The Rocklopedia Fakebandica now has a podcast.
Listen now!
Difference between revisions of "Schilsky"
| Line 1: | Line 1: | ||
| − | Fictional composer and violinist from the 1908 novel ''Maurice Guest'' by Henry Handel Richardson (a pseudonym for Ethel Florence Lindesay Richardson). His first name is not given. | + | Fictional composer and violinist from the 1908 novel ''Maurice Guest'' by Henry Handel Richardson (a pseudonym for Australian writer Ethel Florence Lindesay Richardson). His first name is not given. The novel was adapted into a 1954 film with the title ''Rhapsody'', starring Elizabeth Taylor. |
<blockquote>"But his particular interest centred upon that evening's ABENDUNTERHALTUNG. A man named Schilsky, whom it was no exaggeration to call their finest, very finest violinist was to play [https://en.wikipedia.org/wiki/Henri_Vieuxtemps Vieuxtemps]' Concerto in D. Dove all but smacked his lips as he spoke of it. In reply to a query from Maurice, he declared with vehemence that this Schilsky was a genius. Although so great a violinist, he could play almost every other instrument with case; his memory had become a by-word; his compositions were already famous. At the present moment, he was said to be at work upon a symphonic poem, having for its base a new and extraordinary book, half poetry, half philosophy, a book which he, Dove, could confidently assert, would effect a revolution in human thought, but of which, just at the minute, he was unable to remember the name." | <blockquote>"But his particular interest centred upon that evening's ABENDUNTERHALTUNG. A man named Schilsky, whom it was no exaggeration to call their finest, very finest violinist was to play [https://en.wikipedia.org/wiki/Henri_Vieuxtemps Vieuxtemps]' Concerto in D. Dove all but smacked his lips as he spoke of it. In reply to a query from Maurice, he declared with vehemence that this Schilsky was a genius. Although so great a violinist, he could play almost every other instrument with case; his memory had become a by-word; his compositions were already famous. At the present moment, he was said to be at work upon a symphonic poem, having for its base a new and extraordinary book, half poetry, half philosophy, a book which he, Dove, could confidently assert, would effect a revolution in human thought, but of which, just at the minute, he was unable to remember the name." | ||
Revision as of 12:05, 23 October 2017
Fictional composer and violinist from the 1908 novel Maurice Guest by Henry Handel Richardson (a pseudonym for Australian writer Ethel Florence Lindesay Richardson). His first name is not given. The novel was adapted into a 1954 film with the title Rhapsody, starring Elizabeth Taylor.
"But his particular interest centred upon that evening's ABENDUNTERHALTUNG. A man named Schilsky, whom it was no exaggeration to call their finest, very finest violinist was to play Vieuxtemps' Concerto in D. Dove all but smacked his lips as he spoke of it. In reply to a query from Maurice, he declared with vehemence that this Schilsky was a genius. Although so great a violinist, he could play almost every other instrument with case; his memory had become a by-word; his compositions were already famous. At the present moment, he was said to be at work upon a symphonic poem, having for its base a new and extraordinary book, half poetry, half philosophy, a book which he, Dove, could confidently assert, would effect a revolution in human thought, but of which, just at the minute, he was unable to remember the name."
He attains some prominence by the end of the novel:
Only a few of those present had known Schilsky personally; but one and all were curious to catch a glimpse of the quondam Leipzig student, who, it was whispered, would soon return to the town to take up a leading position in the orchestra. Schilsky was now Konzertmeister in a large South German town; but it was rather as a composer that his name had begun to burn on people's tongues. His new symphonic poem, Über die letzten Dinge, had drawn down on his head that mixture of extravagant laudation and abusive derision which constitutes fame.
