A Popular History of the Art of Music

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As pianist, Rubinstein was distinguished for his grand style, broad
and noble mastery of the instrument, and his consummate sympathy and
innate musical quality. He was a player of moods, at times playing
like a god, at other times his work disfigured by many errors, but
always interesting, commanding and noble. He played best the
compositions of Beethoven and Schumann, their innate depth and
intense musical expression appealing to his richly gifted musical
nature irresistibly. His personality was commanding and attractive.
Saint-Saens relates how Rubinstein played in Paris the concertos of
Beethoven and of Rubinstein, while Saint-Saens conducted the
orchestra. At the close of the concerts Rubinstein desired to give yet
another in which he himself would direct the orchestra, while
Saint-Saens should play. It was for this occasion that the Saint-Saens
second concerto was written. In his later life Rubinstein lived like a
prince in a beautiful estate near St. Petersburgh. The list of his
works is something enormous. Of operas and dramatic works there are
twelve, several of which, such as "The Tower of Babel," "Paradise
Lost" and "Moses," are biblical operas, a type of dramatico mystical
work created by Rubinstein. It contains the gravity and depth of
oratorio combined with the intense realism of the stage. There are six
symphonies, of which the famous and several times enlarged "Ocean"
symphony is perhaps best known, a "Heroic Fantasia" for orchestra,
three character pieces for orchestra, "Faust," "Don Quixote" and
"Ivan"; three concert overtures, a quantity of chamber music,
compositions for piano, songs, and the like. In everything of
Rubinstein beautiful melodies are found; his weakness lies in the
development, which occasionally is carried too far, and with
insufficient vitality of thematic work.

[Illustration: PETER ILITSCH TSCHAIKOWSKY.]

Even greater than Rubinstein as composer was the brilliant Peter
Ilitsch Tschaikowsky (1840-1893). Tschaikowsky was intended for the
profession of the law, in which he took his degree. But his love for
music asserted itself, and after a short career as pupil in the St.
Petersburgh conservatory, he was appointed teacher of harmony in that
institution, and entered upon his career as composer. Here he remained
but a short time, resigning in 1877, after which he lived by turns at
St. Petersburgh, in Italy and in Switzerland. Tschaikowsky was of a
lyric musical nature, and in his early life his taste was entirely for
Italian music. This shows to a remarkable degree in all his earlier
productions, even if he had not himself published the fact so often
and unmistakably. In 1869 he produced his first Russian opera, "Der
Woiwode" which was followed by eight others, of which the best known
are "Eugene Onegin" and "Makula, the Smith." Several of these are now
played throughout Europe. It was in his orchestral compositions,
however, that Tschaikowsky most illustrated his unexampled powers.
Besides a number of brilliant and highly sensational overtures, he
composed six symphonies, of unexampled sonority, rich coloring and
strange musical expression. The fifth symphony of Tschaikowsky met
with almost universal recognition at the hands of the leading
orchestral conductors of the world; and the last, the so-called
"Tragic," only deepened the impression of the composer's powers.
Several points are unusual. The themes themselves are original,
forceful and lend themselves easily to elaboration. The harmonic
treatment is highly original, as if the author had found, as Buelow
said, "new harmonic paths." The instrumentation is richly colored and
the climaxes are of vast power and effect. The whole is a grandly
composed tone poem which even if regarded as surpassing the proper
reserve of symphonic form must nevertheless be counted as one of the
most valuable enrichments of the world's orchestral repertory. In
several places in his works Tschaikowsky introduces peculiarities of
Russian folk music, as for example in the movement in 5-4 measure in
the fifth measure symphony. Nevertheless, the works belong to the
world's music, being in no sense provincial, narrow or limited.
AEsthetically considered, they illustrate the quick technique and
over-mastering energy of the race to which the composer belonged.

III. MUSIC IN BOHEMIA.

Another country in which a notable musical revival has taken place
during the latter part of the present century is Bohemia, where two
names are to be mentioned. Bedrich Smetana (1824-1884), is to be
remembered as the creator, or at least the awakener, of Bohemian
music. After a short education at the Prague university Smetana
entered diligently upon the study of music, becoming a brilliant
pianist, and as such forming one of the circle of enthusiastic and
advancing souls surrounding Liszt at Weimar, between 1850 and 1860.
His first position as musical director was at Gothenberg, 1856. Here
he lost his wife, the brilliant pianist Katharina Kolar. In 1861 he
made a long concert tour to Sweden. In 1866 he was appointed director
of the music at the national theater in Prague, a position which he
held until obliged to give it up on account of loss of hearing in
1874. Smetana wrote eight operas upon Bohemian subjects, with music in
the Bohemian spirit; one best known is "The Bartered Bride," which was
the last composed. He also wrote about ten symphonies or symphonic
poems, and a great variety of chamber music. Of his symphonic poems
those most often played are: "In Wallenstein's Camp," "Moldau,"
"Sarka" and "Visegrad." In all these the titles are mainly suggestive,
although in "Sarka" a programme is quite closely followed. Smetana was
a brilliant composer, but his value lies in his awakening of the
Bohemians to musical creation.

[Illustration: BEDRICH SMETANA.]

[Illustration: ANTON DVORAK.]

The most brilliant name in Bohemian music, and the one most valued by
the world in general, is that of Anton Dvorak (1841- ), who was the
son of a butcher at Mulhausen. The boy early applied himself to the
violin, and after some years' playing in small orchestras, found a
place as violinist in the orchestra of the National theater at Prague.
This was at the age of nineteen. About ten years later he first
attracted attention as composer, by means of a hymn for mixed chorus
and orchestra. The attention of his countrymen, thus gained, Dvorak
fastened still more by a succession of compositions of varied scope,
ranging from the Slavic dances and Slavic rhapsodies to symphonies,
chamber music and choral works of great brilliancy. In 1892 Dr. Dvorak
was called to New York as director of the so-called National
Conservatory of Music. In 1895 he returned to Bohemia. The choral
works of Dvorak were generally first written for English musical
festivals. "The Specter's Bride," "Stabat Mater," "Saint Ludmilla."
The list of his works includes five symphonies for full orchestra,
several concert overtures, a very beautiful air and variations for
orchestra, and seven operas upon Bohemian subjects. Dvorak is one of
the most gifted composers of the present time, especially in the
matter of technique. His thematic treatment is always clever, his
orchestral coloring rich and varied, and his style elegant. If
deficiency is to be recorded concerning him it is in invention or
innate weight of ideas. During his residence in America he promulgated
the idea that an American school of music was to be created by
developing the themes and rhythms of the negro melodies, and he wrote
a symphony, "From the New World," in order to illustrate his meaning.
The second or slow movement of this work attained a distinguished
success almost everywhere; but the themes of the first and last
movement are not sufficient for the treatment they receive. This work
has been more successful in Europe than in this country. Perhaps the
most notable quality of Dr. Dvorak's personality is his naivete, which
shows well in his music. He is quite like a modern Haydn, who has
learned and remembered everything of musical coloration which has been
discovered, but who applies his knowledge in a simple and direct
manner without straining after effect.

IV. MUSIC IN SCANDINAVIA.

[Illustration: EDVARD HAGERUP GRIEG.]

Foremost of Scandinavian composers is Edvard Hagerup Grieg (1843- ),
who was born at Bergen, Norway, and received his early musical
education from his mother, who was an excellent pianist, and very
musical. By the advice of the celebrated violinist, Ole Bull, Grieg
was sent in 1858 to Leipsic for further instruction, where he became a
pupil of Moscheles, Hauptmann, Reinecke, Richter and Wenzel. In 1863
he pursued further studies under Gade at Copenhagen. In companionship
with a talented young composer, Ricard Nordraak, Grieg set himself, as
he says, "against the faded Scandinavianism of Gade and Mendelssohn
intermingled, and undertook to put into tones the real beauty,
strength and inner spirit of the northern folks-life." He composed in
many varieties of work, and in 1879 attained German recognition by
playing his own piano concerto at the Gewandhaus in Leipsic. Grieg's
works are full of poetry, easy and natural expression, and are
pervaded by northern coloring, so decided as in some cases to approach
what in speech is called dialect. Nevertheless, it is indubitable that
his music has distinctly enriched the world's stream of tone-poetry,
and introduced a new accent and voice. He has distinguished himself in
almost every department, in songs, choral work, chamber music,
symphonies, sonatas for piano and piano and violin, and orchestral
suites, of which perhaps his two "Peer Gynt" are the most celebrated.
In person Grieg is slight, fair-haired, with lovely deep blue eyes and
a charming manner. He is subject to pulmonary weakness, and is
compelled to reside much of his time in warmer climates than those of
his native land.

[Illustration: [autograph] Niels W. Gade]

An older composer than Grieg is Niels Wilhelm Gade (1817-1890), of
Copenhagen, who after a thorough musical education received in his
native city, attracted wider attention in 1841 by taking the prize for
his concert overture, "Night Sounds from Ossian," the judges being Fr.
Schneider and Spohr, the violinist. This gave Gade a royal stipendium,
with which he immediately betook himself to study at Leipsic, where he
came under the personal influence of Mendelssohn, an influence which
he never outgrew. At the death of Mendelssohn he was appointed
director of the Gewandhaus, but not proving in all respects
satisfactory he held the position only a part of one season. After the
death of Glaeser in 1861, Gade was made royal music director at
Copenhagen, a position which he filled many years. He was active as
composer in every direction, his published works embracing eight
symphonies, five overtures, two concertos for violin and orchestra,
three violin sonatas, several cantatas for mixed voices, soli and
orchestra, and many other works. The ultimate judgment of Gade as a
tone-poet is likely to be that while distinctly talented, he never
attained imagination of the first order.

Among the younger composers Christian Sinding (1856- ) is to be
mentioned. Besides many works for chamber, he has written one
symphony, which while not very original gives promise of better
productions later.

V. MUSIC IN ENGLAND.

The relation of England to the higher art of music has been peculiar.
In the sixteenth century and earlier it was one of the most musical
countries in Europe; but from the appearance of Haendel, about 1720,
German music and German composers absorbed public attention to the
exclusion of the natives--no one of whom, it may be added, evinced
creative powers of any high order. England was a liberal patron of all
the leading German masters, from Haydn, who wrote twelve symphonies
for the London Philharmonic, to Beethoven, whose ninth symphony was
written for the same society; Mendelssohn, whose "Elijah," was written
for the Birmingham festival, and Wagner, who received handsome
compensation for conducting a series of concerts in London. A little
past the middle of the present century, however, more creative
activity began to show itself among English composers, until at the
present time there are excellent English composers in all the leading
departments of musical production. The more celebrated names follow.

One of the most graceful and talented of English composers was Sir
William Sterndale Bennett (1816-1875), who came of a musical stock,
and was duly trained as a choir boy in King's Chapel, and at the Royal
Academy of Music. In 1836 he went to Leipsic, in order to profit by
the Gewandhaus concerts there and the friendship of Mendelssohn. Here
he produced a number of orchestral compositions which were so highly
esteemed that in 1853 the directorship of the Gewandhaus concerts was
offered him. After a short sojourn at Leipsic he returned to London,
where he ever after lived, highly honored as composer, pianist,
teacher and man. In 1856 he became the conductor of the London
Philharmonic concerts, and in 1866 principal of the Royal Academy of
Music. He was knighted in 1871, having previously been honored by
degrees from Cambridge and Oxford. He was professor of music in
Cambridge University from 1856 until his death. As a composer Bennett
was influenced by Mendelssohn, but he had much delicacy of fancy and a
certain originality of his own. His compositions embrace four
concertos for piano and orchestra, several concert overtures for
orchestra, one symphony, much chamber music, a cantata, "The May
Queen" (1858), "The Woman of Samaria" (1867), and a number of
occasional odes, anthems and part songs.

The successor of Sterndale Bennett as principal of the Royal Academy
of Music was Sir George A. Macfarren (1813-1887), who although totally
blind for many years before his death, produced a greater number of
important compositions than any other English composer of the century.
He was educated in London, and in 1834 became one of the professors in
the Royal Academy of Music. His first opera was produced in 1838,
"Devil's Opera," "Don Quixote" (1836), "Jessy Lea" (1863) and
"Helvellyn" (1864). He wrote a number of cantatas for chorus and
orchestra, oratorios, "St. John the Baptist" (1873), "The
Resurrection" (1876), "Joseph" (1877), and other works of less
importance. There are also many anthems, several overtures and other
pieces for chamber. Personally he was kind-hearted, intelligent,
helpful and public spirited. The amount of work that he accomplished
under the greatest of disadvantages is wonderful, as well as its
generally superior quality. As a lecturer and teacher he was the
foremost musical Englishman of his time. His compositions are strong
and respectable, but not especially inspired.

The successor of Sir Geo. Macfarren in the principalship of the Royal
Academy of Music was Alexander Campbell Mackenzie (1847- ), the
youngest eminent English composer, but also the most successful and
promising. He was educated as a violinist, and resided at Edinburgh as
a teacher of the pianoforte and violin until his compositions
attracted the attention of his countrymen and induced his being called
to London. The most important compositions of Dr. Mackenzie up to the
present time are the operas "Colomba" (1883), "The Troubadour" (1886)
and the oratorio "The Rose of Sharon" (1884). There are several
cantatas, "Jason," "The Bride," "The Story of Sayid" (1886) and a
considerable number of orchestral pieces, of which two Scotch
rhapsodies and the overture to "Twelfth Night" are the best known. He
has also produced a violin concerto (played by Mr. Sarasate), and much
chamber music and songs. On the whole, Dr. Mackenzie seems the most
gifted English composer who has yet appeared.

[Illustration]

INDEX.

"Abel", 351

"Abou Hassan", 408

Academie de Musique, 238

Adam, 491

Adam de la Halle, 122

AEschylus, 55

"Africaine", 414

"Agnes von Hohenstaufen", 479

"Aida", 485

"Alceste", 333

"Alcidor", 479

"Allgemeine Musikalische Zeitung", 464

Amati, 201

Ambrosian Scales, 131

Anglo-Saxon Harp, 104

Anglo-Saxons, Music among, 96

"Anna Bolena", 482

Antiquity, Music in, 23

Apprentice Periods of Music, 22

Arabs and Saracens, 109

"Arianna", 224

Aristophanes, 57

Aristotle, 58, 65

Aristoxenus, 58

Arkadelt, 165

Art, Conditions of Its Development, 18

Art Forms, Qualities of, 20

"Ascanio", 494

Assyrian Harps, 45

Assyrians, Music among, 46

Auber, 488

Aurelian, 139

Bach, 265, 468

Bach as Melodist, 272

Bach, Emanuel, 282

Banjo, Ancient, 46

Bar in Vocal Music, 186

Bardi, Count of, 221

Bards, 89

Barytone, 196

"Basilius", 242

Bayreuth, 425

"Beatrice and Benedict", 435

Bede, 139

Beethoven, 305, 316, 319, 320, 355, 499

Bellini, 482

Bellows Bags in Old Organs, 206

Bennett, 501

Berger, 361

Berlioz, 432

Berlioz and Mendelssohn, 434

Bizet, 495

Blondel, 123

Blow, Dr. John, 354

Boethius, 135

Boieldieu, 343

Boito, 486

Bologna, Mozart at, 295

Books Published, 220

Boscherville Sculptures, 208

Brahms, 498

Braithwaite's Musicians for an Earl's Household, 213

Breton Song, 88

Bruce's Harpers, 30

Bruch, 500

Buelow, 423, 507

Buxtehude, 254

"Caliph de Bagdad", 344

"Calm Sea and Prosperous Voyage", 457

Calzabigi, 333

Cambert, 236

"Cantilena of St. Eulalie", 116

Canzone, 249

Carissimi, 245

Cassiodorus, 137

Cavalli, 226, 231

"Caverne, La", 342

Celts, 87

Centers of Music, 17th Century, 220

Cesti, 226

Chansons de Geste, 115

"Cheval de Bronze, Le", 490

China, 73

Chitarrone, 193

Chopin, 441

Choral Song, 53

Choral Works of Bach, 268

Chromatic Keyboards, 205

Church Influence, 128

Cithara, 64

Clementi, 355, 357

Concerto, 249

"Concertstueck", 411

Corelli, 255

"Corpse Fantasia", 383

Council of Trent, 174

Cramer, 360

Cremona, 198

"Crociato, Il", 141

"Crown Diamonds", 490

Crwth, 24, 106

Cypriano de Rore, 172

"Dafne", 222

"Damnation of Faust", 434

Delibes, 494

"Devil's Trill", 366

"Devin du Village", 339

Didactic of Music, 134

"Dido and AEneas", 349

"Dinorah", 415

"Don Giovanni", 300

Donizetti, 482

"Don Sanche", 446

Drama, Ancient, 54, 55

Druids, 89

Dufay, 158

Dussek, 357

Duesseldorf, Mendelssohn, 459

Dvorak, 503

Egyptians, Early, 25

Elements of Music, 15

"Elijah", 461

English Round, 100

"Entfuehrung aus dem Serail", 297

"Esther," Haendel, 277

Eoud, 113

Epics, French Mediaeval, 115

"Erl King, The", 384

"Ernani", 485

"Euryanthe", 409

"Eve", 493

"Faust," Berlioz, 434

"Faust," Gounod, 491

"Faust," Schumann, 474

"Faust," Spohr, 369

"Fernand Cortez", 478

Fetis, on the Celts, 90

Field, 356

Fleurettes, 157

Flute, Egyptian, 28

Flute, Greek, 64

Flute, Hebrew, 42

Form, Principles of, 20

"Fra Diavolo", 490

Franco of Cologne, 146, 156, 186

Franco of Paris, 147, 157

Frauenlob, 125

French Opera, Origin of, 225

French Tenacity of Vernacular, 239

Frescobaldi, 252

Fugue, 151, 262, 263, 270

Fugue, Chromatic, 271

Gade, 497

"Gioconda, La", 487

"God and Nature", 413

Grieg, 500

"Harmony and Meter", 460

"Harold in Italy", 434

Heller, 504

Henselt, 504

Herold, 490

Hiller, 505

"Huron, Le", 341

India, Music in, 70

India, Musical Drama in, 73

Individualism, 374

Instrumental Music, 249

Instruments, Relation to Progress, 20

"Iphigenie", 335

Ireland, Music in, 95

Irish Harp, 97

Iron Frame, 401

Iron Tension Bar, 399

Isidore, of Seville, 138

"Ismene", 242

Italian School of Singing, 228

Japanese, 77

"Jean de Paris", 344

"Jephthah," Carissimi, 245

"Jessonda", 369

Jomelli, 346

Josquin, 163

Jubal, 43

"Judith", 351

Kerl, 253

Kindergarten, Egyptian, 39

King Arthur, 98

King David Playing, 24

Kinnor, 42

Klauser, "Septonnate", 17

Ko-ko, 77

"Kreisleriana", 471

Kuhnau, 354

"Lakme", 494

Lalo, 495

Landseer Portrait of Paganini, 431

Lassus, 167

Leading Motive, 410

"L'Elisir d'Amore", 482

Leonin, 153

Liszt, 446, 447

Liszt and "Lohengrin", 418

Liszt and the Later Sonatas of Beethoven, 323

Liszt, Pupils of, 451

Liszt's Appearance, 454

Litolff, 504

"Lucia", 482

Lulli, 236

Luther, 175

Lyre, Egyptian, 33

Lyre, Greek, 64

Lyric Element in Music, 263

Macfarren, 501

Mackenzie, 503

Macrobus, 134

Madrigal, 215

Madrigal in Opera, 217

Magadis, 64

"Marion Delorme", 487

Martinus Capella, 135

"Marriage of Jeannette", 493

Mask, 225

Mason's Enthusiasm for Schumann, 475

"Masaniello", 489

Masse, 492

Massenet, 493

Mediaeval Violins, 195

Mehul, 342

"Mefistofele", 486

"Meistersinger, Die", 423

Mendelssohn, 455

Mendelssohn on Berlioz, 434

Mendelssohn's Relation to Schubert, 377

"Messe Solennelle," Rossini, 481

Metastasio, 333

Meyerbeer, 411

"Mignon", 495

Minnesingers, 123

Minstrels of the North, 87

Miracle Plays, 244

"Mireille", 491

Mixtures in Old Organs, 207

Modes, Greek, 61

"Moise", 481

Monody and Homophony, 198

Monsigny, 339

Monteverde, 224

"Mors et Vita", 492

Moscheles, 362

Moscheles with Mendelssohn, 455

Moszkowsky, 503

Motette, 154

Mozart, 299

Mozart as an Operatic Force, 336

Mozart on Jomelli, 346

Naples Schools, 169

"Nero", 486

Neumae, 181

Nicode, 503

"Nibelung's Ring", 420

"Norma", 483

Notation, 179

Notation, Roman, 189

"Nurmahal," 1822, 479

"Oberon", 409

Odon, 143

Okeghem, 162

Old French School, 153

Opera, 223

Opera in Germany and France, 235

Opera in 16th Century, 327

Opera and Drama, 427

Opera, Future of, 427

Oratorio, 223, 244

Oratorio in Costume, 280

Orchestic, Greek, 56

Orchestra at End of 17th Century, 256

Orchestra, Corelli's, 255

Orchestra, Monteverde's, 224

Organ, Early Form, 202

Organ, Portable, 204

Organ at Winchester, 98

