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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Untitled Article
Q im * % Jw » cteipons ^ rator , qrr is Pagarjiiu me ^ plfauxJ ^ r ., ly ^ tow 5 i 3 * lftsWt hesitation , that ML duhr $ Q £ * not k ^ Qyv * any )^^ aboMtji ijU ; Nobody was so much astonished it Pacranfiv ft ms ~
chqnj £ fi £ pp > % vess as tha class of violia players * VHfitftr E ^^ r * uncteratwd the principle . The latter axe aqqii ^ t ^ g ^; ^ , M * a perfonaaance of various elaborate pieces , to tune tHe in ^ trumejp t according to the piece , the change of tuning being x ^ imqat ^ d byatb ^ co mposer * Thus , they do not play w itK an i ^ istrume r ) t out < of Ume , but with one differently tuned ; the " poait | pipi oiF O € > rtam notes being changed , and the fingering with them . But
h& % 9 i by a single twist of a peg , the Devil of a fiddler changes his iuniag accurately , and without the least misgiving ftih ^ t on his owo part or that of his instrument—both evidently under ^ t ^ ndiag each o the r completely—we cannot pr ^ nd ' . tp e ^ -p p lain , in speaking of the use of the bowy M . GhRt [ ik \ topre at nome * Notwithstanding the extraordinary use wade of it by
G ^ eeUj ^ T ^ rtini , and Viotti , it was reserved for Faga ^^ If—i ^ ** ty J $ i < $ ki #£ tone and time !—to discover all it ^ wondrous l ^ t ept p orters , . ^ "• * "Itodfe ^ Krtftiteer , Baillot , Spohr , " says M . Guhr— tlwse giants ^ j ^ ng-Tiflfimstft—seemed , to have exhausted all the resources of ikei instrument . Thffhh ^ d extended ifcs mechanism , introduced the greatest imaginable iathe of the
T&riei ^ , use bow , which was made subservient to . aljl the stud ^ g ^ eqQpresaion and . execution : they had succeeded , by the magic of the ^ ^ q ^ ds ^ . w ^ iic ^ rivalled the human voice , in painting all passions and ^ tn ^ moWnenta of sentixn ent . But when we hear Pacran itii l *
&c—l ^ e ^ foregoing extract contains one of those favourite ? pos * - tixmf twpfr ^ m jn usical people are so apt to become exUavagaat . MlLUy £ ffn $ p \ t has b « en asserted that certain great jqstpina ^ t ^ fta ^ f ^ pr ^ pBe d all the shades of passion and ^ JHfm ^ rij : ! Jjf WSS ^ HWP i ¥ ^ ^ f we should be able to say or ^ first s heading tneq ^ ^ trni w ithout an interpreter , what precise passion or * ^ uttey were
^ iia ^ t describing ? Nobody can do tliis , let alone th ^ j gradations or shades . It is impossible . Painting can accomplish it in many instances , not in all . Words alone can ftllly describe its complex ! ties , as far as we know them . The fact is , music is & sublimation of the senses—the intense ab-* M > cJiOT * of ther heart communicated to the imagination through the medium of sounds . Each imagination and each
sensibility , feel and translate music according to the peculi « tftfe # 4 f tffeir s *** wth and refinement . Music ifl not ad-Jlclliiiri ^ H ^ wtiAtmtai ^ Kn ^ and cannot , therefore ; without fo fkt&mnetyhe >* ntye < it * d to rta lawd . ' To aAtookpt doirtg so ^ jiptt ^ la fettawi - * d reqtiJ Fmr tJ »^ oiourB of it pictirire to cooftMrta t ^ tM U&m * t mwftic ^ l h armony ^ or t 6 set kbout perform ing the nine books of Euclid on the organ * .
Untitled Article
?• £ 789 The Vioti * .
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Dec. 2, 1836, page 768, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2664/page/52/
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