CHAPTER XVIII

THE PIANOFORTE AND OTHER INSTRUMENTS IN CHAMBER MUSIC

The trio--Pianoforte quartets and quintets--Sonatas for violoncello and piano--The piano with wind instruments--Chamber music for wind instruments by the great composers.

The pianoforte has always played an important part in chamber music, if, indeed, the best pianoforte music may not itself be considered chamber music. Few instrumental works were written during the seventeenth century in which the harpsichord was not supposed to furnish a foundation of harmony, or was not expected to contribute more specifically to the texture of the music. The concertos and sonatas of Corelli and Vivaldi, of Bach and Handel, of Couperin and Rameau, of Purcell; all these were founded upon a figured bass, to be played by harpsichord, lute or viol, or contained a part written for the harpsichord. The figured bass gradually dropped out of music as composers gained skill to manage their combinations of instruments sonorously. Out of this skill grew up the orchestra, and, in the realm of chamber music, the string quartet. But meanwhile composers were developing a great technique in writing for the harpsichord, so that it came little by little wholly to supplant the lute, and to win a distinguished, independent place of its own as a solo instrument. There are concertos of Bach and Couperin in which the harpsichord plays almost as brilliant a part as in the modern concerto, and the violin sonatas of Bach are virtually in the style of trios, because the harpsichord is treated always as adding two parts to the one of the violin. Finally, the modern trio really grew up around the harpsichord or the pianoforte.

I

The trios of the seventeenth century--the _Sonate a tre_--were written for three concertizing instruments and a figured bass, really four parts in all. During the eighteenth century the word trio took on quite a different significance and was applied to compositions written for the harpsichord with _one_ other solo instrument, violin, oboe, or flute, like the violin sonatas of Bach. Vaguely at the time of the young Haydn, clearly when Mozart entered the world of music, the word took on the meaning that it still holds today: a composition written for three instruments, pianoforte, violin and cello. If another combination of instruments is meant, then those instruments are usually specifically designated in the title of the work.

The Haydn Trios are of little importance. There are thirty-five in all, and it has been said that the majority were written for a patron who played the cello a very little. Hence one finds the cello part in this combination to be merely a duplication of the bass part of the pianoforte, having little independent movement of its own; and the works are rather sonatas with violin than trios.

Mozart, on the other hand, treated the combination with a fine sense of the effects that could be made with it. He gave to each of the three instruments a free line of its own, and made fine use of the possibilities of tonal contrast and color. There are eight trios in all. They are not representative of Mozart’s best, though there is not one in which Mozart’s inimitable grace is lacking; but in spite of their slenderness they may be considered the first pianoforte trios in the modern sense, and to have set the model for subsequent works in that form.

These are not very numerous, if one excludes from them a great number of fantasias or popular operas such as were written by Woelfl, Nicholas Lomi and other composers of the virtuoso type. Nor does the form show much development except that which accompanies an improvement in pianofortes and a progress in technical skill on all these instruments. Only a few trios stand out conspicuously as having high musical worth, or as having been a worthy expression of genius.

There are eight trios by Beethoven. Of these three were published as opus 1, and hardly show an advance over the trios of Mozart, if indeed they do not fall considerably short of them in point of finish and style. Two were not published in his lifetime, and one of these is only a fragment, a single movement in B-flat major, composed in June, 1812, for Maximilian Brentano. There are, then, but three that are representative of the mature Beethoven, two published as opus 70, and one, in B-flat major, opus 97, dedicated to his favorite pupil, the Archduke Rudolph. The writing for the three instruments is especially clear in the first allegro of opus 70, No. 1, a lively, vivacious movement in D major. The slow movement of this trio is rather remarkably scored for the pianoforte, which is almost constantly engaged in tremolos, strange broken trills, and runs. The last movement is full of Beethoven’s humor, very distinctly in the swing of a folk-song. Throughout there is much brilliant work for the piano, and a ceaseless witty interchange between the other two parts. There is an extraordinary pedal point before the return to the first section, which is just touched upon at the end. The second of this pair of trios is not less brilliantly arranged for the three instruments. The variations in the second movement are finer than the variations in the earlier works. There is folk-song again in the third movement, a smooth _allegretto_ in A-flat major. Both trios are extraordinarily clear and happy in mood.

The trio opus 97 is one of the biggest of Beethoven’s works. The contents are more symphonic than those of his other trios, and recall something of the spirit of the quartets of opus 59. There is, indeed, a marked similarity between the opening theme of this trio and that of the quartet opus 59, No. 1, especially in the broad line of the melody. Yet though on the whole the effect of this great trio may be orchestral, there are not lacking measures of finest style, like those which follow the second theme in the first movement, with the touch or two of delicate imitation, then the soft melody of the cello with the dainty scale on the pianoforte, and then the cello and violin in octaves, with the scales on the pianoforte becoming more and more

## active and noisy. Immediately after, it is all cleverly changed about;

the strings have those lively scales and the pianoforte the melody. The scoring of the whole Scherzo, too, is especially in trio style, and may well be taken as a model. The andante and variations, and even more the last movement, are, however, hardly in the style of chamber music, and the vigorous passion of the ideas in them does considerable violence to the essentially delicate combination.

The combination is without doubt one of the most difficult to treat with success, partly because the pianoforte may be very easily led to overpower its fellow instruments, partly because notes in the lower ranges of the cello have so little carrying quality that except in very soft passages they cannot be heard in the combination. It must be said that the general development in pianoforte technique did much to overthrow the balance and adjustment so charming in the trios of Mozart and in those of opus 70 by Beethoven. Between Beethoven’s last trio, opus 97, and the trios of Brahms there is hardly a single one that does not suffer from maladjustment.

The two trios of Schubert, opus 99, in B-flat, and opus 100 in E-flat, are full of inspiration, and Schubert’s fancy is so delicate that on the whole he may be said to have succeeded with the combination. Certainly the little canon which forms the Scherzo in the second trio is a masterpiece of style. Also the announcement of the chief theme in the first trio and the way in which it is developed cannot be found fault with; nor is the charming D-flat section in the finale less perfect. But in the scherzo there are rather weak accompaniments scored for the strings in the orchestral manner of double stops, and there are similar passages at the beginning of the transition to the second theme in the first movement of the second trio. These are here acceptable because of the sheer beauty of the material which is thus presented; but one cannot deny that this would find even lovelier expression with a group of three strings. In the _Andante con moto_ the impropriety of style is more evident; but one will forgive anything in this inspired movement, which later is to stand like a shadow behind the _Marcia_ in Schumann’s great pianoforte quintet.

Mendelssohn wrote two trios, one in D minor, one in C minor, which, after having for years been favorites with players and public alike, are now sinking out of sight. In these the treatment of the pianoforte is brilliant; and though it may not be said to overbalance the strings, it certainly outshines them. Mention should be made of Marschner’s trio in G minor, opus 110, because it so clearly influenced Schumann in his own quartet in A minor. Five trios of Spohr’s were once well known, but they represent no change or development either in style or form; and even that in E minor, opus 119, which has been prized almost to the present day because of its melodiousness, is fast being abandoned.

Schumann’s trios--in D minor, opus 63, in F major, opus 80, and in G minor, opus 110--have at any rate a beauty of inspiration. They are romantic and poetic as his other works are, and the warmth of them is sufficient to melt a cold criticism. That in D minor is perhaps the best, and the scherzo, especially the middle section of it, with its smooth theme looking forward to the trio in Brahms’ first pianoforte sonata, is admirable in style.

The three trios of Brahms are masterpieces. The first, opus 8, in B major, was an early work and was revived years later and republished in the form in which it is now generally familiar. But even in its revived shape it is inferior to the two later trios, in C major, opus 87, and in C minor, opus 101, though the opening theme is of a haunting beauty, and the scherzo, suggesting that in Beethoven’s opus 97, is in piquant and effective style.

In the first movement of the C major trio the violin and cello seem like two noble and equal voices throughout. Their course is bold and free. They are never overshadowed by the pianoforte. It seems to be largely Brahms’ treatment of the cello that makes these works so perfectly satisfying in sound and style. He showed always a fondness for deep low notes. Sometimes his music suffers from it. But here, in these trios, it gains immensely. For, as we have said, one of the greatest difficulties of writing in good style for this combination of instruments is to be met in handling the low notes of the cello. Brahms seems to have done it almost instinctively. From the beginning of the first movement, with its full-throated octaves, to the very end of the whole, the cello never for one measure fails to equal the violin in effectiveness. Very often they are made to play together in octaves, and in places, as in the course of the second theme, they hold long notes two octaves apart, defining the sonority so to speak, within the limits of which the piano moves alone, filling the wide space with richest sound. Again, at the beginning of the _Andante con moto_ violin and cello are two octaves apart. He combines them in bold chords which challenge the pianoforte, assert their own independence, as here, not long before the middle section of this _andante_, or at the beginning of the trio in C minor, opus 101. He allows one fully to support the other without the pianoforte, as in the _Andante Grazioso_ of the C minor. All through these truly magnificent works one is struck by the comradeship and equality of the two strings, and this, together with the way the pianoforte is adapted to them, leads us to say that there are no trios so perfect in style as these two of Brahms. It might even be added that it would be hard to match them in nobility of content.

Mention may be made here of two other trios by Brahms in which he has shown himself no less a master of the difficult task of combining three instruments of utterly different qualities and range. One of these is the famous trio in E-flat, opus 40, for piano, violin and horn. The horn may, it is true, be interchanged with cello or viola, but only at the cost of the special tone color which makes the work such a favorite. The other is the trio for pianoforte, clarinet, and cello, a work which, together with the masterly quintet for clarinet and strings, opus 115, is proof of Brahms’ admiration for the clarinet playing of Professor Mühlfeld. Both these trios are almost unique in their perfection.

One is at a loss to mention more trios which are at all comparable to those of Brahms. It is in the main true that the pianoforte finally took such complete possession of the trio that trios were no more than brilliant concert sonatas or concertos. The Russians, headed by Rubinstein, have written many trios. Rubinstein’s, as might be expected, were far too brilliant for the pianoforte. Tschaikowsky’s only trio, opus 50, written to the memory of Nicholas Rubinstein, is one of his most impassioned works. Whatever improprieties of style there may be, its emotional force cannot be resisted. He admitted a fear that, having all his life written for the orchestra, he might not have adapted the musical combination to his thoughts. Yet in spite of the general orchestral style of treatment, this trio remains one of the most moving of all chamber music compositions.

Also among Russian trios may be mentioned that by Arensky in D minor, which is wholly delightful. The swing of the first theme in the first movement is impelling, and the whole scherzo with its touch here and there of waltz rhythms, and the fleet scales on the keyboard, are effective. Paul Juon’s capricious fantasia on ‘Gösta Berling’ is interesting.

Dvořák’s trios are worthy of study. Of the three--in G minor, opus 26, in F minor, opus 65, and the Dumky, opus 90--the last two are the most interesting, and also the most Bohemian in character. The treatment of the pianoforte is brilliant. At times the cello is used a little unworthily, that is to say, merely to accentuate low notes or to add a sort of barbaric strumming; yet on the whole Dvořák’s treatment of the two strings is not very unlike that of Brahms. There is a great deal of octave playing between them, notably at the very beginning of opus 65, in the second section of the allegretto, and now and then in the various sections of the Dumky. The cello is given long and impassioned solos, or takes a full part with the violin in dialogues. On the whole Dvořák makes more use of the upper registers; but again, in the manner of Brahms, he knows how to use the low without concealing it beneath the heavier tone of the piano. The whole section, _vivace non troppo_, which follows the first _poco adagio_, is excellently scored for the three instruments. Notice how at first the cello holds a low C-sharp, supporting the light melody of the violin and the light staccato accompaniment of the piano; how as the music grows more furious the cello adds a G-sharp above its C-sharp. When at last the piano breaks into the melody, violin and cello take equal parts in the series of sharp, detached chords which accent its rhythm. Again the melody is given to the violin, an octave higher than at first, and the cello gives an accompaniment of single notes and chords, while between the two the piano plays the whirlwind. After all this subsides, the cello rises up from the deep in a broad solo cadenza. It must be granted that the musical value of the notes allotted to the cello in this section is not high; but the point is the admirable spacing of the three instruments which allows each to display a peculiar sonority and all to join in a rich and exceedingly animated and varied whole. Elsewhere in these trios there is a fine polyphonic style. Much of the vitality of the music comes from the vivid nature of the national rhythms and melodies out of which it is constructed. These trios, then, are hardly comparable to the classic trios of Brahms. Yet they seem to be the most effective and the most successful trios that have been written since Beethoven, with the exception only of Brahms’ two and Tschaikowsky’s one.

The French composers have not given much attention to the trio. César Franck’s first works were three short trios, but they are without conspicuous merit. Two trios by Lalo are pleasingly scored. Among the trios of Saint-Saëns that in E-flat major, opus 18, is the most effective. The pianoforte part is especially brilliant, yet does not throw the combination out of adjustment.

II

There are more brilliant and more distinguished works for the combination of pianoforte, violin, viola, and cello. Inasmuch as one of the difficulties in writing trios is the wide spaces between the natural registers of cello and violin, and this is here filled up by the viola, the pianoforte quartets of the last fifty years maintain a higher standard than the trios. Moreover the general effect is more satisfactory, because the three strings have naturally an independent and complete life, and are more equal to withstanding the onslaughts of the pianist.

The Schumann pianoforte quartet in E-flat, opus 47, is practically the first work in this form of importance, and it has remained unexcelled in beauty and romantic fervor. As to style, one notices in the very first measures the fullness and completeness of the parts for the strings, and throughout the entire work the effect of the three stringed instruments is very like that of a string quartet. In the scherzo and in the opening sections of the finale as well even the piano is treated as a single part in a quartet, not as a sort of foundation or a furnisher of harmonies and accompaniments to the others.

The Schumann piano quintet, opus 44, is even more famous than the quartet. Here the problem is still simpler, for the piano quintet is but a combination of two independent groups: the full string quartet and the pianoforte. The piano must still be handled with care else it will overpower its companions; but the complete resources of the four strings make possible contrasts between them and the piano, measures in which the piano may be quite silent, and others in which it less fills up the harmony than adds its own color to the sonority. The first broad section of the development in the first movement becomes, therefore, almost a pianoforte concerto; whereas other sections like the second trio in the scherzo are in the nature of a concerto for string quartet and orchestra. In the beginning of the last movement the strings are treated too much in an orchestral manner. There is no trace of the fineness of the quartet which should never quite disappear in this big combination. Later on the strings, however, are handled with the greatest delicacy, as in the fugal parts before the last fugue. Here, where the theme of the first movement comes back into the music with splendor, there is perfection of style. But whatever may be the technical merits or faults of this quintet as a quintet, as music it is inspired from beginning to end.

From the time of Schumann, who may be said to have left the model and set the standard for all subsequent pianoforte quartets and quintets, our history will find not more than twenty such works upon which to touch with enthusiasm. Among the quartets those of Brahms and Dvořák, and that in C-minor, opus 15, by Gabriel Fauré stand out conspicuously.

