characteristic of his phrases. In Shakespear it often happens that we
come across a line where there is nothing unusual in the thought,
nothing recondite in the language, nothing but the simplest idea
exhibited in the simplest words, and yet when we read it we feel at once
that it could have been said in no other way, and that it can never be
said again. And, in his own art, Brahms too has this gift of making
simplicity memorable. For instance, in the opening theme of the F minor
Quintett, there is nothing that can be called a device; the short loop,
by which the second melodic curve picks up the first, is common enough
in music; so is the use of the two alternative leading notes, so is the
repetition of the same emphatic sound on the chief accent of three
successive figures. But no one who has once heard the phrase can ever
forget it: and no one can imagine its being altered by a single note
without serious loss and detriment. In a word, it is inevitable, and
therefore final: a plain statement of a primary truth which remains with
us as a delight when the most elaborate epigrams have passed away into
weariness or oblivion. And in two of the Violin Sonatas, in the A minor
Quartett, in a hundred other works and movements, we shall find that the
first sentences give an equally striking illustration of this power.
Many composers become commonplace when they try to be simple: they can
only seize our attention with an effort, with some special trick of
colour or contrast. Brahms, who has at his command every shade in the
whole gamut of colour, can make an abiding masterpiece with a few
strokes in black and white.
* * * * *
In the foregoing analysis, nothing has been attempted except a bare
description of the organism. The mystery of life, the breath of thought
and inspiration, the secret language by which mind speaks to mind,--all
these are beyond our reach, and in dealing with them we should only
confess our ignorance of our own inadequacy. But this at least we may
say, that wherever the divine principle is present, it makes itself
known by the witness of visible signs--by law, by progress, by
inter-relation of parts and unity of function. If, then, we can read the
signs, we may guess at the thing signified: if the words be clear and
consecutive, we may claim that there is a meaning in the sentence. In
music it is possible, as the old Psychologists fabled, that the soul is
the true realisation of the body, the power that moulds and shapes the
organs into their fulness of existence and energy. And thus, though we
can never put into words what we mean by the soul of music, we may yet
point to perfection of body as its evidence. No man will deny that the
art of Brahms is a living force--a genuine, spontaneous outcome of
personal feeling and personal vitality. And, if it be so, the analysis
of its external form may, to some extent, indicate its possession of the
more spiritual gifts.
That he stands beside Bach and Beethoven is hardly any more a matter for
controversy. All three are poets of the same order--noble, dignified,
majestic--followers of the statelier muses, and of Apollo, who teaches
to men the truths of prophecy. All three are consummate artists, in
whose supreme mastery of utterance the highest message has found fit and
adequate expression; and finally, in all three alike may be seen the
culmination and fulfilment of an epoch in musical history--a climax of
achievement which not only closes the chapter of its own age but renders
possible the further record of the ages, to come. True, the work of
Brahms is still too near us to receive its proper meed of appreciation.
We are not yet so familiar with his method as with that of his two
forerunners: in his speech there is still something new and strange
which now and again baffles our understanding. But all true art is
unfathomable: we see the play of colour upon its surface, and know from
the very richness and glory of the sight, that below are depths which no
plummet can measure. By our century of experience we have learned to
know a little of Beethoven: we shall no more master his secret than we
shall enter into the mind of Shakespear or Goethe. And in like manner,
if we call Brahms obscure, we are imputing our own weakness as the fault
of a man who is too great for us. It is not for nothing that we love
best those of his writings which we have most carefully studied. It is
not for nothing that every decade adds to the number of those who see
in him the highest expression of our present ideal. When music attains
to fuller knowledge and nobler practice, it will grant him a due place
among its foremost leaders, and to us who honour him as a monarch, will
succeed a generation which reverences him as a hero.
FOOTNOTES:
[55] Dr Parry, _Art of Music_, pp. 173-4.
[56] Compare the corresponding movements in Schumann's D minor Violin
Sonata and Pianoforte Quintett.
_INDEX_
A.
A major Symphony (Beethoven), 51, 64, 70, 219, 286.
A major Pianoforte Quartett (Brahms), 253, 255, 285, 296.
