The awakening of musical art has been remarkable in all parts of the civilized world, and in many countries not previously distinguished in music composers have arisen who have embodied the rhythms and spirit of the national songs in their works, composed dramatic works upon national subjects, and so have created a national school of music. In some cases the works of these men have proven of world-wide acceptance; in others they have set in operation musical life in their own country, and have been followed quickly by younger composers working in a more cosmopolitan vein, who have created works which have been taken into the current of the world's music and bid fair to hold an honorable position in the pantheon.
MICHAIL IVANOVITCH GLINKA.
One of the most brilliant cases of this kind is Russia, that country so vast, so powerful, so mysterious. The first composer in Russia to distinguish himself and to create a national opera was Michail Ivanovitch Glinka (1803-1877), born near Selna. His first schooling was at the Adelsinstitute in St. Petersburg, where he distinguished himself in languages. But presently, under the teaching of Bohme upon the violin and Carl Mayer in pianoforte and theory, he showed the musical stuff which was in him. Leaving Russia for his health, he resided four years in Italy, constantly studying and incessantly composing. On his way back to Russia he placed himself for a time under the teaching of the distinguished S. Dehn in Berlin, in theory. Dehn recognized his originality and encouraged him to write "Russian" music. His first opera, "A Life for the Czar" (December 9, 1836), was a great triumph. The subject was national, the contrast between Polish and Russian subjects in the music was brilliant, and actual or simulated folk songs gave a local coloring highly grateful to the Russian audience. The work received innumerable repetitions and still remains one of the most popular operatic works upon the Russian stage. His next work, "Ruslan and Ludmilla," was also successful, and Liszt, who happened to be in Russia at the moment of its production, accorded the young composer distinguished praise. Berlioz took up the pen in honor of Glinka and of his new Russian school of music, and so the composer's powers were widely celebrated. During the remainder of his life Glinka made long residences in the south, especially in Spain, and several orchestral works, with Spanish coloring, represent this portion of his creative career. His last years were spent in rural life near St. Petersburgh, busy with new opera projects, and especially seeking some rational manner of harmonizing the Russian popular songs. Riemann calls Glinka "the Berlioz of Russia," in the originality of his invention and his clever technique; and something more, namely, that he created a national school of music for his country. The list of his works is very long, embracing compositions in almost every province. There are two symphonies, both unfinished, several dances for orchestra, a number of chamber compositions of various combinations of instruments, a tarantella for orchestra, with song and dance ("La Kamarinskaia"), etc. His operas, however, are his lasting monument.
ANTON VON RUBINSTEIN.
The next great name in the roll of Russian music is that of the pianist, Anton von Rubinstein (1830-1895), who was born at Wechwotynez, in Bessarabia. His father presently removed to Moscow, where he carried on a manufactory of lead pencils. The boy Anton showed such talent for music under the skillful and affectionate teaching of his mother, that at the age of ten he was brought before various musical authorities in Paris for opinions concerning his talent. His concert life began almost immediately from this period. His mother went with him, and wherever there were pauses of a few days the studies were resumed, exactly as had been the case with Mozart, long before. In 1848 he found a friend and appreciative companion in the Princess Helene, and then he wrote several operas upon Russian subjects, of which two were published—"Dimitri Donskoi" and "Toms der Narr." The success of these works was such that in 1854 the composer was given a subvention for further foreign study by the Princess Helene and Count Wielhorski, upon which followed four brilliant years of incessant activity as virtuoso pianist and composer, extending as far as London and Paris. Rubinstein had already lived some years in Berlin, where he was as well known as at home. Returning to Russia in 1859, he received important appointments as musical director, founded the St. Petersburg musical conservatory, of which he remained the director until 1867, when ensued a new series of concert journeys covering Europe, and in 1872-1873 extending to America, where he had a wonderful success, carrying back to Russia as proceeds of the American tour the at that time unprecedented sum of $54,000.
