Chapter IX: Liszt and the Present Time 271 (12)

An equally important group is that of the Russians, headed by the emotional and highly-strung Tschaïkowski, whom Bülow, not without justice, honoured with his special admiration. Tschaïkowski’s variations are one of the soundest and most genuine of modern piano works; and the B flat minor concerto has a swing and rush that carries us away. His Sonata, not only by its application of national themes, but specially by the national colouring of the episodic parts, down to the light and shade of the figurations, is unique among piano pieces. He was simpler and more popular in his numerous drawing-room pieces, which constantly reward study by a spirited phrase or unusual harmony. The school of older and younger Russians has worked on the same popular lines. To this school belong Borodin, Cui, Liadoff, Rimsky-Korsakoff, Mussorgsky, Glazounow, Naprawnik. A third group is that of the Scandinavians, who gained importance in Europe about the middle of the century, not merely in fiction and painting, but in music also. But they were rather inspired than inspirers. Their leader is Grieg, whose well-known concerto Op. 16, in spite of certain eccentricities, has a very flowing course suggesting the united influence of many predecessors. His themes are good specimens of a music which is not the product of experience, but of invention. Scores of variations and dainty isolated pieces keep the same happy and attractive medium between the shallow and the interesting. They are in any case more important than Gade’s Mendelssohniana. For a long time less known, but far deeper and more genuine than Grieg, is Halfdan Kjerulf, whose works have been republished by Arno Kleffel (Simon). Humorous little pieces in the post-romantic style, but of concentrative ability, deserve the highest praise a Romantic can receive; they are like Schubert in spirit. Among the later Scandinavians, Schytte and Sinding have tried no new paths; Stenhammer, also of importance as a virtuoso, has given us works of pith and character, which may rank among the first.

In England and America, in later times, Graham Moore and Macdowell may claim notice as lesser Romantics. The former is not free from triviality; the latter invents with more delicate genius, and has written a very respectable piano-concerto. But Germany may still boast that she retains the supremacy.

From the group of German post-Romantics, which found in Franz Brendel a very fertile composer of programme tone-pictures, two great personalities drew apart. Adolf Jensen was the inheritor of Schumann’s emotion, Johannes Brahms of Schumann’s musical character. Jensen, whose character is the mean between Chopin and Schumann, has left behind him music which will not die, in his clear-cut and splendidly worked-out Suites, in his emotional “Wanderbilder” and Idylls, in the unique Eroticon, which characterises the different forms of love in separate movements, and in the four-handed wedding music, which is lovely and full of power. But Brahms inherited from his patron Schumann, not youth, not this simple thinking and inventing, but manhood, in which music became an absolute self-supported world. He worked in the world of tone, with no trace of virtuosity, with not a suspicion of a concession to the understanding of the mere amateur. His Sonatas and Concertos, the sparkling Scherzo Op. 4, the Variations, the Études, even the four-handed waltzes and the unique “Liebes-lieder” waltzes--for four hands with voices--there has, in our time, been no music written so free from the slightest condescension. Stubborn, at times repellent, even in her smiles not very gracious, this music seeks to make no proselytes; but whomsoever she wins as a friend, she holds fast and allows that rarest of pleasures--the pursuit of lofty aims, and the quiet rapture of a student.

Over against these two originals stands Joachim Raff, the eclectic. We have grown accustomed to count his eclecticism no reproach, for never did man more bitterly experience the sorrow of art. His great legacy of piano-pieces will at least give a good picture of the time. In them the most commonplace demands of art are mingled with the most heart-felt lamentations--as they never mingled except in our age. They are a long catalogue of virtues and vices, from the hapless Polka de la Reine to the Sonatas, in which, whether for piano alone, or more especially for piano and violin, he attained astonishing heights; from the ravishingly graceful suite-movements to the romanticism of his lyrical songs. And over all broods the unrest of the time.

Among living Germans the same two main groups are in general to be distinguished: the artists of the serious, self-sufficient music, and the poets of the lighter, post-romantic _genre_. Rheinberger’s sound and solid Sonatas and smaller pieces are the purest representatives of the more absolute conception of music, and they deserve the highest praise. Richard Strauss, also, in his earlier years, came out with some remarkably original piano-pieces, which betrayed a strong sense for absolute music. I would mention particularly the pithy Burlesque for Orchestra and Piano. In such serious and solid endeavour Wilhelm Berger stands out among the younger masters. But--as in the middle section of his great variations for two pianos--he must beware of a too great fluency, which is the stumbling-block of all absolute musical emotion.

