The successor of Sterndale Bennett as principal of the Royal Academy of Music was Sir George A. Macfarren (1813-1887), who although totally blind for many years before his death, produced a greater number of important compositions than any other English composer of the century. He was educated in London, and in 1834 became one of the professors in the Royal Academy of Music. His first opera was produced in 1838, "Devil's Opera," "Don Quixote" (1836), "Jessy Lea" (1863) and "Helvellyn" (1864). He wrote a number of cantatas for chorus and orchestra, oratorios, "St. John the Baptist" (1873), "The Resurrection" (1876), "Joseph" (1877), and other works of less importance. There are also many anthems, several overtures and other pieces for chamber. Personally he was kind-hearted, intelligent, helpful and public spirited. The amount of work that he accomplished under the greatest of disadvantages is wonderful, as well as its generally superior quality. As a lecturer and teacher he was the foremost musical Englishman of his time. His compositions are strong and respectable, but not especially inspired.
The successor of Sir Geo. Macfarren in the principalship of the Royal Academy of Music was Alexander Campbell Mackenzie (1847- ), the youngest eminent English composer, but also the most successful and promising. He was educated as a violinist, and resided at Edinburgh as a teacher of the pianoforte and violin until his compositions attracted the attention of his countrymen and induced his being called to London. The most important compositions of Dr. Mackenzie up to the present time are the operas "Colomba" (1883), "The Troubadour" (1886) and the oratorio "The Rose of Sharon" (1884). There are several cantatas, "Jason," "The Bride," "The Story of Sayid" (1886) and a considerable number of orchestral pieces, of which two Scotch rhapsodies and the overture to "Twelfth Night" are the best known. He has also produced a violin concerto (played by Mr. Sarasate), and much chamber music and songs. On the whole, Dr. Mackenzie seems the most gifted English composer who has yet appeared.
INDEX.
"Abel", [351]
"Abou Hassan", [408]
Académie de Musique, [238]
Adam, [491]
Adam de la Halle, [122]
Æschylus, [55]
"Africaine", [414]
"Agnes von Hohenstaufen", [479]
"Aida", [485]
"Alceste", [333]
"Alcidor", [479]
"Allgemeine Musikalische Zeitung", [464]
Amati, [201]
Ambrosian Scales, [131]
Anglo-Saxon Harp, [104]
Anglo-Saxons, Music among, [96]
"Anna Bolena", [482]
Antiquity, Music in, [23]
Apprentice Periods of Music, [22]
Arabs and Saracens, [109]
"Arianna", [224]
Aristophanes, [57]
Aristotle, [58], [65]
Aristoxenus, [58]
Arkadelt, [165]
Art, Conditions of Its Development, [18]
Art Forms, Qualities of, [20]
"Ascanio", [494]
Assyrian Harps, [45]
Assyrians, Music among, [46]
Auber, [488]
Aurelian, [139]
Bach, [265], [468]
Bach as Melodist, [272]
Bach, Emanuel, [282]
Banjo, Ancient, [46]
Bar in Vocal Music, [186]
Bardi, Count of, [221]
Bards, [89]
Barytone, [196]
"Basilius", [242]
Bayreuth, [425]
"Beatrice and Benedict", [435]