Brahms wrote three pianoforte quartets, one in G minor, opus 25, one in A major, opus 26, and one in C minor, opus 70. Of these the first two are the best known and the most obviously pleasing. There is a great deal of Hungarian atmosphere here and there in both, specifically in the final movement of the first, which is a _Rondo alla Zingarese_. But both quartets were written before Brahms went to live in Vienna. Both may be taken as representative of Brahms first grown to maturity, and both are rather delicately and unusually colored. In the Intermezzo of the G minor quartet the violin is muted though the other strings are not. In the beginning of the _poco adagio_ of the second quartet all the strings are muted while the piano plays _a tre corde_, not, as might be expected, _una corda_. Later in this movement there are arpeggio passages for the pianoforte, _una corda_, giving a strange effect like wind over a plain, one that Brahms was

## particularly fond of, if we may judge by the frequency with which

he employed it. Here in this quartet, and in the _andante_ of the earlier one, and in the slow movement of the first concerto one finds it. The scoring of the first part of the second quartet is considered admirable by Mr. Fuller-Maitland; but other places may be selected equally beautifully arranged for the combination. The scoring of a sort of secondary theme in the first movement (E major), first for strings alone, then for pianoforte, carrying the melody, and strings, adding their peculiar colors, rolling figures for the cello and pizzicato for the upper strings, is exquisite. Greater, however, than all technical arrangements is the quality of the themes themselves. This has made both works greatly beloved among amateurs and artists alike.

The third Brahms’ quartet is less pleasing. The first movement was written as early as 1855. It is morbid and gloomy in character and indeed Brahms is said to have suggested to Hermann Deiters that he should imagine, while listening to it, a young man about to kill himself for lack of occupation. Of the same movement Dr. Billroth, one of Brahms’ most intimate friends, said that it was an illustration in music of Goethe’s Werther on his death bed, in his now famous buff and blue. The cello solo in the slow movement and the scherzo in general are more loveable.

The pianoforte quintet in F minor, opus 34, is one of Brahms’ greatest compositions. It was published in 1865, but not until it had gone through a rather complicated birth. Brahms had written it first as a quintet for strings alone--with two cellos. This was unsatisfactory. The themes were so powerful that Clara Schumann suggested even that he re-write it for orchestra. He next arranged it, however, as a sonata for two pianos; and indeed published it in this form a few years after he had published it in the form in which it is now best known, as a pianoforte quintet. The technical details are flawless, and to speak of them is almost to attract attention to an art which is greatest in concealment. It is far rather the broad themes, the massive structure, reënforced and held together by every device known to composers, the exalted sentiment of the slow movement, the powerful rhythms of the scherzo, that give this quartet its undisputed place among the masterpieces of music.

The two pianoforte quartets by Dvořák, opus 23, in D, and opus 87, in E-flat, have the same perfection of style and animation of manner that we have already noticed in the trios. The strings are handled with discriminating touch. There is something clear and transparent in the style, for all the impetuous, highly rhythmical, and impassioned material. And the effectiveness of the pianoforte in the combination is truly astonishing, considering how relatively simple it all is. In the first movement of the quartet in D, for example, the duet that is half canon between the cello and piano in the statement of the second theme, and shortly after, following a two measure trill, the almost Mozartian figuration given to the pianoforte while the strings develop the possibilities within this second theme; the magical scoring at the return of the first theme, which here, as at the beginning, is given in the middle registers of the cello, being thus made both melody and rich bass beneath the almost laughably simple figures for the pianoforte; these alone in one movement are instances of a wholly delightful style.

In the second quartet the style is more powerful but not the less clear. There is a splendid incisiveness in the first complete statement of the first theme, following the impetuous run of the pianoforte. Here are violin and viola in unison, the cello spreading richness through the bass with its wide swinging figures, and the piano adding a brilliance by means of commonplaces which are here delightful. Later on there is a long passage scored in a favorite way of Dvořák’s. The cello is given the low foundation notes, which are complemented by the viola, both instruments playing pizzicato. The violin has a melody which follows the figuration of the pianoforte, here of the simplest kind, but floating as it were in mid-air over the foundation tones of the cello. There are many passages in the third movement, similarly arranged, the pianoforte part being without a bass of its own, the whole fabric supported by the low notes of the cello.

The quintet, opus 84, in A major, is not less effectively scored. The pianoforte part is perhaps a little more brilliant as a whole than in the quartets, quite properly so because of the added force in the strings. In the second movement we have another _Dumka_, with its wild, passionate changes, and for a scherzo there is a _Furiant_, another touch of Bohemia.

In French chamber music with pianoforte no work is so great as the quintet in F minor by César Franck. It is fit to stand with the symphony, the string quartet, even the Beatitudes of this master, as a perfect and broad expression of his remarkable genius. The very beginning makes us aware that we are to hear a work made up of two independent groups of sound. There is the string quartet, with its passionate announcement of the chief, or one of the chief, ideas of the piece. Then there is the hushed reply of the piano, offering another idea out of which much is to grow. And, so interchanging, the two groups play out the introduction. The material of all three movements is decidedly symphonic, and the resources of this combination of instruments are taxed to the extreme. In a great part of the work they maintain a decided independence, now answering each other as in the statement of the first allegro motive, now asserting themselves against each other, as very clearly throughout a large part of the last movement where the figuration of the pianoforte is as distinct as a theme and the four instruments play another theme against it in unisons and octaves.

Indeed the use of unison and octave passages for the strings is conspicuous in every movement, as if only by so combining the quartet could maintain its own against the pianoforte. Notice this in the great E minor passage of the development section in the first movement.[82] Here is music of greatest and stormiest force. Franck has scored the accompaniment in the heaviest registers of the pianoforte, and is yet able to bring out his theme clearly above and his desired thunder by joining all the instruments in the statement of it. Notice the unisons, too, in the climax before the return of the chief motive, how the strings make themselves heard, not only above a brilliant accompaniment, but actually against another theme, given with all the force of the piano. Only in the statement of the second theme in the third section of the movement does the piano join with the strings. Immediately after these follows another tremendous passage in which only by joining together can the strings rise above the thunderous accompaniment of the piano.

The result is, indeed, more a symphony than a pianoforte quintet, and the style is solid and massive in effect. Franck’s polyphonic skill is, however, revealed at its very best, and his special art of structure, building all the movements out of a few ideas common to all, is not less striking here than it is in the ‘Prelude, Chorale and Fugue’ for the pianoforte alone. This quintet, with those of Schumann and Brahms, represents the uttermost it is possible to produce with the combination of string quartet and pianoforte. Schumann’s is the most lucid, Brahms’ the most vigorous, and Franck’s the most impassioned and dramatic of all the pianoforte quintets.

Yet there are other brilliant and successful quintets to be noticed. A quintet in D minor, opus 89, by Gabriel Fauré was performed for the first time in Paris, in 1906. Fauré had already composed two pianoforte quartets, one in C minor, opus 15, and one in G minor, opus 25. In these he had shown himself a master of style in the combination of pianoforte with strings, and such mastery is no less evident in the quintet. The latter is more modern in spirit and in harmonies. There are three movements: a _molto moderato_, an _adagio_, and an _allegro moderato_. Of these the first is gloomy in character, and the second is elegiac. The third is founded upon a single figure which is varied again and again. The treatment of the piano is in the main light, so that the instrument does not overpower the strings. Notice how the piano opens the work with a sort of curtain of sound, against which the instruments enter one by one. Most of this background is light, being arranged for the upper registers of the piano. Throughout the whole first movement the piano seldom takes part in the thematic development, but almost always contributes a lightly flowing sound. In the adagio, too, there is much of the same style. There is a middle section here in which all the instruments, including the piano, always in the upper registers, are lightly combined into a canonic flow which is wholly exquisite in style. The motives so treated return in a sort of apologue at the end of this movement but are not here so delicately treated. In the last movement the piano takes a much greater part in the development of the themes. It announces at once the motive which, _passacaglia_-wise, is used as the foundation for the whole movement. The odd spacing--the two hands are two octaves apart--gives a peculiarly shadowy effect in which the pizzicatos of the other instruments make themselves heard as sparks may be seen in mist. The whole movement is a masterpiece of delicacy.

Other quintets have been written by composers of most of the nations of Europe, but none has made more than a local impression. There is a quintet by Goldmark, opus 30, in B-flat, hardly worth mentioning; a more brilliant one by one of the younger Bohemian composers, V. Novàk (b. 1870), which in its intense nationalism is a fitting descendant of Smetana and Dvořák, but is lacking in personal inspiration; a quintet by Ernst von Dohnányi. Sgambati has written a quintet without distinction. Mr. Dunhill tells us in his book[83] on chamber music that there is an excellent quintet by a young British composer, James Friskin. Moreover the sextet for piano and strings by Joseph Holbrooke, in which a double bass is added to the quartet, deserves mention. And among American composers Arthur Foote and George Chadwick should be mentioned, the one for his quintet in A minor, opus 38, the other for his quintet in E-flat major, without opus number.

Only a few piano quartets have been written since those of Brahms and Dvořák which are significant of any development or even of a freshness of life. Those of Fauré have already been mentioned as being perfect in style, but on the whole they seem less original and less interesting than the quintet by the same composer. Saint-Saëns’ quartet, opus 41, is remarkable for the brilliant treatment of the pianoforte, and the fine sense of instrumental style which it reveals, but is on the whole uninteresting and is certainly insignificant compared with the quartets of Fauré or those of d’Indy and Chausson. D’Indy’s quartet, opus 7, in A minor is no longer a new work, nor does it show in any striking way those qualities in French music which have more recently come to splendid blooming. But it is carefully wrought and the three movements are moderately interesting. The second is perhaps the best music, the third is certainly the most spirited. There is more of the manner though perhaps less of the spirit of César Franck in Chausson’s quartet in A major, opus 30.

In the North we come across an early work by Richard Strauss, opus 13, in the form of a pianoforte quartet, which is exceedingly long, but interesting to the student who wishes to trace the development of Strauss’ art of self-expression. The pianoforte is not given undue prominence and the scoring is worthier of more interesting material. Still farther north one meets with Christian Sinding’s quartet in E minor, which is chiefly a _tour de force_ for the pianist.

Excepting sonatas for pianoforte and various other instruments, the great amount of chamber music into which the piano enters consists of trios, pianoforte quartets and pianoforte quintets. Mention must not be omitted, however, of Schubert’s quintet for piano and strings in which the cello is replaced by double bass. The employment of the air of one of his songs (_Die Forelle_) as the subject for the variations in the slow movement has given the work the name _Forellen Quintet_. The treatment of the piano in the variations is exceedingly effective.

III

As to sonatas, those for violin and piano are treated elsewhere. There are too many to be discussed in this chapter. There are fewer for the cello and the best of these may here be mentioned. Skill in playing the violoncello was slower to develop than that in playing the violin. This was probably because the _viola da gamba_ with its six strings was easier to play and was more in favor as a solo instrument. The _baryton_ was a kind of _viola da gamba_ with sympathetic strings stretched under the fingerboard, and even as late as the maturity of Haydn this instrument was in general favor. But the tone of the _viola da gamba_ was lighter than that of the violoncello, and so by the beginning of the eighteenth century the cello was preferred to the _gamba_ for the bass parts of works like Corelli’s in concerted style. Little by little it rose into prominence from this humble position. Meanwhile the immortal suites for the violoncello alone by Bach had been written. Bach was probably advised in the handling of the instrument by Abel, who was a famous _gamba_ player; so that it seems likely that these suites were conceived for the _gamba_ as much as for the cello.[84] The last of them, however, was written especially for the _viola pomposa_, an instrument which Bach invented himself. This was a small cello with an extra string tuned to E, a fifth above the A of the cello.

Among composers who wrote expressly for the cello were Giorgio Antoniotti, who lived in Milan about 1740, and Lanzetti, who was 'cellist to the king of Sardinia between 1730 and 1750. Later the Italians A. Canavasso and Carlo Ferrari (b. 1730) became famous as players, and Boccherini also was a brilliant cellist.

However, the cello sprang into its present importance as a solo instrument largely through the Frenchman Jean Louis Duport (1749-1819), whose understanding of the instrument led him to a discovery of those principles of fingering and bowing which have made modern virtuosity possible. His _Essai sur le doigter du violoncelle et la conduite de l’archet_ was truly an epoch-making work. That a new edition was issued as recently as 1902 proves the lasting worth and stability of his theories.

Frederick William II, King of Prussia, to whom Mozart dedicated three of his string quartets, was a pupil of Duport’s. Mozart’s quartets, written with an eye to pleasing the monarch, give special prominence to the cello. Hence through Duport we approach the great masters and their works for the cello.

Beethoven wrote five sonatas for cello and piano. The first two, opus 5, were written in 1796, while Beethoven was staying in Berlin, evidently with the intention of dedicating them to Frederick William II, and for his own appearance in public with Duport. They are noticeably finer, or more expressive works, than the early sonatas for violin, opus 12; perhaps because the cello does not suggest a style which, empty of meaning, is yet beautiful and effective by reason of sheer brilliance. The violin sonatas, all of them except the last, are largely virtuoso music. The cello sonatas are more serious and on the whole more sober. This may be laid to thoroughly practical reasons. The cello has not the variety of technical possibilities that the violin has, nor even in such rapid passages as can be played upon it can it give a brilliant or carrying tone. By reason of its low register it can be all too easily overpowered by the piano. Only the high notes on the A string can make themselves heard above a solid or resonant accompaniment. Hence if the composer desires to write a brilliant, showy sonata for pianoforte and cello, he can do so only by sacrificing all but the topmost registers of the cello. Even at that the piano is more than likely to put the cello wholly in the shade.

To write effectively for the combination, therefore, and in such a way as to bring out the variety of resources of the cello, limited as they may be, one must not write brilliantly, but clearly, in a transparent and careful style. Of such a style these early sonatas of Beethoven offer an excellent example, though the music itself sounds today old-fashioned and formal.

The best of the first sonata, which consists of a long slow introduction, an _allegro_, and an _allegro vivace_, all in F major, is the last movement. This is in mood a little scherzo, in form a rondo.

## Particularly the chief subject is delightfully scored for the two

instruments at the very opening. The second sonata, in G minor, begins like the first with a long slow introduction, in which the piano has some elaborate figuration. There follows an _allegro molto_, rather a _presto_, in 3/4 time, the opening theme of which has almost the spontaneous melodiousness of Schubert. The pianoforte has a great deal of work in triplets, which are high on the keyboard when the cello is playing in its lower registers, and only low when the cello is high enough to escape being overpowered. This constant movement in triplets will remind one of the first pianoforte sonata. The final rondo is on the whole less effective than the rondo of the first sonata. Toward the end, however, there is considerable animation in which one finds cello and piano taking equal share. The piano has for many measures groups of rapid accompaniment figures against which the cello has saucy little phrases in staccato notes. Then the cello takes up the rolling figures with great effect and the piano has a capricious and brilliant melody in high registers.

