FOOTNOTES
[1] Article “Music,” in the Encyclopædia Britannica.
[2] Sir Hubert Parry, The Art of Music, p. 50.
[3] How to Listen to Music, p. 45.
[4] Such parchments as the “Angelus ad Virginem Hymn” (No. 284 Arundel MSS., Brit. Mus.); Hymn to St. Augustine (No. 572 Bodleian MSS., Oxford); and “Sumer is icumen in” (No. 678 Harleian Collection, Brit. Mus.), indisputably prove that in the tenth and eleventh centuries English musicians were hundreds of years in advance of Continental composers in polyphonic composition.—Ed.
[5] Sir Hubert Parry, Summary of Musical History, p. 54.
[6] Macfarren, article “Music,” Encyclopædia Britannica.
[7] Rimbault, Dictionary of Music and Musicians (Grove).
[8] British Musical Biography, p. 62.
[9] Monthly Musical Record, June 1902; article by C. Struthers.
[10] Preface to Musical Works of Frederick the Great. Breitkopf and Härtel.
[11] Half a Century of Music in England, p. 17.
[12] W.W. Cobbett, Musical News, May 24, 1902.
[13] At the fifty-fifth bar of the finale of Brahms’s A minor Quartett there is a hint of this kind of effect; also at the opening of Schumann’s A major Quartett.
[14] Dictionary of Music and Musicians (Grove), vol. i. p. 713.
[15] The Art of Music, Sir Hubert Parry.
[16] A mechanical arrangement producing the effect of so-called “musical glasses,” that is, thin tumbler glasses whose edges were rubbed with the moistened finger.
[17] Dictionary of Music and Musicians (Grove), vol. ii. p. 398.
[18] Prose Works, vol. v. p. 88.
[19] How to Listen to Music (H.E. Krehbiel).
[20] The dates are according to Nottebohm’s Catalogue.
[21] As an isolated note this dominant minor 9th (like that above) sounds strangely and out of the key.
[22] History of Music (Ritter).
[23] Studies of Great Composers (C. Hubert H. Parry).
[24] Analytical Programme (Ernst Pauer).
[25] Studies in Modern Music (W.H. Hadow).
[26] Songs and Song-writers, p. 155.
[27] The “explanation” (erklärung) with regard to the new and the old schools of musical composition, which Brahms and Joachim published in 1860, conclusively shows that neither of these artists was “a violent enemy” of Wagner or of his art.
[28] The Overture for June 1892; review of Brahms’s op. 115.
[29] W.J. Henderson, How Music Developed.
[30] The Art of Music, p. 333.
[31] Studies in Modern Music, p. 251.
[32] Masters of German Music, p. 20.
[33] The String Quintett in E♭, op. 97, may also be mentioned in this connection.
[34] Das Wohltemperirte Clavier (The Well-tempered Clavichord).
[35] Notes on Modern Russian Music (Edwin Evans).
[36] Notes on Modern Russian Music (Edwin Evans).
[37] Most of these works and others of the Russian School are published in cheap miniature scores, similar to the well-known Payne edition.
[38] Biographical Dictionary (Baker).
[39] This was written early in 1902.
[40] There would seem some mistake here, as Bruckner was born at Ansfelden in Upper Austria.
[41] Dictionary of Music and Musicians (Grove), vol. i. p. 226.
[42] Dictionary of Music and Musicians (Grove), vol. ii. p. 497.
[43] Riemann’s Dictionary of Music.
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The original text consistently misspelled "Dvořák" with the caron over the o; this has been corrected. The inconsistent use of ’s or s’s for the possessives of proper names ending in s has been normalized to s’s (e.g., “Brahms’s”). Other obvious printer errors have been corrected without note.
Some illustrations have been moved so as not to interrupt the flow of the text. Some page numbers are missing as a result.
The opening of the Arensky quartet on [p. 171] is actually from Op. 35, not Op. 35a as indicated in the original.
In [Appendix A], Prince Rasumowsky is erroneously listed under 1808. He was actually born in 1752, per Wikipedia.