[Sidenote: The critic's responsibilities.]

[Sidenote: Toward the musician.]

[Sidenote: Position and power of the newspaper.]

But when we place so great a mission as the education of public taste before the critic, we saddle him with a vast responsibility which is quite evenly divided between the musician and the public. The responsibility toward the musician is not that which we are accustomed to hear harped on by the aggrieved ones on the day after a concert. It is toward the musician only as a representative of art, and his just claims can have nothing of selfishness in them. The abnormal sensitiveness of the musician to criticism, though it may excite his commiseration and even honest pity, should never count with the critic in the performance of a plain duty. This sensitiveness is the product of a low state in music as well as criticism, and in the face of improvement in the two fields it will either disappear or fall under a killing condemnation. The power of the press will here work for good. The newspaper now fills the place in the musician's economy which a century ago was filled in Europe by the courts and nobility. Its support, indirect as well as direct, replaces the patronage which erstwhile came from these powerful ones. The evils which flow from the changed conditions are different in extent but not in kind from the old. Too frequently for the good of art that support is purchased by the same crookings of "the pregnant hinges of the knee" that were once the price of royal or noble condescension. If the tone of the press at times becomes arrogant, it is from the same causes that raised the voices and curled the lips of the petty dukes and princes, to flatter whose vanity great artists used to labor.

[Sidenote: The musician should help to elevate the standard of criticism.]

[Sidenote: A critic must not necessarily be a musician.]

[Sidenote: Pedantry not wanted.]

The musician knows as well as anyone how impossible it is to escape the press, and it is, therefore, his plain duty to seek to raise the standard of its utterances by conceding the rights of the critic and encouraging honesty, fearlessness, impartiality, intelligence, and sympathy wherever he finds them. To this end he must cast away many antiquated and foolish prejudices. He must learn to confess with Wagner, the arch-enemy of criticism, that "blame is much more useful to the artist than praise," and that "the musician who goes to destruction because he is faulted, deserves destruction." He must stop the contention that only a musician is entitled to criticise a musician, and without abating one jot of his requirements as to knowledge, sympathy, liberality, broad-mindedness, candor, and incorruptibility on the part of the critic, he must quit the foolish claim that to pronounce upon the excellence of a ragout one must be able to cook it; if he will not go farther he must, at least, go with the elder D'Israeli to the extent of saying that "the talent of judgment may exist separately from the power of execution." One need not be a composer, but one must be able to feel with a composer before he can discuss his productions as they ought to be discussed. Not all the writers for the press are able to do this; many depend upon effrontery and a copious use of technical phrases to carry them through. The musician, alas! encourages this method whenever he gets a chance; nine times out of ten, when an opportunity to review a composition falls to him, he approaches it on its technical side. Yet music is of all the arts in the world the last that a mere pedant should discuss.

But if not a mere pedant, then neither a mere sentimentalist.

[Sidenote: Intelligence versus emotionalism.]

"If I had to choose between the merits of two classes of hearers, one of whom had an intelligent appreciation of music without feeling emotion; the other an emotional feeling without an intelligent analysis, I should unhesitatingly decide in favor of the intelligent non-emotionalist. And for these reasons: The verdict of the intelligent non-emotionalist would be valuable as far as it goes, but that of the untrained emotionalist is not of the smallest value; his blame and his praise are equally unfounded and empty."

[Sidenote: Personal equation.]

[Sidenote: Exact criticism.]

So writes Dr. Stainer, and it is his emotionalist against whom I uttered a warning in the introductory chapter of this book, when I called him a rhapsodist and described his motive to be primarily a desire to present himself as a person of unusually exquisite sensibilities. Frequently the rhapsodic style is adopted to conceal a want of knowledge, and, I fancy, sometimes also because ill-equipped critics have persuaded themselves that criticism being worthless, what the public need to read is a fantastic account of how music affects them. Now, it is true that what is chiefly valuable in criticism is what a man qualified to think and feel tells us he did think and feel under the inspiration of a performance; but when carried too far, or restricted too much, this conception of a critic's province lifts personal equation into dangerous prominence in the critical activity, and depreciates the elements of criticism, which are not matters of opinion or taste at all, but questions of fact, as exactly demonstrable as a problem in mathematics. In musical performance these elements belong to the technics of the art. Granted that the critic has a correct ear, a thing which he must have if he aspire to be a critic at all, and the possession of which is as easily proved as that of a dollar-bill in his pocket, the questions of justness of intonation in a singer or instrumentalist, balance of tone in an orchestra, correctness of phrasing, and many other things, are mere determinations of fact; the faculties which recognize their existence or discover their absence might exist in a person who is not "moved by concord of sweet sounds" at all, and whose taste is of the lowest type. It was the acoustician Euler, I believe, who said that he could construct a sonata according to the laws of mathematics—figure one out, that is.

