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' ' 592 SONG writer and a great favourite, has written melodious and expressive songs, somewhat resembling Mendelssohn. Verhulst was one of the most gifted Dutch musicians, a friend of Schumann's, and also well known abroad. He has set a number of the Flemish poet Heije's words to music, amongst others a volume of children's songs, ' Kinderleeven, 29 Liederen voor eem stem, ' which are of great charm. Another very favourite writer of children's songs in Holland is Catarina van Kennes, Modern Dutch song-writers approach more closely to the German school than to the French ; and although at this moment a strong national feeling Is asserting itself amidst some of the Dutch composers, the general tendency towards Germany cannot be denied. Space forbids more than the mere enumeration of the following names, many of whom have written songs possessing high qualities: J. Brandts- Buys, J. Wagenaar, Hendrika van Tussenbroek, J. Smulders, S. de Lange, Diepenbrock, Gottfried Mann, Julius Rontgen, B. Zweers, K. Kuiler, A. Spoel, J. H. Loots, H. Viotta, van Brucken- Fock, and Cornelie van Oosterzee. BiBLIOQBAFHY Lejenne, J. C. W. L^terkundig Oversigt en Proevdn van de Jfederlandtche Volksza/ngen eedert de isd eeuw. Graveaande, 1628. Ck>u!>semaker, C. E. H. de. Histoire de I'harmonie au moyen Age. Paris, 1852. Ordgoir, K (z. Estai hiitorigue ewr la muaique et lea mtutciens dam lea PayS'Btit. Brussels, 1861. Dinaux, A. Let Trouverea de la Flandre ; Trouv&rea, Jongleart et MineatreU dti Nord de la France et du Midi de la Belgiqiie. Paiia, 1863. Btraeten, E. Vaiider. La nvuaigue aux Pays-Bat avemt le XlXme m&cle. BrosHela. 1867. etc. K»lfT, Dr. G. Slit Lied in de Middeleeataen, Leyden, 1884. Soubiea, A. Bd^giquie, le XlXme Sidde ; EoUcmde, le XlXmeSidcle. Paris. 1901. Duyse, F. van. HeS eenstemmig, Franach en Nederlandactie wereldlijk Lied. Brussels, 1896. De Melodie van het Nederlcmdache Lied en hare rhythmiache vtrrmen. The Hague, 1902. Various articles in the Tijdachrift der Vereeniging voor Noord- Jfederlanda ifusieJcgeachiedeTiea, and general mstoiieB by FiStis, Naumann, Ambros, etc. CoLLEcnoNS. a. Old (This list contains only the most famous of the old coUectfons.) Busato, Tylman. ' Souterlledekena.' Antwerp, 1561. Fruytiera, Jan. ' Ecclesiaaticus.' Antwerp, 1565. * Geusen-Lieden Boecxkens.' 1588, etc. Vallet, ytcolas. 'lie Secret des Muses.' Amsterdam, 1618-19. Valerius, A. ' Nederlaiidsche Oedenck-Clanck.' Haarlem, 1626. Starter, J. ' Friesche Lusthof.' Amsterdam, 1621. Nieuwen Jeuchtspiegel ' (no music). 1620. Camphuysen, D. B. ' ' Stichtelycke Hymen.' 1624. Theodotus, S. ' Het Fai-adijs.' 1646. Swaen, G. de. ' Den Singeode Zwaen.' Antwerp, 1664. Het Liutboek van Thysius.' 'Cupldo's Lusthof (no music). 1613. ' Fere, D. P. ' Bellerophon.' 1633. COLI,ECTIONS. b. MODERIT ABD GENERAL ' 1833; 'Horae Belgicae.' (This contains the Antwerpsh lAedebock van 1544.') Carton, C. ' Oud vlaemsche liederen en andere Gwlichten der 14* en 15* eeuwen.' (Vlaem. Biblioph.) 1847. Willems, J. F. 'Oude Vlaemsche Liederen.' (This contains a valuable list of printed and MS. collections.) Ghent, 1848, Gevaert, F. A. ' Verzamelicg van acht oude Vlaenisohe Liederen.' Ghent, 1854. Cousseinaker, O. E. H. de. ' Chants pop, des Flamands de France.' Ghent, 1856. Sne]laert, F. A. ' Oude en nieuwe liedjea.' Wytsman, Klemens. ' Anciens airs et ch. pop. Ghent, 1864. de Teimonde.' 1868. Brandts-Buys, M. A. ' Liedjes van en voor Nfiderlands Volk.' Leyden, 1875. Lummel, H. J. van. ' Nieuw Geuzenlledboek.' Utrecht, 1674 and 1892. Lootens, A., and Feya, J. 'Chants pop. flamands recueillis & Bruges.' Brugefl, 1879. Scheltema, J. H. ' Nederl. Liederen uit vroegeren tijd.' Leyden, 1886. Wilder, V. 'Chansons pop. ilamandes xv. xvl. et xvii. siftcles.