Eugene d’Albert, in spirit, resembles Brahms. This appears most clearly in the eight massive Piano-pieces of his Op. 5, which live by their infelt music, and are in that respect to be numbered amongst the noblest fruits of modern piano-literature. This inclination to absolute music appeared even in his first work, a very interesting Suite, and has received further active expression in certain arrangements of Bach, which take a front rank along with those of Busoni. Among his piano-concertos, the second, which is included in a single movement, is without serious rival, at least among works that have appeared since Liszt, in wealth of invention and variety of colour. His secular turn will probably continue itself in his later works, which, in consequence of his devotion to opera, will necessarily cease to be influenced by Bach and Brahms.

Paderewski stands perhaps on the dividing line between the severer absolute musicians, in whose style he composed his Variations and Humoresques à l’antique, and the daintier drawing-room romantics, with whom he associates himself specially in numerous fiery Polish dances. His Concerto in A minor is absolutely bathed in this national spirit.

Xaver Scharwenka strikes a similar note. Something of Chopin at his best still lives in him; and his Concertos, above all, have given him a name as a composer. His brother Philip renounces the virtuoso, and appears rather as a teacher and former of taste. He has created a rich piano-literature, which prefers to deal in graceful and _galant_ forms, and holds itself utterly aloof from storm and revolution. Scharwenka has the rare merit of having successfully cultivated four-handed piano music; and his “Herbstbilder” and “Abendmusik” belong to the most tasteful productions of this class. Among his multiform “Jugendstücke” the “Kinderspiele,” in several volumes, are the most successful. A similar activity has been shown by Wilhelm Kienzl, who has been able to work the light romantic _genre_ in all its aspects. Kienzl is one of our most fertile piano-composers. His pieces are all occasional, thought out for delicate orchestral effects, and thus are extremely unassuming. His “Boat-Scene” gained the special approval of Liszt, while his Dance Airs and Dance Pictures belong to the most popular class of piano-works. His illustrated cycle “Child-love and Life,” which appeared with text in four languages, seeks to apply to the piano the method of intuitive instruction. The cycle “From my Diary” is the best example of the specially subtle and suggestive touch, by which Kienzl attains his detailed orchestral effects; while the two volumes, “A Poet’s Journey,” are to be regarded as his ripest work.

Moritz Moszkowski, who has not yet laid aside his career as a virtuoso, and only the other day appeared with a new piano-concerto, is among the most remarkable in the band of modern piano-poets. A delicate and polished virtuosity, as it appears in the Etincelles and the Tarantelle, is allied with a characteristic force in form, which has made his four-handed Spanish dances, and his “From Foreign Parts,” so popular.

History shows that the piano only flourishes in a pronounced opposition to the opera, which is the other extreme, the triumph of all arts united. The opera seeks to realise the impossible; it calls into requisition a whole world of forces in order to grasp in a sensuous manner the heights of life. It forms a Titanic resolve to build mountains out of sand; an intoxication, an extraordinary consciousness of victory, gives wings to this most daring of experiments. A great man once appeared, who made Dionysus his lord, and sought to win from the stage a mirror of the world and worldly honour. We stand on the fair ruins of his splendid failure. We have been instructed, we have been elevated; but the tragedy of the theatre is too deep. Then come the hours in which we flee to the household-ingle of chamber-music, and strive to disentangle its enlacing lines, in which we see the whole of life included, since it depicts itself without the need of foreign aid. The piano will further be the central point of this introspection. Let us have no concertos, in which this delicate instrument is dragged before the crowd and has to fight a duel with the orchestra. All beautiful compositions notwithstanding, the piano is no concerto-instrument. In concertos the delicate ear is outraged. The piano will not adapt itself for new ideas in the hall, in the midst of virtuosity, or against the orchestra. It must become chaste; it must turn in faith to Bach’s Wohltemperiertes Klavier, the Old Testament, as Bülow called it, of the musician’s creed, and to Beethoven’s Sonatas, the New.

It is noteworthy that in Schytte’s “Silhouettes,” or Variations on the same theme in the different styles of various Masters, he nowhere fails so badly as with Bach, who is marked by retardations in the middle voices, or with Beethoven, who is characterised by gloomy rhythm. The true path seems to have been lost. The line through Bach, Beethoven, Schumann, and Brahms, is the only safe line for the piano; and it is the line in music furthest removed from the opera. In those great natures, whether they knew it or not, was a strong repugnance to the opera; and Brahms, whose eulogists said he was the last of his race, will perhaps one day be viewed as the connecting link between the old and a new musical culture.

