In our limited space we can give only the briefest description of the general structure of the work. The founding of Christianity, as illustrated6 in four principal scenes of the life of St. Peter, supplies the material for the dramatic development of the subject. The overture7, beginning with an adagio8 movement in B-flat minor9, gives expression to the vague yearnings of that time of doubt and hesitancy when the “oracles were dumb,” and the dawning of a new era of stronger and diviner faith was matter of presentiment10 rather than of definite hope or expectation. Though the tonality is at first firmly established, yet as the movement becomes more agitated11, the final tendency of the modulations also becomes uncertain, and for a few bars it would seem as if the key of F-sharp minor might be the point of destination. But after a short melody by the wind instruments, accompanied by a rapid upward movement of strings12, the dominant13 chord of C major asserts itself, being repeated, with sundry14 inversions15, through a dozen bars, and leading directly into the triumphant16 and majestic17 chorus, “ The time is fulfilled, and the kingdom of heaven is at hand.” The second subject, introduced by the word “repent” descending18 through the interval19 of a diminished seventh and contrasted with the florid counterpoint of the phrase, “and believe the glad tidings of God,” is a masterpiece of contrapuntal writing, and, if performed by a choir20 of three or four hundred voices, would produce an overpowering effect. The divine call of Simon Peter and his brethren is next described in a tenor21 recitative; and the acceptance of the glad tidings is expressed in an aria22, “The spirit of the Lord is upon me,” which, by an original but appropriate conception, is given to the soprano voice. In the next number, the disciples23 are dramatically represented by twelve basses26 and tenors27, singing in four-part harmony, and alternating or combining with the full chorus in description of the aims of the new religion. The poem ends with the choral, “How lovely shines the Morning Star!” Then follows the sublime28 scene from Matthew xvi. 14-18, where Peter declares his master to be “the Christ, the Son of the living God,”— one of the most impressive scenes, we have always thought, in the gospel history, and here not inadequately29 treated. The feeling of mysterious and awful grandeur30 awakened31 by Peter’s bold exclamation32, “Thou art the Christ,” is powerfully rendered by the entrance of the trombones upon the inverted33 subdominant triad of C-sharp minor, and their pause upon the dominant of the same key. Throughout this scene the characteristic contrast between the ardent34 vigour35 of Peter and the sweet serenity36 of Jesus is well delineated in the music. After Peter’s stirring aria, “My heart is glad,” the dramatic climax37 is reached in the C-major chorus, “The Church is built upon the foundation of the apostles and prophets.”
The second scene is carried out to somewhat greater length, corresponding nearly to the last half of the first part of “Elijah,” from the point where the challenge is given to the prophets of Baal. In the opening passages of mingled38 recitative and arioso, Peter is forewarned that he shall deny his Master, and his half-indignant remonstrance39 is sustained, with added emphasis, by the voices of the twelve disciples, pitched a fourth higher. Then Judas comes, with a great multitude, and Jesus is carried before the high-priest. The beautiful F-minor chorus, “We hid our faces from him,” furnishes the musical comment upon the statement that “the disciples all forsook40 him and fled.” We hardly dare to give full expression to our feelings about this chorus (which during the past month has been continually singing itself over and over again in our recollection), lest it should be supposed that our enthusiasm has got the better of our sober judgment41. The second theme, “He was brought as a lamb to the slaughter42, yet he opened not his mouth,” is quite Handel-like in the simplicity43 and massiveness of its magnificent harmonic progressions. With the scene of the denial, for which we are thus prepared, the dramatic movement becomes exceedingly rapid, and the rendering44 of the events in the high-priest’s hall — Peter’s bass25 recitative alternating its craven protestations with the clamorous45 agitato chorus of the servants — is stirring in the extreme. The contralto aria describing the Lord’s turning and looking upon Peter is followed by the orchestra with a lament46 in B-flat minor, introducing the bass aria of the repentant47 and remorse-stricken disciple24, “O God, my God, forsake48 me not.” As the last strains of the lamentation49 die away, a choir of angels is heard, of sopranos and contraltos divided, singing, “Remember from whence thou art fallen,” to an accompaniment of harps50. The second theme, “He that overcometh shall receive a crown of life,” is introduced in full chorus, in a cheering allegro51 movement, preparing the way for a climax higher than any yet reached in the course of the work. This climax — delayed for a few moments by an andante aria for a contralto voice, “The Lord is faithful and righteous”— at last bursts upon us with a superb crescendo52 of strings, and the words, “Awake, thou that sleepest, arise from the dead, and Christ shall give thee light.” This chorus, which for reasons presently to be given was heard at considerable disadvantage at Portland, contains some of the best fugue-writing in the work, and is especially rich and powerful in its instrumentation.
