"Gounod" Quotes from Famous Books
 ... stomacher was not then based on envy of its possession, but merely upon the twofold nuisance which it created at the opera-house, as the lady who wore it sat and listened to the strains of Wagner, Bizet, or Gounod, mixed in with the small-talk of Reggie Stockson, Tommie de Coupon, and other lights of the social firmament. In the first place, it caused the people sitting about me in the high seats of the opera- house to chatter about it and discuss its probable worth every time the lady made ...
— R. Holmes & Co. • John Kendrick Bangs
... and sad that moral women find it so easy to sympathize with the Marguerite whose sins and life end in the beautiful "Anges purs, anges radieux" aria written by Gounod, and not with the Marguerite who ends in the hospital, the morgue ...
— Editorials from the Hearst Newspapers • Arthur Brisbane
... ignored him, threw himself into Berlioz's arms when he met him in London in 1855. "He embraced him with fervour, and wept; and hardly had he left him when The Musical World published passages from his book, Oper und Drama, where he pulls Berlioz to pieces mercilessly."[29] In France, the young Gounod, doli fabricator Epeus, as Berlioz called him, lavished flattering words upon him, but spent his time in finding fault with his compositions,[30] or in trying to supplant him at the theatre. At the Opera he was passed over in favour of a ...
— Musicians of To-Day • Romain Rolland
... bars of the waltz-song in Act I of Gounod's Romeo et Juliette, are often phrased as indicated in the brackets, in order to give the singer a chance to take breath, which is done after the ...
— Style in Singing • W. E. Haslam
... reproaches from the Parisian Press. And the tone in France is not yet more temperate; still it is right that German artists should prove themselves fair and just towards foreigners, and, as long as Auber's and Gounod's Operas are given in all German theaters, I see no good reason against considering and performing other works by French composers. Among modern composers I regard St. Saens as the ...
— Letters of Franz Liszt, Volume 2: "From Rome to the End" • Franz Liszt; letters collected by La Mara and translated
... polish—a feature not absent at any time, but now first brought to the fore—gives predominant stamp to advancing poetry. Its born sister, music, already responds to the same influences. "The music of the present, Wagner's, Gounod's, even the later Verdi's, all tends toward this free expression of poetic emotion, and demands a vocalism totally unlike that required for Rossini's splendid roulades, or ...
— Complete Prose Works - Specimen Days and Collect, November Boughs and Goodbye My Fancy • Walt Whitman
... taste of my sensations. A first victim is being chosen. I have a vision of the spirits of composers small and great—standing up like suspects awaiting identification, while her eye ranges over them. Chopin tries to edge behind Wagner, a difficult and forbidding person, and Gounod seeks eclipse of Mendelssohn, who suddenly drops and crawls on all fours between Gounod's legs; Sullivan cowers, and even Piccolomini's iron-framed nerves desert him. She extends her hand. There is a frantic rush to escape. Have you ever seen a little boy picking dormice ...
— Select Conversations with an Uncle • H. G. Wells
... trivial voluptuousness into art; and his sculpture may be sometimes called l'article de Paris. It is occasionally soiled by the sentiment, of which Gounod is the great exponent, a base soul who poured a sort of bath-water melody down the back of every woman he met, Margaret or Madeline, it was all ...
— Memoirs of My Dead Life • George Moore
... evening two or three gentlemen were present, and Marguerite sang for them. After the song (Gounod's "Naiade," a lovely salon piece), we were speaking of the loss of dear little Hollaender, when ...
— The Story of a Summer - Or, Journal Leaves from Chappaqua • Cecilia Cleveland
... is a memorial to her, a monument to affection. Life bore upon her cruelly; she knew poverty at its lowest ebb and despair at its bitterest; and yet there was in her a touch of fineness that never yielded, a gallant spirit that faced and fought things through. One thinks, somehow, of the mother of Gounod.... Her son has not forgotten her. His book is her epitaph. He enters into her presence with love and with reverence and with something not ...
— A Book of Prefaces • H. L. Mencken
... a pet tune among engines not made for high speed. Racing liners with twin screws sing "The Turkish Patrol" and the overture to the "Bronze Horse" and "Madame Angot," till something goes wrong, and then they give Gounod's "Funeral March of a ...
— McClure's Magazine, March, 1896, Vol. VI., No. 4. • Various
... a pet tune among engines not built for high speed. Racing-liners with twin-screws sing "The Turkish Patrol" and the overture to the "Bronze Horse," and "Madame Angot," till something goes wrong, and then they render Gounod's "Funeral March of ...
— The Day's Work, Volume 1 • Rudyard Kipling
... splendid musicianship has enabled him to redeem the trivial commonplace with an unexpected and powerful harmonic progression. The work is singularly deficient in strong sustained choruses. "Awake the harp" is certainly very much the best; for "The heavens are telling" is little better than Gounod's "Unfold, ye everlasting portals" until the end, where it is saved by the tremendous climax; and "Achieved is the glorious work" is mostly mechanical, with occasional moments of life. As for the finale, it is of ...
— Old Scores and New Readings • John F. Runciman |