It is in chamber-music alone that we have the right to look for great triumphs in the immediate future; triumphs of which Klinger’s “Radierungen,” Brahms’s “Clarinet Quintet” or Smetana’s “Aus Meinem Leben,” are at once the anticipation and the guarantee.

It is for our children to see to it that the great traditions of the past are not forgotten; and that the building which it will fall to them to erect is not unworthy of its foundation.

[133] Some of us would be inclined to follow this train
of thought in another direction. The question would not
be--May great artists break the law and be blameless? (the
Pope practically held that they might; if Benvenuto Cellini
does not lie about his own case) but--What right has the
public to obtain a full account of any man’s private life?

Vulgar curiosity, and an unacknowledged desire on the part
of the reader to find that the great man is “even such
a one as himself,” have more to do with the popularity
of certain biographies than their writers would care to
acknowledge.

The “Life” of a great man should be a faithful report of
his Greatness. His weakness and folly, often exceeding
that of commonplace people simply because of the vastly
greater range of his temptations, is no business of ours,
and should never be printed, except in so far as it is
necessary to make clear the plain story of his career.

[134] Meaning separate publications--ranging from single
pieces to large collections in one volume.

Postscript

Prosniz’s “Handbuch der Klavier-litteratur,” which goes down to 1830, and the new edition of Weitzmann’s “History of Piano-playing and Piano-literature,” now in preparation, supply a complete apparatus of all the sources of information necessary to the student. Thus I have been able in this work, to the exclusion of all dryasdust references to authorities, to present the development of piano-literature from the point of view of culture and of human interest. For procuring the material which lies in the works themselves and contemporary writings, I am indebted to the labours of Dr Kopfermann, Director of The Royal Library of Music at Berlin. I am enabled to give the illustrations by the extreme kindness of Mr Otto Lessmann, the Baroness Wilhelm von Rothschild, Mr Nicolas Manskopf, Mr Edwin Bechstein, Mr de Wit, Madame Bülow, Madame Marie Fellinger, and others.

Errata

P. 43. The note on Agricola is a mistake. M. Agricola is of the
early 16th century. Bach’s pupil was J. F. Agricola, for whom
see p. 122, _note_.

P. 48. _For_ “Tielman Sufato” _read_ “Sufato Tielman.”

P. 63, line 2. _For_ “brown” _read_ “yellow.”

P. 63, line 2. _For_ “dark grey” _read_ “gris de Maure.”

P. 70, line 27. According to the latest investigations Scarlatti
died in _Naples_ in 1757; thus he must have returned from Spain
to Italy. (_Cf._ “Gazette Musicale,” Napoli, 15th Sept. 1898.)

P. 114, line 19. _For_ “Hezekiah’s” _read_ “Gideon’s.”

Addendum

P. 16. _Note_. That one of the earliest indications of the 18th
century suite is to be seen in the Elizabethan “Parthenia,”
viz., in the association of Prelude, Pavan, Galliard.

Index of Names and Matters

Accompagnato--style, 95

Adam, L., 160, 186, 192

Agricola, M., 43 (_see_ Erratum)

Alkan, 317

Ansorge, 301

Arcadelt, 8 _note_

Aria, 72

Arne, T. A., 38

Aston, 27

Attaignant, 42

Baake, 191

Bach, Friedemann, 138

Bach, John Christian, 94, 148, 159

Bach, John Sebastian, 91 ff.
Life, 93
His contrapuntal method, 94
Accompagnato, 95
Style of work, 96
Construction of his pieces, 96
Technique, 116
Clavier method, 118
Bach and the Hammer-clavier, 122
Original editions of, 102
Toccatas, 98
Symphonies and Inventions, 97
Fugues, 100
“Art of Fugue,” 103
Wohltemperiertes Klavier, 102, 112, 113, 116, 119
Chromatic Fantasia, 103
Other Fantasias, 109, 110
Partitas, 104
English Suites, 106
Overture in French Style, 120
Italian Concerto, 109
Preludes, 112
Programme-music, 114
Goldberg Variations, 117
Other mentions, 148, 163, 326

Bach, Philip Emanuel, 128 ff.
Life, 138
The “Versuch,” 139
“Manieren,” 140
Harmonies, 144
Melody, 144
Works, 143
Amalia-sonatas, 145

Barth, 306

“Bebung,” 20, 119

Bechstein, 310

Beethoven, 157 ff.
Reformer, 158
Tragedy in Music of, 169
Concertos, 170
Scherzi, 169
Forms, 171
Style of playing, 183
Sonatas in detail, 175 ff.