[Sidenote: The Rhapsodists.]

[Sidenote: An English exemplar.]

Because music is in its nature such a mystery, because so little of its philosophy, so little of its science is popularly known, there has grown up the tribe of rhapsodical writers whose influence is most pernicious. I have a case in mind at which I have already hinted in this book—that of a certain English gentleman who has gained considerable eminence because of the loveliness of the subject on which he writes and his deftness in putting words together. On many points he is qualified to speak, and on these he generally speaks entertainingly. He frequently blunders in details, but it is only when he writes in the manner exemplified in the following excerpt from his book called "My Musical Memories," that he does mischief. The reverend gentleman, talking about violins, has reached one that once belonged to Ernst. This, he says, he sees occasionally, but he never hears it more except

[Sidenote: Ernst's violin.]

"In the night ... under the stars, when the moon is low and I see the dark ridges of the clover hills, and rabbits and hares, black against the paler sky, pausing to feed or crouching to listen to the voices of the night....

"By the sea, when the cold mists rise, and hollow murmurs, like the low wail of lost spirits, rush along the beach....

"In some still valley in the South, in midsummer. The slate-colored moth on the rock flashes suddenly into crimson and takes wing; the bright lizard darts timorously, and the singing of the grasshopper—"

[Sidenote: Mischievous writing.]

[Sidenote: Musical sensibility and sanity.]

Well, the reader, if he has a liking for such things, may himself go on for quantity. This is intended, I fancy, for poetical hyperbole, but as a matter of fact it is something else, and worse. Mr. Haweis does not hear Ernst's violin under any such improbable conditions; if he thinks he does he is a proper subject for medical inquiry. Neither does his effort at fine writing help us to appreciate the tone of the instrument. He did not intend that it should, but he probably did intend to make the reader marvel at the exquisite sensibility of his soul to music. This is mischievous, for it tends to make the injudicious think that they are lacking in musical appreciation, unless they, too, can see visions and hear voices and dream fantastic dreams when music is sounding. When such writing is popular it is difficult to make men and women believe that they may be just as susceptible to the influence of music as the child Mozart was to the sound of a trumpet, yet listen to it without once feeling the need of taking leave of their senses or wandering away from sanity. Moreover, when Mr. Haweis says that he sees but does not hear Ernst's violin more, he speaks most undeserved dispraise of one of the best violin players alive, for Ernst's violin now belongs to and is played by Lady Halle—she that was Madame Norman-Neruda.

[Sidenote: A place for rhapsody.]

[Sidenote: Intelligent rhapsody.]

Is there, then, no place for rhapsodic writing in musical criticism? Yes, decidedly. It may, indeed, at times be the best, because the truest, writing. One would convey but a sorry idea of a composition were he to confine himself to a technical description of it—the number of its measures, its intervals, modulations, speed, and rhythm. Such a description would only be comprehensible to the trained musician, and to him would picture the body merely, not the soul. One might as well hope to tell of the beauty of a statue by reciting its dimensions. But knowledge as well as sympathy must speak out of the words, so that they may realize Schumann's lovely conception when he said that the best criticism is that which leaves after it an impression on the reader like that which the music made on the hearer. Read Dr. John Brown's account of one of Halle's recitals, reprinted from "The Scotsman," in the collection of essays entitled "Spare Hours," if you would see how aptly a sweetly sane mind and a warm heart can rhapsodize without the help of technical knowledge:

[Sidenote: Dr. Brown and Beethoven.]

"Beethoven (Dr. Brown is speaking of the Sonata in D, op. 10, No. 3) begins with a trouble, a wandering and groping in the dark, a strange emergence of order out of chaos, a wild, rich confusion and misrule. Wilful and passionate, often harsh, and, as it were, thick with gloom; then comes, as if 'it stole upon the air,' the burden of the theme, the still, sad music—Largo e mesto—so human, so sorrowful, and yet the sorrow overcome, not by gladness but by something better, like the sea, after a dark night of tempest, falling asleep in the young light of morning, and 'whispering how meek and gentle it can be.' This likeness to the sea, its immensity, its uncertainty, its wild, strong glory and play, its peace, its solitude, its unsearchableness, its prevailing sadness, comes more into our minds with this great and deep master's works than any other."

That is Beethoven.

[Sidenote: Apollo and the critic—a fable.]

[Sidenote: The critic's duty to admire.]

[Sidenote: A mediator between musician and public.]

[Sidenote: Essential virtues.]