The second part of the oratorio begins with the crucifixion and ascension of Jesus. Here we must note especially the deeply pathetic opening chorus, “The Son of Man was delivered into the hands of sinful men,” the joyous53 allegro, “And on the third day he rose again,” the choral, “Jesus, my Redeemer, lives,” and the quartet, “Feed the flock of God,” commenting upon the command of Jesus, “Feed my lambs.” This quartet has all the heavenly sweetness of Handel’s “He shall feed his flock,” which it suggests by similarity of subject, though not by similarity of treatment; but in a certain quality of inwardness, or religious meditativeness54, it reminds one more of Mr. Paine’s favourite master, Bach. The choral, like the one in the first part and the one which follows the scene of Pentecost, is taken from the Lutheran Choral Book, and arranged with original harmony and instrumentation, in accordance with the custom of Bach, Mendelssohn, and other composers, “of introducing into their sacred compositions the old popular choral melodies which are the peculiar55 offspring of a religious age.” Thus the noblest choral ever written, the “Sleepers, wake,” in “St. Paul,” was composed in 1604 by Praetorius, the harmonization and accompaniment only being the work of Mendelssohn.
In “St. Peter,” as in “Elijah,” the second part, while forming the true musical climax of the oratorio, admits of a briefer description than the first part. The wave of emotion answering to the sensuously56 dramatic element having partly spent itself, the wave of lyric57 emotion gathers fresh strength, and one feels that one has reached the height of spiritual exaltation, while, nevertheless, there is not so much which one can describe to others who may not happen to have gone through with the same experience. Something of the same feeling one gets in studying Dante’s “Paradiso,” after finishing the preceding divisions of his poem: there is less which can be pictured to the eye of sense, or left to be supplied by the concrete imagination. Nevertheless, in the scene of Pentecost, which follows that of the Ascension, there is no lack of dramatic vividness. Indeed, there is nothing in the work more striking than the orchestration of the introductory tenor recitative, the mysterious chorus, “The voice of the Lord divideth the flames of fire,” or the amazed query58 which follows, “Behold, are not all these who speak Galileans? and how is it that we every one hear them in our own tongue wherein we were born?” We have heard the opinion expressed that Mr. Paine’s oratorio must be lacking in originality59, since it suggests such strong reminiscences of “St. Paul.” Now, this suggestion, it seems to us, is due partly to the similarity of the subjects, independently of any likeness60 in the modes of treatment, and partly, perhaps, to the fact that Mr. Paine, as well as Mendelssohn, has been a devoted61 student of Bach, whose characteristics are so strong that they may well have left their mark upon the works of both composers. But especially it would seem that there is some real, though very general resemblance between this colloquial62 chorus, “Behold,” etc., and some choruses in “St. Paul,” as, for example Nos. 29 and 36-38. In the same way the scene in the high-priest’s hall might distantly suggest either of these passages, or others in “Elijah;” These resemblances, however, are very superficial, pertaining63 not to the musical but to the dramatic treatment of situations which are generically64 similar in so far, and only in so far, as they represent conversational65 passages between an apostle or prophet and an ignorant multitude, whether amazed or hostile, under the sway of violent excitement. As regards the musical elaboration of these terse66 and striking alternations of chorus and recitative, its originality can be questioned only after we have decided67 to refer all originality on such matters to Bach, or, indeed, even behind him, into the Middle Ages.
