The art of music, Vol. 07 (of 14), Pianoforte and chamber music

by Unknown

IV

There are relatively few works also in which the piano has been combined with wind instruments. The wind instruments which have been most employed in chamber music are the flute, oboe, clarinet, and bassoon. Occasionally there is a short bit for horn, or for English horn, and rarely something for trumpet or saxophone. No special combination of these instruments either by themselves or with the piano has obtained signal favor, and we may therefore confine ourselves to mentioning with brief notice the various works of the great masters in turn. We will include likewise here their chamber works for wind instruments without pianoforte.

Of Haydn’s works we will only mention the two trios for flute and violin and the octet for two oboes, two clarinets, two horns and two bassoons. Most of Mozart’s works for wind instruments bear the mark of some occasion. There are a great many Serenades and Divertimenti, which can hardly be called representative of his best and can hardly be distinguished from each other. Among the interesting works are the concerto for flute and harp (K 299), the trio for clarinet, viola and piano (K 498), the quintet for pianoforte, oboe, clarinet, horn and bassoon (K 452), and the quintet for clarinet and strings (K 581). The trio was composed in Vienna in August, 1786, and is conspicuous for a fine handling of the viola. The clarinet is not used at all in the lower registers, lest it interfere with the viola. Mozart considered the quintet for piano and wind instruments at the time he wrote it the best thing he had written. It was composed in March, 1784, for a public concert and was received with great applause. Jahn wrote of it that from beginning to end it was a true triumph in the art of recognizing and adapting the peculiar euphonious quality of each instrument. Doubtless it served as a model for Beethoven’s composition in the same form.

Mozart was the first among composers to recognize the beauty of the clarinet. Among his warmest friends was Anton Stadler, an excellent clarinet player, and the great clarinet quintet was composed for Stadler and is known as the Stadler quintet. The clarinet, owing to the peculiar penetrating quality, is somewhat necessarily treated as a solo instrument; but the background supplied by the strings is no mere accompaniment. The whole work shows the finest care and may well rank with the string quintets among Mozart’s greatest and most pleasing works.

Beethoven’s works for wind instruments in chamber music are not numerous. In the expression of his forceful and passionate ideas he demanded a medium of far greater technical ability than he could ask of the wind players of that day. There is an early trio for piano, flute and bassoon, written before he left Bonn; an octet in E-flat for two oboes, two clarinets, two bassoons, and two horns, written in 1792, but published as opus 103; and a few other early works without value; a sextet for two violins, viola, cello, and two horns, written in 1795 and not published till 1819, then as opus 81; another early sextet, opus 71, for two clarinets, two bassoons, and two horns; and finally the most considerable of his compositions for an ensemble of wind instruments, the quintet in E-flat major, opus 16, for piano, oboe, clarinet, horn, and bassoon, the septet in E-flat, opus 20, for clarinet, horn, bassoon, violin, viola, cello, and double-bass. The sonata in F, opus 17, for horn and piano was written in a night, according to a well-known story, for the horn player Punto—originally Stich—and can hardly be considered as more than a bit of pot-boiling.

Most of these early works were written for an occasion. Prince Maximilian Franz, in whose service Beethoven was for a time employed before he left Bonn and came to Vienna, was especially fond of wind instruments. His ‘Table-music’ was generally of this kind and he had in his employ two oboists, two clarinetists, two horn players, and two players of the bassoon. Beethoven’s early works therefore may be considered to have been written with these players in mind. He was sure of having them performed. In later years he looked with no little scorn upon many of them. Even of the septet, opus 20, he is reported to have said that there was some natural feeling in it but little art. And of the early sextet which was published in 1809 as opus 70 he wrote to his publishers that it was one of his early pieces and was, moreover, written in a night, that there was little further to say about it except that it was written by a composer who had at least produced some better works—though many men might still consider this the best. Yet it is to be observed that in nearly all of them Beethoven made the best of the possibilities open to him, possibilities which were greatly restricted by the general lack of technical skill in playing wind instruments, and that all show at least a clear and logical form.

The octet, opus 103, the sextet, opus 81, the sextet, opus 71, and the quintet, opus 16, are all in the key of E-flat major, a key which is favorable to all wood-wind instruments. The octet was written, as we have said, in 1792. Beethoven rearranged it as a string quintet and in that form it was published in 1796 as opus 4. In its original form the chief rôle is taken by the oboe, especially in the slow second movement, which has the touch of a pastoral idyl. The last movement in rondo form offers the clarinets an opportunity in the first episode. A Rondino for the same combination of instruments written about the same time seems to forecast parts of Fidelio. The sextet for two horns and string quartet is little more than a duet for the horns with a string accompaniment.

We may pass over the trio for two oboes and English horn, published as opus 87, and the flute duet written for his friend Degenhart on the night of August 23, 1792. The sextet, opus 71, which Beethoven said was written in a night, is none the less written with great care. The prelude introduction and the cheerful style suggest some happy sort of serenade music. The melody (bassoon) in the adagio is of great beauty. There are, among its movements, a minuet and a lively rondo in march rhythm.

The quintet, opus 16, in which the piano is joined with four instruments may well have been suggested by Mozart’s quintet in the same form; though Beethoven was a great pianist and had already in an earlier trio and a sonata experimented in combining the pianoforte with wind instruments. The wind instruments are here treated as an independent group and the part for the piano is brilliant. There is a richness of ideas throughout which raises the work above the earlier compositions for wind.

The septet in E-flat, opus 20, for clarinet, horn, bassoon, violin, viola, cello and double-bass, is undoubtedly the finest of Beethoven’s works for combinations of wind instruments. It was written just before 1800 and was so full of joy and humor that those who had heard Beethoven’s other works with a hostile ear were quite won over for the time being by this. Technically it may be considered the result of all his previous experiments. It is rather in the manner of a suite. There is a slow prelude, an allegro con brio, an adagio cantabile, a tempo di menuetto, which he later arranged for pianoforte and incorporated in the little sonata, opus 49, No. 1, a theme and variations, a scherzo, and a final presto, which is preceded by an introductory andante of great beauty and of more seriousness than is characteristic of the work as a whole. The success of the work is due first to the freshness of the ideas, then to the skill with which they are arranged for the difficult combination of instruments. For Beethoven has made something of charm out of the very shortcomings of the wind instruments. The short phrases, the straightforward character of all the themes and motives, and the general simplicity all show these necessarily restricted instruments at their very best.

Schubert’s octet for two violins, viola, cello, double-bass, clarinet, horn, and bassoon is among the most beautiful pieces of chamber music for the wind instruments. It is the first of Schubert’s contributions to chamber music which fully reveals his genius. Mention may also be made of the variations for flute and piano on the melody of one of his songs Trockene Blumen.

None of the great composers was more appreciative of the clarinet than Weber. It is made to sound beautifully in all his overtures, notably in that to ‘Oberon.’

Arnold Schönberg.

After a photo from life (1913)

He wrote two concertos for clarinet and orchestra, and a big sonata in concerto style, opus 48, for clarinet and piano. Besides these there is an Air and Variations, opus 33, for clarinet and piano, and a quintet, opus 34, for clarinet and strings. Weber also wrote a charming trio, opus 63, for flute, cello, and piano.

Spohr, too, showed a special favor towards the clarinet and he, like Weber, wrote two concertos for it. Three of Spohr’s works which were broadly famous in their day and much beloved are the nonet for strings, flute, oboe, clarinet, horn, and bassoon, opus 31; the octet for violin, two violas, cello, double-bass, clarinet, and two horns, opus 32; and the quintet for flute, clarinet, horn, bassoon, and piano. The two former are delicately scored, but the latter is marred by the piano. Some idea of the fervor with which Spohr’s music was loved may be gained from the fact that Chopin, the most selective and fastidiously critical of all composers, conceived Spohr’s nonet to be one of the greatest works of music. Doubtless the perfection of style delighted him, a virtue for which he was willing to forgive many a weakness. At present Spohr’s music is in danger of being totally neglected.

Mendelssohn contributed nothing to this branch of chamber music, and Schumann’s contributions were slight enough. There is a set of Märchenerzählungen, opus 132, for clarinet, viola, and pianoforte, which have some romantic charm but no distinction, and three Romances for oboe. Brahms’ trio for clarinet, violoncello, and piano has already been mentioned. Besides these he wrote two excellent sonatas for clarinet and piano, and a quintet for clarinet and strings. These works are almost unique among Brahms’ compositions for an unveiled tenderness and sweetness. All three were probably in a measure inspired by the playing of his friend Professor Mühlfeld, who even from the orchestra made an impression with his clarinet upon the memories of those who gathered at the epoch-making performances at Bayreuth. The quintet, opus 115, is one of the most poetic and moving of all Brahms’ compositions. The two clarinet sonatas, one in F minor and one in E-flat major, were published together in 1896 as opus 120. In these there is the same unusual tenderness which appeals so directly to the heart in the quintet.

Since the time of Brahms most composers have written something in small forms for the wind instruments with or without piano or strings. Most of these have a charm, yet perhaps none is to be distinguished. One of the most pleasing is Pierné’s Pastorale variée, for flute, oboe, clarinet, trombone, horn, and two bassoons. But here we have in truth a small wind orchestra. D’Indy’s Chanson et Danses, opus 50, two short pieces for flute, two clarinets, horn, and two bassoons, Fauré’s Nocturne, opus 33, for flute, two oboes, two clarinets, two horns and two bassoons, and some of the smaller pieces of a composer little known, J. Mouquet, are representative of the best that the modern French composers have done in this kind of chamber music. Debussy’s Rhapsodie, for clarinet and piano, is evidently a pièce d’occasion. It was written for the Concours at the Conservatoire. Max Reger’s sonata in A-flat, opus 49, No. 1, for clarinet and piano, and a concerto for Waldhorn and piano by Richard Strauss stand out conspicuously among the works of the Germans. In this country Mr. Charles Martin Loeffler is to be recognized as one with an unusually keen instinct for the effects of wind instruments in chamber music. His two Rhapsodies for oboe, viola, and piano show a delicacy of style that cannot be matched in work for a similar combination by other composers.

FOOTNOTES:

[82] A few measures after L in the edition published by J. Hamelle, Paris.

[83] ‘Chamber Music, a Treatise for Students,’ by Thomas F. Dunhill. London, 1913.

[84] See Spitta: ‘Johann Sebastian Bach.’

LITERATURE FOR VOLUME VII

In English

H. Abele: The Violin and Its History (1905).

E. Heron-Allen: De Fidiculis Bibliographia, 2 vols. (London, 1890-94).

Charles Burney: The Present State of Music in France and Italy (London, 1771).

Charles Burney: The Present State of Music in Germany, the Netherlands and United Provinces, 2 vols. (1773).

