The Musical World, Volume 43J. Alfredo Novello, 1865 |
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244 Regent Street Adelina Patti admirable Ap'Mutton appearance Arabella Goddard artist audience Bach Beethoven Beethoven's Sonatas begs to announce Chappell Chappell's Chappell's 100 Chappell's Popular Charles Hallé Choral chorus Christy Minstrel commence composer compositions conductor contralto Crystal Palace D'Albert ditto duet DUNCAN DAVISON edition encored English Fantasia Fidelio German Gounod's grand Handel harp Herr Joachim instrumental Italian Opera JOSEPH GODDARD lady Lara letter Liebhart London Louisa Pyne Madame Arabella Goddard Madlle Majesty's Theatre master Mdlle Melodies Mendelssohn Messrs Meyerbeer Miss Emily Soldene MONDAY POPULAR CONCERTS Mozart MUSICAL WORLD musician o'clock opera oratorio orchestra organist overture Paris Patti performance Philharmonic piano Pianoforte pieces played Price principal programme published pupil Quadrilles quartet Queer Regent Street Royal Sainton sang Saturday season Shoe Signor Sims Reeves sing singers Society solo Songs soprano success sung Symphony tenor Tickets Titiens trio Violin violoncello vocal vocalists voice
Populaire passages
Pagina 294 - tis gory, Yet 'tis wreathed around with glory, And 'twill live in song and story, Though its folds are in the dust : For its fame on brightest pages, Penned by poets and by sages, Shall go sounding down the ages — Furl its folds though now we must. Furl that Banner, softly, slowly ! Treat it gently — it is holy — For it droops above the dead. Touch it not — unfold it never, Let it droop there, furled forever, For its people's hopes are dead...
Pagina 294 - tis weary; Round its staff 'tis drooping dreary; Furl it, fold it, it is best; For there's not a man to wave it, And there's not a sword to save it, And there's not one left to lave it In the blood which heroes gave it; And its foes now scorn and brave it; Furl it, hide it— let it rest!
Pagina 141 - ... still return To plague the doer, and destroy his peace : Yet let me think ; he's here in double trust. First, as I am his Kinsman, and his Subject, Strong both against the Deed : then as his Host, Who should against his murderer shut the door, Not bear the sword myself. Besides, this Duncan Has born his faculties so meek, and been So clear in his great Office...
Pagina 234 - WHEN the last sunshine of expiring day In summer's twilight weeps itself away, Who hath not felt the softness of the hour Sink on the heart, as dew along the flower? With a pure feeling which absorbs and awes While nature makes that melancholy pause, Her breathing moment on the bridge where Time Of light and darkness forms an arch sublime.
Pagina 68 - ll bet you millions, milliards — It all sprung from a harmless game at billiards. ci. 'T is strange — but true ; for truth is always strange ; Stranger than fiction : if it could be told, How much would novels gain by the exchange ; How differently the world would men behold ! How oft would vice and virtue places change ! The new world would be nothing to the old, If some Columbus of the moral seas Would show mankind their souls
Pagina 294 - tis tattered; Broken is its staff and shattered; And the valiant hosts are scattered Over whom it floated high. Oh! 'tis hard for us to fold it; Hard to think there's none to hold it; Hard that those who once unrolled it Now must furl it with a sigh.
Pagina 123 - ... here, all was grand and solemn. The same was the case with John Sebastian, but both in a much higher degree of perfection. W. Friedemann was here but a child to his father, and he most frankly concurred in this opinion. The organ compositions of this extraordinary man are full of the expression of devotion, solemnity, and dignity ; but his unpremeditated voluntaries on the organ, where nothing was lost in writing down, are said to have been still more devout, solemn, dignified, and sublime. What...
Pagina 123 - He invited him one morning to breakfast, and laid upon the desk of his instrument, among other pieces, one, which at the first glance appeared to be very trifling. Bach came, and, according to his custom, went immediately to the instrument, partly to play, partly to look over the music that lay on the desk.
Pagina 123 - Then after some excellent observations upon the organ, he says, " Bach, even in his secular compositions, disdained everything common; but in his compositions for the organ, he kept himself far more distant from it; so that here he does not appear like a man, but as a true disembodied spirit, who soars above everything mortal." It does indeed seem, from all that is said of Bach on this score, that, as the organ was his proper instrument, and represents him, as the flute or violin might Mozart, so...
Pagina 122 - The TRANSITION PERIOD of MUSICAL HISTORY; a Second Course of Lectures on the History of Music from the Beginning of the Seventeenth to the Middle of the Eighteenth Century, delivered at the Royal Institution. By JOHN HULLAH.