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546 SONG nature and its elements, of the earth and of the growths of the soil has asserted its empii-e in the kingdom of art. i But while the influence of the folk-song conduced to simplicity, another influence stamped French song with a new impress. Cesar Franck (a Belgian by birth but a naturalised Frenchman), a profound scholar, an idealist by character and aims alike, raised the level of contemporary art to a greater seriousness, and gave it a more complete emancipation. In his works, depth of feeling, profound humanity and austere beauty combined with a consummate mastery of technique are undeniable qualities. But the special quality assimilated by the younger school of French song-writers is the element of mysticism. In C^sar Franok's song, La ' Procession, ' a noble simplicity and fervid mysticism are displayed, which exemplifies what has been said above. In adopting Franok's mysticism, it is stated that some of his followers have forfeited their race qualities of clearness of design and straightforwardness of expression. But their gains are manifest if we study the songs of Gabriel Faure, - Vincent d'Indy , and Alfred Bruneau, and compare them with the romances and songs of the older school. Among this younger generation songwriting is on a far higher plane. Gabriel Faure is a song- writer jmr excellence. Both in quality and quantity he ranks highest. His kinship with Schumann and Cesar Franck is apparent, but withal he is original. The exquisite form of his melodies, the fancy displayed in his accompaniments, his whimsical, but always justified harmonies and modulations are all his own. In many of Faure's songs there is a profound sadness and deep pathos, but without crudeness. Again, over others there is cast a dark veil of mysticism which necessitates an intimate knowledge of the songs before they can be appreciated. In A. Bruneau's songs there is more strength and freedom, humanity and realism, yet great rhythmical beauty. Vincent d'Indy's songs show extreme delicacy and refinement, but a somewhat morbid restlessness. Claude Debussy possesses originality, and a certain aloofness of thought. He seems to wish to express not what he feels and sees, but the passing impressions of his dreams and ideals, and the atmosphere of the poem he sets. To the above names may be added many others who have treated the form of song with the same serious aims. The following have produced songs of real distinction and interest : G. Charpentier, Reynaldo Hahn, E. Chausson ; also L. "Wurmser, C. Blanc, E. Moret, P. de Breville, H. Duparc, H. de Gorsse, E. Trtoisot, L. Moreau, P. Vidal, G. Marty, S. Rousseauj Hillemacher freres, G. Eopartz, A. Chapuis, A. Gedalge, De Castillon, G. Hiie, M. Ravel, and many others. I Bruueau'B LiedB de France.' and Ohansone ' ' & Danaer ' form a striking example of the above qualitiea. It is necessary to add that modern French poets have had a great influence on these composers, and there exists a close sympathy between them. Obscurity of form, eccentricity, a feverish egoism which tends to over-subjectiveuess, a subtlety which to an exaggerated degree substitutes suggestion for expression are the worst features of the school. An aptitude for intensity in the presentment of emotional themes, and an acute perception of the artistic values of personal emotion, a ke^n appreciation of evasive effects, of the fugitive and illusive beauty of sounds, implied or felt rather than heard,—these are amongst the gifts they have utilised to the full. To sum up we may quote M. Bruneau's words,^ that the young French song-writers have all the same aim in view, though they approach it by different roads. Some by the old healthy conventional methods, some through the free paths of life and nature, and others through the labyrinth of unreality and mysticism. But their aim is the same—^that of pure art and beauty. The folk-songs of France vary widely in every part, and each province is worthy of separate study. Fortunately a vast number of these songs have been carefully collected ; and all that can be attempted here is to indicate the general characteristics, and refer the student to the various collections.s In Paris and the other large cities in France, the popular songs of the hour are only favourite tunes from comic operas, or those which have "been heard at a caf6-chantant.4 But in the country the real folk-songs still e^st, and their distinct attributes are generally determined by the locality to which they belong. The airs of Southern France are distinguished by exuberant gaiety and graceful poetic sentiment. Many of them resemble the old Troubadour Songs, as for instance the wellknown O ' Magali.' S Tlie songs of Auvergne and Bourbonnais are chiefly hffwrrees, and Burgundy is rich in Noels e and drinking-songs. The Beamois airs are patriotic and melodious, 7 and their words mostly of love ; while, on the other hand, the subjects of the songs of Normandy are generally