The other two prominent national schools in modern times are the Bohemian and Scandinavian. Although from neither of these have we products at all comparable in breadth; or depth of meaning with those of the Russian school, yet each has its note of exotic individuality and hence deserves recognition. The Bohemian School centres about the achievements of Fibich, Smetana[324] and Dvořak, and its prevalent characteristics are the variety of dance rhythms (Bohemia having no less than forty national dances) together with the peculiarly novel harmonic and modulatory scheme. The dances best known outside of Bohemia are the Polka[325] and the Furiant; the former being used so frequently by Smetana and Dvořak that it has attained an international status. The first of the above group, Fibich (1850-1900), was a composer of marked versatility—there being extant over seven hundred works in every form—and no little originality. Many of his pianoforte pieces have distinct charm and atmosphere and should be better known. Fibich was strongly influenced by Schumann, and there is found in his music the same note of fantastic freedom prominent in the German master. But the first impression of Bohemian music upon the world in general was made by Smetana (1824-1884). An ardent follower of Liszt, he definitely succeeded in the incorporation of Bohemian traits with the current musical idiom just as Liszt had done with Hungarian folk-music. Smetana's style is thoroughly original, his form is free yet coherent and he has a color sense and power of orchestral description peculiar to his race. Bohemia is one of the most picturesque countries in the world and the spirit of its woodlands, streams and mountains is always plainly felt in Bohemian music. The Bohemians are an out-of-door people with an inborn instinct for music (with its basic factors of rhythm and sound) by which they express the vigorous exuberance of their temperament.[326] Smetana's significant work lies in his numerous operas, his symphonic poems and in the remarkable String Quartet in E minor entitled "Aus meinem Leben." The operas deal with subjects so strongly national that they can have but little vogue outside their own country. However, Prodana Nevesta—The Bartered Bride—has been universally recognized as one of the genuine comic operas in modern times and its spirited Overture (the first theme on a fugal basis) is played the world over. His six Symphonic Poems, comprised under the title Mein Vaterland, are works of considerable power and brilliant orchestral treatment. Perhaps the finest sections are Vltava (Moldau), celebrating the beauties of Bohemia's sacred river, and Vyšehrad, a realistic description of the national fortress at Prague.[327] The Quartet in E minor, noted for its freedom and intimacy of style, has become a classic. Whenever it was performed Smetana wished the sub-title "Aus Meinem Leben" to be printed on the program; for, as he says in a letter to a friend, "My quartet is no mere juggling with tones; instead I have wished to present the hearer with pictures of my life. I have studied theory; I know what style means and I am master of it. But I prefer to have circumstances determine form and so have written this quartet in the form which it itself demanded." In the first and last of the four movements there is a long sustained high E, symbolic of the buzzing sound which the composer constantly heard as his congenital deafness increased. This malady finally affected his mind and was the cause of his tragic death in an asylum at Prague.

[Footnote 324: His surname is to be accented on the first syllable—a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be pronounced received this reply: My name is always

[Music: Overture to Fidelio

Smetana, Smetana, Smetana]

but never

[Music: Overture to Leonora, No. 3

Friedrich Smetana Friedrich Smetana.]]

[Footnote 325: For example in the second movement of Smetana's Quartet and in Dvořak's Suite for small orchestra, op. 39.]

[Footnote 326: For a graphic description of the country and the customs of its people consult the essay on Dvořak in Hadow's Studies in Modern Music.]

[Footnote 327: A detailed account of these works may be found in the article on Smetana in Famous Composers and their Works (2d series).]

Although in some respects not so characteristic as Smetana, Dvořak[328] (1841-1904), by reason of his greater breadth and more cosmopolitan style, is considered the representative Bohemian composer. Dvořak's music in its simplicity and in its spontaneity of treatment is a reincarnation of Schubert's spirit; we feel the same overflowing musical life and we must make the same allowances for looseness of structure. Dvořak, however, has made one contribution thoroughly his own—his skill in handling the orchestra. He was a born colorist and his scores in their clarity, in the subtle distinctions between richness and delicacy, are recognized masterpieces. As a sensuous delight to the ear they may be compared to the fine glow of certain Dutch canvases—those for example of Vermeer. Dvořak's compositions are varied and fairly numerous (some 111 opus numbers) comprising operas, cantatas, chamber music, symphonies, overtures, pianoforte pieces and songs. From 1892 to 1895 he was in this country as director of the National Conservatory in New York. Three works composed during this period, a Quartet, a Quintet and The New World Symphony, are of special interest to us since they were meant as a compliment to the possibilities of American music and also reflect Dvořak's attitude toward the sources of musical inspiration. A true child of the people, and the embodiment of folk-music, he naturally searched for native material when he wished to compose something characteristically American. But folk-music in our country, as has been stated in Chapter II, is (or was at Dvořak's time) practically limited to that of the Indians and the Negroes. It is often stated, in fact, that the New World Symphony is founded upon Negro tunes. This, however, is a sweeping assertion. There is no doubt that Dvořak found a strong affinity between certain of the Southern plantation melodies and the songs of his native land, e.g., the following melody (the second theme of the first movement) which is similar to "Swing low, sweet chariot."

[Music]

[Footnote 328: For his biography, consult the Hadow essay (referred to above) and the chapter on Dvořak in Mason's From Grieg to Brahms.]

But the individual tone of the melodies could come only from a Bohemian and if they seem both Negro and Bohemian it simply proves the common bond existing in all folk-music.[329] This New World Symphony has had a great vogue and by reason of the warmth of its melodies and the rich, colorful scoring is indisputably a work full of charm.[330] Two prevalent traits of Dvořak's music are noticeable in this symphony—the unexpectedness of the modulations and the unusual harmonic scheme.[331] The structure is at times rather loose, particularly in the Finale where the joints often crack wide open. But, as an offset, there is great rhythmic vitality—observe in particular the swing of the Trio from the Scherzo—and that sensuous tone-color peculiar to the composer. In fact, the scoring of the slow movement with its magical theme for English horn would alone compensate for many structural blemishes. This movement closes with a mysterious chord for divided double basses (four solo instruments) which is one of many touches in individual treatment. The Finale, in accordance with modern practise, although containing themes of its own, finally becomes a resume of preceding material. The two main themes are striking and well contrasted; but Dvořak was a mediocre architect and the movement, in comparison with the Finales of Franck and Tchaikowsky, is more of a potpourri than a firmly knit organic whole. The final page is stimulating in its bold use of dissonances. But we must take Dvořak as he is. There is no question of his genius, for his music is spontaneous, never labored, and he has expressed with convincing artistic skill the emotions and ideals of his gifted race.

[Footnote 329: The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.]

[Footnote 330: For detailed analytical comment consult Vol. III of Short Studies in Great Masterpieces by D.G. Mason.]

[Footnote 331: Note for example the chords at the opening of the slow movement.]

Scandinavian music, ethnologically considered, would comprise that of the three related nations, the Swedes, the Danes and the Norwegians; some would include even the Finns, with their eloquent spokesman Sibelius. Although the Danes have considerable folk-music, and as a people love music, they have produced no composer of distinction save Niels Gade (1817-1890), who was so encrusted with German habits of thought that his music is neither one thing or the other—certainly it is not characteristically Danish. The best known of the Swedish composers is Sjoegren from whom we have some poetic songs. He also attempted the larger instrumental forms but without notable success.

