Part 22

[56] Compare the corresponding movements in Schumann's D minor Violin Sonata and Pianoforte Quintett.

_INDEX_

A.

A major Symphony (Beethoven), 51, 64, 70, 219, 286.

A major Pianoforte Quartett (Brahms), 253, 255, 285, 296.

A minor String Quartett (Schumann), 54; (Dvořák), 197; (Brahms), 302.

Abendständchen, 255.

Academic Overture, 268.

Academy, The, 262.

Æolopantaleon, 90.

Æolsharfe, 298.

Æschylus, 281, 296.

Ahle, Johann Rudolph, 264.

Aix-la-Chapelle, 120.

Albert Hall, 205.

Alcestis, the, 53.

Aldrich, T. B., 64.

Alexander's Feast, 264.

Alfred (Dvořák's), 190.

Allgemeine Musikalische Zeitung, 100, 235, 247, 256.

Ambros, 251.

America, 183, 208.

Andrea del Sarto, 168, 233.

Anselar Platz, 231, 234.

Anstey, F., 65.

Antigone, the, 260.

Antonin, 92, 108.

Arago, 134.

Arbeau's Orchesographie, 277.

Aristotle, illustrations from, 9, 10, 21, 22, 70, 278.

Art (limits of analysis), 75, 133, 150, 243.

Art of Music (Dr Parry), 283.

Arts and Sciences (Order of), 270.

Asolando, 149.

Austen, Miss, 64.

Austin Dobson, Mr, 31.

Austria, 185, 208, 259.

Austrian Kultusministerium, 198-200.

Austrio-Prussian War, 258.

Ave Maria (Brahms), 247.

Ave Maris Stella (Dvořák), 194.

B.

B major Trio (Brahms), 42.

B flat Sestett (Brahms), 247, 253, 282, 287, 296, 299.

B flat minor Sonata (Chopin), 136, 137, 155, 156.

Bach, polyphony, 278; relation to Brahms, 283-286; illustrations from, 20, 30, 40, 45, 66, 68, 70, 86, 161, 168, 217, 218, 232, 259, 278, 279, 280, 281, 282.

Bacon, 190, 211.

Bad Reinerz, 91, 93.

Baillot, 116.

Ballades (Chopin), 123, 131, 135, 154, 158.

Balzac, 67, 134.

Barbara Allen, 38.

Barbizon School, 213.

Barcarolle (Chopin), 137.

Barcelona, 129.

Bartered Bride, the, 187, 221.

Basle, 269.

Beethoven, relation to Chopin, 155; to Dvořák, 219; to Brahms, 286-290.

Beethoven, illustrations from, 7, 11, 20, 22, 24, 30, 33, 39, 42, 43, 46, 47, 51-53, 55, 64, 66-68, 70, 72, 80, 97, 98, 106, 149, 153, 156, 157, 163, 167, 168, 189, 221, 223, 225, 232, 234, 236, 237, 243, 247, 252, 253, 258, 259, 262, 265, 266, 280.

Belleville, Mdlle. de, 107.

Bendl, Karel, 188, 191.

Berlin, 94, 95, 102, 110, 115, 200.

Berlin Iris, 120.

Berlioz, illustrations from, 21, 29, 32, 33, 106, 120, 149, 180, 183, 220, 232, 234, 239, 280, 285.

Birmingham Festival, 206, 208.

Blätter für Theater Musik und Kunst, 252, 253.

Blahetka, 100.

Blanc, Louis, 133.

Bluebells of Scotland, 46.

Blumendeutung, 191.

Böhmisch-Kamnitz, 176.

Bohemia, condition of music in, 177; loss of independence, 182; beginnings of renaissance, 183, 184; national movement, 184-187, 192, 194, 203, 208, 217, 220.

Bohemian Folksongs, 215.

Bohemian Theatre, 191, 195, 204.

Bonn, 245, 260.

