"Improvisation" Quotes from Famous Books
 ... me to give you an improvisation. Listen then. You have heard me speak prepared, now hear me unprepared. I think I risk but little in making an attempt to speak without premeditation in view of the extraordinary approval which I have won by my set speeches. For having pleased you by more serious efforts, ...
— The Apologia and Florida of Apuleius of Madaura • Lucius Apuleius
... country would delight him and excite his imagination. But when we reached home he sat down to the piano in the dark, and played on and on as if he were pouring out his whole soul in the flood of sweet melody; and when, after an hour of marvellous improvisation, he stopped and said to us, "I couldn't help it: I had to reel off all that I have been seeing and hearing this afternoon," then I was content, for I knew nothing had been thrown away on our friend, ...
— Lippincott's Magazine, Vol. 26, August, 1880 - of Popular Literature and Science • Various
... does so in the customary way: he recognizes the ability on his part to handle the language of the contemporary poets, and also perhaps to imbue it with his own personal feelings. His poems inserted in letters, which make a show of the elegant pretence of improvisation, but in reality already display a great dexterity in rhyming and in the use of imagery, may be compared to Hagedorn's poetry; but at the same time Goethe is trying to attain the serious tone of the "Pindarian" odes, just as Haller's ...
— The German Classics of The Nineteenth and Twentieth Centuries, • Editor-in-Chief: Kuno Francke
... philosophy had lost its hold, and Fichte himself had made it lose its interest by a mingling of tenets and ideas from Schelling; and because, on the other hand, Schelling had never set forth a philosophy, but only a vague philosophizing, an unsteady, vacillating improvisation of poetical philosophemes. It may be that it was from the Fichtean Idealism—that deeply ironical system, where the I is opposed to the not—I and annihilates it—that the Romantic school took the doctrine of irony which the late Solger especially developed, and which the Schlegels at first regarded ...
— The German Classics of The Nineteenth and Twentieth Centuries, Vol. VI. • Editor-in-Chief: Kuno Francke
... is known in England as "Plus Ultra," and in an old edition it is dedicated to "Non plus Ultra." The latter was meant for Woelfl, a famous pianist and contemporary. His music is now forgotten, and his name is principally remembered in connection with Beethoven; like the latter, his talent for improvisation was great. The late J.W. Davidson, in his long and interesting preface to Brewer & Co.'s edition of Dussek's A flat sonata, leads us to believe that Dussek's publisher, and not the composer himself, was responsible ...
— The Pianoforte Sonata - Its Origin and Development • J.S. Shedlock
... shared in the festivity with reluctance and regret, and who was, from time to time, urged on by his keepers, and a woman, who fancied herself to be Saint Catharine, and was subject to strange fits of ecstasy and improvisation, were also conspicuous among the dancers. Lucca, who played the violin with extraordinary spirit, every now and then marked the time by stamping his foot on the ground, while, in a stentorian voice, he called out ...
— Harper's New Monthly Magazine, Vol. 2, No. 8, January, 1851 • Various
... movement in their delicately modelled limbs. If nothing else remained of Agostino's workmanship, this facade alone would place him in the first rank of contemporary artists. He owed something, perhaps, to his material; for terra-cotta has the charm of improvisation. The hand, obedient to the brain, has made it in one moment what it is, and no slow hours of labour at the stone have dulled the first caprice of the creative fancy. Work, therefore, which, if translated into marble, might have left our sympathy unstirred, affects ...
— Renaissance in Italy Vol. 3 - The Fine Arts • John Addington Symonds
... Modern Greece, were compared with our own, with European Marchen, or children's tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song ...
— A Collection of Ballads • Andrew Lang
... Treitschke had just finished it, and handed it to him. Beethoven read it over, he continues, "walked up and down the room, humming as usual, instead of singing—and opened the piano. My wife had often asked him in vain to play; but now, putting the text before him, he began a wonderful improvisation, which, unfortunately, there were no magic means of recording. From this fantasy he seemed to conjure the theme of the aria. Hours passed but Beethoven continued to improvise. Supper, which he intended to share with us, was served, but he would ...
— Chopin and Other Musical Essays • Henry T. Finck
... with John La Farge, and perhaps the influence of La Farge, and of that eminently picturesque genius Stanford White, mingled with that of the younger French school in forming its decorative and almost pictorial character. It was a kind of improvisation, done at prodigious speed and without study from nature—a sketch rather than a completed work of art, but a sketch to be slowly developed into the reliefs of the Farragut pedestal, the angels of the Morgan tomb, the caryatids of the Vanderbilt mantelpiece, and, at ...
