CORNELL UNIVERSITY LIBRARY MUSIC ... Cornell University Library ML 160.M43 1898 3 1924 022 267 185 The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022267185 7/ A HANDBOOK MUSICAL HISTORY. A HANDBOOK OF Musical History AND BIBLIOGRAPHY FROM ST. GREGORY TO THE PRESENT TIME BY JAMES E. MATTHEW Author of ^* The Literature of Music " etc. ONE HUNDRED AND TWENTY-EIGHT ILLUSTRATIONS, REPRE- SENTING REPRODUCTIONS OF OLD INSTRUMENTS, F.IC SIMILES FROM RARE MUSICAL WORKS, AND PORTRAITS OF MUSICAL COMPOSERS New York: G. P. PUTNAM'S SONS London: H. GREVEL & CO. Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury. PREFACE. SINCE the issue of my "Manual of Musical History" in 1892, death has been very active in the ranks of musical composers, and the world is the poorer by the loss of Brahms, Gounod, Rubinstein, and Ambroise Thomas — to mention a few of the most eminent only. As the work is now out of print I have availed myself of the opportunity to subject it to further revision, and to bring it down to the present date ; it has also been thought well to add to its utility by including some notice of the labours of the more prominent contemporary musicians. J. E. M. January 1898. CONTENTS. PAGE CHAPTER I, EARLY HISTORY OF MUSIC ... I CHAPTER II. THE HISTORY OF MUSICAL INSTRUMENTS . . . 20 CHAPTER III. THE MUSICAL INFLUENCE OF THE NETHERLANDS . . 56 CHAPTER IV. MUSIC IN ITALY AND GERMANY . . . . 67 CHAPTER V. EARLY HISTORY OF MUSIC IN ENGLAND . . . 79 CHAPTER VI. THE ORIGIN OF THE OPERA AND ORATORIO . . '. 92 CHAPTER VII. THE RISE OF THE OPERA IN FRANCE . . .Ill CHAPTER VIII. MUSIC IN GERMANY . 137 VIU CONTENTS. PAGE CHAPTER IX. MUSIC IN ENGLAND AT THE TIME OF THE RESTORATION . 1 79 CHAPTER X. THE RISE OF OPERA AND ORATORIO IN ENGLAND . . 202 CHAPTER XI. FURTHER HISTORY OF MUSIC IN ENGLAND . . .229 CHAPTER XII. MUSIC IN FRANCE DURING THE EIGHTEENTH CENTURY . 241 CHAPTER XIII. MUSIC IN VIENNA . . ... 269 CHAPTER XIV. THE MODERN ITALIAN OPERA . . . 303 CHAPTER XV. FURTHER HISTORY OF MUSIC IN GERMANY AND IN NORTHERN EUROPE 328 CHAPTER XVI. MUSIC IN FRANCE AND ENGLAND DURING THE PRESENT CENTURY .... . . . 405 ILLUSTRATIONS. 1. Facsimile of a portion of the Antiphotiariuin of St. Gregory be- longing to the Monastery of St. Gaul (a.d. 790) . . . s 2. Nomenclature of the Neums, given in the Breviarium de Musica, a MS. of the eleventh century (from Gerbert) .... 7 3. Commencement of the " Prose," or Hymn for the Festival of the Holy Cross (MS. twelfth century) 8 4. Notation on four lines (from a Lombardic gradual of the fourteenth century) ... 10 5. Diaphony in fifths, for four voices (from the Enchiridion 3Jiisitie of Hucbald, ninth century) 13 6. Diaphony, passing from the unison to the fifth and back to the unison (from a MS. of Francon from the Ambrosian Library, Milan ; eleventh century) .... • H o' I Crowned minstrels playing on various instruments (from a JIS. in ■ r the National Library, Paris) ... . -15 10. The air VHoiuvie Armi (thirteenth century) in modern notation 17 11. Song of the Foolish Virgins (from tlie liturgical drama of Thd Wise and Foolish Virgins). Notation in neums (from a JMS. of the eleventh century in the National Library, Paris) 18 12. Egyptian sistrum . ... 21 13. Oriental Nacaire ... ... . . 23 14. Musician playing the tambourine and pipe (from the House of the Musicians at Rheims) ... .24 15. Triangle of the ninth century (from a MS.) . 25 16. Hand-bell, ninth century (from a MS. at Boulogne) . 25 17. Bell of St. Cecilia at Cologne, made of rivetted plates 26 18. Bell in the tower of the cathedral at Siena, twelfth century . . 26 19. Carillon played with a hammer (from a MS. of the ninth century at St. Blaise, in the Black Forest) . . 27 20. Syrinx (MS. in the Library at Angers) . 28 21. Double flute . .28 22. Musicians playing the flute and other instruments (from Jost Amman, sixteenth century) ... . . 29 X ILLUSTRATIONS. FIG. PAGE 23. Chorus (from a MS. of the ninth century at St. Blaise) ... 30 24. Cornemuse, or bag-pipe (from the House of the Musicians at Rheims) ... .... -31 25. Primitive organ (sculpture in the Museum at Aries) . . 32 26. Sculpture on an obelisk erected by Theodosius at Constantinople in the fourth century, representing organs in which the pressure of air is produced by the weight of the blowers . • • 33 27. Organ with bellows worked by levers (from a MS. of the twelfth century in the library of Trinity College, Cambridge) . . 34. 28. Organ (from a MS. Psalter of the fourteenth century. National Library, Paris) -35 ^^' \ Small organs, called " Portative," " Positive," or " Regal " . 36 31. Oliphant (fourteenth century) 36 32. Shepherds' trumpets (eighth century, from a MS. in the British Museum) .... 37 33. Bent trumpet (eleventh century, Cottonian MS. British Museum) . 38 34. Trumpet with support (eleventh century, Cottonian MS. British Museum) 38 35. Military trumpet (from Jost Amman, sixteenth century) . . 39 36. Ancient lyre (from a MS. at Angers) 40 37. Lyre used in the north (ninth century) 40 38. Psalterium (ninth century, from a MS. in the National Library, Paris) -41 39. Round psalterium (twelfth century) . . -42 40. Psalterium (ninth century, MS. Boulogne) . 42 41. Cithara (from Gerbert) . 42 42. Nablum (ninth century, from MS. at Angers) ... 43 43. Triangular Saxon harp (ninth century, from the Bible of Charles the Bald) 43 44. Harp (tenth century, Saxon Psalter, British Museum) . 43. 45. Harp (tenth century. University Library, Cambridge) . 43 46. Harp (twelfth century, MS. National Library, Paris) ... 44 47. Harp of O'Brien, King of Ireland (tenth century, in the Dublin Museum) 44 48. Players on the harp (twelfth century, from a Bible, National Library, Paris) 45 49. Harpist (fifteenth century, from an enamel found near Soissons) . 45 50. Minstrel's harp (fifteenth century) 46 51. Harp with pedals, made by Vaderman in 1780 for Queen Marie Antoinette (now in the South Kensington Museum) . . 46 52. Dulcimer (fourteenth century, MS. National Library, Paris) . . 47 53. Clavichord (beginning of the sixteenth century, from Martin Agricola) ... . . .48 54. Lute (thirteenth century) . . .48 55. Crwth of the ninth century . . . .49 ILLUSTRATIONS. XI riG. PAGE 56. King David playing the rotta (from a window of the thirteenth century in the cathedral of Troyes) . .... 49 57. "1 Concert (portions of a bas-relief of the capital of a column at the fso 58.) Church of St. George, Boscherville) . . \5i 59. Organistrum (ninth century, from Gerbert) .... 52 60. Devil playing the viol (thirteenth century, Amiens Cathedral) . 53 61. Minstrel playing the viol (fifteenth century, Book of Hours, of King Rene, MS. Library of the Arsenal, Paris) .... 53 62. Viol-player (thirteenth century enamel found at Soissons) 53 63. Angel playing the viol (Amiens Cathedral) 53 64. Rebec (sixteenth century) 54 65. Monochord (fifteenth century, from a MS. Froissart, National Library, Paris) . . 54 66. Viol-players (after Jost Amman, sixteenth century) . . 58 67. Orlando di Lassus . 64 68. Hans Leo Hassler . . 71 69. Ludwig Senfl ... ... . 74 70. Michael Prjetorius ... ..... 76 71. Title-page of the volume of plates of the Syntagma of Michael PrEetorius (1620). [Reduced size.]. . . .77 72. Arcangelo Corelli . . . 105 73. Girolamo Frescobaldi (1587-1654) 108 '74. The'SaUet Comiqtie de la Royne, performed before Henri III. and the court (facsimile of the frontispiece of that work, 1582) . 113 75. Tritons playing on instruments of music (from the Ballet Comiqtie de la Royne, 1582) 115 76. Jean Baptiste LuUy (after the portrait by Mignard, engraved by RouUet, seventeenth century) . ... . . 123 77. Title of the opera Akeste ; mi, Le Trioinp/u d'Alcide, by LuUy, with a view of the Tuileries (after the drawing by Chauveau, 1674) . 125 78. Title of Atys, tragedy set to music by LuUy, published by Christ. Ballard in 1676 (drawn by Chauveau and engraved by Lalouette) 127 79. Title of the opera, Armide, by LuUy (engraved by J. Dolivar, after a drawing by Berain), published by Christ. Ballard, 1686 129 80. Les Noces de Thitis et-de Pelee (scene from the opera of Colasse, with a view of the Pont Neuf, designed and engraved by Sebastien Leclerc, 1689) 131 81. A player on the musette (engraved by Leblond, after C. David, seventeenth century) . . . . . . . .133 82. Adam Gumpelzhaimer . . 139 83. Johann Sebastian Bach 141 84. Louis Marchand .... 143 85. Johann Joachim Quantz 145 86. Carl Philip Emanuel Bach 149 Xll ILLUSTRATIONS. FIG. 87. John Peter Sweelinck . 88. Heinrich Schiitz . 89. Title-page of Keiser's Hannibal 90. Johann Adolph Hasse 91. Carl Heinrich Graun . 92. Johann Adam Hiller . 93. Dr. John Blow (from the frontispiece of his Amphion Anglicus^ drawn and engraved by R. White, 1700) 94. Henry Purcell (from the engraving by Zobel after Klosterman' portrait in the possession of the Royal Society of Musicians) 95. George Frederick Handel .... . . 96. Dr. Arne, from a sketch by Bartolozzi .... 97. Rameau (from the portrait of Restout, engraved by Benoist) 98. Gluck (after Auguste de St. Aubin, 1781) .... 99. Gretry at his pianoforte (after the picture by Isabey) . 100. Franz Josef Haydn .... loi. Wolfgang Amadeus Mozart ... . . 102.. Ludwig van Beethoven 103. Franz Schubert . ... 104. Cherubini ... 105. Rossini . ... 106. Verdi 107. Pietro Mascagni . ... . . 108. Leoncavallo 109. Carl Maria von Weber no. Lachner .... 111. Spohr .... 112. Felix Mendelssohn Bartholdy 113. Robert Schumann 114. Franz Liszt 115. . Richard Wagner . 116. Johannes Brahms 117. Robert Franz 1 18. A. Dvorak .... 119. , Engelbert Humperdinck 120. Anton Rubinstein 121. P. Tschaikowsky 122. , D. F. E. Auber . 123. Giacomo Meyerbeer . 124. - Hector Berlioz . 125. Ambroise Thomas 126. Charles Gounod . 127. C. Saint-Saens . 128. Jules Massenet, . THE HISTORY OF MUSIC. CHAPTER I. EARLY HISTORY OF MUSIC. Music among the Romans — Effects of Christianity on Music — St. Ambrose — St. Gregory — Introduction of " Neums " — Antiphonarium of St. Gregory and its History — ^Improvements in Notation — Guido d'Arezzo — Boethius — Infancy of Harmony — The Troubadours and Minstrels — Minnesingers and Meistersingers — "Confrerie de St. Julien '' in Paris — Adam de la Halle — Robin et Marion — Liturgical Plays. HOWEVER widely the appreciation of art may have been diffused among the inhabitants of ancient Rome, it is certain that the Romans themselves showed but little originality in its practice. For their sculpture, which was probably the manifestation of art in the greatest favour, they were almost entirely dependent on Greeks, who were attracted to Rome in large numbers by the liberal patronage which they received. In music they relied equally on foreign talent, its professors being also almost invariably drawn from the shores of Greece. All the treatises on music which have come down to us from ancient time are written in the Greek language. No original work on the subject in Latin is known earlier in date than the treatise of Boethius. 2 THE HISTORY OF MUSIC. A new direction was given to the practice of music by the spread of the Christian religion. The persecution which they suffered in their own land drove many of the early Jewish converts into Rome, where they performed their religious rites in secrecy, , It is reasonable to suppose that they brought with them many regretful memories of the sacred melodies of their beloved land. But music was in those days an unwritten language, which had a natural tendency to become deteriorated, especially as the ranks of the early Christians were soon recruited by converts from among the people whose hospitality they had sought, who added the melodies of their pagan, hymns to the common stock. The practice of music was carried on with difficulty, for, owing to a constant succession of persecutions, their meetings for public worship were held by stealth — most frequently in the secrecy of the catacombs. It is no wonder, then, that the ancient melodies, thus handed down by tradition alone, should become corrupted. Under Cpnstantine a happier time was in store for the Christians, and they were enabled to celebrate their worship in public. It soon became evident that great variety of practice existed in the performance of the vocal portions of the services. St. Ambrose, who had become Bishop of Milan, was about the year 384 engaged in building his cathedral there. He determined that the music performed within its walls should be the purest obtainable. As a first step he collected all the melodies at that time in use, and then proceeded to lay down fixed rules for the future guidance of his choristers. EARLY HISTORY OF MUSIC. 3 He allowed the four following tonalities only, in which all the melodies receiving his sanction were written. We have attached to them the equivalent terms according to the Greek nomenclature, and have marked the position of the semitone with a circumflex. The Dorian Mode. The Phrygian Mode. i ^EErs==2=^; S "zy ■^- -22_ ~22Z 1222 i The Lydian Mode. The Mixo-Lydian Mode. laz -TT sSf^ ZS3Z IZZ=^^i It is said that Pope Damasus was the first to intro- duce, at Rome in the year 371, the practice of chanting the Psalms, which up to that time had been recited in a loud voice by the congregation ; and no doubt the introduction of music in public worship spread rapidly. Gregory of Tours records that the baptism of Clovis in the church of Rheims was accompanied by beautiful music, which impressed the royal catechumen so deeply that when he signed a treaty of peace with Theodoric, King of the Ostrogoths, he made a condition that the prince should send him from Italy a party of singers and a skilful performer on the cithara. Two centuries after the time of Ambrose, St. Gregory the Great, who was elected pope in 590, supplemented the work of his predecessor by making a further collection of the melodies in Church use. He increased the number of modes to eight, but in addition to this he drew up an Antiphonarium, consisting of hymns, with suitable 4 THE HISTORY OF MUSIC. melodies, adapted to all the principal seasons of the Church's year. These have ever since remained in use in the Roman Catholic Church, and are now familiar to all under the name of "Gregorian," which they owe to their collector, although the proper name for them is Plain-Chant or Plain-Song. For the notation of his melodies Gregory is said to have made use of the letters of the Latin alphabet, the capitals A, B, c, D, E, P, G standing for the seven lowest notes of his scale, while the small letters, from a to g, continued the octave above. The enthusiasm of Gregory for the worthy performance of the musical services of the Church does not admit of question. He established in Rome schools for the education of choristers, and insisted on a knowledge of music among the bishops, refusing to ordain to that dignity a priest who was wanting in a sufficient knowledge of plain-song. For Gregory also has been claimed — on doubtful grounds — the system of musical notation which came into general use soon after his time, — that of "neums," a word supposed to be derived from the Greek word TTvevfia, breath. As an example, we refer to the fac- simile of part of the so-called Antiphonarium of St. Gregory (fig. i), supposed to be the oldest musical manuscript in existence, the historical value of which cannot be exaggerated. It has been for many centuries the property of the monastery of St. Gall, in Switzer- land. Towards the end of the eighth century, Charle- magne was desirous of introducing uniformity of practice in ritual throughout the whole of his vast empire. With ESTA. A:d 5CM JUrKlJJl- ^'*'\^ » «A7^N arum, jfecrr ^i-' * / < S ^ >'' Fig. I. — Facsimile of a portion of the Antiphonarium of St. Gregory belonging to the Monastery of St. Gall (a.d. 790). 6 THE HISTORY OF MUSIC. that view he begged Pope Adrian I. td send him two choristers well instructed in the practice of plain-song. To so laudable a request the Pope readily acceded. Two choristers named Peter and Roman us were selected, and they both started for Metz, at which place the reform was to commence, each in charge of a copy accurately made from the precious manuscript actually drawn up under the supervision of Gregory the Great. On the road, Peter fell ill, and was glad to claim the hospitality of the monks of St. Gall. By the express command of Charlemagne, he was received as a permanent resident in the monastery, — possibly with a view of making another centre for the diffusion of the true principles of plain-song ; and thus the Antiphonarium has become the most cherished possession of the monastery. By a fortunate accident, P^re Lambillotte, one of a small body of men who have been instrumental of late years in restoring the ancient practice of the Roman Church, was enabled to make a facsimile of it in the year 1 848, which was subsequently published ; and in 1885 the actual manuscript itself was shown in the exhibition of musical manuscripts, etc., which was held in the Albert Hall at South Kensington. The origin of neums is lost. Several theories have been started to explain them, but none quite satisfactory- According to some authorities, including the learned historian of music, Kiesewetter, they are of Roman origin, having some analogy with a species of shorthand in- vented by Tiro, the freedman and secretary of Cicero. F6tis claimed for them an Oriental origin, while Cousse- EARLY HISTORY OF MUSIC. 7 maker thought they were simply the acute, grave, and circumflex accents. The question will probably never be settled. Their interpretation into modern notation presents equal difficulty, especially as the practice of writing them varied considerably. It may be taken, for granted that no absolute pitch was intended. The rising and falling of the voice were indicated by the distance at which the neums were placed above the words, although Eptaphonas. Sirophims. PimcimtL. FonvcUis. Onseas, Vtmulcu. CephalixMS. Qwis. QuUisauv. PotUiIus. Scandicus efy SoUjCus: UtmajcuLS. JorcaUaS. An£US. Et pressus minor et maior naiv plaribits ulan Jfeumewairo syriis erras quLphxrdc r^uyi&. Fig. 2. — Nomenclature of the Neums, given in the Breviarium de Musica, a MS. of the eleventh century (from Gerbert). the interval could not be clearly defined by this method. It must be borne in mind, however, that the melodies were familiar to the singers, so that but little assistance was required for that purpose. When the signs became a little more definite in shape, they probably represented certain well-known and frequently recurring sequences, of notes so constantly met with in plain-song. Of these Gerbert gives a "memoria technica" from an eleventh- century manuscript, in which the names of the figures. 8 THE HISTORY OF MUSIC. are arranged in hexameter verses, with the signs repre- senting them (fig. 2). The use of neums was not confined to ecclesiastical music alone, and many manuscripts exist in which they are added to secular poems. In confirmation of the opinion that neums were of y* A '^^ au^eTcmctrauoUauibc QCme- A ■ ^ ■ ' * U ^ ^ ^ A ^^ ^ ■* A *i '* \ nofqutcmarfAiuIiaiu fpeciali 5{ccia^*c>afe CA j^ -* \ -jf^J^ VL^ ^-^L^ . tDdoCtaiigiitr oc tof dufee liguii tlulct di^ c * crccbnf raclodia- Fig. 3.— Commencement of the " Prose," or Hymn for the Festival of the Holy Cross (MS. twelfth century). assistance to those only who already were familiar with the melodies they were designed to represent, the contem- porary testimony of St. Isidore, Bishop of Seville, a friend of Gregory, may be brought forward. He says expressly : " Unless sounds are retained in the memory they perish, for they cannot be written down." A very simple invention paved the way to a reversal of this opinion. It occurred EARLY HISTORY OF MUSIC. 9 to some scribe, whose name has, unfortunately, not come down to us, — for without doubt he deserves to be re- membered with gratitude, — to draw with his bodkin a line across the parchment above the words to which the music was to be given. At the beginning of this hne was written the letter F, signifying that all the neums placed upon the line represented the note of that name (fig. 3). At once we have a definite pitch to start from, and the germ of the musical staff, which soon suggested itself The first step was the addition of another line above the F, representing the note C ; and it became the practice to use a red line for the F, while the upper line was drawn in yellow or green ink. It was a natural advance to draw a line, either with a bodkin or in black ink, between the coloured lines, and another line below the red soon followed. The four-line stave was now complete (fig., 4), and embraced a sufficient portion of the scale for most purposes of plain-song ; but, if necessary, another line was added either above or below the four-line staff, as convenience dictated. The intro- duction of the single line appears to have been made at the end of the tenth century, although it was some time before its use became general. On the introduction of the complete staff, neums were gradually abandoned in favour of notes bearing more resemblance to those with which we are now familiar. The invention of the use of coloured lines has been attributed to Guido d'Arezzo (area 990-1070), apparently without foundation, and it is only fair to say that he does lO THE HISTORY OF MUSIC. not claim it. M. F^tis remarks that I I i " Guide's fame has rested far more on what has been attributed . to him than on 3 what he really ^ did." There can g be no doubt that s he was a very a successful "3 teacher of youth, g in which 5, capacity he in- ^ vented the •^ method of read- o i-i mg music now ri S known as " So/- o ^ feggio." He ob- I served that the I melody sung to c the hymn to g St. John the Baptist — o ?5 Ut queant laxis /?«sonare fibris Mixz. gestorum • FamxiX\ tuorum, Sohe. poUuti Zabii reatuhi, Sancte Johannes^ rose a degree of the scale with the conimencement of, EARLY HISTORY OF MUSIC. 1 1 each line. It occurred to him to use these syllables — Ut, Re, Mi, Fa, Sol, La — to designate ' those notes of the scale, and he taught his pupils to sing these intervals by carrying back their thoughts to a melody so familiar to them all, instead of referring to the interval on an instrument. The important part which music filled in the service of religion made some acquaintance with it a necessary part of the education of every ecclesiastic. The mild wisdom of the writings of Boethius, which caused him to be looked on as a Christian, led to their extraordinary popularity. Among them was unfortunately a treatise on music, and this was selected as the text-book. It has been abundantly proved that he entirely misunder- stood the subject which he attempted to explain ; and the blind confidence which for so long a time was placed in his knowledge proved a great hindrance to the true study of the science. But in truth it was a subject on which the divorce between theory and practice was almost complete. The priest and the chorister were content to acquire sufficient knowledge to go through their duties with credit, while the student indulged in the useless inquiries then so popular. We are fortunately not called on here to decide whether the ancient Greeks and Romans were acquainted with harmony, a question which has been discussed with great warmth by many learned musicia:ns ; there can be no doubt, however, that rude attempts at harmony were made at a very early period of the Middle Ages. It must be admitted that they were of such a nature 12 THE HISTORY OF MUSIC. that the preformance of them in the present day would strike the musician with horror ; but it is equally certain that at the titoe in which they were in use they were received with enthusiasm. A monk who wrote soon after the time of Charlemagne mentions that the Roman singers taught the French singers the art of " organising," — the term by which the earliest attempts at harmony were described. On this statement Cousse- maker makes the very sound reflection that if the monk was mistaken in the fact which he reports, it proves at least that the practice existed at the time when he wrote, which was in the early part of the ninth century. The first attempt to describe the principles of har- mony as then understood is given by the monk Hucbald, who lived at the end of the ninth and the beginning of the tenth centuries, in his treatise entitled Musica Enchiriadis. In the earliest specimens the melody was accompanied by notes of equal length, preserving the same interval throughout the whole of the composition. The intervals allowed were the octave, the fifth, and the fourth, which were admissible when the work was in two parts only, but these parts might be doubled in the octave above when a larger number of parts were employed. This style of writing was called diaphony or organum. The meaning of the former term offers no difficulty ; Hucbald explains it to be so called ■" because it consists, not of a melody produced by a single voice, but of a harmonious composition of sounds of a different nature heard at the same time." But the EARLY HISTORY OF MUSIC. 1 3 term " organum" is not so easy of explanation. The word had been in use before the time of Hucbald, who makes no attempt to unravel the diiificulty. The first to do so was the monk John Cotton, who fancied that it was so called from the resemblance it had to the sounds of the organ. We will now give from Hucbald a specimen of this method of harmonising (fig. 5), and this was considered by the critics of the time to "be a " suavetn concentum " ! Soon after the adoption of " organum," " discant " was -fl ■■ n Jr -^ II if>\ I"* TT- Xu pa - tris sem . pi - ter - U nus ^ xy :^ es fi - li - us. cn /A. ^* l-» en *■■ — ^.»- 11 *■ tl y —*■* — n— 0- *■* Q !.■* '■'>-' 4J . Tu pa - tris sem - pi - ter - nus es fi - li - us. Fig. 5. — Diaphony in fifths, for four voices (from the Enchiridion Musicic of Hucbald, ninth century). introduced, which made its way almost simultaneously. It was originally in two parts only, the principal melody called the " tenor," while the accompanying part was called the " discant " ; but at a later time other parts were added. The main difference between diaphony or organum and discant consists in the fact that while in the former the accompanying parts were note against note, in the latter these parts might consist of notes of different value from those of the " tenor " which they accompanied. In its earliest days the discant was often improvised by the singer, for whose guidance certain .14 THE HISTORV OF MUSIC. rules were current ; but it is difficult to suppose that the practice was possible except with the smallest number of -singers. This was called in France "chant sur le "livre," and in Italy " contrapunto a mente." It is not surprising that the practice led to abuses; a desire for display would naturally lead the singer into a style of singing quite foreign to the spirit of plain- song ; and thus we find that several of the popes attempted to suppress it. In modern notation. ^^ ^ ^^^H ffiH ip* SE^ m i»^ fj-rJ-fJ s rj-a-a ^ S ^ ^ Fig. 6.— Diaphony, passing from the unison to the fifth and back to the unison (from a MS. of Francon from the Ambrosian Library, Milan ; eleventh century). From such humble beginnings the modern science of harmony was developed. Secular music was kept alive by the troubadours, who were both poets and musicians. Their art is supposed to have had its origin in the East, and to have passed into Provence from the neighbouring country of Spain. The troubadours were the aristocrats of the world of art, many of the body being of noble and even royal origin, among whom may be numbered Thibaut, King of Navarre, the Chatelain de Coucy, the Count of Anjou, the Count of Soissons, and the Duke of Brabant. But a more humble birth, if EARLY HISTORY OF MUSIC. 15 accompanied by commanding ability, was no obstacle to adinission to the honoured ranks, and among such we find Adam de la Halle, Blondeau de Nesle, the devoted friend of Richard Cceur de Lion, Richard de Fournival, and others. Their rules compelled them t6 choose some lady whose charms formed the prevailing subject of their songs, and their efforts sufficed to enliven the tedium of the courts to which they generally attached themselves. Fig. 7. Fig. 8. Fig. 9. Crowned minstrels playing on various instnunents (from a MS. in the National Library, Paris). Unlike the troubadours, the jongleurs and minstrels wandered about from place to place, certain of being well received in the houses of the rich, where their lays ensured them a welcome ; they were always well lodged and fed, and dismissed with an ample reward. This roving life was far from exercising a beneficial effect on them, and they \\'ere too apt to deserve the character of being rogues and drunkards. In Germany the troubadours and minstrels existed under the names of minnesingers and meistersingers. 1 6 THE HISTORY OF MUSIC. The minnesingers were selected from the members of the noble classes, while the meistersingers, who took their rise early in the fourteenth century, when the minnesingers were abandoning their functions, answered to the professional musicians or minstrels. Election into the body was a proceeding of great solemnity. The candidate performed before four judges, who were hidden from sight by a silken curtain. One of these had to watch carefully for any grammatical error ; the others paid attention to the rhyme and metre, and the melody of the postulant. If the judges agreed in thinking him worthy, he was admitted with all due ceremony, being decorated with a silver chain and badge, on which was represented David playing the harp. To be a meister- singer was not incompatible with a much more prosaic calling ; Hans Sachs, of Nuremburg, one of the most celebrated, was, it will be remembered, a shoemaker. Among the troubadours whose names we have men- tioned was Adam de la Halle, who was born early in the thirteenth century. Thanks to the researches of M. Coussemaker, the most learned authority on the music of this period, we possess a very large collection of his works, which comprise numerous songs, rondeaux, motets (a word which had not at that time acquired the mean- ing of a sacred composition) ; in all of these both words and music were of his composition ; but what is still more interesting, we find a regular drama set to music, entitled Li Gieus de Robin et de Marion, which one is almost justified in calling an opera. The story is one of the simplest. Marion is betrothed to the shepherd Robin, EARLY HISTORY OF MUSIC. 17 when a knight appears on the scene who tries to steal away her affections : however, she proves faithful, and everything ends happily. In the course of this piece Adam de la Halle introduces the famous air L'Homnte Arm^ (fig. 10), which was so often in after-times used as a subject for musical treatment. Tradition has it that this was the air which the Crusaders sang on their entry into Jerusalem. Allied to this little musical play are the liturgical m ^ ^ J ^ I J ^1 " -XL O 4 i ir ^^ ■^ — ^ r r I r r r3=i- ' • ^ p f - r r i rr l O 1 ^ i 3t= 2=^: LM,\ J l j -o ^A- Fig. 10. — The air L'Homme Armi (thirteenth century) in modern notation. dramas of the Middle Ages, which were performed in churches as a means of instructing the people in the main facts of the Christian religion. Several of these have also been published by the indefatigable M. Cousse- maker, and among them we find such subjects as the Resurrection, the Adoration of ■ the Magi, the Massacre of the Innocents, the Holy Women at the Sepulchre, and other subjects of a like nature. The characters were personated by the priests and choir of the church ; they were performed at the appropriate seasons of the 2 1 8 THE HISTORY OF MUSIC Chuixh's year, and no feeling of irreverence had any place whatever in thus representing the principal facts of religious belief. It is interesting to notice that the melodies in Robin and Marion are decidedly light in character compared with the music of these dramas, which are of the nature of plain-song. M. Coussemaker prints twenty-two of these compositions, ranging from of tnrijiriff© que i«A4:of*u«iijmun> ti«5li3^»J>e. Memorie storico-critiche della vita e della opere di Giovanni Pierluigi da Palestrina. Roma, 1828. 2 vols., 4to. Caffi, Francesco. Storia della musica sacra nella gia capella ducale di San Marco in Venezia dal 13 18 al 1797. Venezia, 1854, 1855. 2 vols., 8vo. Koch, E. E. Geschichte der Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche. (and ed.), Stuttgart, 1852-3. 4 vols., 8vo. Winterfeld, C. von. Der evangelische Kirchengesang und sein Verhaltniss zur Kunst des Tonsatzes. Leipzig, 1843, 5, 7. 3 vols,, 4to. CHAPTER V. EARLY HISTORY OF MUSIC IN ENGLAND. Sumer is icumen in — Fairfax, Sheppard, MuUiner, Taverner, Merbecke, Tallis, Redford, Edwards, Tye and Byrd — Patent for Music-printing granted to Tallis and Byrd — Farrant — The Madrigalian Era — N. Yonge's Musica Transalpina — Watson's Italian Madrigals Englished — Morley, Bateson, Ward, and O. Gibbons — Triumphs of Oriana — Widespread Knowledge of Music— Morley's Introduction — Parthenia — Dr. John Bull — Foundation of Gresham College — Ravenscroft— Hilton — Barnard's Cathedral Music — Metrical Version of the Psalms. IF, in consequence of its geographical position, England was in a great measure cut off from the musical influences which were at work in the Continent of Europe, there is one fact to which it may point with pride— the possession of the earliest secular composition in parts existing in any country. This is the famous rota, or round, Sumer is icumen in, contained in one of the Harleian manuscripts at the British Museum. An excellent facsimile forms the frontispiece of Mr. W. Chappell's Popular Music of the Olden Time, and another is to be found in Sir George Grove's Dictionary of Music (vol. iii.). We do not therefore reproduce it here. In the judgment of those best qualified to form an opinion, the manuscript belongs to the first half of the thirteenth century. This was the opinion of the late Sir F. Madden among others, and lest it should be supposed 79 8o ' THE HISTORY OF MUSIC. that national feeling may have influenced this decision, it may be well to mention that M. Coussemaker concurred in it. The composition is a canon for four voices, with two others forming the pes, or burden. The style of the composition, both in melody and harmony, is far in advance of anything known at that time, which was a hundred and fifty years before the rise of the Flemish school. With so long a step in advance, it is humiliating to be unable to continue the record, and we are forced to suppose that much music was lost at the suppression of the monasteries in the time of Henry VIII. We have already spoken of John of Dunstable. Of musicians before the Reformation very little beyond the names has come down to as. Robert Fairfax, Doctor of Music (and England is the only country in which degrees in music have been conferred), was organist, or perhaps precentor, of St. Albans in the reign of Henry VII. About the same time flourished John Sheppard, organist of Magdalen College, Oxford, who received his education from Thomas Mulliner, master of the boys of St. Paul's, London. Taverner was organist of Boston, and subse- quently of Cardinal College (now Christchurch), Oxford. Having joined the Reformed religion, his life was in some peril, but fortunately his skill in music helped to secure his acquittal. We now come to one whose name is more widely known in our own time — John Merbecke, to whom was entrusted the duty of arranging the musical portions of the first reformed Prayer Book of Edward VI., which EARLY HISTORY OF MySIC IN ENGLAND. 8 1 was published in 1550, under the title of The Booke of Common Praier Noted. This was an adaptation of the plain-song to the new form of liturgy. The author was a man of some learning in other departments of knowledge, having compiled a concordance to the Bible. He was a very staunch adherent to the new doctrines, and nearly fell a martyr to his opiriions, having been condemned to death with two of his friends, who were actually executed, his own life being saved by Bishop Gardiner's intervention. The choral portions of the services of the Reformed Church were also set to music by the celebrated Tallis. He made use of the resources of harmony, and his noble setting has held its place to the present day wherever the choral service of the English Church is performed. John Redford succeeded MuUiner as master of the boys at St. Paul's Cathedral ; he wrote many services and anthems, one of which. Rejoice in the Lord, is still in use. Richard Edwards, also a writer of much Church music, is better known to us as the composer of the beautiful madrigal. In going to my naked bed. Some of the works of Dr. Tye also are still performed. He formed the idea of making a rhymed translation of the Acts of Apostles and of setting it to music, but does not seem to have advanced beyond the fourteenth chapter. Tallis was one of the most learned composers in an age of learning. In proof of this we may point to his canon in forty parts, which is still extant. One of his familiar works is the well-known tune to Bishop Ken's evening hymn, which contains a canon between the treble 6 82 THE HISTORY OF MUSIC. and tenor parts. William Byrd is known to most by his canon Non nobis Domine, so often sung as a grace. It has remained a matter of discussion whether Byrd conformed to the Protestant religion ur continued in the Romish faith ; but it is certain that he composed several masses. One of these, for five voices, forms the earliest publication of the Musical Antiquarian Society. With Tallis, who was his master, he published a set of Cantiones Sacrce, and other sets by himself alone, under similar titles. Of his English works we have Psalms, Sonets, and Songs of Sadnes and Pietie, Songs of Sundrie Natures, some of gravitie and others of myrth, and Psalms, Songs, and Sonnets, some solemne, others joyful, framed to the Life of the Words. To Tallis and Byrd, and to the survivor of them, was granted by Queen Elizabeth the exclusive right of printing music and of ruling music paper. Tallis died in 1585, and the patent devolved wholly on Byrd, who is believed to have gained largely by it. We must not pass by Richard Farrant, gentleman of the Chapel Royal, without mention. The beautiful subject of his still favourite anthem, Lord, for Thy tender merciei sake, is alone Sufficient to preserve his name from oblivion, although by some it has been attributed to Hilton. We have now come to the golden ?ige of music in England, a time when its composers will bear comparison with any contemporary writers on the Continent. This period has been happily called the Madrigalian Era, and is covered by a space of exactly fifty years from EARLY HISTORY OF MUSIC IN ENGLAND. 83 the year 1588, which is the date of the first collection of madrigals published in this country. The title is worth transcribing : — " Musica Transalpina : Madrigales translated of foure, five, and sixe parts, chosen out of divers excellent Authors, with the first and second part of La Verginella, made by Maister Byrd, upon two stanz's of Ariosto, and brought to speak English with the rest. Published by N. Yonge, in favour of such as take pleasure in musick of voices. Imprinted at London by Thomas East the assigne of William Byrd. 1588." It will thus be seen that this first collection was almost exclusively, as its title infers, a collection of the work of foreign musicians ; in fact, it contains, among others, four by Palestrina, four by F. di Monte, ten by Luca Marenzio, two by Orlando di Lassus, and fourteen by Ferrabosco. In his quaint preface Yonge says : — " Since I first began to keepe house in this citie, it hath been no small cpmfort unto mee that a great number of gentlemen and merchants of good accompt (as well of this realme as of forraine nations) have taken in good part such entertainments of pleasure, as my poore abilitie was able to affoord them, both by the exercise of musicke daily used in my house, and by furnishing them with bookes of that kinde yearly sent me out of Italy and other places, which beeing for the most part Italian songs, are for sweetness of aire verie well liked of all, but most in account with them that understand that language. . . . And albeit there be some English songs lately set forth by a great master of musicke which for skill and sweetness may content the 84 THE HISTORY OF MUSIC. most curious ; yet because they are not many in number, men delighted with varietie have wished more of the same sort." To the praiseworthy desire so quaintly expressed we are indebted for this collection, which Yonge followed up with a second in the year 1579. From the wording of the preface it was generally supposed that Yonge was a merchant in London ; from Mr. W. Barclay Squire's researches there seems little reason now, however, to doubt that he was really one of the vicars choral of St. Paul's. Another collection of foreign madrigals was published in 1 590 by Thomas Watson : The first set of Italian. Madrigalls Englished, not to the sense of the originall Dittie, but after the affection of the Noate. Whether this intro- duction of foreign madrigals directed the efforts of our own musicians into that channel we are unable to say, but certain it is that from that time set after set by native musicians followed each other in quick succession. The principal composers were Morley, with a set for four voices and another for five, besides ballets and canzonets, or Little Short Aers ; Weelkes, five or six sets of madrigals and one of Ayeres, or Phantastike Spirits ; Wilbye, two sets, comprising the well-known Flora gave me Fairest Flowers, and Sweet Honey-sucking Bees ; Bateson, also two sets ; Ward and Orlando Gibbons each wrote a set. They were among the later representatives of the school. Gibbon's Silver Swan is a little masterpiece of dramatic expression. We have selected only the most prominent writers for mention, but together they produced a large body of works, mostly of the greatest interest and merit. EARLY HISTORY OF MUSIC IN ENGLAND. 85 There is one set which we have not mentioned that, called the Triumphs of Oriana, a collection of twenty-five madrigals, two of which were by Ellis Gibbons, brother of Orlando Gibbons ; but with this exception, each was by a different composer, and each ended with the same burden in praise of Oriana, under which title is meant Queen Elizabeth, who has been accused of having encouraged the delicate flattery. Certainly it is flattery of which any monarch might be proud. The work was collected by Morley. The publication of so much vocal part music supposes a very wide knowledge of music, and this, we find, was the case. Every gentleman was expected to be able to take his part. For instance, in Morley's Plaine and Easie Introduction to Practicall Musicke (1597), Philomathes, the disciple, gives the following reason for seeking instruction : "Supper being ended, and musicke-bookes, according to the custome, being brought to the table, the mistresse of the house presented mee with a part, earnestly requesting me to sing. But when, after manie excuses, I protested unfainedly that I could not, eurie one began to wonder. Yea, some whispered to others, demanding how I was brought vp. So that, vpon shame of mine ignorance, I go nowe to seeke out mine olde friende master Gnorimus, to make my selfe his scholler." To this his friend Polymathes replies, " I am glad you are at length come to bee of that minde, though I wished it sooner. Therefore goe, and I praie God send you such good successe as you would wish to your selfe." It is much to be regretted that a very small portion only 86 THE HISTORY OF MUSIC. of all these riches is available for performance, or even for study. We have already spoken of the rarity of original copies of music of this character, which was invariably published in parts, and in consequence is seldom found complete. Some attempt was made about the year 1 840 to remove this reproach by the foundation of the Musical Antiquarian Society, which during several years republished, with some luxury, many of these master- pieces, in score, After a time, as too frequently is the case with such undertakings, the work got into arrears, and the subscribers fell away, and thus the Society came to an end when its work was but just beginning. Fortunately, thanks to the enterprise of a musical amateur, Mr. G. E. P. Arkwright, a new series of old English composers is in course of publication, and already comprises the madrigals of Kirbye, songs of sundry natures by Byrd, madrigals by Alfonso Ferrabosco from the Musica Transalpina, ballets and madrigals by Weelkes, and a Mass by Dr. Christopher Tye. The enterprise deserves the support of all who are interested in these five specimens of our national music. Many of these madrigals are described as •' apt for viols," and no doubt formed the principal resource of the instrumental performers of those days, although Orlando Gibbons wrote a set of Fantasies in three parts, and a few by other composers exist. Of some of the foreign madrigals, parts are found without the words, expressly arranged for instrumental performance. The' year 1611 saw the publication of Parthenia the Maydenhead of tlie first Musicke that was ever printed for the Virginals, by the famous masters William Byrd, Dr. fohn Bull, and Orlando EARLY HISTORY OF MUSIC IN ENGLAND. 87 Gibbons, Gentlemen of his Majesties most Illustrious Chapell. It is said to be the earliest work printed from copper plates, and is engraved on a double stave of six lines in each. The music consists of preludiums, pavanas, and galiardos, and its difficulty speaks well for the executive power of those days. Dr. John Bull, whom we have just mentioned, was a very skilful performer on the organ, and a musician of great attainments, much in favour with Queen Elizabeth. His health having given way, he travelled in France and Germany, being everywhere received with the respect due to his abilities. James I. having appointing him his organist, he returned to England, but starting again on his travels, became the organist of Antwerp Cathedral. He must have been a man of a restless disposition, for he died at Liibeck in 1628 ; some, however, say in Hamburg. To him is attributed, we fear on somewhat slender grounds, the com- position of our national anthem, God save tfie King. By the munificence of a citizen of London, Sir Thomas Gresham, provision was made for the foundation of a college to afford instruction in the principal branches of knowledge, among which music had a place. The bequest was not to take effect until the death of his widow, who survived him for some years, so that it was not until 1597 that the scheme could be matured. On the express recommendation of Queen Elizabeth, Bull was appointed the first professor. Precise injunctions were drawn up as to the course to be adopted by the holder of the office. "The solemn music lecture is to be read in manner following ; that is to say, the theoretic part for one half- 88 THE HISTORY OF MUSIC. hour or thereabouts, and the practical part, by help of voices or instruments, for the hour." All the other lectures were to be read both in Latin and English ; but, in deference to Bull's small acquaintance with Latin, this requirement was waived in the case of the music professor, and this arrange- ment has continued to the present day. Bull's inaugural lecture is extant ; but when his health gave way, Thomas Byrd, a son of William Byrd, seems to have undertaken his duties. It is disgraceful to have to state that the intentions of the founder, at least with regard to the music lectures, were absolutely neglected. The subsequent professors were com- pletely ignorant of the art they undertook to illustrate, and it was not until the present century that a better state of things was inaugurated by the appointment of R. J. S. Stevens, a musician, of adequate attainments. In 1609 was published by Thomas Ravenscroft, under the title Pammelia, the first collection of catches, rounds, and canons printed in this country. This was followed in the same year by Deutero- melia, which contains the favourite Nursery catch Three Blinde Mice, and it is worthy of note that it is written in the minor, not in the major, as it is now almost invariably sung. Hilton's Catch that Catch Can, first printed in 1652, was another favourite collection, which was frequently reprinted. The first attempt to form a collection of cathedral music was made by the Rev. John Barnard, one of the minor canons of St. Paul's in the year 1641. It comprises both services and anthems by most of the eminent Church musicians who had written before that time. No complete copy of this valuable work is known. It should consist EARLY HISTORY OF MUSIC IN ENGLAND. 