"Schumann" Quotes from Famous Books
 ... self-effacement, and able to forget himself only in his one great passion: music. He was a Pole of the Chopinesque type: and it was in spite of himself that he gave his pupil, besides the regular studies, a very thorough grounding in the classical masters, taught him something of the spirit of Schumann and Schubert, and even permitted in Ivan's repertoire such bits of Glinka and Serov as were to be managed by the boyish hands. Happily, Ludmillo had not lived enough in the fashionable world for him to endure the vapid floridities of ...
— The Genius • Margaret Horton Potter
... necessitates a classification of his works according to different periods. Chopin's individuality and his style were distinctly pronounced in that set of variations on "La ci darem" which excited the wondering enthusiasm of Robert Schumann. In 1831 he left Vienna with the intention of visiting London; but on his way to England he reached Paris and settled there for the rest of his life. Here again he soon became the favourite and musical ...
— Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 3 - "Chitral" to "Cincinnati" • Various
... the salon. She closed the door, and sat down to the piano, and lingered there without touching the keys; once or twice she raised her hands, and then she let them rest on the notes, and, half unconsciously, they began to move and make sweet music; and then they drifted into Schumann's "Abendlied," and then the little girl played some of his "Kinderscenen," and some of his "Fantasie Stucke," and ...
— Stories By English Authors: Germany • Various
... Schumann. "Now some Beethoven" called Cecil, when the querulous beauty of the music had died. She shook her head and played Schumann again. The melody rose, unprofitably magical. It broke; it was resumed broken, not marching once ...
— A Room With A View • E. M. Forster
... Lisle's authorship of the music has been often contested, but it is proven by the conclusive evidence contained in the pamphlet on the subject, by his nephew, published in Paris, in 1865. Schumann has used the "Marseillaise" in the overture to "Hermann and Dorothea," and also in his song of the ...
— Among the Great Masters of Music - Scenes in the Lives of Famous Musicians • Walter Rowlands
... charming and sad, of the intimacy of the ballroom, and that they possess an innate grace which no other composer has been able to impart to the form. They have been characterized as salon music of the noblest kind and were well described by Schumann when he said that if they were played for dances, half the ladies present should be countesses—which exactly hits off the distinguished quality of these valses. To play them is like looking at ...
— The Pianolist - A Guide for Pianola Players • Gustav Kobb
... out of a score of others, all of the first rank, are familiar to every person of education in the present and past generation. The same period has been signalized by the great post-classical development in music, as illustrated by the works of Schumann, Brahms, and, above all, by the towering ...
— German Culture Past and Present • Ernest Belfort Bax
... life, they develop, by growing familiar with the conditions of their art, the power of concealing its limitations,—a faculty in which even the greatest artists are often deficient in their early years. There is an anecdote of Schumann which somewhat crudely illustrates this. It is said that in one of his early symphonies he introduced a passage leading up to a climax, at which the horns were to take up the aria in triumph. At the rehearsal, when the moment came for the horns to trumpet forth their message ...
— Emerson and Other Essays • John Jay Chapman
... twenty variations on "Il Carnevale di Venezia," and the concert allegro "Perpetual Motion." The celebrated twenty-four violin capricci, written early in Paganini's career, have been rendered familiar by their transcriptions to the pianoforte by Schumann and Liszt. Paganini died from the results of dissipation. He left his famous Guarnero fiddle to his ...
— A History of the Nineteenth Century, Year by Year - Volume Two (of Three) • Edwin Emerson
... sits in his boat spell-bound, color-entranced, and the ears of his soul listen to color music as thrilling, as enchanting as melodies by Foster and Balfe, minuets by Mozart and Haydn, arias by Handel, nocturnes and serenades by Chopin and Schumann, overtures by Rossini, massive choruses and chorals by Handel, Haydn and Mendelssohn, fugues by ...
— The Lake of the Sky • George Wharton James
... trial trip! That's where the ship-builders and dramatists have the advantage over us others: they can dock their productions and tinker at them. Even to the musician comes this useful chance, and Schumann can reform the proclamation which opens ...
— Lady Baltimore • Owen Wister
... Schumann in Grove's Dictionary Dr. Philip Spitta, the well-known historian and critic, comments upon the conducting of this ...
— Essentials in Conducting • Karl Wilson Gehrkens
... symphonies. The German forgets in his Beethoven that he has no school of painting; with Beethoven he imagines that he has again won the battles that he lost under Napoleon; he even dares to place him on a level with Shakespeare.—Robert Schumann. ...
— The Girl's Own Paper, Vol. VIII: No. 356, October 23, 1886. • Various
... to specialise in Bach, and if Schwarz set himself against one thing more than another, it was a one-sided musical taste: within the bounds of classicism, the master demanded catholic sympathies; those students who had romantic leanings towards Chopin and Schumann, were castigated with severely classical compositions; and, vice versa, he had insisted on Boehmer widening his horizon on Schubert and Mendelssohn. And there were also several others, who, having been dragged forward ...
— Maurice Guest • Henry Handel Richardson
... the music, we shall not care whether or not we understand the meaning of the words, and what we shall value in the song will be only the peculiar intimacy which it derives from its instrument, the voice. Only rarely is it otherwise, as in some of the songs of Schumann, when the poetic interpretation is so beautiful and so completely at one with the musical feeling, that we prefer to accept it rather than substitute our own interpretation for the poet's. But even so, the music, if genuine, will ...
— The Principles Of Aesthetics • Dewitt H. Parker
... out to lovers, and the thought of a German bride and bridegroom flashes through the mind with thoughts of flowers and moonlight and nightingales. At least, it does if you can associate them with the poems of Heine and Chamisso, with the songs of Schumann, and with the caressing intimate talk of the German tongue unloosed by love. But your experience is just as likely to play you the unkindest trick, and remind you of German lovers whose uncouth public endearments made everyone not ...
— Home Life in Germany • Mrs. Alfred Sidgwick
... creators of melody—then, according to this view, we only recognize thinkers in the realm of pure music. In Beethoven, the greatest of them all, was laid the basis of the new epoch of tone-poetry. In the immortal songs of Schubert, Schumann, Mendelssohn, Liszt, and Franz, and the symphonies of the first four, the vitality of the reformatory idea is richly illustrated. In the music-drama of Wagner, it is claimed by his disciples, is found the full flower and development of ...
— The Great German Composers • George T. Ferris
... singularly fine and true, in spite of their want of training), and played his favorite airs for him on the piano—some of Mendelssohn's plaintive Lieder, the quainter and statelier measures of Corelli and Scarlatti, snatches of Schumann and Grieg, and several older and simpler melodies, for most of which he had to ask by humming a few bars which had impressed ...
— Name and Fame - A Novel • Adeline Sergeant |