As pianist, Rubinstein was distinguished for his grand style, broad and noble mastery of the instrument, and his consummate sympathy and innate musical quality. He was a player of moods, at times playing like a god, at other times his work disfigured by many errors, but always interesting, commanding and noble. He played best the compositions of Beethoven and Schumann, their innate depth and intense musical expression appealing to his richly gifted musical nature irresistibly. His personality was commanding and attractive. Saint-Saëns relates how Rubinstein played in Paris the concertos of Beethoven and of Rubinstein, while Saint-Saëns conducted the orchestra. At the close of the concerts Rubinstein desired to give yet another in which he himself would direct the orchestra, while Saint-Saëns should play. It was for this occasion that the Saint-Saëns second concerto was written. In his later life Rubinstein lived like a prince in a beautiful estate near St. Petersburgh. The list of his works is something enormous. Of operas and dramatic works there are twelve, several of which, such as "The Tower of Babel," "Paradise Lost" and "Moses," are biblical operas, a type of dramatico mystical work created by Rubinstein. It contains the gravity and depth of oratorio combined with the intense realism of the stage. There are six symphonies, of which the famous and several times enlarged "Ocean" symphony is perhaps best known, a "Heroic Fantasia" for orchestra, three character pieces for orchestra, "Faust," "Don Quixote" and "Ivan"; three concert overtures, a quantity of chamber music, compositions for piano, songs, and the like. In everything of Rubinstein beautiful melodies are found; his weakness lies in the development, which occasionally is carried too far, and with insufficient vitality of thematic work.
PETER ILITSCH TSCHAIKOWSKY.
Even greater than Rubinstein as composer was the brilliant Peter Ilitsch Tschaikowsky (1840-1893). Tschaikowsky was intended for the profession of the law, in which he took his degree. But his love for music asserted itself, and after a short career as pupil in the St. Petersburgh conservatory, he was appointed teacher of harmony in that institution, and entered upon his career as composer. Here he remained but a short time, resigning in 1877, after which he lived by turns at St. Petersburgh, in Italy and in Switzerland. Tschaikowsky was of a lyric musical nature, and in his early life his taste was entirely for Italian music. This shows to a remarkable degree in all his earlier productions, even if he had not himself published the fact so often and unmistakably. In 1869 he produced his first Russian opera, "Der Woiwode" which was followed by eight others, of which the best known are "Eugene Onegin" and "Makula, the Smith." Several of these are now played throughout Europe. It was in his orchestral compositions, however, that Tschaikowsky most illustrated his unexampled powers. Besides a number of brilliant and highly sensational overtures, he composed six symphonies, of unexampled sonority, rich coloring and strange musical expression. The fifth symphony of Tschaikowsky met with almost universal recognition at the hands of the leading orchestral conductors of the world; and the last, the so-called "Tragic," only deepened the impression of the composer's powers. Several points are unusual. The themes themselves are original, forceful and lend themselves easily to elaboration. The harmonic treatment is highly original, as if the author had found, as Bülow said, "new harmonic paths." The instrumentation is richly colored and the climaxes are of vast power and effect. The whole is a grandly composed tone poem which even if regarded as surpassing the proper reserve of symphonic form must nevertheless be counted as one of the most valuable enrichments of the world's orchestral repertory. In several places in his works Tschaikowsky introduces peculiarities of Russian folk music, as for example in the movement in 5-4 measure in the fifth measure symphony. Nevertheless, the works belong to the world's music, being in no sense provincial, narrow or limited. Æsthetically considered, they illustrate the quick technique and over-mastering energy of the race to which the composer belonged.
Another country in which a notable musical revival has taken place during the latter part of the present century is Bohemia, where two names are to be mentioned. Bedrich Smetana (1824-1884), is to be remembered as the creator, or at least the awakener, of Bohemian music. After a short education at the Prague university Smetana entered diligently upon the study of music, becoming a brilliant pianist, and as such forming one of the circle of enthusiastic and advancing souls surrounding Liszt at Weimar, between 1850 and 1860. His first position as musical director was at Gothenberg, 1856. Here he lost his wife, the brilliant pianist Katharina Kolar. In 1861 he made a long concert tour to Sweden. In 1866 he was appointed director of the music at the national theater in Prague, a position which he held until obliged to give it up on account of loss of hearing in 1874. Smetana wrote eight operas upon Bohemian subjects, with music in the Bohemian spirit; one best known is "The Bartered Bride," which was the last composed. He also wrote about ten symphonies or symphonic poems, and a great variety of chamber music. Of his symphonic poems those most often played are: "In Wallenstein's Camp," "Moldau," "Sarka" and "Visegrad." In all these the titles are mainly suggestive, although in "Sarka" a programme is quite closely followed. Smetana was a brilliant composer, but his value lies in his awakening of the Bohemians to musical creation.