A minor String Quartett (Schumann), 54;
(Dvořák), 197;
(Brahms), 302.
Abendständchen, 255.
Academic Overture, 268.
Academy, The, 262.
Æolopantaleon, 90.
Æolsharfe, 298.
Æschylus, 281, 296.
Ahle, Johann Rudolph, 264.
Aix-la-Chapelle, 120.
Albert Hall, 205.
Alcestis, the, 53.
Aldrich, T. B., 64.
Alexander's Feast, 264.
Alfred (Dvořák's), 190.
Allgemeine Musikalische Zeitung, 100, 235, 247, 256.
Ambros, 251.
America, 183, 208.
Andrea del Sarto, 168, 233.
Anselar Platz, 231, 234.
Anstey, F., 65.
Antigone, the, 260.
Antonin, 92, 108.
Arago, 134.
Arbeau's Orchesographie, 277.
Aristotle, illustrations from, 9, 10, 21, 22, 70, 278.
Art (limits of analysis), 75, 133, 150, 243.
Art of Music (Dr Parry), 283.
Arts and Sciences (Order of), 270.
Asolando, 149.
Austen, Miss, 64.
Austin Dobson, Mr, 31.
Austria, 185, 208, 259.
Austrian Kultusministerium, 198-200.
Austrio-Prussian War, 258.
Ave Maria (Brahms), 247.
Ave Maris Stella (Dvořák), 194.
B.
B major Trio (Brahms), 42.
B flat Sestett (Brahms), 247, 253, 282, 287, 296, 299.
B flat minor Sonata (Chopin), 136, 137, 155, 156.
Bach, polyphony, 278;
relation to Brahms, 283-286;
illustrations from, 20, 30, 40, 45, 66, 68, 70, 86, 161, 168, 217,
218, 232, 259, 278, 279, 280, 281, 282.
Bacon, 190, 211.
Bad Reinerz, 91, 93.
Baillot, 116.
Ballades (Chopin), 123, 131, 135, 154, 158.
Balzac, 67, 134.
Barbara Allen, 38.
Barbizon School, 213.
Barcarolle (Chopin), 137.
Barcelona, 129.
Bartered Bride, the, 187, 221.
Basle, 269.
Beethoven, relation to Chopin, 155;
to Dvořák, 219;
to Brahms, 286-290.
Beethoven, illustrations from, 7, 11, 20, 22, 24, 30, 33, 39, 42,
43, 46, 47, 51-53, 55, 64, 66-68, 70, 72, 80, 97, 98, 106,
149, 153, 156, 157, 163, 167, 168, 189, 221, 223, 225, 232,
234, 236, 237, 243, 247, 252, 253, 258, 259, 262, 265, 266,
280.
Belleville, Mdlle. de, 107.
Bendl, Karel, 188, 191.
Berlin, 94, 95, 102, 110, 115, 200.
Berlin Iris, 120.
Berlioz, illustrations from, 21, 29, 32, 33, 106, 120, 149, 180,
183, 220, 232, 234, 239, 280, 285.
Birmingham Festival, 206, 208.
Blätter für Theater Musik und Kunst, 252, 253.
Blahetka, 100.
Blanc, Louis, 133.
Bluebells of Scotland, 46.
Blumendeutung, 191.
Böhmisch-Kamnitz, 176.
Bohemia, condition of music in, 177;
loss of independence, 182;
beginnings of renaissance, 183, 184;
national movement, 184-187, 192, 194, 203, 208, 217, 220.
Bohemian Folksongs, 215.
Bohemian Theatre, 191, 195, 204.
Bonn, 245, 260.
