THE PIANOFORTE
_The dulcimer and the psaltery or psaltérion; ancestors of
the pianoforte; the jacks; the spinet; the virginal, the
gravicembalo or harpsichord; the Ruckers of Antwerp; the
pianoforte; Cristofori; Liszt; the pianoforte a hundred years
ago._
The piano, or harpsichord, ceased to belong to the Orchestra in the
days of Haydn; but it is often called upon to play a Concerto with the
Orchestra and of late composers have again been experimenting with it as
an orchestral instrument.
A description of its mechanism would be dull. Like every other
instrument, the piano was a development of older instruments; and as
it developed composers changed their style of writing for it. We can
follow the development of the piano by following a chronological list
of compositions, from the preludes and fugues of Bach; the suites for
the clavecin and clavier of Handel, Couperin, and Rameau; and the
early sonatas of Mozart and Beethoven to the big sonata of Beethoven,
written for the “hammer clavier,” op. 111, and the elaborate _Hungarian
Rhapsodies_ of Liszt, and so on. With the development of the piano
came the development of _touch_. In the days of the harpsichords and
clavichords there was practically no such thing as _touch_. There was
brilliant execution, of course, and effects were produced; but _touch_
developed after the piano had been equipped with its softly padded
hammers and its improved action.
The modern piano is a miniature orchestra; and since the days of Liszt
pianists have sought to get orchestral effects from it. More literature
has been written for the piano than for any other instrument.
To find the origin of the pianoforte we must go back to the dulcimer and
the psaltery, or _psaltérion_. These two instruments are much alike,
differing only in the way they were played. The strings of the dulcimer
were set in vibration by hammers held in the hands of the performer,
and the strings of the psaltery were plucked with an ivory, metal, or
quill, plectrum, or even by the fingers. The psaltery was smaller than
the dulcimer and had fewer strings. Perhaps the name dulcimer was derived
from the words _dulce melos_, sweet melody; but it was only one of the
names for the instrument. The French called it _tympanon_; the Italians
_cembalo_ and _salterio tedesco_ (German psaltery); and the Germans
_hackbrett_, a board for chopping sausage-meat. The Hungarian, or Magyar,
name for it is _cimbelom_. It is played in Hungarian bands.
The dulcimer was a three-cornered or trapeze-shaped instrument, about
three feet at its widest part composed of a wooden frame inclosing a
wrestplank for the tuning pins around which one end of the strings
were wound; a soundboard with two or more sound-holes; and two bridges
over which the strings passed. Opposite the wrestplank there was a
hitchpin-block, to which the other ends of the strings were attached.
The dulcimer had about fifty notes, and several strings (two, three,
four, and even five) were used for each note. They were of fine wire.
The dulcimer was placed on a table and struck with hammers, the heads of
which were of leather, hard on one side and soft on the other to get the
required loud and soft _forte_ and _piano_ effects. There was no damping
(checking) contrivance to stop the vibration.
The compass was from two to three octaves from C or D in the Bass
Clef. The psaltery and dulcimer came from the East; they had been
known in Persia and Arabia for centuries when the Crusaders made their
acquaintance and brought them home. Chaucer describes the instrument in
his _Miller’s Tale_, (_Canterbury Tales_) as “a gay sauterie.” It appears
in that beautiful fresco of Orcagna’s, _Triumph of Death_, in the Campo
Santo in Pisa (1348) and in many illuminated manuscripts of the Middle
Ages. From its likeness to the shape of a pig’s head, old writers often
call it _Istromento di porco_.
Even as late as 1650, when instruments had improved so greatly, Kircher
wrote in his _Musurgia_ that the psaltery played with a skilled hand is
second to no other instrument, and Mersenne praises “its silvery tone
and purity of intonation so easily controlled by the fingers.” These
two instruments were often beautifully decorated and inlaid and the
sound-holes artistically treated.
[Illustration: VIOLINIST, SINGER, AND LADY PLAYING THE VIRGINAL]
If we look at the frontispiece we will see the psaltery, or _psaltérion_,
resting on the lap of the lady on the extreme left, who holds the
plectrum delicately, but firmly, in her right hand. But to reach our
modern piano from these two quaint instruments we have to travel through
several centuries.
We get into a tangle of names when we stir up the ancestors of the
pianoforte. The dulcimer and psaltery are simple enough, but from them
we come immediately to the _clavicembalo_ (one of the Italian names for
the harpsichord), or _gravicembalo_, as it was also called, which name
was derived from _clavis_, a key, and _cembalo_, a dulcimer. Then we get
the French _clavecin_ (which comes from _clavicymbalum_) _clavichord_,
harpsichord, _harpsicordo_, _clavicordo_, and _clavier_. Then in the
same group we have the virginal and the spinet, closely allied to these
forerunners of the pianoforte in everything but their names.
Students of the piano are often puzzled to know why they are given a
_Suite de pièces pour le clavecin_, or a Prelude and Fugue from the
Well-tempered[90] Clavichord.
It is well to remember that the _clavecin_ (French), the _clavicembalo_
or _gravicembalo_ (sometimes _cembalo_ alone) and _harpsichordo_
(Italian), and _Clavicymbel_ or _Flügel_, meaning wing, from its shape
(German) are all names for the harpsichord. All of these, as we will
see by looking at the picture facing page 182 of Scarlatti at the
_gravicembalo_, and that facing page 296 from Peter Preller’s _Modern
Music Master_ (London), showing a gentleman at the harpsichord, have the
form of our modern concert piano. On the other hand, the _clavicordo_,
_clavichord_, and _clavier_, spinet and virginal, are of the square,
oblong type, like the old square piano that has almost gone out of use.
In all the instruments of the piano family, the place of the plectrum of
the psaltery is taken by the “jack,” which was usually made of pear-tree.
It rested on the back end of the key-lever with a movable tongue of holly
kept in place by a bristle spring. Projecting at the end of the tongue at
right angles was a thorn, or a spike of crowquill. As the key was pushed
down, the jack was forced upwards and the quill brought to the string,
which it plucked. The string was “damped” (softened) by a piece of cloth
above the tongue. When the finger left the key, the key sprang upward to
its own level and the jack fell. The jack, is exactly the principle of
the plectrum of the psaltery adjusted to a key.
The hammer of the pianoforte is only the old hammer of the dulcimer made
into a part of the _action_, or mechanism, of the piano.
