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schubert

schubert

schubert Sentence Examples

  • Smith (cited below) see Schubert, "Die Porusschlacht," in Rhein.

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  • Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.

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  • of Schubert's edition of the collected works of Kant (Leipzig, 1839).

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  • von Schubert, Tubingen, 1902), i.

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  • Schubert, Peurbach and Regiomontan (Erlangen, 1828); A.

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  • Schubert's fine relief of the entombment of Christ are worthy of notice.

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  • The following scheme of classification is based on Beecher's and Schubert's.

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  • Recently Schubert has sought to derive the elements which are found in the Petrine Gospel, but not in the canonical gospels, from the original Ada Pilati, while Zahn exactly reverses the relation of these two works.

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  • In 1885 a long fragment was discovered at Akhmim, and published by Bouriant in 1892, and subsequently by Lods, Robinson, Harnack, Zahn, Schubert, Swete.

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  • 23; Schubert, Geschichte des Agathokles (1887); Grote, History of Greece, ch.

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  • - Schubert, De Romanorum Aedilibus (1828); Hoffmann, De Aedilibus Romanis (1842); G011, De Aedilibus sub Caesarum Imperio (1860); Labatut, Les Ediles et les mccurs 0868); MarquardtMommsen, Handbuch der romischen Altertiimer, ii.

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  • in the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.

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  • Schubert, he published an edition of the works of Kant, to which he appended a history of the Kantian doctrine.

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  • See Faber, Die Hauptand Residenzstadt Konigsberg in Preussen (Konigsberg, 1840); Schubert, Zur 600 jahrigen JubelfeierKonigsbergs (Konigsberg, 1855); Beckherrn, Geschichte der Befestigungen Konigsbergs (Konigsberg, 1890); H.

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  • Among the theatres are the Davidson, Majestic, Schubert, Bijou, Alhambra and the Pabst German.

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  • Prominent scholars were summoned to it, mostly belonging to the Romantic School, such as Goerres, Schubert and Schelling, though others were not discouraged.

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  • It is evident from them that a dramatic treatment of the Agnus Dei was "in the air"; all the more so, since Schubert does not imitate Beethoven's realism.

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  • Among the works produced for the first time or rehearsed with a view to the furtherance of musical art were Wagner's Tannhduser, Der fliegende Hollander, Das Liebesmahl der Apostel, and Eine Faust Overture, Berlioz's Benvenuto Cellini, the Symphonie Fantastique, Harold en Italie, Romeo et Juliette, La Damnation de Faust, and L'Enfance du Christ - the last two conducted by the composer - Schumann's Genoveva, Paradise and the the music to Manfred and to Faust, Weber's Euryanthe, Schubert's Alfonso and Estrella, Raff's Kanig Alfred, Cornelius's Der Barbier von Baghdad and many more.

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  • They are now included, together with articles on Schumann and Schubert, and the elaborate and rather highflown essays on Chopin and Des Bohemiens et de leur musique en Hongrie (the latter certainly, and the former probably, written in collaboration with Madame de Wittgenstein), in his Gesammelte Schriften (6 vols., Leipzig).

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  • Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz.

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  • Der Tanz in der Dorfschenke; Marches, Rakoczy, Goethe, Huldigung, " Vom Fels zum Meer " (for a military band); Ungarischer, Heroischer and Sturmmarsch; Le Triomphe funebre du Tasse; " Von der Wiege bis zum Grab "; six Hungarian rhapsodies; four marches; four songs, and Die Allmacht, by Schubert.

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  • - Beethoven's Sonatas; Weber's Concertstack and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus, Valses and Moments musicaux.

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  • More weight was naturally attached to the opinion he had advocated in his early criticism of Kant as to the importance, if not the superiority, of the first edition of the Kritik; in the collected issue of Kant's works by Rosenkranz and Schubert in 1838 that edition was put as the substantive text, with supplementary exhibition of the differences of the second.

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  • von Schubert, Outlines of Church History, ch.

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  • Schubert, Geschichte der Keinige von Lydien (1884); G.

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  • Schubert (Leipzig, 1838-1840, 12 vols., the 12th containing a history of the Kantian school); (3) G.

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  • Smith (cited below) see Schubert, "Die Porusschlacht," in Rhein.

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  • On this differentiation of styles rests the whole aesthetics of chamber-music; but the subject is very subtle, and there is much, as for example in Schubert's quartets and his C major quintet, that is inspired by orchestral ideas without in the least vitiating the chamber-music style; though, judged by its appearance on paper, it seems as unorthodox as the notoriously orchestral beginnings of Mendelssohn's quartet in D and quintet in B.

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  • Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.

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  • of Schubert's edition of the collected works of Kant (Leipzig, 1839).

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  • von Schubert, Tubingen, 1902), i.

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  • Schubert, Peurbach and Regiomontan (Erlangen, 1828); A.

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  • Schubert's fine relief of the entombment of Christ are worthy of notice.

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  • The following scheme of classification is based on Beecher's and Schubert's.

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  • Recently Schubert has sought to derive the elements which are found in the Petrine Gospel, but not in the canonical gospels, from the original Ada Pilati, while Zahn exactly reverses the relation of these two works.

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  • In 1885 a long fragment was discovered at Akhmim, and published by Bouriant in 1892, and subsequently by Lods, Robinson, Harnack, Zahn, Schubert, Swete.

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  • Schubert), A 4 (E.

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  • 23; Schubert, Geschichte des Agathokles (1887); Grote, History of Greece, ch.

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  • - Schubert, De Romanorum Aedilibus (1828); Hoffmann, De Aedilibus Romanis (1842); G011, De Aedilibus sub Caesarum Imperio (1860); Labatut, Les Ediles et les mccurs 0868); MarquardtMommsen, Handbuch der romischen Altertiimer, ii.

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  • in the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.

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  • Schubert, he published an edition of the works of Kant, to which he appended a history of the Kantian doctrine.

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  • See Faber, Die Hauptand Residenzstadt Konigsberg in Preussen (Konigsberg, 1840); Schubert, Zur 600 jahrigen JubelfeierKonigsbergs (Konigsberg, 1855); Beckherrn, Geschichte der Befestigungen Konigsbergs (Konigsberg, 1890); H.

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  • Among the theatres are the Davidson, Majestic, Schubert, Bijou, Alhambra and the Pabst German.

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  • Paracelsus (London, 1887); Schubert and Sudhoff, Paracelsus-Forschungen (Frankfurt a.M., 1887-1889); Sudhoff, Versuch einer Kritik der Echtheit der Paracelsischen Schriften (Berlin, 1894); Waite, The Hermetic and Alchemical Writings of Paracelsus (London, 1894).

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  • Prominent scholars were summoned to it, mostly belonging to the Romantic School, such as Goerres, Schubert and Schelling, though others were not discouraged.

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  • Schubert's Masses show rather the influence of Beethoven's not very impressive first Mass, which they easily surpass in interest, though they rather pathetically show an ignorance cf the meaning of the Latin words.

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  • It is evident from them that a dramatic treatment of the Agnus Dei was "in the air"; all the more so, since Schubert does not imitate Beethoven's realism.

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  • Among the works produced for the first time or rehearsed with a view to the furtherance of musical art were Wagner's Tannhduser, Der fliegende Hollander, Das Liebesmahl der Apostel, and Eine Faust Overture, Berlioz's Benvenuto Cellini, the Symphonie Fantastique, Harold en Italie, Romeo et Juliette, La Damnation de Faust, and L'Enfance du Christ - the last two conducted by the composer - Schumann's Genoveva, Paradise and the the music to Manfred and to Faust, Weber's Euryanthe, Schubert's Alfonso and Estrella, Raff's Kanig Alfred, Cornelius's Der Barbier von Baghdad and many more.

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  • They are now included, together with articles on Schumann and Schubert, and the elaborate and rather highflown essays on Chopin and Des Bohemiens et de leur musique en Hongrie (the latter certainly, and the former probably, written in collaboration with Madame de Wittgenstein), in his Gesammelte Schriften (6 vols., Leipzig).

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  • Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz.

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  • in A; Todtentanz; Fantasie ueber Motif aus Beethoven's ' ` Ruinen von Athen "; Fantasie ueber Ungarische National Melodien; Schubert's Fantasia in C; Weber's Polacca in E.

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  • Paraphrases, Auber, Tarantella di bravura (Masaniello); Verdi, Rigoletto, Ernani, 11 Trovatore; Mendelssohn, " Hochzeitsmarsch and Elfenreigen "; Gounod, Valse de Faust, Les Adieux de Romeo et Juliette; Tschaikowsky, Polonaise; Dargomiyski, Tarantelle; Cui, Tarantella; Saint-Satins, Danse macabre; Schubert, Soirees de Vienne, Valses caprices, 1-9.

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  • Beethoven's Nine Symphonies; Berlioz's " Symphonie fantastique," " Harold en Italie "; Benediction et Serment (Benvenuto Cellini); Danse des Sylphes (Damnation de Faust); Weber's overtures, Der Freischiitz, Euryanthe, Oberon, Jubilee; Beethoven's and Hummel's Septets; Schubert's Divertissement a la Hongroise; Beethoven's Concertos in C minor, G and E flat (orchestra for a second piano); Wagner's Tannhauser overture, march, romance, chorus of pilgrims; Lohengrin, Festzug and Brautlied, Elsa's Brautgang, Elsa's Traum, Lohengrin's Verweiss an Elsa; Fliegender Hollander, Spinnlied; Rienzi, Gebet; Rheingold, Walhall; Meistersinger, " Am stillen Herd "; Tristan, Isolde's Liebestod; Chopin's six Chants Polonais; Meyerbeer's Schillermarsch; Bach's six organ Preludes and Fugues; Prelude and Fugue in G minor; Beethoven, Adelaide; 6 miscellaneous and 6 Geistliche Lieder; Liederkreis; Rossini's Les Soirees musicales; Schubert, 59 songs; Schumann, 13 songs; Mendelssohn, 8 songs; Robert Franz, 13 songs.

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  • Der Tanz in der Dorfschenke; Marches, Rakoczy, Goethe, Huldigung, " Vom Fels zum Meer " (for a military band); Ungarischer, Heroischer and Sturmmarsch; Le Triomphe funebre du Tasse; " Von der Wiege bis zum Grab "; six Hungarian rhapsodies; four marches; four songs, and Die Allmacht, by Schubert.

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  • - Beethoven's Sonatas; Weber's Concertstack and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus, Valses and Moments musicaux.

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  • More weight was naturally attached to the opinion he had advocated in his early criticism of Kant as to the importance, if not the superiority, of the first edition of the Kritik; in the collected issue of Kant's works by Rosenkranz and Schubert in 1838 that edition was put as the substantive text, with supplementary exhibition of the differences of the second.

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  • von Schubert, Outlines of Church History, ch.

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  • Schubert, Geschichte der Keinige von Lydien (1884); G.

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  • Schubert (Leipzig, 1838-1840, 12 vols., the 12th containing a history of the Kantian school); (3) G.

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  • - Schubert in the iith vol.

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  • Schubert, the colonel of the Pavlograd Hussars, is dining with us today.

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