Brahms, Johannes, birth, 231;
early education, 232-3;
first concert, 233;
tour with Reményi, 235;
Göttingen, 235;
Hanover, 237;
Weimar, 238;
goes to Schumann at Dusseldorf, 239;
_début_ at Leipsic, 240;
appointment at Lippe Detmold, 241;
concerts, 243;
first pianoforte concerto, 244, 261;
serenades, 245;
stay in Switzerland, 246, 247;
goes to Vienna, 249;
_début_ in Vienna, 252;
first performance of B flat sestett, 253;
relation to Wagner, 254;
appointment to Vienna Singakademie, 255;
concert tour in Germany, 255;
concert tour in Switzerland, 257;
German Requiem, 258, 259;
Hungarian dances, 261;
Triumphlied and Schicksalslied, 262, 263;
appointed conductor of the Gesellschaft der Musikfreunde, 263;
first symphony, 265;
doctor's degree at Breslau, 267;
tragic and academic overtures, 267, 268;
concert tour, 269;
decorations from Germany, Bavaria and Austria, 270;
made citizen of Hamburg, 271;
later compositions, 271, 272.
Brahms as composer. The 'fifth landmark,' 281, 282;
relation to Bach, 283-286;
relation to Beethoven, 287-290;
further developments of structure, 291-294;
emotional range, 295, 296;
melody, 296-299;
rhythm, 300, 301;
conclusion, 302, 304.
Brahms, illustrations from, 18, 30, 40, 42, 54, 55, 62, 70, 187,
214, 225.
Brahms, Johann Jakob, 231, 234;
Frau, 231, 234;
Fritz, 235, 246.
Brandenburgs in Bohemia, the, 187.
Brault, Augustine, 137.
Breitkopf and Härtel, 91.
Bremen, 259, 262.
Breslau, 111, 267.
Broadwoods, the, 123.
Brontë, Charlotte, 64.
Browning, illustrations from, 13, 149, 233.
Bruch, Max, 259.
Bruckner, 250.
Brüll, Ignaz, 250.
Bückeburg, 238.
Buda-Pesth, 258, 269.
Burger, 29, 206.
Burns, 47, 152, 177.
Burton, 17.
Byron, 35, 200.
C.
Calderon, 212.
Cambridge, 208, 267, 272.
Carlsbad, 121.
Carlsruhe, 255, 262, 265.
Carnaval Overture, 224.
Carpaccio, 157.
Catalani, 88, 107.
Cauvière, Dr, 132.
Cavalleria Rusticana, 217.
Cellini, 90.
Chapelain, 133.
Cherubini, 91, 116.
Chiarina, 122.
Chopin, Frederick, birth, 83;
early education, 85-87;
first compositions, 90;
visit to Berlin, 94;
first visit to Vienna, 97;
return to Warsaw, 101;
Constance Gladkowska, 102;
concerts in Warsaw, 105, 109;
leaves Poland, 110;
second visit to Vienna, 111-115;
arrival in Paris, 116;
concerts in Paris, 118, 120, 129, 135, 143;
tour in Germany, 121-123;
visits to London and Marienbad, 123;
meets George Sand, 124;
at Nohaut, 129, 132, 133, 134, 137, 140;
winter in Majorca, 129-132;
pupils, 134, 135;
death of his father, 136;
breakdown in health, 137;
rupture with George Sand, 137-142;
second visit to England, 143, 144;
return to Paris, 144;
death, 145.
Chopin as composer. Style, 150;
relation to Polish folk-music, 151-154;
structure, 155, 156;
melody, 158;
harmony, 160-163;
accompaniment figures, 164-166;
treatment of pianoforte, 166-168.
Chopin, illustrations from, 17, 18, 31, 53, 55, 57, 60, 66, 218,
220, 232, 233, 267, 286.
Chopin, Nicholas, 83, 90, 94, 121, 126.
Chopin, Louisa, 85;
Isabella, 85;
Emily, 85, 93.
Choral Symphony, 38, 160, 289.
Chrysander, Dr, 256.
Clary, Prince, 100.
Clementi, 134.
Clesinger, 138.
Coda, 52.
Cologne, 243, 255.
Concerto in F minor (Chopin), 105, 106, 123;
in E minor (Chopin), 105, 109, 115, 117, 119;
Violin Concerto (Dvořák), 220, 224;
(Brahms), 266, 300;
in D minor (Brahms), 244, 261;
in B flat (Brahms), 269;
double, 270;
Brahms' treatment of, 292.
Congress of Vienna, 83.
Conservatoire, Warsaw, 102, 110;
Paris, 117, 120, 180;
Prague, 208.
Constable, 213.
Constance, 246.