Charles Burney: General History of Music, 4 vols. (1776-89).

Henry Fothergill Chorley: Music and Manners in France and North-Germany, 3 vols. (London, 1843).

Henry Davey: History of English Music (London, 1895).

J. W. Davidson: An Essay on the Works of Fr. Chopin (London, 1849).

Edward Dickinson: The Study of the History of Music (New York, 1905).

Henry T. Finck: Chopin and Other Essays (New York, 1889).

J. A. Fuller-Maitland: Schumann (1884).

J. A. Fuller-Maitland: Brahms (London, 1911).

Grove’s Dictionary of Music and Musicians, 4 vols. (1879-89); 2nd ed., revised by Fuller-Maitland, 5 vols. (1904-9).

William Henry Hadow: A Croatian Composer (Joseph Haydn), (London, 1897).

G. Hart: The Violin and Its Music (1881).

John Hawkins: A General History of the Science and Practice of Music (London, 1776).

James Huneker: Chopin, the Man and His Music (New York, 1900).

H. E. Krehbiel: The Pianoforte and Its Music (New York, 1901).

Leighton: Tears or Lamentations, Musical Ayres, etc. (1614).

Edward MacDowell: Critical and Historical Essays (New York, 1913).

Oxford History of Music, 6 vols. (Oxford, 1901, 1905, 1902, 1902, 1904, 1905).

I. Playford: An Introduction to the Skill of Musick, etc. (1683).

I. Playford: Apollo’s Banquet, etc. (1669).

Waldo Selden Pratt: The History of Music (New York, 1907).

John South Shedlock: The Pianoforte Sonata, Its Origin and Development (1875).

Christian Simpson: The Division Violinist (1659).

John Stainer: Early Bodleian Music; Dufay and His Contemporaries (London, 1898).

Stoeving: The Violin (1904).

In German

H. Abele: Konrad Paumann (1912).

Hermann Abert: Robert Schumann (Berlin, 2nd ed., 1910).

Wilhelm Altmann: Kammermusiklitteratur-Verzeichnis [from 1841] (1910).

A. W. Ambros: Geschichte der Musik, 4 vols. (new ed. by H. Leichentritt, Leipzig, 1909).

Selman Bagge: Die Geschichtliche Entwickelung der Sonate (Leipzig, 1880).

Karl Ferdinand Becker: Die Hausmusik in Deutschland im 16., 17. u. 18. Jahrhundert (Leipzig, 1840).

Franz J. J. Beier: Froberger (Leipzig, 1884).

Paul Bekker: Beethoven (Berlin, 1912).

N. D. Bernstein: Anton Rubinstein (Leipzig, 1911).

Karl Hermann Bitter: Johann Sebastian Bach, 4 vols. (2nd ed., 1881).

Karl Hermann Bitter: K. Ph. Em. und W. Friedemann Bach und deren Brüder, 2 vols. (Leipzig, 1868).

Gerhard von Breuning: Aus dem Schwarzpanierhause (1874; new ed. by Kalischer, 1907).

Hugo Daffner: Die Entwickelung des Klavierkonzerts bis Mozart (1908).

Hermann Deiters: Johannes Brahms (Leipzig, 1880; 2nd part, 1898. In Waldersees Sammlung musikalischer Vorträge).

Alfred Einstein: Zur deutschen Literatur für Viola da Gamba im 16. und 17. Jahrhundert (Beiheft of the I. M.-G., II. 1, 1905).

Immanuel Faisst: Beiträge zur Geschichte der Klaviersonate (Mayence, 1846. In Dehns Cäcilia).

I. N. Forkel: Allgemeine Litteratur der Musik (1792).

Dagmar Gade: Niels W. Gade. Aufzeichnungen und Briefe (Basel, 1894).

August Göllerich: Franz Liszt (1908).

Otto Jahn: W. A. Mozart, 4 vols. (1856-1859); 4th ed. by H. Deiters, 2 vols. (1905-1907).

Joseph Joachim: Briefe von und an Joseph Joachim (ed. by J. J. and A. Moser) vol. I [1842-1857] (1911).

Max Kalbeck: Johannes Brahms, 3 vols. (1904-1911).

Otto Kauwell: Geschichte der Sonate (1899).

Ludwig Köchel: Chronologisch-thematisches Verzeichnis der Tonwerke W. A. Mozarts (1862; 2nd ed. by P. Graf Waldersee, 1905).

Leopold Mozart: Violinschule (1750).

Richard Münnich: Johann Kuhnau (Leipzig, 1902).

Karl Nef: Zur Geschichte der deutschen Instrumentalmusik in der zweiten Hälfte des 17. Jahrhunderts (Beiheft of the I. M.-G., I. 5, 1902).

Walter Niemann: Die Musik Skandinaviens (1906).

Walter Niemann (with Schjelderup): Grieg (1908).

Ludwig Nohl: Beethoven, 3 vols. (1864-1877).

Oskar Paul: Geschichte des Klaviers (1868).

K. Ferd. Pohl: Joseph Haydn, 2 vols. (1875-1882).

Hugo Riemann: Geschichte der Musik seit Beethoven (1901).

Hugo Riemann: Handbuch der Musikgeschichte, vol. II. (3 parts, Leipzig, 1911-13).

Hugo Riemann: Zur Geschichte der deutschen Suite (Sammelbände of the I. M.-G., IV. 4, 1905).

Heinrich Reimann: Johannes Brahms (1897; 4th ed. 1911).

Heinrich Reimann: Robert Schumann (1887).

Karl Reinecke: Die Beethovenschen Klaviersonaten (1899; 4th ed. 1905).

Wilhelm Ritter: Smetana (1907).

Arnold Schering: Geschichte des Instrumentalkonzerts (Leipzig, 1903; new ed., 1905).

Anton Schindler: Biographie Ludwig van Beethovens (1840; rev. by A. Kalischer, 1909).

J. P. Seiffert: Geschichte der Klaviermusik (Leipzig, 1899).

Philipp Spitta: Johann Sebastian Bach, 2 vols. (Leipzig, 1873, 1880).

Alexander Wheelock Thayer: Ludwig van Beethovens Leben, 5 vols., 1866 (1901), 1872 (1910), 1879 (1911), 1907, 1908; completed and revised by H. Deiters and H. Riemann.

Karl Thrane: Friedrich Kuhlau (1886).

Joseph von Wasielewski: Das Violoncell und seine Geschichte (Leipzig, 1889; 2nd ed., 1911).

Joseph von Wasielewski: Die Violine im 17. Jahrhundert und die Anfänge der Instrumentalkomposition (1874).

Joseph von Wasielewski: Die Violine und ihre Meister (Leipzig, 1869; 5th edition, 1911).

Joseph von Wasielewski: Geschichte der Instrumentalmusik im sechzehnten Jahrhundert (1878).

Joseph von Wasielewski: Robert Schumann (1858, 4th ed., 1906).

Karl Friedrich Weitzman: Geschichte des Klavierspiels und der Klavierliteratur (1879).

Karl von Winterfeld: Johannes Gabieli und sein Zeitalter (1843).

In French

H. Barbedette: Chopin, essai de critique musicale (1861).

H. Barbedette: F. Schubert (1865).

H. Barbedette: Stephen Heller (1876).

Michel Brenet: La jeunesse de Rameau (Paris, 1903).

M. D. Calvocoressi: Liszt (1911).

Arthur Coquard: César Franck (Paris, 1891).

François Joseph Fétis: Biographie universelle des musiciens, 8 vols. (1837-1844, 2 ed. 1860-1865); Suppl. by A. Pougin, 2 vols. (1878-1880).

Hugues Imbert: Profils de musiciens (1888).

Vincent d’Indy: César Franck (1906).

Vincent d’Indy: Beethoven (1911).

H. M. Lavoix: Histoire de l’instrumentation depuis le seizième siècle jusqu’a nos jours (Paris, 1878).

Antoine François Marmontel: Les pianists célèbres (1878).

Antoine François Marmontel: Histoire du piano (1885).

L. Picquot: La vie et les œuvres de Luigi Boccherini (1851).

André Pirro: Louis Marchand (Sammelbände of the I. M.-G., VI. 1, 1904).

André Pirro: J. S. Bach (Paris, 1906).

Arthur Pougin: Notice sur Rode (1874).

Romain Rolland: Beethoven (1907).

Albert Schweitzer: J. S. Bach, le musicien poète (Paris, 1905).

T. de Wyzewa and G. de Saint-Foix: W. A. Mozart, 2 vols. (1912).

In Italian

H. Gardano: Musica di XIII autori illustri (1576).

Luigi Torchi: La musica istromentale in Italia nei secoli 16º 17º e 18º (Rivista musicale, IV-VIII, 1898-1901).

In Spanish

F. Gascue: Historia de la sonata (S. Sebastián, 1910).

INDEX FOR VOLUME VII

A

Abel, [591].
Absolute music, [312].
Accentuation (in syncopated rhythm), [220]f.
Accompaniment figures (in pianoforte music), [181], [198];
(Mendelssohn), [213]f;
(Schumann), [222], [231];
(Brahms), [240];
(Chopin), [268]f, [270], [272];
(Liszt), [306]f;
(Heller), [321];
(Scriabin), [338];
(in string quartet), [564].
See also Alberti bass; Basso ostinato; Tum-Tum bass.
Acrostics in music, [218].
After-sounds (in pianoforte music), [356], [357], [363].
Agrémens, [35], [59], [128].
Agricola, [374].
Air and Variations, [26].
Alard, [447], [452].
Albéniz, Isaac, [339].
Albergati, [391].
[d’]Albert, Eugen, [324], [330].
Alberti, Domenico, [48], [97], [107]f, [139].
Alberti bass, [110]ff, [120], [178], [242], [268].
Albinoni, Tommaso, [399], [422].
Alkan, Charles-Valentin, [342]ff.
Allegri, G., [475].
Allemande, [23], [25].
Amateurs, [209].
Amati, Andrea, [375].
America, Herz’ travels in, [285].
André, [425].
Anet, Batiste, [406].
Angelico (Fra), [373].
Anglaise, [76].
[d’]Anglebert, [36], [396]f.
Antoniotti, Giorgio, [591].
Aquinas, Thomas, [371].
Arabs, [369].
Arcadelt, [10].
Arensky, Anton, [333].
Aria, [26], [69].
Aria form, [77], [102], [103].
Arpeggios, [20], [448];
(in violin playing), [415].
Arrangements. See Transcriptions.
Attaignant, [469].
Auer, Leopold, [464], [465].
Augengläser, [512].
[L’]Augier, [43], [100].
Austrian National Hymn, [496].

