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.
Fauré, 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.
Friedländer, 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, Théophile, 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 Pelléas el Mélisande, 297.
Glinka, 301, 315.
Gluck, Ballet music, 87;
Operatic Overtures, 119.
Goethe, eulogy on Mozart, 112.
Gogol, 314, 320.
Gosse, Edmund, comment on Mallarmé'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.
Grétry, 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
habañera, 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 Dvořák, 321;
article on Scryabin, 326.
Hale, Philip, comments on Saint-Saëns, 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.
Hérold, 255.
Hill, Edward Burlingame, Stevensoniana, 80;
comments on Saint-Saëns, 256;
essay on d'Indy, 281, 329.
Hinton, Arthur, 329.
Hoffman, E.T.A., Essay on Fifth Symphony, 151.
Holberg Suite, 80.
Holbrook, 329.
Holmès, 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'après-midi d'un Faune, 154, 293-294.
Lavoix, estimate of the Fifth Symphony, 127.
Legouvé, Recollections of Berlioz, 205.
Lekeu, 257.
L'idée 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.
malagueña, 76.
Mallarmé, 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-Saëns, 256;
on d'Indy, 281;
comments on Istar, 283;
essay on Debussy, 295;
on Tchaikowsky, 306;
on Dvořák, 322;
as composer, 329.
mazurka, 75.
mediant relationship, 52, 96.
Méhul, 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 für 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.
Pérotin, 34.
Perry, Baxter, 90.
Phaëton, 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.
Poirée, Elié, 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 résumé), 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.