Corelli, 279.
Corneille, 45, 254.
Correggio, 60.
Couperin, 31, 279.
Cour d'Orléans, 133, 142.
Covent Garden, 183.
Cracow, 97.
Crystal Palace, 272.
Cunning Peasant, the, 201
Czerny, 98.
D.
D minor Symphony (Dvořák), 194, 207, 216, 222.
D minor Concerto (Brahms), 244, 247, 261.
Dante, 7, 155, 296.
Danzic, 93.
Darwin, 6.
David, 255.
Davidsbund, 122.
Deiters, Dr, 243, 256.
Delacroix, 121, 133.
Der Freischütz, 101, 195.
Dessoff, 250.
Dettingen Te Deum, 264.
Development section, 52.
Dietrich, 259.
Dimitrij, 204.
Dobrovsky, 189.
Dorian mode, 154.
Dresden, 101, 111, 121, 122, 187, 234.
Dryden, 283.
Du bist wie eine Blume, 38.
Dufay, 277.
Dürer, 7.
Dumas, 134, 219.
Du Maurier, 63, 163.
Dumka, 220.
Dunstable, 277.
Dusseldorf, 120, 236, 239.
Dussek, 183.
Dvořák, Antonin, birth, 175;
early training, 176;
recalled from school, 176;
first composition, 178;
enters the organ school at Prague, 179;
difficulties, 180;
appointment in the orchestra of the Interimstheater, 188;
compositions during his second period of study, 190, 191;
first opera, 191-193, 194-196;
Heirs of the White Mountain, 193;
appointed organist of St Adalbert's, 194;
marriage, 194;
second and third operas, 196, 197;
symphony in F, 197;
applications to the Austrian Kultusministerium, 198, 199, 200;
resigns his post at St Adalbert's, 198;
Stabat Mater, 199;
relations with Brahms, 200;
Slavische Tänze, 200, 201;
the Cunning Peasant, 201;
publication of early works, 202;
Husitska and Tyl, 203, 204;
Dimitrij, 294;
first visit to England, 205;
Spectre's Bride, 206;
St Ludmila, 206, 207;
instrumental compositions and songs, 207;
Jakobin, 207, 208;
decoration from Austrian Court, 208;
doctorate at Cambridge and Prague, 208;
Requiem, 208;
appointment at New York, 208, 209.
Dvořák as composer. National element, 215;
exceptions, 216;
use of scale, 216-219;
form, 219, 220;
Dumka and Furiant, 220, 221;
orchestration, 222;
relation to classical style, 224, 225.
Dvořák, illustrations from, 20, 21, 33, 60, 62, 64, 160.
Dvořák, Frantisek, 174;
Josef, 179;
Adolf, 179;
Karel, 179.
Dziewanowski, 119.
E.
E minor Concerto (Chopin), 105, 109, 115, 117, 119.
Edinburgh, 144.
Ehrlich, Dr, 235, 237, 248.
Eighth Symphony (Beethoven), 32, 64, 288.
Eine Kapitulation, 262.
Elegies (Dvořák), 298, 221.
Elijah, the, 206.
Elsner, 86, 87, 91, 96, 99, 100, 105, 110, 117, 118, 233.
Emotional element in music, 21-23, 26-32.
Emperor Concerto, 43, 286.
Endymion, 157.
England, Chopin in, 123, 143;
Dvořák in, 205-208.
Epstein, 251.
Eroica Symphony, 22, 33, 43, 55, 184, 300.
Esser, 250.
Études (Chopin), 60, 105, 119, 120, 135, 136, 158, 160, 161, 166.
Euripides, 53, 88.
Eurydice, 187.
Exposition, 52.
F.
F major Symphony (Dvořák), 197;
(Brahms), 285, 297.
F minor Concerto (Chopin), 105, 106, 123.
F minor Quintett (Brahms), 255, 256, 301.
Faculties of musical appreciation, 13-15.
Faust (Berlioz), 21;
(Gounod), 42;
(Goethe), 101, 259.
Feldeinsamkeit, 269, 298.
Félix Meritis, 122.
Ferdinand, Emperor, 182.
Fernando Cortez, 94.