89 of ten vocal parts. Of these Hereford Cathedral possessed eight, of which several were imperfect; in 1862 the Sacred Harmonic Society, at that time in the height of its prosperity, became the fortunate possessor of eight parts ; and, strange to say, these two libraries each had the parts wanting to complete the other set. Soon afterwards one of the missing parts was purchased for Hereford, and at a later period the Sacred Harmonic Society also acquired one of the parts which it lacked, so that the two libraries each possessed nine parts out of ten. Lichfield has seven of the parts. There is strong ground for supposing that an organ part must also have existed, but this has never been seen. That an edition of an important work should disappear so com- pletely is very remarkable, and it is generally thought that the bulk of the copies must have been destroyed during the political troubles which resulted in the Commonwealth. The very valuable library of the Sacred Harmonic Society, which contains an almost complete collection of the English madrigals, such as it would be hopeless to try to get together now, has passed into the possession of the Royal College of Music. It is not a little remarkable that, in addition td the printed volumes of Barnard's Church Mustek, it contains seven volumes of manuscript collections made by him for this work. As a natural result of the Reformed religion, the people asserted their right to take part in the common praise of the Church, and this impulse found its embodiment in metrical psalmody. The version that received official go THE HISTORY OF MUSIC. sanction was that by Thomas Sternhold, John Hopkins, " and others." It was a sorry production. The whole sublimity of the original was lost in a flood of maundering verbiage. In one or two instances the versifiers stumbled on a rendering which showed some rugged dignity, as, for instance, in the hundredth Psalm, which still is in use, but such examples are apparently due to a fortunate chance. The first complete edition was dated 1562, and this contained the melodies of the tunes, which were mostly derived from German sources. Several editions were subsequently published in vocal parts, one by Est in 1594. The tunes in this were harmonised by John Douland, Farmer, Allison, Farnaby, and others, the melody being assigned to the tenor voice. But perhaps the best-known is that published by Ravenscroft in 1 62 1, in which a melody is assigned to each psalm. Some were German tunes which by this time had become naturalised, others were by Ravenscroft himself, while among other composers the name of John Milton, the father of our great poet, appears. The Psalms were again paraphrased by George Sandys, and set to music by Henry Lawes, but this version, which had far greater literary merit, was never adopted for public use in churches. The '' old " version of Sternhold and Hopkins maintained its position for many long years, till it was supplanted by the equally prosaic productions of Brady and Tate ; in some country places that change had not taken place even in living memory. Both are in these days deservedly shelved. We have now brought down the history of English EARLY HISTORY OF MUSIC IN ENGLAND. 9 I music to the time of the civil war, which, we need scarcely add, put a complete stop to the cultivation of music in this country. To the ears of the Puritan, music was anathema, and its professors were compelled to seek for some other livelihood. BIBLIOGRAPHY. Barrett, W. A. English Church Composers. London, 1882. 8vo. Rimbault, E. F. Bibliotheca Madrigaliana. London, 1847. 8vo. Ward, John, LL.D. Lives of the Professors of Gresham College. London, 1740. Folio. CHAPTER VI. THE ORIGIN OF THE OPERA AND ORATORIO. Influence of the Renaissance— Study of Greek Music— Vincenzo Galilei — Giulio Caccini and Jacopo Peri — Rinuccini's Euridice set to Music by both these Composers — Monteverde — His Instrumentation — The Opera in Venice — Origin of the Oratorio— Carissimi — Alessandro Scarlatti — Durante — Pergolesi— Jomelli — Lotti— Marcello — His Psalms—// Teatro alia moda — Porpora — Corelli and his School — Tartini — Frescobaldi — Domenico Scarlatti. OF all the movements which have affected the intel- lectual and artistic development of the civilised world, there has been none so great in its results as that consequent on the discovery of the remains of classical literature and classical art, which is called the Renaissance. Of that movement Florence was the centre. One of the natural results of this great impulse was a tendency to attach an excessive admiration to everything which descended from classic times. The literary men of the time could appreciate the beauty of the ancient Greek and Roman work^ which were gradually opened to them. The artists could judge how far the sculptures which were continually being brought to light excelled the works of themselves and their fellows. Finding the ancient nations so greatly in advance both in literature and the plastic arts, it was naturally supposed that ancient 92 THE ORIGIN OF THE OPERA AND ORATORIO. 93 music Stood at a height of similar pre-eminence ; and this notion was fostered by the accounts which the ancients themselves gave of the effects produced by their own musicj It is not surprising therefore that the thoughts of those interested in music should at that time be directed towards the study of the art as practised in ancient Greece. The subject was one of great difficulty and complication, and the materials then available were insufficient for a solution of the problem. But such considerations generally act as a stimulus to investigation ; of all musical questions none has perhaps engaged more attention, while none has produced less satisfactory results, many points, even in our own day, being still in dispute. Among those engaged in the investigation of this question was a small body of friends who were in the habit of meeting in constant intercourse at the palace of Giovanni Bardi in Florence. In addition to the host, these consisted of Vincenzo Galilei (the father of the still more celebrated astronomer), a man of great ability and learning, who was a good practical musician, and the author, among other works, of a dialogue comparing ancient and modern music. In this work, which was dedicated to Bardi, he proved to his own entire satis- faction the complete superiority of ancient over modern music. Three short fragments of Grecian music only were known to Galilei ; in fact, these, with another of doubtful authenticity, are all that have been discovered till a few years back. In the year 1581, when this 94 THE HISTORY OF MUSIC. work was published, Orlando di Lassus and Palestrina were at the height of their celebrity. The Missa Pap- well and was a good singer, especially at sight. Unfortunately she soon became delicate, and although not extravagant, did not shine as a domestic manager, so that household cares weighed heavily on Mozart for the rest of his life. And now he entered on a period of the greatest activity as a composer. In the year 1784 Mozart began to keep a catalogue of his compositions as they were produced. It is a catalogue of masterpieces. In the early part of 1786 we find the music to the comedy Der Scliauspiel Director followed in April of the same year by Le Nozze di Figaro. What musician is unacquainted with this charming work — perhaps the most individual of all his operas? To particularise its beauties would be to give a list of all the numbers of which it consists ! Strange to say, the effect produced by this masterpiece was com- paratively small, and it was only when brought out at Prague in the following year that it was received with the enthusiasm it deserved. So pleased was the composer 202 THE HISTORY OF MUSIC. at this result that he exclaimed, " The Bohemians under- stand me so well I must write an opera for them ! " The result was his masterpiece, Don Giovanni. In September, 1787, he repaired to Prague, accompanied by his wife, with a view to composing his opera on the spot. The whole was laid out in his mind, but as yet not a note committed to paper. The work was carried on in a garden house in the suburbs belonging to his friend Duschek, a musician. It was much frequented by his acquaintances, who were in the habit of enjoying a game of bowls in the garden. Amid this scene of merriment the work was carried on, the composer frequently breaking off to take his turn in the game. The opera was pro- duced on October 29th, 1787. On the previous evening the overture had not been written. At his request his wife made him a glass of punch, and told him fairy tales to keep him awake while he composed his overture. As soon as she stopped talking he became drowsy, and she therefore persuaded him to take some rest, awaking him at five o'clock. He had ordered the copyists to come at seven, and by that time the overture was finished. The parts were copied during the day, and the overture played without rehearsal at night amid a scene of tumultuous applause, which continued as number after number added to the delight of the audience. Prague once again showed its thorough appreciation of the master. At Vienna its reception was less enthusiastic — the Viennese found the music too learned for their taste, but even there its beauties gradually made their way. The dramatic power of the music, its wealth of MUSrC IN VIENNA. 283 melody, form the delight of all who have an ear for "sweet sounds," while the learned contrivance displayed is the wonder and admiration of the musician. Following the order of the catalogue, in the year 1788 we find that marvellous trio of symphonies, known wherever orchestral works are appreciated, those in E flat, G minor, and C, the last known as the Jttpiter, the finale of which is the wonder of musicians. The year 1790 saw the production of the opera Cost fan tiitte, the libretto of which was not to his taste, so that the work hardly rises to his standard of excellence. We now come to the last year of the great musician's life. To help his friend Schickanedcr, director of a theatre in Vienna, out of a pecuniary difficulty, he under- took to write for him a German opera, Der Zauberflote. Schickaneder himself contrived the libretto, and a strange incomprehensible jumble was the result. The music itself is delightful. The health of Mozart was now giving way. During the composition of the opera he received the visit of a mysterious stranger, who handed him an anonymous letter asking the sum he would require for the com- position of a requiem, and the time necessary to execute the commission. It is now ascertained that the mysterious stranger was the steward of Count Franz von Walsegg, that the requiem was for his wife, and that he was desirous of passing himself off as the composer, as he had done before with other works similarly commissioned. But Mozart was weakened by illness, and could not rid himself of the idea that the messenger was supernatural, and 284 THE HISTORY OF MUSIC. the requiem intended for his own death. In the meantime he was called on to compose an opera. La Clemensa di Tito, by the Bohemian nobles, to celebrate the coronation of the Emperor Leopold II. Well disposed as the inhabitants of Prague were to Mozart, the work, written against time, was received with coldness, and he returned to Vienna, sick in mind and body, to set to work again on Der Zauberflote and the requiem. The opera was brought out with unbounded success, and established the fortunes of Schickaneder. He now set to work on the requiem, more than ever confirmed in the idea that it was for himself. Full of gloomy fancies, he became convinced that he was poisoned. On November zist he took to his bed, from which he never rose again. The requiem lay constantly on his bed, and his young friend Siissmayer, who had assisted him in the composition of La Clemenza, received his instructions as to the filling up of the score. At two o'clock on the 4th December, some friends who were -visiting him sang through the score, he himself being able to to take the alto part. On arriving at the " Lacrymosa " he burst into tears and laid down the music. Towards evening it was evident that death was near, and at one o'clock in the morning of December 5th the great musician ceased to breathe. Then only did the Viennese find out what a loss they had sustained. He had barely completed his thirty-sixth year, but the number of his compositions was enormous. The excellent catalogue drawn up by Von Kochel contains six hundred and twenty-six works, in addition to those MUSIC IN VIENNA. 285 which were unfinished. Among so large a number many will, of course, be found trivial, being written for a particular purpose, or to oblige a friend, in which he was Fig. 102. — Ludwig van Beethoven. most generous. But among them are many works of the highest genius. Perhaps his greatness was most fully shown in his dramatic work, but in all forms of com- position he excelled. Nothing can be more delightful 286 THE HISTORY OF MUSIC. than his symphonies, or his later string quartets. His sacred music conformed to the fashion of the time, but is full of charm — for example, the well-known Ave Verum. Towards the end of his career he appears to have soared to greater heights, and we cannot cease to regret that his life should have been cut off so prema- turely. Among his contemporaries he seems to have been appreciated at his true worth by Haydn alone, who, born twenty-four years earlier, survived him for eighteen years. Although he gave advice to many, two only are known as his pupils, th^ pianist and composer Hummel, and our own Attwood, for whom he had great regard. And now we come- to the greatest master of modern times — Ludwig van Beethoven — who, although not a native of Vienna, made that city the home of his adoption, and shed on it the lustre of his surpassing genius. Beethoven was born in Bonn on the Rhine, on De- cember 1 6th or 17th, 1770, the son of a somewhat dis- reputable singer in the chapel of the Elector Archbishop of Cologne, whose court was at Bonn. He soon began to show that precocity which is so frequently the accom- paniment of musical genius. His father at once looked to his son's abilities as a possible addition to his scanty means, and all the time when the boy was not at school was passed in the constant effort to force his musical talent. In this he was assisted by his friend Pfeiffer, a tenor singer at the opera, who lived in the same house. That the boy . was not disgusted with music altogether only shows how great was the force of genius. In this way MUSIC IN VIENNA. 287 he was made to study both the pianoforte and the violin, as well as the organ, receiving lessons from C. G. Neefe, a capable musician and court organist, whose duties he was soon able to perform. When only twelve years and four months old he was appointed harpsichord-player to the opera — a post which involved the ability to play accompaniments from score during rehearsals. In the year 1787 he was enabled to make a long- wished -for visit to Vienna, and had the good fortune to become ac- quainted with Mozart, who predicted his future greatness. The visit was brought to a sudden end by the death of his mother. To keep the household together it was necessary for Beethoven to add to its resources by giving lessons. Among his pupils were two members of a cultivated family of good position named Von Breuning. The introduction soon ripened into intimacy, and in Madame von Breuning he almost found a second mother, who exercised a most happy influence over his wayward and irritable character, while the intercourse helped to improve his somewhat neglected education. He found another good friend in Count Waldstein, an excellent amateur, who presented him with a pianoforte, and also rendered him pecuniary help in so delicate a manner that his susceptibilities were not wounded. It was probably owing to his good offices with the Elector, and perhaps with some assistance from himself, that Beethoven was enabled in 1792 to pay another visit to Vienna. He had made the acquaintance of Haydn in a visit the latter made to Bonn, and it was his inten- tion to place himself under the old master, who set him 288 THE tllSTORY OF MUSIC. to work on the Gradus ad Parnassum of Fux. The respective characters of master and pupil were but ill adapted to each other. Beethoven always maintained that he learned nothing of Haydn, and it was with small regret on the part of the former that the intercourse was brought to an end by the visit of Haydn to England. But he was still anxious to ground himself thoroughly in counterpoint, and with this view placed himself under Albrechtsberger, a very learned but dry musician, while at the same time he studied with Salieri the art of writing for the voice. His musical ability, as well as the real worth concealed under a rough exterior, seem to have been soon recognised by the leaders of musical society in Vienna. Baron vou Swieten, the friend both of Haydn and of Mozart, gladly welcomed him to his Sunday concerts, and Prince Lichnowsky and his beautiful wife, formerly Countess von Thun, almost adopted him as a son, and he was soon installed as an inmate of their house. His wayward and eccentric habits rendered the arrangement somewhat difficult. Beethoven could not be brought to conform to fixed hours for meals, nor to the ordinary habits of costume common in good society. The Countess, how- ever, while doing her best to correct his faults, treated him with remarkable consideration and judgment, and the arrangement seems to have lasted for six years. One of the great advantages he enjoyed there was the celebrated quartet party, which met at the palace every Friday, consisting of Schuppanzigh, Sina, Weiss and Kraft, which led his thoughts to that kind of composition. MUSIC IN VIENNA. 289 Among other members of the aristocracy, the Archduke Rudolph became his pupil. At a large party at Prince Lichnowsky's were first performed the three pianoforte trios, Op. I, Haydn being present. The veteran master approved of the first two, but tried to dissuade Beethoven from publishing the last — the one in C minor. It was the composer's favourite, and Haydn's judgment led to a final rupture, although Beethoven dedicated his set of pianoforte sonatas, Op. 2, to his old master. He was at first recognised rather as a virtuoso than as a composer, and was especially distinguished as an improviser. Anything like display, however, was hate- ful to him, and on many occasions it was with the greatest difficulty that he could be induced to perform. His public appearances were, however, few, and generally for some charitable object — for instance, he played one of Mozart's concertos at a performance organised for the benefit of the great composer's widow, and it is not surprising to learn that the effect of his playing was produced rather by intense feeling than by excellence of mechanism. Up to the time when he settled in Vienna, his publications had been few and unimportant, but now began that period of productiveness which ceased only with his death. His earliest compositions show an obvious imitation of the style of Haydn, and even more of Mozart, although abounding in many signs of origin- ality. To this period must be referred the first two symphonies, the septet, the six quartets. Op. 18, the early sonatas for the pianoforte, among which we may specially notice the Pathetique, Op. 13, and the one in C sharp 19 290 THE HISTORY OF MUSIC. minor, Op. 27, known as the Moonlight — the string quintet, Op. 29, the adagio of which is surely one of the most beautiful movements ever written for stringed instruments — the pianoforte and violin sonatas, including the Kreutzer, Op. 47, and the song, Adelaida. It occurred to a Russian amateur, named Lenz, that the works of Beethoven might be divided into three periods, and to support his theory he wrote a book entitled, Beethoven et ses trots styles. Such arbitrary divisions are generally fanciful, and development of genius is in most cases a gradual process rather than a sudden abandonment of previous methods. There can be little doubt, however, that with his third symphony, Op. 55, known as the Eroica, composed in the year 1804, ^t about the same time as the great sonata for pianoforte dedicated to Count Waldstein, Op. 53, the master stands revealed in the full splendour of his genius. The work is absolutely Beethoven, owing no obligation to any previous composer, It is well known that the work had its origin in Beethoven's admiration for Napoleon, whom he supposed to be a model of Republican virtue. His design was to call it the Bonaparte Symphony, when the news came that the First Consul had made himself Emperor. The dedication was destroyed in a rage, to be replaced by the following title : — " Sinfonia eroica per festeggiare il sovvenire dun grand uomo." To this second period belong the symphonies in B flat, Op. 60, that in C minor, Op. 67 — generally looked on as his finest orchestral composition, and that is equivalent to calling it the finest that had ever been MUSIC IN VIENNA. 29 1 written — the pastoral symphony, Op. 68, — the three mag- nificent quartets. Op. 59, known as the Rasoumoffsky — the violin concerto, — the first mass in C, — the pianoforte concerto in G, and several of his finest piano sonatas. During this time also he wrote his only oratorio, The Mount of Olives, which, in spite of much beauty, scarcely ranks among his greatest works. In the year 1803, Schickaneder, whom we have known as the friend of Mozart, proposed to Beethoven to write an opera for the Theatre An der Wien. The negotiation fell through, to be resumed later, in 1805. The libretto chosen was taken from the French of Bouilly — ^^ Leonora; ou, Fainour conjugate" and had already been twice set to music. Beethoven, as his habit was, retired to the country to be uninterrupted while composing, returning in time to superintend the rehearsals. Singers and orchestras alike gave him infinite trouble, and the opera was produced at a most unfortunate time, when the French army had just made its entry into Vienna. Four performances only were given, to empty benches. The opera was afterwards reduced from three to two acts, and brought out again in 1806 under the title of Fidelio, with but little more success, and it was only gradually that it made its way with the public. The part of the heroine demands a great actress, and it was not till Madame Schroder Devrient took it up that the popularity of the opera was assured. It is well known that Fidelio enjoys the unique distinction of having had four overtures written for it. In 1 801 Beethoven was overtaken with the beginning 292 THE HISTORY OF MUSIC. of that malady which embittered the remainder of his existence — deafness-^a calamity especially terrible to a musician. Nor was his life made pleasant by the settle- ment in Vienna of his two brothers, who caused him much annoyance by officious meddling in his 'concerns. Still worse trouble followed, for in 1815 the younger brother died, leaving Beethoven the guardian of his only son Carl, then in his ninth year. The widow resented the arrangement, and the result was a lawsuit which dragged on for four years, when it was decided that the mother was unfit to be entrusted with the education of the boy. With the best intentions Beethoven took his nephew to live with him, but he was utterly unfit to manage the practical affairs of life, and the plan ended in failure. As he grew up Carl tried several careers, succeeding in none, and at last attempted suicide. The devotion of Beethoven to so unworthy an object is most touching, and to the end of his life he continued to work and to save with a view of providing for his ungrateful and worthless nephew. About the year 1808 Jerome Bonaparte, King of Westphalia, offered Beethoven the post of capellmeister at Cassel. The salary was to be about ;£'300. To induce him to remain in Vienna the Archduke Rudolph, Prince Lobhowitz, and Prince Kinsky agreed to make him a yearly allowance of 4000 florins. This well-meant arrangement was a source of much worry, for the value -of Austrian money depreciated rapidly, and after a time Prince Kinsky became bankrupt. Beethoven's wants were moderate : He was now making a fair income MUSIC IN VIENNA. 293 by the sale of his compositions, and it does not appear that actual pecuniary trouble was added to his other miseries. It was during this period, worn and solitary from his increasing deafness, worried by the escapades of his troublesome nephew, that he composed those remarkable works which are considered to embody his third style. Among those the most prominent are the Pianoforte Sonatas Op. loi, 106, 109, and iii, the later string quartets, the Great Mass in D, and the colossal Ctwral Symphony Op. 125, with its Ode to Joy for solo voices and chorus. All these works contain much that is difficult to understand — some critics have even gone so far as to maintain that they are the aberrations of a man who was precluded from judging the effects of the music which he had written. Certainly it is impossible to guess at their intent by once or twice hearing them, but with increased familiarity their great beauties gradually develop. Towards the end of his life Beethoven manifested an unwonted keenness in money matters — not on his own account but in the interests of his unworthy nephew. He succeeded in disposing of several of his works, the proceeds of which were found untouched a,t his death. An unsuccessful attempt was made by our Philharmonic Society to induce him to pay a visit to England. At the end of 1826 his health gave way, and he was seized with inflammation of the lungs, followed by dropsy. He had quarrelled with several physicians of eminence, and it was not till after some delay, owing to his nephew's 294 THE HISTORY OF MUSIC. neglect, that any doctor attended him, and then an inferior practitioner. At last Dr. Malfatti, whom he had also dismissed without ceremony on a previous occasion, was induced to overlook old grievances. Under his treat- ment hopes revived. The great composer, unable to work, conceiving himself debared from touching the sum laid aside for his nephew, lay on his sick-bed in great straits. In his trouble he thought of the offer of the Philharmonic Society, which at once sent him ;£^ioo on account of a concert which they proposed to give for his benefit ; and thus he lingered on till March 26th, 1827, when at five in the afternoon, during a thunder- storm, the great master passed away, in his fifty-seventh year. Although he was granted a much longer span of life than Mozart, the number of his compositions was much smaller. His method of working was entirely different. With Mozart, music seemed to flow from his pen. Beethoven's composition were the result of long-continued study. Fortunately several of his notebooks have been preserved, and have been published by the care of Nottebohm, to whom we are also indebted for a thematic catalogue of his works. From these we are able to trace the gradual development of many of his most important works. Musical ideas are jotted down in Beethoven's almost incomprehensible handwriting, to be produced, frequently after a long interval of time, and with the most complete appearance of spon- taneousness. In him the critical faculty seems to have been as powerful as the creative, and thus it is that he MUSIC IN VIENNA. 295 published so little that has not stood the test of time, or that can be considered trivial. He attempted almost every known form of composition, and with success. It has been often objected that he used the voice cruelly, and that is indeed the case in his later compositions, but the composer of Adelaide and Ah I Perfido had shown that he could make his music grateful to the singer. In his symphonies, his quartets, and his pianoforte sonatas he has never been approached. The scherzo may be looked on as a creation of his own, but it is probably in his slow movements that he is at his greatest. Such a depth of feeling had never been touched before. One more great musician adds to the lustre of Vienna — Franz Schubert — whose genius, hardly appreciated at all during his lifetime, may be said to have received its full recognition only during our own days. Franz Peter Schubert was born January 31st, 1797, at Lichtenthal, a suburb of Vienna, of which his father was parish schoolmaster. The whole family was musical ; the talent was manifested in Franz at a very early age, and he was also the possessor of a fine voice, which gained his admission to the parish choir. So fine was his voice that in 1808 he became a candidate for admission to the Imperial Chapel, and was at once admitted. This secured for him an education in the " Stadtconvict," where his musical education was left to chance ; but he had the advantage of taking part as violinist in the school or- chestra, and thus became acquainted with the symphonies of Haydn, Mozart, and Beethoven. He began to compose 296 THE HISTORY OF MUSIC. at a very early age, his attempts being limited only by his want of money to buy music paper ; but this want was supplied by one of his schoolfellows, Joseph Spaun, whose circumstances were more easy. One of his youthful compositions having attracted the attention of Salieri, he for some years gave him instruction and advice ; and this really appears to have been all the musical education he received. Among his other works while at the "Convict" was an orchestral symphony which was per- formed by the school band. Music was his passion, and the other branches of education he seems to have neglected. In October, 181 3, his voice broke, and he left the " Convict " for the uncongenial duty of helping in his father's school. AH his spare time — and probably some that should have been otherwise occupied — was devoted to composition. A Mass in F which he wrote had the good fortune to be sung at the centenary of the parish church of Lichtenthal, and was repeated at St. Augustine's. This is one of his finest masses, and received the warm admiration of Salieri. Composition after composition flowed from his pen. The list for 181 5 contains two symphonies, two masses, a Stabat Mater, six operas or operettas, much part music, and one hundred and thirty- eight songs ! And on this vast scale he continued to produce, still continuing his duties at his father's school. In 1816 he composed Der Erlkonig and Der Wanderer, the former of which first made him famous, although it was not till five years later that it became known beyond his immediate circle. It was characteristic of Schubert MUSIC IN VIENNA. 297 that, while careless of public recognition, he was always surrounded by a group of affectionate admirers. Among Fig. 103. — Franz Schubert. these was Franz von Schober, a student of the Vienna University, who, having been interested in some of his 298 THE HISTORY OF MUSIC. songs, sought the acquaintance of the composer. The friendship ripened so rapidly that Schober persuaded Schubert to forsake the drudgery of a schoolmaster and to live with him, so that he might pursue his art. As to the means of subsistence at Schubert's disposal at this time, we are absolutely ignorant. The friendship was interrupted only by the death of the composer. This intimacy led to others, notably to one with Johann Michael Vogl, a baritone singer of great eminence and a good musician, who was the first to sing his songs in public. In 1818, Count Johann Esterhazy, requiring a music master for his three young children, made an arrangement with Schubert ■ to reside in his family, in winter in Vienna, in summer at Zelesz, his country seat. The Esterhazys were a musical family, and the arrangement was a pleasant one, but, for unknown reasons, not of long duration ; although, some years after, the visit to Zelesz was repeated, and it is even said that on this occasion he conceived a hopeless passion for Caroline Esterhazy, the youngest daughter of the Count. It was not till 181 9 that any song of his was sung in public, and not till 1821 that any composition was published. In that year Leopold von Sonnleithner, a distinguished amateur, and Schubert's warm admirer, offered the Erlkonig successively to Diabelli and to Haslinger, who both refused it. It was then determined, with the help of three other friends, to publish it by subscription through Diabelli. The result was en- couraging. The song sold well, and Schubert was enabled to pay off what few debts he had, leaving something over. MUSIC IN VIENNA. 299 Eighteen other songs, among them Gretclun am Spinnrade and the Wanderer, were published under the same arrangement, when Diabelli woke up to the fact that the works of the unknown composer had a certain marketable value. And now Schubert was fairly launched on his course of life. Song after song was composed — sometimes six in a morning — to be sold to Diabelli for what he would give, and that was never too much. The result barely sufficed to keep soul and body together. On rare occasions he succeeded in disposing of some compositions for the pianoforte. His attempts at dramatic compositions met with but scant success, partly owing to the feebleness of the librettos with which he was entrusted. His income at no time exceeded a hundred pounds a year. He was shy and retiring, and received but little encouragement from the public ; and yet, supported only by the admiration of a few intimate friends, he contrived to pour forth a continued stream, not only of songs, but of masses, symphonies, and chamber music, most of which not only remained unpublished, but can never have been so much as heard by the composer. In November 1828 he died, aged thirty-one years. Gradually his songs came into vogue, and he acquired a certain celebrity from them. It was reserved for another generation to discover how great a musician had been lost. Schubert's brother Ferdinand, also a musician, had treasured up the un- appreciated works, and in 1838 Schumann, during a visit to Vienna, examined this collection, which filled him with admiration. He carried off the score of the great 300 THE HISTORY OF MUSIC. Symphony in C, and it was performed under Mendelssohn's direction at the Gewandhaus concerts, to the delight of the audience. Other works followed, and Schubert's true position as a composer was gradually established. This good work has been greatly helped on by the researches of Sir George Grove and Sir Arthur Sullivan, who succeeded in discovering and bringing to light many compositions which lay mouldering and forgotten. Now the great Symphony in C, the beautiful unfinished Sym- phony in B minor, the masses, the string quartets and quintet, the two pianoforte trios, the pianoforte quintet the octet for strings and wind, are familiar to all musicians, and never cease to give delight. Of course the presence of the great musicians whose lives we have been tracing attracted a large number of men of less note to Vienna. Among the pupils of Haydn must be mentioned Ignaz Pleyel, an instrumental com- poser, once of great popularity, but now almost forgotten. In the latter years of his life he founded a music-publishing business in Paris, as well as a manufactory of pianofortes, still carried on. Another pupil of Haydn, Sigismund Neukomm, was an accomplished musician, and at one time well known in this country, where two of his oratorios were produced. The only pupils of Mozart were our own Attwood, and J. N. Hummel, who attained to great celebrity as a pianist, especially as a very remarkable extempore player, and also as a composer, his pianoforte concertos having held their own to a comparatively recent date. His masses and offertories are still in use. Ferdinand Ries, although a native of Bonn, may here MUSIC IN VIENNA. 3OI find a place, as he was for several years the pupil and friend of Beethoven. He was a fine pianist, and a composer of all styles of music. After a long career as a travelling virtuoso he settled in England, where he became the leading teacher. Nor must we omit to mention Carl Czerny, distinguished as a teacher, who had for pupils Liszt, Thalberg, and Madame Oury. He must have been one of the most industrious of men, for although giving lessons for twelve hours a day, he contrived to write upwards of nine hundred works for the pianoforte, and this does not include arrangements, nor other works of a larger scale, such as twenty-four masses, symphonies, etc. By the irony of fate he is best known in our day by his Etudes de la V^lociU. Josef Mayseder was an excellent violinist, and an agreeable writer for his in- strument. It would be too much to say that the Viennese appre- ciated adequately their musical privileges. They are an easy and pleasure-loving people, and were readily carried away by the charms of Italian opera, which had already gained a footing in that city. Salieri (1750-1825) had for a long time made it his home, and had produced a constant succession of operas, of which the most famous were Tarrare and Les Danaides. When the operas of Rossini reached Vienna no other music was listened to. One other kind of music, for which Vienna has acquired a reputation, must be mentioned, even in a serious history of music — the delightful waltzes and other dance music which Lanner and the Strausses knew how to make so piquant. 302 THE HISTORY OF MUSIC. BIBLIOGRAPHY. Carj)ant, Giuseppe. Le Haydine, ovvero lettere su la vita e le opere del celebre Maestro Giuseppe Haydn. Milano, 1812. 8vo. (A French translation, brought out as his own, by M. H. Beyle. Paris, 1814. Svo.) Pohl, C. F. Joseph Haydn. Berlin, 1875. 8vo. (Not completed.) Von Nissen, Georg Nikolaus. Biographic W. A. Mozart's. Nach Originalbriefen. Leipzig, 1828. 8vo. (Nissen married Mozart's widow.) Holmes, Edward. The Life of Mozart, including his correspondence. London, 1845. 8vo. (Based on Nissen.) yahn, Otto. W. A. Mozart. Leipzig, 1856. 2nd edition, 1867. 4 vols., 8vo. (Translated by Pauline D. Townsend. London, 1882. 3 vols., 8vo.) Wegeler, F. G., and Ries, F. Biographische Notizen uber Ludwig van Beethoven. Coblenz, 1838. Svo. Schindler, Anton. Biographie von Ludwig van Beethoven. Miinster, 1845 (2nd edition.) 8vo. Moscheles^Ignace. The Life of Beethoven. London, 1841. 2 vols., Svo. (Mainly a translation of the previous work.) Marx, A . B. Ludwig van Beethoven, Leben und Schaffen. Berlin, 1859. 2 vols., Svo. Ivohl, Ludwig. Beethoven's Leben. Wien, 1864. 4 vols., Svo. Thayer, A. W. Ludwig van Beethoven's Leben. Berlin, 1866, etc. 3 vols., Svo. Kreissle von Hellborn, H. Franz Schubert. Wien, 1865. Svo. (Translated by E. Wilberforce, London, 1866. Svo, and by A. D. Coleridge, London, 1869. 2 vols., Svo.) Frost, H. F. Schubert. (The Great Musicians.) London, 1881. Svo. CHAPTER XIV. THE MODERN ITALIAN OPERA. Popularity of the Opera in Italy — Sarti — Saccliini — Paisiello — Cimarosa — His Matrimonio Segreto — Salieri — Cherubini — Settles in Paris — His Sacred Music — Simone Mayr — F. Paer — Rossini — His Career in Italy — Settles in Paris — GuillaumeTell — \iSs, Stabat Mater — Donizetti — Bellini — ^Mercadante —The great Italian Singers— Spontini^Verdi — His Operas — His Requiem — Arrigo Boito — Mascagni — Leoncavallo — Puccini — Gordigiani — Boccherini — Paganini. WITH the death of Jomelli, in 1774, the great school of Church music in Italy may be said to have come to an end. Paolucci, Sabbatini and Mattel for a time kept alive the theoretical teaching of their great master, G. B. Martini, but henceforward the stage monopolised the musical genius of the " land of song." The opera had become a necessity among the Italian people, although it was looked on as little more than an agreeable way of passing an evening, and the social enjoyment was more valued than the artistic. " A woman," says Beyle, " is always surrounded in her box with five or six people ; it is a salon in which she receives, and where her friends look in as soon as they see her arrive with her admirer. ... At a first performance people are quiet ; at the following only when they come to the fine piece." With such influence is it wonderful 303 304 THE HISTORY OF MUSIC. that Italian opera seldom entirely avoids a certain triviality, in spite of the genius it so often shows ? Taking the Italian operatic composers chronologically, we have first to mention G. Sarti (1729- 1802), who passed much of his life in Denmark and Russia. He appears to have written forty-two operas — all now forgotten. The main facts of the life of Piccinni have already been given at p. 259. Sacchini (1734-1786), his fellow-pupil under Durante, had great success both in Italy and in France : his most famous works were CEdipe in Colone and // grand Cid, produced originally in Rome, sub- sequently in London, and afterwards in Paris under the title of Climene. Paisiello (1741-1815), a graceful writer, composed ninety-four operas, among which the most esteemed were Nina and La Molinara. Of all these works one air alone survives — Nel cor piii non mi sento, embalmed in a set of variations by Beethoven, and known in England as Hope told a flattering tale. Paisiello was the favourite composer of the Emperor Napoleon, who begged his services of the King of Naples in order to set him up as a rival to Cherubini, whom he did not like. In Domenico Cimarosa (i749[i7S4?]-i8oi), we have a man of more original genius. Left an orphan at the age of seven years, he was admitted a pupil at the Conservatoire of Santa Maria di Loreto at Naples. His ability soon declared itself, and on leaving the Con- servatoire he was at once engaged to compose an opera for the Teatro dei Fiorentini in Naples. In 1775 he Was called to Rome, and returning to Naples continued to produce a succession of operas, among which // THE MODERN ITALIAN OPERA. 3O5 Fanatico per gli antichi Romani, written in 1777, was the first to contain trios and quintets carrying on the dramatic action. His genius was everywhere in demand, and 1789 he was induced to visit St. Petersburg. The rigours of the Russian climate proved too great for him, and in 1792 he arrived in Vienna, where he was most warmly received by the Emperor, who wished to attach him to his court. It was there that he produced his masterpiece, // Matrivtonio Segreto. Its success was triumphant. One unique honour it received : the whole opera was encored ! The Emperor was so delighted with the first performance that he had the whole company to supper, at the conclusion of which the work was at once repeated. It is a masterpiece of comic opera, and would surely bear reviving. The ladies' trio, Le faccio uri inchino is still sometimes heard. Cimarosa died in Venice in 1801. Salieri (1750-1825), as we have seen, settled in Vienna, where he was the leader of the Italian party. His reputation rests mainly on his operas Les Danaides and Tarare, both written for Paris. Cherubini (1760- 1842), who takes rank among the greatest of Italian musicians of this period, was born in Florence. He was the son of a musician, and soon gave evidence of his ability by writing a mass when only thirteen years of age. The Grand Duke Leopold II., struck by this and other compositions of the boy, granted him a pension to enable him to study under Sarti, then living at Bologna; in addition to strict theoretical studies, the master employed him in writing airs for the less important characters in 20 ?o6 THE HISTORY OF MUSIC. his operas, and under this guidance he learned all that a master could teach. His first opera, Quinto Fabio, was composed in 1780, and had but moderate success ; but his reputation gradually increased, and in 1784 he was invited to London, where he remained two years. In 1786 he settled in Paris, and produced his Demophodn, Fig. 104. — Cherubini. Lcdoiska, Les deux Journees, and Anacreon. These exhibited more science and more musical effect than the Parisians were used to. Unfortunately, with the ex- ception of Les deux Journees, they were handicapped by uninteresting libretti, so that the latter is the only one which keeps the stage ; but they are all distinguished by a great nobility of style, and led up to the modern THE MODERN ITALIAN OPERA. 307 grand opera. In 1806 he brought out his Faniska at Vienna, which caused him to be pronounced, both by Haydn and Beethoven, the first dramatic composer of his time. As we have already said. Napoleon had an antipathy to Cherubini. The manner of the composer was cold and reserved, and probably he may not have shown that respect for the First Consul which he conceived to be his due. Certain it is, however, that no adequate provision was made for the great composer ; an inspector- ship of the Conservatoire was the only post given to him. Probably this neglect weighed on his mind, for, on his return to Vienna, he ceased altogether to occupy himself in composition. By the persuasion of his friends, he was induced to write an opera, Pimmalione, for the theatre of the Tuileries, which wrung a tribute of admiration even from Napoleon. But after this effort he again forsook his art, devoting himself entirely to the study of botany. While on a visit to Prince de Chimay, a local musical society was' anxious to celebrate St. Cecilia's Day. The president and leading members of the society waited on Cherubini with the request that he would write them a mass. Cherubini replied with coldness that it was impossible, and the deputation retired in dismay. It was observed, however, that the composer took his walk alone in the park, with an air of pre-occu- pation, and that he was not botanising, as was his usual habit. Madame de Chimay advised that no notice should be taken, but was wise enough to leave plenty of music paper on his table. In a few days the Kyrie and Gloria 308 THE HISTORY OF MUSIC. were completed, in time for the Saint's feast. The rest of the work was subsequently written in Paris, and performed at the house of Prince de Chimay. It was a noble work, and the forerunner of much beautiful church music, distinguished by a lofty severity of style. After the events of 1815 the Conservatoire was abolished. To indemnify Cherubini for the loss of his position, he was appointed superintendent of the King's chapel, and in that capacity produced much of the church music of which we have just spoken. On the resumption of the Conservatoire, he was appointed Professor of Composition, and in 1821 became Director. He lived till March 1842, a power in the musical world, and was buried with every testimony of respect, to the beautiful music of his own requiem. In him the more serious aims of the classic period of Italian music seem to have been revived. Simone Mayr (1763-1845), Bavarian by birth, but Italian by education, and Ferdinand Paer (i 771 [74?]