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Show 268 contrasts, \ is but and th geat gesturs faint trac a of of pathos the dramatiq, I painting and chromatiqism sparinglyo of composer \these, value he is of one since they of Number the the finest. a dark in a "ut e t t o vent as'", colo]"; the may Number beginning sphere? althogh They are nevetheless, be ponted out here: adventum .t.1!Y.m, p:riae,toJ.a.mur permanent a personal stamp upon theo vey exeelent pieces own ploring one, which grows most beautifully is t0ne employ His works have prfect within their are more 3, Domine the passage There somwhat eser statre than the greatest; but amog substqntial art works wth Some and he genera. On the whole, he is limited in feeling and imag1nation l in and ha an ur gerrt s at the middle, , im in 6, Trist1;ia ti anxietas, the end are very' , d Ls t Inguf.s hed [. jCh?racteristic is yd, and the English attitude in general, the tone tit adness and lamentation in this work. well be cQoopared with for such A serious the adequate, but set certain diffuseness in is a oftn met with in tonal color rather than by hamonic coeli is a Byrd! expression, but not The effect or is manner providing in the is means least manner. Dark, motet Tr created by melodic devices joyfullY animated, powerful wor. again of the English restrains himself, expression modest, almost proiq :lationes civitatum (Numbers Z4..,27). cal The sounds permeate the great thre-sectioned Laetentur It may demonic power which Lasso employed texts; Byrd employs nothing fantastiG is indeed r: of the way in which the The Typi composer sufficient for textual allowing himself to'be swept . |
