Grove's dictionary of music and musicians

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; , , 126 ROMANTIC ROMANTIC strings, Horns. That there are times when music has a fuller and wider range of meaning than language, and defies expression in words, might be illustrated by many passages in Beethoven's B flat trio or the last five sonatas. But with regard to the, choice of examples we must remind the reader that, where the standpoint of criticism is almost wholly subjective, great diversities of judgment are inevitable. It was not until after the appearance of the works of Carl Maria von Weber, who lived in close relation wit^ the romantic school of literature, and who drew his inspirations from their writings, that crit|es began to speak of a ' romantic school of music' Beethoven had by this timeTeeiT accepted as classical, but in addition to Weber himself, Schubert and afterwards Mendelssohn, Schumann, and Chopin were all held to be representatives of the romantic school. Widely as the composers of this new school differed in other respects, they were alike in their °'ifl(iept'^''''*^y *" *'^° *•""" "*' ^'hnij;*'*^ and feeling which so -deeply cnloiired the romantic lit,eratiirBjTf_their time. {Tone of them were strangers to that weariness of the actual world around them, and those yearnings to escape from it, which pursued so many of the finest minds of the generations to which they belonged. T(f men thus predisposed, it was a relief and delight to live in an ideal world as remote as possible from the real one. Some took refuge in mediaeval legends, where no border divided the natural from the supernatural, and where nothing could be incongruous or improbable some in the charms and solitudes of nature and others in the contemplation of peace and beatitude beyond the grave. But in all there was the same impatience of the material and mundane conditions of their existence, the^ame longing to dwell in the midst of scenes and images which mortals could but dimly see through the glass of religious or poetic imagination. As might have been expected of works produced under su(ph influences, indistinctness of outline wasacommon attribute of compositions of the romantic school. The hard, clear lines of reality were seldom met with in them, and the cold analysis of pure reason was perpetually eluded. It was equallynatural that the creations of minds withdrawn from contact with the actual world and wrapt in their own fancies, should vividly reflect the moods and phases of feeling out of which they sprang—that they should be, in short, intensely subjective. Nor was it surprising that when impatience of reality, indistinctness of outline, and excessive subjectivity co-existed, the pleasures of imagination sometimes took a. morbid hue. Such conditions of origin as we have been describing could not fail to affect the forms of composition. It was not that the romanticists deliberately rejected or even undervalued classic models, but that, borne onward bY_the impulse to give freg_gjpr£ssiqn[to theif^own individuality, they did not suffer themselves to be bound by forms, however excellent, which they felt to be inadequate for their purpose. Had the leaders of the romantic school been men of less genius, this tendency might have degenerated into disregard of form ; but happily in them liberty did not beget license, and the art of music was enriched by the addition of new forms. 'The extremes,' says Goethe, speaking of the romantic school of literature, 'will disappear, and at lei%th the great advantage will remain that a wider and more varied subject-matter, together with a freer form, will be attained.' Goethe's anticipations were equally applicable to music. Among masters of the romantic school, Weber stands second to none. In youth he surrendered himself to the fascination of literary romanticism, and this early bias of his mipd was confirmed in later years by constant intercourse at Dresden with Holtei, Tieck, E. T. A. Hoffmann, and other men of the same cast of thought. The subjects of Weber's Qgeras were selected exclusively from romantic literature, and the 'RomanticjOpeia,le£j£hich Gei-manyhas so much reason to be proud, owed to him its origin and highest development, although the names of Spohr,i Marschner, Lindpaintner, Kreutzer, Lortzing, and others are justly associated with it. The romantic effects which Weber could produce in his instruittentation are indisputable; and never, even in the least of his pianoforte works, did he cease to be romantic. Though Weber holds the first place in the opera of the romantic school, he was surpassed in other branches of composition by his contemporary, Franz gehtihgrt. Pure and classic as is the form of Schubert's symjJiQnies and sonata, the very essence of romanticism is disclosed in them. His unrivalled wealth of melody was the gift of romanticism. It gave him also a certain indefiniteness and, as it were, indivisibility of ideas, which some critics have judged to be a failing, but which were in fact the secret of this strength, because they enabled him to repeat and develop, to change and then again resume his beautiful themes and figures in long and rich progression, without pause and without satiety. None have known, as he > knew, how to elicit almost human sounds from a single instrument— as for instance, in the wellknown passage for the horn in the second movement of the C major Symphony, of which Schumann said that 'it seems to have come -i,!!P'T ''°"''' •">'','?P0'"-'» ol»in> to priority of inventioi Komantic of th(? opera, are discumed in OpEUi, vol. iil. p. 456. oto.
