"Conservatoire" Quotes from Famous Books
 ... by his father, who was a professor of music, and three years later he began to take lessons on the violin and piano. When he was seventeen he was thoroughly proficient in all the preparatory studies demanded for admission to the Paris Conservatoire, and he easily obtained admission into that great institution. He first studied under Zimmermann and Kalkbrenner, and afterward under Dourlen, Barbereau, Le Sueur, and Reicha. For successive years he carried off first prizes: ...
— Great Italian and French Composers • George T. Ferris
... 'ome, for my sister is fiancee, and when she is married I must be there to look after the old father. Lend Pixie to me, and she shall learn to speak French, the proper French, not that dreadful language of Holly House, and I will take her myself to the Conservatoire—there is no better place in the world to learn music than the Conservatoire in Paris—and she shall learn to sing and make use of that lovely voice. Voila, ma chere, at the end of a few years she comes ...
— Pixie O'Shaughnessy • Mrs. George de Horne Vaizey
... years of age he went to France, accompanied by his mother, to study pianoforte playing and the theory of music at the Paris Conservatoire under Marmontel and Savard respectively. Here one of his fellow students was Debussy, even then looked upon as having curious and unconventional ...
— Edward MacDowell • John F. Porte
... instrument, reproducing in illustration a plate from Giulio Ferrario's work on costume.[4] Muller's cheng had the same compass as Mahillon's. Chladni's article was motived by the publication of an account of the exhibition of G.J. Grenie's Orgue expressif, invented about 1810, in the Conservatoire of Paris.[5] Grenie's invention, perfected by Alexandre and Debain about 1840, produced the harmonium. Kratzenstein (see under HARMONIUM) of St Petersburg was the first to apply the free reed to the organ in the second half of the 18th century. Inventions ...
— Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 1 - "Chtelet" to "Chicago" • Various
... a great composer. He bought some music paper and started to write a score; that is to say, he wrote a number of long and short notes on the lines, some for the violins, of course, others for the wood-wind, and the remainder for the brass instruments. He sent his work to the Conservatoire. But nobody could play the music, because it was not ...
— In Midsummer Days and Other Tales • August Strindberg
... delivered by me on the 15th of last June in the amphitheater of the Conservatoire des Arts et Metiers, on the application of electricity to the production, transmission, and division of power, I operated for the first time an electric power hammer that I shall here describe. Its essential part is a sectional solenoid that I have likewise made an application of in an ...
— Scientific American Supplement, No. 362, December 9, 1882 • Various
... A girl of 20, from the Conservatoire, teacher of music. Wears a fringe, and is super-fashionably dressed. Obsequious, ...
— Redemption and Two Other Plays • Leo Tolstoy et al
... thus I saw him for the first time, and thus he will always remain in my memory. It was at the Conservatoire de Musique when a big symphony of his was given, a bizarre nocturne, only here and there relieved by the gleam of a woman's dress, sentimentally white, fluttering to and fro—or by a flash of irony, sulphur yellow. My neighbour in my box pointed out to me the composer, who was sitting at the extremity ...
— The Love Affairs of Great Musicians, Volume 2 • Rupert Hughes
... successes of the season. It served also to introduce Mme. Fursch-Madi, a dramatic singer, who, although not attractive in appearance, was one of the finest singers in her style and most conscientious artists known to her period. She was a French woman, who was graduated from the Paris Conservatoire, married M. Madier, a chef d'orchestre in the French capital, came to America to join the French company in New Orleans in 1874, and sang for three seasons (1879-'81) at Covent Garden. She spent the last years of her life in and about New York, singing in opera and concert, always a noble example ...
— Chapters of Opera • Henry Edward Krehbiel
... Mattia that later they would find the means to send him to the Conservatoire in Paris, because he would surely ...
— Nobody's Boy - Sans Famille • Hector Malot
... resonant tone than his predecessors, although not always adapted to modern concert use. One of his violins was the favorite instrument of the French virtuoso Delphine Jean Alard (1815-1888), long violin professor at the Paris Conservatoire. It has been described as sounding like the melodious voice of a child heard beside the rising tide. Another fine specimen was exhibited by Mr. J. D. Partello, in 1893, at the World's ...