Scandinavian music, as far as the outside world is concerned, practically centres about the Norwegian composer Grieg[332] (1843-1907) just as its dramatic art centres about Ibsen. The names, however, of four other Norwegian composers deserve mention: the pioneers Kjerulf (1815-1868) noted for his melodious songs; Svendsen (1840-1911) endowed with a fine sense for orchestral color; and Nordraak (1842-1866) the first self-conscious representative of the Norwegian spirit: a talented musician who exerted a marked influence upon Grieg—his promise cut short by an early death. In modern times the mantle of Grieg has fallen upon Sinding (1856-still living) whose songs and poetic pieces for the pianoforte have become household favorites. In Norwegian music we find the exuberant rhythmic vitality typical of a people living in the bold and highly colored scenery of that sun-lit land.[333] Grieg, a born lyric poet saturated with folk-music, has embodied this spirit in his works. His fame rests upon his songs and descriptive pianoforte pieces; though in his Pianoforte Concerto, in his Peer Gynt Suite, in the Violin Sonatas and String Quartet he proved that he was not lacking in power to handle larger forms. But most of his work is in miniature—the expression, like the music of Schubert and Chopin,[334] of moods short and intense. While Grieg's music is patterned upon Norwegian folk-dances and folk-melodies it is something far more. He has evoked from the characteristics of his native land a bold, original harmony and a power of color and description thoroughly his own. He might say with de Musset "Mon verre n'est pas grand, mais je bois dans mon verre." In his music we feel the sparkling sunshine and the breezes of the North. In fact, Grieg was the first popular impressionist and for his influence in humanizing music and freeing it from academic routine his fame will endure. We have cited in the Supplement (Nos. 68, 69) one of his most original songs—the melody of which was used also for the work Im Fruehling for string orchestra—and a pianoforte piece which illustrates his rhythmic life and also in certain measures that melodic line typical of all Norwegian music: the descent from the leading tone, i.e., G, F-sharp, D.

[Footnote 332: The best biography in English is that by H.T. Finck; the work, however, is somewhat marred by fulsome praise.]

[Footnote 333: During the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a few weeks there is perpetual daylight.]

[Footnote 334: He was called by Buelow the Chopin of the North.]

For a complete appreciation therefore of national music, we must always take into consideration the traits and environment of the people from which it sprung. Music, to be sure, is a universal language, but each nation has used this language in its own way. The most striking fact in present-day music is the variety gained from a free expression of nationalism[335] without infringing upon universality of appeal.

[Footnote 335: An admirable treatment of the whole subject may be found in Vol. III of The Art of Music.]



CHAPTER XX

THE VARIED TENDENCIES OF MODERN MUSIC

Modern music—broadly speaking, music since the beginning of the twentieth century—is certainly manifesting the characteristics which the preceding survey has shown to be inherent in its nature: that is, it has grown by a course of free experimentation, it is the youngest of the arts, and it is a human language as well as a fine art. Hence we find that modern composers are making daring experiments in dissonance, in rhythmic variety, in subtle blends of color and, above all, in the treatment of the orchestra. In comparison with achievements in the other arts music often seems in its infancy; being limited by no practical or utilitarian considerations, and employing the boundless possibilities of sound and rhythm, there is so much still before it. The truth contained in the saying, that music is the youngest as well as the oldest of the arts, becomes more apparent year by year; for although a work which originally had imaginative life can never die, yet many former works have passed out of recognition simply because they have been superseded by more inspired ones, composed since their day. We can no longer listen with whole-hearted enthusiasm to many of the older symphonies, songs and pianoforte pieces, because Brahms, Franck, Debussy and d'Indy have given us better ones.

These experiments, just referred to, have been particularly notable on the part of two composers of the neo-Russian group, Stravinsky and Scryabin. Stravinsky,[336] in his brilliant pantomime ballets, L'Oiseau du Feu, Petroushka, and Le Sacre du Printemps, has proved incontestably that he is a genius—it being of the essence of genius to create something absolutely new. These works, in their expressive melody, harmonic originality and picturesque orchestration, have widened the bounds of musical characterization. Scryabin[337] (1871-1915) is noted for his esoteric harmonic scheme, shown in a series of pianoforte preludes, sonatas and, above all, in his orchestral works, the Divine Poem, the Poem of Ecstacy and Prometheus or Poem of Fire. The effect of Scryabin's harmonies is one of great power, and, as previously said of Debussy in his earlier days, his imagination has undoubtedly heard sounds hitherto unrealized. The sensational style of Prometheus is augmented by the use of a color machine which flashes upon a screen hues supposed to supplement the various moods of the music. How many of these experiments will be incorporated into the accepted idiom of music, time alone will tell; but they prove conclusively that modern music is thoroughly awake and is proving true to that spirit of freedom which is the breath of its being.

[Footnote 336: For a detailed account of his life and works consult the essay in Contemporary Russian Composers by Montagu-Nathan and Vol. III of The Art of Music.]

[Footnote 337: For a comprehensive estimate of his style and achievements the following works will prove useful: the Biography, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.]

Music is, furthermore, not only a fine art in which have worked and are working some of the best intellects of our race, but is inevitably becoming a universal language. We see this clearly in the rapid growth of music among peoples and nations which, comparatively a short time ago, were thought to be quite outside the pale of modern artistic development. No longer is music confined exclusively to the Italians, French and Germans. A national spokesman for the Finns is the gifted Sibelius, the composer of five symphonies, several Symphonic poems, numerous songs and pianoforte pieces; his second Symphony in E minor being a work of haunting beauty, and the Fourth noted for its bold use of the dissonant element. The Roumanians have come to the fore in Enesco, who has written several characteristic works for orchestra. The Spaniards are endeavoring to restore their former glories—for we must not forget that, in past centuries, the Spanish composers Morales and Vittoria ranked with the great painters which that nation has produced. Three Spanish composers, indeed, are worthy of distinct recognition: Albeniz for his pianoforte pieces, tangos, malaguenas, etc., in which there is such a fascinating treatment of national dance rhythms; Granados,[338] with several operas to his credit, and Laparra, the composer of a fantastic suite recently played by the Boston Symphony Orchestra. Spanish rhythms, melodies and local color have been frequently incorporated in the works of other composers, e.g., by Bizet in Carmen, by Debussy in Iberia, and in the pianoforte piece Soiree dans Granade, by Chabrier in Espana, by Lalo in several works, and by the Russians, Glinka and Rimsky-Korsakoff, in brilliant orchestral works. The Spanish influence,[339] in fact, may be called one of the most potent in modern music.

[Footnote 338: Who lost his life on the Sussex when it was torpedoed by the Germans.]

[Footnote 339: For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van Vechten The Music of Spain.]

Although there is no doubt of the strong musical instinct inherent in the Hungarians—witness the prevalence of Hungarian rhythms in Schubert, Liszt, Brahms and others—their country has always been so torn with political dissensions that the lack of a national artistic culture is not to be wondered at. Recently however three Hungarian composers, Dohnanyi, Moor and Bela Bartok, have produced works embodying racial tendencies and yet of such significant content and sound workmanship as to attract the attention of the world outside.

