Chapter XIII: The English Musical Renaissance (2)

Joseph Holbrooke (b. 1878) is from the land of Cockaigne. His purposeful character and his invincible habit of saying in public what most composers only think in private have made him the _enfant terrible_ of London musical life. In output, energy, and material-command he is probably unsurpassed by any living composer. A strong, blistering style and a constant determination to call his 16-inch guns into action have procured for him many (musical) enemies. He is blessed with a great sense of humor and a very complete knowledge of the way to express it in music. His orchestral variations on 'Three Blind Mice' should be played everywhere. Holbrooke has enjoyed very exceptional opportunities in the way of dramatic performance and full-score publication. This is not to be regretted; especially when one considers the usual disadvantages of the English composer under these two heads. He has written a large quantity of songs and chamber music--some of it for the most curious combinations.[82] Among his larger works one may select his operas 'The Children of Don' and 'Dylan'; his 'Queen Mab' and 'The Bells'; and his 'illuminated' choral symphony 'Apollo and the Seaman.'

Percy Grainger (b. 1883)--pianist, composer, arranger, friend of Grieg, etc.--comes from Australia; and, if that country had not produced him, the concert-agents of the world would have had to invent him. His playing is wonderful. He never writes a dull note, and he ranges from the Faroe Islands to the Antipodes. He crosses no sea but as a conqueror. Folk-song is his battleship and quaint diatonic harmony his submarine. 'Molly on the Shore,' 'Father and Daughter,' 'Mock Morris,' 'Händel in the Strand,' and 'I'm Seventeen Come Sunday' all attest the 'certain liveliness' of his very happy gifts. He has been applauded by thousands and sketched by Sargent. What he will do next nobody knows--but it is sure to be successful.

Cyril Scott[83] was born, apparently, in the 'Yellow Book.' His slim Beardsleyesque nature seems to be always moving through an elegant exotic shadow-world, beckoned on by his own craving yet fastidious mind. At Pagani's he sits mysteriously in a black stock and cameo. A strange personality, distinguished and uneasy! Certain crippling theories of rhythm and development have at times bent the flight of his muse. His 'Aubade,' Pianoforte Concerto, and Ballad for baritone and orchestra, 'Helen of Kirkconnell,' are notable.

Gustav von Holst[84] for all his name, is English born and bred. Skegness gave him to the world: he has all the energy and tenacity of the east-coast man. The main features of his music are an extremely modern and comprehensive method of handling his subjects, great warmth and variety of orchestral color, and (occasionally it must be confessed) excessive length. His successes have been striking and well deserved. Among his best-known productions are his Moorish work 'In the Street of the Ouled Nails,'[85] his orchestral suites 'Phantastes,' and 'de Ballet,' and (more particularly) his elaborate vocal and orchestral works, such as 'The Cloud Messenger' and 'The Mystic Trumpeter.' A large part of von Holst's time has been given to the composition of Hindu opera on a vast scale; and, as we have already hinted, composers who take up opera in England have to pay penalties. Among others who have been mulcted in this way are Nicholas Gatty (with three operas, 'Greysteel,' 'Duke or Devil,' and 'The Tempest'); Rutland Boughton (with his scheme of open-air choral drama on the Arthurian legends); J. E. Barkworth (with 'Romeo and Juliet' set directly to Shakespeare's text); George Clutsam, Colin McAlpin, and Alec Maclean.

Norman O'Neill and Balfour Gardiner may be honorably mentioned as among the very few young English composers who ever picture the Goddess of Music as not swathed in crêpe. O'Neill's compositions are manifold. Among the most successful are his capital numbers written as incidental music to 'The Blue Bird.' Gardiner has a shorter list, but all his works have a delightfully boyish and open-air spirit. We may mention his orchestral pieces 'English Dance,' 'Overture to a Comedy,' and 'Shepherd Fennel's Dance.'

One of the most prominent traits in the musical make-up of the young English composer is his persistent cry for loud, complex orchestral expression. Holbrooke was the one who started him on this trail; and now his constant prayer seems to be:

'_O mihi si linguæ centum sint, oraque centum._'

Above this school Frank Bridge (b. 1879) stands head and shoulders. What the others do well he does better; and, if they ever attempt to follow him there, he always has a 'best' waiting for them. Though he is quite unknown outside England, one has no hesitation in saying that his superior as a plastic orchestral artist would be hard to find. Among his best works are his three orchestral impressions of 'The Sea,' his two 'Dance Rhapsodies,' and his beautiful symphonic poem 'Isabella.' In chamber music he has been very successful, more especially in the 'Fancy' or 'Phantasy' form recently revived in England. His 'Three Idylls' for string quartet are both charming and distinguished.

Round Bridge's name may be grouped, for convenience of placing, the names of York Bowen, who has written everything from symphonies and sonatas to a waltz on Strauss's _Ein Heldenleben_; A. E. T. Bax, whose activities are in some measure the musical counterpart of the 'Celtic twilight' school of poetry; W. H. Bell, the author of 'Mother Cary' and the 'Walt Whitman' symphony; Hamilton Harty, whose 'Comedy Overture,' 'With the Wild Geese,' and 'The Mystic Trumpeter' are all much played in England; and Hubert Bath. To the last-named composer we English owe a debt for his constant refusal to worship the muse with a cypress-branch. His gay, sprightly choral ballads, such as 'The Wedding of Shon Maclean' and 'The Jackdaw of Rheims,' bring him friends wherever they are heard. Bath has also made a specialty of accompanied recitation-music. He has produced nearly two dozen of these pieces; but in this field Stanley Hawley with his fifty-one published compositions easily leads the way. Almost all the musicians mentioned in this paragraph have been before the public at some time or other as conductors. Harty and Bridge in particular have shown themselves to be possessed of very strong gifts in this line.

It is perhaps premature to criticize the very latest swarms of orchestral composers that have issued from the musical bee-hives of London. Certain of them, however, show considerable promise and, in some cases, a rather alarming tendency to soar after the queen-bees of continental hives. This they will probably outgrow as their summer days increase. Among the most recent to try their wings are P. R. Kirby (a Scotsman from Aberdeen), Eugène Goosens, Jr. (with his symphonic poem 'Perseus'), and Oskar Borsdorf (with his dramatic fantasy 'Glaucus and Ione').

Among the members of the third group who have shown special excellence in the realm of chamber music B. J. Dale stands preëminent. The first performance of his big sonata in D minor made musical London hold its breath. He has written a great deal of music for the viola (as discovered by Lionel Tertis), and has even defied fate by composing a work for six violas. Dale's powers are very great, and he has probably a good deal to say yet. Richard Walthew and T. F. Dunhill have both an honorable record in chamber music. Both, too, have written on the topic. The former, who, is also a prolific song-writer, has published a volume on 'The Development of Chamber Music'; while the latter, in addition to his many-sided activities, has produced a tactful treatise for students entitled 'Chamber Music.' To the list of those who are specially devoted to this form of composition one may add the names of J. N. Ireland and James Friskin, neither of whom has yet had an opportunity adequate to his undoubted talents.

Naturally, at all times there has been a considerable literature of organ music in England. Almost all the composers mentioned above have written for the instrument. But, among those more specially identified with it and with church music, are W. Wolstenholme, who has more than sixty published compositions; Ernest Halsley, also with a long list; Lemare, whose transcriptions are so well known; T. Tertius Noble; C. B. Rootham; and Alan Gray. James Lyon, the Liverpool organist, has a lengthy record of the most varied sort, from orchestral, vocal, and organ works to church services and technical treatises. A. M. Goodhart, of Eton, has a similar weighty basketful. He has made a specialty of the 'choral ballad.'

We have already given the names of many English song writers. Here there are two groups of Richmonds in the field; those who write for the shop-ballad public, and those who do not. Most of the 'do nots' have naturally already been dealt with among the more serious composers; though the two spheres of activity by no means always coincide. The following short list--covering practically three generations--includes some of both sorts, but excludes the names of composers already mentioned: Stephen Adams, Frances Allitsen, Robert Batten, A. von Ahn Carse, Coningsby Clarke, Eric Coates, Noel Johnson, Frank Lambert, Liza Lehmann, Herman Löhr, Daisy McGeoch, Alicia A. Needham, Montague Phillips, John Pointer, Roger Quilter, Landon Ronald (principal of the Guildhall School of Music), Wilfred Sanderson, W. H. Squire, Hope Temple, Maude V. White, Haydn Wood, and Amy Woodforde-Finden.

Before closing this highly compressed sketch of the English musical renaissance an apology must be made for a double omission. First, the whole subject of English opera has been ignored as too complex and difficult for treatment. The activities of Carl Rosa, Moody-Manners, Beecham, and others have therefore to be left almost unnoticed. Second, no list has been attempted of the many fine executants produced by England in the past generation. In actual accomplishment some of these have been second to none in the world; though unfortunately their connection with the men of the English revival has often been slight or non-existent. On the other hand, some of the first of these artists have stood, and do now stand, in a very close relationship with the composers. And this mutual sympathy has often had happy results. One can scarcely imagine Stanford's Irish songs without Mr. Plunket Greene to sing them.

The reader who has travelled so far with the author should have by now a fairly clear idea of musical conditions and achievements on the other side. It is hoped that he will not regard his experiences merely as a forty-five-years' sojourn 'in darkest England.' He can take the writer's word for it that there is plenty of light shining there. But, what with the fogs in the North Sea, the Channel, and the Atlantic, the rays seldom get beyond the coastguard.

