VI.

Théophile Gautier says that no one will deny to Berlioz a great character, though, the world being given to controversies, it may be argued whether or not he was a great genius. The world of to-day has but one opinion on both these questions. The force of Berlioz’s character was phenomenal. His vitality was so passionate and active that brain and nerve quivered with it, and made him reach out towards experience at every facet of his nature. Quietude was torture, rest a sin, for this daring temperament. His eager and subtile intelligence pierced every sham, and his imagination knew no bounds to its sweep, oftentimes even disdaining the bounds of art in its audacity and impatience. This big, virile nature, thwarted and embittered by opposition, became hardened into violent self-assertion; this naturally resolute will settled back into fierce obstinacy; this fine nature, sensitive and sincere, got torn and ragged with passion under the stress of his unfortunate life. But, at one breath of true sympathy how quickly the nobility of the man asserted itself! All his cynicism and hatred melted away, and left only sweetness, truth, and genial kindness.

When Berlioz entered on his studies, he had reached an age at which Mozart, Schubert, Mendelssohn, Rossini, and others, had already done some of the best work of their lives. Yet it took only a few years to achieve a development that produced such a great work as the “Symphonie Fantastique,” the prototype of modern programme music.

From first to last it was the ambition of Berlioz to widen the domain of his art. He strove to attain a more intimate connection between instrumental music and poetry in the portrayal of intense passions, and the suggestion of well-defined dramatic situations. In spite of the fact that he frequently overshot his mark, it does not make his works one whit less astonishing. An uncompromising champion of what has been dubbed “programme” music, he thought it legitimate to force the imagination of the hearer to dwell on exterior scenes during the progress of the music, and to distress the mind in its attempt to find an exact relation between the text and the music. The most perfect specimens of the works of Berlioz, however, are those in which the music speaks for itself, such as the “Scène aux Champs,” and the “Marche au Supplice,” in the “Symphonie Fantastique,” the “Marche des Pèlerins,” in “Harold;” the overtures to “King Lear,” “Benvenuto Cellini,” “Carnaval Romain,” “Le Corsaire,” “Les Francs Juges,” etc.

As a master of the orchestra, no one has been the equal of Berlioz in the whole history of music, not even Beethoven or Wagner. He treats the orchestra with the absolute daring and mastery exercised by Paganini over the violin, and by Liszt over the piano. No one has showed so deep an insight into the individuality of each instrument, its resources, the extent to which its capabilities could be carried. Between the phrase and the instrument, or group of instruments, the equality is perfect; and independent of this power, made up equally of instinct and knowledge, this composer shows a sense of orchestral colour in combining single instruments so as to form groups, or in the combination of several separate groups of instruments by which he has produced the most novel and beautiful effects—effects not found in other composers. The originality and variety of his rhythms, the perfection of his instrumentation, have never been disputed even by his opponents. In many of his works, especially those of a religious character, there is a Cyclopean bigness of instrumental means used, entirely beyond parallel in art. Like the Titans of old, he would scale the very heavens in his daring. In one of his works he does not hesitate to use three orchestras, three choruses (all of full dimensions), four organs, and a triple quartet. The conceptions of Berlioz were so grandiose that he sometimes disdained detail, and the result was that more than one of his compositions have rugged grandeur at the expense of symmetry and balance of form.

Yet, when he chose, Berlioz could write the most exquisite and dainty lyrics possible. What could be more exquisitely tender than many of his songs and romances, and various of the airs and choral pieces from “Beatrice et Benedict,” from “Nuits d’Été,” “Irlande,” and from “L’Enfance du Christ?”

