This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1910 Excerpt: ...the chords intended to be filled in on the organ or harpsichord. The symphonies are played by the violins, in unison, with a similar thorough-bass accompaniment; and the entrance of these instruments between the vocal passages is marked by a contrast as striking as it is agreeable. In some of his songs Handel has ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1910 Excerpt: ...the chords intended to be filled in on the organ or harpsichord. The symphonies are played by the violins, in unison, with a similar thorough-bass accompaniment; and the entrance of these instruments between the vocal passages is marked by a contrast as striking as it is agreeable. In some of his songs Handel has enlarged upon this method; as in "Lascia ch'io pianga," from "Rinaldo," the first part of which is accompanied by the full stringed band, and the second by a thorough-bass only, the violins and viola reappearing at the da capo. It is impossible to believe that the great composers of the last century, with Handel and Bach at their head, adopted this style of accompaniment without having duly considered its effect; and any attempt to heighten that effect by additional accompaniments shows as little reverence for art as would be evinced by a desire to cover the Sistine Madonna with "additional glazings." The songs are perfect as they stand: and the contrast they display is as marked in its degree as that in the celebrated passage from Beethoven's Fifth symphony (in C minor), in which the stringed instruments and wood-wind are made to answer each other in alternate chords. This lar.t expedient is by no means uncommon in modern music, and has been most successfully used by Mendelssohn in his overture to "A Midsummer Night's Dream," where a few sustained notes on the wind instruments are contrasted with the rapid passage for four violins with excellent effect. The trio for brass instruments in the minuet of Sir William Sterndale Bennett's symphony in G minor is another striking instance of fine and quite unexpected contrast; and cases abound in which composers of instrumental music have treated the several sections...
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Seller's Description:
Used, very good. Original 1912 10-volume edition in Very Good Minus condition. Bound in olive green cloth with gold lettering and design on spines and front covers, published by The University Society. Overall very good condition but given a "minus" due to a one-inch tear across the spine of volume VI and volume IV has about 50 pages with moderate dampstain on about a quarter of the page in the upper right hand corner (no mildew, not musty). Sound bindings, no marks or writing. HEAVY/OVERSIZE. **We provide professional service and individual attention to your order, daily shipments, and sturdy packaging. FREE TRACKING ON ALL SHIPMENTS WITHIN USA.