After the preaching of Peter, and the sweet contralto aria, “As for man, his days are as grass,” the culmination68 of this scene comes in the D-major chorus, “This is the witness of God.” What follows, beginning with the choral, “Praise to the Father,” is to be regarded as an epilogue or peroration69 to the whole work. It is in accordance with a sound tradition that the grand sacred drama of an oratorio should conclude with a lyric outburst of thanksgiving, a psalm70 of praise to the Giver of every good and perfect gift. Thus, after Peter’s labours are ended in the aria, “Now as ye were redeemed,” in which the twelve disciples and the full chorus join, a duet for tenor and soprano, “Sing unto God,” brings us to the grand final chorus in C major, “Great and marvellous are thy works, Lord God Almighty71.”
The cadence73 of this concluding chorus reminds us that one of the noteworthy points in the oratorio is the character of its cadences74. The cadence prepared by the 6/4 chord, now become so hackneyed from its perpetual and wearisome repetition in popular church music, seems to be especially disliked by Mr. Paine, as it occurs but once or twice in the course of the work. In the great choruses the cadence is usually reached either by a pedal on the tonic75, as in the chorus, “Awake, thou that sleepest,” or by a pedal on the dominant culminating in a chord of the major ninth, as in the final chorus; or there is a plagal cadence, as in the first chorus of the second part; or, if the 6/4 chord is introduced, as it is in the chorus, “He that overcometh,” its ordinary effect is covered and obscured by the movement of the divided sopranos. We do not remember noticing anywhere such a decided use of the 6/4 chord as is made, for example, by Mendelssohn, in “Thanks be to God,” or in the final chorus of “St. Paul.” Perhaps if we were to confess our lingering fondness for the cadence prepared by the 6/4 chord, when not too frequently introduced, it might only show that we retain a liking76 for New England “psalm-tunes”; but it does seem to us that a sense of final repose77, of entire cessation of movement, is more effectually secured by this cadence than by any other. Yet while the 6/4 cadence most completely expresses finality and rest, it would seem that the plagal and other cadences above enumerated78 as preferred by Mr. Paine have a certain sort of superiority by reason of the very incompleteness with which they express finality. There is no sense of finality whatever about the Phrygian cadence; it leaves the mind occupied with the feeling of a boundless79 region beyond, into which one would fain penetrate80; and for this reason it has, in sacred music, a great value. Something of the same feeling, too, attaches to those cadences in which an unexpected major third usurps81 the place of the minor which the ear was expecting, as in the “Incarnatus” of Mozart’s “Twelfth Mass,” or in Bach’s sublime “Prelude,” Part I., No. 22 of the “Well-tempered Clavichord82.” In a less degree, an analogous83 effect was produced upon us by the cadence with a pedal on the tonic in the choruses, “The Church is built,” and “Awake, thou that sleepest.” On these considerations it may become intelligible84 that to some hearers Mr. Paine’s cadences have seemed unsatisfactory, their ears having missed the positive categorical assertion of finality which the 6/4 cadence alone can give. To go further into this subject would take us far beyond our limits.
The pleasant little town of Portland has reason to congratulate itself, first, on being the birthplace of such a composer as Mr. Paine; secondly85, on having been the place where the first great work of America in the domain86 of music was brought out; and thirdly, on possessing what is probably the most thoroughly87 disciplined choral society in this country. Our New York friends, after their recent experiences, will perhaps be slow to believe us when we say that the Portland choir sang this new work even better, in many respects, than the Handel and Haydn Society sing the old and familiar “Elijah”; but it is true. In their command of the pianissimo and the gradual crescendo, and in the precision of their attack, the Portland singers can easily teach the Handel and Haydn a quarter’s lessons. And, besides all this, they know how to preserve their equanimity88 under the gravest persecutions of the orchestra; keeping the even tenour of their way where a less disciplined choir, incited89 by the excessive blare of the trombones and the undue90 scraping of the second violins, would be likely to lose its presence of mind and break out into an untimely fortissimo.
