Berger et Bergère. Idylle, pour Piano
1873; Volume: 16; Issue: 367 Linguagem: Inglês
10.2307/3351667
ISSN2397-5326
Autores Tópico(s)French Literature and Poetry
Resumoregardless of their connection, direct or implied.Of the three, we prefer the two latter to the Te Deum.They are melodious, vocal, nicely harmonized-that is, without pretence, or straininffl at effect or affectation of a knonvledge which vould be misapplied and they declaim the svords devoutly and emphatically, a virtue they have in common with the first piece of the series.The preface has some strong words as to the mistaken spirit in which often the composition of worship music is undertaken.Let those wear the cap whom it fits.It is by no means to our measure, so we will leave the implications to speak for themselves, and to be disputed by whomsoever may feel a call to the combat.Te Dem latldsmus.A Chant Service.By Digby Cotes.WHAT has been urged above, as to the unfitness of the Te Deum for chanting, is not invalidated by Sir John Goss having a companion in his practice of so appropriating the hymn, though the Kingston Association have one opportunity the more to indulge their propensity.The inaptitude of the Chant to the originally Latin hymn, is in the case before us, partly met by the still closer compression of this concisest of all pieces of music.So several of the specimens in Mr. Cotes's service have but two instead of three bars in the first part, but three instead of four in the second, whereby is avoided the-forgive the word-comicality of having a semibreve and four minims on the word " O," and the eSect as of gasping difficulty from expended breath, in utterinffl the name of the King of Glory at the end of the verse.The Chants before us are good enough of their notes, but are unavailable for any oth er purpose than the present, by reason of their irreguiar extent.Let us repeat, have done with Chant Services.The text of the Te Deum is that which of all others in the Order for Prayer invites continuous composition; the conveniences, to an ignorant congregation, of the system of chanting, are disregarded in the present treatment, even more than in that by Sir John Goss-and if there be any necessity for such a piece of writing, the sooner it ceases to prevail, the better for art and the better for worship.Gavotte, in E minor; for the Pianoforte.Composed by Agnes Zimmermann.Mrss ZIMMERMANN appears to have such a hearty appreciation of this class of music, and so much talent for re-producing it, not only in its original form, but in its original beauty, that the multiplication of her vorks cannot but give pleasure to all who desire rather the resuscitation of the old models than the srrorship of the new ones.The Gavotte before us has a tuneful and characteristic subject, and No. 2, in the tonic major, both in the theme and its accompaniment, is extremely eSective as a contrast.Throughout her compositions Miss Zimmermann employs the tsso hands with much judgment, and this is a feature which cannot be too highly recommended to the attention of teachers who svish to cultivate a classical taste in their pupils.Dastsc Folkgsawlg.Original Danish Melodies.Udsatte for Pianoforte, af Niels W. Gade.THIS collection of Danish Melodies will be liked by all svho want genuine tunes unencumbered by embellishments svhich obscure their beauties.Some of them-especially those in a minor key-are extremely attractive, and all are full of character.No. 2, in G minor, No. 4, in A minor and No. 8, in E minor, will, sve think, be general favourites.The harmonies are excellent throughout, and they are all arranged so easily as to give but little trouble to amateurs.BcYger et Bsrgere.Idylle, pour Piano.Le Rllban d'or.Melodie-etude, pour Piano.Par Jules Egghard.BOTH these pieces are exceedingly simple in construction but there is an air of elegance pervading them which cannot fail to make them attractive, if sympathetically rendered.The first has a graceful subJect in A flat major a ceitain character being given to it by the crossing of the right hand over the left for the continuation of the melody.Little is attempted after the second subject, in the dominant, save the introduction of a few passages svhich shall aCreeably lead back the original theme.There regardless of their connection, direct or implied.Of the three, we prefer the two latter to the Te Deum.They are melodious, vocal, nicely harmonized-that is, without pretence, or straininffl at effect or affectation of a knonvledge which vould be misapplied and they declaim the svords devoutly and emphatically, a virtue they have in common with the first piece of the series.The preface has some strong words as to the mistaken spirit in which often the composition of worship music is undertaken.Let those wear the cap whom it fits.It is by no means to our measure, so we will leave the implications to speak for themselves, and to be disputed by whomsoever may feel a call to the combat.Te Dem latldsmus.A Chant Service.By Digby Cotes.WHAT has been urged above, as to the unfitness of the Te Deum for chanting, is not invalidated by Sir John Goss having a companion in his practice of so appropriating the hymn, though the Kingston Association have one opportunity the more to indulge their propensity.The inaptitude of the Chant to the originally Latin hymn, is in the case before us, partly met by the still closer compression of this concisest of all pieces of music.So several of the specimens in Mr. Cotes's service have but two instead of three bars in the first part, but three instead of four in the second, whereby is avoided the-forgive the word-comicality of having a semibreve and four minims on the word " O," and the eSect as of gasping difficulty from expended breath, in utterinffl the name of the King of Glory at the end of the verse.The Chants before us are good enough of their notes, but are unavailable for any oth er purpose than the present, by reason of their irreguiar extent.Let us repeat, have done with Chant Services.The text of the Te Deum is that which of all others in the Order for Prayer invites continuous composition; the conveniences, to an ignorant congregation, of the system of chanting, are disregarded in the present treatment, even more than in that by Sir John Goss-and if there be any necessity for such a piece of writing, the sooner it ceases to prevail, the better for art and the better for worship.Gavotte, in E minor; for the Pianoforte.Composed by Agnes Zimmermann.Mrss ZIMMERMANN appears to have such a hearty appreciation of this class of music, and so much talent for re-producing it, not only in its original form, but in its original beauty, that the multiplication of her vorks cannot but give pleasure to all who desire rather the resuscitation of the old models than the srrorship of the new ones.The Gavotte before us has a tuneful and characteristic subject, and No. 2, in the tonic major, both in the theme and its accompaniment, is extremely eSective as a contrast.Throughout her compositions Miss Zimmermann employs the tsso hands with much judgment, and this is a feature which cannot be too highly recommended to the attention of teachers who svish to cultivate a classical taste in their pupils.Dastsc Folkgsawlg.Original Danish Melodies.Udsatte for Pianoforte, af Niels W. Gade. THIS collection ofDanish Melodies will be liked by all svho want genuine tunes unencumbered by embellishments svhich obscure their beauties.Some of them-especially those in a minor key-are extremely attractive, and all are full of character.No. 2, in G minor, No. 4, in A minor and No. 8, in E minor, will, sve think, be general favourites.The harmonies are excellent throughout, and they are all arranged so easily as to give but little trouble to amateurs.BcYger et Bsrgere.Idylle, pour Piano.Le Rllban d'or.Melodie-etude, pour Piano.Par Jules Egghard.BOTH these pieces are exceedingly simple in construction but there is an air of elegance pervading them which cannot fail to make them attractive, if sympathetically rendered.The first has a graceful subJect in A flat major a ceitain character being given to it by the crossing of the right hand over the left for the continuation of the melody.Little is attempted after the second subject, in the dominant, save the introduction of a few passages svhich shall aCreeably lead back the original theme.There
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