The next sonata, opus 69, in A major, was not written until twelve years later. A different Beethoven speaks in it. The first theme, announced at once by the cello alone, gives the key to the spirit of the work. It is gentle (_dolce_) in character, but full of a quiet and moving strength. After giving the first phrase of it alone the cello holds a long low E, over which the piano lightly completes it. There is a cadenza for piano, and then, after the piano has given the whole theme once again, there is a short cadenza for cello, leading to a short transition at the end of which one finds the singing second theme. This is first given out by the piano over smooth scales by the cello, and then the cello takes it up and the piano plays the scales. Nothing could be more exquisite than the combination of these two instruments in this altogether lovely sonata, which without effort permits each in turn or together to reveal its most musical qualities. Sometimes the cello is low and impressive, strong and independent, while the piano is lively and sparkling, as in the closing parts of the first section of the first movement. Again the cello has vigorous rolling figures that bring out the fullest sonority the instrument is capable of, while the piano adds the theme against such a vibrant background, with no fear of drowning the cello, as in the first portions of the development section.

The scherzo is the second movement, and here again each instrument is allowed a full expression of its musical powers. The style is light, the rhythm syncopated. There is fascinating play at imitations. And in the trio the cello plays in rich double-stops. There is but a short adagio before the final allegro, only a brief but telling expression of seriousness, and then the allegro brings to full flower the quiet, concealed, so to speak, and tranquil happiness of the first movement.

Finally there are two sonatas, opus 102, which are in every way representative of the Beethoven of the last pianoforte sonatas and even the last quartets. The first of these--in C major--Beethoven himself entitled a ‘free sonata,’ and the form is indeed free, recalling the form of the A major pianoforte sonata, opus 101, upon which Beethoven was working at the same time. In spirit, too, it is very like the A major sonata, but lacks the more obvious melodic charm. The sonata begins with an andante, in that singing yet mystical style which characterizes so much of Beethoven’s last work, and the _andante_ does not end but seems to lose itself, to become absorbed in a mist of trills, out of which there springs a vigorous _allegro vivace_, in the dotted march rhythm which one finds in the later pianoforte sonatas. After this, a short rhapsodical adagio brings us back to a bit of the opening andante, which once more trills itself away, seems to be snuffed out, as it were, by a sudden little phrase which, all unexpected, announces the beginning of the final rondo.

The second of the two, in D major, is more regular in structure. There is an _allegro con brio_ in clear form, an _adagio_, and a final fugue, following the adagio without pause. In both these sonatas every trace of the virtuoso has disappeared. Both are fantasies, or poems of hidden meaning. Because of this mysteriousness, and also because the lack of all virtuoso elements seems to leave the combination a little dry, the sonatas are not quite so satisfactory as the opus 69.

Besides the sonatas Beethoven wrote three sets of variations for cello and piano, only one of which--on the air _Ein Mädchen oder Weibchen_ from Mozart’s ‘Magic Flute’--has an opus number. These are early works and are without special interest or value.

It is remarkable how little chamber music has been written for pianoforte and cello by subsequent composers. By Schumann there is only a set of five short pieces, _in Volkston_, opus 102. Some of these are charming, but all are, of course, slight. Schumann uses the cello in very high registers, notably in the first, third, and fourth. In the second part of the third he even writes sixths for the cello in such high registers. The low registers are rather neglected, so that the set is monotonous in color.

Mendelssohn wrote some _Variations concertantes_, opus 17, for piano and cello, and two sonatas, opus 45 in B-flat, and opus 58 in D. The piano predominates in the variations. The second and fourth are hardly more than piano solos; but in others the cello is effectively handled. The third, the fifth with its pizzicato, which, by the way Mendelssohn stood in a fair way to overwhelm entirely by a noisy piano, and the eighth, with its long held note, later its wide rolling figures and powerful sixths, account in a measure for the wide popularity which this work once enjoyed among cellists. But the life has gone out of it. Of the sonatas little can be said but that they are generally well scored, and that they display the qualities of the cello in its various registers. The piano is less well treated, for Mendelssohn had, after all, little instinct for a variety of pianoforte effects. The theme in the last movement of the first sonata has something of a vigorous swing. The chief theme of the first movement of the second sonata, too, though it will irritate those to whom Mendelssohn’s mannerisms have become distressing, has a breadth of line, and rises up quite manfully to its high point. But the second theme rather proves that there can be too much of a good thing. The allegretto is not dangerously fascinating, but it has a sort of charm. Mendelssohn’s treatment of the cello is generally suited to the salon. He brings out many of its qualities, but in a way which seems to accentuate the shortcomings of the instrument. In his hands the cello is a sentimental singer with a small voice.

With Brahms the cello is more an instrument of mystery and gloom. His fondness for low notes here causes him to write constantly for the two lower strings, and his sonatas may suffer in the opinion of some by the lack of a more vehement expression which is in some measure possible to the upper strings. The first sonata, opus 38, is in E minor and is more acceptable to the unfamiliar ear than the later one in F major, opus 99. But the tone of the great part of the E minor sonata is gloomy, though the second theme of the first movement has warmth and the _allegretto quasi menuetto_ a certain light movement. The F major sonata was probably written with the playing of Robert Hausmann (b. 1852) in mind. Mr. Fuller-Maitland finds in it a ‘mood of wild energy such as is not frequent in Brahms’ later works.’ For all the gloominess of the first and the sternness of the second of these sonatas there is a splendid dignity in both which must ever give them a firm place in the literature for the violoncello. It may be that they lose in grace because Brahms has so carefully shunned any brilliant display; but on the other hand what they lose in grace is more than made up by what they gain in virility. The sentimental qualities in the cello have been so much emphasized that without these sonatas of Brahms, and those of Beethoven, one might well believe that it had none other than a sugary voice.

[Illustration] Great Violoncellists: Jean Gerardi, David Popper, Pablo Casals.

Among more modern sonatas only two stand out with any prominence. One of these is by Grieg. It is in A minor, full of passion and swing. No doubt it owes its prominence to the charm of the Norwegian material out of which Grieg has made it. There are incisive rhythms that make one aware of the strength of the cello. The piano is a little too prominent in certain parts. Grieg has favored its brilliance. But nevertheless the sonata is a manly and refreshing work.

A sonata for cello and piano in F major, opus 6, by Richard Strauss has been gratefully adopted by cellists. Musically it is neither profound nor interesting, though there is no lack of technical skill, as in the fugal parts of the first movement, and though there are some passages of great beauty. The second theme of the first movement is what one might call luscious; there is a glorious theme in the last movement contrasting with the light motives which generally predominate; and the climax of the slow movement is passionate. The pianoforte is not well handled, and there is a sameness in rhythms; but the balance between the two instruments is remarkably well kept. In the development of second theme material in the first movement there are passages in which the cello is made boldly and passionately to sing, and the use of its very low notes in the climax of the slow movement, as well as the light figures in the last, leave no doubt as to the variety which is in spite of all possible to it.

There remains only to mention the sonata by Max Reger, opus 78, two sonatas by Emanuel Moór, one by Guy Ropartz in G minor, two by Camille Saint-Saëns, opus 32 and opus 123, as among those which make a partial success of the extremely difficult combination.

If excellent music for cello and piano is so rare, music for the viola and piano is almost entirely wanting. The two instruments do not go well together. Practically the only example of the combination in the works of the great masters is furnished by Schumann’s _Märchenbilder_, which are but indifferent music. York Bowen, an English composer, has considered it worthy of the sonata, and has written two for it, one in C minor and one in F major. Mr. Benjamin Dale has also written some agreeable pieces, including a suite and a fantasy.

IV

There are relatively few works also in which the piano has been combined with wind instruments. The wind instruments which have been most employed in chamber music are the flute, oboe, clarinet, and bassoon. Occasionally there is a short bit for horn, or for English horn, and rarely something for trumpet or saxophone. No special combination of these instruments either by themselves or with the piano has obtained signal favor, and we may therefore confine ourselves to mentioning with brief notice the various works of the great masters in turn. We will include likewise here their chamber works for wind instruments without pianoforte.

Of Haydn’s works we will only mention the two trios for flute and violin and the octet for two oboes, two clarinets, two horns and two bassoons. Most of Mozart’s works for wind instruments bear the mark of some occasion. There are a great many Serenades and _Divertimenti_, which can hardly be called representative of his best and can hardly be distinguished from each other. Among the interesting works are the concerto for flute and harp (K 299), the trio for clarinet, viola and piano (K 498), the quintet for pianoforte, oboe, clarinet, horn and bassoon (K 452), and the quintet for clarinet and strings (K 581). The trio was composed in Vienna in August, 1786, and is conspicuous for a fine handling of the viola. The clarinet is not used at all in the lower registers, lest it interfere with the viola. Mozart considered the quintet for piano and wind instruments at the time he wrote it the best thing he had written. It was composed in March, 1784, for a public concert and was received with great applause. Jahn wrote of it that from beginning to end it was a true triumph in the art of recognizing and adapting the peculiar euphonious quality of each instrument. Doubtless it served as a model for Beethoven’s composition in the same form.

Mozart was the first among composers to recognize the beauty of the clarinet. Among his warmest friends was Anton Stadler, an excellent clarinet player, and the great clarinet quintet was composed for Stadler and is known as the Stadler quintet. The clarinet, owing to the peculiar penetrating quality, is somewhat necessarily treated as a solo instrument; but the background supplied by the strings is no mere accompaniment. The whole work shows the finest care and may well rank with the string quintets among Mozart’s greatest and most pleasing works.

Beethoven’s works for wind instruments in chamber music are not numerous. In the expression of his forceful and passionate ideas he demanded a medium of far greater technical ability than he could ask of the wind players of that day. There is an early trio for piano, flute and bassoon, written before he left Bonn; an octet in E-flat for two oboes, two clarinets, two bassoons, and two horns, written in 1792, but published as opus 103; and a few other early works without value; a sextet for two violins, viola, cello, and two horns, written in 1795 and not published till 1819, then as opus 81; another early sextet, opus 71, for two clarinets, two bassoons, and two horns; and finally the most considerable of his compositions for an ensemble of wind instruments, the quintet in E-flat major, opus 16, for piano, oboe, clarinet, horn, and bassoon, the septet in E-flat, opus 20, for clarinet, horn, bassoon, violin, viola, cello, and double-bass. The sonata in F, opus 17, for horn and piano was written in a night, according to a well-known story, for the horn player Punto--originally Stich--and can hardly be considered as more than a bit of pot-boiling.

Most of these early works were written for an occasion. Prince Maximilian Franz, in whose service Beethoven was for a time employed before he left Bonn and came to Vienna, was especially fond of wind instruments. His ‘Table-music’ was generally of this kind and he had in his employ two oboists, two clarinetists, two horn players, and two players of the bassoon. Beethoven’s early works therefore may be considered to have been written with these players in mind. He was sure of having them performed. In later years he looked with no little scorn upon many of them. Even of the septet, opus 20, he is reported to have said that there was some natural feeling in it but little art. And of the early sextet which was published in 1809 as opus 70 he wrote to his publishers that it was one of his early pieces and was, moreover, written in a night, that there was little further to say about it except that it was written by a composer who had at least produced some better works--though many men might still consider this the best. Yet it is to be observed that in nearly all of them Beethoven made the best of the possibilities open to him, possibilities which were greatly restricted by the general lack of technical skill in playing wind instruments, and that all show at least a clear and logical form.

The octet, opus 103, the sextet, opus 81, the sextet, opus 71, and the quintet, opus 16, are all in the key of E-flat major, a key which is favorable to all wood-wind instruments. The octet was written, as we have said, in 1792. Beethoven rearranged it as a string quintet and in that form it was published in 1796 as opus 4. In its original form the chief rôle is taken by the oboe, especially in the slow second movement, which has the touch of a pastoral idyl. The last movement in rondo form offers the clarinets an opportunity in the first episode. A Rondino for the same combination of instruments written about the same time seems to forecast parts of _Fidelio_. The sextet for two horns and string quartet is little more than a duet for the horns with a string accompaniment.

We may pass over the trio for two oboes and English horn, published as opus 87, and the flute duet written for his friend Degenhart on the night of August 23, 1792. The sextet, opus 71, which Beethoven said was written in a night, is none the less written with great care. The prelude introduction and the cheerful style suggest some happy sort of serenade music. The melody (bassoon) in the adagio is of great beauty. There are, among its movements, a minuet and a lively rondo in march rhythm.

The quintet, opus 16, in which the piano is joined with four instruments may well have been suggested by Mozart’s quintet in the same form; though Beethoven was a great pianist and had already in an earlier trio and a sonata experimented in combining the pianoforte with wind instruments. The wind instruments are here treated as an independent group and the part for the piano is brilliant. There is a richness of ideas throughout which raises the work above the earlier compositions for wind.

The septet in E-flat, opus 20, for clarinet, horn, bassoon, violin, viola, cello and double-bass, is undoubtedly the finest of Beethoven’s works for combinations of wind instruments. It was written just before 1800 and was so full of joy and humor that those who had heard Beethoven’s other works with a hostile ear were quite won over for the time being by this. Technically it may be considered the result of all his previous experiments. It is rather in the manner of a suite. There is a slow prelude, an _allegro con brio_, an _adagio cantabile_, a _tempo di menuetto_, which he later arranged for pianoforte and incorporated in the little sonata, opus 49, No. 1, a theme and variations, a scherzo, and a final presto, which is preceded by an introductory andante of great beauty and of more seriousness than is characteristic of the work as a whole. The success of the work is due first to the freshness of the ideas, then to the skill with which they are arranged for the difficult combination of instruments. For Beethoven has made something of charm out of the very shortcomings of the wind instruments. The short phrases, the straightforward character of all the themes and motives, and the general simplicity all show these necessarily restricted instruments at their very best.

Schubert’s octet for two violins, viola, cello, double-bass, clarinet, horn, and bassoon is among the most beautiful pieces of chamber music for the wind instruments. It is the first of Schubert’s contributions to chamber music which fully reveals his genius. Mention may also be made of the variations for flute and piano on the melody of one of his songs _Trockene Blumen_.

None of the great composers was more appreciative of the clarinet than Weber. It is made to sound beautifully in all his overtures, notably in that to ‘Oberon.’

[Illustration]

Arnold Schönberg. _After a photo from life (1913)_

He wrote two concertos for clarinet and orchestra, and a big sonata in concerto style, opus 48, for clarinet and piano. Besides these there is an Air and Variations, opus 33, for clarinet and piano, and a quintet, opus 34, for clarinet and strings. Weber also wrote a charming trio, opus 63, for flute, cello, and piano.

Spohr, too, showed a special favor towards the clarinet and he, like Weber, wrote two concertos for it. Three of Spohr’s works which were broadly famous in their day and much beloved are the nonet for strings, flute, oboe, clarinet, horn, and bassoon, opus 31; the octet for violin, two violas, cello, double-bass, clarinet, and two horns, opus 32; and the quintet for flute, clarinet, horn, bassoon, and piano. The two former are delicately scored, but the latter is marred by the piano. Some idea of the fervor with which Spohr’s music was loved may be gained from the fact that Chopin, the most selective and fastidiously critical of all composers, conceived Spohr’s nonet to be one of the greatest works of music. Doubtless the perfection of style delighted him, a virtue for which he was willing to forgive many a weakness. At present Spohr’s music is in danger of being totally neglected.