- 1839), are little more than names to the present generation. They were both distinguished composers in their day, the latter passing much of his life in Paris, where his opera Agnese enjoyed a great reputation, keeping the boards for many years. But the most famous and the most brilliant of the modern Italian school was undoubtedly Gioacchino Rossini, born at Pesaro in 1792. His father was a horn-player — and inspector of slaughter-houses! while his mother was a sufficiently good singer to take an occasional engagement in a travelling operatic company. The boy was soon introduced to the stage, and when THE MODERN ITALIAN OPERA. 309 only seven years old took a child's part in Paer's Camilla. It is on record that nothing could be more tender or more touching than his voice and action in this small part. His father taught him the horn, so that before he was twelve years old he was able to play 'second to his father in the tours which the family took. In course of time he became a pupil of Mattel, at the Liceo of Bologna. Such drudgery did not suit this lively youngster, and he asked his master if he had not acquired sufficient knowledge to compose. Mattei replied that for the strict church style much more thorough study was required, but that in the free style he might pass muster. " You mean, then, that I know enough to write operas ? — that is all I want '' ; and his lessons were brought to an end. But he continued to work on his own account, his studies taking the form of putting the symphonies and quartets of Haydn and Mozart into score. His first work was a cantata, // Pianto oTArmonia, which was performed at Bologna in 1808 ; but he also wrote a symphony, as well as several quartets, which have been since published. He returned to Pesaro in 18 10, and by the help of friends in that city was engaged to write the opera La Cambiale di Matrimonio for Venice. From that time he never wanted occupation. In 181 3, the first of those works which made his name famous, Tancredi, was brought out at the Fenice in Venice, and L'ltaliana in A Ig^ieri at the San Benedetto, in the same city. At once he was hailed as the foremost composer of Italy. The pedants objected, but the Italian audiences were mad with delight, and in four years Tancredi had made the tour of Europe. All the principal theatres were clamorous for 3IO THE HISTORY OF MUSIC. operas from his pen. He could only be brought to work under pressure, but he contrived to send forth a continual stream of operas at the rate of three or four a year. Among these the best known are Elisabetta, Torvaldo, II Fig. 105, — Rossini. Bar bier e di Seviglia, Otello, Cenerentola, La gazza Ladra, Mose, La Donna del Lago, Maometto, and Semiramide. The life of Rossini is not complete without mention of Barbaja, impresario, and proprietor of the gambling saloon attached to the San Carlo theatre in Naples. He had been waiter in this establishment, but contrived to become THE MODERN ITALIAN OPERA. 3 1 I lessee not only of this theatre, as well as of the Teatro del Fondo in that city, but also of La Scala in Milan and of the opera-house in Vienna. In this capacity he had most of the leading vocalists in his employ. The success of Tancredi at once induced him to offer an engagement to Rossini, who signed an agreement for several years with him. He was to receive two hundred ducats a month (;^4o) — with a share in the profits of the gaming rooms. For this he was to write two operas annually, and to arrange any old works which might be mounted. Barbaja was a man of great ignorance, but a good judge of what music would suit the public. Under this engagement it was that most of Rossini's works mentioned above were written. The prtJfia donna at Naples was Mademoiselle Col bran, a fine dramatic singer. Rossini soon conceived a passion for this lady, and some of his best parts were written to display her voice and style. In 1822 she became his wife. His contract with Barbaja allowed him to accept other offers, and // Barbiere was written for Rome. Beaumarchais' comedy had been already set to music by Paisiello, and probably owing to the opposition of the friends of the latter composer, and partly owing to a series of those accidents which sometimes attend a first night, it was received with great disfavour. The second performance, however, served to open the public ears to its merits, and it has ever since taken that place which charming melody and delightful comedy entitle it to. Semiramide was written for the Fenice at Venice, for the carnival of 1823. It was composed in too broad and 312 THE HISTORY OF MUSIC. elevated a style for the Venetians, and was received coldly. This indifference decided Rossini to write no more for Italy, and he at once set out with his wife for Paris and London. Up to this time he had made but a modest income. On arriving in England, he was received with open arms by the Prince Regent and the dite of society, and was overwhelmed with engagements for his wife as singer with himself as accompanist, for which he fixed the fee at ;^SO. It is said that by these engagements and lessons, with two benefit concerts, he made no less than ;^io,ooo during his five months' visit. In the autumn he returned to Paris, where he had arranged to become director of the Theatre Italien with a salary of 20,000 francs. In this capacity he produced Le Siege de Corinth — a rearrangement of Maometto — Motse, and Le Comte Ory, which also contained much old material. But his admirers were anxious that he should write an entirely new work for the French opera. For several years, ending with 1819, Spontini, of whom we shall have to speak again, had been resident in Paris, where his operas had habituated the Parisians to a passion and energy which became the characteristics of the French school. We cannot help thinking that these considerations weighed with Rossini in the composition of Guillaume Tell, in which his previous style was abandoned and he at once became the greatest com- poser of the French school. Tell was produced in 1829. The composer was only thirty-seven years of age, and seemed to be entering on a new career. It was his masterpiece. Suddenly he THE MODERN ITALIAN OPERA. 313 decided to write no more for the stage. The reason has been much debated ; he is reported to have said, " Another success would add nothing to my reputation ; a failure might damage it. I have no need for the one, and do not choose to subject myself to the other ! " The directorship of the opera was not a congenial post for a man of his self-indulgent habits. Under his management it soon drifted into difificulties, and it became necessary to appoint a more vigorous substitute. He was, however, made inspector-general of singing in France — a sinecure office, with his original salary and a pension if his duties should cease! The post was of course made for him, hoping that he would be induced to continue to write for the opera. The Revolution of 1830 abolished the office, and after much litigation he substantiated his claim to the pension. This lawsuit detained him in Paris till 1836, when he determined to revisit Italy. In the year 1832 he had written some movements of a Stabat Mater for a rich Spanish amateur. In 1841 Troupenas the publisher prevailed on him to complete this work — in order to prevent the missing portions from being supplied by another hand. This is the origin of the well-known, and it must be added beautiful, Stabat Mater. Special concerts were got up for its performance, and copies could not be supplied fast enough to satisfy the demand. It is said that Rossini did not intend it for church use, for which its style is most inappropriate. This the Church has failed to recognise, and continues to use it whenever a large congregation is to be attracted. In ridicule of its 314 THE HISTORY OF MUSIC. secular style, the late J. W. Davison, the well-known critic, arranged it in the form of a set of quadrilles ! Political events in 1853 forced him once more back to Paris, which became his home for the rest of his life. In 1845 his wife, Madame Colbran, died, and he subsequently married Mdlle. Olympe Pelissier, also a singer, who survived him. A wit and a bon-vivant, he made his house a centre of attraction to all who were eminent in the musical world. His advice was always at the disposal of artists, both young and old. He amused himself from time to time with composition, mostly for the pianoforte, although the only work of any importance was a mass which he characteristically described as Ni Bach ni Offenbach\ He died in 1868. It is the fashion of the present day to look down on the works of Rossini as simply vehicles for the display of singing, and as deficient in seriousness of purpose. Certainly any such aim was foreign to his nature. He wrote to please — and succeeded. For a whole generation he continued to give such delight that other composers with difficulty obtained a hearing. One must grant a certain cheapness of effect to the well-known Rossini crescendo, but at least it never misses its intention. How beautiful are his melodies, and how elegant the fioriture with which he embroiders them ! Let us be grateful to the man who can give us such an evening's pleasure as the Barber of Seville. The immediate successors to Rossini in popularity were Donizetti and Bellini. The former, born at Ber- gamo, and living only to the age of fifty years (1798- THE MODERN ITALIAN OPERA. 315 1848), composed no fewer than sixty-four operas! Of this number many for a long time formed the staple of the Italian opera-houses : Anna Bolena, L'EHsird'Amore^ Lucrezia Bor<^ia, Lucia di Lammermoor, Belisario, La Figlia del Reggimento, Linda di Chamounix, Don Pasquale, some of which still keep the stage, and are full of taking melody and dramatic power. Bellini, who died still younger (1802-1835) was a Sicilian and a pupil of ZingareUi (1752-1837), at Naples, a pedantic teacher to whom he owed little. La Sonnambula, Norma, and I Puritani are the works which best preserve his repu- tation. They display much elegance, although a little wanting in power and variety of instrumentation. Mercadante (1795-1870) was also a pupil of ZingareUi, who expelled him from the Conservatoire at Naples for the heinous crime of — putting Mozart's quartets into score ! He also was a voluminous composer, although two only of his operas, Elisa e Claudio and // Giuramento, are remembered. In the year 1840 he was chosen head of the Conservatoire from which he had been so igno- miniously driven when a boy. He was an excellent conductor, and for the last years of his life was blind. Pacini (1796-1867), also a very popular composer, was melodious, but unoriginal. The success of these composers was much heightened by the perfect way by which their works were inter- preted by a marvellous group of Italian singers, who have probably never been equalled. The mention of the names of Catalana, Camporese, Pasta, Grisi, Persiani, among the women ; Rubini, Mario, Lablache, Tamburini, 3l6 THE HISTORY OF MUSIC among the men, suffices. Strange to say, Italy has quite ceased in our own day to produce fine voices, and the rarer gift of perfect vocalisation appears likely to become a thing of the past. We have mentioned Spontini as exercising great in- fluence on French taste. In 1803 he made Paris his residence, and there brought out, among other works, La VestaU, Fernand Cortes, and Olympie, all distinguished by largeness of style and great scenic splendour. The King of Prussia, Frederick William III., was so im- pressed with the merits of the composer, that he resolved to attach him to his court as director-general of music, in spite of the opposition of Count Briihl, the intendant of the Royal Theatre. Spontini neither spoke nor un- derstood German, and his temper was known to be imperious, so that the opposition was not altogether ill-founded, as the result proved. The King, however, stood by him, and there is no doubt that he raised the standard of performance at the Berlin Opera to a high pitch of excellence. His works were well received, the opera Nourmahal, among others, being specially written for that theatre. But his duties were carried on under much opposition, and he made many enemies, the fore- most of whom was the critic Rellstab, who suffered some months' imprisonment for a libellous attack on him. The career of Bellini had been closed by his untimely death, and that of Donizetti was drawing to an end, when an operatic composer of greater vigour and dramatic power appeared in the person of Giuseppe Verdi. Born THE MODERN ITALIAN OPERA. 317 in 18 1 3, at Le Roncole, a village in the Duchy of Parma, at the foot of the Apennines, where his father supported his family on the profits of the village inn, and of a Fig. 106. — Verdi. general shop, the child showed that early capacity for music so frequently met with in the history of eminent musicians. At the age of ten he succeeded to the post of village organist, rendered vacant by the retirement of his instructor Baistrocchi, a post he held for seven 3l8 THE HISTORY OF MUSIC. years, during which his general education was not neglected, and he appears to have been of a grave and studious disposition, making the best use of such sources of instruction as came in his way. When his school- days were ended his father persuaded Antonio Barezzi, a merchant of the neighbouring town of Busseto, from whom he was in the habit of buying wines and other goods for the supply of his inn and shop, to take the boy into his warehouse. This proved a fortunate arrange- ment, for Barezzi was an enthusiastic amateur of music, and the Philharmonic Society of Busseto, of which he was president, met at his house. From this time the career of Verdi may be looked on as fortunate. Provesi, the conductor of the society, and a good musician, soon discovered his ability and gave him lessons. A Canon of the Cathedral also volunteered to teach him Latin, and tried to persuade him, fortunately without success, to abandon all ideas of a musical career for that of a priest. His talent developed so rapidly that both Provesi and Barezzi felt that he must be sent to Milan for further training. A small endowment for deserving scholars, added to the generosity of Barezzi, fortunately rendered this possible, and in June 1832 Verdi found himself in Milan, where however, he failed to gain admission to the Conservatoire, of which Basily, a pedantic musician, was principal. The reason of his exclusion has not been adequately explained, but it is said that Basily laid great weight on physiognomy, and failed to discover genius in the expression of his countenance ! However this may have been, the result was probably not unfortunate, for THE MODERN ITALIAN OPERA. 319 Verdi was led to seek the instruction of Lavigna, the accompanist at La Scala, and an operatic composer of some merit. A fortunate chance led to the production of his opera Oberto di San Bonifacio at La Scala, and from that time the young maestro was never in want of com- missions. His second opera, Un giorno di Regno, written while he was plunged in grief at the loss of his wife — the daughter of Barezzi, — and of both his children, failed, and it was with difficulty that he was persuaded to attempt composition again. At last Nabucodonosor appeared, and this work served to introduce him both to the Paris and London audiences. Each successive year saw a new opera from his pen, many of which are now virtually forgotten, the only one which may be said to keep the stage being Ernani. They differ but little from the works of Donizetti except in the adoption of a more boisterous orchestration, and in the exhibition of greater dramatic power. It is in Rigoletto, brought out in Venice in 1851, that his true power first manifests itself. The libretto is based on Victor Hugo's drama Le Roi s'amuse, and in it Verdi found those lurid con- trasts which at that period of his career were so congenial to him. Although by no means deficient in melody, the music shows a great advance in declamatory power which lifts it far above the current Italian style of the period. // Trovatore, which succeeded it after an unusual interval of two years, was brought out at Rome in 1853. 'It is in every respect inferior to its predecessor, yet in spite of its noisy vulgarity it remains one of the most popular of operas in every country in Europe. His next 320 THE HISTORY OF MUSIC. work, of a much more delicate fibre, La Traviata, which contains much beautiful music, ran a narrow risk of failure. The consumptive heroine, who expires on the stage, was represented by a prima donna of extraordinary stoutness, so that the scene was received with shouts of Jaughter. The work, however, survived the ordeal, and still remains a favourite both with prima donnas and the public. Les Vipres Siciliennes, written for Paris, owed its success to the dramatic singing of Sophie Cruvelli. Simone Boccanegra was weighed down by the badness of the libretto, but in Un Ballo in Maschera he scored a success. La Forsa del Destino, written for St. Petersburg, and Don Carlos for Paris have neither of them kept the stage. In the year 1869, the Khedive, Ismail Pacha, opened his new opera house in Cairo, and was anxious to have represented an opera, specially written for it, on an Egyptian subject, by the leading composer of the day. Verdi accepted the commission, but the production of the new work was delayed, as the scenery and costumes were shut • up in Paris during the siege. At last Aida was produced, with every advantage of scenic splendour, and well-chosen caste. It proved a triumphant success. While equally dramatic, it was characterised by much greater refinement and delicacy than any of his former works. On the death of Rossini (Nov. 13th, 1868) a suggestion was made by Verdi that a Requiem should be written by the co-operation of the leading Italian composers. The idea was carried out, but as might have been ex- THE MODERN ITALIAN OPERA. 32 1 pected, the work was found unsatisfactory from the diversity of style. The last movement (Libera me) was from the pen of Verdi, and it was proposed to him that he should write a complete requiem. The death of Manzoni soon afterwards prompted him to fall in with the idea, and the result was the Requiem, which was received with general enthusiasm by the public. To most critics the work appeared too dramatic, and sug- gestive of the opera, but it must be borne in mind that modern Italy views sacred music from its own standpoint. For several years after this it seemed that the career of Verdi was closed. He retired to his estate, Sant' Agata, and devoted himself to its cultivation. From time to time it was rumoured that he was engaged on an opera based on Shakspere's Othello, and on February 5th, 1887, it was produced at La Scala, amid a scene of indescribable enthusiasm. The composer was now seventy-four years of age, but his years appeared only to have mellowed his talents, and the work proved altogether admirable. As librettist, he had the co- operation of the poet and musician Arrigo Boito, who performed his task with remarkable skill and judgment. Six years afterwards, in February, 1893, the musical world was once more surprised and delighted by the production of another Shaksperian opera, Falstaff, in which the veteran composer, now eighty years of age, also had the advantage of Boito's help as author of the libretto. The master has lost none of his skill, and while all his previous operas, with the exception of his unfortunate Un giorno di Regno, have been tragic, it shows 21 322 THE HISTORY OF MUSIC. a marvellous versatility for a man of his }'ears to attempt, and to attempt successfully, an entirely different style. For a long time Arrigo Boito was looked on as the Fig. 107. — I'ietro Mascagni. coming man, but to the disappointment of his admirers he appears to be content with his one success, Mefistofele, and to have definitely abandoned music for literature. This opera was originally brought out at La Scala, in THE MODERN ITALIAN OPERA. 323 1868, and the highest anticipations were formed of its success. These were doomed to complete disappointment : the first performance ended in something hke a riot between a compact body of his admirers and the rest of the audience, and the composer was chased from the theatre. In truth, the work stood in need of compression, and in an amended form it was reproduced at Bologna, in 1875. While Gounod's Faust presents the episode of Margaret only, Boito, who was his own librettist, follows much more closely the poem of Goethe. The work is so full of beauties, that it is a matter of regret that the composer has not followed up his success by another effort, especially as it is generally reported that he has a finished opera, Nerone, in his portfolio. Pietro Mascagni (fig. 107) has scored a wonderful — and it must be said, deserved — success in La Cavalleria Rusticana, which he has failed to maintain in his subsequent works. / Pagliacci, of Leoncavallo (fig. 108), has also greatly- pleased the public, in large measure owing to its vigorous and dramatic plot, and its piquant orchestration. Giacomo Puccini, one of a family of musicians, has extended his reputation beyond his native country by his Manon Lescaut — a reputation which his opera La BoJieme, recently produced by the Carl Rosa Company, seems likely to confirm. Luigi Gordigiani (1806- 1860) began his career as a writer of operas — tliat an Italian composer could hardly avoid — but he acquired a great reputation as a writer of songs, to which their charm, elegance, and vocal qualities certainly entitle him. 324 THE HISTORY OF MUSIC. Instrumental music was but little cultivated in Italy at this period. Luigi Bocchcrini (1740- 1805) belongs to a somewhat earlier time, but must be mentioned here. This Fig. 108. — Leoncavallo. charming composer — alas ! now but little known — settled in Madrid, under the protection of Don Louis, Infante of Spain. He here produced a large quantity of chamber music— trios, quartets, but mainly quintets, in which two THE MODERN ITALIAN OPERA. 325 violoncellos are employed. They display great originality, if somewhat wanting in that force which is now so much sought for. He has been called the " wife of Haydn," and the designation very happily characterises his music. One supreme virtuoso Italy can claim — probably the greatest that ever existed — Niccolo Paganini (1782 [1784?] -1840). He was born at Genoa, and at an early age learned the violin, mostly under obscure professors, his only master of any eminence having been RoUa. His natural aptitude was marvellous, and he soon began to occupy himself in the discovery of those effects on which his reputation depended. These were the use of "har- monics " to an extent not then thought of ; pizzicato with the left hand while sustaining bowed notes with the right ; a marvellous suppleness of bowing, so that staccato pa.ssages and a great variety of accent were produced in a manner then perfectly new ; a fine quality and a mar- vellous variety of tone ; a certainty in stopping intervals, however distant ; alterations in the manner of tuning the violin. All these resources he had completely under control, and in his hands they became the means of enhancing that deep musical .sentiment which he un- doubtedly possessed. The wonder which his performances created was increased by his remarkable personal appear- ance. He was tall and cadaverous, with long black hair, and was always surrounded by a certain air of mystery which he was far from discouraging, although he did find it desirable to disclaim any league with his satanic majesty. It must be added that he was grasping and avaricious, and not altogether free from the charge of charlatanry. 26 THE HISTORY OF MUSIC. The excitement which his appearances caused throughout Europe is a matter of common knowledge. Antonio Bazzini (i 8 18-1897) began his career as a successful virtuoso on the violin, but later in life he became Professor of Composition, and subsequently Director of the Conservatoire of Milan, for which post he was ad- mirably fitted. His compositions are numerous, and in nearly all styles ; they possess great merit, but are wanting in that impress of genius necessary to prevent them passing into oblivion. Giovanni Sgambati, the son of an Italian father and an English mother, is well known both in Rome and London as a pianist of no mean powers, having enjoyed the advantage of much advice from Liszt, with whom he was intimate. He has also attained some eminence as a composer, principally of chamber music. BIBLIOGRAPHY. Edwards, H. Sutherland. History of the Opera. London, 1862. 2 vols., 8vo. Bottee de Toulmon, A. Notice des Manuscrits Autographes de la Musique compos^e par feu M. L. C. Z. S. Cherubini. Paris, 1845. 8vo. Bellasis, Edward. Cherubini : Memorials illustrative of his Life. London, 1874. 8vo. Crowest, F. J. Cherubini (The Great Musicians). London, 1890. 8vo. De Stendhal {Beyle, M. H.). Vie de Rossini. Paris, 1824. Svo. Azevedo, A. G. Rossini, sa Vie et ses CEuvres. Paris, 1864. 8vo. Edwards, H. Sutherland. The Life of Rossini. London, 1869. Svo. Ibid., Rossini and his School (The Great Musicians). London, j88i. Svo. THE MODERN ITALIAN OPERA. 327 Pougin, Arthur. Bellini, sa Vie, ses CEuvres. Paris, 1868. i2mo. Grove, Sir G. Dictionary of Music and Musicians : Article Spontini (by Dr. P. Spitta). Picquot, L. Notice sur la Vie et las CEuvres de Luigi Boccherini, suivie du Catalogue raisonne de toutes ses CEuvres. Paris, 1 85 1. 8vo. Conestabile, Giancarlo. Vita di Niccolo Paganini. Perugia, 1851. 8vo. Fetis, F. y. Notice biographique sur Niccolo Paganini suivie de r Analyse de ses Ouvrages. Paris, 185 1. 8vo. (Translated by Wellington Guernsey : London, 1852.) CHAPTER XV. FURTHER HISTORY OF MUSIC IN GERMANY AND IN NORTHERN EUROPE. The Abbe Vogler and his Pupils — C. M. von Weber— Settles in Prague — Becomes Capellmeister at Dresden — Der Freyschiitz — Euryanthe — His Visit to England — Oberon — His Death — -Early Career of Meyerbeer — Louis Spohr — Settles in Cassel — • His Faust — Jessonda — The Last Judgment — His Works for Violin — Mendelssohn — His Early Years — Midsummer Night's Dream and FingaTs Cave Overtures — Visits to England — -Settles in Leipzig — His Engagement in Berlin — His Symphonies — St. Paul — Lobgesang — Elijah — R. Schumann — Founds the Neue Zeitschrift fur Musik — His Pianoforte Woi-ks — Songs — Symphonies — Genaveva — His Chamber Music — Dussek — Steibelt — A. and B. Romberg — Thalberg — Franz Liszt — Richard Wagner — His Youth — Rienzi — Der Fliegende Hollander — Tannhauser — Settles in Dresden— Is banished — His Intercourse with Liszt — Lohengrin — Der Ring des Nibelungen — Tannhauser in Paris — King Ludwig II. — Der Meistersinget The Bayreuth Theatre — Parsifal — His Musical Principles — Johannes Brahms ■ — R. Franz — Dvorak — Max Bruch — Goldwark — Rheinberger — Reinscke — Goetz — Humperdinck — Russian Music — Bortniansky — Glinka — Rubin- stein — Tschaikovi'sky — Cesar Cui — Rimsky Korsakow — Lvoff — Scandi- navian Music — Gade — Grieg. AMONG the strangest figures in the musical world at the end of the eighteenth century was the Abb6 Vogler — a man of original views on almost every subject, with perfect faith in his own opinions (a gift which is common enough), but with an exceptional capacity for impressing them on others. Born at Wiirzburg in 1749, he soon found a patron 328 MUSIC IN GERMANY AND NORTHERN EUROPE. 329 in the Elector of Mannheim, who sent him to study counterpoint with the renowned Jf adre Martini. But the ordinary roads to knowledge were too long for him. The connection with Martini lasted only six weeks. Vogler found his system much too deliberate. He then placed himself under the instruction of Valotti, with no happier results. His impatience caused his master to exclaim that his pupil wanted to learn in a moment all that it had taken him fifty years to acquire. We next find him in Rome, where he was ordained priest ; and returning to Mannheim, he established a school for instruction in music, promising to lead his disciples by a royal road into the mysteries of composition. Space fails to follow the details of the life of this restless and extraordinary man. He was always travelling ; visiting Spain, Portugal, Greece, Africa, America, and even Greenland, though for what musical purpose it is impossible to conceive. Probably in 1783, certainly in 1790, he was in London, where he made a great impression by his performance at the Pantheon on the organ. There can be no doubt that on that instrument he was a remarkable performer, although frequently devoting his talents to a style of music but little removed from claptrap. He wrote operas, gave concerts, advocated a new system of organ-building which has still its adherents, introduced the free reed, the use of which was in after years to develop into the harmonium, wrote numerous books to advance his musical theories, contributed freely to the musical press, and travelled as constantly as the Wandering Jew. 330 THE HISTORY OF MUSIC. For three periods only in his life did he settle down for any time : namely, at Mannheim, at Stockholm, and at Darmstadt. In each place he founded a school for instruction in composition, and it is on account of the remarkable pupils which he turned out that he more especially claims mention here. Among them were Peter von Winter (1755-1825), a copious writer both for the church and the theatre, — whose opera Das unterbrochene Opferfest kept the stage down to our own times ; Knecht, the famous organist ; B. A. Weber, capellmeister to the King of Prussia ; Gansbacher, famous both for his military services and also as organist of St. Stephen's at Vienna ; Gottfried Weber, the well-known theoretical writer, and founder of the musical journal Cacilia ; and Madame Lange (Aloysia Weber, Mozart's first love), the great singer, who owed her position to his instruction. To this long list must be added the two famous musicians Carl Maria von Weber and Meyerbeer, who were also his pupils. A man who produced so many pupils of eminence must have had remarkable gifts for imparting know- ledge, and he also appears to have been much loved by them all. The father of Carl Maria von Weber, was in his way as eccentric as the Abbd Vogler. Franz Anton, Baron von Weber, had been lieutenant in the Guard of the Elector of the Palatinate, at whose court both he and his brother Fridolin, the father of Mozart's wife, were famous as musical amateurs. Franz Anton, being prob- ably the most unsuitable man to be found, was made MUSIC IN GERMANY AND NORTHERN EUROPE. 33 1 Financial Counsellor and District Judge to the Bishop of Liibeck and Eutin. He married a lady of some fortune, which he devoted himself to squandering, Fig. 109.- Call Maria von Weljer. break'ng his wife's heart in the process. A change of bishops having occurred, the Financial Counsellor was pensioned, and for want of a better occupation became director of a strolling company of players. At the age 332 THE HISTORY OF MUSIC. of fifty he married Genovefa von Brenner, a delicate girl of sixteen, and from this union, on December i8th, 17/6, was born the famous composer Carl Maria von Weber — a weak, sickly child, with a disease of the hip which made him permanently lame. It was the ambition of the elder Weber to be the father of a prodigy who should rival his nephew Mozart. He had done all in his power to develop the abilities of his elder children, with but moderate result. His youngest son showed more promise, and this promise was forced by all the means at his father's disposal; but the latter possessed neither the sound knowledge nor the good sense of the elder Mozart, so that the boy's education was unsystematic, especially as the dramatic company was constantly moving from town to town. His mother died of consumption before her son reached the age of twelve. When only fourteen he had composed an opera Das IVa/d- mddchen. One advantage the boy gained from the life he led — a thorough knowledge of the stage and all its requirements. He was able to paint scenes, to design costumes, and to undertake the duties of stage manager ; all of which gifts helped to make him the perfect director of an opera which he subsequently became. For a time he studied with Michael Haydn, and wrote a comic opera, Peter Schmoll, produced at Augsburg in 1803, but with no effect. His father then placed him under the Abb6 Vogler, through whose influence Weber obtained the post of conductor of the Opera at Breslau, being then only eighteen years of age. During this time he worked hard at the pianoforte, on which he became a remarkable MUSIC IN GERMANY AND NORTHERN EUROPE. 333 performer. An unfortunate accident, which incapacitated him for some months, led to his resigning this appointment at the end of two years. While at Breslau he composed several numbers of an opera, Rubezahl, of which but little survives, with the exception of the overture, now known as The Ruler of the Spirits. Circumstances led to his accepting the office of secretary to Duke Louis of Wurtemburg, at Stuttgart, a dissipated young, man, who employed his secretary principally in raising loans from the king for the purposes of his debauches. It was a bad school for Weber, but it enabled him to make many pleasant acquaintances, among whom were Spohr, Dannecker the sculptor, Matthison the poet, and Danzi, conductor of the opera, a worthy man who did all in his power to keep the young secretary in the right path. His youthful opera Das Waldniddchen was re- modelled, with the assistance of a brilliant young friend of the musician, who led him into all sorts of extra- vagances, under the name of Sylvana. The opera was in rehearsal when it was discovered that his worthless father had appropriated a sum of money entrusted by the Duke to his secretary. The son was entirely innocent of any complicity in his father's crime, but both were sent across the frontier and banished for ever. This circumstance was really the making of the com- poser. The exiles made their way to Mannheim, where Carl Maria found a home for his father and resolved to devote himself to serious study. He resumed his inter- course with Vogler, and at his house made the acquaintance of Meyerbeer, the son of a wealthj> banker in Berlin, who 334 THE HISTORY OF MUSIC. '' devoted himself entirely to music, and although only seventeen was already one of the first pianists of the day. Under this impulse Weber composed much music for the pianoforte, and also his operetta Abu Hassan. In the autumn of 1810 his opera Sylvana, the performance of which had been so rudely interrupted, was brought out at Frankfort, but the ascent of a female aeronaut had superior attractions for the public, and the work obtained but very moderate success. In one respect the perform- ance was noticeable : the leading part was taken by a charming young singer, Caroline Brandt, who subsequently became Weber's wife. In the following year he began a long tour through Germany and Switzerland as a pianist, in part of which he was accompanied by . his friend Baermann, the eminent clarinettist — a connection which had the result of adding several fine compositions, includ- ing two concertos, to the ripertoire of that instrument. While at Munich the operetta Abu Hassan was performed with the greatest success, and at once made its way to the principal theatres in Germany. In 181 3 he became musical director of the theatre at Prague, where his youthful experiences proved most useful to him. The opera in that city wanted a thorough reform. He got together an excellent company, including the charming Caroline Brandt, and at once put Spontini's Fernand Cortes into rehearsal. His energy inspired the whole company ; a magnificent performance was the result, and it was followed up by the production of other works selected from various schools. At this period Prussia had succeeded in throwing off the yoke of Napoleon, and the MUSIC IN GERMANY AND NORTHERN EUROPE. 335 whole country was in a state of patriotic excitement consequent on the victorious battle of Leipzig. This feeling found vent with Weber in the famous part-songs Lutzoix/s Wild Hunt and the Sword Song, which soon spread over the length and breadth of the land, and did much to extend his fame. At Christmas 1816 he received the appointment of Capellmeister to the King of Saxony, with the object of organising a national German Opera in Dresden. Morlacchi (an Italian composer of respectable acquire- ments, but of an intriguing spirit) was already installed as director of the Italian opera, and the King's preference was for Italian music. Weber's life, therefore, was not altogether a bed of roses ; he seems to have taken a lofty view of his mission to regenerate the music of his country, and moreover he defended his views with much literary ability and vigour in the journals, which had a tendency to increase the rancour of his opponents. One consolation he possessed in his union with Caroline Brandt. At the suggestion of Count Brlihl, the intendant at Berlin, Weber was employed to compose the incidental music to Preciosa, a work which he completed with the happiest results ; but the subject of The Hunters Bride, subsequently known as Der Freyschiitz, had long been floating in his mind. A libretto was at last arranged by Kind, and it was produced for the opening of the new opera house in Berlin on June i8th, 1821. His friends were afraid that the great popularity of Spontini's works in that city would interfere with his success, but the new opera was received with the greatest enthusiasm. 336 THE HISTORY OF MUSIC. At Vienna the excitement it created was even greater. It soon made its way all over Europe — unfortunately often in garbled versions, as was the case both in Paris and in London, where it was running simultaneously at Covent Garden and the Lyceum. The Huntsman's Chorus was heard everywhere, and the composer was overwhelmed with offers of commissions. Unfortunately his choice of a librettist fell on a certain sentimental lady poet, Helmina von Chezy, who concocted an absurd drama, Euryanthe, which he composed for Vienna. The music was beautiful, some say his masterpiece, but it was weighed down by the libretto, and was not successful. And now we come to the sad ending of Weber's life. The success of Der Freyschiitz prompted Charles Kemble, then lessee of Covent Garden Theatre, to in- duce the composer to write an opera for that theatre, and to visit England to produce it. Planch^ was employed to write a libretto based on Wieland's Oberon. The composer was already in the last stage of con- sumption, and was warned by his doctor that the visit would probably end fatally, but the desire to provide for his family was too powerful. His friend Fiirstenau, a distinguished flute-player in the Dresden orchestra, offered to accompany him, for he was wholly unfit to travel alone. He found a comfortable home and kind attention in the house of Sir George Smart, and was enabled to superintend the rehearsals of the new opera and to conduct selections from Der Freyschiitz in those curious entertainments called oratorios held in the theatres during Lent. On April 12th, 1826, Oberon was produced. The composer was received with inde- scribable enthusiasm. He had undertaken to conduct twelve performances, and was enabled to do so, but with great difficulty. He then proceeded to arrange his benefit concert, from which he had great expecta- tions. By unaccountable oversight this was fixed for the Epsom week, and the weather was disastrous, so that the results were a disappointment. He had just strength enough to accompany Miss Stephens (the late Countess of Essex) in a song specially written for the occasion, and he was taken home. His great anxiety was to get back to his family at once ; his kind friends humoured his intention, but saw that it was impossible. On the evening of June 4th, Moscheles and Goschen, father of the present First Lord of the Admiralty, came to wish him farewell, and at ten o'clock Sir G. Smart and Fiirstenau prevailed on him to retire to bed ; the latter was anxious to sit up with him, but the offer was refused. In the morning, Sir G. Smart's servant knocked at the door as usual The only sound was the ticking of his watch. At last the door was forced open, and the master was found as if in a peaceful sleep, but quite dead — far away from the wife and children he loved so well. He was buried on June 17th with every mark of respect in the church of St. Mary, Moor- fields, to the solemn strains of Mozart's Requiem, sung by Miss Stephens, Miss Paton, Braham, and Lablache. Many years after — in 1844 — his body was removed to Dresden, in great measure at the instigation of Richard Wagner. 22 ^^S THE HISTORY OF MUSIC. The reputation of Weber rests, no doubt, mainly on his operatic music — especially on Der Freyschutz, which inaugurated the school of " romantic " opera so ably continued by Meyerbeer, Marschner and Wagner. The overtures to Freyschutz, Euryanthe and Oberon were a new departure in construction, and have been called " programme overtures " — that is, they were based on subjects used in the opera so woven together as to give almost an epitome of the work. The practice has been objected to, but there can be no doubt that in Weber's hands the results were some of the most exciting works in the whole range of music. He was the first to insist on the national element in music which after- wards so strongly influenced Wagner. Of. his pianoforte music much is truly admirable, showing an advance in brilliancy over his predecessors. His Invitation to the Waltz, and his Concert-StUck still remain favourites with pianists. Heinrich Marschner (1795-1861), although he can hardly be claimed as an actual pupil of Weber, had the advantage of the master's advice both at Prague and afterwards at Dresden, where he became assistant director both of the Italian and German Operas, for- feiting some of Weber's good opinion by the admiration, which he could not conceal, for the works of Rossini. He wrote many operas, but his fame rests upon Der Vampyr, Der Tempter und die Jiidin, and Hans Heiling, which all keep the stage in Germany. In 1830 Marschner settled in Hanover as capellmeister, and in that city he ended his days. MUSIC IN GERMANY AND NORTHERN EUROPE. 339 Meyerbeer (i 791 [94 ?]-i864), Vogler's other famous pupil and Weber's intimate friend, was the son of a rich Jewish banker at Berhn. His actual name was Jacob Meyer Beer, which he changed into the more euphonious Giacomo Meyerbeer. Although rich, his father decided that the great talent for music which his son showed should be cultivated professionally. At a very early age the boy acquired a reputation as a virtuoso on the pianoforte, but this was soon overshadowed by his success as a composer. His earliest efforts were in oratorio, but he produced his first opera, Ahimekck, at Vienna, in 181 3, with little effect. During a visit to Venice he heard Rossini's Tancredi, which filled him with admiration. He at once adopted the Italian style, and composed several works which had great success. The most famous of these were Emma di Risburgo and // Crociato. It is not surprising that his friend Weber, whose national feeling was so strong, should have made an appeal to his musical principles. He did not live to witness the result, but after several years it bore fruit in the succession of works written for the Paris Opera, of which we shall have to speak later. Among the operatic composers of the second rank in Germany we must mention Himmel (1765-1814), best remembered by his Fanchon, and Lindpainter (1791-1856), not one of whose thirty-one operas has survived. The latter visited England in 1855 to conduct the concerts of the Philharmonic Society, and produced his oratorios Abraham and The Widow of Nain \ but his greatest popularity was created by a vigorous song, The Standard Bearer. Lortzing 340 THE HISTORY OF MUSIC. (1803-1852) was early in life a tenor singer, but afterwards conductor at Leipzig and Berlin ; his name still lives in the opera Czar und Ziiiuneriiiann. Franz Lachner (i^ Lachner. 1890) (fig. no), capellmeister at Stuttgart, produced Catheriiia Cornaro, which had some success. But he was also favourably known by many chamber and orchestral works, including several symphonies. Otto Nicolai (1810- MUSIC IN GERMANY AND NORTHERN EUROPE. 34 1 1849), distinguished also as a pianist, died a few days after the production of his best opera, Die lustigen Weiber von Windsor, the tuneful overture to which is so universally- popular; and Flotow (1812-1883), whose Martha, intro- ducing the well-known " Last Rose of Summer," is played by every operatic company. A much more important figure was Louis Spohr (1784- 1859) (fig. in), celebrated both as a great violinist and as a composer. He was born at Brunswick, but his father soon afterwards settled as a physician at Seesen. At an early age he taught his son those accurate, methodical habits which became so characteristic of the composer. He soon showed his musical ability, and by the persuasion of a French ^migrd was sent to Brunswick to continue his musical studies, attending also the grammar school. At a school concert he played a concerto of his own composition, and so great was his success that he was called on to repeat it at a concert given by the Duke's band. At the early age of fourteen he started, by his father's desire, on a musical tour to Hamburg, armed with a few letters of introduction. But it was summer; all the leading in- habitants were in the country, and he was compelled to leave without gaining so much as a hearing. He returned to Brunswick with his means exhausted. The happy in- spiration suddenly struck him of applying to the Duke, asking for the means to continue his studies and for a post in his orchestra. The Duke looked favourably on the petition, gave him the desired post, and subsequently placed him with Franz Eck, an able violinist who was then travelling about Europe as a virtuoso. With him 342 THE HISTORY OF MUSIC. Spohr visited St. Petersburg, and profited greatly by his instruction. On his return to Brunswick he had the good fortune to hear Rode, the famous French viohnist, whose Fig. III. — Spohr. playing greatly influenced his style. He now began a series of musical tours, in which his performance was always received with marked favour. In 1805 he settled in Gotha as leader of the band, and in that city married MUSIC IN GERMANY AND NORTHERN EUROPE. 