ROMANTIC ROMANTIC 127 to lis from another world.' Many glorious passages might be pointed out in this Symphony, the romanticism of which it would be difficult to surpass ; for instance, the second subject in the first movement, the beginning of the working out in the Finale, etc. etc. In Song Schubert stands alone. Even from boyhood he had steeped >
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Cornell University Library ML 100.G
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Tflaaanoa asTai swajtt
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GROVE'S DICTIONAEY OF MUSIC AND MUS
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LIST OF CONTEIBUTOES The names of d
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S. J. Spobling, Esq. . LIST OF CONT
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' ' DICTIONARY OF MUSIC AND MUSICIA
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; QUARENGHI QUAETET any other combi
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; Stanford's quartets from Tennyson
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— QUAVEE QUEISSER Comique, Paris,
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' — as — ' QUINTET QUINTUPLE TI
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— ' AAFF, Anton, one of the most
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JOSEPH JOACHIM KAFF
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— ; ; 14 RAFF EAFF gelitten, gest
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. Einer . Suite , Suite . 8th , 2nd
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— :; ; 18 EAMANN BAMEAU so that b
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j ; I ZaTa, 1 ' ' 1 Pygmalion, ' Le
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—; EAMEAU to attaining truth of d
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; porticos. 24 RANDHAETINGER RANELA
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' 26 EANTZAU EAPPOLDI hit with Neuk
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EASELIUS EASOUMOWSKY 27 ' Professor
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; , EAVENSCROFT Fischer, Cervetto,
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EEADING REBEC 31 series of letters
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' RSBSK EECITATIVE 33 seems to have
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— RECITATIVE RECITATIVE 35 the pu
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— EECOEDER RECORDER 37 Tonus Pere
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' RECORDER RECORDER 39 always tell
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EEDEKER REDOUTE 41 that of the well
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' Beggarmy ' Our — — ' ' ' Happ
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— : KEEL EEEVE 45 of the trumpet
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' ' REFORMATION SYMPHONY, THE EEGAL
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' — — — ; EEGGIO BEGNAET 49 .
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EEHEAESAL EEICHA 51 praises from th
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— ; 54 REICHER-KINDERMANN EEICHMA
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CAKL HEINKICH OAKSTEN REIXECKE
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EEINKEN EEISSIGER 59 St. George the
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' EELATrON RELATION 61 third and mi
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EEMBT REMOTE 63 Rellstab's novels a
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' — EENCONTRE IMPREVUE REPETITION
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— ' ; REQUIEM RESOLUTION 67 chara
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— — — — RESOLUTION RESOLUTI
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— ' — —— . RESPONSE RESPONS
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— — EESPONSOEIAL PSALMODY EESPO
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In — — ' EESPONSORIUMJ REST 75
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. RESULTANT TONES EESZKE 77 to trea
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;' EfiVE, LE KEY 79 1697 to 1703. I
Page 103: ERNEST REYER
Page 106 and 107: '' EHAMES RHAPSODY nations. The ope
Page 108 and 109: — ' — 84 RHEINBERGER EHEINBEEGE
Page 110 and 111: ; often —; —: ' 86 RHEINGOLD, D
Page 112 and 113: — — — ; 88 RHYTHM ill such qu
Page 114 and 115: ' 90 BICCIO EICH published two volu
Page 116 and 117: and ' EICHAEDSON BICHTER on its vis
Page 119 and 120: — ' RICHTER RICHTER 93 has passed
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Page 123 and 124: ; '; RIES RIES 97 a great deal of p
Page 125 and 126: — RIETZ EIETZ 99 library at Winte
Page 127 and 128: ' RIGHINI EIMBAULT 101 and Galatea.