Once upon a time—it is an ancient fable—a critic picked out all the faults of a great poet and presented them to Apollo. The god received the gift graciously and set a bag of wheat before the critic with the command that he separate the chaff from the kernels. The critic did the work with alacrity, and turning to Apollo for his reward, received the chaff. Nothing could show us more appositely than this what criticism should not be. A critic's duty is to separate excellence from defect, as Dr. Crotch says; to admire as well as to find fault. In the proportion that defects are apparent he should increase his efforts to discover beauties. Much flows out of this conception of his duty. Holding it the critic will bring besides all needful knowledge a fulness of love into his work. "Where sympathy is lacking, correct judgment is also lacking," said Mendelssohn. The critic should be the mediator between the musician and the public. For all new works he should do what the symphonists of the Liszt school attempt to do by means of programmes; he should excite curiosity, arouse interest, and pave the way to popular comprehension. But for the old he should not fail to encourage reverence and admiration. To do both these things he must know his duty to the past, the present, and the future, and adjust each duty to the other. Such adjustment is only possible if he knows the music of the past and present, and is quick to perceive the bent and outcome of novel strivings. He should be catholic in taste, outspoken in judgment, unalterable in allegiance to his ideals, unswervable in integrity.



PLATES



INDEX

Absolute music, 36

Academy of Music, New York, 203

Adagio, in symphony, 133

Addison, 205, 206, 208

Allegro, in symphony, 132

Allemande, 173, 174

Alto clarinet, 104

Alto, male, 260

Amadeo, 241

Ambros, August Wilhelm, 49

Antiphony, 267

Archilochus, 213

Aria, 235

Arioso, 235

Asaph, 115

Bach, C.P.E., 180, 185

Bach, Johann Sebastian, 69, 83, 148, 167, 169, 170, 171, 174, 176, 180, 181, 184, 192, 257, 259, 267, 268, 278, 281, 282, 283, 286, 287, 289; his music, 281 et seq.; his technique as player, 180, 181, 184; his choirs, 257, 259; compared with Palestrina, 278; "Magnificat," 283; Mass in B minor, 283; Chromatic Fantasia and Fugue, 171; Suites, 174, 176; "St. Matthew Passion," 267, 278, 282, 286, 289; Motet, "Sing ye to the Lord," 268; "St. John Passion," 286

Balancement, 170

Balfe, 223

Ballade, 192

Ballet music, 152

Balletto, 173

Bass clarinet, 104

Bass trumpet, 81, 82

Basset horn, 82

Bassoon, 74, 82, 99, 101 et seq.

Bastardella, La, 239

Bayreuth Festival orchestra, 81, 82

Bebung, 169, 170

Beethoven, 27, 28, 29, 30, 31, 32, 33, 34, 35, 44, 46, 47, 49, 53, 60, 62, 63, 70, 92, 94, 101, 102, 103, 106, 113, 120, 125, 131, 132, 133, 136, 137, 138, 140, 141, 146, 147, 151, 167, 182, 184, 186, 187, 193, 195, 196, 203, 208, 232, 292, 321, 322; likenesses in his melodies, 33, 34; unity in his works, 27, 28, 29; his chamber music, 47; his sonatas, 182; his democracy, 46; not always idiomatic, 193; his pianoforte, 195; his pedal effects, 196; missal compositions, 292, 294; his overtures, 147; his free fantasias, 131; his technique as a player, 186; "Eroica" symphony, 100, 132, 136; Fifth symphony, 28, 29, 30, 31, 92, 103, 120, 125, 133; "Pastoral" symphony, 44, 49, 53, 62, 63, 94, 102, 132, 140, 141; Seventh symphony, 31, 32, 132, 133; Eighth symphony, 113; Ninth symphony, 33, 34, 35, 94, 133, 136, 138, 305; Sonata, op. 10, No. 3, 321; Sonata, op. 31, No. 2, 29; Sonata "Appassionata," 29, 30, 31; Pianoforte concerto in G, 31; Pianoforte concerto in E-flat, 146; Violin concerto, 146; "Becalmed at Sea," 60; "Fidelio," 203, 208, 232; Mass in D, 60, 292, 294; Serenade, op. 8, 151

Bell chime, 74

Bellini, 203, 204, 242, 245; "La Sonnambula," 204, 245; "Norma," 242

Benedetti, 242

Berlin Singakademie, 262

Berlioz, 49, 80, 87, 89, 90, 94, 100, 102, 104, 113, 137, 138, 139, 294, 295; "L'idee fixe," 137; "Symphonie Fantastique," 137; "Romeo and Juliet," 90, 94, 139; Requiem, 113, 294, 295

Bizet, "Carmen," 238, 242

Boileau, 206

Bosio, 241

Boston Symphony Orchestra, 81, 82, 108

Bottesini, 94

Bourree, 173

Brahms's "Academic overture," 101

Branle, 173

Brass instruments, 74, 104 et seq.