* Paris. Terry, L., et Chaumont, L. ' Becueil d'airs de CrAmignons et d'airs pop. 4Li^ge.' Ll^ge, 1889. Brackman. 'Oude Nederlandsche Liederen.' (Melodiee uit de Soifterliedekens.) Ghent, 1869. Bamijs, C. * Becherchea sur le Mey-Liedje ' (hyinne pop.), Haeeelt, 1889. Biemsdiik, J. C. van. * Vier en twintig liederen uit de 15^* en 16^* eeuwmet geestelijken en wereldHJkenTekst.' Amsterdam, 1890. Vloten, J. van, and Bi-andts-Buya, M. ' Nederlandache Baker-en kinderrijmen. Leyden, 1694. Jouret, L. ' Chansons du pays d'Ath.' Brussels, 1894. GJlson, P. ' Chansons pop. du pays Borain.' 1894. Fredericq, P. 'Onze hist, volksl. van v66r de godadieuatige beroerten der 16
and : by SONG 593 abundance of popular tunes in the 14th century evidence is supplied by the number of hymns •written to them. For instance, Sweetest of ' all, sing,' 'Good-day, my leman dear,' and many others were secular stage-songs, to which the Bishop of Ossory, who lived about 1350, wrote Latin hymns. While the minstrels flourished, notation was difficult and uncertain, and they naturally trusted to memory or improvisation for the tunes to which their tales should be sung. [See MiNSTKELS.] But with the end of the 15th century the Minstrels disappeared, their extinction accelerated by the invention of printing. When the pedlar had begun to traverse the country with his penny books and his songs on broadsheets the Minstrel's day was past, i To the time of the Minstrels belongs, however, the famous ' Battle of Aginoourt' song,2 with the date 1415. Ex. 1. The Song of AgiTicowt. Nor-man-dy, With grace and myght of ohy-val - ry ^E^^^^l^feg^ Ther God for him wrouglit mar-veluB-ly, Wher-fore Eng- ^^^f^gS », red de ^ pro vie To the reigns of Henry VI. and Edward IV. belong also many carols, and amongst them the celebrated ' Nowell, Nowell ' the ' Boar's Head ' Carol, sung even now every Christmas Englishman, high or low, spolte hie own tongue. Qee. d. Mueik in England, Dr. W. Nagel, il. 8 et eeq. ^ For further information about the minstrels see Old English PopvZar Mu9., Chappell, i. 1 eC aeq. ; and Oea. d. Muaik in England, Ifagel, i. 96 et aeg. 2 Old English PopvXar Mvxic, i. 25. ChappeU further says that when Henry V. entered the city of London in triumph after the Battle of Agincourt . . . boys with pleasing voices were placed in artificial turrets singing verses in his praise. But Henry ordered this part of the pageantry to cease, and commanded that for the future no ditties should be made and sung by minstrels or others in praise of the recent victories ' for that he would whollie have the praise and thanks altogether given to God.' Nevertheless among many others, a minstrel piece soon appeared on the Se^ge of Rarfiett (Hai-fleur), and the Battayle of Agynkou/rt, evidently, says Wartou, adapted to the harp, and of which he has printed some portions {Sigtory of English Poetry, ii. 257). The above song, which was printed in the I8th century by Percy, Bumey, and J. Stafford Smith, from a MS. in the Fepysian eolleetion in the Library of Magdalene College, Cambridge, has been shown by Mr. Fuller Maitland to be an incomplete transcript from one in Trinity College, Cambridge, in which the melody stands as above. (See English ' Carols of the 15th Century.') VOL. IV at Queen's College, Oxford.' Some of these carols may have been composed by John Dunstable or his contemporaries. Although in England there is little left of this earliest English School of composers, on the Continent recent discoveries have been important. ' rosa bella,' a three-part love-song, by Dunstable, was found at Rome, and afterwards in a different version at Dijon,* and it is evidently counterpoint on a popular song. A number of other MSS. of English composers' works of this period exist at Modena and Trent, and the latter library contains another secular song Puisque ' ' m'amour Dunstable.