"Violoncello" Quotes from Famous Books
 ... the numbers of the great Jeremy rolled forth like the notes of an oratorio played on the violoncello. Mary sat gloating in the new sensation of racking physical discomfort that the wooden chair brought her. Perhaps there is no happiness in life so perfect as the martyr's. Jeremy's minor chords soothed her like the music of a tom-tom. "Why, oh why," she said ...
— The Trimmed Lamp and Others • O Henry
... carried out on to the lawn for the occasion, and Miss Lowe, the music mistress, took her seat at it. She was supported by a small school orchestra of three violins and violoncello, and together they struck up some Eastern music. When it was well started there was a flashing of white among the bushes on the farther side of the lawn, and out came tripping a bevy of charming wood nymphs. They were all clad in Greek chitons, very delicately ...
— The Princess of the School • Angela Brazil
... beforehand." Mozart instantly handed him the money, but the count said not a word about the quintet; and the composer soon afterwards had the satisfaction of seeing it published by Artaria, arranged as a quartet, for the pianoforte, violin, tenor, and violoncello. Mozart's quintets for wind instruments, published also as pianoforte quartets, are among the most charming and popular of his instrumental compositions for the chamber; and this anecdote is a specimen of the manner in which he lost the benefit he ought to have derived, even ...
— Blackwood's Edinburgh Magazine, Volume 62, Number 361, November, 1845. • Various
... wrote a surprising amount of music for it, considering its complicated mechanism and the weakness of its tone. In the catalogue of his works there are no fewer than 175 compositions for the instrument—namely, six duets for two barytons, twelve sonatas for baryton and violoncello, twelve divertimenti for two barytons and bass, and 125 divertimenti for baryton, viola and violoncello; seventeen so-called "cassations"; and three concertos for baryton, with accompaniment of two violins and bass. There is no need ...
— Haydn • J. Cuthbert Hadden
... Campagnola. Said to be Titian and Giorgione, playing violin and violoncello. The former attribution to Giorgione ...
— Giorgione • Herbert Cook
... a bird, or— anything that was hurt, in short. When that little beggar fell down the other day and barked his idiotic little shins, the way she took him up, and kissed him, and got him to laughing, while he, Geoffrey, plastered him up; and it hurt too, getting the gravel out. When that violoncello note gets into her voice—well, you know! Yes, she must certainly ride the bicycle! What could be more restoring, more delightful, than to ride along a country road like this, in the soft afternoon, ...
— Geoffrey Strong • Laura E. Richards
... his composition. The paradox of the pulpits consists in the frieze of putti above the reliefs: putti who dance, play, romp, and run about. Some of them are busily engaged in moving a heavy statue: others are pressing grapes into big cauldrons. The boy dragging along a violoncello as big as himself is delightful. The contrast afforded by this happy and buoyant throng to the unrelieved tragedy below is strikingly unconventional; and the spirit of both portions is so well maintained that there is neither conflict of emotion ...
— Donatello • David Lindsay, Earl of Crawford
... he had encountered more annoyance than usual, he went to his private sitting-room and played a good hour on the violoncello. ...
— Daniel Deronda • George Eliot
... some men do of a death's head, or a memento mori: "I never see it," said he, "but I think upon hell fire." It stands almost unrivalled in history, and ranks at least with that which gave a cognomen to Ovid,[8] and the one to which the celebrated violoncello player, Cervetto, owed the sobriquet of Nosey. This epithet reminds me of another nose of theatrical notoriety, whose rubicund tint, when it interfered with the costume of a sober character which its owner was enacting, was moderated by ...
— The Mirror of Literature, Amusement, and Instruction - Vol. 13 Issue 367 - 25 Apr 1829 • Various
... end of the nave of Catwick Church formerly was erected a gallery. In this loft, as it was commonly called, the musicians of the parish sang or played. Various instruments, bassoon, trombone, violoncello, cornet, cornopean, and clarionet, flute, fiddle, and flageolet, or some of their number, were employed, calling to mind the band of Nebuchadnezzar of old. The noise made in the tuning of the instruments ...
— The Parish Clerk (1907) • Peter Hampson Ditchfield
... bottom of each photograph he had written the date of birth and death—on the walls were framed texts and vile chromolithographs of Mozart and Beethoven. A little piano stood in one corner, a great violoncello in another; rows of books higgledy-piggledy, pipes, and in the window pots of geraniums. It was like being surrounded with friends. The old man could be heard moving about in the next room, and planing or hammering, and talking to himself, ...
— Jean-Christophe, Vol. I • Romain Rolland
... the company consisted mostly of literary men—Cumberland, Turner, D'Israeli, Basevi, Prince Hoare, and Cervetto, the truly celebrated violoncello player. Turner was the most able and agreeable of the whole by far; Cumberland, the most talkative and eccentric perhaps, has a good sprinkling of learning and humour in his conversation and anecdote, from having lived so long amongst ...
— A Publisher and His Friends • Samuel Smiles
... play on any musical instrument?' JOHNSON. 'No, Sir. I once bought me a flagelet; but I never made out a tune.' BOSWELL. 'A flagelet, Sir!—so small an instrument[681]? I should have liked to hear you play on the violoncello. That should have been your instrument.' JOHNSON. 'Sir, I might as well have played on the violoncello as another; but I should have done nothing else. No, Sir; a man would never undertake ...
— The Life Of Johnson, Volume 3 of 6 • Boswell
... upper and lower servants from jangling with one another, and the household in order. Add to this, that she has a secret taste for some art or science, models in clay, makes experiments in chemistry, or plays in private on the violoncello,—and I say, without exaggeration, many London ladies are doing this,—and you have a character before you such as our ancestors never heard of, and such as belongs entirely to our era and period of civilisation. Ye gods! how rapidly we live and grow! In nine months, Mr. Paxton grows you a pineapple ...
— The History of Pendennis • William Makepeace Thackeray
... Opus 6. Prelude and Nocturne. Sarabande. Petite Valse. (For left hand alone.) Polonaise. Three pieces for piano. No opus number. Impromptu in G Minor. Gavotte in B Minor. Sarabande and Courante from the Violoncello Sonatas of Bach. Arranged by ...
— The Masters and their Music - A series of illustrative programs with biographical, - esthetical, and critical annotations • W. S. B. Mathews
... blossom; and the two scents mingled and separated and mingled in the warm air, like the notes of two instruments unlike, yet in harmony. The strong lemon odor of the balm, was persistently present like the mastering chords of the violoncello, and the fine and subtle fragrances from the myriad cells of the pale lavender floated above and below, now distant, now melting and disappearing, like a delicate melody. Dr. Eben was borne away from the present, out of himself. He thrust his hand ...
— Hetty's Strange History • Anonymous |