Italy, also, is awakening from a long sleep, and there is now a group of young men representing New Italy (of whom Malipiero and Casella are the best known) which should accomplish results worthy of the glorious musical traditions of that country.

England is shaking off her subserviency[340] to the influence of Handel and Mendelssohn, and at last has made a promising start toward the achievement of works which shall rank with her glories in poetry, in fiction and in painting. Among the older group we have such names as Sullivan, with his inimitable series of operas, the Mikado, Gondoliers, Iolanthe, etc.; Parry, with some notable choral works, and Stanford—a most versatile man—Irish by birth, and with the humor and spontaneity natural to his race; his Irish Symphony and his opera Shamus O'Brien would give lustre to any period. The only genius of the first rank however which England has produced since the days of Purcell is Edward Elgar (1857-still living). Practically self-educated and spending his early life in his native country he escaped the influences of German training which so deadened the efforts of former composers, such as Pierson and Bennett. Elgar's music is thoroughly English in its sturdy vigor[341] and wholesome emotion. With something first-hand to say he has acquired such a technique in musical expression that his compositions rank in workmanship with those of the great continental masters. In his use of the modern orchestra Elgar need be considered second to none. His overtures In the South and Cockaigne, his two Symphonies and his Enigma Variations are universally acknowledged to be models of richly-colored and varied scoring. Although his music is English it is never parochial but has that note of universal import always found in the work of a real genius. Among the younger men there are Wallace, both composer and writer on musical subjects (his Threshold of music being particularly stimulating), Holbrook, Vaughan Williams, Roger Quilter, Arthur Hinton, Balfour Gardiner and John Ireland, a composer of genuine individuality, as is evident from his Violin Sonata in D Minor.

[Footnote 340: Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313, seq.]

[Footnote 341: See for example the broad theme in the middle portion of the March, Pomp and Circumstance.]

Even such outlying parts of the world as Australia and South America have contributed executive artists of great ability though, to our knowledge, as yet no composer.

What, now, in this connection can be said of America? This much at least: when we consider that, beyond the most rudimentary attempts, music in our land is not yet a century old, a start has been made which promises great things. Such pioneers as Paine, Chadwick, MacDowell, Foote, Parker, Osgood, Whiting and Mrs. H.H.A. Beach have written works, often in the larger forms, showing genuine inspiration and fine workmanship, many of which have won permanent recognition outside of their own country. Of late years a younger group has arisen, the chief members[342] of which are Converse, Carpenter, Gilbert, Hadley, Hill, Mason, Atherton, Stanley Smith, Brockway, Blair Fairchild, Heilman, Shepherd, Clapp, John Powell, Margaret Ruthven Lang, Gena Branscombe and Mabel Daniels. These composers all have strong natural gifts, have been broadly educated, and, above all, in their music is reflected a freedom, a humor and an individuality which may fairly be called American; that is, it is not music which slavishly follows the "made-in-Germany" model.[343] The composer of greatest genius and scope in America is undoubtedly Charles Martin Loeffler; but, although he has become a loyal American, and although his best works have been composed in this country, we can hardly claim him as an American composer, for his music vividly reflects French taste and ideals. His inspired works—in particular La Mort de Tintagiles, The Pagan Poem and a Symphony (in one movement)—are of peculiar importance for their connection with works of literature and for consummate power in orchestration. Not even Debussy has expressed more subtly the tragic spirit of Maeterlinck than has Loeffler in La Mort de Tintagiles; and The Pagan Poem, founded on an Eclogue of Virgil portrays most eloquently the romance of those pastoral days. Loeffler's latest work, a String Quartet[344] dedicated to the memory of Victor Chapman, the Harvard aviator, is remarkable for the heart-felt beauty of its themes and for advanced technique in treating the four solo instruments.

[Footnote 342: This valuation of American composers is made solely on the basis of published compositions.]

[Footnote 343: For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.]

[Footnote 344: Performed recently several times by the Flonzaley Quartet.]

Let us now indulge in a few closing remarks of advice to the young student faced with all this perplexing novelty. Our studies should have made plain two definite facts: first, that the real message of music is contained in its melody—that part of the fabric which we can carry with us and sing to ourselves. Harmony and color are factors closely involved with melodic inspiration, but their impression is more fleeting; and in general, no work lacking in melody, however colorful or filled with daring harmonic effects, can long endure. But we must be judicious and fair in estimating exactly what constitutes a real melody. The genius is always ahead of his time; if he thought just as other men, he would be no genius. New types of melody are continually being worked out; all we can say is that the creative composer hears sounds in his imagination, the result of his emotional and spiritual experiences and of his sympathy with the world. He recreates these sounds in terms of notation, hoping that, as they mean so much to him, they may be a delight and inspiration to his fellowmen. If enough people like these works for a long enough time, they are; that is, they live—no matter how much they differ from a priori standards as to what music should be.

The second fact concerns the structure of music; that is, the way in which the thought is presented. We have seen that music always has a carefully planned architecture—that being necessary by reason of the indefiniteness of the material. But let us always remember that without abandoning the fundamental principles of all organic life, form may be—and should be—free and elastic. Every work which lives reveals a perfect balance between the emotional and imaginative factors and their logical presentation. If we are puzzled by the structure of a new work the assumption should be, not that it is formless but that, when we know the work, it will be seen to employ simply a new use of old and accepted principles; for the works analyzed must have convinced us that the principles of unity, contrast, balance and symmetry are eternal; and, however modified, can never be abandoned. The normal imagination must express itself logically, and can no more put forth incoherent works than the human body would give birth to misshapen offspring. Musical compositions, which after study prove to be incoherent, diffuse and flabby, are to be considered exceptional and not worth condemning; they are only to be pitied. The chief aim of the music-lover should be to become an intelligent and enthusiastic appreciator of the great works already composed, and to train himself liberally for the welcome of new works. Towards such an end we hope that this book may offer a helpful contribution.



Index

A

Academic Overture of Brahms, 233.

Aeolian mode, 24.

Aeschylus, compared with Brahms, 239.

Albeniz, pianoforte pieces, 327.

answer (to a fugue), 42.

Apthorp, W.F., comments on Brahms, 238; eulogy on Brahms's First Symphony, 246; comments on Istar, 283.

arabesque, 83.

Aristophanes, his humor compared with Beethoven's, 150.

Arnold, Matthew, lines on Byron apropos of Berlioz, 203; stanza applicable to Brahms, 233; definition of style, 234.

Atherton, Percy Lee, 329.

Auber, 255.

augmentation, definition of, 44.

B

Babbitt, Irving, book on Romanticism, 161; The New Laocoon, 207.

Bach, Emmanuel, use of two themes, 93; contributions to the Sonata-form, 100.

Bach, J.S., Well-tempered Clavichord, 23; choral (Phrygian mode), 25; polyphonic style, 34; Goldberg Variations, 37; celebrated organ fugues, 41; analysis of Fugue in E-flat major, 42-43.

Bagatelles, of Beethoven, 166.