The spinet was a keyed instrument with jacks. According to Dr. Burney
it was a small harpsichord, or virginal, with one string to each note.
Though many writers persistently say that the name was derived from the
spine, or thorn, that plucked the strings, an old Italian book, published
in Bologna in 1608, says: “The Spinetta received its name from its
inventor, Giovanni Spinetti, of Venice.” One of his instruments is dated
1503. Very beautiful cases were made for these old Italian spinets which
were sometimes painted by great artists.
Annibal Rosso made a new kind of spinet without a case, showing the
soundboard with the wires lying flat like a harp. In England this
_Spinetta traversa_ was called the Stuart, Jacobean, or Queen Anne,
Spinet, and also the couched harp. The spinet made its way from Italy to
France, the Netherlands, Germany, and England.
The largest spinets were called the virginals. The word “virginal”
appears in a book by Virdung, published in Basle in 1511, which contains
a picture showing an instrument of the same shape as the clavichord and
with the same arrangement of the keyboard.
According to Prætorius, who wrote about a hundred years later, the word
“virginal” was used for a quadrangular instrument. However, from the time
of Henry the Seventh to the close of the Seventeenth Century the word
was used to describe all quilled keyboard instruments,—the harpsichord
and trapeze-shaped spinet as well as the regular virginal of Virdung and
Prætorius. Henry the Eighth was a fine performer on the virginal and so
was his daughter Queen Elizabeth.
Facing page 292 is a typical virginal of the Seventeenth Century; and
we can see from the performer just how the hands were placed on the
keyboard. This is taken from the title-page of Playford’s _Banquet of
Music_, published in London in 1688.
Very often in literature we find “a pair of virginals” mentioned; for
example Pepys, describing the Great Fire of London in 1666, writes: “I
observed that hardly one lighter, or boat, in three that had the goods of
a house in but there was a pair of virginals in it.”
The clavecin and harpsichord seem to have supplanted the psaltery some
time in the Sixteenth Century. The _gravicembalo_ or _clavicembalo_ was,
as we have seen, a conspicuous member of Monteverde’s Orchestra (see
page 143). It remained in the Symphony Orchestra until the days of Haydn,
who got rid of it.
Originating in Italy, it spread northward into France, Germany, the
Netherlands, and England.
The earliest mention of the harpsichord is under the name _clavicymbolum_
and occurs in the rules of the Minnesingers in 1404. The earliest mention
in English is in 1502, when it is called _clavicymball_.
The oldest harpsichord in the South Kensington Museum, of London, is
a Venetian _clavicembalo_, signed and dated Joanes Antonius Baffo,
Venetus, 1574. It has a compass of four and a half octaves from C
to F. “Raising the top and looking inside, we observe the harp-like
disposition of the strings, as in a modern grand piano, which led
Galilei,[91] the father of the astronomer, Galileo, to infer the direct
derivation of the harpsichord from the harp. In front, immediately
over the keys, is the wrestplank, with the tuning-pins inserted, round
which are wound the nearer ends of the strings—in this instrument two
to each note—the further ends being attached to hitchpins, driven into
the soundboard itself, and following the angle of the bent side of the
case to the narrow end, where the longest strings are stretched. There
is a straight bridge along the edge of the wrestplank and a curved
bridge upon the soundboard. The strings pass over these bridges between
which they vibrate, and the impulse of their vibrations is communicated
by the curved bridge to the soundboard. The plectra, or jacks, with
the exception that they carry points of leather instead of quills,
are the same as in later instruments. This Venetian harpsichord has
a separate case from which it could be withdrawn for performance, a
contrivance usual in Italy, the outer case being frequently adorned with
painting. Lastly, the natural keys are white and the sharps black, the
rule in Italian keyed instruments, the German practice having been the
reverse.”[92]
[Illustration: CONCERT WITH HARPSICHORD
_Eighteenth Century_]
This was the kind of instrument—the _gravicembalo_—that had a place in
the Monteverde’s Orchestra (see page 143), and that Domenico Scarlatti is
playing in the illustration facing page 182.
Just what the Amati family of Cremona was to the violin, the Ruckers
family of Antwerp was to the harpsichord. The Ruckers made the most
perfect and the most artistic of harpsichords. Altogether there were
about forty Ruckers.
Of this family there were four members living and working between 1591
and 1651, or later, who achieved great reputation. Their instruments are
known by their signatures and by the monograms forming the ornamental
rosette, or sound-hole, in the soundboard—a survival from the psaltery.
The great improvement of the harpsichord is attributed to Hans, the
eldest, who by adding to the two unison strings of each note a third of
shorter length and finer wire, tuned an octave higher, increased the
power and brilliancy of the tone. To employ this addition at will alone,
or with one or both the unison strings, he contrived, after the example
of the organ, a second keyboard, and stops to be moved by the hand,
for the control of the registers, or slides, of jacks acting upon the
strings. By these expedients all the legitimate variety ever given to
the harpsichord was secured. The Ruckers harpsichord given by Messrs.
Broadwood to the South Kensington Museum, signed and dated “Andreas
Ruckers me fecit Antverpiae 1651,” said to have been left by Handel to
Christopher Smith, shows these additions to the construction, and was, in
the writer’s remembrance, before the soundboard gave way, of deliciously
soft and delicately reedy _timbre_. The tension being comparatively
small, these harpsichords lasted much longer than our modern pianofortes.
“When the Ruckers family passed away we hear no more of Antwerp as the
city of harpsichord makers; London and Paris took up the tale.”[93]
A Fleming named Tabel established himself in England, and his pupils
Tschudi (or Shudi) and Kirchmann (or Kirkman) developed the harpsichord
to its utmost and produced what in those days was considered a big tone.
The earliest mention of the pianoforte, or forte-piano rather, occurs in
the records of the Este family, in the letters addressed to Alfonso II,
Duke of Modena, by an instrument-maker named Paliarino. The invention of
the pianoforte is, however, given to Bartolomeo di Francesco Cristofori
(1651-1731), a harpsichord maker of Padua, who removed to Florence at
the wish of his patron, Prince Ferdinand de’ Medici. Cristofori then
produced instruments with the hammer mechanism. A stone in Santa Croce,
Florence, to Bartolomeo Cristofori records that he was the inventor of
the “Clavicembalo col Piano e Forté.”
