…in the use of diatonic discords or discords of transition; many instances appear of passages by contrary motion, each carrying their harmonies with them.” (Musical World, London, March 1836) Source: Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time by Nicolas Slonimsky (1953)
> it was universally condemned by contemporary music critics Reading Slonimsky's Lexicon of Musical Invective: critical assaults on composers since Beethoven's time, entirely made up of contemporary condemnation of what seems every famous composer since (and including) Beethoven, I get the impression you could…
“……在使用自然音不协和音或过渡不协和音方面；多次出现反向进行的乐句，且每个声部都各自带有其和声。”（《音乐世界》，伦敦，1836年3月）出处：Nicolas Slonimsky 所著的《音乐谩骂词典：自贝多芬时代以来的作曲家批评大赏》（1953年）
…in the use of diatonic discords or discords of transition; many instances appear of passages by contrary motion, each carrying their harmonies with them.” (Musical World, London, March 1836) Source: Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time by Nicolas Slonimsky (1953)
> 当时的乐评人对此一致口诛笔伐读 Slonimsky 的《音乐谩骂词典：自贝多芬时代以来的作曲家批评大赏》（里面全是同时代人对贝多芬以来、包括贝多芬在内的几乎每一位知名作曲家的抨击），给我的感觉是，你简直可以……
> it was universally condemned by contemporary music critics Reading Slonimsky's Lexicon of Musical Invective: critical assaults on composers since Beethoven's time, entirely made up of contemporary condemnation of what seems every famous composer since (and including) Beethoven, I get the impression you could…