343 his first wife, Dorette Scheidler, an excellent harpist, for whom he wrote both solos, and duets with the violin, which they played together on their numerous tours. His earliest compositions were for the violin, but he soon began to try works on a more extended scale, his first symphony appearing in 1809. His earliest and pne of his best operas, Faust, first performed at Frankfort in 181 8, at once achieved success, and made its way everywhere, keeping the boards for many years, and in 1852 it was adapted for Covent Garden Theatre by the composer, with recitatives instead of the spoken dialogue. For a pro- jected tour in Italy he wrote the beautiful concerto for violin, No. 8, with the charming Scena cantate which is so well known. Faust was followed by Zemire and Asor, one air in which, " Rose softly blooming," is still popular. In 1820 he was in London, having been invited by the Philharmonic Society, and it is worthy of notice that he was the first to conduct with the baton in this country. While here he produced two symphonies and his beautiful Nonetto for strings and wind. On his return, well pleased wi'th his reception in England, and with the splendid playing of the Philharmonic Band, he stayed in Paris, making the acquaintance of Cherubini, who was so in- terested in Spohr's compositions that he made him play one of his quartets three times. Spohr now settled in Dresden, gaining the esteem of Weber, who, when he was offered the post of capellmeister at Cassel, not wishing to leave Dresden, .suggested Spohr as suitable for the office. Cassel thus became his home for the rest of his life. He was an 344 THE HISTORY OF MUSIC. excellent conductor, and under him the performances at the Opera acquired a great reputation. There he pro- duced his Jessonda with great enthusiasm. The year 1 826 is memorable for the first performance of The Last Judgment, at the Rhine Festival in Dusseldorf, a work which still preserves its popularity in this country. In 1 83 1 his famous Violin-School was published, which has remained a text-book and is known to every violinist. In 1832, owing to political difficulties, the performances at the Opera were suspended. Spohr availed himself of this enforced inactivity to write his well-known and beautiful symphony Die Weihe der Tone, known in this country as The Power of Sound, although it should correctly be called The Consecration of Sound. It may be mentioned that Spohr was an advanced Liberal in politics, and expressed his sympathies a little too freely, which had the effect of embittering the relations between Elector and Capellmeister. At this period also he wrote his oratorio Des Heiland's letzte Stunden (Calvary), which soon after it was produced at Cassel found a place in the programme of the Norwich Festival of 1839, at the instance of the late Mr. Edward Taylor, Gresham Professor of Music, a great admirer of the composer, who induced him to write another oratorio, The Fall of Babylon, for the next Festival. One of the most notice- able features of his rule at Cassel was the production of Wagner's Der fliegende Hollander in 1 842, the music of which would not have seemed likely to commend itself to his tastes. Is it possible that political sympathy MUSIC IN GERMANY AND NORTHERN EUROPE. 345 may have been a factor in this result? After much opposition from the Elector, he succeeded in following this up by Tannhduser, although he describes some of the music as " truly frightful " ; but on Lohengi'in the Elector put an absolute veto. In 1853 he was again in England, where he conducted his symphony The Earthly and the Heavenly in Man's Nature for a double orchestra at the New Philharmonic Concerts, as well as other works. In 1857 age was making inroads on his vigorous constitution, and, sorely against his will, he was pensioned. He died at Cassel on October i6th, 1859, greatly esteemed by all who knew him. As a violinist his playing was in the first rank. His tone was broad and of fine quality, not falling off in rapid passages. His singing on the instrument hais never been excelled, and he possessed great and refined powers of expression. In this, as in all he did, his love of system is very apparent, but it does not appear to have interfered with the freedom and spontaneousness of his performance, in the way which has been frequently apparent in that of his pupils and followers ; and while equal to any difficulties, he never introduced them for the sake of display. As a composer he was, without doubt, mannered. All his works show a charming grace of melody, but he was so given to chromatic progressions that . although the listener is at first struck with admiration at the extreme beauty of his music, a certain sense of monotony is apt to steal over him. He was very fond of novel com- binations — as, for instance, the symphony for double 346 THE HISTORY OF MUSIC. orchestra which we have just mentioned, and his double quartets. Nothing can exceed the beauty of his violin concertos, nor the admirable way in which they are written for the instrument of which he was so great a master. His string quartets have also great charm, although the interest is apt to be concentrated too much in the first violin pai;t. Some of them are avowedly " solo " quartets, which of course assume in a great measure the form of a concerto. His oratorios are so well known and appreciated in this country, especially the Last Judgment, that it is unnecessary to say more about them here. Excellent and worthy man as he was, he had but little sympathy with the compositions of his contemporaries. Weber he was quite unable to appreciate ; and he con- sidered that '" Beethoven was wanting in aesthetic culture and sense of beauty"! In fact, there was one musician alone who conformed to his ideal, and that was Louis Spohr. It is this conviction which helps to make his Autobiography such delightful reading. Among his pupils may be mentioned Moritz Haupt- mann (1794- 1868), who became Cantbr of the Thomas- schule at Leipzig, a post formerly held by the great Sebastian Bach, of whose works he became editor. He was probably the most learned theorist of modern times. The eminent violinist Ferdinand David, the intimate friend of Mendelssohn, who for a long time was leader of the Gewandhaus Concerts in Leipzig, was also his pupil. He became celebrated not only as a solo player, but also as an instructor, reckoning among his pupils both Joachim and Wilhelmj. MUSIC IN GERMANY AND NORTHERN EUROPE. )47 And now we have to speak of one whose name is a household word wherever! music is held in honour — Felix Mendelssohn Bartholdy, who was born in Hamburg in Fis. 112 -Felix Mendelssohn Bartholdy. 1809. He was one of a Jewish family, all of whom were possessed of considerable cultivation. His grandfather, Moses Mendelssohn, was the friend of Lessing, and a distinguished philosophical writer ; so that the father of 348 THE HISTORY OF MUSIC. the musician was in the habit of saying that he began life as the son of his father, and that later he became the father of his son. At the time of the birth of Felix his father was in easy circumstances ; and when the boy was three years old, he moved to Berlin with his brother to found the banking house now so well known. No pains were spared in the education of the children, and any gift of intellect which they showed was carefully cultivated. Music was the delight of the house ; and both Fanny, the eldest daughter, and Felix were systematically taught, in the first place by their mother, and later, during a visit made to Paris, by Madame Bigot, who was an ex- cellent teacher. On their return to Berlin both children were placed under Ludwig Berger for the pianoforte, studying composition with Zelter, the well-known com- poser and friend of Goethe. When a little over nine years of age Felix made his first appearance as a pianist in public ; and in his twelfth year began seriously to compose. In 1822 his first published work was written — a pianoforte quartet. It was the practice of the family to have Sunday concerts in the large dining-room of their house, with a small band, and he thus had the opportunity of hearing his compositions performed. The pianoforte on these occasions was usually taken by himself or Fanny, and he always acted as conductor. Under such fostering circumstances his powers grew apace. In 1 824 his first published symphony in C minor (Op. 11) was written. At this time Moscheles was passing through Berlin, where he enjoyed the intimacy of the Mendelssohn family, of whom he writes : " A family such MUSIC IN GERMANY AND NORTHERN EUROPE. 349 as I have never known before, — Felix a mature artist, as yet but fifteen ; Fanny extraordinarily gifted — in fact, a thorough musician." With much hesitation Moscheles was induced to give Felix pianoforte lessons, and thus was begun a friendship which lasted to the end of Men- delssohn's life. In 1825 his father took Felix with him to Paris, where he made the acquaintance of all the musicians in that city — Cherubini, Onslow, Hummel, Herz, Halevy, Rossini, Meyerbeer, and others — who were all astonished at the boy's acquirements. The visit was in part undertaken^ with a view to obtain Cherubini's advice as to the boy's future, his father not being able to reconcile himself to making a musician of him, and still wishing to put him to business. In the summer of 1825 the Mendelssohn family moved to a large house, then almost in the suburbs of Berlin, with spacious grounds, in which was a music room separated from the house, and capable of holding several hundred people, the site of which is now occupied by the Herrenhaus of the German Government. This naturally gave a greater importance to the Sunday concerts, and was not without its influence on the young composer. He now wrote his well-known octet for strings, a marvellous composition for a boy of sixteen. He also occupied himself with an opera, Camacho's Wedding, which Spontini produced in 1827, after it had ex- perienced some obstruction. It had but one performance, owing to the illness of the tenor ; but in the two years which had passed since its composition, Mendelssohn had made great strides, and was not sorry to allow it 350 THE HISTORY OF MUSIC. to pass into oblivion. In 1826 he brought out that charming inspiration, the overture to the Midsummer Nights Dream. It was first played by an orchestra in the garden-house, to the delight of a crowded audience, and has never lost its freshness. In 1828 he wrote his overture to Goethe's Calm Sea and Prosperous Voyage. As early as the winter of 1827 Mendelssohn was attracted to the great • St. Matthew's Passion of Bach. With a view to studying the work, he formed a choir of sixteen voices, who met every Saturday to practise it. The members of the little society became so enthusiastic in their admiration, that they were anxious to have a public performance of it with the help of the Sing-Akademie, under Mendelssohn's direction. Zelter, the conductor of this society, was not a person to be reckoned with easily. A few of the more enthusiastic members, however, had the courage to approach him on the subject ; and after some opposition his consent was gained. His young pupil at once began the rehearsals, and on March nth, 1829, the performance took place — the first that had been given since the death of the great composer. Mendelssohn had feared that the public would prove apathetic, and that the concert would be a failure ; but so far from this being the case, hundreds of people were turned away, and a second performance was given on March 21st — Bach's birthday. In April 1829 Mendelssohn started on his first visit to England, as part of a comprehensive scheme of travel arranged by his father to give him a knowledge of the world, and the opportunity of trying his wings as a MUSIC IN GERMANY AND NORTHERN EUROPE. 35 1 musician by profession. He was received by his friend Moscheles, then established in London, and Klingemann, secretary to the Hanse Towns legation, with whom he had been intimate. He made his first public per- formance in this country at a Philharmonic Concert, on Monday, May 25th, conducting his C minor Symphony, which he published with a dedication to the Philhar- monic Society. He appeared at several other concerts ; both in public and in private society his reception in England was from the first enthusiastic, and it is certain that he retained a warm affection for this country to the end of his days. At the conclusion of the musical season, Mendelssohn, accompanied by his friend Klingemann, started on a Scotch tour, visiting Fingal's Cave. In a letter describing his visit, he writes down a passage of music to "show how the place affected him," which became the subject of his wonderful Hebrides or Fingal's Cave Overture. On this tour, also, his " Scotch " symphony was sketched in his head, although not committed to paper. An accident, caused by a fall from a gig, detained him in London for two months longer than he intended ; but he returned in time to celebrate his parents' silver wedding by the performance of his operetta Heimkehr aus der Fremde, known here as Son and Stranger. It was not till May of the following year that his projected tour was resumed. It began with a visit to Weimar, where he enjoyed much intimacy with Goethe ; and was continued through Munich and Vienna to Venice, Rome, and Naples. He was fully alive to all the charms of Italy, 352 THE HISTORY OF MUSIC. but never lost sight of the main object of his journey. During this time he completed his Hebrides overture ; the Walpurgis Nacht, the result of his intercourse with Goethe ; made great progress with the Italian and Scotch symphonies, and at the same time cultivated the society of the most eminent musicians and artists then living in Rome. On his return through Munich, he played for the first time his G minor Pianoforte Concerto, which has since become so popular. Here also he received a commission to compose an opera, fixing on The Tempest as a subject ; but the scheme was never carried out owing to his disappointment with the libretto. In 1832 he was again in England, and in the autumn of that year the Philharmonic Society requested him to compose a symphony, an overture, and a vocal piece. The symphony was the " Italian," produced on May 13th of the following year. He had engaged to conduct the Lower Rhine Festival at Diisseldorf. The principal work was Israel in Egypt, and under his management the festival was so successful that the inhabitants begged him to undertake the entire musical arrangements of the town. He accepted the invitation, and settled in Diisseldorf, where his enthusiasm greatly advanced the cause of music. But the superintendence of the opera was distasteful to him, and in 1835 he received the offer of the post of conductor of the Gewandhaus Concerts in Leipzig, which we need hardly say are the most important in Germany. This offer he accepted. Ferdinand David was induced by his persuasion to MUSIC IN GERMANY AND NORTHERN EUROPE. 353 become leader of the band, and the concerts were raised to a pitch of the highest excellence, among the events of the first season being a performance of Beethoven's Choral Symphony. His engagement at Leipzig left him free to undertake the conductorship of the Cacilien-Verein at Frankfort, and there he met his future wife, C^cile Jeanrenaud, a young lady of great beauty, the daughter of a Protestant clergyman who had been dead for some years. The composition of his oratorio St. Paul had occupied his attention for some time past ; and it was first produced at the Lower Rhine Festival at Diisseldorf in May 1836, with the greatest enthusiasm. He had undertaken to conduct his oratorio at the Birmingham Festival of 1837, and it was received with equal enthusiasm both there and in London when performed by the Sacred Harmonic Society. His engagement with the Birmingham Festival Committee did not allow him to conduct the per- formance in London ; but the Society had the advantage of his assistance at the rehearsals, and it is interesting to know that he expressed himself as delighted to have his work " performed in so beautiful a manner " by that excellent body. During this and subsequent visits to England he gave great pleasure to many musicians by his organ performances at St. Paul's Cathedral, at Christ Church, Newgate Street, and elsewhere. During 1840 he composed his Lobgesang or Hymn of Praise, to celebrate the 400th anniversary of the invention of printing, — a beautiful work, consisting of an orchestral symphony in three movements, followed by a cantata. 23 354 THE HISTORY OF MUSIC. This also had been secured for the Birmingham Festival, and Mendelssohn made his sixth journey to England to conduct it. Mendelssohn's position in Leipzig was entirely con- genial to him. He was constantly producing new or forgotten works at the Gewandhaus, so that the pro- grammes were of the greatest interest to musicians, and the performances unsurpassed in excellence. In 1841, however, he received an offer which, although very flattering to his abilities and character, was productive of much worry and unhappiness. Frederick William IV., a prince of great culture, had just succeeded to the throne of Prussia. He was fired with the idea of forming an Academy of Art in Berlin, and fixed on Mendelssohn as the head of the musical department, in which capacity he was to be director of musical studies, and also to organise a series of concerts in which works of importance were to be performed by the Royal orchestra and the opera company. The details of the scheme entailed a long and weary correspondence, and he had no faith in the working of it. He was conscious that at Leipzig he was carrying on a great work, and had made that town the most important musical centre in Germany ; he had trained an orchestra which had perfect confidence in its conductor ; and he dreaded the official trammels of the court at Berlin. The pressure brought to bear on him was, however, too great, and it was strengthened by that of his family, who were naturally delighted to have him back in Berlin. He undertook his new duties for a year only, and found his position most uncongenial. MUSIC IN GERMANY AND NORTHERN EUROPE. 355 He therefore sought an interview with the King, who agreed to Mendelssohn's proposition that he should accept half the salary and be at liberty to live where he chose. At this interview the King, for whom personally Mendelssohn had great regard, conferred on him the office of general music-director of a choir of picked singers, to be called the Dom-chor ; and to this connection we owe the composition of his beautiful psalms. At the King's request he wrote the music to Racine's Athalie, several new numbers to the Midsummer Nighfs Dream, Antigone, and CEdipus Coloneus. The composer led a sort of double life, partly in Berlin and partly in Leipzig, At the latter place a legacy had been left to the town, which Mendelssohn persuaded the King of Saxony to apply to the foundation of a conservatorium, which shortly became famous. It opened in June 1843, with Mendelssohn, Hauptmann, Ferdinand David, C. F. Becker, and Schumann as professors ; and in 1846 he persuaded his friend Moscheles, at a sacrifice of income, to leave England and become principal teacher of the pianoforte. In 1844 he was again in England, having accepted the offer of the Philharmonic Society to become conductor of their concerts. The oratorio of Elijah had been occupying much of his attention from time to time, and it was completed for the Birmingham Festival of 1846- It is unnecessary to say how impressed the English people at once were with this masterpiece. The re- hearsals were fatiguing, and it was observed that Mendelssohn appeared much worn on his arrival from 350 THE HISTORY OF MUSIC. England. His return, however, brought him no rest. He at once began to make important alterations in his oratorio before sending it to the engravers ; and soon afterwards began a third oratorio, Christus, fragments of which only were completed. One more visit to England — his tenth — was made in 1847, mainly to con- duct three performances of Elijah for the Sacred Harmonic Society. To his friends he appeared prematurely aged, and a few days after his return home his favourite sister, Fanny Hensel, died quite suddenly, on May 14th. The shock was so great that he remained for some time insensible. Accompanied by his family, he visited Baden- Baden during the summer ; but his usual cheerfulness was long in returning. The sight of his sister's room during a visit to Berlin brought on a return of depression. He was attacked with shivering and severe headache on October 9th, but on the application of leeches he became better, and on the 28th was able to take a walk with his wife. But the improvement was only temporary : on November 3rd he was again attacked, and, having never recovered consciousness, died at Leipzig on the evening of November 4th, 1847. Public feeling in Leipzig was intense ; bulletins were issued, and when the fatal end was announced the town was hushed as if by some public calamity. In England, the country in which he had felt so much at home, the feeling was scarcely less remarkable. The character of the man was so sunny and winning, that every one with whom he had come in contact felt as if he had lost a personal friend. MUSIC IN GERMANY AND NORTHERN EUROPE. 357 For a long period Mendelssohn and Spohr were the most prominent musicians of Germany, if not of Europe ; and it must be admitted that Mendelssohn's reputation has much more successfully withstood the lapse of time. In Gerniany it has perhaps been somewhat obscured by that of Schumann, of whom we shall have to speak presently ; but in this country his music has taken hold of the public taste in a way which that of no other composer has done since the days of Handel. In the popular mind ElijaJi occupies a position almost on a level with the Messiah, and the two works are considered essential at every musical festival. Mendelssohn tried all forms of composition, but his oratorios St. Paul and Elijah will probably be considered his masterpieces. The former is the favourite in Germany : in it the influence of Sebastian Bach is more strongly exhibited ; Elijah, according to English opinion, is characterised by greater freedom of style, and is in the noblest sense dramatic without a trace of the theatrical, and the music is invariably worthy of the subject. It was always Mendelssohn's wish to write an opera, but he never succeeded in finding a libretto to his mind. The Loreley finale is sufficient to show what we have missed. His overtures (and Melusina and Ruy Bias must be added to those already mentioned) are poetic and delightful in the highest degree, as are his symphonies, the Italian, the Scotch, and that to the Hymn of Praise. His string quartets, with all their beauty, are perhaps too orchestral in treatment ; they have been happily described as " little whirlwinds." His Psalms are noble works, happily 358 THE HISTORY OF MUSIC. well known, as are many of his part songs and songs for solo voice. Of his pianoforte music, the most fortunate in securing popularity have been his Songs without Words, many of which have great charm. The form was of his own invention, and it supplied a want for short pieces of poetical character suitable for per- formance on occasions when a sonata would be inad- missible. It must be added that he was a man of great general accomplishments, sketching with something more than the ability of an amateur. The two volumes of his correspondence show how delightful he was as a letter- writer. The reputation of his contemporary Robert Schumann (fig. 113) was of somewhat slow growth, and in this country almost posthumous. He was born at Zwickau in Saxony on June 8th, 18 10, and was thus little more than a year younger than Mendelssohn. His father was a bookseller, who, although not a musician, was a man of culture, and anxious to encourage his son's early leanings to that art. With this view he endeavoured to place him with C. M. von Weber, but the negotiation broke down. His father unfortunately died in 1826, and his mother would lend no countenance to music as a profession. He therefore entered the University of Leipzig as a student of law ; but the study of Jean Paul seems to have had much greater attractions for him than that of the faculty chosen for him. His love for music, however, soon broke forth again, and he made the acquaintance of Wieck, an eminent teacher, the father of his future wife, and of him he took some pianoforte lessons. He MUSIC IN GERMANY AND NORTHERN EUROPE. 359 there made the acquaintance of other musical students, who joined him in meeting together for the practice of Fig. 113. — Robert Schumann. chamber music. In 1828 he tried his hand at composition and began a systematic study of the works of Bach. In 1829 Schumann, with a friend, migrated to the University 360 THE HISTORY OF MUSIC. of Heidelberg. It is probable that they were attracted there by the lectures of Thibaut, the celebrated jurist, who was also the author of a well-known treatise on Purity in Musical Art, which has gone through many editions and had much influence on musical taste. If the better study of law was the ostensible reason for the change, in reality the only study carried on was that of music. At the end of three years he was no more reconciled to the j.law, and he endeavoured to persuade his mother to consent to his abandonment of it in favour of his beloved art. The decision was at last referred to Wieck, and in the end he became free to follow the bent of his inclination. He proposed to study the pianoforte with a view to public performance, and placed himself again under Wieck. He threw himself into his work with great energy, and in order to make way as quickly as possible invented a contrivance for drawing back the third finger while the others were free of practise exercises. The result was a strain of the tendons of the third finger, which destroyed all hope of becoming a virtuoso. For a long time the right hand was wholly useless, but at last he was able to play again, although the third finger never recovered its power. It shows great confidence in his genius that he still con- tinued the intention of making music his profession. His whole energy was of necessity now devoted to composition, which he studied with Dorn, while still living on terms of intimacy with Wieck. He was fortu- nately possessed of a small income, which placed him out of the reagh of actual difficulties. At this period MUSIC IN GERMANY AND NORTHERN EUROPE. 36 1 he produced a few works, including a symphony, none of which seem to have had much success. While at Leipzig Schumann was in the habit of passing his evenings with a small circle of friends at a restaurant called the " Kaffeebaum." Musical criticism in Germany was at that time very superficial, and it occurred to these young men that it was their mission to combat the light and frivolous tastes of the day by starting a musical paper animated by serious and lofty aims. The Neue Zeitschrift fiir Musik was the result, the first number of which appeared on April 3rd, 1834. Schumann possessed in large measure the golden gift of silence ; but he handled the pen with skill. He became the principal editor, assisted by Wieck, Ludwig Schunke, a young and gifted pianist who died at the early age of twenty-four, and Julius Knorr. In the course of the first year Schumann became sole editor and proprietor. He had not studied Jean Paul for nothing, and a certain air of mysticism animated his contributions. His articles appeared under various signatures, sometimes with a number in which the figure 2 always appears, sometimes with a name such as Florestan and Eusebius, which are explained as representing different phases of his mind, Florestan being the stormy and vehement, Eusebius the gentle and poetic side of his nature. Many references are made to the Davidsbiindler, — an association, it need hardly be said, entirely imaginary, — -which was supposed to wage war against the Philistines in the kingdom of Music. It was an entirely new departure in musical criticism ; the paper soon gained a large circulation, and 362 THE HISTORY OF MUSIC. the influence it exercised was important, having mainly for its object the development of an advanced school of music founded on the romanticism of Beethoven and Schubert. The paper contained many enthusiastic and appreciative criticisms, from the pen of Schumann, of new works by Mendelssohn, Chopin, Hiller, Heller, Sterndale Bennett, Gade, Franz, and Brahms. Many of these contributions were collected towards the close of his life, and are thus readily available in the original German, and in an English translation. These journalistic occupations no doubt interrupted composition, but while thus engaged he found time to compose several works for the pianoforte ; among which are the Carnaval, Op. 9, the Etudes symphoniques, Op. 13, the Fantasie, Op. 17, a Sonata, Op. 14, first published under the title of Concerto without Orchestra, and sundry smaller works, such as the Novelletten, Kreisleriana, and the delightful Kinderscenen. During his intimacy with Wieck he had been much impressed with the abilities of his youthful daughter Clara. The feeling soon deepened into mutual affection. Wieck, however, was opposed to the union, thinking probably that Schumann's prospects were not sufficiently certain to warrant such a step. To gain a position, the latter determined on settling in Vienna, proposing to publish his paper in that city. This intention was frustrated by the regulations of the Austrian censorship, and at the end of six months he returned to Leipzig. The only good result from this visit was the examination he was able to make of Schubert's manuscripts in the possession of his brother MUSIC IN GERMANY AND NORTHERN EUROPE. 363 Ferdinand, among which he found the great C major symphony, the score of which he was enabled to send to Leipzig, and to have it performed at the Gewandhaus concerts under the direction of Mendelssohn, with whom he enjoyed much intimacy. Wieck's objection to his daughter's marriage grew even stronger, and it became necessary to appeal to the legal rights of the young couple, who were married on September 12th, 1840. Schumann was by nature shy and unsociable, and the result of his marriage, an eminently happy one, was to withdraw him even more from general society, while it had the effect of greatly increasing his musical productiveness. Till this time, with the exception of his youthful symphony, the whole of his compositions had been for the pianoforte. He now suddenly broke out into song, pouring forth during the year 1840 vocal compositions with a profusion worthy of Schubert. The way in which he devoted himself for a time to one style of composition is very remarkable. In the following year he took up orchestra writing with equal energy, writing two symphonies and an overture, Scherzo and Finale, Op. 52. In 1842 he gave his attention to chamber music, resulting in three string quartets, the pianoforte quintet, the pianoforte quartet, and the Phantasie-stiicke for pianoforte, violin, and violoncello. The year 1843 saw the production of a work on a larger scale— Paradise and the Peri, for solo voices, chorus and orchestra. The success of this work was immediate, and established his reputation, encouraging him to set to work on scenes from Goethe's 364 THE HISTORY OF MUSIC. Faust, which, however, was not completed till the year 1853. The quiet of his life was broken from time to time by musical tours with his wife, who lost no oppor- tunity of extending her husband's fame by playing his compositions. These journeys included one to St. Peters- burg, where he found his old friend Henselt, a pianist of the first rank, who did all he could to hide away his own marvellous gifts in the northern city. In 1846 they visited Vienna, where neither his B ilat Symphony nor his beautiful Pianoforte Concerto in A minor was appreciated. In Berlin Paradise and the Peri met with but little better reception ; but in Prague his compositions were greeted with enthusiasm. In 1844 he gave up the editorship of the Neue Zeitschrift. He had, in 1843, ^t Mendelssohn's instance, become Professor of Pianoforte-playing and Composition in the new Conservatorium, although his shyness and reserve ill qualified him for the position of teacher. But overwork was beginning to tell upon his excitable nature, and he already began to show that nervous depression which afterwards developed so acutely. His doctor insisted on an abstinence from continued musical ex- citement, to ensure which he decided to remove to Dresden, where he was able to live in comparative seclusion. It was long before he was able to resume work, but in 1846 His C major Symphony was completed and produced at the Gewandhaus. It had long been his wish to write a German opera. The usual difficulty of a suitable subject stood in his way. He at last decided on the legend of St. Genevieve, which had been treated dramatically both MUSIC IN GERMANY AND NORTHERN EUROPE. 365 by Tieck and Hebbel. The poet Reinick was persuaded to undertake the duty of arranging from these materials a book suitable for operatic treatment. The result did not commend itself to Schumann, and he undertook him- self the work of librettist. The music was completed in August 1848, but it was not till June 25th, 1850, after the usual vexations inherent in matters theatrical, that the opera was produced at Leipzig under the title of Genoveva. The reputation of the composer ensured a crowded house at the first performance, but the work was only a siiccks d'estinie. To the composer this was a great disappointment, some solace for which he found in the reception given to his Faust music, which was performed at Dresden, Leipzig and Weimar, to celebrate the hundredth anniversary of Goethe's birth. Schumann continued in Dresden till 1850, during the latter part of the time capable of much work. His music to Byron's Manfred belongs to this period. But he also occupied himself as conductor, succeeding Ferdinand Hiller, who left Dresden to become Director of Music at Dusseldorf, in the charge of a male choir, for which he wrote a few works. He also conducted a mixed choir, which was much more to his taste. Finding that he was 'more successful in that capacity than he anticipated, he aspired to the conductorship of the Gewandhaus, which, since the death of Mendelssohn, had been occupied by Julius Rietz. The latter, however, remained in Leipzig, and the vacancy did not occur. But in 1850 Hiller left Dusseldorf to become Capellmeister at Cologne, and Schumann succeeded to his position. He proved wholly wanting in 366 THE HISTORY OF MUSIC. the gifts of a conductor, and this incapacity increased as time went on and his health failed, so that attempts were made in 1853 to induce him to allow Julius Tausch to con- duct for a time. The suggestion was distasteful to him. but from that time he ceased to act as conductor. If the appointment thus became a source of heart- burning, his residence in Dlisseldorf was fruitful in original work. During this time he wrote his great Symphony in E flat, known as the Rhenish, the overtures to the Braut von Messina and to Goethe's Hermann und Dorothea, also a cantata Der Rose Pilgerfahrt, and, strange to say, both a Mass and a Requiem. But his mind gradually became unhinged. He fancied that he heard the constant sounding of a particular note, and even that he was visited by the spirits of Schubert and Mendelssohn, who brought him musical subjects ; and he insisted on rising from his bed to note them down. On February 27th, 1854, while engaged in conversation with friends, he suddenly left the house and threw himself from the bridge into the Rhine. He was with difficulty rescued by some boatmen ; but his intellect had completely given way, and it was necessary to place him in an asylum, where he died on July 29th, 1856. At his death his music at once became- popular in Germany. In England his reputation was of slow growth. The public mind was filled with the works of Mendels- sohn ; and there can be no doubt that the perfection of construction which the latter always show appears more congenial to the English taste than the dreamy formlessness which characterises Schumann. Gradually MUSIC IN GERMANY AND NORTHERN EUROPE. 367 this is being remedied, and many of his works, for piano- forte solo, and with instruments, especially the Quintet, Op. 44, and the Quartet, Op. 47, both in the key of E flat, as well as his three string quartets, have become favourites. The opportunities of hearing his symphonies are of course fewer, and they are thus not so familiar. Many of his songs are well known, and it must be admitted that they open up a depth of power and feeling which Men- delssohn did not attain to in works of the same kind. His wife, a pianist of the first rank, whose playing was characterised by a complete absence of personal display, made it the business of her life to familiarise the public with the compositions of her husband. Her touching devotion to his memory was crowned with the success it deserved ; she died in June 1896, enjoying the respect — one may say the affection — of all musicians — having survived her husband for forty years, during which, in addition to her public performances, she trained several successful pupils, among whom may be mentioned Miss Fanny Davis and Mr. Leonard Borwick. We must now go back for a few years to mention several musicians, who, though not of the first rank, occupied prominent positions in the musical world during their lives, but are now in a measure forgotten. The first of these is J. L. Dussek, who attained to great eminence both as a pianist and as a composer, mainly for his own instrument. He was born at Czaslau, in Bohemia, in 1761, received a liberal education, and was anxious to join the Cistercian order — a desire fortunately frustrated. His father, a musician, taught him the o 68 THE HISTORY OF MUSIC. pianoforte at an early age. His wandering life began early, and we find him organist of several churches in Belgium and Holland. His fine performance on the pianoforte soon attracted notice, and was received with enthusiasm at most of the principal cities of Europe which he visited. His stay in London was extended to twelve years, for he married the daughter of Domenico Corri, an excellent singer settled there, and entered into partnership with his father-in-law as a music publisher. The business, however, was not successful, and Dussek left this country to avoid his creditors. In 1803 he made the acquaintance of Prince Louis Ferdinand of Prussia, who showed such excellence, both as a composer and a pianist, that Beethoven preferred his playing to that of Himmel, and complimented him on " not playing at all like a prince." The Prince was kind and generous, but a free liver, and Dussek became his boon companion, passing much of his time in making music with his patron. The Prince met his death at the battle of Saalfeld, in October 1806. Dussek sub- sequently entered the service of Talleyrand, who treated him with great distinction. He gave occasional lessons to Talleyrand's adopted daughter, but the greater part of his time was at his own disposal ; the arrangement was only broken by the death of Dussek, in 1812. There can be no doubt, from the universal testimony of con- temporary musicians, that as a performer Dussek was in the first rank, excelling not only in finish of execution and beauty of tone, but also in fineness of style, especially in cantabile passages. His published compositions are MUSIC IN GERMANY AND NORTHERN EUROPE. 369 all for the pianoforte, many with accompaniments, and are admirably written for the instrument, fertile in invention, very graceful, but, according to present views, deficient in seriousness of purpose, — in fact, he seems to have possessed a fatal facility. Among his finest works is the Sonata called L' Invocation. The Plus ultra Sonata was written in avowed rivalry as to difficulty of execution with the Ne plus ultra Sonata of Woelfl, a pianist of prodigious power, a native of Salzburg, who ended his days at an early age in England. Daniel Steibelt is another musician of much the same calibre as Dussek. He was born in Berlin, where his father was an esteemed maker of harpsichords" and pianofortes. Having attracted the notice of the Crown Prince of Prussia, afterwards Frederick William \\., he was placed by him under Kirnberger, better known as a theorist than as a performer or composer. No traces of his influence are discoverable in the pupil. Steibelt joined the army ; but after a time he appeared in Paris as a pianist, with great success. During his residence in that city he was induced to compose an opera, Romeo and Juliet, which, although rejected by the Academic, was produced at the Theatre Feydeau with great success. Both as a pianist and as a teacher he became very popular in Paris ; but he damaged his reputation by palming off on a publisher, as new, works which he had already printed elsewhere, and owing to this and other laxities he was compelled to leave that city. He now visited England, and although Clementi, Dussek, and Cramer were already in the field, contrived to make a 24 370 THE HISTORY OF MUSIC. great impression, especially with his Concerto containing the "Storm Rondo," which became very popular. Here he remained three years, and then revisited his native country, where his style of playing does not seem to have been so much appreciated. But so great a reputation had preceded him in Vienna that the friends of Beethoven felt some apprehension ; a trial of strength, however, left the honours with Beethoven. We next find him in Paris, producing Haydn's Creation. While making that city his headquarters, he spent much of his time in London, where he still maintained his reputation. Pecuniary difficulties again made residence in Paris impos'sible ; he therefore started for St. Petersburg, giving concert-s on his journey ; and in the northern capital he died in 1823., His style of playing was neat and brilliant in quick movements ; but slow move- ments he seldom attempted. In his sonatas the slow movement is either altogether wanting, or is reduced to the proportions of a mere introduction to the finale. He was extravagant in his habits, and always in difficulties ; so that much of his music was written hurriedly, - for the mere purpose of obtaining money. At his best he was capable of really fine writing ; but his work is very uneven, and a sonata, which opens in a way that promises grandeur, often falls off into triviality. Of other pianists we must mention J. P. Pixis (1788- 187 s); Kalkbrenner (1784?- 1849), who was for a time resident in England, and enjoyed great vogue both as a performer and composer for his instrument, as well as for MUSIC IN GERMANY AND NORTHERN EUROPE. 37 1 his method of instruction; and Ferdinand Hiller (1811- 1885), who was deservedly esteemed both for his personal character and as an executant. He is favourably known as a composer in all departments of music, and as a critic, and also as director of music in Cologne, where he always maintained the high character of the music performed at the Giirzenich Concerts. Nor must we omit to mention Stephen Heller (1814-1888), the writer of much poetic and graceful rnusic for the pianoforte, on which instrument his retiring disposition alone prevented him from being known as a great virtuoso. The cousins Andreas and Bernhard Romberg, the former of whom was an excellent violinist, the latter a violoncellist of the iirst rank, were both known as com- posers. The works of Bernhard Romberg were mainly for his own instrument, and include several quartets in which the violoncello takes an unusually prominent part Andreas Romberg was more catholic in his aims, and wrote several cantatas, among which The Lay of tJte Bell and The Harmony of the Spheres still form part of the r^pertcfire of country choral societies. Reissiger, a man of refined taste and an excellent musician, tried all forms of composition, through which there runs an agreeable vein of melody which makes his music pleasing, if not very profound; He is perhaps best known to amateurs by his pianoforte trios and quartets. In much the same category may be mentioned F. W. Kiicken (1810-1882) and Franz Abt (1819-1885), both writers of pleasing and tuneful songs. C. F. Curschmann (1805-1841) lives in the popular trio Ti prego. J. W. Kalliwoda (1800-1866), 372 THE HISTORY OF MUSIC. an excellent violinist, was the writer of several sym- phonies and overtures; and H. W. Ernst (18x4-1865) was one of the most poetic performers on the violin, as well as the writer of much refined and beautiful music for that instrument, among which his El^gie is the best known. We need hardly say that in the land of Sebastian Bach there was no dearth of good organists. The nature of their duties stands in the way of any wide-spread reputation ; but among those who are well known beyond their immediate neighbourhood, we must mention J. C. H. Rinck (1770- 1846), whose Practical Organ School is a standard book ; J. G. Schneider (i 789-1 864), organist successively at Leipzig and Dresden ; and A. F. Hesse (1809- 1 863), born in Breslau, in which city he passed his life. Space fails to give the names even of all the German musicians who have achieved eminence. But there are two pianists of the first rank, both probably among the greatest executants of any age, of whom we must speak. These are Sigismund Thalberg (18 12-1871) and Franz Liszt, (fig. 114) (1B11-1886). The former has been called the greatest singer on the pianoforte that ever existed ; his power of .sustaining the tone and of legato playing was unrivalled. He composed many works for his own use, aiming mainly at effect, which are seldom successful in other hands. Liszt, the greatest virtuoso of his time on the pianoforte, was born in Hungary, and at an early age was taken by his father to Paris, with a view of entering the Conservatoire, but as a foreigner Cherubini refused him MUSIC IN GERMANY AND NORTHERN EUROPE. 373 admission, and he therefore studied under Reicha. His father devoted himself entirely to the cultivation of his son's talents, and he soon acquired prodigious powers of execution. His tours were triumphal progresses. In 1827 his father died, and he was thrown on his own resources. He fixed his residence in Paris with his mother, and became acquainted with many of the most prominent men of letters. It is said that he became affected by the doctrines of St. Simon, but these were abandoned for a desire to enter the priesthood — a wish to be renewed and gratified later in life. The effect of his playing must have been extraordinary. He seemed to transform himself for the time into the very composer he was interpreting. For him difficulties of execution did not exist, so that his whole mind was free to devote itself to the intentions of the composition. At last he became weary of the wandering life of a virtuoso, and accepted the post of conductor of the Court Theatre at Weimar, with the avowed object of producing works of genius which were unable to obtain a hearing elsewhere. His residence in Weimar made it a rallying place for earnest musicians, and for those who were anxious to become his pupils. Attiong those attracted by his influence was Joachim Raff (1822- 1 882), who was enabled by Liszt's kindness to produce his opera King Alfred; and this laid the founda- tion of that reputation v/hich was maintained by many compositions, which, however, vary strangely in excellence ; among the most important are the symphonies, Im Wald and Lenore. Liszt now began to occupy himself seriously with composition, his previous works having been prin- 374 THE HISTORY OF MUSIC. cipally solos for his own use. Among his larger works are the oratorio The Legend of St. Elizabeth, the great Mass written for the consecration of the Cathedral at Gran, the Faust and the Dante symphonies, and the Symphonic Poems. In 1859 he gave up his appointment at Weimar, Fig. 114. — Franz Liszt. although still continuing to live there in turn with Rome and Pesth. Dwell where he might, he was from early life surrounded by a little court of adorers and disciples of both sexes. Such homage had become a necessity to him. He loved to keep himself before the public, and in his latter years, after a somewhat stormy life, surprised his friends by the announcement that he had become a MUSIC IN GERMANY AND NORTHERN EUROPE. 