^ (See Dunstable.) In the period between 1485 and 1547," which covers the reigns of Henry A'll. and Henry VIII., social and political ballads multiplied fast ; and among the best-known productions of these reigns are the following ' : Pastyme with good companye,' composed by Henry VIII. himself ; 'The three ravens,' John Dory,' The ' ' hunt is up,'' 'We be three poor Mariners,' 'Robin, lend me thy bow,' 'My little pretty one,' 'Sellenger's Round,' 'Westron Wynde,'^ etc. It should be noticed here that many variations in the copies of old tunes indicate uncertainty in oral traditions. Formerly the general opinion was that the old secular music of European countries was based upon the same scale or mode as the modern major scale, i.e. the Ionian mode. But it is now generally, acknowledged that the ecclesiastical modes were fully used in England in the composition of all kinds of secular music until early in the 17th century, and many of the popular songs were written throughout this period in the Dorian, Mixolydian, and other modes.^ Thus, amongst the early songs, The ' ' King's Ballad, ' Westron Wynde,' and others agree in some of their many versions with the Dorian mode. And as will \ie later shown, modal influences exist to the present day in our simplest folk-songs. But in the 16th century the easy Ionian mode was the favourite of strolling singers and ballad-mongers; and in spite of prohibition and censure by the Church and the disdain with which skilled musicians treated what they 3 The words to this carol were printed by Wynkyn de Worde in 1521, but the music appears to be of an earlier date. 4 See Ambros, Oeschichte der ilusih, Musik Beilage, p. 22, where the lioman version ie reprinted. 6 lliese were discovered in 1892 by Mr. W. Barclay Squire, and copies are now in the British Museum. 8 Here the chapter on' The Fnglish School ' in Piof.H. Wooldridge's second vol. of the Oxford Mist, ofMus, may bestudied with advantage. ^ Any song intended to arouse in the morning, even a love-song, was formerly called a hwnt'a itp (Shakespeare so employe it iu Eomeo and Juliet, Act ill. Scene 5). There are many different versions of the tune. 8 This Bong is famous for being the only secular song which our Church composers employed ; it was the subject of three Masses by Tavemer, Tye, and Shepherde in the 16th century. See Chappell, op. cit. 1. 38 for the melody. " At the time the previous editions of Chappell's work were published this fact had not been freely accepted, and a cei-tain number of the tunes had had sharps and flats added to them, which transformed an ecclesiastical mode into a major or minor key. In the present edition, 1893, these signs have been removed. Moreover, in this edition it is stated that there are 44 Ilorian, 19 Mixolydian, and 12 Aeolian tunes out of 118. The other 43 are mostly in the major. The Phrygiaii, and Lydian modes occur less often, however, in English music than in that of other conntriea See Wooldridge's preface to Chappell's Old Eng, Pop. Music, 2 Q
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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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JOSEPH JOACHIM KAFF
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; porticos. 24 RANDHAETINGER RANELA
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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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— 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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EEHEAESAL EEICHA 51 praises from th
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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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ERNEST REYER
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' RIGHINI EIMBAULT 101 and Galatea.