Balakireff, works and features of style, 315-316.

Baldensperger, F., eulogy of Franck, 258.

Ballet music to Prometheus, 140.

Balzac, comment on Chopin, 189.

Barcarolle, of Chopin, color effect therein, 193; analysis of, 200-201.

Bartered Bride Overture, 121, 322.

basso ostinato, 86.

Baudelaire, 293.

Beach, Mrs., Menuet Italien, 78, 329.

Beethoven, 2, 5, 8: motive of Fifth Symphony, 12; Waldstein Sonata, 15; String Quartet (Lydian mode), 26; fugal passages in symphonies, 41; sentences from sonatas, 58-61; Egmont Overture, 77; Rondo Capriccio, 82; sets of Variations, 88; biography, 122-126; love of Nature, 125; features of style, 126-129; development of the Sonata-form, 126-127; treatment of the Coda, 127; variety of rhythm, 127-128; use of dissonances, 128; humor, 128-129; development of Program music, 129; development of varied air, 129; characterization of the Symphonies, 130-132; estimate of the Pianoforte Sonatas, 140; pianistic effect in Sonatas, 145; as a programmistic composer, 153-154; quality of themes, 156; dramatic use of single notes, 156-157; theme of Ninth Symphony compared with theme from Brahms's First Symphony, 247.

Bela Bartok, 328.

Berlioz, quotation from Grotesques de la Musique, 21; canon in Carnaval Romain Overture, 37; comment on Trio of Fifth Symphony, 150; biography, 202-205; names of his Parisian friends, 204; features of style, 205-206; Fantastic Symphony, analysis of, 207-211; Carnaval Romain Overture, analysis of, 211-212; Damnation of Faust, instrumental numbers from, 213-214; Harold in Italy Symphony, analysis of, 214-215; Romeo and Juliet Symphony, comments on, 215-216.

Bie, Oscar, 74; on the style of Couperin and Rameau, 152.

Bizet, L'Arlesienne Suites, 80.

Bohemian School, 320-321.

Boieldieu, comment on Beethoven, 134, 255.

bolero, 75.

Boris Godounoff, description of, 320.

Borodin, works and features of style, 316-317.

Boschot, work, in three parts, on Berlioz, 207.

bourree, 75.

Brahms, First Symphony, 8, 14, 21, 44; modal expression in works, 23; Fourth Symphony (Phrygian mode), 25; canonic style, 36; C minor Trio, 67; sets of variations, 88; biography, 231-233; features of style, 233-238; analysis of First Symphony, 239-249; of Violin Sonata, 250-252; of G minor Ballade for Pianoforte, 252-253; attitude toward program music, 253; the nature of his Intermezzi, 253; of the Capriccios, 253; his Rhapsodies, 254; analysis of song Meine Liebe ist gruen, 254; other songs, 255.

branle (brawl), 75.

Branscombe, Gena, 329.

Brenet, M., Life of Haydn, 104.

Brockway, H., on American folk-songs, 33, 329.

Browning, 1; quotation apropos of the fugue, 49; quotations apropos of the Fifth Symphony, 146, 150.

Bruckner, movement from Seventh Symphony, 231.

Bruneau, History of Russian Music, 314.

Bull, John, 79, 85.

Buelow, Sonatas of E. Bach, 100; comment on Grieg, 325.

Burney, on the 18th Century, 103.

Buxtehude, 34.

Byrd, William, 12, 79, 85.

Byron, influence on Schumann's style, 177.

C

C minor Symphony (Beethoven), analysis of, 145-151.

C minor Symphony (Brahms), analysis of, 239-249.

cadences, 55-57.

Calvacoressi, on dominant relationship, 52.

canon, 11; account of, 36-37.

canzona, 69.

Carnaval Romain Overture, analysis of, 211-212.

Carpenter, John Alden, Adventures in a Perambulator, 80, 329.

Casella, 328.

Casse-Noisette Suite, 80.

Cellini, Benvenuto, compared with Berlioz, 202; opera by Berlioz, 211.

Chabrier, Bourree Fantasque, 80, 297; Espana, 80, 297; Overture to Gwendoline, 99, 297; account of style, 297.

chaconne, 86; Bach's for violin solo, 87.

Chadwick, Canonic Studies, 36; fugal passage in Vagrom Ballad, 41, 329.

Chamisso, texts for Schumann's songs, 170.

Chantavoine, Life of Beethoven, 159.

Charpentier, Impressions of Italy, 80.

Chausson, Ernest, account of style, 298.

Chavannes, Puvis de, compared with Franck, 258.

Chopin, type of melody, 10, 21; Sonata in C minor, 67; biography and features of style, 188-189; analysis of Prelude in C major, 198; Etude in A-flat major, 199; Mazurka in F-sharp minor, 199; analysis of Polonaise in E-flat minor, 200; of Barcarolle, 200-201; of Scherzo in C-sharp minor, 201.

chromatic changes, 51.

Clapp, P.G., 48, 329.

coda, definition and examples of, 99.

color, in different keys, 51.

Combarieu, Jules, 2.

Converse, F.S., Dramatic Poem, Job (Phrygian mode), 26; String Quartet, 99, 329.

Corelli, 70, 74.

Coriolanus Overture, analysis of, 152-156.

counterpoint, definition of, 11.

counter-subject (of a fugue), 42.

Couperin, 70, 74, 81, 85; descriptive pieces, 152, 255.

courante (corrente), 75.

Croatian Folk-songs (in Haydn), 101-102.

csardas, 76.

D

D major Sonata of Beethoven, analysis of, 140-145.

D Minor Symphony of Schumann, 179-184.

d'Albert, Suite for Pianoforte, 78.

Damnation of Faust, instrumental numbers from, 213-214.

Daniels, Mabel, 329.

Dannreuther, eulogy on Beethoven, 159; comment on Berlioz's counterpoint, 209.

Dargomijsky, use of whole-tone scale, 289.

Debussy, modal expression in works, 23, 288-289; Pelleas et Melisande (Dorian mode), 24; comments upon, 294; Minstrels (cadence in), 55-56; Sarabande for pianoforte, 77; comment on development, 97; compared with Mendelssohn, 185; apropos of new music, 204; features of style, 287-297; whole-tone scale, 289-290; titles of pianoforte pieces, 292-293; on his pianoforte style, 295-296.

de Musset, quotation apropos of Grieg, 325.

deceptive cadence, 56.

Dent, E.J., Mozart's Operas, 112.

De Pachman, playing of Mendelssohn's pieces, 185.

De Quincey, quotation from the Dream Fugue, 49.

Deutsches Requiem, 233.

development section of Sonata-form, 93-94, 97-98.

Dickinson, Edward, estimate of Haydn, 101.

diminution, definition of, 44.

d'Indy, modal expression in works, 23; canonic style, 36; Symphonic Variations, Istar, 67; comments on the Sonata-form, 95, 100; comment on Beethoven's Seventh Symphony, 131; comment on Sonata Pathetique, 142; comments on D major Sonata, 145; comments on Fifth Symphony, 145; Life of Beethoven, 159; comments on Franck's themes, 268; biography and features of style, 280-282; Istar, analysis of, 283-287.

dissonance, discord, distinction between terms, 143.

