Chapter XXVII: The Lessons of Musical History (2)

Oratorio, 48, 79;
advent of, 148;
origin of, 199;
influence of Greek plays upon, 200;
Neri's influence upon, 202, 203;
effect of dramatic recitative upon, 203;
first performance of, 203;
improvements of Carissimi, Stradella, and Cesti in, 204,
205;
dates from Handel, 207;
its decadence after Handel and Bach, 220;
descriptive orchestration in, 224;
its popularity in England, 232;
improvement in the dramatic recitative and the choral part
of, 264.

Oratorio, Passion, 212.

Oratorio, Protestant,
Mendelssohn attracted towards, 227, 230.

Oratorios,
Handel's, 201, 207, 313;
Carissimi's, 204;
Scarlatti's, 205;
Bach's, 207;
Haydn's, 221, 222, 224, 225;
Spohr's, 225;
German, 232;
Italian, 232.

Orchestra, the, 121;
evolution of, 147-157;
early arrangement of, 147, 148;
first organized use of, 148;
Monteverde's influence on, 149;
plan of the contemporaneous, 156-157;
transformed in its treatment by Haydn and Mozart, 168.

Orchestras,
continental town, 61;
Hungarian, 84.

Orchestration, Wagnerian, 233.

"Orfeo," Gluck's, 314, 317, 318, 319.

"Orfeo," Monteverde's, 149, 337.

Organ, the, 10, 22, 77, 85, 86, 101, 102;
first systematic method of playing, 105, 121, 149, 153, 188.

Organists, 101, 102;
Venetian school of, 102, 209;
Roman school of, 104.

Organ playing, 115.

Organ school, the,
of Venice, 102, 209;
of Rome, 104.

Organum, the, of Hucbald, 14, 35.

Orléans, 10.

"Orpheus," Schütz's, 337.

"Otello," Rossini's, 277, 278.

"Otello," Verdi's, 282, 283, 284, 285, 286.

Overture, the,
Gluck's idea of, 316;
advancement of, 353.

"Overture, the Italian," 159, 160.

Overture, the programme, 178.

Overtures,
Lulli's, 159;
their influence upon the symphony, 161;
Weber's, 353;
Beethoven's, 353.

"O Welt, ich muss dich lassen," 60.

Oxford, 63.

Paderewski, 114.

Padua, 93.

"Pagliacci," 287.

Paisiello, 221, 275.

Palazzo Bardi, the, 239, 244.

Palestrina, 44, 45, 49;
his masses, 72;
his development of church polyphony, 74;
his career, 74;
his style, 75, 76, 77, 78, 80, 120, 328, 338, 387.

Paliarino, an instrument maker, 94.

Pandæan pipe, the, 149, 250.

Papal Chapel, the, 75, 77.

"Papillons," Schumann's, 180.

"Pardon de Ploermel, Le," Meyerbeer's, 325.

Paris, 2, 24, 28, 45, 87, 277;
Italian ballet introduced to, 291, 294, 301, 306, 308, 312,
313, 314, 315, 328, 358.

"Paris and Helen," Gluck's, 314.

Paris Grand Opéra, the, 296.

Paris, the University of,
becomes the centre of European study, 24, 87.

Parisian symphony, Mozart's, 165.

Parry, Dr. C. H. H.,
on the "Evolution of the Art of Music," 81, 120, 129, 130;
on Beethoven and the symphony, 167, 168, 169;
on Stradella and Cesti, 205, 216;
his comments on the work of Monteverde, 261, 262;
on Gluck, 320;
on Meyerbeer, 326;
on Mozart, 342;
on classicism, 381.

"Parsifal," Wagner's, 358, 360.

Pasquine, Bernado, the works of, 105.

Passacaglia, a, 129.

"Passage work," 131.

Passion, the,
Bach's settings of, 122, 207;
Schütz's settings of, 210, 211;
Brockes' text of, 211.

_Pasticcio_, a, 313.

"Pastorale," Cambert's, 295.

Paul, Saint, 2.

Pavanes, the, 128.

Pedal, the "celeste," 97.

Pedalling, 113.

"Penitential Psalms," Lasso's, 50, 73.

Penna, Lorenzo, 105;
rules of, 108.

Pergolesi, 275.

Peri, Jacopo,
the "Daphne" of, 244, 245;
his "Eurydice," 149, 245, 246;
his theory of recitative, 247, 248, 249, 250;
peculiarities of his music, 250-252, 253, 254, 264, 285,
290, 303, 307, 315, 318, 336, 337, 345, 352, 357;
Wagner's theories compared with those of, 359, 361, 377.

Pericles, 319.

Perotin, the "Posui adjutorum" of, 25, 27.

Perrin, Pierre, operas of, 295, 296, 300, 301.

"Persée," Lulli's, 302.

Persephone, the rape of, 200.

Pesaro, 277.

"Peter Schmoll," Weber's, 349.

Philadelphia, 98.

"Philémon et Baucis," Gounod's, 329.

Philip the Fair, 24.

"Phryne," Saint-Säens', 333.

Pianists, professional, 102;
their rules, 108.

Piano, the,
precursors of, 71;
the result of a long development, 83;
its fundamental principle, 83;
evolution of, 85-98;
the Steinert collection, 87;
equal temperament in, 98-100, 186, 191, 193, 194;
technics of, 388.

Piano, the English, 97, 111.

Piano playing, evolution of, 101-115.

Piano style, the polyphonic, 116-125.

Pianos, Viennese, 96, 97.

"Pianoforte, The," Rimbault's, 93.

"Pianoforte Sonata," the, Shedlock's, 133.

Picardy, 292.

Piccini, 275;
his development of the operatic finale, 275, 314, 315.

Piccolo, the, 149, 155.

Piedmont, 290.

Pipers, town, 61.

"Piramo e Tisbe," Gluck's, 313, 315.

Pius IX., Pope, 72.

Pizzicato, the, invention of, 151.

"Plain and Easy Introduction to Practical Music," Morley's, 128.

Plays, Greek, influence upon oratorio of, 199, 200, 201.

Plays, secular, 235.

Plays, the pastoral, 291, 292.

Pliny, the Younger, 2.

Poetry, German, 392.

Poetry, relation of music to, 316.

Poets, Italian, 203.

Polka, the, 20.

"Polyeucte," Gounod's, 329.

Polyphonic era, the, 81.

Polyphonic forms, the, 22, 25, 27;
difference between the sonata and, 125.

Polyphonic motet style, the old, 210.

Polyphonic period, the, characteristics of, 387, 389, 391.

Polyphonic playing, 106-108.

Polyphonic style, the, 115, 190.

Polyphonic writing, 44, 73;
a new kind of, 112, 117, 124.

Polyphony, church, 74;
England's mastery of, 80, 129.

Polyphony, English, 27.

Polyphony, instrumental, 124;
comes to an end with Bach, 124;
on a new basis, 214.

Polyphony, vocal, 148.

"Pomone," Perrin and Cambert's, 296, 300.

"Pompeo," Scarlatti's, 265.

Ponte, Lorenzo da, the "Don Juan" of, 343.

"Posui adjutorum," the, of Perotin, 25.

"Power of Love and Wine, The," Weber's, 349.

"Power of Sound," Spohr's, 180.

Preludes, Bach's, 122, 123.

Printing,
invention of, 67;
introduction of, 68.

"Prophète, Le," Meyerbeer's, 325.

"Proserpine," Saint-Säens', 332.

Protestant Church, the, 71;
in Germany, 217, 218, 228, 229.

Protestantism, the spirit of, 212.

Provence, 292.

Psalms, Hebrew, 2;
in the early Church, 3;
antiphonal chanting of, 3.

Ptolomæus, Claudius, 86.

Pythagoras, the musical system of, 14, 85.

"Quartet, American," Dvorak's, 198.

Quartet, string, the,
Haydn the father of, 137;
Monteverde's use of, 150;
Scarlatti's use of, 151, 190, 193;
the opportunities offered by, 194, 197.

Quartets,
Haydn's, 137, 190, 191;
Mozart's, 140, 192, 168, 186, 189;
Gossec's, 190;
complete establishment of, 192;
Beethoven and romanticism in, 192-196.

Quartets, piano, 186, 191, 193, 196, 197.

Quartet writing,
Gossec's, 190;
Haydn's, 190, 191.

"Queen of Sheba," Goldmark's, 356.

"Quintet, American," Dvorak's, 198.

Quintets, 186, 191.

Quintets, piano, 187, 193, 196, 197.

Quintets, string, 191, 193.

Quintilianus, Aristides, 86.

Racine, 310, 314.

Rameau, Jean Philippe,
the French opera composer, 98;
his "Traité de l'Harmonie," 100, 308;
his theoretical works, 308;
his "Hippolyte et Aricie," 309;
operas of, 309, 313;
his improvements on Lulli's style, 309-311, 312, 319, 321,
328, 330, 332, 334, 352, 357.

Rassoumoffsky, Count, 194.

"Rassoumoffsky Quartets, The," Beethoven's, 194.

Reading, 28.

Recitative, dramatic,
invention of, 203;
its effect on oratorio, 203, 235, 239, 240;
improvement in, 264.

Recitative, the Florentine, 292.

Recitative, French, 313.

Recitative, the Greek, 243.

_Recitative secco_, 266, 278, 279.

_Recitativo stromentato_, 267, 278, 279.

"Redemption," Gounod's, 233.

Reformation, the, 60, 71, 104.

Regal, the, 149.

Regensburg, 10.

"Reine de Saba, La," Gounod's, 329.

Reinken, John Adam, the "Hortus Musicus" of, 189.

Renaissance, the, dawn of, 67, 69, 70.

"Reson and Sensualité," Lydgate's, 85.

Reszke, Jean de, 329.

"Rêve, Le," Bruneau's, 334.

Reyer, Ernest, operas of, 334.

"Rheingold, Das," Wagner's, 358, 368, 377.

Rhine, the, 58.

Rhythm, 10, 11;
the appearance of, 16, 21;
elementary attraction of pure, 70;
Aristoxenus on, 238;
Veron on, 384.

Ricercari,
Buus', 103;
Frescobaldi's, 104.

"Ricercari da cantare e sonare," Buus', 103.

"Ride of the Valkyrs," 154, 260.

"Rienzi," Wagner's, 281, 358.

"Rigoletto," Verdi's, 281, 282.

Rimbault, on "The Pianoforte," 93.

"Rinaldo," Handel's opera, 206.

"Ring des Nibelungen, Der," Wagner's, 358, 360.

Rinuccini, Ottavio,
intermezzi of, 236;
his work on "Daphne," 244, 245;
his "Eurydice," 245, 246, 247, 249, 251, 285, 294,
315, 336.

"Ripieno" instruments, 160.

"Ritorno di Tobia, Il," Haydn's, 221.

Ritter, Dr. F. L., 249.

Ritter, Fanny Raymond, on the Troubadours, 57, 58.

Ritual, the Roman, 9, 10.

"Robert le Diable," Meyerbeer's, 324, 325.

Rohran, Austria, 136.

"Roi de Lahore, Le," Massenet's, 333.

"Roland," Lulli's, 302.

Roman Catholic Church, the,
medieval priests of, 1;
artistic music of, 1;
psalms in, 3;
the Sequence in, 8, 16;
connection between France and, 24, 49;
musicians of, 62;
authorized language in, 68;
its music contrasted with Luther's, 71, 72;
prepares religious dramas, 200;
Holy Week in, 208.

Romans, the, 200, 246.

Romanticism, 178, 380, 381;
contest between classicism and, 382, 389.

Romanticists, the, 178, 179;
new, 356.

Romantic period, the, characteristics of, 392, 393.

Romantic school, the, Beethoven's symphonies the connecting link
between the classic school and, 176, 177, 180, 342.

Romantic writers, the, 170.

Rome, 2;
singing-schools at, 3;
Sistine Chapel at, 43, 45, 49, 51, 55, 67, 68, 71;
the pontifical chapel at, 74;
school of Catholic composition at, 77;
Christianity introduced into, 200;
oratorio first performed in, 203, 219, 244.

"Romeo and Juliet," Berlioz's, 180.

"Romeo et Juliette," Gounod's, 284, 329, 330, 331.

Roncole, 281.

Rore, Cyprian di, 39, 45;
his "Chromatic Madrigals," 47, 49, 50, 77.

Rossi, Francesco, operas of, 271.

Rossini, Gioachino Antonio,
operas of, 277;
his abilities, 277;
his methods, 277;
his improvements, 278;
popularity of his operas, 279;
his style, 279, 280, 281.

Rousseau, 310.

Rubinstein, 114.

Ruckers, Andreas, the harpsichord builder, 92.

Ruckers, Hans, the harpsichord builder, 92.

Ruckert, 349.

"Rules of the Minnesingers," Cersne's, 87.

Ruta, Girolamo di, 105.

Sablières, the Sieur de, 300.

Sacchini, 221, 275.

St. Bartholomew, the massacre of, 45.

St. Étienne, 333.

"St. Franciscus," Tinel's, 233.

St. Gall, the convent of, 9, 10.

St. Gregory's Cathedral, 62.

St. John Lateran, the Church of, 49.

St. John's College, 63.

St. Mark's, at Venice, 45, 46, 263.

St. Martin's, the Cathedral of, 40.

St. Matthew Passion,
Bach's, 212;
resurrected by Mendelssohn, 221, 227, 233.

St. Michael Royal, the Church of, 63.

"St. Paul," Mendelssohn's, 213.

St. Peter's, Rome, 75.

Saint-Säens, Camille,
operas of, 332;
influence of Meyerbeer upon, 333.

"Sakuntala" overture, Goldmark's, 179.

"Salammbô," Reyer's, 334.

Salmon, 291.

Salo, Gasparo di, the first violin maker, 149.

Salzburg, 139.

"Samson," Handel's, 213, 223.

"Samson et Dalila," Saint-Säens', 332, 333.

Sängerkrieg, the great, 58.

Sante, Giovanni Pierluigi. See _Palestrina_.

"Sapho," Gounod's, 329.

"Saul," Handel's, 153, 207.

Scale, the Æolian, 6.

Scale, the Doric, 5.

Scale, the Lydian, 5, 6.

Scale, the Phrygian, 5.

Scale playing, 108.

Scales, ecclesiastical, 235, 243, 261.

Scales, the Greek, 4, 5, 6.

Scales, the Gregorian, 47.

Scales, modern, 6.

Scales, modern major, 4.

Scales, the old church, disappearance of, 214.

Scaliger, 90, 91.

Scarlatti, Alessandro,
operatic works of, 107;
his use of the string quartet, 151;
his "Sinfonia avanti l'Opera," 159;
his concertos, 160;
his oratorios, 205;
his treatment of the aria, 206;
his career, 265;
the founder of the Neapolitan school, 265;
his operas, 265;
characteristics of his writing, 265, 266;
his improvements in Italian opera, 265-269;
his development of the _aria da capo_, 269, 270, 280.

Scarlatti, Domenico, 92, 106;
his harpsichord style, 107, 120, 127;
sonatas of, 130, 131.

Scherzo, the, 144, 145.

Schiller, 349.

Schink, on "Don Juan," 345, 346.

Schröter, Christopher G., the claims of, 93.

Schubert, Franz,
symphonic writing of, 179, 180;
orchestra of, 154;
chamber music of, 196, 348;
his "Erl-König," 389.

Schulz, Christopher, 209.

Schumann, Robert, 113;
his original style, 114;
his music, 114;
orchestra of, 154, 185;
his symphonies, 179, 180;
chamber music of, 196, 325, 346, 382, 387, 388.

Schütz, Heinrich,
the "Seven Last Words" of, 209;
his settings of the Passion, 210;
writes the first German opera, 336, 337;
his "Orpheus," 337.

Sculpture, Greek, 69.

"Seasons, The," Haydn's, 167, 213, 225.

"Seasons, The," Thompson's, 225.

Sebastiani, Giovanni, passion music of, 211.

Second viola, the, 187.

Second violin, the, 151, 155, 162, 186, 187.

Second violoncello, the, 187.

"Semiramide," Rossini's, 277, 278.

Senesino, the singer, 271.

Septets, 186, 193.

Sequence, the, origin of, 8, 9.

"Seraglio, Il," Mozart's, 341.

"Seven Last Words of Christ," Schütz's, 209, 336.

Sextets, 186, 193, 197.

Shedlock, J. S., on "The Piano Sonata," 133.

"Shepherds, The," 201.

Shepherd's pipe, the, 154.

"Siegfried," Wagner's, 358, 370, 372.

"Sigurd," Reyer's, 334.

Silbermann, Gottfried, the claims of, 93, 94, 95.

Simicon, the, 90.

Simius, 90.

Simon, Leonard Fitz, the first salaried organist, 63.

Sinay, Belgium, 232.

Sinchard, Henri, 300.

"Sinfonia," the term, 158, 159.

"Sinfonia avanti l'Opera," 159;
its development into overture, 159.

Singers, Roman, 9.

Singing, congregational, 67;
revival of, 71.

Singing-schools, at Rome, 3, 4.

Singing style, the, advent of, 108.

"Singspiel," the German, 339, 350.

Sistine Chapel, the, at Rome, 43, 75.

Sixtus IV., 43.

Snare-drums, 155.

"Solomon's Judgment," Carissimi's, 204.

Solo singing, introduction of, 106, 121, 239, 340.

Sonata,
the development of, 115;
its difference from the polyphonic forms, 125;
early scheme of, 130;
C. P. E. Bach the father of, 132;
general plan and purpose of the early, 135, 136;
early experiments with, 141.

Sonata, the orchestral, 165.

Sonata form,
the modern, 132, 135;
Beethoven's improvements in, 142, 143;
tending towards the monophonic style, 160;
establishment of, 161, 171, 182, 183, 188, 190, 382.

Sonata method, the, 132.

"Sonata," meaning of, 103.

Sonatas,
Beethoven's, 113, 138, 145;
Bach's, 122;
Corelli's, 128, 139;
Scarlatti's, 130, 131;
Haydn's, 137;
Biber's, 139;
Mozart's, 140;
Clementi's, 142.

Sonatas, chamber, 188.

Sonatas, church, 188.

Sonatas, classic piano, 158.

Sonatas, piano,
C. P. E. Bach's, 130, 161;
Haydn's, 137;
Mozart's, 140, 141;
Beethoven's, 145, 146, 193.

Sonatas, violin, 129;
Bach's, 131.

"Sonate da Camera," 188;
Corelli's, 188.

"Sonate di Chiesa," 188.

Song-forms, 263.

Song-plays, German, 339, 340.

Songs,
Roman kithara, 2;
popular, 51;
Roman lyre, 2;
Mozart's, 140;
negro, 181;
secular, 39, 235.

"Songs Without Words," Mendelssohn's, 226.

"Sonnambula, La," Bellini's, 281.

Sophocles, the "Thamyris" of, 239.

Soprano, the, 270, 271, 273.

Sopranos, male, 271, 272, 273.

Sourdeac, the Marquis de, 300, 301.

Southwell, collegiate churches of, 63.

Spain, 44, 57.

"Spem in alium non habui," Tally's, 80.

Spinet, the Italian, 87, 88, 90, 91, 103.

Spinetti, Giovanni, 90, 91.

Spiritual songs, 2.

Spitta, Dr. Philip, "The Life of Bach," 120, 190.

Spohr, Ludwig,
orchestra of, 154;
his symphonic writing, 179, 180;
chamber music of, 196;
oratorios of, 225.

Spontini, Gasparo, operas of, 323.

Square pianos, the first, 94, 95.

Stabat Mater, 9.

Stage, the Italian lyric, dramatic truth restored to, 288.

Staff, the musical, 18, 19.

Steffani, 339.

Stein, Andrew, 95.

Stein, John Andrew, 95, 96.

Stein, Nanette, 95, 96.

Steinert, Mr. Morris, piano collection of, 87, 92.

Stephani, Clemens, passion music of, 209.

_Stile parlante_, the, 252, 264.

_Stile rappresentativo_, the, 252.

"Story of Music," Henderson's, 249.

Stradella, Alessandro,
the orchestra of, 151;
his instinct for choral effect, 205, 264.

"Stratonice," Méhul's, 322.

Streicher, Mrs. See _Stein, Nanette_.

Stretto, the, 119.

Strozzi, Pietro, 236.

"Studies in the Wagnerian Drama," Krehbiel's, 238.

"Suite," a, 128, 189.

Suites, Bach's, 122.

"Sumer is icumen in," 26, 28, 35, 80.

"Surprises d'Amour, Les," Rameau's, 309.

"Surrexit Christus," Gabrieli's, 79.

Susannah, the story of, 48.

Swelinck, Jans Peters, 40, 49, 189.

Sylvester, Pope, founds singing-schools at Rome, 3.

Symphonic band, the modern, 152.

Symphonic poem, the, 178;
Liszt the inventor of, 181.

Symphonic writers, the, 179.

Symphonies,
Haydn's, 137, 161, 163;
C. P. E. Bach's, 161;
Mozart's, 164;
Schumann's, 179;
Spohr's, 179;
Schubert's, 180;
Mendelssohn's, 180;
Belioz's, 180;
Tschaikowsky's, 181;
Dvorak's, 182.

Symphonies,
Beethoven's, 145;
the highest types of absolute music, 172;
the connecting link between the classic and the romantic
schools, 176.

Symphonies, English, Haydn's, 137.

Symphony, the,
Haydn the father of, 137;
definition of, 158;
characteristics of, 158;
development of, 159, 160;
influence of the overture upon, 161;
establishment of, 162;
its condition when Beethoven began writing, 167, 168.

Symphony, the classical, 161.

"Symphony Pathetique," Tschaikowsky's, 181.

Tallys, Thomas,
the father of English cathedral music, 80;
his works, 80.

"Tancred," Rossini's, 277.

"Tancredi e Clorinda," Monteverde's, 259, 262.

"Tannhäuser," Wagner's, 58, 154, 306, 358, 360.

Teatro San Cassiano, the, 262.

Technic, difference between piano and organ, 106.

Technics, Chopin, Schumann, and Liszt, 113.

Te Deum, the, 8.

Temperament, equal, 98-100, 107, 124.

"Templar and Jewess," Marschner's, 355.

Tenors, 17, 272, 273.

Tenor tubas, 155.

Tenor viols, 149.

"Teseo," Handel's, 273.

Tetrachord, the, 5.

"Thamyris," Sophocles, 239.

Théâtre Lyrique, the, at Paris, 329.

Theile, Johann, the "Adam and Eve" of, 338.

Theorbo, the, 149.

"Thesée," Lulli's, 302.

Thibaut, King, of Navarre, 56, 63.

Thirty Years' War, the, 337.

Thomas School, the, in Leipsic, 121.

Thompson, "The Seasons" of, 225.

Thumb, the, use of, 109.

"Timbre d'Argent, Le," Saint-Säens', 332.

Time, dual, 19.

Time, triple, 19, 20.

Tinel, Edgar, oratorio of, 232, 233.

"Toccata," the, 104.

Toccatas, organ, Bach's, 122.

Tone art, the, 346;
development, 380.

Tone color, development of, 112, 113.

Tone coloring, instrumental, Mozart's experiments in, 167, 222.

Tone painting, development of, 39.

"Total Blindness," Handel's, 219.

Touch, variety of, 113, 114.

Tournay, the mass of, 35.

Tournay Cathedral, the, 35.

Tours, 40.

Tragicomedia, 345.

Tragic writers, Greek, 238.

"Traité de l'Harmonie," Rameau's, 100, 308.

"Tragos ode," the, 200.

Trapini, Sicily, 265.

"Traviata, La," Verdi's, 278, 281.

Tremolo, the, invention of, 151.

Trent, the Council of, 72;
orders a reform in church music, 72, 73.

"Tribut de Zamora, Le," Gounod's, 329.

Trinity College, Oxford, 63.

Trios, 139, 168, 186, 191, 193, 196, 197.

"Tristam and Isolde," Wagner's, 154, 358.

"Triumph of Apollo, The," 236.

Trombones, 148, 149, 153, 155, 156, 164, 193.

Troubadours, the, 55, 56;
songs of, 57, 62, 240, 292.

"Trovatore, Il," Verdi's, 281, 282.

Trumpets, 149, 153, 155, 156, 162, 164.

Turkey, the Christian scholars of, 67.

Turks, the, 67.

"Tutti" passages, 151.

Tschaikowsky, Peter Ilitisch,
symphonies of, 181;
his "Symphony Pathetique," 181;
his "Hamlet" overture, 179;
his symphonic writing, 179, 382.

Tschudi and Kirkman, the harpsichord builders, 92.

Tympani, 153, 155.

Upright piano, the, 98.

"Vampire, The," 355.

Vatican, the, at Rome, 75.

Vaudemont, Mlle. de, 291.

Venetians, the, 104.

Venetian school, the, 77, 78.

Venice, 45, 50, 71;
school of Catholic composition at, 77;
the home of opera, 253, 259, 263, 344, 357.

Veni Sancte Spiritus, 9.

Verdi, Giuseppe, 277;
his "La Traviata," 278;
his operas, 281, 282;
his three styles, 282;
accused of imitating Wagner, 284;
his work in "Falstaff," 285, 287;
his development of the arioso style, 287, 288, 331, 332,
378, 390.

Vernio, Count of, 236, 237, 238, 240, 243, 244.

Veron, Eugene, on rhythm, 384.

"Vestale, La," Spontini's, 323.

Victimæ Paschali, 9.

Vienna, 95, 136, 140, 143, 337, 339, 340, 344.

Viols, 147.

Violas di gamba, 148, 149, 150, 151, 153, 162, 186, 187, 189.

Violin, the, 83;
its rapid development as a solo instrument, 127, 148, 149;
assumes its proper place in the orchestra, 150, 153, 154,
155, 162, 168, 187, 188, 189, 190, 193, 250.

Violins, French, 149.

Violoncellos, 148, 153, 154, 162, 186, 187, 188-193.

"Violons du Roi, Les," 301.

Vincennes, 295.

Vinci, Leonardo da, 69.

Virginal, the, 87, 91.

Vitellozzi, Cardinal, 72.

Vittoria, Tommaso Ludovico da, 77;
his works, 77, 78.

Vivaldi, 131.

Vogelweide, Walther von der, 58.

Vogler, 324.

Volkslieder, the old, 59;
essential features of, 60.

Voltaire, 310.

Vulgate, the Latin, 68.

Vulpius, Melchior, 209.

Wagner, Richard,
music of, 47, 58, 59, 63, 78, 137, 154;
orchestra of, 154, 155, 260, 266;
his "Lohengrin," 267-269, 329;
his "Rienzi," 281, 358, 284, 285;
his "Tannhäuser," 306, 314, 320, 325, 331, 332, 333, 334, 335,
342;
"Die Meistersinger," 343, 347;
Weber the artistic forerunner of, 350, 351;
his debt to Weber, 352;
on Beethoven's "Fidelio," 353, 354;
his enormous influence on German opera, 355, 356;
the greatness of his genius, 357;
his operas, 358;
his system, 358;
his theories compared with Peri's, 359;
his use of the myth as a subject, 361-363;
abandons the old style and creates a new, 361, 362, 364;
his _leit motiv_, 364, 365;
his motives, 366-368;
his works self-explanatory, 371;
his recitative, 372;
importance of his work, 379, 388.

Waits, the, 62.

"Walküre, Die," Wagner's, 154, 358, 369.

"Walther, Jonathan, passion music of, 209.

"Walther von Stolzing," 59.

Waltz, the, 20.

Wartburg Castle, 58.

Weber, Carl Maria von, 111;
his music, 113;
his orchestra, 154;
"Der Freischütz" of, 342, 349, 346, 347, 348;
his influence upon German opera, 348, 349;
operas of, 349;
the artistic forerunner of Wagner, 350, 351;
his definition of opera, 351;
his theory of the lyric drama, 351;
his genius, 352;
his overtures, 353, 355, 356, 378, 389.

Weidenwang, 313.

Weimar, 121, 132;
the ducal court of, 189;
music at, 189.

Wekerlin, J. B., 296.

Wells Cathedral, 62.

"Well-Tempered Clavichord," Bach's, 100, 122, 139.

"Werther," Massenet's, 333.

Westminster Cathedral, 63.

"What is Good Music?", Henderson's, 383.

Whittington, Dick, 63.

Willaert, Adrian, 39, 45;
his work, 46;
his monets, 48, 50, 71, 77, 79, 103;
his church vocal music, 104, 387.

William of Machaut, 34.

"William Tell." See _Guillaume Tell_.

William the Conqueror, 62.

"Willow" song, Verdi's, 283.

Wind instruments, 151, 153, 155, 162, 166, 193.

Wooden wind instruments, 153, 154, 155, 156, 162, 187.

Worship, Italian system of, 68, 69.

Writers, church, 386.

Würzburg, 10.

Yorkshire, 63.

Zachau of Halle, 206.

Zarlino, 240.

"Zauberflöte, Die," Mozart's, 340, 342, 348.

Zeelandia, H. de, "Lehrcompendium" of, 60.

Zither, the, 85.

"Zoroastre," Rameau's, 309.

Zumpe, Johannes, 95.