B

Bach, Carl Philipp Emanuel, [35], [59], [86], [96], [98], [99], [100], [113], [116ff], [132], [417], [490];
(quoted on the pianist’s art), [133].
Sonata in D major, [118].
Bach, Johann Christian, [86], [97], [112], [113], [114], [116], [117]ff, [491], [498].
Bach, Johann Sebastian, [8], [28], [30], [41], [42], [63ff], [95], [99], [128]f, [131], [134], [207], [267]f, [305], [367], [421ff], [428], [484];
(in rel. to fugue and suite), [70]ff;
(in rel. to concerto, etc.), [81];
(influence on Chopin), [254]f;
(popularization of), [300].
Well-tempered Clavichord, [64], [71], [81].
Italian concerto, [67], [82], [95].
English suite in G minor, [67].
Partitas, [75], [79].
English suites, [75]f.
French suites, [75]f.
Preludes, [80].
Toccatas, [81].
Fantasias, [81].
Goldberg Variations, [83], [85].
Musikalisches Opfer, [84].
Kunst der Fuge, [84].
Violin solo sonatas, [422].
Chaconne for violin alone, [423].
Sonatas for Harpsichord and Violin, [423].
Concertos for one or two violins, [423]f.
Violoncello suites, [591].
Bach, Wilhelm Friedemann, [128].
Baillot, Pierre Marie François de, [412], [431], [433], [434].
Balakireff, Mily, [330], [331], [338].
Islamey Fantasy, [330].
Balance, [49].
Balakireff, [555].
Ballades, [17];
(Chopin), [256].
Balletti, [377], [470], [473].
Baltasarini. See Beaujoyeaulx.
Balzac (cited), [282].
Banchieri, Adriano, [471].
Barbella, Emanuele, [404].
Barcarolle (Chopin), [256].
Barthélémon, H., [410].
Baryton, [590]f.
Basle, [372].
Bassani, Giovanni Battista, [389]f, [480].
Bassedance, [470].
Bassoon (in chamber music), [598], [604].
Basso ostinato, [387].
Batiste. See Anet, Batiste.
Bäuerl, Paul, [473].
Beach, Mrs. H. H. A., [340].
Beaujoyeaulx, [376]f.
Beaulieu, [376].
Bebung, [3].
Becker, Diedrich, [473].
Beethoven, [89], [98], [100]f, [112], [116], [123], [131]f,
[136], [154ff], [158ff], [175], [193], [206], [207], [253]f, [267], [367], [432], [433], [451ff], [509ff], [534], [575]f, [592]f, [599]f, [602];
(compared to Haydn and Mozart), [133];
(pianoforte playing), [160]f;
(popularization of), [300];
(transcriptions), [306].
Pianoforte sonatas, [154]ff, [159]ff, [168]ff.
Piano sonata in C-sharp minor (op. 27, No. 2), [169]f.
Piano sonata in A-flat (op. 110), [171]f.
Bagatelles (piano), [173].
Piano Concerto in G major, [173].
Piano concerto in E-flat major (Emperor), [173].
Diabelli Variations, [173].
Early Violin Sonatas, [454]f.
Violin sonata in G (op. 96), [456].
Violin concerto, [456]f.
Six string quartets (op. 18), [510]ff.
String quintet in C major (op. 29), [512].
‘Russian’ string quartets (op. 59), [513]ff.
String quartets (op. 74 and 95), [517].
String quartet (op. 127), [520]ff.
String quartet in A minor (op. 132), [523]ff.
String quartet in B-flat major (op. 130), [527]ff.
String quartets in C-sharp minor, [528]ff.
String quartet in F major (op. 135), [531]ff.
Trio, op. 70, [575]f.
Trio, op. 97, [576].
Violoncello sonata in F (op. 5), [592]f.
Violoncello sonata in A (op. 69), [593]f.
Violoncello sonata in G (op. 5), [593].
Violoncello sonata (op. 102), [594]f.
Variations on air from ‘Magic Flute,’ [595].
Trio for piano, flute and bassoon, [599]f.
Septet, op. 20, [602].
Bekker, Paul, [512].
Belgian school of violin playing, [447].
Bellini, [286].
Benda, Carl, [416].
Benda, Franz, [413], [414]f, [417], [420], [428].
Benda, Georg, [414].
Benda, Hans Georg, [414].
Benda, Johann, [414].
Benda, Joseph, [414].
Bennett, William Sterndale, [217].
Bériot, Charles Auguste de, [446], [448].
Berlioz, [207], [342];
(transcriptions), [306].
Bernadotte, General, [432], [455].
Bernardi, [390].
Berthaume, Isidore, [410].
Biber, Heinrich Ignaz Franz [von], [391]f, [412], [422].
‘Biblical Sonatas,’ [27].
Biblical subjects, [27], [311].
Bie, [Dr.] Oskar (cited), [199], [322], [344].
Biffi, [108].
Binary form, [45], [49], [102], [103], [105].
Bini, Pasqualini, [403].
Bizet, [462].
Boccaccio, [373].
Boccherini, Luigi, [404], [487]ff, [491], [591].
Boehm, Joseph, [445].
Bohemia, [556], [586].
Bohm (organist), [16].
Bononcini, [390], [478].
Borodine, [330], [553], [554]f.
String quartet in A, [554].
Borri, [390].
Bourrées, [26].
Bowen, York, [598].
Bowing (violin), [403], [416], [431];
('cello), [591].
Brahms, [53], [168], [193], [238ff], [271], [273], [321], [367], [442], [451], [459f], [543ff], [578f], [579], [583ff], [587], [596]f;
(influence), [335].
Pianoforte sonatas, [240].
Piano sonata in C major, [240]f.
Piano sonata in F-sharp minor, [241].
Piano sonata in F minor, [241].
Paganini Variations (piano), [242]f.
Ballades (piano), [242].
Variations on a Theme of Handel (piano), [243].
Capriccios, [244]ff.
Rhapsodies (piano), [245]f.
Intermezzos (piano), [246].
Piano concertos, [247]f.
Violin sonatas, [459]f.
Violin concerto, [460].
String sextet, [543]ff.
String quartet in B-flat major (op. 67), [546].
String quartet in A minor (op. 51, No. 2), [546].
Trios in C major and C minor, [578]f.
Clarinet Trio, [579].
Horn trio, [579].
Pianoforte quartets (op. 25 and 26), [583].
Pianoforte quartet (op. 70), [584].
Pianoforte quintet in F minor (op. 34), [584]f.
Cello sonata, [596]f.
Branle, [470].
Brentano, Maximilian, [575].
Briegel, K., [473].
Britton, Thomas, [481].
Broadwood, Thomas, [158].
Brodsky, Adolf, [464].
Bruch, Max, [452], [465].
Scottish Fantasia, [465].
Violin concertos, [465].
Bruhns, Nikolaus, [422].
Brussels, [448].
Bull, John, [19], [32].
Bull, Ole, [452].
Bülow, Hans von, [44], [332], [342].
Buonaparte, Lucien, [487].
Buoni, [390].
Buononcini. See Bononcini.
Burlesca, [79].
Burney, Charles, [43];
(cited), [48], [108], [394], [408], [415].
Buxtehude, [16].
Byrd, William, [19].
Byron, [318].

C

Caccia, [10].
Caccini, [474].
Cadences, [14].
Cadenza (in pianoforte concerto), [152]f;
(in chamber music), [581].
Caluta à la Spagnola, [470].
Cambridge, [18].
Campion, Jacques (Chambonnières), [27].
Canavasso, A., [591].
Cannabich, Christian, [413], [418], [420].
Canon, [473].
Cantata (origin of name), [10].
Cantata da camera, [474].
Canzon a suonare (canzon da sonare), [93], [470].
Canzona, [11]f, [472].
Caprice, [79].
Capriccio, [11].
Carissimi, [6].
Carlist Wars, [465].
Carnaro, Cardinal, [402].
Carneval de Venise (Le), [434], [440], [445].
Cartier, J. B., [407], [412], [428].
Casino Paganini, [437].
Cassation (quartet), [489].
Castiglione, [377].
Castor and Pollux (Abbé Vogler), [184], [185].
Catches, [473].
Cavalli, [6].
'Cello. See Violoncello.
Cembalo. See Clavicembalo; also Harpsichord.
Chabrier, Emanuel, [353], [366].
Chaconne, [83].
Chadwick, George W., [589].
Chamber music, [16];
(16th-17th cent.), [467]ff;
(origin of term), [467], footnote;
(for wind instruments), [598].
See also Trio; String quartet; String quintet; Pianoforte quartet;
Pianoforte quintet; Sextet; Septet; Violin sonata; Violoncello sonata; Wind instruments, etc.
Chamber sonatas, [94].
Chambonnières (Campion), [27], [32], [33], [104].
Chaminade, Cécile, [342].
Chanson, [9], [10], [11], [92].
Charelli, [478].
Charlatanism, [435].
Charles XI, [375].
Chausson, Ernest, (string quartet), [552];
(pianoforte quartet), [589].
Cherubini, [411];
(string quartet), [535].
Chess-board, [3].
Chopin, [55], [132], [207], [250ff], [284], [305], [333], [342], [367], [428];
(opinion of Mendelssohn), [217];
(as character, in Schumann’s ‘Carnaval’), [227];
(popularization), [300];
(transcriptions of songs of), [306];
(transcription of ‘The Maiden’s Wish’), [307];
(influence on Russian composers), [329];
(influence), [335];
(influence in France), [341];
(compared to Paganini), [439].
Pianoforte sonatas, [257]ff.
Barcarolle, [263].
Fantasia in F minor, [263].
Mazurkas, [281]f.
Nocturnes, [281].
Pianoforte concerto, [263].
Polonaise-Fantasie (op. 61), [263]f.
Preludes, [264].
Waltzes, [281].
Chord style, [11].
Christian Frederick VIII, King of Denmark, [309].
Chrotta, [368].
Chrysander, [53].
Church, Roman, (opposition to musicians), [371].
Church music, [9].
Church sonatas, [94].
Clarinet, [599];
(in chamber music), [579], [598], [604].
Clarinet sonatas, [603]f.
Clavecin, [5], [52]. See also Harpsichord.
Clavecinists, [26].
Clavicembalo, [5]. See also Harpsichord.
Clavichord, [1], [2]ff, [8], [67], [128].
Clement, Franz, [444], [451], [456].
Clementi, Muzio, [64], [98], [100], [112], [117], [119ff], [143], [157].
Gradus ad Parnassum, [121].
Sonata in G minor (op. 7, no. 3), [121].
Sonata in B minor (op. 40, no. 2), [122].
Sonata in G minor (Didone abbandonata, op. 50, no. 3), [122].
Coda (Beethoven), [165]f.
Color effects (in string quartet), [555]f.
Concertati, [474].
Concert piece (Mendelssohn), [216]. See also Konzertstück.
Concerto, (Italian), [67];
(Bach), [81];
(Vivaldi, Mozart), [150];
(for flute and harp), [599].
See also Pianoforte concerto; Violin concerto.
Concerto grosso (Torelli), [388]f.
Concerts des Amateurs, [407].
Concerts Spirituels, [404], [410], [487].
Confrérie de St. Julien des Ménestriers, [372].
Conservatory. See Paris Conservatoire.
Contrapuntal style. See Polyphonic style.
Contrast, [49], [469];
(of key), [18], [561];
(of registers, in piano music), [277];
(rhythmic, in early chamber music), [476].
Corelli, Arcangelo, [6], [37], [93], [389], [392], [396ff], [412], [427], [428], [480], [481].
Violin sonatas, [397]ff.
Coriat (quoted), [393].
Cornetto, [377].
Cosyn, Benjamin, [18].
Cortecci, [376].
Counterpoint, [19]f. See also Polyphonic style.
Counter-theme, [11].
Couperin, Charles, [52];
(compared to Bach), [65];
(influence on Bach), [69].
Couperin, François (le Grand), [8], [36], [41], [51ff], [63], [86], [207], [267]f, [398], [484];
(rondo), [58];
(influence on Bach), [69].
Couperin, Louis, [36], [52].
Courante, [23], [25], [473].
Cramer, J. B., [64], [132], [176], [178], [285], [418].
Cramer, Wilhelm, [418].
Cremona, [375].
Crescendo, [378].
Cristofori, Bartolomeo, [155].
Crossing of the hands, [47];
(Bach), [84];
(D. Scarlatti), [106].
Crowd, [368].
Cryptograms, [218].
Cryth, [368].
Cui, César, [330], [331].
Cycles of pianoforte pieces (Schumann), [221]f.
Cyclic forms, [30]. See also Sonata; Suite.
Czerny, Carl, [44], [64], [182].