Dohnanyi, 328.

Dominant, acoustical and harmonic importance of, 22-23, 52.

Don Giovanni, 111, 119.

Don Juan, 85.

Don Quixote, 89.

Dorian mode, 24.

Dostoyevsky, 314, 319, 320.

Doumic, Rene, essay on George Sand, 189.

Dowland, John, his Pavans, 80.

Duparc, Henri, account of his style, 298.

Dvořak, New World Symphony, 9, 21; modal expression in works, 23; New World Symphony (Aeolian mode), 26; Suite for Orchestra, 79; works and features of style, 322-324.

E

Eichendorff, texts for Schumann's songs, 176.

Eighth Symphony of Beethoven, Finale, 157.

Elgar, Edward, works and features of style, 328-329.

Ellis, W.A., translation of Wagner's Essays, 154.

Enesco, 327.

enharmonic, modulation, 52-53.

episode, definition of, 39-40.

exposition of Sonata-form, 96.

extended cadences, 62-63.

F

F major Sonata of Mozart, analysis of, 113-115.

Fairchild, Blair, 329.

Fantastic Symphony, analysis of, 207-211; quotation from, 207-209.

Farwell, Arthur, on folk-music, 33.

Faure, Gabriel, account of style, 297-298.

Faust Symphony, analysis of, 223-226.

Fay, Amy, account of Liszt, 217.

feminine ending, 57.

Fibich, 321.

Finck, H.T., Songs and Song Writers, 265; Chopin and Other Essays, 198; comments on Program Music, 226; biography of Grieg, 324.

Fitzwilliam Virginal Book, 79, 152.

five-bar rhythm, 63-64.

Flonzaley Quartet, 105.

folk-songs, principle of restatement in, 16; origin and importance of, 19-33.

Foote, Arthur, fugal Finale to Suite, 41, 329.

Forsyth, Cecil, eulogy of Mendelssohn, 185.

Francesca da Rimini, 154.

Franck, Symphony, 8, 15; polyphonic structure, 13; canonic style, 36; canon in Symphony, 37; in Violin Sonata, 37; Fugue in B minor for Pianoforte, 41; comparison of his scoring with that of Schumann, 181; limitations of his pianoforte style, 190; his fusion of movements compared with that of Brahms, 251; biography, 256-257; features of style, 257-258; analysis of D minor Symphony, 259-268; of Sonata for Violin, 268-274; use of generative themes, 268; Symphonic Variations, 274-280; comparison of his style with that of Bach and Beethoven, 274; his group of pupils, 280.

French folk-song, 29.

French Overture, 119.

Frescobaldi, 34.

Friedlaender, Max, apropos of Chabrier, 281.

fugue, 11; definition of, 39.

Fuller-Maitland, life of Brahms, 238.

furiant, 75, 321.

G

G major Pianoforte Concerto of Beethoven, 152-158.

G minor Symphony, analysis of, 115-119.

Gade, Neils, 324.

galliard, 75, 80.

Galuppi, as a pioneer in Sonata-form, 93.

Gardiner, Balfour, 329.

Gautier, Theophile, eulogy of Berlioz, 207.

gavotte, 75; account of, and examples, 78-79.

Gilbert, H.F., on folk-songs, 20, 33, 329.

Gilman, Lawrence, essay on Berlioz, 214; comments on Istar, 283; essay on Debussy, 293; comments on Pelleas el Melisande, 297.

Glinka, 301, 315.

Gluck, Ballet music, 87; Operatic Overtures, 119.

Goethe, eulogy on Mozart, 112.

Gogol, 314, 320.

Gosse, Edmund, comment on Mallarme's eclogue, 293.

Gossec, as a pioneer in Sonata-form, 93.

Granados, Spanish folk-dance, 167; works, 327.

Gregorian Chant, 10.

Gregorian modes in folk-songs, 20.

Gretry, comments on Sonata-form, 98, 255.

Grieg, 21; Canon for Pianoforte, 37; Peer Gynt Suite, 80; Holberg Suite, 80; works and features of style, 324-325.

ground bass, 86; from Bach's Mass, 86.

Grove, Beethoven and his Nine Symphonies, 130.

Grove's Dictionary, 70, 73, 79, 81, 86, 104, 119, 154, 161, 172, 200, 217, 238.

Guilmant, March in Dorian Mode, 24; Canon for Organ, 36.

Gurney, The Power of Sound, 2.

H

habanera, 76.

Habets, Alfred, account of Borodin and Liszt, 316.

Hadley, Henry, 329.

Hadow, W.H., 72, 81, 92, 96; Studies in Modern Music, 184, 198, 207, 238; essay on Dvořak, 321; article on Scryabin, 326.

Hale, Philip, comments on Saint-Saens, 256; comments on Lalo, 256; essay on Mozart, 112; comments on Scheherazade, 317-318.

halling, 76.

Handel, fugue from the Messiah, 41; Harpsichord Lessons, 74; Air in Sarabande rhythm, 77; Harmonious Blacksmith, 86; Overture to Messiah, 119.

Harmonic Series, 51.

Harold in Italy Symphony, analysis of, 214-215.

Haydn, 21, 81, 87; ancestry, 101; features of style, 101-105; his freedom of rhythm, 102; development of the String-Quartet and the Orchestra, 102-103; Sonata in E-Flat major, 105-106; Surprise Symphony, 106-108; comment on Minuet, 144; Prelude to the Creation, 152.

Hazlitt, comment on Mozart, 111.

Hebrides Overture of Mendelssohn, 185.

Heilman, William C., 329.

Heine, texts for songs of Schubert and Schumann, 176; comment on Berlioz's music, 205.

Helmholtz, 193, 291.

Henderson, W.J., Preludes and Studies, 184.

Henschel, vocal canon, 37; conversation with Brahms, 233.

Heroic Symphony, analysis of, 132-140.

Herold, 255.

Hill, Edward Burlingame, Stevensoniana, 80; comments on Saint-Saens, 256; essay on d'Indy, 281, 329.

Hinton, Arthur, 329.

Hoffman, E.T.A., Essay on Fifth Symphony, 151.

Holberg Suite, 80.

Holbrook, 329.

Holmes, Augusta, 280.

homophonic, 10.

hornpipe, 75.

Hull, Eaglefield, Biography of Scryabin, 326.

Huneker, Life of Chopin, 198; on the playing of Chopin, 199; comment on Chopin's Scherzo, 201; Life of Liszt, 217; comment on Liszt's Songs, 220; essay on Brahms, 238; essay on Tchaikowsky, 306.

Hungarian folk-song, 30, 328.

Hungarian Rhapsodies, 227.

Hungarian rhythms in Schubert, Liszt and Brahms, 30; in Schubert's Symphonies, 166; in Brahms's First Symphony, 244.

I

Impromptus of Schubert, 165-166.

Indian Suite, 80.

invention, 11.

Invention in C major, analysis of, 38-89.

inversion, definition of, 43-44.

Ionian mode, 24.

Ireland, John, 329.

Irish Folk-song, 29, 35.

Istar, Symphonic Poem of d'Indy, as example of a varied air, 89; analysis of, 283-287.