supplied by the ordinary pursuits and occupations of life. The mill-songs and the begging-songs, called eiiansmis de part a DieUt are especially common in Normandy, and Rave a character of their own. The couplets, of the former consist of two lines with a refrain. This refraiii, in which the audience joins, forms the principal part of the song. The words are usually meaningless syllables of a merry kind, such as tra In la, or ton rdotfm, ton torvtaine, la iontaine. But the refrains occur in the folk-songs of every part of France ; each province having its own kind of refrain of apparent nonsense-syllables, which can only be explained in patois. The May-time songs of Champagne and Lorraine are very numerous and beautifiiT.8 The character of the songs of Brittany has been best described by Rousseau : ' Les airs ne sont pas piquants, mais ils ont je ne sais quoi d'antique et de doux qui touche a la longue.' But their grave beauty B Za Musique Pram^atle. 3 See especially Champfleury and Wekerlin'a ' Chansons Populaires dee provinces de Prance,' where individual examples are given from every part of France with Intereating remarks. 4 A few composers have attempted to supply songs of this kind, such as Pierre Dupont, who wrote for the jiev^lc, Darcier for the ouvrter, and Nadaud for the bourgeoU class. ^ Ambros quotes the modern Provencal air as having a strontc resemblance to an old dance-song, anterior in date even to the 12th century. Gevihichte dsr Mu^k, ii. 242. s Phllibert le Due has collected some curious Noels in his ' NoSls Bresaans.' ^ Chanipfleui-y gives a beautiful old example : the Cantiqua ' Autonuat' by Jeanne d'Albret 'en accouchant Henri IV.' n In nearly every CJianvm de Mai, from Lorraine, the curious old word Trimazo occurs, the meaning of which is as obscure as that of the word TrlnuiuseUe mentioned above.
— and pathos can only be fully felt by those who have beard the peasants sing them. Georges Sand and G. de Nerval did much to arouse interest in the songs from Berry and the lie de France by describing the airs and the curious words and customs. But at the present day the folk-song is regarded from a more scientific point of view. BiBLIOOBAPHV Burney, Dr. Biatory of Music (eapecially vol. ii.). 1776-89. Belaborde, J. B., and Bouaaier, F. J. Euai eur la Musique, Paria, 1780. Gr^try, A. E. M. M6moire$
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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
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ERNEST REYER
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'' EHAMES RHAPSODY nations. The ope
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— ' — 84 RHEINBERGER EHEINBEEGE
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; often —; —: ' 86 RHEINGOLD, D
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— — — ; 88 RHYTHM ill such qu
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' 90 BICCIO EICH published two volu
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and ' EICHAEDSON BICHTER on its vis
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— ' RICHTER RICHTER 93 has passed
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a: ' as RIDOTTO RIEMANN 95 and frie
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; '; RIES RIES 97 a great deal of p
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— RIETZ EIETZ 99 library at Winte
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' RIGHINI EIMBAULT 101 and Galatea.
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NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
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— ' •104. EIMSKY-KOESAKOV RIMSK
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' : 106 RINALDO DI CAPUA EINCK prea
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' 108 KIPIENO RITORNELLO became ver
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no rittbb! RIZZIO on the Viola Alta
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, ' 112 ROBERTS ROBINSON of 'Callio
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— : 114 ROBINSON ROCHLITZ which w
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116 BOCKSTRO EODE return to England
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' ' 118 EOECKEL KONTGEN repertory o
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' Roland, ' 120 EOGERS ROGEKS himse
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122 ROI DES VIOLONS KOKITANSKY pupi
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many —' 124 ROLLI ROMANTIC of whi
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; , , 126 ROMANTIC ROMANTIC strings
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feelings stirred in them by externa
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' 130 ROMBERG ROME to hit the taste
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132 ROME EOME and instrumental musi
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134 EOMER KONCONI performed at the