Bembo, Pietro, 77

Benedict, 191

Bennett, Sterndale, 268

Berger, Ludwig, 184, 191, 193

Berger, Wilhelm, 323

Bertini, 205

Besardus, 12

Bird, William, 27-31
Carman’s Whistle, 31

Bischoff, 307, 316

Blow, John, 38

Blüthner, 310

Böhner, 245

Bösendorfer, 310

Bononcini, 74

Borodin, 320

Borwick, 300

Brahms, 322

Brendel, Franz, 322

Breslaur, 304

Broadwood, 133, 169

Bülow, Hans von, 296

Bull, John, 32, 34, 36, 71 _note_
King’s Hunt, 35

Busoni, 301

Buxtehude, 92

Caccini, 75

Carissimi, 78

Carreño, Madame, 303

Cavalieri, 77

Cavalli, 75

Chabrier, 319

Chambonnières, 52

Chaminade, Cécile, 319

Chopin, 256 ff.
Etudes, 203, 263
Chopin and Hummel, 261
Life, 258
Works, 262
Playing, 257

Clavichord, the, 19, 20, 89, 91, 124
Clavicymbal, 23, 81

Clauss-Savardy, 293

Clementi, 190, 208
Group of his followers, 191, 193

Collard, 193

Compass of clavier, etc., 19-22, 24, 211

Concertos, 109, 151, 170, 319, etc.

Contests, musical, 91, 161, 163

Corelli, 78, 82

Counterpoint, 9, 79, 84, 85

Couperin, François, 53 ff.
Content of his pieces, 56
Forms, 55
L’art de toucher le clavécin, 63, 64

Couperin, Louise, 59

Couplet in Rondo, 55, 147 _note_

Cramer, 194, 210

Cristofori, 121, 122, 133

Cui, 320

Czerny, 190, 216

Da Capo, 84

D’Agoult, 276

D’Albert, Eugene, 307, 324

Dance
Old English, 18
First instrumental dances, 15, 42
French _danseuses_, 43 ff.
Oldest books of dances, 52
Old dance forms, 55
Allemand, etc.

Dandrieu, 49, 65

D’Anglebert, 40, 65

Dawson, 300

Diémer, 302, 309

D’Indy, Vincent, 319

Diruta, 24, 80

Döhler, 291, 293

Donizetti, 202

Dorn, H., 191

Dreyschock, 293

Dubois, 319

Dumont, 65

Dupont, 306

Durante, 89

Dussek, 159, 163 ff.

Duysen, 310

Eberl, 183, 190

Eckard, Joh., 48

Eckard (Paris), 160

Elizabeth, Queen, 3, 4

Elsner, 265

English Music, 6, 14, 16, 27-39, 38 _note_, 82 _note_

English relations to French music, 15, 41

Erard, 133

Ertmann, Baroness, 160

Essipoff, Madame, 293

Étude, 203 ff.

Fantasia, Old English, 16, 82 _note_, 101 _note_

Fantasia, Italian, 80

Fantasia, free, 145
_F. senza tempo_, 143

Farnaby, 37

Farrenc, 52

Fauré, 319

Field, 159, 193, 265

Fingering, in old times, 26, 81, 116

Fischer, 303

Fleischer, Oskar, 41

Fortbien, 133

Franck, C., 319

French Characteristic Pieces, 132, 148

Frescobaldi, 73, 79, 80, 92

Freund, 306

Friederici, 133

Friedheim, 301

Froberger, 92

Gabrieli, 15, 26, 79, 92

Gabrilowitsch, 301

Gade, 321

Galilei, Vincenzio, 77

Gallot, 51

Galuppi, 89

Gasparini, 70

Gaultier, 41, 50

Gelinek, 161, 183

General Bass (see Thorough Bass), 284

Germer, 307

Gibbons, 7, 16, 37

Glasounow, 320

Gorlier, 15

Graf Pianos, 182

Gravicymbel, 133

Greulich, 191

Grieg, 321

Guicciardi, Julia, 160

Hackebrett (dulcimer), 121

Handel, 74, 138

Hässler, 159

Hammer-klavier, 121, 312

Harpsichord, 22, 24, 78 _note_

Hartvigson, 300

Hasler, 92

Hasse, 14

Hausmann, 309

Haydn, 149, 159

Hebenstreit, 121, 122

Heller, Stephen, 318, 319

Henselt, 318

Herz, 201

Heymann, 301

Hiller, Ferdinand, 191, 317

Hofmann, Jos., 301

Hüllmandel, 192

Hummel, 190, 193, 211, 212 ff.

Hünten, 201

Hurdy-gurdy, 21

Ibach, 310

Improvisation, 161, 162 (Mozart), 198
In Bach’s time, 130
In 1800, 161, 198, 211

Irmler, 310

Isaac, 92

Italian Forms, 78-80
Chamber Music, 78

Jadin, 192

Jaell, 293

Janko, 308

Jannequin, 48, 49, 50, 61

Jedliczka, 306

Jensen, Adolf, 322

Joseffy, 306

Judenkunig, 11

Kalkbrenner, 190, 192, 198, 218

Kaps, 310

Karr, 201

“Kenner und Liebhaber,” 143

Keyboard, 24 _note_

Kienzl, 323, 324

Kirchner, 318

Kirnberger, 131

Kittl, 191

Kjerulf, 322

Klauwell, 304

Klavier (see Pianoforte), 18, 21, 23, 121

“Klavierlehrer,” paper, 305

Kleeberg, 293

Klengel, 193

Klindworth, 306

Knabe, 310

Koch, 315

Köhler, 189

Kontski, 190, 201

Kozeluch, 190, 210

Krebs, 145

Kuhnau, 92
“Quacksalver,” 129
“Biblical Stories,” 119

Kullak, Ad., 306

Kullak, Franz, 306

Kullak, Th., 191, 304, 306

Lacombe, 319

Lasso, Orlando, 26, 37

Le Begue, 65

Lebert, 306

Leschetizki, 308

Liadoff, 320

Lipawsky, 161

Liszt, 193, 264, 271, 287 ff.

Locatelli, 82

Loeilly, 65

Löschhorn, 191

Logier, 190

Louis Ferdinand, Prince, 164

Lully, 44

Lütschg, 301

Lute in Middle Ages, 11, 77

Madrigal, 8, 15, 37 _note_

Marcello, 76

Marchand, 91

Marius, 122

Marpurg, 130

M’Dowell, 322

Mela, Domenico des, 314

Mendelssohn, 152, 198, 249 ff., 250 _note_

Menter, Sophie, 293

Merulo, 79 and _note_

Meyerbeer, 194

Monochord, 19, 42 _note_, 77

Monteverde, 79

Moore, Graham, 322

Morley, Thomas, 37

Mortier de Fontaine, 293

Moscheles 152, 196, 198, 221

Moskowski, 306, 325 f.

Mozart, 151
Mozart and the piano, 135
Clavier concerts, 151
Sonatas, 153 ff.
Miscellaneous, 161

Müller, A. E., 190

Mulliner Book, 27

Munday, John, 36, 93

Mussorgsky, 320

Naprawnik, 320

Neitzel, 316

Octave, “short”, 24 _note_

Opera, Italian, 13, 74 ff.

Operatic Fantasias, 200

Organ, in Middle Ages, 10 ff.

Ornamentations, 12, 20, 34, 41, 57 and _note_, 83 and _note_
In Bull and Byrd, 29
Couperin, 57
Bach, 108
P. E. Bach, 140 ff.
End of 18th cent., 150

Oury, Madame, 191

Pachelbel, 92

Pachmann, 301

Paderewski, 301, 324

Paganini, 207, 282

Pape, 133

Paradies, 89

“Parthenia” (also see Addendum, p. 328), 16

Pasquini, 70, 81

Pauer, Ernst, 191

Paul, Oskar, 18

Pedal, 136, 188, (156, picture)
With Dussek, 164
Adam, 186
Hummel, 186

Pedal Clavier, 120

Penna, Lorenzo, 24

Peri, 75, 79

Periodicals, musical, 131

Phillipps, Peter, 37 and _note_

Pianoforte
Modern factories, 309 ff.
History of the instrument, 121, 122, 136
Viennese and English mechanism, 134, 136, 190
Socially, 134, 303
As furniture, 313 f.
Pianos _de luxe_, 315
Piano and Opera, 201, 326
Piano and Orchestra, 150, 199
Prices of pianos, 135, 137, 316
Piano instruction, 190, 304
Conservatoriums, 305
Hammerclavier, invention of, 121
“Cottage” Piano, 314 (156, 312, 313, pictures)

