book_id
stringlengths 2
6
| title
stringclasses 1
value | author
stringclasses 1
value | conversations
listlengths 1
5.07k
|
|---|---|---|---|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "I talk."
},
{
"from": "gpt",
"value": "Talk?"
},
{
"from": "human",
"value": "Yes!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Blumberg wants to see you,"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Set him on the desk here, ordered the large man."
},
{
"from": "gpt",
"value": "Now, little feller--they tell me you're talking!"
},
{
"from": "human",
"value": "I talk."
},
{
"from": "gpt",
"value": "Well, well, well! said the large man jovially."
},
{
"from": "human",
"value": "What'll we talk about?... I'm Blumberg, and I run this circus.... Who are you?"
},
{
"from": "gpt",
"value": "I am man of Loten, he said carefully."
},
{
"from": "human",
"value": "Loten is world more far from heat star."
},
{
"from": "gpt",
"value": "What? Say that again!"
},
{
"from": "human",
"value": "I not live in your world--in this world...."
},
{
"from": "gpt",
"value": "The hell you don't."
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Hey, Edgar--come here!"
},
{
"from": "gpt",
"value": "Yes?"
},
{
"from": "human",
"value": "Heat star!"
},
{
"from": "gpt",
"value": "Sun,"
},
{
"from": "human",
"value": "Sun!"
},
{
"from": "gpt",
"value": "This world?"
},
{
"from": "human",
"value": "Earth,"
},
{
"from": "gpt",
"value": "Earth? This world is Earth?"
},
{
"from": "human",
"value": "Yes."
},
{
"from": "gpt",
"value": "What is this--a joke?"
},
{
"from": "human",
"value": "Mars,"
},
{
"from": "gpt",
"value": "Mars! he cried jubilantly. He pointed his finger at himself."
},
{
"from": "human",
"value": "I am man of Mars,"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "So you are a Martian--eh?"
},
{
"from": "gpt",
"value": "Yes--a Martian."
},
{
"from": "human",
"value": "That oughta go big in the show--huh, Edgar?"
},
{
"from": "gpt",
"value": "Yes, sir,"
},
{
"from": "human",
"value": "If you live on Mars, what're you doing here?"
},
{
"from": "gpt",
"value": "They send me away to Earth."
},
{
"from": "human",
"value": "Why did they send you away to Earth?"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "How much water has this chap been drinking?"
},
{
"from": "gpt",
"value": "Less than a cup, sir--in almost ten days, said Edgar."
},
{
"from": "human",
"value": "The attendant was telling me ..."
},
{
"from": "gpt",
"value": "Go on!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "That's a fine story, he grumbled,"
},
{
"from": "gpt",
"value": "In a space traveller,"
},
{
"from": "human",
"value": "What's that?"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "By god, it would--it _would_ do it!... Look--"
},
{
"from": "gpt",
"value": "Shut up!"
},
{
"from": "human",
"value": "Fellow, he said heavily,"
},
{
"from": "gpt",
"value": "You not have space travellers?"
},
{
"from": "human",
"value": "No.... Just ships that travel in air, answered the pale young man. He heard the other's painful catch of breath, and continued quickly:"
},
{
"from": "gpt",
"value": "But with these diagrams it would be easy to--"
},
{
"from": "human",
"value": "Shut up, Edgar.... Shut up--an' get outta here!"
},
{
"from": "gpt",
"value": "Now, look here, fellow, said Blumberg,"
},
{
"from": "human",
"value": "I'm goin' to take your word for it. I'm probably crazy to believe you; but I've seen most of the funny critters of this world in my time, an' I ain't ever seen one like you. So you may come from Mars, for all I know."
},
{
"from": "gpt",
"value": "You think I am man of Lo--of Mars?"
},
{
"from": "human",
"value": "Yes--that's right."
},
{
"from": "gpt",
"value": "You help me?..."
},
{
"from": "human",
"value": "Yes."
