Stanford and Ireland contribute respectively to English musical life

and to the empire what a penn'orth of yeast does to a basin of dough.

As far as one may judge the ferment cannot be stopped. Its chemical

constituents are wit, clarity, and humor, all combined by a delightful

ease and precision of technique. Stanford's scores are models of

elegant reticence and their 'form' is beyond reproach. In all his

work one notices a constant refusal to accept gloom for poetry. He

is a musical Oliver Goldsmith of the nineteenth century. No one has

done more for the preservation, the arranging, and the publishing of

Irish folk-song. Among the best-known of his works are his comic opera

'Shamus O'Brien,' his 'Irish Rhapsodies,' his 'Variations on an English

Theme,' and his many fine string quartets and quintets. In the realm of

song-literature both original and arranged he has a great record; much

of his church music is by now classic on both sides of the Atlantic;

and he has made a very special success with his striking Choral

Ballads. In these last three departments one may mention his 'Cavalier

Songs' and his 'Songs of Old Ireland'; his Services in B-flat, A and

F; 'The Revenge,' 'The Voyage of Maeldune,' 'The Bard,' and 'Phaudrig

Crohoore.'

Elgar's advantage over the other six members of this group lies,

not merely in his comparative youth, but in the fact that he began

his serious and prolonged husbandry after the others had done the

ploughing. Practically self-educated, he set out with the very noble

determination to conquer the world unaided except by his own brains.

What this determination means in a densely populated, imperialistic

country like England probably very few Americans can realize. From

his home in Malvern and later in London he began to issue a series

of works, few in number as the men of his generation counted these

things, but of unsurpassed poetical quality. His earlier work, such as

'King Olaf' and 'Caractacus,' met with no very wide appreciation; but,

with the appearance of his 'Enigma Variations,' his 'Sea Songs,' and

his beautiful oratorio, 'The Dream of Gerontius,' came general European

recognition. His present unassailable position in England may be gauged

from the fact that his oratorios--saturated with the Roman Catholic

spirit--are welcomed even in the English cathedrals. Nor are the

Deans and Chapters incensed thereby. Of his other works--such as the

overtures 'In the South' and 'Cockaigne,' the 'Pomp and Circumstance'

marches, the two enormous Symphonies, the Violin Concerto, and the

oratorios 'The Kingdom' and 'The Apostles'--it is not possible to speak

here in detail. All Elgar's work is characterized by great sincerity

and purity of intention. He is an ample master both of harmony and

counterpoint; while his sense of orchestral decoration is astonishing.

One must in fairness add that he has often been charged with a certain

indecision and melodic indefiniteness. These are perhaps national

traits; and the gravamen of this charge may be lightened as Teutonic

standards of judgment become less and less generally enforced.

Before leaving this group of composers we must mention the

fact--already hinted at--that their general education and social level

is undoubtedly high as compared with that of their predecessors. This

point need not be elaborated. But its effect is seen in the publication

of various volumes dealing with the æsthetic and historical sides of

music. Of these, Hubert Parry's two great volumes on 'Johann Sebastian

Bach' and 'Style in Musical Art' are easily first. Only second to them

is the same author's work on 'The Seventeenth Century' contributed to

the 'Oxford History of Music.' And he has three or four others to his

credit. Stanford has published two delightful books of memoirs and a

short treatise on 'Musical Composition.' Frederick Corder, besides

a considerable list of compositions, has produced three volumes, of

which the best-known is 'The Orchestra and How to Write for It.' The

awakening taste for musical study at this period can perhaps be best

appreciated by considering the wide popularity of Ebenezer Prout's dry,

stubborn volumes on musical technique.

Finally, in order to complete the list of names associated with this

movement, one must add John Stainer and George Martin, both of St.

Paul's Cathedral; Walter Parratt, the distinguished 'Master of the

King's Musick'; and Frederick Bridge of Westminster Abbey. Of the dozen

men named above ten received titles from the Sovereign.

III

The members of the second and third groups shared with Elgar the

advantages of much improved musical conditions. After twenty-five

years' hard work the older generation of composers had educated the

country to a wider, deeper, and purer appreciation of music. They had

even arrived at a tacit understanding with their countrymen that an

Englishman might, under certain conditions, be able to compose. Of this

understanding their pupils took immediate advantage. Let us see of what

these improved conditions consisted.

In 1880, outside the provincial church festivals, orchestral

opportunity for the English composer meant a few concerts conducted by

August Manns at the Crystal Palace and a few more given by the London

Philharmonic Society. To-day there is a larger number of first-class

orchestral players in London than in any other city in the world.

To a large extent this is the result of the insatiable London appetite

for musical comedy performed with a beauty and lavishness unknown

in America. For the orchestral player who cannot live by symphony

work alone can live by symphony and theatre work combined. The number

of orchestras both metropolitan and provincial has thus increased

enormously. The percentage of English works played has also increased,

though there is still room for some improvement in that respect.

In London alone there are, besides the Covent Garden Orchestra--the

Royal Philharmonic, the Queen's Hall,[78] the London Symphony,

the New Symphony, and the Beecham. All of these can and do tackle

successfully the most modern music. A certain number of excellent

amateur orchestras, such as the Royal Amateur, the Stock Exchange,

and the Strolling Players, testify to a wide interest in this form of

music. Outside London there are permanent orchestras at such places as

Bournemouth, Brighton, Glasgow, Harrogate, Liverpool, Manchester, and

Torquay.

Among conductors who have at one time or other interested themselves

in English music may be mentioned Henry J. Wood, Granville Bantock,

Godfrey, Thomas Beecham, Balfour Gardiner, Landon Ronald. And this

leaves out of account the theatrical conductors, the older musicians

most of whom have conducted either at the Royal Philharmonic or at some

provincial festival, and the conductors of choral societies, such as

George Riseley, Frederick Bridge, Allen Gill, Henry Coward, and Arthur

Fagge.

The second point which calls for notice is the folk-song movement,

which has forced composers to reconsider some of the fundamentals

of their art and at the same time has furnished them with a mass of

material on which to work. We must remember that, from the early

middle ages until the present day, the traditional music of Europe

(folk-song) has continued to flow in a sort of underground stream,

while the written or professional music has been the main official

waterway. The two have constantly joined their currents, and at times

the underground stream has actually been in advance of the river

overhead.

The important point is that, in England and Ireland at any rate, the

folk-song, orally transmitted, has practically evolved as a _separate_

art-form with its own ways and means of expression. And the outstanding

feature of the movement is the recognition of this art-form as a thing

of beauty, of vitality, and of necessity to the nation. One might make

a very fair division of English composers into those who do not use

folk-tunes, those who do for cheque-book reasons, and those who do

because they must.

In England the missioners of this movement came only just in time.

When they visited the country and seaboard towns of such counties as

Norfolk and Somerset they found the art of folk-singing unknown except

to the oldest inhabitants. Luckily, however, these sturdy grandfathers

kept in their minds a great treasure of folk-song, and it was from

their lips that our present collections were made. With this work the

name of Cecil Sharp will always be honorably joined. There is now very

little chance of folk-song dying, but, as everywhere else, the genuine

folk-singer is practically extinct.

Irish folk-song has been the subject of conscious literary enquiry

for nearly two hundred years. And this is not to be wondered at when

we consider that, of all folk-song, it is first in musical charm,

variety, and depth of poetical feeling. In this department the most

important recent contribution by far is Stanford's monumental edition

of the complete 'Petrie Collection'; but, besides that, he has

restored and arranged Moore's 'Irish Melodies' and has published two

volumes containing altogether eighty Irish songs and ballads with

accompaniments. Both in Wales and Scotland there has been a similar but

less important activity.

Before concluding this hasty sketch of the English folk-song movement

we must point out that its effect on English composition was only

gradually felt. The men of the second group had been too strictly

trained in the tradition of the elders to feel quite comfortable

under the new dispensation. They acknowledged but evaded its power.

Their successors, on the other hand, viewed it, not as a curious

archæological discovery, but as a living spring from which they could

draw their vitality.

The two most eminent names in the second group of composers are

undoubtedly Frederic Delius (b. 1863) and Granville Bantock (b. 1868).

The former was born in Bradford, lived for some time in the United

States, and finally after long residence and marriage in France

became almost a foreigner. Blessed with abundant means, he has always

been able 'to cherish his genius' and let the world go hang. When he

reappeared in England it was as a solitary stranger unknown even by

name to his co-evals. And this sudden reappearance on the wave-crest of

a vigorous English propaganda was not made the subject of loud-voiced

enthusiasms. His brilliant talents excited a perverse misunderstanding;

and he had to live down a certain sore opposition from his

contemporaries, many of whom had for years been struggling in the Cave

of Æolus to blow up the very wind that sent him into harbor. These are

happily things of past history, and he is now accepted by the world as

a tone-poet of great power and originality. Of his works--most of which

owe their present popularity to the exertions of his friend Thomas

Beecham--one may note 'Paris,' 'Brigg Fair,' 'Appalachia,' 'Seadrift,'

'Dance Rhapsody,' and his great 'Mass of Life.' Of his operas, neither

'Koanga' nor 'A Village Romeo and Juliet' seems to have made a

pronounced success.

[Illustration: Modern British Composers:]

Sir G. Hubert H. Parry Sir Arthur Sullivan

Granville Bantock Sir Edward Elgar

Bantock is a man of quite another kidney. The son of a London

doctor, he has always exerted himself for the benefit of his fellow

countrymen. In his younger days as conductor of the New Brighton

Orchestra he devoted himself largely to the performance of English

music. The present writer, among many others, has to acknowledge that

his first chance was offered him by Bantock. At the present time he

wields great influence as head of the Midland School of Music at

Birmingham. Bantock's work is characterized by fluent expression and

vivid coloring. His early experiences have given him an almost uncanny

touch in the orchestra. Perhaps no one knows better than he how to

'score heavily' by 'scoring lightly.' In his choice of subjects he

leans somewhat toward the exotic and oriental. From his long list

of compositions it is only possible to select the orchestral works

'Sappho,' the 'Pierrot of the Minute,' 'The Witch of Atlas,' 'Fifine

at the Fair'; and his vocal-and-orchestral works 'Omar Khayyám,' 'The

Fire Worshippers,' the six sets of 'Songs of the East,' and the nine

'Sappho' fragments.

* * * * *

Hamish MacCunn (b. 1868) and Edward German (b. 1868),[79] the one a

Scot and the other a Welshman, are both more particularly identified

with the theatre. MacCunn's early orchestral poems, such as 'The Land

of the Mountain and the Flood' and 'The Ship o' the Fiend,' at once

brought him wide recognition. Their fine poetical qualities are well

known. A large portion of his time, however, has been devoted to

operatic conducting and composition. In the latter field he has to his

credit such works as 'Jennie Deans' and 'Diarmid.' But, though MacCunn

is known to all as an able, brilliant musician, he has had to pay the

penalty of his association with that musical Cinderella, English Opera.

German, on the other hand, though never aiming at the sun, has once or

twice hit a star. He succeeded Sullivan at the Savoy and made successes

with 'The Emerald Isle,' 'Merrie England,' 'A Princess of Kensington,'

and elsewhere with 'Tom Jones.' His incidental music to 'Henry VIII'

and 'Nell Gwyn' has been liked into dislike. But German has done a

great deal more than this. No account of him would be complete that did

not mention his 'Welsh Rhapsody,' his 'Rhapsody on March Themes,' his

'Gypsy Suite,' and his 'Overture to Richard III.'

There is no denying the power, the wide ability, or the technical

resource of Ethel Mary Smyth. Judged by her music alone one would say

that she was only the _nom de guerre_ of a strong masculine personality

saturated with Teutonism. This, however, is only a pleasing fancy. As

a fact, the terrific earnestness of her music could never have come

from the brain of a mere man. Opera is her stronghold, and her greatest

victory therein a fine Cornish drama, 'The Wreckers.'

Neither Walford Davies nor Charles Wood has produced music in great

quantity. Both have led somewhat secluded lives; the one as organist of

The Temple, and the other as a Cambridge don.

Davies is a man of fastidious taste, a first-class organist and

contrapuntist, and a profound student of Bach, Browning, and The

Bible. It is said that his coy muse sometimes furls her pinions at the

approach of a too red-blooded humanity. However that may be, she has

inspired him with at least one subtle and delicately beautiful work,

'Everyman.'

Charles Wood is an Irishman from Armagh, a fine scholarly musician and

probably the best all-round theorist in the country. He has a strong

interest in the folk-song of his native land and has written a set of

orchestral variations on the tune, 'Patrick Sarsfield.' One of his best

things is his string quartet in A minor. In the realm of choral music

his 'Ballad of Dundee' may be selected for mention. He has at any rate

one great song to his credit--'Ethiopia saluting the colors.'

Arthur Hinton's (b. 1869) work, which is appreciated on both sides

of the Atlantic, includes some elaborate pianoforte music, a two-act

opera, 'Tamara,' a couple of symphonies, the orchestral suite

'Endymion,' and a good deal of chamber music. His compositions are

characteristic of the group to which he belongs. A certain delight in

clean, finished workmanship and an incisiveness of expression are their

main features.

Arthur Somervell has been throughout his life one of the

standard-bearers of the English revival. And he has kept the

banner flying both by his enthusiasm for folk-music and by his

own compositions. His graceful, refined songs are sung and liked

everywhere. Of these perhaps the best known is his cycle from

Tennyson's 'Maud.' Among his larger works one may mention his

'Normandy' variations for pianoforte and orchestra and his recent

symphony 'Thalassa.' For some years past Somervell has been the

official mainspring which keeps the clock of elementary musical

education ticking.

One of the most admirable features of the later phases in the English

musical renaissance is the quickened and deepened interest shown

both in English musical history and in the general topic of musical

æsthetics. For the first time since the days of Hawkins and Burney

investigators have begun an elaborate search in college, cathedral,

and secular libraries. The existence of a vast store of madrigals,

of church and instrumental music was scarcely suspected even by

professional musicians; and the treasure when unearthed came as a

revelation to musical England.

In the field of musical æsthetics there has been an equally remarkable

activity. And it is noteworthy that a number of men who have devoted

their lives to purely musical composition have also produced elaborate

studies either of the technique, the history, or the psychology of

their art. Of these we may name six: Wallace, McEwen, Walker, Tovey,

Macpherson, and Buck.