Fes Moll, 219.
Fétis, 83, 118.
Feuilles d'Automne, 213.
Field, 120.
Fifth Symphony (Beethoven), 22, 43, 57.
Filtsch, 135.
Florentine Revolution, 44, 216, 278.
Florence, 217.
Florestan, 94, 122.
Flying Dutchman, 180.
Fontana, 92, 93.
Fortuny, 177.
Franchomme, 117, 137, 139.
Franco-Prussian War, 262.
Frank, Dr, 17.
Fraser's Magazine, 270.
Freitag, 270.
Freude, 265.
Frogs, the, 62.
Function in music, 58, 63-69.
Furiant, 175, 220.
G.
G major Sestett (Brahms), 256, 257.
G minor Quartett (Brahms), 249, 252, 300.
G minor Quintett (Mozart), 39.
G minor Trio (Chopin), 60, 93, 96, 119.
Gabrielis, the, 45, 278.
Gainsborough, 212.
Galicia, 97.
Gallenberg, Count, 97.
Gautier, 11, 17, 134.
Gazette Musicale, 263.
Gebir, 73.
Germany, 122, 152, 157, 200, 217, 232, 235, 239, 242, 243, 245, 259,
267, 269.
German Requiem, 258, 259, 260, 262, 265, 272, 284.
Gesang der Parzen, 269.
Gesellschaft der Musikfreunde, 251, 253, 258, 263.
Gewandhaus, 240, 243, 244.
Gladkowska, Constance, 102, 107, 108.
Glasgow, 144.
Goethe, 43, 212, 259, 260, 303.
Goldmark, 18, 250, 264.
Göttingen, 235, 237.
Gothenburg, 185.
Gounod, 42.
Graff, 105.
Gray, 81.
Greek music, 274, 276.
Grieg, illustrations from, 41, 42, 47, 62, 66, 160, 218.
Grillparzer, 251.
Grün, 251.
Gutmann, 135, 138, 140, 145.
Gyrowetz, 81, 87, 98.
H.
Hálek, 184, 193.
Hamburg, 231, 233, 234, 235, 244, 245, 246, 265, 271.
Hammerclavier Sonata, 53, 63, 67, 287.
Hancke, 176, 178.
Handel, illustrations from, 19, 80, 94, 207, 208, 231, 264, 285.
Hanover, 234, 237.
Hanslick, Dr, 251, 254.
Haslinger, 97.
Hausmann, 273.
Haworth, 85.
Haydn, illustrations from, 46, 47, 48, 54, 55, 67, 80, 143, 223, 253,
264, 271, 280, 285.
Hegel, 10, 161.
Heide, 231.
Heine, 38, 82, 121, 126, 134, 212, 259.
Heinrich, 183-184.
Heirs of the White Mountain, 193, 202.
Heller, 107.
Helm, Dr, 262.
Hellmesberger, 251, 252, 253, 257, 266.
Herbeck, 250.
Herbstgefühl, 260.
Herold, 119.
Herz, 119, 158.
Hiller, 116, 118, 120, 151.
Histoire de ma vie, 127, 138.
Holderlin, 262.
Holland, 261.
Homer, 7.
Hoole, 35.
Horn Trio (Brahms), 256, 289, 298.
Hôtel Rambouillet, 133.
Hugo, Victor, 28, 64, 212, 254.
Humboldt, A. von, 95.
Hummel, 96.
Hungarian dances, 261, 266.
Hunten, 153.
Husitska, 203, 222.
Hymns Ancient and Modern, 41.
I.
I attempt from Love's sickness to fly, 47.
Im wunderschönen Monat Mai, 19.
Impromptus (Chopin), 129, 135, 158.
Imogen, 68.
Indiana, 142.
Inductive method in science, 1-4;
in art, 6-8;
in music, 8-9.
Instrumental music, influence on polyphony, 284.
Interimstheater, 187, 188.
Intermezzo, 290.
Intuitive reason, 10-12.
Ischl, 267, 269.
Italia, 193.
Italian opera-house (Paris), 120, 121.
Italy, 92, 102, 110, 115, 152, 183, 217, 265.
J.
