Background
Chorley was born on December 15, 1808 in Blackley Hurst, near Billinge, Lancashire, England. He is one of an old Lancashire family.
(This historic book may have numerous typos and missing te...)
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. 1862 Excerpt: ...For my poor part, the liveliness of this cabaletta is to me attractive and true to the situation--the closing phrase of it is exquisite in its grace. It may be pointed out, however, as the most French number in the opera.--Then comes a quartett, full of happy touches, and charming phrases of melody. M. Gounod, however, has too great a tendency in his concerted music to interrupt the flow of the melody for the sake of a bit-by-bit accuracy of setting his words; hardly trusting enough to the lights and shades which singers of intelligence can throw into their interpretation and hardly remembering enough that a movement must not be judged bar by bar, chord by chord, but by its character and colour as a whole. Emotion does not mean too much expression.--A reader who would emphasize every word (save, perchance, when reading a "Latter-Day pamphlet") would become terribly fatiguing.--The love-duett which follows is more complete in this respect--a real loveduett, if there was ever such a thing written;--one of those inspirations which might have been born among the dews of a summer-twilight, and the scent of flowers, and the musical falling of distant waters.--The brief adagio which contains the full confession of the pair has a luxury of tenderness and beauty which are unsurpassable.--After the part VOL. IL M 162 LENAU'S "FAUST." ing, the recall of Faust to the fatal interview, it must be owned, is somewhat of an anti-climax; weakening the impression as the act closes. We are now in the act of shame and remorse; throughout which the composer is almost always at the height of his subject.--I wish, though, that he had not felt himself bound to set the spinning song again.--As easy would it have been to treat the "Erl King" anew, after ...
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(Henry Fothergill Chorley was music critic of The Athenaeu...)
Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years. This three-volume book, published in 1841, originated in a journal written by Chorley while travelling in Europe. His aim was to 'illustrate the present state of theatrical, orchestral, and chamber music abroad', focusing on aspects that would be least familiar to an English readership. There are detailed accounts of Paris and Berlin, with prominence given to opera, theatre, art galleries and monuments. Chorley also describes visits to Brunswick, Leipzig, Dresden and Nuremburg, and performances by artists including Mendelssohn and Liszt. He intersperses anecdotes about transport, lodgings, landscapes and local customs. Chorley's incisive and entertaining eyewitness accounts will fascinate music-lovers and theatre historians, as well as others interested in the performing arts or travel writing in the nineteenth-century. Volume 2 describes his visits to the Harz mountains and Berlin.
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(Excerpt from Old Love and New Fortune: A Play in Five Act...)
Excerpt from Old Love and New Fortune: A Play in Five Acts IN the absence of Prologue or other preliminary address, I beg to record my sincere gratitude to all who have taken part in producing this Play at the Royal Surrey Theatre. Thanks to their sympathy and intelligence,-in place of being called upon to overcome and understand difficulties formid able and perplexing to the aspirant, - I have had merely to receive an unbroken succession of good offices; and this attempt of mine, whatever be its result, must be always remembered by me as a period of encouragement and of. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Chorley was born on December 15, 1808 in Blackley Hurst, near Billinge, Lancashire, England. He is one of an old Lancashire family.
Chorley was educated by private tutors in Liverpool and then the school of the Royal Institution.
Henty Chorley began to write for the Athenaeum in 1830, and remained its musical critic for more than a generation; and he also became musical critic for The Times. In these positions he had much influence; he had strong views, and was a persistent opponent of innovation. In addition to musical criticism, he wrote voluminously on literature and art, besides novels, dramas and verse, and various librettos; and he published several books, including Modern German Music (1854), Handel Studies (1859), and Thirty Years' Musical Recollections (1862).
(Excerpt from Old Love and New Fortune: A Play in Five Act...)
(Leopold is delighted to publish this classic book as part...)
(Henry Fothergill Chorley was music critic of The Athenaeu...)
(This historic book may have numerous typos and missing te...)
(This is a reproduction of a book published before 1923. T...)
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Chorley was considered eccentric and abrasive, but he was respected for his integrity and kindness. Chorley enthusiastically gave and attended dinner parties and was known as a big drinker.