However, the hammer head was small and there was no check to control
the hammer in its rebound. At first the pianoforte was not much liked
by the musicians. It required a new kind of touch; but as makers added
improvements the new instrument gained in popularity and gradually
supplanted the harpsichord. Bach did not care for it. His favorite
instrument was the clavichord; and he often said “that he found no soul
in the clavecin, or spinet, and that the pianoforte was too clumsy and
harsh.”
But with the piano a new style of playing came into fashion and also
a new style of composition. Clementi, Mozart and Beethoven laid the
foundations for the modern style of playing. Then followed Hummel and
poetic Chopin; and, finally, Liszt, who created modern piano-playing
after hearing Paganini’s magical violin. In 1839 Liszt gave the _first
piano recital_ ever heard; and he labored all his life to teach pupils
to play the piano correctly and poetically and to put his technical
knowledge into permanent form for future generations. And this is how he
felt towards the instrument:
“My piano is to me what his boat is to the seaman, what his horse is to
the Arab: nay, more, it has been till now my eye, my speech, my life.
Its strings have vibrated under my passions, and its yielding keys have
obeyed my every caprice. In my opinion the piano takes the first place
in the hierarchy of instruments; it is the oftenest used and the widest
spread. In its seven octaves it embraces the whole compass of the
orchestra, and a man’s ten fingers are enough to render the harmonies
which in an orchestra are only brought out by the combinations of many
musicians. We can give broken chords like the harp; long sustained notes
like the wind; _staccati_; and a thousand passages which before it seemed
only possible to produce on this or that instrument.”
By the side of this eulogy we may place the following and quite
extraordinary description of the piano written by an English musician
named William Gardiner, in 1818, just one hundred years ago.
“The pianoforte was scarcely known in the time of Bach; and, from the
style of his compositions, it is evident that they were the product
of the harpsichord, an instrument of very limited powers, the boldest
effects of which were produced by sprinkling the chords in _Arpeggio_,
which occasioned a disagreeable jingling. The early sonatas of Haydn,
also, bear marks of the influence of this instrument, and possess nothing
of the expression of his later works.
“The invention of the pianoforte has formed a new era in the art. It has
been the means of developing the sublimest ideas of the composer, and
the delicacy of its touch has enabled him to give the lightest shades,
as well as the boldest strokes of musical expression. It is the only
instrument that will represent the effects of a full orchestra; and,
since its mechanism has been improved, Beethoven has displayed its powers
in a way not contemplated even by Haydn himself.”
Modern composers have experimented with the piano as an orchestral
instrument. Saint-Saëns uses it efficiently in his great Symphony
in C, dedicated to the memory of Liszt. Perhaps the most successful
treatment of it has been made more recently by Stravinsky in his Ballet,
_Petrushka_.
FOOTNOTES
[1] Haweis.
[2] Haweis.
[3] Abele.
[4] Haweis.
[5] Parker.
[6] Heron-Allen.
[7] Haweis.
[8] From the entrails of sheep.
[9] Parker.
[10] “In bowed instruments the wolf occurs owing to defective vibration
of one or more notes of the scale. When it occurs, it is generally found,
more or less, in every octave and on every string. Different instruments
have it in different places: it is most common at, or near, the fourth
above the lowest note on the instrument,—in the violin at C, in the
violoncello at F. The more sonorous and brilliant the general tone, the
more obtrusive it becomes: if the tone be forced, a disagreeable jar is
produced. Hence it is idle to attempt to play the wolf down; the player
must humor the troublesome note. It is commonly believed that there is
a wolf somewhere in all fiddles; and it is certain that it exists in
some of the finest, for example in Stradivaris. Probably, however, it is
always due to some defect in the construction, or adjustment.
“Violins with a soft, free tone are least liable to it. The cause of the
wolf is obscure and probably not uniform: it may result from some excess
or defect in the thickness; from unequal elasticity in the wood; from bad
proportion or imperfect adjustment of the fittings; or from some defect
in the proportions of the air-chamber. In the opinion of violin-makers
where it is once established it cannot be radically cured. Some
instruments have what may be termed an anti-wolf, _i. e._ an excess of
vibrations on the very notes where the wolf ordinarily occurs.” (Parker).
[11] Lavignac.
[12] Lanzetti appears in the picture facing page 182.
[13] See page 25.
[14] See pages 43 and 44.
[15] See page 61.
[16] See page 44.
[17] See page 33.
[18] See page 22.
[19] See page 50.
[20] Strauss calls for this in his Domestic Symphony.
[21] Lavignac.
[22] See pages 83-84.
[23] Dr. W. H. Stone.
[24] Köchel No. 622.
[25] William H. Husk.
[26] See page 108.
[27] See page 112.
[28] Now played on the double-bassoon.
[29] See page 55.
[30] See illustration facing page 136.
[31] See illustration facing page 140.
[32] See page 21.
[33] See page 25.
[34] Cecil Forsyth.
[35] See page 24.
[36] See page 23.
[37] See page 21.
[38] See pages 49 and 58.
[39] See pages 49 and 58.
[40] La Vieuville de Freneuse.
[41] See page 154.
[42] This is interesting as showing that Lully used a cane to beat time.
[43] Romain Rolland.
[44] Romain Rolland.
[45] Viola da Gamba.
[46] _La Parnasse Francoise._
[47] See page 160.
[48] See page 167.
[49] See page 165.
[50] Paul David.
[51] Equal tuning.
[52] Charles Villiers Stanford.
[53] See page 182.
[54] Romain Rolland.
[55] Volbach.
[56] Romain Rolland.
[57] Julien Tiersot.
[58] Henri Marie Beyle (Stendhal).
[59] J. Cuthbert Hadden.
[60] Jahn.
[61] Romain Rolland.
[62] In the Mannheim Orchestra (see page 210.)
[63] Rudall.
[64] Beethoven’s pupil.
[65] Sir George Grove.
[66] Romain Rolland.
[67] Sir George Grove.
[68] Sir George Grove.
[69] Edward Carpenter.
[70] A. W. Wodehouse.
[71] Dr. Philipp Spitta.
[72] See page 234.
[73] Dr. Philipp Spitta.
[74] Ernest Newman.
[75] Ernest Newman.
[76] Edward Dannreuther.