D

Da capo form, [69], [77].
Dale, Benjamin, [598].
Dance form, [30].
Dance rhythms (Schubert), [206];
(Rubinstein), [321];
(Heller), [321].
See also Chopin: Mazurkas, Waltzes.
Dance tunes (15th cent.), [20], [22], [468].
Dances, (early French), [376];
(Spanish), [396];
(17th cent.), [472].
Dante, [318].
Daquin, Claude, [61].
Dargomyzhsky, [330].
Dauvergne, Antoine, [409].
David, Ferdinand, [409], [412], [443]f, [451], [458].
David, Paul (quoted), [449].
De Ahna, [451].
Debussy, Claude, [353]ff, [367];
(chamber music), [561]ff, [604].
Suite Bergamasque, [359].
L’Isle joyeuse, [359].
Estampes, [360].
Images, [360]f.
Preludes, [361]ff.
String quartet, [561]ff.
Delibes, Leo, [462].
Denmark, [326].
Descriptive music, [27]f, [55]f, [214], [311]. See also Picture music; Realism in pianoforte music.
Diabelli, [165].
Dialogues for two violins, [474], [475].
Dissonance (absence of), [13];
(unprepared), [14].
Dittersdorf, Carl Ditters von, [419].
Divertimento (quartet), [489].
Dohle, [64].
Dohnányi, Ernst von, [338];
(pianoforte quintet), [589].
Domanowecz, Nicholas Zmeskall von, [492], [518].
Double-bass (in chamber music), [590].
Double-harmonics, [438].
Double-stops (violin), [382], [383], [422], [430], [460].
Dowland, John, [394].
Dramatic style (in pianoforte sonata), [122];
(in violin music), [441].
Duet, (for one violin), [387];
(for two violins), [411];
(viola and violoncello), [512].
Duet sonata, [454].
Dumka, [586].
Dunhill, Thomas F. (cited), [460], [589].
Duport, Jean Louis, [591].
Durand, [412].
Durante, Francesco, [59], [97].
Dussek, [98], [176].
Dvořák, Antonin, [338];
(violin music), [466];
(chamber music), [558]f;
(pianoforte quartets), [583];
(pianoforte quartets and quintets), [585]f;
(influence), [589].
String quartet in A minor, [558].
String quartet in E-flat, [559].
‘American’ quartet, [559].
Trios (op. 65 and 90), [580]f.
Pianoforte quartet (op. 23), [585].
Pianoforte quintet (op. 87), [585]f.

E

Ecclesiastical modes (modern use of), [363]f.
Eck, Franz, [418]f, [440].
Eck, Johann Friedrich, [418].
Edward VI, [375].
Effects, pianistic, [303]ff. See also Pianoforte technique.
Elizabeth, Queen of England, [4].
Elman, Mischa, [464]f.
Embellishments, [35]. See also Ornamentation.
Emotional expression, [14], [41].
Enescou, Georges, [466].
England, [18], [21];
(harpsichords in), [4];
(modern), [339].
English horn (in chamber music), [598], [601].
English virginal music, [18]ff, [32].
Equal Temperament, [67]f.
Érard, Sebastian, [157].
Ernst, Heinrich Wilhelm, [445].
Esterhazy, Prince, [496].
[L’]Estrange, Roger, [394].
[d’]Étree, [376].
Études. See Pianoforte études; Violin études.
Exoticism (in modern music), [362]f.

F

Fantasia, [11], [469];
(on ut-re-mi-fa-sol-la), [20];
(popularity in early 19th cent.), [285];
(on airs from favorite operas), [286];
(Liszt), [308];
(early use of term), [472].
Fantasie, [79].
Fantasy pieces, [211]. See also Schumann.
Farina, Carlo, [382], [467], footnote.
Farinelli, G. B., [397].
Farinelli’s Ground, [397].
Farrenc, Madame, [53]. See also Trésor des pianistes.
Fauré, Gabriel, [352]f, [604];
(violin sonata), [462];
(chamber music), [583], [588], [589].
Pianoforte quintet in D minor, [588].
Ferrara, Carlo, [591].
Ferrari, Domenico, [404].
Fétis (cited), [440].
Fidula, [369].
Field, John, [55], [132], [176], [179], [183], [254], [278].
Figured bass, [486], [487], [573].
Fingering (violin), [370];
('cello), [591].
First-movement form, [91]. See also Sonata form.
Fischer, Johann, [392].
Fitzwilliam collection, [18], [21].
Fitzwilliam Museum, [18].
Florid style (harpsichord), [35].
Floridia, Pietro, [465].
Flute (use of, in chamber music), [598], [604].
Flute concerto, [599].
Fochsschwantz, [468].
Folk-melodies (in English virginal music), [20];
(in pianoforte music), [136], [325].
Fontana, Giovanni Battista, [383], [476].
Foote, Arthur, [340], [589].
Form, [10];
(harmonic principle), [14];
(Scarlatti), [49];
(Chopin), [256];
(César Franck), [550].
See also Instrumental forms; Fugue; Sonata form; etc.
Förster, Emanuel Aloys, [510].
Fortunatus, Venantius, [368].
Foster, Will, [18].
France, [25];
(modern pianoforte music), [341]ff;
(violinist-composers), [405]ff.
Franck, César, [207], [345]ff, [349], [461], [547]ff, [561], [581], [586].
Prelude, Chorale and Fugue, [345]f.
Prelude, Aria and Finale, [346].
Symphonic Variations, [347]f.
Violin sonata, [461].
String quartet in D minor, [547]ff.
Pianoforte quintet, [586].
Franck, Melchior, [472].
Franco-Belgian school (of violin playing), [447]f.
Francœur, [406].
Franz, Robert (transcriptions of songs), [306].
Franzl, Ferdinand, [418].
Franzl, Ignaz, [418].
Franzl, Johann C., [413].
Frederick the Great, [414].
Frederick William II, King of Prussia, [487], [494], [506], [591].
Freedom of the arms (in pianoforte playing), [301]f.
Freedom of the hands (in pianoforte playing), [293].
Freedom of the wrist (in pianoforte playing), [296].
French Revolution, [407], [410], [432].
Frescobaldi, Girolamo, [15]ff, [24], [476].
Frische Clavier-Früchte (Kuhnau), [29].
Friskin, James, [589].
Froberger, Johann Jacob, [15], [23] (footnote), [24], [32], [75], [104], [473].
Fuga, [10].
Fugue, [11], [17], [21], [29], [41];
(Bach), [70]ff;
(in pianoforte sonata), [129]f, [166], [171];
(Mendelssohn), [215];
(Franck), [346];
(for 4 vlns., [16]th cent.), [376];
(three and four subjects, Haydn), [493].
Furcheim, Wilhelm, [386].
Furiant, [586].

G

G-string, [374], [382], [384].
Gabrieli, Andrea, [10].
Gabrieli, Giovanni, [10], [11], [471].
Gade, Niels, [326].
Gaillarde. See Galliard.
‛Gaily the Troubadour,’ [285].
Galitzin, Nikolaus, Prince, [520].
Galliard, [22], [23], [473].
[Le] Gallors, [36].
Galuppi, Baldassare, [97], [116]f.
Ganassi, Silvestro, [374].
Gassmann, Florian, [499], [503].
Gastoldi, [377].
Gautier, Denis, [26]f, [33], [34].
Gaviniés, Pierre, [408]f.
Gavotte, [26].
Gelinek, [182].
Geminiani, Francesco, [401], [430]f, [482].
Generative theme, [562]. See also Thematic metamorphosis.
Genouillière, [156].
Genre pieces, [212].
George, Stephen, [571].
Gerber (cited), [383].
Gerle, Hans, [374].
German romanticism, [320], [321].
Germany, [16], [36].
Gernsheim, Friedrich, [321], [324], [466].
Ghro, Johann, [472].
Giardini, Felice, [404].
Gibbons, Orlando, [19], [394].
Giga, [23].
Gighi, [478].
Gigue, [23].
Glazounoff, Alexander, [333];
(violin concerto), [464];
(chamber music), [555].
Glière, Reinhold, [555].
Glinka, [329];
(transcription of ‘A Life for the Czar’), [330].
Glissando, [192], [243].
Gluck, [7], [503].
‘God Save the King,’ [291], [308], [363].
Godard, Benjamin, [342].
Goldberg Variations, [67].
Goldmark, Karl (violin music), [466];
(pianoforte quintet), [589].
Gossec, [499].
‛Gott erhalte Franz den Kaiser,’ [497].
Graces, [35].
Grainger, Percy, [339].
‘Grand style’ of piano playing, [303].
Graun, Johann Gottlieb, [413], [414], [415], [420].
Gravicembalo, [5]. See also Harpsichord.
Greco, Gaëtano, [38], [43].
Greek modes (modern use of), [362]f.
Greek mythology, [27].
Gretchaninoff, Alexander, [555].
Grieco. See Greco.
Grieg, Edvard, [326]ff, [338];
(influence), [340];
(violin sonata), [463];
(cello sonatas), [597].
Pianoforte sonata in E minor, [327].
Pianoforte concerto, [327]f.
Ballade (piano), [328].
Holberg, suite (piano), [328].
String quartet, [556].
Grossi, [391], [478].
Ground bass, [83].
Grün, [445].
Guenin, Marie Alexandre, [408], [409]f.
Guillemain, [409].
Guitar, [437];
(imitation of, on violin), [387].

H

Haack, Carl, [416].
Habeneck, Coretin, [447].
Habeneck, F. H., [447].
Habeneck, Joseph, [447].
Halir, Karl, [451], [465].
Hammerschmidt, Andreas, [473].
Handel, [7], [8], [26], [42], [43], [87], [421], [484].
Harmonious Blacksmith, [87].
Hardelle, [36].
Harmonic basis (in the fugue), [70]f.
Harmonic coloring (Mozart), [145].
Harmonic principle (in musical form), [14].
Harmonic style, [13].
Harmonics (on violin), [438], [439], [448];
(use of, in string quartet), [571]f.
Harmonious Blacksmith, [87].
Harmony, [13]f, [29];
(Schubert), [194];
(Chopin), [261]f, [265]ff;
(Liszt), [318];
(Scriabin), [336]f;
(Debussy), [354]f;
(Ravel), [364]; (modern), [534].
Harp concerto, [599].
Harpsichord, [1], [2], [4]ff, [32], [34], [35], [128];
(‘touch’), [5];
(with two or more manuals), [47];
(in instrumental combinations), [573]f.
Harpsichord music, [16]ff, [40ff];
(florid style), [35];
(leaping figures), [47];
(descriptive pieces), [55]f;
(ornamentation), [59].
Harpsichord playing, [66], [68].
Harpsichord sonata, [97];
(with violin ad lib.), [426].
See also Pianoforte sonata.
Hasse, Johann Adolph, [7], [43].
Hausmann, Robert, [451].
Haydn, Joseph, [7], [89], [98], [100]f, [112], [116], [128], [131]f, [134], [135ff], [207], [410], [412], [416], [424], [444], [487], [503];
(compared with Beethoven), [133];
(fugue), [493];
(string quartet), [489]ff, [498ff], [560];
(influence on Mozart), [499], [502]f;
(trios), [574].
Piano sonata in G major (op. 14, Peters 11), [138].
Piano sonata in C major (op. 13, Peters 15), [138].
Piano sonata in F major (Peters 20), [138].
Piano sonatas in E-flat (Peters 1 and 3), [139].
Variations on a theme in F (for piano), [140]f.
String quartets (op. 9), [491].
String quartets, (op. 20) (Sonnen quartets), [492].
String quartets (op. 33), [493]f.
String quartets, op. 50 (1787), [495]f.
String quartets (op. 54 and 55), [496]f.
Haydn, Michael, [499].
Heine, [134].
Heller, Stephen, [321].
Helmesberger, G., [445].
Henselt, Adolf, [217].
Herz, Henri, [285]ff, [297], [447].
‘La Sonnambula’ Variations, [286].
Heuberger, Richard, cited, [194].
Hiller, Ferdinand, [176], [182].
Hoffmann, E. T. A., [218], [232].
Hoftanz, [470].
Holbrooke, Joseph, [589].
Holland, [21].
Holz, Karl, [521] footnote.
‘Home, Sweet Home,’ [291].
Horn (in chamber music), [598], [600], [604].
Horn sonata, [600].
Hubay, Jenö, [466].
Hugo, Victor, [318].
Hummel, Johann Nepomuk, [158]f, [175]f, [183], [254].
Piano concerto in A minor, [176]ff.
Hungary, [317].
Hupfauff, [470].
Huygens, Constantine, [32].

I

Imitative music, [28], [386]f.
Impressionism. See France (modern).
Impromptus (Schubert), [200]ff.
Improvisation (Mozart), [142]f.
d’Indy, Vincent, [129]f, [349]ff;
(cited), [167];
(violin sonata), [463];
(pianoforte quartet), [589]f.
Poëmes des Montagnes, [350].
Pianoforte sonata in E (op. 63), [351].
String quartets, [551]f.
Inner melodies, [60];
(Chopin), [278].
Instrumental forms, [11]f, [41], [102]. See also Canzona, Ricercar, Sonata, Toccata, etc.
Instrumental music (development), [1], [8]ff;
(early), [92];
(in 16th cent.), [373];
(15th-16th cent.), [469]ff.
Instrumental style, [11], [33];
(influence on vocal), [9], footnote.
Interlocking of the hands (piano-playing), [222], [352].
Inventions (Bach), [67].
Italian influences (in sonata), [99], [107], [117];
(in French violin music), [406];
(in German violin music), [412], [420];
(in France and Germany), [428];
(Mozart), [499].
Italy, [16], [25], [37];
(supremacy of, in 18th-cent. violin music), [427]f.

J

Jahn, Otto (cited), [507].
Jannequin, Clement, [10].
Jarnowick, [436].
Jenkins, John, [392]f.
Jensen, Adolf, [321], [323].
Jerome of Moravia, [370].
Joachim, Joseph, [238], [443], [445], [450]f, [458] (footnote), [460].
Joachim quartet, [451].
Jommelli, [491].
Jongleurs, [370], [372].
Jour de fête (String quartet by Russian composers), [555].
Judenkönig, [374].
Juon, Paul, [333].

K

Kaiserling, Count, [83].
Kalbeck, Max (cited), [543].
Kalkbrenner, [64], [176].
Kalliwoda, Johann Wenzelaus, [418], [445].
Kammenoi-Ostrow, [331].
Karganoff, Genari, [333].
Keiser, [7].
Kelly, Michael (cited), [502].
Kempi, Nicolaus, [478].
Key, variety of, [94].
Key contrast. See Contrast (of keys).
Key relationships, [30], [102];
(in suite), [23];
(Debussy), [355].
Keyboard instruments, [1]ff.
Keyboard style, [12].
Kielflügel, [5]. See also Harpsichord.
Klengel, [446].
Kopyloff, A., [555].
Kraft, Nikolaus, [510], footnote.
Kreisler, Johann (‘Kapellmeister Kreisler’), [232].
Kreutzer, Rodolphe, [408], [412], [418], [431]f, [451].
Kruse, J. C., [451].
Kuhnau, Johann Friedrich, [27], [28]f, [34], [35], [37], [59], [69], [75], [90], [94].
Sonate aus dem B., [28]f.

L

La ci darem la mano, [258], [309].
Lablache, [254].
Laborde, Jean B. (cited), [108] (footnote).
Lacombe, Paul, [342].
Lady Nevile’s Book, [18].
L’Augier, [43], [100].
LeBègue, [36].
Leblanc, [410].
Lafont, [431].
LaFranco, [374].
Lahoussaye, Pierre, [408].
Lalo, Edouard, [451], [461]f.
Lamartine, [318].
Lanzetti, [591].
‛[The] Last Rose of Summer,’ [285], [291].
Laub, Ferdinand, [418], [553].
Laurenti, [390].
Leaping figures (in harpsichord music), [47].
Leclair, Jean Marie, [406], [407].
Legato style, [30];
(pianoforte touch), [161];
(violin-playing), [374], [381].
Legends (Liszt), [311]f.
Legrenzi, Giovanni, [386], [478].
Leighton, William, [394].
Lenau, [318].
Lentor, John, [394].
Lenz, W. von (cited), [290], [291].
Léonard, [447].
‘Lessons,’ [22], footnote.
Liadoff, Anatole, [334], [555].
Lichnowsky, Prince, [510], [513].
Lichtenstein, Ulrich von, [370].
‘Lily Dale,’ [291].
Linke, Joseph, [521] footnote.
Linley, Thomas, [404].
Lipinski, C. J., [446].
Liszt, [48], [134], [207], [276], [286], [298ff], [321], [342], [357], [367];
(cited on Chopin), [253], [258];
(cited on Field), [278];
(on Thalberg), [296];
(influence on Raff), [322];
(influence on Russian composers), [329];
(influence), [337], [354];
(influence in France), [341].
Études, [301]f, [313]f.
Reminiscences de Don Juan, [309]ff.
Realistic pieces, [311]ff.
Années de pélerinage, [312].
Pianoforte concerto, [314].
Pianoforte sonatas, [314]ff.
Hungarian Rhapsodies, [317].
Literary suggestions, [318].
Lobkowitz, Prince, [517].
Locatelli, Pietro, [95], [401], [405], [435], [436], [487]f.
Lock, Matthew, [394].
Loeffler, Charles Martin, [604].
Lolli, Antonio, [409], [435], [436].
Lombardini, Maddelena, [404].
London, [24];
(Salomon concerts), [410], [443].
London Philharmonic Society, [416].
Longo, Alessandro, [44].
Lotti, Antonio, [108].
Louis XIV, [7], [52].
Loures, [26].
Löwe, Johann Jakob, [473].
Lübeck, [2].
Lucchesi, G. M., [404].
Lully, Jean-Baptiste, [7], [393].
Lute music, [9], [469];
(transcriptions), [468].
Lutenists, [26], [33].
Lutheran Church, [12].
Lydian mode, [526].

