How to Listen to Music, 7th ed. / Hints and Suggestions to Untaught Lovers of the Art

by Henry Edward Krehbiel

Absolute music, [36]
Academy of Music, New York, [203]
Adagio, in symphony, [133]
Addison, [205], [206], [208]
Allegro, in symphony, [132]
Allemande, [173], [174]
Alto clarinet, [104]
Alto, male, [260]
Amadeo, [241]
Ambros, August Wilhelm, [49]
Antiphony, [267]
Archilochus, [213]
Aria, [235]
Arioso, [235]
Asaph, [115]
Bach, C.P.E., [180], [185]
Bach, Johann Sebastian, [69], [83], [148], [167], [169], [170], [171], [174], [176], [180], [181], [184], [192], [257], [259], [267], [268], [278], [281], [282], [283], [286], [287], [289];
his music, [281] et seq.;
his technique as player, [180], [181], [184];
his choirs, [257], [259];
compared with Palestrina, [278];
"Magnificat," [283];
Mass in B minor, [283];
Chromatic Fantasia and Fugue, [171];
Suites, [174], [176];
"St. Matthew Passion," [267], [278], [282], [286], [289];
Motet, "Sing ye to the Lord," [268];
"St. John Passion," [286]
Balancement, [170]
Balfe, [223]
Ballade, [192]
Ballet music, [152]
Balletto, [173]
Bass clarinet, [104]
Bass trumpet, [81], [82]
Basset horn, [82]
Bassoon, [74], [82], [99], [101] et seq.
Bastardella, La, [239]
Bayreuth Festival orchestra, [81], [82]
, Bebung, [169], [170]
Beethoven, [27], [28], [29], [30], [31], [32], [33], [34], [35], [44], [46], [47], [49], [53], [60], [62], [63], [70], [92], [94], [101], [102], [103], [106], [113], [120], [125], [131], [132], [133], [136], [137], [138], [140], [141], [146], [147], [151], [167], [182], [184], [186], [187], [193], [195], [196], [203], [208], [232], [292], [321], [322];
likenesses in his melodies, [33], [34];
unity in his works, [27], [28], [29];
his chamber music, [47];
his sonatas, [182];
his democracy, [46];
not always idiomatic, [193];
his pianoforte, [195];
his pedal effects, [196];
missal compositions, [292], [294];
his overtures, [147];
his free fantasias, [131];
his technique as a player, [186];
"Eroica" symphony, [100], [132], [136];
Fifth symphony, [28], [29], [30], [31], [92], [103], [120], [125], [133];
"Pastoral" symphony, [44], [49], [53], [62], [63], [94], [102], [132], [140], [141];
Seventh symphony, [31], [32], [132], [133];
Eighth symphony, [113];
Ninth symphony, [33], [34], [35], [94], [133], [136], [138], [305];
Sonata, op. 10, No. 3, [321];
Sonata, op. 31, No. 2, [29];
Sonata "Appassionata," [29], [30], [31];
Pianoforte concerto in G, [31];
Pianoforte concerto in E-flat, [146];
Violin concerto, [146];
"Becalmed at Sea," [60];
"Fidelio," [203], [208], [232];
Mass in D, [60], [292], [294];
Serenade, op. 8, [151]
Bell chime, [74]
Bellini, [203], [204], [242], [245];
"La Sonnambula," [204], [245];
"Norma," [242]
Benedetti, [242]
Berlin Singakademie, [262]
Berlioz, [49], [80], [87], [89], [90], [94], [100], [102], [104], [113], [137], [138], [139], [294], [295];
"L'idée fixe," [137];
"Symphonie Fantastique," [137];
"Romeo and Juliet," [90], [94], [139];
Requiem, [113], [294], [295]
Bizet, "Carmen," [238], [242]
Boileau, [206]
Bosio, [241]
Boston Symphony Orchestra, [81], [82], [108]
Bottesini, [94]
Bourrée, [173]
Brahms's "Academic overture," [101]
Branle, [173]
Brass instruments, [74], [104] et seq.