[77] Lavignac.
[78] See page 244.
[79] Henry T. Finck.
[80] Lavignac.
[81] Edward Dannreuther.
[82] James G. Huneker.
[83] Coerne.
[84] James G. Huneker.
[85] Coerne.
[86] Mrs. Franz Liebich.
[87] The name “score” is derived from this scoring. This in other
languages is _partition_ (French); _partitio_ (Italian); _partitur_
(German); meaning a collection of parts.
[88] See page 52.
[89] Circles.
[90] Well-tuned; not applying to the instrument’s disposition.
[91] See page 287.
[92] A. J. Hipkins.
[93] A. J. Hipkins.
INDEX
_Acis_, 163
_Acis and Galatea_, 77, 81
Addison, 187, 188
_Adrianna_, 147
_Aïda_, 283
Air-stream (or air-column), 74, 75, 76, 86, 92, 98, 107
_Alceste_, 109
_Alcyone_, 171
Alps, 21
Amati, Andreas, 25, 59, 64, 138-139
Amati, Antonio and Geronimo, 25
Amati, Nicolò, 25-26, 27, 64, 178
“Amatis, Grand,” 26
American taste, 273
Anne of Austria, 152, 154
Antoniotti, 59
Anvil Chorus, 129
Anvils, 129, 163
_Après midi d’un faune_, 270, 271-272
Arditi, 70
Arnould, Sophie, 105
_Arpa doppia_, 144
Arpeggios, 41
_Art of Bowing_ (Tartini), 44
Attack, 42, 162
Atys, 164
Bach, Johann Sebastian, 57, 62, 104, 111, 185-187, 210, 260, 262,
290, 299
Bach, Philipp Emmanuel, 186
Ballet-music, 140, 196
Baltzar, Thomas, 173, 174, 176
_Banquet of Dainty Conceits_, 136
Barberini, Cardinal, 150
Barberini Theatre, 150
Barret, A. M. R., 85
Barrère, George, quoted, 75
Bassani, Giovanni Battista, 179
Bass-bar, 14, 15
_Basse de viole_, 47, 168, 170. _See_ _Viola da gamba_
Basset-horn, 101-102
_Basson_, 95
Bassoon, 91-96;
air-column, 92;
compass, 92;
construction, 91;
keys, 92;
tone, 92
Bassoon, double, 96
Bass tuba. _See_ Tuba
Bass viol, 47. _See_ _Basse de viole_ and _Viola da gamba_
Battery, 5, 264
Bavaria, King of, 256
Bayreuth, 256
Beethoven, 41, 52, 61, 69, 77, 81, 82, 88, 93, 94, 96, 100, 114, 120,
121, 199, 214-232, 244, 262, 290, 299
Beethoven as conductor, 220, 227
Beethoven, quoted, 196
Bells, 130-131
Bells of Montsalvat, 131
Benda, Franz, 79
_Benvenuto Cellini_, overture, 251
Bergonzi, Carlo, 64
Berlioz, 52, 78, 83, 90, 114, 117, 243-251, 260, 267, 268, 279-282,
289;
orchestra of, 247;
quoted, 42-43, 53, 65, 80-82, 87-88, 89, 99-100, 111, 114, 226
Berteau, 60
Beyle, Henri Marie. _See_ Stendhal
_Birthday Ode, Queen Anne’s_, 188
Bizet, 117
_Black Tulip, The_, 166
Bocan, 154, 155, 156, 157
Boccherini, 62
Boehm, Theobald, 75, 76
Bologna, 24, 179
Bombardino, 83
Bombardino-Chalumeau Family, 84, 90, 96
Bombardo, 83
Bossier, violin, 30, 31
Bottesini, 70
_Bourgeois Gentilhomme, Le_, 160
Bouts, 19, 22
Bow, the, 43
Bowing, 40-41, 162, 180
Brahms, 95, 96, 265
Brass instruments, 5, 152, 259, 263-264
Brass wind, 5. _See_ Brass instruments
Brescia, 21, 22, 23, 25, 179
Brian Boru, harp of, 284
Bridge, 14
Brienne, Comte de, quoted, 155
Bruyère, La, 165;
quoted, 166, 167
Bucina, 104
Bülow, Hans von, 121, 262
Burney, quoted, 173, 177, 182, 183, 195, 204-206
Buysine, 112
Cannabich, 211, 216
Cannons, 188, 289
_Cantus_, 49
_Carillon_, 127
_Carmen_, 117
_Carnaval Romain_, 83
Carnegie Hall, opening of, 265
Carpenter Edward, quoted, 231
Casals, Pablo, 61
_Casse Noisette Suite_, 78, 102, 267
Castanets, 126, 163
_Cat’s Fugue_, 184
Celesta, 128, 267
Cellini, Benvenuto, 22
Cembalo, 151, 291, 293
Cesti, Antonio, 151
_Chalumeau_, 83, 84, 97
Chandos, Duke of, 188, 289
_Chanterelle_, 39, 171
Charles I, of England, 154
Charles II, of England, 173;
music under, 173-177
Charles IX, of France, 59, 244
Chaucer, 292
Cherubini, 94, 105
Chest of viols, 29
_Childe Harold_, 52
_Chitarone_, 137, 140
Chopin, 232, 299
Chorale, 185
Christina, of Sweden, 180
Cimbalon, 128
_Cimbelom_, 291
Clarinet, 96-101, 195, 210, 236, 241, 258, 264;
air-column, 98;
compass, 99;
registers, 97;
voice of, 97, 99
Clarinet, bass, 101, 102
Clarinet, double-bass, 102;
voice of, 102
“Clarinet Symphony,” 100
Clarino, 110, 143
Clarion, 110, 112
Claro, 110, 112
Classical music, 232, 255
Clavecin, 140, 153, 293, 299
Clavicembali, 143, 150
Clavicembalo, 293, 296
Clavichord, 293, 299
Clavicordo, 293
Clavicymball, 296
Clavicymbalum, 293
Clavicymbel, 293
Clavicymbolum, 296
Clavier, 293
Clementi, 299
_Clemenza di Tito_, 102
Coerne, quoted, 263-264
Collasse, Pascal, 169
Colonne, 268
