The Evolution of Modern Orchestration
CHAPTER XIII.
The universal development of musical art during the nineteenth century is indeed unprecedented. Side by side with the rise and growth of the New Movement in Germany, side by side with the high development of French lyric opera enhanced by advanced Teutonic principles, side by side with the gradual unfolding of Verdi's melodious and impassioned conceptions stands the evolution of scientifically applied Folk-tunes belonging to the younger musical countries.
* * * * *
(1) =Hungary.= It cannot be said that Hungary possesses a national style of orchestration. Although Liszt and Goldmark were both Hungarians by birth, the former benefited his country not so much by developing an indigenous style of composition as by the propagation of those musical traits peculiar to his race. As to Goldmark's music, it is that of a German rather than of a Magyar. More faithful to native characteristics were the efforts of a small group of secondary composers. Their scores, like those of Liszt and Goldmark, contain plenty of variety and color, but owe their distinctive features to melodic and rhythmic novelty,--not to instrumentation. Hungary has, therefore, exerted no more than an indirect influence upon the art of orchestration.
* * * * *
(2) =Bohemia.= The development of orchestration in Bohemia affords a striking contrast to that in Hungary. SMETANA, the pioneer, was content to employ comparatively simple means,--indeed, his scores occasionally reveal a suggestion of Mozart's naïve touch. On the other hand, his eminent successor, DVO[VR]ÁK, developed the art to a point excelled by none. The latter ranks among the four greatest orchestrators since Wagner. Like Smetana, Dvo[vr]ák evolved his music from the native folk-song. He was on the whole, an adherent to strict forms, but subjected these to the utmost freedom and originality of treatment. His greatest powers displayed themselves in the colossal development of orchestral resources. His orchestration is appropriate and consistent, varied, warm and brilliant. It abounds in beautiful combinations. It is rich but never overburdened. Further distinctive features include clear and bright string writing, methods of employing the wood-wind similar to those of Schubert, and an occasional touch of the supernatural suggestive of Spohr and Weber. In a word, Dvo[vr]ák was a master of vivacious and refined orchestration.
* * * * *
(3) =Scandinavia.= The music of Scandinavia is likewise evolved from native folk-melodies. The Northern composers are not particularly dramatic nor have they developed many novel traits of instrumentation. They resemble the Hungarians in having wielded but an indirect influence upon orchestration, this influence being restricted to the indigenous properties of their melody, rhythm and local coloring. Their chief representatives are GADE, the pioneer, and his illustrious successor--GRIEG. The former, under the beneficial influence of Mendelssohn, developed high efficiency in the art of orchestration. He appreciated both the possibilities and the limitations of each instrument, and revealed his nationality by the application of suggestive tone-color. Grieg's instrumentation is not conspicuously influenced by modern tendencies. Though he cannot be ranked as a great orchestrator, his writing for strings alone is of surpassing beauty, nor does his deployment of larger forces lack novelty and effectiveness.
* * * * *
(4) =Russia.= The gradual ascendency of Russian music is one of the phenomena of the nineteenth century. Here again the native folk-song forms the basis for scientific development. Russian composers may be divided into three classes:--the old lyric school,--the new Russian school,--Rubinstein and Tschaikowsky in a class by themselves.
GLINKA, pioneer of the old lyric school, accomplished for his country what Gade and Smetana did for theirs. His orchestration calls for but little comment excepting that it is clever and at times even brilliant.
The tenets of the "New Russian Movement" are closely allied to those of the "New German Movement." Chief representatives of this class are BORODIN, CESAR CUI, RIMSKI-KORSAKOFF. The orchestration of these men and their associates is, on the whole, but the reflection of Tschaikowsky's style combined with the further progressive methods of German and French orchestration.
RUBINSTEIN cannot be compared with Glinka as an operatic writer or with Tschaikowsky as an orchestrator. His instrumentation was hampered by his antagonism to the innovations of the New German Movement. In string writing, however, Rubinstein reveals fine appreciation of tone-color, and his full scoring at times displays superb power.
TSCHAIKOWSKY still reigns supreme as the greatest interpreter of Slavonic ideals. A remarkable feature of his scoring is the extreme modern effect secured with comparatively modest means. He expressed himself in a language of profound pathos which was in part due to the embodiment of weird and gloomy orchestration. He made prominent use of low wood-wind, which were constantly combined with the violas, and he evinced peculiar predilection for clarinets in their low range and bassoons in their upper range. On the other hand, many magnificent specimens of forceful writing are also in evidence in his scores.
* * * * *
(5) =England.= Of the ten men chosen as representative English composers of the nineteenth century, six are prominently identified with the evolution of English orchestration. The pioneer of these was Macfarren, whose cosmopolitan range of composition is particularly noteworthy. Bennett, a disciple of Mendelssohn, proved himself a worthy heir to Purcell, and is regarded as the founder of a new English School. Most widely known is Sullivan, who substantially aided the development of an Anglican style of orchestration. Sullivan based his methods of instrumentation upon those of Mozart, but occasionally copied Gounod and even Berlioz. He displayed sound musicianship, dramatic power, and a thorough command of orchestral resources. Mackenzie's conceptions are wholly orchestral. His scoring is powerful and effective, allowing also commendable freedom to the wood-wind, and suggests a mixture of Mendelssohnian and Wagnerian externals. Cowen is an exponent of both absolute and programmatic music. He shares with Stanford the rank of representative English symphonist.
The twentieth century gives promise of marked advance in English composition from an emotional and orchestral standpoint as discovered in the initial productions of Elgar.
* * * * *
(6) =America.= America and Russia are the two countries that have forged to the front in musical art during the past quarter century. Until the shackles of English conservatism and of Puritan dogmas were thrown off, little could be done in the way of preparing for a national school of composition. But with the ever increasing influx of German musicians, American composers were stimulated to extend their horizon, so that at the present day one can point to a host of cultured and highly educated musicians who are devoting themselves to the furtherance of national art. Many of them have displayed rare skill as orchestral writers, but comparatively few have as yet been sufficiently fortunate to acquire wide-spread recognition in this branch. The list of pioneer composers and promoters includes Lowell and William Mason, Bristow, Gottschalk, C.C. Converse, Paine, Lang, and Emery. A somewhat arbitrary selection of representative orchestrators includes Paine, Buck, Foote, Chadwick, MacDowell, Parker. The pioneer of America's great composers is Paine. His opera "Azara" may be regarded as his representative work, and is conspicuous for its dramatic continuity, irresistible climaxes, dignity and breadth of musical contents, consistent and effective orchestration. Buck is prominently identified with the evolution of American church music. The orchestration of his choral compositions reveals the firm hand of a master. Foote appears to best advantage when writing chamber and orchestral music. He does not aim to produce sensational effects, yet clothes his artistic conceptions in appropriate orchestral garment. Chadwick's music is above all manly and energetic. His form, though conservative, is well rounded. His orchestration is chaste and refined rather than sensational and glowing. He has proved himself a keen judge of those essentials required for large instrumental works. MacDowell's music possesses certain characteristics that distinguish it from that of any other American composer. His education has been thoroughly cosmopolitan. He aims to induce poetic imagination symbolic of emotional reality. His chord formations, harmonic progressions, thematic treatment, and structural form are all in accord with the psychological subtleties to be expressed. His orchestration is one of his strongest attributes; though founded upon that of Raff, it possesses also the charming touch of the modern French school. Parker has risen to eminence through his choral writings, and is the best known American writer in England. He wields his orchestral forces with no uncertain hand, but does not allow tone-color in its own right to predominate in his choral works. Further prominent writers for the orchestra are Gilchrist, Gleason, Foerster, Beck, Bird, Kelley, Schoenefeld, Zeck, van der Stucken, Mrs. Beach, F.S. Converse, Huss, Hadley. Until recently the larger number of orchestral conductors in the United States were foreigners, but the Americans are gradually taking the reins into their own hands. The present display of musical activity in America is unprecedented. The schools, the colleges, the churches, the concert hall, the dramatic stage are all preparing the way for the ascendency of the American composer.
CONCLUSION.
We have now traced the history of our modern art of orchestration through five great stages of evolution. (1) Under the head of "The Cradle of Instrumental Music," musical development among primitive men was attributed to two impelling forces: emotional expression and pagan religious rites. The nature of these early attempts at musical utterance can only be conjectured, but although we have no knowledge of its tonal aspect, extant relics and representations of primitive instruments among such races as the Egyptians, the Assyrians and the Jews correspond to the leading types of sound-producing apparatus belonging to civilized nations. Authentic history discloses the development of artistic music in India, in Greece and in early Rome. These efforts were essentially melodic. Rhythm was dependent upon poetic instinct, whereas the harmony of simultaneous sounds, though scientifically expounded, was put to but small practical use. Systems of harmony, notation and measure were eventually established, though circuitously devolved from the tedious experiments of the scholastic monks to the more tangible results of the troubadours and of the masters of the Netherland School. Lasso and Palestrina eventually pointed the way toward a settled tonality determined by harmonic considerations. (2) "The Dawn of Independent Instrumentation" treats of the further development of consistent tonality, of greater rhythmic freedom, of artistic structural form, and of the gradual ascendency of a secular style in connection with solo-singing and independent instrumental music. Independent instrumental music found its origin in the attempts at embellished organ accompaniment; solo singing devolved from the Miracle Plays, from the lyrics of the troubadours, and from the Florentine monody as developed by Peri and Cavalieri, whose theories contained the germ of opera and oratorio, for which instrumental accompaniment is a requisite. (3) The chapter entitled "Beginnings of Orchestration" marks the actual starting point for the nuclear thought of this book. Here the central figure is Monteverde, father of modern instrumentation. His methods were propagated by Carissimi in Italy, Schütz in Germany, Cavalli and Lulli in France. The greatest orchestral writer after Monteverde was Scarlatti. (4) The way was now prepared for the comprehensive "Classic Era," of which the central figures, as regards orchestral evolution, are Haydn, the father of modern orchestration, and Beethoven,--magnificently supported by Mozart, and to a lesser degree by Bach, Händel and Gluck. In the earlier part of this era, France owed the high standard of her indigenous music primarily to Rameau and Grétry. The former stands as an exponent of serious opera, whereas the latter established _opéra comique_ upon a permanent basis. Rameau found a worthy successor in the great orchestrator, Méhul. Grétry was succeeded by Boieldieu, Auber, Hérold, Halévy. Meanwhile the orchestration of Italy did not keep pace with that of Germany or France. The Italians were primarily engaged in composing church music and in writing operas that should satisfy the existing demands for vocal virtuosity. Pergolesi was a notable exception. Even though the art of instrumentation had originated in Italy, no important evolutionist of orchestration can be mentioned between Scarlatti (1659) and Cherubini (1760); the latter is moreover identified with France rather than with Italy. Spontini, Rossini, and the German, Meyerbeer, likewise won their laurels in Paris. Cherubini and Spontini stand as the chief Italian exponents of orchestration during the classic era, the one for the church, the other for the drama. (5) The classic era overlaps the rise and growth of the "Romantic Movement," for the highest attainments of Beethoven, Auber and Rossini were not reached until after Spohr and Weber had already entered the lists. These two early romanticists were shortly succeeded by Schubert, Mendelssohn, Schumann, by the classical-romanticists, headed by Raff and Brahms, and by the originators of the New Movement, Berlioz, Liszt, Wagner. Recent development of differentiated types of orchestration discloses the unique fact that almost every country of musical prominence is represented by a single orchestral writer of unusual ability whose success was dependent upon the initiatory work of one single predecessor. Italy is represented by Spontini and Verdi, France by Berlioz and Saint-Saëns, Bohemia by Smetana and Dvo[vr]ák, Scandinavia by Gade and Grieg, Russia by Glinka and Tschaikowsky, Germany by Wagner and Richard Strauss.
The above epitome presents the historical aspect of orchestral development. Due credit has been given to those men who particularly helped to forge the connecting links in the evolutionary chain, irrespective of the intrinsic value of their own instrumentation. In antithesis to the above historical aspect, the following synopsis presents the purely practical aspect of orchestration proper as developed by thirteen men whose contributions thereto would appear to be of chief importance. They are named in chronological order without regard to evolutionary sequence or nationality. It is from their works that the specimens of orchestral scoring in the appendix to this book have been chosen. These thirteen representatives are: Monteverde, Scarlatti, Haydn, Mozart, Beethoven, Weber, Berlioz, Mendelssohn, Wagner, Saint-Saëns, Tschaikowsky, Dvo[vr]ák, Richard Strauss. Monteverde aimed to obtain expressive and dramatic effects, established the orchestra on a permanent basis of stringed instruments played with a bow, and realized the necessity for an individualistic and differentiated style of writing for voices and instruments. Scarlatti divided his strings into four parts, properly dispersed and balanced, readjusted the relation of the wind instruments to the rest of the orchestra by employing them in pairs, strengthened and extended the structure of his opera-symphonies. Haydn established a perfectly balanced orchestra as a whole, realized the value of the wood-wind in their capacity of lending warmth and color to the orchestral canvas, employed them systematically in pairs, and regulated the proportion of the brass to the strings and wood. Mozart infused into the orchestra vitality and warmth, exploited the proper functions of the wood-wind with especial attention to those of the clarinet, and was the first to consistently mix the tonal colors of the orchestra. The evolution of the classic orchestra culminated in the symphonic writings of Beethoven. His scoring not only embodies the ideals of his predecessors, but treats each instrument also with characteristic individuality, subordinated, however, as a means for faithfully depicting the details of the composition proper. He pointed the way for the subsequent romanticists, and his descriptive music proves that even with comparatively simple means gorgeous tone-painting can be attained. Weber initiated a novel style of dramatic orchestration and contributed substantially to the independence of the wood-wind. Berlioz was the first of the great modern symphonists and represents the ultra-realistic school of orchestral program-music. He combined both dramatic and symphonic principles but also applied tone-color in its own right. His unique genius disclosed itself in the discovery of new combinations, new effects, new treatment, and in his power of musical description. The orchestration of Mendelssohn is invaluable for its finish of detail. It is buoyant, transparent, delicate, and perfectly balanced. Wagner brought the art of dramatic orchestration to its highest point of evolution. His orchestration does not deviate from well-established and approved principles, but the grouping and treatment of instruments are entirely new. He emphasized solidity, made the orchestra firm and supple, increased its melodic as well as harmonic force, and used it for two definite purposes: to render emotion and to portray action and situations. Saint-Saëns' methods emphasize the prevailing custom of his countrymen to combine French traditions and advanced German principles. Clear and compact form, comparative simplicity of thematic treatment, elaborate, rich, varied and above all scintillating orchestration constitute the cardinal features of his conspicuous attainments. The ideal representative of Greater Russia is Tschaikowsky. He secured a gloomy eloquence of instrumentation by drawing upon the lower accents of the orchestra, but was also a master of magnificent and stirring effects. Dvo[vr]ák evolved his music from the Bohemian folk-song and was a master of vivacious and refined orchestration. His scoring is appropriate, consistent, varied, warm and brilliant. It abounds in beautiful combinations. It is rich but never overburdened. Richard Strauss is proving himself a worthy successor to Wagner as a result of his marvellous insight into the specific characteristics of each individual instrument and of his genius for combining them in a bewildering network of contrapuntally interwoven melodic themes. He possesses an hitherto unheard of orchestral technique, and taxes both the executive ability and the artistic attributes of the instrumentalists to the utmost. He makes use of elaborately conceived programs necessitating vast orchestral resources, is an extremist in the realm of realism, and secures powerful dramatic effects by means of vivid orchestration.
Orchestration in its present development would seem to have reached its highest possible attainment of effectiveness and virtuosity. The problem of the future, therefore, deals not so much with material increase of orchestral resource, as with what manner of thought and music the orchestra is destined to portray. What are to be the musical ethics of the twentieth century composers? The most subtle thinkers of the world have generally taken an idealistic view of the social mission of musical art. Eminent psychologists of Germany, France and England, who otherwise represent distinctive and frequently antagonistic schools of philosophy, all agree on this point, as illustrated by a few quotations selected from the writings of Hegel, Schopenhauer, Emile Montegut and Herbert Spencer. Music, according to Hegel, should "fill the heart and bring to consciousness everything developed and undeveloped which human feeling can carry, experience and bring forth, in its innermost and most secret parts; whatever the human heart in its manifold possibilities and moods desires to express or excite; and especially whatever the spirit has in its idea of the Most Essential and High; the glory of the Honored, the Eternal and the True." Schopenhauer declared that music "never expresses phenomena, but solely the inner being, the essence of phenomena, the will itself. It expresses, therefore, not this or that single and particular joy, this or that sorrow, or pain, or horror, or exultation, or hilarity, or repose of mind itself; but, as it were _in abstracto_, the essentials of these without their concomitants, therefore without their motives. Nevertheless, in such quintessence we understand it perfectly. Hence our fancy is so easily excited by it and tries to clothe this invisible spirit world, that speaks to us so immediately and eloquently, with flesh and blood, _i.e._ to embody it in an analogous example." Emile Montegut expresses himself to the effect that this magic sound of what is called music "pierces the material barriers which limit human words; it gives to hearts the means of communicating among themselves; it creates a language of which the most ignorant and the poorest perceive all the power and all the sweetness. Music speaks, and suddenly the hearts which were chilled with consciousness of their own isolation are thrilled with tenderness and radiant with happiness." Herbert Spencer believed that "music ought to take rank at the head of the fine arts because it is the one which adds most to human happiness. Not content with exciting powerfully our better instincts, it awakens sentiments lying dormant in us, of which we had not conceived the possibility, of which we do not understand the sense. This obscure presentment of an unknown happiness, which music awakens in us, this confused dream of an ideal and new life, all this is but a prophecy of something which music itself ought assuredly to accomplish." In contrast to the above enthusiastic utterances, how material and unsatisfying are the dreary speculations of such men as Leibniz! The latter looked upon music as being but the "_exercitium arithmeticae occultum nescientis se numerare animi_"! The ideal mission of music, therefore, ever has been and surely should continue to be that of uplifting. It should present a moral synonymous for the æsthetic, the pure, the spiritual. It should reveal the highest ideals of the living soul. It should, according to Browning, express truth, not of the mind--knowledge, which is absolute, but of the soul--shifting. Music above all other arts interprets the innermost thoughts of the soul. It is being constantly re-created, whereas all other arts are but the images of what is already created. The imitative arts--sculpture and painting, can no longer be all-satisfying to the self-consciousness of an age influenced by the subjective thought of such men as Goethe and Schiller. Why, therefore, should modern music be reared solely upon a similar realistic basis of imitation instead of upon an idealistic one of representation? The fundamentals of music rest upon an acoustic element dependent upon absolute pitch. Since, however, an isolated tone cannot suggest a definite idea or image, it is necessary, in order that music should mean something, to connect a series of tones so as to produce melody, to combine several tones so as to form chords, and to group these chords so as to obtain contrasts of tonality and modes. This accomplished, there must be added rhythmic life, variety of tone-color, and dynamic contrast. Finally, the whole fabrication must be fitted into a framework of structural form based upon the science of logic. But all this is not enough. There exists an underlying psychological principle that cannot be disregarded. Appreciation for acoustic effects and the realizations of intellectual reflection are but the stepping stones to something higher. The first requirement of a composer is intuition or the spontaneous expression of musical instinct--an element more essential to musical creation than to any other branch of art. Further requisites are imagination, emotion, inspiration, and above all spirituality. There is a tendency among recent exponents of the most advanced school to declare that the possibilities of purely æsthetic music have been exhausted. Morbidness and pessimism dominate the creative conceptions of these recent experimentalists. They are leaning more and more toward the expression of concrete ideas concealing vague abstractions. The present writer is heartily in sympathy with the most catholic application of all legitimate resources so long as the primary object of musical utterance be not lost sight of. It goes without saying that descriptive, imitative, realistic and even morbid music has its proper place in the poetic conceptions of our contemporary tone-masters. Exception only is made to music that is primarily intellectual or pessimistic. On the other hand, it need not be primarily pleasure-giving. In a word, all such objectives should be made subjective to a purer motive. The portrayal of lesser sentiments and passions is legitimate only in so far as to form a background for the nobler, which are thereby thrown into relief. The ideal mission of music is to reflect the loftiest sentiments of the composer's soul, and to awaken similar experiences in the mind of the auditor so as to inspire and uplift him. Such were the ideals of Beethoven. May his example continue to be emulated!
APPENDIX
OF
MUSICAL ILLUSTRATIONS
PAGE
MONTEVERDE 191
SCARLATTI 194
HAYDN 197
MOZART 203
BEETHOVEN 208
WEBER 215
BERLIOZ 224
MENDELSSOHN 232
WAGNER 238
SAINT-SAËNS 247
TSCHAIKOWSKY 254
DVO[vR]ÁK 260
RICHARD STRAUSS 267
MONTEVERDE.
(Page 16)
[Music: No. 1. L'Orfeo: Atto I--Toccata, (_che si suona avanti il levar de la tela tre volte con tutti li stromenti_.)]
[Music: No. 2. L'Orfeo: Atto II--Ritornello. (_Questo Ritornello fù sonato di dentra da un Clavicembano, duoi Chitaroni, e 2 Violini piccioli alla Francese._)]
[Music: No. 3. L'Orfeo: Atto III. (_Orfeo canta al suono del Organo di legno solamente._)
Ei dorme, e la mia cetra, se pietà non impetra nel indurato core,]
[Music: No. 4. L'Orfeo: Atto IV--Sinfonia.]
[Music: No. 5. L'Orfeo: Atto V. (_Apollo ed Orfeo ascende al cielo cantando._)
Saliam, Saliam cantand' al cielo,]
SCARLATTI.
(Page 22)
[Music: No. 6. La Rosaura: Prologo-Sinfonia.]
[Music: No. 7. La Rosaura: Atto I--Scena II.
(_Climene._)
Langue, geme, geme, quest'anima, amante, langue,]
[Music: No. 8. La Rosaura: Atto II--Scena II.
(_Rosaura._)
Se due petti ardon d'amore, se due petti ardon d'amore è il penar,]
[Music: No. 9. La Rosaura: Atto II.--Scena IV.
(_Climene sola._)
ma non sia, chi di mia fede il candor tenti, tenti offuscar il candor tenti, tenti offuscar.]
HAYDN.
(Page 47)
[Music: No. 10. Symphony in D, No. 2: 1st Movement.]
[Music: No. 11. Symphony in D: 2d Movement.]
[Music: No. 12. Symphony in D: 2d Movement.]
[Music: No. 13. Symphony in D: 2d Movement.]
[Music: No. 14. Symphony No. 3: 1st Movement.]
[Music: No. 15. Symphony No. 4: 1st Movement.]
[Music: No. 16. Symphony No. 5: 2d Movement.]
[Music: No. 17. Symphony No. 6: Adagio.]
MOZART.
(Page 50)
[Music: No. 18. Jupiter Symphony: Menuetto.]
[Music: No. 19. Jupiter Symphony: Finale.]
[Music: No. 20. Jupiter Symphony: Finale.]
[Music: No. 21. Symphony in G minor: 2d Movement.]
[Music: No. 22. Symphony in E flat: 2d Movement.]
[Music: No. 23. Symphony in E flat: Menuetto.]
BEETHOVEN.
(Page 53)
[Music: No. 24. Fifth Symphony: 2d Movement.]
[Music: No. 25. Fifth Symphony: 2d Movement.]
[Music: No. 26. Fifth Symphony: 2d Movement.]
[Music: No. 27. Fifth Symphony: 3d Movement.]
[Music: No. 28. Fifth Symphony: 3d Movement.]
[Music: No. 29. Fifth Symphony: 3d Movement.]
[Music: No. 30. Fifth Symphony: Finale.]
[Music: No. 31. Pastoral Symphony: 2d Movement.]
[Music: No. 32. Pastoral Symphony: Shepherd's Song.]
[Music: No. 33. Seventh Symphony: Allegretto.]
[Music: No. 34. Seventh Symphony: 3d Movement.]
[Music: No. 35. Seventh Symphony: 3d Movement.]
WEBER.
(Page 71)
[Music: No. 36. Der Freischütz: Overture.]
[Music: No. 37. Der Freischütz: Overture.]
[Music: No. 38. Der Freischütz: Overture.]
[Music: No. 39. Der Freischütz: Overture.]
[Music: No. 40. Der Freischütz: Overture.]
[Music: No. 41. Der Freischütz: Act I--Scene I.]
[Music: No. 42. Der Freischütz: Act I--Scene II.
CORO. O lass Hoffnung dich beleben, und vertraue, vertraue dem Geschick!]
[Music: No. 43. Der Freischütz: Act II--Scene II.
Agathe.
Leise, leise, fromme Weise, schwing' dich auf zum Sternenkreise!]
[Music: No. 44. Der Freischütz: Act II--Scene IV.]
[Music: No. 45. Der Freischütz: Act II--Scene IV.]
[Music: No. 46. Der Freischütz: Act II--Scene IV.]
[Music: No. 47. Der Freischütz: Act III--Scene III.
Aennchen.
Du zürnest mir?]
BERLIOZ.
(Page 89)
[Music: No. 48. Symphonie fantastique: Rêveries.]
[Music: No. 49. Symphonie fantastique: Scène aux champs.]
[Music: No. 50. Symphonie fantastique: Scène aux champs.]
[Music: No. 51. Symphonie fantastique: Scène aux champs.]
[Music: No. 52. Symphonie fantastique: Marche au supplice.]
[Music: No. 53. Symphonie fantastique: Marche au supplice.]
[Music: No. 54. Symphonie fantastique: Marche au supplice.]
[Music: No. 55. Symphonie fantastique: Ronde du Sabbat.]
[Music: No. 56. Harold en Italie: Sérénade.]
[Music: No. 57. Harold en Italie: Orgie de Brigands.]
MENDELSSOHN.
(Page 75)
[Music: No. 58. Midsummer Night's Dream: Overture.]
[Music: No. 59. Midsummer Night's Dream: Scherzo.]
[Music: No. 60. Midsummer Night's Dream: Scherzo.]
[Music: No. 61. Midsummer Night's Dream: No. 5.]
[Music: No. 62. Midsummer Night's Dream: No. 6.]
[Music: No. 63. Midsummer Night's Dream: No. 6.]
[Music: No. 64. Midsummer Night's Dream: No. 6.]
[Music: No. 65. Midsummer Night's Dream: Notturno.]
[Music: No. 66. Midsummer Night's Dream: Notturno.]
WAGNER.
(Page 93)
[Music: No. 67. Die Walküre: Act I--Scene I.]
[Music: No. 68. Die Walküre: Act I--Scene I.]
[Music: No. 69. Die Walküre: Act I--Scene I.]
[Music: No. 70. Die Walküre: Act I--Scene II.]
[Music: No. 71. Die Walküre: Act I--Scene II.]
[Music: No. 72. Die Walküre: Act I--Scene III.
SIEGLINDE.
Ein Greis in grauem Gewand;]
[Music: No. 73. Die Walküre: Act I--Scene III.]
[Music: No. 74. Die Walküre: Act I--Scene III.
SIEGLINDE.
Dich grüsste mein Herz mit heiligem Grau'n, als dein]
[Music: No. 75. Die Walküre: Act I--Scene III.]
SAINT-SAËNS.
(Page 131)
[Music: No. 76. Le Rouet d'Omphale.]
[Music: No. 77. Le Rouet d'Omphale.]
[Music: No. 78. Le Rouet d'Omphale.]
[Music: No. 79. Phaéton.]
[Music: No. 80. Danse Macabre.]
[Music: No. 81. Danse Macabre.]
[Music: No. 82. La Jeunesse d'Hercule.]
TSCHAIKOWSKY.
(Page 155)
[Music: No. 83. Symphonie pathétique: 1st Movement.]
[Music: No. 84. Symphonie pathétique: 1st Movement.]
[Music: No. 85. Symphonie pathétique: 1st Movement.]
[Music: No. 86. Symphonie pathétique: 1st Movement.]
[Music: No. 87. Symphonie pathétique: 2d Movement.]
[Music: No. 88. Symphonie pathétique: 3d Movement.]
[Music: No. 89. Symphonie pathétique: Finale.]
DVO[vR]ÁK.
(Page 147)
[Music: No. 90. Symphony No. 5 in E minor: "From the New World."--First Movement.]
[Music: No. 91. Sym. in E minor: First Movement.]
[Music: No. 92. Sym. in E minor: 1st Movement.]
[Music: No. 93. Sym. in E minor: 2d Movement.]
[Music: No. 94. Sym. in E minor: 4th Movement.]
[Music: No. 95. Sym. in E minor: 4th Movement.]
[Music: No. 96. Sym. in E minor: 4th Movement.]
RICHARD STRAUSS.
(Page 106)
[Music: No. 97. Zarathustra: (»das Grablied.«)]
[Music: No. 98. Zarathustra: (»von der Wissenschaft.«)]
[Music: No. 99. Zarathustra.]
[Music: No. 100. Zarathustra: (»das Tanzlied.«)]
[Music: No. 101. Zarathustra.]
[Music: No. 102. Till Eulenspiegel.]
[Music: No. 103. Till Eulenspiegel.]
INDEX
Adam, 129, (59).
Adam de la Hale, 3.
(Aldrich, R.), 107, (110).
Allen, N.H., 173.
Ambrosius, 2.
Archer, 172.
Arensky, 154.
Atherton, 172.
Auber, 62.
Aulin, 151.
Bach, 29.
Bach, Em., 33.
Balakireff, 154.
Balfe, 157.
Bardi, 6.
Bargiel, 79.
Barnby, 158.
Beach, 169.
Beck, 168.
BEETHOVEN, 53, (Music, 208).
Bellinger, 171.
Bellini, 59.
Bennett, 157, (77).
Benoit, 136.
Bergmann, 170.
BERLIOZ, 89, (Music, 224).
Berton, 59.
Bird, A., 168.
Bizet, 133.
Blech, 123.
Blodgett, 173.
Boccherini, 41.
Boëtius, 2.
Boieldieu, 61.
Boise, 173.
Boïto, 142.
Bonvin, 162, 169.
Borodin, 154.
Brahms, 82.
Bridge, 158.
Bristow, 163.
(Browning), 187.
Bruch, 86.
Bruckner, 104.
Bruneau, 137.
Buck, 165.
Bullard, 172.
Buonamici, 143.
Buononcini, 32.
Buxtehude, 25.
Byrd, 4.
(Byron), 71.
Caccini, 7.
Cambert, 20.
Campra, 35.
Cannabich, 43, 44.
Carissimi, 19.
Catel, 59.
Cavalieri, 7.
Cavalli, 19.
Cesti, 19.
Chabrier, 133, (129).
Chadwick, 166.
Chaminade, 136.
Charpentier, 137.
Chausson, 137.
Cherubini, 59.
Chopin, 59, (78, 160).
Cimarosa, 41.
Clari, 21.
Claude le Jeune, 4.
Coleridge-Taylor, 160.
Colonne, 139.
Converse, C.C., 164.
Converse, F., 170.
Coombs, 173.
Corelli, 21.
(Corneille), 20.
Cornelius, 104.
Corsi, 7.
Couperin, 25.
Cowen, 159.
Cui, Cesar, 154.
Cutter, 173.
Czibulka, 146.
d'Alayrac, 58.
d'Albert, 124.
dall'Abaco, 43.
Damrosch, F., 171, 173.
Damrosch, L., 164.
Damrosch, W., 169.
(Dannreuther), 156.
Dargomizski, 153.
David, Félicien, 126.
Debussy, 137.
de Koven, 169.
Delibes, 129.
Destouches, 35.
(Dickinson), 38, 78, 92.
d'Indy, 128.
Dittersdorf, 42.
Donizetti, 59.
Doppler, A., 146.
Doppler, K., 146.
Draeseke, 105.
Dubois, 135.
Dufay, 3.
Duni, 37.
Dunstable, 4.
Durante, 32.
DVO[vR]ÁK, 147, (Music, 260).
Eddy, 172.
Elgar, 160.
(Elson), 162.
Emery, 164.
Enna, 151.
Erkel, 146.
Farwell, 162.
Fauré, 137.
(Ferris), 141.
Field, 59.
Fischer, Franz, 107.
Flotow, 124.
Foerster, 168.
Foote, 165.
Franck, César, 127.
Franco de Cologne, 2.
(Francoeur), 44.
Franz, 78.
(Frederick the Great), 34.
Frescobaldi, 5, (25).
Froberger, 25.
Fuchs, Anton, 138.
Gabrieli, A., 5.
Gabrieli, G., 5.
Gade, 150, (77).
Galilei, 7.
Gericke, 171.
Gevaërt, 136, (51, 56).
Gibbons, 7.
Gilchrist, 168.
(Gilman, L.), 167.
Gilmore, 172.
Glazounoff, 154.
Gleason, 168.
Glinka, 153.
Gluck, 38.
Godard, 127.
(Goethe), 187.
Goetschius, 173.
Goldmark, 85, (145).
Goldmark, R., 170.
Gomez, 142.
Goodrich, A.J., 173.
Goodrich, J.W., 172.
Gossec, 43.
Gottschalk, 163.
Goudimel, 4.
Gounod, 130.
Gow, 173.
Graun, 34.
Gregories, The, 2.
Grétry, 40, (44).
Grieg, 150.
(Grove), 75.
Guido d'Arezzo, 2.
Guilmant, 136.
Habeneck, 138.
Hadley, 170.
Halévy, 62.
Hall, 172.
Hallström, 149.
Händel, 30.
Hanscom, 173.
Hasse, 34.
HAYDN, 47, (Music, 197).
(Hegel), 186.
(Henderson), 155, 156, 160.
Henry, 166.
Henschel, 171.
Herbert, 170.
Hérold, 62.
Hiller, F., 77.
Hiller, J.A., 42.
(Hipkins), 10.
Holmès, 136.
(Howard, A.A.), 11.
Howland, 166.
Hucbald, 2.
(Hughes), 162, 164.
Humperdinck, 123.
Huss, 170.
Innes, 172.
Isaak, 4.
Isadore, 2.
Isouard, 58.
Jadassohn, 80.
Jensen, 79.
Johannes de Muris, 2.
Johns, 172.
Jomelli, 41, 42.
Joncières, 136.
Jordan, 173.
Josquin des Près, 3.
Keiser, 33.
Kelley, 168.
Kerl, 25.
Kienzl, 123.
Kistler, 123.
(Klein, Herman), 111.
(Krehbiel), 148.
Kreutzer, 73, (59).
Kuhnau, 25.
Lachner, 80.
Lalo, 127.
Lamoureux, 139.
Lang, B.J., 171.
Lang, M.R., 172.
(Langhans), 19, 71.
Lassen, 105.
Lasso, 4.
Lavoix, 136, (20, 43, 60).
Legrenzi, 21.
Lehár, 124.
(Leibniz), 187.
Leo, 32.
Leoncavallo, 143.
Lesueur, 61.
Levi, 106, 107, 134, 147.
Lewis, 162, 169.
Lindblad, 149.
Listemann, 171.
Liszt, 92, (103, 104, 145).
(Lobe), 101.
Locke, 172.
Loeffler, 170, (9).
Logroscino, 32.
(Lorenzo the Great), 6.
Lortzing, 124.
Lotti, 32.
(Louis XIV of France), 20.
(Ludwig II of Bavaria), 101.
Lulli, 19.
Lund, 171.
Macdougall, 173.
MacDowell, 166.
Macfarren, 157.
Mackenzie, 158.
Mahler, 123.
Maillart, 129.
Marschner, 73.
Marston, 173.
Mascagni, 143.
(Mason, D.G.), 150.
Mason, L., 163.
Mason, W., 163.
Massenet, 134.
Mattheson, 33.
(Matthews, W.S.B.), 173, (82).
McWhood, 173.
(Medici), 6.
Méhul, 60.
MENDELSSOHN, 75, (Music, 232).
Merbecke, 4.
Merulo, 5.
Meyerbeer, 64, (9).
(Molière), 20.
Mollenhauer, 171.
Monsigny, 37.
(Montegut), 186.
MONTEVERDE, 16, (Music, 191).
Mosonyi, 146.
Morley, 4.
Moszkowski, 80.
Mouret, 36.
MOZART, 50, (Music, 203).
Muck, 107, 171.
Mussorgski, 154.
(Napoleon), 63.
Naumann, 35.
Neidlinger, 172.
Nevin, 172.
Nicodé, 105.
Nicolai, 124.
(Nietzsche), 101.
Nikisch, 171.
(Nordau), 101.
Normann, 149.
Norris, 173.
Notker, 2.
Ockeghem, 3.
Onslow, 126.
Pachelbel, 25.
Paesiello, 41.
Paine, 164.
Paladhile, 136.
Palestrina, 4.
Parker, 167.
Parry, 159, (4, 38, 145).
Parsons, 173.
Pasdeloup, 139.
Paur, 171.
Pergolesi, 32.
Peri, 7.
Perrin, 23.
Philidor, 37.
Piccini, 40.
Ponchielli, 142.
Porpora, 32.
(Praetorius), 12.
Pratt, 173.
(Prout), 71, 74, 84.
Puccini, 143.
Purcell, 24, (30).
(Pythagoras), 10.
(Racine), 20.
Raff, 81.
Rameau, 36.
Reber, 126.
Reger, 123.
Reincken, 25.
Reinecke, 79.
Reyer, 127, (133).
Rheinberger, 86, (101).
(Richter, Jean Paul), 71.
(Riemann), 10, 34, 80, 109, 153, 164.
Rietz, 77.
Rimski-Korsakoff, 154.
Ritter, A., 105, (107).
(Ritter, Dr.), 162.
Rogers, 172.
(Rösch), 110, 113, 115.
Rossini, 64.
Rousseau, 37.
Rubinstein, 155, (81).
Rübner, 173.
Sacchini, 40.
SAINT-SAËNS, 131, (Music, 247).
Salieri, 40.
Sammartini, 42, 43.
(Savanarola), 6.
Sax, 12, 63.
SCARLATTI, 22, (Music, 194).
Scarlatti, D., 25.
Scharwenka, X., 170.
Scheel, 171.
Scheidt, 25.
(Schiller), 187.
Schillings, 123.
Schoenefeld, 168.
(Schopenhauer), 186.
Schubert, 74.
Schuch, 118.
Schumann, 78.
Schumann, Georg, 123.
Schütz, 17.
Seidl, 171.
Serow, 153.
Sgambati, 143.
Shelley, 172.
Sherwood, 164.
Sibelius, 151.
Sinding, 151.
Smetana, 147.
Smith, G., 172.
Smith, W.G., 173.
Södermann, 149.
Sousa, 172.
Spalding, 173.
(Spencer), 186.
Spohr, 70.
Spontini, 63.
Stamitz, 42, 44.
Stanford, 160, (159).
Steffani, 21.
Stennhammer, 151.
Story, 173.
Strauss, J., 124.
STRAUSS, RICHARD, 106, (Music, 267).
Striggio, 7.
Strong, 172.
Stubbs, 172.
Suk, 147.
Sullivan, 158.
Suppé, 124.
Svendsen, 150.
Sylvester, 2.
Tallys, 4.
Telemann, 33.
Theile, 33.
Thomas, Ambrose, 129.
Thomas, A. Goring, 159.
Thomas, Theodore, 170, 171, (109).
Thuille, 123.
Tomlins, 171, 173.
Torelli, 21.
TSCHAIKOWSKY, 155, (Music, 254).
van der Stucken, 169.
van Malder, 44.
Verdi, 140, (59).
Viadana, 7.
Vidal, 136.
Vivaldi, 21.
Volkmann, 79.
von Bülow, 103, 106, 107.
WAGNER, 93, (72, 92), (Music, 238).
Walther, Benno, 106.
Wanhal, 44.
Warren, R.H., 172.
Warren, S., 172.
WEBER, 71, (Music, 215).
Weingartner, 105.
White, 166.
Whiting, 172.
Whitney, 172.
Widor, 136.
Willaert, 3.
(Willeby), 159, 160.
Wolf, 123.
Wolf-Ferrari, 144.
Zeck, 169.
Zerrahn, 171.
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