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accompaniment Adagio Allegretto Allegro already Andante appears autograph bass bassoon beautiful Beethoven beginning Berlioz Breitkopf Breitkopf and Hartel brio cellos characteristic Choral chord chorus clarinets Coda composer composition concert double bar double basses drum edition effect eight bars Eroica fact feeling Fidelio Finale flat flute four bars Freude given Gneixendorf Haydn heard hearer horns humour Larghetto Leipzig length letter lovely Ludwig Ludwig van Beethoven major March melody Mendelssohn minor Symphony Minuet molto movement Mozart musician natural Ninth Symphony notes notice Nottebohm oboe octaves once opening orchestra original Otto Jahn Overture passage Pastoral Symphony performance Philharmonic Society phrase pianissimo Piano Pianoforte played portion Presto programme published Quartet quotation quoted remarkable repeated repetition rhythm says Scherzo Schindler Schubert's Schumann score second subject semiquaver Sinfonia sketch-book sketches solo Sonata staccato strings Thayer theme Trio Vienna Viol violas vivace whole words working-out Zeitung Zweite Beethoveniana
Side 71 - ... who seem'd so great. — Gone ; but nothing can bereave him Of the force he made his own Being here, and we believe him Something far advanced in State, And that he wears a truer crown Than any wreath that man can weave him. Speak no more of his renown, Lay your earthly fancies down, And in the vast cathedral leave him. God accept him, Christ receive him.
Side 75 - The invisible world, doth greatness make abode, There harbours; whether we be young or old, Our destiny, our being's heart and home, Is with infinitude, and only there ; With hope it is, hope that can never die, Effort, and expectation, and desire, And something evermore about to be.
Side 142 - The form is mechanic, when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material ; as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes, as it develops, itself from within, and the fulness of its development is one and the same with the perfection of its outward form.
Side 391 - He draweth out the thread of his verbosity finer than the staple of his argument.
Side 377 - Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja — wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund.
Side 392 - ... by reiteration. The last movement, a chorus, is heterogeneous, and though there is much vocal beauty in parts of it, yet it does not, and no habit will ever make it, mix up with the first three movements. This chorus is a hymn to joy, commencing with a recitative, and relieved by many solo passages. What relation it bears to the Symphony we could not make out, and here, as well as in other parts, the want of intelligible design is too apparent.
Side 392 - But, with all the merits that it unquestionably possesses, it is at least twice as long as it should be; it repeats itself, and the subjects, in consequence, become weak by reiteration. The last movement, a chorus, is heterogeneous; and though there is much vocal beauty in parts of it, yet it does not, and no habit will ever make it, mix up with the first three movements. This chorus is a Hymn to Joy, commencing with a Recitative and relieved by many soli passages. What relation it bears to the Symphony...
Side 98 - Beethoven must have been inspired by the very genius of happiness when he conceived and worked out the many beautiful themes of this joyous composition, and threw in the spirited and graceful features which so adorn them.
Side 377 - Where thy gentle wings abide. Ye to whom the boon is measured, Friend to be of faithful friend, Who a wife has won and treasured, To our strain your voices lend! Yea, if any hold in keeping Only one heart all his own, Let him join us, or else weeping, Steal from out our midst, unknown. Draughts of joy, from cup o'erflowing, Bounteous Nature freely gives Grace to just and unjust showing, Blessing everything that lives. Wine she gave to us and kisses, Loyal friend on life's steep road, E'en the worm...
Side 352 - The first three movements might have had another Finale — indeed, they nearly had one (see No. 18) ; and it is not necessary to attempt to reconcile either the opening Allegro, the Scherzo (so called), or the Adagio with the train of thought and feeling suggested by the Ode which is embodied in the latter portion of the work.