emotional and highly-strung Tschaïkowski, whom Bülow, not without
justice, honoured with his special admiration. Tschaïkowski’s
variations are one of the soundest and most genuine of modern piano
works; and the B flat minor concerto has a swing and rush that
carries us away. His Sonata, not only by its application of national
themes, but specially by the national colouring of the episodic
parts, down to the light and shade of the figurations, is unique
among piano pieces. He was simpler and more popular in his numerous
drawing-room pieces, which constantly reward study by a spirited
phrase or unusual harmony. The school of older and younger Russians
has worked on the same popular lines. To this school belong Borodin,
Cui, Liadoff, Rimsky-Korsakoff, Mussorgsky, Glazounow, Naprawnik.
A third group is that of the Scandinavians, who gained importance
in Europe about the middle of the century, not merely in fiction
and painting, but in music also. But they were rather inspired than
inspirers. Their leader is Grieg, whose well-known concerto Op.
16, in spite of certain eccentricities, has a very flowing course
suggesting the united influence of many predecessors. His themes are
good specimens of a music which is not the product of experience,
but of invention. Scores of variations and dainty isolated pieces
keep the same happy and attractive medium between the shallow and
the interesting. They are in any case more important than Gade’s
Mendelssohniana. For a long time less known, but far deeper and
more genuine than Grieg, is Halfdan Kjerulf, whose works have been
republished by Arno Kleffel (Simon). Humorous little pieces in the
post-romantic style, but of concentrative ability, deserve the highest
praise a Romantic can receive; they are like Schubert in spirit. Among
the later Scandinavians, Schytte and Sinding have tried no new paths;
Stenhammer, also of importance as a virtuoso, has given us works of
pith and character, which may rank among the first.
[Illustration]
In England and America, in later times, Graham Moore and Macdowell
may claim notice as lesser Romantics. The former is not free from
triviality; the latter invents with more delicate genius, and has
written a very respectable piano-concerto. But Germany may still boast
that she retains the supremacy.
From the group of German post-Romantics, which found in Franz Brendel
a very fertile composer of programme tone-pictures, two great
personalities drew apart. Adolf Jensen was the inheritor of Schumann’s
emotion, Johannes Brahms of Schumann’s musical character. Jensen,
whose character is the mean between Chopin and Schumann, has left
behind him music which will not die, in his clear-cut and splendidly
worked-out Suites, in his emotional “Wanderbilder” and Idylls, in
the unique Eroticon, which characterises the different forms of love
in separate movements, and in the four-handed wedding music, which
is lovely and full of power. But Brahms inherited from his patron
Schumann, not youth, not this simple thinking and inventing, but
manhood, in which music became an absolute self-supported world.
He worked in the world of tone, with no trace of virtuosity, with
not a suspicion of a concession to the understanding of the mere
amateur. His Sonatas and Concertos, the sparkling Scherzo Op. 4, the
Variations, the Études, even the four-handed waltzes and the unique
“Liebes-lieder” waltzes--for four hands with voices--there has, in our
time, been no music written so free from the slightest condescension.
Stubborn, at times repellent, even in her smiles not very gracious,
this music seeks to make no proselytes; but whomsoever she wins as a
friend, she holds fast and allows that rarest of pleasures--the
pursuit of lofty aims, and the quiet rapture of a student.
[Illustration: Johannes Brahms. Photograph from life by Marie
Fellinger, Vienna.]
[Illustration]
Over against these two originals stands Joachim Raff, the eclectic.
We have grown accustomed to count his eclecticism no reproach, for
never did man more bitterly experience the sorrow of art. His great
legacy of piano-pieces will at least give a good picture of the time.
In them the most commonplace demands of art are mingled with the most
heart-felt lamentations--as they never mingled except in our age. They
are a long catalogue of virtues and vices, from the hapless Polka de
la Reine to the Sonatas, in which, whether for piano alone, or more
especially for piano and violin, he attained astonishing heights; from
the ravishingly graceful suite-movements to the romanticism of his
lyrical songs. And over all broods the unrest of the time.
