Footnotes

[1.] "Les Origines du Théâtre Moderne ou Histoire du Génie Dramatique depuis le Premier Siècle jusqu'au XVIe." Paris, 1838.

[2.] "Histoire de l'Harmonie au Moyen Age." Paris, 1852.

[3.] See Robert Eitner's introduction to the First Part of "Die Oper von ihren ersten Anfängen bis zur Mitte des 18. Jahrhunderts." Leipsic, 1881.

[4.] "Histoire de la Musique Dramatique en France," par Gustave Chouquet. Paris, 1873.

[5.] "An Historical and Critical Account of the Theaters in Europe," by Lewis Riccoboni, translated from the Italian. London, 1741.

[6.] "La Musique aux Pays-Bas avant le XIX Siècle," Edmond Vander Straeten. Brussels, 1867-1888.

[7.] "Musici alia Corte dei Gonzaga in Mantova dal Secolo XV al XVIII," per A. Bertolotti. Milan.

[8.] "A General History of the Science and Practice of Music," by Sir John Hawkins. London, 1776.

[9.] "Scena Letteraria degli Scrittori Bergamaschi," per Donato Calvi. Bergamo, 1664.

[10.] "Storia della Letteratura Italiana." Milan, 1905.

[11.] "Origini del Teatro in Italia." Firenze, 1877.

[12.] George Hogarth, in his "Memoirs of the Musical Drama," London, 1838, declares that this "Orfeo" was sung throughout, but he offers no ground for his assertion, which must be taken as a mere conjecture based on the character of the text. Dr. Burney, in his "General History of Music," makes a similar assertion, but does not support it.

[13.] John Argyropoulos, who was born at Constantinople in 1416, was one of the first teachers of Greek in Italy, where he was long a guest of Palla degli Strozzi at Padua. In 1456 he went to Florence, where Cosimo de Medici's son and grandson were among his pupils. He spent fifteen years in Florence and thence went to Rome. To this master, George Gemistos and George Trapezuntios, the acquisition of Greek knowledge at Florence in the fifteenth century was chiefly due. It should be particularly noted that all of them went to Italy before the fall of the Greek empire in 1453. Andronicus Kallistos was one of the popular lecturers of the time and one of the first Greeks to visit France. Cristoforo Landino, one of the famous coterie of intellectual men associated with Lorenzo de Medici, took the chair of rhetoric and poetry at Florence in 1454. He paid especial attention in his lectures to the Italian poets, and in 1481 published an edition of Dante. His famous "Camaldolese Discussions," modeled in part on Cicero's "Tusculan Disputations," is well known to students of Italian literature. Marsilio Ficino was a philosopher, and his chief aim was a reconciliation of ancient philosophy with Christianity.

[14.] "Historical View of the Literature of the South of Europe," by J. C. L. Simonde de Sismondi, translated by Thomas Roscoe. London, 1895.

[15.] "Le Stanze, l'Orfeo e le Rime di Messer Angelo Abrogini Poliziano," per Giosue Carducci. Firenze, 1863.

[16.] In "Sketches and Studies in Italy," pp. 217-224.

[17.] "Florentia: Uomini e cose del Quattrocento," by Isidore del Lungo.

[18.] "Histoire de l'Opera en Europe avant Lully et Scarlatti," par Romain Rolland. Paris, 1895.

[19.] "At the end of the fifteenth century, about 1480, are cited as famous scene painters Balthasar Reuzzi at Volterra, Parigi at Florence, Bibiena at Rome."—"Les Origines de l'Opera et le Ballet de la Reine," par Ludovic Celler. Paris, 1868.

[20.] "Les Décors, les Costumes et la Mise en Scène au XVIIe Siècle," par Ludovic Celler. Paris, 1869.

[21.] "Histoire du Théâtre de l'Opéra en France depuis l'Etablissement de l'Académie Royale de Musique jusqu'à présent." (Published anonymously.) Paris, 1753.

[22.] "During the fifteenth century the love of part-singing seems to have taken hold of all phases of society in the Netherlands; princes and people, corporate bodies, both lay and clerical, vying with each other in the formation of choral societies." Naumann, "History of Music," Vol. I, p. 318.

