Part 17

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

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

Ruskin, John, 302

Russian composers, 134

Sacred Operas, 287

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

Salvi, 242

Sarabande, 173, 174, 177

Sassarelli, 240

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

Scheffer, Ary, 246

Scherzo, 133, 179

Schröder-Devrient, 232

Schubert, 168

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

Score, 120

"Scotch snap," 52, 200

Second movement in symphony, 133

Seidl, Anton, 77

Sembrich, Marcella, 242, 245

Senesino, 239, 240

Sense-perception, 18

Serenade, 149 _et seq._

Shaftesbury, Lord, 311

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

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

Singing Societies, 253 _et seq._

_Singspiel_, 223

Smith, F. Hopkinson, 11

_Sonata da Camera_, 173

Sonata, 127, 182, 183

Sonata form, 127 _et seq._

Sontag, 241, 244, 245, 246

Sordino, 90

Space, music has no place in, 59

Speech and music, 43

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

Spinet, 168, 170

Spohr, "Jessonda," 225

Stainer, Dr., 39, 316

Stein, pianoforte maker, 196

_Stilo rappresentativo_, 234

Stories, in music, 40

Strings, orchestral, 74, 82, 86 _et seq._, 102

Sucher, Rosa, 247

Suite, 129, 152, 173 _et seq._

Symphonic poem, 142

Symphonic prologue, 148

Symphony, 124 _et seq._, 183

Syrinx, 98

Talent in listening, 4

Tambourine, 110

Tappert, "Zooplastik in Tönen," 51

Taste, 311

Technique, 163 _et seq._

Tennyson, 9

Terminology, musical, 8

_Théatre nationale de l'Opéra-Comique_, 223

Thespis, 212

Thomas, "Mignon," 223

_Tibia_, 98

Titiens, 242

Tonal language, 42, 43

Tones, co-ordination of, 17

Touch, 163 _et seq._

_Tragedia per musica_, 227

Tremolo, 91

Trench, Archbishop, 65, 66

Triangle, 74, 110

Trio, 134

Triolet, 136

Trombone, 82, 105, 106, 109 _et seq._

Trumpet, 105, 108

Tschaikowsky, 88, 132; "Symphonie Pathétique," 132

Tuba, 82, 85, 106, 108

"Turkish" music, 97

Tympani, 82, 111 _et seq._

Ugly, the, not fit for music, 50

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

Unity in the symphony, 27, 137

Vaudevilles, 224

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

Vestris, 153

Vibrato, 90

Vile, the, unfit for music, 50

Viola, 74, 77, 82, 92, 93

_Viole da braccio_, 93

_Viole da gamba_, 93

Violin, 73, 74, 77, 82, 86 _et seq._, 144, 162

Violin concertos, 145

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

Virginal, 168, 170

Vocal music, 61, 215

_Vorspiel_, 148

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

_Waldhorn,_ 107

Wallace, W.V., 223

Walter, Jacob, 53

Water, musical delineation of, 58, 59

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

Weitzmann, "Geschichte des Clavierspiels," 201

Welsh choirs, 255

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

Xylophone, 111

Ysaye, on Cadenzas, 146

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