C. F.

FOOTNOTES:

[77] Out of the very small group of living English opera librettists one is a duke and two are barons--Argyll, Howard de Walden, and Latymer. A strange transformation in the national attitude towards music!

[78] The amount of work done by some of the English orchestras may be gauged from the fact that during the first nine months of the present European war the Queen's Hall Orchestra gave 112 concerts.

[79] Born German Edward Jones.

[80] By _Vincent_ Wallace.

[81] Born Munkittrick.

[82] For instance, a serenade for five saxophones, soprano _flügelhorn_, baritone _flügelhorn_, _oboe d'amore_, _corno di bassetto_, and harp.

[83] B. Oxton, Cheshire.

[84] B. Cheltenham, 1874.

[85] In Biskra, a street of dancing and singing girls belonging to the Walad-Nail tribe.

GENERAL LITERATURE FOR VOLUMES I, II, AND III

_In English_

A. W. AMBROS: The Boundaries of Music and Poetry (New York,
1893).

W. F. APTHORP: Musicians and Music Lovers (New York, 1897).

O. B. BOISE: Music and its Masters (Phila., 1902).

CHARLES BURNEY: A General History of Music (London, 1776).

ROBERT CHALLONER: History of the Science and Art of Music
(Cincinnati, 1880).

W. CHAPPELL: History of Music (London, 1874).

F. J. CROWEST: Story of the Art of Music (New York, 1902).

EDWARD DICKINSON: The Study of the History of Music (New York,
1905).

EDWARD DICKINSON: Guide to the Study of Musical History and
Criticism (Oberlin, 1895).

JOSEPH GODDARD: The Rise of Music from Primitive Beginnings to
Modern Effects (London, 1908).

Grove's Dictionary of Music and Musicians, 5 vols. (new ed.,
London, 1904-10).

W. H. HADOW: Studies in Modern Music, 2 vols. (New York,
1892-3).

JOHN HAWKINS: General History of the Science and Practice of
Music (1776, new ed. 1853).

JOHN HULLAH: Lectures on the History of Modern Music (London,
1875).

BONAVIA HUNT: History of Music (New York, 1891).

A. LAVIGNAC: Music and Musicians (transl. by Marchant, New
York, 1905).

The Oxford History of Music, 6 vols. (Oxford, 1901, 1905, 1902,
1902, 1904, 1905).

C. H. H. PARRY: Evolution of the Art of Music (4th ed., 1905).

H. RIEMANN: Catechism of Musical History, 2 vols. (Eng.
transl., London, 1888).

W. S. ROCKSTRO: A General History of Music (1886).

J. S. ROWBOTHAM: A History of Music (London, 1885).

ALFREDO UNTERSTEINER: Short History of Music, Eng. transl. by
Very (New York, 1902).

_In German_

A. W. AMBROS: Geschichte der Musik (Breslau, 1862-1882); new
ed. by H. Leichtentritt, 4 vols. (Leipzig, 1909).

R. W. A. BATKA: Allgemeine Geschichte der Musik (Stuttgart,
1911).

KARL FRANZ BRENDEL: Grundzüge der Geschichte der Musik (7th
ed., Leipzig, 1888).

KARL FRANZ BRENDEL: Geschichte der Musik in Italien,
Deutschland und Frankreich (Leipzig, 1860).

ROBERT EITNER: Quellenlexikon der Musiker (Leipzig, 1900-1903).

PAUL FRANK: Geschichte der Tonkunst (1863, 3rd ed., 1878).

NIKOLAUS FORKEL: Allgemeine Geschichte der Musik (1778-1801).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal (Leipzig,
1887-1890).

WILHELM LANGHANS: Geschichte der Musik des 17., 18., u. 19.
Jahrhundert (Leipzig, 1912).

A. NAUMANN: Die Tonkunst in der Kulturgeschichte, 2 vols.
(1869-70).

EMIL NAUMANN: Illustrierte Musikgeschichte (new ed. by E.
Schmitz, 1913).

Peters Musikbibliothek Jahrbuch, ed. by Schwartz.

[Every volume since 1894 contains a complete (or usually
complete) bibliography of books on music published in the
respective year.]

A. REISSMANN: Allgemeine Geschichte der Musik, 3 vols. (1863-5).

HUGO RIEMANN: Handbuch der Musikgeschichte, 2 vols. (5 parts),
(Leipzig, 1904, 1905, 1907, 1912, 1913).

HUGO RIEMANN: Musiklexikon [misc. articles], (Leipzig, 1909;
new ed., 1915).

HUGO RIEMANN: Geschichte der Musiktheorie in 9.-19. Jahrhundert
(1898).

KARL STORCK: Geschichte der Musik (Stuttgart, 1904).

_Die Musik_ (Berlin, Bi-weekly).

_Vierteljahrsschrift für Musikwissenschaft_ (Leipzig).

_Zeitschrift_ and _Sammelbände_ of the _Int. Mus. Ges._

_In French_

ALEXANDRE SOFIA BAWR: Histoire de la musique (Paris, 1823).

CHARLES HENRI BLAINVILLE: Histoire générale, critique et
philologique de la musique (Paris, 1767).

JACQUES BONNET: Histoire de la musique, et ses effets, depuis
son origine jusqu'à présent (Paris, 1715, Amsterdam, 1725).

M. BRENET: _Année musicale_.

A. BRUNEAU: Musiques d'hier et de demain (Paris, 1900).

A. E. CHORON & J. A. L. DE LAFAGE: Nouveau manuel complet de
musique (Paris, 1838).

F. CLÉMENT: Histoire de la musique depuis les temps anciens
jusqu'à nos jours (Paris, 1885).

JULES COMBARIEU: Histoire de la musique, des origines à la mort
de Beethoven, 2 vols. (Paris, 1913).

JEAN PIERRE OSCAR COMMETTANT: La musique, les musiciens et les
instruments de musique chez les différents peuples du monde
(Paris, 1869).

HENRI EXPERT: Les Maîtres Musiciens de la Renaissance Française
(20 vols.).

CAMILLE FAUST: Histoire de la musique européenne (Paris, 1914).

F. J. FÉTIS: Histoire générale de la musique (1869).

F. J. FÉTIS: Biographie universelle des musiciens et
bibliographie générale de la musique (Brussels, 1837).

S. I. M. (Paris, Monthly).

_In Italian_

ARNALDO BONAVENTURA: Manuale di storia della musica (Livorno,
1898).

GIOVANNI ANDREA BONTEMPI: Historia musica (Perugia, 1695).

PADRE G. B. MARTINI: Storia della musica (Bologna, 1767-1770).

LUIGI TORCHI: _Arte Musicale_, 8 vols. Published irregularly.

ALFREDO UNTERSTEINER: Storia della musica (1893).

_Rivista Musicale Italiana_ (Turin, Quarterly).

N. B.--See also Special Literature for each chapter (on following pages).

SPECIAL LITERATURE FOR VOLUME I

LITERATURE FOR CHAPTER I

_In English_

BENJ. IVES GILMAN: Hopi Songs (Boston, 1908).

RICHARD WALLASCHEK: Primitive Music (London, 1893).

CARL ENGEL: An Introduction to the Study of National Music
(London, 1866).

CHARLES RUSSELL DAY in 'Up the Niger,' by Mockler-Ferryman
(London, 1892).

WILLY PASTOR: The Music of Primitive Peoples and the Beginning
of European Music (Gov't Printing Office, Publ. No. 2223;
Washington, 1913).

FREDERICK R. BURTON: American Primitive Music (New York, 1909).

ALICE C. FLETCHER: Indian Story and Song from North America
(Boston, 1900).

ALICE C. FLETCHER: The Hako: a Pawnee Ceremony (Bureau of
American Ethnology, 22nd Annual Report, Part II, Washington,
1904).

NATALIE CURTIS: The Indian's Book (New York, 1907).

FRANCES DENSMORE: Chippewa Music (Part I, Bulletin No. 45,
1910; Part II, Bulletin No. 53, 1913, Bureau of Am. Eth.).

NATHANIEL B. EMERSON: The Unwritten Literature of Hawaii
(Bureau of American Ethnology, Bulletin No. 38).

_In German_

CARL STUMPF: Die Anfänge der Musik (Leipzig, 1911).

KARL BÜCHER: Arbeit und Rhythmus (Leipzig, 1909).

KARL HAGEN: Über die Musik einiger Naturvölker (1892).

JOSEF SCHÖNHÄRL: Volkskündliches aus Togo (Dresden, 1909).

THEODORE BAKER: Über die Musik der nordamerikanischen Wilden
(Leipzig, 1882).

_In French_

JULIEN TIERSOT: Notes d'ethnographie musicale (Paris, 1905).

JULIEN TIERSOT: Musiques pittoresques (Paris, 1889).

ERNEST NOIROT: A travers le Fouta-Diallon et le Bambouc (Paris,
1885).

HENRI A. JUNOD: Les chants et les contes des Ba-Ronga
(Lausanne, 1897).

LITERATURE FOR CHAPTER II

_In English_

CARL ENGEL: Music of the Most Ancient Nations (London, 1909).

RICHARD WALLASCHEK: Primitive Music (London, 1893).

W. A. P. MARTIN: A Cycle of Cathay (Chicago, 1897).

C. R. DAY: The Music and Musical Instruments of Southern India
and the Deccan (London, 1891).

J. A. VAN AALST: Chinese Music (Shanghai, 1884).

W. LANE: Modern Egyptians (London, 1871).

J. F. PIGGOT: Music and Musical Instruments of Japan (London,
1893).

A. J. ELLIS: On the Musical Scales of Various Nations (1885).

W. POLE: Philosophy of Music (London, 1879).

SOURINDRO MOHUN TAGORE: Six Principal Ragas, with a brief
survey of Hindoo music (Calcutta, 1877).

