French Horn Quotes

The Violins waltzed. The Cellos and Basses provided accompaniment. The Violas mourned their fate, while the Concertmaster showed off. The Flutes did bird imitations…repeatedly, and the reed instruments had the good taste to admire my jacket. The Trumpets held a parade in honor of our great nation, while the French Horns waxed nostalgic about something or other. The Trombones had too much to drink. The Percussion beat the band, and the Tuba stayed home playing cards with his landlady, the Harp, taking sips of warm milk a blue little cup. “But the Composer is still dead.

Music is everywhere,” Maude said softly. “It is in the water, in the wind’s hum, in the bird’s cry, in the boat’s horn. Rhythm surrounds us. That is one of life’s greatest gifts.

Oyin Da’s mind is as elegant as a French horn, thoughts moving in whorls and evoking fresh mint leaves.

Unicorn. Old french, unicorne. Latin ūnicornis. Literally one horned. Unus one and cornu a horn. A fabulous animal resembling a horse with one horn. Visible only to those who search and trust and generally mistaken for a white mare. Unicorn.

I stay in bed for as long as possible, but eventually my bladder wins. When I come back from the bathroom, he's looking out my window. He turns around and laughs. "Your hair. It's sticking up in all different directions." St. Clair pronounces it die-rections and illustrates his point by poking his fingers up around his head like antlers. "You're one to speak." "Ah,but it looks purposeful on me. Took me ages to realize the best way to get that mussed look was to ignore it completely." "So you're saying it looks like crap on me?" I glance in the mirror,and I'm alarmed to discover I do resemble a horned beast. "No.I like it.

Elephants, it turns out, are surprisingly stealthy. As the sunlight fades, other species declare their presence. Throngs of zebras and wildebeests thunder by in the distance, trailing dust clouds. Cape buffalo snort and raise their horns and position themselves in front of their young. Giraffes stare over treetops, their huge brown eyes blinking, then lope away in seeming slow motion. But no elephants.

The thought of being immersed in the jazz scene in New Orleans, that magical hodgepodge of Delta-blues guitar riffs, brassy ragtime horns, and sultry French Gypsy music is too painful for Karina to stomach. Every girl loves a wedding unless the groom is the lost love of her life.

dense with French horns that left emphatic crescents of sound in the air.

...she found Robinson among the hundreds of New Yorkers who managed to make a great amount of money for doing almost nothing at all but was pretty as god and possessed of a voice like a French horn, so that at crucial parties he could say practically nothing and leave the impression among the more musically eared that profundity of the eternal sort had passed near.

Olmsted’s greatest concern, however, was that the main, Jackson Park portion of the exposition simply was not fun. “There is too much appearance of an impatient and tired doing of sight-seeing duty. A stint to be got through before it is time to go home. The crowd has a melancholy air in this respect, and strenuous measures should be taken to overcome it.” Just as Olmsted sought to conjure an aura of mystery in his landscape, so here he urged the engineering of seemingly accidental moments of charm. The concerts and parades were helpful but were of too “stated or programmed” a nature. What Olmsted wanted were “minor incidents … of a less evidently prepared character; less formal, more apparently spontaneous and incidental.” He envisioned French horn players on the Wooded Island, their music drifting across the waters. He wanted Chinese lanterns strung from boats and bridges alike. “Why not skipping and dancing masqueraders with tambourines, such as one sees in Italy? Even lemonade peddlers would help if moving about in picturesque dresses; or cake-sellers, appearing as cooks, with flat cap, and in spotless white from top to toe?” On nights when big events in Jackson Park drew visitors away from the Midway, “could not several of the many varieties of ‘heathen,’ black, white and yellow, be cheaply hired to mingle, unobtrusively, but in full native costume, with the crowd on the Main Court?

Omega Point” theology developed by the French Jesuit

Wolfgang Amadé Mozart takes pity on Leutgeb, ass, ox, and simpleton, at Vienna, March 27, 1783.

Yes, the laws of self-preservation and of self-destruction are equally powerful in this world. The devil will hold his empire over humanity until a limit of time which is still unknown. You laugh? You do not believe in the devil? Scepticism as to the devil is a French idea, and it is also a frivolous idea. Do you know who the devil is? Do you know his name? Although you don't know his name you make a mockery of his form, following the example of Voltaire. You sneer at his hoofs, at his tail, at his horns—all of them the produce of your imagination! In reality the devil is a great and terrible spirit, with neither hoofs, nor tail, nor horns; it is you who have endowed him with these attributes! But… he is not the question just now!

Most families have increased the speed of their lives and the number of their activities gradually--even unconsciously--over time. They realize that there are costs to a consistently fast-paced, hectic schedule, but they've adjusted. And looking around, there always seems to be another family that does everything you do, and more, managing to squeeze in skiing, or Space Camp, or French horn lessons on top of everything else. How do they do it? They do it by never asking 'Why?' Why do our kids need to be busy all of the time? Why does our son, age twelve, need to explore the possibility of space travel? Why do we feel we must offer everything? Why must it all happen now? Why does tomorrow always seem a bit late? Why would we rather squeeze more things into our schedules than to see what happens over time? What happens when we stop, when we have free time?

Count all these sufferings from here to the end of the endless sky which is no sky and see how many you can add together to make a figure to impress the Boss of Dead Souls in the Meat Manufactory in city City CITY everyone of them in pain and born to die, milling in the streets at 2 A M underneath those imponderable skies”—their enormous endlessness, the sweep of the Mexican plateau away from the Moon—living but to die, the sad song of it I hear sometimes on my roof in the Tejado district, rooftop cell, with candles, waiting for my Nirvana or my Tristessa—neither come, at noon I hear “La Paloma” being played on mental radios in the fallways between the tenement windows—the crazy kid next door sings, the dream is taking place right now, the music is so sad, the French horns ache, the high whiney violins and the deberratarra-rabaratarara of the Indian Spanish announcer. Living but to die, here we wait on this shelf, and up in heaven is all that gold open caramel, ope my door—Diamond Sutra is the sky.

The Grand Conspiracy, a Devil-substitute for an age that was too grown-up to believe in the horned version, had been born. ‘There is something satanic about the French Revolution that distinguishes it from everything we have known, and perhaps from everything we will ever witness,

Surely an instrument is neither male nor female—they’re just things that make sound—strings and bows, brass and wood, mallets and cymbals and drumskins and little metal triangles. And yet all you have to do is look around at these musicians to see the way that even sound is gendered. In the middle of the orchestra is the brass section—tubas, trombones, trumpets, French horn, every last one of them played by boys. It’s not all that different in the woodwinds—where the boys play bassoons and clarinets, but all the flutes are played by girls. The strings are even more ridiculous—the deeper the instrument, the more likely it is to be played by a boy. So all the basses? Boys. Most of the cellos? Boys. The violas split half and half. All but one of the violins? Girls. Then there’s the harp, which I guess federal law requires be played by a girl. And the percussion and kettle drums, which are usually played by boys. How weird is this? Most of us decided to play our instruments in third grade, a bunch of little kids who made our choices without even thinking about them. But even at eight years old, we were already running the gender maze that the world had set for us, without even realizing it.

ODE TO A HAGGIS Fair fa’ your honest, sonsie face, Great Chieftan o’ the Puddin-race! Aboon them a’ ye tak your place, Painch, tripe, or thairm: Weel are ye wordy of a grace As lang’s my arm The groaning trencher there ye fill, Your hurdies like a distant hill, You pin wad help to mend a mill In time o’need While thro’ your pores the dews distil Like amber bead His knife see Rustic-labour dight, An’ cut you up wi’ ready slight, Trenching your gushing entrails bright Like onie ditch; And then, O what a glorious sight, Warm-reeking, rich! Then, horn for horn they stretch an’ strive, Deil tak the hindmost, on they drive, Till a’ their weel-swall’d kytes belyve Are bent like drums; Then auld Guidman, maist like to rive Bethankit hums Is there that owre his French ragout, Or olio that wad staw a sow, Or fricassee wad mak her spew Wi’ perfect sconner, Looks down wi’ sneering, scornfu’ view On sic a dinner? Poor devil! see him owre his trash, As feckless as a wither’d rash His spindle-shank a guid whip-lash, His nieve a nit; Thro’ bluidy flood or field to dash, O how unfit! But mark the Rustic, haggis-fed, The trembling earth resounds his tread, Clap in his walie nieve a blade, He’ll mak it whissle; An’ legs, an’ arms an’ heads will sned, Like taps o’ thrissle Ye pow’rs wha mak mankind your care, An’ dish them out their bill o’fare, Auld Scotland wants nae skinking ware That jaups in luggies; But, if ye wish her gratefu’ pray’r, Gie her a Haggis!

Hérault, Fabre thinks: and his mind drifts back—as it tends to, these days— to the Café du Foy. He’d been giving readings from his latest—Augusta was dying the death at the Italiens—and in came this huge, rough-looking boy, shoe-horned into a lawyer’s black suit, whom he’d made a sketch of in the street, ten years before. The boy had developed this upper-class drawl, and he’d talked about Hérault—“his looks are impeccable, he’s well traveled, he’s pursued by all the ladies at Court”—and beside Danton had been this fey wide-eyed egotist who had turned out to be half the city’s extramarital interest. The years pass … plus ça change, plus c’est la même chose …

JULY 20. I've just walked into the opera house. I have no programme. Strange new players are premiering a piece by a flamboyant new composer. Front and centre, three, maybe four, whales begin — a swelling string section — discordant, irresolute harmonies fill the concert hall. Then two more whales, stage right, come in, playing eight octave clarinets, counterpointing the string section. And then they, too, are counterpointed by occasional glissando slurs and passages played pizzicato by whales at the rear of the stage. But suddenly, a programme change: The orchestra members switch clothes and pull new instruments from their cases. The French horn players begin wailing on shiny, sleazy saxophones. The trumpeters spit rapid-fire bursts into an underwater echo chamber — the deep, rocky corridor of Johnstone Strait.

The history of France, a permanent miracle,” says André Maurois at the end of his Histoire de la France, “has the singular privilege of impassioning the peoples of the earth to the point where they all take part in French quarrels.

Music is everywhere,” Maude said softly. “It is in the water, in the wind’s hum, in the bird’s cry, in the boat’s horn. Rhythm surrounds us. That is one of life’s greatest gifts.” “I

Orsini and one of his fellow conspirators were guillotined, and an accomplice called Carlo di Rudio was transported to Devil’s Island, the notorious French prison camp in French Guiana. He escaped and later fought alongside General Custer at Little Big Horn. True to form, he survived.

She asked me if I would visit the music class sometime and speak to the kids about the viability of a music career. A few months later I found myself there in that same music room, talking to the kids and jamming out for them. The kids were beautiful, the jamming and talking was cool, but I walked away from the experience shaken. The last time I had been in that room was twenty years before, and it had been packed full of kids playing French horns, clarinets, violins, basses, trombones, flutes, tympani, and saxophones, all under the capable instruction of orchestra teacher Mr. Brodsky. It was a room alive with sound and learning! Any instrument a kid wanted to play was there to be learned and loved. But on this day, there were no instruments, no rustling of sheet music, no trumpet spit muddying the floor, no ungodly cacophony of squeaks and wails driving Mr. Brodsky up a fucking wall. There was a volunteer teacher, a group of interested kids, and a boom box. A music appreciation class. All the arts funding had been cut the year after I left Fairfax, under the auspices of a ridiculous law called Proposition 13, a symptom of the Reaganomics trickle-down theory. I was shocked to realize that these kids didn’t get an opportunity to study an instrument and blow in an orchestra. I thought back to the dazed days when I would show up to school after one of Walter’s violent episodes, and the peace I found blowing my horn in the sanctuary of that room. I thought of the dreams Tree and I shared there of being professional musicians, before going over to his house to be inspired by the great jazzers. Because I loved playing in the orchestra I’d be there instead of out doing dumb petty crimes. I constantly ditched school, but the one thing that kept me showing up was music class. FUCK REAGANOMICS. Man, kids have different types of intelligences, some arts, some athletics, some academics, but all deserve to be nurtured, all deserve a chance to shine their light.

They gave Orpheus a bunch of different instruments to try: a drum set, a French horn, a ’67 Telecaster. Orpheus excelled at all of them.

For the Negroes on the island” of Jamaica “being 80,000,” it was said in 1714, and the “white people not above 2000,” the former “may at any time rise and destroy the white people”; besides, Jamaica had a “formidable neighbour,” referring to the “French on Hispaniola,” which increased the peril, as the internal and external antagonists could combine.

political theory, this also relates to the term “Year Zero” reflected in such historical events as the 1975 takeover of Cambodia by the Khmer Rouge and to the “Year One” of the French Revolutionary calendar.

Not to be confused with Der Flügel, which is an earlier form of the baby grand piano, the Flugelhorn is a wind instrument akin to the trumpet, but has a wider, conical bore. It is actually a descendant of the valved bugle, which had been developed from a hunting horn known in eighteenth-century Germany as a Flügelhorn. This valved instrument is similar to the B♭pitch of many trumpets and cornets and was actually inspired by the eighteenth-century saxhorn on which the flugelhorn is modeled. The German word Flügel means wing and in the early part of the 18th century Germany the leader or Führer of the hunt was known as a Flügelmeister who issued his orders of the hunt with, you guessed it, a Flügelhorn. Some modern flugelhorns feature a fourth valve that adds a lower range and extends the instrument's abilities, however some players use the fourth valve in place of the first and third valve combination making the instrument somewhat sharper and more confusing. The tone range is "fatter" and usually regarded as more “mellow” and “darker” than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn and is a standard member of the British-style brass band. Joe Bishop an American jazz musician and composer, not to be confused with Joey Bishop of the Rat Pack, was a member of the Woody Herman band and was one of the earliest jazz musicians to use the flugelhorn.

Monsieur le Gouverneur-Général, you reason in the French of France, but we reason in the French of Algeria.” It was not at all the same language, as was to become tragically plain later, and in order to understand events from 1954 onwards it is necessary to accept the existence of three totally distinct peoples — the French of France, the French of Algeria, and the Muslims of Algeria.

What can you tell me about this ship?” “She’s one hundred fifteen feet in length, with a beam of twenty-eight, and a depth of sixteen—” “I meant, more generally, what can you tell me about the ship?” “We were a whaler, came sailing around Cape Horn, where we put in at Paita in Peru. The captain received an urgent letter from the American consulate there, enjoining him to pick up passengers and cargo at Panama and bring them to San Francisco. We sold off or unloaded all our stores right there, and converted the ship as well as we might en route to Panama. Once we got here, the captain decided to run the ship aground at high tide. . . .” Again, not exactly what I need to know. “Maybe it would just be better to take us on a tour.” “I can do that,” he says. “Olive! Andrew!” calls out Becky. “Gather around. We’re going to take a tour of the ship.” Our group, which had been wandering and inspecting independently, converges at the center of the deck. Melancthon points to the front of the ship. “That’s the foaksul . . .” “Pardon me, the what?” asks Tom. “Could you spell that please?” “F-O-R-E-C-A-S-T-L-E.” “Ah,” says Tom, as if this makes perfect sense. “Forecastle?” I ask. “That’s what I said!” Melancthon points in the other direction. “And that’s the quarter deck, and there in the rear, that’s the poop deck.” Olive turns to her mother. “Ma, did he just say poop deck?” “I’m certain you misheard,” Becky says. “It’s from la poupe, the French word for the stern of the ship,” Henry explains. “Which, in turn, is derived from the Latin word puppis.” “La poop, la poop, la poop,” Andrew says. His mother turns scarlet. This is all going terribly off track. “Maybe I can just tell you what I want, and you can tell me if it can be done, and, if so, how fast you can do it.” “Yes, ma’am,” Melancthon says.

Anything is possible on Fasnacht, Art said. Let’s go find the guggenmusikplatz, I like those bands. Guggenmusik? You know, brass bands. They’re mostly school band reunions, and they play really loudly and out of tune. On purpose? Yes. It’s a Swiss thing, I think. On festival night you’re supposed to go wild, so for them that means playing your French horn out of tune!

Charles sold these and several other items before moving onto the next lot. "Next up is a figurine of a rhino in amber-coloured glass, maker unknown but definitely of the art deco period. Where is it? Oh it's up here. I'll pass it down to you Angela, my dear. That's right, let me give you the horn." Laughter ran through the crowd but Charles didn't understand why. He did his best to carry on but the mood of the audience had turned playful. "Lot forty-seven is a beautiful pair of French, silver and cut-glass claret jugs." Angela held them up carefully. "These really are exquisite and well worth a good look," Charles continued, "Now, can everyone see Angela's jugs?" The crowd laughed out loud again. Angela stood there, feeling her face turning red with embarrassment.

Sometimes I think you’re allergic to fun,” Carrie said. That stung. He was having fun right now! He wasn’t wild enough for her. When she was slipping into restaurants in scant clothes, he walked around Berkeley in the dark. Carefree, the politician had called college students. Walter had cares, but he’d also had days at Ken’s house; he’d gone swimming in a pond at dawn with a girl he almost loved. His first day in the dorm, the glimpse of gold under the cloth draped over Ken’s French horn. He wouldn’t have swapped his own youth.

they both chose brass instruments—Vivs the saxophone and Laura the French horn

Could you", wrote Mr. Jefferson, "Find me a gardener Who can play the french horn?

He was going to use his enormous lung capacity to climb mountains and clean the garbage off the top of them for a couple of years and I'd use mine to learn how to play the French horn properly. And if none of that worked out, we'd just breathe.

French provides a very striking case of multiple meta-analysis. Our word unicorn derives from Latin, in which it is composed of uni- ‘one’ and cornu ‘horn’. In English, nothing much has happened to this word, except that most speakers, knowing nothing of Latin, probably don’t assign any internal structure to it: they just regard it as a single morpheme, on a par with horse or giraffe. Most European languages have the identical word, but the French word is the curious licorne. Where did this come from? The original word, of course, was unicorne, a grammatically feminine noun. But the French word for ‘a’ with a feminine noun is une – and hence unicorne was misinterpreted as une icorne, and icorne therefore became the French name of the beast. But the French word for ‘the’ before a noun beginning with a vowel is l’. Hence ‘the unicorne’ was expressed as l’icorne – and this form in turn was reanalysed as a single noun licorne, producing the modern form.

He turned around to see the bass drum popping and the horn sections pointing their instruments to the balconies and sending glorious notes to the rooftops.

When he gets up he spends an hour kicking and stamping on his French horn so he will not have to play it again. Music, maths, these are things that no longer make any sense to him. They are too perfect, they do not belong here. He does not khow how he ever believed this universe could be a symphony played on super-strings, when it sounds like shit, played on shit.