DICTIONARY OF MUSIC - El Atril

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48 FINGERING FINGERING CAromalic scales of two octaves in oiic jwsition. — The fingering lor the scale beginning on B will suit all the rest. Below B the hngering varies somewhat. It is not claimed that this is the Intermediate Arpeggio Formula. Chromatic Scale beginning on B. only way of fingering chromatic scales, but it is very direct, and is easily understood. There is no standard fingering. In actual playing it is usual to take thetingering that best suits the difficulty. 3^2! 1 1112 2 3 ''_i*l 12 2 3 3
FINGERING FINGEEING 49 fore there are but twelve of them. Arpeggi of diminished sevenths belong more properly to the minor keys ; there are twelve of these. Scales of broken thirds in t/iree octaves.—The principle of fingering is the same through the twenty-four ke}s ; the shift is always made on the second finger both ascending and descend- W Brokex .11* _^^1^ 3 14 m -^r^- Chroviatic scales, three octaves co'inpass.— These need only be "worked a3 high as D, in chromatic order of keys from G. Add the third octave to those already given in two octaves. Extension.—Thissubjectisan important one, as the extension simplifies many passages that otherwise require much shifting, for instance, those that lie between first and third positions. Extension Forward. ^^fe^ fe The extension of the fourth finger is indispensable in the high scales ; the fourth finger thus employed easily takes the niinor second at the top perfectly in tune, otherwise it is almost an impossible interval, even for the smallest finger-tips, owing to the closeness of the notes. The extension is needed in nearly all the threeoctave arpeggi. Backward extensions of the first finger are also frequently used. Extensions Back- Extension WAKD AND Forward. Backward. Double scales in thirds, tivo octaves compass.— The fingering follows the same principle through 12 12 the keys „ , shift, „ , shift, and so on to the top. Reverse the order for the descent. Some scales require an extension. A few chromatic scales of thirds should be worked. Double scales in sixths, two oetccves compass. — The same principle of fingering throughout. 1 ! | Double note scales are an important feature m modern violin technique, as their practice strengthens the fingers and shapes the hand. VOL. II ing. All scales of B, F, and D must start in the second position. Scales of broken sixths in tvjo octaves.— Several scales require an extension of both the third and fourth fingers. Scales of broken octaves thrcnigh all keys. Scales of broken tenths through all keys. Tenths. , 4 J 4 Sua 1 4 £^=F=^ 2 3 , „, shift, and so on to the top, where, in most cases, the third and fourth finish the scales. Reverse the order for the descent. Some scales I'cquire an extension of both third and fourth fingers. An awkward cross movement of the second finger jirevents sixths being played very rapidly, especially in the lower octave, but in the second half of the second octave they n)ay be played quite rapidly by keeping the second and third fingers on the string and moving the whole hand in short jerks forward ; the fingers then merely adjust themselves to make the sixths major or minor. A few chromatic scales in sixths should be w^orked out entirely on the first and second strings in one octave. Two fingers are placed upon the strings stopping a sixth, the hand goes forward in little jerks, making this small, strong movement for every semitone perfectly in tune. The same thing can be done on any two strings. It should be worked in thirds, sixths, and octaves. An extraordinary rapidity can be attained on chromatic scales from the highest note downwards, and is much used in compositions by Vieuxtemps and Wieniawski, and composers of the brilliant school. It may appropriately be called lefthand staccato. Chromatic octaves, two octaves compass, should be worked through all keys ; and in one octave com[iass up and down each pair of strings. Double tenths, tico octaves, in chromatic progression of keys, beginning on G and working up to F with the same fingering as broken tenths, the lower ones are the more difficult owing to the wider stretch. Double scales in fingered octaves are used rarely, and only for rapid ascending scales ; require long fingers and a strong hand. they Double Scale in Fingered Oct.a.tes. 4 They should at first be taken very slowly, striv- ing always for an ideal intonation, giving each double stop a whole bow, with very even pressure E
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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: FINGERING FINGEEING ascending, seco
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
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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
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81. Soaata in FS minor. Piano. 82.
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HURDY GURDY HURLSTONE 447 One or ot
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HUYGENS HUYGENS 449 iad seven or ei
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HYDRAULUS HYDRAULUS 451 accompanied
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HYMN HYMN 453 such cases both came
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HYMN HYMN 455 us, Lord ' ; hut here
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Church hymnody ; HYMN HYMNS ANCIENT
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TAMBIC. An Iamb or Iambus is a metr
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IMPERFECT IMPERFECT 461 to become c
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INCIDENTAL MUSIC INCLEDON 463 them.
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INCORPORATED SOCIETY INDY 465 In Ja
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INFLEXION INFLEXION 467 such matter
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INGLOTT m QUESTA TOMBA OSCURA 469 I
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INSTRtTilENT INSTEUMEXT 471 that on
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INSTRUMENT INSTRU^tENTATION 473 [Ja
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INSTEUMENTATION INSTKUMENTATION 475
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INSTRUMENTATION INSTRUMENTATION 477
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INSTRUMENTATION INSTRUMENTATION But
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INSTRUMENTATION 481 Beelioz. iflfeS
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Piccolo and 2 Flutes. SO.'Oes. & Cl
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INTERMEZZO INTERMEZZO 485 ' portant
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INTERRUPTED CADENCE INTERVAL 487 Bo
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INTRUDUCTION INTRODUCTION 489 lias
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INVENTION INVERSION 491 churches, a
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INVERTIBLE COUNTERPOINT INVERTIBLE
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INVEETIBLE COL'XTEKPOINT IXVEKTIBLE
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INVEETIBLE COUNTERPOINT INVERTIBLE
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INVERTIBLE COUNTEEPOINT INVERTIBLE
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INVITATORIUM IONIAN MODE 505 to exe
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IPPOLITOV-IVANOV IRISH MUSIC 507 ce
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IRISH MUSIC IRISH MUSIC 508 semiton
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IRISH MUSIC ISAAC 511 of Christ Chu
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ISABELLA ISOUARD 513 scene of the L
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ISTESSO TEMPO IVE 515 'Thou senteat
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TACHES, Galuco, or Jacomo Brumel, f
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JACK JACK 519 Kicercari di Jaques B
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JACKSON JACOB 521 parts,' 'Six Madr
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JACQUARD JADIN 523 stitute the larg
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JAMES JANKO 525 energy and interest
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JANSA JAPANESE MUSIC 527 amateur of
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JAY JENKINS 529 sheet, is ' Mr. Jan
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JERUSALEM JEWETT 531 in Masfa' (Jep
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JIG JOACHIM 533 10. Motetti de la S
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JOACHIM QUARTET JOACHIM QUARTET 535
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JOHN THE BAPTIST, ST. JOHNSON 537 J
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JOHNSON JOHNSTON 539 for the Latin
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JOMMELLI JOMMELLI 541 opera ' Eumen
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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
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608 KUHNAU KUFFERATH of preluding,
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610 KUHNAU KULLAK reiterated joke o
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612 KUNTZSCH KYEIE his opera ' Das
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614 KYRIE KYEIE borrowed from the K
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616 LABLACHE LABLACHE however, the
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618 LACHNER LACOMBE when he retired
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620 LA FAGE LAFONT to have had its
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622 LAHOUSSAYE LALANDE Jesu Christe
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624 LALLA ROOKH LALO volumes, conta
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626 LAMENTATIONS LAMENTATIONS Hiere
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628 LAMOND LAMOUEEUX Palestrina, an
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630 LAMPUGXANI LANDI afterwards to
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632 LANG LANGE and more prominent a
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634 LANGSAM LANIEKE acted as its di
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636 LARGE LAROCHE the theatre in To
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638 LASSEX LASSUS success as Renato
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LASSUS LASSUS 639 Nicolas 1 in the
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LASSUS LASSUS 641 From this time La
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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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