No doubt it is easier to achieve perfect chorus-singing with a choir of one hundred and twenty-five voices than with a choir of six hundred. But this diminutive91 size, which was an advantage so far as concerned the technical excellence92 of the Portland choir, was decidedly a disadvantage so far as concerned the proper rendering of the more massive choruses in “St. Peter.” All the greatest choruses — such as Nos. 1, 8, 19, 20, 28, 35, and 39 — were seriously impaired93 in the rendering by the lack of massiveness in the voices. For example, the grand chorus, “Awake, thou that sleepest,” begins with a rapid crescendo of strings, introducing the full chorus on the word “Awake,” upon the dominant triad of D major; and after a couple of beats the voices are reinforced by the trombones, producing the most tremendous effect possible in such a crescendo. Unfortunately, however, the brass94 asserted itself at this point so much more emphatically than the voices that the effect was almost to disjoin the latter portion of the chord from its beginning, and thus to dwarf95 the utterance96 of the word “Awake.” To us this effect was very disagreeable; and it was obviously contrary to the effect intended by the composer. But with a weight of four or five hundred voices, the effect would be entirely97 different. Instead of entering upon the scene as intruders, the mighty72 trombones would only serve to swell98 and enrich the ponderous99 chord which opens this noble chorus. Given greater weight only, and the performance of the admirable Portland choir would have left nothing to be desired.
We cannot speak with so much satisfaction of the performance of the orchestra. The instrumentation of “St. Peter” is remarkably100 fine. But this instrumentation was rather clumsily rendered by the orchestra, whose doings constituted the least enjoyable part of the performance. There was too much blare of brass, whine101 of hautboy, and scraping of strings. But in condonation102 of this serious defect, one must admit that the requisite amount of rehearsal103 is out of the question when one’s choir is in Portland and one’s orchestra in Boston; besides which the parts had been inaccurately104 copied. For a moment, at the beginning of the orchestral lament, there was risk of disaster, the wind instruments failing to come in at the right time, when Mr. Paine, with fortunate presence of mind, stopped the players, and the movement was begun over again — the whole occurring so quickly and quietly as hardly to attract attention.
In conclusion we would say a few words suggested by a recent critical notice of Mr. Paine’s work in the “Nation.” While acknowledging the importance of the publication of this oratorio, as an event in the art-history of America, the writer betrays manifest disappointment that this work should not rather have been a symphony,63 and thus have belonged to what he calls the “domain of absolute music.” Now with regard to the assumption that the oratorio is not so high a form of music as the symphony, or, in other words, that vocal105 music in general is artistically106 inferior to instrumental music, we may observe, first, that Ambros and Dommer — two of the most profound musical critics now living — do not sustain it. It is Beanquier, we think, who suggests that instrumental music should rank above vocal, because it is “pure music,” bereft107 of the fictitious108 aids of language and of the emotional associations which are grouped about the peculiar timbre109 of the human voice.64 At first the suggestion seems plausible110; but on analogous grounds we might set the piano above the orchestra, because the piano gives us pure harmony and counterpoint, without the adventitious111 aid of variety in timbre. And it is indeed true that, for some such reason as this, musicians delight in piano-sonatas, which are above all things tedious and unintelligible113 to the mind untrained in music. Nevertheless, in spite of its great and peculiar prerogatives114, it would be absurd to prefer the piano to the orchestra; and there is a kindred absurdity115 involved in setting the orchestra above that mighty union of orchestra, organ, and voices which we get in the oratorio. When the reason alleged116 for ranking the symphony above the oratorio leads us likewise to rank the sonata112 above the symphony, we seem to have reached a reductio ad absurdum.
63 Now within two years, Mr. Paine’s C-minor symphony has followed the completion of his oratorio.
64 These peculiar associations are no doubt what is chiefly enjoyed in music, antecedent to a properly musical culture. Persons of slight acquaintance with music invariably prefer the voice to the piano.
