A History of Music PDF
A History of Music PDF
A History of Music PDF
160.S78
CORNELL
UNIVERSITY
LIBRARY
Of^ILLIAMS SAGE
B
9
The
tine
Cornell University
Library
original of
tliis
book
is in
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text.
http://www.archive.org/details/cu31924022441871
A HISTORY OF MUSIC
ATLANTA
MACMILLAN &
LONDON
CO., Limited
BOMBAY CALCUTTA
MELBOURNE
THE MACMILLAN
CO. OF
TORONTO
CANADA, Ltq
Frontispiece
New
(c.
York)
600
b.c.)
A HISTORY OF
MUSIC
BY
CECIL FORSYTH
ILLUSTRATED
Nefa
gfltft
feV.
OOPYEIGHT, 1916,
By the
Set
up and
J. 8.
MACMILLAN COMPANY.
electrotyped.
Norfzraati ^ves9
Cusbing Co.
Berwick & Smitb Co.
Norwood, Mass., U>S.A.
PREFACE
This book gives the student and the general public a
short, easily read account of the whole course of musical
history.
It has been the object of the authors to place
before the reader the fruits of their research rather than
the research itself.
The technicalities of musical history
are, as a rule, tj^either abstruse nor uninteresting.
Most
of them are beyond discussion and can be stated in simple
language. Nor does this simplicity imply any evasion of
'
PREFACE
vi
Houdon) which
We
also desire to
is in its possession.
express our acknowledgments to the trustees of the Metropolitan Museum of New York for photographs of various
The public spirit which puts this
objects in their care.
PREFACE
Vll
large collection of photographs and the right of reproduction at the disposal of all comers is beyond praise.
To
this source we owe nearly all the musical instruments in
the book, as well as the two Greek vases and the interesting Grseco-Egyptian statue which forms part of the
Cesnola Qollection and is here reproduced as the frontispiece.
Other acknowledgments to individual authors are
to be found in the footnotes.
The initials, either "C. V. S." or "C. F.," at the heading of each chapter indicate the authorship.
CONTENTS
PAGE
OHAFTEB
I.
II.
The Greeks
Home and the Dark Ages
III.
IV.
'
...
.
69
87
VI.
Dufay.
Dunstable.
VII.
119
Des PRts
144
Vin.
The
IX.
158
Palacf, of Greenwich.
January
X.
XI.
26, 1595
177
200
217
XII.
XIII.
'
XIV.
'
XV.
XVI.
Nationalism.
in
15
.38
V.
Musical History
Index
....
....
283
246
266
281
303
355
367
TX
LIST OF PLATES
Cypriote Double-Pipe Player
600
(c.
B.C.).
(Cesnola Collection,
New York)
Frontispiece
PLATE
I.
II.
PA.GE
III.
IV.
Indian Vina
V.
VI.
VII.
VIII.
IX.
X.
XL
XII.
XIII.
XIV.
XV.
XVI.
XVIL
XVIIL
XIX.
XX.
XXI.
.....
facing
"
....
"22
"32
"
Chinese Stone-Chime
Chinese Sheng
.
Hurdy-Gurdy.
Byzantine Notation
27
34
facing
47
"
48
"
77
101
"102
The Neumes
Settlement of the
Neumes on
the Lines
...
"
106
"
107
Ill
Development of Notation
Family
of
18
20
117
Cornetts
Harpsichord
Chittarone
A Family of Recorders
xi
...
facing
185
"188
"191
"193
"
194
"197
LIST OF PLATES
xii
XXII.
/"""^
Purcell
221
From
/""S'
FrotQ the portrait by Francis Kyte, in the
possession of Mr. W. Barclay Squire
234
facing
242
XXni. Handel
XXIV.
Gluck
XXV. Haydn
facing
248
From
the drawing
XXVI. Mozart
facing
From
252
XXVIL
facing
Beethoven
From an
Music,
XXVm.
etching
London
Cherubini
facing
XXIX.
in the
Rossini
London
Brahms
284
facing
the Royal College of Music, London
287
facing
a photograph in the possession of Sir
Charles Villiers Stanford
296
From
XXXII.
270
XXX. Schumann
XXXI.
266
Royal
facing
From
Music,
256
Brahms
From
XXXin.
Verdi
From
facing
a photograph in the possession of Sir
341
A HISTORY OF MUSIC
C//
Q.fl/
A HISTORY OF MUSIC
CHAPTER
I>
C. F.
T^E
sl
first and lowest type of music is the piirely rhythmiSo far as we can tell from records and from the study
of savage races it underlies and precedes every other sort
of music.
It needs no instrument beyond the two knuckles
of a man and a square foot of "black mother earth." In
this and other simple forms it exists as a necessity of life
cal.
among
all
primitive peoples:
it
exists in
more elaborate
forms as an equal necessity in the lives of the most cultured modern nations.
Let us examine more closely the three words in italics
of a man. These are important; for, however low
aesthetically we may put the thump of the savage's knuckles,
it is not low but very high in the general system of the
world. In fact, it marks man off from the rest of creation.
The greater number of animals make sounds of some sort
under the spur of pain, fear, hunger, or desire. Some even
appear to take a pleasure in purposeless noise. For instance,
on a calm sunny day a whale will lie near the surface idlyl
beating the water with his tail. Why does he do this ? It
may be that he finds pleasure in sound; more probably
it is only pleasure in muscular movement.
The so-called "songs" of the birds have been cited in
this connection.
But they are really outside the circle of
our argument. It is true that some of them sound rhythmi-
cal to us.
But this rhythm is involuntary and invariable
to the bird. It depends solely on his supplying wind to an
already existing and curiously evolved vocal mechanism,
A HISTORY OF MUSIC
is
far-off sense
If
rhythm
its
steps forward.
In the first place he found out how to use his lips, his
tongue, and his teeth in combination with his throat. He
could now not only vary the quality of the sound
or, in
other words, choose his vowels
but he could break these
up in any way he desired by toneless stoppages. His utterance was no longer merely an expression of his emotions by
means of vague wailing cries, but an expression of his intel-
before
aeval
all.
Monk in his
The second
nature.
step which
--
closely.
A HISTORY OF MUSIC
voice
still
SONG.
INSTRUMENTS
commonplaces. Their very commonness marks their importance. For these three things, rhythm, pitch, and articulation, underlie all musical art and sum up all its possibilities.
Music, indeed, may be described as the conventional expression of human feeling by means of rhythm (that is to say,idealized gesture) and melody (that is to say, idealized emotional cries)
And all good music acts as a reminder to mankind of their fundamental significance.
.
A HISTORY OF MUSIC
scale.
reed which
And
'
A HISTORY OF MUSIC
10
and instruments.
3. The means of recording music and
nent
in other words,
of
making
it
perma-
The development
tone-systems.
11
because we have fewer facts on which to found our judgment. Their credit will protably grow with a greater
knowledge on our part. Of this we are certain their influence was exercised only at second hand through the Greeks.
The Hebrews were especially rich in musical instruments.
We owe them something on that score and there can be little
doubt that their Temple-Music was the head-water from
which flowed the stream of early Christian plain-song. The
other ancient nations
Assyrians and Babylonians, Arabians, Indians, and Chinese
are all interesting from the
antiquarian standpoint. But they had no effect on our own
musical system. A partial exception may be made in the
case of the Arabians
for one or two types of instrumental
construction, if not native to them, may have found their
way into Europe through their country.
We are now in a position to sketch in outline the music of
these ancient peoples. But before doing so, it is necessary
to classify the great secular changes which, in the course of
time, have come over the face of musical history. The best
and broadest division, that of Hugo Riemann,^ breaks up the
past 6000 years into three great periods the ancient, the mediaeval, and the modern.
Within each of these periods we flnd a
:
PART
900 A.D.
CHAPTER
II
C. F.
THE EGYPTIANS
The Egyptians were the first people to cultivate music.
Unfortunately no theoretical treatisp nor any single note of
their music remains.
We are therefore not certain as to
whether they had either a theory or a notation. We have
to fall back on two other sources of information first, their
influence on Greek music;
second, their paintings and
:
sculptures.
1. We know that mUsic was practised on the banks of the
Nile from about 4000 b.c. We also know that Pythagoras
of Samos founded the Greek music and philosophy, and
founded it on his previous studies in Egypt. Pythagoras
lived and taught in lower Italy (Croton and Metapontum)
about 550 B.C. It is fairly certain that his system, if not
purely Egyptian, was at farthest an adaptation of the Egyptian system ; and this view is in some sort supported by Greek
writers of a later age.
2. Drawings, paintings, and sculptures of musicians and
musical instruments exist in profusion, and it is mainly .on
their silent testimony that we have to rely for information.
Furthermore, specimens of Egyptian musical instruments
have been continually dug up. Many of these date from the
times of the later dynasties ; but where the actual instrument
agrees in type with the more archaic wall-painting we may
make a safe deduction as to its antiquity. The number of
instruments represented in Egyptian paintings is large. We
shall therefore have to present theni without much detail.
In the percussion department the Egyptians had the tam-
15
A HISTORY OF MUSIC
16
bourine
an instrument of nearly universal distribution;
small two-h.ea,ded drums, about the size and shape of an
oyster-barrel
and small hand kettle-drums, to be more fully
described in the section devoted to Arabian music. Their
sistrum was a series of narrow jingling plates hung horizonSmall belh were much
tally on a recurved metal frame.
;
The
specilatter
tanets.
.the
contact with the player's lips, like those of our modern bagpipe-chanter. But nothing certain is known on these points.
Egyptian instruments
17
plied
ody
In the string department the Egyptians had no howed instruments, but many of the -plucked variety. The principal
types were the lute and the harp. The essentials of the lutetype are the vaulted, resonating sound-box, the few long
length.
A HISTORY OF MUSIC
18
is triangular.
shaped
(b.c.) wall-
of these instruments
strings
run down to
this resonator
wooden pegs.
they are secured by means
the pillar precludes any great tension on the
of
The absence
strings
and
of
this
prompting of considerable
artistic feeling.
We
know
that,
Plate
I.
19
Crwth.
question has been raised whether it is to the Ninevite
culture that we owe the psaltery and dulcimer. These two
and
itself
the
20
A HISTORY OF MUSIC
either
by pluck-
^V'*
H-^-
Plate
II.
21
"comet,
flute,
THE HEBREWS
Like the Assyrians the Hebrews owed a good deal musiIt would be strange if it were otherwise.
What systematic development they gave to the Egyptian culture we do not know but, in the list of their adopted
cally to early Egypt.
A HISTORY OF MUSIC
22
of the
Levites.
tion
Army.
'
Fig.
Plate
III.
Fig. 2
23
THE ARABIANS
Arabia appears to have been the musical high-road along
which the ancient Egyptian culture passed to India and
China. The Arabs themselves were excellent musicians.
Furthermore their innate taste for mathematics gave them
exactly the right habit-of-mind for discussing the physical
bases of music. And their practice kept pace with their
theory for they regulariy used an admirable system of unequal temperament in which the octave was split up into
seventeen degrees. They fully understood the nature of the
diatonic scale ahd the value of our modern intervals, the
fourth, the fifth, and the octave, as well as the major and
minor thirds and sixths. Finally they invented an elaborate
system of "modes" in which to cast their melodic forms.
As was to be expected, their notation was based on numbers.
Most of their instruments came from the Egyptians.
Among these we may include the lutes and tambourines as
well as the small pairs of gourds covered with parchment.
These primitive kettle-druTns are still played in Egypt and
Arabia. The performer holds them against his chest and
obtains an alternation of rhythm by striking one with the
flat fingers of his hand and the other with a tough end of dried
camel-skin. During the Crusades they found their way into
Europe and were adopted as the earliest form of small kettle:
drum.
Tale, 1386).
24
A HISTORY OF MUSIC
THE INDIANS
As we have said, ancient India probably received a great
part of her musical system from Arabia. For practical purposes she seems to have acclimatized it originally in its simplest form, that of a diatonic scale, probably of A-major.
On this, however, she built up in later times a vast theoretical
superstructure. The scale was divided into at least twentytwo degrees. Almost any whole-tone could be cut up into
quarter-tones or even into eighths. In this way a single pair
of octaves might be theoretically 48 notes apart.
It need scarcely be said that this minutely subdivided* scale
was never in daily use as a whole. Parts of it were and are
employed by Indian singers and it is on the selection of the
particular notes to be used in the singing-scales that the main
effect of Indian music depends.
In other words, the Indians
have elaborated the Arabian modes into a highly subtle and
;
BOWED
STRINGS.
INDIAN RAGS
25
These rags have been gradually evolved with a very delicate and unfettered sense of melodic expression. Their
performance at the present day gives us our only opportunity
of realizing what were the musical ideals of ancient preharmonic times. No one who has heard Indian song finely
rendered can have failed to appreciate its infinite tonal
subtlety.
number
The
national poetry.
similar,
Pure
Mixed
'
2
'
26
A HISTORY OF MUSIC
(1609).
In the Hindu legends the drum is the characteristic instrument, associated with all the acts of life. And it remains
so to this day. For in India it never becomes, as with us,
merely an instrument of accent and climax. It is rather
an instrument of "quantity" used as an accompaniment of
song to articulate the metre of the poem and to add variety
by means of cross-metre. Its two chief types are, and probably always were, the long-drmn beaten at both ends either
with the hands or with drum-sticks, and the small pairs of
right- and left-hand drums, which had their origin in the skincovered gourd. The other early instruments of the Hindu
legend were a bamboo flute end-blown and reedless, the viiid,
to be presently described, cymbals, gongs, metal horns and
trumpets, and various sprts of pipes of which very little is
known accurately.
From what has been said
.27
It
28
A HISTORY OF MUSIC
THE CHINESE
The Chinese themselves say that their music began in the
Emperor Fu Hsi (b.c. 2852). On historical and
ethnological grounds this is very probable. At any rate
from about the time of the "Yellow Emperor" Huang Ti
reign of the
CHINESE TONE-SYSTEMS
29
scale
A HISTORY OF MUSIC
30
Ritual Music
Chinese music may be divided into popular and religious.
Of the two the former is quite modern and outside the scope
the latter, which is practically identiof the present study
fied with the Confucian Ritual, is ancient and well worth attention. The Chinese have always jealously guarded the
purity and the antiquity of their Ritual Music. In its performance they employ certain curious old instruments in a
All the "rubrics" in connection
strikingly national way.
with their religious services are based on strict tradition,
and a special board of officers sees to their proper observance.
The ceremonies which we may group together under the
heading "ritual" are devoted to the worship of Heaven and
Earth at the winter and summer solstices respectively, and
of Confucius, with other departed saints and prophets, during
the spring and autumn. The emperor is the president of the
"Society of the Learned" under whose authority these festivals are held.
He is always present in person, or at any
rate fictitiously supposed to be present.
The actual Confucian Ceremony at Pekin takes place in
the vast temple dedicated to the memory of the sage, and is
conducted with great splendour and solemnity. The main
features of musical interest are the slow "Guiding MarcK"
{tao-yin), which takes the emperor from and back to the
second gate of the temple, and the "Hylnn to Confucius."
:
Slow
Guiding March
31
sacrificial
its
character.
Hymn
to Confucius
(Third Strophe)
Shih
li
Hsiang hsieh
Su
su
mo
ch'ien.
yung. Ch'eng
t'ao
yung
Sheng t'ang
yung.
Yu
tsai
hsien
fu
lei
hsien.
mao
ssii
yen.
shan.
A HISTORY OF MUSIC
32
below.
Plate V.
Chinese Stone-Chime
CHINESE INSTRUMENTS
or ventage
is
33
must be "stopped"
it
by the fingers before the tongue will sound. The arrangement of the tubes (see illustration) is more for prettiness than
any other reason,
as the height of
The
The
all sorts of
quick repetitions,
34
A HISTORY OF MUSIC
Plate VI.
Chinese Shenq.
CHINESE INSTRUMENTS
35
pushings, and a sort of mandoline tremolo as well. Occasional fifths and octaves are permitted.
The ch'in is a very
ancient instrument and six have always taken part in the
Confucian Ritual, playing the notes of the Hymn with embellishments suggested by the skill of the player. The present tuning is the same as that of the Highland bagpipe, a
The
-e-
Greek magadis,
to
'^'^
The
flute {hsiao),
it
it is
^
=
much
like
'
The gong-chimes
{yurirlo)
hung
A HISTORY OF MUSIC
36
It is beaten three
ft. in diameter.
times after each verse of the Hymn and each beat is answered
by two beats of a slightly smaller double-headed drum known
as tsvrlcu. A smaller drum still (po-fu), whose use is forbidden
except for religious purposes, answers the two beats of the
one right-handed,
middle-sized drum with three strokes
parchment about 3
Po-fu
?-
Tsu-ku
IT
Ying-ku|.
IT
and
it is
slabs of hard
singers in the
struck at each syllable
and
The last ritual instrument is the' yii or tiger-box, a conventional tiger of wood covjchant on a wooden box 3f ft. in
Along the tiger's back is a series of 27 saw-like
length.
The player strikes the tiger thrice on the head
projections.
after each strophe of the Hymi;i, and then runs the stick
rapidly three times down the spine.
Besides the above instruments the Chinese possess various
others whose use is purely secular. Some are ancient, some
modern. We have no space to detail their mechanism but
for convenience of reference we subjoin the principal types
;
CHINESE INSTRUMENTS
Chinese Name
37
CHAPTER
III
THE GREEKS
C. F.
38
39
the rhythm to which it was sung and its authors would undoubtedly have regarded its artistic existence withmd music
;
as inconceivable.
to face
How
difficulties.
To
the
A HISTORY OF MUSIC
40
civilizations
and
Asiatic
have hinted,
ture.
Somewhat
about the beginning of the sixth cenwood-wind instrument, the aulas, was admitted to the competitions but it never attained or even
challenged the supremacy of the lyre. Indeed, two hundred
"tury B.C.
later
'
"~
was the
ously as magadizing.
GREEK INSTRUMENTS
41
separate.
For long
it
reed in
The word syrinx had the secondary meaning of the "speaker" or venthole used to get the upper octave in a reed-pipe instrument.
A HISTORY OF MUSIC
42
The authority
THE AULOS
producing medium
43
lips.
The mechanical
out of court.
It is at least as probable that the sound-producing medium
was placed inside the "swelling" we have just mentioned.
It actually was there in some members of the mediaeval
shawm-bombard family, the ancestors of our bassoons and
If that were so, in the case of the aulos the reed
oboes .^
might be either a single-reed (as in the bagpipe drones),
a double-reed (as in the bagpipe-chanter), or a rectangular
free-single-reed (as in the Chinese sheng). The third suggestion is no more than a guess, but guesses have their value
where all is so uncertain. An instrument of this kind would
be much more effective than a flue-pipe in outdoor competitions and theatrical performances.
It would also offer a
quite natural explanation of Midas's not very wonderful
feat.
The "swelling" broke off and left the reed exposed,
but lying flat in its aperture at right-angles to the line of the
pipe.
He continued to play by putting the upper halfinch of the pipe itself into his mouth. All he needed was to
breathe quickly when blowing and to keep his lips tightly
closed roimd the broken top. This makeshift would be
quite impracticable to a player suddenly confronted with
an ordinary double-i-eed exposed through an accident to
the outer chamber.
We have already mentioned the Egyptians' double-pipe
and our ignorance of their musical method. The same
What
difficulties occur in the case of the Greek diauloi.
was the object of using two pipes equal or unequal in length ?
Of the three explanations offered on page 17 we may certainly put aside that of "octave playing." Were they used
as "a drone bass and a melody above" or in "alterntion"?
Of these the former appears at first sight the more likely.
Apart, however, from the fact that no Greek theorist mentions
this style of playing, the point is exactly one of those in
which our own musical culture distorts our view of ancient
practice.
The explanation seems plausible to us, because
it is just what we should attempt to do if these ancient pipes
still
nearer the
put
it
A HISTORY OF MUSIC
44
were put into our hands to-day. But we know that this
type of expression only dawned on Europe as an artistic
possibiUty somewhere about the eighth century of our era.
The other explanation "alternate playing" is indeed
more probable. An instrument with only a few holes was
much restricted in the way of compass. By using another
pipe of different length the player would obtain access to
another segment of the "complete scale." It is difficult
beyond increased loudto see any possible advantage
in pipes of equal length unless their finger-holes were
ness
difPerently spaced.
clear traces of
650-550
B.C.
' For
"instrumental conversation" see Westphal, Aristoxenus in Plutarch (page 16,_ line 1).
Problem XIX has an allusion to simultaneous
playing of two instrumental parts, the lower of which had the melody, the
upper the accompaniment. (Willis, The Aristoxenian Theory of Rhvthm,
pages 19 and 20.)
THE AULOS
45
The
though that
' top/Sei'a.
Lat. capieirum.
A HISTORY OF MUSIC
46
itself.
employment
of harmonics.
2.
3.
Of double-pipes
1.
2.
syrinx).
ft
The
The
The
47
Kitharisterioi (to
Teleioi or
or mens').
Of these the double pipes were the great professional instruments used at the Delphic contests.
The Greeks had two types of lyre. The first
already
described on page 21
they probably acquired from Asia
Minor or Egypt. They regarded it as a small, handy, and
somewhat informal instrument, more particularly fitted fori
the accompaniment of drinking songs and love-ditties by
amateurs. It went by the name of "the tortoise" (chelus),
but the word lura was used impartially for both kinds of
instrument.
strings.
As
in
many Greek
vases, statues,
and
bas-reliefs,
A HISTORY OF MUSIC
48
often
to our
modern
them
but
whelming.
The vase selected to illustrate this type of lyre is the same
as the former in place, date, and subject
Attic,' about
Apollo and Artemis, this time performing a
500 B.C.
libation at an altar.
The god crowned with his chaplet
stands ready to receive the libation and holds his kithara
in his left-hand.
All the details described above can be
clearly seen in this illustration
and the very different shape
of the instrument may be compared profitably with that on
It
was
originally nothing
but a
strip of reed
Plate VIII.
'
THE KITHARA
49
A HISTORY OF MUSIC
50
as movable-notes.^
We
shall
of doing this.
rachords thus
or they laid
them out
s Sfloyyoi (ciKou/tei/oi
(phthSngoi kinoumSnoi).
tet-
51
The
1st tet.
and
tet.
3rd
tet.
4tli tet.
'
Suyai^^ (sunaphe).
Aiafev^i; (diazeuzls).
A HISTORY OF MUSIC
52
string)
the note
that,
highest-sounding lowest.^
to
fall in
either
one of three
place's
second, or third.
first,
' 'Yn-aTi)
'
*
,i
(sustema tSleion).
(hupate)
N^TYl (netel.
Tpon-ot (trSpoi)
or
'Apimoctai
(harmfiniai).
:: :
they called
it
53
a Dorian tetrachord
=s=f=
If it fell
it
a Phrygian tetrachord
>
-o-f:
If it fell third
they called
it
a Lydian tetrachord
(The half-tone
in
Break
No
'
The names
for these
54
A HISTORY OF MUSIC
And
and a
were
they
These were obtained by
I
The reverse process also was practised, and the modes so formed
known as hyper-modes. More important are the five scales which
55
Dorian
modes to
They
which had
scale of
A-minor.
Now we
A HISTORY OF MUSIC
66
falls
in
each case.
This
is
easily
done.
We
write the
to notice
where that note occurs in each mode aiid so ascertain the
It will be observed that the lowest
pitch of the mode.
series of sung notes is actually the "highest mode," and the
highest series the "lowest mode."
left
The Complete
System
Mixolydiaa
(Highest ]!i[ode)
Lydian
Phrygian
"
m *
Dorian
Hypolydian
Hypophryglan
Hypodorian
(Lowest Mode)
when we come
is
MODAL
PITCH.
57
mode remains
unaltered.
Lydian
Mixolydian
Phrygian
Hypophrygian
Hypolydian.
Dorian
Hypodorian
of
their
made
'
A HISTORY
58
OF'
MUSIC
and
The production
this sort
in
is
THE CHROMATIC AND ENHARMONIC KINDS
59
tint of the two modern modes would be unbearable without the added colour of harmony. The two go
hand in hand. The simplicity and sameness of the former
call for the variety of the latter.
And the call is reciprocal.
For modern harmony could not exist in the presence of complete modal, and especially chromatic modal,
liberty.
Even the minor mode is accompanied only with
diflSciilty.
In fact, the two things, chromatic modal freedom
of melody and harmonic accompaniment, are incompatible,
except in so far as the former is based on the latter
a
procedure impossible in ancient times and always doubtful
form greyish
artistically.
of
much
to them.
Now, though
and no more.
'
A HISTORY OF MUSIC
60
kind in any tetrachord simply resulted in a group of clos^by a wide gap. It may be add,ed
that, though this kind of scale has practically disappea,red
in modern European music, it had great importance to the
Greeks both theoretically and in the art of singing.^
Before leaving this subject the reader must be reminded
that our knowledge of the Greek tone-system comes chiefly
from the Greek theorists. Scarcely any music and almost
no instruments have survived. Very little can be gathered
together notes followed
C-G^-a-e'.
fifths
first
made a
scales.
1 For full details see Torr's On the Interpretation
of Greek Music.
complete list of scales is given on page 18.
2 See pages 8 and 9.
The
61
NOTATION
It is quite plain that any music which expressed itself in
terms of the system just described must have had two
characteristics, simplicity and subtlety.
The limits were
narrow, but the possible variations within those Umits manifold.
For this system the Greeks had a notation which
would be complex and unpractical for our purposes, but
yet was quite sufficient as a record and a reminder for their
musicians. Very little music in this notation has survived,
and we are therefore not always clear as to the origin and
meaning of the signs which it employs. There are, however,
certain well-understood facts.
The Greeks had two notations, one for singers, the other
for instrimientalists.
The latter was the more ancient. In
the song-notation they employed an early form of their
own Ionic alphabet in the kithara-notation they used the
first fourteen letters of a stUl older alphabet which was
chiefly Argive.
In both cases they represented musical
sounds mainly by means of letters.
Now we use letters to express the sounds of our scale;
but our letter-sequence a ^bc d e
g has been called
into existence solely to symbolize a seven-note scale. The
Greek letter-sequences were designed to symbolize a twooctave-scale.
In other words, where we attach consecutive
letters to consecutive note^ the Greeks attached them to
consecutive octaves. For example, their consecutive letters
D and E (A and E) were attached to the two octave-notes
:
^f
M and N
M N
(these
two
capitals
"
A HISTORY OF MUSIC
62
for their
Already mentioned on page 52. The actual Greek names have not
been given, as they would only cause confusion in the reader's mind.
NOTATION. THE ETHOS OF MUSIC
63
We
Strange as
it
agreed that music had a^serious moral value. They did not
say vaguely, as we do, that music was a beautiful thing and
had an ennobling effect on the human mind. On the contrary
they said that, according to the way in which it was written,
it was actually good or bad
that it had a definitely good or
bad influence on the development of personal character and
that therefore the musical means employed was a matter of
the most lively concern to educationists and statesmen.
This moral character, which they regarded as inherent in
the art, was called the ethos of music its value to society
in general was known as its ethical value.
Philosophers
differed in explaining why there was an eths in music; they
all
but none
A HISTORY OF MUSIC
64
(2) On the other hand we may say that pitch has nothing
to do with courage or any other form of virtue; that the
essential difference between the two keys is the difference
between major and minor; that the varying moral values
of scales are to be found solely in the varying arrangements
of tones and semitones; and that therefore, whatever the
pitch, we select the major (or minor) as the proper medium
for exhibiting the idea of personal bravery.
Nobody denies that the Greeks must have answered the
question in one of these two ways. The only doubt has
been " in which ? " Here our views were for long distorted
by the fact that Greek musical practice was always examined
through the lens of the middle-ages. It was known that
mediaeval priests and musicians consciously used their
modes to express differences of feeling by means of differences
in the orderof the intervals.
Scholars therefore jumped to
the conclusion that the Greek mind worked in the same way.
In fact, as recently as thirty years ago, it was held that the
Greeks would have answered the question in the second (or
mediaeval) way. This was the orthodox German view.
However, since then, an^nglishjdiolar has clearly shown
that
whatever the mediaeval prejudices in the matter
may have been every known reference to the question
in Greek literature proves that the Greek himself would have
made his answer depend solely on the pitch of the modes at
his disposal.
This is not the place to present the evidence or
ETHOS.
65
is
patter.^
The
patter
was known
as "the choker"
(irri-yos).
A HISTORY OF MUSIC
66
y.
From
to suit
its
own
ideals.
distinguish
girls
and
finally the
elegies.
kitharedic
auletic
originally
nomd
Ndnos.
Oij the secular side the nomos developed into a brilliant species
of lyric in which, from the fifth century onwards, the musical portion seems
to Imve somewhat overshadowed the poetical.
elegy
the
form
of art.
Our minds have had hammered into them for cenheavy thump of regularly recurring beats and,
however complex and subtle the rhythmical structure we
may build up on that basis, the solid bed-rock remains underclosely.
turies the
-ileath.
'EAevos.
A HISTORY OF MUSIC
68
of arioso.
To us it would be unendurable. We should be exasperated by a constant rhythmical change and variety which we
were unable to appreciate. There would be a continual and
irritating switch-over of the music from two-beat to threeand even five-beat rhythms. And most of
these rhythms would keep on intruding as "single bars"
(to use our modern expression) into the other's playground.
The direct musical expression which we should be always
looking for was never intended or conceived by the Greek
artist.
He was a "musician" only in the sense that he
served the muses. He probably called himself simply
poietes
the wright or maker. Let us remember that the
things which he wrought made Athens the most illustrious
city in the world.
beat, four-beat,
CHAPTER
IV
C. F.
The
reader must have noticed that, in the last two chapthe fourth method of study mentioned on page 10 has
been ignored
we have given practically no composers'
names. In the case of the Egyptian and Asiatic nations
none is known in the case of Greece the names of the composers are mainly those of the poets. It is true that we
know of a few men who ^ unlike Pindar, Alcseus, and Sappho
were composers.^ These men actually composed tunes,
some of which received names like our own hymn tunes, and
were as well known to the ancient world as "God save the
King" is to the modem. Many of these tunes
or nomoi
as they called them
remained, so to speak, in the repertoire.
poet, even a great poet like Pindar, would write
poetry "to the air of" so and so, just as Biu-ns did.
We can see here how simple and impersonal these melodies
must have been. The poet , probably asked only for a
metre that suited his purpose and a mode whose tonicpitch corresponded with the ethos of his literary idea. This
is quite in the Greek character, and we must not confuse it by
a false modern analogy. If Tennyson had produced a poem
and had directed that it should be sung to the music of
Schubert's Erl-king, we should consider it almost an outrage
because Schubert's music is fiercely directed solely to one
end
the illustration of Goethe's poem. But nothing of
Even the force of
this sort existed in the ancient world.
Christianity took many years to assert itself in this direction.
ters,
chants,
it is
true,
Phrynis, Clonas, Archilochus, Thaletea, Tisias surnamed 8etter-up-ofchoruses (Stesichorus), Timotheus, Kinesias, Philoxenus, and a few more.
'
69
70
A HISTORY OF MUSIC
though the Greeks did very well in art, they talked very much
better.
We can never be quite sure how far the nimble
minds of their philosophers were "hanging in the air" like
Socrates in his basket. In painting we know that, while
their philosophers were giving perfect expression to the
fundamental laws of perspective, their greatest artists were
painting pictures which, in this respect, would disgrace a
beginner at a modern art-school.^ This reflection gives us
some qualms when reading the elaborate ancient treatises
on music.
The second point to be remembered is that Athens of 450
Athens
B.C. is by no means the whole of the ancient world.
and the streaming
herself early passed into political slavery
beard-of-fire which she had lit was handed on to other
runners. Of these the strongest were Rome, who took over
the Athenian art as a lawful prize of war, and Alexandria,
who was at once the political vassal of Rome and the inThese
tellectual descendant of Athens and ancient Egypt.
two cities, and especially the former, are the two naturalbridges by which we pass from the ancient world to the
modem, from paganism to Christianity.
Rome probably invented little. From the southern and
eastern nations, whom she could conquer only physically,
she commandeered both art and literature. The spoils she
turned over at home with a heavy hand and then
to het
credit be it said
passed on a portion to her more barbarous
subjects in the north and west. Thus she was for about a
thousand years the live-centre that received and distributed
;
GREJGCE, ALEXANDRIA,
AND ROME
71
same way, always showing a true Latin leaning towards the showy and imposing.
The kithara in its most complex form was in comnion use
in the early days of the Empire.
It was probably on this
instrument that Nero "fiddled," if he did so, "while Rome
burned." More interesting than this, we learn from a
in the
Rome
they may have received some technical improvements. Indeed, we find Horace, in his favourite character
of the old-fashioned Roman gentleman, complaining bitterly
of the improved key-mechanism of the aulos.^
But Horace's complaint was not likely to effect much in
the noisy days of Augustus. Indeed, the tendency was all
the other way. The Roman brass in especial was elaborated and standardized as befitted a great military power.
Their three chief instruments were the straight infantrytrumpet, which they called tuba; the litwus,^ a J-shaped
instrument something like the ritual-trumpet of the Hebrews
in appearance and corresponding roughly to our primitive
liunting horn ^ and the hucdna,'^ a long brass-bass which,
through the mediaeval buysine, was the ancestor of the
sackbut and the trombone. The buccina is vividly porthis time
72
A HISTORY OF MUSIC
ROMAN
architecture
strument.
in
BRASS.
THE HYDRAULUS
Augustus's day,
Finally,
describes
we have an account
73
the same
in-
of a similar but
by Hero
of Alexandria.
A HISTORY OF MUSIC
74
^>:
....UB...I-I|"tf"^'^"^"
ro--
75
We
by
this
We
A HISTORY OF MUSIC
76
every bellows or at least to every two bellows. The Winchester organ had four hundred bronze pipes and two manuals
fit in size for the
Each of these keys
of twenty keys.
was lettered with its note-name and, when
hand of a giant
struck, gave the wind to ten huge diapasons tuned in octaves
or perhaps in octaves and fifths.
What a picture of dark relentless medisevalism this mere
catalogue summons up for us *' Surely the world can never
have known such a strange noliday as Winchester knew
every time its organ was played one thousand years ago.
We can imagine the organists all men picked for their
darting madly to and fro at the keyboard,
physique
screwed up to the excitement of smiting the right key at
the right moment, and attacking it with all the force of
their bodies gathered into their thickly gloved hands; the
toiling, moiling crowd of blowers behind, treading away for
dear life to keep the wind-chest full ; the frightful din of the
heavy timber mechanism, creaking and groaning like a
four-decker in a heavy sea ; above all the diabolical blare as
the wind suddenly poured into the huge metal diapasons
and let loose their appalling series of empty stony fifths;
while in the church the congregation cowered with a terrible
astonishment, wondering perhaps whether, before the next
Christmas or Easter came round, the Danes would not have
put their long swords over the organ-men and set the red
cock crowing on the organ. We have nothing like this in
modern life; nothing to put the fear of the devil into us.
Perhaps it is as well.
Not very much is known as to how these archaic monsters
developed into the fine church-organs of the early seventeenth
century. But a few words may be spared for a summary of
the later history of the organ. As we have seen, balanced
keys had always existed, especially in the smaller sorts of
organ. However, their use was by no means general.
The probability is that they were re-discovered in the middle
ages.
The very first keyboard of which we know anything
was that at Magdeburg. It dated from the eleventh century
and had sixteen keys, each three inches broad.
77
'
The
description
instrument extant-
is
by Odo
of
Cluny
A HISTORY OF MUSIC
78
On
The low
limits by
'
France
in
Germany
Bettler, or
'
'
BOWED
we must turn our
STRINGS.
ST.
AMBROSE
79
little
It
can be
is
there
that we find the spring from which flowed the broad stream of
mediaeval church music. In the first century of its existence the Christian church had to oppose and overcome, not
only the decaying worship of the heathen gods, but also
the much more dangerous cult of the eastern god Mithras.
In doing this its adherents undoubtedly allied themselves
with the Jews, and drew on Jewish art for something, at any
rate, of their services.
This was only natural. But, besides the Jewish Temple Songs, they incorporated and trans-
secular.
times
Magnificat, Benedictus,
to the simple melodies whose
whenever singers are allowed to control performance. In Rome these took the form of certain loud
improvisations in the Hallelujahs. At this distance of time
we can only dimly guess what was their scandalous effect.
However, these and other abuses in the service were checked
at various times between the fourth and seven;th centuries
and the two chief reformations are grouped round the names
But it must be remembered
of Saints Ambrose and Gregory.
that, though both these men reformed and purified the
church-ritual and paid great attention to the musical portion of the service, neither can be said to have written any
music in the sense that Palestrina wrote the Missa Brevis.
St. Ambrose, Bishop of Milan (340-97), was partly guided
in his reformation by the success of St. Hilary of Poitiers
and of the Arian system of psalmody. He has left us a
number of simple hymns all written in eight 4-line stanzas
and in the rhythm called Iambic (^ ) tetrameter (4measure). Among these are the Deus creator, Sterne rerum,
Jam surgit hora te-rtia, and the Christmas hymn Veni re^
infect the art
A HISTORY OF MUSIC
80
demptor.
an Antiphonary
ance.
'
The Antiphon
The Psalm with
The Antiphon.
'
The
old
name
its
Gloria
for grad^ull.
ST.
81
A HISTORY OF MUSIC
82
'
down
lujah.
83
their wild phrases to the four syllables of the HalleWhen so distributed these vocal phrases were known
composed.
Consequently we find that in a short time the attempt was
given up in favour of a more rational treatment. The prose
sentences were retained, but almost the whole of the vocal
part was abandoned. The remaining portion was used as
a basis on which to build an artistic chant-setting of the
words. As the treatment of these proses grew more cunning
and the touch of their authors became firmer, a new style of
choral music came into existence. The words themselves
though even
began to be put into rhymed accentual metre
then they never lost their conventional name of prosae.
Many great churchmen wrote such rhymed sequences and
proses during the first 1500 years of Christianity. Of these
the best known are the Stabat Mater and the Dies Irae.
PART
II
'
CHAPTER V
SCALES AND NOTES
C. P.
jumps
into view.
from ancient.
It is that
art,
one
modern music
may
let
tions of perfumes ?
87
A HISTORY OF MUSIC
88
glory.
Now we
need scarcely say that between the days of Periand those of Plantagenet London many changes
were made in music. Dunstable inherited a very different
musical estate from that of Pindar and the former's estate
has been so much developed since his day that he would not
clean Athens
recognize his
own
park-gates.
Let us gauge the width of the musical gulf that lies between us and ancient Greece by a simple comparison..
When Pindar wrote the first two words of his Pythian Ode
PLURAL-MELODY. A COMPARISON
" Chrusea phorminx, "
down as follows
89
set it
UTJT
ei
of music.
Let us jump the 2400 years that separate us from him and
set it down in our own way
Xpu-<7-a
(jyop-fjiLy^
lyre."
Xpvo-e'a (^dpfiiYJ,
golden lyre.
A HISTORY OF MUSIC
90
[
*
still
remain
distinct.'
letters in process of
of course just as accurate in the period under discussion, but the reader
must understand it in the sense of "Greek (christian) church."
2
91
altered to plagal.
>
Mode No.
Plagal
Mode No.
Plagal
Mode No.
Pljigal
Mode No. 4
Called
fixo^ mJpios,
a.',
P',
y,
S'
and
7ixof,n>i.ayiOi,
a,
/3',
y, f.
A HISTORY OF MUSIC
92
own
followed
tritus, tetartus
by
Plagius protus, deuterus, tritus, tetartus.
was not
till
Dorian
Second Authentic or Phrygian
Third Authentic or Lydian ,
Fourth Authentic or Mixolydian
First Authentic or
Hypodorian
Second Plagal or Hypophrygian
Third Plagal or Hypolydian
Fourth Plagal or Hypomixolydian
First Plagal or
In
In order to ma;ke this musical difference quite clear we sublist of the two series of modes.
It will
repay the reader's diligent study.
join a complete
By Ptolemy.
But his statement was true as he meant it of the mSse
of each scale when transposed. Turn to page 57 and read the four chief
mSse's (the semibreves) in this order
Dorian, Phrygian, Lydian, Mixo-
93
Dorian
Dorian
Ilypodorian
Hypodorian
Phrygian
Second Authentic or
Phrygian
First Plagal or
Second Plagal or
Hypophrygian
Hypophrygian
Third Authentic or
Lydian
Third Plagal or
Ilypolydian
Fourth Authentic
Mixolydian
_4th_
Fourth Plagal or
Hypomixolydian
Hypomixolydian
"or
A HISTORY OF MUSIC
94
Now
hypo-mode.
Mode
or-
95
make
this plain.
Mediaeval Dorian
And
was able
it
register.
{chiavette)
This system we
its effect
but we
may
own way.
The modes and
which we have described above remusic down to the end of the sixteenth century; and sufficient in the sense that they gave
great composers the opportunity of making a music that
was different from, but hardly inferior to, our own. But
even the Gregorian Chant had permitted the discreet use
of the B-flat, not only for the purpose just mentioned but
in order to secure smooth movement of individual voiceFurthermore its artistic effect as a means of expresparts.
And this is known to all who have
sion was very great.
heard pure modal part-singing.
The b was therefore written in two ways, either as a soft
or round b (b) or as a hard or square b (h)-^ And this, in a
word, is the origin of our j? and i). We shall have more to
mained
scales
molle,
A HISTORY OF MUSIC
96
we
chords}
of analogy began to work
Let us take the two Dorian
was
theology.
The
'
97"
About the end of the sixteenth century this groping out towards modern harmony became so noticeable that musical
theorists^
unable to foresee the course of history and
He
established
two
The
facts.
first
or you can
'
A HISTORY OF MUSIC
98
same
note.
The former
is
about
rir
'
TEMPERAMENT.
HARMONY.
OVERTONES
99
A HISTORY OF MUSIC
100
Name
w^^*
t
If
^>v.
t
\
<h,
CO
-5-
C-
Of
S-
1-^
I
<
eq
If
t.
101
soon became essential that the cantor should have an aidememoire. And the system that supplied this deficiency
was called the Neumes.^
The first suggestion of such a system appeared in the
Byzantine church. From this the Roman church took its
cue and developed the system which we are about to describe.
The Byzantine system itself is somewhat outside
the line of our present study; but as it gave the original
hint for the western notation, we shall devote a few words
to the subject.
The Byzantine notation divides itself into three types
the early, middle, and modern.^ (I) The early consists of a
series of simple signs written above the text.
Most of them
are rectangular and appear to have been used rather as
marks of accent than of pitch. But they have been disused
for so long that their interpretation is now mere matter of
guesswork. (See Plate X, fig. 1.)
(2) The middle, which
came into use between the eleventh and thirteenth centuries,
is an extension of the rectangular system mixed with the
curved neumes whose meaning we shall explain in the next
paragraph. (See Plate X, fig. 2.)
(3) In the modern,^
which is still used by the Greek church, the rectangular
element has disappeared, and we have an elaborated system
of curved signs representing rhythms, the rise and fall of
the voice, and the traditional church ornamentations. (See
Plate X, fig. 3.)
Very early in its history the idea of a neume-notation
passed to Rome. In its essence the notation consisted of a
series of tiny signs written above the Latin text.
At least
twenty-eight varieties of these signs are known to have
existed.
They included up-strokes, down-strokes, sideways-
The
opolite
102
A HISTORY OF MUSIC
So an additional
as a mnemonic to an experienced cantor.
definiteness was attempted and partially obtained by placing
each neume nearer to or farther from its syllable according as
its pitch was lower or higher.
The neumes are difficult to read. Unless we have the early
church-transcriptions before us to act as a guide, they are
often quite unintelligible. Handwritings varied very much.
And we must remember that the monks, who wrote out the
'
^OMimCK'
fxon
fpettef
it-
deten^f er %vif
V C<^gr'^5^'
-re
Fig.
AA
1.
St.
iWi
Gall
;..fi3emjmjtip]Tmrn)arcrrnicfte
rttnian
-D nc
Fig.
hu /LD
2.
V V
Anglo-Saxon
Plate XI.
The Neumes
'
vham^-
(.
qVxaTcai
cam
/*
To
us
its
great interest
lies in
103
neume-forms were the actual parents of our note-forms. Weshall have something to say on that subject later.
Meanwhile the reader may get a hint by comparing the
two specimens on Plate XL If he will examine any of the
long groups of neumes in the earlier one (fig. 1), he will see
that they are all conventional mnemonics and nothing
more. They bear little resemblance to our present noteforms (though it would be quite possible to point out some
connection). In the later example (fig. 2) the signs have
become, more stereotyped to definite musical purposes.
Their meaning has not been much altered, but they have
lost a good deal of the "dot-and-dash" character of the earlier
example. The thickening of some of the heads suggests our
own note-forms. There are little groupings which with some
trimming and filling-out might be comfortably placed on a staff.
This suggests the future. But it must be understood that to
the writer of this manuscript it is a future and not a present.
Naturally a notation like the above was the subject of
constant complaint. Its inherent vagueness and the varieties in handwriting made any approach to certainty impossible.
The same set of neumes could be read and taught
by two
notes.
A perversion of an
1. Pseudo-Hticbald (ninth century^).
ancient Greek procedure. The essence was the selection of
arbitrary signs for the "finals" (tonics) of the four Authentic
104
A HISTORY OF MUSIC
use of these signs in varied positions to represent ascending fourths and fifths.
This notation was an
2. Odo of Cluny (tenth century).
application to the organ and other instruments of the old
Byzantine letter-notation and was probably based, also on
In
the fact that at this time all organ-keys were lettered.
effect it suggested a letter-notation for the twenty-one notes
that lie between low
and the d", two octaves and a fifth
above (B-flat and B-natural in each of the two upper octaves).
Its great interest to us is that it shows the round b
(b) used for B-flat, and the square b (h) used for B-natural.
It will be seen that the Greek capital letter T (G) was
used for the bottom note. In the top fifth there was a
choice of notation.
Originally Greek minuscules or small
letters {a, ^, etc.) were used, and two " square b's " were
written one under the other to distinguish this note from its
lower octave.
But in time this hint was applied to the
whole top fifth. Each letter was then doubled, but the
ordinary Latin minuscules were retained. In this form the
notation with its modern musical equivalent was as follows
^H
z=-
OBSOLETE NOTATIONS. GUIDO
105
(Red)
f-
E
Guido
seized
on
this line
and gave
it
G
relative
'
later stiU
A
-
second (yel-
-^
P
And
two black
lines
red.^
(Yellow)
(Black)
(M)
m-
CDEFGABCD
come
in a day.
The
106
A HISTORY OF MUSIC
He
'
3fic:
' From the troparium of St. Evroult (twelfth century).
2 The ligatures were the ancient compound signs developed directly from
the neumes to represent groups of notes usually not all of one time-value.
'
Known
as virga, punctum,
and
toreulus.
^"*^
<^f^^iln
# n^
w^ ^ ^
5ra xr iitr
tntnrtuecM
'
CWjn<mrtinr'
ttrrcrnpttiTtf
^-j
-.
xq^hoaK^vKi
non
\a
tr
ct^t-
Ktd*^ tt4
T
-.f .
Plate XII.
tmo
V.
/
^
qucTtrm'bom'mt^iigpinn inucn
*
-^
t-rt-^1
n=H
nufiu
--;
Fig.
Fig. 2
Plate XIII.
NEUMES ON
LINES.
THE STAFF
107
The
text
We
other that he knew nothing about part-singing. The invention itself provides the musician with a -picture in which
relative pitch is shown by means of relative height on a
horizontal scaffolding (the staff).
