DICTIONARY OF MUSIC - El Atril

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496 INVERTIBLE COUXTEEPOINT INVERTIBLE COUNTEEPOINT be inverted without disturbance of its expressive qualities. It is not an example of regular inversion, but one in which Bach has taken the two limbs of a fugue subject (that of Ko. 16 from the ' Forty-eiglit ') and used them, rather freely inverted, as the counter-subject : Subject. ^^^^m^^m^ ^sflktf Instances need not be further multiplied to prove the striking and consequently dangerous nature of melodic inversion, or to show its best use. Neither need further quotations he made to prove that its dangers are not shared by ordinary harmonic inversion. The contrast of the two, however, would not be just, or at all complete, if we omitted to point out, that, although the prevtiiling characteristic of ordinary inversion is its extreme usefulness, there arc rare instances in which it also achieves a certain delicate expressive significance of its own. One such is to be found in a movement in Part I. of Bach's Cliristuias Oratorio, where two oboe parts which stand thus in the introduction : acquire a new thoughtfulness in their inverted form ^ at the close of the movement : Some account of the earlier stages of the art of inversion, as expounded b}' two notable 16th century theorists, and exemplified in the works of the greatest composer of the golden age, may be appropriately attempted here. Early use of Tnvertihle Counterpoint.—The custom, in the early days of Organum and Dlaphonia, of freely doubling the vox organahs an octave above or the vox2rnncipal}s an octave below (see Diaphonia), forms virtually the prototype of ordinary inversion. It seems pjrobable that its practical origin lies in the natural conditions of vocal compass. When the words of a motet or mass were passed from part to part, their musical couuterîart would 1 This aaeful and easy inversioo of two upper parts, while the lia-w reinaiiifl tmclin-nged, was constautly used by Bach. It often eeiufl aa if the pxicencies of compasa iL](*ne dictated it. but iu such an instance a.-) that quoted above, it ia a tfratuitoua inveraiou, juatifled only aud entirely by ita eiquiaite beauty of effect. go with them ; the accompanying parts would then fall into other relative positions, and inversion of some sort would soon be discovered and prove useful. The other (melodic) manner of inversion doubtless first arose with the mere exercise of contrapuntal ingenuity ; it ia safe to assume that it was greatly fostered by the canonic devices so dearly loved and diligently cultivated in the 14th century, if, indeed, it did not originate then. It might peidiaps have been expected that the usefulness and fascination of inversion would have claimed for it gi-eater attention in the earlier days than it actually received. Its use in the 16th century, as will be seen presently in the extracts from Palestrina, was quite masterly but never very systematic. As to the theorists, Ornithoparcus (in 1516) has apparently no mention of the subject of inveision at all in his delightful Micrologus ; but a limited number of artificial manners were sufficiently common to be minutely dealt with by Zarlino in 155S. Of these some details may be liere given, especially as our own iloi'ley explained the subject a few years later to English students in his Plaine and Easie Introduction as ' a manner of composition used among the Italians, which they call contrapunto dopjtio, or double descant, which being sung after divers sortes, by changing the partes, maketh diverse manners of harmony : and is found to be of two sortes.' Both Zarlino's and ilorley's two sorts prove to be really three, as their first sort is divided into two manners, one of which (as the former author says in his Istitutioni annonichc), ' when the parts are inverted continues with the same intervals,' the other 'with variations.' Both theorists proceed to suggest that, in the first manner, the inversion is to be efiected by transposing the higlier part a fifth lower aud the lower an octave higher, while in the second manner the higher part should be taken a tenth lower and the lower an octave higher. These two kinds are virtually double counterpoint in the twelfth and tenth respectively, indeed, Morley gives them these names ; and the description of the latter as being 'with variations' simply refers to the modifications of intervals necessary to preserve tonality when transposing any part a tenth. The other sort of 'double descant,' described by both theorists, is practic- ally inversion by contrary movement, already referred to at length in this article ; but some of the examples are planned, by an accumulation of device, not only to invert in a variety of ways, but also to make strict canon, sometimes direct and sometimes by contrary movement. A clear idea of the evolution of this art is only to be given by rather extensive quotation. Morley's examples of the first two sorts are too long to quote in full, but a few bars will give an idea of their vigorous character as well as show their exact method of inversion as laid down by both Zarlino and Morley himself:
INVEETIBLE COUNTERPOINT INVERTIBLE COUNTEEPOINT 497 Double descant in the twelfth (Morley). i *ESE Inversion. *^^^-f^t-. ^t=' ' etc.. Ja^.^ Double descant in the tenth (iloRLEv). 53?- ^-=^liE;^! Eg? etc. ^j-â=£|igg^'EF:^ggîglF^ ^^^^^î^^^^Mt feSE5 il^=Eî§E||f Jlorley's rules for the first sort are concise and practical, and agree closely with those given by Zarlino, the chief being that no sixth is to be used, the compass of a twelfth is not to be exceeded, and the parts are not to cross. He adds directions for the avoidance of special progressions, which would involve false relations in inversion. For the second sort the chief rule given is that no consecntives of any kind are to be wTitten, but curiously enough the parts are allowed to cross to the extent of a third. The two following examples, from Zarlino and Morley respectively, show an interesting attempt on the part of both authors to w'rite a counterpoint at once invertible in all three ways : From Zaelino's Isliluliuni, edition 1589. Principale. I^lîgp^^l^^p 11 :igti=:24S-. -ii^^ÊÊ^^;^^^. z^^^fe^§if,^ll^li 3^î=l%EîEiEfezi=si Wm^ We^^ j-p—