},
{
"from": "gpt",
"value": "You help me go to Mars?"
},
{
"from": "human",
"value": "Yes. I'll help you, said Blumberg suddenly. He stood up, and patted the other softly on the head...."
},
{
"from": "gpt",
"value": "Sure ... you bet!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Hello there! Think I wasn't comin'? No use being in too much of a hurry, y'know.... Meet Dr. Smith. He's a scientist like you...."
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Now, look here, he said,"
},
{
"from": "gpt",
"value": "I'm willing to help you, but you've got to help me do it ...--"
},
{
"from": "human",
"value": "Yes! he replied quickly."
},
{
"from": "gpt",
"value": "Yes."
},
{
"from": "human",
"value": "Good!... Now, Dr. Smith is going to ask you questions about things we need to know. You tell him all you can."
},
{
"from": "gpt",
"value": "Yes ... I tell him!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Do they make the ship?..."
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "There is no ship!"
},
{
"from": "gpt",
"value": "No ship?"
},
{
"from": "human",
"value": "No. The young man was flushed and angry. He spoke very fast:"
},
{
"from": "gpt",
"value": "That fat crook is not helping you.... But you are helping him--you bet!..."
},
{
"from": "human",
"value": "Does--does he not think--think I am the Martian?..."
},
{
"from": "gpt",
"value": "Oh, he thinks you're a Martian, all right! He knows you are. He's taking out patents already."
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "He does not care about you; he cares about your knowledge.... Do you see?"
},
{
"from": "gpt",
"value": "Yes."
},
{
"from": "human",
"value": "I'm sorry, he said gruffly,"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Here! What's the trouble? Move on there! He glanced at the woman."
},
{
"from": "gpt",
"value": "Fainted? Take her to a drug store, somebody. She'll be all right.... What's this? He grasped the Martian by the arm, and raised him to the light...."
},
{
"from": "human",
"value": "Well, I'm damned!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Found a freak, Yer Honor.... Scared a woman half to death! It musta got outa the 'Garden'; I found it on Forty-ninth Street...."
},
{
"from": "gpt",
"value": "He is coming over. Hold on to it."
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Please help me...."
},
{
"from": "gpt",
"value": "Yes. That is what we are here for.... Only be patient,"
},
{
"from": "human",
"value": "Good morning, Your Honor!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "One of yours? said the man behind the high desk."
},
{
"from": "gpt",
"value": "What is the trouble with him? He seems distressed."
},
{
"from": "human",
"value": "Tell the Judge about yourself, said Blumberg softly."
},
{
"from": "gpt",
"value": "He is a great man, and he can help you."
},
{
"from": "human",
"value": "I am a native of Mars. Please, I must return home. Please help me.... I--"
},
{
"from": "gpt",
"value": "See!"
},
{
"from": "human",
"value": "Can you handle him?"
},
{
"from": "gpt",
"value": "Sure! They get along better with me than in--other places. I know how to treat 'em; and they make a good living."
},
{
"from": "human",
"value": "All right, said the Judge."
},
{
"from": "gpt",
"value": "Take him along. But don't let me catch him running around the streets again, or you might rate a fine."
},
{
"from": "human",
"value": "Don't worry! We're going on the road in a couple of days now. You won't see him again.... Well, good morning to you!"
},
{
"from": "gpt",
"value": "Good morning!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Don't try it again, or you'll get more of that!"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "You should not have tried it,"
}
]
|
40992 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Is Mars there?"
},
{
"from": "gpt",
"value": "Yes, he said."
},
{
"from": "human",
"value": "As it happens, it is. Mars is the brightest of those stars, and the topmost."
},
{
"from": "gpt",
"value": "Thank you, said the Martian."