Jakobin, 207, 208.
James, Henry, 128, 142.
Jane Eyre, 71.
Jarocki, Dr, 94, 95.
Je vends des scapulaires, 119.
Joachim, 236, 237, 255, 257, 259, 266.
John Hielandman, 47.
Josquin, 277.
Jourdain, M., 71.
Journal des Goncourt, 23, 127.
Judith, 62.
Judenthum in der Musik, das, 243.
Jupiter Symphony, 285.
K.
Kalisz, 111.
Kalkbrenner, 90, 117, 118, 119.
Karasowski, 83, 89, 95, 105, 114, 125, 139, 140.
Kärnthnerthor Theatre, 97, 114, 250, 251.
Keats, 35, 71, 157, 177.
Kéler Béla, 261.
Kinderscenen, 49.
King and Collier, 192, 195, 215.
Kirchner, Theodor, 246, 248, 255.
Klengel, 100.
Kolberg, Wilhelm, 91, 93.
Kossel, 232.
Krakowiak, 96, 98, 119, 152.
Kralup, 173, 175.
Krebs, 234.
Krehbiel, H. E., 199.
Kreutzer Sonata, 236.
Krzyzanowska, Justina, 83.
Kuntzsch, 233.
L.
La ci darem, variations on, 93, 97.
Labiche, 296.
Lachner, 98.
Lamb, Charles, 17, 98, 121.
Lamennais, 134.
Lanner, 114.
Lassus, 40.
Laub, 251.
Le roi s'amuse, 64.
Lear, 68, 296.
Lee, Nat, 35.
Leech, 20.
Leeds Festival, 206.
Legenden, 202, 218.
Lehmann, 95.
Leipsic, 122, 123, 217, 240, 243, 244, 246, 255, 261, 267, 270.
Leipsiger Signalen, 244.
Lenore, 29, 206.
Leopardi, 128, 155, 193.
Liebeslieder, 260.
Liebestreu, 233.
Liehmann, 176.
Lipinski, 107.
Lippe Detmold, 242, 245.
Liszt, 83, 86, 87, 92, 118, 133, 136, 140, 167, 168, 214, 220,
237, 238, 241, 248, 285.
Lobgesang, 40.
Lobkowitz, Prince, 174.
London, 123, 143, 144, 205.
Lorraine, 85.
Lucrezia Floriani, 139, 140, 141.
Lui et Elle, 128.
Lulli, 209.
Lydian Mode, 154.
Lysberg, 135.
M.
Macfarren, Sir George, 29, 30, 272.
Macaulay, 257.
Madeleine, the, 145.
Magelone, 255, 260.
Majorca, 129-131.
Malfatti, Dr, 114.
Malherbe, 185, 186.
Malibran, 117.
Malvezzi Theresa, 128.
Manchester, 144.
Mannheim, 255.
Marienbad, 122, 123.
Marienlieder, 247.
Marliani, Mdme., 133.
Marseilles, 132.
Marsyas, 97.
Marxsen, 232, 233.
Mathias George, 135.
Matthew Arnold, 125, 126, 139, 149, 216
Mazurkas (Chopin), 91, 119, 136, 137, 152, 153, 154, 161, 167.
Meine Liebe ist Grün, 295.
Meiningen, 269.
Meistersinger, 192, 254.
Mendelssohn, illustrations from, 31, 40, 63, 64, 87, 95, 113, 118,
120, 122, 149, 168, 207, 219, 243.
Merimée, 79.
Messiah, the, 11, 51, 80, 206.
Meyerbeer, 28, 136.
Mickiewiez, 133.
Michael Angelo, 43, 168, 282.
Mikuli, 135.
Milan, 110.
Millet, 213.
Milton, 35, 43, 113, 157, 296.
Minuet (Haydn), 48; (Mozart), 49.
Missa Papæ Marelli, 57, 277.
Monteverde, 19, 44.
Moravian duets, 200.
Moresca, 44.
Morlacchi, 101.
Morland, 212.
Mors et Vita, 42.
Moscheles, 119, 158, 164.
