EX-LIBRIS 
 
 LOUISE ARNER BOYD
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES

 
 .'&*-, 
 
 % 
 
 
 «—• 
 
 Lowell Mason (1792-1872) 
 
 Father of School Music
 
 What We Hear 
 in Music 
 
 A Laboratory Course of Study 
 
 in 
 
 Music History and Appreciation 
 
 for 
 
 Four Years of High School, Academy, 
 College, Music Club or Home Study 
 
 I. The Principles of Music 
 II. The History of Music 
 
 III. The Orchestra: The Development 
 
 of Instrumental Music 
 
 IV. The Opera and Oratorio 
 
 By 
 
 Anne Shaw Faulkner 
 
 Each Course is divided into thirty lessons with illustrations 
 for each lesson, to be given with the Victor Talking Machine 
 
 Educational Department 
 
 Victor Talking Machine Company 
 
 Camden, New Jersey
 
 Copyright 1913 
 
 VICTOR TALKING MACHINE COMPANY 
 
 Camden, New Jersey, U. S. A. 
 
 Second Edition.
 
 Foreword 
 
 IN this Course of Study for High Schools, it has been the earnest 
 desire of the author and the publishers to contribute a well- 
 organized plan for the study of music in a broadly cultural style, 
 looking toward giving a working knowledge of the literature of music, 
 rather than a theoretical study of the form and grammar of the 
 subject. 
 
 The study of high school music must be arranged to attract, hold 
 and EDUCATE every boy and girl, regardless of whether they can 
 sing or not, and should furnish opportunity, material and instruction 
 that will enable them to become, not professional musicians, but music 
 lovers and appreciative, intelligent listeners, knowing the world's 
 music just as they know the history, prose, poetry and art. 
 
 Music, when properly taught, stands for as much mental develop- 
 ment and general culture as any other subject in the curriculum, and 
 should receive the same credits toward graduation from the local 
 school, and as entrance requirements in the Colleges and Universities. 
 
 To-day the trend of music study is strongly toward appreciation, 
 rather than theory. It is impossible, however, to study appreciation or 
 interpretation without REAL MUSIC to interpret and appreciate. 
 
 Heretofore, the ideals of high school pupils in music have been 
 virtually limited to the music they, themselves, could produce, thus 
 restricting their observation to a very narrow field. 
 
 Now the Victor and Victor-Victrola, with the wonderful list of 
 Victor Records, which is regularly augmented each month, makes it 
 possible to present the whole subject in a vital form, as it brings 
 within the hearing of every pupil the real music to be studied and 
 analyzed in consecutive lessons, starting at a given point, progressing 
 systematically, and arriving at a legitimate conclusion.
 
 Fo 
 
 r e w o r 
 
 This Course is not intended to take the place of the regular 
 chorus work, nor to minimize nor displace the necessary study in sight 
 reading, intervals, chromatics, music forms, etc., but to be superim- 
 posed upon the broad basis of such foundational work. 
 
 Following each lesson a list of choruses is suggested for class work. 
 It is hoped that these lessons may furnish the means to produce a 
 Nation-wide uplift in the love and understanding of good MUSIC. 
 
 FRANCES ELLIOTT CLARK.
 
 What We Hear in Music 
 
 Preface 
 
 When listening to music we find that there are four fundamental 
 ideas which music can express. These ideas are : 
 
 1. National feeling. 
 
 2. Formal construction. 
 
 3. Poetic thought. 
 
 4. Program Music. (Narration of a story.) 
 
 Oar entire musical literature really rests on the foundation of 
 "National Peeling" which, when manifested during the period of 
 the early folk dance, developed into those definite instrumental forms 
 used at the time of Bach. During the same period the simple folk 
 song shows in its development, a marked tendency toward that school 
 of music, which, although following formal construction, gives us 
 also a wonderfully clear and beautiful idea of the purity of tone. 
 
 These two forms reach their perfection with the great composer 
 Beethoven, who has been designated as the "culmination of the Clas- 
 sical School and the beginning of the Romantic School." After 
 Beethoven's day there is apparent, a decided tendency toward the 
 expression of pure beauty of tone, and a marked use of the idea, 
 that all music shall tell a definite story or express a poetic idea. When 
 the composers of the "Classical Period" had written "Program 
 Music" their one idea, was to have their story conform absolutely 
 to the formal patterns of the period, but with the rise of the Romantic 
 School, melodic expression was to be no longer subservient to formal 
 outline. Yet as Robert Schumann so wisely advised, "He who would 
 create in free form must first have mastered the old form existent for 
 all time." It is interesting to note that it was largely through the 
 influence of Bach, many of whose manuscripts were now heard for 
 the first time, that the composers of this period were enabled to keep 
 "Program Music" within the bounds of music's true realm.
 
 What We Hear in Music — Preface 
 
 Yet ever, during the development of form, or poetic content, 
 and of program music, the influence of the folk, has been apparent, 
 and this strong national feeling has given rise in the modern epoch 
 to the development of the great schools of Russia, Scandinavia and 
 Bohemia, which to-day rank with the Italian, French and German 
 schools. 
 
 Our most important and necessary study of how to understand 
 music, really begins with a definite knowledge of these four funda- 
 mental principles. We shall spend our first year of study in learning 
 to recognize these elements as they may be expressed by the human 
 voice or various instruments. We shall carefully consider the 
 national feeling as expressed in the simple folk dance and song of 
 the various countries, and learn to discriminate between the racial 
 peculiarities, which are reflected in the art and music of the people 
 of all lands. 
 
 For our second year's study, we consider the historical develop- 
 ment of music from ancient times to our own day. 
 
 In the third year's work, we take up the closer relationship of 
 instrumental music to the fundamental ideas manifested in Courses 
 I and II. We study carefully the individual tones of the instruments 
 of the orchestra, and trace the development of the larger forms of 
 instrumental music. 
 
 The fourth year is devoted to a study of the development of the 
 opera and oratorio in relation to the development of musical literature.
 
 Hints for Teachers 
 
 These courses have been outlined for general use in the High 
 Schools, Colleges and Schools of Music; but will be found equally 
 attractive and valuable for the Music Club and home study. 
 The illustrations with the Victor or Victrola have been selected 
 from the best-known and greatest musical 
 works. 
 
 It is the hope of the author that 
 the use of the Victor may bring to our 
 boys and girls in the American schools 
 an increased enjoyment and an appro- 
 priate understanding of the true beauty 
 of music, which can only be found by 
 an intimate acquaintance with the great- 
 est compositions in musical literature. One 
 writer well expressed this thought when he 
 said, "Familiarity with good music breeds 
 ever increasing admiration," and Theodore 
 Thomas truly remarked, "Popular music 
 is. after all, only familiar music." 
 
 In arranging these courses for educational 
 work, the idea has been to present a logical and 
 definite history of the development of music's 
 growth, and also to develop in each individual stu- 
 dent a sane musical appreciation of the greatest 
 in the art. 
 
 In the presentation of these courses it is nec- 
 essary to remember that the fundamental power of 
 music is to give pleasure and enjoyment. Over- 
 technical analysis may reduce a poem, a work of 
 literature, a painting, or a musical composition, to 
 such a mass of detail (little of which is compre- 
 hended or understood), that the beauty of the work 
 as a whole, is hopelessly lost. It is equally impor- 
 tant to remember that music is an art which no 
 longer need be approached with sentiment and 
 tears, but must be considered as an important 
 factor in the history of the world's civilization. 
 
 ANCEL WITH LUTE 
 
 ANGEL WITH TAM- 
 BOURINE
 
 Hints for Teachers 
 
 Remembering Lord Lytton's epigram, "The Nine Muses are one 
 family," let us try to correlate our study of music with the study of 
 history, and the development of civilization, as it is expressed in the 
 other arts. 
 
 Rl?rAT?nTMP ^ ne Victor records chosen for each lesson are 
 
 \i \tktuat especially adapted to illustrate certain definite 
 points, which are suggested in the context of that 
 particular lesson. Do not try to present to pupils all the points of 
 each individual composition at one hearing. Many of the selections 
 have been chosen with the distinct purpose, that they may be later 
 used to illustrate other points. Where the same record is used in this 
 manner, a review is advisable. There is such a wealth of material 
 in the Victor catalogues that where a choice of selection is possible, 
 alternate records at lower cost have been suggested. 
 
 It is also suggested that many of the best-known records will be 
 found in the homes of pupils, and may, no doubt, be procured for a 
 particular lesson. 
 
 Always write lesson theme, also title and 
 prp^t^vt attoxt com P ose r, on the blackboard. Pupils should be 
 provided with note books in which outlines of 
 these lessons should be kept, and these books should be freciuently 
 examined and marked. Relate each lesson presented with a short 
 review of the lesson which preceded it, in order that pupils may 
 have a clear conception of the inter-relation of ideas and events. Fol- 
 low the hints and questions as far as possible, but as each class has 
 its own individuality, and these outlines will in some cases seem arbi- 
 trary, they may frecpiently need to be adapted to the individual needs 
 of the personnel of the class. Do not forget that there are many 
 pupils in your classes who are having their first taste of real music, 
 and do not overcrowd them too much. Remember also there are stu- 
 dents who are receiving private instruction in music, and who should 
 be able to appreciate this work more easily than those who have no 
 music in their home. By giving simple facts and analyses, the interest 
 of the first group is aroused, while the definite study of even a familiar 
 record gives to the second group a new viewpoint. 
 
 Always play the record used for illustration entirely through 
 first, then play in fragments with analyses and discussion as desired ; 
 lastly, play again entire, having in mind all points brought out by 
 the lesson.
 
 Hints for Teachers 
 
 Teachers will find at the back of this book a short 
 ANALYSIS analysis of every composition mentioned for illustra- 
 tion. The numbers on each program should be de- 
 scribed by the teacher to the class, the analysis read and notes taken 
 of the salient points. 
 
 Teachers should read as many books on 
 
 BIBLIOGRAPHY music as possible to enhance the meaning of these 
 
 necessarily brief lessons. For that purpose a 
 
 short bibliography is provided, and books marked with "**" are 
 
 especially recommended for practical use in school libraries.
 
 The Principles of Music 
 
 COURSE I 
 
 Preface 
 
 It is the object of our first year's course to learn to distinguish 
 between the four fundamental ideas of music, and the differences in 
 their expression. 
 
 1 Nationality, as expressed in folk song, folk dance, or the 
 characteristic music of each country. 
 
 2. Formal construction, as developed from the folk song and 
 dance. 
 
 3. Poetic thought, a conception of beauty or spirituality, as 
 expressed in song and instrumental music. 
 
 4. Program music, a tone picture, of a story, an action, natural 
 phenomena, imitative description or individuality. 
 
 We will find it necessary to train our ears, so that we can dis- 
 tinguish the difference between the different voices and instruments, 
 and to carefully consider the medium as used to express these funda- 
 mental ideas. 
 
 As the later development of all music rests on the parent stock. 
 Nationality, we shall, therefore, consider in detail the folk music of 
 all lands and times. 
 
 Our course is divided into thirty lessons, as follows : 
 
 I. The Difference between the Fundamental Principles in 
 Instrumental Music. 
 II. The Difference between the Fundamental Principles in 
 Vocal Music. 
 
 III. The Combinations of These Principles. 
 
 IV. The Tone Quality of Women's Voices. 
 V. The Tone Quality of Men's Voices. 
 
 VI. The Combinations of Women's Voices. 
 VII. The Combinations of Men's Voices. 
 VIII. The Combinations of Women's and Men's Voices — I 
 IX. The Combinations of Women's and Men's Voices — II 
 X. The Difference in Instrumental Combinations. 
 XI. Imitation in Music. 
 XII. The Classification of Fundamental Principles. 
 XIII. The Principles of National Music. 
 
 10
 
 The Principles of Music 
 
 XIV. 
 
 The Char; 
 
 icteristic Differences in the Music; of Nations — I. 
 
 XV. 
 
 The Characteristie Differences in the Music of Nations — 
 
 XVI. 
 
 Italy. 
 
 
 
 XVII. 
 
 Spain. 
 
 
 
 XVIII. 
 
 France. 
 
 
 
 XIX. 
 
 Germany. 
 
 
 
 XX. 
 
 Bohemia. 
 
 
 
 XXI. 
 
 Hungary. 
 
 
 
 XXII. 
 
 Russia. 
 
 
 
 XXIII. 
 
 Poland. 
 
 
 
 XXIV. 
 
 Norway. 
 
 
 
 XXV. 
 
 Sweden. 
 
 
 
 XXVI. 
 
 Ireland. 
 
 
 
 XXVII. 
 
 Wales. 
 
 
 
 XXVIII. 
 
 Scotland. 
 
 
 
 XXIX. 
 
 England. 
 
 
 
 XXX. 
 
 America. 
 
 
 
 
 
 
 COURSE I 
 
 
 
 
 Lesson I 
 
 The Difference "Between the Fundamental Principles in Instrumental Music 
 
 It is universally recognized that music is a language, but we often 
 do not interpret its meaning correctly. The object of this course is 
 to learn to listen to music, and to clearly understand the message of 
 the composer, as to form, content and beauty of expression. 
 
 There are four fundamental ideas which music can express ; these 
 principles are : 
 
 1. Nationality. 
 
 2. Definite formal construction. 
 
 3. Poetic thought. 
 
 4. Story telling or tone painting. 
 
 While all good music follows a definite form or pattern, we find 
 that often the formal construction of a composition is entirely over- 
 shadowed by the other elements of expression. For example, a com- 
 position in perfect dance form impresses us directly as belonging to 
 the second class; let the same form be used, but couple it with the 
 rhythm of a Bohemian or Russian dance, and it impresses us as an 
 example of Nationality more than as a purely formal pattern. Again, 
 let a composition in perfect song form reflect the poetic thought, and 
 
 n
 
 The Principles of Music 
 
 it makes its most direct appeal as an example of the third principle; 
 while we are apt to entirely forget the formal pattern, when listen- 
 ing to music, -which tells us a definite story, or paints for us a picture 
 in tone. 
 
 ILLUSTRATIONS 
 
 64076 \ The Bee (Schubert) (Program Music) 
 
 Maud Powell ( The Minute Waltz (Chopin) (Form) 
 
 60051 ) 
 
 Victor Herbert's \ Melody in F (Rubinstein) (Poetic Thought) 
 Orchestra I 
 
 Sousa^Band | March Rakocz y (Berlioz) (Nationality) 
 
 HINTS FOR STUDY 
 
 AVrite the titles of illustrations on the blackboard, giving the 
 name of the composer and the artist or organization playing. Then 
 ask the class to express their ideas as to which principle each composi- 
 tion represents. Designate this on the board. Play your records but 
 do not follow the order on the board. Ask the class to write on a slip 
 of paper the program as you played it, and which principle they now 
 think is illustrated by each composition. These slips may be corrected 
 by the exchange of papers, and if there is a division of opinion the 
 record should be replayed. Corrected slips should be copied in note 
 books before the next week's lesson. 
 
 QUESTIONS 
 
 (Verbal or written) 
 
 Which composition was played first? What principle did it 
 illustrate? Second? Its principle? Third? etc. Which two numbers 
 were on one record? By what instrument were they played? Which 
 number was played by the orchestra? Which by a band? (When 
 these questions are answered verbally, answers may be written on 
 the board and students will then have a correct outline to copy in 
 note books.) 
 
 CHORUSES 
 
 Scots Wha' Hae'— Old Scotch (Burns). (Air, "Hey Tuttie 
 Taitie.") 
 
 Now the Day is Over (Barnby). 
 
 12
 
 The Principles of M u s i c 
 Lesson II 
 
 The Difference 'Between the Fundamental Principles in Vocal Music 
 
 In Lesson I we discussed the four principles of musical expres- 
 sion, and we found all development of musical literature rests on these 
 elements. We shall now consider them more definitely. The composi- 
 tions which we studied last week were for the violin, the orchestra 
 and the brass band, so that it was clearly proven that our four princi- 
 ples can be expressed by instrumental music. To-day our records are 
 for the voice. Let us see if it is possible to reflect in vocal music these 
 same ideas. 
 
 ILLUSTRATIONS 
 
 64188 Witches' Ride, " Hansel and Gretel " (Humperdinck) Albert Reiss 
 70011 The Swallows— Vocal Waltz (Dell' Acqua) Lucy Marsh 
 
 64189 Good-Bye, Sweet Day (Thaxter-Vannah) Janet Spencer 
 64160 La Mandolinata (Italian) Emilio de Gogorza 
 
 HINTS FOR STUDY 
 
 Tell the class the brief story of "Hansel and Gretel" and what 
 this aria typifies. 
 
 A part of the illustrations have been chosen in other languages 
 than English for the special reason that the class should feel that it 
 is the music which actually represents these principles, although the 
 poem and its setting should be identical in thought. 
 
 QUESTIONS 
 
 (Verbal) 
 Which composition is sung by soprano? Contralto? Tenor? 
 Baritone? Which tells a story? Is it easier to tell stories in music, 
 with words or without? Which depicts poetic beauty? Which is 
 national expression? Which has form? Which has three of these 
 qualities in combination? Which has an element of humor? Which 
 have imitative effects in the instrumental accompaniment? If so, 
 what? 
 
 CHORUSES 
 Believe Me, if All Those Endearing Young Charms (Moore). 
 (Irish Air — "My Lodging is on the Cold Ground.") 
 
 The Old Oaken Bucket (Wood worth). Air — Araby's Daughter. 
 
 13
 
 The Principles of Music 
 
 Lesson III 
 
 The Combination of These Principles 
 
 In Lesson II we found it was possible for the human voice to 
 express the fundamental ideas of music, and that we must learn to 
 Listen for these elements, whether we are hearing instrumental or 
 vocal music. We also discovered that it is possible for more than one 
 of these elements to be heard in one composition. For our lesson 
 to-day we shall try to distinguish simple combinations of principles. 
 
 ILLUSTRATIONS 
 
 I Spinning Song (Mendelssohn) Renard Trio 
 
 (Piano, Violin and Cello) 
 Swedish Wedding March (Sodermann) Pryor's Band 
 
 The first combines three elements: Program Music in song form, 
 also showing poetic feeling. The second combines two elements: 
 nationality, in the form of the march. 
 
 HINTS FOR STUDY 
 As our principal thought of this lesson is the combination of our 
 fundamental ideas, write the numbers on the blackboard and as class 
 designates what each represents, indicate it on the board. After the 
 records have been played there may be a short discussion in which the 
 following questions may be of service. Then corrections should be 
 made on the board and all copied in note books. 
 
 QUESTIONS 
 
 "What composition tells us a story? "Which has a title? Does a 
 title or name really indicate that the composition is program music? 
 Which of these compositions shows nationality? Which has form? 
 Which shows poetic feeling? What elements are combined in the first 
 number? In the second? What instruments do you hear in the first 
 and second? 
 
 CHORUSES 
 
 Lullaby (Brahms). 
 
 My Old Kentucky Home (Foster). 
 
 14
 
 The Principles of Musi 
 
 Lesson IV 
 
 The Tone Quality of Women's Voices 
 
 We are now able to discriminate between the fundamental 
 principles of music, both in the instrumental and vocal forms, 
 and we have discovered that all music presents to us a definite 
 thought or idea, whatever medium is used for its presentation. We 
 must next learn to distin- 
 guish the tone quality of 
 the voices, and instruments, 
 which present our music to 
 us, and to-day we shall have 
 three great prima donnas 
 (women singers) who have 
 been chosen as the best rep- 
 resentatives of the soprano, 
 mezzo-soprano a n d con- 
 tralto voices. 
 
 ILLUSTRATIONS 
 
 88019 Voce di Primavera 
 (Strauss) 
 
 Mme. Sembrich 
 (Soprano) 
 
 88085 Habanera from 
 
 " Carmen " (Bizet) 
 
 Mme. Calve 
 (Mezzo-Soprano) 
 
 88191 Air— "But the Lord 
 is Mindful of His 
 Own" (Mendelssohn) 
 Mme. Schumann-Heink 
 (Contralto) 
 
 MINTING BY RAPHAEL ^ CEC , L1A 
 
 HINTS FOR STUDY 
 In choosing the illustrations for Lesson IV, it has been the idea 
 to use records which may later be employed as illustrations of opera 
 and oratorios. Do not attempt to have class know all the points 
 of greatness of these numbers at one hearing. Teachers should care- 
 fully study the analysis but not give too much to the class. Let them 
 listen first for the difference in tone quality of the voices, second for 
 the principles they have learned to recognize. Write program on 
 
 15
 
 The Principles of Music 
 
 the board and ask class to write on papers which sang first, and which 
 voice sang each composition. 
 
 QUESTIONS 
 
 Which record was sung first? Second? Third? Which voice is 
 highest, soprano or mezzo-soprano? Which is the clearest? Which 
 is the deepest woman's voice? Which of these numbers represents 
 pure tone with poetic feeling? Which has national feeling? Which 
 has marked form? Which is descriptive? In what form is the first? 
 The second? The third? Does the instrumental accompaniment aid 
 in the expression of the poetic thought? Program music? National 
 feeling? If so, how? 
 
 CHORUSES 
 
 Home, Sweet Home (Payne-Bishop). 
 
 Ben Bolt (Thomas Dunn English). 
 
 Welcome, Sweet Springtime (Rubinstein's Melody in F). 
 
 Lesson V 
 
 The Tone Quality of Men s Voices 
 We can recognize the three tone qualities of women's voices. 
 Now we shall listen to three records for the voices of men — tenor, bari- 
 tone and bass. 
 
 ILLUSTRATIONS 
 
 74109 Come Into the Garden, Maud (Tennyson-Balfe) (Tenor) 
 
 Evan Williams 
 92065 Toreador Song— " Carmen " (Bizet) (Baritone) Titta Ruffo 
 
 85020 The Palms (Faure) (Bass) Pol Plancon 
 
 HINTS FOR STUDY 
 The hints for Lesson IV apply also to Lesson V. All these rec- 
 ords will be used again, and if the class will recognize the principles 
 they represent, and the quality of tone which represents them, they 
 should wait for a deeper understanding of the true worth of the 
 numbers until they have heard them a second or third time. 
 
 QUESTIONS 
 Which number is for tenor? For baritone? For bass? Which 
 voice corresponds to mezzo-soprano in a woman 's voice ? Which is the 
 deepest voice? Which record shows national feeling? Which de- 
 
 16
 
 The Principles of Music 
 
 scribed poetic thought? Which combines national feeling with pro- 
 gram music? Which is from opera? Which from oratorio? 
 
 CHORUSES 
 Love's Old Sweet Song (Molloy). 
 Out on the Deep (Frederic N. Lohr). 
 
 Lesson VI 
 
 The Combination of Women's Voices 
 
 We have learned to recognize the voices of both men and women, 
 
 when heard singly. Let us now listen to voices in combination and 
 
 see if we can distinguish between the voices of women, when heard 
 
 together. 
 
 ILLUSTRATIONS 
 
 89008 Duet of the Flowers— " Mme. Butterfly " (Puccini) 
 
 Mmes. Farrar and Homer 
 
 61143 Sea Gull's Cry (Russian Folk Song) (Grodski) 
 
 Mmes. Michailowa and Tugarinoff 
 
 17180 Spring Voices (" Samson and Delilah ") (Saint-Saens) 
 
 Chorus of Women's Voices 
 
 ALTERNATES 
 
 5864 O Wert Thou in the Cauld Blast (Mendelssohn) 
 
 Wheeler and Dunlap 
 
 ( Thy Flowery Banks o' Lovely River (Meyerbeer) 
 17106 \ Wheeler, Dunlap and Baker 
 
 1 Voice of the Western Wind (Barnby) Wheeler, Dunlap and Baker 
 
 HINTS FOR STUDY 
 The opera records will be used later in the Opera Course in their 
 more particular significance. Have class indicate difference in voices 
 by raising right hand when soprano sings alone, left hand when alto. 
 
 QUESTIONS 
 Which record shows national feeling ? Which is operatic in char- 
 acter? Which is more simple in form? Which was sung by two 
 voices? Which by three? 
 
 CHORUSES 
 
 0, Wert Thou in the Cauld Blast (Burns-Mendelssohn). 
 I Would That My Love (Mendelssohn). 
 
 17
 
 The Principles of Music 
 Lesson VII 
 
 The Combination of Men s Voices 
 
 We have learned to distinguish the difference in tone quality of 
 women's voices when heard in combination. We will now hear men's 
 voices in similar selections. 
 
 ILLUSTRATIONS 
 
 95206 Trio— Duel Scene ("Faust") (Gounod) 
 
 Caruso, Scotti and Journet 
 
 <,i77ol Schon Rottraut (German Song) 
 
 \ Ewig, liebe Heimat (German Song) 
 
 Nebe Quartet 
 
 ALTERNATES 
 
 31769 Duet— Lost, Proscribed ("Martha") 
 (Flotow) 
 
 Werrenrath and Macdonough 
 
 HINTS FOR TEACHERS 
 
 The same selections have been used 
 in the alternates chosen. Class should 
 understand in what scene and act these 
 selections occur in the operas from which 
 they are taken. (See "The Victor Book of 
 the Opera.") Have class indicate differ- 
 ence in voices in the duet by raising their 
 hands as in Lesson VI. 
 
 THE SINGING BOYS 
 
 QUESTIONS 
 
 Which number was played first? Was it sung by two voices or 
 three? Which by four? Which depicts nationality? 
 
 CHORUSES 
 
 Annie Laurie — Boys' Voices. 
 
 Anvil Chorus, "II Trovatore" (Verdi). 
 
 18
 
 The Principles of M u s i c 
 Lesson VIII 
 
 The Combination of Women s and Men 's Voices — / 
 We have heard the individual voices of men and women ; the 
 combination of women's voices and men's voices; let us now hear 
 combinations of tone quality of women's and men's voices together. 
 We will also notice in these examples that the soprano and baritone, 
 contralto and tenor sing together. 
 
 ILLUSTRATIONS 
 
 89018 Duet— Home to Our Mountains (" II Trovatore ") 
 
 (Verdi) Homer and Caruso 
 
 87502 Duet— Barcarolle (" Tales of Hoffman ") (Offenbach) 
 
 Farrar and Scotti 
 95203 Trio — Prison Scene (" Faust") (Gounod) Farrar, Caruso and Journet 
 
 ALTERNATES 
 
 (Duet — Home to Our Mountains (" II Trovatore ") 
 (Verdi) Esposito and Colazza 
 
 Duet— O Joy He's Saved (" II Trovatore ") (Verdi) 
 De Angelis and Cigada 
 
 35170 Trio— Stay Thee, My Lord ("Ernani") (Verdi) 
 
 Bernacci, Colazza and de Luna 
 
 HINTS FOR TEACHERS 
 
 Write the titles of selections on the blackboard, giving opera 
 and composer, but do not indicate the names of the singers. Then 
 have the class listen to records and determine which two voices are 
 heard in each. The alternates illustrate the same idea sung by other 
 artists. Tell briefly the scenes in the opera from which these selec- 
 tions are taken. (See "The Victor Book of the Opera.") 
 
 CHORUSES 
 
 Beautiful Springtime (Home to Our Mountains, "II Trovatore") 
 (Verdi). 
 
 Silent Now the Drowsy Bird (Barcarolle from "Tales of Hoff- 
 man") (Offenbach). 
 
 QUESTIONS 
 
 Which record was sung first? Second? Third? What voices 
 did we hear in the first ? In the second ? The third ? Which selection 
 is poetic in character? What is a barcarolle? Which selection has 
 definite form ? Which indirectly reflects national feeling ? Which tells 
 a story by means of dramatic action? 
 
 19
 
 The Principles of M u s i c 
 Lesson IX 
 
 The Combination of Women's and Mens Voices — // 
 
 We have heard voices in combination; have been able to dis- 
 tinguish sopranos and contraltos ; tenor and baritone ; tenor, baritone 
 and bass; contralto and tenor; soprano and bass; let us learn to 
 discriminate further by listening to a quartet, sextet and chorus. We 
 call a number for single voice or instrument a solo; two voices or 
 instruments, a duet ; three, a trio ; four, a quartet ; five, a quintet ; 
 six, a sextet. The largest choral form is, of course, the chorus, which 
 may be written in eight parts, and sung by any number of voices. 
 
 ILLUSTRATIONS 
 
 70052 Spinning Wheel Quartet ("Martha") (Flotow) 
 
 Victor Opera Quartet 
 96200 Sextette (" Lucia di Lammermoor ") (Donizetti) 
 
 Sembrich, Severina, Caruso, Scotti, Journet, Daddi 
 31770 Chorus— Hallelujah ("Messiah") (Handel) 
 
 Victor Chorus with Sousa's Band 
 
 ALTERNATES 
 
 70036 Sextette (" Lucia di Lammermoor ") (Donizetti) 
 
 Victor Opera Sextette 
 35254 Gypsy Life (Schumann) Lyric Quartet 
 
 HINTS FOR TEACHERS 
 Write the titles chosen on the blackboard. Then have class listen 
 to see if they can determine which record is by four voices, which by 
 six, which by chorus. Describe briefly the scenes from the opera or 
 oratorio, where these numbers occur. 
 
 QUESTIONS 
 What voices did you hear in quartet? In sextet? Which num- 
 ber tells a story? Which expresses nationality? Which portrays a 
 religious expression of poetic thought? 
 
 CHORUSES 
 
 Sweet and Low (Barnby). 
 Italian Hymn (Giardini). 
 
 20
 
 The Principles of Music 
 Lesson X 
 
 The Difference in Instrumental Combination 
 
 Let us listen to-day and see if we can discriminate between 
 instrumental combinations. We will find that there are many differ- 
 ent combinations of instruments, just as there are of voices ; the largest 
 instrumental combinations are the symphony orchestra and the brass 
 band. In the first, the string instruments predominate; in the last, 
 the brasses are the most important. We shall listen to-day for the dif- 
 ference between the chamber quartet, which is composed of two violins, 
 viola and violoncello, and the symphony orchestra, which is composed 
 of four divisions, the strings, the wood-winds, the brasses and the per- 
 cussion instruments. 
 
 ILLUSTRATIONS 
 
 31772 Bridal Song from Symphony " The Rustic Wedding " 
 
 (Goldmark) Vienna Quartet 
 
 70046 Liebestraum (Franz Liszt) Victor Herbert's Orchestra 
 
 ALTERNATES 
 
 31762 Badinage (Victor Herbert) Vienna Quartet 
 
 31618 In a Clock Store (Orth) Victor Orchestra 
 
 HINTS FOR TEACHERS 
 
 The Vienna Quartet is composed of first and second violins, 
 violoncello and piano. The principal idea here is to have class be able 
 to distinguish tone quality. Describe fully the selections, before play- 
 ing them. Call attention to the difference in tone quality of the 
 Quartet and Orchestra. If the regular illustrations are used the 
 following questions may be helpful. 
 
 QUESTIONS 
 
 What instruments did you hear in the first selection? In the 
 second? Which is descriptive? Which presents element of nation- 
 ality? Which selections combine two of the fundamental principles? 
 Which of the principles are here combined? 
 
 CHORUSES 
 
 Review choruses already learned. 
 
 21
 
 The Principles of Music 
 
 Lesson XI 
 
 Imitation in Music 
 
 We have listened to the combination of voices and of instruments, 
 let us now consider a phase of musical expression, which we shall call 
 imitation. We have seen that much of our music tells us a story or 
 strives to depict some poetic idea in tone, now let us listen to two 
 records, which represent the voices of Nature. First, we shall hear 
 the real bird voice in selection No. 1, then the imitation of the song of 
 a bird by a whistler, a singer and a flute. 
 
 ILLUSTRATIONS 
 
 64161 Song of a Captive Nightingale 
 
 ,,„.-] Spring Voices (Strauss) Guido Gialdini 
 
 lbZASy Birds of the Forest— Gavotte (Adolfs) Guido Gialdini 
 
 88318 Thou Brilliant Bird ("Pearl of Brazil") (David) (With 
 
 Flute Obbligato) Mme. Tetrazzini 
 
 HINTS FOR TEACHERS 
 
 Remind your class of the similar quality between the human voice 
 and the flute, and note how in combination they imitate each other. 
 Students may recall other imitative effects they have observed in 
 music, for example, Spinning Song — Mendelssohn. 
 
 QUESTIONS 
 
 What other imitations have we heard in the previous lessons? 
 Have we heard the second selection (A) before? Where? Who sang 
 it? What did it then illustrate? What voice sings the third? What 
 principle does imitative music illustrate? Which selection on this 
 program is an example of form? 
 
 CHORUSES 
 
 Skylark for Thy Wing (Smart). 
 Away With Melancholy (Mozart). 
 The Bells of Aberdovey (Old Welsh). 
 
 22
 
 The Principles of M u s i c 
 
 Lesson XII 
 
 The Classification of the Fundamental Principles 
 
 We have learned to distinguish the four fundamental principles 
 of music, as we hear them expressed, either in instrumental, or vocal 
 music. We have learned to recognize the difference to be found in the 
 tone quality of the voices of men and women, in solo, or in concerted 
 music. We have found that all music follows some definite formal 
 pattern, although the formal side is not always as strongly noticeable 
 as the other qualities. We have found that poetry and music are 
 closely related, and that while music may ofttimes be a reflection of 
 poetic thought, it is not always "Program Music." We have found 
 that "National Expression" gives a distinct individuality to any com- 
 position. We have also found that although these ideas may be 
 expressed by vocal music, they are augmented by the instrumental 
 accompaniment. 
 
 We shall now learn that music by means of its four fundamental 
 principles can express the greatest feelings of man's heart and life. 
 
 [Battle. 
 
 Patriotism 
 
 National Feeling 
 
 Poetic Thought. 
 
 Program Music 
 
 Form 
 
 Characteristic customs 
 
 Religion. 
 Love. 
 Happiness. 
 Tranquillity. 
 
 Imitation. 
 
 Humor. 
 
 Gaiety. 
 
 Joy. 
 
 [Grief. 
 
 Song. 
 
 Dance. 
 
 March. 
 
 Intermezzo. 
 
 Overture. 
 
 Sonata. 
 
 Symphony. 
 
 Loyalty. 
 
 Tributes to heroism. 
 
 Love of native land. 
 
 Dances of the folk. 
 < Wedding and festival music. 
 [Occupations of the people. 
 
 23
 
 T h 
 
 r i n c 
 
 i p I e s of M u 
 
 s i c 
 
 ILLUSTRATIONS 
 
 From records in previous lessons to be chosen by the teacher, or 
 by the class. 
 
 HINTS FOR STUDY 
 
 After class has seriously considered the ideas expressed in Les- 
 son XII, let each pupil make out an ideal program of the selections 
 already heard, illustrating each of the four fundamental ideas of 
 music, represented in the above classification. The best selected pro- 
 gram should be written on the board. Do not write on the board what 
 each composition signifies, but let the pupils indicate this for 
 themselves. 
 
 CHORUSES 
 
 America, or Star Spangled Banner. 
 The Lord is My Shepherd. 
 The Lass of Richmond Hill. 
 The Pigtail. 
 
 Lesson XIII 
 
 The Principles of National Music 
 We have found that national expression is the first of the fun- 
 damental ideas expressed by music, therefore we shall take up 
 our study of National Music in detail for the remainder of our 
 year's work. 
 
 National music is divided into four 
 groups : 
 
 First. — The Dance Song. Com- 
 poser unknown. 
 
 The old folk dance, first sung by 
 dancers, then played by instruments, 
 develops into our definite dance form. 
 Second. — Legendary Song. Com- 
 poser generally known. 
 
 A national folk song reflecting 
 deep poetic feeling; in its later devel- 
 opment frequently becoming program 
 
 THE JESTEB 
 
 music. 
 
 24
 
 The Principles of Music 
 
 Either simple folk song, or composed song, following simple song 
 pattern. 
 
 Third. — Patriotic Song. Composer known. 
 
 A national song which reflects the spirit of the people and their 
 love for home and country. It is often inspired by historical events. 
 The music generally reflects the style and period of the composer. 
 
 Fourth. — National Modern Compositions. Composer known. 
 
 The use of these national ideas of dance, legend and history has 
 given us in the music of to-day the greatest national schools of the 
 present time. Many of the national composers write program music 
 as being the most typical form in which to express the ideals of their 
 native land. Many composers have written their conception or imita- 
 tion of the music of countries other than their own. This music 
 reflects national characteristics, but must be distinguished from folk- 
 song music, which has grown through the centuries out of the life of 
 the people. 
 
 ILLUSTRATIONS 
 
 17086 Carrousel (Merry-Go-Round) (Swedish) (Folk Song Dance) 
 
 Victor Band 
 74100 All Through the Night (Welsh) (Legendary Folk Song) 
 
 Evan Williams 
 74039 Marseillaise Hymn (Roger de Lisle) (French) (Patriotic Song) 
 
 Journet 
 f Hungarian Rhapsody, No. 2 (Part I) (Liszt) (National 
 2K197 I Composition) Pryor's Band 
 
 A3lZ£ | Hungarian Rhapsody, No. 2 (Part II) (Liszt) (National 
 
 Composition) Pryor's Band 
 
 QUESTIONS 
 
 To which of the four divisions of national music does folk music 
 belong ? Which record is national patriotic music ? To what class does 
 the American song, ' ; The Star Spangled Banner," belong? To what 
 class does the first number on this program belong ? The second ? The 
 third ? The fourth ? 
 
 CHORUSES 
 
 Austrian National Hymn (Haydn). 
 
 Minstrel Boy (Old Irish Tune, The Moreen). 
 
 Columbia, the Gem of the Ocean. 
 
 0, No. John (Old English). 
 
 Wha'll Be King But Charlie? (Old Scotch). 
 
 25
 
 T h 
 
 Principles of Music 
 
 Lesson XIV 
 
 The Characteristic Differences in the Music of Nations — / 
 
 We have found that national feeling in music may either represent 
 the patriotism of a country, by means of its battle hymns, its tributes 
 to warlike deeds and heroes, or its pride in the love of native land; 
 
 or may depict the 
 characteristic cus- 
 toms of a people, 
 in the folk dances 
 which often are 
 sung and danced 
 during the work, 
 as well as the play 
 times of the 
 people. We fre- 
 quently find that 
 the most popular 
 of these dances are 
 used during har- 
 vest scenes, and usually are descriptive of the occupations of the people. 
 It will ba easily understood that there is naturally as great a 
 difference between the music of the people of various lands, as is to be 
 found in their language, customs, dress and daily habits, for music 
 springs directly from the daily life of the folk. 
 
 We must also remember that there is a great racial difference 
 in the people of Europe. The love of poetry, the romance, the gaiety 
 of the Latin races, is a direct contrast to the stolid, plodding nature of 
 the Teutons, or the fearless freedom of the Slavs. Yet we can gen- 
 eralize and see points of similarity between the races, as they have 
 settled in different lands; we must also acknowledge that changes have 
 come in the language, dress, customs and arts of these lands. The 
 Russian people are very different from the Bohemians and Hunga- 
 rians, yet all came originally from the Slavonic race. Here we must 
 consider the changes, which have come, that have been caused by 
 climatic conditions. 
 
 For example, in northeastern Russia the folk stories and music 
 are very much bolder and freer in character than those found in the 
 southwestern provinces of this vast land. While in Norway differ- 
 
 RUSSIAN PEASANT DANCE 
 
 26
 
 The Principles of Music 
 
 ences in art and custom are as noticeable as the changes in natural 
 conditions. 
 
 We must also realize that the neighboring countries exert a great 
 influence on the customs, art, and music of the folk. For example, 
 Switzerland has the most loyal, devoted patriots we can find in any 
 land, yet her provinces speak the language of their neighbors, therefore 
 German, French and Italian customs, stories and music prevail 
 throughout this tiny country. Political changes in Europe have, of 
 course, made these influences even more apparent; Poland and 
 Bohemia are our best examples of this. 
 
 ILLUSTRATIONS 
 Folk Dances Directed by Elizabeth Burchenal 
 
 17ftS ,/ Tarantella (Italian) Victor Band 
 
 l/voa \ Ace of Diamonds (Danish) Victor Band 
 
 17nft> ( St. Patrick's Day (Irish) Victor Band 
 
 ww "\ Reap the Flax (Swedish) Victor Band 
 
 1700l' Highland Fling (Scotch) Victor Band 
 
 1 Kamarinskaia (Russian) Victor Band 
 
 HINTS FOR TEACHERS 
 These records will all be used again to illustrate the individual 
 countries. Class should notice here the points of similarity as well 
 as the difference between these dances. 
 
 QUESTIONS 
 
 "Which dances reflect the customs of the land? Which possesses 
 patriotic quality? What is the difference between the Highland Fling 
 and St. Patrick's Day? What is the difference between the Taran- 
 tella and Kamarinskaia? 
 
 CHORUSES 
 
 Hail, Columbia. 
 
 Wearing of the Green. 
 
 The Dannebrog (Denmark). 
 
 Scots Wha' Hae\ 
 
 Lesson XV 
 
 The Characteristic Differences in the Music of Nations — 77 
 In studying the peculiarities of nationality in music, we will 
 find that there are certain traits which are common to all countries. 
 and that it is only a slight change which causes an entirely different 
 
 27
 
 The Principles of Music 
 
 THE ORIENTAL SWORD DANCE 
 
 effect to be observed. In all national music there are four noticeable 
 features which are easily apparent. 
 
 1. The use of different scales and modes than ours. 
 
 2. The constant mingling of major and minor with a decided 
 preference towards the latter. 
 
 3. The importance of rhythmic variety. 
 
 4. The characteristic instruments used by the different nations. 
 These are easily observable as the basic factors of national music 
 
 in all lands and times, but in the study of the national music of 
 to-day. we find them most easily recognized in the schools, which were 
 outside the regular course of European development. In Italy, 
 France, Germany, and England these national traits were long ago 
 practically assimilated in the great schools of music, for which these 
 countries are famous; while in Russia, Poland, Bohemia, and Scandi- 
 navia certain primitive and Oriental ideas* have been retained in the 
 music of the folk. We shall now take up in detailed study, the music 
 of these lands, starting with those countries where music first devel- 
 oped. In arranging the order of these lessons we have treated the 
 countries as they have become identified with European civilization. 
 
 * While a few of the principles of Oriental music have been found in the music of the 
 European folk, it must be acknowleged that the music of China, Japan, India and Arabia has re- 
 mained absolutely untouched by Western civilization. 
 
 A course on music of Oriental lands would be exceedingly instructive, but as the influence 
 of this music is not easily recognized, except by the analytical music student, it has not been in- 
 cluded in this course. 
 
 28
 
 The Principles of Music 
 
 ILLUSTRATIONS 
 
 74105 O Sole Mio (Neapolitan Folk Song) Emilio de Gogorza 
 
 16961 Scots Wha Hae Wi' Wallace Bled (Scotch) Reinald Werrenrath 
 
 ,,.„( Vanka (Russian Folk Song) Albert Janpolski 
 
 M1M \ Kolebalnia (Russian Folk Song) Albert Janpolski 
 
 HINTS FOR TEACHERS 
 
 In presenting these illustrations, make your ideas clear that the 
 Italian song is more similar to our love songs of the modern school of 
 music, while the Russian and Scotch songs have traits which are indi- 
 vidual. Tell the class the meaning of the songs, but do not play them 
 in the order on the board. 
 
 QUESTIONS 
 
 Which illustration sounds the most national to you? "Why? 
 Which seems more like "familiar music?" Why? What points are 
 noticeable in the Russian songs, that you do not feel in the Italian? 
 What do you feel in the Italian that is not so apparent in the Russian ? 
 
 CHORUS 
 
 Bosnian Shepherd's Song. 
 
 Zionward (Come, Thou Fount). Old Freedsman. 
 
 The Cossack's Song. 
 
 Lesson XVI 
 
 Italy 
 
 The Italian folk song has been almost entirely assimilated by the 
 great Italian schools of music, which have existed in Italy, since the 
 rise of Christianity. We find that song is the natural expression of 
 the Italian heart and that his song is usually the appeal of the lover 
 to his fair mistress. In Venice and Naples, the two principal sea- 
 ports of Italy, this love of song has been more apparent, than in those 
 cities which have been more associated with the progress of Church 
 and State. The boatmen and fishermen have their own forms of song, 
 which are still sung on the Bay of Naples and the Canals of Venice. 
 
 29
 
 The Principles of Music 
 
 The Italian folk song has been employed in all operas since the 
 birth of that form in 1600, and, therefore, it does not seem to have 
 as strong an individual note, in our music of to-day. In truth, the 
 
 "folk" music sung by the gondoliers of 
 Venice and the serenaders throughout 
 Italy to-day, is the most popular music 
 from the great Italian operas. Italy is 
 a living example of the truth that 
 "popular music is familiar music." 
 
 ILLUSTRATIONS 
 
 17083 Tarantella (Traditional) 
 
 Victor Military Band 
 88355 Tarantella Napolitana (Pepoli- 
 
 Rossini) Enrico Caruso 
 
 16882 Santa Lucia (Neapolitan) 
 
 Reed Miller 
 I Royal March of Italy Sousa's Band 
 16136 I Garibaldi Hymn (Neapolitan 
 
 Patriotic Song) Sousa*s Band 
 
 HINTS TO TEACHERS 
 In arranging the order of these les- 
 sons, we have put Italy first and have 
 then treated the countries as they have 
 become identified with European civil- 
 ization. 
 
 Explain to your class the different parts of Italy which were sepa- 
 rate kingdoms until the unification of Italy, by Victor Emanuel, in 
 1871. Tell of the great Garibaldi and his work. 
 
 Italy has al- 
 ways led the world 
 in Art. Speak of 
 the great masters, 
 Raphael and oth- 
 ers, and the close 
 relation of music 
 and art. Speak of 
 the wonderful gal- 
 leries in Florence, 
 Rome and Milan, 
 and, if possible, salterello— roman dance 
 
 J THE TARANTELLE THE ITALIAN 
 PEASANT GIRL IS SUPPOSED TO HAVE 
 BEEN BITTEN BY A TARANTULA AND 
 MUST, IN ORDER TO ESCAPE DEATH, 
 DANCE THE POISON OUT. 
 
 30
 
 T h 
 
 Principles of Music 
 
 have reproductions 
 of the well-known 
 paintings. 
 
 QUESTIONS 
 Which num- 
 ber is a dance 
 song ? Which is 
 a legendary song? 
 Which a patriotic 
 song? What voice 
 sang the second 
 selection ? The third ? Was the first played by an orchestra or by a 
 band? What organization played the last? Which number reflects 
 the custom of the people ? Which reflects poetic thought ? 
 
 THE TARANTELLA 
 
 ITAN DANCE 
 
 CHORUSES 
 
 Italian Hymn. 
 Santa Lucia. 
 Merry Life (Denza) 
 
 Lesson XVII 
 
 Spain 
 
 In Spain and Portugal we find no definite Modern School of 
 Music, yet in these countries, there are innumerable musicians, who. 
 although uneducated in the science of their art, still sing and play 
 the folk songs of their past generations. Spanish literature is rich in 
 romance and poetry, for the history of Spain tells us of the intercourse 
 of the Spaniards with the Moors and other Oriental nations, as well as 
 their later exchange of thought with their European neighbors. 
 It is through the gateway of Spain, that much of the Oriental 
 art, poetry, and music, which was the inspiration of the "Trouba- 
 dours," entered into Europe. Although many schools of music were 
 established during the mediaeval days, it is curious to note that 
 Spanish music has had no distinctly modern development. The over- 
 towering greatness of the schools of Italy and France have called some 
 musicians from Spain, who have been identified with these schools, 
 but her own source of melodic wealth and legendary lore has proved 
 
 31
 
 The Principles of Music 
 
 of little inspiration to her own sons. Many European masters have 
 sought inspiration from Spanish sources, but as yet Spain has pro- 
 vided no great modern composers, who can compare with those of the 
 other European countries. 
 
 There are different groups of Spanish songs, divided accord- 
 ing to the geographical 
 and national character of 
 the country. The most 
 beautiful folk songs are 
 found in Andalusia 
 (Southern Spain), while 
 the majority of dance songs 
 are to be found in Galicia. 
 The guitar is the most 
 popular instrument. Many 
 of the folk songs of Spain 
 and Portugal are now 
 found in South America,* 
 Cuba, Mexico and South- 
 ern California. 
 
 COURT OF THE LIONS, ALHAMBRA. (NOTE THE MOORISH 
 INFLUENCE IN THE ARCHITECTURE) 
 
 ILLUSTRATIONS 
 
 64042 Linda Mia (Folk Song) 
 
 64043 Teresita Mia (Folk Song) 
 s-j-tz-if Alborada Gallega (Duet) 
 
 Emilio de Gogorza 
 Emilio de Gogorza 
 Band of Perelada 
 Melangia Municipal Band of Barcelona 
 
 87105 Aria " II Guarany" (Gomez) Amato and Metropolitan Opera Chorus 
 
 HINTS TO TEACHERS 
 Recall the great legends and poetry of Spain in past times. Her 
 architecture is strongly influenced by the Moorish conquests. Recall 
 the great artists of Spain, but class should be reminded that no coun- 
 try of Europe is so completely mediaeval in character as the Spain of 
 to-day. She is only just beginning to realize her own importance 
 politically. Her literature and art are being cultivated, as is also her 
 music. Before the end of the century we will find in Spain a great 
 National School. Remind class of the similarity between the love 
 songs of Spain and of Italy. Recall to them the story of Bizet's "Car- 
 men," which reflects the nationality of Spain in a French opera. 
 
 * There is no country in the world to-day in which is to be found a greater music-loving 
 public than in certain parts of South America. The opera house of Buenos Aires is one of the 
 finest in the world and the greatest singers of the world are heard there each season in a full 
 repertoire of all the greatest operas. 
 
 32
 
 The Principles of Music 
 
 THE SPANISH FANDAN 
 
 Speak of the relation of Spain and Portugal. Selection 4, the 
 great aria from the Portuguese opera, "II Guarany" which has 
 attracted great attention in Europe in recent years, is in the form of 
 the Bolero. Explain the Serenade, or Morning Song, French 
 "Aubade" — (Alborada in Spanish.) 
 
 QUESTIONS 
 Which number is national expression? In which is folk music? 
 Which reflects the customs of the people? Which suggests dance 
 form in its musical accompaniment? 
 
 CHORUSES 
 Fading, Still Fading (Portuguese). 
 Juanita. 
 La Paloma (Spanish). 
 
 L 
 
 esson 
 
 XVIII 
 
 France 
 The French folk songs belong to the period of the Jongleurs and 
 Troubadours (from 1100), and we also find them reflected later in the 
 early operas. The love of dancing was always popular in France, 
 
 33
 
 The Principles of Music 
 
 but the simple dances of the common people were soon copied by the 
 nobility and were later chiefly associated with Court life. The dances 
 were introduced into the opera and became the ballet of the seven- 
 teenth century, which lias ever since remained one of the most popular 
 tonus in France. At the time of the devolution many songs of a 
 national character came into being, among them the great "Marseil- 
 laise," which is regarded as tin 1 most remarkable of patriotic songs. 
 
 ILLUSTRATIONS 
 
 16474 Amaryllis Victor Orchestra 
 
 64223 Bergere Legere Edmond Clement 
 
 64202 Aubade Provencale (Old French i Fritz Kreisler 
 
 74039 Marseillaise (de Lisle) Marcel Journet 
 
 31740 The Two Grenadiers (Schumann) Reinald Werrenrath 
 
 HINTS FOR TEACHERS 
 
 Amaryllis is a rare example of the old French rondo. If time 
 permits explain to class the rondo as it was sung and danced.* The 
 last number, "The Two Grenadiers," is included because of its excel- 
 lent use of the "Marseillaise," but if you give this, be sure the students 
 do not classify Robert Schumann as a Frenchman. A strong point 
 must be made of the fact that both words and music are by Germans, 
 and that this is an example of national expression. 
 
 QUESTIONS 
 
 Which selection is a song-dance? Which is a legendary song? 
 Which is patriotic? Which is national expression in music? Why is 
 the last an unusual example of national expression in music? What 
 voice sin us the second? The third? The fourth? 
 
 * The rondo dance form developed from the old custom of singing rounds. As we know- 
 in the simple form, the round is begun by one group of singers, who sing the principal theme, then 
 continue to sing a new theme, while a second set sing the original melody; a third or a fourth 
 division follow each other; this later developed into a dance or instrumental form in France. 
 The first theme is heard, then a contrasting theme, the original theme, another contrasting theme, 
 and then a return to the original thought. A perfect example of rondo in verse is to be noted in 
 this little poem by Bunner: 
 
 "A pitcher of mignonette 
 
 In a tenement's highest casement, 
 
 Queer sort of a flower pot, yet 
 
 That pitcher of mignonette, 
 
 Is a garden in Heaven set. 
 
 To the little sick child in the basement. 
 
 The pitcher of mignonette 
 
 In a tenement's highest casement." 
 
 34
 
 The Principles of Music 
 
 FRENCH MINUET 
 
 CHORUSES 
 The Marseillaise. 
 Legend of the Bells, from "Chimes of Normandy. ' : 
 
 "ROUNDS" 
 Early to Bed. 
 Scotland's Burning. 
 Three Blind Mice. 
 The Bell Doth Toll. 
 Wind, Gentle Evergreen (Old English). 
 
 Lesson XIX 
 
 Germany 
 
 From the earliest times, we find an interest in music in the land 
 of Germany ; which, during our modern epoch has given more great 
 music to the world than any other land. The mediaeval legends were 
 sung by the Minnesingers, while the folk dances were kept alive 
 through the efforts of the town pipers. The dances of the town pipers 
 were first collected in the early seventeenth century and under the 
 
 35
 
 J h e Principles o f M u s i c 
 
 name Partita in Germany, and Suite in Franee, they received their 
 culmination of development at the time of Johann Sebastian Bach in 
 
 the eighteenth century. 
 
 All the folk songs and dances 
 of Germany have gradually been 
 assimilated with the musical forms 
 of the great composers ; although we 
 find to-day, in parts of the country, 
 old folk songs which represent all 
 phases of nationality; they have 
 become, as it were, polished by con- 
 tact with the later great art forms. 
 Many of the student songs and 
 drinking songs were brought into 
 the Church at the time of Luther 
 and, although still folk songs, are 
 sung in all reformed churches 
 throughout the world, set to reli- 
 gious words. 
 
 All of Germany's legendary 
 stories of the Rhine, all the folk 
 lore of the Black Forest, is reflected 
 
 THE TOWN I' II" Kit 
 
 in her folk soner. 
 
 ILLUSTRATIONS 
 
 63853 Two Folk Songs— "Christmas Hymn," " Tannenbaum " 
 
 Children's Chorus 
 17181 The Loreley (Silcher) Elsie Baker 
 
 74196 Liebesfreud (German) Fritz Kreisler 
 
 16159 A Mighty Fortress is Our God (Martin Luther) Trinity Choir 
 
 16882 The Watch on the Rhine (Wilhelm) Reinald Werrenrath 
 
 HINTS FOR TEACHERS 
 
 The national hymn of Austria, "God Save Franz," is by Haydn 
 and is practically a German folk song. Included in the list of German 
 patriotic songs we find also the great hymn of Martin Luther, "A 
 Mighty Fortress is Our God," as this was the battle hymn of the 
 Lutherans and was sung by the armies of Gustavus Adolphus during 
 the Thirty Years' War. It has ever since remained a favorite hymn. 
 
 36
 
 The Principles of Music 
 
 QUESTIONS 
 
 Which selection is a dance? Which is patriotic song? Which is 
 legendary song? What voice sings the second? The fourth? Which 
 number represents national custom? Which are poetic in character? 
 Which is an example of national expression ? 
 
 CHORUSES 
 Tannnenbaum. 
 Holy Night. 
 The Vow. 
 
 How Can I Leave Thee? 
 Canst Thou Count the Stars? 
 
 Lesson XX 
 
 Tlohemian Music 
 
 The name Bohemian has always been a synonym for the wander- 
 ing musician. In no other country of Europe has the town piper re- 
 tained his mediaeval privileges as he has in the smaller towns of 
 Bohemia. In many points Bohemian music reflects that of the other 
 Slavic races, especially that of Poland, as both countries have assimi- 
 lated much from their neighbors. With Germany on the one hand and 
 Austria on the other, Bohemia has absorbed a great deal of the Teu- 
 tonic spirit in her folk dances and songs, although we do not find a 
 definite Bohemian school of music until the last half of the nineteenth 
 century. 
 
 ILLUSTRATIONS 
 
 35148 Overture, " Bartered Bride " (Smetana) Pryor's Band 
 
 64213 Bohemian Cradle Song (Smetana) Alma Gluck 
 
 60078 Songs My Mother Taught Me (Dvorak) (English) Lucy Marsh 
 
 HINTS FOR TEACHERS 
 
 The selections chosen are all examples of national expression in 
 that they are compositions of modern composers. They are, however, 
 the best examples of true Bohemian folk spirit. Tell the story of Sme- 
 tana 's "Bartered Bride," the first Bohemian opera. 
 
 All the Slavonic people are partial to the dance and have many 
 dances in common which show but slight changes in character. 
 
 37
 
 The P r i n c i p I e s o f J\I u s i v 
 
 Recall to your class the effect of the Reformation in Bohemia, the 
 wars of the Hussites, etc. During this period the religious fervor of 
 the people is manifest in the sacred character of their music. It is 
 interesting to note that although Bohemia was almost entirely de- 
 stroyed as a result of its partisanship in the cause of the Reformation, 
 it is now entirely a Catholic country. 
 
 QUESTIONS 
 
 What voice sang the second selection? The third? Which is 
 legendary song? "Was the first played hy orchestra or hy band? 
 Which lias definite form? 
 
 CHORUSES 
 
 The Country Wedding. 
 Serenade (Bohemian Air). 
 Battle Hymn of the Hussites. 
 
 Lesson XXI 
 
 Hungary 
 
 Hungarian music is always associated in our minds with Franz 
 Liszt, for he was the first musician to give us the wonderful con- 
 trasts of rhythm and syncopation, that go to make up the characteris- 
 tics of Hungarian music. In considering Hungarian folk music, one 
 must remember that Hungary is the borderland between the West and 
 the Orient, and consists of a population made up of Magyars (the real 
 Hungarian people), Gypsies, Germans, Jews, Slavs, Greeks, etc. 
 
 The favorite Hungarian musical scale is our regulation minor, 
 but with an augmented fourth, which produces a wierd effect of "in- 
 tensified minor." When this scale is employed, with the popular 
 rhythmic and Oriental effects, there is an endless variety possible. 
 Liszt once said, "It seems as if every newly-discovered fragment con- 
 tains some new T form, some unexpected turn, some rhythmic inter- 
 ruption of a picturesque effect previously absolutely unknown." 
 
 The Hungarian gypsies always adorn their melodies with curious 
 runs, twists and turns, which are reminiscent of the Italian opera at 
 the time of Rossini. Almost every Hungarian village possesses its 
 
 38
 
 T h 
 
 Principles of Music 
 
 gypsy band, the favorite instru- 
 ments being the violin and the dul- 
 cimer, which accents the rhythm, 
 as the first violin leads in an im- 
 provisation of some well-known 
 melody. No notes are ever used. 
 Of the various Hungarian 
 forms the Czardas is the most 
 popular with the gypsies. It takes 
 its name from the inn where it was 
 first danced, and consists of two 
 parts, a slow Lassen, which is gen- 
 erally minor in tone and of melan- 
 choly character, and a rapid 
 Friska, which is a wild and impas- 
 sioned dance. The Lassen is 
 danced first; the Friska becoming 
 more and more animated, until the 
 dancers drop back to the Lassen 
 for a rest. The gypsies of Hun- 
 gary were undoubtedly the hire- 
 lings of the noble Magyars, and 
 played the music of their masters. This accounts for the fact that 
 gypsies of other lands show other characteristics in their music, which 
 are not to be observed in Hungary. 
 
 ILLUSTRATIONS 
 
 17003 Czardas (Traditional Folk-Dance) 
 64131 Hungarian Dance (Brahms) 
 31424 Rakoczy March (Berlioz) 
 
 Victor Military Band 
 Fritz Kreisler 
 Sousa's Band 
 
 HINTS FOR TEACHERS 
 
 The Hungarian Rhapsodies of Liszt are so well known that they 
 have purposely been omitted as illustrations. There are several excel- 
 lent records that can be used if desired. 
 
 QUESTIONS 
 
 How many themes did you hear in the first selection ? Of what 
 character are they? "What instrument played the second? Is the
 
 The Principles of Music 
 
 third national expression in music? What type of nationality does 
 it reflect? 
 
 CHORUS 
 Bosnian Shepherd's Song. 
 
 Lesson XXII 
 
 Russia 
 
 Rubinstein declared that "the folk songs of the Russians stand 
 alone," and Cesar Cui, another great Russian composer, says "it is 
 not too much to claim supremacy for Russia in the department of 
 National Melodies. The popular songs of my country demand an 
 original harmonization and an entirely distinct method of modulation, 
 for we seldom find a melody which can be treated entirely within the 
 major or minor mode, for even if it extends over but a few bars, it 
 passes from relative major to minor or vice versa. These changes, 
 generally unexpected, are almost always of a striking emotional effect." 
 
 The enormous size of Russia and the many points of difference 
 between the various parts of the country, gives an endless variety of 
 local color to the Russian songs. The most original and interesting 
 Russian songs have come from what is known as "Little Russia"; the 
 
 JH 
 
 ■ 
 
 
 
 
 u 
 
 f 
 
 
 I 
 
 
 1 
 
 f. ••fi 
 
 -' " •'.;,,... 
 
 I 
 
 / 
 
 RUSSIAN DANCE 
 40
 
 The Principles of Music 
 
 district of the Ukraine, bordering on Poland. The Russian folk songs 
 have all the characteristics which we observed in Lesson XV, for the 
 Russian religion, that of the Greek Church, has brought the Russian 
 peasant closer to the oldest science of music than any of his neighbors, 
 in the Jewish communities of Russia, the orthodox service has always 
 been closely adhered to, and many Russian folk songs are affected by 
 the ancient system of the Hebrews, as well as by the Greek Church. 
 
 In the Russian churches no instruments are allowed, so that we 
 find the deepest basso voices in the world in Russia to-day. 
 
 With the constant oppression of tyrant rulers and the invasion of 
 Asiatic enemies, it is but natural that the best songs of Russia are 
 sad, and favor the minor mode. 
 
 It is customary to divide the Russian songs into two classes : 
 
 1. Melodic songs; these are in the major key, of a lively char- 
 acter, sung in unison and accompanying dancing. 
 
 2. Harmonic songs ; these are sung in harmony, slower tempo, and 
 favor the minor keys. It is easily seen that the "melodic" songs we 
 have classed as the "dance song," while the "harmonic song" we have 
 already termed "the legendary song." 
 
 ILLUSTRATIONS 
 
 7anW Molodka (Folk Dance) Balalaika Orchestra 
 
 w \ Sun in the Sky Stop Shining (Folk Dance) Balalaika Orchestra 
 
 ,,,„) Kolebalnia (Folk Song) Albert Janpolski 
 
 ""''l Vanka (Folk Song) Albert Janpolski 
 
 17001 Kamarinskaia (Folk Dance) Victor Military Band 
 
 61143 The Sea Gull's Cry (Grodski) Mmes. Michailowa and Tugarinoff 
 
 70050 Marche Slave (Tschaikowsky) Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 Remind the class of the political importance of Russia to-day, of 
 the rise of her commerce, her literature and arts. The Russian School 
 of Music is considered in detail, Lesson XXII, Course II. Also 
 remember the different races and sects in Russia; the Asiatic influ- 
 ences that have come into Europe through Russia. 
 
 The class will find in many of their choruses sung in the school, 
 examples of Russian folk song. 
 
 QUESTIONS 
 Which selection is patriotic? Who wrote the Russian National 
 Hymn ? When 1 How is it here used by Tschaikowsky ? Which is an 
 
 41
 
 The Principles of M u s i c 
 
 example of legendary song? Which of these songs reflects customs of 
 the folk? What voices did you hear in the last selection? What does 
 this number reflect? 
 
 CHORUSES 
 
 The Red Sarafan (Lwolf)'. 
 
 The Troika. 
 
 Russian National Hymn. 
 
 The Harvester (Old Russian). 
 
 Lesson XXIII 
 
 Poland 
 
 The music of Poland is, to our modern mind, strongly associated 
 with the instrumental music for the piano, as many of our great 
 pianists, from Chopin to Paderewski, have been of Polish origin. 
 Therefore, it is not surprising to find that the early Polish music 
 favored instrumental, rather than vocal expression. 
 
 We have noticed that Russian melodies betrayed their vocal origin 
 by their limited melodic compass, but in Poland we find a much greater 
 freedom in the use of rhythm and melody than is found in Russia. 
 The Poles are more susceptible to romance, they are more passionate, 
 and their songs are filled with a fire that reveals the influence of 
 instrumental coloring, in the syncopated notes, intricate rhythm and 
 difficult melodic intervals. 
 
 The four great Slavic races, Russian. Polish, Bohemian and Hun- 
 garian, in many respects possess similar characteristics in their music, 
 but while the Russians and Bohemians have points of close similarity 
 in their use of melodic and harmonic songs, the Poles and Hungarians 
 are more passionate and intense in their dances and in the use of 
 instrumental forms. 
 
 But the melancholy of the Russians is apparent also in the music 
 of Poland and tinges even the lively tunes. The Poles have been 
 almost constantly the slaves of other nations, and these periods have 
 resulted in the sad and mournful strains of their folk music. 
 
 The national dances of Poland are the Mazurka and Polonaise, 
 both of which Chopin immortalizes. 
 
 42
 
 The Principles of Music 
 ILLUSTRATIONS 
 
 74051 Souvenir de Moscow (Wieniawski) Mischa Elman 
 
 63460 Two Folk Songs 
 
 (a) Krakowiak (Soprano Solo with Chorus) Roza-Kwasigrouch 
 
 (b) Na Wawel, Na Wawel Chopin Male Quartet 
 64224 Mazurka (Op. 15, No. 2) (Chopin) Vladimir de Pachmann 
 
 HINTS FOR TEACHERS 
 
 Give a very brief resume of Poland's history. Remind class of 
 her past splendor, of the elegance and luxury of her Court life in olden 
 days. Tell of the Revolution at the time of Chopin and how it influ- 
 enced him. Recall to your pupils the help Kosciusko, the great Polish 
 patriot, gave to America at the time of our Revolution. Remind class 
 of the many singers and instrumental musicians who have been of 
 Polish birth. 
 
 QUESTIONS 
 
 What does the first selection represent? Two folk songs are ex- 
 amples of what? Which number shows national expression? What 
 instrument did you hear in the first number? 
 
 CHORUS 
 May Song. 
 
 Polish National Song (Old Folk Song). 
 Polish Fatherland Sons. 
 
 Lesson XXIV 
 
 Norway 
 
 In our study of folk music, none is more interesting than that 
 found in Norway. The physical aspect of the country, its deep forests, 
 sunny meadows, high mountains and rugged seacoast, inspires a love 
 of contrast in art, which makes the folk tales and music of this land 
 most fascinating. The old mythical stories of the Volsung Sagas, 
 telling of the Norse Gods, were first sung by the Bards, or Skalds. 
 who wove musical themes around these epic legends. They used for 
 accompaniment the Langeleik, a long box-like instrument, shaped like 
 a harp, and also the old Hardanger fiddle, which was similar to the 
 viola d'amore of mediaeval Italv. The Norse songs are divided into
 
 The Principles of Music 
 
 two classes; one bold and vigorous, the other tender and plaintive. 
 Many of these songs deal with simple events of life, some are hunting 
 songs, some are humorous and others have a simple, direct, poetic 
 appeal. 
 
 Although we find excellent musicians from the North living in 
 Germany and Italy during the seventeenth and eighteenth centuries, 
 it is not until the nineteenth century that we find a National School 
 established in Norway. 
 
 ILLUSTRATIONS 
 
 17160 Norwegian Mountain March (Folk Dance) Victor Band 
 
 ,,w ia / Aa, Ola, Ola (Folk Song) Mme. Aalrud-Tillish 
 
 b6bl *\ Astri, mi Astri (Folk Song) Mme. Aalrud-Tillish 
 
 71042 Norwegian Wedding March (Grieg) Wilhelm Bachaus 
 
 HINTS TO TEACHERS 
 
 Remember that although for many years joined to Sweden, Nor- 
 way has always retained her own independence in art. Foreign art 
 was never popular there as in Sweden and Denmark. Remind your 
 class that our greatest Scandinavian expression, in literature, art and 
 music, has come from Norway. Thorwaldson, Bjornsen, Ibsen, Ole 
 Bull, Grieg and Sinding are all names the class should learn. 
 