— For Every Music Lover - A Series of Practical Essays on Music • Aubertine Woodward Moore
... natural bias of the French toward applied science, and tempted them to the undue and unfortunate neglect of many important humanizing disciplines. The Conservatory of Music and the Institute were permanently reorganized soon after. The great collections of the Museum of Arts and Crafts (Conservatoire des Arts et Metiers) were begun, and permanent lecture courses were founded in connection with the National Library, the Botanical Garden, the Medical School, and other learned institutions. Almost immediately a philosophical ...
— The Life of Napoleon Bonaparte - Vol. I. (of IV.) • William Milligan Sloane
... English,—something like uhr-ose,—a sound said to be peculiar to our language. A Parisian rolls his r, by making his uvula vibrate, keeping the tongue quite still: producing a peculiar gurgling sound. This is an abomination in the ears of the Conservatoire. "Ne grasseyez donc pas, Monsieur," or "Mademoiselle," says the professor, fiercely,—this peculiar way of saying r being called grasseyement. The pupil tries again, using the tip of his tongue this time. "Ah! I thought ...
— Atlantic Monthly, Volume 10, Number 59, September, 1862 • Various
... the Viennese instrument at the first one, he confesses that he would have preferred playing on his own piano. The success of the concerts may be measured by the following facts: A travelling virtuoso and former pupil of the Paris Conservatoire, Dunst by name, offered in his enthusiasm to treat Chopin with champagne; the day after the second concert a bouquet with a poem was sent to him; his fellow-student Orlowski wrote mazurkas and waltzes on the ...
— Frederick Chopin as a Man and Musician - Volume 1-2, Complete • Frederick Niecks
... French actress, was born at Marseilles, in 1863, where her father was popular as a leading actor, with whom she appeared when only three years of age as little Blanche de Caylus in "Le Bossu." At the age of thirteen she began work in earnest, having won "le prix de solfege" at the Marseille Conservatoire, and her talent having come to the ears of Mr. Plunkett, the director of the Palais Royal, he engaged her for the Palais Royal in Paris, where she created the part of La Chaste Suzanne, by Paul Ferrier. Giving up comic opera for comedy, Jane Hading went to the Gymnase, ...
— The Strand Magazine, Volume V, Issue 27, March 1893 - An Illustrated Monthly • Various
... in 1766, is the third in order of development of the four great representative masters of the classical violin school of Paris; the others being Viotti, first, Rode, second, and Baillot, fourth. With Baillot he compiled the famous "Methode de Violon" for the use of the students at the Conservatoire. Kreutzer's first teacher was his father, who was a musician in the king's chapel, but he was soon placed under Anton Stamitz, and at the age of thirteen he played a concerto in public, with great success. This ...
— Famous Violinists of To-day and Yesterday • Henry C. Lahee
... been considered a foolhardy feat a year or two before. Bleriot's state, with an abscess in the burnt foot which had to control the elevator of his machine, renders his success all the more remarkable. His machine was exhibited in London for a time, and was afterwards placed in the Conservatoire des Arts et Metiers, while a memorial in stone, copying his monoplane in form, was let into the turf at ...
— A History of Aeronautics • E. Charles Vivian
... brewery; yes, a splendid tenor, but he has long been discovered; only he has no musical education, and his relatives won't hear of his going on the stage. Alexandre Dumas, after listening to him, offered to pay all necessary expenses to enable him to attend the Conservatoire, but it was of no use: they are very religious in the family, and have an insurmountable horror of theatres. He is, himself, a very simple, good-natured fellow, and does not require much pressing to sing whenever ...
— Philip Gilbert Hamerton • Philip Gilbert Hamerton et al
... their seats. Passing through these, we ascend a narrow staircase that gives one good hopes of a martyr's death should the theatre chance to catch fire, and we instal ourselves in a narrow and by no means comfortable box in the dress-circle. The theatre of the Conservatoire, though not very large, is very elegantly and artistically decorated in the Pompeian style, the stage being set with a single "box scene," as it is technically called, which is never changed, as plays are never acted there. Here take place the far-famed concerts du Conservatoire, ...