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GROVE'S "^'^^^^^^ DICTIONARY OF MUS
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E, Aldrich, Esq., ' New E. Hebom-Al
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LIST OF CONTRIBUTOKS .... Rev. Cano
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DICTIONARY OF MUSIC AND MUSICIANS F
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FACKELTANZ FALCON Ricordi. Faccio h
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FANCIES FANFAKE attacks iijion tlic
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FANTASIESTUCK FAEANDOLE for the Vir
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FARINELLI FAKINELLl second viait to
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FARINELLI FAEMER 11 supplied Sir J.
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FARNABY FAIiKEXC 13 Ayres, 1675, to
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FAURE of Fasch's scholars, who, as
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FAUX-BOUKDON FAUX-BOURDON 17 taken
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FAYRFAX been of Bayford in Hertford
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FEO FERRABOSCO 21 performance. Jan.
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FERRABOSCO FEREABOSCO 23 and famous
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FERRARI FERRI 1637, and HUl, three
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FESTING FESTIVALS, MUSICAL 27 simpl
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FESTIVALS, MUSICAL FESTIVALS, MUSIC
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FifcxiS FEVIN 31 a Philosophie de l
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FIDDLE FIDELIO 33 maiiu. A j'ear in
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FIELITZ FIGURE 35 1832. From thence
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FIGURE FIGURED BASS 37 same, partly
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FILTSCH FINALE 39 a iiosition as te
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FINCK FINCK 41 'Circa annum 1480 et
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FINGER-BOAED FINGEUING 43 'The Anat
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FINGERING FINGERING 45 all existing
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FINGERING FINGEEING ascending, seco
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FINGERING FINGEEING 49 fore there a
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FINGERING FINGERING 51 Harmonics. S
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FINGERING FINGEPJNG 53 sliding from
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FINTA GIARDIXIEEA, LA FIOEITURE 55
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FISCHER FISCHER 57 Helden Miisik, i
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FITZWILLIAM COLLECTION, THE FLAGEOL
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FLAUTO MAGICO FLOEENCK 61 Eb for E
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FLORENCE FLORIMO 63 the result of t
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FLOWER FLUE-WORK 65 other hand, his
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FLUTE FLUTE 67 a chromatic scale. T
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FLYING DUTCHMAN FORSTER 69 of the '
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FOOTE FORD 71 as ' a favourite air
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FORM FORM 73 G-i time, but possesse
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FORM FORM 75 iiant, thereby indicat
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FORM FORM 77 systematic development
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FOEM FORM 79 subjects ; whereas the
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FORM FORM n complementary key of th
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FORM FORM ties in the affinities of
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FORM FORM 85 the first movement ; f
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FOEM FORM tying down composers by a
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FOESTEE FOETE 8'..; by Ornithoparcu
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FOUGHT FOUNDLING HOSPITAL 91 compos
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FRAMERY FRANC [13 good intonation a
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FRANCHETTI FRANCK 95 and 1745 she t
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C]i;SAE FEAXCK
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98 FRANCK FEANCK the quintet for pi
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100 FRANCK FRANCO the theatre of Mo
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102 FRANCO FKANCO Perfect ; but, wh
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104 FRANZ FRANZ his letters on Scot
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FRANZ FRASI 105 time, shidying Bacl
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FEEGE FRESCOBALDI 107 large example
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FREZZOLINI FEICHOT lOS oC the notes
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FEIEDLANDER FROBERGER 111 and was w
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FUCHS PUENTES 113 song of the same
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FUGUE FUGUE 115 the fugue on its pr
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FUGUE FUGUE 117 (i) Handel, 'Hallel
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FUGUE FUGUE 119 -Hfrr^^^^^-^w- Sub.