375 priest, and was from that time known as the Abbe Liszt. There are those who find his compositions admirable ; to the majority of musicians they appear noisy and preten- tious — frequently positively repulsive. His reputation, we think, will rest more on his extraordinary powers as an interpreter of the works of others, whether as performer or conductor. His personal fascination was irresistible ; his character one of great nobility and generosity. It is well known that the greater part of the funds necessary for the Beethoven monument at Bonn was provided by him ; and the ultimate triumph of the extraordinary man whose career we proceed to notice was largely due to his support. It is hardly necessary to say that we are speaking of Richard Wagner (fig. 1 1 5), whose genius and strong persona- lity have occupied so much of the musical attention of latter times. He was born at Leipzig on May 22nd, 18 13, and was the youngest child of a government official, who filled the office of clerk to the city police courts. Five months after the birth of the child the father died, leaving his widow in great straits, the eldest son being only fourteen ; in 18x5 she was married again to Ludwig Geyer, an actor, writer of plays, and painter of portraits, and the family removed to Dresden, where Geyer had an engagement. "Wagner always spoke of him with affection, and he seems to have done his duty by the boy, superintending his studies, and attempting to make a painter of him. Wagner's triumphs were to be in another direction, and he soon began to learn to play on the pianoforte, but never to the end of his life succeeded in becoming an even 376 THE HISTORY OF MUSIC. passable performer. His taste for literature soon showed itself, and at the age of fourteen he began a tragedy. " Forty-two persons," he tells us, " died in the course of the piece, and the want of living characters compelled me to let most of them appear as ghosts in the last act." For this tragedy he thought it necessary to have incidental music, such as that supplied by Beethoven to Goethe's Eginont, and he was thus led to undertake a more serious study of the art of composition. The engagement of his eldest sister at the Leipzig theatre led the family back again to his native place, where he had some regular instruction in music from Gottlieb Miiller, and afterwards, when he had entered at the University of Leipzig, from Weinling, Cantor of the Thomas-schule, to whose training Wagner always expressed his obligations. Then follows the old story of other subjects neglected in favour of that which filled his whole being. Beethoven became his idol, and Dorn expresses a doubt whether there was ever a young musician who knew Beethoven's works so thoroughly as Wagner in his eighteenth year. The immediate outcome of this study was a pianoforte arrange- ment of Beethoven's choral symphony, a sonata for the pianoforte, and one or two other works for the same instrument. In the year 1833 Wagner's brother Albert was engaged as tenor singer, actor, and stage manager at the Wurz- burg theatre, and Richard took the place of chorus master at a salary of ten florins a month ! It gave him theatrical experience, and he wrote an opera. Die Feen, which was never performed till after the composer's MUSIC IN GERMANY AND NORTHERN EUROPE. 377 death. In 1834 Madame Schroder-Devrient was in Leipzig, and she became his ideal actress ; with a view to her performance in it, he composed another opera, Das Liebesverbot, a hope in which he was disappointed. This engagement he reUnquished to become music director of the Magdeburg theatre, where his opera was performed unsuccessfully. He was burdened with debts, and visited Konigsberg in the hope of obtaining an engagement. At last he received the promise of the conductorship, and on the strength of it he married Wilhelmina Planer, an actress at the theatre at Konigsberg, who had formed one of the company at Magdeburg. His desire was to compose an opera for Paris, which he rightly looked on as the headquarters of dramatic music at that time. He even went so far as to send the sketch of an opera to Scribe, but, as was natural, the successful librettist took no notice of the application of an unknown corre- spondent. In the meantime the lessee of the Konigsberg theatre became bankrupt, and Wagner was again with- out occupation. Fortunately an opening was found at the theatre at Riga, of which he became conductor, both his wife and her sister receiving engagements also. He now began the composition of Rienzi, the libretto of which was written by himself on the basis of Lytton's novel. The opera was composed with a distinct inten- tion for the Paris Opera.' At the conclusion of his engagement at Riga two acts were completed, and he determined to visit Paris, to see how far personal effort would ensure the acceptance of his opera. To reach Paris he started from Pillau, the port of Konigsberg, in 578 THE HISTORY OF MUSIC. a sailing vessel bound for London, accompanied by his wife and a big Newfoundland dog. The voyage was an eventful one : three times they were nearly wrecked ; I\.ichard Wagner. they had to seek shelter in a Norwegian port, and it was only after three weeks and a half that they reached London. The scenes of this boisterous voyage made a great impression on his imagination, and suggested MUSIC IN GERMANY AND NORTHERN EUROPE. 379 to him the treatment of the legend of the Flying Dutchman. He arrived in Paris in September 1839, at the age of twenty-six, and the visit was extended to the spring of 1842. As far as his plans were con- cerned, it was fruitless. At Boulogne he had made the acquaintance of Meyerbeer, who furnished him with letters of introduction to several of the leaders of the musical world in Paris. They received him with kindness, but were unable to further his wishes. Wagner was reduced to the direst straits, being glad to do hackwork for the music shops for a miserable pittance. As was perhaps natural, success in others embittered his feelings towards them : thus he failed completely at that time to appreciate Liszt, to whom he was afterwards to become so greatly indebted ; and it was doubtless this feeling which led him always to speak so slightingly of Meyerbeer and Mendelssohn, who were both lifted by circumstances above any pecuniary difficulties. During this period he contributed several articles to the Gazette Musicale, one of which, entitled "A Visit to Beethoven," attracted the attention of Berlioz. With the exception of his overture Columbus, produced by the publisher Schlesinger at the annual concert to which he invited the subscribers to the Gazette Musicale, no work by Wagner was performed in Paris during this visit. But The Flying Dutchman had been acquiring shape, and on Meyerbeer's advice it was offered to the lessee of the Opera, who showed a dis- position to avail himself of the story, without employing Wagner to write the music for it. The dispute was settled by a payment of ;^20 for the use of the libretto, 380 THE HISTORY OF MUSIC. and Wagner at once set to work to complete his own opera. In the meantime Rienzi had been accepted at the Opera at Dresden, and Wagner left Paris to superintend the rehearsal. The opera was produced on October 20th, 1842, Madame Schroder-Devrient taking the part of Adriano, and Tichatschek that of Rienzi. Reissiger con- ducted, there was a good band, and the whole company were well disposed towards the composer. The result was triumphant. Two other performances took place during the next ten days to crowded houses, and Wagner enjoyed all the delights of success, which was so complete that the managers were anxious to produce The Flying Dutchman. In later years Wagner came to look on Rienzi as unworthy of him. No doubt it conforms too completely to the style of the French grand opera, as indeed was the aim of the composer when writing it. In The Flying Dutchman he gave freer play to his original genius, and strove to break loose from the ordinary operatic trammels. The opera was produced at Dresden on January 2nd, 1843, with Madame Schroder-Devrient as Senta. It was in advance of the musical public of the day, and its reception was doubtful, the audience being partly impressed and partly failing to understand it A vacancy having arisen, Wagner was appointed to the post of music director with the salary of 1 200 thalers, but was soon promoted to that of Capellmeister with 1500 thalers per annum. In that capacity he conducted a large number of the principal operas, and at the subscription concerts among other works, the sym- MUSIC IN GERMANY AND NORTHERN EUROPE. 38 1 phonies of Beethoven, including the Choral, and his reading of these works attracted great attention. In 1844, mainly at his instance, the body of Weber, his predecessor at Dresden, was removed from London and reinterred in that city. Even before he left Paris the story of Tannhauser had attracted his notice, and he had been much struck with its suitability for operatic treatment. He traced the legend back to its earliest form, and on this he based his libretto. The opera was completed in 1844, and the first performance was given at Dresden October 19th, 1845. It had at first but a modified success. Even the singers were puzzled by it ; Madame Schrbder- Devrient pronounced parts of it " Such eccentric stuff, it is hardly possible to sing it." The opera was a work of genius, but the public were not educated up to it, although the march, and Wolfram's song, " O du mein holder Abend-Stern" could not fail to delight even the groundlings. The opera, however, soon made its way to the principal theatres in Germany. Wagner was again suffering from pecuniary troubles, mainly brought on by the expense incurred in printing the scores of his operas, which were not sold with the rapidity he had anticipated. He was unfortunately led to mix himself up with politics, mainly, his friends assert, with the hope of advancing the cause of music! In May 1849 the Court of Saxony had to seek safety in flight, and Prussian troops were sent to quell the riots in the streets of Dresden. He learnt that a warrant had been issued for his arrest, and succeeded in reaching Weimar 382 THE HISTORY OF MUSIC. in safety. Further news reached him that even there he was not safe, and with the assistance of Liszt he was enabled to make his way to Paris. In this he was more fortunate than his friend and colleague Roeckel, who wis arrested and remained in prison for no less than four- teen years. His second visit to Paris was a short one ; at the end of a month he moved to Zurich, where he was joined by his wife and by several friends who were victims of the same misfortune as himself. The earlier years of his residence there were much occupied with literary work, contributing, among other things, his Pas Judenthum in der Musik anonymously to the Neue Zeitschrift fur Musik, to the editorship of which Brendel had succeeded on the resignation of Schumann. The excitement caused by this attack on the influence of the Jews in music was so great that eleven professors at the Leipzig Conservatoire, where Brendel was lecturer on musical history, called on him to resign his post. or to give up the name of the writer. He also made a separate and bitter attack on Meyerbeer in his Oper und Drama, in spite of the assistance Meyerbeer had tried to render him in past years. On Wagner's first visit to Paris he had made the acquaintance of Liszt. Wagner was in the depths of despair at his failure to obtain a hearing, — Liszt was then, as ever, the spoiled child of society. Wagner therefore looked on him with suspicion, and the acquaintance did not, at that time; proceed furrier. Wagner's feelings were reported to Liszt, who was sur- prised to find himself so misjudged. By his initiative MUSIC IN GERMANY AND NORTHERN EUROPE. 383 the misconception was at last removed, and when Wagner passed through Weimar he found Liszt engaged in rehearsing Tannhduser, and, as he says, "was astonished to find my second self in his achievement. What I had felt in inventing this music, he felt in performing it ; what I wanted to express in writing it down, he proclaimed in making it sound. Strange to say, through the love of this rarest friend, I gained, at the moment of becoming homeless, the real home for my art." With the encouragement of Liszt, the finishing touches were given to Lohengrin, on which he had been for some time occupied. It was produced at Weimar under Liszt's direction on August 28th, 1850, before an audience comprising most of the eminent musicians in Europe, whom Liszt had invited to be present. As with T annhduser, the work was received with mixed feelings. It was too far removed from ordinary standards to be accepted at . once. Thf; correspondence of Wagner and Liszt has lately been brought out in Germany, and a translation of it, by the late Dr. Hueffer, by the publishers of this volume. It is of great interest for this period of Wagner's history, and gives an excellent insight into the generosity of Liszt's character. Wagner found occupation at Zurich, among other things superintending a production of Tannliduser. But he was mainly engaged with his great work Der Ring der Nibelungen, consisting of four operas to be played on successive days, Das Rheingold,-Die Walkiire, Siegfried and Gotterddimnerung, the composition of which went on 384 THE HISTORY OF MUSIC- apace. This occupation was interrupted by an invitation to visit London as conductor of the Philharmonic Concerts, which he accepted, conducting during the season of 1855, but the engagement was not repeated. It soon became evident that a work on the vast scale of the Nibelungen was unlikely to come to performance, and he had, while at work on it, become impressed with the legends of Tristan and Isolde, and of Parsifal. With a view, therefore, of being provided with something more available, he set to work on Tristan. Part of this was written at Venice, whither he had removed with the consent of the Austrian Government. He had long been trying to obtain permission to return to Dresden without success, although his efforts were supported by the Grand Dukes of Weimar and Baden. It was not till 1862 that the desired permission was granted him. In 1859 he visited Paris again, with the hope of either producing Tristan, or, at least, Tannhduser or Lohengrin. He there found an unexpected friend in Princess Metternich, at whose instance the Emperor ordered the mounting of Tannhduser. This was done on a scale of extraordinary magnificence. No expense nor trouble was spared. Wagner was allowed to choose his own singers, and one hundred and sixty-four rehearsals actually took place ! The total cost of the production approached ^8,000 ! But a cabal was formed to prevent the success of the work, organised by the Paris Jockey Club, mainly for the reason that there was no ballet, and after three performances the opera was withdrawn. The treatment he had received in Paris created a MUSIC IN GERMANY AND NORTHERN EUROPE. 385 Strong reaction in his favour in Germany. His operas became popular, but the pecuniary returns were in- sufficient to afford him a living. At last he succeeded in getting Tristan accepted at Vienna, but after fifty-seven rehearsals it was abandoned owing to the incompetence of the tenor. During this visit he heard Lohengrin for the first time. With a view of retrieving his position, he organised a series of concerts. They were but moderately successful, and broken down in health and spirits he determined to retire to Switzerland. He had published the poem of the Ring der Nibelungen, stating that he could hardly expect to complete the music, and that he had aban- doned all hope of seeing it performed. This fell into the hands of the young King Ludwig II. of Bavaria. He sent a private secretary to try to find Wagner, and to bid him come to Munich and finish his work. After much trouble the secretary found him in Stuttgart. Wagner readily accepted the invitation. The King allowed him a yearly pension of ;£^ioo and a small house as a residence. The King's enthusiasm — we had almost said infatuation — for the composer rapidly increased, to such an extent that a strong opposition grew up against him, and he found it impossible to continue to reside in Munich. He was formally engaged to complete the Nibelungen ; his pension was raised ; and in 1 865 Tristan was produced under the direction of Hans von Biilow. At the end of that year he removed to Triebschen, near Lucerne, where he completed his comic opera Die Meister- singer, which was performed at Munich in June 1868. 25 386 THE HISTORY OF MUSIC. In 1866 his wife died, and in 1870 he married Cosima von Billow, Liszt's daughter. It had long been the desire of the composer to build a theatre specially adapted for the production of his works. It was the King's wish to fix it at Munich,, but it was thought advisable to abandon this intention, and Bayreuth was fixed on as the Mecca of the Wagnerian faith. Wagnerism had become a cult. Societies were founded throughout Germany to collect funds for the purpose, with branches in all the principal cities of Europe — and even in Cairo and New York. Concerts were given in support of the cause, and the theatre was completed in 1876. One of the principal innovations was the entire concealment of the orchestra and conductor. The ■ house before the curtain was constructed to hold fifteen hundred people, all facing the stage, and each row so raised that every one had an uninterrupted view. There were no side boxes. One hundred of the seats were appropriated to those who had subscribed to the building ; the rest were to be distributed gratis to those thought worthy of being present. In August of 1876 the Ring der Nibelungen was performed three times, each performance occupying four days. The result was artistically most satisfactory ; pecuniarily there was a deficit of ;£^7Soo, in spite of the sacrifices made by the artistes engaged. For this sum Wagner was personally liable. With a view of helping to clear off this debt, it was thought that a series of concerts in London, with "the Master" as conductor, would be well received. They were given on a large scale in the Albert Hall, but the MUSIC IN GERMANY AND NORTHERN EUROPE. 387 result was insignificant in proportion to the ttpuble incurred. His last opera, Parsifal, was begun in 1878, wheq Wagner was in his sixty-fifth year. It was completed in 1882, and sixteen performances were given undfer his superintendence. In the winter of 1882 he had taken up his residence in Venice, but his health was giving way; and on February 13th, 1883, he died. His body was taken to Bayreuth, and interred in a va,ult which he had already prepared in the garden of his house there. All our readers know how great has been the con- troversy which has gathered round the name of Wagner. In the first place, he appears before us as a reformer. In his hands the opera is no longer a succession of separate airs, duets, and finales, strung together by a thread of recitative. The music arises out of the dramatic situation, and most of the cherished forms are destroyed. The aria, at least as a vehicle of display, disappears. Assuredly the singer must be well qualified, both physically and vocally, to render the music at all ; but it is rather by dramatic power than by the art of the vocalist that success will be attained. In this Wagner appears as a nineteenth-century follower of the principles enunciated by Gluck in his famous dedication of Alcestis. But he is very careful to point out that his operas were composed on no theories previously laid down, and that the form they have assumed is in all cases the natural outcome of his feeling of the dramatic situation. It is often asserted that he thought slightingly of melody; and his characterising of Mozart as "the greatest of absolute 388 THE HISTORY OF MUSIC. musicians" is often quoted against him, as though he were speaking disparagingly of that great composer. Nothing can be more untrue or more unfair. As a matter of fact, his own operas overflow with a wealth of melody, only it is not of a kind that can be divorced from its surroundings. The ordinary operatic air can be per- formed on the platform, and lose but little in the process. In this he was no doubt an innovator ; but one of his most prominent characteristics is the use he makes of the Leit-motif, or leading theme ; that is, a musical phrase appropriated to each character, and even to particular shades of feeling, for we have the Love-motive, the Fear- motive, and many others. The skill he shows in com- bining these is almost as wonderful as that of the construction of a fugue of Bach. It need hardly be said that the influence of Wagner has been enormous — it may almost be considered paramount ; and it would be diffi- cult to mention a modern composition which is not impressed with it. The discussion of the value of these principles has occupied the musical world ever since their enunciation. It has been carried on with much bitterness on both sides. Wagner himself was a skilful controversialist ; doubt had no place in his mind. A long period of struggle with the world had helped to accentuate the cynicism of his character, and he never hesitated to express his opinion of those who differed from him. The literature of the subject has assumed enormous dimensions ; the Querelle des Bouffons sinks into insignificance by the side of it. MUSIC IN GERMANY AND NORTHERN EUROPE. 389 An enthusiastic bibliographer, Herr Oesterlein, has com- piled a catalogue of a Wagner library, of which four large Fig. 116. — Johannes Brahms. octavo volumes have already been published. But it is still increasing, and hardly a week passes without some addition. Among the most amusing of the works called forth is Tappert's Lexicon of the " uncourteous " things 390 THE HISTORY OF MUSIC. which have been written abput the master. It would not be difficult to" conipile a Wbrterbuch der Unhoflichkeit on. the other side of the question, which would be at least as racy. In April 1897 the world was called, on to mourn the death of Johannes Brahms (fig. 1 16), a musician assuredly a head and shoulders above his fellows. Born in Strasburg on May 7th, 1833, the son of a musician, he received a careful education, and first appeared before the public as a pianist. In this capacity he accompanied the violinist Remenyi on a concert tour, and on one occasion, finding that the pianoforte was a semitone flat, he actually transposed Beethoven's Kreutzer sonata from A to B flat ! By good fortune Joachim chanced to be in the audience, with the result that he gave the young artist an introduction to Schumann. The latter found him to be a musician after his own heart, and received him with enthusiasm, writing of him in the Neue Zeitsc'irift, " He has come, this chosen youth, over Whose cradle the Graces and Heroes seem to have kept watch. . . . His mere outward appearance assures us that he is one of the elect. Seated at the piano he disclosed wondrous regions." It is not surprising that these ecstatic utterances were received with some hesita- tion, but time has certainly justified them, and by many it is claimed that on him the mantle of Beethoven has fallen. The career of a virtuoso was soon dropped, and indeed it seems that his technique was not sufficient to place him in the first rank of performers, and public appearances were distasteful to him. After some stay in his native MUSIC IN GERMANY AND NORTHERN EUROPE. 39 1 city and in Switzerland, he finally settled in Vienna — that home of musicians — in 1862, from that time devoting himself almost exclusively to composition. With the Fig. 117. — Robert Franz. exception of opera, he attempted ever)' form of work, composing for the orchestra four symphonies, overtures, and concertos for the pianoforte and other solo instru- ments. In the department of chamber music will be found three string quartets, two quintets, one of which is for 392 THE HISTORY OF MUSIC. clarionet, two sextets which have become popular, while in conjunction with the pianoforte are five trios (in one of which the horn replaces the violoncello, and in another the clarionet the violin), three quartets and a quintet. In vocal music his two sets of Liebeslieder Walzer and some of his songs, which are characterised by deep expression, are the works by which he has become best knpwn^at least in this country. In sacred music his Deutsches Requiem, which at once secured his fame, and the Schicksalslied are both works of the most elevated char- acter. The catalogue of his works comprises 1 19 numbers, in addition to a few without opera numbers. To criticise these in detail is impossible here, but it may be said that Brahms is emphatically a composer for musicians. No attempt is made to tickle the popular ear. One of his characteristics is a fondness for strange rhythms and for displacing the accent. It must be admitted that at times he shows a disregard — one is tempted to say a contempt — for actual beauty. The reputation of the late Robert Ftanz (1815-1892) (fig. 117), which has been of somewhat slow growth, is based on his songs, which are worthy to be placed on a level with those of Schubert and Schumann. Of these he has published over 250. Unfortunately he was early in life attacked by deafness and a nervous complaint which for a long time rendered all work impossible. In this trouble Liszt, Joachim, and other friends came to the rescue, and by means of concerts raised a sum sufficient to place him above pecuniary difficulty. His deafness is said to have been aggravated by the screech of a locomotive engine. MUSIC IN GERMANY AND NORTHERN EUROPE. 393 In later life he came somewhat prominently before the public as a writer of additional accompaniments to several of the works of Handel, Bach, and others of the earlier Fig. liS. — A. Dvof.4k. writers. They are written with reverence for the original composers, but of course have excited the hostility of those who look on all such attempts as sacrilege. Of the living musicians of Germany the foremost place 394 THE HISTORY OF MUSIC. is probably occupied by Antonin Dvofal< (fig. Ii8), who was born in 1 841 at Miihlhausen, in Bohemia. His career is an example of triumph over uncongenial conditions. His father was the butcher and innkeeper of the place and it was his intention to bring up his son to his own calling. He was at last persuaded to allow his son to go to Prague and study music. After a long period of hardship as violin-player in a theatrical band, and as organist, he succeeded at last, in his thirty-second year, in obtaining a public performance of one of his compositions — a cantata — Die Erben des weissen Berges. The production of several other works followed, including his opera Der Konig und der Kdhler. His fame now reached Vienna, with the result that he received a pension of £^^0 a year from the Kultus-ministei-ium, the amount of which was subsequently increased. This circumstance procured him the friendship of Brahms, and his position became assured, enabling him to , produce a constant succession of new, works, which served to increase his reputation. Among these the Stabat Mater, brought out in 1881, one of the most beautiful choral works of modern times, at once ensured his popularity in this country. Its success procured him the commission to write a cantata, The Spectre's Bride, also a masterpiece, for the Birmingham Festival of 1885, and for the Leeds Festival of the following year an oratorio St. Ludmilla, being in both cases invited to conduct the work. These were followed by a setting of the Te Deum ; but his labours have been by no means confined to choral composition, as we have several symphonies and much chamber music from his MUSIC IN GERMANY AND NORTHERN EUROPE. 395 pen^ including a pianoforte quintet of exceptional beauty. A few years back Dvofdk was induced to accept the direction of the Musical Society, New York, but the post did not prove congenial and he returned to Europe after a short absence. A leading characteristic of Dvorak's music is its employment of national forms of melody, especially the duinka, a sort of dirge, which he introduces in the slow movements of many of his works, as well as the furianty a most exciting form of scherzo. While brimful of originality, he appears to be very susceptible to external influences. The Stabat Mater has very strong traces of Italian feeling, while his visit to America has borne fruit in the shape of a symphony and a quartet, both based on plantation melodies, somewhat to the sacrifice of the dignity looked for in serious compositions. Max Bruch, born at Cologne in 1838, and a pupil of Ferdinand Hiller, is well known in England, having lived in this country for some time as conductor of the Liverpool Philharmonic Society. His most important work is the cantata, Odysseus, but the best known is probably his Violin Concerto in G minor. Written for Joachim, which is among the most beautiful works we possess of that kind. A second concerto was written for Sarasate, somewhat more brilliant in style. His arrangement of the pathetic Hebrew wail, Kol Nidrei, is well known. The reputation of Karl Goldmark (born 1830), rests mainly on his opera, Die Konigen von ' Saba, a work 396 THE HISTORY OF MUSIC. the production of which is rendered impossible in this country by its biblical libretto. Goldmark, who is avowedly Wagnerian, has produced another opera, Merlin. He has also written some successful orchestral and chamber music. Josef Rheinberger (born 1839), is known in England almost exclusively by a pianoforte quintet in E flat, but he is in fact a voluminous composer, his published works running to 175. For a long time an organist of distinction in Munich, much of his writing was for that instrument, including seventeen organ sonatas. He has also produced several masses, and other service music. Karl Reinecke (born 1827), who in i860 succeeded Julius Rietz as conductor of the Gewandhaus Concerts, is deservedly respected as a fine virtuoso on the pianoforte, devoid of all affectation, and as a musician, thoroughly master of every detail of his art ; as a composer he has been most prolific, and most of his music is excellent, but apparently just misses that touch of genius which ensures abiding fame. Hermann Goetz, who died at the age of thirty-six (1840-76), lived long enough to witness the success of his opera, Der Widerspdnstigen Zdhmung (The Taming of the Shrew), the one work by which he is remembered ; while in the last few years we have all been delighted by the charming and delicate fairy opera, Hansel und Gretel, of Humperdinck (fig. 119), which makes us anxious to hear his subsequent work, The Royal Children, described as equally delightful. It would be easy to add to the above list of German musicians. The country swarms with well instructed artists, most of them aspiring to become composers. MUSIC IN CIERMANV AND NORTHERN EUROPE. 397 They produce works in large quantity absolutely correct, but absolutely uninteresting. It is a German who has applied to these compositions the term " Kapellmeister Mustek!' Fig. iig — Engelbert Humperdinclc. A few words must be said on the music of the northern nations. The main interest of the History of Music in Russia centres in that of the Church. It is well known that the Eastern ritual allows of the employment of no instrumental music whatever. In its original purit)- 398 THE HISTORY OF MUSIC. the service was entirely in unison, differing in ho essential particular from that of the Western Church. It is said to owe its introduction to St. John Damascene, but we are unable to give authority for the tradition. The absence of the organ may possibly have led to the intro- duction of harmony, which was introduced for the first time in the reign of the Czar Theodore Alexeisvitch {1676- 1 682.) We have previously mentioned that Galuppi was induced to visit Russia on the invitation of the Empress Catherine II. While there, he found an apt pupil in Dimitri Bortniansky (1752-1828) (his actual name was Bartnansky), who followed him to Venice on the termination of Galuppi's visit to the northern capital. To him the Russian Church is indebted for the arrange- ment of the beautiful music which forms so prominent a feature of the religious services in that country ; and this has gained for him the title of the Russian Palestrina. Those who have visited St. Petersburg must be acquainted with the beautiful manner in which this entirely un- accompanied music is sung, the marvellous training of the choir, and the magnificent quality of the bass voices, which are equalled in no other country. In the ancient service-books neums were employed. The origin and development of this music is a subject of great interest, which awaits elucidation. While showing the influence of their national rhelody and rhythm, manifested by an underlying melancholy and by a fondness for ^, time, nearly all the northern composers are German by training. Among the most popular in his own country has been the Russian Glinka (1803-1857), MUSIC IN GERMANY AND NORTHERN EUROPE. 399 whose most successful opera La vie pour le Czar, has, from the patriotic nature of the libretto, been accepted as an embodiment of national feeling to be performed on Fig. I2C. — Antcn Rubinstein. every display of popular loyalty. The work, although pleasing, has not travelled beyond its home. His second opera, Roulstan and Ludmila, is almost unknown, although said to be more musically interesting. 400 THE HISTORY OF MUSIC. The foremost Russian musician has undoubtedly been Anton Rubinstein (1830- 1895) (fig. 120), who probably owes his fame rather to his almost unrivalled power as a pianist than to his compositions, which embrace every department of music. His gift of melody is striking, and this makes his songs and smaller compositions most effective ; but in his more extended works his want of skill in develop- ment is disappointing. His works comprise six sym- phonies, at least a dozen operas, among which may be mentioned Paradise Lost, The Tower of Babel, The Demon, Feramors, The Maccabees, Nero, Moses, several of which it will be seen are on sacred subjects, which, fact in itself militates against their performance ; and indeed none of them have achieved popularity, and now that the composer is no more may be considered as virtually shelved. In addition to these larger works he published much chamber music in nearly every known form, as well as numerous works for his own instrument. In the later years of his life he abandoned public per- formance, refusing immense sums for a series of concerts in America, and devoted himself with great energy to the development of the Conservatoire of Music in St. Petersburg. The career of Peter Tschaikowsky (born 1840) (fig. 121) was brought to an end by his death in 1893. His works have been gaining in appreciation, and his Pathetic Symphony, which is instinct with the melancholy which underlies Russian national music, has become actually popular. His opera, Eugen Onegin, has not met with suc- cess. C^sar Cui, a professor of fortification, and Alesander MUSIC IN GERMANY AND NORTHERN EUROPE. 4OI Borodin (1834- 1887), a chemist of some eminence, both devoted themselves with enthusiasm to music ; but their compositions are unknown outside their own country. Rimsky-Korzakow, at one time an officer of marines (it Fig. 121. — P. Tschaikowsky. is [strange how many Russian composers have taken up music as a second career), became professor of composi- tion at the St. Petersburg Conservatoire. He is also a voluminous composer, and has done good service by 26 402 THE HISTORY OF MUSIC. a collection of a hundred national melodies. To the violinist Alexis Lvoff (i 799-1 870) Russia is indebted for a National Hymn of great vigour and beauty. Of the other northern countries, Denmark claims Niels W. Gade (1817-1890). Early in life his works created an interest both in Mendelssohn and Schumann. His best known compositions are the cantatas, Comala, The Erl Kin^s Daughter, and The Crusaders. His works have great delicacy and refinement, as well as skill in orchestration, with a strong national feeling. He has also written seven symphonies, some chamber music and solos for the pianoforte, as well as vocal music. It must perhaps be admitted that his early reputation has scarcely been maintained ; possibly too much was claimed for him by Schumann. The hopes of Norway centre in Edvard Grieg (born 1843), who is both a composer and pianist. His work is strongly Scandinavian in character. Many of his songs have become popular ; hi3 larger works comprise a concerto for pianoforte, an orchestral suite, Aus Holberg's Zeit, and the somewhat noisy incidental music to Peer Gynt, which is a great favourite with popular audiences. MUSIC IN GERMANY AND NORTHERN EUROPE. 4O;: BIBLIOGRAPHY. ( Vogler, G. J.) Article by Rev. J. H. Mee in Grove's Dictionary of Music and Musicians. Weber, Max Maria von. Carl Maria von Weber. Ein Lebensbild. Leipzig, 1864-1866. 3 vols., 8vo. (Translated by J. Palgrave Simpson. London, 1865. 2 vols., 8vo.) Benedict, Sir Julius. Weber. (The Great Musicians.) London, 1881. 8vo. Pougin, Arthur. Meyerbeer, Notes biographiques. Paris, 1864, i2mo. Blaze de Bury, Henri. Meyerbeer et son temps. Paris, 1865. 8vo. S^ohr, Louis. Selbstbiographie. Cassel, 1860-1861. 2 vols., 8vo. (An English translation. London, 1865. 8vo.) Hensel, S. Die Familie Mendelssohn, 1729-1847. Eighth Edition. Berlin, 1897. 2 vols., 8vo. (An English translation by C. Klingemann. London, 1881. 2 vols., 8vo.) Rcissmann, August. Felix Mendelssohn-Bartholdy. Sein Leben und seine Werke. Berlin, 1867. 8vo. Mendelssohn-Bartholdy, F, Reisebriefe aus den Jahren, 1830 bis 1832. Leipzig, 1861. 8vo. Briefe aus den Jahren, 1833 bis 1847. Leipzig, 1863. 8vo. (Both series translated by Lady Wallace. London, 1862-1863. 2 vols., 8vo.) Schumann, Robert. Gesammelte Schriften uber Musik und Musiker. Leipzig, 1854. 4 vols., 8vo. Second Edition, 1871. 2 vols., 8vo. Wasielewski, y. W. von. Robert Schumann. Eine Biog^raphie. Dresden, 1858. 8vo. Third Edition. Bonn, 1880. 8vo. Reissmann, August. Robert Schumann, sein Leben und seine Werke. Berlin, 1865. Ramann, Lina. Franz Liszt, als Kunstler und Mensch. Leipzig, 1881. 2 vols., 8vo. (Translated by Miss E. Cowdery. London, 1882. 2 vols., 8vo.) Wagner, Richard. Gesammelte Schriften und Dichtungen. Leipzig, 1871-1885. 10 vols., 8vo. 404 ' THE HISTORY OF MUSIC. Glasenaj)^, C. F., and Stein, H. von. Wagner Lexicon. Stuttgart, 1883. 8vo. Glasenajip, C. F. Richard Wagner's Leben und Werken. Leipzig, 1896. 2 vols., 8vo. Third Edition. Hueffer, Franz. Richard Wagner and the Music of the Future. History and ^Esthetics. London, 1874. 8vo. Hueffer, Franz. Wagner. (The Great Musicians.) London, 1881. 8vo. Jullien, Adol^he. Richard Wagner, sa vie et ses ceuvres. Ouvrage om6 de quatorze lithographies originales par M. Fantin-Latour, de quinze portraits de Richard Wagner, de quatre eaux-fortes et de 120 gravures, scenes d' operas, caricatures, vues de th^itres, autographes, .etc. Paris, 1886. 4to. Briefiiieehsel zixiischen Wagner und Liszt. Leipzig, 1887. 2 vols., 8vo. (Translated by F. Hueffer. London, 1888.) Brie/e an Theodor Uklig, etc. Leipzig, 1888. 8vo. (Translated by J. S. Shedlock. London, 1890.) Finck, H. T. Wagner and his Works. London, 1893. 2 vols., 8vo. CHAPTER XVI. MUSIC IN FRANCE AND ENGLAND DURING THE PRESENT CENTURY. Operatic Composers in France — ^^Dalayrac — Meljul — Lesueur — Berton-V Isouard ("Nicolo") — Boieldieu — Le Calife de Bagdad — Visits St. Petersburg— Za Da7tie Blanche — Auber — His MasanUllo — His Death— Herold's Zampa — Meyerbeer's French Career — Robert le Diable — Les Huguenots — Le Prophite — His Later Operas — Halevy — La Juive — • Adolphe Adam — Offenbach — Hector Berlioz, his Career and Works — Onslow — Felicien David — Bizet — Ambroise Thomas — Gounod — Saint Saens — Massenet — Cesar Franck — Lalo — Reyer — Chopin — His Arrival in Paris — His Works — The French School of the Violin — Choron — La Fage — F. J. Fetis — Music in England — Clement! — J. B. Cramer — Field — Sir H. R. Bishop — Balfe — Vincent Wallace — Macfarren — Benedict — Costa— Sterndale Bennett — English Organists — H. H. Pierson — A. Goring Thomas — Sir Arthur Sullivan — Sir A. Mackenzie — C. Hubert H: Parry— C. Villiers Stanford— Sir John Stainer— F. H. Cowen— The Philharmonic and Sacred Harmonic Societies — The Monday Popular Concerts — Cheap Music— Educational Institutions. MUSICAL activity in France continued to occupy itself mainly in writing for the stage. To the composers mentioned in Chapter XII. must be added the name of Dalayrac, a facile and agreeable writer, who caught the ear of the public by the elegant, if somewhat trivial airs and romances, so plentifully scattered among his fifty operas, the very names of which would now call up no recollections. M^hul was a composer of high aspirations. He was the son of a cook, and owed his 406 THE HISTORY OF MUSIC. success rather to his own genius than to the modest education his father was able to afford him. His early instruction in music was from a blind organist, and at ten years of age he was sufificiently advanced to take the organ at the church of the Recollets in his native place, Givet in the Ardennes. By the kindness of the abbot of a neighbouring monastery the boy was given some better instruction, by which he profited so well that he was appointed organist. He had already become a novice, and was qualifying for a monk, which was the highest ambition of his parents. But this was not to be. The colonel of a regiment quartered in the neighbourhood, who was a good musician, having heard him play, foresaw his future excellence, and persuaded the young man to accompany him to Paris. There he was present at the first performance of Gluck's Iphigenie en Tauride, and was so much impressed by it that he sought the acquaintance of the great master, who received him with kindness and superintended his further studies. His Opera Alonzo et Cora was accepted by the Opera, but six years of weary waiting passed before it was produced. Much annoyed at this delay, he offered Euphrosine et Coradin to the Op^ra Comique. It was brought out in 1790, and at once made him famous. It is needless to say that no more time was lost in mounting Alonzo. It had but moderate success ; but his next venture, Stratonice, confirmed his position. In 1797 appeared his Chasse du Jeune Henri, the overture to which had extraordinary success. His masterpiece, Joseph, was produced in 1807. The touching romance from it, " A peine au sortir de MUSIC IN FRANCE AND ENGLAND. 407 I'Enfance" is known to every one. In addition to his numerous operas, many of which are distinguished by great dramatic power, he wrote several symphonies, which will not hold a place by the side of those of Haydn and Mozart, and have thus been forgotten. He was also the composer of much patriotic music, among which was the Chant du Depart. Personally M^hul was a man of much disinterestedness of character. Napoleon proposed to appoint him his maitre de chapelle, but when he spoke to him on the subject, Mehul suggested that he should share the post with Cherubini. The Emperor replied, " Don't speak to me of that man," and gave the place to Lesueur, a musician who, having been maitre de chapelle of several cathedrals in France, had acquired a great reputation by his sacred music, although he misjudged the principles of church music so completely as to aim at making it dramatic and descriptive. He also wrote several operas, among which are Les Bardes and La Mart d' Adam. He was a man who passed his life in an atmosphere of controversy, carried on with great bitterness. His score of La Mart dAdam is a most remarkable production, for every page bristles with notes, partly in French, partly in Italian, advocating his peculiar views. Marie Montan Berton, whose father Pierre Montan Berton had also acquired some reputation both as a composer and as a conductor, is best remembered by his c/tef-d' oeuvre, Montana et Stephanie, although his operas amount to over fifty. For a long time he was Professor of Harmony at the Conservatoire, and was 408 THE HISTORY OF MUSIC. also conductor at the Italian Opera. Nicolo Isouard, always known in France as " Nicolo," was born of French parents in Malta. He was very popular as a composer of operas, of which Cendrillon became a favourite. But the reputation of neither of these two composers ex- tended beyond France. The name of Boieldieu is more widely known, and his opera La Dame Blanche still keeps the stage, not only in his native country, but also in Germany. Boieldieu was born in 1775 at Rouen, where his father was secretary to the Archbishop. The boy obtained his musical education from the organist of the cathedral, and produced a couple of operas with success in. his native city. A local reputation, of course, failed to . satisfy him, and he made his way to Paris, where he became acquainted with Cherubini and other musicians^ His opera La Famille Suisse was produced at the Theatre Feydeati, and meeting with success, was followed by several others, culminating in Le Calife de Bagdad, He was a man of great modesty, and always bent on self- improvement in his art. It is said that after a per- formance of Le Calife, in which the composer had been overwhelmed with applause, Cherubini met him in the theatre and. addressed him with the words, "Malheureux ! are you not ashamed of such undeserved success ? " Boieldieu replied with a request for further instruction. There was an interval of three years before he produced his next opera. Ma Xante Aurore. In 1803, for reasons which have not been explained, Boieldieu left Paris and took up his residence in St. Petersburg, where he remained eight years, filling the MUSIC IN FRANCE AND ENGLAND. 409 post of conductor at the opera, but writing nothing of sufficient importance to add to his reputation. In 18 11 he returned. Some of his former operas were revived, and he produced his Jean de Par-is, which showed a great advance on his previous efforts. To this succeeded several operas now forgotten, with the exception of Le petit Chaperon rouge. It almost seemed as though his powers had failed him, when in 1825 La Dame Blanche burst upon the musical world. Its success was unpre- cedented. It was based on what is little better than a "jumble" of Scott's Monastery and Guy Mannering, but the music is delightful, full of piquancy, and of that feeling for rhythm which is so characteristic of French music. Strange to say, the very popular overture was in reality written by his pupil Adolphe Adam. It is sad to have to report that the latter years of the composer's life were clouded both by illness and by straitened circumstances, caused by the bankruptcy of the Op^ra Comique and by the expulsion of Charles X., who had allowed him a pension, which after a time was restored to him by Louis Philippe. Even better known to the present generation is Auber (fig. 122), whose long career enabled him to add a large number of sparkling and delightful works to the repertoire of the French stage. He was born at Caen in 1782, and died in Paris during the horrors of the Commune in the year 1871. Like so many musicians, he was intended for a commercial career, in the pursuit of which he passed some months in London. For a time he practised music as an amateur, and his first opera was written for 4IO THE HISTORY OF MUSIC. private performance. Among the audience Cherubini chanced to be ; he at once detected promise in the Work and offered to superintend the young composer's studies. One or two operas were unsuccessful, but at last he caught the public ear with La Bergere Chdtelaine. He Fig. 122. — D. F. E. Auber. now became allied with Scribe, the most skilful librettist of modern times, who provided him with a succession of libretti, to which Auber composed the most graceful and piquant music conceivable, nearly all of which met with unbounded success. Among his most popular operas MUSIC IN FRANCE AND ENGLAND. 411 are Leicester, Le Magon, Fra Diavolo, Gustave III., Lestocq, Le Cheval de Bronze, Le Domino Noir, Les Diamants de la Couromte, La Part du Viable, U Enfant prodigue, Manon Lescaut, La Fiancee, and Le Preinier Jour de Bonheur. In this list, which contains a few only of Auber's works, we have not mentioned his masterpiece La Muette de Portici, better known in England as Masaniello, which differs entirely from his other works, exhibiting a much larger style and greater dramatic power, together with more boldness of orchestration, which give it a foremost place in the French " Grand Opera." A performance of this work was the immediate cause of the rising in Brussels in 1830, which resulted in the formation of the kingdom of Belgium, a circumstance which caused it to be looked on with disfavour by several of the Governments of Europe. It remains only to add that he became principal of the Conservatoire, and received many tokens of distinction. He was a man of quiet and kindly habits, a true Parisian, with a reputation for wit. It is said that he never could bring himself to be present at a performance of his own works, asserting that if he broke through this rule he should never venture to write another note of music. His death was accelerated by the terrors of the Commune. His remains were concealed for a time in the crypt of the Church of La Trinite, and were interred at Montmartre in July 1871. Harold, the son of a musician, received his education in the Paris Conservatoire, and carried off the "grand prix de Rome." At first it seemed as if he were to 412 THE HISTORY OF MUSIC. become a writer of instrumental music, for he achieved some success both by his quartets and also by his symphonies. But the attractions of the stage prevailed. Fortunately Boieldieu invited him to write the latter part of Charles de France, which served as an introduction to the public, and caused him to be entrusted with a succession of libretti, which he set to music with varying success. Any work he was ready to accept. For seven years he was accompanist at the Opera Italien ; he then became chorus-master at the Academic ; he wrote ballets, and turned out an immense quantity of pianoforte music for the publishers, but through all this hack-work always aimed at success in opera. It came at last. Zampa was brought out in May 1831, and at once secured his reputation, having kept its place in the repertoire ever since, in spite of an indifferent libretto. The work, which has been seldom performed in England, abounds in beautiful melody, and the music rises to the level of the dramatic situations. The brilliant overture, founded on subjects used in the course of the opera, is known everywhere. His reputation was maintained, or even enhanced, by his Pr^ aux Clercs, brought out in 1832 ; but he had been long suffering from consumption, and was carried off at the early age of forty-two, a month only after the production of the opera which the French consider his chef-d'oeuvre. During the period of which we have been writing, the " Grand Opera," as it is called, had been represented by the works of Cherubini and Spontini, as we have already pointed out in a previous chapter. We have also seen the MUSIC IN FRANCE AND ENGLAND. 413 marvellous way in which Rossini adapted himself to French tastes in his Guillaume Tell, produced in 1 829. A change of style no less remarkable was manifested by Meyerbeer (fig. 123). Up to this time his success had been gained by operas written in the Italian manner. On November 21st, 183 1, his Robert le Diable was brought out at the Academic ; the libretto, by Scribe and Casimir Delavigne, offered opportunities for the exhibition of great dramatic effect, and Meyerbeer rose to the occasion. The opera was full of originality and power. He appears at once to have acquired, with even greater intensity, that strong feeling for marked rhythm which is so prominent a characteristic of the French school. The orchestration, sonorous, original and varied, always strengthens the dramatic situation. It is not therefore wonderful that this weird and powerful work at once took hold of the public taste. The composer followed up this success with another, equally brilliant and even more lasting, in The Huguenots, produced in 1836. It possessed all the merits of Robert le Diable in even a larger measure. Nothing can be more delightful than the variety and piquancy of the orchestra- tion ; and, adequately rendered, the finale of the fourth act is among the most dramatic in the whole range of operatic music. His third work, written for the Acaddmie, Le Prophete, exhibits the same powers, but the plot is uniformly sombre and gloomy, for which reason, probably, it has not been so popular. With that adaptability which was so remarkable a feature of his character, he now invaded the peculiar domain of the French composers in his opera brought out 414 THE HISTORY OF MUSIC. at the Op6ra Comique, in 1854, LEtoile du Nord, some numbers of which, he transferred from his Feldlager in Fig. 123. — Giacomo Meyerbeer. Schlesien, an opera written for Berlin ten years previously, the success of which had been greatly helped by the mar- vellous singing of Jenny Lind, whom he then introduced MUSIC IN FRANCE AND ENGLAND. 415 for the first time to a German audience. He had made her acquaintance in Paris, and charged himself with the success of her career. At the same theatre he also pro- duced in 1859 Le Pardon de Ploermel, known in England as Dinorah, grounded on a Breton legend. It is still played, the well-known "Shadow Song" affording an excellent opportunity for distinction to the prima donna ; but his style was not idyllic, and it cannot be reckoned among his successes. As many years back as 1838 he had received the libretto of L'Afrkaine from Scribe. But Meyerbeer was peculiarly anxious and fidgety about every detail con- nected with his compositions, and suggested so many alterations in the book that Scribe lost patience and with- drew it. Meyerbeer afterwards took it up again, and worked at it for several years. It was at last completed (at least so far as an opera by Meyerbeer ever was completed till the final rehearsal had taken place), but his fastidiousness extended to the choice of a suitable cast, and death overtook him in April 1863, before he had satisfied himself Two years later it was brought out at the Academic. The opera as the composer left it would have occupied six or seven hours, so that the pruning knife had to be vigorously employed. The performance was delayed for several months by the construction of the vessel on which part of the action takes place. The music is beautiful ; much of it had been composed during the period which produced The Huguenots and Le Pro- pJt^te. Among the most famous passages is the celebrated morceau d'unisson, the effect of which is electrical. 4l6 THE HISTORY OF MUSIC. Of the same musically" favoured race as Meyerbeer, Haldvy, who was born in Paris in 1799, entered the Con- servatoire at an early age, and in 18 19 succeeded in carrying off the " prix de Rome." On his return he had long to wait before he obtained a hearing, but at last some of his works were produced and received with favour. It was not, however, till 1835 that he astonished the world with his opera La Jtiive, a work of the most intense dramatic interest, which at once made him famous. In the same year he produced U Eclair, a lyric drama of an entirely diiferent character, distinguished by the delicacy and grace of its music. Several other works, among which may be mentioned Guido ei Genevra, La Reine de Chypre, and Le Val d'Andorre, follawed in quick succession, but he never repeated the great success of La Juive and UEclair. His opera La Tempesta was written for Her Majesty's Theatre to the libretto originally intended for Mendelssohn, and created great excitement in 1850, both on account of the music and partly in consequence of the appearance in it of Madame Sontag on her return to the stage. Adolphe Adam's greatest triumph has been Le Postilion ■de Longjumeau, the rollicking gaiety of which still keeps it on the stage. But he wrote other operas — for instance, Le Chalet and Le Brasseur de Preston — which were well received ; and he also made considerable reputation by his ballets, for which his piquant and melodious style well qualified him. There is no doubt that the boisterous fun of some of Adam's operas paved the way for the reception of Jacques Offenbach, a native of Cologne, MUSIC IN FRANCE AND ENGLAND. 417 but Parisian by education. Having begun life as a violoncello player, he acquired great vogue during the days of the Second Empire by his operas bouffes', produced at the little theatre Les Bouffes Parisiens, of which he was the proprietor. He was possessed of ample clever- ness, and certainly succeeded in being amusing. But his best-known works, such as La Grande Duchesse de G^rolstein, UOrphie aux Enfet's, and La Belle Helene, depend more on their bustle and extravagance than on their musical merits, which is proved by the fact that when interpreted by actors having no pretensions as singers their success was in no way diminished. We have only space just to mention the names of Niedermeyer (i 803-1 861), a native of Geneva settled in Paris, who was also a composer of sacred music ; Reber (1807- 1 880) who, in addition to operas, produced chamber music, and was also Professor of Composition and Har- mony at the Conservatoire, having in that capacity written an excellent work on Harmony; Clapisson (1808- 1866), a prolific composer of operas, and Grisar (i 808-1 867), an elegant writer of operas and romances, somewhat wanting in backbone. This was not the character of Hector Berlioz (fig. 124), whose defiant self-assertion has made him one of the most prominent musicians of modern times. He was born in 1803, near Grenoble, and was the son of a physician, who proposed to bring him up to follow his own profession. With this view he sent him to Paris to study medicine ; but the dissecting-room was top much for him ; and after a violent quarrel with his father he entered the 27 4,1 8 THE HISTORY OF MUSIC. Conservatoire, earning a precarious living by singing in the chorus of a theatre. At the Conservatoire he was the despair of the professors, and Cherubini positively hated both him and his compositions. His overture Les Francs Juges and the Symphonie fantastique were both written while he was a pupil at the Conservatoire, and after several unsuccessful attempts he was at last some- what grudgingly accorded the "prix de Rome." On his return he found it impossible to get his works performed ; he therefore began the career of musical critic. For twenty years he furnished the musical article for the Journal des Dibats, written in a style of great brilliancy, which earned him the position of the most capable critic of the day. He had the misfortune to fall violently in love with Miss Smithson, an Irish actress of great beauty, who made much sensation in Paris in the characters of Ophelia and Juliet. They were married, but the union was not happy, and she finally died in a madhouse. His compositions were brought to a hearing with great diffi- culty, and during his life were never popular even in France. It will thus be seen that the circumstances of his life offered but a small share of happiness. His most important works consist of three operas, the first of which, Benvenuto Cellini, was produced at the Academie in 1831, but the public would not listen to it In 1851 it was given at Covent Garden with the same results. Les Troyens was produced in 1863, in spite of much opposition, said to be organised, and had a run of twenty-one nights. His other opera, Beatrice et Benedict, was his one operatic success, but that was. MUSIC IN FRANCE AND ENGLAND. 419 obtained in Baden, and not in his native country. Hi.s orchestral works are his most remarkable compositions. Among these are his symphonies Episode de la Vie d'un I'ig. 124. — Hector Beilioz. Artiste, with its continuation Lclio ; ou, Ic Retour a la Vie. In the former of these, one of the movements endeavours to depict the feelings of a man who dreams that he is being led to execution ; this is followed by a witches' 420 THE HISTORY OF MUSIC. Sabbath. It will be seen, therefore, that he was an advocate of "programme music," to which he attempts to impart more meaning than it is able to convey, and it is only by consulting his programme that the listener is able to ascertain the intention of the composer. In the same style are his other symphonies, Harold in Italy, which has an obbligato part for the viola, and Romeo and Juliet, in which he employs solo voices and chorus. Berlioz was a master of orchestration, and these works contain many beautiful passages ; but his writing frequently degenerates into a noisy vulgarity which it is difficult to qualify with the name of music. In addition to the works mentioned, he wrote an oratorio, L'Enfance du Christ, a comparatively sane work, and also a sort of cantata. La Damnation de Faust, in which he indulges in his peculiar style to the full extent. Much of Berlioz's time was occupied in getting up concerts for the perform- ance of his own works, to which end he travelled through Germany and Russia. As a critic he was clear- sighted, if somewhat bitter in expression, and his writings on music are of great interest. As we have said, his knowledge of the orchestra was remarkable ; he had studied the qualities and peculiarities of every instrument, and this he embodied in his well-known and excellent treatise on orchestration. During his life he was neglected, not to put it more strongly, in his native country. He died, in 1869. At once, with that strange habit of mixing up their artistic tastes with their political feelings, the French public seized on his works as a counterpoise to those of the hated MUSIC IN FRANCE AND ENGLAND. 42 1 Wagner, and no praise could be sufficiently strong for them. George Onslow, born in France of English parentage on his father's side, was rich, and under no obligation to practise music as a profession. His operas were never successful, and are now forgotten, although the overture to Le Colporteur was long popular. He is best remem- bered in these days by his chamber music, of which his quintets, with contrabasso, are without doubt the best, some of them being works of much grace and beauty. If the life of Felicien David should come to be narrated fully, it would prove a work of great interest. He was born in 18 10, and at an early age showed the bent of his talent. He received his musical education at the Conservatoire. In 1831, having embraced the doctrines of St. Simon, he went to live in a kind of convent be- longing to the society at Mdnilmontant, near to Paris, and became the composer of the music used in their worship. The body having been dispersed by order of the Government, the leading supporters of the cause separated into groups, with the intention of still advocating the tenets of the order. David and his companions decided on visiting the East, which after many adventures they reached. At the end of three years he had re- turned, and was again in Paris, where he published a volume of Oriental melodies which he had collected in his travels. In addition to this he wrote and published many works of different kinds, but failed to get recognition. It was not till 1844 that he produced his so-called ode- symphony, Le Desert. It at once obtained marvellous 422 THE HISTORY OF MUSIC. success, for the work was of great originality, and re- markable for its local colour. This remains his master- piece. He wrote another descriptive symphony, Cliristophe Fig. 125. — Ambroise Thomas. Coloinb, which failed to please, although his operas. La Perk (in Bresil, Herculaueuin, and Lalla Roiikli had a certain amount of success. We must not omit to mention Georges Bizet, whose MUSIC IN FRANCE AND ENGLAND. 423 opera Carmen has become so great a favourite. He was a pupil of Hal6vy, and married his daughter. Unfortu- nately he had but a short enjoyment of the sweets of success, for he died three months only after the production of this opera. Born a year after F^licien David, Ambroise Thomas (fig. 125) passed the greater part of his life in just missing absolute success with a series of operas the very names of which call up no memories, with the exception of La Caid (1849) and Le Songe d'une Nuit d'Etd (1850). Fame at last came to him with Mignon in 1866, a work of much grace and beauty, although neither librettist nor composer are the ideal interpreters of Goethe's original. This success was followed up by Hamlet in 1868. The esteem in which he was held, both for his musical acquirements and for his personal character, at once pointed him out for the successor of Auber as Principal of the Conservatoire, where his rule was one of marked success. Doubtless the claims of his official position left him but little time for composition. He died in 1896. The best known name of modern musicians is that of Charles Gounod (fig. 126) (1818-1893). The son of a painter who died in his early childhood, his education was carefully watched over by his mother, herself an excellent musician, who had the wisdom not to force the boy's musical abilities at the expense of the other branches of a liberal education. Having graduated as Baclulier-es-lettres, he entered the Conservatoire in 1836, and in 1 839 carried off the " grand prix de Rome." 424 THE HISTORY OF MUSIC. Ingres was at that time principal of the Villa Medici, and the young pupil was half inclined to abandon the pursuit of music for that of painting, for which he showed some ability. His musical studies were chiefly Fig. 126. — Charles Gounod. the works of Palestrina and his school, and those of Bach, and these no doubt served to develop that technical skill which is so prominent in his compositions. He had the further good fortune while in Rome to make the MUSIC IN FRANCE AND ENGLAND. 425 acquaintance of Mendelssohn and of his sister Fanny Hensel, who were both admirers of the young man's ability and seriousness of purpose. On his return to Paris he became organist of the " Missions ^trangeres," and while holding this office embarked on a course of theological study with such ardour that he was nearly landed in the priesthood. While at Rome he had manifested much religious exaltation, and this feeling had great influence on him throughout his life. His first opera, Sapho, owed its appearance to the good offices of Madame Viardot, who herself took the leading character. It was not successful, nor was his second operatic venture La Nonne sanglante (1854). He had in the meantime become conductor of the Orpheon de Paris, an office which he held for eight years, gaining great experience in the management of large bodies of voices. For them he wrote several choruses, as well as two masses for male voices. The subject of Faust had long occupied his thoughts, but it was set aside, at the suggestion of M. Carvallo, in favour of a libretto arranged by Messrs. Carrd and Barbier, Le MMecin malgri lui of Moliere. It was produced in 1858 at the Theatre Lyrique and may be con- sidered Gounod's first real success. Faust was at last completed and produced, also at the Lyrique in March 1859. We need hardly say with what enthusiasm it was received, and that it has remained his masterpiece. Its beauties are so familiar to all that no description of the work can be necessary ; it is probably the most popular work that has appeared in our own day. 426 THE HISTORY OF M,USIC. Philemon et Baucis, La Reine de Saba, Mirelle, La Colombe succeeded it, but none of them repeated the success of Faust. Romeo et Juliette was brought out in 1867, and in this he once more appears in his full powers, and although it has never captivated the public so completely there are those who place it on the same level as Faust. After this effort his dramatic works show a gradual declension. Cinq Mars, Polyeucte, Le Tribut de Zamora have been successively shelved. On the breaking out of the Franco-German war Gounod took refuge in England. While here he wrote many songs which had great success, and also much sacred music, including his noble work Gallia, for soprano solo, chorus and orchestra — a lament for the sorrows of his native country. His visit to this country had a great, and in the writer's opinion an unfortunate, influence on many of our native church composers, in whose works it may be readily traced. His great reputation caused him to be invited to write a work on a large scale for the Birmingham Festival of 1882. The result was The Redemption, which at once achieved a great success, not a little favoured by very skilful business management. The work has remained popular, although much of the music is somewhat tawdry where it is not dull. Mors et Vita, also commissioned for the Birmingham Festival of 1885, is inscribed by the author, ■' Opus vitce mecB." This opinion has not been shared by the public ; Mors et Vita is shelved, Faust retains its popularity ; surely we may forgive the composer such an error of self-judgment, partly the result of the religious feeling of which we have MUSIC IN FRANCE AND ENGLAND. 427 already spoken, in consideration of the delight which the earlier work continues to give. Many of his songs are most delicate and delightful, while some of his work — for example the ballet music of La Reine de Saba, has a voluptuous beauty which has never been exceeded in music. Gounod died in 1893. Of living French musicians the most eminent, without doubt, i^ Camille Saint-Saens (fig. 127), who unites in his own person the qualities of a great pianist, a well read musician, a fine composer, and an excellent critic. He was born in Paris in 1835, began to study the pianoforte at an early age, entered the Conservatoire, but in spite of his brilliant acquirements was unsuccessful, after two trials, in securing the '' prix de Rome." He composed his first symphony when only sixteen, and in 1858 became organist of the Madeleine, a post he resigned in 1877. His works in all departments of composition are exceedingly numerous and have met with much success. They in- clude four pianoforte concertos, four pohnes syinphoniques, a form of composition adopted from Liszt, Le Rouet d'Oinphale, Danse Macabre, Phaeton, and La Jeunesse d'Hercule (the first two of which are well known in this country), and much chamber music, including a septet for the pianoforte, with five strings and trumpet. His earlier operas were unsuccessful, and Samson and Delila (first performed at Weimar in 1877, under Liszt's auspices) after achieving success in the provinces was not heard in Paris till 1892. Owing to the nature of the hbretto it has been heard in England as an oratorio only, and in that form has become popular. In the meantime his 42 8 THE HISTORY OF MUSIC. opera Henri VIII. had been produced in Paris during the year 1883, and had shown him to be a composer of Fig. 127. — C. Saint-Saens. great dramatic power. Proserphie was brought out at the Opera Comique in 1887, but the run of the piece was brought to a close by the burning of that theatre. Ascanio, MUSIC IN FRANCE AND ENGLAND. 429 of which Benvenuto Cellini is the hero, appeared at the Grand Opera in 1890, and seems to have been somewhat disappointing. At the first performance the public were much mystified by the sudden disappearance of the composer, who was discovered some weeks later in the Canary Islands under an assumed name ! Saint-Saens has visited this country in the capacities both of pianist and conductor. Jules Massenet (fig. 128) (born 1842) laid the foundation of his fame on the incidental music to Lecomte de Lisle's drama, Les Erinnyes, but his best known work is Le Roi de Lahore, which went the round of Europe before it was received at its full value in the composer's native country. He has since composed several operas, the best known of which are H^rodiade, and Manon (the Abbd Prevost's heroine), but he has scarcely maintained his reputation. Cesar Franck (born 1822 at Liege, but naturalised as a Frenchman) is well known as an organist, and as professor of that instrument at the Conservatoire. A man of noble aims and an excellent musician, he has had great influence over a large number of pupils, but it cannot be claimed that his compositions have met with extended success. His best known work is an oratorio, Ruth, written in 1845 ^"d re-cast in 1868, since which it has been more than once revived. Edouard Victor Antoine Lalo (born 1823) is most dis- tinguished as an orchestral and concert-room composer, having written a very successful violin concerto, and a so-called symphonie espagnole for violin and orchestra, both for the eminent performer Sarasate, besides other 43° THE HISTORY OF MUSIC. orchestral works. His reputation as a writer of sym- phonies has rather militated against him with the Parisian public as a composer of operas, although Le Roi d' Ys Fig. 128.— Jules Massenet. was well received. We must content ourselves with the bare mention of Ernest Reyer, Alfred Bruneau, Widor and Godard, while the labours of MM. Pasdeloup, MUSIC IN FRANCE AND ENGLAND. 43 f Lameureux, and Colonne in popularising music of tiie best kind in Paris must not be passed over in silence. In the second quarter of the present century Paris became a rendezvous for pianists of many nationalities ; among whom were to be found Liszt, Hiller, Kalkbrenner G. A. Osborne and several others. The circle was joined in 1 83 1 by a young virtuoso who was destined to exercise a vast influence on the art of pianoforte playing — Frangois Fr^d^ric Chopin (1809- 1849), a native of Poland, but the son of a French father, a teacher of his own language, who had settled in that country and married a Polish lady. At an early age he played a concerto of Gyrowetz in public. He learned all he knew from two masters — Zwyny, a Bohemian, and Eisner, a German resident in Warsaw, whose best claims to fame rest on having turned out such a pupil as Chopin. At the age of nineteen he had become a remarkable performer, and had written several works for the pianoforte, including two concertos. He then started for Paris, staying to give concerts at Vienna and Munich on the way, and making the acquaint- ance of the principal musicians in those cities. At last he arrived in Paris, and was at once received with open arms by the colony of Poles settled there, and in that city the greater part of his life was spent. His playing was distinguished by great lightness, refinement, and grace ; it was, in fact, almost too delicate for a large room> and could be heard to perfection only in a drawing-room. From time to time he gave public concerts, but such appear- ances were distasteful to him, and he seldom did himself justice, and it has been said that he appeared at his best 432 THE HISTORY OF MUSIC. when playing to an audience of beautiful women. To the fascinations of female beauty and intellect he was very susceptible, and this led him into an unfortunate liaison with Mme. Georges Sand. In 1838 weakness of the lungs had already declai-ed itself, and together they visited Majorca, in the hope that the climate would restore him to health. The hope was fallacious, and his life continued to be a struggle with disease, although he was able to continue his pi;ofession, numbering many of the aristocracy among his pupils. Of this number was Miss Stirling, a Scotch lady, and mainly at her instance he was induced to visit England and Scotland, where he played a few times in public. But the hand of death was upon him. His last days were soothed by the kindness of Miss Stirling and many other admiring friends. On the news of his serious illness the Countess Delphine Potocka hastened, to Paris. Chopin begged that she would once again let him hear her beautiful voice. With difficulty she suppressed her sobs and did as he wished. Two days afterwards, on the morning of October 1 7th, 1 849, he died. By far the larger part of the works of Chopin is for the pianoforte alone. In writing for the orchestra he was not at ease, and the accompaniments to his two pianoforte concertos, the solo parts of which are . very fine, are generally used in a re-scored version.. His solo works are brimful of originality, having nothing in common with those of any other ccmposer. It is not saying too much to assert that they show a more thorough apprecia- tion of the resources of the instrument than the • works of any other writer. Classical forms were irksome to MUSIC IN FRANCE AND ENGLAND. 433 bim, and although he wrote three solo sonatas, and one with violoncello for his friend Franchomme, the most character- istic part of his writings consists of etudes, preludes, nocturnes, mazurkas, polonaises and waltzes, in most of which the influence of Polish national music is strongly marked. Of the mazurkas alone there are fifty-two, and it is remarkable that a single well-defined rhythmic form should lend itself to such variety of treatment. To play Chopin requires a peculiar organisation, and of the many who in the present day attempt it few approach success. Paris, from the earliest years of this century, has boasted a fine school of the violin, the leaders of which Rode, Baillot and Kreutzer (who, although of German parentage, was born at Versailles), were professors at the Conservatoire, and in that capacity compiled the M^thode de Violon, still in use. Among the pupils of Baillot, himself a player of very sterling acquirements, Habeneck had a great reputation as a teacher, and still greater as a conducter, in which capacity he was the first to produce Beethoven's symphonies in France. The characteristics of the French style of playing, as compared with that of Germany, as exemplified by Spohr and his successors, are greater vigour and brilliancy. The Belgian violinists, De Beriot and Vieuxtemps, virtually drew their training from the same source. The former was a voluminous writer for his instrument, his works, while excellently written for the violin, being very showy and brilliant. It is well known that he married the celebrated and delightful singer, Malibran. The best traditions of the school are 28 434 THE HISTORY OF MUSIC. at present most ably maintained by Senor Sarasate, who, although of Spanish birth, owes his training to the Con- servatoire of Paris. As organists we must mention the names of Leftbure- W61y and Baptiste, who both acquired great reputation. But the French organists appear to aim at a greater brilliancy than, either in England or Germany, is con- sidered to suit the character of the instrument. An Englishman named Barker applied himself to the invention of a method for lightening the touch of the organ, which resulted in what is known as the pneumatic lever. Finding no organ builder in his native country willing to take it up, he induced Cavaill6-Col, a famous French builder, to adopt it. This invention, or a develop- ment of it, is now in universal use for organs of any size, and there is no doubt that its adoption is gradually modifying the character of organ music in the same way that the improvement of the pianoforte action has affected the style of music written for that instrument. The music of Chopin would be an impossibility on the pianoforte of the days of Mozart. The name of Choron (1771-1834) deserves mention for the excellent influence he had in the cause of musical education in France, not only by the school which he founded for instruction in classical and religious music, but also by his didactic works, which placed the best traditions of Italian music within reach of his fellow- countrymen. In this he was assisted by Adrian de la Fage ( 1 801- 1 862), a very' learned musician with a wide knowledge of the early Italian writers. Among La MUSIC IN FRANCE AND ENGLAND. 435 Page's works the best known are Histoire gMrale de la Musique (Paris, 1844, 2 vols., 8vo, and a vol. of plates), which is only a fragment ; and his Cours complet de Plain Chant (Paris, 1855-56, 2 vols., 8vo). The restoration of the true traditions of Plain-Song occupied much attention in France at the time of which we are writing. The labours of F. Danjou (18 12-1866) towards this object deserve mention. To further the cause he founded the Revue de la Musique Riligieuse, in which he was assisted, among others, by a very remarkable man, to whom all who are interested in music are under great obligations — F. J. F^tis (1784-1871), a scholar whose mental activity reached 'to every corner of musical knowledge. He is best known by his Biographie Universelle des Musiciens (ist edition, Paris and Brussels, 1834-44; 2nd edition, Paris, 1860-65, both in 8 vols., 8vo), a work of marvellous knowledge and erudition. Faults there are in it, without doubt — errors of date, inadequate treatment of English musicians, a tendency to ignore the labours of others, and a frequent exhibition of a dogmatic spirit — for F6tis was a man troubled with no doubts : he knew he was right, and had but little charity for those who ventured to differ from him. But with these drawbacks it remains a noble monument of industry and research, for which no other work will serve as a substitute. For a quarter of a century the writer has had occasion to consult it almost daily ; the occasions are rare on which he has failed to find the information he sought, and he is very glad of this opportunity of placing his gratitude on record. It should be added that the second edition 436 THE HISTORY OF MUSIC. is the one to possess, as much more correct, although the first has a certain value from the Risumi philosophique prefixed to it. An excellent supplement in two volumes has been compiled by M. Arthur Fougin, assisted by musical writers of eminence. Among his other works, the mere titles of which would fill more space than we can afford, the most important is his Hisioire ginerale de la Musique, which unfortunately he lived to bring down no further than the fifteenth century. La Musique mise d la Port^e de tout le Monde, a most useful little book, went through numerous editions, and was translated into nearly every European language. His noble musical library, the most remarkable that has ever been collected, was purchased at his death by the Belgian Government, and an excellent catalogue of it was published. He was a native of Mons, in Belgium, and since 1833 had filled the office of Director of the Conservatoire in Brussels. To a distinguished lawyer, M. C. E. H. de Coussemaker, a native of French Flanders, we are also indebted for many important additions to the early history of music, among which is the series of mediaeval writers on music in continu- ation of that issued by the Abb6 Gerbert. It remains to say a few words on the history of music in England during the present century. It must be admitted that the record is not very flattering to our vanity. If, however, we produced but few musicians whose names acquired any great reputation beyond our own country, we have been always ready to welcome foreign professors to our shores. Among those we have MUSIC IN FRANCE AND ENGLAND. 437 already mentioned Dussek and Steibelt; but before their arrival here, Muzio Clementi had already made England his dwelling-place, for he was brought to this country from Rome, his native city, by an English gentleman, Mr. Beckford, who was much struck with his ability. In his house in Dorsetshire he remained for some time, pursuing his general studies and per- fecting himself as a performer on the pianoforte. He then appeared in London, and at once took the fore- most place in the profession. He made occasional tours on the Continent, in one of which he had a trial of skill with Mozart ; but his home was in England, where he was in great reqiiest both as a performer and as a teacher. By these means he acquired a large fortune and became, in conjunction with Mr. CoUard, the founder of the well-known firm of pianoforte makers. He was an admirable writer for the pianoforte, having left no fewer than one hundred sonatas for that instru- ment ; but the work by which he is probably best known is his Gradus ad Pamassum, a series of studies of the highest value. Among his pupils the most famous was J. B. Cramer (1771-1858), the son of the violinist Wilhelm Cramer (i74S-i799 or 1800), who settled in England when the child was only a year old, so that by education he was entirely English. He was a fine pianist and writer for his instrument, best known in our own time by his celebrated studies, which are excellent for cultivating that even power in the two hands which was so distinguishing a feature of his own playing. John Field (1782-1837), known as 438 THE HISTORY OF MUSIC. " Russian Field," a native of Dublin, was also a pupil of Clementi, who took him to Russia, where he settled and died. His nocturnes are charming little com- positions, and Chopin is said to owe much, both as a player and as a composer, to the study of his style and works. For a long time — from 1826 to 1846 — the great pianist Ignaz Moscheles made London, which he had previously visited more than once as a virtuoso, his dwelling-place, to the great advantage of sound music in England ; but in the latter year, as we have already stated, he was induced by his friend Mendelssohn to become a professor in the Leipzig Conservatorium. Among the foremost English musicians of the earlier part of the century was Sir Henry R. Bishop (1786-1855), who principally devoted himself to dramatic composition for the English Opera at Covent Garden Theatre, of which he was musical director. He was possessed of an inexhaustible fund of melody, and although his operas have long been laid on the shelf, much of the beautiful music they contain still retains its popularity. Among the best known airs is the touching and simple Home, sweet home ! from the opera of Clari. Should he upbraid. Bid me discourse, The Pilgrim of Love, My pretty Jane, are other examples of his gift of tune. His glees, such as Mynheer van Dunck, Sleep, gentle Lady, The Chough and Crow, and many other well-known favourites, first saw the light in his operas. It is to be regretted that, in conformity with the practice of the day, he " arranged " several foreign operas — even Don Giovanni and Figaro — for the English stage in a way little short of barbarous. MUSIC IN FRANCE AND ENGLAND. 439 The career of Balfe (1808- 1870), violinist, singer and composer, belongs as much to the Continent as to England. He was born in Dublin, and received his first instruction from O'Rourke, a musician who afterwards removed to London, and under the name of Rooke produced at Covent Garden in 1837 an opera, Amilie; or, the Love Test, which had some success. Balfe's first triumphs were obtained at an early age as a violinist ; but in 1825 he went to Italy, and on his way back made the acquaintance of Rossini in Paris, under whose advice he appeared as a baritone singer in Mozart's Figaro, under the name of Signer Balfo ! Other engagements followed in Italy, where he also produced several operas, now forgotten. He returned to England in 1835, and brought out his first English opera, The Siege of Rochelk, which at once established his fame. The Maid of Artois succeeded it, and had the advantage of Malibran's charrriing singing. In 1837 his Italian opera Falstaff was brought out at Her Majesty's Theatre. He next gave, at the Op^ra Comique in Paris, Le Puits d' Amour and Les Quatre Fils d'Aymon. But in 1843 he produced his masterpiece, The Bohemian Girl, which took the public by storm, not only in England, but throughout the Continent. From the secession of Costa, in 1846, to the collapse of Mr. Lumley, he was conductor of the Italian Opera at Her Majesty's Theatre. Several other operas from his pen were produced at Continental theatres, and for the Pyne and Harrison English Opera Company, at the Lyceum, he wrote The Rose of Castile and Satanella, both of which were very popular. In 1864 he retired from 440 THE HISTORY OF MUSIC. active life and devoted himself to farming. His music is tuneful and spontaneous. His countryman, W. Vincent Wallace (1814-1865), whose life was one of romance and adventure, also made his first appearance as a violinist in Dublin. But he soon longed for a wider field of action, and having married in 1835, left Ireland with his wife and her sister. On t^e voyage his wife considered that he was too attentive to her sister, and when it was at an end they parted never to meet again ! He was next to be found in the Bush, near Sydney, where by mere accident his musical acquirements were discovered. At the instigation of the Governor, Sir John Burke, he was induced to give a concert, the Governor paying for his seats with one hundred sheep ! He then wandered about Tasmania and New Zealand, on one occasion only escaping death at the hands of the natives by the intervention of the chief's daughter. He next started on a whaling voyage on a ship called The Good Intent ; but, in spite of the happy omen of the name, the crew mutinied, and Wallace and three others only escaped. We cannot follow, all his wanderings ; but he visited India, where he was splendidly rewarded by the Queen of Oude, sailed to Valparaiso, crossed the Andes on a mule, travelled to Havana, Mexico, and New Orleans, and finally turned up one evening in 1845 i" a complete suit of nankeen, with a broad-brimmed white hat, in a private box at a London theatre. A friend who recognised him took him off to the " poet " Fitzball, who was discovered with the libretto of Maritana before him, the ink of which was MUSIC IN FRANCE AND ENGLAND. 44! Still wet ! Fitzball was soon satisfied that Wallace might be entrusted with it, and in the autumn of the same year this opera, which still keeps the stage, was produced at Drury Lane with the greatest success. Wallace now went to Germany, and occupied himself in writing for the pianoforte. There he remained fourteen years — a long time for so restless a spirit. He was invited to write a work for the Paris Opera, but his eyesight failed, and he started off once again on his travels, visiting both North and South America, making much money by concerts, being nearly blown up in a steamboat, making a fortune, and losing it by the failure of a pianoforte factory in New York into which he had placed his savings. He returned to London in 1853, and in i860 Lurline was produced at Covent Garden. It brimmed over with melody, and delighted the public even more than Maritana. The Amber Witch and some other works followed ; but his health was breaking, and he died in the Pyrenees in October 1865. All this reads like romance, but we believe that it is an accurate outline of this remarkable man's life. John Barnett (1802- 1890) made one great success with his Mountain Sylph, which showed much dramatic power, and is still remembered on account of the trio This Magic- wove Scarf. We must also mention The Night Dancers of E. J. Loder, and Don Quixote of G. A. Macfarren. The latter was an esteemed and learned musician, who took an earnest view of his art, which he practised under great difficulties, for at a comparatively early age he became quite blind. He tried all forms of composition ; among his best works is the oratorio St. John the Baptist. 442 THE HISTORY OF MUSIC. He succeeded Sir W- Sterndale Bennett, of whom we shall write shortly, both as Professor of Music at the University of Cambridge and as Principal of the Royal Academy of Music, and received the honour of knight- hood. Sir Julius Benedict (1804-1885) was a musician who had lived so long among us as to have become almost an Englishman. He was born at Stuttgart, and having studied under Hummel, became a pupil of Weber. After some Continental experience he settled in England in 1835, his only long absence having been with Jenny Lind in America, in 1850. He produced in 1838 his first English opera. The Gipsy's Warning, which contains the vigorous bass song Rage, thou angry Storm ! This was followed by The Brides of Venice, The Crusaders, and some years afterwards by The Lily of Killarney, a tuneful and charming work which still gives delight. His oratorios St. Cecilia and St. Peter were produced with success at Norwich and Birmingham Festivals. To many he will be best known by the admirable way in which he accom- . panied the vocal music at the Monday Popular Concerts. He was an excellent musician, with extraordinary powers of work, and after a long day's toil he would steal time from the night to keep up correspondence with all the principal musicians of Europe. Another prominent foreign musician long resident in England was Sir Michael Costa (i 810-1884). Ip 1829 he was sent to England by Zingarelli, of Naples, whose pupil he was, to direct the performance of a composition which he had written for the Birmingham Festival. This MUSIC IN FRANCE AND ENGLAND. 443 the arrangements did not allow him to do, but he sang the tenor part in it. In the following year he was appointed accompanist at the King's Theatre, and in 1833 he was engaged as conductor. His marvellous qualifica- tions for the post at once justified the choice. In 1846, Lumley, then lessee, had contrived to alienate his best singers, as well as his conductor and band, who went over in a body to the rival opera under Mr. Gye at Covent Garden. Here Costa had a free hand, and he succeeded in raising the performances to a pitch of excellence un- known in London. There has been no such band in England, either before or since, as that enlisted under Costa's command. All the members, both string and wind, were the best obtainable, and their instruments were of a quality but seldom found in Continental orchestras. The result was a quality and vigour of tone which has never been heard since. Costa was also conductor for several years of the Philharmonic Concerts, as well as of the Sacred Harmonic Society and the Birmingham Festival. Where he went his band went. In conducting rehearsals he was always considerate, always punctual, business-like, and methodical ; a man with whom no one would think of taking a liberty, and who succeeded in inspiring his band with a loyalty and esprit de corps which have not existed since he ceased to conduct. As a composer he wrote several ballets, and two operas, Malek-Adhel and Don Carlos. His oratorios Eli and Naanian contain much beautiful music, which, however, seems in a fair way of being forgotten. Of the many other foreign musicians living and working 444 THE HISTORY OF MUSIC. among us, Mr. Silas has never attained to the position which the excellence of his compositions entitle him, while Mr. Randegger has allowed the claims of his pupils to interrupt the career of a composer which his operetta The Rival Beauties, and the cantata Fridolin — a work of great dramatic power — led us to hope would be fruitful. We have yet to speak of our greatest modern musician. Sir W. Sterndale Bennett (1816-1875), the son and the grandson of musicians, was born at Sheffield, but having at an early age lost his father, he was sent to Cambridge, where his grandfather was a lay clerk at King's, Trinity and St. John's Colleges. When eight years of age he followed in the same steps by becoming a singing boy at King's, from which, on account of the talent he showed, he was soon removed to the Royal Academy of Music. He became an excellent pianist, and as a student produced several works which at once attracted notice. Among these were the delightful Naiades overture, and a pianoforte concerto, the excellences of which induced Messrs. Broad- wood, with the liberality they have so constantly shown, to offer to send him for a year to Leipzig, to benefit by the advice of Mendelssohn. There he met with an enthusiastic reception, both as a performer and as a composer ; one of his warmest admirers being Robert Schumann, who spoke of him in the highest terms in the Neue Zeitschrift. On his return to England he was much before the public as a player. In 1853 he was offered the conductorship of the Gewandhaus Concerts, a testimony to the esteem in which he was held in Germany. This he did not feel at liberty to accept, but in 1856 he became conductor of MUSIC IN FRANCE AND ENGLAND. 