William Wallace is, like MacCunn, a Scot from Greenock. His mental

growth had its roots in the stiff classical sub-soil of a public

school, and then pushed its way up through the rocks of a university

medical course till it flowered in the sweet open air of the R.A.M.

composition class. Hence his mind, which almost needs the threefold

pormanteau-word 'musiterific' to describe it. Wallace was the first

Englishman to write a symphonic poem, and he has made this form

something of a specialty. The best known of his six are 'The Passing of

Beatrice' and 'Villon.' Of these the latter has been played everywhere,

and the present writer has had to satisfy more than one puzzled

American enquirer as to how the author of 'Maritana'[80] could possibly

have written it! Some of Wallace's songs, for instance 'Son o' Mine,'

have acquired a popularity in England almost too great for public

comfort. In the field of literature he has produced two remarkable

studies in the development of the musical sense--'The Threshold of

Music' and 'The Musical Faculty.'

John Blackwood McEwen is, like Wallace, a Scotsman. Furthermore he has

the same mental and physical homes--Glasgow University, the R.A.M.,

and London. He has produced much symphonic and chamber music all

characterized by a severe self-criticism, impeccable workmanship,

and at times a certain Scottish exaltation. His quartets in A minor

and C minor are excellent. Of his symphonic poems the border ballad

'Grey Galloway' can hold up its head in any company. He is an untiring

enquirer into musical fundamentals and, of his five published volumes,

the most valuable is 'The Thought in Music.'

Both Ernest Walker and Donald Francis Tovey are university men. The

former, who is organist of Balliol College, Oxford, has been much

applauded for his songs and chamber music. He has also rendered great

and lasting service by his admirable 'History of Music in England.'

Tovey--the distinguished occupant of the Reid Chair of Music in

Edinburgh--is a sort of musical Francis Bacon. Few of the English

tales as to his learning and memory would be believed if printed in

America. The most credible is that he is able to play the sketch-books

of Beethoven by heart. His pamphlets of severely analytical criticism

have, in a way, set a new standard in this kind; while his work in

connection with the eleventh edition of the 'Encyclopædia Britannica'

has had the happiest results. Though a very able theorist and

historian, Tovey is by no means that alone. He has written a good deal

of chamber music, a concerto for pianoforte and orchestra and, one

hears, an opera. It is difficult to place these works. Some of the

older musicians have hailed them as greatly instinct with the spirit

of Mozart, Beethoven, and Brahms, while some of the younger men have

catalogued them rather as compilations from those three masters. The

composer's own views, throwing a terrific weight onto his isolated

notes and phrases, seem to make of music a burden almost too heavy to

bear. However this may be, it is quite certain that Tovey has not yet

shot his last bolt.

With Stewart Macpherson and Percy C. Buck we may close this list of

composer-authors. The former, in addition to a considerable amount of

published music, has printed ten volumes, mostly on the technique of

composition: the latter, besides his music, has written two valuable

works--'The Organ' and 'The First Year at the Organ.' Naturally the

greater part of the literary work in connection with this movement

has been done by scholars who are not themselves composers. Most of

these men have been in close touch with the leaders of the renaissance;

but, even when their work has been purely archæological, it has, so to

speak, cleft the rock and released a fountain of inspiration for their

creative brethren.

Henry Davey's 'History of English Music' is a pioneer work embodying

the results of long and patient research. Its combative determination

to claim honor for the honorable is beyond praise. A similar work,

less scholarly but equally patriotic, is Ernest Ford's 'Short History

of Music in England.' Barclay Squire (of the British Museum), has,

with his brother-in-law J. A. Fuller Maitland, done much to revive

the national pride in Purcell and to spread an accurate knowledge

of the earlier Elizabethan and Jacobean composers. Fuller Maitland

himself, apart from his claims as editor of 'Grove' (2d ed.) and

as a contributor to the 'Oxford History of Music,' always used his

distinguished position at _The Times_ to further the best interests

of English music. To this list we may add the names of three other

scholar-musicians all associated with the 'Oxford History of Music':

W. H. Hadow, the brilliant editor of the work and at present principal

of the Armstrong College; H. E. Wooldridge; and (the late) Edward

Dannreuther, whose life-span stretched from personal contact with

Richard Wagner to patient and sympathetic intercourse with the youngest

school of English musicians.

In the special field of instrumental construction and development

we have Rev. F. W. Galpin, with his scholarly and delightful volume

'Old English Instruments of Music,' and Kathleen Schlesinger. Of Miss

Schlesinger's painstaking and accurate scholarship her country has by

no means made the acknowledgment it deserves.

In the realm of more general musical æsthetics and criticism many

names might be mentioned. We must content ourselves with those of

Ernest Newman, whose profound works on 'Gluck' and 'Wagner' are

discussed everywhere, and E. J. Dent, who has studied certain phases of

Mozart's work and has published a classical volume on 'Scarlatti.'

Though it is somewhat outside our special topic, some reference must

be made here to the English researches into Greek music. For the first

time since the Germans began to inspissate the gloom, a ray or two

of light has been allowed to fall upon this difficult subject. In

particular D. B. Monro, with his volume 'The Modes of Ancient Greek

Music,' has shown that it is not an essential of this study that the

reader should always have the sensation of swimming in glue. Since his

day Cecil Torr has published a clever work on the same topic; while H.

S. Macran and Abdy Williams have both written on Aristoxenus.

This concludes the list of original writers, but, before leaving the

subject, a word must be spared for the vast improvement that has

appeared during the past few years in the translation of foreign

musical texts into English. The value of the work of such men as Claude

Aveling, Frederick Jameson, and Paul England can only be appreciated by

a comparison of their translations with those of their predecessors.

One may add that there is now a persistent cry in the London press

for fine English finely sung, and this demand--though not always

gratified--is kept before the public by such patriotic critics as Robin

Legge, Edwin Evans, and Henry Cope Colles.

Finally, before passing on to the third group, we may here conveniently

place together the small band of theatrical composers who have

succeeded Sullivan. Musical comedy and the money that comes from

writing it are the very sour grapes of the average English symphonist.

One and all they applaud what they call 'genuine comic opera' (meaning

Offenbach or anyone else that is _old_ and _dead_), but decry its much

brighter, cleaner, and more musical descendant. The ludicrous snobbery

of English life draws a wide black line between the two classes of

composer; and the stupidest Mus. Doc. that ever drowned a choir would

probably rather have his daughter run off with the butler than marry

a musical comedy composer. Nine times out of ten the theatrical man's

revenge is that it is he and not the Mus. Doc. that has the butler.

For, even under present conditions, the theatre alone in England offers

a composer-conductor the chance of an honorable livelihood.

During Sullivan's lifetime he and Gilbert _were_ comic opera; and,

though the Savoy cap was tried on such diversely shaped heads as

A. C. Mackenzie, Ernest Ford, Edward Soloman, and J. M. Barrie,

it never really fitted any of them. Cellier alone--brother of

Sullivan's conductor--made a success (elsewhere) with his charming

work, 'Dorothy.' We have already mentioned that, after Sir Arthur's

death, German completed his unfinished opera, 'The Emerald Isle,' and

continued to employ his easy brilliant talents in that field. A later

attempt to run a miniature grand opera, written by an Italian (Franco

Leoni) but sung in English, was defeated by the two gods of fog,

musical and meteorological.

Toward the end of the century theatre-land began to shift westward and

northward into the Piccadilly Circus and Shaftesbury Avenue district.

The new form of entertainment came into its own, and--if one may quote

the words of an eminent Russian violinist--'Musical comedy at Daly's

became the top-thing.' Of the men who have been providing the music for

the London theatres we may mention four--Jones, Monckton, Talbot, and

Rubens.

Sidney Jones's music has been played all the world over. In 'The

Geisha,' 'San Toy,' and many other works he has had the opportunity

of exercising his delicate taste and his really very musical mind.

He has written more than one extended finale that is a comic opera

masterpiece; while the alternate sparkle and quaint tenderness of his

melodies are quite irresistible.

Of recent years Lionel Monckton has had the biggest finger in

the musical comedy pie. And deservedly so. He owes his present

distinguished position mainly to his inexhaustible fund of original

melody. Many of these tunes are, in their way, perfect. Their special

excellence is lightness, vigor, rhythmic variety and constructional

power. If the present writer were subpœnaed before the Court of the

Muses to give evidence as to the best tunes made in the past fifteen

years he would testify, among others, for Monckton. The Folk-Song

Society of 2500 will probably explain him as a solar-myth.

Howard Talbot[81] and Paul Rubens may be bracketed together. The

former, though a New Yorker born, has lived his musical life in London.

And his charming talent is shown in the many works of which he is

either whole-or part-author. Of these the most popular are perhaps 'A

Chinese Honeymoon,' 'The Arcadians,' and 'The Mousmé.' Rubens may be

specially noticed for his Sullivanesque power of associating his music

intimately with his literary text. Not that his music has anything

in common with Sullivan's. But the special faculty of making the two

things appear one is common to both composers. Rubens nearly always

writes his own lyrics and thus, in a delightful manner, revives and

vindicates the theory and practice of Greek poetic composition.

IV

With the turn of the century the folk-song movement had sunk deep into

the English mind, where it still rests as an anchor for many of their

hopes. Accordingly in this period we find men, like Vaughan Williams,

who either base their music entirely on actual folk-song or invent

tunes in close spiritual alliance with its ideals. In either case the

result is a genuine development of folk-music. On the technical side

this group is marked by a much more decided tendency to refuse the

highly organized German technique as necessary to its salvation. This

again is largely due to an open-minded reconsideration of musical

æsthetics, forced upon composers by the special harmonic and melodic

features of folk-song. The matter is too large for discussion here; but

it is satisfactory to note that more than one Englishman who passed

through his student-days with the reputation of a wrong-headed jackass

has been able to base his honor on his alleged stupidities.

During recent years there is some change to be noted in the material

side of English musical conditions. Apparently there is less love for

the oratorio; and therefore less scope for writing it. This symptom

of musical life is common to America and England. It is easy to

diagnose the reasons. In England they are two: first, on the part of

the audience, the dislike of prolonged boredom; and, second, on the

part of the composer, an indignant hatred of the organized corruption

associated with choral music. The latter point cannot be dealt with

here, though it is a common theme of talk among English composers. The

musician's compensation is to be found in the extraordinary system of

'choral competitions' and 'festivals' which now honeycomb England with

their sweetness. These, beginning with Miss Wakefield's celebrated

gathering in Cumberland, have spread all over the country and now

offer composers large opportunities for the performance of part-songs

and the smaller sort of choral works. The best and highest aims of

these English festivals are summarized for Americans in the 'Norfolk

Festival' of the Litchfield County Choral Union founded by Mr. and

Mrs. Stoeckel to honor the memory of Robbins Battell.

On the side of actual orchestral opportunity the English composer of

to-day is undoubtedly more favored than his American brother. There

are more orchestras there; and they are more ready to do native works.

The conditions are not perfect by any means, but they are better there

than here. As far as the publication of serious music goes the English

composer's position is hopelessly bad. He has to contend against

ignorance, apathy, and a short-sighted financial timidity far beyond

American credence. In addition to that he often has to fight hard

against his own seniors who--themselves comfortably off--deny that

music, when written, has any commercial existence. A certain London

firm, in order to encourage its poorer and younger clientèle to take

example thereby, continually cites the readiness of one of its older

wealthy composers to take $25 for a choral work. Words can go no

further.

It is unnecessary to specify the names of the great English publishing

houses which have associated themselves with the English revival.

Suffice it to say that they have always been at hand, ready to lighten

the burden and the pocket of the composer. But it would not be fair

to ignore the firm of Stainer and Bell, which was founded--under a

directorate of distinguished musicians--with the prime object of

dealing honorably with the composer. The existence of this firm is,

in its way, a landmark; or rather a lighthouse for composers who have

long had to beat up in the straits of chicanery and dishonesty. Nor

must we omit to mention the present extended activity of the Society

of Authors. Though founded by Sir Walter Besant some fifty years ago

for the special protection of literary men, it has recently formed a

sub-committee of composers under the chairmanship of Sir Charles V.

Stanford. It is now known as The Society of Authors, Playwrights, and

Composers and, among the last-named workers, has already done valuable

service.

The number of composers who might be mentioned in this group is, of

course, very large. Now that music has almost risen to the level of

golf and horse-racing as a national pastime, it employs the brains of

many. The list, we fear, must be ruthlessly pruned. But it will be

pruned so as to leave the more prominent branches and even some of the

buds visible to the American reader. Of his charity he may be asked

to surmise what the author well knows, that some young Englishmen of

great original powers are forced by circumstance to spend their days in

teaching little girls the fiddle, while others who scarcely condescend

below grand opera might just as well be employed on some wholly

uninspired task--such as the writing of these pages.

Ralph Vaughan Williams--though he is the most characteristically

English of this group--is a Welshman. Large both in body and mind,

he has always kept before himself and his fellows a singularly noble

ideal. It may safely be said of him that he has never trimmed his

course even half a point from what he considered his duty. The music

that comes from this simple and courageous mind is naturally of the

most earnest--perhaps a little awkward at times, but always deeply

sincere. His aims and his outlook are peculiarly national. Let us try

to exemplify this. To a fresh-water people like the Americans the

attempts of Rubinstein, Wagner, and others to illustrate 'the sea' in

music may not appear particularly unsuccessful: to a sea-loving race

like the English they are simply puny and ridiculous. Williams has

taken this subject, and, in his choral 'Sea Symphony' (words by Walt

Whitman), has actually caught up the sounds of the sea as the English

hear them. This is a new and a great achievement. Again in his 'London'

symphony he has somehow managed to express in sound a thing not

hitherto expressed--the poetry both tragic and comic which dwells in

that most wonderful of all towns. In Williams's larger works there is

always, quite apart from their actual length, something vast, shadowy,

and almost primeval. His landscape is always bathed in a pearly,

translucent haze. The subjects loom up and disappear with a suddenness

natural in England but unnatural elsewhere. It is as if a Turner

canvas had been translated into sound. Of Williams's other works, many

of which are directly inspired by the folk-music of which he is an

ardent collector, one may mention the orchestral 'Norfolk Rhapsodies,'

'In the Fen Country,' 'Harnham Down,' and 'Boldrewood'; the 'Five

Mystical Songs' for baritone, chorus, and orchestra; the beautiful

cantata 'Willow-wood' for baritone, female chorus, and orchestra; the

six songs, 'On Wenlock Edge,' for tenor voice, string quartet, and

pianoforte; and, last, his music to 'The Wasps.'

