,liszt z a virtuoso--,8 tribute to ! pian(orte--,a long & influ5tial c>e]--,play$ = ,bee?ov5 & di$ at ,p>sifal #adb ,,viii4--,,) ,,pad]ewski--,a ,,mod]n ,,piani/ ,,on ,,t\r ,! mo/ successful virtuoso ev] he>d "h--#aga1iha4hi = "o season--,8 op9ion ( ! pian(orte--,p]fect save = great] su/a9+ p[] ( tone--,has f\r pian(ortes on 8 t\rs--,duties ( ! piano doctor--,h[ ! in/rum5ts are c>$ =--,?aw+ out a pian(orte--,pad]ewski's humor #aee ,,h[ ,,to ,,appreciate ,,an ,,or*e/ral ,,conc]t ,,ix4--,,developm5t ,,( ,,! ,,or*e/ra ,mod]n music at fir/ vocal1 & )\t in/rum5tal accompanim5t--,awkw>d in/rum5tation ( ! contrapunti/s--,primitive or*e/ration 9 ,italy--,! or*e/ra ( ,montev]de--,haydn ! fa!r ( mod]n or*e/ral music--,! ,moz>t symphonies--,bee?ov5 e/abli%es ! mod]n or*e/ra--,b few in/rum5ts add$ s9ce--,great] ri*ness due to subtl] te*nique--,bee?ov5's developm5t ( ! or*e/ra trac$ 9 8 symphonies--,great] te*nical dem&s on ! play]s--,bee?ov5 & ,wagn]--,mei/]s+] score has only ?ree m in/rum5ts ?an ! ,fif? ,symphony--,b]lioz an or*e/ral juggl]--,ar*itectural music--,wagn]1 greate/ ( or*e/ral compos]s--,employs l>ge or*e/ra n = noise1 b = v>iety ( expression--,ri*>d ,/rauss's tribute to ,wagn]--,wond]fully res]v$ 9 ! use ( 8 =ces--,wagn]'s scores ! only advance wor? m5tion+ s9ce ,b]lioz #afg ,x4--,,in/rum5ts ,,( ,,! ,,or*e/ra ,! or*e/ra an aggregation ( in/rum5ts t %\ld play z "o--,wagn]'s employm5t ( or*e/ral gr\ps illu/rat$ by ! ,love motive 9 ,die ,walku]e & ! ,walhalla motive--,division ( ! or*e/ra--,! viol9--,its v>i$ capacity--,! musical /age :isp] ( a hundr$ viol9s--,! viol9s 9 ! ,loh5gr9 prelude--,mod]n or*e/ral virtuosity--,! sord9e & its use--,a pizzicato movem5t by ,ts*aik[ski--,! viola1 violoncello & d\ble bass--,divid+ ! /r+ b&--,examples f ! scores ( ,wagn]--,anecdote reg>d+ ! h>p 9 ,rhe+old--,! woodw9d--,! flute--,! oboe 9 ,s*ub]t's ,c major symphony--,! ,engli% horn 9 ,tri/an--,bee?ov5's use ( ! bassoon 9 ! ,fif? & ,n9? symphonies--,! cl>9ets 9 ,tannhaeus]1 ,loh5gr91 & ,goett]daemm]ung--,brass in/rum5ts & v>i\s illu/rations ( _! employm5t--,! trumpet 9 ,fidelio & ,c>m5--,! trombone gr\p 9 ,! ,r+ ( ! ,nibelung--,! trombones 9 ,! ,magic ,flute1 9 ,s*ub]t's ,c major symphony1 & 9 ! introduction to ! ?ird act ( ,loh5gr9--,! tubas 9 ! ,fun]al ,m>* 9 ,goett]daemm]ung--,ri*>d ,/rauss's apo!osis ( ! horn1 & its importance 9 ! ,wagn] scores--,tympani & cymbals--,moz>t's ,g m9or symphony on tw5ty-two cl>9ets--,ri*>d ,/rauss1 on ! future developm5t ( ! or*e/ra #agi ,,xi4--,,conc]n+ ,,symphonies ,! classical p]iod ( music dom9at$ by ! symphony--,its e/hetic purpose def9$--,a symphonic witticism--,"s comm5t on =m 9 music--,divisions ( ! symphony e/abli%$ by ,haydn--,artless grace & beauty ( ,moz>t's symphonies--,bee?ov5 to ! =e--,climaxes & re/s--,! ,n9? ,symphony--,s*ub]t's g5ius--,m5delssohn & ,s*umann--,liszt's symphonies & symphonic poems--,o!r symphoni/s--,wagn] n suppos$ to h be5 a purely or*e/ral compos]1 yet ! greate/ ( all #aig ,,xii4--,,ri*>d ,,/rauss ,,& ,,8 ,,music ,"o ( ! mo/ orig9al & individual ( compos]s--,a /ud5t1 n a copyi/1 ( ,wagn]--,indep5d5t intellectual basis = 8 art--,orig9ator ( ! tone poem--,unhamp]$ by ev5 ! ^w symphonic--,means mu* to ! musically elect--,n a juggl] ) ! or*e/ra--,a mod]n ( mod]ns--,te*nical difficulties1 b n impossibilities 9 8 works--,?us ,spake ,z>a?u/ra & o!r scores--,life & tru?1 n m]e beauty1 ! burd5 ( mod]n music--,hunek]'s ,pip] ( ,dreams--,z>a?u/ra & ,a ,h]o's ,life describ$--,an intellectual =ce 9 music--,a ,h]o's ,life ,/rauss's ,mei/]s+]--,tribute to ,wagn] 9 ,feu]snot--,p]=mances ( ,ri*>d ,/rauss's scores 9 ,am]ica--,8 symphony 9 ,f m9or 7#ahhc7 _h its fir/ p]=mance any:]e1 "u ,!odore ,?omas--,/raussiana--,boyhood anecdotes--,scribbl$ scores on s*oolbook cov]s--,/ill at s*ool :5 fir/ symphony 0 play$ 9 public--,/udi$ ) ,von ,buel[--,m>ri$ 8 ,freihild--,ideals ( ! highe/ #bjg ,,xiii4--,a ,,note ,,on ,,*amb] ,,music #bbd ,,h[ ,,to ,,appreciate ,,vocal ,,music ,,xiv4--,,songs ,,& ,,song ,,compos]s ,/rophic & compos$ ?r\gh--,s*ub]t ! fir/ song compos] to require consid]ation2 also ! greate/--,e>ly /ruggles--,too poor to buy music pap]--,becomes a s*ool-tea*]--,impati5t "u drudg]y--,publi%]s hold alo(--,=tune = a song1 b n = him--,hi/ory ( ,! ,erlk+--,h[ x 0 compos$--,writt5 d[n z fa/ z p5 c\ld travel--,tri$ ov] ! same ev5+--,! fam\s dissonances--,z sung by ,lilli ,lehmann--,s*ub]t only eighte5 ye>s old :5 he compos$ ,! ,erlk+--,8 m>vel\s fecundity--,di$ at ?irty-"o1 yet wrote six hundr$ songs & _m o!r works--,s*umann's individuality--,di/+ui%$ f ,s*ub]t--,n ! same proportion ( great songs--,! be/ compos$ dur+ 8 woo+ ( ,cl>a--,phases ( ,franz's g5ius--,traces ( 8 k & admiration ( ,ba*--,*oice ( keys--,object$ to transpositions--,pitiable physical disabilities--,brahms a pr(\nd ?9k] 9 music--,j5s51 ,rub9/e91 ,grieg1 ,*op91 ,wagn]--,liszt "o ( ! greate/ ( song compos]s--,ri*>d ,/rauss1 ,hugo ,wolf & o!rs #bca ,,xv4--,,oratorio ,an incongru\s art =m--,orig9at$ 9 ,italy ) ,san ,filippo ,n]i--,sc5]y1 action & ev5 ballet 9 ! e>ly oratorio--,! influ5ce ( ,g]man compos]s--,ba*'s ,passion music--,dramatic expression 9 ,ha5del--,rock/ro's *>act]isation (--,fir/ p]=mance ( ,! ,messiah--,haydn's ,creation & ,seasons--,m5delssohn's ,elijah next to ,! ,messiah 9 popul>ity--,dramatic episodes 9 ! "w--,g\nod1 ,elg> & o!rs #bdh ,,xvi4--,,op]a ,,& ,,music-,,drama ,orig9 ( op]a--,p]i & ! ,flor5t9es--,montev]de--,cavalli introduces vocal melody to relieve ! monotony ( recitative--,aria develop$ by ,aless&ro ,sc>latti--,*>act]i/ics ( ,italian op]a f ,sc>latti to ,v]di--,gluck's re=ms--,g]man & ,fr5* op]a--,les ,hugu5ots1 ,fau/1 & ,c>m5--,comp>ative popul>ity ( c]ta9 op]as "h--,f>-rea*+ effects ( ,wagn]'s !ories--,_! influ5ce on ! lat] ,v]di & contempor>y ,italian compos]s--,wagn]'s music-dramas--,a music-drama n an op]a--,=m :olly orig9al ) ,wagn]--,gave impetus to folk-lore movem5t--,krehbiel's ,/udies 9 ! ,wagn]ian ,drama--,wagn] & anti-,wagn]--,f9ck's ,wagn] & ,8 ,works--,wagn] a melodi/--,examples--,unity a di/+ui%+ trait ( ! music-drama--,wagn]'s me?od illu/rat$ by musical examples--,! ,curse ,motive--,! ,siegfri$1 ,nibelung1 & ,t>nhelm motives--,lead+ motives n m]e labels--,_! pla/icity musically illu/rat$--,! ,siegfri$ horn call develop$ into ! motive ( ,siegfri$1 ! h]o1 & into ! climax ( ! ,goett]daemm]ung ,fun]al ,m>*--,an illu/ration f ,tri/an--,wagn] z a compos] ( absolute music--,8 scores ! greate/ a*ievem5t musical hi/ory1 up to ! pres5t "t1 has to %[ #bfj ,,li/ ,,( ,,illu/rations ,,pages ,bee?ov5's ,moonlight ,sonata #eb1 #ec ,two-,"p ,inv5tion1 by ,ba* #ed ,love ,motive f ,die ,walku]e #aha ,op5+ ( ! ,loh5gr9 ,prelude #ahc ,walhalla ,motive #aib ,curse ,motive #bfi ,siegfri$ ,motive #bgj ,nibelung ,smi?y ,motive #bgj ,t>nhelm ,motive #bga ,siegfri$ ,horn ,call #bgb ,develops into ,motive ( ,siegfri$1 ! ,h]o #bgb ,& into ,climax ( ! ,goett]daemm]ung ,fun]al ,m>* #bgb ,examples f ,tri/an und ,isolde #bgc1 #bgd ,,introduction ,are y musical8 ,no2 ,i nei!r play nor s+4 ,y\r answ] %[s a complete misund]/&+ ( ! case4 ,because y nei!r play nor s+1 x by no means foll[s t y are unmusical4 ,if y love music & appreciate x1 y may be m musical ?an _m piani/s or s+]s2 & c]ta9ly y may become s4 ,?is book is plann$ = ! lov] ( music1 = ^? :o ?rong ! conc]t & recital halls & ! op]a--^? :o h n foll[$ music z a pr(ession1 & yet love x z an art2 :o may n play or s+1 & yet are musical4 ,among ^! is an ev]-gr[+ numb] t wants to "k1 t no long] is satisfi$ simply ) all[+ music to play ^u ! s5ses & ! emotions1 b wants to und]/& :y x does s4 ,to satisfy ?is natural desire :i*1 ) _m1 am\nts to a crav+ or ev5 a passion1 & to d s 9 :olly unte*nical language & 9 a mann] t %all be intelligible to ! av]age read]1 is ! purpose ( ?is book4 ,9 c>ry+ x out ,i h n neglect$ ! p]sonal side ( music1 b h endeavor$ to keep cle>ly be=e ! eyes ( ! read]1 & 9 _! prop] sequ5ce1 ! great names 9 musical hi/ory4 ,i am some:at ( a radical 9 my musical op9ions1 "o ( ^? p]sons ( advanc$ views :o does n lift 8 eyes rev]5tially heav5w>d e "t ! words symphony & sonata are m5tion$4 ,9 fact1 ,i am mo/ 9 sympa?y ) ! lib]at+ t5d5cies ( mod]n music1 :i* lays m /ress ^u ! expression ( life & tru? ?an ^u ! exact =m 9 :i* ^! are s\ght to be express$4 ,nev]!less1 ,i am q aw>e t only ?r\gh ! gradual developm5t & expansion ( =ms t n[ may be gr[+ obsolete has music a*iev$ its emancipation f ! tyranny ( =m4 ,!re=e1 :ile ,i w\ld r li/5 to a ,wagn] music-drama ?an to a ,moz>t op]a1 or might g to m tr\ble to he> a ,ri*>d ,/rauss tone poem ?an a ,bee?ov5 symphony1 ,i am n su* an unconscionable h]etic z to be unaw>e ( ! great1 ! v great "p play$ by ! ,moz>t op]a & ! ,bee?ov5 symphony 9 ! evolution ( music1 or _! importance 9 ! ord]ly & sy/ematic /udy ( ! art4 ,inde$1 ,i 0 br\ght up on ,don ,giovanni1 ! ,fif? ,symphony & ! ,sonatas be=e ,i br\ght myself up on ,*op91 ,liszt 7= :om ,i h f> great] admiration ?an mo/ critics71 & ,wagn]4 ,!re=e1 an ample portion ( ?is book w be f\nd devot$ to ! classical epo* & its great ma/]s1 especially its greate/ ma/]1 ,bee?ov51 & to ! =ms 9 :i* !y work$4 ,nor d ,i ?9k t ^! pages w be f\nd writt5 unsympa!tically4 ,b some?+ is due ! great body ( music-lov]s :o1 be+ told t !y mu/ admire ?is1 t & ! o!r classical compos]1 because he is classical1 f9d !mselves at a loss & ?9k !mselves to blame because mod]n music makes a m vivid & deep] impression ^u !m4 ,if !y only knew x--!y are 9 ! "r6 ,b !y h ne$$ "s "o to tell !m s4 ,advanc$1 ?is book is4 ,b pl5ty w be f\nd 9 x reg>d+ ! sonata & ! symphony1 &1 ?r\gh ! latt]1 ! developm5t ( ! or*e/ra2 & or*e/ral in/rum5ts1 _! tone quality1 scope & purpose are describ$ & expla9$4 ,m1 p]haps1 ?an 9 any "w ) ! same purpose1 ! great "p play$ by ! pian(orte 9 ! evolution ( music is "h recogniz$1 & ,i h avail$ myself ( ! opportunity to tell mu* ( ! /ory ( t evolution 9 connection ) ?is1 ! mo/ popul> ( musical in/rum5ts1 & its great ma/]s4 ,:y ! great] fre$om ( te*nique & expression made possible by ! mod]n in/rum5t has caus$ ! classical sonata to be sup]s$$ by ! m romantic works ( ,*op9 & o!rs ^: compositions are typically piani/ic1 & h[ ^! works diff] 9 =m & sub/ance f ^? ( ! classici/s1 are among ! _m po9ts made cle> 9 ^! *apt]s4 ,! same c>e has be5 be/[$ ^u t portion ( ! book relat+ to vocal music--to songs1 op]a1 music-drama & oratorio4 ,9 fact1 ! aim has be5 to equip ! lov] ( music--t is1 ( good music ( all k9ds--) ! k :i* w enable him to enjoy f> m ?an be=e ei!r an or*e/ral conc]t1 a piano or song recital1 an op]a or a music-drama--any?+1 9 fact1 9 music f ,ba* to ,ri*>d ,/rauss2 to place ev]y?+ be=e him f ! /&po9t ( a writ] :o is himself a lov] ( music & :o1 al?\gh ?or\ghly 9 sympa?y ) ! m advanc$ s*ools ( ! art1 also appreciates ! great ma/]s ( ! pa/ & is beh9d none 9 ackn[l$g+ :at !y contribut$ to make music :at x is4 ,are y musical8 ,no2 ,i nei!r play nor s+4 ,b1 if y c read & li/51 !re is no reason :y y %\ld n be m musical--a m g5u9e lov] ( music--?an _m ( ^? ^: musician%ip lies m]ely 9 _! f+]s or vocal cords4 ,try6 ,,gu/av ,,kobbe4 ,,h[ ,,to ,,appreciate ,a ,,pian(orte ,,recital ,i ,,! ,,pian(orte ,!re mu/ be practically on ! "p ( e "o :o att5ds a pian(orte recital "s degree ( curiosity reg>d+ ! in/rum5t itself4 ,!re=e1 x seems to me p]t95t to in/itute at ! v outset an inquiry into :at ! pian(orte is & h[ x became :at x is--! mo/ practical1 mo/ expressive & mo/ univ]sal ( musical in/rum5ts1 ! in/rum5t ( ! conc]t hall & ( ! intimate home circle4 ,k ( su* ?+s surely w enhance ! enjoym5t ( a pian(orte recital--%\ld be1 9 fact1 a pr]equisite to x4 ,! pian(orte is ! mo/ us$ &1 = t v reason1 p]haps1 ! mo/ abus$ ( musical in/rum5ts4 ,ev5 its real "n g5]ally is d5i$ x4 ,mo/ p call x a piano1 al?\gh piano is a musical t]m d5ot+ a degree ( s\nd1 s(t1 g5tle1 l[--! opposite ( =te1 :i* means /rong & l\d4 ,! comb9ation ( ! two t]ms 9 "o ^w1 pian(orte1 signifies t ! in/rum5t is capable ( be+ play$ bo? s(tly & l\dly--bo? piano & =te4 ,x 0 ?is capacity t di/+ui%$ x f its imm$iate precursors1 ! old-"t h>psi*ords & clavi*ords4 ,"o ( ! fir/ requirem5ts 9 le>n+ h[ to und]/& music is to le>n to call ?+s musical by _! "r names4 ,to speak ( a pian(orte z a piano is "o ( our unju/ifiable mod]n %ortcuts ( spee*1 a *>act]i/ic specim5 ( l+ui/ic laz9ess & evid5ce ( utt] ignorance conc]n+ ! orig9 & "* ( ! in/rum5t4 ,if ,i 7 ask$ to express 9 a s+le phrase ! importance ( ?is in/rum5t 9 ! musical life ( to-day ,i w\ld say t ! pian(orte is ! or*e/ra ( ! home4 ,inde$1 ! title ( ! famili> song ,:at ,is ,home ,)\t a ,"m8 might1 )\t any undue /ret* ( imag9ation1 be *ang$ to ,:at ,is ,home ,)\t a ,pian(orte8--al?\gh1 if y are work+ h>d at y\r music & practic+ scales & f+] ex]cises sev]al h\rs a day1 x might be wis] n to ask y\r neighbor's op9ion on ?is po9t4 ,! ,k+ ( ,in/rum5ts4 ,9 h\seholds :]e !re is no pian(orte we seem to brea! a =eign atmosph]e1 says ,osc> ,bie1 9 8 hi/ory ( ! in/rum5t & its play]s2 & he adds ) p]fect tru? t x has become an ess5tial "p ( our life1 giv+ its =m to our :ole musical culture & /amp+ its *>act]i/ics ^u our :ole conception ( music4 ,surely out ( e t5 musical p]sons1 layman or pr(essional1 at lea/ n9e almo/ inv>iably h receiv$ _! fir/ introduction to music ?r\gh ! pian(orte & h d]iv$ ! great] "p ( _! musical k f x4 ,ev5 compos]s l ,wagn] & ,mey]be]1 ^: "w is :olly associat$ ) op]a1 _h _! fir/ lessons 9 music on ! pian(orte1 & ,mey]be] a*iev$ brilliant triumphs z a conc]t piani/ be=e he turn$ 8 att5tion to ! op]atic /age4 ,( all musical in/rum5ts ! pian(orte is ! mo/ intimate & at ! same "t ! mo/ public--! favorite ( ! lonely m\rn] & ( ! solit>y s\l ^: joy seeks expression & ! tie t unites ! circle ( family & fri5ds4 ,yet x also ?rills ! great audi5ce ( ! conc]t hall & r\ses x to ! highe/ pit* ( en?usiasm4 ,x is ! k+ ( in/rum5ts1 & ! reason = its supremacy is n f> to seek4 ,weitzmann1 ! au?or ( ! fir/ compreh5sive acc\nt ( ! pian(orte & its lit]ature1 speaks ( its ability to l5d liv+ expression to all phases ( emotion = :i* language lacks words2 its full1 resonant tone2 its volume vy+ ) t ( ! or*e/ra2 its comm& ( e %ade ( s\nd f ! g5tle/ pianissimo to ! mo/ p[]ful =te2 & its me*anism1 :i* p]mits ( ! mo/ rapid runs & passages1 & at ! same "t ( su/a9$ s++ notes & phrases4 ,music ,"u ,"o's ,f+]s4 ,b ?is is n all4 ,!re is an ov]ture by ,web] entitl$ ,! ,rul] ( ! ,spirits4 ,well1 he :o comm&s ! r[ ( :ite & black keys is rul] ( ! spirits ( music4 ,he has music1 all t music c give1 )9 ! grasp ( 8 two h&s1 "u 8 t5 f+]s4 ,! pian(orte c r5d] any?+ 9 music4 ,besides music ( its own1 x c reproduce ! or*e/ra or ! voice ) ev5 great] fidelity ?an ! f9e/ engrav+ r5d]s a pa9t+2 = only to ! eyes ( "o famili> ) ! pa9t+ does ! engrav+ sugge/ ! color s*eme ( ! orig9al1 :]eas1 ?r\gh c]ta9 nuances ( te*nique t are m easily felt ?an describ$1 ! pian(orte virtuoso :o is play+ an arrangem5t ( an or*e/ra composition c make 8 audi5ce he> c]ta9 in/rum5ts ( ! or*e/ra--ev5 su* *>act]i/ic effects z ! f>-c>ry+ pizzicato1 or ! rumbl+ ( ! d\ble basses or _! l[ gr[l2 ! holl[1 rev]b]at+ p]cussions ( ! tympani2 su/a9$ notes on ! horns2 ! maje/ic acc5ts ( trombones2 ! %>p %rill ( piccolos2 :ile "s ( ! mo/ effective pian(orte pieces are arrangem5ts ( songs4 ,moreov]1 !re are pian(orte compositions l ! ,hung>ian rhapsodies ( ,liszt :i*1 :ile conceiv$ & c>ri$ out 9 ! true _s ( ! in/rum5t 7piani/ic1 z !y say71 yet sugge/ ! tone colors ( ! or*e/ra )\t p]mitt+ ^! to obtrude !mselves too mu*4 ,?is is "o ( ! _m s]vices ( ,liszt1 ! giant ( virtuosos & a giant among compos]s1 to 8 art4 ,x has be5 said t ,liszt play$ ! :ole or*e/ra on ! pian(orte4 ,he did ev5 m4 ,he develop$ ! te*nique ( ! in/rum5t to su* a po9t t ! sugge/ion ( _m ( ! clang t9ts ( ! or*e/ra has become "p ( its h]itage4 ,?is dual capacity ( ! pian(orte1 ! fact t x has a tone quality :olly peculi> to itself1 s t :51 = example1 we are play+ ,*op9 we nev] ?9k ( ! or*e/ra1 :ile at ! same "t x c take up into itself & reproduce1 or at lea/ sugge/1 ! tone colors ( o!r in/rum5ts1 is "o ( its mo/ rem>kable *>act]i/ics4 ,q z rem>kable & z int]e/+ & important is ! circum/ance t ^! tone t9ts are :olly dep5d5t ^u ! play]4 ,!re is no?+ peculi> to ! make ( ! /r+s1 ! s\nd+-bo>d1 ! hamm]s1 t t5ds to produce ^! effects4 ,!y are due :olly to ! play]'s subtle manipulation ( ! keys1 s t we get ! add$ ?rill ( ! virtuoso's p]sonal magnetism4 ,! pian(orte owes mu* ( its popul>ity1 mu* ( its supremacy1 to ! fact t a play]'s int]pretation ( a composition _c be m>r$ by any "o b himself4 ,x re/s 9 8 h&s alone1 :]eas ! conductor ( an or*e/ra is dep5d5t ^u a hundr$ play]s1 "s ( :om may h no m s\l ?an s _m wood5 ,indians4 ,ev5 suppos+ a conductor to be gift$ ) a highly poetic & musically s5sitive nature1 x is impossible t s _m m5 ( v>y+ degrees ( temp]am5t z g to make up an or*e/ra1 & none ( !m probably a virtuoso ( ! highe/ rank1 w be z sympa!tically responsive to 8 baton z a pian(orte is to ! f+]s ( a musical poet l ,pad]ewski2 = ! f+]s ( a great virtuoso are ! ambassadors ( 8 s\l4 ,melody & ,accompanim5t on ,"o ,in/rum5t4 ,?is p]sonal1 "o-man control ( ! in/rum5t has be5 ( ine/imable value to ! pian(orte 9 e/abli%+ itself 9 its pres5t unassailable position4 ,moreov]1 9 controll+ x ! piani/ comm&s all ! res\rces ( music4 ,) 8 two ?umbs alone he c accompli% :at no play] ^u any o!r in/rum5t 9 common use is capable ( do+ ) all t5 f+]s4 ,he c s\nd toge!r ! l[e/ & ! highe/ notes 9 music1 = all ! notes ( music z we "k x simply await ! pressure ( ! f+]s ^u ! keys ( ! pian(orte4 ,x is ! "o in/rum5t capable ( p[] z well z ( sweetness & grace :i* places ! :ole range ( h>mony & c\nt]po9t at ! disposal ( "o play]4 ,a vocali/ c s+ an air1 b c y imag9e a vocali/ s++ ?r\gh an entire programme )\t accompanim5t8 ,aft] half a doz5 unaccompani$ songs ! s++ ev5 ( ! greate/ prima donna w\ld become monoton\s = lack ( h>mony4 ,! viol9 & violoncello1 next to ! pian(orte ! mo/ frequ5tly he>d in/rum5ts 9 ! conc]t hall1 labor "u ! same disadvantage z ! s+]4 ,!y are dep5d5t ^u ! accompanim5t ( o!rs4 ,! piani/1 on ! o!r h&1 has ! ine/imable advantage ( be+ able to play melody & accompanim5t on "o in/rum5t at ! same "t--all 9 "o4 ,:ile s++ ) "s ( 8 f+]s ! t5d] melodic phrase ( a ,*op9 nocturne1 he completes ) ! o!rs ! exquisite weave ( h>mony1 & reveals ! musical fabric to u 9 all its beauty4 ,moreov]1 x is ! piani/ himself :o does ?is1 n "s "o else at 8 signal1 :i* ! int]m$i>y possibly may n :olly und]/&4 ,:5 ,pad]ewski is at ! pian(orte we he> ,pad]ewski--n "s "o else ( a less s5sitive temp]am5t :om he is direct+ ) a baton4 ,a poet is at ! in/rum5t & we he> ! poet4 ,a poet may be at ! conductor's desk--b 9 ! or*e/ra t is requir$ = ! int]pretation ( 8 musical conceptions poets usually are conspicu\s by _! abs5ce4 ,ev5 great s+]s suff] because _! accompanim5ts are apt n to be z s5sitive ( temp]am5t z !y are2 & x is a fact t ! grace & beauty ( ,s*ub]t's ,h>k1 ,h>k1 ! ,l>k nev] h be5 s fully reveal$ to me by a s+] z by ,pad]ewski's play+ ( ,liszt's arrangem5t ( ! song1 because ! piani/ is able to %ade ! accompanim5t to ! mo/ delicate nuances ( ! melody4 ,h[ delightful1 too1 x is to g ?r\gh ! pian(orte score ( a ,wagn] music-drama &1 z y play ! wond]ful music--all plac$ )9 ! grasp ( y\r t5 f+]s--wat* ! sc5ic pictures & ! action pass 9 imag9ation be=e y\r eyes 9 y\r own music room )\t ! defects insep>able f e public p]=mance1 because ! success ( a p]=mance dep5ds ^u ! co-op]ation ( s _m :o d n co-op]ate4 ,yes1 ! pian(orte is ! k+ ( in/rum5ts because x is ! mo/ indep5d5t ( in/rum5ts & because x makes him :o plays ^u x indep5d5t4 ,music's ,debt to ! ,pian(orte4 ,x w\ld be difficult to ov]e/imate ! debt t music owes to ! pian(orte4 ,includ+ = ! pres5t "u ?is "o "n ! v>i\s keybo>d in/rum5ts f :i* x 0 develop$1 ! sonata =m _h its fir/ t5tative beg9n+s ^u x & 0 wr\ght out to p]fection ?r\gh x by a process ( gradual evolution ext5d+ f ,dom5ico ,sc>latti ?r\gh ,ba*'s son1 ,philipp ,emanuel ,ba*1 to ,bee?ov54 ,z a symphony simply is a sonata = or*e/ra1 x foll[s t ?r\gh ! sonata & ?us ?r\gh ! pian(orte ! =m 9 :i* ! classical compos]s ca/ _! greate/ works 0 e/abli%$4 ,ri*>d ,/rauss1 9 8 revision ( ,b]lioz's book on or*e/ration1 ev5 goes s f> z to ass]t t ,bee?ov51 & aft] him ,s*umann & ,brahms1 treat$ ! or*e/ra piani/ically2 b ! discussion ( ?is po9t is bett] def]r$ until we take up ! or*e/ra & or*e/ral music4 ,"h1 h[ev]1 x may be obs]v$ t 9 addition to its con/ant use z an in/rum5t = ! conc]t hall & ! home1 & = ! delight ( great audi5ces & ! joy ( ! amateur play] & 8 famili> circle1 _m ( ! great compos]s1 ev5 :5 writ+ or*e/ral works1 h us$ ! pian(orte = _! fir/ sket*es1 te/+ _! h>monies on x1 & (t51 no d\bt1 :ile grop+ ov] ! keys 9 se>* ( ! psy*ical note1 hit ^u accid5tal improvem5ts & new h>monies4 ,ev5 ,wagn]1 :o und]/ood ! or*e/ra z none o!r ev] has1 employ$ ! pian(orte 9 sket*+ out 8 ideas4 ,i w5t to my ,er>d & wrote out ! passage z rapidly z if ,i _h x by he>t1 he writes f ,v5ice to ,ma?ilde ,wes5donck1 9 relat+ to h] ! g5esis ( ! great love duet 9 ,tri/an und ,isolde1 & ,i c\ld quote o!r passages f my ,wagn] & 8 ,isolde1 :i* is bas$ on ! romantic passages 9 ! lives ( ! compos] & ! woman :o inspir$ 8 great music-drama1 to %[ ! frequ5cy ) :i* he made simil> use ( ! univ]sal musical in/rum5t4 ,! pian(orte has 9 _m o!r ways be5 a boon to "s ( ! mo/ fam\s compos]s4 ,_m ( !m 7 piani/s1 & by public p]=mances ( _! own works mat]ially accel]at$ ! appreciation ( _! music4 ,moz>t 0 a y\?ful prodigy1 & lat] a virtuoso ( ! highe/ rank4 ,bee?ov51 be=e he 0 ov]tak5 by deafness1 introduc$ 8 own pian(orte compositions to ! public & 0 ! musical lion ( ! ,vi5nese draw+-rooms4 ,m5delssohn 0 a piani/ ( ! same smoo?1 affable1 g5tlemanly type z 8 music4 ,*op9 0 n a miscellane\s conc]t play]--8 nature 0 too %r9k+2 b at ! ,salon ,pleyel 9 ,p>is he gave recitals to ! musical elite1 :o 9 turn convey$ 8 ideas to ! great] public4 ,s*umann began 8 musical c>e] z a virtuoso1 b /ra9$ ! f\r? f+] ( 8 "r h& 9 us+ a me*anical app>atus :i* he _h devis$ = facilitat+ ! practice ( f+] ex]cises4 ,8 wife1 ,cl>a ,wieck1 h[ev]1 :o 0 ! mo/ fam\s woman piani/ ( h] "t1 sub/itut$ h] f+]s = 84 ,liszt lit]ally hew$ out ! way = 8 works on ! keybo>d4 ,brahms 0 a piani/ ( solid1 s*ol>ly atta9m5ts4 ,9 fact1 dig :]e y w 9 musical soil1 y /rike ! roots ( ! pian(orte4 ,its ,l[ly ,orig94 ,x mu/ n be suppos$1 h[ev]1 t ! in/rum5t z we "k x atta9$ to its pres5t supremacy except ?r\gh a long process ( evolution4 ,"o ( ! imm$iate precursors ( ! mod]n pian(orte 0 ! h>psi*ord1 a "n sugge/+ t ! in/rum5t 0 a h>p ) a keybo>d atta*m5t1 & su*1 9 a g5]al way1 ! pian(orte is4 ,b ! h>p is a v fully develop$ affair comp>$ ) ! mean little app>atus 9 :i* lay & 0 discov]$ _m c5turies ago ! fir/ g]m ( ! k+ among in/rum5ts4 ,?is 0 ! mono*ord1 & x has requir$ ab\t n9e c5turies = ! evolution ( an in/rum5t consi/+ ( a s+le /r+ set 9 vibration by means ( a keybo>d atta*m5t into ! mod]n pian(orte4 ,b d n be al>m$4 ,i am n ab\t to give a n9e hundr$ ye>s' hi/ory ( ! pian(orte4 ,su* detail$ consid]ation w\ld belong to a te*nical "w on ! manufacture ( ! in/rum5t & w\ld be out ( place "h4 ,some?+ ( its hi/ory %\ld1 h[ev]1 be kn[n to e "o :o wants to und]/& music1 b ,i %all endeavor to be z brief & at ! same "t z cle> z possible4 ,! mono*ord orig9ally 0 us$ mu* z we use a tun+ =k1 to det]m9e true musical pit*4 ,if y take a %ort piece ( /r+1 tie "o end ( x fa/1 draw x taut & pluck x1 its vibrations w s\nd a note4 ,if y grasp ! /r+ & draw x taut f ne>] to ! po9t :]e x is ti$1 y %ort5 :at is call$ ! node1 increase ! numb] ( vibrations & produce a high] note4 ,! mono*ord 9 its simple/ =m consi/$ ( a /r+ drawn taut ov] an oblong box & tun$ to a giv5 pit* by means ( a peg4 ,"u ! /r+ & 9 contact ) x 0 a bridge or fret t c\ld be mov$ by h& along a graduat$ scale m>k$ on ! bottom ( ! box4 ,by mov+ ! bridge ! node ( ! /r+ c\ld be %ort5$ & ! notes m>k$ at correspond+ po9ts on ! graduat$ scale produc$4 ,aft] a :ile1 & 9 ord] to facilitate ! /udy ( ! h>moni\s relation%ip betwe5 diff]5t notes1 ?ree /r+s 7 add$1 ea* ) its bridge & graduat$ scale4 ,x 0 m or less ( a nuisance1 h[ev]1 to cont9ually %ift f\r bridges to z _m diff]5t po9ts "u ! f\r /r+s4 ,z an improvem5t ^u ?is awkw>d arrangem5t "s clev] p]son conceiv$ ab\t ! beg9n+ ( ! t5? c5tury1 ! idea ( borr[+ ! keybo>d f ! organ & atta*+ x to ! mono*ord4 ,to ! re> end ( ea* key 0 atta*$ an upright piece call$ a tang5t4 ,:5 ! f+] press$ ^u a key ! tang5t /ruck "o ( ! /r+s1 set x 9 vibration1 & at ! same "t1 by contact1 creat$ a node :i* la/$ z long z ! key 0 kept d[n & ! tang5t rema9$ press$ aga9/ ! /r+4 ,to increase ! utility ( ! in/rum5t by add+ m /r+s & m keys 0 ! next obvi\s /ep1 & gradually ! mono*ord ceas$ to be a m]e te*nical app>atus = ! det]m9+ ( pit* & became an in/rum5t on :i* pr(essionals & amateurs c\ld play ) pleasure to !mselves & o!rs4 ,a ,poet's ,advice to ,8 ,musical ,daught]4 ,!re has be5 pres]v$ to u f ab\t ! ye> #aebi a reply made by ! poet ,pietro ,bembo to 8 daught] ,el5a1 :o _h writt5 to him f ! conv5t :]e %e 0 be+ educat$ ask+ if %e c\ld h lessons ^u ! mono*ord1 :i* seems to h be5 z popul> 9 its day z its fully develop$ successor1 ! mod]n pian(orte1 is n[4 ,t\*+ ?y reque/ = p]mission to play ^u ! mono*ord1 beg9s ,bembo's qua9t answ]1 ,i reply t because ( ?y t5d] ye>s ?\ can/ n "k t play+ is an art = va9 & frivol\s wom51 :]eas ,i w\ld t ?\ %\ld/ be ! mo/ *a/e & mode/ maid5 alive4 ,besides1 if ?\ w]t to play badly x w\ld cause !e little pleasure & no little %ame4 ,yet 9 ord] to play well ?\ mu/ ne$s give up f t5 to twelve ye>s to ! ex]cise1 )\t s mu* z ?9k+ ( aught else4 ,h[ f> ?is w\ld b5efit !e ?\ can/ see = ?yself )\t my tell+ !e4 ,b ?y s*oolmates1 if !y desire !e to le>n to play = _! pleasure1 tell !m ?\ do/ n c>e to h !m laugh at ?y mortification4 ,!re=e1 cont5t ?yself ) ! pursuit ( ! sci5ces & ! practice ( ne$lework4 ,^! words ( ! poet ,bembo to 8 daught] ,el5a--are !y s :olly lack+ 9 application to our own day8 ,& ,i wond]--did or did n ,el5a le>n to play ! mono*ord8 ,if n1 x 0 because %e liv$ a few c5turies too soon4 ,%e w\ld h _h h] own way to-day6 ,! ,clavi*ord4 ,mono*ord means "o /r+1 & ! application ( ! t]m to ! in/rum5t aft] o!r /r+s _h be5 add$ 0 a misnom]4 ,! mono*ord on :i* ,el5a1 to ! evid5t di/ress ( h] di/+ui%$ p>5t1 desir$ to play1 really 0 a clavi*ord1 :i* 0 d]iv$ directly f ! primitive mono*ord4 ,if y w raise ! lid ( y\r pian(orte y w f9d t ! /r+s become %ort] f ! bass up1 ! l[e/ note be+ s\nd$ by ! longe/1 ! highe/ note by ! %orte/ /r+2 = ! long] ! /r+ ! sl[] ! vibrations & ! deep] ! s\nds produc$1 & vice v]sa4 ,?is pr9ciple is s obvi\s t x seems z if x mu/ h be5 appli$ to ! clavi*ord almo/ imm$iately & a sep>ate /r+ provid$ = ea* key4 ,b = _m ye>s ! /r+s ( ! clavi*ord cont9u$ all ( equal l5g?1 & ?ree or f\r neighbor+ keys /ruck ! same /r+1 s t ! contact ( ! upright tang5t ) ! /r+ n only set ! latt] 9 vibration b also s]v$ to =m ! node :i* produc$ ! desir$ note4 ,n until aft] ! clavi*ord _h be5 9 use sev]al c5turies1 7 its /r+s made ( v>y+ l5g? & a sep>ate /r+ assign$ to ea* key4 ,^! new clavi*ords 7 call$ bundfrei 7fret-free or tang5t-free7 because ! node ( ea* /r+ 0 det]m9$ by t /r+'s l5g? & n by ! contact ( ! tang5t4 ,! clavi*ord reta9$ ! box %ape ( its prototype1 ! mono*ord4 ,orig9ally x 0 portable & 0 set ^u a table2 lat]1 h[ev]1 0 made1 s to speak1 to /& ^u its own legs4 ,9 appe>ance x resembl$ our squ>e pian(ortes4 ,x gave =? a sweet1 g5tle & decid$ly pretty musical s\nd4 ,x _h a fur!r admirable quality 9 its capacity = su/a9+ a tone1 s9ce by keep+ ! tang5t press$ aga9/ ! /r+ ! play] 0 able to su/a9 ! tone s long z ! /r+ cont9u$ to vibrate4 ,moreov]1 by hold+ d[n ! key & at ! same "t mak+ a g5tle rock+ motion ) ! f+] he 0 able to produce a tremolo effect :i* ,g]man musicians call$ ,bebung 7trembl+71 & ! ,fr5* balancem5t4 ,a defect ( ! clavi*ord 01 h[ev]1 its lack ( p[]4 ,?is defect l$ to exp]im5ts :i* result$ 9 ! con/ruction ( a keybo>d in/rum5t ! /r+s ( :i*1 9 response to ! action ( ! keys1 7 set 9 vibration by jacks tipp$ ) cr[-quills or h>d lea!r4 ,! s\nd 0 mu* /rong] ?an t ( ! clavi*ord4 ,b ! jacks twang$ ! /r+s ) uni=m p[]1 p]mitt+ a %>p outl9e1 b no %ad+ ( ! tones4 ,! ,h>psi*ord4 ,if y *ance to be li/5+ to a ,hung>ian b& at a re/aurant y may notice t "o ( ! play]s has ly+ on a table be=e him an in/rum5t ) _m /r+s /rung v mu* l ^? ( ! pian(orte4 ,x is play$ ) two little mallets 9 ! play]'s h&s1 & produces ! weird arpeggios & improvis$ runs *>act]i/ic ( ,hung>ian gypsy music4 ,x is a v old in/rum5t call$ ! cembalo4 ,ab\t ! fifte5? c5tury1 x seems1 "s "o devis$ a keybo>d atta*m5t ) quills = ?is in/rum5t1 tipp$ ! jacks ) cr[-quills1 & call$ ! result a clavicembalo 7a cembalo ) keys74 ,?is 0 ! orig9 ( ! h>psi*ord1 ! "n by :i* ! clavicembalo soon became m g5]ally kn[n4 ,h>psi*ords 7 %ap$ some:at l our gr& pian(ortes1 b 7 mu* small]4 ,a sp9et 0 a small h>psi*ord1 & ! virg9al a /ill small] "o4 ,sometimes1 inde$1 virg9als 7 made no l>g] ?an workboxes1 ! in/rum5t be+ tak5 out ( ! box & plac$ on a table be=e ! play]4 ,= ! purposes ( ?is book ?is v g5]al survey ( ! precursors ( ! pian(orte seems suffici5t4 ,! clavi*ord & ! in/rum5ts ( ! h>psi*ord 7h>psi*ord1 sp9et1 & virg9al7 class fl\ri%$ alongside ( ea* o!r1 b ! be/ musicians gave ! pref]5ce to ! clavi*ord because ( its sweet tone & ! delicately tremul\s effect t c\ld be produc$ ^u x by ! balancem5t4 ,exp]im5ts 9 pian(orte mak+ 7 9 progress already 9 ,ba*'s day1 b he clung to ! clavi*ord1 z did 8 son1 ,philipp ,emanuel ,ba*4 ,moz>t 0 ! fir/ ( ! great ma/]s to realize ! value ( ! pian(orte & to aid mat]ially 9 mak+ x popul> by us+ x = 8 public p]=mances4 ,& yet ev5 !n ! clavi*ord1 t lonely1 melan*oly1 unspeakably sweet in/rum5t1 0 n ab&on$ )\t l+]+ regret by ! old] musicians1 & x /ill 0 to be f\nd 9 occasional use z late z ! beg9n+ ( ! la/ c5tury4 ,h[ ?or\ghly mod]n ! pian(orte is w be appreciat$ :5 x is said t a celebrat$ firm ( ,engli% mak]s f\nd$ 9 #agcj did n beg9 to manufacture pian(ortes until #aghj & cont9u$ ! production ( clavi*ords until #agic4 ,piano & ,=te4 ,nei!r on ! clavi*ord nor on ! h>psi*ord c\ld ! play] v>y ! /r5g? ( ! tone :i* he produc$1 by ! degree ( =ce ) :i* he /ruck ! keys4 ,swells & p$als work$ by ! knees & ! feet 7 devis$ to ov]come ?is difficulty1 b t\* z we und]/& x to-day 0 impossible ) ! in/rum5ts 9 :i* ! degree ( s\nd to be produc$ 0 n "u ! control ( ! play]'s f+]s4 ,! clavi*ord 0 piano1 ! h>psi*ord 0 =te4 ,n until ! inv5tion ( ! hamm] action1 ! sub/itution ( hamm]s = tang5ts & quill-jacks1 0 an in/rum5t possible 9 :i* :e!r ! tone %\ld be piano or =te dep5d$ ^u ! degree ( /r5g? ) :i* ! play] /ruck ! keys4 ,?is in/rum5t 0 ! fir/ pian(orte4 ,x 0 inv5t$ & s nam$ 9 #agaa by ,b>tolomeo ,cri/(ori1 ( ,flor5ce1 &1 al?\gh ne>ly two c5turies h elaps$ s9ce !n1 ! action us$ by _m pian(orte manufactur]s ( to-day is 9 its ess5tials ! same z t devis$ by ?is clev] ,italian4 ,! inv5tion frequ5tly is ascrib$ to ,gottfri$ ,silb]mann1 a ,g]man 7#afhc-agec74 ,b ! real situation is t ,cri/(ori 0 ! inv5tor1 :ile ,silb]mann 0 ! fir/ successful manufactur] ( ! new in/rum5ts1 f a bus9ess po9t ( view4 ,"t & improvem5ts 7 requir$ be=e !y made _! way1 & h[ sl[ _m pr(essional musicians 7 9 giv+ up ! belov$ clavi*ord = ! pian(orte already has be5 po9t$ out4 ,b ! latt] 0 b\nd to triumph 9 ! end4 ,i %all n attempt to give a te*nical description ( ! me*anism ( ! pian(orte4 ,b ,i %\ld l to answ] a few que/ions :i* may h sugge/$ !mselves to play]s :o may n h c>$ to take _! in/rum5ts ap>t & exam9e !m1 or h n be5 pres5t :5 _! tun]s h tak5 (f ! lid & expos$ ! /r+s & me*anism to view4 ,! /r+s ( ! pian(orte are ( /eel wire1 & _! t5sion v>ies f twelve tons to ne>ly tw5ty4 ,^? ( ! deepe/ bass are cov]$ ) copp] wire4 ,eight or t5 tones ( ! bass are produc$ by ! vibration ( ^! copp]-w\nd /r+s4 ,above ^!1 = ab\t an octave & a half1 ! /r+s are 9 pairs1 s t1 ! hamm] /rik+ !m1 !re are two unison /r+s to a tone1 simultane\sly1 & produc+ approximately twice z p[]ful a tone z if only "o /r+ _h be5 set 9 vibration4 ,! five rema9+ octaves h ?ree /r+s to a tone4 ,all ,dep5ds on ! ,play]4 ,:5 ! f+]s /rike ! keys ! hamm]s /rike ! /r+s1 ! =ce ( ! /roke dep5d+ ^u ! =ce ex]t$ by ! play]1 ?is be+ ! di/+ui%+ m]it ( ! pian(orte z comp>$ ) its precursors4 ,"u ! /r+s are a r[ ( damp]s1 & z soon z a f+] releases a key ! correspond+ damp] spr+s into place aga9/ ! vibrat+ /r+s1 /ops ! vibrations1 & ! tone ceases4 ,?us ! tone c be damp5$ imm$iately by rais+ ! f+] or prolong$ by keep+ ! f+] press$ d[n on ! key4 ,?is is ! device :i* enables ! piani/ to play /accato or legato4 ,! damp] p$al1 or l\d p$al1 *ecks ! action ( all ! damp]s & prolongs ! tones ev5 aft] ! f+]s h releas$ ! keys4 ,! s(t p$al br+s ! hamm]s ne>] ! /r+s1 %ort5s ! /roke & produces a s(t] tone4 ,! simultane\s use ( bo? p$als is a mod]n virtuoso effect & a v *>m+ "o1 = ! damp] p$al prolongs ! g5tle tones produc$ by ! use ( ! s(t p$al4 ,i believe ,pad]ewski 0 ! fir/ ( ! great piani/s :o h visit$ ?is c\ntry1 to employ ?is effect sy/ematically1 & t he 0 among ! fir/ compos]s to =mally indicate ! simultane\s employm5t ( bo? p$als 9 passages 9 8 compositions4 ,!re is a ?ird p$al call$ ! su/a9+ p$al1 b ,i d n ?9k x has prov$ z valuable an inv5tion z 0 anticipat$4 ,)9 rec5t ye>s !re h be5 introduc$ me*anical pian(ortes1 :i* ,i may designate z pianolas1 aft] ! mo/ popul> in/rum5t ( _! class4 ,9 my op9ion1 ^! in/rum5ts are de/9$ to play an important "p 9 ! diffusion ( musical k1 & x is s5seless to und]e/imate ?is4 ,!re are ?\s&s ( p :o h nei!r ! "t nor ! dext]ity to ma/] ! te*nique ( ! pian(orte1 :o nev]!less are p ( g5u9e musical feel+1 & :o are enabl$ ?r\gh ! pianola to cultivate _! ta/e = music4 ,! device r5d]s ! music accurately2 :e!r expressively or n dep5ds1 z ) ! pian(orte itself1 ^u ! ta/e ( ! p]son :o manipulates x4 ,decorations ,t ,d ,n ,beautify4 ,! pian(orte (t5 is spok5 ( z an in/rum5t ( ugly appe>ance4 ,?is x emphatically is n4 ,if ! /raight side ( ! gr& is plac$ aga9/ ! wall ! side t[>d ! room pres5ts a graceful1 sweep+ curve1 :ile ! upright effectively breaks ! /raight l9e ( ! wall aga9/ :i* x /&s4 ,if ! pian(orte is ugly1 x is due to ! s-call$ ornam5ts t are plac$ ^u x--! knicknacks1 fram$ pictures & o!r s5seless ?+s4 ,to my m9d1 !re is b "o ?+ :i* x is p]missible to place ^u a pian(orte1 a sl5d] vase ) a s+le fl[]1 pref]ably a rose--! liv+ symbol ( ! s\l t waits to be awak5$ )9 ! in/rum5t4 ,%eet music or b\nd books ( music on top ( a pian(orte are an abom9ation4 ,if scatt]$ ab\t !y look disord]ly2 if neatly arrang$ 9 portfolios1 ev5 worse1 = !y create ! precise1 ord]ly appe>ance ( pa?s & m\nds 9 a cemet]y4 ,(t51 inde$1 ! pian(orte is a gravey>d ( musical hopes4 ,because ( t1 h[ev]1 x ne$ n be made to look l "o4 ,equally objectionable is ! elaborately decorat$ or p]iod pian(orte design$ = rooms decorat$ 9 ! /yle ( "s hi/orical art p]iod4 ,a pian(orte has no bus9ess 9 a p]iod room4 ,if ! p]son is ri* en\gh to af=d p]iod rooms1 he also c af=d a music room1 & ! simpl] ?is is1 )9 ! b\nds ( good ta/e1 & ! less !re is 9 x besides ! in/rum5t itself1 ! bett]4 ,! m pr(ici5t ! piani/ ! less he c>es = decoration & ! m satisfi$ he is ) ! pian(orte turn$ out 9 ! ord9>y c\rse ( bus9ess by ! high-class manufactur]4 ,no--decorat$ pian(ortes are = ^? :o are too ri* to be musical4 ,,ii ,,ba*',s ,,s]vice ,,to ,,music ,s important has be5 ! role play$ by ! pian(orte 9 ! evolution ( music t x is possible 9 ^! *apt]s on a pian(orte recital to give a g5]al survey ( ! art1 & ?us prep>e ! read] to enjoy n only :at he w he> at su* a recital1 b enable him to approa* x ) a m compreh5sive k ?an t w\ld imply4 ,?is is "o reason :y ,i elect$ to lead ) ! *apt]s on ! pian(orte in/ead ( ) ^? on ! or*e/ra1 z usually is done1 because ! or*e/ra is some?+ big4 ,9 po9t ( fact1 h[ev]1 ! pian(orte1 s f> z its influ5ce is conc]n$1 is q z big1 if n1 inde$1 bigg] ?an ! or*e/ra2 = (t51 9 ! evolution ( music 7z ,i po9t$ out 9 ! previ\s *apt]71 ?is in/rum5t1 :i* is s suffici5t 9 itself1 has l$ ! or*e/ra4 ,9 review+ a pian(orte recital x !re=e is q possible to review _m phases ( musical hi/ory4 ,take z an example a composition by ,ba*1 "o ( ! preludes & fugues f ,! ,well-,temp]$ ,clavi*ord1 ) :i* a pian(orte recital is q apt to op54 ,! selection illu/rates a :ole epo* 9 music :i* ,ba* r\nd$ (f & br\ght alike to its climax & its close4 ,y w be apt to f9d ?is fugue r complicat$ &1 ,i fe>1 some:at un9telligible1 & ?is makes x necess>y = me to po9t out at once t 9 "s respects music has _h a curi\s developm5t4 ,a ,wagn] music-drama1 a ,ri*>d ,/rauss tone poem1 seem elaborate & complicat$ affairs comp>$ ) a ,bee?ov5 sonata or symphony4 ,yet ev5 ! mo/ advanc$ "w ( a ,wagn] or ,/rauss is nei!r z complicat$ nor z elaborate z a fugue by t pa/ ma/] ( 8 art1 ,johann ,seba/ian ,ba*1 :o1 al?\gh he 0 born 9 #afhe & did n live beyond ! middle ( ! foll[+ c5tury1 0 s f> ahead ( 8 age t n ev5 to ?is day has he fully come into 8 own4 ,! result is t ! e>ly classici/s1 ,haydn & ,moz>t1 :o belong 9 po9t ( "t to a lat] epo*1 may m readily be reckon$ z old-fa%ion$ ?an ,fa!r ,ba*4 ,:5 at a recital y li/5 to a fugue by ,ba* & f9d x h>d & labor$--_m p reg>d x simply z a difficult species ( f+] ex]cises--y ?9k t is because x is s v anci5t1 some?