Brignoli, 209, 242

Broadwood's pianoforte, 195

Brown, Dr. John, 321

Bully Bottom in music, 61

Bunner, H.C., 136

Burns's "Ye flowery banks," 175

Caccini, "Eurydice," 234

Cadences, 23

Cadenzas, 145

Calve, Emma, 242, 247

Calvin and music, 275

Campanini, 242

Cantatas, 290

Cat's mew in music, 52

Catalani, 245, 246

Chaconne, 153

Chamber music, 36, 44 et seq., 144

Chicago Symphony Orchestra, 81, 82, 108

Choirs, 253 et seq.; size of, 257 et seq., 264, 271; men's, 255, 260; boys', 261; women's, 261; mixed, 262, 264; division of, 260, 266; growth of, in Germany, 262; history of, in America, 263; in Cincinnati, 264; contralto voices in, 270

Choirs, orchestral, 74

Chopin, 167, 188, 190, 191, 192, 196; his romanticism, 188; Preludes, 190; Etudes, 191; Nocturnes, 191; Ballades, 192; Polonaises, 192; Mazurkas, 192; his pedal effects, 196

Choral music, 253 et seq.; antiphonal, 267; mediaeval, 274; Calvin on, 275; Luther's influence on, 276; congregational, 277; secular tunes in, 276, 277; Romanticism, influence on, 277; preponderance in oratorio, 289; dramatic and descriptive, 289

Chorley, H.F., on Jenny Lind's singing, 243

Church cantatas, 284

Cicero, 309

Cincinnati, choirs in, 264

Cinti-Damoreau, 241

Clarinet, 47, 74, 78, 82, 103 et seq., 151

Classical concerts, 122 et seq.

Classical music, 36, 64, 122 et seq.

Clavichord, 168, 181

Clavier, 171, 173

Clementi, 185, 195

Cock, song of the, 51, 53, 54

Coleridge, 11, 144

Coletti, 242

Comic opera, 224

Composers, how they hear music, 40

Concerto, 128, 144 et seq.

Conductor, 114 et seq.

Content of music, 36 et seq.

Contra-bass trombone, 81, 82

Contra-bass tuba, 81, 82

Co-ordination of tones, 17

Coranto, Corrente, 173, 176

Cornelius, "Barbier von Bagdad," 236

Cornet, 73, 82, 108

Corno di bassetto, 81, 82

Corsi, 242

Couperin, 168

Courante, 173, 176

Covent Garden Theatre, London, 224, 226

Cowen, "Welsh" and "Scandinavian" symphonies, 132

Cracovienne, 193

Creole tune analyzed, 23, 24

Critics and criticism, 13, 297 et seq.

Crotch, Dr., 322

Cuckoo, 51, 52, 53

Cymbals, 74, 82

Czardas, 201

Czerny, 186

Dactylic metre, 31

Dance, the ancient, 43, 212

Dannreuther, Edward, 129, 144, 187

Depth, musical delineation of, 59, 60

De Reszke, Edouard, 248

De Reszke, Jean, 247

Descriptive music, 51 et seq.

Design and form, 16

De Stael, Madame, 210

D'Israeli, 315

Distance, musical delineation of, 60

Dithyramb, 212, 213

"Divisions," 265

Doles, Cantor, 292

Donizetti, 203, 204, 242; "Lucia," 203, 204

Double-bass, 74, 78, 82, 94

Double-bassoon, 103

Dragonetti, 94

Dramatic ballads, 290

Dramatic orchestras, 81, 82

Dramma per musica, 227, 249

Drummers, 113

Drums, 73, 74, 82, 110 et seq.

Duality of music, 15

"Dump" and Dumka, 151

Durchfuehrung, 131

Dvorak, symphonies, "From the New World," 132, 138; in G major, 136

Eames, Emma, 247

Edwards, G. Sutherland, 12

Elements of music, 15, 19

Emotionality in music, 43

English horn, 82, 99, 100

English opera, 223

Ernst's violin, 320

Esterhazy, Prince, 46

Euler, acoustician, 317

Expression, words of, 43

Familiar music best liked, 21

Fancy, 15, 16, 58

Farinelli, 240

Fasch, C.F., 262

Feelings, their relation to music, 38 et seq., 215, 216

Ferri, 239, 240

Finale, symphonic, 135

First movement in symphony, 131

Flageolet tones, 89

Florentine inventors of the opera, 217, 227, 234, 249

Flute, 73, 74, 78, 82, 95 et seq.

Form, 16, 17, 22, 35

Formes, 242, 248

Frederick the Great, 263

Free Fantasia, 131

French horn, 47, 106 et seq.