M

MacDowell, Edward, [340].
Mace, Thomas, [395], [470].
Mackenzie, A. C., [339].
Madrigali da camera, [474].
Madrigals, [9], [10], [473], [486].
Malfatti, Theresa, [517].
Malibran, Maria, [448].
Malibran-Garcia, [254].
Mandolin, [47].
Manfreli, Filippo, [404].
Manieren, [35], footnote.
Mannheim school, [419]f.
Mannheim orchestra, [487].
Mannheim symphonies, [490].
Manuals (in organ and harpsichord), [47].
Marchand, [60].
Marie Casimire, Queen of Poland, [42].
Marini, Biagio, [379], [476].
Marini, C. A., [478].
Marmontel, A. (cited), [178], [344].
Marschner, Heinrich (trio), [577].
Marseillaise (The), [285].
Martini, Padre, [96]f, [104], [106], [119].
Maschera, Florentino, [378], [470].
Mass, [9].
Massart, Joseph, [447].
Mattheson, [7].
Maximilian, Emperor of Mexico, [312].
Maximilian Franz, Prince, [600].
Mayseder, Joseph, [419], [444].
Mazurkas, [252]f.
Mazzaferrata, [391], [478].
Mazzolini, [390], [478].
Medici, Ferdinand de’, [44].
Melody (treatment of, in pianoforte music), [296].
Mendelssohn-Bartholdy, Felix, [212]ff, [440], [451];
(compared to Schumann), [223];
(transcription), [306], [307];
(influence), [326], [328];
(string quartets), [539]ff;
(trios), [577];
(cello music), [595].
Songs without Words, [213], [217],
Variations sérieuses, [215].
Violin concerto, [458].
Mereaux, Amadée, [62].
Merula, Tarquino, [384], [476].
Merulo, Claudio, [10].
Meyerbeer, [191];
(transcriptions), [296].
Miniature forms, [211]f, [321];
(Schubert), [204];
(Schumann), [222];
(Brahms), [239].
Minnesinger, [370].
Minstrels, [371].
Minuet, [26];
(in pianoforte sonata), [166];
(in string quartet), [493], [495], [504], [511].
Modes. See Ecclesiastical modes, Greek modes.
Modulation, [13], [114]. See also Key contrast.
Moffat, Georg, [36]f.
Moffat, Gottlieb, [36], [37].
Molinari, Marquis, [108].
Molique, Bernhard, [450].
Molliner Collection, [18].
Monochord, [2].
Mont’Albano, Bartolomeo, [384], [476].
Montaigne, [375].
Monteverdi, Claudio, [6], [378].
Moór, Emanuel, [466], [598].
Mordents, [32].
More, Sir Thomas, [375].
Morino, [470].
Morley, Thomas, [22].
Moscheles, Ignaz, [64], [132], [176], [182], [285].
Moszkowski, Maurice, [321], [323]f.
Motet, [9].
Motive, [70].
Mouquet, J., [604].
Moussorgsky, [330], [331].
Mozart, [8], [89], [98], [100]f, [112], [116], [123], [128], [131]f, [134]f, [141ff], [207], [367], [424ff], [426]ff, [496], [591]f;
(compared to Beethoven), [133];
(concerto form), [150]ff;
(influence on Chopin), [254]f;
(‘Don Giovanni’ transcription), [308]f;
(influence on Haydn), [495];
(string quartet), [498ff];
(miscel. chamber music), [560];
(trio), [574]f;
(compositions for wind instruments with piano), [598]f.
Pianoforte sonatas, [144]ff.
Piano sonata in C minor (K. 457), [145].
Piano sonata in A minor, [145]f.
Piano sonata in A minor (K. 310), [146].
Piano sonata in F major (K. 332), [146].
Piano sonata in A major (K. 331) [147]f.
Piano sonata in F major (K. 332), [147].
Piano sonata in A major (K. 331), [148].
Piano sonata in C minor (K. 457), [148]f.
Piano sonata in F major (K. 533), [149].
Piano fantasia in C minor, [149]f.
Pianoforte concerto in A major (K. 488), [151]f, [154].
Piano concerto in D-major: ‘Coronation’ (K. 537), [154].
Violin concertos, [425].
Violin sonatas, [427].
Divertimenti (1772), [499].
Six string quartets (1772, K. 155-160), [500]ff.
Six string quartets (Vienna, 1773, K. 168-173), [502]f.
Six string quartets (1782-1785) (G major, K. 387; D minor, K. 421;
E-flat major, K. 428; B-flat major, K. 458; A major, K. 464; C major, K. 465), [504]ff.
String quartets (1789-90; K. 575, 589, 590), [506].
String quintets (K. 515, 516, 593, 614), [507]f.
Mozart, Leopold, [374], [413], [416]f.
Mühlfeld, Professor, [579], [603].
Musikalisches Kunstmagazin, [494].

N

Nardini, Pietro, [403], [428], [430].
Nationalism, [320], [325], [329];
(Brahms), [248];
(Chopin), [252]f;
(Liszt), [317];
(Grieg), [326]f;
(Spanish), [339];
(Tschaikowsky), [464].
Neri, Massimiliano, [385], [477].
Neubauer, Johann, [473].
Nevin, Ethelbert, [340].
Newmarch, Rosa (cited), [465].
Nibelungen Lied, [369].
Niemann, Walter (cited), [333], [334].
Niemetschek, Franz Xaver (quoted), [143].
Nocturne, (Field), [179];
(Chopin), [281].
Nocturne form, [180].
Nonet (Spohr), [603].
Notker, [369].
Notre Dame, Paris, [369].
Notturni (quartet), [489].
Novàk, Vatislav (pianoforte quintet), [589].

O

Oboe (in chamber music), [598], [601], [604].
Octet (with wind instruments), [600], [601].
Ofried, [369].
Opera, [6], [14], [40].
Operatic fantasias, [286], [291], [300], [308], [575].
Orchestra, [6], [7];
(early combinations), [370]f, [373], [376].
Orchestral masterpieces (transcriptions of), [306].
Orchestral style (in pianoforte music), [162]f, [193];
(organ-playing), [16];
(in early chamber music), [486];
(in string quartet), [556]f, [558], [561].
Ordres, [22] (footnote), [54].
Organ, [1]f, [4], [8].
Organ music, [9], [16], [21];
(influence of, on harpsichord), [30].
Organ style, [30]f, [63], [347], [422], [424].
Organist-composers (16th and 17th cent.), [14]ff.
Organists, [17].
Oriental ‘color,’ [362], [365].
Ornamentation (in harpsichord music), [59];
(Chopin), [278]f.
Ottoboni, Cardinal, [42].
Overtones, [219], [243], [356], [357], [363]. See also Harmonics.
Overture, French, [79].
Overtures, transcriptions of, [310].

P

Pachelbel, [16].
Paderewski, Ignace, [338].
Paganini, [243], [299], [318], [430], [433], [435], [437]ff, [443], [446];
(influence), [448].
Pagin, A. N., [408].
Palestrina, [10], [13].
Paradies, Domenico, [97], [116].
Paris, [430].
Paris Conservatoire, [408], [433], [434].
Paris School (violin music), [430], [435].
Parthenia, [18], [22].
Partien, [22] (footnote).
Partita. See Bach, J. S.
Parody (in pianoforte music), [366].
Pasquini, Bernardo, [6], [37], [43], [90].
Passacaglia, [83].
Passages, [32];
(Weber), [186]f;
(Chopin), [276].
See also Arpeggios, Scales.
Passepieds, [26].
Pasta, [254].
Paul, Archduke of Russia, [493].
Paumann, Conrad, [372].
Pauses, [140].
Pavane, [22], [23], [469], [473].
Pawirschwantz, [468].
Pedal, [156].
Pedalling, [161]f, [181], [356];
(Schumann), [219].
Pepys’ Diary, [393].
Pergolesi, Giovanni, [1]O1f, [107].
Peri, [474].
Petrarch, [318].
Petrucci’s lute collection, [469].
Petzolds, Johann, [473].
Philip, Isadore, [343].
Pianists. See Virtuosi (piano).
Pianoforte, [132];
(use of, by Mozart), [144];
(development of), [155]ff;
(exploitation of resources), [310];
(modern development of resources), [363];
(in chamber music combinations), [573]ff.
See also Virtuoso music.
Pianoforte actions, [156], [157].
Pianoforte concerto, (Mozart), [150]ff, [154];
(Beethoven), [173];
(Schumann), [237];
(Chopin), [263];
(Liszt), [314];
(Tschaikowsky), [332];
(Grieg), [327]f;
(Brahms), [247]f;
(Rachmaninoff), [334].
Pianoforte études, (Czerny), [44], [64], [182];
(Clementi), [121];
(Chopin), [258];
(Liszt), [301], [313]f;
(Scriabin), [335].
Pianoforte music, (orchestral style in), [193];
(influence of song in), [194], [254].
Pianoforte playing, (C. P. E. Bach), [127]f;
(Mozart), [142];
(Beethoven), [160]f;
(Hummel), [176];
(Field), [179];
(Schubert), [194];
(Chopin), [255];
(Thalberg), [291];
(Liszt), [299]f, [301].
Pianoforte quartet, [582], [583].
Pianoforte quintet, [582]f, [586]ff.
Pianoforte sonata, (Kuhnau), [28];
(development), [89ff];
(general character of movements), [98]f;
(dramatic conception of), [122];
(Haydn and Mozart), [136]ff;
(Beethoven), [154]ff, [159]ff;
(interdependence of movements), [167]f, [262]f;
(Weber), [187]ff;
(Schubert), [195]ff;
(after Beethoven), [207];
(Romantic), [208]f;
(Schumann), [235];
(Brahms), [240];
(Chopin), [257]ff;
(Liszt), [314]ff;
(Grieg), [327];
(Rachmaninoff), [334];
(Scriabin), [337];
(d’Indy), [351];
(with violin ad libitum), [426].
Pianoforte style, [33], [268], [277].
Pianoforte technique, [68], [132], [268];
(Clementi), [157];
(Beethoven), [162]f;
(after Beethoven), [175];
(Weber), [184], [187];
(Schumann), [219];
(Brahms), [247];
(Thalberg), [293];
(Liszt), [301]ff;
(Scriabin), [335];
(Alkan), [343];
(Franck), [346];
(d’Indy), [352];
(Debussy), [358]f.
Picture music, [214].
Pierné, Gabriel, [353], [604].
Piquot (quoted), [488]f.
Pisendel, Johann Georg, [413].
Piva, [469].
Pixis, F. W., [418].
Pizzicato, [378], [387], [448], [588];
(combined with bowed notes), [438];
(Mozart), [505];
(Debussy), [564];
(in string quartet, Schönberg), [571]f.
Plain-song, [10], [20].
Playford, John, [395].
Polka de la reine, [322]f.
Polonaises, [252]f;
(Chopin), [282].
Polyphonic style, [9] (footnote), [11], [16], [22], [74], [383], [386], [392], [471];
(organ), [31];
(Chopin), [269], [271];
(Corelli), [397];
(in violin solo sonata), [422].
Polyphony (vocal), [9].
Popularization (of Bach, Beethoven, Chopin), [300].
Porpora, Nicolo, [51].
Portraiture, musical, [55]f, [226].
Positions in violin playing, (change of), [384];
(seventh), [431].
Pot-pourri, [310].
Præludium, [469]. See also Prelude.
Prætorius, Michael, [375];
(cited), [468], [472].
Preamble, [79], [469].
Prelude, [12], [17], [21], [29], [41];
(Bach), [80];
(Chopin), [264];
(Heller), [321];
(Rachmaninoff), [334];
(Debussy), [361]ff.
Program music, [27]f, [312].
Proportz, [470].
Puccini, Giacomo, [366].
Pugnani, Gaëtano, [402], [404], [410].
Punto, [600].
Purcell, Henry, [21], [392], [479].
Pythagoras, [2].

Q

Quagliati, Paolo, [381].
Quantz, J. J., [415], [515].
Quartet style, [555]f, [565].
Queen Elizabeth Virginal Book, The, [18].
Quintet, (Beethoven), [509];
(clarinet and strings), [599];
(wind instruments and piano), [599];
(with wind instruments), [600], [601].
See also Pianoforte quintet; String quintet.

