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Quotes about organist, page 2

They'll None of 'Em Be Missed

As some day it may happen that a victim must be found,
I've got a little list - I've got a little list
Of social offenders who might well be underground,
And who never would be missed - who never would be missed!
There's the pestilential nuisances who write for autographs -
All people who have flabby hands and irritating laughs -
All children who are up in dates, and floor you with 'em flat -
All persons who in shaking hands, shake hands with you like THAT -
And all third persons who on spoiling TETE-E-TETES insist -
They'd none of 'em be missed - they'd none of 'em be missed!

There's the nigger serenader, and the others of his race,
And the piano organist - I've got him on the list!
And the people who eat peppermint and puff it in your face,
They never would be missed - they never would be missed!
Then the idiot who praises, with enthusiastic tone,
All centuries but this, and every country but his own;
And the lady from the provinces, who dresses like a guy,
And who "doesn't think she waltzes, but would rather like to try";
And that FIN-DE-SIECLE anomaly, the scorching motorist -

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John Donne

Upon The Translation Of The Psalms By Sir Philip Sidney And The Countess Of Pembroke, His Sister

ETERNAL God—for whom who ever dare
Seek new expressions, do the circle square,
And thrust into straight corners of poor wit
Thee, who art cornerless and infinite—
I would but bless Thy name, not name Thee now
—And Thy gifts are as infinite as Thou—
Fix we our praises therefore on this one,
That, as thy blessed Spirit fell upon
These Psalms' first author in a cloven tongue
—For 'twas a double power by which he sung
The highest matter in the noblest form—
So thou hast cleft that Spirit, to perform
That work again, and shed it here, upon
Two, by their bloods, and by Thy Spirit one ;
A brother and a sister, made by Thee
The organ, where Thou art the harmony.
Two that make one John Baptist's holy voice,
And who that Psalm, 'Now let the Isles rejoice,'
Have both translated, and applied it too,
Both told us what, and taught us how to do.

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Emulation

Dependence leads to emulation,
but sadly creativity
demands thereafter separation,
with hypersensitivity
the reason often for defection
of emulator, who betrays
his master by his rude rejection.
Disengaged like divorcés,
regretting the dependence that
had once inspired them both, they lose
their symbiosis and combat
each other with conflicting views,
and claim they always had suspected
the other was far less inspired
than they, and ought to be rejected,
the sell-by date now long expired.

Inspired by an article Holland Cotter on an exhibition of the art of Titian, Tintoreeto and Verones at the Boston Museum of Fine Art (Passion of the Moment: A Triptych of Masters, NYT, March 12,2009) :

The show is about three such personalities: Tiziano Vecellio, or Titian; Jacopo Robusti, known as Tintoretto; and Paolo Caliari, called Veronese. All three shot off sparks as they reforged painting as a medium. And all three had feverishly competitive overlapping careers. These masters of 16th-century Venetian painting were no Holy Trinity. They were a discordant ménage-a-trois bound together by envy, talent, circumstances and some strange version of love. This is the story the exhibition tells through 56 grand to celestial paintings — no filler here, not an ounce of fat — sorted into broad categories (religious images, portraits, belle donne) and arranged in compare-and-contrast couplings and triplings to indicate who was looking at whom, and why, and when. And that story is set against a larger historical narrative that goes something like this. Before the 16th century Italian art was dominated by two cities, Florence and Rome, and by two kinds of painting: fresco and egg tempera — water-based, fast-drying, smooth-surfaced — on wood. Venice lay outside this mainstream. Fresco wasn’t viable in the city’s humid atmosphere; tempera had problems too. Then, at the end of the 15th century, oil painting, still little known in the rest of Italy, was introduced, and Venetian art caught fire….Finally into the arena strode a third giant, and a somewhat gentler one, Veronese (1528-88) . Named for his native city and still in his teens when he hit Venice, he was quickly acknowledged to be a prodigy, fully formed. Titian became the artist he was through long growth, Tintoretto by sifting and synthesizing influences. Veronese was Veronese from Day 1. Ingratiating in manner, he was a painter of fine texture, sweet color and courtly reserve. Patrons who found Tintoretto too outlandish gave Veronese their business; the elderly Titian took him under his wing. And from the 1540s to the 1580s Venetian painting became a three-way dance among these three men, a tricky choreography of emulation and rejection, dependence and separation. You can follow the moves in a cluster of steamy paintings of nudes at the center of the show, installed in a gallery with crimson walls and tasseled curtains. The Titians — the “Danae” from the Capodimonte Museum in Naples, “Venus with an Organist and Dog” from the Prado, “Venus With a Mirror” from the National Gallery of Art in Washington — are stop-and-stare fantastic.

