Grove's dictionary of music and musicians

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562 SONG Looking back on the past history of music in Switzerland we find that the composers of any note in this country have generally identified themselves with other nationalities. Thus in the 16th century the great contrapuntist, Ludwig Senfl's' name appears among German composers ; in the 18th, J. J. Rousseau is claimed by France, just as Nageli, Kaflf, and Sohnyder von Wartensee, nearer our own time, are by Germany. But Switzerland has never been without her own musicians, who have striven in all ages to keep up the national feeling, although their names are now scarcely remembered. The Reformation exerted a great influence in French Switzerland. The Psalms of G. Franc, the two Bourgeois and Davantes are still heard around 'Geneva. Some of the coraules of the Fribourgeois have beautiful refrains, recalling the ecclesiastical sequences ; and in many of the old songs used in the peasants' Festspiele are traces of Goudimel's fine hymns adapted to secular words. These festivalplays, in which the peasants represent some national legend or historic event by word, dance, and song, are held in different districts, and form a powerful factor in the musical life of Switzerland. In recent years they have incited some of the younger Swiss musicians, such as Baud-Bovy, G. Doret, and F. Niggli, to take down the songs sung on these occasions by the peasants and to write simple popular melodies in the same spirit. Whilst the Church cultivated the taste for hymns and chorales,^ the frequent wars gave rise to innumerable songs of satire, strife, and politics. Some of the earliest Frendi collections of these songs were printed by P. de Vingle at Neuehatel in the 16th century.^ He also printed many books of carols (Noels Nouveaultx, 1533), usually with very irreverent words set to favourite sacred and secular tunes. In the 17th and 18th centuries music-schools were formed in the various towns of Zurich, Basle, Berne, and Coire, and their libraries have preserved numerous collections of songs by Dillhern, Simler, Kruger, Brie^el, Musoufi, theMolitors, Dietbold, Menzingen, and especially L. Steiijer (bom 1688),—the first Swiss composer to cultivate a love for his country's music. J. Schmidli, who set Lavater's 'Chansons Suisses ' to music, and Egli, who published several ' Chansons Suisses avec melodies, ' followed in his steps. After Egli's death in 1810, his pupil Walder carried on his work, together with Ott, Albertin, Bachofen (a special favourite) 1 Senft contributed largely to the various collectiona of the 16th century; and in one of these called Bicinia Gatlica. dnted 1545, there occurs the oldest icnown version of a Ram dee Vaches. 2 Towards the end of the 15th century L. Moser of Basle contributed largely to the popularisation of the Church songs. Hie book, Mn vaet nnthdflr/tiffe Jfateri, etc. contains a large number of German songs adapted to familiar Church melodies. See Becker, Siet. de la Musique Suieae. 3 !Ehe collection of 1509 contains the celebrated complainte on the heretics burnt at Berne ' : Die war History von den vier Ketzer Prediger ordens zu Bern in den Bydgenossenschaft verbrannt.' Greuter, Felix Huber, Kuhn, and Zwinger, some of whom were national poets as well as musicians and collectors. J. G. Nageli (as much a German as a Swiss song -composer) did much to promote musical education in the country of his birth. He was joined in this movement by Kunlin, Waohter, Krausskopf, the to-others Frbhlich, and Ferdinand Huber. As songwriters Karl Attenhofer, F. Grast, and Ignaz Heim should be especially mentioned, the latter being perhaps the most popular. Zwyssig composed the 'Cantique Suisse' (the national hymn) and Baumgartner the fine chant ma ' Patrie.' The names of Methfessel, 0. and F. Munziger, G. Weber, A. Meyer, and F. Hegar (who is principally famous for his choral songs) may complete the list of that period. During the latter part of the 19th century, a new impetus has been given to Swiss music by a ^oup of young and enthusiastic mnsicaans, who have strongly felt the necessity of preserving the traditional treasures of their country and developing them with all the resources of modem art. They have hereby endeavoured to prove the essential unity of feeling in the nation. Though composed of snch various races, the same patriotism, love of liberty, and independence have animated this little republic in all times of its history. The leaders of this movement are Hans Huber and E. Jaques- Daloroze ; the former bears an honoured name in other branches of music besides songs, and the latter is a refined poet, as well as being a prolific composer. His numerous volumes of ' Chansons romandes,' ' Chansons populaires et eufantines,' 'Chansons des Alpes,' 'Chansons patriotiques,' etc. contain graceful little pictures of national life, in which Jaques-Daloroze cleverly introduces the types of melody, harmony, and rhythm characteristic of the various cantons.* In the year 1900 the ' Union of Swiss musicians \ was formed, which now numbers over 300 members, and holds yearly festivals for the performance of new works of all kinds by these composers. Especial interest is attached to those of the younger generation, all of whom have included song as an important branch of their art. The piincipal names are as follows : E. Jaques - Dalcroze, V. Andrae, Otto Barblan, E. Blooh, E. Combe, A. Den^reaz, G. Doret, F. Klose, H. Eling, E. Reymond, Fritz Niggli, J. Ehrhart, E. Ganz, F. Karmin, J. Lauber, W. Pahnke, P. Maurice, W. Rehberg, G. Pantillon, L. Kempter, etc. The revelation of so much home talent may surprise the world, but it proves that ' a Swiss school of music is rapidly rising, and may in time hold its own.' ^ 4 Jaques - Dalcroze has done much to develop the rhythmical element among his countrymen by his cborai. dance, and gamesongs, and Gymnastiques Rhythmiques.' See also his strildng ' ' article La pedagogia del iltmo ' in the Siviata Mvjficale Italiana Anno xiii. c E, Jaques-nalcroze, Die MusiJ; in der Schweiz.
— — SONG 563 B1BLIOGKA.FHV Tobler. AppenzelltKJier BpratchMJuitz. Znrich, IS."^. Schubiger, A. Die Sdngerschide St. GaUens vom 8ten bis i2ten Jahrhundert. Einaiedeln, New York, 1858. Becker, G. La musique en Suisse depui* let tempt les plus recuZea jusgu'd la fin du iSme tivcle, etc. Geneva, 1874. Becker, G. KuUurhiatojische Sktiten aus der romanischen Schweiz. 1878. Soabies, A. Suiae (Hittoire de la Mutiqtie). Faria, 1899. Jaques-DalcToze, E. Die Mu^k in der Schtoeiz {JHe Mutik, July, I»05.) Collections Huiubrechtikon, Oreuter de. * Buudtner Lieder.' Coire, 1785. Vgll, J. H. 'St^weizer Lieder.' Zaricb. 1798. Voider, J. J. 'Lieder zumgesellscbaftlichenYergnUgen.' JZurich, 1804. Wagner, S. von. ' Acht Schwelzer Kithrelhen.' Berne, 1805. Kuhn, G. * Sammlnng von Scliweizer Kuhreihen und alten Volkaliedem.' Berne, 1812-18. Tarenne, G. 'BecberchesaarlesBanzdesVac1ie8 0UBurIeaGlia.nsonB pastorales des Bergers de la Suisse avec musig.ue.' Paris, 1813. Wysz, J., and Hnber, F., edited the 4t1i edition of Knlin's work in 1S26. Huber, Felix.* * S
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Cornell University Library ML 100.G
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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
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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
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
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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 and 604: ' SONG 546 Eomantio School, and his
Page 605 and 606: — and pathos can only be fully fe
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: SONG 561 With few exceptions Italia
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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