Brahms, Johannes, birth, 231; early education, 232-3; first concert, 233; tour with Reményi, 235; Göttingen, 235; Hanover, 237; Weimar, 238; goes to Schumann at Dusseldorf, 239; _début_ at Leipsic, 240; appointment at Lippe Detmold, 241; concerts, 243; first pianoforte concerto, 244, 261; serenades, 245; stay in Switzerland, 246, 247; goes to Vienna, 249; _début_ in Vienna, 252; first performance of B flat sestett, 253; relation to Wagner, 254; appointment to Vienna Singakademie, 255; concert tour in Germany, 255; concert tour in Switzerland, 257; German Requiem, 258, 259; Hungarian dances, 261; Triumphlied and Schicksalslied, 262, 263; appointed conductor of the Gesellschaft der Musikfreunde, 263; first symphony, 265; doctor's degree at Breslau, 267; tragic and academic overtures, 267, 268; concert tour, 269; decorations from Germany, Bavaria and Austria, 270; made citizen of Hamburg, 271; later compositions, 271, 272.

Brahms as composer. The 'fifth landmark,' 281, 282; relation to Bach, 283-286; relation to Beethoven, 287-290; further developments of structure, 291-294; emotional range, 295, 296; melody, 296-299; rhythm, 300, 301; conclusion, 302, 304.

Brahms, illustrations from, 18, 30, 40, 42, 54, 55, 62, 70, 187, 214, 225.

Brahms, Johann Jakob, 231, 234; Frau, 231, 234; Fritz, 235, 246.

Brandenburgs in Bohemia, the, 187.

Brault, Augustine, 137.

Breitkopf and Härtel, 91.

Bremen, 259, 262.

Breslau, 111, 267.

Broadwoods, the, 123.

Brontë, Charlotte, 64.

Browning, illustrations from, 13, 149, 233.

Bruch, Max, 259.

Bruckner, 250.

Brüll, Ignaz, 250.

Bückeburg, 238.

Buda-Pesth, 258, 269.

Burger, 29, 206.

Burns, 47, 152, 177.

Burton, 17.

Byron, 35, 200.

C.

Calderon, 212.

Cambridge, 208, 267, 272.

Carlsbad, 121.

Carlsruhe, 255, 262, 265.

Carnaval Overture, 224.

Carpaccio, 157.

Catalani, 88, 107.

Cauvière, Dr, 132.

Cavalleria Rusticana, 217.

Cellini, 90.

Chapelain, 133.

Cherubini, 91, 116.

Chiarina, 122.

Chopin, Frederick, birth, 83; early education, 85-87; first compositions, 90; visit to Berlin, 94; first visit to Vienna, 97; return to Warsaw, 101; Constance Gladkowska, 102; concerts in Warsaw, 105, 109; leaves Poland, 110; second visit to Vienna, 111-115; arrival in Paris, 116; concerts in Paris, 118, 120, 129, 135, 143; tour in Germany, 121-123; visits to London and Marienbad, 123; meets George Sand, 124; at Nohaut, 129, 132, 133, 134, 137, 140; winter in Majorca, 129-132; pupils, 134, 135; death of his father, 136; breakdown in health, 137; rupture with George Sand, 137-142; second visit to England, 143, 144; return to Paris, 144; death, 145.

Chopin as composer. Style, 150; relation to Polish folk-music, 151-154; structure, 155, 156; melody, 158; harmony, 160-163; accompaniment figures, 164-166; treatment of pianoforte, 166-168.

Chopin, illustrations from, 17, 18, 31, 53, 55, 57, 60, 66, 218, 220, 232, 233, 267, 286.

Chopin, Nicholas, 83, 90, 94, 121, 126.

Chopin, Louisa, 85; Isabella, 85; Emily, 85, 93.

Choral Symphony, 38, 160, 289.

Chrysander, Dr, 256.

Clary, Prince, 100.

Clementi, 134.

Clesinger, 138.