Brignoli, [209], [242]
Broadwood's pianoforte, [195]
Brown, Dr. John, [321]
Bully Bottom in music, [61]
Bunner, H.C., [136]
Burns's "Ye flowery banks," [175]
Caccini, "Eurydice," [234]
Cadences, [23]
Cadenzas, [145]
Calvé, Emma, [242], [247]
Calvin and music, [275]
Campanini, [242]
Cantatas, [290]
Cat's mew in music, [52]
Catalani, [245], [246]
Chaconne, [153]
Chamber music, [36], [44] et seq., [144]
Chicago Symphony Orchestra, [81], [82], [108]
Choirs, [253] et seq.;
size of, [257] et seq., [264], [271];
men's, [255], [260];
boys', [261];
women's, [261];
mixed, [262], [264];
division of, [260], [266];
growth of, in Germany, [262];
history of, in America, [263];
in Cincinnati, [264];
contralto voices in, [270]
Choirs, orchestral, [74]
Chopin, [167], [188], [190], [191], [192], [196];
his romanticism, [188];
Preludes, [190];
Études, [191];
Nocturnes, [191];
Ballades, [192];
Polonaises, [192];
Mazurkas, [192];
his pedal effects, [196]
Choral music, [253] et seq.;
antiphonal, [267];
mediæval, [274];
Calvin on, [275];
Luther's influence on, [276];
congregational, [277];
secular tunes in, [276], [277];
Romanticism, influence on, [277];
preponderance in oratorio, [289];
dramatic and descriptive, [289]
Chorley, H.F., on Jenny Lind's singing, [243]
Church cantatas, [284]
Cicero, [309]
Cincinnati, choirs in, [264]
Cinti-Damoreau, [241]
Clarinet, [47], [74], [78], [82], [103] et seq., [151]
Classical concerts, [122] et seq.
Classical music, [36], [64], [122] et seq.
Clavichord, [168], [181]
Clavier, [171], [173]
Clementi, [185], [195]
Cock, song of the, [51], [53], [54]
Coleridge, [11], [144]
Coletti, [242]
Comic opera, [224]
Composers, how they hear music, [40]
Concerto, [128], [144] et seq.
Conductor, [114] et seq.
Content of music, [36] et seq.
Contra-bass trombone, [81], [82]
Contra-bass tuba, [81], [82]
Co-ordination of tones, [17]
Coranto, Corrente, [173], [176]
Cornelius, "Barbier von Bagdad," [236]
Cornet, [73], [82], [108]
Corno di bassetto, [81], [82]
Corsi, [242]
Couperin, [168]
Courante, [173], [176]
Covent Garden Theatre, London, [224], [226]
Cowen, "Welsh" and "Scandinavian" symphonies, [132]
Cracovienne, [193]
Creole tune analyzed, [23], [24]
Critics and criticism, [13], [297] et seq.
Crotch, Dr., [322]
Cuckoo, [51], [52], [53]
Cymbals, [74], [82]
Czardas, [201]
Czerny, [186]
Dactylic metre, [31]
Dance, the ancient, [43], [212]
Dannreuther, Edward, [129], [144], [187]
Depth, musical delineation of, [59], [60]
De Reszke, Edouard, [248]
De Reszke, Jean, [247]
Descriptive music, [51] et seq.
Design and form, [16]
De Staël, Madame, [210]
D'Israeli, [315]
Distance, musical delineation of, [60]
Dithyramb, [212], [213]
"Divisions," [265]
Doles, Cantor, [292]
Donizetti, [203], [204], [242];
"Lucia," [203], [204]
Double-bass, [74], [78], [82], [94]
Double-bassoon, [103]
Dragonetti, [94]
Dramatic ballads, [290]
Dramatic orchestras, [81], [82]
Dramma per musica, [227], [249]
Drummers, [113]
Drums, [73], [74], [82], [110] et seq.
Duality of music, [15]
"Dump" and Dumka, [151]
Durchführung, [131]
Dvořák, symphonies, "From the New World," [132], [138];
in G major, [136]
Eames, Emma, [247]
Edwards, G. Sutherland, [12]
Elements of music, [15], [19]
Emotionality in music, [43]
English horn, [82], [99], [100]
English opera, [223]
Ernst's violin, [320]
Esterhazy, Prince, [46]
Euler, acoustician, [317]
Expression, words of, [43]
Familiar music best liked, [21]
Fancy, [15], [16], [58]
Farinelli, [240]
Fasch, C.F., [262]
Feelings, their relation to music, [38] et seq., [215], [216]
Ferri, [239], [240]
Finale, symphonic, [135]
First movement in symphony, [131]
Flageolet tones, [89]
Florentine inventors of the opera, [217], [227], [234], [249]
Flute, [73], [74], [78], [82], [95] et seq.
Form, [16], [17], [22], [35]
Formes, [242], [248]
Frederick the Great, [263]
Free Fantasia, [131]
French horn, [47], [106] et seq.