 Recall to your class that we Americans should be especially inter- 
 ested in the customs of Norway because of the early discoveries made 
 in America by the Norse sailors. 
 
 QUESTIONS 
 
 In which class do the folk songs belong? What voice sang them? 
 Which is an example of national expression? Which is an example 
 of customs of the people? 
 
 CHORUSES 
 
 National Hymn of Norway. 
 
 Last Night the Nightingale Woke Me (Kjerulf). 
 
 Haakon's Cradle Song (Grieg). 
 
 My Dear, Old Mother (Grieg). 
 
 44
 
 The Principles of Music 
 Lesson XXV 
 
 Sweden 
 
 Swedish music has many points of similarity with that of Norway, 
 yet it is not as individual in character. "The Thirty Years' War" 
 brought Sweden into contact with the customs and manners of other 
 lands, and all her arts reflect this fact, although it is most noticeable 
 in her music. Daring the reign of Charles XII, a typical French 
 Court was maintained in Stockholm, which has ever since remained 
 one of the cosmopolitan capitals of Europe. It is, therefore, but 
 natural that Swedish music, even that sung by the folk, should have 
 been influenced by superficial conditions. The folk dances have re- 
 mained more truly characteristic of the Swedish nation than the songs. 
 
 It is a well-known fact that all folk songs have strong points of 
 similarity and that many legendary stories are the same in all lands. 
 It is but natural, therefore, to find strong points of similarity between 
 the songs of all the northern countries. The Swedish songs are less 
 tragic and melancholy than the Norwegian folk songs, and while not 
 as regular in rhythm as the Danish melodies, they still show the influ- 
 ence of other European countries. 
 
 The lute, which was originally imported into Sweden from Italy, 
 has become one of the national instruments of the land, and many of 
 the best Swedish folk songs are sung to its accompaniment. 
 
 ILLUSTRATIONS 
 
 17nS c/ Fjallnaspolska (Mountain Polka) (Swedish) Victor Band 
 
 1/Wi "\ Bleking (Swedish) Victor Band 
 
 63429 Two Folk Songs with lute accompaniment Torkel Scholander 
 
 35159 Swedish Wedding March (Soderman) Pryor's Band 
 
 HINTS FOR TEACHERS 
 
 Although it is impossible to take up the Modern Schools at this 
 time, the influence of Denmark on both Sweden and Norway has been 
 very great. Among the modern schools, great interest is now being 
 taken in the new schools of Iceland and Finland, which have recently 
 come into existence. The great Finnish epic poem, Kalevala, has 
 always attracted the attention of the literary world, but the interest 
 in her music has been very recent. Her folk melodies have points in 
 
 45
 
 T h 
 
 P rinciples of M u 
 
 S l c 
 
 common with both Norway and Russia. Class should recall the union 
 of Sweden and Norway, and the recent separation in government 
 relations there. 
 
 QUESTIONS 
 
 Which of these dances is the most simple in form? Which sug- 
 gests a dance of another country? Which of the songs typifies poetic 
 thought? What difference did you note in Wedding Marches of 
 Norway and Sweden ? 
 
 CHORUSES 
 
 National Air of Sweden (Charles John, Our Brave King). 
 
 The Horn (Old Swedish). 
 
 To Nature (Swedish Folk Song). 
 
 Cradle Song (Favorite of Jenny Lind). 
 
 Lesson XXVI 
 
 Ireland 
 
 IRISH JIG NEW YEAR S EVE IN IRELAND 
 
 The music of Ireland 
 is similar in many ways 
 to that of Scotland and 
 Wales. That there ex- 
 isted a very much earlier 
 civilization in Ireland 
 than in the other parts 
 of Great Britain proves 
 that many of the songs 
 now claimed by Scotland 
 and England were origi- 
 nally native to Ireland. 
 Many of the Catholic 
 hymns in the ritual of 
 the Church to-day were 
 the inspiration of Irish 
 scholars of the middle 
 ages. In the twelfth cen- 
 tury, John of Salisbury. 
 
 46
 
 The Principles of Music 
 
 comments on the famous Harp School of Ireland, which had then 
 been in existence for several centuries. During the wars of the six- 
 teenth, seventeenth and eighteenth centuries, the art of music declined 
 in Ireland, and many Irish melodies were rewritten in the English 
 style. The early harpers followed the modes in use in the Christian 
 Church chants, so that we find many of the early Irish songs good 
 examples of the modes brought into the Church service by Gregory. 
 (See Lesson III, Course II.) The Irish also used the bagpipes, as 
 did the Scotch, and these instruments were frequently used as accom- 
 paniments to the dances. 
 
 The most popular Irish dance is the jig, which was named from a 
 peculiar stringed instrument, somewhat resembling the violin; this 
 was called the Geige— the dance taking its name, just as the horn- 
 pipe was named, from the instrument used to provide the music for 
 that dance. Every occupation of the Irish people, from milking the 
 cows to spinning, has its own individual tune. 
 
 ILLUSTRATIONS 
 
 17002 St. Patrick's Day (Irish Jig) Victor Military Band 
 
 64117 The Minstrel Boy John McCormack 
 
 64259 The Harp that Once Thro' Tara's Halls John McCormack 
 
 31865 Songs of Ireland (Medley) Victor Mixed Chorus 
 
 HINTS FOR TEACHERS 
 
 As Ireland has been under the power of England for so many 
 generations, we find no song that can be distinctly called the national 
 air of Ireland; possibly "The Harp That Once Thro' Tara's Halls" 
 comes closer to this than any other. Have class point out the simi- 
 larity between the Scotch and Irish ballads. 
 
 QUESTIONS 
 
 What voice sang the second selection? The third? Which is 
 descriptive? Which is patriotic in character? In the medley, which 
 song reflects love of native land? Which represents poetic thought? 
 
 CHORUSES 
 Molly Bawn. 
 Wearing of the Green. 
 Harp That Once Thro' Tara's Halls. 
 Low-Back'd Car (Lover). 
 
 47
 
 The Principles of M u s i c 
 
 Lesson XXVII 
 
 Wales 
 
 There is absolute proof that there existed in Wales, a very 
 advanced musical culture, which dates back even earlier than that of 
 Scotland or England. The most famous minstrels of all the North 
 lands used the Welsh Crwth, which was brought into Europe origi- 
 nally by the Welsh bards, but which has been found throughout Scan- 
 dinavia, Russia and Northern Germany. The Crwth was a stringed 
 instrument played with a bow. It was used entirely as an accompani- 
 ment to the song, recited or sung by the bard. The Welsh also used 
 harps (doubtless imported from Ireland), and these have continued 
 in use in Wales, even to our own day. The hornpipe and bagpipe 
 were also used in Wales. 
 
 A curious custom of ancient days in Wales is still retained by the 
 folk; this is the "Pennillion Singing." The harper plays a well- 
 known tune over several times, then each of the company in turn 
 extemporizes words to fit this melody; the chorus sing "Tal la la" 
 between each new stanza. 
 
 Most of the Welsh airs we know to-day have been known in Eng- 
 land for so many years that they are frequently classified as English 
 Folk Songs. 
 
 ILLUSTRATIONS 
 74100 All Through the Night Evan Williams 
 
 64141 Mentra Gwen Evan Williams 
 
 17180 Men of Harlech Peerless Quartet 
 
 HINTS FOR TEACHERS 
 
 The relation of Wales to the British Empire is of great interest. 
 The physical aspect of this tiny land makes possible much contrast in 
 its folk lore. This should be carefully considered. The Welsh bards 
 were our first story tellers, and by many authorities they are believed 
 to be our first wandering musicians. The Welsh who have settled in 
 America have brought many of their customs with them, and many 
 of our best chorus concerts are given by the Welsh Choirs. 
 
 QUESTIONS 
 Of what character are the first and second selections ? What prin- 
 ciples does the third represent? Which is a legendary song? Which 
 represents poetic thought? 
 
 4S
 
 The Principles of Music 
 
 CHORUSES 
 Men of Harlech. 
 
 The Sun Smiles in Beauty (Old Welsh Air, The Ash Grove). 
 Forth to the Battle. 
 Ash Grove (Old Welsh). 
 
 Lesson XXVIII 
 
 Scotland 
 
 As national music, that of Scotland has been always recognized 
 as individual, and possessed of an unusual charm in melody and 
 rhythm. Although 
 it existed from 
 very early times, 
 the Scotch music 
 was not generally 
 known in England 
 until the reign of 
 Charles II. The 
 half century after 
 the Restoration 
 was a busy one for 
 the Jacobite poets, 
 and many of the 
 verses of this time 
 were set to tunes 
 already known. 
 The borderland ballads of this period belong equally to England and 
 Scotland. 
 
 Like all folk music, that of Scotland was more or less influ- 
 enced by the instruments used by the people. Their national instru- 
 ment is still the bagpipe, and it is the use of this tonally restricted 
 instrument, which probably accounts for the fact that most of the 
 Scotch melodies are based on the pentatonic or five-tone scale. Many 
 of our best-known Scottish songs are settings of the poems of Robert 
 Burns. We must not forget our debt to Sir Walter Scott, who gave 
 us many excellent illustrations of the greatness of Scotch heroism in 
 his novels and poems. 
 
 : — "the reel of tulloch" 
 
 49
 
 The Principles of Music 
 
 17001 
 64210 
 
 16961 j 
 17140 
 
 ILLUSTRATIONS 
 
 Highland Fling (Traditional) 
 
 Loch Lomond 
 
 Jock o' Hazeldean 
 
 Scots Wha Hae Wi' Wallace Bled 
 
 Scotch Medley March 
 
 The Battle of Killiecrankie (2) 
 
 Victor Military Band 
 
 Evan Williams 
 
 John Young 
 
 Reinald Werrenrath 
 
 Sutcliffe Troupe 
 
 Will Ye No Come Back Again 
 
 Sutcliffe Troupe 
 
 HINTS FOR TEACHERS 
 
 Recall to class 
 the clans of Scot- 
 land and the dif- 
 ferent songs be- 
 longing to these 
 clans. In speaking 
 of the ' ' Border- 
 land Ballads," re- 
 call that "Jock o' 
 Hazeldean" is a 
 song claimed by 
 both Scotland and 
 England. The 
 national use of 
 Scotch melodies 
 has been very 
 popular in modern music, although we have had few composers from 
 Scotland itself. Beethoven used many Scotch airs, and from his time 
 to the present day the charm of Scottish music has been very strong. 
 
 QUESTIONS 
 
 What is the principal characteristic of the Highland Fling? 
 What voices sang the Scotch songs? Which song is legendary in char- 
 acter ? "Which is patriotic ? Which expresses poetic thought ? Which 
 tells a story? 
 
 CHORUSES 
 
 My Heart's in the Highlands. 
 
 Annie Laurie. 
 
 Robin Adair. 
 
 Flow Gently, Sweet Afton (Burns). 
 
 THE SCOTCH £WORD DANCE 
 
 50
 
 The Principles of Music 
 
 Auld Lang Syne. 
 
 Wha'll Be King But Charlie? 
 
 The Campbells Are Coming. 
 
 Lesson XXIX 
 
 England 
 
 In a certain sense all the folk music of the British Isles belongs 
 to England, yet we find a vast difference in the music of Ireland, Wales 
 and Scotland, not only in distinction from each other, but also in con- 
 trast to that of England herself. Each country may be characterized 
 thus : 
 
 Ireland — The Harp. 
 
 Scotland — The Bagpipe. 
 
 Wales — Chorus Singing. 
 
 England — The Organ. 
 
 We find, when we study the History of Music, that the English 
 possessed a remarkable school of counterpoint in mediaeval days. This 
 was, in a certain sense, a handicap to free musical expression, as all 
 music was written along certain formal lines of construction. The in- 
 fluence of France is very distinctly seen in the early dialogues with 
 music, which were popular in Elizabethan days. All the instruments 
 at that time were imported from either France or Italy, and the music 
 is all reflective of the artificiality of Court life. Yet among the com- 
 mon people, song springs spontaneously from the heart, and whether 
 it be in days of trial or warfare, or in days of peace and contentment, 
 it finds its ultimate expression. 
 
 The most distinctly English songs are those which we designate 
 as "Old English"; they are a product of the late seventeenth century. 
 
 ILLUSTRATIONS 
 
 17087 May Pole Dance— Bluff King Hal Victor Military Band 
 
 74077 Drink to Me Only With Thine Eyes (Ben Jonson) 
 
 Emilio de Gogorza 
 17190 The Lass With the Delicate Air Dr. Arne) Olive Kline 
 
 17086 Morris Dance — Laudnum Bunches Victor Military Band 
 
 51
 
 i h e Principles of M u s i c 
 
 HINTS FOR TEACHERS 
 
 Call the attention of your class to the songs to be found in Shake- 
 speare. Especially notice the holiday songs as " Heigho the Holly" and 
 the May song, "It Was a Lover and His Lass," from "As You Like 
 It"; the hunting songs and glees. Remind your class that Shake- 
 speare would not have introduced these songs had they not been in 
 popular use at his time. The class should also be told of the great 
 settings of Shakespeare, made by Schubert, Mendelssohn and other 
 modern composers. (Many of these settings will be found in the 
 Victor Catalogue.) 
 
 "Drink to Me Only With Thine Eyes" is an Elizabethan song. 
 Recall to class the period of the "Cavalier" and "Round-Head" 
 parties. The songs of the Puritans were gloomy and disagreeable in 
 contrast to the dashing gaiety of the drinking songs of the Cavaliers. 
 
 In discussing the national songs of England remember that 
 "Rule Britannia" reflects the style of the opera of Arne's day, and is 
 hardly fitting as an example of patriotic song, that style being much 
 better suited to the setting of a dainty verse like that of the "Lass 
 
 AN ENGLISH MAY FESTIVAL 
 52
 
 The Principles of Music 
 
 with the Delicate Air." "God Save the King" is now said to have 
 been imported from Saxony, and some authorities say it does not 
 belong to England any more than to America, Explain how it was 
 used first by England and then the United States. 
 
 QUESTIONS 
 
 What voice sings the second selection ? In what style is the third ? 
 Compare the two dances. Which selections are examples of dance 
 games 1 
 
 CHORUSES 
 
 The Jolly Miller 
 
 The Lass of Richmond Hill (McNally). 
 
 Come Unto These Yellow Hills. 
 
 God Save the King. 
 
 Rule Britannia (Dr. Arne). 
 
 Listen Lordlings. 
 
 L 
 
 ess on 
 
 XXX 
 
 Much has been 
 written of the folk 
 music of America 
 in the past few 
 years, and many 
 musicians believe 
 the future of our 
 American School 
 rests on the use of 
 Indian melodies 
 only, while many 
 others argue, that 
 the songs of the 
 American negroes 
 are our national 
 music. In our 
 study of folk 
 
 the virginia reel 
 'when mother was a girl' the belles were fairer 
 than to-day" 
 
 53
 
 The Principles of M it s i c 
 
 music we have found that the influence of struggles and triumphs, of 
 joys and sorrows, all leave their impression on the music and art of 
 any people. 
 
 America has been called "the great melting pot of the world" 
 because here we find people from all the races of the world, yet the 
 two races which are the most closely identified with early civiliza- 
 tion in America are the Indians and the negroes. 
 
 In Louisiana we find many French influences, and the Spanish 
 expression in southern California is unmistakable in the architec- 
 ture, art and music, but neither of these have influenced national 
 art. As all music developed from primitive man, so the Indian 
 chants and dances are of exceedingly great interest in the building 
 of an American individual expression. Yet the songs of the planta- 
 tion negroes, born in slavery, have an expression of individual folk 
 character, which is also original and distinct. 
 
 We have seen that folk music in other lands has developed dur- 
 ing the days of hardship, and has been inspired by wars and oppres- 
 sion. We are too near our own music to rightly judge its true worth, 
 but there are many of the war songs of 1861, as well as the ballads of 
 that period, which will undoubtedly be classed as American folk song 
 in future days. 
 
 ILLUSTKATIONS 
 
 64190 From the Land of the Sky-blue Water (Cadman) Alma Gluck 
 
 64200 The Moon Drops Low (Cadman) Janet Spencer 
 
 |,™| Old Folks at Home (Foster) Elsie Baker 
 
 I My Old Kentucky Home (Foster) Harry Macdonough 
 
 74246 Deep River — Negro Melody (Coleridge-Taylor) Maud Powell 
 
 HINTS FOR TEACHERS 
 
 Have class write a list of American songs which they think are 
 folk songs in character and style. Explain the work of Cadman and 
 others in their use of Indian melodies, and also tell of the work Cole- 
 ridge-Taylor, the English composer, has done with negro melodies. 
 Lesson XXIX, Course II, will aid you in your presentation of this 
 subject. 
 
 QUESTIONS 
 
 Which voices sang selections? What instrument played the last? 
 What other American folk songs can you suggest? Classify the fol- 
 lowing as legendary, dance or patriotic songs : 
 
 54
 
 The Principles of Music 
 
 Dixie Land (Dan Emmet). 
 
 Maryland, My Maryland (Randall). 
 
 Marching Through Georgia (Work). 
 
 Yankee Doodle. 
 
 Hail Columbia (Hopkinson-Fyles). 
 
 Star Spangled Banner (Francis Scott Key). 
 
 CHORUSES 
 All the above songs, and 
 Massa Dear (Johnson). 
 Red, White and Blue (Becket). 
 Old Black Joe (Foster). 
 Song of a Thousand Years (Work). 
 Come Where My Love Lies Dreaming (Foster). 
 
 REVIEW AND EXAMINATIONS 
 
 In giving an examination several records should be played and 
 pupils should write on paper, names of compositions, composers, if 
 any ; nationality ; by what voice, instrument or combination, illustra- 
 tion was presented ; and what principle of expression it represented. 
 
 Note books should count for one-half of yearly standing. 
 
 IN COLONIAL DAYS 
 55
 
 The History of Music 
 
 . COURSE II 
 
 Treface 
 
 In taking up the History of Music as a serious study with your 
 class, always remember that the history of any art is a record of cul- 
 tural development, and should not be devoted entirely to individual 
 biography. Also make it clear that music is closely related to the 
 development of civilization, and that the events of the world's history 
 are definitely reflected on music's growth. 
 
 In considering the history of civilization, we find that music, 
 although the oldest of the arts, is the last to be seriously developed ; a 
 nation first becomes great through conquest ; it next assumes commer- 
 cial, then political importance ; then begins a development of its arts, 
 of which architecture, sculpture and painting, "the visible arts," are 
 first considered; next comes literature and the drama; and last of all, 
 that art, which is the first expression of primitive man — Music. 
 
 As this course can be but an incomplete treatise on musical his- 
 tory, students should have access to a good work on the subject, and 
 should carefully study their notes made in the classroom, with the aid 
 of a definite History of Music to guide them. Teachers should make a 
 strong point of the correlation of musical events to historical events 
 and literary epochs, with which the class are already familiar. 
 
 It is suggested that short papers on the lives of the greatest com- 
 posers should be written by pupils from time to time, and that out- 
 side reading of individual biography should be done before the work 
 is taken up in the class. Teachers should assign each week the advance 
 reading that is to be done. The second year 's course will require more 
 outside reading than that of the first year. Teach the pupils to make 
 frequent and intelligent use of the public library. 
 
 The course is divided into thirty lessons, as follows : 
 
 I. Chronological Classification. 
 II. Music of the Ancients. 
 
 III. Music of the Greeks. 
 
 IV. Music of the Early Church. 
 
 V. Secular Music in Mediaeval Days. 
 
 56
 
 The History of Music 
 
 VI. Mediaeval Schools of Music. 
 VII. Birth of the Opera to Handel 
 VIII. The Oratorio to Handel. 
 
 IX. Bach. 
 
 X. Gluck. 
 
 XI. Haydn. 
 XII. Mozart. 
 
 XIII. Beethoven. 
 
 XIV. Schubert and German Lieder. 
 XV. Romanticism in Germany. 
 
 XVI. Romanticism in France. 
 
 XVII. Opera before Wagner. 
 XVIII. Wagner. 
 
 XIX. The Influence of Wagner. 
 XX. Brahms. 
 
 XXI. Modern Music. 
 XXII. Russian School. 
 
 XXIII. Scandinavian School. 
 
 XXIV. Bohemian School. 
 XXV. Modern German School. 
 
 XXVI. Modern Italian School. 
 XXVII. Modern French School. 
 XXVIII. English School. 
 XXIX. American School. 
 XXX. Review. 
 
 CHORUSES 
 
 The following choruses are suggested for use with the first six 
 lessons, as they belong, in a general way, to the period discussed : 
 
 Religious 
 My Salvation's Tower (Hebrew Tune). (Sung at Feast of 
 "Judas Maccabeus. ") 
 
 To God on High (Ancient Church Tune). 
 
 Evening Hymn of St. Ambrose (Piericini). 
 
 Adoramus Te (Palestrina). 
 
 Hear My Prayers (Palestrina). 
 
 Chorale (Michael Praetorius, 1586-1610). 
 
 Chorale (Johann Gruger, 1649). 
 
 Secular 
 War Song of the Normans (Ancient Tune). Said to have been 
 sung at the Battle of Hastings. 
 
 Ballade of Jeanne d'Arc (Old French). 
 The Butterfly (Old French). 
 
 57
 
 The History of Music 
 Lesson J 
 
 Ch ronolagical Classification 
 
 In Course I we found that music can represent man's thought 
 and feeling by expressing Patriotism, Logical Reasoning, Religion, 
 Love and Gaiety. The four principles of music which make possible 
 the expression of these thoughts, are: Nationality, Formal Construc- 
 tion, Poetic Thought, Program Music. We have learned to recognize 
 these elements in music, either in instrumental or vocal compositions. 
 We have found that the basis of all development of music rests 'on 
 Nationality, which is first manifested through the folk song or dance, 
 the legendary song, the patriotic song and the modern national 
 expression. 
 
 We shall now study in definite chronological relationship, the 
 development of music, from ancient days to our modern time. We 
 shall find Musical History divided into the following general periods : 
 
 Ancient Music. To the Birth of Christ 
 Development of music of the Assyrians, Hebrews and Egyptians. 
 The science of Greek music. 
 
 Early Church Schools. From Birth of Christ to Thirteenth Century 
 Schools of counterpoint and polyphony develop through the 
 influence of the Church. 
 
 Secular Schools. Twelfth Century to Seventeenth Century 
 Secular music developed by the Troubadours, Jongleurs, Minne- 
 singers and Meistersingers. 
 
 Musical Renaissance. Seventeenth Century. 
 Rise of individual expression gives birth to the opera and ora- 
 torio in Italy. Their development in Italy, France, Germany and 
 England in the seventeenth century. 
 
 Classical School. Eighteenth Century 
 Development of formal music from Bach to Beethoven. 
 
 Romantic School. Early Nineteenth Century 
 Rise of individuality ; giving expression in program music, virtu- 
 osity and nationality. From Beethoven to Wagner. 
 
 Modern Music. Late Nineteenth Century to Present Day 
 Rise of the modern schools of national expression. 
 
 58
 
 The History of Music 
 
 ILLUSTRATIONS 
 61108 Offertorio e Communione (Gregorian Mass) 
 17290 Summertime (Minnesinger) 
 
 64198 
 
 (1) Gavotte (Gretry) 
 
 Sistine Choir 
 
 Mischa Elman 
 Mischa Elman 
 
 \ (2) Tambourin (Gossec) 
 88276 Siegmund's Love Song (" Die Walkure ") (Wagner) 
 
 Riccardo Martin 
 
 63302 Comedian's March— " The Bartered Bride" Kryl's Bohemian Band 
 
 HINTS FOR TEACHERS 
 
 These illustrations show : 
 
 Religion, as expressed in Early Church School; 
 
 Folk Music, as expressed by the Secular School; 
 
 Formal construction of Classic School; 
 
 Love — Romantic School ; 
 
 Gaiety, Nationality — Modern School. 
 Distinguish these elements as illustrated in these selections. 
 Recall to class the great historical events of these periods, and the 
 development of literature 
 and art during these 
 epochs. 
 
 QUESTIONS 
 
 Which is the earliest 
 composition given? Which 
 the most modern? Which 
 belong to Classic School? 
 Which is Romantic ? What 
 instrument plays the third ? 
 What form does this illus- 
 trate? Which voice sings 
 the fourth? Is it a song, 
 or from opera, or oratorio? 
 
 ANGEL WITH LUTE 
 ice of Music on painters of the Etenaissan 
 
 Lesson II 
 
 The Music of the Ancients 
 Our most authentic record of the music of the ancients, is that 
 which is depicted by the bas reliefs, and wall paintings, of the Assy- 
 rians and Egyptians. Although the Hebrews were undoubtedly the 
 
 59
 
 The History of Music 
 
 best musicians of ancient 
 days, they left us no visi- 
 ble record of their musical 
 instruments, for, fulfilling 
 the letter of the law, the 
 children of Israel made no 
 graven images. It must be 
 remembered that the de- 
 scription to be found in 
 our Bibles to-day, cannot 
 be considered authentic, 
 for when the translation 
 was made, during the 
 reign of James I of Eng- 
 land, practically nothing 
 was k n o w n of ancient 
 music, and the musical 
 instruments in use at his 
 time, were substituted for 
 those of Israel. 
 
 The Assyrians being a warlike race used instruments of percus- 
 sion, and where wind instruments were employed, they were the mili- 
 tant trumpets and drums. Their stringed instruments, of which the 
 dulcimer (the ancestor of our zither) was the most popular, were all 
 made with metal strings and very often metal janglers, similar to 
 those now on tambourines, were attached. All Assyrian music was 
 high pitched and penetrating. In some bas reliefs we see the figures 
 of the women, pinching their throats to make a high shrill tone. 
 
 The Egyptians had a definite science of music, which ante- 
 dates 3000 B. C. and was closely connected with religion and 
 astronomy. During the Golden Age, 1500-1200 B. C, music was 
 employed, not only as a social diversion, but as an adjunct 
 to religion. Professionally trained dancers and singers formed 
 schools of music, where were also to be found large bands of 
 instrumentalists and choruses. In many wall paintings we see repre- 
 sentations of these large orchestras; they are always conducted by a 
 leader, and a preponderance of stringed instruments is noticeable. 
 The Egyptians used the lyre and the lute, but the national instrument 
 
 ASSYRIAN INSTRUMENTS 
 
 et. :i. Dulcimer. 
 
 4. Lyres I Ts 
 
 60
 
 The History of Music 
 
 was the harp,* which we 
 find in all sizes, from those 
 carried in the hand, to the 
 immense temple harps of 
 twenty-three strings. In 
 days of battle, trumpets 
 and drums were employed, 
 but the wind instruments, 
 which were the most popu- 
 lar in Egypt, were the 
 single and double pipes or 
 flutes. These blended well 
 with the stringed instru- 
 ments. A typical Egyp- 
 tian instrument, which the 
 Hebrews and Greeks both 
 borrowed from their Nile 
 neighbors, was the sistra 
 or sistrum, a horseshoe- 
 shaped bar of metal, with 
 a handle. When this was 
 shaken in the hand the metal janglers fastened across it vibrated with a 
 tingling rhythm, which was used to accompany the temple dances. f 
 It was from the Egyptians that the Hebrews and Greeks obtained 
 their knowledge of the science of music. The Hebrews also borrowed 
 instruments from the Assyrians, as well as the Egyptians, and with the 
 well-known musical ability, which has always been an attribute of the 
 Hebrew race, it is not surprising that the Israelites had, not only a 
 definite science, but a direct influence on our modern musical develop- 
 ment. Large choirs of voices and instruments were used in the relig- 
 ious service of the Hebrews, and during the reign of King Solomon 
 4,000 musicians were employed in the temple service. All religious 
 music was chanted by the priests and answered by the choir, in the 
 form we know in the Catholic Church to-day as antiphonal singing.J 
 The earliest instrument of the Hebrews was the Shofar, a trumpet 
 
 ASSYRIAN INSTRUMENTS 
 
 1 I.vr.', :i <ti 
 
 illKS. 
 
 4. 
 
 Assyrian lute 
 
 2. L\ re, 10 si 
 
 rmes. 
 
 5 
 
 Duuble flute. 
 
 3. A-s\ linn 1 
 
 TO. 
 
 
 
 * It was while in captivity in Egypt that the Israelites learned the beauties of the harp, which 
 they adopted as their national instrument. These small hand harps were those used by David. 
 See also Psalms CXXXVII, 1-5. 
 
 tit was undoubtedly the sistra that Miriam used as accompaniment to her song of triumph. 
 
 t The psalms of David were written to be sung in this antiphonal manner. We still use them 
 this way as " Responsive Readings " in our Protestant churches to-day. 
 
 61
 
 The History of Musi c 
 
 made from a ram's horn, and still used in the orthodox temples, to 
 
 assemble the congregation on festival and holy days. These horns 
 
 were duplicated in 
 brass for use in 
 times of war, yet 
 strangely, we find 
 no records of 
 drums or percus- 
 s i o n instruments 
 being used by the 
 Hebrews. Pipes 
 and flutes were 
 often combined 
 with the lyre, 
 
 the psaltery and the harp, and the sistra is frequently noted in 
 
 temple use. 
 
 ILLUSTRATIONS 
 
 64228 Birchos Kohanim (Benediction by the Priests) 
 
 Cantor G. Sirota and Chorus 
 
 64231 Kawokores Rohe Adre (Like a Shepherd) 
 
 Cantor G. Sirota and Chorus 
 
 HINTS FOR TEACHERS 
 
 The illustrations are records made by the greatest Jewish cantor. 
 Sirota, of the Orthodox Synagogue of Warsaw. The chants are in the 
 antiphonal style and are in the traditional manner of Biblical times. 
 
 EGYPTIAN DANCE 
 
 L 
 
 esson 
 
 III 
 
 The Music of the Greeks 
 
 The Greeks adopted their musical science from the Egyptians. 
 It is customary to divide Greek music into three general periods: 
 
 1. Mythical Age — prior to 675 B. C. (As the Pythian Games 
 founded 1000 B. C. introduced musical contests, it is customary to 
 begin the knowledge of Greek musical science from that date.) It was 
 during this period that the mythical stories of the power of music,
 
 The History of Music 
 
 FRENCH REPRESENTATION OF OLD GRECIAN DANCE 
 
 as illustrated by Hermes, Pan, Apollo, Marsyas, Orpheus, Amphion, 
 originated. Homer (950 B. C.) was responsible for the heroic poetry 
 recited by the bards to the accompaniment of the lyre. 
 
 2. Classical Period — 650-338 B. C. Macedonian Conquest. This 
 period really culminated in the fifth century in Athens. The greatest 
 names associated with the music of this 
 
 time were, the musicians Terpander, 
 Pythagoras, Arion ; the poets Alcarns 
 and Sappho; and the Attic School of 
 Drama. 
 
 3. Alexandrian Period — 325 
 B. C. to Christian Era. During this 
 time the original thought in art gave 
 way to servile copying of the past great 
 works. This is the period of Roman 
 music also, which, like the other forms 
 of art, was but a bad imitation of that 
 of Greece. 
 
 The Greek scale was founded on 
 the tetra-chord, meaning four tones. 
 In different localities of Greece the 
 position of the half tone in the tetra- 
 
 TERPSICHORE 
 
 Note example of prlmitl 
 
 63
 
 The History of M u s i c 
 
 chord varied, thus we have as the principal scales : Dorian, Phrygian, 
 Lydian, Mixo-Lydian, Hypo-Dorian, Hypo-Phrygian and Hypo 
 Lydian.* 
 
 The Greeks were especially fond of stringed instruments, the lyre 
 
 and cithara being the most popular; the 
 wind instruments were the auloe or long 
 flute, the single and double flutes, and 
 syrinx or Pan's pipes, a mouth organ of 
 seven reeds bound together. They used 
 but few percussion instruments, and 
 these were small in size, being mostly 
 tambourines, cymbals and the sistra. 
 Trumpets and horns of brass were used 
 occasionally, but were very popular in 
 Roman days. 
 
 In the Greek theatre, the choruses 
 and the dancers were of great . impor- 
 tance. Many of the principal actors 
 sang their lines with an accompaniment 
 on the lyre. 
 
 apollo The method of notation employed 
 
 by the Greeks indicated only the places 
 
 where the breath should be taken, hence the signs used were known as 
 
 neum.t Later a definite written language was developed from the 
 
 neum notation. 
 
 ILLUSTRATIONS 
 
 35279 Hymn to Apollo (Found at Delos, 1893) (Harp ace. by 
 
 Emma Rous) Elsie Baker 
 
 .,j-iif Kyrie Kekraxa Greek Church Choir 
 
 \ Kinonikon Greek Church Choir 
 
 HINTS FOR TEACHERS 
 
 In presenting these records try to have class feel the difference 
 between the religious feeling expressed in the Hymn to Apollo and 
 the hymns used later in the Church service. If possible play again 
 one of the Sirota records that class may compare them. Remember 
 that the Greek Church kept a much purer form of the Greek service 
 of music than did the Latin Church. t 
 
 * It was from the combination of the double tetra-chords of the Greek scales that our major 
 and minor scales were later developed. 
 
 t This term is derived from the Greek word meaning; breath. 
 + The Russian Church of today belongs to the Greek Church. 
 
 64
 
 The History of Music 
 
 Lesson IV 
 
 The Music of the Early Church 
 During the early days of Christianity, music was divided into 
 Religious Music and Secular Music. When the bands of Christians 
 met in the secret 
 chambers of the Cata- 
 combs, psalms were 
 chanted as a part of 
 the service, in the old 
 antiphonal manner 
 of the Hebrews. 
 With the establish- 
 ment of the Greek 
 Church, Greek meth- 
 ods were also em- 
 ployed. From the 
 legendary history we 
 
 CHURCH OF ST. AMBROSE, MILAN 
 
 know of St. Cecilia, St. Augustine and others, we realize the important 
 part music played in the early religious enthusiasm. 
 
 Secular songs and dances, as well as all instrumental music, 
 became a part of the daily life of the people and was entirely distinct 
 from the religious forms until the time of the Crusades. 
 
 The important names of the Early Church School are : Ambrose 
 (333-397), Bishop of Milan, 394, collected the old chants then in use, 
 for a definite form of Church service, and sent missionaries to North- 
 ern Europe to teach the Ambrosian chant. Ambrose used four of the 
 Greek modes known as authentic. We know little of his chant, save 
 that it was metrical. 
 
 Pope Gregory (— - d. 604) destroyed the Ambrosian chant 
 and established the Gregorian chant or Plain-Song now in use in the 
 Catholic Church. These chants were written in a large book called 
 Antiphonarium, and the notation of the Greek neums was used. Greg- 
 ory added to the four authentic modes — the four Plagal modes as 
 well. He established schools for choristers and gave a definite form 
 to the mass.* 
 
 *The musical mass in its regular form consists ef these parts : (a) Kyrie Eleison, a general 
 plea for mercy; (b) Gloria in Excelsis, which is sometimes divided into three distinct sections, 
 opening with the words Dominus Deus, Qui tollis and Quoniam tu solus: (c) the Credo or Nicene 
 Creed; (d) the Sanctus, with the Hosanna before the elevation; (e) the Benedictus after the eleva- 
 tion; (f) Agnus Dei. Sometimes to the mass are added the Gradual (the hymn sung between the 
 Epistle and the Gospel), and the Offertorium (the hymn which follows (he ('redo), but both of 
 these are variable. 
 
 65
 
 The History of Music 
 
 KXAMIM.KS OF HAKIA' NOTATION 
 
 FIRST PAG1 OP in E GR1 Gl IF I * N 
 ANTIPHONAL 
 
 f jfi^Li'V 1 " i|» dm it.f.'M>nf" aiir i'i.lnl s \n.ii' 
 
 I - 
 
 qui rum i/Qiud rlon.ui in ifuun i >|i" 
 ,.,' i in ill III ■" I.kIiiiIm.* mi imIiiu till 
 
 ,, 1-n i, ,ii ,, ,i.,i- hi. i ii 
 
 mini indo 
 
 niu •""•"•••-■ -•*-'. -" v Vi 
 
 .linn in. i 
 
 liliiVllll.Wll Ml 
 
 / » *., t t^-*' ./w'»'v*» .-*■«* ■■-■ 
 i.wnit iu ' JM" 1*1 IHH" °» 
 
 r^-T Or Gion « o Km,, 
 
 in D U \M SCR] r rS 
 
 ■ 
 ■ri mil (Vim, ,i. 
 (c.) Zurich, Thirl 
 
 (a.) 
 
 yu. v. — >,-■ ,■ j__ 
 
 i„%^ •••*•» A.lJ T w r J*»rH 
 
 'rJ**ri^»n i y * l ii N wwur mm | 
 
 W nOT awl- ■ n'fcfr [ j, nBl L»- ^ * 
 
 ■« iv.ir*^^., .„^vTy ,Vl.-|«'i«r<\ 
 
 - i-ll—v ^ V..UI', 
 
 
 k "^* *3P"" f*f|-*rtj t^,4U«L>f u 
 
 — .» iW»d W«*-»jfJT«fl!l...mr.4i 
 
 'i 
 
 
 . wit w» A , 1T viii fjpvW- 
 " k w«u irvpl, iin*»f 
 J JiiiyoJ.i.^, 
 
 ■ - »Um\l w ,, 
 
 w m x^iti i trtfui*MUM u .i . 
 
 \ 
 
 SI'li'IMix 01 ill i It A 1 11 MANl'SCKirr 
 
 U- - ■ • ■• •" 
 
 " " v: --. -. :N. •• 
 
 ■ ■« ■ ■ ■ 
 
 v.i gtlhoi' hnnU moi. folUC pollun 
 
 '■■'■■"..•■••.,- 
 
 utni iv.ini k'c iol\\v 
 
 FOURTEENTH CENTUR. MANUSCRIPT OF in \i N 
 
 TO ST. JOHN i II i BAP1 
 
 66
 
 T he 1 1 i s t o r v of M u s i 
 
 mjafcfc^MRaai^ 
 
 Hucbald of Flanders (840 
 930 i tried to establish harmony 
 on the basis of scientific rela- 
 tionship of tone. He attempted 
 reforms in Dotation and made use 
 o\' parallel lines to indicate tonal 
 relationship, from which comes 
 Our present staff. 
 
 (initio of Anv./.o (995-1050) 
 established the method of sol 
 feggio in use to-day, thus simpli- 
 fying the teaching o\' music. He 
 used colored lines oil which the 
 
 neimis were written, and indi- 
 cated by means o\' Letters, before 
 each line, that all nenms on said 
 line Were o\' a Certain pitch, and ,.,,,., Gregory dictating his antiphonai 
 those above and helow were thus 
 
 given a definite relationship. The line letters used were C, (!. and F, 
 and from these developed our clefs of to-day. 
 
 Franco of Cologne (thir- 
 
 ™-^V>7'\ 
 
 \ / 
 
 
 |L . p 
 
 , :'\i ( y 
 
 H 
 
 ibom "Ctmimrs scbiim, 
 
 GUIDO 01 Ull EXPLAINING HIS I'SE OF 
 I ii r UONOI Hi IRD CO I in BISHOP I H i ODA] in S 
 
 teenth century") established a svs 
 
 tern of representing rhythm by 
 
 means of notohoads signifying 
 duration, triple time being used 
 
 by him entirely. 
 
 Thus, our three elements of 
 
 music rhythm, melody and har- 
 mony, were developed in the 
 Christian Church, with harmony 
 
 first, melody second and rhythm 
 
 last. 
 
 ILLUSTRATIONS 
 <.112.< Bxultate Justi Sistine Choir 
 
 71001 kviie ELleison (Gregorian 
 
 High Mass i Sistine Choir 
 
 Offertorio e Communione 
 (.Gregorian High Mass) 
 
 Sistine Choir 
 
 67
 
 The 11 i s t o r y o f M. u s i c 
 
 HINTS FOR TEACHERS 
 
 These examples of Gregorian chants give you an excellent oppor- 
 tunity of presenting the antiphonal chant of the Catholic Church. 
 Compare with the Sirota and the Greek Church records. It may be 
 well to replay one of each. 
 
 L 
 
 ess on 
 
 V 
 
 Secular Music in Media-veil Days 
 
 While the science of music was being developed by the Church, 
 the real spirit of music was in the hands of the common people. We 
 have found that all that is best in music rises from the natural feel- 
 ing of the folk, and this is just as true in 
 the early development as it is in the found- 
 ing of our modern national schools. 
 
 The early Minstrels were divided into 
 two classes: the Bard, who recounted deeds 
 of chivalry ; and the Minstrel Musician, 
 who, in addition to his musical attainments, 
 did tricks also, and frequently appeared as 
 an actor in the early Miracle and Mystery 
 Plays. These Minstrels in France were 
 known as Jongleurs, or Jugglers, in dis- 
 tinction to the Troubadours, or French 
 Knights, who sang their lays to the fair 
 
 CHURCH OF ST. JULLIEN, 
 
 paris, 1330 court ladies. When they settled m the 
 
 cities the Minstrels formed guilds similar to those of the other trades, 
 the earliest being the order of Jongleurs of St. Jullien in Paris, which 
 held the right to produce all the music for that city and refused to 
 allow any musician, not a member, to play there. In England and 
 Germany similar conditions are found, the town pipers of Germany 
 existing in some places until the middle of the nineteenth century. 
 
 We note in our General History, that, as a result of the Crusades, 
 there ensued a period known as "The Age of Chivalry" (Twelfth 
 Century). To this period belong the Troubadours of France, Italy, 
 and Spain (called Trouveres in Northern France) and the Minne- 
 singers of Germany. 
 
 6r
 
 The History of M u s i c 
 
 THE TABLATURE OF THE MEISTERSINCERS 
 OF NURNBERG 
 
 ST. CATHERINES CHURCH, NURNBERG, WHERE THE 
 MEISTERSINCERS MET
 
 The History of Music 
 
 DECORATION IN MINSTRELS HALL, WARTBURG CASTLE, SHOWING THE ANNUAL CONTEST 
 OF THE MINNESINGERS 
 
 The Troubadours counted among their numbers: 
 King Thibaut of Navarre ; 
 Richard I of England ; 
 "William, Count of Poitiers ; 
 Adam de la Halle ( d. 1287. The most famous). 
 
 These Troubadours wrote in the simple style of the song, and 
 accompanied their melody with stringed instruments. They fre- 
 quently employed Jongleurs to aid them in furthering their cause. 
 
 The Minnesingers (Thirteenth Century), Singers of Love, carried 
 on the same movement in Germany. They were also the epic poets of 
 the day, and the greatest German poetic versions of mediaeval legends 
 were due to their influence. The greatest order of the Minnesingers 
 met in the Wartburg Castle in Eisenach, and included Hermann, the 
 Landgrave of Thuringia, Gottfried von Strassburg, Heinrich Tann- 
 hauser, Walther von der Vogelweide, Wolfram von Eschenbach (these 
 names have been immortalized by Richard Wagner in "Tannhauser") 
 and Heinrich von Meissen ( d. 1318). 
 
 An outgrowth of the Minnesinger order were the guilds of Meister- 
 singers. When the later Crusades drew the nobility to the far East, 
 the common people took up the cause of music, and in 1300 their 
 guilds; known as the Meistersingers, became incorporated institutions.
 
 The History of Music 
 
 These guilds were conducted on lines similar to the trade organiza- 
 tions, and thus the science of music was encouraged. Wagner in his 
 opera "Die Meistersinger von Niirnberg" introduced us to the cus- 
 toms of the sixteenth century order, which was dominated hy the great 
 genius, Hans Sachs (1494-1576), "a shoemaker and poet, too." 
 
 ILLUSTRATIONS 
 
 1729o' When the Nightingale Doth Sing (Troubadour) iReinald 
 
 \ Summer Time (Minnesinger) / Werrenrath 
 
 HINTS FOR TEACHERS 
 
 Have pupils look up the dates of the principal Crusades and com- 
 pare them with the rise of secular music. Pupils should also study 
 the poems attributed to Gottfried von Strassburg and Wolfram von 
 Eschenbach, and note how Wagner uses their Teutonic versions of the 
 old legends in "Tristan and Isolde," "The Ring of the Nibelungen," 
 "Lohengrin" and "Parsifal." 
 
 L 
 
 ess on 
 
 VI 
 
 Mediaeval Schools of Music 
 
 The rise of definite schools of music was a result of the general 
 musical knowledge, which was fast spreading among the common peo- 
 ple. With the establishment of the Uni- 
 versity of Paris in 1100, a school of music 
 was considered as necessary as a school of 
 science, and we have absolute proof that 
 such a school must have existed in Eng- 
 land, because we have the manuscript of a 
 six-part canon called "Sumer is icumen 
 in" (probable date 1225 to 1240). 
 
 From France the movement spread to 
 the Netherlands, then down to Italy, and 
 gave rise to the birth of Opera, at the end 
 of the Renaissance. The music of this 
 period was originally all written for cho- 
 ruses, and was composed in the strict an- 
 tiphonic style of the Gregorian chant, later 
 
 ADRIAN WILLAERT 
 
 71
 
 The History of AI u s i c 
 
 developing into the polyphonic or many-voiced, part writing. All 
 music was composed on the strictest pattern of the contrapuntal devel- 
 opment, the canon being the form most used, as giving the greatest 
 
 opportunity £or the display of 
 technical knowledge. 
 
 The development is particu- 
 larly associated with the great 
 School of the Netherlands (1450- 
 1600). This school is generally 
 divided into four periods: 
 
 First period (1450-1500). 
 Rise to counterpoint with little or 
 no consideration of melodic beauty. 
 Second period (1500-1540). 
 Attempts at pure tonal beauty. 
 Chief master of this period, Jos- 
 quin des Pres, a contemporary of 
 Martin Luther, whose use of folk 
 music doubtless influenced Josquin. 
 Third period (1540-1570). 
 Netherlands masters go to Italy 
 and establish the Italian Schools: 
 Venice, Adrian Willaert — instruments. 
 Rome, Claude Goudimel — choruses. 
 Naples, Johannes Tinctor — solo singing. 
 Fourth period (1570-1600). Counterpoint made subservient to 
 individual expression. The great master of this period is Orlando de 
 Lassus (1514-1594), the contemporary of the great Roman, Pales- 
 trina, who is justly regarded as the greatest composer of religious 
 music that is to be found in the annals of the Catholic Church. 
 
 This period corresponds to the time of the greatest Gothic archi- 
 tecture and follows the schools of painting of the Netherlands. 
 
 ILLUSTRATIONS 
 
 35279 Sumer is icumen in (English Canon, Thirteenth Century) 
 
 Victor Chorus 
 71023 Filiae Jerusalem (Gabrieli) Sistine Choir, directed by Perosi 
 
 HINTS FOR TEACHERS 
 
 "Sumer is icumen in" should be replayed several times, as it is 
 impossible for any class to comprehend it at one presentation. 
 
 PERSONIFICATION OF MUSIC WITH THE 
 AUXILIARIES, THE PARTS AND THE MUSI- 
 
 72
 
 The History of Music 
 
 Gabrieli was the first follower of Willaert in the instrumental 
 school of Venice. Recall to your class the reason why Venice was 
 closely identified with the musical instruments of the far East. Refer 
 here to the fact that Pope Pius X has in our own day returned to the 
 use of the Gregorian style of the Early Contrapuntal Schools. 
 
 Lesson VII 
 
 "Birth of Opera to Handel 
 
 In our study of secular music we find that all the Mysteries and 
 Miracle Plays were given with music and that occasionally Pastoral 
 Plays, were produced with music by the Troubadours, but no real 
 development, combining the drama with music, takes place until the 
 seventeenth century, when, through the 
 efforts of a band of wealthy Florentine 
 nobles, who believed that the Greek drama 
 was originally produced with musical ac- 
 companiment, the form of opera was given 
 to the world. This band of men, known as 
 the Camerata, were the inventors of 
 Monody, or single melody, with the accom- 
 paniment subordinated. "With their first 
 opera, "Dafne, " produced in 1597, they 
 laid down the principles of the modern 
 music drama, namely, that drama, music 
 and interpreter should be of equal impor- 
 tance. 
 
 In 1660 the real movement began with 
 the publishing of the score of "Eurydice," a music drama by Peri 
 and Rinnuccini. This work was produced for the marriage of Maria 
 de Medici to Henry IV of France, and scores were sent all over Europe. 
 
 From Florence the movement now spread to the other schools 
 of Italy ; to France, Austria and Germany. Its development in Italy 
 takes three forms. (These three schools founded by the Netherland 
 Masters should be here briefly reviewed) : 
 
 Rome. — Development of choruses, particularly noticeable in the 
 interest shown here in oratorio. 
 
 JEAN PHILIPPE P.AMEAU 
 
 73
 
 The History of Music 
 
 Naples. — Vocal display becomes of greater importance than 
 dramatic action. 
 
 Venice. — Instrumental development and marvelous stage equip- 
 ment. Opera divided into Opera Seria and Opera Buf'fa. 
 
 (From the Venetian School many important results are observed, 
 which will be considered in detail in Course IV.) 
 
 In Germany the 
 
 Thirty Years' War* made 
 the expense of the opera 
 practically impossible, and 
 we find but few works in 
 this form were written. 
 
 In France the opera 
 takes at once a popular 
 place, due to the influence 
 of Perrin and Lully, who 
 showing lute and viol held from the French gov- 
 
 ernment the exclusive rights to produce opera in France. 
 
 The greatest masters of opera in the seventeenth century are : 
 
 Venetian School: 
 
 Monteverde (1567-1643) introduced violins into the orchestra.t 
 Cavalli (1600-1676) introduced the comic element in opera. 
 Carissimi (1604-1674). Oratorio writer of Rome. 
 Cesti (1620-1669). Pupil of Carissimi. Attempted to combine 
 
 ideas of this master and Cavalli, and divided the opera 
 
 into Opera Seria and Opera Buffa. 
 
 Neapolitan School: 
 
 Stradella (1645-1681?). 
 Alessandro Scarlatti (1659-1725), 
 
 Contemporary of Handel. 
 
 French School: 
 
 Perrin ( 1675). Founder of French Opera. 
 
 Lully (1633-1687). Founder of Italian Opera in France. 
 Rameau (1683-1764). Contemporary of Handel. 
 
 English School: 
 
 Pelham Humphreys (1647-1674). Founder of English Opera. 
 Henry Purcell (1658-1695). Greatest English composer. 
 
 * The remarkable growth of instrumental forms in Germany is a direct result of the bringing 
 into the country of all the folk music of the various nations engaged in this struggle. This is a 
 point which should be frequently reiterated. 
 
 t The development of the viol family (violin, viola, violoncello, contra bass) is a direct result of 
 the intercourse between Venice and the far East. The rebec of the East was combined with the 
 crwth of Northern Europe and became the viol; this reached its perfection of development in the 
 School of Cremona (established by Amati in 1520), which was especially prominent during the 
 seventeenth and early eighteenth centuries.
 
 The History of Music 
 
 German School: 
 
 Heinrich Schiitz ( 1672). 
 
 Reinhard Reiser (1673-1739). 
 
 At the time of Handel the Opera Seria had long been separated 
 from the true music drama, and was in reality simply a string of 
 recitatives and arias, sung by actors in costumes, and with elaborate 
 stage settings, but as the individual vocal display was the only point 
 which musicians seriously considered, we find practically no true 
 dramatic action. 
 
 ILLUSTRATIONS 
 
 74249 Nightingale's Passion Song (" Hippolyte et Aricie") 
 
 (Rameau) Alma Gluck 
 
 74155 Largo (Handel) Charles Gilibert 
 
 88189 Mid Lures and Pleasures ("Rinaldo") (Handel) 
 
 Mme. Schumann-Heink 
 
 HINTS FOR TEACHERS 
 
 Do not be discouraged if the class is unable to remember all these 
 names from one lesson. Be sure they are correctly written in the 
 note books as we shall refer to them very often in future lessons. 
 
 QUESTIONS 
 
 Which of these selections represents poetic thought? Which is 
 imitative music? What voice sings the first? The second? The 
 third? 
 
 CHORUSES 
 
 Antioch (Old Hymn). (Handel.) 
 Captive (Handel). From "Art Songs." 
 
 Lesson VIII 
 
 The Oratorio to Handel 
 
 The early oratorio is more closely related to the Miracle Plays 
 than is the opera, yet our first oratorio, as such, grew out of a move- 
 ment which took place in Rome and which was similar to that of the 
 Florentine Camerata. St. Philip Neri. a pious priest of the Church 
 of St. Maria in Vallicelli, made it his custom to invite the young 
 people of the church to come one evening each week, to his private ora- 
 
 75
 
 vEUERIC HANDEL 
 
 The History of Music 
 
 tory, and there they enacted scenes from the Bible. Finding that the 
 interest was greatly enhanced by music, the good St. Philip persuaded 
 some of his friends, who were followers of Palestrina, in the Roman 
 School, to help him b\ writing musical accompaniment for these short 
 
 Biblical plays. Thus there came into being, 
 the "Society of Oratorians of Rome"; 
 their first complete work appearing in 1600 ; 
 this was called "The Life After Death, an 
 Oratorio." This work was composed by 
 Emilio Cavalieri, whose pupil Carissimi, 
 carried on his ideas, which fast spread 
 through the other schools of Italy, and to 
 France, Germany and England. 
 
 In Germany these musical settings of 
 sacred subjects were always used as a part 
 of the Church service and were known as 
 Church Cantatas, and Passion Music, as 
 well as by their Italian name of oratorio. 
 As the opera developed vocally and instrumentally, so in its turn did 
 the oratorio, until, at the time of Handel, it ranked with the opera 
 as the greatest vehicle of vocal expression in music. 
 
 Handel's most popular work in this form is "The Messiah." 
 although in musical worth "Samson," "Israel in Egypt" and "Judas 
 Maccaboeus" occupy an important position. 
 
 Handel wrote forty operas which are practically obsolete to-day. 
 It is as an oratorio composer that his chief fame rests. 
 
 ILLUSTRATIONS 
 16980 Dead March ("Saul") (Handel) Pryor's Band 
 
 85103 He Shall Feed His Flock ("The Messiah ") (Handel) Mme. Homer 
 74131 Sound an Alarm (" Judas Maccabaeus ") (Handel) Evan Williams 
 31770 Hallelujah Chorus (" The Messiah ") (Handel) 
 
 Victor Chorus with Sousa's Band 
 
 HINTS FOR TEACHERS 
 
 Review with class the Miracle and Mystery Plays. Describe an 
 oratorio in detail; "The Messiah" being an excellent one to use for 
 illustration. Point out to the class that many of the choruses with 
 which they are familiar in High School are taken from oratorios, and 
 have class lenrn to which oratorio these belong. Tell the story of 
 "Jndas Maccabreus. " 
 
 76
 
 The History of Music 
 
 QUESTIONS 
 
 Which voice sang the second and third selections? Which prin- 
 ciple of music do these selections illustrate? Is the orchestra used to 
 depict dramatic meaning? If so, how? Which represents national 
 feeling? 
 
 CHORUSES 
 
 See the Conquering Hero Comes — "Judas Maccabaeus" (Ilandei). 
 Come Unto Him, '"The Messiah" (Handel). 
 Largo, "Xerxes" (Handel). 
 
 L 
 
 ess on 
 
 IX 
 
 Johann Sebastian Bach 
 
 In the middle of the nineteenth century, Robert Schumann 
 declared boldly : "To Johann Sebastian Bach music owes as great a 
 debt as does a religion to its founder." It 
 1 is true that our history of music actually 
 begins with Bach, whose remarkable devel- 
 opment of instrumental forms, is the foun- 
 dation on which all modern music really 
 rests. It has been said that if all the music 
 since Bach's time should be lost to th 
 world, it could be recreated from the Bach 
 manuscripts. 
 
 Johann Sebastian Bach (1685-1750) 
 is a direct musical descendant of the old 
 German town pipers, and all his music 
 reflects Protestant Germany. Bach's en- 
 tire life was spent in his native land, which, 
 doubtless, accounts for the fact that his 
 
 only choral writings were in the forms used lor the Church service. 
 He laid the foundation for our modern pianoforte technic with his 
 remarkable work. "The Well Tempered Clavichord." Bach's violin 
 studies comprise about one-third of the modern violinists' repertoire; 
 while his organ compositions are justly regarded as being the funda- 
 mental foundation on which modern organ playing is built. (Although 
 
 JOHANN SEBASTIAN BACH 
 
 77
 
 The History of Music 
 
 BACH S BIRTHPLACE IN EISENACH 
 
 Handel was in some re- 
 spects a greater virtuoso 
 on the organ than Bach, 
 he left very few written 
 compositions for the in- 
 strument. ) 
 
 Bach was the cul- 
 mination of all the 
 greatness of the contra- 
 puntal school, combined 
 with the deep poetic in- 
 sight into the true ideal- 
 ity of music. For this 
 reason his works may be 
 
 regarded as the embodiment of the science of music, yet they will 
 
 always make a direct appeal to the human heart. 
 
 ILLUSTRATIONS 
 
 81015 Ave Maria (Bach-Gounod) Mme. Gadski 
 
 64132 Gavotte in E major, for Violin (Bach) Fritz Kreisler 
 
 17184 Bourree (Suite III, for Violoncello) (Bach) Victor Quintette 
 
 70047 Air for G String (Bach) Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 Recall to your class 
 the fact that while Italy, 
 France, Germany and 
 England had well-estab- 
 lished schools of music 
 during the seventeenth 
 century, in America our 
 settlements in Virginia, 
 New York, Massachu- 
 setts and Pennsylvania 
 were only just beginning. 
 Although distracted by 
 many wars with the In- 
 dians, and dissensions 
 with the mother countries 
 of Europe, our colonists 
 still contributed to the 
 advancement of culture st. john's church, leipsic, where bach is buried 
 
 78
 
 The History of M u s i c 
 
 by the establishment of many schools and colleges. Of these, Harvard 
 (1638), William and Mary, in Virginia (1692), and Yale (1700), are 
 the most important. 
 The forms 
 used at Bach's day 
 are fully described 
 in Lesson XXV, 
 Course III. If 
 possible these 
 forms should be 
 considered at this 
 time. It will be 
 well to have pupils 
 prepare short pa- 
 pers on "A Com- 
 parative Study of 
 Bach and Han- 
 del," who were born the same year. Let this be done from a personal 
 side, as well as from a study of their compositions, as it will in that 
 way make a stronger personal appeal to each individual student. 
 
 QUESTIONS 
 
 What principle does the first selection express? In what form is 
 the second? Does the fourth express one of music's fundamental 
 principles? If so, what? Where did you hear this selection before? 
 
 CHORUSES 
 
 Unto Thee Will I Sing (Bach). 
 Song of the Pilgrim (Bach). 
 Help Us, Lord (Bach). 
 
 MORNING PRAYERS IN HOUSE OF BACH 
 
 L 
 
 esson 
 
 X 
 
 Gluck 
 
 Christopher Willibald Gluck (1714-1787) was the first great 
 German composer to interest himself in the development of opera. 
 
 79
 
 The History of Music 
 
 although all his efforts in this direction took place in Paris, so that his 
 name is now associated with the rise of the French Opera. 
 
 At the time of Gluck the form known as "Oratorio Opera" held 
 sway throughout Italy, Germany and England — the French School 
 being less influenced by its preposterous absurdities than any of the 
 others. In France a definite interest in the drama is more apparent 
 at this time than in any other country, and this is largely responsible 
 for the fact that it was here that the efforts of Gluck were made. 
 
 Gluck in his preface to his opera 
 "Alceste, " declares that "Simplicity 
 and Truth are the sole principles of the 
 beautiful in Art." Feeling that truth 
 was handicapped by the artificial super- 
 ficialities of the day, Gluck declared 
 boldly against the then existing form of 
 opera, and laid down the principles on 
 which the moderu music drama has since 
 been built. He demanded a libretto 
 which should not only be good poetry, 
 but good drama as well, and he wrote 
 music to conform to the plot and in the 
 strictest sense to interpret the situations. 
 The overture became in reality the true prelude or preparation for the 
 action that was to follow ; the old rules regarding arias were laid aside, 
 so that when the dramatic situation should call for a certain actor, 
 that person should appear and sing his aria, without regard for the 
 display of his powers of vocalization, but with simple dramatic 
 effect. 
 
 Gluck 's ideas caused a small musical revolution in France; part 
 of the Court sustaining the Italian form, which was ably championed 
 by Piccini, the other declaring for Gluck, the reformer of French 
 opera, Although Gluck founded no school, his influence is felt in 
 the works of Mozart, Beethoven and von Weber, but it is not until the 
 time of Richard Wagner that Gluck 's true greatness stands revealed. 
 Gluck wrote thirty operas, of which "Alceste," "Orfeo," "Ar- 
 mide, " "Iphigenie en Tauride," "Iphigenie en Aulide" are the 
 greatest and best known. These works are still given, both on account 
 of their historical interest, as well as their true dramatic and musical 
 worth. 
 
 CHRISTOPHER WILLIBALD GLUCK 
 
 80
 
 The History of Music 
 
 ILLUSTRATIONS 
 
 88286 Fatal Divinita—" Alceste " (Gluck) Mme. Homer 
 
 64075 Melodie, Op. 26 (Gluck) Maud Powell 
 
 16950 Gavotte (" Paris and Helen") (Gluck) Victor String Quartet 
 
 17184 Ballet (" Iphigenia in Aulis ") (Gluck) Victor Orchestra 
 
 HINTS FOR STUDY 
 
 Review briefly the beginnings of opera and the form of Handel. 
 Chronologically Gluck follows Handel, though he was fully half a cen- 
 tury in advance of his time. The difference between the Courts of 
 Vienna and Paris should be spoken of, the purely Italian influence 
 of the late Renaissance that had crept into Vienna and the national 
 spirit which was awakening in Paris. The greatest literary men of 
 Paris in the late seventeenth century — Moliere, Racine, Corneille, 
 etc., should be recalled, in relation to the return of interest in the 
 classical drama which still existed at this time. Note the use of the 
 Ballet, a favorite form in French Opera. 
 
 QUESTIONS 
 
 What voice sings the air from "Alceste"? "What instrument 
 plays the second selection ? From what opera is this adapted ? What 
 example of form is used in the third? Compare with the Bach 
 Gavotte. 
 
 CHORUSES 
 
 Lift Up Your Heads, Ye Gates (Gluck). 
 
 The Broken Ring (Gluck). 
 
 See What Grace ("Iphigenia in Aulis") Gluck. 
 
 Lesson XI 
 
 Haydn 
 
 Franz Josef Haydn (1732-1809) is called the "Father of the 
 Sonata." He may also be rightly called the father of the string quar- 
 tet and the symphony orchestra, for it was he who established the 
 string quartet, and who divided the symphony orchestra into the four 
 divisions which we have to-day; namely: strings, wood-wind, brasses 
 
 81
 
 i h e History of AI it s i c 
 
 and percussion instruments. Haydn estab- 
 lished the definite form known as the 
 "Sonata Form," upon which all the first 
 movements of sonatas, duets, trios, quar- 
 tets, etc., concertos ;md symphonies since 
 his day have been built. Most of his life 
 was spent in Vienna, hut in his later years, 
 while in England, he became enthusiastic 
 over Handel's work, and on his return 
 wrote several oratorios, of which "The 
 Creation," 17!)8, and "The Seasons," 
 1801, are the most famous. 
 
 Haydn's style was clear and bright, 
 sincere in spirit and genial in melody, a 
 style which reflects the content and happiness of the German folk 
 music. Haydn was the teacher of both Mozart and Beethoven. 
 
 FRANZ JOSEF HAYDN 
 
 ILLUSTRATIONS 
 
 16083 Austrian National Hymn (Haydn) 
 
 88289 My Mother Bids Me Bind My Hair (Haydn) 
 
 64135 Minuet (From Symphony) (Haydn) 
 
 Pryor's Band 
 
 Geraldine Farrar 
 
 Mischa Elman 
 
 HINTS FOR TEACHERS 
 In taking up the work of Haydn in detail, the forms he estab- 
 lished and his arrangement of the instruments of the orchestra will 
 be found in Lesson XXVI, Course III. The class should be assigned 
 a lesson on Mozart's life for the following week, and it will be well 
 to announce that a paper will be required on "A Comparative Study 
 of Haydn and Mozart." Recall that Haydn and George Washington 
 were born the same year, 1732. Therefore, the class should not forget 
 that although Germany at this time fixes the forms for future develop- 
 ment in music. America was doing a far more important act for the 
 world by establishing the form for future government. 
 
 QUESTIONS 
 
 Which illustration depicts nationality? In what form is the third? 
 Does it reflect folk music ? Does the second reflect folk spirit or is it 
 in operatic style? 
 
 CHORUSES 
 
 Austrian Hymn (Haydn). 
 
 Worship the King (Haydn). 
 
 82
 
 The History of M u s i c 
 Lesson XII 
 
 Mozart 
 
 Wolfgang Amadeus Mozart (1756-1791) is one of the most human 
 and lovable of the great composers. The period in which he lived is 
 one of romantic interest, and his early life as a musical prodigy, 
 before the principal Courts of Europe, always makes a distinct 
 appeal. Mozart was one of the greatest prodigies the world has ever 
 known. His early experiences at Court* gave his music a delicacy 
 and refinement which is not found in the works of his German prede- 
 cessors. He wrote in all forms and for all instruments, as well as 
 oratorios and operas. He left forty-nine Symphonies, of which the 
 three written in the summer of 1788 (E flat, G minor and C major) 
 are the most famous. His greatest operas are "Marriage of Figaro," 
 "Don Giovanni "and the "Magic Flute." Mozart was gifted with a 
 marvelous spontaneous melody, so that even in his strictest contra- 
 puntal works, his music has a simplicity and naive grace which charms 
 all hearers. 
 
 ILLUSTRATIONS 
 
 88300 Voi che sapete (From " Marriage of Figaro ") Mme. Tetrazzini 
 
 88196 Aria (From " Titus ") (Mozart) Mme. Schumann-Heink 
 
 17087 Minuet (From " Don Giovanni ") (Mozart) Victor Band 
 
 HINTS FOR TEACHERS 
 
 A comparative historical table of the rulers of the eighteenth cen- 
 tury may be of interest in the study of this period. 
 
 France : 
 
 Louis XV, 1715-74. Seven Years' War, 175G-63. 
 
 Louis XVI, 1774-92. 
 
 Revolution, 1789-95. 
 
 Napoleon, 1795. 
 
 Napoleon made Emperor, 1804. 
 Austria: 
 
 Maria Teresa, 1740-80. 
 Germany: 
 
 Frederick the Great of Prussia, 1740-SG. 
 Russia: 
 
 Catharine II, 1762-96. 
 
 * Point out the lavish Court life at the time of Mozart and show how this affects Mozart's 
 compositions with a refinement which is lacking in those of Haydn. 
 
 83
 
 The History of M u s i c 
 
 1 ! :>* !Lji 
 
 «"^r* !! " ?[ 
 
 STATUE OF THE YOUNG MOZART 
 
 HOUSE IN SALZBURG WHERE MOZART 
 WAS BORN 
 
 I MOZART WAS BORN 
 
 M
 
 The History of Music 
 
 England : 
 
 George III, 1760-1820. 
 
 American Revolution and the founding of the Republic. 
 
 QUESTIONS 
 
 Which of these numbers is for voice? What voice sings the first? 
 The second? Is this an aria from opera or oratorio? What prin- 
 ciple is represented by the third? How does this differ from the 
 Minuet of Haydn's heard last week? 
 
 CHORUSES 
 
 The Blacksmith (Mozart). 
 
 Father, Hear the Prayer We Offer — Go Forsake Me (Mozart). 
 
 The Minuet (Mozart). 
 
 Lesson XIII 
 
 Beethoven 
 
 Ludwig van Beethoven (1770-1827) is the greatest personality 
 in the history of music. His works mark the culmination of the 
 Classical School of music and open the doors to the Romantic School. 
 It is difficult to study Beethoven, for his genius is so colossal, his sub- 
 limity so overwhelming, that it compels our awe and reverence, as 
 well as our admiration. Every page of Beethoven's music is a page 
 of his own personal heart history, and to comprehend this music one 
 must study his biography and learn to know the trials, the hardships, 
 the battles and the triumphs of this ' ' Michaelangelo of Music. ' ' 
 
 Beethoven wrote in all forms ; his greatest works are : 
 Symphonies Nine for full orchestra. 
 
 Concertos I i Five for P ian0 - 
 
 | One for violin. 
 
 Oratorios I Mount of Olives. 
 
 | Mass in D. 
 
 Opera "Fidelio." 
 
 Overtures. 
 
 Leonore, No. 2. 
 Leonore, No. 3. 
 Egmont. 
 Coriolanus. 
 
