"Rondo" Quotes from Famous Books
 ... his art had been neglected. That he applied himself with all the ardor of his nature to his studies we know. They were given precedence over everything else. He even delayed for a long while writing a rondo which he had promised to Eleonore von Breuning and when he finally sent it, it was with an apology for not sending a sonata, which had ...
— Beethoven • George Alexander Fischer
... he wrote that he believed him to have accomplished his work as "one of the world's mightiest tone-poets not by means of the contrapuntal methods of his day, but in spite of them. The laws of canon and fugue are based upon as prosaic a foundation as those of the Rondo and Sonata Form, and I find it impossible to imagine their ever having been a spur, an incentive, to poetic ...
— Edward MacDowell • Lawrence Gilman
... structural basis of the Rondo, and other larger or (as they are sometimes called) higher forms, is the Subject or Theme. The form and contents of this factor, the Theme, are so variable that a precise definition can scarcely be given. It is a musical sentence of very distinct ...
— Lessons in Music Form - A Manual of Analysis of All the Structural Factors and - Designs Employed in Musical Composition • Percy Goetschius
... movement of the aria, was the medium which called for the qualities of expressive singing, while the Cabaletta was a vehicle for the display of virtuosity and technical mastery. In this latter movement, the equivalent of the Rondo in instrumental music, the performer was left perfectly free to use such embellishments as set forth his own gifts to the greatest advantage. Some singers excelled in bold and rapid flights of scales, chromatic ...
— Style in Singing • W. E. Haslam
... well with the B minor Rondo of Schubert, only, to my thinking, he should add the now indispensable pedal marks to it. By the same post I send you his manuscript together with a few remarks, and beg you to thank Reubke for his friendly dedication, ...
— Letters of Franz Liszt, Volume 2: "From Rome to the End" • Franz Liszt; letters collected by La Mara and translated
... America, who not long before had risen from the ranks of French opra bouffe. Mme. Trebelli, who had created the part of Frederick in London, where, as in New York, Mme. Nilsson was the original Mignon, and for whom the composer had written the rondo-gavotte, "In veder l'amata stanza" (taking its melody from the entr'acte music preceding the second act), was also a member of Mr. Abbey's company, but Mme. Scalchi, who could wear man's attire and walk in tights more gracefully than any woman who ...
— Chapters of Opera • Henry Edward Krehbiel |