BEDRICH SMETANA.
ANTON DVORAK.
The most brilliant name in Bohemian music, and the one most valued by the world in general, is that of Anton Dvorak (1841- ), who was the son of a butcher at Mulhausen. The boy early applied himself to the violin, and after some years' playing in small orchestras, found a place as violinist in the orchestra of the National theater at Prague. This was at the age of nineteen. About ten years later he first attracted attention as composer, by means of a hymn for mixed chorus and orchestra. The attention of his countrymen, thus gained, Dvorak fastened still more by a succession of compositions of varied scope, ranging from the Slavic dances and Slavic rhapsodies to symphonies, chamber music and choral works of great brilliancy. In 1892 Dr. Dvorak was called to New York as director of the so-called National Conservatory of Music. In 1895 he returned to Bohemia. The choral works of Dvorak were generally first written for English musical festivals. "The Specter's Bride," "Stabat Mater," "Saint Ludmilla." The list of his works includes five symphonies for full orchestra, several concert overtures, a very beautiful air and variations for orchestra, and seven operas upon Bohemian subjects. Dvorak is one of the most gifted composers of the present time, especially in the matter of technique. His thematic treatment is always clever, his orchestral coloring rich and varied, and his style elegant. If deficiency is to be recorded concerning him it is in invention or innate weight of ideas. During his residence in America he promulgated the idea that an American school of music was to be created by developing the themes and rhythms of the negro melodies, and he wrote a symphony, "From the New World," in order to illustrate his meaning. The second or slow movement of this work attained a distinguished success almost everywhere; but the themes of the first and last movement are not sufficient for the treatment they receive. This work has been more successful in Europe than in this country. Perhaps the most notable quality of Dr. Dvorak's personality is his naiveté, which shows well in his music. He is quite like a modern Haydn, who has learned and remembered everything of musical coloration which has been discovered, but who applies his knowledge in a simple and direct manner without straining after effect.
EDVARD HAGERUP GRIEG.
Foremost of Scandinavian composers is Edvard Hagerup Grieg (1843- ), who was born at Bergen, Norway, and received his early musical education from his mother, who was an excellent pianist, and very musical. By the advice of the celebrated violinist, Ole Bull, Grieg was sent in 1858 to Leipsic for further instruction, where he became a pupil of Moscheles, Hauptmann, Reinecke, Richter and Wenzel. In 1863 he pursued further studies under Gade at Copenhagen. In companionship with a talented young composer, Ricard Nordraak, Grieg set himself, as he says, "against the faded Scandinavianism of Gade and Mendelssohn intermingled, and undertook to put into tones the real beauty, strength and inner spirit of the northern folks-life." He composed in many varieties of work, and in 1879 attained German recognition by playing his own piano concerto at the Gewandhaus in Leipsic. Grieg's works are full of poetry, easy and natural expression, and are pervaded by northern coloring, so decided as in some cases to approach what in speech is called dialect. Nevertheless, it is indubitable that his music has distinctly enriched the world's stream of tone-poetry, and introduced a new accent and voice. He has distinguished himself in almost every department, in songs, choral work, chamber music, symphonies, sonatas for piano and piano and violin, and orchestral suites, of which perhaps his two "Peer Gynt" are the most celebrated. In person Grieg is slight, fair-haired, with lovely deep blue eyes and a charming manner. He is subject to pulmonary weakness, and is compelled to reside much of his time in warmer climates than those of his native land.
An older composer than Grieg is Niels Wilhelm Gade (1817-1890), of Copenhagen, who after a thorough musical education received in his native city, attracted wider attention in 1841 by taking the prize for his concert overture, "Night Sounds from Ossian," the judges being Fr. Schneider and Spohr, the violinist. This gave Gade a royal stipendium, with which he immediately betook himself to study at Leipsic, where he came under the personal influence of Mendelssohn, an influence which he never outgrew. At the death of Mendelssohn he was appointed director of the Gewandhaus, but not proving in all respects satisfactory he held the position only a part of one season. After the death of Gläser in 1861, Gade was made royal music director at Copenhagen, a position which he filled many years. He was active as composer in every direction, his published works embracing eight symphonies, five overtures, two concertos for violin and orchestra, three violin sonatas, several cantatas for mixed voices, soli and orchestra, and many other works. The ultimate judgment of Gade as a tone-poet is likely to be that while distinctly talented, he never attained imagination of the first order.