"The practice of concerted singing was not confined to the social circles of the dilettanti, but was also very popular in the army; and we have before alluded to the fact that Antoine Busnois and numerous others followed Charles the Bold into the field." Ibid., p. 320.

[23.] "The Present State of Music in France and Italy," by Charles Burney. London, 1773.

[24.] "Geschichte der Musik" von August Wilhelm Ambros. Leipsic, 1880.

[25.] "El Melopeo y Maestro," by Dominic Pierre Cerone. Naples, 1613. (Quoted here from Ambros.)

[26.] This passage is not a literal quotation, but partly a paraphrase and partly a condensation of the text of Ambros.

[27.] Michael Prætorius, "Syntagma Musicum," vol. ii, Organographia. Wolfenbüttel, 1619-20.

[28.] "Although the existence of 'Orfeo' as an opera appears to me to be problematical, there would be nothing impossible about the construction of a tragedy accompanied by music, because instruments were cultivated in Italy more than in France. Before that epoch the Medici had given concerts at Florence. Giovanni de Medici died in 1429, and Cosimo, who succeeded him and reigned till 1464, gave at the Pitti Palace concerts where there were as many as four hundred musicians. Under his successors and before the death of Alexander de' Medici in 1537, the violinists Pietro Caldara and Antonio Mazzini were often the objects of veritable ovations, and about the same time, 1536, at Venice, was played a piece called 'Il Sacrificio,' in which violins sustained the principal parts."—"Les Origines de l'Opera et le Ballet de la Reine," par Ludovic Celler. Paris, 1868.

[29.] See "A Note on Oboes," by Philip Hale. Programme Books of the Boston Symphony Orchestra, season of 1905-06, p. 644.

[30.] From the present author's "How Music Developed." New York, 1898.

[31.] "Le Rivoluzioni del Teatro Musicale Italiano della sua Origine fino al Presente," by Stefano Arteaga. Venice, 1785.

[32.] "Poesie Volgari e Latine del Conte B. Castiglione." Rome, 1760.

[33.] This account is taken from Bastiano de' Rossi's "Descrizione dell' apparato e degli intermedi fatti per la commedia rappresentata in Firenze nello nozze del serenissimo D. Ferdinando Medici," etc. Firenze, 1589. This work is not in any of the great libraries and is here quoted from the previously mentioned history of M. Chouquet, who had access to it in the private library of an Italian scholar. The voice and instrumental partbooks were edited by Malvezzi, and published at Venice in 1591 under the title "Intermedii e concerti, fatti per la commedia rappresentata in Firenze nelle nozze del Ferdinando Medici e Madama Cristiana di Lorena." Malvezzi's edition contains valuable notes and an instructive preface.

[34.] Something suggestive of a similar train of musical thought is found in some reflections of George Moore on Zola: "I had read the 'Assomoir,' and had been much impressed by its pyramid size, strength, height and decorative grandeur, and also by the immense harmonic development of the idea; and the fugal treatment of the different scenes had seemed to me astonishingly new—the washhouse, for example: the fight motive is indicated, then follows the development of side issues, then comes the fight motive explained; it is broken off short, it flutters through a web of progressive detail, the fight motive is again taken up, and now it is worked out in all its fulness; it is worked up to crescendo, another side issue is introduced, and again the theme is given forth." ("Confessions of a Young Man.")

[35.] "Schicksale und Beschaffenheit des Weltlichen Gesanges," by R. G. Kiesewetter. Leipsic, 1841.

[36.] "Nuove Musiche di Giulio Caccini detto Romano." Florence, 1601.

[INDEX]

