DICTIONARY OF MUSIC - El Atril

More documents

Recommendations

Info

480 INSTRUMENTATION INSTRUMENTATION and harmony, like Berlioz, that seems to have no sense : Harp. mw^ .zb.y^-Fii— ^^f|%!;^i3= but writes deliberate cacophony such as these : - Flute.fg: jp:|p:. ll »-I2p. ^b> i3=i= ^ not to mention the bleating of sheep in ' Don (Juixote ' and the battle in ' Ein Heldenleben, things which really seem outside the pale of music altogether. And the consideration of such exceptional cases as these leads us to glance at the phase tlirough which the art of orchestration is now (in 1905) passing. The marvellous polyphony of Wagner's later works was intended, above all, to produce an emotional effect by means which—though subtle—were yet susceptiljle of analysis, and only in the extremest dramatic moments broke their own laws. But an attempt is now being made to produce still greater emotional effect by a style of orchestral writing which defies analysis, and in which the music 2Jer se has but a weak structure and material of the utmost degree of tenuity. This is surely a return to the poetically intended but unsuccessful strivings of Franz Liszt ! It is of no use to astonish an audience and worry an orchestra by writing almost impossible passages if tliere be no definite structure beneath the dazzling surface. And there are very lew of the musical works we now allude to which will bear the simple but infallible test of being played upon the piano. The distinction to be drawn between the merit of orchestration itself and the value of the music to which it is applied brings us to another point. Many books on orchestration have been written, and beyond the first details the student finds them all equally disaj)pointi)ig and useless. The reason of this is that the quotations from scores, the more admirable they are, the less they appeal to the student's needs. Berlioz, for instance, gives seventeen examples from Gluck, seventeen from Beethoven, and twelve eccentric—but one hardly dare say successful—specimens from his own pen. None represent normal music such as a student would be likely to write. Gevaert's monumental treatise is the best, but of his 276 (!) quotations from Beethoven not one would be of practical use, as they one and all are the outcome of Beethoven's originality. Eichard Hofmann has written a ponderous treatise with many hundreds of quotations—mostly identical with those in Gevaert. His method of teaching the art is to set the student to score chorales for every conceivable combination of instruments. This might teach score-reading, but would have no further effect. Not till about 1896 did it occur to any one to teach the translation of pianoforte music into orchestral idiom, which is all that a book can teach on this subject. For the relation between eye and ear can only be learnt through exercise of both, especially the latter. The tyro who looks at this simple example cannot possibly appreciate its beauty. Flute, oboe, and clarinet, all have the same iihrases, and look exactly alike. And again, who could, from a mere inspection of the notes, guess for what instruments our first quotation from Bach was scored, and appreciate its extreme boldness ? No : orchestration can only be learnt by teaching the ear to remember effects already heard, while the eye renders doubtful and untrustworthy assistance as to the putting these upon paper. But much might be learnt by a critical comparison of the different scoring of similar passages—when these can be found. One interesting example of this kind exists in the two arrangements of Weber's ' ' Invitation a la Valse by Berlioz and Felix Weingartner, illustrating very vividly the progress in our art from 1841 to 1896. We append a couple of specimens, giving, as in all our other quotations, the real notes to all the instruments, for facility of reading.
INSTRUMENTATION 481 Beelioz. iflfeSEgi^^^^^sSlifc^^g 2i
Page 1 and 2:
GROVE'S "^'^^^^^^ DICTIONARY OF MUS
Page 3 and 4:
E, Aldrich, Esq., ' New E. Hebom-Al
Page 5:
LIST OF CONTRIBUTOKS .... Rev. Cano
Page 9 and 10:
DICTIONARY OF MUSIC AND MUSICIANS F
Page 11 and 12:
FACKELTANZ FALCON Ricordi. Faccio h
Page 13 and 14:
FANCIES FANFAKE attacks iijion tlic
Page 15 and 16:
FANTASIESTUCK FAEANDOLE for the Vir
Page 17 and 18:
FARINELLI FAKINELLl second viait to
Page 19 and 20:
FARINELLI FAEMER 11 supplied Sir J.
Page 21 and 22:
FARNABY FAIiKEXC 13 Ayres, 1675, to
Page 23 and 24:
FAURE of Fasch's scholars, who, as
Page 25 and 26:
FAUX-BOUKDON FAUX-BOURDON 17 taken
Page 27 and 28:
FAYRFAX been of Bayford in Hertford
Page 29 and 30:
FEO FERRABOSCO 21 performance. Jan.
