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War of the Worlds by H.G. Wells 1:3 Free Classic Novels Audiobooks Public Domain Fiction.
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war of the worlds by h.g wells book one chapter three on horse or common

i found a little crowd of perhaps 20 people surrounding the huge hole in which the cylinder lay i have already described the appearance of that colossal bulk embedded in the ground the turf and gravel about it seemed charred as if by a sudden explosion no doubt its impact had caused a flash of fire henderson and ogilvy were not there i think they perceived that nothing was to be done for present and had gone away to breakfast at henderson's house there were four or five boys sitting on the edge of the pit with their feet dangling and amusing themselves until i stopped them by throwing stones at the giant mass after i had spoken to them about it they began playing at touch in and out of the group of bystanders among these were a couple of cyclists a job in gardener i employed sometimes a girl carrying a baby greg the butcher and his little boy and two or three loafers and golf caddies who were accustomed to hang about the railway station there was very little talking few of the common people in england had anything but the vaguest astronomical ideas in those days most of them were staring quietly at the big table like end of the cylinder which was still as ogilvy and henderson had left it i fancy the popular expectation of a heap of charred corpses was disappointed at this inanimate bulk some went away while i was there and other people came i clambered into the pit and fancied i heard a faint movement under my feet the top had certainly ceased to rotate it was only when i got close to it that the strangeness of this object was at all evident to me at the first glance it was really no more exciting than an overturned carriage or a tree blown across the road not so much so indeed it looked like a rusty gas float it required a certain amount of scientific education to perceive that the grey scale of the thing was no common oxide that the yellowish white metal that gleamed in the crack between the lid and the cylinder had an unfamiliar hue extra terrestrial had no meaning for most of the unlockers at that time it was quite clear in my own mind that the thing had come from the planet mars but i judged it improbable that it contained any living creature i thought the unscrewing might be automatic in spite of ogilvy i still believed that there were men in mars my mind ran fancifully on the possibilities of it containing manuscript on the difficulties in translation that might arise whether we should find coins and models in it and so forth yet it was a little too large for assurance on this idea i felt an impatience to see it opened about 11 as nothing seemed happening i walked back full of such thought to my home in mayberry but i found it difficult to get to work upon my abstract investigations in the afternoon the appearance of the common had altered very much the early editions of the evening papers had startled london with enormous headlines a message received from mars remarkable story from woking and so forth in addition ogilvy's wire to the astronomical exchange had roused every observatory in the three kingdoms there were half a dozen flies or more from the woking station standing in the road by the sandpits a basket shares from cobham and a rather lordly carriage beside that there were quite a heap of bicycles in addition a large number of people must have walked in spite of the heat of the day from woking and churchy so that they were all together quite a considerable crowd one or two gayly dressed ladies among the others it was glaringly hot not a cloud in the sky nor a breath of wind and the only shadow was that of the few scattered pine trees the burning heather had been extinguished but the...

War of the Worlds by H.G. Wells 1:2 Free Classic Novels Free Audiobooks Public Domain.
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of the worlds by h.g wells book 1 chapter 2 the falling star

