"Schumann" Quotes from Famous Books
 ... but wait until you have a chance to hear a good artist sing the song called "The Two Grenadiers." The words were written by Heine, the great German poet who lived through the Napoleonic era. The music was composed by Schumann, a German who saw the Emperor, the enemy of his country, whenever he came to visit his imperial father-in-law. The song therefore is the work of two men who had every ...
— The Story of Mankind • Hendrik van Loon
... 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, ...
— Emerson and Other Essays • John Jay Chapman
... better at every performance. The receipt of a long and agitated telegram from Mr. Cracknell, pleading to be allowed to buy the piece back, the passage of time having apparently softened Miss Hobson, was a pleasant incident. And, best of all, the great Ike Schumann, who owned half the theatres in New York and had been in Detroit superintending one of his musical productions, had looked in one evening and stamped "The Primrose Way" with the seal of his approval. As Fillmore sat opposite Sally on the train, ...
— The Adventures of Sally • P. G. Wodehouse
... Schumann, no," Stern commented, as one by one they examined the records. "'Ave Maria,' Arcadelt-Liszt—no, though it's magnificent. That's the one you sing best of all, Beta. How often you've sung it to me! Remember, at the bungalow, how I used to lay my head in your lap while you played ...
— Darkness and Dawn • George Allan England
... What an astonishing repertoire—Chaminade, Schumann, Grieg, Richard Strauss. Finally Schubert, and Schubert only, the last and the best given, as it is meet, to him who is the master of all. The rainbow-tinted orb of the wall mirror continued to ...
— The Gates of Chance • Van Tassel Sutphen
... in some respects a little primitive, but 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 ...
— Name and Fame - A Novel • Adeline Sergeant
... never been published; nor has Otto Ludwig's operatic fragment,[81] unless recently. Aside from Geibel, Otto Roquette is the most interesting librettist. Of the forty-odd (there were forty-two in 1898) composers of Heine's ballad, the greatest are Schumann, Raff, and Liszt, and in this case Friedrich Sucher,[82] who married the ballad to its ...
— Graf von Loeben and the Legend of Lorelei • Allen Wilson Porterfield
... "writing," though just what he wrote no one was able to say. It had been said thousands of times that Amzi Montgomery must eventually marry one of the Bartletts, but here, too, opinion was divided as to which one would probably be so favored. Amzi had fluted in the Schumann Quartette, devoted to chamber music, but his asthma had broken up the club, and he now rarely essayed the instrument. Still, Amzi loved his joke, and Nan was a joker. So it was clear that either Kirkwood ...
— Otherwise Phyllis • Meredith Nicholson
... evening to be given by a visiting orchestra from the Middle West. Elsie entered into the plan with spirit, and they went off gayly together. Miss Pritchard knew that Elsie was dreaming dreams to the strains of Bach and Schumann, and wished with all her heart they were another sort of vision; still, it was a happy evening for both where it had threatened to be uncomfortable. But on the night when Elsie Moss had expected to lie awake in agony because of the imminence of her parting with all she ...
— Elsie Marley, Honey • Joslyn Gray
... division of bass; and tenor is either dramatic or lyric. Even when one of these subdivisions of voice is able to enter the range of another, it cannot do the same things with the same ease as the one which naturally belongs there. An alto of extraordinary range, like Schumann-Heink, may be able to achieve high soprano in the head register. It is a valuable accomplishment, insuring ease in singing of roles that lie in the balance between high alto and mezzo-soprano, but it does not make the singer a soprano. A dramatic soprano may be able to sing florid roles, ...
— The Voice - Its Production, Care and Preservation • Frank E. Miller
... 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 have value without the words. At the ...
— The Principles Of Aesthetics • Dewitt H. Parker
... came into Robert Schumann's ken the work of a young fellow named Brahms, and the master cried aloud in the wilderness, "Behold, the new Messiah of music!" Many have refused to accept Brahms at this rating, and I confess to being one of the unregenerate, but the spirit that ...
— Contemporary American Composers • Rupert Hughes |