 85
 
 The History of Music 
 
 IRasoumowsky. 
 E flat. 
 D-C. 
 
 For Piano 
 
 Pathetiquc. 
 Waldstein, Op. 21. 
 
 Sonatas •> Appassionata, Op. 23. 
 
 Moonlight. 
 
 Kreutzer for violin and piano. 
 
 Beethoven's compositions may be divided into three periods: 
 
 1792-1803.— Influence of Haydn and Mozart, Op. 1 to Op. 
 50 — include First and Second Symphonies, first three Piano Con- 
 certos, many Sonatas and shorter compositions. 
 
 1803-1815. — Rise of Beethoven's individuality. The affliction 
 of deafness increases. Greatest works of this period are opera 
 "Fidelio," Symphonies "Eroica, No. 3;" No. 4; "Fate," or No. 
 5; "Pastoral," No. 6; Symphony in A, No. 7; Symphony in 
 F-major, No. 8. 
 
 1815-1827. — Culmination. Beethoven now totally deaf. 
 Mass in D. Symphony No. 9 with Choral setting of Schiller's 
 "Ode to Joy." 
 
 Beethoven's works are still rightly regarded as the greatest 
 models of instrumental form. New orchestral effects, new methods 
 of portraying dramatic ideas, some changes in form, it is true, have 
 come into music since his time, but nothing which has not been sug- 
 gested in Beethoven's music. As Mendelssohn once said, "When 
 Beethoven points the way who shall dare say 'thus far and no 
 farther?' " 
 
 ILLUSTRATIONS 
 35245 Chorus of Prisoners (" Fidelio") (Beethoven) Victor Male Chorus 
 74307 Adelaide (Beethoven) Evan Williams 
 
 ie?Aaf Part II 
 
 iPart II Leonora Overture No. 3 (Beethoven) Victor Orchestra 
 
 35269 Part III I 
 
 HINTS FOR TEACHERS 
 
 For the study of Beethoven's orchestral works see Lesson XXVII, 
 Course III. Do not feel discouraged that it is impossible to give all 
 of Beethoven's true greatness to your class in one lesson, but do try 
 to make the student feel the dominating personality, and the sad 
 tragedy of Beethoven's life. Avoid silly anecdotes regarding the 
 petty trivialities of his life; the stories of Beethoven's peculiarities 
 
 86
 
 The History of Music
 
 The History of Music 
 
 may be of amusing interest to your pupils, but are unworthy of 
 consideration. Do not allow an over-sentimental attitude regarding 
 Beethoven, as expressed by some of his biographers, to influence you 
 on the other side. Beethoven's tragic life history should be familiar 
 to your students, but they should also realize that he lived in a remark- 
 able historical epoch. Recall the great political events of the Napo- 
 leon campaigns, the Revolutionary tendency which was fast becoming 
 a marked influence in literature, art and music. A strong point should 
 be made of Beethoven's republicanism, his love of Nature, his rever- 
 ence for God ; the friendship of Beethoven and Goethe should be 
 pointed out, and the inspiration to Beethoven of Schiller and Goethe 
 should be remarked. 
 
 In America the "War of 1812 took place. 
 
 QUESTIONS 
 
 In what language is the second selection? What voice sings it? 
 Is it purely German or does it show Italian operatic influences? Is 
 the third selection program music ? How ? For what opera is this the 
 overture ? What composition reflects poetic thought ? 
 
 CHORUSES 
 
 My Faithful Johnny (Scotch) (Beethoven). 
 
 Come, Creator (Beethoven). 
 
 The Skies Resound (Beethoven). 
 
 The Larghetto (Beethoven). (Arr. Henry Stillman Kelly.) 
 
 Lesson XIV 
 
 Schubert and the German Lieder 
 
 Franz Peter Schubert (1797-1828) was the one native composer 
 of Vienna. He lived at the same period as Beethoven, though he 
 knew the latter but slightly. Schubert is the most pathetic, and at 
 the same time unusual figure in musical history. Possessed of a 
 spontaneous gift of melody, which has never been equaled, Schubert 
 wrote his great compositions, as though directed by an invisible force. 
 and the greatest of his works he never heard produced. On the 
 
 88
 
 The History of Music 
 
 FRANZ I'ETER SCHUBERT 
 
 stone which marks Schubert's last resting place there is inscribed: 
 ' ' Music hath buried here a rich treasure, but still richer hopes. " How 
 great these hopes were, was not realized until 1840, when Robert 
 Schumann discovered in Ferdinand Schu- 
 bert's home an old pile of manuscripts of 
 Franz Schubert which, at the time of the com- 
 poser's death, had been valued at less than 
 fifty dollars. Among these papers Schumann 
 found all the compositions which are consid- 
 ered Schubert's greatest works, including the 
 "Unfinished Symphony," the Symphony in 
 C Major, No. 10, and many others. 
 
 Schubert wrote in all forms of music, 
 leaving about 650 songs, part songs, masses. 
 18 dramatic works, 21 piano sonatas, many 
 overtures, 20 string quartets and 10 sym- 
 phonies, besides a vast quantity of smaller compositions for piano and 
 other instruments. 
 
 Schubert's short piano compositions are full of melodic and har- 
 monic charm, and in poetic content point the way towards the Roman- 
 ticism of Mendelssohn and Schumann. Aside from the many beau- 
 tiful instrumental compositions which Schubert gave the world, his 
 chief contributions to musical literature, were his marvelous songs, 
 which occupy a unique place in the development of music. During 
 the eighteenth century the old folk song had been completely domi- 
 nated, by the Italian methods of singing, although we have occasional 
 glimpses of true German feeling, in some of the songs of Haydn, 
 Mozart and Beethoven. Schubert, however, brought the German song 
 to a state of perfection, which has never been advanced since his day. 
 He stands in the same relation to the German lied, that Beethoven 
 occupies toward the symphony. In Schubert's songs the melody 
 always fits the poetic thought of the words, and although predominant, 
 it is greatly augmented by the accompaniment, which seems to form, 
 as it were, an atmospheric setting for the words. The Schubert 
 Lieder may be designated in three general classes, and we will find 
 by so doing that our fundamental principles of music are thereby 
 expressed : 
 
 1. Folk Manner Songs — a song in which the same tune is 
 repeated for each verse. 
 
 89
 
 The History of M u s i c 
 
 SCHUBERT S BIRTHPLACE, VIENNA 
 
 HOUSE WHERE SCHUBERT DIED, VIENNA 
 
 SCHUBERT S GRAVE IN VIENNA 
 
 90
 
 The History of Music 
 
 2. Art Songs in which the melody reflects the words and senti- 
 ments expressed. 
 
 3. Art Ballad, or song which narrates a definite story. 
 No. 1 therefore reflects the folk song in form and content. 
 No. 2 expresses poetic thought in form. 
 
 No. 3 program music. 
 
 There were a number of great composers who developed Schu- 
 bert's form of the Art Ballad. The most important of these was Carl 
 Loewe (1796-1869), whose ballads were always distinctly dramatic. 
 Loewe elaborated his accompaniment so that it always was of great 
 importance in the musical characterization. 
 
 ILLUSTRATIONS 
 
 88013 Who is Sylvia? (Words by Shakespeare) (Schubert) Mme. Eames 
 
 64093 Serenade (Schubert) Evan Williams 
 
 88342 Erl King (Schubert) Mme. Schumann-Heink 
 
 /•o,2 Q ( The Wanderer (Schubert) Arthur Van Eweyck 
 
 wsyr-y The Watch (Loewe) Arthur Van Eweyck 
 
 HINTS FOR TEACHERS 
 
 Be sure to make the class feel that Schubert has always in his 
 songs kept a direct relationship between the words and music. His 
 choice of poets should be remarked : Shakespeare, Klopstock, Schiller, 
 Goethe, Miiller, Matthieson. Many interesting anecdotes of Schubert 
 will aid the students in remembering his unique gift of spontaneity. 
 Recall the anecdote to be found in all biographies of Schubert, which 
 tells of his spontaneous composition of "Hark, Hark, the Lark" and 
 "Who is Sylvia?" Students should look up the great musicians liv- 
 ing in Vienna at this time, who were contemporaries of Beethoven 
 and Schubert. 
 
 QUESTIONS 
 
 What voice do you hear first? Second? Third? Last? Which 
 is dramatic? Does the accompaniment aid in dramatic expression? 
 How many characters are depicted in the third ? Which is imitative ? 
 What character of song is each? 
 
 CHORUSES 
 The Wild Rose (Schubert). 
 Cradle Song (Schubert). 
 The Wanderer (Schubert).
 
 The History of M u s i c 
 
 CARL MARIA VON WEBER 
 
 Lesson XV 
 
 Romanticism in Germany 
 
 The middle of the nineteenth century is known as the Romantic 
 Period of musical history. It was but natural that the feeling for 
 romance so prevalent throughout Europe, and manifested in the 
 other arts, should make a marked impres- 
 sion on music. As the nature of music is 
 but an expression of individuality, it was 
 impossible for musical art to be restricted 
 to the classical forms of the past. Yet from 
 the beginning of the development of mod- 
 ern music we have noted a marked tend- 
 ency toward free expression, and much of 
 the music of the so-called Classical School 
 was decidedly romantic in spirit. How- 
 ever, we find from 1830 to 1863 all com- 
 posers are moved by this spirit, which thus 
 gives a peculiar quality to the whole 
 epoch. 
 
 In music, as in art and literature, the terms Classical and Roman- 
 tic mean little except in relation to each other. The aim of the 
 classical master was to reflect ideal beauty in a form which should be 
 impersonal in character; therefore, the masters of the Classical 
 School adapted all their thought and expression to a definite mould or 
 form. The ideals of romantic art served to present individual 
 thoughts, moods or dreams, which the composer could transfer to his 
 audience, either by the medium of the old classical forms, which he 
 adapted unhesitatingly to suit his needs, or by the creation of entirely 
 new forms, more or less similar to those used in the past. The funda- 
 mental principle of Romanticism is individuality, which takes these 
 forms for its expression : virtuosity, program music, nationality. 
 
 In Germany the change from the Classical School to the Romantic 
 is less pronounced than in France, where individuality is for the first 
 time given a free rein in every branch of the art. Taking Beethoven 
 as the connecting link between the Classical and Romantic Schools, 
 we find his contemporaries, Schubert and von Weber, both showing 
 a marked tendency toward romantic expression ; Schubert in all his 
 compositions reflects this feeling and by the creation of the German 
 Lieder opens up a new pathway to the romantic composer. 
 
 92
 
 The History of Music 
 
 FELIX MENDELSSOHN-BARTHOLDY 
 
 Carl Maria von Weber (1786-1826) gave to the German people 
 the first national opera, for with "Der Freischiitz, " produced in 
 1821, Germany heard for the first time a 
 great operatic work, based on a German folk 
 tale, told in German folk music, and sung 
 by German singers in the German language. 
 The two greatest masters of the German 
 Romantic School were Felix Mendelssohn- 
 Bartholdy and Robert Schumann. Both 
 were men of wealth and education, and by 
 virtue of their intellectual achievements, 
 were well fitted to carry on the work of the 
 Romantic School. 
 
 Mendelssohn (1809-1847) is one of the 
 most lovable personalities in musical his- 
 tory. Possessed of a strong melodic gift, Mendelssohn was from 
 his earliest childhood, surrounded by the best of musical training, 
 and his work, although anticipating the romantic feeling, still 
 reflects the technical science of his predecessors. Mendelssohn 
 wrote in all forms, save that of the opera. His largest works 
 were the oratorios "St. Paul" (1836), "Hymn of Praise" (1840), 
 and "Elijah" (1846). His symphonies while following the classical 
 models, are program music in that they are given definite titles, such 
 as, "The Reformation," "Scotch," "Italian." The two latter works 
 also make use of national characteristics, although one feels through- 
 out that they were created by a German mind. 
 
 Schumann and Mendelssohn both made 
 use of the overture form as a vehicle for 
 the expression of program music. They 
 called their works in this form "Concert 
 Overtures," and many of Mendelssohn's 
 greatest works, including "The Fair Melu- 
 sina," "The Hebrides," "Calm Sea and 
 Prosperous Voyage," etc., were in this form. 
 In his piano compositions Mendels- 
 sohn used the song form and the poetic 
 thoughts he here expressed were designated 
 as ' ' Songs Without Words. " He also gave 
 us two concertos for piano with orchestra. 
 
 ROBERT SCHUMANN 
 
 93
 
 The History of Music 
 
 and the famous concerto for violin and orchestra, many chamber 
 compositions, and works for the organ. Mendelssohn's chief popularity 
 rests on the incidental music which he composed for Shakespeare 's " A 
 Midsummer Night's Dream." This composition, which he began when 
 but a boy, reflects the grace, the elegance and the melodic charm of his 
 genius, coupled with his mastery of the technique of composition. 
 
 Robert Schumann (1810-1856) was a far more original genius 
 than Mendelssohn, but as his early education was pursued with the 
 intention of his becoming a lawyer, Schumann did not have the advan- 
 tage of a technical musical education. Yet his romantic imagination, 
 poetic insight and independence, make his compositions of extreme 
 importance to the Romantic Period. Schumann wrote in all forms, 
 even making some futile attempts at dramatic composition. There 
 have remained of these efforts several excellent overtures to "Geno- 
 veva, " "Faust" and "Manfred," which serve to show Schumann at 
 his best. His four symphonies are full of melodic and harmonic 
 charm, although the technicalities of form are frequently frankly 
 ignored. He left many compositions in the form of chamber music, 
 as w r ell as a number of choral works, but it is as a composer of songs 
 and short piano works that Schumann deserves first rank. All of his 
 piano compositions, including his famous concertos, were written for 
 the talented young pianiste, Clara "Wieck, who afterward became 
 Madame Clara Schumann, the devoted wife of the composer. Schu- 
 mann was chiefly responsible for the finding of the greatest Bach 
 manuscripts, which had been unknown since Bach's day, and it was 
 Schumann, also, who gave to the world the greatest of Schubert's 
 works. As the editor of "The New Journal of Music," the most 
 famous musical paper of history, Schumann introduced to the world 
 the greatest works of Bach, Schubert, Mendelssohn, Berlioz, Chopin. 
 Liszt, Wagner and Brahms. 
 
 Other great German composers of this period were : 
 
 Ludwig Spohr (1784-1859) ; 
 
 Heinrich Marschner (1795-1861) ; 
 
 Ferdinand Heller (1811-1885) ; 
 
 Robert Volkman (1815-1883) ; 
 
 Carl Reinecke (1824-1911) ; 
 
 Adolph Jensen (1837-1879) ; 
 
 Franz Lachner (1804-1890) ; 
 
 Joachim Raff (1822-1882). 
 
 '.•4
 
 The History of Music 
 
 ILLUSTRATIONS 
 
 31819 Overture— Midsummer Night's Dream (Mendelssohn) 
 
 Victor Concert Orchestra 
 
 742«K /(!) Spring Song (Mendelssohn) Vladimir de Pachmann 
 
 \(2) Vogel als Prophet (Schumann) Vladimir de Pachmann 
 
 64217 Return of Spring (Schumann) Evan Williams 
 
 31740 Song — The Two Grenadiers (Schumann) Reginald Werrenrath 
 
 HINTS FOR TEACHERS 
 
 These illustrations are chosen to show the greatest examples of 
 the forms of Romantic composers. Describe these compositions care- 
 fully before playing them. 
 
 QUESTIONS 
 
 Which compositions are program music ? Which depicts poetic 
 thought? Which composition reflects national spirit? What voice 
 sings the third? The fourth? Does the accompaniment aid in pre- 
 senting the picture here? 
 
 CHORUSES 
 
 My Jesus, As Thou Wilt (von Weber). 
 
 Boat Song (von Weber). 
 
 Farewell to the Forest (Mendelssohn). 
 
 Over Hill, Over Dale (Mendelssohn). 
 
 Wake, Sweet Rose (Schumann). 
 
 Highland Cradle Song (Schumann). 
 
 The Winter Hath Not a Blossom (Reinecke). 
 
 Lesson XVI 
 
 Romanticism in France 
 
 The French Romantic School carried all the points of Romanti- 
 cism to a much greater extreme than did the Germans, and as the 
 Court of Louis Phillippe attracted all the literary and artistic genius 
 of the day, so, too, musicians from other lands settled here and 
 became identified with what we know as the French Romantic School. 
 Francois Chopin, of Poland; Franz Liszt, of Hungary; and Niccola 
 Paganini, of Italy, in the instrumental school; Cherubini, Spontini, 
 Bellini and Donizetti, Italians, and Meyerbeer, a German, in the opera 
 school. 
 
 95
 
 The History of Music 
 
 HECTOR BERLIOZ 
 
 The greatest French master of this 
 period was Hector Berlioz, who, as 
 Schumann once said, "is the most un- 
 compromising champion of program 
 music." For over a century the 
 French School had been identified ex- 
 clusively with the form of the opera, 
 and we find practically no development 
 of instrumental music in France until 
 the advent of Hector Berlioz (1803- 
 1869), whose peculiar personality is the 
 most unique to be found in all musical 
 history. 
 
 Berlioz was possessed of an exhaustive knowledge of the tech- 
 nical possibilities of the instruments of the orchestra, and his tone 
 coloring and orchestral combination were always extreme. He de- 
 parted from all regular forms in the writing of his works, but gives 
 us always a picture in tone, painted with such amazing coloring that 
 he stands unique among a school of musicians, known for their eccen- 
 tric individual expression. Berlioz made use of a characteristic 
 phrase or motive which he called "the fixed idea," and all his com- 
 positions are worked out on this plan ; all have definite titles and tell 
 their own individual stories. Berlioz wrote in all forms, but his most 
 successful works were for orchestra, in the form of the "dramatic" 
 symphony; of these, "Harold in 
 Italy," "Romeo and Juliet" and 
 "Episode in the Life of an Artist," 
 are the best known. His most popu- 
 lar work is the dramatic cantata 
 "Damnation of Faust," although the 
 "Requiem Mass" and several operas, 
 among them "Benvenuto Cellini" 
 and "Les Troyens," are still often 
 given successfully in Europe. 
 
 Frederic Francois Chopin (1810- 
 1849) is classed with the French 
 School, although in most of his music 
 Chopin boldly proclaims his love for 
 his native Poland. It was Schumann 
 
 FREDERIC FRANCOIS CHOPIN 
 
 96
 
 The History of Music 
 
 who introduced Chopin to the world with the words: "Hats off, gen- 
 tlemen; a genius." There has never been a greater charm exerted 
 over the music of the world than that of Chopin, though he wrote only 
 for his own instrument, the piano, with the exception of a few beau- 
 tiful songs. 
 
 As both a pianist and composer, Chopin exerted a rare influ- 
 ence on modern music, for he gave us not only the true poetic con- 
 ception of tone, but also the possibility of combining national effects 
 in music, by his use of the Mazurkas, Polonaises and Waltzes of 
 Poland. Although all of Chopin's music is poetic expression, verging 
 toward program music, he gave no titles to his works and sought to 
 make no suggestions to his hearers of the hidden beauty, which each 
 listener feels in lurking in the depths of his musical tone poems. 
 
 Franz Liszt (1811-1886), of Hun- 
 garian parentage, was trained as a pianist 
 in Vienna and Paris, where his early life 
 was spent. Later, Liszt became identified 
 with the German School and may well be 
 regarded as the founder of the modern 
 instrumental school of Germany to-day. 
 Liszt was not only the greatest of the 
 bravura pianists, but his extraordinary 
 personality, his generosity and remark- 
 able teaching ability, would cause him 
 to be ranked as important in mu- 
 sical history had he never written any 
 compositions. As a pianist he estab- 
 lished the plan of piano transcriptions of songs, operatic and orches- 
 tral compositions, and every great pianist since his day has acknowl- 
 edged his great genius as a technical virtuoso. All his works for 
 piano make use of brilliant technical effects. His Hungarian Rhap- 
 sodies, built upon Hungarian folk dances, are among the most popular 
 of his works. Liszt left many large works for chorus, his two ora- 
 torios, "St. Elizabeth" and "Christus," being remarkable for their 
 dramatic instinct, yet he wrote no operas. His greatest works are the 
 two Symphonies with Choruses, "Faust" and "Dante's Divine Com- 
 edy," and the thirteen Symphonic Poems for Orchestra. In these works 
 he allied himself as a firm adherent of the school of program music 
 masters, using titles, guiding themes, characteristic instrumentation and 
 
 FRANZ LISZT 
 
 97
 
 I h e History o J M u s i c 
 
 a new development of the sonata form to make possible tin- telling of 
 his marvelous stories in tone. For the orchestral effects and the forms 
 developed by the French School sec Lesson XXVII, Course III. 
 
 ILLUSTRATIONS 
 
 35241 Overture— Carnival Romain (Berlioz) Victor Concert Orchestra 
 64224 Mazurka (Op. 15, No. 2) (Chopin | Vladimir de Pachmann 
 
 74260 Prelude (Op. 28, No. 24) Etude (Op. 10, No. 5) (Chopin) 
 
 Vladimir de Pachmann 
 
 35122 Hungarian Rhapsody, No. 2 (Liszt) Pryor's Band 
 
 HINTS FOR TEACHERS 
 A comparison between German and French Romantic Schools 
 should be the basis of a short paper by students at this time. As the 
 principles of the Romantic School are the foundations of our modern 
 schools of to-day, a strong point should he made of the nationality 
 which is apparent in Chopin's and Liszt's music. 
 
 QUESTIONS 
 Which of these compositions reflect nationality; Which program 
 music .' Which poetic thought? Which are for piano? 
 
 CHORUSES 
 Memorial March (Chopin). 
 Thou Art Like a Flower (Liszt). 
 
 Lesson XVII 
 
 Opera Tie fore Wagner 
 
 Although the keynote of the Romantic School "individual expres- 
 sion," made itself manifest in the most striking manner in the purely 
 instrumental schools, we find a great interest in opera at this time 
 as well. As stated in Lesson XV the first great national opera of 
 Germany was Carl Maria von Weber's "Der Freisehutz," which ap- 
 peared in 1821. Other composers who contributed to the German 
 Romantic Opera were Ludwig Spohr (1781-1859) and Heinrich 
 Marschner (1705-1861). 
 
 The dominant influence in Italy at this time was that of Rossini 
 (1702-1868), who wrote many dramatic absurdities into the Opera 
 Seria, but whose use of Opera Buff;i was masterful. 
 
 This lighter form of opera, known in France as Opera Comique, 
 
 98
 
 The History of M u s i c 
 
 became wrv popular in Paris, where witty dialogue, sparkling music 
 and piquant acting always received popular approval. The names to 
 be remembered in France during this period: 
 
 Etienne Mehul (1763-1817), "Joseph." 
 
 Francois Boieldieu (1775-1834), "La Dame Blanche." 
 
 Daniel Auber (1782-1871), "Fra Diavalo." 
 
 Louis lierold (1791-183 ), "Zampa." 
 
 Jacques Halevy (1799-1862), "La Juive." 
 
 The French successor of the Opera Seria was the French Grand 
 Opera. With the reconstruction of Paris after the Revolution, two 
 National Opera Houses were built, one for the production of Opera 
 Comique, the other for Grand Opera. To Paris at this time came 
 many of the greatest operatic composers of the day, to join those 
 Italians who had always maintained there an Italian School of Opera. 
 The greatest names to be remembered are : 
 
 Luigi Cherubini (1760-1812), who was from 1788 associated with 
 the French School, and was, for many 
 years, the Director of the Paris Con- 
 servatory. He follows Mozart rather 
 than Gluck, but his extreme pedantic in- 
 sistence on formal expression, handicaps 
 severely his best attempts. Cherubini 's 
 greatest works are : ' ' Lodoiska, " " Me- 
 dee, " "Les Deux Journees," and al- 
 though they are tragic in character, they 
 are classed as Opera Comique because 
 they contain spoken dialogue. 
 
 Gasparo S p on t i n i (1771-1851) 
 treated historic and heroic subjects with 
 pompous manner. luigi cherubini 
 
 Also to the French Grand Opera School belongs Rossini's "Wil- 
 liam Tell," the greatest of his works in the Grand Opera manner. 
 Rossini's two Italian followers, who also wrote for the Paris stage, 
 were : 
 
 Gaetano Donizetti (1797-1818), who wrote in both Opera Comique 
 and Grand Opera style; and Vincenzo Bellini (1801-1835) who wrote 
 only in the serious style. 
 
 It was a German, however, who gave the French people that form 
 of French Grand Opera, which in spectacular effects had never been 
 
 99
 
 The History of Music 
 
 equaled, and which caused him to become the idol of the Parisian 
 public. Originally named Jakob Liebmann Beer, this greal composer 
 whom we know as Giacomo Meyerbeer (1791-1864), held the opera 
 stage in Europe until the advent of Richard Wagner. Meyerbeer was 
 brilliantly gifted, but all his efforts were directed toward the effective, 
 superficial ideas of the stage, rather than toward its greatest ideals. 
 Be was the real founder of melodramatic opera, which has been so 
 popular since his day. The greatest operas of this period are: 
 
 Germany: 
 
 f " Der Freischutz." 
 
 Carl .Maria von Weber " Euryanthe." 
 
 | "Oberon." 
 
 Ludwig Spohr I "Faust." 
 
 I " Jessonda." 
 
 Heinrich Marschner 
 Italy : 
 
 Gioachino Rossini . . 
 
 " Hans Heiling.'' 
 " The Vampire." 
 
 Opera Buff a. 
 " Barber of Seville.' 
 
 Opera Serin. 
 " William Tell." 
 " Semiramide." 
 
 Gasparo Spontini. . . .... "La Vestale." 
 
 Don Pasquale." 
 
 Gaetano Donizetti 
 
 Vincenzo Bellini. 
 
 Giacomo Meyerbeer 
 
 " Lucrezia Borgia." 
 
 " Lucia di Lammermoor.' 
 
 " Elisir d'Amore." 
 
 " La Sonnambula." 
 " Norma." 
 " I Puritani." 
 
 "Robert Le Diablo." 
 " Les Huguenots." 
 •'Le Prophete." 
 
 " L'Africaine. " 
 
 ILLUSTRATIONS 
 
 88391 Largo al factotum (" Barber of Seville ") (Rossini) Titta Ruffo 
 
 88299 Mad Scene (" Lucia di Lammermoor ") (Donizetti) 
 
 Mme. Tetrazzini 
 
 74275 Benediction of the Swords (" Les Huguenots ") 
 
 (Meyerbeer) Journet, with Metropolitan Opera Chorus 
 
 100
 
 The History of Music 
 
 HINTS FOR TEACHERS 
 
 Mention the use of the "Barher of Seville" story by Mozart in 
 "Figaro," and the humor as here portrayed; point out the historical 
 material used by Meyerbeer in "Les Huguenots" and the literary 
 significance of "Lucia di Lammermoor." (See "Hints for Teachers," 
 Lesson XII, Course IV.) 
 
 QUESTIONS 
 
 Which selection is from Opera Buffa ? Which from Grand Opera ? 
 Which is the most dramatic? Does the orchestra aid in the dramatic 
 interpretation? Which voice sings with chorus? Which gives 
 patriotic feeling? 
 
 CHORUSES 
 
 The Highlands (Boieldieu). 
 
 List, the Trumpets' Thrilling Sound ("Huguenots") 
 
 (Meyer- 
 
 beer), 
 
 0, Italia Beloved (Donizetti). 
 Masaniello (Auber). 
 
 Lesson XVIII 
 
 Wagner 
 
 By many, Richard Wagner (1813-1883) is regarded as the 
 Revolutionist of Opera, who demolished all old forms, and who recon- 
 structed the Music Drama on principles en- 
 tirely his own. In the strictest sense, this is 
 not true, for Wagner simply returned to th 
 oldest version of the Music Drama and found, 
 that, with the Camerata in Florence, the only 
 idea has been to produce a work in which the 
 music, drama and interpretation should be of 
 equal importance. He observed the changes 
 and abuses which Gluck had sought to cor- 
 rect, and he found that the Opera School of 
 the nineteenth century had fallen back into 
 many of the old ideas, with the result that 
 there was no longer a complete unity in 
 operatic works. 
 
 WILHELM RICHARD WAGNER 
 
 101
 
 T h 
 
 History of M u s i c 
 
 * 
 
 
 ft 
 RrTttV * 
 . I 
 
 PR « 
 
 TANNHAUSER ON HIS WAY TO THE WARTBURG 
 
 Wagner tells us in his auto- 
 biography that his early life was 
 influenced by the dramas of Shake- 
 speare, the symphonies of Beetho- 
 ven, and the operas of von Weber. 
 Wagner's first operas were con- 
 structed on the lines of the French 
 Grand Opera — the first two were 
 absolute failures, but with the 
 production of "Rienzi" in 1841, 
 Wagner was proclaimed the equal 
 if not the superior, of Bellini, 
 Donizetti and Meyerbeer. But 
 in the writing of this work Wag- 
 ner had discovered the dramatic 
 absurdities of the form, and 
 in his next work, "The Flying 
 Dutchman," he attempted his first 
 important use of the "leit motif," 
 
 or characteristic theme for his different characters, and also used 
 
 these themes, in anticipation of the 
 
 advent of his characters, in a man- 
 ner he later described as "the 
 
 making of the audience a part of 
 
 the being." On his way to Dres- 
 den to conduct "Rienzi," Wagner 
 
 visited the Wartburg Castle, and 
 
 there he became familiar with the 
 
 legendary stories which he uses in 
 
 all his later works. "Tannhauser" 
 
 gives us an actual description of 
 
 the Minnesinger Knights who in- 
 spired Wagner with the Teutonic 
 
 versions of ' ' The Ring of the Nibe- 
 
 lungen," "Lohengrin," "Tristan 
 
 and Isolde" and "Parsifal." 
 
 "Tannhauser" was produced 
 
 in 1845, but brought down such a 
 
 storm of criticism that, when Wag- 
 
 
 * set: 
 
 1 A N N HAT 
 
 102
 
 The History of Al u s i c 
 
 ner was forced to leave Germany a political exile, he found himself a 
 musical outcast, as well. Only one great genius, Franz Liszt, seemed to 
 appreciate his efforts, and to Liszt at Weimar, Wagner sent his 
 "Lohengrin." This work is really the turning point of Wagner's 
 career. It was produced by Franz Liszt on August 28, 1850, for the 
 centennial celebration of Goethe's birth at Weimar. To the little scho- 
 lastic town all the greatest minds of Germany had come to do homage 
 to the great German poet, and they heard for the first time the wonder- 
 ful music drama of "Lohengrin." From that day Wagner was recog- 
 nized as a genius by his adversaries as well as by his friends. 
 
 In "Lohengrin" Wagner not only uses the "leit motif," but he 
 also makes use of characteristic instrumentation : thus, Lohengrin 's 
 motif is always given by the strings, Elsa's by the wood-winds, and 
 King Henry's by the brasses. With "Lohengrin," too, Wagner also 
 used the overture as a prelude or vorspiel, to prepare his hearers for 
 the action which is to follow, and we find each act has its own prelude, 
 and these are as important to the dramatic significance as the later 
 action on the stage. 
 
 Although "Lohengrin" became the most popular opera of the 
 day, Wagner had no opportunity of hearing his work, but remained 
 still an exile in Switzerland. He had practically completed his entire 
 "Ring of the Nibelungen," "Tristan and Isolde," "Die Meister- 
 singer, " and had made sketches for "Parsifal," when he was recalled 
 to Germany by the young King Ludwig II of Bavaria, who placed 
 wealth and power behind him, and made possible the building of an 
 ideal playhouse, in Bayreuth, where his works could be given an ideal 
 performance. 
 
 Wagner marks the culmination of the Romantic School and the 
 beginning of the Modern School, for every great opera since his day 
 clearly reflects the influence of the ' ' greatest musical personality since 
 Beethoven." 
 
 Wagner's theory of the Music Drama returns to the fundamental 
 principle that music, poetry and action shall be inseparable. As Wag- 
 ner wrote his own dramas and conceived his own stage effects, the 
 music therefore becomes a more vital factor than in the works of 
 his predecessors. The vocal parts do not conform to any absolute set 
 rules regarding formal recitatives and arias, but remain ever a part 
 of a complete dramatic effect. 
 
 103
 
 The H i s t o r y o f M u s i c 
 
 Early Operas. 
 
 Operas of Wagner's Transi- 
 tion to Music Drama. 
 
 Music Drama 
 
 WAGNER'S WORKS 
 
 "Die Keen." Only perform- 
 
 "Das Liebes-verbot." \ ed now as curios- 
 
 [ ities. 
 "Rienzi," 1842, in style of French Grand 
 Opera. 
 
 'The Flying Dutchman," 1843. 
 ' Tannhauser," 1845. 
 "Lohengrin." 1850. 
 
 "The Ring of the Niebelungen," 
 consisting of four parts: 
 "The Rhinegold." 
 "The Valkyrie." 
 "Siegfried." 
 
 "The Dusk of the Gods." 
 "Tristan and Isolde." From legend of 
 Gottfried von Strassburg, Minnesinger. 
 "The Mastersingers of Nuremburg," 
 1868. Wagner's one comic opera. A 
 satire on his critics. 
 "Parsifal." A Sacred Festival Opera on 
 the Grail legend of Wolfram von Esch- 
 enbach, Minnesinger. 
 
 ILLUSTRATIONS 
 
 31846 Bridal Chorus — "Lohengrin" 
 
 70080 Prize Song — " The Mastersingers " 
 
 62693 Ride of the Valkyries— " The Valkyrie" 
 
 87002 Brunnhilde's Battle Cry— "The Valkyrie" 
 
 Victor Opera Chorus 
 
 Lambert Murphy 
 
 La Scala Orchestra 
 
 Mme. Gadski 
 
 HINTS FOR TEACHERS 
 
 This is too large a subject for one lesson, but must be given in 
 condensed version so that pupils may know Wagner's principles, and 
 their applications to his principal works. Refer to the Minnesingers 
 and Meistersingers of our earlier period of history. Also point out 
 the significance of the Wartburg Castle, where the Minnesingers met. 
 Remember that it was here Martin Luther was imprisoned, and here 
 he wrote "Eine Feste Burg." In the little town of Eisenach Johann 
 Sebastian Bach was born. We study Wagner in detail in Course 
 IV, so these illustrations are chosen to illustrate two points only. 
 First, Wagner's use of the leit motif in the orchestra to assist Lohen- 
 grin in his narrative, and to help the audience by this use of the 
 
 104
 
 The History of Musi c 
 
 grail motif to know from 
 whence Lohengrin h;is 
 come. Notice the use of 
 strings in the orchestra. 
 
 In the "Ride of the 
 Valkyries ' ' Wagner gives 
 us a musical description in 
 the orchestra to introduce 
 his third act of "The Val- 
 kyrie" and to carry us into 
 the final scene. (See Les- 
 son XIV, Course IV.) In 
 the Prize Song we have an 
 excellent example of Wag- 
 ner's great melodic gift. 
 
 Remember that Wag- 
 ner lived in exile during 
 the period of the Civil 
 War in America. 
 
 QUESTIONS 
 Are these illustrations 
 program music or absolute 
 music ? What principles 
 does Wagner use in the sec- 
 ond ? Where does the third 
 selection occur in the opera? For what purpose is "The Ride" 
 introduced? What instruments are used? Which number is an 
 example of poetic thought? Which is imitative music? 
 
 CHORUS 
 
 Spinning Chorus from "Plying Dutchman" (Wagner). 
 
 DIE WARTBURG 
 
 Lesson XIX 
 
 The Influence of Wagner 
 
 Wagner's influence has been apparent in all opera since his day. 
 As a striking example of this is the change found in Italy. Of the 
 Italian masters, Giuseppe Verdi (1813-1901), stands pre-eminent. His 
 
 105
 
 The History of M u s i c 
 
 early works are all in the traditional style of the Italian Opera, but in 
 1870, after the universal recognition of Wagner, we find that Verdi 
 employs some of the Wagnerian ideas, with the result that his most 
 sueeesst'ul dramatic works are written after this period. To corn- 
 pa iv "Aida" (1871), "Otello" (1887), and "Falstaff" (1893), with 
 Verdi's dramatic absurdities of his earlier period, is to note how 
 great was his gain in the musical expression as well as dramatic 
 thought. All Verdi 's followers have declared that the influence of 
 Wagner has been strongly apparent in the modern Italian School. 
 
 In France the change in the methods used by Gounod, while not 
 as radical as that noticeable in Verdi, is still apparent. Bizet, the 
 composer of "Carmen," was a devoted adherent of Wagner's ideals 
 as adapted to the Frencli Opera School, while the modern masters 
 of the French School have all shown the direct influence of Wagner's 
 "Music of the Future." 
 
 In Germany the direct followers of Wagner in opera are Carl 
 Goldmark (1830). Engelbert Humperdinck (1854) and Richard 
 Strauss (1864). 
 
 ILLUSTRATIONS 
 
 89018 Duet— Home to Our Mountains (" II Trovatore) 
 
 (Verdi) Mme. Homer and Caruso 
 
 88178 Toreador Song ("Carmen") (Bizet) de Gogorza and Chorus 
 
 64188 Witches' Ride (" Hansel and Gretel ") (Humperdinck) 
 
 Albert Reiss 
 89028 Duet— The Fatal Stone ("Aida") (Verdi) 
 
 Mme. Gadski and Caruso 
 
 HINTS FOR TEACHERS 
 
 All of the operas will be studied in detail in Course IV. The 
 " I liinsel and Gretel" record illustrates folk spirit as well as humorous 
 description. Give a short outline of the story of "Aida" and point out 
 that here we have example of a duet closing the opera, which has 
 real dramatic significance. 
 
 QUESTIONS 
 
 What principle does the "Toreador" Song illustrate? What voice 
 sings it? How is national feeling expressed? What element is appar- 
 ent in the third? Is the vocal beauty sacrificed to give the humorous 
 conception? In the first duet what voices did you hear? In the last? 
 Which duet is most dramatic? 
 
 106
 
 The History of M u s- i c 
 
 CHORUSES 
 
 Unfold, Ye Portals ( ' ' Redemption " ) ( Gounod ) . 
 Praise Ye the Father (Gounod). 
 Nazareth ( Gounod ) . 
 
 L 
 
 ess on 
 
 XX 
 
 Johi 
 
 Bra hi 
 
 Johannes Brahms (1833-1897) stands as the foremost German 
 composer of absolute music in the nineteenth century. In describing 
 his method of composition, Mr. Huneker once said, "Brahms pours 
 the new wine of the Romanticists into the old bottles of the Classicists." 
 
 When but a young boy, Brahms was discovered by Joseph 
 Joachim and Franz Liszt, who sent him to Robert Schumann, then 
 considered the foremost critic in Germany. Schumann had long pre- 
 dicted the advent of a genius who should return to the old forms, 
 bringing the poetic quality of the Modern School with him : he now 
 proclaimed that this youth of nineteen was the one, who should be the 
 leader of the pure and true in modern German instrumental music. 
 
 Brahms has often been 
 ranked with Bach and Beethoven, 
 for his compositions show a rare 
 mastery of the technical difficul- 
 ties of the art, combined with the 
 love of poetic tonal expression, 
 which has been possessed by but 
 few. Yet the true beauty and 
 worth of the compositions of 
 Brahms can only be appreciated 
 by an intimate acquaintance. To 
 appreciate the greatness of 
 Brahms one must make an effort 
 to study his compositions just as 
 ono must realize the symbolic 
 depths of Robert Browning be- 
 fore his true worth as a poet 
 stands revealed.
 
 The History of Music 
 
 Since the beginning of Romanticism the musical world, looks, 
 first, for music which by its descriptive character, its amazing techni- 
 cal achievements or its startling tonal combinations, will surprise and 
 amaze. Before the advent of Brahms, they were prone to forget that 
 the true tonal beauty of absolute music, was as important in music's 
 development as that of program music. 
 
 One of our modern critics in comparing Brahms with Tschaikow- 
 sky said: "Tschaikowsky 's music sounds better than it is, while 
 Brahms' music is better than it sounds." 
 
 Brahms wrote no operas, but his beautiful songs, some as simple 
 as the old folk song, others in the style of Schubert's art lieder, show 
 his rare genius of vocal expression; his "German Requiem" is rightly 
 regarded as one of the greatest choral works of the modern day. 
 Brahms wrote many short compositions for piano, which reflect the 
 style and poetic character of Schumann ; sonatas and chamber com- 
 positions; concertos for violin or piano with orchestra; overtures 
 for orchestra; and, like his devoted master, Robert Schumann, four 
 great symphonies. He contributed no new forms, but he did more for 
 modern music, by showing again to the world, the beauty of music 
 as an absolute art. 
 
 ILLUSTRATIONS 
 17181 Wiegenlied (Lullaby) (Brahms) Elsie Baker 
 
 87099 Auf dem Kirchhofe (In the Churchyard) (Brahms) Mme. Gadski 
 64131 Hungarian Dance (Brahms) Fritz Kreisler 
 
 HINTS FOR TEACHERS 
 
 An excellent illustration of Brahms' deep poetic quality is to be 
 found in these songs. In the Hungarian Dance notice the use of the 
 national themes, and speak of Brahms' interest in Hungarian melo- 
 dies, which came through his friendship for Edouard Remenyi. 
 
 QUESTIONS 
 What voice sang the first selection? The second? Which song 
 is an example of folk-manner song? Which of art song? What 
 instrument played the last number? Which is national in character? 
 
 CHORUSES 
 Minnelied (Brahms). 
 Lullaby (Brahms). 
 Greeting (Brahms). 
 The Sandman (Brahms).
 
 The History of M u s i c 
 
 Lesson XXI 
 
 Modern Music 
 
 The School of Modern Music in general is a direct outgrowth of 
 the Romantic School. It may be said that Richard Wagner's works 
 mark the culmination of the Romantic School and are the foundation 
 of modern Opera, and that Franz Liszt 
 stands in the same relation to instru- 
 mental music. 
 
 "With the exception of the great- 
 est modern German master, Johannes 
 Brahms, and his followers, all modern 
 instrumental music has been founded on 
 the two principles, of the Romantic 
 School, namely, Program Music and 
 Nationality. 
 
 The Instrumental Schools of both 
 Italy and France now rank with the 
 Schools of Opera in those lands. In the 
 latter country it may be said that the 
 most interesting development of modern 
 instrumental music is now taking place. 
 
 The most important feature of the latter part of the nineteenth 
 century has been the rise of the National Schools of Music in Russia, 
 Bohemia, Norway, Sweden and Finland. In England and America, 
 while the compositions have not been so remarkable, as in other lands, 
 we still find a strong impetus toward musical growth. The great names 
 to be remembered in these Modern Schools are: 
 
 Germany : 
 
 Johannes Brahms (1833-1897). 
 
 Engelbert Humperdinck (1854- 
 
 Carl Goldmark (1830- ). 
 
 Richard Strauss (1864- ). 
 France : 
 
 CSsar Franck (1822-1890). 
 
 Camille Saint-Saens (1835- 
 
 Jules Massenet (1842-1912) 
 
 Claude Debussy (1862- ). 
 Italy : 
 
 Giuseppe Verdi (1813-1901.) 
 
 Giovanni Sgambatti (1843- ). 
 
 ANTON RUBINSTEIN 
 
 )• 
 
 )• 
 
 109
 
 The History of Music 
 
 Giacomo Puccini (1858- ). 
 
 Ermanno Wolf-Ferrari (1874- ). 
 Ill ^sia: 
 
 Anton Rubinstein (1830-1894). 
 
 Peter Ilitysch Tschaikowsky (1840-1893). 
 
 Alexander ( Jlazounow (1865- ). 
 
 Sergei Rachmaninoff (1873- ). 
 Scandinavia: 
 
 Niels Gadc, Denmark (1817-1890). 
 
 Edward Grieg, Norway (1843-1907. 
 
 Emil Sjogren, Sweden (1853- ). 
 
 Jan Sibelius, Finland (1865- ). 
 Bohemia: 
 
 Friedrich Smetana (1824-1884). 
 
 Antonin Dvorak (1841-1904). 
 England. 
 
 Edward Elgar (1857- ). 
 American : 
 
 Edward MacDowell (1861-1908.) 
 
 ILLUSTRATIONS 
 
 64164 The Old Witch (" Hansel and Gretel") (Humperdinck) 
 
 Otto Goritz 
 
 74135 Meditation ("Thai's") (Massenet) 
 31739 Overture— 1812 (Tschaikowsky) 
 
 Maud Powell 
 Pryor's Band 
 
 HINTS FOR TEACHERS 
 
 Review lessons on the Romantic School. All of the development 
 of music is a logical growth. Be sure that your class feels this espe- 
 cially in relation to the Modern School. No. 1 is Program Music in 
 Opera. No. 2 is an interlude used as is the Wagnerian Prelude to 
 prepare the audience for the action in the next scene. No. 3 is 
 National Program Music. 
 
 QUESTIONS 
 
 Wha1 voice sang the first selection? To what school does Hum- 
 perdinck belong? To what school does Massenet belong? What 
 instrument played the second? What phase of the Wagnerian prin- 
 ciple docs this represent? What does the third express? Is this Pro- 
 gram Music or National Expression? To what school does Tschai- 
 kowsky belong? 
 
 no
 
 The History of Music 
 
 CHORUSES 
 
 Haakon's Cradle Song (Grieg). 
 Welcome the Morning (Grieg). 
 Olav Trygvason (Grieg). 
 
 Lesson XXII 
 
 The Russian School 
 
 The first Russian composer to recognize the possibilities of his 
 native land was Michael Glinka (1803-1857), who may be regarded 
 as "The Father of Russian Music." A close student of folk music, 
 Glinka felt that the Russian people, were wondrously endowed with 
 an individual musical speech, which he 
 now attempted to show them was as worthy 
 of their consideration as the Italian and 
 French music, in which they had so long 
 delighted. Glinka gave to the Russian 
 people their first opera, "A Life for the 
 Czar," which was produced in 1836. 
 
 Anton Rubinstein (1830-1894) must, 
 however, be considered as the "Founder 
 of the Russian School," for, although 
 trained in the German Romantic School, 
 it was through the influence of Rubinstein 
 that the National Russian Schools of St. 
 
 MICHAEL GLINKA 
 
 Petersburg and Moscow were established 
 
 in 1861. Here music was taught to the Russian peasant, as to the 
 nobility, by Russian teachers, speaking the Russian language. A 
 remarkable pianist and a composer whose works, though graceful 
 and charming, are outranked by his contemporaries, it is safe to say 
 that Rubinstein's chief cause for fame in the future, will be the fact 
 that he laid the foundation of the great Russian School, which has 
 exerted such a tremendous influence on modern music. 
 
 "When the Russian School was originally established in 1861, most 
 of the musicians connected with its work were men of other profes- 
 sions, as: Cesar Cui (1835), lawyer; Borodin (1839-1881), a physi- 
 cian; Rimsky-Korsakoff (1844) a naval officer; Moussorgsky (1893-
 
 T he History of M u 
 
 s i c 
 
 CESAR CUI 
 
 1881) a government attache; Tschai- 
 kowsky (1840-1893), a lawyer. The 
 influence of these masters built a re- 
 markable school of music in Russia, 
 where to-day the leading figures are: 
 
 Glazounow, 1865; 
 Arensky, 1861; 
 Rachmaninoff, 1873; 
 Scriabinc, 1872. 
 
 Of the first group the greatest 
 genms was Peter Ilitsch Tschaikowsky, 
 one of the most dominating personali- 
 ties of the Modern School. In his early 
 life he was an enthusiast over Italian 
 music, and he cherished a deep love 
 for Mozart's grace and elegance of expression, throughout his life. 
 Of a morbid temperament, Tschaikowsky, reflects in almost all his 
 compositions the deep brooding sadness of the Russian heart. His 
 use of the orchestra is brilliant and daring, and his combinations of 
 tonal color are as barbaric as many of the customs of his native land. 
 He wrote in all forms, his symphonies and concertos being the most 
 remarkable of his orchestral compositions. 
 
 In his program music, Tschaikowsky shows an originality, which 
 -.is most remarkable; then in the absolute expression of poetic thought 
 in tone, he gives us Russian national 
 music, worked out in polyphonic beau- 
 ties, which make his compositions de- 
 serving of their great popularity. His 
 most popular orchestral works are the 
 "Fifth Symphony," the "Manfred 
 Symphony," the "Pathetique Sym- 
 phony," the "Overture 1812" and 
 "Marche Slave." 
 
 Of the younger group of Russians 
 the genius of Tschaikowsky has seemed 
 to fall on Alexandre Glazounow, who 
 has already written six symphonies, 
 and many excellent shorter composi- 
 tions of distinctly Russian character. 
 
 ALEXANDRE GLAZOUNOW 
 
 112
 
 The History of Musi c 
 
 ILLUSTRATIONS 
 
 60039 Toreador et Andalouse ("Bal Costume ") 
 
 (Rubinstein) Balalaika Orchestra 
 
 70077 Kammenoi-Ostrow (Rubinstein) Victor Herbert's Orchestra 
 
 64261 Kaleidoscope (Cesar Cui) Efrem Zimbalist 
 
 64209 Song of the Shepherd Lehl (From "Snow Maiden ") 
 
 (Rimsky-Korsakoff) Alma Gluck 
 
 31800 Adagio Lamentoso— Symphony Pathetique (Tschaikowsky) 
 
 Pryor's Band 
 
 HINTS FOR TEACHERS 
 
 Have class remember that foreign influences came into Russia 
 at the time of Peter the Great. The rise of national expression in the 
 nineteenth century has been felt in the 
 works of Tolstoi, Gogol and others in the 
 literature and art of Russia. Before the 
 founding of the Russian National Con- 
 servatory no music was taught in Russia 
 except to the nobility, and then by French, 
 Italian or German masters. To-day we 
 find Russia proud to honor many artists 
 and musicians who have come from the com- 
 mon people. Speak of Balalaika Orchestra 
 (see Lesson XX, Course I), and also refer 
 to the influence of the folk music of Russia 
 on her present-day composers. Tell the 
 story of Tschaikowsky 's "Pathetique Symphony." 
 
 QUESTIONS 
 
 What class of music is the first selection ? The second ? The 
 third? The fourth? What instruments played each selection ? Which 
 belong to the Modern School? What voice sang the third? Which is 
 imitative? Which is national? Which is an example of poetic 
 thought ? 
 
 CHORUSES 
 
 Melody in F (Rubinstein). 
 Wanderers' Night Song (Rubinstein). 
 The Angel (Rubinstein). 
 A Night Picture (Cesar Cui). 
 
 SERGEI RACHMANINOFF 
 
 113
 
 'The History of Musi c 
 
 EDVARD IIAliEBl'P GRIEG 
 
 Lesson XXIII 
 
 Scandinavian Music 
 
 Scandinavian music should be subdivi- 
 vided into four groups : 
 Denmark: 
 
 Niels Gade (1817-1890). 
 Norway: 
 
 Ole Bull (1810-1880). 
 
 Halfdan Kjerulf (1815-1868). 
 
 Edvard Grieg (1843-1907). 
 
 Johann Svendsen (1840- ). 
 
 Christian Sinding (1856- ). 
 Sweden: 
 
 August Sodcrmann (1832-1876). 
 
 Emil Sjogren (1853- ). 
 
 Tor Aulin (1866- ). 
 Finland : 
 
 Jan Sibelius (1865- ). 
 
 The real founder of music in Scandinavia was Niels Gade. who 
 was greatly influenced by Schumann and Mendelssohn, during his 
 days of study and frequent travel in Germany. In style, his work 
 resembles that of Mendelssohn, but 
 always reflects the Scandinavian 
 spirit, coupled with a highly poetic 
 Romanticism. He stands in the 
 same relation to Scandinavian 
 music that Rubinstein does to the 
 Russian School. 
 
 Great interest in the Scandi- 
 navian music, was always aroused 
 by the marvelous genius of Ole 
 Bull, and the songs of Kjerulf. It 
 was Ole Bull also who discovered 
 the gifts of his younger country- 
 man, Edvard Hagerup Grieg, who 
 to-day is rightly regarded as the 
 most important master of the Nor- 
 wegian School. Grieg was espe- 
 cially successful in the smaller 
 forms of instrumental composition 
 
 OLE BULL
 
 The History of Music 
 
 PROF. CHRISTIAN SINDING 
 
 and in his songs, although his orchestra 
 
 suites, overtures and concertos for both 
 piano and violin show remarkable under- 
 standing of the possibilities of the modern 
 orchestra. Grieg also wrote three notable 
 violin and piano sonatas, and several large 
 compositions for chorus and orchestra. In 
 all of his works, although the modern spirit 
 is everywhere apparent, Grieg never fails 
 to reflect the national flavor of the Nor- 
 wegian folk song. 
 
 Johann Svendsen is rightly regarded 
 as a noteworthy disciple of Grieg, but the 
 mantle of the master seems to rest on the 
 talented young genius, Christian Sinding, 
 who is at present the most interesting musical personage of 
 Norway. 
 
 In Sweden, the best-known native composer is Emil Sjogren, 
 whose work has been almost entirely confined to the smaller forms of 
 instrumental composition and to songs. 
 
 The most unique musical figure of the North to-day is Jan Sibe- 
 lius, who has introduced to us in his wonderful tone poems for orches- 
 tra, the music and legends of far-away Finland. Sibelius has undoubt- 
 edly been greatly influenced by the characteristics of the Modern 
 
 School in general and the Scandinavian 
 expression of Grieg, in particular. 
 
 ILLUSTRATIONS 
 
 35007 Peer Gynt Suite— Parts I and II 
 
 (Grieg) Pryor's Band 
 
 II Love You (Grieg) 
 16764 Frederic Gunster 
 
 | Cradle Song (Grieg) Emil Muench 
 
 HINTS FOR TEACHERS 
 
 We have chosen illustrations from 
 Grieg as his music reflects the Norse 
 characteristics better than any other 
 composer. Review Lessons XXIV and 
 
 JAN SIBELIUS
 
 T he H i s t o r y o f M u s i c 
 
 XXV, Course I. Tell the story of Ibsen's "Peer Gynt." Have class 
 realize the relationship of the Norwegian dramatists to the school of 
 music. 
 
 QUESTIONS 
 
 What difference is noticed between this suite and ballet suite of 
 Cluck? What numbers of Bach were taken from the suite form? 
 What is the character of these Norwegian songs? What voice sings 
 them ? 
 
 CHORUSES 
 
 Peasant Wedding (Sodermann). 
 In Autumn (Gade). 
 The Poet's Tomb (Gade) 
 
 Lesson XXIV 
 
 The Bohemian School 
 
 Wagner once described Bohemia as "the land of harp players 
 and street musicians." It has always been considered one of the most 
 musical countries of Europe. In Prague, from the early days to the 
 present time, musicians have ever been assured of an appreciation of 
 their art, which could be found nowhere else in Europe. From the 
 sixteenth century to our own time, town pipers and strolling musi- 
 cians have kept alive the folk music of Bohemia, and yet no definite 
 school of music was established there until the middle of the nine- 
 teenth century. This was, of course, largely due to the political mis- 
 fortunes of Bohemia. 
 
 The father of Bohemian music was Friedrich Smetana (1824- 
 1884), who was a famous composer and pianist, a pupil of Franz Liszt, 
 whose form of the symphonic poem Smetana made his chief vehicle 
 for instrumental expression. Smetana left a series of six symphonic 
 poems, entitled "My Fatherland," and these each tell some phase of 
 Bohemia's history or represent, in tone, Bohemian feeling and patriot- 
 ism. His opera, "The Bartered Bride," is the first Bohemian opera, 
 which tells a Bohemian folk tale and employs throughout Bohemian 
 folk music and dances. 
 
 The greatest Bohemian master was Antonin Dvorak (1841-1904), 
 who carried on the work begun by his master, Smetana. Dvorak 
 
 116
 
 The History of Music 
 
 wrote in all forms, but was consistent in the employment of charac- 
 teristic folk idiom, which he used in all his music. He is Hie greatest 
 master of the art of national expression in all musical history. Born 
 of the people, Dvorak knew the folk mate- 
 rial of his native land in its entirety, and 
 in his compositions it is ever employed. 
 Dvorak does not bring in entire melodies, 
 but chooses, as it were, the essence of char- 
 acteristic changes of melody, rhythm and 
 harmony, and welds these together with a 
 master hand. He lived in America for 
 several years and when he returned to 
 Bohemia gave the world his greatest 
 work, the Fifth Symphony, which he 
 called "From the New World." In this 
 work he has made use of the negro char- 
 acteristics to be found in American negro 
 melodies. 
 
 The greatest of Dvorak's works are his "Slavonic Dances," the 
 Symphonic poems, and Five Symphonies for Orchestra, but he also 
 left some excellent compositions in the form of chamber music, and 
 many songs and short instrumental compositions. His operas were 
 never really successful, but his ' ' Requiem Mass' ' and ' ' Stabat Mater ' ' 
 rank high in modern choral composition. 
 
 Josef Suk and Zedenko Fibich are Bohemia's greatest composers 
 to-day. 
 
 ILLUSTRATIONS 
 
 ANTONIN DVORAK 
 
 35275 Largo from the " Fifth Symphony " 
 
 74163 Humoresque (Dvorak) 
 
 60078 Songs My Mother Taught Me (Dvorak) 
 
 (Dvorak) 
 
 Victor Concert Orchestra 
 Mischa Elman 
 Lucy Marsh 
 
 HINTS FOR TEACHERS 
 
 Review Lessons XX, Course I. "We have used Dvorak illustrations 
 here, as Smetana illustrations appear in Lesson XX, Course I, and 
 Lesson XVI, Course IV. 
 
 QUESTIONS 
 
 Which number is the best example of national expression ? What 
 voice sings the third selection? What instrument plays the second?
 
 T h e History of Music 
 
 CHORUSES 
 
 War Song of the Hussites (Old Bohemian). 
 The Piper (Bohemian Folk Song). 
 A Maiden Song (Old Bohemian). 
 
 L 
 
 esson 
 
 XXV 
 
 Absolute Music. 
 
 Joseph Rheinberger (1839-1901) 
 Anton Bruckner (1824-1896). 
 Max Bruch (1838- ). 
 Max Schillings (1868- ). 
 Georg Schumann (1866- ). 
 Max Reger (1873- ). 
 
 Modern Germany 
 
 The modern German School may be divided into two classes: the 
 followers of absolute music after the manner of Johannes Brahms; 
 and the followers of the program music of Franz Liszt and the opera 
 of Richard Wagner. 
 
 Program Music and Opera. 
 
 Carl Goldmark (1830- ). 
 
 Engelbert Humperdinck (1854- ). 
 
 Gustav Mahler (1860-1911). 
 
 Richard Strauss (1864- ). 
 
 Felix Weingartner (1863- ). 
 
 Hugo Wolf (1860-1902). 
 
 The greatest genius of the present day in Germany is Richard 
 Strauss, who, although educated in the strictest of anti-Wagnerian 
 schools, has adopted the methods of Wagner and Liszt. He has car- 
 ried the banners of program music, both 
 in the instrumental and operatic school, 
 to the limit of sanity. There is nothing, 
 seemingly, impossible for Strauss to at- 
 tempt to describe in music. In his great 
 tone poems he not only reflects moods and 
 poetic thought, but is capable of portray- 
 ing every event, thought or feeling, in 
 tonal coloring. If the subject is repulsive 
 or hideous, so is his music ; if it be reli- 
 gious, poetic or sublime, this is reflected 
 in his tones. Even the trivial incidents of 
 every-day life in the home is depicted in 
 his "Symphonia Domestica. " 
 
 We are too close to Strauss to be 
 
 MAX REGER 
 
 118
 
 The H 
 
 i s t o r y of Music 
 
 able to appreciate his true greatness, for 
 his genius, even when unworthily used, 
 is colossal. His songs are marvels of 
 modern expression in the form of the art 
 lieder; his operas of "Salome," "Elec- 
 tra," and "Rose Cavalier" show him to 
 be possessed of a knowledge of character- 
 ization which equals that of Wagner; his 
 great symphonic tone poems for orches- 
 tra, and his chamber music compositions 
 are epoch-making works. 
 
 A rare genius was Hugo Wolf (1860- 
 1902), whose untimely death was most un- 
 fortunate for the cause of German music. 
 Wolf has given us, however, many of the greatest art songs which the 
 world has ever known. 
 
 In present-day Germany, Max Reger and Georg Schumann are 
 considered the foremost composers of the instrumental school. 
 
 B*i 
 
 i j^f 
 
 ff 
 
 w 
 
 f 
 
 Fit 
 
 
 ENGELBERT HUMPErmNrK 
 
 31853 
 
 17179-j 
 
 31772 
 31832 
 
 ILLUSTRATIONS 
 
 Prelude— " Hansel and Gretel " (Humperdinck) Pryor's Band 
 
 (a) Allerseelen (Richard Strauss) Reinald Werrenrath 
 
 (b) Zur Ruh (Hugo Wolf) Reinald Werrenrath 
 Bridal Song— " Country Wedding " (Goldmark) Vienna Quartet 
 Overture — " Sakuntala " (Goldmark) Kryl's Bohemian Band 
 
 HINTS FOR TEACHERS 
 As we shall study the German 
 operas of this period in Lesson XIX, 
 Course IV, we have chosen instrumental 
 and song selections for this lesson. Tell 
 the story of "Hansel and Gretel" 
 briefly. Sketch out the story of "Sakun- 
 tala" from the Indian legend of the 
 "Kalidasa. " Do not play in regular 
 order, but have pupils tell which story 
 is told by each composition. 
 
 QUESTIONS 
 
 Which compositions tell a story? 
 Which was played first? Second? 
 
 HUGO WOLF 
 
 119
 
 T h 
 
 History of Music 
 
 Last .' Which shows folk spirit? Which has Oriental coloring? 
 Why? 
 
 CHORUSES 
 
 Brooklet in the Wood (Rheinberger). 
 
 The Forest (Rheinberger). 
 
 A Song of Summer (Max Brueli). 
 
 L 
 
 esson 
 
 XXVI 
 
 Modern Italy 
 The modern Italian School, although closely affiliated with the 
 Opera School of to-day, also shows a decided tendency towards a 
 better appreciation of the other branches of musical art. There has 
 been practically no instrumental music developed in Italy since the 
 seventeenth century, but it is a pleasure to 
 record that there now exists a definite Sym- 
 phonic School. This is dominated by Giovanni 
 Sgambatti, a pupil of Liszt and a follower of 
 Wagner, who has many loyal adherents. 
 Among the Italian instrumental composers 
 are Giuseppe Martucci (1856), Ferruccio Bu- 
 soni (1866), and Marco Bossi (1861). The 
 latter has written many works for organ, 
 which are attracting equal attention with his 
 oratorios and masses. 
 
 In church music, the Italians of the last 
 generation had sunk to a very low plane, 
 being satisfied with trivial operatic melodies 
 entirely unsuited to religious expression. The 
 present Pope has greatly encouraged the right development of 
 religious music, by his edict that the Catholic Church must return to 
 the use of the Gregorian Chant. Don Lorenzo Perosi (1872), the 
 director of the Papal Choir, has written many masses in the style of 
 Palestrina, yet with modern expression, which have proved that reli- 
 gious music should be regarded as apart from the Operatic School. 
 
 In opera the most famous names since Verdi are : Pietro Mas- 
 cagni (1863), whose "Cavalleria Rusticana' has never been equaled 
 in popularity by any of his later works. 
 
 DON LORENZO PEROSI
 
 The History of Music 
 
 Ruggiero Leoncavallo (1858), whose great work is "I Pagliacci." 
 Giacomo Puccini (1858), who is the greatest composer of opera in 
 Italy to-day; his best works are "Tosca," "La Boheme," "Manon," 
 "Madame Butterfly" and "The Girl of the Golden West." 
 
 Ermanno Wolf-Ferrari (1876), "The Secret of Suzanne," "The 
 Curious Women," and "The Jewels of the Madonna," have already 
 placed their composer high in the ranks of modern opera writers. 
 
 ILLUSTRATIONS 
 
 88029 Prologue — " I Pagliacci " (Leoncavallo) Antonio Scotti 
 
 60074 Intermezzo — " Cavalleria Rusticana " (Mascagni) 
 
 Victor Herbert's Orchestra 
 89008 Duet of the Flowers ("Madame Butterfly") Farrar and Homer 
 
 35270 Intermezzo — " Jewels of the Madonna/' Victor Concert Orchestra 
 
 HINTS FOR TEACHERS 
 
 Review the style of the church music in Italy before the birth 
 of opera. Have class realize how the opera has developed. Review 
 Lesson XIX, Course II. These selections have been chosen to show 
 the instrumental development which is noticeable in the modern 
 opera of the greatest of the present-day Italians. 
 
 QUESTIONS 
 What voices do you hear in the third selection? Which number 
 is used in place of an orchestral introduction? What is a prologue? 
 Which instrumental number expresses religious feeling? 
 
 CHORUSES 
 
 The Miserere, "11 Trovatore" (Verdi). 
 Anvil Chorus, "II Trovatore" (Verdi). 
 
 Beautiful Springtime — Home to our Mountains, "II Trovatore" 
 (Verdi). 
 
 Lesson XXVII 
 
 Music in France 
 
 Since the time of Berlioz, the French School has been identified 
 with both the Instrumental and Operatic Schools. 
 
 The true founder of the Modern French School was Cesar 
 Franck (1822-1890), whose entire life was given to the cause of de-
 
 The H i s I o r y o f Music 
 
 CESAR FRANCK 
 
 veloping French instrumental music. 
 Franck wrote many chamber composi- 
 tions; works for t lie organ and piano; 
 symphonies; symphonic poems; and 
 many beautiful songs. His choral 
 works rank very high, the greatest be- 
 ing "The Beatitudes," which is con- 
 sidered one of the finest oratorios since 
 Mendelssohn. 
 
 Franck 's style of composition is 
 based on the polyphonic forms of Bach, 
 but all his music is filled with a mystic 
 poetry, which makes his works imper- 
 sonal and somewhat vague. 
 The most prominent of Franck 's pupils who have carried on his 
 ideals are : 
 
 Vincent d'Indy (1851- ), a devoted follower of Franck, who 
 has at the same time acknowledged his allegiance to Richard Wagner. 
 Ernest Chausson (1855-1899). 
 Alexis Chabrier (1842-1894). 
 Alfred Bruneau (1857- ). 
 Cecile Chaminade (1861- ). 
 Gabriel Faure (1845- ). 
 
 The three great organists of modern France are also followers of 
 Franck. They are : 
 
 Alexandre Guilmant (1837-1910). 
 Theodore Dubois (1837- ). 
 Charles Widor (1845- ). 
 In the opera the greatest composers 
 since Gounod are : 
 
 Georges Bizet (1838-1875), who wrote 
 "Carmen." 
 
 Jules Massenet (1842-1912), a most 
 prolific writer, whose "Thai's," "Werther" 
 and "Jongleur de Notre Dame" are very 
 popular. 
 
 Gustave Charpentier (1860- ), whose 
 opera, "Louise," is a distinctly French 
 work. 
 
 CECILE CHAMINADE 
 
 122
 
 The History of Music 
 
 Alfred Bruneau (1857- ), a champion of realism in opera. 
 
 The Dean of the French School to-day is Camille Saint-Saens 
 (1835- ■), who has written in all forms; compositions for the piano 
 and organ; chamber compositions; 
 symphonies, concertos and sym- 
 phonic poems for orchestras; operas 
 and oratorios. 
 
 The most unique genius of the 
 present day is Claude Debussy 
 (1862), whose rare combinations of 
 instrumental effects are absolutely 
 original in the world of music. An 
 impressionist in tone, Debussy veils, 
 as it were, all his forms, with a 
 blending of tonal combinations as 
 original as they are beautiful. De- 
 bussy has returned to the old Greek 
 science of the tonal relationship of 
 the tetrachord. He is one of the 
 greatest musical mysteries of the 
 present day. 
 
 Debussy's followers, Maurice Eavel and Paul Dukas, are also 
 worthy of mention for their unique tonal combinations. 
 
 CAMILLE SAINT-SAENS 
 
 ILLUSTRATIONS 
 
 35019 Marche Heroi'que (Saint-Saens) 
 
 70040 The Flatterer (Chaminade) 
 
 85020 Les Rameaux (Jean Baptiste Faure ) 
 
 5865 En Bateau (Debussy) 
 
 Pryor's Band 
 
 Frank La Forge 
 
 Pol Plancxm 
 
 Charles Gilbert Spross 
 
 HINTS FOR TEACHERS 
 
 Speak of the Modern School of Impressionism in France to-day, 
 which makes itself manifest in the literature and art of the day. This 
 is the same idea which is reflected in Debussy's music. 
 