then came the night of the first falling star it was seen early in the morning it was seen early in the morning rushing over winchester eastwood a line of flame high in the atmosphere hundreds must have seen it and taken it for an ordinary falling star albin described it as leaving a greenish streak behind it that glowed for some seconds denning our greatest authority on meteorites stated that the height of its first appearance was about 90 or 100 miles it seemed to him that it fell to earth about 100 miles east of him i was at home that hour and writing in my study and although my french windows face towards off to shore and the blind was up for i loved in those days to look up at the night sky i saw nothing of it yet the strangest of all things that ever came to earth from outer space must have fallen while i was sitting there visible to me had i only looked up as it passed some of those who saw its flight say it traveled with a hissing sound i myself heard nothing of that many people in berkshire surrey and middlesex must have seen the fall of it and at most thought that another meteorite had descended no one seems to have trouble to look for the fallen mass that night but very early in the morning poor ogilvy who had seen the shooting star and who was persuaded that a meteorite lay somewhere on the common between horsel ottershaw and woking rose early with the idea of finding it find it he did soon after dawn and not far from the sand pits an enormous hole had been made by the impact of the projectile and the sand and gravel had been flung violently in every direction over the heath forming heaps visible a mile and a half away the heather was on fire eastward and a thin blue smoke rose against the dawn the thing itself lay almost entirely buried in sand amidst the scattered splinters of a fir tree it had shivered to fragments in its descent the uncovered part had the appearance of a huge cylinder caked over and its outline softened by the thick scaly dun colored incrustation it had a diameter of about 30 yards he approached the mass surprised at the size and more so at the shape since most meteorites are rounded more or less completely it was however still so hot from its flight through the air as to forbid his near approach a stirring noise within its cylinder he ascribed to the unequal cooling of its surface for at that time it had not occurred to him that it might be hollow he remained standing at the edge of the pit that the thing had made for itself staring at its strange appearance astonished chiefly at its unusual shape and colour and dimly perceiving even then some evidence of design in its arrival the early morning was wonderfully still and the sun just clearing the pine trees towards weybridge was already warm he did not remember hearing any birds that morning there was certainly no breeze stirring and the only sounds were the fate movements from within the syndry cylinder he was all alone on the common then suddenly he noticed with the start that some of the grey clinker the ashy encrustation that covered the meteorite was falling off the circular edge of the end it was dropping off in flakes and raining down upon the sand a large piece suddenly came off and fell with a sharp noise that brought his heart into his mouth for a minute he scarcely realized what this meant and although the heat was excessive he clambered down into the pit close to the bulk to see the thing more clearly he fancied even then that the cooling of the body might account for this but what disturbed that idea was the fact that the ash was falling only from the end of the cylinder and then he perceived that very slowly the...

The Pianoforte Sonata by John South Shedlock 2 John Kuhnau Free Audiobook Advanced Study
chapter two of the piano forte sonata by john south shedlock the slipper vox recording is in the public domain johann kunau this remarkable musician was born april 1660 footnotes this is the date given by matheson in some dictionaries we find 1667. this however seems to be an error for that would only make count 15 years of age when he became candidate for the post of organist at sid thomas's fetis who gives the later date 1667 states that in 1684 kunau became organist at saint thomas's but adds

end a footnote at geysing where his grandfather who on account of his religious opinions had been forced to leave bohemia had settled already in his ninth year jungkoo now showed gifts for science and art he had a pleasing voice and first studied under salomon krugner and afterwards under christian kittle footnote this kittle must surely have been father or uncle of johann christian kittle buck's last pupil and a footnote organist of the elector at dresden his next teachers were his brother andreas kunau alexander herring footnote matheson in his grundlaga ayna ergenforte published at hamburg in 1740 complains that the names of salomon krugner christian kittle a count and herring are not to be found in the musical dictionaries the first and third have not even now a place end of footnotes and vincenzo albrechti in 1680 the plague broke out at dresden and kuna returned to his parents he then went to zitao with a certain erhard titius who had been professors at the cruise schooler dresden and received help from the court organist moritz edelman also from the celebrated vice a motet of kunau's was given at zitao under his direction after the death of titius kunau resided for a time in the house of j.j von hartig judge at zitao in 1682 he went to leipzig where d scherzer endeavoured to obtain for him the post of organists at st thomas's kunal however was appointed the latter died in 1684 and was succeeded by kunau who in 1700 also became cantor at st thomas's he devoted much of his time to jewish prudence among other things he wrote a curious satire entitled the musicalisher quack salva published in 1700 their remain in manuscript trachtatus de tetrecordo and introductio

had many pupils we know of two who afterwards became distinguished men the one was christophe graupner 1683-1760 who in 1710 became kapelmeister at darmstadt in 1722 on the death of kunal gualpna footnote in a letter written by graupner to matheson the former after mentioning that he studied the clavia and also composition under kunau says vial by kunau as noticed von selbsten

as i offered myself as copyist saku now and wrote some long time for him such a wished for opportunity enables me to study much good music and whenever a doubt arose to learn by word of mouth how this or that was to be understood end of footnote who had been prize scholar under him presented his testimonials was examined and seemed likely to become cantor as his teacher's successor meanwhile however john sebastian back offered himself as candidate and as dr pepusch before handel at cannons in 1710 so did graupno retire before his great rival matheson in his forte page 410 tells us that as a composer for the clavier groupnow may rank as one of the best of his time he wrote sweets and sonatas for clavier johann friedrich fash 1688 to 1758 or 9 the second pupil soon after leaving leipzig where he had enjoyed hunell's instruction from 1701 to 7 went to italy and on his return studied for a short time with graupner flash then filled various posts until in 1722 the very year indeed of count's death he became capital meister at anhalt zerbst where he remained until his death his son carl friedrich christian was the founder of the berlin singh academy in 1756 emmanuel buck had something to do with fasch's appointment as clavin assist to frederick the great the father who was then...

Biographical Notice Of Nicolo Paganini With An Analysis Of His Compositions And A Sketch Of The History Of The Violin
by Francois-Joseph Fetis
chapter one of a biographical notice of nicolo paganini with an analysis of his compositions and a sketch of the history of the violin this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recording by david wales biographical notice of nicolo paganini with an analysis of his compositions and a sketch of the history of the violin by francois joseph feitis chapter 1 sketch of the history of the violin the instrument despite all contrary assertions based upon pretended monuments oriental greek and roman antiquity was unacquainted with instruments played with the bow neither india nor egypt furnish the least traces of them nor to greece and italy nor in fact does the whole of the old civilized world as i stated in the resume philosophic de listois de la musique the bow comes from the west it was introduced into the whole of europe by the western nations though violas are found among the modern arabs in persia and turkey they were taken there by europeans in the time of the crusades the gudak of the russian peasant and the churwith of the ancient irish appear to proceed from the highest antiquity and to have been the type of instruments of this nature the irish chroniclers speak of musicians who in the sixth century were celebrated for their talent on the grith a species of veal with six strings and a venons fortunate a latin poet who wrote in 609 states distinctly that this instrument belonged to great britain it is not my intention to follow up here the various transformations of bow instruments in the middle ages it will suffice to observe that there were frequent changes in them from the 13th to the 16th century as much in the common kinds vulgarly called in french rebic and in german guys onna bunda violins without band or side pieces which possessed only three strings as in the improved veals the body of which was formed of belly and back joined by side pieces as in are violins at tenors and basses the smaller kinds also possessed only three strings the larger kind had four there were also others with five six and seven strings in the middle ages the ribeck called rubaba possessed but two strings it is the same instrument which in arabia acquired the name of rebob from the 15th century it is found with its three strings this instrument took nearly the form of a mandolin the neck and the body being formed of a single piece the fingerboard being as wide as the entire instrument and reaching within a short distance of the bridge no passage was left for the bow and the body of the instrument but the body was very narrow and the bridge formed a point for the middle string to rest upon so that this string could be touched by the bow without touching the others like all instruments later than the 15th century the ribeck was made of four different sizes the smallest of which was called discant or upper then followed in progressively larger proportions the alto the tenor and the bass the dancing masters kit of the latter years of the 18th century was all that remained of the ancient rebecca the vial was called viele in the middle ages this is the viola of the italians and the vehila of the spaniards there were several kinds as early as the 15th century one of this kind had a flat belly and a place for fixing the strings similar to that of the guitar as in the loot and all stringed instruments played with the fingers the fingerboard was divided into distances for placing the fingers from the 15th century the bellies of vils assumed the raised or vaulted form the backs remaining flat the cavities at the side which had formerly been very large and straight were made in the shape of a section of a circle and were reduced to the dimensions necessary for the use of the bow the raised bellies rendered...

The Mentor 1:2 All About Rugs by Mumford Audiobook Free Lectures Learning Online
section two of the mentor one this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recording by avayi in june 2016 the mentor won by various chinese drugs by john k mumford author and expert on oriental drugs from the mentor volume 4 number 2 issue 102 march 1st 1916

a thing of beauty no word in the language is more abused than beauty a pretty thing is a thing of beauty a pretty picture is a picture of beauty and so following lacking a proper descriptive term for anything attractive we too often employ the word beauty which term have we then with which to pay just tribute to true beauty the real final test of beauty is that it wears well not in a material way but in the qualities that are truly beautiful the rose is fragile material and its life is brief but rose beauty is lasting and rose fragrance clings sweetly to the memory so that the rose has become a synonym of beauty the message of true beauty is enduring and oft repeated grows in charm a thing of beauty is a joy forever a distinguishing attribute of true beauty is authority a thing of beauty bears on its very forefront the stamp of authority it does not plead for recognition it commands it the snow-capped summit had sundown the madonna face on a master's canvas the poet's lofty rhyme the fragrant flower the harmonious symphony the frozen music of architecture the countless varied forms of beauty in nature art and life ask no favor nor do they play to the fancy of the moment created in intelligence sincerity and truth and inspired by lofty devotion they compel a lasting homage

antique chinese rug this attractive rag is representative of a very admirable class of chinese floor fabrics and illustrates in the clearest manner some interesting and important features in the rag-weaving art of china the not-ages will be learned from the specification above is not great a muhammadan sejade with only 42 knots to the square inch would be held of small merit unless it came from one of two or three districts in asia minor bergamo for example or else had some individual element of value such as great age phenomenal color or uncommon design in china however as has been pointed out in the accompanying text high textures are not accounted of large importance this rug is not of great antiquity nor yet is it of very recent manufacture it might with safety be attributed to the keen lung time or some rain immediately after the best artistic tenets of persia so far as they appertain to rug weaving have been conscientiously followed the muhammadan influence is not difficult to trace and yet at no time can a foreign or vagrant note be discovered the rug is thoroughly chinese not only in spirit but in every detail it will be a careful study in the light of what has been said regarding the absorbent and adaptive quality of chinese art in all ages the border area is relatively narrow wherein marked difference is paid to the oldest and best chinese standards and for all a distinctly floral character prevails the utmost simplicity is maintained it is a notably consistent drug there is perfect harmony between border and center and the most perfect manifestation of the chinese artistic sense perhaps lies in the fact that to the end of preserving simplicity and balance the weaver has carefully refrained from cluttering up the border section with guard stripes requiring additional patterns which in a rug of this character would have been superfluous and therefore disturbing throughout the field of the rug despite a decidedly ornate touch there is still a careful avoidance of excess only two elements appear the emblematic butterfly and floral devices which not only are combined to form the fine medallion but which with the utmost refinement of handling suffice for all the secondary and tertiary...

The Mentor 1:1 The War of 1812 History Audiobook Free Lectures Learning Online
The Mentor 1
by Various
section one of the mentor one this is a labor box recording all labor box recordings are in the public domain for more information or to volunteer please visit librivox.org reporting by ross clayton june 3rd 2k16 roebuck south carolina

the mentor won by various volume 4 number 3 serial 103 march 15 1916 the war of 1812 by albert bushnell hart two introductory poems heroes of the fleet perry september the 10th full will i wean in 1813 the weather mild the sky serene commanded by bold perry our saucy fleet at anchor lay in safety more that put in bay to sunrise and the break of day the british fleet we chanced to meet our admiral thought he would then greet with a welcome on lake erie old song lawrence led shouts of victory for laurels one give place to grief for lawrence valor's son the warrior who was heir his country's pride as for that country bravely nobly died lions published in june 1813 the war of 1812 by albert bush now hart professor of government harvard university department of history march 15 1916

our defeat of great britain in the revolutionary war was conclusive though we in that case included france without whose aid the patriots must have been defeated it is not so easy to discover a fund of military glory in the war of 1812. that was a great war year within a few days of the declaration of war by the united states against great britain napoleon's grand army of over 400 000 men crossed the neiman into russia six months later four thousand of that host recrossed pursued by the russians and probably not more than one hundred thousand of the whole number ever saw their homes again in 1813 while the americans were fighting on the ocean and on lake erie napoleon was driven out of germany a few weeks before the battle of lundy's lane napoleon was compelled to abdicate soon after the news of the peace of ghent with great britain was received in the united states in 1815 napoleon broke loose from elba and a few months later he was again a prisoner and sent to santelina to most of europe the american war of 1812 seemed an unwarrantable flank attack in the great running fight of the nations russia and prussia resented it that american statesmen should throw the weight of their country on the side of the great military despot of his time they wanted none of the military and naval strength of great britain to be diverted across the ocean the suggestion was even made in congress that the united states ought to declare war at the same moment on both france and england that idea has been carried out by captain marriott in his once popular novel midship and easy where he describes a triangular duel between three sailors but nations could hardly engage in such a game the elephant and the whale nevertheless congress found some difficulty in selecting the enemy to fight for the conditions were remarkably like those of the year 1915. people used to talk then about the war between the elephant and the whale the elephant being the land army of napoleon which apparently nothing could withstand and the whale being the navy of great britain which had command of the sea that struggle reached a crisis in 1806 when the two belligerents not being able to reach and hammer each other did their best to hammer the neutral carrying trade which was carried on largely in american ships

by orders in council great britain declared the whole french coast blockaded from breast to the elb just as in 1915 the same power declared the whole north sea coast to be blockaded by decrees france declared the whole british islands to be in a state of blockade exactly as germany recently declared those coasts to be a naval zone the consequence was that the french captured 600 american merchantmen in the next nine years and the british took 900. in this long controversy the french were the wiliest the british...

The Art of Music - Volume 01: The Pre-Classic Periods 1 Primitive Music Free Audiobook
section two of the art of music volume one the pre-classic periods editor-in-chief daniel gregory mason this librivox recording is in the public domain read by jake milicia chapter one primitive music music is co-evil with the human race in all probability it precedes spoken language for music is primarily the expression of emotion articulate language is the expression of definite thought and in the process of evolution emotion precedes thought the beginnings of music are to be found in nature herself the howling of the winds the humming of insects the cries of animals the songs of birds must all be considered as elemental music in as much as they contain the two fundamental elements thereof rhythm and tone rhythm is the more or less regular division of time by beats or strokes the heart beats in a regular rhythm there is the rhythm of the raindrops man walks with a rhythmic stride the waves beat upon the shore in a solemn and impressive rhythm the drumming of the partridge the chirping of the crickets the tapping of the woodpecker the muttering of distant thunder etc all these are rhythms more or less regular divisions of time marked off by beats or accents now tone is merely a noise which persists at a certain pitch when we cry out in fear we usually produce a noise but should we be careful to maintain a steady and equal omission of breath we should produce a tone in other words a noise is produced by a rapid and irregular change in the rate of vibration of the sounding body whereas a tone is produced by the steady maintenance of a certain rate of vibration for a long enough time for the ear to appreciate its definiteness that this time need not be very long is proved by the ease with which we grasp as tones certain very short notes used in music grace notes for example many noises in fact upon analysis appear to be collections of heterogeneous tonal fragments which succeed each other with such rapidity and eccentricity as to preclude the recognition of their tonal elements as such such animal cries as the roaring of lions the baying of wolves the screeching of parrots or the barking of dogs must be classed as mere noises while they are frequently of rhythmic interest they contain too little of the tonal element to be regarded musically on the other hand the humming of certain insects which produces a definite tone the whistling and singing of many birds the musical cries of certain monkeys as related in darwin and even on occasion the crying of the wind must all be regarded as natural music the wind with its fitful and irregular howling usually produces mere noise but there are times when it blows with such a steady intensity through the forest that a definite tone is produced one reads with interest and sympathy in the memoirs of a certain naturalist how he while listening to the ethereal singing noises produced by myriads of small insects imagined that he caught but the lower notes of some elfin symphony too refined for mortal ears to hear the songs of the singing birds are very notable examples of natural music for here the tones are in many instances quite perfect while the rhythms of many bird songs are sharply defined and easily noted but it is savage or primitive man who claims our greatest interest untouched by learning simple of mind and direct and naive in his conduct he is at the same time a part of nature and the ancestor of civilized man a being not only endowed with strong rhythmic sense but with vocal powers far superior in possible variety of inflection to those of any of the animals his love cries war songs and savage laments are as much natural music as are the songs of birds or the cries of animals and contain even though crudely the elements from which civilized music has subsequently been developed it is with him that our story really begins thus we see that the fundamental elements of music are to be found...

The Art of Music - Volume 01: The Pre-Classic Periods Tale Teller Music School Audiobook
section 1 of the art of music volume 1 the pre-classic periods editor-in-chief daniel gregory mason this librivox recording is in a public domain read by jake militia a narrative history of music introduction musical art is the idealized art of the inner man as distinguished from the arts of painting and sculpture and their light which are the idealized expression of what is outside him it is the result of the urgent impulses of certain peculiarly constituted human beings to express things which move them in ways which are favorable to permanence which permanence proves attainable only through the controlling influence of the instinct for order the instinct for order and the impulse to gratify it in all directions seem to be present in all unperverted human beings which is obviously the consequence of the fact that it has always ministered to the preservation of those who possessed it the primitive savage who kept his weapons in some kind of orderly fashion and knew where to lay his hands on them when wanted easily survived the disorderly savage who could not find them soon enough to prevent being exterminated the primitive savage who could dispose his means of existence in an orderly fashion was more likely to survive the savage who had no proper place for anything and there were thousands of other ways in which this instinct favored its possessor and favored him more and more as social and anti-social conditions progressed in complexity looked at from another point of view that of experience the lack of the sense of order the tokens low mental power and the possession of it in higher and higher degrees is a token of higher and higher capacities of mind the sense of order is the basis of organization and out of organization comes permanence the more perfect the organization the more lasting is the thing organized what is well built is well organized for its purpose and stands fast what is ill-built is badly organized for its purpose and tumbles down and so it is with a work of literature it cannot be said that a noble thought ill presented will soon be forgotten but its being ill-presented makes it obscure it must be admitted that fascination is added to the utterance of a great thought by the perfect clearness and nicety with which it is expressed the presentation is in that sense admirably organized and the mind welcomes it and returns to it frequently with delight whereas if it is clumsily expressed it gives the mind unnecessary trouble to understand what it means and then there is a feeling of distaste and annoyance which prejudices the welcome that the great thought merits so it is with a work of art clumsiness and incoherence of structure beget discomfort however great the intentions imperfections which may not be noticed at first grow more and more oppressive till they become unbearable and at last mankind is impelled to regard the good intentions as little better than opportunities wasted it may be justly argued that such imperfections are inevitable not only because art represents human efforts but because organization takes centuries to effect it is also true that certain types of imperfection are pathetically attractive and afford a kind of interest in themselves where they suggest the kind of human condition and effort which is characteristic of the time and circumstances in which any individual work of art was produced but in such case it is necessary that the motive shall be honorable after ages we'll never be able to regard the deficiencies in modern church and chapel architecture stained glass windows modern tombstones and suburban villa residences with anything but disgust putting such aberrations aside for the presents it is pleasant to realize that one of the privileges of an instinct for style is to be able to recognize the stage of organization which has been reached both in diction and structure by the...

The Pianoforte Sonata
by John South Shedlock

Publication date 2019-10-20
Usage Public Domain Mark 1.0Creative Commons Licensepublicdomain
Topics librivox, audiobooks, music, chopin, Bach, Mozart, Beethoven, Haydn, Schubert, piano, liszt, schumann, sonata, pianoforte, brahms, weber
LibriVox recording of The Pianoforte Sonata by John South Shedlock.
Read in English by Jordan Watts
John S. Shedlock covers the history of what might now be called the keyboard sonata, from Kuhnau's Sonata in B flat from 1695, believed at the time to be the earliest keyboard sonata, up the present day. Along the way, works by Emanuel Bach, Haydn, Mozart, Beethoven, Weber, Schubert, Schumann, Chopin, Brahms, Liszt and others are looked at, along with many musical extracts. - Summary by Jordan.

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The Pianoforte Sonata by John South Shedlock History of Music Free Audiobook Advanced Study


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chapter one of the piano forte sonata by john south shedlock this librivox recording is in the public domain introductory in history we find certain names associated with great movements luther with the reformation or garibaldi with the liberation of italy luther certainly posted on the door of the church of wittenberg his famous theses and burned the papal bull at the gates of that city yet before luther there lived men such as the scholar erasmus who have been appropriately named reformers before the reformation so too cavaur's cautious policy paved the way for garibaldi's brilliant victories once again leonardo da vinci is named as the inventor of chiaroscuro yet he was preceded by fraphilipo lupi and in similar manner in music certain men are associated with certain forms haydn for example is called the father of the quartet close investigation however would show that he is only a link and certainly not the first one in a long evolution so too with the sonata the present volume is however especially concerned with the clavier or piano forte sonata and for that we have a convenient starting point the sonata in b flat of kunau published in 1695. the date is easy to remember for in that same year died england's greatest musician henry purcell before studying the history of the pianoforte sonata even in outline it is essential that something should be said about the early history of the sonata that term appears first to have been used in contradistinction to cantata the one was a piece sounded suanata from sonando by instruments the other one sung by voices the form of these early sonatas as they appear in giovanni gabrielli's work towards the end of the 16th century was vague yet in spite of light imitations the basis was harmonic rather than contrapuntal they were among the first fruits of the renaissance in italy but soon there came about a process of differentiation praetorius in his syntagma musicum published vulvan wolfenboodle in 1619 distinguishes between the sonata and the canzona speaking generally from one seems to have come the sonata proper from the other the sweet during the whole of the 18th century there was a continual intercrossing of these two species it is no easy matter therefore to trace the early stages of development of each separately marburg in his description of various kinds of pieces in his clavier stuka published at berlin in 1762 says sonatas are pieces in...

Mozart, The Man and the Artist as Revealed in His Own Words
by Friedrich Kerst

Publication date 2009-05-03
Usage Public Domain Mark 1.0Creative Commons Licensepublicdomain
Topics librivox, audiobooks, Mozart, quotations, composers, music, letters
Librivox recording of Mozart, The Man and the Artist Revealed in His Own Words by Friedrich Kerst. Translated by Henry Edward Krehbiel.
Read by LibriVox volunteers

Wolfgang Amadeus Mozart. His name is one of the most recognizable names in history and one of the most enduring of composers. At age 5, this “wunderkinder” took to the stage and began his life as a prolific and celebrated creator-genius of such luminous works the world has not known since. This collection of morsels taken from his personal letters is engaging and gives a look into the mind of the boy wonder. Was he mad? Was he miraculous? (Summary by Aaron Elliott)
chapter 3 of mozart the man and the artist as revealed in his own words this is a librivox recording all librivox recordings are in the public domain for more information or how to volunteer please visit librivox.org

mozart the man and the artist as revealed in his own words by friedrich kierst translated by henry edward kreibel chapter 3 the significance of mozart mozart what a radiance streams from the name bright and pure as the light of the sun mozart's music greets us we pronounce his name and behold the youthful artist is before us the merry light-hearted smile upon his features which belongs only to true and naive genius it is impossible to imagine an aged mozart an embittered and saddened mozart glowering gloomily at a wicked world which is doing its best to make his lot still more burdensome a mozart whose music should reflect such painful moods mozart was a child of the sun filled with a humor truly divine he strolled unconstrainedly through a multitude of cares like prince tamino through his fantastic trials music was his talisman his magic flute with which he could exorcise all the petty terrors that beset him has such a man and artist one who is completely resolved in his works and therefore still stands bodily before us with all his glorious qualities after the lapse of a century has mozart still something to say to us who have just stepped timidly into a new century separated by another from that of the composer much very much many prophets have arisen since mozart's death two of them have moved us profoundly with their evangel one of them knew all the mysteries and nature took away his hearing lest he proclaim too much we followed him into all the depths of the world of feeling the other shook us awake and placed us in the hurley burley of national life and striving pointing to his own achievements he said if you wish it you have now a german art the one was beethoven the other wagner because their music demands of us that we share with it its experiences and struggles they are the guiding spirits of a generation which has grown up in combat and is expecting an unknown world of combat beyond the morning mist of the new century but we are in the case of the man in the fairy tale who could not forget the merry tune of the forest bird which he had heard as a boy we gladly permit ourselves to be led occasionally out of the rude realities that surround us into a beautiful world that knows no care but lies forever bathed in the sunshine of the cloudless happiness a world in which every loveliness of which fancy has dreamed has taken life and form it is because of this that we make pilgrimages to the masterpieces of the plastic arts that we give heed to the speech of schiller listen to the music of mozart when wearied by the stress of life we gladly hide to mozart that he may tell us stories of that land of beauty and convince us that there are other and better occupations than the worries and combats of the fleeting hour this is what mozart has to tell us today in spite of wagner he has...