Bede, [139]
Beethoven, [305], [316], [319], [320], [355], [499]
Bellini, [482]
Bellows Bags in Old Organs, [206]
Bennett, [501]
Berger, [361]
Berlioz, [432]
Berlioz and Mendelssohn, [434]
Bizet, [495]
Blondel, [123]
Blow, Dr. John, [354]
Boethius, [135]
Boieldieu, [343]
Boito, [486]
Bologna, Mozart at, [295]
Books Published, [220]
Boscherville Sculptures, [208]
Brahms, [498]
Braithwaite's Musicians for an Earl's Household, [213]
Breton Song, [88]
Bruce's Harpers, [30]
Bruch, [500]
Bülow, [423], [507]
Buxtehude, [254]
"Caliph de Bagdad", [344]
"Calm Sea and Prosperous Voyage", [457]
Calzabigi, [333]
Cambert, [236]
"Cantilena of St. Eulalie", [116]
Canzone, [249]
Carissimi, [245]
Cassiodorus, [137]
Cavalli, [226], [231]
"Caverne, La", [342]
Celts, [87]
Centers of Music, 17th Century, [220]
Cesti, [226]
Chansons de Geste, [115]
"Cheval de Bronze, Le", [490]
China, [73]
Chitarrone, [193]
Chopin, [441]
Choral Song, [53]
Choral Works of Bach, [268]
Chromatic Keyboards, [205]
Church Influence, [128]
Cithara, [64]
Clementi, [355], [357]
Concerto, [249]
"Concertstück", [411]
Corelli, [255]
"Corpse Fantasia", [383]
Council of Trent, [174]
Cramer, [360]
Cremona, [198]
"Crociato, Il", [141]
"Crown Diamonds", [490]
Crwth, [24], [106]
Cypriano de Rore, [172]
"Dafne", [222]
"Damnation of Faust", [434]
Délibes, [494]
"Devil's Trill", [366]
"Devin du Village", [339]
Didactic of Music, [134]
"Dido and Æneas", [349]
"Dinorah", [415]
"Don Giovanni", [300]
Donizetti, [482]
"Don Sanché", [446]
Drama, Ancient, [54], [55]
Druids, [89]
Dufay, [158]
Dussek, [357]
Düsseldorf, Mendelssohn, [459]
Dvorak, [503]
Egyptians, Early, [25]
Elements of Music, [15]
"Elijah", [461]
English Round, [100]
"Entführung aus dem Serail", [297]
"Esther," Händel, [277]
Eoud, [113]
Epics, French Mediæval, [115]
"Erl King, The", [384]
"Ernani", [485]
"Euryanthe", [409]
"Eve", [493]
"Faust," Berlioz, [434]
"Faust," Gounod, [491]
"Faust," Schumann, [474]
"Faust," Spohr, [369]
"Fernand Cortez", [478]
Fétis, on the Celts, [90]
Field, [356]
Fleurettes, [157]
Flute, Egyptian, [28]
Flute, Greek, [64]
Flute, Hebrew, [42]
Form, Principles of, [20]
"Fra Diavolo", [490]
Franco of Cologne, [146], [156], [186]
Franco of Paris, [147], [157]
Frauenlob, [125]
French Opera, Origin of, [225]
French Tenacity of Vernacular, [239]
Frescobaldi, [252]
Fugue, [151], [262], [263], [270]
Fugue, Chromatic, [271]
Gade, [497]
"Gioconda, La", [487]
"God and Nature", [413]
Grieg, [500]
"Harmony and Meter", [460]
"Harold in Italy", [434]
Heller, [504]
Henselt, [504]
Hérold, [490]
Hiller, [505]
"Huron, Le", [341]
India, Music in, [70]
India, Musical Drama in, [73]
Individualism, [374]
Instrumental Music, [249]
Instruments, Relation to Progress, [20]
"Iphigenie", [335]
Ireland, Music in, [95]
Irish Harp, [97]
Iron Frame, [401]
Iron Tension Bar, [399]
Isidore, of Seville, [138]
"Ismene", [242]
Italian School of Singing, [228]
Japanese, [77]
"Jean de Paris", [344]
"Jephthah," Carissimi, [245]
"Jessonda", [369]
Jomelli, [346]
Josquin, [163]
Jubal, [43]