 QUESTIONS 
 "What religious custom does the third selection reflect? Is this 
 a baritone or bass voice? How does this voice compare with that voice 
 heard in the Prologue in the last lesson? Contrast the first and third 
 selections. 
 
 12:?
 
 The History of Music 
 
 CHORUSES 
 Morning Songs, "Samson and Delila" (Saint-Saens), 
 Praise Ye the Lord (Saint-Saens). 
 The Vesper Hour (Cesar Franck). 
 With Flowers of the Best (Massenet). 
 
 Lesson XXVIII 
 
 Music in England 
 
 England has been little regarded as a musical nation, for no 
 great genius of the rank of those in Italy, France or Germany, is to 
 be found in this country between the eighteenth and twentieth cen- 
 turies. 
 
 That there was a remarkable school of music in England as early 
 as the thirteenth century is known definitely, for we have as proof 
 
 the famous six-part canon, 
 "Sumer is Icumen in"; but 
 the free expression of musical 
 thought, which was born with 
 the opera in Florence, was seri- 
 ously handicapped in England 
 by the Civil Wars of the seven- 
 teenth century, and the attitude 
 of the Puritans under Cromwell. 
 The English dramatic form 
 of the seventeenth century was 
 known as the Masque, and the 
 most prominent names of Eng- 
 lish composers, who contributed 
 to this form of music, are : Wil- 
 liam Lawes (1613-1645), who 
 wrote the music of Milton's 
 "Masque of Comus"; Henry Lawes ( -1662), his brother; Pelham 
 Humphrey ( -1674), a pupil of Lully in France; and Henry Pur- 
 cell (1658-1695) , the last great English composer until our present day. 
 At the time of Handel an English "Singspiel." commonly known 
 as the "Ballad Opera," made its appearance. It was an inferior 
 
 SIR HENRY ROWLEY BISHOP 
 
 124
 
 The History of Music 
 
 form of Opera Buffa and really retarded the progress of serious oper- 
 atic work. Yet several well-known English musicians are associated 
 with this form, among them being Henry Carey ( -1743), said to 
 be composer of "God Save the 
 King"; and Thomas Arne (1710- 
 1778), who wrote operas, oratorios 
 and many songs, some of his settings 
 of Shakespeare being remarkable 
 for their beauty. Sir Henry Row- 
 ley Bishop (1786-1855) was a popu- 
 lar composer of the ' ' Ballad Opera. ' ' 
 
 The great personal popularity 
 of Handel in England is noticed in 
 the growth of organ playing and ora- 
 torio writing since his day. 
 
 In the early nineteenth century, 
 England was greatly influenced by 
 the advent of Mendelssohn, who en- 
 joyed great popularity there. Fes- 
 tivals were established in many cit- 
 ies at this time, and the writing 
 of oratorios, part songs, cantatas and operas was encouraged. But 
 Costa (d. 1881), Julius Benedict (1804-1885), Tosti (1846-1912), 
 Alberto Randegger (1832-1912), and Ciro Pinsuti, were not English 
 by either birth or education. The greatest composer of this time was 
 Michael Balfe (1808-1870), an Irishman, who wrote some excellent 
 operas and operettas, his most famous work being the "Bohemian 
 Girl." 
 
 The late nineteenth century has seen the advent of a number of 
 talented English musicians, including Arthur Sullivan (d. 1900), 
 Arthur Goring Thomas (1850-1892), Alexander Mackenzie (b. 1847), 
 Charles Hubert Parry (b. 1848), Frederic Cowen (b. 1852), diaries 
 Villiers Stanford (b. 1852), and Edward German (b. 1862). 
 
 There are, however, but two great composers, who to-day may 
 be considered unique in the English School: Coleridge-Taylor and 
 Edward Elgar. Samuel Coleridge-Taylor (1875-1912), was an Eng- 
 lish negro, whose development of negro melodies has made a lasting 
 impression. His best-known large work is his setting of "Hiawatha." 
 Edward Elgar (b. 1857) now stands in the first rank of modern com- 
 
 SIR EDWARD ELGAS 
 
 PROF. GRANVILLE 
 BANTOCK 
 
 125
 
 The History of Music 
 
 posers. He has already written several remarkable symphonies, con- 
 certos and instrumental compositions, while his choral works, "Car- 
 actacus" and "The Dream of Gerontius" are regarded as the great- 
 est oratorios which have been given the world sinee the time of 
 Mendelssohn. 
 
 ILLUSTRATIONS 
 
 74109 Come Into the Garden, Maud (Tennyson-Balfe) Evan Williams 
 64151 Rolling Down to Rio (Kipling-German) Herbert Witherspoon 
 
 74306 Onaway, Awake, Beloved — "Hiawatha's Wedding Feast" 
 
 (Coleridge-Taylor) George Hamlin 
 
 35247 Pomp and Circumstance March (Elgar) Pryor's Band 
 
 17190 The Arrow and the Song (Pinsuti) Alan Turner 
 
 SAMUEL COLERIDGE-TAYLOR 
 
 HINTS FOR TEACHERS 
 
 Have class notice the poems of 
 Shakespeare, Scott, Milton and Tenny- 
 son which have been set to music. A 
 point should be made of Coleridge- 
 Taylor's use of negro and Indian 
 legends and themes. 
 
 QUESTIONS 
 
 What type of song is the first selec- 
 tion? Is the second an example of folk 
 song, art song or ballad? What voice 
 sang the first record? 
 
 CHORUSES 
 
 Welcome to Spring (Purcell). 
 
 Then You'll Remember Me, from "Bohemian Girl" (Balfe). 
 I Dreamt I Dwelt in Marble Halls, from "Bohemian Girl 1 
 (Balfe). 
 
 With Sheathed Sword, from "Damascus" (Costa). 
 
 Zion, Awake (Costa). 
 
 Lost Chord (Sullivan). 
 
 My Love Dwelt in a Northern Land (Elgar). 
 
 The Vikings (Failing). 
 
 The Miller's Wooing (Faning). 
 
 Blow, Gentle Gales (Sir Henry Bishop). 
 
 126
 
 EDWARD MAC DOWELL 
 
 The History of Music 
 
 Lesson XXIX 
 
 American Music 
 It must be frankly acknowledged that although we have man;y 
 excellent musicians and composers in America, we have, as yet, no 
 definite American School of Music. America has been settled by 
 men of all nations, and the musical knowl- 
 edge of the American musician has been 
 an imported article, brought from Ger- 
 many, France or Italy. Through the 
 gradual growth of an appreciation of the 
 best in music, which is now coming to be 
 an important feature of education in our 
 public schools, the time is not far distant 
 when we may hope for a truly individual 
 school in America. 
 
 We have seen in our chronological 
 study that while European schools of 
 music were giving us our greatest instru- 
 mental and operatic works, America was 
 still struggling to gain her political freedom and to establish her form 
 of government. Lowell Mason introduced music into the public schools 
 in 1836, but it was not until 1867 that the first special schools for 
 
 music study were established ; since that 
 day the interest in the art has grown with 
 remarkable strides. Choral organizations 
 have been established throughout the coun- 
 try, which have aided largely in a broader 
 knowledge and appreciation of the larger 
 forms of music. 
 
 Through the influence of the great 
 orchestra conductor, Theodore Thomas, 
 who devoted his life to giving the best 
 orchestral music to the American people, 
 many cities throughout the country now 
 possess symphony orchestras, which rank 
 george w. chadwick among the best in the world.* The Metro- 
 
 * The most noted symphony orchestras are the Thomas Orchestra, Chicago; New York Phil- 
 harmonic Orchestra, New York; the Damrosch Orchestra, New York; the Boston Symphony 
 Orchestra, the Philadelphia Symphony Orchestra, the Cincinnati Symphony Orchestra, the 
 Minneapolis Symphony Orchestra, the San Francisco Symphony Orchestra, the St. Louis Sym- 
 phony.Orchestra, the Seattle Symphony Orchestra. 
 
 127
 
 The H i s t o r y of Musi c 
 
 128
 
 The History of Music 
 
 politan Opera Company, of New York, as well as the Boston and Chi- 
 cago Opera Companies, are outranked by none in Europe, and for 
 many years American singers and instrumentalists have appeared 
 with great success in all the countries of the world. 
 
 The prizes which The Federation of Musical Clubs is now offer- 
 ing to American composers, and the competition for American Operas, 
 which the Metropolitan Opera Company has instituted, will be of 
 great aid in encouraging native American composition. 
 
 It has often been remarked that the American composer has a rich 
 field of folk music in the songs and dances of the Indians, the Negroes 
 and the Creoles, and much of this material has attracted the atten- 
 tion of the European composers as well as those of America. 
 
 The greatest American composer, who has won an international 
 reputation, was Edward MacDowell (1861-1908). MacDowell was a 
 devoted student of American music and in several of his large works 
 incorporated Indian themes. He was a modern disciple of program 
 music and even when not telling a definite story, the formal con- 
 struction of his music was always subservient to poetic thought. 
 
 The Dean of American composers was John Knowles Paine 
 (1839-1906), who was for many years the Director of Music at Har- 
 vard University. George W. Chadwick (1854), Arthur Foote (1853), 
 Frederick Converse (1871), Charles M. Loeffier and Mrs. H. H. A. 
 Beach, are Boston composers who, one may rightly say, are outgrowths 
 of the Paine School. 
 
 Other American composers are Walter Damrosch (1862), Ethel- 
 bert Nevin (1862-1901), who, as a writer of graceful songs and 
 short piano compositions showed a rare individuality; and Victor Her- 
 bert, who although a native of Dublin, has won much fame in the 
 United States as a conductor and composer of tuneful comic operas. 
 His grand opera, "Natoma" (1910), is an interesting use of Indian 
 music. 
 
 Horatio Parker (1863) must be regarded as perhaps the foremost 
 American composer of to-day. Mr. Parker is at present Director of 
 Music at Yale University. Ho won his first laurels with his great 
 (moral work. "Hora Novissima." His opera, "Mona," which won 
 the prize offeror! by the Metropolitan Company, was produced in 
 March, 1912. and entitles Mr. Parker to the front rank in musical 
 Ameriea to-day.* 
 
 * Other American oomnosers who are helping to develop music in Ameriea are: Howard 
 Broekway, Arthur Farwell, Henry K. Hidlov Hen-' Holden Huss and Edgar Stillman Kelly. 
 
 12?
 
 The History of Music 
 
 ILLUSTRATIONS 
 
 f (1) At an Old Trysting Place (MacDowell) 
 60053 Victor Herbert's Orchestra 
 
 I (2) To a Wild Rose (MacDowell) Victor Herbert's Orchestra 
 
 64102 Little Boy Blue (Eugene Field-Ethelbert Nevin) Evan Williams 
 
 87026 The Year's at the Spring (Beach) Mme. Gadski 
 
 35285 Danny Deever (Kipling-Damrosch) Percy Hemus 
 
 70049 Dagger Dance (From "Natoma ") (Herbert) 
 
 Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 Have class review the great periods of American History and 
 tell what great composers lived in European countries at that time. 
 
 QUESTIONS 
 
 Which compositions are program music? Which is national 
 expression? Why? Which represents poetic thought? Which song 
 reflects tragedy? In which selection is the joy of nature expressed? 
 Which song depicts grief? 
 
 CHORUSES 
 
 O, Captain, My Captain (Walt Whitman-Edgar Stillman Kelly). 
 Break, Break, Break (Tennyson-Neidlinger). 
 Blow, Bugle, Blow (Tennyson-Neidlinger). 
 
 Build Thee More Stately Mansions (Arthur Farwell). Zuni 
 Indian Melodies. 
 
 Freedom, Our Queen (Holmes- John K. Paine). 
 
 Song of the Ghost Dance (Zuni Melodies, arr. by Farwell). 
 
 Lesson XXX 
 
 Review 
 
 Write on the blackboard the following compositions which have 
 been heard during the year. Have pupils copy these on paper, adding 
 the nationality and school of each composer, the period in which he 
 lived, century to which he belonged, and the form of each composi- 
 tion, thus: 
 
 130
 
 The History of Music 
 
 Erl King; Schubert; German; Romantic School; early nine- 
 teenth century ; song in form of Art Ballad ; represents program 
 music ; sung by Schumann-Heink. 
 
 Carnaval Romain Overture Berlioz 
 
 Lohengrin's Narrative Wagner 
 
 En Bateau Debussy 
 
 Gavotte, E Major Bach 
 
 Largo al Factotum, "Figaro" Rossini 
 
 Overture, Leonore No. 3 Beethoven 
 
 Toreador and Andalouse Rubinstein 
 
 Hungarian Rhapsody No. 2 Liszt 
 
 Norwegian Wedding March Grieg 
 
 Largo from ' ' Xerxes " Handel 
 
 Finale, "Pathetique" Symphony Tschaikowsky 
 
 Overture, ' ' Midsummer Night 's Dream " Mendelssohn 
 
 Overture, ' ' Bartered Bride " Smetana 
 
 Overture, "Der Freischutz" von Weber 
 
 Aria, Fatal Divinita, "Alceste" Gluck 
 
 Largo, Fifth Symphony Dvorak 
 
 Mazurka, Op. 15 Chopin 
 
 Aria, "Titus" Mozart 
 
 HINTS FOR TEACHERS 
 
 This may be used in lieu of an examination, or for a verbal 
 review. A review by centuries is also a good plan. If this is 
 adopted, use Lesson I with illustrations chosen from records used 
 in the course. Another excellent plan is for the History Class to 
 choose some members to represent them to give a short talk on each 
 period of musical history, with two records for illustration of each 
 period. This could be done for a special exhibition music day.
 
 T h 
 
 II i s t o r v o / J\I u s i c 
 
 132
 
 The Orchestra 
 
 COURSE III 
 
 "Preface 
 
 In studying "The Orchestra and Its Instruments" with your 
 class, try to make them feel the importance of a knowledge of the 
 various instruments and their functions in the orchestra. Our greatest 
 future development of instrumental music in America rests with the 
 Student Orchestras to be found in the High Schools and Colleges. It 
 is to aid the students toward a clearer appreciation of the value of 
 each individual instrument that this course has been planned. 
 
 In studying the individual instrumental voices it is suggested 
 that the members of the student orchestra- illustrate each instrument 
 before its voice is heard in the Talking Machine. The same records 
 will be used several times to illustrate different instruments and 
 combinations. This course should be used as a supplementary course 
 to the History of Music, and a review of all the composers and compo- 
 sitions studied should be carefully carried out each week. The last 
 ten lessons are devoted to a development of instrumental forms and 
 these lessons must be correlated with the History of Music. 
 
 This course is divided into thirty lessons, as follows : 
 I. Review. 
 II. The Orchestra. Its Divisions. 
 
 III. The String Choir. 
 
 IV. The Violin. 
 V. The Viola. 
 
 VI. The Violoncello. 
 
 VII. The Double Bass. 
 
 VIII. The Violin and 'Cello. 
 
 IX. The Voice in Combination with Violin and 'Cello. 
 
 X. The String Quartet. 
 
 XL The Harp. 
 
 XII. The Technical Mechanism of Wind Instruments. 
 
 XIII. The Wood-Wind Choir. 
 
 XIV. The Flute— The Piccolo Flute. 
 XV. The Oboe— The English Horn. 
 
 XVI. The Clarinet. 
 XVII. The Bassoon.
 
 T h e O r c h e s t r a 
 
 XVIII. The Brass Choir. 
 
 XIX. The French Hon.. 
 
 XX. The Trumpet or Cornet. 
 
 XX T. The Trombone. 
 
 XXII. The Tuba. 
 
 XXIII. The Percussion Instruments. 
 
 XXIV. The Development of the Orchestra. 
 XXV. The Orchestra at the Time of Bach. 
 
 XXVI. The Orchestra at the Time of Haydn. 
 
 XXVII. Beethoven's Uses of the Orchestra. 
 
 XXVIII. The Influence of Romantic School. 
 
 XXIX. The Influence of Wagner. 
 
 XXX. The Orchestra Since Wagner. 
 
 CHORUSES SUGGESTED 
 
 Since Course III deals with the orchestra and its instruments, 
 it is obvious that choruses may not be definitely fitted to each lesson, 
 as in the two previous Courses. This Course is designed to be par- 
 ticularly helpful in stimulating interest in the student orchestras 
 which should be a part of the music activities of every High School. 
 It is therefore suggested that for this year the choruses should be 
 largely those of more ambitious type, having orchestral accompani- 
 ments, so that the student orchestra may become an integral part 
 of the work. The orchestration of these choruses and many others 
 may be obtained from music publishers. It is also suggested that 
 some complete work, cantata or operetta, be studied in this year. 
 These all have orchestra accompaniments, and will form a splendid 
 complement to tho lessons in the Course. 
 
 Almighty Lord — Prayer from "Cavalleria Rusticana" (Mas- 
 cagni). 
 
 A Merry Life (Denza). 
 
 Ave Maria (Gounod). 
 
 Baal, We Cry to Thee "Elijah" (Mendelssohn). 
 
 Blue Danube Waltz (Strauss). 
 
 By Babylon 's Wave (Gounod). 
 
 Daybreak (Faning). 
 
 Estudiantina (Lacome). 
 
 Gloria from Twelfth Mass (Mozart). 
 
 How Lovely are the Messengers (Mendelssohn). 
 
 In Old Madrid (Trotere). 
 
 Jerusalem "Gallia" (Gounod). 
 
 134
 
 The Orchestra 
 
 My Love Dwelt in a Northern Land (Elgar). 
 
 0, For the Wings of a Dove (Mendelssohn). 
 
 Italia Beloved (Donizetti). 
 
 Thou Sublime Sweet Evening Star (Wagner 
 
 Sing, Smile, Slumber (Gounod). 
 
 Soldiers' Chorus, "Faust" (Gounod). 
 
 The Dove (La Paloma) (Yradier). 
 
 The Vikings (Failing). 
 
 Unfold Ye Portals, "Redemption" (Gounod). 
 
 Waltz from "Faust" (Gounod). 
 
 Wedding March from "Lohengrin" (Wagner). 
 
 CANTATAS SUGGESTED. 
 
 Building of the Ship (Lahee). 
 
 Crusaders (Gade). 
 
 Erl King's Daughter (Gade). 
 
 Fair Ellen (Max Bruch). 
 
 Gallia (Gounod). 
 
 Joan of Arc (Gade). 
 
 King Rene's Daughter (Smart). 
 
 Lady of Shalott, The (Tennyson-Bendall). 
 
 Melusina (Hoffman). 
 
 Rose Maiden (Cowen). 
 
 Ruth (Gaul). 
 
 Wreck of the Hesperus (Anderton). 
 
 Lesson I 
 
 Review 
 
 In Course I we learned that there were four fundamental prin- 
 ciples of music which represented Nationality, Form, Poetic Thought 
 and Program Music. We heard these principles as expressed by the 
 instruments, and also by the medium of individual voices, in solo as 
 well as in concerted music. We found, as our study progressed, that 
 national feeling is the foundation on which all music really rests and 
 we carefully studied the music of the various nations and found what 
 each contributed to the development of modern music. 
 
 135
 
 T h e r c h e s t r a 
 
 In Course II we followed the historical development of music's 
 growth from the ancient days to our present schools of music. 
 
 Id Course 111 we shall take up in detail a study of the instru- 
 ments of the orchestra and the development of the largest instrumental 
 forms of musical literature. 
 
 31819 
 60074 
 70049 
 
 ILLUSTRATIONS 
 Overture — "A Midsummer Night's Dream 
 
 Intermezzo — "Cavalier ia Rusticana" 
 
 (Mendelssohn) 
 Victor Concert Orchestra 
 (Mascagni) 
 
 Victor Herbert's Orchestra 
 
 Dagger Dance from " Natoma " (Herbert) 
 
 Victor Herbert's Orchestra 
 
 QUESTIONS 
 
 Which composition tells a story .' What forms are found in these 
 works? When did Mendelssohn live? To what school did he belong? 
 What school does Herbert represent? Is the Dagger Dance "na- 
 tional" music? Which period of national music does it represent, 
 the folk dance, legendary folk song, patriotic song or national com- 
 position? What national characteristics are reflected in this music? 
 What composition tells a story? Which represents religious feeling? 
 
 Lesson II 
 
 The Orchestra 
 
 The Symphony Orchestra of to-day. Its divisions 
 
 First Violins. 
 Second Violins. 
 Violas. 
 Violoncellos. 
 Double Basses. 
 
 t:,, , ( Flute. 
 Flutes i Piccolo. 
 
 Strings " 
 
 " Wood-Winds" 
 
 Double Reeds 
 
 Oboe. 
 
 English Horn. 
 Bassoon. 
 Contra-Bassoon. 
 
 J Clarinet. 
 
 Single Reeds ^^- . 
 
 ( Bass Clarinet 
 
 136
 
 1 he Or c h e s t r a 
 
 I French Horns.* 
 
 Brasses " I Trumpets. 
 
 ) Trombones. 
 Tuba. 
 
 " Battery " or Percussion 
 
 Tympani or Kettle Drums. 
 
 Side Drums. 
 
 Bass Drum. 
 
 Bells. 
 
 Triangle. 
 
 Tambourine, etc. 
 
 ILLUSTRATIONS 
 
 35236 Instruments of the Orchestra 
 
 (a) The String Choir Victor Orchestra 
 
 (b) The Wood-Wind Choir Victor Orchestra 
 
 35237 ^ ^ The Brass Choir Victor Orchestra 
 
 1 (b) The Percussion Instruments Victor Orchestra 
 
 QUESTIONS 
 
 Which instrument of the "strings" has the deepest tone? Which 
 has a voice more similar to that of a human being ? Which instrument 
 of the wood-winds has the fullest tone ? What wood-wind instruments 
 do we hear in a brass band? Why? 
 
 TABLE OF TRANSPOSING INSTRUMENTS 
 
 Instruments Giving a Tone Different from the Written Note 
 
 Double Bass : Sounds an octave lower than the music is written. 
 
 Piccolo : Flute : Sounds an octave higher than the music is 
 written. 
 
 English Horn : Clarinet : All clarinets except that in the key 
 of C. 
 
 Contra Bassoon : Sounds an octave lower than the music is 
 written. 
 
 French Horns: All French horns except that in the key of C. 
 
 Trumpets or Cornets: All except those in the key of C. 
 
 Tuba. — Sounds an octave lower than the music is written. 
 
 * The French horn, by reason of its beautiful tone quality, is frequently used as a member of 
 the ' wood-winds." 
 
 The harp belongs to no particular division of the orchestra. 
 
 137
 
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 VIOLON 
 
 STRING choir 
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 L 
 
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 The String Choir 
 
 The string choir is called the "string quartet," but this is a 
 misnomer, as we find in our orchestras today the four instruments 
 comprising this group are divided into five parts which may be classi- 
 fied as : 
 
 1st Violins, Soprano. 
 
 2d Violins, Mezzo-Soprano. 
 
 Violas, Alto (sometimes tenor). 
 
 Violoncellos, Tenor (sometimes baritone). 
 
 Contra bass, Basso. 
 
 The "'strings" arc the most important instruments iu the orches- 
 tra, and for this reason they are given the best position in the 
 seating o[' the players. The strings are in truth the "backbone" of 
 the orchestra, as they can play for any reasonable Length of time with- 
 out greatly fatiguing the performer, whereas the "wind" instruments 
 being dependable on the breath of their players have to be given con- 
 stant opportunities for rest. As the strings iu reality give the true 
 
 138
 
 The Orchestra 
 
 strength to the orchestra, it will be noted that there are many more 
 members in this section than to be found in the "wood-wind" or 
 "brass" divisions. 
 
 Berlioz tells us "the strings" possess, when played together, 
 "force, lightness, grace, accents both gloomy and gay, thought and 
 passion." He further says, "Slow and tender melodies, confided too 
 often to the wind instruments, are nevertheless never better rendered 
 than by a mass of violins. Nothing can equal the touching sweetness 
 of a score of first violins made to sing by twenty well-skilled bows. 
 That is, in fact, the true woman's voice of the orchestra — a voice at 
 once passionate and chaste, heart-rending, yet soft, which can weep, 
 sigh, lament, chant, pray and muse, or burst forth into joyous accents, 
 as none other can do." 
 
 One must remember that the effect of a body of strings playing 
 together, is as different from the voice of the single instrument or the 
 quartet, as is the amount of the tone. 
 
 ILLUSTRATIONS 
 
 74135 Meditation ("Thai's") (Massenet) (Solo Violin) Maud Powell 
 
 16371 Spring Song (Mendelssohn) Victor String Quartet 
 
 31779 Vorspiel (Prelude) ("Lohengrin") (Wagner) La Scala Orchestra 
 
 QUESTIONS 
 To what school do these compositions belong? Which paints for 
 us a picture in tone? What other instruments do you hear in the 
 third number, besides the "strings"? What instruments do you 
 hear in the second? 
 
 Lesson IV 
 
 The Violin 
 
 The violin is usually recognized as "The King of the Orchestra," 
 and as Mr. Henderson so well expressed it, "is the prima donna of the 
 string choir, and is both a coloratura and a dramatic singer." This 
 instrument, which is the most brilliant of the old viol family, was 
 brought to its technical perfection by the great violin makers of 
 Cremona, who flourished from the middle of the sixteenth to the open- 
 ing of the eighteenth centuries. The instruments known as "the viols" 
 
 139
 
 The Orchestra 
 
 COLLECTION OF PAUL DE WET, LEIl'SIC 
 1. Marine Trompettes, <>r " Sun's Piddle,' an instrument hav- 5. Viula d'Amore (au obsolete instrument), possessing a sei "t 
 
 ins bat a single string. vibrating " sympathetic " strings. 
 
 •2. Pochette, or " Pocket Fiddle," ol the French dancing mas- tf. Violoncello iviola da gainbai. 
 
 ters of the seventeenth century. 7. Baritone (the viola da gamba possessing sympathetic 
 
 ::. Violius. strings). 
 
 4. Violas alio alto viol). 8. Doul.k- Bass (bass viol). 
 
 9. Bass Viol with sympathetic strings. 
 
 were a combination of the old rebec (a bowed instrument from the 
 far East, which entered Europe at the time of the Crusades), and the 
 Crwth (or stringed instrument) of the Northern minstrels. There 
 were many types of viol made during the seventeenth century, those 
 retained in our orchestra today are: The violin — old treble viol; the 
 viola — a modernized alto viol (viol da braccio) ; the violoncello — viol 
 d'gamba; the double bass — bass viol. 
 
 The violin was introduced into the orchestra by Monteverde, the 
 Venetian composer of the seventeenth century. 
 
 There are many tonal effects possible to the violin : 
 
 Tremolo — rapid bowing of the strings. 
 
 Pizzicato — plucking of the strings. 
 
 Con sordino — mute placed on the bridge, giving a softened, 
 veiled effect to the tone. 
 
 Harmonics— "flageolet" tones or "over-tones," heard when 
 strings are not pressed firmly to the finger board, but allowed to 
 vibrate along the upper portion of the string. 
 
 The violins in the orchestra are divided into two groups, the 
 second violins playing a lower part than the first violins, and thus 
 
 140
 
 The Orchestra 
 
 connecting the chromatic scale from the first violins to violas, 'cellos 
 and basses. 
 
 ILLUSTRATIONS 
 
 74163 Humoresque (Dvorak) Mischa Elman 
 
 , d .aal (a) Gavotte (Gretry) Mischa Elman 
 
 bqi 8 1 (b) Tambourin (Gossec) Mischa Elman 
 
 74188 Der Zephir (Hubay) Maud Powell 
 
 QUESTIONS 
 What effects 
 do yon observe in 
 the first selection ? 
 With what ef- 
 fect does it end? 
 AVhat effect is em- 
 ployed noticeably 
 in the second? 
 AVhat other effects 
 do yon observe 
 here? Towhat 
 school does Dvorak' 
 belong? Hubay? Gretry? Gossec? Which composition could be 
 designated as program music? Which is imitative? Which is formal 
 expression ? 
 
 ANTONIO STRADIVARI 
 
 L 
 
 ess on 
 
 V 
 
 The Viola 
 
 "The viola is a philosopher, sad, helpf ul ; always ready to come 
 to the aid of others, but reluctant to call attention to himself." 
 
 Lavignac. 
 
 The viola is an older instrument in the orchestra than the violin, 
 being the viola da braecio ("arm fiddle") of the Venetians of the 
 sixteenth and early seventeenth centuries. 
 
 The position of the viola in the modern orchestra is of great 
 importance, as the voice of the instrument, a fifth lower than that of 
 the violin, makes it possible for the viola to be used as the alto, or 
 tenor, of our string choir, as occasion shall demand. 
 
 All the effects of the violin are to be observed in the viola.
 
 The Orchestra 
 
 ILLUSTRATIONS 
 
 35140 Serenade (Schubert) Violin and Flute D'Almaine and Lyons 
 
 31337 Serenade (Titl) Viola and Flute Reschke and Lyons 
 
 31763 Serenade (Titl) 'Cello and Flute Heine and Lyons 
 
 HINTS FOR TEACHERS. 
 Do not tell the class which record they are to hear first. After 
 the questions are answered, it will be well to play the second again 
 so that the tone quality of the viola is clearly distinguished. 
 
 QUESTIONS 
 Which record was played first? Which voice more nearly re- 
 sembles the flute; the violin or viola? Which is the clearest, most 
 penetrating in quality, the violin or viola? 
 
 Lesson VI 
 
 The Violoncello 
 
 The violoncello belongs to the old family of the viols of the six- 
 teenth and the seventeenth centuries, being the viola d'gamba (or 
 knee fiddle) of that day, as the viola was the viola 'bracca (or arm 
 fiddle). The 'cello is tuned just as is the viola, but it is an octave 
 lower in pitch. The voice of the 'cello is a deep, full tenor, almost 
 baritone, in the quality of the lower tones; in fact, in olden times the 
 'cello was used as the bass of the string choir. The tone of the 'cello 
 is more similar to that of the human voice than any instrument in the 
 orchestra. The same effects as those described for the violin (pizzi- 
 cati, tremolo, etc.) are used on the 'cello; although the instrument is 
 naturally not expected to show as great agility, in rapid passages, as 
 does the violin. 
 
 ILLUSTRATIONS 
 64046 Le Cygne (Saint-Saens) Hollman 
 
 64001 Ave Maria (orch. ace.) (Schubert) Hollman 
 
 HINTS FOR TEACHERS 
 Call attention to the composers, the schools they represent, etc., 
 then point out that one selection is with piano accompaniment; one 
 with orchestra. Do not tell class which is played first. 
 
 142
 
 The Orchestra 
 
 QUESTIONS. 
 
 Which composition is written with orchestral accompaniment? 
 What instruments are noticeable ? What effects in the 'cello did you 
 observe in the first selection ? To what school does Schubert belong ? 
 Saint-Saens ? 
 
 Lesson VII 
 
 Double Bass 
 
 The patriarchial double-bass provides the foundation for the 
 harmonic structure of orchestral music. The instrument is called the 
 double bass, because it was used in early times to double the bass part 
 of the violoncello. Until Beethoven's day little was known of the 
 possibilities of the instrument which now became an important indi- 
 vidual voice in the orchestra. Yet many of Beethoven's contempo- 
 raries looked askance at his innovations and even at the time of Berlioz, 
 the great French master of instrumentation, likened the famous 
 passage for the basses in Beethoven's C Minor ("Fifth") Symphony 
 to "the happy gambols of an elephant." An equally famous use of 
 these instruments is the transitional passage between the third and 
 fourth movements of Beethoven's Ninth Symphony. The double bass 
 is a transposing instrument, that is, an instrument whose sound is 
 different from the actual written notes. The double bass sounds an 
 octave lower than the music for which it is written. The tremolo on 
 the double bass is most dramatic and is frequently used to represent 
 storm. The pizzicati of the basses is frequently used. Harmonics, 
 however, are rarely employed as they are strident and harsh, and 
 are only introduced for grotesque purposes, or in occasional composi- 
 tions of program music. Mutes are only employed by the most 
 modern composers. 
 
 ILLUSTRATIONS 
 70050 Marche Slave (Tschaikowsky) Victor Herbert's Orchestra 
 
 70070 Dance of the Hours ("La Gioconda") (Ponchielli) 
 
 Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 The "Marche Slave" will be used again to illustrate the depth of 
 quality of the bassoons, which sing the opening theme with the 
 
 143
 
 The Orchestra 
 
 double basses. Let class distinguish tone color of the stringed instru- 
 ments in "Dance of the Hours" and also notice the use of the wind 
 instruments. 
 
 QUESTIONS. 
 
 To what schools do these compositions belong? Which is from 
 opera? Which is national music? What countries are represented 
 by these two composers? Where do we hear the double basses in the 
 first selection? 
 
 Lesson VIII 
 
 The Tone Quality of the Violin and Violoncello in Combination 
 
 To fully understand the difference between the violin and 'cello, 
 listen to the following compositions: 
 
 ILLUSTRATIONS 
 
 35159 Spinning Song (Mendelssohn) (Violin, 'Cello and Piano) 
 
 Renard Trio 
 5754 Barcarolle ("Tales of Hoffman") (Offenbach) (Two 
 
 Violins, 'Cello and Piano) Vienna Quartet 
 
 QUESTIONS 
 
 Which instruments did you hear in first selection ? What is the 
 difference between a duet, trio, quartet? What other names are 
 given to combinations of instruments? What instruments did you 
 hear in the first? The second? When did Mendelssohn live? What 
 principles does the first represent? From what work is the second 
 an adaptation ? 
 
 Lesson IX 
 
 Combination of Violin and' Cello With Voice 
 
 We have heard the violin and the violoncello in solo and combina- 
 tion, let us hear these instruments with the human voice and see if 
 we can distinguish them. 
 
 144
 
 The Orchestra 
 
 ILLUSTRATIONS 
 
 88014 Elegie (Massenet) 'Cello Obbligato by Josef Hollman 
 
 Emma Eames 
 87101 Elegie (Massenet) Violin Obbligato by Efrem Zimbalist 
 
 Alma Gluck 
 45007 Romanza (" Les Huguenots ") (Meyerbeer) (Viola Obbligato) 
 
 M. Gautier 
 
 HINTS FOR TEACHERS 
 
 In writing this program on the blackboard do not give the instru- 
 ments which play the obbligatos. 
 
 QUESTIONS. 
 
 What voices sing these selections? Which instrument played the 
 obbligato with Mme. Eames ? With Mme. Gluck ? With M. Gautier ? 
 What instrumental effects did you hear in the first? In the second? 
 In the third ? Does the obbligato add to the effect of the solo ? When 
 did Massenet live? Meyerbeer? What school does each represent? 
 
 Lesson X 
 
 The String Quartet 
 
 Compositions written for a grouping of a few instruments are 
 usually designated as "Chamber Music" in distinction to concert 
 combinations. 
 
 With the increased proficiency of technique on the stringed 
 instruments during the seventeenth and eighteenth centuries, we find 
 this form of instrumental music becoming popular for small private 
 concerts, hence the term "Chamber Music." 
 
 When Haydn was called to the Court of Esterhazy, he found 
 that beside his duties as Director of the Concert Orchestra, he was 
 also called upon to provide music for small gatherings. He therefore 
 chose as the most distinctive instruments two violins, viola, and 
 violoncello, divided thus : 
 
 1st Violin, Soprano. 
 
 2d Violin, Alto. 
 
 Viola, Tenor. 
 
 Violoncello, Bass. 
 
 145
 
 The Orchestra 
 
 ILLUSTRATIONS 
 
 16950 Gavotte (" Paris and Helena ") (Gluck) Victor String Quartet 
 
 16371 Spring Song (Mendelssohn) Victor String Quartet 
 
 QUESTIONS 
 
 What did Haydn do for instrumental music, besides establishing 
 the string quartet? "Which composition belongs to the Classical 
 School? Which to the Romantic School? Which is from opera? 
 Which represents poetic idea? Which instrumental effects are notice- 
 able ? In what form is the first ? The second ? 
 
 Lesson XI 
 
 The Harp 
 
 We shall now consider the harp, although this instrument is of 
 recent introduction in our orchestra and belongs to no particular 
 choir. We have found that the harp is a very primitive instrument, 
 being used in the ancient days as the national instrument of Egypt 
 and also by the Hebrews, who modeled their small hand harp, or lyre, 
 from the instrument used by the Egyptians. In our study of Folk 
 Music we find the harp one of the most popular instruments of the 
 people, being especially noted in the early music of Ireland, Scotland 
 and Wales. Yet it is rarely found in our orchestras up to the modern 
 day. 
 
 Many great composers have used the harp, but only as an example 
 of lending national color and descriptive expression. Thus where 
 Biblical or classic subjects were treated, or in the later imitation of 
 folk music, the harp was employed. In 1810, Sebastian Erard per- 
 fected his pedal mechanism, making it possible for the harpist to play 
 in all keys where before but a few were practical. It is not until the 
 time of Berlioz and Wagner that the harp becomes a true orchestral 
 voice. Wagner first used it to depict the accompaniment of the 
 singing of the Minnesingers in "Tannhauser," but later discovering 
 its great possibilities, he used it for many effects. One of the most 
 striking examples of Wagner's use of the harp is to be observed in the 
 great "Magic Fire Scene" from "The Valkyries." Now the harp is 
 much used by symphony writers as well as by composers of opera. 
 
 146
 
 The Orchestra 
 
 It is usually treated either in broad effects or in arpeggios. The fol- 
 lowing are the most characteristic effects of the harp : 
 
 Pizzicati — plucking of the strings. 
 
 Glissando — smooth running passages produced by sliding the 
 hands rapidly over the strings. 
 
 Harmonics — produced by "stopping" the strings similar to the 
 means employed in violins; this tone on the harp sounding like the 
 faint tinkle of a muffled bell. 
 
 ILLUSTRATIONS 
 
 70031 Am Springbrunnen (The Fountain) (Zabel) Ada Sassoli 
 
 70027 Priere (Prayer) (Hasselmans) Ada Sassoli 
 
 HINTS FOR TEACHERS 
 
 Compare the harp to the piano. Have class realize that few great 
 composers have written music for harp solo. 
 
 QUESTIONS 
 Which composition expresses program or descriptive music? 
 Which represents poetic thought? What effects do we note in the 
 first? In the second? 
 
 Lesson XII 
 
 Technical Mechanism of Wind Instruments 
 
 The method of tone production on wind instruments can be best 
 understood if we take a common type and then observe the precise 
 manner in which air, when set in musical vibration by the breath, 
 is definitely controlled to this or that pitch. Let us take as this com- 
 mon type a straight tube of wood, two feet in length and an inch in 
 diameter, which is closed about an inch from the end after the manner 
 of a flute embouchure. The tone then given is C. Now, by increasing 
 the breath, we hear C octave and then Gl, C2, E2, etc. This process 
 is typical of all tubes of whatever size or material. Our tube then 
 gives us, at least, five tones, without any appliances except the increase 
 of breath. If we shorten the tube an inch, we have D, then E, etc., 
 and their harmonics. The tube may be shortened by piercing holes. 
 When all these holes are covered, we have the tone C, as they are 
 
 147
 
 T h e () r c h e s t r a 
 
 uncovered the other tones are heard. When we obtain the mil scale 
 it must be remembered we obtain the harmonics as well. 
 
 In the case of the trombone the performer does actually shorten or 
 lengthen the tube, as this tube is of two parts, one sliding into the 
 other. In other brass instruments, the long normal tube is bent into 
 several crooks, which can be thrown into one tube, or successively 
 shut off to diminish the aggregate length, by means of the pistons and 
 valves, which the performer works with his finger; for the bending of 
 a tube makes no difference in the tone quality. Therefore, by re- 
 membering these three things, first, that shortening of the tube height- 
 ens the pitch ; second, that a tube may be shortened by holes in the 
 side (as in flutes, oboes, clarinets, and bassoons), or by shutting off 
 its crooks, as in horns, trumpets, etc., or by directly contracting its 
 length as in trombones; and third, that each of the tones of the first 
 octave produces from one to five other tones, by simply increasing the 
 breath pressure; we then will understand the principle, varying only 
 in detail, which underlies the whole wind side of the orchestra. 
 
 ILLUSTRATIONS 
 
 35236 The Instruments of the Orchestra — The Strings and Wood-Winds 
 
 Victor Orchestra 
 
 35237 The Instruments of the Orchestra — The Brasses and Percussion 
 
 Victor Orchestra 
 
 Lesson XIII 
 
 The Wood-Wind Choir 
 
 The "Wood-Wind" Choir is composed of flutes and reeds, which 
 are divided as follows : 
 
 Flutes {Flute. 
 
 I Piccolo-Flute. 
 
 Oboe. 
 English Horn. 
 
 Reeds 
 
 Double 
 Reeds 
 
 Single 
 Reeds 
 
 Bassoon. 
 Contra-Bassoon. 
 Clarinet. 
 Bass-Clarinet. 
 
 The French horn, although a brass instrument, also belongs to 
 the wood-wind choir. 
 
 148
 
 The Orchest r a 
 
 WOOD-WIND CHOIR 
 FLUTE PICCOLO OBOE ENGLISH HORN CLARINET BASSOON 
 
 Although designated as the "Wood-Wind Choir," we find the, 
 voices of the flute, oboe and clarinet practically the same in range. 
 They may be distinguished as: 
 
 Coloratura Soprano, Flute. 
 
 Lyric Soprano, Oboe. 
 
 Dramatic Soprano, Clarinet. 
 
 We shall listen today to the voices of three great sopranos that 
 we may clearly understand the terms coloratura, lyric and dramatic 
 in relation to tone quality. 
 
 ILLUSTRATIONS 
 
 88019 Voce di Primavera— Waltz (Johann Strauss) (Coloratura) 
 
 Mme. Sembrich 
 Mme. Gluck 
 
 64213 Bohemian Cradle Song (Smetana) (Lyric) 
 
 87002 Ho-yo-to-ho (Valkyrie Cry) (From "Die Walkiire '*) 
 
 (Wagner) (Dramatic) 
 
 Mme. Gadski 
 
 HINTS FOR TEACHERS 
 Place list on board, but without the designation coloratura, lyric. 
 or dramatic. Let pupils determine this if possible. The first and 
 
 149
 
 The r c h e s t 
 
 r a 
 
 second have been heard before. Let pupils recognize this for them- 
 selves, if possible. 
 
 QUESTIONS 
 
 Which illustrates coloratura? Which lyric? Which dramatic? 
 Which selections are from opera? Which have we heard before? 
 What did they then illustrate? Which illustrates nationality? Which 
 is descriptive? Which depicts poetic thought? Which have definite 
 form? 
 
 Lesson XIV 
 
 The Flute 
 
 The flute is the coloratura soprano of the wood-wind family, but 
 it is lacking in the depth of expression which is characteristic of the 
 oboe and clarinet. The flute is more familiar than any of the other 
 wood-wind instruments and is one of the oldest instruments in the 
 orchestra, although it has only been in modern days that it has come 
 to the front rank as a solo instrument. In the old days it was im- 
 possible to have the holes of an equal distance as they could not be 
 properly covered by the fingers; therefore, the flute was never per- 
 fectly in tune throughout its entire compass. Bohm (1794-1881) 
 invented a mechanism by which the holes could be covered by padded 
 keys, therefore, they could be made of a uniform proportion. Boehm 's 
 invention has been adopted for all the wood-wind instruments. 
 
 The flute is possessed of a marvelous agility which is very useful 
 in the orchestra. It is usually given the highest voice when playing 
 with the oboe and clarinet. 
 
 The octave flute, or piccolo, is the highest instrument of our 
 orchestra. Sounded alone it is almost unbearable, for it is own cousin 
 to the ear-piercing fife, but when used with the other instruments, 
 excellent effects of combination are possible. There are three flutes 
 in the symphony orchestra and one piccolo-flute. 
 
 ILLUSTRATIONS 
 
 60026 Spinning Wheel (Spindler) (Flute) John Lemmone 
 
 16047 The Wren (Demare) (Piccolo) Darius Lyons 
 
 70029 Concerto for Harp and Flute (Mozart) 
 
 Ada Sassoli and John Lemmone 
 
 150
 
 The Orchestra 
 
 QUESTIONS 
 
 Which instrument did we hear first? What composition is de- 
 scriptive? Is it descriptive by rhythmic, melodic or harmonic 
 peculiarities? Is this imitative music? To what school does Mozart 
 belong? 
 
 Lesson XV 
 
 The Oboe and English Horn 
 
 The flute or pipe of the Greeks was the ancestor of the oboe and 
 clarinet. These instruments are sounded by blowing the air in at the 
 end, and the tone is created by the vibrating of reeds attached to the 
 mouthpiece where as in the flute, it is the result of the impinging of the 
 air on the edge of the embouchure (or opening on the side of the flute) . 
 The reeds are thin pieces of cane. The size and bore of the instru- 
 ments and the difference between these reeds are the causes for the 
 difference in tone quality of these instruments. The double reed in- 
 struments, oboe, English horn, bassoon, contra-bassoon, have two 
 pieces of cane fitted closely together, extending from the upper end 
 of the oboe and English horn, and from the sides of the bassoons. 
 These reeds are pinched in the lips and set in vibration by the breath. 
 
 In playing the oboe, such a small quantity of air is required, that 
 the performer is almost constantly holding his breath, which is very 
 fatiguing. The oboe is the most refined of any of the wind instru- 
 ments. Its tone is more reedy in character than the clarinet and 
 has two peculiar qualities, it is soft and tender, yet astonishingly 
 penetrating. The instrument is especially adapted for pastoral 
 effects, and for the expression of romantic melody. The oboe has 
 always held the right to sound the tuning A for the orchestra. 
 
 The alto of the oboe is the English horn. This instrument is 
 to the oboe, what the viola is to the violin, and is tuned a fifth lower. 
 It is larger and the upper part, which is of metal, is bent so as to 
 be more convenient for the player. This is a very old instrument, 
 and was originally covered with a skin which made it resemble an 
 Alpine horn, but no one knows why it was called English. Its tone 
 is more veiled and dreamy than the oboe. It has only been used in 
 the orchestra in modern times, Berlioz being one of the first composers 
 to recognize its beauties. 
 
 151
 
 T h t' O r c h e s t r a 
 
 ILLUSTRATIONS 
 
 I Sweet Bird (II Pensieroso) (Handel) Flute and Oboe 
 17174, Doucet and Barone 
 
 I Hear Me Norma (Bellini) Oboe and Clarinet Doucet and Christie 
 35275 Largo— "New World Symphony" (Dvorak) 
 
 Victor Concert Orchestra 
 
 HINTS FOR TEACHERS 
 The first two selections will be heard in Course IV. Explain 
 their place in opera, what voices sing them and which each instru- 
 ment here imitates. 
 
 QUESTIONS 
 What instruments do we hear in these compositions? In the 
 first which instrument is heard alone first? Which in the second? 
 Which instrument has the most piercing tone? Which has a tone 
 more similar to that of the human soprano? What instrument do 
 you hear at the opening of the last selection? When have we heard 
 these selections before? To what schools do these composers belong? 
 
 Lesson XVI 
 
 The Clarinet 
 
 The clarinet is of more recent introduction into the orchestra 
 than any of the other instruments, yet it is the most useful, and in 
 some respects, the most important, of the wood-wind family. Its 
 chief structural difference is the mouth-piece, which is cut down 
 chisel-shaped; into this, a simple flat reed is fastened. The clarinet 
 has a very extensive compass of over three octaves, and possesses 
 great agility in producing tones with a rich, mellow voice, which 
 Berlioz aptly characterized as "sour sweet." The fingering of the 
 clarinet differs from the other wood-wind instruments, and as it is 
 almost impossible to play in keys having more than two sharps or 
 flats, various kinds of clarinets are made to be used, in the different 
 keys. The C clarinet plays what is written on the score; the others 
 are transposing instruments. For example, the B flat clarinet plays 
 the same music the orchestra is playing, and it sounds out of tune ; 
 therefore, in order to have it play with the orchestra, the score must 
 be written for the clarinet in a different key from the rest of the 
 orchestra, so all will sound together. The three clarinets commonly 
 
 152
 
 The Orchestra 
 
 in use are C, A, and B Hat. In some eases where there is not a great 
 difference in the difficulties of playing, it is observed that the B flat 
 clarinet has the fullest, richest tone, therefore, this is the one generally 
 selected for solos. The clarinet has four distinct registers, and be- 
 cause of these, four individual tonal qualities; also because of its 
 ability to crescendo and diminish a tone, it is an instrument in great 
 demand in our brass bands, as well as our orchestras. 
 
 The deeper voice of the clarinets is found in the bass-clarinet, an 
 instrument pitched an octave lower than the regular clarinet. The bass 
 clarinet is bent and has a bell of brass which turns upward, pipe 
 fashion. The voice of the bass clarinet is impressive and noble, and 
 similar in quality to certain registers of the organ. 
 
 ILLUSTRATIONS 
 35182 Concertino (von Weber) Clarinet Draper 
 
 17174 Hear Me Norma (Bellini) Clarinet and Oboe Doucet and Christie 
 (2) Tarantella (Saint-Saens) Clarinet and Flute 
 
 Christie and Barone 
 
 HINTS FOR TEACHERS 
 If possible to take the time, write a theme on the board, showing 
 the notes for clarinet in C and in transposed form. This is always 
 difficult to make absolutely clear to a class at the first presentation. 
 
 QUESTIONS 
 Which selection is solo? To what school did von Weber belong? 
 Which instrument has the clearest, fullest tone, the flute or clarinet? 
 Which do you like best? Which instrument has the most charac- 
 teristic voice, the clarinet or oboe? What is a tarantella? How is it 
 here used? 
 
 Lesson XVII 
 
 Bassoon 
 The bass of our double reed family is the bassoon, and here we 
 find a quality unknown to the other wood-wind instruments. The 
 bassoon is the bass of the wood-wind choir; occasionally when a very 
 deep bass is needed the contra-bassoon is employed. The bassoon is bent 
 for the convenience of the player, and, therefore, the Italians call the 
 instrument a "fagotte" or bundle of sticks. From the side of the 
 
 153
 
 The Orchestra 
 
 instrument there projects a silver tube, into which the reeds, similar, 
 but larger, to those of the oboe, are fitted. The instrument is easily 
 distinguished in the orchestra. It is an exceedingly useful instru- 
 ment as its register is over three octaves, and it has great technical 
 agility. Its voice is similar to the 'cello and horn, only it is more 
 nasal in quality. There is no instrument capable of greater variety 
 than the bassoon. On account of its great compass it has four distinct 
 registers of tone. For the production of grotesque effects the bassoon 
 is the clown of the orchestra. Its humor is unconscious, however, 
 and comes from the use of the deepest register of the instrument. 
 When this depth of tone is combined with the extreme agility of 
 which the instrument is possible, we have a gay, grotesque effect which 
 is irresistible. In this it has been used very often by composers of 
 program music. 
 
 ILLUSTRATIONS 
 
 35236 Instruments of the Orchestra (Wood- Wind Section) 
 
 Victor Orchestra 
 
 70050 Marche Slave (Tschaikowsky) Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 It is suggested that the special record for the instruments be 
 replayed so that class may distinguish the tone color of the wood-wind 
 intruments. Now listen for the voice of the bassoons in the ' ' Marche 
 Slav" and also see how many of the wood-wind instruments pupils 
 can distinguish. 
 
 Lesson XVIII 
 
 Brass Choir 
 
 The brass choir consists of French horns, trumpets, trombones 
 and tuba. In early scores the trumpets were considered the most im- 
 portant instruments, but now the French horns are the most popular. 
 It was also customary to arrange a quartet of brass instruments thus : 
 
 Trumpet, Soprano. 
 
 Horn, Alto. 
 
 Trombone, Tenor or Baritone. 
 
 Tuba, Bass. 
 
 In writing for the brass choir in our modern day, it is generally 
 the custom to write for each group in independent harmony; thus, 
 
 154
 
 The Orchestra 
 
 BRASS CHOIR 
 FRENCH HORN TROMBONE TUBA CORNET (TRUMPET) 
 
 CORNET (TRUMPET) 
 
 three trumpets or three trombones, with tuba make complete har- 
 mony, as do the four French horns. Then, again, trombones and 
 trumpets may combine ; or horns and trombones ; or horns and 
 trumpets. With the wood-wind instruments the tones are produced 
 by vibrating reeds, but with the brasses the lips of the players act as 
 the reeds, and each tone is produced by a different pressure of the 
 lips, or to use a technical term, a different embouchure. When the 
 brass choir is properly employed it is capable of the most beautiful 
 rich tones, which nearly resemble that of the organ. 
 
 ILLUSTRATIONS 
 
 17133 Pilgrims' Chorus — "Tannhauser" (Wagner) Victor Brass Quartet 
 17216 Farewell to the Forest (Mendelssohn) (2) Spring Song 
 
 (Pinsuti) Victor Brass Quartet 
 
 QUESTIONS 
 
 What instruments do you hear in these selections ? What number 
 is from an opera? Which expresses poetic thought? To what school 
 does Wagner belong ? Mendelssohn ? 
 
 155
 
 The Orchestra 
 Lesson XIX 
 
 French Horn 
 
 The French horn is often heard as a member of the wood-wind 
 choir, although by family it belongs to the "brasses." In Beethoven's 
 day the horn was, in reality, the old hunting horn, which was coiled, 
 so that it might be slipped over the head of the mounted hunter and 
 carried resting on the shoulder. If the horn were straightened out, 
 it would be seventeen feet long. The horn is very difficult to play, 
 for the lips act as reeds in the cup-shaped mouthpiece, and the force 
 of the lips and the rapidity of oscillation produces the tone. In 
 olden times it was discovered by accident, that by putting the hand 
 into the lower end of the tube (the flaring part, called the bell), the 
 pitch of a tone was raised, and this method is even now occasionally 
 used, although it is no longer necessary, since the horn has been pro- 
 vided with valves and crooks, and it is now possible to play a full 
 chromatic scale. Formerly it was necessary to use horns of different 
 pitches, and players were provided with different crooks, which pro- 
 duced different keys. The composer designated on his score which 
 crook was to be used, much the same as with clarinets. Now, the 
 horn in the key of F is used for almost all music, as its tone is much 
 more beautiful and mellow than when the other keys are used. 
 
 The horn is the most genial of all instruments; its tones are full 
 of passion, pathos and solemnity. It blends well with the general 
 harmony and can therefore be used to play a solo part in com- 
 plete harmony, or to simply fill in the general scheme of orches- 
 tration. There are several splendid effects which are possible on a horn. 
 By means of a mute, the echo horn is heard. Stopped tones produced 
 by the insertion of the hands in the bell produce an effective tone, 
 which is nasal and discordant, and is employed to depict strife and 
 discord in program music. 
 
 ILLUSTRATIONS 
 
 62636 Overture — "Der Freischutz" (von Weber) La Scala Orchestra 
 
 17174 Siegfried Horn Call (Wagner) French Horn A. Horner 
 
 31689 Overture— " Oberon " (von Weber) Pryor's Band 
 
 HINTS FOR TEACHERS 
 The familiar opening theme (used by us as a hymn) is an excel- 
 lent example of the horn quartet. The Siegfried horn call is an 
 
 156
 
 The Orchestra 
 
 example of characteristic instrumentation as well as of a "leit motif." 
 The Largo from "The New World Symphony" used in Lesson XV 
 should be used again so that students may recognize the difference 
 between the English horn and the French horn. 
 
 QUESTIONS 
 
 Which selections are from the opera? What instruments beside 
 the French horn do you clearly hear in the third? To what school 
 does von Weber belong? Dvorak? 
 
 Lesson XX 
 
 Trumpet 
 
 The trumpet is, in reality, the soprano of our brass choir, its 
 voice being an octave higher than the horn, although its harmonic 
 scale is the same. The chief structural difference is that the tube of 
 the trumpet is cylindrical throughout, only opening out into a small 
 cone near the bell. The tube is only half the length of that of the horn. 
 It is a transposing instrument and a number of different crooks, in 
 various keys, are used. The quality of the trumpet is brilliant and 
 noble. It has been necessary to substitute the cornet for the trumpet 
 in many orchestras, as the latter instrument, although not possessing 
 the tonal beauty of the trumpet, is a much easier one to play. 
 
 ILLUSTRATIONS 
 
 74080 The Trumpet Shall Sound ("Messiah") (Handel) 
 
 Herbert Witherspoon 
 
 16313 Russian Fantasie Herbert L. Clarke 
 
 35265 Triumphal March ("Ai'da") (Verdi) Vessella's Italian Band 
 
 HINTS FOR TEACHERS 
 
 In presenting the Russian Fantasie a short review of Russian folk 
 music is advisable. A point should be made of the remarkable use 
 of the trumpet in Handel's "Messiah" in its relation to later instru- 
 mental development. 
 
 157
 
 The Orchestra 
 
 QUESTIONS 
 
 What Russian air did we hear in the second selection? Which 
 was legendary folk-song? Which is national song? In the first does 
 the use of the trumpet help the dramatic effect? To what school did 
 Handel belong? From what form of work is this selection? 
 
 Lesson XXI 
 
 Trombone 
 
 The trombone is one of the noblest instruments of the orchestra. 
 Its tone is grave and majestic, and in all solemn and dignified music, 
 the trombone plays an important part. It is customary to write for 
 the instrument in parts, using the tuba for the bass of the quartet, 
 but the trombones are also used in unison. The wonderful effect in 
 the "Pilgrims' Chorus" in "Tannhauser" is produced by this means. 
 
 Mendelssohn once said, "The trombones are too sacred for often 
 use," and most of the great composers have felt this and have em- 
 ployed the trombones for the expression of overwhelming impressive- 
 ness. This is the reason why Wagner uses the trombones nt the height 
 of his crescendo in the "Vorspiel to Lohengrin." 
 
 ILLUSTRATIONS 
 35157 Cujus Animam ("Stabat Mater ") (Rossini) Arthur Pryor 
 
 16371 Miserere (" II Trovatore ") (Verdi) Cornet and Trombone 
 
 HINTS FOR TEACHERS 
 
 Both of these records are double-faced. We have used No. 16371 
 before. On the reverse of No. 35157 is Chopin's Funeral March for 
 brass band, which may be used with Lesson No. XXII. 
 
 QUESTIONS 
 
 Which selection is a solo? Which a duet? Which is from 
 opera? Which from oratorio? To what school does Rossini belong? 
 Verdi? 
 
 158
 
 1 h e Orchestra 
 Lesson XXII 
 
 Tuba 
 
 The four-part harmony of the trombones is usually given us by 
 three trombones and the tuba. The tuba is the double bass of the 
 brass family and has the deepest tone in the wind orchestra. It 
 belongs to the class of instruments commonly known as "saxohorn." 
 (So named from their inventor, Sax.) These make up the principal 
 part of our brass bands. The tuba's voice is noble and dignified. 
 The instrument is made in several keys, but the one generally used in 
 our orchestra is in B flat. 
 
 ILLUSTRATIONS 
 31381 Fackeltanz (Meyerbeer) Pryor's Band 
 
 35157 Funeral March (Chopin) Pryor's Band 
 
 HINTS FOR TEACHERS 
 One of the best uses of the tuba in all musical literature is its use 
 in the Torch Dance of Meyerbeer. Have class give a short clap of the 
 hands when they hear the tuba in this selection. 
 
 QUESTIONS 
 
 To what school did Meyerbeer belong? Chopin? In what com- 
 position does the Funeral March belong? For what instrument was 
 it original! v written? 
 
 Lesson XXIII 
 
 Percussion Instruments 
 
 The instruments of Percussion are generally referred to as "the 
 battery." The most important of these, are the tympani or kettle- 
 drums, for they are the only drums which can be tuned to a definite 
 pitch. These instruments are hemispherical brass or copper vessels, 
 kettles in short, covered with vellum heads, which can be controlled to 
 pitch by means of a tension of this head, which is applied with key 
 screws, working through iron rings. The part of the drummer is a 
 very difficult one, for he must have absolute pitch, and he is also 
 required to have a perfect sense of time and rhythm. Very often 
 the drummer is called upon to change one or all of his drums into 
 
 159
 
 The Orchestra 
 
 XYLOPHONE 
 
 PERCUSSION INSTRUMENTS 
 ORCHESTRA BELLS CHIMES 
 
 SIDE DRUM 
 
 TYMPANI (KETTLE DRUM) 
 
 another key while the orchestra is still playing in the original key. 
 In olden days the drums were used only to accentuate the rhythm. 
 
 Beethoven was the first to realize their possibilities as harmonic 
 instruments, and modern composers now use the drums in whatever 
 key they wish. The other instruments of percussion used in our 
 orchestras are, snare drums, bass drums, cymbals, triangle, tam- 
 bourine, castanets, carillon and xylophone. 
 
 ILLUSTRATIONS 
 
 70049 Dagger Dance ("Natoma") (Herbert) 
 
 Victor Herbert's Orchestra 
 70068 Indian March (" L'Africaine ") (Meyerbeer) 
 
 Victor Herbert's Orchestra 
 31735 Procession of Knights ("Parsifal") (Wagner) Pryor's Band 
 
 QUESTIONS 
 To what schools do these compositions belong? What principle 
 of music does each illustrate? What instruments do you hear clearly 
 in the first selection ? In the second ? The third ? Which is religious 
 in character? What tonal effect helps to give this impression? 
 
 160
 
 The Orchestra 
 
 L 
 
 ess on 
 
 XXIV 
 
 The Development of the Orchestra 
 
 The use of instruments can be traced back to early man who first 
 used the drums and tom-tom (percussion instruments) for the accom- 
 paniment to his primitive chants and dances. The second step shows 
 us the first use of wind instruments 
 as made from the horns of animals 
 and later duplicated in brass and 
 other metals. In the third period 
 the gentler side of man's heart 
 seems to have awakened and we 
 notice an instinct to reproduce the 
 sounds of Nature, by means of the 
 reed instruments, made from the 
 sources provided by Nature herself. 
 The last period gives us the use 
 of the stringed instruments, first 
 noticed in the simple lyre and harp, 
 later developing into the stringed 
 instruments played with the bow. 
 (Review Lesson II, Course II.) 
 
 In medieval days, while the 
 science of music was being fostered 
 by the Church, instruments were used principally by the common 
 people, and we have found that all the Troubadour, Minstrel, and 
 Minnesinger songs were accompanied by the stringed instruments. 
 At the end of the sixteenth century the greatest instrumental school 
 was that of Venice, which was founded by Adrian Willaert, of the 
 Netherlands. (See Lesson VI, Course II.) Willaert and his fol- 
 lowers used the instruments in the same antiphonal method as that 
 employed for choruses. 
 
 With the birth of opera the interest in instrumental music was 
 for a time superseded by the enthusiasm for the new vocal form, but 
 with the Venetians, the combination of the instruments with the 
 voices resulted in many interesting effects which increased the dra- 
 matic value of the opera. Claudio Monteverde (1567-1643), earned 
 the title, "the father of instrumentation," for it was he who first 
 introduced the violin into the orchestra. In his opera, "Tancred," 
 
 TWO EXAMPLES OF THE CRYWTH 
 
 1. Tenth Century 
 
 2. Eighteenth Century in England 
 
 161
 
 The Orchestra 
 
 produced in 1624, Monteverde used the tremolo of the violin to repre- 
 sent the excitement felt during the duel scene, while pizzicati from the 
 
 double basses depicted the sword 
 thrusts. Through his influence the 
 Venetian masters used an orches- 
 tral introduction for their operas. 
 This was called an overture, and 
 followed a definite form. They also 
 employed an instrumental interlude 
 between the acts. In the French 
 Opera of the late seventeenth cen- 
 tury, these interludes always took 
 the form of dances, and from this 
 custom arose the popularity of the 
 French Ballet. At this period 
 (middle of sixteenth to first of 
 eighteenth centuries), the violin 
 reached its perfection. The little 
 town of Cremona, near Venice, be- 
 came famous because the greatest 
 stringed instruments the world has 
 (a aud^ t Russian Balalaika eve r known were made here. 
 
 ILLUSTRATIONS 
 
 61181 Folk Song— "Let Joy Abide" (Russian) 
 
 Mme. Michailowa, with Balalaika accompaniment 
 
 70034 Two Folk Songs (Russian) Balalaika Orchestra 
 
 HINTS FOR TEACHERS 
 
 The balalaika is the most perfect folk instrument of the early 
 days which is still in existence. This curious three-stringed instru- 
 ment is similar to the mandolin and is made in several sizes, some 
 as large as our double bass. These intruments have been used by 
 the Russian peasants for centuries, but it has only been within the 
 last few years, since the folk music of Russia has awakened such general 
 interest, that the instruments have been generally known. Through 
 the efforts of M. Andreeff, the folk instruments of the Russian 
 peasants have become better known, and his combination in an orches- 
 tra of the balalaika with the doumra (a later instrument more like 
 
 162
 
 The Orchestra 
 
 our guitar), has brought great popularity to the Russian Balalaika 
 Orchestra, of which he is director. 
 
 The first illustration shows us the use of the simple old folk song, 
 with balalaika accompaniment; the second two folk dance songs are 
 here played by a combination of balalaikas and doumras. Recall the 
 use of the lute as an accompaniment of the Swedish folk songs. The 
 harp of the Irish songs. 
 
 [Lesson XXV, Course I; Lesson XXVI, Course I.] 
 
 QUESTIONS 
 What class of folk song is the first? "What the second? (b) 
 of the second? "What instrument does the tone of accompaniment in 
 No. 1 resemble ? "What other uses have we had of instrumental accom- 
 paniment to folk songs? When did we hear these records before? 
 What did they then illustrate ? What other folk illustrations have we 
 heard with voice and stringed instrument? 
 
 Lesson XXV 
 
 The Orchestra and Instrumental Forms at the Time of Hach 
 At the time of Bach the orchestra consisted of an almost evenly 
 balanced proportion of reed and stringed instruments. These were 
 still treated in the old method of antiphonal writing. The most popu- 
 lar solo instruments at this time were the violin, clavichord, harpsi- 
 chord, organ. 
 
 The greatest in- 
 strumental forms of 
 Bach 's time were : 
 
 Fugue — The 
 strictest form of con- 
 trapuntal development 
 written for the solo 
 instrument. F u g a 1 
 passages appear in 
 much concerted music. 
 
 Theme and Vari- 
 ations — Original vari- 
 
 THE TOWN PIPERS AT THE PERIOD OF BACH 
 
 ations on a given theme, a popular form for organ or harpsichord. 
 Fantasia — Free development of one or more themes; usually 
 
 163
 
 The Orchestra 
 
 follows a prelude and precedes the fugue in Bach's largest organ 
 forms. 
 
 Overture — The introduction to the opera takes two forms in the 
 seventeenth century — that of France, the Lully Overture, and that of 
 Italy the Scarlatti Overture. 
 
 The Lully Overture consisted of three movements : short intro- 
 duction ; rapid fugal passage ; slow coda ending. 
 
 The Scarlatti Overture : Rapid first part ; contrasting slow move- 
 ment; rapid ending. 
 
 These two forms combine in the 
 
 Sonata — Generally written for solo instruments; a composition 
 having three movements : 
 
 First : Follows form of Lully Overture, its general character 
 being rapid. 
 
 Second : Song form or theme and variations — slow in character. 
 
 Third : Rondo or jig — rapid in character. 
 
 Thus we have three movements, fast, slow, fast, following the 
 pattern of the Scarlatti Overture, while the first movement follows 
 definitely the Lully Overture. 
 
 Suite — A collection of dances first put in a definite form by 
 the town pipers of Germany at the time of the Thirty Years' War. 
 This German collection, called the Partita, began with an Allemande 
 (German Dance), and included the Gavotte, Sarabande, Bouree, 
 Minuet, etc., and ended with the Rondo or Gigue (jig). The 
 
 French composers 
 then took the Ger- 
 man Partita and 
 prefaced it with 
 the Lully Over- 
 ture, adding sev- 
 eral dances, which 
 were particular 
 favorites at the 
 French Court. It 
 was this form that 
 Bach employed 
 for the writing of 
 his great suites. 
 
 THE WATER MUSIC HANDEL 
 
 164
 
 The Orchestra 
 
 Serenade — A collection of short composition in which the simple 
 song form of song-contrasting song, first song, was the basis. These were 
 collected by the paid serenaders of the early seventeenth century, but 
 the form later develops in a similar manner to that of the Suite. It is 
 often prefaced with an overture and sometimes popular dances, par- 
 ticularly the Minuet, are introduced. 
 
 Concerto-Grosse — A large composition in the form of the sonata 
 written for many instruments; still making use of the old antiphonal 
 choirs. At Bach's time one group of instruments acted as virtuosi 
 and played a more difficult part than those producing the accom- 
 paniment. 
 
