With exquisite precision, his playing evoked the different states of water, from the smoothness of a frozen river (on which you virtually see the singer lose his footing) to the filigree delicacy of frost rosettas on a window and, in the song about frozen tears, the uncanny rendition of an icicle caught in the moment of melting.
|
|
Sydney Gazette and New South Wales Advertiser 8 February 1817 Page 2. Rosetta was unsuccessful."SYDNEY". Sydney Gazette and New South Wales Advertiser 28 September 1816 Page 2. On 14 April 1818 Rosettas master took a boat and acted in concert with a party of soldiers advancing overland to capture a boat that seven or 17 escaped convicts had sailed from Hobart to Port Dalrymple.
|
|
The current main building is from 1845 and was built by the architect Otto Michael Glahn in the Late Empire style for Ludvig Grandjean. It is a rectangular, two-storey brick building with white finishing and a median risalit tipped by a triangular pediment on both sides. A horizontal band is located between the first and second floor and a frieze with masks and stucco rosettas runs below the roof. A cast iron staircase leads up to the main entrance.
|
|
The chapel of São Frutuoso continues to be an enigma, but it is a uniquely rare example of Visigothic structures in Portugal, based on a Greek-cross, which may have followed the design of a Byzantine mausoleum comparable to the Galla Placidia, in Ravenna. The church is laid out in a Greek cross design, with a rectangular exterior, and semi-circular interior arms (to the north, south and east). From the exterior, the main volume of the chapel is surmounted by a tower-like cupola and cross, with the roof covered in rounded tiles. The limestone walls are surmounted by edged cornices, preceded by frieses, also in limestone, in the shape of rope, semi-circles, six-pointed rosettas and fleur-de-lis.
|
|
In that portion of the Elizabethan which is often considered as the Jacobean, although it was but the completer development of the former, the globular excrescences of the columns elongated themselves into equally vast and far uglier acorn-shaped supports. A good deal of inlaid work was then used, and the carving did its best to reach and render the ideas of the cinquecento. It is, indeed, styled the cinquecento period of English art, every surface being rough with arabesques of griffins, vases, rosettas, dolphins, scrolls, foliages, Cupids, and mermaids with double tails curling round them on either side. Meantime the cartouche and its straps — ligatures they were called in Italy, cuirs in France and Flanders, were still often used.
|
|
As students with common interests, Lidhom, Bäck and Blomdahl began to meet together, eventually more regularly, and it came about that their gatherings fell on Mondays. Additional students, and then instructors, began to drop in; they held critiques and discussions of music, as well as performances of contemporary works. Hilding Rosenberg, who was to be Lidholm's composition teacher for two years, was especially important in leading studies into Hindemith, Stravinsky and other modern composers. Thus evolved what was later to be called the Måndagsgrupp. Under Rosenberg, Lidholm began to achieve a higher compositional output than previously, including: incidental music to a play of Georg Büchner, Leonce och Lena, from which the song Rosettas visa was published separately; Madonnas vaggvisa (“The Madonna’s Cradle Song”) for voice and piano; and På kungens slott (“At the King’s Castle”), a collection of children's piano pieces.
|
|