Grove's dictionary of music and musicians

More documents

Recommendations

Info

' r 750 SUMER IS Cantus I. i [l]g^S=iî SPSum • er is i - cum-en in, Ê Per gpi C0 Xp • i • CO la,] CAMTUa II. „Cahtos III. 0= ICUMEN IN + [5] [9I yzs—'^ 3: =^:^ Ce Uiiid-e sing cue - cu. Orow-eth sed and blow-eth - - Hue dig na d o. ' li - cut ag - ri - co- l^lpgpjpi^î^liîi Sum-er Is i - cuiu-eu in, Per -8pi-ce Xp i - co la. Lhud-e sing cue - cu. que dig 'iia-ci - o. ,0ANTD8 IV. eSSEE BAS3U3 ^s^^ I. 5=E£ Sing Sing Sing Bassus II. i=oz=p5=- r-|-r ;^ |g-p ^S^ " rar-=— # P Sing [13] cue med and eprlngth the wod-e uii. la Pro vi-tis vi-ci - o. -zrffrp: Sing cue - - cu [17] Sing m Sum-er Is i > cum>eii Per - «p* - ce Xp • i • cO' SiDg [21] l^S.^ Aw - e blefc - eth af - ter 1 jCon par-cens ex pos • u i^Ji^â eSI^ -.^zi^zzsz. Grow-eth aed and blow-eth med Ce U' - cue a and Bpringth the wod • e nu. • gri - co -la Pro vi - tit vi-ci o. g^^^^fe Lhud-e sing cue -cu. gtte dig -na - i=g^^ Sing l^ Grow-eth aed and blow-eth med and spi-ingth the wod-e nu. Ce - li - cut a - gri - co - la Pro vi - tit vi-ci o. :pz:c^-p2: ggEg^sig^^^^^ fe-E^^' Sum-er is i • cum-en in. Lhud-e sing cue - cu. Per . «pi - ce Xp - i - co • la. que dig • na * d Oroweth sed and bloweth Ce - li- cut a - gri - co - mug cue - - cu. sing cue - - - cu nu. Sing
I J f SUMER IS ICUMEN IN 751 t Uil Us) buck - e vert - etb, mu - ria aing cue • cu. Me • mi vi - vos A «up - pli - d - o Wei BiTig- Bui - luc stert-etta, buck - e vert-eth, mu - rie sing; cue - cu. Qui cap • 6i • vos te • mi • vi - vas A
Page 1 and 2:
MiDlllilllilhllllHIinilllilllltlill
Page 3 and 4:
Cornell University Library ML 100.G
Page 7 and 8:
Tflaaanoa asTai swajtt
Page 9 and 10:
GROVE'S DICTIONAEY OF MUSIC AND MUS
Page 11 and 12:
LIST OF CONTEIBUTOES The names of d
Page 13:
S. J. Spobling, Esq. . LIST OF CONT
Page 17 and 18:
' ' DICTIONARY OF MUSIC AND MUSICIA
Page 19 and 20:
; QUARENGHI QUAETET any other combi
Page 21 and 22:
; Stanford's quartets from Tennyson
Page 23 and 24:
— QUAVEE QUEISSER Comique, Paris,
Page 25 and 26:
' — as — ' QUINTET QUINTUPLE TI
Page 27 and 28:
— ' AAFF, Anton, one of the most
Page 29:
JOSEPH JOACHIM KAFF
Page 32 and 33:
— ; ; 14 RAFF EAFF gelitten, gest
Page 34 and 35:
. Einer . Suite , Suite . 8th , 2nd
Page 36 and 37:
— :; ; 18 EAMANN BAMEAU so that b
Page 38 and 39:
j ; I ZaTa, 1 ' ' 1 Pygmalion, ' Le
Page 40 and 41:
—; EAMEAU to attaining truth of d
Page 42 and 43:
; porticos. 24 RANDHAETINGER RANELA
Page 44 and 45:
' 26 EANTZAU EAPPOLDI hit with Neuk
Page 47 and 48:
EASELIUS EASOUMOWSKY 27 ' Professor
Page 49 and 50:
; , EAVENSCROFT Fischer, Cervetto,
Page 51 and 52:
EEADING REBEC 31 series of letters
Page 53 and 54:
' RSBSK EECITATIVE 33 seems to have
Page 55 and 56:
— RECITATIVE RECITATIVE 35 the pu
Page 57 and 58:
— EECOEDER RECORDER 37 Tonus Pere
Page 59 and 60:
' RECORDER RECORDER 39 always tell
Page 61 and 62:
EEDEKER REDOUTE 41 that of the well
Page 63 and 64:
' Beggarmy ' Our — — ' ' ' Happ
Page 65 and 66:
— : KEEL EEEVE 45 of the trumpet
Page 67 and 68:
' ' REFORMATION SYMPHONY, THE EEGAL
Page 69 and 70:
' — — — ; EEGGIO BEGNAET 49 .
Page 71 and 72:
EEHEAESAL EEICHA 51 praises from th
Page 74:
— ; 54 REICHER-KINDERMANN EEICHMA
Page 77:
CAKL HEINKICH OAKSTEN REIXECKE
Page 81 and 82:
EEINKEN EEISSIGER 59 St. George the
Page 83 and 84:
' EELATrON RELATION 61 third and mi
Page 85 and 86:
EEMBT REMOTE 63 Rellstab's novels a
Page 87 and 88:
' — EENCONTRE IMPREVUE REPETITION
Page 89 and 90:
— ' ; REQUIEM RESOLUTION 67 chara
Page 91 and 92:
— — — — RESOLUTION RESOLUTI
Page 93 and 94:
— ' — —— . RESPONSE RESPONS
Page 95 and 96:
— — EESPONSOEIAL PSALMODY EESPO
Page 97 and 98:
In — — ' EESPONSORIUMJ REST 75
Page 99 and 100:
. RESULTANT TONES EESZKE 77 to trea
Page 101 and 102:
;' EfiVE, LE KEY 79 1697 to 1703. I
Page 103:
ERNEST REYER
Page 106 and 107:
'' EHAMES RHAPSODY nations. The ope
Page 108 and 109:
— ' — 84 RHEINBERGER EHEINBEEGE
Page 110 and 111:
; often —; —: ' 86 RHEINGOLD, D
Page 112 and 113:
— — — ; 88 RHYTHM ill such qu
Page 114 and 115:
' 90 BICCIO EICH published two volu
Page 116 and 117:
and ' EICHAEDSON BICHTER on its vis
Page 119 and 120:
— ' RICHTER RICHTER 93 has passed
Page 121 and 122:
a: ' as RIDOTTO RIEMANN 95 and frie
Page 123 and 124:
; '; RIES RIES 97 a great deal of p
Page 125 and 126:
— RIETZ EIETZ 99 library at Winte
Page 127 and 128:
' RIGHINI EIMBAULT 101 and Galatea.
Page 129:
NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
Page 132 and 133:
— ' •104. EIMSKY-KOESAKOV RIMSK
Page 134 and 135:
' : 106 RINALDO DI CAPUA EINCK prea
Page 136 and 137:
' 108 KIPIENO RITORNELLO became ver
Page 138 and 139:
no rittbb! RIZZIO on the Viola Alta
Page 140 and 141:
, ' 112 ROBERTS ROBINSON of 'Callio
Page 142 and 143:
— : 114 ROBINSON ROCHLITZ which w
Page 144 and 145:
116 BOCKSTRO EODE return to England
Page 146 and 147:
' ' 118 EOECKEL KONTGEN repertory o
Page 148 and 149:
' Roland, ' 120 EOGERS ROGEKS himse
Page 150 and 151:
122 ROI DES VIOLONS KOKITANSKY pupi
Page 152 and 153:
many —' 124 ROLLI ROMANTIC of whi
Page 154 and 155:
; , , 126 ROMANTIC ROMANTIC strings
Page 156 and 157:
feelings stirred in them by externa
Page 158 and 159:
' 130 ROMBERG ROME to hit the taste
Page 160 and 161:
132 ROME EOME and instrumental musi
Page 162 and 163:
134 EOMER KONCONI performed at the
Page 164 and 165:
— 136 RONDO EOOKE of the third su
Page 166 and 167:
• tonic 138 ROOT ROOT eleventh an
Page 168 and 169:
' ; ; 140 ROSA ROSA in pronunciatio
Page 170 and 171:
— 142 ROSALIA EOSAMUNDE may be se
Page 172 and 173:
' — 144 KOSEINGRAVE EOSEINGKAVE C
Page 174 and 175:
; 146 EOSENHAIN ROSENMULLER harmony
Page 176 and 177:
" 18th ' 148 ROSINA ROSSI rough ros
Page 178 and 179:
; 150 ROSSI ROSSINI 'Leoeadia' (183
Page 181 and 182:
;' EOSSINI ROSSINI 151 side, and ha
Page 183 and 184:
, ' ; EOSSINI ROSSINI 153 and Rossi
Page 185 and 186:
ROSSINI KOSSINI 155 ment, but 'Enni
Page 187 and 188:
— ROSSINI ROSSINI 157 the end of
Page 189 and 190:
' ' ROSSINI ROSSINI 159 head of the
Page 191 and 192:
! by EOSSINI ROSSINI 161 ' ' pianos
Page 193 and 194:
; ROSSINI ROSSINI 163 have degraded
Page 195 and 196:
eturned — ' ; ROUGET DE LISLE ROU
Page 197 and 198:
' ROUSSEAU ROUSSEAU 167 theatres, E
Page 199 and 200:
ROW OF KEYS ROYAL ACADEMY OF MUSIC
Page 201 and 202:
' ROYAL ACADEMY OF MUSIC ROYAL ACAD
Page 203 and 204:
; EOYAL COLLEGE OF MUSIC EOYAL COLL
Page 205 and 206:
EOZE EOZE 175 bassoon and double-ba
Page 207:
GIOVANNI BA'iTI8TA EUBINI
Page 210 and 211:
178 RUBINSTEIN RUBINSTEIN through H
Page 213 and 214:
— — ; I RUBINSTEIN RUBINSTEIN 1
Page 215 and 216:
— :' ' RUCKERS RUCKERS 181 Rucker
Page 217 and 218:
RUCKEES RUCKEES 183 became clavecin
Page 219 and 220:
' , ; RUCKEES RUCKERS 185 Christoph
Page 221 and 222:
•; EUCKERS 187 and 50 51 Bent 8ld
Page 223 and 224:
RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
Page 225 and 226:
; .' — RUDOEFF EUBEZAHL 191 ments
Page 227 and 228:
. RULE, BRITANNIA! RUMMEL 193 ofMrs
Page 229 and 230:
are RUSSELL BUST 195 on the art of
Page 231 and 232:
— ' Hd — QABBATINI, Galeazzo, o
Page 233 and 234:
SACCHINI SACCHINI 199 an intermezzo
Page 235 and 236:
; and had was ;' SACRED HARMONIC SO
Page 237 and 238:
— SADLER'S "WELLS SAINT ANNE'S TU
Page 239 and 240:
' ' - ' SAINT CECILIA SAINT HUBEETY
Page 241:
CHARLES CAMILLE SAINT-SAEXS
Page 244 and 245:
. 208 SAINT-SAENS SAINT-SAENS prize
Page 246 and 247:
210 SAITEN SALAMAN and after leavin
Page 249 and 250:
— SALAMMB6 SALIERI 211 from dream
Page 251 and 252:
SALIMBENE SALMON 213 pupil. ' 1 As
Page 253 and 254:
; SALO SALO 215 Brescia.' The lengt
Page 255 and 256:
SALTANDO SALVAYRE 217 horse caused
Page 257 and 258:
—' — SAMMARTINI SANCTUS 219 sui
Page 259 and 260:
SANDONI 1799 ' ; Sir Francis Drake,
Page 261 and 262:
SAPPHO SARABAND 223 Santley's singi
Page 263:
PABLO MARTIX MELITON DE SARASATE Y
Page 266 and 267:
; 226 SARTI SARTI Conservatorio of
Page 268 and 269:
; ; SAUTILL^ the principal violin p
Page 270 and 271:
' when 230 SAVONAROLA SAX included
Page 272 and 273:
232 SAXHORN SAXHORN detailed in F^t
Page 274 and 275:
234 saxophon:^ SCALA, LA ' tubas, n
Page 276 and 277:
' — octave ' — — 236 SCALE SC
Page 278 and 279:
— ; 238 SCANDELLO SCANDELLO $ ^^
Page 280 and 281:
; 240 SCAEIA SCARLATTI Miuikalische
Page 283 and 284:
' ' SCARLATTI SCARLATTI 241 able th
Page 285 and 286:
— —' SCARLATTI SCARLATTI 243 of
Page 287 and 288:
SCARLATTI SCARLATTI 245 with Beetho
Page 289 and 290:
SCAELATTI SCBNA 247 Asturias, whose
Page 291 and 292:
. SCHARWENKA SCHAEWENKA 249 elude a
Page 293 and 294:
' SCHEIBLEE SCHEIDEMANN 251 was suc
Page 295 and 296:
— ' SCHEIDT SCHEIDT 2&3 large num
Page 297 and 298:
— ' SCHEIDT SCHEIN 255 there is s
Page 299 and 300:
— : SCHELLER SCHBNK 257 sion ; an
Page 301 and 302:
SCHERZO SCHERZO 259 humour or fancy
Page 303 and 304:
— SCHETKY SCHIEDMAYER 261 any mor
Page 305 and 306:
' ' — — SCHILLING SCHINDELMEISS
Page 307 and 308:
' posed for the Paris Op6ra-Comique
Page 309 and 310:
. SCHLICK SCHLOESSER 267 organists,
Page 311 and 312:
— SCHNEIDER SCHNEIDEE 269 now Mme
Page 313 and 314:
SCHOELCHER SCH(ELCHER 271 brilliant
Page 315 and 316:
' SCHOLZ SCHOTT 273 de propagande '
Page 317 and 318:
' ; SCHRIDER SCHRODEE-DEVRIENT 275
Page 319:
WILHELMIXE SCHEOUER-DEVRIENT
Page 322 and 323:
' 278 SOHROTER SCHROETER post of Ka
Page 324 and 325:
' ; 280 1797— SCHUBERT -1807 'Thi
Page 326 and 327:
; ' 282 1811— SCHUBEET -1812 for
Page 328 and 329:
! ; ; 284 1814— SCHUBERT — 1815
Page 330 and 331:
— 286 1816 SCHUBERT 1816 a marvel
Page 332 and 333:
288 1816 SOHUBEBT 1816 the same. To
Page 334 and 335:
''; 290 18 IT- SCHUBEBT -1818 '—
Page 336 and 337:
i "We — —' 292 1819 SCHUBERT 18
Page 338 and 339:
' 294. 1820 SCHUBERT 1820 mentality
Page 340 and 341:
—; 296 1821 SCHUBEET 1821 manuscr
Page 342 and 343:
298 1822 SCHUBERT 1822 of his visit
Page 344 and 345:
— ; ' 300 1823 SCHUBERT 1823 desi
Page 346 and 347:
— 1824 SCHUBEET 1824 aa already m
Page 348 and 349:
304 1825 SCHUBERT 1825 String Quart
Page 350 and 351:
306 1826 SCHUBERT 1826 anthor, ' IV
Page 352 and 353:
' 308 1826— SCHUBERT -1827 of pri
Page 354 and 355:
—' ' 310 1827 SCHUBERT 1827 and '
Page 356 and 357:
312 1828 SCHUBEET 1828 Sohindler to
Page 358 and 359:
' ' ' lisher, he wrote a, four-hand
Page 360 and 361:
' 316 1828 SCHUBERT '1828 He discus
Page 362 and 363:
— 318 1828 SCHUBERT 1828 Seidl, S
Page 364 and 365:
;' — 320 SCHUBERT been a zealous
Page 366 and 367:
— ; 322 SCHUBERT PF. pieces were
Page 368 and 369:
— ; 324 SCHUBERT then the theatre
Page 370 and 371:
; 326 SCHUBERT the astonishing forc
Page 372:
' ' 328 SCHUBERT only, as in the Eo
Page 375:
^' . 1
Page 378 and 379:
' ; 330 SCHUBERT changes so grand,
Page 380 and 381:
; ; set to no simple Volkslieder, b
Page 382 and 383:
— ; 334 SCHUBERT made by von Erei
Page 384 and 385:
336 SCHUCH SOHtJTZ was appointed so
Page 386 and 387:
338 SOHUTZ SCHUTZ waa commissioned
Page 388 and 389:
340 SCHUTZ SCHUTZ three alto voices
Page 390 and 391:
— ; 342 SCHULTZ SCHULZE counterpo
Page 392 and 393:
; 344 SCHUMANN England, playing at
Page 395 and 396:
— extending from Scarlatti and Ba
Page 397 and 398:
1828- SCHUMANN —1829 347 dutifull
Page 399 and 400:
dreams ' 1830— SCHUMANN —1832 3
Page 401 and 402:
— 1834- SCHUMANN —1835 351 doma
Page 403 and 404:
— ' 1835 SCHUMANN -1839 353 preta
Page 405 and 406:
1835- SCHUMANN —1839 355 him as t
Page 407 and 408:
— ; 1839- SCHUMANN -1840 357 At t
Page 409 and 410:
1843— SCHUMANN —1846 359 of the
Page 411 and 412:
' 1848- SCHUMANN —1850 361 the wa
Page 413 and 414:
;' 1850 SCHUMANN 1850 363 accepted
Page 415 and 416:
1851— SCHUMANN —1853 365 custom
Page 417 and 418:
—; 1854- SCHUMANN —1856 367 wor
Page 419:
KOBERT ALEXANDER SCHUMANN From a da
Page 422 and 423:
' 370 SCHUMANN years, in early life
Page 424 and 425:
' — '; 372 SCHUMANN and depth of
Page 426 and 427:
374 SCHUMANN out, and which are—a
Page 428 and 429:
' 376 SCHUMANN distracted from the
Page 430 and 431:
' 378 SCHUMANN very highly of this
Page 432 and 433:
380 SCHUMANN fact which Schumann th
Page 434 and 435:
; 382 SCHUMANN quoted above. As a P
Page 436 and 437:
384 SCHUNKE SCHUPPANZIGH ' Ero e Le
Page 438 and 439:
' 386 SCHWINDL SCOEDATURA when he l
Page 440 and 441:
' 388 SCOEE SCORE glance. The Engli
Page 442 and 443:
' — ' 390 SCOTCH SYMPHONY, THE SC
Page 444 and 445:
— ;• ' — 392 SCOTTISH MUSIC S
Page 446 and 447:
; —; 394 SCOTTISH MUSIC SCOTTISH
Page 448 and 449:
— 396 SCOTTISH MUSIC SCOTTISH MUS
Page 450 and 451:
' 398 SCOTTISH MUSIC SCOTTISH MUSIC
Page 452 and 453:
y 400 SCOTTISH MUSIC SCOTTISH MUSIC
Page 454 and 455:
402 SCOTTISH MUSIC SCEIABIN (This I
Page 456 and 457:
— ' De dlscantu/ ' De ' ' ' ' ' ;
Page 458 and 459:
; 406 SECOND SEEGR variations on an
Page 460 and 461:
: : ' . 408 SEGUIN SEIFPERT and in
Page 463 and 464:
' SEISS SEMBEICH 409 SEISS, IsiDOR
Page 465:
#'# -'i»* m .'^ a,p!irigH I'll .1^
Page 468 and 469:
; ' ' ; , 412 SEMIEAMIDE SENAILL1&
Page 470 and 471:
'; 414 SENPF SEPTET perfect. Purity
Page 472 and 473:
! 1 , J , J . — 416 SEQUENCE SEQU
Page 474 and 475:
— 418 SERAPHINE SEEENATA of grace
Page 476 and 477:
' ': 420 SEEMISY SERMISY in 1532 wh
Page 478 and 479:
' ; 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 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: — SUMER IS ICUMEN IN 749 of the C
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
show all

Grove's dictionary of music and musicians

Create successful ePaper yourself

Delete template?

Save as template?