Organ Music Notation, 251

Organum, 142

Orlando di Lassus, 166

"Orpheus," Gluck's, 333

"Otello", 485

"Otello," 1816, 479

Pachelbel, 253

Paganini, 428

Paisiello, 347

Palestrina, 173

Parish-Alvars, 439

"Parsifal", 426

Passions, Bach, 269

Patriotic Use of Music, 52

Pentatonic Scales, 74

People's Song, 263

Perceptions of Tone, 85

Pergolesi, 345

Perotin, 153

Perrin, the Abbe, 326

Petrucci, 217

Phantasiestuecke, Schumann, 469

Philippe de Vitry, 157

Phillidor, 339

Piccini, 347

Pindar, Ode of, 69

Pizzicati, 224

Plato, 67

Pollini, 439

"Polliodoro," Graun, 328

"Polyeucte", 491

Ponchielli, 487

Popular Taste for Music, 213

Popularity in 19th Century, 373, 379

Polyphonic Schools of Italy, 168

Polyphony as an Art Form, 151

Porpora, 228

"Postillon de Lonjumeau, Le", 491

"Pre aux Clercs, Le", 490

"Promessi Sposi, I", 487

"Prophete", 414

Ptolemy, 61

Pupils of Liszt, 452

Purcell, 349

"Puritani, I", 483

"Pygmalion", 339

Pythagoras, 59

Rameau, 336

Ratios, Greek Tetrachord, 61

Ravanastron, 72

Rebec, 196

"Redemption, The", 492

Reinecke, 508

Reinken, 254

Reinmar, 127

Remi, 139

"Representative Style", 223

"Requiem," Berlioz, 434

"Requiem," Mozart, 303

"Rheingold, Das", 420

Rhythm of Bach, 271

Rhythmic Development, 188

Ricerari, 249

"Rienzi", 416

Rinuccini, 222

"Robert le Diable", 414

"Robin and Marian", 236

Roman Notation, 180

Romantic, The, 373

"Romilda e Constanza", 413

Rondo, 155

Rossini, 479

Rota, 150

Rousseau, 338

"Rubezahl", 408

Rubinstein, 505

Saint-Saens, 493

Santir, 114

Saracens, 109

Saracens, Instruments of, 112

"Sardanapolis", 433

Scales, Greek, 60

Scales, Ambrosian, 129, 130

Scandinavians, Music among, 99

Scarlatti, A., 227, 232

Scarlatti, D., 275, 353

Scheidt, 250

Schein, 251

School of Munich, 166

Schools of the Netherlands, 160

Schubert, 376, 381

Schulhoff, 504

Schumann, 464-477

Schuetz and "Dafne", 239

Scotch Melody, 108

"Septonnate", 17

"Serva Padrona, La", 344

"Siegfried", 421

Socrates, 56

Sonata Form, 264

Sonatas, Bach, 265

Sonatas, Beethoven, 309, 319, 322

Sonatas, Corelli, 255

Sonatas, Haydn, 288, 317

Sonatas, Weber, 410

"Song of Roland", 118

"Song of the Harper", 36

Songs of Schubert, 384

Songs of Schumann, 468

Songs of Troubadours, 121

"Songs without Words", 458

"Sonnambula, La", 482

Spinet, 393, 396

Spohr, 366

Spontini, 478

Staff, 185

Steinway, 402

St. Ambrose, 129

St. Mark's, 133

"St. Paul", 459

"Sumer is Icumen in", 101

Svensden, 500

Swelinck, 250

"Symphoniae Sacrae", 247

Symphonies, Beethoven, 319

Symphonies, Haydn, 288

Symphonies, Mendelssohn, 464

Symphonies, Schumann, 474

Symphony, 316

"Tancredi", 479

"Tannhaeuser", 418

Tartini, 364

Tausig, 505

Technique, Modern, 436, 446

Terpander, 52

Thalberg, 438

Thales, 52

Theaters in Venice, 226

Thematic Work, Schumann, 473

Theory, India, 70

Theory, Mediaeval, 134, 147

Thomas, Ambroise, 495

Tinctor, 163

Thomaschek, 359

"Tom Jones", 339

Tonality, 84

Tone Perceptions, 17, 55

"Traviata, La", 485

"Triads of Britain", 93

"Tristan and Isolde", 423

Troubadours, 121

"Trovatore, Il", 485

Tschaikowsky, 499

Verdi, 483

"Vestale, La", 478

Vina, 71

Viol da Gamba, 164

Violin Making, 195

Violin, Stradivarius, 199

Virtuosity, 378

Virtuoso Element, 19th Century, 428

Vitry, Philippe de, 157

Wagner, 416

Wagner and Berlioz, 434

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