The reader cannot fail to notice that a musical staff of this
time diflfered from ours in that all its intervals were fixed.
For instance, the spaces below F and C were normally semiThere were, strictly speaking, no key-signatures
tones.
and no accidentals. These had to be provided.
A HISTORY OF MUSIC
108
He had
f, b'-flat, or c".
Hard
Soft
And, as a guide
for the
memory
he had taken
John; each half-line
plain-song began on an ascending
Hymn
of his pupils,
to St.
UT
queant
laxis
MIra tuorum
SOLve
e'
g'
a'.
REsonare fibris
FAmuli gestorum
LAbii reatum
poHuti
Sancte Johannes
"
MI-FA.
CHIAVETTE 109
110
A HISTORY OF MUSIC
Now
for
the
essential difference between the first-named chiavette and the
chiavette transportate.
In the former the only object was a
mechanical one
to allow the voices to use their various
CHIAVETTE. CLEF-SIGNS
111
The
make
will
clear.
G-clef
the last to arrive
came in timidly in the
thirteenth century. . But it was scarcely used at all for vocal
which was supposed to show its head whenever this clef was
used.
It was not until the introduction of the violin in the
seventeenth century that the G-clef began to assert something
of its
The
modern supremacy.
clef-
FClef:,
1?
'
i^
^'$
tjt
C
f
{;
|ip
|i
'''
"^^
'^-
^''
3i
Clef:
k
lg<
^ I |-
G Clef:
-^
^ ^
iJS
sir
G d
PlaTE XIV.
.<9
d^ ^ 6 & ^
p-
A HISTORY OF MUSIC
112
TENOR
Used
for Cello
^
ALTO
and
this
list,
G-clef which
perhaps,
is
G (one
The neumes,
guides
to pitch.
octave lower)
as
they had been placed on the staff and had begun to assume
something of the appearance of notes, an attempt was made
to indicate their time-values
to
any one
thus
'
CLEFS.
113
felt
their part-writing.
Let us see what the position was. By the end of the thirteenth century the neumes had been stereotyped into five
signs (the hlack notation) each of which, from the maxim
downwards, had a nominal value of twice the next lower.
"]
Maxim {maxima =
Long
{longa
greatest)
long)
^
X
Minim {minima =
least)
Trinity contained three persons, and that therefore anything worth doing must have a "3" in it. They said
When
When
=
=
-,
it is
perfect time.
it is
imperfect tvme.
(tempus).
centxiry).
It
was
A HISTORY OF MUSIC
114
The
They
circle
said
is
Holy
Trinity.
Holy
It shall
Trinity.
When * =Ti^ we
When = i i we
will call it
will call it
prolations,
Sign
115
The only
established as follows
Maxim
Long
ifl
Breve
Semibreve
Minim
As music became more elaborate, and instrumental figures were developed, there was a continual cry for notes
of smaller value.
The minim was first split up into
two half-minims. The old shape was retained for the new
it was given a crutch or hook JK
This half-minim
or crotchet (crocAefa'= minim with
the crutch) was
soon replaced by a note in appearance just like the old
black minim X- and (though it has always retained its
note, but
/^
A HISTORY OF MUSIC
116
We
modem
note-
But there
is
notation.^
'
Re-arranged and
Lambillotte.
117
A HISTORY OF MUSIC
118
in black
he were reduced to four lines (one for each string) and had
to rely for his notes on the figures
2 3
1
showing time-values.
The Itahan lute-tablature used a
and figures.
and so on in
reverse order. The French tablature employed a five-line
staff, letters instead of numbers, and the lines in the same
order upwards as that of the strings. The two systems were
afterwards .combined. The German lute-tablature was still
for it employed numbers for the open strings and
worse
The
six-line staff
bottom
string
letters
CHAPTER
VI
C. F.
119
A HISTORY OF MUSIC
120
ORGANUM
we heard
^m
^
God
save our
gra-cfous King
to sing or play
fifth
lower
so
To
this
(O. V.)
fifth
the organal
voice
lower
'
ORGANUM OR DIAPHONY
121
and the P. V.
would be
O.V.
doubUcl
p.v.
O.V.
p.v.
doubled
P.V.
31
became
O.V.
doubled
p.v.
O.V
p.v doubled
By
the
King would
stand so
^^
of orga-
A HISTORY OF MUSIC
122
was
possible.
the latter supposition is true, it gives us a clue to the intense mental satisfaction which must have been felt in these
primitive fourths, fifths, and octaves. For at that time the
mind dwelt only on the pure consonance of each individual
note as it was sung against its organ accompaniment. The
singer was conscious that he was singing a tune ; but, at each
step, he took for the first time in history a daring and unexampled look vertically downwards. The joy that he had,
came from an unparalleled artistic courage. His results
have often been made the subject of idle jest and comparison.
But we must view this matter from the standpoint, not of
1900, but of 700. And if we do so with candour, we shall
probably revise in some degree our hasty generalization, the
dark ages ; and view this special age as that of the dawn.
As we have described it above, the organum was theoretically (and at first practically) a matter of similar motion and
nothing else. If the plain-song stood still, the organal part
stood still, too ; if it went up or down, the organal followed
it up or down.
If
Except
series of parallelisms
dition to
we
get
123
ORGANUM (NEW
STYLE)
1050
'
'
'
1.
'
A HISTORY OF MUSIC
124
crywas
At any
where.
ment
to his
has
rate,
we
of the new-style
but also
o^^fg^^^^^o,
'
125
(1150)
Triple Time)
tary on the plain-song. It is to be observed that the movement of the upper part is dictated solely by that of the lower.
Except at the two ends of a piece no harmonic prevision can
be said to exist. Concords and discords, though used in
about the proportion of 2 to 1, seem to be scattered haphazard without any consciousness of their very different
values.
Finally
and this is the most important point
the music has no measure. It must have been sung in the
free and constantly varying rhythms of the Latin text.
~
Somewhere about the year 1150 attempts began to be made
to introduce measure. We know of these attempts chiefly
from two anonymous treatises, one of that date, and one
Period of Discant."
The
its
sameness.
They
of the British
Mu-
seum.
Mensurabili Positio and De Speculatione Musicae.
Dis-cantus is merely a Latin translation of the Greek s^a^avia. (dia=
discord.
phonia)
*
>
De Musica
A HISTORY OF MUSIC
126
craved for some sort of variety, but they had no means -of
obtaining it. The leather of the old organum had been
stretched to its limits. No more could be done with the
music. So they turned to the words.
Now the words, as we have already said, were sung mainly
according to the spoken rhythm. The only way therefore
to secure variety from them was to take two sets of words
differing in rhythm and to make them fit as a piece of twopart counterpoint. But in order to do this it was necessary
to find some unit of time to which both sets of words could be
referred.
The result was that, in going out after the oyster
simultaneous verbal rhythms, they found the pearl musical
measure.
transferred to that
mind
its
own
comfortable middle-class
"keep
religion for
METRICAL FORMULAE
127
(J J Jlorlo
And
JlorlJ o
128
his
'
own
A HISTORY OF MUSIO
west-country singers,
in thirds
and
sixths
we
musical procedure
unknown
till
these days.
The
the earlier specimens already given will show how great has
been the advance. But we must remember that we are 300
years from the time of Hucbald and 150 from that of Guido
d'Arezzo.
its
(1) in
even
(2) as
passing-notes,
129
and sometimes
(3) as changing-notes.
.xa.
organum
free
diseant.
It
is
THE CONDUCTUS
The conductus was a two-part (sometimes three-part)
composition in which the lowest voice (the tenor) sang a
piu-ely metrical part of the sort described on page 127.
The
tune of this might be invented or it might be borrowed from
any popular folk-song. The treatment varied from a rigid
mathematical simplicity in which the voice-parts seem to
have been laid oflf with a foot-rule, to an amazing melodic
^
proprie sumptum.
A HISTORY OF MUSIC
130
freedom in which the wild sweeping phrases of the discantingpart are only just held down to earth by the long solid notes of
the tenor. The musical devices used were a primitive sort of
sequence and imitation, and a cruel mediaeval stratagem called
the hocket} This last was a plan by which a part of this sort
was cut up between two voices, so that one sang the oddnumbered notes and the other the even. This seems mechanical enough. But from the many indignant protests of
the church authorities that have come down to us there is
little doubt that the "hocketting" was often not far short of
scandalous. It is a little difficult at the present day fully
to understand the depths of degradation to which the singers continually dragged the divine service.
shall have
occasion to refer to this again under the heading " Faburden
We
'
'
Probably = hiooough.
the Arundel MSS. in the British Museum.
From
Quen of
1 Quen of
2 Bring hus
Lithe
Ma]c
ev
mo
Eveiie
ene
der
al
hu
re
so
has
ev
re
wit
jjvel
al
te
wit
131
for
thi
blis
to
thi
so
ri -
him
in - to
this
gud.
hlud.
se
ne
nes
se
-wo
ne
A HISTORY OF MUSIC
132
'
'
'
*
Walter Odington
is the authority.
as The Humpback of Arras.
MSS...Harl. 798.
Ad primam notam post crucem incohat alius et sic de ceteris.
Known
IS
ICUMEN IN
Rondel
Walter Odington
^!> t^
133
A HISTORY OF MUSIC
134
We shall therefore
of
years later
recommended
write a rondel.
way
to
THE MOTET
The Motet was generally a three-part composition founded
on some portion of the church service. In making it, the
musician selected for his tenor-part either a fragment of plainsong or less commonly a secular tune. This he turned from
unmeasured into measured (triple time) music. Almost
always its length was insufficient for his pujposefe. He was
therefore confronted with the necessity of adopting not only
a rhythm, but a method of laying out that rhythm and a
system of repetition.
His choice in these matters was guided partly by chance
it would seem, partly by his own taste, and partly by an
elaborate system of" mediaeval musical carpentering called
the ordines. These ordines gave him fixed patterns to which
he could work. But it must be remembered that, as he had
only the narrowest range of rhythms from which to choose
practically those given on page 127
the disposal of the com-
D. F. Tovey.
135
ing
may
be quoted as examples
letc.
r
-
fr
fr
\r
"
4etc.
letc
o'
-m
[eta
>
AUe
psallite
cum
luya.
136
A HISTORY OF MUSIC
Tenor
been questioned whether these tenor-parts were actusung to words or not. In the manuscripts there is
generally to be found a Latin tag taken from the words of the
plain-song from which the tune was originally borrowed.
This varies in length from a single syllable to two complete
words. And it has been asked whether the object of this tag
was not to remind the singer of the plain-song words so that
he could supply them from memory in the motet. The question has been answered both ways, but the best opinion is that
the singer merely vocalized. If he had only one syllable he
used that syllable throughout. With two he probably vocalized on the first syllable and used the second for his final note
and so, appropriately to the plain-song, with his three sylIt has
ally
lables.
DUPLE TIME
Towards the end
of the thirteenth century church musiseem suddenly to have realized that the world would
go mad if it had any more 3-2 rhythm. There was a violent wrench and snap followed by a period of expansion and
confusion which
as far as the church was concerned
was
ended by a decree of the Pope in 1322. From that year we
date the introduction of faburden. These three sentences give
us the main outlines of musical history from about 1280-1400.
No technical reasons have ever been suggested for the sudden introduction of duple time. However, we shall probably
be not far wrong if we regard its appearance as a natural
cians
137
of
human
rights.
aeval revolutionaries.
And
Consecu-
twin-thirds
and
sixths
since
welcome
The
old metrical formulae with their stencilled patterns were banished to the second-best parlour on their way
to the attic and the dust-heap. And when these had disvisitors.
A HISTORY OF MUSiC
138
Once and
met so
if
W^olejon&
everybody would be
(1322)
" what
time ? "
THE FINAL
CLOSE.
PAPAL DECREE
139
song.
It
is
all
tween the musicians and the church authorities the njiusicmen were always wrong and the churchmen always right.
reflection that we are asked to bealways outwitted the authorities by
worthless technical pretences.
In the present case an odd
thing occurred. When the Pope said " go back to plain-song,
plus fourths, fifths, and octaves for great occasions" he
clearly enjoined unison-singing on ordinary days and the
It
is
still
more curious
Now
let
us
make our
first
John XXII.
A HISTORY OF MUSIC
140
We
shall
modern and
interesting."
There
ment
day
how is it that the church authorities did not notice it ?
Are we to suppose that they were content to compromise
the matter ? To allow the singers their effective modern
style of singing the plain-song provided they kept to
notes and attempted no discard orfloreation?
its
long
became sixths
most inevitable
'
than
Probably = couple.
al-
for
'
method
of
141
seized
minimum
singers.
Its results
were
of
certain.
This sort of singing was known as "counterpoint over the book" {contrapunctua supra librum). It was the usual method of church performance.
In fact, the word sight continued in use down to the seventeenth century in
the sense of "interval from the plain-song."
2 The MS. was at Waltham Abbey in the middle of the sixteenth century.
It then passed into the hands of TalUs, who was organist there, and from him
Morley.
It is now in the British Museum.
to
Guilelmus Monachus.
142
A HISTORY OF MUSIC
though
and 1450.
becomes increasingly stronger as the years go by,
and iii
time stands out as the great controlling factor in
music.
The chief names which are associated with the national
It
i'
- ^
o
o
00
i
i
143
CHAPTER
DUNSTABLE.
VII
DUFAY.
DES PRES.
C.
In the year 1400 England had just passed through a century of foreign warfare. At home pestilence, famine, and the
boundless rapacity of the clergy had eaten deep into her life.
A generation had grown up, ha,d stood even in the high places
of the king, and had found that neither days nor works
availed them in their struggle towards the light. On all of
them lay the heavy hand of the past. Bitter dreams and
the slow-burning embers of an unappeasable yearning were
the only things left to them.
The men of this time show a child-like depth of tenderness,
an unconscious poetry which they seem scarcely able to utter.
They stumble on their ideals in the dark. Standing at the
birth of a great movement they are forever haunted by the
strange sounds whose beauty they cannot fathom. The
chanting voices in the minster reecho through all their
dreams. And, as the sound goes up to heaven, it mingles
in a floating cloud with the longings and desires of the worshippers below. The poor wanderer on the Malvern Hills
"wery of this worlde"
with his vision of the glories
of Palm Sunday has rekindled for us the flame of this yearn-
ing.
Of
gerlis
And how
and
me dremed
Not less serious, though perhaps more simple, is the picture of the widow's little son
the "litel clergeon"
sitting
in the choir-school over his primer, and edging inch by inch
nearer to the open door, all ears to catch another note or
two of the Alma Redemptoris.
144
ENGLAND IN
145
1400
And
we wish to
free,
hear
how he
which
if
shall tell us
And
Alma
al
Angelus ad virginem
redemptoris mater
Osanna in
These three may well be kept in mind. For they
must often have been heard by the men, of whom we are
about to speak. And where so little is known and so much
has to be surmised, any key, even the smallest, is worth trying.
It may unlock for us some shuttered casement high up above
the world of facts and figures. And from there perhaps we
may catch a glimpse of the faery lands whose bare winter
these very men changed to spring.
In this and the next chapter we are about to describe the
music of the contrapuntal school (fifteenth century) and of
the "golden age" (sixteenth century) ; and as this description
must involve us in a maze of names we think it well that the
reader should have before him a bare outline of the course
which musical history took in those centuries. To furnish
this is comparatively a simple matter.
ezcelsis.
FIFTEENTH CENTURY
The contrapuntal school began in England with the invention of composition by Dunstable. But neither he nor
his many English associates founded a permanent school in
A HISTORY OF MUSIC
146
England.
very
great.
SIXTEENTH CENTURY
The whole
results of the
Palestrina.
greatest
Let us now return to the point and ^lace where we
our
story England in 1400. We may note that
English
of all
left
in
147
similar group
majesty.
The music
manuscripts.'
come down to us
in several
148
A HISTORY
Oh'
MUSiO
the characteristic harshness of the eaj-lier portion of the century. The tune itself, however, is a wonderful thing, greatly
Its frantic cry
instinct with the mediaeval lust of battle.
of thanks to God at the end is worth all the commentaries
on Agincourt that have ever been printed. Shakespeare
himself tells us less.
accompanying
parts.
149
is
icumen in."
' The French poet Martin le Franc does homage to him as the model of
the French school
Tinctoris, the Flemish historian, mentions him three
writing probably as a resident in Florence or Fertimes John Hothby
and
rara speaks of him as "the distinguished Englishman" (anglicus ille)
there is a reference to him in a Spanish manuscript in the Escurial.
;
A HISTORY OF MUSIC
150
best
lived, worked, and died, leaving behind them their
Lionel Power, Benet,
thoughts almost wholly to perish
who
a consideration of the foreign tributes that came to Dunstable in his own century and of the fact that his works have
almost all been preserved in manuscripts abroad, it has been
suggested that the main part of his hfe must have been
spent on the continent. This is more than probable and it
would account in part for the fact that, while his briUiant
;
his
own
It
is
country.
difficult
to say exactly
how many
of Dunstable's
works.
Dunstable's great claim to remembrance is the fact that he
was the first man to compose. He was the first man to see
that organum-rules and discant-rules and theoretical prohibitions might be made till the crack of doom; but that,
so long as you allowed their practice to be the business of
choir-men using their powers of extemporization or of memory
in front of an imperfect service-book, so long would you have
lay.
151
him that
He
by a
we
But he understood
as
call it.
their
conflict
consequently incapable of many kinds of greatness, but camusic. It was in this soil that the
pable of this one kind
seed, falling from Dunstable's hand, germinated.
Guillaume Dufay ( ?-1474) was a Fleming who after the
fashion of his times took service in the papal choir. On
returning to the Netherlands he held church appointments
A HISTORY OF MUSIC
152
music
masses,
(?-?).
153
Josquin des Pres (1445-1521) was a much easier one. Okeghem had had to break in a colt rough and raw from the field
Josquin found it saddled and bridled, ready for its first lesson
The name "first great composer" has
in the haute Scale.
been given him, and that title is perhaps justified if we notice
that it is "first great composer" and not "first composer."
He was a pupil of Okeghem and had sung in the papal choir
at Rome. Lucky in the time of his birth, when the great
awakening was beginning in Italy, he was still more lucky
in being able to find in the north a technique already tested
and analyzed. He used this technique with an unparalleled
:
A HISTORY OF MUSIC
154
whom we
The sound
of Dunstable's
contribution to history.
JOSQUIN
AND
HIS CONTEMPORARIES
155
fit
together
fit
together,
156
A HISTORY OF MUSIC
another matter.
This idea, originally the result of a harmless curiosity, soon
became a poison. And its virus infected and undermined the
Unheardconstitution of every fifteenth century musician.
would
short
notes
tune
in
A
perpetrated.
of outrages were
be put into long notes, into longer notes, into impossibly long
notes.
It would be combined with itself in shorter notes at
the same pitch and simultaneously with itself in longer notes
It would be repeated on every degree
at a different pitch.
A composer would take a fragment
of an ascending scale.
of plain-song or a well-known air such as L'homme arme and
cause it to be sung in every portion of a long work. Often
the secular tune which he chose had for his hearers only assoYet it was permitted to
ciations erotic or Bacchanalian.
masquerade through a work designed to deepen the sacredness of the vicarious sacrifice.
Then came Chinese puzzles. One found that by using
three clefs and three time-signatures he could pack a fairly
elaborate work into a one-line part. Another wrote out only
five notes of his tenor-part and placjed under it an enigmatical
Latin tag. A composer, after burying himself in the country for a few weeks, would bring back a coiiple of square inches
Full-scores were
of paper and set his friends guessing.
written, so. to speak, on the thumb-nail.
Then came diabolical pleasantries. The notes were written out innocently enough and appeared to be firm ground
to walk on ; but a humorous Latin finger-post showed the
unhappy singer that he was in a quagmire from which he
could only escape by following its directions. One such
finger-post said "look in the mirror" or "walk like a crab"
or "sing Jew-wise," meaning that the part was to be read
backwards. Another said "turn night into day," that is,
"sing the black notes as if they were white"
"don't stop
shouting," that is, "neglect the rests throughout the part"
" he who is exalted shall be abased," that is, " go up where the
music goes down and vice versa."
;
MUSICAL BLIND-WEED
157
CHAPTER
VIII
C. F.
in the Netherlands.
The second
point
is
more
difiicult.
Italians write
for this.
of the Flemings
And the
158
159
five corners
A HISTORY OF MUSIC
160
on the heart. More than once she had pressed these melodies
But on her own conditions. The simple
into her service.
tune, with its pleasant human associations, was devoted to
the service of an awful and revengeful God. Then it was
elaborated into a mechanical travesty of itself. The divine
words which in music are the sword of the spirit were utterlydespised by musicians and became a thing of lead to be
heavily dragged after the tune or thrown aside altogether.
But for all that, cradles were still rocked and women
wooed. And for these and all the other satisfactory warmblooded things in life there had to be a tune. From this
source flowed the ever-changing but never-ending stream of
folk-song.
And it was at this spring that the musicians of
the early sixteenth century took their first draught
if
of humanity.
one may put it so
It toned up their con-
stitutions marvellously.
FOLK-SONG.
?-1567
?)
Com-
pared with what had gone before, their work does not show
a mechanical advance
for no such development of Jos-
was humanly
possible.
But it does show
a complete infusion of the new spirit in art. The night had
passed away and the early N&therlanders were the morning
of a day that was to blaze full of glory to England and Italy.
One great master both in the church and the madrigal style
was produced by the Flemings
Orlando di Lasso. This
man whose Flemish name was Roland Delattre was born
in 1520 at Mons
studied his art in Sicily and Rome, where
at first he wrote in a somewhat hard, mechanical style visited
England in the reign of Queen Mary, and probably learned
a good deal there and finally spent the greater part of his
long life at Munich, where'he died in 1594. He wrote an
enormous quantity of music, and in his command of harmonic
beauty is generally considered one of the world's supreme
masters.
An interesting offshoot from this school is to be found
in the group of Venetian madrigalists whose activity in
northern and central Italy lasted right through the century.
The impetus came from Willaert, the distinguished pupil of
Mouton and Josquin des Pres. He had settled in Venice
and had introduced there the simple madrigal methods of
the earlier Flemings.^ On this stock was grafted the somewhat more ornate style of Costanzo Festa,^ a Roman and the
first Italian to write madrigals.
The result of this "cross"
was the Venetian school
a school which speedily abandoned the cautious methods of the early Netherlanders for a
greater freedom of vocal outline. In their harmony the
Venetians show a very decided leaning towards the modern.
The principal names in this school are the Fleming
Cipriano da Rore (1516-1565) and Costanzo Porta (1530?-
quin's ingenuitiips
a novelty that
popular
Died 1545.
162
A HISTORY OF MUSIC
students.
Palestrina.
sat at
tables,
XVI siglos.
los
XV
'There was also a Polish school of music which began in 1522 and was
centred at Cracow.
He
paid for his beliefs with his life for he was killed as a
at Lyons in August, 1572.
We now halve to say something of the two greatest schools
of unaccompanied vocal composition
those of England
and of Rome. But, before doing so, a few words must be
spared for two widely differing topics
music-publishing
and the sixteenth century modal system.
The earliest English printed song-book in existence is, we
believe, the bass-part book published by Wynkyn de Worde
in 1530 and now in the British Museum.' It is true that,
in 1482, Caxton had published a work that needed musicprinting.^ But he had contented himself with printing an
eight-line staff and leaving the notes to be filled in by hand.
It was not till 1502, when Petrucci started issuing .the works
of the Flemish composers from Venice, that the real business
of music-publishing began.
It is scarcely necessary to dwell
on the international importance of this new venture. Some
of these, books must have found their way into England
at any rate, into London. It is impossible to think otherwise when there was a king on the throne who bought up
everything musical that came within his reach. In this
way, probably, the English composers first learnt what the
Flemish madrigalists were doing.
Now we come to the question of the modal-system. We
have already given a list of the church-modes which were
used in the sixteenth century. But a mere list does not go
To the
far in the direction of explaining their artistic value.
sixteenth century composer the modal-system was as definite
and necessary as our major and minor modal-system is to us
in the twentieth. -As definite a fact
but, one must add,
quite different in its quality and much more elastic in the
opportunities it offered him. The main difference between
oiu" methods and his is that all our melodic ideas are pivoted
on certain arrangements or relationships of harmony.
But, except at the final close, the sixteenth century com;
Huguenot
'
three-part songs.
A HISTORY OF MUSIC
164
If,
to a
modern
listener, it
'
a sense
ofP
of key
of their
was
165
still
far
whole musical
counterpoint.
^
to deal clearly with the Elizabethan
madrigalists in a small' space. As is usual in England, individuality counts for more than school. There is also the
disturbing factor of the reformation which affected different
men in different ways. One almost needs to write separate
the number of
biographies. But that again is impossible
known composers is so great. We have to face the chance
of some loss.
For, as in turning the pages of a quite uninteresting Elizabethan book; we often come on a phrase, a
verse, or a poem that the greatest of masters would gladly
have signed, so in the Elizabethan music, we find among the
It
is
little difficult
least-known
happinesses, sudden
air of personality
are in the age of great poets and great
composers
unexpected
which
men.
tells
us that
As we have
we
said, it is
and a vivid
usual loose, but convenient, sense. The period runs from about
to James I. But aE the best madrigals were written within
twenty-five years of each other.
'
In
its
Henry VIII
166
A HISTORY OF MUSIC
posers into strict periods but, if we had to select represennames for three groups in roughly chronological order,
we should mention the following;, always asking the reader
to remember that the whole movement culminated in the
publication of the Triumphs of Oriana (1601), a collection
of twenty-five madrigals by twenty-three great composers
tative
ORIANA.
167
We
have not space to examine all the individuals menBut, from the first group, we must select
its most imposing figure
Robert Fayrfax, a Hertfordshire
man, who was organist or precentor of St. Albans Abbey.
To him particularly is due the credit of the great advance
about 1500. Cornysche was in the employment of both
Henry VII and Henry VIII and to him the latter monarch
entrusted the aimous duty of devising the pageants for The
tioned above.
popular theme of Westron Wynde. Aston's claim to immortality rests on the fact that he invented instrumental
composition. While Davy
at one time organist of Magdalen College, Oxford
has an equal claim to remembrance
as the writer of the first Passion Music.
By the middle of the century it may be said with justice
that the Englishmen had mastered the Flemish methods
and were surpassing the Flemings themselves, when the
whole musical life of the nation was torn asunder by the
reformation. The monasteries were dissolved; organs and
part-books destroyed
singers and players dismissed
and
the service itself underwent radical changes.
As with the rest of the nation so with the musicians some
accepted the new rigime heartily, others clung stoutly to
the Roman chiu-ch, others again put their consciences in
their pockets and accepted sulkily whatever changes the
new secular force brought into their religious life.
the British Museum, and other MSS. at Lambeth, Caius Coll. Cambridge,
and the tJniv. Library, Cambridge the Sadler Part-Books in the Bodleian
and the Christ Church Part-Books. In the MSS. the names of the same composers occur again and again. But, in order to show the extraordinary
fertility of the period, we shall here print a list of the names that are found
in the above MSS.
It practically excludes the whole of the best and most
prolific group
the last. Adams, Alcoke, Alwood, Appleby, Ap Rice,
Ashwell, Aston, Avere. Banastir, Barker, Blithman, Bramston, Browne,
Bullman, Byrd. Carleton, Causton, Cooper, Cornysche, Corsum. Davy.
Edwardes, Endsdall. Farrant, iFayrfax, Ferynge, Franctyne. Hake,
Hawte, Heath, Heywood, Hoskins, Hyllary. Johnson (2). Kinton, Knight.
Ludford. Merbecke, More, Morley, Mundy (W. & J.).' Newark. Okeland.
Parsley, Pasohe, Philipps, Preston, Prowett, Pygott. Bedford.
Tallia, Taverner,
Sadler, Shelbye, Sheppard, Sherypgham, Stonings.
Thome, Tudor, Turges, Tye. Whitbroke, Whyte, Wilkinson, Williams,
Winflate, Wright.
;
A HISTORY OF MUSIC
168
We have
men
like
Tye and
up to that time.^
He was an Oxford
Tallis was about ten years his junior.
man, afterwards organist of Waltham Abbey, and then a
member
of the
Chapel Royal.
It
is
impossible here to do
In middle
life
he pro-
duced a
series of
' Tye and his son-in-law Whyte were the last composers to use gymel.
' Ferrabosco and he, with the titanic playfulness of the Elizabethans,
each wrote forty canons on the plain-song Miserere.
' He uses both an F-sharp and a D-sharp for his dominant close in Eminor
treats the 7-5-3 chord as existing harmonically for melodic purposes
and even employs what we should call a chord of the 6-5-3.
;
'
169
Lost.
With the
music reached
Henry Davey's
expression.
A HISTORY OF MUSIC
170
noblest
Wilbye
member
and
of
as he in a
way
simis
up
John
we shall
name to
scribed.
Then only eight years old; afterwards Charles II. These details are
taken from the Proceedings of the Musical Association (1914-15). The author wishes to make his sincere acknowledgments to Mr. Fellowes. Before
his recent discoveries (published in the Proceedings) the life of Wilbye was
almost a blank. Even the identity of the Hengrave Hall "Wilbee"with
the great madrigalist was a mere matter of conjecture.
171
We
The names of the composers who contributed to the work were Morley,
Norcome, Mundy, Benet, Hilton, Marson, Carleton, Tomkins,
Cavendish, Cobbold, Farmcir, Wilbye, Hunt, Weelkes, Milton (father of
the poet), Kirbye, Jones, Lisley, Johnson, Gibbons, Bateson, PilkingThe names of Dowland, Bull, Byrd, and Philipps do not appear.
ton.
The two former were travelling; the two latter were strong Romanists
probably
did not wish to contribute to the glory of protestant Elizabeth.
and
Easti
A HISTORY OF MUSIC
172
Variations).
We now
of madrigalists and
here our task chronologically is a
simpler one. Not only was there much less musical activity
in Rome than in London but it was much less spread out,
more definitely concentrated into a few powerful hands.^
We have already mentioned the fact that Goudimel, the
great Franco-Flemish musician lived for some time in Rome.
He went there about the year 1535 and taught not only
Palestrina but Animuccia and the two Nanini. These,
with the brothers Anerio and Luca Marenzio, practically
complete the list of composers.
see here a striking difference between the English andthe Italian schools. When the first edition of the Triumphs
of Oriana appeared there were probably at least thirty men
of genius in London, each of whom was capable of producing
and most of whom actually did produce masterpieces. At
the turn of the century the Italian monodists were proclaiming their new gospel. But these Englishmen
many of
them comparatively young men
went on for years writing
church composers.
And
We
'
The
total
number
of Elizabethan, madrigals
now
in print
ig
about 2000.
173
174
A HISTORY OF MUSIC
THE ROMAN SCHOOL
Group
ROMAN
SCHOOL.
PALESTRINA
175
A HISTORY OF MUSIC
176
of, all
time.
grew in years was towards a certain added simplicity and severity of style; and
this very natural tendency may in some degree have chimed
His musical
in with the progress of events in the church.
Besides madrigals and various setactivity was amazing.
tings of hymns, prayers, responses, and psalms, he produced
ninety-three masses and one hundred and seventy-nine
motets. Technically they show the limit of perfection to
which human brains could bring the art of modal composition.
No fortune of circumstance or brilliance of individual
talent could have improved on them in the next century.
One feels that the monodists must have appreciated this fact
profoundly when they left his pleasant garden and took to
their stubborn ploughing on the heathside.
In all the details of modal practice he was magisterial.
In his association of the authentic with the plagal ; his treatment of discords and cadences ; his right admixture of conjunct with disjunct movement ; his perfect method of evolving the harmonic from the melodic he has remained without
challenge the greatest master in the world. He inherited
much. But, in dealing with his inheritance, he showed the
sublimated taste and judgment that can only be expressed
by the word genius. That is, by common consent, the verPalestrina's personal leaning as he
We
CHAPTER IX
THE PALACE OF GREENWICH. JANUARY
(Tudor Instruments)
There
is
an old story
a curious finger-ring.
of
To
26, 1595
C. F.
more,
we may put
it so,
We
177
'
A HISTORY OF MUSIC
178
five
beth.
It would be pleasant to loiter here and recall some of its
musical glories under Henry VIII; to recapture some at
least of the sounds that were once heard in his long galleried
rooms. But out of the one hundred and eighteen years of
Tudor rule the magic ring will only give us back one poor
day. And the reader is already asking with un-Arabian impatience why we have chosen this particular day.
179
A HISTORY OF MUSIC
180
members
Or
possibly
And
Palace.
interrupt
181
In
The maids
of
A HISTORY OF MUSIC
182
we
shall
for they
know
A puppet-show.
Cymbal.
'
Tambourine.
an awkward squarish
183
With
God
Our
lives
A woeful
and
safeties all
In Chevy Chase
befall.
The man
stiff.
The bowed
crwth.
184
A HISTORY OF MUSIC
Oriana
Drums and
likes her
Fifes.
almost the only visible link she has with her Plantagenet
predecessors.
But it is when she reaches the gate and the cavalry take's
up the escort, that she gets the music that is really dear to
All the rest of her musical .acquirements have
something about them of the artificial and defensive, which
has been her normal mental state since Hatfield days. But
the Trumpets and Kettle-Drums ! These she genuinely
admires. In a way it is a filial duty for her to do so. Did
not her father send all the way to Hungary to King Ludwig II
for these very drums?
The drummer knows all about this
family-history just as well as she does.
So he sits his horse
bravely and goes thump-whack-thump on either side of
him, quite certain that the queen's palfrey would as soon
think of shying at a peck of beans as at his drumming.
The man is a wonder. He contrives to make himself conspicuous even above the blaring of the brass. We can hear
the din of these trumpets right down at the Palace gates.
They play nothing but fanfares, repeating their passages
over and over again. The noise is just as rough and ugly as
that of the horns which we heard this morning, but more
Each man's instrument is a long
biting, more martial.
her heart.
on itself
into trumpet-shape.
The tube is not soldered into one rigid whole, but merely
bound together with ornamental cords and tassels while a
;
Plate XVI.
A Family
of
DRUMS,
FIFES,
TRUMPETS
185
us
may
learn something.
first thing that we notice is that, though the instruments vary so grotesquely in size, they are all practically the
same instrument and make the' same kind of sound. "A
straight conical wooden pipe bored with finger-holes" would
describe them all. There appear to be four principal sizes
the Discard, Alto, Tenor, and Bass
corresponding to the
four types of human voice. There are two or three players to
each of these parts, and these four shawms vary from about
2 ft. to 6 ft. in length. The two largest of them are
The
known as Bombards.
spry bandsman who
all
the others
it is
A HISTORY OF MUSIC
186
man
in attendance to
porterage.?
are
shawms and bombards
All of these instruments
blown with a big coarse double-reed. But the shawmplayer prefers to place his lips not directly on the reed but
on the widened rim or "flare" at the top of the pipe. This is
of course out of the question for the three largest instru-
.^^--^
We
are here very much tempted to try opening up a conversation with the chief Discant-player
the Master of the
Shawms
though that is of course impossible in his circumstances and ours. But we may be able to overhear him
"talking shop" while cleaning his shawm in the band-room
after playing the procession home.
He will probably be
complaining of the way some of the youngsters will persist
in calling his shawm a "hautboy."
He himself never heard
the word till twenty years ago
it was in '75, when he went
down to Kenilworth for the pageants there. If anybody
questions him closely as to the reasons for using this new
word he will allow grudgingly that there is another sort of
shawm altogether. It is a poor, wretchedly weak, singlereeded affair; not even taper-bored; the second octave
can't be got at all.
It dan never "come to anything."
It
187
is
anthem.
What an
We
is beginning.
come to the bridal
extraordinary quality the choir seems to
A HISTORY OF MUSIC
188
Three
of
them
familiar to us
They appear
to be labouring
and have to
and
it is
cornetts to which
hear the
little
ment
tone.
is
And
this
is
'
in the
(Plate XVII) are from
the Great, Mean,
and Treble Cornetts, and the Mute Cornett.
The instruments
right
illustration
left to
Plate XVII.
Cobnetts
Mean
189
(jjeat
We have less to notice about the actual shape and appearance of the sackbuts. Nor is it any good our making
an enquiry 'into their history. For no one will be able to
tell us how the " slide" came to be applied to the long straight
brass instrument which the old Kentishman Dan Michel
called "the orible bosyne."
Certain it is that some genius
did turn the "bosyne" into a sackbut about two hundred and
fifty years ago.
And here we have our three modern sackbuts
playing in front of our eyes
the High or Discard, the Mean,
and the Bass or Double. But we cannot help remarking their
tone-quality.
It has nothing in common with the noisy
blare of the horns and trumpets that we have already heard
to-day.
A HISTORY OF MUSIC
190
but because on such occasions Her Majesty invariably commands the presence of twelve trumpets and a pair of kettledrums in the dining-hall. In this way she not only gratifies
her own private tastes, but gains opportunities for those
conversational misunderstandings and repudiations which
are so necessary when ambassadors are present.
However, in this matter, she has not very much choice.
The Shawms and Bombards are almost as loud as the Trumpets; and no one (out of Holyrood) would want to hear
them indoors. The Cornetts and Sackbuts would give everybody the blues. While of course the Lutes and Virginals
are out of the question. Even if her guests all sat mum the
clatter of trenchers on the oak boards would drown their feeble
tinkle.
So in march the Trumpets and Drums; while a
host of cooks, sewers, henchmen, seneschals, and servingmen bring on the banquet.
This is oxir opportunity to steal out into the long quiet
corridors and peep into some of the innumerable little
rooms to which they give access. There is not much furniture anywhere, and it is all of oak. But every gallery and
chamber has its musical instrument or instruments. They
though of course we are not in the
are here by the dozen
musicians' wing of the Palace. There they must be counted
by the hundred.
As we walk through the passages we come across half a
dozen little toy-organs and regals
the latter generally
furnished only with reed-stops. But most of the keyed
instruments are of the mechanically plucked variety
Here
virginals, spinets, harpsichorcb, and clavicembalos.
against the wall are the two pairs of virginals, whose expense
kept the Queen awake this morning. The next room
from
evidently belongs to some one of importance.
its situation
As we pass we hear the faint tinkle of very sweet and perfect
If we dare draw back the tapestry and put our head
fifths.
inside we shall see that it is Her Majesty's room, and that
the tuner is at work on her spinet
a little five-cornered
Italian instrument adorned with the royal arms.
Behind
it, hanging on the wall, is her polyphant, a wire-strung cittern
;
Plate XVIII.
Habpsichord
191
We
We
as
of Dainty
Conceits,
' The harpsichord in the illustration (Plate XVIII) is Italian of the early
seventeenth century. The wooden box-covers of the wrest-pins and jacks
have been removed to show the action. These covers, in the original, are
of the handsome black-and-white pattern seen underneath the keyboard.
.
A HISTORY OF MUSIC
192
that
to say, a
action of
our finger on the key jerks the jack upwards, and brings the
plectrum into contact with the wire. The plucking device
in the jack is itself swung on a pivot and, as the player rein the
plticker
is
a plectrum
is
The
moment's
We
We
scale
d-sharp
e-sharp
down from B
Plate XIX.
Chittaeone
193
joined
The instruments
are
tenor-lute or theorbo
the belly.
the corner, reaching almost to
appearance it has travelled far, over
rough roads. Its owner's name suggests Italy. Let us
a
take it out very gingerly. It is the latest thing in lutes
practically
big Roman chittarone ^ with seventeen strings
two instruments in one. For besides the usual pairs-ofstrings that run up to the lower "nut," there is a second series
of single-strings stretched to a second nut at the lute-head.
These are the newly invented diapasons, a set of bass-strings
Here is a
the ceiliQg.
tall lute-case in
From
its
'
Archlute or Basslute.
A HISTORY OF MUSIC
194
which hang
=*
and can therefore only
rrrrf
Diapasons
Before
we
room
for
Lord Strange's
well that
we
They
are
acteristic sixteenth
century pattern.
195
Bass
Tenor
Discant
necessity of reviol-family;
for
This
the air.
is interesting.
For
it
^enor Quinton
is
in
we
did he would
violino
with
its
give
A HISTORY OF MUSIC
196
pair of
upstairs.
If
we
slip into
same scene
any
of the side-rooms
we
moment
And
then,
hour
Plate XXI.
A Family
op Recorders
THE RECORDERS
make
197
dozen of our
consternation vanishes when they begin to play. For, instead of the former piercing pandemonium, we have a sweet
"warbling" tone-quality
woody and somewhat tame, it
is true
but delightful to the ears.
These are the recorders, fipple-flutes, or fliUes dmtces, an
instrximental squad which, time out of mind, has been known
as the dulcet wood-wind in contradistinction to the reed,
that is to say, the shawms and bombards.^ The Queen has
seven recorder players in her service, five Venetians, a
From where we
are their
A.
to
if we take a nearer view we shall see that in all the recorders the tone is produced by means of a fipple, not a reed.
In other words the breath is directed against a sharp "lip"
cut in the pipe itself. The little white object at the end
of the metal crook is not a double-reed, but an ivory mouthAnd this distinction in the. tone-production causes
piece.^
But
The instruments
right
XXI)
are
from
left to
Treble Recorders.
Scientifically the
A HISTORY OF MUSIC
198
That
We
is
what they
expect.
somewhere by way
in these philosophical
' The accompaniments of the songs were usually played by lutes, viols,
while the instrumental force employed in the entr'actes
and virginals
depended solely on the character of the scene. In Gorboduc (1561) the five
violins
cornetts
flutes
groups were as follows
hautboys
drums
and fifes. In Sophonisba (1606) the four entr'actes were played respectively by cornetts and organs
recorders and organs
voices, viols, and
organs
treble viol and bass lute.
;
199
performance. Once even, in the opening scene, she whispered, to ask her lady-in-waiting what was the mnemonic
-they had agreed on for the author's name
was it "S" or
"B" ?
"S.,
ma'am."
happened.
She makes no compliments to the bridegroom's brother;
but rises and goes quickly with her lady upstairs to the
tapestried room.
She is & little bit flushed
for the first
time in her life perhaps. And as she looks at the tiny spinet
standing open on the table, the line about "the imperial
votaress" comes into her mind. She is half inclined to cry,
not being quite sure whether she feels very old or very very
young
young enough to live forever. So she signs to the
we shadows have
let
them say
A
ofifended,
-^
i^
-?.--t/
CHAPTER X
SONG AND FOLK-SONG
C. F.
which
song.
way knits all three periods together
chapter we have already mentioned the bare fact
in a
In our first
that song was the latest and most complex of primitive man's
achievements. It is a permanent element in musical history.
One might almost say theonly permanent element.^ Before
musical history begins, it is. And it is in the sense that it
joins up civilized man to the savage.
Hitherto our history has dealt almost wholly with artistic
music, that is, with music consciously formulated and developed by the most competent thinkers of each ag. But, in
the course of this history, it has been necessary to mention
more than once the existence and influence of another body
of music, which we have referred to as "secular music."
accurate enough so long as all the
This special term
becomes
artistic music was written to serve the church
inaccurate about 1500 when professional composers began
to divide their energies between church-music and lay-music.
For though the art-music became split up into two channels,
the stream of folk-music continued to flow alongside them as
new differentiating
it had flowed from the dawn of time.
term is therefore needed; and found in "folk-music."
may view the history of artistic music as one vast cultivated field fenced off into three allotments
the ancient,
mediceval, and modern
of which some parts are fertile and
We
200
201
sterile.
But besides this cultivated crop there is
another which grows without any care on the part of the
farmer and grows always, whatever the conditions of sunshine, rain, or general climate.
These are not weeds. They
are flowers whose colours and perfumes vary only as they are
drawn from different parts of the field. But they all have
this in common
that if the soil is anywhere deprived of the
chemistry set up by their roots, the cultivated crop will
probably be rank or sickly. It is well to fix. this fact firmly
in one's mind
that there always have been, are still, and
possibly always will be two co-existent types of music
the
wild and the .cultivated, folk-music and art-music. But both
of these types derive directly from their common ancestor,
song.
Therefore if we wish to put .these broad facts of history into the simple form of a diagram, it will be something
others
like this
SONG
(prehistoric)
FOLK UUStC
AST MUSIC
(ecclesiastical)
16
ART MUSIC
(ecclesiastical)
1900
00
ART MUSIC
(secular)
1900
A HISTORY OF MUSIC
202
its first
domain
stages
it is
of the ethnologist
or
203
dash!
And even if you could hum these notes without the words it
would show that you were not very badly hurt
were indeed
somewhat outside the emotional field and able to view the
incident from a detached and semi-humorous standpoint.
These three illustrations then may symbolize for us the three
stages in the evolution of man which are the common heritage
'
Me'poTres BpoToi.
voice
that
is,
The
first
articulating.
beasts.
dividing the
distinction be-
A HISTORY OF MUSIC
204
the first reed blown into. It may very well be that one or
other of these rudimentary instruments gave the first cue for
breaking up and defining the long glissando howl. The
pleasure produced by the plucked string and the desire to
imitate it would account for much. Furthermore, it is
probable that in such a process of imitation the governing
condition would be the natural cadence of the speaking voice
a downward drop of a fourth.
At any rate when we come to the next period
that in
which musical notes have been invented as a vehicle for
words
we find a suggestive unanimity in the choice of
4-stringed instruments and 3-holed (that is 4-note) pipes.
The earliest sacred chants, too, of which we have any record
possess this 4-note character
and the Greek tetrachordal
system is a hint in the same direction.
The first tunes were of course charms {carmina as the Romans called them) that is, incantations and magic formulae.
They were part of the stock-in-trade of the medicine-man;
and as such were used to cure cattle disease, to insure success
in war and the chase, and to bring fertility to the ploughlands.^
We may be quite siu-e that, whatever was the actual
succession of notes sung in such chants, they included the
principle common to all savage races
repetition.
This
method of expression is universal in Asia, Africa, and
Polynesia. It survives even in Europe. A Sicilian fisherman
of the present day will repeat a single short song-phrase to the
accompaniment of two guitar-chords throughout a whole
evening, varying it emotionally from the plane of a dull
lassitude to that of a wild frenzied excitement.
This simple type of chant or charm is the head-water from
which all music flows. But, as we have said, it branches off
into two main river-systems the (ecclesiastical) art-music
and the folk-music. Of the two the former has by far the
more varied course. The boat starts smoothly enough in
charge of the medicine-man. He is succeeded by the pagan
holy-boly, and the holy-boly by -the Christian priest. As is
Salii
205
and
regularity.
But
its
elasticity of
rhythm; otherwise
'
IlaAAd;
its
repetition in
7rep(reiroAi9.
the epic
A HISTORY OF MUSIC
206
been impossible:
fitted the words
BALLAD-SINGERS.
FOLK-SONG
207
subject.
Each
poems and his tunes, twists and alters them
to suit his own ideas, and passes on the result to his successor.
It may be and probably will be slightly different from the
Folk-song
is
only
A HISTORY OF MUSIC
208
And
this
These two
reflection.
It
is
209
own soil.
The point to be emphasized
their
A HISTORY OF MUSIC
210
in a
'
entity.
always
STUDY OF FOLK-SONG
211
folk-music
l^e artistic. And it is here that a few words of
caution may be welcomed by the layman.
sort of glory or
halo has of late been set round the subject. And this has
at times become a nimbus of obscurity. The folk-lorists
themselves
some of whom are better railway-travellers
are not guiltless in this matter. There
than musicians
has been a somewhat indiscriminate praise. Any tune that
has a C for its first climax-note and an E for its second is
hailed as a miracle of strength and subtlety. Modality
and masterpiece become synonyms.
But there is nothing magic in the two words folk-wjusic.
They mean simply "music of the people." And the tunes
of the people are to be judged by the same canons as those of
the professional artist. A bad tune does not become good
by having the word " folk " prefixed to it. If it is to be classed
as "good" it must have beauty of expression and of organizathat is to say, of climax, balance, and proportion.
tion
Folk-song does not shirk the rigorous application of these
For, as we have already explained, the spring of its
laws.
vitality lies in the one fact that it is a sub-conscious attempt
of the people to achieve exactly the same sort of ends as
what
is
A HISTORY OF MUSIC
212
of a nightmare.^
' The principal types are the songs, reels, jigs, caoines, marches, spinningThe variety
tunes, nurse-tunes, planxties, plough-songs, and whistles.
of subject in the songs alone can be seen merely by looking through the
index of titles to the Petrie Collection.
2 The long Russian narrative-songs in which Tschaikowsky took so much
They are practically epics in blank verse,
interest are known as builini.
and have been sung by the peasants for a thousand years. The piesni are
IRISH
213
disposal.
Voice.
Wori'tyou buy
my sweet
la-ven-dar, la-ven-dar?
Pianoforte
The horosolo-songs, either laments for the dead or eulogies of the living.
vodi, which we have already mentioned, are a sort of tentative choral singon
page 141.
counterpoint
described
medisval
singers'
somewhat
like
the
ing,
PART
III
Day
CHAPTER XI
THE SECULAR CENTURY
C. V. S.
A HISTORY OF MUSIC
218
the movement.
by Henry
It
' The precursor of Italian Opera was the Sacra Rappresentazione of the Florentines.
This was a species of Fifteenth Century mystery-play. It dealt
with religious subjects, and was sumptuously produced. Music, dialogue,
folk-dancing, and choral interludes all figured as part of the sacred representation.
In its turn this type of religious performance gave way, under
the pressure of the Renaissance, to a sort of pastoral tragedy based upon
almost anti-Christian
purely classical subjects. It was pagan
and was
first cultivated by Angelo Politiau and his friend Lorenzo de' Medici.
The
greatest Italian artists, such as Leonardo, Raphael, and Andrea del Sarto,
took part in the decoration of these tragedies and music was always employed, either in the interludes or in the acts themselves. So began the long
line of Orfeo dramas which more than a century later were to be revitalized
by the new musical spirit of the Italian monodists.
219
fire-brand,
much
verde of Cremona.
He
220
A HISTORY OF MUSIC
We
owe
coveries, but to combine them with artistic beauty.
to the Italian the chord of the dominant seventh, which
marks the division between his predecessors and his
successors, aind which has permeated all music since his day.
Composers of his type usually rouse contemporary animosity,
but their experiments often contain the germs of many a
subsequent advance. It remains as difficult a task nowadays,
as it was in the Seventeenth Century, to sift the chaff from
the grain; but the process goes on, with the same human
drawbacks as prevailed amongst our ancestors.
From Italy the movement soon spread to France. The
son of a Florentine gentleman, Lorenzo de' Lulli, who
developed musical gifts at an early age, was taken to Paris
by the Chevalier de Guise, gained the ear of Louis XIV,
and eventually became the master of the newly formed
"Academic de Musique" (still the name of the Grand Opera
at Paris), for which he composed numerous operas and ballets,
besides writing incidental music for the plays of Moliere and
other dramatists. LuUy (to give him the French form of
his Italian name) has one important achievement of farthe creation of the Overture.
reaching effect to his credit
Before his time, the introductions to operas consisted of a
few bars of irrelevant significance, little more than a flourish
to call silence, and without the dramatic suggestiveness,
which, for example, the trumpet calls which summoned the
audiences to the Baireuth Theatre conveyed in full measure.
He not only invented the idea, but laid down the form which
was universally adopted down to the time of Gluck. It is
true that the Lully Overture was a formal expression, having
no inherent connection with the themes or ideas of the opera
which it preceded but the rough draft had to exist before
it became possible to graft bigger ideas and more subtle
meanings upon it; and for the inception of a movement,
which was to result in the great dramatic overtures of Beethoven, Weber, and Wagner, we have to thank the OperaDirector of Louis XIV.
The operatic wave then rolled rapidly to other countries.
First to England, where Henry Purcell in 1675, when only a
:
Plate XXII.
From
the portrait
by
Sir
Godfrey Kneller,
Purcell
in the poaaeasion of
LULLY.
PURCELL
221
boy
222
A IStORY OF MUSIC
KEISER.
223
means
school.
which
links
These were
facilitated
of the harpsichord.
224
A HISTORY OF MUSIC
the immortality which Scarlatti's daring Fantasias contained without straining after new effects or apparent effort
in their production.
The Italian still seems as much at
home in a tail-coat and trousers as he was in trunk-hose. The
Frenchman carries the mind back to wigs and rapiers. He
holds, however, an abiding place in history as a master who
possessed the art of idealizing the dance, and of materializing
the use of ornaments, "agr^ments" as they were termed,
which became so integral a part of harpsichord music, and
were the parents of the modern pianoforte "passage."
These devices were the inevitable result of the inability to
sustain the sound of held notes upon the keyed instrument,
which are still its chief drawback. The musician who
is .said to have invented them, de Chambonpieres, was
by profession an organist, and when he became a writer for
and a famous player upon the harpsichord, he was most
probably impelled to find a substitute for the long sounding
notes to whicji his original instrument had accustomed him.
We have seen the reforms of Bardi and his coterie affecting
dramatic music in the direction of emphasizing the solo
voice, and the solo executant upon the harpsichord; they
also, as a matter of course, affected the stringed instruments,
especially the violin and the viol-da-gamba (a cousin of the
violoncello), and the organ.
Italy again was the leader in
the formation of the great school of violinists of which the
direct descendants still exist. The first of the race was
Bassani of Padua, whose greatest pupil, Arcangelo Corelli,
was destined to be known as the father of modern violinplaying. He was not merely a virtuoso, but a composer of
striking merit ; and he has won an imperishable name as a
pioneer in the regions of chamber-music and of the treatment of the orchestra in Concertos. His influence upon
Handel, who visited llome as a young man when Corelli
was at the zenith of his powers, was very marked. The
German master, always impressionable, got many hints
from him both in violin writing and in musical style, of which
he did not, after his manner, fail to make the freest use in
later life.
Allusion has been made to the line of great
CORELLI.
VIOLIN
225
violinists
others,
ment
much
tion of individualism.
A HISTORY OF MUSIC
226
the
first
to work,
of
'
PURCELL. NORTHERN
GERMANY
227
A HISTORY OF MUSIC*
228
Dance.
may
three
Some
S'S.
Heinrich Schiitz
(b.
1585),
(b.
him) a direct pupil of GabrieU at Venice. Schein (a predecessor of Bach as Cantor of the Thomas School in Leipzig)
added largely to the literature of the Chorale, and principally
devoted himself to unaccompanied choral writing on the
Italian model.
Scheldt (the German Frescobaldi) made
the organ his chief medium of expression* Schiitz, the
greatest of the "three S's" as they were termed, was wider
in his sympathies and more experimental in his range.
He
wrote for the stage (early in life), but relinquished it for a
determined effort to work out the principles of Peri and Caccini in the direction of Lutheran Church Music, anticipating
the oratorios of Carissimi, and breathing the atmosphere
of the Chorale so deeply, that he developed it into a scheme
for accompanied chorus, mingled with dramatic recitative,
to sacred words, upon which was J)uilt the Passion-music,
a form idealized to its highest pitch by Sebastian Bach.
Schiitz's style was as progressive as his principles, and he
may be called the first German creator of the North German
School. His chief source of inspiration remained always the
Chorale, which became, at all events for a considerable space
of time, as important a factor (it might indeed be said an
overpowering one) in the development of the German style
as folk-song itself. If the descent of Bach were expressed
in musical terms, it might be drawn up thus
Sweelinck
Froberger
.T
Daril.
230
A HISTORY OF MUSIC
posed to various pitches, whose diatonic lines were in process of becoming pierced by the chromatic invader.
Semitones, which were not a part of the scale, and were therefore
termed "coloured" or "chromatic," involving the use of
accidentals to express them (a license rarely used in modal
231
times and then only under the most stringent rules), began
to make their way as ijidependent factors in the harmonic
scheme, and revolutionized the whole outlook of music,
by enormously increasing its possibilities of vital expression.
When such a movement was in progress, it was inevitable
that its inception should be tentative, and it would have
been useless to expect any composer (however great his
genius) to be sufficiently equipped in the new methods to
stand out as a master in the first rank of creators. The
crooked ways had to be made straight, and the rough places
plain, before the men of the new regime should come to travverse them with confidence. The absence of a world-famed
name, who could be classed with Palestrina of the old, and
Bach, Handel, Haydn, Mozart, and Beethoven of the new
ways, is not only not to be wondered at, but not to be looked
for.
The Seventeenth Century masters, a numerous band of
high-minded and progressive artists, did their duty to the full,
and through their yeoman's service made the new forms of
music a possible and an abiding possession for the world.
Italy was the mother of them all, and having reared this
great family, was temporarily exhausted by the effort. But
hers be the praise of having permeated all Europe with her
steadfast devotion to the cause of progress. We have seen
the birth of opera, and of its main element, the dramatic
of the individual treatment of the voice, and of
recitative
the combination of instrumental accompaniment with it;
of the grouping of solo instruments in Chamber Music of
the form of the vocal aria of the concerto of the possibilities of the organ and of the harpsichord as solo instruments
of the foundation of the great school of violin playing; of
the dramatic treatment of sacred subjects, which evolved
the modern oratorio; of the appearance of the Chorale as
a dominant factor in its development in the countries which
had adopted the Reformed faith; and the experiments in
form which in a short time culminated in the Sonata, and its
;
232
A HISTORY OF MUSIC
CHAPTER
XII
C. V. S.
During
by
who was
234
A HISTORY OF MUSIC
Plate XXIII.
From
Handel
W. Barclay
Squire
ARNE. HANDEL
235
composed and
Don Juan
first of
lights
for him,
Music
A HISTORY OF MUSIC
236
HANDEL. BACH
'
237
fifty-three
A HISTORY OF MUSIC
238
male representative
leanings:
members of
some of them,
of Sebastian's
own
time, have
239
It
is
human
of Frederick the
paid to the
he confessedly knew all the details of the historic meeting. Perchance he classed Bach under that comprehensively contemptuous term, "fiddlers"!
Upon one department of the art Bach did not touch, the
operatic stage. That in its development remained the property of the Latin race.
Alessandro Scarlatti and LuUy'
were the high priests of progress in that direction. The
Operas of Handel were, as dramatic efforts, a dead letter.
Individual songs and show pieces survive from the welter
of notes he wrote down, some of them beautiful in themselves, but of no value as regards the advancement of operatic design.
It is not a little curious that the only signs of
a movement on his part towards true secular dramatic expression are to be found in the two oratorios mentioned above,
Semele and Hercules. In the operas proper the characterization of dramatic figures is almost wholly absent. The subsequent effect of Handel's operatic writing, in so far as it
relied upon songs calculated to show off their exponents'
voices, showed itself in the growth in England of the socalled Ballad-opera a class of which the well-known Beggar's
Opera is a typical specimen. To this style English work,
brought to heel by the compelling force of the Saxon immigrant, had perforce to conform in order to get a hearing at
all.
Even Sheridan, the most. brilliant dramatist and stage
writer of his day, could not produce anything better than the
obsolete Duenna, so throttled was he by the conditions
which prevailed. But the Beggar's Opera had at least one
virtue; it showed 'unmistakable signs of the British Folksong spirit, which was destined to break the foreign yoke,
and to talk for and by itself. This infected Arne, who,
despite the Handelian influence, remained an Englishman,
political
still
visit
more
so, as
240
A HISTORY OF MUSIC
RAMEAU AND
HIS SUCCESSORS
241
the way for Gluck'? reforms, though he was not strong enough
to carry them through himself. He knew his own limitations and lamented them. The novelty of his treatment of
the ballet spread the knowledge and fame of his works falbeyond the frontiers of his native land. His clavegin
compositions also made their way, and are still proofs of his
mastery of the keyboard, and, although not equal in daring
to those of Domenico Scarlatti, or in strength to those of
Bach, have an individual touph of their own which ensures
their place in the world's musical literature.
After Rameau there sprang up a long line of French
composers for the stage, many of whom are still far more
than mere names, constituting a genealogy of writers which
continues, still unbroken, to our own times. The first of
Rameau's successors was Jean Jacques Rousseau (b. Geneva
1712), poet, musician, and ardent controversialist, whose
pastoral Le Devin du Village had a success which lasted for
76 years. He was a mass of contradictions, decrying French
music while he wrote it, fighting for Italian supremacy with
one pen while supporting! native art with the other, holding
in fact much the same position in relation to the two countries which his native town occupies on the map.
There
followed in rapid sequence, Philidor (also a world-famous
chess player), the author^ of some 21 operas, Monsigny,
Gossec, Gr6try, Dalayrac, Lesueur, Mehul, and many
more who overlapped into the Nineteenth Century, and will
be considered later. Most of these composers contributed
to the repertoire of the Grand Opera, or Acad6mie de Musique
as it is officially termed, but they were essentially the main
supports of that much more typically French Institute, the
,
OpSra Comique.
Meiantime Italy was producing a great number of "little
masters," most of whom are little more than names, but
all of whom were contributing their quota to the preservation of their national art. Porpora, memorable as the
master (task-master it might be said) of Haydn, Marcello
of the Psalms, Tartini, Leo, Galuppi (the subject of a wellknown poem by Robert Browning), Padre Martini, Jomelli,
242
A HISTORY OF MUSIC
PERGOLESI.
HASSE.
GLUCK
243
A HISTORY OF MUSIC
244
Vienna.
Piccini,
Gluck's time.
Simultaneously with the career of Gluck, Germany had
developed another type of opera, which also had successors,
called the "Singspiel."
It was of ancient origin, dating in
its inception as far back as the old Miracle Plays, but
becoming secularized, and after the middle of the Eighteenth
Century gaining a firm footing on all the German and
Austrian stages. In some ways it resembled the French
Opera Comique, but had a distinct flavour of its own. The
characters spoke as well as sang, and the whole plan was on
a light basis, relying on comedy and even farce for its effects.
The Beggar's Opera and its successors represented the style
in England.
Many distinguished German composers wrote
the music for works of this stamp J. Adam, Hiller, Dittersdorf, and even the great Haydn himself, and in later times
:
245
founded on the
flimsiest plots,
for scenic
CHAPTER
XIII
C. V. S.
C.
P.E.BACH.
HAYDN
247
is now universal.
This great reform can be easily
traced in his orchestral Sjnnphonies, which, for all their
slightness and semi-antique flavour, are ancestors of Beethoven's immortal Nine. He richly deserves the fame of
a pioneer, for not only was he the founder of the Sonata and
its embryo form, but he laid down the principles of technique
for keyed instruments which have, subject to the modifications required by their subsequent development, prevailed
ever since his day.
The first of the row of composers of the first magnitude
to succeed him was Joseph Haydn (b. 1732 at Rohrau in
lower Austria, on the borders of Hungary). He came of
traders' stock; his father was a wheelwright.
Both his
parents were musical, and were as careful in imbuing him
with the principles of personal neatness as of devout religion, characteristics which distinguished him throughout
his long and honourable life.
He even wrote his scores in
full court dress, and inscribed his "Laus Deo" at the foot
of each.
His first master was his cousin Johann Frankh,
who laid the foundation of Haydn's knowledge of the voice
and of the various orchestral instruments. From the country he went to Vienna, where he became a scholar in the St.
Stephen's Cantorei, and sang as a chorister both in the
Cathedral and in the Court ChaJ)el (still famed for the
brilliance of its personnel and width of repertoire).
After
his voice broke, he fell on evil times and was almost a pauper
but through the aid of friends he was able to go on with his
studies, the very first of which was devoted to the works of
Emanuel Bach. The composition and production of a
singspiel led to his acquaintance with Porpora, who took him
to Hungary, and treated him more or less as a bootblack.
But he met there no less a person than Gluck, who at once
grasped the powers of the youngster (Haydn was then only
twenty years old). He was not long in finding friends
amongst art-loving amateurs in the aristocratic circles of
Austria. Three in succession secured his services as director
of their household music.
Karl von Fiirnberg gave him the
opportunity for, becoming closely acquainted with chamber-
which
248
A HISTORY OF MUSIC
Plate XXV.
From
the drawing
Haydn
in the possession of
HAYDN
249
friendship.
by
an lago to
" beware of jealousy
the green-eyed monster which doth
The 'meat it feeds on."
It
is
mock
Their nature was too innately noble and too true to their
by any unworthy influences. If the
history of all arts and artists contains a lamentable amount
art to be contaminated
of intrigues, suspicions,
and
jealousies, it is
redeemed
also
by
of later date.
His second
A HISTORY OF MUSIC
250
and last English visit over, he returned for good to his native
country, and although he had reached the age of 63 he started
off upon new lines and ever progressive ideas, producing in
the last fourteen years of his busy life the most important
of his compositions, his finest quartets (notably the so-called
Kaiser quartet, containing the Austrian hymn) and the oratorios The Creation and The Seasons.
Both these choral
works owed their inception to his English visit, and to the
impression made upon him by hearing the rendering of
Handel's oratorios at the Westminster Abbey commemoration and elsewhere.
But Haydn's was too original a mind
to copy Handel's style or to be hidebound by his conventions.
It is enough to study the introduction to The Creation or to
Winter in The Seasons to see the amazing strides in dramatic
conception and in modernity of expression which the composer had made in his old age. The Representation of Chaos
begins with a phrase as striking as, and very similar to, the
Prelude to Wagner's Tristan and Isolde, and contains several
passages which might have come from the pages of the music
of the future.
The only
parallel to
the
clear
case
of
and matured
insight,
made
HAYDN. MOZART
251
works,
Haydn
shown in no stinted manner his sympathies with sound progress and innovation, who had inculcated the supreme importance of perfect technical equipment, and, last but not
by any means
least,
had
idealized
humour.
Wolfgang and
his sister Marianne toured Europe as prodbut being blessed with a wise fg,ther they remained unspoiled by flattery, and undamaged by premature forcing.
Their travels extended to Paris and to London, where (at the
age of eight) he met John Christian (called the "English")
Bach, and became the subject of a paper upon his physique
and his abnormal brain development which was communiigies j
252
A HISTORY
OF.
MUSIC
Lower Ebury
Street.
Even
his
wife.
Plate XXVI.
From
Mozart
Mozarteum
at Salzburg
MOZART
253
The
success
could find
The power
it
of delineating
so strong, that
Don
pressing.
The
ciu-ious
anonymous
"Typhus"
ia
still
termed
A HISTORY OF MUSIC
254
and publish
It
is
his
MOZART. BEETHOVEN
255
out his
life,
256
A HISTORY OF MUSIC
"Invocation to Hope" in Fidelio, and the carefully finished studies for the final four bars of the variations in the
C-sharp minor quartet (Op. 131), no less than fifteen in
number, any one of them perfect enough for a less scrupulous
composer, and not one of them the same as that which was
eventually published. Some of the themes, which we know
as specimens of Beethoven at his best, are in their first inception so commonplace and even "banal" that it is difficult
to connect them with his name, or with their eventual beauty.
We can follow the process from the felling of the tree to the
polished and inlaid table. The very amount of music paper
which Mozart and Schubert covered in the course of their
short lives is a proof of the mental rapidity of their completed
thoughts. The comparati:^ely small output of Beethoven
is a clue to the slow travail he endured in giving his creations
to the world. He began working at the setting of Schiller's
Ode to Joy in 1793, and it only came to fruition 30 years
later in the Ninth Symphony.
Beethoven, following the advice of Count Waldstein, left
Bonn at the close of 1792 and took up his residence at Vienna.
He first made his mark there as a pianist, having very few
works as yet to show, though many were in process of
maturing. He at once set himself to study all the technique
of composition, first with Haydn, and upon the latter's departure for England, with Albrechtsberger, a somewhat dryas-dust musician, but a master of his craft, who taught most
of the outstanding young musicians of his time.
Haydn
taught him the principles of the old modal counterpoint of
the Palestrina tradition, a groundwork which shows itself
throughout Beethoven's life, and of which a fine specimen
occurs in the late String Quartet in A-minor (Op. 132). The
exercises which he worked have been published with Haydn's
corrections of his pupil's mistakes carefully marked. Albrechtsberger had a poor opinion of his mighty pupil,
who was too fond of kicking against the pricks to suit his
hidebound taste. It cannot be denied, that despite the
assiduity with which Beethoven worked during his whole
life at contrapuntal studies, he never attained the natural
v>^
Plate XXVII.
From an
etching in the
Beethoven
Royal College
of Music,
London
BEETHOVEN
257
ease of Sebastian Bach in coping with set fugue. He mastered its suburbs without captiu-ing the citadel. There is a
certain uncouthness in his fugal writing of which he never
quite shook himself free, great as were the conceptions which
underlie the form. He felt, as Tennyson once said of sonnetwriting, that it was " dancing in fetters. " Bach danced all
made
Mozart
in lesser
and
lighter fashion.
258
A HISTORY OF MUSIC
BEETHOVEN
259
A HISTORY OF MUSIC
260
more
more
careless
is
maker
;
and the passing of years which brings with it greater
capacity of understanding is throwing a clearer light upon
them every day.
In 1826 his ailment increased, and he developed symptoms
of dropsy.
In his last days he got to know Schubert's songs
and used about theni the same expression which Tennyson
BEETHOVEN. SCHUBERT-
261
J. S.
Bach
Haydn
Mozart
Beethoven
No man, however
and Beethoven's lay here.
extent.
great,
262
A HISTORY OF MUSIC
extended
lines,
when he was
making
which conwrote his first sym-
SCHUBERT
263
The
greatest
of his
instrumental worlcs
life
in
1828.
date
They may
Rosamunde
The Octet
String Quartet in A-minor
String Quartet in B-minor
Trios in B-flai (for P. F., Violin
and Violoncello)
Symphony in C^major
String Quintet in C-major
A HISTORY OF MUSIC
264
been
ill
applied.
himself.
else.
my
my
mind
(Geist),
but
Franz has
soul (Seele)."
years.
Vienna honoured
his
funeral
slightly
more than
SCHUBERT
work
265
musical public.
Within the space of 94 years (1732-1828) German music
was the richer by four great masters of absolute music.
There were also lesser lights in the same paths, and a star
of the first magnitude in the drarnatic firmament, whom we
must consider in the next chapter, together with their contemporaries in other countries.
CHAPTER XIV
THE CONTEMPORARIES OF BEETHOVEN AND THE
DEVELOPMENT OF OPERA IN GERMANY, ITALY,
C. V. S.
AND FRANCE
this extraordinary outburst of activity was taking
Germany, an Italian was upholding the honour of
his country and carrying on its great traditions, a master
who was born four years after Mozart and outlived' Beethoven by fifteen years, Luigi Cherubini (b. Florence, 1760),
and who may be termed the last of the Italian classicists.
This dignified and somewhat cold perspnality was privileged
to see from a distant height the whole of the European artworld he was open-minded enough to profit by much of it,
independent enough to follow its principles without sacrificing
It was no empty compliment that
his oWn individuality.
Beethoven paid, when he wrote that of all his contemporaries
he valued him the most. During his life-time dramatic and
absolute music began to drift apart composers arose who specialized in each, rarely venturing on combining the two, a split
which became more and more accentuated as the years of
the Nineteenth Century passed by. Cherubini, like Haydn,
Mozart, and Beethoven, was trained in the old Italian school
of modal counterpoint, with which after Beethoven's death
Germany, with the two exceptions of Wagner and Brahms,
lost touch.
His career began with church work, of which
he wrote many specimens as a boy, but as early as 1780 he
While
place In
^
I
i._U'-::^5
Plate XXVIII.
From an
Cheeubini
CHERUBINI. CIMAROSA.
SPONTINI
267
own
A HISTORY OF MUSIC
268
:;
SPONTINI.
ROSSINI
269
so lazy."
From
in his short
life
made
of
in buffo writing.
But in spite of the great
vogue of his two younger comremained master of the field. His long
residence in Paris, his generosity and bonhomie, and, above
all, the amazing success of his masterpiece, William Tell,
an opera as superior to all his other works as Verdi's Otello
is to the Trovatore, gave him an influence in Paris (then the
patriots, Rossini
A HISTOllY OF MUSIC
270
centre of musical life) comparable to that of his Italian predeHe, although not himself a technical trainer
cessor, LuUi.
of composers, attracted to his style all the pupils of CheruHe became in
bini, and changed the face of French music.
fact a link between the later schools of the two Latin races.
of
and propriety.
Plate XXIX.
From
Rossini
London
271
Rameau
Monsigny
GoSBec
Dalayrac
Grfitry
Mhul
Cherubini
Rossini
H^
Boieldieu
6vy
Auber
Adam
We
ing influence
down
to recent times.
The
protagonist in
A HISTORY OF MUSIC
272
later (1821) that
the
first
Fidelia.
it
It
was
genuinely
took
number
of
WEBER
273
A HISTORY OF MUSIC
274
workers,
rich,
Ludwig Spohr
Marschner
(b.
as well as at home.
Although he was careful to adapt himself to his surroundings, he was in no sense obsequious, and
extraordinary,
interest
cultivated, ambitious,
and a master
of his craft
a composer
SPOHR.
MARSCHNER. MEYERBEER
275
A HISTORY OF MUSIC
276
Such
in Paris, and remain acceptable to both.
adaptability is a little too artificial to give grounds for admiration; but to a man who could be at once so grandiose
and so finnicking nothing was impossible. It is difficult to
imagine how the composer of the Cathedral Scene in the
Prophete could condescend to sit next the chief of the claque
at the final rehearsal, and alter passages to suit his cue for
applause, or to wander about the back of the stage to hear
what the scene shifters said about his music.^ And yet for
all his disregard of high ideals, and lack of self-sacrifice in
the nobler interests of his art, Meyerbeer did a great work in
Grand Op6ra
During
his lifetime
no
less
than
five
composers
who
famous
MEYERBEER. BERLIOZ
277
Cesar Franck (b. 1822). Of these six Franck and SaintSaens are more particularly connected with the new French
school, and will therefore be dealt with in Chapter XVI.
life,
modern music,
though
his
Requiem and
his Fantastic
Symphony
necessitate
A HISTORY OF MUSIC
278
fleeting.
He
revelled in devils,
and
failed in angels.
No
and
will
again be
felt far
THOMAS. GOUNOD.
BIZE^T.
OFFENBACH
279
which
able in Mireille.
Later in
life
writing,
cation and
in workmanship.
write
280
A HISTORY OF MUSIC
CHAPTER XV
I
/'
CV-S/
We
A HISTORY OF MUSIC
282
known
volcano. " The first works which really showed his mettle
were the Octet for strings (1825) and the Midsummer Night's
Dream Overture (1826). These two works represented his
maturity, and he never surpassed them in later life. Simihis
larly
pianoforte solo
strike a
for
drawing-room experiments.
An
early meet-
He
and
MENDELSSOHN
283
A HISTORY OF MUSIC
284
which eventually was produced at the BirmingFestival on August 26, 1846, with a success which has
continued, in England at least, for half a century and more,
and still possesses an extraordinary attraction for the British
an
oratorio,
ham
His favoiu-ite
public.
in the
summer
sister,
Fanny Hensel,
died suddenly
of 1847,
Mendelssohn
who had
is
more
Plate
From a photograph
in the poaaesaion of
MENDELSSOHN. SCHUMANN
career,
though
was a
and
less
285
enduring
in-
'
in-the-mud."
A HISTORY OF MUSIC
286
them
Plate XXXI.
From
Brahms
London
SCHUMANN
287
has
its
occasional
moments
of revival.
A HISTORY OF MUSIC
288
comments on
their sarcasm
and
in
of high ideals
'
writer.
Bendemann
to Joachim,
who
told
it
to the
SCHUMANN. LISZT
289
equipment
of a player
and a
series of
290
A HISTORY OF MUSIC
Bach
G. A. Homilius
Chr. Ehiegott
THE MANIFESTO OF
1860.
WAGNER
291
which resulted
292
A HISTORY OF MUSIC
WAGNER
The general
repertoire, however, at
293
Dresden began to change
to decline. He rebelled
against the powers that be in 1849 and had to fly the country,
taking up his abode in Zurich. Here he wrote a great
for the worse,
and
his interest in
it
Germany
it
In 1859 he once
The
Opera.
intrigues against
it
were
colossal.
who
but
it
294
A HISTORY OF MUSIC
He came
London
in 1877, and
which helped
in a small degree towards diminishing the deficit.
He was
now at work at his last and in many ways his greatest work,
Parsifal.
It was produced at Bayreuth in 1882, and thereafter the theatre, which had lain fallow for six years, became
the centre of an almost annual pilgrimage. Wagner died at
Venice (in the Palazzo Vendramin) on February 13, 1883.
conducted a
gall.
series of concerts
from
to
his works,
WAGNER
295
Frenchman.
Concerning Wagner's personal
relations
and private
life,
A HISTORY OF MUSIC
296
The
if
summed up
their emotions
we must, we must
less is said
and
in that case
the better."
Bach
J. S.
C. P. E. Bach
Mozart
Scbwenke
I.
Albrechtsberger
I
Clasing
Sej-fried
Beethoven
Marxsen
Braiiina
Planta genista
is
Plate XXXII.
From
Brahms
WAGNER. BRAHMS
297
man
Requiem.
He
fell
in also with
movement
of the Ger-
298
A HISTORY OF MUSIC
as an institution,
and always
tried (like
Mendelssohn) to
man
'
299
and
by Mendelssohn.
recognition,
his
Liszt
and
300
A HISTORY OF MUSIC
eventually climbed to the position of Koniglicher Musikdirector at Halle. Already in 1841 there had been signs that
During his middle life this
his hearing was not perfect.
or perhaps caused
weakness increased, accompanied
by certain other disorders. By the time he was 53 he had
become totally deaf. Inability to work brought in its train
harassing pecuniary troubles. From the latter he was
rescued in 1872 by a fund and a series of benefit-concerts
mer.
FRANZ.
BENNETT. WESLEY
301
sionally.
de-
served.
302
A HISTORY OF MUSIC
music, but his work can bear comparison with the best of
his predecessors, both in style and in technical finish.
With the name of M. W. Balfe (b. 1805 at Dublin) and of
Vincent Wallace (b. 1814 at Waterford), two composers of
light opera not without a certain popular attractiveness
and melodic grace, and of George Alexander Macfarren (b.
1813), a composer of great learning and erudition, who composed several light operas which had success, and some
CHAPTER XVI
NATIONALISM.
MODERN SCHOOLS.
C. F.
idea's
on or even discussed.
Most
303
A HISTORY OF MUSIC
304
remain
live
just as much
speare's Warwickshire-Athenians.
his
alive as Shake-
But when he
his
stiff-jointed
retires to
glittering
honestly.
is
more
Even that
circle is often
likely to begin in
which he
too wide.
An
artist
circle
from
may
305
of
men which we
call nations.
A HISTORY OF MUSIC
306
he goes to Germany
the
country whose
There he masters
But when he returns
all that the Germans can teach him.
home he does not set himself to answer any of the deeply
important questions which we have already mentioned in
discussing folk-song.^ He does not ask himself whether
after all his musical attainment is merely a brilliant sleightof-hand which anyone can pick up with cleverness and
application.
He does not say, "I have learned so and so
from the Germans how did they learn it ? " He accepts the
German art of his day as a boy accepts a Christmas present
He nevei; honestly knows why
of a box -of conjuring tricks.
the tricks are done, and so is never able to invent a new one.
And in time the old apparatus, now worn smooth from constant use, begins to show the cogs and springs inside.
As a
rule,
technical proficiency
is
beyond question.
German hand.
be-
'
build and run a steam-plough. And, as no one but a drunkard would try to drive a plough with the plough-share in the
air, he puts it in the soil
the soil of his own native land.
have made this comparison at some length for two
reasons.
In the first place, no lesson is more needed in
England and America than the lesson of nationalism. Only
We
by a
honourable music.
And
in this
307
We
had
either
had
little
men do
"down
not
"
'
In the American
list
all
little later
and do not
fall
A HISTORY OF MUSIC
308
one to do with Verdi, who spent the first fourlife as a contemporary of Beethoven, and
outUved Tschaikowsky by eight? Finally it must be said
that we have selected only a few representative names. The
chief object of these groupings is to show national tendencies
and therefore the exclusion of many living composers' names
is to be explained solely by the necessity of abbreviation.
And what
is
RUSSIA
The one
309
ent.
and throws
it
seizes greedily
away
We
A itlSTOEY OF MUSIC
310
But though the Russians during the first half of the century recognized Glinka as a national possession, the Russian
school itself was hardly known to the rest of Europe. HowIt was
ever, about 1880 certain tales began to leak out.
said that there was a band of five national composers all
working with a boiling zeal, and working directly in opposition to the German-Russian school which then held the
field.
These
five
men were
externally as unlike
any known
and
utilizer of folk-song
RUSSIA
Night, The
311
of Pskov,
and
member
of the
German
school.
symphonic.
312
A HISTORY OF MUSIC
orchestral expression.
RUSSIA.
ENGLAND
313
ENGLAND
The national awakening in England is known there as the
"renaissance," a convenient term which shows the movement
not as a beginning, but as a resumption of national endeavour.
England has no Glinka. For more than 150 years after
Purcell's death (in 1695) the energies which might have been
expended on secular music were devoted to the one object
of eating up as much of the world as she could.
And this
was only .made possible to her by the maintenance at home
of two castes one meekly submissive and liable to be hanged
:
And though
there
was a considerable
difference
between
A history: qf music
314
we must not be
had to begin
small.
to haul
down
these seven
all
'
Elgar did some work at Leipzig. Parry was for a short and not very
H. H. Pierson (Pearson), the Anglo-German composer.
ENGLAND
315
He
is
music on a big
This
time.
fertility is
A HISTORY OF MUSIC
316
and
the Skylark.
artistic
ideals
purity,
clarity,
and beauty
of
expression.
Cowen
ENGLAND
317
training, he
school.
MacCunn
(1868-1916)
made
his
name
sym-
A HISTORY OF MUSIC
318
phonic poems The Land of the Mountain and the Flood and
The Ship o' the Fiend. But most of his life was devoted to
writing Scottish Opera (e.g. Jeanie Deans and Diarmid)
and he had to pay the penalty of his connection with this
musical Cinderella. The brilliant promise of his youth was
never perhaps wholly fulfilled. This was only to be expected in the bitterly unpatriotic circumstances of the
English musical stage. But by those who are familiar with
these conditions his talents will always be held in kindly re-
membrance.
Wallace (61) is a man whose mind has many facets. Besides being a composer he has written two poetically phil-
Beatrice,
to
write
Pelleas,
the hall-mark of
German
ENGLAND
319
McEwen
work Everyman.
characteristics.
is
will
probably be
320
A HISTORY OF MUSIC
his best
nimble, without
being
either
deep or enterprising.
He
Children of Don.
was well
But he has
it
all of a fine
earnest character. These include, besides songs, eight pianoforte and nine orchestral works.
He was happiest in his
chamber music. Four sonatas, two trios, three quartets (one
of which is for pianoforte and strings), a quintet for pianoforte
and wind-instruments, the English Sketches, and some other
ENGLAND
and orchestra), and the six songs
(tenor voice, string quartet, and pianoforte)
chorus,
321
On Wenloch Edge
is
Messenger.
He
Dale (85)
school,
inention.
322
Among
A HISTORY OF MUSIC
others whose achievements
we have not
space
work
AMERICA
The
ENGLAND. AMERICA
323
and energetic.
European concertopen their doors to him, though his kin are the
most generous hosts to European artists. There should be
a happy reciprocation of artistic favour and friendship.
In his own country, at least, his guests should encourage and
foster his art, even if at times it may imply a temporary
descent from the higher branches of the tree to the lower.
The American public too can help. It cannot well take
more interest than it does now in concert-performances.
But it can show a more lively and personal interest in the
works performed at those concerts. A tepid and undiscrim-
hearing at
halls rarely
is
not
sufficient.
It should
many
concert-
organizations.
it
union with
With
his
name
324
A HISTORY OF MUSIC
may
AMERICA
325
Thalia, Melpomene,
'
A HISTORY OF MUSIC
326
has practically taught his countrymen the proper organization and treatment of the military band.
His work is
peculiarly American, in that it could have been done nowhere else. In most European .countries the military band is
supported by ancient tradition and present-day pride. In
America it has not had these advantages. Sousa's musical
gifts may be summed up by saying that he has done one
particular thing better than any living man. And this is
no small praise. He is certainly one of the most distinctive
figures in the country.
Victor Herbert ^ (59) is to America what Sullivan is to
England and Chabrier or Messager to France. He has remarkable powers both melodic and constructional, and a good
Betaste, which is rare in the American theatrical world.
sides many comic operas (all of which he treats as they should
be treated, seriously) he has one Red-Indian grand opera,
Natoma, to
his credit.
and two
common
concertos
and many
artistic
Born in Ireland.
The Negro folk-music has been minutely studied by Krehbiel in his
volume Afro-American Folk Songs. Harry T. Burleigh stands almost alone
as an American Negro-composer with distinct creative powers.
'
AMERICA
ress.
327
original composers,
some
of
whom
little group of
have been ready to suffer
eggs.
Parker (63)
I
He
songs.
is
as the very
has also written Greek, Persian, Japanese, and South Sea Island
328
A HISTORY OF MUSIC
But he
and
is
No account of American
AMERICA
329
He
is
On the whole,
it.
more difficult to catch the note of nationalism in the American school than in the English. This is
particularly true of the younger men. The racial elements
in America are not yet sufficiently fused to present the solid
unbroken surface of a national style. But there are two
features in American life which point to a very probable
it is
A HISTORY OF MUSIC
330
here and
we do not intend
happen
to risk
any prophecies.
But
short periods of
time. And we may reflect that there were only sixty-five
years between the writing of Haydn's first symphony and
Beethoven's ninth.
surprising things
Gaoup
in surprisingly
first
man
331
Hurlstone.
we
NORWAY
Norway can scarcely be said to have any founder-musician
type of Benoit. But she had, on a small scale, a Bach
of the
'
A HISTORY OF MUSIC
332
son in particular (Ludwig Mathias, 12-87) undertook the systematic collection of Norse folk-song, and so directed the
attention of his fellow-countrymen to their great treasure
house of music. The position of Kjerulf (15-68) is curious;
He lived in a time and place where the musical conditions
were primitive and almost medisevaL He was therefore able
if the conto identify himself closely with the people and
consciously to write folk-song.
tradiction may be allowed
At the same tinie he was quite aware of the artistic developments outside Norway. And this gave him a second and
the art-song of the cultivated German
third line of attack
variety, and the concert-ballad whose existence is only
partly justified by the charms of the popular lady-vocaHst.
Nordraak (42-66) was a composer with a fine sensibility
and a deep belief in his own country. Many of his songs are
household words in Norway. During his short life of twentyfour years he did one very good deed
he advised Grieg
to avoid Gade as he would the plague. Most of Nordraak's
contemporaries were of the type of Hjelm, Svendsen, and
Seimer
men of lath and plaster who considered that the
difference between Norse and German music lay in the title.
Grieg ^ (1843-1907) himself was educated at Leipzig but
after his meeting with Nordraak he decided not to become
a Gade. He used his great talent first, last, and all the time
to express the simplicity and the tender poetry of his own
homeland. His gifts were not broad. They were exquisite
liked
in Scotland.
The name
He
tried
spelt Greig
is
hard
common
NORWAY. SWEDEN
333
in a desperate
and
his friends
SWEDEN
The Swedish folk-song has neither the richness nor the
character of the Norse. It has inspired less art-music.
Sweden herself, trending mainly southward, has been more
susceptible to the influences of her powerful neighbour across
the Baltic. Her folk-music was collected and published by
many scholars, such as Geijer, Afzelius of Upsala, Drake,
and Arwiddson. But down to the first half of the nineteenth
century her organized music was no more Swedish than the
Boston Symphony Orchestra
is
American.
It
was imported
for cash.
A HISTORY OF MUSIC
334
'
FINLAND
a semi-autonomous portion of the Russian emits position on the eastern side of the Gulf of
Bothnia, that would seem to be its natural destiny. But
Finland
pire.
is
From
own nationality.
The Finlanders
and
lyric kinds.^
SWEDEN. FINLAND
335
people.
The
fourth
member
of this
group
Sibelius (65).
He studied both in Berlin and in Vienna.
But on his return to Finland he asserted his position as an
is
Swan
and Finlandia.
Finnish music is in a healthy condition.
that fights against Russification fights for
'
A HISTORY OF MUSIC
336
DENMARK
Denmark
is
Down
337
He
BOHEMIA
Bohemian music may almost be summed up in two words
and Dvorak. It is true that the Dusseks,
Kalliwoda, and Tomaschek were Bohemians by birth
Smetana
title.
and
life
Liszt,
A HISTORY OF MUSIC
338
could never have tempted fate with a first opera called The
Brandenburgers in Bohemia. There was something literary
and considered about his attitude. Consequently the music,
though always suave and charming, often lacks personality.
This criticism can certainly not be made of his pupil
Dvorak (1841-1904), all of whose music strikes the note
of a violent egotism.
The ejcternal events of his life were a
sojourn in Prague, then in England, then in the United States,
and finally a return to his native country. At first his music
reflected the colours of Wagner's harmony.
But this tinge
soon disappeared. It is interesting to recall the fafct that
his earliest recognition came from Brahms.
During his
stay in England he produced his Stabat Mater, Husitska
overture, and The -Spectre's Bride
perhaps his best work.
But he only liked the English so long as they were willing
to "feed out of his hand." And by this time there were a
good many hard-thinking musicians in that country. Criticism on a dull cantata. Saint Ludmila, apparently fixed his
determination to cross the Atlantic. His stay in America
was signalized by the production of the F-major Quartet and
the New World Symphony. And the composition of these
works was accepted by musical America as DvoMk's lesson
^
in nationalism.
great deal of misconception has gathered round this
point, and it may be as well to state the facts of the case.
In the first place, on the thematic side Dvorak did not generally employ pre-existing folk-song at all.
Even in the works
to
it
DVORAK
339
Allegro molto
The information
340
A HISTORY OF MUSIC
Gsoup
Plate XXXIII.
From
Verdi
DVORAK. ITALY
341
A HISTORY OF MUSIC
342
He wrote twenty-eight operas. Of these, twenty-two (including Rigoletto, II Trovatore, and La Traviata) may be
classified under his first period ; four {Un Ballo in Maschera,
La Forza del Destino, Don Carlos, and Aida) under his
second, or transition, period; and two (Otello and Falstaff)
under his third, or mature, period. He also wrote a considerable amount of instrumental music, of which only one
Of his remarkable sacred
string quartet has seen the light.
choral works, the "M.a,nzom" Requiem belongs to the Aida
period; the Stabat Mater and Te Deum to that of Otello.
While fully alive to the reforms effected by Wagner in Germany he never went beyond adopting such of them as
seemed to him sound for carrying out his own designs. He
had no sympathy with excessive length. His practical
experience taught him not to risk stage-waits. He kept the
musical interest centred in the voice, not in the orchestra.
He did not wholly ignore the gospel of leitrmotim, but he
was no slave to it. For the portrayal of individual men
and things he trusted to larger means of characterization
rather than to short musical mottos. As a result he is never
dull
and of all operatic composers he gives the least opportunity for cuts.
The man through whose mind a knowledge of the German
achievements filtered to his countrymen was Boito (42).
His one opera Mefistofele was in its way a challenge and a
revelation to Italy.
And his influence, exerted also through
the younger men and through his work as Verdi's librettist,^
has permeated the country till the present day. With his
name may be linked that of Sgambati (1843-1914), round
whom grew up a group of absolutists and Germanists such as
Bossi (61), Pirani (52), Martucci (1856-1909), and Franchetti (60).^ These men widened the musical outlook of
Italy but none of them had, in this matter, Verdi's broad
i
selective gifts.
Mascagni's career
In
Otello
and
is
Falstaff.
of a
complete opera
ITALY
343
Born
man.
and
its
has since not been able to recapture this mood. His flaring
early success has been somewhat in the nature of a disability.
He has also had the German Kaiser as librettist.
Puccini (58) was a pupil of PonchielU. Though five years
Mascagni's senior he made his artistic success later. In
every respect he is a musician of a much higher type. He has
.
successes include
first-class.^
' Spain
has produced no recognized modern' school of composition.
She shows, however, very evident signs of great latent capacity in this direction.
Her friends would not be surprised at any sudden development of
Many Spanish musicians habitually prefer to hve
the national music.
A HISTORY OF MUSIC
344
FRANCE
The musical godfather of the new French school was
Franck (22-90), a Li6geois musician who settled in Paris and
became a French citizen. He began his artistic career as an
organist, and was so much absorbed in his instrument that
his whole technique was affected by it throughout his life.
But his position at the Conservatoire and the personal
devotion which he inspired there, made him eventually the
greatest power in modern France. He never wrote an unworthy bar nor faltered for an instant in his artistic aims.
He was progressive always, but within the bounds of reason.
In singleness of purpose and in disregard of worldly consideraand that, although
tions he resembled John Sebastian Bach
the conditions of Parisian life were so much more distracting
than those of sleepy Leipzig. But here the resemblance
ceased. He was too self-critical to be prolific; and his
works, always interesting and sometimes beautiful, are comparatively few for his length of life. Among the best of these
are his great D-minor Symphony, the Prelude, Aria, and
Finale, the Prelude, Chorale, and Fugue (both for pianoforte),
the Symphonic Variations and Les Djinns (both for pianoforte and orchestra).
Franck died before the days of his European fame. But,
as we have already hinted, his influence was exerted not so
much by his actual compositions as by the example of his
simple earnest life. A band of enthusiastic young Frenchmen gathered round him and cultivated a lofty idealism which
was certainly at that time a strange plant in Paris. Among
these pupils were such men as Vincent D'Indy, Pierre de
Thus a nineteenth century
Breville, and Guy Ropartz.
Fleming established a new tradition in France, and in so
doing merely repeated there what his forefathers had
done in the sixteenth century and the Italian LuUi in the
in
FRANCE
345
seventeenth.
persisted.^
;
poetry.
On the technical side, Debussy's experiments in harmony
and instrumentation have sound knowledge to back them,
even if at times eccentricity overbalances beauty. In hig
^
For
Berlioz, THoftias,
see.
chapter
XIV.
A HISTORY OF MUSIC
346
orchestration he
of effect with a
is
minimum
of forces.
We
have said nothing so far of his opera PellSas et MSlisande, perhaps the most admired and 'disliked work ever
written.
To some it is the acme of monotony, to others
the quintessence of poetry. It certainly lacks direct and
convincing orchestral melody. But one must remember that
Debussy's object in writing it was to do over again what
Gluck and Wagner had done before him; to reform opera
by getting rid of parasitic vocal phrases and restoring the
proper position of superiority. And when we
the composer was born in Paris two years before
Meyerbeer died, we must allow him to have had some strength
drama
to
its
reflect that
of
Very
FRANCE
347
ited
by
his tenets.
His literary
A HISTORY OF
348
MTJSIC
A large part of
Pittoresques have been most successful.
Massenet's time has been devoted to teaching composition
at the Conservatoire, and he has a long list of distinguished
pupils.
Of these we
shall
Meistersinger.
Messager (55)
FRANCE.
GERMANY
349
Madame Holmes (1847-1903) as an energetic woman-composer corresponded with that of Miss Smyth in England
arid Mrs. Beach in America; while Mademoiselle Chaminade (61) is probably the only feminine composer in the world
who never relies on the loud pedal.
of
GERMANY
The technical developments of modern Germany are based
mainly on the achievements of Richard Wagner. But the
composers of that happy musical country are able to draw
their inspiration from Mozart, from Schumann, and from
Brahms; at the same time recognizing sanely that the last
word in art is not with any of these men. We must therefore be prepared to find that the most imposing figures of
the second group
have built
such as Richard Strauss
it
German music
is
true.
lies in
'
the
They
inherit a double
;as
their
patrimony
classical
is
A HISTORY OF MUSIC
350
to
Wagner some
points of
humorous characterization
in the
Meistersinger.
GERMANY
351
tale) = (Success).
His Hansel und Gretel is an amazing
mixture of fact and fancy, invention, borrowing, adaptation,
and theft. iEsthetically it is a thing of never-fading charm
and technically a masterpiece of the (old style) counterpoint.
It seems almost libellous to say anything against a work that
has delighted millions; but one must record the fact that
outside Germany the association of the Wagnerian technique
with such a simple little story is looked on as almost criminal.
An epic on "Mary had a little lamb" would be as natural.
However, one can't "argue with an earthquake." Of
Humperdinck's other works, such as the cantata Das Gluck
von Edenhall, and the operas Domroschen, Saint-Cyr, and
Die Konigskinder, only the last has been successful.
The other post-Wagnerian opera composers
such as
Kistler (1848-1907), Bungert (46), and Schillings (68)
seem to be more post-Wagnerian than pre-anybodyelsian.
But an exception must be made of Kienzl (57) and his work
Der Evangelimann. Siegfried Wagner (69). is still Wagner
jun.
not Wagner II.
Richard Strauss (64) was brought up like all good Germans
on a diet of Mozart, Beethoven, Schumann, and Brahms.
His Horn Concerto shows the earlier influence his Symphony
in F-minor and his six-part Wanderer's Sturmlied the later.
But there are passages in the symphony that presage the
Strauss-to-be. The turning points in his career were his
acquaintance with Ritter (an enthusiast for Berlioz and
Wagner) and
new
known
A HISTORY OF MUSIC
352
But
orchestral
it is
workmanship
Till Eulenspiegel,
GERMANY
353
now
gifts,
modern world.
In the youngest group of composers Siegmund von
Hausegger (72) is a proteg6 and fellow-worker with Strauss.
He has not been successful in the operatic field, but his symphonic poems such as Barbarossa and Wieland der Schmied
have been well spoken of, though criticised for their diffuseness.
One would like to hear his enormous Barbarossa
played before Frank Bridge's tiny string Lament (marked
Catherine, aged 9, "Lusitania," 1915).
It would teach
more than one lesson.
Reger (73) is one of the "intellect for its own sake" brigade.
He has even used a theme crab-wise as the fifteenth
century pundits did.^ Beethoven also did this. But there
is this difference
that Beethoven selects a tune which is
recognizable backwards, while Reger overlooks this fundamental necessity. His variations On a theme by Bach, On a
theme by Beethoven (for two pianos), and On a theme by Mozart (for orchestra) all exhibit abundant technical and
,
may
be
fair to
2a
'
A HISTORY OF MUSIC
354
honest.
will
understand
this point.
Among
his published
harmonies
works are
Hale
(or
HaUe).
1230-88.
Adam von Fulda. c. 1450-?.
1785Afzelius, Arvid August.
e.
Aristotle.
1736.
1647-1710.
Alembert, Jean
1717-83.
le
Rond
Bach,
August
Wilhelm.
(Saint, of Milan).
Carl
("Bach
1816-76.
333-
1842-1901.
1710-70.
d'.
1872-.
Alfven, Hugo.
Alle^, Gregorio. 1584-1662.
Alypius. 4th. eentiu-y b.c.
Ambrose
1782-1871.
Audran, Edmond.
1736-1809.
Alcuin. 735-804.
Aldrich, Henry.
b.c.
Ambros,
384-322
1871.
?-1522.
Agricola, Alexandfer.
1486-1556.
Agricola, Martin.
'
Philipp
Emanuel
Hamburg"
or "of
BerUn"). 1714-88.
Bach, Johann Christian ("Enghsh Bach"). 1735-82.
Bach, Johann Christoph. 1642of
1703.
97.
1560-1630.
Anerio, Fehce.
Anerio,
Giovanni Francesco.
1567-1620.
Animuccia, Giovanni,
Bach,
c.
Museum.
of
the
British
1685-
1750.
Friedemann
Wilhelm
("Bach of Halle"). 1710-
1500-
71.
Anonymus,
c.
2d
century a.d.
'Adam de
d'.
Quintilianus.
Aristides
56.
84.
Baini,
Giuseppe. 1775-1844.
BalaMreff, Mily Alexejevitch.
1836 (Dec. 31. O.S.)-1910.
Balfe,
70.
355
Michael WiUiam.
1808-
A HISTORY OF MUSIC
356
1630-79.
Banister, John.
Bantock, Granville. 1868-.
Bardi,
Giovanni,
Conte del
Vernio. Late 16th century.
1828-97.
Bargiel, Woldemar.
Barnett, John.
1802-90.
Basiron, Philippe. 15th century.
Bath, Hubert. 1883-..
Beach, Mrs. H. H. A. 1867-.
Bedos de Celles (Dom Francois).
1706-79.
1770-
1827.
1834r-87.
1520.
Bruneau,
(Louis-Charles-Bona1857-.
venture-) Alfred.
Buxtehude,
1639-
Dietrich.
1707.
69.
Berwald,
Johann
1788-1861.
WilUam.
Friedrieh.
524.
Frangois-Adrien.
1775-1834.
Boito, Arrigo.
Caccini,
Giulio
(called
"Ro-
75.
Blithman, William.
?-1591.
Blockx, Jan. 1851-1912.
Blow, John. 1648-1708.'
1743-1805.
Boocherini, Luigi.
Boellmann, Lgon. 1862-97.
Boethius, Anicius ManUus Torquatus
Severinus.
c. 475-
Boieldieu,
1542-1623.
Byrd, William.
1746-1800.
c.
vitoh.
-BelUni, Vincenzo.
Benedict, Julius.
Billings,
1842-.
Campenhout,
van.
Francois
1779-1848.
Carissimi,
Giacomo.
c.
1604r-74.
1599.
Caletti-Brani),
1600-76.
1844r-91.
?-1572.
1842-94.
Chadwick,
Bartolommeo. 1653-
Cristofori,
George
Whitfield.
1854-.
1731.
Croce, Giovanni.
15577-1609.
Croft, William.
1678-1727.
I860-.
Dannreuther, Edward.
1844-
1905.
1901.
Cifra, Antonio,
c. 1575-c. 1636.
1867-.
Cilea, Francesco.
-
Domenico.
1813-69.
1853-.
vitoh.
Davey, Henry.
1749-
1801,
Clarke,
Jeremiah,
c. 16691707.
1840-89.
Clay, Frederick.
Cimarosa,
Jacques ("Clemens
non Papa"). ?-c. 1558.
Clementi, Muzio. 1752-1832.
Clement,
Combarieu,
'
"or "Cottonius").
12th centuries.
to
11th-
centuries.
A HISTORY OF MUSIC
358
?-1474.
Dufay, Guillaume.
Dukas, Paul. 1865-.
?-1453.
Dunstable, JoHn.
Durante, Francesco. 1684r-1755.
Ladislaus.
Dussek,
Johann
1761-1812.
DvoMk, Antonin. 1841-1904.
Late 12th
Franco of Cologne.
oentiiry.
Franco of
Early 12th
Paris.
century.
Franz, Robert
(born Knauth;
Franz
Christoph
Knauth, adopted his second
father,
name
E
1668-1735.
Eccles, John.
Edwardes, .Richard. 1623-66.
1832-1905.
Eitner, Robert.
Elgar, Edward William. 1857-.
1816-93.
Elvey, George (Job).
Emmanuel, Maurice.
1862-.
1818-82.
I860-.
Eratosthenes (of Gyrene).
195 B.C.
Expert, Henri. 1863-.
as surname in 1847).
1815-92.
Girolamo. 1583Frescobaldi,
1644.
Froberger,
Johann
o. 1605-67.
Fux, Johann Joseph.
1741.
Enna, August.
Richard
276-
Friedrich.
1835-.
?-1580.
Farrant, Richard.
ParweU, Arthur. 1872-.
Faurg, Gabriel-Urbain. 1845-.
Payrfax, Robert. 1460?-1629.
Ferrabosco, Alfonso,
c. 15801652.
?-1545.
Festa, Costanzo.
Festing, Michael Christian, c.
1680-1752.
F6tis, Frangois-Joseph.
17841871.
F4vin, Antoine de. 1490 ?-1516 ?
I860-.
Franchetti, Alberto.
See
Franchinus
Gafurius.
Gaforio.
Pranek, Cfisar-Auguste. 182290.
1660-
Bngel, Karl.
Faltin,
Jacob.
Gabrieli, Andrea.
1510 ?-86.
Gabrieli, Giovanni. 1557-1612.
1817-90.
Gaforio (or Gafori), Franehino
Gafurius").
("Franchinus
1451-1522.
1533Galilei,
Vineenzo.
c.
c. 1600.
Gallus, Jacobus,
c. 1550-91.'
Galuppi; Baldassare (called II
BuraneUo). 1706-84.
Garland, John ("Johannes de
Garlandia " )
13th century.
Gaspar. See Weerbecke.
Gaspari, Gaetano. 1807-81.
Geijer, Erik Gustaf 1783-1847.
Geminiani, Francesco, c. 1680.
1762.
Gibbons, Orlando.
1583-1625.
Paul.
359
Handel
1868-.
1865-.
1570.
1800-80.
Goss, John.
Gossec, Frangois-Joseph. 17341829.
Goudimel, Claude. 1505-72.
Charles-Francois.
Gounod,
1818-93.
See Viadana.
Grove, George. 1820-1900.
Guido d'Arezzo. 990-1050.
Alexandre-F61ix.
Guihnant,
Grossi.
1837-.
Gungl, Joseph.
IN MUSICAL HISTORY
1810-89.
1759.
1699-
1783.
Hausegger,
Siegmund
von.
1872-.
Hawkins, John.
1719-89.
1732-
1809.
HeUer, Stephen.
Helmfioltz,
1815-88.
Hermann Ludwig
Ferdinand. 1821-94.
Henderson,
William
James.
1855-.
1728-1804.
Hipkins, Alfred James.
1826-
1903.
Hobrecht.
Hofmann,
See Obrecht.
Heinrich
Johann). 1842-.
Hoi, Richard. 1825-.
Holbrooke, Josef. 1878-.
Hollingue. See Mouton.
(Karl
A HISTORY OF MUSIC
360
Mary Anne.
1903.
Hoist, Gustav von.
1847-
KalUwoda,
1874r-.
Kajanus, Robert.
15th
cen-
tury.
I
1856-.
Wenzel.
Johann
1801-66.
Kastner, Johann Georg.
1810-
67.
Keiser, Reinhard.
1674r-1739.
K61er-Bela, Albert (or Albert von
1820-82.
K61er).
Kelley, Edgar StUlman. 1857-.
1762-1826.
Kelly, Michael.
Kerle, Jacques de. 16th century.
Kerll, Johann Caspar. 1621-93.
1821-85.
Kiel, Friedrich.
1857-.
Kienzl, Wilhelm.
Raphael Georg
Kiesewetter,
.
Khndworth, Karl.
1830-.
Koven (Henry
Louis) Reginald
1859-.
Krehbiel, Henry Edward. 1854Kuhlau, Friedrich. 1786-1832.
KuUak, Theodor. 1818-82.
De.
1730-1803.
Jadassohn,
Salomon.
1831-
1902.
Jahn, Otto.
1813-69.
Jannequin, Clement. 16th century.
1869-.
Jarnefelt, Armas.
Jelinek, Franz Xaver. 1818-80.
JenMns, John.
1592-1678.
1837-79.
Jensen, Adolf.
Joachim, Joseph. 1831-1907.
Johannes (Chrysorrhous) Damascenus. c. 700-60.
John (of Fornsete). Early 13th
century.
JommeUi, Nicola. 1714r-74.
1752-1824.
Jones, Edward.
16th and 17th
Jones, Robert.
centuries.
'
Lachner, JTanz.
Lalo,
Edouard
1804r-90.
(-Victor-
Antoine). 1823-92.
Lambillotte, Louis. 1797-1855.
1588Lanier, Nicholas.
c.
c. 1665.
La Rue.
Lasso,
See Rue.
Orlando di
(properly
1830-1904.
Lawes, WiUiam. 1582-1645.
Lawes, Henry. 1595-1662.
LayoUe, Francois de. Early
16th century.
Le Bossu d' Arras. See Adam
de la Hale.
Leclair, Jean-Marie. 1697-1764.
Lecocq (Alexandre-), Charles.
1832-.
Legrenzi,
c.
1625-
90.
1855-.
LiapoTinow,
Serge
Michailo1859-.
vitch.
Lindblad, AdoK Fredrik. 1801Liadoff, Anatole.
78.
Ludwig Mathias.
Lindemann,
1812-87.
Thomas.
Linley,
Liszt,
Franz
1725-95.
(or Ferencz).
1811-
86.
Loeatelli, Pietro.
361
1799-
1693-1764.
1632-77.
Locke, Matthew.
Loder, Edward James. 1813-65.
Loeffler, Charles Martin Tornov.
1861-.
Logroscino, Nicola,
Massenet,
1700-63.
1865-.
Loris (or
Loritus), Heinrich.
See Glareanus.
Albert.
Lortzing
(Gustav),
1803-51.
Lotti, Antonio,
c. 1667-1740.
LuUy
(or
LuUi), Jean-Baptiste
1633-87.
Luther, Martin.
(or
1483-1546.
Alexis von.
Lvoff),
1799-1870.
Blackwood.
1868-.
1849.
Mazzoechi, Domenico.
c.
c.
1590-
165Q.
1763-
1847-.
See Perotinus.
1809-47.
ssohn-Bartholdy).
Merbecke
(or
Marbeck).
1523-
1581.
Merulo
Merlotti),
(properly
Claudio
1861-1908.
Magnus.
1842-1908.
Mattheson, Johann. 1681-1764.
Mayseder, Joseph. 1789-1863.
1782'Mazas, Jacques-Ffireol.
c.
M
McEwen,
(-Emile-
Jules
FrSderic).
1817.
de.
Lwow
1822-84.
Victor).
c.
Harvey Worthington.
Loomis,
1866.
(called
"da Coreg-
gio").
1533-1604.
Messager,
Andr6
Prosper).
(-Charles-
1855-.
A HISTORY OF MUSIC
362
1719-87.
Olsen, Ole.
1850-.
Pachelbel, Johann.
1653-1706.
1796-1867.
1809-91.
Paer, Ferdinando. 1771-1839.
Paganini, Niccol6. 1782-1840.
Paine, John Knowles.
1839Pacini, Giovanni.
Pacius, Friedrioh.
1906.
Wolfgang Amadeus
(christened Johannes Chrysostomus WoKgangus Theoph-
Mozart,
ilus).
1756-91.
Muris, Johannes de.
14th cen-
tury.
N
Nanini, Giovanni Bernardino.
?-1624.
Nanini,
Giovanni
Maria.
c. 1540-1607.
NSpravnik, Eduard. 1839-.
Neri, Filippo.
1515-95.
Nesvera, Joseph. 1842-.
Nevin, Ethelbert. 1862-1901.
Newman, Ernest. 1869-.
Nicolai, Otto.
1810-^9.
Nordraak, Rikard. 1842-66.
Notker (or Notger, called Balbulus).
?-912.
Nottebohm,
Martin
Gustav.
1817-82.
Paisiello,
Giovanni.
1741-1816.
(properly Giovanni
Pierluigi Sante, called "da
Palestrina").
1514 or 1515-
Palestrina
94.
Giovanni
Battista.
1710-36.
Obrecht
Hobreoht,
Hobertus), Jakob.
(or Obreht,
Obertus,
1430?-1500?
O'Carolan, Turlogh. 1670-1738.
Odington, Walter ("The Monk
of
Odo
Evesham").
?-e. 1316.
?-942.
Cluny).
Offenbach, Jacques. 1819-80.
(of
Okeghem
(or
Okekem, Oken-
1466-1539.
PhiUdor, Frangois-Andrfi Danican-.
1726-95.
Philippe de Mons. See Monte.
Philippe de Vitry. See Vitry.
Phihpps, Peter.
?-1633?
Piceini
(or Piccinni,
Nicola.
1728-1800.
Pierng
briel.
Picini),
(Henri-Constant-)
1863-.
Ga-
iiii
UMiJiii)
iNAiViiiiB
Kerson
Pearson),
(properly
Henry Hugo ("Edgar Mansfeldt").
1815-73.
Pipelare, Matthaus.
15th and
16th centuries.
1852-.
Pirani, Eugenio.
1869-.
Pirro, Andrg.
Planquette
(Jean-)
Robert.
1850-1903.
Plato. 429-347 b.c.
1623-93.
Playford, John.
Plutarch, c. 50-c. 120 a.d.
Ponchielli, Amilcaxe.
1834r-86.
Antonio.
Niccolb
1686-1766 or 1767.
1530?-1601.
Porta, Costanzo.
Portugal (or Portogallo) Marcos
Antonio ("Portugal da Fon1762-1830.
seca").
Porpora,
Hambly.
1792-1871.
Power, Lionel. Middle 15th century.
Pratorius
(or
Praetorius)
Michael. 1571-1621.
PrSs. See Des PrSs.
Proske, Karl. 1794r-1861.
Prout, Ebenezer. 1835-1909.
Ptolemy (or Claudius Ptole,
maeus).
2nd century
a.d.
Puccini, Giaoomo.
1858-.
PuroeU, Henry. 1658-95.
Pythagoras, c. 582-c. 500 B.C.
iIn
iViuSICAL
Regino
(of
HISTORY 363
Prum)
Regnart
Hermannus.
Reimann, Heimich.
1850-.
Reinecke, Carl (Heinrich Car1824-1910.
sten).
Reinken (or Reinke, Reinicke),
Johann Adam. 1623-1722.
Reissiger,
Karl Gottlieb.
1798-
1859.
Reissman, August.
1825-.
Auxerre). 9th century.
Reyer (properly Rey), LouisEtienne-Ernest. 1823-.
Reznicek,
Emil
Nicolaus
1861-.
Freiherr von.
Rheinberger, Joseph (Gabriel).
1837-1901.
Richter, Ernest Friedrieh (Ed1808-79.
uard);
Riemann, Hugo. 1849-.
Remi
(of
Rimbault,
Edward
1816-76.
Rimsky-Korsakoff.
Francis.
1844-1908.
WiUiam Smyth.
Sergei VassOie1873-.
vitch.
Raff, Joseph Joachim. 1822-82.
Raimondi, Pietro. 1786-1853.
Rachmaninoff,
Rameau, Jean-PhiUppe.
1683-
1764.
1823-95.
1868-.
Romano, Giulio. See Caccini.
Romberg,
Andreas
(Jacob).
Rolland, Romain.
16th
1767-1821.
Ropartz, Guy J. 1864r-.
Rore, Cipriano da. 1516-65.
1690Roseingrave, Thomas.
1766.
Rossini,
Gioachino
Antonio.
1792-1868.
Claude-Joseph.
Rouget de I'lsle,
1760-1836.
Rousseau^ Jean-Jacques. 171278.
Anton
Rubinstein,
1830-94.
vitch.
Gregoro-
Pierre' de la
("Petnls
?-1518.
Platensis").
Rue,
A HlSxOuy Of MUBiO
364
s
ehino").
Scariatti,
1729-1802.
Alessandro.
1659-
1725.
Scariatti,
Domenico.
1683 (or
1685)-1757.
Scharwenka
(Franz)
Xaver.
1850-.
Soheidemann, Heinrich.
1596-
1663.
1587-1654.
Scheldt, Samuel.
Schein, Johann Hermann. 15861630.
1868-.
Schillings, Max von.
1796-1864.
Schindler, Anton.
Schneider (Johann Christian)
1786-1853.
Friedrich.
.
1747-1800.
Seroff,
Alexander Nicolaievitch.
1820-71.
Sgambati,
Giovanni.
1843-
1914.
1748-1829.
Shield, William.
1865-.
Sibelius, Jan.
Simpson
(or
Sympson), Chris-
?-1677.
topher.
Sinding, Christian.
1856-.
Sjogren (Johann Gustav) Emil.
1853-,
1858-.
Nieolai Pheopento1846-.
1863-.
Somervell, Arthur.
1703Sorge, Georg Andreas.
1778.
Soriano (or Suriano), Francesco.
1549-1620.
Sousa, John Philip. 1856-.
1865-.
SpineUi, Nicoola.
Spitta (Johann August) Philipp.
1841-94.
Spohr, Ludwig (or Louis). 1784r1859.
Spontini, Gasparo (Luigi Paci1774-1851.
fioo).
Squire, WiUiam Barclay. 1855-.
1840-1901.
Stainer, John.
1746-1801.
Stamitz, Karl.
Stanford, Charles Villiers. 1852-.
Steherbatcheff,
Nicolas
de.
1853-.
1655-1730.
Steffani, Agostino.
Steibelt, Daniel.
1765-1823.
Stenhammar, Wilhelm. 1871-.
Storace, Stephen.
1763-96.
Stradella, Alessandro. c. 1645Solovieff,
vitch.
81.
Strauss, Johann (Jr.). 1825-99.
Strauss, Johann (Sr.).
1804r-49.
Strauss, Richard.
1864^.
Stravinsky, Igor.
1882-.
Strong,
George
Templeton.
1855-.
Strube, Gustav.
1867-.
Stucken, Frank (Valentin)
der.
1858-,
van
Sullivan,
Seymour.
1842-1900.
Suppg, Franz von. 1820-95.
Suriano. See Soriano.
Svendsen,
Johan
(Severin).
1840-1911.
SweeUnok,
Jan
Utendal
TaUis,
Talys),
1510-85.
1856-.
Tanieff.
Tansur, WiUiam. c. 1700-83.
e.
Tartini, Giuseppe.
1692-1770.
(Charles-Louis-),
Am-
1811-96.
broise.
Tiersot,
Jean-Baptiste-Blys6e1857-.
Julien.
Tinctoris, Johannes (or John
Tinctor, properly Jean
Vaerwere). 1446-1511.
1854-1912.
Tinel, Edgar.
Tomasehek,
(properly
Johann
Jan
de
Wenzel
Vficlav
Tomasek). 1774-1850.
Tovey, Donald Francis. 1875-.
Tommaso (Michele
Francesco Saverio). 1727-79.
Traetta (or Trajetta), Filippo.
1777-1854.
Troutbeck, John. 1832-99.
Tschaikowsky, Peter Ilyitch.
1840-93.
1650o.
Tudway, Thomas.
Traetta,
1730.
Tunsted
stede),
Tumhout, Gerard de
(or
Thomas,
Thomas
1802-82.
(properly
Gheert Jacques, called Turnhout). c. 1620-80.
Tye, Christopher, c. 1500-85.
Turle, James.
Pieterszoon.
1562-1621.
Sympson. See Simpson.
TaUis
365
Pietro
Francesco.
1570-1654.
Vanderstraeten, Edmond. 1826Valentini,
'
c.
95.
Van
Ludovico
1645.
Vicentino,
1576.
Grossi).
Nicola.
1564r-
1511-c.
Tomaso Ludovico da
Tomas Luis de
(properly
15407-1613.
Victoria).
Vivaldi, Antonio, c. 1675-1743.
Vleeshouwer, Albert de. 1863-.
Vogler, Georg Joseph ("Abbe
Vogler").
Volkmann
1749-1814.
Robert.
(Friedrich)
1815-83.
Voss, Gerhard Johann.
1649.
1577-
366
A HISTORY OF MUSIC
Arthur
Battelle.
George
Elbridge.
1861-.
Whiting,
1842-.
Whyte, Robert.
1814r-56.
Whiting,
1786-
1826.
Weekerlin, Jean-Baptiste-Theo1821-1910.
dore.
?-1623.
Weelkes, Thomas.
Gaspar
van.
Weerbeeke,c. 1440Wegelius, Martin. 1846-1906.
Felix.
Weingartner,
(Patd)
1863-.
Wellesley, Garret CoUey, Earl
1735-81.
of Mornington.
1645Werckmeister, Andreas.
1706.
Samuel
Sebastian.
Wesley,
1810-76.
Westphal, Rudolf (Georg Hermann). 1826-92.
?-1574.
Williams,
Ralph
Vaughan.
1872-.
Wilson, John ("Jack Wilson").
1594-1673.
Wolf-Ferrari, Ermanno. 1876-.
Wolf, Hugo. 1860-1903.
Wooldridge, H. EUis. 1854^.
Wormser, AndrS (-AlphonseToussaint). 1851-.
Zarhno, Gioseffe.
1517-90.
INDEX
I
In the case of subjects and composers mentioned many times in the book,
the principal reference will be found under the conventional sub-heading
" discussion of."
C. F.
Arabian Instruments,
Absolute Music, 232, 246, 261, 272,
273, 295.
.Arehilochus, 69.
Adam, A. C,
See Chittarone.
308.
discussion of, 312.
Ajria, the, 217, 221, 222, 231.
A)f:chlute.
Apnsky,
270, 271.
244.
cum
luya, 135.
Atian,Psalmody, 79.
AUe
23.
B
Babylonians. See Assyrians.
Bacchylides, 66.
Bach, C. P. E., 237, 261, 296.
discussion of, 246.
family, the, 237, 331.
Bach, J. C, 237, 251.
Bach, J. S., 98, 109, 221, 223,
226, 227, 228, 229, 231,
236, 240, 241, 246, 255,
261, 282, 283, 290, 296,
300, 301, 344, 353.
discussion of, 237.
Bagpipe, Assyrian, 19.
Bach
367
225,
233,
257,
297,
368
INDEX
Baillot, 225.
Baker-Sunde, 333.
Balakireff, 308.
Monodists.
'
BeU,
,
Monophony.
Bartolozzi, 249.
Basiron, 152.
Bassani, 224.
Bass Viol. See Viola da Gamba.
Bateson, 166, 171.
Bath, Hubert, 308.
discussion of, 321.
Bauck, 286.
Bax, Arnold T., 322.
Bayreuth, 220, 294, 350.
Beach, Mrs., 308, 349.
discussion of, 328.
Bedingham, 150.
Beethoven, 4, 221, 226, 231, 233, 245,
247, 249, 251, 253, 262, 263, 264,
266, 267, 282, 283, 288, 291, 293,
296, 297, 308, 351, 352, 353.
discussion of, 254.
Belgian School, 330.
table of composers, 330.
See also
Flemings. Flemish.
W. H., 322.
Bells
Egyptian, 16.
Bells on drums, 182.
Bells,
Bendemann, 288.
Benedictus, the early, 79.
Benet, 150.
Benet, John, 166, 171.
Bennett, W. Sterndale, 283, 286.
discussion of, 301.
Benoit, 325, 330, 331.
discussion of, 331.
See Shawms.
Bordoni, 242.
Borodin, 308.
Bombards.
Bortniansky, 309.
Bossi, 342.
origin
INDEX
Brumel, 154,
Bruneau, 340, 347.
Bruneau, discussion
348.
Buckingham
369
Palace,
MSS.
at,
237.
Bull, 166, 168, 171, 172.
Biilow, Hans von, 290, 294, 298.
Bungert, 351.
Buononcini, 235.
Burleigh, H. T., 326.
Bilsnois, 146, 152.
Ills,
Byron, 286.
Byzantine notation, 101, 108.
Byzantine scales and modes, 90, 99.
65.
Chromatic kind,
Cadman,
Cambridge, MSS.
Canon, 152, 292.
Canio fermo, 152.
the, 57.
See Hurdy-gurdy.
Chyfonie-Jl-roue.
Cicero, 49.
Cifra, 173.
Cilea, 343.
Cimarosa, 267.
Clappers, the, 31, 36.
Clarinet, origin of the, 186.
See also Trump.
Clarion, 23, 184.
Trumpet.
Clarke, 233.
Clasing, 296.
Claspan. See Cymbals.
Clavicembalo, 190, 223.
origin of the, 192.
Chadwick, 308.
Clonas, 69.
Clutsam, George, 322.
Collan, 335.
2b
Compare, 15S.
319.
See
Singspiel.
370
INDEX
Egyptian, 16.
Hebrew, 21.
Indian, 26.
De
Bgriot, 225.
Monophony.
DSlibes, 340, 345.
discussion of, 348.
Delius, 308.
discussion of, 317.
125.
See Danish.
Des
Dithyramb,
Czerny, 288.
42.
181.
180,
INDEX
Dowland, discussion
169.
of,
Drake, 333.
99.
Dresel, 300.
Drums, 182.
Eisner, 298.
196.
Egyptian, 16.
Hebrew,
21.
Indian, 26.
Roman,
173.
table of composers, 166.
72.
Duborg, 225.
Dufay, 142. 143,
146,
149,
153,
Enharmonic kind,
Erdody, 257.
Dumas
''
318.
166.
discussion of, 151.
Dukas, 349.
the, 59.
Enna, 330.
discussion of, 337.
Chinese, 37.
y^
371
259.
Dunstable, 88, 90, 142, 143, 145, 146,
^ ISS.'lSS, 154, 176.
discussion of, 148.
Duple time, 136, 143.
Dupuis, 331.
Durante, 223.
Diirer, 227.
Dussek, 337.
Dutch School, 331.
Dutch, the, 151.
Duyse, van, 331.
Dvorak, 297, 319, 320.
discussion of, 338.
(pfere),
Farrant, 166.
Farwell, A., 308.
discussion of, 327.
Faurfi, 340, 345.
discussion of, 348.
Fawcett, 302.
Fayrfax, 166, 180.
discussion of, 167.
Edward VI,
178.
Edwardes, 166, 180.
Egyptian instruments,
IS.
Fiddle, 77.
Chinese, 37.
Violin.
Violin
78.
Family.
Violin Schools.
list
of, 167.
aXso
(Eliza-
See
INDEX
372
Finnish School, 334.
table of composers, 330.
Fipple. See Flutes.
Franok, discussion
Fisher, 340.
Fistula, the
Roman,
of,
344.
71.
in Italy, 158.
Assyrian, 19.
Chinese, 31, 35, 37.
douces, 197.
Egyptian, 16.
apple, 197.
Hebrew, 21.
Spanish, 9.
Swedish, 333.
See also Ballad-Singers.
ism. Song.
Foote, Arthur, 308.
discussion of, 324.
National-
Forest, 150.
Franohetti, 342.
Franck, 277, 331, 340, 345, 346.
George
INDEX
Germany, North and South,
227,
373
229.
Ghiselin, 155.
modes,
musical
Gigue, 78.
art,
38-40.
Gilbert,
Henry
GUbert,
W.
S.,
F., 327.
246.
Gilson, 330.
discussion of, 331.
Giordano, 343.
Giotto, 151.
of,
Glazounow, 308.
discussion of, 312.
tone-system, 50-60.
Greene, Maurice, 237.
Gregorian Chant, 81, 95, 175.
also St. Gregory.
Gr^try, 241, 270, 271.
Grieg, 325, 330, 332.
discussion of, 332.
Grisi, 269.
Grove, George, 264, 265, 318.
Guiding March, the Chinese,
See
374
INDEX
164,
Harp, Assyrian,
19.
Hjelm, 332.
Hocket, the, 130, 139.
Egyptian, 17.
Hebrew,
21.
Welsh, 182.
Harp-type, the, 17.
Hartmann,
114, 126.
Homilius, 290.
Hoi, 331.
Holbein, 227.
Holbrooke, Joseph, 308.
discussion of, 319.
Holland, quoted, 197.
Holmes, Madame, 349.
Hoist, Gustav von, 322,
discussion of, 321.
Holyrood House, 190, 210.
Hautboy,
186.
Haydn, Joseph,
Hebrew instruments,
Temple Songs, 10,
Indian, 26.
Koman (cornu), 71.
speaking,
21.
11, 22, 82.
notation
Heller, 286.
Humperdinck, 340.
Hengrave
discussion
Henry IV
Henry V's Chapel, members
Henry VII, 167.
of,
350.
Heiiselt, 286.
sackbutters
Henry VIII,
of, 180.
163, 165, 167, 178, 179,
199.
musical instruments
of,
See also
of, 104.
Hellmesberger, 225.
Helmholtz, 99.
Hall, 170.
and VI, 147.
4-6,
singing,
202-4.
180, 181,
188.
54, 94.
of,
Iamb,
'
INDEX
375
Kommoi,
James
James
I,
165, 168.
surgit hora
Jannequin, 162.
74.
the, 65.
Kratzenstein, 33.
Krehbiel, H. E., 326, 339.
Kruys, van t', 331.
II, 313.
Jam
of,
Kytson, 170.
tertia, 79.
Jarnefelt, 330.
Jaydeva, 26.
Jenkins, 217, 225, 227.
Jewish. See Hebrew.
Joachim, 225, 260, 283, 289, 290, 297,
300.
John of Fomsete, 132, 133.
Jomelli, 223, 241.
Jones, Sidney, 308.
discussion of, 319.
Jordans, the, 77.
Josquin. See Des Pr^s.
Julian the Apostate, 75.
Lablache, 269.
Lady Necell's Booke, 172.
Lalo, 340, 345.
discussion of, 348.
Lambillotte, 116.
Lang, B. J., 300.
Miss, 328.
Langland, quoted, 144.
Lanier, 180.
La Rue.
See Rue.
Lassen, 330.
discussion of, 336.
Lasso, Orlando di, 142,
173.
discussion
Le Bossu
d'Arras.
See
Adam
de la
Legrenzi, 219.
See also Hurdy-gurdy.
Leier, 78.
Leit-motives, 342.
Lekeu, 330.
discussion of, 331.
Lenaerts, 331.
Leo, 223, 241.
Leonard, 225.
Leoncavallo, 340.
discussion of, 343.
21.
Indian, 26.
146,
Hale.
Leclair, 225.
Legge, Robin, 318.
Arabian, 23.
Egyptian, 16.
Keyed
143,
161.
Hebrew,
of,
origin
alsd
See
Notation.
INDEX
376
L'homme armi,
166.
Liadoff, 308.
discussion of, 311.
Lichnowsky, 257.
Lie, 333.
Lindemann, L. M., 330, 332.
Linley, 252.
Linos-song, the, 66.
Linsen, 335.
Liszt, 281, 283, 288, 292, 293, 295,
297, 298, 299, 300, 325, 336, 337,
345, 349.
discussion of, 288.
Lituus, the Roman, 71, 72.
Locatelli, 225.
Loeffler, C. M. T., 308.
discussion of, 328.
Loewe, 298.
Loomis, H. W., 308, 340.
discussion of, 328.
Lorenzo de' Medici, 218.
Lortzing, 245.
Louis XIV, 220.
Ludwig II (of Bavaria), 294.
(of Hungary), 184.
Lully (Lulli), 221, 222, 239, 240, 270,
271, 344.
discussion of, 220.
Lila, the Chinese, 28, 29, 31, 32, 37;
Lute, the, 169, 190, 193, 198.
ancient Roman, 71.
Arabian, 23.
.
Egyptian, 17.
Lute-type, the, 17, 24.
Lutheran Music, 229, 230. See aUo
Chorale.
Luther, Martin, 22, 175, 227.
Lyra, 78. See also Hurdy-gurdy.
Lyre, Assyrian, 19, 21.
Hebrew,
21.
M
Macaulay, 313.
MacCunn,
308, 322.
discussion of, 317.
MacDowell, 308.
discussion of^ 326.
MoEwen, 308, 318discussion of, 319.
MacLean,
Roman,
172.
Venetian, 161.
Magadis (magadizing), 40, 119.
Magdeburg organ, 75, 76.
Magnificat, the early, 79.
Mahler, 352.
Maitland, J. A. F., 318.
Mandoline, 27.
Manifesto of 1860, the, 290.
Manns, August, 265.
Marcello, 241.
Mary
INDEX
Mese (Greek
Mouteverde, 219.
Midas
of
Agrigentum, 42.
Morton, ISO.
discussion of, 169.
and oblique,
similar
Midsummer
Minnesingers, 206.
Minot, quoted, 23.
Missal, the, 80.
Mithras, 79.
256.
discussion
mediaeval, 163.
Modena, MSS. at, 148, 150.
Mouton,
155, 161.
publishing
7.
Biblical, 30.
of, 18.
iSee
description of,
tonic-pitch of,
Nagar!, 26.
Nakers, 23.
Nanini, the two, 172, 173.
Napoleon
Monckton,
Lionel, 308.
discussion of, 319.
Monochord, the, 192.
the Greek, 41.
Monodiai, the, 65.
Monodists, 10, 88. See also Bardi.
MoDeclamatory Recitative.
nophony.
Monpphony,
218.
Declamatory Recitative.
odists.
of,
163.
Musica Enchiriadis, 120.
Musica Acta, 96, 138, 164.
groupings
of, 7.
and
printinig
Musical instruments,
91.
the
of
122, 123.
Music, definition
377
Mon-
I,
257.
Ill, 293.
Naqqareh,
23, 26.
and
beginnings
INDEX
378
Oboe d'Amore,
continued
Nationalism
Flemings and Italians, 158.
Flemish, 344.
French, 270, 344.
Norse, 331.
Russian, 311.
Swedish, 333.
See aiso Folk-Song.
Nay, the Egyptian, 16.
Neefe, 255.
Neidhardt, 98.
Netherlands. See
Dutch.
ings.
Flemish.
Final
Close.
Odessohalchi, 257.
of,
279.
Neue
discussion
Olsen, 333.
Olympus,
of, 153.
66.
278,
'
and
clef-signs,
development
117.
of,
sharp,
and
natural, 108.
examples
of, 61,
62, 89.
modern
280,
Opera.
See also
Savoy.
Sing-
348.
spiel.
279,
Comic
Notation, 99.
B-flat, 94-6, 104, 108.
^
300.
105-7.
white, 100, 115.
Notations, table of various, 100.
obsolete mediaeval, 103-5.
Notker (or Notger) Balbulus, 83.
Nottebohm (Beethoveniana) 255.
Nunc Dimittis, the early, 79.
staff, the,
Shawms.
282, 291.
Oxford,
MSS.
INDEX
379
Piatti, 227.
Philharmonic Society
264, 282, 293.
PhUidor, 241,
(of
London),
Popes
Gelasius
I,
80.
Hadrian I, 102.
John XXII, 136, 139, 175.
Porpora, 223, 241, 242, 247.
Porta, 161.
Possessoris organ, the, 74.
Power, Lionel, 141, ISO.
Programme Music, 289.
earliest example of, 172.
Prolation, 113, 114, 137.
Proses, the early, 82.
Prosodia, the, 66.
Prout, Ebenezer, 318.
Psaltery, 192.
Assyrian, 19.
Hebrew, 21,
INDEX
380
Reynaud, 206.
Rhythm, fundamental importance
Pseudo-Hucbald, 192.
obsolete notation of, 103.
Ptolemy, 92.
of,
3,7.
Ribera, 162.
Puccini, 340.
discussion of, 343.
Pugnani, 225.
Riemann, Hugo,
Puknon,
the, 59.
Purcell, 147, 170, 218, 227, 233, 234,
246, 248, 301, 313.
discussion of, 220, 226.
Pushkin, 309.
Pythagoras, 15.
Queen
Elizabeth's Virginal
See Pitzwilliam.
Quen of Evene, 131.
Quintons, the, 195.
Book.
Rigveda, 26.
Rimsky-Korsakoff, 308, 311, 312.
discussion of, 310.
Rinuccini, 219.
Risorgimento, the, 341.
Ritomello, the, 138.
the orchestral, 222.
Ritter, 351.
River-reeds, 8. See also Reed-pipe.
Rivers, Lady, 170.
Rode, 225.
Roman instruments, 715.
neumatic notation, 101.
origin of organum, 120.
tone-system, 71.
Roman School (16th century), 172.
table of composers, 174.
Rome, MSS at, 206.
Rachmaninoff, 308.
Rondel
Rontgen, 331.
Ropartz, 344.
Rameau,
271."
Ram's-horn trumpet,
21.
Raphael, 218.
Rappoldi, 225.
Ravel, 340.
discussion of, 346.
Bow
the bote,
Norman,
Roye, 178.
Rubible (rubybe,
148.
ribibe), 78.
Rubini, 269.
Rubinstein, N. and A., 311.
Rudolph, 257.
Rue, Pierre de la, 154.
Russian School, 308.
table of composers, 308.
Ambrose, 79.
Dunstan, 149.
INDEX
Saint
Edmund's
MSS
.College,
at,
147.
Evroult, 106.
Gall, antiphonary of, 102
school at, 83.
Gregory, 79, 80-2, 102.
singing-
See also
Gregorian Chant.
Hilary of Poitiers, 79.
Panteleemon, 101.
Philip Neri, 175.
Saens, 276, 277, 307, 340, 345, 348
discussion of, 346.
Salieri, 262.
Salomon, 249.
Salvation Army, 22, 279.
Salzburg, Abp. of, 252.
Saman Chant,
26.
Sanctus, the early, 79.
enharmonic,
discussion
of,
9, 90.
381
184-7,
43,
190, 197.
Shtog,
the
Chinese,
31,
32,
33,
43.
260,
336,
Sjogren, 330.
discussion of, 334.
Sketches, the Beethoven, 255.
Skraup, 337.
Smart, 273.
Smetana, 337.
INDEX
382
Smith, I?. S., 308, 321, 329.
Sidney, 297.
Smyth, Miss, 308, 328, 349.
discussion
of,
318.
Sodermann, 330.
discussion of, 334.
Somanatha,
26.
Somervell, 308.
discussion of, 318.
Somis, 225.
Sonata, the, 217, 226, 231, 246,
258.
Song, 6, 200.
earliest types of, 204.
lyric and narrative, 205, 334,
modern, 261, 262, 263, 279,
297, 299, 300, 353.
repetition in, 204.
See also Folk-Song.
Song of the Lady Bessy, the, 206.
Songes and Ayres, 169, 180.
Sophonisba, 198.
Sousa, 308.
discussion of, 325.
Spanish School (16th century),
223, 246.
Sullivan, 245, 265, 308, 314, 318, 236.
discussion of, 314.
255,
Sumer
Sumphoneia,
335.
286,
the, 19.
Svendsen, 332.
Swedish School, 333.
table of composers, 330.
SweeUnck, 161, 229, 255.
discussion
of,
228.
Symphonic Poem,
in England, 318.
Symphonie-Jt-roue.
See
Hurdygurdy.
Symphony, the, 231, 246, 249, 254,
146,
162.
(Modern), 343.
Speech, 5, 202.
Spenser, 179.
Sympson.
See Simpson.
See Pan's pipes.
Syrinx (= speaker), 41.
Syrinx.
Spinelli, 343.
Stenhammar, 330.
discussion of, 334.
Stockhausen, 297.
Stone-chimes, the Chinese, 31, 32.
Stove, 150.
Strange, Lord, 179.
Strauss, Ludwig, 225.
Richard, 333, 340, 349, 353; discussion of, 351.
Stravinsky, 308.
Tabor
Tambourine, 182.
Arabian, '23.
Egyptian, 15.
Roman,
72.
Tamburini, 269.
Tanieff, 308.
INDEX
Tetraohords, Greek, 50-5, 57, 58, 60,
383
Trumpet, ram's-horn,
Roman,
204.
Indian, 25.
Thaletes, 69.
190, 196.
That, 27.
Theorbo, 193.
Tunsted, 141.
Tye, 166, 173.
"The
21.
71.
of,
71.
discussion
Tymbyr
dis-
also
of, 168.
(or tymbre), 23, 182.
See
Tambourine.
316.
Timpan,
9,
104, 230.
Roman,
Valentini, 173.
Vecchi, 219.
71.
Verdelot, 161.
Verdi, 243, 250, 269, 308, 340.
discussion of, 341.
Vere, Lady Elizabeth, 179.
Viadana, 219.
Viardot, Madame, 244, 276.
Vielle k manivelle. See Hurdy-gurdy.
Schools, 224-5.
Viotti, 225.
Virdung, 152.
AssjTTian, 19.
Bach, 300.
Chinese miUtary, 37.
Egyptian, 16.
Greek, 40.
Hebrew
straight, 21.
Indian, 26.
w
240, 242, 243, 250, 266, 267, 272,
273, 274, 281, 284, 286, 287, 288,
384
INDEX
Willis, 77.
Zampogna,
the, 19.
work
Zelter, 281.
Zola, 348.
Zuccalmaglio, 286.
Zweers, 331.
of,
97.
'
I
"HE
by
subjects.
INTERESTING
MUSIC
The History
By LOUIS
C.
of American Music
ELSON. New Edition. Illustrated.
How
to Sing
^y LILLI LEHMANN.
Aldrich.
Translated
many
illustrations.
'
in
technical principles of her art.
its
Illustrated.
From Grieg
to
etc.
Brahms
By D.
Kew York
J.
FULLER MAITLAND,
A.
per volume
Price, $s.oo
The
set
M.A., F.S.A.
application.
general reader as
mon
much as
umes
in
which the
first
all
It
was
first
and
planned
originally
first
to
uncomtwo
fill
were compressed
into far
earlier
cles
and
work, by the enlarged rewriting of many artiThe size of the volumes has been con-
siderably increased.
In the
re-
new
edition this fault has been remedied, the American part of the work having
been placed in the experienced hands of Mr. Henry E. Krehbiel, of the
New York Tribune.
The scope
There was no
on Acoustics in the
first
edition,
new
In the
works of all composers of real importance have been catalogued systematically under their opus numbers (where such are used) ; in
like manner, such critical remarks have been admitted, even in the case of
living men, as are likely to give the reader a general idea of the special
edition the
cludes
and conservatories
The
long
list
of contributors in-
in the world.
New Tork
INVALUABLE TO EVERY ONE INTERESTED IN MUSIC
NEW EDITION OF
in English."
"
veritable storehouse of authentic information of musical subjects."
Courier-Journal (Louisville).
"
Best of
'
books."
"
The
Assuming
Tribune
(New York).
"
the accurate presentation of data, will serve to make this new edition of
Grove's standard work indispensable to the investigator, instructive to the
student, and entertaining to the layman."
^Joseph Sohn, in The Forum.
New York
The
By
Illustrated,
$2.50
of vocal
scientific character-
The author
takes up,
among
field.
monic motion, the tuning fork and methods of photographing and interpreting sound waves, analy^ng fully
the tones of the
The
piano.
flute, viqlin,
scientific facts
Much
effort
and phonetician.
di
Lammermoor."
"
One
of the
Louis
Elson.
New Tork
C.
STANDARD BOOKS ON
SINGING, SINGERS.
AND MUSIC
life
Two
volumes.
Illustrated.
Hadow,
Cloth, $6.75
Book
By
HENRY
Operas
of
E.
Author of "
Drama," etc.
KREHBIEL
How
Decorated
cloth,
Wagnerian
izmo, $1.75
Interpretation in Song
By
Decorated
cloth,
izmo, $1.50
lovers know Mr. Greene as one of the most accomplished platform singers of his day. In this book he tells something of
the secret of his own success. The work begins where others on the art 6f
singing have left off, with a study of interpretation. It has little to do with
the more elementary steps in a musical education. The author's purpose,
which he has well accomplished, has been to give in the shortest possible
form that which is most likely to prove useful to the student.
Thousands of music
By DAVID
art
izmo, $1.50
" One of the most original and stimulating books ever written on the
of singing."
Tie New York Sun.
New Tork