445 the Philharmonic Society, which he resigned in 1866 on becoming principal of the Royal Academy of Music. In 1856 he had also become Professor of Music at Cambridge, in succession to Dr. Walmisley. Of his larger works the most important are his cantata The May Queen and his oratorio The Woman of Samaria. He also wrote the overtures The Wood Nymphs and Paradise and the Peri, as well as a symphony, many works for the pianoforte, and two books of exquisite songs. It is to be regretted that his works are so few ; but he was a man of great modesty, which restrained him from rushing into print, and unfortunately too much of his time was devoted to the drudgery of teaching. His style is one of peculiar delicacy and refinement, although of marked individuality, but no doubt somewhat deficient in vigour. The needs of cathedrals and large churches have kept up a succession of excellent organists in England. At St. Paul's Cathedral, Thomas Attwood, the favourite pupil of Mozart and familiar friend of Mendelssohn, was organist from 1796 to his death in 1838, and acquired much re- putation, beyond his ecclesiastical duties, by his glees and other secular compositions. To him succeeded John Goss (afterwards Sir John Goss), an admirable composer both of church music and glees. Thomas Adams (1785-1858), was well known as an organist of exceptional skill, who possessed remarkable powers of extemporising, and was constantly chosen by organ builders to exhibit new instru- ments before leaving their factories, when he never failed to draw large audiences. Samuel Wesley (1766-1837), a nephew of the celebrated Rev. John Wesley, was one 446 THE HISTORY OF MUSIC. of our greatest organists, and a composer of great ability and learning — as witness, among other works, his motet In Exitu Israel. But he had further claims to gratitude as having been, in conjunction with C. F. Horn and Benjamin Jacob, the organist of the Rev. Rowland Hill's Chapel, the first to introduce the works of Sebastian Bach to the English public. His son, Samuel Sebastian Wesley (i 810-1876), was also a great player, and inherited his father's genius for composition. From his father also he inherited a certain amount of eccentricity. His com- positions are few, but admirable, — his anthems Ascribe unto the Lord and The Wilderness are equal to anything that has been written in that style. He was probably the last organist of eminence who advocated unequal temperament, and the G keyboard, against which the late Dr. Gauntlett made it the business of his life to fight. The English nation seems to have never recognised the remarkable genius it possessed in the person of Henry Hugo Pearson or Pierson (as he preferred to spell his name) (1815-1873). The son of Dr. Pearson, of St. John's College, Oxford, afterwards Dean of Salisbury, he was sent to Harrow, and proceeded to Trinity College, Cam- bridge, with the intention of taking up medicine as a career. But the attractions of music were too strong, and after studying with Attwood and Arthur Corfe, he went to Germany in 1839 and sought the instruction of Rink, Tomaschek and Reissiger. For a short time he held the Reid Professorship of Music at Edinburgh, to which he was elected on the death of Sir Henry Bishop, but soon MUSIC IN FRANCE AND ENGLAND. 447 afterwards he married a German lady and made his home in that country, where his abilities were more readily acknowledged than in his native land. He produced the opera Leila at Hamburg in 1848, but his masterpiece was the oratorio Jerusalem, written for the Norwich Festival of 1852, and performed again in London in the following year. It seems to have been more warmly received by musicians than by the general public. In 1854 his music to the second part of Faust was per- formed many times in Hamburg, and it has continued to be played at several places in Germany in yearly commemoration of Goethe's birthday. The work added greatly to his reputation in his adopted country. A selection from his second oratorio, Hezekiah, was produced at Norwich in 1869, but the work was never completed. His last composition, the opera Contarini, appeared at Hamburg in 1892. A large number of his works remain in manuscript, and while in Germany he is appreciated at his true value, in the land of his birth he is known only as the writer of a part song, Ye manners of England. The career of the late Arthur Goring Thomas was unfortunately cut off prematurely. Mainly French by training, he produced his opera Esfneralda in 1883 ; it was at once hailed with enthusiasm, and its success was followed up by that of Nadeshda in 1885. He has also written songs showing great refinement. The most popular of English musicians is, without doubt. Sir Arthur Sullivan (born 1842). His father was a professor at Kneller Hall, the School of Military Music, 448 THE HISTORY OF MUSIC. SO that the young musician was brought up in an atmosphere of art. At twelve years of age he entered the Chapel Royal, being endowed with a voice of great beauty, which he used with much taste. While still one of the " Children of the Chapel Royal," in the year 1856 he became the first holder of the Mendelssohn Scholarship, and became a pupil of the Royal Academy. It is curious, and one cannot help looking at it as somewhat disappointing, that with such a start in life his reputation with the public should rest mainly on a series of comic operas, brilliant though they are. The first of these, suggested by a private performance of Les deux aveugles of Offenbach, was the delightful Cox and Box, originally performed by amateurs for the benefit of the family of a late member of the staff of Punch. This was followed by The Contrabandista. In Trial by fury he had the co-operation of Mr. W. S. Gilbert, and with it began a series of well known works in which the wit of the librettist and the piquant music of the composjer are most happily blended. It is hardly necessary to mention The Sorcerer, H.M.S. Pinafore, The Pirates of Penzance, Patience, lolanthe. Princess Ida, The Mikado, Ruddigore, The Yeomen of the Guard, for they are known to every one capable of appreciating frank and wholesome mirth. For the ill-starred English Opera House, now the Palace Theatre, he wrote his one serious opera, Ivanhoe. Works of a light and airy nature appeal to a much wider public than those of higher aim. It is for this reason that Sir Arthur Sullivan's more serious efforts MUSIC IN FRANCE AND ENGLAND. 449 have been somewhat overshadowed by his popularity in the former direction. But musicians will appreciate much excellent work shown in his oratorios, The Prodigal Son, The Light of the World, The Martyr of Antioch, and the most popular of all, The Golden Legend, as well as in his incidental music to several of Shakspere's plays, in his overtures, especially his In Memoriam, written on the death of his father. Much of his vocal music is also very popular. Sir Alexander Mackenzie (born 1847), the present principal of the Royal Academy of Music, is the son of a much esteemed musician in Edinburgh. A musician of great earnestness of purpose, he has produced two operas, Colomba and The Troubadour, an oratorio, The Rose of Sharon, besides lesser works. Charles Hubert Hastings Parry (born 1848), the brilliant son of an accomplished father, was educated at Winchester and at Eton, and while still at school passed hie ex- amination for the degree of Mus. Bac, and entered at Exeter College, Oxford. While at Winchester, he received some instruction from Dr. S. S. Wesley, and at Eton took some lessons in harmony from Dr., afterwards Sir George Elvey. At the conclusion of his University course he studied with H. H. Pierson at Stuttgart, and also with the late Sir G. Macfarren, and Mr. Dannreuther. In spite of the obvious bent of his abilities, it was his father's wish that he should become a man of business, and therefore, when he had taken his degree, he entered the office of an underwriter, and for seven years tried to reconcile the claims of Lloyds' with those of his favourite 29 450 THE HISTORY OF MUSIC. art. Music at last triumphed, and now Mr. Parry is the well-known and popular principal of the Royal College of Music, a position adorned by his abilities. His largest work is the oratorio Judith, composed for the Birmingham Festival of 1888, and he has, in addition, written several symphonies, the music for a performance at Cambridge of The Birds, of Aristophanes, as well as the choral odes, The Glories of our Blood and State, Milton's Blest Pair of Sirens, and An Ode for St. Cecilia's Day. Dr. Parry is also favourably known as a critic on music ; some of the most valuable articles in Grove's " Dictionary " were con- tributed by him, and he has also published an admirable work. The Art of Music (London, 1874, 8vo, with subsequent editions). It is a masterly history of the development of musical form. Dr. Charles Villiers Stanford (born 1852) is of Irish birth, a fact well vouched for by his favourite symphony. The Irish, and by his most recent opera. He is known as the composer of four operas, The Veiled Prophet of Khorassin, produced at Hanover in 1881, Savonarola, at Hamburg in 1884, The Canterbury Pilgrims, written for the Carl Rosa Company, and produced also in 1884, while Shamus O'Brien has recently been brought out by the same company. Dr. Stanford has written much chamber music of great interest. It has been well said that he should be appointed composer to the Admiralty, for his choral ballads. The Revenge and The Battle of the Baltic, breathe the true British sea-dog spirit. He has done much excellent work as Conductor of the Musical Society of Cambridge, of which University he MUSIC IN FRANCE AND ENGLAND. 45 1 is now Professor of Music, in succession to the late Sir G. A. Macfarren ; he is also Professor of Composition at the Royal College. Sir John Stainer, the Professor of the sister University, was brought up in the choir of St. Paul's Cathedral, where he succeeded Sir John Goss as organist in 1872, having in the meantime held the like office at Sir F. A. Gore Ouseley's College at Tenbury, at Magdalen College, Oxford, and to the University of Oxford. He raised the choir of St. Paul's to the high pitch of excellence which it still maintains under Sir G. Martin, but in 1888, threatened blindness compelled him to resign the office. He had, however, succeeded Mr. John HuUah as Govern- ment Inspector of Music in Elementary Schools, an office which he still holds, together with his professorship. As a composer, he has produced an oratorio, Gideon, a cantata, The Daughter of J aims, and much service music. We must not conclude these notices without mention- ing Mr. F. H. Cowen (born 1852), a composer of much grace and delicacy, with remarkable skill in orchestration, as witness his charming orchestral suite. The Language of Flowers. His opera Pauline was brought out by the Carl Rosa Company, and had but a short run ; his operatic ventures have not been fortunate, owing, perhaps, to a certain want of vigour. Among the younger musicians of promise may be mentioned Messrs. Hamish McCunn, E. German, and Arthur Somervell. A few words must be said on one or two of those societies which have done so much to advance the cause 452 THE HISTORY OF MUSIC. of music in England. And first we must place the Philharmonic Society, founded in 1813 at the suggestion of J. B. Cramer, Corri, and Dance, which, having passed through occasional times of trouble, is still vigorous. The main object of the Society is the adequate per- formance of orchestral music, and this aim is kept well in view. The Sacred Harmonic Society — now, alas ! a thing of the past — rose from the most humble beginnings, — the meetings of a few amateurs at Gate Street Chapel, Lincoln's Inn, for the practice of oratorios, in the year 1832. In 1834 it had gained strength enough to move to Exeter Hall, where it gave its concerts in the minor hall. It was not till 1836 that it ventured on taking the large hall for a charity performance, which was so successful that it continued to give its concerts in it. The Society was conducted by Mr. Surman, a man of great zeal, but with insufficient qualifications for the wants of such a body ; and in 1 848 Mr. Costa consented to become its conductor. The change at once produced the most happy results. All the principal oratorios were given in an adequate manner, with the assistance of the best vocalists obtainable. The Society gained additional glory by its management of the Handel Festivals at the Crystal Palace. In 1880 Exeter Hall became jio longer avail- able, and the Society was compelled to migrate to St. James's Hall, which afforded inadequate accommodation for perforniance on the accustomed scale. The fortunes of the Society gradually drooped, and it finally was MUSIC IN FRANCE AND ENGLAND. 453 decided to dissolve it, after an existence of fifty years, during which it had done a noble work in popularising the finest compositions of the greatest masters. Among the most successful undertakings have been the Monday Popular Concerts, which have been the means of enabling the public to become acquainted with chamber music in a way which was previously impossible. The only opportunities for hearing such music were the Musical Union of the late Mr. Ella, the subscription to which was to most people prohibitory, and the occasional performances of artists who ventured on giving a series of quartet concerts. St. James's Hall is crowded twice a week during the winter by an audience which follows the performance with the deepest interest, while a constant succession of orchestral concerts of a high character is given in the spacious and admirably arranged Queen's Hall, which has been recently added to the concert rooms of London. A great help to the advance of music has been the greatly reduced prices at which the best works are now obtainable. The pioneers in this movement were Messrs. Novello, whose octavo oratorios have had a marvellous sale. Their example has been followed on the Continent by Messrs. Peters and Messrs. Litolff, who publish most of the classics at prices within the reach of all. Musical education in its higher walks has been well provided for. The Royal Academy of Music, founded in 1822, has turned out the majority of our orchestral players and many excellent singers. The Royal College 454 THE HISTORY OF MUSIC. of Music at South Kensington is doing a good work, while the Corporation of the City of London has founded a music school of its own with a large number of pupils. A vast number of chorus singers owed their training to the classes of the late Mr. John Hullah, who adopted the Wilhelm system of teaching. But among the most extraordinary movements has been the Tonic Sol-fa, which owes its success to the energy of the Rev. J. Curwen and his son Mr. J. S. Curwen, and counts its pupils by hundreds of thousands. So much activity belies the often repeated assertion that the English are not a musical nation, and it is certain that in no other country is so sound a musical training placed within the reach of every one, and in no other capital in the world can an adequate reading of the masterpieces, orchestral and otherwise, of the great composers be so frequently heard, and nowhere can be found more attentive and discriminating audiences. MUSIC IN FRANCE AND ENGLAND. 455 BIBLIOGRAPHY. Pougin, Arthur. M6hul, sa Vie, son Genie, son Caractere. Paris, i88g. 8vo. Boieldieu, sa Vie, ses QEuvres, son Caractere. Paris, 1885. i2mo. ■ Auber, ses Commencements, les Origines de sa Carriere. Paris, 1873. ]2mo. Jouvin, B. D. F. E. Auber, sa Vie et ses QEuvres. Paris, 1864. Bvo. Herold, sa Vie et ses CEuvres. Paris, 1868. 8vo. (For Meyerbeer see last chapter.) Pougin, A. F, Hal6vy, ecrivain. Paris, 1865. 8vo. HaUvy, Leon. F. Halevy, sa Vie et ses CEuvres. Paris, 1863. 8vo. Pougin, A. Adolphe Adam, sa Vie, sa Carrifere, ses M6moires. Paris, 1877. i2mo. Martinet, Andre. Offenbach, sa Vie et ses CEuvres. Paris, 1877. . i2mo. (Berlioz, Hector.) M6moires de Hector Berlioz. Paris, 1878. 2 vols., i2mo. — Correspondance in^dite de. Paris, 1878. i2mo. ■ Lettres intimes. Paris, 1882. i2mo. (Life and Letters of Berlioz, translated by H. M. Dunstan. London, 1882. 2 vols., 8vo.) ytiUien, Adolphe. Hector Berlioz, sa Vie et ses CEuvres. Ouvrage orne de quatorze lithographies originales par M. Fantin-Latour, de douze portraits . . . caricatures, etc. Paris, 1888. 4to. Azevedo, Alexis. F^licien David, sa Vie et son CEuvre. Paris, 1863. 8vo. Pigot, Charles. Georges Bizet et son CEuvre. Paris, 1886. izmo. Karasowski, Moritz. Friedrich Chopin, sein Leben, seine Werke und Briefe. Dresden, 1877. 2 vols., 8vo. (Translated by Emily Hill, London, 1879. 2 vols., 8vo.) 456 THE HISTORY OF MUSIC. Niecks, Frederick. Frederick Chopin as a Man and Musician. London, 1881. 2 vols., 8vo. Audley, Mdme. A. Frederic Chopin, sa Vie et ses CEuvres. Paris, 1880. i2mo. Barrett, Wm. Alexander. Balfe: His Life and Work. London, 1882. 8vo. Pougin, Arthur. William Vincent Wallace : Etude biographique et critique. Paris, 1866. 8vo. Hogarth, George. The Philharmonic Society of London ; from its foundation in 1813 to its fiftieth year, 1862. London, 1862. 8vo. Bowley, R. K. The Sacred Harmonic Society : a Thirty-five years' Retrospect, from its commencement in 1832 to its five hundredth concert in Exeter Hall, 13th December, 1867. London (privately printed), 1867. 8vo. Sacred Harmonic Society. Annual Reports. Cazalet, Rev. W. W. The History of the Royal Academy of Music, compiled from authentic sources. London, 1854. 8vo. Willeby, Charles. Masters of English Music. London, 1893. 8vo. INDEX Abhandlung von der Fuge, by Marpurg, 170. Aira^am, oia.tovio by Lindpainter, 339. Abt, Franz (1819— 1885), 371. A6u Hassan, operetta by Weber, 334. Academy of Antient Musick, 234. Accompaniments, additional, by Franz, 393. Acts and Galatea, cantata by Handel, 210, 217. Adam, Adolphe (1803 — 1856), 409, 416. Adam and Eve, opera by Theile, 154. Adam de la Halle. See " Halle, Adam de la." Adams, Thomas (1785—1858), 445. Addison, remarks in the Spectator on Italian opera, 204; his opera Rosamund, it. Adelaide, song by Beethoven, 290, 295. Adm.eto, opera by Handel, 2 14. Africaine, opera by Meyerbeer, 415. Agnese, opera by Paer, 308. Agricola, J. F. (1720^1774), 151. Agrippina, opera by Handel, 160. Ah! how, Sophia, Callcott's catch, 236. Ah! perfido, scena by Beethoven, 295. Ahimelek, opera by Meyerbeer, 339. Aichinger, Gregoir (1565 — ), 73- Aida, opera by Verdi, 320. Albert V. of Bavaria, Duke, his friendship for Orlando di Lassus, 63. Albert! (1685— ), 106. Albinoni, T. (1674 — 1745), 106. Albion and Albanins, opera by Grabu, 184. Albrechtsberger, J. G. (1736 — 1809), 288. Alceste ; ou, Le Triomphe d'Alcide, opera by LuUy, 125. Alcestis, opera by Gluck, 174, 259, 387. Alcina, opera by Handel, 221. Alcock, Dr. John (1715 — 1805), 239. Alessandro, opera by Handel, 214. Alexander Balus, Handel's oratorio, 227. Alexander's Feast, cantata by Handel, 221, 223. AUegri, Gregorio (1560 — 1652), 70, 278. Allison, Richard (1565P]— ), 90. Almira, opera by Handel, 1 59, 160. Alonzo et Cora, opera by Mehul, 406. Altnikol, J. C, 151. Amadigi, opera by Handel, 208, 209. Amati, Andreas ( — I577['?])r 54i Amber Witch, opera by \A'. \'. Wallace, 441. Amilie ; or. The Love Test, opera by Rooke, 439. Ambrose, St. (340 — 397), collects the ancient Church melodies, 2 ; his reforms in Church Music, ib. Amour Medecin, incidental music to, by Lully, 122. Amphion Angliczis, collection of songs by Dr. Blow, i86. Amphitryon, Diyden's, incidental music by Purcell, 192. Anacreon, opera by Cherubini, 306. 457 458 INDEX. Ancient Christian melodies, corrup- tion of, 2. Ancient music, exaggerated appre- ciation of, at the Renaissance, 92. Andromeda, words by Corneille, music by D'Assoucy, 118. Anerio, Felice (1560 — ), 70. Anerio, Francesco (1567 — ), 70. Angels ever Bright and Fair, song from Handel's Theodora, 227. " Anglican " chant, introduction of, 186. Animuccia, Giovanni (1505 — 1 571), 70, 98. Anjou, Count of, 14. Anna Bolena, opera by Donizetti, 315- '• Antient Concerts," 192, 234. Antigone, opera by Hasse, 165. music to, by Mendelssohn, 355- Antiphonarttim of St. Gregory, 3, 4. A peine au sortir de I'etrfance, air from '^€aKX% Joseph, 406.. Arcadelt,Jacques(i49o[?]— 1575P]), 61. Archlute, 48. Ariana, opera by Monteverde, 95. Ariane; ou, Le Mariage de Bacchtis, opera by Cambert, 119, 201. Arianna, opera by Handel, 220. Ariodante, opera by Handel, 221. Ariosti, Attilio (1660— ), 157, 211. Arkwright, G. E. P., his editions of madrigals, etc., 86. Aries, sculpture at, 31. Armide, opera by Gluck, 260. -^ — opera by LuUy, 126, 129. Arminio, opera by Handel, 221. Arnaud, Abbe, (1721 — 1784), 252, 260, 261. Arne, Thomas Augustine, Mus. Doc. (1710 — 1778), 204, 229; his Arta^ xerxes, 204, 230, 233. Arne, Miss (Mrs. Gibber), singer (1714— 1760), 217. Arne, Mrs. (Cecilia Young) ( — 179s), singer, 230. Arnould, Sophie (1744 — 1802), singer, 267. Aron Pietro (i49o[?}— ), 72. Ars Canendi of Sebaldus Heyden, 78. Arsinoe, Queen of Cyprus, opera by Clayton, 203. Art of Music, The, by C. H. H. Parry, 450. Ariaserse, opera by Hasse, 220. Artaxerxes, opera by Dr. Ame, 230, 233- Artusi, G. M. (i554— ), 97- Ascanio, opera by Saint-Sagns, 428. Ascribe unto the Lord, anthem by S. S. Wesley, 446. As from the power, chorus from Handel's Ode for St. Cecilids Day, 223. Astarto, opera by G. B. Buononcini, 212. Astorga, Baron E. (1681 — 1736), 234- As when the dove, air in Handel's Ads and Galatea, 210. Atalanta, opera by Handel, 221. Athalie, music to, by Mendelssohn, 355- Atterbury, L. (c. 1740 — 1796), 239. Attwood, Thos. (1767— 1838), 286, 303> 445- Atys, opera by LuUy, 127. Auber, D. F. E. (1782— 1871), 409. Augelletti che cantate, air from Handel's Rinaldo, 206. Aureng-Zebe, Dryden's, music for, composed by Purcell, 190. Aus Holberg's Zeit, suite by Grieg, 402. Ave Verum, by Mozart, 286. Aveux Indiscrets, Les, opera by Monsigny, 257. Avison, Charles (1710 — 1770), 103. Bach, Carl Philipp Emmanuel (1714—1788), 144, 150, 270. Bach family, tlie, 138. Bach, Johann Christian (1735 — 1782), 150. 'Bach, Johann Sebastian (1685— 1750)1 140; appointed organist at Arnstadt, ib. ; at Muhlhausen, 141 ; and at Weimar, 142 ; enters INDEX. 459 service of the Prince of Anhalt- Coethen, ib. ; appointed " Cantor" of the Thomas-schule, Leipzig, 143 ; visit to Potsdam, 144 ; his death, 146 ; his works, tb. ; the B minor mass, 147 ; his writings for the harpsichord, ib.; his pupils, 151 ; — 162; his St. Matthew's Passion produced by Mendels- sohn, 350. Bach, Wilhelm Friedemann (1710 —1784), 150- 162. Baermann, H. J., clarinettist (1784 — 1847), 334. Bagpipes, 29 ; Calabrian, 29, 30 ; Scotch, ib. ; Irish and Lowland Scotch, ib. Baillot, P. M., F. de S. (1771— 1842), 433- Balfe, M. W. (1808—1870), 439. Ballad operas, English, 233. Ballet Comique de la Royne, J 13. Ballets, popularity of, 1 14. Ballo in Maschera, opera by Verdi, 320. Banister, John (1630— 1679), his concerts, 234. Barbaja, D., impresario (1778— 1840.310- ^ . ,. Barbiere di Sevtgha, opera by Paisiello, 311. Rossini, 310, 311. Bardes, Les, opera by Lesueur, 407. Barker, C. S., inventor of pneumatic action for organ (1806— 1879), 433- Barnard, Rev. John, his collection of Church Musick, 88, 195. Barnett, John (1802—1890), 44i- Barrington, Hon. Daines, his ac- count of Mozart, 277. Basilius, opera by Keiser, 1 54. Bassani, G. B. (i657[?]— 1716), 104. Bassoon, 37. Bates, Joah (1740— 1799), 235- Bateson, Thomas (1575P]— ),84. Batiste, A. E. (1820— 1876), 434. Battishill, Jonathan (1738—1801), 195. Battle of the Baltic, Choral Ballad by Stanford, 450. Bauderon, Antoine, his Lettre de Clement Maroi, 128. Bayreuth, Theatre at, 386. Bazzini, Antonio (1818 — 1897), 326. Beatrice et Benedict, opera by Ber- lioz, 418. Beaujoyeulx, Baltasar de, 1 14. Beaulieu (living 1^82), 114. I Bedford, Rev. Arthur, his Great j Abuse of Musick, 200 ; Temple \ Musick, ib. Beethoven, L. van: his birth and education, 286 ; first visit to Vienna, 287 ; the Breunings and Count Waldstein, ib. ; second visit to Vienna, ib. ; fixes his residence there, 288 ; the Schup- panzigh quartet, ib. ; his piano- forte playing, 289 ; his three styles, 290 ; his symphonies, 303 ; the Rasoumoffsky quartet, 291 ; Mount of Olives, ib. ; his opera Fidelio, ib. ; his deafness, ib. ; relations with his nephew, 292 ; his third manner, 293 ; his method of working, 294 ; Spohr's opinion of, 346 ; Monument at Bonn, 375 ; 304. 353. 379- Beggar's Opera, The, 215. Belisario, opera by Donizetti, 315. Bellamy, Richard (1745P]— 1813), 239- Belle HeUne, La, opera by Offen- bach, 417. Belleville, 116. Bellini, Vincenzo (1802 — 1835), 314, 315- Bells, 24. Belshazzar, Handel's oratorio, 226. oratorio by Carissimi, 99. Benedict, Sir Julius (1804—1885), 442. Bennett, Sir W. Sterndale (1816— 1875). 362, 442. Benvenuto Celltni, opera by Berlioz, 418. Berg, Adam, Patrocinium Musices of, 65. Berger, Ludwig (1777— 1838), 348. Bergere Chatelaine, La, opera by Auber, 410. 46o INDEX. Berenice, opera by Handel, 221. Beriot, C. A. de (1802 — 1870), 433. Berlin Dom-Chor, 355. Berlioz, Hector (1803—1869), his education, 417 ; early works, 418 ; becomes musical critic, ib. ; mar- riage, ib. ; his operas, ib. ; sym- phonies, 419 ; LEnfance du Christ, 420 ; La Damnation de Faust, ib. 379. Bertolazzi, Margarita, singer, 117. Berton, H. M. (1767— 1842), 407. Beyle, H., on opera in Italy, 303. Beza, Theodore, completes Marot's translation of the Psalms, 112. Bid me discourse, song by Bishop, 438. Bigot, Madame M. (1786— 1820), 348. Binchois, Egidius (1400 — 1465), 56, 59- Biographte des Musidens of F6tis, 253. 435- Birds, The, of Aristophanes. Music by C. H. H. Parry, 450. Birmin^am Musical Festival, 353. Bishop, Sir H. R. (1786—1855), 438. Bizet, Georges (1838 — 1875), 422. Blest pair of sirens, glee by J. Stafford Smith, 239. Blondeau de Nesle, 15. Blow, Dr. John (1648— 1708), 181, 184, 188, 190, 191, 193, 198. Blow, thou wintry wind, air by Dr. Arne, 230. Boccherini, Luigi(i74o — 1805), 323. Boethius (455 — 526), author of first Latin treatise on music, 11, 72. Boheme, La, opera by Puccini, 323. Bohemian Girl, The, opera by Balfe, 439- Boieldieu, F. A. (1775 — 1834), 408. Boito, Arrigo, 321, 322. Bonanni, his Gabinetto Armonico, 21. Bonaparte, Jerome, King of West- phalia, 292. Booke, The, of Common Praier Noted, 81. Borjon, C. E., his Traite de la Musette, 134. Borodin, Alesander (1834 — 1887), 401. Borromeo, Cardinal, 68. Bortniansky, D. (1752 — 1828), 398. Boscherville, bas-relief of concert at, 50, 51. " Bouffons," " Guerre des,'' 251, 388. Bourgeois Gentilhomme, Le, inci- dental music to, by LuUy, 122. Boyce, Dr. William (1710 — 1779), 195 ; his Cathedral Music, ib. Brabant, Duke of, 14. Bracegirdle, Mrs., singer (1663 — 1748), 203. Brady and Tate, their " New Ver- sion " of the Psalms, 90. Braham, John (1774 — 1856), 227, 337- Brahms, Johannes, 362, 390. Brasseur de Preston, Le, opera by A. Adam, 416. Braut von Messina, overture by Schumann, 366. Breitkopf and Hartel, their edition of Palestrina's works, 70. Breuning, von, family of, 287. Brides of Venice, opera by Benedict, 442. Britten, Thomas, "the musical small-coal man" (1651 — 1714), 231- 234- Broschi, C, 212, 220. Brouncker, Lord, his translation of Descartes' Compendium Musicce, 134- Bruch, Max, 395. Brumel, Antonio (1460P] — 15 — ), 61. Bruneau, Alfred, 430. Bull, Dr. John (1563P]— 1628), 86, 87. Buononcini, G. B. (i665[?]— 1750), 157, 170, 212, 218 M. A. (1655 — 1726), 203. Burney, Dr. (1726 — 1814), his edition of music for Holy Week sung in the Sistine Chapel, 70 his Histmy of Music, 240. INDEX. 461 Buxtehude, Dietrich (1637 — 1707), 137, 140, 158. Byrd, Thomas, 88. William (1537I;?]— 1623), 82 ; his patent for printing music with Tallis, ib. Caccini, Giulio (i558[?] — 1640), 94. Cadi Dupe, Le, opera by Monsigny, 257. Cadmus, opera by LuUy, 126. Caduta de' Giganti, opera by Gluck, 232. Cmcilia, Musical Journal, 330. Cacilien-Verein at Frankfurt, 353. CafRarelli, G. M. (1703— 1783), 104. Caid, La, opera by Amb. Thomas, 423- Caldara, Antonio (1678 — 1763), 170, 173- Calife de Bagdad, Le, opera by Boieldieu, 408. Callcott, Dr. J. W. (1766— 1821), 236, 239. Calm Sea and Prosperous Voyage, overture of Mendelssohn, 350. Calvary, oratorio of Spohr, 344. Calvin on sacred music, 112. Calzabigi, poet, writes , Gluck's libretti, 174. Camacho's Wedding, opera by Mendelssohn, 349. Cambert, Robert (1628 — 1677), 118 ; his opera, Lji Pastorale, 119 ; his Ariane; ou, Lx Mariage de Bacchus, ib. ; his Pomona, 120 ; supplanted by Lully, 124, 128, 201. Cambiale di Matrimonio, opera by Rossini, 309. Camilla, opera by M. A. Buonon- cini, 203. opera by Paer, 321. Campanile, 24. Campra, Andre (1660— 1744), 132. Canterbury Pilgrims, The, opera by C. V. Stanford, 450. Cantiones Sacra, by Tallis and Byrd, 82. Capistrum, or mouth bandage, 27. Cara sposa, air from Handel's Rinaldo, 206. Carestini, Giovanni, singer (1705 — 1763), 220, 221. Carey, Henry (1685P] — 1743), 230. Carillon, 25. Carissimi, Giacomo (i6o4[?] — 1674), 99. Carmen, opera by Bizet, 423. Castor et Pollux, opera by Rameau, 248. Catch Club, Noblemen and Gentle- men's, 238. Catch that catch can, 88. Catch, the, 236. Cathedral music, Boyce's collection of, 195. Cathedral Service, Short Direction for the Performance of, by E. Lowe, 186. Catherina Cornaro, opera by Lachner, 340. Catone, opera by Leonardo Leo, 218. Caurroy, Eustache de(i549 — 1609), 116. Cavaliere, Emilio del (i55o[?] — 1598P]), 94,95. 99- Cavaill6-Col, organ-builder, 433. Cavalleria rusticana, La, opera by Mascagni, 323. Cavalli, P. Francesco (i59g[?] — 1676), 98. Cazotte, Jacques (1720 — 1793), 252. Cecilia, St., Cologne, bell at, 25. Cecilia's (St.) Day, 193, 194. Cecilia's Day, Ode for St., Handel's, 223. Cendrillon, opera by Isouard, 408. Cenerentola, opera by Rossini, 310. Cesti, Marco Antonio (1620 — 1675), 98. Chalet Le, opera by Adolphe Adam, 416. Chalumeau, 37. Champeron finances the opera founded by Perrin and Cambert, 119. Chandos Anthems and Te Deutns, Handel's, 209. Duke of, 209. 462 INDEX. Change-ringing, 26. Chant du Depart, by M6hul, 406. Chant sur le Livre, 14. Chanterelle, 47. Chantilly, Mademoiselle, singer (Madame Favart), 377. Chapel Royal, London, at the Re- storation, choir of, 179 ; introduc- tion of instrumental music in, 182. Chappell, Mr. W., his Popular Music of the Olden Time, fac- simile of Sumer is icumen in, Charlemagne endeavours to intro- duce uniformity of ritual, 4; re- ceives an organ from Haroun Alraschid, 32. Charles II. of England, music at his court, igg. VI., Emperor of Austria, 171. ■ VII., of France, 59. VIII. of France, 59. IX. of France, III. Charles de France, opera by Boiel- dieu and Harold, 412. Charmante Gabrielle, the air, 116. Chasse du jeune Henri, Le, opera by M6hul, 406. Che faro senza Euridice, from Gluck's Orfeo, 174. Chelys. See '^Division Violist, Simpson's." Cherubini, M. L C. Z. S. (1760— 1842), 305 ; settles in Paris, 306 ; relations with Napoleon, 307 ; his sacred music, ib. ; his death, 308. 232, 349, 372, 407, 408, 410, 412,418. Chest of Viols, 52. Cheval de Bronze, Le, opera by Auber, 411. Child, Dr. William (1606— 1697), 181. Chimay, Prince de, 307. Chimes, 25. Chittarone, 48, 95. Choir-schools, established by St. Gregory, 4. Chopin, F. (1809 — 1849), his career and works, 431 ; 362. Chorales, introduction of, 73. Choral symphony of Beethoven, 293- Choron, A. E. (1771— 1834), 434. " Chorus " (musical instrument), 28. Chough and Crov, The, glee by Bishop, 438. Christian religion, effect of on music, 2. Christophe Colomb, symphony by F6licien David, 422. Christus, fragment of oratorio by Mendelssohn, 356. Chrysander, Dr. F., his edition of Carissimi's oratorios, 99 ; Life of Handel, 209. Cibber, Mrs., singer (1714— 1766), 203. Cimarosa, Domenico (1749 — 1801), 304- Cinq Mars, opera by Gounod, 426. Cithara, Hebrew, 22 ; describe d by Gerbert, 39. Clapisson, A. L. (1808— 1866), 417. Clarionet, 37. Clark, Dr. Jeremiah(i668[?]— 1707), 187. Clavichord, 44. Clavicytherium, 44. Clayton, Thomas (i665[?]— ),203, 204. Clemens non Papa (first half 1 6th century), 61. Clementi, Muzio (1752 — 1832), 370, 437- Clemenza di Tito, opera by Mozart, 284. Cleopatra, opera by Mattheson, 158. Climene, opera by Sacchini, 304. Clovig, baptism of, 3 ; treaty with Theodoric, ib. "Coin du Roi," "Coindela Reine," 251. Colasse, Pascal (1639P] — 1709), 130. Colbran, Isabella A. (1785 — 1845), (Madame Rossini), 311. Cologne, bell at, 25. Colporteur, Le, opera by Onslow, 421. Colomba, opera by Mackenzie, 449. INDEX. 461 Colombe, La, opera by Gounod, 426. Columbus, overture by Wagner, 379- Comala, cantata by Gade, 402. Come if you dare, from Purcell's King Arthur, 192. Com,e unto these yellow sands, from Purcell's Tempest, 192. Commandments, Matthew Lock's responses to, 181. Compendium of Practical Mtisick, Simpson's, 198. Comte Ory, Le, opera by Rossini, 312. " Concert of Antient Musick," 234. Concertos, organ, by Handel, 225. Concert-Stuck of Weber, 338. Concerts, early, in England, 234. Concerts spirituels, founded by A. D. Philidor, 265. Consolations des Miseres de ma Vie, songs by J. J. Rousseau, 256. Constantine, Christian worship under, 2. Constantine Copronymus sends an organ to P6pin, 32. Contarini, opera by Pierson, 447. Contrabasso introduced into French orchestra by Mouteclair, 134. Contralto voice, rarity of, in France, 259. Contrapunto a mente, 14. Cooke, " Captain " Henry (i6lo[?] —1672), 180, 181, 183, 184, 187. Cooke, Dr. Benjamin (i732[?]— 1793). 195- 239- Corelli, Arcangelo (1653 — 1713), 104, 161, 192. Corneille, P., writes words of the ofexz. Andromeda, 118. Cornemuse, or bagpipes, 29, 30. Coronation anthems by Handel, 215. Cost fan tutte, opera by Mozart, 283. Costa, Sir Michael (1810— 1884), 443, 452. Costama e Fortezza, opera by Fux, 171. Cotton, John (nth century), his explanation oi organum, 13. Coucy, Cliatelain de ( — 1192), 14. Couperin, family of the, 266. Coussemaker, C. E. H. de (1805 — 1876), on early harmony, 12 ; his collection of the works of Adam de la Halle, 16, and of liturgical dramas, 17 ; on manuscript of Sumer is icumen in, 80. 436. Cowen, F. H., 451. Cramer, J. B., pianist (1771— 1858), 369, 437, 452- William, violinist (1745 — 1799), 273. 439- Creation, oratorio by Haydn, 273, 275. 37°- Cremona violins, 54. Cretin, Deploration snrlc Trcpas de feu Okeghem, 59. Cristofali, Bartolomeo (1651 — 1 731), inventor of pianoforte, 46. Critica Musica, Mattheson's, 163. Croce, Giovanni della (i55o[?] — 1609), 72. Crociato, II, opera by Meyerbeer, 339- Croft, Dr. William (1677 — 1727), 187, 188, 195. Cromwell, 179. Crotala, 24. Crusaders, The, opera by Benedict, 442. cantata by Gade, 402. Crwth, 48. Cui, C6sar, 400. Curschmann, C. F. (1805 — 1841), 371- Curwen, Rev. J., 454. Cuzzoni, Francesca, singer (1700 — 1770), 212, 213, 215, 219. Cymbals, 24. Czar und Zimmerman7t, opera by Lortzing, 340. Czemy, Carl (1791 — 1857), 300. Dafne, by Jacopo Peri, 94, Dalayrac, N. (1753 — 1809), 405. D'Alembert, J. Le R. (1717— 1783), 244, 254, 260. Damasus, Pope, introduces chanting the Psalms, 3. 464 INDEX. Dame Blanche, La, opera by Boiel- dieu, 408, 409. Damnation de Faust, cantata by Berlioz, 420. Danaides, Les, opera by Salieri, 261, 301, 305. Danby, John (1757 — 1798), 239. Danican. See "Phiiidor." Danjou, F. (1812— 1866), 435. Danse Macabre, Po^me Symphon- ique by Saint-Sagns, 427. Dante Symphony, by Liszt, 374. Dardanus, opera by Rameau, 248. D'Assoucy, C. Coypeau (1604 — 1679), 118. Daughter of Jairus, The, cantata by Stainer, 451. David, Felicien (1810 — 1876), 241. Ferdinand (1810 — 1873), 346, 352, 355- Davidsbilndler, the, 361. Davis, Mrs. Mary, singer, 203. Deborah, oratorio by Handel, 218. Deeper and deeper still, recitative from Handel's /le^A^Aa, 227. Deidamia, opera by Handel, 222. De la Rue, Pierre (second half 15th century), 61. Delivrance de Renaud, ballet of, 116. Demon, The, opera by Rubinstein, 400. Demophoon, opera of Cherubini, 306. Descartes, R6n6 (1596 — 1650), his Compendium Musicce, 134. Desert, Le, ode-symphony of F6licien David, 421. Deserteur, Le, opera by Monsigny, 258. Desmarets, Henri (1662 — 1741), 130. Destouches, A. C. (1672 — 1749), 132. Dettingen Te Deum, Handel's, 226. Deuteromelia, by T. Ravenscroft, 88. Deutsches Requiem, by Brahms, 392. Deux Joumees, Les, opera by Cherubim, 306. .Devindu Village, Lc, opera by J. J. Rousseau, 255. Dezede (1740 — 1793), 256. Diabelli, the publisher, 298. Diamants de la Couronne, opera by Auber, 411. Diaphony, or organum., 11. Dibdin, Charles (1745 — 1814), 233. Dictionary Musical, of Tinctoris, 60. Dictionnaire de Musique, by J. J. Rousseau, 254. Diderot, D. (1712— 1784), 254. Dido and jEneas, opera by Purcell, 191. Dinorah (Pardon de Ploermel), opera by Meyerbeer, 415. Diocletian; or, The Prophetess, in- cidental music by Purcell, 192. Discant, introduction of the, 13. Discord, dire sister, glee by S. Webbe, 238. Division Violist, Simpson's, 199. Dodecachordon of Glareanus, 57. Doles, J. F. (1715—1797), 152. Dom-Chor in Berlin, 355. Domino Noir, Le, opera by Auber, 411. Don Carlos, opera by Costa, 443. Don Carlos, opera by Verdi, 320. Don Giovanni, opera by Mozart, 282. Don Pasquale, opera by Donizetti, 315- Don Quixote, opera by G. A. Mac- farren, 441. Donizetti, Gaetano (1798 — 1848), 314- Donna del Lago, La, opera by Rossini, 310. Douland, John (1562 — 1626), 90. Draghi, Antonio (1642 — 1707), 170. Dragon of Wdntley, burlesque opera by J. F. Lampe, 230. Drums, 23. See also " Kettle- drums." Dryden, John, poet, 184, 190, 192, 221. Dublin, Handel's visit to, 224. Duenna, The, opera by Linley, 233. Dufay, Guillaume (1350 — 1432), 56. Duiffoprugcar, Caspar (first half 1 6th century), 54. Dulcimer or psaltery, 43, 46. INDEX. 465 Dunstable, John of (c. 1400 — 1458), 56, 80. Dupuis, Dr. T. S. (i 733— 1796), 195. Durante, Francesco (1684— 1755), 100, 304. Durastanti, Signora, singer (18th century), 212. D'Urfey, Thomas ( —1723), 187 ; - his Wit and Mirth; or, Pills to Purge Melancholy, 200. Dussek, J. L. (1761 — 1812), 367. Dvorak, Antonin, 394. Early history of music, i . Early secular music, 14. Earthly and Heavenly in Man's Nature, symphony by Spohr, 345. Eberlin, J. E. (1702— 1762), 276. Echo et Narctsse, opera by Gluck, 261. Eclair, L\ opera by Hal^vy, 416. Edward VI., Reformed Prayerbook of, 80. Edwards, Richard (1523— 1566), 81. Ehrenpforte Grundlage einer, by Mattheson, 164, 172. Ein'feste Burg, the chorale, 73. Elegie of Ernst, for violin, 372. Eli, oratorio by Costa, 443. Elijah, oratorio by Mendelssohn, 355. 356, 357- Elisabeita, opera by Rossini, 310. Elisa e Claudio, opera by Merca- dante, 315. EKsir d" Amore, L, opera by Doni- zetti, 315. . Elizabeth, Queen, her fondness for the virginal, 44 ; celebrated in the Triurnphs of Oriana, 85. Ella, J., his " Musical Union," 453. Emma di Risburgo, opera by Meyerbeer, 339. Encyclopedie, L', J. J. Rousseau's articles in, 254. Enfance du Christ, L', oratorio by Berlioz, 420. Enfant prodigue, L, opera by Auber, 411. Engel, Carl, catalogue of musical instruments in the South Kensing- ton Museum, 21. EntfUhrung aus dem Serail, opera by Mozart, 280. Envy, eldest-bom of Hell, chorus from Handel's Saul, iii,. Epine, Margherita de 1' ( — 1746), 203. Episode de la Vie dun Artiste, symphony by Berlioz, 419. Equal temperament advocated by Bach, 148. Erasmus, Desiderius, 57. Ercole d'Este, Duke of Ferrara, 60. Erinnyes, Les, opera by Massenet, 429. Erl King's Daughter, The, cantata by Gade, 402. Erlkonig, Der, song by Schubert, 296, 298. Emani, opera by Verdi, 319. Ernst, H. W. (1814— 1865), 372. Escobedo, Bartolomeo (15 10 — ), 70. Esmeralda, opera by A. Goring Thomas, 447. Essais sur la Musique, by Grfitry, 264. Esther, Handel's oratorio, 210, 217. Est's Psalms, 90. Etoile du Nord, L, opera by Meyerbeer, 414. Eugen Onegin, opera by Tschaik- owsky, 400. Euphrosine et Coradin, opera of Mehul, 406. Euridice, by Rinuccini, set to music both by Peri and Caccini, 94. Euryanthe, opera by Weber, 336, 338- Eusebius and Florestan, 361. Ezio, opera by Handel, 217. Fairfax, Dr. Robert (second half 15th century), 80. Fall of Babylon, oratorio by Spohr, 344- Falstaff, opera by Balfe, 439. opera by Verdi, 321. Famille Suisse, La, opera by Boieldieu, 408. Fanatico per gli antichi Romani, opera by Cimarosa, 304. 30 466 INDEX. Fanchon, opera by Himmel, 339. Faniska, opera by Cherubini, 307. Faramondo, opera by Handel, 222. Farinelli (Carlo Broschi called) (1705 — 1782), 104, 220, 221. Farmer, John (1 565[?]— ), 90. Farnaby, Giles (1560— ), go. Farrant, Richard (1530P]— 1581), 82. Fausse Magie, La, operft by Gr6try, 264. Faust, cantata, by Schumann, 364, 365- opera by Gounod, 323, 425. opera by Spohr, 343. symphony by Liszt, 374. music to second part of, by Pierson, 447. Faustina Bordoni, wife of Hasse (1700— 1783), 166, 213. Faux Lord, Le, opera by Gossec, 256. Favart, Madame, singer and dancer (1727—1772), 267. Favorita, La, opera by Donizetti, ■ 315- Feen, Die, opera by Wagner, 376. Feldlager in Schlesien, opera by Meyerbeer, 414. Fenton, Lavinia (Duchess of Bolton) (i8th century), 216. Feramors, opera by Rubinstein, 400. Femand Cortez, opera by Spontini, 316, 334. Ferrari, Benedetto ( — 1681), 98. Festes de I' Eie, opera by Mont6clair, 134- Fetes de T Amour et de Bacchus, opera by LuUy, 124. F6tis, F. J. (1784 — 1871), remarks on Guido d'Arezzo, 10 ; 253, 435- Fiancee, La, opera by Auber, 411. Fidelia, opera by Beethoven, 291. Field, John (1782— 1837), 437- Figlia del Reggimento, La, opera by Donizetti, 315. Fingal's Cave, overture by Men- delssohn, 351. Finta Pazza, La, performed in Paris, 1645, 117. Finta Semplice, La, opera by Mozart, 278. Five times by the taper's light, quartet by Storace, 233. Fixed in His everlasting seat, chorus in Handel's Samson, lid. Flageolet, 23, 28. Flavio, opera by Handel, 213. Fliegende Holldnder, Der, opera by Wagner, 344, 379, 380. Flores Musicce, by Hugo von Keutlingen, 75. Florestan and Eusebius, 361. Floridante, opera by Handel, 212. Florid Song, Treatise on the, by Tosi, 170. Flotow, F. F. A. von (1812— 1883), 341- Flute, the, 22, 27 ; double, 27 ; horizontal or " German," 28 ; a-bec, ib. Foire, Th6atre de la, 249. FooUsh Virgins, song of the, 18. Forza del destino. La, opera by Verdi, 320. Foundling Hospital, Handel's interest in the, 226. Four-line staff introduced, 9. Fournival, Richard de (13th century), 14. Fra Diavolo, opera by Auber, 411. Franc, Guillaume (16th century), his music to Marot's Psalms, 1 12. Francis I. of France, iii. Franck, C6sar, 429. Francs Juges, Les, overture by Berlioz, 4181 Franz, R. (181 5 — 1892), 362, 392. Frederick the Great of Prussia, 144, 179, 252. Frederick WiUiam IV. of Prussia, 354- French and Italian music, com- parison between, 251. French singers, 267. Frescobaldi, Girolamo (i 587 — 1654), 108. Freyschiiiz, Der, opera by Weber, 335i 336, 338- INDEX. 467 Froberger, J. J. (1615 — 1667), 137. Froissart, figure of monochord from MS. copy of, 54. Frost scene in Purcell's King Arthur, 192. Fiirstenau, A. 3.(1792 — 1852)1336, ■ 337- Full fathom five, from Purcell's Tempest, 192. Funeral service by Dr. Croft, 188. Fux,Johann Josef (1600 — 1741), 170, 173, 271, 278, 288. Gabinetto Armonico, of Bonanni, 21. Gabrieli, Andrea (15 10 — 1586), 72, 107. • Giovanni (1557 — 1613), 72, 107. Cade, Niels (18 17 — i8go), 362, 402. Gaforius (or Gaffurius) ( 145 1 — 1 522), writer on theory of music, 72. Galatea, dry thy tears, ciiorus from Ads and Galaiea, 210. Galilei, Vincenzo (1533P] — ), his dialogue on the music of the ancients, 93. Gallia, by Gounod, 426. Galuppi, Baldassare (1701 [1706?] —1785), lOI. Gansbacher, J. (1778 — 1844), 330. Gardano, Antonio (i6th century), music printer, 62. Gardiner, Bishop, 81. Garth, John, 103, Gaspar di Salo (end of i6th century), 54- Gastoldi, Giangiacomo (1532 — 1598), 72. Gates, Bernard (1686 — 1773), 217. Gauntlett, Dr. (1806— 1876), 446. Gavinies, Pierre (1728 — 1800), 266. Gavotte of Louis XIII., 114. Gazza Ladra, La, opera by Rossini, 310. Geminiani, F. (i58o — 1762), 106, 230. Genoveva, opera by Schumann, 365. Gerbert, Martin(i720 — I793)(prince abbot of St. Blaise, in the Black Forest), 7, 39, 52. Germany, early history of music in, 73- Gewandhaus concerts, 152, 352. Gheyn, Matthias van den (1721 — 1785), 25. Gibbons, Christopher (1615 — 1676), 181. . Ellis (i58o[?]— 1650), 85. Orlando (1583—1625), his madrigals, 84; his Fantasies in three parts, 86. Gideon, oratorio by Stainer, 451. Gilbert, Gabriel, writes poem of Les Peines et les Plaisirs d'A tnour, opera by Cambert, 121. Ginguen6, P. L. (1748— 1816), 260. Giorno di Regno, Un, opera by Verdi, 319, 321. Giulio Cesare, opera by Handel) 213. Giuramento, II, opera by Merca- dante, 315. Giustiniani's Psalms set to music by Marcello, 102. Giustinio, opera by Handel, 221. Gizziello (Gioacchino Conti called) (1714 — 1761), singer, 221. Glareanus, Henricus Loritus (1488 —1563). 57, 59. 7i' 76. Glee, introduction of the, 237 ; de- finition of, ib. Glinka, M. L (1803 — 1857), 390. Gluck, Christopher Willibald (1714 —1787), 173; his Orfeo, 174; Alcestts, ib. ; principles of dramatic composition, ib. ; Paride ed Elena, I'jd ; Iphigenie en Aulide, ib. ; visits Paris, U). lyy, 258 ; visits London, 232 ; Iphi- genie en Aulide in Paris, 258 ; Orphee, 259 ; Alceste, ib. ; rivalry with Piccinni, ib. ; Armide, 260 ; Iphigenie en Tauride, 261 ; his death, ib. ; 267, 387. Gluckistes and Piccinnistes, con- troversy of the, 259. God is gone up, anthem by Dr. Croft, 188. Godard, Benjamin, 430. Goetz, Hermann (184c — 1876), 396. Gotterdammerung, opera by Wag- ner, 383. 468 INDEX. Golden Legend, The, oratorio by Sullivan, 449. Goldmark, Karl, 395. Gombert, Nicolas (i495— 1570P]). 61. Gordigiani, L, (i8c6— 1860), 323. Gosling, Rev. John (1652— 1733), 191. Goss, Sir John (1800— 1880), 445. Gossec, E. J. (1733—1829), 256. Goudimel, Claude (1510— 1572), 61, 69. Gounod, Charles (1815 — 1893); childhood, 423 ; sojourn in Rome, 424 ; his Faust, 425 ; visit to England, 426 ; his operas, ib. Grabu, Louis (living 1685), 184. Gradus ad Parnassum, by Clementi, 437- by Fux, 172, 270. Grand Cid, II, opera by Sacchini, 304- Grande Duchesse de Gerohtein, La, opera bouiTe by Offenbach, 417. Graner Mass of Liszt, 374. Graun, C. H. (1701 — 1759), 167. Great Abuse of Mustek, Rev. A. Bedford's, 200. Greatorex, Thomg,s (1758— i S3 1), -35- . . . „ Greece, musicians in Rome from that country, i ; musical instru- ments of, 22. Greene, Dr. Maurice (i696[?] — I7S5. 