Berlioz in his entirety, as man and composer, was a most extraordinary being, to whom the ordinary scale of measure can hardly be applied. Though he founded no new school, he pushed to a fuller development the possibilities to which Beethoven reached out in the Ninth Symphony. He was the great virtuoso on the orchestra, and on this Briarean instrument he played with the most amazing skill. Others have surpassed him in the richness of the musical substance out of which their tone-pictures are woven, in symmetry of form, in finish of detail; but no one has ever equalled him in that absolute mastery over instruments, by which a hundred become as plastic and flexible as one, and are made to embody every phase of the composer’s thought with that warmth of colour and precision of form long believed to be necessarily confined to the sister arts.

APPENDIX.
CHRONOLOGICAL TABLE.

1520-1594Palestrina.
1633-1687Lulli.
1658-1695Purcell.
1659-1725A. Scarlatti.
1685-1750J. S. Bach.
1685-1759Handel.
1710-1736Pergolesi.
1714-1787Gluck.
1728-1800Piccini.
1732-1809Haydn.
1741-1816Paisiello.
1741-1813Grétry.
1749-1801Cimarosa.
1756-1791Mozart.
1760-1842Cherubini.
1763-1817Méhul.
1770-1827Beethoven.
1774-1851Spontini.
1775-1834Boïeldieu.
1782-1871Auber.
1786-1826Weber.
1791-1864Meyerbeer.
1792-1868Rossini.
1797-1828Schubert.
1798-1848Donizetti.
1799-1862Halévy.
1802-1835Bellini.
1803-1869Berlioz.
1809-1847Mendelssohn.
1809-1849Chopin.
1810-1856Schumann.
1813-1883Wagner.
1813Verdi.
1818Gounod.

PRINTED BY WALTER SCOTT, FELLING,
NEWCASTLE-ON-TYNE.

MONTHLY SHILLING VOLUMES.

GREAT WRITERS.

A New Series of Critical Biographies.

Edited by Professor Eric S. Robertson.

———
ALREADY ISSUED—

LIFE OF LONGFELLOW. By Professor ERIC S. ROBERTSON.

“The story of the poet’s life is well told.... The remarks on Longfellow as a translator are excellent.”—Saturday Review.

“No better life of Longfellow has been published.”—Glasgow Herald.

LIFE OF COLERIDGE. By HALL CAINE.

The Scotsman says—“It is a capital book.... Written throughout with spirit and great literary skill. The bibliography is unusually full, and adds to the value of the work.”

The Academy says—“It is gracefully and sympathetically written, ... and it is no small praise to say that it is worthy of the memory which it enshrines.”

The Birmingham Daily Post says—“The book is a great gain, and cannot be overlooked by any student of Coleridge.”

LIFE OF DICKENS. By FRANK T. MARZIALS.

“An interesting and well-written biography.”—Scotsman.

Ready March 25th.

LIFE OF DANTE GABRIEL ROSSETTI. By JOSEPH KNIGHT.

To be followed on April 25th by

LIFE OF SAMUEL JOHNSON. By Col. F. GRANT.

———
Volumes in preparation by Austin Dobson, Richard Garnett,
Augustine Birrell, R. B. Haldane, M.P., William Rossetti,
William Sharp, G. T. Bettany, etc.

———
LIBRARY EDITION OF “GREAT WRITERS.”

An Issue of all the Volumes in this Series will be published, printed on large paper of extra quality, in handsome binding, Demy 8vo, price 2s. 6d. per volume.

———
London: Walter Scott, 24 Warwick Lane, Paternoster Row.

SCIENCE LECTURES
DELIVERED BEFORE THE
TYNESIDE SUNDAY LECTURE SOCIETY.

———
Now Ready, Price Threepence Each.

THE NATURAL HISTORY OF INSTINCT.
By G. J. ROMANES, F.R.S.

ANIMAL LIFE ON THE OCEAN SURFACE.
By Professor H. N. MOSELEY, M.A., F.R.S.

THE EYE AND ITS WORK.
By LITTON FORBES, M.D., F.R.C.S.E., L.R.C.P.

THE MOVEMENTS OF PLANTS.
By ERNEST A. PARKYN, M.A.