Among the younger composers Christian Sinding (1856- ) is to be mentioned. Besides many works for chamber, he has written one symphony, which while not very original gives promise of better productions later.
The relation of England to the higher art of music has been peculiar. In the sixteenth century and earlier it was one of the most musical countries in Europe; but from the appearance of Händel, about 1720, German music and German composers absorbed public attention to the exclusion of the natives—no one of whom, it may be added, evinced creative powers of any high order. England was a liberal patron of all the leading German masters, from Haydn, who wrote twelve symphonies for the London Philharmonic, to Beethoven, whose ninth symphony was written for the same society; Mendelssohn, whose "Elijah," was written for the Birmingham festival, and Wagner, who received handsome compensation for conducting a series of concerts in London. A little past the middle of the present century, however, more creative activity began to show itself among English composers, until at the present time there are excellent English composers in all the leading departments of musical production. The more celebrated names follow.
One of the most graceful and talented of English composers was Sir William Sterndale Bennett (1816-1875), who came of a musical stock, and was duly trained as a choir boy in King's Chapel, and at the Royal Academy of Music. In 1836 he went to Leipsic, in order to profit by the Gewandhaus concerts there and the friendship of Mendelssohn. Here he produced a number of orchestral compositions which were so highly esteemed that in 1853 the directorship of the Gewandhaus concerts was offered him. After a short sojourn at Leipsic he returned to London, where he ever after lived, highly honored as composer, pianist, teacher and man. In 1856 he became the conductor of the London Philharmonic concerts, and in 1866 principal of the Royal Academy of Music. He was knighted in 1871, having previously been honored by degrees from Cambridge and Oxford. He was professor of music in Cambridge University from 1856 until his death. As a composer Bennett was influenced by Mendelssohn, but he had much delicacy of fancy and a certain originality of his own. His compositions embrace four concertos for piano and orchestra, several concert overtures for orchestra, one symphony, much chamber music, a cantata, "The May Queen" (1858), "The Woman of Samaria" (1867), and a number of occasional odes, anthems and part songs.
The successor of Sterndale Bennett as principal of the Royal Academy of Music was Sir George A. Macfarren (1813-1887), who although totally blind for many years before his death, produced a greater number of important compositions than any other English composer of the century. He was educated in London, and in 1834 became one of the professors in the Royal Academy of Music. His first opera was produced in 1838, "Devil's Opera," "Don Quixote" (1836), "Jessy Lea" (1863) and "Helvellyn" (1864). He wrote a number of cantatas for chorus and orchestra, oratorios, "St. John the Baptist" (1873), "The Resurrection" (1876), "Joseph" (1877), and other works of less importance. There are also many anthems, several overtures and other pieces for chamber. Personally he was kind-hearted, intelligent, helpful and public spirited. The amount of work that he accomplished under the greatest of disadvantages is wonderful, as well as its generally superior quality. As a lecturer and teacher he was the foremost musical Englishman of his time. His compositions are strong and respectable, but not especially inspired.
The successor of Sir Geo. Macfarren in the principalship of the Royal Academy of Music was Alexander Campbell Mackenzie (1847- ), the youngest eminent English composer, but also the most successful and promising. He was educated as a violinist, and resided at Edinburgh as a teacher of the pianoforte and violin until his compositions attracted the attention of his countrymen and induced his being called to London. The most important compositions of Dr. Mackenzie up to the present time are the operas "Colomba" (1883), "The Troubadour" (1886) and the oratorio "The Rose of Sharon" (1884). There are several cantatas, "Jason," "The Bride," "The Story of Sayid" (1886) and a considerable number of orchestral pieces, of which two Scotch rhapsodies and the overture to "Twelfth Night" are the best known. He has also produced a violin concerto (played by Mr. Sarasate), and much chamber music and songs. On the whole, Dr. Mackenzie seems the most gifted English composer who has yet appeared.
"Abel", 351
"Abou Hassan", 408
Académie de Musique, 238
Adam, 491
Adam de la Halle, 122
Æschylus, 55
"Africaine", 414
"Agnes von Hohenstaufen", 479
"Aida", 485
"Alceste", 333
"Alcidor", 479
"Allgemeine Musikalische Zeitung", 464
Amati, 201
Ambrosian Scales, 131
Anglo-Saxon Harp, 104
Anglo-Saxons, Music among, 96
"Anna Bolena", 482
Antiquity, Music in, 23
Apprentice Periods of Music, 22
Arabs and Saracens, 109
"Arianna", 224
Aristophanes, 57
Aristotle, 58, 65
Aristoxenus, 58
Arkadelt, 165
Art, Conditions of Its Development, 18
Art Forms, Qualities of, 20
"Ascanio", 494
Assyrian Harps, 45
Assyrians, Music among, 46
Auber, 488
Aurelian, 139
Bach, 265, 468
Bach as Melodist, 272
Bach, Emanuel, 282
Banjo, Ancient, 46
Bar in Vocal Music, 186
Bardi, Count of, 221
Bards, 89
Barytone, 196
"Basilius", 242
Bayreuth, 425
"Beatrice and Benedict", 435
Bede, 139
Beethoven, 305, 316, 319, 320, 355, 499
Bellini, 482
Bellows Bags in Old Organs, 206
Bennett, 501
Berger, 361
Berlioz, 432
Berlioz and Mendelssohn, 434
Bizet, 495
Blondel, 123
Blow, Dr. John, 354
Boethius, 135
Boieldieu, 343
Boito, 486
Bologna, Mozart at, 295
Books Published, 220
Boscherville Sculptures, 208
Brahms, 498
Braithwaite's Musicians for an Earl's Household, 213
Breton Song, 88
Bruce's Harpers, 30
Bruch, 500
Bülow, 423, 507
Buxtehude, 254
"Caliph de Bagdad", 344
"Calm Sea and Prosperous Voyage", 457
Calzabigi, 333
Cambert, 236
"Cantilena of St. Eulalie", 116
Canzone, 249
Carissimi, 245
Cassiodorus, 137
Cavalli, 226, 231
"Caverne, La", 342
Celts, 87
Centers of Music, 17th Century, 220
Cesti, 226
Chansons de Geste, 115
"Cheval de Bronze, Le", 490
China, 73
Chitarrone, 193
Chopin, 441
Choral Song, 53
Choral Works of Bach, 268
Chromatic Keyboards, 205
Church Influence, 128
Cithara, 64
Clementi, 355, 357
Concerto, 249
"Concertstück", 411
Corelli, 255
"Corpse Fantasia", 383
Council of Trent, 174
Cramer, 360
Cremona, 198
"Crociato, Il", 141
"Crown Diamonds", 490
Crwth, 24, 106
Cypriano de Rore, 172
"Dafne", 222
"Damnation of Faust", 434
Délibes, 494
"Devil's Trill", 366
"Devin du Village", 339
Didactic of Music, 134
"Dido and Æneas", 349
"Dinorah", 415
"Don Giovanni", 300
Donizetti, 482
"Don Sanché", 446
Drama, Ancient, 54, 55
Druids, 89
Dufay, 158
Dussek, 357
Düsseldorf, Mendelssohn, 459
Dvorak, 503
Egyptians, Early, 25
Elements of Music, 15
"Elijah", 461
English Round, 100
"Entführung aus dem Serail", 297
"Esther," Händel, 277
Eoud, 113
Epics, French Mediæval, 115
"Erl King, The", 384
"Ernani", 485
"Euryanthe", 409
"Eve", 493
"Faust," Berlioz, 434
"Faust," Gounod, 491
"Faust," Schumann, 474
"Faust," Spohr, 369
"Fernand Cortez", 478
Fétis, on the Celts, 90
Field, 356
Fleurettes, 157
Flute, Egyptian, 28
Flute, Greek, 64
Flute, Hebrew, 42
Form, Principles of, 20
"Fra Diavolo", 490
Franco of Cologne, 146, 156, 186
Franco of Paris, 147, 157
Frauenlob, 125
French Opera, Origin of, 225
French Tenacity of Vernacular, 239
Frescobaldi, 252
Fugue, 151, 262, 263, 270
Fugue, Chromatic, 271
Gade, 497
"Gioconda, La", 487