Frezzolini, [242]
Friss, [201]
Frogs, musical delineation of, [58], [62]
"Gallina et Gallo," [53]
Gavotte, [173], [179]
German opera, [226]
Gerster, Etelka, [242], [245]
Gesture, [43]
Gigue, [173], [174], [178]
Gilbert, W.S., [208], [224]
Gilbert and Sullivan's operettas, [224]
Glockenspiel, [110]
Gluck, [84], [148], [153], [202], [203], [238];
his dancers, [153];
his orchestra, [238];
"Alceste," [148];
"Iphigénie en Aulide," [153];
"Orfeo," [202], [203]
Goethe, [34], [140], [223]
Goldmark, "Sakuntala" overture, [149]
Gong, [110]
Gossec, Requiem, [293]
Gounod, "Faust," [209], [224],

[238], [246]
Grand Opéra, [223], [224]
Greek Tragedy, [211] et seq.
Grisi, [241], [242]
Grosse Oper, [224]
Grove, Sir George, [33], [63], [141], [187]
Gypsy music, [198] et seq.
Hallé, Lady, [320]
Hamburg, opera in, [206], [207]
Handel, [58], [60], [62], [83], [102], [126], [148], [174], [177], [178], [181], [182], [184], [256], [257], [258], [259], [265], [272];
his orchestra, [84];
his suites, [174];
his overtures, [148];
his technique as a player, [181], [182], [184];
his choirs, [257];
Commemoration, [258];
his tutti, [258];
"Messiah," [60], [126], [256], [257], [265], [272];
"Saul," [102];
"Almira," [177];
"Rinaldo," [178];
"Israel in Egypt," [58], [62], [257], [259], [289];
"Lascia ch'io pianga," [178]
Hanslick, Dr. Eduard, [203]
Harmonics, on violin, [89]
Harmony, [19], [21], [22], [218]
Harp, [82]
Harpsichord, [168], [170]
Hauptmann, M., [41]
Hautboy, [99]
Haweis, the Rev. Mr., [318] et seq.
Haydn, [46], [84], [100], [127], [168], [183], [295];
his manner of composing, [183];
dramatic effects in his masses, [295];
"Seasons," [100]
Hebrew music, [114];
poetry, [25]
Height, musical delineation of, [59], [60]
Heman, [115]
Hen, song of, in music, [52], [53], [54]
Herbarth, philosopher, [39]
Hiller, Ferdinand, [307], [310]
Hiller, Johann Adam, [258]
Hogarth, Geo., "Memoirs of the Opera," [210], [245]
Horn, [82], [105], [106] et seq., [151]
Hungarian music, [198] et seq.
Hymn-tunes, history of, [275]
Iambics, [175]
"Idée fixe," Berlioz's, [137]
Identification of themes, [35]
Idiomatic pianoforte music, [193], [194]
Idioms, musical, [44], [51], [55]
Imagination, [15], [16], [58]
Imitation of natural sounds, [51]
Individual attitude of man toward music, [37]
Instrumental musicians, former legal status of, [83]
Instrumentation, [71] et seq.;
in the mass, [293] et seq.
Intelligent hearing, [16], [18], [37]
Intermediary necessary, [20]
Intermezzi, [221]
Interrelation of musical elements, [22]
Janizary music, [97]
Jean Paul, [67], [189], [190]
Jeduthun, [115]
Jig, [179]
Judgment, [311]
Kalidasa, [149]
Kettle-drums, [111] et seq.
Key relationship, [26], [129]
Kinds of music, [36] et seq.
Kirchencantaten, [284]
Krakowiak, [193]
Kullak, [184]
Lablache, [248]
La Grange, [241], [245]
Lamb, Charles, [10]
Language of tones, [42], [43]
Lassu, [201]
Laws, musical, mutability of, [69]
Lehmann, Lilli, [233], [244], [247]
Lenz, [33]
Leoncavallo, [228]
Lind, Jenny, [241], [243]
Liszt, [132], [140], [142], [143], [167], [168], [193], [197], [198], [228];
his music, [168], [193], [197];
his transcriptions, [167];
his rhapsodies, [167], [198];
his symphonic poems, [142];
"Faust" symphony, [132], [140];
Concerto in E-flat, [143];
"St. Elizabeth," [288]
Literary blunders concerning music, [9], [10], [11], [12]
Local color, [152], [153]
London opera, [206], [207], [226]
Louis XIV., [179]
Lucca, Pauline, [242], [246], [247]
Lully, his overtures, [148];
minuet, [179];
"Atys," [206]
Luther, Martin, [276]
Lyric drama, [231], [234], [237], [251]
Madrigal, [274]
Magyar music, [198] et seq.
Major mode, [57]
Male alto, [260]
Male chorus, [255], [260]
Malibran, [241]
Männergesang, [255], [260]
Marie Antoinette, [153]
Mario, [242], [247], [271]
Marschner, "Hans Heiling," [225];
"Templer und Jüdin," [225];
"Vampyr," [225];
his operas, [248]
Mascagni, [228]
Mass, the, [290] et seq.
Massenet, "Le Cid," [152]
Materials of music, [16]
Materna, Amalia, [247]
Matthews, Brander, [11]
Mazurka, [192]
Melba, Nellie, [204], [238], [245], [247], [271]
Melody, [19], [21], [22], [24]
Memory, [19], [21], [73]
Mendelssohn, [41], [42], [49], [59], [61], [67], [102], [109], [132], [139], [140], [149], [168], [243], [278], [288], [289], [322];
on the content of music, [41], [42];
his Romanticism, [67];
on the use of the trombones, [109];
opinion of Jenny Lind, [243];
"Songs without Words," [41];
"Hebrides" overture, [59], [149];
"Midsummer Night's Dream," [61], [102];
"Scotch" symphony, [132], [139];
"Italian" symphony, [132];
"Hymn of Praise," [140];
"St. Paul," [278];
"Elijah," [288], [289]
Mersenne, "Harmonie universelle," [175], [176]
Metropolitan Opera House, New York, [203], [224], [226], [244]
Meyerbeer, [89], [102], [203], [204], [208], [242], [243], [244];
"L'Africaine," [89];
"Robert le Diable," [102], [208], [244];
"Huguenots," [204];
"L'Étoile du Nord," [243]
Military bands, [123]
Minor mode, [57]
Minuet, [134], [151], [173], [179]
Mirabeau, [293]
Model, none in nature for music, [8], [180]
Monteverde, "Orfeo," [87]
Moscheles, on Jenny Lind's singing, [243]
Motet, [283]
Motives, [22], [24]
Mozart, [84], [109], [132], [145], [151], [168], [183], [184], [195], [202], [203], [221], [224], [228], [230], [238], [244], [265], [292];
his pianoforte technique, [184];
on Doles's mass, [292];
his orchestra, [238];
his edition of Handel's "Messiah," [265];
on cadenzas, [145];
his pianoforte, [195];
his serenades, [151];
"Don Giovanni," [109], [202], [221], [222], [228], [230];
"Magic Flute," [203];
G-minor symphony, [132];
"Figaro," [202], [228]
Musica parlante, [234]
Musical instruction, deficiencies in, [9]
Musician, Critic, and Public, [297]
Musikdrama, [227], [238], [249]
Neri, Filippo, [288]
Nevada, Emma, [204]
Newspaper, the modern, [297], [298], [313]
New York Opera, [206], [226], [241]
Niecks, Frederick, [192]
Niemann, Albert, [233]
Nightingale, in music, [52]
Nilsson, Christine, [242], [246], [247]
Nordica, Lillian, [247]
Norman-Neruda, Madame, [320]
Notes not music, [20]
Nottebohm, "Beethoveniana," [63]
Oboe, [47], [74], [78], [82], [84], [98] et seq.
Opera, descriptive music in, [61];
history of, [202] et seq.;
language of, [205];
polyglot performances of, [207] et seq.;
their texts perverted, [207] et seq.;
words of, [209], [210];
elements in, [214];
invention of, [216] et seq.;
varieties of, [220] et seq.;
comic elements in, [221];
action and incident in, [236];
singing in, [239];
singers compared, [241] et seq.
Opéra bouffe, [220], [221], [225]
Opera buffa, [220]
Opéra comique, [223]
Opéra, Grand, [223]
Opera in musica, [228]
Opera semiseria, [221]
Opera seria, [220]
Opus, [132]
Oratorio, [256], [287] et seq.
Orchestra, [71] et seq.
Ostrander, Dr. Lucas, [278]
"Ouida," [12]
Overture, [147] et seq., [174]
Paderewski, his recitals, [154] et seq.;
his Romanticism, [167];
"Krakowiak," [193]
Painful, the, not fit subject for music, [50]
Palestrina and Bach, [278] et seq.;
his music, [279] et seq.;
"Stabat Mater," [279], [280];
"Improperia," [280];
"Missa Papæ Marcelli," [280]
Pandean pipes, [98]
Pantomime, [43]
Parallelism, [25]
Passepied, [173]
"Passions," [284] et seq.
Patti, Adelina, [203], [204], [238], [242], [245], [247]
Pedals, pianoforte, [195], [196]
Pedants, [13], [315]
Percussion instruments, [110] et seq.
Peri, "Eurydice," [234]
Periods, musical, [22], [24]
Perkins, C.C., [263]
Pfund, his drums, [112]
Philharmonic Society of New York, [76], [77], [81], [82]
Phrases, musical, [22], [24]
Physical effects of music, [38]
Pianoforte, history and description of, [154] et seq.;
its music, [154] et seq., [166] et seq.;
concertos, [144];
trios, [147]
Piccolo flute, [85], [97]
Piccolomini, [242], [245]
Pictures in music, [40]
Pifa, Handel's, [126]
Pizzicato, [88], [91]
Plançon, [248]
Polonaise, [192]
Polyphony and feelings, [39]
Popular concerts, [122]
Porpora, [209]
"Pov' piti Momzelle Zizi," [23]
Preludes, [148], [174]
Programme music, [36], [44], [48] et seq., [64], [142]
Puccini, [228]
Quail, call of, in music, [51], [54]
Quartet, [147]
Quilled instruments, [170]
Quinault, "Atys," [206]
Quintet, [147]
Quintillian, [309]
Raff, [49], [96], [132];
"Lenore" symphony, [96], [132];
"Im Walde" symphony, [132]
Rameau, [168]
Recitative, [219], [220], [228] et seq.
Reed instruments, [98] et seq.
Reformation, its influence on music,

[275], [278], [280]
Refrain, [25]
Register of the orchestra, [85]
Repetition, [22], [25]
Rhapsodists among writers, [13], [315] et seq.
Rhythm, [19], [21], [26], [160]
"Ridendo castigat mores," [225]
Rinuccini, "Eurydice," [234]
Romantic music, [36], [64] et seq., [71], [277]
Romantic opera, [225]
Ronconi, [242]
Rondeau and Rondo, [135]
Rossini, [147], [228], [242];
his overtures, [147];
"Il Barbiere," [228];
"William Tell," [93], [100]
Rubinstein, [59], [152], [167], [168], [287];
his historical recitals, [167];
his sacred operas, [287];
"Ocean" symphony, [59];
"Feramors," [152]
Ruskin, John, [302]
Russian composers, [134]
Sacred Operas, [287]
Saint-Saëns, "Danse Macabre," [101], [111];
symphony in C minor, [141];
"Samson and Delilah," [288]
Salvi, [242]
Sarabande, [173], [174], [177]
Sassarelli, [240]
Scarlatti, D., [167], [172], [182];
his technique, [172];
"Capriccio" and "Pastorale," [172]
Scheffer, Ary, [246]
Scherzo, [133], [179]
Schröder-Devrient, [232]
Schubert, [168]
Schumann, [49], [64], [132], [133], [139], [140], [141], [167], [188], [189], [190], [196], [254], [308], [310];
his Romanticism, [188];
and Jean Paul, [189];
his pedal effects, [196];
on popular judgment, [308], [310];
symphony in C, [132];
symphony in D minor, [139];
symphony in B-flat, [140];
"Rhenish" symphony, [140], [141];
"Carnaval," [189], [190];
"Papillons," [189], [190];
"Kreisleriana," [190];
"Phantasiestücke," [190]
Score, [120]
"Scotch snap," [52], [200]
Second movement in symphony, [133]
Seidl, Anton, [77]
Sembrich, Marcella, [242], [245]
Senesino, [239], [240]
Sense-perception, [18]
Serenade, [149] et seq.
Shaftesbury, Lord, [311]
Shakespeare, his dances, [153], [179];
his dramas, [202];
a Romanticist, [221];
"Two Gentlemen of Verona," [150];
Queen Mab, [90]
Singing, physiology of, [215], [218];
operatic, [239];
choral, [268]
Singing Societies, [253] et seq.
Singspiel, [223]
Smith, F. Hopkinson, [11]
Sonata da Camera, [173]
Sonata, [127], [182], [183]
Sonata form, [127] et seq.
Sontag, [241], [244], [245], [246]
Sordino, [90]
Space, music has no place in, [59]
Speech and music, [43]
Spencer, Herbert, [39], [43], [216], [218], [230]
Spinet, [168], [170]
Spohr, "Jessonda," [225]
Stainer, Dr., [39], [316]
Stein, pianoforte maker, [196]
Stilo rappresentativo, [234]
Stories, in music, [40]
Strings, orchestral, [74], [82], [86] et seq., [102]
Sucher, Rosa, [247]
Suite, [129], [152], [173] et seq.