+ 9 ! same class ) ,greek or ,sanscrit4 ,9 po9t ( fact x is because 9 "s respects x is s v mod]n4 ,7 x n = ! importance ( pres]v+ an ord]ly hi/orical sequ5ce 9 a book ( ?is k9d1 & t ,ba* usually is f\nd at ! beg9n+ ( a recital program1 x w\ld be almo/ m practical1 & c]ta9ly f> easi]1 = ! au?or to leave ,ba* until lat]4 ,:5 y write ( ,moz>t1 or ( ,bee?ov5 & ! mod]ns1 y c dep5d ^u m or less famili>ity ) _! works on ! "p ( y\r read]s1 :]eas1 comp>atively few laym5 "k mu* ab\t ,ba*4 ,!y associate ! "n ) all t is =mal & labor$4 ,yet among my acqua9tances is a "y woman :o 0 br\ght up 9 a v musical family1 & :o1 hav+ z a *ild he>d h] "m play ! preludes & fugues ( ! ,well-,temp]$ ,clavi*ord1 f9ds ,ba* z simple z ! alphabet4 ,b h]s is a mo/ exceptional case4 ,! appreciation ( ,ba*1 z a rule1 comes only ) advanc$ age4 ,my music tea*] us$ to say to me3 ,y rave ov] ,s*ub]t & ,wagn] n[1 b :5 y get to be z old z ,i am y w g back to ,fa!r ,ba*4 ,:ile ,i _c say t 8 prophecy has come true1 :ile ,i /ill am ultra-mod]n 9 my musical pr$ilections1 my musical gods be+ ,s*ub]t1 ,*op91 ,s*umann1 ,liszt1 ,brahms1 ,ri*>d ,/rauss &1 above all1 ,wagn]1 ,i %\ld consid] myself unfit to write ?is book if ,i fail$ to realize ! debt mod]n music owes to ,ba*1 & t ! m mod]n ! music ! great] ! debt4 ,ba* 9 ,mod]n ,music4 ,"o ( ! mo/ rem>kable ph5om5a 9 ! hi/ory ( ! art--& a g5]alization l ?is is z mu* 9 place 9 discuss+ pian(orte music z else:]e1 because ! in/rum5t has _h s mu* to d ) ! evolution ( music--is ! gap betwe5 ,ba* & mod]n music4 ,:ile ! foll[+ mu/ n be tak5 too lit]ally1 x is true 9 g5]al t ,ba* _h little or no influ5ce on ! age t imm$iately came aft] him1 ! classical age ( music1 t age :i* we sum up 9 ! names ( ,haydn1 ,moz>t & ,bee?ov51 ! age ( ! sonata & ! symphony4 ,! ?ree ma/]s m5tion$ probably w\ld h develop$ & compos$ mu* z !y did _h ,ba* nev] liv$4 ,b :5 a m mod]n compos]1 a romantici/ l ,wagn]1 want$ to enri* ! means ( musical expression h&$ d[n to him f ! classical p]iod1 he rea*$ back to ,ba* & comb9$ ,ba*'s teem+ c\nt]po9t ) ! h>monic sy/em :i* _h be5 inh]it$ f ,bee?ov54 ,to und]/& j :at ?is means1 to appreciate ! influ5ce ,ba* has _h ^u mod]n music & :y he _h little or none on ! classical compos]s1 x is necess>y = ! read] to h at lea/ a reasonably cle> conception ( :at t c\nt]po9t is & :]e9 x diff]s f h>mony2 = ) ,ba* c\nt]po9t rea*$ its climax1 & all ! possibilities ( ! /yle hav+ be5 exhau/$ by him1 music ( necessity took a turn 9 ano!r direction "u ! classici/s & develop$ h>monically in/ead ( contrapuntally2 s t x c be said t mod]n music d]ives its c\nt]po9t f ,ba*1 its h>mony f ,bee?ov51 & its comb9ation ( ! two sy/ems f ,wagn]4 ,!re is ano!r reason :y ! mean+ ( c\nt]po9t %\ld be expla9$ & ! diff]5ce betwe5 c\nt]po9t & h>mony be made cle> to ! read] n[4 ,ne>ly all ! e>ly music1 ! music t prec$$ ,haydn1 ,moz>t & ,bee?ov51 & t sometimes is to be f\nd on recital programs1 is contrapuntal--writt5 9 c\nt]po9t4 ,z ,i h said be=e1 x w\ld be mu* easi] to />t ) ! sonata =m1 ) h>mony in/ead ( c\nt]po9t1 = ( ! two h>mony is ! simpl]4 ,b we mu/ face ! music--! music ( ! old contrapuntal compos]s--& ! be/ way to d ?is is to expla9 :at h>mony & c\nt]po9t are & :]e9 !y diff]4 ,h>mony & ,c\nt]po9t4 ,a melody or !me is a rational progression ( s+le tones4 ,"h is ! melody or !me ) :i* ,bee?ov5 beg9s ! famili> ,moonlight ,sonata3 ,music illu/ration ,x is a melody1 b x does n con/itute h>mony1 = h>mony is ! rational comb9ation ( sev]al tones1 z di/+ui%$ f ! rational progression ( s+le tones :i* con/itute melody4 ,b :5 ,bee?ov5 adds an accompanim5t to 8 !me & x becomes3 ,music illu/ration ! passage also becomes h>mony1 s9ce x is an example ( ! rational comb9ation ( sev]al tones4 ,z has (t5 be5 po9t$ out 9 books on music1 & probably (t5 w h to be po9t$ out aga91 because z a mi/ake x is to be class$ ) ! h>dy p]5nials1 melody is n h>mony1 b only a "p ( x4 ,:51 h[ev]1 a compos] conceives a !me or melody he usually does s ) ! purpose ( comb9+ x ) an accompanim5t t %all support x & ?r[ x into bold & /rik+ relief4 ,compos]s ( ! contrapuntal s*ool1 on ! o!r h&1 conceiv$ a !me1 n = ! purpose ( support+ x ) an accompanim5t1 b 9 ord] to comb9e x ) ano!r or ) sev]al o!r equally important !mes4 ,t1 9 a g5]al way1 is ! diff]5ce betwe5 h>mony & c\nt]po9t4 ,9 h>mony1 !n1 or1 m /rictly speak+1 9 music compos$ accord+ to ! h>monic sy/em1 ( :i* ! ,moonlight ,sonata is a good example1 ! !me1 ! melody1 /&s out f ! accompanim5t1 :i* is subord9ate4 ,c\nt]po9t1 on ! o!r h&1 re/s on ! comb9ation ( sev]al !mes1 ea* ( equal importance4 ,?is is ! reason :y1 :5 !re is a fugue or o!r complicat$ contrapuntal "w on ! program ( a pian(orte recital1 ! av]age li/5] is apt to f9d x dry & un9t]e/+4 ,8 e> readily c di/+ui% ! !mes ( a sonata1 :i* usually are he>d "o at a "t & /& out cle>ly f ! accompanim5t1 b x has n be5 tra9$ to unravel ! !mes ( ! fugue z !y travel along toge!r4 ,c\nt]po9t1 ! t]m be+ d]iv$ f ! ,lat9 contra punctum1 :i* means po9t aga9/ po9t or note aga9/ note1 :5 complicat$1 z 9 a fugue1 is ab\t ! mo/ elaborate k9d ( music !re is1 & a p]son :o is unable to grasp a fugue may console himself ) ! ?\ght t1 except+ = ! elect1 x is a pretty /iff dose to swall[ at ! v beg9n+ ( a recital4 ,!re are1 h[ev]1 simpl] pieces ( c\nt]po9t ?an a fugue4 ,sometimes1 z 9 ! *>m+ little ,gavotte by ,padre ,m>t9i1 :i* n[ & !n figures among ! light] numb]s on ! programs ( hi/orical recitals1 ! contrapunti/ comb9es a !me ) itself1 or1 r1 imitates x1 :i* is a simple =m ( ! canon4 ,ano!r =m ( canon is ! r\nd ( :i* ,?ree ,bl9d ,mice is a famili> example4 ,h[ _m p1 :5 s++ ?is1 h realiz$ t !y 7 be+ initiat$ into t my/]i\s ?+ kn[n z c\nt]po9t8 ,a comp>atively simple =m ( c\nt]po9t is well illu/rat$ by a dapp] little piece 9 ,ba*'s ,two-,"p ,inv5tions1 9 :i* ! spirit$ !me giv5 out by ! "r h& answ]s itself a b> lat] 9 ! left1 an imitation :i* crops out aga9 & aga9 9 ! piece & gives x some:at ! "* ( a canon4 ,music illu/ration ,= any "o :o wi%es to become acqua9t$ ) ,ba* !re is no?+ bett] ?an ^! ,two-,"p ,inv5tions1 especially ! fasc9at+ little piece f :i* ,i h j quot$1 compact1 buoyant & gay1 ev5 p]t1 z ,i once he>d a "y girl *>act]ize x2 a p]fect example ( old ,fa!r ,ba* 9 mom5ts ( relaxation :5 he has laid aside 8 p]iwig & is amus+ himself at 8 clavi*ord4 ,:at a ,fugue ,is4 ,ba*'s fugues1 & especially 8 ,well-,temp]$ ,clavi*ord1 =ty-eight preludes & fugues 9 all ! keys1 =m ! climax ( contrapuntal music4 ,goe! once said t ! hi/ory ( ! _w is a mighty fugue 9 :i* ! voice ( nation aft] nation becomes audible4 ,?is is a freely poetic def9ition ( t highly complicat$ musical =m1 ! fugue4 ,let me attempt to illu/rate x 9 a diff]5t way4 ,imag9e t a compos] :o is an adept 9 c\nt]po9t places f\r piani/s at diff]5t pian(ortes1 & t he gives a diff]5t !me to ea* ( !m1 or a !me to "o & modifi$ v]sions ( x to ! o!rs4 ,he />ts ! fir/ piani/1 aft] a few b>s nods to ! second to jo9 9 ) 8 !me1 & s on successively ) ! o!r two4 ,x might be suppos$ t :5 ! second play] jo9s 91 ! two !mes s\nd+ toge!r w\ld make discord1 :i* w\ld be aggravat$ by ! addition ( ! ?ird & f\r?4 ,b1 in/ead1 !y h be5 s conceiv$ by ! contrapunti/ t !y s\nd well toge!r z !y *ase & answ] ea* o!r1 or run c\nt] to & p>allel & ent] into _m diff]5t comb9ations1 sometimes fl[+ along smoo?ly1 at o!r times surg+ & /riv+1 yet always1 9 ! case ( a truly great fugue1 borne along by a mom5tum z inexorable z ! m>* ( ,fate4 ,( c\rse1 x mu/ n be suppos$1 because ,i h call$ f\r piani/s into action 9 ord] to emphasize h[ di/9ct are ^! !mes1 :i* yet1 :5 unit$1 are f\nd to bl5d toge!r1 t sev]al play]s are requir$ = ! p]=mance ( a complicat$ piece ( c\nt]po9t l a fugue4 ,:at is dem&$ ( ! play] is entire indep5d5ce ( ! f+]s1 s t he c cle>ly diff]5tiate betwe5 ! !mes & enable ! he>] to di/+ui% !m ap>t1 ev5 9 _! mo/ complicat$ comb9ations4 ,an edition ( ,ba*'s ,well-,temp]$ ,clavi*ord by ,b]n>dus ,boekelman pr9ts ! !mes 9 diff]5t colors1 s t !y are easy to trace ?r\gh all _! int]weav+1 & is int]e/+ to /udy f4 ,! ,fugue & ! ,virtuoso4 ,9 8 book1 ,bee?ov5 & ,8 ,=]unn]s1 ,daniel ,gregory ,mason devotes a p>agraph t[>d dispell+ ! my/]y reg>d+ ! fugue t prevails ) ! public1 & po9ts out t ! actual =mal rules1 despite ! awe !y h immemorially ar\s$ 9 ! popul> m9d1 are few & simple4 ,aft] ! fir/ ann\ncem5t ( ! subject by a s+le voice1 x is answ]$ by a second voice1 at an int]val ( a fif? above2 !n aga9 /at$ by a ?ird voice1 & answ]$ by a f\r?4 ,?is process goes on until ea* voice has _h a *ance to enunciate ! motif1 aft] :i* ! conv]sation goes on m freely2 ! subject is ann\nc$ 9 div]s keys1 by div]s voices2 episodes1 9 a congru\s /yle1 v>y ! monotony2 at la/ ! subject is emphatically ass]t$ by ! v>i\s voices 9 quick succession 7/retto71 & ) "s little display or gr&iloqu5ce ! piece comes to an end4 ,fur!r along 9 ! same book ,mr4 ,mason has a page ( apo/rophe to ! ,ba* fugues4 ,:5 he *>act]izes !m z ! fir/ great indep5d5t monum5ts ( pure music1 & ref]s to _! consummate beauty ( /ructure1 he pays !m an em95tly j tribute4 ,b :5 he speaks ( ! pr(undity1 poignancy & v>iety ( feel+ !y express1 ,i am incl9$ to quote 8 own qualify+ s5t5ce f ! next page ( 8 book3 ,x is true1 nev]!less1 n only t ! fugue =m makes ! sev]e/ dem&s on ! att5tion & intellig5ce ( ! li/5]1 b also t1 because ( ! ecclesia/ical orig9 & polyphonic /yle1 x is incapable ( ! k9d ( highly p]sonal1 secul> expression t x 0 9 ! _s ( ! sev5te5? c5tury to dem&4 ,! same is ev5 m true ( ! eighte5?1 n9ete5? & tw5tie? c5turies4 ,! progress ( music t[>d individual fre$om ( expression on ! "p ( ! compos]1 & equally s on ! "p ( ! int]pret]1 has be5 /eady1 & :51 ?r\gh ! v p]fection :i* ,ba* imp>t$ to c\nt]po9t1 x ceas$ to attract compos]s z a means ( expression because he _h accompli%$ s mu* !re 0 no?+ m left = !m to d along ! same l9es1 ! progress ,i h indicat$ receiv$ a great lift & /imulus4 ,:at ,c\nt]po9t ,lacks4 ,! lack ( highly p]sonal expression 9 contrapuntal compositions expla9s :y mo/ conc]t-go]s f9d !m less attractive ?an mod]n music4 ,! ,d ,m9or ,toccata & ,fugue or ! ,*romatic ,fantasie & ,fugue by ,ba*1 ev5 9 ! arrangem5ts ( ,tausig & ,liszt1 on ! program ( a pian(orte recital1 are tol]at$ because ( ! mod]n pieces t come lat]4 ,n9e out ( t5 p]sons 9 ! h\se w\ld r omit !m4 ,:y d5y s obvi\s a fact1 especially :5 x is easy en\gh to expla98 ,to foll[ a contrapuntal composition intellig5tly requires a highly tra9$ e>4 ,moreov]1 9 su* a "w z a ,ba* fugue ! individuality ( ! play] is ( less importance ?an 9 mod]n music4 ,yet a virtuoso's individuality is ! v ?+ t di/+ui%es him f o!r virtuosos & attracts ! public to 8 conc]ts1 :ile ^? ( o!r play]s may be poorly att5d$4 ,i firmly believe 9 p]sonality ( ! virtuoso or s+] or or*e/ral conductor1 = 9 x lies ! secret ( individual int]pretation1 ! reason :y ! p]=mance ( "o p]son is fasc9at+ or ?rill+ & t ( ano!r n4 ,mod]n music af=ds ! play] full scope to int]pret x accord+ to 8 own mood & fancy1 to color x ) 8 own p]sonality1 :]eas contrapuntal music exi/s l>gely = itself alone4 ,x is music = music's sake1 n = ! sake ( int]pret+ "s mood1 "s feel+1 or ( pa9t+ 9 tone colors some?+ q outside ( music4 ,! play] ( c\nt]po9t is re/rict$ 9 8 p[] ( expression by ! v =mulas ( ! sci5ce or art ( ! contrapunti/4 ,we may m>vel t ,ba* 0 able to move s freely )9 its re/rict$ =ms4 ,b ,i ?9k x true t x is f> m int]e/+ = a p]son ev5 ( only mod]ate pr(ici5cy z a play] to "w out1 h[ev] awkw>dly1 a ,ba* fugue = himself on ! pian(orte ?an to he> x play$ by "s "o else1 h[ev] great2 =1 *eap & easy z x is to prote/ 9 high-s\nd+ phrases ab\t ! duty ( ! int]pret] to subord9ate himself to ! compos]1 & aga9/ :at ,i am ab\t to say1 ,i nev]!less make bold to affirm t x is ! prov9ce ( ! virtuoso to express himself1 8 own p]sonality1 8 moods1 8 temp]am5t1 8 subjective or ev5 8 subconsci\s self1 ?r\gh music2 & 9 music t is purely contrapuntal !re is a b>ri] to ?is individual p[] ( expression4 ,! ,mission ( ! ,play]4 ,we (t5 he> x said ( ! greate/ contempor>y piani/ t he is a great ,*op9 play]1 b n a great ,ba* play]4 ,he c\ld n be1 & at ! same "t be ! greate/ liv+ virtuoso4 ,x is ! wor%ip] ( tradition1 ! res]v$1 cont95t1 s*ol>ly play]1 ! play] :o conv]ts a ,*op9 nocturne into an icicle & a ,s*ub]t impromptu into a sn[ball1 :o revels 9 c\nt]po9t--! play] :o always is slavi%ly subord9at+ himself to :at he is pleas$ to call ! compos]'s int5tions & =gets t ! truly great virtuoso creates :5 he int]prets4 ,"s times ! virtuoso may g too f> & dep>t too mu* f ! "* ( ! piece he is play+1 subject+ x m ?an is p]missible to 8 tempor>y mood2 b x is bett] = art to err on ! side ( orig9ality1 provid$ x is n biz>re or freaki%1 ?an on ! side ( subs]vi5cy to tradition4 ,:ile ,i h no desire1 9 writ+ z above1 to exalt unduly ! virtuoso1 ! int]pret] ( music1 at ! exp5se ( ! compos]1 ,i mu/ insi/ t ! great play] also is creative1 9 ! s5se t e "t he plays a "w he creates x ov] aga9 f 8 own po9t ( view1 & ?us has at lea/ a %>e 9 its p>5tage4 ,inde$1 x seems m difficult to atta9 exalt$ rank z a virtuoso ?an to ga9 immortality z a compos]4 ,! _w has produc$ two epo*-mak+ virtuosos--,pagan9i on ! viol91 ,liszt on ! piano4 ,)9 ab\t ! same p]iod cov]$ by ! c>e]s ( ^! two !re h be5 half a doz5 or ev5 m compos]s1 ea* ( :om m>ks an epo* 9 "s phase ( ! art4 ,! int]pretive arti/1 says ,h5ry ,g4 ,han*ett 9 8 ,art ( ! ,musician1 des]ves a place no :it b5ea? t ( ! compos]4 ,no two compos]s h influ5c$ musical progress 9 ,am]ica m /rongly ?an h ,anton ,rub9/e9 by 8 play+1 & ,!odore ,?omas1 :o 0 n a compos]4 ,music z a ,sci5ce4 ,b1 to return to ,ba* & ! o!r contrapunti/s1 music owes !m an imm5se debt on ! te*nical side4 ,& "r "h1 s univ]sal are ! d$uctions t c be drawn f ! program ( a pian(orte recital1 x %\ld be po9t$ out t music diff]s f o!r arts 9 hav+ = its basis a pr(\nd & complicat$ sci5ce1 a sci5ce t conc]ns itself ) ! relations ( ! notes ( ! musical scale to ea* o!r4 ,^u ?is sci5ce are bas$ alike ! coon song & ! ,wagn] music-drama4 ,:at is true ( ,tri/an is true also ( ,b$elia4 ,ea* makes its draft ^u ! sci5ce ( music2 ! music-drama1 ( c\rse1 9 a f> great] degree ?an ! song4 ,?is sci5ce has its textbooks ) _! !orems & problems1 l any o!r sci5ce1 & !oretical musicians h produc$ le>n$ & useful works on ! subject :i* ! great mass ( laym51 _m virtuosos1 & inde$ ! av]age pr(essional musician1 may nev] h he>d (1 let alone h read4 ,= a p]son n intuitively pr$ispos$ t[>d ! subject w\ld f9d ! sci5ce ( music z difficult to ma/] z integral calculus2 nor1 9 ord] to appreciate music1 or ev5 to int]pret x1 is x necess>y to be v]s$ 9 ?is sci5ce4 ,a virtuoso c play a *ord ( ! n9?1 ! li/5] c be ?rill$ by ! virtuoso's play+ ( ! *ord ( ! n9?1 )\t ei!r ( !m kn[+ t !re is su* a ?+ z ! *ord ( ! n9?4 ,sci5ce v]sus ,feel+4 ,9 fact1 ! p]son :o is s well v]s$ 9 ! sci5ce ( music t he c m5tally analyze a composition :ile li/5+ to x is apt to be s absorb$ 9 ! m]e process ( te*nical analysis t he misses its e/hetic1 its emotional significance4 ,?us a p]son may be v musical )\t be+ musical at all4 ,he may h pr(\nd k ( music z a sci5ce & rema9 unt\*$ by music z an art1 j z a physici/ may be an au?ority on ! laws ( light & color1 yet /& unmov$ be=e a great pa9t+4 ,) "s p music is all sci5ce1 ) o!rs all art1 & ,i ?9k ! latt] h ! bett] ( x4 ,a musical g5ius is equipp$ bo? ways4 ,! great compos] employs ! sci5ce ( music z an aid 9 giv+ expression to 8 creative impulse4 ,he makes sci5ce ( s]vice to ! cause ( art4 ,o!rwise1 :ile he might produce some?+ t 0 absolutely correct1 x w\ld make no arti/ic appeal :atsoev]4 ,?\s&s ( symphonies h be5 compos$1 p]=m$ & =gott54 ,!y 7 well made1 con/ruct$ ) sci5tific accuracy f beg9n+ to end1 b _h no value z art2 & music is a pr(\nd sci5ce appli$ to ! production ( a great art4 ,! compos]1 !n1 ma/]s ! sci5ce ( music & b5ds x to 8 g5ius4 ,if he is a great g5ius1 he soon w discov] t c]ta9 rules :i* 8 pr$ecessors reg>d$ z h>d & fa/1 z inviolable1 c be violat$ ) impunity4 ,he w discov] new tone comb9ations1 & ?us enri* ! sci5ce & make x s]ve ! purposes ( ! art ) great] effici5cy ?an be=e he came ^u ! sc5e4 ,& always ! compos]s :o h gr[n gray "u ! old sy/em1 ! sy/em ^u :i* ! new g5ius is graft+ 8 new ideas1 & ! !ori/s & critics1 :o are slaves ( tradition1 w ?r[ up _! h&s 9 horror & cry out t he is despoil+ ! art & robb+ x ( all t is sacr$ & beautiful1 :]eas he is add+ to its scope & pot5cy4 ,did n ev5 s broad-m9d$ a compos] z ,s*umann say1 ,! tr\ble ) ,wagn] is t he is n a musician8 ,s f> 0 ,wagn] ahead ( 8 "t6 ,:ile ! great compos] ne>ly always beg9s :]e 8 pr$ecessors left (f1 he is sure to out/rip !m lat] on4 ,ev5 s rugg$ a g5ius z ,bee?ov5 is some:at "u ,moz>t's influ5ce 9 8 fir/ works1 & ,wagn]'s ,ri5zi is di/9ctly ,mey]be]ian4 ,b g5ius soon le>ns to so> ) its own w+s & to look d[n ) indiff]5ce ^u ! little m5 :o are dis*>g+ _! %afts ( envy1 malice & ignorance4 ,t ,e> = ,music4 ,& :ile ,i am on ! subject ( ! sci5tific musician v]sus ! music lov]1 ! p$ant v]sus ! innovator1 ,i might z well ref] to ^? p :o h 9 a rem>kable degree :at is popul>ly kn[n z an e> = music1 & :o are able to rememb] & to play by e> any?+ !y he> play$ or sung1 ev5 if x is = ! fir/ "t4 ,?is e> = music1 aga91 is some?+ q diff]5t f sci5tific k ( music or f ! emotional s5sitiv5ess :i* makes ! music-lov]4 ,x is a purely physical end[m5t1 & may--9 fact1 usually does--exi/ )\t a correspond+ degree ( real feel+ = music4 ,x is1 ( c\rse1 a highly valuable adjunct to a g5u9e musical g5ius l a ,moz>t or a ,s*ub]t & to a g5u9e virtuoso4 ,x is relat$ ( ,von ,buel[ t 8 e> = music & 8 memory 7 s prodigi\s t once1 :ile travel+ 9 ! c>s1 he read ov] ! pr9t$ pages ( a new composition1 & on arriv+ at 8 de/9ation1 play$ x1 f memory1 at 8 conc]t4 ,william ,mason1 :o /udi$ ) ,liszt1 witness$ 8 ma/] p]=m a simil> feat4 ,! av]age untra9$ p]son ) a musical e>1 h[ev]1 in/ead ( be+ a g5ius1 is apt to become a nuisance1 play+ all k9ds ( *eap music 9 & out ( season--a sort ( p]ipatetic pianola1 )\t ! advantage ( be+ "u control4 ,su* p]sons1 moreov]1 usually are born )\t a s(t p$al4 ,ba* & ! ,wea!r ,bureau4 ,?is digression1 :i* ,i h made 9 ord] to discuss ! diff]5ce betwe5 music z a sci5ce & music z an art1 a di/9ction :i*1 ,i h po9t$ out1 (t5 is s m>k$ t a p]son may be ?or\ghly equipp$ on ! sci5tific side ( music )\t be+ s5sitive to its beauty z an art1 seem$ to me necess>y at ?is /age4 ,i am rem9d$ by x ( ! di/9ction :i* ,edmund ,cl>5ce ,/$man1 9 8 ,nature & ,elem5ts ( ,poetry1 s wittily draws betwe5 ! indications ( a /orm z describ$ by a poet & by ! (ficial progno/ications ( ! ,wea!r ,bureau4 ,mr4 ,/$man quotes two /anzas3 ,:5 desc5ds on ! ,atlantic ! gigantic ,/orm-w9d ( ! ,equ9ox1 ,l&w>d 9 8 wra? he sc\rges ! toil+ surges1 ,lad5 ) seawe$ f ! rocks4 ,& ?is /anza by a lat] balladi/3 ,! ,ea/ ,w9d ga!r$1 all unkn[n1 ,a ?ick sea-cl\d 8 c\rse be=e2 ,he left by night ! froz5 zone1 ,& smote ! cliffs ( ,labrador2 ,he la%$ ! coa/s on ei!r h&1 ,& betwixt ! ,cape & ,newf\ndl&1 ,into ! bay 8 armies p\r4 ,all ?is imp]sonation & fancy is translat$ by ! ,wea!r ,bureau into some?+ l ! foll[+3 ,an area ( extreme l[ pressure is rapidly mov+ up ! ,atlantic ,coa/1 ) w9d & ra94 ,/orm-c5t] n[ (f ,*>le/on1 ,s4 ,c4 ,w9d ,n4 ,e42 velocity1 #ed4 ,b>omet]1 #bi4f4 ,! di/urbance w rea* ,new ,york on ,w$nesday1 & proce$ ea/w>d to ! ,banks & ,bay ( ,/4 ,lawr5ce4 ,dang] signals ord]$ = all ,nor? ,atlantic ports4 ,f> be x f me to imply t contrapuntal music 9 g5]al or ,ba* 9 p>ticul> repres5ts ! ,wea!r ,bureau4 ,none ! less is x true t ,ba* appeals m /rongly to ! sci5tific musician ?an to ! music-lov] :o seeks 9 music a second>y mean+--love1 passion1 grief2 ! mood awak5$ by ! contemplation ( a =e/ l&scape ) its murmur+ foliage1 a b\ndless prairie1 or ! unquiet sea4 ,! te*nical indebt$ness ( mod]n music to ,ba* is s imm5se1 & ! arti/ic probity ( ! man himself 0 s wond]ful1 = he work$ calmly on1 9 spite ( :at 0 worse ?an opposition--neglect--t ,i ?9k ! t5d5cy on ! "p ( ,ba* en?usia/s1 :ile n ov]rat+ ! importance ( ! influ5ce he has _h dur+ ! pa/ fifty ye>s or m1 is to und]rate o!rs z comp>$ ) him4 ,:5 critics decl>e t "o virtuoso or ano!r is n a great ,ba* play]1 are !y n ignor+ :at is a simple fact--t no play] c make ! same appeal ?r\gh ,ba* t x is possible = him to make ?r\gh mod]n music1 & t1 z a rule1 :5 a virtuoso1 h[ev] good a musician he may be1 places ,ba* on 8 program1 he does s n f pr$ilection1 b z a tribute to "o ( ! greate/ names 9 musical hi/ory8 ,x seems to me t ! extreme ,ba* en?usia/s c be divid$ into two classes--musicians :o are able to appreciate :at he did = music on its te*nical side1 & p :o want to create ! impression t !y "k m ?an !y really d4 ,! ,bacon1 ,n ! ,%akespe>e1 ( ,music4 ,ba*'s greate/ importance to music lies 9 8 hav+ treat$ x 9 ! ab/ract & = itself alone1 s t :5 he p5n$ a "w he did ?is n to br+ home to ! li/5] ! significance ( a c]ta9 mood or situation1 b f pure delight 9 foll[+ out a musical problem to its mo/ extreme developm5t4 ,algebra makes mighty int]e/+ /udy1 b furni%es r a poor subject = dramatic read+4 ,?is simile mu/1 ( c\rse1 be tak5 ) a gra9 ( salt1 & m]ely z illu/rat+ 9 a g5]al way my cont5tion t ,ba*'s great s]vice to music 0 te*nical & intellectual4 ,he 0 ! ,bacon1 n ! ,%akespe>e1 ( music1 & ! contrapuntal /ructure t he re>$ is to ! art :at ! ,baconian !orem is to logic4 ,we c imag9e ! roam] 9 ! field ( high] ma!matics sudd5ly becom+ excit$ z he sees ! end ( ! pa? lead+ to ! solution ( "s complicat$ problem 9 full view4 ,?us !re may be mom5ts :5 ev5 ! cube root becomes emotional1 ! log>i?mic !ory a dissipation1 & diff]5tial calculus an orgy4 ,s1 too1 ,ba* put an en?usiasm into 8 "w t (t5 ?reat5s to sweep ! /ud5t (f 8 intellectuals & make him reg>d a fugue z a sci5tifically con/ruct$ fairyl&4 ,moreov]1 !re are ,ba* pieces 9 :i* ! c\nt]po9t supports ! pure/ k9d ( melody1 l ! air = ! ,g /r+ :i* ,?omas arrang$ = 8 or*e/ra ) all ! /r+s1 save ! d\ble basses1 9 unison1 & play$ ) an effect t nev] fail$ to secure a repeat & sometimes a d\ble encore4 ,:at ,wagn] ,le>n$ f ,ba*4 ,if we be> 9 m9d t c\nt]po9t is ! arti/ic comb9ation ( sev]al !mes1 ea* ( equal or ne>ly equal importance1 & t ,ba* 0 ! greate/ ma/] ( ! contrapuntal s*ool & =ms its climax1 we c1 ) a little ?\ght1 appreciate :at 8 s]vice has be5 to mod]n music4 ,:5 ,wagn] devis$ 8 sy/em ( lead+ motives x 0 n = ! purpose ( employ+ !m s+ly1 l labels tack$ onto ea* "*1 ?+ or symbol 9 ! drama1 b ( comb9+ !m1 weld+ !m toge!r1 :5 occasion arose1 9 ord] to give musical significance & expression to ea* & e dramatic situation z ! /ory unfold$ itself4 ,a %9+ example ( ?is is f\nd 9 t wond]ful la/ sc5e ( ,die ,walku]e1 ! s-call$ ,magic ,fire ,sc5e4 ,wotan has said f>ewell to ,bru5nhilde2 has ?r[n h] into a pr(\nd slumb] ^u ! rock2 has surr\nd$ h] ) a circle ( magic flame :i* none b a h]o may p5etrate to awak5 & w9 h]4 ,h[ is ?is sc5e treat$ 9 ! score8 ,9 ! high] regi/] ( ! or*e/ra crackles & sp>kles ! ,magic ,fire ,motive1 ! ,slumb] ,motive g5tly ris+ & fall+ ) ! flames2 :ile ! sup]b ,siegfri$ ,motive 7signify+ t ! yet unborn ,siegfri$ is ! h]o de/9$ to break ?r\gh ! fi]y circle7 res\nds 9 ! brass1 & !re also is a sugge/ion ( ! t5d] /ra9s ) :i* ,wotan bade ,bru5nhilde f>ewell4 ,! weld+ toge!r ( ^! f\r motives into "o glori\s :ole ( ! highe/ dramatic significance is ,wagn]ian c\nt]po9t--sci5ce employ$ 9 ! s]vice ( art & ) ?rill+ effect4 ,ano!r passage f ,wagn]1 ! clos+ episode 9 ! ,mei/]s+] ,vorspiel1 (t5 is quot$ to %[ ,wagn]'s skill 9 ! use ( c\nt]po9t1 al?\gh he employs x s spontane\sly t few p /op to consid] h[ sci5tific 8 musical /ructure is4 ,w4 ,j4 ,h5d]son1 9 8 capital book1 ,! ,or*e/ra & ,or*e/ral ,music1 relates t on "o occasion a pr(essional musician 0 engag$ 9 a discussion ( ,wagn] 9 ! corridor ( ! ,metropolitan ,op]a ,h\se1 :ile inside ! or*e/ra 0 play+ ?is ,mei/]s+] ,vorspiel4 ,x is a pity1 said ?is wise man1 9 a condesc5d+ mann]1 b ,wagn] kn[s absolutely no?+ ab\t c\nt]po9t4 ,at t v in/ant ! or*e/ra 0 s++ five diff]5t melodies at once2 &1 z ,anton ,seidl 0 ! conductor1 !y 7 all audible4 ,wagn] scores1 9 fact1 teem ) c\nt]po9t1 b c\nt]po9t t palpitates1 t ?rills ) emotion4 ,note t ,mr4 ,h5d]son speaks ( melodies4 ,wagn]'s lead+ motives are melodies1 sometimes v brief1 b always expressive1 & n1 l ! !mes ( ! old contrapunti/s1 conceiv$ ma9ly = ! sake ( be+ comb9$ sci5tifically ) o!r !mes equally adaptable to t purpose4 ,c\nt]po9t may be1 & usually is1 some?+ v dry & =mal4 ,b f ! crucible ( ! ma/] magician1 ,ri*>d ,wagn]1 x fl[s a gl[+1 ?robb+1 pulsat+ /ream ( mo/ preci\s metal4 ,! ,language ( an ,epo*4 ,9 ! diff]5ce betwe5 ! c\nt]po9t ( ,ba* & ! c\nt]po9t ( ,wagn] lies ! diff]5ce betwe5 two epo*s sep>at$ by a long p]iod ( "t4 ,) ,ba* c\nt]po9t 0 ev]y?+2 ) ,wagn] m]ely an incid5t4 ,x w help u to a bett] und]/&+ ( music if we be> 9 m9d t ! two great compos]s ( ea* epo* spoke 9 ! music ( t epo*4 ,?us ,ba* spoke 9 ! language ( c\nt]po9t4 ,8 !mes1 h[ev] greatly !y may v>y among !mselves1 all be> ! /amp ( motives devis$ = ! purpose ( ent]+ into =mal comb9ations & ( be+ develop$ accord+ to ! /r+5t rules ( c\nt]po9t4 ,bee?ov5's are m individual1 m expressive ( moods & emotions4 ,yet ab\t !m1 too1 !re is some?+ =mal4 ,!y1 too1 are devis$ to be treat$ accord+ to c]ta9 rules--to be mold$ into sonatas4 ,b ) ,wagn] we feel t music has ?r[n (f ! %ackles ( arbitr>y =m1 ( dry rule & rote4 ,8 motives sugge/ absolute fre$om ( expression & developm5t1 ?r\gh previ\sly undream$-( weal? ( h>mony & contrapuntal comb9ations :i* are m]e incid5ts1 n ! *ief purpose ( _! be+4 ,ea* repres5ts "s p]son1 impulse or symbol 9 a drama2 repres5ts !m ) su* eloqu5ce & p[] t1 once we "k = :at !y /&1 we ne$ b he> !m aga9 or recall !m to memory to h ! correspond+ episode 9 ! music-drama 9 :i* !y occur br\ght vividly be=e our eyes4 ,ba*'s language 0 ! language ( ! fugue2 ,bee?ov5's ! language ( ! sonata4 ,fugue & sonata are musical =ms4 ,wagn] spoke ! language ( no =m4 ,8 language is t ( ! free1 pla/ic1 unfett]$ lead+ motive--! language ( lib]at$ music1 ( :i* he himself 0 ! lib]ator6 ,:e!r ,wagn] w\ld h devis$ 8 sy/em ( lead+ motives )\t ! wond]ful /ructure ( c\nt]po9t left by ,ba*2 :e!r ,ba*'s c\nt]po9t1 8 comb9ation ( !mes1 sugge/$ ! sy/em ( lead+ motives to ! greate/ ma/] ( !m all1 we probably nev] %all "k4 ,! sy/em1 9 its complet5ess1 d\btless is ,wagn]'s own2 b :5 he came to put x into practical effect he f\nd ! ri* h]itage left by ,ba* ready to h&4 ,"o ( ,wagn]'s in/ructors 9 musical !ory1 & ! "o f ^: tea*+ he himself decl>es he le>n$ mo/1 0 ,!odor ,we9lig1 "o ( ,ba*'s successors z ,cantor ( ! ,?omass*ule at ,leipsic4 ,wagn] quotes him z hav+ said3 ,y may nev] f9d x necess>y to compose a fugue1 b ! ability to d x (t5 may /& y 9 good /ead4 ,& ! ,cantor set him ex]cises 9 all v>ieties ( c\nt]po9t4 ,!re ?us is pres5t$ ! ph5om5on ( a compos] :o = ne>ly a c5tury aft] 8 dea? _h little or no influ5ce on ! c\rse ( music1 sudd5ly becom+ a pot5t =ce 9 its mo/ mod]n developm5t4 ,ba* 9 ! ,recital ,hall4 ,ba* is s supreme 9 8 own l9e t contrapuntal music1 s f> z ! pian(orte is conc]n$1 may be dismiss$ ) him4 ,ha5del1 too1 x is true1 0 a ma/] ( ! contrapuntal s*ool1 b he belongs to ! *apt] on oratorio4 ,ba*'s pian(orte works 9 small] =m are ! ,two-,"p ,inv5tions already m5tion$2 ! ,?ree-,"p ,inv5tions1 :i* g a /ep f>!r 9 contrapuntal treatm5t1 & ! ,p>titas1 ! six ,fr5* ,suites & ! six ,engli% ,suites4 ,^! p>titas & suites are ! mo/ graceful & *>m+ effloresc5ce ( ! contrapuntal s*ool1 & mu* c\ld be accompli%$ t[>d mak+ ,ba* a popul> compos] if !y figur$ m frequ5tly on recital programs4 ,!y are made up ( ! dance =ms ( ! day--allem&es1 c\rants1 b\rrees1 s>ab&es1 m9uets1 gavottes1 gigues1 ) airs ?r[n 9 = good measure2 ! p>titas & ,engli% suites furni%$ ) m elaborate introductions1 :ile ! ,fr5* suites beg9 ) allem&es4 ,*e]ful & ev5 frisky z "s ( ! dance pieces 9 ^! compositions are1 x mu/ n be suppos$ t !y 7 int5d$ to be danc$ to :5 contrapuntally treat$--no m ?an ,*op9 int5d$ t p %\ld glide ?r\gh a ballroom to ! music ( 8 waltzes4 ,besides sonatas = pian(orte ) "o or m o!r in/rum5ts1 among !m ! six ,sonatas = ,pian(orte & ,viol9 7! t]m sonata z employ$ "h mu/ n be confus$ ) ! classical sonata =m z develop$ by ,haydn1 ,moz>t & ,bee?ov571 ,ba* compos$ conc]tos = f "o to f\r pian(ortes4 ,( ^! latt] ! "o be/ kn[n 9 ?is c\ntry is ! s-call$ ,triple ,conc]to1 = ?ree pian(ortes ) accompanim5t ( /r+ qu>tet1 :i* c at w be increas$ to a /r+ or*e/ra4 ,9 #ahgc1 dur+ ,rub9/e9's t\r1 ,i he>d x play$ 9 ,new ,york1 "u ,!odore ,?omas's direction1 by ,rub9/e91 ,william ,mason & ,seba/ian ,ba* ,mills1 & ?ree ye>s lat] by ,mme4 ,annette ,essip(f1 ,mr4 ,mason & ,mr4 ,boscovitz4 ,mason1 :5 he 0 /udy+ "u ,liszt 9 ,weim> 9 #ahed1 _h p]=m$ x ) two fell[-pupils1 & ,liszt _h be5 v p>ticul> 9 reg>d to ! mann] 9 :i* !y play$ ! _m embelli%m5ts 7agrem5ts7 :i* 7 us$ 9 ,ba*'s "t4 ,lat]1 ,mason f\nd t :5ev] ?ree piani/s came toge!r = ! purpose ( play+ ?is conc]to !y 7 c]ta9 to disagree reg>d+ ! agreem5ts1 & usually wa/$ mu* "t 9 discuss+ !m1 especially ! mord5t4 ,rub9/e9 & ! ,triple ,conc]to4 ,accord+ly1 :5 ,mason play$ ! ,triple ,conc]to ) ,rub9/e9 & ,mills1 he came to ! rehe>sal arm$ ) a book by ,fri$ri* ,wilhelm ,m>burg1 publi%$ 9 ,b]l9 9 #agfe1 & giv+ writt5 examples ( all ! agrem5ts4 ,i told ,rub9/e9 ab\t my anci5t au?ority1 says ,mr4 ,mason 9 8 ent]ta9+ ,memories ( a ,musical ,life1 add+ t we %\ld be sp>$ ! t$i\sness ( a discussion z to ! mann] ( play+4 ',let me see ! old book1' said ,rub9/e94 ,runn+ ov] ! leaves he came to ! illu/rations ( ! mord5t4 ,! mom5t 8 eyes fell ^u !m he exclaim$3 ',all wrong2 "h is ! way ,i play x6' ,& t end$ ! usefulness ( ! old book = t p>ticul> occasion1 ! o!r two piani/s adopt+1 )\t comm5t1 ,rub9/e9's me?od1 :i* ,mr4 ,mason intimates 0 incorrect4 ,:51 at ! rehe>sal ) ,essip(f1 ! mord5t came up = discussion %e exclaim$3 ',i _c play ^! ?+s2 %[ me h[ !y are done4' ,aft] repeat$ trials1 h[ev]1 records ,mr4 ,mason1 %e fail$ to get ! knack ( play+ !m1 z inde$ s _m piani/s d2 s at ! rehe>sal %e omitt$ !m & left _! p]=mance to ,boscovitz & me4 ,! ,well-,temp]$ ,clavi*ord4 ,ba*'s monum5tal "w = pian(orte1 h[ev]1 is ,! ,well-,temp]$ ,clavi*ord1 consi/+ ( =ty-eight preludes & fugues 9 all keys4 ,i f9d mu* preval5t ignorance among amateurs reg>d+ ! mean+ ( well-temp]$ z us$ 9 ?is title4 ,i h he>d p expla9 x by say+ t :5 a piani/ _h ma/]$ ! book he 0 temp]$ l /eel & ready = any difficulties t o!r music might pres5t6 ,i ev5 h he>d a rotund & affable p]son say t ,! ,well-,temp]$ ,clavi*ord 0 s entitl$ because :5 y li/5$ to its preludes & fugues x smoo!d out y\r temp] & made y feel good-natur$6 ,9 po9t ( fact1 ! ^w is difficult to expla9 9 unte*nical language4 ,x relates1 h[ev]1 to ,ba*'s me?od ( tun+ 8 clavi*ord--ano!r boon :i* he conf]r$ ^u music4 ,9 g5]al1 ! sy/em may be expla9$ by ! /atem5t t c]ta9 tone int]vals1 :i* !oretically are pure1 practically result 9 h>monic discrepancies1 :i* ,ba*'s temp]$ sy/em correct$4 ,9 o!r words1 slight & practically imp]ceptible inaccuracies are introduc$ 9 ! tun+ 9 ord] to c\nt]balance ! great] faults :i* result :5 tun+ is absolutely correct f a !oretical po9t ( view2 j z1 9 navigat+ ! high nor!rn wat]s1 y are oblig$ to make all[ance = v>iations ( ! compass4 ,! sy/em 0 n actually ! inv5tion ( ,ba*1 b he did s mu* to promote its adoption t x is associat$ ) 8 "n4 ,be=e x 0 adopt$ x 0 impossible to employ all ! major & m9or keys on clavi*ords & h>psi*ords1 & on ! pian(ortes1 j beg9n+ to come into use4 ,x became possible "u ! temp]$ sy/em ( tun+1 & 0 illu/rat$ by ,ba* 9 ,! ,well-,temp]$ ,clavi*ord1 ea* major & m9or key be+ repres5t$ by a prelude & fugue4 ,besides ! sy/em ( tun+ 9 equal temp]am5t1 ,ba* mod]niz$ ! te*nique ( f+]+ by introduc+ ! fre] & m frequ5t employm5t ( ! hi!rto neglect$ ?umb & little f+]4 ,! s]vices ( ?is great man to music1 !re=e1 7 ?reefold4 ,he left u 8 teem+ c\nt]po9t1 ^u :i* mod]n music draws s freely2 he promot$ ! sy/em ( tun+ 9 equal temp]am5t2 & he laid ! f\ndation ( mod]n pian(orte te*nique1 & s ( mod]n virtuosity4 ,a ,k+'s ,tribute to ,ba*4 ,besides be+ a great compos]1 ,ba*'s traits z a man 7 mo/ admirable4 ,he 0 uncompromis+ 9 8 convictions1 /urdy1 hone/ & upright4 ,8 fix$ness ( purpose is %[n by an anecdote ( 8 boyhood4 ,9 8 t5? ye> he lo/ 8 p>5ts & w5t to live ) an eld] bro!r1 :o 0 s jeal\s ( 8 sup]ior tal5ts t he refus$ him ! loan ( a manuscript volume ( music by compos]s ( ! day4 ,obta9+ possession ( x )\t 8 bro!r's k1 ,ba* secretly copi$ x at night by moonlight1 ! task cov]+ some?+ l six mon?s4 ,8 rew>d 0 to h x tak5 away by 8 bro!r1 :o accid5tally discov]$ him play+ f x4 ,=tunately1 ?is bro!r di$ soon aft]w>d1 & ,ba* recov]$ 8 treasure4 ,:ile x is true t ,ba* rema9$ unappreciat$ by ! great mass ( 8 contempor>ies1 !re 7 exceptions1 a notable "o be+ ! music-lov+ k+1 ,fr$]ick ! ,great ( ,prussia1 ^: s]vice ! compos]'s second son1 ,philipp ,emanuel ,ba*1 ent]$ 9 #agdf4 ,at ! k+'s e>ne/ urg+1 ,philipp ,emanuel induc$ 8 fa!r to visit ,potsdam ! foll[+ ye>4 ,! k+1 :o _h arrang$ a conc]t at ! palace1 0 ab\t to beg9 play+ on ! flute1 :5 an (fic] ent]$ & h&$ him a li/ ( ! /rang]s :o _h arriv$ at ,potsdam4 ,glanc+ ov] x1 ,fr$]ick discov]$ ,ba*'s "n4 ,g5tlem51 he exclaim$1 old ,ba* is "h6 ,& no?+ w\ld d save t ! ma/] mu/ be br\ght imm$iately into ! royal pres5ce1 be=e he ev5 _h "t to d(f 8 travel+ clo!s4 ,! k+ _h pur*as$ sev]al ( ! pian(ortes rec5tly con/ruct$ by ,gottfri$ ,silb]mann & _h !m di/ribut$ ?r\gh\t ! palace4 ,ba* & ! assemblage w5t f room to room1 ! compos] play+ & improvis+ on ! diff]5t in/rum5ts4 ,f9ally he ask$ ! k+ to set him a fugue !me1 & on ?is he extemporiz$ 9 su* ma/]ly fa%ion t all :o he>d him1 ! k+ includ$1 broke out into r\nds ( applause4 ,on 8 return to ,leipsic1 ,ba* d$icat$ to ,fr$]ick ! ,great a "w :i* he entitl$ ,! ,musical ,sacrifice 7or (f]+71 :i* he bas$ ^u ! fugue !me ! k+ _h giv5 him4 ,no o!r in/ance ( musical h]$ity is comp>able ) t af=d$ by ! ,ba* family4 ,dr4 ,!odore ,bak]1 9 8 ,biographical ,diction>y ( ,musicians1 gives a li/ ( no less ?an tw5ty ,ba*s1 all ( ! same l9e1 :om he deems wor?y ( m5tion1 & :o cov]$ a p]iod rang+ f #afjd to #ahde1 :5 ! great ,ba*'s gr&son & la/ male desc5dant1 ,wilhelm ,fri$ri* ,ern/ ,ba*1 di$ 9 ,b]l94 ,?us = two hundr$ & =ty-"o ye>s ! ,ba* family 0 pr(essionally active 9 music4 ,,iii ,,f ,,fugue ,,to ,,sonata ,if a pian(orte recital :i* beg9s ) a ,ba* fugue cont9ues ) a ,bee?ov5 sonata1 x does n require a v discrim9at+ e> to note ! diff]5ce betwe5 ! two4 ,! ,bee?ov5 sonata is 9 a /yle s entirely di/9ct f t ( ! fugue1 & s\nds s :olly unlike x1 t x seems z if ,ba* _h ex]t$ no influ5ce :atsoev] ^u ! greate/ ma/] ( ! p]iod t foll[$ 8 dea?4 ,al?\gh ,haydn & ,moz>t 7 ne>] ,ba* 9 po9t ( "t ?an ,bee?ov5 01 a sonata by ei!r ( !m1 if x *anc$ to be on ! program1 w\ld %[ ! same diff]5ce 9 /yle1 ! same radical dep>ture f ! works ( ! ma/] ( c\nt]po9t1 z ! ,bee?ov5 sonata4 ,! "q naturally sugge/s itself1 did ,ba*'s influ5ce cease ) 8 dea?8 ,& ! fact t ?is "q calls = an answ] & t ?is answ] leads to a g5]al consid]ation ( ! int]im betwe5 ,ba* & ,bee?ov51 aga9 %[s h[ broad 9 its scope z an in/rum5t is ! pian(orte & h[ compreh5sive 9 its application to music z a :ole is ! music ( t in/rum5t4 ,two works on a recital program furni% a legitimate basis = a discussion ( two important p]iods 9 ! developm5t ( music6 ,:o w\ld h ?\ght !re 0 s mu* to a pian(orte recital8 ,x w\ld h be5 an em95tly p>donable mi/ake = any intellig5t musician to h fall5 into1 9 ! ?ird qu>t] ( ! eighte5? c5tury1 if he _h conclud$ t ,johann ,seba/ian ,ba*'s c>e] 0 a failure1 & t 8 influ5ce ^u ! progress ( 8 art am\nt$ to ! m9imum conceivable4 ,inde$1 ! :ole c\rse ( musical hi/ory 9 e bran* w5t /raight out ( ! sph]e ( 8 activity = a long :ile2 8 "w ceas$ to h any significance to ! g5]ation :i* succe$$ him1 & 8 eloqu5ce fell ^u deaf e>s4 ,a few ( 8 pupils w5t on writ+ music ( ! same type z 8 9 a half-he>t$ way1 & 8 own mo/ di/+ui%$ son1 ,philipp ,emanuel1 adopt$ at lea/ ! arti/ic mann] ( work+ up 8 details & mak+ ! int]nal organization ( 8 works alive ) figure & rhy?m4 ,b ev5 he1 ! s9c]e/ compos] ( ! foll[+ g5]ation1 0 infect$ by ! complac5t1 polite sup]ficiality ( 8 "t2 & he 0 =c$1 9 accept+ ! h>monic pr9ciple ( work+ 9 its ,italian phase1 to take ) x "s ( ! empty =mulas & conv5tional tricks ( spee* :i* _h become "p ( its be+1 & :i* sometimes seem to belie ! g5u95ess ( 8 utt]ances & put him some:at out ( t\* ) 8 :ole-he>t$ fa!r4 ,?is passage f "o ( ! mo/ admirably ?\ght-out books on music ,i "k1 ,sir ,hub]t ,p>ry's ,evolution ( ! ,art ( ,music1 is no exagg]ation4 ,= _m ye>s aft] ,ba*'s dea?1 = ne>ly a c5tury 9 fact1 8 influ5ce 0 b little felt4 ,& yet s aptly does ! developm5t ( art adju/ itself to human ne$s & aspirations1 ! v neglect into :i* ,ba* fell turn$ music into c]ta9 *annels f :i* x d]iv$ ! great] fre$om ( expression ess5tial to its progress & gave x ! t+e ( romanticism :i* is ! ess5ce ( mod]n music4 ,! greatness ( ,johann ,seba/ian ,ba*1 on ! te*nical side at lea/1 n[ is s univ]sally ackn[l$g$1 & pr(essional musicians und]/& s well :at _! art owes to him1 we are apt to ?9k ( him z ! only musician ( 8 day1 :]eas 8 significance 0 b little appreciat$ by 8 contempor>ies4 ,!re 71 9 fact1 o!r compos]s actively work+ on o!r l9es & turn+ music 9 ! direction x 0 de/9$ to foll[ imm$iately aft] ,ba*'s dea?--& = its own ultimate good1 be x obs]v$4 ,! simple fact is1 t pure c\nt]po9t culm9at$ 9 ,ba*4 ,:at he accompli%$ 0 s /up5d\s t 8 successors c\ld n keep up ) him4 ,!y became exhau/$ be=e !y ev5 7 prep>$ to beg9 :]e he left (f4 ,& yet ! reaction f ,ba* 01 z ,i h indicat$1 absolutely necess>y to ! fur!r progress ( music4 ,! s*eme ( musical developm5t :i* ! read] %\ld be> 9 m9d if he desires to und]/& music1 & to arrive at t und]/&+ ) "s k9d ( sy/em 9 8 progress1 0 briefly z foll[s3 ,?ree ,p]iods ( ,musical ,developm5t4 ,fir/ we h c\nt]po9t1 ! weld+ toge!r ( sev]al !mes ea* ( equal importance4 ,?is /yle ( composition culm9at$ 9 ,ba*4 ,its mo/ elaborate =m ( expression 0 ! fugue2 b x also employ$ ! canon & impress$ into its s]vice c]ta9 m9or =ms l ! allem&e1 c\rant1 *aconne1 gavotte1 s>ab&1 gigue1 & m9uet4 ,next1 aft] ,ba* music began to develop accord+ to ! h>monic sy/em1 or1 if ,i may be p]mitt$ = ! sake ( cl>ity to use an expression :i* te*nically is incorrect1 accord+ to ! melodic sy/em4 ,t is1 in/ead ( comb9+ sev]al !mes1 compos]s took "o !me or melody & support$ x ) an accompanim5t s t ! melody /ood out 9 cle> relief4 ,?is fir/ decid$ melodic developm5t cov]s ! classical p]iod1 ! p]iod aft] ,ba* to ,bee?ov51 & its highe/ =m ( expression 0 ! sonata1 :i* 9 ! or*e/ra became ! symphony4 ,! romantic p]iod comes aft] ,bee?ov54 ,?is1 to *>act]ize x by ! readie/ means1 by some?+ ext]nal1 some?+ ! eye c see1 is ! s+le piece p]iod1 ! p]iod 9 :i* ! impromptu ( ,s*ub]t1 ! song )\t words ( ,m5delssohn1 ! nocturne ( ,*op91 ! novelette ( ,s*umann1 takes ! place ( ! sonata1 :i* consi/s ( a gr\p ( pieces or movem5ts4 ,compos]s beg9 to f9d a too exact+ insi/5ce ^u correctness ( =m irritat+4 ,expression becomes ( m importance ?an =m1 :i* is promptly violat$ if x int]f]es ) ! compos]'s tr5d ( ?\ght or feel+4 ,pieces are writt5 9 c]ta9 moods1 & _! melody is develop$ s z to foll[ & give full expression to ! mood 9 :i* x is conceiv$4 ,new h>monies are fe>lessly invok$ = ! same purpose4 ,ev]y?+ c5tres 9 ! idea t music exi/s n z an accessory to =m1 b = ! free expression ( emotion4 ,9 8 useful & h&y ,diction>y ( ,musical ,t]ms1 ,!odore ,bak] def9es a nocturne z a title = a piano piece ( a dreamily romantic or s5tim5tal "*1 b lack+ a di/9ctive =m4 ,:5 we see ! title ,sonata ov] a composition we ?9k ( =m4 ,:5 we see ! title ,nocturne we ?9k ( mood1 n mann]4 ,! title ar\ses )9 u1 by anticipation1 ! v feel+1 ! v mood1 ! v emotional condition :i* ! compos] is seek+ to express4 ,! =m 9 :i* he seeks to express x is :olly a second>y matt]4 ,a composition is a sonata because x foll[s a c]ta9 =mal developm5t4 ,x is a nocturne because x is dreamily romantic or s5tim5tal4 ,9 no bett] way1 p]haps1 c\ld ! diff]5ce betwe5 ! classical p]iod ( music & ! romantic p]iod :i* set 9 aft] ,bee?ov5 be expla9$4 ,! romantici/ is no m hamp]$ by =m ?an ! writ] ( poetry or fiction is by facts4 ,=m dom9ates feel+ 9 classical music1 feel+ dom9ates =m 9 romantic music4 ,we /ill are &1 happily1 ev] %all rema9 9 ! romantic p]iod4 ,! greate/ ( all romantici/s &1 up to ! pres5t "t1 ! greate/ ( all compos]s is ,ri*>d ,wagn]1 ^: g5ius w be appreciat$ m & m z ye>s g by until1 z may be ! case1 a /ill great] "o w arise2 al?\gh z dramatic lit]ature culm9at$ 9 ,%akespe>e1 s music may h f\nd its greate/ ma/] = all "t 9 ,wagn]4 ,wagn]1 ( c\rse1 0 n a compos] = ! pian(orte1 b :5 he rea*$ back & to ! full] h>mony inh]it$ f ,bee?ov5 add$ ! c\nt]po9t ( ,ba*1 ?us comb9+ ! two great sy/ems ( composition1 he indicat$ ! only me?od ( progress possible = music ( all k9ds4 ,rise ( ! ,melodic ,s*ool4 ,x mu/ n be suppos$ t ! melodic s*ool :i* came 9 aft] ,ba* & :i*1 s f> z ! classical =m ( ! sonata is conc]n$1 culm9at$ 9 ,bee?ov51 0 ! mu%room gr[? ( a night4 ,s mu* has be5 said ( ,ba* t a p]son unfamili> ) ! hi/ory ( music might draw ! errone\s conclusion t ,ba* 0 ! only compos] wor? m5tion+ be=e ! classical p]iod & ,g]many ! only c\ntry 9 :i* music _h fl\ri%$4 ,on ! contr>y1 ,ba* 0 ! climax ( a s*ool to :i* sev]al c\ntries _h ea* contribut$ its %>e1 p>tly vocal1 p>tly in/rum5tal4 ,pale/r9a's "n naturally comes to m9d z repres5tative ( ! e>ly p]iod ( ,italian *ur* music2 !re also 0 ! ,belgian ,orpheus1 ,orl&us ,lassus 7or ,lasso71 ! greate/ compos] ( ! ,flemi% s*ool2 & ,engl& _h its ,gibbons & o!r madrigal compos]s4 ,_! music 0 vocal & requires to be consid]$ m ?or\ghly "u ! head ( vocal music1 b x also 0 contrapuntal & play$ its "p 9 ! g5]al developm5t ( ! art be=e ,ba* came ^u ! sc5e4 ,( c\rse1 !re also 0 in/rum5tal music 9 c\nt]po9t be=e ,ba*'s day4 ,!re is ,que5 ,elizabe?'s ,virg9al ,book1 a manuscript collection ( music made ei!r dur+ h] reign or %ortly aft]w>d & conta9+ pieces = ! virg9al by ,tallis1 ,bird1 ,giles1 ,dr4 ,john ,bull & o!rs1 includ+ also ! madrigali/1 ,gibbons4 ,! ,engli%man1 ,h5ry ,purcell 7#afeh-afie72 ! ,fr5*man1 ,francois ,c\p]9 7#affh-agcc71 :o wrote a h>psi*ord me?od2 ! ,g]mans1 ,hans ,leo von ,hasl] 7#aefd-afab7 & ,frob]g]2 & ! ,italian1 ,frescobaldi--^! 7 "s among _m compos]s ( c\nt]po9t m or less not$ 9 _! day4 ,ba*1 h[ev]1 br\ght ! art ( c\nt]po9t to p]fection1 s t1 s f> z x is conc]n$1 he nei!r requir$ nor ev5 s mu* z left room = a successor4 ,x may n be p]t95t to ! argum5t1 yet x may well be que/ion$ :e!r1 _h ! classical trio1 ,haydn1 ,moz>t1 & ,bee?ov51 endeavor$ to c>ry on ! contrapuntal s*ool1 !y w\ld n1 9 spite ( _! g5ius1 h relegat$ music to a m primitive /ate ?an x occupi$ :5 ,ba* di$4 ,x seems a =tunate circum/ance to me t ,ba*'s son appe>s to h realiz$ 8 inf]iority to 8 fa!r & t1 9 consequ5ce1 he turn$ f c\nt]po9t to ! developm5t ( h>mony--! work+ out ( a cle>ly def9$ !me or melody support$ by accompanim5t4 ,c\nt]po9t is said to be polyphonic1 a t]m compos$ ( two ,greek words signify+ _m-voic$1 ! comb9ation 9 music ( sev]al p>ts or !mes4 ,oppos$ to x is homophonic1 or s+le-voic$1 music1 9 :i* "o melody or "p is support$ by an accompanim5t4 ,italy1 ) its g5ius = ! s5su\s & emotional 9 music1 already _h develop$ a s*ool ( melodic music1 & to ?is ,philipp ,emanuel ,ba* turn$ = a model4 ,9 ,italy ! pian(orte1 ?r\gh its employm5t = ! fre] h>monic support ( dramatic solo s++ 9 op]a1 an art =m t is indig5\s to ,italy1 gradually _h emancipat$ itself !re f c\nt]po9t & acquir$ a /yle ( its own4 ,girolamo ,frescobaldi 7#aehc-afdd71 a fam\s ,italian pian(orte & organ virtuoso1 ^: fir/ organ recital 9 ,/4 ,pet]'s1 ,rome1 is said to h attract$ an audi5ce ( ?irty ?\s&1 & ^: mantle fell ^u 8 two mo/ r5[n$ pupils1 ! ,g]man1 ,johann ,jacob ,frob]g]1 & ! ,italian1 ,b]n>do ,pasqu9i1 n only exp]im5t$ ) our mod]n keys1 seek+ to replace ) !m ! old ecclesia/ical modes 9 :i* ,pale/r9a wrote1 b also simplifi$ ! me?od ( notation4 ,= ev5 :at seems to u s simple a matt] z ! five-l9e /aff is ! result ( sl[ evolution4 ,sc>latti's ,importance z ,compos] & ,virtuoso4 ,! ,italian g5ius :o gave ! greate/ impulse to ! progress ( pian(orte music & :o1 = 8 day1 imm5sely improv$ ! te*nique ( pian(orte play+1 0 ,dom5ico ,sc>latti 7#afhc-ageg71 ! fam\s son ( a fam\s fa!r1 ,aless&ro ,sc>latti1 ! lead+ dramatic compos] ( 8 "t4 ,dom5ico ,sc>latti int]e/s u especially because he is ! only "o ( ! e>ly ,italians ^: "w reta9s an appreciable foo?old on mod]n recital programs4 ,von ,buel[ edit$ selections f 8 works1 & ,i recall f p]sonal exp]i5ce1 because ,i 0 at ! conc]t1 ! delight ) :i* "s ( ^! 7 receiv$ ! fir/ "t ,von ,buel[ play$ !m on 8 initial visit to ?is c\ntry dur+ ! season ( #ahge-gf4 ,amateurs on ! outlook = some?+ new 7ev5 ?\gh x 0 v old7 took up ,sc>latti1 & ?is e>ly ,italian's sudd5ly acquir$ popul>ity 0 comp>able ) ! run on ! ,ra*man9(f ,prelude :5 x 0 play$ "h by ,siloti _m ye>s lat]4 ,sc>latti has be5 call$ ! f\nd] ( mod]n pian(orte te*nique4 ,al?\gh he compos$ = ! h>psi*ord1 he und]/ood ! in/rum5t s ?or\ghly & :at he wrote = x accords s well ) its g5ius1 t by unconsci\s anticipation x also 0 adapt$ to ! g5ius ( ! mod]n pian(orte4 ,x /ill is piani/ic2 m piani/ic & m suitable to ! mod]n rep]toire ?an a good deal ( music by great] m5 :o liv$ consid]ably lat]4 ,i %\ld say1 = example1 t ,sc>latti's "n is f\nd m frequ5tly on pian(orte recital programs ?an ,moz>t's1 al?\gh ,moz>t 0 incomp>ably ! great] g5ius4 ,b !re is ab\t ,sc>latti's music su* a qua9t & primitive *>m t "o always li/5s to x ) ! ze/ ( a discov]]1 :]eas ,moz>t's pian(orte music1 al?\gh m mod]n1 j misses be+ mod]n en\gh4 ,?is clev] ,italian gives u ! e>ly beg9n+s ( ! sonata =m4 ,he m]ely lisps 9 sonata acc5ts1 x is true1 b 8 lisp is z fasc9at+ z ! +5u\s prattle ( an attractive *ild4 ,8 be/1 kn[n "w1 ,! ,cat's ,fugue1 ! subject ( :i* is said to h be5 sugge/$ to him by a cat glid+ ov] ! keybo>d1 is inde$ contrapuntal4 ,b ev5 ?is is a movem5t 9 a sonata1 & ! *>act]i/ic ( 8 works z a :ole is ! fact t 9 mo/ ( !m he develop$ & work$ out a melody or !me1 & t he e/abli%$ ! fundam5tal outl9es ( ! sonata =m4 ,comp>atively few laym5 h m ?an a vague idea ( :at is meant by sonata =m4 ,to !m a sonata simply is a composition consi/+ ( sev]al movem5ts1 usually f\r1 ?ree ( !m ( consid]able l5g?1 ) a %ort] "o 7a m9uet or s*]zo7 betwe5 ! fir/ & second or ! second & f\r?4 ,a sonata1 h[ev]1 mu/ h "o ( its movem5ts 7& g5]ally x w be f\nd to be ! fir/7 writt5 9 a c]ta9 =m4 ,reg>d+ ! ,sc>latti sonatas1 suffice x to say "h t ) him ! =m /ill is 9 its primitive simplicity4 ,= example1 ! true sonata movem5t z we n[ und]/& x employs two !mes1 ! second contra/+ ) ! fir/4 ,z a rule1 ,sc>latti is cont5t ) "o !me4 ,x is ! peculi> m]it ( ,philipp ,emanuel ,ba* t he introduc$ a second !me into 8 sonatas1 or sugge/$ x by /rik+ modulations :5 he employ$ only "o !me1 & ?us pav$ ! way = its fur!r elaboration by ,joseph ,haydn4 ,moz>t elaborat$ ! =m /ill fur!r1 & !n came ,bee?ov51 ) :om ! classical p]iod rea*$ its climax & ^: sonatas = all practical purposes h completely sup]s$$ ^? ( 8 =]unn]s4 ,rise ( ! ,amateur4 ,*>act]i/ic ( ! p]iod ( transition f ,ba* to ,bee?ov51 f ! fugue to ! sonata1 0 ! developm5t ( popul> int]e/ 9 music4 ,sc>latti beg9s a brief introduction to a collection ( ?irty ( 8 pian(orte pieces :i* 7 publi%$ 9 #agdf1 by address+ ! amateur or pr(essor1 :oev] y be4 ,significant 9 ?is is ! inclusion (1 9 fact ! seem+ pref]5ce giv5 to ! amateur4 ,music ( ! c\nt]po9t v>iety _h be5 music = ! *ur*1 ! c\rt & ! pr(essional4 ,n[1 ) ! developm5t ( ! fre] h>monic or melodic sy/em1 x 0 gr[+ m 9 t\* ) ! p4 ,dur+ ,philipp ,emanuel ,ba*'s life ! increase ( popul> int]e/ 9 music 0 rem>kable4 ,! titles t began to appe> on compositions %[ t compos]s 7 rea*+ out = a l>g] public4 ,bie quotes "s ( !m3 ,cecilia ,play+ on ! ,pian(orte & ,satisfy+ ! ,he>+2 ,! ,busy ,muse ,clio2 ,pian(orte ,practice = ! ,delight ( ,m9d & ,e>1 9 ,six ,easy ,galant]ie ,p>ties ,adapt$ to ,mod]n ,ta/e1 ,compos$ ,*iefly = ,"y ,ladies2 ,! ,cont5t$ ,e> & ! ,quick5$ ,s\l2 :ile ,philipp ,emanuel ,ba* inscribes "s ( 8 pieces z easy or = ladies4 ,evid5tly ! "y p]son figur$ z ext5sively 9 ! calculations ( musical compos]s !n z %e does n[ 9 ^? ( ! publi%]s ( fiction4 ,musical p]iodicals sprang up l mu%rooms--,musical ,miscellany1 ,floral ,g>n]+s = ,pian(orte ,amateurs1 ,new ,music ,j\rnal = ,enc\ragem5t & ,ent]ta9m5t 9 ,solitude at ! ,pian(orte = ! ,skill$ & ,unskill$1 su* 7 "s ( ! titles4 ,^! p]iodicals (t5 w5t ! way ( mo/ p]iodical fle% & 9 ! cu/om>y brief p]iod1 b !y %[ a quick5$ public int]e/ 9 music--! cont5t$ e> & ! quick5$ s\l1 s to speak4 ,*anges 9 ,musical ,ta/e4 ,if ,i dismiss ,philipp ,emanuel ,ba* r curtly &1 9 ?is portion ( ! book at lea/1 d ! same ) ,haydn & ,moz>t1 ?is is n because ,i fail to appreciate _! importance 9 musical hi/ory1 b because !y h fail$ to reta9 _! hold on ! mod]n pian(orte rep]toire4 ,! simple fact is t ! pian(orte z an in/rum5t has outgr[n _! music4 ,we c get m out ( x ?an !y gave x4 ,if we be> 9 m9d t ! pian(orte1 z well z music itself1 has develop$1 x w aid u 9 und]/&+ :y s mu* music1 once consid]$ f> 9 advance ( its "t & ev5 revolution>y1 has s soon become antiquat$4 ,:y ignore facts8 ,"s examples ( primitive music /ill survive because !y *>m u ) _! qua9tness4 ,b ! classical p]iod is retir+ m & m into ! %ad[ ( hi/ory4 ,:atev] importance ,haydn & ,moz>t may possess = ! /ud5t1 _! pian(orte music1 s f> z practical program-mak+ is conc]n$1 is to-day a negligible quantity4 ,i rememb] ! "t :51 z a pupil1 ,i por$ ) brea?less int]e/ ov] ! pages ( ,moz>t's ,sonata 9 ,a ,m9or & 8 ,fantasy & ,sonata 9 ,c ,m9or4 ,b to-day1 :5 ,i read 9 a book publi%$ ab\t tw5ty-five ye>s ago t ,moz>t indulg$ 9 h>monies1 *ord progressions & modulations1 sometimes consid]$ ( d\btful propriety ev5 n[ & q z h>%ly c5sur$ z are to-day ! simil> lic5ses ( free-?9k+ compos]s--,i wond] :]e !y are4 ,= 8 own day1 nev]!less1 ,moz>t 0 an innovator1 z e g5ius is2 = x is ?r\gh ^? d>+ deviations ( g5ius f e/abli%$ rule & tradition1 :i* contempor>ies reg>d z unju/ifiable lic5se1 t art progresses4 ,?is %\ld be borne 9 m9d by ^? :o 7 intol]ant t[>d ! oppon5ts ( ,wagn]1 yet n[ are guilty ( a simil> solecism 9 proclaim+ ,ri*>d ,/rauss a *>latan4 ,assum+ t ! mod]n pian(orte pupil is b indiff]5tly n\ri%$ on ! ,moz>t pabulum1 let me add t ?is compos] also 0 a virtuoso1 & by 8 *oice ( ! pian(orte ov] ! clavi*ord did mu* t[>d mak+ ! mod]n in/rum5t m popul>4 ,he also develop$ ! sonata =m s t ,bee?ov5 f\nd x ready m\ld$ = 8 g5ius4 ,9 fact ! sonata =m z we "k x is s mu* a ,moz>t creation t ,mr4 ,han*ett1 9 8 ,art ( ! ,musician1 sugge/s call+ ! sonata movem5t prop] a moz>ta--a sugge/ion :i* ,i presume w nev] be adopt$4 ,bee?ov5 & ! ,epo* ( ! ,sonata4 ,9 ! hi/ory ( music !re are ?ree figures t easily t[] above ! re/4 ,ea* repres5ts an era4 ,!y are ,ba*1 :o /&s = c\nt]po9t1 ! epo* ( ! fugue2 ,bee?ov51 :o repres5ts ! epo* ( ! sonata2 ,wagn]1 :o repres5ts ! epo* ( ! music-drama4 ,! fir/ two summ$ up 9 !mselves c]ta9 art =ms :i* o!rs _h orig9at$4 ,ba*'s root goes back to ,pale/r9a1 ,bee?ov5's to ,sc>latti4 ,wagn] pres5ts ! ph5om5on ( be+ bo? ! g]m & ! full fruition ( ! art =m = :i* he /&s4 ,x is conceivable t ! "w ( ^! m5 w at "s "t fall into desuetude1 = 9 art all ?+s are possible1 & ! classical p]iod seems to be los+ its grip on music m & m e day & we ourselves may live to see ! sonata movem5t become obsolete4 ,x c]ta9ly is hav+ less & less vogue1 & a compos] :o n[ writes a sonata ) undeviat+ allegiance to its classical outl9es1 delib]ately invites neglect1 because ! li/5] no long] c>es to h 8 faculties ( appreciation re/rict$ by too rigid insi/5ce ^u =m1 pref]r+ t g5ius %\ld h ! utmo/ latitude & be absolutely untrammel$ 9 giv+ expression to :at x has to say4 ,nev]!less1 music always w be> ! impress ( ^! ?ree ma/] m9ds1 j z our language1 al?\gh we d n speak 9 blank v]se1 always w be> ! impress ( ,%akespe>e4 ,i don't ?9k mu* ( t play1 exclaim$ ! c\ntryman1 aft] he>+ ,hamlet = ! fir/ "t4 ,x's all made up ( quotations6 ,equally famili>1 n to say colloquial1 are c]ta9 musical phrases1 c]ta9 modulations1 :i* h come d[n to u f ! ma/]s4 ,al?\gh ,bee?ov5 no long] is ! all-dom9ant figure 9 ! musical _w t he 0 fifty ye>s ago1 & x requires a p]=mance ( ! ,n9? ,symphony giv5 "u specially significant circum/ances 7su* z ! conduct+ ( a ,felix ,we+>tn]7 to attract z _m to a conc]t hall z w\ld be drawn by an ord9>y ,wagn] program1 ,i tru/ ,i %all "k h[ to appreciate 8 importance to ! developm5t ( musical art & approa* him ) ! rev]5ce t is 8 due4 ,l all great m5 :o sum up an epo*1 he f\nd c]ta9 ?+s ready to h&4 ,! ,fr5*man1 ,jean ,philippe ,rameau 7#afhc-agfd71 ! creator ( ! mod]n sy/em ( h>mony1 _h publi%$ 8 ,n\veau ,sy/eme de ,musique ,!orique2 ! sonata movem5t f its t5tative beg9n+s "u ,sc>latti _h be5 develop$ ?r\gh ,philipp ,emanuel ,ba*1 ,haydn & ,moz>t into a def9ite art =m await+ ! f9al te/ ( a great g5ius--:i* ,bee?ov5 prov$ to be4 ,bee?ov5's ,sl[ ,developm5t4 ,i already h po9t$ out t :ile pian(orte & or*e/ra h develop$ side by side1 ! g5]al belief t ! pian(orte m]ely has be5 ! h&maid5 ( ! or*e/ra is a mi/ak5 "o4 ,on ! contr>y1 until ! end ( ! classical p]iod1 at lea/1 ! pian(orte 0 ! pione]4 ,x has blaz$ ! way = ! or*e/ra & l$ x1 in/ead ( br++ up ! re>4 ,?us ! sonata =m 0 develop$ by ! pian(orte & !n 0 h&$ ov] by t in/rum5t to ! or*e/ra "u ! "n ( symphony1 :i*1 ! read] %\ld be> 9 m9d1 simply is a sonata writt5 = or*e/ra in/ead ( = ! pian(orte4 ,ev5 ,bee?ov51 be=e he compos$ 8 fir/ symphony1 :i* is 8 ,opus #ba1 te/$ 8 ma/]y ( ! =m & 8 ideas reg>d+ c]ta9 fur!r developm5ts 9 x1 by fir/ compos+ ?irte5 pian(orte sonatas1 includ+ ! famili> ,pa!tique1 :i* us$ to be to conc]t programs :at ,liszt's ,hung>ian ,rhapsody ,no4 #b is n[--! *eval de battaille1 on :i* piani/s pranc$ up & d[n be=e ! ranks ( _! a/oni%$ audi5ces & un=tunate amateurs s\ght to reta9 _! equilibrium4 ,?is exp]im5tation1 ?is comp>atively sl[ developm5t1 0 *>act]i/ic ( ,bee?ov52 is1 9 fact1 *>act]i/ic ( e g5ius :o works f ! s\l outw>d4 ,l mo/ arti/s ^: spur is m 9 !mselves ?an 9 natural arti/ic facilities1 he 0 v sl[ to come to any arti/ic a*ievem5t1 writes ,sir ,hub]t ,p>ry4 ,x is almo/ a law ( ?+s t m5 ^: arti/ic p]sonality is v /rong1 & :o t\* ! _w by ! greatness & ! p[] ( _! expression1 come to maturity comp>atively late1 & sometimes gr[ great] all ?r\gh _! lives--s x 0 ) ,ba*1 ,gluck1 ,bee?ov5 & ,wagn]--:ile m5 ^: aims are m purely arti/ic & ^: ma9 spur is facility ( diction1 come to ! po9t ( production e>ly & d n gr[ mu* aft]w>d4 ,su* compos]s z ,moz>t & ,m5delssohn succe$$ 9 express+ !mselves brilliantly at a v e>ly age2 b _! te*nical facility 0 out ( proportion to _! individuality & _! =ce ( human nature1 & !re=e !re is no su* surpris+ diff]5ce betwe5 ! "w ( _! lat] ye>s & ! "w ( _! *ildhood z !re is 9 ! case ( ,bee?ov5 & ,wagn]4 ,9 writ+ sonatas ,haydn & ,moz>t _h be5 satisfi$ ) grace ( outw>d =m & a smoo? & pretty fl[ ( melody )9 t =m4 ,bee?ov5 0 a man ( intellectual =ce z well z ( musical g5ius4 ,he appli$ 8 intellect to enl>g+ ! sonata =m1 8 musical g5ius to supply+ x ) cont5ts wor?y ( ! great] opportunities he himself _h creat$ = x4 ,!re is a wond]ful union ( m9d & he>t 9 ,bee?ov5's "w4 ,! sonata =m1 z p]fect$ by him1 is a monum5t to 8 g5ius4 ,x rema9s to ?is day ! fl[] ( ! classical p]iod4 ,! ,pass+ ( ! ,sonata4 ,nev]!less1 ! ,bee?ov5 sonatas no long] reta9 ! place ( pre-em95ce once accord$ !m on pian(orte recital programs4 ,:5 ,von ,buel[ 0 9 ?is c\ntry dur+ ! season ( #ahge-gf he frequ5tly gave conc]ts at :i* he play$ only ,bee?ov5 sonatas4 ,i d\bt if any ( ! great piani/s ( to-day c\ld n[ awak5 z mu* public int]e/ by su* programs z ,von ,buel[ did4 ,i rememb] ! conc]t at :i*1 among o!rs ( ! ,bee?ov5 sonatas1 ?is virtuoso play$ ,opus #ajf 7,grosse ,sonata fu] das ,hamm]klavi]74 ,aft] he _h play$ ?r\gh "p ( ! fir/ movem5t he became re/less1 & f "t to "t pe]$ ov] ! keybo>d & into ! in/rum5t z if some?+ 7 wrong ) x4 ,f9ally he broke (f 9 ! middle ( ! movem5t1 rose f 8 seat & walk$ (f ! /age4 ,:5 he reappe>$1 he _h ) him an att5dant f ! firm ( manufactur]s ^: pian(ortes he us$1 & toge!r !y fuss$ ov] ! in/rum5t = a :ile1 be=e ! att5dant made 8 exit & ! irate little piani/ began ! sonata all ov] aga94 ,we consid]$ ! mi%ap t gave u opportunity to he> him play s mu* ( ! "w twice1 a piece ( great good luck = u4 ,w\ld we s consid] x n[8 ,von ,buel[ has pass$ into musical hi/ory z a great ,bee?ov5 play]1 & su* he und\bt$ly 04 ,i d\bt1 h[ev]1 if he 0 a great] ,bee?ov5 play] ?an sev]al liv+ piani/s4 ,"s seasons ago ,eug5e d',alb]t play$ a ,bee?ov5 program4 ,8 p]=mance did n evoke ! en?usiasm he anticipat$4 ,9 fact !re 7 intimations 9 ! comm5ts on 8 p]=mance t he 0 n z great a ,bee?ov5 play] z he ?\ght he 04 ,p]sonally1 & hav+ a v cle> recollection ( ,von ,buel['s ,bee?ov5 recitals1 because ,i att5d$ e "o he gave 9 ,new ,york1 & 9 my m9d's eye c see him sitt+ at ! pian(orte1 b5d+ away ov]1 ) 8 e> almo/ to ! keybo>d1 ,i ?9k d',alb]t play$ 8 ,bee?ov5 program q z well4 ,:at _h happ5$1 h[ev]1 0 ?is3 ,a little matt] ( ?irty ye>s _h pass$ & ) x ! classical p]iod & its effloresc5ce1 ! sonata =m1 _h fad$ by j s mu*1 & by j s mu* no long] 0 consid]$ by ! public ! crucial te/ ( a piani/'s musician%ip4 ,incid5tally x is wor? not+ t ! public usually is f> ahead ( ! pr(ession & ( ! majority ( critics 9 appreciat+ new t5d5cies 9 music & 9 realiz+ :at is pass+ away2 & ! same ?+ probably prevails 9 o!r arts4 ,or*e/ral ,in/ead ( ,piani/ic4 ,i am aw>e t ,bee?ov5 0 a piani/ ( ! fir/ rank & t )9 ! limitations ( ! sonata =m he develop$ ! capacity ( ! pian(orte4 ,i also h read ,ri*>d ,/rauss's op9ion1 9 8 edition ( ,b]lioz's "w on in/rum5tation1 t ,bee?ov5 treat$ ! or*e/ra piani/ically4 ,nev]!less1 f ! mod]n viewpo9t ! ess5tial fault ( ! sonata1 ,bee?ov5's sonatas includ$1 seems to me to be t x is too or*e/ral & n suffici5tly clavi]maessig 7piani/ic7 9 "*2 n suffici5tly adapt$ to ! g5ius ( ! pian(orte z we "k x to-day4 ,x is possible t = ! times 9 :i* !y 7 compos$1 ! sonatas ( ,haydn1 ,moz>t & ,bee?ov5 7 mo/ piani/ic4 ,b z music has become m & m an intimate phase ( life1 & z our mo/ intimate in/rum5t1 ! in/rum5t ( ! h\sehold1 is ! pian(orte1 we und]/& its capacity = ! intimate expression ( moods & fancies1 ! lights & %ad[s ( life1 z x nev] 0 und]/ood be=e4 ,! mod]n lov] ( music1 if ,i may judge 8 /&po9t f my own1 feels t :ile ! sonatas ( ! ma/]s ,i h nam$ 7 writt5 = ! pian(orte1 !y 7 ?\ght out = or*e/ra1 & t ev5 a ,bee?ov5 sonata is an engrav+ = pian(orte ( a symphony = or*e/ra4 ,he compos$ n9e symphonies & ?irty-two sonatas4 ,if he _h writt5 8 n9e symphonies = pian(orte1 we w\ld h _h n9e m sonatas4 ,if he _h compos$ 8 sonatas = or*e/ra1 we w\ld h _h ?irty-two m symphonies4 ,?is or*e/ral 7z oppos$ to piani/ic7 "* ( ! ,bee?ov5 sonatas acc\nts = passages 9 !m s awkw>dly writt5 = ! in/rum5t t !y are difficult to ma/]1 & yet1 :5 ma/]$1 are n effective 9 proportion to _! difficulty4 ,betwe5 enl>g+ ! capacity ( an in/rum5t ?r\gh ! problems y give ! play] to solve & writ+ passages t are awkw>dly conceiv$ = x1 & h5ce ineffectual aft] !y h be5 ma/]$1 !re is a great diff]5ce4 ,*op91 ,liszt & o!rs pile ,pelion on ,ossa 9 _! te*nical requirem5ts ( ! piani/2 b :5 he has surm\nt$ !m1 he has climb$ a m\nta91 & f its peak may wat* ! _w at 8 feet4 ,i ?9k ! or*e/ral "* ( mu* t ,bee?ov5 wrote = ! pian(orte p>tly acc\nts = ! fact t 8 sonatas no long] attract ! great virtuosos z !y =m]ly did & t ! public no long] reg>ds !m z ! f9al te/ ( a piani/'s rank4 ,i speak s unres]v$ly because ,i h liv$ ?r\gh ! *ange ( ta/e myself4 ,by way ( p]sonal explanation ,i may be p]mitt$ to say1 t :ile ,i am n a pr(essional musician1 music 0 s mu* a "p ( my life t ,i /udi$ ! pian(orte almo/ z assidu\sly z if ,i _h int5d$ becom+ a public play]1 & t ,i 0 pr(ici5t en\gh to meet once a week ) ! fir/ viol9i/ & ! fir/ violoncelli/ ( ! ,new ,york ,philh>monic ,society = ! practice ( *amb] music4 ,if !re is any "o :o %\ld wor%ip at ! %r9e ( ! sonata =m1 & especially at t ( ! ,bee?ov5 sonatas1 x %\ld be myself1 = ,i 0 br\ght up on ! =m & ^? sonatas 7 my daily bread4 ,:5 ,i w5t to ! ,von ,buel[ ,bee?ov5 recitals x 0 ) book 9 h&1 to foll[ :at he play$ note = note = purposes ( /udy & assimilation4 ,^? 7 ye>s :51 9 ! h\rs dur+ :i* "o seeks communion ) "o's o!r self1 ! ,bee?ov5 sonatas 7 ! m$ium ( communication4 ,b n[--give me ! m5 :o emancipat$ !mselves f a =m t fett]$ ! individuality ( ! pian(orte1 ,*op91 ,liszt1 ,s*umann1 & ! pian(orte scores ( ! ,wagn] music-dramas1 :i* actually s\nd m piani/ic ?an ! sonatas ( ! classical p]iod & 9 :i* x is a delight to plunge oneself & be borne along on a flood ( free1 exultant melody4 ,nev]!less1 ! sonata has _h a great "p to play 9 ! hi/ory & developm5t ( music & has play$ x nobly1 & we mu/ no m =get ?is ?an we %\ld all[ pres5t-day h]o wor%ip to supplant ! memory ( ! h]oes :o w5t be=e4 ,! sonata is ! firm & solid bridge ov] :i* music pass$ f ! contrapuntal p]iod to ! romantic1 & d\btless !re /ill are "s :o pref] to l+] on ! bridge r ?an cross x to ! promis$ l& to :i* x leads4 ,always !re are cons]vatives :o /& /ill & look back2 & t ^! /ill %\ld let _! eyes re/ long+ly on ! great ma/] ( ! classical epo*1 ,bee?ov51 is1 to say ! lea/1 compreh5sible4 ,"o w\ld h to be unresponsive inde$ n to be ?rill$ by ! /ory ( 8 life--8 =ce ( "*1 8 rugg$ p]sonality1 8 det]m9ation 9 spite ( "o ( ! greate/ mis=tunes t c\ld befall a musician1 deafness2 & ! intellectual p[] :i* he display$ 9 b5d+ a seem+ly rigid art =m to 8 w & mak+ x ! receptacle ( 8 inspiration4 ,well may ^! consid]ations be borne 9 m9d :5ev] a ,bee?ov5 sonata is on a pian(orte recital program4 ,if x does n move u z pr(\ndly z music m mod]n does1 t is n because its compos] 0 less deeply conc]n$ ) ! problems ( life ?an ^? :o h come aft] him4 ,= 8 "t he 0 wond]fully subjective1 draw+ 8 inspiration f ! he>t1 yet always pres]v+ a sane m5tal poise4 ,if to-day ! sonatas ( ?is great g5ius & spl5did man seem to u less dramatic & emotional ?an !y once did to audi5ces1 x is because ( ! progress ( music t[>d great] pla/icity ( expression & our conviction t su* %\ld be its mission4 ,,iv ,,dawn ,,( ,,! ,,romantic ,,p]iod ,all art beg9s ) a grop+ aft] =m1 !n atta9s =m1 & !n emancipates itself f too great insi/5ce ^u rigidity ( =m )\t1 h[ev]1 rev]t+ to its e>ly =mless condition4 ,x 0 absolutely necess>y to ! e/abli%m5t ( music z an art t at "s p]iod or p]iods 9 its developm5t x %\ld pull itself toge!r & focus itself 9 c]ta9 =ms1 & adh]e to !m some:at rigidly & some:at t5aci\sly until !y _h be5 p]fect$4 ,)\t say+ s 9 z _m words1 ,i h s\ght1 9 speak+ ( ! sonata1 to let ! mod]n lov] ( music "k t if he does n l sonatas he ne$ n be a%am$ ( t fact4 ,a few m9utes ago & be=e writ+ ?is s5t5ce1 ,i left my desk & go+ to ! pian(orte1 play$ ?r\gh ,bee?ov5's ,sonata ,pa!tique4 ,x us$ to be a ?rill+ exp]i5ce to play x or to he> x play$4 ,to-day ! ,grave :i* introduces ! fir/ movem5t /ill seem$ port5t\s1 ! individual !mes ?r\gh\t ! "w _h lo/ none ( _! beauty4 ,& yet ! effect produc$ 9 e>li] ye>s by ?is sonata z a :ole 0 lack+4 ,i %all n say t x s\nd$ p$antic1 = ,i dislike to apply t ^w to any?+ t sprang f ! he>t & bra9 ( a g5ius l ,bee?ov5's1 b !re 0 a feel+ ( re/ra9t ab\t x--! re/ra9t ( set =m1 ! re/ra9t ( pa?os patt]n$ to measure1 :i* is incompatible ) our mod]n notions ( absolute fre$om ( expression 9 music4 ,moreov]1 !re is ample evid5ce t ,bee?ov5 himself *af$ "u ! re/ra9t ( ! sonata =m & con/antly /rove to make x m ela/ic & m yield+ to 8 inspiration4 ,:at a ,sonata ,is4 ,! sonata =m 7t is to say1 ! movem5t f :i* ! sonata d]ives its "n7 consi/s ( ?ree ma9 divisions & c easily be /udi$ by secur+ ! ,buel[ & ,leb]t edition ( ! ,bee?ov5 sonatas 9 ,s*irm]'s libr>y1 9 :i* ! v>i\s divisions & subdivisions are indicat$ z !y occur 9 ! music4 ,! fir/ division 7sometimes ) a sl[ introduction l ! ,grave ( ! ,sonata ,pa!tique7 may be call$ ! exposition4 ,x consi/s ( ! ma9 !me 9 ! key ( ! piece1 a connect+ episode1 a second !me 9 a relat$ key & contra/+ ) ! fir/1 & a conclud+ passage4 ,z a rule ! exposition is repeat$--an extremely artificial proce$+1 s9ce !re is no e/hetic or psy*ological reason = x4 ,aft] ! exposition comes ! second division1 ! developm5t or work+ out1 a treatm5t ( bo? !mes ) mu* figuration & imitation1 g5]ally call$ ! free fantasia & consi/+ *iefly ( a free developm5t ( motives tak5 f ! fir/ "p 7,bak]74 ,?is leads into ! ?ird division1 :i* is a re/atem5t ( ! fir/1 except+ t ! second !me1 in/ead ( be+ 9 a relat$ key1 is1 l ! ma9 !me1 9 ! tonic4 ,h[ ,bee?ov5 ,enl>g$ ! ,=m4 ,?is is ! =m ( ! sonata movem5t :i* 0 h&$ d[n to ,bee?ov5 by ,haydn & ,moz>t4 ,x v soon became app>5t t ! greate/ g5ius ( ! classical p]iod f\nd x too limit$ = 8 inspiration4 ,9 8 ?ird sonata 7,opus #b1 ,no4 #c7 he makes sev]al innovations t1 = _! day1 are mo/ d>+4 ,foll[+ ! fir/ episode aft] ! ma9 !me1 he introduces a second episode ) :i* he leads into ! second !me4 ,!n us+ a v>iant ( ! fir/ episode z a connection he leads ov] to a ?ird1 a clos+ !me4 ,9 fact1 ! mat]ial ( ! second episode is s !matic t ,i see no reason :y he %\ld n be said to use f\r !mes 9 ! exposition in/ead ( ! cu/om>y two4 ,9 ! free fantasia he insi/5tly reit]ates ! ma9 !me1 practically ignor+ ! o!rs1 ?us famili>iz+ ! li/5] ) x & mak+ x z welcome z an old fri5d :5 ! ?ird division u%]s x 9 aga94 ,in/ead ( clos+ ! movem5t at ! end ( ! usual ?ird division1 z 8 pr$ecessors1 ,haydn & ,moz>t1 did1 ,bee?ov5 introduces :at is "o ( ! mo/ important innovations graft$ by him ^u ! sonata =m--a coda ) a cad5za4 ,i c imag9e t ?is movem5t made 8 contempor>ies look dubi\s & %ake _! heads4 ,x mu/ h seem$ to !m orig9ality /ra9$ to ! po9t ( ecc5tricity & m biz>re ?an effective4 ,z we look back ^u x1 aft] ?is long lapse ( "t1 x mu/ be reckon$ a mo/ brilliant a*ievem5t 9 ! direction ( fre] =m1 & f ?is po9t ( view--please be> 9 m9d ! res]vation--its creator n only nev] surpass$ x1 b frequ5tly fell beh9d x4 ,"o ( ! movem5ts ( ?is sonata is a s*]zo4 ,bee?ov5 is ! creator ( ?is /yle ( movem5t4 ,x is mu* less =mal ?an ! m9uet :i* ,haydn introduc$ into ! sonata4 ,?is especial s*]zo has a trio :i* 9 ! broad sweep ( its arpeggios is z mod]n s\nd+ z any?+ ,bee?ov5 wrote = ! pian(orte4 ,8 ,moonlight ,sonata4 ,!re are o!r sonatas by ,bee?ov5 t indicate ef=ts on 8 "p to be less trammel$ by consid]ations ( =m4 ,reg>d z an example ! ,sonata ,quasi ,una ,fantasia1 ,opus #bg1 ,no4 #b1 g5]ally1 & by no means inaptly1 call$ ! ,moonlight ,sonata4 ,?is beg9s ) ! broad & beautiful sl[ movem5t1 ) its su/a9$ melody1 a poem ( pr(\nd pa?os 9 musical acc5ts4 ,x is foll[$ by an ,allegretto1 une fleur entre deux abimes 7a fl[] 'twixt two abysses7 ,liszt call$ x2 & !n comes ! conclud+ movem5t1 a ,pre/o agitato1 :i* is "o ( ,bee?ov5's mo/ impassion$ creations4 ,!re are only ?ree movem5ts1 & ! usual sequ5ce is inv]t$1 = ! la/ ( ! ?ree is ! ,sonata movem5t4 ,at ! end ( ! ,adagio so/5uto & at ! end ( ! ,allegretto z well1 is ! direction attacca subito il sequ5te1 indicat+ t ! foll[+ movem5t is to be attack$ at once & d5ot+ an inn] relation%ip1 a psy*ological connection betwe5 ! ?ree movem5ts4 ,?r\gh\t ! "w ! !mes are ( extraord9>y beauty & expressiv5ess ev5 = a ,bee?ov5 & ! :ole is a g5u9e drama ( human life & exp]i5ce4 ,?is impression is produc$ n only by ! v evid5t psy*ological connection betwe5 ! movem5ts1 b by ! mann] 9 :i* ! compos] holds on to 8 !mes1 develop+ !m ?r\gh b> aft] b> z if he himself appreciat$ _! beauty & 7 reluctant to let g ( !m & introduce new mat]ial4 ,! entire fir/ movem5t1 practically a song )\t words ( ! mo/ exquisite poignancy1 is built on a s+le motive ) a brief episode :i* is m l an improvisation ?an a set "p ( a movem5t2 :ile ! la/ movem5t consi/s ( f\r eloqu5t !mes ) only ! m]e/ sugge/ion ( connect+ episodes4 ,! work+ out 9 ! la/ movem5t is almo/ :olly a p]si/5t it]ation ( ! second !me4 ,?is p]si/5t dwell+ ^u !me & ! psy*ological relation betwe5 ! diff]5t movem5ts make ?is ,moonlight ,sonata to me ! mo/ mod]n s\nd+ ( ,bee?ov5's pian(orte works1 al?\gh :5 m]e /ructural greatness is consid]$1 mo/ critics w incl9e to rank x l[] ?an ! ,sonata ,appassionata & ! f\r la/ sonatas1 ,op4 #ajf & #aji-aa4 ,und\bt$ly1 h[ev]1 x is ! mo/ temp]am5tal ( 8 sonatas--& h]e9 aga9 ! mo/ mod]n4 ,my "o qu>rel ) ,von ,buel[ is t he made x s popul> by 8 frequ5t play+ ( x & 8 exceptionally poetic int]pretation ( x1 t ! great virtuosos %un x1 v mu* z !y %un ! six? ,*op9 waltz 7,mme4 ,dudevant's dog *as+ its own tail71 because x is play$ by e pian(orte pupil ( e girls' bo>d+ s*ool ev]y:]e4 ,/riv+ = ,fre$om4 ,9 addition to :at ,i h said ( ?is sonata1 x 0 an imm5se ga9 = great] fre$om ( =m1 & x is to be regrett$ t x is a m or less isolat$ in/ance & t ,bee?ov5 did n adopt x z a /&>d 9 %ap+ 8 rema9+ sonatas4 ,its mo/ valuable attribute f ! mod]n po9t ( view is a *>act]i/ic to :i* ,i already h call$ att5tion sev]al times--! fact t its sev]al movem5ts /& 9 psy*ological relation to "o ano!r2 t !re is su* real s\l or temp]am5tal connection betwe5 !m1 t x w\ld be do+ actual viol5ce to ! "w z a :ole if any "o movem5t 7 to be play$ )\t ! o!rs or if _! sequ5ce 7 to be inv]t$4 ,b1 y may ask1 is !re n 9 all sonatas ?is psy*ological int]-relation%ip ( ! sev]al movem5ts8 ,h we n be5 told aga9 & aga9 t !re is8 ,und\bt$ly y1 & o!rs :o h be5 mis9=m$ by en?usia/s :o are unable to he> music 9 any?+ t has be5 compos$ s9ce ,bee?ov51 h be5 told s4 ,b ! sonata1 ) a few exceptions l ! ,moonlight1 simply is a gr\p usually ( f\r movem5ts1 ?ree long-ones ) a %ort] "o betwe51 &1 save = _! be+ 9 relat$ keys1 !re is no temp]am5tal relation%ip betwe5 ! movem5ts :atsoev]1 & to talk ( !re be+ su* a ?+ is nons5se4 ,i believe ! "t w come :5 virtuosos w n hesitate to lift s+le movem5ts out ( ! ,bee?ov5 sonatas & place !m on _! programs & t !re w be a sigh ( relief f ! public because x c he> a movem5t t /ill s\nds fre% & mod]n )\t be+ oblig$ to li/5 to two or ?ree o!rs t d n4 ,h]esy8 ,maybe4 ,galileo 0 acc\nt$ a h]etic--yet ! _w moves & ! musical _w ) x4 ,! ,bee?ov5 ,p]iods4 ,bee?ov5 0 an intellectual z well z a musical giant4 ,he ?\ght be=e he wr\ght4 ,! division ( 8 activity into ?ree p]iods1 9 ea* ( :i* he is suppos$ to h progress$ fur!r along ! road ( orig9ality & greatness1 is g5]ally accept$4 ,nev]!less1 x is an arbitr>y "o1 especially z reg>ds ! pian(orte sonatas1 s9ce x has be5 se5 t ! fir/ movem5t ( "o ( 8 e>lie/ works1 ! ?ird sonata 7,opus #b1 ,no4 #c71 is "o ( 8 mo/ orig9al contributions to music1 & "o ( ! mo/ /rik+ly develop$ movem5ts 9 sonata =m t he has giv5 u4 ,! p]iod division :i* assigns ?is sonata z well z ! ,sonata ,pa!tique to ! fir/ p]iod is absurd4 ,! fact is1 t ! works ( ! s-call$ fir/ & second p]iods ov]lap2 b !re is a decid$ *ange 9 8 /yle :5 we come to 8 ?ird p]iod :i*1 9 ! pian(orte sonatas1 beg9s ) ,opus #aji4 7,! beg9n+ ( ?is p]iod usually is assign$ to ! sonata ,opus #aja1 :i* seems to me too e>ly47 ,because "h a re/less _s seems to be brood+ ov] 8 "w1 x is ?\ght by "s t 8 m9d & he>t 7 w>p$ by 8 mis=tunes--8 deafness1 ! +ratitude ( a wor?less nephew to :om he _h be5 z a fa!r1 & o!r family & mat]ial tr\bles4 ,to me1 h[ev]1 ,bee?ov5 seems 9 ^! sonatas to be *af+ m & m "u ! re/ra9t ( =m & to be /ruggl+ to free himself f x1 b5d+ all 8 intellect to ! task4 ,frankly1 ,i d n ?9k t 9 ^! la/ sonatas he a*iev$ 8 purpose4 ,he _h outgr[n ! =m he himself _h p]fect$1 & ! ?\ghts :i* t[>d ! la/ he endeavor$ to m\ld 9 x call$ = absolutely free & untrammel$ developm5t4 ,he _h become too great = x &1 z a result1 x cramp$ & hamp]$ him 9 8 late/ utt]ances4 ,x is my firm belief t _h ,bee?ov5 come ^u ! sc5e fifty ye>s lat]1 he w\ld n h compos$ a s+le sonata1 b h reviv$ ! suite 9 mod]n /yle1 z ,s*umann practically did 9 8 ,c>naval1 ,kreisl]iana1 & ,fas*+s*wank aus ,wi51 or h creat$ = ! pian(orte some?+ correspond+ to ! freely develop$ tone poems ( ,ri*>d ,/rauss4 ,because1 h[ev]1 ,bee?ov5 wrote ?irty-two pian(orte sonatas & because he 0 = _m ye>s ! all-dom9at+ figure 9 ! musical _w1 e great compos] :o came aft] him & compos$ = ! pian(orte exp]im5t$ ) ! sonata =m1 & always1 be x not$1 ) less success & less importance to ! real progress ( music t[>d fre$om ( expression ?an :5 he foll[$ 8 own inn] impulse & wrote ! mood pieces1 ! music ( int5tion1 ! subjective expressions ( indicat$ ?\ghts & feel+s1 t 7 m consonant ) ! t5d5cies ( ! romantic p]iod :i* foll[$ ,bee?ov5 & = :i* he may be said to h pav$ ! way4 ,= j z ,ba* br\ght ! contrapuntal =m to su* p]fection t ^? :o came aft] him c\ld n ev5 beg9 :]e he left (f1 let alone surpass him1 s ,bee?ov5 br\ght ! sonata =m to su* p]fection t no fur!r advance 9 x 0 possible4 ,no wond] !re=e t ! pian(orte sonatas ( ! romantici/s are comp>atively few 9 numb] & ! lea/ satisfactory ( _! works4 ,^! compos]s seem to h writt5 sonatas simply to %[ t !y c\ld write !m & "u a mi/ak5 idea t l5g? is a measure ( greatness & t %ort] pieces are m9or a*ievem5ts1 :]eas z mu* g5ius c be display$ 9 a nocturne z 9 a sonata4 ,sonatas ,n[ ,old-fa%ion$4 ,lawr5ce ,gilman1 "o ( our y\ng] ,am]ican critics1 9 8 ,phases ( ,mod]n ,music1 a collection ( essays1 brief b conta9+ a weal? ( sugge/ion & brea?+ ?r\gh\t ! _s ( mod]nity1 sums up ! matt] 9 speak+ ( ,edw>d ,mac,dowell's ,keltic ,sonata3 ,i _c help wi%+ t he might contrive "s exp$i5t = do+ away1 s f> z he himself is conc]n$1 ) ! sonata =m :i* he occasionally uses1 r inconsi/5tly1 z a vehicle = ! expression ( t vision & emotion t are 9 him2 =1 g5]ally speak+1 & 9 spite ( ! triumphant success ( ! ',keltic1' ,mr4 ,mac,dowell is less =tunate 9 8 sonatas ?an 9 ^? fre] & m ela/ically wr\ght tone poems 9 :i* he voices a mood or an exp]i5ce ) epigrammatic concision & directness4 ,! ',keltic' succe$s 9 spite ( its =m1 444 ?\gh ev5 "h1 & not)/&+ ! fre$om ( manipulation1 "o feels t he w\ld h work$ to /ill f9] ends 9 a m flexible & flu5t =m4 ,he is nev] s compell+1 s p]suasively eloqu5t1 z 9 ^? impressioni/ically conceiv$ pieces 9 :i* he m\lds 8 inspiration ^u ! ev5ts ( an int]ior emotional program1 r ?an ^u a musical =mula necess>ily arbitr>y & anomal\s4 ,?is applies to pian(orte music 9 g5]al s9ce ,bee?ov54 ,su* ,i believe to be ! cons5sus ( op9ion among ! y\ng] g5]ation ( critics1 to :om1 aft] all1 ! future belongs1 z well z ! op9ion ( ^? old] critics :o refuse to all[ !mselves to be pit*=k$ by _! ye>s into ! ranks ( ! old fogies & :o /ill hold !mselves ev] receptive to e new manife/ation 9 music t is bas$ on a union ( m9d & he>t4 ,unless o!rwise specifically m5tion$ ,i h1 9 speak+ ( ! sonata =m1 ref]r$ to x 9 connection ) ! pian(orte4 ,b x also is ! =m employ$ = ! symphony 7:i* simply is a sonata = or*e/ra72 = pian(orte trios1 qu>tets & qu9tets2 = /r+ qu>tets & o!r bran*es ( *amb] music 7:i* are sonatas writt5 = ! comb9ation ( in/rum5ts m5tion$ & su* o!rs z are employ$ 9 *amb] music71 & = conc]tos 7:i* are sonatas = ! comb9ation ( a solo in/rum5t l ! pian(orte1 viol9 or violoncello1 ) or*e/ra74 ,9 ^! bran*es ! sonata =m has held its own m successfully ?an on ! pian(orte1 & = sev]al extrane\s reasons4 ,9 ! symphony x is due l>gely to ! great] v>iety t c be a*iev$ ?r\gh or*e/ral color+2 9 *amb] music l>gely to ! some:at sup]-ref9$ & timor\s ta/e ( its devotees :i* w\ld reg>d any />tl+ innovation z highly indecor\s2 & 9 ! conc]to to ! fact t a soloi/ :o appe>s at an or*e/ral conc]t is suppos$ to play a conc]to simply because ! or*e/ra is !re to play x ) him1 al?\gh he1 z well z ! audi5ce1 probably w\ld f9d a gr\p ( solos f> m effective4 ,9 fact ,i ?9k t mu* ( ! applause :i* usually foll[s a great piani/'s play+ ( a conc]to is due n s mu* to ! audi5ce's en?usiasm ov] x z to ! hope t he may be induc$ to come out & play some?+ alone4 ,s f> z ! symphony is conc]n$1 x is lib]at+ itself m & m f ! sonata =m & tak+ ! direction indicat$ by ,liszt 9 8 symphonic poems & by ,ri*>d ,/rauss 9 8 tone poems1 ! free/ =m ( or*e/ral composition yet conceiv$4 ,! ,fir/ ,romantic ,compos]s4 ,9 music1 z 9 o!r arts1 p]iods ov]lap4 ,we h se5 t dur+ ,ba*'s life ,sc>latti 9 ,italy 0 lay+ ! f\ndations ( ! h>monic sy/em & %ap+ ! outl9es ( ! sonata =m :i* 0 to develop ?r\gh ,philipp ,emanuel ,ba*1 ,haydn & ,moz>t & f9d its greate/ ma/] 9 ,bee?ov54 ,likewise1 ev5 :ile ,bee?ov5 0 creat+ ^? works :i* are ! glory ( ! classical p]iod1 two ( 8 contempor>ies1 ,c>l ,m>ia von ,web]1 :o di$ "o ye> be=e him1 & ,franz ,s*ub]t1 :o surviv$ him by only a ye>1 7 writ+ music :i* 0 de/9$ to turn ! art into new *annels4 ,web] 7#aghf-ahbf7 is inde$ reg>d$ z ! f\nd] ( ! romantic s*ool ?r\gh 8 op]a ,d] ,freis*uetz4 ,x seems to me1 h[ev]1 t ,s*ub]t 7#agig-ahbh7 contribut$ q z mu* to ! new movem5t ?r\gh 8 songs1 :ile ! contributions ( bo? to ! pian(orte are important4 ,web] 0 a f9i%$ piani/1 _h an enorm\s rea* 7he c\ld /ret* a twelf?71 & besides utiliz+ ! facility ?us af=d$ him to add to ! brilliancy ( pian(orte te*nique 7z 9 8 well-kn[n ,conc]t ,piece = ,piano & ,or*e/ra71 he delib]ately1 9 "s ( 8 compositions1 ignor$ ! sonata =m & wrote a ,mom5to ,capriccioso1 a ,polonaise1 a ,rondo ,brilliant1 a ,polacca ,brilliant & ! fasc9at+ ,invitation to ! ,dance4 ,! la/1 ev5 9 its orig9al =m & )\t ! elaborations 9 ,tausig's v]sion ( x1 & ! ,conc]t ,piece /ill are brilliant & effective numb]s 9 ! mod]n pian(orte rep]toire4 ,consid]+ ! age 9 :i* !y 7 compos$1 _! fre$om f p$antry is little %ort ( m>vel\s4 ,s*ub]t's ,pian(orte ,music4 ,s*ub]t 0 n a virtuoso & pass$ 8 life almo/ 9 obscurity1 b we n[ recognize t1 al?\gh he liv$ b ?irty-"o ye>s1 few compos]s wr\ght m la/+ly ?an he4 ,( c\rse1 ! prop] place = an e/imate ( 8 g5ius is 9 ! *apt] on song1 b z a pian(orte compos] he is1 ev5 to ?is day1 mak+ 8 influ5ce m & m felt4 ,liv+ 9 ,vi5na1 ,bee?ov5's city1 & a f]v5t admir] ( t g5ius1 x 0 natural t he %\ld h compos$ sonatas1 & !re is a :ole volume ( !m among 8 pian(orte works4 ,nev]!less1 s orig9al 0 8 g5ius & s f]tile1 t1 9 addition to 8 num]\s o!r works1 he compos$ eight impromptus1 among !m ! highly poetic "o 9 ,g flat major 7,opus #db1 ,no4 #b71 usually call$ ,! ,elegy2 ano!r 9 ,b flat major 7,opus #adb1 ,no4 #c71 :i* is a !me ) v>iations1 "s ( !m brilliant1 o!rs pr(\ndly expressive2 & ! beautifully melodi\s "o 9 ,a flat major2 six da9ty ,mom5ts ,musicals2 ! exquisite little waltz melodies f :i* ,liszt fa%ion$ ! ,soirees de ,vi5ne2 ! ,fantasia 9 ,g1 f :i* ! popul> m9uet is tak52 & ! broadly dramatic ,fantasia on a !me f 8 song1 ,! ,w&]]1 = :i* ,liszt wrote an or*e/ral obbligato1 ?us conv]t+ x into a highly effective & ?or\ghly mod]n fantasy = pian(orte & or*e/ra4 ,^! deta*$ compositions are z eloqu5t 9 _! appeal to-day z if !y _h be5 writt5 dur+ ! la/ t5 ye>s in/ead ( dur+ ! fir/ qu>t] ( ! la/ c5tury4 ,!y are melodi\s ) ! su/a9$ melody t delights ! mod]n e>4 ,!re is n1 z 9 ! sonata =m or1 = t matt]1 9 all ! classical music t ,s*ub]t he>d ar\nd him1 ! brief giv+ out ( a !me1 !n an episode1 !n ano!r brief !me & s on1 all c\*$ 9 ! =mulas 9 :i* ! classici/s delight$1 b in/ead ( ^! po/ulates ( =mality1 melody fully develop$ & wr\ght out by "o :o revel$ 9 x & 0 will+ t 8 he>]s %\ld revel 9 x z well4 ,to di/+ui% betwe5 ! classici/s & ?is e>ly romantic compos]1 ^: "w survives 9 all its fre%ness & beauty to ?is day1 x may be said t _! music 0 !matic--bas$ on ! k9d ( !mes t l5t !mselves to =mal work+ out z prescrib$ by ! sonata =mula2 :]eas ^! deta*$ pieces ( ,s*ub]t are bas$ on melodies--long-drawn-out melodies1 if y wi%1 & be grateful t !y are--t conjure up mood pictures & ?r\gh _! exquisite h>monization exhale ! v fragrance ( romanticism4 ,naturally1 ! sonatas f 8 p5 are m set4 ,nev]!less1 s long z x seems t we mu/ h sonatas on our recital programs1 ! neglect ( ^? by ,s*ub]t is %ameful4 ,i am will+ to /ake 8 sonata ,no4 #e1 9 ,a m9or1 aga9/ any sonata ev] writt51 & f sev]al ( ! sonatas s+le movem5ts c be deta*$ :i* ,i %\ld ?9k any piani/ w\ld be glad to add to 8 rep]toire4 ,among ^! is ! li!some s*]zo f ! sonata ,no4 #aj1 9 ,b flat major1 & ! beautiful sl[ movem5t 7,&ante so/5uto7 f ! same "w4 ,s*ub]t also wrote _m valuable pian(orte duets1 among !m sev]al sets ( m>*es & polonaises & an elaborate & /irr+ ,div]tissem5t a l',hongroise1 :i* la/ seems to =e%ad[ ! ,hung>ian ,rhapsodies ( ,liszt4 ,9 ^! & ! deta*$ pian(orte solo pieces a special value lies 9 t !y d n appe> to h be5 compos$ z a prote/ aga9/ ! sonata =m1 b spontane\sly & )\t a ?\ght on ,s*ub]t's "p t he 0 do+ any?+ 9 any way rem>kable4 ,!y are expressions ( musical feel+ 9 ! mann] t appeal$ to him z mo/ natural4 ,! ,mom5ts ,musicals especially are little mood pieces & impressioni/ic sket*es ) "h & !re a bit ( realism4 ,:o1 = example1 is apt to =get ,essip(f's play+ ( ! ?ird ,mom5t 9 ,hung>ian /yle1 ) a long cresc5do & dim9u5do 7! same effect us$ by ,rub9/e91 :5 he play$ 8 arrangem5t ( ! ,turki% ,m>* f ,bee?ov5's ,ru9s ( ,a!ns71 s t x seem$ z if a b& ( gypsies approa*$ f af>1 danc$ by1 & vani%$ 9 ! di/ance8 ,?or\ghly mod]n is ,s*ub]t1 a mo/ mod]n ( ! mod]ns1 :e!r we li/5 to 8 orig9al pian(orte compositions1 or to ! ,s*ub]t-,liszt waltzes1 or ,h>k1 ,h>k1 ! ,l>k1 ,to ,be ,sung on ! ,wat] 7b>c>olle7 & o!r songs ( 8 :i* h be5 arrang$ = ! pian(orte by ,liszt4 ,m5delssohn's ,songs ,)\t ,words4 ,felix ,m5delssohn-,b>?oldy1 ! musical idol ( 8 day & n[ correspond+ly neglect$1 contribut$ to ! romantic movem5t 8 ,songs ,)\t ,words1 %ort pieces = ! pian(orte & aptly nam$ because _! su/a9$ melody cle>ly def9$ aga9/ a purposely subord9at$ accompanim5t gives !m ! "* ( songs1 9 ! popul> mean+ ( ! ^w4 ,m5delssohn 0 a flu5t1 g5tlemanly compos]1 ^: music 0 readily und]/ood & !re=e atta9$ imm$iate popul>ity4 ,b ! v qualities t made x popul>--its smoo?ness & poli% & its r commonplace h>mlessness--h caus$ x to lose ca/e4 ,! ,songs ,)\t ,words1 h[ev]1 /ill occupy a place 9 ! music ma/]'s curriculum1 =m+ a graceful & easily cross$ bridge f classical to romantic music4 ,i c rememb] /ill1 :51 z a lad1 ,i receiv$ f my music tea*] my fir/ ,m5delssohn ,song ,)\t ,words1 ! ,g m9or b>c>olle1 h[ x seem$ to op5 up a new _w ( music to me4 ,_m ( ^! compositions1 :i* are unique 9 _! way1 /ill w be f\nd to possess mu* m]it4 ,t !y are poli%$ little pieces & poetic 9 feel+ almo/ goes )\t say+4 ,! ,spr+ ,song may be "o ( ! mo/ hackney$ ( pian(orte pieces & ! same may be true ( ! ,sp9n+ ,song1 b x is equally true t ! =m] is z graceful & *>m+ z ! latt] is brilliant & %[y4 ,a t5d] & expressive little lyric is ! "o 9 ,f major 7,no4 #bb71 :i* ,joseffy frequ5tly us$ z an encore & play$ ) exquisite effect4 ,a gr\p ( ,m5delssohn's ,songs ,)\t ,words is nev] out ( place on a piani/'s program4 ,at lea/ half a doz5 ( !m1 ,i ?9k1 are apt to survive ! vicissitudes ( _m ye>s to come4 ,m5delssohn wrote ?ree sonatas1 a ,sonata ,ecossaies 7,scot*71 sev]al capriccios & o!r pieces = ! pian(orte1 besides two pian(orte conc]tos1 ( :i* ! "o 9 ,g m9or is ! /ock selection ( cons]vatory pupils at _! graduation ex]cises & lat] at _! debut4 ,) x !y %oot ! musical *utes4 ,v ,,*op91 ,,! ,,poet ,,( ,,! ,,pian(orte ,i mu/ ask ! read] /ill to imag9e t he is at a pian(orte recital1 al?\gh ,i frankly admit t ,i h be5 guilty ( _m digressions1 s t x mu/ appe> to him z if he _h be5 :isk$ f ,m5delssohn ,hall up to ,c>negie ,hall1 !n d[n to ! ,metropolitan ,op]a ,h\se & back to ,m5delssohn ,hall aga94 ,?is1 h[ev]1 z ,i h s\ght to make cle> be=e1 is due to ! univ]sality ( ! pian(orte z an in/rum5t & to ! compreh5siv5ess ( pian(orte music1 :i* 9 itself illu/rates 9 great "p ! developm5t ( ! art4 ,at ?is po9t1 !n1 ( our imag9>y pian(orte recital !re is likely to be a gr\p ( compositions by ,*op92 & ! l>g] ! gr\p1 or ! m gr\ps by ?is compos] on ! program1 ! bett] satisfi$ ! audi5ce is apt to be4 ,bak] calls ,fr$]ic ,*op9 7#ahaj-ahdi7 ! incomp>able compos] = ! pian(orte4 ,b he 0 m4 ,he 0 an incomp>able compos] f e po9t ( view1 great1 unique1 a tone poet1 z well z ! fir/ compos] :o se>*$ ! v s\l ( ! in/rum5t = :i* he specializ$4 ,extraord9>y z is 8 significance = t in/rum5t1 8 influ5ce ext5ds ?r\gh x into o!r realms ( music1 & 8 art is mak+ itself felt to ?is day 9 or*e/ra1 op]a & music-drama z well z 9 pian(orte music4 ,= he 0 an innovator 9 =m1 an intrepid adv5tur] 9 h>mony & a sublime s+] ( melody4 ,tempo ,rubato4 ,be=e ! piani/ ^: recital we are suppos$ to be att5d+ w h play$ _m b>s ( ! fir/ piece 9 ! ,*op9 gr\p1 ! individuality ( ?is compos] w become app>5t4 ,melody w p]vade ! recital hall l ! fragrance ( fl[]s4 ,at ! same "t !re w be an iridesc5ce n noticeable 9 any ( ! music t prec$$ ,*op91 & produc$ z if by cascades ( jewels--^? rem>kable ornam5tal notes :i* yet are n ornam5tal1 b1 9 spite ( all _! light & %ade1 & _! play ( *angeable colors1 "p ( ! great und]curr5t ( melody itself4 ,"h we h !n1 ne>ly at ! v outset ( ! fir/ ,*op9 piece1 ! fam\s tempo rubato1 s-call$1 :i* has be5 expla9$ 9 v>i\s ways1 b :i* ) ,*op9 really means t :ile ! rhy?m goes calmly on ) "o h&1 ! o!r weaves a veil ( iridesc5t notes ar\nd ! melodic idea4 ,liszt express$ x exactly :5 he said3 ,y see t tree8 ,its leaves move to & fro 9 ! w9d & foll[ ! g5tle motion ( ! air2 b its trunk /&s !re immovable 9 its =m4 ,or ! tempo rubato is l a %[] ( petals f a tree 9 full bloom2 ! firm outl9e ( ! tree1 its foliage are !re1 :ile we see ! delicately t9t$ blossoms fall+ f ! bran*es & fill+ ! air ) color & fragrance2 or l ! myriad %afts f ! facets ( a jewel1 pi]c+ 9 all directions :ile ! jewel itself rema9s immovable1 ! c5tre ( its own rays2 or l ! crisp ripple on a riv]1 :ile ! /ream itself fl[s on 9 maje/y2 or1 9 "o or two passages :5 ,*op9 becomes a cynic1 l ! twaddle ( critics :ile ! p]son !y criticise calmly goes ab\t 8 mission4 ,! ,s\l ( ! ,pian(orte4 ,:at y w notice ab\t ^! compositions ( ,*op9--& ,i say ^! compositions delib]ately1 al?\gh ,i h n nam$ any 7= x makes no diff]5ce :at pieces ( 8 are on ! program1 ! effect w be ! same7--is ! fact t 9 none ( !m is !re ! slighte/ sugge/ion ( any?+ b pian(orte music4 ,*op9's great a*ievem5t s f> z ! pian(orte is conc]n$ is ! fact t he lib]at$ x completely f or*e/ral & *oral influ5ces1 & made x an in/rum5t suffici5t unto itself1 br\ght x into its own 9 all its beauty ( tone & expression & enl>g$ its capacity2 s\ght out its s\l & reproduc$ x 9 tone1 z no o!r compos] _h done be=e him or has done s9ce4 ,! recognition ( ! true piano tone seems to h be5 in/9ctive ) him4 ,x appe>s 9 8 e>lie/ works4 ,no?+ he ev] wrote sugge/s or*e/ra or voice4 ,= ! beautiful s++ quality he br+s out 9 mu* ( 8 music is a s++ quality :i* belongs to ! noble in/rum5t to :i* he devot$ himself4 ,n once :ile li/5+ to a ,*op9 composition d y ?9k to y\rself1 z y d s (t5 ) classical works1 l ! ,bee?ov5 sonatas1 ,h[ well ?is w\ld s\nd on ! or*e/ra6 ,yet ,*op9 is z sonor\s1 z passionate1 z plead+1 z melan*oly & z ri* 9 effect1 al?\gh he is play$ only on ! black & :ite keys ( ! pian(orte1 z if he 7 giv5 =? by a hundr$ in/rum5tali/s1 s ?or\ghly did he und]/& ! in/rum5t = :i* he wrote4 ,he 0 ! ,wagn] ( ! pian(orte4 ,a ,cle> ,melodic ,l9e4 ,:at y w notice1 too1 ab\t 8 music is ! g5]al di/9ctness ( 8 melody4 ,!re may be times1 z 9 "s ( 8 arabesque compositions1 l ! ,f ,m9or ,etude1 :5 ! effect is slightly blurr$4 ,b ?is is done purposely1 & z a rule !re w be f\nd a cle> melodic l9e runn+ ?r\gh ev]y?+ he wrote4 ,comb9$ ) ?is melody are weird1 exquisite1 entranc+ h>monies1 & ^? %[]s ( tempo rubato notes :i* glitt] l a veil ( mi/ 9 ! sunlight & yet1 al?\gh a veil1 all[ y to see :at is b5ea? x1 l a delicate fabric :i* seems r to emphasize & reveal ! v ?+s x is int5d$ to conceal4 ,*op9 0 a ,pole4 ,he _h ! melan*oly ( 8 race1 b also its v]ve4 ,pr(\ndly affect$ by 8 c\ntry's sorr[1 he also _h its haughty _s4 ,9 ,p>is1 :]e he sp5t ! mo/ significant ye>s ( 8 life1 he 0 surr\nd$ by ! ari/ocracy ( 8 own c\ntry :o 7 9 exile1 & by ! ari/ocracy ( ! arts4 ,liszt speaks ( an ev5+ at 8 salon :]e he met1 besides "s ( ! ,poli% ari/ocrats1 p l ,he9ri* ,he9e1 ,mey]be]1 ,delacroix1 ,n\rrit1 ! t5or1 & ,bell9i4 ,*op9 admir$ ,bell9i's music1 its cle> & beautiful melodi\sness1 & ,i myself ?9k t ,*op9's melody (t5 has ,italian *>act]i/ics1 al?\gh x is comb9$ ) h>mony t is ,g]man 9 its s]i\sness1 b :olly ,*op9esque 9 all its ess5tials4 ,9 ^? num]\s gr\ps ( ornam5tal1 or r semi-ornam5tal1 notes1 s _m ( !m *romatic1 & all ( !m usually designat$ by ! te*nical t]m pass+ notes1 signify+ t !y are m]ely incid5tal to ! melody & to ! h>monic /ructure1 !re are nev]!less _m t h f> great] importance ?an if !y 7 m]ely pass+4 ,x is 9 br++ out ?is significance by slight accel]ations & ret>ds1 by all[+ a few ( !m to fla% out "h :ile ! o!rs rema9 slightly veil$1 t ! inspir$ ,*op9 play] %[s 8 true conception ( :at ! compos] meant by tempo rubato4 ,x 0 ,liszt1 aft]w>d ! fir/ to recognize ,wagn]1 :o 0 ! fir/ to recognize ,*op94 ,x 0 ,liszt also :o introduc$ him to ,george ,s& 7,mme4 ,dudevant71 ! great passion ( 8 life4 ,*op9 0 ! fri5d ( _m wom54 ,!y ador$ 8 poetic nature1 & !re is mu* 9 8 music t is effem9ate1 delicate & s5sitive2 b altoge!r too mu* has be5 made ( ?is side ( 8 art1 & ( c]ta9 morbid pieces l "s ( ! ,nocturnes4 ,! affair ) ,george ,s& 0 n only a passion1 b 0 a trag$y1 & l all su* trag$ies x left on 8 music ! impr9t ( some?+ deep] & great] ?an m]e delicacy & morbidity4 ,!n1 too1 we h to c\nt ) 8 patriotism & 8 sympa?y ) 8 /ruggl+ c\ntry1 & !re is mu* m ( ! virile & h]oic 9 8 music ?an ei!r ! av]age virtuoso or ! av]age li/5] all[s =4 ,! ,etudes4 ,^! contra/s 9 8 music c readily be recogniz$ :5 a great piani/ makes up ! ,*op9 gr\p on 8 program f ! ,etudes1 :i* are among ! greate/ compositions ( all times1 :e!r we consid] !m z pian(orte music or z music 9 g5]al4 ,!y t\* ! s\l 9 _m places1 & 9 _m & v>i$ ways1 & !y reflect ! alt]nate delicacy & da9t9ess ( 8 g5ius z well z its vigor & nobility4 ,suppose1 = ! sake ( a brilliant beg9n+1 ! virtuoso *ooses to />t (f ) ! fif?1 ! s-call$ ,etude on ,black ,keys1 & fla%es x 9 our eyes1 mak+ ! pian(orte play ! "p ( a mirror held 9 ! sunlight4 ,?is gives u "o side ( ,*op9's music1 its brilliancy2 & x is noticeable t :ile ! tempo ( ! piece is giv5 z vivace1 ! /yle 9 :i* x is to be play$ is indicat$ by ! direction brillante4 ,if ! piani/ cont9ues ) ! ?ird ,etude1 we %all he> "o ( ! mo/ t5d] & beautiful melodies t ,*op9 ev] compos$4 ,let him foll[ ?is ) numb] ?irte51 ! "o 9 ,a flat major1 & we are rem9d$ ( :at ,s*umann said1 9 8 review ( ?is book ( ,etudes1 9 :i* he speaks ( ! ,a flat major z an aeolian h>p1 possess$ ( all ! musical scales1 ! h& ( ! arti/ caus+ !m all to int]m+le 9 _m v>ieties ( fanta/ic embelli%m5t1 yet 9 su* a way z to leave ev]y:]e audible a deep fundam5tal tone & a s(t cont9u\sly s++ upp] voice4 ,s*umann he>d ,*op9 himself play ?is ,etude1 & he says t :oev] w play x 9 ! way describ$ w get ! correct idea ( ,*op9's p]=mance4 ,b x w\ld be an error to ?9k t ,*op9 p]mitt$ e "o ( ! small notes to be di/9ctly he>d4 ,x 0 r an undulation ( ! ,a flat major *ord "h & !re ?r[n al(t anew by ! p$al4 ,?r\gh\t all ! h>monies "o always he>d 9 great tones a wondr\s melody1 :ile once only 9 ! middle ( ! piece1 besides t *ief song1 a t5or voice became prom95t 9 ! mid/ ( ! *ords4 ,aft] ! ,etude1 a feel+ came ov] "o z ( hav+ se5 9 a dream a beatific picture :i*1 :5 half awake1 "o w\ld gladly recall4 ,vigor1 ,passion1 & ,impetus4 ,if n[ ! piani/ wi%es to %[ by contra/ ,*op9 9 8 full vigor1 passionate & impetu\s1 let him take ! great ,c ,m9or ,etude1 ! twelf?1 ,allegro con fuoco4 ,great 9 outl9e1 pride1 =ce & velocity1 x nev] relaxes its grim grip f ! fir/ %rill dissonance to ! ov]:elm+ *ordal close1 says ,hunek]1 add+ t ?is end r+s out l ! crack ( creation4 ,x is suppos$ to be an expression ( ! alt]nat+ wra? & despair ) :i* ,*op9 receiv$ ! tid+s ( ! tak+ ( ,w>saw by ! ,russians 9 ,septemb]1 #ahca1 = x 0 %ortly aft] ?is t ! ,etude 0 compos$4 ,no wond]1 to quote aga9 f ,hunek]1 t all sweeps along 9 tornadic passion4 ,a piani/ h>dly c g amiss 9 mak+ 8 selection f ! tw5ty-sev5 ,etudes1 = ! contra/s :i* he c effect are obvi\s1 & !re is among ^! compositions n "o :i* has n its special m]its4 ,!re is ! t5?1 ( :i* ,von ,buel[ said :oev] c\ld play x 9 a really f9i%$ mann] might congratulate himself on hav+ climb$ to ! highe/ po9t ( ! piani/'s ,p>nassus1 & t ! :ole rep]tory ( music = ! pian(orte does n conta9 a /udy ( p]petual motion s full ( g5ius & fancy z ?is especial "o is univ]sally ackn[l$g$ to be1 except+1 possibly1 ,liszt's ,feux ,follets4 ,!n !re is numb] n9ete5 9 ,c %>p m9or1 l a nocturne ) ! melody 9 ! left h&1 ) ! "r h& answ]+ z a flute w\ld a 'cello4 ,= contra/ take numb] tw5ty-"o1 ! s-call$ ,butt]fly ,etude--a wret*$ misnom]1 because a piani/ gift$ ) true musical clairvoyance c "w up su* a gu/ ( passion 9 ?is ,etude t any butt]fly w\ld be swept away z if by a hurricane4 ,nor1 9 ord] to accompli% ?is1 is x necess>y to make su* a bravura piece ( ! ,etude z s _m piani/s ignorantly d4 ,we h1 too1 ! ,w9t] ,w9d ,etude1 9 ,a m9or1 ,opus #be1 numb] elev5--! tw5ty-?ird 9 ! collection z usually publi%$--plann$ on a gr& scale & c>ri$ out 9 a mann] equal to ! plan4 ,von ,buel[ calls att5tion to ! fact t1 ) all its sonor\sness1 ! greate/ fullness ( s\nd imag9able1 x n[h]e trespasses ^u ! doma9 ( ! or*e/ra1 b rema9s pian(orte music 9 ! /ricte/ s5se ( ! ^w4 ,to ,*op91 says ,von ,buel[1 9 ref]r+ to ?is ,etude1 is due ! honor & cr$it ( hav+ set fa/ ! b\nd>y betwe5 piano & or*e/ral music :i*1 ?r\gh o!r compos]s ( ! romantic s*ool1 especially ,rob]t ,s*umann1 has be5 defac$ & blott$ out1 to ! prejudice & damage ( bo? species4 ,:ile agree+ ) ,von ,buel[ t ,*op9 0 ! great lib]ator ( ! pian(orte1 ,i _c agree ) ! exception he takes to ! music ( ,rob]t ,s*umann4 ,if he _h ref]r$ back to ! unpiani/ic classical sonata =m1 he w\ld h be5 m accurate4 ,! ,preludes4 ,i h gone into "s detail reg>d+ ^! ,etudes because ,i reg>d !m1 z a :ole1 among ! greate/ ( ,*op9's works4 ,b ,i once he>d ,rub9/e9 play ! entire set ( tw5ty-f\r ,preludes1 & ,i sometimes wond]1 z "o (t5 does ) ! compositions ( a great g5ius1 :e!r ^! ,preludes1 9 spite ( _! comp>ative brevity1 %\ld n be rank$ z high z any?+ ,*op9 ev] wrote4 ,accord+ to tradition1 !y 7 compos$ dur+ ! w9t] ( #ahch1 :i* ,*op9 sp5t ) ,george ,s& at ,majorca 9 ! ,bale>ic ,isl&s4 ,b !re is au?ority = say+ t !y receiv$ only ! f9i%+ t\*es !re1 & are 9 fact ! glean+s ( 8 portfolios4 ,x seems z if 9 ^! tw5ty-f\r pieces e phase ( human emotion 7 br\ght out4 ,if my memory is correct1 ,rub9/e9 play$ !m z a solo gr\p at a ,philh>monic conc]t1 or he may h giv5 !m ab\t ! same "t at "o ( 8 recitals4 ,x 0 9 #ahgb2 & :ile aft] ?is long lapse ( "t x is impossible to rememb] e detail ( 8 p]=mance1 ,i %all nev] =get ! exquisite t5d]ness ) :i* he play$ ! v brief ,prelude 9 ,a major1 ! sev5?4 ,he simply c>ess$ ! keybo>d1 t\*$ x z if 8 f+]s 7 tipp$ ) velvet2 & ?\gh into ! o!r compositions ( ! s]ies he put1 accord+ z _! "* v>i$1 an imm5se am\nt ( passion1 or m subdu$ emotion1 ,i c /ill he> ?is sev5? ,prelude s\nd+ 9 my memory1 note = note & b> = b>1 z he r5d]$ x--a prolong$1 tremul\s :isp]4 ,s*umann reg>d$ ! ,preludes z mo/ rem>kable1 say+ t 9 e piece we f9d 9 8 own h& ',fr$]ic ,*op9 wrote x4' ,"o recognizes him 9 8 pauses1 9 8 quick-com+ brea?4 ,he is ! bolde/1 ! pr\de/ poet-s\l ( 8 "t4 ,ea* numb] 9 ! s]ies is complete 9 itself1 a mood picture2 b ! s]ies z a :ole1 9 its collection ( moods1 its panorama ( emotions1 repres5ts ! entire range ( ,*op9's art4 ,! f\r? 9 ,e m9or1 cov]+ only a page1 is "o ( ! mo/ pa!tic pla9ts ev] p5n$4 ,! fifte5? 9 ,d flat major1 ) its cont9ual reit]ation ( ! dom9ant1 l ! incessant drip ( ra9 on a ro(1 is a nocturne--,*op9 9 "o ( 8 morbid mom5ts2 :ile ! eighte5? 9 ,f m9or is z bold a piece ( dramatic recitative z ?\gh x _h be5 lift$ bodily out ( a music-drama4 ,& s we might run ! :ole range ( ! collection1 f9d+ ea* admirable 9 itself1 yet diff]5t f all ! o!rs4 ,:at a gr\p = a recital ^! tw5ty-f\r ,preludes make6 ,nocturnes4 ,if ,*op9 _h n writt5 ! ,nocturnes ,i d\bt if ^? :o play & ^? :o comm5t on him w\ld err s (t5 9 attribut+ su* an excess ( morbidness to him z !y d1 or lay ! *>ge ( effem9acy aga9/ him4 ,morbid ^! ,nocturnes und\bt$ly are 9 _m p>ts1 & yet !y (t5 rise to ! dignity ( elegy1 & sometimes ev5 ( trag$y4 ,exquisitely melodi\s !y are1 too1 & full ( ! haunt+ my/]y ( night4 ,! "o 9 ,c %>p m9or1 ,opus #bg1 ,no4 #a1 is p]haps ! mo/ dramatic ( ! s]ies1 & ,h5ry ,t4 ,f9ck1 9 8 ,*op9 essay1 is entirely )9 b\nds :5 he says t x embodies a great] v>iety ( emotion & m g5u9e dramatic _s on f\r pages ?an _m op]as on f\r hundr$4 ,!re are great] nocturnes ?an ! "o 9 ,g1 ,opus #cg1 ,no4 #b1 b ,i mu/ nev]!less reg>d x z ! mo/ beautiful ( all4 ,x may bewit* & unman ! play]1 z ,niecks has said1 b1 on ! o!r h&1 ,i ?9k its second melody1 l a ,v5etian b>c>olle brea!d ?r\gh ! moonlight1 is ! mo/ exquisite ?+ ,*op9 ev] compos$2 & note h[1 )\t any undulat+ accompanim5t1 its rhy?m nev]!less produces a g5tle wavy effect4 ,probably ! mo/ famili> ( all ! ,nocturnes is ! "o 9 ,e flat1 ! second 9 ! fir/ set1 ,opus #i4 ,x has be5 play$ s mu* t unless x is int]pret$ 9 a p]fect mann] x comes p]il\sly ne> to be+ hackney$2 b "u ! h&s ( a great piani/1 :o unites ) absolute indep5d5ce ( all 8 t5 f+]s1 ! s\l ( a poet1 x becomes an iridesc5t play ( color1 ) a sombre picture ( melan*oly se5 ?r\gh ! iridesc5ce4 ,rem5yi play$ a viol9 arrangem5t ( x ) su* delicacy & s mu* poetry ( feel+ t he actually reconcil$ "o to its transf] f ! pian(orte to ! soprano in/rum5t ( f\r /r+s4 ,*op9 & ,poe4 ,john ,field1 an ,iri% compos] 7#aghb-ahcg71 0 ! fir/ to compose nocturnes1 & x is n unlikely t ,*op9 got ! patt]n f him4 ,occasionally at hi/orical recitals "o he>s a nocturne by ,john ,field2 b ,i ?9k t if ev5 ^? :o love to "q ! orig9ality ( great m5 7 famili> ) ! nocturnes ( ,field1 !y w\ld realize h[ f> ,*op9 w5t beyond him1 mak+ out ( a small type an art =m ( su* poetic cont5t t1 9 spite ( ,field hav+ be5 fir/ 9 ! li/s1 ,*op9 may be said to h orig9at$ ! =m4 ,naturally1 ,field did n reli% see+ himself supplant$ by ?is great] g5ius1 & he said ( ,*op9 t he compos$ music = a sick-room1 & _h a tal5t ( ! hospital4 ,on recital programs ,*op9's nocturnes (t5 appe>1 &1 :5 play$ by a ma/] l ,pad]ewski1 :o is s5sitive to e %ade ( ,*op9's g5ius1 !y are he>d ) an exquisite feel+ ( sorr[4 ,9 ^! ,nocturnes1 ,*op9 always seems to me l ,edg> ,allan ,poe 9 ,ullalume or 9 ,annabel ,lee--& 0 n ,poe "o ( ! only two ,am]ican poets ( real g5ius8 ,waltzes & ,mazurkas4 ,a ,*op9 waltz w admirably af=d contra/ 9 a gr\p ( ,*op9 pieces on a recital program4 ,possibly ! waltzes are ! mo/ frequ5tly play$ by amateurs ( all ,*op9's compositions4 ,b1 to p]petrate an ,iri% bull1 ev5 ^? t h be5 play$ to dea? /ill are v mu* alive4 ,x 0 ,s*umann :o said t if ^! waltzes 7 to be play$ = danc+ m ?an half ! danc]s %\ld be ,c\ntesses1 ! music is s ari/ocratic4 ,inde$1 to li/5 to ^! waltzes is l look+ at a dance ?r\gh a fairy l5s4 ,!y seem to be improvisations ( ! piani/ dur+ a dance1 & to reflect ! ?\ghts t arise 9 ! play]'s m9d z he looks on1 giv+ out ! rhy?m ) ! left h&1 :ile ! melody & ! ornam5tal note-gr\ps indicate 8 fancies--love1 a jeal\s pla9t1 joy1 ec/asy1 & ! t5d] :isp]+ ( enamor$ c\ples z !y glide pa/4 ,! sl[ ,a m9or ,waltz1 ) its viola-l left-h& melody1 0 ,*op9's favorite1 & he 0 s pleas$ :5 ,/eph5 ,hell] told him t x 0 8 favorite "o1 too1 t he invit$ him to lun*eon4 7,/range t we always %\ld reg>d food z ! mo/ appropriate rew>d ( arti/ic sympa?y67 ,ea* waltz1 ) ! exception ( "s ( ! po/hum\s ones1 has its individual *>m1 b to me ! mo/ beautiful is ! "o 9 ,c %>p m9or1 ) its inf9ite expression ( long+ 9 its lead+ !me & its rem>kable *romatic desc5t be=e ! brilliant "r-h& passage t foll[s 9 ! second episode4 ,^! *romatics %\ld be emphasiz$1 z !y are a feature ( ! passage & =m gems ( h>monization4 ,b few piani/s seem to appreciate _! significance & pay sole att5tion to br++ out ! upp] voice4 ,?or\ghly *>act]i/ic ( ,*op91 ?or\ghly 9 keep+ ) 8 ,poli% nationality & its traditions1 are ! ,mazurkas--jewels ( music1 full ( ! f9e/ feel+1 ! mo/ delicate h>monization1 & ) a da% & _s entirely _! own4 ,weitzmann truly says t !y are ! mo/ fai?ful & animat$ pictures ( 8 nation :i* ,*op9 has left u1 & t !y are ma/]pieces ( _! class3 ,"h he /&s =? 9 8 full orig9ality z ! head ( ! romantic s*ool ( music2 9 !m 8 novel & allur+ melodic & h>monic progressions are ev5 m surpris+ ?an 9 8 l>g] compositions4 ,liszt on ! ,mazurkas4 ,liszt1 too1 pauses to pay 8 tribute to !m3 ,"s portray foolh>dy gaiety 9 ! sultry & oppressive air ( a ball1 & on ! eve ( a battle2 "o he>s ! l[ sighs ( p>t+1 ^: sobs are /ifl$ by %>p rhy?ms ( ! dance4 ,o!rs portray ! grief ( ! sorely anxi\s s\l amid fe/ivities1 ^: tumult is unable to dr[n ! pr(\nd woe ( ! he>t4 ,o!rs1 aga91 %[ ! te>s1 premonitions & /ruggles ( a brok5 he>t1 dev\r$ by jeal\sy1 sorr[+ ov] its loss1 b repress+ ! curse4 ,n[ we are surr\nd$ by a swirl+ fr5zy1 pi]c$ by an ev]-recurr+ palpitat+ melody l ! anxi\s beat+ ( a lov+ b reject$ he>t2 & anon di/ant trumpet calls res\nd l dim memories ( bygone fame4 ,all ?is is v f9e1 al?\gh a trifle ov]-s5tim5tal4 ,! fact is t ! ,*op9 ,mazurkas are ar*ly coquetti%1 passionately plead+1 full ( delicate bant]1 love1 despair & conque/--& always ?or\ghly orig9al & ?or\ghly int]e/+4 ,9 fact ,*op9 nev] is commonplace4 ,a ,mazurka or two w add ze/ to any gr\p ( 8 works on a recital program4 ,! ,polonaises are ,*op9's battle-hymns4 ,! roll ( drums1 ! boom+ ( cannon1 ! rattle ( musketry & ! pla9t = ! dead--all ^! ?+s "o may he> 9 "s ( ^! compositions4 ,! m\rn+ notes1 h[ev]1 are miss+ f ! ,a ,major ,polonaise1 ,opus #dj1 & usually call$ ,le ,militaire4 ,x is n a l>ge canvas1 b x is h]oic & "o ( ! mo/ virile ( all 8 works4 ,x 0 ( ?is polonaise ,*op9 said t if he c\ld play x z x %\ld be play$1 he w\ld break all ! /r+s ( ! pian(orte be=e he _h f9i%$4 ,o!r ,works4 ,& !n ! ,ballades & ! ,s*]zos4 ,^! are p]haps ,*op9's greate/ contributions to ! music ( ! pian(orte4 ,!y are wond]fully orig9al1 wond]fully emotional1 yet nev] to ! po9t ( morbidness1 full ( 8 orig9al h>monies1 fasc9at+ rhy?ms & gl[4 ,9 ! ,s*]zos he is n gaily ab&on$1 z ! title w\ld sugge/1 b (t5 grim & mock+--trag$y mock+ itself4 ,*op9 also wrote ,sonatas--felt himself oblig$ to1 p]haps1 because he 0 writ+ = ! pian(orte1 because pian(orte music /ill 0 9 ! grip ( ! ?irty-two ,bee?ov5 pian(orte sonatas4 ,by no means did he adh]e to ! classical =m2 yet ^! ?ree sonatas are n to be c\nt$ among 8 mo/ successful compositions4 ,"o ( !m1 ! ,b flat m9or1 conta9s ! famili> fun]al m>* :i* has be5 said to give =? ! pa9 & grief ( an entire nation--,*op9's nation1 sorr[+ ,pol&2 &1 inde$1 ! middle episode1 ! trio ( ! m>*1 is pa!tic to ! v]ge ( te>s1 :ile 9 ! o!r portions ! m>* progresses to ! grave amid ! toll+ ( bells & ! heavy tramp ( soldi]y4 ,x is play$ & play$1 possibly play$ too mu*2 & yet1 :5 well play$1 nev] misses leav+ a deep impression4 ,because p w p]si/ 9 play+ c]ta9 popul> pieces1 !re is no reason ^! %\ld n be enjoy$ :5 int]pret$ by a ma/]4 ,!re is a va/ diff]5ce betwe5 int]pretation & m]e play+4 ,?is fun]al m>* is foll[$ 9 ! sonata by a f9ale :i* aptly en\gh has be5 describ$ z night w9ds sweep+ ov] graves4 ,! fun]al m>* (t5 is play$ at recitals z a deta*$ piece4 ,i _c see :y piani/s d n add ?is f9ale1 :i* has real psy*ological connection ) x4 ,! ,b]ceuse1 a ,b>c>olle1 two ,conc]tos = ,piano & ,or*e/ra1 :i* (t5 are slight+ly spok5 (1 & mo/ unju/ly1 s9ce !y are full ( beautiful melody & mo/ grateful to play--beyond ^! x does n seem necess>y to g "h1 unless1 p]haps1 to m5tion ! ,impromptus1 :i* are full ( ! mo/ delightful *i>oscuro1 & ! great ,f m9or ,fantaisie4 ,a ,noble f ,head to ,foot4 ,because ,*op9 wrote only = ! pian(orte1 because z a rule 8 pieces are n long1 8 greatness 0 n at fir/ recogniz$4 ,! cons]vatives seem$ to ?9k no man c\ld be great unless he wrote sonatas 9 f\r movem5ts = ! piano & symphonies = ! or*e/ra1 unless he compos$ = fifty or sixty in/rum5ts in/ead ( = only "o4 ,b al?\gh ,jumbo 0 l>ge1 he 0 n acc\nt$ beautiful1 & wor%ip ( ! big is a mi/ak5 k9d ( rev]5ce4 ,*op9's briefe/ mazurka is wor? inf9itely m ?an _m sonatas t cov] _m pages4 ,?is compos] 0 a tone poet ( ! highe/ ord]4 ,:ile to-day we reg>d him ma9ly z ! int]pret] ( beauty1 9 8 own day he 0 an innovator1 a re=m] &1 l 8 own ,poles1 a revolutioni/4 ,! pian(orte--! pian(orte z a solo in/rum5t--suffic$ = 8 mo/ beautiful dreams1 = 8 mo/ passionate long+s4 ,bie1 9 8 ,hi/ory ( ! ,pian(orte & ,pian(orte ,play]s1 tells u t ,*op9 smil$ :5 he he>d t ,cz]ny _h compos$ ano!r ov]ture = eight pianos & sixte5 p]sons1 & 0 v happy ov] x4 ,*op91 adds ,bie1 op5$ to ! two h&s a wid] _w ?an ,cz]ny c\ld give to ?irty-two4 ,rub9/e91 z quot$ by ,hunek]1 apo/rophizes him z ! piano b>d1 ! piano rhapsodi/1 ! piano m9d1 ! piano s\l4444 ,tragic1 romantic1 virile1 h]oic1 dramatic1 fanta/ic1 s\lful1 sweet1 dreamy1 brilliant1 gr&1 simple--all possible expressions are f\nd 9 8 compositions & all are sung by him ^u 8 in/rum5t4 ,hunek] himself says3 ,9 ,*op9's music !re are _m piani/s1 _m /yles1 & all are correct if !y are poetically musical1 logical & individually s9c]e4 ,be/ ( all1 he enl>g$ ! scope = individual expression 9 music4 ,once = all1 he got pian(orte music away f ! set =m ( ! classical sonata4 ,he 0 s9c]e1 & 8 survival :5 ne>ly all ( ,m5delssohn1 mu* ( ,s*umann1 & half ( ,b]lioz h suff]$ an eclipse1 is pro( positive ( 8 vitality4--,?us aga9 ,hunek]4 ,bie says1 9 summ+ up 8 position1 t 8 greatness is 8 ari/ocracy2 t he /&s among musicians1 9 8 faultless ve/ure1 a noble f head to foot4 ,b1 above all1 he is a se>*] ( ! human s\l1 &1 because he se>*$ x out on ! pian(orte1 is he !re=e less great ?an if he _h drawn x out on ! /r+s1 pip$ x on ! re$s1 bl[n x ?r\gh ! tubes & batt]$ x on ! drumheads ( ! or*e/ra8 ,,vi ,,s*umann1 ,,! ,,intimate ,hav+ f9i%$ ) 8 ,*op9 gr\p1 ! piani/ is apt to foll[ x ) 8 ,s*umann selections1 & we meet ) ano!r orig9al musical g5ius4 ,rob]t ,s*umann 0 born at ,zwickau 9 ,june1 #ahaj4 ,8 fa!r 0 a book publi%] & 0 9 hopes t ! son w\ld %[ lit]>y aptitude4 ,9 fact1 ! eld] ,s*umann disc\rag$ ,rob]t's musical aspirations2 & z a result1 in/ead ( receiv+ e>ly 9 life a sy/ematic musical tra9+1 8 education 0 along o!r l9es4 ,he /udi$ law at ,leipzig 9 #ahbh & 9 ,heidelb]g 9 #ahbi1 & 0 ?us :at is r>e among musicians--a compos] ) an academic education4 ,8 meet+ ) ! celebrat$ pian(orte tea*]1 ,fr$]ick ,wieck1 ! ,les*etitzki ( 8 day1 det]m9$ ,s*umann to ent] ^u a musical c>e]4 ,wieck took him into 8 home 9 ,leipzig & he /udi$ ! pian(orte ) a view ( becom+ a virtuoso4 ,9 ord] to ga9 great] fre$om 9 f+]+1 he devis$ a me*anical app>atus by :i* "o f+] 0 susp5d$ 9 a sl+ :ile ! o!rs play$ ^u ! keybo>d4 ,un=tunately1 ?r\gh ! use ( ?is contrivance he /ra9$ ! t5dons ( "o h& & 8 dream ( a virtuoso's c>e] vani%$4 ,mean:ile he _h fall5 9 love ) 8 tea*]'s daught]1 ,cl>a ,wieck1 & f9ally1 aft] det]m9$ opposition on ! "p ( h] fa!r1 m>ri$ h] 9 #ahdj4 ,lat] 9 life a bra9 tr\ble f :i* he _h suff]$ int]mitt5tly became m sev]e1 & 9 ,febru>y1 #ahed1 he became possess$ ( ! idea t ,s*ub]t's _s _h appe>$ to him & giv5 him a !me to "w out4 ,he abruptly left ! room 9 :i* he 0 sitt+ ) "s fri5ds 9 8 h\se at ,duesseldorf & ?rew himself into ! ,rh9e4 ,"s boatm5 rescu$ him f dr[n+1 b he _h to be tak5 to an asylum ne> ,bonn1 :]e he di$ 9 ,july1 #ahef4 ,^! circum/ances 9 8 life are m5tion$ "h n only because ( _! int]e/1 b because !y expla9 "s aspects ( 8 music4 ,s*umann 0 ( a brood+ disposition1 int5sely introspective4 ,comp>$ ) ,*op91 8 music lacks iridesc5ce & %[s a want ( brilliancy4 ,?is w be imm$iately app>5t if at a recital a piani/ places ! ,s*umann pieces aft] a ,*op9 gr\p1 z he is apt to d = ! sake ( ! v contra/ :i* !y af=d4 ,b if ,s*umann's compositions are want+ 9 sup]ficially attractive brightness1 !y m ?an make up = x 9 _! pr(\nd] *>act]i/ics4 ,all ?r\gh !m "o seems to he> a deep-s\nd+ tone4 ,"o might say t 8 works = ! keybo>d in/rum5t are pian(orte music = ! viola1 & = t reason !y appe> to me s expressive & s appeal+4 ,! h>monies are wond]fully compact4 ,"o feels aft] /rik+ a ,s*umann *ord l /iff5+ ! f+]s 9 ord] to hold x d[n m firmly1 keep a grip on x1 & let x s\nd to its la/ e*o4 ,poet1 ,b\rgeois1 & ,philosoph]4 ,9 ,s*umann's music ! s5sitive li/5] w f9d a curi\s bl5d+ ( poet1 b\rgeois1 & philosoph]4 ,he _h ! high] fancy1 ! w>m? ( ! poet1 a b\rgeois love ( :at 0 intimate & homely1 & ! introspection ( ! philosoph]4 ,sometimes he is s introspective t he appe>s to me actually to be burr[+ 9 h>mony l a mole4 ,! melodies are int]wov52 sometimes ! upp] voice flutt]s lightly d[n ^u contrapuntal collisions 9 ! bass2 frequ5tly 8 rhy?ms are syncopat$2 melodies are sup]impos$ ^u ea* o!r2 he uses imitations1 canonic figuration1 & (t5 by introduc+ a s+le note =eign to ! scale1 sudd5ly l[]s or lifts an entire passage4 ,!re are int]ior voices 9 8 music1 half suppress$1 yet mak+ !mselves he>d n[ & !n above ! pr9cipal melody4 ,he loves anticipations--advanc+ a s+le note or a few notes ( ! h>mony & !n fill+ 9 ! su/a9$ tone or tones ) :at 0 at fir/ lack+4 ,^! *>act]i/ics are s m>k$ t x is z easy to recognize ,s*umann z x is to di/+ui% ,*op9 9 ! fir/ few b>s ( a "w by ei!r4 ,ea* is sui g5]is1 ea* has 8 own hallm>k1 & x is a great ?+ 9 music1 z 9 o!r arts1 to h "o's product s p]sonal t !re c be no mi/ak+ ^: x is4 ,s*umann made valuable contributions to s-call$ program music4 ,8 pieces1 besides intr9sic musical wor?1 h a di/9ct mean+1 usually indicat$ by ! titles he gives !m4 ,& ^! titles !mselves (t5 are sugge/$ by ! works ( au?ors :om he admir$1 or h>k back to c]ta9 fanciful figures l h>lequ9s & columb9es4 ,8 second "w = ! pian(orte1 ,! ,papillons1 d]iv$ its inspiration f ! poet1 ,jean ,paul1 :o 0 at t "t an object ( 8 int5se wor%ip4 ,b :oev] expects to f9d butt]flies flutt]+ ?r\gh ^! ,s*umann pieces w be mi/ak54 ,!y are r symbols ( ?\ghts /ill 9 ! *rysalis /ate & wait+1 l butt]flies1 to ca/ (f ! %ell & ga9 air & fre$om4 ,?is symbolism mu/ be borne 9 m9d 9 li/5+ to ,! ,papillons4 ,s*umann himself said1 9 a g5]al way1 reg>d+ 8 programmatic int5tions 9 ?is & o!r works1 t ! titles giv5 to 8 music %\ld be tak5 v mu* l ! titles ( poems1 & t1 z 9 ! case ( poems1 ! music 9 itself %\ld be beautiful1 irrespective ( title or pr9t$ explanation4 ,?is is true ( all program music t has surviv$4 ,x w be f\nd beautiful 9 itself2 b x also is easy to discov] t ! titles & explanations :i* are calculat$ to place ! he>] 9 c]ta9 receptive moods va/ly add to 8 enjoym5t4 ,c>naval & ,kreisl]iana4 ,i am always glad :5 a piani/ elects to place ! ,s*umann ,c>naval on 8 program1 because x is s *>act]i/ic ( ! compos]'s me?od ( "w & ( 8 writ+ %ort pieces en suite1 giv+ a sep>ate "n to ea* ( 8 div]sions yet unit+ !m into "o composition by means ( a compreh5sive title4 ,! complete title to ?is "w is ,c>naval ,sc5es ,mignonnes sur ,quatre ,notes p\r ,piano1 ,op4 #i4 ,! f\r notes are ,a ,s ,c ,h1 & 9 explanation x %\ld be said t 9 ,g]man ,s 7es7 is ,e flat1 & ,h ! ,b ( our musical scale4 ,as* 0 ! bir?place ( ,erne/9e von ,frick51 "o ( ,s*umann's e>ly loves4 ,?ree ( ! divisions ( ! ,c>naval are entitl$ ,flore/an1 ,eusebius1 & ,m>* ( ! ,davidsbu5dl]4 ,s*umann _h f\nd$ ! ,neue ,zeits*rift fu] ,musik1 & he contribut$ to x "u ! noms-de-plume ( ,flore/an1 ,eusebius & ,r>o2 :ile 8 associates 7 d5om9at$ ! ,davidsbu5dl]1 x be+ _! mission to combat & put to flight ! old fogies ( music1 z ,david _h ! ,phili/9es4 ,s*umann himself is ! look]-on at ?is c>nival1 a ?9k] w&]+ ?r\gh ! gay :irl1 draw+ 8 own conclusions1 & not+ d[n 9 music ! v>i$ figures z !y pass1 & 8 reflections on !m4 ,we meet ,*op9 & ,pagan9i1 ea* neatly *>act]iz$2 ,*i>9a 7! ,italian dim9utive ( ,cl>a7 & ,e/rella 7none o!r ?an ,erne/9e h]self72 also ,h>lequ91 ,pantalon1 & ,columb9e4 ,! ,davidsbu5dl] m>* 9 to ! /ra9s ( ! ,g]man folk-song1 ,gr&fa!r w$d$ my gr&mo!r de>1 ,s gr&fa!r !n 0 a bridegroom1 ,i fe>1 & ! :ole ends 9 a m]ry upro>4 ,he wrote ano!r c>nival suite1 ,opus #bf1 ! ,fas*+s*wank aus ,wi51 9 :i* he introduc$ a sugge/ion ( ! ,m>seillaise1 :i* 0 at t "t =bidd5 to be play$ 9 ,vi5na4 ,! title ( ano!r "w :i* ranks among 8 f9e/ productions1 ! ,kreisl]iana1 also requires explanation4 ,?is he d]iv$ f a book by ,e4 ,t4 ,a4 ,h(fmann1 :o sometimes is spok5 ( z ! ,g]man ,poe1 al?\gh he lacks ! exquisite art ( ! ,am]ican au?or--9 fact1 is a ,poe b\nd up 9 mu* heavy ,g]man philosophy & turgid introspection4 ,! ,kreisl] ( ,h(fmann's book is an exub]ant s5tim5tali/1 & is said to h _h 8 prototype 9 ,kapellmei/] ,ludwig ,boehn]1 :o1 aft] a brilliant e>ly c>e]1 _h become addict$ to dr9k & 0 r$uc$ to maudl9 memories ( 8 =m] triumphs4 ,9 ,h(fmann's book !re is a contra/ drawn betwe5 ?is pa!tic "*1 ^: ideals h become %ad[s :i* he va9ly *ases1 & ! prosaic views ( life z set =? by ano!r "* ,kat] ,murr 7lit]ally ,tomcat ,purr74 ,b ^! ,kreisl]iana1 ( :i* ,bie says ! joys & sorr[s express$ 9 ^! pieces 7 nev] put into =m ) m sov]eign p[]1 %\ld be entitl$ ,s*umanniana1 = al?\gh ! title is d]iv$ f ,h(fmann1 ! cont5t is ,s*umann4 ,?\ghts ( ,8 ,cl>a4 ,conc]n+ ! "w z a :ole he wrote to ,cl>a :ile 9 ! ?roes ( composition3 ,?is music n[ 9 me1 & always su* beautiful melodies6 ,?9k ( x1 s9ce my la/ lett] to y ,i h ano!r entire book ( new ?+s ready4 ,i int5d to call !m ',kreisl]iana1' & 9 !m y & a ?\ght ( y play ! *ief role1 & ,i %all d$icate !m to y4 ,yes1 !y belong to y z to no "o else1 & h[ sweetly y w smile :5 y f9d y\rself 9 !m6 ,my music seems to me s wond]fully int]wov51 9 spite ( all its simplicity1 & speak+ "r f ! he>t4 ,x has t effect ^u all = :om ,i play ^! ?+s1 z ,i n[ d gladly & (t54 ,if ,cl>a & a ?\ght ( ,cl>a play ! *ief role1 :at becomes ( ,kreisl] & ,kat] ,murr8 ,surely ,kreisl]iana are ,s*umanniana4 ,full ( v>i$ *>act]i/ics are ! ,fantasie ,pieces4 ,among ^! is ! famili> ,w>um1 :i* "o has b to he> to recognize at once t x is no ord9>y ,:y1 b a "q ^u ! answ] to :i* dep5ds ! happ9ess ( a lifetime2 ,at ,ev5+ 7,ab5ds71 ) its s5se ( p]fect peace2 ! buoyant ,so>+ 7,aufs*wung72 ,:ims 7,grill572 ,night ,sc5e1 an e*o ( ! leg5d ( ,h]o & ,le&]2 ! fable1 ,dream-,:irls 7,traumeswirr57 & ! ,end ( ! ,song1 ) its m+l+ ( humor & sadness4 ,^! ,fantasie ,pieces & ! aptly nam$ ,novelettes seem de/9$ always to reta9 _! popul>ity4 ,& !n !re are ! ,sc5es f ,*ildhood1 to :i* belongs ! ,traeum]ei2 ! ,=e/ ,sc5es1 ! ,sonatas2 ! h]oic te*nical /udies1 bas$ on ! ,pagan9i ,capriccios1 & ! ,etudes ,symphoniques1 & ! ,fantasie1 above ! fir/ movem5t ( :i* he plac$ ^! l9es f ,s*legel3 ,?r\gh e tone !re passes1 ,to him :o deigns to li/1 ,9 v>i$ e>?ly dream+1 ,a tone ( g5tl5ess4 ,cl>a 0 ! tone1 z he told h]4 ,x 0 l>gely ?r\gh ,madame ,s*umann's public play+ ( h] husb&'s works t !y won _! way4 ,ev5 s1 ow+ to _! lack ( brilliancy & _! introspection1 !y 7 long 9 com+ to _! own4 ,b ! be/ ( !m1 includ+1 ( c\rse1 ! admirable ,a ,m9or ,conc]to1 long w reta9 _! hold on ! mod]n piani/'s rep]toire4 ,william ,mason w5t to ,leipzig 9 #ahdi4 ,only a few ye>s be=e ,i arriv$ at ,leipzig1 he says 9 8 ,memories1 ,s*umann's g5ius 0 s little appreciat$ t :5 he ent]$ ! /ore ( ,breitkopf ,ha]tel ) a new manuscript "u 8 arm1 ! cl]ks w\ld nudge "o ano!r & laugh4 ,"o ( !m told me t !y reg>d$ him z a crank & a failure because 8 pieces rema9$ on ! %elf & 7 9 ! way4 99 99 99 ,%ortly aft] my return f ,g]many 7to ,new ,york7 ,i w5t to ,breus+'s1 !n "o ( ! pr9cipal music /ores 9 ! city1--! ,s*irm]s are 8 successors1--& ask+ = c]ta9 compositions by ,s*umann1 ,i 0 in=m$ t !y _h 8 music 9 /ock1 b z !re 0 no dem& = x1 x 0 pack$ away 9 a bundle1 & kept 9 ! basem5t4 ,:at a contra/ n[6 ,,vii ,,liszt1 ,,! ,,giant ,,among ,,virtuosos ,x is possible1 b n likely1 t "s piani/ will+1 = ! mom5t at lea/1 to sacrifice outw>d success to inw>d satisfaction1 w1 aft] he has play$ ! ,s*umann selections on 8 program1 essay "o ( ,brahms's %ort] pian(orte compositions4 ,^! are ev5 m introspective ?an ,s*umann's works & comb9e a weal? ( le>n+ ) great dep? ( musical feel+4 ,x is almo/ necess>y1 h[ev]1 t "o %\ld "k !m ?or\ghly 9 ord] to appreciate !m1 & audi5ces h be5 s sl[ to welcome !m t !y appe> b infrequ5tly on recital programs4 ,^? ( my read]s1 h[ev]1 :o are piani/s yet /ill unacqua9t$ ) ^! r>e & beautiful compositions1 w soon f9d !mselves "u ! spell ( _! intimate p]sonal expression if !y w get !m & />t to le>n !m4 ,! ,brahms ,v>iations on a !me by ,ha5del make a /up5d\s "w1 & ! r>e occasions on :i* x is play$ by any "o capable ( ma/]+ x %\ld be reg>d$ z ev5ts4 ,grieg1 ) 8 cle>1 fasc9at+ ,norwegian clang-t9ts1 :i* also play ?r\gh 8 fasc9at+ ,conc]ta 9 ,a m9or2 ,dvorak1 ! ,bohemian2 ,ts*aik[sky1 ^: fir/ ,conc]to 9 ,b flat m9or is among ! f9e/ mod]n works ( its k9d2 or "s ( ! neo-,russians1 are compos]s :o may figure on ! program ( a mod]n pian(orte recital4 ,b x is m likely t ! virtuoso w "h elect to br+ 8 recital to a close ) "s "w by ! gr&e/ figure 9 ! hi/ory ( pian(orte play+ & "o ( ! greate/ 9 ! hi/ory ( composition--,franz ,liszt4 ,kiss$ by ,bee?ov54 ,liszt 0 born at ,raid+1 ne> ,od5burg 9 ,hung>y1 9 ,octob]1 #ahaa1 & he di$ 9 ,bayreu? 9 ,july1 #ahhf4 ,f e>ly boyhood1 :5 he 0 a pian(orte prodigy1 almo/ until 8 dea?1 he occupi$ a unique position 9 ! musical _w4 ,he 0 ! ,pagan9i ( ! pian(orte1 ! greate/ piani/ t ev] liv$1 & he 0 a great compos]2 & al?\gh1 z a virtuoso1 he retir$ f public p]=mances long be=e he di$1 8 fame z a play] & 8 /ill great] fame z a compos] h n dim9i%$ & 8 influ5ce /ill is pot5t4 ,8 fa!r 0 an amateur1 & began giv+ him in/ruction :5 he 0 six ye>s old4 ,! boy's tal5t 0 s pron\nc$ t ev5 )\t pr(essional in/ruction he 0 able1 :5 he 0 n9e ye>s old1 to appe> 9 public & play a difficult conc]to by ,ries4 ,s great 0 8 success t 8 fa!r arrang$ = o!r conc]ts at ,pressburg4 ,aft] ! second ( ^!1 sev]al ,hung>ian noblem5 agre$ to provide an annual /ip5d ( #fjj flor9s = six ye>s = ,franz's fur!r musical education4 ,! family !n remov$ to ,vi5na1 :]e1 = ab\t a ye> & a half1 ! boy took pian(orte lessons f ,cz]ny & !ory ) ,sali]i4 ,bee?ov5 he>d ( him1 & ask$ to see him1 & at _! meet+1 aft] ,franz _h play$1 )\t notes & )\t ! o!r in/rum5ts1 ,bee?ov5's pian(orte trio1 ,op4 #ig 7! l>ge "o 9 ,b flat major71 ! great ma/] embrac$ & kiss$ him4 ,9 #ahbc he 0 tak5 to ,p>is ) a view to be+ plac$ 9 ! ,cons]vatoire4 ,b al?\gh he pass$ 8 exam9ation )\t difficulty1 ,*]ub9i1 at t "t ! director ( ! in/itution & prejudic$ aga9/ infant ph5om5a1 reviv$ a rule exclud+ =eign]s & admission 0 d5i$ him4 ,8 success z a piani/1 h[ev]1 0 enorm\s & !re 0 ! greate/ dem& 9 salons & musical circles = le petit ,litz4 7,z "s writ]1 ^: "n ,i _c recall1 has said1 ! ne>e/ ,p>is came to appreciat+ ,liszt 0 to call him ',litz4'7 ,he 0 ! fri5d ( ,*op91 ( o!r musicians1 & ( pa9t]s & lit]>y m51 & ! doors ( ! mo/ exclusive draw+-rooms ( ! ,fr5* capital 7 op5 to him4 ,pagan9i play$ 9 ,p>is 9 #ahca1 & 8 wond]ful feats ( te*nique inspir$ ,liszt to ef=ts to develop ! te*nique ( ! pian(orte ) z mu* d>+ z ,pagan9i _h %[n 9 develop+ ! capacity ( ! viol94 ,?is 0 ! beg9n+ ( ^? wond]ful feats ( virtuosity z well z ( ! rem>kable te*nical dem&s made 9 8 compositions1 bo? ( :i* comb9$ h done s mu* to make ! pian(orte :at x is1 & to br+ out its full pot5tiality z reg>ds execution & expression4 ,episode ) ,c\ntess ,d',ag\lt4 ,= a "t ,liszt left ,p>is ) ! ,c\ntess d',ag\lt1 :o wrote "u ! nom-de-plume ( ,daniel ,/]n1 & :o 0 ! "m ( 8 ?ree *ildr51 ( :om ,cosima became ! wife1 fir/ ( ,von ,buel[ & !n ( ,wagn]4 ,8 f\r ye>s ) ! ,c\ntess he pass$ 9 ,g5eva4 ,twice1 h[ev]1 he came =? f ?is retirem5t to cross ! sword ( virtuosity ) & vanqui% 8 only s]i\s rival 9 pian(orte play+1 ,sigismund ,?alb]g1 a brilliant play] & a man1 l ,liszt himself1 ( fasc9at+ p]sonality1 b lack+ ! ,hung>ian's intellectual capacity4 ,9 #ahbi1 he & ,c\ntess d',ag\lt hav+ sep>at$1 he began 8 triumphal progress ?r\gh ,europe1 & = ! foll[+ t5 ye>s ! _w rang ) 8 fame4 ,he !n settl$ d[n z ,c\rt ,conductor at ,weim>1 :i* became ! headqu>t]s ( ! new romantic movem5t 9 ,g]many4 ,h>dly a p]son ( di/9ction 9 music or any ( ! o!r arts pass$ ?r\gh ! t[n )\t a visit to ! ,alt5burg1 to pay 8 respects to ,liszt4 ,at ,weim>1 ,loh5gr9 _h its fir/ p]=mance2 "h ,b]lioz's works f\nd a he>+2 "h ev]y?+ new 9 music t also 0 m]itori\s 0 made welcome4 ,liszt's activity at ,weim> cont9u$ until #ahei1 :5 he left !re on acc\nt ( ! ho/ility display$ to ! production ( ,cornelius's op]a1 ,! ,b>b] ( ,bagdad1 & its resultant failure4 ,he rema9$ away f ,weim> = elev5 ye>s1 liv+ = ! mo/ "p 9 ,rome1 until #ahgj1 :5 he 0 invit$ to conduct ! ,bee?ov5 fe/ival & re-e/abli%$ cordial relations ) ! ,c\rt4 ,!reaft] he divid$ 8 ye> betwe5 ,rome1 ,buda-,pe/1 :]e he _h be5 made ,presid5t ( ! new ,hung>ian ,academy ( ,music1 & ,weim>4 ,liszt1 ! arti/ & ! man1 says ,bak]1 9 8 ,biographical ,diction>y ( ,musicians1 is "o ( ! gr& figures 9 ! hi/ory ( music4 ,g5]\s1 k9dly & lib]al-m9d$1 :ole-s\l$ 9 8 devotion to art1 sup]bly equipp$ z an int]pret] ( classic & romantic works alike1 a compos] ( orig9al conceptions & d>+ execution1 a conductor ( m>vell\s insight1 wor%ipp$ z tea*] & fri5d by a ho/ ( disciples1 rev]5c$ & admir$ by 8 fell[-musicians1 honor$ by in/itutions ( le>n+ & by pot5tates z no arti/ be=e or s9ce1 8 influ5ce1 spread by ^? :om he p]sonally taught & sway$1 w probably increase r ?an dim9i% z "t goes on4 ,x has be5 said t ,liszt pass$ ?r\gh six lives 9 ! c\rse ( 8 exi/5ce--only ?ree less ?an a cat4 ,z petit ,litz he 0 ! precoci\s *ild ador$ ( ,p>is2 z a y\?1 he plung$ into ! e>ly romanticism :i* unit$ ! devotees ( v>i\s bran*es ( art 9 ! ,fr5* capital3 next came ! episode ) ! ,c\ntess d',ag\lt2 !n 8 triumphal t\rs ?r\gh ,europe2 settl+ at ,weim>1 he became ! c5tre ( ! mod]n musical movem5t 9 ,europe2 f9ally1 he revolv$ 9 a cycle ?r\gh ,rome1 ,buda-,pe/ & ,weim>1 foll[$ f place to place by a b& ( devotees4 ,liszt's compositions = ! pian(orte may be classifi$ z foll[s3 ,fantasies ,dramatiques2 ,annees de ,pel]9age2 ,h>monies ,poetiques et ,religieuses2 ! ,sonata1 ,conc]tos1 ,etudes1 & miscellane\s works2 ,rhapsodies ,hongroises2 arrangem5ts & transcriptions f ,b]lioz1 ,bee?ov51 ,web]1 ,pagan9i1 ,s*ub]t & o!rs4 ,! ,don ,juan ,fantasie4 ,among ! ,fantasies ,dramatiques1 :i* are v>iations on !mes f op]as1 n m]e potp\rris or transcriptions1 b g5u9e fantasies1 & usually bas$ on "o or two !mes only1 ! be/ kn[n is ! ,don ,juan ,fantasie4 ,x is f\nd$ ^u ! duet1 ,la ci d>em la mano4 ,liszt utilizes a passage f ! ov]ture z an introduction1 !n gives ! entire duet1 v>y+ x1 h[ev]1 n 9 set =m1 b ) ! effect ( a brilliant fantasia1 & !n w9ds up ! :ole ) a pre/o on ! ,*ampagne ,song4 ,x is true x no long] is ,moz>t--b ,moz>t might be glad if x 74 ,x is ev5 possible t ! "t w come :5 ,don ,giovanni w h vani%$ f ! op]atic /age1 yet be rememb]$ by ?is brilliant fantasia ( ,liszt's4 ,x is "o ( ! great t\rs de =ce ( pian(orte music1 & x is good music z well4 ,ano!r ( ! bett] kn[n ,fantasies ,dramatiques is ! "o ,liszt made f ,norma1 9 :i* occurs a long su/a9$ trill & a melody = ! "r h&1 :ile ! left plays ano!r melody & ! accompanim5t to ! :ole4 ,9 o!r words1 !re is 9 ?is passage a trill su/a9$ ?r\gh\t1 two melodies & ! accompanim5t1 all go+ on at ! same "t1 yet writt5 ) su* p]fect k ( pian(orte te*nique t any virtuoso wor?y ( ! "n z us$ 9 a mod]n s5se1 c compass x4 ,a "w call$ ! ,hexam]on is includ$ 9 catalogues ( ,liszt's compositions1 al?\gh he only contribut$ "p ( x4 ,x is ! m>* f ,bell9i's ,puritani ) six v>iations1 writt5 by six piani/s & orig9ally play$ by !m on six pian(ortes1 five ( !m full gr&s1 :ile ,*op91 ^: v>iation 0 n ( ! bravura1 k9d1 sat at a two-/r+$ semi-gr&4 ,liszt contribut$ ! introduction1 ! connect+ l9ks & ! f9ale ( ! ,hexam]on4 ,! ,annees de ,pel]9age 7 publi%$ 9 ?ree divisions1 ext5d+ 9 po9t ( "t f #ahce to #ahhc4 ,!y are a s]ies ( musical impressions1 z ! titles indicate--,au lac de ,wall5/adt1 ,pa/oral1 ,au bord d'une s\rce1 ,sposalizio 7aft] ,raphael's picture 9 ! ,br]a71 ,il ,p5s]oso 7aft] ,mi*ael ,angelo74 ,_m ( ^! are adroit & elegant 9 ! treatm5t ( ! pian(orte1 & at ! same "t beautiful z music4 ,! ,h>monies are p>tly transcriptions ( 8 own vocal pieces1 p>tly musical illu/rations to poems4 ,among !m is ! famili> ,cantique d',am\r1 & ! ,b5$iction de ,dieu dans la solitude1 ( :i* he himself 0 v fond4 ,william ,mason says t at ! ,alt5burg a copy ( x always 0 ly+ on ! pian(orte1 :i* ,liszt _h us$ s _m times :5 play+ = 8 gue/s t x became associat$ ) memories ( ,b]lioz1 ,rub9/e91 ,vieuxtemps1 ,wi5iawski1 ,joa*im4 ,:5 ,mr4 ,mason left ,weim> he took ?is copy ) him z a s\v5ir1 /ill has x1 & treasures x all ! m = ! m>ks ( usage :i* x be>s4 ,! ,consolations1 :i*1 z ,edw>d ,dannreu!r says1 may be tak5 z coroll>ies to ! ,h>monies1 are t5d]ly expressive pian(orte pieces4 ,giant ,/rides 9 ,virtuosity4 ,! ,etudes be> ! dates #ahbg1 #ahci & #aheb1 & z !y are 9 ! ma9 progressive editions ( ! same pieces1 !y repres5t ! hi/ory ( pian(orte te*nique z x develop$ "u ,liszt's own f+]s4 ,9 _! e>lie/ %ape :5 issu$ 9 #ahbg1 !y 7 b little diff]5t f ! classical ,etudes ( ,cz]ny & ,cram]4 ,9 _! late/ %ape !y =m ! extreme ( virtuosity4 ,inde$1 ^! ?ree editions are ?ree giant /rides 9 ! developm5t ( pian(orte te*nique4 ,von ,buel['s c\pl+ ( ! ,etude call$ ,feux ,follets ) ! ,a flat /udy 7,no4 #aj7 ( ,*op9 already has be5 quot$ "u t compos]4 ,he consid]$ x ev5 m difficult4 ,s*umann call$ ! collection ,/urm und ,graus ,etud5 7,/udies ( ,/orm & ,dread71 & express$ ! op9ion t !re 7 only t5 or twelve piani/s liv+ :o c\ld play !m4 ,9 ! ,etude call$ ,waldesraus*5 w be f\nd "s +5i\s d\ble c\nt]po9t4 ,! !me is divid$ into two portions1 a desc5d+ & asc5d+ "o1 :i* lat] on appe> toge!r1 ) fir/ "o & !n ! o!r upp]mo/4 ,o!r titles among ! ,etudes are ,paysage1 ,mazeppa 7a trem5d\s te/ ( endurance71 ,vision1 ,*asse-neige1 ,h>monies de ,soir & ,gnom5tanz4 ,?r\gh ,liszt's transcriptions ( "s ( ! ,pagan9i pieces 9 ! =m ( ,etudes1 :i* include ! fam\s ,bell ,rondo f "o ( ! ,pagan9i conc]tos1 ?is piece1 = example1 n[ is f> bett] kn[n z a pian(orte composition ?an 9 its orig9al =m = viol94 ,sonata1 ,conc]tos & ,rhapsodies4 ,! ,sonata 9 ,b ,m9or d$icat$ to ,s*umann is "o ( ! few sonatas 9 :i* !re is psy*ological unity ?r\gh\t4 ,?is is due to ! fact t x is "o movem5t2 al?\gh by employ+ v>i\s !mes bo? 9 rapid & 9 sl[ "t1 ,liszt has giv5 x a c]ta9 aspect ( division into movem5ts4 ,x might well s]ve z a model to y\ng] compos]s :o ?9k !y h to write sonatas4 ,dannreu!r1 x is true1 says ( x t x is a curi\s comp\nd ( true g5ius & empty rhetoric1 b admits t x conta9s en\gh ( g5u9e impulse & orig9ality 9 ! !mes ( ! op5+ section1 & ( suave calm 9 ! melody ( ! section t /&s = ! sl[ movem5t1 to secure ! he>]'s att5tion4 ,mr4 ,han*ett's *>act]ization ( x z "o ( ! mo/ ma/]ly compositions ev] put into ?is =m--a gigantic1 :olly admirable & orig9al "w--is m j4 ,! two pian(orte conc]tos 79 ,e flat & ,a major7 are sup]b works4 ,n only are !y writt5 ) all ! skill :i* ,liszt knew s well h[ to apply :5 compos+ = ! in/rum5t1 b ) ?is te*nical p]fection !y also unite ?\ght & feel+4 ,l ! sonata1 !y %[ ?r\gh\t _! developm5t ! psy*ological unity :i* is s ess5tially mod]n4 ,:at ! pian(orte owes to ,*op9 & ,liszt c be summ$ up by say+ t !y 7 poets & ?9k]s :o took ! tr\ble to ?or\ghly und]/& ! in/rum5t4 ,because _! music s\nds s well on x1 at lea/ "o ( !m1 ,liszt1 frequ5tly is /igmatiz$ z a trick/] ( virtuosity & a *>latan1 z if !re 7 "s wond]ful m>k ( g5ius 9 writ+ some?+ = "o in/rum5t t s\nds bett] on ano!r or may n s\nd z well z x ought to on any4 ,if ,liszt's pian(orte music is grateful to ! play] & equally grateful to ! li/5]1 x is n only because he knew h[ to write = ! pian(orte1 b because1 ) deep ?\ghts & poetic feel+s1 he also und]/ood h[ to express !m cle>ly & piani/ically4 ,! ,rhapsodies ,hongroises are ( su* dazzl+ brilliancy & %[ (f a piani/'s te*nique to su* good purpose & s brilliantly1 t _! real musical wor? has be5 "u-e/imat$4 ,!y are full ( spl5did fire1 vitality & passion1 & _! rhy?mic ?rob is simply irresi/ible4 ,l ! ,etudes1 _! hi/ory is curi\s4 ,at fir/ !y 7 m]ely %ort transcriptions ( ,hung>ian tunes4 ,^! 7 elaborat$ & republi%$ & cancel$1 & !n rewritt5 & publi%$ aga94 ,9 all !re are fifte5 pieces 9 ! set1 end+ ) ! ,rakoczy ,m>*4 ,z ,ung>is*e ,melodi5 !y began to appe> 9 #ahch2 z ,melodies ,hongroises 9 #ahdf2 z ,rhapsodies ,hongroises 9 #ahed4 ,consid] t !y are ov] fifty ye>s old1 yet rema9 ! greate/ pieces = ! display ( brilliant te*nique & ! mo/ grateful works = :i* a piani/ c ask1 & t at ! same "t !y are full ( admirable musical cont5t6 ,because !y happ5 to be brilliant & effective !y are call$ tra%y1 :]eas !y owe _! brilliancy & effectiv5ess to ,liszt's own transc5d5t virtuosity1 to 8 k ( ! pian(orte4 ,9 ord] to be great mu/ music be classic1 heavy & dull1 & badly writt5 = ! in/rum5t on :i* x is to be play$8 ,h[ ,liszt ,play$4 ,9 ^? *>m+ rem9isc5ces f :i* ,i already h _h occasion to quote sev]al times1 ,william ,mason's ,memories ( a ,musical ,life1 ,mr4 ,mason says t "t & aga9 at ,weim> he he>d ,liszt play1 & t !re is absolutely no d\bt 9 8 m9d t ,liszt 0 ! greate/ piani/ ( ! n9ete5? c5tury1 :at ! ,g]mans call an ,ers*e9ung1 an epo*-mak+ g5ius4 ,tausig said ( him3 ,liszt dwells alone ^u a solit>y m\nta9-top & none ( u c approa* him4 ,rub9/e9 said to ,mr4 ,william ,/e9way1 9 ! ye> #ahgc 7,i quote f ,mason73 ,put all ! re/ ( u toge!r & we w\ld n make "o ,liszt4 ,:ile ,mr4 ,mason will+ly ackn[l$ges t !re h be5 o!r great piani/s1 "s ( !m n[ liv+1 he adds3 ,b ,i mu/ diss5t f ^? writ]s :o affirm t any ( ^! c be plac$ ^u a level ) ,liszt4 ,^? :o make ?is ass]tion are too "y to h he>d ,liszt o!r ?an 9 8 decl9+ ye>s1 & x is unju/ to comp>e ! play+ ( "o :o has long s9ce pass$ 8 prime ) t ( "o :o is /ill 9 x4 ,edw>d ,dannreu!r1 :o he>d ,liszt play f #ahfc onw>d1 says t !re 0 ab\t 8 play+ an air ( improvisation & ! expression ( a gr& & f9e p]sonality1 p]fect self-possession1 grace1 dignity & nev]-fail+ fire2 t 8 tone 0 l>ge & p5etrat+1 b n h>d1 e effect be+ produc$ naturally & easily4 ,dannreu!r adds t he has he>d p]=mances1 x may be ( ! same pieces1 by y\ng] m51 su* z ,rub9/e9 & ,tausig1 b t !y left an impression z ( ,liszt at second-h& or ( ,liszt pa/ 8 prime4 ,none ( 8 contempor>ies or pupils 7 s spontane\s1 individual & conv9c+ 9 _! play+2 & none except ,tausig s infallible ) _! f+]s & wri/s4 ,liszt himself paid ?is sup]b tribute to ! pian(orte z an in/rum5t3 ,to me my pian(orte is :at to ! seaman is 8 boat1 to ! ,arab 8 horse2 nay1 m1 x has be5 till n[ my eye1 my spee*1 my life4 ,its /r+s h vibrat$ "u my passions & its yield+ keys h obey$ my e caprice4 ,x may be t ! secret tie :i* b9ds me to x s closely is a delusion1 b ,i hold ! pian(orte v high4 ,9 my view1 x takes ! fir/ place 9 ! hi]>*y ( in/rum5ts4 ,x is ! (t5e/ us$ & ! wide/ spread4 ,9 ! circumf]5ce ( its sev5 octaves x embraces ! :ole range ( an or*e/ra1 & a man's t5 f+]s are en\gh to r5d] ! h>monies :i* 9 an or*e/ra are br\ght out only by ! comb9ation ( hundr$s ( musicians4 ,! pian(orte has on ! "o side ! capacity ( assimilation1 ! capacity ( tak+ unto itself ! life ( all in/rum5ts2 on ! o!r h& x has its own life1 its own gr[?1 its own individual developm5t4 ,my highe/ ambition is to leave to ! piano play]s to come aft] me1 "s useful in/ructions1 ! footpr9ts ( advanc$ atta9m5t1 some?+ :i* may "s day provide a wor?y witness ( ! labor & /udy ( my y\?4 ,be> 9 m9d t ,liszt play$ = ,bee?ov51 t he 0 a contempor>y ( ,*op9 & ,s*umann1 t he 0 "o ( ! fir/ to ?r[ himself he>t & s\l into ! ,wagn] movem5t1 & t dea? came to him :ile he 0 att5d+ ! fe/ival p]=mances at ,bayreu?2 be> 9 m9d1 ,i repeat1 t he play$ = ,bee?ov5 & di$ at ,p>sifal2 /rive to appreciate ! extremes ( musical hi/ory & developm5t impli$ by ?is2 !n rememb] t he rema9s a pot5t =ce 9 music--& y may be able to =m "s idea ( 8 greatness4 ,,viii ,,) ,,pad]ewski--,a ,,mod]n ,,piani/ ,,on ,,t\r ,liszt nev] 0 9 ?is c\ntry1 b we c ga9 "s idea ( ! success t w\ld h be5 8 f ! triumphs ( ,ignace ,pad]ewski4 ,o!r fam\s piani/s h come to ?is c\ntry--,?alb]g 9 #ahef2 ,rub9/e9 9 #ahgb2 ,von ,buel[1 ,joseffy1 :o took up 8 resid5ce "h2 ,ros5?al1 ,josef ,h(mann4 ,b ,pad]ewski's success has be5 great] ?an any ( ^!4 ,am]icans are said to be fickle2 b al?\gh ,pad]ewski no long] is a novelty1 8 "n /ill is ! "o ) :i* to fill a conc]t hall f floor to ro(4 ,:y ?is is s is no secret4 ,he> him & y w und]/& ! reason4 ,to a te*nique :i* does n hesitate at any?+ & an indu/ry t fl9*es at no?+--no "o practices m assidu\sly ?an he--he adds ! s\l ( a poet & ! /r5g? ( an a?lete4 ,he looks sl5d] & poetical en\gh z he sits at ! piano on ! conc]t /age2 b if y wat* him f ne> by y w be able to note ! great physical p[] :i* he c br+ into play :5 necess>y--& :i* he nev] br+s into play unless x is necess>y4 ,!re=e he comb9es poetry ) =ce2 & back ( bo? is ?\ght--intellectual capacity4 ,9 a frame on ! wall ( a ,new ,york tru/ company is a *eck = #aga1iha4hi4 ,x repres5ts ! net receipts ( "o virtuoso = "o conc]t t\r1 & is believ$ to be ! l>ge/ actual am\nt ev] e>n$ 9 ?is c\ntry by an arti/1 :e!r s+] or play]1 9 a s+le season4 ,?is *eck is drawn to ! ord] ( ,ignace ,j4 ,pad]ewski4 ,an op9ion reg>d+ ! piano by a man :o by play+ x c e>n s l>ge a sum1 & e>n x because he is ! greate/ liv+ expon5t ( pian(orte play+1 w\ld seem wor? hav+4 ,pad]ewski believes t1 save 9 "o respect1 ! pian(orte has rea*$ p]fection & is incapable ( fur!r improvem5t4 ,he does n ?9k t any?+ m %\ld be done to add to its volume ( tone4 ,if any?+1 he consid]s ?is too great & ! in/rum5t too l\d already4 ,in/ead ( m p[]1 r less w\ld be satisfactory4 ,:]e91 h[ev]1 he consid]s ! in/rum5t /ill lack+1 not)/&+ its wond]ful developm5t dur+ ! la/ c5tury1 is 9 its capacity = su/a9$ tone--= hold+ a long-drawn-out tone ) ! facility ( ! viol91 = example4 ,he is conv9c$1 h[ev]1 t ! means ( imp>t+ ?is capacity = su/a9+ tone to ! pian(orte w be discov]$ 9 due "t & t ! inv5tion probably w be made 9 ?is c\ntry4 ,t increas$ tone-su/a9+ p[] = ! in/rum5t is a great desid]atum d\btless is ! op9ion ( _m exp]ts2 b t ! greate/ ma/] ( ! pian(orte consid]s x p]fect 9 o!r respects is highly int]e/+ & significant4 ,aft] all1 x rema9s ! greate/ ( all solo in/rum5ts1 because1 )9 ! smalle/ compass & ) ! simple/ means ( control1 x has ! range ( an or*e/ra4 ,= ?is reason x is ! mo/ popul> ( in/rum5ts &1 9 its manufacture1 ext5ds f ! poli%$ dry-goods box ) int]nal organs ( iron1 wire & felt & ) a gli/5+ r[ ( celluloid tee? ready to bite z soon z ev] ! lid is rais$1 to ! highe/-class conc]t gr&4 ,! ,piano ,doctor4 ,we :o h our pian(ortes 9 our own homes & are cont5t ) an occasional visit f ! tun]1 little dream ( ! c>e be/[$ ^u ! in/rum5t on :i* an arti/ l ,pad]ewski plays4 ,in/rum5t8 ,i %\ld h said in/rum5ts2 =1 :5 he is on t\r1 he has a :ole suite ( !m1 no less ?an f\r1 & ea* is coddl$ z if x 7 a prima donna fre% f ! h&s ( ,madame ,m>*esi1 in/ead ( a ?+ ( wood1 metal & ivory4 ,true1 ^! pianos d n h _! ?roats spray$ on ! slighte/ possible occasion1 b !y are c>efully protect$ aga9/ extremes ( heat & cold1 &1 :ile ! prima donna consults h] physician only at int]vals1 a piano doctor is 9 con/ant att5dance on ^! in/rum5ts4 ,pad]ewski's piano doctor has travel$ ) him = sev]al seasons1 occupy+ ! same private c> & practically liv+ ) him dur+ ! entire t\r4 ,he 0 ) him on ! t\r1 9 fact at 8 table at breakfa/ ) him1 :5 8 special tra9 0 run on to an op5 sid+ ne> ,ea/ ,syracuse & left ! track1 ,pad]ewski be+ ?r[n =w>d on 8 h&s aga9/ ! table & /ra9+ ! muscles ( "o arm s sev]ely t he 0 oblig$ to cancel 8 rema9+ engagem5ts4 ,up to t "t1 h[ev]1 8 net receipts f sev5ty-f\r conc]ts _h be5 #acg1jab4ej1 :ile be=e ?is ,am]ican t\r began he gave ?irty-six conc]ts 9 ,au/ralia ) av]age receipts ( #e1jjj4 ,8 record conc]t 0 at ,dallas1 ,texas1 "s ye>s ago1 :5 ! receipts 7 #i1jjj4 ,x occurr$ dur+ a ,conf$]ate reunion4 ,:ile he 0 at ! pian(orte1 ! v>i\s po/s m>*$ up to ! hall ) b&s & fife-&-drum corps play+4 ,pad]ewski1 h[ev]1 kept "r on ?r\gh ! bla/s & %rill+4 ,b :5 "o ( ! po/s let out ! fam\s rebel yell1 ! piani/ leap$ f 8 seat z if he expect$ a tig] to spr+ at 8 ?roat4 ,!n he realiz$ :at _h happ5$1 smil$ & cont9u$ amid laught] & applause4 ,he _h he>d ( ! fam\s rebel yell1 b ?is 0 ! fir/ "t he _h he>d x4 ,pian(ortes on ,_! ,travels4 ,b to return to ! pian(ortes on t\r4 ,:5 ,pad]ewski came to ?is c\ntry f ,au/ralia1 8 piano doctor met him at ,san ,francisco ) f\r in/rum5ts :i* _h be5 select$ ) great c>e 9 ,new ,york & be5 %ipp$ ,we/ 9 *>ge ( ! doctor4 ,"o ( ^! ! virtuoso res]v$ = 8 private c>1 = he practices en r\te :5ev] !re is a /op long en\gh to make x wor? :ile4 ,he r>ely plays :5 ! c> is 9 motion4 ,( ! o!r ?ree in/rum5ts1 ! two he lik$ be/ 7 s5t to 8 hotel1 :]e dur+ f\r days prec$+ 8 fir/ conc]t1 he practic$ f sev5 to eight h\rs a day1 notify+ ! doctor tw5ty-f\r h\rs 9 advance :i* pian(orte he w\ld use4 ,?is in/rum5t became1 (ficially1 ,no4 #a2 ! o!rs ,no4 #b & ,no4 #c4 ,! piani/'s r\te took him f ,san ,francisco to ,oakl&1 ,san ,jose1 & ,portl&1 ,oregon4 ,to make c]ta9 t he always w h a f9e in/rum5t to play on1 a me?od ( %ipp+ ahead ! in/rum5ts n 9 use is adopt$4 ,?us1 :ile he 0 play+ on ,no4 #a 9 ,san ,francisco & ,oakl&1 ,no4 #b 0 s5t on to ,san ,jose & ,no4 #c to ,portl&4 ,( c\rse1 none b an exp]t c\ld detect ! slighte/ diff]5ce 9 ^! pian(ortes1 b a play] l ,pad]ewski is s5sitive to ! mo/ delicately balanc$ di/9ctions or nuances 9 tone & action4 ,"o ( 8 idiosyncrasies is t always be=e go+ on he asks ! doctor :i* ( ! ?ree in/rum5ts is on ! /age1 because1 z he himself expresses x1 ,i don't want to meet a /rang]4 ,aft] ea* conc]t1 at supp]1 ?is conv]sation inv>iably takes place3 ,pad]ewski3 ,well1 ',doctor1' x s\nd$ all "r to-night1 didn't x8 ,doctor3 ,yes1 sir4 ,pad]ewski3 ,well1 !n1 please pass me ! bread4 ,!re nev] has be5 occasion to record :at w\ld happ5 if ! doctor 7 to say1 ,no1 sir4 ,= he always has be5 able to answ] 9 ! affirmative1 ) ! mo/ scrupul\s reg>d = v]acity4 ,pad]ewski is z c>eful to play 8 be/ 9 ! lea/ important place 9 :i* he gives a conc]t z he is 9 ,new ,york4 ,?is high s5se ( duty t[>d 8 public acc\nts 9 "p = 8 supremacy among piani/s ,pad]ewski is n a m]e virtuoso4 ,he is a man ( f9e intellectual gifts :o plays ! piano l a poet4 ,paul ,pott]1 ! playwright1 :o lives 9 ,g5eva1 ,switz]l&1 & occasionally has d9$ !re ) ,pad]ewski1 tells me t he has conv]s$ ) ! piani/ on almo/ e conceivable subject except music & always f\nd him rem>kably well in=m$4 ,8 k ( ! hi/ory ( 8 native l&1 ,pol&1 & ( its lit]ature is said to be q wond]ful4 ,*op91 also a ,pole1 he idolizes & reg>ds z f> & away ! greate/ compos] = ! piano4 ,to ! fund = ! ,*op9 memorial at ,w>saw he contributes by *>g+ "o doll> = 8 autograph1 & two doll>s = 8 signature & a few b>s ( music4 ,f ! money receiv$ z ! proce$s ( "o season's autographs he 0 able to remit ab\t #a1cjj to ! fund4 ,:5 ! amus+ little dialogue at ! supp] table1 :i* ,i h record$1 takes place1 ! pian(orte :i* ! virtuoso has us$ at 8 conc]t already w be on ! way to its next de/9ation4 ,= x is "p ( ! doctor's duty to see x safely out ( ! hall & onto ! tra9 be=e rejo9+ ! p>ty on ! private c>4 ,! in/rum5t is n box$4 ,! legs are remov$ & !n a c>efully fitt$ canvas is drawn ov] ! body & held 9 place by /raps4 ,! body is slid out ( ! hall & sl[ly let d[n onto a specially con/ruct$ eight-:eel skid1 swung l[1 s z to be z ne>ly z possible on a level ) ! plat=m4 ,?is skid is "p ( ! outfit ( ! t\r4 ,! record "t = deta*+ ! legs ( ! pian(orte1 cov]+ ! body1 remov+ ! in/rum5t f ! /age & hav+ x on ! skid ready to />t = ! /ation1 is sev5 m9utes4 ,?aw+ ,out a ,pian(orte4 ,! in/rum5ts nev] are set up except "u ! doctor's p]sonal sup]vision4 ,be=e ea* conc]t ! pian(orte on :i* ,pad]ewski is to play is c>efully gone ov] & put 9 p]fect condition--tun$ &1 if necess>y1 regulat$1 & ?is no matt] h[ rec5tly he may h us$ x4 ,defects s trifl+ t nei!r an ord9>y play] nor ! public w\ld notice !m1 w\ld j> on ! s5sitive e> & n]ves ( ! virtuoso4 ,sometimes ! in/rum5t has be5 expos$ to su* a l[ temp]ature t fro/ is f\nd to h =m$ n only on ! lid1 b ev5 on ! iron plate inside4 ,9 su* cases ! pian(orte is set up &1 aft] ! film ( fro/ has be5 scrap$ (f1 is all[$ to ?aw out sl[ly & naturally be=e x is t\*$ = tun+ or regulat+4 ,!re 0 an amus+ incid5t 9 ! h&l+ ( "o ( ! ,pad]ewski in/rum5ts at ,columbus1 ,mississippi1 :]e ,pad]ewski play$ = sev5 hundr$ girls at ! ,/ate ,college1 al?\gh x 0 m excit+ ?an div]t+ at ! "t x happ5$4 ,! doctor relies on local help = gett+ ! pian(orte f ! skid to ! /age & back aga94 ,usually effici5t help]s are obta9able1 b at ,columbus1 :]e ! college hall is up/airs & rea*$ only by a n>r[ flight ( /eps1 !re 0 no aid to be _h save f among ! negroes l\ng+ on ! public squ>e4 ,! doctor w5t among !m4 ,:at are y do+8 he ask$4 ,naw?9'4 ,want a job8 ,naw1 too busy1 0 ! usual reply4 ,at la/1 h[ev]1 a b& ( tw5ty color$ g5tlem5 0 secur$ 9 ! hope t muscle & quantity w\ld make up = lack ( quality4 ,b nev] be=e has a high-grade pian(orte be5 9 su* imm95t p]il4 ,x 0 got up/airs well en\gh1 9 spite ( ! fact t ! negroes walk$ all ov] ea* o!r4 ,b ! desc5t6 ,! doctor1 ,emil ,c4 ,fis*]1 /ood at ! top ( ! /airs direct+2 ,j4 ,e4 ,francke1 ! treasur] ( ! t\r1 bel[4 ,ar\nd ! latt] fell a %[] ( fragm5ts f ! wall1 ! rail1 ! po/s2 & at "o "t x seem$ z if ! :ole bani/] w\ld give way & ! pian(orte cra% 9 spl9t]s on ! floor4 ,!re 7 o!r mom5ts ( susp5se1 = ! pian(orte z well z = ! two wat*]s1 :o drew a long brea? :5 ! in/rum5t safely 0 on ! skid4 ,=tunately su* unt[>d incid5ts are =gott5 9 ! g5]al atmosph]e ( good-humor :i* ! piani/ diffuses ab\t him4 ,he enjoys 8 little joke4 ,dur+ ! la/ t\r he h&$ a photograph ( himself to ,mr4 ,francke inscrib$3 ,to ! future ,gov]nor ( ,hobok54 ,at ! ,auditorium hotel1 ,*icago1 ,millw>d ,adams' bro!r1 ab\t leav+ on a trip1 ask$ = an autograph4 ,pad]ewski1 quick z a fla%1 wrote3 ,= ! bro!r ( ,mr4 ,adams on ! ,eve ( 8 dep>ture f ,*icago4 ,pad]ewski travels on a special tra94 ,) him usually are 8 wife1 8 manag]1 ! treasur] ( ! t\r1 ! piano doctor1 a secret>y1 valet & maid4 ,8 home is a villa on ,lake ,g5eva1 :]e he has a beautiful g>d5 & v9]y1 8 dogs1 8 room = billi>ds1 a game ( :i* he is v fond1 & unlimit$ opportunity = swimm+1 8 favorite ex]cise4 ,app>5tly sl5d] & surely mo/ poet-look+ at ! piano1 he is a man ( iron /r5g? z well z ( iron w4 ,,h[ ,,to ,,appreciate ,,an ,,or*e/ral ,,conc]t ,,ix ,,developm5t ,,( ,,! ,,or*e/ra ,! appreciation & consequ5t enjoym5t ( an or*e/ral conc]t w be greatly enhanc$ if ! li/5] is famili> ) c]ta9 details reg>d+ ! or*e/ra itself & "s ( ! compositions he is apt to he>4 ,?is ,i h borne 9 m9d 9 ! *apt] divisions ( ?is portion ( my book1 &1 z a result1 ,i h divid$ ! subject into ! g5]al developm5t ( ! or*e/ra1 ! specific consid]ation ( ! pr9cipal or*e/ral in/rum5ts1 a cursory comm5t>y on c]ta9 phases ( or*e/ral music & a *apt] on ,ri*>d ,/rauss :o repres5ts its mo/ advanc$ aspects4 ,! fir/ music ( :i* we mod]ns take acc\nt 0 unaccompani$ 7a capella7 s++ = *ur* s]vice4 ,x 0 compos$ 9 ! old ecclesia/ical modes1 :i* are q diff]5t f our mod]n scales1 & ! "n :i* comes mo/ prom95tly to m9d 9 connection ) ?is beg9n+ ( our musical hi/ory is t ( ,pale/r9a4 ,) ! influ5ce ( ?is old *ur* *oral music s dom9ant1 !re is little wond] t ! fir/ ef=ts to write music = in/rum5ts 7 awkw>d4 ,x may be said "r "h t ?is awkw>dness1 or r ?is lack ( k & appreciation ( ! individual capacity ( v>i\s in/rum5ts1 is %[n ?r\gh\t ! s*ool ( contrapuntal composition1 ev5 by ,ba*4 ,:5 ,ba* wrote = or*e/ral in/rum5ts he did n consid] _! peculi> tone quality1 or _! capacity = individual expression1 b simply _! pit*--:i* in/rum5t c\ld take up ?is1 t or ! o!r !me 9 8 contrapuntal score1 :5 he _h c>ri$ x z high or z l[ z he c\ld on "s o!r in/rum5t4 ,?is also is true ( ,ha5del1 al?\gh 9 less degree4 ,b j z we h se5 t ,dom5ico ,sc>latti work$ along orig9al l9es = ! pian(orte & creat$ ! g]m ( ! sonata =m1 :ile ,ba* 0 weav+ & plait+ ! c\nt]po9t ( 8 suites1 p>titas & ,well-,temp]$ ,clavi*ord1 s 9 ,italy1 dur+ a l>ge "p ( ?is contrapuntal p]iod1 a di/9ct k9d ( or*e/ral music 0 spr++ up4 ,aga91 j z we h se5 t 9 ,italy ! pian(orte %ook (f ! trammels ( c\nt]po9t :5 x began to be us$ z an accompanim5t = dramatic recitative 9 op]a1 s ! in/rum5ts 9 ! or*e/ra1 :5 compos]s began to use !m = op]atic accompanim5ts1 7 employ$ m ) ref]5ce to _! individual tone qualities & p[] ( expression4 ,primitive ,or*e/ral ,ef=ts4 ,al?\gh1 /rictly speak+1 n ! fir/ compos] to use or*e/ral in/rum5ts 9 op]a1 & to display skill 9 utiliz+ _! individual *>act]i/ics1 ! mo/ important ( ^! e>ly m5 0 ,claudio ,montev]de 7#aefh-afdc74 ,9 8 ,orpheo1 :i* he produc$ 9 #afjh1 he utiliz$1 besides two h>psi*ords 7& x may be ( int]e/ to note "h t in/rum5ts ( ! pian(orte class 7 long us$ 9 or*e/ras z connect+ l9ks betwe5 all ! o!r in/rum5ts71 two bass viols1 two t5or viols1 "o d\ble h>p1 two little ,fr5* viol9s1 two l>ge guit>s1 two wood organs1 two viola di gambas1 "o regal1 f\r trombones1 two cornets1 "o octave flute1 "o cl>ion1 & ?ree trumpets ) mutes--a fairly =midable array ( in/rum5ts :5 ! p]iod is consid]$4 ,( especial int]e/ are ! two little ,fr5* viol9s1 :i* probably 7 ! same z our mod]n viol9s1 n[ ! prima donnas ( ! or*e/ra & f> outnumb]+ any o!r in/rum5t employ$4 ,x 0 ,montev]de :o 9 8 ,tancr$i e ,clor9da made use = ! fir/ "t ( a tremolo = /r+$ in/rum5ts1 & x is said s to h a/oni%$ ! p]=m]s t !y at fir/ refus$ to play x4 ,be=e ,montev]de !re 7 op]atic compos]s l ,jacopo ,p]i1 & aft] him ,cavalli & ,aless&ro ,sc>latti1 :o did mu* = _! day to develop ! or*e/ra4 ,?is is a v brief summ>y ( ! e>ly developm5t ( in/rum5tal music1 a /ory t easily c\ld fill a volume--:i*1 probably1 h[ev]1 v few p w\ld take ! tr\ble to read4 ,bee?ov5 & ! ,mod]n ,or*e/ra4 ,! fir/ really mod]n compos] = ! or*e/ra 0 ,joseph ,haydn 7#agcb-ahji71 :o also may be consid]$ ! fa!r ( ! symphony4 ,born be=e ,moz>t1 he also surviv$ t compos]4 ,8 music is gay & naive2 :ile ,moz>t1 al?\gh he _h decid$ly great] g5ius = ! dramatic ?an ,haydn1 nev]!less is only a trifle m emotional 9 8 symphonies4 ,! ?ree greate/ ( ^! :i* he compos$ dur+ ! summ] ( #aghh1 ! ,e flat major1 ,g m9or & ,c major 7kn[n z ! ,jupit]71 %[ a decid$ advance 9 ! k ( or*e/ration1 & ! ,e flat major is notable because x is ! fir/ symphonic "w 9 :i* cl>9ets 7 us$4 ,haydn's & ,moz>t's symphonies--t is1 ! be/ ( !m--s\nd agreeable ev5 to-day 9 a conc]t hall ( mod]ate size4 ,b because mod]n music ) its sonor\s or*e/ra requires l>ge auditoriums1 l ,c>negie ,hall 9 ,new ,york1 ^! *>m+ symphonic works ( ! e>li] classical p]iod are swall[$ up 9 space & mu* ( _! naive & pretty effect is lo/4 ,bee?ov5 may be said to h e/abli%$ ! mod]n or*e/ra4 ,v few in/rum5ts h be5 add$ to x s9ce 8 "t1 & if an or*e/ra to-day s\nds diff]5tly f :at x did 9 8 day1 if ! works ( mod]n compos]s s\nd ri*] & m effective f a mod]n po9t ( view ?an 8 or*e/ral compositions1 x is n because we h add$ a lot ( new in/rum5ts1 b because our compos]s h acquir$ great] skill 9 br++ out _! peculi> tone qualities & because ! te*nique ( or*e/ral play]s has greatly improv$4 ,x is = precisely ! same reasons t ,bee?ov5's symphonies %[ su* a great advance ^u ^? ( 8 pr$ecessors4 ,! po9t is n t ,bee?ov5 add$ a few m in/rum5ts to ! or*e/ra1 b t1 s f> z 8 own purposes 7 conc]n$1 he h&l$ all ! in/rum5ts :i* he includ$ 9 8 b& ) mu* great] skill ?an 8 pr$ecessors _h %[n4 ,_m writ]s affect to despise te*nique4 ,b 9 po9t ( fact ! developm5t ( te*nique & ! developm5t ( art g h& 9 h&4 ,an arti/1 be he writ]1 pa9t] or musician1 _c adequately express 8 ideas unless he has ! means ( do+ s or ! g5ius to create ! means4 ,h[ ,he ,develop$ ,or*e/ral ,res\rces4 ,9 foll[+ ,bee?ov5's symphonies f ! ,fir/ to ! ,n9?1 we c see ! mod]n or*e/ra develop+ "u 8 h&s f t h&$ ov] to him by ,haydn & ,moz>t4 ,9 ! ,fir/ & ,second ,symphonies1 ,bee?ov5 employs ! usual /r+s1 two flutes1 two oboes1 two cl>9ets1 two bassoons1 two horns1 two trumpets & tympani4 ,9 ! ,?ird ,symphony1 ! ,eroica1 he adds a ?ird horn "p2 9 ! ,fif? a piccolo1 trombones & contrabassoon4 ,al?\gh employ$ 9 ! f9ale only1 ^! in/rum5ts "h make _! fir/ b[ 9 ! symphonic or*e/ra4 ,9 ! ,n9? ,symphony ,bee?ov5 introduc$ two additional horns1 ! fir/ use ( f\r horns 9 a symphony4 ,! scor+ ( ^! symphonies is giv5 some:at m 9 detail 9 ! *apt] ,h[ ! ,or*e/ra ,grew1 9 ,mr4 ,w4 ,j4 ,h5d]son's ,! ,or*e/ra & ,or*e/ral ,music1 a well conceiv$ & logically develop$ book1 9 :i* ! full /ory ( ! or*e/ra & its gr[? is cle>ly & int]e/+ly told4 ,bee?ov5 n only und]/ood to a great] degree ?an 8 pr$ecessors ! peculi> *>act]i/ics ( or*e/ral in/rum5ts1 he also compell$ or*e/ral play]s to acquire a bett] te*nique by giv+ !m m difficult music to execute4 ,9 po9t ( great] difficulty 9 p]=mance1 a ,bee?ov5 symphony holds ab\t ! same relation to ! symphonies ( ,moz>t & ,haydn z ! ,bee?ov5 pian(orte sonatas d to ! sonatas ( ^? compos]s4 ,bee?ov5 & ,wagn]4 ,j z ,bee?ov5 add$ only a few in/rum5ts to ! or*e/ra ( 8 pr$ecessors1 b %[$ great] skill 9 h&l+ ^? in/rum5ts1 s ! mod]n musician--a ,wagn] or a ,ri*>d ,/rauss--a*ieves 8 /rik+ in/rum5tal effects by a /ill great] k ( in/rum5tal res\rces4 ,! ,bee?ov5 or*e/ra practically is ! or*e/ra ( to-day4 ,few1 v few1 in/rum5ts h be5 add$4 ,mod]n compos]s /eadily h ask$ = m & m in/rum5ts 9 ea* gr\p2 b t is q a diff]5t ?+ f add+ new in/rum5ts4 ,!y h requir$ m in/rum5ts ( ! same k9d1 b h ask$ = v few in/rum5ts ( new k9ds4 ,let me illu/rate ?is by two mod]n examples4 ,firm1 compact & eloqu5t z is ,bee?ov5's or*e/ra 9 ! ,fif? ,symphony1 x _c = a mom5t be comp>$ 9 ri*ness1 sonority1 tone color1 se>*+ p[] ( expression & unflagg+ int]e/1 ) ,wagn]'s or*e/ra 9 ,die ,mei/]s+]4 ,yet ,wagn] has add$ only "o trumpet1 a h>p & a tuba to ! v or*e/ra :i* ,bee?ov5 employ$ :5 he scor$ = ! ,fif? ,symphony2 :ile = 8 ,symphonie ,pa!tique1 "o ( ! f9e/ ( mod]n or*e/ral works1 ,ts*aik[sky adds only a bass tuba to ! or*e/ra us$ by ,bee?ov54 ,! simple fact is t mod]n compos]s h /udi$ e possible phase ( tone color & expression ( :i* ea* in/rum5t is capable4 ,fur!rmore1 by skillfully divid+ ! or*e/ra into gr\ps & us+ ^! gr\ps l sep>ate or*e/ras1 yet unit+ !m into "o great or*e/ra1 !y produce wond]fully ri* contrapuntal effects1 & ?us make ! mod]n or*e/ra s\nd1 n sev5ty-five ye>s1 b five hundr$ ye>s m advanc$ ?an t ( ,bee?ov51 h[ev] great we gladly ackn[l$ge ,bee?ov5 to h be54 ,b]lioz1 an ,or*e/ral ,juggl]4 ,foll[+ ,bee?ov51 ! next great developm5t 9 ! h&l+ ( or*e/ral res\rces is due to ,hector ,b]lioz 7#ahjc-ahfi71 & x is curi\s "h h[ ne>ly "o musical epo* ov]laps ano!r4 ,sc>latti 0 compos+ sonatas1 & ?us voic+ ! beg9n+ ( ! classical era1 :ile ,ba* 0 br++ ! contrapuntal p]iod to a close4 ,x 0 only five ye>s aft] ! completion ( ! ,n9? ,symphony t ,b]lioz's ,francs ,juges ov]ture 0 play$4 ,a ye> lat] 8 ,symphonie ,fanta/ique1 ,episode de la ,vie d'un ,arti/e1 0 br\ght out4 ,yet ! ,b]lioz or*e/ra s\nds s utt]ly diff]5t f ! ,bee?ov5 or*e/ra t x almo/ might be a collection ( diff]5t in/rum5ts4 ,ev5 m ?an ,bee?ov51 ,b]lioz und]/ood ! individuality1 ! pot5tial *>act]i/ics ( ea* in/rum5t4 ,b]lioz compos$ on a colossal scale1 s colossal t 8 music has be5 call$ ar*itectural4 ,! ,dies ,irae 9 8 ,requiem calls = f\r brass b&s1 9 f\r diff]5t corn]s ( ! hall1 & = f\rte5 kettl$rums tun$ to diff]5t notes1 9 addition to ! regul> or*e/ra1 *orus & soloi/s4 ,?is has be5 dubb$ ?ree-/ory music--! or*e/ra on ! gr\nd floor1 ! *orus on ! belle etage1 :ile ! f\r extra brass b&s are /ation$ aux troisieme4 ,un=tunately = ,b]lioz1 8 ambition1 9 s f> z x relat$ to ! art ( or*e/ration & ! skill he %[$ 9 accompli%+ :at he want$ to ) 8 body ( in/rum5tali/s1 0 f> 9 excess ( 8 inspiration4 ,8 k ( ! or*e/ra 0 suffici5t to h af=d$ him e facility = ! expression ( great ?\ghts if he _h !m to express4 ,b 8 p[] ( !matic inv5tion1 8 gift = melody1 0 n equal to 8 g5ius = in/rum5tation4 ,nev]!less1 ?r\gh ?is g5ius = in/rum5tation--= 8 te*nique 0 s extraord9>y t x am\nt$ to g5ius--& ?r\gh 8 v /riv+ aft] biz>re1 unusual & gigantic effects1 he contribut$ l>gely t[>d ! developm5t ( ! te*nical res\rces ( in/rum5tal music4 ,wagn]1 ,greate/ ( ,or*e/ral ,compos]s4 ,b]lioz wrote a book on in/rum5tation1 :i* has lately be5 re-edit$ by ,ri*>d ,/rauss4 ,9 x ,/rauss1 mode/ly ignor+ himself1 says t ,wagn]'s scores m>k ! only advance 9 or*e/ration wor? m5tion+ s9ce ,b]lioz4 ,x is true1 ! te*nical possibilities ( ! or*e/ra 7 greatly improv$1 s f> z ! woodw9d 0 conc]n$1 by ! introduction ( key$ in/rum5ts con/ruct$ on ! sy/em inv5t$ by ,!obald ,boehm2 :ile ! ,fr5* in/rum5t mak]1 ,adolphe ,sax1 also made important improvem5ts by p]fect+ ! bass cl>9et & ! bass tuba4 ,b :atev] aid ,wagn] d]iv$ f ^! improvem5ts m]ely 0 incid5tal to ! pr9ciple :i* is illu/rat$ by e "o ( 8 scores--t te*nique m]ely is a means to an end4 ,wagn] is ! greate/ or*e/ral virtuoso :o ev] brea!d4 ,nev]1 h[ev]1 does he employ te*nique = te*nique's sake1 b always only to enable 8 or*e/ra to convey ! exact mean+ he has 9 8 m9d or express ! emotion he has 9 8 he>t1 & he sp>es no pa9s to hit ^u ! be/ me?od ( convey+ ^! ideas & express+ ^! emotions4 ,t is "o reason :y1 al?