"God and Nature", 413
Grieg, 500
"Harmony and Meter", 460
"Harold in Italy", 434
Heller, 504
Henselt, 504
Hérold, 490
Hiller, 505
"Huron, Le", 341
India, Music in, 70
India, Musical Drama in, 73
Individualism, 374
Instrumental Music, 249
Instruments, Relation to Progress, 20
"Iphigenie", 335
Ireland, Music in, 95
Irish Harp, 97
Iron Frame, 401
Iron Tension Bar, 399
Isidore, of Seville, 138
"Ismene", 242
Italian School of Singing, 228
Japanese, 77
"Jean de Paris", 344
"Jephthah," Carissimi, 245
"Jessonda", 369
Jomelli, 346
Josquin, 163
Jubal, 43
"Judith", 351
Kerl, 253
Kindergarten, Egyptian, 39
King Arthur, 98
King David Playing, 24
Kinnor, 42
Klauser, "Septonnate", 17
Ko-ko, 77
"Kreisleriana", 471
Kuhnau, 354
"Lakmé", 494
Lalo, 495
Landseer Portrait of Paganini, 431
Lassus, 167
Leading Motive, 410
"L'Elisir d'Amore", 482
Léonin, 153
Liszt, 446, 447
Liszt and "Lohengrin", 418
Liszt and the Later Sonatas of Beethoven, 323
Liszt, Pupils of, 451
Liszt's Appearance, 454
Litolff, 504
"Lucia", 482
Lulli, 236
Luther, 175
Lyre, Egyptian, 33
Lyre, Greek, 64
Lyric Element in Music, 263
Macfarren, 501
Mackenzie, 503
Macrobus, 134
Madrigal, 215
Madrigal in Opera, 217
Magadis, 64
"Marion Delorme", 487
Martinus Capella, 135
"Marriage of Jeannette", 493
Mask, 225
Mason's Enthusiasm for Schumann, 475
"Masaniello", 489
Massé, 492
Massenet, 493
Mediæval Violins, 195
Méhul, 342
"Mefistofele", 486
"Meistersinger, Die", 423
Mendelssohn, 455
Mendelssohn on Berlioz, 434
Mendelssohn's Relation to Schubert, 377
"Messe Solennelle," Rossini, 481
Metastasio, 333
Meyerbeer, 411
"Mignon", 495
Minnesingers, 123
Minstrels of the North, 87
Miracle Plays, 244
"Mireille", 491
Mixtures in Old Organs, 207
Modes, Greek, 61
"Moise", 481
Monody and Homophony, 198
Monsigny, 339
Monteverde, 224
"Mors et Vita", 492
Moscheles, 362
Moscheles with Mendelssohn, 455
Moszkowsky, 503
Motette, 154
Mozart, 299
Mozart as an Operatic Force, 336
Mozart on Jomelli, 346
Naples Schools, 169
"Nero", 486
Neumæ, 181
Nicodé, 503
"Nibelung's Ring", 420
"Norma", 483
Notation, 179
Notation, Roman, 189
"Nurmahal," 1822, 479
"Oberon", 409
Odon, 143
Okeghem, 162
Old French School, 153
Opera, 223
Opera in Germany and France, 235
Opera in 16th Century, 327
Opera and Drama, 427
Opera, Future of, 427
Oratorio, 223, 244
Oratorio in Costume, 280
Orchestic, Greek, 56
Orchestra at End of 17th Century, 256
Orchestra, Corelli's, 255
Orchestra, Monteverde's, 224
Organ, Early Form, 202
Organ, Portable, 204
Organ at Winchester, 98
Organ Music Notation, 251
Organum, 142
Orlando di Lassus, 166
"Orpheus," Gluck's, 333
"Otello", 485
"Otello," 1816, 479
Pachelbel, 253
Paganini, 428
Paisiello, 347
Palestrina, 173
Parish-Alvars, 439
"Parsifal", 426
Passions, Bach, 269
Patriotic Use of Music, 52
Pentatonic Scales, 74
People's Song, 263
Perceptions of Tone, 85
Pergolesi, 345
Pérotin, 153
Perrin, the Abbé, 326
Petrucci, 217
Phantasiestücke, Schumann, 469
Philippe de Vitry, 157
Phillidor, 339
Piccini, 347
Pindar, Ode of, 69
Pizzicati, 224
Plato, 67
Pollini, 439
"Polliodoro," Graun, 328
"Polyeucte", 491
Ponchielli, 487
Popular Taste for Music, 213
Popularity in 19th Century, 373, 379
Polyphonic Schools of Italy, 168
Polyphony as an Art Form, 151
Porpora, 228
"Postillon de Lonjumeau, Le", 491
"Pré aux Clercs, Le", 490
"Promessi Sposi, I", 487
"Prophète", 414
Ptolemy, 61
Pupils of Liszt, 452
Purcell, 349
"Puritani, I", 483
"Pygmalion", 339
Pythagoras, 59
Rameau, 336
Ratios, Greek Tetrachord, 61
Ravanastron, 72
Rebec, 196
"Redemption, The", 492
Reinecke, 517
Reinken, 254
Reinmar, 127
Rémi, 139
"Representative Style", 223
"Requiem," Berlioz, 434
"Requiem," Mozart, 303
"Rheingold, Das", 420
Rhythm of Bach, 271
Rhythmic Development, 188
Ricerari, 249
"Rienzi", 416
Rinuccini, 222
"Robert le Diable", 414
"Robin and Marian", 236
Roman Notation, 180
Romantic, The, 373
"Romilda e Constanza", 413
Rondo, 155
Rossini, 479
Rota, 150
Rousseau, 338
"Rubezahl", 408
Rubinstein, 505
Saint-Saëns, 493
Santir, 114
Saracens, 109
Saracens, Instruments of, 112
"Sardanapolis", 433
Scales, Greek, 60
Scales, Ambrosian, 129, 130
Scandinavians, Music among, 99
Scarlatti, A., 227, 232
Scarlatti, D., 275, 353
Scheidt, 250
Schein, 251
School of Munich, 166
Schools of the Netherlands, 160
Schubert, 376, 381
Schulhoff, 504
Schumann, 464-477
Schütz and "Dafne", 239
Scotch Melody, 108
"Septonnate", 17
"Serva Padrona, La", 344
"Siegfried", 421
Socrates, 56
Sonata Form, 264
Sonatas, Bach, 265
Sonatas, Beethoven, 309, 319, 322
Sonatas, Corelli, 255
Sonatas, Haydn, 288, 317
Sonatas, Weber, 410
"Song of Roland", 118
"Song of the Harper", 36
Songs of Schubert, 384
Songs of Schumann, 468
Songs of Troubadours, 121
"Songs without Words", 458
"Sonnambula, La", 482
Spinet, 393, 396
Spohr, 366
Spontini, 478
Staff, 185
Steinway, 402
St. Ambrose, 129
St. Mark's, 133
"St. Paul", 459
"Sumer is Icumen in", 101
Svensden, 500
Swelinck, 250
"Symphoniæ Sacræ", 247
Symphonies, Beethoven, 319
Symphonies, Haydn, 288
Symphonies, Mendelssohn, 464
Symphonies, Schumann, 474
Symphony, 316
"Tancredi", 479
"Tannhäuser", 418
Tartini, 364
Tausig, 505
Technique, Modern, 436, 446
Terpander, 52
Thalberg, 438
Thales, 52
Theaters in Venice, 226
Thematic Work, Schumann, 473
Theory, India, 70
Theory, Mediæval, 134, 147
Thomas, Ambroise, 495
Tinctor, 163
Thomaschek, 359
"Tom Jones", 339
Tonality, 84
Tone Perceptions, 17, 55
"Traviata, La", 485
"Triads of Britain", 93
"Tristan and Isolde", 423
Troubadours, 121
"Trovatore, Il", 485
Tschaikowsky, 499
Verdi, 483
"Vestale, La", 478
Vina, 71
Viol da Gamba, 164
Violin Making, 195
Violin, Stradivarius, 199
Virtuosity, 378
Virtuoso Element, 19th Century, 428
Vitry, Philippe de, 157
Wagner, 416
Wagner and Berlioz, 434
Wagner, "Die Walküre", 420
Weber, 406
Weber as Pianist, 410, 437
Weber's Influence on Piano Playing, 410
Weimar, Liszt at, 449
Welsh, Music of, 93
Wieck, 467
Wilhelm, Count, Troubadour, 121
Willaert, Adrien, 171
Winchester, Organ at, 98
"Zampa", 490
Zarlino, 171, 257
Zelter, 457
Zingarelli, 348