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A Letter

After W. M. P.
Dear Kitty,
At length the term's ending;
I 'm in for my Schools in a week;
And the time that at present I'm spending
On you should be spent upon Greek:
But I'm fairly well read in my Plato,
I'm thoroughly red in the eyes,
And I've almost forgotten the way to
Be healthy and wealthy and wise.
So 'the best of all ways'—why repeat you
The verse at 2.30 a.m.,
When I 'm stealing an hour to entreat you
Dear Kitty, to come to Commem.?
Oh, come! You shall rustle in satin
Through halls where Examiners trod:
Your laughter shall triumph o'er Latin
In lecture-room, garden, and quad.
They stand in the silent Sheldonian—
Our orators, waiting—for you,

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The Organist

In his dim chapel day by day
The organist was wont to play,
And please himself with fluted reveries;
And all the spirit's joy and strife,
The longing of a tender life,
Took sound and form upon the ivory keys;
And though he seldom spoke a word,
The simple hearts that loved him heard
His glowing soul in these.

One day as he wrapped, a sound
Of feet stole near; he turned and found
A little maid that stood beside him there.
She started, and in shrinking-wise
Besought him with her liquid eyes
And little features, very sweet and spare.
'You love the music, child,' he said,
And laid his hand upon her head,
And smoothed her matted hair.

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Master Hugues of Saxe-Gotha

I

Hist, but a word, fair and soft!
Forth and be judged, Master Hugues!
Answer the question I've put you so oft:
What do you mean by your mountainous fugues?
See, we're alone in the loft,—

II

I, the poor organist here,
Hugues, the composer of note,
Dead though, and done with, this many a year:
Let's have a colloquy, something to quote,
Make the world prick up its ear!

III

See, the church empties apace:
Fast they extinguish the lights.

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The House Of Dust: Part 04: 06: Cinema

As evening falls,
The walls grow luminous and warm, the walls
Tremble and glow with the lives within them moving,
Moving like music, secret and rich and warm.
How shall we live to-night, where shall we turn?
To what new light or darkness yearn?
A thousand winding stairs lead down before us;
And one by one in myriads we descend
By lamplit flowered walls, long balustrades,
Through half-lit halls which reach no end. . . .

Take my arm, then, you or you or you,
And let us walk abroad on the solid air:
Look how the organist's head, in silhouette,
Leans to the lamplit music's orange square! . . .
The dim-globed lamps illumine rows of faces,
Rows of hands and arms and hungry eyes,
They have hurried down from a myriad secret places,
From windy chambers next to the skies. . . .
The music comes upon us. . . .it shakes the darkness,

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Silent Night

(arranged by reba mcentire)
(whats written in sentences and not verse at the beginning is what
Reba
Explains at the beginning, the rest is the song)
On christmas eve in 1818
A blizzard stranded the tiny village of ogledorf
Nestled in the austrian mountains
That same day the people of st. nicholas church found their organ
Broken
So the priest and organist began composing a song that could be sung
Without
An organ yet beautiful enough to express their christmas joy
All day and all night long they worked
And at midnight the gentle carol silent night was born
The pure clear tones echoed through the hills
And the world has been captured by the beauty of that simple song ever
Since.
Silent night
Holy night
All is calm

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Rock The Bells

Rumor has it that youre tired of my scratchin and drums
And of couse I wanna expand to the maximum
So I inject in one more element to that of l.l.
Came up with something funky called rock the bells
During this episode vocally I explode
My title is the king of the fm mode
See, my volume expands to consume
And my structures emote a lyrical heirloom
Vacally pulsating, I initiate gyrating
Ya must respond to my bells, theres no waiting
For the duration, theres no articulation
Receiving ovation for the bell association
The vocalization techniques I employ
The voice of my shadow could take a toy boy
The injection of bells into this beat
The result-enough evergy to amputate your feet
Greater insulator microphone dominator
My name is coll j, manipulator innovator
Connoisseur, Im sure my percussion will excite
These bells are gonna rock all night

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Walt Whitman

Song Of The Broad-Axe

WEAPON, shapely, naked, wan!
Head from the mother's bowels drawn!
Wooded flesh and metal bone! limb only one, and lip only one!
Gray-blue leaf by red-heat grown! helve produced from a little seed
sown!
Resting the grass amid and upon,
To be lean'd, and to lean on.

Strong shapes, and attributes of strong shapes--masculine trades,
sights and sounds;
Long varied train of an emblem, dabs of music;
Fingers of the organist skipping staccato over the keys of the great
organ.


Welcome are all earth's lands, each for its kind; 10
Welcome are lands of pine and oak;
Welcome are lands of the lemon and fig;
Welcome are lands of gold;
Welcome are lands of wheat and maize--welcome those of the grape;

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