},
{
"from": "human",
"value": "You have been very kind to me!"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "If Beethoven appears to our generation as a Greek statue, Bach, on the contrary, impresses us as one of those Sphinxes of Egypt whose towering head commands the wide expanse of the desert."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "I was obliged to work; whoever will strive as I did, will succeed as well."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "I thought that this art were dead; but I see that in you it still lives."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "He loved his art with a fervor at once enthusiastic and sincere, says Forkel."
},
{
"from": "gpt",
"value": "Not only has he informed us in detail as to Bach's methods of teaching composition, but the musical world is still his debtor for the first logical system of harmony, founded upon the works of his master. The first of these sources of information is his book, _Die Kunst des reinen Satzes_; the second, _Grundsätze zum Gebrauch der Harmonie_. He furthered the interests of musical art by other treatises as well as by his compositions. Particularly charming are his works for the clavecin. Princess Amelia of Prussia was one of his pupils."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Bach is a Colossus, dominating the musical world; one can hope to follow him in his domain only at a distance, for he has exhausted all resources, and is inimitable in what he has done. I have always considered that if one is to succeed in composing something worthy of being heard and approved, one's attention must be turned in another direction."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The five fingers so curved that their tips fell perpendicularly upon the keys, over which they formed a parallel line, ever ready to obey. The finger was not raised vertically upon leaving the key, but was drawn back, almost gliding toward the palm of the hand; in the passage from one key to another this sliding motion seemed to impart to the succeeding finger exactly the same degree of pressure, thereby ensuring perfect equality; a touch neither 'heavy,' nor yet dry (_sec_)."
},
{
"from": "gpt",
"value": "The other parts of his body took no part in the performance, contrary to the habit of many people whose hands are incapable of sufficient agility."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "as he laughingly expressed it. Then he proceeded to a detailed inspection of every part of the organ. This expert examination once over, he gave free rein to his fancy. And now he showed himself truly"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The Prophet."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "; if you unconsciously permit yourself to"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "upon the organ are over; of thunder and tremulants, of choruses of goats called the _vox humana_, and all such childish trifles."
},
{
"from": "gpt",
"value": "At the opening of the organ in X, Mr. Z. contributed to the programme a tempest, which he really should have prefaced by a few flashes of genius!..."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Passion according to Saint Matthew...."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Johann Sebastian Bach, the Organist"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "This man is truly a master of notes; they must subject themselves to his will, while other composers are compelled to obey them. And again,"
},
{
"from": "gpt",
"value": "His works express perfect contentment, like the song of finches."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Ecclesiastical songs without words,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "It is musical!"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "("
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "written at the beginning of his variations upon the popular melody of the"
},
{
"from": "gpt",
"value": "Bergamasca ;[21] and, again, at the end of the ninth Toccata in the second book:"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "he says in the preface to the second volume of toccatas, etc.[26] (1637)."
},
{
"from": "gpt",
"value": "It should be played slowly at the beginning, and in an arpeggiated manner, the tempo then being gradually accelerated. The end of a trill or phrase should be marked by the prolongation of the last note, that one phrase may be separated from the other. Cadences, even though written in short notes, should be retarded more and more toward the end.... If it be necessary to play a trill in one hand against a phrase in the other, the trill should be performed not note against note with the passage in the other hand, but independently; the phrase being played with repose and expression. Passages in eighth- or sixteenth-notes written for both hands must not be taken at a too rapid tempo; of two sixteenth-notes the second should always be slightly dwelt upon. In quick passages for two hands, hold back a little upon the next to the last beat; then finish brilliantly, displaying the agility of the hand. For the Partitas, which are characterized by expressive subjects, it will be well to adopt a broad tempo, as well as for the Toccatas; such of the latter as are not too exacting in their demands upon technique maybe taken faster; here the choice of tempi is left to the ready discernment and good taste of the performer...."