Frezzolini, 242

Friss, 201

Frogs, musical delineation of, 58, 62

"Gallina et Gallo," 53

Gavotte, 173, 179

German opera, 226

Gerster, Etelka, 242, 245

Gesture, 43

Gigue, 173, 174, 178

Gilbert, W.S., 208, 224

Gilbert and Sullivan's operettas, 224

Glockenspiel, 110

Gluck, 84, 148, 153, 202, 203, 238; his dancers, 153; his orchestra, 238; "Alceste," 148; "Iphigenie en Aulide," 153; "Orfeo," 202, 203

Goethe, 34, 140, 223

Goldmark, "Sakuntala" overture, 149

Gong, 110

Gossec, Requiem, 293

Gounod, "Faust," 209, 224, 238, 246

Grand Opera, 223, 224

Greek Tragedy, 211 et seq.

Grisi, 241, 242

Grosse Oper, 224

Grove, Sir George, 33, 63, 141, 187

Gypsy music, 198 et seq.

Halle, Lady, 320

Hamburg, opera in, 206, 207

Handel, 58, 60, 62, 83, 102, 126, 148, 174, 177, 178, 181, 182, 184, 256, 257, 258, 259, 265, 272; his orchestra, 84; his suites, 174; his overtures, 148; his technique as a player, 181, 182, 184; his choirs, 257; Commemoration, 258; his tutti, 258; "Messiah," 60, 126, 256, 257, 265, 272; "Saul," 102; "Almira," 177; "Rinaldo," 178; "Israel in Egypt," 58, 62, 257, 259, 289; "Lascia ch'io pianga," 178

Hanslick, Dr. Eduard, 203

Harmonics, on violin, 89

Harmony, 19, 21, 22, 218

Harp, 82

Harpsichord, 168, 170

Hauptmann, M., 41

Hautboy, 99

Haweis, the Rev. Mr., 318 et seq.

Haydn, 46, 84, 100, 127, 168, 183, 295; his manner of composing, 183; dramatic effects in his masses, 295; "Seasons," 100

Hebrew music, 114; poetry, 25

Height, musical delineation of, 59, 60

Heman, 115

Hen, song of, in music, 52, 53, 54

Herbarth, philosopher, 39

Hiller, Ferdinand, 307, 310

Hiller, Johann Adam, 258

Hogarth, Geo., "Memoirs of the Opera," 210, 245

Horn, 82, 105, 106 et seq., 151

Hungarian music, 198 et seq.

Hymn-tunes, history of, 275

Iambics, 175

"Idee fixe," Berlioz's, 137

Identification of themes, 35

Idiomatic pianoforte music, 193, 194

Idioms, musical, 44, 51, 55

Imagination, 15, 16, 58

Imitation of natural sounds, 51

Individual attitude of man toward music, 37

Instrumental musicians, former legal status of, 83

Instrumentation, 71 et seq.; in the mass, 293 et seq.

Intelligent hearing, 16, 18, 37

Intermediary necessary, 20

Intermezzi, 221

Interrelation of musical elements, 22

Janizary music, 97

Jean Paul, 67, 189, 190

Jeduthun, 115

Jig, 179

Judgment, 311

Kalidasa, 149

Kettle-drums, 111 et seq.

Key relationship, 26, 129

Kinds of music, 36 et seq.

Kirchencantaten, 284

Krakowiak, 193

Kullak, 184

Lablache, 248

La Grange, 241, 245

Lamb, Charles, 10

Language of tones, 42, 43

Lassu, 201

Laws, musical, mutability of, 69

Lehmann, Lilli, 233, 244, 247

Lenz, 33

Leoncavallo, 228

Lind, Jenny, 241, 243

Liszt, 132, 140, 142, 143, 167, 168, 193, 197, 198, 228; his music, 168, 193, 197; his transcriptions, 167; his rhapsodies, 167, 198; his symphonic poems, 142; "Faust" symphony, 132, 140; Concerto in E-flat, 143; "St. Elizabeth," 288

Literary blunders concerning music, 9, 10, 11, 12

Local color, 152, 153

London opera, 206, 207, 226

Louis XIV., 179

Lucca, Pauline, 242, 246, 247

Lully, his overtures, 148; minuet, 179; "Atys," 206

Luther, Martin, 276

Lyric drama, 231, 234, 237, 251

Madrigal, 274

Magyar music, 198 et seq.

Major mode, 57

Male alto, 260

Male chorus, 255, 260

Malibran, 241

Maennergesang, 255, 260

Marie Antoinette, 153

Mario, 242, 247, 271

Marschner, "Hans Heiling," 225; "Templer und Juedin," 225; "Vampyr," 225; his operas, 248

Mascagni, 228

Mass, the, 290 et seq.