Samuel Coleridge-Taylor (1875-1912) and William Young Hurlstone

(1876-1906) both died while still young. The one was an African, the

other a pure Englishman. Both died leaving an example to their friends

of modesty and cultured simplicity. As far as technique went they

could probably have both given Vaughan Williams ninety yards start in

a hundred and beaten him. But, in any more serious race, the handicap

would probably have had to be reversed. Their sailing-orders as

students were perhaps merely to keep the ship's head on Beethoven and

Brahms. But, in the case of Taylor, the powerful lode-stone of Dvořák's

genius spoilt the compass-readings and drew his ship nearer and nearer

to 'the coast of Bohemia.' Of his work the best-known by far is his

'Hiawatha,' the first performance of which at the R.C.M. was heard

by at least three members of the first group of composers--Sullivan,

Stanford, and Parry. After 'Hiawatha' may be mentioned his cantata

'A Tale of Old Japan,' his 'Bamboula Rhapsodic Dance' (written

for Norfolk, Conn.), and his violin 'Ballade' and 'Concerto.' In

Hurlstone's case a constant physical weakness prevented the true

development of his really great musical powers. The best of his refined

work is found in his sonatas, trios, and quartets. Most of these have

been or are now being published in London.

Joseph Holbrooke (b. 1878) is from the land of Cockaigne. His

purposeful character and his invincible habit of saying in public

what most composers only think in private have made him the

_enfant terrible_ of London musical life. In output, energy, and

material-command he is probably unsurpassed by any living composer.

A strong, blistering style and a constant determination to call his

16-inch guns into action have procured for him many (musical) enemies.

He is blessed with a great sense of humor and a very complete knowledge

of the way to express it in music. His orchestral variations on 'Three

Blind Mice' should be played everywhere. Holbrooke has enjoyed very

exceptional opportunities in the way of dramatic performance and

full-score publication. This is not to be regretted; especially when

one considers the usual disadvantages of the English composer under

these two heads. He has written a large quantity of songs and chamber

music--some of it for the most curious combinations.[82] Among his

larger works one may select his operas 'The Children of Don' and

'Dylan'; his 'Queen Mab' and 'The Bells'; and his 'illuminated' choral

symphony 'Apollo and the Seaman.'

Percy Grainger (b. 1883)--pianist, composer, arranger, friend of Grieg,

etc.--comes from Australia; and, if that country had not produced

him, the concert-agents of the world would have had to invent him.

His playing is wonderful. He never writes a dull note, and he ranges

from the Faroe Islands to the Antipodes. He crosses no sea but as a

conqueror. Folk-song is his battleship and quaint diatonic harmony his

submarine. 'Molly on the Shore,' 'Father and Daughter,' 'Mock Morris,'

'Händel in the Strand,' and 'I'm Seventeen Come Sunday' all attest the

'certain liveliness' of his very happy gifts. He has been applauded

by thousands and sketched by Sargent. What he will do next nobody

knows--but it is sure to be successful.

Cyril Scott[83] was born, apparently, in the 'Yellow Book.' His slim

Beardsleyesque nature seems to be always moving through an elegant

exotic shadow-world, beckoned on by his own craving yet fastidious

mind. At Pagani's he sits mysteriously in a black stock and cameo.

A strange personality, distinguished and uneasy! Certain crippling

theories of rhythm and development have at times bent the flight of his

muse. His 'Aubade,' Pianoforte Concerto, and Ballad for baritone and

orchestra, 'Helen of Kirkconnell,' are notable.

Gustav von Holst[84] for all his name, is English born and bred.

Skegness gave him to the world: he has all the energy and tenacity of

the east-coast man. The main features of his music are an extremely

modern and comprehensive method of handling his subjects, great

warmth and variety of orchestral color, and (occasionally it must be

confessed) excessive length. His successes have been striking and well

deserved. Among his best-known productions are his Moorish work 'In the

Street of the Ouled Nails,'[85] his orchestral suites 'Phantastes,' and

'de Ballet,' and (more particularly) his elaborate vocal and orchestral

works, such as 'The Cloud Messenger' and 'The Mystic Trumpeter.' A

large part of von Holst's time has been given to the composition of

Hindu opera on a vast scale; and, as we have already hinted, composers

who take up opera in England have to pay penalties. Among others who

have been mulcted in this way are Nicholas Gatty (with three operas,

'Greysteel,' 'Duke or Devil,' and 'The Tempest'); Rutland Boughton

(with his scheme of open-air choral drama on the Arthurian legends);

J. E. Barkworth (with 'Romeo and Juliet' set directly to Shakespeare's

text); George Clutsam, Colin McAlpin, and Alec Maclean.

Norman O'Neill and Balfour Gardiner may be honorably mentioned as among

the very few young English composers who ever picture the Goddess of

Music as not swathed in crêpe. O'Neill's compositions are manifold.

Among the most successful are his capital numbers written as incidental

music to 'The Blue Bird.' Gardiner has a shorter list, but all his

works have a delightfully boyish and open-air spirit. We may mention

his orchestral pieces 'English Dance,' 'Overture to a Comedy,' and

'Shepherd Fennel's Dance.'

One of the most prominent traits in the musical make-up of the young

English composer is his persistent cry for loud, complex orchestral

expression. Holbrooke was the one who started him on this trail; and

now his constant prayer seems to be:

'_O mihi si linguæ centum sint, oraque centum._'

Above this school Frank Bridge (b. 1879) stands head and shoulders.

What the others do well he does better; and, if they ever attempt to

follow him there, he always has a 'best' waiting for them. Though he is

quite unknown outside England, one has no hesitation in saying that his

superior as a plastic orchestral artist would be hard to find. Among

his best works are his three orchestral impressions of 'The Sea,' his

two 'Dance Rhapsodies,' and his beautiful symphonic poem 'Isabella.'

In chamber music he has been very successful, more especially in the

'Fancy' or 'Phantasy' form recently revived in England. His 'Three

Idylls' for string quartet are both charming and distinguished.

Round Bridge's name may be grouped, for convenience of placing, the

names of York Bowen, who has written everything from symphonies and

sonatas to a waltz on Strauss's _Ein Heldenleben_; A. E. T. Bax,

whose activities are in some measure the musical counterpart of the

'Celtic twilight' school of poetry; W. H. Bell, the author of 'Mother

Cary' and the 'Walt Whitman' symphony; Hamilton Harty, whose 'Comedy

Overture,' 'With the Wild Geese,' and 'The Mystic Trumpeter' are all

much played in England; and Hubert Bath. To the last-named composer

we English owe a debt for his constant refusal to worship the muse

with a cypress-branch. His gay, sprightly choral ballads, such as

'The Wedding of Shon Maclean' and 'The Jackdaw of Rheims,' bring him

friends wherever they are heard. Bath has also made a specialty of

accompanied recitation-music. He has produced nearly two dozen of these

pieces; but in this field Stanley Hawley with his fifty-one published

compositions easily leads the way. Almost all the musicians mentioned

in this paragraph have been before the public at some time or other as

conductors. Harty and Bridge in particular have shown themselves to be

possessed of very strong gifts in this line.

It is perhaps premature to criticize the very latest swarms of

orchestral composers that have issued from the musical bee-hives of

London. Certain of them, however, show considerable promise and, in

some cases, a rather alarming tendency to soar after the queen-bees of

continental hives. This they will probably outgrow as their summer days

increase. Among the most recent to try their wings are P. R. Kirby (a

Scotsman from Aberdeen), Eugène Goosens, Jr. (with his symphonic poem

'Perseus'), and Oskar Borsdorf (with his dramatic fantasy 'Glaucus and

Ione').

Among the members of the third group who have shown special excellence

in the realm of chamber music B. J. Dale stands preëminent. The first

performance of his big sonata in D minor made musical London hold

its breath. He has written a great deal of music for the viola (as

discovered by Lionel Tertis), and has even defied fate by composing a

work for six violas. Dale's powers are very great, and he has probably

a good deal to say yet. Richard Walthew and T. F. Dunhill have both

an honorable record in chamber music. Both, too, have written on the

topic. The former, who, is also a prolific song-writer, has published

a volume on 'The Development of Chamber Music'; while the latter, in

addition to his many-sided activities, has produced a tactful treatise

for students entitled 'Chamber Music.' To the list of those who are

specially devoted to this form of composition one may add the names

of J. N. Ireland and James Friskin, neither of whom has yet had an

opportunity adequate to his undoubted talents.

Naturally, at all times there has been a considerable literature of

organ music in England. Almost all the composers mentioned above have

written for the instrument. But, among those more specially identified

with it and with church music, are W. Wolstenholme, who has more than

sixty published compositions; Ernest Halsley, also with a long list;

Lemare, whose transcriptions are so well known; T. Tertius Noble; C.

B. Rootham; and Alan Gray. James Lyon, the Liverpool organist, has a

lengthy record of the most varied sort, from orchestral, vocal, and

organ works to church services and technical treatises. A. M. Goodhart,

of Eton, has a similar weighty basketful. He has made a specialty of

the 'choral ballad.'

We have already given the names of many English song writers. Here

there are two groups of Richmonds in the field; those who write for the

shop-ballad public, and those who do not. Most of the 'do nots' have

naturally already been dealt with among the more serious composers;

though the two spheres of activity by no means always coincide. The

following short list--covering practically three generations--includes

some of both sorts, but excludes the names of composers already

mentioned: Stephen Adams, Frances Allitsen, Robert Batten, A. von Ahn

Carse, Coningsby Clarke, Eric Coates, Noel Johnson, Frank Lambert,

Liza Lehmann, Herman Löhr, Daisy McGeoch, Alicia A. Needham, Montague

Phillips, John Pointer, Roger Quilter, Landon Ronald (principal of

the Guildhall School of Music), Wilfred Sanderson, W. H. Squire, Hope

Temple, Maude V. White, Haydn Wood, and Amy Woodforde-Finden.

Before closing this highly compressed sketch of the English musical

renaissance an apology must be made for a double omission. First, the

whole subject of English opera has been ignored as too complex and

difficult for treatment. The activities of Carl Rosa, Moody-Manners,

Beecham, and others have therefore to be left almost unnoticed. Second,

no list has been attempted of the many fine executants produced by

England in the past generation. In actual accomplishment some of these

have been second to none in the world; though unfortunately their

connection with the men of the English revival has often been slight

or non-existent. On the other hand, some of the first of these artists

have stood, and do now stand, in a very close relationship with the

composers. And this mutual sympathy has often had happy results. One

can scarcely imagine Stanford's Irish songs without Mr. Plunket Greene

to sing them.

The reader who has travelled so far with the author should have by

now a fairly clear idea of musical conditions and achievements on the

other side. It is hoped that he will not regard his experiences merely

as a forty-five-years' sojourn 'in darkest England.' He can take the

writer's word for it that there is plenty of light shining there. But,

what with the fogs in the North Sea, the Channel, and the Atlantic, the

rays seldom get beyond the coastguard.

C. F.

FOOTNOTES:

[77] Out of the very small group of living English opera librettists

one is a duke and two are barons--Argyll, Howard de Walden, and

Latymer. A strange transformation in the national attitude towards

music!

[78] The amount of work done by some of the English orchestras may be

gauged from the fact that during the first nine months of the present

European war the Queen's Hall Orchestra gave 112 concerts.

[79] Born German Edward Jones.

[80] By _Vincent_ Wallace.

[81] Born Munkittrick.

[82] For instance, a serenade for five saxophones, soprano

_flügelhorn_, baritone _flügelhorn_, _oboe d'amore_, _corno di

bassetto_, and harp.

[83] B. Oxton, Cheshire.

[84] B. Cheltenham, 1874.

[85] In Biskra, a street of dancing and singing girls belonging to the

Walad-Nail tribe.

GENERAL LITERATURE FOR VOLUMES I, II, AND III

_In English_

A. W. AMBROS: The Boundaries of Music and Poetry (New York,

1893).

W. F. APTHORP: Musicians and Music Lovers (New York, 1897).

O. B. BOISE: Music and its Masters (Phila., 1902).

CHARLES BURNEY: A General History of Music (London, 1776).

ROBERT CHALLONER: History of the Science and Art of Music

(Cincinnati, 1880).

W. CHAPPELL: History of Music (London, 1874).

F. J. CROWEST: Story of the Art of Music (New York, 1902).

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

1905).

EDWARD DICKINSON: Guide to the Study of Musical History and

Criticism (Oberlin, 1895).

JOSEPH GODDARD: The Rise of Music from Primitive Beginnings to

Modern Effects (London, 1908).

Grove's Dictionary of Music and Musicians, 5 vols. (new ed.,

London, 1904-10).

W. H. HADOW: Studies in Modern Music, 2 vols. (New York,

1892-3).

JOHN HAWKINS: General History of the Science and Practice of

Music (1776, new ed. 1853).

JOHN HULLAH: Lectures on the History of Modern Music (London,

1875).

BONAVIA HUNT: History of Music (New York, 1891).

A. LAVIGNAC: Music and Musicians (transl. by Marchant, New

York, 1905).

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

1902, 1904, 1905).

C. H. H. PARRY: Evolution of the Art of Music (4th ed., 1905).

H. RIEMANN: Catechism of Musical History, 2 vols. (Eng.

transl., London, 1888).

W. S. ROCKSTRO: A General History of Music (1886).

J. S. ROWBOTHAM: A History of Music (London, 1885).

ALFREDO UNTERSTEINER: Short History of Music, Eng. transl. by

Very (New York, 1902).

_In German_

A. W. AMBROS: Geschichte der Musik (Breslau, 1862-1882); new

ed. by H. Leichtentritt, 4 vols. (Leipzig, 1909).

R. W. A. BATKA: Allgemeine Geschichte der Musik (Stuttgart,

1911).

KARL FRANZ BRENDEL: Grundzüge der Geschichte der Musik (7th

ed., Leipzig, 1888).

KARL FRANZ BRENDEL: Geschichte der Musik in Italien,

Deutschland und Frankreich (Leipzig, 1860).

ROBERT EITNER: Quellenlexikon der Musiker (Leipzig, 1900-1903).

PAUL FRANK: Geschichte der Tonkunst (1863, 3rd ed., 1878).

NIKOLAUS FORKEL: Allgemeine Geschichte der Musik (1778-1801).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal (Leipzig,

1887-1890).

WILHELM LANGHANS: Geschichte der Musik des 17., 18., u. 19.

Jahrhundert (Leipzig, 1912).

A. NAUMANN: Die Tonkunst in der Kulturgeschichte, 2 vols.

(1869-70).

EMIL NAUMANN: Illustrierte Musikgeschichte (new ed. by E.

Schmitz, 1913).

Peters Musikbibliothek Jahrbuch, ed. by Schwartz.

[Every volume since 1894 contains a complete (or usually

complete) bibliography of books on music published in the

respective year.]

A. REISSMANN: Allgemeine Geschichte der Musik, 3 vols. (1863-5).

HUGO RIEMANN: Handbuch der Musikgeschichte, 2 vols. (5 parts),

(Leipzig, 1904, 1905, 1907, 1912, 1913).

HUGO RIEMANN: Musiklexikon [misc. articles], (Leipzig, 1909;

new ed., 1915).

HUGO RIEMANN: Geschichte der Musiktheorie in 9.-19. Jahrhundert

(1898).

KARL STORCK: Geschichte der Musik (Stuttgart, 1904).

_Die Musik_ (Berlin, Bi-weekly).

_Vierteljahrsschrift für Musikwissenschaft_ (Leipzig).

_Zeitschrift_ and _Sammelbände_ of the _Int. Mus. Ges._

_In French_

ALEXANDRE SOFIA BAWR: Histoire de la musique (Paris, 1823).

CHARLES HENRI BLAINVILLE: Histoire générale, critique et

philologique de la musique (Paris, 1767).

JACQUES BONNET: Histoire de la musique, et ses effets, depuis

son origine jusqu'à présent (Paris, 1715, Amsterdam, 1725).

M. BRENET: _Année musicale_.

A. BRUNEAU: Musiques d'hier et de demain (Paris, 1900).

A. E. CHORON & J. A. L. DE LAFAGE: Nouveau manuel complet de

musique (Paris, 1838).

F. CLÉMENT: Histoire de la musique depuis les temps anciens

jusqu'à nos jours (Paris, 1885).

JULES COMBARIEU: Histoire de la musique, des origines à la mort

de Beethoven, 2 vols. (Paris, 1913).

JEAN PIERRE OSCAR COMMETTANT: La musique, les musiciens et les

instruments de musique chez les différents peuples du monde

(Paris, 1869).

HENRI EXPERT: Les Maîtres Musiciens de la Renaissance Française

(20 vols.).

CAMILLE FAUST: Histoire de la musique européenne (Paris, 1914).

F. J. FÉTIS: Histoire générale de la musique (1869).

F. J. FÉTIS: Biographie universelle des musiciens et

bibliographie générale de la musique (Brussels, 1837).

S. I. M. (Paris, Monthly).

_In Italian_

ARNALDO BONAVENTURA: Manuale di storia della musica (Livorno,

1898).

GIOVANNI ANDREA BONTEMPI: Historia musica (Perugia, 1695).

PADRE G. B. MARTINI: Storia della musica (Bologna, 1767-1770).

LUIGI TORCHI: _Arte Musicale_, 8 vols. Published irregularly.

ALFREDO UNTERSTEINER: Storia della musica (1893).

_Rivista Musicale Italiana_ (Turin, Quarterly).

N. B.--See also Special Literature for each chapter (on following

pages).

SPECIAL LITERATURE FOR VOLUME I

LITERATURE FOR CHAPTER I

_In English_

BENJ. IVES GILMAN: Hopi Songs (Boston, 1908).

RICHARD WALLASCHEK: Primitive Music (London, 1893).

CARL ENGEL: An Introduction to the Study of National Music

(London, 1866).

CHARLES RUSSELL DAY in 'Up the Niger,' by Mockler-Ferryman

(London, 1892).

WILLY PASTOR: The Music of Primitive Peoples and the Beginning

of European Music (Gov't Printing Office, Publ. No. 2223;

Washington, 1913).

FREDERICK R. BURTON: American Primitive Music (New York, 1909).

ALICE C. FLETCHER: Indian Story and Song from North America

(Boston, 1900).

ALICE C. FLETCHER: The Hako: a Pawnee Ceremony (Bureau of

American Ethnology, 22nd Annual Report, Part II, Washington,

1904).

NATALIE CURTIS: The Indian's Book (New York, 1907).

FRANCES DENSMORE: Chippewa Music (Part I, Bulletin No. 45,

1910; Part II, Bulletin No. 53, 1913, Bureau of Am. Eth.).

NATHANIEL B. EMERSON: The Unwritten Literature of Hawaii

(Bureau of American Ethnology, Bulletin No. 38).

_In German_

CARL STUMPF: Die Anfänge der Musik (Leipzig, 1911).

KARL BÜCHER: Arbeit und Rhythmus (Leipzig, 1909).

KARL HAGEN: Über die Musik einiger Naturvölker (1892).

JOSEF SCHÖNHÄRL: Volkskündliches aus Togo (Dresden, 1909).

THEODORE BAKER: Über die Musik der nordamerikanischen Wilden

(Leipzig, 1882).

_In French_

JULIEN TIERSOT: Notes d'ethnographie musicale (Paris, 1905).

JULIEN TIERSOT: Musiques pittoresques (Paris, 1889).

ERNEST NOIROT: A travers le Fouta-Diallon et le Bambouc (Paris,

1885).

HENRI A. JUNOD: Les chants et les contes des Ba-Ronga

(Lausanne, 1897).

LITERATURE FOR CHAPTER II

_In English_

CARL ENGEL: Music of the Most Ancient Nations (London, 1909).

RICHARD WALLASCHEK: Primitive Music (London, 1893).

W. A. P. MARTIN: A Cycle of Cathay (Chicago, 1897).

C. R. DAY: The Music and Musical Instruments of Southern India

and the Deccan (London, 1891).

J. A. VAN AALST: Chinese Music (Shanghai, 1884).

W. LANE: Modern Egyptians (London, 1871).

J. F. PIGGOT: Music and Musical Instruments of Japan (London,

1893).

A. J. ELLIS: On the Musical Scales of Various Nations (1885).

W. POLE: Philosophy of Music (London, 1879).

SOURINDRO MOHUN TAGORE: Six Principal Ragas, with a brief

survey of Hindoo music (Calcutta, 1877).

G. L. RAYMOND: Rhythm and Harmony in Poetry and Music (New

York, 1893).

_In German_

R. G. KIESEWETTER: Die Musik der Araber (1842).

_In French_

JULIEN TIERSOT: Notes d'ethnographie musicale (Paris, 1905).

JUDITH GAUTIER: Les musiques bizarres à l'exposition de 1900.

CAMILLE SAINT-SAËNS: Harmonie et mélodie (Paris, 1885).

CHARLES PETTIT: L'Anneau de jade (Paris, 1911).

_In Spanish_

M. S. FUERTES: Musica Arabe-Española (Barcelona, 1853).

FELIPE PEDRELL: Organografia Musical Antigua Española

(Barcelona, 1901).

LITERATURE FOR CHAPTER III

_In English_

DAVID LEVI: A Succinct Account of the Rites and Ceremonies of

the Jews (London, 1783).

GEORGE RAWLINSON: The Five Great Monarchies of the Ancient

Eastern World (London, 1862).

CARL ENGEL: Musical Instruments, Hand-Book of the South

Kensington Museum.

CARL ENGEL: Music of the Most Ancient Nations (London, 1864).

SIR JOHN STAINER: The Music of the Bible (London, 1904).

JOSEPH BONOMI: Nineveh and Its Palaces (London, 1853).

SIR GARDNER WILKINSON: Manners and Customs of the Ancient

Egyptians (London, 1878).

AUSTIN HENRY LAYARD: Nineveh and Its Remains (London, 1849).

PROF. H. GRAETZ: History of the Jews, 5 vols. (London, 1891-2).

W. FLINDERS PETRIE: History of Egypt, 3 vols. (London, 1853).

_In German_

A. F. PFEIFFER: Über die Musik der alten Hebräer (Erlangen,

1779).

J. L. SAALSCHÜTZ: Geschichte und Würdigung der Musik bei den

Hebräern (Berlin, 1829).

C. R. LEPSIUS (Editor): Denkmäler aus Ägypten und Ethiopien, 5

vols. (Leipzig, 1897-1913).

F. DIELITZSCH: Physiologie und Musik in ihrer Bedeutung für die

Grammatik, besonders die Hebräische (Leipzig, 1868).

A. ACKERMANN: Der Synagogal-Gesang in seiner historischen

Entwickelung (1894).

_In French_

CHARLES ROLLIN: Histoire ancienne des Égyptiens, des

Cartagenois, des Assyriens, des Babyloniens, des Mèdes et des

Perses, des Macédoniens, des Grecs (Paris, 1730, Engl. tr., N.

Y., 1887-88.)

CORNELIUS VON PAUW: Recherches philosophiques sur les Égyptiens

et sur les Chinois (Berlin, 1773).

ABBÉ ROUSSIÈRE: Mémoire sur la musique des anciens, ou l'on

expose les principes des proportions authentiques, dites de

Pythagore, et de divers systèmes de musique chez les Grecs, les

Chinois, et les Égyptiens. Avec un parallèle entre le système

des Égyptiens et celui des modernes (Paris, 1770).

GUILLAUME ANDRÉ VILLOTEAU: Description de l'Égypte.

FR. AUG. GEVAERT: Histoire et théorie de la musique de

l'antiquité (1875-81).

JEAN LORET: La musique chez les anciens Égyptiens (_in_

Bibliothèque de la Faculté des Lettres de Lyon).

F. VIGOUROUX: Psautier polyglotte; appendix (Paris, 1903).

CHARLES LENORMONT: Musé des antiquités égyptiennes (Paris,

1841).

LITERATURE FOR CHAPTER IV

_A--Sources_

PYTHAGORAS, the great philosopher of the sixth century B. C.

His teachings are known only through his pupils, especially

Philalaos (ca. 540 B. C.), of whose writings fragments are

preserved.

PLATO (427-347 B. C.).

In his 'Republic,' 'De legibus,' 'De furore poetico,' 'Timæus,'

'Gorgias,' 'Alcibiades Philebus,' there are copious references

to music.

ARCHYTAS OF TARENT, a contemporary of Plato.

He was the first to recognize the transmission of tones by

air vibration. His theories are cited by Theodore of Smyrna,

Claudius Ptolemy, etc.

ARISTOTLE (383-320 B. C.).

In 'Polities' and 'Poetics' he makes frequent references to

music.

ARISTOXENUS OF TARENT (ca. 320 B. C.), the most important

musical theoretician of ancient Greece. His 'Rhythmics' and his

'Elements of Harmonics,' the greatest part of which is lost,

have been many times translated and commented on.

EUCLID, the great mathematician, a follower of Pythagoras. His

'Sectio canonis' treats of the mathematical relation of tones.

HERON OF ALEXANDRIA (100 B. C.)

In his 'Pneumatica' he described the water organ (Hydraulis)

invented by Ktebisius, his teacher.

ARISTIDES QUINTILIANUS (first to second century, A. D.) of

Smyrna. His 'Introduction to Music' (μοὕσϛ ἁρ ονικἣϛ), completely

preserved, except for corruptions by copyists, is especially

notable for its tables of musical notation.

PLUTARCH, the celebrated writer of the comparative biographies

(50-120 A. D.), wrote an 'Introduction to Music,' full of

valuable information on the art.

CLAUDIUS PTOLEMY, the great Græco-Egyptian geographer,

mathematician and astronomer (second century A. D.). His

'Harmonics'--in three books--is an exhaustive theory of the

ancient scale system.

ALYPIUS (ca. 360 A. D.). His 'Introduction to Music' is

valuable for the copious tables of notation (Alypian tables).

BOETHIUS (475-524 A. D.), the chancellor of Theodoric the

Great. He was the chief exponent of Greek musical theory to the

Middle Ages. His five books on music ('De Musica') are chiefly

based on other works of the Roman period, notably on Ptolemy.

_B--Early Modern Writers on Greek Music_

VINCENZO GALILEO: Dialogo di Vincenzo Galileo ... della musica

antica, et della moderna (Florence, 1581).

M. MEIBOMIUS (Meibom): Antiquæ musicæ auctores septem

(Amsterdam, 1652).

_C--Modern Authorities_

AUGUST BÖCKH: De metris Pindari (Ed. of Pindar), 1811, 1819,

1821.

AUGUST BÖCKH: Die Entwicklung der Lehren des Philalaos (Berlin,

1819).

AUGUST BEGER: Die Würde der Musik im Griechischen Altertume

(Dresden, 1839).

FR. BELLERMAN (ed.): Anonymi scriptio de musica (Berlin, 1841).

FR. BELLERMAN (ed.): Die Tonleitern und Musiknoten der Griechen

(Berlin, 1847).

A. J. H. VINCENT: Notice sur trois manuscrits grecs relatifs à

la musique (1847).

CARL FR. WEITZMANN: Geschichte der griechischen Musik (Berlin,

1855).

MARQUARD: Harmonische Fragmente des Aristoxenus (1868).

OSKAR PAUL: Boethius' fünf Bücher über die Musik (translated

and elucidated, Leipzig, 1872).

FR. AUG. GEVAERT: Histoire et théorie de la musique de

l'antiquité (Gand, 1875).

FR. AUG. GEVAERT: Les problèmes musicaux d'Aristote (_collab.

w._ J. C. Vollgraf).

RUDOLPH WESTPHAL: Musik des griechischen Alterthumes (1883).