Mendelssohn contributed nothing to this branch of chamber music, and Schumann’s contributions were slight enough. There is a set of _Märchenerzählungen_, opus 132, for clarinet, viola, and pianoforte, which have some romantic charm but no distinction, and three Romances for oboe. Brahms’ trio for clarinet, violoncello, and piano has already been mentioned. Besides these he wrote two excellent sonatas for clarinet and piano, and a quintet for clarinet and strings. These works are almost unique among Brahms’ compositions for an unveiled tenderness and sweetness. All three were probably in a measure inspired by the playing of his friend Professor Mühlfeld, who even from the orchestra made an impression with his clarinet upon the memories of those who gathered at the epoch-making performances at Bayreuth. The quintet, opus 115, is one of the most poetic and moving of all Brahms’ compositions. The two clarinet sonatas, one in F minor and one in E-flat major, were published together in 1896 as opus 120. In these there is the same unusual tenderness which appeals so directly to the heart in the quintet.

Since the time of Brahms most composers have written something in small forms for the wind instruments with or without piano or strings. Most of these have a charm, yet perhaps none is to be distinguished. One of the most pleasing is Pierné’s _Pastorale variée_, for flute, oboe, clarinet, trombone, horn, and two bassoons. But here we have in truth a small wind orchestra. D’Indy’s _Chanson et Danses_, opus 50, two short pieces for flute, two clarinets, horn, and two bassoons, Fauré’s _Nocturne_, opus 33, for flute, two oboes, two clarinets, two horns and two bassoons, and some of the smaller pieces of a composer little known, J. Mouquet, are representative of the best that the modern French composers have done in this kind of chamber music. Debussy’s _Rhapsodie_, for clarinet and piano, is evidently a _pièce d’occasion_. It was written for the Concours at the Conservatoire. Max Reger’s sonata in A-flat, opus 49, No. 1, for clarinet and piano, and a concerto for _Waldhorn_ and piano by Richard Strauss stand out conspicuously among the works of the Germans. In this country Mr. Charles Martin Loeffler is to be recognized as one with an unusually keen instinct for the effects of wind instruments in chamber music. His two Rhapsodies for oboe, viola, and piano show a delicacy of style that cannot be matched in work for a similar combination by other composers.

FOOTNOTES:

[82] A few measures after L in the edition published by J. Hamelle, Paris.

[83] ‘Chamber Music, a Treatise for Students,’ by Thomas F. Dunhill. London, 1913.

[84] See Spitta: ‘Johann Sebastian Bach.’

LITERATURE FOR VOLUME VII

_In English_

H. ABELE: The Violin and Its History (1905).

E. HERON-ALLEN: De Fidiculis Bibliographia, 2 vols. (London, 1890-94).

CHARLES BURNEY: The Present State of Music in France and Italy (London, 1771).

CHARLES BURNEY: The Present State of Music in Germany, the Netherlands and United Provinces, 2 vols. (1773).

CHARLES BURNEY: General History of Music, 4 vols. (1776-89).

HENRY FOTHERGILL CHORLEY: Music and Manners in France and North-Germany, 3 vols. (London, 1843).

HENRY DAVEY: History of English Music (London, 1895).

J. W. DAVIDSON: An Essay on the Works of Fr. Chopin (London, 1849).

EDWARD DICKINSON: The Study of the History of Music (New York, 1905).

HENRY T. FINCK: Chopin and Other Essays (New York, 1889).

J. A. FULLER-MAITLAND: Schumann (1884).

J. A. FULLER-MAITLAND: Brahms (London, 1911).

Grove’s Dictionary of Music and Musicians, 4 vols. (1879-89); 2nd ed., revised by Fuller-Maitland, 5 vols. (1904-9).

WILLIAM HENRY HADOW: A Croatian Composer (Joseph Haydn), (London, 1897).

G. HART: The Violin and Its Music (1881).

JOHN HAWKINS: A General History of the Science and Practice of Music (London, 1776).

JAMES HUNEKER: Chopin, the Man and His Music (New York, 1900).

H. E. KREHBIEL: The Pianoforte and Its Music (New York, 1901).

LEIGHTON: Tears or Lamentations, Musical Ayres, etc. (1614).

EDWARD MACDOWELL: Critical and Historical Essays (New York, 1913).

Oxford History of Music, 6 vols. (Oxford, 1901, 1905, 1902, 1902, 1904, 1905).

I. PLAYFORD: An Introduction to the Skill of Musick, etc. (1683).

I. PLAYFORD: Apollo’s Banquet, etc. (1669).

WALDO SELDEN PRATT: The History of Music (New York, 1907).

JOHN SOUTH SHEDLOCK: The Pianoforte Sonata, Its Origin and Development (1875).

CHRISTIAN SIMPSON: The Division Violinist (1659).

JOHN STAINER: Early Bodleian Music; Dufay and His Contemporaries (London, 1898).

STOEVING: The Violin (1904).

_In German_

H. ABELE: Konrad Paumann (1912).

HERMANN ABERT: Robert Schumann (Berlin, 2nd ed., 1910).

WILHELM ALTMANN: Kammermusiklitteratur-Verzeichnis [from 1841] (1910).

A. W. AMBROS: Geschichte der Musik, 4 vols. (new ed. by H. Leichentritt, Leipzig, 1909).

SELMAN BAGGE: Die Geschichtliche Entwickelung der Sonate (Leipzig, 1880).

KARL FERDINAND BECKER: Die Hausmusik in Deutschland im 16., 17. u. 18. Jahrhundert (Leipzig, 1840).

FRANZ J. J. BEIER: Froberger (Leipzig, 1884).

PAUL BEKKER: Beethoven (Berlin, 1912).

N. D. BERNSTEIN: Anton Rubinstein (Leipzig, 1911).

KARL HERMANN BITTER: Johann Sebastian Bach, 4 vols. (2nd ed., 1881).

KARL HERMANN BITTER: K. Ph. Em. und W. Friedemann Bach und deren Brüder, 2 vols. (Leipzig, 1868).

GERHARD VON BREUNING: Aus dem Schwarzpanierhause (1874; new ed. by Kalischer, 1907).

HUGO DAFFNER: Die Entwickelung des Klavierkonzerts bis Mozart (1908).

HERMANN DEITERS: Johannes Brahms (Leipzig, 1880; 2nd part, 1898. In Waldersees Sammlung musikalischer Vorträge).

ALFRED EINSTEIN: Zur deutschen Literatur für Viola da Gamba im 16. und 17. Jahrhundert (_Beiheft_ of the I. M.-G., II. 1, 1905).

IMMANUEL FAISST: Beiträge zur Geschichte der Klaviersonate (Mayence, 1846. In Dehns _Cäcilia_).

I. N. FORKEL: Allgemeine Litteratur der Musik (1792).

DAGMAR GADE: Niels W. Gade. Aufzeichnungen und Briefe (Basel, 1894).

AUGUST GÖLLERICH: Franz Liszt (1908).

OTTO JAHN: W. A. Mozart, 4 vols. (1856-1859); 4th ed. by H. Deiters, 2 vols. (1905-1907).

JOSEPH JOACHIM: Briefe von und an Joseph Joachim (ed. by J. J. and A. Moser) vol. I [1842-1857] (1911).

MAX KALBECK: Johannes Brahms, 3 vols. (1904-1911).

OTTO KAUWELL: Geschichte der Sonate (1899).

LUDWIG KÖCHEL: Chronologisch-thematisches Verzeichnis der Tonwerke W. A. Mozarts (1862; 2nd ed. by P. Graf Waldersee, 1905).

LEOPOLD MOZART: Violinschule (1750).

RICHARD MÜNNICH: Johann Kuhnau (Leipzig, 1902).

KARL NEF: Zur Geschichte der deutschen Instrumentalmusik in der zweiten Hälfte des 17. Jahrhunderts (_Beiheft_ of the I. M.-G., I. 5, 1902).

WALTER NIEMANN: Die Musik Skandinaviens (1906).

WALTER NIEMANN (with Schjelderup): Grieg (1908).

LUDWIG NOHL: Beethoven, 3 vols. (1864-1877).

OSKAR PAUL: Geschichte des Klaviers (1868).

K. FERD. POHL: Joseph Haydn, 2 vols. (1875-1882).

HUGO RIEMANN: Geschichte der Musik seit Beethoven (1901).

HUGO RIEMANN: Handbuch der Musikgeschichte, vol. II. (3 parts, Leipzig, 1911-13).

HUGO RIEMANN: Zur Geschichte der deutschen Suite (_Sammelbände_ of the I. M.-G., IV. 4, 1905).

HEINRICH REIMANN: Johannes Brahms (1897; 4th ed. 1911).

HEINRICH REIMANN: Robert Schumann (1887).

KARL REINECKE: Die Beethovenschen Klaviersonaten (1899; 4th ed. 1905).

WILHELM RITTER: Smetana (1907).

ARNOLD SCHERING: Geschichte des Instrumentalkonzerts (Leipzig, 1903; new ed., 1905).

ANTON SCHINDLER: Biographie Ludwig van Beethovens (1840; rev. by A. Kalischer, 1909).

J. P. SEIFFERT: Geschichte der Klaviermusik (Leipzig, 1899).

PHILIPP SPITTA: Johann Sebastian Bach, 2 vols. (Leipzig, 1873, 1880).

ALEXANDER WHEELOCK THAYER: Ludwig van Beethovens Leben, 5 vols., 1866 (1901), 1872 (1910), 1879 (1911), 1907, 1908; completed and revised by H. Deiters and H. Riemann.

KARL THRANE: Friedrich Kuhlau (1886).

JOSEPH VON WASIELEWSKI: Das Violoncell und seine Geschichte (Leipzig, 1889; 2nd ed., 1911).

JOSEPH VON WASIELEWSKI: Die Violine im 17. Jahrhundert und die Anfänge der Instrumentalkomposition (1874).

JOSEPH VON WASIELEWSKI: Die Violine und ihre Meister (Leipzig, 1869; 5th edition, 1911).

JOSEPH VON WASIELEWSKI: Geschichte der Instrumentalmusik im sechzehnten Jahrhundert (1878).

JOSEPH VON WASIELEWSKI: Robert Schumann (1858, 4th ed., 1906).

KARL FRIEDRICH WEITZMAN: Geschichte des Klavierspiels und der Klavierliteratur (1879).

KARL VON WINTERFELD: Johannes Gabieli und sein Zeitalter (1843).

_In French_

H. BARBEDETTE: Chopin, essai de critique musicale (1861).

H. BARBEDETTE: F. Schubert (1865).

H. BARBEDETTE: Stephen Heller (1876).

MICHEL BRENET: La jeunesse de Rameau (Paris, 1903).

M. D. CALVOCORESSI: Liszt (1911).

ARTHUR COQUARD: César Franck (Paris, 1891).

FRANÇOIS JOSEPH FÉTIS: Biographie universelle des musiciens, 8 vols. (1837-1844, 2 ed. 1860-1865); Suppl. by A. Pougin, 2 vols. (1878-1880).

HUGUES IMBERT: Profils de musiciens (1888).

VINCENT D’INDY: César Franck (1906).

VINCENT D’INDY: Beethoven (1911).

H. M. LAVOIX: Histoire de l’instrumentation depuis le seizième siècle jusqu’a nos jours (Paris, 1878).

ANTOINE FRANÇOIS MARMONTEL: Les pianists célèbres (1878).

ANTOINE FRANÇOIS MARMONTEL: Histoire du piano (1885).

L. PICQUOT: La vie et les œuvres de Luigi Boccherini (1851).

ANDRÉ PIRRO: Louis Marchand (_Sammelbände_ of the I. M.-G., VI. 1, 1904).

ANDRÉ PIRRO: J. S. Bach (Paris, 1906).

ARTHUR POUGIN: Notice sur Rode (1874).

ROMAIN ROLLAND: Beethoven (1907).

ALBERT SCHWEITZER: J. S. Bach, le musicien poète (Paris, 1905).

T. DE WYZEWA AND G. DE SAINT-FOIX: W. A. Mozart, 2 vols. (1912).

_In Italian_

H. GARDANO: Musica di XIII autori illustri (1576).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º 17º e 18º (_Rivista musicale_, IV-VIII, 1898-1901).

_In Spanish_

F. GASCUE: Historia de la sonata (S. Sebastián, 1910).

INDEX FOR VOLUME VII

A

Abel, 591.

Absolute music, 312.

Accentuation (in syncopated rhythm), 220f.

Accompaniment figures (in pianoforte music), 181, 198; (Mendelssohn), 213f; (Schumann), 222, 231; (Brahms), 240; (Chopin), 268f, 270, 272; (Liszt), 306f; (Heller), 321; (Scriabin), 338; (in string quartet), 564. See also Alberti bass; Basso ostinato; Tum-Tum bass.

Acrostics in music, 218.

After-sounds (in pianoforte music), 356, 357, 363.

Agrémens, 35, 59, 128.

Agricola, 374.

Air and Variations, 26.

Alard, 447, 452.

Albéniz, Isaac, 339.

Albergati, 391.

[d’]Albert, Eugen, 324, 330.

Alberti, Domenico, 48, 97, 107f, 139.

Alberti bass, 110ff, 120, 178, 242, 268.

Albinoni, Tommaso, 399, 422.

Alkan, Charles-Valentin, 342ff.

Allegri, G., 475.

Allemande, 23, 25.

Amateurs, 209.

Amati, Andrea, 375.

America, Herz’ travels in, 285.

André, 425.

Anet, Batiste, 406.

Angelico (Fra), 373.

Anglaise, 76.

[d’]Anglebert, 36, 396f.

Antoniotti, Giorgio, 591.

Aquinas, Thomas, 371.

Arabs, 369.

Arcadelt, 10.

Arensky, Anton, 333.

Aria, 26, 69.

Aria form, 77, 102, 103.

Arpeggios, 20, 448; (in violin playing), 415.

Arrangements. See Transcriptions.

Attaignant, 469.

Auer, Leopold, 464, 465.

Augengläser, 512.

[L’]Augier, 43, 100.

Austrian National Hymn, 496.

B

Bach, Carl Philipp Emanuel, 35, 59, 86, 96, 98, 99, 100, 113, _116ff_, 132, 417, 490; (quoted on the pianist’s art), 133. Sonata in D major, 118.

Bach, Johann Christian, 86, 97, 112, 113, 114, 116, 117ff, 491, 498.

Bach, Johann Sebastian, 8, 28, 30, 41, 42, _63ff_, 95, 99, 128f, 131, 134, 207, 267f, 305, 367, _421ff_, 428, 484; (in rel. to fugue and suite), 70ff; (in rel. to concerto, etc.), 81; (influence on Chopin), 254f; (popularization of), 300. Well-tempered Clavichord, 64, 71, 81. Italian concerto, 67, 82, 95. English suite in G minor, 67.

## Partitas, 75, 79.

English suites, 75f. French suites, 75f. Preludes, 80. Toccatas, 81. Fantasias, 81. Goldberg Variations, 83, 85. Musikalisches Opfer, 84. Kunst der Fuge, 84. Violin solo sonatas, 422. Chaconne for violin alone, 423. Sonatas for Harpsichord and Violin, 423. Concertos for one or two violins, 423f. Violoncello suites, 591.

