(Excerpt from By the Way, Vol. 2
Consider also that, for ...)
Excerpt from By the Way, Vol. 2
Consider also that, for a long time, all efforts were directed toward improving the old system, instead of directly inventing a new one; that, in this way, complications were heaped upon complications, and every advance was a deeper plunge into this Slough of De spond, until at last the Mensural Note was hit upon, as the only hope of getting out of it. Consider further that, even when the men sural note was established, as a sure means of communicating musical ideas, not one tithe of its possibilities were suspected. In their gra dual development of Mensural Notation com.
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.
Jacques Damour. Madame Neigeon. Nantas. How We Die. the Coqueville Spree. the Attack on the Mill (French Edition)
(
This work has been selected by scholars as being cultur...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Art Life and Theories of Richard Wagner, Selected From his Writings and Translated by Edward L. Burlingame; With a Preface, a Catalogue of Wagner's ... and Drawings of the Bayreuth Opera House
(
This work has been selected by scholars as being cultur...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Musicians and Music-Lovers and Other Essays. Fifth Edition
(
About the Book
Collections of Essays are anthologies th...)
About the Book
Collections of Essays are anthologies that have been compiled in order to demonstrate the works of a number of essayists. The list of essayists who have been active throughout the world and throughout time, is extraordinary.
About us
Leopold Classic Library has the goal of making available to readers the classic books that have been out of print for decades. While these books may have occasional imperfections, we consider that only hand checking of every page ensures readable content without poor picture quality, blurred or missing text etc. That's why we:
• republish only hand checked books;
• that are high quality;
• enabling readers to see classic books in original formats; that
• are unlikely to have missing or blurred pages. You can search "Leopold Classic Library" in categories of your interest to find other books in our extensive collection.
Happy reading!
By the Way, Vol. 1: Being a Collection of Short Essays on Music and Art in General, Taken From the Program-Books of the Boston Symphony Orchestra (Classic Reprint)
(Excerpt from By the Way, Vol. 1: Being a Collection of Sh...)
Excerpt from By the Way, Vol. 1: Being a Collection of Short Essays on Music and Art in General, Taken From the Program-Books of the Boston Symphony Orchestra
Boston for Chicago. For the remainder of that season, the books were edited by several writers in turn, until I took the editorship at the beginning of the season of 1892 - 9 3.
From the beginning, there has been a department in these program-books, headed Entr'acte; in this the editor is free to print any sort of matter that he thinks may be of musical interest to the audience, whether it be especially relevant to the concert in hand or not. The contents of the present little volumes are all taken from these Entr'actes, covering a period of five years, from the season of 1892 - 93 to that of 1896 - 97, inclusive.
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.
Hector Berlioz, Selections From his Letters, and Aesthetic, Humorous, and Satirical Writings
(
This work has been selected by scholars as being cultur...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Art life and theories of Richard Wagner, selected from his writings and tr. by Edward L. Burlingame;
(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
(Cyclopedia of Music and Musicians - Vol. 3 is an unchange...)
Cyclopedia of Music and Musicians - Vol. 3 is an unchanged, high-quality reprint of the original edition of 1888. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
(This is a pre-1923 historical reproduction that was curat...)
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.
William Foster Apthorp was a United States writer, drama and music critic, editor and musician.
Background
William Foster Apthorp was born on October 24, 1848 in Boston, New York, United States, the son of Robert and Eliza (Hunt) Apthorp.
One of his ancestors, a crown official, Charles Apthorp, a merchant and an Eton scholar, was paymaster of the navy, the most distinguished of whose eighteen children was the Rev. East Apthorp, the founder of Christ Church, Cambridge. William Foster Apthorp was born into a home of culture and refinement. In the autumn of 1856, when he was but eight years of age, his parents took him to Europe for the purpose of giving him the best opportunity for studying languages and art, feeling that his latent talents lay in the latter field.
Education
In France he attended a day school; in Dresden the Marquardt'sche Schule, at the same time studying drawing with Frenzel and beginning the study of music; in Berlin he was a student in the Friedrich Wilhelm'sches Progymnasium; in Rome, in the École des Frères Chrétiens.
He studied art also in Florence and was a fellow student with John Singer Sargent.
Returning to Boston in 1860, he fitted for college at the school of E. S. Dixwell and was graduated from Harvard in 1869.
Career
Returning to Boston in 1860, he fitted for college at the school of E. S. Dixwell and was graduated from Harvard in 1869. In his senior year he was conductor of the Pierian Sodality. Soon after his return from Europe, he became increasingly interested in music and in 1863 he gave up painting and studied piano, harmony, and counterpoint with J. K. Paine until 1867, when Paine went to Europe. He then studied piano with B. J. Lang for several years, but his theoretical work was self-directed. He was fully aware that the dream of his devoted parents--that he would become a great painter or a great pianist--would never be realized and he was quite content to take up teaching as a profession.
In 1872 and 1873 he taught piano and theory at the National College of Music in Boston. When that institution closed, he joined the New England Conservatory, where for the next thirteen years he taught piano, harmony, counterpoint, fugue, and general theory, besides having classes in esthetics and musical history in the College of Music of Boston University.
In 1886 he severed his connection with both institutions. Not until 1872 did he begin his work as music critic, in which capacity he was destined to achieve his greatest success. William Dean Howells, then editor of the Atlantic Monthly, founded a music department in the magazine and engaged him as musical editor, which position he held until the department was discontinued.
From this beginning, he occupied successively the following positions: in 1876 music critic of the Sunday Courier; in 1878 both music and dramatic critic of the Traveller; and finally, in 1881, music and dramatic critic of the Transcript, collaborating with F. H. Jenks, holding both positions until 1903, when he gave up all active work.
Besides his regular work as critic, he contributed articles to the Atlantic Monthly, Dwight's Journal of Music, Scribner's Magazine, and occasional correspondence to the New York Tribune. In 1880 he delivered a course of lectures at the Lowell Institute in Boston, repeating the same in New York, Brooklyn, and the Peabody Institute in Baltimore. From 1888 to 1890 he was critical editor of Scribner's Cyclopedia of Music and Musicians, 3 volumes, collaborating with John Denson Champlin, Jr.
From 1892 to 1901 he edited the program books of The Boston Symphony Orchestra. He died in Vevey, Switzerland, whither he had gone in 1903 after giving up active work. His most important published works are Musicians and Music Lovers (1894); By the Way (1898); The Opera, Past and Present (1901); Some of the Wagner Heroes and Heroines (1889); also several translations, Hector Berlioz--Selections from His Letters, and 'sthetic, Humorous and Satirical Writings (1879); Jacques Damour and other smaller works from Zola (1895). He also edited three volumes of the songs of Robert Franz.
Achievements
He was undoubtedly one of the greatest critics America has produced. His work was strikingly individual and independent, and always constructive. His intimate acquaintance with the languages and his deep knowledge of literature and philosophy contributed largely to his success as a writer.
(Excerpt from By the Way, Vol. 1: Being a Collection of Sh...)
book
Personality
He was an incessant worker and ceased his labors only because of failing eyesight. He bore this affliction, however, with the greatest fortitude and never lost his contagious humor.
Notwithstanding a certain educated pride of family and position, he was very democratic, though his exceeding diffidence was often misunderstood by those who did not know his natural shyness.
Interests
Music & Bands
Soon after his return from Europe, he became increasingly interested in music and in 1863 he gave up painting and studied piano, harmony, and counterpoint with J. K. Paine until 1867, when Paine went to Europe.
His most important published works are Musicians and Music Lovers (1894); By the Way (1898); The Opera, Past and Present (1901); Some of the Wagner Heroes and Heroines (1889); also several translations, Hector Berlioz--Selections from His Letters, and 'sthetic, Humorous and Satirical Writings (1879); Jacques Damour and other smaller works from Zola (1895).