Rightly considered, the question between vocal and instrumental music amounts to this, What does music express? This is a great psychological question, and we have not now the space or the leisure requisite for discussing it, even in the most summary way. We will say, however, that we do not see how music can in any way express ideas, or anything but moods or emotional states to which the ideas given in language may add determination and precision. The pure symphony gives utterance to moods, and will be a satisfactory work of art or not, according as the composer has been actuated by a legitimate117 sequence of emotional states, like Beethoven, or by a desire to produce novel and startling effects, like Liszt. But the danger in purely118 instrumental music is that it may run riot in the extravagant119 utterance of emotional states which are not properly concatenated120 by any normal sequence of ideas associated with them. This is sometimes exemplified in the most modern instrumental music.
Now, as in real life our sequent clusters of emotional states are in general determined121 by their association with our sequent groups of intellectual ideas, it would seem that music, regarded as an exponent122 of psychical123 life, reaches its fullest expressiveness124 when the sequence of the moods which it incarnates125 in sound is determined by some sequence of ideas, such as is furnished by the words of a libretto126. Not that the words should have predominance over the music, or even coequal sway with it, but that they should serve to give direction to the succession of feelings expressed by the music. “Lift up your heads” and “Hallelujah” do not owe their glory to the text, but to that tremendous energy of rhythmic127 and contrapuntal progression which the text serves to concentrate and justify128. When precision and definiteness of direction are thus added to the powerful physical means of expression which we get in the combination of chorus, orchestra, and organ, we have attained129 the greatest sureness as well as the greatest wealth of musical expressiveness. And thus we may see the reasonableness of Dommer’s opinion that in order to restrain instrumental music from ruining itself by meaningless extravagance, it is desirable that there should be a renaissance130 of vocal music, such as it was in the golden age of Palestrina and Orlando Lasso.
We are not inclined to deny that in structural131 beauty — in the symmetrical disposition132 and elaboration of musical themes — the symphony has the advantage. The words, which in the oratorio serve to give definite direction to the currents of emotion, may also sometimes hamper133 the free development of the pure musical conception, just as in psychical life the obtrusive134 entrance of ideas linked by association may hinder the full fruition of some emotional state. Nevertheless, in spite of this possible drawback, it may be doubted if the higher forms of polyphonic composition fall so very far short of the symphony in capability135 of giving full elaboration to the musical idea. The practical testimony136 of Beethoven, in his Ninth Symphony, is decidedly adverse137 to any such supposition.
But to pursue this interesting question would carry us far beyond our limits. Whatever may be the decision as to the respective claims of vocal and instrumental music, we have every reason for welcoming the appearance, in our own country, of an original work in the highest form of vocal music. It is to be hoped that we shall often have the opportunity to “hear with our ears” this interesting work; for as a rule great musical compositions are peculiarly unfortunate among works of art, in being known at first hand by comparatively few persons. In this way is rendered possible that pretentious138 kind of dilettante139 criticism which is so common in musical matters, and which is often positively140 injurious, as substituting a factitious public opinion for one that is genuine. We hope that the favour with which the new oratorio has already been received will encourage the author to pursue the enviable career upon which he has entered. Even restricting ourselves to vocal music, there is still a broad field left open for original work. The secular141 cantata142 — attempted in recent times by Schumann, as well as by English composers of smaller calibre — is a very high form of vocal music; and if founded on an adequate libretto, dealing143 with some supremely144 grand or tragical145 situation, is capable of being carried to an unprecedented146 height of musical elaboration. Here is an opportunity for original achievement, of which it is to be hoped that some gifted and well-trained composer, like the author of “St. Peter,” may find it worth while to avail himself.
June, 1873.