— Artist and Public - And Other Essays On Art Subjects • Kenyon Cox
... indeed the ways and speech of the time after a fashion, but in a distorted mirror and with a thin and superficial representation, nearer to bad drama than to good literature, full of horseplay and forced high jinks—his stories have all the inseparable faults of improvisation together with those of art that is out of fashion and manners-painting (such as it is) of manners that are dead, and when alive were those of a not very picturesque, pleasing, or respectable transition. Yet, for all this, ...
— The English Novel • George Saintsbury
... root of all ease lies slow, and, for long, profitless-seeming labor, as at the root of all grace lies strength; that ease is the lovely result of forgotten toil, sunk into the spirit, and making it strong and ready; that never worthy improvisation flowed from brain of poet or musician unused to perfect his work with honest labor; that the very disappearance of toil is by the immolating hand of toil itself. He only who bears his own burden can bear the burden of another; he only who has labored shall dwell at ease, or help others ...
— Weighed and Wanting • George MacDonald
... the sofa, she kept those appreciative youths in such convulsions of laughter that their entire neighbourhood was sympathetically affected. Carl Polhemus, who played the organ at church, had begun a wandering improvisation on the piano, evidently so taken with certain various chords and runs that he could not resist playing them passionately over and over. A dangerous laugh, started among the younger set, began to strangle and stifle his audience. Martie, ...
— Martie the Unconquered • Kathleen Norris
... action—this whole exploit must depend upon improvisation. And, as a Free Trader, spur-of-the-moment action was a necessary way of life. On the frontier Rim of the Galaxy, where the independent spacers traced the star trails, fast thinking and the ability to change plans ...
— Plague Ship • Andre Norton
... with a petulance and frenzy which proved that the 'furie francaise' is not the exclusive right of the stronger sex. In this jumble of grave, wild, and sad notes, Gerfaut recognized, by the clearness of touch and brilliancy of some of the passages, that this improvisation could not come from Aline's unpractised fingers. He understood that the piano must be at this moment Madame de Bergenheim's confidant, and that she was pouring out the contradictory emotions in which she had indulged for several days; for, ...
— Gerfaut, Complete • Charles de Bernard
... beginning of the second part of the development the performer, exalted, even a little intoxicated with his sense of success, essayed a bit of improvisation considerably more important than the first. This time he ceased absolutely to follow Rubinstein's harmony, and, retaining simply the melody, changed, however, to a minor key, he produced an odd, rhythmical ...
— The Genius • Margaret Horton Potter
... inclined to sit and bite his pen, waiting for the one and only word. Good or bad, he could be trusted to rattle on; and, as Trollope said, if you pulled him out of bed and demanded something witty, he would flash it at you before he was half awake. Some people are born with the perilous gift of improvisation; and the best that can be said for Lever is that he is the nearest equivalent in Irish literature, or in English either, to the marvellous faculty of D'Artagnan's creator. He has the same exuberance, the same ...
— Irish Books and Irish People • Stephen Gwynn
... balancing palms danced to the beat of the heat of the music's heart; and with heel and toe he danced. And as he danced, he sang, all apant, filling up with nonsense-sounds when the rhythm's imperative tramp outran his improvisation; and singing he danced, and dancing sang: with abdomen and arms he danced, and with toe ...
— The Lord of the Sea • M. P. Shiel
... blushed too, and certainly looked as foolish as a young man of some wit and self-possession can be expected to look, as he walked in with a roll of music in his hand, and said, with an air of hesitating improvisation,— ...
— The Mill on the Floss • George Eliot
... tore his pomaded hair; he tore off his bib and his neck-tie, and for three minutes without cessation he shrieked wildly and unintelligibly. It was possible to make out, however, that "arteest" and "ten dollair" were the themes of the improvisation. Finally he sank exhausted into the chair, and his white-faced ...
— Americans All - Stories of American Life of To-Day • Various
... forgotten me," she said chidingly. Yet her tone had less acerbity than that which she had employed, but a few moments before, to address him in his absence. For she often had in mind, at intervals longer or shorter, Cope's improvisation about the Sassafras—too truly that dense-minded shrub had failed to understand the "young ladies" ...
— Bertram Cope's Year • Henry Blake Fuller |