_Combattimento di Tancrede e Clorinda_, 146
Concert of lutes, 57
Concert of viols, 57, 62
Concert-master, 41
Concertino, 190
Conductor, 6, 42, 135, 146, 274-278;
Beethoven, 227;
Corelli, 180-181;
Handel, 189-191;
Lully, 162-164;
Mendelssohn, 242-243;
Mozart, 212;
Wagner, 256;
Weber, 235
Consorts (lutes), 173
Constantin, 156, 157
_Coppelia_, 82
_Cor, anglais_, 84, 88-89;
compass, 89;
tone, 89
_Cor à piston_, 108
Cordier, Jacques, 154
Corelli, Arcangelo, 43, 60, 178-182;
conducting of, 180-181
Corner blocks, 18-19, 27
Cornet, 116, 153
Cornet Family, 116
_Cornu_, 104
_Couac_, 73
Couched harp, 295
Couperin, 273, 290
Cousineau, 288
_Creation, The_, 77, 96
Cremona, 10, 21, 24-25, 141, 179, 297
Cristofori, 298-299
Crooks, 107, 108
Cruit, 283
Crusaders, 122
_Crwth_, 283
Cuckoo, 130
Cymbals, 124-125
_Cyrano_, 107
_Damnation of Faust_, 83, 117, 246, 251
Damrosch, Walter, 107, 121, 264, 269
Dance-music, 153, 160, 179, 181, 184, 196
Dannreuther, Edward, quoted, 248-249, 259-260
_Danse Macabre_, 41, 128, 130
Dante, 143
_Dante Symphony_, 254
Debussy, 260, 269-273, 289;
quoted, 272-273
Delibes, 82
Denner, J. C., 97
Descoteaux, 165-166, 173
_Devil’s Sonata_, 44
Diapasons, 138
Discant, 18, 47
_Divertissement_, 141
Don Giovanni, 51, 69, 93, 100, 114
Don Juan, 95
_Don Quixote Variations_, 53, 63, 78, 102, 261
Double-bass, 47, 67-71;
Amati, 70;
Bergonzi, 70;
Gasparo di Salò, 70;
Stradivari, 70;
strings of, 67
Dragonetti, 70, 227
Drum, bass, 123;
sticks, 123;
side, 122;
heads, 122;
playing of, 122;
roll, 122
Duiffoprugcar, G., 48
Dulcimer, 291, 292, 293
Dumanoir, 157
Duport, Jean Louis, 60, 63
Dürer, Albrecht, 152
Dvořák, 77, 90, 101
Egmont, overture, 52, 82
“Elector Stainers,” 34
Elgar, 53, 95, 121
_Elijah_, 62, 77, 117, 241
_Embouchure_, 73, 75
_Enfance du Christ_, 78, 247, 289
Engel, Carl, quoted, 83
English horn, 89
_Enigma_, 95
Érard, 279, 289
_Eroica Symphony_, 88, 223, 225
“Esterhazy,” 198-199
Esterhazy, Prince, 197, 252
_Esther_, 192, 289
_Euryanthe_, 236, 237
Fagott, 95
Fagotto, 95
_Fancies_, 175
Fanfares, 104
_Fantastic Symphony_, 250, 254
Fasch, C. F., 79
“Father of Classical Music,” 183
“Father of the Orchestra,” 199
“Father of Modern Orchestration,” 246
_Faust, Symphony_, 254
_f_-holes, 12, 18, 20, 30, 31
_Fidelio_, 88
_Fifth Symphony_ (Beethoven), 52, 69
_Fifth Symphony_ (Tschaikowsky), 95
Finck, Henry T., quoted, 254
First violin, 41, 42
“Flaming-sword” sound-holes, 20, 57
“Flowers,” 179
Flügel, 293
Flute, 73-79, 153, 273;
air-stream, 74, 75, 76;
compass, 74;
construction, 74;
keys, 74, 75;
playing of, 74;
scale, 75;
voice, 73
Flute-players, famous French, 165-168, 173
Flutes, 146, 151, 153, 163, 165-167
Flutter tongue, 78
_Flying Dutchman_, overture, 109, 256
Forsyth, Cecil, quoted, 117
Foucard, 156
Francesca da Rimini, 101
Franchomme, A., 64
Franciscello, 60, 183
Francisco II, Duke of Modena, 59
Frederick the Great, 78
_Freischütz_, 81, 100, 105, 106, 236-237
French composers, modern, 270
French flute-players, 165-168, 173
French horn, 108
Frichot, 116
Galiano, Alessandro, 64
Galiano, Januarius, 64
Galilei, quoted, 287
Galli, Domenico, 59
_Gamme La_ (Marais), 171
Gardiner, William, quoted, 300
Gasparo di Salò, 21, 22, 23, 25, 33, 48, 50, 71, 135, 138, 141, 179
Gatti, Teobaldo di, 168
Geminiani, 180, 193;
quoted, 180
George I, of England, 188
Gevaert, 101, 119
Giraldus, quoted, 284-285
Gladstone, quoted, 16
_Glockenspiel_, 127, 131
Gluck, 69, 78, 82, 88, 94, 100, 106, 193-196, 244
_Golden Legend_, 149
Gonzaga, Francesco di, 142
Gossec, 105
_Götterdämmerung, Die_, 105, 115
_Grande Mademoiselle, La_, 159-160
Gravicembalo, 183, 293, 295, 297
Great Fire of London, 295
Grieg, 265
Grove, Sir George, quoted, 228, 230
Guarneri, 26, 32
Guillaume Tell. _See_ William Tell
Guitar-fiddle, 17
Habeneck, 239, 268
Hackbrett, 291
Hadden, J. Cuthbert, quoted, 206
Hammer, 294, 299
Handel, 62, 77, 96, 111, 127, 187-193, 210, 289, 290;
caricature of, 191;
conductor, 189-191
_Hänsel and Gretel_, 95, 130
Harmonics, 39, 64, 69, 113
_Harold Symphony_ (Harold in Italy), 52, 250
Harp, 5-6, 195, 247, 255, 260, 264, 279-289
Harp, Egyptian, 283;
English, 287;
Irish, 283;
mediæval, 288;
Scottish, 286;
Welsh, 286
Harpers, Irish, 284-285;
Welsh, 285