 Symphony — The term symphony was occasionally employed at 
 Bach's time to designate a composition which was sounded in con- 
 trast to music which was sung and which was termed cantata. 
 
 ILLUSTRATIONS 
 16474 Amaryllis (Old French) Victor Orchestra 
 
 74080 The Trumpet Shall Sound (From "Messiah") (Handel) 
 
 Herbert Witherspoon 
 70047 From D Major Suite (Bach) Victor Herbert's Orchestra 
 
 17184 Bouree from Violoncello Suite III (Bach) Victor Quintet 
 
 HINTS FOR TEACHERS 
 
 Amaryllis is an excellent example of the old French rondo. Ex- 
 plain the use of the air in the suite D Major. A wonderful example 
 of Bach's melodic gift. In the Handel number recall that Handel 
 wrote but little instrumental music and that his use of the instru- 
 ments was often most effective in his operas and oratorios. Particu- 
 larly is this true of this aria in the use of the trumpet call to illustrate 
 the words of the text. 
 
 QUESTIONS 
 
 When did we hear these compositions before? What did they 
 illustrate then? To what school did Bach and Handel belong? 
 
 Lesson XXVI 
 
 The Orchestra at the Time of Haydn 
 The next great composer to leave a definite mark on the develop- 
 ment of our orchestra was Franz Josef Haydn, who is rightly called 
 ' ' the father of the modern symphony orchestra. ' ' Haydn divided the 
 
 165
 
 o o
 
 The Orchestra 
 
 orchestra into the four choirs we know today, grouping his instruments 
 according to families. He increased the number of strings and re- 
 tained in the wind choirs those instruments whose voices were the 
 most strikingly characteristic of their class. Through the influence 
 of his pupil, Mozart, who introduced to him the beautiful tone color 
 of the clarinets, Haydn began an appreciative use of the single-reed 
 instruments. Haydn also established the present form of the string 
 quartet. But his greatest contribution to modern instrumental music 
 was the evolving from the old form the present form of sonata, which 
 has been the basis of all instrumental compositions since his time. 
 This form he used in place of the Lully Overture as the first move- 
 ment of all sonatas. It is larger and more elaborate and gives a 
 greater opportunity, not only for the composer to show his technical 
 skill, but his instrumental science as well. 
 
 The old movement, known as the INTRODUCTION, was re- 
 tained; but in place of the customary fugue, Haydn introduced an 
 allegro, which was thus divided : 
 
 1st Subject — of bright, gay character, in the regular key. 
 
 2d Subject — more subdued and contemplative in character, in 
 related key. 
 
 (If first subject is announced by the strings, the second subject 
 is usually given by the wood-winds or vice-versa.) 
 
 Repetition of Subjects : 
 
 Free Fantasia or working out of the subjects, giving the com- 
 poser an opportunity to show his skill in combining instruments and 
 themes. This is in the key of the second subject. 
 
 Recapitulation op Subjects : Return of original subjects as 
 first heard, only both are now given in the regulation key. 
 
 Coda or short summing up of subject matter. 
 
 This ' ' Sonata Form ' ' is the pattern for all movements of sonatas, 
 duets, trios, quartets, etc., for symphonies or concertos and for 
 some overtures. When used as the plain or overtures the repetition 
 of the subject is omitted. Haydn's sonata or symphony was com- 
 posed of four movements, in place of the old form, which had but 
 three. It was thus arranged : 
 
 First Movement : ' ' Sonata ' ' form. 
 
 Second Movement: Song Theme and Variations, or "Sonata" 
 forms. 
 
 Third Movement : Minuet, Trio, Minuet. 
 
 167
 
 The Orchestra 
 Fourth Movement: Rondo, Theme and Variations, or "Sonata" 
 
 foi 
 
 ILLUSTRATIONS 
 "Surprise" Symphony (No. 3) (Haydn) 
 
 3524^' ^ Allegro Victor Concert Orchestra 
 
 ( (b) Andante Victor Concert Orchestra 
 
 ,„,,) (a) Minuet Victor Concert Orchestra 
 
 63 * \ (b) Finale Victor Concert Orchestra 
 
 HINTS FOR TEACHERS 
 
 This symphony has been cut so that the playing of the movement 
 on a record is possible. The divisions may, however, be easily fol- 
 lowed. Pupils should follow the forms very carefully and records 
 must be replayed so that all points of form, as well as instrumenta- 
 tion, may be clearly understood. 
 
 Lesson XXVII 
 
 Beethoven 's Uses of the Orchestra 
 
 Mozart and Beethoven both followed the ideas of Haydn, but 
 carried his work much farther than he had ever dreamed. As one 
 writer has said, "Beethoven built a palace where Mozart had started 
 a charming garden house, on the plans of Haydn." Mozart had the 
 opportunity by his frequent travels through Europe to come into 
 touch with the greatest orchestras of the world, and he assimilated 
 much from these associations. We notice his spontaneous use of in- 
 strumentation in his operas as well as his symphonies. His music 
 reflects the spirit of the court, while Haydn's is that of the common 
 people. Mozart introduced the clarinet into the symphony orchestra, 
 although it had been previously used in the operas of the French 
 School. 
 
 Beethoven brought the symphony to its state of perfection. He 
 also introduced the spirit of Romanticism into music. In his use of 
 the orchestra, Beethoven made many innovations. In fact his con- 
 temporaries declared his use of the instruments to be abuses and 
 vowed that Beethoven was ready for the mad-house. 
 
 Beethoven was the first to realize the importance of the tympani 
 or kettle-drums, and he gave them a melodic part in many of his 
 
 168
 
 The Orchestra 
 
 later compositions. His individual work for the double basses is best 
 shown in the scherzo of the Fifth Symphony and the transitional 
 passage between the Third movement and the Finale of the Ninth 
 Symphony. 
 
 ILLUSTRATIONS 
 
 [Leonore Overture, No. 3 (Part I) (Beethoven) 
 ic^jj Victor Concert Orchestra 
 
 •" Z0B Leonore Overture, No. 3 (Part II) (Beethoven) 
 
 { Victor Concert Orchestra 
 
 I Leonore Overture, No. 3 (Part HI) (Beethoven) 
 35269; Victor Concert Orchestra 
 
 [ Adagio from Fourth Symphony (Beethoven) Vessella's Italian Band 
 
 A series of records of the C Minor (No. 5) Symphony is now 
 being made especially for this course. 
 
 Lesson XXVIII 
 
 The Influence of the Romantic School 
 
 We have found that the principal thought of the Romantic com- 
 posers was the expression of individuality by means of virtuosity, 
 nationality, and program music, therefore, it is but to be expected 
 that the use of the orchestra in this connection is of great importance. 
 We have found that the Romantic composers of Germany were less 
 spectacular in their methods of treatment than those of the French 
 School, where the virtuosity of both Berlioz and Liszt makes itself ap- 
 parent in their marvelous instrumentation. We owe to the German 
 School, however, two forms which, although founded on the classical 
 model of the "sonata," makes possible the expression of program 
 music as well. The forms are the Concert Overture and the Symphonic 
 Poem. 
 
 The Concert Overture is the term applied by Mendelssohn to an 
 overture written in the sonata form, which shall have a definite title 
 and tell a definite story. It was not written as the introduction for 
 any dramatic work, but, as its name implies, was purely a concert 
 composition. 
 
 The Symphonic Poem was the name given by Franz Liszt to a 
 composition for symphony orchestra which was programmatic, in that 
 it always had a title and generally was prefaced by a definite pro- 
 gram. This form was much longer than the Concert Overture and 
 different tempo were used. Two main contrasting subjects were 
 
 169
 
 T he Orchestra 
 
 employed, but these were of such plasticity that their entire character 
 was frequently altered by the change from one tempo to another. 
 
 In the use of the orchestra we find Schubert employing many 
 beautiful combinations of tone, but nothing which is today regarded 
 as startling. Von Weber makes excellent use of natural tone qualities, 
 especially of the wood-winds, where the effect of the French horns in 
 his overture to "Der Freischiitz" and "Oberon" is most beautiful. 
 Technically, Mendelssohn understood the orchestra thoroughly and 
 his instrumentation is always beautiful. His most unique uses will be 
 noticeable in the music for "A Midsummer Night's Dream." 
 
 Schumann had practically no knowledge of the technical side of 
 the orchestra. It is said that when his first symphony was given, the 
 composer, not realizing that trumpets were transposing instruments, 
 had written for his entire orchestra in the same key. Schumann owed 
 much to the friendship and help of Mendelssohn in arranging his 
 orchestral works. 
 
 The dazzling strength of Liszt is apparent in much of his beautiful, 
 but unusual orchestrations, which no doubt were influenced by both 
 Berlioz and Wagner. 
 
 Chopin, on the other hand, thought in the medium of the piano, 
 and his piano concertos, the only orchestral works he left, are mediocre 
 and commonplace in the method of his instrumentation. 
 
 The great genius of orchestration in the Romantic School is 
 Hector Berlioz, who has left us "A Treatise on Instrumentation," 
 which will ever be regarded as our best authority on the possibilities 
 of the modern orchestra. Strangely enough, Berlioz himself could 
 not play on any instrument, save the guitar, and yet no man in the 
 history of art ever used the orchestra with such daring brilliancy as 
 did he. Berlioz may be said to have established modern orchestration 
 for new treatment, new effects, new combinations of tone, new insight 
 into the characteristics of individual instruments are all distinctive 
 features of his use of the orchestra. If he be "the uncompromising 
 champion of Program Music," as Schumann once said, he is as well 
 the virtuoso orchestra composer of the nineteenth century. 
 
 ILLUSTRATIONS 
 62636 Overture (" Der Freischiitz ") (von Weber) La Scala Orchestra 
 35241 Carnaval Romain Overture (Berlioz) Victor Concert Orchestra 
 
 31819 Overture (" Midsummer Night's Dream ") (Mendelssohn) 
 
 Victor Concert Orchestra 
 
 170
 
 The Orchestra 
 
 HINTS FOR TEACHERS 
 
 In presenting this lesson give a short resume of this period from 
 Lessons XV and XVI, Course II. Carefully consider the tonal effects 
 to be noted in compositions, as pointed out in the analysis of these 
 numbers and tell class what to listen for. 
 
 QUESTIONS 
 
 What instruments play opening theme of No. 1? 
 ment plays second subject of No. 1 ? 
 belong? Mendelssohn? Berlioz? 
 
 What instru- 
 To what school did Von Weber 
 
 Lesson XXIX 
 
 Influence of Wagner 
 
 As we have discovered from our previous study of Wagner, it 
 was he who brought back to the music drama the fundamental prin- 
 ciples on which it was originally founded, but in doing so he employed 
 all the resources of modern stage craft and technical musical achieve- 
 ment ; therefore, Richard Wagner stands today as not only the greatest 
 dramatic composer in the history of music, but as the greatest master 
 of orchestration in 
 the annals of the 
 art. By his devel- 
 opment of the 
 "leit motif" Wag- 
 ner discovered the 
 possibilities of car- 
 rying this char- 
 acteristic phrase 
 into the orchestra, 
 and he also em- 
 ploys certain in- 
 struments as delin- 
 eators of character. 
 Thus in "Lohen- 
 grin" the strings 
 
 THE HIDDEN ORCHESTRA OF THE WAGNER THEATRE 
 RF.UTH. SIEGFRIED WAGNER IS CONDUCTING 
 
 171
 
 The Orchestra 
 
 always accompany the Swan Knight, the trumpets King Henry, 
 and the wood-winds the unfortunate Elsa. Wagner felt the 
 orchestra to be capable of portraying dramatic action, either when 
 used as an accompaniment to the voices or as a purely instrumental 
 interlude, and he also believed that the overture should prepare the 
 minds of the audience for the action to follow in the next act. With 
 "Lohengrin," Wagner institutes a custom of giving each act its own 
 prelude and in writing these introductions he departs from the 
 old form of overture and creates for us a tonal atmosphere, which 
 is as important to the subject of the action as is the dramatic situation 
 after the curtain is raised. In his Festival Play-House at Bayreuth, 
 Wagner returned to the old custom of the seventeenth century and 
 his immense orchestra was seated beneath the stage, so that its voice 
 was blended and was heard, but not seen, thus surrounding the action 
 on the stage, but never becoming more important than the drama 
 itself. 
 
 While Wagner did not radically depart from the old established 
 rules of orchestration, his grouping and treatment of the instruments 
 was entirely new. His most radical changes were with the brasses. 
 The modern inventions of valves and pistons made possible the use 
 of valve trumpets and horns and the discarding of the ancient 
 orpheicleide for the tuba. 
 
 When Wagner's music sounds too "brassy" it is because it is 
 badly played. When properly interpreted, Wagner's use of the brass 
 choir is sonorous and always dignified. No one ever so well under- 
 stood the methods of the use of the percussion instruments. In a 
 word, Richard Wagner is our greatest master of sane orchestration 
 and brought our modern orchestra to its state of perfection. 
 
 ILLUSTRATIONS 
 
 31779 Prelude (From " Lohengrin ") (Wagner) La Scala Orchestra 
 
 62693 * Ride of Valkyries (Wagner) La Scala Orchestra 
 
 35246 Siegfried Death March (Wagner) Victor Concert Orchestra 
 
 HINTS FOR TEACHERS 
 
 Review with class what Wagner brought to the form of the music 
 drama and why his influence has been so strong over modern art. 
 
 * No. 62693 is a double-faced record and its other selection, Introduction to Act III, Lohen- 
 grin, may also be given if desired. 
 
 172
 
 The Orchestra 
 
 In presenting these illustrations be sure the students understand the 
 poetic significance of the Lohengrin "Prelude." 
 
 QUESTIONS 
 
 Which of these selections could be chosen as an example of poetic 
 thought? Which as program music? What is the method of 
 instrumentation used in the opening of the Prelude to "Lohengrin"? 
 What instruments give us the Grail theme in the fortissimo passage? 
 What instruments are most characteristically used in "Ride of the 
 Valkyries"? From what opera is this selection taken? When does 
 it occur in the opera? 
 
 L 
 
 esson 
 
 XXX 
 
 The Orchestra Since IVagner 
 
 While there have been many excellent examples of beautiful 
 combinations of tone color in the works of the masters who have fol- 
 lowed after Wagner, we find the most remarkable and startling orches- 
 tration given us by the two greatest mas- 
 ters of music to-day, Richard Strauss and 
 Claude Debussy, who are as extremely 
 opposite in their method of instrumenta- 
 tion as in their style of composition. Let 
 us consider first the great masters who 
 chronologically follow Wagner. 
 
 Brahms — the disciple of absolute 
 music of the modern German School, be- 
 lieved so strongly that the essence of mu- 
 sical invention was more important than 
 its method of expression, that we find his 
 works give us nothing new in instru- 
 mental development, though we feel his 
 strength and knowledge of the true beauties of the orchestra in every 
 measure of his music. Dvorak and Tschaikowsky, as do the other 
 writers of Slavonic countries, reflect the brilliancy and almost bar- 
 baric splendor of their native lands. 
 
 The Italian opera masters have used the orchestra more bril- 
 
 RICHARD STRAUSS 
 
 173
 
 The Orchestra 
 
 L. : 
 
 PETER ILYTSCH TSCHAIKOWSKY 
 
 liantly since the days of "Wagner, as have also the opera composers of 
 the French School. Franck, Bizet, Saint-Saens and D'Indy, of the 
 French Instrumental School, have all written for the orchestra in an 
 
 individual manner, but it remained for 
 their famous countryman, Claude De- 
 bussy, to carry out the extreme meth- 
 ods of painting in tone, which caused 
 him to be regarded as the most dis- 
 tinctive composer of the present day. 
 Debussy uses his orchestra as a medium 
 of impressionistic painting and his 
 tonal tints are so blended that form 
 and story are both lost in the wonder- 
 ful maze of color. One does not stop 
 to consider the individual use of this 
 or that instrument, one hears a sono- 
 rous blending of tone, just as one de- 
 lights in the mingling of color on the 
 canvas of the modern painter of the impressionistic school. 
 
 With Richard Strauss we meet with a genius who is the exact 
 opposite of Debussy. No one has ever possessed such accurate knowl- 
 edge of the possibilities of the modern instruments as has Richard 
 Strauss and he stops at nothing in the beautiful or hideous combina- 
 tions of tone he may desire to use. All of Strauss' music is program- 
 matic, and if he desires to portray disagreeable thoughts and ideas, 
 he does so quite as gladly as he would portray beauty. If he desires 
 to turn the orchestra into a flock of sheep, as he does in his tone poem 
 of "Don Quixote," he shatters all traditions by employing mutes for 
 the brasses; if he wishes to depict war, as in "Heldenleben," he uses 
 the full orchestra, fortissimo, playing in four different keys. As all 
 his works are in the form of program music, the tone poem being 
 his favorite medium of expression, Strauss secures his best effects by 
 extreme and highly-colored instrumentation. His themes are sub- 
 mitted to a kaleidoscopic treatment of tonal combination and his 
 climaxes are achieved by dynamic effects rather than thematic de- 
 velopment. Tn his operas, especially "Salome" and "Electra," he 
 has used the methods of Wagner regarding the characteristic use of 
 instruments, but all his works show an insatiable craving for hitherto 
 unknown instrumental combinations.
 
 The Orchestra 
 
 ILLUSTRATIONS 
 
 35275 Largo — New World Symphony (Dvorak) Victor Concert Orch. 
 88281 Air de Lia — " L'Enfant Prodigue " (Debussy) 
 
 Mme. Gerville-Reache 
 70050 Marche Slave (Tschaikowsky) Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 The tone poems of Debussy and Strauss are both too long for a 
 good arrangement on a Victor record to be possible. The methods 
 employed in the selections chosen are excellent, as they portray the ex- 
 treme contrast of these masters in presenting operatic accompaniments. 
 Have your pupils realize that we of to-day are too near to both De- 
 bussy and Strauss to realize their great importance. Remind the 
 class that all great composers have been severely criticized for using 
 any new or original thoughts. In "Marche Slave" point out the his- 
 tory of the composition itself and show how the use of bassoons and 
 horns depicts melancholy, while the oboe and clarinet reflect the happy 
 folk spirit, and the brasses at the end show the strength of patriotism 
 by their use of the National Russian Hymn. 
 
 QUESTIONS 
 
 In the first selection what instruments do we hear in opening 
 theme ? What instruments give us second subject ? What instruments 
 play the National Hymn at the end? 
 
 REVIEW AND EXAMINATIONS 
 
 For review it is suggested that a number of records previously 
 heard should be played, and that class should designate the instru- 
 ments and combinations which they now hear in each. Note-books 
 should count in the final marking, and for examination it is suggested 
 that in addition to the questions, pupils should designate the orches- 
 tration of at least two records previously heard. 
 
 175
 
 The Opera 
 
 COURSE IV 
 
 Preface 
 
 In tracing the growth of the opera, we shall find that it follows 
 very closely the original plan of the first music drama, which was pro- 
 duced in Florence at the end of the Renaissance; for in that early 
 work "Eurydice," are to be found all of those principles, which 
 Gluck, Beethoven, and "Wagner, each strove to give to the world, and 
 which have become, as Wagner prophesied they would become, "The 
 Music of the Future. ' ' In their attempt to give to the world a Greek 
 drama in its original setting, the Florentine scholars of 1600 estab- 
 lished this definite form, that music, drama and interpretation should 
 be of equal importance. Many changes came to their original form 
 before it was returned to us by Wagner, who added all that modern 
 science of musical expression could give. 
 
 Our Course has been divided into thirty lessons, during which 
 time we shall study the development of the Oratorio in relation to the 
 Opera. 
 
 I. What an Opera Is. 
 II. The Opera to the Time of Handel. 
 
 III. The Oratorio to Handel. 
 
 IV. The Reforms of Gluck. 
 V. The Operas of Mozart. 
 
 VI. The Oratorio After Handel. 
 VII. Beethoven. 
 VIII. The German Romantic Opera. 
 IX. The Oratorio During the Romantic Period. 
 X. The Opera at the Beginning of the Nineteenth Century. 
 XI. The French Grand Opera: (I) Bellini and Donizetti. 
 XII. The French Grand Opera: (II) Meyerbeer. 
 
 XIII. The Early Wagner. 
 
 XIV. Lohengrin. 
 
 XV. The Ring of the Nibelungen. 
 XVI. The Late Wagner. 
 XVII. The Rise of National Opera. 
 XVIII. The Light Opera in the Nineteenth Century. 
 
 176
 
 The Opera 
 
 XIX. The Opera in Germany Since Wagner. 
 XX. The Early Verdi. 
 XXI. The Late Verdi. 
 XXII. Opera in Italy Since Verdi. 
 
 XXIII. Puccini. 
 
 XXIV. The Opera in Italy To-day: Leoncavallo, Mascagni, Wolf- 
 
 Ferrari. 
 XXV. Gounod. 
 XXVI. Bizet. 
 XXVII. Massenet. 
 
 XXVIII. The Opera in France To-day. 
 XXIX. The Modern Oratorio. 
 XXX. The Opera in America. 
 
 Lesson I 
 
 What An Opera Is 
 
 We have learned to recognize the four principles of music — 
 nationality, formal content, poetic expression and program music ; 
 we have traced their development through the periods of musical his- 
 tory ; we have learned to recognize them as they appear in instrumental 
 music; this year we shall study their expression in the Opera and 
 Oratorio. 
 
 The Opera, our largest musical form, is a drama, set to music, 
 for solo voices, choruses and orchestra. It consists of: 
 
 Libretto.- — The versified story of the play. 
 
 Score. — The orchestral setting, which includes overture, entr'- 
 acte, choruses, concerted music and solos. 
 
 Overture. — The orchestral introduction to the opera. With 
 Wagner each act has its own introduction, which is called the Prelude. 
 
 Entr'acte. — The musical interlude between the acts, sometimes 
 called Intermezzo. 
 
 Chorus. — Either in parts or unison. 
 
 Concerted Music. — The duet, trio, quartet, quintet, sextet, etc. 
 
 Solo. — Either 
 
 Recitative, a tonal declamation or imitation of dramatic speech, or 
 
 Aria. — A song, either in two or three period form, with orches- 
 tral accompaniment. 
 
 177
 
 The Opera 
 
 ILLUSTRATIONS 
 
 88097 Una voce poco fa (" Barber of Seville ") (Rossini) Mme. Sembrich 
 64188 Hexenritt (Witch's Ride) ("Hansel and Gretel") 
 
 (Humperdinck) Albert Reiss 
 
 74275 Benediction of the Swords (" Les Huguenots") 
 
 (Meyerbeer) Journet, with Metropolitan Opera Chorus 
 
 60074 Intermezzo — Cavalleria Rusticana (Mascagni) 
 
 Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 The first two illustrations show the difference between music 
 written for vocal display and that which is purely descriptive of a 
 dramatic thought. One gives us an over-accented idea of the impor- 
 tance of vocal display; the other has sacrificed the voice for dramatic 
 expression. The last two are illustrations of concerted music and 
 the entr'acte. Have class tell what other examples of these forms 
 they have already heard. 
 
 QUESTIONS 
 
 To what school does Humperdinck belong? Mascagni? Which 
 of these selections illustrates virtuosity? Which program music? 
 Which is dramatic ? What quality of voice is used in the first — colora- 
 tura, lyric or dramatic soprano? In what number does the orchestra 
 aid in the thought interpretation ? Which is the strongest from a 
 dramatic point of view? Which form does each number represent? 
 
 CHORUSES 
 
 Over the Summer Sea (La donna e mobile, "Rigoletto") (Verdi). 
 Soldiers' Chorus, "Faust" (Gounod). 
 
 Lesson II 
 
 Opera to the Time of Handel 
 
 We found in our study of Mediaeval Music, that musical accom- 
 paniment was used in all the old mystery and miracle plays, and we 
 also noted its employment by the Troubadours, as a setting for their 
 pastoral operas, of which "Robin and Marion," by Adam de la Halle, 
 is the most famous example. But the form of the opera, which has 
 developed into the music drama of the modern day, was born in Flor- 
 as
 
 LEMVSICHE 
 
 Dl IACOPO PERI 
 
 NOBIL FIORCNTINO 
 
 Sopra L'Eundicc 
 DELS1G OTTAVIO RINVCC1NI 
 
 Rjpprcfcnutc Ncllo Spon&lizio 
 dcUiCriftianikinu 
 
 MARIA MEDICI 
 
 RECINA DI FRANCIA 
 E 01 NAVARUA 
 
 T he O p e r a 
 
 ence at the end of the Renaissance, through the efforts of the 
 Camerata. The first work, called "Dafne, " by Peri and Rinnuccini, 
 appeared in 1597, but as this work was lost, our first opera is in real- 
 ity, "Eurydice," which was written 
 by the same authors, for the marriage 
 of Henry IV and Maria de Medici in 
 1600. The fundamental principle on 
 which the first opera was founded, 
 was that music drama, and interpre- 
 tation were of equal importance. 
 With the birth of opera, music was 
 no longer confined to the contrapuntal 
 polyphony of the Church School, and 
 this accounts for the immediate popu- 
 larity of the new form. By the end 
 of the seventeenth century we find 
 many opera houses throughout Italy 
 and France. In Germany the center 
 of operatic activities were Vienna and 
 Hamburg,* but on account of the 
 Thirty Years' War, there was little 
 or no development of opera in Ger- 
 many. 
 
 In Italy, the three cities, where definite music schools had been 
 established in the previous century, each made contribution to the 
 form of opera; thus Rome perfected the choruses (here the oratorio 
 was born), while Naples developed bel canto, or the art of song; and 
 Venice brought the instrumental side of the opera, to its great devel- 
 opment. 
 
 The most important school was that of Venice, where the first 
 genius of opera appears, in Claudio Montevcrde (1567-1643). Monte- 
 verde in his first opera, "Orfeo," in 1607, gives us our first duet (hith- 
 erto each voice sang alone). In 1624 he introduced the violins into 
 his orchestra of "Tancred," using the tremulo to describe the agita- 
 tion during the duel scene, and the pizzicati to depict the sword 
 thrusts. 
 
 His pupil, Francesco Cavalli (1600-1676) perfected Monteverde's 
 style. He grouped several voices in duets, trios and quartets; the 
 
 * One of the earliest opera houses in Germany was that built in Bayreuth, the little town, 
 later made famous by the erection of the Wagner Festival Playhouse. 
 
 IN FIORENZA 
 
 APPRESSO GIORGIO MARFSCOTTI. 
 MDC- 
 
 EURYDICE 
 
 179
 
 : 
 
 '• • • .. 
 
 I 'ii:i:;i;r!t"i 
 
 . • • •• ' 
 
 FIRST PAGE, EURYDICE 
 
 The Opera 
 
 chorus becoming of secondary importance. Cavalli also introduced 
 into opera the comic element. Contemporaneous with Cavalli was 
 Giaeomo Carissimi (1604-1674), of Rome, who excelled in oratorio 
 
 and in the massing 
 ^ of c h o r a 1 effects. 
 His pupil, Marc An- 
 tonio Cesti (1620- 
 1669), brought into 
 the Venetian School, 
 the style of Caris- 
 simi 's Oratorio. But 
 the public now de- 
 manded their amuse- 
 ment, as in the time 
 of Cavalli, so Cesti 
 divided the opera 
 into two classes: 
 the Opera Seria and 
 the Opera Buffa. 
 Opera Seria was elaborately staged, many different scenes being 
 employed. Singers were given every opportunity for vocal display, 
 regardless of the dramatic effect. Great choruses were used, but 
 without dramatic reason. The orchestra became but an accompani- 
 ment and absurd dramatic situations were the result. 
 
 The Opera Buffa, or Opera Comique, retained more of the dra- 
 matic effect, but became frequently vulgar and common. In Naples 
 the form of Opera Seria became the most popular, as it gave a greater 
 chance to the singers for the display of vocal technique. 
 
 In these operas there were always six characters; three of each 
 sex, all lovers. Three acts were given, each terminating in an aria. 
 The same character must not have two airs in succession, and no air 
 must be followed by another of the same class. 
 
 The principal airs should conclude the first and second acts. The 
 second and third acts should each contain at least one duet for hero 
 and heroine, but no trios and concerted numbers were to be found, 
 except in Opera Buffa. 
 
 Alessandro Stradella (1645-1681) employed the methods of Caris- 
 simi in all his works, but the great importance of the Neapolitan 
 School, was due to the efforts of Alessandro Scarlatti (1659-1725), 
 
 180
 
 The Opera 
 
 who is the connecting link between the severe contrapuntal school, and 
 the free school of bel canto. With Scarlatti, melody becomes more 
 fluent and graceful, and arias take the definite form of recitative and 
 aria, the recitative being given with or- 
 chestral accompaniment. Scarlatti also 
 used the form of the overture, but 
 inverted the form of Lully, of France. 
 (See Lesson XXV, Course III.) 
 
 In England the influence of the opera 
 made itself first felt in the music for the 
 masques, which were written by William 
 and Henry Lawes, Pelham Humphrey, 
 and others. Many of these men studied 
 under Lully, of France — and we owe to 
 the French School also the form employed 
 by Henry Purcell (1658-1695), the great- 
 est of the early English Opera writers. 
 Purcell stood alone as a composer of 
 
 English Opera, for with the advent of George Frederic Handel, Italian 
 Opera takes the position of supreme importance in England, as well 
 as France. Handel's early operas were written for Hamburg, but 
 in 1706 he went to Italy and there became imbued with the style of 
 the Italian School. Most of Handel's greatest works in the form of 
 opera were written for the English public, as he made his home in 
 England from 1710 until his death, 1753. Handel wrote forty-two 
 operas, but, in spite of their many beauties, they have long since 
 been banished from the stage. Handel was a genius, who was content 
 to employ existing forms, which he frequently brought to perfection, 
 but he never advanced any form of musical art except the oratorio. 
 Opera in his day consisted of a string of recitatives and arias with 
 an occasional duet or a chorus to bring down the curtain at the end 
 of each act. While Handel's genius infused rare beauty in many 
 of his arias, there was no chance for true dramatic expression. 
 
 HENRY PURCELL 
 
 ILLUSTRATIONS 
 
 74155 Largo ("Xerxes") (Handel) 
 
 88068 Sweet Bird (" II Pensieroso ") (Handel) 
 
 88189 My Tears Shall Flow (" Rinaldo " 
 
 Charles Gilibert 
 Mme. Melba 
 
 (Handel) 
 
 Mme. Schumann-Heinle 
 
 181
 
 The Ope r a 
 
 HINTS FOR TEACHERS 
 
 These illustrations show the style of aria in use at Handel's day. 
 We have learned to associate the Largo with the expression of reli- 
 gious feeling, yet we find it here used as an aria sung to a tree. In 
 the soprano aria, Handel used the flute to imitate the song of a bird, 
 yet it is also intended as an opportunity for the voice to show its 
 technical achievements. 
 
 QUESTIONS 
 What feelings does the first selection inspire in your mind, reli- 
 gious or secular? What does the second? The third? Which is the 
 best example of bel canto? Which expresses poetic tonal feeling? 
 Which is imitative music ? 
 
 CHORUSES 
 
 Largo, "Xerxes" (Handel). 
 
 Haste Thee, Nymphs, "L 'Allegro" (Handel). 
 
 Lesson III 
 
 The Oratorio to Handel 
 
 Oratorio was born in Rome at the end of the sixteenth century. 
 In the church of St. Maria Vallicelli, the pious priest, St. Philip 
 Neri, used to call to his oratory, once every week, the young people 
 of his congregation ; there, in his tiny room, they enacted scenes from 
 the Bible. Finding that music, which had always been used with the 
 old miracle plays, would be a further inspiration to his young actors, 
 St. Philip asked the aid of some of the Church composers of Pales- 
 trina's School in Rome, and the "Society of Oratorians" was the 
 result. The first work to be definitely termed oratorio has the title 
 "The Life After Death." Its composer, Emilio del Cavalieri, died 
 before its presentation in 1660 (the year "Eurydice" was given to 
 the world), but he left explicit directions as to the production of his 
 work, which show that his principles were identical with those of the 
 Camerata of Florence. 
 
 The first great master of oratorio was Giacomo Carissimi (1604- 
 1684), of the Roman School. He left more than fifteen oratorios and 
 many masses and other sacred works. Before the time of Carissimi 
 
 182
 
 The Ope r a 
 
 the only difference between opera and oratorio lay in the fact, that 
 opera was secular, while oratorio was religious in text. Both were 
 given with scenery and costumes, and as there was not much dra- 
 matic action in the opera, there was little or no difference in the two 
 forms. Carissimi set aside the idea of theatrical presentation and 
 introduced into oratorio, besides the actual characters, the "Nar- 
 rator," who set forth the dramatic happenings in his recitations. 
 Carissimi 's oratorios were always short, and adhered to actual Bibli- 
 cal history, for he never used his works to glorify any Church saint, 
 as other composers had done. Carissimi also developed the cantata, 
 a shorter dramatic form, for the employment of vocal recitatives and 
 arias, and wrote both secular and religious cantatas. Carissimi stands 
 with Monteverdi as the most important genius in Italy in the seven- 
 teenth century. 
 
 In Germany the oratorio becomes the vocal form of the day, as 
 the expense of opera production, made the music drama an impossi- 
 bility. It is but natural that the oratorio in Germany should be 
 divided into the music used in the Catholic Church and that employed 
 by the Lutherans. The German master who must be remembered as 
 the dominating figure of this period is Heinrich Schiitz (1585-1672), 
 who, although trained in Italy, was essentially German in his serious 
 aspect toward art. Schiitz paved the way in church music for the 
 advent of the great Bach. In his German oratorios one finds a form 
 far removed from the opera, but which is suitable for religious con- 
 certs, and for use in church. Schiitz uses the "Narrator" as an 
 important personage in his works and also employs chorales, as if 
 they were the voice of the audience. He developed the form known 
 as Passion Music, that is, the musical setting of the narratives of the 
 Gospels, regarding the Passion of Christ. Schiitz is also said to have 
 written a German "Singspiel" on the original libretto of "Dafne," 
 but as this was lost, it is of little or no significance on later German 
 operatic development. 
 
 In France we find very little interest in oratorio, the masses of 
 the French Catholic Church being the favorite forms of religious 
 expression in music. 
 
 In England, the Italian oratorio form was introduced by Handel, 
 who established the popularity of the work by decreeing it to be a 
 concert form not confined to the church service. But between the 
 operas and oratorios of Handel there is little dramatic difference. 
 
 183
 
 GEORGE FREDERIC HANDEL 
 
 The Opera 
 
 The chief musical difference lies in the marvelous choruses which 
 Handel employed in his oratorios, and which give us our best idea 
 of his great contrapuntal skill. His joining of the recitative and aria 
 
 resulted in a type for English ora- 
 torio, which lias caused Handel's 
 works in this form to live after his 
 operas have become obsolete. When 
 the "Messiah," Handel's greatest 
 oratorio, was produced, at a concert 
 in Dublin, the ladies were requested 
 to come without their hoops and the 
 gentlemen without their swords, that 
 there might be more room in the hall. 
 This gives us an idea of Handel's 
 popularity, but it also points a 
 marked contrast between the oratorios 
 of Handel and those of Bach, whose 
 works all bear the inscription, "To 
 the Glory of God Alone," and were 
 in reality written only for the Church service, and never for the 
 concert hall. 
 
 In Bach's day the organist and choir director was obliged to 
 write new music for each church service, so we have a great number 
 of truly religious w y orks from Bach. These are in the form of the 
 Passion Music (Bach gave us four settings, taken from the four 
 Apostles), Church Oratorios (of which "The Christmas Oratorio" 
 is the most famous), and Church Cantatas, which were sung between 
 the parts of the service. 
 
 ILLUSTRATIONS 
 85103 He Shall Feed His Flock ("Messiah") (Handel) Louise Homer 
 74126 Recitative and Air, Behold and See ("Messiah") (Handel) 
 
 ' Evan Williams 
 
 31770 Hallelujah Chorus ("Messiah") (Handel) 
 
 Victor Chorus with Sousa's Band 
 
 HINTS FOR STUDY 
 
 In presenting Handel's "Messiah" to your class, outline the pas- 
 sages from the Bible that Handel has used for his text. If time 
 makes it possible, give as illustration also the aria, "And the Trumpet 
 Shall Sound," which we heard in Course III. 
 
 184
 
 The O p e r 
 
 QUESTIONS 
 What voice sings the first selection — mezzo-soprano or contralto? 
 "What voice sings the second ? The third ? How is the orchestra em- 
 ployed in these selections? Are these selections illustrative of poetic 
 tonal quality, or of program music ? 
 
 CHORUSES 
 
 And the Glory of the Lord, "Messiah" (Handel). 
 Hallelujah Chorus, "Messiah" (Handel). 
 
 
 L 
 
 esson 
 
 IV 
 
 The Reforms of Gluck 
 
 The first French Opera was produced in 1659, and was the work 
 of Pietro Perrin ( -1675), but we find no definite School of Opera 
 established in France, until the advent of Giovanni Lully (1633-1687). 
 Lully was an Italian, who went to Paris in the suite of the Duke of 
 Guise, and he held for many years the exclusive right to produce opera 
 in France. Most of the Lully works 
 were musical settings for the plays of 
 Moliere: in these he attempted to 
 follow the text and adapted the music 
 to the words, but employed no airs, 
 duets, or adornments to aid him in 
 his musical delineation. Lully en- 
 larged the overture into the form 
 known as Lully Overture. (See Les- 
 son XXV, Course III.) 
 
 Jean Phillippe Rameau (1683- 
 1764) carried on Lully 's traditions, 
 but as he had a much greater knowl- 
 edge of the technical side of his art, 
 he gave a richer and more original 
 method of treatment to the orchestra, 
 introducing new and original effects. But Rameau 's great importance 
 lies, in the influence, which his music exerted over Christoph Willibald 
 Gluck (1714-1787), the first great reformer of the Music Drama. 
 
 JEAN PHILIPPE RAMEAU 
 
 185
 
 CHRISTOPHER WILLIBALD CLUCK 
 
 i h e Ope r a 
 
 Gluck was born in Austria near Vienna, but his first study of 
 operatic forms was in Italy. After the production of several con- 
 ventional Italian operas had brought him considerable fame, he 
 
 made his way to England, where Handel 
 was then in the zenith of his power. But 
 realizing the need for further study, and 
 feeling dissatisfied with existing opera condi- 
 tions, Gluck visited Paris, and was much im- 
 pressed with the works of Rameau. Return- 
 ing to Vienna, he once more pursued his 
 serious studies with the constant thought in 
 mind, that a closer relationship of music, 
 and drama must be re-established. In 1764 
 "Orfeo," in which he worked out his many 
 theories, was produced ; but it was not until 
 1767, when "Alceste" was given to the 
 world, that the principles of the music drama, were boldly proclaimed. 
 In the preface to his ' ' Alceste ' ' Gluck avows these principles, as being 
 the fundamental ideas on which the music drama was originally built, 
 and declares them to be the foundation for all opera to come. 
 
 "When I undertook to compose the music for 'Alceste,' my 
 intention was to rid it of all those abuses which, introduced either 
 through the mistaken vanity of singers, or the over-indulgence of com- 
 posers, have so long disfigured Italian Opera, and turned the finest 
 and most pompous spectacle, into the most ridiculous and tedious. 
 I wished to reduce music to its true function, which is to second poetry 
 in expressing the emotions and situations of the play, without inter- 
 rupting the action nor chilling, it with the useless and superfluous 
 ornaments. I accordingly, have wished, neither to stop an actor, 
 where the dialogue is at its warmest, in order to let the orchestra 
 play a tedious ritornello, nor to hold him back on a favorite vowel, 
 in the middle of a word, that he may either show off the agility of 
 his fine voice in a long roulade, or wait for the orchestra to give 
 him time to take breath for a cadenza. I have deemed that the over- 
 ture ought to apprize the spectator of the action to be represented, 
 and, so to speak, constitute itself the argument; that the co-operation 
 of the instruments should be determined proportionately to the inter- 
 est and passion of a scene, and that no sharp contrast between air and 
 recitative should be left in the dialogue, so as not to stunt the period 
 
 186
 
 The Opera 
 
 out of all reason, nor inappropriately interrupt the vigor and warmth 
 of the action. I have believed, furthermore, that my greatest efforts 
 should be reduced to seeking for a beautiful simplicity, and have 
 avoided making a display of difficulties, to the prejudice of clearness: 
 the discovery of a novelty has not semed admirable in my eyes, except 
 in so far as it was naturally suggested by the situation, or helpful to 
 the expression : and there is no rule of form which I have not thought 
 best ivillingly to sacrifice to the effect. These are my principles." 
 
 ILLUSTRATIONS 
 
 74249 Nightingale's Passion Song (Rameau) Mme. Gluck 
 
 88286 Fatal divinita— Ye Gods of Fate ("Alceste") (Gluck) 
 
 Mme. Homer 
 88091 I Have Lost my Eurydice ("Orfeo") (Gluck) 
 
 Mme. Schumann-Heink 
 
 HINTS FOR TEACHERS 
 Notice the use of classical subject matter in Gluck 's librettos. 
 The use of the contralto voice should be observed.* Students should 
 also note the use of the orchestra in the accompaniment. 
 
 QUESTIONS 
 
 Which voice sings the first selection? The second? The third? 
 Which is an example of poetic thought? Which is imitative music? 
 
 CHORUSES 
 
 Lift Up Your Heads (Gluck). 
 See, What Grace (Gluck). 
 The Broken Ring (Gluck). 
 
 Lesson V 
 
 The Operas of Mozart 
 
 We have already studied the interesting experiences of the youth- 
 ful prodigy of music, Wolfgang Amadeus Mozart (1756-1791), in the 
 domain of the purely instrumental music ; we shall now see how great 
 was his influence on opera. 
 
 * Gluck was very partial to the contralto voice. Note that it is here used to portray the 
 character of a man, Orpheus. 
 
 187
 
 The Opera 
 
 It must be remembered that Mozart was influenced, at the courts 
 of Salzburg and Vienna, by the Italian Opera of the day, and it was 
 not until his visit to Paris in 1778 that he became acquainted with 
 
 the reforms of Gluck, and learned 
 to know the true possibilities of 
 the music drama. Mozart's early 
 operas before this period, are 
 rarely given, his first great work 
 after his return to Germany be- 
 ing "Idomeneo," which was pro- 
 duced in 1781. This opera was 
 modeled after a French work on 
 the same subject, but the music is, 
 for the most part, purely Italian 
 in form. There is one important 
 point in this work, however, which 
 must be noted. For the first time 
 the chorus becomes a part of the 
 action on the stage and is no 
 longer retained as a passive spec- 
 tator to the scene. The orches- 
 tration of ' ' Idomeneo ' ' is superior 
 to any we have yet found in opera. 
 Mozart's next opera, "Die Entfiihrung aus dem Serail" ("The 
 Elopement from the Serail"), was produced in 1782, and followed the 
 old German form, of his early works. With his famous work, "Le 
 Nozze di Figaro" ("The Marriage of Figaro") (1786), Mozart 
 shows us his rarest dramatic genius, for this charming comedy adapts 
 itself wonderfully to the form of Opera Buff a which Mozart chose 
 as its medium of expression. 
 
 In his next work, "Don Giovanni" (French "Don Juan"), which 
 was produced in Prague in 1787, we find that the extremely compli- 
 cated libretto has been so wonderfully adapted by Mozart, that "Don 
 Giovanni" will ever be regarded as one of the few immortal musical 
 works in the old form of opera. 
 
 Of "Cosi fan Tutti" (1790) and "La Clemenza di Tito" (1791) 
 little need be said, both were hurriedly written and do not show the 
 strength of Mozart's genius as do the works which have been men- 
 tioned. 
 
 WOLFGANG AMADEUS MOZART 
 
 188
 
 The Opera 
 
 Mozart's last opera, "Die Zauberflote," was produced a month 
 later than "Clemenza di Tito," but was really written previously. 
 Mozart attempted to defend the dramatic absurdities and impossibili- 
 ties of "The Magic Flute," by giving the world to understand that 
 it was full of allegorical significance in the struggle and triumph of 
 Free Masonry. While this is not easy to credit and the dramatic 
 inanities of "The Magic Flute" still must be acknowledged; the fact 
 remains that Mozart never gave us any greater example of his con- 
 summate dramatic gift than in the music written for this work. As 
 Jahn so aptly expresses it, " If in his Italian operas Mozart assimilated 
 the traditions of a long period of development and in some sense put 
 the finishing stroke to it, with 'Die Zauberflote' he treads on the 
 threshold of the future and unlocks for his countrymen the sacred 
 treasure of national art. " 
 
 ILLUSTRATIONS 
 
 88067 Voi che sapete ("The Marriage of Figaro ") Mme. Melba 
 
 64163 A Bird Catcher am I ("The Magic Flute ") Otto Goritz 
 
 85042 Invocation (" The Magic Flute ") Pol Plancon 
 
 89015 Duet — La ci darem la mano (" Don Giovanni ") Farrar and Scotti 
 
 HINTS FOR STUDY 
 
 These selections show three phases of the opera of Mozart's day. 
 The second is in a form copied from the Opera Buffa which is known as 
 a "Patter Song." This always served to introduce the actor and to 
 tell his business. Here Papageno sings of his profession, that of 
 "Bird Catcher." This style always possessed a comic element. In 
 the third, the Invocation, we have an example of the deep basso pro- 
 fundo which was a favorite voice at the time of Mozart. In the first 
 a beautiful example of the coloratura style of bel canto, in which 
 Mozart excelled. Note the same type in the duet from "Don 
 Giovanni." 
 
 QUESTIONS 
 
 Which illustration was sung by baritone? Which by basso? 
 What quality of soprano was noticeable in the first? Which one of 
 these arias is descriptive ? Does the orchestra aid in this description ? 
 
 CHORUSES 
 
 0, Isis and Osiris (Lovely Peace), ("Magic Flute"). (Mozart.) 
 Away With Melancholy (Such Chimes Melodious, "Magic 
 Flute"). (Mozart.) 
 
 189
 
 The Opera 
 
 I Am a Fowler, "Magic Flute" (Mozart). 
 
 The Blacksmith, "Marriage of Figaro" (Mozart). 
 
 Who Treads the Path of Duty (Mozart). 
 
 Lesson VI 
 
 Oratorio After Handel 
 
 We found that at the time of Handel, the most popular forms 
 of sacred music were: 
 
 ITALY, FRANCE AND ENGLAND. 
 
 The Oratorio A Concert Form. 
 
 The Mass A Church Form. 
 
 GERMANY. 
 
 Passion Music | 
 
 Church Cantatas \ All for Church Service. 
 
 Oratorios J 
 
 The greatest interest in the oratorio was found in England, 
 and it was there that Handel's greater works were written and pro- 
 duced on the concert stage. In Germany the works of Bach were all 
 actually intended for church service. 
 
 At the time of Haydn and Mozart the interest in opera, reawak- 
 ened by Gluck's endeavors, had spread through Italy, France and 
 England, while the new instrumental forms, which Haydn crys- 
 tallized, were occupying the attention of the musical minds of Ger- 
 many and Austria. Haydn's greatest works were his quartets and 
 symphonies. He left a number of operas which are obsolete, a few 
 simple songs, and a number of masses, still sung in the Catholic 
 Church. But his greatest vocal efforts were his two oratorios, "The 
 Creation" and "The Seasons." These were written late in Haydn's 
 career, after his visits to England, and reflect very decidedly the 
 influence of Handel. Haydn made a strong point of the use of 
 his instruments in connection with these works, and his choruses 
 are most effective. 
 
 Mozart, we have foimd, wrote in all forms, and his masses which 
 are in the same style as his operas, are very popular in the Catholic 
 Church to-day. His last great work was in the form of a mass, which 
 is considered his greatest choral composition. 
 
 190
 
 The Opera 
 
 Beethoven left one remarkable oratorio called "The Mount of 
 Olives," but this work and his "Missa Solennis in D" are both concert 
 works rather than compositions for church service. Beethoven's 
 greatest writing for the chorus is found in the Finale of the "Ninth 
 Symphony. ' ' 
 
 ILLUSTRATIONS 
 60055 With Verdure Clad ("The Creation ") Lucy Marsh 
 
 74250 In Native Worth (" The Creation ") George Hamlin 
 
 31589 Gloria from Twelfth Mass (Mozart) Lyric Quartet 
 
 HINTS FOR TEACHERS 
 Point out the difference in the attitude of the Catholic and Lu- 
 theran Churches toward music. The use of the choruses of the con- 
 gregation in the Lutheran Church. Remember that the influence of 
 the Court of Vienna was Catholic. Explain the difference between 
 oratorio and mass. Review Haydn's influence on development of 
 orchestra, Lesson XXVI, Course III. 
 
 QUESTIONS 
 What voice sang the first selection? What quality of soprano is 
 used? What voice sang the second? Did the orchestra accompani- 
 ment contribute? In what language were masses written? 
 
 CHORUSES 
 Gloria, "Twelfth Mass" (Mozart). 
 The Heavens Are Telling, "Creation" (Haydn). 
 With Verdure Clad, " Creation " (Aria). (Haydn.) 
 With Joy the Impatient Husbandman, "The Seasons" (Haydn). 
 Ode to Joy, "Ninth Symphony" (Beethoven). 
 
 Lesson VII 
 
 Beethoven 
 In considering Beethoven in relation to the development of the 
 modern music drama, we must realize that Beethoven lived at a period 
 when superficial display, especially as manifested at the Court of 
 Vienna, brought little or no realization of the true artistic worth of 
 any art. 
 
 191
 
 T he Op e r a
 
 The Opera 
 
 In the purely instrumental forms it was easier for Beethoven's 
 true greatness to stand revealed, for there was practically no stand- 
 ard for comparison, but with the opera, the Viennese public had be- 
 come familiar with the saccharine sweetness of the Italian School, 
 and refused to accept any dramatic work, which did not consider the 
 singer of greater importance than the music, or the story. 
 
 Beethoven made but one attempt at dramatic composition, choos- 
 ing for his subject an old Spanish tale, which had been popular in 
 France, and which was known as "Leonore." This work appeared 
 first in Vienna in 1805 during the French occupation. It was hardly 
 an auspicious time for the presentation of a work, in which "sim- 
 plicity and truth" were once more acknowledged as "the sole princi- 
 ples of art." "Leonore" was a failure and was withdrawn after but 
 three performances. The following year the work was rewritten with 
 a new overture and presented twice. In 1814 Beethoven again re-wrote 
 the work and under the title of "Fidelio" it was received with 
 moderate success. "Fidelio" was the second opera after "Magic 
 Flute" to be written in the form of the "Singspiel," that is, with 
 spoken dialogue. Although the work was not accepted by the music- 
 lovers of Beethoven's day, "Fidelio" is without question the great- 
 est German opera from Mozart to von Weber. But it is in the music 
 alone that "Fidelio" is great, for the libretto is weak, and there- 
 fore the opera is not a perfect type of music drama, for the unity 
 between music and poetry does not exist. The true dramatic great- 
 ness of "Fidelio" is felt the strongest in the second overture written 
 for the work, which we know as "Leonore No. 3." Beethoven wrote 
 three "Leonore" overtures and one "Fidelio" overture. The great- 
 est is the "Leonore No. 3," which was written for the second per- 
 formance of the opera in 1806. 
 
 35268 
 
 ILLUSTRATIONS 
 
 Leonore Overture, No. 3 (Part I) ("Fidelio") Victor Concert Orch 
 
 Leonore Overture, No. 3 (Part II) ("Fidelio") Victor Concert Orch 
 
 35269' Leonore Overture, No. 3 (Part III) ("Fidelio") Vessella's Band 
 
 \ Adagio from Fourth Symphony Vessella's Band 
 
 64165 Fateful Moment ("Fidelio") Otto Goritz 
 
 35245 Chorus of Prisoners ("Fidelio") Victor Male Chorus 
 
 HINTS FOR TEACHERS 
 
 In presenting Beethoven as an opera composer, review briefly the 
 previous lessons on Beethoven in Courses II and III, and note the 
 
 193
 
 The Opera 
 
 period in which he lived. The story of "Fidelio" can be told and a 
 strong point made of the dramatic moment when the trumpet call 
 outside announces the arrival of the Governor. That is a principle 
 which Wagner accents in his music drama as "Making the audience 
 a part of the being. ' ' 
 
 QUESTIONS 
 What voice sang the first selection? In what manner is this aria 
 written? Is it program music or poetic in character? What instru- 
 mental effects do you particularly notice? 
 
 CHORUSES 
 
 The Gypsies' Song (Beethoven). 
 Serenade from "Fidelio. " 
 Morning Hymn (Beethoven). 
 The Skies Resound (Beethoven). 
 
 L 
 
 ess on 
 
 VIII 
 
 German ''Romantic Opera 
 
 The true founder of the German Romantic Opera was Carl Maria 
 von Weber (1786-1826), who, with the great opera, "Der Freischutz," 
 gave the German people their first national opera. This work, 
 produced in 1821, in Berlin, is based on a German folk-tale, and Ger- 
 man folk-music was used by von Weber 
 throughout the work, which was sung in 
 the German tongue, by German singers. 
 
 Von Weber's musical education was 
 pursued in Vienna under Michael Haydn 
 and the great Abbe Vogler, who, it is said, 
 first called his pupil's attention to the pos- 
 sibilities of German folk-music. His early 
 operas were not successful, but with "Der 
 Freischutz" he became the acknowledged 
 leader of German Romanticism. With 
 "Euryanthe" (1823), his next work, he 
 was not as fortunate, for the libretto by 
 Wilhelmina von Chezy is as absurd as the 
 effort she produced for Schubert's "Rosa-
 
 The Opera 
 
 munde. " Von Weber's last work was "Oberon," produced in Eng- 
 land in 1826, shortly before the death of the composer. With 
 "Oberon" von Weber opened up the realms of fairyland, and made 
 possible the later musical pictures of gnomes and elves. 
 
 The Romantic Opera of von 
 Weber is the connecting link be- 
 tween the old "Singspiel" and 
 the German Music Drama of Wag- 
 ner. As it was a union of the 
 supernatural with events of every- 
 day, it was drawn from modern 
 folk life as well as from mediaeval 
 legend. It thus combined the 
 national, the comic and the real- 
 istic, with the purely imaginative. 
 
 The two great contempora- 
 ries of von Weber in Germany 
 were Spohr and Marschner. 
 
 Ludwig Spohr (1784-1859) 
 was a great violinist as well as 
 opera composer. His misfortune 
 was that his works were so over- 
 shadowed by von Weber's greater 
 genius, that we do not give Spohr the credit due him for his excellent 
 operas of "Faust" (1818) and "Jessonda" (1823). Spohr 's most 
 remarkable work was done in the writing of his overtures and the 
 masterly accompaniments to his arias. He possessed the imagination 
 but not sufficient freedom of expression to make any advance from the 
 old set forms of opera. 
 
 Heinrich Marschner (1795-1861) was a genius more nearly resem- 
 bling von Weber, for he possessed a skill in depicting folk simplicity, 
 as well as the weird and supernatural. His dramatic judgment was 
 always sound and his orchestral resources were remarkable. His 
 greatest works were "Der Vampyr" (1828) and "Hans Heiling" 
 (1833), operas which are still very popular on the German stage. 
 
 STATUE OF VON WEBER IN DRESDEN 
 
 ILLUSTRATIONS 
 
 62636-^ ^ a -* Overture (" Der Freischiitz ") 
 
 \ (b) Prayer of Agatha (" Der Freischiitz") 
 74244 Through the Forest (" Der Freischiitz ") 
 64236 Caspar's Air (" Der Freischiitz ") 
 
 La Scala Orchestra 
 
 Emilia Corsi 
 
 Daniel Beddoe 
 
 Marcel Journet 
 
 195
 
 The Opera 
 
 HINTS FOR TEACHERS 
 
 Give synopsis of story of " Freischutz. " This legend of the re- 
 deeming love of woman, is fundamentally the same as "Don Juan." 
 "Manfred," "Faust." Show how these selections are of dramatic 
 importance. 
 
 QUESTIONS 
 
 What instrumental effect is noticeable in opening of the over- 
 ture? With what instrumental effect does von Weber describe the 
 magic of the "Wolf's Glen" in the overture? Which quality of 
 soprano is heard in the Prayer? What voice sings the third? 
 
 CHORUSES 
 
 Hunting Song, "Freischutz" (von Weber). 
 Boat Song, "Oberon" (von Weber). 
 
 HYMNS 
 
 Seymour, (von Weber). 
 
 My Jesus, As Thou Wilt (von Weber). 
 
 Come, Ye Disconsolate (von Weber). 
 
 Lesson IX 
 
 The Oratorio "During the Romantic Period 
 
 One of the greatest elements in the rise of the Romantic School in 
 Germany, was the discovery of the Bach manuscripts in Leipsic in 
 1828. The Bach Society, of which Schumann and Mendelssohn were 
 eager members, gave to the world the greatest works of Bach's, many 
 of which had remained lost to the world since the day of their com- 
 poser. The interest in the production of Bach's "St. Matthew's Pas- 
 sion," in 1828, led Mendelssohn to seriously study Bach's greatest 
 sacred works. The popularity of the gifted young German composer 
 and conductor spread through Europe to England, and during his 
 visits to London Mendelssohn became imbued with a love for Handel's 
 oratorios, which had been, for a hundred years, the favorite concert 
 works of England. It is but natural that in his oratorios, Mendels- 
 sohn should have combined his enthusiasm for both Handel and Bach. 
 
 196
 
 The Opera 
 
 In his chorales and contrapuntal choruses, the spirit of Bach is 
 reflected, while in the general form of oratorio for concert produc- 
 tion, the genius of Handel is openly copied by Mendelssohn in both 
 "St. Paul" and "Elijah." In "The Hymn of Praise," Mendelssohn 
 follows the ideas of Beethoven's choral Finale of the Ninth Sym- 
 phony. Mendelssohn shows his own individuality in the characteriza- 
 tion of his orchestration, and in his fluent melodic solo numbers. No 
 such oratorios have been given to the world since Handel. 
 
 Schumann wrote no oratorios, but left several masses which are, 
 however, rarely given. His best choral work was "Paradise and the 
 Peri," a cantata. 
 
 In the French Romantic School we find Berlioz constantly using 
 the forces of a chorus, in connection with his orchestral works. His 
 masses are still used, but his oratorio, "The Infancy of Christ," has 
 been rarely heard outside of France. 
 
 Franz Liszt left two masses and two oratorios, "Holy Eliza- 
 beth" and "Christus," being strong dramatic works which are sup- 
 ported by the highly-colored orchestrations of this gifted composer. 
 
 Several of the Grand Opera writers left oratorios, masses and so- 
 called religious works, although they hardly are to be distinguished 
 from their operas in character. Of these the most notable example is 
 Rossini's "Stabat Mater,'' a setting of the most sacred text of the 
 Church service, to the identical music Rossini would have used for 
 any of his operas. 
 
 The greatest truly religious works of the Romantic School were 
 Mendelssohn oratorios, "St. Paul" and "Elijah." 
 
 ILLUSTRATIONS 
 
 70037 Inflammatus— " Stabat Mater " (Rossini) 
 
 Lucy Marsh and Victor Chorus 
 74093 Cujus Animam — " Stabat Mater " (Rossini) Evan Williams 
 
 88191 But the Lord is Mindful of His Own—" St. Paul " (Mendelssohn) 
 
 Mme. Schumann-Heink 
 74088 If With All Your Hearts— " Elijah " (Mendelssohn) Evan Williams 
 74082 It is Enough — "Elijah" (Mendelssohn) Herbert Witherspoon 
 
 HINTS FOR STUDY 
 
 As we have already heard the records from "St. Paul" and 
 "Elijah," it is suggested that a comparative study be made between 
 the religious expression of "Elijah," and the operatic character of 
 "Stabat Mater." 
 
 197
 
 The Opera 
 
 Two arias by the same singer have been chosen, that the class 
 may more clearly feel that it is the music, not the interpreter, which 
 makes the great difference in the character of these works. The tenor 
 selections from both "Elijah" and "Stabat Mater" are of the same 
 poetic character, but note how differently they are expressed in the 
 music. A very strong point should be made here of the difference 
 between religious and secular feeling. No questions are necessary. 
 
 CHORUSES 
 Baal, We Cry to Thee, "Elijah'' (Mendelssohn). 
 How Lovely Are the Messengers, "St. Paul" (Mendelssohn). 
 Lord God of Abraham, "Elijah" (Mendelssohn). 
 He. Watching Over Israel, "Elijah" (Mendelssohn). 
 Lift Thine Eyes. "Elijah" (Mendelssohn). 
 
 Lesson X 
 
 Opera at the beginning of the Nineteenth Century 
 
 Although Gluck's interest w r as chiefly centered in the form of 
 Opera Seria, we find many excellent composers using the form of 
 Opera Buffa even before the time of Gluck, and it is interesting to 
 note that much greater care was taken in the development of instru- 
 mental forms in the Opera Buffa than in the Opera Seria. The over- 
 ture to the Opera Buffa was a collection of the most pleasing airs 
 from the opera. It was not modeled on either the Lully or Scarlatti 
 pattern (see Lesson XXV, Course III), being what we know to-day 
 as the Italian Potpourri Overture. But in the entr'actes and dances, 
 great interest was taken, which in France, led to the establishment 
 of the ballet. 
 
 The names particularly to be remembered in the Opera Buffa 
 School are: 
 
 Giovanni Pergolesi (1710-1736). Wrote an epoch-making 
 
 work in "La Serva Padrona." 
 
 Niccolo Logroscino (1700-1763). Inventor of "Concerted 
 
 Finale." 
 
 Niccolo Jomelli (1714-1774). 
 
 Baldassare Galuppi (1706-1785). Called "Father of Opera 
 
 Buffa."
 
 The Opera 
 
 Niccolo Piecini (1728-1800). The rival of Gluck for Pari- 
 sian favor. 
 
 Giovanni Paisiello (1741-1816). 
 Domenico Cimarosa (1748-1801). 
 The Gluck traditions required that all Grand Operas should be 
 written in five acts, with ballets in the second and fourth, and con- 
 certed numbers at certain definite places. Only a great genius could 
 show his own individuality and employ* such an arbitrary form. 
 
 There are but two worthy of mention as followers of Gluck, in 
 France : 
 
 Antonio Salieri (1750-1825). Lived in Vienna during 
 French Revolution and was the teacher of both Beethoven and 
 Schubert. 
 
 Etienne Henri Mehul (1763-1817). His greatest works were 
 Biblical operas, which were original and effective. 
 The greatest genius of this period was Luigi Cherubini (1760- 
 1842), who, although a Florentine, was identified with the French 
 School. He was the first Director of the Paris Conservatoire; during 
 his long life there, he saw not only the close of the Classic School, the 
 rise and development of the Romantic School, but also the dawn of a 
 
 Modern Era. In all his works the 
 extreme formality of Cherubini 's 
 style overbalances the beauty of 
 melody. 
 
 Also closely identified with the 
 Paris School was another Italian, 
 Gasparo Spontini (1774-1851) 
 whose "La Vestale" (1807) and 
 "Ferdinand Cortez" (1809) ex- 
 erted a great influence on both 
 Meyerbeer and the early Wagner. 
 The most popular opera com- 
 poser of the day was Gioachino Ros- 
 sini (1792-1868), who established 
 his reputation as a composer of 
 Opera Seria when he wrote "Tan- 
 credi" in 1813. (This was the year 
 Wagner and Verdi were born.) Two years later, he became known 
 as the composer of the most popular Opera Buffa of the day, "The 
 
 GIOACHINO ROSSINI 
 
 199
 
 The Opera 
 
 Barber of Seville.'' This work is still regarded as Rossini's greatest 
 musical gift to the world, although "William Tell" should be ranked 
 as Rossini's best effort in the style of the Grand Opera. This work is 
 the most serious of any of Rossini's operas, and is a very remarkable 
 musical setting of Schiller's historic tragedy. "William Tell" was 
 written for the Paris Grand Opera, and one might say was the first 
 work of that school, which exerted such a great influence up to the 
 time of Wagner. Rossini's particular characteristic was his love of 
 vocal display, in the old coloratura singing, and we find him openly 
 practising all the abuses against which Gluck had rebelled. Even his 
 recitatives were full of trills, roulades and vocal embellishments, and 
 although he withdrew from the singers their absurd right to improvise 
 a cadence during the singing of an aria, he amply compensated them 
 by the florid cadenzas he himself provided. 
 
 ILLUSTRATIONS . 
 
 88097 Una voce poco fa ("Barber of Seville ") Mme. Tetrazzini 
 
 88391 Largo al factotum (" Barber of Seville ") Titta Ruffo 
 
 92051 Trio— Troncar suoi dl ("William Tell ") Paoli, Cigada and Sillich 
 
 HINTS FOR TEACHERS 
 
 Review the development of opera and make a strong point of the 
 influence of the Italian School on that of France. Remind the class 
 of the Romantic Period as studied in Course II, and the political and 
 artistic reasons for the importance of Paris at this time. 
 
 QUESTIONS 
 
 Which of these selections is the most dramatic? Does any one 
 of them reflect humor" Which are from Opera Buffa? Which from 
 Opera Seria? Which voice sings the first selection? The second? 
 What quality is used? What voices do you hear in the third? Which 
 is an example of "concerted" writing? Which selection is imitative? 
 
 CHORUSES 
 
 Inflammatus, ' ' Stabat Mater ' ' ( Rossini ) . 
 
 Hark, Hear the Drums Beat, "The Barber of Seville" (Rossini). 
 
 Swiss Battle Song, "William Tell" (Rossini). 
 
 200
 
 The Opera 
 
 Lesson XI 
 
 The French Grand Opera — Donizetti and 'Bellini 
 
 We have found that with the rise of Romanticism in France, 
 there appeared but one great genius, who was a native Frenchman, 
 Hector Berlioz (1803-1869). Berlioz exerted his greatest influence, 
 however, over the instrumental school, and, 
 although he wrote several operas, they were 
 entirely overshadowed by the popularity of 
 his Italian rivals. 
 
 The early days of the Empire, under 
 Louis Philippe and the establishment of the 
 French Grand Opera, attracted to the French 
 Court, once more, all the greatest opera com- 
 posers of the world. The influence of the 
 Revolution had left a marked impression on 
 the public taste of the Parisians of this 
 period. The writings of the great Balzac, 
 Dumas and Hugo had taught the French 
 people to look for realism and horror in all 
 phases of art; no dramatic work which was not spectacular in char- 
 acter could hope for a success in Paris at this time. 
 
 The French Grand Opera as the French form of Opera Seria of 
 this period was called, is frequently designated as "Historical Opera," 
 because the subject matter chosen was almost always based on an 
 actual historical incident. In this form, two followers of the Italian 
 Rossini, excelled, during this period; and they soon became the most 
 popular leaders of the French Grand Opera School. These men were : 
 Gaetano Donizetti (1797-1848) and Vincenzo Bellini (1801- 
 
 1835). 
 
 Although neither of these composers possessed the vigor and 
 strength of Rossini, they were more refined and cultured in their 
 style. 
 
 Donizetti possessed a real gift for dramatic intensity and was a 
 man of broad culture, whose powerful works in both the Opera Seria 
 and Opera Buffa manner, still retain a popular place in operatic 
 repertoire. "Lucrezia Borgia" (1834), based on Victor Hugo's his- 
 torical novel; and "Lucia di Lammermoor' (1835), based on Sir 
 Walter Scott's novel, "The Bride of Lammermoor," are the best 
 
 VINCENZO BELLINI
 
 The Opera 
 
 examples of the former type; while "Don Pasquale," "Elisir 
 
 d'Amore" and "La Fille du Regiment" are types of Opera Buffa 
 
 well worthy to rank with the "Barber of Seville." 
 
 Bellini possessed a more delicate 
 poetic gift of melody, than did Donizetti. 
 He wrote only in the style of Opera Seria ; 
 his best works being, "Norma," "Puri- 
 tani" and "La Sonnambula. " These 
 works still hold the stage; however, it is 
 principally because they give to the col- 
 oratura singer such w r onderful opportuni- 
 ties for vocal display. 
 
 The Romantic movement as exempli- 
 fied by von Weber, was carried into the 
 French School by Louis Joseph Herold 
 (1791-1843). In his early life a follower 
 of Adam and Mehul, Herold acknowledges 
 
 his allegiance to von Weber in his greatest work, "Zampa." 
 
 Another great name to be remembered in this period is that of 
 
 Jacques Halevy (1799-1862), whose greatest work was "La Juive. " 
 
 GAETANO DONIZETTI 
 
 ILLUSTRATIONS 
 
 62101 Mira o Norma ("Norma") (Bellini) Giacomelli and Mileri 
 
 62642 Ah! fosco ciel (" La Sonnambula") (Bellini) La Scala Chorus 
 88188 Brindisi ("Lucrezia Borgia") (Donizetti) Mme. Schumann-Heink 
 88299 Mad Scene ("Lucia di Lammermoor ") (Donizetti) 
 
 Mme. Tetrazzini 
 96200 Sextette ("Lucia di Lammermoor ") (Donizetti) 
 
 Sembrich, Severina, Caruso, Scotti, Journet and Daddi 
 
 HINTS FOR TEACHERS 
 
 Be sure that pupils are familiar with the stories of these operas 
 in a general way, and know where these selections occur. Consult the 
 Victor Book of the Opera. 
 
 QUESTIONS 
 
 What voice sang the third selection? The fourth? What voices 
 sang the first ? The fifth ? Which selections are examples of concerted 
 writing? Which is descriptive? Which depicts fear? 
 
 202
 
 The Opera 
 
 CHORUSES 
 Soprano solo, Act I — Tyrolese, Act II, "Daughter of the Regi- 
 ment'' (Donizetti). 
 
 0, Italia, Italia Beloved, "Lucrezia Borgia" (Donizetti). 
 Chorus from Finale, "Lucia di Lammermoor" (Donizetti). 
 "When Daylight's Going, "La Sonnambula" (Bellini). 
 Hear Me, Norma! "Norma" (Bellini). 
 
 Lesson XII 
 
 The French Grand Opera — Meyerbeer 
 
 We have found in our study of the opera that the principal 
 names connected with the French School have been men from either 
 Italy or Germany. The dominating personality of the French Grand 
 Opera of the nineteenth century was 
 Giacomo Meyerbeer (1791-1864). The 
 son of a Jewish banker in Ber- 
 lin, Jacob Liebmann Beer, he began 
 his musical studies as pianist and 
 achieved some small success on the 
 concert stage. His aspirations lay, 
 however, toward the broader field of 
 opera, and failing to meet success by 
 his efforts in Germany, he went to 
 Italy, where, through the influence of 
 Rossini several of his smaller works 
 were produced. Changing his name 
 to an Italian version he became Gia- 
 como Meyerbeer, and entered the 
 operatic arena of Paris in 1826. 
 
 Meyerbeer's chief talent lay in his wonderful ability to adapt 
 himself to all styles, and realizing that the French public of the day 
 desired to be startled and amazed by spectacular opera, he set him- 
 self to work to provide for them exactly what they desired. Riemann 
 says, "In his combination of German Harmony. Italian Melody and 
 French Rhythm, Meyerbeer stands alone." To these attributes the 
 composer added a dramatic power, a spectacular display, either in the 
 
 GIACOMO MEYERBEER 
 
 203
 
 The Opera 
 
 use of solo voices, chorus or orchestra ; the result was a dazzling, spec- 
 tacular melodrama, which has influenced many composers of the 
 modern school. 
 
 Meyerbeer 's first work to attract universal attention was "Robert 
 Le Diable" (1831), which was an immense success, and which paved 
 the way for other triumphs. "Les Huguenots" (1836) is considered 
 Meyerbeer's masterpiece. This setting of the war between the Cath- 
 olics and Huguenots, ending in the great Massacre of St. Bartholomew, 
 is absurd from a dramatic point of view, but it gives a great oppor- 
 tunity for vocal display and shows the superficial splendor of Meyer- 
 beer at his best. 
 
 In "Le Prophete" (1849) Meyerbeer carries his spectacular 
 form to a still greater extreme. His last work, "L'Africaine," occu- 
 pied him during the last years of his life, although not produced 
 until a year after his death. This work is considered by musicians 
 to be Meyerbeer's most serious composition, but it has never achieved 
 the popularity of "Les Huguenots." Meyerbeer also wrote in the 
 style of the Opera Comique, his best work in this form being 
 "L'Etoile du Nord." 
 
 ILLUSTRATIONS 
 
 45007 Romanza— Fairer than the Lily ("Les Huguenots") 
 
 (Meyerbeer) Gautier 
 
 85107 Nobil signori salute ("Les Huguenots") (Meyerbeer) 
 
 Mme. Homer 
 
 74275 Benediction of the Swords ("Les Huguenots" ) (Meyerbeer) 
 
 Marcel Journet and Metropolitan Opera Chorus 
 
 88187 Ah, mon fils ("Le Prophete") (Meyerbeer) 
 
 Mme. Schumann-Heink 
 
 70068 Marche Indienne ("L'Africaine") (Meyerbeer) 
 
 Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 Review with your class the period of the Huguenots. Claude 
 Goudimel, the Netherland master, who founded the great choral 
 school of Rome (see Lesson VI, Course II), was killed in this massacre. 
 
 Recall to class the influence of the Italian Medici family in France. 
 Catherine de Medici was Queen of France at this time. Maria de 
 Medici in 1600 married the French King, Henry IV, and it was for 
 their nuptial festivities that the first music drama, "Eurydice," was 
 produced. 
 
 204
 
 The Opera 
 
 QUESTIONS 
 
 What voice sang the first selection? The second? The third? 
 The fourth? Where have we heard the first before? What instru- 
 ment plays the obbligato ? Where have we before heard the third ? Of 
 what is it an example? What instrumental effects do you note in 
 the last ? 
 
 CHORUSES 
 
 List the Trumpets' Thrilling Sound, "Huguenots" (Meyerbeer). 
 Thy Flow'ry Banks (0, Maiden Fair, "Huguenots"). (Meyer- 
 beer.) 
 
 L 
 
 esson 
 
 XIII 
 
 The Early Hagner 
 
 In the 3 r ear 1813, Jean Paul Richter, the great poet of the Roman- 
 ticists, wrote, "Hitherto Apollo has distributed his poetic gifts, with 
 his right hand, his musical gifts, with his left hand, to two men so 
 remotely apart, that the 
 world is still waiting the 
 advent of a genius, who 
 shall create a genuine mu- 
 sic drama, by writing both 
 the words and the music." 
 That very year there was 
 born in Leipsic the man 
 whose life and works were 
 to be the fulfillment of that 
 prophecy — Wilhelm Rich- 
 ard Wagner (1813-1883). Wagner's youth was spent in Leipsic and 
 Dresden, where he was strongly influenced by the operas of Carl Maria 
 von Weber, the symphonies of Beethoven, and the dramas of Shake- 
 speare. Wagner's works must be divided into three periods: 
 
 OPERAS. 
 
 "Da's Liebesverb 3 o 3 t,'' 1834. j Influence of Weber and Marschner. 
 "Rienzi," 1842.— Influence of French Grand Opera. 
 
 'WAHNFRIED," WAGNER'S HOME IN BAYREUTH 
 
 205
 
 The Opera 
 
 TRANSITIONAL. 
 " Der Fliegende Hollander," 1844. 
 "Tannhauser," 1845. 
 "Lohengrin/' 1850. 
 
 MUSIC DRAMA. 
 " Der Ring der Nibelungen," 1876. 
 "Tristan and Isolde/' 1865. 
 "Die Meistersinger von Niirnberg," 1868. 
 "Parsifal," 1882. 
 
 Like Bach and Beethoven, Wagner is an epoch-maker, for not 
 only did he bring the forms known at his time to their culmination, 
 but he pointed the way toward the future of the music drama. We 
 
 must first clearly under- 
 stand what are the strik- 
 ing features of Wagner's 
 "Music of the Future." 
 1. The return to the 
 first principle of the 
 Camerata, that music, 
 drama (or story) and in- 
 terpretation should be 
 equally important. To do 
 this Wagner found it was 
 necessary to abolish old 
 forms, and also to seek new inspiration from legendary sources, for 
 dramatic material. Wagner wrote all his own librettos. 
 
 2. Leit motif- — or use of guiding theme. Not original with Wag- 
 ner, although he was the first to use it consistently, to depict not 
 only his characters, but inanimate objects, thoughts and ideas, as 
 well as personalities. To employ correctly the "leit motif," Wagner 
 disregarded all the old forms of recitatives and arias, the regulation 
 duet and concerted finale, but by blending his motifs into a poly- 
 phonic whole he produced a continuous web of melody. 
 
 3. Characteristic instrumentation ; the use of certain instruments, 
 to designate character drawing. The orchestra is no longer merely 
 an accompaniment, but a vital force in portraying the persons in the 
 drama. 
 
 4. Making the audience a part of the being. Wagner felt that 
 the audience should share in the unfolding of the dramatic plot, and 
 he therefore employed a means, which, although not new. was carried 
 
 WAGNER S GRAVE IN BAYREUTH 
 
 206
 
 The Opera 
 
 to its perfection by his great genius. This was to employ the charac- 
 teristic instrumentation and motives, to aid the listener in compre- 
 hending the situation even before the actors on the stage realized it 
 themselves. For example, in Loh- 
 engrin's "Narrative," by the 
 constant use of the "Grail" mo- 
 tive and the characteristic use of 
 the "strings," Wagner tells his 
 audience that Lohengrin is a 
 knight of the Holy Grail, long 
 before the hero so announces him- 
 self by words. 
 
 5. The use of preludes in 
 place of overtures. Wagner de- 
 parted from the old form of over- 
 ture and gave to his introduc- 
 tions the title of ' ' Prelude. ' ' This 
 symphonic orchestral composition 
 served as a preparation for the 
 dramatic action which was to fol- 
 low. Each act had its own prelude. 
 
 Wagner's earliest ambition in 
 the writing of "Rienzi" had been 
 to outdo in splendor, the magnificence of the French Grand Opera 
 School. When this work was produced in 1841 in Dresden, Wagner 
 was declared to be the equal, if not the superior of Bellini, Donizetti 
 and Meyerbeer. But he had realized the dramatic absurdities of this 
 style while writing "Rienzi," and in "The Flying Dutchman" he 
 began the development of his theories, as to the possibilities of the 
 future music drama. Many of his ideas were looked upon askance, 
 by the greatest musicians of the time, but there was still much in "The 
 Flying Dutchman" which they could commend. With the appear- 
 ance of " Tannhauser, " however, Wagner was openly declared a mad- 
 man. Even Robert Schumann wrote that there was not a moment of 
 melody in the entire work : it is a pleasure to record that Schumann 
 later proclaimed "Tannhauser" to be the greatest work of the modern 
 epoch. 
 
 ILLUSTRATIONS 
 
 ELIZABETH AT THE SHRINE 
 
 31787 Overture ( "The Flying Dutchman") 
 88116 Senta's Ballad ("The Flying Dutchman") 
 
 Pryor's Band 
 Mme. Gadski
 
 The Opera 
 
 74230 In Ocean's Deepest Wave ("The Flying Dutchman") Otto Goritz 
 88057 Oh ! Hall of Song ("Tannhauser") Mme. Gadski 
 
 88154 The Evening Star ("Tannhauser") Emilio de Gogorza 
 
 HINTS FOR TEACHERS 
 
 Be sure the class know the legends of "The Flying Dutchman" 
 and "Tannhauser." Review lesson (Course II) on the Minnesingers 
 and point out how they influenced Wagner, and how he immortalized 
 their works. 
 
 QUESTIONS 
 
 Where did Wagner obtain the dramatic material for these operas? 
 Where did the Minnesingers live, and when? Who was Wolfram von 
 Eschenbach? What did he write? What voice sings Senta? The 
 Dutchman? Elizabeth? Wolfram? What instrumental effects do 
 you notice in the overture ? 
 
 CHORUSES 
 
 Spinning Chorus, "The Flying Dutchman" (Wagner). 
 
 Hail, Bright Abode, "Tannhauser" (Wagner). 
 
 Pilgrims' Chorus, "Tannhauser" (Wagner). 
 
 Evening Star, "Tannhauser" (Wagner). 
 
 L 
 
 esson 
 
 XIV 
 
 Lohengrin 
 
 The production of "Lohengrin" in 1850 is, in reality, the turn- 
 ing point of Wagner's life. When he left Germany in 1849 a political 
 exile, Wagner stopped in Weimar, to visit his friend Franz Liszt ; 
 
 there he heard Liszt 
 conducting a perform- 
 ance of "Tannhau- 
 ser. ' ' When he reached 
 Switzerland, Wagner 
 wrote a letter to his 
 friend, in which he 
 said: "What I felt in 
 writing my 'Tannhau- 
 ser,' you seem to feel 
 
 WEIMAR, WHERE 
 WAS PRODUCED 
 
 LOHENGRIN 
 
 208
 
 The Opera 
 
 in making it sound. I am sending you the score of my 'Lohen- 
 grin'; write me exactly what you think of it." To this, Liszt 
 replied: "Like the pious priest, who underlined every word of 'The 
 Imitation of Christ,' I 
 should like to underline 
 your 'Lohengrin,' note by 
 note. It shall be given the 
 greatest performance, 
 which has ever been heard 
 in Germany, for I shall 
 produce it for the Goethe 
 Centennial." And so it 
 happened, that the first 
 great German Music 
 Drama was presented at 
 Weimar, August 28, 1850, 
 to an audience of the great- 
 est men of Europe, who 
 had gathered to do hom- 
 age to Germany's great 
 poet-dramatist. From that 
 day, Wagner's genius was 
 recognized, and the new 
 form was acknowledged to 
 be, "The Music of the 
 Future." In "Lohen- 
 grin ' ' Wagner, for the first 
 time, uses his theory of characteristic instrumentation ; he here changes 
 the overture to a prelude, or Vorspiel, giving each act its own intro- 
 duction; he elaborates the use of the leit motif; and also his theory 
 of making "the audience a part of the being," 
 
 ILLUSTRATIONS 
 
 THE VORSPIEL TO LOHENGRIN 
 
 31779 Prelude ("Lohengrin") 
 
 88038 Elsa's Dream ("Lohengrin") 
 
 61203 Swan Song ("Lohengrin") 
 
 31846 Bridal Chorus (" Lohengrin ") 
 
 76026 Lohengrin's Narrative ("Lohengrin") 
 
 La Scala Orchestra 
 
 Mme. Gadski 
 
 Leo Slezak 
 
 Victor Opera Chorus 
 
 Herman Jadlowker 
 
 HINTS FOR TEACHERS 
 Give class a complete idea of the story of "Lohengrin" and remind 
 them that here Wagner uses a historical episode taken from the life 
 
 209
 
 The Opera 
 
 LOHENGRIN S DEPARTURE 
 
 of King Henry the Fowler. The 
 scene is laid in the old part of Ant- 
 werp, on the shores of the river 
 Scheldt. Wagner's story follows 
 the legend of Wolfram von Eschen- 
 bach, the Minnesinger. It is the 
 same story Wagner later employed 
 in "Parsifal." 
 
 QUESTIONS 
 What voice sings Elsa? Loh- 
 engrin ? What does the Vorspiel. 
 or prelude, to Lohengrin describe? 
 What instrumental effects does 
 Wagner employ here? Does the 
 Vorspiel help prepare the audience 
 to be a part of the being? How? 
 Where do we hear the Grail 
 motive again ? 
 
 Bridal Chorus. 
 
 CHORUS 
 
 Lohengrin" (Wagner). 
 
 Lesson XV 
 
 The Ring of the Ntbelungen 
 
 The greatest work of Richard Wagner was the famous Tetralogy, 
 "Der Ring der Nibelungen," which consists of four music dramas: 
 
 The Rhinegold — Prelude of Trilogy. 
 
 The Valkyrie. 
 
 Siegfried. 
 
 The Twilight of the Gods. 
 It was Wagner's original idea to use the legends of the Norse, 
 known as the Volsung Sagas, in one great music drama to be called 
 "Siegfried, the Hero." Finding it necessary to tell of Siegfried's 
 youth, he prefixed this, with a work entitled "Siegfried," then told 
 of Siegfried's parentage in "The Valkyrie," and prefaced the whole. 
 
 210
 
 The Opera 
 
 by the story of the stealth of the gold, and the curse which rested 
 upon it, with the preliminary drama of "Rhinegold." He then 
 began to work out his gigantic musical plan, and after many years the 
 greatest operatic work ever written, was finally presented to the 
 world. All the legendary stories to be found in the Norse Sagas and 
 Eddas, Wagner has used, as well as the Teutonic versions of the story 
 with which he became acquainted through his study of the Minne- 
 singer Knights. These stories he has changed and blended together 
 into a perfectly coherent development, which makes the poem of ' ' The 
 Ring of the Nibelungen" a work which would merit the attention of 
 the world if it was without a musical setting. In his music, Wagner 
 has developed the idea of the "leit motif" to its fullest extent. Not 
 alone content to have character motives, we find each inanimate object 
 becomes a vital living force in the music, while thoughts and ideas, 
 as they develop in the hearts and minds of the characters, assume 
 great significance. For example, the crafty Alberich, whose lust for 
 gold, causes him to steal the treasure from the Rhine maidens, curses 
 the gold, when it is taken from him by Wotan. Henceforth that curse 
 rests upon the gold and pursues us in the music until it causes the 
 downfall of the Gods in the Finale of the tragedy. 
 
 Take again the theme of the Rhine as we hear it in the prelude 
 to "Rhinegold"; it depicts the mystery of wisdom when it appears 
 again in "Rhinegold" to accompany Erda, as she warns Wotan to 
 give up the gold ; then changed it appears again in Erda 's theme when 
 she gives her final warning to Wotan in "Siegfried"; it returns in 
 "Die Gotterdammerung," first in the scene between Siegfried and 
 the Rhine daughters, then in the Death March, and last in the Finale. 
 Note the development of the characters themselves; the change in 
 the Brunnhilde from the warlike maiden to the supplicant daughter 
 in "Valkyrie"; the awakening of her love for Siegfried in "Sieg- 
 fried." In "Die Gotterdammerung," we see her first as Siegfried's 
 loving wife ; then as the outcast from Walhalla ; next the outraged wife 
 of Gunther ; then as the avenger of her disgrace, in the plotting against 
 Siegfried ; and finally as the self-sacrificing redeemer of the world 
 from the curse on the gold in the Immolation Scene. 
 
 ILLUSTRATIONS 
 
 88092 Erda's Warning ("The Rhinegold") Mme. Schumann-Heink 
 
 88276 Siegmund's Love Song ("Valkyrie") Riccardo Martin 
 
 62693 Ride of Valkyries ("Valkyrie") La Scala Orchestra 
 
 211
 
 The Opera 
 
 87002 Ho-yo-to-ho— Brunnhilde's War Cry ("Valkyrie") Mme. Gadski 
 74305 Wotan's Farewell ("Valkyrie") Clarence Whitehill 
 
 35246 Siegfried's Death March ("Die Gotterdammerung") 
 
 Pryor's Band 
 88185 Immolation Scene (" Die Gotterdammerung ") Mme. Gadski 
 
 HINTS FOR TEACHERS 
 There are many records from ' ' The Ring' ' to be found in the 
 Victor Catalogue. "The Victor Book of the Opera" will be of great 
 help to you in your preparation for this program, as your class must 
 be familiar with the legendary stories of "The Ring," and the man- 
 ner in which they have been used by Wagner. If possible, the princi- 
 pal motives should be played on the piano, and their use, as heard 
 in these selections, should be observed. 
 
 CHORUSES 
 Choruses in Lesson XIII suggested. 
 
 Lesson XVI 
 
 The Late Wagner 
 Wagner's three greatest individual music dramas are "Tristan 
 and Isolde," "Die Meistersinger," and "Parsifal," and with these 
 works, which were all written or sketched, while he was in exile, the 
 most remarkable point to notice is that each work has its own charac- 
 teristic atmosphere. The tragic passion of "Tristan and Isolde" 
 creates a very different atmosphere from the jovial gaiety of the folk 
 life as reflected in "Die Meistersinger," while the spirit of religious 
 mysticism of "Parsifal" is again distinct. The characters are drawn 
 with marvelous skill, while the use of the orchestra is still more 
 remarkable. 
 
 TRANSITIONAL 
 " Der Fliegende Hollander/' 1S44. 
 " Tannhauser," 18 15. 
 " Lohengrin," 1850. 
 
 MUSIC DRAMA 
 " Der Ring der Nibelungen," 1S76. 
 
 " Das Rheingold." " The Rhinegold." 
 
 " Die Walkiire." " The Valkyrie." 
 
 " Siegfried." " Siegfried." 
 
 " Die Gotterdammerung." " The Twilight of the Gods." 
 
 212
 
 The Opera 
 
 " Tristan und Isolde," 1865. 
 
 " Die Meistersinger von Niimberg," 1868. 
 " Parsifal," 1882. 
 
 ' ' Tristan and Isolde ' ' is one of the greatest musical love tragedies 
 of the world. Wagner used the Teutonic version of this old Celtic 
 legend, as it was given to Germany by Gottfried von Strassburg. We 
 find the same legend in France, 
 Ireland and England, but Wag- 
 ner has given us in his music 
 drama all the legends woven into 
 a most beautiful and complete 
 whole. By many authorities 
 "Tristan and Isolde" is consid- 
 ered the most perfect example of 
 the Wagner music drama. 
 
 In "Die Meistersinger, ' ' 
 which is Wagner 's one music com- 
 edy, we find an entirely new 
 phase of Wagnerism. This work, 
 which was written as a satire on 
 Wagner's critics, returns to the 
 old form of opera, with concerted 
 numbers, etc., but all are made to 
 combine with the dramatic action, 
 so that the work is not only a per- 
 fect opera, but a complete music 
 
 drama as well. Wagner's marvelous science of blending his orchestra 
 and voices into a contrapuntal polyphony is here carried to its greatest 
 extreme. 
 
 It was Wagner's original idea in writing his drama of "Parsi- 
 fal" that it should never be given outside of the ideal Festival play- 
 house of Bayreuth, for the composer rightly felt that the proper reli- 
 gious atmosphere necessary to make his audience "a part of the 
 being" of this work could only be found among ideal surroundings 
 far apart from every-day reality.* In 1903 the work was produced in 
 New York. As the European copyright on the work expires in 1913, 
 many other countries will shortly have the opportunity of hearing 
 the opera. 
 
 * It is the atmosphere of the little town of Bayreuth which makes the performances there so 
 ideal, just as the Passion Play of Oberammergau would be impossible in a large city. 
 
 EVA BESTOWS THE LAUREL WREATH 
 
 213
 
 The Opera 
 
 ILLUSTRATIONS 
 
 88058 Isolde's Liebestod Johanna Gadski 
 
 68210 Prelude La Scala Orchestra 
 
 70080 Prize Song ("Die Meistersinger") Lambert Murphy 
 
 74144 Good Friday Spell (" Parsifal ") Herbert Witherspoon 
 
 31735 Procession of the Knights (" Parsifal ") Pryor's Band 
 
 HINTS FOR TEACHERS 
 
 The stories of these works must be clearly understood by the class, 
 so that they may feel the difference in the musical atmosphere, with 
 which Wagner has surrounded each of these dramas. 
 
 CHORUSES 
 Choruses in Lesson XIII suggested. 
 
 Lesson XVII 
 
 The Rise of National Opera 
 
 The rise of National Opera is contemporaneous with the founding 
 of the National Schools of Music in Russia, Scandinavia, Bohemia, 
 etc., in the middle of the nineteenth century. The Slavic nations have 
 been those most interested in the development of opera. We find 
 practically no operatic school in Scandinavia. In Russia a love for 
 the opera has always been very strong, and Italian and French opera 
 companies were ever popular. The first distinctly Russian opera 
 was by Michael Glinka (1803-1857), who, by his great work, "A Life 
 for the Czar," laid the foundation of Russian national music. In 
 this work we find a splendid portrayal of both nationality and patriot- 
 ism, although it follows the general plan of Italian Opera. His sec- 
 ond opera, "Russian and Ludmilla, " although lacking in the strong 
 national feeling of his first work, is, nevertheless, a much stronger 
 dramatic work, but neither of Glinka's operas has ever won success 
 outside of his native land. The same might be said of all the operatic 
 works wmich have been written by Russian composers, with the excep- 
 tion of Tschaikowsky, whose universal popularity has led to the pro- 
 duction of several of his operas in Europe and America. Of these 
 the greatest is undoubtedly "Eugene Onegin" (1879), although 
 "Pique Dame" (1890) is also worthy of mention. Tschaikowsky 
 favored the Italian School, and his operas show his love of the lyric
 
 The Opera 
 
 stage, as portrayed by Mozart. Strangely enough the great dramatic 
 strength of Tschaikowsky, felt in his orchestral works, is utterly lack- 
 ing in his work for the stage. 
 
 The Bohemian School has developed 
 a more natural form of operatic expres- 
 sion, for the masters of this school have 
 been chiefly inspired by the old German 
 form of "Singspiel." The first Bohe- 
 mian opera was "The Bartered Bride" 
 ("Prodana Nevesta"), with which Sme- 
 tana laid the foundation of Bohemia's 
 national school of music. Smetana wrote 
 in all, eight operas, but the only one, 
 which has achieved popularity, outside 
 of Bohemia, is "The Bartered Bride." 
 Here we have a Bohemian story with a 
 Bohemian musical setting and Bohemian dances, and in a form which 
 also reflects the national characteristics of the Bohemian people. 
 
 Dvorak, although possessed, of greater talent than his master, 
 seems to have had no vocation for the stage. His operas follow the 
 style of Smetana closely, but do not show the great genius of their 
 composer, as do his orchestral works. They are given but rarely out- 
 side of Bohemia. 
 
 ILLUSTRATIONS 
 
 35148 Overture ("The Bartered Bride") (Smetana) Pryor's Band 
 
 61136 "Pique Dame" (Tschaikowsky) Mmes. Michailowa and Tugarinoff 
 
 HINTS FOR TEACHERS 
 Review Lessons XXII and XXIII, Course II. The story of the 
 "Bartered Bride" may be told, and, if possible, the following Bohe- 
 mian records secured as illustrations: 
 
 FRIEDRICH SMETANA 
 
 16205 Air — Jenik (" Prodana Nevesta ") 
 16208 Terzetto (" Prodana Nevesta") 
 
 Smetana 
 Smetana 
 
 If, however, time and circumstances make this impossible, point 
 out clearly to the class the national feeling to be noted in the over- 
 ture to "The Bartered Bride," and the lyric Italian quality of bel 
 canto, which is reflected in the duet from "Pique Dame." 
 
 CHORUS 
 Songs My Mother Taught Me (Dvorak). 
 
 215
 
 The Opera 
 
 Lesson XVIII 
 
 Light Opera in Nineteenth Century 
 We have found that Opera was divided by Marc Antonio Cesti, 
 of the Venetian School, in the seventeenth century, into Opera Seria 
 and Opera Buft'a ; the latter, being the name given for any opera, in 
 
 which there occurred spoken dialogue. In 
 France the form was known as Opera Com- 
 ique; any work in which words were spoken, 
 came under this general classification, 
 whether the piece was of a humorous or 
 tragic character. 
 
 In Germany the term Singspiel was 
 given to this form. These German works 
 were almost always settings of popular Ger- 
 man folk tales. 
 
 In all three countries there were many 
 works of a lighter calibre than those we 
 have previously considered, and these operas 
 are generally termed "Light Opera." 
 The greatest composers who wrote in this form are : 
 Germany: 
 
 Gustav Lortzing (1801- / "Czar and Carpenter/' (1839). 
 
 1851) I "Undine," (1845). 
 
 Otto Nicolai (1810-1849) . . ."Merry Wives of Windsor" (1849). 
 Friedrich von Flotow 
 
 (1812-1883) ' 'Martha," (1847) . 
 
 Franz von Suppe (1820-/ "Fatinitza," (1876). 
 1893).. . 1 "Boccaccio," (1879). 
 
 "Die Fledermaus," (1872). 
 "The Merry War," (1887). 
 "The Gypsy Baron," (1883). 
 
 SIR ARTHUR SULLIVAN 
 
 (1825- 
 
 Johann Strauss 
 1899) 
 
 France : 
 
 Robert Planquette (1850- 
 
 - ) 
 
 Jacques Offenbach (1819- 
 
 1880) 
 
 England. 
 
 Michael Balfe (1808-1870) 
 
 Sir Arthur Sullivan (1842- 
 1900) 
 
 "Chimes of Normandy," (1877). 
 
 "Tales of Hoffman," (1881). 
 
 "The Bohemian Girl," (1843). 
 "Pinafore," (1878). 
 "Pirates of Penzance," (1880). 
 "Patience," (1881). 
 "Iolanthe," (1882). 
 
 216
 
 The Opera 
 
 Of these works, "Merry Wives of Windsor," "Martha," "Die 
 Fledermaus, " "Tales of Hoffman" and "The Bohemian Girl" have 
 still retained their popularity with the general public, and are fre- 
 quently given at the Grand Opera Houses throughout the world. 
 
 ILLUSTRATIONS 
 
 35270 Overture ("Merry Wives of Windsor") (Nicolai) 
 
 New Symphony Orchestra, London 
 
 1(a) I Dreamt I Dwelt in Marble Halls (" The Bohemian 
 Girl") (Balfe) Elizabeth Wheeler 
 
 (b) Then You'll Remember Me (" The Bohemian Girl ") 
 (Balfe) Harry Macdonough 
 
 89009 Mesta Ognor— Ah ! Those Tears ("Martha") (Flotow) 
 
 Homer and Abott 
 87502 Barcarolle ("Tales of Hoffman") (Offenbach) 
 
 Farrar and Scotti 
 
 HINTS FOR TEACHERS 
 Be sure that pupils correlate the dates of these composers to the 
 course in History of Music. 
 
 QUESTIONS 
 What voices sang the second selection ? The third ? The fourth ? 
 Which selections have we heard in the class before? 
 
 CHORUSES 
 Good-Night, "Martha" (Flotow). 
 Last Rose of Summer (Flotow). 
 
 Legend of the Bells, "Chimes of Normandy" (Planquette). 
 Gypsy Chorus, "Bohemian Girl" (Balfe). 
 The Heart Bowed Down, "Bohemian Girl" (Balfe). 
 Pirates' Song, "Pirates of Penzance" (Sullivan) 
 
 Lesson XIX 
 
 Opera in Germany Since IVagner 
 
 We found in our study of the History of Music (see Lesson XIX, 
 Course II) that Wagner's ideas and theories have influenced the music 
 which has been written since his time, in the instrumental schools, as 
 well as in the purely operatic works. At the time of Wagner there 
 were two excellent opera composers who were directly influenced by 
 
 217
 
 The Opera 
 
 both Wagner and Liszt; these men were Peter Cornelius (1824-1874), 
 whose "Barber of Bagdad," produced in 1858, shows many of Wag- 
 ner's ideas; and Hermann Goetz (1840-1876), whose best opera is a 
 musical setting of Shakespeare's "Taming of the Shrew.'' 
 
 Carl Goldmark (1830- ) has given us three excellent operas, 
 reflective of the Wagnerian principles. "The Queen of Sheba" 
 (1875) was his first work and was received with tremendous enthusi- 
 asm. "Merlin" (1888) has never been as popular; but "The Cricket 
 on the Hearth" (1896), a setting of Dickens' story, is filled with the 
 simple national charm of the German Singspiel, and is entitled to its 
 popular place in the modern opera repertoire. 
 
 Engelbert Humperdinck (1854) sprang into immortal fame with 
 his first opera, "Hansel and Gretel. " This charming use of the old 
 folk tale, set in a modern version of the Singspiel, has been the most 
 popular German opera since Wagner. In 1910, the latest work by 
 Humperdinck, "Die Koenigskinder, " was produced in New York, 
 and this bids fair to rival "Hansel and Gretel" in the public's affec- 
 tion. Humperdinck 's two operas are the best use of the folk spirit 
 which has come into modern German music. 
 
 The greatest genius of modern German opera is the remarkable 
 Richard Strauss (1864- ), who has carried the ideas of Wagner 
 and Liszt to a dangerous extreme. Strauss has written in all forms, 
 but his remarkable dramatic gift of musical characterization, is almost 
 as strongly felt in his instrumental compositions as in his operas. 
 His first opera, "Guntram" (1894), was not remarkable, but in 
 "Feuersnoth" (1901) he showed his true greatness, by his use of an 
 old folk tale, in a modern version of the Singspiel. 
 
 In 1905, the artistic world eagerly welcomed his masterpiece, the 
 setting of Oscar Wilde 's ' ' Salome. ' ' Over this remarkable work bitter 
 war has raged ; but the fact remains, that no such character drawing 
 in music, has ever been conceived, as that which Strauss has employed 
 in this marvelous music drama. 
 
 With "Electra" he carried his theories still farther, and we find 
 that the music of the orchestra, and that sung by the singers, is 
 worked out in an almost barbarous cacophony. In his next work 
 Strauss has assumed the naive grace of Mozart, and has given us a 
 comic opera, entitled ' ' The Rose Cavalier ' ' ; but even here his contra- 
 puntal strength and marvelous orchestration places this work in a 
 class by itself. 
 
 218
 
 The Opera 
 
 Other composers of opera in Germany today are: 
 Eugene d 'Albert (1864), "Tiefland." 
 Max Shillings (1868), "Ingewelde." 
 Siegfried Wagner (1869), "Die Barenhauter. " 
 
 ILLUSTRATIONS 
 31853 Prelude (" Hansel and Gretel") (Humperdinck) Pryor's Band 
 
 64115 Magic Tones (" Queen of Sheba ") (Goldmark) Leo Slezak 
 
 64164 The Old Witch (" Hansel and Gretel ") (Humperdinck) 
 
 Otto Goritz 
 64184 Thou Innocent One (" Koenigskinder ") (Humperdinck) 
 
 Otto Goritz 
 
 HINTS FOR TEACHERS 
 Review with your class Lesson XXV, Course II ; also Lesson XXX, 
 Course III. Impress upon them, the great importance of the orches- 
 tra, since the time of Wagner. Special time should be taken to accent 
 the greatness of Richard Strauss, who is the direct musical descendant 
 of Wagner and Liszt. 
 
 QUESTIONS 
 Which voice did you hear in the second selection? The third? 
 The fourth? What quality of tenor in the second? Which aria is 
 the greatest from a dramatic point of view? Which is the most 
 dramatic ? Which tells a story ? 
 
 CHORUSES 
 
 As choruses, illustrative of this period, are difficult to obtain, a 
 review is suggested. 
 
 Lesson XX 
 
 The Early Verdi 
 
 Giuseppe Verdi (1813-1901) was born the same year as the great 
 Richard Wagner, and he lived to see the rise of Romanticism ; the 
 triumph of the Wagner Music Drama; and the establishment of the 
 Modern Schools. 
 
 Verdi was the last and greatest of the old school of Italian Opera 
 composers, and the founder of the modern school of Italy. We shall 
 divide his works into three periods : 
 
 219
 
 The Opera 
 
 First Period. — Simple melodic charm. 
 "I Lombardi," (1843). 
 
 "Ernani," (1844). (Story taken from Victor Hugo's melo- 
 drama). 
 
 Second Period. — Elaborate dramatic effects in vocal and orchestral 
 forces. 
 "Rigoletto," (1851), from Victor Hugo's " Le Roi s'amuse." 
 "II Trovatore," (1853). Extreme melodrama. 
 "La Traviata," (1853). Dumas' "Camille." 
 "The Sicilian Vespers," (1855). Historical. 
 "The Masked Ball," (1861). Scene laid in New England. 
 "Don Carlos," (1867). Historical. 
 
 Third Period. — Influence of Wagner. 
 "Aida," (1871). Egyptian subject. 
 "Otello," (1887). Shakespeare's Tragedy. 
 "Falstaff," (1893). Shakespeare's Comedy, "Merry Wives of 
 
 Windsor." 
 Manzoni Requiem Mass, (1874). 
 
 In this lesson we shall consider the first two periods, which in 
 reality bring us the culmination of the old Italian School. 
 
 Verdi 's first success as an opera composer was with ' ' I Lombardi ' ' 
 (1843) and "Ernani" (1844), and as his music was now in great 
 demand, we find a new opera appearing almost every year. Of course, 
 many of these were failures, but with the performance of ' ' Rigoletto ' ' 
 in 1851, Verdi became universally recognized as the greatest Italian 
 master of the day. From this time the simple melodies, which had 
 satisfied the composer for his early operas, became more intensely 
 dramatic, and greater harmonic variety was employed. Verdi pos- 
 sessed a wealth of melody, and a rare gift for passionate expression 
 of tragedy and melodrama. 
 
 Italy was at this time undergoing great political changes, and 
 the masculine vigor of Verdi's melodies, seemed to arouse the patriot- 
 ism of the Italians, to such an extent, that in a certain sense, we may 
 look upon Verdi as the founder of a National School of Opera. Be- 
 fore the performance of "Ernani" in 1844, the police forced Verdi 
 to make certain changes in the score lest it should provoke an insur- 
 rection. 
 
 Through all of Verdi's works of the second period, is still to be 
 found the old-fashioned bel canto claiming chief consideration, but 
 with "Rigoletto" a new force seems to enter Verdi's operas. "Rigo- 
 
 220
 
 The Opera 
 
 letto's" great monologue is a simple piece of pure declamation, which 
 up to that time had been unheard of in Italy. The whole of the last 
 act discloses to us a Verdi which we do not again find until "Aida." 
 
 In "II Trovatore" Verdi allows the melodrama to run wild, 
 but it does not interfere too seriously with the arias and concerted 
 pieces, in fact, one of the best duets in the work occurs at a dramatic 
 moment when it is so obviously ridiculous that any one should stop to 
 sing, that the great musical beauty of the number is practically ruined. 
 
 In "La Traviata" Verdi shows once more a glimpse of his later 
 genius. The characterization of his music in this work, would be 
 remarkable, had it not been necessary for him to sacrifice this to the 
 prima donna, who wished to display her vocal attainments as Camille. 
 
 The "Sicilian Vespers" is based on a historical event of such 
 character that it becomes practically a national opera. The work 
 received but scant success. 
 
 "The Masked Ball" (1861) was a popular favorite for many 
 years. The scene is laid in New England. 
 
 "Don Carlos" (1867) is a setting of a Spanish episode of Court 
 life. There are scenes here which foreshadow the coming greatness of 
 Verdi, but conventional usage frequently spoils them. 
 
 ILLUSTRATIONS 
 
 IO sommo Carlo (" Ernani ") (Verdi) 
 Grisi, Sangiorgi, Cigada and Chorus 
 Ferma, crudele ("Ernani") (Verdi) 
 Bernacchi, Colazza and De Luna 
 92041 Monologue (" Rigoletto") (Verdi) Titta Ruffo 
 
 87017 La donna e mobile ("Rigoletto") (Verdi) Enrico Caruso 
 
 89018 Ai nostri monti (" II Trovatore ") (Verdi) Homer and Caruso 
 
 88018 Ah, fors' e Iui (" La Traviata ") (Verdi) Mme. Sembrich 
 
 HINTS FOR TEACHERS 
 
 If it seems feasible, practically all, or any of these operas can be 
 given. It might be a possibility for the class to present as a special 
 entertainment, one of these operas; different members of the class 
 telling the story and describing the music. These illustrations 
 have been chosen to show the three points mentioned in the lesson. 
 Enough of the story of each opera should be told, so that the class will 
 understand where each selection occurs. Class should be reminded 
 of the political condition of Italy at this time. 
 
 221
 
 The Opera 
 
 QUESTIONS 
 
 What voices sang the first number? The second? The fifth? 
 What voice is heard in the third? The sixth? The last? Which 
 selection belongs to old school of bel canto? Which is dramatic? 
 
 Lesson XXI 
 
 The Late Verdi 
 
 With his great opera of "Aida," Verdi's true dramatic greatness 
 stands revealed. As this work was written for the opening of the 
 Grand Opera House in Cairo, Verdi chose an Egyptian subject, and 
 
 this seemed to give him an inspiration to 
 depart from the customary operatic 
 model. Although the score is absolutely 
 Italian in melodic feeling, it must be con- 
 ceded that Verdi was greatly influenced 
 by the Wagner music drama when he con- 
 ceived "Aida." He here uses the orches- 
 tra with a proportion and balance in rela- 
 tion to the singers, which is not found 
 in his earlier works. He also introduces 
 local color by the use of a few real 
 Oriental airs, but throughout the work 
 there is still the wonderful charm of the 
 best of Italian melody. It was sixteen 
 years before his next opera appeared, yet 
 "Otello" is considered by musicians to be Verdi's masterpiece. An 
 excellent condensation of Shakespeare's tragedy was furnished Verdi 
 for his libretto, by the musician, Boito, who also showed his dramatic 
 power in several scenes, which are his own conception. With "Otello" 
 Verdi shook off all the shackles of conventionality, but still kept his 
 wonderful melodic charm. It is with this work, that Verdi openly 
 avows the use of motives, and displays great skill in the working out 
 of these themes in the orchestra. 
 
 The composer was in his eightieth year when he wrote his last 
 opera, "Falstaff," but the work is filled with the spirit of youthful 
 
 GIUSEPPE VERDI
 
 The Opera 
 
 gaiety. This opera is also based on a Shakespearean adaptation made 
 by Boito, the music becoming a definite part of the action, in real 
 Wagnerian manner. The part writing is very complicated in many 
 instances, but Verdi also has given us a rare and imaginative beauty, 
 which has never been equaled in any of his works. 
 
 ILLUSTRATIONS 
 
 35265 Triumphal March ("Ai'da") Vessella's Band 
 
 88127 Celeste Ai'da ("Ai'da") Enrico Caruso 
 
 89028 Fatal Stone ("Ai'da") Mme. Gadski and Caruso 
 
 88214 Willow Song ("Otello") Mme. Alda 
 
 88030 Credo ("Otello") Antonio Scotti 
 
 HINTS FOR TEACHERS 
 
 One entire opera may be presented if desired. The stories of 
 "Aida" and "Otello" should be briefly sketched, so class will under- 
 stand where these selections occur. Note the duet in "Ai'da" as being 
 a concerted finale, yet having direct dramatic thought. 
 
 QUESTIONS 
 
 Which voice sings the first selection? The second? The third? 
 The fourth? What quality of soprano is the second? In the third? 
 Which number is lyric? Which bel canto? Which dramatic? 
 
 Lesson XXII 
 
 Opera in Italy Since Verdi 
 The composers in Italy since Verdi are: 
 
 Arrigo Bo'i'to "Mefistofele," (1S6S). 
 
 Amilcare Ponchielli (1834- 
 
 1886) "La Gioconda," (1876) 
 
 Nicola Spinelli (1865) "A Basso Porto." 
 
 [ "I Pagliacci," (1S92). 
 RuggieroLeoncavallo(1858) "La Boheme," (1S97). 
 
 Pietro Mascagni (1863) 
 
 Maia," (1910). 
 "Cavalleria Rusticana," (1890) 
 ! "Iris," (1898). m 
 "Ysobel" (1912). 
 
 223
 
 The Opera 
 
 Giacomo Puccini (1858) 
 
 Ermanno Wolf-Ferrari . 
 
 "Le Villi," (1884). 
 "Manon," 
 
 "La Boheme," (1896). 
 "La Tosca," (1900). 
 "Mme. Butterfly," (1904) 
 "Girl of the Golden West," 
 (1910). 
 
 "Le Donne Curiose." 
 "The Secret of Suzanne," (1910). 
 "The Jewels of the Madonna," 
 (1911). . 
 
 We shall take a closer study of Puccini's music in Lesson 
 XXIII, and "Opera Composers of Italy To-day" will be considered 
 in Lesson XXIV. 
 
 The direct followers of Verdi were more or less overshadowed 
 by the towering genius of their greater Italian master. It is a strange 
 thing that with the exception of Puccini and Wolf-Ferrari, most of 
 the Italian composers are known to fame as composers of only one 
 great work. 
 
 Arrigo Boi'to is the composer of but one opera, " Mefistofele, " 
 yet in this work he has shown himself to be a master of the Wagnerian 
 X>rinciples. In this adaptation of "Faust," as an Italian opera, it 
 must be conceded that Boi'to has more successfully reproduced the 
 atmosphere of Goethe than any other opera composer who has been 
 inspired by this work. Boi'to 's dramatic gifts were also an aid to 
 Verdi, for it was Boi'to who provided the librettos for both "Otello" 
 and "FalstaflV' 
 
 Amilcare Ponchielli is known by his "Gioconda," a work based 
 on Victor Hugo's "Angelo, the Tyrant of Padua." There is much in 
 "Gioconda" which reflects the influence of both "Ai'da" and "Mefis- 
 tofele." Ponchielli was possessed of great dramatic gifts, but he 
 also understood the strength of pure melody. 
 
 Nicola Spinelli in his "A Basso Porto" gives us a picture of 
 the darkest side of life in Naples. It is the first great Italian opera 
 to deal with every-day life, and although the subject, as it here is 
 used, is an unpleasant one, it is a significant fact that in our modern 
 music we find a decided tendency toward the picturing of life as we 
 see it. One must acknowledge this as one of the results of national 
 expression. 
 
 224
 
 The Opera 
 
 ILLUSTRATIONS 
 
 74210 Son lo Spirito (I am the Spirit) (" Mefistofele ") (Boi'to) 
 
 Marcel Journet 
 
 87067 Folletto, Folletto (Sprites of Hades) de Tura-Mansueto 
 
 85104 Voce di donna (Angelic Voice) (" La Gioconda ") 
 
 (Ponchielli) Louise Homer 
 
 64070 Cielo e mar (Heaven and Ocean) (" La Gioconda ") 
 
 Florencio Constantino 
 
 70070 Dance of the Hours (" La Gioconda") Victor Herbert's Orchestra 
 
 HINTS FOR TEACHERS 
 
 Review with the class the manner in which "Faust" has been 
 used by other composers. Briefly sketch the story of "Gioconda." 
 
 QUESTIONS 
 
 Which voices sang the first selection? The second? The third? 
 The last? Which was dramatic? Which was bel canto? Was the 
 dramatic effect aided by the orchestration in the second? How? 
 
 CHORUSES 
 
 It is suggested that the choral work for the remainder of this 
 year be devoted to one of the cantatas or operettas listed in 
 Course III, page 135. 
 
 Lesson XXIII 
 
 Gi acorn o Puccini 
 
 The greatest, and at the same time, the most popular composer 
 in Italy, since Verdi, is Giacomo Puccini, whose works have been suc- 
 cessful throughout the musical world. Puccini's first opera, "Le 
 Villi," appeared in 1884. The strange subject was filled with the 
 imaginative power of a genius; and the orchestration, so descriptive 
 of the weird legend, attracted the attention of the musical world to 
 this j r oung composer, although the work was not, in any sense, a 
 success. 
 
 Puccini's next work, "Edgar,'' was a flat failure, but in his set- 
 ting of "Man on Lescaut" he shows his true worth, although the 
 Italian version of the story has never been as successful as that of the 
 gifted Frenchman, Jules Massenet. It was with "La Boheme" in 
 
 225
 
 The Opera 
 
 1896 that Puccini achieved his first great triumph, for this setting 
 of Murger's famous novel will ever remain a masterpiece. Puccini 
 has here compelled his Italian genius to produce a music drama 
 on Wagnerian principles, which at the same 
 time depicts the fanciful gay charm of French 
 life. 
 
 With "La Tosca," a condensation of Sar- 
 dou's drama, Puccini scored another great success. 
 This melodrama demands little for its success, 
 from the musical setting, yet there are many pas- 
 sages in "Tosca," which serve to show Puccini's 
 lyrical gifts. 
 
 When "Madame Butterfly," based on Luther 
 Long's Japanese story, was first produced in Italy 
 (1894) it was hissed, but it won universal recog- 
 nition throughout Europe and America, and is 
 to-day, ranked with "Boheme" and "Tosca." Here Puccini's gift of 
 emotional strength is given ample power of expression. 
 
 In his last work, "The Girl of the Golden West," a setting of 
 Belaseo's American play, Puccini has again chosen a melodrama, and 
 his music becomes but an incidental background to the spirited action 
 of this drama. 
 
 Many years ago the great Verdi named Puccini as his rightful 
 successor, and the world has certainly justified Verdi's choice. 
 
 ILLUSTRATIONS 
 
 GIACOMO PUCCINI 
 
 64085 
 
 55020 
 
 88122 
 88010 
 
 88113 
 
 89008 
 
 "LA BOHEME" 
 Musetta Waltz 
 
 Duet "C'e Rodolfo" (Where is Rudolph) 
 Quartet — Addio (Farewell, Sweet Love) 
 
 Sanipoli, Passari, Ciccolini and Badini 
 
 "TOSCA" 
 
 Cantabile Scarpia (Venal, My Enemies Call Me) 
 Vissi d'arte (Love and Music) 
 
 "MADAME BUTTERFLY" 
 
 Un bel dl vedremo (Some Day He'll Come) 
 Tutti i fior (Duet of the Flowers) Mmes 
 
 Gina Viafora 
 Boccolini and Badini 
 
 Antonio Scotti 
 Mme. Eames 
 
 Mme. Farrar 
 Farrar and Homer 
 
 HINTS FOR TEACHERS 
 This program is planned for a special opera day. The stories 
 of these operas should be briefly sketched so that pupils will know 
 the relation of these numbers to the dramatic context. 
 
 226
 
 The Opera 
 
 QUESTIONS 
 
 What voices did you hear in the first selection? The second? 
 The third? The fourth? The fifth? The last? Which was the 
 most dramatic selection? Which the most lyric? Which was the 
 best example of bel canto? In which did you feel the influence of 
 Wasrner? 
 
 Lesson XXIV 
 
 Italian Composers Today 
 
 All the greatest Italian Opera composers of to-day reflect the 
 combination of the Italian bel canto with the principles of the Wag- 
 nerian Music Drama. Although Puccini is the most prolific composer 
 of Italy, we find that Leoncavallo in "I 
 Pagliacci," and Mascagni in "Cavalleria 
 Rusticana," have won universal recognition. 
 
 Pietro Mascagni (1863) won his first 
 fame as an opera composer with his "Cav- 
 alleria Rusticana," produced in 1890. The 
 success of this work has been phenomenal. 
 The story is a simple Sicilian tale, which 
 Mascagni has set to vigorous music, oft- 
 times coarse, but always melodious. The 
 over-praise of "Cavalleria" had a serious 
 effect on Mascagni 's later works, for he has 
 not again equaled the strength of his first 
 opera. 
 
 Ruggiero Leoncavallo (1858), although older in years than Mas- 
 cagni, followed the lead of the composer of "Cavalleria" in the writ- 
 ing of "I Pagliacci," which is also a setting of a simple Italian tale. 
 of every-day life. This is but a short opera, yet it is the only one 
 of Leoncavallo's works which has scored a genuine success. Leon- 
 cavallo is too theatrical and sensational in his art to be considered as 
 a remarkable genius. His music is reminiscent of Wagner, Meyer- 
 beer and Verdi, yet his command of orchestral forces, gives an im- 
 passioned dramatic strength to his works. Leoncavallo writes all his 
 own librettos. 
 
 The greatest genius in opera to-day is the young Ermanno Wolf- 
 
 RUGGIERO LEONCAVALLO 
 
 227
 
 The Opera 
 
 Ferrari (1876), whose works have been received with such great en- 
 thusiasm in Europe and America in the past five years. Wolf-Ferrari 
 is the son of a German Hebrew father and an Italian mother. He was 
 trained in the strictest rules of counterpoint of 
 Josef Rheinberger, of Munich, then went to Italy, 
 where he spent several years under the guidance of 
 Verdi. The result is a German foundation of com- 
 position and orchestration, combined with the 
 Italian melody, giving its expression in the mould 
 of the Wagnerian music drama. Wolf-Ferrari, in 
 "Le Donne Curiose, " a setting of Goldoni's com- 
 edy, and in "The Secret of Suzanne," a little one- 
 act comedy, has displayed a charm and grace which 
 are reminiscent of Mozart. "The Jewels of the 
 Madonna," which was given its Italian premiere, 
 pieteo mascagni under the direction of the composer, by the Chicago 
 Opera Company, in January, 1912, is one of the greatest works which 
 has been produced in the opera since Wagner. A sordid, unpleasant 
 tale of Neapolitan every-day life is the theme, but Wolf-Ferrari's 
 remarkable dramatic sense (the composer writes his own librettos) has 
 given a perfect picture of Naples to-day. Wolf -Ferrari 's use of the 
 Neapolitan folk melodies is masterly. No composer since Dvorak has 
 caught the essence of the folk spirit as does the composer of this opera. 
 
 ILLUSTRATIONS 
 
 87072 Siciliana (Thy Lips Like Crimson Berries) (" Cavalleria 
 
 Rusticana") (Mascagni) Enrico Caruso 
 
 88029 Prologo (" I Pagliacci ") (Leoncavallo) Antonio Scotti 
 
 35270 Intermezzo ("The Jewels of the Madonna ") 
 
 (Wolf-Ferrari) Victor Concert Orchestra 
 
 89057 Duet, II dolce Idillio (Dost Thou Remember) ("USegreto 
 
 di Susanna") (Wolf-Ferrari) Mme. Farrar and Amato 
 
 HINTS FOR TEACHERS 
 
 For a special opera day, either "Cavalleria Rusticana" or "I 
 Pagliacci" are possible, as the stories may be easily readapted for 
 school use, and all the music is arranged. Make a point of the man- 
 ner in which both Mascagni and Leoncavallo introduce their operas 
 with the "Siciliana" and "Prologo." The stories of both the Wolf- 
 Ferrari operas should be sketched. 
 
 228
 
 The Opera 
 
 QUESTIONS 
 
 What voices do you hear in the first selection? The second? 
 The fourth? Which is lyric? Which dramatic? Which is the best 
 example of bel canto? Of what composer's style is Wolf-Ferrari 
 reminiscent? Where do we find another great example of the use of 
 the Intermezzo, in Italian Opera? 
 
 L 
 
 esson 
 
 XXV 
 
 Gounod 
 
 As we have already observed, the opera in France, up to the mid- 
 dle of the nineteenth century, had been almost entirely influenced by 
 either Italian or German composers. Yet the Modern French Opera 
 School is one of the strongest forces in the 
 development of the music drama since 
 Wagner. 
 
 The first great French genius of the 
 modern schools was Charles Gounod (1818- 
 1893), who was trained in the school of 
 Meyerbeer, but who was also strongly influ- 
 enced, first by the purity and serenity of 
 Mozart, later by the strength of Wagner. 
 Gounod's first opera, "Sapho" (1851), 
 was never really successful, but in his set- 
 ting of Moliere's comedy "Le Medecin 
 Malgre Lui," he scored an immediate popu- 
 larity. 
 
 It was not until 1859 that Gounod's reputation was absolutely 
 established, with the production of his masterpiece, "Faust.'' No 
 later work of Gounod's has ever reached the heights of dramatic 
 musical beauty, which we find in his setting of Goethe's tragedy. 
 "Philemon et Baucis," his next work, was built on the lines of the 
 Opera Comique ; with ' ' La Reine de Saba ' ' he returned to the Grand 
 Opera style once again; but neither in this work, nor in "Mireille," 
 did he achieve the popularity of "Faust." In 1869 his "Romeo et 
 Juliette" was given to the world. This work is regarded, as ranking 
 next to "Faust" in the catalogue of Gounod's works, but there are 
 
 CHARLES GOUNOD 
 
 229
 
 The Opera 
 
 many critics, who. although acknowledging the beauties of Gounod's 
 oilier works, claim immortality only for "Faust." 
 
 " Faust'' has certainly had a more direct influence on Gounod's 
 followers than any other. We notice this in the masterpiece of 
 Ambroise Thomas (1811-1896), "Mignon." In "Mignon" we have 
 a graceful and charming setting of Goethe's "Wilhelm Meister." 
 "Hamlet," also by Thomas, has met with ;i well-deserved success. 
 
 ILLUSTRATIONS 
 
 " FAUST " 
 
 The entire opera, if possible; at any rate give the best-known 
 selections, which will serve to make the drama seem a complete whole 
 (See Victor Catalogue and Victor Book of the Opera.) 
 
 HINTS FOR TEACHERS 
 
 In giving "Faust" by Gounod, review the Faust legend as we 
 find it used in music. The legend of the redeeming power of woman's 
 love, is found in all folk legends. On the sea it becomes "The Flying 
 Dutchman " ; in the South ' ' Don Juan " ; in the mountains ' ' Man- 
 fred"; in the forest towns "The Free-shooter"; in the scholastic 
 towns "Doctor Faustus. " It is a strange fact that our best musical 
 settings of Goethe 's works have been made by Frenchmen. 
 
 Lesson XXVI 
 
 Opera in France Since IVagnei — Bizet 
 
 The real founder of Modern French Opera Comique was Daniel 
 Auber (1782-1871), whose long life enabled him to see the rise of the 
 French School of Opera, the Reforms of Wagner and the dawn of 
 Modern Music. Auber is noted for his operas of the lighter style, the 
 two best known being "Fra Diavolo" and "Masaniello. " Auber had 
 many imitators, chief among them being Adolphe Adam (1803-1856), 
 whose "Chalet" and "Postilion de Longjumeau" are both still given; 
 and Felicien David (1810-1876), who was the first Frenchman to bring 
 into music, Oriental color, as he chose for all his operas Oriental sub- 
 jects. His best work was "Le Desert." 
 
 230
 
 The Opera 
 
 The greatest genius of this type of opera was Georges Bizet 
 (1838-1875). With Bizet the influence of Wagner is more keenly 
 Pelt than in the works of any other French composer. Bizet's genius 
 is first shown in two Oriental works 
 modeled after David, and employing the 
 ideas of Wagner. These are ' ' The Pearl 
 Fishers" and "Djamileh," which, al- 
 though Oriental and charming, seem 
 scarcely worthy to rank with Bizet's 
 masterpiece, "Carmen." It seems hard 
 to realize to-day that this great work 
 was received with such coldness, when 
 it was produced in 1875, that Bizet died 
 shortly after it performance, a broken- 
 hearted man. The popularity of "Car- 
 men" has been phenomenal, but it is 
 rightly deserved, for in no modern work 
 has the true dramatic depth of tragedy 
 been more fittingly set to music, than in 
 this remarkable picture of Spanish life and character. "Carmen" 
 may rightly be considered national opera, for, although the work of 
 a French composer, the spirit of the Spanish folk has been reflected in 
 every measure of this music. 
 
 There are three other opera composers of this period who must 
 be briefly considered : 
 
 Ernest Reyer (1823-1909) uses the same Niebelungen legends in 
 his "Sigurd" which Wagner uses in "The Rin^. " 
 
 Leo Delibes (1836-1891) ; his greatest work is the Indian opera 
 of "Lakme." Has written many charming ballets. 
 
 Edouard Lalo (1823-1892), a composer of charming grace. 
 Greatest work is " Le Roi d 'Ys. ' ' 
 
 GEORGES BIZET 
 
 ILLUSTRATIONS 
 
 All of "Carmen" that is possible. (See Victor Catalogue.) 
 
 HINTS FOR TEACHERS 
 
 In presenting "Carmen" accent the fact that the opera of today 
 reflects life as it is found in every-day reality. Our stage, our liter- 
 
 231
 
 The Opera 
 
 ature and our art are either realistic or impressionistic in character. 
 "Carmen" is a most remarkable example of stage realism. Accent 
 also the folk spirit found in Modern Music. 
 
 Lesson XXVII 
 
 Opera in France Since Wagner — Massenet 
 
 The most prolific opera writer of the present day, was Jules 
 Massenet (1842-1912), of the French School. Massenet graduated 
 from the Conservatoire, winning the Grand Prix de Rome, and after 
 
 his return from Italy, became a professor 
 at the Conservatoire, and also a Director 
 at the Opera Comique. 
 
 Massenet's operas are classed as lyric 
 dramas, and follow the general idea of 
 Gounod, from whom he has inherited a 
 sensuous melodic gift, which is ever the 
 great charm in his works. Massenet, has 
 also proved himself susceptible to the in- 
 fluence of Wagner, although even in those 
 operas, where the Wagnerian system of 
 guiding themes is most apparent, one ever 
 feels the distinct influence of the French 
 School. His works have had a tremendous 
 vogue in Paris, England and America, in 
 jules massenet the past decade. Massenet has used many 
 
 subjects from all schools and lands, as the dramatic foundations for 
 his works. His first opera was "Le Roi de Lahore," which was pro- 
 duced in 1877. "Herodiade," in 1881, contains some of the best music 
 Massenet has ever written, though the spectacle of Salome singing a 
 love duet with John the Baptist, can hardly be considered as dra- 
 matically fitting. 
 
 "Manon" (1884) is one of Massenet's most sucessful works, for 
 this delicate drama is admirably suited to his style. "Le Cid" and 
 "Le Mage" were regarded as failures, but "Esclarmonde" (1889) 
 marks an important stage in Massenet's career, as his use of the Wag- 
 nerian principles now becomes clearly apparent. 
 
 For his next work Massenet uses a German text, Goethe's 
 
 232
 
 The Opera 
 
 "Werther," inspiring him with a musical setting considered by many 
 musicians to be his best. "Thais" and "La Navarraise" were both 
 produced in 1894 and have proved to be remarkably popular, though 
 hardly to be ranked with Massenet's best works. The sentimental 
 quasi-religious appeal of ' ' Thai's ' ' has proved to be a strong attraction 
 to the general public, though its superficialities are most apparent to 
 the serious musician. "Sapho" (1897), "Cinderella" (1899), and 
 "Griselidis" (1901), are all works of light calibre, but in 1902 Masse- 
 net revealed an almost forgotten genius in "Le Jongleur de Notre 
 Dame," which is a musical setting of an old mediaeval legendary 
 story, that is sincere, simple and beautiful in its direct appeal. In 
 ]890 "Don Quichotte" made a successful debut. Massenet's last work, 
 "Roma," was recently presented in Europe and has won great 
 success. 
 
 ILLUSTRATIONS 
 
 74123 Legend of the Sagebush ("Jongleur de Notre Dame ") 
 
 (Massenet) Marcel Journet 
 
 74135 Meditation ("Thai's") (Massenet) Maud Powell 
 
 88153 Aria — " Fleeting Vision" (" Herodiade ") (Massenet) 
 
 Emilio de Gorgoza 
 
 HINTS FOR STUDY 
 
 The teacher should be familiar with the stories of "Jongleur," 
 "Thai's" and "Herodiade." Class should be given the bare outline 
 of "Thai's" and "Herodiade," but the complete story of "Jongleur" 
 is an excellent one for use in the school, as it is such a good example 
 of mediaeval musical life. As this selection is taken from an old French 
 legend, and the music is from an old air, it is an excellent illustration of 
 the adaptation of national expression by our modern composers. 
 
 QUESTIONS 
 Who were the Jongleurs? When did they live? Can one con- 
 sider "Herodiade" a sacred opera? Why not? Where does the 
 "Meditation" occur in "Thai's"? For what dramatic effect is it 
 employed? AVhat violin effects do you observe in this selection? 
 
 Lesson XXVIII 
 
 Opera in France Today — // 
 The French music of to-day reflects the phase of modern French 
 literature and art, which we know as Impressionism. One of the best 
 critics of the time speaks of these composers as "writing the music 
 of to-morrow. " It is certainly the most important music of to-day. 
 
 233
 
 The Opera 
 
 Vincent D'Indy (1851- ), a fol- 
 lower of the school of Cesar Franck, is the 
 most avowed Wagnerian of this group. His 
 "Fervaal" (1897) was clearly modeled 
 after the Wagnerian pattern, but his later 
 works have shown a decided leaning toward 
 the Impressionistic School. 
 
 Gustave Charpentier (I860- ) struck 
 a new note in the French Opera, when his 
 "Louise" was first heard in 1900. This 
 work, which is the story of an every-day 
 working girl in Paris, is a marvelous pic- 
 ture of the seamy side of the Bohemian life 
 certain sense this is a 
 
 VINCENT DINDY 
 
 in Paris to-day. In a 
 
 remarkable phase of national expression. 
 
 Claude Debussy (1862- ) is the particular 
 and individual genius on whom the eyes of the 
 musical world are at present directed. Debussy 
 has returned to the old Greek modes for his 
 melodic inspiration, and his music is, as one 
 writer says, ' ' a fluid impressionism. ' ' In 
 "L 'Enfant Prodigue," his first opera, he hinted 
 at his new forms, but with ' ' Pelleas et Melisande ' ' 
 he has given us a marvelous example of the mys- 
 tery of the poet Maeterlinck, reflected in his 
 musical setting. In his last work, "St. Sebas- 
 tian" (1911), Debussy 
 ideas still further 
 
 CLAUDE DEBUSSY 
 
 ias carried his 
 Here the lines are 
 declaimed, without musical accompaniment, 
 the music being entirely symphonic in char- 
 acter, and reflecting the action of the piece. 
 We are too near to the music of Debussy 
 to see his works in their proper perspective; 
 only time will tell if this is to be the lasting 
 form of opera in the future. 
 
 A direct follower of Debussy is Paul 
 Dukas, whose greatest operatic work is his 
 setting of Maeterlinck's "Ariane et Barbe 
 Bleue." 
 
 GUSTAVE CHARPENTIER
 
 The Opera 
 
 ILLUSTRATIONS 
 
 70085 Depuis le jour (Ever Since the Day) ("Louise") (Charpentier) 
 
 Florence Hinkle 
 
 88281 Air de Lia (" L'Enfant Prodigue ") (Debussy) 
 
 Jeanne Gerville-Reache 
 
 HINTS FOR TEACHERS 
 Review Lesson XXVII, Course II, and Lesson XXX, Course III. 
 Speak at length on the modern impressionistic school of French liter- 
 ature and art. Review with class the influence of literature and art 
 on the music of France since the Revolution. 
 
 Lesson XXIX 
 
 Modern Oratorio 
 
 We found that all oratorios have been more or less influenced by 
 the opera ever since the birth of the two forms. In the modern 
 schools we shall find that this influence is most keenly apparent in the 
 French and Italian Schools, for the oratorios, which have come from 
 Germany and England in the modern day, are more truly religious 
 in character. 
 
 Verdi's great Requiem Mass was written for Manzoni, the Italian 
 patriot, and while reflecting the style of the composer, it is a great 
 advance in religious feeling on the religious works of Italy at the 
 time of Rossini. To-day in Italy the Pope has ordered, the return to 
 the Gregorian Chant, and the influence of this truly religious reforma- 
 tion in music, is strongly felt in the masses of Don Lorenzo Perosi 
 (1872), who has united the style of Palestrina with modern dramatic 
 expression. 
 
 In France. Charles Gounod, wrote three oratorios, which are 
 reflective of the same style as his operas. These works are "Messe 
 Solennelle" (1850), "Redemption" (1883), "Mors et Vita." Saint- 
 Saens' Biblical opera, "Samson et Dalila," is frequently presented on 
 the concert stage as an oratorio. 
 
 "The Seven Last Words of Christ," by Theodore Dubois (1837), 
 is another excellent example of the French style. 
 
 But the greatest French work in this form is unquestionably 
 "The Beatitudes," by Cesar Franek. who also wrote two other ora- 
 torios, entitled "Ruth" and "Redemption." 
 
 235
 
 The Opera 
 
 In the German School our greatest oratorio is the "German 
 Requiem" of Johannes Brahms, which is regarded as the greatest 
 choral work of modern days. 
 
 Max Bruch (1838). of the German school, has written two excel- 
 lent cantatas, entitled " Frith jof" and "Fair 
 Ellen." Of the younger German composers. 
 Georg Schumann has given us recently a 
 remarkable oratorio based on the story of 
 "Ruth." 
 
 Antonin Dvorak left three remarkable 
 choral works, "Stabat Mater"; "St. Lud- 
 nilla"; and "Requiem Mass," which are 
 often given. 
 
 Grieg's cantata. "Olaf Trygvason," is 
 an example of national expression. 
 
 The greatest modern oratorios of the 
 school of Handel are the three great works 
 max bruch j )y Edward Elgar. of England: "Caracta- 
 
 cus"; "The Apostles"; and "The Dream of Gerontius. " 
 
 ILLUSTRATIONS 
 
 35075 Unfold Ye Portals ("The Redemption") (Gounod) Trinity Choir 
 
 87087 Pause My Brothers (" Samson et Dalila ") Charles Dalmores 
 
 88199 My Heart at Thy Sweet Voice ("Samson et Dalila") 
 
 Mme. Homer 
 
 17180 Chorus (" Samson et Dalila ") (Spring Flowers) Chorus of Women 
 
 HINTS FOR TEACHERS 
 
 Make a strong point of the difference between sacred and secular 
 music. This is a good time to review the influence one has had on the 
 other, since the beginning of musical history. The selections from 
 "Samson et Dalila" are chosen especially to show that, in the same 
 work, we may find religious feeling, and purely operatic art. Be sure 
 and have class recall the choruses they have had in school from all 
 these works. 
 
 In the 
 secular ? Why ? 
 