R

Rachmaninoff, [334], [338].
Raff, Joachim, [321], [322]f;
(string quartet), [547].
Rameau, J. P., [8], [61]f, [131].
Rappoldi, [445], [451].
Rasoumowsky, Prince, [419], [513].
Ravel, Maurice, [353], [364]ff, [564]f.
Realism, [27];
(in pianoforte music), [311], [344].
Rebec, [369], [372].
Rébel, [406].
Recitative, [14].
Recoupe, [470].
Regal, [1].
Reger, Max, [321], [466], [598], [604].
Registers, contrast of (in pianoforte music), [277].
Reichardt, J. F., [494].
Reiteration of notes, [47].
Reményi, [445].
Reusser, Esajas, [473].
Revolution. See French Revolution.
Rhétorique des Dieux, [26].
Rhythm, (syncopated), [219]f;
(mixture of duple and triple, Brahms), [241];
(5/4 time), [258];
(7/8 time), [359];
(rhythmic oddities), [547].
Ricercar, [10], [11], [469].
Richter, Franz Xaver, [112], [413], [487].
Richter, Jean Paul, [218], [321].
Riemann, Hugo, cited, [512], [521].
Ries, Ferdinand, [182].
Rigoletto, [309].
Rimsky-Korsakoff, [330]f, [555].
Robineau, L’Abbé, [409].
Rode, Pierre, [412], [430], [432], [433]f, [451], [456];
(influence on Spohr), [440].
Rogers, Dr. Benjamin, [394].
Rois des ménestriers, [372].
Rois des violins, [372].
Rolla, Alessandro, [437].
Romanticism, [207]f, [211], [218], [239], [320], [321].
Rome, [2], [6], [15].
Rondo (Couperin), [17]f, [58], [79].
Ropartz, Guy, [598].
Roseingrave, Thomas, [43], [44].
Rosenmüller, Johann, [473].
Rossi, Salomone, [474].
Rossini, [292].
Rounds, [473].
Rubert, Martin, [473].
Rubini, [254].
Rubinstein, Anton, [295], [331];
(trio), [579]f.
Rudolph, Archduke, [575].
Ruggeri, [391], [402].
Rugieri, [478].
‘Rule, Britannia,’ [291].
Runs, [383], [430], [448].
Russia (modern composers), [329], [553].
Russian ‘color’ (Beethoven), [515].
Rust, Friedrich Wilhelm, [98], [100]f, [117], [129], [416].
Rust, Ludwig Anton, [117].

S

Saint-Foix, [425].
St. Georges, Chevalier de, [407].
St. Germain des Près, Abbey of, [369].
St. Mark’s, Venice, [1].
St. Nicholas Brüderschaft, [371].
St. Peter’s (Rome), [2], [15], [42].
Saint-Saëns, Camille, [341]f;
(violin music), [462];
(trio), [581];
(pianoforte quartet), [589];
('cello sonata), [598].
Salieri, [454].
Salomon, Johann Peter, [416], [496].
Salomon concerts (London), [410], [443].
Salon music, [201];
(Chopin), [280]f.
Saltarello, [469].
Sammartini, Giovanni Battista, [498], [499].
Santini, Abbé, [44].
Sarabande, [23], [25], [75].
Sarasate, Pablo de, [451], [452], [462], [465].
Satie, Eric, [366]f.
Saxophone (in chamber music), [598].
Scale passages, [20];
(harpsichord), [68];
(Clementi), [120].
Scandinavia (pianoforte music), [326]ff.
Scarlatti, Alessandro, [7], [38], [42]ff, [111].
Scarlatti, Domenico, [8], [19], [38], [41], [42]ff, [45], [86], [91], [105]ff, [109]. 131, [276];
(sonatas), [46]ff;
(form), [49];
(compared with Bach), [65].
Schachbrett, [3].
Scharwenka, Philipp, [321].
Scharwenka, Xaver, [321], [323]f.
Scheidt, Samuel, [16].
Schein, I. H., [472].
Scherzo, [79];
(in string quartet), [493].
Schmitt, Florent, [365]f.
Schobert, Jean, [97], [98], [113], [114], [117], [123], [426], [498].
Schönberg, Arnold, piano music, [324];
(chamber music), [565]ff.
Sextet, Verklärte Nacht, [565].
First string quartet, [567]ff.
Second string quartet, [570]f.
Schubart, C. F. D., [417].
Schubert, Franz, [89], [183]ff, [193ff], [206], [209], [254], [367], [547], [577], [590];
(compared with Brahms), [248];
(Müller-Lieder transcription), [296];
(transcriptions of songs of), [306], [307];
(transcription of waltzes), [310];
(violin music), [456];
(string quartet), [536]ff;
(octet), [602].
Piano sonata in A major (op. 120), [198].
Piano sonata in D major (op. 120), [195].
Piano sonata in A minor (op. 143), [196]f.
‘Wanderer’ Fantasy (op. 15), [198].
Impromptus (first set), [200]ff.
Impromptus (second set), [202]f.
‘Musical Moments,’ [204]ff.
Dances (for piano), [206].
String quartet in G major, [537]f.
Trios (op. 99 and 100), [577].
‘Forellen’ quintet, [590].
Schumann, Clara, [133], [300], [584].
Schumann, Robert, [193], [207], [218]ff, [254], [333], [367], [439], [440], [547];
(opinion of Mendelssohn), [217];
(compared with Brahms), [248];
(transcriptions of songs of), [306];
(influence on Chopin), [323];
(influence), [329], [349]ff, [551];
(violin sonatas), [457]f;
(string quartets), [541]ff;
(trio), [578];
(pianoforte quintet), [587];
(cello music), [595];
(viola pieces), [598];
(comp. for clarinet, viola and piano), [603].
Fantasy Pieces, [222]f.
Kinderscenen, [224].
Carnaval, [225]ff.
Davidsbündler Dances, [229].
Papillons, [229].
Faschingsschwank aus Wien, [229].
Abegg Variations, [230].
Symphonic Études, [230]ff.
Kreisleriana, [232]ff, [273].
Novelletten, [235].
Sonata in F-sharp minor, [235].
Sonata in G minor, [236].
Fantasy, [236].
Pianoforte concerto, [237].
String quartet in A minor, [541].
String quartet in F major, [542].
String quartet in A, [542].
Pianoforte quartet (op. 44), [582].
Pianoforte quartet (op. 47), [582].
Schuppanzigh, Ignaz, [419], [510] (footnote), [513].
Schuppanzigh quartet, [510] (footnote), [521].
Scott, Cyril, [339].
Scriabin, Alexander, [335]ff.
Senaillé, J. B., [406].
Sénancourt, [318].
Sensationalism, [294]f. See also Virtuoso music.
Septet (with wind instruments), [600].
Serenades, [599].
Serrato, Arrigo, [466].
Sextet, (Beethoven), [509];
(with wind instruments), [600], [601].
Sgambati, Giovanni, [338]f;
(pianoforte quintet), [589].
Shedlock, J. S., (cited), [38] (footnote); 43; 50 (footnote);
(quoted on Chopin), [259];
(quoted on Beethoven), [262].
Short forms. See Miniature forms.
Sibelius, [465].
Sibylla, Duchess of Württemberg, [24].
Siciliana, [505].
Simphonia (early use of term), [472].
Simpson, Christopher, [394].
Sinding, Christian, [328]f;
(pianoforte quartet), [590].
Concerto in D-flat, [329].
Sinfonia, [79], [475].
Singing allegro, [101], [107], [113].
Singing bass, [60].
Singing melody (in pianoforte playing), [296], [307].
Sinigaglia, Leone, [466].
Skips (violin playing), [430].
Slavic influences (in sonata), [98], [99].
Slawjk, Joseph, [445]f.
Smetana, [556]f, [561];
(influence), [589].
String quartet, Aus meinem Leben, [556]f.
Société des Concerts du Conservatoire, [447].
Sokoloff, Nikolas, [555].
Somis, [402].
Sonata, (origin of word), [12];
(Kuhnau), [28];
(so-called), [37], [91];
(Scarlatti), [46]ff;
(for violin alone), [409], [421];
(for two violins), [421];
(with figured bass), [426];
(for harpsichord and violin ad libitum), [426];
(early use of term), [471], [472];
(in early instrumental music), [474]f, [477], [478]ff;
(Corelli), [482];
(a quattro), [484].
See also Pianoforte Sonata; Violin sonata; Violoncello sonata; Trio sonata, etc.
Sonata a quattro (early form of string quartet), [484].
Sonata cycle, [478], [482];
(interchange of movements), [100].
Sonata da camera, [22] (footnote), [385], [396];
(fusion with Sonata da chiesa), [483].
Sonata da chiesa, [12], [385], [396];
(fusion with sonata da camera), [483].
Sonata form, [49], [50], [90]f, [104], [484]f, [487];
(in string quartet), [490].
See also Triplex form.
Song (influence of, on pianoforte music), [194], [254].
Songs, (variations on), [289];
(transcriptions of), [307].
Songs without Words, [211]. See also Mendelssohn.
Sontag, Henriette, [439].
Spain (modern), [339].
Spinet, [5].
Spineta, Giovanni, [5].
Spohr, Ludwig, [412], [418], [430], [438], [440]ff;
(string quartet), [535]f;
(trio), [577];
(clarinet compositions), [603].
Staccato (violin), [449].
Stamitz, Anton, [418], [432].
Stamitz, Carl, [418].
Stamitz, Johann, [98], [112]f, [413], [418], [420], [487], [491], [499].
Stcherbatcheff, Nicholas de, [334].
Steibelt, [182].
Stein, [156], [158].
Stich, [600].
Stillman-Kelley, Edgar (cited), [251].
Stormant, Lord, [502].
Stradivarius, [386] (illus.). See Vol. VIII.
Strauss, Ludwig, [445].
Strauss, Richard, [321], [324];
(influence), [338];
(violin sonata), [465]f;
(pianoforte quartet), [590];
('cello sonata), [597]f;
(horn concerto), [604].
Streicher, [156], [158].
Striggio, [376].
String quartet (early example of combination), [376];
(early forms of), [475], [477], [484];
(early classics), [486]ff;
(Boccherini), [487], [488];
(Haydn), [489]ff;
(Mozart), [507]f;
(Beethoven), [509]ff, [512]ff, [534];
(Spohr), [535]f;
(Schubert), [536]ff;
(Mendelssohn), [539]ff;
(Schumann), [541]ff;
(Brahms), [545]ff;
(Franck), [547]ff;
(d’Indy), [551]f;
(Chausson), [552];
Dvořák, [559];
(modern), [560]ff;
(Debussy), [561]ff;
(Ravel), [564]f;
(Schönberg), [565]f.
String sextet, (Brahms), [543]ff;
(Schönberg), [565]f.
Strungk, Nicholas Adam, [392], [412].
Studies, [321]. See also Études.
Style galant, [58], [75], [502].
Suite, [12]ff, [41], [74]ff, [93];
(uniformity of key), [25];
(Bach), [70]ff;
(Grieg), [327];
(early form of), [469]f.
See also Ordres.
Sulponticello, [556].
Süssmayer, [425].
Sutterheim, Baron von, [528].
Symbolical sequence of notes, [218].
Sympathetic vibrations, [356], [363].
Symphonic masterpieces (transcriptions of), [306].
Symphony (term applied to string quartet), [490].
Syncopated rhythms (Schumann), [219]f.