Harps, 260
Harpsichord, 183, 186, 195, 293, 295, 296, 297-298
Harpsicordo, 293
Haweis, quoted, 15, 26, 28, 34-36
Haydn, 77, 88, 93, 96, 130, 183, 196-207, 210, 217, 218, 262
Hebrides, overture, 96, 101
Heine, quoted, 245
Heinrich, Carl, quoted, 111
_Heldenleben_, 90, 95
Hellier violin, 30
Henrietta Maria, 154
Henry VIII, 122, 295
Heron-Allen, quoted, 30-32
Horn, 103-110;
air-stream, 107;
bell, 103, 107;
construction, 107;
crooks, 107;
keys, 107;
playing of, 107-108;
tone, 108
Horns, 104, 107, 109, 163, 182, 191, 236, 259, 263;
modified, 117
_Huguenots Les_, 82, 130
Hummel, 299
Humperdinck, 95, 130
Huneker, James G., quoted, 260-261
_Hungarian Rhapsodie_, No. 2, 77;
_Rhapsodies_, 254, 290
Hurdy-gurdy, 17
_Improvisation_ (Beethoven’s), 216
_Improvisation_ (Handel’s), 189
_Incoronazione di Poppea_, 146
Ingegneri, Marc Antonio, 142
Instruments, Sixteenth-century, 136-139
Interludes, instrumental, 140
Intonation, 38
_Iphigénie en Aulide_, 87;
_en Tauride_, 80, 88
_Ireland_, arms of, 287
_Isis_, 163, 169
_Israel in Egypt_, 188
_Istromento di porco_, 292
Jacks, 294
Jahn, quoted, 212
Jingles, 125
Joachim, quoted, 36-37
Joseph del Gesù, 32-33
Jubilee, Saint-Saëns, 269
Kettledrums, 120-122, 191, 197, 200;
compass, 121;
sticks, 121;
tuning, 121
“King, The” (violoncello), 60
Kirchmann, 298
Kreisler, Fritz, 30
La Bas, 168
Labyrinth (Marais), 171
La Londe, 172
Lalouette, Jean François, 169
Lamoureux, 268
Landi, Stefano, 149
Lanzetti, 59
Lavignac, Albert, 270;
quoted, 42, 54, 65, 73, 84, 89, 92, 97, 98, 108, 110, 113, 130,
257-258
Lazarin, 156
Leclerc, Guy, 169
Léger, 156
Lesueur, 249
Lichnowsky, Prince, 218, 220
Liebich, Mrs. F., quoted, 271-272
Liszt, 41, 60, 77, 102, 124, 243, 251-255, 260, 267, 290, 299, 301;
quoted, 299-300
Lobkowitz, Prince, 223
Local coloring, 237
_Lodoiska_, 105
_Lohengrin_, 253, 256
Lombardy, 21, 49, 142, 179
“Long Strads,” 31
Louis XIII, 154
Louis XIV, 155;
age of, 158;
music of, 160
Lulli. _See_ Lully
Lully, Jean Baptiste, 158-164, 174, 195, 269, 277, 278
Lute, 168
Lute, bass, 140;
tenor, 137
Lutes, 29, 57, 58, 137, 140
Luther, Martin, 185
Lyre, 140
Madrigals, 136, 142
_Maestro di Capella_, 142, 147, 148
Maggini, Giovanni Paolo, 21, 23-24, 64, 141, 179
_Magic flute_, 77, 114, 127
_Manfred_, overture, 114
Mantua, Duke of, 141
Marais, Marin, 165, 169-172
Marchand, Jean Baptiste, 168
_Marche Slave_, 95
Marie Antoinette, 194
Marly, 155, 156
Martini, Padre, quoted, 193
_Maximilian, Triumph of_, 152
Mazarin, Cardinal, 152, 157
_Mazeppa_, 41, 102
Mazzocchi, Vergilio, 148;
school of, 148-149
Medea, 94
Medici, Ferdinand de’, 298
_Meistersinger, Die_, 62, 70, 77, 109, 127, 257, 264
Melodic instruments, 85, 86, 106
_Melusine_, 101, 241
Mendelssohn, 6, 62, 77, 94, 96, 101, 105, 240-243;
conducting, 242-243
Mersenne, quoted, 154, 156, 292
_Messiah_ (Handel’s), 188, 191
“Messiah,” violin, 30, 32
Metsu, 55
Meyerbeer, 82, 90, 130, 289
_Midsummer Night’s Dream_ (Mendelssohn’s), 6-8, 77, 95, 105, 117,
240, 241
Military Symphony, 93
_Modern Music Master_, 293
Molière, 160
Monodic music, 140
Monteverde, Claudio, 141-148, 295
Montpensier, Mademoiselle de, 159-160
Mozart, Leopold, 207
Mozart, Wolfgang Amadeus, 51, 69, 77, 93, 100, 105, 114, 127, 199,
207-214, 262, 267, 289, 290
_Mozartiana_, 267
“Music of the Future,” 243, 253, 255
Music of the Renaissance, 48, 152, 185
Music of the Seventeenth Century, 58
“Musicians’ musician,” 186
_Musurgia_, 292
_Naggareh_, 122
“Nakers,” 122
Newman, Ernest, quoted, 244-245, 246-247, 265
_New World Symphony_, 77, 90, 101
_Nibelungen Ring_, 256, 259
_Ninth Symphony_, 52, 69, 88, 94, 96, 114, 120, 121
_Nuance_, 192
_Nut Cracker Suite_, 78, 102, 267
Oberon, 101, 106, 236, 237
Oboe, 83-88, 89, 189;
air-column, 85;
compass, 86;
construction, 85;
keys, 87;
playing of, 86;
reed, 86;
scale, 86;
voice, 84
_Oboe d’amore_, 84, 186, 264
_Oboe di caccia_, 84, 90, 186
_Ode to Joy_, 70
Ole Bull, 22, 29
“Olifant,” 103
Opera, dawn of, 139
Opera, Italian, 139, 142-152
Operas, Gluck’s, 196;
Handel’s, 188
Ophicleide, 116, 117, 247
Oratorios, Handel’s, 188
Orchestra, 3-8, 42, 65, 68;
Bach, 192, 209;
Beethoven, 230;
Berlioz, 247;
Cesti, 151;
Corelli, 180;
Dresden, 234, 235, 256;
Eleventh-century, 273;