Coda, 52.

Cologne, 243, 255.

Concerto in F minor (Chopin), 105, 106, 123; in E minor (Chopin), 105, 109, 115, 117, 119; Violin Concerto (Dvořák), 220, 224; (Brahms), 266, 300; in D minor (Brahms), 244, 261; in B flat (Brahms), 269; double, 270; Brahms' treatment of, 292.

Congress of Vienna, 83.

Conservatoire, Warsaw, 102, 110; Paris, 117, 120, 180; Prague, 208.

Constable, 213.

Constance, 246.

Corelli, 279.

Corneille, 45, 254.

Correggio, 60.

Couperin, 31, 279.

Cour d'Orléans, 133, 142.

Covent Garden, 183.

Cracow, 97.

Crystal Palace, 272.

Cunning Peasant, the, 201

Czerny, 98.

D.

D minor Symphony (Dvořák), 194, 207, 216, 222.

D minor Concerto (Brahms), 244, 247, 261.

Dante, 7, 155, 296.

Danzic, 93.

Darwin, 6.

David, 255.

Davidsbund, 122.

Deiters, Dr, 243, 256.

Delacroix, 121, 133.

Der Freischütz, 101, 195.

Dessoff, 250.

Dettingen Te Deum, 264.

Development section, 52.

Dietrich, 259.

Dimitrij, 204.

Dobrovsky, 189.

Dorian mode, 154.

Dresden, 101, 111, 121, 122, 187, 234.

Dryden, 283.

Du bist wie eine Blume, 38.

Dufay, 277.

Dürer, 7.

Dumas, 134, 219.

Du Maurier, 63, 163.

Dumka, 220.

Dunstable, 277.

Dusseldorf, 120, 236, 239.

Dussek, 183.

Dvořák, Antonin, birth, 175; early training, 176; recalled from school, 176; first composition, 178; enters the organ school at Prague, 179; difficulties, 180; appointment in the orchestra of the Interimstheater, 188; compositions during his second period of study, 190, 191; first opera, 191-193, 194-196; Heirs of the White Mountain, 193; appointed organist of St Adalbert's, 194; marriage, 194; second and third operas, 196, 197; symphony in F, 197; applications to the Austrian Kultusministerium, 198, 199, 200; resigns his post at St Adalbert's, 198; Stabat Mater, 199; relations with Brahms, 200; Slavische Tänze, 200, 201; the Cunning Peasant, 201; publication of early works, 202; Husitska and Tyl, 203, 204; Dimitrij, 294; first visit to England, 205; Spectre's Bride, 206; St Ludmila, 206, 207; instrumental compositions and songs, 207; Jakobin, 207, 208; decoration from Austrian Court, 208; doctorate at Cambridge and Prague, 208; Requiem, 208; appointment at New York, 208, 209.

Dvořák as composer. National element, 215; exceptions, 216; use of scale, 216-219; form, 219, 220; Dumka and Furiant, 220, 221; orchestration, 222; relation to classical style, 224, 225.

Dvořák, illustrations from, 20, 21, 33, 60, 62, 64, 160.

Dvořák, Frantisek, 174; Josef, 179; Adolf, 179; Karel, 179.

Dziewanowski, 119.

E.

E minor Concerto (Chopin), 105, 109, 115, 117, 119.

Edinburgh, 144.

Ehrlich, Dr, 235, 237, 248.

Eighth Symphony (Beethoven), 32, 64, 288.

Eine Kapitulation, 262.

Elegies (Dvořák), 298, 221.

Elijah, the, 206.

Elsner, 86, 87, 91, 96, 99, 100, 105, 110, 117, 118, 233.

Emotional element in music, 21-23, 26-32.

Emperor Concerto, 43, 286.

Endymion, 157.

England, Chopin in, 123, 143; Dvořák in, 205-208.

Epstein, 251.

Eroica Symphony, 22, 33, 43, 55, 184, 300.