Agility, vocal[214]
Alemannia, Rudolfo de[41]
Alessandro, Gian Andrea di[46]
Ambros, August Wilhelm[107]
"Amfiparnaso"[191] et seq.
"Apollo and the Python," spectacular intermezzo[174]
Arcadia, the Italian[62] et seq.
Archilei, Vittoria[216], [218]
Argyropoulos, John[69]
"Arion," spectacular intermezzo[175]
Ariosto, performance of his "Suppositi"[90], [136]
Ballata[76], [116], [144]
"Ballet Comique de la Reine"[178]
Banchieri, Adriano[198]
Banquets, music at[139]
Basso continuo[232]
Bati, Luca[30]
Beccari[170]
Bembo, Pietro[61]
Boccaccio[59]
Botta, Bergonzo, festal play by[161]
Busnois, Antoine[115]
Caccini, Giulio[172]
"Nuove Musiche," its aim[221] et seq.
"Calandra," performance of[96]
Cantori a liuto[119], [121] et seq.
Carnival Song (canto carnascialesco)[76], [105], [116]
Casella[119]
Castiglione[61], [114]
performance of his "Tirsi"[164]
Cavaliere, Emilio del, first recitatives written by[177]
Chant, music of liturgical drama[11]
disappearance from "Sacre Rappresentazioni"[24]
Chartreux, Jean le[40]
Chorus, in first secular drama[89], [116]
Comedy, influence on lyric drama[179] et seq.
Vecchi's theories[192]
Compère, Loyset[115]
Concerts, early[142]
Corteccia[119]
Costumes in early lyric plays[92]
Dance, dramatic, in church ritual[2], [3]
in open-air plays[16]
orchestral music for[144]
executed to concealed chorus[172]
characteristic national[176]
Dante[58]
Della Viola, Alfonso[170]
Della Viola, Gian Pietro[45]
Des Prés, Josquin[104]
Disciplinati di Gesu Cristo[22]
"Divozione"[25] et seq.
Drama, lyric, sources[4]
open-air religious[13]
at Florence[19]
revival in Europe[54]
causes of disappearance[53]
Dramatic dialogue, in madrigal drama[184]
Dramatic element, in early church music[2]
in ceremonials[4], [5]
"Esaltazione della Croce," sacred play[29]
orchestra in[138]
"Euridice," Peri's[219]
Feltre, Vittorino da[37], [41]
Ferrara, musical relations with Mantua[46]
Festa, Constanzo[165]
Fête of the Ass[14]
Ficino, Marsilio[70]
Florence, reform of dramatic music[220], [234]
Florid element, in early church music[1]
its disappearance[2]
in madrigal[214]
in early operas[231]
Frottola[76], [101], [102], [104] et seq., [122]
distinguished from madrigal[108], [112]
arranged for solo voice[124] et seq.
Gaffori, Franchino[43]
Gonzaga, house of[35] et seq.
Gian Francesco[37]
Ludovico[38]
Grecian ideals in Italian literature[54], [58] et seq., [62] et seq.
Gualterotti, spectacular festal play[171]
"Harmony of the Spheres," intermezzo by Cavaliere[173]
Harmony, modern begun[233]
Individuality, medium of expression sought[155], [157]
found[220] et seq.
Intermezzi, spectacular in 1589[173]
Intermezzo[91]
Isaak, Heinrich[107]
Italian, Latin preferred to[59]
Poliziano's use of[72]
Italian music, defining its character[149]
Italian thought, state of in sixteenth century[181], [209], [210], [211]
Italy, lack of national unity[60]
Kallistos, Andronicus[69]
Landino[61], [69]
Lauds[21] et seq.
music of[23]
development of[25]
Lavagnolo, Lorenzo, teacher of dance at Mantua[45]
Lighting in early plays[95]
Liturgical drama[1] et seq.
early examples[6] et seq.
its longevity[9]
character of music[5], [6], [10]
French as related to opera[12]
costumes, etc.[26]
stage used[26]
Luzzaschi, music to "Pastor Fido"[172]
Lyra di braccio[134]
Lyre[130]
Madrigal[102], [104], [105], [112]
Italian[148]
solo[168], [216], [217], [218], [219], [223]
florid element in[214]
ornamented by singer[217], [218]
Madrigal drama, transition to from frottola[147] et seq.
in maturity[191] et seq.
Madrigal dramas[166]
comedy in[179] et seq.
dialogue in[181], [198] et seq., [201], [203]
instruments in[185], [199]
manner of performance[198] et seq.
voices in[200]
solo in[201]
unintelligibility of text[213]
Mantegna[38], [39], [40]
Mantua, birthplace of secular drama[35]
sketch of the marquisate[35] et seq.
literary and artistic importance[36]
music at[40] et seq.
musical relations with Ferrara[46]
Marenzio, Luca[50]
"Marienklage, die," liturgical drama[9]
"Mary Magdalen," sacred play[33]
Masques[32], [33]

Medici, Lorenzo de, writer of sacred plays

[29]

Merulo, Claudio, his "Tragedia"

[171]
Minuccio[119], [120]
Monody, movement toward[149]
Caccini's[222], [225]

Music, in sixteenth century lyric dramas

[164]

The letter N is absent from the Index. Possible entries include:
Namur, Naples, Narcissus, Naumann, Nero Neri, Netherlands, Noirville, Novellara, Nuove Musiche, Nuremberg, nymphs.