French, 153;
Gluck, 194;
Handel, 189, 192, 209;
Haydn, 199, 200, 223;
Landi, 149-150;
Louis XIV, 155;
Lully, 160, 161-164, 172;
Mannheim, 210;
Monteverde, 143-144;
Mozart, 223, 229;
Scarlatti, 183;
Venetian, 150;
Wagner, 258
Orchestral palette, 209-210
Orchestral solos, 186
Orchestration, Debussy, 270-271;
Liszt, 255;
Strauss, 263-264;
Tschaikowsky, 267;
Wagner, 257-258
_Orfeo_, Gluck, 69, 78, 88, 94, 196;
Monteverde, 141-146
Organ, 143, 151, 186, 199
Organists, German, 185
Otello, 70, 82
Ottoboni, Cardinal, 180
_Ouvertures_ (Lully), 174
Over-blowing, 76, 87, 92, 108
Paganini, 33, 45, 249, 250, 252
“Paganini of the ’cello,” 61
Paliarino, 298
Papa Haydn, 199
_Parsifal_, 131
Pasdeloup, 268
_Pastoral Symphony_, 77, 82, 88, 101, 226
_Pathetic Symphony_, 53, 95
_Pelleas et Mélisande_, 270
Pepys, quoted, 295
Percussion instruments, 5, 119-131
“_Petits Violons_,” 160, 172
_Petrushka_, 301
Philbert, 167-168, 173
Piatti, Alfredo, 61, 63
Pianoforte, 290-301
Pianoforte Concerto in E-flat (Liszt), 124
Pianoforte recital, first, 299
Piccini, 194, 197
Piccolo, 79-83
_Piffero pastorale_, 83
_Pills to Purge Melancholy_, 177
Pitch, definite, 119;
indefinite, 119
Pizzicato, 41
Plague, the, 23, 147
Platel, N. J., 61
Plectrum, 291, 292, 294
Polyphonic Music, 140, 142
Pommers, 83
_Pomo d’oro, Il_, 151
_Pomone_, 93
_Pomp and Circumstance_, 95
_Portamento_, 40
_Pourceaugnac_, 160
_Preciosa_, 160, 237
_Princesse d’Élide, La_, 163
“Prison Josephs,” 33
Provence, 17
_Psaltérion_, 273, 291, 292
Psaltery, 291, 292, 293, 295
Purfling, 13, 23
Quantz, 78
Quartet, string, 58, 62
Quartet, woodwind, 83
Queen Anne, court of, 187-188
_Queen Mab Scherzo_, 246
Quill, 294, 297
Quinault, 160
Quintons, 139
Raguenet, Abbé, quoted, 173
Rameau, 184, 195, 269, 273
_Ranz des Vaches_, 90
Rasoumoffsky Quartet, 218
Rattle, 129
Reed, 72, 86;
double, 85, 89;
single, 97
Reed family, 72
_Regale_, 143
Regibo, 116
Renaissance, the, 48, 152, 185, 277;
French, 269;
instruments, 136-139, 143-144;
music, 136-152
René, King, 269
Requiem (Mozart’s), 93, 102
Revolution of 1830, 244, 269
_Rheingold Das_, 115, 259, 289
_Richard the Second_, 135
Richelieu, Cardinal de, 154-155
Riddle, 48
_Ride of the Walküre_, 82
_Rienzi_, 117, 256
Ries, 216, 220
Rinaldo, 81
Ripienist, 190
_Robert le Diable_, 82-90, 289
Rolland, Romain, quoted, 162, 163, 190, 192-193, 196
Romantic music, 232
Romantic movement, 244, 252
_Romaunt of the Rose_, 288
Rome, opera in, 150
_Roméo et Juliette_, Symphony, 246, 250
Rospigliosi, Giulio, 149
Rossini, 62, 90, 130
_Rouet d’Omphale_, 268
Rubinstein, Anton, 266;
quoted, 266
Rubinstein, Nicholas, 266
Ruckers, 297-298
_Ruy Blas_, overture, 94
Sacchini, 100
Sackbut, 112, 116
S. Alessio, 149
St. Cecilia, picture of, 19, 20
Saint Paul, 62
Saint-Saëns, 41, 126, 128, 130, 268-269, 301
Salieri, 227, 238, 252
_Salterio_, 291
Samson, 188
_Samson et Dalila_, 126
Sarasate, 269
_Saul_, 127, 188
_Savoyard in Paris, Little_, 17
Scarlatti, Alessandro, 62, 180, 182-183, 187;
Domenico, 183-184, 293, 297
_Schalmei_, 83
Schalmey, 84, 91
Schalmey-Pommer Family, 90, 91
Schubert, 88, 105, 114, 239-240
Schumann, 114, 232, 233
Schuppanzigh Quartet, 218
Score, 274-275
Scotch Symphony, 94
_Seasons, The_, 88
_Semele_, 191
Serpent, the, 116
Servais, A. F., 61, 63
Shakespeare, 56, 58, 134-5
_Shawm_, 83, 84
Sheridan, 191
_Siegfried_, 109, 115, 127
_Siegfried Idyll_, 109
Simonelli, Matteo, 179
_Sinfonia Domestica_, 131
Snares, 122
_Sordino_, 40
Sound-holes, 12, 18, 20, 22, 23, 27, 30, 31, 57
Sound-post, 14, 15
Speaker-keys, 85
Spinet, 293, 294-295, 299
_Spinetta_ traversa, 294
Spinetti, Giovanni, 294
Spitta, Dr., quoted, 233, 237
Spohr, 289
Spontini, 81
Stabat Mater (Rossini), 94
Stainer, Jacob, 34
Stamford, Charles Villiers, quoted, 70
Stamitz, 211
Steele, 187, 188
Stendhal, quoted, 200-204, 208
Stone, W. H., quoted, 93, 94
Stradivari, Antonio, 15, 16, 26-32, 63, 178, 250;
house of, 28
“Stradivari of the Bow,” 43
Strauss, Richard, 41, 53, 63, 78, 82, 90, 95, 102, 109, 128, 129,
131, 260, 289;
quoted, 262
Stravinsky, 301
String-quartet, 58, 62
Strings, 4, 152, 153
_Suites_ (Bach), 187
_Surprise Symphony_, 200
_Symphonic Poems_ (Liszt), 254;
Tschaikowsky, 266
_Symphonie Fantastique_, 90.