G. L. RAYMOND: Rhythm and Harmony in Poetry and Music (New
York, 1893).

_In German_

R. G. KIESEWETTER: Die Musik der Araber (1842).

_In French_

JULIEN TIERSOT: Notes d'ethnographie musicale (Paris, 1905).

JUDITH GAUTIER: Les musiques bizarres à l'exposition de 1900.

CAMILLE SAINT-SAËNS: Harmonie et mélodie (Paris, 1885).

CHARLES PETTIT: L'Anneau de jade (Paris, 1911).

_In Spanish_

M. S. FUERTES: Musica Arabe-Española (Barcelona, 1853).

FELIPE PEDRELL: Organografia Musical Antigua Española
(Barcelona, 1901).

LITERATURE FOR CHAPTER III

_In English_

DAVID LEVI: A Succinct Account of the Rites and Ceremonies of
the Jews (London, 1783).

GEORGE RAWLINSON: The Five Great Monarchies of the Ancient
Eastern World (London, 1862).

CARL ENGEL: Musical Instruments, Hand-Book of the South
Kensington Museum.

CARL ENGEL: Music of the Most Ancient Nations (London, 1864).

SIR JOHN STAINER: The Music of the Bible (London, 1904).

JOSEPH BONOMI: Nineveh and Its Palaces (London, 1853).

SIR GARDNER WILKINSON: Manners and Customs of the Ancient
Egyptians (London, 1878).

AUSTIN HENRY LAYARD: Nineveh and Its Remains (London, 1849).

PROF. H. GRAETZ: History of the Jews, 5 vols. (London, 1891-2).

W. FLINDERS PETRIE: History of Egypt, 3 vols. (London, 1853).

_In German_

A. F. PFEIFFER: Über die Musik der alten Hebräer (Erlangen,
1779).

J. L. SAALSCHÜTZ: Geschichte und Würdigung der Musik bei den
Hebräern (Berlin, 1829).

C. R. LEPSIUS (Editor): Denkmäler aus Ägypten und Ethiopien, 5
vols. (Leipzig, 1897-1913).

F. DIELITZSCH: Physiologie und Musik in ihrer Bedeutung für die
Grammatik, besonders die Hebräische (Leipzig, 1868).

A. ACKERMANN: Der Synagogal-Gesang in seiner historischen
Entwickelung (1894).

_In French_

CHARLES ROLLIN: Histoire ancienne des Égyptiens, des
Cartagenois, des Assyriens, des Babyloniens, des Mèdes et des
Perses, des Macédoniens, des Grecs (Paris, 1730, Engl. tr., N.
Y., 1887-88.)

CORNELIUS VON PAUW: Recherches philosophiques sur les Égyptiens
et sur les Chinois (Berlin, 1773).

ABBÉ ROUSSIÈRE: Mémoire sur la musique des anciens, ou l'on
expose les principes des proportions authentiques, dites de
Pythagore, et de divers systèmes de musique chez les Grecs, les
Chinois, et les Égyptiens. Avec un parallèle entre le système
des Égyptiens et celui des modernes (Paris, 1770).

GUILLAUME ANDRÉ VILLOTEAU: Description de l'Égypte.

FR. AUG. GEVAERT: Histoire et théorie de la musique de
l'antiquité (1875-81).

JEAN LORET: La musique chez les anciens Égyptiens (_in_
Bibliothèque de la Faculté des Lettres de Lyon).

F. VIGOUROUX: Psautier polyglotte; appendix (Paris, 1903).

CHARLES LENORMONT: Musé des antiquités égyptiennes (Paris,
1841).

LITERATURE FOR CHAPTER IV

_A--Sources_

PYTHAGORAS, the great philosopher of the sixth century B. C.

His teachings are known only through his pupils, especially
Philalaos (ca. 540 B. C.), of whose writings fragments are
preserved.

PLATO (427-347 B. C.).

In his 'Republic,' 'De legibus,' 'De furore poetico,' 'Timæus,'
'Gorgias,' 'Alcibiades Philebus,' there are copious references
to music.

ARCHYTAS OF TARENT, a contemporary of Plato.

He was the first to recognize the transmission of tones by
air vibration. His theories are cited by Theodore of Smyrna,
Claudius Ptolemy, etc.

ARISTOTLE (383-320 B. C.).

In 'Polities' and 'Poetics' he makes frequent references to
music.

ARISTOXENUS OF TARENT (ca. 320 B. C.), the most important
musical theoretician of ancient Greece. His 'Rhythmics' and his
'Elements of Harmonics,' the greatest part of which is lost,
have been many times translated and commented on.

EUCLID, the great mathematician, a follower of Pythagoras. His
'Sectio canonis' treats of the mathematical relation of tones.

HERON OF ALEXANDRIA (100 B. C.)

In his 'Pneumatica' he described the water organ (Hydraulis)
invented by Ktebisius, his teacher.

ARISTIDES QUINTILIANUS (first to second century, A. D.) of
Smyrna. His 'Introduction to Music' (μοὕσϛ ἁρ ονικἣϛ), completely
preserved, except for corruptions by copyists, is especially
notable for its tables of musical notation.

PLUTARCH, the celebrated writer of the comparative biographies
(50-120 A. D.), wrote an 'Introduction to Music,' full of
valuable information on the art.

CLAUDIUS PTOLEMY, the great Græco-Egyptian geographer,
mathematician and astronomer (second century A. D.). His
'Harmonics'--in three books--is an exhaustive theory of the
ancient scale system.

ALYPIUS (ca. 360 A. D.). His 'Introduction to Music' is
valuable for the copious tables of notation (Alypian tables).

BOETHIUS (475-524 A. D.), the chancellor of Theodoric the
Great. He was the chief exponent of Greek musical theory to the
Middle Ages. His five books on music ('De Musica') are chiefly
based on other works of the Roman period, notably on Ptolemy.

_B--Early Modern Writers on Greek Music_

VINCENZO GALILEO: Dialogo di Vincenzo Galileo ... della musica
antica, et della moderna (Florence, 1581).

M. MEIBOMIUS (Meibom): Antiquæ musicæ auctores septem
(Amsterdam, 1652).

_C--Modern Authorities_

AUGUST BÖCKH: De metris Pindari (Ed. of Pindar), 1811, 1819,
1821.

AUGUST BÖCKH: Die Entwicklung der Lehren des Philalaos (Berlin,
1819).

AUGUST BEGER: Die Würde der Musik im Griechischen Altertume
(Dresden, 1839).

FR. BELLERMAN (ed.): Anonymi scriptio de musica (Berlin, 1841).

FR. BELLERMAN (ed.): Die Tonleitern und Musiknoten der Griechen
(Berlin, 1847).

A. J. H. VINCENT: Notice sur trois manuscrits grecs relatifs à
la musique (1847).

CARL FR. WEITZMANN: Geschichte der griechischen Musik (Berlin,
1855).

MARQUARD: Harmonische Fragmente des Aristoxenus (1868).

OSKAR PAUL: Boethius' fünf Bücher über die Musik (translated
and elucidated, Leipzig, 1872).

FR. AUG. GEVAERT: Histoire et théorie de la musique de
l'antiquité (Gand, 1875).

FR. AUG. GEVAERT: Les problèmes musicaux d'Aristote (_collab.
w._ J. C. Vollgraf).

RUDOLPH WESTPHAL: Musik des griechischen Alterthumes (1883).

RUDOLPH WESTPHAL: Aristoxenus von Tarent (1883).

A. ROSSBACH und R. WESTPHAL: Theorie der musischen Künste der
Hellenen (1885-89).

D. B. MONRO: The Modes of Ancient Greek Music (Oxford, 1894).

CARL VON JAN: Musicii Scriptores Græci (Leipzig, 1895).

H. S. MACRAN: The Harmonies of Aristoxenus (Oxford, 1902).

R. VON KRALIK: Altgriechische Musik (Stuttgart, 1900).

ARTHUR FAIRBANKS: The Greek Pæan (Cornell Studies XII, 1900).

LOUIS LALOY: Aristoxène de Tarente (1904).

A. J. HIPKINS: Dorian and Phrygian (Sammelbände der Int.
Musik-Ges., Vol. IV, No. 3, pp. 371-81).

LITERATURE FOR CHAPTER V

_In English_

THE PLAIN-SONG AND MEDIÆVAL MUSIC SOCIETY: Graduale
Sarisburiense, with intro. 'The Sarum Gradual'; 'Early English
Harmony,' etc., etc.

H. B. BRIGGS: The Elements of Plainsong (London, 1895).

THE BENEDICTINES OF STANBROOK: Gregorian Music, an outline of
musical paleography (1897).

_In German_

FERDINAND PROBST: Die Liturgie der ersten drei Jahrhunderte
(1870).

FERDINAND PROBST: Die abendländische Messe vom 5. bis zum 8.
Jahrhundert (1896).

H. RIEMANN: Studien zur Geschichte der Notenschrift (1878).

PH. SPITTA: Über Hucbalds Musica Enchiriadis
(Vierteljahrs-schrift für Musikwissenschaft, 1889, 1890).

_In French_

J. B. DE LABORDE: Essai sur la musique ancienne et moderne
(1780).

ED. DE COUSSEMAKER: Histoire de l'harmonie au moyen-âge (1852).

ED. DE COUSSEMAKER: Mémoire sur Hucbald (1841).

J. LEBEUF: Traité historique et pratique sur le chant
ecclésiastique (1741).

L. LAMBILLOTTI: Antiphonaire de Saint-Grégoire (1851).

L. LAMBILLOTTI: Esthétique, théorie et pratique de plain-chant
(1855).

DOM JOSEPH POTHIER: Les mélodies grégoriennes d'après la
tradition (1880).

PALÉOGRAPHIE MUSICALE: Les principaux manuscrits, etc.;
Instructions, etc.

DOM GERMAIN MORIN: Les véritables origines du chant grégorien
(1890).

FR.-AUG. GEVAERT: Les origines du chant liturgique de l'église
latine (1890).

J. COMBARIEU: Étude de philologie musicale. Théorie du rhythme,
etc. (1896).

G. L. HOUDARD: L'Art dit grégorien d'après la notation
neumatique (1897).

_In Italian_

CARDINAL G. BONA: De divina psalmodia (1653, new ed. 1747).

F. MAGANI: L'anticaliturgia romana (1897-99).

GUIDO GASPERINI: Storia della semiografia musicale (1905).

LITERATURE FOR CHAPTER VI

_In English_

H. E. WOOLDRIDGE: Early English Harmony from the 10th to the
15th Century (1897).

JOHN STAINER: Early Bodleian Music: Dufay and his
contemporaries (Oxford, 1909).

_In German_

G. JACOBSTHAL: Die Mensuralnotenschrift des 12.-13. Jahrhundert
(1871).

H. BELLERMANN: Die Mensuralnoten und Taktzeichen im 15. und 16.
Jahrhundert (1858).

GEORG LANGE: Zur Geschichte der Solmisation (Sammelb. der
Intern. Musik-Ges., I, 1899).

HANS MÜLLER: Hucbalds echte und unechte Schriften über Musik
(1884).

HANS MÜLLER: Eine Abhandlung über Mensuralmusik (1886).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460
(1904).

PH. SPITTA: Die Musica enchiriadis und ihr Zeitalter
(Viertel-jahrsschr. für Musikwissenschaft, 1888 and 1889).

_In French_

ED. DE COUSSEMAKER: Mémoire sur Hucbald (1841).

ED. DE COUSSEMAKER: Les harmonistes des XII^{me} et XIII^{me}
siècles (Lille, 1864).

ED. DE COUSSEMAKER: L'Art harmonique au XII^{me} et XIII^{me}
siècles (Paris, 1865).

ED. DE COUSSEMAKER: Histoire de l'harmonie au moyen-âge (1852).

_In Italian_

L. ANGELINI: Sopra la vita ed il sapere di Guido d'Arezzo
(1811).

GUIDO GASPERINI: Storia della semiografia musicale (1905).

LITERATURE FOR CHAPTER VII

_In English_

EDMONDSTOUNE DUNCAN: Story of Minstrelsy.

EDWARD JONES: Musical and Poetical Relicks of the Welsh Bards
(three parts, 1786, 1802, 1824).

J. F. ROWBOTHAM: The Troubadours and Courts of Love (1896).

E. HUEFFER: The Troubadours (London, 1895).

HENRY JOHN CHAYTOR: The Troubadours (Camb., 1912).

W. H. GRATTAN FLOOD: History of Irish Music (Dublin, 1906).

_In French_

ED. DE COUSSEMAKER: Œuvres complètes du trouvère Adam de la
Hâle (1872).

ED. DE COUSSEMAKER: L'Art harmonique au XII^{me} et XIII^{me}
siècles (1865).

JULIEN TIERSOT: Histoire de la chanson populaire en France
(1889).

JOSEPH ANGLADE: Les troubadours (Paris, 1908).

ANTONY MÉRAY: La vie au temps des trouvères (Paris, 1873).

E. LANGLOIS: Robin et Marion (Paris, 1896).

A. JEANROY: Les origines de la poésie lyrique en France au
moyen-âge (Paris, 1892).

ANONYMOUS: Résumé historique sur la musique en Norvège.

_In German_

H. RIEMANN: Die Melodik der Minnesänger (Musikalisches
Wochenblatt, 1897-1902).

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen
Gesanges vom frühen Mittelalter, etc. (1841).

FR. DIEZ: Die Poesie der Troubadours (2nd ed. by K. Bartsch,
1883).

FR. DIEZ: Leben und Werke der Troubadours (2nd ed., 1882).

PAUL RUNGE: Die Sangesweisen der Colmarer Handschrift, etc.
(1896).

KARL BÜCHER: Arbeit und Rhythmus (4th ed., 1909).

LUDWIG ERK: Deutscher Liederhort; new ed. by F. N. Böhme
(Leipzig, 1893-94).

AUG. REISSMANN: Geschichte des Deutschen Liedes (Berlin, 1874).

E. FREYMOND: Jongleurs und Menestrels (Halle, 1833).

J. BECK: Die Melodien der Troubadours (Strassburg, 1908).

R. GENÉE: Hans Sachs und seine Zeit (Leipzig, 1902).

FRIEDRICH SILCHER: Deutsche Volkslieder (Tübingen, 1858).

LITERATURE FOR CHAPTER VIII

_In English_

GROVE'S Dictionary of Music and Musicians, Articles on Josquin
des Près, Okeghem, Schools of Composition (London, 1904-10).

H. E. WOOLDRIDGE: Early English Harmony from the 10th to the
15th Century (1897).

SIR JOHN STAINER: Early Bodleian music: Dufay and His
Contemporaries (Oxford, 1909).

ERNST PAUER: Musical Form.

_In German_

R. G. KIESEWETTER: Geschichte der europäisch-abendländischen
oder unserer heutigen Musik (1834).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460
(Kirchenmusik, Jahrband, 1899).

GUIDO ADLER: Die Wiederholung und Nachahmung in der
Mehrstimmigkeit (1882).

OSWALD KOLLER: Der Liederkodex von Montpellier
(Vierteljahrsschrift f. Musikwissenschaft, 1888).

_In French_

GUILLAUME DUBOIS (_called_ Crétin): Déploration de Guillaume
Crétin sur le tré pas de Jean Okeghem, etc. (Paris, 1864).

FÉLICIEN DE MÉNIL: Josquin de Près (Revue Int. de Musique,
1899, No. 21, pp. 1322 ff.).

FÉLICIEN DE MÉNIL: L'Ecole contraponctiste flamande du XV^e
siècle (1895).

E. VAN DER STRAETEN: La musique aux Pays-bas avant le XIX^e
siècle (Brussels, 1867-88).

LITERATURE FOR CHAPTER IX

_In English_

Grove's Dictionary of Music and Musicians: art. _Monodia_, etc.

W. J. HENDERSON: Some Forerunners of Italian Opera (New York,
1911).

J. A. SYMONDS: The Renaissance in Italy, 2 vols.

_In German_

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen
Gesanges vom frühesten Mittelalter bis zur Entstehung der Oper
(Leipzig, 1841).

HUGO RIEMANN: Handbuch der Musikgeschichte, Vol II (Leipzig,
1911, 1912, 1913).

JOHANNES WOLF: Geschichte der Mensuralnotation von 1250-1460
(Leipzig, 1904).

JOHANNES WOLF: Florenz in der Musikgeschichte des 14ten
Jahrhunderts (Sammelbände I. M.-G., 1901-1902).

_In Italian_

A. D'ANGELI: La musica ai tempi di Dante (1904).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,
17º, e 18º (_Rivista musicale_, IV-VIII, 1898-1901).

LITERATURE FOR CHAPTER X

_In English_

EDWARD DICKINSON: Music in the History of the Western Church
(New York, 1902).

J. A. SYMONDS: Renaissance in Italy, Vol. IV.

_In German_

P. GRAF WALDERSEE: Giovanni Pierluigi da Palestrina, etc. (In
Sammlung musikalischer Vorträge, 1884).

R. G. KIESEWETTER: Die Verdienste der Niederländer um die
Tonkunst (1829).

K. VON WINTERFELD: Johannes Pierluigi von Palestrina, etc.,
etc. (Breslau, 1832).

K. VON WINTERFELD: Musiktreiben und Musikempfinden in 16. und
17. Jahrhundert (Berlin, 1851).

_In French_

A. C. G. MATHIEU: Roland de Lattre [Orlando di Lasso], sa vie,
ses ouvrages (Gand, after 1856).

F.-J. FÉTIS: Quels ont été les mérites des Néerlandais dans
la musique, principalement au XIV^e, XV^e, et XVI^e siècles?
(1829).

HENRI FLORENT DELMOTTE: Notice biographique sur Roland de
Lattre connu sous le nom d'Orland de Lassus (Valenciennes,
1836).

G. FELIX: Palestrina et la musique sacrée (1896).

_In Italian_

GIUSEPPE BAINI: Memorie storico-critiche della vita e delle
opere di G. Perluigi da Palestrina (Rome, 1828).

DOM AUG. VERNARECCI: Ottaviano dei Petrucci (second ed. 1882).

LITERATURE FOR CHAPTER XI

_In English_

Grove's Dictionary of Music and Musicians: _Art._ Opera, Peri,
Caccini, etc.

R. A. STREATFEILD: The Opera (London, 1897).

W. F. APTHORP: The Opera Past and Present (New York, 1901).

_In German_

R. EITNER: Die Oper, etc. (Vol. X of Publikation älterer
praktischer und theoretischer Musikwerke, Berlin, 1881).

A. HEUSS: Die Instrumentalstücke des 'Orfeo' (1903).

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen
Gesanges vom frühesten Mittelalter bis zur Entstehung der Oper
(Leipzig, 1841).

HERMANN KRETZSCHMAR: Die venezianische Oper und die
Werke Cavallis und Cestis (_Vierteljahrsschrift für
Musikwissenschaft_, Vol. VIII).

ARNOLD SCHERING: Die Anfänge des Oratoriums (Leipzig, 1907).

EMIL VOGEL: Claudio Monteverdi (_Vierteljahrsschrift für
Musikwissenschaft_, Vol. III, pp. 315 ff., Leipzig, 1887).

_In French_

FR.-A. GEVAERT: La musique vocale en Italie, Vol. I, Les
maîtres florentins 1595-1630 (_Annuaires da Conservatoire
Royale de Bruxelles_, 1882).

A. REGNARD: La Renaissance du drame lyrique 1600-1876 (Paris,
1895).

ROMAIN ROLLAND: Histoire de l'opéra en Europe avant Lully et
Scarlatti (Paris, 1895).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

JULES TIERSOT: L'Orféo de Monteverde (_Le Ménestrel_, Vol. LXX,
Paris, 1904).

_In Italian_

D. ALALEONA: Su Emilio de' Cavalieri, etc. (In Nuova Musica,
Florence, 1905).

A. D'ANCONA: Sacre Rappresentazioni dei secoli XIV, XV e XVI
(Florence, 1872).

A. D'ANCONA: Origini del teatro italiano (Palermo, 1900).

LITERATURE FOR CHAPTER XII

_In German_

FRANZ BEIER: J. J. Froberger (Leipzig, 1884).

OTTO KINKELDEY: Orgel und Klavier in der Musik des 16ten
Jahrhunderts (Leipzig, 1910).

TOBIAS NORLAND: Zur Geschichte der Suite (Sammelbände der
Intern. Musik-Ges., X, 4, 1909).

HUGO RIEMANN: Zur Geschichte der deutschen Suite (Sammelbände
der Intern. Musik-Ges., IV, 4, 1905).

ARNOLD SCHERING: Geschichte des Instrumental-Konzerts (Leipzig,
1907).

J. P. SEIFFERT: Sweelinck und seine direkten Schüler
(Vierteljahrsschrift für Musikwissenschaft, 1891).

J. P. SEIFFERT: Geschichte der Klaviermusik (Leipzig, 1899).

PHILIPP SPITTA: Heinrich Schütz (Leipzig, 1899).

JOSEPH VON WASIELIWSKI: Die Violine und ihre Meister (Leipzig,
1869, 5th ed. 1911).

JOSEPH VON WASIELIWSKI: Die Violine im 17. Jahrhundert, etc.
(1874).

_In French_

ROMAIN ROLLAND: Histoire de l'opéra avant Lully et Scarlatti
(Paris, 1895).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

_In Italian_

GIOV.-BATT. DONI: Trattati di musica (Florence, 1763).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,
17º e 18º (Rivista musicale italiana, IV-VIII, 1898-1901).

GUIDO PASQUETTI: L'oratorio musicale in Italia (Florence, 1906).

LITERATURE FOR CHAPTER XIII

_In English_

W. H. CUMMINGS: Henry Purcell (2nd ed., 1889).

A. EDW. JAMES DENT: Alessandro Scarlatti (London, 1905).

W. BARCLAY SQUIRE: Purcell's Dramatic Music (Sammelbände der
Internationalen Musik-Ges., V, 4, 1904).

_In German_

HUGO RIEMANN: Zur Geschichte der deutschen Suite (Sammelbände
der Intern. Musik-Ges., IV, 4, 1905).

HUGO GOLDSCHMIDT: Die italienische Gesangsmethode des 17ten
Jahrhunderts (Breslau, 1890).

HUGO GOLDSCHMIDT: Studien zur Geschichte der italienischen Oper
im 17. Jahrhundert (Leipzig, 1901-1904).

HUGO GOLDSCHMIDT: Zur Geschichte der Arien- und Symphonie-Form
(Monatshefte f. Musikgeschichte, 1901, Nos. 4-5).

JOSEPH VON WASIELIWSKI: Die Violine im 17. Jahrhundert und die
Anfänge der Instrumentalkomposition (1874).

HEINZ HESS: Die Opern Alessandro Stradellas (Leipzig, 1906).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal (Leipzig,
1887, 1888, 1890).

HUGO LEICHTENTRITT: Reinhard Keiser und seine Opern (Berlin,
1901).

HUGO LEICHTENTRITT: Der monodische Kammermusikstil in Italien
bis gegen 1650 (in Ambros: Gesch. der Musik, Vol. IV, pp. 774
ff; new ed., 1909).

E. O. LINDER: Die erste stehende Oper in Deutschland (Berlin,
1855).

_In French_

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1908).

JULES ÉCORCHEVILLE: De Lully à Rameau, 1690-1730 (Paris, 1906).

CHARLES NUITTER et E. THOINAU: Les origines de l'opéra français
(Paris, 1886).

ARTHUR POUGIN: Les vrais créateurs de l'opéra français: Perrin
et Cambert (Paris, 1881).

HENRY PRUNIÈRES: Notes sur la vie de Luigi Rossi (Sammelbände
der Intern. Musik-Ges., XII, 1, 1910).

HENRY PRUNIÈRES: Lully (Paris, 1910).

HENRY PRUNIÈRES: Notes sur les origines de l'ouverture
française (Sammelbände der Intern. Musik-Ges., XII, 4, 1911).

ÉDOUARD RADET: Lully (Paris, 1891).

_In Italian_

ANGELO CATELANI: Della opera di Alessandro Stradella (Modena,
1886).

LUIGI TORCHI: La musica istromentale in Italia nei secoli 16º,
17º e 18º (_Rivista musicale italiana_, IV-VII, 1898-1901).

LITERATURE FOR CHAPTER XIV

_In English_

W. S. ROCKSTRO: Life of Händel (London, 1883).

VICTOR SCHOELCHER: Life of Händel (London, 1857).

J. MAINWARING: Memoirs of the Life of Händel (London, 1906).

R. A. STREATFEILD: Händel (London, 1909).

C. F. ABDY WILLIAMS: Händel (London, 1913).

CHARLES BURNEY: Commemoration of Händel.

SEDLEY TAYLOR: Indebtedness of Händel to Works by Other
Composers (Cambridge, 1906).

JOSEPH ADDISON: The Spectator, Nos. 18, 231, 235, 258, 278, 405.

_In German_

FRIEDRICH CHRYSANDER: Georg Friedrich Händel (3 parts, 1859-67,
incomplete).

FRIEDRICH CHRYSANDER: Die deutsche Oper in Hamburg (Allg.
Musik-Ztg., 1879-1880).

A. REISSMANN: Händel, sein Leben und seine Werke (Berlin, 1882).

A. STEIN (H. Nietschmann): Händel, ein Künstlerleben (Halle,
1882-3).

HERMANN KRETZSCHMAR: Händel (_In_ Sammlung musikalischer
Vorträge, Leipzig, 1884).

HUGO LEICHTENTRITT: Reinhard Keiser in seinen Opern
(Dissertation, Berlin, 1901).

A. SCHERING: Geschichte des Oratoriums (Leipzig, 1911).

_In French_

MICHEL BRENET: Haendel; biographie critique (Les Musiciens
célèbres, Paris, 1912).

M. BOUCHER: Israël en Égypte (1888).

G. VERNIER: L'oratorio biblique de Haendel (1901).

LITERATURE FOR CHAPTER XV

_In English_

C. H. H. PARRY: Johann Sebastian Bach (London and New York,
1909).

C. L. HILGENFELDT: Johann Sebastian Bach, from the German of
Hilgenfeldt and Forkel, with additions (London, 1869).

REGINALD LAND POOLE: Sebastian Bach (London, 1882).

ALBERT SCHWEITZER: J. S. Bach, with preface by C. M. Widor;
English translation by E. Newman (Leipzig, 1911).

_In German_

ARNOLD SCHERING: Geschichte des Instrumental-Konzerts (Leipzig,
1903).

ARNOLD SCHERING: Geschichte des Oratoriums (Leipzig, 1907).

ARNOLD SCHERING: Zur Bach-Forschung (Sammelb. der Intern.
Musik-Ges., IV, 234 ff., V, 556 ff.).

JOHANN FORKEL: Über Johann Sebastian Bachs Leben, Kunst und
Kunstwerke (Leipzig, 1802).

C. H. BITTER: Johann Sebastian Bach (Berlin, 1862).

S. JADASSOHN: Erläuterungen der in Johann Sebastian Bachs Kunst
der Fuge enthaltenen Fugen und Kanons (Leipzig, 1899).

S. JADASSOHN: Zur Einführung in J. S. Bachs Passionsmusik, etc.
(Berlin, 1898).

ERNST OTTO LINDNER: Zur Tonkunst (Berlin, 1864).

A. REISSMANN: Johann Sebastian Bach; sein Leben und seine Werke
(Berlin, 1881).

J. A. P. SPITTA: Johann Sebastian Bach (Leipzig, 1873-80).

K. GRUNSKY: Bachs Kantaten; eine Anregung (Die Musik, III, No.
14, pp. 95 ff.).

_In French_

ANDRÉ PIRRO: J. S. Bach (Paris, 1906).

ANDRÉ PIRRO: L'esthétique de J. S. Bach (Paris, 1907).

ALBERT SCHWEITZER: J. S. Bach, le musicien poète (Paris, 1905).

SPECIAL LITERATURE FOR VOLUME II

LITERATURE FOR CHAPTER I

_In English_

FREDERICK H. MARTENS: The French Chanson galante in the XVIIIth
Century (The Musician, Dec., 1913).

ERNEST NEWMAN: Gluck and the Opera (London, 1895).

R. A. STREATFEILD: The Opera (London, 1897).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts
(Leipzig, 1905).

LA MARA: Christoph Willibald Gluck (Leipzig, 1912).

ADOLPH BERNHARD MARX: Gluck und die Oper (Berlin, 1863).

R. PECHEL und FELIX POPPENBERG: Rokoko, das galante Zeitalter
in Briefen, Memorien Tagebüchern (Berlin, 1913).

HUGO RIEMANN: Geschichte der Musik seit Beethoven (Berlin,
1901).

A. SCHMID: Christoph Willibald Ritter v. Gluck (Leipzig, 1854).

_In French_

C. BELLAIGUE: Notes brèves (Paris, 1907).

C. BELLAIGUE: Un siècle de musique française (Paris, 1907).

G. DESNOIRESTERRES: Gluck et Puccini (Paris, 1875).

A. JULIEN: Musiciens d'hier et d'ajourd'hui (Paris, 1910).

ROMAIN ROLLAND: Musiciens d'autrefois (Paris, 1912).

E. SCHURÉ: Le drame musical (Paris, 1875).

JULIEN TIERSOT: Gluck (Paris, 1910).

JEAN D'UDINE: Gluck (Paris, 1912).

PIERRE AUBRY: Grétry (Paris, 1911).

HECTOR BERLIOZ: A travers chants (Paris, 1863).

A. COQUARD: La langue française et la musique (Le Courrier
Musical, Paris, May 1, 1907).

E. DACIER: Une danseuse française à Londres au début du XVIII
siècle (S. I. M., May 1, 1908).

ARSÈNE HOUSSAYE: Galerie du XVIII^{me} siècle: La Regence
Melanges extraits des manuscrits de Mme. Necker (Paris, 1798).

PAUL JEDLINSKI: A propos de la reprise d'Iphigénie en Aulide
(Le Courrier Musical, Paris, Jan. 15th, 1908).

L. DE LA LAURENCIE: Le goût musical en France (Paris, 1905).

GASTON MAUGRAS: Le Duc de Lauzun et la cour intime de Louis XV
(Paris, 1895).

Mémoirs de la Comtesse de Boigne (Paris, 1907).

PHILIPPE MOMIER: Venise au XVIII^{me} siècle (Paris, 1907).

C. PITOU: Paris sous Louis XV (Paris, 1906).

HENRI PRUNIÈRES: Le cerf de la Vieville et le goût classique
(S. I. M., June 15, 1908).

L. STRIFFLING: Goût musical en France au XVIII^e siècle (Paris,
1912).

H. A. TAINE: L'ancien régime.

G. TOUCHARD-LAFOSSE: Chroniques pittoresques et critiques de
l'œil de bœuf: Des petits appartements de la cour et des salons
de Paris sous Louis XIV, la régence, Louis XV, et Louis XVI
(Paris, 1845).

_In Italian_

VERNON LEE: Il settecento in Italia (Milan, 1881).

LITERATURE FOR CHAPTER II

_In English_

CHARLES BURNEY: The Present State of Music in Germany, etc., 2
vols. (London, 1773).

CHARLES BURNEY: Present State of Music in France and Italy
(London, 1771).

H. F. CHORLEY: Music and Manners in France and North Germany, 3
vols. (London, 1843).

KUNO FRANCKE: History of German Literature (N. Y., 1913).

ARTHUR HASSEL: The Balance of Power, 1715-1789 (London, 1908).

JOHN S. SHEDLOCK: The Pianoforte Sonata, Its Origin and
Development (London, 1895).

_In German_

K. H. BITTER: Karl Philipp Emanuel and W. Friedemann Bach, 2
vols. (Leipzig, 1868).

CARL DITTERS VON DITTERSDORF: Autobiographie (Leipzig, 1801).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts
(Leipzig, 1905).

S. BAGGE: Die geschichtliche Entwickelung der Sonata (In
Waldersee Sammlung, Vol. II. No. 19) 1880.

_In French_

JULES CARLEZ: Grimm et la musique de son temps (Paris, 1872).

JULES COMBARIEU: L'influence de la musique d'Allemagne sur la
musique française (Petersjahrbuch, 1895).

T. DE WYZEWA ET G. DE SAINT-FOIX: W. A. Mozart, 1756-77, 2
vols. (Paris, 1912).

LITERATURE FOR CHAPTER III

_In English_

CHARLES BURNEY: The Present State of Music in Germany, etc., 2
vols. (London, 1773).

CHARLES BURNEY: The Present State of Music in France and Italy
(London, 1771).

E. J. DENT: Mozart's Operas; a Critical Study (London, 1913).

W. H. HADOW: A Croatian Composer (Haydn) (London, 1897).

OTTO JAHN: Life of Mozart (Trans. by Pauline T. Townsend), 3
vols. (London, 1882).

GEORGE HENRY LEWES: The Life of Goethe.

W. A. MOZART: The Letters of W. A. Mozart (1769-1791). Transl.
from the collection of Lady Wallace (New York, 1866).

LUDWIG NOHL: W. A. Mozart (Engl. transl. London, 1877).

_In German_

HUGO DAFFNER: Die Entwicklung des Klavierkonzerts bis Mozart
(1908).

KARL GRUNSKY: Musikgeschichte des 17. und 18. Jahrhunderts
(Leipzig, 1905).

EDUARD HANSLICK: Geschichte des Konzertwesens in Wien, 2 vols.
(Vienna, 1869-70).

JOSEPH HAYDN: Tagebuch (edited by J. E. Engl), 1909.

OTTO JAHN: W. A. Mozart, 4th ed., 2 vols. (Leipzig, 1905-7).

LUDWIG KÖCHEL: Chronologisch-thematisches Verzeichnis der
Tonwerke W. A. Mozarts (Leipzig, 1862 and 1905).

HERMANN KRETZSCHMAR: Führer durch den Konzertsaal, 3 vols.
(Leipzig, 1895-9).

W. A. MOZART: Gesammelte Briefe (herausg. von Ludwig Nohl),
(Salzburg, 1865).

G. N. VON NISSEN: Biographie W. A. Mozarts, 1828-1848 (Leipzig).

LUDWIG NOHL: W. A. Mozart (Leipzig, 1882).

GUSTAV NOTTEBOHM: Mozartiana (Leipzig, 1880).

C. F. POHL: Joseph Haydn, 2 vols. [Unfinished], (Leipzig,
1875-82).

C. F. POHL: Mozart in London; Haydn in London (Vienna, 1876).

RICHARD WALLASCHEK: Geschichte der Wiener Hofoper (in Die
Theater Wiens, 1907-9).

F. W. WALTER: Die Entwicklung des Mannheimer Musik- und
Theater-lebens (Leipzig, 1897).

_In French_

GUISEPPE CARPANI: Le Haydine (Paris, 1812).

T. DE WYZEWA ET G. DE SAINT-FOIX: W. A. Mozart, 1756-77, 2
vols. (Paris, 1912).

HENRI LAVOIX: Histoire de l'instrumentation (Paris, 1878).

ROMAIN ROLLAND: Musiciens d'autrefois: Mozart (Paris, 1908).

LITERATURE FOR CHAPTER IV

_In English_

BEETHOVEN: Letters; ed. by A. Kalischer, trans. by J. S.
Shedlock, 2 vols. (London, 1909).

VINCENT D'INDY: Beethoven, a Critical Biography, trans. by T.
Baker (Boston, 1913).

SIR GEORGE GROVE: Beethoven and his Nine Symphonies (London,
1896).

DANIEL GREGORY MASON: Beethoven and his Forerunners (New York,
1904).

KARL REINECKE: The Beethoven Pianoforte Sonatas, trans. by E.
M. T. Dawson (London, 1912).

A. SCHINDLER: The Life of Beethoven (including correspondence,
etc.); ed. by Moscheles (London, 1841).

ARTHUR SYMONS: Beethoven (Essay), (London, 1910).

_In German_

L. VAN BEETHOVEN: Sämtliche Briefe; ed. by A. Kalischer, 5
vols. (1906-8).

PAUL BEKKER: Beethoven (Berlin, 1912).

G. VON BREUNING: Aus dem Schwarzspanierhause (New ed., 1907).

THEODOR VON FRIMMEL: Ludwig van Beethoven, Berühmte Musiker, v.
13 (Berlin, 1901).

THEODOR VON FRIMMEL: Beethoven Studien (Munich, 1905-6).

LUDWIG NOHL: Beethoven, 3 vols. (Leipzig, 1867-77).

GUSTAV NOTTEBOHM: Beethoveniana, 2 vols. (Leipzig, 1872-1887).

KARL REINECKE: Die Beethovenschen Klaviersonaten (1889, new
ed., 1905).

HUGO RIEMANN: Geschichte der Musik seit Beethoven, 1800-1900
(Berlin, 1904).

ALEXANDER WHEELOCK THAYER: Ludwig van Beethovens Leben, 5
vols., completed and revised by H. Deiters and H. Riemann (1866
[1901], 1872 [1910], 1879 [1911], 1907, 1908).