Symphonic poem, [142]
Symphonic prologue, [148]
Symphony, [124] et seq., [183]
Syrinx, [98]
Talent in listening, [4]
Tambourine, [110]
Tappert, "Zooplastik in Tönen," [51]
Taste, [311]
Technique, [163] et seq.
Tennyson, [9]
Terminology, musical, [8]
Théatre nationale de l'Opéra-Comique, [223]
Thespis, [212]
Thomas, "Mignon," [223]
Tibia, [98]
Titiens, [242]
Tonal language, [42], [43]
Tones, co-ordination of, [17]
Touch, [163] et seq.
Tragedia per musica, [227]
Tremolo, [91]
Trench, Archbishop, [65], [66]
Triangle, [74], [110]
Trio, [134]
Triolet, [136]
Trombone, [82], [105], [106], [109] et seq.
Trumpet, [105], [108]
Tschaikowsky, [88], [132];
"Symphonie Pathétique," [132]
Tuba, [82], [85], [106], [108]
"Turkish" music, [97]
Tympani, [82], [111] et seq.
Ugly, the, not fit for music, [50]
United States, first to have amateur singing societies, [257], [262];
spread of choral music in, [263]
Unity in the symphony, [27], [137]
Vaudevilles, [224]
Verdi, [152], [203], [210], [228], [236], [238], [242], [243];
"Aïda," [152], [228], [238];
"Il Trovatore," [210], [243];
"Otello," [228], [238];
"Falstaff," [228], [236];
Requiem, [290]
Vestris, [153]
Vibrato, [90]
Vile, the, unfit for music, [50]
Viola, [74], [77], [82], [92], [93]
Viole da braccio, [93]
Viole da gamba, [93]
Violin, [73], [74], [77], [82], [86] et seq., [144], [162]
Violin concertos, [145]
Violoncello, [74], [77], [82], [92], [93], [94]
Virginal, [168], [170]
Vocal music, [61], [215]
Vorspiel, [148]
Wagner, [41], [79], [80], [81], [88], [89], [94], [111], [205], [206], [219], [226], [227], [232], [235], [237], [238], [244], [248], [249], [250], [251], [303], [305], [314];
on the content of music, [41];
his instrumentation, [80], [111];
his dramas, [219], [226], [227], [248];
Musikdrama, [227], [249];
his dialogue, [235];
his orchestra, [238], [250];
his operas, [248];
his theories, [249];
endless melody, [250];
typical phrases, [250];
"leading motives," [250];
popularity of his music, [303];
on criticism, [314];
"Flying Dutchman," [248];
"Tannhäuser," [248];
"Lohengrin," [79], [88], [235], [248];
"Die Meistersinger," [249];
"Tristan und Isolde," [87], [237], [249];
"Rheingold," [237];
"Die Walküre," [94], [237];
"Siegfried," [237], [244];
"Die Götterdämmerung," [237];
"Ring of the Nibelung," [249], [251], [305];
"Parsifal," [249]
Waldhorn, [107]
Wallace, W.V., [223]
Walter, Jacob, [53]
Water, musical delineation of, [58], [59]
Weber, [67], [96], [244], [248];
his Romanticism, [67];
"Der Freischütz," [96], [225];
"Oberon," [225];
"Euryanthe," [225]
Weitzmann, "Geschichte des Clavierspiels," [201]
Welsh choirs, [255]
Wood-wind instruments, [74], [77], [78], [95]
Xylophone, [111]
Ysaye, on Cadenzas, [146]

---

SOME MUSICAL BOOKS

THE LETTERS OF FRANZ LISZT. Edited and collected by La Mara. With portraits. Crown 8vo, 2 vols., $6.00.

RICHARD WAGNER'S LETTERS to his Dresden Friends—Theodore Uhlig, Wilhelm Fischer, and Ferdinand Heine. Translated by J.S. Shedlock. Crown 8vo, $3.50.

JENNY LIND THE ARTIST, 1820-1851. Memoir of Madame Jenny Lind-Goldschmidt. Her Art Life and Dramatic Career, from original documents, etc. By Canon H.S. Holland and W.S. Rockstro. With illustrations, 12mo, $2.50.

WAGNER AND HIS WORKS. The Story of his Life, with Critical Comments. By Henry T. Finck. Third edition. With portraits. 2 vols., 12mo, $4.00.