Page 129: NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
Page 132 and 133: — ' •104. EIMSKY-KOESAKOV RIMSK
Page 134 and 135: ' : 106 RINALDO DI CAPUA EINCK prea
Page 136 and 137: ' 108 KIPIENO RITORNELLO became ver
Page 138 and 139: no rittbb! RIZZIO on the Viola Alta
Page 140 and 141: , ' 112 ROBERTS ROBINSON of 'Callio
Page 142 and 143: — : 114 ROBINSON ROCHLITZ which w
Page 144 and 145: 116 BOCKSTRO EODE return to England
Page 146 and 147: ' ' 118 EOECKEL KONTGEN repertory o
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Page 150 and 151: 122 ROI DES VIOLONS KOKITANSKY pupi
Page 152 and 153: many —' 124 ROLLI ROMANTIC of whi
Page 156 and 157: feelings stirred in them by externa
Page 158 and 159: ' 130 ROMBERG ROME to hit the taste
Page 160 and 161: 132 ROME EOME and instrumental musi
Page 162 and 163: 134 EOMER KONCONI performed at the
Page 164 and 165: — 136 RONDO EOOKE of the third su
Page 166 and 167: • tonic 138 ROOT ROOT eleventh an
Page 168 and 169: ' ; ; 140 ROSA ROSA in pronunciatio
Page 170 and 171: — 142 ROSALIA EOSAMUNDE may be se
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Page 174 and 175: ; 146 EOSENHAIN ROSENMULLER harmony
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Page 181 and 182: ;' EOSSINI ROSSINI 151 side, and ha
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Page 187 and 188: — ROSSINI ROSSINI 157 the end of
Page 189 and 190: ' ' ROSSINI ROSSINI 159 head of the
Page 191 and 192: ! by EOSSINI ROSSINI 161 ' ' pianos
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Page 195 and 196: eturned — ' ; ROUGET DE LISLE ROU
Page 197 and 198: ' ROUSSEAU ROUSSEAU 167 theatres, E
Page 199 and 200: ROW OF KEYS ROYAL ACADEMY OF MUSIC
Page 201 and 202: ' ROYAL ACADEMY OF MUSIC ROYAL ACAD
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EOZE EOZE 175 bassoon and double-ba
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GIOVANNI BA'iTI8TA EUBINI
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178 RUBINSTEIN RUBINSTEIN through H
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— — ; I RUBINSTEIN RUBINSTEIN 1
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— :' ' RUCKERS RUCKERS 181 Rucker
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RUCKEES RUCKEES 183 became clavecin
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' , ; RUCKEES RUCKERS 185 Christoph
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•; EUCKERS 187 and 50 51 Bent 8ld
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RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
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; .' — RUDOEFF EUBEZAHL 191 ments
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. RULE, BRITANNIA! RUMMEL 193 ofMrs
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are RUSSELL BUST 195 on the art of
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— ' Hd — QABBATINI, Galeazzo, o
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SACCHINI SACCHINI 199 an intermezzo
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; and had was ;' SACRED HARMONIC SO
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— SADLER'S "WELLS SAINT ANNE'S TU
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' ' - ' SAINT CECILIA SAINT HUBEETY
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CHARLES CAMILLE SAINT-SAEXS
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. 208 SAINT-SAENS SAINT-SAENS prize
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210 SAITEN SALAMAN and after leavin
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— SALAMMB6 SALIERI 211 from dream
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SALIMBENE SALMON 213 pupil. ' 1 As
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; SALO SALO 215 Brescia.' The lengt
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SALTANDO SALVAYRE 217 horse caused
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—' — SAMMARTINI SANCTUS 219 sui
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SANDONI 1799 ' ; Sir Francis Drake,
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SAPPHO SARABAND 223 Santley's singi
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PABLO MARTIX MELITON DE SARASATE Y
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; 226 SARTI SARTI Conservatorio of
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; ; SAUTILL^ the principal violin p
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' when 230 SAVONAROLA SAX included