Esser, 250.

Études (Chopin), 60, 105, 119, 120, 135, 136, 158, 160, 161, 166.

Euripides, 53, 88.

Eurydice, 187.

Exposition, 52.

F.

F major Symphony (Dvořák), 197; (Brahms), 285, 297.

F minor Concerto (Chopin), 105, 106, 123.

F minor Quintett (Brahms), 255, 256, 301.

Faculties of musical appreciation, 13-15.

Faust (Berlioz), 21; (Gounod), 42; (Goethe), 101, 259.

Feldeinsamkeit, 269, 298.

Félix Meritis, 122.

Ferdinand, Emperor, 182.

Fernando Cortez, 94.

Fes Moll, 219.

Fétis, 83, 118.

Feuilles d'Automne, 213.

Field, 120.

Fifth Symphony (Beethoven), 22, 43, 57.

Filtsch, 135.

Florentine Revolution, 44, 216, 278.

Florence, 217.

Florestan, 94, 122.

Flying Dutchman, 180.

Fontana, 92, 93.

Fortuny, 177.

Franchomme, 117, 137, 139.

Franco-Prussian War, 262.

Frank, Dr, 17.

Fraser's Magazine, 270.

Freitag, 270.

Freude, 265.

Frogs, the, 62.

Function in music, 58, 63-69.

Furiant, 175, 220.

G.

G major Sestett (Brahms), 256, 257.

G minor Quartett (Brahms), 249, 252, 300.

G minor Quintett (Mozart), 39.

G minor Trio (Chopin), 60, 93, 96, 119.

Gabrielis, the, 45, 278.

Gainsborough, 212.

Galicia, 97.

Gallenberg, Count, 97.

Gautier, 11, 17, 134.

Gazette Musicale, 263.

Gebir, 73.

Germany, 122, 152, 157, 200, 217, 232, 235, 239, 242, 243, 245, 259, 267, 269.

German Requiem, 258, 259, 260, 262, 265, 272, 284.

Gesang der Parzen, 269.

Gesellschaft der Musikfreunde, 251, 253, 258, 263.

Gewandhaus, 240, 243, 244.

Gladkowska, Constance, 102, 107, 108.

Glasgow, 144.

Goethe, 43, 212, 259, 260, 303.

Goldmark, 18, 250, 264.

Göttingen, 235, 237.

Gothenburg, 185.

Gounod, 42.

Graff, 105.

Gray, 81.

Greek music, 274, 276.

Grieg, illustrations from, 41, 42, 47, 62, 66, 160, 218.

Grillparzer, 251.

Grün, 251.

Gutmann, 135, 138, 140, 145.

Gyrowetz, 81, 87, 98.

H.

Hálek, 184, 193.

Hamburg, 231, 233, 234, 235, 244, 245, 246, 265, 271.

Hammerclavier Sonata, 53, 63, 67, 287.

Hancke, 176, 178.

Handel, illustrations from, 19, 80, 94, 207, 208, 231, 264, 285.

Hanover, 234, 237.

Hanslick, Dr, 251, 254.

Haslinger, 97.

Hausmann, 273.

Haworth, 85.

Haydn, illustrations from, 46, 47, 48, 54, 55, 67, 80, 143, 223, 253, 264, 271, 280, 285.

Hegel, 10, 161.

Heide, 231.

Heine, 38, 82, 121, 126, 134, 212, 259.

Heinrich, 183-184.

Heirs of the White Mountain, 193, 202.

Heller, 107.

Helm, Dr, 262.

Hellmesberger, 251, 252, 253, 257, 266.

Herbeck, 250.

Herbstgefühl, 260.

Herold, 119.

Herz, 119, 158.

Hiller, 116, 118, 120, 151.

Histoire de ma vie, 127, 138.

Holderlin, 262.

Holland, 261.

Homer, 7.

Hoole, 35.

Horn Trio (Brahms), 256, 289, 298.