Pièce Croisée, 58, 61

Pixis, 187, 191

Plaidy, 189, 306

Planté, 301

Pleyel, 133, 159

Pleyel, Madame, 191

Pollini, 191

Porpora, 89

Pradher, 192

Programme-Music, old, 49, 92, 93, 132

Proksch, 191

Prosniz, 28, 328

Purcell, 82 _note_

Raff, 323

Raif, 306

Rameau, 65, 66, 86, 92

Reading, the Monk of, 15

Rebel, 45

Registers or “stops” of Clavier, 23

Reincke, 92

Reisenauer, 301

Repetition, principle of, 72

Rheinberger, 323

Richardson, Ferdinand, 37

Riemann, 307

Ries, 191

Rimsky-Korsakoff, 320

Risler, 190, 301

Romantic School, 224

Rondo, Old French, 147 _note_
In Philip Emm. Bach, 147
In Beethoven, 174
Rondo and Sonata, 145

Rosellen, 201

Rosenhain, 293

Rosenthal, 301

Rossi, Michael Angelo, 82

Rubinstein, Anton, 294 ff.

Rubinstein, Nicolas, 300

Ruckers, 23, 137, 314

Rudolf, Archduke, 191

Rudorff, 306

Rust, F. W., 163

Saint-Saëns, 319

Sand, George, 260

Sauer, 301

Scarlatti, Alessandro, 76, 88

Scarlatti, Domenico, 69 ff.
Sonatas, 86
Technique, 88, 89
Cat’s Fugue, 89

Scharwenka, Xaver and Philip, 306, 324

Schiedmayer, 310

Schmitt, Aloys, 191, 192

Schobert, 160

Scholz, Bernhard, 306

Schröter, 122

Schubert, 225
Miscellaneous, 226
“Wanderer” Fantasia, 226
Op. 78, 227
Impromptus and “Moments,” 228, 229

Schulhoff, 191

Schumann, 231
Schumann and Schubert, 229 ff.
Jean Paul, 232
Bach, 243
E. T. A. Hoffmann, 245
Life, 236
Clara, 236, 237
“Zeitschrift,” 238
Works, 231 ff., 238 ff.
Miscellaneous, 249

Schwarz, Max, 306

Schytte, 322, 326

Senfl, 92

Shakespeare and Music, 5, 6, 7

Silbermann, 122, 134, 137

Siloti, 301

Sinding, 322

Sonata
Sonata “da camera” and “da chiesa,” 78 _note_, 84
Old Italian, 86
Scarlatti, 86 and _note_
Kuhnau, 92
Sonata and Suite, 107
18th century, 110
Sonata and Rondo, 145
Philip Emm. Bach, 143 ff.
Haydn, 150
Mozart, 153
Beethoven, 170 ff.

Spath, 135

Spinet, 6, 24, 90

Spitta, 102, 116

Starck, 306

Stavenhagen, 301

Steibelt, 162

Stein, 137

Steinway, 310

Stenhammer, 322

Sterkel, 210

Strauss, Richard, 323

Streicher, 134

Streicher, Nanette, 160

Sucher, 303

Suite, (_see_ Dance) 106, etc., and _see_ Addendum

Suspensions in Couperin, 57

Sweelinck, virginal pieces, 26, 37

Swietens, Van, 163

Szalit, Paula, 301

Tadema, Alma, 315

Tallis, 27, 32

Taubert, 191

Tausig, 300, 306

Technique, (_see under_), 187-190, 209
Couperin, 64
Ph. Emm. Bach, 143
Fingering, 116
Keyboard, etc., 24, 26

Tedesco, 191

Temperament, equal and unequal, 101 _note_, 102

Thalberg, 197

Thilo, 307

Thoroughbass, 78, 79

Thumb, technique of, 139 ff.

Tielmann, Sufato, 48

Tinctoris, 14

Tischer, 128

Titles of drawing-room pieces, 59, 200

Titles (allegorical, etc.) of old pieces, 42, 51, 59 ff.

Tomaschek, 191

Tschaïkowski, 319

Türk, D. G., 185

Turini, the elder, 86

Turini, the younger, 89

Variations, Old English, 33, etc.