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232 SAXHORN SAXHORN detailed in F^t
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234 saxophon:^ SCALA, LA ' tubas, n
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' — octave ' — — 236 SCALE SC
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— ; 238 SCANDELLO SCANDELLO $ ^^
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; 240 SCAEIA SCARLATTI Miuikalische
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' ' SCARLATTI SCARLATTI 241 able th
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— —' SCARLATTI SCARLATTI 243 of
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SCARLATTI SCARLATTI 245 with Beetho
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SCAELATTI SCBNA 247 Asturias, whose
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. SCHARWENKA SCHAEWENKA 249 elude a
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' SCHEIBLEE SCHEIDEMANN 251 was suc
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— ' SCHEIDT SCHEIDT 2&3 large num
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— ' SCHEIDT SCHEIN 255 there is s
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— : SCHELLER SCHBNK 257 sion ; an
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SCHERZO SCHERZO 259 humour or fancy
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— SCHETKY SCHIEDMAYER 261 any mor
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' ' — — SCHILLING SCHINDELMEISS
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' posed for the Paris Op6ra-Comique
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. SCHLICK SCHLOESSER 267 organists,
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— SCHNEIDER SCHNEIDEE 269 now Mme
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SCHOELCHER SCH(ELCHER 271 brilliant
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' SCHOLZ SCHOTT 273 de propagande '
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' ; SCHRIDER SCHRODEE-DEVRIENT 275
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WILHELMIXE SCHEOUER-DEVRIENT
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' 278 SOHROTER SCHROETER post of Ka
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' ; 280 1797— SCHUBERT -1807 'Thi
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; ' 282 1811— SCHUBEET -1812 for
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! ; ; 284 1814— SCHUBERT — 1815
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— 286 1816 SCHUBERT 1816 a marvel
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288 1816 SOHUBEBT 1816 the same. To
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''; 290 18 IT- SCHUBEBT -1818 '—
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i "We — —' 292 1819 SCHUBERT 18
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' 294. 1820 SCHUBERT 1820 mentality
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—; 296 1821 SCHUBEET 1821 manuscr
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298 1822 SCHUBERT 1822 of his visit
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— ; ' 300 1823 SCHUBERT 1823 desi
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— 1824 SCHUBEET 1824 aa already m
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304 1825 SCHUBERT 1825 String Quart
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306 1826 SCHUBERT 1826 anthor, ' IV
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' 308 1826— SCHUBERT -1827 of pri
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—' ' 310 1827 SCHUBERT 1827 and '
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312 1828 SCHUBEET 1828 Sohindler to
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' ' ' lisher, he wrote a, four-hand
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' 316 1828 SCHUBERT '1828 He discus
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— 318 1828 SCHUBERT 1828 Seidl, S
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;' — 320 SCHUBERT been a zealous
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— ; 322 SCHUBERT PF. pieces were
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— ; 324 SCHUBERT then the theatre
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; 326 SCHUBERT the astonishing forc
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' ' 328 SCHUBERT only, as in the Eo
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^' . 1
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' ; 330 SCHUBERT changes so grand,