_In French_

JEAN CHANTAVOINE: Beethoven (Paris, 1907).

VINCENT D'INDY: Beethoven (Paris, 1913).

ROMAIN ROLLAND: Beethoven (Paris, 1909).

LITERATURE FOR CHAPTER V

_In English_

HENRY F. CHORLEY: Music and Manners in France and Germany
(London, 1844).

H. SUTHERLAND EDWARDS: Life of Rossini (London, 1869).

H. SUTHERLAND EDWARDS: Rossini and his School (London, 1881).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

MAX CHOP: Führer durch die Opernmusik (Berlin, 1912).

FERD. HILLER: Künstlerleben (Cologne, 1880).

DR. ADOLPH KOHNT: Meyerbeer (Berlin, 1890).

DR. ADOLPH KOHNT: Rossini (Berlin, 1892).

H. MENDEL: Giacomo Meyerbeer (Berlin, 1866).

EMIL NAUMANN: Italienische Tondichter (Leipzig, 1901).

W. H. RIEHL: Musikalische Charakterköpfe (Stuttgart, 1899).

HUGO RIEMANN: Geschichte der Musik seit Beethoven (Berlin,
1904).

LEO SCHMIDT: Meister der Tonkunst (Berlin, 1908).

_In French_

BLAZE DE BURY: La vie de Rossini (Paris, 1854).

HENRI DE CURZON: Meyerbeer (Paris, 1910).

LIONEL DAURIAC: Rossini (Paris, 1905).

LIONEL DAURIAC: Meyerbeer (Paris, 1913).

L. & M. ESCUDIER: Rossini: Sa Vie et ses Œuvres (Paris, 1854).

HENRI EYMIEU: L'Œuvre de Meyerbeer (Paris, 1910).

F. MARCILLAC: Histoire de la musique moderne (Paris, 1875).

PHILIPPE MONNIER: Venise au XVIII^e Siècle (Paris, 1907).

PAUL SCUDO: L'Art ancien et l'art moderne (Paris, 1854).

MME. DE STENDHAL: Vie de Rossini (Paris, 1905).

_In Italian_

ANTONIO AMORE: Vincenzo Bellini, 2 vols. (1892-4).

A. CAMETTI: Donizetti a Roma (Rivista Musicale Italiana, Vol.
XI, No. 4).

LUDOVICO SETTIMO SILVESTRI: Della vita e delle opere di
Gioacchino Rossini (Milan, 1874).

LITERATURE FOR CHAPTER VI

_In English_

HONORÉ DE BALZAC: The Great Man of the Province of Paris (Eng.
trans.).

HILLAIRE BELLOC: The French Revolution (New York, 1911).

SIR JULIUS A. BENEDICT: Carl Maria von Weber (In The Great
Musicians, New York, 1881).

J. R. S. BENNETT: Life of Sterndale Bennett (Cambridge, 1907).

'Charles Auchester,' Musical Novel on Mendelssohn and his
Circle.

HENRY T. FINCK: Chopin and Other Musical Essays (New York,
1894).

JAMES HUNEKER: Franz Liszt (New York, 1911).

SEBASTIAN HEUSE: The Mendelssohn Family, 1729-1847, transl. 2
vols. (New York, 1882).

FRANZ LISZT: Letters (Trans. by C. Bache, London, 1894).

FRANZ LISZT: Frédéric Chopin (Trans. Boston, 1863).

J. A. FULLER-MAITLAND: Schumann (New York, 1884).

DANIEL GREGORY MASON: The Romantic Composers (New York, 1906).

FELIX MENDELSSOHN: Letters and Recollections (Trans. from F.
Hiller by M. E. von Glehn, London, 1874).

F. NIECKS: Frederick Chopin as Man and Musician (London, 1904).

LINA RAMANN: Franz Liszt, Artist and Man (In the German,
Leipzig, 1880-1894), trans.

AUGUST REISSMANN: Life and Works of Schumann (Trans. London,
1900).

SIEGFRIED SALOMON: Niels W. Gade (Cassel, 1856-57).

R. SCHUMANN: Letters. Transl. by May Herbert (London, 1890).

STEPHEN STRATTON: Mendelssohn (Trans. in English Musical
Biographies, Birmingham, 1897).

JOSEPH VON WASIELEWSKI: Robert Schumann (Trans. Boston, 1871).

_In German_

MORITZ KARASOWSKI: Friedrich Chopin (3rd ed., Dresden, 1881).

W. A. LAMPADIUS: Felix Mendelssohn-Bartholdy (Leipzig, 1848).

R. SCHUMANN: Gesammelte Schriften über Musik und Musiker, 4
vols. (1854).

R. SCHUMANN: Jugendbriefe, herausg. von Clara Schumann (1885).

PHILIPP SPITTA: Ein Lebensbild Robert Schumanns (In Waldersee
Sammlung), (1882).

MAX VON WEBER: Carl Maria von Weber, 3 vols. (Leipzig, 1864-6).

_In French_

HECTOR BERLIOZ: Mémoires, 2 vols. (Paris, 1870).

ROMAIN ROLLAND: Musiciens d'aujourd'hui: Berlioz (Paris, 1912).

JULIEN TIERSOT: Hector Berlioz et la société de son temps
(Paris, 1903).

JULIEN TIERSOT: Les années romantiques, 1819-1842;
correspondance d'Hector Berlioz (Paris, 1903).

LITERATURE FOR CHAPTER VII

_In English_

G. L. AUSTIN: Life of Franz Schubert (Boston, 1873).

J. BENEDICT: Sketch of Life and Works of the late Felix
Mendelssohn-Bartholdy (London, 1853).

A. D. COLERIDGE, translator: Kreissle von Hellbron's Life of
Franz Schubert (London, 1869).

E. P. DEVRIENT: My Recollections of Felix
Mendelssohn-Bartholdy, transl. from the German by Natalia
Macfarren (London, 1869).

EDMONDSTOUNE DUNCAN: Schubert (London, New York, 1905).

LOUIS C. ELSON: History of German Song (Boston, 1888).

HENRY T. FINCK: Songs and Song Writers (New York, 1900).

H. F. FROST: Schubert (New York, 1881).

J. A. FULLER-MAITLAND: Schumann (New York, 1884).

ARTHUR HERVEY: Franz Liszt and His Music (London, New York,
1909).

JAMES HUNEKER: Franz Liszt (New York, 1911).

K. MENDELSSOHN-BARTHOLDY: Goethe and Mendelssohn, 1821-1831.
Transl. by M. E. von Glehn (London, 1872).

ELSIE POLKO: Reminiscences of Felix Mendelssohn-Bartholdy,
transl. by Lady Wallace (New York, 1869).

AUGUST REISSMANN: R. Schumann, transl. by A. L. Alger (London,
1900).

W. S. ROCKSTRO: Mendelssohn (London, 1898).

R. SCHUMANN: Letters, Eng. transl. by May Herbert (London,
1890).

JOSEPH VON WASIELEWSKI: Robert Schumann, transl. by A. L. Alger
(Boston, 1900).

JANKA WOHL: François Liszt, transl. by B. Peyton Ward (London,
1887).

_In German_

HERMANN ABERT: Robert Schumann (Berlin, 1903).

Beiträge zur Biographie Carl Loewes (Halle, 1912).

HEINRICH BULTHAUPT: Carl Loewe (Berlin, 1898).

WALTER DAHMS: Schubert (Berlin und Leipzig, 1912).

HERMANN ERLER: Robert Schumanns Leben aus seinen Briefen, 2
vols. (Berlin, 1886).

ROBERT FRANZ und ARNOLD FREIHERR SENFFT VON PILSACH: Ein
Briefwechsel, 1861-1888 (Berlin, 1907).

MAX FRIEDLÄNDER: Gedichte von Goethe in Kompositionen seiner
Zeitgenossen (1896).

MAX FRIEDLÄNDER: Beiträge zu einer Biographie Franz Schuberts
(1889).

MAX FRIEDLÄNDER: Das deutsche Lied im 18. Jahrhundert (1902).

AUGUST GÖLLERICH: Franz Liszt (Berlin, 1908).

RICHARD HEUBERGER: Franz Schubert (Berlin, 1902).

FERDINAND HILLER: Felix Mendelssohn-Bartholdy (Köln, 1874).

JULIUS KAPP: Franz Liszt (Berlin und Leipzig, 1909).

HEINRICH VON KREISSLE: Franz Schubert (Wien, 1861).

LA MARA: Briefwechsel zwischen Franz Liszt und Hans von Bülow
(Leipzig, 1898).

RUDOLF LOUIS: Franz Liszt (Berlin, 1900).

FELIX MENDELSSOHN-BARTHOLDY: Reisebriefe aus den Jahren
1830-1832.

L. RAMANN: Franz Liszt als Künstler und Mensch (Leipzig, 1880).

HEINRICH REIMANN: Robert Schumanns Leben und Werke (Leipzig,
1887).

A. REISSMANN: Felix Mendelssohn-Bartholdy (Berlin, 1867).

A. REISSMANN: Robert Schumann, sein Leben und seine Werke
(Berlin, 1871).

R. SCHUMANN: Gesammelte Schriften über Musik und Musiker, 4
vols. (1854).

W. J. V. WASIELEWSKI: Schumanniana (Bonn, 1883).

AUGUST WELLMER: Karl Loewe (1886).

ERNST WOLFF: Felix Mendelssohn-Bartholdy (Berlin, 1906).