Venetian instrumental music, 13, 26

Viadana, 78

Viennese musical life, 160

Villoing, 190 (line 8; _omitted_)

Vinci, L., 76

Virdung, 20

Virgil, 307

Virginal, 6, 18, 81

Virginal Books, 15, 16, 27, 28

Virtuoso and Teacher, 64, 192, 305
Life of, 193.
Virtuosos playing together, 198
Virtuosos and Concerts, 299

Vivaldi, 82

Volkmann, 318

Volkslied in Masses and Motets, 8

Vollweiler, 191

Wagner (instruments), 137

Wallace, 299

Wanhal-Vanhall, 190

Weber, Dionysius, 191

Weber, C. M., 206, 218

Weitzmann, 28, 328

Wendling, 309

Westermayer, 310

Widor, 319

Willaert, 79

Wilmers, 191

Wölffl, 161, 183, 190

Wolfsohn, 300

Wüllner, 306

Zimmermann, 317

Zumpe, 133

List of Full-page Engravings
PAGE
Title-page. Portrait of Franz Liszt. Pastel by F. von
Lenbach, of the year 1881, in the possession of
Madame Cosima Wagner in Bayreuth _Frontispiece_

Young scholar and his wife. Painting by Gonzales
(1614-1684), in the Royal Gallery at Cassel 8

Lady at the clavier. Painting by Dirk Hals, ✝ 1656,
in the Rijksmuseum at Amsterdam 14

Le Maître de Musique, painting by Jan Steen, 1626-1679, in
the National Gallery, London 44

Concert. Painting by Gerard Terborch, 1617-1681, in the
Royal Museum at Berlin 56

J. Ph. Rameau. Engraving by J. G. Sturm (Nürnberg,
1742-1793) 62

A clavier lesson. Painting by an unknown Dutch Master,
17th century, in the Royal Gallery at Dresden 78

Domenico Scarlatti. Lithograph by Anon 86

J. S. Bach. Bust by Carl Seffner. Modelled on the actual
skull. After His, J. S. Bach (Vogel, Leipsic) 100

Facsimile of title-page of Bach’s Manuscript of the
Wohltemperiertes Klavier, in the Royal Musikbibliothek,
Berlin 110

George Frederick Handel, engraved by Thomson 136

Joseph Haydn, engraved by Quenedey 148

W. A. Mozart, engraved in 1793 by C. Kohl (1754-1807) 150

Mozart at the age of seven with his father and sister.
Engraved 1764, by J. B. Delafosse (b. 1721) after L. C. de
Carmontelle (✝ about 1790) 154

L. van Beethoven. Lithograph by C. Fischer, after the
original portrait of 1817, by A. Kloeber (1793-1864) 168

J. N. Hummel. Engraved by Fr. Wrenk (1766-1830), after the
portrait by Catherine von Escherich (beginning of 19th
century) 210

Franz Schubert. Lithograph of 1846, by J. Kriehuber
(1801-1876) 228

Robert Schumann. Engraving by M. Lämmel 236

Chopin. Anonymous Lithograph, after portrait by Ary
Scheffer (1795-1858) 256

Thalberg. Lithograph of 1835 by Staub 276

Liszt at Weimar, 1884, from a Photograph 290

Eugene d’Albert, portrait by H. Katsch 298

Johannes Brahms. Photograph from life by Marie Fellinger,
Vienna 322

List of other Illustrations and Facsimiles

PAGE

Guido of Arezzo and his protector, Bishop Theodal, playing on a
Monochord 1

Orlando Gibbons. After Grignon’s engraving in Hawkins 7

Title-page of the first English engraved Clavier Music, 1611 17

From the Weimar “Wunderbuch,” a Clavichord of about 1440 20

From the Weimar “Wunderbuch,” Primitive Spinet, of about 1440 21

A Concerted Performance 25

Page from “Parthenia,” the first English engraved Clavier Music,
1611 29

John Bull, at the age of 26 33

Henry Purcell, 1658-1695 36

The so-called “Hand” of Guido of Arezzo 38

D’Anglebert, Chamber Musician to Louis XIV., after Mignard 40

François Couperin, “Le Grand” 54

Portrait of Louis Marchand 66

Rameau, out walking 67

Old engraving after Wagniger’s design 68

Adrian Willaert, of Venice 72

Frescobaldi 73

Virginal in shape of a work-box 81

The same opened 81

The instrument taken out 81

Italian cembalo, from a monastery, of the 18th century 83

Old engraving representing Scarlatti playing a Harpsichord with
two rows of keys 85

An Octave Spinet 90

German Clavichord, 17th century, “gebunden” 91

Konrad Pau(l)mann, the first German writer for keyed instruments 95

Skull of Sebastian Bach 98

The Fifteenth Sinfonia of John Sebastian Bach, from the Royal
Musikbibliothek, Berlin 105