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; ; set to no simple Volkslieder, b
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— ; 334 SCHUBERT made by von Erei
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336 SCHUCH SOHtJTZ was appointed so
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338 SOHUTZ SCHUTZ waa commissioned
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340 SCHUTZ SCHUTZ three alto voices
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— ; 342 SCHULTZ SCHULZE counterpo
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; 344 SCHUMANN England, playing at
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— extending from Scarlatti and Ba
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1828- SCHUMANN —1829 347 dutifull
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dreams ' 1830— SCHUMANN —1832 3
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— 1834- SCHUMANN —1835 351 doma
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— ' 1835 SCHUMANN -1839 353 preta
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1835- SCHUMANN —1839 355 him as t
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— ; 1839- SCHUMANN -1840 357 At t
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1843— SCHUMANN —1846 359 of the
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' 1848- SCHUMANN —1850 361 the wa
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;' 1850 SCHUMANN 1850 363 accepted
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1851— SCHUMANN —1853 365 custom
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—; 1854- SCHUMANN —1856 367 wor
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KOBERT ALEXANDER SCHUMANN From a da
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' 370 SCHUMANN years, in early life
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' — '; 372 SCHUMANN and depth of
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374 SCHUMANN out, and which are—a
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' 376 SCHUMANN distracted from the
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' 378 SCHUMANN very highly of this
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380 SCHUMANN fact which Schumann th
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; 382 SCHUMANN quoted above. As a P
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384 SCHUNKE SCHUPPANZIGH ' Ero e Le
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' 386 SCHWINDL SCOEDATURA when he l
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' 388 SCOEE SCORE glance. The Engli
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' — ' 390 SCOTCH SYMPHONY, THE SC
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— ;• ' — 392 SCOTTISH MUSIC S
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; —; 394 SCOTTISH MUSIC SCOTTISH
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— 396 SCOTTISH MUSIC SCOTTISH MUS
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' 398 SCOTTISH MUSIC SCOTTISH MUSIC
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y 400 SCOTTISH MUSIC SCOTTISH MUSIC
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402 SCOTTISH MUSIC SCEIABIN (This I
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— ' De dlscantu/ ' De ' ' ' ' ' ;
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; 406 SECOND SEEGR variations on an
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: : ' . 408 SEGUIN SEIFPERT and in
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' SEISS SEMBEICH 409 SEISS, IsiDOR
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#'# -'i»* m .'^ a,p!irigH I'll .1^
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; ' ' ; , 412 SEMIEAMIDE SENAILL1&
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'; 414 SENPF SEPTET perfect. Purity
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! 1 , J , J . — 416 SEQUENCE SEQU
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— 418 SERAPHINE SEEENATA of grace
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' ': 420 SEEMISY SERMISY in 1532 wh
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' ; 422 SEROV SERPENT features of '
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' 424 SEREANO SERVICE Ambroise Thom
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' ;' 426 SERVICE SESQUIALTEEA been
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428 sevCIk SEVEN LAST WORDS, THE hi
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430 SEVERN SEYFEIED the key that so
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432 SGAMBATI SQAMBATI op. 4), an ov
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— — — 434 SHAKE SHAKE The sig
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— 436 SHAKE SHAKE principal note
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438 SHAKE SHALIAPIN The above arran
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— 440 SHAWM SHEPHERD and appeared
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; 442 SHIELD SHIFT siderable succes
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' 444 SHIEKEPFS SHORT OCTAVE favour
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' 446 SHUDI SI that Plenina about 1
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; ; 448 SIBELIUS SIBONI himself say
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—' 450 SIGNA SIGNATURE According
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— ; 452 SIGURD SILBERMANN an Engl
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454 SILVA SIMON in St. Petersburg,
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456 SIMPSON SIMPSON ' Introduction
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458 BINDING SINGAKADEMIE great popu
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— 460 SINGING SINGING voice can b
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462 SINGING SINGING Besides the ten
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— ' 464 SINGING SINGING 2. Conson
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X 466 SINGING SINGING the more open
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468 SINGING SINGSPIEL perform a mus
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; 470 SINIGAGLIA SIR BOGER DE COVEE
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472 SIRilNE, LA SIEMEN main axis, w
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' 474 SISTINE CHOIR SISTINE CHOIR T
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; ' 476 SISTINE CHOIR SIVORI ti-ebl
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— ; ' 478 SIXTH SIXTH London, and
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480 SKENE MANUSCRIPT SKETCH that it
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482 SLIDE SLIDE called Tirade or Ti
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; 484 SMALL OCTAVE SMAET in a lette
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:' ' ' . 486 SMETANA SMITH ^1874),
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' ; SMITH SMITH 487 ' always clear
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SMITH SMITH 489 quary. In 1773 he w
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; SNAEES SOCIEDADE DE QUAETETOS 491
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SOCIETY OF BRITISH MUSICIANS SODEEM
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' ' SOLESMES SOLESMES 495 Under Gu^
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— — ' SOL-FA SOLFEGGIO 497 nota
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' SOLFEGGIO SOLMISATION 499 is ther
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— — SOLMISATION SOLMISATION 501
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—; ' SOLO STOP SOMERVELL 503 of t
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SONATA 505 to make tlie most elemen
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SONATA 507 being taken as part of t
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; not only does the mind take time
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SONATA 511 next thing to complete m
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— —' SONATA 513 home to the hea
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— SONATA 515 position, but this i
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— . — Cromatica, and parts of s
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The virtue of tliis process is that
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though ably written, has too much o
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SONATA 523 before Beethoven's time
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— SONATA &25 build at once upon t
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; SONATA 527 •hoven probably stoo
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; SONATA 529 fairly appropriate to
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SONATA 531 but is not so fascinatin