Hôtel Rambouillet, 133.

Hugo, Victor, 28, 64, 212, 254.

Humboldt, A. von, 95.

Hummel, 96.

Hungarian dances, 261, 266.

Hunten, 153.

Husitska, 203, 222.

Hymns Ancient and Modern, 41.

I.

I attempt from Love's sickness to fly, 47.

Im wunderschönen Monat Mai, 19.

Impromptus (Chopin), 129, 135, 158.

Imogen, 68.

Indiana, 142.

Inductive method in science, 1-4; in art, 6-8; in music, 8-9.

Instrumental music, influence on polyphony, 284.

Interimstheater, 187, 188.

Intermezzo, 290.

Intuitive reason, 10-12.

Ischl, 267, 269.

Italia, 193.

Italian opera-house (Paris), 120, 121.

Italy, 92, 102, 110, 115, 152, 183, 217, 265.

J.

Jakobin, 207, 208.

James, Henry, 128, 142.

Jane Eyre, 71.

Jarocki, Dr, 94, 95.

Je vends des scapulaires, 119.

Joachim, 236, 237, 255, 257, 259, 266.

John Hielandman, 47.

Josquin, 277.

Jourdain, M., 71.

Journal des Goncourt, 23, 127.

Judith, 62.

Judenthum in der Musik, das, 243.

Jupiter Symphony, 285.

K.

Kalisz, 111.

Kalkbrenner, 90, 117, 118, 119.

Karasowski, 83, 89, 95, 105, 114, 125, 139, 140.

Kärnthnerthor Theatre, 97, 114, 250, 251.

Keats, 35, 71, 157, 177.

Kéler Béla, 261.

Kinderscenen, 49.

King and Collier, 192, 195, 215.

Kirchner, Theodor, 246, 248, 255.

Klengel, 100.

Kolberg, Wilhelm, 91, 93.

Kossel, 232.

Krakowiak, 96, 98, 119, 152.

Kralup, 173, 175.

Krebs, 234.

Krehbiel, H. E., 199.

Kreutzer Sonata, 236.

Krzyzanowska, Justina, 83.

Kuntzsch, 233.

L.

La ci darem, variations on, 93, 97.

Labiche, 296.

Lachner, 98.

Lamb, Charles, 17, 98, 121.

Lamennais, 134.

Lanner, 114.

Lassus, 40.

Laub, 251.

Le roi s'amuse, 64.

Lear, 68, 296.

Lee, Nat, 35.

Leech, 20.

Leeds Festival, 206.

Legenden, 202, 218.

Lehmann, 95.

Leipsic, 122, 123, 217, 240, 243, 244, 246, 255, 261, 267, 270.

Leipsiger Signalen, 244.

Lenore, 29, 206.

Leopardi, 128, 155, 193.

Liebeslieder, 260.

Liebestreu, 233.

Liehmann, 176.

Lipinski, 107.

Lippe Detmold, 242, 245.

Liszt, 83, 86, 87, 92, 118, 133, 136, 140, 167, 168, 214, 220, 237, 238, 241, 248, 285.

Lobgesang, 40.

Lobkowitz, Prince, 174.

London, 123, 143, 144, 205.

Lorraine, 85.

Lucrezia Floriani, 139, 140, 141.

Lui et Elle, 128.

Lulli, 209.

Lydian Mode, 154.

Lysberg, 135.

M.

Macfarren, Sir George, 29, 30, 272.

Macaulay, 257.

Madeleine, the, 145.

Magelone, 255, 260.

Majorca, 129-131.

Malfatti, Dr, 114.

Malherbe, 185, 186.

Malibran, 117.

Malvezzi Theresa, 128.

Manchester, 144.

Mannheim, 255.

Marienbad, 122, 123.

Marienlieder, 247.

Marliani, Mdme., 133.

Marseilles, 132.

Marsyas, 97.

Marxsen, 232, 233.

Mathias George, 135.

Matthew Arnold, 125, 126, 139, 149, 216

Mazurkas (Chopin), 91, 119, 136, 137, 152, 153, 154, 161, 167.

Meine Liebe ist Grün, 295.

Meiningen, 269.

Meistersinger, 192, 254.

Mendelssohn, illustrations from, 31, 40, 63, 64, 87, 95, 113, 118, 120, 122, 149, 168, 207, 219, 243.

Merimée, 79.

Messiah, the, 11, 51, 80, 206.

Meyerbeer, 28, 136.

Mickiewiez, 133.

Michael Angelo, 43, 168, 282.

Mikuli, 135.

Milan, 110.

Millet, 213.

Milton, 35, 43, 113, 157, 296.

Minuet (Haydn), 48; (Mozart), 49.

Missa Papæ Marelli, 57, 277.

Monteverde, 19, 44.

Moravian duets, 200.

Moresca, 44.

Morlacchi, 101.

Morland, 212.

Mors et Vita, 42.

Moscheles, 119, 158, 164.

Mozart, illustrations from, 17, 39, 47, 49, 67, 79, 80, 87, 97, 123, 132, 156, 192, 223, 247, 253, 280, 284, 288.

Munich, 115, 265.

Music, inductive method in, 8, 9; intuitive reason in, 11, 12; sensuous element in, 15-20; emotional element, 21-23; rational element, 23-25; emotional basis, 26-32; style, 35-43; structure, 44-56; function, 58, 63-69; national element, 210-216; the five landmarks, 276-282.

Myslivecek, 183.

N.

Nänie, 269.

Natal, 235.

Neckereien, 255.

Nelahozeves, 173.

Neue Berliner Musikzeitung, 241.

Neue Zeitschrift, 232, 239, 246.

New Bohemian Theatre, 202.

New York, 208.

Niecks, Professor, 108, 121, 127, 139, 145.

Niederrheinische Musikfest, 120.

Nissen Johanna, 231.

Nocturnes (Chopin), 60, 93, 119, 123, 136, 137, 154, 158, 161, 162, 163, 167.

Nohant, 129, 132, 133, 134, 137, 140, 142.

Novotny, 195.

Numa Roumestan, 141.

Nun danket alle Gott, 41.

O.

Odyssey, 74.

Offenbach, 296.

Oldenburg, 255.

Omar Khayyam, 39.

Orfeo, 44.

Organism in music, 33; in melody, 38; in harmony, 40; in style, 41; in structure, 44-55.

Othello, 69.

Oxford, 182, 267.

P.

Paër, 116.

Paganini, 96, 255.

Palestrina, illustrations from, 40, 168, 275, 278, 281.

Paradise Lost, 296.

Paris, 87, 102, 106, 110, 115, 116, 118-123, 125, 131, 133, 134, 140, 143, 144, 145, 146, 182, 183, 213, 217, 257.

Parry, illustrations from, 46, 62, 283.

Pasta, 107, 117.

Pater, 36.

Pathétique, Sonata, 39, 47, 51.

Pauline, 233.

Peer Gynt, 42.

Penzing, 254.

Père la Chaise, 146.

Pericles, prologue to, 51.

Perpignan, 129.

Persius, 79.

Philharmonic (Vienna), 262, 265.

Pierret, 126.

Pixis, 100.

Platen, Count, 237.

Plato, 12, 59, 230, 276.

Pleyel, 120, 135.

Poe, 29.

Poland, 83, 84, 110, 116, 152.

Polonaises (Chopin), 93, 105, 123, 131, 136, 158.

Polonaise-Fantasie, 137.

Portraits Contemporains, 126.

Posen, 93, 96.

Prague, 99, 100, 111, 175, 179, 184, 187, 188, 191, 196, 198, 203, 208.

Preludes (Chopin), 131, 136, 156, 158, 166.

Pressnitz, 175.

Prince Karol, 139, 141.

Prince of Venosa, 19.

Purcell, 47.

Q.

Quartetts (Dvořák), 197, 208, 224.

Quartetts (Brahms), 247, 249, 252, 253, 255, 260, 264, 266, 285, 291, 309, 302.

Quintetts (Dvořák), 190, 207, 220, 221.

Quintetts (Brahms), 255, 271, 291, 297, 300, 301.

R.

Racine, 254.

Radziwill, Prince, 92, 96, 105, 110.

Raff, 266.

Rameau, 31, 47, 279.

Ramorino, 116.

Ranz des Vaches variations, 90.

Raphael, 7.

Rasoumoffsky Quartetts, 43, 51, 55, 258.

Raven, Poe's essay on, 29.

Redemption, the, 42.

Reicha, 183.

Reinecke, 270.

Rellstab, 120.

Reményi, 235, 236, 237, 238.

Requiem (Dvořák), 20, 60, 208, 223; (Mozart), 145.

Reynolds, 202.

Rhapsodies (Dvořák), 202, 222; (Brahms), 260, 266.

Richter, 251, 265, 272.

Rieter-Biedermann, 246, 261.

Rinaldo, 260.

Rizner, 261.

Romantic movement in music, 53, 155, 233, 280, 281, 283, 284-286.

Rome, 213.

Romeo and Juliet, prologue to, 51.

Rondo, growth of, 46-47; Chopin's in C minor, 91, 93.

Roskosny, 191.

Rossini, 64.

Rouen, 129.

Rubinstein, 243, 264.

Rue Pigalle, 133.

Ruskin, 30.

Russia, 83, 84, 106, 113-116, 260.

S.

Sadowa, 188, 263.

St Adalbert, church of, 194, 198.

St Cæcilia (Handel), 94.

St Ludmila, 206, 207, 216.

Sainte Beuve, 126, 134.

Samberk, 203.

Sand, George, 102, 121-127, 129, 131, 133, 136-142, 144.

Sand, Maurice, 129, 137, 138, 142.

Sand, Solange, 129, 138, 144.

Sappho, 79.

Sartoris, Mrs, 144.

Saul, 94, 264.

Scarlatti, 31, 279.

Schadow, 120.

Scherzos (Chopin), 123, 129, 136, 153.

Scherzo Capriccioso, 220.

Schicksalslied, 62, 70, 262, 263, 297.

Schönbüchel, 183.

Schubert, illustrations from, 33, 80, 114, 132, 201, 214, 247, 249, 250, 252, 260, 270, 284, 297.

Schubring, Dr, 235.

Schumann, illustrations from, 19, 31, 39, 53, 54, 57, 72, 93, 107, 120, 122, 123, 149, 152, 154, 156, 165, 168, 232, 233, 237, 239, 240, 241, 244, 246, 250, 285, 286, 290, 291, 297.

Schumann, Madame, 122, 255, 259.

Schuppanzigh, 98.

Scott, 206, 219.

Scudérys, the, 133.

Sebor, 191.

Sensuous element in music, 15-20.

Serenades (Brahms), 245, 246, 253, 255.

Serenade Trio, 221.

Sestetts (Dvořák), 202; (Brahms), 247, 253, 256, 257.

Seyfried, 114.

Shakespear, illustrations from, 7, 35, 43, 51, 67, 68, 106, 168, 281, 301, 303.

Shelley, 13, 71, 82, 122, 168.

Simrock, 200, 202.

Singakademie (Berlin), 94, 95; (Vienna), 255.

Skarbeks, the, 83, 84.

Slavik, 115.

Slavische Tänze, 200, 205.

Smetana, 185, 186, 187, 191, 192, 196, 215, 221.

Soldatenlieder, 258.

Sommerabend, 269.

Sonatas (Chopin), 93, 136, 137, 138, 143; (Dvořák), 202; (Brahms), 233, 240, 256, 266, 270, 271.

Sonata form, growth of, 44-56, 286-291.

Sonntag Henrietta, 107.

Sophocles, 35, 301.

Spectre's Bride, the, 206, 207, 216, 219, 223.

Spencer, Herbert, 26.

Spitz, 176.

Spohr, 149.

Spontini, 95.

Spring song, 152.

Stabat Mater (Rossini), 64; (Dvořák), 199, 202, 205, 223.

Stary, 194.

Sleeker, Dr, 191.

Stevenson, R. L., 252.

Strauss, 31, 39, 114, 250, 260.

Structure in music. 44-56, 286-291.

Stubborn Heads, the, 196.

Stuttgart, 115, 269.

Style in music, 35-43, 298-302.

Suvorov, 84.

Symphonic Fantastique, 32.

Symphonies (Dvořák), 190, 194, 197, 198, 202, 207; (Brahms), 265, 269, 270, 284, 290, 297.

Szafarnia, 90.

T.

Tacitus, 272.

Tannhäuser, 195.

Tellefsen, 135, 143.

Tennyson, 35.

Teplitz, 100.

Thalberg, 114, 158.

Thirty Years' War, 182.

Tieck, 255.

Tilly, 182.

Tintoret, 282, 294.

Titian, 12, 43, 157, 282.

Treitschke, 270.

Trios (Chopin); 93, 96, 119; (Dvořák), 198, 200, 207, 208; (Brahms), 42, 255, 267, 272.

Triple Concerto (Beethoven), 243.

Tristan, 21, 57, 254, 296.

Triumphlied, 262, 263.

Tyl, 184, 203.

U.

Uhland, 151.

Une contemporaine; 124, 138.

V.

Valdemosa, 129-132.

Valentine, 142.

Vanda, 196.

Velasquez, 43.

Verdi, 270.

Vergebliches Ständchen, 269.

Verrath, 295.

Vicar of Bray, 46.

Vienna, 80, 83, 97-100, 102, 105, 110, 111, 113, 114, 187, 198-200, 245, 249, 250, 251, 254, 255, 257, 258, 262, 263, 265, 269.

Villon, 79.

Vineta, 255.

Vivaldi, 279.

Virgil, 35.

Voiture, 133.

Volkmann, 250.

Volkslieder, 11, 38, 46, 214, 215, 221, 233, 279.

Von ewiger Liebe, 260, 299.

W.

Wagner, 18, 40, 143, 187, 192, 216, 230, 234, 239, 248, 254, 281.

Waldstein, the, 43.

Waltzes (Chopin), 115, 122, 136, 158.

Warsaw, 80, 83, 84, 89, 90, 92, 94, 96, 97, 99-102, 105-110, 113.

Warsaw Courier, 90.

Weber, 101, 195, 299.

Wechsellied zum Tanze, 255.

Weimar, 87, 237-239, 241.

Wermuth, 238.

White Mountain, battle of the, 182.

Wie bist du meine Königin, 255, 297.

Wiecks, the, 122.

Wiegenlied, 260.

Wiener Theaterzeitung, 100.

Wiertz, 35.

Winterthur, 246, 248, 257.

Wodzinskis, the, 121, 122.

Worcester, 205.

Wordsworth, 27, 212, 269, 296.

Woyciechowski, 102, 104, 111, 113.

Würfel, 97.

Z.

Zelazowa Wola, 83.

Zelter, 95.

Zigeunerlieder, 207, 223.

Zlonic, 176.

Zurich, 243, 246, 248, 255, 257, 269.

Zywny, 85, 100.

THE END

_Colston & Coy. Limited, Printers, Edinburgh_

_BY THE SAME AUTHOR_

STUDIES IN MODERN MUSIC. First Series. HECTOR BERLIOZ, ROBERT SCHUMANN and RICHARD WAGNER. With Five Portraits. Fifth Edition. Price 7s. 6d., cloth.

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