\gh no "o ) any k ( music c\ld mi/ake a passage by ,wagn] = any "o else's music1 ea* ( 8 works has its own peculi> or*e/ral /yle4 ,= ea* ( 8 works reproduces ?r\gh ! or*e/ra ! atmosph]e ( its subject4 ,! scores ( ,tannhaeus]1 ,loh5gr91 ,! ,r+ ( ! ,nibelung1 ,tri/an1 ,mei/]s+] & ,p>sifal nev] c\ld be mi/ak5 = any "o b ,wagn]'s music4 ,yet h[ diff]5t !y are f ea* o!r6 ,he makes ea* in/rum5t speak its own language4 ,:51 = example1 ! ,engli% horn speaks ?r\gh ,wagn]1 x speaks ,engli%1 n brok5 ,engli%1 & s x is ) all ! o!r in/rum5ts ( ! or*e/ra--he makes !m speak )\t a =eign acc5t4 ,if ,wagn] employs a l>ge or*e/ra1 x is n = ! sake ( mak+ a noise1 b 9 ord] to ga9 v>iety 9 expression4 ,he is wond]fully res]v$ 9 ! use ( 8 =ces1 says ,ri*>d ,/rauss4 ,he employs !m z a great g5]al w\ld 8 battalions1 & does n s5d 9 an army corps to pick (f a skirmi%]4 ,/rauss reg>ds ,loh5gr9 z a model score = a some:at advanc$ /ud5t1 be=e proce$+ to ! polyphony ( ,tri/an & ,mei/]s+] or ! fairy region ( ! ',nibelungs4' ,! h&l+ ( ! w9d in/rum5ts1 writes ,/rauss1 rea*es a hi!rto unkn[n e/hetic height4 ,! s-call$ ?ird woodw9ds1 ,engli% horn & bass cl>9et1 add$ = ! fir/ "t to ! woodw9ds1 are already employ$ 9 a v>iety ( tone color2 ! voices ( ! second1 ?ird & f\r? horn1 trumpets & trombones e/abli%$ 9 an indep5d5t polyphony1 ! d\bl+ ( melodic voices *>act]i/ic ( ,wagn]1 c>ri$ out ) su* assurance & fre$om & k ( _! *>act]i/ic timbres1 & work$ out ) an und]/&+ ( tonal beauty1 t to ?is day evokes un/9t$ admiration4 ,at ! close ( ! second act ! organ tones t ,wagn] lures out ( ! or*e/ra triumph ov] ! que5 ( in/rum5ts itself4 ,h[ ,wagn] ,produces ,8 ,effects4 ,! effects produc$ by ,wagn] are n due to a l>ge or*e/ra1 b to 8 mann] ( us+ ! in/rum5ts 9 x4 ,among "s ( 8 special effects are ! employm5t ( full h>mony ) :at =m]ly w\ld h be5 m]ely s+le pass+ notes1 & above all1 ! exploitation ( e res\rce ( c\nt]po9t 9 comb9ation ) ! well develop$ sy/em ( h>mony inh]it$ f ,bee?ov51 b l>gely add$ to by himself4 ,9 fact1 ,wagn]'s greatness is due to ! comb9ation ( sev]al great gifts--8 melodic inv5tiv5ess1 8 ri* h>mony & 8 wond]ful te*nical skill 9 weav+ toge!r 8 !mes 9 a /ill ri*] c\nt]po9t4 ,?is c\nt]po9t is n1 h[ev]1 dry & =mal1 because 8 !mes--8 lead+ motives--are !mselves full ( emotional significance & n conceiv$1 l ^? ( ! old contrapunti/s1 m]ely3 = =mal treatm5t4 ,ri*>d ,/rauss is su* a ma/] ( or*e/ration t ,i am incl9$ to quote 8 summ>y ( ! developm5t ( ! art ( or*e/ration1 f 8 edition ( ! ,b]lioz book1 :i* at ?is writ+ has n yet be5 translat$4 ,i %\ld l to recall to ! read]'s m9d1 h[ev]1 ! fact t ,/rauss' fa!r 0 a not$ ,fr5*-horn play]2 t ,/rauss himself has a great love = ! in/rum5t2 & t :51 9 summ+ up ! causes ( ,wagn]'s primacy among or*e/ral writ]s1 he f9ds "o ( !m 9 ! great] te*nical facility ( ! valve horn1 x is well to take ?is ) a gra9 ( salt & attribute x some:at to 8 own affection = ! in/rum5t4 ,! symphonies ( ,haydn & ,moz>t1 accord+ to ,/rauss1 are enl>g$ /r+ qu>tets ) obbligato woodw9d1 brass & tympani1 & ! occasional use ( o!r in/rum5ts ( noise to /r5g!n ! tuttis4 ,ev5 ) ,bee?ov51 ! symphony is /ill simply enl>g$ *amb] music1 ! or*e/ra be+ treat$ 9 a piani/ic _s :i* un=tunately %[s itself ev5 9 ! or*e/ral "w ( ,s*umann & ,brahms4 ,wagn] owes 8 polyphonic /r+ qu9tet n to ! ,bee?ov5 or*e/ra1 b to ! la/ qu>tets ( ,bee?ov51 9 :i* ea* in/rum5t is ! pe] ( ! o!rs4 ,mean:ile1 ano!r k9d ( or*e/ral "w 0 develop+1 =1 f ! "t ( ,gluck on1 ! op]a or*e/ra 0 ga9+ 9 color+ & 9 individual *>act]i/ics4 ,b]lioz 0 n dramatic en\gh = op]a nor symphonic en\gh = ! conc]t /age1 yet 8 ef=ts to write programmatic symphonies result$ 9 8 discov]+ new effects1 new possibilities 9 tone t9ts & 9 or*e/ral te*nics4 ,b]lioz misses ! polyphony t enri*es ,wagn]'s or*e/ra1 & makes in/rum5ts l ! second viol9s1 violas1 etc41 second horns1 etc41 weave _! ?reads or /r&s ( melody into ! wo(4 ,wagn]'s primacy is due to 8 employm5t ( ! ri*e/ /yle ( polyphony & c\nt]po9t1 ! increas$ possibility ( ?is ?r\gh ! inv5tion ( ! valve horn1 & 8 dem& ( solo virtuosity ^u 8 or*e/ral play]s4 ,8 scores m>k ! only advance wor? m5tion+ s9ce ,b]lioz4 ,x ,,in/rum5ts ,,( ,,! ,,or*e/ra ,an or*e/ra is an aggregation ( _m in/rum5ts :i*1 "u ! baton ( an able conductor1 %\ld play z "o1 s f> z precision & expression are conc]n$4 ,sep>ately1 ! in/rum5ts are l ! pa9ts on a palette1 & ! result ( ! compos]'s ef=t1 l t ( ! pa9t]'s1 dep5ds ^u :at he has to express & 8 k ( h[ to use 8 mat]ials 9 try+ to express x4 ,! or*e/ra has develop$ into sev]al di/9ct gr\ps1 :i* are capable ( play+ indep5d5tly1 or 9 union ) ea* o!r1 & )9 ^! gr\ps !mselves !re are v>i\s subdivisions4 ,x is ! purpose ( e mod]n compos] :o am\nts to any?+1 to get z _m diff]5t qu>tets z possible out ( 8 or*e/ra4 ,by ?is is meant a gr\p+ ( in/rum5ts 9 su* a way t z _m gr\ps z possible c play 9 indep5d5t h>mony4 ,x is ?r\gh ?is sy/em ( or*e/ral gr\ps t ,wagn] has be5 able to enri* or*e/ral tone color+1 & to say ev]y?+ he wi%es to say 9 exactly ! way x %\ld be said4 ,we _c1 = example1 imag9e t ! ,love ,motive 9 ,die ,walku]e c\ld be made to s\nd m beautiful on its fir/ entrance 9 ! score ?an x does4 ,nor c\ld x4 ,9 t sc5e x is exactly suit$ to a solo violoncello1 & to a solo violoncello ,wagn] gives x4 ,9 ord]1 h[ev]1 to produce a p]fectly homog5\s effect1 9 ord] t ! violoncello quality ( tone %all p]vade n only ! melody1 b also ! support+ h>mony1 he supports ! melody ) eight violoncellos1 add+ two d\ble basses to give m sonor\sness to ! deepe/ note 9 ! h>mony4 ,9 o!r words he has made = ! mom5t a complete or*e/ra out ( n9e violoncellos & two d\ble basses1 & produc$ a wondr\sly ri* & ?rill+ effect--because1 hav+ a beautiful melody to score1 he knew j ! in/rum5ts = :i* to score x4 ,?is is an admirable example ( :at te*nique accompli%es 9 ! h&s ( a g5ius4 ,ano!r compos] might h us$ an or*e/ra ( a hundr$ in/rum5ts & n h produc$ ! exquisite ?rill t ,wagn] ) 8 magical or*e/ral t\* conjures out ( ?is gr\p ( violoncellos1 a gr\p )9 a gr\p1 an or*e/ra ( violoncellos )9 ! /r+ b&4 ,music illu/ration ,! woodw9d in/rum5ts are capable ( sev]al simil> subdivisions4 ,flutes1 oboes & bassoons1 = example1 may =m a gr\p capable ( produc+ indep5d5t h>mony1 s c ! cl>9ets1 & ! same is ! case ) ! brass in/rum5ts4 ,"o ( ,wagn]'s mo/ beautiful lead+ motives1 ! ,walhalla ,motive 9 ! ,r+ ( ! ,nibelung1 is s\nd$ on f\r trombones4 ,9 brief1 !n1 ! mod]n compos] /rives to con/itute 8 or*e/ra 9 su* a way t he secures z _m indep5d5t gr\ps1 & z _m little or*e/ras1 z possible1 n1 h[ev]1 = ! purpose ( us+ !m indep5d5tly all ! "t1 b m]ely 9 ord] to d s occasionally = special effects or to comb9e !m :5ev] he sees fit 9 ord] to enri* 8 tone color+ or weave 8 polyphony4 ,! gr& divisions ( ! or*e/ra are ! /r+s--viol9s1 violas1 violoncellos & d\ble basses2 ! woodw9d1 consi/+1 broadly speak+1 ( flutes1 oboes1 cl>9ets & bassoons2 ! brass--horns1 trumpets & trombones2 & ! in/rum5ts ( p]cussion1 or ! batt]y--drums1 triangles1 cymbals & in/rum5ts ( t k9d4 ,! ,prima ,donna ( ! ,or*e/ra4 ,! lead+ in/rum5t ( ! /r+ gr\p1 & 9 fact ! lead+ in/rum5t ( ! or*e/ra1 is ! viol94 ,! fir/ viol9s are ! prima donnas ( ! or*e/ra1 & "o might say t x is almo/ impossible to h too _m ( !m4 ,! fir/ & second viol9s %\ld =m ab\t "o-?ird ( an or*e/ra1 & bett] /ill x w\ld be = ! numb] to exce$ t proportion4 ,! ,bo/on ,symphony ,or*e/ra1 :i* has ab\t eighty-"o play]s1 has ?irty viol9s4 ,!odore ,?omas's ,new ,york ,fe/ival ,or*e/ra 9 #ahhb1 consi/+ ( ?ree hundr$ & f\rte5 in/rum5ts1 _h "o hundr$ viol9s4 ,great is ! capacity ( ! viol94 ,its notes may be crisp1 %>p1 decisive1 brilliant1 or long-drawn-out & full ( emotion4 ,x has great] precision ( attack ?an any o!r in/rum5t 9 ! or*e/ra4 ,& "r "h x is int]e/+ to note t :ile ! multiplication ( in/rum5ts gives great] sonority1 x also gives mu* f9] effects 9 s(t passages4 ,! pianissimo ( "o hundr$ viol9s is a v mu* f9] pianissimo & at ! same "t inf9itely ri*] & fur!r c>ry+ ?an ! pianissimo ( a solo viol94 ,x is ! v acme ( a musical /age :isp]4 ,9 ?is v fir/ & mo/ important gr\p ( ! or*e/ra we c f9d examples ( utiliz+ subdivisions ( gr\ps4 ,al?\gh ! viol9 _c be play$ l[] ?an its ,g /r+1 :i* s\nds ! ,g bel[ ! treble clef1 ! viol9 gr\p nev]!less has be5 employ$ entirely by itself1 & ev5 subdivid$ )9 itself4 ,! mo/ exquisite example ( ?is1 "o cit$ 9 e "w on ! or*e/ra wor? read+1 is ! ,loh5gr9 prelude4 ,to ?is ! viol9s are divid$ into f\r gr\ps & on ! highe/ regi/]1 ) an effect t is mo/ e!real4 ,music illu/ration ,mod]n or*e/ral virtuosity may be gaug$ by ! /atem5t t :ile ,bee?ov5 b once d>$ to score = 8 viol9s above ! high ,f1 ,ri*>d ,/rauss 9 ! mo/ casual mann] c>ries !m an octave high]4 ,a little contrivance ( wood or metal1 ) tee?1 c be press$ d[n ov] ! /r+s ( ! viol9 s z to dead5 its vibrations4 ,?is is call$ ! sord9e1 or mute4 ,a fam\s example ( ! use ( ! viol9s con sord9i is ! ,que5 ,mab ,s*]zo 9 ,b]lioz's ,romeo et ,juliette ,symphonie4 ,ano!r well-kn[n use ( ! same effect is 9 ,asa's ,dea?1 9 ,grieg's ,pe] ,gynt ,suite4 ,no?+ c be m exquisite ?an ! entrance ( ! mut$ viol9s aft] a long sil5ce1 9 ! la/ act ( ,tri/an und ,isolde1 j be=e ,isolde intones ! ,love ,dea?4 ,an unusual effect is produc$ by us+ ! back ( ! b[ in/ead ( ! horsehair4 ,liszt uses x 9 8 symphonic poem1 ,mazeppa1 = imitat+ ! snort+ ( ! horse2 ,wagn] 9 ,siegfri$1 = accompany+ ! mock+ laugh ( ,mime2 & ,ri*>d ,/rauss 9 ,feu]snot1 to produce ! effect ( crackl+ flames4 ,b1 z ,/rauss rem>ks 9 8 revision ( ,b]lioz's "w on in/rum5tation1 x is effective only ) a l>ge or*e/ra4 ,! pluck+ ( ! /r+s ) ! f+]s--pizzicato--is a famili> device4 ,ts*aik[ski employ$ x almo/ ?r\gh\t an entire movem5t1 ! ,pizzicato ,o/9ato 9 8 ,f\r? ,symphony4 ,viola1 ,violoncello & ,d\ble ,bass4 ,! viola is a deep] viol91 ) a v beautiful & expressive tone4 ,mehul1 ! ,fr5* compos]1 scor$ 8 "o-act op]a1 ,u?al1 )\t viol9s1 employ+ ! viola z ! highe/ /r+ in/rum5t 9 8 score4 ,?is1 h[ev]1 0 n a success1 ! brilliant tone ( ! viol9 be+ miss$ m & m z ! p]=mance ( ! "w progress$1 until ,gretry is said to h ris5 9 8 seat & exclaim$3 ,a ?\s& francs = an ,e /r+6 ,mey]be]1 :o 0 among ! fir/ to appreciate ! beauty ( ! viola z a solo in/rum5t1 us$ a s+le viola = ! accompanim5t to ,ra\l's romance1 ,plus blan*e que la blan*e h]m9e1 9 ! fir/ act ( ,les ,hugu5ots4 ,/rictly speak+1 he wrote x = ! viola d'am\r1 :i* is some:at l>g] ?an ! ord9>y viola2 b x almo/ always is play$ on ! latt]4 ,b]lioz made exquisite use ( x 9 8 ,h>old ,symphony1 practically mak+ a dramatis p]sona ( x1 = 9 ! score a solo viola repres5ts ! melan*oly w&]]2 & 9 8 ,don ,quixote1 ,ri*>d ,/rauss assigns to ! in/rum5t an equally important role4 ,! violoncello is "o ( ! mo/ t5d]ly expressive ( all ! in/rum5ts 9 ! or*e/ra4 ,bee?ov5 employs x = ! !me ( ! sl[ movem5t 9 8 ,fif? ,symphony1 & al?\gh ! viola jo9s ) ! violoncello 9 play+ ?is melody1 ! passage owes its beauty *iefly to ! latt]4 ,"o ( ! mo/ exquisite melodies 9 all symphonic music is ! !me :i* ,s*ub]t has giv5 to ! violoncellos 9 ! fir/ movem5t ( 8 ,unf9i%$ ,symphony4 ,!y also are us$ ) wond]fully expressive effect 9 ! ,tri/an ,vorspiel4 ,ross9i gives a melodi\s passage1 9 ! introduction to ! ov]ture to ,william ,tell1 to five violoncellos4 ,b ! mo/ /rik+ employm5t ( ! violoncellos z an indep5d5t gr\p is 9 ! ,love ,motive 9 ! fir/ act ( ,die ,walku]e4 ,d\ble basses fir/ 7 us$ to simply d\ble ! violoncello "p 9 ! h>mony4 ,b ?r\gh ,bee?ov5's employm5t ( !m 9 ! ,fif? & ,n9? ,symphonies1 9 ! =m] = a rem>kably effective passage 9 ! ,s*]zo & 9 ! latt] = a highly dramatic recitative1 _! importance z indep5d5t in/rum5ts 9 ! or*e/ra 0 e/abli%$4 ,v]di has made v effective use ( !m 9 ! sc5e 9 ,otello z ! ,moor approa*es ,desdemona's b$4 ,9 ! introduction to ,rhe+old1 ,wagn] has half 8 d\ble basses tun$ d[n to ,e flat1 :i* is half a note deep] ?an ! usual range ( ! in/rum5t1 & 9 ! second act ( ,tri/an und ,isolde two basses are oblig$ to tune _! ,e /r+ d[n to ,c %>p4 ,divid+ ! ,/r+ ,b&4 ,i h po9t$ out sev]al examples 9 :i* ! gr\ps ( in/rum5ts 9 ! /r+ b& are divid$ )9 !mselves1 z 9 ! prelude to ,loh5gr9 & 9 ! fir/ act ( ,die ,walku]e4 ,! entire /r+ b& c be divid$ & subdivid$ ) tell+ effect1 :5 done by a ma/]4 ,:5 9 ! second act ( ,tri/an ,branga5e w>ns ! lov]s f h] position on ! wat*-t[]1 ! accompanim5t /irs ! s\l to its dep?1 because x gives ! li/5] su* a weird ?rill ( imp5d+ dang] t he almo/ longs to in=m ! lov]s ( _! p]il4 ,9 ?is passage ,wagn] divides ! /r+ b& into no less ?an fifte5 p>ts4 ,9 ! ?und]-/orm 9 ,rhe+old ! /r+s are divid$ into tw5ty-"o p>ts4 ,ri*>d ,/rauss po9ts out h[ 9 ! introduction to ,die ,walku]e mu* ( ! /ormy effect is produc$ by /r+s only--sixte5 second viol9s1 twelve violas1 twelve violoncellos & f\r d\ble basses--a /orm = /r+s :]e ano!r compos] w\ld h unlea%$ a :ole or*e/ra1 includ+ cymbals & bass drum1 & cra%$ & ?ra%$ ab\t )\t produc+ a ti! ( ,wagn]'s effect6 ,he also cites ! tremolo at ! beg9n+ ( ! second act ( ,tri/an z a wond]ful example ( tone pa9t+ :i* produces ! effect ( :isp]+ foliage & conveys to ! audi5ce a s5se ( my/]y & dang]4 ,!odore ,?omas always 0 insi/5t t ! v>i\s divisions ( a /r+ b& %\ld b[ exactly alike4 ,x is said t he once /opp$ an or*e/ra because he _h detect$ some?+ wrong ) ! tonal effect1 &1 aft] wat*+ ! play]s1 _h discov]$ t "o violoncelli/ among sixte5 0 b[+ diff]5tly f ! o!rs4 ,ri*>d ,/rauss1 on ! o!r h&1 nev] insi/s on ! same b[+ ?r\gh\t ea* division ( /r+s4 ,he ?9ks x robs ! melody ( int5sity & beauty if ea* individual is n all[$ to play accord+ to 8 own peculi> temp]am5t4 ,a ,passage 9 ,die ,walku]e4 ,9 ! ,magic ,fire ,sc5e 9 ! f9ale ( ,die ,walku]e1 ,wagn] wrote viol9 passages :i* n ev5 ! greate/ soloi/ c play cleanly1 yet :i*1 :5 play$ by all ! viol9s1 simulate 9 s\nd ! aspect ( lick+1 circl+ flames4 ,inde$1 ! effects t ,wagn] und]/ood h[ to draw f ! or*e/ral in/rum5ts are little %ort ( m>vell\s4 ,9 ! ,loh5gr9 prelude ! tone quality ( ! viol9s is absolutely angelic 9 purity2 :ile 9 ! ?ird act ( ,siegfri$1 ! upsw++ viol9 passages z ! "y h]o rea*es ! height :]e ,bru5nhilde slumb]s1 depict ! action ) a ?rill+ realism4 ,besides ! regul> /r+ b&1 ,wagn] made frequ5t use ( ! h>p4 ,x is relat$ t at ! ,muni* p]=mance ( ,rhe+old1 :5 ! h>pi/ ,trombo prote/$ to him t "s ( ! passages 7 unplayable1 ! compos] repli$3 ,y don't expect me to play ! h>p1 too1 d y8 ,y p]ceive ! g5]al effect ,i am aim+ at2 produce t & ,i %all be satisfi$4 ,liszt1 9 8 ,dante ,symphony1 uses ! gliss&o ( ! h>p z a symbol = ! ris+ %ades ( ,francesco da ,rim9i & h] lov]1 & a v beautiful use ( h>monics on ! h>p ) _! fa9t t9kle is to be f\nd 9 ! ,waltz ( ! ,sylphs 9 ,b]lioz's ,damnation de ,fau/4 ,! ,woodw9d4 ,flutes1 oboes & cl>9ets =m ! woodw9d4 ,"o ( ! be/ kn[n passages = flute is 9 ! ?ird ,leonora ,ov]ture ( ,bee?ov51 :]e x is employ$ ) conspicu\s grace4 ,probably1 h[ev]1 m fun has be5 made ( ! flute ?an ( any o!r or*e/ral in/rum5t1 & a /&>d musical joke runs z foll[s3 ,are y musical8 ,no1 b ,i h a bro!r :o plays ! flute4 ,x has also be5 ins9uat$ t 9 ,donizetti's ,lucia ! h]o9e goes mad1 n because %e has be5 sep>at$ f ,edg>do1 b because a flute obbligato accompanies h] pr9cipal aria4 ,! piccolo is a high flute us$ = %rill effects4 ,! in/rum5ts ( bo? ! oboe & cl>9et families are re$ in/rum5ts1 ) ?is diff]5ce1 h[ev]3 ! in/rum5ts ( ! oboe family h two vibrat+ re$s 9 ! m\?pieces2 ^? ( ! cl>9et family1 only "o4 ,! oboe family consi/s ( ! oboe prop]1 ! ,engli% horn :i* is an alt oboe1 & ! bassoon :i* is ! bass ( ?is gr\p ( in/rum5ts4 ,9 ,italian ! bassoon is call$ a fagotto1 a "n d]iv$ f its suppos$ resemblance to a bundle ( fagots4 ,c&or1 artless grace1 t5d] joy1 or ! grief ( a fragile s\l1 are f\nd 9 ! oboe's acc5ts1 says ,b]lioz ( ?is in/rum5t1 & ^? :o rememb] ! exquisite oboe melody1 ) :i* ! sl[ movem5t ( ,s*ub]t's ,c major symphony op5s1 w agree ) ! ,fr5* compos]4 ,ri*>d ,/rauss1 9 8 ,s9fonia ,dome/ica1 employs ! almo/ obsolete oboes d'amore to repres5t an innoc5t1 dreamy1 playful *ild4 ,! ,engli% ,horn 9 ,tri/an4 ,! mo/ fam\s use ( ! ,engli% horn is f\nd 9 ! ?ird act ( ,tri/an1 :]e x plays ! sad lay :ile ,tri/an awaits news ( ! %ip :i* is be>+ ,isolde t[>d him1 & *anges to a joy\s /ra9 :5 ! %ip is sight$4 ,! bassoon & contrabassoon1 besides _! value z ! bass ( ! oboe family1 h c]ta9 humor\s qualities1 :i* are admirably br\ght out 9 ,bee?ov5's ,fif? & ,n9? ,symphonies & 9 ! m>* ( ! cl[ni% artisans 9 ,m5delssohn's ,midsumm] ,night's ,dream music4 ,9 op]a1 ,mey]be] made ! bassoon fam\s by 8 scor+ ( ! dance ( ! ,spectre ,nuns 9 ,rob]t le ,diable = x1 & he also us$ x = ! accompanim5t to ! female *orus 9 ! second act ( ,les ,hugu5ots4 ,! !me ( ! romanza1 ,una =tiva lagrima1 9 ,donizetti's ,l',elisir d',amore1 :i* ,c>uso s+s s beautifully1 is introduc$ by ! bassoon1 & ) *>m+ effect4 ,! cl>9ets h a l>ge compass4 ,usually ?ree k9ds ( cl>9ets 79 ,a1 ,b flat & ,c because !y are transpos+ in/rum5ts7 are employ$ 9 ! or*e/ra1 besides ! bass cl>9et4 ,! possibilities ( ! cl>9et gr\p h be5 enorm\sly develop$ by ,wagn]4 ,x is necess>y only to recall ! sc5e ( ,elsa's bridal procession to ! ca!dral 9 ! second act ( ,loh5gr92 ,elisabe?'s sad exit aft] h] pray] 9 ! ?ird act ( ,tannhaeus]1 9 :i* ! melody is play$ by ! bass cl>9et1 :ile ! accompanim5t is giv5 to ?ree flutes & eight o!r cl>9ets2 ! *ange ( sc5e 9 ! fir/ act ( ,goett]daemm]ung1 :5 cl>9ets give =? ! ,bru5nhilde ,motive2 & passages 9 ! second act ( ,die ,mei/]s+]1 9 ! sc5e at nightfall2 :ile = a g5]ally skillful use ( ! woodw9d ! introduction to ! ?ird act ( ,loh5gr9 is a %9+ example4 ,brass ,in/rum5ts4 ,p usually associate ! brass in/rum5ts ) noise4 ,b z a matt] ( fact1 wond]fully ri* & s(t tone effects c be produc$ on ! brass by a compos] :o kn[s h[ to score = x4 ,j z ! pianissimo ( _m viol9s is a f9] pianissimo ?an t ( a solo viol91 s a mu* m exquisitely s(t effect c be produc$ on a l>ge brass gr\p ?an on a few brass in/rum5ts or a s+le "o4 ,:5 mod]n compos]s increase ! numb] ( in/rum5ts 9 ! brass gr\p1 x is n = ! sake ( noise1 b = ri*] effects4 ,! trumpet is ! soprano ( ! brass family4 ,! fanf>e 9 ,fidelio :5 at ! critical mom5t aid approa*es2 ! ,siegfri$ ,motive & ! ,sword ,motive1 9 ! ,r+ ( ! ,nibelung1 ne$ only be cit$ to prove ! effectiv5ess ( ! in/rum5t 9 its prop] place2 & ,ri*>d ,/rauss in/ances ! demoniacal & fateful effect ( ! deep trumpet tones 9 ! introduction to ! fir/ act ( ,bizet's ,c>m54 ,al?\gh ! notes ( ! trombone are produc$ by a slide1 ?is in/rum5t belongs to ! trumpet family4 ,= ?is reason1 9 ! ,r+ ( ! ,nibelung1 ,wagn]1 9 addition to ! usual ?ree t5or trombones1 re9troduc$ ! almo/ obsolete bass trombone4 ,he want$ a trombone gr\p complete 9 itself1 & ?us to be able to utilize ! peculi> tone color ( ! in/rum5t2 z witness 9 ! ,walhalla ,motive1 :]e x is scor$ = ! ?ree t5or trombones & bass trombone1 result+ 9 a wond]fully ri* & velvety quality ( tone4 ,except+ ,wagn] & ,ri*>d ,/rauss1 !re probably is n a compos] :o w\ld n h us$ ! bass tuba "h in/ead ( tak+ ! tr\ble to revive ! bass trombone4 ,b ,wagn] want$ an unusually ri* tone :i* %\ld be solemn )\t a trace ( sombr5ess1 & 8 ke5 in/rum5tal color s5se in=m$ him t he c\ld secure x ) ! bass trombone1 :i*1 z x belongs to ! trumpet family1 has a t\* ( trumpet brilliancy1 :]eas ! tone ( ! bass tuba is d>k]4 ,music illu/ration ,moz>t employ$ ! trombone ) f9e effect 9 ,s>a/ro's solo 9 ! ,magic ,flute2 ,s*ub]t %[$ 8 g5ius = in/rum5tation by ! mann] 9 :i* he us$ !m 9 ! introduction to 8 ,c major symphony1 z well z 9 ! fir/ movem5t ( t symphony1 9 :i* a !me is giv5 out by ?ree trombones 9 unison2 & ano!r famili> example ( good scor+ = trombones is 9 ! introduction to ! ?ird act ( ,loh5gr94 ,9 ! ,dea? ,prophecy sc5e 9 ! second act ( ,die ,walku]e1 a trumpet melody is support$ by ! f\r trombones1 ano!r in/ance ( ,wagn]'s s5se ( homog5eity 9 s\nd1 s9ce trumpets & trombones belong to ! same family4 ,9 fact1 ?r\gh\t ! ,r+1 z ,/rauss po9ts out1 ,wagn] wrote = 8 trombones 9 f\r p>ts1 add+ ! bass trombone 9 ord] to diff]5tiate :olly betwe5 x & ! tuba1 :i* latt] he us$ ) ! horns1 ) :i* x is prop]ly gr\p$4 ,wagn] has a trem5d\s tuba recitative 9 a ,fau/ ,ov]ture1 & 9 ! ,fun]al ,m>* 9 ! ,goett]daemm]ung he introduces t5or tubas 9 ord]1 aga91 to diff]5tiate betwe5 ! tone color ( tubas & trombones & n to be oblig$ to employ trombones 9 ?is p>ticul> sc5e1 ! g5]al tone color ( ! tuba be+ f> m sombre ?an t ( ! trombone4 ,ri*>d ,/rauss's ,tribute to ! ,horn4 ,to m5tion tubas & trombones be=e ! horns is v mu* l putt+ ! c>t be=e ! horse1 b ,i h res]v$ ! horns = ! la/ ( ! brass on acc\nt ( ! great tribute :i* ,ri*>d ,/rauss has paid !m4 ,9 ! e>ly or*e/ras "o r>ely f\nd m ?an two horns4 ,bee?ov5 us$ f\r 9 ! ,n9? ,symphony1 & n[ x is n at all unusual to f9d eight4 ,( all in/rum5ts1 says ,ri*>d ,/rauss1 ! horn is p]haps ! "o t be/ c be jo9$ ) o!r gr\ps4 ,to sub/antiate ?is 9 all its num]\s phases1 ,i %\ld be oblig$ to quote ! entire ',mei/]s+]' score4 ,= ,i d n ?9k ,i exagg]ate :5 ,i ma9ta9 t ! greatly develop$ te*nique ( ! valve horn has made x possible t a score :i*1 ) ! addition ( a ?ird trumpet1 a h>p & a tuba1 employs ! same in/rum5ts z ,bee?ov5 us$ 9 8 ,fif? ,symphony1 has become ) e b> some?+ entirely diff]5t1 some?+ :olly new & unhe>d (4 ,surely ! two flutes1 two oboes1 two cl>9ets & two bassoons ( ,moz>t h be5 exhau/$ by ,wagn] 9 e direction ( _! te*nical possibilities & pla/ically comb9$ ) an almo/ weird p]ception ( all _! tone secrets2 ! /r+ qu9tet1 ?r\gh ! mo/ ref9$ divisions into p>ts1 & ) add$ brilliance ?r\gh ! employm5t ( ! h>p1 produces innum]able new tone effects1 & by sup]b polyphony is br\ght to a height & w>m? ( emotional expression su* z nev] be=e 0 dream$ (2 trumpet & trombones are made to express e phase ( solemn or humor\s *>act]ization--b ! ma9 ?+ is ! tireless p>ticipation ( ! horn1 n[ = ! melody1 n[ = fill+ out1 n[ z bass4 ,! ',mei/]s+]' score is ! horn's hymn ( praise4 ,?r\gh ! introduction & p]fection ( ! valve horn ! greate/ improvem5t 9 ! te*nique ( scor+1 s9ce ,b]lioz's day1 has be5 made possible4 ,to illu/rate exhau/ively ?is ,protean "* ( ! horn1 ,i %\ld l 7aga967 to g ?r\gh ! scores ( ! great magician1 b> by b>1 beg9n+ ) ',rhe+old4' ,:e!r x r+s ?r\gh ! primeval ,g]man =e/ ) ! sunny exub]ance ( ,siegfri$'s y\?ful he>t & joy ( liv+2 :e!r 9 ,liszt's ',mazeppa' x dies out 9 ! la/ ho>se gasp ( ! ,cossack pr9ce nigh unto dea? 9 ! va/ des]t ( ! /eppes2 :e!r x conjures ! *ildlike long+ ( ,siegfri$ = ! "m he nev] has kn[n2 :e!r x hov]s ov] ! g5tly undulat+ sea :i* is to br+ ,isolde's gladd5+ =m to ! dy+ ,tri/an1 or nods ,hans ,sa*s' ?anks to ! fai?ful ',pr5tice2 :e!r 9 ,erik's dream x causes 9 a few holl[ acc5ts ! ,nor? ,sea to break on ! lonely coa/2 be/[s ^u ! apples ( ,freia ! gift ( et]nal y\?2 pokes fun at ! curta9-h]oes 7',mei/]s+]1' ,act ,,iii72 plies ! cudgels on ,beckmess] ) ! jeal\s ,david & 8 comrades1 & is ! real in/igator ( ! riot2 or s+s 9 veil$ notes ( ! w\nds ( ,tri/an--always ! horn1 9 its place & to be reli$ on1 responds1 unique 9 its manifold mean+s & its brilliant significance4 ,fam\s horn passages 9 ! works ( o!r compos]s are 9 ! trio ( ! ,s*]zo 9 ! ,eroica ,symphony2 9 ! second movem5t ( ,s*ub]t's ,c major symphony1 ! passage ( :i* ,s*umann said t ! notes ( ! horns j be=e ! return ( ! pr9cipal subject 7 l ! voice ( an angel2 9 ! op5+ ( ,web]'s ,freis*uetz ov]ture2 9 ! introduction to ,mi*aela's romance 9 ,c>m52 & 9 ! op5+ !me ( ! sl[ movem5t ( ,ts*aik[sky's ,fif? ,symphony1 :i* is ! p]fection ( a melodic phrase = solo horn4 ,in/rum5ts ( ,p]cussion4 ,9 ! batt]y ! in/rum5ts ( prime importance are ! tympani4 ,bee?ov5 gave ! cue to :at c\ld be accompli%$ ) ^! 9 ! s*]zo ( ! ,fif? ,symphony & also 9 ! octave ?umps 9 ! s*]zo ( ! ,n9? ,symphony1 :ile = a weirdly sombre effect !re is no?+ equal to ! fa9t roll ( ! tympani at ! beg9n+ & end ( ! ,fun]al ,m>* 9 ,goett]daemm]ung4 ,cymbals are us$ 9 sev]al ways4 ,besides ! ord9>y cla%1 ,wagn] has produc$ a s\nd some:at l t ( a gong1 by ! %>p /roke ( a drum-/ick on "o cymbal1 & also a roll by us+ a pair ( drum-/icks on "o cymbal4 ,among compos]s s9ce ,bee?ov51 ,web]1 ,liszt1 ,sa9t-,sa5s1 ,dvorak1 ,ts*aik[sky1 &1 ( c\rse1 ,ri*>d ,/rauss--x h>dly is necess>y to m5tion ei!r ,b]lioz or ,wagn] aga9--h %[n brilliant te*nique 9 or*e/ration4 ,on ! o!r h&1 ,s*umann & ,brahms d n appe> to h und]/ood or to h tak5 ! tr\ble to und]/& ! individual *>act]i/ics ( or*e/ral in/rum5ts1 &1 z a result1 _! works = or*e/ra are n z effective z !y %\ld be4 ,_! or*e/ration has be5 call$ muddy4 ,x is ,ri*>d ,/rauss's op9ion t ! next advancem5t 9 or*e/ration w be br\ght ab\t by add+ l>gely to c]ta9 gr\ps ( in/rum5ts :i* n[ h only comp>atively few repres5tatives 9 ! or*e/ra4 ,he in/ances t at ! ,brussels ,cons]vatory "o ( ! pr(essors _h ,moz>t's ,g m9or symphony p]=m$ = him on tw5ty-two cl>9ets1 ( :i* f\r 7 basset horns 7alto cl>9ets71 two brass cl>9ets1 & "o contra-bass cl>9et2 & he sugge/s t x w be along su* l9es t ! or*e/ra ( ! future w be enl>g$4 ,) an or*e/ra ) all ! family gr\ps ( in/rum5ts complete 9 ! mann] sugge/$ by ,/rauss1 & us$ by a musical g5ius1 a g5ius :o comb9es ) melodic inv5tion virtuosity ( in/rum5tation1 m>vell\s results are yet to be a*iev$4 ,,xi ,,conc]n+ ,,symphonies ,i h said t music1 l all o!r arts1 _h a some:at =mless beg9n+1 !n gradually acquir$ =m1 !n became too rigidly =mal1 & 9 mod]n times1 :ile n disc>d+ =m1 has become fre] 9 its expression ( emotion4 ,in/rum5tal music1 s9ce ! beg9n+ ( ! classical p]iod1 has be5 gov]n$ l>gely by ! symphony1 :i* ! read] %\ld be> 9 m9d is no?+ m ?an a sonata = or*e/ra1 ! =m hav+ fir/ develop$ on ! pian(orte & hav+ be5 h&$ ov] by x to ! aggregation ( in/rum5ts4 ,sir ,hub]t ,p>ry1 f ^: book1 ,! ,evolution ( ! ,art ( ,music1 ,i h _h previ\s occasion to quote1 has sev]al apt p>agraphs conc]n+ ! e>li] developm5t ( ! sonata1 :i* ( c\rse apply ) equal =ce to ! symphony4 ,aft] /at+ t ! in/9ct ( ! compos]s :o fir/ s\ght ! lib]ation ( music f ! all-pr$om9at+ c\nt]po9t1 impell$ !m to develop movem5ts ( wid] & fre] range1 :i* %\ld admit ( w>m melodic expression1 )\t deg5]at+ into incoh]5t1 rambl+ ec/asy1 ,sir ,hub]t cont9ues3 ,!y _h ! s5se to see f ! fir/ t m]e =mal cont9u\s melody is n ! mo/ suitable type = in/rum5tal music4 ,!re is deep-root$ 9 ! matt] ( all in/rum5tal music ! ne$ ( "s rhy?mic vitality4 ,^! compos]s !n set !mselves to devise a s*eme 9 :i*1 to beg9 )1 ! cont\r ( connect$ melodic phrases1 support$ & def9$ by simple h>monic accompanim5t1 gave ! impression ( def9ite tonality--t is1 ( be+ decisively 9 "s p>ticul> key & giv+ an unmi/akable indication ( x4 ,!y f\nd out h[ to proce$ by giv+ ! impression ( us+ t key & pass+ to ano!r )\t dep>t+ f ! *>act]i/ic _s & mood ( ! music1 z %[n 9 ! 'subjects' & figures2 & h[ to give ! impression ( relative complet5ess1 by clos+ 9 a key :i* is 9 /rong contra/ to ! fir/1 & s r\nd (f "o-half ( ! design4 ,b ?is po9t be+ 9 apposition to ! />t+ po9t1 leaves ! m9d dissatisfi$ & 9 expectation ( fre% disclosures2 s !y made ! balance complete by resum+ ! subjects & melodic figures ( ! fir/ "p 9 extrane\s keys1 & work+ back to ! />t+ po9t2 & !y made _! f9al close ) ! same figures z 7 us$ to conclude ! fir/ half1 b 9 ! pr9cipal key in/ead ( ! key ( contract4 ,?is is a some:at m elaborate me?od ( describ+ ! sonata =m ?an ,i h adopt$ 9 ! division ( ?is book relat+ to ! pian(orte4 ,e/hetic ,purpose ( ! ,symphony4 ,lat] on 9 8 book1 ,sir ,hub]t1 9 discuss+ ! type ( sonata movem5t :i* 0 fairly e/abli%$ by ! "t ( ,haydn & ,moz>t1 gives a simpl] e/hetic explanation1 po9t+ out t ! fir/ "p ( ! movem5t aims at def9it5ess ( subject1 def9it5ess ( contra/ ( keys1 def9it5ess ( regul> balanc+ gr\ps ( b>s & rhy?ms1 def9it5ess ( progressions4 ,by ! "t ?is fir/ division is ov] ! m9d has _h en\gh ( su* def9it5ess1 & wants a *ange4 ,! second division1 !re=e1 repres5ts ! break+ up ( ! subjects into _! con/itu5t elem5ts ( figure & rhy?m1 ! oblit]ation ( ! s5se ( regul>ity by gr\p+ ! b>s irregul>ly2 & aims1 by mov+ con/antly f key to key1 to give ! s5se ( arti/ic confusion2 :i*1 h[ev]1 is always regulat$ by "s inn] b disguis$ pr9ciple ( ord]4 ,:5 ! m9d has gone ?r\gh en\gh ( ! pleas+ s5se ( bewild]m5t--! s5se t has made riddles attractive to ! human creature f "t immemorial--! s*eme is complet$ by resum+ ! ord]ly me?ods ( ! fir/ division & firmly re-e/abli%+ ! pr9cipal !me :i* has be5 c>efully avoid$ s9ce ! comm5cem5t4 ,! e>li] symphonic writ]s usually wrote _! symphonies 9 ?ree movem5ts3 ! fir/ or sonata movem5t2 a second sl[ movem5t 9 a simpl] type ( =m1 usually ( ! song1 aria1 or rondo type2 & a f9al movem5t 9 lively "t1 also usually adapt$ to ! rondo =m4 ,conc]n+ ?is ?ree-movem5t symphony ( ! e>ly writ]s1 x 0 said by an old-"t wit t !y wrote ! fir/ movem5t to %[ :at !y c\ld d1 ! second movem5t to %[ :at !y c\ld feel1 & ! ?ird movem5t to %[ h[ glad !y 7 x 0 ov]--& ?is may be said to describe ! view ( ! ultra-mod]n music-lov] t[>d rigidity ( =m 9 g5]al4 ,reg>d+ =m 9 music !re is mu* prejudice "o way or ! o!r4 ,! sonnet 9 poetry c]ta9ly is a rigid =m2 & yet ^? poets :o h ma/]$ x h produc$ extremely effective & highly arti/ic poems1 & poems ab\nd+ 9 pr(\nd emotional expression4 ,walt ,:itman1 on ! o!r h&1 0 q =mless1 & yet he is sure to be rank$ 9 "t z "o ( ! greate/ poets ( 8 age4 ,wagn]'s idea 0 t ! symphonic =m _h rea*$ its climax ) ,bee?ov5's ,n9? ,symphony2 yet x is by no means incr$ible t if ,wagn] 9 8 matur] ye>s _h und]tak5 to compose a symphony1 ! result w\ld h disprov$ 8 own !ory4 ,seems to ,hamp] ,mod]n ,compos]s4 ,! symphonic =m1 h[ev]1 or1 to be m exact1 ! sonata =m1 seems to hamp] e mod]n compos] :5 he writes = ! pian(orte1 & ! fact t mo/ ( ,bee?ov5's pian(orte music 0 writt5 9 ?is =m appe>s to be ! reason = 8 works some:at fall+ into disuse4 ,on ! o!r h&1 ! =m is und\bt$ly hold+ out bett] 9 ! or*e/ral v]sion ( ! sonata1 ! symphony1 because ! tone color ( or*e/ral in/rum5ts gives x great] v>iety4 ,ts*aik[sky1 ,dvorak & ,brahms h work$ successfully1 & ! two =m] ev5 brilliantly1 9 ?is =m2 & if ,brahms 9 8 symphonies appe>s too cont95t1 too classically res]v$1 x w\ld seem to be n s mu* ! =m itself :i* is to blame1 z 8 lack ( skill 9 in/rum5tation4 ,my own p]sonal pref]5ce is = ! fre] =m develop$ by ,liszt 9 ! symphonic poem1 9 :i* a lead+ motive1 or possibly sev]al motives skillfully v>i$ dom9ate ! :ole composition & give x e/hetic & psy*ological unity2 & = ! /ill fre] developm5t ( in/rum5tal music 9 ! tone poem ( ,ri*>d ,/rauss4 ,b nei!r ! symphonic poems ( ,liszt nor ! tone poems ( ,/rauss are =mless music4 ,t %\ld be well und]/ood1 al?\gh x %\ld be borne 9 m9d ) equal di/9ctness t ^! manife/ations ( ! g5ius ( two great compos]s %[ a complete lib]ation f ! %ackles ( ! classical symphony4 ,9 ! end ! te/ is f\nd 9 ! music itself4 ,if ! music ( a symphonic poem :i* sets out to express a giv5 title or a giv5 motto1 if ! music ( a tone poem :i* />ts out to int]pret a programmatic /ory or device1 is wor?y to be rank$ ) ! great productions ( ! art1 x n only is pr(\ndly int]e/+ z music1 b ga9s imm5sely 9 int]e/ ?r\gh its incid5tal second>y mean+4 ,x is ! old /ory ( art = art's sake--art = ! purpose ( m]ely gratify+ ! eye or ! e>--or art = ! purpose ( convey+ some?+ besides itself to ! behold] or ! li/5]2 & x seems to me t1 9 ! hi/ory ( ! art1 art = art's sake has always be5 ! m primitive expression & ev5tually has be5 oblig$ to give way4 ,! ,naive ,symphoni/s4 ,at ! risk ( repeat+ :at already has be5 said ( ! sonata1 ! symphony may be describ$ z a "w 9 f\r movem5ts--! fir/ movem5t1 usually an ,allegro1 sometimes ) a sl[ introduction1 b m frequ5tly )\t "o2 a second movem5t1 ord9>ily call$ ! sl[ movem5t1 & usually 9 ,adagio or ,&ante2 a ?ird movem5t1 ei!r m9uet or s*]zo2 & a f9al movem5t 9 fa/ "t & usually 9 rondo =m4 ,x 0 ,haydn :o pretty def9itely e/abli%$ ^! divisions ( ! symphony4 ,he compos$ 9 all "o hundr$ & tw5ty-five symphonies1 ( :i* only a few appe> on mod]n conc]t programs1 & ev5 ^! b occasionally4 ,_! music is m>k$ by a simplicity bord]+ on naivete1 & ! or*e/ration is a /r+ qu>tet ) a m]e fill+ out by o!r in/rum5ts4 ,moz>t 0 ( a deep] & m dramatic nature ?an ,haydn1 & ! expression ( 8 ?\ght 0 m int5se4 ,9 ! same way1 !re is a great] w>m? & color 9 8 or*e/ration4 ,nev]!less1 ! ?ree f9e/ ( 8 =ty-n9e symphonies1 ! ,e flat1 ,g m9or & ,jupit]1 compos$ 9 #aghh1 seem almo/ *ildlike 9 _! artless grace & beauty to u mod]ns4 ,bee?ov5's fir/ two symphonies 7 writt5 "u ! influ5ce ( ,haydn & ,moz>t1 b ) ! ?ird he becomes di/9ctly epic 9 8 musical utt]ance2 & ?is symphony1 bo? 9 reg>d to v>iety & dep? ( expression & skillful use ( or*e/ral in/rum5ts1 is z great an advance ^u ! "w ( 8 pr$ecessors z1 let u say1 ,ts*aik[sky is ^u ,m5delssohn4 ,bee?ov5 to ! ,=e4 ,!re are app>5t 9 ! sequ5ces ( ,bee?ov5's symphonies c]ta9 climaxes & c]ta9 re/s4 ,?us ! ,?ird is ! climax ( ! fir/ ?ree4 ,! ,f\r? is f> less pr(\nd2 ! ma/] relaxes4 ,b ! ,fif?1 ) its compact1 vigor\s !me1 :i* ,bee?ov5 himself is said to h describ$ z ,fate knock+ at ! door1 & 8 skillful introduction ( ?is !me 9 v>i$ =m 9 ea* ( ! movem5ts1 is by _m reg>d$ z 8 ma/]piece--ev5 great] ?an ! ,n9?4 ,aft] ?is he seems to h relax$ aga9 9 ! ,six?1 ,sev5? & ,eigh?1 9 ord] to prep>e himself = ! climax ( 8 c>e] 9 8 f9al symphonic "w1 ! ,n9?4 ,9 ! sl[ movem5t ( ! ,six? 7! ,pa/oral71 9 :i* he imitates ! call ( birds1 he gives ! direction3 mehr ,empf9dung als ,mal]ei 7m feel+ ?an pa9t+71 a direction :i* (t5 is quot$ by oppon5ts ( mod]n program music2 not)/&+ ! fact t ,bee?ov51 9 spite ( 8 own qualify+ words1 /raightway indulg$ 9 pa9t+ ( ! mo/ *ildi% description4 ,! ,sev5? ,symphony is an extremely brilliant "w & ! ,eigh? an exce$+ly joy\s "o1 :ile ) ! ,n9?1 z ?\gh he himself felt t he 0 go+ beyond ! limits ( or*e/ral music1 he introduc$ 9 ! la/ movem5t solo s+]s & a *orus1 b n ) z mu* effect z ! employm5t ( ?is unusual s*eme might lead "o to anticipate1 because1 un=tunately1 8 writ+ = voices is extremely awkw>d4 ,s*ub]t's ,g5ius4 ,l ,bee?ov51 ,s*ub]t wrote n9e symphonies1 b ! ,unf9i%$1 :i* 0 8 eigh?1 & ! ,c major1 8 n9?1 :i* 0 discov]$ by ,s*umann 9 ! possession ( ,s*ub]t's bro!r & s5t to ,m5delssohn = production at ,leipzig1 are ! ones :i* seem de/9$ to survive4 ,!y are among ! mo/ beautiful examples ( or*e/ral music--! fir/ movem5t ( ! ,unf9i%$ ,symphony full ( dramatic mom5ts z well z ( exquisite melody1 ! sl[ movem5t a v]itable rose ( or*e/ration2 :ile z reg>ds ! ,c major symphony1 ,s*umann's ref]5ce to its heav5ly l5g? suffici5tly describes its inspiration4 ,m5delssohn's ,italian & ,scot* symphonies are 8 be/ kn[n or*e/ral works4 ,!y are cle> & s]5e1 & = any "o :o ?9ks a symphony is some?+ v ab/ruse & wants to be gradually famili>iz$ ) its my/]ies1 !y =m an easily tak5 & innocu\s dose--! symphony made palatable4 ,( ,s*umann's f\r symphonies1 ! "o 9 ,e flat1 ! ,rh5i%1 suppos$ to repres5t a s]ies ( impressions ( ! ,rh9e c\ntry1 ! f\r? movem5t especially1 to repres5t ! exaltation :i* possess$ 8 s\l dur+ a religi\s c]emony 9 ! ca!dral at ,cologne2 & ! ,d m9or1 :i* latt] really is a fantasia1 des]ve to rank highe/4 ,9 ! ,d m9or ! movem5ts foll[ ea* o!r )\t pause2 !re is a c]ta9 !matic relation%ip betwe5 ! fir/ & ! la/ movem5ts1 & ?is connection gives ! "w a fre] & m mod]n effect4 ,b ,s*umann 0 ei!r indiff]5t to1 or ignorant (1 ! advance 9 or*e/ration :i* _h tak5 place s9ce ,bee?ov54 ,practically ! same ?+ applies to ,brahms1 :o1 h[ev]1 des]ves ! cr$it = introduc+ into ! symphony a new /yle ( movem5t1 ! int]mezzo1 :i* takes ! place ( ! s*]zo or m9uet4 ,rub9/e9 des]ves honorable m5tion2 b ! mo/ mod]n h]oes ( symphony are ,dvorak1 ) 8 ,new ,_w1 & ,ts*aik[sky1 ) 8 ,pa!tique4 ,su* works are life-pres]v]s t may help keep a s9k+ art =m afloat4 ,b mod]n or*e/ral music is t5d+ m & m t[>d ! symphonic poem & ! tone poem4 ,liszt has writt5 two symphonies3 ! ,fau/ ,symphony1 consi/+ ( ?ree movem5ts1 :i* repres5t ! ?ree pr9cipal *>act]s ( ,goe!'s drama1 ,fau/1 ,gret*51 & ,mephi/opheles2 & a symphony to ,dante's ,div9a ,comm$ia4 ,9 bo? ^! symphonies a *orus is introduc$4 ,( 8 symphonic poems1 ! be/ kn[n are ,les ,preludes1 & ,tasso1 ,lam5to e ,trionfo4 ,9 ^! symphonic poems ,liszt has made use ( ! pr9ciple ( ! leitmotif 9 or*e/ral music4 ,!y are dramatic episodes = or*e/ra1 sup]bly in/rum5tat$1 pr(\ndly beautiful 9 ?\ght & int5tion--great program music 9 fact1 because conceiv$ 9 accordance ) ! highe/ canons ( ! art1 & inf9itely m int]e/+ ?an pure music because !y mean some?+4 ,by "s p ,liszt is reg>d$ z a m]e *>latan1 by o!rs z a great compos]4 ,n only 0 he a great compos]1 b "o ( ! v greate/4 ,! ,sa9t-,sa5s symphonic poems1 ,r\et d',omphale1 ,phaeton1 ,danse ,macabre1 %\ld be m5tion$ z successful works ( ?is class1 b consid]ably bel[ ,liszt's 9 g5u9e musical value4 ,& !n1 !re are ! or*e/ral impressions ( ,*>les ,m>t9 ,loeffl]1 among :i* ! symphonic poem1 ,la ,mort de ,t9tagiles1 is ! mo/ conspicu\s4 ,a sep>ate *apt] is devot$ to ,ri*>d ,/rauss4 ,wagn] is n suppos$ to h be5 a purely or*e/ral compos]4 ,!oretically1 he wrote = ! !atre1 & 8 or*e/ra 0 7aga9 !oretically7 only "p ( a triple s*eme ( voice1 action & in/rum5tal accompanim5t4 ,b put ! in/rum5tal "p ( any ( 8 great music-drama episodes on a conc]t program1 & ) ! fir/ wave ( ! conductor's baton & ! fir/ *ord1 y =get ev]y?+ else t has gone be=e6 ,,xii ,,ri*>d ,,/rauss ,,& ,,8 ,,music ,ri*>d ,/rauss--a new "n to conjure ) 9 music6 ,8 bann] is borne by a b& ( en?usia/s l ^? :o1 _m ye>s ago1 c>ri$ ! flag ( ,wagn] to ! front4 ,did n ,wagn] put a full /op aft] ! ^w 'music'8 "s w ask 9 surprise4 ,did he n /rike ! f9al note8 ,are ! ',r+1' ',tri/an' & ',p>sifal' n to be succe$$ by an et]nal pause8 ,is !re some?+ /ill to be a*iev$ 9 music z 9 o!r arts & sci5ces8 ,some?+ new c]ta9ly has be5 a*iev$ by ,ri*>d ,/rauss4 ,x =ms nei!r a cont9uation ( ,wagn] nor an opposition to ,wagn]4 ,x has no?+ to d ) ,wagn]1 beyond t ,/rauss appropriates :atev] 9 ! progression ( art ! late/ ma/] has a "r to take f 8 pr$ecessors4 ,/rauss is1 9 fact1 "o ( ! mo/ orig9al & individual ( compos]s4 ,he has be5 a /ud5t1 n a copyi/1 ( ,wagn]4 ,?us1 :]e o!rs :o h sat at ! feet ( ! ,bayreu? ma/] h writt5 poor imitations ( ,wagn]1 & h !re=e fail$ ev5 to cont9ue ! s*ool1 giv+ only feeble e*oes ( its great ma/]1 ,/rauss has /ruck out = himself4 ,) a ma/]y ( e te*nical res\rce1 acquir$ by deep & pati5t /udy1 he has giv5 :olly new value & importance to a =m ( art entirely diff]5t f ! music-drama4 ,! music ( ! av]age mod]n ,wagn] disciple s\nds n l ,wagn]1 b l ,wagn] & wat]4 ,ri*>d ,/rauss s\nds l ,ri*>d ,/rauss4 ,"o reason = ?is is t 8 art "w1 l ,wagn]'s1 has an indep5d5t intellectual reason = be+4 ,let me n = "o mom5t be und]/ood z belittl+ ,wagn]1 9 ord] to magnify ,/rauss4 ,wagn] is ! "o creator ( an art-=m :o also seems de/9$ to rema9 its greate/ expon5t4 ,o!r creators ( art-=ms h be5 m]e pione]s1 leav+ to ^? :o h come aft] !m ! developm5t & r\nd+ out ( :at ) !m 7 exp]im5ts4 ,! /ory ( ! sonata =m may be said to h begun ) ,philipp ,emanuel ,ba* & to h be5 cont9u$ 9 our next to ,bee?ov51 ) supplem5ts ev] s9ce4 ,! music-drama _h its t5tative beg9n+s 9 ,! ,fly+ ,dut*man1 its consummation 9 ,p>sifal4 ,! ye>s f #ahdc to #ahhb lay betwe51 b ! music-drama 0 guid$ ev] by ! same h&1 ! ma/] h& ( ,ri*>d ,wagn]4 ,no1 x w\ld be self-defeat+ folly to make ,wagn] appe> less 9 ord] to h ,/rauss appe> m4 ,orig9ator ( ! ,tone ,poem4 ,nor does ,ri*>d ,/rauss require su* tactics4 ,he has made ?ree excursions into music-drama & he may make o!rs4 ,b 8 fame1 at pres5t1 re/s ma9ly ^u :at he has accompli%$ z an in/rum5tal compos]1 & 9 ! self-creat$ realm ( ! ,tone ,poem4 ,tone poem is a new t]m 9 music4 ,x /&s = some?+ t out/rips ! symphonic poem ( ,liszt1 some?+ l>g] bo? 9 its b\nd>ies & 9 its intellectual & musical scope4 ,/rauss does n limit himself by ! ^w symphonic4 ,he leaves himself free to give full range to 8 ideas4 ,a compos] ( program music1 8 works are s /up5d\s 9 scope t ! ^w symphonic w\ld h hamp]$ him4 ,8 ,also ,spra* ,z>a?u/ra 7,?us ,spake ,z>a?u/ra7 & ,e9 ,held5leb5 7,a ,h]o's ,life7 are n symphonic poems1 b tone poems ( enorm\s proportions4 ,^!1 8 la/ two in/rum5tal productions1 toge!r ) ! gr[+ famili>ity ( ! musical public ) 8 beautiful & eloqu5t songs1 e/abli%$ 8 reputation 9 ?is c\ntry4 ,to-day1 a ,/rauss "w on a program means z mu* to ! musically elect z a ,wagn] "w meant a qu>t] ( a c5tury ago4 ,9 fact1 to advanc$ musicians1 to ^? :o are n cont5t to re/ ^u :at has be5 a*iev$1 b are ready to welcome fur!r s]i\s ef=t1 ,/rauss's works =m ! late/ great utt]ance 9 music4 ,let me repeat v]batim a conv]sation t occurr$ on a rec5t ra9y night1 ! date ( an important conc]t4 ,he3 ,are y go+ to ! conc]t to-night8 ,%e3 7,look+ out & see+ t x /ill is ra9+ h>d7 ,d !y play any?+ by ,ri*>d ,/rauss8 ,he3 ,n to-night4 ,%e3 ,!n ,i'm n go+4 ,?is woman c\ld meet ! mo/ en?usia/ic admir] ( ,bee?ov5 or ,wagn] on 8 own gr\nd4 ,b :5 %e he>d ,e9 ,held5leb5 "u ,emil ,paur's baton at a conc]t ( ! ,new ,york ,philh>monic ,society1 %e he>d :at %e _h be5 wait+ tw5ty ye>s =--some?+ new 9 music t also 0 some?+ great2 some?+ t 0 n m]ely an imitation ( :at %e _h he>d a hundr$ times be=e1 b some?+ :i* po9t$ ! way to untravel$ pa?s4 ,x always is woman :o ?r[s ! fir/ rose at ! feet ( g5ius4 ,n a ,juggl] ) ! ,or*e/ra4 ,"o fir/ looks at ,ri*>d ,/rauss 9 m]e amazem5t at ! size ( :at he has produc$4 ,?us ,spake ,z>a?u/ra la/s ?irty-?ree m9utes1 ,a ,h]o's ,life =ty-five--consid]able l5g?s = or*e/ral works4 ,?is initial s5se ( bigness1 z su*1 hav+ worn (f1 "o becomes aw>e ( m>vell\s tone comb9ations & or*e/ral effects4 ,li/5+ aga91 "o discov]s t ^! d>+ in/rum5tal comb9ations h n be5 ent]$ into m]ely = ! sake ( juggl+ ) ! or*e/ra1 b because ! compos]1 be+ a mod]n ( mod]ns1 has ! mo/ mod]n message 9 music to deliv]1 &1 9 ord] to deliv] x1 has develop$ ! mod]n or*e/ra to a /ate ( effici5cy & v]satility ( tonal expression beyond any ( 8 pr$ecessors4 ,ri*>d ,/rauss scores1 9 ! mo/ casual mann]1 an octave high] ?an ,bee?ov5 d>$ g ) ! viol9s4 ,except 9 ! ,egmont ov]ture1 ,bee?ov5 did n c>ry ! viol9s high] ?an ,f above ! /aff4 ,:at %\ld h be5 high] he wrote an octave l[]4 ,all ! /r+s 9 ! ,ri*>d ,/rauss or*e/ra are scor$ correspond+ly high4 ,b ?is is n done z a m]e fad4 ,:at ,ri*>d ,/rauss accompli%es ) ! /r+s is n m]ely que] or biz>re4 ,:at he seeks & obta9s is g5u9e orig9al musical effects4 ,(t5 ! highe/ regi/] is us$ by him 9 a few ( ! /r+s only1 because1 = c]ta9 polyphonic effects--! weav+ & int]weav+ ( v>i\s !mes--he divides & subdivides all ! /r+s into num]\s gr\ps4 ,= ! same reason1 he has regul>ly add$ f\r or five hi!rto r>ely us$ in/rum5ts to ! woodw9d & scores1 regul>ly1 = eight horns1 besides employ+ f f\r to five trumpets4 ,:ile he has increas$ ! te*nical difficulties ( e in/rum5t1 :at he requires ( !m is n impossible4 ,he does1 inde$1 call = fir/-rate arti/s 9 8 or*e/ra2 b s did ,wagn] z comp>$ ) ,bee?ov54 ,he kn[s e in/rum5t ?or\ghly1 = he has tak5 lessons on all2 &1 !re=e1 :5 he is /riv+ = new in/rum5tal effects he is n putt+ problems :i* _c be legitimately solv$4 ,8 ,till ,eul5spiegel's ,m]ry ,pranks makes1 possibly1 ! greate/ dem& ( all 8 works on an or*e/ra4 ,b1 if prop]ly play$1 x is "o ( ! mo/ biz>re & amus+ s*]zos 9 ! rep]toire4 ,9 8 ,don ,quixote1 he has gone outside ! li/ ( or*e/ral in/rum5ts2 & 9 ! sc5e :]e ,don ,quixote has 8 tilt ) ! w9dmill1 he has introduc$ a regul> !atrical w9d-ma*9e4 ,& :y n8 ,! effect to be produc$ ju/ifies ! means4 ,!re is an a capella *orus by ,/rauss = sixte5 voices4 ,^! are n divid$ into two d\ble qu>tets1 or into f\r qu>tets1 b ! composition actually is scor$ 9 sixte5 p>ts4 ,he %r9ks f no musical problem4 ,n ,m]e ,bulk & ,noise4 ,:5 ,a ,h]o's ,life 0 produc$ 9 ,new ,york x 0 giv5 at a public rehe>sal & conc]t ( ! ,philh>monic4 ,x made su* a pr(\nd impression--x 0 recogniz$ z music1 n z m]e bulk & noise--t x _h to be repeat$ at a foll[+ public rehe>sal & conc]t1 ?us hav+ ! honor ( f\r consecutive p]=mances by ! same society 9 "o season4 ,previ\s p]=mances ( ,/rauss's works1 ma9ly by ! ,*icago ,or*e/ra1 "u ,?omas1 & ! ,bo/on ,symphony ,or*e/ra1 _h begun to direct public att5tion to ?is compos]4 ,b ! ,held5leb5 p]=mances by ! ,philh>monic creat$ some?+ ( a s5sation4 ,!y made ! hit to :i* ! public unconsci\sly _h be5 work+ up = sev]al seasons4 ,l>ge z are ! dim5sions ( ,a ,h]o's ,life1 ,ri*>d ,/rauss _h *os5 a subject t made a v direct appeal4 ,despite its weal? ( polyphony & !me comb9ation1 ! score told1 )\t a ^w ( synopsis1 a cle> intelligible /ory ( a h]o's mat]ial victory1 foll[$ by a great] moral "o4 ,x plac$ ! public on a human1 famili> foot+ ) a compos] :om previ\sly !y _h reg>d$ ) m awe ?an int]e/4 ,"h 0 music int]e/+ z m]e music1 b all ! m int]e/+ because x _h an intellectual message to convey4 ,life & ,tru?4 ,:at is ! diff]5ce betwe5 classical & mod]n music8 ,write a *apt] or a book on x1 & ! diff]5ce /ill rema9s j ?is3 ,classical music is ! expression ( beauty2 mod]n music ! expression ( life & tru?4 ,mod]n music seems ent]+ ^u a new era ) ,/rauss1 :i* does n necess>ily exclude beauty4 ,x is beg9n+ to illu/rate itself1 s to speak1 l ! au?or-arti/ :o c bo? write & draw4 ,to-day1 music n only expresses tru?1 b repres5ts x pictorially4 ,h[ long w ! "t be 9 com+ :5 a compos] w wave 8 baton1 ! or*e/ra /rike a *ord--& we be n only li/5]s b also behold]s1 he>+ ! *ord1 & see+ at ! same "t its image float+ above ! or*e/ra8 ,9 8 ,melomaniacs1 ! mo/ rem>kable collection ( musical /ories ,i h read1 ,mr4 ,hunek] has a tale call$ ,a ,pip] ( ,dreams1 ! mo/ advanc$ piece ( musical fiction ,i "k (4 ,?is pip] ( dreams produces music :i* is se54 ,d y "k :y y l x8 ,mr4 ,hunek] ask$ me1 :5 ,i told him h[ int5sely ,i admir$ ! /ory4 ,because1 he cont9u$1 ! h]o ( ! /ory is a ,ri*>d ,/rauss4 ,( c\rse1 ?is brilliantly writt5 /ory 0 a d>+ incursion into a seem+ly impossible future4 ,yet x po9ts a t5d5cy4 ,:5 %all we h music t c be se58 ,consid]+ h[ closely relat$ are ! laws ( ac\/ics & optics1 is a ,pip] ( ,dreams s vision>y8 ,:o kn[s b t ! music ( ! future may be visible s\nd--! "w ( a pip] ( dreams8 ,sometimes1 :5 li/5+ to ,/rauss1 ,i ?9k ,mr4 ,hunek]'s ,pip] is tun+ up4 ,ri*>d ,/rauss's tone poems are l>ge 9 plan4 ,9 fact !y are colossal4 ,!y %[ him to be a man ( great intellectual activity1 z well z an inspir$ compos]4 ,! latt]1 ( c\rse1 is ! te/ by :i* a musical "w /&s or falls4 ,no matt] h[ intellectually x is plann$1 if x is inadequate musically x fails4 ,b if x is musically inspir$1 x ga9s va/ly 9 effect :5 x re/s on a bra9 basis4 ,lit]ally ,tone ,dramas4 ,t ,ri*>d ,/rauss is ! mo/ significant figure 9 ! musical _w to-day seems to me too pat5t to admit ( discussion4 ,! only "q to be consid]$ is1 h[ has he become s8 ,! "q is be/ answ]$ by %[+ :at a ,ri*>d ,/rauss tone poem is4 ,take ,?us ,spake ,z>a?u/ra & ,a ,h]o's ,life4 ,)\t go+ into an elaborate discussion ,i mu/ insi/ t1 to consid] ,ri*>d ,/rauss z 9 any way a developm5t f ,b]lioz or ,liszt1 %[s a deplorable unfamili>ity ) 8 works4 ,b]lioz wrote program music4 ,liszt wrote program music4 ,ri*>d ,/rauss writes program music4 ,b ?is po9t ( resemblance is :olly sup]ficial4 ,b]lioz admitt$ly /rove to adh]e to ! or?odox symphonic =m4 ,liszt aptly nam$ 8 own productions symphonic poems4 ,!y are mu* fre] 9 =m ?an ,b]lioz's1 & possibly po9t$ ! way to ! ,ri*>d ,/rauss tone poem4 ,b :5 we exam9e ! musical k]nel1 ! diff]5ce at once is app>5t4 ,polyphony1 t is1 ! simultane\s int]weav+ ( _m !mes1 0 =eign to ,b]lioz & ,liszt4 ,_! /yle is ma9ly homophonic4 ,ri*>d ,/rauss is a polyphonic compos] second n ev5 to ,wagn]1 ^: sy/em ( lead+ motives 9 8 music-dramas made 8 scores su* m>vell\s polyphonic /ructures4 ,su*1 too1 are ! scores ( ,ri*>d ,/rauss's tone poems4 ,none b a ma/] ( polyphony c\ld h attempt$ to express 9 music :at ,ri*>d ,/rauss has express$4 ,= are n 8 tone poems lit]ally tone dramas8 ,x 0 l a man ( great intellectual activity1 su* z ,ri*>d ,/rauss is1 to select = musical illu/ration ! ,fau/ ( mod]n lit]ature--,nietzs*e's ,z>a?u/ra4 ,! compos] became int]e/$ 9 ,nietzs*e's works 9 #ahib1 :5 he 0 writ+ 8 music-drama1 ,guntram4 ,! full fruition ( 8 /udy ( ?is philosoph]'s works is ,?us ,spake ,z>a?u/ra4 ,b ?is is n an attempt to set ,nietzs*e to music1 n an ef=t to express a sy/em ( philosophy ?r\gh s\nd4 ,x is r ! musical portrayal ( a que/--a be+ long+ to solve ! problems ( life1 f9d+ at ! end ( 8 v>i$ pilgrimage t :i* he _h left at ! beg9n+1 ,nature deep & inscrutable4 ,musically1 ! great =tissimo outbur/ 9 ,c major1 :i*1 at ! beg9n+ ( ! "w1 greets ! seek] on ! m\nta9-top ) ! glories ( ! sunrise1 is ! symbol ( ,nature4 ,! seek] desc5ds ! m\nta94 ,he pursues ! que/ amid _m surr\nd+s1 among all sorts & conditions ( m54 ,he exp]i5ces joy1 passion1 remorse4 ,9 wisdom1 p]*ance1 lies ! f9al solution ( ! problem ( life4 ,b ! empt9ess ( wisdom is depict$ by ! compos] ) ! ke5e/ satire 9 a le>n$1 yet dry1 five-"p fugue4 ,! seek]'s v>i$ exp]i5ces =m z _m divisions ( ! tone poem4 ,!re is ev5 a waltz !me4 ,un5d+ joy6 ,!re9 he may rea* ! end ( 8 que/4 ,b h>k6 a sombre /rophe1 foll[$ twelve times by ! ev5 fa9t] /roke ( a bell6 ,!n a !me w++ its flight on ! highe/ regi/] ( mod]n in/rum5tation1 until x seems to rise ov] ! or*e/ra & vani% into ?9 air4 ,x is ! s\l ( ! seek]1 8 e>?ly que/ end$2 :ile ! !me :i* greet$ him at sunrise on ! m\nta9-top res\nds 9 ! or*e/ral dep?s1 ! symbol ( ,nature1 /ill my/]i\s1 /ill inscrutable4 ,an ,intellectual ,=ce 9 ,music4 ,ev5 ?is brief synopsis sugge/s t ,z>a?u/ra is plann$ on a l>ge scale4 ,x presupposes an intellectual grasp ( ! subject on ! compos]'s "p4 ,9 its *oice1 9 ! selection & rejection ( details & 9 outl9+ 8 s*eme1 ,ri*>d ,/rauss %[s t he has ?or\ghly assimilat$ ,nietzs*e4 ,b1 at a c]ta9 po9t1 ! musician 9 ,ri*>d ,/rauss ass]ts himself above ! litt]ateur4 ,?us ,spake ,z>a?u/ra 0 n int5d$ = a prea*m5t1 save indirectly4 ,f :at occurs dur+ t va9 que/1 f ! la/ deep my/]i\s *ord ( ! ,nature !me1 let ! li/5] draw 8 own conclusion4 ,9 ! la/ analysis1 ,?us ,spake ,z>a?u/ra is n a philosophical treatise1 b a tone poem4 ,9 ! la/ analysis1 ,ri*>d ,/rauss is n a philosoph]1 b a musician4 ,a ,h]o's ,life is ano!r "w ( l>ge plan4 ,l ,z>a?u/ra1 x d]ives its importance z an art-"w f its eloqu5ce z a musical composition4 ,) a musical "w1 no matt] h[ intellectual or dramatic its f\ndation1 its te/ ev] w be its value z pure music4 ,ri*>d ,wagn]'s !ories w\ld h fall5 l a h\se ( c>ds1 _h n 8 music be5 eloqu5t & beautiful4 ,b z 8 music ga9$ wond]fully 9 add$ eloqu5ce & beauty by induction f its intellectual cont5t1 s does ,/rauss's4 ,! fact is1 music is music1 :ile philosophies come & g4 ,ye/]day x 0 ,s*op5hau]2 to-day x is ,nietzs*e2 to-morr[ x w be ano!r4 ,d\btless1 ,wagn] ?\ght 8 ,r+ 0 ,s*op5hau]'s ,negation ( ! ,w to ,live set to music4 ,possibly1 ,ri*>d ,/rauss ?\ght ,nietzs*e look$ out betwe5 ! b>s ( ,?us ,spake ,z>a?u/ra4 ,9 po9t ( fact1 nei!r ,wagn] nor ,ri*>d ,/rauss incorporat$ _! favorite philosoph]s 9 _! music4 ,wagn] may h d]iv$ 8 inspiration f 8 read+ ( ,s*op5hau]1 & ,ri*>d ,/rauss f ,nietzs*e1 = "o m9d inspires ano!r4 ,b ! real result1 bo? 9 ,wagn] & ,/rauss1 0 great music4 ,?is is made cle> by ,/rauss's ,a ,h]o's ,life4 ,l ,z>a?u/ra1 x w\ld be effective z music )\t a l9e ( programmatic explanation4 ,! latt] simply adds to its effectiv5ess by giv+ x ! fur!r int]e/ ( fiction & e?ical import4 ,9 ,a ,h]o's ,life we he> 7& see1 if y l7 ! h]o himself1 8 jeal\s adv]s>ies1 ! woman ^: love consoles him1 ! battle 9 :i* he w9s 8 greate/ worldly triumph1 8 mission ( peace1 ! _w's indiff]5ce & ! f9al flight ( 8 s\l t[>d ! empyrean4 ,all ?is is depict$ musically ) ! greate/ eloqu5ce4 ,! battlefield sc5e is a /up5d\s mass+ ( or*e/ral =ces4 ,on ! o!r h&1 ! amor\s episode1 entitl$ ,! ,h]o's ,helpmate1 is impassion$ & *>m+4 ,9 ! _w's indiff]5ce to ! h]o's mission ( peace1 !re is little d\bt t ,/rauss 0 indulg+ 9 a retrospect ( 8 own /ruggles = recognition4 ,= "h are he>d num]\s rem9isc5ces ( 8 e>li] works--8 tone poems1 ,don ,juan1 ,dea? & ,transfiguration1 ,macbe?1 ,till ,eul5spiegel's ,m]ry ,pranks1 ,?us ,spake ,z>a?u/ra1 ,don ,quixote2 8 music-drama1 ,guntram2 & 8 song1 ,dream ,dur+ ,twilight4 ,^! rem9isc5ces give ,a ,h]o's ,life ! same autobiographical int]e/ z atta*es to ,wagn]'s ,mei/]s+]4 ,tribute to ,wagn]4 ,/rauss pays a tribute to ,wagn] 9 ! "o-act op]a1 ,feu]snot 7,fire ,fam9e74 ,accord+ to ! old leg5d on :i* ?is ,s+-g$i*t 7song-poem7 is f\nd$1 a "y maid5 has (f5d$ h] lov]4 ,b ! lov] be+ a magician1 ca/s a spell ov] ! t[n1 caus+ ! ext9ction ( all fire1 br++ cold & d>kness ^u ! entire place1 until ! maid5 rel5ts & smiles aga9 ^u him1 :5 ! spell is lift$ & ! fires once m burn brightly4 ,! "y lov]1 ,kunrad1 9 rebuk+ ! p ( ! city1 says3 ,9 ?is h\se :i* to-day ,i de/roy1 ,once lodg$ ,ri*>d ! ,ma/]4 ,disgracefully did ye expel him ,9 envy & bas5ess1 etc41 etc4 ,accompany+ ^! l9es1 ,/rauss introduces !mes f ,wagn]'s ,r+ ( ! ,nibelung4 ,und\bt$ly ,ri*>d ! ,ma/]1 9 ! above l9es1 is ,ri*>d ,wagn]4 ,:ile ,mr4 ,paur 0 n ! fir/ or*e/ral lead] :o has play$ ,/rauss's music 9 ?is c\ntry1 he may ju/ly be reg>d$ z ,/rauss's prophet 9 ,new ,york at lea/4 ,n only d we owe to him ! p]=mances ( ,a ,h]o's ,life1 :i* def9itely creat$ ,/rauss "h1 b x 0 he :o br\ght =w>d ,?us ,spake ,z>a?u/ra1 :5 he 0 conductor ( ! ,bo/on ,symphony ,or*e/ra4 ,z long ago z #ahhi1 :5 ,mr4 ,paur 0 conductor at ,mannheim1 he invit$ ,/rauss to direct 8 symphony 9 ,f m9or !re4 ,/rauss accept$ & also br\ght ) him 8 j complet$ ,macbe?1 ask+ to be all[$ to try x ov] ) ! or*e/ra1 z he want$ to he> x--a reque/ :i* 0 readily grant$4 ,aft]w>d1 at ,mr4 ,paur's h\se1 ,/rauss's piano qu>tet 0 play$1 ) ! compos] himself at ! piano & ,mr4 ,paur at ! viol94 ,x is n surpris+ t :5 ,mr4 ,paur came ov] "h z ! conductor ( ! ,bo/on ,symphony ,or*e/ra1 he *ampion$ ,ri*>d ,/rauss's "w1 cont9u$ to d s aft] he became conductor ( ! ,new ,york ,philh>monic ,society1 & probably /ill does z conductor ( ! ,pittsburg ,or*e/ra4 ,/rauss has become su* an important figure 9 ! _w ( music t x is int]e/+ to note :at has be5 done to br+ 8 "w be=e ! ,am]ican public4 ,!odore ,?omas1 ) ! arti/ic lib]ality :i* he has always display$ t[>d e s]i\s ef=t 9 music1 produc$ ,/rauss's symphony 9 ,f m9or1 :i* be>s date #ahhc1 z e>ly z ,decemb] #ac1 #ahhd1 ) ! ,new ,york ,philh>monic ,society4 ,x 0 ! fir/ p]=mance ( ?is "w any:]e4 ,/rauss 0 n1 h[ev]1 he>d aga9 at ! conc]ts ( ?is organization until ,janu>y1 #ahib1 :5 ,seidl br\ght out ,dea? & ,transfiguration4 ,aft] he became conductor ( ! ,*icago ,or*e/ra1 ,?omas gave _m p]=mances ( ,ri*>d ,/rauss's works--9 #ahie1 ! prelude to ,guntram1 ,dea? & ,transfiguration & ,till ,eul5spiegel's ,m]ry ,pranks2 9 #ahig1 ,don ,juan & ,?us ,spake ,z>a?u/ra2 9 #ahii1 ,don ,quixote & ! symphonic fantasia1 ,italy2 9 #aijj1 ,a ,h]o's ,life 7! fir/ p]=mance 9 ?is c\ntry7 & ! ,s]5ade = w9d in/rum5ts2 9 #aijb1 ,macbe? 7fir/ p]=mance 9 ?is c\ntry7 & ! ,feu]snot fragm5t4 ,sev]al ( ^! works1 besides ^? not$1 _h _! fir/ p]=mance 9 ?is c\ntry by ! ,*icago ,or*e/ra1 & sev]al h _h repeat$ p]=mances4 ,! ,bo/on ,symphony ,or*e/ra also has a f9e record z reg>ds ! p]=mance ( ,ri*>d ,/rauss's works4 ,nikis*1 ,paur1 & ,g]icke are ! conductors "u :om ^! p]=mances h be5 giv54 ,sev]al ( ! works h be5 play$ repeat$ly n only 9 ,bo/on1 b 9 o!r cities :]e ?is fam\s or*e/ra gives conc]ts4 ,ri*>d ,/raussiana4 ,z data reg>d+ ,/rauss's life1 at ! disposal ( ,engli% read]s1 are bo? scant & scatt]$1 x may n be amiss to tell "h some?+ ( 8 c>e]4 ,he 0 born on ,june #aa1 #ahfd1 9 ,muni*1 :]e 8 fa!r1 ,franz ,/rauss1 play$ ! ,fr5*-horn 9 ! ,royal ,or*e/ra1 & 0 not$ = 8 rem>kable pr(ici5cy on ! in/rum5t4 ,! eld] ,/rauss liv$ long en\gh to wat* ) pride 8 son's gr[+ fame4 ,ri*>d began to play ! piano :5 he 0 f\r ye>s old4 ,at ! age ( six he he>d "s *ildr5 s++ ar\nd a ,*ri/mas tree4 ,i c compose some?+ l t1 he said1 & he produc$ unaid$ a ?ree-"p song4 ,:5 he w5t to s*ool1 8 "m by *ance put cov]s ( music pap] on 8 books4 ,z a result1 he occupi$ mu* ( 8 "t compos+ on ?is pap]1 & dur+ a ,fr5* lesson sket*$ out ! s*]zo ( a /r+ qu>tet :i* has be5 publi%$ z 8 ,opus #b4 ,:ile he 0 /ill at s*ool1 he compos$ a symphony 9 ,d m9or4 ,?is 0 play$ by ! ,royal ,or*e/ra "u ,levi4 ,:51 9 response to calls = ! compos]1 ,ri*>d came out1 "s "o 9 ! audi5ce ask$3 ,:at has t boy to d ) ! symphony8 ,oh1 he's only ! compos]1 0 ! reply4 ,! ye> be=e 7#ahhj71 ! ,royal ,op]a prima donna1 ,meys5heim1 _h publicly sung ?ree ( 8 songs4 ,dur+ 8 advanc$ s*ool ye>s1 8 piano lessons cont9u$1 he receiv$ lessons 9 ! viol91 & w5t ?r\gh a sev]e c\rse 9 composition ) ! ,royal ,kapellmei/]1 ,mey]4 ,9 #ahhb1 he att5d$ ! ,univ]sity ( ,muni*4 ,8 ,s]5ade = w9d in/rum5ts1 compos$ at ?is "t1 attract$ ! att5tion ( ,hans von ,buel[1 "u :om he /udi$ = a :ile at ,raff's cons]vatory 9 ,frank=t4 ,buel[ invit$ him to ,me9+5 z co-director ( ! or*e/ra1 & :5 9 ,novemb]1 #ahhe1 ,buel[ resign$ z conductor1 ,/rauss became 8 successor1 rema9+ !re1 h[ev]1 only till ,april1 #ahhf4 ,8 symphonic fantasia1 ,italy1 _h its orig9 ?r\gh a trip to ,rome & ,naples dur+ ?is ye>4 ,9 ,augu/1 #ahhf1 he 0 appo9t$ assi/ant conductor to ,levi & ,fis*] at ! ,muni* ,op]a1 :]e he rema9$ until ,july1 #ahhi1 :5 he became conductor at ,weim>4 ,9 #ahib1 he almo/ di$ f an attack ( pneumonia1 & on 8 recov]y took a long trip ?r\gh ,greece1 ,egypt & ,sicily4 ,x 0 on ?is t\r t he wrote & compos$ ,guntram1 :i* 0 br\ght out at ,weim> 9 ,may1 #ahid4 ,aft] ! fir/ p]=mance1 he ann\nc$ 8 engagem5t to ! s+] ( ,freihild 9 ,guntram1 ,paul9e de ,ahna1 ! daught] ( a ,bav>ian g5]al4 ,! same ye> he return$ to ,muni* z conductor1 rema9+ !re until #ahii1 :5 he became "o ( ! conductors at ! ,b]l9 ,op]a1 :i* position he /ill holds4 ,he is "o ( ! /> conductors ( ,europe1 receiv+ invitations to conduct conc]ts 9 _m cities1 includ+ ,brussels1 ,mosc[1 ,am/]dam1 ,b>celona1 ,madrid1 ,london & ,p>is2 & 8 ,am]ican t\r 0 a memorable "o4 ,he is a man ( untir+ indu/ry4 ,x is said t he work$ no less ?an half a ye> on ,?us ,spake ,z>a?u/ra1 & t ! writ+ ( 8 scores is a model ( beauty4 ,/rauss occupies a comm&+ position 9 ! _w ( music4 ,he has a*iev$ x ?r\gh a rem>kable comb9ation ( musical te*nique & inspiration c\pl$ ) r>e indu/ry4 ,8 ideals are ( ! highe/4 ,8 intellectual activity is great4 ,he seems a man ( calm & noble poise1 ( broad horizon4 ,x w\ld be presumption to speak ( expectations z to "o :o has accompli%$ s mu*4 ,= ! great a*ievem5ts already to 8 cr$it1 & among ^! ,salome surely mu/ be includ$1 are ! be/ promise = ! future4 ,,xiii ,a ,,note ,,on ,,*amb] ,,music ,lov]s ( *amb] music =m an extremely ref9$ & cultur$ class1 &1 l all highly ref9$ & cultur$ p1 are v cons]vative4 ,!y are ! puri/s among music-lov]s1 ! la/ p :o w\ld c>e to see ! classical =ms ab&on$1 & :o w\ld be di/urb$1 n to say %ock$1 by any great dep>ture f ! sonata =m4 ,= ! /r+ qu>tet is to *amb] music :at ! symphony is to or*e/ra & ! sonata to ! pian(orte--is1 9 fact1 a sonata = two viol9s1 viola & violoncello1 j z ! symphony is a sonata = or*e/ra4 ,oddly en\gh1 a pian(orte solo is m effective 9 a l>ge hall ?an a /r+ qu>tet1 al?\gh ! latt] employs f\r times z _m in/rum5ts2 & ! same is true ( ^? pieces ( *amb] music 9 :i* ! pian(orte is us$1 su* z sonatas = pian(orte & viol9 or violoncello1 pian(orte trios1 qu>tets1 qu9tets1 & s on4 ,a f9e soloi/ on ! pian(orte w be m at home 9 a l>ge auditorium l ,c>negie ,hall or ev5 ! ,metropolitan ,op]a ,h\se ?an w\ld a /r+ qu>tet or any o!r comb9ation ( *amb]-music play]s4 ,pad]ewski plays 9 ,c>negie ,hall1 &1 ,i am sure1 w\ld be equally effective 9 ! ,op]a ,h\se4 ,b an organization ( *amb]-music play]s w\ld be lo/ 9 ei!r place4 ,! ,kneisel ,qu>tet plays 9 ,new ,york 9 ,m5delssohn ,hall1 a small auditorium :i* is j ab\t correctly proportion$ = music ( ?is k9d4 ,inde$1 comp>$ ) ! op]a1 ! or*e/ra & ev5 ) ! pian(orte1 *amb] music requires a sett+ l a jewel4 ,= j z its devotees are ! puri/s among music-lov]s1 s *amb] music itself is some?+ v preci\s4 ,x c]ta9ly is a mo/ *>m+ & intimate =m ( musical ent]ta9m5t & ! con/itu5cy ( a well-e/abli%$ /r+ qu>tet inevitably consi/s ( ! musical elite4 ,! same op9ions t h be5 express$ reg>d+ ! sonatas & ! symphonies ( ! great compos]s apply 9 a g5]al way to _! *amb] music4 ,haydn's is naive2 ,moz>t's m emotional 9 expression2 ,bee?ov5's1 among t ( classical compos]s1 ! mo/ dramatic4 ,9 fact1 ,bee?ov5's la/ qu>tets1 9 :i* ! in/rum5ts are employ$ q indep5d5tly & 9 :i* roles practically ( equal importance are assign$ to ea*1 are reg>d$ by ,ri*>d ,/rauss z hav+ giv5 ! cue to ,wagn] = 8 polyphonic treatm5t ( ! or*e/ra1 & ,wagn] himself spoke ( !m z works ?r\gh :i* ,music fir/ rais$ h]self to an equal height ) ! poetry & pa9t+ ( ! greate/ p]iods ( ! pa/4 ,nev]!less1 !re are _m :o hold t 9 8 la/ qu>tets ,bee?ov5 s\ght to accompli% m ?an c be express$ ) f\r /r+$ in/rum5ts1 & pref] 8 e>li] works ( ?is class1 l ! ?ree ,rasumovski qu>tets1 ,opus #ei1 d$icat$ by ! compos] to ,c\nt ,rasumovski1 :o ma9ta9$ a private /r+ qu>tet 9 :i* he play$ second viol91 ! o!rs be+ pr(essionals4 ,s*ub]t's mo/ fam\s qu>tet is ! "o 9 ,d m9or ) ! lovely sl[ movem5t1 a !me ) v>iations1 ! !me be+ 8 own song1 ,dea? & ! ,maid54 ,"o ( ! greate/ works 9 ! :ole range ( *amb] music is 8 /r+ qu9tet ) two violoncellos4 ,8 pian(orte trios also are noble contributions to ?is bran* ( musical art4 ,"o glance at ?is trio1 writes ,s*umann ( ! ,s*ub]t trio 9 ,b flat major1 & all ! wret*$ness ( exi/5ce is put to flight & ! _w seems "y aga94444 ,_m & beautiful z are ! ?+s ,"t br+s =?1 x w be long ere x produces ano!r ,s*ub]t4 ,m5delssohn's *amb] music is z poli%$1 affable & g5tlemanly z mo/ ( 8 o!r productions1 & rapidly fall+ into ! same /ate ( unlam5t$ desuetude4 ,s*umann has giv5 u 8 lovely pian(orte qu9tet 9 ,e flat4 ,brahms has contribut$ mu* t is notewor?y to *amb] music1 &1 z a rule1 x is less complex & m intellig5tly scor$ ?an 8 or*e/ral music4 ,dvorak 9 8 ,e flat major qu>tet 7,opus #ea7 introduces z ! second movem5t a ,dumka or ,bohemian elegy1 "o ( ! mo/ exquisite ( 8 compositions4 ,fasc9at+ 9 8 national musical t9ts1 he 0 g5ius en\gh = 8 music to be univ]sal 9 its expression2 & he :o us$ ! folksongs ( 8 native ,bohemia s skillfully 0 no less arti/ic 9 ! results he accompli%$ :51 dur+ 8 resid5ce 9 ,new ,york1 he wrote 8 /r+ qu>tet 9 ,f 7,opus #if7 on ,negro !mes4 ,ts*aik[sky & neo-,russians l ,ar5sky1 & ! ,fr5*m51 ,ces> ,franck1 ,sa9t-,sa5s1 d',indy & ,debussy1 are "s ( ! mod]n names t figure on *amb]-music programs4 ,,h[ ,,to ,,appreciate ,,vocal ,,music ,,xiv ,,songs ,,& ,,song ,,compos]s ,songs ei!r are /rophic or dur*componirt 7compos$ ?r\gh74 ,9 ! /rophic song ! melody & accompanim5t are repeat$ un*ang$ ?r\gh ea* /anza or /rophe ( ! poem2 :ile1 :5 a song is compos$ ?r\gh1 ! music1 al?\gh ! pr9cipal melody may be repeat$ m ?an once1 is subject$ to *anges 9 accordance ) ! moods ( ! poem4 ,s*ub]t is ! fir/ song compos] :o requires s]i\s consid]ation4 ,:ile n /rictly ! orig9ator ( ! ,li$1 he is univ]sally ackn[l$g$ to be ! fir/ great song compos] & to h lift$ song to its prop] place ( importance 9 music4 ,gluck set ,klopf/ock's odes to music2 ,haydn z a song writ] is rememb]$ by ,liebes ,ma$*5 ho]' mir ,zu2 ,moz>t by ,das ,veil*52 & ,bee?ov5 by ,adelaide & "o or two o!r songs4 ,be=e ,s*ub]t's day ?is =m ( composition 0 reg>d$ z some?+ r trivial & b5ea? ! dignity ( g5ius4 ,b ,haydn1 ,moz>t & ,bee?ov5 at lea/ did "o ?+ ?r\gh :i* !y may possibly h contribut$ to ! developm5t ( song-writ+4 ,by _! fre] writ+ = ! pian(orte !y prep>$ ! way = ! ,s*ub]t accompanim5ts4 ,:]e ,s*ub]t got 8 musical g5ius f is a my/]y4 ,8 fa!r 0 a s*oolma/]1 ^: fir/ wife1 ,s*ub]t's "m1 0 a cook4 ,! c\ple _h f\rte5 *ildr5 & an income ( #age4 ,if ?is income is some:at disproportionate to ! size ( ! family1 x yet is =tunate t !y _h f\rte5 *ildr5 in/ead ( only ?irte54 ,o!rwise !re w\ld h be5 "o great "n less 9 musical hi/ory1 = ,s*ub]t 0 ! f\rte5?4 ,he 0 born 9 ,vi5na 9 ,janu>y1 #agig4 ,8 ?irty-"o ye>s--= ?is g5ius :o s enri*$ music liv$ to be only ?irty-"o--7 pass$ 9 pov]ty4 ,8 fa!r 0 wret*$ly poor1 & 8 own works1 :5 !y c\ld be dispos$ ( at all to publi%]s1 7 sold at begg>ly prices4 ,n[ !y are univ]sally recogniz$ z ma/]pieces & are wor? _m times _! weight 9 gold4 ,too ,poor to ,buy ,music ,pap]4 ,%ortly be=e he 0 twelve ye>s old1 ,s*ub]t1 :o _h be5 s++ soprano solos & play+ viol9 9 ! p>i% *oir1 0 s5t to ! s-call$ ,convict1 ! ,imp]ial s*ool = tra9+ boys = ! ,c\rt *apel4 ,dur+ 8 five ye>s !re 8 progress 0 s rapid t ev5 be=e he 0 f\rte5 ye>s old he 0 occasionally ask$ to sub/itute = ! conductor ( ! s*ool or*e/ra4 ,life1 h[ev]1 0 h>d4 ,he _h no money ) :i* to buy ev5 a few luxuries 9 ! way ( food to eke out ! wret*$ f>e ( ! ,convict1 nor music pap]4 ,_h x n be5 = ! k9dness ( a fell[ pupil & fri5d1 nam$ ,spaun1 he w\ld n h be5 able to write d[n & "w out 8 ideas4 ,:5 8 voice *ang$1 ! /rait5$ family circum/ances oblig$ him to become an assi/ant 9 8 fa!r's s*ool4 ,he 0 able to be> pov]ty ) pati5ce1 b n ! drudg]y ( tea*+1 & he is said (t5 to h lo/ 8 temp] ) ! boys4 ,altoge!r1 he taught = ?ree ye>s1 #ahae to #ahah2 & :ile 8 "w 0 mo/ di/a/eful to him1 8 g5ius 0 s spontane\s t dur+ 8 ?ree ye>s he compos$ _m songs1 among !m 8 immortal ,erlk+4 ,f9ally a univ]sity /ud5t1 ,franz von ,s*ob]1 :o1 hav+ he>d "s ( ,s*ub]t's songs1 _h become an en?usia/ic admir] ( ! compos]1 (f]$ him "o ( 8 rooms z a lodg+1 :]eupon ,s*ub]t1 /raightway accept+ ! (f]1 gave up tea*+ & f t "t to ! end ( 8 brief life l$ a ,bohemian exi/5ce ) a clique ( fri5ds ( v>i$ accompli%m5ts4 ,9 ?is circle he 0 kn[n z ,canevas1 because :5ev] "s new p]son jo9$ x1 8 fir/ "q reg>d+ ! newcom] 0 ,kann er wass8 7,c he d any?+87 ,outside a small circle ( acqua9tances1 ,s*ub]t rema9$ practically unkn[n until he made ! acqua9tance ( ,johann ,mi*ael ,vogl1 an op]a s+]1 to :om 8 devot$ fri5d1 ,von ,s*ob]1 introduc$ him4 ,vogl 0 some:at res]v$ 9 8 op9ion ( ! songs :i* he tri$ ov] ) ,s*ub]t at _! fir/ meet+1 b !y made an impression4 ,he foll[$ up ! acqua9tance & became ! fir/ pr(essional int]pret] ( ,s*ub]t's lyrics4 ,! mann] 9 :i* ,vogl s+s & ,i accompany1 wrote ,s*ub]t to 8 bro!r ,f]d9&1 s t we appe> l "o on su* occasions1 is some?+ new & unhe>d ( to our li/5]s4 ,publi%]s1 h[ev]1 held alo(4 ,five ye>s aft] ! ,erlk+ 0 compos$1 sev]al ( !m refus$ to pr9t x1 al?\gh ,s*ub]t (f]$ to =ego royalties on x4 ,f9ally1 "s ( ,s*ub]t's fri5ds _h ! song publi%$ at _! own exp5se1 & its success l$ to ! issu+ ( elev5 o!r songs1 ,s*ub]t unwisely accept+ eight hundr$ flor9s 9 lieu ( royalty on ^! & ! ,erlk+4 ,yet f "o ( ^! songs alone1 ,! ,w&]]1 ! publi%]s receiv$ tw5ty-sev5 ?\s& flor9s betwe5 ! ye>s #ahbb & #ahfa4 ,h[ ! ,erlk+ 0 ,compos$4 ,s*ub]t be+ ! greate/ ( song compos]s1 & ! ,erlk+ 8 greate/ song1 ! circum/ances "u :i* x 0 writt5 are ( especial int]e/4 ,8 fri5d ,spaun1 ! same :o provid$ him ) music pap] at ! ,convict1 relates t "o aft]noon t[>d ! close ( ! ye> #ahae he w5t ) ! poet ,mayrh(] to visit ,s*ub]t4 ,!y f\nd ! compos] all agl[1 read+ ! ,erlk+ al\d to himself4 ,he walk$ up & d[n ! room sev]al times1 book 9 h&1 !n sudd5ly sat d[n & z fa/ z 8 p5 c\ld travel put ! music on pap]4 ,hav+ no piano1 ! ?ree m5 hurri$ ov] to ! ,convict1 :]e ! ,erlk+ 0 sung ! same ev5+ & receiv$ ) en?usiasm4 ,! old ,c\rt organi/1 ,ruziczka1 aft]w>d play$ x ov] himself )\t ! voice1 & :5 "s ( ^? pres5t object$ to ! dissonance :i* occurs ?ree times 9 ! c\rse ( ! composition & depicts ! *ild's t]ror ( ! ,erlk+1 ! old organi/ /ruck ^! *ords & expla9$ h[ p]fectly !y reflect$ ! _s ( ! poem & h[ felicit\sly !y 7 work$ out 9 _! musical resolution4 ,s*ub]t's song is almo/ ,wagn]ian 9 its descriptive & dramatic quality4 ,! coax+ voice ( ! ,erlk+1 ! t]ror ( ! *ild1 ! ef=ts ( ! fa!r to allay 8 boy's fe>s1 ea* has its *>act]i/ic expression1 :i* yet is diff]5t f ! n>rative portions ( ! poem1 :ile 9 ! accompanim5t ! horse gallops along4 ,s*ub]t 0 b eighte5 ye>s old :5 he set ?is ballad ( ,goe!'s to music2 yet !re is no m ?rill+ climax to be f\nd 9 all song lit]ature ?an ^? dissonances :i* ,i h m5tion$ & :i* ) ea* repeat rise to a high] int]val & become ea* "t m %rill ) t]ror4 ,:oev] has he>d ,lilli ,lehmann s+ ?is song %\ld be able to appreciate its real greatness1 z ,goe!1 :o _h rema9$ utt]ly indiff]5t to ,s*ub]t's music1 did :5 ! ,erlk+ 0 sung to him by ,frau ,s*ro$]-,devri5t1 to :om he exclaim$3 ,?ank y a ?\s& times = ?is great arti/ic a*ievem5t4 ,:5 ,i he>d ?is song be=e ,i did n l x at all1 b sung 9 y\r way x becomes a true picture4 ,f9ck on ,s*ub]t4 ,m ?an six hundr$ songs by ,s*ub]t h be5 publi%$1 & :5 we rememb] t he wrote symphonies1 sonatas1 %ort] pian(orte pieces1 *amb] music & op]as1 ! f]tility ( 8 brief life is a/\nd+4 ,! rapidity ) :i* he compos$1 h[ev]1 0 n due to c>elessness1 b to ! spontaneity ( 8 g5ius & ! fact t he lov$ to compose4 ,he compos$ z a bird s+s 9 ! spr+1 or z a well gu%es f a m\nta9-side1 simply because he c\ld n help x1 says ,mr4 ,f9ck1 9 8 ,songs & ,song ,writ]s4 ,we h x on ! au?ority ( ,s*ub]t's fri5d1 ,spaun1 t :5 he w5t to b$ he kept 8 spectacles on1 s t :5 he woke up he c\ld g "r to ! table & compose )\t wa/+ "t look+ = 8 glasses4 ,9 ! two ye>s #ahae-af he wrote no less ?an two hundr$ & fifty-f\r songs4 ,six ( ! songs 9 ! ,w9t]reise cycle 7 compos$ 9 "o morn+1 & he _h eight songs to 8 cr$it 9 a s+le day4 ,! *>m+ ,h>k1 ,h>k1 ! ,l>k 0 writt5 at a tav]n :]e he *anc$ to see ! poem 9 a book ! leaves ( :i* he 0 sl[ly turn+ ov]4 ,if ,i only _h "s music pap]6 he exclaim$1 :]eupon "o ( 8 fri5ds promptly rul$ l9es on ! back ( 8 ,speise ,k>te1 & ,s*ub]t1 ) ! v>i$ noises ( ! tav]n go+ on ab\t him1 jott$ d[n ! song !n & !re4 ,( c\rse1 x is impossible to t\* on all ! aspects ( su* a g5ius z 84 ,9 8 songs cle> & beautiful melody is1 z a rule1 comb9$ ) a descriptive accompanim5t4 ,sometimes ! description is giv5 by means ( only a few *ords1 l ! prelud+ ones 9 ,am ,me]4 ,at o!r times ! description runs ?r\gh ! entire accompanim5t1 l ! waves t fla% & dance ar\nd ! melody ( ,auf dem ,wass] zu ,s+52 ! gallop+ horse 9 ! ,erlk+2 ! veil$ mi/ t seems to hang ov] ! sc5es 9 ! wond]fully dramatic poem1 ,die ,/adt2 ! flutt] ( ! bird 9 ,h>k1 ,h>k1 ! ,l>k2 ! brook t fl[s l a leitmotif ?r\gh ! ,maid ( ! ,mill cycle--^! are a few ( ! examples t ) ,s*ub]t c\ld be cit$ by ! doz54 ,& ! range ( 8 "w--"h aga9 space =bids ! multiplication ( examples4 ,x ext5ds f ! naive ,haid5 ,roesle9 to ! tragic ,doppelga5g]2 f ! :isp]+ foliage ( ! ,l9d5 ,tree to ! pa!tic drone ( ! ,hurdy-,gurdy ,man2 f ! ,s]5ade to ,todt und das ,ma$*54 ,s*ub]t is ! greate/ g5ius among song compos]s4 ,comp>e ! gr[+ reputation ( him :o ( all musicians 0 p]haps ! mo/ neglect$ dur+ 8 life1 ) t ( ,m5delssohn1 ! mo/ fet$ ( compos]s1 b n[ rapidly dropp+ to ! position ( a m9or tone poet1 & :o1 al?\gh he wrote eighty-?ree songs1 is z a song writ] rememb]$ outside ( ,g]many by b>ely m ?an "o ,li$1 ! famili> ,on ! ,w+s ( ,song4 ,s*umann's ,individuality4 ,9 ,s*umann's songs ! piano "p is m closely knit & int]wov5 ) ! vocal melody ?an ) ,s*ub]t's1 &1 z a result1 ! voice does n /& out s cle>ly4 ,:ile 8 songs are n :at !y h be5 call$ by a ,g]man critic1 pian(orte pieces ) accid5tal vocal accompanim5ts1 at times1 9 8 vocal compositions1 ! pian(orte ga9s too great an asc5dancy ov] ! voice4 ,if ask$ to draw a di/9ction betwe5 ,s*ub]t & ,s*umann1 ,i %\ld say t !re is a tw(old int]e/ 9 mo/ ( ,s*ub]t's songs4 ,he reproduces ! feel+ ( ! poem 9 8 vocal melody2 !n1 if ! poem conta9s a descriptive sugge/ion1 he produces t phase ( x 9 8 accompanim5t1 )\t1 h[ev]1 all[+ ! pian(orte "p to encroa* on ! vocal melody4 ,! melody gives ! feel+1 ! accompanim5t ! description or mood picture4 ,s*umann1 on ! o!r h&1 r>ely is descriptive4 ,ne>ly always he produces a mood picture 9 tone1 b requires bo? voice & pian(orte to effect 8 purpose4 ,z ?is1 h[ev]1 is ,s*umann's me?od ( composition1 & z x is bett] t ea* compos] %\ld leave ! seal ( 8 individuality on ev]y?+ he does1 & n be an imitator1 x is n cause = regret t :ile ,s*ub]t is ,s*ub]t1 ,s*umann is ,s*umann4 ,! proportion ( f9e songs among ! two hundr$ & =ty-five compos$ by ,s*umann is1 h[ev]1 mu* small] ?an 9 ! h]itage left u by ,s*ub]t2 & :ile ,s*ub]t1 f ! "t he wrote 8 fir/ great vocal compositions1 add$ _m equally great ones e ye>1 ,s*umann's songs1 on ! :ole1 %[ a decid$ fall+ (f aft] he _h woo$ & won ,cl>a ,wieck4 ,x 0 dur+ 8 c\rt%ip t he produc$ 8 be/ songs4 ,sep>at$ f h] by ! comm& ( h] /]n fa!r1 he made love to h] 9 music4 ,i am n[ writ+ no?+ b songs1 great & small1 we f9d him say+ 9 a lett] to a fri5d 9 ! summ] ( #ahdj4 ,h>dly c ,i tell y h[ delici\s x is to write = voice in/ead ( = in/rum5ts1 & :at a turmoil & tumult ,i feel )9 me :5 ,i sit d[n to x4 ,:ile he 0 compos+ 8 song cycle1 ,die ,myr!n1 he wrote to ,cl>a3 ,s9ce ye/]day morn+ ,i h writt5 tw5ty-sev5 pages ( music1 all new1 conc]n+ :i* ! be/ ,i c tell y is t ,i laugh$ & wept = joy :ile compos+ !m4 ,a mon? lat] he writes h]1 9 s5d+ h] 8 fir/ pr9t$ songs3 ,:5 ,i compos$ !m my s\l 0 )9 y\rs2 )\t su* a love1 inde$1 no "o c\ld write su* music--& ?is ,i int5d z a special complim5t4 444 ,i c\ld s+ myself to dea?1 l a night+ale1 he writes to h] aga91 on ,may #ae?4 ,nev] 0 !re su* a musical woo+1 & ^? :o wi% to p>ticipate 9 x c d s by s++ or li/5+ to su* songs z ,d$ication1 ,! ,almond ,tree1 ,! ,lotos ,fl[]1 ,9 ! ,=e/ 7,waldesgesprae*71 ,spr+ ,night1 ,he1 ! ,noble/ ( ! ,noble1 ,?\ ,r+ ^u ,my ,f+]1 ',twas 9 ! ,lovely ,mon? ( ,may1 ,:]e'er ,my ,te>s ,are ,fall+1 ,i'll ,n ,compla91 & ,nightly 9 ,my ,dream+4 ,among 8 songs n inspir$ by love %\ld be m5tion$ ! ,two ,gr5adi]s1 :i* ,plancon s+s s inimitably4 ,phases ( ,franz's ,g5ius4 ,rob]t ,franz 7#ahae-ahib7 _h 8 life embitt]$ by neglect & physical ills4 ,8 family "n orig9ally 0 ,knau?1 8 fa!r hav+ be5 ,*ri/oph ,knau?4 ,b 9 ord] to di/+ui% him f 8 bro!r1 :o 0 engag$ 9 ! same bus9ess1 he 0 address$ z ,*ri/oph ,franz1 a "n :i* he subsequ5tly _h legaliz$4 ,yet critics insi/$ t ,rob]t ,franz 0 a pseudonym :i* ! compos] _h adopt$ f vanity 9 ord] to indicate t he 0 z great z ,rob]t ,s*umann & ,franz ,s*ub]t put toge!r4 ,franz 0 /rongly influ5c$ by ,ba* & ,ha5del1 _m ( ^: scores he suppli$ ) :at are kn[n z additional accompanim5ts1 fill+ out gaps :i* ^! compos]s left 9 _! scores accord+ to ! cu/om ( _! day4 ,8 songs %[ ?is influ5ce 9 _! polyphony1 & ! ,g]man critic1 ,ambros1 said t ,franz's song1 ,d] ,s*w]e ,ab5d1 look$ z if ,ba* _h sat d[n & compos$ a ,franz song out ( ?anks = all t ,franz 0 to d = him ?r\gh 8 additional accompanim5ts4 ,besides _! polyphony d]iv$ f ,ba*1 ,franz's songs are int]e/+ = _! modulations1 :i* are employ$ n simply = ! sake ( %[+ clev]ness or orig9ality1 b = _! appropriat5ess 9 express+ ! mood ( ! poem4 ,he also 0 extremely c>eful 9 reg>d to ! *oice ( key & decid$ly object$ to transpositions ( 8 songs1 9 ord] to make !m s+able = high] or l[] voices ?an c\ld use ! orig9al key4 ,:5 ,i am dead1 he wrote to 8 publi%]1 ,i _c prev5t ^! transpositions1 b s long z ,i am alive ,i %all fight !m4 ,franz did n endeavor to reproduce visible ?+s 9 8 pian(orte p>ts1 & ! voice 9 8 songs (t5 is declamatory1 m]g+ into melody only 9 ! m deeply emotional passages4 ,he is a reflective r ?an a dramatic compos]1 dislik$ op]a1 & himself said t any "o :o _h p5etrat$ deeply into 8 songs well knew t ! dramatic elem5t 0 n to be f\nd 9 !m1 nor 0 x int5d$ to be4 ,compos]s1 h[ev]1 h _m !ories reg>d+ _! music :i*1 9 practice1 come to naught2 & :e!r ,franz ?\ght 8 songs dramatic or n1 ! fact rema9s t :5 ,lilli ,lehmann sang 8 ,im ,h]b/ x 0 z ?rill+ly dramatic z any?+ c\ld be4 ,self-,critical4 ,franz 0 extremely self-critical4 ,he kept 8 productions 9 8 desk = ye>s1 work+ ov] !m aga9 & aga91 until 9 _m cases ! song 9 its f9al %ape bore slight resemblance to :at x _h be5 at fir/4 ,he decl>$ 8 ,opus #a to be no worse ?an 8 late/ "w1 because x _h be5 compos$ ) equal c>e & _h _h ! b5efit ( 8 rip5+ judgm5t & exp]i5ce4 ,he admir$ ,wagn] & d$icat$ "o ( 8 song volumes to him2 b :5 "s critics fanci$ t !y discov]$ ,wagn]ian traits 9 sev]al songs 9 8 la/ collection1 ,op4 #ea-eb1 he 0 able to prove t ^! v songs 7 among ! fir/ he _h writt51 & 7 publi%$ s late 9 8 c>e] simply because he _h kept !m back = revision4 ,8 physical disabilities 7 pitiable4 ,:5 he 0 ab\t ?irty-?ree ye>s old & %ortly aft] 8 m>riage1 he 0 /&+ 9 ! ,halle railway /ation :5 a locomotive close by s\nd$ its %rill :i/le4 ,! effect ^u him 0 l ! pi]c+ ( 8 e>s4 ,= sev]al days aft]w>d he he>d no?+ b confus$ buzz+1 & f t "t on 8 he>+ became worse & worse1 until f9ally 8 e>s pa9$ him ev5 :5 he compos$4 ,9 #ahgf he became totally deaf1 & a few ye>s lat] 8 "r arm 0 p>alyz$ f %\ld] to ?umb4 ,he 0 a poor man1 & "r at ! wor/ "t 9 8 life1 :5 he 0 totally deaf1 a small p5sion :i* he _h receiv$ f ! ,ba* ,society 0 tak5 away f him4 ,b 8 admir]s1 _m ( !m ,am]icans1 came to 8 rescue & rais$ a fund = 8 support4 ,among 8 f9e/ songs are ,widmung1 ,leise ,zieht dur* me9 ,gemuht1 ,bitte1 ,die ,lotos ,blume1 ,es ,ragt d] ,alte ,eborus1 ,me]fahrt1 ,das is e9 ,braus5 und ,heul51 ,i* ,hab' 9 ,de9em ,auge1 ,i* ,w me9e seele ,taug51 & ,es ,hat' ,die ,rose si* ,beklagt4 ,brahms a ,?9k] 9 ,music4 ,brahms 0 a pr(\nd ?9k] 9 music--n a philosoph]1 b a reflective poet1 ^: musician%ip1 h[ev]1 0 s great t he c>$ too little = ! practical side ( 8 art z comp>$ ) ! !oretical4 ,if :at he wrote look$ all "r on pap] he 0 indiff]5t z to :e!r x s\nd$ "r or n2 consequ5tly1 if he />t$ out ) a c]ta9 rhy?mical figuration or a c]ta9 s*eme ( h>monic progression1 he c>ri$ x ?r\gh rigidly to its logical conclusion1 utt]ly oblivi\s to1 or at lea/ utt]ly reg>dless (1 any tonal blemi%es t might result1 al?\gh by slightly alt]+ 8 s*eme "h & !re he might h obviat$ ^!4 ,?is is ! reason :y "s p f9d passages 9 8 music :i* to !m s\nd repellant4 ,b ^? :o h n all[$ ?is aspect ( ,brahms's "w to prejudice !m & h famili>iz$ !mselves ) 8 music1 well "k t he is "o ( ! l(tie/ s\ls t ev] put p5 to /aff4 ,he nev] is dra/ic1 nev] s5sational1 nev] sup]ficial2 & ! climaxes ( 8 songs1 z 9 8 o!r music1 are produc$ n by great outbur/s ( s\nd1 b by sudd5 modulations or *ange ( rhy?m1 :i* give a wond]ful lift to voice & accompanim5t4 ,among 8 be/ kn[n songs 7& ea* ( ^! is a ma/]piece7 are3 ,wie ,bi/ du me9e ,ko5ig91 ,ruhe1 ,suess ,liebs*51 ,von ewig] ,liebe1 ,wieg5li$1 ,m9neli$1 ,felde9samkeit1 ,wie ,melodi5 zeiht es mir1 ,imm] leis] wird me9 ,s*lumm]1 ,me9e ,li$]1 ,wir w&elt51 wir ,swei1 zusamm54 99 99 99 99 99 ,"o ( ! mo/ impassion$ mod]n lyrical outbur/s is ,j5s5's sett+ ( ,he9e's ,lehn de9e ,wang' an ,me9e ,wang'1 & 8 ,fruehl+sna*t also is a v beautiful song1 al?\gh ! popul>ity ( ,s*umann's sett+ ( ! same poem has ca/ x unduly into ! %ade4 ,rub9/e9 w be f\nd consid]ably less prolix 9 8 songs ?an 9 8 music 9 o!r bran*es1 & ^? :i* he wrote to ! ,p]sian poems ( ,von ,bod5/$t 7,mirza ,s*affy7 are fasc9at+ 9 _! ,ori5tal color+4 ,! ,asra1 & ,yell[ ,rolls at my ,feet1 7,gold ,rollt mir zu ,fuess57 are among ! be/ kn[n ( ^!2 :ile ,es bl9k't d] ,?au1 ,du ,bi/ wie e9e ,blume1 & ,d] ,traum are among ,rub9/e9's songs :i* are or %\ld be 9 ! rep]toire ( e s+]4 ,ts*aik[sky & ,dvorak are n notewor?y z song writ]s1 b ! =m]'s sett+ ( ,nur w] die ,sehnsu*t k5nt & ! latt]'s ,gypsy ,songs are highly successful4 ,grieg's ,orig9ality4 ,"o ( ! mo/ fasc9at+ among mod]n song writ]s is ! ,norwegian1 ,grieg4 ,he has be5 unusually =tunate 9 hav+ a f9e s+] z a wife4 ,mr4 ,f9ck relates t ,ibs51 aft] he>+ h] s+ 8 poems z set to music by ,grieg1 :isp]$ z he %ook ! h&s ( ?is musical c\ple1 ! "o ^w1 ,und]/ood4 ,grieg's orig9ality has n be5 ?or\ghly appreciat$1 because mu* ( ! beauty ( 8 music has be5 attribut$ to :at is suppos$ to be its ,norwegian orig94 ,grieg is national1 x is true1 b n 9 a cramp$ or n>r[ s5se4 ,8 music is ! product ( 8 individual g5ius1 & 8 g5ius has made him s popul> t :at is 8 has come to be wrongly consid]$ ,norwegian1 :]eas x is ,norway int]pret$ ?r\gh ! g5ius ( ,grieg4 ,8 music is n a dialect1 b music ( univ]sal significance1 =tunately t+$ ) 8 individuality4 ,i ,love ,y1 ,ibs5's ,! ,swan1 ,by ! ,riv]side1 ,spr+tide1 ,w\nd$ ,he>t1 ,! ,"m ,s+s 7a "m m\rn+ h] dead *ild71 ,at ! ,bi] ( a ,"y ,woman1 & ,f ,monte ,p9cio1 are among 8 f9e/ ,li$]4 ,*op9 is mu* too little kn[n z a song writ]4 ,8 g5ius z a compos] = ! pian(orte has ov]%ad[$ 8 songs1 & ! public is famili> ) little else save ,! ,maid5's ,wi%1 :i* is "o ( ,madame ,sembri*'s favorite encores & to :i* %e plays h] own accompanim5t s delightfully4 ,b !re is pl5ty ( national color 9 ! ,li?uan9a song1 pl5ty ( pa?os 9 ,pol&'s ,dirge1 & pl5ty ( lyrical passion 9 ,my ,delights4 ,f9ck says t 9 all music1 lyric or dramatic1 ! ?rill ( a kiss has nev] be5 express$ s ec/atically z 9 ! twelve b>s ( ?is song m>k$ cresc5do sempre piu accell]&o4 ,c]ta9ly sempre 7always7 & accell]&o 7fa/]7 are capital words :5 appli$ to a kiss6 ,ri*>d ,wagn]1 :5 tw5ty-six ye>s old1 9 ,p>is1 tri$ to relieve 8 pov]ty by compos+ a few songs1 among :i* is a v *>m+ sett+ ( ,rons>d's ,dors mon enfant4 ,he also set ,he9e's ,! ,two ,gr5adi]s to music1 utiliz+ ! ,m>sellaise 9 ! accompanim5t2 b1 z a :ole1 ! ,wagn] v]sion ( ?is poem is n z effective z ,s*umann's4 ,9 #ahfb he compos$ music to five poems writt5 by ,ma?ilde ,wes5donck1 among :i* is ! fam\s ,traeume1 :i* utilizes ! !me ( ! love duet t lat] on appe>$ 9 ,tri/an4 ,liszt's ,g5ius = ,song4 ,liszt's songs are a complete musical exposition ( ! poems to :i* !y are compos$4 ,?us :ile1 by way ( comp>ison1 ,rub9/e9's sett+ ( ,du ,bi/ wie e9e ,blume gives ?r\gh its simplicity a r>e impression ( purity1 ,liszt 9 8 sett+ ( ! same poem adds to t purity ! s5se ( sacr$ness ) :i* ! contemplation ( a pure woman fills a man's he>t & causes him to wor%ip h]4 ,8 ,lorelei is a beautiful lyric sc5e4 ,we view ! fl[+ riv]1 seem to he> ! s$uctive voice ( ! temptress1 & wat* ! trea*]\s & /ormy curr5t t hurries ! ensn>$ boatman to 8 doom4 ,& :at song has m ( t valuable quality we call atmosph]e ?an ,liszt's v]sion ( ,k5n/ du das ,l&8 ,z w be ! case ) ,liszt 9 o!r bran*es ( music1 he w be recogniz$ "s day z "o ( ! greate/ ( song compos]s4 ,ri*>d ,/rauss's songs1 f hav+ be5 reg>d$ z s bri/l+ ) difficulties z to be impossible1 h become favorites 9 ! song rep]toire4 ,:5 x is a g5ius :o creates difficulties ^! are sure to be ov]come by ambiti\s play]s & s+]s1 & music advances te*nically by j s mu*4 ,/rauss's ,/a5d*51 ) its delici\sly delicate accompanim5t1 s difficult to play ) ! requisite grace1 0 ! fir/ ( ,/rauss's songs to become popul> "h1 & x 0 ! art ( our great s+]1 ,madame ,nordica1 t made x s4 ,n[ we he> ,die ,na*t1 ,traum dur* die ,daemm]ung1 ,heimli*e ,auf=d]ung1 ,all]seelem1 ,breit ueb] me9 ,haupt ,de9 s*w>zes ,ha>1 & _m ( 8 o!r songs ) gr[+ frequ5cy4 ,!re are few song compos]s ) :om ! pian(orte accompanim5t is s entirely di/9ct f ! melody 7or s difficult to play71 z (t5 is ! case ) ,/rauss4 ,z ) ,s*ub]t1 e descriptive sugge/ion conta9$ 9 ! poem is c>ri$ into ! accompanim5t1 b ! vocal "p is m declamatory & m v>i$4 ,ev5 n[ x seems c]ta9 t ,/rauss's songs are p]man5t acquisitions to ! rep]toire4 ,x /ill is too soon1 h[ev]1 to affirm ! same ?+ ( ! un=tunate ,hugo ,wolf's songs1 al?\gh ,i f9d myself /rongly attract$ by ,er i/s1 ,fruehl+ ueb]s ,jahr1 ,fus/eise1 ,d] ,ko5ig bei d] ,kro5+1 ,gesang ,weyla's1 ,elf5li$ & ,d] ,tamb\r4 ,sa9t-,sa5s1 ,delibes1 ,god>d1 ,mass5et1 ,*am9ade & ! late ,augu/a ,holmes are among ,fr5* song writ]s ^: "w is clev]1 b :o seem to me m conc]n$ ) mann] ?an ) matt]4 ,g\nod's rank z a song compos] is mu* bel[ 8 reputation z ! compos] ( ,fau/ & ,romeo et ,juliette4 ,oddly en\gh1 h[ev]1 ! idea t came to him ( plac+ a melody above a prelude f ,ba*'s ,well ,temp]$ ,clavi*ord did m ?an any?+ he _h accompli%$ up to t "t to make him fam\s4 ,orig9ally he scor$ x = viol9 ) a small female *orus (f /age4 ,!n he replac$ ! *orus ) a h>monium4 ,f9ally he seems to h be5 /ruck ) ! fact t ! melody fitt$ ! words ( ! ,ave ,m>ia1 sub/itut$ a s+le voice = ! viol91 :i*1 h[ev]1 /ill c supplem5t ! vocal melody ) an obbligato1 did away ) ! h>monium1 & ! result 0 ! ,g\nod-,ba* ,ave ,m>ia4 ,! ,ba* prelude1 ( c\rse1 s9ks to ! level ( a m]e accompanim5t1 = x has to be tak5 mu* sl[] ?an ,ba* int5d$4 ,am]ican compos]s :o h produc$ notewor?y songs are ,edw>d ,a4 ,mac,dowell1 ,g4 ,w4 ,*adwick1 ,ar?ur ,foote1 ,clayton ,johns1 ,hom] ,n4 ,b>tlett1 ,m>g>et ,ru?v5 ,lang1 & ! late ,e!lb]t ,nev94 ,,xv ,,oratorio ,oratorio _h its orig9 9 an attempt by a sixte5? c5tury ,italian monk to make div9e s]vice m int]e/+--to draw to *ur* p :o might n be attract$ by ! opportunity to he> a s]mon1 b c\ld be p]suad$ to come if music a trifle m ent]ta9+ to ! common m9d ?an ! unaccompani$ 7a capella7 ecclesia/ical compositions ( ,pale/r9a & o!r ma/]s ( ! polyphonic s*ool1 7 ?r[n 9 ) !m4 ,music /ill is reg>d$ z a prime draw+ c>d 9 *ur*es1 & :5 n[adays a f9e basso rises aft] ! s]mon & s+s ,x is en\gh1 we c p>aphrase x z mean+1 ,x is en\gh s f> z ! s]mon is conc]n$1 & n[ to make up = x y are go+ to h a *ance to li/5 to "s music4 ,:5 ! ann\ncem5t is made t su*-&-su* a well-kn[n s+] has be5 engag$ = a *ur* x means t ! ,rev]5d ---- is do+ j :at ! monk1 ,n]i1 did1 ab\t f\r hundr$ ye>s ago--fi%+ = a congregation ) music4 ,z x exi/s to-day1 h[ev]1 oratorio has little to d ) religi\s wor%ip1 & usually is practic$ amid secul> surr\nd+s1 ) a female *orus 9 v>iegat$ ev5+ attire & a male *orus 9 claw-hamm]s1 ! s+]s hang+ m or less anxi\sly on ! baton ( ! conductor4 ,?is liv+ picture :i*1 s f> z ?is c\ntry is conc]n$1 ,i h1 ,i believe1 drawn 9 correct p]spective1 is s mu* out ( keep+ ) ! religi\s subjects :i* usually und]lie ! texts ( oratorios t x may acc\nt = ! comp>ative lack ( int]e/ %[n by ,am]icans = ?is =m ( musical ent]ta9m5t4 ,x also is true1 h[ev]1 t 9 ?is c\ntry oratorio nev] has _h m ?an half a *ance4 ,?is is due to ! fact t ! ,am]ican man is n z s5sitive to music nor musically z well educat$ z ! ,am]ican woman1 ! result be+ t ! male cont+5t ( ! av]age ,am]ican oratorio *orus is less compet5t ?an ! wom5 s+]s4 ,t5ors are r>e birds 9 any l&1 & r>] "h app>5tly ?an else:]e1 s t 9 ?is division ( our mix$ *oruses !re is a lack ( brilliancy 9 tone & ( precision 9 attack4 ,^! sev]al circum/ances comb9e to prev5t t well-balanc$ ensemble necess>y to a satisfactory p]=mance4 ,an ,incongru\s ,art-,=m4 ,ev5 at its be/1 h[ev]1 oratorio is an incongru\s art-=m1 nei!r an op]a nor a *ur* s]vice1 b r an attempt to design some?+ t %all n %ock p :o consid] x wick$ to g to ! op]a1 nor afflict ) ennui ^? :o w\ld consid] an invitation to li/5 to sacr$ music dur+ ! week an imposition4 ,x seems peculi>ly adapt$ to ! idea ( ent]ta9m5t :i* prevails 9 ,engl&1 :]e app>5tly any div]sion 9 ord] to be consid]$ legal mu/ be m or less ( a bore4 ,=tunately1 h[ev]1 !re be _m m5 ( _m m9ds2 s t :ile1 = example1 "o c\ld n well draw a gloomi] picture ( ! h]eaft] = a critic l ,mr4 ,h5ry ,t4 ,f9ck ?an z a place :]e he w\ld be oblig$ to he>1 let me sugge/1 semi-weekly p]=mances ( ,! ,messiah1 ! annual ,*ri/mas auditions ( t "w h be5 ! f9ancial salvation ( oratorio 9 ,am]ica4 ,san ,filippo ,n]i1 :o 0 born 9 ,flor5ce 9 #aeae1 & 0 ! f\nd] ( ! ,congregation ( ! ,fa!rs ( ! ,oratory1 0 ! orig9ator ( oratorio4 ,9 ord] to attract p to *ur*1 he in/itut$ be=e & aft] ! s]mon dramatic & musical r5d]+s ( sc5es f ,scripture4 ,x is n unlikely t ! sugge/ion = ! und]ly+ dramatic text came f ! old ,my/]y & ,miracle plays1 :i*1 to say ! lea/1 7 naive4 ,9 "o ( ^!1 repres5t+ ,noah & 8 family ab\t to emb>k 9 ! ark1 ,mrs4 ,noah decl>es t %e pref]s to /ay beh9d ) h] worldly fri5ds1 & :5 at la/ h] son ,%em seizes & =ces h] into ! ark1 %e retaliates by giv+ ! wor?y ,noah a box on ! e>4 ,9 ano!r play ( ?is k9d :i* repres5t$ ! ,creation1 a horse1 pigs ) r+s 9 _! noses1 & a ma/iff ) a brass coll> 7 br\ght up to ,adam to "n4 ,b 9 "o p]=mance ! ma/iff spi$ a c['s rib-bone :i* _h be5 provid$ = ! =mation ( ,eve1 grabb$ x & c>ri$ x (f1 9 spite ( ! ef=ts ( ! ,angel to :i/le him back1 & ,eve _h to be creat$ )\t ! aid ( ! rib4 ,primitive ,ef=ts4 ,x is n likely t any su* contretemps accompani$ ! p]=mances ( ,san ,filippo's primitive oratorios1 & yet x is probable t !y 7 n only sung1 b also act$ ) "s k9d ( sc5ic sett+ & co/umes2 = ,emelio del ,cavali]e1 a ,roman compos]1 ^: oratorio1 ,la ,rappres5tazione dell' ,anima e del ,corpo 7,! ,s\l & ! ,body71 0 p]=m$ 9 ,febru>y1 #afjj1 9 ! ,*ur* ( ,santa ,m>ia della ,vallicella1 b :o di$ be=e ! production1 left m9ute directions reg>d+ ! sc5]y & action4 ,9 ?is oratorio1 z 9 "s ( ! o!r e>ly ones1 !re 0 a ballet1 :i*1 accord+ to its compos]'s directions1 0 to enliv5 c]ta9 sc5es ) cap]s & to execute o!rs s$ately & rev]5tially4 ,x 0 ! compos]1 ,giovanni ,c>issimi1 :o fir/ introduc$ ! n>rator 9 oratorio1 ?is function be+ to cont9ue ! action ) explanatory recitatives betwe5 ! numb]s4 ,9 8 oratorio1 ,jeph?a1 !re is a solo = ,jeph?a's daught]1 ,plorate colles1 dolate montes 7,weep1 ye hills2 m\rn1 ye m\nta9s71 :i* has an e*o = two sopranos at ! end ( ea* phrase ( ! melody4 ,aless&ro ,sc>latti1 :o develop$ ! aria 9 op]a1 also gave m def9ite =m to ! solos 9 oratorio & a m dramatic accompanim5t to ! recitatives :i* relat$ to action1 leav+ ! n>rative recitals unaccompani$4 ,up to ?is po9t1 9 fact1 oratorio & op]a may be said to h develop$ h& 9 h&1 b n[1 ?r\gh ! influ5ce ( ,g]man compos]s & especially ?r\gh _! ,passion ,music1 x assum$ a m di/9ct =m4 ,die ,auf]/ehung ,*ri/i 7,! ,resurrection71 by ,he9ri* ,s*uetz1 produc$ 9 ,dresd5 9 #afbc1 & 8 ,sieb5 ,worte ,*ri/i 7,! ,sev5 ,words ( ,*ri/71 subjects :i* h be5 rev]5tially set by _m ,g]man compos]s1 are reg>d$ z pione] works ( _! k9d4 ,9 ! developm5t ( ,passion ,music mu* use 0 made ( *ur* *orales1 ! gr& sacr$ melodies ( ! ,g]man p1 :i* h _h incalculable influ5ce 9 =m+ ! /ability ( "* t is a di/+ui%+ m>k ( ! race4 ,!y are conspicu\s 9 ! ,tod ,jesu1 a fam\s "w by ,k>l ,he9ri* ,graun1 a contempor>y ( ,ba*1 ^: own ,passion ,accord+ to ,/4 ,mat!w is reg>d$ by advanc$ lov]s ( music z ! greate/ ( all works 9 oratorio or quasi-oratorio /yle1 al?\gh ! ,engli% /ill cl+ to ,ha5del4 ,h[ev] close ! imitation or complicat$ ! involutions ( ! sev]al voices1 says ,rock/ro1 9 writ+ ( ,ha5del1 we nev] meet ) an inh>moni\s collision4 ,he 7,ha5del7 seems always to h aim$ at mak+ 8 p>ts run on velvet2 :]eas ,ba*1 writ+ on a totally diff]5t pr9ciple1 evid5tly delight$ 9 br++ h>mony out ( discord & made a po9t ( introduc+ h>d pass+ notes 9 ord] to avail himself ( ! pleasant effect ( _! ultimate resolution4 ,! inh>moni\s collisions1 ! h>d pass+ notes are among ! v ?+s :i* make ,ba* s mod]n2 s9ce mod]n e>s d n set mu* /ore by music t runs on velvet4 ,ba*'s ,passion ,music4 ,x is int]e/+ to note t ?is ,passion ,accord+ to ,/4 ,mat!w is 9 two p>ts1 & t1 z 0 ! case ) ! oratorios ( ,san ,filippo ,n]i1 ! s]mon came betwe54 ,! text 0 prep>$ by ,*ri/ian ,fri$ri*s ,h5rici1 writ+ "u ! pseudonym ( ,pic&]1 & is p>tly dramatic1 p>tly epic 9 =m1 ) an ,evangeli/ to relate ! v>i\s ev5ts 9 ! /ory1 b ) ! ,"l1 ,/4 ,pet] & o!rs us+ _! own words accord+ to ! sacr$ text4 ,a d\ble *orus is employ$1 sometimes repres5t+ ! ,disciples1 sometimes ! infuriat$ populace2 b always treat$ 9 dramatic fa%ion4 ,at ! "t ! ,passion 0 writt51 ! arias & c]ta9 ( ! *oruses :i* conta9$ m$itations on ! ev5ts n>rat$ 7 call$ ,soliloquiae2 & 9 s++ ! beautiful *orales1 ! congregation 0 expect$ to jo94 ,! recitatives assign$ to ! ,savi\r are accompani$ by /r+ or*e/ra only1 & are1 z ,rock/ro says1 full ( g5tle dignity1 :ile ! *oruses are m>k$ by an am\nt ( dramatic p[] :i* is rem>kable :5 "o consid]s t ,ba* nev] paid any att5tion to ! mo/ dramatic ( all musical =ms1 ! op]a4 ,! ,passion ,accord+ to ,/4 ,mat!w1 by ,johann ,seba/ian ,ba*1 0 8 greate/ "w & "o ( ! greate/ works ( all times4 ,x 0 produc$ = ! fir/ "t at ! aft]noon s]vice 9 ! ,*ur* ( ,/4 ,?omas1 ,leipzig1 :]e ,ba* 0 ,cantor1 on ,good ,friday1 #agbi1 & x 0 "o hundr$ ye>s be=e x 0 he>d aga91 :5 x 0 reviv$ by ,m5delssohn1 9 ,b]l91 on ,m>* #ab?1 #ahbi--;an epo*-mak+ p]=mance4 ,/rictly speak+1 ,passion ,music is n an oratorio1 b a *ur* s]vice1 & ,ba* actually design$ 8 to s]ve z a c\nt]-attraction to ! ,mass z p]=m$ 9 ! ,roman ,*ur*4 ,:at we und]/& "u oratorio d]iv$ its vitality f ,george ,fr$]ick ,ha5del1 :o 0 born at ,halle 9 ,l[] ,saxony1 #afhe1 b ^: mo/ important "w 0 accompli%$ 9 ,london1 :]e he di$ 9 #agei & 0 buri$ 9 ,we/m9/] ,abbey4 ,be=e ,ha5del wrote 8 two greate/ oratorios1 ,israel 9 ,egypt & ,! ,messiah1 he _h1 ?r\gh ! composition ( num]\s op]as1 ma/]$ ! pr9ciples ( dramatic writ+1 & 9 8 oratorios he aims1 :5ev] ! text makes x p]missible1 at dramatic expression4 ,x is only necess>y to recall ! ,plague ,*oruses 9 ,israel 9 ,egypt1 especially ! ,hail-,/one ,*orus & ! *orus ( rejoic+ 7,! horse & 8 rid] ha? ,he ?r[n into ! sea72 or by way ( contra/1 ! t5d]ly expressive melody ( ,z = ,8 p1 ,he l$ !m =? l %eep1 to realize :at an adept ,ha5del 0 9 dramatic expression4 ,rock/ro on ,ha5del4 ,ha5del may 9 fact be call$ ! f\nd] ( v>iety & fre$om 9 writ+ = *orus4 ,:ile ,i mu/ confess t ,i d n %>e ,rock/ro's int5se en?usiasm = ,ha5del & = ,! ,messiah1 nev]!less he expresses s well ! g5]al feel+ 9 ,engl& & ! feel+ on ! "p ( ^? 9 ?is c\ntry :o cr[d ! annual ,*ri/mas p]=mances ( ,! ,messiah1 t[>d t "w1 t ! be/ means ( convey+ an idea ( :at oratorio signifies to ^? :o l x1 is to quote him4 ,ref]r+ to ,ha5del's free & v>i$ treatm5t ( *orus writ+1 he says3 ,he bids u ',behold ! ,lamb ( ,god' & we feel t he has help$ u to d s4 ,he tells u t ',) ,8 /ripes we are heal$1' & we are s5sible n ( ! heal+ only1 b ( ! cruel price at :i* x 0 pur*as$4 ,& we yield him equal ob$i5ce :5 he calls ^u u to jo9 9 8 hymns ( praise4 ,:o he>+ ! noble subject ( ',i w s+ unto ! ,"l1' l$ (f by ! t5ors & altos1 does n long to re9=ce _! voices ) 8 own8 ,:o does n feel a *ok+ 9 8 ?roat be=e ! fir/ b> ( ! ',hallelujah ,*orus' is complet$1 ?\gh he may be li/5+ to x = ! hundr$? "t8 ,h>d inde$ mu/ 8 he>t be :o c refuse to he> :5 ,ha5del prea*es ?r\gh ! voice ( 8 *orus4 ,! ,messiah also conta9s two ( ,ha5del's mo/ fam\s solos1 ,he %all fe$ ,8 flock & ,i "k t my ,r$eem] live?4 ,?is "w 0 p]=m$ = ! fir/ "t on ,april #ac1 #agdb1 at ! ,music ,hall1 ,dubl91 :5 ,ha5del 0 on a visit to ! ,duke ( ,devon%ire1 !n ,"l ,lieut5ant ( ,irel&4 ,! rehe>sals1 at :i* _m p 7 pres5t by invitation1 _h ar\s$ s mu* en?usiasm1 t ^? :o 7 int]e/$ 9 ! *>itable object = :i* x 0 giv51 reque/$ z a favor t ! ladies :o honor ?is p]=mance ) _! pres5ce w\ld be pleas$ to come )\t hoops1 z x w\ld greatly increase ! *>ity by mak+ room = m company4 ,g5tlem5 also 7 reque/$ to come )\t swords1 = ! same reason4 ,x is said t at ! fir/ ,london p]=mance1 :5 ! ,hallelujah ,*orus rang out1 ! ,k+ rose 9 8 place &1 foll[$ by ! entire audi5ce1 /ood dur+ ! s++ ( ! *orus1 & t ?us ! cu/om1 :i* /ill is obs]v$1 orig9at$4 ,foll[+ ,ha5del1 ,haydn 9 #agih1 :5 ne>ly sev5ty ye>s old1 wrote ,! ,creation1 f\nd$ on passages f ,milton's ,p>adise ,lo/1 & aft] x ,! ,seasons1 = :i* ,?omson's famili> poem suppli$ ! text4 ,9 bo? ( ^! !re is mu* purely descriptive music1 especially 9 ! e>li] oratorio1 :5 ! creation ( v>i\s animals is relat$4 ,9 ,! ,creation1 too1 aft] ! passages = mut$ /r+s1 is ! fam\s outbur/ ( or*e/ra & *orus1 ,& !re 0 light4 ,haydn 0 a f> great] ma/] ( or*e/ration ?an ,ha5del4 ,he also 0 "o ( ! e>ly compos]s ( ! homophonic s*ool1 & !re is a fre]1 m spontane\s fl[ ( melody 9 8 oratorios4 ,b !y und\bt$ly lack ! gr&eur ( ,ha5del's4 ,m5delssohn's ,oratorios4 ,betwe5 ,haydn & ,m5delssohn1 9 ! developm5t ( oratorio1 no?+ ne$ be m5tion$1 except+ ,bee?ov5's ,m\nt ( ,olives & ,spohr's ,! ,la/ ,judgm5t 7,die ,letzt5 ,d+e74 ,m5delssohn1 9 8 ,/4 ,paul1 foll[$ ! example ( ! old passioni/s1 & introduc$ *orales1 b 9 8 great] oratorio1 ,elijah1 :i* is purely an ,hebraic subject1 he disc>d$ ^!4 ,! dramatic quality ( ,elijah is s app>5t t x has be5 said m ?an once to be capable ( /age repres5tation ) sc5]y1 co/umes & action4 ,?is is especially true ( ! prophet himself1 ^: p]sonality is s def9itely develop$ t he /&s be=e u almo/ l a "* beh9d ! footlights4 ,?is dramatic value is felt at ! v beg9n+1 :51 aft] f\r solemn *ords on ! brass1 ! "w1 in/ead ( op5+ ) an ov]ture1 is u%]$ 9 by ,elijah's prophecy ( ! dr\ght4 ,!n comes ! ov]ture1 :i* is descriptive ( ! effects ( ! prophecy4 ,next to ,! ,messiah1 ,elijah probably is ! mo/ popul> ( oratorios1 & ,i ?9k ?is is due to its dramatic value1 & to ! fact t its descriptive music1 in/ead ( be+ some:at naive1 n to say *ildi%1 z is ! case ) "s passages 9 ,haydn's ,creation1 is extremely effective4 ,x is necess>y only to rem9d ! read] ( ! desc5t ( ! fire & ! de/ruction ( ! prophets ( ,baal2 ( ! description ( ! gradual approa* ( ! ra9-/orm1 z ,elijah1 /&+ on ,m\nt ,c>mel & wat*+ = ! com+ ( ! ra91 is in=m$ ( ! little cl\d1 out ( ! sea1 l a man's h&--a little cl\d :i* we seem to see 9 ! music1 & :i* gr[s 9 size & blackness until x bur/s l a deluge ov] ! sc5e4 ,!n !re are ! fam\s bass solo1 ,x is en\gh2 ! unaccompani$ ,trio ( ,angels2 ! ,angel's song1 ,oh1 re/ 9 ! ,"l2 & ! t5d]ly expressive *orus1 ,he1 wat*+ ov] ,israel4 ,i once he>d a p]=mance ( ,elijah dur+ :i* ! ,angel c>ri$ on su* a lively flirtation ) ! ,prophet t %e almo/ miss$ ! cue = h] mo/ important solo2 9 fact w\ld h miss$ x1 _h n ! conductor %>ply call$ h] att5tion to ! fact t x 0 "t = h] to beg94 ,i ?9k t oratorio rea*$ its successive climaxes ) ,! ,messiah & ,elijah4 ,g\nod's ,r$emption & ,mors et ,vita1 9 spite ( passages ( und5iable beauty1 seem to me1 z a :ole1 r sp9eless4 ,edw>d ,elg>'s ,dream ( ,g]ontius & ,! ,apo/les h creat$ mu* excitem5t 9 ,engl& & consid]able int]e/ "h1 b :ile x is too soon to haz>d a def9ite op9ion ( ?is compos]1 he appe>s to be lack+ 9 individuality--to d]ive f ,wagn] :atev] is int]e/+ 9 8 scores1 :ile :at is orig9al ) him is unimportant4 ,!re are c]ta9 sacr$1 semi-sacr$ & ev5 secul> works t are apt to figure on ! programs ( oratorio & alli$ societies4 ,mr4 ,frank ,damros*'s ,society ( ,musical ,art s+s v beautifully "s ( ! unaccompani$ *oruses ( ! e>ly ,italian polyphonic s*ool1 su* z ,pale/r9a's ,papae ,m>celli ,mass1 ,/abat ,mat] & ,requiem2 ! ,mis]]e ( ,allegri 7s\ght to be reta9$ exclusively by ! *oir ( ! ,si/9e ,*apel1 b :i* ,moz>t wrote out f memory aft] he>+ x twice72 & ! ,/abat ,mat] ( ,p]golesi4 ,!re are also ! ,ba* cantatas1 ,moz>t's ,requiem1 ) its tragic associations2 ,bee?ov5's ,mass 9 ,d2 ,s*umann's ,p>adise & ! ,p]i & 8 music to ,byron's ,manfr$ 7) recitation72 ,liszt's ,gran] ,mass1 ,leg5d ( ,/4 ,elizabe? & ,*ri/us2 ,rub9/e9's ,t[] ( ,babel & ,p>adise ,lo/2 ,brahms's ,g]man ,requiem1 a noble b difficult "w2 ,dvorak's ,/abat ,mat]2 ,ross9i's ,moses 9 ,egypt & ,/abat ,mat]2 ,b]lioz's ,requiem & ,damnation de ,fau/1 ! ,am]ican production ( :i* latt] 0 "o ( ! late ,dr4 ,leopold ,damros*'s f9e/ a*ievem5ts2 & ,v]di's ,manzoni ,requiem4 ,,xvi ,,op]a ,,& ,,music-,,drama ,op]a orig9at$ 9 ,flor5ce t[>d ! close ( ! sixte5? c5tury4 ,a b& ( en?usia/ic1 intellectual compos]s aim$ at reproduc+ ! musical declamation :i* !y believ$ to h be5 *>act]i/ic ( ! repres5tation ( ,greek trag$y4 ,! fir/ attempt result$ 9 a cantata1 ,il ,conte ,ugol9o1 = s+le voice ) ! accompanim5t ( a s+le in/rum5t1 & compos$ by ,v9c5zo ,galileo1 fa!r ( ! fam\s a/ronom]4 ,ano!r compos]1 ,giulio ,cacc9i1 wrote sev]al %ort] pieces 9 simil> /yle4 ,^! compos]s aim$ at an exact oratorical r5d]+ ( ! words4 ,consequ5tly1 _! scores 7 nei!r fugal nor 9 any o!r s5se polyphonic1 b /rictly monodic4 ,!y 7 n1 h[ev]1 melodi\s1 b declamatory2 & if ,ri*>d ,wagn] _h wi%$1 9 ! n9ete5? c5tury1 to claim any hi/orical f\ndation = ! declamatory recitative :i* he introduc$ 9 8 music-dramas1 he might h fall5 back ^u ^! compos]s ( ! late sixte5? & e>ly sev5te5? c5turies1 & ?r\gh !m back to ,greek trag$y ) its b&s ( lyres & flutes4 ,^! ,italian compos]s1 !n1 7 ! creators ( recitative1 s diff]5t f ! polyphonic *ur* music ( ! s*ool ( ,pale/r9a4 ,:at usually is class$ z ! fir/ op]a1 ,jacopo ,p]i's ,dafne1 0 privately p]=m$ at ! ,palazzo ,corsi1 ,flor5ce1 9 #aeig4 ,s great 0 its success t ,p]i 0 commission$1 9 #afjj1 to write a simil> "w = ! fe/ivities incid5tal to ! m>riage ( ,h5ry ,,iv ( ,france ) ,m>ia de ,m$ici1 & produc$ ,euridice1 ! fir/ ,italian op]a ev] p]=m$ 9 public4 ,! new art-=m receiv$ great /imulus f ,claudio ,montev]de1 ! ,duke ( ,mantua's mae/ro di capella1 :o compos$ ,arianna 9 honor ( ! m>riage ( ,francesco ,gonzaga ) ,m>gh]ita1 ,infanta ( ,savoy4 ,! sc5e 9 :i* ,ariadne bewails h] des]tion by h] lov] 0 s dramatically writt5 7f ! /&po9t ( ! day1 ( c\rse7 t x produc$ a s5sation1 & :5 ,montev]de br\ght out ) ev5 great] success 8 op]a ,orfeo1 :i* %[$ a great advance 9 dramatic expression1 z well z 9 ! treatm5t ( ! in/rum5tal score1 ! p]man5cy ( op]a 0 assur$4 ,montev]de's scores conta9$1 besides recitative1 sugge/ions ( melody1 b ^! sugge/ions occurr$ only 9 ! in/rum5tal ritornelles4 ,! ,v5etian compos] ,cavalli1 h[ev]1 introduc$ melody into ! vocal score 9 ord] to relieve ! monoton\s effect ( cont9u\s recitative1 & 9 8 airs = voice he =e%ad[$ ! aria =m :i* 0 de/9$ to be freely develop$ by ,aless&ro ,sc>latti1 :o is reg>d$ z ! f\nd] ( mod]n ,italian op]a 9 ! =m 9 :i* x fl\ri%$ f 8 day to & includ+ ! e>li] p]iod ( ,v]di's activity4 ,melody1 free & beautiful melody1 so>+ above a comp>atively simple accompanim5t1 0 ! *>act]i/ic ( ,italian op]a f ,sc>latti's fir/ op]a1 ,l',one/a nell' ,amore1 produc$ 9 ,rome 9 #afhj1 to ,v]di's ,trovatore1 produc$ 9 ! same city 9 #ahec4 ,! names1 besides ,v]di's1 associat$ ) its mo/ brilliant successes1 are3 ,ross9i 7,il ,b>bi]e di ,siviglia1 ,guillaume ,tell71 ,bell9i 7,norma1 ,la ,sonnambula1 ,i ,puritani71 & ,donizetti 7,lucia1 ,l',elisir d',amore1 ,la ,fille du ,regim5t74 ,^! compos]s possess$ dramatic v]ve to a great degree1 aim$ /raight = ! m>k1 & :5 at _! be/ always hit ! op]atic t>get 9 ! bull's-eye4 ,re=ms by ,gluck4 ,! *>ge mo/ frequ5tly laid aga9/ ,italian op]a is t its compos]s h be5 too subs]vi5t to ! s+]s1 & h sacrific$ dramatic tru? & dep? ( expression1 z well z ! musician%ip :i* is requir$ ( a well-writt5 & well-balanc$ score1 z betwe5 ! vocal & in/rum5tal portions1 to ! vanity ( ^? ^u ! /age--9 brief1 t ,italian op]a consi/s too mu* ( %[-pieces = its int]pret]s4 ,among ! fir/ to prote/ practically aga9/ ?is abuse 0 ,gluck1 a ,g]man1 :o1 f copy+ ! ,italian /yle ( op]atic composition e>ly 9 8 c>e]1 *ang$ 8 entire me?od z late z #agfb1 :5 he 0 ne>ly fifty ye>s old4 ,orfeo et ,euridice1 ! olde/ op]a t to-day /ill holds a place 9 ! op]atic rep]toire1 & conta9+ ! favorite air1 ,*e f>o s5za ,euridice 7,i h lo/ my ,eurydice71 0 produc$ by ,gluck1 9 ,vi5na1 9 ! ye> m5tion$4 ,!re ,gluck foll[$ x up ) ,alce/e1 !n w5t to ,p>is1 & scor$ a triumph ) ,iphig5ie en ,aulite4 ,b on ! arrival1 9 ,p>is1 ( ! ,italian compos]1 ,picc9i1 ! ,italian p>ty !re seiz$ ^u him z a *ampion to pit aga9/ ,gluck1 & !re !n ensu$ 9 ! ,fr5* capital a rivalry s fi]ce t x became a v]itable musical ,w> ( ! ,roses until ,gluck completely triumph$ ov] ,picc9i ) ,iphig5ie en ,tauride4 ,gluck's re=m ( op]a lay 9 8 ab&on+ all ef=t at claptrap effect--effect m]ely = its own sake--& 9 mak+ 8 *oruses z well z 8 soloi/s p>ticipants1 musically & actively1 9 ! unfold+ ( ! dramatic /ory4 ,b :ile he avoid$ s5seless vocal embelli%m5ts & ceas$ to make a display ( s+]s' tal5ts ! end & purpose ( op]a1 he nev] hesitat$ to introduce beautiful melody = ! voice :5 ! action ju/ifi$ x4 ,9 fact1 :at he aim$ at 0 dramatic tru? 9 8 music1 & ) ?is end 9 view he also gave great] importance to ! in/rum5tal portion ( 8 score4 ,comp>ative ,popul>ity ( ,c]ta9 ,op]as4 ,^! *>act]i/ics rema9$ = _m ye>s to come ! di/+ui%+ m>ks ( ,g]man op]a4 ,!y w be discov]$ 9 ,moz>t's ,nozze di ,fig>o1 ,don ,giovanni & ,zaub]floete1 :i* diff] f ,gluck's op]as 9 n be+ bas$ on h]oic or classical subjects1 & 9 exhibit+ ! g5]al advance made 9 fre] musical expression1 z well z ,moz>t's great] spontaneity ( melodic inv5tion1 8 ke5 s5se ( ! dramatic elem5t & 8 sup]ior skill 9 or*e/ration4 ,!y also w be discov]$ 9 ,bee?ov5's ,fidelio1 :i* aga9 diff]s f ,moz>t's op]as 9 ! same degree 9 :i* ! individuality ( "o great compos] diff]s f t ( ano!r4 ,) ,web]'s ,freis*uetz1 ,euryan! & ,ob]on1 ,g]man op]a ent]s ^u ! romantic p]iod1 f :i* x is b a /ep to ! ,fly+ ,dut*man1 ,tannhaeus]1 ,loh5gr9 & ! music-dramas ( ,ri*>d ,wagn]4 ,mean:ile1 ! ,fr5* _h develop$ a /yle ( op]a ( _! own1 :i* is repres5t$ by ,mey]be]'s ,les ,hugu5ots1 ,g\nod's ,fau/1 app>5tly de/9$ to live z long z any op]a t n[ graces ! /age1 & by ,bizet's absolutely unique ,c>m54 ,9 ,fr5* op]a ! in/rum5tal support ( ! voices is f> ri*] & m delicately discrim9at+ ?an 9 ,italian op]a1 & ! :ole =m is m s]i\s4 ,x is bett] ?\ght out1 %[s great] intellectual ef=t & n su* a complete ab&on to absolute musical inspiration4 ,x is true1 !re is mu* claptrap 9 ,mey]be]1 b ,les ,hugu5ots /ill lives--& vitality is1 aft] all1 ! f9al te/ ( an art-"w4 ,unque/ionably1 ,italian op]as l ,il ,b>bi]e di ,siviglia1 ,la ,sonnambula1 ,lucia1 & ,trovatore are m popul> 9 ?is c\ntry ?an ,moz>t's or ,web]'s op]atic works4 ,9 assign+ reasons = ?is x seems g5]ally to be =gott5 t ^! ,italian op]as are f> m mod]n4 ,don ,giovanni 0 produc$ 9 #aghg1 :]eas ,il ,b>bi]e 0 br\ght out 9 #ahaf1 ,la ,sonnambula 9 #ahca1 ,lucia 9 #ahce1 ,trovatore 9 #ahec & ,v]di's la/ "w 9 op]atic /yle1 ,aida1 9 #ahga4 ,don ,giovanni /ill employs ! dry recitative 7recitatives accompani$ by simple *ords on ! violoncello71 :i* is exce$+ly t$i\s & makes ! "w drag at _m po9ts4 ,9 ,il ,b>bi]e1 al?\gh ! recitatives are musically z un9t]e/+1 !y are humor\s1 &1 ) ,italian buffos1 trip lightly & vivaci\sly f ! tongue4 ,z reg>ds ,fidelio & ,d] ,freis*uetz1 ! am\nt ( spok5 dialogue 9 !m is en\gh to keep ^! works (f ! ,am]ican /age1 or at lea/ to prev5t !m f becom+ popul> "h4 ,wagn] has _h f>-rea*+ effect ^u music 9 g5]al1 & ev5 ,italian op]a1 :i*1 ( all art-=ms1 0 lea/ l 8 music-dramas1 has felt 8 influ5ce4 ,boito's ,mefi/(ele1 ,pon*ielli's ,la ,gioconda1 ,v]di's ,otello & ,fal/aff1 are examples ( ! f>-rea*+ results ( ,wagn]'s !ories4 ,ev5 9 ,aida1 ,v]di's m discrim9at+ treatm5t ( ! or*e/ral score & 8 successful ef=t to give g5u9e ,ori5tal color to at lea/ "s portions ( x1 %[ t ev5 !n he 0 beg9n+ to we>y ( ! *eap] successes he _h won ) op]as l ,il ,trovatore1 ,la ,traviata & ,rigoletto1 &1 :ile by no means incl9$ to m5ace 8 own orig9ality by copy+ ,wagn] or by adopt+ 8 sy/em1 0 will+ to pr(it by ! m s]i\s attitude ( ,wagn] t[>d 8 art4 ,pucc9i1 9 ,la ,tosca1 has writt5 a fir/-act f9ale :i* is palpably con/ruct$ on ,wagn]ian l9es4 ,9 8 ,la ,boheme1 9 ,leoncavallo's ,i ,pagliacci & 9 ,mascagni's ,cavall]ia ,ru/icana1 ! di/9ct ef=ts made to h ! score reflect ! *>act]i/ics ( ! text %[ ,wagn]'s influ5ce pot5t 9 ! mo/ mod]n phases ( ,italian op]a4 ,hump]d9ck's ,ha5sel und ,gretel & ,ri*>d ,/rauss's ,feu]snot & ,salome repres5t ! fur!r work+ out ( ,wagn]'s art-=m 9 ,g]many4 ,wagn]'s ,music-,dramas4 ,i d\bt :e!r ,wagn] _h ei!r ! ,greek drama or ! declamatory recitative ( ! e>ly ,italian op]a compos]s 9 m9d :5 he orig9at$ ! music-drama4 ,my op9ion is t he ?\ght x out free f any extrane\s sugge/ion1 b aft]w>d1 anticipat+ ! attacks :i* 9 ! !n /ate ( music 9 ,g]many w\ld be made ^u 8 !ories1 s\ght = prototypes & f\nd !m 9 anci5t ,greece & r5asc5t ,italy4 ,8 !ory ( dramatic music is t x %\ld express ) undeviat+ fidelity ! words :i* und]ly x2 n words 9 _! m]e outw>d aspect1 b _! deep] significance 9 _! relation to ! p]sons1 controll+ ideas1 impulses & passions out ( :i* gr[ ! sc5es1 situations1 climaxes & crises ( ! writt5 play1 ! libretto1 if s y *oose to call x--s long z y don't say book ( ! op]a4 ,= ev5 f ?is brief *>act]ization1 x mu/ be pat5t t a music-drama is n an op]a1 b :at op]a %\ld be or w\ld be _h x n1 ?r\gh ! ,italian love ( cle>ly def9$ melody & ! ,italian admiration = beautiful s++1 become a /r+ ( solos1 duets & o!r numb]s writt5 9 set =m to ! detrim5t ( ! action4 ,op]a is ! glorification ( ! voice & ! deification ( ! s+]4--,d we n call ! prima donna a diva8 ,music-drama1 on ! o!r h&1 is ! glorification ( music 9 its broade/ s5se1 in/rum5tal & vocal comb9$1 & ! deification ( dramatic tru? on ! musical /age4 ,op]a1 z h&l$ by ! ,italian & ! ,fr5*1 und\bt$ly is a v attractive art-=m1 b music-drama is a high] art-=m1 because m s]i\s & m se>*+ & m elevat$ 9 its expression ( emotion4 ,wagn] 0 ,g]man to ! core--z national z ,lu!r1 says ,mr4 ,krehbiel mo/ aptly1 9 8 ,/udies 9 ! ,wagn]ian ,drama1 :i*1 l ev]y?+ ?is critic writes1 is ! "w ( a ?9k]4 ,= ! dramas :i* ,wagn] creat$ z ! bases = 8 scores1 he w5t back to leg5ds :i*1 if n always ,teutonic 9 _! orig91 _h become /eep$ 9 ,g]manism4 ,! pr(\nd impression made by ,wagn]'s art works may be indicat$ by say+ t ! :ole folk-lore movem5t dates f 8 activity1 & t s f> z ,g]many itself is conc]n$1 8 argum5t = a national art "w z well z 8 practical illu/ration ( :at he meant ?r\gh 8 own music-dramas1 gave imm5se impetus to ! developm5t ( unit$ ,g]many z manife/$ 9 ! ,g]man empire4 ,he z well z ! m5 ( blood & iron _h a %>e 9 ,s$an4 ,wagn]'s fir/ successful "w1 ,ri5zi1 0 an out-&-out op]a 9 ,mey]be]ian /yle4 ,! ,fly+ ,dut*man already is leg5d>y & m s]i\s1 :ile ,tannhaeus] & ,loh5gr9 %[ imm5se te*nical progress1 besides giv+ a clue to 8 sy/em ( lead+ motives1 :i* is fully develop$ 9 ! scores ( ! ,r+ ( ! ,nibelung1 ,tri/an und ,isolde1 ,die ,mei/]s+]1 & ,p>sifal4 ,t 8 !ories met ) a /orm ( opposition & t = _m ye>s ! battle betwe5 ,wagn]ism & anti-,wagn]ism rag$ ) unabat$ vigor 9 ! musical _w1 are matt]s ( hi/ory4 ,:oev] wi%es to explore ?is phase ( ,wagn]'s c>e] w f9d x set =? 9 ! mo/ int]e/+ ,wagn] biography 9 any language1 ,mr4 ,f9ck's ,wagn] & ,8 ,works4 ,wagn] a ,melodi/4 ,x sometimes is cont5d$ t ,wagn] adopt$ 8 sy/em ( lead+ motives because he 0 n a melodi/4 ,?is is refut$ by ! melodies t ab\nd 9 8 e>li] works2 &1 ev5 z ,i write1 ,i c he> ! pupils 9 a ne>by public s*ool s++ ! melody ( ! ,pilgrim's ,*orus f ,tannhaeus]4 ,moreov]1 8 lead+ motives !mselves are descriptively or s\lfully melodi\s z ! requirem5t may be4 ,!y are brief phrases1 x is true1 b none ! less !y are melodies4 ,&1 9 c]ta9 episodes 9 8 music-dramas1 :5 he deem$ x p]missible1 he introduc$ beautiful melodies t are complete 9 !mselves3 ,siegmund's ,love ,song & ,wotan's ,f>ewell1 9 ,die ,walku]e1 ! ,love ,duet at ! end ( ,siegfri$1 ! love sc5e 9 ,tri/an und ,isolde1 ! ,prize ,song 9 ,die ,mei/]s+]4 ,! eloqu5ce ( ! brief melodi\s phrases :i* we call lead+ motives1 consid]$ by !mselves alone & )\t any ref]5ce to ! dramatic situation1 mu/ be cle> to any "o :o has he>d ! ,fun]al ,m>* 9 ,goett]daemm]ung1 :i* consi/s entirely ( a s]ies ( lead+ motives t h occurr$ e>li] 9 ! ,cycle1 yet give ?is passage an ov]p[]+ pa?os )\t equal 9 absolute music & j z effective :e!r y "k ! /ory ( ! music-drama & ! significance ( ! motives1 or n4 ,if y d "k ! /ory & ! significance ( ^! musical phrases1 y w f9d t 9 ?is ,fun]al ,m>* ! :ole ,r+ ( ! ,nibelung is be+ summ$ up = y1 & com+ z x does ne> ! end ( ,goett]daemm]ung1 b "o sc5e int]v5+ betwe5 x & ! f9al curta91 x gives a wond]ful s5se ( unity to ! :ole "w4 ,unity is1 9 fact1 a di/+ui%+ trait ( music-drama2 & ! v t]m unity sugge/s t c]ta9 recurr+ sali5t po9ts 9 ! drama1 :e!r !y be p]sonages1 ideas or situations1 %\ld be treat$ musically ) a c]ta9 simil>ity1 & h c]ta9 recognizable *>act]i/ics4 ,9 fact1 ! adaptation ( music to a drama w\ld seem to sugge/ association ( ideas ?r\gh musical unity1 & to presuppose ! employm5t ( some?+ l lead+ motives4 ,!y _h inde$ be5 us$ t5tatively by ,b]lioz 9 or*e/ral music1 & by ,web] 9 op]a 7,euryan!71 b x rema9$ = ,wagn] to "w up ! sugge/ion into a complete & consi/5t sy/em4 ,music illu/ration ,to illu/rate 8 me?od1 take ! ,curse ,motive1 9 ! ,r+ ( ! ,nibelung1 :i* is he>d :5 ,alb]i* curses ! ,r+1 & all into ^: possession x %all come4 ,:51 ne> ! end ( ,rhe+old1 ,fafn] kills 8 bro!r1 ,fasolt1 9 wre/+ ! ,r+ f him1 ! motive recurs ) a significance :i* is readily und]/ood4 ,fasolt is ! fir/ victim ( ! curse4 ,aga91 9 ,goett]daemm]ung1 :5 ,siegfri$ l&s at ! entrance to ! ca/le ( ,gibi*ungs1 & is greet$ by ,hag51 al?\gh ! greet+ seems he>ty en\gh1 ! motive is he>d & conveys its s9i/] lure4 ,music illu/ration ,:51 9 ,die ,walku]e1 ,bru5nhilde pr$icts ! bir? ( a son to ,siegl9de1 y he> ! ,siegfri$ ,motive1 signify+ t ! *ild w be none o!r ?an ! "y h]o ( ! next drama4 ,! motive is he>d aga9 :5 ,wotan promises ,bru5nhilde to surr\nd h] ) a circle ( flames :i* none b a h]o c p5etrate1 ,siegfri$ be+ t h]o2 & also :5 ,siegfri$ himself1 9 ! music-drama ,siegfri$1 tells ( see+ 8 image 9 ! brook4 ,music illu/ration ,!re are motives :i* are almo/ :olly rhy?mical1 l ! ,nibelung ,smi?y ,motive1 :i* depicts ! slav]y ( ! ,nibelungs1 et]nally work+ 9 ! m9es ( ,nibelheim2 & motives ) /range1 weird h>monies1 l ! motive ( ! ,t>nhelm1 :i* conveys a s5se ( my/]y1 ! ,t>nhelm giv+ its we>] ! p[] to *ange 8 =m4 ,music illu/ration ,lead+ ,motives n ,m]e ,labels4 ,lead+ motives are n m]e labels4 ,!y conc]n !mselves ) m ?an ! sup]ficial aspect ( ?+s & p]sons4 ,) p]sons !y express "*2 ) ?+s !y symbolize :at ^! /& =4 ,! ,curse ,motive is weird1 s9i/]4 ,y feel :5 li/5+ to x t x bodes evil to all :o come )9 its d>k circle4 ,! ,siegfri$ ,motive1 on ! o!r h&1 is buoyant ) y\?1 vigor1 c\rage2 vibrates ) ! love ( a*ievem5t2 & /irs ! s\l ) its sugge/ion ( h]oism4 ,b :5 y he> x 9 ! ,fun]al ,m>* 9 ,goett]daemm]ung & x recalls by association ! gay-he>t$1 t5d] yet c\rage\s boy1 :o slew ! dragon1 awak5$ ,bru5nhilde ) 8 kiss1 only to be betray$ & murd]$ by ,hag51 & n[ is be+ borne ov] ! m\nta9 to ! fun]al pyre1 ^? h]oic /ra9s h a tragic significance t almo/ br+s te>s to y\r eyes4 ,! ,siegfri$ ,motive is a good example ( a musical phrase ! cont\r ( :i* practically rema9s un*ang$ ?r\gh ! music-drama4 ,! v>i$ emotions ) :i* we li/5 to x are effect$ by association4 ,b _m ( ,wagn]'s lead+ motives are extremely pla/ic & und]go _m *anges 9 illu/rat+ ! developm5t ( "* or ! special be>+ ( c]ta9 dramatic situations ^u ^? conc]n$ 9 ! action ( ! drama4 ,z a gay-he>t$ y\?1 ,siegfri$ w9ds 8 horn3 ,music illu/ration ,?is horn call becomes1 :51 z ,bru5nhilde's husb&1 he bids f>ewell to 8 bride & dep>ts 9 que/ ( knightly adv5ture1 ! /ately ,motive ( ,siegfri$1 ! ,h]o3 ,music illu/ration ,& :5 ! dead ,siegfri$1 /ret*$ ^u a rude bi]1 is borne f ! sc5e1 x voices ! climax ( ! trag$y ) ov]:elm+ p[]3 ,music illu/ration ,?us we h two d]ivatives f ! ,siegfri$ horn call1 ea* ) its own special significance1 yet h>k+ back to ! orig9al g]m4 ,soon aft] ! op5+ ( ,tri/an und ,isolde a sailor s+s an unaccompani$ song ( f>ewell to 8 ,iri% ,maid4 ,! words1 ,! w9d bl[s fre%ly t[>d our home1 are sung to an undulat+ phrase :i* seems to repres5t ! g5tle heav+ ( ! sea4 ,music illu/ration3 ,fris* weht d] ,w9d d] ,hei-mat zu3 me9 i-ris* ,k9d1 wo wei-le/ du8 ,?is same phrase gracefully undulates ?r\gh ,branga5e's reply to ,isolde's "q z to ! vessel's c\rse1 *anges entirely 9 "*1 & surges savagely ar\nd h] wild outbur/ ( ang] :5 %e is told t ! vessel is ne>+ ,cornwall's %ore1 & breaks itself 9 savage fury aga9/ h] despair+ wra? :5 %e invokes ! elem5ts to de/roy ! %ip & all ^u x4 ,examples l ^! occur _m times 9 ! scores ( ,wagn]'s music-dramas4 ,music illu/ration ,music illu/ration ,(t51 :5 sev]al *>act]s are p>ticipat+ 9 a sc5e1 or :5 ! act or influ5ce ( "o1 or ! pr9ciple = :i* he /&s 9 ! drama1 is pot5t1 ?\gh he himself is n pres5t1 ,wagn] ) r>e skill comb9es sev]al motives1 utiliz+ = ?is purpose all ! res\rces ( c\nt]po9t4 ,else:]e ,i already h describ$ h[ he has done ?is 9 ! ,magic ,fire ,sc5e 9 ,die ,walku]e1 & "o c\ld add page aft] page ( examples ( ?is k9d4 ,i h also spok5 ( 8 supreme ma/]%ip ( in/rum5tation1 ?r\gh :i* he gives an endless v>iety ( tone color to 8 score4 ,wagn] 0 a great dramati/1 b he 0 a f> great] musician4 ,!re are _m spl5did sc5es & climaxes 9 ! dramas :i* he wrote = 8 music1 & if he _h n be5 a compos] x is possible he w\ld h a*iev$ immortality z a writ] ( trag$y4 ,on ! o!r h&1 h[ev]1 !re are 9 8 dramas _m long /ret*es 9 :i* ! action is unconsci\sly delay$ by talk4 ,he believ$ t music & drama %\ld g h& 9 h& & ea* be ( equal int]e/2 b 8 supreme musician%ip has disprov$ 8 own !ories1 = 8 dramas d]ive ! brea? ( life f 8 music4 ,!oretically1 he is n suppos$ to h writt5 absolute music--music = its own sake--b music t w\ld be intelligible & int]e/+ only 9 connection ) ! drama to :i* x 0 set4 ,b ! scores ( ! great sc5es 9 8 music-dramas1 play$ simply z in/rum5tal selections 9 conc]t & )\t ! slighte/ clue to _! mean+ 9 _! giv5 place1 con/itute ! greate/ a*ievem5ts 9 absolute music t hi/ory up to ! pres5t "t c %[4 ,,! ,,end 99 99 99 99 99 ,transcrib]'s ,note3 ,au?or's ar*aic & v>iable spell+ & hyph5ation is mo/ly pres]v$4 ,au?or's punctuation /yle is pres]v$4 ,illu/rations h be5 mov$ clos] to _! relevant p>agraphs1 b ! orig9al page numb]s are pres]v$ 9 ! ,li/ ( ,illu/rations4 ,illu/rations may be view$ full-size by click+ on !m4 ,passages 9 italics indicat$ by und]scores4 ,passages 9 bold indicat$ by equal signs4 ,typographical problems h be5 *ang$1 & are li/$ bel[4 ,transcrib]'s ,*anges3 ,page #ce3 ,0 ',wes5donk' 7z if ,i _h x by he>t1 he writes f ,v5ice to ,ma?ilde ,wes5donck1 9 relat+ to h] ! g5esis ( ! great love7 ,page #aci3 ,0 ',trauem]ei' 7,& !n !re are ! ,sc5es f ,*ildhood1 to :i* belongs ! ,traeum]ei2 ! ,=e/ ,sc5es1 ! ,sonatas27 ,page #agb3 ,0 ',pa!tique' 7:ile = 8 ,symphonie ,pa!tique1 "o ( ! f9e/ ( mod]n or*e/ral works1 ,ts*aik[sky adds only a bass tuba7