Among living Germans the same two main groups are in general to be
distinguished: the artists of the serious, self-sufficient music, and
the poets of the lighter, post-romantic _genre_. Rheinberger’s sound
and solid Sonatas and smaller pieces are the purest representatives of
the more absolute conception of music, and they deserve the highest
praise. Richard Strauss, also, in his earlier years, came out with
some remarkably original piano-pieces, which betrayed a strong sense
for absolute music. I would mention particularly the pithy Burlesque
for Orchestra and Piano. In such serious and solid endeavour Wilhelm
Berger stands out among the younger masters. But--as in the middle
section of his great variations for two pianos--he must beware of
a too great fluency, which is the stumbling-block of all absolute
musical emotion.
Eugene d’Albert, in spirit, resembles Brahms. This appears most
clearly in the eight massive Piano-pieces of his Op. 5, which live by
their infelt music, and are in that respect to be numbered amongst
the noblest fruits of modern piano-literature. This inclination to
absolute music appeared even in his first work, a very interesting
Suite, and has received further active expression in certain
arrangements of Bach, which take a front rank along with those of
Busoni. Among his piano-concertos, the second, which is included in
a single movement, is without serious rival, at least among works
that have appeared since Liszt, in wealth of invention and variety
of colour. His secular turn will probably continue itself in his
later works, which, in consequence of his devotion to opera, will
necessarily cease to be influenced by Bach and Brahms.
Paderewski stands perhaps on the dividing line between the severer
absolute musicians, in whose style he composed his Variations and
Humoresques à l’antique, and the daintier drawing-room romantics, with
whom he associates himself specially in numerous fiery Polish dances.
His Concerto in A minor is absolutely bathed in this national spirit.
Xaver Scharwenka strikes a similar note. Something of Chopin at his
best still lives in him; and his Concertos, above all, have given him
a name as a composer. His brother Philip renounces the virtuoso, and
appears rather as a teacher and former of taste. He has created a
rich piano-literature, which prefers to deal in graceful and _galant_
forms, and holds itself utterly aloof from storm and revolution.
Scharwenka has the rare merit of having successfully cultivated
four-handed piano music; and his “Herbstbilder” and “Abendmusik”
belong to the most tasteful productions of this class. Among his
multiform “Jugendstücke” the “Kinderspiele,” in several volumes, are
the most successful. A similar activity has been shown by Wilhelm
Kienzl, who has been able to work the light romantic _genre_ in all
its aspects. Kienzl is one of our most fertile piano-composers.
His pieces are all occasional, thought out for delicate orchestral
effects, and thus are extremely unassuming. His “Boat-Scene” gained
the special approval of Liszt, while his Dance Airs and Dance Pictures
belong to the most popular class of piano-works. His illustrated cycle
“Child-love and Life,” which appeared with text in four languages,
seeks to apply to the piano the method of intuitive instruction. The
cycle “From my Diary” is the best example of the specially subtle and
suggestive touch, by which Kienzl attains his detailed orchestral
effects; while the two volumes, “A Poet’s Journey,” are to be regarded
as his ripest work.
[Illustration]
Moritz Moszkowski, who has not yet laid aside his career as a
virtuoso, and only the other day appeared with a new piano-concerto,
is among the most remarkable in the band of modern piano-poets. A
delicate and polished virtuosity, as it appears in the Etincelles and
the Tarantelle, is allied with a characteristic force in form, which
has made his four-handed Spanish dances, and his “From Foreign Parts,”
so popular.
