Excerpt: ...concerned, his pieces are generally simple, modeled as they are on the two and three-part form and that of the rondo. When he attempted works of large scope, where varied material had to be held together, he was lamentably deficient, e.g., in his Sonatas. In fact, even in such pieces as the Etudes and Scherzos, in the presentation of the material we find occasional blemishes. But there are so many other wonderful qualities that this weakness may be overlooked. In spite of a certain deficiency in form, Chopin is ...
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Excerpt: ...concerned, his pieces are generally simple, modeled as they are on the two and three-part form and that of the rondo. When he attempted works of large scope, where varied material had to be held together, he was lamentably deficient, e.g., in his Sonatas. In fact, even in such pieces as the Etudes and Scherzos, in the presentation of the material we find occasional blemishes. But there are so many other wonderful qualities that this weakness may be overlooked. In spite of a certain deficiency in form, Chopin is indisputably a great genius. Far too much stress has been laid on the delicacy of his style to the exclusion of the intensity and bold dramatic power that characterize much of his music 189 to a marked degree. Though of frail physique, 212 and though living in an environment which tended to overdevelop his fastidious nature, Chopin had a fiery soul, which would assert itself with unmistakable force. His music by no means consists solely of melting moods or languorous sighs; he had a keen instinct for the dissonant element (witness passages in the G minor Ballade); he was a daring harmonic innovator; and much of his music is surcharged with tragic significance. A born stylist, he nevertheless did not avoid incessant labor to secure the acme of finish. So perfect in his works is the balance between substance and treatment, that they make a direct appeal to music-lovers of every nation. In listening to Chopin we are never conscious of turgidity, of diffuseness, of labored treatment of material. All is direct, pellucid; poetic thoughts are presented in a convincingly beautiful manner. He was a great colorist as well, and in his work we must recognize the fact that color in music is as distinct an achievement of the imagination as profound thought or beauty of line. Chopin's position in regard to program music is an interesting subject for speculation. Few of his works bear specifically descriptive titles; and it is well known that he had little...
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Seller's Description:
Very Good. Very good The book's spine has faded. The book's cover has some shelf rubbing. Please Note: This book has been transferred to Between the Covers from another database and might not be described to our usual standards. Please inquire for more detailed condition information.
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Seller's Description:
Boston 1920 6th Schmidt. Author Harvard professor. 8vo., 342pp., hardcover. Good, minor cover wear and soiling. binding secure and text clean. no ownership markings. no dj.
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Seller's Description:
Very Good. 8vo 8"-9" tall; 342 pages; [SIGNED Presentation Copy] 1920 Arthur P. Schmidt. HC 1st edition. Snugly bound in original burgundy cloth with paper title labels to cover and spine. Title label to cover incorrectly spells the author's name, corrected in ink. Presentation inscription to Dr William Wolf, composer and instructor in music of Lancaster PA and dated 1924. Mild shelf tapping to corners. Title label at spine moderately toned. Contents bright and clean. VG or better; Signed by Author.
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Seller's Description:
Good + Book. SIGNED PRESENTATION COPY A rare signed and dated presentation copy. Inscription appears on flyleaf and is dated Jan. 1920 (28? ). Book has moderate age wear, including scuffs, soils, light scrapes and rub marks. Text block has minor age toning, but is mostly clean and tight.