The RELATIONS BETWEEN NATURAL SCIENCE and LITERATURE.
By Professor H. NETTLESHIP, M.A.

FACTS AND FICTIONS IN ZOOLOGY.
By Dr. ANDREW WILSON, F.R.S.E.

THE ANIMALS THAT MAKE LIMESTONE.
By Dr. P. HERBERT CARPENTER, F.R.S.

———
The Seven Lectures may be had in One Vol., Cloth, Price 1/6

———
London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

In SHILLING Monthly Volumes, Square 8vo. Well printed on fine toned paper, with Red-line Border, and strongly bound in Cloth. Each Volume contains from 300 to 350 pages. With Introductory Notices by William Sharp, Mathilde Blind, Walter Lewin, John Hogben, A. J. Symington, Joseph Skipsey, Eva Hope, John Richmond, Ernest Rhys, Percy E. Pinkerton, Mrs. Garden, Dean Carrington, Dr. J. Bradshaw, Frederick Cooper, Hon. Roden Noel, J. Addington Symonds, G. Willis Cooke, Eric Mackay, Eric S. Robertson, William Tirebuck, Stuart J. Reid, Mrs. Freiligrath Kroeker, J. Logie Robertson, M.A., Samuel Waddington, etc., etc.

Cloth, Red Edges1s.
Cloth, Uncut Edges1s.
Red Roan, Gilt Edges2s. 6d.
Silk Plush, Gilt Edges4s. 6d.

———
THE FOLLOWING VOLUMES ARE NOW READY.

CHRISTIAN YEAR.
By Rev. John Keble.

COLERIDGE.
Edited by Joseph Skipsey.

LONGFELLOW.
Edited by Eva Hope.

CAMPBELL.
Edited by J. Hogben.

SHELLEY.
Edited by Joseph Skipsey.

WORDSWORTH.
Edited by A. J. Symington.

BLAKE.
Edited by Joseph Skipsey.

WHITTIER.
Edited by Eva Hope.

POE.
Edited by Joseph Skipsey.

CHATTERTON.
Edited by John Richmond.

BURNS. Poems.

BURNS. Songs.
Edited by Joseph Skipsey.

MARLOWE.
Edited by P. E. Pinkerton.

KEATS.
Edited by John Hogben.

HERBERT.
Edited by Ernest Rhys.

VICTOR HUGO.
Translated by Dean Carrington.

COWPER.
Edited by Eva Hope.

SHAKESPEARE: Songs, Poems, and Sonnets.
Edited by William Sharp.

EMERSON.
Edited by Walter Lewin.

SONNETS of this CENTURY.
Edited by William Sharp.

WHITMAN.
Edited by Ernest Rhys.

SCOTT. Marmion, etc.

SCOTT. Lady of the Lake, etc.
Edited by William Sharp.

PRAED.
Edited by Frederick Cooper.

HOGG.
By his Daughter, Mrs. Garden.

GOLDSMITH.
Edited by William Tirebuck.

LOVE LETTERS OF A VIOLINIST.
By Eric Mackay.

SPENSER.
Edited by Hon. Roden Noel.

CHILDREN OF THE POETS.
Edited by Eric S. Robertson.

BEN JONSON.
Edited by J. A. Symonds.

BYRON (2 Vols.)
Edited by Mathilde Blind.

THE SONNETS OF EUROPE.
Edited by S. Waddington.

ALLAN RAMSAY.
Edited by J. Logie Robertson.

SYDNEY DOBELL.
Edited by Mrs. Dobell.

POPE.
Edited by John Hogben.

———
London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

THE CAMELOT CLASSICS.

VOLUMES ALREADY ISSUED.

ROMANCE OF KING ARTHUR. By Sir T. MALORY. Edited by Ernest Rhys.

WALDEN. By HENRY DAVID THOREAU. With Introductory Note by Will H. Dircks.

CONFESSIONS OF AN ENGLISH OPIUM-EATER. By THOMAS DE QUINCEY. With Introduction by William Sharp.