History shows that the piano only flourishes in a pronounced
opposition to the opera, which is the other extreme, the triumph
of all arts united. The opera seeks to realise the impossible; it
calls into requisition a whole world of forces in order to grasp in
a sensuous manner the heights of life. It forms a Titanic resolve
to build mountains out of sand; an intoxication, an extraordinary
consciousness of victory, gives wings to this most daring of
experiments. A great man once appeared, who made Dionysus his lord,
and sought to win from the stage a mirror of the world and worldly
honour. We stand on the fair ruins of his splendid failure. We have
been instructed, we have been elevated; but the tragedy of the
theatre is too deep. Then come the hours in which we flee to the
household-ingle of chamber-music, and strive to disentangle its
enlacing lines, in which we see the whole of life included, since it
depicts itself without the need of foreign aid. The piano will further
be the central point of this introspection. Let us have no concertos,
in which this delicate instrument is dragged before the crowd and
has to fight a duel with the orchestra. All beautiful compositions
notwithstanding, the piano is no concerto-instrument. In concertos
the delicate ear is outraged. The piano will not adapt itself for
new ideas in the hall, in the midst of virtuosity, or against the
orchestra. It must become chaste; it must turn in faith to Bach’s
Wohltemperiertes Klavier, the Old Testament, as Bülow called it, of
the musician’s creed, and to Beethoven’s Sonatas, the New.
It is noteworthy that in Schytte’s “Silhouettes,” or Variations on
the same theme in the different styles of various Masters, he nowhere
fails so badly as with Bach, who is marked by retardations in the
middle voices, or with Beethoven, who is characterised by gloomy
rhythm. The true path seems to have been lost. The line through Bach,
Beethoven, Schumann, and Brahms, is the only safe line for the piano;
and it is the line in music furthest removed from the opera. In those
great natures, whether they knew it or not, was a strong repugnance
to the opera; and Brahms, whose eulogists said he was the last of his
race, will perhaps one day be viewed as the connecting link between
the old and a new musical culture.
It is in chamber-music alone that we have the right to look for
great triumphs in the immediate future; triumphs of which Klinger’s
“Radierungen,” Brahms’s “Clarinet Quintet” or Smetana’s “Aus Meinem
Leben,” are at once the anticipation and the guarantee.
It is for our children to see to it that the great traditions of the
past are not forgotten; and that the building which it will fall to
them to erect is not unworthy of its foundation.
[Illustration]
[133] Some of us would be inclined to follow this train
of thought in another direction. The question would not
be--May great artists break the law and be blameless? (the
Pope practically held that they might; if Benvenuto Cellini
does not lie about his own case) but--What right has the
public to obtain a full account of any man’s private life?
Vulgar curiosity, and an unacknowledged desire on the part
of the reader to find that the great man is “even such
a one as himself,” have more to do with the popularity
of certain biographies than their writers would care to
acknowledge.
The “Life” of a great man should be a faithful report of
his Greatness. His weakness and folly, often exceeding
that of commonplace people simply because of the vastly
greater range of his temptations, is no business of ours,
and should never be printed, except in so far as it is
necessary to make clear the plain story of his career.
[134] Meaning separate publications--ranging from single
pieces to large collections in one volume.
Postscript
Prosniz’s “Handbuch der Klavier-litteratur,” which goes down to 1830,
and the new edition of Weitzmann’s “History of Piano-playing and
Piano-literature,” now in preparation, supply a complete apparatus of
all the sources of information necessary to the student. Thus I have
been able in this work, to the exclusion of all dryasdust references
to authorities, to present the development of piano-literature from
the point of view of culture and of human interest. For procuring the
material which lies in the works themselves and contemporary writings,
I am indebted to the labours of Dr Kopfermann, Director of The Royal
Library of Music at Berlin. I am enabled to give the illustrations by
the extreme kindness of Mr Otto Lessmann, the Baroness Wilhelm von
Rothschild, Mr Nicolas Manskopf, Mr Edwin Bechstein, Mr de Wit, Madame
Bülow, Madame Marie Fellinger, and others.
Errata
P. 43. The note on Agricola is a mistake. M. Agricola is of the
early 16th century. Bach’s pupil was J. F. Agricola, for whom
see p. 122, _note_.