Massenet, "Le Cid," 152

Materials of music, 16

Materna, Amalia, 247

Matthews, Brander, 11

Mazurka, 192

Melba, Nellie, 204, 238, 245, 247, 271

Melody, 19, 21, 22, 24

Memory, 19, 21, 73

Mendelssohn, 41, 42, 49, 59, 61, 67, 102, 109, 132, 139, 140, 149, 168, 243, 278, 288, 289, 322; on the content of music, 41, 42; his Romanticism, 67; on the use of the trombones, 109; opinion of Jenny Lind, 243; "Songs without Words," 41; "Hebrides" overture, 59, 149; "Midsummer Night's Dream," 61, 102; "Scotch" symphony, 132, 139; "Italian" symphony, 132; "Hymn of Praise," 140; "St. Paul," 278; "Elijah," 288, 289

Mersenne, "Harmonie universelle," 175, 176

Metropolitan Opera House, New York, 203, 224, 226, 244

Meyerbeer, 89, 102, 203, 204, 208, 242, 243, 244; "L'Africaine," 89; "Robert le Diable," 102, 208, 244; "Huguenots," 204; "L'Etoile du Nord," 243

Military bands, 123

Minor mode, 57

Minuet, 134, 151, 173, 179

Mirabeau, 293

Model, none in nature for music, 8, 180

Monteverde, "Orfeo," 87

Moscheles, on Jenny Lind's singing, 243

Motet, 283

Motives, 22, 24

Mozart, 84, 109, 132, 145, 151, 168, 183, 184, 195, 202, 203, 221, 224, 228, 230, 238, 244, 265, 292; his pianoforte technique, 184; on Doles's mass, 292; his orchestra, 238; his edition of Handel's "Messiah," 265; on cadenzas, 145; his pianoforte, 195; his serenades, 151; "Don Giovanni," 109, 202, 221, 222, 228, 230; "Magic Flute," 203; G-minor symphony, 132; "Figaro," 202, 228

Musica parlante, 234

Musical instruction, deficiencies in, 9

Musician, Critic, and Public, 297

Musikdrama, 227, 238, 249

Neri, Filippo, 288

Nevada, Emma, 204

Newspaper, the modern, 297, 298, 313

New York Opera, 206, 226, 241

Niecks, Frederick, 192

Niemann, Albert, 233

Nightingale, in music, 52

Nilsson, Christine, 242, 246, 247

Nordica, Lillian, 247

Norman-Neruda, Madame, 320

Notes not music, 20

Nottebohm, "Beethoveniana," 63

Oboe, 47, 74, 78, 82, 84, 98 et seq.

Opera, descriptive music in, 61; history of, 202 et seq.; language of, 205; polyglot performances of, 207 et seq.; their texts perverted, 207 et seq.; words of, 209, 210; elements in, 214; invention of, 216 et seq.; varieties of, 220 et seq.; comic elements in, 221; action and incident in, 236; singing in, 239; singers compared, 241 et seq.

Opera bouffe, 220, 221, 225

Opera buffa, 220

Opera comique, 223

Opera, Grand, 223

Opera in musica, 228

Opera semiseria, 221

Opera seria, 220

Opus, 132

Oratorio, 256, 287 et seq.

Orchestra, 71 et seq.

Ostrander, Dr. Lucas, 278

"Ouida," 12

Overture, 147 et seq., 174

Paderewski, his recitals, 154 et seq.; his Romanticism, 167; "Krakowiak," 193

Painful, the, not fit subject for music, 50

Palestrina and Bach, 278 et seq.; his music, 279 et seq.; "Stabat Mater," 279, 280; "Improperia," 280; "Missa Papae Marcelli," 280

Pandean pipes, 98

Pantomime, 43

Parallelism, 25

Passepied, 173

"Passions," 284 et seq.

Patti, Adelina, 203, 204, 238, 242, 245, 247

Pedals, pianoforte, 195, 196

Pedants, 13, 315

Percussion instruments, 110 et seq.

Peri, "Eurydice," 234

Periods, musical, 22, 24

Perkins, C.C., 263

Pfund, his drums, 112

Philharmonic Society of New York, 76, 77, 81, 82

Phrases, musical, 22, 24

Physical effects of music, 38

Pianoforte, history and description of, 154 et seq.; its music, 154 et seq., 166 et seq.; concertos, 144; trios, 147

Piccolo flute, 85, 97

Piccolomini, 242, 245

Pictures in music, 40

Pifa, Handel's, 126

Pizzicato, 88, 91

Plancon, 248

Polonaise, 192

Polyphony and feelings, 39

Popular concerts, 122

Porpora, 209

"Pov' piti Momzelle Zizi," 23

Preludes, 148, 174

Programme music, 36, 44, 48 et seq., 64, 142

Puccini, 228

Quail, call of, in music, 51, 54

Quartet, 147

Quilled instruments, 170

Quinault, "Atys," 206

Quintet, 147

Quintillian, 309

Raff, 49, 96, 132; "Lenore" symphony, 96, 132; "Im Walde" symphony, 132

Rameau, 168

Recitative, 219, 220, 228 et seq.