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SONATA 533 two Imudred years ; and
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' ; SONATA SONATINA 535 slow moveme
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I SONG 537 principles as other kind
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; - SONG 539 Another example of the
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I et I 1 '«^ I ' ta SONG 541 centu
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' 1 A celebrated collection, with a
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' SONG 546 Eomantio School, and his
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— and pathos can only be fully fe
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' lla —: — to various districts
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'• 'i SONG 551 Ex. 10. Los Pkbgon
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, Ex. — SONG 553 but the words ar
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; SONG 555 songs had their populari
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. I SONG 557 {Escl. con misura pi'i
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SONG 559 hynm- tunes, known as 'Lau
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SONG 561 With few exceptions Italia
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— — SONG 563 B1BLIOGKA.FHV Tobl
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— SONG 565 The rpayoiSta rov x^P^
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— — ' SONG 567 Ex. 3. 1st Voice
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: SONG 569 Rosniiinovaky. Le chant
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— — — SONG 571 in the cathedr
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— of the earliest and most famous
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— ^ ' of the Slovaks who inhabit
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^ — SONG 577 Ex. 7. served to res
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— songs of Western Europe, some o
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Ii — — SONG 681 diiferent count
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SONG 583 present century. The music
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;' humour, and pathos, but it is li
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aim ' SONG 587 Berggreen, A. r. 'Fo
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I — SONG 589 woe-ste Zee, Ala doo
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; the short allegorical, mythologic
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and : by SONG 593 abundance of popu
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' SONG 595 Ex. 3. My LitUe Pretty O
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^ SONG 597 Many songs of their emph
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' , thoroughly ; ballad-form, and a
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- mouJded and finished with care, w
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fi ' — SONG 603 and Ulm. In slior
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— — ! SONG 605 with one phrase
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— SONG 607 Jungfrau, ilir seid wo
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— I I ; belonged to the second ha
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' faTonrite ' Ich mochte wohl der K
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' that they are too pretentious and
Page 673 and 674:
SONG 615 ality of conception in the
Page 675 and 676:
' SONG-SCHOOL SONG-SCHOOL 617 Bilch
Page 677 and 678:
a' ; SONNLEITHNER SONS OF THE CLEEG
Page 679:
IIENKIETTE SUMAU, COUMESS RO.SSI
Page 682 and 683:
SORCERER, THE SORDINO Robinson, Mar
Page 684 and 685:
624 SORIANO-FUERTES SOSTINENTE PIAN
Page 686 and 687:
— — 626 SOUND-HOLES SOUND-HOLES
Page 688 and 689:
— 628 SOUND-POST SPAGNOLETTI of a
Page 690 and 691:
630 SPEAKER-KEYS SPECIMENS Bennett,
Page 692 and 693:
—— : — 632 SPINET SPINET Spin
Page 694 and 695:
C^ — 634 SPINET SPINET tuned an
Page 696 and 697:
— — 636 SPINET SPINET fourths b
Page 698 and 699:
638 SPITZFLOTE SPOHR was CO -editor
Page 701 and 702:
SPOHR SPOHR 639 longed stays at Ham
Page 703 and 704:
—' SPOHB SPOHR 641 setting a libr
Page 705 and 706:
' — SPOHR SPOHR 643 his famous cr
Page 707 and 708:
; ' I - ' ' ' op. SPOHR SPONDEE 645