Mozart, illustrations from, 17, 39, 47, 49, 67, 79, 80, 87, 97, 123,
132, 156, 192, 223, 247, 253, 280, 284, 288.
Munich, 115, 265.
Music, inductive method in, 8, 9;
intuitive reason in, 11, 12;
sensuous element in, 15-20;
emotional element, 21-23;
rational element, 23-25;
emotional basis, 26-32;
style, 35-43;
structure, 44-56;
function, 58, 63-69;
national element, 210-216;
the five landmarks, 276-282.
Myslivecek, 183.
N.
Nänie, 269.
Natal, 235.
Neckereien, 255.
Nelahozeves, 173.
Neue Berliner Musikzeitung, 241.
Neue Zeitschrift, 232, 239, 246.
New Bohemian Theatre, 202.
New York, 208.
Niecks, Professor, 108, 121, 127, 139, 145.
Niederrheinische Musikfest, 120.
Nissen Johanna, 231.
Nocturnes (Chopin), 60, 93, 119, 123, 136, 137, 154, 158, 161, 162,
163, 167.
Nohant, 129, 132, 133, 134, 137, 140, 142.
Novotny, 195.
Numa Roumestan, 141.
Nun danket alle Gott, 41.
O.
Odyssey, 74.
Offenbach, 296.
Oldenburg, 255.
Omar Khayyam, 39.
Orfeo, 44.
Organism in music, 33;
in melody, 38;
in harmony, 40;
in style, 41;
in structure, 44-55.
Othello, 69.
Oxford, 182, 267.
P.
Paër, 116.
Paganini, 96, 255.
Palestrina, illustrations from, 40, 168, 275, 278, 281.
Paradise Lost, 296.
Paris, 87, 102, 106, 110, 115, 116, 118-123, 125, 131, 133, 134,
140, 143, 144, 145, 146, 182, 183, 213, 217, 257.
Parry, illustrations from, 46, 62, 283.
Pasta, 107, 117.
Pater, 36.
Pathétique, Sonata, 39, 47, 51.
Pauline, 233.
Peer Gynt, 42.
Penzing, 254.
Père la Chaise, 146.
Pericles, prologue to, 51.
Perpignan, 129.
Persius, 79.
Philharmonic (Vienna), 262, 265.
Pierret, 126.
Pixis, 100.
Platen, Count, 237.
Plato, 12, 59, 230, 276.
Pleyel, 120, 135.
Poe, 29.
Poland, 83, 84, 110, 116, 152.
Polonaises (Chopin), 93, 105, 123, 131, 136, 158.
Polonaise-Fantasie, 137.
Portraits Contemporains, 126.
Posen, 93, 96.
Prague, 99, 100, 111, 175, 179, 184, 187, 188, 191, 196, 198, 203,
208.
Preludes (Chopin), 131, 136, 156, 158, 166.
Pressnitz, 175.
Prince Karol, 139, 141.
Prince of Venosa, 19.
Purcell, 47.
Q.
Quartetts (Dvořák), 197, 208, 224.
Quartetts (Brahms), 247, 249, 252, 253, 255, 260, 264, 266, 285, 291,
309, 302.
Quintetts (Dvořák), 190, 207, 220, 221.
Quintetts (Brahms), 255, 271, 291, 297, 300, 301.
R.
Racine, 254.
Radziwill, Prince, 92, 96, 105, 110.
Raff, 266.
Rameau, 31, 47, 279.
Ramorino, 116.
Ranz des Vaches variations, 90.
Raphael, 7.
Rasoumoffsky Quartetts, 43, 51, 55, 258.
Raven, Poe's essay on, 29.
Redemption, the, 42.
Reicha, 183.
Reinecke, 270.
Rellstab, 120.
Reményi, 235, 236, 237, 238.
Requiem (Dvořák), 20, 60, 208, 223;
(Mozart), 145.
Reynolds, 202.
Rhapsodies (Dvořák), 202, 222;
(Brahms), 260, 266.
Richter, 251, 265, 272.
Rieter-Biedermann, 246, 261.
Rinaldo, 260.
Rizner, 261.
Romantic movement in music, 53, 155, 233, 280, 281, 283, 284-286.
Rome, 213.