Page 31 and 32:
FERRABOSCO FEREABOSCO 23 and famous
Page 33 and 34:
FERRARI FERRI 1637, and HUl, three
Page 35 and 36:
FESTING FESTIVALS, MUSICAL 27 simpl
Page 37 and 38:
FESTIVALS, MUSICAL FESTIVALS, MUSIC
Page 39 and 40:
FifcxiS FEVIN 31 a Philosophie de l
Page 41 and 42:
FIDDLE FIDELIO 33 maiiu. A j'ear in
Page 43 and 44:
FIELITZ FIGURE 35 1832. From thence
Page 45 and 46:
FIGURE FIGURED BASS 37 same, partly
Page 47 and 48:
FILTSCH FINALE 39 a iiosition as te
Page 49 and 50:
FINCK FINCK 41 'Circa annum 1480 et
Page 51 and 52:
FINGER-BOAED FINGEUING 43 'The Anat
Page 53 and 54:
FINGERING FINGERING 45 all existing
Page 55 and 56:
FINGERING FINGEEING ascending, seco
Page 57 and 58:
FINGERING FINGEEING 49 fore there a
Page 59 and 60:
FINGERING FINGERING 51 Harmonics. S
Page 61 and 62:
FINGERING FINGEPJNG 53 sliding from
Page 63 and 64:
FINTA GIARDIXIEEA, LA FIOEITURE 55
Page 65 and 66:
FISCHER FISCHER 57 Helden Miisik, i
Page 67 and 68:
FITZWILLIAM COLLECTION, THE FLAGEOL
Page 69 and 70:
FLAUTO MAGICO FLOEENCK 61 Eb for E
Page 71 and 72:
FLORENCE FLORIMO 63 the result of t
Page 73 and 74:
FLOWER FLUE-WORK 65 other hand, his
Page 75 and 76:
FLUTE FLUTE 67 a chromatic scale. T
Page 77 and 78:
FLYING DUTCHMAN FORSTER 69 of the '
Page 79 and 80:
FOOTE FORD 71 as ' a favourite air
Page 81 and 82:
FORM FORM 73 G-i time, but possesse
Page 83 and 84:
FORM FORM 75 iiant, thereby indicat
Page 85 and 86:
FORM FORM 77 systematic development
Page 87 and 88:
FOEM FORM 79 subjects ; whereas the
Page 89 and 90:
FORM FORM n complementary key of th
Page 91 and 92:
FORM FORM ties in the affinities of
Page 93 and 94:
FORM FORM 85 the first movement ; f
Page 95 and 96:
FOEM FORM tying down composers by a
Page 97 and 98:
FOESTEE FOETE 8'..; by Ornithoparcu
Page 99 and 100:
FOUGHT FOUNDLING HOSPITAL 91 compos
Page 101 and 102:
FRAMERY FRANC [13 good intonation a
Page 103 and 104:
FRANCHETTI FRANCK 95 and 1745 she t
Page 105:
C]i;SAE FEAXCK
Page 108 and 109:
98 FRANCK FEANCK the quintet for pi
Page 110 and 111:
100 FRANCK FRANCO the theatre of Mo
Page 112 and 113:
102 FRANCO FKANCO Perfect ; but, wh
Page 114 and 115:
104 FRANZ FRANZ his letters on Scot
Page 117 and 118:
FRANZ FRASI 105 time, shidying Bacl
Page 119 and 120:
FEEGE FRESCOBALDI 107 large example
Page 121 and 122:
FREZZOLINI FEICHOT lOS oC the notes
Page 123 and 124:
FEIEDLANDER FROBERGER 111 and was w
Page 125 and 126:
FUCHS PUENTES 113 song of the same
Page 127 and 128:
FUGUE FUGUE 115 the fugue on its pr
Page 129 and 130:
FUGUE FUGUE 117 (i) Handel, 'Hallel
Page 131 and 132:
FUGUE FUGUE 119 -Hfrr^^^^^-^w- Sub.
Page 133 and 134:
FUGUE FUGUE 121 to shape themselves
Page 135 and 136:
Subject. ^^r FUGUE FULDA 123 ^^- To
Page 137 and 138:
FUX FZ 125 (Jeanne Roger, Amsterdam
Page 139 and 140:
GABRIELLE GABRIELLI 127 often so bo
Page 141 and 142:
GADE GADSBY 129 on the approval of
Page 143 and 144:
GAGLIANO GAGLIANO 131 (1508), and I
Page 145 and 146:
GAGLIANO GAILHAED 133 ' other compo
Page 147 and 148:
GALIMATHIAS GALITZIN 1.35 any Europ
Page 149 and 150:
GALLI GALLIA 137 on the whole. He r
Page 151 and 152:
GALLUS GALUPPI 139 scholastic post.
Page 153 and 154:
GAMBA, VIOLA DA GAMUT 141 intolerab
Page 155 and 156:
GARCIA GARCIA 143 the Conservatoire
Page 157 and 158:
GAEDONI GARLANDIA 145 "published se
Page 159 and 160:
GASSMANN GATES 147 E. T. Smith, whe
Page 161 and 162:
GAULTIER GAUNTLETT I4y plusieurs di
Page 163 and 164:
GAVOTTE GAYARRE 151 a performer. Hi
Page 165 and 166:
GEBEL GEISLER 153 and in 1729 becam
Page 167 and 168:
GEMINIANI GEKEE 155 Cousser's death
Page 169 and 170:
mieulx ne vient, ' 'A GENOVEVA GERB
Page 171 and 172:
GEEICKE GERMAN 159 century (see Bec
Page 173:
ETELKA GERSTER
Page 176 and 177:
162 GESELLSCHAFT DEE MUSIKFREUNDE '
Page 178:
164 GHAZEL GHEO institution in its
Page 182 and 183:
166 GIBBONS GIBBONS British Museum
Page 184 and 185:
168 GIBBONS GIGUE Lord, grant grace
Page 186 and 187:
170 GIMEL GIMEL positions. Having l
Page 188 and 189:
172 GIORGI GIOVANNINI be the greate
Page 190 and 191:
174 GIUGLINI GLADSTONE GIUGLINI, An
Page 192 and 193:
176 GLAZOUNOV GLAZOUNOV with Elenov
Page 194 and 195:
178 GLEE GLEN gives a name. It is s
Page 196 and 197:
180 GLINKA GLINKA His mental growth
Page 199 and 200:
GLINKA GLINKA 181 other hand did al
Page 201 and 202:
GLOVER GLUCK 183 the Holy Scripture
Page 203:
CHRISTOPH WILLIBALD, RITTER VOX GLU
Page 206 and 207:
186 GLUCK GLUCK school accused him
Page 208 and 209:
188 GNECCO GOD SAVE THE KING Aleasa
Page 210 and 211:
190 GOD SAVE THE KING GOD SAVE THE
Page 212 and 213:
192 GODAED GODDAED with the first i
Page 214 and 215:
194 GODOWSKY GOETZ autumn in the Gr
Page 216 and 217:
196 GOLDBERG GOLDMAEK GOLDBERG, Jos
Page 219 and 220:
GOLD.AIAKK GOLDSCHMIDT 197 subject
Page 221 and 222:
GOLLMICK GOMBERT 199 a composer. He
Page 223 and 224:
GOODBAN GOOVAERTS 201 (possihl_y th
Page 225 and 226:
GOSS GOSSEC 1^03 writer of popular
Page 227 and 228:
GOTTSCHALK GOUDIMEL 205 William Tuc
Page 229 and 230:
GOUDIMEL GOUDIMEL 207 de Besanijon.
Page 231:
CHARLES FRANCOIS GOUNOD
Page 234 and 235:
210 GOUNOD GOUNOD of '.MireiUe' (Th
Page 236 and 237:
212 GOW GEABU musical world as perf
Page 238 and 239:
214 GRAFTON GRAND returned to Hambu
Page 240 and 241:
216 GRANDIOSO GRASSHOPPER tions of
Page 242 and 243:
218 GRAUN GRAUN 'delightful beyond
Page 244 and 245:
220 GRAVE GREAT ORGAN and fugues. O
Page 246 and 247:
222 GREATOREX GRECO containing the
Page 248 and 249:
224 GREEK MUSIC GREEK MUSIC instrum
Page 250 and 251:
226 Table of Fifteen Keys with thei
Page 252 and 253:
228 Table op Fiftees Keys with thei
Page 254 and 255:
230 GREEK MUSIC GREEK MUSIC Kara Sv
Page 256 and 257:
232 GREENE GREENE jnost esteemed or
Page 258 and 259:
234 GEEGOIR GREGORIAN MUSIC Nexo Le
Page 260 and 261:
236 GREGORIAN TONES GREITER and wer
Page 262 and 263:
238 GENTRY GENTRY under the harsh t
Page 265 and 266:
GRETRY GKETRY 239 containing two ai
Page 267 and 268:
GRIEG GRIEG 241 not a good represen
Page 269:
EDVAED HAGERUP GRIEG
Page 272 and 273:
244 GRISAR GEISI rooms successfully
Page 275 and 276:
than Grisi's success ; GRISI GROSSO
Page 277:
GEORGE GROVE
Page 280 and 281:
248 GROVE GROVE symphonies of Beeth
Page 282 and 283:
250 GEOVE GEUA scheme, carried out
Page 284 and 285:
252 GUADAGNINI GUARDUCCI he acquire
Page 286 and 287:
254 GUDEHUS GUERRERO made instrumen
Page 288 and 289:
256 GUIDETTI GUIDO D'AREZZO uncerta
Page 290 and 291:
258 GUIGNON more than half a centur
Page 292 and 293:
260 GUITAR GUITAR inwards after the
Page 294 and 295:
262 GUNN - GUKLITT merit, made her
Page 296 and 297:
264 GYMNASTICS GYMNASTICS was firml
Page 298 and 299:
266 GYMNASTICS GYBOWKTZ his system
Page 300 and 301:
TJ (pronounced Ha) is the German na
Page 302 and 303:
270 HADDON HALL HAESSLER England. A
Page 304 and 305:
272 HAINL HALE first composed as a
Page 306 and 307:
274 HALEVY HAL^VY and on March 4, l
Page 309 and 310:
HALF-CLOSE HALLE 275 nent secretary
Page 311 and 312:
HALLING >i \.:\[£rMK of standing d
Page 313 and 314:
HAMMERSCHMIDT HANDEL 279 ' 5. Music
Page 315 and 316:
HANDEL HANDEL 281 operas and sacred
Page 317 and 318:
HANDEL HANDEL 283 with worthy appre
Page 319 and 320:
HANDEL HANDEL 285 which Handel hear
Page 321 and 322:
HANDEL HANDEL 287 Unhappily the MS.
Page 323 and 324:
HANDEL HANDEL, COMMEMORATION 289 po
Page 325 and 326:
HANDEL-GESELLSCHAFT HAXDEL-GESELLSC
Page 327 and 328:
HANDL HANDLO 293 and during its ear
Page 329 and 330:
" law HAXS HEILIXG HARE 295 certs o
Page 331 and 332:
HARMONIC UNION, THE HARMONICA 297 i
Page 333 and 334:
HARMONICS HARMONICS 299 ments as se
Page 335 and 336:
HARMONIE HAEMONIOUS BLACKSMITH 301
Page 337 and 338:
HAEMOXIU.M HARMOXIUM 303 (Paris, 1S
Page 339 and 340:
HAEMONY HAEMONY 305 subdued by a th
Page 341 and 342:
HARMONY HARMONY 307 be said to be a
Page 343 and 344:
m 3^' ^-^^- HARMONY HARMONY 309 l^-
Page 345 and 346:
HARMONY HARMONY 311 the appreciatio
Page 347 and 348:
HARMONY HARMONY 313 most complete,
Page 349 and 350:
HARMONY HARMONY 315 ia found common
Page 351 and 352:
HAEMONY HARMONY 317 the analogue of
Page 353 and 354:
HAEMONY HARMONY 319 by substituting
Page 355 and 356:
HARMONY HARMONY, ANALYSIS OF 321 (c
Page 357 and 358:
HARMOXY, ANALYSIS OF HAPatOXY, ANAL
Page 359 and 360:
HAEP HARP 3i!5 probably of a low an
Page 361 and 362:
HARP HARP-LUTE 327 so ingenious tha
Page 363 and 364:
HARPSICHORD HARPSICHORD 32!) that t
Page 365 and 366:
HAEPSICHOKD HARPSICHORD 331 seat of
Page 367 and 368:
HAERIS HARRISON 333 T\'here, before
Page 369 and 370:
HART HARTMANN 335 prevailed. John T
Page 371 and 372:
HARWOOD HASLINGER 337 the title of
Page 373 and 374:
HASSE HASSE 339 much sought after i
Page 375 and 376:
HASTREITEK HAUK 341 Besides the wor
Page 377 and 378:
HAUPTMANN HAUSMANN 343 independence
Page 379 and 380:
HAWKINS HAWKINS 345 elected an asso
Page 381 and 382:
HAYDN HAYDN 347 which M-a3 afterwar
Page 383:
FRANZ JOSEPH HAYDN
Page 386 and 387:
350 1740- HAYDN -1750 incredible pi
Page 388 and 389:
352 1756— HAYDN — 1766 lessons
Page 390 and 391:
354 1769- HAYDN —1780 Lidl (1769-
Page 392 and 393:
356 1785— HAYDN — 1790 The work
Page 394 and 395:
358 1791- HAYDN —1792 On hia retu
Page 396 and 397:
360 1795 HAYDN 1795 country, first
Page 398 and 399:
362 1799- HAYDN -1806 engraved (180
Page 400 and 401:
364 HAYDN HAYDN (1803), the Conserv
Page 402 and 403:
366 HAYDN HAYDN generation same.' b
Page 404 and 405:
368 HAYDN HAYDN ' Cambini) ; Sonate
Page 406 and 407:
370 HAYDN IN LONDON HAYES 37. No. 9
Page 408 and 409:
372 HAYNES HEBENSTEEIT copied tlie
Page 410 and 411:
374 HEERMANN HEIL DIE IM SIEGERKRAN
Page 412 and 413:
376 HELLENDAAL HELLINCK HELLENDAAL,
Page 414 and 415:
378 HELMHOLTZ HELMHOLTZ organ and p
Page 416 and 417:
380 HENLEY HENRY VIII alone. He had
Page 418 and 419:
382 HENSCHEL HENSELT The complete l
Page 420 and 421:
384 HERBERT HERBST to the Piarists
Page 422 and 423:
386 hI:eold HEEOLD uninviting. Thus
Page 425 and 426:
suffering for some time ; and HEREI
Page 427 and 428:
HERZ, MEIN HERZ HESDIN 389 United S
Page 429 and 430:
HEXACHOED HEXACHOED 391 the propert
Page 431 and 432:
HIAWATHA HICKFORD'S ROOM 393 of the
Page 433 and 434:
HICKFOBD^S ROOM HICKFORD'S EOOM 395
Page 435 and 436:
HIDDEN FIFTHS HIDDEN FIFTHS SO'; i^
Page 437 and 438:
HIDDEN FIFTHS HILES 39S) The follow
Page 439 and 440:
HILL HILLEMACHER 401 Majesty's Thea
Page 441 and 442:
HILLER HILLER 403 were held at Colo
Page 443 and 444:
HILTON HIME 405 the Choristers. As
Page 445 and 446:
HIXTOX HIPKINS 407 Westminster, Dec
Page 447 and 448:
HISTORIES OF MUSIC HISTORIES OF MUS
Page 449 and 450:
HISTORIES OF MUSIC HISTOEIES OF MUS
Page 451 and 452:
HOBBS HOCHZEIT DES CAMACHO, DIE 413
Page 453 and 454:
HOFFMANN HOFFMANN 4U though enjoyin
Page 455 and 456:
HOFMANN HOGARTH 417 This work consi
Page 457 and 458:
HOLDEN HOLLANDER 419 a Collection o
Page 459 and 460:
HOLLINS HOLMES 421 was his principa
Page 461 and 462:
HOLMES HOLYOKE 423 Tly. Life of Moz
Page 463 and 464:
HOMILIUS HOOK 425 The air is marked
Page 465 and 466:
HOPKINSON HORN 427 August 27, 1900.
Page 467 and 468: HORN HORN 429 approximates more tha
Page 469 and 470: HORX HOEX 431 hand the hell alone i
Page 471 and 472: HORN HORN 433 The aame, in a somewh
Page 473 and 474: HORSLEY HORSLEY 435 liave given t]i
Page 475 and 476: HOWELL HUBER 437 and others in rari
Page 477 and 478: HUDGEBUT HUEFFER 439 the invention
Page 479 and 480: HUME HUMFREY 441 In March 1872 he w
Page 481 and 482: HUMMEL HUMMEL 443 Hummel resigned h
Page 483 and 484: 81. Soaata in FS minor. Piano. 82.
Page 485 and 486: HURDY GURDY HURLSTONE 447 One or ot
Page 487 and 488: HUYGENS HUYGENS 449 iad seven or ei
Page 489 and 490: HYDRAULUS HYDRAULUS 451 accompanied
Page 491 and 492: HYMN HYMN 453 such cases both came
Page 493 and 494: HYMN HYMN 455 us, Lord ' ; hut here
Page 495 and 496: Church hymnody ; HYMN HYMNS ANCIENT
Page 497 and 498: TAMBIC. An Iamb or Iambus is a metr
Page 499 and 500: IMPERFECT IMPERFECT 461 to become c
Page 501 and 502: INCIDENTAL MUSIC INCLEDON 463 them.
Page 503 and 504: INCORPORATED SOCIETY INDY 465 In Ja
Page 505 and 506: INFLEXION INFLEXION 467 such matter
Page 507 and 508: INGLOTT m QUESTA TOMBA OSCURA 469 I
Page 509 and 510: INSTRtTilENT INSTEUMEXT 471 that on
Page 511 and 512: INSTRUMENT INSTRU^tENTATION 473 [Ja
Page 513 and 514: INSTEUMENTATION INSTKUMENTATION 475
Page 515 and 516: INSTRUMENTATION INSTRUMENTATION 477
Page 517: INSTRUMENTATION INSTRUMENTATION But
Page 521 and 522: Piccolo and 2 Flutes. SO.'Oes. & Cl
Page 523 and 524: INTERMEZZO INTERMEZZO 485 ' portant
Page 525 and 526: INTERRUPTED CADENCE INTERVAL 487 Bo
Page 527 and 528: INTRUDUCTION INTRODUCTION 489 lias
Page 529 and 530: INVENTION INVERSION 491 churches, a
Page 531 and 532: INVERTIBLE COUNTERPOINT INVERTIBLE
Page 533 and 534: INVEETIBLE COL'XTEKPOINT IXVEKTIBLE
Page 535 and 536: INVEETIBLE COUNTERPOINT INVERTIBLE
Page 541 and 542: INVERTIBLE COUNTEEPOINT INVERTIBLE
Page 543 and 544: INVITATORIUM IONIAN MODE 505 to exe
Page 545 and 546: IPPOLITOV-IVANOV IRISH MUSIC 507 ce
Page 547 and 548: IRISH MUSIC IRISH MUSIC 508 semiton
Page 549 and 550: IRISH MUSIC ISAAC 511 of Christ Chu
Page 551 and 552: ISABELLA ISOUARD 513 scene of the L
Page 553 and 554: ISTESSO TEMPO IVE 515 'Thou senteat
Page 555 and 556: TACHES, Galuco, or Jacomo Brumel, f
Page 557 and 558: JACK JACK 519 Kicercari di Jaques B
Page 559 and 560: JACKSON JACOB 521 parts,' 'Six Madr
Page 561 and 562: JACQUARD JADIN 523 stitute the larg
Page 563 and 564: JAMES JANKO 525 energy and interest
Page 565 and 566: JANSA JAPANESE MUSIC 527 amateur of
Page 567 and 568: JAY JENKINS 529 sheet, is ' Mr. Jan
Page 569 and 570:
JERUSALEM JEWETT 531 in Masfa' (Jep
Page 571 and 572:
JIG JOACHIM 533 10. Motetti de la S
Page 575 and 576:
JOACHIM QUARTET JOACHIM QUARTET 535
Page 577 and 578:
JOHN THE BAPTIST, ST. JOHNSON 537 J
Page 579 and 580:
JOHNSON JOHNSTON 539 for the Latin
Page 581 and 582:
JOMMELLI JOMMELLI 541 opera ' Eumen
Page 583 and 584:
JONCIERES JONES 543 out in Brussels
Page 585 and 586:
JOEDAN JOSEFFY 545 same county, whi
Page 587 and 588:
JOSQUIN JOSQUIN 547 La, sol, fa, re
Page 589 and 590:
JOTA JUDAS MACCAB.EUS 549 tabula ar
Page 591 and 592:
JULLIEX JULLIEN 551 Scribe, music b
Page 593 and 594:
JULLIEN JUON 553 it out on the most
Page 595 and 596:
JUST INTONATION JUST INTONATION 555
Page 597 and 598:
KAHRER-KAPPOLDI KALKBRENNER 557 voi
Page 599 and 600:
KARAJAN KASTNER 559 as no work of h
Page 601 and 602:
KEELEY KEISER 561 Choke Collection
Page 603:
CLAK.V I.OIISE KELL
Page 606 and 607:
564 KELLY KELWAY Arne (1778-79),—
Page 608 and 609:
566 KEXXEDY KENT BUGLE made his fir
Page 610 and 611:
568 KETTEN KEY Holland, with Ferdin
Page 612 and 613:
570 KEY KEY also is obvious in keys
Page 614 and 615:
572 KEY KEY the seven tiers of his
Page 616 and 617:
5V4 KIENZL KIESEWETTER pianoforte,
Page 618 and 619:
576 KING KING'S BAND OF MUSIC KING,
Page 620 and 621:
578 KIRBYE KIRCHEN CANTATEN already
Page 622 and 623:
580 KIROHNER KIRNBERGER execution.
Page 624 and 625:
582 KIT KJEEULF Spaiiisches Lieders
Page 626 and 627:
584 KLAFSKY KLEBEE engaged in 1874
Page 628 and 629:
586 KLEMM KLENOVSKY He deserves hon
Page 630:
588 KLUGHARDT KNECHT Another son of
Page 634 and 635:
590 KNELLER HALL KNIGHT the Crimean
Page 636 and 637:
592 KNYVETT KOCHEL these works have
Page 638 and 639:
594 KONIGIN VON SABA, DIE KOLLMANN
Page 640 and 641:
596 KOTO KEAFT Cantata ' Don Jnan.'
Page 642 and 643:
598 KRAUSS KEEBS Rubinstein's ' Kin
Page 644 and 645:
600 KEEISLER KEETSCHMER the ' Non p
Page 646 and 647:
602 KREUTZER KREUTZER SONATA The mu
Page 648 and 649:
604 KRIEGER KROMMER viola da gamha
Page 650 and 651:
606 KUBELIK KUBELIK born in Melbour
Page 652 and 653:
608 KUHNAU KUFFERATH of preluding,
Page 654 and 655:
610 KUHNAU KULLAK reiterated joke o
Page 656 and 657:
612 KUNTZSCH KYEIE his opera ' Das
Page 658 and 659:
614 KYRIE KYEIE borrowed from the K
Page 660 and 661:
616 LABLACHE LABLACHE however, the
Page 662 and 663:
618 LACHNER LACOMBE when he retired
Page 664 and 665:
620 LA FAGE LAFONT to have had its
Page 666 and 667:
622 LAHOUSSAYE LALANDE Jesu Christe
Page 668 and 669:
624 LALLA ROOKH LALO volumes, conta
Page 670 and 671:
626 LAMENTATIONS LAMENTATIONS Hiere
Page 672 and 673:
628 LAMOND LAMOUEEUX Palestrina, an
Page 674 and 675:
630 LAMPUGXANI LANDI afterwards to
Page 676 and 677:
632 LANG LANGE and more prominent a
Page 678 and 679:
634 LANGSAM LANIEKE acted as its di
Page 680 and 681:
636 LARGE LAROCHE the theatre in To
Page 682 and 683:
638 LASSEX LASSUS success as Renato
Page 685 and 686:
LASSUS LASSUS 639 Nicolas 1 in the
Page 687 and 688:
LASSUS LASSUS 641 From this time La
Page 689 and 690:
LASSUS LASSUS 643 and Excellencies
Page 691 and 692:
LASSUS LASSUS 645 converted them in
Page 693 and 694:
i 3^ m ,tal m^^- LASSUS LASSUS 647
Page 695 and 696:
LAST ROSE OF SUMMER LATILLA 649'
Page 697 and 698:
Haydn. J. Salve B«demptor, C. —S
Page 699 and 700:
LAUDS LAUTERBACH 653 the year 1336,
Page 701 and 702:
LAWES LAWES 655 father, tlie coiise
Page 703 and 704:
LAYOLLE LAZZARINI 657 LAYOLLE, Fran
Page 705 and 706:
LEBERT LEBRUN 659 of Tone, etc. [In
Page 707 and 708:
LECLAIR LECOCQ 661 already an old m
Page 709 and 710:
LEE LEEDS MUSICAL FESTIVAL 663 Cove
Page 711 and 712:
LEGATO LEGATO 665 another performer
Page 713:
LILLI LEHMAXN
Page 716 and 717:
668 LEIPZIG LEIPZIG while the worth
Page 718 and 719:
670 LEIT-MOTIF LEIT-MOTIF It seems
Page 720 and 721:
672 LE JEUNE LE JEUNE appointment w
Page 722 and 723:
674 LEMMENS LENEPVEU preceptor in m
Page 724 and 725:
676 LEO LEO vols., i.-iii. Cassel,
Page 726 and 727:
678 LEO LEO is less severe iu manne
Page 728 and 729:
680 LEONCAVALLO LEONI played accomp
Page 730 and 731:
682 LESLIE LESSON LESLIE, Henry Dav
Page 732 and 733:
684 LESUEUR LESUEUR forward to the
Page 734 and 735:
686 LEVEEIDGE LEVEY ' Romeo.' He sa
Page 736 and 737:
688 L'HOMME AKMJh; L'HOMME ABME As
Page 738 and 739:
690 LIAPOUiS'OV LIBRARIES AND COLLE
Page 740 and 741:
692 LIBRARIES AND COLLECTIONS OF MU
Page 742 and 743:
694 LIBRAEIES AND COLLECTIONS OF MU
Page 744 and 745:
Page 746 and 747:
Page 748 and 749:
700 LIBEARIES AND COLLECTIONS OF MU
Page 750 and 751:
Page 752 and 753:
Page 754 and 755:
Page 756 and 757:
Page 758 and 759:
Page 760 and 761:
Page 762 and 763:
Page 764 and 765:
Page 766 and 767:
Page 768 and 769:
720 LIBRETTO LIBRETTO An excellent
Page 770 and 771:
722 LICENSE LICENSE lyrical honours
Page 772 and 773:
724 LICHNOWSKY LIE-NISSEN peers, in
Page 774 and 775:
726 LIED-FOEM LIED-FOEM generally a
Page 776 and 777:
728 LIEDEBKREIS LIEDERTAFEL first b
Page 778 and 779:
730 LILLE LILLIBUELERO Mstorischen
Page 780 and 781:
732 LILT LINCKE The evidence quoted
Page 782 and 783:
734 LIND LIND r61e in ' Euryauthe,
Page 785 and 786:
LIND LIND 735 confidence,—while s
Page 787 and 788:
LINDNER LINLEY 737 Dragonetti (see
Page 789 and 790:
LINLEY LIPINSKI 739 for a few years
Page 791:
FRANZ LISZT
Page 794 and 795:
742 LISZT . LISZT which a small but
Page 796 and 797:
744 LISZT LISZT the incideutg of hi
Page 798 and 799:
746 LISZT LISZT July 31, 1886. His
Page 800 and 801:
748 LISZT LISZT 136. Chopin's Prael
Page 802 and 803:
750 LISZT LISZT light on Schubert's
Page 804 and 805:
752 LITANY LITANY almost every popu
Page 806 and 807:
754 LITOLFF LIVERPOOL MUSICAL FESTI
Page 808 and 809:
756 LO, HE COMES LO, HE COMES was a
Page 810 and 811:
758 LOBKOWITZ LOCATELLI and with no
Page 812 and 813:
760 LOCKE LOCKE with the melody. In
Page 814 and 815:
762 LODER LODER theory, it necessar
Page 816 and 817:
764 LOESCHHOEN LOEWE sonatas for tw
Page 818 and 819:
766 LOGIER LOGROSCINO was appointed
Page 820 and 821:
768 LOMAKIN LONG wrote a violin par
Page 822 and 823:
770 LORD OF THE ISLES LORTZING chor
Page 824 and 825:
772 LOTTI LOUIS FERDINAND between t
Page 826 and 827:
774 LOURE LOVER close of which is a
Page 828 and 829:
776 LUCAS LUCCA member of the opera
Page 831 and 832:
LUCCA LUCIO SILLA 777 'The Huguenot
Page 833 and 834:
LUISA MILLER LULLY 1783, says that
Page 835 and 836:
LULLY LULLY 781 danseuses whom he i
Page 837 and 838:
LUNN LUPOT 783 the title of Reminis
Page 839 and 840:
LUTE LUTE 785 to be one. Strangely
Page 841 and 842:
LUTE LUTHER 787 the oldest instrume
Page 843 and 844:
LUTHER LUTHKRAN 789 together -with
Page 845 and 846:
LVOV LYDIAN MODE 791 for one, two,
Page 847 and 848:
LYRE LYRIC 793 1682 with other issu
Page 849 and 850:
ADDENDA ET COKEIGENDA FOE VOL. I LI
Page 851 and 852:
BEETHOVEN AND HIS FORERUNNERS By DA
show all

DICTIONARY OF MUSIC - El Atril

Create successful ePaper yourself

Delete template?

Save as template?