Italian Overture, 119.

J

Jadassohn, Canonic Pieces, 37.

James, Henry, essay on George Sand, 189.

Jannequin, descriptive pieces for voices, 152.

jota (aragonesa), 76.

K

Kaiser Quartet, 87.

Keats, quotation apropos of Fifth Symphony, 148; quotation from, 163.

Kelly, E.S., Chopin the Composer, 198.

Kelly, Michael, Reminiscences of Mozart, 112.

King Lear, quotation from by Berlioz, 207.

Kjerulf, 324.

Korbay, F., Hungarian Melodies, 30.

Krehbiel, essay on Haydn, 103; The Pianoforte and its Music, 152.

Kreisleriana, 83.

Kuhnau, Bible Sonatas, 152.

L

Lalo, Eduard, works and features of style, 256.

Laloy, Louis, Life of Chopin, 198; essay on Debussy, 294.

Laparra, 327.

L'apprenti Sorcier, 154.

L'apres-midi d'un Faune, 154, 293-294.

Lavoix, estimate of the Fifth Symphony, 127.

Legouve, Recollections of Berlioz, 205.

Lekeu, 257.

L'idee fixe, 207-210.

Liebich, Mrs., essay on Debussy, 294.

Liszt, 4, 21; characterization of Schubert, 164; Faust Symphony (theme in augmentation), 45; Life of Chopin, 198; biography, 217-218; features of style, 218-219; analysis of Symphonic Poem, Orpheus, 221-222; of Faust Symphony, 223-226; pianoforte compositions, 226-227; alleged influence on Brahms, 232; use of whole-tone scale, 289.

Locke, A.W., article in Musical Quarterly, 151.

Loeffler, Charles Martin, works and features of style, 329-330.

Lonesome Tunes, 33.

loure, 75; example of, from Bach, 79.

Lowell, J.R., definition of a classic, 161.

Lully, 70, 119.

Lydian mode, 24.

M

MacCunn, Hamish, Scottish Melodies, 28.

MacDowell, Rigaudon, 79; Indian Suite, 80, 329.

madrigal, 69.

Maeterlinck, compared with Franck, 257; comment on the theatre, 294; influence on Loeffler, 330.

Magic Flute Overture, analysis of, 119-121.

Mahler, comments on his style, 231.

malaguena, 76.

Mallarme, 293.

Malipiero, 328.

Manfred Overture, 177-179.

Mannheim Orchestra, 102.

Manuel, Roland, life of Ravel, 299.

march, 75.

Marriage of Figaro, 111.

masculine ending, 57.

Mason, D.G., 7, 9; essay on Haydn, 102; on Mozart, 112; comment on Chopin's style, 196; essay on Berlioz, 211; on Saint-Saens, 256; on d'Indy, 281; comments on Istar, 283; essay on Debussy, 295; on Tchaikowsky, 306; on Dvořak, 322; as composer, 329.

mazurka, 75.

mediant relationship, 52, 96.

Mehul, 255.

Melpomene Overture, 154.

Melusine Overture of Mendelssohn, 185.

Mendelssohn, 89; biography and features of style, 184-186; Violin Concerto, comments on, 185-186.

Merkel, canon for organ, 36.

Midsummer Night's Dream Overture, analysis of, 186-187.

Milton, quotation from Paradise Lost, 49.

minuet, 75; account of, and examples, 78.

Mixolydian mode, 24.

modal, chart of modes, 23-24.

modulation, 51-52.

Moments Musicaux of Schubert, 165-166.

Montagu-Nathan, History of Russian Music, 314, 326.

Monteverde, 119.

Morales, 327.

Moor, 328.

Mother Goose Suite, 81.

Moussorgsky, works and features of style, 318-320.

Mozart, Magic Flute Overture, 40; Finale of Jupiter Symphony, 40, 81; biography, 108-110; features of style, 110-112; Mozart and Haydn, reactive influence, 110-111; polyphonic skill, 110, 112; dramatic power, 111; examples from works, 113-121.

Mundy, John, descriptive pianoforte piece, 152.

musette, 78.

Mystic Trumpeter, 154.

N

National Music, distinctive features of, 300-301.

Neefe, Beethoven's teacher, 124.

Neue Zeitschrift fuer Musik, founded by Schumann, 174.

New World Symphony, critical comments on, 323-324.

Newman, Musical Studies, 154, 178, 207; comment on Debussy, 296.

Newmarch, Rosa, Life of Tchaikovsky, 305.

Niecks, Programme Music, 152, 214, 221, 305; Life of Chopin, 198; eulogy of Liszt, 228.

Nordraak, 324.

O

Organ, the, its tone compared with that of pianoforte, 191.

organum, 10.

Orpheus, Symphonic Poem, analysis of, 221-222.

Osgood, George L., 329.

overtones, chart of, 193.

Oxford History of Music, 10, 12, 102, 103, 110, 119, 161, 165, 185, 216, 221, 226.

P

Paderewski, 77; Minuet of, 78; playing of Mendelssohn's pieces, 185.

Paganini, connection with Berlioz, 214.

Paine, J.K., Fuga Giocosa, 46, 49; tribute to Beethoven, 129, 329.

Palestrina, 34.

Parker, H.W., fugue from Hora Novissima, 41, 329.

Parry, Evolution of the Art of Music, 9, 16, 21, 69, 70; choral works, 328.

Passacaglia, 86; of Brahms, 86; of Bach for organ, 87.

passepied, 75.

Pater, Walter, remark on Romanticism, 161.

pavane, 75; example from Ravel, 79.

pedals of the pianoforte, the damper and the una corda, 192-195.

Peer Gynt Suite, 80.

period, definition of, 50.

Perotin, 34.

Perry, Baxter, 90.

Phaeton, 256.

Philidor, 255.

Phrygian cadence, 24-25.

Phrygian mode, 23; Brahms's use of, 239.

pianoforte, the, account of its characteristics, 189-195.

plagal cadence, 55.

polka, 75, 321.

polonaise, 75.

polyphonic, 10.

polyphonic music, complete account of, 33-49.

Poiree, Elie, Life of Chopin, 198.

Pope, apropos of the jig, 80.

Pougin, Arthur, comments on Moussorgsky, 318-319.

Powell, John, 329.

Pratt, History of Music, 10, 93, 159, 161.

prelude (to Sonata-form), 99.

Prix de Rome, won by Berlioz, 205; by Debussy, 288.

Prout, 85.

Puccini, fugal prelude to Madama Butterfly, 41.

Purcell, 70; his Jig, 71.

Pushkin, 314.

Q

Quilter, Roger, 329.

R

Rabelais, his humor compared with Beethoven's, 150, 157.

Rameau, acoustical reforms of, 23, 70, 74, 81, 85; descriptive pieces, 152, 255.

Ravel, Daphnis and Chloe, 68; his Pavane, 79; Mother Goose Suite, 81; works and account of style, 299-300.

recapitulation (or resume), 98-99.

Reinecke, Canonic Vocal Trios, 37.

Remenyi, Brahms's tour with, 232.

repetition, importance of, 12, 13; types of, 14-18.

Rheinberger, Canonic Pieces, 87; Tarantelle for Pianoforte, 79.

rhythmic variety (five and seven beats a measure), 66-68.

Richter, Jean Paul, influence on Schumann, 172.

Riemann, 93.

rigaudon, 75; examples of, from Grieg, Rameau and MacDowell, 79, 81.

Rimsky-Korsakoff, works and features of style, 317.

Roi d'Ys, Le, 256.

Rolland, Romain, account of Beethoven in Jean Christophe, 125; Life of Beethoven, 159; essay on Berlioz, 207.

Romanticism and Romantic School, account of, 160-165.

Romeo and Juliet Symphony, comments on, 215-216.

rondo, account of, 81-85.

rondo-sonata form, 144.

Ropartz, 257; characterization of a theme in Franck's Symphony, 266.

Rossetti, Blessed Damozel, set by Debussy, 288.

Rossini, "crescendo" in Overtures, 62; eulogy of Mozart, 121.

Rouet d'Omphale, Le, 256.

round, 11; Old English Rounds, 12.

rubato (tempo), definition of, 199.

Rubinstein, movements in Ocean Symphony, 95; estimate of Mozart, 111; characterization of the damper pedal, 191.

Runciman, quotation apropos of Weber from Old Scores and New Readings, 169-170.

Russian folk-songs, 30-33.

Russian music, general tendencies of, 314-315.

S

Saint-Saens, 1, 2; comment on Berlioz's Romeo and Juliet Symphony, 216; account of works and style, 255-256.

Sakuntala, 154.

saltarello, 75; Berlioz's use of the rhythm, 211.

Sammartini, as a pioneer in Sonata-form, 93.

Santayana, 5.

sarabande, 75, 76, 77.

Scandinavian Music, 324.

Scarlatti, Alessandro, Aria da capo, 14; operatic overture, 119.

Scarlatti, D., the Cat-Fugue, 48; as virtuoso, 74; anticipation of Sonata-form, 93; Courante for pianoforte, 79; crossing of hands in Beethoven, 141, 144.

Schumann, 7; motive from the Carnaval, 13; from the Kinderscenen, 13; Arabesque, 14: saying about folk-songs, 20; Canon for organ, 36; Canonic Variations, 37; Carnaval, 68; Phantasiestuecke, 68; his use of the Rondo, 82-83; Variations, 88; comment on Schubert, 166; biography and features of style, 172-174; analysis of Des Abends, 174-175; of Warum, 175-176; of Novellette in E major, 176; of Song, Mondnacht, 176-177; of Manfred Overture, 177-179; characterization of the four Symphonies, 179; Symphony in D minor, analysis of, 179-184; eulogy of Brahms in the Neue Zeitschrift, 232.

Schola Cantorum, account of, 282.

Scottish folk-tune, 28.

Scryabin, as harmonic innovator, 143; works and features of style, 327.

seguidilla, 76, 79.

sentence, complete analysis of, 53, 54.

sequence, definition of, 38.

Scheherazade Suite, 81.

scherzo, of Beethoven, 128-129.

Schmitt, Florent, 280.

Schubert, 21; Variations, 88; account of style and works, 162-169; character of songs, 165; symphonic style, 166; chamber music, 166; pianoforte style, 167; as great colorist, 167-168; analysis of Unfinished Symphony, 167-169.

seven-bar rhythm, 66.

Shakespeare, 1; apropos of the galliard, 80.

Sharp, Cecil, English Folk-Song, 27; on American folk-songs, 33.

Shepherd, Arthur, 329.

Shedlock, J.S., 93, 100.

shifted rhythm, 46.

Sibelius, features of his style, 230, 324, 327.

siciliano, 76.

Sinding, 325.

Sinigaglia, Overture, 99.

Sjoegren, 324.

Smetana, Bartered Bride Overture, 40, 121; works and features of style, 321-322.

Smith, Stanley, 329.

Smithson, Henrietta, her life with Berlioz, 204-205.

sonata and sonata-form, distinction between, 94-95.

sonata-form, account of 91-100; tabular view, 100.

Song of Destiny, Brahms, 233.

Songs without Words, Mendelssohn, 185.

Spanish music, its influence in modern times, 327-328.

Spitta, essay on Brahms, 238.

Stamitz, J., influence on Sonata-form, 93.

Stanford, Villiers, Irish folk-songs, 29; features of style, 328.

Stanford-Forsyth history, 121, 328.

Stendhal, remark on Romanticism, 161.

Stevensoniana, 80.

Strauss, R., motive from Till's Merry Pranks, 18; Don Juan, 85; Till Eulenspiegel, 85; estimate of Mozart, 111.

Stravinsky, as harmonic innovator, 143; works and features of style, 326-327.

Streatfield, essay on Tchaikowsky, 306.

stretto, 46.

string-quartet, definition of, 94.

subdominant, acoustical and harmonic importance, 22-23, 52.

subject (of a fugue), 42-43.

suite, the classical, 73-80; the modern, 80-81.

Suites, French and English, 74.

Sullivan, Arthur, operas, 328.

Sumer is icumen in (Ionian mode) 27.

Surette, T.W., comments on Bach's style, 48, 72; Development of Symphonic Music, 159.

Surprise Symphony, analysis of, 106-108.

Svendsen, 324.

Sweelinck, 34.

Symonds, Arthur, Studies in the Seven Arts, 159.

Symphonic Etudes, 88.

symphonic poem, definition of, 149, 220.

symphonic style, development of, 228-231.

T

Tallys, Thomas, vocal canon, 37.

tambourin, 71.

tango, 76.

tarantella, 75.

Taylor, Bayard, translation of stanza from Faust, 225.

Tchaikowsky, Modeste, biography of his brother, 306.

Tchaikowsky, P., Fifth Symphony, 8, 21; analysis of, 306-314; modal expression in works, 23; Legend (Aeolian mode), 26; Fourth Symphony, finale of, 33; analysis of, 305; Sixth Symphony, 67; analysis of, 305-306; Quartet in F major, 67-68; variations from Trio, 89; estimate of Mozart, 111, 121; biography, 302-303; features of style, 303-305.

Thackeray, W.M., characterization of Berlioz, 204.

Thayer, Alexander, Life of Beethoven, 159.

thematic development, 34.

three-bar rhythm, 65-66.

three-part form, complete account of, 72-73; examples of, 73.

Tiersot, J., on folk-melodies, 21; Chansons Populaires, 30; work on Berlioz, 207.

Till Eulenspiegel, 85.

Tolstoi, 315, 319, 320.

tonality, principles of, 50-51.

tonic, acoustical and harmonic importance of, 22-23.

Tragic Overture, Brahms, 233.

transformation of theme, its use in Schumann, 182.

Turgenieff, 315.

two-part form, definition of, 38; complete account of, 69-72.

V

Van Vechten, book on Spanish music, 328.

variation form, account of, 85-91.

Variations, in F minor of Haydn, 87; on Death and the Maiden, 88; Serieuses, 88; on a Theme from Handel, 88; on the St. Anthony Choral, 88; (Enigma) by Elgar, 89; Symphoniques, 89.

Verdi, Minuet from Falstaff, 78.

Veretschagin, 320.