"Judith", [351]
Kerl, [253]
Kindergarten, Egyptian, [39]
King Arthur, [98]
King David Playing, [24]
Kinnor, [42]
Klauser, "Septonnate", [17]
Ko-ko, [77]
"Kreisleriana", [471]
Kuhnau, [354]
"Lakmé", [494]
Lalo, [495]
Landseer Portrait of Paganini, [431]
Lassus, [167]
Leading Motive, [410]
"L'Elisir d'Amore", [482]
Léonin, [153]
Liszt, [446], [447]
Liszt and "Lohengrin", [418]
Liszt and the Later Sonatas of Beethoven, [323]
Liszt, Pupils of, [451]
Liszt's Appearance, [454]
Litolff, [504]
"Lucia", [482]
Lulli, [236]
Luther, [175]
Lyre, Egyptian, [33]
Lyre, Greek, [64]
Lyric Element in Music, [263]
Macfarren, [501]
Mackenzie, [503]
Macrobus, [134]
Madrigal, [215]
Madrigal in Opera, [217]
Magadis, [64]
"Marion Delorme", [487]
Martinus Capella, [135]
"Marriage of Jeannette", [493]
Mask, [225]
Mason's Enthusiasm for Schumann, [475]
"Masaniello", [489]
Massé, [492]
Massenet, [493]
Mediæval Violins, [195]
Méhul, [342]
"Mefistofele", [486]
"Meistersinger, Die", [423]
Mendelssohn, [455]
Mendelssohn on Berlioz, [434]
Mendelssohn's Relation to Schubert, [377]
"Messe Solennelle," Rossini, [481]
Metastasio, [333]
Meyerbeer, [411]
"Mignon", [495]
Minnesingers, [123]
Minstrels of the North, [87]
Miracle Plays, [244]
"Mireille", [491]
Mixtures in Old Organs, [207]
Modes, Greek, [61]
"Moise", [481]
Monody and Homophony, [198]
Monsigny, [339]
Monteverde, [224]
"Mors et Vita", [492]
Moscheles, [362]
Moscheles with Mendelssohn, [455]
Moszkowsky, [503]
Motette, [154]
Mozart, [299]
Mozart as an Operatic Force, [336]
Mozart on Jomelli, [346]
Naples Schools, [169]
"Nero", [486]
Neumæ, [181]
Nicodé, [503]
"Nibelung's Ring", [420]
"Norma", [483]
Notation, [179]
Notation, Roman, [189]
"Nurmahal," 1822, [479]
"Oberon", [409]
Odon, [143]
Okeghem, [162]
Old French School, [153]
Opera, [223]
Opera in Germany and France, [235]
Opera in 16th Century, [327]
Opera and Drama, [427]
Opera, Future of, [427]
Oratorio, [223], [244]
Oratorio in Costume, [280]
Orchestic, Greek, [56]
Orchestra at End of 17th Century, [256]
Orchestra, Corelli's, [255]
Orchestra, Monteverde's, [224]
Organ, Early Form, [202]
Organ, Portable, [204]
Organ at Winchester, [98]
Organ Music Notation, [251]
Organum, [142]
Orlando di Lassus, [166]
"Orpheus," Gluck's, [333]
"Otello", [485]
"Otello," 1816, [479]
Pachelbel, [253]
Paganini, [428]
Paisiello, [347]
Palestrina, [173]
Parish-Alvars, [439]
"Parsifal", [426]
Passions, Bach, [269]
Patriotic Use of Music, [52]
Pentatonic Scales, [74]
People's Song, [263]
Perceptions of Tone, [85]
Pergolesi, [345]
Pérotin, [153]
Perrin, the Abbé, [326]
Petrucci, [217]
Phantasiestücke, Schumann, [469]
Philippe de Vitry, [157]
Phillidor, [339]
Piccini, [347]
Pindar, Ode of, [69]
Pizzicati, [224]
Plato, [67]
Pollini, [439]
"Polliodoro," Graun, [328]
"Polyeucte", [491]
Ponchielli, [487]
Popular Taste for Music, [213]
Popularity in 19th Century, [373], [379]
Polyphonic Schools of Italy, [168]
Polyphony as an Art Form, [151]
Porpora, [228]
"Postillon de Lonjumeau, Le", [491]
"Pré aux Clercs, Le", [490]
"Promessi Sposi, I", [487]