Reed instruments, 98 et seq.

Reformation, its influence on music, 275, 278, 280

Refrain, 25

Register of the orchestra, 85

Repetition, 22, 25

Rhapsodists among writers, 13, 315 et seq.

Rhythm, 19, 21, 26, 160

"Ridendo castigat mores," 225

Rinuccini, "Eurydice," 234

Romantic music, 36, 64 et seq., 71, 277

Romantic opera, 225

Ronconi, 242

Rondeau and Rondo, 135

Rossini, 147, 228, 242; his overtures, 147; "Il Barbiere," 228; "William Tell," 93, 100

Rubinstein, 59, 152, 167, 168, 287; his historical recitals, 167; his sacred operas, 287; "Ocean" symphony, 59; "Feramors," 152

Ruskin, John, 302

Russian composers, 134

Sacred Operas, 287

Saint-Saens, "Danse Macabre," 101, 111; symphony in C minor, 141; "Samson and Delilah," 288

Salvi, 242

Sarabande, 173, 174, 177

Sassarelli, 240

Scarlatti, D., 167, 172, 182; his technique, 172; "Capriccio" and "Pastorale," 172

Scheffer, Ary, 246

Scherzo, 133, 179

Schroeder-Devrient, 232

Schubert, 168

Schumann, 49, 64, 132, 133, 139, 140, 141, 167, 188, 189, 190, 196, 254, 308, 310; his Romanticism, 188; and Jean Paul, 189; his pedal effects, 196; on popular judgment, 308, 310; symphony in C, 132; symphony in D minor, 139; symphony in B-flat, 140; "Rhenish" symphony, 140, 141; "Carnaval," 189, 190; "Papillons," 189, 190; "Kreisleriana," 190; "Phantasiestuecke," 190

Score, 120

"Scotch snap," 52, 200

Second movement in symphony, 133

Seidl, Anton, 77

Sembrich, Marcella, 242, 245

Senesino, 239, 240

Sense-perception, 18

Serenade, 149 et seq.

Shaftesbury, Lord, 311

Shakespeare, his dances, 153, 179; his dramas, 202; a Romanticist, 221; "Two Gentlemen of Verona," 150; Queen Mab, 90

Singing, physiology of, 215, 218; operatic, 239; choral, 268

Singing Societies, 253 et seq.

Singspiel, 223

Smith, F. Hopkinson, 11

Sonata da Camera, 173

Sonata, 127, 182, 183

Sonata form, 127 et seq.

Sontag, 241, 244, 245, 246

Sordino, 90

Space, music has no place in, 59

Speech and music, 43

Spencer, Herbert, 39, 43, 216, 218, 230

Spinet, 168, 170

Spohr, "Jessonda," 225

Stainer, Dr., 39, 316

Stein, pianoforte maker, 196

Stilo rappresentativo, 234

Stories, in music, 40

Strings, orchestral, 74, 82, 86 et seq., 102

Sucher, Rosa, 247

Suite, 129, 152, 173 et seq.

Symphonic poem, 142

Symphonic prologue, 148

Symphony, 124 et seq., 183

Syrinx, 98

Talent in listening, 4

Tambourine, 110

Tappert, "Zooplastik in Toenen," 51

Taste, 311

Technique, 163 et seq.

Tennyson, 9

Terminology, musical, 8

Theatre nationale de l'Opera-Comique, 223

Thespis, 212

Thomas, "Mignon," 223

Tibia, 98

Titiens, 242

Tonal language, 42, 43

Tones, co-ordination of, 17

Touch, 163 et seq.

Tragedia per musica, 227

Tremolo, 91

Trench, Archbishop, 65, 66

Triangle, 74, 110

Trio, 134

Triolet, 136

Trombone, 82, 105, 106, 109 et seq.

Trumpet, 105, 108

Tschaikowsky, 88, 132; "Symphonie Pathetique," 132

Tuba, 82, 85, 106, 108

"Turkish" music, 97

Tympani, 82, 111 et seq.

Ugly, the, not fit for music, 50

United States, first to have amateur singing societies, 257, 262; spread of choral music in, 263

Unity in the symphony, 27, 137

Vaudevilles, 224

Verdi, 152, 203, 210, 228, 236, 238, 242, 243; "Aida," 152, 228, 238; "Il Trovatore," 210, 243; "Otello," 228, 238; "Falstaff," 228, 236; Requiem, 290

Vestris, 153

Vibrato, 90

Vile, the, unfit for music, 50

Viola, 74, 77, 82, 92, 93

Viole da braccio, 93

Viole da gamba, 93

Violin, 73, 74, 77, 82, 86 et seq., 144, 162

Violin concertos, 145

Violoncello, 74, 77, 82, 92, 93, 94

Virginal, 168, 170

Vocal music, 61, 215

Vorspiel, 148

Wagner, 41, 79, 80, 81, 88, 89, 94, 111, 205, 206, 219, 226, 227, 232, 235, 237, 238, 244, 248, 249, 250, 251, 303, 305, 314; on the content of music, 41; his instrumentation, 80, 111; his dramas, 219, 226, 227, 248; Musikdrama, 227, 249; his dialogue, 235; his orchestra, 238, 250; his operas, 248; his theories, 249; endless melody, 250; typical phrases, 250; "leading motives," 250; popularity of his music, 303; on criticism, 314; "Flying Dutchman," 248; "Tannhaeuser," 248; "Lohengrin," 79, 88, 235, 248; "Die Meistersinger," 249; "Tristan und Isolde," 87, 237, 249; "Rheingold," 237; "Die Walkuere," 94, 237; "Siegfried," 237, 244; "Die Goetterdaemmerung," 237; "Ring of the Nibelung," 249, 251, 305; "Parsifal," 249

Waldhorn, 107

Wallace, W.V., 223

Walter, Jacob, 53

Water, musical delineation of, 58, 59

Weber, 67, 96, 244, 248; his Romanticism, 67; "Der Freischuetz," 96, 225; "Oberon," 225; "Euryanthe," 225

Weitzmann, "Geschichte des Clavierspiels," 201

Welsh choirs, 255

Wood-wind instruments, 74, 77, 78, 95

Xylophone, 111

Ysaye, on Cadenzas, 146



SOME MUSICAL BOOKS

THE LETTERS OF FRANZ LISZT. Edited and collected by LA MARA. With portraits. Crown 8vo, 2 vols., $6.00.

RICHARD WAGNER'S LETTERS to his Dresden Friends—Theodore Uhlig, Wilhelm Fischer, and Ferdinand Heine. Translated by J.S. SHEDLOCK. Crown 8vo, $3.50.

JENNY LIND THE ARTIST, 1820-1851. Memoir of Madame Jenny Lind-Goldschmidt. Her Art Life and Dramatic Career, from original documents, etc. By CANON H.S. HOLLAND and W.S. ROCKSTRO. With illustrations, 12mo, $2.50.

WAGNER AND HIS WORKS. The Story of his Life, with Critical Comments. By HENRY T. FINCK. Third edition. With portraits. 2 vols., 12mo, $4.00.

CHOPIN AND OTHER MUSICAL ESSAYS. By HENRY T. FINCK. 12mo, $1.50.

A CONCISE HISTORY OF MUSIC, from the Commencement of the Christian Era to the present time. By H.G.B. HUNT. With numerous tables. 12mo, $1.00.

CHARLES GOUNOD, AUTOBIOGRAPHICAL REMINISCENCES, with Family Letters and Notes on Music. Translated by the HON. W. HUTCHINSON. With portrait. 8vo, $3.00.

THE GREAT MUSICIANS SERIES. Edited by F. HUEFFER. 14 vols., 12mo, each, $1.00.

THE STUDENT'S HELMHOLTZ. Musical Acoustics, or the Phenomena of Sound. By JOHN BROADHOUSE. With musical illustrations and examples. 12mo, $3.00.

CYCLOPEDIA OF MUSIC AND MUSICIANS. Edited by JOHN DENISON CHAMPLIN, JR. Critical editor, W.F. APTHORP. Popular edition. Large octavo, 3 vols., $15.00 net.

LETTERS OF A BARITONE. By FRANCIS WALKER. 16mo, $1.25.

MUSICIANS AND MUSIC LOVERS, AND OTHER ESSAYS. By W.F. APTHORP. 12mo, $1.50.

THE WAGNER STORY BOOK. Firelight Tales of the Great Music-Dramas. By W.H. FROST. Illustrated. 12mo, $1.50.

MASTERS OF CONTEMPORARY MUSIC. 4 vols., 12mo. Illustrated. Each, $1.75. Masters of English Music, by Charles Willeby; Masters of French Music, by Arthur Hervey; Masters of German Music, by J.A. Fuller-Maitland; Masters of Italian Music, by R.A. Streatfield.

THE EVOLUTION OF CHURCH MUSIC. By Rev. F.L. HUMPHREYS, 12mo, $1.75 net.

THE STORY OF BRITISH MUSIC, from the Earliest Times to the Tudor Period. By F.J. CROWEST. Illustrated. 8vo, $3.50.

THE HISTORY OF MUSIC, from the Earliest Times to the Time of the Troubadours. By J.F. ROWBOTHAM. 12mo, $2.50.

THE LEGENDS OF THE WAGNER DRAMA. Studies in Mythology and Romance. By JESSIE L. WESTON. 12mo, $2.25.

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