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oratorio
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| n.神剧，宗教剧，清唱剧 | |
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requisite
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| adj.需要的，必不可少的；n.必需品 | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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posterity
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| n.后裔，子孙，后代 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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overture
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| n.前奏曲、序曲，提议，提案，初步交涉 | |
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adagio
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| adj.缓慢的；n.柔板；慢板；adv.缓慢地 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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presentiment
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| n.预感，预觉 | |
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agitated
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| adj.被鼓动的，不安的 | |
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strings
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| n.弦 | |
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dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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sundry
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| adj.各式各样的，种种的 | |
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inversions
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| 倒置( inversion的名词复数 )； （尤指词序）倒装； 转化； （染色体的）倒位 | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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descending
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| n. 下行 adj. 下降的 | |
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interval
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| n.间隔，间距；幕间休息，中场休息 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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aria
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| n.独唱曲，咏叹调 | |
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disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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disciple
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| n.信徒，门徒，追随者 | |
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bass
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| n.男低音(歌手)；低音乐器；低音大提琴 | |
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basses
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| 低音歌唱家，低音乐器( bass的名词复数 ) | |
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tenors
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| n.男高音( tenor的名词复数 )；大意；男高音歌唱家；（文件的）抄本 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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inadequately
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| ad.不够地；不够好地 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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exclamation
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| n.感叹号，惊呼，惊叹词 | |
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inverted
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| adj.反向的，倒转的v.使倒置，使反转( invert的过去式和过去分词 ) | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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serenity
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| n.宁静，沉着，晴朗 | |
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climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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remonstrance
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| n抗议，抱怨 | |
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forsook
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| forsake的过去式 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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rendering
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| n.表现，描写 | |
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clamorous
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| adj.吵闹的，喧哗的 | |
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46
lament
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| n.悲叹，悔恨，恸哭；v.哀悼，悔恨，悲叹 | |
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47
repentant
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| adj.对…感到悔恨的 | |
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48
forsake
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| vt.遗弃，抛弃；舍弃，放弃 | |
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49
lamentation
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| n.悲叹，哀悼 | |
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50
harps
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| abbr.harpsichord 拨弦古钢琴n.竖琴( harp的名词复数 ) | |
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51
allegro
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| adj. 快速而活泼的；n.快板；adv.活泼地 | |
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52
crescendo
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| n.(音乐)渐强，高潮 | |
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53
joyous
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| adj.充满快乐的；令人高兴的 | |
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54
meditativeness
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55
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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56
sensuously
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| adv.感觉上 | |
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57
lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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58
query
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| n.疑问，问号，质问；vt.询问，表示怀疑 | |
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59
originality
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| n.创造力，独创性；新颖 | |
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60
likeness
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| n.相像，相似（之处） | |
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61
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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62
colloquial
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| adj.口语的，会话的 | |
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63
pertaining
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| 与…有关系的，附属…的，为…固有的(to) | |
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64
generically
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| adv.一般地 | |
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65
conversational
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| adj.对话的，会话的 | |
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66
terse
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| adj.(说话，文笔)精炼的，简明的 | |
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67
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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68
culmination
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| n.顶点；最高潮 | |
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69
peroration
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| n.（演说等之）结论 | |
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70
psalm
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| n.赞美诗，圣诗 | |
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71
almighty
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| adj.全能的，万能的；很大的，很强的 | |
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72
mighty
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| adj.强有力的；巨大的 | |
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73
cadence
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| n.（说话声调的）抑扬顿挫 | |
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74
cadences
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| n.（声音的）抑扬顿挫( cadence的名词复数 )；节奏；韵律；调子 | |
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75
tonic
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| n./adj.滋补品，补药，强身的，健体的 | |
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76
liking
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| n.爱好；嗜好；喜欢 | |
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77
repose
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| v.(使)休息；n.安息 | |
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78
enumerated
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| v.列举，枚举，数( enumerate的过去式和过去分词 ) | |
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79
boundless
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| adj.无限的；无边无际的；巨大的 | |
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80
penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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81
usurps
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| 篡夺，霸占( usurp的第三人称单数 )； 盗用； 篡夺，篡权 | |
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82
clavichord
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| n.（敲弦）古钢琴 | |
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83
analogous
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| adj.相似的；类似的 | |
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84
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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85
secondly
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| adv.第二，其次 | |
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86
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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87
thoroughly
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| adv.完全地，彻底地，十足地 | |
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88
equanimity
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| n.沉着，镇定 | |
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89
incited
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| 刺激，激励，煽动( incite的过去式和过去分词 ) | |
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90
undue
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| adj.过分的；不适当的；未到期的 | |
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91
diminutive
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| adj.小巧可爱的，小的 | |
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92
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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93
impaired
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| adj.受损的；出毛病的；有（身体或智力）缺陷的v.损害，削弱( impair的过去式和过去分词 ) | |
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94
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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95
dwarf
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| n.矮子，侏儒，矮小的动植物；vt.使…矮小 | |
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96
utterance
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| n.用言语表达，话语，言语 | |
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97
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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98
swell
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| vi.膨胀，肿胀；增长，增强 | |
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99
ponderous
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| adj.沉重的，笨重的，(文章)冗长的 | |
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100
remarkably
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| ad.不同寻常地，相当地 | |
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101
whine
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| v.哀号，号哭；n.哀鸣 | |
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102
condonation
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| n.容忍，宽恕，原谅 | |
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103
rehearsal
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| n.排练，排演；练习 | |
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104
inaccurately
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| 不精密地，不准确地 | |
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105
vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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106
artistically
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| adv.艺术性地 | |
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107
bereft
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| adj.被剥夺的 | |
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108
fictitious
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| adj.虚构的，假设的；空头的 | |
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109
timbre
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| n.音色，音质 | |
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110
plausible
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| adj.似真实的，似乎有理的，似乎可信的 | |
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111
adventitious
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| adj.偶然的 | |
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112
sonata
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| n.奏鸣曲 | |
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113
unintelligible
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| adj.无法了解的，难解的，莫明其妙的 | |
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114
prerogatives
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| n.权利( prerogative的名词复数 )；特权；大主教法庭；总督委任组成的法庭 | |
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115
absurdity
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| n.荒谬，愚蠢；谬论 | |
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116
alleged
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| a.被指控的，嫌疑的 | |
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117
legitimate
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| adj.合法的，合理的，合乎逻辑的；v.使合法 | |
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118
purely
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| adv.纯粹地，完全地 | |
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119
extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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120
concatenated
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| v.把 （一系列事件、事情等）联系起来( concatenate的过去式和过去分词 ) | |
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121
determined
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| adj.坚定的；有决心的 | |
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122
exponent
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| n.倡导者，拥护者；代表人物；指数，幂 | |
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123
psychical
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| adj.有关特异功能现象的；有关特异功能官能的；灵魂的；心灵的 | |
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124
expressiveness
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| n.富有表现力 | |
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125
incarnates
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| v.赋予（思想、精神等）以人的形体( incarnate的第三人称单数 )；使人格化；体现；使具体化 | |
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126
libretto
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| n.歌剧剧本，歌曲歌词 | |
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127
rhythmic
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| adj.有节奏的，有韵律的 | |
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128
justify
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| vt.证明…正当(或有理)，为…辩护 | |
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129
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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130
renaissance
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| n.复活，复兴，文艺复兴 | |
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131
structural
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| adj.构造的，组织的，建筑（用）的 | |
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132
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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133
hamper
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| vt.妨碍，束缚，限制；n.(有盖的)大篮子 | |
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134
obtrusive
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| adj.显眼的；冒失的 | |
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135
capability
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| n.能力；才能；(pl)可发展的能力或特性等 | |
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136
testimony
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| n.证词；见证，证明 | |
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137
adverse
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| adj.不利的；有害的；敌对的，不友好的 | |
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138
pretentious
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| adj.自命不凡的，自负的，炫耀的 | |
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139
dilettante
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| n.半瓶醋，业余爱好者 | |
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140
positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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141
secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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142
cantata
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| n.清唱剧，大合唱 | |
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143
dealing
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| n.经商方法，待人态度 | |
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144
supremely
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| adv.无上地，崇高地 | |
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145
tragical
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| adj. 悲剧的, 悲剧性的 | |
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146
unprecedented
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| adj.无前例的，新奇的 | |
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