_See_ Symphony
_Symphonie Pathetique_, 267
“Symphonies,” 140, 144, 168
_Symphonies_ (Haydn), 202-204;
Mozart, 208;
Schubert, 239
Symphony (Beethoven), _First_, 93, 223;
_Second_, 94, 101, 220;
_Eighth_, 94, 227, 242;
_Fifth_, 96;
_Fourth_, 94, 224;
_Ninth_, 94, 96, 228;
_Third_ (Eroica) 88, 223, 225;
_Seventh_, 100, 120, 227;
_Sixth_ (Pastoral), 77, 82, 88, 101, 226
_Symphony in C_ (Saint-Saëns), 301
_Symphony in C-major_ (Schubert), 88, 105, 114, 239
_Symphony in C-minor_ (Brahms), 95, 96
_Symphony_, Mozart’s first, 210
_Symphony in E-flat_ (Mozart), 100
_Symphony in F-minor_ (Tschaikowsky), 41
Symphony Society of New York, 273
Tabel, 298
_Tambour de Basque_, 126, 163
Tambourin, 126
Tambourine, 125-126
_Tannhäuser_, 53, 109, 126, 253
Tartini, 44, 60
Temperament, 186
Tennyson, quoted, 104
Tenor, 49
Tenor viol, 49, 67
Ter Borch, 55
_Theorbo_, 137, 153
_Till Eulenspiegel_, 83, 95, 110, 129
Tone, search for, 178
Tone-color, 209-210
Tonguing, 75, 86
Touch, 290
Tourte, François, 43, 44-46
_Toy Symphony_, 130
“Trackers,” 85
“Tragic _Symphony_,” 239
Transposing instrument, 89
_Treatise on Instrumentation_ (Berlioz), 249
Treble, 18, 47
Triangle, 124
Triébert, 85
_Tristan and Isolde_, 63, 90, 109, 257, 263
_Triumph of Death_, 292
Trombone, 112-115, 263;
bell, 112;
compass, 113;
harmonics, 113;
position, 112;
slide, 112, 113;
tone, 113
Troubadours, 17, 18
_Trouvères_, 269
_Trovatore, Il_, 129, 130
Trumpet, 110-112;
keys, 111;
voice, 110
Tschaikowsky, 41, 53, 78, 95, 101, 128, 260, 264-267
Tschudi, 298;
quoted, 267
Tuba, bass, 115, 247, 267
Tubas, 117-118, 258, 264
“Tubular Chimes,” 131
Tuileries, 159
Tulip mania, 165-166
_Twelfth Night_, quoted, 56, 58
“Twenty-four Violins of the King,” 154-160, 169
Twenty-four Violins (Charles II), 173-174, 175-177
Tympanon, 291
Tyrol, 21, 34, 48
_Unfinished Symphony_, 239
Urfey, Thomas d’, quoted, 177
_Variations (Elgar)_, 121
Venice, opera in, 150
Verdi, 70, 82, 130, 283
Verdier, 168
Versailles, 155, 156
_Vibrato_, 154
_Vielle_, 17, 18, 43, 273
Vienna, opera in, 151
Viol, Bass, 171
Viol Family, 47, 55, 58, 67, 68, 139
Viol, tenor, 49, 67, 173
Viola, 47-54, 63, 67, 70, 236, 250;
Berlioz, quoted, 53;
Gasparo di Salò, 50;
Lavignac, quoted, 54;
Maggini, 50;
strings, 47;
tone, 54
_Viola d’amore_, 20, 47, 57, 58, 186
_Viola da braccio_, 47, 67, 138
_Viola da gamba_, 47, 55, 56-58, 59, 67, 136, 138, 170, 186
_Viola da spalla_, 138
Viole, 17, 43
Violin, 9-43, 49, 57, 58, 67, 146, 153, 173-176, 178, 186, 187;
age of, 16, 21;
ancestry, 17;
bass-bar, 14, 15;
belly, 12;
birthplace, 21;
bouts, 19, 21;
bridge, 14;
charm of, 9-10;
construction, 13-14;
corner-blocks, 18-19, 27;
_f_-holes, 12, 18, 20, 30, 31;
Lavignac, quoted, 42;
model, 11;
neck, 16;
nervous system, 15;
parts of, 13;
positions, 38;
purfling, 13, 23;
ribs, 12;
scroll, 11, 16;
soul of the, 15;
sound-holes, 12, 18, 20, 22, 23, 27, 30, 31, 57;
sound-post, 14, 15;
tension, 15;
tongue of the, 14;
varnish, 13, 22, 23, 25, 26, 27, 30, 31-32, 35;
voice, 10;
waist, 18;
wood, 13, 23, 25, 34-35
Violin Family, 178
Violin, the Little, 49
_Violino_, 48, 138, 139
_Violino piccolo_, 49
Violins, Amati, 25-26;
Bergonzi, 33;
Berlioz, quoted, 42-43;
Gasparo di Salò, 22;
Guarneri, 26, 32-23;
Maggini, 23-24;
Stainer, 34;
Stradivari, 30-32
Violoncello, 55-66, 67, 69, 146, 175, 183, 191, 236, 242;
Berlioz, quoted, 65-66;
Lavignac, quoted, 65;
strings, 64
Violone, 47, 68
Viols, 58, 138-139, 141, 146, 156, 173, 175-176;
chest of, 29;
concert of, 62;
consort of, 57, 62
Viotti, 44, 60
Virginal, 293, 295
Vizé, 167
Vogler, Abbé, 234
Voltaire, 61
Wagner, 52-53, 62, 70, 77, 82, 95, 101, 109, 115, 126, 127, 129, 147,
256-260, 261, 262, 264, 265, 278, 289;
conductor, 256;
quoted, 248, 261
Walküre, Die, 127, 289
Weber, Carl Maria von, 81, 94, 100-101, 105, 106, 232-238, 244;
conductor, 235;
quoted, 224
Widor, quoted, 124
Wieprecht, W. F., 115
Wilhelmj, 256
_William Tell_, overture, 62, 90, 130
Wind instruments, 141, 152
Wind-machine, 129
Wodehouse, A. W., quoted, 232
“Wolf,” the, 50
Wood, Anthony, quoted, 175-177
Woodwind, 4-5, 72-102, 184, 189, 258
Xylophone, 128
Zimbalist, Efrem, 23-24
Zinke, 115