DOCSLIB.ORG

The Symphonies of Louise Farrenc (1804-1875): a Comparative Examination

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Symphonies of Louise Farrenc (1804-1875): a Comparative Examination The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination By J. Cameron Stephenson July, 2021 Director of Thesis: Dr. Kevin N. Moll Major Department: Theory/Composition/Musicology Abstract This study examines the three symphonies of Louise Farrenc. The entirety of Symphony No. 2 in D major, op. 35 is discussed, with the finale movements of symphonies 1 and 3 being provided to compare form, tonality, and orchestration. Each analysis is supplemented by formal charts and an appendix of relevant musical examples. The first section supplies biographical information on Louise Farrenc, followed by a list of her compositions. The second section discusses scholarship available on Farrenc, including contemporaneous primary sources and recent dissertations, books, and articles. The third section presents an overview of the three symphonies and the historical context surrounding each. The fourth section provides analyses for the first three movements of Symphony No. 2, which is followed by analyses of each symphony’s finale movements in section five. This thesis aims to account for current scholarship available of Louise Farrenc and her music, assimilate relevant primary and secondary sources, and present a comprehensive study on her symphonies through analysis of representative movements. The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination A Thesis Presented to the Faculty of the Department of Music Theory, Composition, and Musicology East Carolina University In Partial Fulfillment of the Requirements of the Degree Master of Music With concentrations in Music Theory and Music History and Literature J. Cameron Stephenson July, 2021 i © 2021 by J. Cameron Stephenson All Rights Reserved ii The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination By J. Cameron Stephenson iii Acknowledgements I am indebted to the assistance of my mentors at East Carolina University, all of whom have helped to shape the direction of this study. Dr. Kevin N. Moll has devoted many hours to guide me through every stage of this thesis, to which I am extremely grateful. His expertise, patience, and guidance have been invaluable to me throughout the years I have spent as his student. I would also like to thank Dr. Mark Richardson and Dr. Amy Carr-Richardson for their insight and encouragement. Finally, I wish to thank my family, friends, and colleagues for their continued support. iv Table of Contents Introduction .................................................................................................................................................................... 1 I. Biographical Sketch ............................................................................................................................................. 3 A. Daughter, Student, Wife, Mother ....................................................................................................................... 3 B. Composer and Professor ................................................................................................................................... 6 C. Widow, Collaborator, and Scholar ................................................................................................................ 10 D. List of Compositions ...................................................................................................................................... 12 II. Summary of Primary and Secondary Scholarship ............................................................................................ 15 A. Secondary sources ........................................................................................................................................... 15 B. Primary Sources ............................................................................................................................................... 20 III. Overview of the Works in their Entirety ............................................................................................................... 22 A. Context of Programming and Reception of the Symphony in Paris from 1820-1850 ................................... 22 B. Compositional and Performance History .................................................................................................. 25 C. Symphony No. 1 ............................................................................................................................................ 28 D. Symphony No. 2 ............................................................................................................................................ 30 E. Symphony No. 3 ............................................................................................................................................ 32 IV. Examination of Symphony No. 2 .......................................................................................................................... 35 A. Movement 1 ................................................................................................................................................... 35 B. Movement 2 ................................................................................................................................................... 40 C. Movement 3 ................................................................................................................................................... 44 V. Comparative Examination of Finales .................................................................................................................... 49 A. Symphony No. 2 ............................................................................................................................................ 50 B. Symphony No. 1 ............................................................................................................................................ 62 C. Symphony No. 3 ............................................................................................................................................ 68 D. Comparisons ........................................................................................................................... 72 VI. Concluding Remarks ...................................................................................................................... 76 Works Cited ....................................................................................................................................... 80 Appendix: Musical Examples ................................................................................................................ 83 v Louise Farrenc (Portrait by Luigi Rubio - 1835) Introduction Louise Farrenc (1804-1875) was an eminent figure in the Parisian musical society of the 19th century. Throughout her career, she served as a scholar of early keyboard music, professor of piano at the prestigious Paris Conservatoire, and a composer whose chamber, orchestral, vocal, and solo piano works were heard throughout the concert halls of Paris. Despite the success of her chamber music and the favorable critical reception of some of the era’s most prominent critics, Farrenc’s orchestral works, particularly her three symphonies, failed to receive substantial or long-lasting recognition from Parisian audiences. These symphonies, while conservative in nature, display a level of craft that one would expect to find in a mature composer well versed in the studies of orchestration, counterpoint, and form. In line with the heightened interest in women composers that has over the last few decades, Farrenc’s music has been the subject of recent scholarship. In addition, there are now 1 The Symphonies of Louise Farrenc recordings of all of her completed orchestral and chamber works, as well as a large portion of her music for solo piano.1 While her symphonies or overtures have only just begun to be performed by major orchestras, they have been programmed by various ensembles in both Europe and North America in recent years, including the Aurora Orchestra and the Philadelphia Orchestra. The aim of this study is to provide a close inspection of selected movements from the symphonies of Louise Farrenc. This will be achieved in four parts. The first will be a biographical sketch, including a catalogue of works by the composer to orient the reader to the circumstances and musical world in which Farrenc found herself during the conception and execution of the symphonies. Second will be an account of the scholarship presently available on Louise Farrenc, comprising mainly secondary source material. Next will be a generalized examination of the three symphonies and their adherence to the classical sonata process, which will include discussion of the compositional and performance history of the symphonies. The final section will provide a detailed account of representative movements of each symphony (including the entirety of the second symphony in D major, Op. 35). This analysis is not intended to present a fine-scale examination of each individual movement; rather, a comparative approach will be taken to view each movement and symphony in relation to each other. It is important to note that a comparative first-movement analysis of the three symphonies has already been undertaken by notable Farrenc scholar Christin Heitmann, and thus such an approach could prove superfluous. Therefore, the lens of focus will be shifted towards the finale movements of each symphony. While this thesis is indebted to the efforts
Load more

Recommended publications
  • Public Events May 2019
    Public Events May 2019 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Youth Summer Camps ........................................................................................... 5 Neighborhood and Community Relations 1800 Sherman, Suite 7-100 Northwestern Events Evanston, IL 60208 Arts www.northwestern.edu/communityrelations Music Performances ..................................................................................... 15 Theater ......................................................................................................... 24 Art Exhibits .................................................................................................. 26 Dave Davis Art Discussions ............................................................................................. 27 Executive Director Film Screenings ............................................................................................ 27 [email protected] 847-491-8434 Living Leisure and Social ......................................................................................... 31 Norris Mini Courses Around Campus To receive this publication electronically ARTica (art studio) every month, please email Shayla Butler at Norris Outdoors [email protected] Northwestern Music Academy Religious Services .......................................................................................
    [Show full text]
  • The String Quartets of George Onslow First Edition
    The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22
    [Show full text]
  • Tchaikovsky's Romeo and Juliet
    Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986).
    [Show full text]
  • 1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
    1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op.
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Premières Principali All 'Opéra-Comique
    Premières principali all ’Opéra-Comique Data Compositore Titolo 30 luglio 1753 Antoine Dauvergne Les troqueurs 26 luglio 1757 Egidio Romualdo Duni Le peintre amoureux de son modèle 9 marzo 1759 François-André Danican Philidor Blaise le savetier 22 agosto 1761 François-André Danican Philidor Le maréchal ferrant 14 settembre 1761 Pierre-Alexandre Monsigny On ne s ’avise jamais de tout 22 novembre 1762 Pierre-Alexandre Monsigny Le roy et le fermier 27 febbraio 1765 François-André Danican Philidor Tom Jones 20 agosto 1768 André Grétry Le Huron 5 gennaio 1769 André Grétry Lucile 6 marzo 1769 Pierre-Alexandre Monsigny Le déserteur 20 settembre 1769 André Grétry Le tableau parlant 16 dicembre 1771 André Grétry Zémire et Azor 12 giugno 1776 André Grétry Les mariages samnites 3 gennaio 1780 André Grétry Aucassin et Nicolette 21 ottobre 1784 André Grétry Richard Coeur-de-lion 4 agosto 1785 Nicolas Dalayrac L ’amant statue 15 maggio 1786 Nicolas Dalayrac Nina, ou La folle par amour 14 gennaio 1789 Nicolas Dalayrac Les deux petits savoyards 4 settembre 1790 Étienne Méhul Euphrosine 15 gennaio 1791 Rodolphe Kreutzer Paolo e Virginia 9 aprile 1791 André Grétry Guglielmo Tell 3 maggio 1792 Étienne Méhul Stratonice 6 maggio 1794 Étienne Méhul Mélidore et Phrosine 11 ottobre 1799 Étienne Méhul Ariodant 23 ottobre 1800 Nicolas Dalayrac Maison à vendre 16 settembre 1801 François-Adrien Boieldieu Le calife de Bagdad 17 maggio 1806 Étienne Méhul Uthal 17 febbraio 1807 Étienne Méhul Joseph 9 maggio 1807 Nicolas Isouard Les rendez-vous bourgeois 22 febbraio
    [Show full text]
  • Introduction
    INTRODUCTION The present volume contains Carl Philipp Emanuel revision of the body of work that had accrued up to that Bach’s first two published sets of keyboard sonatas: the time.2 For the publication of his two keyboard cycles, Bach six “Prussian” (Wq 48) and six “Württemberg” (Wq 49) chose engravers and printers from Nuremberg: Balthasar Sonatas. The exact date of publication for each collection Schmid for Wq 48, and Johann Wilhelm Windter/Johann is not entirely clear. NV 1790 gives 1743 for the first set Ulrich Haffner for Wq 49. The connection with Nurem- and 1745 for the second, while the Autobiography gives 1742 berg, for which Bach’s father likely served as the catalyst, and 1744, respectively. Advertisements in the Nuremberg lasted well into the 1760s.3 newspaper Friedens- und Kriegs-Currier might have pro- The source situation of the “Prussian” and “Württem- vided some clarification, but no mention has been found berg” Sonatas may be described as quite favorable: both of the Wq 48 print in any of the 1742 issues, and no issues exist in authorized prints. After their publication Bach from 1743 or 1744 appear to be extant. An advertisement most likely destroyed or gave away the original autographs, for the Wq 49 set does show up in 1745, but this is proba- as he would do with later prints. Some autograph sketch bly not for the first printing. A composition date for each material exists for Wq 49/3 (see appendix), and some em- of the twelve sonatas is given in NV 1790; for Wq 48 the bellishments and varied reprises exist for Wq 49/6 (see dates range from 1740 to 1742, and for Wq 49 from 1742 source A), but no other source has survived that can be to 1744.
    [Show full text]
  • Louise Farrenc (1804-1875)
    Universität für Musik und darstellende Kunst Graz Institut 15: Alte Musik und Aufführungspraxis „Eine Künstlerin, hochverdient und mit einer ganz männlichen musikalischen Gestaltungsgabe …“ Louise Farrenc (1804-1875) Pianistin, Komponistin, Pädagogin, Editorin Wissenschaftliche Bachelorarbeit vorgelegt von Irina Vaterl Betreut durch Ao.Univ.Prof. Mag.phil. Dr.phil Ingeborg Harer September 2013 Inhaltsverzeichnis Vorwort ............................................................................................................. 4 Einleitung und Forschungsstand ................................................................... 6 TEIL 1. Louise Farrenc. Biografie .................................................................. 9 Paris um 1800 ....................................................................................... 10 Familie Dumont- eine Künstlerfamilie über Generationen .................... 11 Kindheit in der Künstlersiedlung ........................................................... 16 Die musikalische Ausbildung ................................................................ 18 Ehe mit Aristide Farrenc ....................................................................... 20 Victorine Farrenc .................................................................................. 23 Die letzten Lebensjahre ........................................................................ 25 TEIL 2. Louise Farrenc. Pianistin, Komponistin, Pädagogin, Editorin ..... 28 Die Pianistin Louise Farrenc ................................................................
    [Show full text]
  • Symphony and Symphonic Thinking in Polish Music After 1956 Beata
    Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century.
    [Show full text]
  • History of Music
    HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process
    [Show full text]
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
    [Show full text]
  • Late Romantic Period 1850-1910 • Characteristics of Romantic Period
    Late Romantic Period 1850-1910 • Characteristics of Romantic Period o Emotion design over intellectual design o Individual over society o Music increased in length and changed emotion often in the same piece • Hector Berlioz (1803-1869) o French composer o Known for writing for large orchestras, sometimes over 1000 musicians o An Episode in the Life of an Artist (Symphonie Fantastique) • Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. • Richard Wagner (1813-1883) o German composer and theatre director o Known for opera – big dramatic works • Built his own opera house in order to be able to accommodate his works • Subjects drawn from Norse mythology o Lohengrin – Bridal Chorus o Die Walkure • Franz Liszt (1811-1886) o Hungarian composer and virtuoso pianist o Used gypsy music as basis for compositions o Created modern piano playing technique o Invented the form of Symphonic Poem or Tone Poem Music based on art, literature, or other “nonmusical” idea One movement with several ‘ideas’ that move freely throughout the piece o Hungarian Rhapsody No.
    [Show full text]