例句與造句

1. Musicologist Hugo Leichtentritt ( 1874 1951 ) calls the 閠ude a " music critic James Huneker ( 1857 1921 ) writes that " the entire composition, with its murmering, meandering, chromatic character, is a forerunner to the whispering, weaving, moonlit effects in some of [ Chopin's ] later studies ".
2. David Dubal found the nocturne to be " of less importance, though characteristic in design and melodic contour . " However, he states the coda " completely shocks the listener out of reverie . " James Huneker found the F-minor section to " [ broaden ] out to dramatic reaches " though he still viewed the overall piece negatively.
3. Most pointedly, the journalist James Huneker presented the composer with an article explicating " Negro melodies " ( spirituals ) and concluding with a provocative charge : " When our American musical Messiah sees fit to be born he will then find ready to his hand a mass of lyrical dramatic themes with which to construct a distinctively American music ."
4. :A Chopin recording I made . . . had some notes that quoted James Huneker on one of the late nocturnes, which claimed that it " staggered drunken with the odor of flowers . " This was not my view of the work . . . Huneker's style is an invitation to the listener to dream, to dissipate attention into reverie.
5. She was quite intimidated for being in the presence of Caruso, and in spite of an almost paralyzing case of nervousness ( which she suffered from throughout her operatic career ), she scored a tremendous success, both with the public and with the critics . " New York Times " critic James Huneker wrote : " . . . what a promising debut!
6. It's difficult to find james huneker in a sentence. 用james huneker造句挺難的
7. He was also famous for gestures, muttering, and addressing the audience during his performance; the " 1911 Encyclop鎑ia Britannica " judiciously characterized it as the " playfulness of his platform manner ", while critic James Huneker called him the " Chopinzee ", and George Bernard Shaw reported that he " gave his well-known pantomimic performance, with accompaniments by Chopin ."
8. In a review of her concert at New York's Aeolian Hall in January 1919, James Huneker wrote that " . . . she transformed Chopin preludes into veritable typhoons ", and " . . . in the Barcarolle, instead of gondolas and the vows of lovers, moonlight and soft Adriatic zephyrs, we were shown a huge warship that steamed through the Grand Canal, sirens screaming, cannons booming, and a band playing Hungarian Rhapsody by Liszt ."
9. Theodor Kullak said of the piece, " the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great powerful grief . " Some musical critics, including Charles Willeby and Frederick Niecks, do not think the piece deserves its fame and position; though James Huneker agrees with this assessment, he notes that the nocturne is still " the noblest nocturne of them all . " James Friskin found the music to have " the most imposing instrumental effect of any of the nocturnes, " calling the crescendo and octaves " almost Lisztian ."
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