Oboe[145]
Opera buffa, germs of[188]

Orchestra, in "Sacre Rappresentazioni"

[30], [31]
at Mantua[44]
in first secular drama[89]; [136] et seq.
Striggio's[138], [185], [186]
in other early lyric plays[161], [162], [174], [175], [177], [199]
"Orfeo," performed at Mantua[52], [55], [68]
Italian estimates of[55], [56]
importance of its production[57], [66]
its lyric character[66], [77], [79]
description of poem[76] et seq.
how written[72]
Sismondi's comments on[73]
Symonds on[74]
editions compared[75], [79], [80]
how performed[85] et seq.
examination of its music[98] et seq.
choruses[101], [116]
solo parts[101], [117] et seq.
solo parts, frottola as basis of[124]
instrumental parts[101], [129], [136] et seq., [144]
Orpheus, embodiment of Arcadian ideal[63], [65]
Paganism, Italian medieval[62]
Pageant of St. John's Day, Florence[28]
Pageants, relation to "Sacre Rappresentazioni"[27]
Part singing, its popularity in fifteenth century[103]
Passion, early performances of[17]
French fourteenth century version[17]
Pastoral drama[170]
Peri, Jacopo[216], [219]
Petrarch[59]
Philosophy, its effect on medieval literature[64]
Poliziano, Angelo[52], [55]
sketch of career[68] et seq.
Procession, succeeds dance[3]
Prompter[200]
Realism, Italian[61]
"Recitar alla lira"[114], [170]
Recitative, in liturgical drama[10]
in first secular plays[114]
Florentine[118], [212], [224]
beginnings[177]
in comic opera[181]
impulses leading to modern[207] et seq.
Caccini's[224], [225], [229]
Peri's[227], [229]
Romano, Giulio[39]
"Sacre Rappresentazioni"[13], [21] et seq.
music of[24]
time of origin[27]
sources of[27]
their construction and performance[29]
scenic effects[30]
as forerunners of opera[32]
"Saint Uliva," sacred play[29]
Sannazzaro, Jacopo, his "Arcadia"[62]
Scene painting, in early plays[93]
Scenic effects, in "Sacre Rappresentazioni"[30]
in Poliziano's "Orfeo"[86], [93]
Schalmei[145]
Sensualism, esthetic in Italy[61]
Singing, development of technic[214], [215]
Solo, superseded by part song[117]
in madrigal drama[198], [205]
vocal[114], [119], [222] et seq., [227]
adapted from part songs[119] et seq.
florid element abused[222]
Songs, arranged for lute accompaniment[121]
Spectacular, element in early plays[93], [155], [166]
in early dramatic music[158]
predominance of the[160] et seq.
in music of sixteenth century[207] et seq.
in music of sixteenth century, revolt against[212]
Striggio, Alessandro[51], [185]
his art work[185]
Table music[139]
Tasso, "Aminto," music of[172]
Technic, vocal[214]
Thoroughbass[154], [232]
Todi, Jacopone da[23]
Tromboncino, Bartolomeo[46], [115]
Ugolino, Baccio, original Orfeo[79], [87]
Vecchi, Orazio[190] et seq.
artistic theories[192]
Viadana, Ludovico[232]
"Vierges sages et Vierges folles"[6] et seq.
Villanelle[112]
Violinists, early[142]
Virgil, Italian worship of[59]
Visconti, Nicolo de Corregio, his "Cephale et Aurore"[163]
Voices, in madrigal plays[200], [203]
Voice, technic in early music[215]
Wert, Jacques de[49]
Willaert, Adrian[104], [112], [151], [165]