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Excerpt from De Clifford, or the Constant Man, Vol. 1 of 3 Mr motives (if the world care for an author's motives) for engaging in this work, I have, in part, detailed in the prece ding epistle to the noble person there addressed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from De Clifford, or the Constant Man, Vol. 2 of 3 And what of all this? Asked I with some emotion, for I did not like the seeming insinuation. That your principles, returned he, will be put to trial, and your philosophy exposed to danger. Your prudence, however, will, I am persuaded, triumph, and you will retreat before you are absolutely ruined. Pray heaven you may, and that it be not too late. Though I was persuaded that all this was said in a spirit of friendship, yet I liked not its tone. It seemed ironical, almost taunting; certainly less kind than his usual manner. It was apparent that my translation, as he called it, to Foljambe Park, had not given him pleasure. I did not suspect him of being one of those counsellors so jealous of their own wisdom that they would rather a friend suffered than their prophecy be defeated but I did begin to suspect (for the very first time, and at a great. Distance, but still to suspect) that he had not lately trusted himself so much with his cousin for nothing. In short, deeply in love myself, how could I be surprised if this susceptible, warm, and imaginative man should be also a stricken deer, wounded by the same shaft that had pierced me? This I frankly told him, and watched the effect with anxiety. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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The Conservatoire Am ricain, the French musical institution at the Palais de Fontainebleau, was responsible for training generations of American musicians. Its students and faculty are among some of the most influential musical figures of the twentieth century, including Aaron Copland, Nadia Boulanger, and Elliott Carter. Within its walls, students were introduced to great French composers like Maurice Ravel, Jean Fran aix, and Darius Milhaud, many of whom wrote works specifically for Fontainebleau attendees. It brought performers into the recording age and encouraged women to pursue solo musical careers at a time when such a thing was exceptionally rare among Americans. The Conservatoire Am ricain: A History is the first full-length narrative of this institution. Drawing on rare materials from the Conservatoire's archives, combining them with personal correspondence, interviews, and first-person narratives with students and faculty, author Kendra Preston Leonard discusses a variety of topics important to the institution. These topics include--among others--the dissemination of French repertoire during the twentieth century, the pedagogical approaches used in teaching American music students, the impact of training Americans abroad, and the influence their French training had on performance, interpretation, and composition. The book concludes with several appendixes offering comprehensive reference information on the school's practices, the courses offered, awards and diplomas given, and notable students, faculty, and guest artists who attended the institution.