P. 48. _For_ “Tielman Sufato” _read_ “Sufato Tielman.”
P. 63, line 2. _For_ “brown” _read_ “yellow.”
P. 63, line 2. _For_ “dark grey” _read_ “gris de Maure.”
P. 70, line 27. According to the latest investigations Scarlatti
died in _Naples_ in 1757; thus he must have returned from Spain
to Italy. (_Cf._ “Gazette Musicale,” Napoli, 15th Sept. 1898.)
P. 114, line 19. _For_ “Hezekiah’s” _read_ “Gideon’s.”
Addendum
P. 16. _Note_. That one of the earliest indications of the 18th
century suite is to be seen in the Elizabethan “Parthenia,”
viz., in the association of Prelude, Pavan, Galliard.
Index of Names and Matters
Accompagnato--style, 95
Adam, L., 160, 186, 192
Agricola, M., 43 (_see_ Erratum)
Alkan, 317
Ansorge, 301
Arcadelt, 8 _note_
Aria, 72
Arne, T. A., 38
Aston, 27
Attaignant, 42
Baake, 191
Bach, Friedemann, 138
Bach, John Christian, 94, 148, 159
Bach, John Sebastian, 91 ff.
Life, 93
His contrapuntal method, 94
Accompagnato, 95
Style of work, 96
Construction of his pieces, 96
Technique, 116
Clavier method, 118
Bach and the Hammer-clavier, 122
Original editions of, 102
Toccatas, 98
Symphonies and Inventions, 97
Fugues, 100
“Art of Fugue,” 103
Wohltemperiertes Klavier, 102, 112, 113, 116, 119
Chromatic Fantasia, 103
Other Fantasias, 109, 110
Partitas, 104
English Suites, 106
Overture in French Style, 120
Italian Concerto, 109
Preludes, 112
Programme-music, 114
Goldberg Variations, 117
Other mentions, 148, 163, 326
Bach, Philip Emanuel, 128 ff.
Life, 138
The “Versuch,” 139
“Manieren,” 140
Harmonies, 144
Melody, 144
Works, 143
Amalia-sonatas, 145
Barth, 306
“Bebung,” 20, 119
Bechstein, 310
Beethoven, 157 ff.
Reformer, 158
Tragedy in Music of, 169
Concertos, 170
Scherzi, 169
Forms, 171
Style of playing, 183
Sonatas in detail, 175 ff.
Bembo, Pietro, 77
Benedict, 191
Bennett, Sterndale, 268
Berger, Ludwig, 184, 191, 193
Berger, Wilhelm, 323
Bertini, 205
Besardus, 12
Bird, William, 27-31
Carman’s Whistle, 31
Bischoff, 307, 316
Blow, John, 38
Blüthner, 310
Böhner, 245
Bösendorfer, 310
Bononcini, 74
Borodin, 320
Borwick, 300
Brahms, 322
Brendel, Franz, 322
Breslaur, 304
Broadwood, 133, 169
Bülow, Hans von, 296
Bull, John, 32, 34, 36, 71 _note_
King’s Hunt, 35
Busoni, 301
Buxtehude, 92
Caccini, 75
Carissimi, 78
Carreño, Madame, 303
Cavalieri, 77
Cavalli, 75
Chabrier, 319
Chambonnières, 52
Chaminade, Cécile, 319
Chopin, 256 ff.
Etudes, 203, 263
Chopin and Hummel, 261
Life, 258
Works, 262
Playing, 257
Clavichord, the, 19, 20, 89, 91, 124
Clavicymbal, 23, 81
Clauss-Savardy, 293
Clementi, 190, 208
Group of his followers, 191, 193
Collard, 193
Compass of clavier, etc., 19-22, 24, 211
Concertos, 109, 151, 170, 319, etc.
Contests, musical, 91, 161, 163
Corelli, 78, 82
Counterpoint, 9, 79, 84, 85
Couperin, François, 53 ff.
Content of his pieces, 56
Forms, 55
L’art de toucher le clavécin, 63, 64
Couperin, Louise, 59
Couplet in Rondo, 55, 147 _note_
Cramer, 194, 210
Cristofori, 121, 122, 133
Cui, 320
Czerny, 190, 216
Da Capo, 84
D’Agoult, 276
D’Albert, Eugene, 307, 324
Dance
Old English, 18
First instrumental dances, 15, 42
French _danseuses_, 43 ff.
Oldest books of dances, 52
Old dance forms, 55
Allemand, etc.
Dandrieu, 49, 65
D’Anglebert, 40, 65
Dawson, 300
Diémer, 302, 309
D’Indy, Vincent, 319
Diruta, 24, 80
Döhler, 291, 293
Donizetti, 202
Dorn, H., 191
Dreyschock, 293
Dubois, 319
Dumont, 65
Dupont, 306
Durante, 89
Dussek, 159, 163 ff.
Duysen, 310
Eberl, 183, 190
Eckard, Joh., 48
Eckard (Paris), 160
Elizabeth, Queen, 3, 4
Elsner, 265
English Music, 6, 14, 16, 27-39, 38 _note_, 82 _note_
English relations to French music, 15, 41
Erard, 133
Ertmann, Baroness, 160
Essipoff, Madame, 293
Étude, 203 ff.
Fantasia, Old English, 16, 82 _note_, 101 _note_
Fantasia, Italian, 80
Fantasia, free, 145
_F. senza tempo_, 143
Farnaby, 37
Farrenc, 52
Fauré, 319
Field, 159, 193, 265
Fingering, in old times, 26, 81, 116
Fischer, 303
Fleischer, Oskar, 41
Fortbien, 133
Franck, C., 319
French Characteristic Pieces, 132, 148
Frescobaldi, 73, 79, 80, 92
Freund, 306
Friederici, 133
Friedheim, 301
Froberger, 92
Gabrieli, 15, 26, 79, 92
Gabrilowitsch, 301
Gade, 321
Galilei, Vincenzio, 77
Gallot, 51
Galuppi, 89
Gasparini, 70
Gaultier, 41, 50
Gelinek, 161, 183
General Bass (see Thorough Bass), 284
Germer, 307
Gibbons, 7, 16, 37
Glasounow, 320
Gorlier, 15
Graf Pianos, 182
Gravicymbel, 133
Greulich, 191
Grieg, 321
Guicciardi, Julia, 160
Hackebrett (dulcimer), 121
Handel, 74, 138
Hässler, 159
Hammer-klavier, 121, 312
Harpsichord, 22, 24, 78 _note_
Hartvigson, 300
Hasler, 92
Hasse, 14
Hausmann, 309
Haydn, 149, 159
Hebenstreit, 121, 122
Heller, Stephen, 318, 319
Henselt, 318
Herz, 201
Heymann, 301
Hiller, Ferdinand, 191, 317
Hofmann, Jos., 301
Hüllmandel, 192
Hummel, 190, 193, 211, 212 ff.
Hünten, 201
Hurdy-gurdy, 21
Ibach, 310
Improvisation, 161, 162 (Mozart), 198
In Bach’s time, 130
In 1800, 161, 198, 211
Irmler, 310
Isaac, 92
Italian Forms, 78-80
Chamber Music, 78
Jadin, 192
Jaell, 293
Janko, 308
Jannequin, 48, 49, 50, 61
Jedliczka, 306
Jensen, Adolf, 322
Joseffy, 306
Judenkunig, 11
Kalkbrenner, 190, 192, 198, 218
Kaps, 310
Karr, 201
“Kenner und Liebhaber,” 143
Keyboard, 24 _note_
Kienzl, 323, 324
Kirchner, 318
Kirnberger, 131
Kittl, 191
Kjerulf, 322
Klauwell, 304
Klavier (see Pianoforte), 18, 21, 23, 121
“Klavierlehrer,” paper, 305
Kleeberg, 293
Klengel, 193
Klindworth, 306
Knabe, 310
Koch, 315
Köhler, 189
Kontski, 190, 201
Kozeluch, 190, 210
Krebs, 145
Kuhnau, 92
“Quacksalver,” 129
“Biblical Stories,” 119
Kullak, Ad., 306
Kullak, Franz, 306
Kullak, Th., 191, 304, 306
Lacombe, 319
Lasso, Orlando, 26, 37
Le Begue, 65
Lebert, 306
Leschetizki, 308
Liadoff, 320
Lipawsky, 161
Liszt, 193, 264, 271, 287 ff.