_In French_

M. D. CALVOCORESSI: Franz Liszt (Paris, 1905).

JEAN CHANTAVOINE: Liszt (Paris, 1911).

L. SCHNEIDER and M. MARESCHAL: Schumann, sa vie et ses œuvres
(Paris, 1905).

LITERATURE FOR CHAPTER VIII

_In English_

OSKAR BIE: A History of the Pianoforte and Pianoforte Players
(London, 1897).

THOMAS F. DUNHILL: Chamber Music, a Treatise for Students
(London, 1913).

JOHN C. FILLMORE: History of Pianoforte Music (1883).

H. T. FINCK: Chopin and other Musical Essays (New York, 1894).

J. C. HADDEN: Chopin (Paisley, 1899).

JAMES HUNEKER: Chopin the Man and his Music (New York, 1905).

JAMES HUNEKER: Franz Liszt (New York, 1911).

H. E. KREBHIEL: The Pianoforte and its Music (New York, 1911).

IGNACE MOSCHELES: Recent Music and Musicians (New York, 1873).

F. NIECKS: Frederick Chopin as Man and Musician (London, 1904).

LINA RAMANN: Franz Liszt, Artist and Man, Eng. transl.

EDGAR STILLMAN-KELLEY: Chopin the Composer (New York, 1913).

_In German_

MORITZ KARASOWSKI: Friedrich Chopin, 3rd ed. (Dresden, 1881).

FRANZ LISZT: Friedrich Chopin (Paris, 1852).

AUGUST REISSMANN: R. Schumann, 3rd ed. (Berlin, 1879).

MAX VON WEBER: Carl Maria von Weber, 3 vols. (Leipzig, 1864-6).

_In French_

JEAN CHANTAVOINE: Franz Liszt: Sa vie et son œuvre (Paris,
1911).

FRANZ LISZT: Des Bohemiens et de leur musique en Hongrie
(Paris, 1859).

GEORGE SAND: Un Hiver a Majorque (Paris, 1867).

GEORGE SAND: Histoire de ma vie (Paris, 1855).

LITERATURE FOR CHAPTER IX

_In English_

LOUIS A. COERNE: Evolution of Modern Orchestration (New York,
1908).

W. J. HENDERSON: The Orchestra and Orchestral Music (New York,
1899).

RICHARD WAGNER: Collected Works (Vol. III. Article on Liszt's
Symphonic Poems) (Leipzig, 1857).

_In German_

RICHARD WAGNER: Sämmtliche Schriften (Vol. III, Liszt's
Symphonische Dichtungen, Leipzig, 1911).

_In French_

HECTOR BERLIOZ: Soirées d'orchestre (Paris, 1853).

A. JULLIEN: Hector Berlioz (Paris, 1882).

HENRI LAVOIX: Histoire de l'Instrumentation (Paris, 1878).

LITERATURE FOR CHAPTER X

_In English_

RICHARD ALDRICH: Introduction to _Freischütz_ (In Schirmer's
Collection of Operas).

W. F. APTHORP: The Opera Past and Present (New York, 1901).

M. A. DE BOVET: Charles Gounod, his Life and Works, Eng.
transl. (London, 1891).

An Englishman in Paris (Notes and Recollections) (New York).

ANDRÉ LEBON: Modern France (New York, 1907).

R. A. STREATFEILD: Modern Music and Musicians (London, 1906).

R. A. STREATFEILD: The Opera (London, 1897).

_In German_

OSKAR BIE: Die Oper (Berlin, 1913).

MAX CHOP: Führer durch die Opernmusik (Berlin, 1912).

H. HEINE: Musikalische Berichte aus Paris (Hamburg, 1890).

MAX KALBECK: Opernabende (Berlin).

OTTO NEITZEL: Führer durch die Oper (Leipzig, 1890).

_In French_

G. ALLIX: A Propos de l'anniversaire de Bizet (S. I. M. Dec.,
1908).

Félicien David et les Saint-Simoniens (S. I. M., March, 1907).

E. J. DE GONCOURT: La du Barry (Paris, 1909).

E. LAVISSE et A. RAMBAUD: Guerres Nationales (1848-1870).

EUGÈNE DE MIRECOURT: Auber (Paris, 1859).

L. PAGNERRE: Charles Gounod, sa vie et ses œuvres (Paris, 1890).

A. POUGIN: Boieldieu (Paris, 1875).

J. H. PRUDHOMME: Félicien David d'après sa correspondance
inédite (S. I. M., March, 1907).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

A. SOUBIES: 69 ans à l'Opéra Comique en deux pages (1825-1894)
(Paris, 1894).

SOUBIES ET MALHERBE: Histoire de l'Opéra Comique, 1840-1860
(Paris, 1892).

LITERATURE FOR CHAPTER XI

_In English_

W. ASHTON ELLIS: The Prose Writings of Richard Wagner. Transl.
of Wagner's collected prose writings, 8 vols. (London, 1899).

HENRY T. FINCK: Wagner and his Works, 2 vols. (New York, 1893).

W. H. HENDERSON: Richard Wagner, his Life and his Dramas (New
York, 1901).

ALBERT LAVIGNAC: The Music Dramas of Richard Wagner. Transl. by
E. Singleton (New York, 1898).

ERNEST NEWMAN: A Study of Wagner (New York, 1899).

WAGNER and LISZT: Correspondence, ed. by F. Hueffer (London,
1888).

RICHARD WAGNER: My Life (Autobiography), 2 vols. (New York,
1911).

_In German_

GUIDO ADLER: Richard Wagner (Leipzig, 1904).

HOUSTON S. CHAMBERLAIN: Richard Wagner (Munich, 1896).

GUSTAV ENGEL: Die Bühnenfestspiele von Bayreuth (1876).

CARL FR. GLASENAPP: Das Leben Richard Wagners, 6 vols.
(Leipzig, 1894).

JULIUS KAPP: Der junge Wagner (Berlin, 1910).

JULIUS KAPP: Richard Wagner, eine Biographie (Berlin, 1910).

FRANZ LISZT: Briefwechsel mit Richard Wagner.

WALTER NIEMANN: Die Musik seit Richard Wagner (Berlin, 1913).

FRIEDRICH NIETZSCHE: Der Fall Wagner (Leipzig, 1892).

RICHARD WAGNER: Gesammelte Schriften und Dichtungen, 10 vols.
(Leipzig, 1871).

_In French_

A. JULLIEN: R. Wagner (Paris, 1886).

ALBERT LAVIGNAC: Le voyage artistique a Bayreuth (Paris, 1897).

CATULLE MENDÈS: Richard Wagner (Paris, 1900).

LITERATURE FOR CHAPTER XII

_In English_

ALBERT DIETRICH & J. V. WIDMANN: Recollections of Johannes
Brahms, transl. by D. E. Hecht (London, 1889).

J. A. FULLER-MAITLAND: Brahms (London, 1911).

W. H. HADOW: Studies in Modern Music (London, 1895).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

B. LITZMANN: Clara Schumann, transl. by Grace and W. H. Hadow
(London, 1913).

GUY ROPARTZ: César Franck (Grey's Studies in Music) (New York,
1901).

PHILIPP SPITTA: Johannes Brahms, transl. in Grey's Studies in
Music (New York, 1901).

_In German_

JOHANNES BRAHMS: Briefwechsel, herausg. von der deutschen
Brahmsgesellschaft, Vols. I-VII, 1907-10.

FRANZ BRENDEL: Geschichte der Musik in Italien, Deutschland und
Frankreich, etc. (1852 and 1906, Leipzig).

HERMANN DEITERS: Johannes Brahms (in Waldersee Sammlung,
Leipzig, 1880-98).

ALBERT DIETRICH: Erinnerungen an Johannes Brahms (1908).

GUSTAVE JENNER: Johannes Brahms als Mensch, Lehrer und Künstler
(Merburg in Hessen, 1905).

MAX KALBECK: Johannes Brahms, 3 vols. (1904-1911).

WALTER NIEMANN: Die Musik seit Richard Wagner (Berlin, 1913).

B. RÖTTGER: Der Entwickelungsgang von Johannes Brahms (In the
Neue Musikzeitung, Vol. 25, Nos. 15 & 16).

_In French_

ARTHUR COQUARD: César Franck (Paris, 1891).

VINCENT D'INDY: César Franck (Paris, 1906).

A. JULLIEN: Johannes Brahms, 1833-97 (Paris, 1898).

LITERATURE FOR CHAPTER XIII

_In English_

A. A. CHAPIN: Masters of Music (New York, 1901).

F. J. CROWEST: Verdi, Man and Musician (London, 1897).

B. LUMLEY: Reminiscences of the Opera (London, 1864).

B. L. MACCHETTA: Verdi, Milan and Otello (London, 1887).

A. POUGIN: Verdi, an Anecdotic History, transl. by James E.
Matthew (London, 1887).

R. A. STREATFEILD: Masters of Italian Music (New York, 1895).

_In German_

EDUARD HANSLICK: Die moderne Oper, 9 vols. (Berlin, 1875-1900).

F. GERSHEIM: Giuseppe Verdi (Frankfurt, 1897).

_In French_

E. DESTRANGES: L'Évolution musicale chez Verdi (Paris, 1895).

CRISTAL MAURICE: Verdi et les traditions nationales (Lausanne,
1880).

C. SAINT-SAËNS: Portraits et souvenirs (Paris, 1900).

PRINCE DE H. T. VALORI-RUSTICHELLI: Verdi et son œuvre (Paris,
1895).

_In Italian_