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— 136 RONDO EOOKE of the third su
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• tonic 138 ROOT ROOT eleventh an
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' ; ; 140 ROSA ROSA in pronunciatio
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— 142 ROSALIA EOSAMUNDE may be se
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' — 144 KOSEINGRAVE EOSEINGKAVE C
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; 146 EOSENHAIN ROSENMULLER harmony
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" 18th ' 148 ROSINA ROSSI rough ros
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; 150 ROSSI ROSSINI 'Leoeadia' (183
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;' EOSSINI ROSSINI 151 side, and ha
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, ' ; EOSSINI ROSSINI 153 and Rossi
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ROSSINI KOSSINI 155 ment, but 'Enni
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— ROSSINI ROSSINI 157 the end of
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' ' ROSSINI ROSSINI 159 head of the
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! by EOSSINI ROSSINI 161 ' ' pianos
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; ROSSINI ROSSINI 163 have degraded
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eturned — ' ; ROUGET DE LISLE ROU
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' ROUSSEAU ROUSSEAU 167 theatres, E
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ROW OF KEYS ROYAL ACADEMY OF MUSIC
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' ROYAL ACADEMY OF MUSIC ROYAL ACAD
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; EOYAL COLLEGE OF MUSIC EOYAL COLL
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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
Page 553 and 554: ' ' SOLESMES SOLESMES 495 Under Gu^
Page 555 and 556: — — ' SOL-FA SOLFEGGIO 497 nota
Page 557 and 558: ' SOLFEGGIO SOLMISATION 499 is ther
Page 559 and 560: — — SOLMISATION SOLMISATION 501
Page 561 and 562: —; ' SOLO STOP SOMERVELL 503 of t
Page 563 and 564: SONATA 505 to make tlie most elemen
Page 565 and 566: SONATA 507 being taken as part of t
Page 567 and 568: ; not only does the mind take time
Page 569 and 570: SONATA 511 next thing to complete m
Page 571 and 572: — —' SONATA 513 home to the hea
Page 573 and 574: — SONATA 515 position, but this i
Page 575 and 576: — . — Cromatica, and parts of s
Page 577 and 578: The virtue of tliis process is that
Page 579 and 580: though ably written, has too much o
Page 581 and 582: SONATA 523 before Beethoven's time
Page 583 and 584: — SONATA &25 build at once upon t
Page 585 and 586: ; SONATA 527 •hoven probably stoo
Page 587 and 588: ; SONATA 529 fairly appropriate to
Page 589 and 590: SONATA 531 but is not so fascinatin
Page 591 and 592: SONATA 533 two Imudred years ; and
Page 593 and 594: ' ; SONATA SONATINA 535 slow moveme
Page 595 and 596: I SONG 537 principles as other kind
Page 597 and 598: ; - SONG 539 Another example of the
Page 599 and 600: I et I 1 '«^ I ' ta SONG 541 centu
Page 601 and 602: ' 1 A celebrated collection, with a
Page 603: ' SONG 546 Eomantio School, and his
Page 607 and 608: ' lla —: — to various districts
Page 609 and 610: '• 'i SONG 551 Ex. 10. Los Pkbgon
Page 611 and 612: , Ex. — SONG 553 but the words ar
Page 613 and 614: ; SONG 555 songs had their populari
Page 615 and 616: . I SONG 557 {Escl. con misura pi'i
Page 617 and 618: SONG 559 hynm- tunes, known as 'Lau
Page 619 and 620: SONG 561 With few exceptions Italia
Page 621 and 622: — — SONG 563 B1BLIOGKA.FHV Tobl
Page 623 and 624: — SONG 565 The rpayoiSta rov x^P^
Page 625 and 626: — — ' SONG 567 Ex. 3. 1st Voice
Page 627 and 628: : SONG 569 Rosniiinovaky. Le chant
Page 629 and 630: — — — SONG 571 in the cathedr
Page 631 and 632: — of the earliest and most famous
Page 633 and 634: — ^ ' of the Slovaks who inhabit
Page 635 and 636: ^ — SONG 577 Ex. 7. served to res
Page 637 and 638: — songs of Western Europe, some o
Page 639 and 640: Ii — — SONG 681 diiferent count
Page 641 and 642: SONG 583 present century. The music
Page 643 and 644: ;' humour, and pathos, but it is li
Page 645 and 646: aim ' SONG 587 Berggreen, A. r. 'Fo
Page 647 and 648: I — SONG 589 woe-ste Zee, Ala doo
Page 649 and 650: ; the short allegorical, mythologic
Page 651 and 652: and : by SONG 593 abundance of popu
Page 653 and 654: ' SONG 595 Ex. 3. My LitUe Pretty O
Page 655 and 656:
^ SONG 597 Many songs of their emph
Page 657 and 658:
' , thoroughly ; ballad-form, and a
Page 659 and 660:
- mouJded and finished with care, w
Page 661 and 662:
fi ' — SONG 603 and Ulm. In slior
Page 663 and 664:
— — ! SONG 605 with one phrase
Page 665 and 666:
— SONG 607 Jungfrau, ilir seid wo
Page 667 and 668:
— I I ; belonged to the second ha
Page 669 and 670:
' faTonrite ' Ich mochte wohl der K
Page 671 and 672:
' 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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