Verlaine, 293.

Violin Concerto of Beethoven, 156-157.

Vittoria, 327.

Vivaldi, 70.

von Breuning family, 125.

W

Wagner, comment on operas, 4; quality of themes, 8; motive from the Valkyrie, 12; polyphonic structure of operas, 13; motive from Tristan and Isolde, 17; fugal Prelude to third act of the Mastersingers, 41; comments on Leonore Overture, 98; eulogy of Mendelssohn, 185.

Waldesrauschen, Etude of Lizst, 227.

Waldstein, friendship with Beethoven, 125.

Waldstein Sonata, 83.

Walker, E., on English folk-music, 22.

Wallace, estimate of Haydn, 102; Threshold of Music, 291, 329.

Wallaschek, R., on primitive music, 21.

Wallenstein Trilogy (d'Indy), 281.

waltz, 75.

Weber, Moto Perpetuo, 83; orchestral treatment in his Overtures, 164-165; account of style, 169-172; Invitation to the Dance, arrangement by Weingartner, 169; compared with that by Berlioz, 171; Oberon Overture, analysis of, 170-171; compositions for pianoforte, 171.

Weckerlin, example from Echos du Temps Passe, 71.

Weingartner, eulogy of Berlioz, 206; comments on the Symphonic Poem, 220; comments on Brahms's First Symphony, 244, 246.

Whistler, compared with Debussy, 293.

Whiting, Arthur, Scottish Melodies, 28; Irish Melodies, 29; Suite Moderne, 80; Pedal Studies, 193, 194, 329.

Whitman, 1; quotation from Mystic Trumpeter, 146.

Widor, canon for organ, 36.

Willaert, harmonic basis of choruses, 23.

Williams, Abdy, on Brahms's rhythm, 253.

Williams, Vaughan, 329.

Wordsworth, quotation from, 163.

Wyman, Loraine, 33.



LIST OF COMPOSITIONS REFERRED TO IN THIS WORK

I. Sumer is icumen in. Old English Round.

II. To the Green Wood. Round by Byrd.

III. Finale of Wagner's Valkyrie.

IV. Reconnaissance from Schumann's Carnaval.

V. Irish Folk Song.

VI. Epilogue of Strauss's Till's Merry Pranks.

VII. March in Dorian Mode. Guilmant.

VIII. Movement in Lydian Mode. Beethoven.

IX. Canon. Thomas Tallys.

X. Canon from Etudes Symphoniques. Schumann.

XI. No. VI of the Goldberg Variations. J.S. Bach.

XII. Canon for Pianoforte. Grieg.

XIII. Canon for Pianoforte. Jadassohn.

XIV. Two-voiced Invention in C major. J.S. Bach.

XV. Three-voiced Fugue in E-flat major. J.S. Bach.

XVI. Final portion of Organ Fugue in G major. J.S. Bach.

XVII. Cat Fugue for Pianoforte. D. Scarlatti.

XVIII. Fuga Giocosa for Pianoforte. J.K. Paine.

XIX. Song, The Evening Star. Schumann.

XX. Gavotte in F major. Corelli.

XXI. Waltz in A-flat major. Schubert.

XXII. Traeumerei. Schumann.

XXIII. Prelude in A major. Chopin.

XXIV. Lyric Piece in E-flat major. Grieg.

XXV. Nocturne in F major. Chopin.

XXVI. Berceuse in G major. Grieg.

XXVII. Intermezzo in E-flat minor. Heilman.

XXVIII. Sarabande in D major. J.S. Bach.

XXIX. Gavotte from Third English Suite. J.S. Bach.

XXX. Minuet from Don Giovanni. Mozart.

XXXI. Two Minuets from Castor and Pollux. Rameau.

XXXII. Gigue in G major. J.S. Bach.

XXXIII. Gigue in G major. Mozart.

XXXIV. Courante in F minor. D. Scarlatti.

XXXV. French Suite in E major. J.S. Bach.

XXXVI. Soeur Monique. Rondo by Couperin.

XXXVII. Romance in E major. Rondo by Schumann.

XXXVIII. Rondo a Capriccio in G major. Beethoven.

XXXIX. Aria from Dido and Aeneas (Ground bass). Purcell.

XL. Sonata in C major. D. Scarlatti.

XLI. Finale from Sonata in E-flat major. Haydn.

XLII. First Movement from the Surprise Symphony. Haydn.

XLIII. Adagio in B minor. Mozart.

XLIV. First Movement from the Heroic Symphony. Beethoven.

XLV. Sonata in D Major. Beethoven.

XLVI. Finale from Sonata in A-flat major. Beethoven.

XLVII. Portion of Slow Movement of Seventh Symphony. Beethoven.

XLVIII. Slow Movement of Trio in B-flat major. Beethoven.

XLIX. Theme of Slow Movement from Sonata in E major, Op. 109. Beethoven.

L. The Young Nun. Song by Schubert.

LI. Intermezzo from the Euryanthe Overture. Weber.

LII. Portion of Fantasy Piece, Grillen. Schumann.

LIII. Novellette in E major. Schumann.

LIV. Moonlight. Song by Schumann.

LV. Venetian Boat Song. Mendelssohn.

LVI. Barcarolle. Chopin.

LVII. The Carnaval Romain Overture. Berlioz.

LVIII. March of the Pilgrims from the Harold in Italy Symphony. Berlioz.

LIX. Forest Murmurs. Etude by Liszt.

LX. Ballade in G minor. Brahms.

LXI. My Love is Green as the Alder Bush. Song by Brahms.

LXII. Finale of Symphonic Poem, Istar. D'Indy.

LXIII. Chanson triste for Pianoforte. Tchaikowsky.

LXIV. Invocation to Sleep. Song by Tchaikowsky.

LXV. Serenade. Borodin.

LXVI. Cradle Song of the Poor. Moussorgsky.

LXVII. Silhouette. Dvořak.

LXVIII. Spring Song. Grieg.

LXIX. Dance of Spring. Grieg.



CRITICAL and HISTORICAL ESSAYS

By Edward MacDowell

(Lectures Delivered at Columbia University)

Especially valuable to that circle of readers who desire to secure the essential elements of a liberal culture in music. With this aim, Mr. MacDowell outlines somewhat the technical side of music, and with it, gives a general idea of the history and aesthetics of the art.

Price $1.50

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TONAL COUNTERPOINT

Studies in Part-Writing

By WALTER R. SPALDING

Professor of Music in Harvard University

Price $2.00

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MODERN HARMONY;

ITS THEORY AND PRACTICE

Arthur Foote, A.M. and Walter R. Spalding, A.M.

Price $1.50

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JUST ISSUED

MODULATION and RELATED HARMONIC QUESTIONS

By ARTHUR FOOTE

Price $1.25

Scales and Key Relationship Modulation in General Change of Keys or Chords without Modulation Change of Keys by moving to a New Tonic Modulation by means of Various Chords Diatonic, Chromatic, and Enharmonic Modulation Harmonic Changes resulting from the Symmetrical Movement of Individual Voices Harmonic Changes resulting from the Elision of Chords A Table of Modulations

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THE ARTHUR P. SCHMIDT CO.

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