Kodaly, Lully et al.

Usage examples of composers.

Indeed, the bond ought to be closer, for one man wrote books and music as well of the Grail dramas, whereas different librettists and different composers created the Figaro comedies.

Campana and Gordigiani were prolific composers of romanzas and canzonettas of a popular type.

Philistine who pooh-poohs the tales told of baby composers, and hints that they must have been a trial to their friends.

Reckon up to-day the composers who are really a force in the emotional life of the people, and ask which of them was reared in the serene, cold air of the academies.

To crowd the details of a professional career covering close upon a quarter of a century into a single chapter would, in the case of most of the great composers, be an altogether impossible task.

Great composers have not always been great conductors, but Haydn had a winning way with his band, and generally succeeded in getting what he wanted.

Handel purloined wholesale from brother composers and said nothing about it.

It is very likely, as Sir Hubert says, that most modern composers have used the pianoforte a good deal--not so much to help them to find out their ideas, as to test the details and intensify their musical sensibility by the excitant sounds, the actual sensual impression of which is, of course, an essential element in all music.

Both composers used clarinets rarely, but Haydn certainly did not reveal the real capacity of the instrument or establish its position in the orchestra as Mozart did.

Truly, the verities of time and place sat lightly on the Italian opera composers of a hundred years ago.

Gounod celebrated the centenary of the opera by writing a commentary on it which he dedicated to young composers and artists called upon to take part in performances of the opera.

Like all composers, he longed to write an opera, and it is not at all unlikely that, like Mendelssohn after him, he was deterred by the general tendency of the opera books of his day.

Classical composers, I am inclined to think, are composers of the first rank who have developed music to its highest perfection on its formal side in obedience to long and widely accepted laws, preferring aesthetic beauty over emotional content, or, at any rate, refusing to sacrifice form to characteristic expression.

Romantic composers would then be those who have sought their ideals in other directions and striven to give them expression irrespective of the restrictions and limitations of form--composers who, in short, prefer content to manner.

But mostly she liked Bach and Vivaldi, holding that composers like Schubert, Schumann and Stravinsky were violent exhibitionists.