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NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
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no rittbb! RIZZIO on the Viola Alta
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116 BOCKSTRO EODE return to England
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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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feelings stirred in them by externa
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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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; 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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•; EUCKERS 187 and 50 51 Bent 8ld
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RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
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. SCHARWENKA SCHAEWENKA 249 elude a
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SCHERZO SCHERZO 259 humour or fancy
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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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— 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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1843— SCHUMANN —1846 359 of the
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1851— SCHUMANN —1853 365 custom
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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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; 406 SECOND SEEGR variations on an
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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 '
Page 480 and 481:
' 424 SEREANO SERVICE Ambroise Thom
Page 482 and 483:
' ;' 426 SERVICE SESQUIALTEEA been
Page 484 and 485:
428 sevCIk SEVEN LAST WORDS, THE hi
Page 486 and 487:
430 SEVERN SEYFEIED the key that so
Page 488 and 489:
432 SGAMBATI SQAMBATI op. 4), an ov
Page 490 and 491:
— — — 434 SHAKE SHAKE The sig
Page 492 and 493:
— 436 SHAKE SHAKE principal note
Page 494 and 495:
438 SHAKE SHALIAPIN The above arran
Page 496 and 497:
— 440 SHAWM SHEPHERD and appeared
Page 498 and 499:
; 442 SHIELD SHIFT siderable succes
Page 500 and 501:
' 444 SHIEKEPFS SHORT OCTAVE favour
Page 502 and 503:
' 446 SHUDI SI that Plenina about 1
Page 504 and 505:
; ; 448 SIBELIUS SIBONI himself say
Page 506 and 507:
—' 450 SIGNA SIGNATURE According
Page 508 and 509:
— ; 452 SIGURD SILBERMANN an Engl
Page 510 and 511:
454 SILVA SIMON in St. Petersburg,
Page 512 and 513:
456 SIMPSON SIMPSON ' Introduction
Page 514 and 515:
458 BINDING SINGAKADEMIE great popu
Page 516 and 517:
— 460 SINGING SINGING voice can b
Page 518 and 519:
462 SINGING SINGING Besides the ten
Page 520 and 521:
— ' 464 SINGING SINGING 2. Conson
Page 522 and 523:
X 466 SINGING SINGING the more open
Page 524 and 525:
468 SINGING SINGSPIEL perform a mus
Page 526 and 527:
; 470 SINIGAGLIA SIR BOGER DE COVEE
Page 528 and 529:
472 SIRilNE, LA SIEMEN main axis, w
Page 530 and 531:
' 474 SISTINE CHOIR SISTINE CHOIR T
Page 532 and 533:
; ' 476 SISTINE CHOIR SIVORI ti-ebl
Page 534 and 535:
— ; ' 478 SIXTH SIXTH London, and
Page 536 and 537:
480 SKENE MANUSCRIPT SKETCH that it
Page 538 and 539:
482 SLIDE SLIDE called Tirade or Ti
Page 540 and 541:
; 484 SMALL OCTAVE SMAET in a lette
Page 542 and 543:
:' ' ' . 486 SMETANA SMITH ^1874),
Page 545 and 546:
' ; SMITH SMITH 487 ' always clear
Page 547 and 548:
SMITH SMITH 489 quary. In 1773 he w
Page 549 and 550:
; SNAEES SOCIEDADE DE QUAETETOS 491
Page 551 and 552:
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 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 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: ; the short allegorical, mythologic
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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