T

Taglietti, [478].
Taneieff, Serge, [555].
Tarantella (Heller), [321];
(Dargomijsky), [330].
Tartar le corde, [469].
Tartini, Giuseppe, [122] (footnote), [402], [412], [415], [417], [427], [428], [430].
Tausig, [44], [290].
Technique. See Pianoforte technique; Violin technique.
Telemann, Georg Philipp, [413].
Temperament, equal. See Equal temperament.
Terminology (uncertain, in Renaissance period), [472].
Ternary form, [45]. See Triplex form.
Thalberg, Sigismund, [286], [291]ff, [449];
(rivalry with Liszt), [299]f.
Fantasia on ‘Moses,’ [292]ff.
Thayer, [433].
Thematic development, [475], [480].
Thematic metamorphosis, [548].
Themes, [11], [70];
(contrasted), [113];
(second), [476], [477].
Thome, François, [342].
Thomelin, Jacques, [52].
Thumb (use of, in pianoforte playing), [68].
Toccata, [12], [21], [29], [41], [79], [469], [470];
(A. Scarlatti), [38];
(Bach), [81].
Tone color (attempt at, in string quartet), [517], [572].
Tone-painting, [382].
Tonini, [391], [478].
Tordion, [470].
Torelli, Giuseppe, [388]f, [399], [413], [483];
(influence on Bach), [422].
Tost, Johann, [496], [535].
‘Touch’ (harpsichord), [6]. See also Pianoforte technique.
Touchemoulin, [409].
Tourte, François, [431].
Transcriptions, [296];
(Liszt), [306];
(Mendelssohn’s ‘Midsummer Night’s Dream’), [310];
(Schubert’s Waltzes), [310];
(Glinka), [330];
(of Vivaldi’s concertos, by Bach), [422];
(Rode’s Theme and Variations), [434];
(Paganini caprices), [439];
(for lute), [468].
See also Fantasias; Operatic fantasias.
Transitional passages (in sonata), [114].
Tremolo, (pianoforte), [302];
(string instruments), [378], [381], [384], [556].
Trésor des Pianistes (Madame Farrenc’s), [53], [104], [129].
Trills, [32], [430].
Trio, [469];
(Haydn, Mozart), [574]ff;
(Beethoven), [576]f;
(Schubert, Mendelssohn, Schumann), [577];
(modern Russian), [579]f;
(Arensky, Dvořák, Tschaikowsky), [580];
(modern French), [581];
(wind instruments and piano), [599].
Trio sonatas, [101], [388], [474], [476], [484], [574].
Triplex form, [91], [96], [102], [104]ff, [115];
(C. P. E. Bach), [113];
(Beethoven), [163]ff;
(Chopin), [260].
See also Sonata form; Ternary form.
Trium, [469].
Trombone (in chamber music), [604].
Troubadours, [9] (footnote), [370].
Tschaikowsky, [331]ff, [463]f, [553]f, [561], [580];
(on Lalo), [462].
Pianoforte concerto in B-flat minor, [332].
Violin concerto, [463]f.
String quartet, [553]f, [561].
Trio (op. 50), [580].
Tum-tum bass, [177], [191], [287].
Tuning (modified, of violin), [392], [436], [439]. See also Equal temperament.
Turin School (of violin music), [404]f.
Turini, Francesco, [475].
Turns, [32].

U

Ucellini, Marco, [385].
Uhland, [252].

V

Valentini, Giuseppi, [402].
Variations, [17], [18], [19], [20]f;
(Handel), [87];
(Beethoven), [165], [595];
(Weber), [184]f;
(Mendelssohn), [215];
(Schumann), [230]f;
(Brahms), [242]ff;
(popularity in early 19th cent.), [285];
(Herz), [286]f;
(Thalberg), [291];
(in early instr. music), [475];
(Haydn), [475].
Venetian school (violin composers), [399].
Venice, [1].
Veracini, Antonio, [390], [479], [483].
Veracini, Francesco Maria, [401], [483].
Verdi (Rigoletto transcription), [309].
Viadana, [474].
Vicentino, Nicola, [467] (footnote).
Vienna, [89], [371], [502].
Viennese classics, [131]ff.
Vieuxtemps, Henri, [412], [446], [448]f, [453].
Vinacesi, [391], [478].
Viol, [371], [372].
Viola, [598].
Viola da gamba, [590]f.
Viola pomposa, [591].
Viola sonata, [598].
Viola suite, [598].
Violin, [370];
(ancestors of), [368]f;
(in 16th cent.), [373]f;
(modified tunings), [392].
Violin bow, [382], [385].
Violin concerto, (Torelli), [388];
(Viotti), [405], [411];
(Bach), [422], [423];
(Mozart), [424]f;
(Kreutzer), [432];
(Rode), [433];
(Baillot), [435];
(Paganini), [440];
(Spohr), [441];
(de Bériot), [448];
(Joachim Wieniawski), [450];
(modern), [451]f;
(Beethoven), [456]f;
(Schubert), [456];
(Mendelssohn), [458];
(Brahms), [460];
(Lalo), [461]f;
(Tschaikowsky), [463]f;
(Glazounoff), [464]f;
(Bruch), [465];
(Sibelius), [465];
(Reger), [466];
(modern Bohemian and Italian), [466].
See also Violin solo, sonata for.
Violin études, (Gaviniés), [409];
(Kreutzer), [432].
Violin methods, (Geminiani), [401];
(L. Mozart), [417];
(Conservatoire), [433];
(Baillot), [435];
(Spohr), [442].
Violin music, before Corelli, [379]ff;
(English, [17]th cent.), [393];
(18th cent.), [396]ff;
(19th cent.), [430]ff.
Violin playing (in Middle Ages), [371], [372];
(16th cent.), [373];
(popularity of, in 18th cent.), [400]f;
(Gaviniés), [409];
(in Germany, [18]th cent.), [412]f;
(Benda), [415];
(Tartini), [431];
(Paganini), [438]f;
(Spohr), [442];
(modern), [452].
See also Violin technique.
Violin solo, concerto for, [399];
sonata for (Gaviniés), [409];
(Handel), [421];
(Bach), [422], [424];
works for, [422].
Violin sonata (evolution), [384];
(G. B. Vitali), [387];
(Biber), [391];
(Corelli), [397]ff;
(Albinoni), [399];
(Vivaldi), [400];
(Veracini), [402];
(Tartini), [403];
(Leclair), [407];
(Rust), [416];
(Handel), [421];
(various types), [426]f;
(Beethoven), [454]ff;
(Schubert), [457];
(Schumann), [457]f;
(Brahms), [459]f;
(Franck), [461];
(Saint-Saëns, modern French), [462]f;
(Grieg), [463];
(Strauss), [465]f.
See also Violin solo, sonata for.
Violin technique, (development), [368]ff, [373]ff;
(18th cent.), [430]f;
(Paganini), [438];
(Spohr), [441];
(Brahms-Joachim), [460].
See also Double-stopping; Bowing.
Violinists. See Virtuosi (violin).
Violoncello music, [590]ff;
(Beethoven), [592]ff;
(Schumann, Mendelssohn), [595]f;
(Brahms), [596]f;
(Grieg), [597];
(modern), [597]f.
Viotti, Giambattista, [402], [404]f, [408], [410]ff, [428], [430], [431], [433], [488].
Violin concertos, [411].
Virdung, S., [374].
Virginal, [4].
Virginal music, [18].
Virtuosi, (piano), [209], [284], [290];
(violin), [401]f, [411], [417], [435]ff, [444], [451]f.
Virtuosity, [41], [43], [45], [298]f.
Virtuoso effects (violin), [401], [448].
Virtuoso music, [165], [177], [276], [288]ff, [297], [304], [310], [400], [436], [443], [466], [511].
Virtuoso style, [216], [405].
Vitali, Giovanni Battista, [387], [479].
Vitali, Tommaso Antonio, [383], [388].
Vivaldi, Antonio, [37], [95], [98], [399], [400], [413], [483]f;
(influence on Bach), [69], [422].
Vocal music (as chamber music), [467];
(15th-16th cent.), [486]ff.
Vocal polyphony, [9].
Vocal style, [12];
(influence on instrumental), [9] (footnote);
(in violin music), [376];
(in instrumental music), [377], [378].
Vogler, Abbé, [191].
Volkmann, Robert (string quartet), [547].

W

Wachs, Paul, [342].
Wagenseil, G. C., [113], [117], [123]f, [498].
Wagner, Richard, [132], [133], [251], [442], [459];
(transcription of Tannhäuser overture), [307].
Waldhorn. See Horn.
Walter, Jacob, [386], [422].
Wasielewski, G., [122] (footnote);
(cited), [406], [412], [413], [415], [446].
Variations on a Popular Romanza, (op. 28), [185].
Variations on a Theme in C major (op. 7), [185].
Variations (op. 40), [186].
Variations on a Bohemian Melody (op. 55), [186].
Piano sonata in C major (op. 42), [188].
Piano sonata in A-flat major, [188]ff.
Piano sonata in D major, [189].
Invitation to the Dance, [190]f.
Konzertstück in F minor, [191]f.
Weber, Carl Maria von, [132], [183]ff, [206], [208], [209], [267], [350], [367];
(Preciosa transcription), [296];
(clarinet compositions), [602]f.
Weiss, Amalie, [451].
Weiss, Franz, [510], footnote.
Weitzmann (cited), [137].
Well-Tempered Clavichord. See Bach.
‘We're a' noddin',’ [285].
Whole-tone scale, [355], [359]f.
Wieck, Clara. See Clara Schumann.
Wieniawski, Henri, [447], [450].
Wihtol, Joseph, [334].
Wilhelmj, August, [443].
Wind instruments (in chamber music), [598]ff;
(combinations of), [604].
Woldemar, [436].
Women violinists, [404].
Worms, [371].
Wranitzky, Anton, [419].
Wyzewa, [425].

Y

Ysäye, Eugène, [461].

Z

Zacconi, Ludovico, [375].
Zanata, [391], [478].
Zinke. See Cornetto.
Zmeskall von Domanowecz, Nicolaus, [492], [518].
Zweelinck, [16], [21].