195)- " Gregorian " music, 4. Gregory, St., the great (542 — 604), his services to Church music, 3 ; his method of notation, 4 ; his claim to the invention of neums, ib. Gregory, St., of Tours, 3. Gresham, Sir Thomas, his college, 87. Gretchen am Spinnrade, song by Schubert, 299. •Gretry, A. E. M. (1741— 1813), 262. Grieg, Edward, 402. ■Grimm, F. M. Baron (1723— 1807), 252, 277. ■Grisar, Albert (1808 — 1869), 417. Groppo Antonio, his catalogue of drammi in musica played in Venice, 97. Grove, Sir G., his Dictionary of Music, facsimile of Sumer is icumen in, 79; , 312. Guarnerius, Joseph (1683 — 1745), Guerrero, Francesco (15 18 — 1599), 70. Guesdron, 116. Guido d'Arezzo (c. 990 — 1070), his invention of solfeggio, 9. Guido et Genevra, opera by Hal6vy, 416. Guignon, J. P. (1702— 1775), 266. Guildhall School of Music, 454. Guillaume Tell, opera by Rossini, 312. Guitar, 48. Gumpelzhaimer, Adam (l5^° — )i 137- Giirzenich Concerts, 371. Gustave III., opera by Auber, 411. Gypsy's Warning, The, opera by Benedict, 442. Habeneck, F. a. (1781 — 1849), 433. Handl, Jakob (1550— 1591), 73. Halevy, J. F. F. E. (1799— 1862), 349. 416. Halle, Adam de la (13th century), 15 ; his compositions, 16. Hallelujah Chorus in Handel's Messiak, 225. Hamburg, first public performance of opera given in, 154 Hamlet, opera by Amb. Thomas, 423- Handbuch bey dew. Generalbasse, by Marpurg, 170. Handel, George Frederic (1685 — 1759)1 his youth, 156; settles in Hamburg, 157; relations with Mattheson, ib. ; his opera Almira, 159; and Nero, ib.; visits Italy, 160; appointed Capellmeister at Hanover, 162 ; his arrival in England, 205 ; operatic career, ib. ; Utrecht Te Deum and Jubi- late, 208 ; " Water Music," ib. ; INDEX. 469 enters service of the Duke of Chandos, 209 ; production of his first oratorio, Esther, 210; founda- tion of the Royal Academy of Music, 211 ; coronation anthems, 215; collapse of the Royal Academy, ib. ; partnership with Heidegger, 216; production of Acis and Galatea and Deborah, 217 ; partnership with Rich, 220 ; his bankruptcy and illness, 222 ; his oratorios, 223 ; The Messiah, 224 ; his visit to Dublin, 225 ; his second bankruptcy, 227 ; his blindness, 227 ; and death, 228. Handel, Life of, Ijy Mattheson, 164. Handel's fondness for the trumpet, 37- Hannibal, opera by Keiser, 155. Hansel und Gretel, opera by Hum- perdinck, 396. Hans Heiling, opera by Marschner, 338. Happy we, chorus from Handel's Acis and Galatea, 210. Harmonia Sacra, Play ford's, 198. Harmonic Universelle, by Mersenne, I35. Harmonious Blacksmith, Handel's, 210. Harmony, early attempts at, 12. Harmony of the Spheres, cantata by A. Romberg, 371. Harold en Italic, symphony by Berlioz, 420. Haroun Alraschid sends an organ to Charlemagne, 32. Harp, the, 40 ; of O'Brien, ib. ; Welsh triple, ib. ; pedal, 42 ; Erard's improvements, 43. Harpsichord, 45. Harris, Renatus, organ-builder ( 1725). 196- Hasse, John Adolph (1699— 1783), 100, 164, 220. Hassler, Hans Leo (1564— 1612), 72. Haste thee, nymph, air and chorus from Handel's L Allegro, 223. Haunted Tower, The, opera by Storace, 233. Hauptmann, M. (1794^1868), 346, 355- Hawkins, Sir John, his History of Music, 240. Haydn, Franz Josef (1732 — 1809), his youth, 269 ; becomes accom- panist to Porpora, 270 ; acquaint- ance with Countess Thun and Count Morzin, ib. ; enters service of Prince Esterhazy, 271 ; resi- dence in Vienna, 273; visits to England, ib. , his Creation, ib. ; Seasons, ib.\ his death, 274; his symphonies and quartets, ib. ; The Seven Last Words, ib. ; his admiration for Mozart, 280 ; Beethoven becomes his pupil, 287, 289. Haydn, Johann Michael (1737 — 1806), 269, 276. Hayes, Dr. Philip (1738 — 1797), 195- Dr. William (1707 — 1777), 195. Hebrides, overture by Mendelssohn, 351- Heidegger, James, 208, 211, 216, 2i8, 220; 222. Heilands Letzie Stunden, Das, oratorio by Spohr, 344. Heimkehr aiis der Fremde, operetta by Mendelssohn, 351. Heller, Stephen (1815— 1888), 362, 371- Henri II. of France, iii. Henti VIIL, opera by Saint-Sagns, 428. Henry VIII. of England, 63. Hensel, Fanny (1805— 1847), 348, 356. Henselt, Adolph (1814— ), 364. Herculaneum, opera of F^ln. David, 422. Hermann und Dorothea, overture of Schumann, 366. Herodiade, opera by Massenet, 429. Herold, L. J. F. (1791— 1833), 411. Hesse, A. J. (1809— 1863), 372. Heyden, Sebaldus (1498— 1 561), his Ars Canendi, 76. 470 INDEX. Hezekiah, oratorio by Pierson, 487. Hiller, Johann Adam (1728 — 1804), 152, 169. Ferdinand (181 1 — 1885), 362, 365, 371, 431. Hilton, John (lS75r?]— 1657), 82; his Catch that catch can, 88. Himmel, F. H. (1765—1814), 339- Htppolyte et Aricie, opera by Rameau, 246. Histoire de la Revolution Operee dans la Musique par M. le Chevalier Gluck of Leblond, 260. Historisch-kritische Beytrage zur Aufnahme derMusik, Marpurg's, 169. Histrio-Mastix, Prynne's, 1 16. Hobrecht (1430P]— 1507), 57, 58. Holbach, P. Thyry, Baron d' (1723— 1789), 252. Holy Week, music for, in Sistine Chapel, 70. Home, sweet home ! air by Bishop, 438. Hope told a flattering tale (Nel cor piii), air by Paisiello, 304. Horn, C. F. (1762 — 1830), 446. Hucbald (84o[?] — 930), his treatise Musica Enchiriadis, 12. Hugo von Reutlingen (14th cen- tury), his Flores MusiccB, 75. Huguenots, Les, opera by Mey- erbeer, 413. HuUah, John (1812 — 1S84), 454. Humfrey, Pelham(i647 — 1674), 181, 183, 190. Hummel, J. N. (1778—1837), 286, 300. 349- Huntsman's Chorus, in Der FreyschUtz, by Weber, 336. Huron, Le, opera by Gretry, 264. Hush, ye pretty, warbling choir, air in Handel's Acis and Galatea, 210. Hymn of Praise {Lobgesang), by Mendelssohn, 353, 357. T attempt from love's sickness to fly, from Purcell's Indian Queen, 192. / beheld, and lo ! a great multitude, anthem by Dr. Blow, 186. Idomeneo, opera by Mozart, 279. // tricerbero umiliato, air from Handel's Rinaldo, 206. Im Wald, symphony by J. Raff, 373- Indes Galantes, opera by Rameau, 24.8. Indian Queen, Purcell's, 192. In Exitu Israel, motet by Samuel Wesley, 446. In going to my naked bed, madrigal by R. Edwards, 81. In memoriam, overture by Sullivan, 449. Instrumental music, early, 86 ; in France, 134, 266. Instruments, musical, history of, 20. In these delightful pleasant groves, chorus from Purcell's Libertine, 190. Introduction to the Skill of Musick, Playford's, 197. In una siepe ombrosa, madrigal by Lotti, loi, 219. Invitation to the Waltz, by Weber, 338. . Invocation, L', sonata by Dussek, 369- Iphigeme en Aulide, opera by Gluck, 176, 258. Iphigenie en Tatiridc, opera by Gluck, 261, 406. / rage, I melt, I bum, recitative in Handel's Acis and Galatea, 210. Iron Chest, The, opera by Storace, 233- Isaak, Heinrich (1445P]— 1518P]), 73- Isabelle et Gertrude, opera by Grgtry, 263. Isidore, St., Bishop of Seville, (c. 570 — 636), on the use ot neums, 8. Isouard, Nicolo (1775 — 1818), 408. Israel in Egypt, Handel's oratorio, 223, 352. INDEX. 471 Isse, opera by Destouches, 132. Italiana in Algiert, opera by Ros- sini, 309. Italian and French music, com- parison between, 251. Italian singers introduced into France by Cardinal Mazarin, 116. Italian Symphony, by Mendelssohn, 352, 357- Italy, early history of music in, 67. Ivanhoe, opera by Sullivan, 448. / was in the Spirit, anthem by Dr. Blow, 186. "JfACK," action in keyed stringed instruments, 44. Jackson, William, of Exeter (1730 — 1803), 195. Jacob, Benjamin (1778— 1829), 446. Jannequin, C16ment (c. 1480 — ), 61. Jean de Paris, opera by Boieldieu, 409. Jelyotte, Pierre, singer (171 1 — 1782), 267. Jennens, Charles, selects the words of Handel's Messiah, 224, 225. Jephtha, Handel's oratorio, 227. •: oratorio by Carissimi, 99. Jerome, St. (331 — 420), his letter on musical instruments, 22. Jerusalem, oratorio by Pierson, 447. Jessonda, opera by Spohr, 344. Jeunesse d'Hercule, La, pofeme symphonique by Saint-Saens, 427. Jewish influence on early Christian music, 2. Jolly Young Waterman, song by Dibdin, 234. Jomelli, Nicolo (1714 — 1774), loi, 303- Jonah, oratorio by Carissimi, 99. Jongleurs, 15. Joseph, opera by M^hul, 406. Joshua, Handel's oratorio, 227. Josquin de Pres (i4So[?] — 1521), 59,60,67,73, III. Jubilate, by Purcell, 192, 193. by Handel, 208. Judas Maccabaus, Handel's oratorio, 227. Judenthum in der Musik, Das, by Wagner, 382. Judgment of Solomon, oratorio by Carissimi, 99. Judith, oratorio by Parry, 450. Juive, La, opera by Halevy, 416. Julius III., Pope, appoints Palestrina a singer in the Sistine Chapel, 69. Kalkbrenner, F. W. M. (1788— 1849), 370, 431. Kalliwoda, J. W. (1800— 1866), 371. Keiser, Reinhard (1673 — 1739), 154, 160, 164. Kettledrums, orchestral, 24. Kielmansegge, Baron, 162, 208. Kittg Arthur, Dryden's, incidental music by Purcell, 192. King, Charles (1687 — 1748), 195. Kinsky, Prince, 292. Kirkman, maker of harpsichords, 46. Kirnberger, J. P. (1721 — 1783), 151, 369- Knecht, J. H. (1752 — 1817), 330. Knorr, Julius (1807 — 1861), 361. Kochel, L. von, his Mozart cata- logue, 284. KSnigen von Saba, opera by Gold- mark, 395. Krebs, J. Ludwig (1713— 1780), 151. Kreutzer, Rodolphe (1766 — 1831), 433- Kritische Brief e iiber die Tonkunst, Marpurg's, 169. Kritischer Mtisicus of Scheibe, 168. Kritischer Musikus an der Spree, Marpurg's, 168. Kucken, F. W. (1810— 1882), 371. Lablache, Luigi (1794—1858), 337. Lachner, Franz (1804 — 1890), 340. La Fage, Adrien de (1801 — 1862), 434- La Harpe, F. J. de (1739— 1803), 260. 472 INDEX. Lalla Roukh, opera by Felicien David, 422. L' Allegro, II Penseroso, ed II Mod- erato, Handel's cantata, 223. Lalo, E. V. A., 429. Lalouette, J. F. (1651—1728), 128. Lambillotte, Pere (1797 — 1855), 6. Lamentdbatur Jacob, motet by Cristoforo Morales, 70. Lamoureux, 430. Lampe, J. F. (1692P]— 1751), 230. Lange, Madame (Aloysia Weber), 279, 280, 330. Language of Flowers, The, suite by Cowen, 451. Lctscia ch'io . pianga, air from Handel's Rinaldo, 159, 206. Lassus, Orlando di (i52or?] — 1594), 62, 67, 94 ; collection of his works at Munich, 65. Last Judgment, oratorio by Spohr, 344, 346, 348- Lateran, St. John, Church of, Palestrina made director of the music at, 69. Lattre, Roland .de. See "Lassus, Orlando di." Laudi Spirituali, 98. Lawes, Henry (1595 — 1662), 90, 179, 180, 198. Lay of the Bell, cantata by A. Rom- berg, 371. Leblond, Abb6 (1738 — 1809), 260. Lecerf de la Vieville, J. L. (1647 — 1710), 251. Leclair, J. M. (1697— 1764), 266. Le facdo un' inchino, trio from Cimarosa's Matrimonio Segreto, 305- Lefebure-Wely (18 17 — 1869), 434. Legend of St. Elisabeth, oratorio by Liszt, 374. Leicester, opera by Auber, 411. Leila, opera by Pierson, 447. Leipzig Conservatorium, foundation of. 3S5. 364- Leit-moitf ol 'Wagaei, 388. Le Jeune, Claude (i528[?l — 1606 [?]),6i, 116. Le'lio; ou, le Retour a la Vie, sym- phony by Berlioz, 419. Lenore, symphony by J. Raff, 373. Lenten oratorios given by Handel, 221. Lenz, W. von, his Beethoven et ses trots styles, 290. Leo, Leonardo (1694 — 1746), 100, 218. Leoncavallo, 323. Leonora, opera by Beethoven, 291. Leroy, Adrian (i6th century), 114. Lestocq, opera by Auber, 411. Lesueur, J. F. (1763— 1837), 407, Let the bright seraphim, air from Handel's Samson, 226. Let their celestial concerts all unite, chorus in Handel's Samson, lib. Let thy hand be strengthened, coro- nation anthem by Handel, 215. Lettre sur la MusigueFranfaise, by J. J. Rousseau, 252. Let us take the road, song in the Beggar's Opera, 216. L'Homme Arme, the air, 17, 67. Libertine, The, Purcell's music to, 190. Lichnowsky, Prince, 288. Liebeslieder Walzer, by Brahms, 392- Liebesverbot, Das, opera by Wagner, 377- Lieder ohne Worter, by Mendels- sohn, 358. Light of the World, oratorio by Sullivan, 449, Li Gieus de Robin et de Marion, by Adam de la Halle, 16. Lily of Killamey, opera by Bene- dict, 442. Lind, Jenny (1820 — 1887), 414. Linda di Chamounix, opera by Donizetti, 315. Lindpainter, Peter Joseph (1791 —1856), 339. Linley, Thomas (1725 — 1795), 233. Liszt, Franz (1811 — 1886), 301, 372, 379. 382, 383, 431- LitoUf, H., his cheap music, 453. Liturgical dramas. 17. Lobgesang of Mendelssohn, 353, 357- Lobkowitz, Prince, 173, 292. INDEX. 473 Locatelli, P. (1693— 1764), 106. Lock, Matthew (i638[?]— 1677), 180, 181. Loder, E. J. (1813— 1865), 441. Lodoiska, opera by Cherubini, 306. Lohengrin, opera by Wagner, 345, 383. 385. Lord, for Thy tender menus sake, anthem by R. Farrant, 82. Loreley, finale to, by Mendelssohn, 357- Lorenzo de Medici, 60. Lortzing, G. A. (1803— 1852), 340. Lotario, opera by Handel, 217.- Lotti, Antonio (1667P]— 1740), loi, 219. Louis XL of France, 59. XIL of France, 60. XIIL of France, 114. XIV., his musical acquirements, 122. Louis Ferdinand, Prince of Prussia, 368. Love in her eyes, air in Handel's Ads and Galatea, 210. Lowe, Edmund (i6io[?]— 1682), 181, 186. Lucia di Lammermoor, opera by Donizetti, 315. Lricrezia Borgia, opera by Doni- zetti, 315. Liidwig IL, King of Bavaria, 385. LuUy, Jean Baptiste (1633— 1687), 121 ; protected by Louis XIV., 122 ; composes ballets, ib. ; ob- tains Perrin's privilege for per- forming opera, 124; his career as a writer of opera, 125; his death, 127 ; his Church music, 128, 182 ; 202, 241, 249. Jean Louis de, 130. Louis, 130. Lurline, opera by W. V. Wallace, 441. Luscinius (Nachtigall), Ottomar (1487— ), 75- Lustigen, Weibervon Windsor, Die, opera of O. Nicolai, 341. Lute, the, 47. Luther, Martin, his love for music, 73- Lvoff, Alexis (1799 — 1870), 402. Lyre, the, 23, 38. Macbeth, music to, i8i, igo. Maccabees, opera by Rubinstein, 400. Mace, Thomas (1613—1709), his MusicKs Monument, 199. Macfarren, Sir G. A. (1813— 1887), 441. Mackenzie, Sir A. C, 449. Mafon, Le, opera by Auber, 411. Madden, Sir F., on manuscript of Sumer is icumen in, 79. Madrigalian Era in England, 82, 246; in Netherlands, 61. Madrigals, rareness of complete printed sets of, 61, 86. Magnum Opus Musiaim of Orlando di Lassus, 65. Maid of Artois, The, opera by Balfe, 439. Mainwaring, Rev. John, his transla- tion of Mattheson's Life of Handel, 164. Malek-Adhel, opera by Costa, 443. Malibran, Madame (1808—1836), 433- Manfred, incidental music to, by Schumann, 365. Manon, opera by Massenet, 429. Manon Lescaut, opera by Auber, 411. opera by Puccini, 323. Maometto secondo, opera by Rossini, 310, 312. Marais, Martin (1656—1728), 130. Marcello, Benedetto (1686—1739), 101. March from Handel's Rinaldo, 2c6. Marchand, Louis (i66g — 1732), 142. Marenzio, Luca (i55c[?]— 1599), ^o. Mariages Samnites, Les, opera by Gr^try, 264. Maritana, opera by W. V. Wallace, 440. Marmontel, J. F. (1723—1799). 259. 260, 264. Marot, Clement (1495—1544), his translation of the Psalms, 112. Marot, Clement, Lettre de (satire on Lully), 128. 474 INDEX. Marpurg, F. W. (1718— 1795)> his critical and theoretical writings, 168. Marschner, H. (1795— 1861), 338. Martha, opera by Flotow, 341. Martini, G. B., Padre (1706— 1784), 177, 239, 278, 303, 329. Martyr of Antioch, The, oratorio by Sullivan, 449. Masaniello, opera by Auber, 411. Mascagni, Pietro, 323. Mass in D, Beethoven's, 293. by Rossini, 314. Massenet, Jules, 429. Ma Xante Aurore, opera by Boiel- dieu, 408. Matritnonio Segreto, II, opera by Cimarosa, 305. Mattel, S. (1750— 1825), 303, 309. Mattheson, Johann (1681— 1764), 157; his opera Cleopatra, 158; his critical and theoretical writ- ings, 163, 172. Mauduit,Jacques (1557— 1627), 116. Maximilian I., Emperor, 60, 73. II., Emperor, ennobles Orlando di Lassus, 63. May Queen, cantata by Sir W. S. Bennett, 445. Mayr, Simone (1763— 1845), 308. Mayseder, Josef (1789 — 1863), 301. Mazarin, Cardinal, introduces Italian opera into France, 1 16 ; enormous sums spent on it by him, 117. Medecin malgre lui, Le, opera by Gounod, 425. Mehul, E. N. (1763— 1817), 405. Mefistofele, opera by Boito, 322. Meistersinger, Die, opera byWagner, 385. Meistersingers, The, 1 5 ; their elec- tion, 16. Melothesia, Lock's, 182. Melusina, overture by Mendelssohn, 357- Mendelssohn Bartholdy, Fanny (Madame Hensel) (1805 — 1847), 349. 356. Bartholdy, Felix (1809— 1847), his birth and education, 347 ; early compositions, 348 ; C minor symphony, ib. ; visits Paris, 349 ; Camacko's Wedding, ib. ; his overtures, 350, 359; visits Eng- land, 350 ; settles in Dusseldorf, 352' ; conducts Gewandhaus Con- certs, ib. ; his marriage, 353 ; St. Paul, ib. ; his organ-playing, ib. ; the Academy of Arts in Berlin, 354; his psalms, 355; foundation of the Leipzig Conservatoriura, 355 ; Elijah, ib. ; his illness and death, 356 ; 362. Merbecke, John (ISI2[?]— 1585), 80. Mercadante, S. (1795— 1870), 315. Mersenne, Marin (1588— 1648), 134. Messiah, The, Handel's oratorio, 152, 224, 226, 236. » Metastasio, 170, 270. Meyerbeer, 0.(1791 [1794P J— 1864), 330, 339, 349 ; his Italian style, ib. ; his French operas, 413 ; Robert le Diahle, ib. ; Les Hugue- nots, ib. ; Le Prophete, ib. ; Dino- rah, 41 5 ; LAfricaine, ib. Midsummer Nights Dream, over- ture by Mendelssohn, 350; inci- dental music by do., 355. Mignon, opera by Amb. Thomas, 423- Military trumpet, 36. Milton, John, father of the poet (c. 1576— 1647), 90. , John, the poet, 179. Minnesingers, the, 15. Minstrels, 15. See also "Menes- triers." Mirelle, opera by Gounod, 426. Missa Papce Marcelli, by Pales- trina, 68, 94. Mitridate, opera by Mozart, 166. Mizler, Lorenz (171 1 — 1778), his Neueroffnete Musikalische Biblio- thek, 168, 172. "Modem Church Musick, Pre- accused," etc., by Matthew Lock, 182. Molse, opera by Rossini, 312. Molifere, his intimacy with LuUy, 122. Molinara, La, opera by Paisiello, 304- INDEX. 475 Monday Popular Concerts, 453. Monochord, 55. M. de Porceaugnac, incidental music to, by LuUy, 122. Monsigny, P. A. (1729 — 1817), 256. Montana et Stephanie, opera of Barton, 407. Monte, Philippe de(i52i — 1603), 61. Mont6clair, M. P. de (1666— 1737), 134, 246. Monteverde, Claudio (1568 — 1643 [? 1651]), 94 ; his instrumentation, g6, 118. Morales, Cristoforo (i6th century), 70. Moilacchi, F. (1784 — 1841), 335. Morley, Thomas (1563 — 1604), his madrigals, ballets, and canzonets, 84 ; his Plaine and Easie Intro- ditction to Practicall Musicke, 85. Mornington, Lord (1735 — 1781), 239. Mors et Vita, oratorio by Gounod, 426. Mort d'Adam, La, opera by Lesueur, 407. Moscheles, Ignaz (1794— 1870), 337, 348, 357, 438 ; his description of Mendelssohn when a boy, 349. Moscow, great bell of, 26. Mose, opera by Rossini, 310, 312. Moses, opera by Rubinstein, 400. Motets, collection of, by O. di Lassus, 65. Motteville, Madame de, her opinion of the Italian opera, 117. Mount of Olives, oratorio by Beethoven, 291. Mountain Sylph, opera by J. Bar- nett, 441. Mouton, Jean (l6th century), 61. Mozart, J. C. W. A. (1756— 1791), his childhood, 276 ; visits Vienna, Paris, and London, 277 ; La Finta Semplice, 278; his visit to Italy, ib. ; Allegri's Miserere, ib. ; Mitri- date, ib. ; friction with Archbishop of Salzburg, ib. ; second visit to Paris, 279 ; Aloysia Weber, ib. ; Idomeneo, ib. ; EntfUhrung aus dem Serail, 280; his marriage, 281 ; Dcr Schauspiel Director, ib. ; Le Nozze de Figaro, ib. ; its reception at Prague, ib. ; Don Giovanni, 282; his symphonies in E flat, G minor, and C, 283 ; Cosi fan tutte, ib. \ Zattberflote, ib. ; Requiem, ib. ; La Clemema di Tito, 284 ; his death, ib. ; Von Kochel's Catalogue, ib. ; his Ave Verum, 286 ; , 70, 166, 233, 266, 437, 445. Mozart, J. G. Leopold (1719—1787), 276, 278, 280. Maria Ann (1751 — 1829), 276. Muette de Portici, opera by Auber, 411. MuUiner, Thomas (15th century), 80. Muses Galantes, Les, opera by J. J. Rousseau, 253. Musette, 30, 134. Music, early treatises on, 72 ; in England, 79 ; widespread know- ledge of, during the i6th and 17th centuries, 85. Musica Antigua, J.Stafford Smith's, 239- Musica Getutscht, by S. Virdung, 75- Musica Transalpina, published by N. Yonge, 83. Musical Antiquarian Society, 86. Musical Century, Henry Carey's, 230. Musicalische Patriot, Der, by Mat- theson, 163. Musick's Monument, Mace's, igS. Musikalische Bibliothek of Mizler, 168. Muzio Scevola, opera by Ariosti, G. B. Buononcini, and Handel, 212. My heart is inditing, coronation anthem by Handel, 215. Mynheer van Dunck, glee by Bishop, 438. My Pretty Jane, song by Bishop, 438. Naaman, oratorio by Costa, 443. Nablum, 39. Nacaire, 23. 476 INDEX. Nachtigall. See " Luscinius." Nadeshda, opera by A. Goring Thomas, 447. Naiades, overture by Bennett, 444. Nanini, Bernardino (i545[?] — i62o[?]), 70. Giovanni, Maria (i53o[?]— 1607), 70. Napoleon, the Emperor, 290, 304, 307- Narciso, opera by D. Scarlatti, 211. Nardini, P. (1722— 1793), 107. Nares, Dr. James (1715 — 1783), 195- JS/el cor piii, air by Paisiello, Beethoven's variations on, 304. Ne plus ultra, sonata by Woelfl, 369. Neri, St. Philip, his intimacy with Palestrina, 69 ; founds order of Oratorians, 98. Nero, opera by Handel, 159, 162. , opera by Rubinstein, 400. Netherlands, musical influence of, 56. Neue Zeitschriftfiir Mtisik (founded by Schumann), 361, 364, 382, 390- Neukomm, Sigismund (1778 — 1858), 300. Neums, invention of, attributed to St. Gregory, 4; suggested origin of, 6 ; nomenclature of, 7 ; used for iDoth sacred and secular music, 8. Nicolai, Otto (1810 — 1849), 34°- Nicolo. See " Isouard, N." Niedermeyer, L. (1802 — 1 861), 417. Night Dancers, The, opera by E. J. Coder, 441. Nina, opera by Paisiello, 304. Noces de Thetis et de Pelee, opera by Colasse, 130, 140. Nonne sanglante La, opera by Gounod, 425. Norma, opera by Bellini, 315. Nourmahal, opera by Spontini, 316. Nouveau Systeme de Musique Theorique, by Rameau, 294. Novello and Co., their introduction of cheap music, 453. Nozze de Figaro, opera, by Mozart, 281. Numitor, opera by Giovanni Porta, . 211. Nun danket alle Gott, the chorale, 73- Oberon, opera by Weber, 336, 338. Oberto, opera by Verdi, 319. Occasional Oratorio, Handel's, 227. Ode for St. Cecilia's Day, Handel's, 223. by Parry, 450. O du mein holder Abend-Stern, air from Tannhauser, 381. Odysseus, cantata by Max Bruch, 395- CEdipe in Colone, opera of Sacchini, 304- (Edipus Coloneus of Mendelssohn, 355- Oesterlein, his Wagner Katalog, 389- Offenbach, Jacques (1819 — 1880), 416. Oft on a plat, air from Handel's L Allegro, 223. Okenheim or Okeghem (i4i5[?] — 1513P]). 57, 59.60,111. Oliphant, 34. Olympie, opera by Spontini, 316. Onslow, George (1784 — 1853), 349, 421. Opera, origin of the, 92 ; first theatre for, in Venice, 97 ; founda- tion of, in France, 118 ; in Ger- many, 154 ; in England, 191, 202 ; in Italy, 303 ; in France, 405. " Opera of the Nobility," 220. Oper und Drama, by Wagner, 382. Oratorio, origin of the, 98 ; Handel's oratorios, 223. Orfeo performed in Paris in 1647-8, 116. opera by Gluck, 174, 259. Organ, 22, 30 ; hydraulic, 22, 31 ; in Italy, 107; in Germany, 152; in England, 195. ' concertos, Handel's, 231. Organistrum, 52. " Organizing" taught by the Roman singers to the French, 12. INDEX. 477 Organum, or diaphony, 13. Oriana, Ttiumphs of, 85. O Richard! S mon roil air in Gr6try's Richard CcBur de Lion, 264. Orlando, opera by Handel, 217, 218. O'Rourke. See " Rooke." Orphee aux Enfers, opera bouffe by Offenbach, 417. O ruddier than the cherry, air in Handel's Acis and Galatea, 210. Osborne, G. A. (1806 — 1893), 431. Otello, opera by Rossini, 310 ; opera by Verdi, 321. O the pleasures of the plains, chorus in Handel's Acis and Galatea, 210. Ottone, opera by Handel, 212. Oury, Madame (1806— 1881), 301. Overtures of Mendelssohn, 351, 357. O where shall wisdom be found ! anthem by Dr. Boyce, 195. Pachelbel, Johann (1653 — 1706), 137, 140. Pacini, G. (1796— 1867), 315. Paer, Ferdinand (i77i[i774?J— 1839), 308. Pagan influence on early Christian music, 2. Paganini, N. (i782[i784?]— 1840), 325- Pagliacci, I, opera by Leoncavallo, 323. Paisiello, G. (1741— 1815), 304. Palestrina, Giovanni Pierluigi da (I524[?]— 1594), 68, 70, 94 ; sum- mary of his works, 69. Pammelia, by T. Ravenscroft, 88. Pan's pipes or syrinx, 27. Paolucci, Padre G. (1727— 1777). 3°3- Paradise and the Peri, overture by W. Sterndale Bennett, 445. cantata by Schumann, 365. Paradise Lost, opera by Rubinstein, 400. Parallele des Italiens et des Franfais, Raguenet's, 251. Pardon de Ploermel, Ze (DinoraK), opera by Meyerbeer, 415. Paride ed Elena, opera by Gluck, 176. Parry, C. Hubert H., 449. Parsifal, opera by Wagner, 387. Part du Diable, Lm, opera by Auber, 411. Partenope, opera by Handel, 217. Parthenia, 86. Pasdeloup, J. E. (1819— 1887), 43°- Pastorale, La, opera by Cambert, 119. Pastor Fido, opera by Handel, 207. Paton, Miss, 337. Patrocinium Musices of Adam Berg, 65. Paul IV., Pope, deprives Palestrina of his post in the Sistine Chapel, 69. Pauline, opera by Cowen, 451. Paul's, St., Cathedral, Smith's organ in, 197. Paxton, Stephen (i735— 1787). 239. William ( — 1781), 239. Pechetirs, Les, opera by Gossec, 256. Peer Gynt, incidental music and suite by Grieg, 402. Pellegrin, Abb6 (1661— 1745)> 246. P6pin receives an organ from Con- stantine Copronymus, 32. Pepusch, Dr. (1667— 1752), 203, 209, 216. Pepys, Samuel, extracts from his diary, 183, 184, 196. Percussion, instruments of, 23. Pergolesi, G. B. (1710— 1737), 100, 255, 262. Peri, Jacopo (i6th century, living 1610), 94, 99. Perle du Bresil, Lm, opera by Felicien David, 422. Perrin, Abb6 ( —1676), 127 ; joins Cambert in founding the first opera-house in Paris, 118; quarrels with his partners, 121 ; sells his patent to LuUy, 124. Peter's, St., at Rome, organs in, 107. 478 INDEX. Peters and Co., their cheap music, 453- Petit Chaperon rouge, Le, opera by Boieldieu, 409. " Petits violons du Roi," 122. Petrucci, Ottaviano dei (1466 — 1524), music-printer, 59, 62. Phaeton, pofeme symphonique by Saint-Saens, 427. Phalese, Pierre (i5io[?]— ), music-printer, 62. Philemon et Baucis, opera by Gounod, 426. Philharmonic Society, 293, 294, 452. Philidor (Danican), the family of the, 264. Philosophes and the opera, 248. Pianoforte concerto in G minor, by Mendelssohn, 352. invention of, 46. works of Schumann, 367. Pianto d'Armonia, cantata by Rossini, 309. Piccinni, Nicolo (1728 — 1800), 259, 261. Pierson, H. Hugo (1815 — 1873), 446. Pilgnm of Love, The, song by Bishop, 438. Pills to purge Melancholy, D'Ur- fey's, 200. Pimmalione, opera by Cherubini, 307- Pius IV., Pope, 68. Pixis, J. P. (1788-1875), 370. Plain-chant or plain-song, 4 ; treatises on, 72. Playford, John (1623 — 1693), 187, 197. 237- Pleyel, Ignaz J. (i7S7— 1831). 39°- Plus ultra, sonata by Dussek, 369. Poemes symphonigues of Saint- SaSns, 427. Poisson, P^re, translates Descartes' Compendium Musicce into French, 134. Polly Peachum in the Beggar^ Opera, 216. Polyeucte, opera by Gounod, 426. Pompadour, Madame de, 251. Pontifical Chapel, the, 57, 60. Popeliniere, Leriche de la, 245, 253, 256. Poro, opera by Handel, 217. Porpora, N. A. (1686— 1767), 104, 165, 219, 220, 270. Porta, Costanzo (i52o[?] — 1601), 61, 72. Giovanni (l69o[?] — 1740), his opera Numitor, 211. " Portative " (small organ), 33. " Positive " (small organ), 33. Postilion de Longjumeau, Le, opera by Ad. Adam, 416. Pougin, Arthur, 436. Power of Sound, symphony of Spohr, 344. Praetorius, Michael (Schultz) (157 1 — 1 621), his Syntagma Musicum, 75, 137. Preaux Clercs, Le, opera by Herold, 412. Predosa, incidental music to, by Weber, 335. Preludes de V Harmonie Universelle, by Mersenne, 135. Premier Jour de Banheur, Le, opera by Auber, 411. Pres, Josquin de. See "Josquin de Pr6s." Printers, early music, 62. Prodigal Son, The, oratorio by Sullivan, 449. Projet concemant de Nouveaux Signes pour la Musique, by J. J. . Rousseau, 253. Prophete, Le, opera by Meyerbeer, 413- Proserpine, opera by Saint-Saens, 428. Protestantism, influence of, in France, 112. Prussia, Prince Louis Ferdinand of, 368. Vryrxae's Histrio-Mastix, 115. Psalmody, metrical, in the English Church, 89 ; the " old " version, ib. ; the " new " version, 90. Psalms, Marcello's, 102 ; Mendels- sohn's, 355, 357. Psalms, Sonets, and Songs of Sad- nes and Pietie, by W. Byrd, 82, INDEX. 479 Psalms, Songs, and Sonnets, by Byrd, 82. Psalterium, 22, 38. Psaltery or dulcimer, 51. Psyche, Matthew Lock's, 182. Puccini, Giacomo, 323. Puits d' Amour, Le, opera by Balfe, 439- Purcell, Henry (1658— 1695), 188; his youth and education, 189 ; his early works, 190 ; his Dido and jEneas, 191 ; Te Deum and Jubilate, ib. 193 ; The Tempest, Dioclesian, and King Arthur, 192 ; Indian Queen, ib. ; his death, 194 ; his Orpheus Britanni- cus, ib. ; 208. Thomas ( — 1682), 190. Pur dicesti, song by Lotti, loi. Puritani, I, opera by Bellini, 315. QutEsliones Celeberrimm in Genesim, by Mersenne, 135. Quantz, Johann Joachim (1697 — ~ 1773), 144- Quatre Ftls d'Aym.on, Les, opera by Balfe, 439. Quinault (1635 — 1688) writes most of the books of LuUy's operas, 125, 259. Qtnnto Fabio, opera by Cherubmi, 306. Racine, his Ifhigenie en Atilidc arranged as an opera and set to music by Gluck, 176 ; his Hippo- lyte et Aricie (Ph6dre)j by Rameau, 246 ; music to Athalie by Mendelssohn, 355. Radamisto, opera by Handel, 211. Raff, Joachim (1822— 1882), 373. Raguenet, Abb6 (i66o[?]— 1772[?]), 250. Rameau, Jean Philippe (1683 — 1764), 174, 176, 241 ; his theo- retical publications, 243 ; his career as a composer, 245 ; . opinion of Italian music, 252. Randegger, Alberto, 444. li Anima e di Corpo, oratorio by E. del Cava- liere, 99. Ravenscroft, Thomas (is82[?]— 1635), 88 ; his Psalms, 90. Reber, H. (1807—1880), 417. Recitative, accompanied, invented by Carissimi, 100. Recorder, 37. Redford, John (i6th century), 81. Reed, the, 35. Redemption, The, oratorio by Gounod, 426. Reform in Church music effected by Palestrina, 68. Reformation, effect of the, on music, 73; in England, 89. " Regal " (small organ), 33. Peine de Chypre, La, opera by Halevy, 416. Peine de Saba, La, opera by Gounod, 426, 427. Reinecke, Karl, 396. Reissiger, C. G. (1798—1859), 371. Requiem of Mozart, 283, 284 ; of Verdi, 321. Restoration, music in England at the, 179. Resurrezione, oratorio by Handel, 160. Return, blest days, glee by J. Stafford Smith, 239. Return, O God of Hosts, air in Handel's Samson, 226. Reuchlin, Johann (1455 — 1522), his Scenica Progymnasmata, 1 54. Revenge, The, Choral Ballad, by Stanford, 450. Reyer, Ernest, 430. Rheims, House of Musicians at, 23, 31- Rheinberger, Josef, 396. Rheingold, Das, opera of Wagner, 383- Rhenish, symphony by Schumann. 366. Ricciardo Prima, opera by Handel, 215. Richard Coeur de Lion, opera by. Grgtry, 264. Rienzi, opera by Wagner, 377, 380. 48o INDEX. Ries, Ferdinand (1784 — 1838), 300. Rietz, Julius (1812— 1877), 365. Rigoletto, opera by Verdi, 319, Rimsky-Korzakow, 401. Rinaldo, opera by Handel, 159, 205 ; Rossi's excuse for the libretto, ib. ; 208, 209, 215. Rinck, J. C. H. (1770— 1846), 372. Ring der Nibelungen, Der, series ,of operas by Wagner, 383, 385, 386. Rinuccini, Ottavio, poet, 94 ; his Dajne set to music by H. Schutz, 154. Robert le Diable, opera by Meyer-. beer, 413. Rode, Pierre (1774 — ^1830), 433. Rodelinda, opera by Handel, 213. Rodrigo, opera by Handel, 160. Roeckel, August (1814 — 1876), 382. Roi de Lahore, Le, opera by Massenet, 429. Rei d' Ys, Le, opera by Lalo, 430. Roland, opera by Piccinni, 259, 260. RoUet, Bailli du, his relations with Gluck, 176, 258, 261. Romans, music among the, i ; musical instruments of the, 22. Romberg, Andreas (1767 — 1821), 371- Bernard (1767 — 1841), 371. Romeo et Juliet, opera by Steibelt, 369- Symphony by Berlioz, 420. opera by Gounod, 426. Rooke, W. M. (O'Rourke) (1794— 1847), 439- Rore, Cipriano di (1516 — 1565), 61, 72. Rosamund, Addison's, set by Clay- ton and subsequently by Arne, 204. Rose of Castile, 7/4^, operabyBalfe, ., 439- Rose of Sharon, The, oratorio by Mackenzie, 449. Rose Pilgerfahrt, Der, cantata by Schumann, 366. Rossini, Gioacchino (1792 — 1868), his early years, 308 ; first suc- cesses, 309 ; visits Paris and London, 312; Guillaume Tell,ib.; his Stabat Mater, 313 ; Mass, 314; 349. 413- Rota, or hurdy-gurdy, 49. Rotta, or crwth, 48. Rouet d'Omf>hale, Le, poeme sym- phonique by Saint-SaSns, 427. Roulstan and Ludmila, opera by Glinka, 399. Rousseau, J. J. (1712 — 1778), 252, 253- Rowbotham, Mr. J. F., his classi- fication of instruments, 22. " Royal Academy of Music " (opera), foundation of, 211. Royal Academy of Music, 453. College of Music, 453. Society of Musicians, 235. Rilbezahl, opera by Weber, 333. Rubinstein, Anton (1830 — 1895), 400. Rudolph, Archduke, pupil of Beeth- oven, 289, 292. Rule Britannia, air by Dr. Arne, 230. Ruler of the Spirits, overture by Weber, 333. Russian bells, 26. Russian Church Music, 397. Ruth, oratorio by C6sar Franck, 429. Ruy Bias, overture by Mendelssohn, 357- Sarbatini, Padre L. A. (1739 — '809), 303. Sacchini, A. M. G. (1734—1786), 262, 304. Sachs, Hans (i486 — 1567), 16. Sackbut, 37. Sacrati, Francesco Paolo ( — 1650), 98. Sacred Harmonic Society, 235, 353^ 356, 452 ; its library, 89. music, corruptions of, 68. St. Cecilia, oratorio by Benedict, 442. St. Gall, its M.S. of Gregory's Antiphonarium, 3 ; facsimile of a portion of, 5. INDEX. 481 Saint-Huberty, Madame (1756 — 1812), singer, 267. Si. John the Baptist, oratorio by Macfarren, 441. St. Ludmilla, oratorio by Dvordk, 394- St. Paul, oratorio by Mendelssohn, 353. 357- St. Peter, oratorio by Benedict, 442. Saint-Saens, Camille, 427. Salaries of singers in time of Handel, 214. Salieri, Antonio (1750 — 1825), 261, 280, 301, 305. Sally in our alley, song by Henry Carey, 230. Salmon, Jacques (living 1582), 114. Salomon, J. P. (1745— 1815), 286. Sambuca, 22. Sammartini, G. B. (about i7oo[?] — living in 1770), 173, 177. Samson, Handel's oratorio, 226. opera by Rameau, 246. Samson et Delila, opera by Saint- Safins, 427. Sapho, opera by Gounod, 425. Sarti, G. (1729— 1802), 304, 305. Satanella, opera by Balfe, 439. Saul, oratorio by Handel, 223. Scarlatti, Alessandro (1659—1725), 99, 165. Domenico (1683 — 1757), 108, 161, 211. ScenicaProgymnasmataoi'R&if^va, 154- Schauspiel Director, Der, opera by Mozart, 281. Scheibe, J. A. (1708 — 1776), his Kritischer Musicus, 168. Schickaneder, E. J. (175 1 — 1812), 283,284,291. Schicksalslied, by Brahms, 392. Schmidt, Bernard (" Father Smith ") (l63or?]— 1709), 196. Schmoll Peter, opera by Weber, 332- Schneider, J. G. (1789—1864), 372. Schools, choir-, established by St. Gregory, 4. Schroder-Devrient, Madame (1804 —i860), 291, 377, 380, 381. Schubert, Franz (1797 — 1828), his early years, 295 ; Mass in F, 296 ; the Erlkdnig and Wanderer, ib. \ lives in Court Esterhazy's family, 298 ; publication of his first songs, ib. ; his productiveness, 299 ; the Symphony in C and other in- strumental works, 300 ; — 36a. Schiitz, Heinrich (Sagittarius) (1585 —1672), 154. Schumann, Clara, 367. Robert (1810 — 1856), his youth, 358 ; studies lavirat Leipzig, ib. ; acquaintance with Wieck, ib. \ injury to his hand, 360; founds the Neue Zeitschrift fiir Musik, 361 ; Florestan and Eusebius, ii. ; the Davidsbundler, ib. ; Clara Wieck, 362 ; his marriage, 363 ," his songs, ib. ; symphonies, ib. ; chaUiber music, iS. ; illness, 364 ; Genoveva and Manfred, 365 ; Dusseldorf, 365 ; insanity and death, 366 ; his chamber music and songs, 367 ; 299, 355, 444- Schuppanzigh quartet, 288. Schunke, Ludwig (1810 — 1834), 361. Scipio, opera by Handel, 213, 217. Scotch Symphony of Mendelssohn, 351.352.357- Scotto, Girolamo ( — 1573), music- printer, 62. Seasons The, oratorio by Haydn, 273- Semiramide, opera by Rossini, 310, 311- Senesino (Francesco Bernardi)(i68o — 1750), singer, 211, 212, 214, 217, 218. Senfl, Ludwig (i49o[?]— IS55). 73- Serva Padrona La, opera by Pergolesi, loi, 251, 255, 256, 262. Sesosirate, opera by Hasse, 166. Seven Last Words, by Haydn, 274.- Sgambati, Giovanni, 326. Shamus O'Brien, opera by Stanford, 450. Shawfm, 37. Shepherds' trumpets, 35. 31 482 INDEX. Sheppard, John (i6th century), 80. Sheridan, R. B., 233. Shield, William (1748— 1829), 233. Shophar, 34. Should he upbraid, song by Bishop, 438. Siege de Corinth, opera by Rossini, 312. Siege of Belgrade, opera by Storace, 233- Siege of Rochelle, opera by Balfe, 439- Siegfried, opera by Wagner, 383. Siena, ancient bell at, 24. Silas, E. 444. Silver Swan, madrigal by Orlando Gibbons, 84. Simone Boccanegra, opera by Verdi, 320. Simpson, Christopher (1640!"?] — ), Chelys; or, The Division Violist, 199 ; Compendium of Practical Musick, 198. Singers, Italian, 316. Siroe', opera by Handel, 215. Sistine Chapel, performance of the Missa Papoe MarcelU in, 69 ; Palestrina appointed composer to, ib. ; unaccompanied vocal music in, 70 ; music in Holy Week, ib. Sistrum, the, 22, 24. Sixtus IV., Pope, 60. Sleep, gentle Lady, glee by Bishop, 438. Slide-trumpet, 37. Smith, J. Stafford (i746[?]— 1836), 239- Smithson, Miss, wife of Berlioz, 418. Soissons, Count of, 14. Solomon, Handel's oratorio, 227. Son and Stranger, opera by Men- delssohn, 351. " Sonata," the word first used by G. Gabrieli, 107. Sonatas, Purcell's, 192. Songe d'une Nmt d'Ete, opera by Amb. Thomas, 423. Songs of Sundtie Natures, some of Gravitie and others of Myrth, by W. Byrd, 82. Songs without Words, by Mendels- sohn, 358. Sonnambula, La, opera by Bellini, 315- Sonnleithner, L. von (1797 — 1873), 298. Sontag, Heiu-ietta, (1806 — 1854), 416. Sourd6ac, Marquis de, joins Perrin, Cambert, and Champeron in founding the French Opera, 120. South Kensington Museum, C. Engel's catalogue of musical in- struments at, 21. Spectre's Bride, cantata by Dvorak, 394- Spinet, 45. Spofforth, Reginald (1768— 1827), 239. Spohr, Louis (1784— 1859), 333, 341 ; his early years, ib. ; Faust, 343 ; Zemire andAzor, ib. ; moves to Dresden, ib. ; settles in Cassel, ib. ; Jessonda, 344 ; Last fudg- m.ent, ib. ; Violin School, ib. ; sym- phony, Der Weihe der Tone, ib. \ Calvary and Fall of Babylon, ib. ; his death and characteristics, 345- Spontini, G. L. P. (1774— 1851), 312, 316, 334, 335, 349, 412. Stabat Mater, by Astorga, 234 ; by Dvorak, 394 ; by Pergolesi, 100 ; by Rossini, 313. Stadt-pfeiffer, or town musicians in Germany, 137. Staff, musical, development, of, 9- Stainer, Sir John, 451. Standard Bearer, song by Lind- painter, 339. Stanford, Dr. C. V., 450. Steffani, Abbate (1655 — i73o). 162. Steibelt,Daniel(i755[i764?]— 1823), 369- Stephens, Miss (Countess of Essex), 337- Sternhold and Hopkins' Psalms, 90. Stevens, R. J. S. (1753—1837), 88 239- INDEX. 483 Storace, Anna S., singer (l765[?] — 1817), 233. Stephen (1763 — 1796), 233. Storm Rondo, by Steibelt, 370. Strada, Anna, singer, 217, 219, 222. Straduarius, Antonius, 55. Stratonice, opera by M^hul, 406. Stringed instruments, 38. Suard, J. B. A. (1734 — 1817), 260. Suite de Pieces pour le Clavecin, by Handel, 210. Sullivan, Sir Arthur, 447. Sumer is icumen in, round, 79. Supplement au Roman Comtque of Jean Monnet, 250. Susanna, Handel's oratorio, 227. Sussmayer, F. X. (1766 — 1803), 284. Sweelinck, J. P. (i54o[?]— 1621), 152. Sweet bird, air from Handel's L' Allegro, 223. ' Swieten, Baron von, 288. Sylvana, opera by Weber, 333, 334. See also Waldmadchen, Das. Symphonic Poems, by Liszt, 374. Symphonic espagnole, by Lalo, 429. Symphonic fantasUque, by Berlioz, 418. Syntagma Musicum, of Michael Prsetorius, 75. Syrinx or Pan's pipes, 27. Tableau Parlant, Le, opera by Gr6try, 264. Tabour and pipe, 23. Tallis, Thomas (1520—1585), 81, 82 ; his forty-part canon, 81 ; his Evening Hymn, ib. ; his patent for music-printing with Byrd, 82. Tambourin, 23. Tambourine, 23. Tamerlano, opera by Handel, 313. Taming of the Shrew, opera by Goetz, 396. Tancredi, opera by Rossini, 309, 31I1 339- Tannh&user, opera by Wagner, 345, 381, 383, 384. Tappert, his Wagner Lexicon, 389. Tarare, opera by Salieri, 301, 305. Tartini, Giuseppe ( 1692 — 1770J 106. Tate, Nahum, his Dido and ^neas set by Purcell, 191. Taverner, John (first half i6th cen- tury), 80. Taylor, Edward (1784 — 1863), 344. Teatro alia moda, Marcello's, 103. Te Dcum, by Dvorak, 394; by Graun, 168 ; by W. Jackson of Exeter, 195 ; by Handel, 208, 209, 226; by Purcell, 191, 193. Telemann, G. P. (1681 — 1767), 142, 152. Tempest, The, music to, by Purcell, 192 ; proposed opera by Mendels- sohn, 352. Tempesta, La, opera by Hal6vy, 416. Temple Church organ, 197. Temple Musick, Rev. A. Bedford's 200. Tempter, Dcr, und die Jiidin, opera by Marschner, 338. Teseo, opera by Handel, 207. Thalberg, Sigismund (1812 — 1871) 301. 372. The dead shall live, chorus from Handel's Ode for St. Cecilia's Day, 223. The Glories of our Blood and State, ode by Parry, 450. The king, shall rejoice, coronation anthem by Handel, 215. The mighty conqueror, glee by S. Webbe, 238. The soldier tired, air by Dr. Arne, 230. The trutnpefs loud clangour, chorus from Handel's Ode for St. CecilicCs Day, 223. The ways of Zion do mourn, anthem by M. Wise, 182 ; anthem by Handel, 222. Theater of Musick, Playford's, 198. Theile, Johann (1646— 1724), 154. Then round about the starry throne, chorus in Handel's Samson, 226. Theodora, oratorio by Handel, 227. Theorbo, 48. 484 INDEX. Tkesee, opera by LuUy, 128. They that go down to the sea in ships, anthem by Purcell, 191. Thibaut, King of Navarre (1201^ — 1254), 14. A. F. J. (1772— 1840), his Purity of Musical Art, 360. "Third sound" of Tartini, 107. Thirty Years' War, its effect on music in Germany, 137. This Magic-wove Scarf, trio in Barnett's Mountain Sylph, 441. Thoinan, Ernest (A. E. Roquet), 59. 253- Thomas, A. Goring (1851 — 1892), 447- Thomas, Ambroise (1811 — 1896), 423- Thomyris, Queen ofScythia, opera, 203. Thun, Countess, 270, 288, 293. Tibia or flute, 27. Tieffenbriicker. See " DuifFop- rugcar." Tinctoris, J. (i434[?]— 15"). 57. 59- Tad fesu, Der, oratorio by Graun, 168. Tofts, Mrs. (17th century), singer, 203. Tolomeo, opera by Handel, 215. Tom Bowling, song by Dibdin, 234. Tonic Sol-Fa, 453. Torualdo, opera by Rossini, 310. Tosi, P. F. (i68o[?]— 1762[?]), 170. Total eclipse, air from Handel's Samson, 226, 228. Tower of Babel, The, opera by Rubinstein, 400. Town-musicians, or Stadtpfeiffer, in Germany, 137. Traife de I'Harmonie reduite d ses Prindpes Naturels, by Rameau, 243- Tiavenol, Louis (1698P]— 1783), '252. Travers, John (1706 — 1758), 195. Traviata, La, opera by Verdi, 320. Treasury of Musick, Playford's, 198. Treatises on music, ancient, all in Greek language, i . Tremolo invited by Monteverde, 97. Trent, Council of, 68. Triangle, 24. Tribut de Zamora, Le, opera by Gounod, 426. Trionfo del Tempo, cantata by Handel, 161. Tristan, opera by Wagner, 383, 385. Triumph of Time and Truth, cantata by Handel, 161. Triumphs of Oriana, 85. Troubadour, The, opera by Mac- kenzie, 449. Troubadours, their origin and con- stitution, 14. Trovatore, II, opera by Verdi, 319. Troyens, Les, opera by Berlioz, 418. Trumpet, 22, 34. Trumpet-marine, 55. Tschaikowsky, P. (1840 — 1893), 400. Tschudi maker of harpsichords, 46. Tuba, St. Jerome's description of, 22. Tye, Dr. Christopher (i5o8[?]— i57o[?]),8i. Tympanum, 22. Under the greenwood tree, air by Dr. Arne, 230. Une fievre br&lante, air in Gr6try's Richard Cceur de Lion, 264. Unterbrochene Opferfest, Das, opera by Winter, 330. Utrecht Te Deum and Jubilate, Handel's, 208. Vald' Andorre, Le, opera by Halevy, 416. Vallotti, F. A. (1697— 1780), 329. Vampyr, Der, opera by Marschner, 338. Vecchi, Orazio (i53o[?] — 1605), 72. Veiled Prophet of Khorassin, opera by Stanford, 450. Venice, early school of music at, 61, 71. Vepres Sicibennes Les, opera by Verdi, 320. INDEX. 485 Veracini, F. M. (1685P]— 1750), 106. Verdelot, Philippe (1490— 1567), 61. Verdi, Giuseppe, birth and educa- tion, 317; early operas, 319; Ernani, Rigoleito, II Travatore, etc., ib. ; La Traviata, Les Vgpres Siciliennes, etc., 320 ; Aida, ib. ; Requiem, ib.; Othello, 321; Fal- staff, ib. Verse anthem, introduction of, 186. Vestale, Im,, opera by, Spontini, 316. Vie pour le Czar, La, opera by Glinka, 399. Vielle (small hurdy-gurdy), 52. Vienna, music in, 269. Vieuxtemps, H. (1820 — 1881), 433. Vincenti, music-printer, 62. Viol, 52. "Viola da Gamba," 53. Violin School, Spohrt, 344. Viols, Mace's advice on their preser- vation, 199 ; abandoned in favour of violins in France, 266. Virdung, Sebastian (i6th century), his Musica Getutscht, 75. Virginal, 44, Vita Caduca, La, madrigal by A. Lotti, loi, 219. Vittoria, T. L. (1540P]— i6o8), 70. Vivaldi, A. (1685 — 1743), i°6. Vive Henri IV., the air, 1 16. Vogler, J. C. (1698—1765), 151. -. — Abbe G. J. (1749-1814), 328 ; his pupils, 330. Vollkommene Kapellmeister, Der, Mattheson's, 163. Voltaire, 245, 248, 263. Waelrent, Hubert (1517 — 1595), 6i. Waft her, angels, song from Handel's y«^A/]%a, 227. Wagner, Richard (1813— 1S83), birth and education, 375 ; early operas, 376; engagements at Magdeburg, Konigsberg, and Riga, 377 ; visits Paris, ib. ; Rienzi produced at Dresden, 380; flies from Dresden, 382 ; friendship with Liszt, 383 ; Tannhiiuser a.nA Lohengrin produced at Weimar, ib. ; visitsLondon,384; his letters, ib. ; Tannhduser in Paris, ib. ; Ludwig II. of Bavaria, 385 ; the Bayreuth Theatre, 386; Der Ring der Nibelungen, ib. ; concerts in London, ib. ; Parsifal, 387 ; his death, ib. ; his musical principles, ib.; the "Leit-motif," 96, 388. Wagner, literature, 389. Waldmadchen, Das, opera by Weber, 332, 333. See also Syl- vana. Waldstein, Count, 287, 290. WalkUre, Die, opera by Wagner, 383. Wallace, W. Vincent (1814— 1865), 440. Walpurgis Nacht, Die, by Mendels- sohn, 352. Walsh, John, music-publisher ( — 1736), 206. Wanderer, Da; song by Schubert, 296, 299. Ward, John (i58o[?]— ), 84. Warren-Home, E. T. (1730 — 1794), secretary of the Catch Club, 239 ; his MS. collection of glees, etc., ib. ; his published collection, ib. " Water Music," Handel's, 208. Water parted from the sea, air from Arne's Artaxerxes, 230. Watson, Thomas (i557[?] — 1592), his Italian Madrigalls Englished, 84. Webbe, Samuel (1740 — 1816), 237, 238. Weber, Aloysia (Madame Lange) (1750—1839), 330. Bernhard Anselm (1766 — 1821), 330. Carl Maria von (1786 — 1826), early years, 330 ; operas Das Waldmadchen, Peter Schmoll, 332 ; Riibezahl, 333 ; Sylvana, ib. ; Abu Hassan, 334 ; marriage, 335 ; Patriotic songs, ib. ; settles in Dresden, ib. ; Preciosa and Der -Freyschiitz, ib. ; Euryanthe, 336 ; visit to England and death, 336 ; 486 INDEX. remains removed to Dresden, 337; 330, 358- Weber, Gottfried(l779— 1839), 330. Weelkes, Thomas (1578— i64o[?]), 84. Weihe der Tone, Die, symphony by Spohr, 344. Weldon, John (i676r?]— 1736), 195. Wesley, Samuel (1706—1837), 445. Samuel Sebastian (1810 — 1876), 446. Westminster Abbey, Smith's organ in, 196 ; St. Margaret's, Smith's do. at, ib. ■ We will rejoice, anthem by Dr. Croft, 188. When winds breathe soft, glee by S. Webbe, 238. Where the bee sucks, air by Dr. Arne, 230. While fools their time, glee by J. Stafford Smith, 239. Whitehall Chapel, organ in, 196. Widor, C. M., 430. Widow of Nain, The, oratorio by Lindpainter, 339. Wieck, Clara (Madame Schumann) ( — 1896), 362, 363, 367. Friedrich (1785— 1872), 358, 360, 361, 363. Wilbye, John (i564[?]— l6i2[?]), 84. Wilderness, The, anthem by S. S. Wesley, 446. Willaert, Adrian (1480P]— 1562), 61, 72. Winchester, early organ in cathedral, 33- Wind instruments, 26. Winter, Peter von (1755 — 1825), 33°- Wise, Michael (1638— 1687), 181, 183. Wise and Foolish Virgins, liturgical drama of the, 18. Wit and Mirth ; or, Pills to purge Melancholy, D'Urfey's, 200. Woelfl, Josef (1772 — 1812), 369. Wohltemperirte Clavier, of J. S. Bach, 148. Wolstan, description of organ in Winchester Cathedral, 33. Woman of Samaria, The, oratorio by W. Sterndale Bennett, 445. Wood Nymphs, The, overture by W. Sterndale Bennett, 445. Wretched lovers, chorus from Han- del's Ads and Galatea, 210. Ye Mariners of England, part song by Pierson, 487. Ye twice ten hundred deities, from Purcell's Indian Queen, 192. Yonge, N. (i55o[?J— ), 83. Zadok the Priest, coronation anthem by Handel, 215. Zampa, opera by Herold, 412, Zampogna, or Calabrian bagpipes, 3°- Zarlino, Gioseffo (1519 — 1590), 61, 72, 152. Zauberfldte, Der, opera by Mozart, 283, 284. Zelter, C. F. (1758— 1832), 348, 350- Zem,ire and Azor, opera by Spohr, 343- Zemire et Azor, opera by Gretry, 264. Zephyre et Flore, opera by Louis and Jean Louis de LuUy, 130. Zingarelli, N. A. (1752— 1837), 315, 442. Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury.