CHAPTER XVII

MODERN ORGAN MUSIC

Supremacy of modern French organ music; Saint-Saëns; Guilmant: sonatas and smaller works--Widor: organ symphonies; Dubois; Gigout and other French organ-writers--German organ composers; Piutti; Klose; Reger: chorale-fantasias; Karg-Elert and others--Organ music in Italy; Capocci; Bossi; Busoni and others--English organ composers since 1850--Organ music in the United States; early history; Dudley Buck; Frederick Archer and Clarence Eddy; contemporary American organ composers.

I

It is always an interesting and fruitful task to dive beneath the surface of historical events and discover the contributing causes that have led to the supremacy of certain nations at certain periods in certain departments of musical activity. For the past three decades at least, French organ-music has occupied a position of supremacy in certain important respects, among which may be named brilliance of technical finish, glowing variety of tone-colors as expressed in skillfully thought-out registration, interesting and piquant rhythmical figuration and melodic outline, combined with modernity of harmonic treatment. A group of elder composers, of whom Saint-Saëns, Guilmant, Widor and Dubois are the chief ornaments, laid the solid foundation of this school into which they were careful to build a deep and intelligent appreciation of Bach’s organ art, which had only recently been transplanted into France. Rooted in such a fertile soil French vivacity and lightness of feeling took on a deeper color and a richer luxuriance that combined substance with beauty of external expression. In this genial and healthy atmosphere the younger generation of French organists have lived and from its stimulating nourishment they have developed many fascinating traits of strong and virile individualism.

Charles Camille Saint-Saëns (born 1835), the Nestor of French composers, has demonstrated an unusual versatility in composition and has contributed to nearly every field of musical activity. He is not only a great pianist but also an organist of great ability and from 1858 to 1870 was the organist at the Madeleine, Paris, where he became famous for his improvisations and his many excellences as a performer. Under the spell of his imagination the organ becomes a flexible and elastic instrument of which he demands pianistic lightness and orchestral richness of color. In this respect the few organ works of Saint-Saëns stand at the head of all French contributions to organ literature. Freedom from all scholastic tradition and the improvisation-like character of most of his organ works make them highly interesting. The Fantaisie in D-flat major (opus 101), his best work, is appropriately named, for it is music without prearranged plan and is harmonically most piquant, especially the ending with its descending harmonies over an organ-point. His three Rhapsodies are all brilliant and attractive concert-pieces, as are also his Preludes. Only in the Fugues associated with these Preludes does Saint-Saëns, in common with all French composers except César Franck, fall short--the fugue is essentially the property of German art.

Felix Alexandre Guilmant (1837-1911), one of the most celebrated French organ composers and virtuosos, extended his fame by many concert tours throughout Europe and two in the United States (in 1893 and 1903). The larger part of his compositions is for organ. These show rich, fluent melody, always clear form and a rare skill in utilizing the possibilities of organ tone-color. The popularity of his works among organists is enhanced by the moderate technical demands required for their performance. Guilmant possessed astonishing facility in improvisation (an interesting feature on most of his concert programs) and won the admiration and respect of musicians of all countries by his propaganda for the classical masters. His historical recitals at the Trocadéro during the Paris Exposition of 1878 attracted international notice and later he published a large and valuable collection entitled _Archives des maîtres de l’orgue_. From 1871 to 1902 he was organist at La Trinité, Paris, which position he gained by his remarkable playing at the inauguration of the organs at St. Sulpice and Nôtre Dame. His organ compositions are numerous and highly original. The most important of them are the eight sonatas. Of these the first sonata in D minor, opus 42, is the favorite one among organists and the finest in breadth of conception and unity of construction. It is grateful, effective concert music, very clear in form and typically French in invention. The first movement is powerful and majestic, the Pastorale tender and most expressive, and the Finale a brilliant display-piece with its toccata-like motive. This sonata is also published as a symphony for organ and orchestra--a most impressive work. Sonata No. 3 in C minor, opus 56, is a fine work with an excellent Finale (Fugue). Sonata No. 5 in C minor, opus 80, possesses a strong, passionate first movement, an effective Scherzo with its ingenious little staccato fugato and a Finale that is one of Guilmant’s best and most forceful movements. The sonata is dedicated to Clarence Eddy and in the last movement the composer ingeniously and tactfully builds his theme from the initials of his own name and that of the American organist--C-G-E-A. The sixth sonata, opus 86. is a beautiful work in all its movements. Sonata No. 8 in A major, opus 91--he calls it ‘Symphony for organ and orchestra’--has an especially attractive Scherzo and the Finale is brilliant and strong.

Besides the sonatas, Guilmant has written prolifically in smaller forms and in various styles, in all of which he makes excellent practical use of the possible effects of the instrument for which his music is so well adapted. The ‘Fugue in D’ is one of the strongest French fugues and shows how deeply he had lived into Bach’s favorite form. The ‘Religious March’ is cleverly constructed on a theme from Handel’s ‘Messiah’ and is built up with an original secondary subject (a smooth, brilliant fugato) to an imposing climax. The ‘Funeral March and Seraphic Song’ enjoys deserved popularity. The Finale (‘Seraphic Song’) is especially notable with its double pedal effect (the melody being played with the right foot) and sparkling harp-like arpeggios on the manuals. In all his writings Guilmant reveals a fanciful imagination and is always sure of good effect. In ‘Lamentation,’ for example, he displays his artistic resourcefulness in transforming the sad march-like theme (in the pedal) of the first part into a theme of religious consolation at the end (Hymn: _Jerusalem convertere_).

II

Charles Marie Widor (born 1845), organist of St. Sulpice in Paris since 1870, is the most distinguished of the living French organists and organ composers. Having succeeded César Franck as professor of organ-playing at the Conservatoire in 1890 and Dubois as professor of composition in 1896, he occupies a position of extraordinary importance in contemporary French organ-music as composer, teacher and performer. While he is known in America almost exclusively by his

## activities associated with the organ, he has written extensively for

the pianoforte, the voice and the orchestra (two symphonies, three concertos, etc.) and much in chamber-music forms. His best writings for organ are ten symphonies which together constitute one of the noblest gifts that any composer has ever made to organ literature. In these works he shows himself a thoroughly representative French composer, combining all the brilliant qualities of the modern French school. Influenced somewhat by Liszt and Berlioz in his earlier works (the first series of symphonies), he represents the finest progress in the French art of organ-playing in the last three decades.

His first eight organ symphonies (in reality sonatas) were published in two series--opus 13 (Nos. 1-4) and opus 42 (Nos. 5-8). These are in a class by themselves and deserve especial attention and study. The title ‘symphony’ is often justified in the enlarged form used and in the elaborate development of individual movements. Most of them contain from four to six movements. In the first symphony in C minor the best movements are the first, second and fifth. The first two movements of the second in D are the most attractive. No. 3 in E (a kind of suite, consisting of Prelude, Minuet, March, Canon, Fugue and a brilliant Finale) is the easiest of the symphonies and of less importance than the others. No. 4 is excellent throughout, the first and fourth being possibly the best movements. The first of the second series of symphonies--No. 5 in F--is probably the most popular of the ten among organists, since it possesses the double merit of being fine, inspiring music and at the same time offering excellent opportunity to display both the performer and the resources of the modern organ to good advantage--especially in the first movement (_Allegro vivace_ in variation form), in the second (_Allegro cantabile_) and in the _Finale_ (Toccata) with its brilliant staccato technique. No. 6 is musically far superior to No. 5 and is one of the most masterly works in the entire organ literature, the first movement being particularly imposing in its breadth and grandeur of conception, and the second rich in noble sentiment. In No. 7 the fourth and last movements are especially interesting. No. 8 is one of the most beautiful of Widor’s works--the first movement being of brilliant effect and the second full of musical warmth.

In addition to these eight, Widor has written the _Symphonie Gothique_ in C minor, opus 70, and the _Symphonie Romane_ in B minor, opus 73. The former is one of his most notable compositions; in the first movement sombre-hued, suppressed emotion is portrayed in a most interesting harmonic garb, while the fine melodic line of the second movement forms effective contrast, and the Finale displays brilliant technical features. In the first movement of the _Symphonie Romane_ there is a very ingenious and original elaboration of a Gregorian chant used as theme. The Cantilena (third movement) is lovely music and the Finale brilliant and dashing. The _Symphonia Sacra_, opus 83, is a massive work for organ and orchestra constructed on a theme borrowed from the melody of the old Latin hymn of St. Ambrose (fourth century), _Veni redemptor gentium_, a hymn which Martin Luther translated for Johann Walther’s _Gesangbuch_ (1524) under the title of _Nun komm der Heiden Heiland_. Upon this chorale (which Bach has also used in several of his organ preludes) Widor builds up a mighty Gothic cathedral in tones, in the construction of which organ and orchestra vie with each other in supplying vital plastic material. The employment of the chorale in this modern French work, coming as it does contemporaneously with Reger’s remarkable Chorale-Fantasias in Germany, is evidence that the resources of the old church-chorale have not been exhausted and that the classic circle beginning with Pachelbel and Bach has expanded its circumference to embrace congenial masters from any country; and here the modern Frenchman, Widor, touches elbows with the German, Reger. This interesting work was given its first American performance by Wilhelm Middelschulte with the Chicago Symphony Orchestra in February, 1911.

Clément François Théodore Dubois (born 1837), organist at the Madeleine from 1877 to 1896 (succeeding Saint-Saëns) and director of the Conservatoire, after Ambroise Thomas’ death, from 1896 to 1905, occupies a respected position as an organ composer. Much of his best composition, however, is in other fields. His shorter organ pieces are numerous and generally effective, especially for church use. His melodies are mostly noble and fluent and his harmony modern and interesting, inclining toward orchestral effects. The pedal part frequently lacks independence. These compositions are so well known that it would be superfluous to name more than a few of the more familiar ones: _Messe de Marriage_, _Fiat Lux_, ‘Hosanna,’ ‘March of the Magi’ (with the highest B held through the entire piece, representing the star in the East), and _In Paradisum_.

Eugène Gigout (born 1844), organist of St. Augustin and director of an organ school in Paris, is one of the first names among French writers for organ. He inclines more to the classical style than do most of his French colleagues. Among his best pieces are _Prière en form de Prélude_, _Pèlerinage_, _Andante varié_, _Marche religieuse_, _Marche funèbre_, _Andante Symphonique_.

Théodore César Salomé (1834-1896), for many years second organist at La Trinité, is best known by his Sonata in C minor, an effective work.

Samuel Alexandre Rousseau (1853-1904), pupil of César Franck and chapel-master of St. Clotilde, Paris, wrote valuable compositions for the organ that show much creative power. Of these the _Double Thème varié_ is the best.

Leon Boëllmann (1862-1897) was a fine organist in Paris, the full development of whose artistic powers was prevented by his early death. He was nearly equally successful in all styles of composition, leaving no less than sixty-eight published works. The _Suite Gothique_ in C minor is his most popular organ work. He also wrote a _Fantaisie dialoguée_ for organ and orchestra.

Ferdinand de la Tombelle (born 1854), a pupil of Guilmant and Dubois at the Conservatoire at Paris, has written much organ music that has enjoyed a measure of popularity both in England and America.

The school of younger French organ composers shows a well-defined tendency to adopt an impressionistic style, without losing, however, the characteristically French brilliance, grace and melodic charm. Among its leaders will be found Joseph Bonnet (born 1884 at Bordeaux), organist at St. Eustache and Guilmant’s successor at the Paris Conservatoire. Other young French composers are A. Maquaire, a pupil of Widor, whom he assists at St. Sulpice; Charles Quef, organist at La Trinité; J. Ermand Bonnal, and others.

III

Germany always has been, and still is, the special champion of intellectual organ music, as France has been of brilliant, melodious and colorful organ music. Bach and the churchly function of the organ have been the two factors in German organ music that have determined its lines of development almost up to the present. The concert organ placed in public halls, that has been such a prominent element in the development of organ music and its popular appreciation in France, England and America through the giving of concerts or recitals, has only recently made its appearance in Germany. There the organ is still a church, not a recital, instrument. Then, too, modern German organ-builders have been much slower than either French, English or American builders in adopting mechanical improvements. Until very recently an organ suitable for the adequate performance of a monochrome Bach fugue has been the ideal of the German builder, and at the opening of the twentieth century there were hundreds of such organs in large German churches, with eighteenth-century mechanical appliances. The ‘swell-box’ was not adopted until late in the nineteenth century; and the wonderful development in nineteenth-century German orchestral art found echoes only here and there in German organ music. In the past three decades, however, some magnificent modern instruments have been installed in Germany and there are already abundant evidences that a progressive spirit has taken firm hold upon its organ-builders and its organ-music. At present Germany possesses but few composers for the organ whose works have exerted large influence, but these are very important in their relation to the development of organ music.

Carl Piutti (1846-1902) was born in Elgersburg, Thuringia, and educated at the Leipzig Conservatory, where he taught from 1875 until his death. After 1880 he was organist at the Thomas Church. Of his comparatively few organ compositions, his Sonata in G minor, opus 22, deserves special mention; it is imposing in its proportions and is one of the most brilliant examples of modern German organ art.

Ernst Hans Fährmann (born 1860), organist of the Johanneskirche in Dresden, is an excellent composer for his instrument. His best work is Sonata in C major, opus 22; the Sonata in A minor, opus 18, is also a brilliant and effective work.

Friedrich Klose (born 1862 in Karlsruhe, lives in Munich) has written much for orchestra with organ, but has contributed one important work for organ alone--Prelude, Double Fugue and Chorale (Chorale at the conclusion for 4 trumpets and 4 trombones). This work, which is dedicated to Anton Bruckner, had its origin in an improvisation by Bruckner in Bayreuth. Klose, an enthusiastic admirer of the Viennese master, uses the theme of Bruckner in building up an imposing, powerful work--very impressive in the introduction and majestic in its great climax (over an organ-point of thirty measures).

Max Reger (born 1873 at Brand, Bavaria) is the greatest living master of organ composition. Astounding mastery over the technical side of composition (he is probably the greatest contrapuntist since Bach), wonderful richness in his harmonic formations, and a phenomenal power of expression, are some of his admirable traits. He is the leader of the ultra-modern German school and, though still a comparatively young man, is one of the most prolific writers in all musical history. Of his first hundred opuses, twenty-two are for organ, each ranging in size from a set of from four to ten pieces to a sonata or a chorale-fantasia. He is a distinct innovator in his harmonic scheme, but is often accused of lacking warmth. Intensely modern in his harmonic feeling, his novel harmonies do not spring so much from chord movement in the ordinary sense as from the happy sounding together of independently moving melodies. The influence of his exuberant polyphony is everywhere felt in his writings. He is clearly an intellectualist and his art appears at its highest in the most complicated structures, such as the chorale-fantasias and variations, where he presents movements of sublimest beauty and greatest depths, as only a great master can.

The chorale-fantasias of Reger cultivate a new field, suggested, however, by Sebastian Bach in his one example, _O Lamm Gottes, unschuldig_, where he composes three verses, not variations. The characteristic is that each verse, according to the poetic suggestion of the text, assumes an entirely original form, but all are organically molded into one whole. At the end there usually appears a colossal fugue, where the melody of the chorale is interwoven with the themes of the fugue. His great chorale-fantasias are: _Ein’ feste Burg_; _Freu’ dich sehr, O meine Seele_; _Wie schön leuchtet der Morgenstern_; _Straf mich nicht in deinem Zorn_; _Alle Menschen müssen sterben_; _Wachet auf, ruft uns die Stimme_. Next in importance come the Fantasia on B-A-C-H, opus 46, and the Symphonic Fantasia and Fugue, opus 57. There are two sonatas--opus 33 in F-sharp minor and opus 60 in D minor--and several sets of short pieces. Among the latter group several of the Monologues (opus 63), and several of both opus 59 (Benedictus and Pastorale in particular) and opus 69 are favorite numbers with recitalists.

Sigfrid Karg-Elert (born 1878, lives in Leipzig), though a young man, is an important figure in German music of to-day. He has already published over a hundred works and they bear the stamp of talent of the highest order. He is a modernist of pronounced, sometimes extravagant, type in his harmonic feeling and combines with this a brilliant style of expression. His Passacaglia in E-flat minor is a scholarly work; the Sonatina No. 1 in A minor, opus 74, is built on large lines, notwithstanding the title; of his groups of smaller pieces, some of the better known are Three Impressions, opus 72 (‘Moonlight,’ ‘Night’ and ‘Harmonies of Evening’), and Ten Characteristic Pieces, opus 86 (_Prologus Tragicus_, ‘Impression,’ ‘Canzona,’ etc.).

The most prominent of living Danish composers for the organ is Otto Malling (born 1848, living in Copenhagen), whose works are both numerous and strikingly individual. The majority of his organ compositions take the form of mood-pictures inspired by biblical subjects, most of which centre around the life and times of Christ, as the ‘Holy Virgin’ suite of six pieces, opus 70 (‘The Annunciation,’ ‘Mary visits Elizabeth and praises God,’ ‘The Holy Night,’ etc.).

IV

Until the last quarter of the nineteenth century organ music in Italy had remained practically where Frescobaldi had left it. Very little progress had been made during the intervening two centuries either in organ music or in organ-building. Musical Italy was almost wholly absorbed in vocal music and the opera. Church music had sunk to lamentable depths of triviality and secularity. Independent organ music received only the slightest attention and absolute stagnation reigned. When Guilmant, in the eighties of the last century, opened the new organ in the church of St. Louis des Français in Rome by giving daily recitals for two weeks, he gave many of the well-known Bach and Handel works their first performance in Italy! Even now there are very few modern organs in Italy. The names of Italian organists, therefore, are very few in number, even when the present generation is reached.

In the eighteenth century only one Italian organist stands out with any prominence, Francesco Antonio Vallotti (1697-1780), chapel-master of the Church of San Antonio in Padua. He was recognized as a great writer of church-music and Tartini, his contemporary, spoke in warmest terms of his playing. He was the teacher of the famous Abbé Vogler.

Marco Santucci (1762-1843), _maestro_ of the cathedral at Lucca, wrote 12 fugued sonatas for organ and Vincenzo Antonio Petrali (1832-1889) had a great reputation as an improvisator and virtuoso.

Of the living Italian organists the most prominent and influential are Capocci and Bossi, both of whom have striven valiantly to bring Italian organ-art back to the place of eminence it occupied in the early centuries. The elder of these musicians, Filippo Capocci (born 1840), has been the organist of St. John Lateran in Rome since 1875 and his organ is said to be the finest in Italy. He is not only a fine performer, but also a gifted composer of serious aims. He has written six sonatas and twelve volumes of original organ-pieces, mostly attractive and valuable. The sonatas are his best works, in which he follows classical lines.

Enrico Marco Bossi (born 1861) was organist of the Cathedral of Como from 1881 to 1891, in 1896 he was appointed director of the _Liceo Benedetto Marcello_ in Venice, in which institution he also taught organ and advanced composition, and since 1902 he has been director of the _Liceo Musicale_ in Bologna. He is Italy’s greatest organist to-day and has also been a prolific writer in many fields--organ as well as choral, orchestral and chamber music. His fine inventive genius, bold harmonic feeling and originality of design, coupled with a certain severity of style, are well illustrated in his best works--a concerto for organ and orchestra, opus 100 (especially the first movement of which is built up to a powerful climax), two sonatas (opus 60 and opus 77), and a large number of compositions in smaller forms, such as Marche Héroique, Étude Symphonique, Toccata, Romanza, Idylle, Hora Mystica, Scherzo in G minor, etc. In 1893 with Tebaldini he published ‘A School of Modern Organ-Playing,’ which is a standard work.

Oreste Ravanello (born 1871), organist of St. Mark’s, Venice (1892), and director of music of Antonius Basilica in Padua (1898), is to be named among the best Italian writers of the present. His Fantasia in F minor is an effective concert number.

Lorenzo Perosi (born 1872) was appointed by Pope Leo XIII musical director of the Sistine Chapel in 1898 and has written trios and preludes for the organ.

Ferruccio Benvenuto Busoni (born 1865 at Florence), the profound Bach scholar, has made the most important contribution to modern organ literature by an Italian--the _Fantasia contrapuntistica_ (on a fragment by Sebastian Bach). Bach’s last unfinished work was intended as a fugue with four themes, but only the first, second and part of the third fugues were left. What the fourth theme was to be, remained a mystery until the well-known theorist Bernhard Ziehn (1845-1912) of Chicago solved it convincingly, thus showing the possibilities of Bach’s fragment. With this suggestion Busoni has accomplished the gigantic task with admirable result. The work really consists of seven fugues, three of them being variations (a new idea in this form) of the preceding fugues. It exists in three versions: for piano by Busoni; for organ, transcribed by Wilhelm Middelschulte; and for orchestra and organ, transcribed by Frederick Stock, conductor of the Chicago Symphony Orchestra. As an organ piece it is the most difficult work in the entire organ literature.

V

About 1850 the widespread dissatisfaction of English organists with the crude and incomplete instruments of the period began to have an appreciable effect on English organ-builders. In the years soon following the middle of the century notable improvements were made--larger and more complete organs were built, pedals were more common in church organs and complete pedal-boards were introduced, the obsolete ‘unequal temperament’ system of tuning was generally discarded and the ‘swell to tenor G’ half-keyboard was discontinued. When these necessary improvements were made, English organ art advanced rapidly and an array of eminent organists came into view whose united labors as performers and composers brought the organ into its present position of great influence in England and made possible the fine achievements of the present generation of younger British organists and organ-composers.

Prominent in this group are the names of Sir Herbert Stanley Oakley (1830-1903), professor of music at Edinburgh University from 1865 to 1891 and regarded as a player of exceptional ability and a good composer; George Mursell Garrett (1834-1891), organist to Cambridge University and the composer of much church and organ music; Edmund Hart Turpin (born 1835), for many years regarded as one of England’s greatest concert organists; Sir John Stainer (1840-1901), one of the most prominent English musicians of his day, organist at St. Paul’s, London (1872-1888), professor of music at Oxford University from 1889 and composer of many sacred cantatas and much church and organ music of serious character; Sir Walter Parratt (born 1841), since 1883 professor of organ at the Royal College of Music and since 1893 master of music to the royal household; Albert Lister Peace (born 1844), a fine organ-virtuoso, the successor (1897) of W. T. Best as organist of St. George’s Hall, Liverpool, which is regarded as one of the best appointments in the United Kingdom; Sir John Frederick Bridge (born 1844), organist of Westminster Abbey from 1882, composer of much good church music and the author of text-books on counterpoint and organ accompaniment; and Sir George C. Martin (born 1844), organist of St. Paul’s Cathedral, London, after 1888 and a distinguished writer of dignified music for the church service.

The best known of the younger generation of English organists and organ-composers in America is Edwin Henry Lemare (born 1865), who is generally regarded as Best’s legitimate successor in the organ-concert field. He first attracted large notice by his recitals while organist of St. Margaret’s, London. His reputation in the United States was greatly increased during his two years’ tenure of the post of organist of Carnegie Institute, Pittsburg (1902-1904), and by several extended concert tours before and after that appointment. In his organ compositions, which are very numerous, he cultivates mostly a ‘light’ or ‘popular’ style, though his writing reveals a facile command of the means of musical expression. His Symphony in D minor is his largest work and it is a brilliant, strong composition.

William Wolstenholme (born 1865), though blind from birth, has attained a high place for himself both as a performer (he made a short tour in the United States in 1908) and as a composer of exquisite invention. Over sixty of his compositions for organ are published, including two sonatas. Alfred Hollins (born 1865) is also a blind organist, whose compositions for the organ have the same qualities of lovely melody and interesting harmony. He lives in Edinburgh, Scotland.

William Faulkes, organist of St. Margaret’s church, Anfield, Liverpool, England, is a prolific writer of organ music of the ‘attractive’ type.

Sir Edward Elgar (born 1857) has written very little for the organ. His Sonata in G, opus 28, is important, however. The ‘Pomp and Circumstance March,’ so popular with organists, is an arrangement from a march for military band written for the festivities of the Coronation of Edward VII, played for the first time at the Promenade Concert, London, Oct. 22, 1901.

Basil Harwood (born 1859) is a composer of serious aims and ample technical equipment. His organ works include a Sonata in C-sharp minor and ‘Pæan.’ Other prominent English organ composers of the present generation are Julius Harrison, now living in London, Hugh Blair and Purcell J. Mansfield.

VI

The history of organ music in the United States is difficult of comparison with that of European countries, for its development here has been so recent. Organ-building on a large scale did not begin until about 1850 and organ-music of intrinsic value by native composers did not appear until a couple of decades later. But since then progress in every branch of organ art has been truly remarkable, and this cumulative development has atoned in large measure for earlier backwardness and slowness. In the quality of both organ-building and organ-music produced in this country at the present time, American achievement need not shun comparison with the best contemporary European efforts.

The rapidly increasing popularity of the organ as a recital instrument in America is traceable to several causes. At the foundation, of course, is the widely diffused public appreciation of good music of all kinds, fostered and stimulated by the annual flood of concerts--orchestral, choral and chamber-music--and by the recitals of individual artists in every field that are given even in cities of comparatively small size. But two causes have contributed particularly to the appreciation of organ music: (1) the rapid progress that has been made in the last twenty-five years by American organ-builders in all matters pertaining to mechanical appliances and tone-quality, with the result that magnificent instruments are now to be found in almost every city in the land, some of which are in public halls, municipally owned and maintained for purposes of public culture; and (2) a notable improvement in the standards of organ-playing and general musicianship among organists themselves. A factor of large importance in this movement has been the activity of the American Guild of Organists, modelled after the Royal College of Organists in London and founded in 1896 in New York City ‘to raise the standard of efficiency of organists by examinations in organ playing, in the theory of music and in general musical knowledge; and to grant certificates of Fellowship and Associateship to members of the Guild who pass such examinations.’ (Excerpt from the Constitution of this Guild.) This Guild now (1915) numbers among its members over 1600 prominent organists in the United States and Canada. Part of its regular propaganda is the giving of public services and organ recitals of high musical quality.

The first organ in America was the famous old Brattle organ, imported and left by Thomas Brattle, treasurer of Harvard College, by his will in 1713 to the Brattle Square Church, Boston. But since the church voted that it was not proper ‘to use said organ in the public worship of God,’ it was erected in King’s Chapel, Boston, in 1714, where it remained until 1756. For eighty years after this date it was in constant use in St. Paul’s Church, Newbury. It was then sold to St. John’s Church, Portsmouth, New Hampshire. It was in existence in 1901, when it was displayed at an exhibition of musical instruments in Horticultural Hall, Boston. This historically interesting old instrument had only six stops.

John Clemm is said to have erected the first American built organ in Trinity Church, New York, in 1737. This organ had three manuals and 26 stops and was followed eight years later by a two-manual organ built by Edward Bromfield in Boston. Until the days of the Revolution it was in the Old South Church, but was burned during the siege of Boston. Many other small organs were built or imported for the larger churches, but organ-building in America may properly be said to begin with the erection in 1853 of the large four-manual organ with seventy stops and 3096 pipes, by Hook and Hastings in Tremont Temple, Boston. This was an organ of concert proportions and others soon followed in the large cities; chief among these early large organs were the one erected in Boston Music Hall (completed in 1863) and the one in the Cincinnati Music Hall in 1878.

American organists of the eighteenth and first half of the nineteenth centuries have no particular interest for us, save as mere historical reference. About the middle of the last century, however, coincident with the widespread awakening of popular interest in musical matters, there appeared a number of young organists, all of them with European training (mostly at Leipzig), who were well-equipped to handle a large organ and to play the organ music of the classical masters. Among these pioneers appear prominently the names of James Cutler Dunn Parker (born 1828), Benjamin Johnson Lang (1837-1909), and Samuel Parkman Tuckerman (1819-1890), among the group of Boston organists; George Washbourne Morgan (1823-1892), an Englishman who came to New York in 1853 and who was considered the first concert-organist in America; John Henry Willcox (1827-1875), a native of Georgia, educated at Trinity College, Hartford, Conn., and for the rest of his life an organist in Boston; Eugene Whitney Thayer (1838-1889), for many years organist at Music Hall, Boston; George William Warren (1828-1902), a self-taught musician who was for thirty years organist of St. Thomas’s in New York; and John Knowles Paine (1839-1906), from 1876 professor of music at Harvard University, who was one of the first, if not the first, American concert-organist who measured up to German standards of classical organ playing.

American organ music, however, begins with Dudley Buck (1839-1909), for he was not only a performer of finest attainments, but was the first American composer to gain general recognition, and among his best compositions are some large works for organ. For three years preceding the great Chicago fire of Oct. 9, 1871, he was organist of St. James’s Church in that city and for twenty-five years (1877-1902) he was organist of Holy Trinity Church, Brooklyn. His organ compositions show the influence of classical models, expressed in fluent, pleasing melody and attractive harmony with an always clear sense of form. His best organ-works include two sonatas (in E-flat, opus 22, and in G minor, opus 77), Concert Variations on ‘The Star Spangled Banner,’ and many smaller pieces, such as the familiar Idylle, ‘At Evening.’ In addition he wrote a great deal of church music with organ accompaniment. From the pedagogical side his work was equally valuable, including ‘18 Pedal-Phrasing Studies’ and ‘Illustrations in Choir-Accompaniment, with Hints on Registration,’ the latter of which is still of great practical value to organists.

The number of fine concert-organists increased so rapidly since those named above that no attempt will be made here even to enumerate them. The field of concert-organists cannot be passed over, however, without mention of two of their number whose influence, especially in the transitional years of the last two decades of the last century, was enormous in creating an interest in, and love for, good organ music. These organists are Frederick Archer (1838-1901) and Clarence Eddy (born 1851), both organ-virtuosos of the first rank, whose numerous and extended recital tours brought them into every part of the United States. Archer, who gained his first laurels as organist at Alexandra Palace, London, came to America in 1880 and became organist in Boston, Brooklyn, Chicago, and finally (1896) in Pittsburg where he served as city organist and musical director of Carnegie Music Hall. Clarence Eddy’s playing has brought him an international fame; he now (1915) resides in Chicago as concert-organist, teacher and writer.

Passing to the group of organ-composers, the endeavor will be made to name some of those--and a few important ones will doubtless be omitted where a choice must be made from a list that is increasing so rapidly--who have made substantial contributions to organ literature in the larger and more serious forms. This will of necessity leave untouched a multitude of worthy organ pieces of lighter vein that have already found much favor with organists.

In the front rank of American composers who have written worthily for the organ Arthur Foote (born 1853) must be named. His compositions in this field are not many, but they are important for their solid musicianship, clear form and eloquent melodic and harmonic expression. They include a much-played Suite in D and many short characteristic pieces. Arthur Foote has always lived in Boston.

Horatio Parker (born 1863), who has made such large contributions to choral and vocal fields, has written also for the organ, but almost exclusively in larger forms: Concerto in E-flat for organ and orchestra, Sonata in E-flat, and five sets of concert pieces.

Homer N. Bartlett (born 1845) is one of the most prolific of American composers in many fields and among his most important compositions are several organ works. His Suite in C, opus 205, is not only his most important organ composition, but it may well be named among the best American organ compositions. He has been for many years a prominent organist of New York City.

Horace Wadhams Nicholl (born 1848), an Englishman who came to America in the seventies, wrote 12 Symphonic Preludes and Fugues for organ, also a symphonic poem called ‘Life’ in six movements, which display scholarly attainments and command of intricate forms of writing.

James Hotchkiss Rogers (born 1857), who has lived in Cleveland since 1881, has written several notable things for his instrument, including two sonatas, a concert overture, and many small pieces.

William H. Dayas (1864-1903), though born in New York, went abroad when a young man and, after studying with Haupt in Berlin, succeeded Busoni in Helsingfors and later moved to England where he died. He left two brilliant organ sonatas--opus 5 in F major and opus 7 in C major.

Foremost among foreign-born organists and organ-composers who have made America their home, must be named Wilhelm Middelschulte (born in Westphalia, 1863), who has been the organist of the Chicago Symphony Orchestra since 1894. His compositions are all in large contrapuntal forms and display complete mastery of Bach’s intricate art. They include a Passacaglia in D minor, a Concerto for organ and orchestra, Canonic Fantasie and Fugue on four themes by J. S. Bach, and Canons and Fugue on the chorale _Vater Unser im Himmelreich_.

Among the large works of the earlier American composers that still survive are Eugene Thayer’s Sonata No. 5 in C minor, George E. Whiting’s Sonata in A minor and Henry M. Dunham’s two sonatas in F minor and G minor.

The number of organ works of really imposing proportions and solid musical worth by American composers is quite significant of the powerful undercurrents that are silently shaping the future of American music. If one were to select the living composers who are representative of the best present tendencies in organ composition in large forms in America, the following names, in addition to those mentioned above, would undoubtedly be among them: Mark Andrews, New York; René Becker, St. Louis; Felix Borowski (born 1872, lives in Chicago); Rossetter Cole (born 1866, lives in Chicago); Gaston M. Dethier (born 1875 in Belgium, lives in New York); Gottfried H. Federlein, New York; Ralph Kinder (born 1876, lives in Philadelphia); Will C. Macfarlane (born 1870, city organist of Portland, Maine); Russell King Miller, Philadelphia; and Harry Rowe Shelley (born 1858, lives in New York).

LITERATURE FOR VOLUME VI

_In English_

G. Ashdown Audsley: The Art of Organ Building (1905).

Dr. Theodore Baker: A Biographical Dictionary of Musicians (New York, 1905).

Dr. Charles Burney: History of Music, 4 vols. (London, 1789).

Edward Dickinson: Music in the History of the Western Church (New York, 1913).

Edward Dickinson: The Study of the History of Music (New York, 1911).

C. A. Edwards: Organs and Organ Building (1881).

Arthur Elson: Modern Composers of Europe (Boston, 1905).

Famous Composers and Their Works, ed. by Paine, Thomas and Klauser (Boston, 1891).

Grove’s Dictionary of Music and Musicians, 5 vols., revised (London, 1904-10).

W. H. Hadow: Studies in Modern Music, 2 vols. (New York, 1892-3).

F. X. Haberl: Magister Choralis, transl. by Donnelly (New York, 1892).

Sir John Hawkins: General History of Music (London, 1853).

Arthur Hervey: French Music in the 19th Century (New York, 1903).

Edward Burlingame Hill: Vincent d’Indy: an Estimate (Musical Quarterly, April, 1915).

E. J. Hopkins: The Organ: Its History and Construction (1877).

Otto Jahn: The Life of Mozart, 3 vols., transl. by Pauline Townsend (London, 1882).

H. C. Lahee: The Organ and Its Masters (Boston, 1903).

Mrs. F. Liebach: Claude Achille Debussy (London, 1908).

M. Montagu-Nathan: History of Russian Music (London, 1915).

J. A. Fuller-Maitland: English Music in the 19th Century (New York, 1902).

Felix Mendelssohn-Bartholdy: Letters from Italy and Switzerland, transl. by Lady Wallace (New York, 1868).

Arthur Mees: Choirs and Choral Music (New York, 1911).

Emil Naumann: History of Music, Vol. I, transl. by Praeger (London).

Oxford History of Music, 5 vols. (Oxford, 1901-05).

Sir C. H. H. Parry: The Evolution of the Art of Music (New York, 1896).

Annie W. Patterson: The Story of the Oratorio (London, 1902).

Waldo Selden Pratt: The History of Music (New York, 1907).

Philipp Spitta: Life of Bach, 3 vols., transl. by Clara Bell and J. A. Fuller-Maitland (London, 1884-88).

George P. Upton: Standard Concert Guide (Chicago, 1912).

Dr. Karl Weinmann: History of Church Music (New York, 1910).

C. F. A. Williams: The Story of Organ Music (London, 1905).

_In German_

A. W. Ambros: Geschichte der Musik (Breslau, 1862-78).

Dr. Rudolph Cahn-Speyer: Debussy; eine kritisch ästetische Studie von Giacomo Settaccioli, besprochen (Die Musik, August, 1912).

Dr. Karl Grunsky: Musikgeschichte des 17. und 18. Jahrhunderts (1905).

Hermann Kretzschmar: Führer durch den Konzertsaal; 2te Abteilung; Kirchliche Werke (Leipzig, 1905).

Hermann Kretzschmar: Oratorien und weltliche Chorwerke (Leipzig, 1910).

Monographien moderner Musiker, 3 vols. (Leipzig, 1906).

Karl Proske: Musica Divina, Tome I (Ratisbon, 1853).

Hugo Riemann: Handbuch der Musikgeschichte, Vol. II (Leipzig, 1911).

Hugo Riemann: Musiklexikon, 8th ed. (Leipzig, 1914).

A. G. Ritter: Geschichte des Orgelspiels im 14-18. Jahrhundert (1884).

Arnold Schering: Geschichte des Oratoriums (Leipzig, 1911).

Max Steinitzer: Richard Strauss (Berlin and Leipzig, 1914).

Zum 40. Tonkünstlerfest des Allgemeinen Deutschen Musikvereins in Frankfurt a. M. (Die Musik, Vol. 4, 2tes Maiheft).

_Zeitschrift der Internationalen Musikaesellschaft_ (Leipzig).

_In French_

Gaston Carraud: La musique pure dans l’école française contemporaine (S. I. M., Aug.-Sept., 1910).

D. Chennevrière: Claude Debussy et son Œuvre (Paris, Durand, 1913).

F. A. Gevaert: La mélopée antique dans le chant de l’église latine (1895).

Jules Combarieu: Histoire de la musique, Vol. II (Paris, 1913).

M. P. Hamel: Manuel du facteur d’orgues (1849).

A. Pougin: Essai historique sur la musique en Russie (Paris, 1904).

Romain Rolland: Musiciens d’aujourd’hui (Paris, 1908).

Paul de Stoecklin: Max Reger (Le Courrier musicale, April, 1906).

Maurice Touchard: La musique espagnole contemporaine (Nouvelle Revue, March, 1914).

Jean d’Udine: Rimsky-Korsakoff (Le Courrier musicale, July, 1908).

Egon Wellesz: Schoenberg et la jeune école Viennoise (S. I. M., March, 1912).

_In Spanish_

Pedrell: Organografia musical antigua española (1901).

INDEX FOR VOLUME VI

A

_A cappella_ singing, xvii-f.

Abert (Bach transcription), 438.

Abington, Henry, 447.

Abrici, Vincenzo, 425.

Abt, Franz, 177.

Accompaniments, (Scarlatti), 108; (Carissimi), 108f.

Act of Supremacy, 89.

Acworth, H. A., 213.

Adam de la Hâle, 25f.

Adams, Thomas, 475.

_Adieu, mes amours_ (in French mass), 42.

Agnus Dei, 47f.

Agricola, Martin, 51.

Akimenko, 396.

Albert V, 56, 57.

[d’] Albert (Bach transcription), 440 (footnote).

Albert Hall, London (organ in), 411.

Albrechtsberger, Johann Georg, 458.

Aldrich, Richard (cited on Roman liturgy), 341.

Alexander Severus, 399.

Allegri, Gregorio, 66f.

Alphege, Bishop of Winchester, 401.

Amateur singers, xv.

Ambrogio, Alfredo, 393.

Ambros (cited on Palestrina), 68.

[St.] Ambrose, 8ff, 484.

Ambrosian hymns, 9.

America (choral music), 379ff; (organs), 408; (organ music), 495ff.

American Guild of Organists, 496.

Ammerbach, 428.

Andersen, Carl, 170.

André (organ builder), 405.

Andrews, Mark, 501.

[d’] Anglebert, Jean Henri, 442, 443.

Anglican Church (origin of), 89f.

Anglican Church music, 93ff; (second period), 133f; (third period), 134f; (introduction of hymn), 135f; (nineteenth century), 184f; (use of Magnificat), 321.

Animuccia, 224.

[d’] Annunzio, Gabriele, 387.

Antegnati, Constanzo, 423.

Anthem (English), 90, 133f, 134f.

Antiphonal singing, 8.

Antokolsky, 395.

Arensky, 395; Fountain of Bachtchissarai, 395.

Arne, Thomas (English organ composer), 472.

Arnold, [Sir] Edwin, 219f.

Arnold, Robert Franz, 353.

Arras (festival to Adam de la Hâle), 26.

Assyrians, 1.

Attaignant, Pierre, 441.

Attengnati family (organ builders), 405.

Aubade, 25 (footnote).

Austin, John T., 409.

Augsburg (as centre of organ music), 431.

Avery (organ builder), 406.

B

Bach, Johann Sebastian, 88, 91, 117, 119_ff_, 432, 434, 468; (attitude toward church music), 121; (arias), 122; (church cantata), 122f; (and the chorale), 123; (vocal polyphony), 124; (motets), 138; (oratorio), 239f; (mass), 319; (church music), 325f; (organ fingering), 423; (chorale preludes), 429; (organ music), 435ff, 456; (pupils), 457f. ‘_Ich hatte viel Bekümmerniss_,’ 125. ‘_Gottes Zeit ist die allerbeste Zeit_,’ 125f. ‘_Ein’ feste Burg_,’ 126f. Christmas Oratorio, 240. Passion According to St. Matthew, 241f. Mass in B minor, 325ff. Magnificat in D, 327. Organ Preludes and Fugues, 437. Fantasia in G minor, 438. Organ sonatas, 439.

Bach, Wilhelm Friedemann, 456, 457.

Back positive. See Rückpositiv.

Baini (cited on Palestrina), 64; (cit. on Frescobaldi), 424.

_Baisez-moi_ (in mass), 42.

Bantock, Granville, 371f. ‘The Fire Worshippers,’ 372f. ‘Omar Khayyam,’ 372f. Masses, 374.

Barker, C. S. (organ builder), 407.

Barnby, Joseph, 208. ‘Rebekah,’ 208.

Bartholomew, William, 179, 284.

Bartlett, Homer N., 499.

Basilica, Antonius, 491f.

Bassani, Giovanni Battista, 109, 425.

Basso ostinato. See Ground-bass.

Bates, Arlo, 222.

Batiste, Antoine Édouard, 467f.

Battishill, Jonathan, 472.

Bau, Édouard, 305.

Beach, Mrs. H. H. A., 222.

Becker, René, 501.

Beckwith, John Christmas (English organ composer), 472.

Beethoven, Ludwig van, 144f, 324, 458; (oratorio), 264; (mass), 319, 335f; ‘The Ruins of Athens,’ 144f. _Die Weihe des Hauses_, 145. ‘The Glorious Moment,’ 145f. ‘Christ on the Mount of Olives,’ 264f. Missa Solemnis, 335f.

Benedict, [Sir] Julius, 178f, 282. ‘The Legend of St. Cecilia,’ 179. ‘Benedictines of Solesme,’ 467.

Benedictus, Jacobus de, 320.

Bennett, Joseph, 207, 306, 308, 314.

Bennett, W. Sterndale, 183f. ‘The May Queen,’ 183f. The Woman of Samaria, 282f.

Benoist, François, 466f.

Benoît, Pierre Léopold, 301f, 392. _Lucifer_, 301f.

Berg, Alban, 353.

Berger, Wilhelm, 357.

Berlioz, Hector, 156ff, 170 (footnote). The Damnation of Faust, 157f. The Childhood of Christ, 286. Requiem, 337f. Te Deum, 339.

Bernard de Morlaix (12th cent. writer), 315.

Best, William Thomas, 477, 493.

Bird, Arthur, 460.

Blair, Hugh, 495.

Blasi, Luca, 405.

Blitheman (English organist), 448.

Blockx, Jan, 392.

Blow, John, 451, 475.

Blowers (organ), 403.

Boehm, 131.

Boëllmann, Leon, 486.

Boëly, Alexandre Pierre François, 466.

[St.] Bonaventura, 320.

Bonnal, Ermand, 486.

Bonnet, Joseph, 486.

Book of Common Prayer, 90.

‘Book of Orm,’ 369.

Borowski, Felix, 501.

Bossi, Enrico, 393; (organ music), 491.

Boston, U.S. (Handel and Haydn society), 219, 242, 314, 380; (early and famous organs), 496f.

Boulestin, Xaver M. (quoted on Holbrooke), 376.

Bourgault-Ducoudray, 392.

Bourgeois, 96.

Boyce, William (English organ composer), 472.

Brahms, Johannes, 193f, 334; (as organ composer), 463f. Song of Triumph, 194. Song of Destiny, 195f. ‘Rinaldo,’ 196. German Requiem, 292f.

Brattle, Thomas, 496.

Brattle organ (America), 496.

Breitkopf & Härtel, 65, 71 (footnote), 332.

Brewer, A. H., 379.

Bridge, Sir John Frederick, 493.

Bridges, Robert (poet), 210.

Brockes, B. H., 244.

Bromfield, Edward, 496.

Brosig, Moritz (church composer), 324.

Browning, Robert, 369, 458.

Bruch, Max, 197ff. ‘Frithjof,’ 197f. ‘Fair Ellen,’ 198f. ‘The Cross of Fire,’ 199f. ‘Lay of the Bell,’ 200. _Odysseus_, 200f. _Achilles_, 201. _Arminius_, 201.

Brucken-Fock, G. H. G. von, 358.

Bruckner, Anton, 488.

Bruneau, Alfred (quot. on Debussy), 387.

Buchanan, Robert, 369, 370.

Buck, Dudley, 218f, 498. ‘The Golden Legend,’ 219. ‘The Light of Asia,’ 219f.

Budapest Conservatory, 277.

Bull, John, 448, 449.

Bülow, Hans von (quoted on Verdi’s Mass), 344.

Bungert, August, 355f.

Burney (cited), 72, 102f.

Burns, 210.

Busch, Carl, 384.

Busoni, Ferruccio, 440, 492.

Buus, Jacques, 417.

Buxtehude, Dietrich, 433f, 436.

Byrd, William, 75, 98, 136, 449.

C

Cabezón, 445.

Caccini, 101.

Callaerts, Joseph, 470.

Calvin, 95, 96.

Campbell, 211.

Campion (English writer of odes), 141.

Candeille, 466.

Canon (earliest example), 32f.

Cantata, ix, 91, 99ff; (German Church), 91, 113ff; (first use of name), 101; (17th cent.), 103f; (early examples), 104; (Italian), 109f; (in France), 111; (in Germany), 111f; (texts), 117f; (in 19th cent.), 142ff; (chronological grouping), 189; (modern), 189ff; (English, late 19th cent.), 208; (in United States), 218.

Cantata da camera, 101.

Canterbury Cathedral (organ), 408.

Cantors, 87f.

Cantus firmus, 20.

Canzona Francese, 418.

Canzonet, 25 (footnote), 140.

Capel-Cure, [Rev.] E., 361.

Capocci, Filippo, 491.

Cardiff Festival, 369.

Carissimi, Giacomo, 101f, 108, 227f; (contemporaries), 230; (oratorios), 247. _Jephta_, 228f.

Carlyle (quot. on Séjan), 466.

Carrera, Rafael, 232.

Catoire, Georges, 396.

Cavaillé-Coll, Aristide, 407, 411.

Cavalieri, Emilio de, 100, 101 (footnote), 224f; (contemporaries), 227.

Cecilia Society of Frankfort, 270.

Cecilian Society, 323.

Celles, Dom Jean François Bedos de, 445.

Cesti, Marc’ Antonio, 105.

Chadwick, George Whitfield, 221, 381, 464. ‘Judith,’ 381f. ‘Noël,’ 382.

Chamber organ, 411f.

Chamberlyn (organ builder), 405.

Chambonnières, Jacques Champion de, 442.

Chanson, 25 (footnote), 29, 46ff.

Chant, 21; (oral transmission of), 5. See also Gregorian chant.

Chapman (English masque writer), 141.

Charlemagne, 17f, 400.

Charles II, King of England, 90.

Charles IX, King of France, 57.

Charpentier, 391.

Cherubini, Luigi, 324, 333f. Requiem Mass in C minor, 333. Requiem Mass in D minor, 333f. Eight Voice Credo, 334. Mass in D minor, 334.

Choirs (double, etc.), 69.

Choral folk-singing, xii-f.

Choral music (origin and development), ix-f; (divisions), xii-f; (conditions essential to efficient performance), xiv; (forms in use in United States), xiv-f; (influence of), xviii; (in Middle Ages), 1-98; (kinds used in mediæval era), 52 (footnote); (melody in treble), 83; (contemporary), 347-397. See also Cantata, Mass, Oratorio, Part-Song, etc.

Choral Societies, xv-f; (first German), 185f; (in France in 19th cent.), 187f.

Chorale, 79f, 83, 123.

Chorley, Henry F., 179, 183, 253.

Chromatic tones (first use), 22.

Church choirs, xv.

Church of England, 89. See Anglican church.

Church music (early Christian) 1ff; (influence of Hebrews), 3; (influence of Græco-Roman music), 3; (outside of Italy), 17; (introduction of organ in service), 399; See also Anglican church music; Lutheran church; Roman Catholic church, etc.

Church singers (importance in mediæval music), 22.

Civic choruses, xix.

Clarke-Whitfield, John, 473f.

Clement VII, Pope, 89.

Clemm, John, 496.

Clérambault, Louis Nicolas, 444.

Cole, Rossetter Gleason, 384f, 501.

Coleridge-Taylor, Samuel, 215f; (choral works), 370f. ‘Scenes from the Song of Hiawatha,’ 216f.

Collin, Paul (poet), 296.

Collins (writer of odes), 141.

Cologne (early organ), 401.

Colomb (librettist for Franck), 297.

Columbi, Vincenzo, 405.

Comic opera (earliest example), 26f.

Commer, Franz, 425 (footnote).

Compenius (organ builder), 405.

Composition pedals (organ), 407.

Concert organ, 411f.

Concerto (name applied to cantata), 122 (footnote).

Congregational singing, xiv, 96f.

Constantine. See Konstantine.

Contemporaneous choral music, 359ff.

Converse, Frederick Shepherd, 383f. ‘Job,’ 383.

Cooke, Benjamin (English organ composer), 472.

Cooley, Elsie Jones, 384.

Cornelius Severus, 399.

Costa, Michael, 179. ‘The Dream,’ 179f. ‘Eli,’ 283f.

Councils. See Trent, Council of.

Couperin, François, 436, 442, 443f.

Couwenbergh, H. V., 409.

Coward, Henry, 368.

Cowen, Frederic Hymen, 314, 369f.

Cranach, Lucas, 427.

Crequillon, 421.

Croce, Giovanni, 70.

Croft, William, 451.

Cromwell, 452.

Crotch, William, 474.

Crowest, F. J. (quot. on ‘Messiah’), 252.

Crüger, Johann, 86.

Cueppers, F., 201.

Currendi, 88f.

D

‘Damnation of Faust’ (Berlioz), 170 (footnote).

Damrémont, General, 337.

Damrosch, Leopold, 220.

Dance songs, xii.

David, Félicien, 175f. ‘The Desert,’ 176f.

Davies, Henry Walford, 377f. Everyman, 377f. The Temple, 377f. Hervé Riel, 378.

Day (choral collection), 91.

Dayas, William H., 500.

Debussy, Claude, 387f. _La Demoiselle élue_, 387. _Le martyre de Saint-Sébastien_, 387f.

Delaney (quot. on Mrs. Cibber), 251.

Delmotte, Heinrich (cited on Lassus), 58.

Dethier, Gaston, 501.

Dettingen Te Deum, 327f.

Devrient, Édouard, 242 (footnote).

Dialogue (name applied to cantata), 122 (footnote).

Diaphone (organ), 411.

Dickinson, Edward (quot.), 38, 63, 122; (cited on Bach’s cantatas), 122.

Diminution (organ playing), 422.

Diruta, Girolamo, 422f.

Discant, 2, 20.

Division (in organ mechanism), 404.

Doddridge, 135f.

Doles, Johann Friedrich, 457.

Draeseke, Felix, 355.

Dresden (Royal Library), 109; (Royal Chapel organ), 406.

Dryden, 110, 141, 210.

Dryvers, L., 409.

Dubois, Théodore, 206, 479, 485. ‘Paradise Lost,’ 305f.

Duddyngton (organ builder), 405.

Dufay (use of popular songs), 42 (footnote), 47f.

Dukas, 392.

Duke of Weimar, 277.

Dunham, Henry M., 500.

[St.] Dunstan, 401.

Duplex stop control, 409.

Dupuis, Thomas Sanders, 472.

Durante, 137.

Dvořák, Antonin, 202f, 322. ‘The Spectre’s Bride,’ 202f. ‘St. Ludmila,’ 293. Requiem, 342. Stabat Mater, 342f.

E

Early Christian music. See Church music.

Eccard, Johann, 85f.

Echo (in the organ), 406.

Eddy, Clarence, 460.

Edward VI of England, 90, 449.

Edwards (English madrigalist), 75.

Egyptians, 1.

Eisenach, 77 (footnote).

Electricity (applied to organ action), 407, 408f.

Elgar, [Sir] Edward, 211ff, 355, 359f; (organ compositions), 494. ‘The Black Knight,’ 212. ‘The Banner of St. George,’ 212f. ‘Scenes from the Saga of King Olaf,’ 213. ‘Caractacus,’ 213f. ‘The Light of Life,’ 361f. ‘The Dream of Gerontius,’ 362f. ‘The Apostles,’ 364f. ‘The Kingdom,’ 366f. ‘The Music Makers,’ 367f.

Elizabeth, Queen of England, 90, 93, 448, 449.

Elwyn, Earl of, 401.

England (contemporary choral music), 359ff; (organs, 15th cent.), 404.

Englefried, George and Charles, 410.

Enoch, Frederick, 181.

Erbach, Christian, 431.

Esterhazy, Count, 335.

Ett, Kaspar, 323.

Eyken, Jan Albert van, 469.

F

Fährmann, Ernst Hans, 487.

Faisst, Immanuel Gottlob Friedrich, 463.

Families of tone (in organ), 410.

Fantasia, 419.

Farmer, Henry, 346.

Fasolo, Giovanni Battista, 425.

Faulkes, William, 494.

Federlin, Gottfried H., 501.

Ferdinand III, 431.

Festa, Constanzo, 72.

Festivals (in England), 178.

Fétis (cited on Scarlatti), 231 (footnote); (cited on Landino), 416; (cited on Merulo), 420; (cited on Gigault), 442; (cited on Rinck), 459.

Fischer, Michael Gotthard, 458, 459.

Fitzwilliam Virginal Book, 449.

Fletcher (as writer of masques), 141.

Folk-song, xi, xii, 23f, 34; (relation to art-music), 35f; (influence upon German ritual), 93f; (in Lutheran ritual), 113; (rel. to part-song), 140.

Fontane, Theodor, 380.

Foote, Arthur, 221, 449.

Förner, C. F., 405.

France (modern choral music), 386ff; (famous organs), 404; (supremacy in modern organ music), 479.

Francesco degli organi, 416.

Franck, César, 295f; (organ works), 470f. ‘Ruth and Boaz,’ 295. ‘The Beatitudes,’ 296f. ‘La Redemption,’ 296. ‘Rébecca,’ 296. ‘Psyché,’ 296.

Franco of Cologne, 18.

Franz, Robert, 177.

Frederick the Great, 245.

Frederick William of Prussia, 179.

Freiberg minster (organ), 406.

Frescobaldi, Girolamo, 424f, 436.

Fried, Oscar, 357.

Friedrich Augustus of Saxony, 148.

Froberger, Johann Jacob, 431, 442.

Frottola, 29f.

Fuchs, Albert, 355.

Fürst, 269.

G

Gabrieli, Andrea, 69, 421.

Gabrieli, Giovanni, 69, 234, 421.

Gade, Niels Wilhelm, 169ff. ‘The Crusaders,’ 170f. ‘The Erl-King’s Daughter,’ 171f. ‘Christmas Eve,’ 172f. ‘Comala,’ 173f. ‘Zion,’ 174f. ‘Spring’s Message,’ 175.

Gallo-Belgic School, 36f.

Garrett, George Mursell, 493.

Gauntlett, Henry John, 407.

Geibel, Emanuel, 198, 222.

George II, King of England, 250.

German church cantata, 114f.

Germany (church music), 111f; (modern choral music), 347ff; (famous organs), 404.

Giacomo, Lorenzo di, 405.

Gibbons, Orlando, 75, 98, _449f_, 475.

Gibbons, Cardinal (quot. on Catholic mass), 38f.

Gigout, Eugène, 485.

Glazounoff, 395.

Glee, 138f.

Glière, 396.

Glosada, 404.

Goethe, 168, 172, 196, 348; (quot. on Bach), 435.

Goetz, Hermann, 204.

Goss, [Sir] John, 475.

Gossec, 284.

Goudimel, 96.

Gounod, Charles, 205f; (passion music), 245; (oratorio), 286f; (masses), 341f. ‘The Redemption,’ 287f. _Mors et Vita_, 289f.

Graff, Wilhelm Paul (poet), 200.

Grainger, Percy, 377.

Grandval, C. de, 392.

Grapheus of Nuremberg (quot. on early masses), 37.

Graun, Karl Heinrich, 245f. ‘The Death of Jesus,’ 245f. Prague Te Deum, 328.

Greek Orthodox Church, x; (music of), 394.

Greeks, Ancient, 1.

Green, Samuel, 406.

Greene, Maurice, 451f.

Gregorian chant, 10, 36, 37, 285; (modern reform movement), 299.

Gregorian Antiphonary, 11ff.

Gregory the Great, Pope, 9f.

Gregory VII, 13.

Grieg, Edvard Hagerup, 205.

Grignón, 396.

Grillparzer (librettist to Schubert), 150.

Ground-bass (first recorded use), 33.

Grove’s Dictionary (cited), 33, 66 (footnote), 106.

Guami, Gioseffo, 422.

Guéranger, Prosper, 467.

Guido d’Arezzo, 18.

Guilmant, Félix Alexandre, 442 (footnote), 444, 468, 479, _480ff_, 490. Fugue in D, 482. Funeral March and Seraphic Song, 482. Lamentation, 482.

Gutenberg, 155.

H

Haberl, F. X. (cited on Palestrina), 64 (footnote), 425 (footnote).

Hadley, Henry K., 383.

Hadow, W. H. (quot. on Beethoven), 336f.

Hahn, Reynaldo, 355, 388.

Halberstadt (early organ at), 402.

Hale, Philip, 460.

Hamburg (as centre of organ art), 433.

Hamerling (German poet), 210.

Hamilton, Newburg, 256.

Hammerschmidt, Andreas, 114 (footnote).

Handel, George Frederick, 127f, 134, 322, 434; (passion music), 244; (oratorios), 246ff; (as organist), 452f; (organ works), 454f. ‘Acis and Galatea,’ 127f. ‘Alexander’s Feast,’ 129. ‘L’Allegro,’ 129f. ‘Messiah,’ 249ff. ‘Israel in Egypt,’ 252f. ‘Judas Maccabæus,’ 254f. ‘Samson,’ 256f. ‘Utrecht Te Deum,’ 327f.

Handel and Haydn Society of Boston, 219, 242, 314, 380.

Harmony, 2.

Harris, René, 406.

Harrison, Julius, 495.

Harwood, Basil, 494f.

Haskell, C. S., 408.

Haskell, W. E., 410.

Hassler, Hans Leo, 421. _Herzlich thut mich verlangen_, 430.

Hastings, 497.

Haupt, Karl August, 460.

Hauptmann, Maurice, 88.

Hausegger, Siegmund von, 357f.

Hawkins, [Sir] John (cit. on organ fantasias), 419; (quot. on Handel), 454.

Haydn, Joseph, 130f; (oratorio), 258ff. _Ariadne auf Naxos_, 130f. ‘The Seven Words of Jesus on the Cross,’ 130. ‘The Creation,’ 259ff. ‘The Seasons,’ 261f. Stabat Mater, 329.

Hebrews, 1.

Heliogabalus, 399.

Henrici, Friedrich, 244.

Henry VIII, King of England, 89, 449.

Henschel, Georg, 345.

Herbeck, 334.

Herder (poet), 192.

Hereford Festival, 322.

Hertz, Henrik, 182.

Hesse, Adolf Friedrich, 459f.

Heyse, Paul, 202.

Hiel, Emanuel (librettist to Benoît), 301.

Hildebrandt (organ builder), 405.

Hiller, Ferdinand, 168. ‘A Song of Victory,’ 168f.

Hobrecht, Jacob, 48.

Hofmann, Heinrich Karl Johann, 203f.

‘Melusina,’ 203f.

Hohenlohe, Archbishop, 280.

Holbrooke, Joseph, 374f. ‘Byron,’ 375. ‘The Bells,’ 375. Dramatic Choral Symphony, 375. ‘Queen Mab,’ 375f. ‘To Zanthe,’ 376. Apollo and the Seaman, 376.

Hölderlin, 195.

Hollins, Alfred, 494.

Holmès, Augusta, 391.

Holst, Gustave von, 376f.

[L’]Homme armé, 42 and footnote.

Hook and Hastings (organ builders), 497.

Hooker, Brian, 380.

Hope-Jones, Robert, 410f.

Hopkins, Edward John, 476.

Horn, C. F., 473.

Horn, Moritz, 166.

Horwitz, Karl, 353.

Huber, Hans, 358.

Huberti, G. L., 392.

Hucbald, 2, 18.

Humberston, F. W., 379.

Humfrey, Pelham, 133.

Hummel, 458.

Humperdinck, Engelbert, 357.

Huneker, James (quoted on Schönberg), 353.

Hungarian national march, 158.

‘Hunt’s-up’ (English song), 180 and footnote.

Hutchings, George S., 411.

Hydraulic organ, 398.

Hymnody (Luther’s influence on), 78ff.

I

[d’]Indy, Vincent, 386, 390f.

‘Song of the Bell,’ 391.

Innocent III, Pope, 320.

Instruments (in early Christian era), 7f.

Intervals, 1f; (in part writing), 21.

Ippolitoff-Ivanoff, 396.

Irving, Washington, 219.

Italian cantata, 101ff.

Italy (modern choral music), 392ff; (famous organs), 404.

Ivanovitch, Sergius, 396.

J

Jacobsen, Jens Peter, 353.

Jacobus de Benedictus, 320.

Jahn, Otto, 323.

Jalowetz, Heinrich, 353.

Jennens, Charles (librettist), 249.

Johann Georg, Elector of Saxony, 236.

Jonson, Ben, 141.

Jordans (organ builder), 406.

Josquin des Près, 48, 49ff.

Julian the Apostate, 400.

Julianus, Spanish bishop, 400.

K

Karg-Elert, Sigfrid, 489.

Karlsruhe Philharmonic Society, 195.

Kaun, Hugo, 358.

Kerl, Johann Kaspar, 431.

Keuchenthal (passion music), 236 (footnote).

Keyboard (organ), 402.

Kiesewetter, R. G. (quot. on Okeghem), 48.

Kind, Friedrich, 148.

Kinder, Ralph, 501.

Kindermann, Erasmus, 430.

Kingsley, Charles, 277, 379.

Kirbye (English madrigalist), 75.

Kirnberger, Johann Philipp, 457.

Kittel, Johann Christian, 458.

Klose, Friedrich, 488.

Koch, Friedrich, 357.

Köchel, 132 (footnote), 332.

Koninck, Lodemijk de (librettist), 299.

Konstantine, Kopronynus, 400.

Kotzebue, 141.

Kranz (organ builder), 405.

Krebs, Johann Ludwig, 458.

Kretzschmar, Hermann (quoted on Mozart), 329; (cited on Beethoven), 335.

Ktesibos, 398.

Kuhnau, Johann, 88, 425.

L

Lachner, Franz, 150.

Lady Nevill’s Virginal Book, 449.

Laloy, Pierre (quot. on Debussy), 388.

Lambillotte, Louis, 467.

‘Lament’ for Charlemagne, 24 (footnote).

Lampadius (quot. on ‘St. Paul’), 270.

Landino, Francesco, 415, 427.

Lang, Benjamin Johnson, 497.

Langdon, W. C., 381.

Lange, Samuel de, 358, 469.

Lasso, Orlando di. See Lassus.

Lassus, Orlandus, 49, 56ff; (secular compositions), 59f. ‘Penitential Psalms,’ 57f. _Gustate et Videte_, 58f.

Leading motives, 301.

Le Bègue, Nicolas Antoine, 442.

Leeds festival, 322, 368.

Le Fanu, J. S., 211.

Lefebure-Wély, Louis J. A., 467.

Legrenzi, Giovanni, 105f.

Lemare, Henry, 494.

Lemmens, Nicolas Jacques, 468f.

Leo, Leonardo, 137.

Leo XIII, Pope, 289, 345.

Lerch (of minnesingers), 28 (footnote).

Lesueur, François, 285f. Christmas Oratorio, 285f.

Liadoff, 395.

Lidley (librettist to Haydn), 259.

Lied (of minnesingers), 28 (footnote).

Lingg, H. (librettist), 197.

Liszt, Franz, 191f; (choral works), 277f; (Bach transcriptions), 438, 440 (footnote); (as organ composer), 462. ‘The Bells of Strassburg,’ 191f. ‘Prometheus,’ 192f. ‘The Legend of St. Elizabeth,’ 277f. _Christus_, 279f. _Missa Solemnis_, 340f. ‘Hungarian Coronation Mass,’ 341.

Liturgic chant, 4.

Liturgy (Roman Catholic), x, 3f, 5, 318. See also Mass.

Liverpool (organ at St. George’s Hall), 411.

Lobsinger (organ builder), 405.

Lohr, Harvey, 379.

London (Albert Hall organ), 411.

Longfellow, 191, 207, 212, 213, 216, 219, 221, 370, 380, 384.

Louis XII, King of France, 50.

Louis the Debonnaire, 400.

Lucinius, 427.

Luther, Martin, 53, 77ff, 89, 90, 236f, 484; (compositions), 79, 80 (footnote).

Lutheran service, 77f, 81, 115f; (Deutsche Messe), 82.

Luzzaschi, Luzzasco, 422.

M

Macfarlane, Will C., 501.

Macfarren, George Alexander, 180f, 282, 322. ‘May Day,’ 180. ‘The Lady of the Lake,’ 180f.

Mackenzie, Alexander Campbell, 210f, 368. ‘The Rose of Sharon,’ 306f. ‘Bethlehem,’ 308.

McLean, M., 379.

Macy, John, 384.

Madan’s Collection of Psalms and Hymn Tunes, 135.

Madrigal, xii, 30f, 70ff; (of Netherland period), 46ff; (in Germany), 72f; (in France), 73; (in England), 73f; (decline), 138.

Magnard, 392.

Magnificat, 321; (Dufay), 54f.

Mahler, Gustav, 357.

Maitland, J. H. Fuller (quoted on Brahms’ ‘German Requiem’), 293.

Male choruses, xvi.

Malling, Otto, 489f.

Malory (Morte d’Arthur), 368.

Mansfield, Purcell J., 495.

Manuals (organ), 405, 406.

Manuscripts (earliest known), 7.

Manzoni, Alessandro, 343.

Mapes, Walter, 60.

Maquaire, A., 486.

Marcellus II, Pope, 64.

Marchand, Louis, 444.

Marenzio, Luca, 72.

Martin, George C., 493.

Martini, Padre, 458.

Marx, A. B., 269.

Mary, Queen of England, 449.

Mary, Queen of Scots, 103.

Masque, 141.

Mass, xii, 38ff; (use of secular subjects), 41f; (origin of name), 42; (development during Netherland period), 46ff; (introduction of hymn), 85; (order of movements), 318f; (classification), 319ff; (19th-cent. reform), 323; (Mozart), 323, 329; (Bach), 324ff; (Haydn), 329; (Cherubini), 333f; (Beethoven), 335f; (Liszt), 340f; (Gounod), 341f; (modern), 345f.

Massenet, Jules, 206; (oratorio), 303f. _Ève_, 303f. _Marie Madeleine_, 304.

Mathieu, Émile, 392.

Mattheson, Johann, 118.

Mattheson (friend of Mendelssohn), 453.

Matthison, Arthur, 208.

Maximilian, Emperor of Austria, 427.

Measured music, 5.

Mees, Arthur (quot.), 62, 243.

Meistersinger, 27f.

Melody (placed in treble), 83.

Mendelssohn, Arnold, 357.

Mendelssohn-Bartholdy, Felix, 151ff; (part-song), 186; (oratorio), 268ff; (quot. on Bach), 437; (organ works), 461f. ‘The First Walpurgis Night,’ 152f. ‘As the Hart Pants,’ 153f. ‘Come, Let Us Sing,’ 154f. Gutenberg Festival Cantata, 155. _Lauda Sion_, 155. ‘Antigone,’ 155f. ‘Œdipus at Colonos,’ 156. ‘St. Paul,’ 269ff. ‘Elijah,’ 272ff. ‘Hymn of Praise,’ 276.

Merkel, Gustav Adolf, 463.

Merulo, Claudio, 420, 422.

Middelschulte, Wilhelm, 440 (footnote), 500.

Miller, Russell King, 501.

Milton, John (English masque writer), 141, 210, 256, 259.

Minnesingers, 26ff.

Miracle plays, 224.

Modal harmony, 56.

Monasteries (St. Gall), 8; (study of music), 18.

Monophonic music, 1.

Monteverdi, 101.

Moore, Thomas (author of ‘Lalla Rookh’), 163.

Morell, Rev. Thomas (librettist to Handel), 254.

Morgan, George W., 460, 497.

Motet (Netherland period), 46ff; (Josquin), 50; (early history), 52f; (subjects and early examples), 54f; (18th cent.), 136f; (19th cent.), 185.

Moussorgsky, Modeste, 395; Destruction of Sennacherib, 395.

Mozart, Wolfgang Amadeus, 131f; (relation to Haydn), 258 and footnote; (mass), 323, 331f. ‘King Thamos,’ 131. Masonic Cantatas, 132. _Davidde Penitente_, 132. Requiem, 329ff. Coronation Mass, 332f.

Muffat, Georg, 432.

Multiple stop control, 409.

Mumford, Ethel Watts, 383.

Musæ Sioniæ (hymn collection), 86.

Music festivals (in England), 178.

Musica Transalpina (madrigal collection), 72, 73.

Musical Art Society of New York, xviii.

N

Napier, Hampdon (librettist to Weber), 148.

Napoleon I, 259, 339.

Nares, James (English organ composer), 472.

Nassare, Pablo, 445.

National Conservatory of Music, New York, 222.

National songs, xii.

Naumann, Emil (cit.), 24; (quot. on Ecce Ancilla), 47; (cited on Okeghem), 49; (cited on Luther’s hymns), 85.

Nekrassoff, 395.

Nero, 399.

Netherland schools, 46ff; (mass), 37f; (use of secular subjects), 43f; (texts), 44; (differentiation of schools), 47f; (organists), 417.

Neumes, 5f.

Newman, Cardinal (cited on dream of Gerontius), 362.

Newman, Ernest (quoted on Schönberg), 354.

Nicetas, Bishop of Remesiana, 322.

Nicholl, Horace Wadhams, 500.

Nigond, Gabriel, 389.

Ninfale, 415.

Nisard, Theódore, 467.

Noordt, Anthony van, 466.

Normand. See Nisard.

Nottebohm (cited on Schubert), 150.

Novello, Vincent, 332, 475.

Nowowiejski, Felix, 396.

Nuremberg (first chorale collection published at), 83 (footnote); (as home of organ music), 430.

O

Oakley, Sir Hubert Stanley, 493.

Obrecht. See Hobrecht.

Ode, 141; (revival of), 209.

Okeghem, Johannes, 48f.

Opera, xii; (first), 99.

Oratorio (first), 99; (origin and early examples), 223f; (Cavalieri’s stage directions), 225f; (17th-cent. Italian), 233ff; (German passion-music), 234ff; (Handel), 246ff; (Haydn), 258ff; (Beethoven), 264f; (Spohr), 266f; (Mendelssohn), 268ff; (Liszt), 277ff; (English composers), 281f; (in modern France), 284f; (modern), 292ff; (modern English), 306f; (American), 314f.

Oratorio Society of New York, xv-f.

Orchestra (employment of, in ritual music), 134.

Organ, 83; (history and development), 397ff; (10th-11th cent.), 400ff; (portative), 402, 415; (15th-17th cent.), 404f; (18th-19th cent.), 406; (modern development), 407ff; (modern concert organ), 411f; (early use in church service), 418; (first in America), 496.

Organ blowers, 403.

Organ-building (10th-11th cent.), 400f; (12th-14th cent.), 401ff; (15th-16th cent.), 403ff; (17th-19th cent.), 405ff; (modern), 407ff.

Organ keyboard, 402. See also Pneumatic action; Electricity.

‘Organ Magnificats,’ 321.

Organ music (early masters), 415ff; (early forms), 418f; (Saxon or Thuringian school), 434ff; (Bach), 435ff; (early French), 441ff; (Spain and Portugal), 445; (early English), 446ff; (Handel), 452; (after Bach and Handel), 456ff; (19th-cent. German), 459ff; (19th-cent. French), 466ff; (19th-cent. English), 472ff; (arrangements), 473; (modern French), 479ff; (modern German), 487f; (modern Italian), 490f; (in United States), 495ff; (American composers), 499f.

Organ pedals, 403.

Organ playing (methods), iii, 422f, 459, 460.

Organists (in Germany), 426ff; (in France), 441; (in Spain and Portugal), 445f; (Belgium), 469f; (English), 472; (younger French school), 486; (younger English school), 493; (American), 497ff.

Organum, 2, 19f.

Organum pulsare, 402.

Ornamentation (organ music), 423.

O’Shaughnessy, Arthur, 367.

Osiander, Lucas (published first chorale book), 83 (footnote).

Ottoboni, Cardinal, 453.

Ouseley, [Sir] Frederick Arthur Gore, 476f.

P

Pachelbel, Johann, 429, 430f, 436.

Paine, John K., 314f, 460, 497. ‘St. Peter,’ 314f.

Paix, Jacob, 428.

Palestrina, x, 17, 49, 60ff, 91, 422; (contemporaries), 67f; (motets), 136, 138. _Missa Papæ Marcelli_, 63f.

Palestrina style, 61f, 322.

Pareja, Ramis de, 445.

Parker, Horatio William, 221f, 464, 499. _Hora Novissima_, 315f. ‘The Legend of St. Christopher,’ 316f. ‘Morven and the Grail,’ 380f.

Parker, James Cutler Dunn, 497.

Parratt, [Sir] Walter, 493.

Parry, [Sir] C. Hubert H., 20 (footnote), 209f, 322; (quot. on Rossi), 104f; (quot. on 17th-cent. cantatas), 108. ‘Judith,’ 308f. ‘Job,’ 309. ‘King Saul,’ 309f. ‘The Vision of Life,’ 369f. ‘The Pied Piper of Hamelin,’ 369.

## Partida (organ mechanism), 404.

Part-singing, 19f.

Part-song (origin), 140; (German, 19th cent.), 186f; (English, 19th cent.), 187; (French, 19th cent.), 188.

Pasquini, Bernardo, 425f.

Passion-music (origin and development), 234f; (Schütz), 236f; (Bach), 239ff; (Graun), 245f.

Pastourelle, 25 (footnote).

Paul IV, Pope, 66.

Paumann, Conrad, 427.

Peace, Albert Lister, 493.

Pedals (organ), 403, 405.

Pedrell, Felipe, 396.

‘Penitential Psalms’ (Lassus), 57f.

People’s Choral Union (New York), xv.

People’s Singing Classes (New York), xv.

Pepin, 400.

Pergolesi, Giov. Battista, 137, 327. Stabat Mater, 327.

Peri, 100, 101, 405.

Periods of musical progress, 142f.

Perosi, Don Lorenzo, 392f, 492.

Perrot (organ builder), 405.

Péschard (organ builder), 407.

Petrali, Vincenzo Antonio, 491.

Petrarch, 71 (footnote).

Petronius, 399.

Philip of Vitry, 53.

Philip II, King of Spain, 404.

Picander. See Henrici.

Pierluigi, Giovanni. See Palestrina.

Pierné, Gabriel, 355, 386, 388f. _Les enfants de Bethlehem_, 388. ‘The Children’s Crusade,’ 389. _Saint-François d’Assisi_, 389f.

Pius X, Pope, 6.

Piutti, Carl, 487.

Plainsong. See Gregorian chant; Gregorian antiphonary.

Platen, August von, 172.

Platz, Wilhelm, 355.

Pneumatic action (in organ), 398, 400, 407.

Pneumatic lever (organ), 407.

Pneumatic organ, 400.

Poe, Edgar Allan, 376, 396.

Pohl, Richard, 166.

Poland (contemporaneous choral music), 396.

Polyphonic period, 36ff.

Pope, 210.

Portative organ, 399, 403, 405, 416.

Positive organ, 399.

Possessoris, 398.

Poushkin, 395.

Prætorius, Jacob, 432 (footnote).

Prætorius, Michael, 86, 402, 421.

Prague Te Deum, 328f.

Pratt, Waldo S. (quot. on Palestrina), 62.

Prelude, 429.

Professional choruses, xvii.

Prölz, Adolphus, 155.

Proske, Karl, 323, 467; (quot. on Lassus), 56f.

Protestant church music, 76ff; (substitution of vernacular for Latin), 78; (in England), 89f.

Protestant composers (early), 86f, 94.

Protestant hymnody, 78.

Protestant service (Reformed church), 95f. See Lutheran service.

Psalmists, 95.

Psalmody, 95; (18th cent.), 135.

Public school choruses, xvi.

Purcell, Henry, 133, 322; (as organ composer), 452.

Puritanism, 96.

Q

Quantz, Johann Joachim, 474f; (quoted), 456.

Quef, Charles, 486.

R

Rachmaninoff, 395.

Raison, André, 442.

Rameau, Jean Philippe, 444f.

Ramler (librettist), 245.

Ramsay (early organ at convent of), 401.

Randebrock (organ builder), 409.

Ravanello, Oreste, 491f.

Ravel, Maurice, 392.

Recitative, 230f.

Redford, Thomas, 448.

Refrains, xii.

Regal, 405.

Reger, Max (choral works), 352f, 429, 440 (footnote); (organ works), 488f.

Reidel, Carl, 238.

Reimann, Heinrich (quot. on Mozart), 323.

Reinken, Johann Adam, 432 (footnote).

Representative style, 100.

Requiem mass, 320.

Responsorial singing, 8.

Resultant tone (organ), 459.

Revolution of 1830, 337.

Reubke, Julius, 463.

Rheinberger, Joseph, 201f, 324; (masses), 345; (organ works), 464ff. _Christophorus_, 201f.

Ribera (painter of ‘Magdalen’), 231.

Ricercare, 418.

Richter, E. F., 88.

Rimsky-Korsakoff, 395.

Rinck, J. C. H., 458, 459.

Ritter August Gottfried, 425 (footnote), 460; (cit. on Crequillon), 421; (quot. on Guami), 422; (cit. on Hassler), 430; (quot. on Muffat), 432.

Ritual (Pagan, Hebrew), 3; (uniformity in, of mediæval European composers), 76; (music in Anglican church), 90f. See also Roman Catholic church; Litany; Lutheran service.

Rochlitz, Friedrich (librettist of ‘The Praise of Music’), 146.

Rockstro (quoted), 23; (cited on first use of ‘madrigal’), 73 (footnote).

Rococo organ embellishments, 406.

Rogers, James Hotchkiss, 500.

‘Roland’s Song,’ 24 (footnote).

Rolland, Romain (quot. on Strauss), 348; (quot. on modern choral school), 386; (quoted on oratorio), 393.

Romberg, Andreas, 146f. ‘The Lay of the Bell,’ 146f.

Roman Catholic church, x, 8, 38ff; (introduction of antiphonal psalmody), 9; (influence of Protestant hymn), 84; (movement for restoration), 323f. See also Gregorian chant; Mass, etc.

Romans, 1.

Roosevelt, Hilborne L., 408, 411.

Rootham, Bradley, 379.

Roquette, Otto (librettist), 278.

Rossetti, Christina, 180, 387.

Rossi, Luigi, 104f. _Gelosia_, 104f.

Rossini, Gioacchino, 339f. Stabat Mater, 339f.

Round, 32.

Roundelay, 25 (footnote).

Rousseau, Samuel Alexandre, 485f.

Rückert, Friedrich, 167, 349, 350.

Rückpositiv, 404.

Rudolph, Emperor of Austria, 430.

Russia (contemporary choral music), 394f.

Rust, Wilhelm, 88.

S

Sachs, Hans, 27.

Sacred Harmonic Society, London, 252f.

St. Ambrose (hymns of), 8ff, 484.

St. Filippo Nero, 224.

St. George’s Hall, Liverpool (organ in), 411.

St. Mark’s, Venice, 417, 419f.

Saint-Saëns, Charles Camille (oratorio), 302f; (as organ composer), 480. _Noël_, 302. ‘The Deluge,’ 302f.

Salamon, 259.

Salomé, Théodore César, 485.

Salto cattivo (organ playing), 423.

Salzburg, Archbishop of, 332f.

Santa Maria, Thomas de, 445.

Santucci, Marco, 490f.

Scandellus, 237.

Scandinavia (contemporary choral music), 394.

Scarlatti, Alessandro, 106ff, 137, 230f. Cantatas, 106f. _Il trionfo della grazia_, 231. _Sedecia, rè di Gerusalemme_, 231f.

Scarlatti, Domenico, 109, 453.

Scheidemann, Heinrich, 432 (footnote).

Scheidt, Samuel, 432 (footnote).

Schein, 88.

Schering (quot. on Everyman), 378.

Schikaneder, 131.

Schildt, Melchior, 432 (footnote).

Schiller, 146, 200, 204, 349, 395.

Schlick, Arnold, 427.

Schmid (organ builder), 405.

Schmid, Bernard, 428.

Schmidt (German organist), 450.

Schmitt, Aloys, 333.

Schmitt, Florent, 386, 390.

Schneider, Johann Gottlob, 458, 459, 469.

Schnitzker (organ builder), 405.

Scholæ cantorum, 6, 10.

Schönberg, Arnold, 353f. _Gurrelieder_, 354.

Schubert, Franz, 149f; (part-song), 186; (masses), 334. _Miriams Siegesgesang_, 150.

Schumann, Georg, 351f; (as organ composer), 462. ‘Ruth,’ 351.

Schumann, Robert, 161ff; (part-song), 162f, 186, 204, 346; (quoted on Bach), 435. ‘Paradise and the Peri,’ 162f. ‘The Pilgrimage of the Rose,’ 166. ‘The Minstrel’s Curse,’ 166f. ‘Advent Hymn,’ 167. ‘New Year’s Hymn,’ 167f. ‘Mignon’s Requiem,’ 168.

Schütz, Heinrich, 236f, 421. ‘Seven Words of Jesus,’ 237f. ‘Resurrection,’ 237. ‘Passions,’, 238.

Schwob, Marcel, 389.

Scott, [Sir] Walter, 180, 199, 380.

Scriabine, 376.

Secular music, 23ff; (earliest known examples), 25; (first use of polyphony), 29. See also Cantata; Chanson; Folk-song; Madrigal; Part-song.

Seifert, Paul, 432 (footnote).

Séjan, Nicolas, 466.

Sequences, 14ff.

Serenade, 25 (footnote).

Servante, 25 (footnote).

Seyfried, 458.

Sguarcialupo, Antonio, 416.

Sheffield Festival, 368.

Shelley, Harry Rowe, 209, 501.

Shirley, James, 210.

Shubring (friend of Mendelssohn), 269.

Silas, Eduard, 346.

Silbermann family (organ builders), 406.

Singing schools, 6f, 10, 13.

Sistine Chapel, 11.

Skinner, Ernest M., 411.

Smart, [Sir] George, 265.

Smart, Henry, 181f; (as organ composer), 475f. ‘The Bride of Dunkerron,’ 181f. ‘King René’s Daughter,’ 182f.

Smith, David Stanley, 385.

Smith, Father, 406, 450.

Solmisation, 18.

Sophocles, 155, 156.

Spain (famous organs), 404.

Spark, William, 476.

Speth, Johann, 431.

Spitta, Philipp (quot. on church music), 118; (on J. S. Bach), 120; (quot. on Bach), 437.

Spohr, Ludwig, 150f, 266f. ‘The Last Judgment,’ 266f. ‘Calvary,’ 267f.

Spruch (of minnesingers), 28 (footnote).

Stabat Mater, 320f.

Staff (origin of), 18.

Staff notation (first use), 5.

Stage directions for oratorio, 225f.

Stainer, Sir John, 493; (cited), 31.

Stanford, Charles Villiers, 211, 346. ‘The Three Holy Children,’ 310. ‘Eden,’ 310f.

Stile rappresentativo, 100.

Stradella, Alessandro, 232f. _S. Giovanni Battista_, 233.

Strauss, Richard, 348f; (short choral works), 349; (religious music), 350. _Wanderers Sturmlied_, 348. _Taillefer_, 349. _Der Abend_, 349.

Stravinsky, 396.

Sullivan, [Sir] Arthur Seymour, 206f, 322. ‘The Golden Legend,’ 206f. ‘The Prodigal Son,’ 311f. ‘The Light of the World,’ 312f.

‘Sumer is icumen in,’ 32f.

Süssmayer, 330.

Sweelinck, J. P., 427, 429, 446.

Swell chambers (organ), 409f.

Swell (organ), 406.

Swieten, Baron von, 259.

Sydney, N. S. W. (organ), 411.

Sylvester, Pope, 6.

Syrinx, 397.

T

Tablatura nova, 429.

Tablature (organ), 422, 423.

Tallis, Thomas, 136, 448f.

Taneieff, Alexander, 396.

Tartini, 490.

Tasso (‘Jerusalem Delivered’), 170.

Taubmann, Otto, 350f. _Deutsche Messe_, 350. _Sängerweihe_, 350.

Taussig (Bach transcription), 440.

Te Deum Laudamus, 322.

Tebaldini, Giovanni, 393, 491.

Tegner, Bishop (librettist), 197.

Tempo (method of determining), 474f.

Tennyson, 211.

Tenzone, 25 (footnote).

Thayer, Eugene W., 460, 497, 500.

Theatre organs, 413.

Thiele, Johann Friedrich Ludwig, 462.

Thirty Years’ War (effect of, on chorale), 83.

Thomas Aquinas (author of Lauda Sion), 155.

Thomas (organ builder), 406.

Thomas, Theodore, 288, 292.

Thomasschule, 88.

Thomson (author of ‘Seasons’), 261.

Thuille, Ludwig, 357.

Tinel, Edgar, 299f, 392, 470. _Franciscus_, 299f.

Titelouze, Jean, 441f.

Toccata, 418.

Tombelle, Ferdinand de la, 486.

Tone grouping (in organ), 410.

Trampeli (organ builders), 405.

Trench (librettist of ‘Apollo and the Seaman’), 376.

Trent, Council of, 58, 64, 119.

Tropes, 16.

Troubadours, 24f; (historical significance), 28.

Trouvères, 25; (historical significance), 28.

Truette, E. E., 460.

Tubular pneumatic action (in organ), 407.

Tuckerman, Samuel Parkman, 497.

Tuning, 405.

Turpin, Edmund Hart, 493.

Tye, Christopher, 98, _448_, 475.

U

Uhland, 166, 212, 349.

Unequal temperament, 405.

Unit stop control, 409.

Universal air chest, 409.

Utrecht Te Deum, 327f, 453.

V

Valbecke, Ludwig van, 403.

Vallotti, Francesco Antonio, 490.

Vavrineoz, Mauritius, 396.

Venetian school, 68f; (madrigalists), 71f.

Verdi, Giuseppe, 343f. Manzoni Requiem, 343f.

Vetruvius, 398 (footnote).

Villanella, 140 (footnote).

Vilotti, 458.

Virginal Book of Queen Elizabeth, 449.

Vitry, Philippe de, 53.

Vittoria (compared with Palestrina), 68.

Vogler, [Abbé] Georg Joseph, 458f, 490.

Vrchlicky, Jaroslav, 293.

W

Wackernagel, Philip (cited on German hymns), 78 (footnote).

Wagner, Richard, 189f. ‘The Love-Feast of the Apostles,’ 190f.

Walker, Ernest (quoted on the ‘Messiah’), 249f.

Walsegg, Franz von, Count of Ruppach, 330.

Walther, Johann, 85, 484.

War songs, xii.

Warren, George William, 497.

Wasielewski (cit. on G. Gabrieli), 421, 422.

Water organ, 398, 399.

Water pressure (in organ), 398.

Waterloo, 148.

Watson: ‘Italian Madrigals Englished,’ 72 (footnote).

Watts, 135f.

Webbe, Samuel, 139f.

Weber, Carl Maria von, 147, 186, 459; (masses), 337. ‘Jubilee Cantata,’ 147f. ‘_Kampf und Sieg_,’ 148f.

Weber, Constance, 132.

Webern, Anton von, 353.

Weelkes (English madrigalist), 75.

Weinmann, Karl (cited on mediæval music), 20; (quot. on Netherlanders), 43; (cited on Beethoven), 324.

Weissenbach, Aloys, 145.

Wellesz, Egon, 353.

Wendt, Amadeus, 148.

Wensley, Shapcott (librettist), 212.

Wesley, Charles (Christmas hymn of), 155 (footnote).

Wesley, Charles (organist), 472.

Wesley, Samuel, 473.

Wesley, Samuel Sebastian, 475.

White (organ builder), 405.

Whiteley, John W., 410.

Whiting, Arthur, 222.

Whiting, George Elbridge, 221, 500.

Whittier, 368.

Widor, Charles Marie, 468, 479, 482, 483f.

Wilbye (English madrigalist), 75.

Wilcox, John H., 497.

Willaert, Adrian, 69, 417, 420.

Willcox, John Henry, 497.

William, Duke of Bavaria, 56.

William of Malmesbury, 401.

William IV, King of Prussia, 155.

Williams, C. F. Abdy, 432 (footnote).

Williams, C. Lee, 379.

Williams, Ralph Vaughan, 377.

Willis, H. W. (organ builder), 407, 408, 411.

Winchester (famous early organs at), 401.

Wind-chest, organ, 405; (separate), 407; (electro-pneumatic), 408f.

Wind-gauge (organ), 405.

Wind-power, regulation of (in organ), 405.

Wind pressure (in organ), 398.

Winterfeld (cited on Passion music), 236 (footnote).

Witt, Franz (quoted on masses), 323.

Wohlbrück (librettist), 148f. _La vita nuova_, 394.

Wolf-Ferrari, Ermanno, 393f.

Wolfrum, Philip, 355.

Wolle, J. Frederick, 327.

[St.] Wolstan, 401.

Wolstenholme, William, 494.

Woltz, Johann, 428.

Women’s choruses, xvi.

Wood, Anthony (quot. on Tye), 448.

Wood, Henry, 379.

Worms, Diet of, 89.

Wotton, William, 405.

Woyrsch, Felix, 356f. ‘The Dance of Death,’ 356f.

Z

Ziehn, Bernard, 492.

Zipoli, Domenico, 426.

Zucchetti, 419.

Zwingli, 90.