Page 709:
GASPARO LUIGI PACIFICO SPONTINI
Page 712 and 713:
work, Cenno gtarico tuUa Scuota mus
Page 714 and 715:
650 SPONTINI the first act the seco
Page 716 and 717:
652 SPONTINI problem Spontini eithe
Page 718 and 719:
' — ' 654 SPONTINI and Armida ' '
Page 720 and 721:
656 SPONTINI more suited to Lieder
Page 722 and 723:
— ' 658 SPONTINI Spontini'a choic
Page 724 and 725:
; cries ;! « 660 SPONTINI Such ste
Page 726 and 727:
' ' SPONTINI SQUAECIALUPI him. The
Page 728 and 729:
— 664 STABILINI STACCATO is enoug
Page 730 and 731:
666 STADLEE STADLMAYR an instrument
Page 732 and 733:
; 668 STAINER STAINEE or Nicholas A
Page 734 and 735:
, of —' 670 STAINER STAINEE tion
Page 736 and 737:
' ; 672 STANFOED STANFORD p. 785).
Page 738 and 739:
' 674 STANLEY STAR SPANGLED BANNER,
Page 740 and 741:
. composers. 676 STATUE, LA STAVE c
Page 742 and 743:
' — 678 STEFFAiTI STEFFANI the yo
Page 744 and 745:
i fine — 680 STEFFANI STEFFAKI qu
Page 746 and 747:
: 682 STEFFKINS STEIBELT of an arti
Page 748 and 749:
! Such ' 684 STEIBELT STEIBELT tlie
Page 750 and 751:
' 686 STEIBELT STEIBELT not unfrequ
Page 752 and 753:
I Grand I ' and 'Eondo, 3 I ' Sargi
Page 754 and 755:
' 690 STEIN STEIN A. W. Thayer' une
Page 756 and 757:
; ' 692 STEINWEG STEPHENS corporati
Page 758 and 759:
694 STERN STERN 13, 1873, she took
Page 760 and 761:
— 696 STIASTNY STICKER ' appointe
Page 762 and 763:
698 STOCK STOCK EXCHANGE Cantor at
Page 764 and 765:
700 STOCKHORN STODAET founded by St
Page 766 and 767:
' ' 702 STONARD in the collections
Page 768 and 769:
704 STORAGE STORAGE the Prince of W
Page 770 and 771:
; 706 STRADELLA STRADELLA Strada mu
Page 772 and 773:
' 708 STRADIVARI STRADIVARI a plagu
Page 774 and 775:
'; ' 710 STRADIVARI STRADIVARI The
Page 776 and 777:
' Geheimniss ; 712 STRADIVARI STRAD
Page 778 and 779:
714 STEATHSPEY STRAUSS already noti
Page 780 and 781:
716 STRAUSS STEAUSS to which he suc
Page 782 and 783:
' ; 718 STEAUSS STEAUSS period have
Page 785 and 786:
' — ' ' STRAUSS STEAUSS 719 combi
Page 787 and 788:
— STRICT COUNTERPOINT STRICT COUN
Page 789 and 790:
STRICT COUNTERPOINT STRICT COUNTERP
Page 791 and 792:
• — STEICT COUNTERPOINT STRIGGI
Page 793 and 794:
STRING STRING 727 melody she is exe
Page 795 and 796:
Wiesbaden, ' ; ' STROUD STEUNGK 72
Page 797 and 798:
SUBJECT SUBJECT 731 hymnologists, t
Page 799 and 800:
'' SUBJECT SUBJECT 733 slowly, to g
Page 801 and 802:
' — — I SUBJECT SUBSIDIARY 735
Page 803 and 804:
'; SUSSMAYER SUITE 737 at a concert
Page 805 and 806:
' ' . SUITE SUITE V39 by the suite
Page 807 and 808:
— SUITE SUITE '-74I antithesis to
Page 809 and 810:
' B SUITE SULLIVAN 743 there is no
Page 811 and 812:
' ' STJLLIVAN SULLIVAN 745 company
Page 813 and 814:
' ; SUL PONTICELLO SUMER IS ICUMEN
Page 815 and 816:
— SUMER IS ICUMEN IN 749 of the C
Page 817 and 818:
I J f SUMER IS ICUMEN IN 751 t Uil
Page 819 and 820:
— both may be found in the autoty
Page 821 and 822:
and '; SUPER SUPPt 755 Sacred Harmo
Page 823 and 824:
SUSPENSION SUSPENSION 757 to the po
Page 825 and 826:
— , ' SVENDSEN SWEELINCK 759 esta
Page 827 and 828:
' SWELL-ORGAN SWIETEN 761 be as gra
Page 829 and 830:
; SYMPHONIC POEMS SYMPHONY 763 as a
Page 831 and 832:
' SYMPHONY 765 former used crudely
Page 833 and 834:
' mentions ' his influence. Even be
Page 835 and 836:
— SYMPHONY 769 and octave passage
Page 837 and 838:
' of the Mannheim orchestra for dea
Page 839 and 840:
SYMPHONY V73 the typical characteri
Page 841 and 842:
SYMPHONY 775 been very efficient or
Page 843 and 844:
SYMPHONY Adagio, an Allegro of abou
Page 845 and 846:
; SYMPHONY V79 metheus music a3 tha
Page 847 and 848:
— ratio between its various eleme
Page 849 and 850:
. — is one of the very first Germ
Page 851 and 852:
SYMPHONY 785 The Minuet is exti-aor
Page 853 and 854:
SYMPHONY 787 as possible after one
Page 855 and 856:
; SYMPHONY 789 In one or other of t
Page 857 and 858:
SYMPHONY 791 to the work in those r
Page 859 and 860:
:' ' upon the hearer ; while his vi
Page 861 and 862:
movements. There was originally the
Page 863 and 864:
SYMPHONY CONCERTS SYMPHONY CONCERTS
Page 865 and 866:
, SYMPHONY CONCERTS SYMPHONY CONCER
Page 867 and 868:
SYMPHONY CONCERTS IN U.S. SYMPHONY
Page 869 and 870:
SYMPHONY CONCERTS IN U.S. SYMPHONY
Page 871 and 872:
' SYMPHONY CONCEKTS IN U.S. SYMPHON
Page 873 and 874:
— ; : SYMPSON SYEEN 807 in the re
Page 875 and 876:
' ' ' ' ADDENDA ET COEEIGENDA FOE V
Page 877:
ADDENDA ET COEEIGENDA FOR VOL. Ill
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