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FUGUE FUGUE 121 to shape themselves
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Subject. ^^r FUGUE FULDA 123 ^^- To
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FUX FZ 125 (Jeanne Roger, Amsterdam
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GABRIELLE GABRIELLI 127 often so bo
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GADE GADSBY 129 on the approval of
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GAGLIANO GAGLIANO 131 (1508), and I
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GAGLIANO GAILHAED 133 ' other compo
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GALIMATHIAS GALITZIN 1.35 any Europ
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GALLI GALLIA 137 on the whole. He r
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GALLUS GALUPPI 139 scholastic post.
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GAMBA, VIOLA DA GAMUT 141 intolerab
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GARCIA GARCIA 143 the Conservatoire
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GAEDONI GARLANDIA 145 "published se
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GASSMANN GATES 147 E. T. Smith, whe
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GAULTIER GAUNTLETT I4y plusieurs di
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GAVOTTE GAYARRE 151 a performer. Hi
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GEBEL GEISLER 153 and in 1729 becam
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GEMINIANI GEKEE 155 Cousser's death
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mieulx ne vient, ' 'A GENOVEVA GERB
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GEEICKE GERMAN 159 century (see Bec
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ETELKA GERSTER
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162 GESELLSCHAFT DEE MUSIKFREUNDE '
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164 GHAZEL GHEO institution in its
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166 GIBBONS GIBBONS British Museum
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168 GIBBONS GIGUE Lord, grant grace
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170 GIMEL GIMEL positions. Having l
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172 GIORGI GIOVANNINI be the greate
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174 GIUGLINI GLADSTONE GIUGLINI, An
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176 GLAZOUNOV GLAZOUNOV with Elenov
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178 GLEE GLEN gives a name. It is s
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180 GLINKA GLINKA His mental growth
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GLINKA GLINKA 181 other hand did al
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GLOVER GLUCK 183 the Holy Scripture
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CHRISTOPH WILLIBALD, RITTER VOX GLU
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186 GLUCK GLUCK school accused him
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188 GNECCO GOD SAVE THE KING Aleasa
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190 GOD SAVE THE KING GOD SAVE THE
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192 GODAED GODDAED with the first i
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194 GODOWSKY GOETZ autumn in the Gr
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196 GOLDBERG GOLDMAEK GOLDBERG, Jos
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GOLD.AIAKK GOLDSCHMIDT 197 subject
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GOLLMICK GOMBERT 199 a composer. He
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GOODBAN GOOVAERTS 201 (possihl_y th
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GOSS GOSSEC 1^03 writer of popular
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GOTTSCHALK GOUDIMEL 205 William Tuc
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GOUDIMEL GOUDIMEL 207 de Besanijon.
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CHARLES FRANCOIS GOUNOD
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210 GOUNOD GOUNOD of '.MireiUe' (Th
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212 GOW GEABU musical world as perf
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214 GRAFTON GRAND returned to Hambu
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216 GRANDIOSO GRASSHOPPER tions of
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218 GRAUN GRAUN 'delightful beyond
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220 GRAVE GREAT ORGAN and fugues. O
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222 GREATOREX GRECO containing the
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224 GREEK MUSIC GREEK MUSIC instrum
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226 Table of Fifteen Keys with thei
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228 Table op Fiftees Keys with thei
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230 GREEK MUSIC GREEK MUSIC Kara Sv
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232 GREENE GREENE jnost esteemed or
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234 GEEGOIR GREGORIAN MUSIC Nexo Le
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236 GREGORIAN TONES GREITER and wer
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238 GENTRY GENTRY under the harsh t
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GRETRY GKETRY 239 containing two ai
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GRIEG GRIEG 241 not a good represen
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EDVAED HAGERUP GRIEG
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244 GRISAR GEISI rooms successfully
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than Grisi's success ; GRISI GROSSO
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GEORGE GROVE
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248 GROVE GROVE symphonies of Beeth
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250 GEOVE GEUA scheme, carried out
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252 GUADAGNINI GUARDUCCI he acquire
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254 GUDEHUS GUERRERO made instrumen
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256 GUIDETTI GUIDO D'AREZZO uncerta
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258 GUIGNON more than half a centur
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260 GUITAR GUITAR inwards after the
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262 GUNN - GUKLITT merit, made her
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264 GYMNASTICS GYMNASTICS was firml
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266 GYMNASTICS GYBOWKTZ his system
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TJ (pronounced Ha) is the German na
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270 HADDON HALL HAESSLER England. A
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272 HAINL HALE first composed as a
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274 HALEVY HAL^VY and on March 4, l
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HALF-CLOSE HALLE 275 nent secretary
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HALLING >i \.:\[£rMK of standing d
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HAMMERSCHMIDT HANDEL 279 ' 5. Music
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HANDEL HANDEL 281 operas and sacred
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HANDEL HANDEL 283 with worthy appre
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HANDEL HANDEL 285 which Handel hear
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HANDEL HANDEL 287 Unhappily the MS.
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HANDEL HANDEL, COMMEMORATION 289 po
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HANDEL-GESELLSCHAFT HAXDEL-GESELLSC
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HANDL HANDLO 293 and during its ear
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" law HAXS HEILIXG HARE 295 certs o
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HARMONIC UNION, THE HARMONICA 297 i
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HARMONICS HARMONICS 299 ments as se
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HARMONIE HAEMONIOUS BLACKSMITH 301
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HAEMOXIU.M HARMOXIUM 303 (Paris, 1S
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HAEMONY HAEMONY 305 subdued by a th
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HARMONY HARMONY 307 be said to be a
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m 3^' ^-^^- HARMONY HARMONY 309 l^-
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HARMONY HARMONY 311 the appreciatio
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HARMONY HARMONY 313 most complete,
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HARMONY HARMONY 315 ia found common
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HAEMONY HARMONY 317 the analogue of
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HAEMONY HARMONY 319 by substituting
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HARMONY HARMONY, ANALYSIS OF 321 (c
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HARMOXY, ANALYSIS OF HAPatOXY, ANAL
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HAEP HARP 3i!5 probably of a low an
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HARP HARP-LUTE 327 so ingenious tha
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HARPSICHORD HARPSICHORD 32!) that t
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HAEPSICHOKD HARPSICHORD 331 seat of
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HAERIS HARRISON 333 T\'here, before
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HART HARTMANN 335 prevailed. John T
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HARWOOD HASLINGER 337 the title of
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HASSE HASSE 339 much sought after i
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HASTREITEK HAUK 341 Besides the wor
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HAUPTMANN HAUSMANN 343 independence
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HAWKINS HAWKINS 345 elected an asso
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HAYDN HAYDN 347 which M-a3 afterwar
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FRANZ JOSEPH HAYDN
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350 1740- HAYDN -1750 incredible pi
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352 1756— HAYDN — 1766 lessons
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354 1769- HAYDN —1780 Lidl (1769-
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356 1785— HAYDN — 1790 The work
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358 1791- HAYDN —1792 On hia retu
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360 1795 HAYDN 1795 country, first
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362 1799- HAYDN -1806 engraved (180
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364 HAYDN HAYDN (1803), the Conserv
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366 HAYDN HAYDN generation same.' b
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368 HAYDN HAYDN ' Cambini) ; Sonate
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370 HAYDN IN LONDON HAYES 37. No. 9
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372 HAYNES HEBENSTEEIT copied tlie
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374 HEERMANN HEIL DIE IM SIEGERKRAN
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376 HELLENDAAL HELLINCK HELLENDAAL,
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378 HELMHOLTZ HELMHOLTZ organ and p
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380 HENLEY HENRY VIII alone. He had
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382 HENSCHEL HENSELT The complete l
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384 HERBERT HERBST to the Piarists
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386 hI:eold HEEOLD uninviting. Thus
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suffering for some time ; and HEREI
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HERZ, MEIN HERZ HESDIN 389 United S
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HEXACHOED HEXACHOED 391 the propert
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HIAWATHA HICKFORD'S ROOM 393 of the
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HICKFOBD^S ROOM HICKFORD'S EOOM 395
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HIDDEN FIFTHS HIDDEN FIFTHS SO'; i^
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HIDDEN FIFTHS HILES 39S) The follow
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HILL HILLEMACHER 401 Majesty's Thea
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HILLER HILLER 403 were held at Colo
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HILTON HIME 405 the Choristers. As
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HIXTOX HIPKINS 407 Westminster, Dec
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HISTORIES OF MUSIC HISTORIES OF MUS
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HISTORIES OF MUSIC HISTOEIES OF MUS
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HOBBS HOCHZEIT DES CAMACHO, DIE 413
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HOFFMANN HOFFMANN 4U though enjoyin
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HOFMANN HOGARTH 417 This work consi
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HOLDEN HOLLANDER 419 a Collection o
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HOLLINS HOLMES 421 was his principa
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HOLMES HOLYOKE 423 Tly. Life of Moz
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HOMILIUS HOOK 425 The air is marked
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HOPKINSON HORN 427 August 27, 1900.
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HORN HORN 429 approximates more tha
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HORX HOEX 431 hand the hell alone i
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HORN HORN 433 The aame, in a somewh
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HORSLEY HORSLEY 435 liave given t]i
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HOWELL HUBER 437 and others in rari
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HUDGEBUT HUEFFER 439 the invention
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HUME HUMFREY 441 In March 1872 he w
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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 and 518: INSTRUMENTATION INSTRUMENTATION But
Page 519 and 520: INSTRUMENTATION 481 Beelioz. iflfeS
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: INVEETIBLE COL'XTEKPOINT IXVEKTIBLE
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
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JOEDAN JOSEFFY 545 same county, whi
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JOSQUIN JOSQUIN 547 La, sol, fa, re
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JOTA JUDAS MACCAB.EUS 549 tabula ar
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JULLIEX JULLIEN 551 Scribe, music b
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JULLIEN JUON 553 it out on the most
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JUST INTONATION JUST INTONATION 555
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KAHRER-KAPPOLDI KALKBRENNER 557 voi
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KARAJAN KASTNER 559 as no work of h
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KEELEY KEISER 561 Choke Collection
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CLAK.V I.OIISE KELL
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564 KELLY KELWAY Arne (1778-79),—
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566 KEXXEDY KENT BUGLE made his fir
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568 KETTEN KEY Holland, with Ferdin
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570 KEY KEY also is obvious in keys
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572 KEY KEY the seven tiers of his
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5V4 KIENZL KIESEWETTER pianoforte,
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576 KING KING'S BAND OF MUSIC KING,
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578 KIRBYE KIRCHEN CANTATEN already
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580 KIROHNER KIRNBERGER execution.
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582 KIT KJEEULF Spaiiisches Lieders
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584 KLAFSKY KLEBEE engaged in 1874
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586 KLEMM KLENOVSKY He deserves hon
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588 KLUGHARDT KNECHT Another son of
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590 KNELLER HALL KNIGHT the Crimean
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592 KNYVETT KOCHEL these works have
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594 KONIGIN VON SABA, DIE KOLLMANN
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596 KOTO KEAFT Cantata ' Don Jnan.'
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598 KRAUSS KEEBS Rubinstein's ' Kin
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600 KEEISLER KEETSCHMER the ' Non p
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602 KREUTZER KREUTZER SONATA The mu
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604 KRIEGER KROMMER viola da gamha
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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
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DICTIONARY OF MUSIC - El Atril

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