Romeo and Juliet, prologue to, 51.
Rondo, growth of, 46-47;
Chopin's in C minor, 91, 93.
Roskosny, 191.
Rossini, 64.
Rouen, 129.
Rubinstein, 243, 264.
Rue Pigalle, 133.
Ruskin, 30.
Russia, 83, 84, 106, 113-116, 260.
S.
Sadowa, 188, 263.
St Adalbert, church of, 194, 198.
St Cæcilia (Handel), 94.
St Ludmila, 206, 207, 216.
Sainte Beuve, 126, 134.
Samberk, 203.
Sand, George, 102, 121-127, 129, 131, 133, 136-142, 144.
Sand, Maurice, 129, 137, 138, 142.
Sand, Solange, 129, 138, 144.
Sappho, 79.
Sartoris, Mrs, 144.
Saul, 94, 264.
Scarlatti, 31, 279.
Schadow, 120.
Scherzos (Chopin), 123, 129, 136, 153.
Scherzo Capriccioso, 220.
Schicksalslied, 62, 70, 262, 263, 297.
Schönbüchel, 183.
Schubert, illustrations from, 33, 80, 114, 132, 201, 214, 247, 249,
250, 252, 260, 270, 284, 297.
Schubring, Dr, 235.
Schumann, illustrations from, 19, 31, 39, 53, 54, 57, 72, 93, 107,
120, 122, 123, 149, 152, 154, 156, 165, 168, 232, 233, 237,
239, 240, 241, 244, 246, 250, 285, 286, 290, 291, 297.
Schumann, Madame, 122, 255, 259.
Schuppanzigh, 98.
Scott, 206, 219.
Scudérys, the, 133.
Sebor, 191.
Sensuous element in music, 15-20.
Serenades (Brahms), 245, 246, 253, 255.
Serenade Trio, 221.
Sestetts (Dvořák), 202;
(Brahms), 247, 253, 256, 257.
Seyfried, 114.
Shakespear, illustrations from, 7, 35, 43, 51, 67, 68, 106, 168,
281, 301, 303.
Shelley, 13, 71, 82, 122, 168.
Simrock, 200, 202.
Singakademie (Berlin), 94, 95;
(Vienna), 255.
Skarbeks, the, 83, 84.
Slavik, 115.
Slavische Tänze, 200, 205.
Smetana, 185, 186, 187, 191, 192, 196, 215, 221.
Soldatenlieder, 258.
Sommerabend, 269.
Sonatas (Chopin), 93, 136, 137, 138, 143;
(Dvořák), 202;
(Brahms), 233, 240, 256, 266, 270, 271.
Sonata form, growth of, 44-56, 286-291.
Sonntag Henrietta, 107.
Sophocles, 35, 301.
Spectre's Bride, the, 206, 207, 216, 219, 223.
Spencer, Herbert, 26.
Spitz, 176.
Spohr, 149.
Spontini, 95.
Spring song, 152.
Stabat Mater (Rossini), 64;
(Dvořák), 199, 202, 205, 223.
Stary, 194.
Sleeker, Dr, 191.
Stevenson, R. L., 252.
Strauss, 31, 39, 114, 250, 260.
Structure in music. 44-56, 286-291.
Stubborn Heads, the, 196.
Stuttgart, 115, 269.
Style in music, 35-43, 298-302.
Suvorov, 84.
Symphonic Fantastique, 32.
Symphonies (Dvořák), 190, 194, 197, 198, 202, 207;
(Brahms), 265, 269, 270, 284, 290, 297.
Szafarnia, 90.
T.
Tacitus, 272.
Tannhäuser, 195.
Tellefsen, 135, 143.
Tennyson, 35.
Teplitz, 100.
Thalberg, 114, 158.
Thirty Years' War, 182.
Tieck, 255.
Tilly, 182.
Tintoret, 282, 294.
Titian, 12, 43, 157, 282.
Treitschke, 270.
Trios (Chopin); 93, 96, 119;
(Dvořák), 198, 200, 207, 208;
(Brahms), 42, 255, 267, 272.
Triple Concerto (Beethoven), 243.
Tristan, 21, 57, 254, 296.