"Prophète", [414]
Ptolemy, [61]
Pupils of Liszt, [452]
Purcell, [349]
"Puritani, I", [483]
"Pygmalion", [339]
Pythagoras, [59]
Rameau, [336]
Ratios, Greek Tetrachord, [61]
Ravanastron, [72]
Rebec, [196]
"Redemption, The", [492]
Reinecke, [517]
Reinken, [254]
Reinmar, [127]
Rémi, [139]
"Representative Style", [223]
"Requiem," Berlioz, [434]
"Requiem," Mozart, [303]
"Rheingold, Das", [420]
Rhythm of Bach, [271]
Rhythmic Development, [188]
Ricerari, [249]
"Rienzi", [416]
Rinuccini, [222]
"Robert le Diable", [414]
"Robin and Marian", [236]
Roman Notation, [180]
Romantic, The, [373]
"Romilda e Constanza", [413]
Rondo, [155]
Rossini, [479]
Rota, [150]
Rousseau, [338]
"Rubezahl", [408]
Rubinstein, [505]
Saint-Saëns, [493]
Santir, [114]
Saracens, [109]
Saracens, Instruments of, [112]
"Sardanapolis", [433]
Scales, Greek, [60]
Scales, Ambrosian, [129], [130]
Scandinavians, Music among, [99]
Scarlatti, A., [227], [232]
Scarlatti, D., [275], [353]
Scheidt, [250]
Schein, [251]
School of Munich, [166]
Schools of the Netherlands, [160]
Schubert, [376], [381]
Schulhoff, [504]
Schumann, [464]-477
Schütz and "Dafne", [239]
Scotch Melody, [108]
"Septonnate", [17]
"Serva Padrona, La", [344]
"Siegfried", [421]
Socrates, [56]
Sonata Form, [264]
Sonatas, Bach, [265]
Sonatas, Beethoven, [309], [319], [322]
Sonatas, Corelli, [255]
Sonatas, Haydn, [288], [317]
Sonatas, Weber, [410]
"Song of Roland", [118]
"Song of the Harper", [36]
Songs of Schubert, [384]
Songs of Schumann, [468]
Songs of Troubadours, [121]
"Songs without Words", [458]
"Sonnambula, La", [482]
Spinet, [393], [396]
Spohr, [366]
Spontini, [478]
Staff, [185]
Steinway, [402]
St. Ambrose, [129]
St. Mark's, [133]
"St. Paul", [459]
"Sumer is Icumen in", [101]
Svensden, [500]
Swelinck, [250]
"Symphoniæ Sacræ", [247]
Symphonies, Beethoven, [319]
Symphonies, Haydn, [288]
Symphonies, Mendelssohn, [464]
Symphonies, Schumann, [474]
Symphony, [316]
"Tancredi", [479]
"Tannhäuser", [418]
Tartini, [364]
Tausig, [505]
Technique, Modern, [436], [446]
Terpander, [52]
Thalberg, [438]
Thales, [52]
Theaters in Venice, [226]
Thematic Work, Schumann, [473]
Theory, India, [70]
Theory, Mediæval, [134], [147]
Thomas, Ambroise, [495]
Tinctor, [163]
Thomaschek, [359]
"Tom Jones", [339]
Tonality, [84]
Tone Perceptions, [17], [55]
"Traviata, La", [485]
"Triads of Britain", [93]
"Tristan and Isolde", [423]
Troubadours, [121]
"Trovatore, Il", [485]
Tschaikowsky, [499]
Verdi, [483]
"Vestale, La", [478]
Vina, [71]
Viol da Gamba, [164]
Violin Making, [195]
Violin, Stradivarius, [199]
Virtuosity, [378]
Virtuoso Element, 19th Century, [428]
Vitry, Philippe de, [157]
Wagner, [416]
Wagner and Berlioz, [434]
Wagner, "Die Walküre", [420]
Weber, [406]
Weber as Pianist, [410], [437]
Weber's Influence on Piano Playing, [410]
Weimar, Liszt at, [449]
Welsh, Music of, [93]
Wieck, [467]
Wilhelm, Count, Troubadour, [121]
Willaert, Adrien, [171]
Winchester, Organ at, [98]
"Zampa", [490]
Zarlino, [171], [257]
Zelter, [457]
Zingarelli, [348]
Transliteration of the Greek lyrics to the [Pythic Ode]: