Chapter XV: Part 15

_Rienzi_, an early Wagner opera, is today remembered primarily for its overture. But in its own day it was extremely popular. Immediately after its première performance in Dresden on October 20, 1842, _Rienzi_ made Wagner’s name known throughout all of Germany for the first time, appearing in the repertory of virtually every major German opera house at the time. The novel from which the composer derived his libretto is that of Bulwer-Lytton. The central character, Rienzi, is a Roman ruler of the 14th century who meets his destruction at the hands of his enemies who set the Capitol aflame in which Rienzi perishes. Trumpet calls in the opening measures of the overture lead to a slow section in which is prominent an affecting melody for strings, Rienzi’s prayer for the Roman people. In the main section of the overture, the first main theme is the battle hymn of the first act (in the brass) set against Rienzi’s prayer-melody. The opening slow section returns and is succeeded by the stirring music from the first act finale. In the coda, the battle-hymn music is powerfully projected for the last time.

_Tannhaeuser_ boasts many popular selections beyond its very famous overture. The opera was first performed in Dresden on October 19, 1845. The libretto is by the composer. Tannhaeuser is a minstrel-knight who has grown weary of the carnal delights on the Hill of Venus and longs for his own world. By invoking the name of the Virgin Mary, in whom he places his trust, Tannhaeuser is transported to a valley near the Wartburg Castle, where he is recognized and welcomed back by Wolfram, a companion minstrel-knight. Joyously, Tannhaeuser returns with Wolfram to the Hall of the Minstrels in the Wartburg Castle to find that his beloved Elisabeth is still in love with him. But only he who can come out triumphant in a song contest on the subject of love can win Elisabeth. The song Tannhaeuser presents, glorifying sensual pleasure, horrifies the audience. Contrite, Tannhaeuser offers to atone for his sins by joining pilgrims to Rome and seeking absolution from the Pope. Elisabeth promises to pray for his soul. After several months have passed, Elisabeth is awaiting the return of the Roman pilgrims, and Wolfram beseeches heaven to guide Elisabeth and protect her. Suddenly Tannhaeuser—haggard and decrepit—makes his appearance. He confesses to Wolfram that his soul will not be redeemed until the staff in the Pope’s hands sprouts leaves. Only after Elisabeth has died of grief in despair of ever seeing Tannhaeuser again, do the tidings come from Rome that the Pope’s staff has, indeed, blossomed with foliage.

The Overture is built from some of the principal melodies of the opera; in a sense it traces the main events of the story. The religious chant of the Pilgrims (in clarinets, bassoons and horns) is heard at once. This is followed by music suggesting Tannhaeuser’s repentance, a touching melody for strings. After both these ideas have been discussed we hear in the strings the voluptuous music of Venusberg, a picture of the carnal life led by Tannhaeuser with Venus on Venus Hill. The music is brought to a compelling climax with a loud statement of Tannhaeuser’s passionate hymn to carnal love with which he so horrified the minstrel-knights at Wartburg Castle. The chant of the pilgrims, which had opened the overture, also brings it to conclusion.

The Prelude to Act 3 is solemn music that bears the title, “Tannhaeuser’s Pilgrimage.” Two themes are set forth at once, that of Tannhaeuser’s repentance, and that suggesting Elisabeth’s intercession. Tannhaeuser’s suffering is then portrayed by a poignant melody for strings. Suggestions of the Pilgrim’s Chorus and a motive known as “Heavenly Grace” are then offered. The prelude ends quietly and sensitively, as Tannhaeuser at long last achieves salvation.

The sensual, even lascivious, music of the _Bacchanale_ in the opening scene (recreating the revelry enjoyed by Tannhaeuser and Venus on Venus Hill) is often performed in conjunction with the Overture, sometimes independently. Another orchestral episode extremely popular is the stately _March_ of the second act with which the minstrel-knights of the Wartburg file into the Castle, followed by the nobles, ladies, and attendants, as they chant the strains of “_Freudig begruessen wir die edle Halle_.”

The most popular vocal excerpt from _Tannhaeuser_ is Wolfram’s “Ode to the Evening Star” (“_O du mein holder Abendstern_”) in the last act. This atmospheric music, a hymn to the mystery and beauty of the night, is Wolfram’s prayer to the evening star that it guide and protect Elisabeth. Elisabeth’s second-act song of praise to the Hall of Wartburg Castle in which she speaks of her joy in learning of Tannhaeuser’s return (“_Dich, teure Halle_”) and her eloquent third-act prayer for Tannhaeuser’s forgiveness (“_Allmaecht’ge Jungfrau_”) are also deservedly celebrated for their affecting lyricism.

Wagner did not write much music not intended for the stage. Of this meager repertory one or two items deserve attention in the semi-classical repertory. One is “_Traeume_” (“Dreams”) a song often heard in transcriptions, particularly for orchestra. This is one of five poems by Mathilde Wesendonck which Wagner set to music in 1857-1858, and it appears as the last song of the cycle. This gentle nocturne derives some of its melody from the famous love-duet of the second act of _Tristan and Isolde_ (“_O sink hernieder, Nacht der Liebe_”) but the overall effect of the song is one of gentle revery rather than sensual love. Wagner himself arranged “_Traeume_” for small orchestra. On Mathilde Wesendonck’s birthday on December 23, 1857, he conducted eighteen musicians in a performance of the song under Mathilde’s window.

The _Kaiser March_ was another of Wagner’s compositions not intended for the stage. He wrote it in 1871 to celebrate Germany’s victory over France. A proud, exultant theme is first offered by the full orchestra. A transition in the brasses and timpani brings on a second theme of contrasting character in the woodwind. There follows a brief statement of Martin Luther’s famous chorale, “_Ein feste Burg_.” After dramatic music depicting the fever of battle, the Luther chorale is repeated triumphantly by the brasses. The first theme returns loudly in full orchestra after a fanfare to end the march.

Emil Waldteufel

Emil Waldteufel, waltz-king of France, was born in Strasbourg on December 9, 1837. His father, a professor of music at the Strasbourg Conservatory, gave him his first music instruction. After that Emil attended the Paris Conservatory, but he never completed his course of study there, leaving the schoolroom to take on a job with a piano manufacturer. He published his first waltzes at his own expense in 1860, _Joies et peines_ and _Manola_. The latter so enchanted the Prince of Wales that he willingly accepted the dedication of Waldteufel’s next waltz, _Bien aimé_, a fact that played no small part in establishing Waldteufel’s reputation in England. Waldteufel now decided to sidestep all other activities to concentrate on the writing of waltz music. In short order he became the idol of Paris in the same way that Johann Strauss II was of Vienna. For a period, Waldteufel’s fame throughout Europe was second only to that of the Viennese waltz king. Waldteufel made many tours of the European capitals conducting his own compositions, scoring triumphs in Covent Garden in 1885, and in Berlin in 1889. In 1865 he became chamber musician to the Empress Eugénie and director of the court balls. He died in Paris on February 16, 1915.

Waldteufel published over 250 waltzes. A comparison with Johann Strauss is perhaps inevitable. The French waltz king never equalled Strauss’ remarkable melodic invention, original approaches in harmony and orchestration, and overall inspiration. Most of Waldteufel’s waltzes are functional pieces, and make far better dance music than concert music. But a handful of his waltzes are classics, and deservedly so. They are buoyant and inviting in their spirit, aristocratic in style, spontaneous in expression. Waldteufel’s most famous waltzes include the following: _España_, op. 236, which utilizes for its waltz melodies the basic themes from Chabrier’s rhapsody of the same name; and _The Skaters_ (_Les Patineurs_), op. 183, in which the main elegant melody has the lightness of foot and the mobility of motion of facile figure skaters. Other popular Waldteufel waltzes include the _Acclamations_, op. 223; _Dolores_, op. 170; _Estudiantina_, op. 191; _Mon rêve_, op. 151; _Les Sirènes_, op. 154; _Toujours ou jamais_, op. 156; and _Violettes_, op. 148.

Karl Maria von Weber

Karl Maria von Weber was born in Eutin, Oldenburg, Germany, on November 18, 1786. His father, who played the violin in small theaters, was determined to make his son a musical prodigy, subjecting him from childhood on to severe discipline, and to intensive study with Karl’s stepbrother, J. P. Heuschkel and Michael Haydn. Weber made public appearances as pianist in early boyhood. His first opera was written when he was only thirteen, and at fourteen his second opera was performed in Chemnitz, Freiberg, and Vienna. An even more comprehensive period of study than heretofore followed in Munich with Abbé Vogler. After that, in 1804, Weber was appointed conductor of the Breslau City Theater. In 1806 he became Musik Intendant to the Duke of Wuerttemberg, and in 1807 private secretary and music master to Duke Ludwig in Stuttgart. From 1813 to 1816 he was the music director of German Opera in Prague and in 1817 musical director of German Opera in Dresden. It was in this last post that he created the first of his unqualified masterworks, the opera _Der Freischuetz_, introduced with phenomenal success in Berlin on June 18, 1821. It was with this work that German Romantic opera was born, grounded in Germanic nationalism, filled with the German love for the legendary and the supernatural, and characterized by its use of German landscapes and backgrounds. Weber wrote two more masterworks with which his high station in opera was solidified: _Euryanthe_, introduced in Vienna on October 25, 1823, and _Oberon_, first heard in London, on April 12, 1826. In London, attending the première of the latter opera, Weber succumbed to his last sickness on June 5, 1826. His body was transferred to Dresden where it was buried to special ceremonies at which Wagner delivered the eulogy.

Weber’s monumental contributions to opera in general, and German opera, in particular, do not fall within the scope of this volume; neither do the three masterworks with which he gained immortality. In music in a lighter vein he was most significant for being one of the first to create waltz music within an extended structure. The most popular of these compositions was the _Invitation to the Dance_ (_Aufforderung zum Tanz_), written in 1819 as a “rondo brilliant” in D-flat major, for piano solo. It has since become celebrated in several orchestral transcriptions, notably those by Berlioz and Felix Weingartner. This work is one of the first in music history in which several different waltz tunes are combined into a single cohesive composition, preceded by an introduction and concluding with an epilogue. The introduction consists of a subdued, well-mannered melody, simulating the request to a lady by a young man for a dance, and the acceptance. Several waltz melodies follow, to which this couple dance. The epilogue consists of a return of the introduction, this time with the gentleman thanking the lady for having danced with him.

The _Jubilee Overture_ (_Jubel_), op. 59, for orchestra is another of Weber’s more popular creations, this time in a stirring style. He wrote it in 1818 on the occasion of the 50th anniversary of the ascension to the throne by the King of Saxony. A slow introduction leads to the main body of the overture in which the main theme is forcefully stated by the full orchestra. By contrast there later appears a light-hearted tune, soon given considerable prominence in the development section. When both ideas have been repeated, a climax is reached with a statement of the English anthem, “God Save the King” in the wind instruments accompanied by the strings.

Kurt Weill

Kurt Weill was born in Dessau, Germany, on March 2, 1900. A comprehensive musical training took place first with private teachers in Dessau, then at the Berlin High School of Music, and finally for three years with Ferruccio Busoni. Weill started out as a composer of avant-garde music performed at several important German festivals. His first opera, _The Protagonist_, with a text by Georg Kaiser, was produced in 1926. From this point on Weill continued writing operas in which the texts were realistic or satiric, and the music filled with popular idioms, sometimes even those of jazz. The most important were _The Royal Palace_ in 1927; _The Three-Penny Opera_, a sensation when first produced in 1928; _The Czar Has Himself Photographed_, also in 1928; and _The Rise and Fall of Mahagonny_, in 1930, one of whose numbers, “The Alabamy Song,” was a leading song hit in Germany that year. With these works Weill became one of the leading exponents of the cultural movements then sweeping across Germany under the banners of _Zeitkunst_ (Contemporary Art) and _Gebrauchsmusik_ (Functional Music). In the fall of 1935, Weill established permanent residence in the United States, becoming an American citizen in 1943. He soon assumed a position of first importance in the Broadway theater by virtue of a succession of outstanding musicals: _Johnny Johnson_ (1936); _Knickerbocker Holiday_ (1938) in which Walter Huston starred as Peter Stuyvesant and out of which came one of Weill’s most popular musical numbers, “September Song”; Moss Hart’s musical about psychoanalysis and the dream life, _Lady in the Dark_ (1941) in which Gertrude Lawrence was starred; _One Touch of Venus_ (1943), with Mary Martin; _Street Scene_ (1947), a trenchant musical play based on Elmer Rice’s realistic drama of New York; _Love Life_ (1948), book and lyrics by Alan Jay Lerner, its main musical number being another all-time Weill song favorite, “Green-Up Time”; and _Lost in the Stars_ (1949), a powerful musical drama adapted from Alon Paton’s novel, _Cry, the Beloved Country_. Weill died in New York City on April 3, 1950.

_The Three-Penny Opera_ (_Die Dreigroschenoper_) is one of the most important musical productions of the post-World War I era in Europe; and since its premiere it has lost little of its initial popularity. This musical play (or opera, if you will) was based on the historic 18th-century ballad opera of John Gay, _The Beggar’s Opera_. The text was rewritten and modernized by Berthold Brecht, in whose hands the comic opera became a brilliant, though often bitter, satire of Germany in the late 1920’s, with penetrating satirical comments on crime and corruption in this post-war era. Weill’s opera was introduced in Berlin on August 31, 1928 and scored a sensation with few parallels in contemporary German theater. Over one hundred theaters gave it four thousand performances throughout Germany in its initial year. It was made into a motion-picture by G. W. Pabst (the first of several screen adaptations). It was introduced in the leading theatrical centers of the world; the American première—in New York on April 13, 1933—was, however, a dismal failure. It has since been revived frequently in all parts of the civilized world. An off-Broadway presentation in 1954—with a new modernized text by Marc Blitzstein, but with the Weill music untouched—made history by accumulating a run of more than five years; a national company was then formed to tour the country in 1960. During this long Broadway run, the principal musical number, “Moritat” (or “Mack the Knife”) became an American hit song on two different occasions. In 1955 it was given over twenty different recordings and was often represented on the Hit Parade; revived in 1959 by Bobby Darin, it sold over a million discs.

Weill’s score is a mixture of opera and musical comedy, of European stage traditions and American idioms. It opens with a blues and concludes with a mock chorale, while in between these opposite poles there can be heard a shimmy, a canon in fox-trot, popular tunes, formal ballads, light airs, choruses, and ensemble numbers. The style ranges freely from Tin Pan Alley clichés to atonality, from mock romanticism to dissonance. Each number was basic to the plot; principal numbers often became penetrating psychological commentaries on the characters who presented them. “Moritat” (or “Mack the Knife”) is the main musical number. But several others are also of outstanding interest including “Love Song” (“_Liebeslied_”), “The Ballad of Pleasant Living” (“_Ballade vom angenehmen Leben_”), the Canon-Song, _Barbarasong_, and the Bully’s Ballad (“_Zuhaelterballade_”).

Jaromir Weinberger

Jaromir Weinberger was born in Prague, Czechoslovakia, on January 8, 1896. After completing his music study at the Prague Conservatory, and privately with Max Reger in Berlin, he came to the United States in 1922, teaching for one season at the Ithaca Conservatory in Ithaca, New York. Following his return to Europe he held various posts as teacher and conductor. He achieved international renown as a composer with a Bohemian folk opera, _Schwanda, der Dudelsackpfeifer_ first performed in Prague on April 27, 1927, then successfully heard throughout Europe and in the United States. Weinberger wrote many operas after that, and a considerable amount of orchestral music. Up to 1937 his home was in Prague, but since 1939 he has lived in the United States. One of his most successful works for orchestra was introduced in the United States soon after his arrival, _Under the Spreading Chestnut Tree_.

Among the numerous works by Weinberger are two that can be said to have a more popular appeal than the others. One is in an American idiom and manner which Weinberger assumed for many of his major works after coming to this country; the other is in the Bohemian style with which he first became famous.

That in the American style and spirit (but technically in a fugue idiom) is a delightful treatment of the popular American tune by Dan Emmett, “Dixie.” “Dixie” had originated as a minstrel-show tune, being written by Emmett as a “walk-around” (or closing number) for a minstrel-show production at the Bryant Theater in New York in November 1859. It became an immediate favorite with minstrel troupes throughout the country. During the Civil War it became the Southland’s favorite battle hymn, despite the fact that it was the work of a Northerner. The charge at Gettysburg by General George Pickett was made to the strains of this music. After the surrender at Appomattox, President Lincoln invited a band outside the White House to play the tune for him maintaining that since the North had conquered the Southern army it had also gained its favorite song as a spoils of war. In 1940 Weinberger wrote the _Prelude and Fugue on Dixie_ for symphony orchestra. The prelude devotes itself to a simple statement of the melody, after which comes the lively fugal treatment of its main theme. The treatment is throughout so skilful and musical that we never feel any sense of contradiction in the use of a popular minstrel-show tune within a soundly classical structure and through soundly classical means.

Out of the composer’s most famous opera, _Schwanda, der Dudelsackpfeifer_ (_Schwanda, the Bagpipeplayer_) comes a _Polka and Fugue_ for orchestra that is undoubtedly the most familiar excerpt from the opera. The vivacious _Polka_—which has a lusty peasant vitality in its marked accentuations—comes from Act 2, Scene 2; the fugue (whose main theme is suggested in the polka) is used in the opera’s closing scene. Just before the end of the fugue, the polka melody is heard again, set contrapuntally against the fugue tune in a powerful climax in which the full orchestra, as well as an organ, is utilized.

Henri Wieniawski

Henri Wieniawski was born in Lublin, Poland, on July 10, 1835. When he was eight he entered the Paris Conservatory, from which he was graduated three years later with first prize in violin-playing, the first time this institution conferred such an honor on one so young. Sensational appearances as child prodigy followed throughout Europe. After an additional period of study at the Paris Conservatory between 1849 and 1850, he initiated his career as a mature performer, and as one of the world’s foremost violinists, with performances in Europe and Russia. In 1872 he toured the United States with the pianist, Anton Rubinstein. Meanwhile, in 1859, he was appointed solo violinist to the Czar of Russia, and from 1862 to 1867 he was professor of the violin at the St. Petersburg Conservatory. In 1874 he succeeded Vieuxtemps as professor of the violin at the Brussels Conservatory where he remained fourteen years. He suffered a heart attack while performing in Berlin in 1878, and died in Moscow on March 31, 1880.

Wieniawski produced a rich repertory of music for the violin which is still performed extensively. This includes the famous Concerto in D minor and many smaller compositions. Among the latter can be found pieces which have become favorites with salon orchestra in transcription. These, like other major works by the composer, are characterized by broad and expressive melodies and brilliant technical effects.

The _Kujawiak_, in A minor, op. 3 is a brilliant rhythmic number—a spirited mazurka which derives its name from the fact that it has come out of the Kuawy district of Poland. The _Légende_, op. 17, on the other hand, is outstanding for its sentimental lyricism. This piece is an eloquent song, originally for violin and orchestra, that seems to be telling a romantic tale. The _Polonaise brillante_, in D major, op. 4, like the _Kujawiak_, is a successful attempt to incorporate within a concert work the characteristics of a popular Polish dance. This composition is appealing for its sharp accentuations on the half beat, syncopations, and brilliant passage work. The _Souvenirs of Moscow_ (_Souvenirs de Moscou_), op. 6, is a fantasia on famous Russian airs, the most important of which is “The Red Sarafin.”

Ralph Vaughan Williams

Ralph Vaughan Williams was born in Down Ampney, England, on October 12, 1872. After attending the Royal College of Music, he studied composition privately with Max Bruch in Berlin. In 1901 he was appointed organist of the St. Barnabas Church in London. For the next few years he devoted himself mainly to church music. His interest in the English folk songs of the Tudor period, first stimulated in 1904, proved for him a decisive turning point. Besides dedicating himself henceforth to intensive research in English folk music (much of which he helped to revive from neglect and obscurity through his editions and adaptations) he found a new direction as composer: in the writing of music with a national identity, music absorbing the melodic, harmonic and modal techniques—at times even the actual material—of these old songs and dances. This new trend first became evident in 1907 with his _Norfolk Rhapsodies_. After an additional period of study with Maurice Ravel in Paris, Vaughan Williams embarked upon the writing of his first major works which included the famous _Fantasia on a Theme by Thomas Tallis_, _London Symphony_, and the opera _Hugh the Drover_. Subsequent works in all fields of composition placed him with the masters of 20th-century music. These compositions included symphonies, operas, concertos, fantasias, choral and chamber music. For more than thirty years, Vaughan Williams taught composition at the Royal College of Music in London; from 1920 to 1928 he was the conductor of the Bach Choir, also in that city. He paid two visits to the United States, the first time in 1922 to direct some of his works at a music festival in Connecticut, and the second time a decade later to lecture at Bryn Mawr College. He received the Order of Merit in 1935 and the Albert medal of the Royal Society of Arts in 1955. He died in London on August 26, 1958.

Only a meagre number of Vaughan Williams’ compositions have popular appeal. One of these is the _Fantasia on Greensleeves_, for orchestra. “Greensleeves” is an old English folk song dating from the early 16th century, and mentioned in Shakespeare’s _The Merry Wives of_ _Windsor_. In the 17th century it became the party song of the Cavaliers. Americans know it best through a popular-song adaptation in 1957. Vaughan Williams’ delightful fantasia appears as an orchestral interlude in his opera _Sir John in Love_ (1929), based on _The Merry Wives of Windsor_. A brief episode for flute leads to “Greensleeves,” which is harmonized opulently for strings. Two brief variations follow. Then the opening flute episode is recalled as is the folk song itself—the main melody in lower strings with embellishments in the upper ones.

_The March of the Kitchen Utensils_ is an amusing little episode for orchestra, part of the incidental music prepared by the composer for a production of Aristophanes’ _The Wasps_ in Cambridge in 1909. This march opens with a humorous little theme for the wind instruments in the impish style of Prokofiev. The theme is taken over by the strings. The middle section is much more in the identifiable national style of Vaughan Williams with a melody that resembles an old English folk dance.

Jacques Wolfe

Jacques Wolfe, composer of songs in the style of Negro Spirituals familiar in the repertory of most American baritones, was born in Botoshan, Rumania on April 29, 1896. He was trained as a pianist at the Institute of Musical Art. While serving in the army during World War I, a member of the 50th Infantry Band, he was stationed in North Carolina where he first came into contact with Negro folk songs. This made such a profound impression on him that he devoted himself to research in this field. After the war he made many appearances on the concert stage both as a solo performer and as an accompanist. For several years he was also a teacher of music at New York City high schools.

Wolfe’s two best known songs in the style of Negro folk songs appeared in 1928. One is “De Glory Road,” words by Clement Wood, a work of such extraordinary fervor and dramatic character that it has proved a sure-fire number with concert baritones throughout the country, and notably with Lawrence Tibbett with whom it was a particular favorite. The other was “Short’nin’ Bread,” to Wolfe’s own words. The latter in all probability is not original with Wolfe but an adaptation of one of the melodies he discovered in North Carolina. Several Negro composers have been credited with being its composer; one of them was Reese d’Pres who is said to have written the melody in or about 1905.

Among Wolfe’s other familiar songs are “God’s World,” “Goin’ to Hebb’n” and “Hallelujah Rhythm.”

Ermanno Wolf-Ferrari

Ermanno Wolf-Ferrari was born in Venice, Italy, on January 12, 1876. Originally planning to make art his career he went to Rome, but while there became so fascinated by opera that then and there he decided to become a musician. He completed his musical training in Munich in 1895 with Josef Rheinberger. In 1899 he returned to his native city where his first major work—an oratorio, _La Sulamite_—was successfully performed. His first opera, _Cenerentola_ (_Cinderella_) was introduced in Venice in 1900. His first comic opera (or opera buffa) came to Munich in 1903: _Le Donne Curiose_. He achieved world renown with still another comic opera, _The Secret of Suzanne_, first performed in Munich in 1909. This distinguished achievement was followed by an equally significant achievement in a serious vein, the grand opera, _The Jewels of the Madonna_, first heard in Berlin in 1911. One year later Wolf-Ferrari paid his first visit to the United States to attend in Chicago the American première of _The Jewels of the Madonna_. He wrote many operas after that, both in a comic and serious style, but his fame still rests securely on _The Secret of Suzanne_ and _The Jewels of the Madonna_. From 1902 to 1912 he was director of the Benedetto Marcello Conservatory in Venice. He died in that city on January 21, 1948.

From _The Jewels of the Madonna_ (_I Gioielli della Madonna_) have come several familiar orchestral episodes. This tragedy—libretto by the composer with verses by Carlo Zangarini and Enrico Golisciani—was successfully introduced in Berlin on December 23, 1911. Rafaele, leader of the Camorrists, and Gennaro, a blacksmith, are rivals for the love of Maliela. After Rafaele appears to have won Maliela’s love, Gennaro wins her away from his rival by stealing for her the jewels decorating the image of the Madonna. Maliela confesses to Rafaele and other Camorrists about this theft, then rushes off into a raging sea to meet her death. After Gennaro has returned the jewels to the Madonna, he plunges a dagger into his own breast.

Two melodious intermezzos for orchestra are often played by salon and pop orchestras. The first comes between the first and second acts and is in a languorous mood. The second, heard between the second and third acts, opens with a light subject and continues with a broadly lyrical episode. A third popular orchestral excerpt from this opera is the dramatic “Dance of the Camorristi” during a revel in the Camorristi hideout in the opening of the third act.

As an opera _The Secret of Suzanne_ (_Il Segreto di Susanna_) is a trifle. The libretto by Enrico Golisciani concerns a terrible secret harbored by the heroine, Suzanne: she is addicted to smoking. Since her husband finds cigarette butts in their house he suspects her of entertaining a lover during his absence. Spying on her through the window, one day, he learns about his wife’s secret to his infinite relief, and does not hesitate to join her in a smoke. Light, breezy, infectious, and unpretentious, this little opera has been a favorite with operagoers everywhere since its world première in Munich on December 4, 1909.

The overture is as gay and as capricious as this merry tale. It begins vivaciously with the main theme in first violins and the woodwind. After this idea has been elaborated upon, a second melody is heard in the flute and clarinet accompanied by strings. The two melodies are soon merged contrapuntally, with the first theme heard in woodwinds and trumpet and the second in the strings.

Sebastián Yradier

Sebastián Yradier was born in Sauciego, Álava, Spain on January 20, 1809. Little is known of his career beyond the fact that his music instruction took place with private teachers; that in 1851 he was appointed singing master to the Empress Eugénie in Paris; and that for a period he lived in Cuba. He died in Vitoria, Spain, on December 6, 1865. He was a successful composer of Spanish songs. The most famous is “_La Paloma_,” which is in the habanera rhythm, its melody in the sensual, sinuous style of a flamenco song. “_El Arreglito_,” also a habanera, was borrowed by Bizet for his opera _Carmen_ where it re-emerges as the world-famous “Habanera”; Bizet made only minor changes in the melody while retaining Yradier’s tonality and accompaniment. A third popular Yradier song, in a style similar to “_La Paloma_,” is “_Ay Chiquita!_”

Carl Zeller

Carl Zeller was born in St. Peter-in-der-Au, Austria on July 19, 1842. Music, the study of which he had pursued since boyhood with private teachers, was an avocation. He earned his living as an official in the Ministry of Education in Austria. Nevertheless, he managed to write many operettas, two of which were among the most successful written in Austria during his time. Among his first works for the stage were _Joconde_ (1876), _Die Carbonari_ (1880), and _Der Vagabund_ (1886). His first major success came with _Der Vogelhaendler_ in 1886, still a great favorite on the Continent. The second of his operetta classics, _Der Obersteiger_, was introduced in 1894. A later successful, though less well known, operetta, _Der Kellermeister_, was produced posthumously in 1901. Zeller died in Baden near Vienna on August 17, 1898.

_Der Obersteiger_ (_The Master Miner_)—book by M. West and L. Held—received its première in Vienna on January 5, 1894. The setting is a salt-mining district of Austria in or about 1840. Martin instigates a strike among the miners, for which he is deprived of his job. To support himself he organizes a band of musicians from among the miners and tours the country. Eventually Martin returns to his mining town where he finally manages to regain his job and to win Nelly, with whom he has always been in love. The most popular song in the operetta is Martin’s air with chorus, “_Wo sie war, die Muellerin_,” and its most delightful waltz is “_Trauet nie dem blossen schein_.”

_Der Vogelhaendler_ (_The Bird-Seller_), once again with a book by M. West and L. Held, was first heard in Vienna on January 10, 1891; but in 1933 it was presented in a new version in Munich adapted by Quedenfelt, Brugmann and Bauckner. In the Rhine Palatinate in the 18th century, Adam, a wandering bird-seller, is in love with Christel, but she refuses to consider marriage unless he gets a permanent job. He gets that job on the estate of the Elector Palatine at which point Christel is all too willing to give up a projected marriage with Count Stanislaus for the sake of her beloved Adam. The lovable melodies from this operetta—in the best traditions of Suppé and Johann Strauss II—have made it a favorite not only in Germany and Austria, but also throughout the rest of Europe, in North and South America, and in South Africa. Among the musical highlights of this operetta are the waltz “_Schau mir nur recht ins Gesicht_”; the “Nightingale Song” (“_Wie mein Ahn’l zwanzig Jahr_”); the pert march tune “_Kaempfe nie mit Frau’n_”; and Christel’s sprightly air, “_Ich bin die Christel von der Post_.”

Karl Michael Ziehrer

Karl Michael Ziehrer, beloved Viennese composer of waltzes and operettas, was born in Vienna on May 2, 1843. He was completely self-taught in music. In 1863 he formed a café-house orchestra with which he toured Austria and Germany, often featuring his own dance pieces and marches. He later expanded this orchestra into an ensemble numbering fifty players with which he gave a series of successful concerts of semi-classical music in Vienna. In 1907 he became music director of the court balls. After World War I he suffered extreme poverty, his personal fortune having been lost with the collapse of the Hapsburg monarchy. He died in want and obscurity in Vienna on November 14, 1922.

Ziehrer wrote more than five hundred popular pieces for orchestra, including numerous marches and waltzes. His waltzes were particularly favored, many of these in the style of Johann Strauss II. Some are still extensively played. Probably the most famous of all his waltzes is Wiener Maedchen (“Vienna Maidens”), which must rank with Lehár’s “Merry Widow Waltz” as one of the most popular such dances produced in Vienna since the time of Johann Strauss II. Its first melody sounds like a Schubert Laendler, with the peasant vigor of its rhythm and its robust tune; but the main subject is a soaring waltz in the finest traditions of Viennese café-house music. The following are other famous Ziehrer waltzes: “_Alt Wien_” (“Old Vienna”), “_Faschingskinder_” (“Carnival Children”), and “_Wiener Buerger_” (“Viennese Citizens”), all three of which come closest among his works in assuming the structural outlines and the melodic identity of the Johann Strauss waltz classics. Also popular are the “_Donauwalzer_” (“Waltzes from the Danube”) and “_Evatochter_” (“Daughter of Eve”).

Ziehrer’s most famous operetta is _Die Landestreicher_ (_The Vagabonds_)—book by L. Krenn and C. Lindau, first performed in Vienna on July 26, 1899. In upper Bavaria two tramps—Fliederbusch and his wife Bertha—manage to live by their wits. Disguised respectively as Prince Gilka and a dancer they visit a famous resort hotel and are involved in numerous adventures. By managing to retrieve a supposedly valuable lost necklace for the Prince they finally win his favor and enter his service. Of particular interest is the captivating waltz at the end of the first act, “_Sei gepriesen, du lauschige Nacht_.”

From several of Ziehrer’s other operettas there come other delightful waltzes, notably “_Samt und Seide_” from _Der Fremdenfuehrer_ (1902) and “_Hereinspaziert_” from _Der Schatzmeister_ (1904).

An Alphabetical Listing of the Lighter Classics in Music

“_Abendlied_” (Schumann)
_Abendsterne_ (Lanner)
_Acceleration Waltzes_ (Johann Strauss II)
_Acclamations_ (Waldteufel)
“_Ach, ich hab’ sie ja nur die Schulter gekuesst_” (Milloecker), see
_The Beggar Student_
_Adagio pathétique_ (Godard)
“_Addio_” (Tosti)
“_Addio all madre_” (Mascagni), see _Cavalleria Rusticana_
“_Addio del passato_” (Verdi), see _La Traviata_
“_Addio fiorito asil_” (Puccini), see _Madama Butterfly_
_Adoration_ (Borowski)
_L’Africaine_: Selections (Meyerbeer)
_Agnus Dei_ (Bizet)
“_Ah! che la morte ognora_,” or “_Miserere_” (Verdi), see _Il
Trovatore_
“_Ah, fors è lui_” (Verdi), see _La Traviata_
“_Ah Sweet Mystery of Life_” (Herbert), see _Naughty Marietta_
_Aida_: Overture, Ballet Music, and Selections (Verdi)
“_Ai nostri monti_” (Verdi) see _Il Trovatore_
_Air_, or _Air on the G String_ (Bach)
_Al fresco_ (Herbert)
“_Allia marcia_” (Sibelius), see _Karelia Suite_
“_Allmaecht’ge Jungfrau_,” or “Elisabeth’s Prayer” (Wagner), see
_Tannhaeuser_
Alley Tunes (Guion)
“Almost Like Being in Love” (Loewe), see _Brigadoon_
_Alsatian Scenes_ (Massenet)
“_Als Bueblein klein_” (Nicolai), see _The Merry Wives of Windsor_
_Alt Wien_ (Godowsky)
_Alt Wien_ (Ziehrer)
_Amelia_ (Lumbye)
_American Fantasia_ (Herbert)
_American Salute_: “When Johnny Comes Marching Home” (Gould)
_American Suite_ (Cadman)
_American Symphonette No. 2_ (Gould)
“_Am Meer_” (Schubert)
_An American in Paris_ (Gershwin)
_Andalucia_ (Lecuona)
_Andaluza_ (Granados), see _Spanish Dances_
_Andante cantabile_ (Tchaikovsky)
_Andante religioso_ (Halvorsen)
_Andantino_ (Kreisler)
_An der schoenen blauen Donau_ (Johann Strauss II), see _The Blue
Danube_
“_An die Musik_” (Schubert)
“The Angelus” (Herbert)
_Anitra’s Dance_ (Grieg), see _Peer Gynt Suite_, No. 1
_Annen-Polka_ (Johann Strauss II)
_Anvil Chorus_ (Verdi), see “_Vedi, le fosche notturne spoglie_,” _Il
Trovatore_
_Apache Dance_ (Offenbach)
“_Après un rêve_” (Fauré)
_Aquarellen_ (Josef Strauss)
_Arabian Dance_ (Tchaikovsky), see _Nutcracker Suite_
_Arkansas Traveler_ (Guion)
_L’Arlésienne_, Suite Nos. 1 and 2 (Bizet)
“_El Arreglito_” (Yradier)
_Artist’s Life_ (Johann Strauss II)
_Ascot Gavotte_ (Loewe), see _My Fair Lady_
_Ase’s Death_ (Grieg), see _Peer Gynt Suite_, No. 1
_As You Like It_: Dances (German)
“At Dawning” (Cadman)
“_A te questo rosario_” (Ponchielli), see _La Gioconda_
_Aubade provençale_ (Kreisler)
“_Auf dem Wasser zu singen_” (Schubert)
_Aufforderung zum Tanz_ (Weber), see _Invitation to the Dance_
“_Auf Fluegeln des Gesanges_” (Mendelssohn), see “On Wings of Song”
“_Au mont Venus_” (Offenbach), see _La Belle Hélène_
Austrian National Anthem (Haydn), see “_Gott erhalte Franz den
Kaiser_”
_Autumn Song_ (Tchaikovsky), see _The Months_
“_Ave Maria_” (Gounod)
“_Ave Maria_” (Schubert)
“_Ay Chiquita_” (Yradier)

_Babes in Toyland_: Selections (Herbert)
Bacchanale, from _The Queen of Sheba_ (Karl Goldmark)
Bacchanale, from _Samson and Delilah_ (Saint-Saëns)
Bacchanale, from _Tannhaeuser_ (Wagner)
_Bahn-Frei Polka_ (Eduard Strauss)
“Bali H’ai” (Rodgers), see _South Pacific_
_Ballabile_ (Verdi), see _Aida_
“_Ballade vom angenehmen Leben_” (Weill), see “The Ballad of Pleasant
Living,” _The Three-Penny Opera_
“Ballad of Herne the Hunter” (Nicolai), see _The Merry Wives of
Windsor_
“The Ballad of Pleasant Living” (Weill), see _The Three-Penny Opera_
_Ballatella_, or “Bird Song” (Leoncavallo), see “_Stridono lassu_”
_Pagliacci_
_Ballet Égyptien_ (Luigini)
Ballet Music from _Rosamunde_ (Schubert)
_Ballet Suite_ (Gluck-Mottl), see Gluck
_The Banjo_ (Gottschalk)
_Barbara-Song_ (Weill), see _The Three-Penny Opera_
_The Barber of Seville_: Overture and Selections (Rossini)
_Barcarolle_ from _The Tales of Hoffmann_ (Offenbach)
_Bartered Bride_: Overture and Selections (Smetana)
_Le Baruffe Chiozzotte_, Overture (Sinigaglia)
_The Bat_ (Johann Strauss II), see _Die Fledermaus_
_Bavarian Dances_ (Elgar)
“Beautiful Dreamer” (Foster)
_Beautiful Galathea_, Overture (Suppé)
“_Die beiden Grenadiere_” (Schumann)
_The Beggar Student_: Selections (Milloecker)
“_Bella figlia dell’ amore_,” Quartet (Verdi), see _Rigoletto_
_La Belle Hélène_: Selections (Offenbach)
_Berceuse_ from _Jocelyn_ (Godard)
_Berceuse_ (Järnefelt)
“Bess, You Is My Woman Now” (Gershwin), see _Porgy and Bess_
_Der Bettelstudent_ (Milloecker), see _The Beggar Student_
_Big Ben_ (Rose)
“Bill” (Kern), see _Show Boat_
_Bird Song_, “_Stridono lassu_” (Leoncavallo), see _Pagliacci_
“_Bist du’s, lachendes Glueck_” (Lehár), see _The Count of Luxembourg_
_Black, Brown and Beige_ (Ellington)
_The Black Domino_: Overture (Auber)
“Blow High, Blow Low” (Rodgers), see _Carousel_
_The Blue Danube_ (Johann Strauss II)
“Blue Heaven” (Romberg), see _The Desert Song_
_Blue Tango_ (Anderson)
_La Bohème_: Selections (Puccini)
_The Bohemian Girl_: Selections (Balfe)
_Bolero_ (Moszkowski)
_Bolero_ (Ravel)
_Boris Godunov_: Polonaise (Mussorgsky)
_Bridal Procession_ (Rimsky-Korsakov), see _Le Coq d’or_
_Brigadoon_: Selections (Loewe)
_Brigg Fair_ (Grainger)
“Brightly Dawns Our Wedding Day” (Sullivan), see _The Mikado_
_Brindisi_ (Verdi), see “_Libiamo, Libiamo_,” _La Traviata_
_Bugler’s Holiday_ (Anderson)
“The Bully’s Ballad” (Weill), see _The Three-Penny Opera_

_Caecilien_ (Johann Strauss II)
_Cakewalk_ (Gottschalk-Kay), see Gottschalk
_Caliph of Bagdad_: Overture (Boieldieu)
“_La Calunnia_” (Rossini), see _The Barber of Seville_
“Camptown Races” (Foster)
_The Canary_ (Mozart), see _German Dances_
Can-Can (Offenbach), see _La Belle Hélène_, _Orpheus in the
Underworld_
“Canon Song” (Weill), see _The Three-Penny Opera_
“Can’t Help Lovin’ That Man” (Kern), see _Show Boat_
“_Cantique Noël_” (Adam)
“_Canto Siboney_” (Lecuona)
_Canzonetta_ (Sibelius)
_Capriccio espagnol_ (Rimsky-Korsakov), see _Spanish Caprice_
_Caprice Basque_ (Sarasate)
_Caprice Viennois_ (Kreisler)
“Card Song” (Bizet), see _Carmen_
“Carefully on Tip-Toe Stealing” (Sullivan), see _Pinafore_
_Carmen_: Preludes and Selections (Bizet)
_Carnaval à Paris_ (Svendsen), see _Carnival in Paris_
_Carnival of Animals_ (Saint-Saëns)
_Carnival Overture_ (Glazunov)
“_Caro nome_” (Verdi), see _Rigoletto_
_Carousel_: Selections (Rodgers)
_Carousel Waltz_ (Rodgers), see _Carousel_
_Casse-noisette_ (Tchaikovsky), see _Nutcracker Suite_
“_Casta diva_” (Bellini), see _Norma_
_Catalonia_ (Albéniz)
_Catfish Row_ (Gershwin), see _Porgy and Bess_
_Cavalleria Rusticana_: Selections (Mascagni)
_Caucasian Sketches_ (Ippolitov-Ivanov)
_Cavatina_ (Raff)
“_Celeste Aida_” (Verdi), see _Aida_
_Central Park_ (Goldman)
_Champagne Galop_ (Lumbye)
_Chanson bohème_ (Bizet), see _Carmen_
_Chanson Louis XIII et Pavane_ (Kreisler)
_Chanson sans paroles_ (Tchaikovsky), see _Song Without Words_
_Chanson triste_ (Tchaikovsky)
“_Che gelida manina_” (Puccini), see _La Bohème_
_Children’s Corner_ (Debussy)
_Children’s Dance_ (German), see _As You Like It_
_Children’s Games_ (Bizet)
_Children’s March_ (Goldman)
_Children’s March_ (Grainger)
_Children’s Symphony_ (McDonald)
_Chimes of Normandy_: Selections (Planquette)
_The Chocolate Soldier_: Selections (Straus)
“Chorus of Swords” (Gounod), see _Faust_
_Christmas Festival_ (Anderson)
_Le Cid_: Ballet Music (Massenet)
“Cider Song” (Planquette), see _The Chimes of Normandy_
“_Cielo e mar_” (Ponchielli), see _La Gioconda_
_Circus Day_ (Taylor)
_Clair de lune_ (Debussy)
“Climbing Over Rocky Mountain” (Sullivan), see _Pirates of Penzance_
_Les Cloches de Corneville_ (Planquette), see _The Chimes of Normandy_
_Clog Dance_ (Lortzing), see _Czar and Carpenter_
_Cockaigne Overture_ (Elgar)
“Cockeyed Optimist” (Rodgers), see _South Pacific_
_Colas Breugnon_: Overture (Kabalevsky)
_The Comedians_ (Kabalevsky)
_Comedy Overture on Negro Themes_ (Gilbert)
“Come Friends Who Plough the Sea” (Sullivan), see _Pirates of
Penzance_
“Come, Sweet Death” (Bach)
“_La Comparasa_” (Lecuona)
“Come to Me, Bend to Me” (Loewe), see _Brigadoon_
_Concert Polka_ (Lumbye)
Concerto in F (Gershwin)
“_Connais-tu le pays?_” (Thomas) see _Mignon_
_Les Contes d’Hoffmann_ (Offenbach), see _Tales of Hoffmann_
_Contredanses_ (Beethoven)
_Contretaenze_ (Mozart), see _Country Dances_
_Conversation Piece_: Selections (Coward)
_Coppélia_: Suite (Delibes)
_Le Coq d’or_: _Bridal Procession_, _Hymn to the Sun_
(Rimsky-Korsakov)
_La Coquette_ (Borowski)
_Córdoba_ (Albéniz)
_Cornish Rhapsody_ (Bath)
_Coronation March_ (Meyerbeer), see _Le Prophète_
_El Corpus en Seville_ (Albéniz), see _Fête-Dieu à Seville_
_Cottilon_ (Benjamin)
_Countess Maritza_: Selections (Kálmán)
_The Count of Luxembourg:_ Selections (Lehár)
_Country Dance_ (German), see _Henry VIII_
_Country Dances_ (Mozart)
_Country Gardens_ (Grainger)
_Cowboy Rhapsody_ (Gould)
“Cradle Song” (Brahms)
_The Crown Jewels_: Overture (Auber)
_Cuban Overture_ (Gershwin)
_Le Cygne_ (Saint-Saëns), see _The Swan_, _Carnival of Animals_
_Czar and Carpenter_: Selections (Lortzing)
_Czardas_ (Delibes), see _Coppélia_
_Die Czardasfuerstin_ (Kálmán), see _The Gypsy Princess_
_Czar und Zimmermann_ (Lortzing), see _Czar and Carpenter_

_Dagger Dance_ (Herbert)
“_Da geh’ ich zu Maxim_” (Lehár), see _The Merry Widow_
_La Dame blanche_: Overture (Boieldieu)
_Damnation of Faust_: Selections (Berlioz)
“_D’amor sull’ ali rosee_” (Verdi), see _Il Trovatore_
_Dance in Place Congo_ (Gilbert)
_Dance of the Blessed Spirits_ (Gluck)
_Dance of the Buffoons_ (Rimsky-Korsakov)
_Dance of the Camorristi_ (Wolf-Ferrari), see _The Jewels of the
Madonna_
_Dance of the Chinese Girls_ (Glière), see _The Red Poppy_
_Dance of the Comedians_ (Smetana), see _The Bartered Bride_
_Dance of the Flutes_ (Tchaikovsky), see _Nutcracker Suite_
_Dance of the Moorish Slaves_ (Verdi), see _Aida_
_Dance of the Rose Girls_ (Khatchaturian), see _Gayane_
_Dance of the Spanish Onion_ (Rose)
_Dance of the Sugarplum Fairy_ (Tchaikovsky), see _Nutcracker Suite_
_Dance of the Sylphs_ (Berlioz), see _Damnation of Faust_
_Dance of the Tumblers_ (Rimsky-Korsakov), see _Dance of the Buffoons_
_Dance of the Waves_ (Catalani), see _The Loreley_
_Dance of the Wheat_ (Ginastera), see Dances from _Estancia_
_Dancers of Mardi Gras_ (Cadman)
Dances from _Estancia_: _Dance of the Wheat_ (Ginastera)
“Dancing Will Keep You Young” (Romberg), see _Maytime_
_Danse macabre_ (Saint-Saëns)
_Danse nègre_ (Scott)
_Danza della ore_ (Ponchielli), see _Dance of the Hours_, _La
Gioconda_
_Daughter of the Regiment_: Overture (Donizetti)
“Dawn of Love” (Friml), see _The Firefly_
“Death and the Maiden” (Schubert), see “_Der Tod und das Maedchen_”
“Deep in My Heart” (Romberg), see _The Student Prince_
“De Glory Road” (Wolfe)
“_Dein ist mein ganzes Herz_” (Lehár), see _The Land of Smiles_
_Delirien_ (Josef Strauss)
_The Deluge_ (Saint-Saëns)
“_De’ miei bollenti spiriti_” (Verdi), see _Rigoletto_
“_Deserto sulla terra_” (Verdi), see _Il Trovatore_
_The Desert Song_: Selections (Romberg)
_Deutsche Taenze_ (Beethoven), see _German Dances_
_Deutsche Taenze_ (Mozart) see _German Dances_
_Les Diamants de la couronne_ (Auber), see _The Crown Jewels_
_Dichter und Bauer_, _Overture_ (Suppé), see _Poet and Peasant_
“_Dich teurer Halle_” (Wagner), see _Tannhaeuser_
“_Di Provenza il mar_” (Verdi), see _La Traviata_
“_Di quella pira_” (Verdi), see _Il Trovatore_
“_Dis moi Venus_” (Offenbach), see _La Belle Hélène_
_Divertissement_ (Ibert)
_Doctrinen_ (Eduard Strauss)
_Dolly_ (Fauré)
_Dolores_ (Waldteufel)
_Le Domino noir_ (Auber), see _The Black Domino_
_Donaulieder_ (Johann Strauss I)
“Donkey Serenade” (Friml)
_Donna Diana_: Overture (Rezniček)
“_La donne è mobile_” (Verdi) see _Rigoletto_
_Donnerwetter_ (Mozart), see _Country Dances_
_Don Pasquale_: Overture (Donizetti)
_Dorfschwalben aus Oesterreich_ (Josef Strauss)
_Dream Pantomime_ (Humperdinck), see _Hansel and Gretel_
_Dream Pictures_ (Lumbye)
_Die Dreigroschenoper_ (Weill), see _The Three-Penny Opera_
“Drinking Song” (Romberg), see _The Student Prince_
“_Du bist die Ruh_” (Schubert)
“The Duke of Plaza-Toro” (Sullivan), see _The Gondoliers_
“_Du and Du_” (Johann Strauss II), see _Die Fledermaus_
_Dynamiden_ (Josef Strauss)

“_Ecco ridente in cielo_” (Rossini), see _The Barber of Seville_
_Eight Russian Folk Songs_ (Liadov)
_Ein Morgen, ein Mittag, ein Abend in Wien_ (Suppé), see _Morning,
Noon and Night in Vienna_
_Einzugmarsch_ (Johann Strauss II), see _The Gypsy Baron_
_El Capitan_ (Sousa)
_Electrophor-Polka_ (Johann Strauss II)
_Élégie_ (Massenet), see _Les Érynnies_
_Elegy_ (Tchaikovsky), see _Serenade for Strings_
_L’Elisir d’amore_: Selections (Donizetti)
“Elisabeth’s Prayer” (Wagner), see “_Allmacht’ge Jungfrau_,”
_Tannhaeuser_
“_E lucevan le stelle_” (Puccini), see _Tosca_
_Embassy Waltz_ (Loewe), see _My Fair Lady_
_Emperor Waltz_ (Johann Strauss II)
_En bateau_ (Debussy), see _Petite suite_
“The End of a Perfect Day” (Bond)
“Entry March” (Johann Strauss II), see _The Gypsy Baron_
“_Der Erlkoenig_” (Schubert)
_Les Érynnies_ (Massenet)
_Escapade_ (Rose)
_España_ (Chabrier)
_España_ (Waldteufel)
“_Estrellita_” (Ponce)
_Estudianta_ (Waldteufel)
Etudes (Chopin), see also _Revolutionary Etude_
_Evatochter_ (Ziehrer)
_Evening in the Tivoli_ (Lumbye)
“_Evening Song_” (Schumann), see “_Abendlied_”
_Explosions Polka_ (Johann Strauss II)

_Facsimile_: Suite (Bernstein)
_The Fair at Sorochinsk_: Hopak (Mussorgsky)
“Fair Is the Rose as the Bright May Day” (Sullivan), see _Ruddigore_
“Fair Moon to Thee I Sing” (Sullivan), see _Pinafore_
_Family Album_ (Gould)
_Fancy Free_: Suite (Bernstein)
_Fantasia and Fugue on Oh, Susanna_ (Caillet)
_Fantasia on Greensleeves_ (Vaughan Williams)
Fantaisie-Impromptu in C-sharp minor (Chopin)
“The Farmer and the Cowman” (Rodgers), see _Oklahoma!_
_Faschingskinder_ (Ziehrer)
_Faust_: Selections (Gounod)
_Fête-Dieu à Seville_ (Albéniz)
_Fiddle Faddle_ (Anderson)
_La Fileuse_ (Raff)
_La Fille aux cheveux de lin_ (Debussy), see _The Girl With the Flaxen
Hair_
_La Fille de Mme. Angot_: Selections (Lecocq)
_Fingal’s Cave_, or _Hebrides_, Overture (Mendelssohn)
_Finlandia_ (Sibelius)
_The Firefly_: Selections (Friml)
_Die Fledermaus_: Overture, Selections (Johann Strauss II)
_Der fliegende Hollaender_ (Wagner), see _The Flying Dutchman_
_Flight of the Bumble Bee_ (Rimsky-Korsakov)
“Flower Song” (Bizet), see _Carmen_
“The Flowers that Bloom in the Spring” (Sullivan), see _The Mikado_
_The Flying Dutchman_: Overture, Selections (Wagner)
“Fold Your Flapping Wings” (Sullivan), see _Iolanthe_
“_Die Forelle_” (Schubert)
“For I am a Pirate King” (Sullivan), see _Pirates of Penzance_
“For Everyone Who Feels Inclined” (Sullivan), see _The Gondoliers_
“For He is an Englishman” (Sullivan), see _Pinafore_
“For the Merriest Fellows are We” (Sullivan), see _The Gondoliers_
_Fortune Teller_: Selections (Herbert)
_La Forza del destino_: Overture (Verdi)
_Four Centuries_ (Coates)
_Fra Diavolo_: Selections (Auber)
_Frasquita Serenade_ (Herbert)
“French Marching Song” (Romberg), see _The Desert Song_
_French Military March_ (Saint-Saëns), see _Suite algérienne_
“_Freudig begruessen_” (Wagner), see _Tannhaeuser_
_Friedrich-Karl March_ (Kéler-Béla)
“From the Land of the Sky-Blue Water” (Cadman)
_From the Middle Ages_ (Glazunov)
_Fruehlingsrauschen_ (Sinding), see _Rustle of Spring_
_Fruehlingsstimmen_ (Johann Strauss II), see _Voices of Spring_
_Funeral March_ (Chopin)
_Furiant_ (Smetana) see _The Bartered Bride_

_La Gaieté parisienne_ (Offenbach-Rosenthal), see Offenbach
Galops (Offenbach), see _La Grand Duchesse de Gerolstein_
_Gavotte_ (Gossec)
_Gavotte_ (Thomas), see _Mignon_
_Gayane_: Suite (Khatchaturian)
_La Gazza ladra_: Overture (Rossini)
_German Dances_ (Beethoven)
_German Dances_ (Haydn)
_German Dances_ (Mozart)
_German Dances_ (Schubert)
“Get Me to the Church on Time” (Loewe), see _My Fair Lady_
“Getting to Know You” (Rodgers), see _The King and I_
“Giannina Mia” (Friml), see _The Firefly_
_Gingerbread Waltz_ (Humperdinck), see _Hansel and Gretel_
_La Gioconda_: Selections (Ponchielli)
“The Girl at Maxim’s” (Lehár), see _The Merry Widow_
_The Girl With the Flaxen Hair_ (Debussy)
_Giroflé-Girofla_: Selections (Lecocq)
_Giselle_: Suite (Adam)
_La Gitana_ (Kreisler)
_Gitanerias_ (Lecuona)
“_Gloire au grand Dieu vengeur_” (Meyerbeer), see _Les Huguenots_
“_Gloria all’ Egitto_” (Verdi), see _Aida_
“The Glow-Worm” (Lincke)
“_Gluewuermchen_” (Lincke), see “The Glow-Worm”
“God’s World” (Wolfe)
“Goin’ to Heaven” (Wolfe)
_Gold and Silver Waltzes_ (Lehár)
_Golliwogg’s Cakewalk_ (Debussy), see _Children’s Corner_
_The Gondoliers_: Selections (Sullivan)
“Goodbye, Forever” (Tosti), see “_Addio_”
“Good Morning, Good Mother” (Sullivan), see _Iolanthe_
Gopak, from _The Fair at Sorochinsk_ (Mussorgsky), see Hopak
“_Gott erhalte Franz den Kaiser_,” Austrian national anthem (Haydn)
_Grafin Mariza_ (Kálmán), see _Countess Maritza_
_Der Graf von Luxemburg_ (Lehár), see _The Count of Luxembourg_
_Grand Canyon Suite_ (Grofé)
Grand March, from _Aida_ (Verdi)
_La Grand Pâque Russe_ (Rimsky-Korsakov), see _Russian Easter
Overture_
_Greensleeves_ (Vaughan Williams), see _Fantasia on Greensleeves_
“_Gretchen am Spinnrade_” (Schubert)
_G’schichten aus dem Wiener Wald_ (Johann Strauss II), see _Tales from
the Vienna Woods_
_Guadalcanal March_ (Rodgers), see _Victory at Sea_
_Guillaume Tell_ (Rossini), see _William Tell_
_Guitarre_ (Moszkowski)
_Gypsy Airs_ (Sarasate)
_Gypsy Baron_: Selections (Johann Strauss II)
_Gypsy Love_: Selections (Lehár)
“Gypsy Love Song” (Herbert), see _The Fortune Teller_
_Gypsy Princess_: Selections (Kálmán)
_Gypsy Rondo_ (Haydn)

Habanera (Bizet), see _Carmen_
“_Hab ein blaues Himmelbett_” (Lehár), see _Frasquita Serenade_
“Hail the Bride of Seventeen Summers” (Sullivan), see _Ruddigore_
_Handel in the Strand_ (Grainger)
“Hallelujah Chorus” from _Messiah_ (Handel)
_Hansel and Gretel_: Overture and Selections (Humperdinck)
“Happy Talk” (Rodgers), see _South Pacific_
“Hark, Hark, the Lark” (Schubert)
_Harlequin Serenade_ (Drigo), see _Serenade_
_Harlequin Serenade_ (Leoncavallo), see “_O, Columbina!_”, _Pagliacci_
_Harmonica Player_ (Guion), see _Alley Tunes_
_Harmonious Blacksmith_ (Handel)
_Havanaise_ (Saint-Saëns)
“The Heart Bowed Down” (Balfe), see _The Bohemian Girl_
“Heather on the Hill” (Loewe), see _Brigadoon_
_Hebrew Melody_ (Achron)
_Hebrides Overture_, (Mendelssohn), see _Fingal’s Cave_
_Hejre Kati_ (Hubay), see _Hungarian Czardas Scenes_
“Hello, Young Lovers” (Rodgers), see _The King and I_
_Henry VIII_: Dances (German)
_Henry VIII_: Ballet Music (Saint-Saëns)
“_Hereinspaziert_” from _Der Schatzmeister_ (Ziehrer)
“Here’s a How-de-do” (Sullivan), see _The Mikado_
_Heroic Polonaise_ (Chopin)
_Hesperus_ (Lumbye)
_Hindu Chant_ (Rimsky-Korsakov)
_His Lullaby_ (Bond)
_Hoffballtanz_ (Lanner)
_Hoffnungssterne_ (Kéler-Béla)
_Holberg Suite_ (Grieg)
_Holiday for Strings_ (Rose)
_Holiday for Trombones_ (Rose)
_Holiday Suite_ (Gould)
_Holzschutanz_ (Lortzing), see _Clog Dance_, _Czar and Carpenter_
“Home on the Range” (Guion)
Hopak, from _The Fair at Sorochinsk_ (Mussorgsky)
_Hora staccato_ (Dinicu)
“_Horch, horche die Lerche_” (Schubert), see “Hark, Hark, the Lark”
_Horse and Buggy_ (Anderson)
_Hudson River Suite_ (Grofé)
_Les Huguenots_: Overture, Selections (Meyerbeer)
_Humoresque_ (Dvořák)
_Humoresque_ (Tchaikovsky)
_Hungarian Comedy Overture_ (Kéler-Béla)
_Hungarian Czardas Scenes_ (Hubay)
_Hungarian Dances_ (Brahms)
_Hungarian Rhapsody_ (Hubay), see _Hungarian Czardas Scenes_
_Hungarian Rhapsody No. 2_ (Liszt)
_Hurrah-Sturm_ (Kéler-Béla)
“Hymn to the Sun” (Rimsky-Korsakov), see _Le Coq d’or_