},
{
"from": "human",
"value": "Frescobaldi marks one of the turning-points in the evolution of Music, and is himself the personification of the successful and unsuccessful endeavors, of the victories and defeats, of these periods of transition. His works, upon which is imprinted the stamp of genius, appear as classics in comparison with the inefficient products of that reign of Monody.... That with one hand they point backward to a great Art-epoch just terminated, while with the other they point forward to the hopeful future of a new Musical Art, lends to them an individual and wondrous charm."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "J.J. Froberger requests that he be sent to Rome, to Frescobaldi, as he was promised. The sum of 200 florins is granted him. After four years of study he resumed his service at court, April 1, 1641. In 1645 he obtained leave of absence. Where did he pass this time? Perhaps he remained in Vienna, where his ability as a clavecinist was highly appreciated; at any rate he was there in 1649. William Swann, _chevalier lettré et grand amateur de musique_, wrote from Vienna, September 15, 1649, to Constantin Huygens,[30] a councillor to the Prince of Orange, that he was sending him"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Vienna, li 29 Settembre 1649."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Chevalier, a true"
},
{
"from": "gpt",
"value": "Patron of noble music."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Bach, of Leipzig, now deceased, always admired the compositions of J.J. Froberger, although they are somewhat antiquated."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Our Father, who art in heaven."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "German in speaking of certain popular _Lieder_. From the French he borrowed the ornaments, more artificial than spontaneous, and that splendor, often majestic, which recalls, in this case as well, the"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Signification of Tonalities,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Fantasie"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "[66] one can hardly deny that music expresses"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "It is not necessary, says Mattheson,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Wilhelmsburg, everyone had to retire at nine o'clock in summer and eight in winter. He evinced a marked taste for theological studies and discussions; in 1710 he brought together in a synod one hundred pastors, and he built or repaired a number of churches and seminaries. He was also interested in numismatics. This austerity was in some degree tempered by concerts, whose programs were performed (J.O. Köhler tells us, _Historische Münzbelustigung_, Nuremberg, 1730) by sixteen picked musicians, dressed in Hungarian costume (Bach _en tzigane_!). Further, the duke built a theatre in 1696; the patronage accorded to the troupe of Gabriel Möller,"
},
{
"from": "gpt",
"value": "Hofcomödiant"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "I call myself _arcangelo_, said he to the latter,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "So it must have been written before 1715, the date of the Duke's death. Bach was not the only one to make these transcriptions; Mattheson tells us (_Das beschützte Orchester_):"
},
{
"from": "gpt",
"value": "Compositions of this order (_concerti grossi_, _sinfonie in specie_, overtures) may also be played upon a polyphonic instrument, for instance upon the organ or harpsichord; a few years ago the celebrated S. de Graue, the blind organist of the new Dunes Church in Amsterdam, played from memory and with remarkable clearness in my presence, upon the excellent organ in his church, the latest Italian sonatas and concertos in three and four parts."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "One might have believed, says Adlung (_Anleitung an der Musikgelahrtheit_),"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "and in the"
},
{
"from": "gpt",
"value": "; composed in prison, according to an addition in a strange hand in the manuscript. S. Scheidt, a pupil of Sweelinck, avails himself of them in various instances (_Fantaisie super"
},
{
"from": "human",
"value": "Io son ferito casso_,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Capriccio upon the departure of his most beloved brother"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "(London, 1706) gives us still further examples of this character. Among others,"
},
{
"from": "gpt",
"value": "O let me weep"
},
{
"from": "human",
"value": "Here the Deities approve"
},
{
"from": "gpt",
"value": "A General History of Music,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "You may state that the theme of the Passacaglia was the composition of the French organist André Raison. To which M. Widor adds:"
},
{
"from": "gpt",
"value": "André Raison, organist of St.-Étienne du Mont in Paris at the time of Louis XIV, left a volume of organ works, now very rare, which I have presented to the library of the Conservatoire. Raison's collection is interesting, in that it gives indications of the registration of his time; the chorale is usually found in the pedal, treated as the tenor, the real bass being played by the left hand. The melody of the chorale is performed upon a reed stop in the pedal, while upon the manuals only mixtures are drawn."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The subject of this fugue was produced by a facile pen, and, in 1725, presented to a candidate for the position of organist."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "If we consider all intercourse of the soul with the beautiful as a deliverance, as a release from all trouble, it is in music that we must seek the completeness of that liberation."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "these two sets of variations upon"
},
{
"from": "gpt",
"value": "and"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "and Becker,"
},
{
"from": "gpt",
"value": "). The prelude to the chorale"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Maria,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Why should the Devil have all the best tunes?"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Fantasia"
},
{
"from": "gpt",
"value": "(several versions),"
},
{
"from": "human",
"value": "and"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Adorn thyself, O dear soul. And now, suddenly, upon a distant manual, the calm and less severe chorale is heard. Do those voices mount towards God, or do they call from heaven? Is it a prayer which rises, or the dew of a grace which softly falls like the rain? And the suave ornaments of a simple melody thus live like lilies, and breathe no sadness. For virtue is beautiful and joyous...."
},
{
"from": "gpt",
"value": "Schmücke dich, o liebe Seele!"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Thou didst play, Felix Meritis (Mendelssohn), a prelude upon one of those figured chorales: '_Schmücke dich, o liebe Seele_,' was the text; the melody seemed interlaced with garlands of gold, and the work breathed forth such happiness that you inspired in me this avowal: 'Were life deprived of all trust, of all faith, this simple chorale would restore all to me.' I fell into a revery; then, almost unconsciously, I found myself in the cemetery, and I felt poignant grief at not being able to cover with flowers the grave of the great Bach."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Society for Musical Sciences"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Hymns of the Catechism"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "A mighty fortress is our God,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "And were the world of devils full, as Luther's song runs;"
},
{
"from": "gpt",
"value": "says Hanslick,"
},
{
"from": "human",
"value": "Bach obeys a fine symbolic instinct in entrusting the calm and steadfast melody of the chorale to one voice, while the other, in elaborate design, creeps about it; but not everything of symbolic significance must, for that reason, be beautiful in itself."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "To replace the unfinished portion of the last fugue, the work has for a supplement a four-part chorale, _Wenn wir in höchsten Nöthen sein_, which Bach dedicated some days before his death to his son-in-law, Altnikol. I will not dwell on the art which he displays here, for the profound science of music had been so mastered by the author that he could exercise it even in illness; but the expression of pious resignation and devotion with which it overflows has touched me deeply every time I have played it; and I cannot say which I would rather do without, this chorale, or the ending of the fugue."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Swan-song."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Dictionary of Music and Musicians."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The _volles Werk_, says Mattheson,[150]"
},
{
"from": "gpt",
"value": "The French have given to the _Nachsatz_ (thus named on account of its high pitch, in contrast to the _Untersatz_ of thirty-two feet) of the Netherlanders, the designation _Nasard_ or _Nasarde_, 'a vulgar expression, of which use is made in comedy or burlesque,' says Boyer's dictionary."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "A reed-stop may not be drawn with the flutes upon the same keyboard, unless it be in the pedal."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The _plein-jeu_ is composed of the Prestant, the Bourdon, the Doublette, the Cymbale, and the Fourniture; to those may be added the other sixteen- and eight-foot stops, if any there be; if there be no Prestant, the Flute may be drawn."
},
{
"from": "gpt",
"value": "There are many who, in playing the chorale or music in general, know only the noise of the _plein-jeu_. One may be content to continually wear the same clothes, but an organist who produces the same sounds every day will render himself insupportable by his monotony. In the chorale, in the last verse, one may play a little louder, to remind the minister to prepare for the resumption of his duties; especially in towns where it is no longer customary (as is still the honored usage in some villages) to rap with a _bâton_ for this purpose, as though one by force would arouse him from slumber."
},
{
"from": "human",
"value": "Kyrie in the first mode for the _plein-jeu_ accompanied on the pedal by a _Trompette en taille_."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Reed-stops are often Fool-stops; but if they be clear and bright, they are refreshing to heart and soul."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "One plays much stronger at Easter, says Adlung,[159]"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Für 3 clav. ; for the left hand he directs"
},
{
"from": "gpt",
"value": "; for the right,"
},
{
"from": "human",
"value": "First of all must we notice this combination of a mutation stop with a reed; it is derived directly from the French organists. In Grigny,[162] for instance--we cite him especially because of Bach's study of his works--may be found in various instances a Bass Trumpet, or _Cromorne en taille_, accompanied by the _Tierce_ or Cornet.[163] To a certain extent the _Fagotto_ corresponds to the _Cromorne_, whose tone appeared somewhat veiled. This register, which Adlung tells us bore various names--_Portunen_, _Dulcian_, or _Basson_, among others--was sometimes added to the lower half of the great organ only, and was"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "It is a widely prevailing impression, and one confirmed by the new instrumentation which Mozart and Mosel made for the Händel oratorios, that by their use of the organ these two masters (Bach and Händel) supplied those features of our instrumentation which were then lacking. Such an opinion is correct, if nothing more is meant than that in concert rooms where no organ is available, it must be replaced by other instruments.[170] It must not be inferred that this new instrumentation maintains reciprocal relations with the original accompaniment. In the former it is the string-quartet which serves as the foundation of the harmony, and it is only the wind-instruments which affect the color. With Händel (and Bach) the organ, which fills out the figured bass, serves as a background for all the other instruments; the color is added by all the other voices of the orchestra, whether strings or wind."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "When the tempo is so rapid, says he,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "When the organ is _obbligato_ it does not present itself in a polyphonic capacity, for then it would cover up all the other instruments; but it should be treated as a solo part, like a flute or an oboe."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The heavens declare the glory of God"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Bach"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "In trying an unfamiliar organ, his first step was to draw all the registers and to play upon the great manual with all couplers. He was in the habit of saying, jestingly, that he wished at the outset to know if the instrument possessed good lungs."
},
{
"from": "gpt",
"value": "It was often the case, writes Kirnberger,[189]"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": ";[192] however, an excessive rigor in this respect should not be affected; Bach did not exact such precision, and did not attach to these figures such great importance that he did not feel at liberty to substitute for them, in copies of these same pieces made by himself, other and practically equivalent ones. Certain of them are, moreover, quite rare; for example, the _accent_. We find it employed, at least in the organ compositions, only in an arrangement of the chorale _Allein Gott in der Höh' sei Ehr'_ (_Gloria in excelsis_). No piece could be more elaborated than this one; and in it are introduced a majority of the signs employed by Bach; we borrow from Mr. E. Dannreuther's interesting work,"
},
{
"from": "gpt",
"value": "Musical Ornamentation,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "The first note of this figure must not be made too short, if the tempo be slow or moderate; for the second would then be held too long. It should be gently dwelt upon, not suddenly hammered."
},
{
"from": "gpt",
"value": "Play _flautato_,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "and organists to the greater number of the central German cities. At Erfurt, for instance, the direction of the"
},
{
"from": "gpt",
"value": "was in their hands from 1625 until 1735, and even after their disappearance the town musicians were still referred to as"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "(short masses), the Mass in _B_ minor, composed between 1730 and 1737, testify to his prodigious activity in this style of music. Further, he did not rest without writing numerous secular works, in particular the concertos for several clavecins; he published some technical studies which he engraved himself; and he completed the second part of the Well-tempered Clavichord. If we add to the time devoted to the composition of these works that given to the duties of his position--to lessons, rehearsals, etc.--and to numerous pupils, we shall realize why this last period is less productive of biographical incidents of note. We may finally mention the famous journey to Berlin in 1740, the last triumph of"
},
{
"from": "gpt",
"value": "Old Bach."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Abend-Motette (the program on this occasion having been devoted entirely to works of Bach), the solo-quartet of the church sang in the crypt the chorale from the St. Matthew Passion _Wenn ich einmal soll scheiden_, in the presence of a few other reverent"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "English. Six lesser Suites, known as the"
},
{
"from": "gpt",
"value": "French."
},
{
"from": "human",
"value": "Christiane Eberhardine,"
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": ""
},
{
"from": "gpt",
"value": "Six"
},
{
"from": "human",
"value": ""
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Kommt, eilet und laufet."
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "). Appendix A. Two older readings from Collection I. B. Fifteen"
},
{
"from": "gpt",
"value": ""
}
]
|
59085 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Was mir behagt, ist nur die muntre Jagd. Cantata."
},
{
"from": "gpt",
"value": "Non sa che sia dolore. Marriage Cantata."
},
{
"from": "human",
"value": "O holder Tag, erwünschte Zeit. Cantata."
},
{
"from": "gpt",
"value": "Höchsterwünschtes Freudenfest. Coffee Cantata."
},
{
"from": "human",
"value": "Schweigt stille, plaudert nicht. Cantata."
},
{
"from": "gpt",
"value": "Mer hahn en neue Oberkeet. Appendix I. Gratulations-Kantate (Thanksgiving Cantata)."
},
{
"from": "human",
"value": "Mit Gnaden bekröne der Himmel die Zeiten. II. Cantata."
},
{
"from": "gpt",
"value": "O angenehme Melodei."
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "When found, make a note of."
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Doctor:"
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "To talk like a Dutch Uncle --Ecclesiastical Antiquities of Belgium-- Charter of Waterford--Inscription on Penny of George III.--"
},
{
"from": "gpt",
"value": "Shob or"
},
{
"from": "human",
"value": "Shub, a Kentish Word--Bishop Pursglove (Suffragan) of Hull--Stewarts of Holland--Robert Wauchope, Archbishop of Armagh, 1543--Plum-pudding--"
},
{
"from": "gpt",
"value": "Whene'er I asked --Immoral Works--Arms at Bristol--Passage in Thomson--"
},
{
"from": "human",
"value": "For God will be your King to-day --"
},
{
"from": "gpt",
"value": "See where the startled wild fowl"
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Ne'er to these chambers, &c.--The Budget--"
},
{
"from": "gpt",
"value": "Catching a Tartar --The Termination"
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Stript to the naked soul, escaped from clay, From doubts unfetter'd, and dissolved in day; Unwarm'd by vanity, unreach'd by strife, And all my hopes and fears thrown off with life; Why am I charm'd by Friendship's fond essays, And tho' unbodied, conscious of thy praise? {58} Has pride a portion in the parted soul? Does passion still the formless mind control? Can gratitude outpant the silent breath, Or a friend's sorrow pierce the glooms of death? No, 'tis a spirit's nobler taste of bliss, That feels the worth it left, in proofs like this; That not its own applause but thine approves, Whose practice praises, and whose virtue loves; Who liv'st to crown departed friends with fame; Then dying, late, shalt all thou gav'st reclaim. MR. POPE."
},
{
"from": "gpt",
"value": "DOCTOR;"
}
]
|
42783 | Unknown Title | Unknown Author | [
{
"from": "human",
"value": "Who is there that has not sometimes had occasion to consult the almanac? Maximilian I., by neglecting to do this, failed in an enterprise against Bruges. It had been concerted with his adherents in that turbulent city, that he should appear before it at a certain time, and they would be ready to rise in his behalf, and open the gates for him. He forgot that it was leap-year, and came a day too soon; and this error on his part cost many of the most zealous of his friends their lives. It is remarkable that neither the historian who relates this, nor the writers who have followed him, should have looked into the almanac to guard against any inaccuracy in the relation; _for they have fixed the appointed day on the eve of St. Matthias, which being the 23rd of February, could not be put out of its course by leap-year_."
}
]
|
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