Locatelli, 82
Loeilly, 65
Löschhorn, 191
Logier, 190
Louis Ferdinand, Prince, 164
Lully, 44
Lütschg, 301
Lute in Middle Ages, 11, 77
Madrigal, 8, 15, 37 _note_
Marcello, 76
Marchand, 91
Marius, 122
Marpurg, 130
M’Dowell, 322
Mela, Domenico des, 314
Mendelssohn, 152, 198, 249 ff., 250 _note_
Menter, Sophie, 293
Merulo, 79 and _note_
Meyerbeer, 194
Monochord, 19, 42 _note_, 77
Monteverde, 79
Moore, Graham, 322
Morley, Thomas, 37
Mortier de Fontaine, 293
Moscheles 152, 196, 198, 221
Moskowski, 306, 325 f.
Mozart, 151
Mozart and the piano, 135
Clavier concerts, 151
Sonatas, 153 ff.
Miscellaneous, 161
Müller, A. E., 190
Mulliner Book, 27
Munday, John, 36, 93
Mussorgsky, 320
Naprawnik, 320
Neitzel, 316
Octave, “short”, 24 _note_
Opera, Italian, 13, 74 ff.
Operatic Fantasias, 200
Organ, in Middle Ages, 10 ff.
Ornamentations, 12, 20, 34, 41, 57 and _note_, 83 and _note_
In Bull and Byrd, 29
Couperin, 57
Bach, 108
P. E. Bach, 140 ff.
End of 18th cent., 150
Oury, Madame, 191
Pachelbel, 92
Pachmann, 301
Paderewski, 301, 324
Paganini, 207, 282
Pape, 133
Paradies, 89
“Parthenia” (also see Addendum, p. 328), 16
Pasquini, 70, 81
Pauer, Ernst, 191
Paul, Oskar, 18
Pedal, 136, 188, (156, picture)
With Dussek, 164
Adam, 186
Hummel, 186
Pedal Clavier, 120
Penna, Lorenzo, 24
Peri, 75, 79
Periodicals, musical, 131
Phillipps, Peter, 37 and _note_
Pianoforte
Modern factories, 309 ff.
History of the instrument, 121, 122, 136
Viennese and English mechanism, 134, 136, 190
Socially, 134, 303
As furniture, 313 f.
Pianos _de luxe_, 315
Piano and Opera, 201, 326
Piano and Orchestra, 150, 199
Prices of pianos, 135, 137, 316
Piano instruction, 190, 304
Conservatoriums, 305
Hammerclavier, invention of, 121
“Cottage” Piano, 314 (156, 312, 313, pictures)
Pièce Croisée, 58, 61
Pixis, 187, 191
Plaidy, 189, 306
Planté, 301
Pleyel, 133, 159
Pleyel, Madame, 191
Pollini, 191
Porpora, 89
Pradher, 192
Programme-Music, old, 49, 92, 93, 132
Proksch, 191
Prosniz, 28, 328
Purcell, 82 _note_
Raff, 323
Raif, 306
Rameau, 65, 66, 86, 92
Reading, the Monk of, 15
Rebel, 45
Registers or “stops” of Clavier, 23
Reincke, 92
Reisenauer, 301
Repetition, principle of, 72
Rheinberger, 323
Richardson, Ferdinand, 37
Riemann, 307
Ries, 191
Rimsky-Korsakoff, 320
Risler, 190, 301
Romantic School, 224
Rondo, Old French, 147 _note_
In Philip Emm. Bach, 147
In Beethoven, 174
Rondo and Sonata, 145
Rosellen, 201
Rosenhain, 293
Rosenthal, 301
Rossi, Michael Angelo, 82
Rubinstein, Anton, 294 ff.
Rubinstein, Nicolas, 300
Ruckers, 23, 137, 314
Rudolf, Archduke, 191
Rudorff, 306
Rust, F. W., 163
Saint-Saëns, 319
Sand, George, 260
Sauer, 301
Scarlatti, Alessandro, 76, 88
Scarlatti, Domenico, 69 ff.
Sonatas, 86
Technique, 88, 89
Cat’s Fugue, 89
Scharwenka, Xaver and Philip, 306, 324
Schiedmayer, 310
Schmitt, Aloys, 191, 192
Schobert, 160
Scholz, Bernhard, 306
Schröter, 122
Schubert, 225
Miscellaneous, 226
“Wanderer” Fantasia, 226
Op. 78, 227
Impromptus and “Moments,” 228, 229
Schulhoff, 191
Schumann, 231
Schumann and Schubert, 229 ff.
Jean Paul, 232
Bach, 243
E. T. A. Hoffmann, 245
Life, 236
Clara, 236, 237
“Zeitschrift,” 238
Works, 231 ff., 238 ff.
Miscellaneous, 249
Schwarz, Max, 306
Schytte, 322, 326
Senfl, 92
Shakespeare and Music, 5, 6, 7
Silbermann, 122, 134, 137
Siloti, 301
Sinding, 322
Sonata
Sonata “da camera” and “da chiesa,” 78 _note_, 84
Old Italian, 86
Scarlatti, 86 and _note_
Kuhnau, 92
Sonata and Suite, 107
18th century, 110
Sonata and Rondo, 145
Philip Emm. Bach, 143 ff.
Haydn, 150
Mozart, 153
Beethoven, 170 ff.
Spath, 135
Spinet, 6, 24, 90
Spitta, 102, 116
Starck, 306
Stavenhagen, 301
Steibelt, 162
Stein, 137
Steinway, 310
Stenhammer, 322
Sterkel, 210
Strauss, Richard, 323
Streicher, 134
Streicher, Nanette, 160
Sucher, 303
Suite, (_see_ Dance) 106, etc., and _see_ Addendum
Suspensions in Couperin, 57
Sweelinck, virginal pieces, 26, 37
Swietens, Van, 163
Szalit, Paula, 301
Tadema, Alma, 315
Tallis, 27, 32
Taubert, 191
Tausig, 300, 306
Technique, (_see under_), 187-190, 209
Couperin, 64
Ph. Emm. Bach, 143
Fingering, 116
Keyboard, etc., 24, 26
Tedesco, 191
Temperament, equal and unequal, 101 _note_, 102
Thalberg, 197
Thilo, 307
Thoroughbass, 78, 79
Thumb, technique of, 139 ff.
Tielmann, Sufato, 48
Tinctoris, 14
Tischer, 128
Titles of drawing-room pieces, 59, 200
Titles (allegorical, etc.) of old pieces, 42, 51, 59 ff.
Tomaschek, 191
Tschaïkowski, 319
Türk, D. G., 185
Turini, the elder, 86
Turini, the younger, 89
Variations, Old English, 33, etc.
Venetian instrumental music, 13, 26
Viadana, 78
Viennese musical life, 160
Villoing, 190 (line 8; _omitted_)
Vinci, L., 76
Virdung, 20
Virgil, 307
Virginal, 6, 18, 81
Virginal Books, 15, 16, 27, 28
Virtuoso and Teacher, 64, 192, 305
Life of, 193.
Virtuosos playing together, 198
Virtuosos and Concerts, 299
Vivaldi, 82
Volkmann, 318
Volkslied in Masses and Motets, 8
Vollweiler, 191
Wagner (instruments), 137