— Lippincott's Magazine of Popular Literature and Science, October, 1877, Vol. XX. No. 118 • Various
... before any kind of pieces are taken up. The young student in early years, is expected to play various etudes, as well as the technic studies I have mentioned—Czerny, Cramer, Clementi, and always Bach. In my position, as member of the faculty of the Conservatoire, a great many students pass before me. If I personally accept any pupils, they naturally must be talented and advanced, as I cannot give my time to the children. Still it is interesting to see ...
— Piano Mastery - Talks with Master Pianists and Teachers • Harriette Brower
... role was overcome by the enlistment of M. Barbot, an artist who had been a companion of Carvalho's when he sang small parts at the Opera Comique. He was now far past his prime, and a pensioned teacher at the Conservatoire, but Gounod bears witness that he "showed himself a great musician in the part of Faust." Of Belanque, who created the part of Mephistopheles, Gounod says that "he was an intelligent comedian whose play, physique, and voice ...
— A Book of Operas - Their Histories, Their Plots, and Their Music • Henry Edward Krehbiel
... describing sounds by natural colours, and colours by natural sounds, that colour could be heard and sound seen." The system has proved successful for several years both in the inventor's own school and the Conservatoire at St. Petersburg. Finally Scriabin, on more spiritual lines, has paralleled sound and colours in a chart not unlike that of Frau Unkowsky. In "Prometheus" he has given convincing proof of his theories. (His chart appeared in "Musik," Moscow, 1911, ...
— Concerning the Spiritual in Art • Wassily Kandinsky
... Agatha said, "She has a good voice, and Madame Lardner thinks it would answer to send her to some superior Conservatoire ...
— Modern Broods • Charlotte Mary Yonge
... institutes. The demand exists on every side; the supply must come, and that speedily. England, France, and Germany are rapidly improving their manufactures by scientifically educating their master-workmen—the Conservatoire des Arts, and Ecole Centrale, of Paris, the art-schools of the British capital and provinces, the many museums devoted to scientic collection, are all keeping up their factories—shall we be behind them? Let Capital consult its ...
— Continental Monthly, Vol. II. July, 1862. No. 1. • Various
... success was really great. Claudie is still given, and I remember seeing Paul Mounet interpret the part of Remy admirably at the Odeon Theatre. As to the Mariage de Victorine, it figures every year on the programme of the Conservatoire competitions. It is the typical ...
— George Sand, Some Aspects of Her Life and Writings • Rene Doumic
... mixed parentage, his father being a Swiss from St. Croix in the Jura (hence the artist name Dalcroze), his mother of German extraction. At the age of eight his parents brought him to Geneva, where in due course he became a student at the Conservatoire of Music. His musical education was continued in Paris under Leo Delibes and in Vienna under Bruckner and Fuchs. For a short period his studies were interrupted by an engagement as musical director of a small ...
— The Eurhythmics of Jaques-Dalcroze • Emile Jaques-Dalcroze
... Reckage, arrived in London the following Wednesday. Pensee and Brigit went from St. Malo to Paris, where the unhappy girl hoped to enter the Conservatoire. All had been arranged by Robert himself, and he had shown a calmness during the ordeal which might have deceived his two friends had they been even a little insincere themselves or a shade less fond. His Journal at that period contains two entries, however, which show that neither Lady ...
— Robert Orange - Being a Continuation of the History of Robert Orange • John Oliver Hobbes
... impressions were of lasting influence on Chopin's development. While at college he received thorough instruction in the theory of his art from Joseph Elsner, a learned musician and director of the conservatoire at Warsaw. When in 1829 he left his native town for Vienna, where his debut as a pianist took place, he was in all respects a perfectly formed and developed artist. There is in his compositions little of that gradual progress which, for instance, ...
— Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 3 - "Chitral" to "Cincinnati" • Various |