RUDOLPH WESTPHAL: Aristoxenus von Tarent (1883).

A. ROSSBACH und R. WESTPHAL: Theorie der musischen Künste der

Hellenen (1885-89).

D. B. MONRO: The Modes of Ancient Greek Music (Oxford, 1894).

CARL VON JAN: Musicii Scriptores Græci (Leipzig, 1895).

H. S. MACRAN: The Harmonies of Aristoxenus (Oxford, 1902).

R. VON KRALIK: Altgriechische Musik (Stuttgart, 1900).

ARTHUR FAIRBANKS: The Greek Pæan (Cornell Studies XII, 1900).

LOUIS LALOY: Aristoxène de Tarente (1904).

A. J. HIPKINS: Dorian and Phrygian (Sammelbände der Int.

Musik-Ges., Vol. IV, No. 3, pp. 371-81).

LITERATURE FOR CHAPTER V

_In English_

THE PLAIN-SONG AND MEDIÆVAL MUSIC SOCIETY: Graduale

Sarisburiense, with intro. 'The Sarum Gradual'; 'Early English

Harmony,' etc., etc.

H. B. BRIGGS: The Elements of Plainsong (London, 1895).

THE BENEDICTINES OF STANBROOK: Gregorian Music, an outline of

musical paleography (1897).

_In German_

FERDINAND PROBST: Die Liturgie der ersten drei Jahrhunderte

(1870).

FERDINAND PROBST: Die abendländische Messe vom 5. bis zum 8.

Jahrhundert (1896).

H. RIEMANN: Studien zur Geschichte der Notenschrift (1878).

PH. SPITTA: Über Hucbalds Musica Enchiriadis

(Vierteljahrs-schrift für Musikwissenschaft, 1889, 1890).

_In French_

J. B. DE LABORDE: Essai sur la musique ancienne et moderne

(1780).

ED. DE COUSSEMAKER: Histoire de l'harmonie au moyen-âge (1852).

ED. DE COUSSEMAKER: Mémoire sur Hucbald (1841).

J. LEBEUF: Traité historique et pratique sur le chant

ecclésiastique (1741).

L. LAMBILLOTTI: Antiphonaire de Saint-Grégoire (1851).

L. LAMBILLOTTI: Esthétique, théorie et pratique de plain-chant

(1855).

DOM JOSEPH POTHIER: Les mélodies grégoriennes d'après la

tradition (1880).

PALÉOGRAPHIE MUSICALE: Les principaux manuscrits, etc.;

Instructions, etc.

DOM GERMAIN MORIN: Les véritables origines du chant grégorien

(1890).

FR.-AUG. GEVAERT: Les origines du chant liturgique de l'église

latine (1890).

J. COMBARIEU: Étude de philologie musicale. Théorie du rhythme,

etc. (1896).

G. L. HOUDARD: L'Art dit grégorien d'après la notation

neumatique (1897).

_In Italian_

CARDINAL G. BONA: De divina psalmodia (1653, new ed. 1747).

F. MAGANI: L'anticaliturgia romana (1897-99).

GUIDO GASPERINI: Storia della semiografia musicale (1905).

LITERATURE FOR CHAPTER VI

_In English_

H. E. WOOLDRIDGE: Early English Harmony from the 10th to the

15th Century (1897).

JOHN STAINER: Early Bodleian Music: Dufay and his

contemporaries (Oxford, 1909).

_In German_

G. JACOBSTHAL: Die Mensuralnotenschrift des 12.-13. Jahrhundert

(1871).

H. BELLERMANN: Die Mensuralnoten und Taktzeichen im 15. und 16.

Jahrhundert (1858).

GEORG LANGE: Zur Geschichte der Solmisation (Sammelb. der

Intern. Musik-Ges., I, 1899).

HANS MÜLLER: Hucbalds echte und unechte Schriften über Musik

(1884).

HANS MÜLLER: Eine Abhandlung über Mensuralmusik (1886).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460

(1904).

PH. SPITTA: Die Musica enchiriadis und ihr Zeitalter

(Viertel-jahrsschr. für Musikwissenschaft, 1888 and 1889).

_In French_

ED. DE COUSSEMAKER: Mémoire sur Hucbald (1841).

ED. DE COUSSEMAKER: Les harmonistes des XII^{me} et XIII^{me}

siècles (Lille, 1864).

ED. DE COUSSEMAKER: L'Art harmonique au XII^{me} et XIII^{me}

siècles (Paris, 1865).

ED. DE COUSSEMAKER: Histoire de l'harmonie au moyen-âge (1852).

_In Italian_

L. ANGELINI: Sopra la vita ed il sapere di Guido d'Arezzo

(1811).

GUIDO GASPERINI: Storia della semiografia musicale (1905).

LITERATURE FOR CHAPTER VII

_In English_

EDMONDSTOUNE DUNCAN: Story of Minstrelsy.

EDWARD JONES: Musical and Poetical Relicks of the Welsh Bards

(three parts, 1786, 1802, 1824).

J. F. ROWBOTHAM: The Troubadours and Courts of Love (1896).

E. HUEFFER: The Troubadours (London, 1895).

HENRY JOHN CHAYTOR: The Troubadours (Camb., 1912).

W. H. GRATTAN FLOOD: History of Irish Music (Dublin, 1906).

_In French_

ED. DE COUSSEMAKER: Œuvres complètes du trouvère Adam de la

Hâle (1872).

ED. DE COUSSEMAKER: L'Art harmonique au XII^{me} et XIII^{me}

siècles (1865).

JULIEN TIERSOT: Histoire de la chanson populaire en France

(1889).

JOSEPH ANGLADE: Les troubadours (Paris, 1908).

ANTONY MÉRAY: La vie au temps des trouvères (Paris, 1873).

E. LANGLOIS: Robin et Marion (Paris, 1896).

A. JEANROY: Les origines de la poésie lyrique en France au

moyen-âge (Paris, 1892).

ANONYMOUS: Résumé historique sur la musique en Norvège.

_In German_

H. RIEMANN: Die Melodik der Minnesänger (Musikalisches

Wochenblatt, 1897-1902).

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen

Gesanges vom frühen Mittelalter, etc. (1841).

FR. DIEZ: Die Poesie der Troubadours (2nd ed. by K. Bartsch,

1883).

FR. DIEZ: Leben und Werke der Troubadours (2nd ed., 1882).

PAUL RUNGE: Die Sangesweisen der Colmarer Handschrift, etc.

(1896).

KARL BÜCHER: Arbeit und Rhythmus (4th ed., 1909).

LUDWIG ERK: Deutscher Liederhort; new ed. by F. N. Böhme

(Leipzig, 1893-94).

AUG. REISSMANN: Geschichte des Deutschen Liedes (Berlin, 1874).

E. FREYMOND: Jongleurs und Menestrels (Halle, 1833).

J. BECK: Die Melodien der Troubadours (Strassburg, 1908).

R. GENÉE: Hans Sachs und seine Zeit (Leipzig, 1902).

FRIEDRICH SILCHER: Deutsche Volkslieder (Tübingen, 1858).

LITERATURE FOR CHAPTER VIII

_In English_

GROVE'S Dictionary of Music and Musicians, Articles on Josquin

des Près, Okeghem, Schools of Composition (London, 1904-10).

H. E. WOOLDRIDGE: Early English Harmony from the 10th to the

15th Century (1897).

SIR JOHN STAINER: Early Bodleian music: Dufay and His

Contemporaries (Oxford, 1909).

ERNST PAUER: Musical Form.

_In German_

R. G. KIESEWETTER: Geschichte der europäisch-abendländischen

oder unserer heutigen Musik (1834).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460

(Kirchenmusik, Jahrband, 1899).

GUIDO ADLER: Die Wiederholung und Nachahmung in der

Mehrstimmigkeit (1882).

OSWALD KOLLER: Der Liederkodex von Montpellier

(Vierteljahrsschrift f. Musikwissenschaft, 1888).

_In French_

GUILLAUME DUBOIS (_called_ Crétin): Déploration de Guillaume

Crétin sur le tré pas de Jean Okeghem, etc. (Paris, 1864).

FÉLICIEN DE MÉNIL: Josquin de Près (Revue Int. de Musique,

1899, No. 21, pp. 1322 ff.).

FÉLICIEN DE MÉNIL: L'Ecole contraponctiste flamande du XV^e

siècle (1895).

E. VAN DER STRAETEN: La musique aux Pays-bas avant le XIX^e

siècle (Brussels, 1867-88).

LITERATURE FOR CHAPTER IX

_In English_

Grove's Dictionary of Music and Musicians: art. _Monodia_, etc.

W. J. HENDERSON: Some Forerunners of Italian Opera (New York,

1911).

J. A. SYMONDS: The Renaissance in Italy, 2 vols.

_In German_

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen

Gesanges vom frühesten Mittelalter bis zur Entstehung der Oper

(Leipzig, 1841).

HUGO RIEMANN: Handbuch der Musikgeschichte, Vol II (Leipzig,

1911, 1912, 1913).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460

(Leipzig, 1904).

JOHANNES WOLF: Florenz in der Musikgeschichte des 14ten

Jahrhunderts (Sammelbände I. M.-G., 1901-1902).

_In Italian_

A. D'ANGELI: La musica ai tempi di Dante (1904).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,

17º, e 18º (_Rivista musicale_, IV-VIII, 1898-1901).

LITERATURE FOR CHAPTER X

_In English_

EDWARD DICKINSON: Music in the History of the Western Church

(New York, 1902).

J. A. SYMONDS: Renaissance in Italy, Vol. IV.

_In German_

P. GRAF WALDERSEE: Giovanni Pierluigi da Palestrina, etc. (In

Sammlung musikalischer Vorträge, 1884).

R. G. KIESEWETTER: Die Verdienste der Niederländer um die

Tonkunst (1829).

K. VON WINTERFELD: Johannes Pierluigi von Palestrina, etc.,

etc. (Breslau, 1832).

K. VON WINTERFELD: Musiktreiben und Musikempfinden in 16. und

17. Jahrhundert (Berlin, 1851).

_In French_

A. C. G. MATHIEU: Roland de Lattre [Orlando di Lasso], sa vie,

ses ouvrages (Gand, after 1856).

F.-J. FÉTIS: Quels ont été les mérites des Néerlandais dans

la musique, principalement au XIV^e, XV^e, et XVI^e siècles?

(1829).

HENRI FLORENT DELMOTTE: Notice biographique sur Roland de

Lattre connu sous le nom d'Orland de Lassus (Valenciennes,

1836).

G. FELIX: Palestrina et la musique sacrée (1896).

_In Italian_

GIUSEPPE BAINI: Memorie storico-critiche della vita e delle

opere di G. Perluigi da Palestrina (Rome, 1828).

DOM AUG. VERNARECCI: Ottaviano dei Petrucci (second ed. 1882).

LITERATURE FOR CHAPTER XI

_In English_

Grove's Dictionary of Music and Musicians: _Art._ Opera, Peri,

Caccini, etc.

R. A. STREATFEILD: The Opera (London, 1897).

W. F. APTHORP: The Opera Past and Present (New York, 1901).

_In German_

R. EITNER: Die Oper, etc. (Vol. X of Publikation älterer

praktischer und theoretischer Musikwerke, Berlin, 1881).

A. HEUSS: Die Instrumentalstücke des 'Orfeo' (1903).

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen

Gesanges vom frühesten Mittelalter bis zur Entstehung der Oper

(Leipzig, 1841).

HERMANN KRETZSCHMAR: Die venezianische Oper und die

Werke Cavallis und Cestis (_Vierteljahrsschrift für

Musikwissenschaft_, Vol. VIII).

ARNOLD SCHERING: Die Anfänge des Oratoriums (Leipzig, 1907).

EMIL VOGEL: Claudio Monteverdi (_Vierteljahrsschrift für

Musikwissenschaft_, Vol. III, pp. 315 ff., Leipzig, 1887).

_In French_

FR.-A. GEVAERT: La musique vocale en Italie, Vol. I, Les

maîtres florentins 1595-1630 (_Annuaires da Conservatoire

Royale de Bruxelles_, 1882).

A. REGNARD: La Renaissance du drame lyrique 1600-1876 (Paris,

1895).

ROMAIN ROLLAND: Histoire de l'opéra en Europe avant Lully et

Scarlatti (Paris, 1895).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

JULES TIERSOT: L'Orféo de Monteverde (_Le Ménestrel_, Vol. LXX,

Paris, 1904).

_In Italian_

D. ALALEONA: Su Emilio de' Cavalieri, etc. (In Nuova Musica,

Florence, 1905).

A. D'ANCONA: Sacre Rappresentazioni dei secoli XIV, XV e XVI

(Florence, 1872).

A. D'ANCONA: Origini del teatro italiano (Palermo, 1900).

LITERATURE FOR CHAPTER XII

_In German_

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

OTTO KINKELDEY: Orgel und Klavier in der Musik des 16ten

Jahrhunderts (Leipzig, 1910).

TOBIAS NORLAND: Zur Geschichte der Suite (Sammelbände der

Intern. Musik-Ges., X, 4, 1909).

HUGO RIEMANN: Zur Geschichte der deutschen Suite (Sammelbände

der Intern. Musik-Ges., IV, 4, 1905).

ARNOLD SCHERING: Geschichte des Instrumental-Konzerts (Leipzig,

1907).

J. P. SEIFFERT: Sweelinck und seine direkten Schüler

(Vierteljahrsschrift für Musikwissenschaft, 1891).

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

PHILIPP SPITTA: Heinrich Schütz (Leipzig, 1899).

JOSEPH VON WASIELIWSKI: Die Violine und ihre Meister (Leipzig,

1869, 5th ed. 1911).

JOSEPH VON WASIELIWSKI: Die Violine im 17. Jahrhundert, etc.

(1874).

_In French_

ROMAIN ROLLAND: Histoire de l'opéra avant Lully et Scarlatti

(Paris, 1895).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

_In Italian_

GIOV.-BATT. DONI: Trattati di musica (Florence, 1763).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,

17º e 18º (Rivista musicale italiana, IV-VIII, 1898-1901).

GUIDO PASQUETTI: L'oratorio musicale in Italia (Florence, 1906).

LITERATURE FOR CHAPTER XIII

_In English_

W. H. CUMMINGS: Henry Purcell (2nd ed., 1889).

A. EDW. JAMES DENT: Alessandro Scarlatti (London, 1905).

W. BARCLAY SQUIRE: Purcell's Dramatic Music (Sammelbände der

Internationalen Musik-Ges., V, 4, 1904).

_In German_

HUGO RIEMANN: Zur Geschichte der deutschen Suite (Sammelbände

der Intern. Musik-Ges., IV, 4, 1905).

HUGO GOLDSCHMIDT: Die italienische Gesangsmethode des 17ten

Jahrhunderts (Breslau, 1890).

HUGO GOLDSCHMIDT: Studien zur Geschichte der italienischen Oper

im 17. Jahrhundert (Leipzig, 1901-1904).

HUGO GOLDSCHMIDT: Zur Geschichte der Arien- und Symphonie-Form

(Monatshefte f. Musikgeschichte, 1901, Nos. 4-5).

JOSEPH VON WASIELIWSKI: Die Violine im 17. Jahrhundert und die

Anfänge der Instrumentalkomposition (1874).

HEINZ HESS: Die Opern Alessandro Stradellas (Leipzig, 1906).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal (Leipzig,

1887, 1888, 1890).

HUGO LEICHTENTRITT: Reinhard Keiser und seine Opern (Berlin,

1901).

HUGO LEICHTENTRITT: Der monodische Kammermusikstil in Italien

bis gegen 1650 (in Ambros: Gesch. der Musik, Vol. IV, pp. 774

ff; new ed., 1909).

E. O. LINDER: Die erste stehende Oper in Deutschland (Berlin,

1855).

_In French_

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1908).

JULES ÉCORCHEVILLE: De Lully à Rameau, 1690-1730 (Paris, 1906).

CHARLES NUITTER et E. THOINAU: Les origines de l'opéra français

(Paris, 1886).

ARTHUR POUGIN: Les vrais créateurs de l'opéra français: Perrin

et Cambert (Paris, 1881).

HENRY PRUNIÈRES: Notes sur la vie de Luigi Rossi (Sammelbände

der Intern. Musik-Ges., XII, 1, 1910).

HENRY PRUNIÈRES: Lully (Paris, 1910).

HENRY PRUNIÈRES: Notes sur les origines de l'ouverture

française (Sammelbände der Intern. Musik-Ges., XII, 4, 1911).

ÉDOUARD RADET: Lully (Paris, 1891).

_In Italian_

ANGELO CATELANI: Della opera di Alessandro Stradella (Modena,

1886).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,

17º e 18º (_Rivista musicale italiana_, IV-VII, 1898-1901).

LITERATURE FOR CHAPTER XIV

_In English_

W. S. ROCKSTRO: Life of Händel (London, 1883).

VICTOR SCHOELCHER: Life of Händel (London, 1857).

J. MAINWARING: Memoirs of the Life of Händel (London, 1906).

R. A. STREATFEILD: Händel (London, 1909).

C. F. ABDY WILLIAMS: Händel (London, 1913).

CHARLES BURNEY: Commemoration of Händel.

SEDLEY TAYLOR: Indebtedness of Händel to Works by Other

Composers (Cambridge, 1906).

JOSEPH ADDISON: The Spectator, Nos. 18, 231, 235, 258, 278, 405.

_In German_

FRIEDRICH CHRYSANDER: Georg Friedrich Händel (3 parts, 1859-67,

incomplete).

FRIEDRICH CHRYSANDER: Die deutsche Oper in Hamburg (Allg.

Musik-Ztg., 1879-1880).

A. REISSMANN: Händel, sein Leben und seine Werke (Berlin, 1882).

A. STEIN (H. Nietschmann): Händel, ein Künstlerleben (Halle,

1882-3).

HERMANN KRETZSCHMAR: Händel (_In_ Sammlung musikalischer

Vorträge, Leipzig, 1884).

HUGO LEICHTENTRITT: Reinhard Keiser in seinen Opern

(Dissertation, Berlin, 1901).

A. SCHERING: Geschichte des Oratoriums (Leipzig, 1911).

_In French_

MICHEL BRENET: Haendel; biographie critique (Les Musiciens

célèbres, Paris, 1912).

M. BOUCHER: Israël en Égypte (1888).

G. VERNIER: L'oratorio biblique de Haendel (1901).

LITERATURE FOR CHAPTER XV

_In English_

C. H. H. PARRY: Johann Sebastian Bach (London and New York,

1909).

C. L. HILGENFELDT: Johann Sebastian Bach, from the German of

Hilgenfeldt and Forkel, with additions (London, 1869).

REGINALD LAND POOLE: Sebastian Bach (London, 1882).

ALBERT SCHWEITZER: J. S. Bach, with preface by C. M. Widor;

English translation by E. Newman (Leipzig, 1911).

_In German_

ARNOLD SCHERING: Geschichte des Instrumental-Konzerts (Leipzig,

1903).

ARNOLD SCHERING: Geschichte des Oratoriums (Leipzig, 1907).

ARNOLD SCHERING: Zur Bach-Forschung (Sammelb. der Intern.

Musik-Ges., IV, 234 ff., V, 556 ff.).

JOHANN FORKEL: Über Johann Sebastian Bachs Leben, Kunst und

Kunstwerke (Leipzig, 1802).

C. H. BITTER: Johann Sebastian Bach (Berlin, 1862).

S. JADASSOHN: Erläuterungen der in Johann Sebastian Bachs Kunst

der Fuge enthaltenen Fugen und Kanons (Leipzig, 1899).

S. JADASSOHN: Zur Einführung in J. S. Bachs Passionsmusik, etc.

(Berlin, 1898).

ERNST OTTO LINDNER: Zur Tonkunst (Berlin, 1864).

A. REISSMANN: Johann Sebastian Bach; sein Leben und seine Werke

(Berlin, 1881).

J. A. P. SPITTA: Johann Sebastian Bach (Leipzig, 1873-80).

K. GRUNSKY: Bachs Kantaten; eine Anregung (Die Musik, III, No.

14, pp. 95 ff.).

_In French_

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

ANDRÉ PIRRO: L'esthétique de J. S. Bach (Paris, 1907).

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

SPECIAL LITERATURE FOR VOLUME II

LITERATURE FOR CHAPTER I

_In English_

FREDERICK H. MARTENS: The French Chanson galante in the XVIIIth

Century (The Musician, Dec., 1913).

ERNEST NEWMAN: Gluck and the Opera (London, 1895).

R. A. STREATFEILD: The Opera (London, 1897).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts

(Leipzig, 1905).

LA MARA: Christoph Willibald Gluck (Leipzig, 1912).

ADOLPH BERNHARD MARX: Gluck und die Oper (Berlin, 1863).

R. PECHEL und FELIX POPPENBERG: Rokoko, das galante Zeitalter

in Briefen, Memorien Tagebüchern (Berlin, 1913).

HUGO RIEMANN: Geschichte der Musik seit Beethoven (Berlin,

1901).

A. SCHMID: Christoph Willibald Ritter v. Gluck (Leipzig, 1854).

_In French_

C. BELLAIGUE: Notes brèves (Paris, 1907).

C. BELLAIGUE: Un siècle de musique française (Paris, 1907).

G. DESNOIRESTERRES: Gluck et Puccini (Paris, 1875).

A. JULIEN: Musiciens d'hier et d'ajourd'hui (Paris, 1910).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

E. SCHURÉ: Le drame musical (Paris, 1875).

JULIEN TIERSOT: Gluck (Paris, 1910).

JEAN D'UDINE: Gluck (Paris, 1912).

PIERRE AUBRY: Grétry (Paris, 1911).

HECTOR BERLIOZ: A travers chants (Paris, 1863).

A. COQUARD: La langue française et la musique (Le Courrier

Musical, Paris, May 1, 1907).

E. DACIER: Une danseuse française à Londres au début du XVIII

siècle (S. I. M., May 1, 1908).

ARSÈNE HOUSSAYE: Galerie du XVIII^{me} siècle: La Regence

Melanges extraits des manuscrits de Mme. Necker (Paris, 1798).

PAUL JEDLINSKI: A propos de la reprise d'Iphigénie en Aulide

(Le Courrier Musical, Paris, Jan. 15th, 1908).

L. DE LA LAURENCIE: Le goût musical en France (Paris, 1905).

GASTON MAUGRAS: Le Duc de Lauzun et la cour intime de Louis XV

(Paris, 1895).

Mémoirs de la Comtesse de Boigne (Paris, 1907).

PHILIPPE MOMIER: Venise au XVIII^{me} siècle (Paris, 1907).

C. PITOU: Paris sous Louis XV (Paris, 1906).

HENRI PRUNIÈRES: Le cerf de la Vieville et le goût classique

(S. I. M., June 15, 1908).

L. STRIFFLING: Goût musical en France au XVIII^e siècle (Paris,

1912).

H. A. TAINE: L'ancien régime.

G. TOUCHARD-LAFOSSE: Chroniques pittoresques et critiques de

l'œil de bœuf: Des petits appartements de la cour et des salons

de Paris sous Louis XIV, la régence, Louis XV, et Louis XVI

(Paris, 1845).

_In Italian_

VERNON LEE: Il settecento in Italia (Milan, 1881).

LITERATURE FOR CHAPTER II

_In English_

CHARLES BURNEY: The Present State of Music in Germany, etc., 2

vols. (London, 1773).

CHARLES BURNEY: Present State of Music in France and Italy

(London, 1771).

H. F. CHORLEY: Music and Manners in France and North Germany, 3

vols. (London, 1843).

KUNO FRANCKE: History of German Literature (N. Y., 1913).

ARTHUR HASSEL: The Balance of Power, 1715-1789 (London, 1908).

JOHN S. SHEDLOCK: The Pianoforte Sonata, Its Origin and

Development (London, 1895).

_In German_

K. H. BITTER: Karl Philipp Emanuel and W. Friedemann Bach, 2

vols. (Leipzig, 1868).

CARL DITTERS VON DITTERSDORF: Autobiographie (Leipzig, 1801).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts

(Leipzig, 1905).

S. BAGGE: Die geschichtliche Entwickelung der Sonata (In

Waldersee Sammlung, Vol. II. No. 19) 1880.

_In French_

JULES CARLEZ: Grimm et la musique de son temps (Paris, 1872).

JULES COMBARIEU: L'influence de la musique d'Allemagne sur la

musique française (Petersjahrbuch, 1895).

T. DE WYZEWA ET G. DE SAINT-FOIX: W. A. Mozart, 1756-77, 2

vols. (Paris, 1912).

LITERATURE FOR CHAPTER III

_In English_

CHARLES BURNEY: The Present State of Music in Germany, etc., 2

vols. (London, 1773).

CHARLES BURNEY: The Present State of Music in France and Italy

(London, 1771).

E. J. DENT: Mozart's Operas; a Critical Study (London, 1913).

W. H. HADOW: A Croatian Composer (Haydn) (London, 1897).

OTTO JAHN: Life of Mozart (Trans. by Pauline T. Townsend), 3

vols. (London, 1882).

GEORGE HENRY LEWES: The Life of Goethe.

W. A. MOZART: The Letters of W. A. Mozart (1769-1791). Transl.

from the collection of Lady Wallace (New York, 1866).

LUDWIG NOHL: W. A. Mozart (Engl. transl. London, 1877).

_In German_

HUGO DAFFNER: Die Entwicklung des Klavierkonzerts bis Mozart

(1908).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts

(Leipzig, 1905).

EDUARD HANSLICK: Geschichte des Konzertwesens in Wien, 2 vols.

(Vienna, 1869-70).

JOSEPH HAYDN: Tagebuch (edited by J. E. Engl), 1909.

OTTO JAHN: W. A. Mozart, 4th ed., 2 vols. (Leipzig, 1905-7).

LUDWIG KÖCHEL: Chronologisch-thematisches Verzeichnis der

Tonwerke W. A. Mozarts (Leipzig, 1862 and 1905).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal, 3 vols.

(Leipzig, 1895-9).

W. A. MOZART: Gesammelte Briefe (herausg. von Ludwig Nohl),

(Salzburg, 1865).

G. N. VON NISSEN: Biographie W. A. Mozarts, 1828-1848 (Leipzig).

LUDWIG NOHL: W. A. Mozart (Leipzig, 1882).

GUSTAV NOTTEBOHM: Mozartiana (Leipzig, 1880).

C. F. POHL: Joseph Haydn, 2 vols. [Unfinished], (Leipzig,

1875-82).

C. F. POHL: Mozart in London; Haydn in London (Vienna, 1876).

RICHARD WALLASCHEK: Geschichte der Wiener Hofoper (in Die

Theater Wiens, 1907-9).

F. W. WALTER: Die Entwicklung des Mannheimer Musik- und

Theater-lebens (Leipzig, 1897).

_In French_

GUISEPPE CARPANI: Le Haydine (Paris, 1812).

T. DE WYZEWA ET G. DE SAINT-FOIX: W. A. Mozart, 1756-77, 2

vols. (Paris, 1912).

HENRI LAVOIX: Histoire de l'instrumentation (Paris, 1878).

ROMAIN ROLLAND: Musiciens d'autrefois: Mozart (Paris, 1908).

LITERATURE FOR CHAPTER IV

_In English_

BEETHOVEN: Letters; ed. by A. Kalischer, trans. by J. S.

Shedlock, 2 vols. (London, 1909).

VINCENT D'INDY: Beethoven, a Critical Biography, trans. by T.

Baker (Boston, 1913).

SIR GEORGE GROVE: Beethoven and his Nine Symphonies (London,

1896).

DANIEL GREGORY MASON: Beethoven and his Forerunners (New York,

1904).

KARL REINECKE: The Beethoven Pianoforte Sonatas, trans. by E.

M. T. Dawson (London, 1912).

A. SCHINDLER: The Life of Beethoven (including correspondence,

etc.); ed. by Moscheles (London, 1841).

ARTHUR SYMONS: Beethoven (Essay), (London, 1910).

_In German_

L. VAN BEETHOVEN: Sämtliche Briefe; ed. by A. Kalischer, 5

vols. (1906-8).

PAUL BEKKER: Beethoven (Berlin, 1912).

G. VON BREUNING: Aus dem Schwarzspanierhause (New ed., 1907).

THEODOR VON FRIMMEL: Ludwig van Beethoven, Berühmte Musiker, v.

13 (Berlin, 1901).

THEODOR VON FRIMMEL: Beethoven Studien (Munich, 1905-6).

LUDWIG NOHL: Beethoven, 3 vols. (Leipzig, 1867-77).

GUSTAV NOTTEBOHM: Beethoveniana, 2 vols. (Leipzig, 1872-1887).

KARL REINECKE: Die Beethovenschen Klaviersonaten (1889, new

ed., 1905).

HUGO RIEMANN: Geschichte der Musik seit Beethoven, 1800-1900

(Berlin, 1904).

ALEXANDER WHEELOCK THAYER: Ludwig van Beethovens Leben, 5

vols., completed and revised by H. Deiters and H. Riemann (1866

[1901], 1872 [1910], 1879 [1911], 1907, 1908).

_In French_

JEAN CHANTAVOINE: Beethoven (Paris, 1907).

VINCENT D'INDY: Beethoven (Paris, 1913).

ROMAIN ROLLAND: Beethoven (Paris, 1909).

LITERATURE FOR CHAPTER V

_In English_

HENRY F. CHORLEY: Music and Manners in France and Germany

(London, 1844).

H. SUTHERLAND EDWARDS: Life of Rossini (London, 1869).

H. SUTHERLAND EDWARDS: Rossini and his School (London, 1881).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

MAX CHOP: Führer durch die Opernmusik (Berlin, 1912).

FERD. HILLER: Künstlerleben (Cologne, 1880).

DR. ADOLPH KOHNT: Meyerbeer (Berlin, 1890).

DR. ADOLPH KOHNT: Rossini (Berlin, 1892).

H. MENDEL: Giacomo Meyerbeer (Berlin, 1866).

EMIL NAUMANN: Italienische Tondichter (Leipzig, 1901).

W. H. RIEHL: Musikalische Charakterköpfe (Stuttgart, 1899).

HUGO RIEMANN: Geschichte der Musik seit Beethoven (Berlin,

1904).

LEO SCHMIDT: Meister der Tonkunst (Berlin, 1908).

_In French_

BLAZE DE BURY: La vie de Rossini (Paris, 1854).

HENRI DE CURZON: Meyerbeer (Paris, 1910).

LIONEL DAURIAC: Rossini (Paris, 1905).

LIONEL DAURIAC: Meyerbeer (Paris, 1913).

L. & M. ESCUDIER: Rossini: Sa Vie et ses Œuvres (Paris, 1854).

HENRI EYMIEU: L'Œuvre de Meyerbeer (Paris, 1910).

F. MARCILLAC: Histoire de la musique moderne (Paris, 1875).

PHILIPPE MONNIER: Venise au XVIII^e Siècle (Paris, 1907).

PAUL SCUDO: L'Art ancien et l'art moderne (Paris, 1854).

MME. DE STENDHAL: Vie de Rossini (Paris, 1905).

_In Italian_

ANTONIO AMORE: Vincenzo Bellini, 2 vols. (1892-4).

A. CAMETTI: Donizetti a Roma (Rivista Musicale Italiana, Vol.

XI, No. 4).

LUDOVICO SETTIMO SILVESTRI: Della vita e delle opere di

Gioacchino Rossini (Milan, 1874).

LITERATURE FOR CHAPTER VI

_In English_

HONORÉ DE BALZAC: The Great Man of the Province of Paris (Eng.

trans.).

HILLAIRE BELLOC: The French Revolution (New York, 1911).

SIR JULIUS A. BENEDICT: Carl Maria von Weber (In The Great

Musicians, New York, 1881).

J. R. S. BENNETT: Life of Sterndale Bennett (Cambridge, 1907).

'Charles Auchester,' Musical Novel on Mendelssohn and his

Circle.

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

1894).

JAMES HUNEKER: Franz Liszt (New York, 1911).

SEBASTIAN HEUSE: The Mendelssohn Family, 1729-1847, transl. 2

vols. (New York, 1882).

FRANZ LISZT: Letters (Trans. by C. Bache, London, 1894).

FRANZ LISZT: Frédéric Chopin (Trans. Boston, 1863).

J. A. FULLER-MAITLAND: Schumann (New York, 1884).

DANIEL GREGORY MASON: The Romantic Composers (New York, 1906).

FELIX MENDELSSOHN: Letters and Recollections (Trans. from F.

Hiller by M. E. von Glehn, London, 1874).

F. NIECKS: Frederick Chopin as Man and Musician (London, 1904).

LINA RAMANN: Franz Liszt, Artist and Man (In the German,

Leipzig, 1880-1894), trans.

AUGUST REISSMANN: Life and Works of Schumann (Trans. London,

1900).

SIEGFRIED SALOMON: Niels W. Gade (Cassel, 1856-57).

R. SCHUMANN: Letters. Transl. by May Herbert (London, 1890).

STEPHEN STRATTON: Mendelssohn (Trans. in English Musical

Biographies, Birmingham, 1897).

JOSEPH VON WASIELEWSKI: Robert Schumann (Trans. Boston, 1871).

_In German_

MORITZ KARASOWSKI: Friedrich Chopin (3rd ed., Dresden, 1881).

W. A. LAMPADIUS: Felix Mendelssohn-Bartholdy (Leipzig, 1848).

R. SCHUMANN: Gesammelte Schriften über Musik und Musiker, 4

vols. (1854).

R. SCHUMANN: Jugendbriefe, herausg. von Clara Schumann (1885).

PHILIPP SPITTA: Ein Lebensbild Robert Schumanns (In Waldersee

Sammlung), (1882).

MAX VON WEBER: Carl Maria von Weber, 3 vols. (Leipzig, 1864-6).

_In French_

HECTOR BERLIOZ: Mémoires, 2 vols. (Paris, 1870).

ROMAIN ROLLAND: Musiciens d'aujourd'hui: Berlioz (Paris, 1912).

JULIEN TIERSOT: Hector Berlioz et la société de son temps

(Paris, 1903).

JULIEN TIERSOT: Les années romantiques, 1819-1842;

correspondance d'Hector Berlioz (Paris, 1903).

LITERATURE FOR CHAPTER VII

_In English_

G. L. AUSTIN: Life of Franz Schubert (Boston, 1873).

J. BENEDICT: Sketch of Life and Works of the late Felix

Mendelssohn-Bartholdy (London, 1853).

A. D. COLERIDGE, translator: Kreissle von Hellbron's Life of

Franz Schubert (London, 1869).

E. P. DEVRIENT: My Recollections of Felix

Mendelssohn-Bartholdy, transl. from the German by Natalia

Macfarren (London, 1869).

EDMONDSTOUNE DUNCAN: Schubert (London, New York, 1905).

LOUIS C. ELSON: History of German Song (Boston, 1888).

HENRY T. FINCK: Songs and Song Writers (New York, 1900).

H. F. FROST: Schubert (New York, 1881).

J. A. FULLER-MAITLAND: Schumann (New York, 1884).

ARTHUR HERVEY: Franz Liszt and His Music (London, New York,

1909).

JAMES HUNEKER: Franz Liszt (New York, 1911).

K. MENDELSSOHN-BARTHOLDY: Goethe and Mendelssohn, 1821-1831.

Transl. by M. E. von Glehn (London, 1872).

ELSIE POLKO: Reminiscences of Felix Mendelssohn-Bartholdy,

transl. by Lady Wallace (New York, 1869).

AUGUST REISSMANN: R. Schumann, transl. by A. L. Alger (London,

1900).

W. S. ROCKSTRO: Mendelssohn (London, 1898).

R. SCHUMANN: Letters, Eng. transl. by May Herbert (London,

1890).

JOSEPH VON WASIELEWSKI: Robert Schumann, transl. by A. L. Alger

(Boston, 1900).

JANKA WOHL: François Liszt, transl. by B. Peyton Ward (London,

1887).

_In German_

HERMANN ABERT: Robert Schumann (Berlin, 1903).

Beiträge zur Biographie Carl Loewes (Halle, 1912).

HEINRICH BULTHAUPT: Carl Loewe (Berlin, 1898).

WALTER DAHMS: Schubert (Berlin und Leipzig, 1912).

HERMANN ERLER: Robert Schumanns Leben aus seinen Briefen, 2

vols. (Berlin, 1886).

ROBERT FRANZ und ARNOLD FREIHERR SENFFT VON PILSACH: Ein

Briefwechsel, 1861-1888 (Berlin, 1907).

MAX FRIEDLÄNDER: Gedichte von Goethe in Kompositionen seiner

Zeitgenossen (1896).

MAX FRIEDLÄNDER: Beiträge zu einer Biographie Franz Schuberts

(1889).

MAX FRIEDLÄNDER: Das deutsche Lied im 18. Jahrhundert (1902).

AUGUST GÖLLERICH: Franz Liszt (Berlin, 1908).

RICHARD HEUBERGER: Franz Schubert (Berlin, 1902).

FERDINAND HILLER: Felix Mendelssohn-Bartholdy (Köln, 1874).

JULIUS KAPP: Franz Liszt (Berlin und Leipzig, 1909).

HEINRICH VON KREISSLE: Franz Schubert (Wien, 1861).

LA MARA: Briefwechsel zwischen Franz Liszt und Hans von Bülow

(Leipzig, 1898).

RUDOLF LOUIS: Franz Liszt (Berlin, 1900).

FELIX MENDELSSOHN-BARTHOLDY: Reisebriefe aus den Jahren

1830-1832.

L. RAMANN: Franz Liszt als Künstler und Mensch (Leipzig, 1880).

HEINRICH REIMANN: Robert Schumanns Leben und Werke (Leipzig,

1887).

A. REISSMANN: Felix Mendelssohn-Bartholdy (Berlin, 1867).

A. REISSMANN: Robert Schumann, sein Leben und seine Werke

(Berlin, 1871).

R. SCHUMANN: Gesammelte Schriften über Musik und Musiker, 4

vols. (1854).

W. J. V. WASIELEWSKI: Schumanniana (Bonn, 1883).

AUGUST WELLMER: Karl Loewe (1886).

ERNST WOLFF: Felix Mendelssohn-Bartholdy (Berlin, 1906).

_In French_

M. D. CALVOCORESSI: Franz Liszt (Paris, 1905).

JEAN CHANTAVOINE: Liszt (Paris, 1911).

L. SCHNEIDER and M. MARESCHAL: Schumann, sa vie et ses œuvres

(Paris, 1905).

LITERATURE FOR CHAPTER VIII

_In English_

OSKAR BIE: A History of the Pianoforte and Pianoforte Players

(London, 1897).

THOMAS F. DUNHILL: Chamber Music, a Treatise for Students

(London, 1913).

JOHN C. FILLMORE: History of Pianoforte Music (1883).

H. T. FINCK: Chopin and other Musical Essays (New York, 1894).

J. C. HADDEN: Chopin (Paisley, 1899).

JAMES HUNEKER: Chopin the Man and his Music (New York, 1905).

JAMES HUNEKER: Franz Liszt (New York, 1911).

H. E. KREBHIEL: The Pianoforte and its Music (New York, 1911).

IGNACE MOSCHELES: Recent Music and Musicians (New York, 1873).

F. NIECKS: Frederick Chopin as Man and Musician (London, 1904).

LINA RAMANN: Franz Liszt, Artist and Man, Eng. transl.

EDGAR STILLMAN-KELLEY: Chopin the Composer (New York, 1913).

_In German_

MORITZ KARASOWSKI: Friedrich Chopin, 3rd ed. (Dresden, 1881).

FRANZ LISZT: Friedrich Chopin (Paris, 1852).

AUGUST REISSMANN: R. Schumann, 3rd ed. (Berlin, 1879).

MAX VON WEBER: Carl Maria von Weber, 3 vols. (Leipzig, 1864-6).

_In French_

JEAN CHANTAVOINE: Franz Liszt: Sa vie et son œuvre (Paris,

1911).

FRANZ LISZT: Des Bohemiens et de leur musique en Hongrie

(Paris, 1859).

GEORGE SAND: Un Hiver a Majorque (Paris, 1867).

GEORGE SAND: Histoire de ma vie (Paris, 1855).

LITERATURE FOR CHAPTER IX

_In English_

LOUIS A. COERNE: Evolution of Modern Orchestration (New York,

1908).

W. J. HENDERSON: The Orchestra and Orchestral Music (New York,

1899).

RICHARD WAGNER: Collected Works (Vol. III. Article on Liszt's

Symphonic Poems) (Leipzig, 1857).

_In German_

RICHARD WAGNER: Sämmtliche Schriften (Vol. III, Liszt's

Symphonische Dichtungen, Leipzig, 1911).

_In French_

HECTOR BERLIOZ: Soirées d'orchestre (Paris, 1853).

A. JULLIEN: Hector Berlioz (Paris, 1882).

HENRI LAVOIX: Histoire de l'Instrumentation (Paris, 1878).

LITERATURE FOR CHAPTER X

_In English_

RICHARD ALDRICH: Introduction to _Freischütz_ (In Schirmer's

Collection of Operas).

W. F. APTHORP: The Opera Past and Present (New York, 1901).

M. A. DE BOVET: Charles Gounod, his Life and Works, Eng.

transl. (London, 1891).

An Englishman in Paris (Notes and Recollections) (New York).

ANDRÉ LEBON: Modern France (New York, 1907).

R. A. STREATFEILD: Modern Music and Musicians (London, 1906).

R. A. STREATFEILD: The Opera (London, 1897).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

MAX CHOP: Führer durch die Opernmusik (Berlin, 1912).

H. HEINE: Musikalische Berichte aus Paris (Hamburg, 1890).

MAX KALBECK: Opernabende (Berlin).

OTTO NEITZEL: Führer durch die Oper (Leipzig, 1890).

_In French_

G. ALLIX: A Propos de l'anniversaire de Bizet (S. I. M. Dec.,

1908).

Félicien David et les Saint-Simoniens (S. I. M., March, 1907).

E. J. DE GONCOURT: La du Barry (Paris, 1909).

E. LAVISSE et A. RAMBAUD: Guerres Nationales (1848-1870).

EUGÈNE DE MIRECOURT: Auber (Paris, 1859).

L. PAGNERRE: Charles Gounod, sa vie et ses œuvres (Paris, 1890).

A. POUGIN: Boieldieu (Paris, 1875).

J. H. PRUDHOMME: Félicien David d'après sa correspondance

inédite (S. I. M., March, 1907).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

A. SOUBIES: 69 ans à l'Opéra Comique en deux pages (1825-1894)

(Paris, 1894).

SOUBIES ET MALHERBE: Histoire de l'Opéra Comique, 1840-1860

(Paris, 1892).

LITERATURE FOR CHAPTER XI

_In English_

W. ASHTON ELLIS: The Prose Writings of Richard Wagner. Transl.

of Wagner's collected prose writings, 8 vols. (London, 1899).

HENRY T. FINCK: Wagner and his Works, 2 vols. (New York, 1893).

W. H. HENDERSON: Richard Wagner, his Life and his Dramas (New

York, 1901).

ALBERT LAVIGNAC: The Music Dramas of Richard Wagner. Transl. by

E. Singleton (New York, 1898).

ERNEST NEWMAN: A Study of Wagner (New York, 1899).

WAGNER and LISZT: Correspondence, ed. by F. Hueffer (London,

1888).

RICHARD WAGNER: My Life (Autobiography), 2 vols. (New York,

1911).

_In German_

GUIDO ADLER: Richard Wagner (Leipzig, 1904).

HOUSTON S. CHAMBERLAIN: Richard Wagner (Munich, 1896).

GUSTAV ENGEL: Die Bühnenfestspiele von Bayreuth (1876).

CARL FR. GLASENAPP: Das Leben Richard Wagners, 6 vols.

(Leipzig, 1894).

JULIUS KAPP: Der junge Wagner (Berlin, 1910).

JULIUS KAPP: Richard Wagner, eine Biographie (Berlin, 1910).

FRANZ LISZT: Briefwechsel mit Richard Wagner.

WALTER NIEMANN: Die Musik seit Richard Wagner (Berlin, 1913).

FRIEDRICH NIETZSCHE: Der Fall Wagner (Leipzig, 1892).

RICHARD WAGNER: Gesammelte Schriften und Dichtungen, 10 vols.

(Leipzig, 1871).

_In French_

A. JULLIEN: R. Wagner (Paris, 1886).

ALBERT LAVIGNAC: Le voyage artistique a Bayreuth (Paris, 1897).

CATULLE MENDÈS: Richard Wagner (Paris, 1900).

LITERATURE FOR CHAPTER XII

_In English_

ALBERT DIETRICH & J. V. WIDMANN: Recollections of Johannes

Brahms, transl. by D. E. Hecht (London, 1889).

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

W. H. HADOW: Studies in Modern Music (London, 1895).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

B. LITZMANN: Clara Schumann, transl. by Grace and W. H. Hadow

(London, 1913).

GUY ROPARTZ: César Franck (Grey's Studies in Music) (New York,

1901).

PHILIPP SPITTA: Johannes Brahms, transl. in Grey's Studies in

Music (New York, 1901).

_In German_

JOHANNES BRAHMS: Briefwechsel, herausg. von der deutschen

Brahmsgesellschaft, Vols. I-VII, 1907-10.

FRANZ BRENDEL: Geschichte der Musik in Italien, Deutschland und

Frankreich, etc. (1852 and 1906, Leipzig).

HERMANN DEITERS: Johannes Brahms (in Waldersee Sammlung,

Leipzig, 1880-98).

ALBERT DIETRICH: Erinnerungen an Johannes Brahms (1908).

GUSTAVE JENNER: Johannes Brahms als Mensch, Lehrer und Künstler

(Merburg in Hessen, 1905).

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

WALTER NIEMANN: Die Musik seit Richard Wagner (Berlin, 1913).

B. RÖTTGER: Der Entwickelungsgang von Johannes Brahms (In the

Neue Musikzeitung, Vol. 25, Nos. 15 & 16).

_In French_

ARTHUR COQUARD: César Franck (Paris, 1891).

VINCENT D'INDY: César Franck (Paris, 1906).

A. JULLIEN: Johannes Brahms, 1833-97 (Paris, 1898).

LITERATURE FOR CHAPTER XIII

_In English_

A. A. CHAPIN: Masters of Music (New York, 1901).

F. J. CROWEST: Verdi, Man and Musician (London, 1897).

B. LUMLEY: Reminiscences of the Opera (London, 1864).

B. L. MACCHETTA: Verdi, Milan and Otello (London, 1887).

A. POUGIN: Verdi, an Anecdotic History, transl. by James E.

Matthew (London, 1887).

R. A. STREATFEILD: Masters of Italian Music (New York, 1895).

_In German_

EDUARD HANSLICK: Die moderne Oper, 9 vols. (Berlin, 1875-1900).

F. GERSHEIM: Giuseppe Verdi (Frankfurt, 1897).

_In French_

E. DESTRANGES: L'Évolution musicale chez Verdi (Paris, 1895).

CRISTAL MAURICE: Verdi et les traditions nationales (Lausanne,

1880).

C. SAINT-SAËNS: Portraits et souvenirs (Paris, 1900).

PRINCE DE H. T. VALORI-RUSTICHELLI: Verdi et son œuvre (Paris,

1895).

_In Italian_

ABRAMO BASEVI: Studie sulle opere di Giuseppe Verdi (Florence,

1859).

B. BERMANI: Schizzi sulla Vita e sulle Opere del Maestro,

Giuseppe Verdi (Milan, 1846).

G. PEROSIO: Cenni Biografiei su Giuseppe Verdi, etc. (Milan,

1875).

MARCHESE G. MONALDI: Verdi e le sue Opere (Florence, 1877).

V. SASSAROLI: Considerazioni sulla Stato attuale dell'Arte

Musicale in Italia, etc. (Genoa, 1876).

SPECIAL LITERATURE FOR VOLUME III

LITERATURE FOR CHAPTER I

_In English_

HENRY FOTHERGILL CHORLEY: Modern German Music, 2 vols. (London,

1854).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

LOUIS C. ELSON: The History of German Song, 1888.

HENRY T. FINCK: Songs and Song Writers (New York, 1900).

JAMES G. HUNEKER: Mezzotints in Modern Music (New York, 1899).

ERNEST NEWMAN: Musical Studies (London, 1905).

FELIX WEINGARTNER: Symphony Writers since Beethoven, Eng.

transl. (London, 1907).

_In German_

HUGO BOTSTIBER: Geschichte der Overtüre (Leipzig, 1913).

HANS VON BÜLOW: Briefe und ausgewählte Schriften, ed. by Marie

von Bülow, 8 vols. (1895-1898).

P. J. DURINGER: Albert Lortzing, sein Leben und Wirken

(Leipzig, 1851).

FERDINAND HILLER: Aus dem Tonleben unserer Zeit, 2 vols.

(Leipzig, 1868-1871).

FERDINAND HILLER: Musikalisches und Persönliches (Leipzig,

1876).

JOSEPH JOACHIM: Briefe von und an Joseph Joachim; ed. by J. J.

and A. Moser (1911).

OTTO KRONSEDER: Franz Lachner (In Altbayrische Monatsschrift,

IV, 2-3, 1903).

OTTO NEITZEL: Camille Saint-Saëns (Berlin, 1899).

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

ARNOLD NIGGLI: Adolf Jensen (1900).

ARNOLD NIGGLI: Theodor Kirchner (1888).

MORITZ VON SCHWIND: Die Lachner-Rollen (1904).

E. SEGNITZ: Karl Reinecke (1900).

KARL THRANE: Friedrich Kuhlau (1886).

BERNHARD VOGEL: Robert Volkmann (1902).

HANS VOLKMANN: Robert Volkmann (1875).

JOSEPH VON WASIELEWSKY: Karl Reinecke (1892).

_In French_

A. JULLIEN: Musiciens d'aujourd'hui, 2 vols. (Paris, 1891-92).

E. BAUMANN: L'Œuvre de Saint-Saëns (1905).

ANTOINE FRANCOIS MARMONTEL: Symphonistes et virtuoses (1881).

ANTOINE FRANCOIS MARMONTEL: Art classique et moderne du piano

(Paris, 1876).

JULES MASSENET: Mes Souvenirs, 1842-1912 (Paris, 1912).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (1908).

CAMILLE SAINT-SAËNS: Portraits et Souvenirs (Paris, 1900).

OCTAVE SÉRE: Musiciens français d'aujourd'hui (Paris, 1911).

E. SCHNEIDER: Massenet (1908).

E. DE SOLENIÈRE: Massenet (1897).

_In Italian_

R. GANDOLFI: La musica di G. Raff (1904).

LITERATURE FOR CHAPTER II

_In English_

JOHN BENNETT: Russian Melodies (London, 1822).

CÉSAR CUI: Historical Sketch of Music in Russia (reprinted in

the Century Library of Music), (New York, 1900).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

EDWARD EVANS: Tschaikowsky (1906).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

M. MONTAGUE-NATHAN: A History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

ROSA NEWMARCH: Tschaikowsky (London, 1900-1908).

EDWARD STILLMANN-KELLEY: Tschaikowsky as a Symphonist (New

York, 1906).

MODEST TCHAIKOVSKY: Peter Ilyitch Tchaikovsky (2 vols., Eng.

transl. by Rosa Newmarch), (London, 1906).

_In German_

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

M. GLINKA: Gesammelte Briefe; transl. by Findeisen (1908).

NIKOLAI KASCHKIN: Erinnerungen an P. I. Tschaikowsky (Leipzig,

1896).

IVAN KNORR: Tschaikowsky (Berlin, 1908).

N. RIMSKY-KORSAKOFF: Musikalische Aufsätze und Skizzen, German

transl. (1869-1907).

ANTON RUBINSTEIN: Erinnerung aus fünfzig Jahren, 1839-1889

(German transl. by Kretzschmar, 1893).

EUGEN ZABEL: Anton Rubinstein (Leipzig, 1892).

_In French_

M. D. CALVOCORESSI: Glinka (1910).

J. P. O. COMMETTANT: Musique et musiciens (Paris, 1862).

CÉSAR CUI: La Musique en Russe (1882).

CAMILLE FAUST: Histoire de la musique européenne, 1850-1914

(Paris, 1914).

ALFRED HABETS: Borodine et Liszt (1894).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

ALBERT SOUBIES: Histoire de la musique en Russe (Paris, 1898).

_In Russian_

N. KASHKIN: Istory russkoi musyki [History of Russian Music],

(Moscow, 1898).

A. ILINSKY: Biografii kompositorov (Moscow, 1904).

N. MAKLAKOFF: O russkoi narodnoi musyki [On Russian National

Music], (Moscow, 1898).

N. A. RIMSKY-KORSAKOFF: Letopis moei musykalnoi zhizni [The

Memoirs of my Musical Life], (St. Petersburg, 1909).

N. A. RIMSKY-KORSAKOFF: Musykalnie statii [Musical Articles],

(St. Petersburg, 1911).

V. STASSOV: Alexandre Porf. Borodine (St. Petersburg, 1887).

NIKOLAI FINDEISEN: Yeshegodnik imperial teatrov, vol. 2, pp.

87-129 (1896-7).

LITERATURE FOR CHAPTER III

_In English_

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

L. GILMAN: Phases of Modern Music (New York, 1904).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

A. E. H. KREBHIEL: The Pianoforte and its Music (New York,

1911).

DANIEL GREGORY MASON: From Grieg to Brahms (1903).

_In German_

DAGMAR GADE: Niels W. Gade (Notes and Letters), (Basle, 1894).

WALTER NIEMANN: Die Musik Skandinaviens (Leipzig, 1906).

WALTER NIEMANN: Die moderne Klaviermusik in Skandinavien. _Die

Musik_, vol. 14, No. 5, p. 195.

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

HUGO RIEMANN: Neuskandinavische Musik, eine orientierende

Übersicht (_Signale_, vol. 61, pp. 124-127, 186-190, Leipzig,

1903).

_In French_

M. CRISTAL: La musique en Suède, en Islande, en Norvège, et

dans le Danemark (Revue internat. de musique, Paris, 1898, pp.

683-694).

WILLIAM RITTER: Smetana (Les Maîtres de la musique, Paris,

1907).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

ALBERT SOUBIES: Histoire de la musique en Danemark et Suède

(1901).

ALBERT SOUBIES: Histoire de la musique en Norvège (1903).

PAUL VIARDOT: Rapport officiel sur la musique en Scandinavie

(1908).

_In Swedish_

TOBIAS NORLIND: Svensk musikhistoria (1901).

LITERATURE FOR CHAPTER IV

_In English_

H. T. FINCK: Modern Russian School of Composers (Musician, v.

9, no. 3, pp. 87-9, Boston, 1904).

H. E. KREBHIEL: Musical Literature. The Russian School and Its

Leaders. A Bibliography (New York, 1899).

H. E. KREBHIEL: Russian Music. Folk Songs of Russia (New York,

1899).

PETER KROPOTKIN: Russian Literature (1908).

M. MONTAGUE-NATHAN: History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

ALFRED HABETS: Borodine and Liszt. Transl. by Rosa Newmarch

(London).

_In French_

M. D. CALVOCORESSI: Moussorgsky (1908).

COMTESSE MERCI-ARGENTEAU: César Cui (1888).

N. A. RIMSKY-KORSAKOFF: Chants nationaux Russes (St.

Petersburg, 1876).

ALBERT SOUBIES: Histoire de la musique en Russe (1897).

_In Russian_

NICOLAI RIMSKY-KORSAKOFF: Musykalnie statii [Musical Articles],

1869-1907.

LITERATURE FOR CHAPTER V

_In English_

Modern Russian Instrumental Music (Musical Standard, v. 18, no.

465-469, v. 19, no. 470-472).

M. MONTAGUE-NATHAN: History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

Program Books of the Boston Symphony Orchestra, Chicago

Symphony Orchestra, and the Symphony Society of New York.

_In German_

WALTER NIEMANN: Die Musik seit Richard Wagner, 1913.

_In French_