John Mattheson, at the age of 37 115

Pedal-clavichord 120

“Bundfrei” Clavichord 124

Philip Emanuel Bach 126

F. W. Marpurg, Theoretician and Clavier Teacher. 1718-1795 130

Streicher’s Pianoforte and Concert Saloon 135

Mary Coswey with the Orphica 146

Beginning of Mozart’s A minor Sonata 153

Upright Hammer-clavier, called the “Giraffe” 156

Beethoven at the age of 31 157

Dussek (portrait) 165

Cast of Beethoven’s living face, 1812 167

Specimen from Beethoven’s A flat major Sonata, Op. 26 173

Lyser’s Sketch of Beethoven 176

Beethoven’s last Grand Piano, by Graf, Vienna 182

Viennese pianoforte players about 1800. Eberl, Gelinek, Wölffl 183

The Brothers Pixis. 1800 187

Ludwig Berger. Pupil of Clementi 191

John Field, 1782-1837. Steel engraving by C. Mayer 193

Marcelline Czartoryska, _née_ Princess Radziwill 194

Prince Louis Ferdinand 195

Marie Charlotte Antoine Josephe, Countess of Questenberg 197

Clementi (portrait) 208

Hummel in his later years 213

A Canonic Impromptu, by J. N. Hummel 215

Czerny. Lithograph by Kriehuber, 1833 217

Carl Maria von Weber. Lithograph by Eichens, after Vogel, 1825 219

Moscheles in his youth 220

Moscheles, later, 1859 221

Parisian and London Pianists at the beginning of the 19th century.
L. Adam, Kalkbrenner, Cramer 223

Waltz by Schubert 224

Clara Schumann, _née_ Wieck 239

Louis Böhner, the original of Hoffmann’s Kreisler 246

The last piece in Schumann’s “Kreisleriana,” main movement 247

Head of Mendelssohn, after Hildebrand 251

George Sand, in man’s dress 259

Chopin’s Hand. From a marble in the National Museum at Budapest 270

An afternoon with Liszt. Kriehuber, Berlioz, Czerny, Liszt, the
violinist Ernst 271

Photograph of Liszt, taken in Budapest 271

Title-page of Hofmeister’s Edition of Liszt’s Op. 1. 273

Liszt in his youth 275

After Dantan’s Caricature of Thalberg 276

After Dantan’s Caricature of Liszt 277

Facsimile of Liszt’s Hungarian Storm-March 279

The “jeune école” of Parisian Pianists 280

Liszt in his youth 281

Cartoon representing Liszt and his Works. 1842 283

“General” Bass surprised and overcome in his fortress by Liszt 284

Liszt and Stavenhagen 285

Plaster Cast of Liszt’s Hand 287

Liszt lying in state 288

Music-room in the “Altenburg” at Weimar 289

Döhler. Lithograph by Mittag 291

Sophie Menter in her youth 292

Clotilde Kleeberg, 1888 292

Madame de Belleville 293

Carl Filtsch 293

Rubinstein at twelve 294

Hans von Bülow 295

Last Portrait of Rubinstein 296

Bülow on his deathbed 297

Reinecke in his youth 298

Carl Tausig 299

Paula Szalit 300

Eduard Risler 301

Josef Hofmann 302

Madame Carreño 303

Ferruscio B. Busoni 305

Hand of Eugene d’Albert 307

J. G. Paderewski 311

Upright Hammerclavier 312

Bechstein Cottage piano 313

Bechstein Grand Piano _de luxe_ 315

Joachim Raff 317

Stephen Heller 318

Ferdinand Hiller 318

Adolf Henselt 318

Tschaïkowski 319

Richard Strauss 320

Philip Scharwenka 321

Dr Wilhelm Kienzl 323

Maurice Moskowski 325

TURNBULL AND SPEARS, PRINTERS, EDINBURGH.

Transcriber’s Note:

This book was written in a period when many words and names had not become standardized in their spelling. Words may have multiple spelling variations or inconsistent use of diacriticals and hyphenation in the text. These have been left unchanged. Dialect, obsolete and alternative spellings were left unchanged. Words and phrases in italics are surrounded by underscores, _like this_.

Obvious printing errors, such as letters in the wrong order, backwards, upside down, missing or partially printed, were corrected. Unprinted punctuation and final stops missing at the end of abbreviations and sentences were added.

Footnotes were numbered in order and moved to the end of the chapter in which the related anchors occur. Footnote [4] has two anchors.

Changes:

Phantasie to Fantasie
obligato to obbligato