Bach, Wilhelm Friedemann, 128.

Baillot, Pierre Marie François de, 412, 431, 433, 434.

Balakireff, Mily, 330, 331, 338. Islamey Fantasy, 330.

Balance, 49.

Balakireff, 555.

Ballades, 17; (Chopin), 256.

Balletti, 377, 470, 473.

Baltasarini. See Beaujoyeaulx.

Balzac (cited), 282.

Banchieri, Adriano, 471.

Barbella, Emanuele, 404.

Barcarolle (Chopin), 256.

Barthélémon, H., 410.

Baryton, 590f.

Basle, 372.

Bassani, Giovanni Battista, 389f, 480.

Bassedance, 470.

Bassoon (in chamber music), 598, 604.

Basso ostinato, 387.

Batiste. See Anet, Batiste.

Bäuerl, Paul, 473.

Beach, Mrs. H. H. A., 340.

Beaujoyeaulx, 376f.

Beaulieu, 376.

Bebung, 3.

Becker, Diedrich, 473.

Beethoven, 89, 98, 100f, 112, 116, 123, 131f, 136, _154ff_, _158ff_, 175, 193, 206, 207, 253f, 267, 367, 432, 433, _451ff_, _509ff_, 534, 575f, 592f, 599f, 602; (compared to Haydn and Mozart), 133; (pianoforte playing), 160f; (popularization of), 300; (transcriptions), 306. Pianoforte sonatas, 154ff, 159ff, 168ff. Piano sonata in C-sharp minor (op. 27, No. 2), 169f. Piano sonata in A-flat (op. 110), 171f. Bagatelles (piano), 173. Piano Concerto in G major, 173. Piano concerto in E-flat major (Emperor), 173. Diabelli Variations, 173. Early Violin Sonatas, 454f. Violin sonata in G (op. 96), 456. Violin concerto, 456f. Six string quartets (op. 18), 510ff. String quintet in C major (op. 29), 512. ‘Russian’ string quartets (op. 59), 513ff. String quartets (op. 74 and 95), 517. String quartet (op. 127), 520ff. String quartet in A minor (op. 132), 523ff. String quartet in B-flat major (op. 130), 527ff. String quartets in C-sharp minor, 528ff. String quartet in F major (op. 135), 531ff. Trio, op. 70, 575f. Trio, op. 97, 576. Violoncello sonata in F (op. 5), 592f. Violoncello sonata in A (op. 69), 593f. Violoncello sonata in G (op. 5), 593. Violoncello sonata (op. 102), 594f. Variations on air from ‘Magic Flute,’ 595. Trio for piano, flute and bassoon, 599f. Septet, op. 20, 602.

Bekker, Paul, 512.

Belgian school of violin playing, 447.

Bellini, 286.

Benda, Carl, 416.

Benda, Franz, 413, 414f, 417, 420, 428.

Benda, Georg, 414.

Benda, Hans Georg, 414.

Benda, Johann, 414.

Benda, Joseph, 414.

Bennett, William Sterndale, 217.

Bériot, Charles Auguste de, 446, 448.

Berlioz, 207, 342; (transcriptions), 306.

Bernadotte, General, 432, 455.

Bernardi, 390.

Berthaume, Isidore, 410.

Biber, Heinrich Ignaz Franz [von], 391f, 412, 422.

‘Biblical Sonatas,’ 27.

Biblical subjects, 27, 311.

Bie, [Dr.] Oskar (cited), 199, 322, 344.

Biffi, 108.

Binary form, 45, 49, 102, 103, 105.

Bini, Pasqualini, 403.

Bizet, 462.

Boccaccio, 373.

Boccherini, Luigi, 404, 487ff, 491, 591.

Boehm, Joseph, 445.

Bohemia, 556, 586.

Bohm (organist), 16.

Bononcini, 390, 478.

Borodine, 330, 553, 554f. String quartet in A, 554.

Borri, 390.

Bourrées, 26.

Bowen, York, 598.

Bowing (violin), 403, 416, 431; ('cello), 591.

Brahms, 53, 168, 193, _238ff_, 271, 273, 321, 367, 442, 451, _459f_, _543ff_, _578f_, 579, _583ff_, 587, 596f; (influence), 335. Pianoforte sonatas, 240. Piano sonata in C major, 240f. Piano sonata in F-sharp minor, 241. Piano sonata in F minor, 241. Paganini Variations (piano), 242f. Ballades (piano), 242. Variations on a Theme of Handel (piano), 243. Capriccios, 244ff. Rhapsodies (piano), 245f. Intermezzos (piano), 246. Piano concertos, 247f. Violin sonatas, 459f. Violin concerto, 460. String sextet, 543ff. String quartet in B-flat major (op. 67), 546. String quartet in A minor (op. 51, No. 2), 546. Trios in C major and C minor, 578f. Clarinet Trio, 579. Horn trio, 579. Pianoforte quartets (op. 25 and 26), 583. Pianoforte quartet (op. 70), 584. Pianoforte quintet in F minor (op. 34), 584f. Cello sonata, 596f.

Branle, 470.

Brentano, Maximilian, 575.

Briegel, K., 473.

Britton, Thomas, 481.

Broadwood, Thomas, 158.

Brodsky, Adolf, 464.

Bruch, Max, 452, 465. Scottish Fantasia, 465. Violin concertos, 465.

Bruhns, Nikolaus, 422.

Brussels, 448.

Bull, John, 19, 32.

Bull, Ole, 452.

Bülow, Hans von, 44, 332, 342.

Buonaparte, Lucien, 487.

Buoni, 390.

Buononcini. See Bononcini.

Burlesca, 79.

Burney, Charles, 43; (cited), 48, 108, 394, 408, 415.

Buxtehude, 16.

Byrd, William, 19.

Byron, 318.

C

Caccia, 10.

Caccini, 474.

Cadences, 14.

Cadenza (in pianoforte concerto), 152f; (in chamber music), 581.

Caluta à la Spagnola, 470.

Cambridge, 18.

Campion, Jacques (Chambonnières), 27.

Canavasso, A., 591.

Cannabich, Christian, 413, 418, 420.

Canon, 473.

Cantata (origin of name), 10.

Cantata da camera, 474.

Canzon a suonare (canzon da sonare), 93, 470.

Canzona, 11f, 472.

Caprice, 79.

Capriccio, 11.

Carissimi, 6.

Carlist Wars, 465.

Carnaro, Cardinal, 402.

Carneval de Venise (Le), 434, 440, 445.

Cartier, J. B., 407, 412, 428.

Casino Paganini, 437.

Cassation (quartet), 489.

Castiglione, 377.

Castor and Pollux (Abbé Vogler), 184, 185.

Catches, 473.

Cavalli, 6.

'Cello. See Violoncello.

Cembalo. See Clavicembalo; also Harpsichord.

Chabrier, Emanuel, 353, 366.

Chaconne, 83.

Chadwick, George W., 589.

Chamber music, 16; (16th-17th cent.), 467ff; (origin of term), 467, footnote; (for wind instruments), 598. See also Trio; String quartet; String quintet; Pianoforte quartet; Pianoforte quintet; Sextet; Septet; Violin sonata; Violoncello sonata; Wind instruments, etc.

Chamber sonatas, 94.

Chambonnières (Campion), 27, 32, 33, 104.

Chaminade, Cécile, 342.

Chanson, 9, 10, 11, 92.

Charelli, 478.

Charlatanism, 435.

Charles XI, 375.

Chausson, Ernest, (string quartet), 552; (pianoforte quartet), 589.

Cherubini, 411; (string quartet), 535.

Chess-board, 3.

Chopin, 55, 132, 207, _250ff_, 284, 305, 333, 342, 367, 428; (opinion of Mendelssohn), 217; (as character, in Schumann’s ‘Carnaval’), 227; (popularization), 300; (transcriptions of songs of), 306; (transcription of ‘The Maiden’s Wish’), 307; (influence on Russian composers), 329; (influence), 335; (influence in France), 341; (compared to Paganini), 439. Pianoforte sonatas, 257ff. Barcarolle, 263. Fantasia in F minor, 263. Mazurkas, 281f. Nocturnes, 281. Pianoforte concerto, 263. Polonaise-Fantasie (op. 61), 263f. Preludes, 264. Waltzes, 281.

Chord style, 11.

Christian Frederick VIII, King of Denmark, 309.

Chrotta, 368.

Chrysander, 53.

Church, Roman, (opposition to musicians), 371.

Church music, 9.

Church sonatas, 94.

Clarinet, 599; (in chamber music), 579, 598, 604.

Clarinet sonatas, 603f.

Clavecin, 5, 52. See also Harpsichord.

Clavecinists, 26.

Clavicembalo, 5. See also Harpsichord.

Clavichord, 1, 2ff, 8, 67, 128.

Clement, Franz, 444, 451, 456.

Clementi, Muzio, 64, 98, 100, 112, 117, _119ff_, 143, 157. _Gradus ad Parnassum_, 121. Sonata in G minor (op. 7, no. 3), 121. Sonata in B minor (op. 40, no. 2), 122. Sonata in G minor (_Didone abbandonata_, op. 50, no. 3), 122.

Coda (Beethoven), 165f.

Color effects (in string quartet), 555f.

Concertati, 474.

Concert piece (Mendelssohn), 216. See also Konzertstück.

Concerto, (Italian), 67; (Bach), 81; (Vivaldi, Mozart), 150; (for flute and harp), 599. See also Pianoforte concerto; Violin concerto.

Concerto grosso (Torelli), 388f.

Concerts des Amateurs, 407.

Concerts Spirituels, 404, 410, 487.

Confrérie de St. Julien des Ménestriers, 372.

Conservatory. See Paris Conservatoire.

Contrapuntal style. See Polyphonic style.

Contrast, 49, 469; (of key), 18, 561; (of registers, in piano music), 277; (rhythmic, in early chamber music), 476.

Corelli, Arcangelo, 6, 37, 93, 389, 392, _396ff_, 412, 427, 428, 480, 481. Violin sonatas, 397ff.

Coriat (quoted), 393.

Cornetto, 377.

Cosyn, Benjamin, 18.

Cortecci, 376.

Counterpoint, 19f. See also Polyphonic style.

Counter-theme, 11.

Couperin, Charles, 52; (compared to Bach), 65; (influence on Bach), 69.

Couperin, François (le Grand), 8, 36, 41, _51ff_, 63, 86, 207, 267f, 398, 484; (rondo), 58; (influence on Bach), 69.

Couperin, Louis, 36, 52.

Courante, 23, 25, 473.

Cramer, J. B., 64, 132, 176, 178, 285, 418.

Cramer, Wilhelm, 418.

Cremona, 375.

Crescendo, 378.

Cristofori, Bartolomeo, 155.

Crossing of the hands, 47; (Bach), 84; (D. Scarlatti), 106.

Crowd, 368.

Cryptograms, 218.

Cryth, 368.

Cui, César, 330, 331.

Cycles of pianoforte pieces (Schumann), 221f.

Cyclic forms, 30. See also Sonata; Suite.

Czerny, Carl, 44, 64, 182.

D

Da capo form, 69, 77.

Dale, Benjamin, 598.

Dance form, 30.

Dance rhythms (Schubert), 206; (Rubinstein), 321; (Heller), 321. See also Chopin: Mazurkas, Waltzes.

Dance tunes (15th cent.), 20, 22, 468.

Dances, (early French), 376; (Spanish), 396; (17th cent.), 472.

Dante, 318.

Daquin, Claude, 61.

Dargomyzhsky, 330.

Dauvergne, Antoine, 409.

David, Ferdinand, 409, 412, 443f, 451, 458.

David, Paul (quoted), 449.

De Ahna, 451.

Debussy, Claude, 353ff, 367; (chamber music), 561ff, 604. Suite Bergamasque, 359. L’Isle joyeuse, 359. Estampes, 360. Images, 360f. Preludes, 361ff. String quartet, 561ff.

Delibes, Leo, 462.

Denmark, 326.

Descriptive music, 27f, 55f, 214, 311. See also Picture music; Realism in pianoforte music.

Diabelli, 165.

Dialogues for two violins, 474, 475.

Dissonance (absence of), 13; (unprepared), 14.

Dittersdorf, Carl Ditters von, 419.

Divertimento (quartet), 489.

Dohle, 64.

Dohnányi, Ernst von, 338; (pianoforte quintet), 589.

Domanowecz, Nicholas Zmeskall von, 492, 518.

Double-bass (in chamber music), 590.

Double-harmonics, 438.

Double-stops (violin), 382, 383, 422, 430, 460.

Dowland, John, 394.

Dramatic style (in pianoforte sonata), 122; (in violin music), 441.

Duet, (for one violin), 387; (for two violins), 411; (viola and violoncello), 512.

Duet sonata, 454.

Dumka, 586.

Dunhill, Thomas F. (cited), 460, 589.

Duport, Jean Louis, 591.

Durand, 412.

Durante, Francesco, 59, 97.

Dussek, 98, 176.

Dvořák, Antonin, 338; (violin music), 466; (chamber music), 558f; (pianoforte quartets), 583; (pianoforte quartets and quintets), 585f; (influence), 589. String quartet in A minor, 558. String quartet in E-flat, 559. ‘American’ quartet, 559. Trios (op. 65 and 90), 580f. Pianoforte quartet (op. 23), 585. Pianoforte quintet (op. 87), 585f.

E

Ecclesiastical modes (modern use of), 363f.

Eck, Franz, 418f, 440.

Eck, Johann Friedrich, 418.

Edward VI, 375.

Effects, pianistic, 303ff. See also Pianoforte technique.

Elizabeth, Queen of England, 4.

Elman, Mischa, 464f.

Embellishments, 35. See also Ornamentation.

Emotional expression, 14, 41.

Enescou, Georges, 466.

England, 18, 21; (harpsichords in), 4; (modern), 339.

English horn (in chamber music), 598, 601.

English virginal music, 18ff, 32.

Equal Temperament, 67f.

Érard, Sebastian, 157.

Ernst, Heinrich Wilhelm, 445.

Esterhazy, Prince, 496.

[L’]Estrange, Roger, 394.

[d’]Étree, 376.

Études. See Pianoforte études; Violin études.

Exoticism (in modern music), 362f.

F

Fantasia, 11, 469; (on ut-re-mi-fa-sol-la), 20; (popularity in early 19th cent.), 285; (on airs from favorite operas), 286; (Liszt), 308; (early use of term), 472.

Fantasie, 79.

Fantasy pieces, 211. See also Schumann.

Farina, Carlo, 382, 467, footnote.

Farinelli, G. B., 397.

Farinelli’s Ground, 397.

Farrenc, Madame, 53. See also _Trésor des pianistes_.

Fauré, Gabriel, 352f, 604; (violin sonata), 462; (chamber music), 583, 588, 589. Pianoforte quintet in D minor, 588.

Ferrara, Carlo, 591.

Ferrari, Domenico, 404.

Fétis (cited), 440.

Fidula, 369.

Field, John, 55, 132, 176, 179, 183, 254, 278.

Figured bass, 486, 487, 573.

Fingering (violin), 370; ('cello), 591.

First-movement form, 91. See also Sonata form.

Fischer, Johann, 392.

Fitzwilliam collection, 18, 21.

Fitzwilliam Museum, 18.

Florid style (harpsichord), 35.

Floridia, Pietro, 465.

Flute (use of, in chamber music), 598, 604.

Flute concerto, 599.

Fochsschwantz, 468.

Folk-melodies (in English virginal music), 20; (in pianoforte music), 136, 325.

Fontana, Giovanni Battista, 383, 476.

Foote, Arthur, 340, 589.

Form, 10; (harmonic principle), 14; (Scarlatti), 49; (Chopin), 256; (César Franck), 550. See also Instrumental forms; Fugue; Sonata form; etc.

Förster, Emanuel Aloys, 510.

Fortunatus, Venantius, 368.

Foster, Will, 18.

France, 25; (modern pianoforte music), 341ff; (violinist-composers), 405ff.

Franck, César, 207, 345ff, 349, 461, 547ff, 561, 581, 586. Prelude, Chorale and Fugue, 345f. Prelude, Aria and Finale, 346. Symphonic Variations, 347f. Violin sonata, 461. String quartet in D minor, 547ff. Pianoforte quintet, 586.

Franck, Melchior, 472.

Franco-Belgian school (of violin playing), 447f.

Francœur, 406.

Franz, Robert (transcriptions of songs), 306.

Franzl, Ferdinand, 418.

Franzl, Ignaz, 418.

Franzl, Johann C., 413.

Frederick the Great, 414.

Frederick William II, King of Prussia, 487, 494, 506, 591.

Freedom of the arms (in pianoforte playing), 301f.

Freedom of the hands (in pianoforte playing), 293.

Freedom of the wrist (in pianoforte playing), 296.

French Revolution, 407, 410, 432.

Frescobaldi, Girolamo, 15ff, 24, 476.

_Frische Clavier-Früchte_ (Kuhnau), 29.

Friskin, James, 589.

Froberger, Johann Jacob, 15, 23 (footnote), 24, 32, 75, 104, 473.

Fuga, 10.

Fugue, 11, 17, 21, 29, 41; (Bach), 70ff; (in pianoforte sonata), 129f, 166, 171; (Mendelssohn), 215; (Franck), 346; (for 4 vlns., 16th cent.), 376; (three and four subjects, Haydn), 493.

Furcheim, Wilhelm, 386.

Furiant, 586.

G

G-string, 374, 382, 384.

Gabrieli, Andrea, 10.

Gabrieli, Giovanni, 10, 11, 471.

Gade, Niels, 326.

Gaillarde. See Galliard.

‛_Gaily the Troubadour_,’ 285.

Galitzin, Nikolaus, Prince, 520.

Galliard, 22, 23, 473.

[Le] Gallors, 36.

Galuppi, Baldassare, 97, 116f.

Ganassi, Silvestro, 374.

Gassmann, Florian, 499, 503.

Gastoldi, 377.

Gautier, Denis, 26f, 33, 34.

Gaviniés, Pierre, 408f.

Gavotte, 26.

Gelinek, 182.

Geminiani, Francesco, 401, 430f, 482.

Generative theme, 562. See also Thematic metamorphosis.

Genouillière, 156.

Genre pieces, 212.

George, Stephen, 571.

Gerber (cited), 383.

Gerle, Hans, 374.

German romanticism, 320, 321.

Germany, 16, 36.

Gernsheim, Friedrich, 321, 324, 466.

Ghro, Johann, 472.

Giardini, Felice, 404.

Gibbons, Orlando, 19, 394.

Giga, 23.

Gighi, 478.

Gigue, 23.

Glazounoff, Alexander, 333; (violin concerto), 464; (chamber music), 555.

Glière, Reinhold, 555.

Glinka, 329; (transcription of ‘A Life for the Czar’), 330.

Glissando, 192, 243.

Gluck, 7, 503.

‘God Save the King,’ 291, 308, 363.

Godard, Benjamin, 342.

Goldberg Variations, 67.

Goldmark, Karl (violin music), 466; (pianoforte quintet), 589.

Gossec, 499.

‛_Gott erhalte Franz den Kaiser_,’ 497.

Graces, 35.

Grainger, Percy, 339.

‘Grand style’ of piano playing, 303.

Graun, Johann Gottlieb, 413, 414, 415, 420.

Gravicembalo, 5. See also Harpsichord.

Greco, Gaëtano, 38, 43.

Greek modes (modern use of), 362f.

Greek mythology, 27.

Gretchaninoff, Alexander, 555.

Grieco. See Greco.

Grieg, Edvard, 326ff, 338; (influence), 340; (violin sonata), 463; (cello sonatas), 597. Pianoforte sonata in E minor, 327. Pianoforte concerto, 327f. Ballade (piano), 328. Holberg, suite (piano), 328. String quartet, 556.

Grossi, 391, 478.

Ground bass, 83.

Grün, 445.

Guenin, Marie Alexandre, 408, 409f.

Guillemain, 409.

Guitar, 437; (imitation of, on violin), 387.

H

Haack, Carl, 416.

Habeneck, Coretin, 447.

Habeneck, F. H., 447.

Habeneck, Joseph, 447.

Halir, Karl, 451, 465.

Hammerschmidt, Andreas, 473.

Handel, 7, 8, 26, 42, 43, 87, 421, 484. Harmonious Blacksmith, 87.

Hardelle, 36.

Harmonic basis (in the fugue), 70f.

Harmonic coloring (Mozart), 145.

Harmonic principle (in musical form), 14.

Harmonic style, 13.

Harmonics (on violin), 438, 439, 448; (use of, in string quartet), 571f.

Harmonious Blacksmith, 87.

Harmony, 13f, 29; (Schubert), 194; (Chopin), 261f, 265ff; (Liszt), 318; (Scriabin), 336f; (Debussy), 354f; (Ravel), 364; (modern), 534.

Harp concerto, 599.

Harpsichord, 1, 2, 4ff, 32, 34, 35, 128; (‘touch’), 5; (with two or more manuals), 47; (in instrumental combinations), 573f.

Harpsichord music, 16ff, _40ff_; (florid style), 35; (leaping figures), 47; (descriptive pieces), 55f; (ornamentation), 59.

Harpsichord playing, 66, 68.

Harpsichord sonata, 97; (with violin _ad lib._), 426. See also Pianoforte sonata.

Hasse, Johann Adolph, 7, 43.

Hausmann, Robert, 451.

Haydn, Joseph, 7, 89, 98, 100f, 112, 116, 128, 131f, 134, _135ff_, 207, 410, 412, 416, 424, 444, 487, 503; (compared with Beethoven), 133; (fugue), 493; (string quartet), 489ff, _498ff_, 560; (influence on Mozart), 499, 502f; (trios), 574. Piano sonata in G major (op. 14, Peters 11), 138. Piano sonata in C major (op. 13, Peters 15), 138. Piano sonata in F major (Peters 20), 138. Piano sonatas in E-flat (Peters 1 and 3), 139. Variations on a theme in F (for piano), 140f. String quartets (op. 9), 491. String quartets, (op. 20) (Sonnen quartets), 492. String quartets (op. 33), 493f. String quartets, op. 50 (1787), 495f. String quartets (op. 54 and 55), 496f.

Haydn, Michael, 499.

Heine, 134.

Heller, Stephen, 321.

Helmesberger, G., 445.

Henselt, Adolf, 217.

Herz, Henri, 285ff, 297, 447. ‘La Sonnambula’ Variations, 286.

Heuberger, Richard, cited, 194.

Hiller, Ferdinand, 176, 182.

Hoffmann, E. T. A., 218, 232.

Hoftanz, 470.

Holbrooke, Joseph, 589.

Holland, 21.

Holz, Karl, 521 footnote.

‘Home, Sweet Home,’ 291.

Horn (in chamber music), 598, 600, 604.

Horn sonata, 600.

Hubay, Jenö, 466.

Hugo, Victor, 318.

Hummel, Johann Nepomuk, 158f, 175f, 183, 254. Piano concerto in A minor, 176ff.

Hungary, 317.

Hupfauff, 470.

Huygens, Constantine, 32.

I

Imitative music, 28, 386f.

Impressionism. See France (modern).

Impromptus (Schubert), 200ff.

Improvisation (Mozart), 142f.

d’Indy, Vincent, 129f, 349ff; (cited), 167; (violin sonata), 463; (pianoforte quartet), 589f. Poëmes des Montagnes, 350. Pianoforte sonata in E (op. 63), 351. String quartets, 551f.

Inner melodies, 60; (Chopin), 278.

Instrumental forms, 11f, 41, 102. See also Canzona, Ricercar, Sonata, Toccata, etc.

Instrumental music (development), 1, 8ff; (early), 92; (in 16th cent.), 373; (15th-16th cent.), 469ff.

Instrumental style, 11, 33; (influence on vocal), 9, footnote.

Interlocking of the hands (piano-playing), 222, 352.

Inventions (Bach), 67.

Italian influences (in sonata), 99, 107, 117; (in French violin music), 406; (in German violin music), 412, 420; (in France and Germany), 428; (Mozart), 499.

Italy, 16, 25, 37; (supremacy of, in 18th-cent. violin music), 427f.

J

Jahn, Otto (cited), 507.

Jannequin, Clement, 10.

Jarnowick, 436.

Jenkins, John, 392f.

Jensen, Adolf, 321, 323.

Jerome of Moravia, 370.

Joachim, Joseph, 238, 443, 445, 450f, 458 (footnote), 460.

Joachim quartet, 451.

Jommelli, 491.

Jongleurs, 370, 372.

_Jour de fête_ (String quartet by Russian composers), 555.

Judenkönig, 374.

Juon, Paul, 333.

K

Kaiserling, Count, 83.

Kalbeck, Max (cited), 543.

Kalkbrenner, 64, 176.

Kalliwoda, Johann Wenzelaus, 418, 445.

_Kammenoi-Ostrow_, 331.

Karganoff, Genari, 333.

Keiser, 7.

Kelly, Michael (cited), 502.

Kempi, Nicolaus, 478.

Key, variety of, 94.

Key contrast. See Contrast (of keys).

Key relationships, 30, 102; (in suite), 23; (Debussy), 355.

Keyboard instruments, 1ff.

Keyboard style, 12.

Kielflügel, 5. See also Harpsichord.

Klengel, 446.

Kopyloff, A., 555.

Kraft, Nikolaus, 510, footnote.

Kreisler, Johann (‘Kapellmeister Kreisler’), 232.

Kreutzer, Rodolphe, 408, 412, 418, 431f, 451.

Kruse, J. C., 451.

Kuhnau, Johann Friedrich, 27, 28f, 34, 35, 37, 59, 69, 75, 90, 94. Sonate aus dem B., 28f.

L

_La ci darem la mano_, 258, 309.

Lablache, 254.

Laborde, Jean B. (cited), 108 (footnote).

Lacombe, Paul, 342.

Lady Nevile’s Book, 18.

L’Augier, 43, 100.

LeBègue, 36.

Leblanc, 410.

Lafont, 431.

LaFranco, 374.

Lahoussaye, Pierre, 408.

Lalo, Edouard, 451, 461f.

Lamartine, 318.

Lanzetti, 591.

‛[The] Last Rose of Summer,’ 285, 291.

Laub, Ferdinand, 418, 553.

Laurenti, 390.

Leaping figures (in harpsichord music), 47.

Leclair, Jean Marie, 406, 407.

Legato style, 30; (pianoforte touch), 161; (violin-playing), 374, 381.

Legends (Liszt), 311f.

Legrenzi, Giovanni, 386, 478.

Leighton, William, 394.

Lenau, 318.

Lentor, John, 394.

Lenz, W. von (cited), 290, 291.

Léonard, 447.

‘Lessons,’ 22, footnote.

Liadoff, Anatole, 334, 555.

Lichnowsky, Prince, 510, 513.

Lichtenstein, Ulrich von, 370.

‘Lily Dale,’ 291.

Linke, Joseph, 521 footnote.

Linley, Thomas, 404.

Lipinski, C. J., 446.

Liszt, 48, 134, 207, 276, 286, _298ff_, 321, 342, 357, 367; (cited on Chopin), 253, 258; (cited on Field), 278; (on Thalberg), 296; (influence on Raff), 322; (influence on Russian composers), 329; (influence), 337, 354; (influence in France), 341. Études, 301f, 313f. Reminiscences de Don Juan, 309ff. Realistic pieces, 311ff. Années de pélerinage, 312. Pianoforte concerto, 314. Pianoforte sonatas, 314ff. Hungarian Rhapsodies, 317.

Literary suggestions, 318.

Lobkowitz, Prince, 517.

Locatelli, Pietro, 95, 401, 405, 435, 436, 487f.

Lock, Matthew, 394.

Loeffler, Charles Martin, 604.

Lolli, Antonio, 409, 435, 436.

Lombardini, Maddelena, 404.

London, 24; (Salomon concerts), 410, 443.

London Philharmonic Society, 416.

Longo, Alessandro, 44.

Lotti, Antonio, 108.

Louis XIV, 7, 52.

Loures, 26.

Löwe, Johann Jakob, 473.

Lübeck, 2.

Lucchesi, G. M., 404.

Lully, Jean-Baptiste, 7, 393.

Lute music, 9, 469; (transcriptions), 468.

Lutenists, 26, 33.

Lutheran Church, 12.

Lydian mode, 526.

M

MacDowell, Edward, 340.

Mace, Thomas, 395, 470.

Mackenzie, A. C., 339.

Madrigali da camera, 474.

Madrigals, 9, 10, 473, 486.

Malfatti, Theresa, 517.

Malibran, Maria, 448.

Malibran-Garcia, 254.

Mandolin, 47.

Manfreli, Filippo, 404.

Manieren, 35, footnote.

Mannheim school, 419f.

Mannheim orchestra, 487.

Mannheim symphonies, 490.

Manuals (in organ and harpsichord), 47.

Marchand, 60.

Marie Casimire, Queen of Poland, 42.

Marini, Biagio, 379, 476.

Marini, C. A., 478.

Marmontel, A. (cited), 178, 344.

Marschner, Heinrich (trio), 577.

Marseillaise (The), 285.

Martini, Padre, 96f, 104, 106, 119.

Maschera, Florentino, 378, 470.

Mass, 9.

Massart, Joseph, 447.

Mattheson, 7.

Maximilian, Emperor of Mexico, 312.

Maximilian Franz, Prince, 600.

Mayseder, Joseph, 419, 444.

Mazurkas, 252f.

Mazzaferrata, 391, 478.

Mazzolini, 390, 478.

Medici, Ferdinand de’, 44.

Melody (treatment of, in pianoforte music), 296.

Mendelssohn-Bartholdy, Felix, 212ff, 440, 451; (compared to Schumann), 223; (transcription), 306, 307; (influence), 326, 328; (string quartets), 539ff; (trios), 577; (cello music), 595. Songs without Words, 213, 217, Variations sérieuses, 215. Violin concerto, 458.

Mereaux, Amadée, 62.

Merula, Tarquino, 384, 476.

Merulo, Claudio, 10.

Meyerbeer, 191; (transcriptions), 296.

Miniature forms, 211f, 321; (Schubert), 204; (Schumann), 222; (Brahms), 239.

Minnesinger, 370.

Minstrels, 371.

Minuet, 26; (in pianoforte sonata), 166; (in string quartet), 493, 495, 504, 511.

Modes. See Ecclesiastical modes, Greek modes.

Modulation, 13, 114. See also Key contrast.

Moffat, Georg, 36f.

Moffat, Gottlieb, 36, 37.

Molinari, Marquis, 108.

Molique, Bernhard, 450.

Molliner Collection, 18.

Monochord, 2.

Mont’Albano, Bartolomeo, 384, 476.

Montaigne, 375.

Monteverdi, Claudio, 6, 378.

Moór, Emanuel, 466, 598.

Mordents, 32.

More, Sir Thomas, 375.

Morino, 470.

Morley, Thomas, 22.

Moscheles, Ignaz, 64, 132, 176, 182, 285.

Moszkowski, Maurice, 321, 323f.

Motet, 9.

Motive, 70.

Mouquet, J., 604.

Moussorgsky, 330, 331.

Mozart, 8, 89, 98, 100f, 112, 116, 123, 128, 131f, 134f, _141ff_, 207, 367, _424ff_, 426ff, 496, 591f; (compared to Beethoven), 133; (concerto form), 150ff; (influence on Chopin), 254f; (‘Don Giovanni’ transcription), 308f; (influence on Haydn), 495; (string quartet), _498ff_; (miscel. chamber music), 560; (trio), 574f; (compositions for wind instruments with piano), 598f. Pianoforte sonatas, 144ff. Piano sonata in C minor (K. 457), 145. Piano sonata in A minor, 145f. Piano sonata in A minor (K. 310), 146. Piano sonata in F major (K. 332), 146. Piano sonata in A major (K. 331) 147f. Piano sonata in F major (K. 332), 147. Piano sonata in A major (K. 331), 148. Piano sonata in C minor (K. 457), 148f. Piano sonata in F major (K. 533), 149. Piano fantasia in C minor, 149f. Pianoforte concerto in A major (K. 488), 151f, 154. Piano concerto in D-major: ‘Coronation’ (K. 537), 154. Violin concertos, 425. Violin sonatas, 427. Divertimenti (1772), 499. Six string quartets (1772, K. 155-160), 500ff. Six string quartets (Vienna, 1773, K. 168-173), 502f. Six string quartets (1782-1785) (G major, K. 387; D minor, K. 421; E-flat major, K. 428; B-flat major, K. 458; A major, K. 464; C major, K. 465), 504ff. String quartets (1789-90; K. 575, 589, 590), 506. String quintets (K. 515, 516, 593, 614), 507f.

Mozart, Leopold, 374, 413, 416f.

Mühlfeld, Professor, 579, 603.

_Musikalisches Kunstmagazin_, 494.

N

Nardini, Pietro, 403, 428, 430.

Nationalism, 320, 325, 329; (Brahms), 248; (Chopin), 252f; (Liszt), 317; (Grieg), 326f; (Spanish), 339; (Tschaikowsky), 464.

Neri, Massimiliano, 385, 477.

Neubauer, Johann, 473.

Nevin, Ethelbert, 340.

Newmarch, Rosa (cited), 465.

Nibelungen Lied, 369.

Niemann, Walter (cited), 333, 334.

Niemetschek, Franz Xaver (quoted), 143.

Nocturne, (Field), 179; (Chopin), 281.

Nocturne form, 180.

Nonet (Spohr), 603.

Notker, 369.

Notre Dame, Paris, 369.

Notturni (quartet), 489.

Novàk, Vatislav (pianoforte quintet), 589.

O

Oboe (in chamber music), 598, 601, 604.

Octet (with wind instruments), 600, 601.

Ofried, 369.

Opera, 6, 14, 40.

Operatic fantasias, 286, 291, 300, 308, 575.

Orchestra, 6, 7; (early combinations), 370f, 373, 376.

Orchestral masterpieces (transcriptions of), 306.

Orchestral style (in pianoforte music), 162f, 193; (organ-playing), 16; (in early chamber music), 486; (in string quartet), 556f, 558, 561.

Ordres, 22 (footnote), 54.

Organ, 1f, 4, 8.

Organ music, 9, 16, 21; (influence of, on harpsichord), 30.

Organ style, 30f, 63, 347, 422, 424.

Organist-composers (16th and 17th cent.), 14ff.

Organists, 17.

Oriental ‘color,’ 362, 365.

Ornamentation (in harpsichord music), 59; (Chopin), 278f.

Ottoboni, Cardinal, 42.

Overtones, 219, 243, 356, 357, 363. See also Harmonics.

Overture, French, 79.

Overtures, transcriptions of, 310.

P

Pachelbel, 16.

Paderewski, Ignace, 338.

Paganini, 243, 299, 318, 430, 433, 435, 437ff, 443, 446; (influence), 448.

Pagin, A. N., 408.

Palestrina, 10, 13.

Paradies, Domenico, 97, 116.

Paris, 430.

Paris Conservatoire, 408, 433, 434.

Paris School (violin music), 430, 435.

Parthenia, 18, 22.

_Partien_, 22 (footnote).

## Partita. See Bach, J. S.

Parody (in pianoforte music), 366.

Pasquini, Bernardo, 6, 37, 43, 90.

Passacaglia, 83.

Passages, 32; (Weber), 186f; (Chopin), 276. See also Arpeggios, Scales.

Passepieds, 26.

Pasta, 254.

Paul, Archduke of Russia, 493.

Paumann, Conrad, 372.

Pauses, 140.

Pavane, 22, 23, 469, 473.

Pawirschwantz, 468.

Pedal, 156.

Pedalling, 161f, 181, 356; (Schumann), 219.

Pepys’ Diary, 393.

Pergolesi, Giovanni, 1O1f, 107.

Peri, 474.

Petrarch, 318.

Petrucci’s lute collection, 469.

Petzolds, Johann, 473.

Philip, Isadore, 343.

Pianists. See Virtuosi (piano).

Pianoforte, 132; (use of, by Mozart), 144; (development of), 155ff; (exploitation of resources), 310; (modern development of resources), 363; (in chamber music combinations), 573ff. See also Virtuoso music.

Pianoforte actions, 156, 157.

Pianoforte concerto, (Mozart), 150ff, 154; (Beethoven), 173; (Schumann), 237; (Chopin), 263; (Liszt), 314; (Tschaikowsky), 332; (Grieg), 327f; (Brahms), 247f; (Rachmaninoff), 334.

Pianoforte études, (Czerny), 44, 64, 182; (Clementi), 121; (Chopin), 258; (Liszt), 301, 313f; (Scriabin), 335.

Pianoforte music, (orchestral style in), 193; (influence of song in), 194, 254.

Pianoforte playing, (C. P. E. Bach), 127f; (Mozart), 142; (Beethoven), 160f; (Hummel), 176; (Field), 179; (Schubert), 194; (Chopin), 255; (Thalberg), 291; (Liszt), 299f, 301.

Pianoforte quartet, 582, 583.

Pianoforte quintet, 582f, 586ff.

Pianoforte sonata, (Kuhnau), 28; (development), _89ff_; (general character of movements), 98f; (dramatic conception of), 122; (Haydn and Mozart), 136ff; (Beethoven), 154ff, 159ff; (interdependence of movements), 167f, 262f; (Weber), 187ff; (Schubert), 195ff; (after Beethoven), 207; (Romantic), 208f; (Schumann), 235; (Brahms), 240; (Chopin), 257ff; (Liszt), 314ff; (Grieg), 327; (Rachmaninoff), 334; (Scriabin), 337; (d’Indy), 351; (with violin _ad libitum_), 426.

Pianoforte style, 33, 268, 277.

Pianoforte technique, 68, 132, 268; (Clementi), 157; (Beethoven), 162f; (after Beethoven), 175; (Weber), 184, 187; (Schumann), 219; (Brahms), 247; (Thalberg), 293; (Liszt), 301ff; (Scriabin), 335; (Alkan), 343; (Franck), 346; (d’Indy), 352; (Debussy), 358f.

Picture music, 214.

Pierné, Gabriel, 353, 604.

Piquot (quoted), 488f.

Pisendel, Johann Georg, 413.

Piva, 469.

Pixis, F. W., 418.

Pizzicato, 378, 387, 448, 588; (combined with bowed notes), 438; (Mozart), 505; (Debussy), 564; (in string quartet, Schönberg), 571f.

Plain-song, 10, 20.

Playford, John, 395.

_Polka de la reine_, 322f.

Polonaises, 252f; (Chopin), 282.

Polyphonic style, 9 (footnote), 11, 16, 22, 74, 383, 386, 392, 471; (organ), 31; (Chopin), 269, 271; (Corelli), 397; (in violin solo sonata), 422.

Polyphony (vocal), 9.

Popularization (of Bach, Beethoven, Chopin), 300.

Porpora, Nicolo, 51.

Portraiture, musical, 55f, 226.

Positions in violin playing, (change of), 384; (seventh), 431.

Pot-pourri, 310.

Præludium, 469. See also Prelude.

Prætorius, Michael, 375; (cited), 468, 472.

Preamble, 79, 469.

Prelude, 12, 17, 21, 29, 41; (Bach), 80; (Chopin), 264; (Heller), 321; (Rachmaninoff), 334; (Debussy), 361ff.

Program music, 27f, 312.

Proportz, 470.

Puccini, Giacomo, 366.

Pugnani, Gaëtano, 402, 404, 410.

Punto, 600.

Purcell, Henry, 21, 392, 479.

Pythagoras, 2.

Q

Quagliati, Paolo, 381.

Quantz, J. J., 415, 515.

Quartet style, 555f, 565.

Queen Elizabeth Virginal Book, The, 18.

Quintet, (Beethoven), 509; (clarinet and strings), 599; (wind instruments and piano), 599; (with wind instruments), 600, 601. See also Pianoforte quintet; String quintet.

R

Rachmaninoff, 334, 338.

Raff, Joachim, 321, 322f; (string quartet), 547.

Rameau, J. P., 8, 61f, 131.

Rappoldi, 445, 451.

Rasoumowsky, Prince, 419, 513.

Ravel, Maurice, 353, 364ff, 564f.

Realism, 27; (in pianoforte music), 311, 344.

Rebec, 369, 372.

Rébel, 406.

Recitative, 14.

Recoupe, 470.

Regal, 1.

Reger, Max, 321, 466, 598, 604.

Registers, contrast of (in pianoforte music), 277.

Reichardt, J. F., 494.

Reiteration of notes, 47.

Reményi, 445.

Reusser, Esajas, 473.

Revolution. See French Revolution.

_Rhétorique des Dieux_, 26.

Rhythm, (syncopated), 219f; (mixture of duple and triple, Brahms), 241; (5/4 time), 258; (7/8 time), 359; (rhythmic oddities), 547.

Ricercar, 10, 11, 469.

Richter, Franz Xaver, 112, 413, 487.

Richter, Jean Paul, 218, 321.

Riemann, Hugo, cited, 512, 521.

Ries, Ferdinand, 182.

_Rigoletto_, 309.

Rimsky-Korsakoff, 330f, 555.

Robineau, L’Abbé, 409.

Rode, Pierre, 412, 430, 432, 433f, 451, 456; (influence on Spohr), 440.

Rogers, Dr. Benjamin, 394.

Rois des ménestriers, 372.

Rois des violins, 372.

Rolla, Alessandro, 437.

Romanticism, 207f, 211, 218, 239, 320, 321.

Rome, 2, 6, 15.

Rondo (Couperin), 17f, 58, 79.

Ropartz, Guy, 598.

Roseingrave, Thomas, 43, 44.

Rosenmüller, Johann, 473.

Rossi, Salomone, 474.

Rossini, 292.

Rounds, 473.

Rubert, Martin, 473.

Rubini, 254.

Rubinstein, Anton, 295, 331; (trio), 579f.

Rudolph, Archduke, 575.

Ruggeri, 391, 402.

Rugieri, 478.

‘Rule, Britannia,’ 291.

Runs, 383, 430, 448.

Russia (modern composers), 329, 553.

Russian ‘color’ (Beethoven), 515.

Rust, Friedrich Wilhelm, 98, 100f, 117, 129, 416.

Rust, Ludwig Anton, 117.

S

Saint-Foix, 425.

St. Georges, Chevalier de, 407.

St. Germain des Près, Abbey of, 369.

St. Mark’s, Venice, 1.

St. Nicholas Brüderschaft, 371.

St. Peter’s (Rome), 2, 15, 42.

Saint-Saëns, Camille, 341f; (violin music), 462; (trio), 581; (pianoforte quartet), 589; ('cello sonata), 598.

Salieri, 454.

Salomon, Johann Peter, 416, 496.

Salomon concerts (London), 410, 443.

Salon music, 201; (Chopin), 280f.

Saltarello, 469.

Sammartini, Giovanni Battista, 498, 499.

Santini, Abbé, 44.

Sarabande, 23, 25, 75.

Sarasate, Pablo de, 451, 452, 462, 465.

Satie, Eric, 366f.

Saxophone (in chamber music), 598.

Scale passages, 20; (harpsichord), 68; (Clementi), 120.

Scandinavia (pianoforte music), 326ff.

Scarlatti, Alessandro, 7, 38, 42ff, 111.

Scarlatti, Domenico, 8, 19, 38, 41, 42ff, 45, 86, 91, 105ff, 109. 131, 276; (sonatas), 46ff; (form), 49; (compared with Bach), 65.

Schachbrett, 3.

Scharwenka, Philipp, 321.

Scharwenka, Xaver, 321, 323f.

Scheidt, Samuel, 16.

Schein, I. H., 472.

Scherzo, 79; (in string quartet), 493.

Schmitt, Florent, 365f.

Schobert, Jean, 97, 98, 113, 114, 117, 123, 426, 498.

Schönberg, Arnold, piano music, 324; (chamber music), 565ff. Sextet, _Verklärte Nacht_, 565. First string quartet, 567ff. Second string quartet, 570f.

Schubart, C. F. D., 417.

Schubert, Franz, 89, 183ff, _193ff_, 206, 209, 254, 367, 547, 577, 590; (compared with Brahms), 248; (_Müller-Lieder_ transcription), 296; (transcriptions of songs of), 306, 307; (transcription of waltzes), 310; (violin music), 456; (string quartet), 536ff; (octet), 602. Piano sonata in A major (op. 120), 198. Piano sonata in D major (op. 120), 195. Piano sonata in A minor (op. 143), 196f. ‘Wanderer’ Fantasy (op. 15), 198. Impromptus (first set), 200ff. Impromptus (second set), 202f. ‘Musical Moments,’ 204ff. Dances (for piano), 206. String quartet in G major, 537f. Trios (op. 99 and 100), 577. ‘Forellen’ quintet, 590.

Schumann, Clara, 133, 300, 584.

Schumann, Robert, 193, 207, 218ff, 254, 333, 367, 439, 440, 547; (opinion of Mendelssohn), 217; (compared with Brahms), 248; (transcriptions of songs of), 306; (influence on Chopin), 323; (influence), 329, 349ff, 551; (violin sonatas), 457f; (string quartets), 541ff; (trio), 578; (pianoforte quintet), 587; (cello music), 595; (viola pieces), 598; (comp. for clarinet, viola and piano), 603. Fantasy Pieces, 222f. Kinderscenen, 224. Carnaval, 225ff. Davidsbündler Dances, 229. Papillons, 229. Faschingsschwank aus Wien, 229. Abegg Variations, 230. Symphonic Études, 230ff. Kreisleriana, 232ff, 273. Novelletten, 235. Sonata in F-sharp minor, 235. Sonata in G minor, 236. Fantasy, 236. Pianoforte concerto, 237. String quartet in A minor, 541. String quartet in F major, 542. String quartet in A, 542. Pianoforte quartet (op. 44), 582. Pianoforte quartet (op. 47), 582.

Schuppanzigh, Ignaz, 419, 510 (footnote), 513.

Schuppanzigh quartet, 510 (footnote), 521.

Scott, Cyril, 339.

Scriabin, Alexander, 335ff.

Senaillé, J. B., 406.

Sénancourt, 318.

Sensationalism, 294f. See also Virtuoso music.

Septet (with wind instruments), 600.

Serenades, 599.

Serrato, Arrigo, 466.

Sextet, (Beethoven), 509; (with wind instruments), 600, 601.

Sgambati, Giovanni, 338f; (pianoforte quintet), 589.

Shedlock, J. S., (cited), 38 (footnote); 43; 50 (footnote); (quoted on Chopin), 259; (quoted on Beethoven), 262.

Short forms. See Miniature forms.

Sibelius, 465.

Sibylla, Duchess of Württemberg, 24.

Siciliana, 505.

Simphonia (early use of term), 472.

Simpson, Christopher, 394.

Sinding, Christian, 328f; (pianoforte quartet), 590. Concerto in D-flat, 329.

Sinfonia, 79, 475.

Singing allegro, 101, 107, 113.

Singing bass, 60.

Singing melody (in pianoforte playing), 296, 307.

Sinigaglia, Leone, 466.

Skips (violin playing), 430.

Slavic influences (in sonata), 98, 99.

Slawjk, Joseph, 445f.

Smetana, 556f, 561; (influence), 589. String quartet, _Aus meinem Leben_, 556f.

Société des Concerts du Conservatoire, 447.

Sokoloff, Nikolas, 555.

Somis, 402.

Sonata, (origin of word), 12; (Kuhnau), 28; (so-called), 37, 91; (Scarlatti), 46ff; (for violin alone), 409, 421; (for two violins), 421; (with figured bass), 426; (for harpsichord and violin _ad libitum_), 426; (early use of term), 471, 472; (in early instrumental music), 474f, 477, 478ff; (Corelli), 482; (a quattro), 484. See also Pianoforte Sonata; Violin sonata; Violoncello sonata; Trio sonata, etc.

Sonata a quattro (early form of string quartet), 484.

Sonata cycle, 478, 482; (interchange of movements), 100.

Sonata da camera, 22 (footnote), 385, 396; (fusion with Sonata da chiesa), 483.

Sonata da chiesa, 12, 385, 396; (fusion with sonata da camera), 483.

Sonata form, 49, 50, 90f, 104, 484f, 487; (in string quartet), 490. See also Triplex form.

Song (influence of, on pianoforte music), 194, 254.

Songs, (variations on), 289; (transcriptions of), 307.

Songs without Words, 211. See also Mendelssohn.

Sontag, Henriette, 439.

Spain (modern), 339.

Spinet, 5.

Spineta, Giovanni, 5.

Spohr, Ludwig, 412, 418, 430, 438, 440ff; (string quartet), 535f; (trio), 577; (clarinet compositions), 603.

Staccato (violin), 449.

Stamitz, Anton, 418, 432.

Stamitz, Carl, 418.

Stamitz, Johann, 98, 112f, 413, 418, 420, 487, 491, 499.

Stcherbatcheff, Nicholas de, 334.

Steibelt, 182.

Stein, 156, 158.

Stich, 600.

Stillman-Kelley, Edgar (cited), 251.

Stormant, Lord, 502.

Stradivarius, 386 (illus.). See Vol. VIII.

Strauss, Ludwig, 445.

Strauss, Richard, 321, 324; (influence), 338; (violin sonata), 465f; (pianoforte quartet), 590; ('cello sonata), 597f; (horn concerto), 604.

Streicher, 156, 158.

Striggio, 376.

String quartet (early example of combination), 376; (early forms of), 475, 477, 484; (early classics), 486ff; (Boccherini), 487, 488; (Haydn), 489ff; (Mozart), 507f; (Beethoven), 509ff, 512ff, 534; (Spohr), 535f; (Schubert), 536ff; (Mendelssohn), 539ff; (Schumann), 541ff; (Brahms), 545ff; (Franck), 547ff; (d’Indy), 551f; (Chausson), 552; Dvořák, 559; (modern), 560ff; (Debussy), 561ff; (Ravel), 564f; (Schönberg), 565f.

String sextet, (Brahms), 543ff; (Schönberg), 565f.

Strungk, Nicholas Adam, 392, 412.

Studies, 321. See also Études.

Style galant, 58, 75, 502.

Suite, 12ff, 41, 74ff, 93; (uniformity of key), 25; (Bach), 70ff; (Grieg), 327; (early form of), 469f. See also Ordres.

Sulponticello, 556.

Süssmayer, 425.

Sutterheim, Baron von, 528.

Symbolical sequence of notes, 218.

Sympathetic vibrations, 356, 363.

Symphonic masterpieces (transcriptions of), 306.

Symphony (term applied to string quartet), 490.

Syncopated rhythms (Schumann), 219f.

T

Taglietti, 478.

Taneieff, Serge, 555.

Tarantella (Heller), 321; (Dargomijsky), 330.

Tartar le corde, 469.

Tartini, Giuseppe, 122 (footnote), 402, 412, 415, 417, 427, 428, 430.

Tausig, 44, 290.

Technique. See Pianoforte technique; Violin technique.

Telemann, Georg Philipp, 413.

Temperament, equal. See Equal temperament.

Terminology (uncertain, in Renaissance period), 472.

Ternary form, 45. See Triplex form.

Thalberg, Sigismund, 286, 291ff, 449; (rivalry with Liszt), 299f. Fantasia on ‘Moses,’ 292ff.

Thayer, 433.

Thematic development, 475, 480.

Thematic metamorphosis, 548.

Themes, 11, 70; (contrasted), 113; (second), 476, 477.

Thome, François, 342.

Thomelin, Jacques, 52.

Thumb (use of, in pianoforte playing), 68.

Toccata, 12, 21, 29, 41, 79, 469, 470; (A. Scarlatti), 38; (Bach), 81.

Tone color (attempt at, in string quartet), 517, 572.

Tone-painting, 382.

Tonini, 391, 478.

Tordion, 470.

Torelli, Giuseppe, 388f, 399, 413, 483; (influence on Bach), 422.

Tost, Johann, 496, 535.

‘Touch’ (harpsichord), 6. See also Pianoforte technique.

Touchemoulin, 409.

Tourte, François, 431.

Transcriptions, 296; (Liszt), 306; (Mendelssohn’s ‘Midsummer Night’s Dream’), 310; (Schubert’s Waltzes), 310; (Glinka), 330; (of Vivaldi’s concertos, by Bach), 422; (Rode’s Theme and Variations), 434; (Paganini caprices), 439; (for lute), 468. See also Fantasias; Operatic fantasias.

Transitional passages (in sonata), 114.

Tremolo, (pianoforte), 302; (string instruments), 378, 381, 384, 556.

_Trésor des Pianistes_ (Madame Farrenc’s), 53, 104, 129.

Trills, 32, 430.

Trio, 469; (Haydn, Mozart), 574ff; (Beethoven), 576f; (Schubert, Mendelssohn, Schumann), 577; (modern Russian), 579f; (Arensky, Dvořák, Tschaikowsky), 580; (modern French), 581; (wind instruments and piano), 599.

Trio sonatas, 101, 388, 474, 476, 484, 574.

Triplex form, 91, 96, 102, 104ff, 115; (C. P. E. Bach), 113; (Beethoven), 163ff; (Chopin), 260. See also Sonata form; Ternary form.

Trium, 469.

Trombone (in chamber music), 604.

Troubadours, 9 (footnote), 370.

Tschaikowsky, 331ff, 463f, 553f, 561, 580; (on Lalo), 462. Pianoforte concerto in B-flat minor, 332. Violin concerto, 463f. String quartet, 553f, 561. Trio (op. 50), 580.

Tum-tum bass, 177, 191, 287.

Tuning (modified, of violin), 392, 436, 439. See also Equal temperament.

Turin School (of violin music), 404f.

Turini, Francesco, 475.

Turns, 32.

U

Ucellini, Marco, 385.

Uhland, 252.

V

Valentini, Giuseppi, 402.

Variations, 17, 18, 19, 20f; (Handel), 87; (Beethoven), 165, 595; (Weber), 184f; (Mendelssohn), 215; (Schumann), 230f; (Brahms), 242ff; (popularity in early 19th cent.), 285; (Herz), 286f; (Thalberg), 291; (in early instr. music), 475; (Haydn), 475.

Venetian school (violin composers), 399.

Venice, 1.

Veracini, Antonio, 390, 479, 483.

Veracini, Francesco Maria, 401, 483.

Verdi (Rigoletto transcription), 309.

Viadana, 474.

Vicentino, Nicola, 467 (footnote).

Vienna, 89, 371, 502.

Viennese classics, 131ff.

Vieuxtemps, Henri, 412, 446, 448f, 453.

Vinacesi, 391, 478.

Viol, 371, 372.

Viola, 598.

Viola da gamba, 590f.

Viola pomposa, 591.

Viola sonata, 598.

Viola suite, 598.

Violin, 370; (ancestors of), 368f; (in 16th cent.), 373f; (modified tunings), 392.

Violin bow, 382, 385.

Violin concerto, (Torelli), 388; (Viotti), 405, 411; (Bach), 422, 423; (Mozart), 424f; (Kreutzer), 432; (Rode), 433; (Baillot), 435; (Paganini), 440; (Spohr), 441; (de Bériot), 448; (Joachim Wieniawski), 450; (modern), 451f; (Beethoven), 456f; (Schubert), 456; (Mendelssohn), 458; (Brahms), 460; (Lalo), 461f; (Tschaikowsky), 463f; (Glazounoff), 464f; (Bruch), 465; (Sibelius), 465; (Reger), 466; (modern Bohemian and Italian), 466. See also Violin solo, sonata for.

Violin études, (Gaviniés), 409; (Kreutzer), 432.

Violin methods, (Geminiani), 401; (L. Mozart), 417; (Conservatoire), 433; (Baillot), 435; (Spohr), 442.

Violin music, before Corelli, 379ff; (English, 17th cent.), 393; (18th cent.), 396ff; (19th cent.), 430ff.

Violin playing (in Middle Ages), 371, 372; (16th cent.), 373; (popularity of, in 18th cent.), 400f; (Gaviniés), 409; (in Germany, 18th cent.), 412f; (Benda), 415; (Tartini), 431; (Paganini), 438f; (Spohr), 442; (modern), 452. See also Violin technique.

Violin solo, concerto for, 399; sonata for (Gaviniés), 409; (Handel), 421; (Bach), 422, 424; works for, 422.

Violin sonata (evolution), 384; (G. B. Vitali), 387; (Biber), 391; (Corelli), 397ff; (Albinoni), 399; (Vivaldi), 400; (Veracini), 402; (Tartini), 403; (Leclair), 407; (Rust), 416; (Handel), 421; (various types), 426f; (Beethoven), 454ff; (Schubert), 457; (Schumann), 457f; (Brahms), 459f; (Franck), 461; (Saint-Saëns, modern French), 462f; (Grieg), 463; (Strauss), 465f. See also Violin solo, sonata for.

Violin technique, (development), 368ff, 373ff; (18th cent.), 430f; (Paganini), 438; (Spohr), 441; (Brahms-Joachim), 460. See also Double-stopping; Bowing.

Violinists. See Virtuosi (violin).

Violoncello music, 590ff; (Beethoven), 592ff; (Schumann, Mendelssohn), 595f; (Brahms), 596f; (Grieg), 597; (modern), 597f.

Viotti, Giambattista, 402, 404f, 408, 410ff, 428, 430, 431, 433, 488. Violin concertos, 411.

Virdung, S., 374.

Virginal, 4.

Virginal music, 18.

Virtuosi, (piano), 209, 284, 290; (violin), 401f, 411, 417, 435ff, 444, 451f.

Virtuosity, 41, 43, 45, 298f.

Virtuoso effects (violin), 401, 448.

Virtuoso music, 165, 177, 276, 288ff, 297, 304, 310, 400, 436, 443, 466, 511.

Virtuoso style, 216, 405.

Vitali, Giovanni Battista, 387, 479.

Vitali, Tommaso Antonio, 383, 388.

Vivaldi, Antonio, 37, 95, 98, 399, 400, 413, 483f; (influence on Bach), 69, 422.

Vocal music (as chamber music), 467; (15th-16th cent.), 486ff.

Vocal polyphony, 9.

Vocal style, 12; (influence on instrumental), 9 (footnote); (in violin music), 376; (in instrumental music), 377, 378.

Vogler, Abbé, 191.

Volkmann, Robert (string quartet), 547.

W

Wachs, Paul, 342.

Wagenseil, G. C., 113, 117, 123f, 498.

Wagner, Richard, 132, 133, 251, 442, 459; (transcription of _Tannhäuser_ overture), 307.

Waldhorn. See Horn.

Walter, Jacob, 386, 422.

Wasielewski, G., 122 (footnote); (cited), 406, 412, 413, 415, 446. Variations on a Popular Romanza, (op. 28), 185. Variations on a Theme in C major (op. 7), 185. Variations (op. 40), 186. Variations on a Bohemian Melody (op. 55), 186. Piano sonata in C major (op. 42), 188. Piano sonata in A-flat major, 188ff. Piano sonata in D major, 189. Invitation to the Dance, 190f. Konzertstück in F minor, 191f.

Weber, Carl Maria von, 132, 183ff, 206, 208, 209, 267, 350, 367; (_Preciosa_ transcription), 296; (clarinet compositions), 602f.

Weiss, Amalie, 451.

Weiss, Franz, 510, footnote.

Weitzmann (cited), 137.

Well-Tempered Clavichord. See Bach.

‘We're a' noddin',’ 285.

Whole-tone scale, 355, 359f.

Wieck, Clara. See Clara Schumann.

Wieniawski, Henri, 447, 450.

Wihtol, Joseph, 334.

Wilhelmj, August, 443.

Wind instruments (in chamber music), 598ff; (combinations of), 604.

Woldemar, 436.

Women violinists, 404.

Worms, 371.

Wranitzky, Anton, 419.

Wyzewa, 425.

Y

Ysäye, Eugène, 461.

Z

Zacconi, Ludovico, 375.

Zanata, 391, 478.

Zinke. See Cornetto.

Zmeskall von Domanowecz, Nicolaus, 492, 518.

Zweelinck, 16, 21.