IMAGINARY CONVERSATIONS. By WALTER SAVAGE LANDOR. With Introduction by Havelock Ellis.

PLUTARCH’S LIVES. Edited by B. J. Snell, M.A.

SIR THOMAS BROWNE’S RELIGIO MEDICI, etc. Edited, with Introduction, by John Addington Symonds.

ESSAYS AND LETTERS. By PERCY BYSSHE SHELLEY. Edited, with Introduction, by Ernest Rhys.

PROSE WRITINGS OF SWIFT. Edited by W. Lewin.

MY STUDY WINDOWS. By JAMES RUSSELL LOWELL. Edited, with Introduction, by Richard Garnett, LL.D.

GREAT ENGLISH PAINTERS. By ALLAN CUNNINGHAM. Edited, with Introduction, by William Sharp.

LORD BYRON’S LETTERS. Edited by M. Blind.

ESSAYS BY LEIGH HUNT. Edited by A. Symons.

LONGFELLOW’S PROSE WORKS. Edited, with Introduction, by William Tirebuck.

THE GREAT COMPOSERS. Edited, with Introduction, by Mrs. William Sharp.

———

The Series is issued in two styles of Binding—Red Cloth, Cut Edges; and Dark Blue Cloth, Uncut Edges. Either Style, Price One Shilling.

———
THE HEATHER ON FIRE.

By MATHILDE BLIND. Price 1s.

“A subject of our own time fertile in what is pathetic and awe-inspiring, and free from any taint of the vulgar and conventional.... Positive subject-matter, the emotion which inheres in actual life, the very smile and the very tear and heart-pang, are, after all, precious to poetry, and we have them here. ‘The Heather on Fire’ may possibly prove something of a new departure, and one that was certainly not superfluous.... Even apart from the fascination of its subject-matter, the poem is developed with spirit and energy, with a feeling for homely truth of character and treatment, and with a generally pervasive sense of beauty.”—Athenæum.

“Miss Blind has chosen for her new poem one of those terrible Highland clearances which stain the history of Scotch landlordism. Though her tale is a fiction, it is too well founded on fact.... It may be said generally of the poem that the most difficult scenes are those in which Miss Blind succeeds best; and on the whole we are inclined to think that its greatest and most surprising success is the picture of the poor old soldier, Rory, driven mad by the burning of his wife.”—Academy.

“A subject which has painfully pre-occupied public opinion is, in the poem entitled ‘The Heather on Fire,’ treated with characteristic power by Miss Blind.... Both as a narrative and descriptive poem, ‘The Heather on Fire’ is equally remarkable.”—Morning Post.

“A poem remarkable for beauty of expression and pathos of incidents will be found in ‘The Heather on Fire.’ Exquisitely delicate are the touches with which the progress of this tale of true love is delineated up to its consummation amid the simple rejoicings of the neighbourhood; and the flight of years of married life and daily toil, as numerous as those of their courtship, is told in stanzas full of music and soul.... This tale is one which, unless we are mistaken, may so affect public feeling as to be an effectual bar to similar human clearings in future.”—Leeds Mercury.

“Literature and poetry are never seen at their best save in contact with actual life. This little book abounds in vivid delineation of character, and is redolent with the noblest human sympathy.”—Newcastle Daily Chronicle.

“‘The Heather on Fire’ is a poem that is rich not only in power and beauty but in that ‘enthusiasm of humanity’ which stirs and moves us, and of which so much contemporary verse is almost painfully deficient.... Miss Blind is not a mere poetic trifler who considers that the best poetry is that written by the man who has nothing to say but can say that nothing gracefully.... We can best describe the kind of her success by noting the fact that while engaged in the perusal of her book we do not say, ‘What a fine poem!’ but ‘What a terrible story!’ or more probably still say nothing at all but read on and on under the spell of a great horror and an overpowering pity. Poetry of which this can be said needs no other recommendation.”—The Manchester Examiner and Times.

“A poem recently published in London (‘The Heather on Fire; a Tale of the Highland Clearances’) is declared, in one of the articles which have appeared in the German press on the Scottish Land Question, ‘to be based on terrible truth and undoubted real horrors; giving, in noblest poetical language and thrilling words, a description which ought to be a spur of action to thinking statesmen.’”—North British Daily Mail.

———
London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

PRICE SIXPENCE.
———

THE
Monthly
Chronicle
OF
NORTH-COUNTRY
LORE AND LEGEND.

———
CONTENTS.

Address to the Reader, by the Editor; Men of Mark ’Twixt Tyne and Tweed, by Richard Welford—Mark Akenside, Rev. Berkeley Addison, Thomas Addison (“Addison of Guy’s”); Jack Crawford, the Hero of Camperdown; The Vicar of Lesbury; Centenarians in the Northern Counties; Joseph Saint, the North Tyne Centenarian; Laplanders at Ravensworth Castle; Mrs. Jameson in Newcastle; Lambert’s Leap; The Murder of Ferdinando Forster; Over the Churchyard Wall, by James Clephan; Charles I. in Northumberland; Old Tyne Bridge; Raymond Lully at Raby Castle; The Hawks Family, by William Brockie; Houghton Feast; The Betsy Cains; Ralph Lambton and His Hounds; Coal in the North; Old Newcastle Tradesmen—Alder Dunn, Hadwen Bragg; Hadwen Bragg’s Kinsmen and Descendants; My Lord ’Size—The Author, the Accident, the Song; Castle Garth Stairs; The Bowes Tragedy; Cock-Fighting in Newcastle; Rules and Regulations of the Cock-Pit; North-Country Wit and Humour; North-Country Obituary; Records of Events—North-Country Occurrences, General Occurrences.

———
JUST PUBLISHED, Price 1s. 6d.

GUIDE TO
EMIGRATION AND COLONISATION.
AN APPEAL TO THE NATION.

By WALDEMAR BANNOW,
UPWARDS OF EIGHTEEN YEARS A RESIDENT OF VICTORIA, AUSTRALIA.

London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

———
In Crown Quarto, Printed on Antique Paper,
Price 12s. 6d.

———
EDITION DE LUXE.

SONNETS OF THIS CENTURY,

With an Exhaustive and Critical Essay on the Sonnet,

By WILLIAM SHARP.

This Edition has been thoroughly Revised, and several new Sonnets added.

———
THE VOLUME CONTAINS SONNETS BY

Lord Tennyson.Edward Dowden.
Robert Browning.Edmund Gosse.
A. C. Swinburne.Andrew Lang.
Matthew Arnold.George Meredith.
Theodore Watts.Cardinal Newman.
Archbishop Trench. By the Late
J. Addington Symonds.Dante Gabriel Rossetti.
W. Bell Scott.Mrs. Barrett Browning.
Christina Rossetti.C. Tennyson-Turner, etc.

AND ALL THE BEST WRITERS OF THIS CENTURY.

———
London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

Crown 8vo, Illustrated, Cloth, Bevelled
Boards, 2s. 6d; Gilt Edges, 3s.

OUR QUEEN:
A Sketch of the Life and Times of Victoria.
By the Author of “Grace Darling.”

Crown 8vo, Cloth, Bevelled Boards,
Price 3s. 6d.

Carols from the Coal-Fields:
And other Songs and Ballads.

By JOSEPH SKIPSEY.

NEW VOL. of the 2s. 6d. SERIES.

By the Authors of “Our Queen,”
“Grace Darling,” etc.

Queens of Literature
OF THE VICTORIAN ERA.

Uniform in size with “The Canterbury
Poets,” 305 pages, Cloth Gilt,
price 1s. 4d.

DAYS OF THE YEAR.
A Poetic Calendar of Passages from the
Works of Alfred Austin.

With Introduction by William Sharp.

THE CANTERBURY POETS.

———
Price One Shilling.

New Edition, Twentieth Thousand, thoroughly Revised, with several new Sonnets added.

SONNETS OF THIS CENTURY.

With an Exhaustive and Critical Essay on the Sonnet.
By WILLIAM SHARP.

———
SONNETS BY

Lord Tennyson, Robert Browning, A. C. Swinburne, Matthew Arnold, Theodore Watts, Archbishop Trench, J. Addington Symonds, W. Bell Scott, Christina Rossetti, Edward Dowden, Edmund Gosse, Andrew Lang, George Meredith, Cardinal Newman; By the Late Dante Gabriel Rossetti, Mrs. Barrett Browning, C. Tennyson-Turner, etc.; and all the Best Writers of the Century.

Crown 8vo, Cloth Gilt, Price 2s. 6d.

Life of General Gordon.
With Photographic Portrait taken
at Khartoum.

By the Authors of “Our Queen,”
“Grace Darling,” etc.

By the same Authors, Crown 8vo, Cloth
Gilt, Illustrated, Price 2s. 6d.

NEW WORLD HEROES:
Lincoln and Garfield.

The Life Story of two self-made Men
whom the People made Presidents.

NEW BOOKS for CHILDREN.

———
Foolscap 8vo, Cloth Boards, price
One Shilling each.

VERY SHORT STORIES
AND
VERSES FOR CHILDREN.

By MRS. W. K. CLIFFORD.

A NEW NATURAL HISTORY
Of Birds, Beasts, and Fishes.
By JOHN K. LEYS, M.A.

Life Stories of Famous Children.
ADAPTED FROM THE FRENCH.
By the Author of “Spenser for Children.”

London: WALTER SCOTT, 24 Warwick Lane, Paternoster Row.

Transcriber's Note

Minor punctuation errors have been corrected.

Hyphenation and accent usage have been made consistent.

Spelling inconsistencies between the introduction and main text have been preserved as printed, e.g. Jommelli, Jomelli; Metastasia, Metastasio; Bonacini, Bononcini; etc.

Typographic errors, including errors in consistency, have been corrected as follows:

Page [x]—parodox amended to paradox—"... what may with seeming paradox be called statuesque, ..."

Page [xiv]—psuedo amended to pseudo—"... when pseudo-classicism had given all it had to give; ..."

Page [xv]—Brahm amended to Brahms—"... Liszt, Franz, Thomas, Brahms, Rubenstein, ..."

Page [xv]—writen amended to written—"... and of his work a competent judge has written ..."

Page [30]—Scheolcher amended to Schœlcher—"Schœlcher, in his Life of Handel, says ..."

Page [33]—and amended to andt—"Why, by the mercy of Heaven, andt the waders of Aix-la-Chapelle, ..."

Page [40]—Encyclopedists amended to Encyclopædists—"The Encyclopædists stimulated the ferment ..."

Page [49]—spmphony amended to symphony—"... (alluding to Haydn’s brown complexion and small stature) “composed that symphony?”"

Page [49]—Hadyn amended to Haydn—"Haydn continued the intimate friend and associate of Prince Nicholas ..."

Page [57]—Hadyn amended to Haydn—"Haydn was present, but he was so old and feeble ..."

Page [61]—Mme. amended to Mdme.—"... when Mdme. Pompadour refused to kiss him, ..."

Page [73]—expected amended to excepted—"The “Sinfonia Eroica,” the “Choral” only excepted, is the longest ..."

Page [81]—Mme. amended to Mdme.—"... the following anecdote related by Mdme. Moscheles ..."

Page [83]—Paesiello amended to Paisiello—"Paisiello liked the warm bed in which to jot down his musical notions, ..."

Page [89]—medodies amended to melodies—"The immemorial melodies to which the popular songs of Germany were set ..."

Page [96]—effertories amended to offertories—"His church music, consisting of six masses, many offertories, ..."

Page [100]—Musikallische amended to Musikalische—"... in a critical article published in the Wiener Musikalische Zeitung, ..."

Page [102]—veilleicht amended to vielleicht—"Ein mann vielleicht von dreissig Jahr, ..."

Page [113]—noctures amended to nocturnes—"... the preludes, nocturnes, scherzos, ballads, etc., ..."

Page [134]—harmouy amended to harmony—"... sweetness of harmony and tune, ..."

Page [139]—Tanhäuser amended to Tannhäuser—"... next came “Tannhäuser” and “Lohengrin,” ..."

Page [141]—Tanhäuser amended to Tannhäuser—"In “Tannhäuser” and “Lohengrin” they find full sway."

Page [145]—Büloz amended to Bülow—"... originated chiefly with the masterly playing of Herr Von Bülow, ..."

Page [149]—Da amended to da, and Michel amended to Michael—"... Leonardo da Vinci, Raphael, Correggio, Titian, and Michael Angelo."

Page [149]—Perluigui amended to Perluigi—"Giovanni Perluigi Aloisio da Palestrina was born at Palestrina, ..."

Page [156]—musiq amended to music—"... where comedies and other plays are represented in recitative music ..."

Page [165]—opportuity amended to opportunity—"... as gave Vestris the opportunity for one of his greatest triumphs."

Page [168]—Petersburgh amended to Petersburg—"... the invitation of Catherine to become the court composer at St. Petersburg, ..."

Page [173]—Stendhal amended to Stendhall—"... Stendhall says, in his Life of Rossini, ..."

Page [178]—accomodations amended to accommodations—"... and those unable to get other accommodations encamp ..."

Page [181]—totaly amended to totally—"Sterbini made the libretto totally different ..."

Page [184]—Davide amended to David—"Mdme. Colbran, afterwards Rossini’s wife, sang Desdemona, and David, Otello."

Page [185]—you amended to your—"... they have not left you a seat in your own house."

Page [202]—Faleiro amended to Faliero—"“Marino Faliero” was composed for Paris in 1835, ..."

Page [204]—Nigida amended to Nisida—"... the story of which was drawn from “L’Ange de Nisida,” ..."

Page [209]—chief amended to chef—"... and M. Habeneck, chef d’orchestre of the Académie Royale, ..."

Page [224]—Skakespearian amended to Shakespearian—"... that probably only a Shakespearian subject could induce him ..."

Page [225]—Othello amended to Otello—"There are no symphonic pieces in “Otello,” ..."

Page [228]—maurir amended to mourir—"... pécheur, il faut mourir, ..."

Page [229]—fall amended to full—"... but with a voice so full of shakes and quavers, ..."

Page [261]—La amended to Le—"In 1797 he produced his “Le Jeune Henri,” ..."

Page [264]—Gaspardo amended to Gasparo—"Luigi Gasparo Pacifico Spontini, born of peasant parents ..."

Page [266]—rejoiner amended to rejoinder—"“What’s the use? I can’t hear a note,” was the impatient rejoinder."

Page [268]—Formental amended to Fromental—"Fromental Halévy, a scion of the Hebrew race, ..."

Page [282]—Anslem amended to Anselm—"... Clementi, Bernhard Anselm Weber, and Abbé Vogler."

Page [284]—Veluti amended to Velluti—"In the latter city, Velluti, the last of the male sopranists, ..."

Page [292]—faancs amended to francs—"... I certainly would have given two hundred francs for a seat; ..."

Page [297]—avried amended to varied—"... accordingly as the varied meanings of Goethe’s masterpiece demand."

Page [326]—by-word amended to bye-word—"... his name was a laughing-stock and a bye-word."

Page [335]—S. Bach amended to J. S. Bach—"1685-1750 J. S. Bach."

Page [335]—Cerubini amended to Cherubini—"1760-1842 Cherubini."

Page [335]—1802 amended to 1827—"1770-1827 Beethoven."