 QUESTIONS 
 Samson et Dalila" records, which is religious? Which 
 
 236
 
 The Opera 
 
 L 
 
 esson 
 
 XXX 
 
 Opera in America 
 
 It has been said that the Americans of the present day are the 
 greatest patrons of opera in the world. It is certainly true that the 
 greatest singers of the world are receiving their largest fees to appear 
 before American audiences, while the eyes 
 of all the operatic composers of Europe 
 are looking toward America as the land 
 certain to give them fame and fortune, 
 with the production of any new good 
 work. 
 
 As a further proof of this it will be 
 easy to recall that several of the greatest 
 modern operas have been given their pre- 
 mieres on the American opera stage dur- 
 ing the past two seasons, and that their 
 composers have come to America to per- 
 sonally superintend the production. These 
 works are : 
 
 VICTOR HERBERT 
 
 The Girl of the Golden West," Puccini; 
 
 ' ' Koenigskinder, ' ' Humperdinck ; 
 "The Jewels of the Madonna," Wolf- 
 Ferrari. 
 
 American singers have been popular for 
 many years on the opera stages of Europe, and 
 it may be said that the greatest successes of 
 recent years in both the Paris and Berlin Opera 
 Houses have been won by American singers. 
 
 Our great Metropolitan Opera Company 
 has done much for the good of opera, but with 
 the establishment of the splendid companies in 
 Boston, Chicago and Philadelphia, still greater 
 results will be attained. All of these great 
 companies are doing their utmost, not only to 
 aid the American singer to obtain a hearing, but also to help the Ameri- 
 can composer to secure a production of his works in his native land. 
 The interest in Victor Herbert's "Natoma"; "The Pipe of De- 
 sire" and "The Sacrifice." bv Frederick Converse; and the Metro- 
 
 HORATIO PARKER 
 
 237
 
 The Ope r a 
 
 politan prize opera, "Mona," by Horatio Parker; are all hopeful 
 signs that the American public is eager and anxious to welcome the 
 good works by native composers. 
 
 Much is also being done for the betterment of opera in the smaller 
 cities by the excellent traveling organizations, now presenting English 
 versions of the greatest operatic masterpieces. 
 
 The greatest musicians of the world agree that within the next 
 decade an American School of Opera will be an accomplished reality. 
 
 ILLUSTRATIONS 
 
 70049 Natoma — Dagger Dance, Act II Victor Herbert's Orchestra 
 
 74295 Natoma — Paul's Address, Act II (Herbert) John McCormack 
 
 31864 Natoma Selection (Victor Herbert) Arthur Pryor's Band 
 
 60072 Natoma — Serenade (When the Sunlight Dies) Reinald Werrenrath 
 74274 Natoma— Spring Song (I List the Trill of Golden Throat) 
 
 (Act II) (Personally directed by Victor Herbert) Alma Gluck 
 
 ILLUSTRATIONS FOR REVIEW 
 
 Give the composer, his period, nationality, school, and briefly 
 state what type of music is found in this selection, and what voices 
 are heard : 
 
 Benediction of Swords, "Huguenots." 
 
 Largo al Factotum, "Barber of Seville." 
 
 Habanera, "Carmen." 
 
 Wotan's Farewell, "The Valkyrie." 
 
 La Donna e mobile, "Rigoletto. " 
 
 Hexenritt, "Hansel and Gretel." 
 
 Duet of Flowers, "Madame Butterfly." 
 
 Briinnhilde's Battle Cry, "The Valkyrie." 
 
 Comfort Ye My People. "The Messiah." 
 
 If With All Your Hearts, "Elijah." 
 
 My Heart at Thy Sweet Voice, "Samson and Delilah." 
 
 Prize Song, "Meistersinger. " 
 
 Sextet, "Lucia." 
 
 Ah fors' e lui. "Traviata." 
 
 Cujus Animam. "Stabat Mater." 
 
 Toreador Song. "Carmen." 
 
 Jewel Song. "Faust." 
 
 Invocation, "Magic Flute." 
 
 I Have Lost My Eurydice, "Orpheus and Eurydice." 
 
 Largo, "Xerxes." 
 
 The Fatal Stone, "Ai'da." 
 
 238
 
 Analyses 
 
 Hints for Teachers 
 
 These short analyses are only guides for further study. They 
 are not in any sense complete. We have given the translations 
 of the principal arias, but not those sung in English, or where the 
 words are well known. These numbers are arranged in the alpha- 
 betical order of the composers. 
 
 The new "Victor Book of the Opera," published by the Victor 
 Company, will be of the greatest aid to the teacher in presenting all 
 operatic numbers. 
 
 17190 The Lass With the Delicate Air Dr. Arne 
 
 This charming old English song belongs to the eighteenth cen- 
 tury, as Dr. Thomas Arne lived from 1710 to 1778. Dr. Arne was 
 not only a fine performer on the violin and spinet, but he also con- 
 ducted both choruses and orchestras, and in his day was regarded as 
 the greatest English composer since Henry Purcell. His music all 
 reflects tbe over elaborated style of his period. [Lesson XXIX, 
 Course I.] 
 64132 Gavotte in E Major Bach 
 
 The Gavotte is an old French dance, said to have originated in 
 the Province of Dauphine, Le Pays du Gap, from whence it takes 
 its name, Gavotte, as the people in that locality are called the Gavots. 
 It is distinguished from some of the dances of the day, in that the 
 dancers lifted their feet instead of shuffling them. This dance be- 
 came very popular in French court life during the last part of the 
 seventeenth century. It follows in form the outline of the dance, 
 contrasting dance (or trio), and return to the original dance. [Les- 
 son IX, Course II.] 
 
 81045 Ave Maria Bach-Gounod 
 
 Bach's beautiful setting of this great religious text was re-written 
 in its present form by Gounod. The French composer retained all 
 tbe religious simplicity of Bach's original version. This aria is sung 
 in Latin, and I lie obbligato to the soprano voice, is played by the 
 violin. [Lesson IX, Course II.] 
 
 239
 
 Analyses 
 
 17184 Bourree from Violoncello Suite III Bach 
 
 This charming little use of the old dance form, is taken from one 
 of Bach's suites for violoncello. The Bourree was a favorite dance 
 with Bach, and we find him making frequent use of this dance form. 
 This dance was of great strength and virility, was in 4-4 time and 
 followed the customary pattern of dance, trio dance. [Lesson IX, 
 Course II; Lesson XV, Course III.] 
 
 16398 Then You'll Remember Me (2) I Dreamt I Dwelt In Marble 
 
 Halls ("The Bohemian Girl") Balfe 
 
 Michael Balfe (1808-1870) will always be remembered as the 
 composer of the ever popular "Bohemian Girl," which was first 
 produced in 1843 at the Drury Lane Theatre, London. The story 
 of the beautiful Arline, who is stolen from the home of her father, 
 Count Arnheim, and is brought up by the gypsies, is so familiar that 
 it need not here be repeated. "Then You'll Remember Me" is sung 
 by Thaddeus, the faithful friend and later, lover of Arline. "I 
 Dreamt I Dwelt" is Arline 's song in the second act as she tells 
 Thaddeus of her dream. (As both of these numbers are sung in 
 English, it is not necessary to here quote the words.) [Lesson XVIII, 
 Course IV.] 
 74109 Come Into the Garden Maud Balfe 
 
 Michael Balfe (1808-1870) was an Irish composer, whose most 
 popular work was his opera "The Bohemian Girl." This charming 
 setting of Tennyson's lovely poem has met with great favor as a 
 concert selection. It is an excellent example of poetic thought. [Les- 
 son V, Course I; Lesson XXVIII, Course II.] 
 
 17106 Voice of the Western Wind Barnby 
 
 Sir Joseph Barnby (1831-1896) was a popular English organist 
 and composer, who is known chiefly by his simple beautiful songs. 
 "Sweet and Low" is a universal favorite, and this beautiful song, 
 "The Voice of the Western Wind," here sung by a trio of women's 
 voices, is another beautiful example of Barnby 's melodic gift. [Les- 
 son VI, Course I.] 
 87026 The Year's at the Spring Mrs. Beach 
 
 Among American composers none occupies a more enviable posi- 
 tion than does Mrs. H. H. A. Beach, of Boston. Mrs. Beach is an 
 outgrowth of the school of composition of John Knowles Paine. She 
 is the composer of a number of large works for orchestra and chorus. 
 
 240
 
 Analyses 
 
 and many shorter compositions for piano and violin. Of her sixty 
 beautiful songs, none is more popular than her charming setting of 
 Robert Browning's song of happiness from "Pippa Passes." [Lesson 
 XXIX, Course II.] 
 
 74307 Adelaide Beethoven 
 
 One of the most beautiful of Beethoven's early songs is the 
 "Adelaide." In this lovely lyric composition, the influence of the 
 Italian School of bel canto is clearly apparent. Students should notice 
 this and contrast this song with the later songs of Beethoven and the 
 songs of Schubert- [Lesson XIII, Course II.] 
 
 \Part II>Overture, Leonore No. 3, Op. 72 In three parts Beethoven 
 35269 Part III) 
 
 This work, which is regarded as the greatest overture ever 
 written, is, in reality, the second overture composed by Beethoven 
 for the second production (1806) of his one opera, "Fidelio. " Beetho- 
 ven rewrote the opera three times, so that we have three overtures 
 known as ' ' Leonore, ' ' and one overture called ' ' Fidelio. ' ' 
 
 In this work Beethoven practically sketches in music the plot 
 of his entire opera. Beginning with a fortissimo chord, which sub- 
 sides immediately into a diminuendo descending passage, our first 
 subject gives us the opening theme of Florestan's aria. The second 
 subject is of a more tender character. Both are subjected to a re- 
 markable development (Free Fantasia), which is interrupted by the 
 distant call of the trumpet, which, in the opera, is the signal of the 
 arrival of the Governor. Here it marks the recapitulation of the 
 subjects; the work ending in a coda, which proclaims the joy of the 
 prisoners, who are now set free. [Lesson XIII, Course II; Lesson 
 XXVII, Course III; Lesson VII, Course IV.] 
 
 64165 Aria — Fateful Moment (" Fidelio ") Beethoven 
 
 Beethoven's one opera, "Fidelio," is based on an old Spanish 
 tale. Florestan, a nobleman, is falsely imprisoned by Don Pizarro, 
 who hopes by his death to obtain his property. Leonore, the faith- 
 ful wife of Florestan, disguises herself as a lad and, under the name 
 of Fidelio, obtains service in the prison. By her devotion she saves 
 the life of Florestan, and the Governor pardons him, while Don 
 Pizarro is condemned. This great aria occurs in the first act. Don 
 Pizarro hears that the Governor is to make his inspection of the 
 prison, and determines that Florestan must die.
 
 Analyses 
 
 Governor : 
 
 Fateful moment! My revenge is near! 
 
 Long I 've waited for this hour. 
 
 Fearful lest he should escape me! 
 
 Over my enemy I triumph ; 
 
 He who would my life have taken! 
 
 Oh, fateful moment ! 
 
 Ah, what a day is this! 
 
 My vengeance shall be sated, 
 
 And thou, thy doom is fated. 
 
 Once in the dust I trembled 
 
 Beneath thy conquering steel, 
 
 But fortune 's wheel is turning, 
 
 In torments thou art burning, 
 
 The victim of my hate ! 
 
 [Lesson VII, Course IV.] 
 
 35246 Chorus of Prisoners ("Fidelio") Beethoven 
 
 Beethoven's one opera "Fidelio," although it foreshadowed the 
 development of the modern music drama, was never a success during 
 Beethoven's life. The male chorus of the prisoners occurs at the end 
 of the first act. The scene shows us the courtyard of the prison, where 
 Florestan has been unjustly confined. As the prisoners come out 
 into the sunshine, they sing this beautiful chorus. [Lesson XIII, 
 Course II; Lesson VII, Course IV.] 
 62101 Mira o Norma (Hear Me, Norma) (From " Norma ") Bellini 
 
 This ever popular duet, from the first act,* still holds the concert 
 
 stage as a rare example of true bel canto. 
 
 Adalgisa : 
 
 Dearest Norma, before thee kneeling, 
 View these darlings, thy precious treasures; 
 Let that sunbeam, a mother's feeling, 
 Break the night around thy soul. 
 
 Norma : 
 
 Wouldst win that soul, by his entreating 
 Back to earth's delusive pleasures, 
 From the phantoms, far more fleeting, 
 Which in death's deep ocean shoal? 
 
 [Lesson XI, Course IV.] 
 
 17174 Hear Me, Norma (Clarinet and Oboe) Bellini 
 
 This is a good opportunity to study the tone quality of the 
 clarinet and oboe as they sing for us this famous duet from "Norma." 
 [Lesson XV, Course III ; Lesson XVI, Course III.] 
 
 * Bellini's most dramatic opera is founded on an old French tale of the Gauls and Druids laid 
 in 50 B. C. 
 
 Norma, a high priestess of the temple of the Druids, has broken her vows and secretly married 
 Pollione, the Roman commander, and has two children. Pollione proves faithless in falling des- 
 perately in love with Adalgisa, a temple virgin. Norma discovering it, offers to sacrifice herself 
 and give her children to Adalgisa, who proves her loyalty to her priestess by refusing to accept. 
 
 To save Pollione's life, Norma afterward confesses her own sin, and both perish in the sacrifi- 
 cial flame. 
 
 242
 
 Analyses 
 
 62642 Ah! fosco ciel! (When Daylight's Going) Bellini 
 
 This interesting chorus occurs at the end of the first act of 
 Bellini's pastoral opera "La Sonnambula." A stranger, who has come 
 to the village, is told of the vision of a specter, which has appeared 
 each night in the village. He laughs at this tale, but the villagers in 
 this descriptive chorus tell him of the ghostly visitor. 
 
 Chorus : 
 
 When dusky nightfall doth shroud the sunbeam, 
 
 And half repulses the timid moonbeam, 
 
 When thunder boometh ; where distance loometh ; 
 
 Floating on mist, a shade appears: 
 
 In filmy mantle of pallid whiteness. 
 
 The eye once gentle now glaring brightness, 
 
 Like cloud o'er Heaven by tempest driven, 
 
 Plainly contest the phantom wears! 
 
 Rudolph : 
 
 You are all dreaming: 'tis some creation 
 Uf mere gossips, to frighten youth. 
 
 Chorus : 
 
 Ah, no such folly in our relation: 
 
 We all have seen it, in very truth, 
 
 And wheresoever its pathway falleth 
 
 A hideous silence all things appalleth; 
 
 No leaflet trembles, no zephyr rambles, 
 
 As 'twere a frost the brook congeals. 
 
 The fiercest watchdog can nought but cower, 
 
 A mute true witness of its fell power. 
 
 The screech-owl shrieking, her haunt seeking, 
 
 Far from the ghost her dark wings wheels. 
 
 Rudolph : 
 
 'Tis fright for youth. I will' discover 
 What hidden mystery your tale conceals. 
 
 [Lesson XI, Course IV.] 
 
 35241 Overture, "Le Carnaval Romain " Berlioz 
 
 This composition was written by Berlioz to serve as the overture 
 to the second act of his opera "Benvenuto Cellini," which was pro- 
 duced in 1838. It is, therefore, to be seen that Berlioz preceded Wag- 
 ner in the use of overtures before the various acts of the opera. Berlioz, 
 in his memoirs, tells us that on the night of the presentation of 
 "Benvenuto Cellini" this overture was received with "exaggerated 
 applause," while the opera itself was "a brilliant failure," being 
 "hissed with remarkable energy." The theme of the "Carnaval 
 Romain" is a Saltarello, which is today still sung and danced in 
 Rome. This theme opens the overture, and is followed by a slow 
 melody of a romantic nature ; then suddenly the Salterello theme is 
 
 243
 
 Analyses 
 
 taken up again by the full orchestra; the development is particularly 
 taken up with this theme, although the second subject is brought back 
 once more to serve as contrast to the brilliant vigor of the dance 
 subject. [Lesson XVI, Course II; Lesson XXVIII, Course III.] 
 
 31424 March Rakoczy (" Damnation of Faust ") Berlioz 
 
 The "March Rakoczy" is the national air of Hungary and was 
 originally written by Michael Barna, a gypsy court musician of 
 Prince Franz Rakoczy, from which this composition takes its name. 
 
 The Rakoczy family were the leaders of the Hungarian inde- 
 pendent movement for many generations, the most famous member 
 of the family being Franz II (1676-1735), who led the Hungarian 
 Revolution, in 1703. It is said that when the Prince with his young 
 wife, Princess Amalia Catherine of Hesse, made his state entry into 
 Eperjes, this march was played by the court orchestra under 
 the direction of the composer, Barna. In 1711, when Franz led the 
 revolt against Emperor Leopold I, Barna revised the original melody 
 into a warlike march, which has since remained the battle hymn of 
 the Hungarians, being equally popular among the music-loving gypsies 
 as with the Hungarian noblemen. The manuscript of the march was 
 kept in the Barna family, although the theme was used and adapted 
 by many Hungarian musicians. Much of the popularity of the 
 march was due to the personal beauty and musical genius of a 
 young gypsy girl violiniste, Pauna Cznika, the granddaughter of 
 Barna, who played her grandfather's composition at all her concerts. 
 After her death, the manuscript came into the hands of another 
 Hungarian gypsy violinist, Ruzsitka, who rewrote the march, giving 
 it much of the length and character it now possesses. 
 
 Berlioz, the great French composer, to whom we owe the present 
 arrangement, borrowed his version from that of Ruzsitka. The 
 idea of using this march came to Berlioz while he was in Buda Pesth, 
 arranging for a performance of his "Damnation of Faust." Realizing 
 the great patriotism of the Hungarian people, Berlioz changed his 
 libretto to suit the situation, and took his much travelled Faust to 
 Hungary, that he might witness the departure of the Hungarian 
 troops for the war, and an opportunity was thus given for the Rakoczy 
 March to be played. The success of this plan was overpowering — 
 Berlioz tells us that the enthusiasm at the first performance in Pesth 
 was so extraordinary, that it quite frightened him. [Lesson I, Course 
 I ; Lesson XXI, Course I.] 
 
 244
 
 Analyses 
 
 88085 Habanera ("Carmen") Bizet 
 
 The "Habanera" for mezzo-soprano is taken from Bizet's opera 
 "Carmen," where it is sung by the Spanish cigarette-maker as she is 
 trying to persuade the unfortunate Don Jose to fly with her. This 
 aria is not only a beautiful composition for the singer, but it is an 
 excellent example of national expression, as Bizet here uses a Spanish 
 gypsy dance tune as the basis of his musical composition. 
 
 HABANERA. 
 
 Ah! love, thou art a willful wild bird, 
 
 And none may hope thy wings to tame, 
 
 If it please thee to be a rebel, 
 
 Say, who can try and thee reclaim? 
 
 Threats and prayers alike unheeding; 
 
 Oft ardent homage thou 'It refuse, 
 
 Whilst he who dost so coldly slight thee, 
 
 Thou for thy master oft thou 'It choose. 
 
 Ah, love! 
 
 For love he is the lord of all, 
 
 And ne'er law's icy fetters will he wear, 
 
 If thou me lovest not, I love thee, 
 
 And if I love thee, now beware! 
 
 If thou me lovest not, beware ! 
 
 But if I love you, if I love you, beware! beware! 
 
 [Lesson IV, Course I; Lesson XXVI, Course IV.] 
 
 88178 Toreador Song ("Carmen") Bizet 
 
 This ever popular aria for baritone is sung by the Toreador 
 
 Escamillo in the second act of Bizet's "Carmen." The scene 
 
 shows us the inn of Lillas Pastia, where Carmen and her gypsy friends 
 
 are singing and dancing. All hail with joy .the arrival of Escamillo, 
 
 and he tells them of the dangerous joys of the bull fight in this 
 
 remarkable descriptive aria : 
 
 You ask for a toast, well I make it. 
 
 To you, Senors, to you all, all soldiers brave, 
 
 For you like to us Toreadors do fight. 
 
 Ah ! the circus is full from the ground to the top, 
 
 The fair ones are there all eager with pleasure. 
 
 Hear the shouts around the arena resound, 
 
 Some are applauding, some wildly calling, 
 
 All are delighted to see the brave. 
 
 Advance, Toreador, make ready, 
 
 Give but one glance to the tender eyes 
 
 Of she who waits and watches, 
 
 In love for thee. 
 
 Toreador! For thee her love awaits! 
 
 Then there comes the silence, 
 
 The moment draws nigh, 
 
 When the bull shall appear. 
 
 In anger and rage he bounds into the ring. 
 
 All are watching hs he charges. 
 
 245
 
 Anal y'j e s 
 
 A horse he flays, a fallen Picador ! 
 
 On, on, with the fight! 
 
 He charges once more. 
 
 See them hurry — see them leap the barriers. 
 
 But one alone now takes his stand. 
 
 Make ready, Toreador, advance ! 
 
 Give but one glance to the tender eyes 
 
 Of she, who waits and watches 
 
 In love for thee, 
 
 Toreador! For thee her love awaits! 
 
 [Lesson V, Course I ; Lesson XIX, Course II; 
 Lesson XXVI, Course IV.] 
 74210 Son lo Spirito ("Mefistofele") Boi'to 
 
 The opera ' ' Mefistofele " is the one composition of Boito's which 
 has been recognized as a master work. This Italian version of Goethe's 
 "Faust" is remarkable in its power of characterization. A very excel- 
 lent example of this is found in the aria for Mephistopheles in the first 
 act, when the evil spirit discloses his true identity to Faust : 
 
 MEFISTOFELES : 
 
 I'm the spirit that denieth all things, always: 
 Stars or flowers — that by sneers and strife supplieth 
 Cause to vex the Heavenly powers. 
 I'm for Naught and for Creation, 
 Ruin universal, death ! 
 And my very life and breath, 
 
 Is what here they call transgression, sin and Death! 
 Shouting and laughing out this word I throw; 
 "No!" Sland'ring, wasting, howling, hissing. 
 On 1 go, whistling! whistling! Eh! 
 Part am I of that condition, 
 Of the whole obscurity, 
 Child of darkness and ambition, 
 Shadows hiding, wait for me. 
 If the light usurps, contending, 
 On my rebel scepter's right. 
 Not prolong'd will be the fight, 
 Over sun and earth is pending, 
 Endless night ! 
 Shouting and laughing, etc. 
 
 [Lesson XXII, Course IV.] 
 
 7067 Folletto, folletto (Sprites of Hades) ("Mefistofele") Boi'to 
 
 This interesting duet is sung by Mephistopheles and Faust in 
 the second act of Boito's setting of the Faust legend. Mephistopheles 
 is leading Faust to the summit of the Brocken, where the witches' 
 revel is held. Notice the use of the piccolo-flute in the instrumentation. 
 
 Mefistofele: 
 
 Come up higher, and higher, and higher, 
 Farther yet, 'tis more dreary the road 
 That will lead us to Satan 's abode, 
 Dark the sky is, the ascent grows steeper, 
 Come up higher, and higher, and higher! 
 
 246
 
 Analyses 
 
 Faust : 
 
 Ah! Wild-fire, pallid light, 
 Now so dim, now so bright, 
 Flash o 'er us thy ray 
 To illumine our way, 
 Come nigher, come nigher, 
 For dark is the ascent, 
 As higher and higher 
 We're upward advancing, 
 < lome flame, wildly dancing, 
 Come nigher and nigher! 
 
 [Lesson XXII, Course IV.] 
 
 17181 Lullaby Brahms 
 
 In this charming lullaby, Brahms has caught the simple grace of 
 the folk song. When one remembers the greatness of Brahms' con- 
 trapuntal skill one feels that Gluck spoke the truth when he said, 
 "Simplicity and truth are the sole principles of the beautiful in art." 
 [Lesson XX, Course II.] 
 
 87099 In the Churchyard Brahms 
 
 More than any other modern composer, Brahms was influenced 
 in the writing of his songs by the old folk songs of Germany, for he 
 retains a simple directness in his song writing, which is not so observ- 
 able in his larger works. Brahms left over two hundred songs, and 
 many of these rank with the best contributions to song literature. The 
 deep humanity of Brahms is found in the setting of this simple poem 
 of Detler von Liliencron : 
 
 The day pass 'd dark with rain and silently, 
 
 To many long- forgotten graves, 
 I wandered, stormbeaten, stone and cross, the garlands old, 
 
 The names wash 'd out and blurr 'd, scarce to decipher. 
 
 The day pass'd stormily, in heavy rain, 
 
 On all the graves the frozen word: Deplored. 
 Like tempests dead, the dead too slumbered, 
 
 On ev 'ry grave it melted soft : Kestored. 
 
 [Lesson XX, Course II.] 
 
 64131 Hungarian Dance Brahms 
 
 Brahms became interested in Hungarian music through his 
 friendship for Eduard Remenyi, the great violinist — and to him he 
 dedicated his Hungarian Dances, written originally for the violin. 
 Brahms does not give us a clue as to whether the dances are original 
 or taken from the real Hungarian melodies. It is certain they possess 
 all the national characteristics of the Czardas, the alternating use 
 
 247
 
 Analyses 
 
 of the Lassan and Friska being excellently employed. [Lesson XXI, 
 Course I; Lesson XX, Course II.] 
 
 60079 From the Land of the Sky Blue Water Cadman 
 
 64200 The Moon Drops Low Cadman 
 
 One of the most talented young American composers, who is 
 employing the melodies of the American Indians in his works, is 
 Charles Wakefield Cadman. 
 
 Mr. Cadman has written a charming collection of Indian songs, 
 of which these songs are the best known ; both these songs are devel- 
 oped from Omaha tribal melodies, which were discovered by Miss 
 Alice Fletcher. [Lesson XXX, Course I.] 
 
 70040 Flatterer Chaminade 
 
 Cecile Chaminade is one of the most interesting personalities 
 of the modern musical world. She was born in Paris, in 1861, and 
 has always lived in the French capital. She is known not only as 
 a virtuoso pianist, but also as an excellent composer. Her best com- 
 positions are her songs and short piano compositions, which are all 
 in the style of the Romantic School. This selection is an excellent 
 example of the charming grace of the French poet-musician. [Les- 
 son XXVII, Course II.] 
 
 74252 Depuis le jour ("Louise") Charpentier 
 
 Charpentier in his opera "Louise" paints for us in tone a per- 
 fect picture of the Bohemian life in Paris. This great aria occurs 
 in the third act. The curtain discloses the garden of the small house 
 on Montmartre where Julien has taken Louise. To his question if 
 she is truly happy, she replies in this song. 
 
 [Lesson XXVIII, Course IV.] 
 35157 Funeral March Chopin 
 
 This ever popular composition is in reality the second movement 
 of Chopin's great B-minor Sonata for piano. This work, which was 
 written by the Polish pianist while in Paris, really reflects his grief 
 over the loss of Polish independence. The march follows the regula- 
 tion form of march, trio march. Notice the theme of the trio, which 
 seems to breathe a spirit of consolation in sorrow. [Lesson XXII, 
 Course III.] 
 74260 Prelude Op. 28, No. 24. Etude Op. 15, No. 5 Chopin 
 
 Although Chopin was a Romanticist in all his writings, we find 
 few works of the Polish poet musician which bear definite titles or 
 
 248
 
 Analyses 
 
 tell specified stories. Yet Chopin invested all his writings with 
 the rare poetry of his nature to such an extent that even in his 
 shortest compositions we feel the deep poetic thought which he so 
 beautifully portrays. [Lesson XVI, Course II.] 
 
 64224 Mazurka No. 2, A flat Major Chopin 
 
 The Mazurka is a Polish dance, which is said to have originated 
 in the sixteenth century. It was always sung while the folk danced, 
 and is exclusively a dance of the common people, whereas the Polonaise 
 is the dance of the nobility. Although the name Mazurka means 
 measure, the dance is remarkable for the variety and liberty of its 
 performance; in fact, many mazurkas become in truth improvisa- 
 tions, for the invention of new steps and figures was ever permissible. 
 The music is 3-4 or 3-8 time and consists of two parts of eight 
 measures, each repeated. 
 
 Chopin treated the Mazurka in a new and original manner, 
 refining it of all vulgarity. He employed Polish folk tunes, but 
 retained little more than the character of the old folk dance. [Lesson 
 XXIII, Course I; Lesson XVI, Course II.] 
 
 64076 The Minute Waltz Chopin 
 
 This charming little composition is a perfect example of the 
 waltz form, consisting of the waltz, trio, waltz. It was originally 
 written for piano, but makes a charming little piece as it is here 
 played by the violin. [Lesson I, Course I.] 
 
 74246 Deep River — Negro Melody Coleridge-Taylor 
 
 Samuel Coleridge-Taylor (1875-1912) is one of the most interest- 
 ing personalities in the Modern English School of Music. Although his 
 education was entirely obtained in England, the father of Cole- 
 ridge-Taylor was an African negro, a native of Sierra Leone. The 
 composer was ever deeply interested in the music of his race and 
 collected many negro melodies, both in Africa and America. He 
 says : ' ' There is a great distinction between the African negro, 
 and the American negro melodies. The African would seem to be 
 more martial and free in character, whereas the American is more 
 personal and tender, though notable exceptions can be found on 
 both sides." 
 
 "Deep River" is a plantation song known as a "spiritual song" 
 by the Southern American negro. These "spirituals" are the spon- 
 
 249
 
 Analyses 
 
 taneous outbursts of the religious enthusiasm of the camp meetings. 
 The words of the song are: 
 
 Deep river. Lord I want to, 
 
 To cross over to the camp ground. 
 
 [Lesson XXX, Course I.} 
 
 74306 Onaway, Awake, Beloved Coleridge-Taylor 
 
 One of the most beautiful modern choral compositions is the 
 setting of Longfellow's "Hiawatha's Wedding Feast," which was 
 the work of the talented English negro, Samuel Coleridge-Taylor. 
 
 This selection for tenor is a setting of the words sung by "the 
 
 gentle Chibiabos, he the sweetest of musicians." The custom of the 
 
 Indian wedding feasts is most wonderfully portrayed in Longfellow's 
 
 poem. The dancers who came to entertain the guests had retired, 
 
 when the voice of Chibiabos: 
 
 Sang in accents sweet and tender, 
 Sang in tones of deep emotion, 
 Songs of love and songs of longing, 
 Looking still at Hiawatha, 
 Looking at fair Laughing Water, 
 Sang he softly, sang in this wise : 
 ' ' Onaway, Awake, beloved ! ' ' 
 
 [Lesson XXV 111, Course II.] 
 64261 Orientale (Kaleidoscope) Cui 
 
 This violin selection is No. 9 in a suite entitled "Kaleidoscope," 
 a work by the great Russian composer, Cesar Cui. The modern 
 form of suite is usually classed with program music, for instead of 
 being but a collection of dances, as was the form during the classic 
 period, the suite of today is given a general descriptive title, while 
 each selection has its own title and all seek to express the same idea. 
 All the selections are in the same key. This suite is entitled ' ' Kaleido- 
 scope" and each number is of a different form and coloring. This 
 "Orientale" dance is a very good example of the rhythmic and 
 melodic character of the dances of the Far East. Note the violin 
 effects which are here used. [Lesson XXII, Course II.} 
 
 16047 The Wren Damare 
 
 This short composition is an excellent example of the tone quality 
 of the piccolo, or octave flute. As the name indicates, this is a short 
 tone picture of the twittering little bird, the wren. It is a good ex- 
 ample of imitative music. [Lesson XIV, Course III.] 
 
 2o0
 
 Analyses 
 
 35285 Danny Deever Walter Damrosch 
 
 Walter Damrosch (1862) is well known throughout America as 
 a lecturer, composer and conductor. He has given to musical litera- 
 ture many worthy compositions, including the two operas "The 
 Scarlet Letter," and "Cyrano." This setting of Kipling's famous 
 poem, "Danny Deever," has been universally popular. [Lesson 
 XXIX, Course II.} 
 
 17083 Ace of Diamonds Danish 
 
 The Danish dances are very similar in character to those of 
 Sweden, as both Denmark and Sweden have been more influenced by 
 their neighbors than has Norway. This dance is of the reel variety. 
 
 [Lesson XIV, Course I.] 
 
 88318 Thou Brilliant Bird ("The Pearl of Brazil ") David 
 
 Felicien David (1810-1876) was one of the first of the French 
 Romantic composers to introduce Oriental effects into music. Shortly 
 after graduation from college, David entered the order of St. Simoni- 
 ans, and when this order was dissolved, in 1833, he went to the Orient 
 with a number of the brethren, as a missionary. Later he returned 
 to Paris and became identified with music, and especially the French 
 School of Opera. "The Pearl of Brazil" was produced in 1851, and 
 is a story of similar character to Meyerbeer's "L'Africaine. " It is 
 full of interesting uses of Oriental melodies and rhythmic effects. 
 This aria belongs to the type of imitative arias which are so dear to 
 the heart of the coloratura soprano. [Lesson XI, Course I.} 
 
 88281 Air de Lia ("L'Enfant Prodigue ") Debussy 
 
 This setting, which Debussy has given us of the parable of the 
 Prodigal Son, is a very short work, being in but one act. As the 
 curtain rises, Lia and her husband are heard lamenting the loss of 
 their son. She tells her husband that the years go on never ending. 
 and that although spring comes with its bird voices, they but make 
 her heart the sadder, as her soul longs for the son she has lost. "Ah. 
 Azael," she cries, "why did you ever leave me?" She says, that even 
 in her sorrow, she can remember their happy days, now long since 
 vanished. How, in the evening, when they returned from the fields, 
 they sang their evening prayer to God. "Ah," she sighs, "how blest 
 are the parents whose children remain ever near them." [Lesson 
 XXX, Course III; Lesson XXVIII, Course IV.} 
 
 251
 
 Analyses 
 
 5865 En Bateau Debussy 
 
 In this dainty short composition for pianoforte, Debussy has given 
 us a charming impressionistic tone picture, which we may interpret 
 to fit our various moods. Although having a title, "In the Boat" 
 does not necessarily paint for us any definite impression, but leaves 
 much to our poetic fancy. [Lesson XXVII, Course II.] 
 
 70011 The Swallows Dell'Acqua 
 
 This is a very good example of the waltz song. Imitative effects 
 may also be observed in this selection. [Lesson II, Course I.] 
 
 88299 Mad Scene (With flute obbligato) (" Lucia di Lammermoor ") 
 
 Donizetti 
 
 No single operatic number has ever been written which has met 
 with the great popularity of the Mad Scene from "Lucia di Lam- 
 mermoor. ' ' 
 
 Although we today are apt to judge this aria only as a great 
 opportunity for the coloratura soprano to show her technical skill, 
 the scene has real dramatic value when heard in its rightful place 
 in the third act of the opera — the poor demented Lucy, forgetting 
 her recent, hated marriage, sings here of her love for Edgar and the 
 dream of her union to him. 
 
 Lucy: 
 
 I hear the breathing of his voice, low and tender, 
 
 That voice beloved sounds in my heart forever. 
 
 My Edgar, why were we parted? 
 
 Let me not mourn thee : 
 
 See for thy sake, I've all forsaken! 
 
 What shudder do I feel thro' my veins'? 
 
 My heart is trembling, my senses fail! 
 (She forgets her trouble and smiles.) 
 
 Come to the fountain: 
 
 There let us rest together; 
 
 Ah me ! see where yon specter arises, 
 
 Standing between us ! Alas ! Dear Edgar ! 
 
 See yon phantom rise to part us! 
 (Her mood again changes.) 
 
 Yet shall we meet, dear Edgar, before the altar. 
 
 Hark to those strains celestial! 
 
 Ah! 'Tis the hymn for onr nuptials! 
 
 For us they are singing! 
 
 The altar for us is deck'd thus, 
 
 Oh! joy unbounded! 
 
 'Eound us the brilliant tapers brightly are shining, 
 
 The priest awaits us. 
 
 Oh! day of gladness! 
 
 Thine am I ever, thou mine forever! 
 (She falls fainting into the arms of Raymond.) 
 
 [Lesson XVII, Course II; Lesson XI, Course IV.] 
 
 252
 
 Analyses 
 
 96200 Sextette (" Lucia di Lammermoor ") Donizetti 
 
 "Lucia di Lammermoor," the best known of Donizetti's works 
 in the form of Opera Seria, is a musical setting of Sir Walter Scott's 
 novel, "The Bride of Lammermoor." It was presented in Paris, 
 in 1839. The greatest concerted number in the opera is the famous 
 and ever popular Sextette, which occurs at the end of the second act. 
 This number is usually designated as the "Contract Scene." The 
 young Lucia, forced by her brother to sign the marriage contract 
 with Sir Arthur, discovers that her lover Edgar is still alive and 
 true to her. Sir Henry and Edgar, both overcome with anger, sing 
 a short duet and Lucia, her maid, the notary Raymond and Sir 
 Arthur, join with them in this great sextette. 
 
 Henry and Edgar: 
 
 Instant vengeance, what restraineth, 
 What thus stays my sword in scabbard ? 
 Is't affection that still remaineth? 
 And each angry thought enchaineth? 
 
 (thou'rt) 
 Of my own blood (I'm ) betrayed, 
 
 (my) 
 
 And despair (her) heart doth wither, 
 
 Edgar : 
 
 Yet, ungrateful one, I love thee still ! 
 
 Henry : 
 
 And remorse my breast doth fill! 
 
 Lucy (despairingly) : 
 
 I had hop 'd that death had found me, 
 And in his dreer fetters bound me, 
 But he comes not to relieve me! 
 Ah! of life will none bereave me? 
 
 Eaymond and Alice: 
 
 Ah ! like a rose that withers on the stem, 
 
 She now is hovering 'twixt death and life! 
 
 He who for her by pity is not mov'd, 
 
 Has of a tiger in his breast the heart. 
 
 Arthur : 
 
 Hence, thou traitor, hence betake thee, 
 Ere our rage shall o 'erwhelm thee ! 
 
 [Lesson IX, Course I; Lesson XI, Course IV.} 
 
 88188 Brindisi (It is Better to Laugh) (" Lucrezia Borgia") Donizetti 
 
 This aria is one of the favorite concert numbers of Mme. Schu- 
 mann-Heink. In its rightful place, it belongs in the banquet scene 
 
 253
 
 Analyses 
 
 of the last act of Donizetti's "Lucrezia Borgia," and is sung by Maffio 
 Orsini, a young Eoraan nobleman. 
 
 It is better to laugh than be sighing, 
 
 When we think how life's moments are flying; 
 
 For each sorrow Fate ever is bringing, 
 
 There 's pleasure in store for us springing. 
 
 Thro' our joys like to waves in the sunshine, 
 
 Gleam awhile, then are lost to the sight, 
 
 Yet for each sparkling ray 
 
 That so passes away, 
 
 Comes another as brilliant and light. 
 
 In the world we some beings discover, 
 
 Far too frigid for friend or for lover; 
 
 Souls unblest, and forever repining, 
 
 Tho ' good fortune around them be shining, 
 
 It were well if such hearts we could banish 
 
 To some planet far distant from ours; 
 
 They 're the dark spots we trace 
 
 On this earth's favored space; 
 
 They are weeds that choke up the fair flow 'rs. 
 
 Then 'tis better to laugh than to be sighing; 
 They are wise who resolve to be gay; 
 When we think how life's moments are flying, 
 Enjoy Pleasure's gifts while we may! 
 
 [Lesson XI, Course IV.] 
 60078 Als die alte Mutter Dvorak 
 
 This song is an excellent example of national expression, as 
 Dvorak has here used with great skill Bohemian gypsy melodies in the 
 setting of this simple verse. 
 
 As my dear, old mother 
 
 Taught her children, singing, 
 Songs that from her eyelids 
 
 Tears so oft were bringing; 
 So, when for my children 
 
 Those old songs recalling, 
 Often flow the teardrops, 
 
 On my brown cheeks falling. 
 
 Copy't 1902, by Oliver Ditson. 
 
 [Lesson XX, Course I ; Lesson XXIV, Course II.] 
 74163 Humoresque Dvorak 
 
 This charming little tone poem is Opus 101, of Dvorak's composi- 
 tions, and was originally written for pianoforte, although the violin 
 arrangement has been equally popular. This composition belongs 
 to the class of program music pieces in which the true meaning of 
 the composer's title is left largely to the imagination of the audience. 
 [Lesson XXIV, Course II ; Lesson IV, Course III.]
 
 Analyses 
 
 35275 Largo (" The New World Symphony ") Dvorak 
 
 This ever popular number has its place as the second movement 
 of Dvorak's Fifth Symphony, which was written after his return 
 from America, in 1895. In this work, which he called "From the 
 New World," Dvorak used many musical idioms, which had im- 
 pressed him during his visit to America. Being especially interested 
 in the negro melodies. Dvorak employs them throughout the 
 symphony. In this Largo, which is in the song form, Dvorak has 
 given us a tone picture of the homesick immigrant, who has come 
 to "the New World" in search of fortune. While in America, Dvorak 
 used to visit each summer a Bohemian settlement in Iowa, and it is 
 thought that these visits to his countrymen, settled on the broad 
 prairies, far from their native land, impressed him in the writing 
 of this movement. 
 
 In its original orchestration, the theme is sung by the English 
 horn, while the muted strings play a quiet accompaniment. The 
 second theme is of a more agitated character and is played by the 
 flutes and oboes; after which the first is repeated. [Lesson XXIV, 
 Course II; Lesson XV, Course III ; Lesson XXX, Course III.} 
 35247 Pomp and Circumstance Elgar 
 
 This stirring march is one of the most popular concert numbers 
 written by Sir Edward Elgar, of the Modern English School. It 
 was composed for the Coronation of King Edward VII and played 
 during all the incident festivities. Soon after his accession to the 
 throne, King Edward bestowed the title of Knight on the English 
 musician. 
 
 This is an excellent example of march form and the brass effects 
 should especially be noted. [Lesson XXVIII, Course II.] 
 74077 Drink To Me Only With Thine Eyes Old English 
 
 This charming old English love song has ever been a popular 
 favorite. The exquisite beauty of this musical setting of Ben Jon- 
 son's toast caused some authorities to claim that Mozart wrote this 
 melody, but this fact has been absolutely disproved, and the authorship 
 still remains anonymous. [Lesson XXIX, Course I.] 
 17087 May Pole Dance English 
 
 No custom in England is more charming than the annual May 
 Pole Dance, which is held to celebrate the birth of spring. The fete 
 occurs on the village green and begins with the weaving of garlands 
 from the flowers in the May baskets, then comes the crowning of the 
 
 255
 
 Analyses 
 
 Queen of the May. After this ceremony, the May Pole, with its 
 many colored ribbons, is set up, and the dancers weave these ribbons 
 to and fro, taking a joyous skipping step as they sing. This time is 
 called "Bluff King Hal" and is a well-known old English air, which 
 doubtless originated at the time of the "Bluff King," who is known 
 in history as Henry VIII. [Lesson XXIX, Course I.] 
 17086 Morris Dance English 
 
 It is said that the popular English Morris Dance was originally 
 taken from the Moors, who introduced it into Spain, from whence it 
 was introduced in England by Edward III, when John of Gaunt re- 
 turned from Spain. The dance became very popular during the 
 reign of Henry VIII. In its original form, it was danced by five 
 men and a boy dressed as "Maid Marian." Later, when associated 
 with the May Day festivities, characters of Robin Hood and his fol- 
 lowers were introduced. This dance was suppressed by the Puritans, 
 but a popular country dance of New England, called the Morris 
 Dance, shows that some of the main characteristics of the dance have 
 been retained. The Morris Dance has recently become very popular 
 again in both England and America. [Lesson XXIX, Course I.] 
 35279 "Sumer is icumen in" Old English 
 
 This wonderful six-part canon, the manuscript of which is one 
 of the chief treasures of the British Museum, is our best proof that 
 there existed a contrapuntal school in England during the thirteenth 
 century. Literary men of this day speak of the use of the round 
 in the contrapuntal form of the canon as being of frequent occur- 
 rence in England at this time. Authorities differ as to the actual 
 composer of this song of spring, but it is beyond question the best 
 example of counterpoint which we find before the establishment of 
 the Netherland School. The words are in the old English of the 
 period of Chaucer. 
 
 Sumer is icumen in 
 
 Lhoud sing cuccu. 
 
 Groweth seel and bloweth mod 
 
 And springeth the wo<l enu. 
 
 Sing, sing, cuccu. 
 
 Ewe bleteth after lamb 
 
 Lhouth after calve cu, 
 
 Bulluc sterteth 
 
 Rncke verteth, 
 
 Murie, sing cuccu. 
 
 Sumer is icumen in 
 
 Lhoud sing cuccu. 
 
 [Lesson VI, Course II.] 
 
 256
 
 Analyses 
 
 85020 Les Rameaux Faure 
 
 This song is the composition of Jean Baptiste Faure (1830), a 
 well-known singer of France, who must not be confused with Gabriel 
 Faure, the great composer, for many years the head of the Paris 
 Conservatoire. 
 
 This popular song reflects the custom of placing on the altar on 
 the Sunday before Easter, the palm branches in commemoration of 
 Christ's entry into Jerusalem. [Lesson XXVII, Course II.] 
 
 89009 Duet— Ah, Those Tears ("Martha") Flotow 
 
 This charming and sprightly duet is sung by Lady Harriet and 
 her maid, Nancy, in the first act of Flotow 's "Martha." The lady 
 has tired of the life at the Court, and her faithful Nancy aids her in 
 the plan that they shall go to the Fair disguised as servant maids. 
 
 Nancy : 
 
 Dearest mistress! 
 Lady H. : 
 
 Ah, these tears, they ease my bosom. 
 Nancy : 
 
 Tears, and why? 
 Lady H. : 
 
 I know it not. 
 Nancy: 
 
 Of all the knights, so brave and charming 
 
 Who surround our gracious queen, 
 
 And themselves with wit are arming, 
 
 Some one has so lucky been 
 
 Your cold, haughty heart to win. 
 
 Is there aught in this alarming? 
 Lady H. : 
 
 Vain belief, how can rejoice me, 
 
 Such insipid idle love, 
 
 For to please and interest me, 
 
 Flattery is not enough. 
 Nancy : 
 
 Riches heap on you their treasures, 
 
 Honor high is offered you. 
 Lady H. : 
 
 In the midst of gold and pleasures, 
 
 Weariness alone I see. 
 Both: 
 
 This is really most distressing, 
 
 Hers (mine) is called a brilliant lot. 
 
 If not love does work a wonder, 
 
 Fades the flower and blossoms not. 
 
 It is really too distressing, 
 
 Hers (mine) is called a brilliant lot. 
 
 All in vain are my endeavors, 
 
 All these pleasures please me not. 
 
 [Lesson XVIII, Course IV.] 
 
 257
 
 Analyses 
 
 70052 Spinning Wheel Quartet ("Martha") Flotow 
 
 This favorite quartet occurs in the second act of Flotow 's 
 "Martha." It is sung by Martha (Lady Harriet), Julia (Nancy), 
 Plunkett and Lionel. Having taken employment (as a joke) with the 
 young men whom they met at the Fair; Lady Harriet and her maid 
 Nancy find they cannot even perform the simple duties of the house- 
 hold. In this quartet, Lionel and Plunkett endeavor to show the 
 maidens how to spin, and the incident as depicted in the music is 
 one of the most popular numbers from the opera. The imitative 
 effect in the accompaniment should be noted. [Lesson IX, Course J.J 
 
 74005 1' Duet— Sol ° Profugo from " Martha " Flotow 
 
 This beautiful duet occurs in the fourth scene of Flotow 's 
 "Martha." The action of this work takes place in Richmond, Eng- 
 land, at the time of Queen Anne. The scene shows us a country 
 fair. Thither have come Plunkett, a farmer, and his foster-brother, 
 Lionel. Lionel tells the story of his unknown parentage in this duet, 
 in which he is joined by Plunkett : 
 
 Lionel : 
 
 Lost, proscribed, a friendless pilgrim, 
 
 Sinking at your cottage door, 
 
 'Neath your friendly roof sought shelter. 
 
 In his arms his son he bore. 
 
 This poor pilgrim was my father, 
 
 Who to you, did me confide, 
 
 With his dying breath imploring 
 
 That his child through life you 'd guide. 
 
 Plunket : 
 
 We have never learn 'd his station, 
 Never learn 'd your father's rank, 
 All he left to tell the secret 
 Is the jewel on your hand. 
 If your fate should ever darken, 
 Quoth he, show it to the Queen. 
 She will save you, she will guard you, 
 When no other help is seen. 
 
 Lionel: 
 
 Here, in peace and sweet contentment, 
 Have I passed my life with you, 
 Stronger daily grew a friendship 
 That forever lasts when true. 
 
 Together : 
 
 Brother, think not wealth and splendor, 
 If perchance they e'er be mine, 
 Tan as happy this heart render 
 As the friendship fix 'd in thine. 
 
 [Lesson VII, Course I.] 
 
 258
 
 Analyses 
 
 16389 Old Folks at Home (2) My Old Kentucky Home Stephen Foster 
 
 The composer of these two songs was a "Northerner," being 
 born in Pittsburgh, July 4, 1826, and dying in New York, January 13, 
 1864. Yet, no American composer ever touched the sympathetic 
 chord of the sadness of the negro slaves as did Foster in these tw r o 
 songs. They retain all the characteristics of the American negro 
 music, and are in truth fitted to rank with the best legendary folk- 
 songs of any land. Foster wrote both the words and the music of his 
 songs. [Lesson XXX, Course I.] 
 
 16474 Amaryllis Old French 
 
 This charming old French dance follows the general outlines of 
 the regular three-part dance form ; one can also trace its resemblance 
 to the rondo. It may be used as an example of both. King Louis 
 XIII wrote a charming song called "Amaryllis," with which this air 
 is frequently confused. In truth, this melody is much earlier than 
 the song, as this composition was played for the first time at the 
 wedding of Margaret of Lorraine and the Due de Joyeuse, in 1581. 
 The melody is ascribed to Baltazarini, the favorite composer of 
 Henri III, and was originally called "La Clochette." [Lesson XVIII, 
 Course I ; Lesson XXV, Course III.] 
 
 64202 Aubade Provencale Old French 
 
 This charming old French composition gives us an example of 
 pure song form. The custom of playing a morning hymn in place of 
 the evening song, or serenade, was a very popular one in southern 
 France, the Troubadours frequently going at dawn to the windows 
 of their fair ladies and singing a morning song of love. It later 
 became a very popular instrumental form. This selection is an 
 arrangement of an old air, by Louis Couperin (1630-1665). [Lesson 
 XVIII, Course L] 
 
 64223 Bergere Legere Old French 
 
 This charming old pastorale belongs to the class of old French 
 songs which were known as " Bergerettes. " From the kings down 
 to the common people, we find, that during the sixteenth, seventeenth 
 and eighteenth centuries in France, there was a love for the simple 
 pastoral joys of country life, which found its expression in literature, 
 art and music. 
 
 259
 
 Analyses 
 
 This little roundelay is an excellent example of the "Bergerette" : 
 
 Fickle shepherdess, I fear your charms, 
 
 Your beloved one is inflamed with love, 
 
 But you do not care; 
 
 Your whimsical face 
 
 Attracts and charms, 
 
 But frivolous and haughty, 
 
 You flee from he who follows you, 
 
 Fickle shepherdess, I fear your charms. 
 
 [Lesson XV III, Course I.] 
 
 71023 Filiae Jerusalem Gabrieli 
 
 This beautiful setting of the "Daughters of Jerusalem," is by 
 Andrea Gabrieli (1510-1586), who was a member of the Venetian 
 School, founded by Adrian Willaert. Andrea Gabrieli was the most 
 noted organist of his time and had many distinguished pupils, 
 among them many of the North German organists. He wrote much 
 music for the Church and one recognizes the gain in freedom of 
 expression, which is due to the increased knowledge of the instru- 
 ments and instrumental possibilities. Giovanni Gabrieli, the nephew 
 and pupil of Andrea, was the first to divide the instruments into 
 two divisions, and his experiments in tone color led to the later 
 orchestral accomplishments of the Venetian School of Opera at the 
 time of Monteverde. [Lesson VI, Course II.] 
 
 64151 Rolling Down to Rio Edward German 
 
 Edward German (1862) is a talented English composer of today 
 who has contributed to all forms of composition. This song, a 
 setting of Kipling's verses, has been very popular. [Lesson XXVIII, 
 Course II.] 
 
 63853 Two Children's Songs Old German 
 
 These two old German Christmas songs belong to the Yuletide 
 festivities of Christmas Day, wliich is always royally celebrated by 
 old and young in Germany. Both of these old tunes are well-known 
 to every school child. Notice the effect of the Christmas chimes as 
 illustrated here by the bells. The first selection is sung on Christ- 
 mas eve and is a prayer to the Christ Child to come to all the little 
 children. The second chorus is the ever familiar " Tannenbaum, " 
 which is sung by the children as they dance in a circle about the 
 lighted tree. This has been a very popular air in America. [Lessou 
 XIX, Course I.] 
 
 260
 
 Analyses 
 
 63779 Two Folk Songs German 
 
 These two folk songs are sung by the Nebe Quartet, of Germany. 
 They give an excellent opportunity for the comparison of the four 
 men 's voices. They also show in very good contrast a simple ballad of 
 "Schon Rottraut" (the beautiful Rottraut asleep in the valley 'neath 
 the summer skies), and a song of the wanderer, "Ewig Liebe Heimat, " 
 who ever thinks of his beloved home. [Lesson VII, Course I.] 
 
 74196 Liebesfreud Old German Waltz 
 
 This charming waltz is an arrangement made by Fritz Kreisler 
 of an old German waltz, which still retains its folk spirit. In form, 
 the composition follows that of the regular dance — consisting of 
 dance, trio, dance, coda. [Lesson XIX, Course I.] 
 
 88286 Fatal Divinita ("Alceste") Gluck 
 
 It was with "Alceste" that Gluck first laid down his principles 
 as to what the music drama should be. This scene occurs in the 
 temple, whither the people have followed Alceste, who now before the 
 priests offers her life as a sacrifice to the gods, that her husband Admetus 
 may be spared. The priests accept her devotion, and in this aria Alceste 
 offers her willing sacrifice to the gods. [Lesson X, Course II; Lesson 
 IV, Course IV.] 
 
 64075 Melodie (Op. 26) Gluck 
 
 This charming melody is taken from Gluck 's opera "Alceste." 
 Here all the classic purity of Gluck 's style may be observed, for as 
 an example of the beauty of tone and poetic expression of the Clas- 
 sical school, this short composition is unequaled. [Lesson X, Course 
 II.] 
 
 88091 Che faro senza Eurydice ("Orfeo") Gluck 
 
 This ever-popular aria from Gluck 's great opera occurs in the 
 last act of "Orfeo." Orpheus, after journeying to the underworld 
 and obtaining his bride, leads her out to the open day. Eurydice 
 begs him to look upon her, and forgetful of his vow, Orpheus does 
 so, and Eurydice sinks back lifeless in his arms. He pours forth his 
 woe and desolation in this famous aria : 
 
 The Gates of Hell, Act IV: 
 
 I have lost my Eurydice 
 
 My misfortune is without hope. 
 
 Cruel fate ! I shall die of my sorrow. 
 
 Eurydice, Eurydice, answer me!
 
 Analyses 
 
 It is your faithful husband, 
 
 Hear my voice, which calls you, 
 
 Silence of death! vain hope! 
 
 What suffering, what torment, wrings my heart! 
 
 [Lesson IV, Course IV.] 
 16950 Gavotte (" Paris and Helen") Gluck 
 
 "Paris and Helen" belongs to the year 1769, and was written 
 immediately after the opera of "Alceste, " in which Gluck had ad- 
 vanced his theories as to the true function of the music drama. In 
 this work he carries matters further toward that style which he 
 established with "Iphigenia in Tauris," in 1779. 
 
 Although Gluck refused to write ballets according to the Parisian 
 idea, he here introduces a charming Gavotte. This dance was one 
 of the most popular court dances of the period and rivaled in favor 
 the Minuet. This is an excellent example of the three-part dance 
 form. [Lesson X, Course II; Lesson X, Course III.] 
 17184 Ballet Music (" Iphigenia in Aulis ") Gluck 
 
 Gluck 's great opera, "Iphigenia in Aulis," was written in 1772. 
 and was the first work of the famous composer to be heard in Paris. 
 When the work was produced, the ballet master was insistent that 
 Gluck should introduce some of the popular court dances of the day, 
 but this the composer refused to do, as he insisted the Greeks did not 
 dance in that manner. "Well," answered the ballet master, "then 
 so much the worse for the Greeks." 
 
 This ballet music was a compromise and was danced with as 
 nearly a classic posture as it was possible for the French dancers of 
 Gluck 's day to assume, f Lesson X, Course II.} 
 
 31772 Bridal Song— "The Rustic Wedding " Carl Goldmark 
 
 Goldmark calls his composition "The Rustic Wedding," a 
 symphony, although, as a matter of fact, it comes more nearly under 
 the definition of a suite, as its five movements are each short descrip- 
 tive pieces relative to the title, and none follows closely the outlines 
 of the "sonata" form. The first movement is the Wedding March; 
 this is followed by the Bridal Song; Serenade; In the Garden; 
 Country Dance. This movement is a delightfully melodious short 
 composition in the regulation aria form. Notice the use of the oboe 
 in the statement of the second subject. One critic says this is, "as 
 if one of the bridesmaids had stepped forward to offer her personal 
 tribute." The use of the march theme in the 'cello is interesting to 
 observe. [Lesson X, Course I; Lesson XXV, Course II.} 
 
 262
 
 Analyses 
 
 31832 Overture Sakuntala Goldmark 
 
 This overture really established the fame of the Austrian com- 
 poser, Carl Goldmark, for since its performance in Vienna, 1865, 
 it has been one of the most famous compositions in the concert 
 repertory of Europe and America. Goldmark here uses Mendelssohn 's 
 form of the concert overture, and tells the story of Sakuntala, the 
 heroine of Kalidassa's famous Indian drama. Sakuntala, the 
 daughter of a nymph, is brought up by a sacred priest as his daughter. 
 While the King, Dashianta, is hunting in the woods, he sees Sakuntala 
 and falls deeply in love with her. On their wedding night, he pre- 
 sents her with his ring and tells her to follow him to his capital 
 city. A powerful priest, who has become angered at Sakuntala, 
 now presents the King with a drink of forgetfulness so that all 
 remembrance of the maiden passes from him. She, in the meantime, 
 has lost the ring in the sacred river, so that when she presents 
 herself at the King's court, she is repudiated and mocked. But the 
 ring is found by some fisherman in his fish, and is taken to the King, 
 who remembers all the past and longs for the beautiful young wife 
 of whom he can find no trace through the forest. But many years 
 later, while conducting a war against the evil demons, the King finds 
 Sakuntala and there is no end to the happiness of the lovers now 
 reunited. 
 
 Throughout the overture, one feels the subtle charm of the 
 Oriental music, which is always clearly felt in Goldmark 's works. 
 The hunting theme descriptive of the King, and the Oriental 
 love theme typical of Sakuntala, can be easily distinguished as 
 the first and second subjects of the overture proper. [Lesson XXV, 
 Course II.] 
 
 64115 Aria— Magic Tones ("The Queen of Sheba") Goldmark 
 
 Goldmark 's setting of the story of the famous visit to Solomon 
 by the Queen of Sheba was written many years later than Gounod's 
 work on the same subject. In the story, as used by Goldmark, King 
 Solomon, hearing that the Queen is planning to come to his court, 
 sends his favorite courtier, Assad, to meet her. Assad becomes so 
 infatuated with the Queen that he forsakes his fiancee, Sulamith, and 
 is condemned by the King to death in the desert. Thither Sulamith 
 follows him, and they die together. This great tenor aria is sung by 
 Assad in the Second Act, which takes place in the gardens of the 
 
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 Analyses 
 
 palace. The Queen has sent for Assad to appear before her, and as 
 he conies through the garden he sings: 
 
 Times of enchantment! 
 
 Perfume laden air, breathe on me, 
 
 Gentle evening breeze. 
 
 [Lesson XIX, Course IV.] 
 87105 Aria — " II Guarany," Gomez 
 
 A composer whose work is only just beginning to receive the atten- 
 tion due its worth, is Antonio Carlos Gomez, 1839-1896. Born in 
 Brazil, Gomez attracted the attention of his Emperor and was sent 
 to Milan to develop his musical talent. 
 
 His first opera was produced in 1861 and was shortly after 
 followed by "II Guarany," the only one of Gomez' works which has 
 attracted international attention. This work is the most original 
 and striking of any of Gomez' works for the stage. This aria occurs 
 in the second act; it is an excellent example of the brilliant style of 
 the composer. [Lesson XVII, Course I.] 
 
 64198 Tambourine Gossec 
 
 Frangois Gossec (1734-1829) belongs to the same period and 
 school as Gretry. At this period, in Paris, all operas, whether in 
 Grand Opera style or Opera Comique, introduced many dances and 
 ballets. This charming little dance is an excellent example of imita- 
 tive music; the dance taking its name Tambourine, from the instru- 
 ment used to accompany it. This was a favorite dance of Provence, 
 and was of a lively character, the first Tambourine being followed by 
 a second in a minor key, after which the first dance was repeated. 
 [Lesson I, Course II; Lesson IV, Course III.] 
 
 95203 Trio— Prison Scene ("Faust") Gounod 
 
 To Marguerite in her prison comes Faust, who attempts to per- 
 suade her to flee with him, but she is weak in both body and mind, and 
 can only think of her past happiness. In the midst of their impassioned 
 duet, Mephistopheles appears and calls to Faust to leave her to her doom. 
 He tells Faust that the horses outside will bear them both to safety, 
 if he will but hasten. Then Marguerite recognizes the evil presence; 
 and falling on her knees prays that Heaven will forgive Faust and herself 
 and spare them from the curse of Satan. The great trio which follows 
 portrays the three characters: Faust, who desires earthly happiness; 
 Marguerite who prays for Heavenly rest ; and Mephistopheles, who desires 
 
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 Analyses 
 
 the destruction of them both. The love and trust of Marguerite wins for 
 Faust his redemption. 
 
 Mephistopheles, fearing the coming of the jailors, and uncertain of li is own 
 power, cries out: 
 
 Then leave her, then leave her, or remain to your shame; 
 If it please you to stay, mine is no more the game ! 
 
 Marguerite (in horror, recognizinz the Evil One, the cause of all her icoes) : 
 Who is there! Who is there! 
 Dost thou see, there in the shadow 
 With an evil eye like a coal of fire! 
 What does he here! He who forbade me to pray! 
 
 Mephistopheles (to Faust) : 
 
 Let us go, ere with dawn 
 
 Doth justice come on: 
 
 Hark! the horses panting in the courtyard below, 
 
 To bear us away! 
 
 Come ere 'tis day, or stay and behold her undone! 
 As he sings, the tramping and neighing of horses are heard in the accompani- 
 ment. 
 
 Marguerite {with fresh courage, defying him) : 
 
 Away, for I will pray! (in rapture) 
 Holy Angels, in Heaven bless'd 
 My spirit longs with thee to rest! 
 
 Faust: 
 
 Come, mine own, 
 Ere 'tis too late to save thee! 
 (Mephistopheles, in desperation, repeats his warning to Faust.) 
 
 Mephistopheles : 
 
 Let us leave her! Come or be lost, for the day is near! 
 Come away! the dawn is grey, 
 Come ere they claim thee! 
 
 Faust: 
 
 Come with me! Come wilt thou not hear? 
 Lean on my breast. The early dawn is grey. 
 come ! I'm here to save thee ! 
 
 Marguerite : 
 
 Holy Angels, in Heaven bless'd 
 
 My spirit longs with thee to rest! 
 
 Great Heaven, pardon grant, I implore thee, 
 
 For soon shall I appear before thee! 
 
 save me ! ere I perish forever : 
 
 To my despair give ear, I pray thee! 
 
 Holy Angels, in Heaven bless'd 
 
 My spirit longs with thee to rest ! 
 
 (She dies.) 
 
 [Lesson VIII, Course I.} 
 95206 Trio ("Faust") Gounod 
 
 This trio between Valentine, Faust and Mephistopheles takes 
 place in the fourth act of Gounod's opera, "Faust." The second 
 
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 Analyses 
 
 scene shows us the square in front of the Cathedral and we witness 
 the return of the soldiers from the wars. As his companions march 
 away, Valentine goes in search of his sister Marguerite and is con- 
 fronted by Faust and Mephistopheles. A quarrel ensues, leading up 
 to this spirited trio, after w T hich occurs the duel scene and the death 
 of Valentine. [Lesson VII, Course I.] 
 
 35075 Chorus— Unfold Ye Portals (" The Redemption") Gounod 
 
 Gounod gave to this work the title "The Redemption, a Sacred 
 Trilogy," and he wrote on the opening page, "The work of my 
 life." He tells us that "the work is a lyrical setting forth of the 
 three great facts on which depends the existence of the Christian 
 Church; the passion and death of the Saviour; His glorious life on 
 earth, from the Resurrection to the Assumption ; and the spread of 
 Christianity throughout the world, through the mission of the 
 Apostles." 
 
 This chorus occurs as the finale to the second part of the 
 Trilogy : 
 
 Unfold ye portals everlasting, 
 
 With welcome to receive Him ascending on high, 
 
 Behold the King of Glory ! He mounts up through the sky, 
 
 Back to the heavenly mansions hasting, 
 
 Unfold, for lo! the King comes nigh. 
 
 But who is He! the King of Glory? 
 
 He who Death overcome, the Lord in battle mighty, 
 
 Of hosts, He is the Lord of Angels and of powers, 
 
 The King of Glory is the King of Saints, 
 
 Unfold ye portals everlasting, 
 
 For lo ! the King comes nigh. 
 
 [Lesson XXIX, Course IV.] 
 
 61123 Exultate Justi Gregorian 
 
 This is a splendid example of the Gregorian Chant as it is now 
 used in the Roman Catholic Church of to-day. [Lesson IV, Course II.] 
 
 71001 Kyrie Eleison Gregorian 
 
 The Kyrie Eleison (God Have Mercy) is that portion of the 
 Mass which follows the Introit and precedes the Gloria in Excelsis. 
 It is the end of the Litany which precedes the Mass. [Lesson IV, 
 Course II.] 
 
 61108 Offertorio e Communione Gregorian 
 
 The Offertorio is a portion of a psalm or verses from some part 
 of the Scriptures sung by the choir at the High Mass, immediately 
 
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 Analyses 
 
 after the Credo, during the time when the priest is making the obla- 
 tions and offering them on the altar. In Gregorian music these 
 lines are sung antiphonallv. [Lesson I, Course II ; Lesson IV, Course 
 II.] 
 
 35279 Hymn to Apollo Greek 
 
 This great Hymn to Apollo* is considered our most authentic 
 music of Ancient Greece. The two tablets of marble on which this 
 hymn was inscribed, have the neum notation of the third century 
 B. C, and as we have a record of such a song, sung in praise of the 
 Delphic Apollo, the date has been determined as 278 B. C. The two 
 marble slabs on which the hymn was found were discovered in 
 Delphi, May, 1893, by the French Archeological School of Athens. 
 The measure is the famous 5/4, which came into Russian folk music 
 through the influence of the Greek Church. [Lesson III, Course II.] 
 
 63511 Kyrie Kekraxa Greek 
 
 The chants of the Hebrews were copied by both the Egyptians 
 and the Greeks, but with the rise of the Christian Church, we find 
 that the Hebrew influence is again very strong. The division of 
 the Catholic Church resulted in the Greek Church returning to some 
 of the earlier Greek chants, said to be more similar to those employed 
 by Ambrose, in the fourth century. This is an example of the 
 Kyrie from the ritual of the mass used in the Greek Church today. 
 [Lesson HI, Course I.] 
 
 63511 Kinonikon Greek Chant 
 
 Although with the division of the Catholic Church the Greek 
 Church still retained the use of antiphonal chants, we find that the 
 ancient system of Greek music somewhat influenced and changed the 
 character of their chants, so that today they have many points of con- 
 trast with the Gregorian chanting. In the Greek Church of Russia 
 today are to be found the deepest bass voices in the world. [Lesson 
 III, Course II.] 
 
 64198 Gavotte Gretry 
 
 Andre Gretry (1741-1813) is the most famous composer of the 
 group of Frenchmen, who wrote in the form of the Opera Comique, 
 at the end of the eighteenth century. 
 
 Although acknowledged by all critics to be weak in harmony, 
 
 * Transcribed by Theodore Reinach. Accompaniment (ad lib.) by Gabriel Faure. Greek 
 text restored by Henri Weil. English translation by C. F. Abdy Williams. 
 
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 Analyses 
 
 Gretry left many instrumental works, including six symphonies, in 
 the style of his contemporary Haydn. 
 
 Although the Minuet was the favorite Court dance of this 
 period, we find the Gavotte (so named from the region whence it 
 originated, a province in France) was also exceedingly popular. 
 This charming example of the Gavotte follows the regulation form of 
 dance, trio, dance. [Lesson I, Course II; Lesson IV, Course III.] 
 
 63621 Cradle Song Grieg 
 
 This song is far different from the customary lullaby sung by a 
 mother to her child, for in this setting of a poem by the poet Andreas 
 Munch (1811-1884) Grieg has given us a picture of a father singing 
 to his motherless child. The intense grief, combined with the loving 
 tenderness portrayed in this song, make it a work unique in the annals 
 of song literature. 
 
 Sleep my child, thy Father here, 
 
 Watches o'er thee, ever near. 
 
 Mother cannot come to thee 
 
 For death has taken her from me. 
 
 Maybe thou dost see her, dear! 
 
 As she hovers ever near! 
 
 Can you see her in your dream, 
 
 Does her smile upon you beam? 
 
 Thy poor father nothing sees, 
 
 Only all Death 's miseries. 
 
 Thy small hand his only guide, 
 
 Thou shalt lead him to her side. 
 
 (From Ditson Edition.) 
 
 [Lesson XXIII, Course II.} 
 
 16764 Ich liebe dich Grieg 
 
 The great popularity of Grieg's music is due largely to the fact 
 that he w r as able to weave with such consummate skill the characteris- 
 tics of the Norwegian folk music into the classical forms. This compo- 
 sition is one of the most beautiful love songs ever written. 
 
 My loved one, blessed all! 
 My thoughts I'd give to thee — 
 I love thee more than all the world, 
 Oh love, my love, I love but thee. 
 
 [Lesson XXIII, Course II.] 
 
 71042 Norwegian Wedding March Grieg 
 
 This Wedding March is an excellent example not only of the 
 old form of march with trio, but also of the folk music of Norway, 
 which Grieg has immortalized. This work should be compared with 
 the Soderman "Swedish Wedding March." [Lesson XXIV, Course I.] 
 
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 Analyses 
 
 35007 Peer Gynt Suite Grieg 
 
 This record gives us the first two numbers of Grieg's Suite I, 
 "Peer Gynt," the first being entitled ' ' Morning, " and the second, 
 "Ase's Death." In no work has Grieg attained greater popularity 
 than in the incidental music, which he wrote for Henrik Ibsen's 
 fantastic drama "Peer Gynt." Ibsen's drama is a remarkable 
 descriptive portrayal of the Norwegian ne'er-do-well, with his dreams 
 of ambition, which are only made real by the sacrifice of a woman's 
 love. The story is a folk-tale similar in character to the legend of 
 Faust. The music of Grieg received such popular approval that he 
 arranged a number of the separate compositions in two concert 
 suites. "Morning" gives us an excellent tone picture of the dawning 
 of the day, from the first pink light to the full glory of the sun. 
 "Ase's Death" is a brief, solemn funeral dirge, well describing the 
 heart-broken mother deserted by her harum-scarum son. [Lesson 
 XXIII; Course II.] 
 
 61143 Sea Gull's Cry (Russian Folk Song) Grodski 
 
 This duet is an adaptation of an old Russian folk song by 
 Grodski. The translation of the words gives us a good idea of the 
 poetic beauty in this song, which is called a Nocturne. 
 
 The cry of the snow-white sea-gull — 
 
 The odor of sea and pines, 
 
 Never ending. 
 
 The quiet splash of the dreaming waves 
 
 In the haze of the dying sun 
 
 Eose light sending. 
 
 The first sorrowful star 
 
 Appears on the far horizon, 
 
 Brightly shining. 
 
 The transparent fires of the coast 
 
 Seem in the fog before us, i 
 
 Like giant ships. 
 
 The splendid moon full of caresses, 
 
 Tn the brilliance of her sovereignty. 
 
 On such a night one knows that fairy tales 
 
 Again may gladly live. 
 
 [Lesson VI, Course I; Lesson XXII, Course L] 
 
 88068 Aria— Sweet Bird ("II Pensieroso ") Handel 
 
 Handel was inspired to write two oratorios, "L 'Allegro" and 
 "II Pensieroso," by the reading of Milton's poem, in 1740. Although 
 these works are now practically obsolete, several of the best of 
 
 269
 
 Analyses 
 
 Handel's concert arias are taken from these compositions. No more 
 beautiful use of the coloratura soprano is to be found in musical 
 literature than this aria, in which the bird voices of the flute and 
 soprano imitate and converse with each other. [Lesson II, Course IV.] 
 
 17175 II Pensieroso (Flute and Oboe) Hande 
 
 We have already heard this famous aria sung by soprano with 
 flute obbligato. Here we have an opportunity of hearing the oboe 
 imitate the soprano voice, with the flute heard in the original part. 
 [Lesson XV, Course III.] 
 
 74131 Sound an Alarm (" Judas Maccabaeus ") Handel 
 
 Handel's oratorio, "Judas Maccabaeus," was written five years 
 after "The Messiah," being produced April 16, 1846, in honor of the 
 victory of Culloden and the return of the troops from Scotland. 
 Rev. Thomas Morrell, a Greek scholar, arranged the text for Handel, 
 using as his subject the story of the great Jewish warrior, Judas 
 Maccabaeus. This great aria occurs at the end of the second part of 
 the work. Judas Maccabaeus returns in triumph, and the celebration 
 of his victories is at its height when the messenger arrives announcing 
 another attack of the enemy. Judas arouses the ebbing courage of 
 the Israelites in this great aria, and the army once more departs 
 against the enemy. 
 
 To arms, to arms. 
 
 The cause of Heaven now demands. 
 
 Her noble cause now calls 
 
 To arms, to arms, ye brave. 
 
 [Lesson VIII, Course II.] 
 
 74080 The Trumpet Shall Sound ("The Messiah") Handel 
 
 This great bass aria occurs in the last part of Handel's oratorio, 
 "The Messiah." The use of the trumpet in the orchestral accompani- 
 ment, while following the imitative idea of Handel's period, also 
 points the way toward the "characteristic orchestration" of the 
 modern school. The text is from I Corinthians xv: 52-53. 
 
 "The trumpet shall sound and the dead shall be raised incorrupt- 
 ible; and we shall be chang'd. 
 
 "For this corruptible must put on incorruption. and this mortal 
 put on immortality." [Lesson XX, Course III ; Lesson XXV, Course 
 III.] 
 
 270
 
 Analyses 
 
 74126 Behold and See ("The Messiah ") Handel 
 
 This short pathetic aria for tenor occurs in the second part of 
 Handel's "Messiah," and is a beautiful example of the religious 
 pathos with which Handel has invested this portion of the work : 
 
 Recitative : 
 
 Thy rebuke hath broken His heart; He is full of heaviness. He looked for 
 someone to have pity on Him, but there was no man, neither found He any to 
 comfort Him. 
 
 Arioso : 
 
 Behold and see if there be any sorrow like unto His sorrow. 
 
 [Lesson HI, Course IV.} 
 
 31770 Hallelujah Chorus (" The Messiah") Handel 
 
 The great "Hallelujah Chorus" is the triumphal climax of 
 Handel's mighty oratorio, "The Messiah." It is said that after 
 hearing the work sung for the first time, the composer exclaimed, 
 "I did think I saw God Himself." The mighty force of this wonder- 
 ful example of contrapuntal chorus writing has never been equaled 
 by any composer of any school. When the oratorio was performed 
 in London, in 1743, the King rose to his feet to show his respect, and 
 all the audience followed his example. This has become a custom 
 which all audiences have observed during the singing of this great 
 work: 
 
 Hallelujah ! for the Lord God omnipotent reigneth, 
 
 The Kingdom of this world is become the Kingdom of our Lord, and of his Christ; 
 
 And He shall reign forever and ever, 
 
 King of Kings, and Lord of Lords ! 
 
 Hallelujah ! Hallelujah ! 
 
 [Lesson IX, Course I; Lesson VIII, Course II; Lesson HI, Course IV.] 
 
 85103 He Shall Feed His Flock (" The Messiah ") Handel 
 
 The most popular oratorio ever written is Handel's "Messiah," 
 which has remained in public favor ever since its production on 
 April 12, 1742, in Dublin. 
 
 The beautiful contralto aria, "He Shall Feed His Flock," oc- 
 curs at the end of the first part of the work. This was originally 
 written for soprano, but was later re-scored for the deeper, more 
 sympathetic tone quality of the contralto voice. 
 
 Recitative : 
 
 Then shall the eyes of the blind be opened and the ears of the deaf unstopped; 
 then shall the lame man leap as a hart, and the tongue of the dumb sing. 
 
 271
 
 Analyses 
 
 Aicia : 
 
 He shall feed His flock like a shepherd; and He shall gather the lambs with 
 His arm, and carry them in His bosom, and gently lead them that are with young. 
 
 [Lesson VIII, Course I; Lesson III, Course 1\.\ 
 
 88189 'Mid Lures and Pleasures ("Rinaldo") Handel 
 
 Handel's opera of "Rinaldo" was his first work to be heard in 
 England, being produced in London, in 1711. The opera is in the 
 form of the period known as "Oratorio Opera." As these works 
 consisted of merely a string of recitatives and arias held together by 
 no dramatic action, it is little to be wondered that Handel's works 
 in this form are obsolete today. Occasionally, we find a beautiful 
 aria which is heard on our concert stage, but no performances, ex- 
 cept as curiosities, of Handel's operas are now ever given. 
 
 This is a splendid example of the recitative and aria form. 
 
 [Lesson VII, Course II; Lesson II, Course IV.] 
 
 16980 Dead March ("Saul/') Handel 
 
 "Saul" was Handel's first oratorio and was written in 1739. 
 This famous march deserves to rank as one of the greatest funeral 
 inarches in musical literature. [Lesson VIII, Course II.] 
 
 74155 Largo ("Xerxes") Handel 
 
 The familiar and ever popular Largo is usually given today as 
 an instrumental composition. It is, in fact, however, the air sung 
 by tenor in Handel's opera "Xerxes" (1738), and in its right place 
 in the opera occurs at the beginning of the first act. The scene 
 shows a summer house near a beautiful garden, where there grows 
 a plane-tree. To the garden comes Xerxes and sings: "There never 
 was a lovelier tree than thou, there never was a sweeter shade of a 
 dear and lovely plant." [Lesson VII, Course II; Lesson II, Course 
 IV.] 
 
 70027 Prayer Hasselmans 
 
 This semi-religious composition for harp gives an excellent op- 
 portunity to study the broad arpeggio effects possible to the modern 
 day harp. [Lesson XI, Course III.] 
 
 16083 Austrian Hymn Haydn 
 
 The great composer, Franz Joseph Haydn, wrote the Austrian 
 National Hymn after his visit to England. It is said that he was 
 
 272
 
 Analyses 
 
 inspired by hearing "God Save the King," and that his anthem was 
 a copy of that famous song. 
 
 Just at this time occurred a war between France and Austria and 
 Haydn's song therefore attained immediate popularity. On February 
 12, 1797, the Emperor's birthday, the new National Anthem made its 
 appearance, being sung simultaneously at all the theatres in Vienna. 
 It is said this hymn was Haydn's favorite composition and was a 
 great solace to him in his last hours. [Lesson XI, Course II.] 
 
 74250 In Native Worth (" The Creation *') Haydn 
 
 The greatest tenor aria in Haydn's oratorio, "The Creation," 
 occurs after the aria sung by Raphael on the creation of man. The 
 angel Uriel then sings of the creation of Eve, and the happiness of 
 the newly created pair : 
 
 In native worth and honor clad, 
 
 With beauty, courage, strength adorn 'd, 
 
 Erect, with front serene he stands 
 
 A man, the lord and king of nature all. 
 
 His large and arched brow sublime, 
 
 Of wisdom deep declares the seat, 
 
 And in his eyes with brightness shines 
 
 The soul, the breath and image of his God. 
 
 With fondness leans upon his breast, 
 The partner for him formed, 
 A woman fair and graceful spouse, 
 Her softly smiling virgin looks 
 Of flowery springing mirror, 
 Bespeak him love and joy and bliss. 
 
 [Lesson VI, Course IV.] 
 60055 With Verdure Clad (" The Creation ") Haydn 
 
 The "Creation," which Haydn called "the greatest work of my 
 life," was finished when the composer was sixty-seven years old. 
 Having been much impressed by Milton's "Paradise Lost," during 
 his visit to London, in 1796, the composer began this oratorio, "The 
 Creation," which was finished two years later. 
 
 The soprano aria, "With Verdure Clad," which Haydn declared 
 to be his favorite of the whole work, occurs in the second part of the 
 oratorio — "The Work of the Second Day." This part opens with 
 the description of the "Rolling in Foaming Billows," and after the 
 division of the waters, the soprano describes the fields, "With Verdure 
 Clad": 
 
 With verdure clad the fields appear 
 
 Delightful to the ravish 'd sense, 
 
 By flowers sweet and gny. 
 
 273
 
 Analyses 
 
 Enhanced by the charming sight, 
 
 TIere fragrant herbs their odors shed, 
 
 Here shoots the healing plant, 
 
 With copious fruit the expanded boughs are hung; 
 
 In leafy arches twine the shady groves, 
 
 Vr lofty hills majestic forests wave 
 
 With verdure clad the fields appear 
 
 Delightful to the ravished sense. 
 
 [Lesson VI, Course IV.] 
 
 64135 Menuett Haydn 
 
 The Minuet was the most popular Court dance of the seventeenth 
 and eighteenth centuries. Its name denotes its French origin, for 
 it is derived from the word menu, meaning small, and probably re- 
 ferred to the dainty steps taken by the dancers. Some authorities 
 claim it originated in the province of Poitou, others say it was the 
 invention of Lully. In its earliest form, it consisted of two eight- 
 bar phrases, in 3/4 time, both repeated. As a complement to the first 
 minuet, a second was added. This was in three-part harmony (in the 
 earliest days played by three instruments), hence its name, Trio. 
 After this is played, the first minuet is repeated. We find interest- 
 ing examples of the minuet in the suites of the period of Bach. It 
 was Haydn who introduced the minuet into the sonata, quartet 
 and symphony as the third movement of his four-part form. While 
 retaining the old form of minuet, Haydn changes its spirit from 
 the stately slow dance of ceremony into the light-hearted, humorous 
 gaiety of the dance. The tempo is more animated, and the spirit of 
 downright fun is apparent. [Lesson XI, Course II.] 
 88289 My Mother Bids Me Bind My Hair Haydn 
 
 This charming song of Haydn's is an excellent example of the 
 style of Italian concert aria in use in Haydn's day. Although the 
 "Father of the Sonata" left us no great operatic works, he has shown 
 us, in his oratorios and songs, that he well understood the use of the 
 human voice in the bel canto of the classical school. [Lesson XI, 
 Course II.] 
 35243 Symphony No/3 ("Surprise") Haydn 
 
 Haydn's Symphony No. 3, is known as the "Surprise" Symphony, 
 because of the sudden fortissimo crash at the end of the second move- 
 ment. Haydn wrote this work in 1791, while he was at the Court of 
 Prince Esterhazy. The Prince one day complained that his music 
 was all dull and of the same color, and Haydn determined to play a 
 joke on his lord. When this symphony was being played, the dreamy, 
 
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 Analyses 
 
 beautiful music of the andante, which served as the second subject, had 
 quite put the Court to sleep, when suddenly the full orchestra in this 
 ff chord aroused thein to the fact that genial "Papa" Haydn had 
 played a joke on them. Henceforth this symphony was known as 
 ' ' The Surprise. ' ' The work follows the customary pattern of Haydn 's 
 symphonies. The first movement opens with an andante introduction, 
 which changes to vivace with the statement of the first subject, the 
 second subject is then heard in the related key (the repetition of 
 subjects is not possible on a record of this size). The free fantasia 
 or working out of subjects, is followed by the return of the first sub- 
 ject in the original key, the second also appears in the original key, 
 and a short coda brings the movement to a close. 
 
 The second movement is a beautiful andante, which is in the song 
 form having a contrasting second theme, after which the first is again 
 heard. The entire movement breathes of peace and beauty until the 
 arrival of the "surprise" chords heard at the end. [Lesson XXVI, 
 Course III.] 
 
 35244 Symphony No. 3 ("Surprise") Haydn 
 
 The last two movements of Haydn 's ' ' Surprise ' ' symphony show 
 us the genial "Father of the Symphony" at his best. The minuet 
 follows the customary form of the dance, contrasting dance or trio, 
 and return to the first dance. With Haydn the minuet is always a 
 dance of the folk and rarely shows the influence of the Court, where 
 the minuet at this time ruled supreme. 
 
 The last movement, Finale, is in the pattern of the first movement 
 and follows the "sonata" form, having the two alternating subjects, 
 their working-out and recapitulation. In the movement Haydn shows 
 his rare gift for counterpoint, which he always combines so cleverly 
 with spontaneity, that the method is lost in the beauty of the work as 
 a whole. [Lesson XXVI, Course HI.] 
 
 31762 Badinage Victor Herbert 
 
 Although born in Dublin, America has just cause to claim Victor 
 Herbert as her own, for his work as violoncellist, conductor and com- 
 poser has all been done in America. Mr. Herbert has excelled par- 
 ticularly in the writing of exceptional comic operas, which richly 
 deserve their popularity. It is said that Herbert inherits his Irish 
 wit from his grandfather, Samuel Lover. This short composition 
 which is filled with joy and happiness has been very popular. [Lesson 
 X, Course I.] 
 
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 Analyses 
 
 70049 Dagger Dance (" Natoma ") Victor Herbert 
 
 The Dagger Dance occurs at the end of the second act of Victor 
 Herbert's opera "Natoma." The scene shows the piazza in front 
 of the mission church of Santa Barbara. The square is full of people 
 who have assembled to take part in the fiesta. Castro, the half- 
 bred Indian, rails the dances of the time and challenges any to dance 
 with him the famous Indian Dagger Dance. Natoma responds to his 
 challenge, and the ancient dance of the Californians begins. Mr. 
 Herbert has employed an Indian theme, which as it is orchestrated 
 for the drums and wind instruments, retains a barbaric simplicity 
 which is remarkable. [Lesson XXIX, Course II; Lesson I, Course 
 III; Lesson XXIII, Course 111.] 
 
 74188 Der Zephir Jeno Hubay 
 
 Jeno Hubay (1858), the famous Hungarian violinist, received 
 his first lessons from his father, who was Kapellmeister of the Hun- 
 garian Opera, at Buda-Pesth. In 1882, Jeno Hubay went to the 
 Brussels Conservatory as teacher of violin, but returned to Buda- 
 Pesth, in 1886, to take the position left vacant by the death of his 
 father. He had made frequent concert tours through Europe and 
 has done much to further an interest in Hungarian music. Many of 
 his works reflect the national spirit. "Der Zephir" is a short com- 
 position, one of a series for violin, called " Blumenleben. " It is a 
 musical tone picture of the zephyr-like breeze of the summer evening, 
 and is an excellent example of the use of violin harmony. [Lesson IV, 
 Course III.] 
 
 31853 Prelude (" Hansel and Gretel") Humperdinck 
 
 This charming fairy opera, by Engelbert Humperdinck, was first 
 produced at Weimar, 1893, and has since been one of the most 
 popular operas ever given, both in Europe and America. The Vor- 
 spiel opens with a short, slow introduction, which is followed by the 
 brilliant vivace movement in 2-2 time. The trumpet gives out the 
 spirited first subject, after which a bustling figure is heard in the 
 violins and wood-winds; this theme is brought to a fortissimo climax, 
 then the more quiet and subdued second subject is heard. After a 
 short development, in which the theme of the introduction is again 
 heard, the recapitulation of the subjects brings the movement to 
 the coda ending, which is based on the slow theme of the introduc- 
 tion. [Lesson XXV, Course II; Lesson XIX, Course IV.] 
 
 276
 
 Analyses 
 
 64164 The Old Witch (" Hansel and Gretel ") Humperdinck 
 
 This descriptive aria is sung by Peter, the father of the chil- 
 dren, at the end of the first act of "Hansel and Gretel." When he 
 returns to his forest hut and learns from his wife that she has sent 
 the children into the woods to gather berries, he is very much alarmed 
 for fear that Hansel and Gretel may meet the witch of Ilenstein. 
 
 64188 Hexenritt (" Hansel and Gretel ") Humperdinck 
 
 Humperdinck 's modern use of the Singspiel in "Hansel and 
 Gretel" has opened a path which many other modern composers are 
 taking : that of using simple folk tales and fairy tales as the basis 
 of operatic librettos. No work since Wagner has been so enthusias- 
 tically received as has "Hansel and Gretel," and it deserves its popu- 
 larity. "The Witch's Ride" occurs in the third act. The scene 
 shows the witch's home. Thither Hansel and Gretel have been led 
 by the witch's magic, and Hansel has been put in a cage in the yard, 
 while Gretel is ordered to bring him dainties from the house, that 
 he may become fat eating for the wicked witch. The witch indulges 
 in some weird incantations, tells of her plans in this aria, then takes 
 a short ride on her broomstick, in her delight that she has captured 
 two more toothsome victims. 
 
 64184 Thou Innocent One ("Koenigskinder ") Humperdinck 
 
 This beautiful aria from the last opera of Humperdinck occurs 
 in the third act of "Koenigskinder." The old fiddler, released from 
 prison, has taken up his abode in the witch's hut in the wood. 
 Thither come the children of Hellabrun to beg him to go with them 
 to search for the lost children of the King. When the youngest child 
 tells the fiddler that all are now sure that the children, whom the 
 town rejected, were the real King and Queen, and begs him to lead 
 them to rescue the unfortunates, the fiddler replies : 
 
 17003 Czardas Hungarian 
 
 The Czardas is the most popular Hungarian dance. The name 
 is derived from an inn, Czarda, on the plain, where this dance is said 
 to have been first performed. Every Czardas consists of two parts, a 
 Lassen, or slow movement, and a Friska, or rapid dance. These two 
 alternate at the will of the dancers, a sign being given by them to 
 the musicians whenever a change of tempo is desired. [Lesson XXI, 
 Course I.] 
 
 277
 
 Analyses 
 
 64259 The Harp That Once Thro* Tara's Halls Old Irish 
 
 111 days when Ireland was a land renowned for its learning the 
 priests, bards and chiefs used to gather at the castle of Tara. It was 
 there also that the annual contests of the harpers were held. These 
 verses glorifying "Tara's Halls" were written by Thomas Moore and 
 are set to an old Irish air. [Lesson XXVI, Course I.] 
 
 31865 Songs of Ireland 
 
 This medley includes all the favorite Irish songs. The char- 
 acteristics of national expressions here reflected are : 
 
 1 Chorus— "The Harp That Once Thro' Tara's Halls". .Patriotism 
 
 2 Solo — "The Last Rose of Summer," 
 
 Sentiment as a strong characteristic of the Irish 
 
 3 Solo with Chorus— "Love's Young Dream" Love 
 
 4 Solo— "The Wearing of the Green" Patriotism 
 
 5 Solo— "Killarney" Love of Country 
 
 6 Chorus—' ' Come Back to Erin " Love of Country 
 
 [Lesson XXVI, Course I.] 
 
 64117 The Minstrel Boy Old Irish 
 
 The words of this song are by Sir Thomas Moore, who wrote them 
 to fit the music of an old Irish air called "The Green Woods of 
 Tringha. ' ' This tune is one of the oldest in Ireland, and is known by 
 various names throughout the country. [Lesson XXVI, Course I.] 
 
 17002 St. Patrick's Day Irish 
 
 This song is written to the air of an old-fashioned Irish jig. In 
 some parts of Ireland the song is still sung to accompany the dance. 
 The air has been used to other words entitled "Princess Day," the 
 first lines of which are, ' ' Tho ' dark be our sorrows, today we '11 forget 
 them." 
 
 The words to "Saint Patrick's Day" are: 
 
 O blest be the day when the Green Banner floated, 
 
 Sublime o'er the mountains of free Innisfall, 
 
 When her sons to her glory and freedom devoted, 
 
 Defied the invader to tread her soil, 
 
 When back from the Main they chased the Dane, 
 
 And gave to religion and learning their spoil, 
 
 When valor and mind together combined, 
 
 But wherefore lament o'er the glories departed, 
 
 Her star shall shine out with as vivid a ray, 
 
 For ne 'er had she children more brave and true hearted 
 
 Than those she now sees on Saint Patrick's Day. 
 
 [Lesson XIV, Course I; Lesson XXVI, Course I.] 
 
 278
 
 Analyses 
 
 74105 O Sole Mio Italian 
 
 This charming Italian song of sunshine is a popular folk song in 
 Italy today. It may be classed with legendary songs, as reflecting 
 poetic thought. 
 
 What lovely sunshine! 
 
 What a day of beauty! 
 
 How calm the air is 
 
 When the storm is ended. 
 
 But I know sunshine 
 
 More lovely still ; 
 
 From thy dear features, 
 
 Its bright rays thrill. 
 
 That sunshine, radiant sunshine, 
 
 My heart doth fill! 
 
 [Lesson XV, Course I.] 
 
 16136 Garibaldi Hymn Italian 
 
 This famous hymn of Italy dates from the rise of United Italy. 
 It was first sung by the armies of the great Garibaldi, and it takes its 
 name from the famous general (1807-1882). 
 
 All forward! All forward! 
 
 All forward to battle! 
 
 The trumpets are crying 
 
 Our old flag is flying. 
 
 Liberty! Liberty, deathless and glorious, 
 
 Under thy banner thy sons are victorious. 
 
 Hurrah for the banner! 
 
 The flag of the free! 
 
 [Lesson XVI, Course I.] 
 
 64160 La Mandolinata (Paladilhe) Italian 
 
 This charming serenade song belongs to the class of legendary 
 folk songs. Note the interesting imitation of the serenader playing 
 upon his mandolin, the instrument from which this charming little 
 composition takes its name. 
 
 Oh! come the night is lovely, 
 The moon now shines so bright, 
 In yonder boat, we'll gently float, 
 Our hearts are free and light. 
 
 [Lesson II, Course I.] 
 
 88355 Tarantella— Napolitana (Arr. by Rossini) Italian 
 
 This attractive example of a Neapolitan dance is made by Ros- 
 sini. This dance, which is distinctive of South Italy, takes its 
 name from Taranto, in the old province of Apulia. The music is in 
 6/8 time, played at increasing speed, with frequent changes from 
 
 279
 
 Analyses 
 
 major to minor. In its oldest form it was always sung, and was 
 accompanied by tambourines and castanets. There prevailed from 
 the fifteenth to the eighteenth century, a strange superstition 
 among the South Italians that anyone bitten by a tarantula spider 
 could alone be cured by dancing the Tarantella. [Lesson XVI, 
 Course I.] 
 
 17083 Tarantella (Italian Dance) Victor Military Band 
 
 This popular Italian dance originated in Tarentum. As we 
 have already given its history, it will only be necessary to describe 
 its actual performance. It is in 6/8 time and the key constantly changes 
 from major to minor. It is usually danced by two dancers, a man and 
 woman, who accompany themselves by the castanets and tambourines. 
 It continually increases in tempo until the dancers are exhausted. 
 [Lesson XIV, Course I.] 
 
 64228 Birchos Kohanim Jewish Chant 
 
 The most ancient music, in which we can trace our modern 
 development, are the chants of the Hebrews. These antiphonal 
 chants, given by the cantor, and answered by his chorus, are still in 
 use in the orthodox temples of the Jews today. They were imitated 
 by the Greeks, and a combination of the Jewish and Hebrew chant- 
 ing resulted in the antiphonal chanting in the early Christian Church. 
 This record gives us the closing benediction by the priests to their 
 congregation, as it is still sung in the Hebrew synagogues today. [Les- 
 son II, Course II.] 
 
 64231 Kawakores Rohr Adre Jewish Chant 
 
 This Hebrew chant, sung by Cantor Sirota, of Warsaw, with 
 chorus, is the psalm ' ' Like a Shepherd. ' ' In this chant, one feels the 
 steadfast trust in the God "who watches over Israel." [Lesson II, 
 Course II.] 
 
 88029 Prologue (" I Pagliacci ") Leoncavallo 
 
 This famous aria for baritone is used by Leoncavallo as the intro- 
 duction to his opera of "I Pagliacci." It is interesting to note that 
 many of the operas of the modern Italians employ the voice as a 
 part of the Prelude; the use of the Siciliana in "Cavalleria Rusticana" 
 being another excellent example. 
 
 280
 
 Analyses 
 
 The story of "I Pagliacci" is of a band of traveling mountebanks, 
 
 so it is a iitting preparation of the scene which follows, to have the 
 clown Tonio come before the curtain and sing (his aria: 
 
 Ladies and gentlemen! 
 Pardon me if alone I appear, 
 1 am the Prologue ! 
 
 Our author loves the custom of a prologue to his story, 
 
 And as he would revive for you the ancient glory, 
 
 He sends me to speak before ye ! 
 
 But not to prate, as once of old, 
 
 That the tears of the actor are false, unreal, 
 
 That his sighs and the pain that is told, 
 
 He has no heart to feel! 
 
 No! our author to-night a chapter will borrow 
 
 From life with its laughter and sorrow! 
 
 Is not the actor a man with a heart like you? 
 
 So 'tis for men, that our author has written, 
 
 And the story he tells you is true ! 
 
 A song of tender mem'ries 
 
 Deep in his list'ning heart one day was ringing; 
 
 And then with a trembling hand he wrote it, 
 
 And he marked the time with sighs and tears. 
 
 Come then ; 
 
 Here on the stage you shall behold us in human fashion 
 
 And see the sad fruits of love and passion, 
 
 Hearts that weep and languish, cries of rage and anguish, 
 
 And bitter laughter! 
 
 Ah, think then, sweet people, when ye look on us, 
 
 Clad in our motley and tinsel, 
 
 For ours are human hearts, beating with passion, 
 
 We are but men like you, for gladness or sorrow, 
 
 'Tis the same broad Heaven above us, 
 
 The same wide, lonely world before us! 
 
 Will ye hear, then, the story, 
 
 As it unfolds itself surely and certain! 
 
 Come then ! ring up the curtain ! 
 
 [Lesson XXVI, Course II; Lesson XXIV , Course IV.] 
 
 74039 The Marseillaise Hymn Rouget de Lisle 
 
 The French patriotic hymn owes its name to the fact that it 
 was originally written for the corps of the city of Marseilles, when 
 they entered Paris, July 29, 1792. It was intended by its com- 
 poser, Rouget de Lisle, to be the song of the French Army Corps, 
 of Strassburg, and was given to their leaders the night preceding 
 April 24, 1792. As the Strassburg Corps did not use it, and the 
 Marseilles Corps did, the name Marseillaise has always been retained.
 
 Analyses 
 
 During the attack of the Tuilleries, in August, 1792, this great song 
 became in truth the National Hymn of France. [Lesson XIII, 
 Course I; Lesson XVIII, Course I.] 
 
 35122 Hungarian Rhapsody No. 2 Franz Liszt 
 
 This composition is the most famous of the Hungarian Rhapsodies 
 by Franz Liszt. In these works, Liszt gave us a glimpse of Hungarian 
 nationality in a remarkable degree. These Rhapsodies were written 
 originally for piano, but were later arranged for orchestra and for 
 band performances. This composition consists of a slow introductory 
 movement patterned after the "Lassan" or slow dance, followed by 
 a rapid "Friska" from the Czardas, the national dance of Hungary. 
 [Lesson XIII, Course I; Lesson XVI, Course II.] 
 
 70046 Liebestraum Liszt 
 
 This charming "Dream of Love" is one of those short pieces for 
 pianoforte, contained in Opus 68, of Liszt's catalogued works. It 
 is said these compositions were all settings of songs which Liszt had 
 written earlier. This popular composition has been transcribed for 
 orchestra and is here a beautiful example of the expression of poetic 
 thought. [Lesson X, Course I.] 
 
 68339 Die Uhr (The Watch) Carl Loewe 
 
 Carl Loewe (1796-1869), although a trifle older than Schubert, 
 really followed the great master of song, in his writing of ballads and 
 art songs. Being a professional singer by training, Loewe under- 
 stood the possibilities of the human voice, and although many of his 
 works are highly dramatic, they always remain singable, for the 
 lyric and dramatic elements are welded with a master hand. Loewe 
 always carries his dramatic ideas into the musical accompaniment. 
 Notice in this selection, the imitation of the ticking of the watch. 
 Be certain that the class understands the poetic significance here, also : 
 
 Where'er I go, I carry 
 
 A watch with me alway, 
 And only need look, whenever 
 
 I'd know the time of day. 
 
 It was a Master Workman 
 
 Who deftly its works designed, 
 Tho' 'twill not always follow 
 
 The whims of a foolish mind. 
 
 282
 
 Analyses 
 
 I would it had run yet faster 
 
 On many a bygone day, 
 I would it had often gone slower, 
 
 Nor wasted the time away. 
 
 And tho ' it would sometimes falter, 
 
 As if to run down it were fain, 
 Its gen 'rous Maker always 
 
 Would carefully wind it again. 
 
 But should it e 'er run no longer, 
 
 Its day would then be o'er; 
 None other but Him who made it, 
 
 Could set it going once more. 
 
 Then I to the Maker must hie me, 
 
 How far, no mortal can say, 
 Beyond Creation 's beginning, 
 
 Far off in an endless day! 
 
 And there, as a grateful child might, 
 
 I '11 give my Father His own : 
 ' ' See, Lord, I did not spoil it, 
 
 'Tis only all run down. ' ' 
 
 Copy't 1903, by G. Schirmer. 
 
 [Lesson XIV, Course II.] 
 
 16159 Ein' feste Burg (A Mighty Fortress) Luther 
 
 Martin Luther (1483-1546) wrote this great German Chorale 
 while a prisoner in the Wartburg Castle in Eisenach. It is said that 
 it was first sung by his followers when they made the triumphal 
 entry into Worms, and from that day its popularity was amazing. 
 It was the battle hymn of the soldiers under Gustavus Adolphus, 
 who often sang the hymn during the fight. Luther was contemporan- 
 eous with Josquin des Pres, of the second period of the Netherland 
 School. [Lesson XIX, Course I. ] 
 
 60053 Woodland Sketches MacDowell 
 
 (1) At an Old Trysting Place (2) To a Wild Rose 
 
 Of all MacDowell 's compositions, none have been more universally 
 popular than the series of short pianoforte pieces, entitled "Woodland 
 Sketches." These two numbers belong to this group of composi- 
 tions. Both of these selections are of the class of music which 
 reflects poetic thought, for although bearing titles, these selections 
 leave much to the imagination of the auditor. [Lesson XXIX, 
 Course II.] 
 
 283
 
 Analyses 
 
 60074 Intermezzo (" Cavalleria Rusticana ") Mascagni 
 
 No single operatic selection has ever won such universal popu- 
 larity as has the famous Intermezzo, from Mascagni 's "Cavalleria 
 Rusticana." This short one act opera is divided into two parts, 
 and between these two scenes of tragedy and horror is introduced this 
 musical message of peace, breathing an air of simplicity and holy 
 love. Dramatically, it does not fit the opera, save to bring into con- 
 trast the scenes of tragic turmoil, but played as a concert number, it 
 has made its composer famous. [Lesson XXVI, Course II; Lesson I, 
 Course III; Lesson I, Course IV.] 
 
 87072 Siciliana ("Cavalleria Rusticana ") Mascagni 
 
 This beautiful aria is, in reality, a part of the Prelude to 
 Mascagni 's opera "Cavalleria Rusticana." The opening measures 
 of the introduction are played by the orchestra; then to the harp 
 accompaniment the voice of Turiddu (tenor) is heard behind the 
 scenes singing: 
 
 O Lola, with thy lips like crimson berries, 
 
 Eyes with the glow of love deepening in them. 
 Cheeks with the hue of wild, blossoming cherries, 
 Fortunate he who first finds favor to win them ; 
 
 Yet, tho' I died and found Heav'n on me beaming 
 Wert thou not there to greet me, grief T should cherish ! 
 
 Copy't 1891, G. Schirmer. 
 
 [Lesson XXIV, Course IV.} 
 l™l\\ Elegie Massenet 
 
 In 1873 Jules Massenet wrote the incidental music for Leconte 
 de Lisle 's antique drama, "Les Erinnyes"; although the drama was 
 not a success, much of Massenet's music was so popular that he was 
 urged to arrange it in the form of a suite for orchestra. The theme 
 of the Invocation, which was played by the violoncello as Electra 
 poured the libations on her father's tomb, was so beautiful that 
 Massenet used it as the melodic material for the famous song. 
 "Elegie." 
 
 The blooming spring days of yore, 
 Have left me for aye, 
 No more shall the skies smile for me. 
 My loved one is far away. 
 
 The birds no longer sing — 
 The sun is dark as the grave, 
 All the delight of my life is gone. 
 Dead is my heart for evermore! 
 
 [Lesson IX, Course TIL]
 
 Analyses 
 
 88153 Aria — Fleeting Vision (" Herodiade ") Massenet 
 
 Massenet's version of the story of Salome and John the Baptist 
 is very different from that of Richard Strauss. A French version 
 of the story is here used, and we find Salome, not knowing of her 
 parentage, coming to Jerusalem in search of her mother, in the train 
 of the prophet, whom she has learned to love in the desert. The King, 
 Herod, sees her and falls captive to her beauty, but she repulses him, 
 and to punish her Herod orders the death of John. Herodias discovers 
 in Salome her long-lost daughter, but it is too late to save the life of 
 John, and, as the prophet's head is brought in, Salome pierces her 
 heart with a dagger. 
 
 This aria is sung by King Herod in the second act. He has 
 surrounded himself with his dancers, and has tried in vain to forget 
 the wonderful beauty of Salome, which ever seems to haunt him as a 
 vision. [Lesson XXVII, Course IV.] 
 
 74123 Legende de la Sauge ("Jongleur de Notre Dame") Massenet 
 
 This beautiful aria occurs in the second act of the mystical 
 opera, "The Jongleur of Notre Dame." The scene is the study of 
 the Abbey, and the monks have been discussing the merits of their 
 relative arts. After they have gone into the chapel, Jean sadly ex- 
 claims, "And I alone have nothing to offer Mary." The cook, Boni- 
 face, then tells him the legend of the sage bush, a mediaeval story, 
 which Massenet has here set to an old folk song. 
 
 The tale ran that Mary, fleeing from the vengeance of Herod, sought to hide 
 the holy babe. She appealed to a rosebush to open wide its petals and shield her 
 son, but the rose declined to thus soil her dress. A humble sagebush was more 
 kind, and formed a safe cradle wherein to hide the child Jesus, and so was blessed 
 by Mary. 
 
 [Lesson XXVII, Course IV.] 
 
 74135 Meditation ("Thai's") Massenet 
 
 Massenet's opera, "Thai's," is a quasi-religious portrayal of the 
 conversion of the courtesan Thai's, of Alexandria, by a fanatic monk 
 of the desert, Athanael. The story is taken from Anatole France's 
 romance of the same name. This beautiful violin solo with orchestra, 
 called the "Religious Meditation," takes place as an intermezzo be- 
 tween the third and fourth scenes of the opera. Athanael has told 
 Thai's in the third scene, which takes place in her house, that he 
 will await her coming on her doorstep all through the nigbt. This 
 
 285
 
 Analyses 
 
 music is supposedly descriptive of the conflict in the soul of the 
 woman who gives up the god of love for the love of God. [Lesson XXI, 
 Course II; Lesson III, Course III; Lesson XXVII, Course IV.] 
 
 17178 Farewell to the Forest Mendelssohn 
 
 This beautiful arrangement of Mendelssohn's "Farewell to the 
 Forest" gives us an excellent chance of comparing the tone coloring 
 of the instruments which comprise the brass choir. [Lesson XVIII, 
 Course III.] 
 
 74088 If With All Your Hearts ("Elijah") Mendelssohn 
 
 "Elijah," which is considered to be the greatest oratorio Mendels- 
 sohn wrote, was originally intended as the first of a series of three 
 works, "Elijah," "Christus" and "St. Paul." The "Christus" 
 was left unfinished at the time of the composer's death. 
 
 This great aria for contralto, is one of the favorite selections from 
 oratorio. The people have been weeping and questioning the power of 
 God. The voice of Obadiah is heard. 
 
 Recitative: 
 
 Ye people rend your hearts and not your garments; for your transgressions 
 the Prophet Elijah hath sealed the heavens, through the word of God. I therefore 
 say to ye, Forsake your idols, return to God, for He is slow to anger and merciful, 
 and kind, and gracious, and repenteth Him of the evil. 
 
 Aria: 
 
 ' ' If with all your hearts ye truly seek me, 
 Ye shall ever truly find me," 
 Thus saith our God. 
 
 Oh that I knew where I might find Him, 
 That I might come before His presence; 
 "If with all your hearts ye truly seek me, 
 Ye shall ever truly find me, ' ' 
 Thus saith our God. 
 
 [Lesson IX, Course IV.] 
 
 74082 It is Enough ("Elijah") Mendelssohn 
 
 Elijah's great aria, considered to be the finest baritone aria, since 
 
 the time of Handel, occurs in the second part of Mendelssohn's 
 
 oratorio ' ' Elijah. ' ' 
 
 It is enough, O Lord. Now take away my life, for I am not better than 
 my fathers ! I desire to live no longer ; now let me die, for my days are but vanity ! 
 I have been very zealous for the Lord God of Hosts! for the children of Israel 
 have broken Thy covenant, thrown down Thy altars, and slain Thy prophets with 
 the sword ; and I, even I only, am left, and they seek my life to take it away. 
 
 [Lesson IX, Course IV.] 
 
 286
 
 Analyses 
 
 88191 But the Lord is Mindful of His Own ("St. Paul ") Mendelssohn 
 This great aria for contralto is one of the favorite oratorio 
 selections which finds its way to our concert stage. In its original 
 setting it occurs in the first part of the oratorio "St. Paul," which 
 is the first work in this form which Mendelssohn gave to the world. 
 After the martyrdom of St. Stephen, Saul appears "breathing out 
 threatenings and slaughter" against all the Apostles. His aria is 
 followed by the voice of comfort from the contralto. 
 Eecitative : 
 
 And he journeyed with companions toward Damascus, and had authority 
 from the High Priest that he should bring them bound men and women unto 
 Jerusalem. 
 
 Aria.: 
 
 But the Lord is mindful of His own, 
 
 He remembers His children; 
 
 Bow down before Him ye mighty 
 
 For the Lord is near us. 
 
 Yea the Lord is mindful of His own, 
 
 He remembers His children. 
 
 [Lesson IV, Course I; Lesson IX, Course IV.] 
 
 31819 Overture ("A Midsummer Night's Dream") Mendelssohn 
 
 Although Mendelssohn never wrote an opera, his music to Shake- 
 speare's comedy, "A Midsummer Night's Dream," would be sufficient 
 to give him a high place among dramatic composers. The overture 
 was written for a performance of Shakespeare's comedy, which was 
 given by the Mendelssohn family, when the composer was but seven- 
 teen years old. Seventeen years later the remainder of the incidental 
 music was written. In its truest sense, this overture belongs to 
 the style of Concert Overtures which Mendelssohn later gave to the 
 world, for here all the elements of fairyland are to be found in the 
 music. Frederick Weiks thus describes this work : 
 
 "The sustained chords of the wind instruments with which the 
 overture opens are the magic formula that opens to us the realms 
 of fairyland. The busy tripping first subject tells us of the fairies; 
 the broader and more dignified theme which follows, of Duke Theseus 
 and his retinue; the passionate second subject of the romantic lovers, 
 while the clownish second part pictures the tradesmen, and the bray- 
 ing reminds us of Bottom as the ass. The development is full of 
 bustle and the play of the elves. In conclusion, we have once more 
 the magic formula, which now dissolves the dream it before con- 
 jured up." [Lesson XV, Course II; Lesson I, Course III; Lesson 
 XXVIII, Course III.] 
 
 287
 
 Analyses 
 
 35159 Spinning Song Mendelssohn 
 
 This Spinning Song is an excellent example of the song form, 
 and also of a descriptive piece of program music, in which the accom- 
 paniment is imitative of the busily whirring spinning wheel. 
 
 This composition is No. 4, Op. 67, of the "Songs Without Words," 
 by Mendelssohn. [Lesson III, Course I; Lesson VIII, Course III.] 
 
 742851 S P rin S Song Mendelssohn 
 
 This popular short composition is the last work in Book V, of 
 Mendelssohn's "Songs Without Words." These short compositions 
 for pianoforte were Mendelssohn 's expression of the romantic use 
 of the principle of poetic thought. Although these works bear titles 
 and are, in a certain sense, programmatic, in that they have imitative 
 effects freely employed, they are not in the modern sense "Program 
 Music." In form this composition follows the regular song pattern. 
 [Lesson XV, Course II; Lesson III, Course III; Lesson X, Course III.] 
 
 5864 O Wert Thou in the Cauld Blast Mendelssohn 
 
 This charming duet for soprano and alto is an excellent example 
 of Mendelssohn's knowledge of the tone quality of women's voices, 
 and also of a very interesting use of a Scotch song. Beethoven in- 
 corporated many Scotch airs in his songs, and employed the Irish 
 folk song, "Nora Creina," as the Finale of his seventh Symphony. 
 Mendelssohn greatly admired the Scotch music, and on his trips to 
 the British Isles was very much interested in collecting it. We here 
 have an excellent example of its use by him, in this setting of the poem 
 by Robert Burns. [Lesson VI, Course I.] 
 
 70068 Marche ("L'Africaine ") Meyerbeer 
 
 "L'Africaine" was Meyerbeer's last work and was not produced 
 until two years after the death of the composer. It is a very ex- 
 travagant melodrama, the music being typical of the French Grand 
 Opera School. This Marche Indienne is based on an Oriental theme 
 and is an excellent example of Meyerbeer's exaggerated instrumenta- 
 tion. [Lesson XXIII, Course III; Lesson XII, Course IV.] 
 
 31381 Fackeltanz Meyerbeer 
 
 The Fackeltanz (March aux Flambeaux) is a torchlight proces- 
 sion, which has survived from the old medieval tournaments, and is 
 still used in Germany on the occasion of the marriage of members 
 of the royal family. The procession marches around the hall and 
 
 288
 
 Analyses 
 
 passes through many interesting ceremonies during the playing of 
 the March, which, in character, is similar to that of the Polonaise. 
 Meyerbeer wrote four of these compositions, the first being composed 
 for the marriage of the King of Bavaria, in 1846. [Lesson XXII, 
 Course III.] 
 
 85107 Nobil Signori Salute ! (Noble Sirs, I Salute You) 
 
 (" Les Huguenots ") 
 
 The beautiful page's song occurs in the first act of Meyerbeer's 
 
 "Les Huguenots." Originally the composer intended this air for 
 
 soprano, but it is always sung by the contralto voice. It is a favorite 
 
 concert selection, as it gives the contralto a rare opportunity for 
 
 coloratura display. 
 
 Urbano : 
 
 A most charming noble lady, 
 Whom with envy kings might view, 
 With a message here has charged me, 
 Cavaliers, cavaliers, to one of you. 
 I do not name him ; but honor be 
 Unto the good knight, whoe'er he be! 
 And until now, sirs, there ne'er hath been 
 Mortal so favor 'd by beauty 's queen ! 
 
 [Lesson XII, Course IV.] 
 45007 Romanza ("Les Huguenots ") Meyerbeer 
 
 The opera "Les Huguenots" is rightly regarded as Meyerbeer's 
 masterpiece. The work is of semi-historical significance, as it dis- 
 closes a story of the period of the Huguenot massacre in Paris, in 
 1572. This beautiful tenor aria is one of the gems of the opera. It 
 occurs in the first act, the scene of which takes place in the apartment 
 of the Count de Nevers. Raoul de Nangis tells the story of a fair 
 one whom he rescued in an encounter. Note the use of the viola as an 
 obbligata instrument. 
 
 Raoul : 
 
 Fairer far e 'en than fairest lily, 
 
 Than spring morn more pure and more lovely and bright, 
 
 An angel of Heaven born beauty 
 
 Burst upon my ravish 'd sight, 
 
 Sweetly she smiled as I stood by her side, 
 
 Sighing the love which e'en her tongue to speak denied; 
 
 And in her eyes the love-light gleamed, 
 
 Bidding me hope her love to gain. 
 
 Oh ! she was charming past all expression ! 
 
 And as before her form divine I bent my knee, 
 
 T faltered forth, "Fair angel, that cometh from Heav'n above, 
 
 For evermore shall I love none but thee ! ' ' 
 
 [Lesson IX, Course III ; Lesson XII, Course IV.] 
 
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 Analyses 
 
 7i275 Benediction of the Swords (Les Huguenots) Meyerbeer 
 
 One of the greatest concerted numbers for basso and chorus is 
 the famous Benediction of the Swords, from Meyerbeer's "Les 
 Huguenots." The selection occurs in the fourth act, in a room in 
 the home of Count de Nevers. Valentine is surprised by the arrival 
 of her lover, Raoul, but he is forced to hide behind some tapestries, 
 on the arrival of several Catholic noblemen, who come to acquaint 
 the Count with the details of the plot of St. Nevers for the St. 
 Bartholomew Massacre. The conference is brought to its conclusion 
 with the thrilling consecration of the swords, sung by St. Bris and the 
 conspirators. 
 
 St. Bris: 
 
 Do you wish our dear country to save? 
 
 Monks and Nobles: 
 
 It is our wish! our heart's desire! 
 
 St. Bris: 
 
 To serve our noble King, 
 Will ye the traitors destroy? 
 
 Monks and Nobles: 
 
 The King's commands we will obey! 
 
 St. Bris: 
 
 'Tis well ! now hear the King 's decree : 
 
 These Huguenots, whose vile detested race we hate, 
 
 Shall from this day by the sword disappear! 
 
 St. Bris: 
 
 On Heaven's just cause relying, 
 
 This impious race defying, 
 
 'Mid thousands round thee dying, 
 
 Now swear that no mercy thou 'It show! 
 
 A sacred zeal inspiring; 
 
 All hearts with courage firing, 
 
 To compass Heav'n's desiring, 
 
 Now for vengeance we go ! 
 
 (Then comes the furious and fanatical chorus of priests and lords, one of 
 the most difficult of ensembles.) 
 
 All: 
 
 Strike them down, men and children all ! 
 And let no mercy ever be shown! 
 By the sword they shall perish. 
 And their temples be o'erthrown! 
 
 St. Bris: 
 
 Be silent, my friends, and breatlie not e'en a murmur 
 To wake our slumb 'ring foe ! 
 
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 Analyses 
 
 All: 
 
 Whisper low, not a word, 
 
 Not a breath or sign revealing, while we, silenl stealing, 
 
 Strike the impious foe! 
 
 {With fury.) 
 
 Now for vengeance ! we will go ! 
 
 [Lesson XVII, Course II; Lesson I, Course IV; 
 Lesson XII, Course IV.] 
 
 88187 Aria— Ah! Mon Fils (" Le Prophete") Meyerbeer 
 
 "Le Prophete" was produced in Paris, in 1849, thirteen years 
 after its predecessor, "Les Huguenots." 
 
 The scene of the opera is laid in Holland, in 1534; the story is 
 of John of Leyden. This great aria for contralto takes place in the 
 second act and is sung by Fides to John, following the scene where 
 he is obliged to give up his betrothed, Bertha, in order to save his 
 mother's life. 
 
 Fides : 
 
 Ah, my son ! Blessed be thou ! 
 
 Thy loving mother to thee was dearer 
 
 Than was Bertha, who claimed thy heart ! 
 
 Ah, my son ! For thou, alas, 
 
 Thou dost give for thy mother more than life, 
 
 For thou giv'st all the joy of thy soul! 
 
 Ah, my son! now to heav'n my prayer ascends for thee; 
 
 My son, blessed be forever more! 
 
 [Lesson XII, Course IV.] 
 
 17106 Thy Flow'ry Banks, O Lovely River Meyerbeer 
 
 This charming trio set to the melody by Meyerbeer gives us a 
 good opportunity to contrast the tone quality of women's voices, 
 when heard in trio form. [Lesson VI, Course I.] 
 
 17176 Summertime Minnesinger 
 
 The Minnesingers flourished in Germany from the late eleventh 
 to the thirteenth century. The name is derived from the old German 
 word M in tie, meaning love, hence the singers of love were known as 
 Minnesingers. 
 
 These men belonged to the nobility, and came from all parts of 
 the kingdom for their annual contests of song, which were held for 
 many years in tbe famous Minstrel Hall of the Wartburg Castle, in 
 Eisenach. It is this contest which Wagner has made immortal in 
 ' ' Tannhauser. ' ' 
 
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 Analyses 
 
 This song is attributed to Neidhart von Reuenthal, a famous Min- 
 nesinger of the thirteenth century. 
 
 Welcome lovely summertime 
 
 \\ ith thy wealth of happy flowers 
 Which light-footed May lias brought 
 
 So swiftly through the hours. 
 
 Copy 't, Oliver Ditson & Co. 
 
 [Lesson I, Course II; Lesson V, Course II. \ 
 
 70029 Concerto for Harp and Flute Mozart 
 
 An excellent opportunity for studying the tone quality of the 
 flute is afforded by this concerto for harp and flute by Mozart. 
 
 [Lesson XIV, Course III.] 
 
 31589 Gloria ("Twelfth Mass") Mozart 
 
 Mozart wrote in all fifteen masses for the Catholic Church service. 
 The Gloria occurs in the mass at the end of the Kyrie, and in the 
 hymn "Gloria in Excelsis," which was probably of eastern origin, 
 although it has been in the Western Roman Church since the early 
 days. [Lesson VI, Course IV.] 
 
 89015 La ci darem la mano (Thy Little Hand) (" Don Giovanni ") 
 
 Mozart 
 
 The charm and grace of Mozart's melody is well illustrated in 
 
 this beautiful duet, sung by the Spanish Don and Zarlina, in the 
 
 first act of Mozart's opera, "Don Giovanni." This is one of the best 
 
 examples of dialogue duet to be found in all operatic literature. 
 
 Don Giovanni: 
 
 Nay, bid me not resign, love, coldly the hand I press, 
 
 Oh ! say thou wilt be mine, love, breathe but that one word ' ' yes. ' ' 
 
 Zerlina : 
 
 I would and yet I would not, I feel my heart misgive, 
 
 Should 'st thou prove false, I could not become thy scorn and live. 
 
 Don Giovanni: 
 
 Come then, oh, come then, dearest. 
 
 Zerlina : 
 
 Yet should thy fondness alter. 
 
 Don Giovanni: 
 
 Nay, love, in vain thou fearest. 
 
 Both: 
 
 Yes, hand and heart uniting, each other's cause requiting, 
 Our joy no bounds shall know! 
 
 [Lesson V, Course IV.] 
 17087 Minuet Mozart 
 
 No composer ever wrote more perfect examples of the minuet 
 than did Mozart, and this minuet from "Don Giovanni" is consid- 
 
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 Analyses 
 
 ered his best. Although he used the form of his master, Haydn, 
 Mozart's minuets are a much more faithful reproduction of the stately 
 court dance than are the rollicking minuets of good "Papa" Haydn. 
 With Mozart, all the tenderness, and grace and charm of court life 
 is felt, in contra-distinction to the homely gaiety of the common folk 
 as reflected in Haydn's minuets. [Lesson XII, Course II.] 
 
 85042 Invocation ("The Magic Flute") Mozart 
 
 "The Magic Flute" was the last opera of Mozart's to be pro- 
 duced. It is the most extraordinary work that has ever been given 
 to the world, for although set to a libretto, which is absolutely 
 ludicrous, the beauty of the music has caused this opera to be re- 
 garded as one of Mozart's finest musical achievements. 
 
 This Invocation occurs at the opening of the second act; the 
 scene shows us the abode of Sarastro, the High Priest of Isis, and we 
 hear his voice as he invokes her aid in one of the greatest basso arias 
 ever written. 
 
 Great Isis, great Osirus ! 
 
 Strengthen with wisdom's strength this tyro pair; 
 Ye who guide steps where deserts lengthen 
 
 Brace theirs with nerve, your proof to bear ! 
 Grant them probation's fruit all living; 
 Yet, should they find a grave while striving. 
 
 Think on their virtues, gracious gods, 
 
 Take them elect to your abodes! 
 
 [Lesson V, Course IV.] 
 
 64163 A Bird Catcher Am I (" The Magic Flute ") Mozart 
 
 Of all the characters of opera, not one is more amusing than 
 the part of Papageno, the bird-catcher, in Mozart's "Magic Flute." 
 This part was created by Schickaneder, who wrote the absurd libretto 
 of this opera, to give himself a chance to show his buffoonery. This 
 aria occurs in the first act. Papageno appears with a large bird cage, 
 birds on his back and birds on his shoulders. He holds in his hands 
 a Pan's pipe, on which he plays: 
 
 Papageno : 
 
 The fowler comes, in spite of rain, 
 And sings his song in merry strain ; 
 This merry fowler, too, is known 
 By young and old, from zone to zone. 
 Knows how to whistle every sound 
 That bird may sing the whole year round. 
 Oh, none can be more blithe than I, 
 With these sweet warblers of the sky. 
 
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 Analyses 
 
 The fowler conies, in spite of rain, 
 And sings his song in merry strain, 
 This merry fowler, too, is know n 
 By young and old, from zone to zone. 
 A net for maidens I should like 
 Would catch the pretty dears by dozens, 
 I 'd shut them safely up at home, 
 And never let them forth to roam. 
 
 [Lesson V, Course IV.] 
 
 88067 Voi che sapete (What is this Feeling?) ("Marriage of Figaro") 
 
 Mozart 
 
 The page's song from Mozart's charming "Marriage of Figaro" 
 has ever been a popular concert number. In its actual dramatic set- 
 ting it is sung by Cherubino, the page, to the Countess, in the first 
 act of the opera. Notice should be taken of the fact that Mozart has 
 here employed the simple ballad form, while the accompaniment on 
 the strings pizzicato, is in imitation of the guitar. 
 
 Cherubino : 
 
 What is this feeling makes me so sad? 
 What is this feeling makes me so glad? 
 Pain that delights me, — How can it be? 
 Pleasure that pains me: — 
 Fetter 'd though free ! 
 Whence, too, these yearnings, 
 Strange to myself? 
 Tell me their meaning, spirit or elf! 
 
 Why am I burning? Why do I freeze? 
 Eestless forever, never at ease. 
 All is so altered, nothing at rest, 
 Or are these changes but in my breast? 
 Gentler the breezes, day is more bright ; 
 Fairer the moonbeams shine on the night: 
 Greener the forest, greener the hill, 
 Soft, too, the music flows from each rill. 
 
 [Lesson XII, Course II; Lesson V, Course IV.] 
 88196 Aria ("Titus") Mozart 
 
 "La Clemenza di Tito" was the last opera by Mozart, being 
 written after "The Magic Flute," although it was produced before 
 that work was heard. In "Titus," Mozart returned to the Opera 
 Seria form, with the result that even his great melodic genius was not 
 sufficient to secure any success for a work, which in form and method, 
 seems to be the first work of a budding genius rather than the finished 
 composition of a mature mind. The story deals with the plots against 
 the Emperor Titus by Vitellia, the daughter of the deposed Vitellius. 
 The lover of Vitellia is Sextus, who, although the friend of the Em- 
 peror, is persuaded to set fire to the Capitol. The Emperor makes a 
 
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 Analyses 
 
 miraculous grand opera escape, pardons the plotters and makes 
 Vitellia his Empress. This aria is sung by Vitellia in the second act 
 of the opera. 
 
 Recitative : 
 
 The hour has come which sees my great trial. Have I the courage to see 
 the death of one who has sacrificed all for me? 
 
 Air: 
 
 My life shall no more be strewn with roses, 
 For Hymen may never guide me to joy. 
 The dungeon stretches before me, 
 And the terrors of death I see, 
 I know not what shall befall me, 
 I beg for pity from God on high. 
 
 [Lesson XII, Course II.] 
 
 16882 Santa Lucia Neapolitan Song 
 
 This beautiful boat song, or barcarolle, was probably intended 
 to illustrate the rise and fall of the boat on the water, and the regular 
 strokes of the oar. The sequence of the two-measure phrases produces 
 a monotonous effect, suggestive of the forward and backward sweep 
 of the oars. Santa Lucia (St. Lucy) is the Patron Saint of the Nea- 
 politans. [Lesson XVI, Course I.] 
 
 64102 Little Boy Blue Nevin 
 
 One of the most popular children's songs which has ever been 
 written is Ethelbert Nevin 's setting of "Little Boy Blue." The 
 composer has reflected in his music all the pathos of this poem, which 
 was written by Eugene Field after the death of his own "Little Boy 
 Blue. ' ' [Lesson XXIX, Course II. ] 
 
 35270 Overture (" Merry Wives of Windsor ") Nicolai 
 
 Carl Otto Nicolai (1810-1849) was originally educated as a 
 pianist and organist, but during his study in Rome became inter- 
 ested in the writing of operas, and his name is chiefly associated with 
 the Romantic German Opera School. His masterpiece was "The 
 Merry Wives of Windsor," which appeared in Berlin, March 9, 
 1849. It is an adaptation of Shakespeare's comedy of the same name. 
 The overture still retains its popular hold on the public. It is a 
 brilliant movement in the potpourri form, and well reflects the jovial 
 gaiety of Nicolai 's musical portrayal of the "merry wives" who 
 duped their unsuspecting husbands. As one authority says: "This 
 work is one of the very few German comedy-overtures which can hold 
 its own with the lighter overtures of Auber, Herold and Rossini. Tt 
 
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 Analyses 
 
 has the true comic opera touch, and, as a piece of workmanship, is 
 far more elaborate than theirs." [Lesson XVIII, Course IV.] 
 
 64161 Nightingale Song — A Captive Nightingale 
 
 This remarkable record is the actual song of a captive nightingale. 
 It is of particular interest in relation to the musical imitations 
 written by all the great composers. [Lesson XI, Course I.] 
 
 17160 Mountain March Norwegian 
 
 The student of Norwegian music will find a great difference in 
 the music of the mountainous regions and that of the valley. The 
 Norwegian folk tunes have been less affected by outside conditions 
 than have those of Sweden, and they are always distinguishable by 
 a rhythmic and melodic irregularity, which is suggestive of the 
 energetic step of the peasant in his rough dances. [Lesson XXIV, 
 Course I.] 
 
 a^is/ ( a ) A Ola la Norwegian Folk Song 
 
 0,3018 \ (b) Astri, Mi Astri Norwegian Folk Song 
 
 These two Norwegian folk songs show the characteristic sadness 
 which prevails in all the melodies of Norway. Even in the attempt 
 to be gay in the dialogue song, "Astri, My Astri," the darkness of 
 coloring is noticeable. Tennyson most truly expressed this char- 
 acteristic when he said : ' ' Dark and true and tender is the North. ' ' 
 
 A-OLA OLA! 
 Oh, Ole, Ole, I loved you dearly, 
 But you have dealt with me insincerely. 
 I did not think you would let your tongue 
 Be false to me, whom you saw was young. 
 
 ASTRI! MI ASTRI. 
 Dialogue Song. 
 Sverning: 
 
 Astri ! my Astri ! your heart mine alone was 
 
 In those old days of joy and delight; 
 You always wept when our eventide flown was, 
 
 Tho' we did meet each Saturday night. 
 Then 'twas my heart, Astri, you stole from me. 
 Happier I was than princes can be. 
 Astri : 
 
 Ah, you did, Astri, then love, and her only, 
 
 That was ere Svanaug you cared so to see ; 
 I knew not then what it was to be lonely, 
 
 For every week you did hasten to me. 
 With no fine lady to change would I choose; 
 In those old days if I you must thus lose. 
 ********** 
 
 Sverning : 
 
 What if I, Svanaug, to leave should endeavor; 
 What if I put her quite out of my mind; 
 
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 Analyses 
 
 And should come back to my Astri forever, 
 
 And to you, dearest, should once more be kind. 
 If I now promise to you to be true, 
 Astri, my Astri, what answer have you? 
 
 Astri : 
 
 Milder than sunshine o 'er mountain tops glowing 
 
 Torgrim is ever, and ever will be; 
 Savage and cross as a troll you are growing, 
 
 Falser than foam on the waters to me. 
 But all the same your true maiden am I, 
 Only with you will I live and will die. 
 
 [Lesson XXIV, Course I.] 
 
 ^^J Barcarolle (" Tales of Hoffman ") Offenbach 
 
 Jacques Offenbach is often called "the father of modern Opera 
 Buff a." Though of German birth, Offenbach, like Meyerbeer, is chiefly 
 identified with the French School, for all his works were written for 
 the Opera Comique of Paris. His operas have met with great popu- 
 larity all over the world, but of his one hundred works for the stage 
 none is more beloved than "The Tales of Hoffman." The ever popular 
 Barcarolle occurs at the opening of the third act. The scene discloses 
 a room in a Venetian palace and through the open windows can be 
 seen the canals bathed in the silvery moonlight. The lovers sing to 
 the lilting measure, used by the Venetian gondoliers and known as 
 the Barcarolle, this beautiful duet : 
 
 Beauteous night, O night of love, 
 Smile thou on our enchantment; 
 Kadiant night, with stars above, 
 O beauteous night of love! 
 
 Far away where we may yearn, 
 For time doth ne'er return. 
 Sweet zephyrs aglow, 
 Shed on us thy caresses — 
 Night of love, O night of love! 
 — From Ditson Edition — Copyright, 1909. 
 
 [Lesson VIII, Course I ; Lesson VIII, Course III ; 
 Lesson XVIII, Course IV.] 
 
 31618 In a Clock Store Orth 
 
 This descriptive fantasia is a very interesting example of program 
 music. The scene is laid in a little shop in Germany; the time, four 
 o'clock in the early morning. The apprentice comes in and opens the 
 store ; we hear the ticking of the clocks, then their tones as they strike 
 the three-quarter hours; first the cuckoo, then the deep-toned grand- 
 
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 Analyses 
 
 father's flock. The boy whistles merrily as he begins his work wind- 
 ing the clocks. A musical clock plays ;i popular air on its chimes, then 
 (he hour strikes on all the different clocks. [ Lesson X, Course I.] 
 
 V)2m The Instruments of the Orchestra 
 
 These two records have been made especially for this course of 
 study and give in a condensed form the voices of the instruments 
 of the orchestra. Part I gives us "The Strings," the selections 
 being : 
 
 The Violin — Spring Song (Mendelssohn). 
 
 The Viola— Traumerei (Schumann). 
 
 The Violoncello — Flower Song (Lange). 
 
 Contra Bass — Improvisation. 
 
 Violin Pizzicato — Dream After the Ball (Brostet). 
 
 String Quartet — Intermezzo (Mascagni). 
 
 Harp— The Harp That Once Thro' Tara's Halls. 
 
 Part II — Wood- Wind. 
 
 The Piccolo — Yankee Doodle. 
 
 The Flute— AVilliam Tell Overture (Rossini). 
 
 The Oboe — William Tell Overture (Rossini). 
 
 The English Horn — Tannhauser (Wagner). 
 
 The Clarinet — Zampa (Herold). 
 
 The Bassoon — Deep in the Cellar. 
 
 The Wood-Wind Section — Lohengrin (Wagner). 
 
 Part III — -Brass. 
 
 ,The French Horn— Titl's Serenade (Titl). 
 The Cornet— Red, White and Blue. 
 
 The Trombone — Rocked in the Cradle of the Deep (J. P. Knight). 
 The Tuba— Rocked in the Cradle of the Deep (J. P. Knight). 
 Brass Quartet — Day of the Lord. 
 
 Part IV — Percussion. 
 The Timpani (Kettledrum). 
 The Small Drum. 
 Bells — Monastery Bells (Wely). 
 
 The Entire Orchestra — Finale William Tell Overture (Rossini). 
 [Lesson II, Course HI; Lesson XII, Course III; 
 
 Lesson XVII, Course III.] 
 
 17216 Spring Song Pinsuti 
 
 Ciro Pinsuti (1829-1888) although an Italian by birth, spent 
 
 many years in London, where he was long the teacher of singing in 
 
 the Royal Academy. In this capacity he was the instructor of many 
 
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 Analyses 
 
 of the greatest singers the world has ever known, among them being 
 Bosio, Graziani, Grisi, Mario and Patti. 
 
 This selection is a simple Song of Spring; which is here played 
 for ns in an arrangement for brass quartet. It gives a splendid 
 opportunity for hearing the staccato tone quality in the brasses. [Les- 
 son XV III, Course III.} 
 
 63460 Krakowiak Polish 
 
 A Polish dance song, which comes from the country near Krakow, 
 is known as the "Krakowiak." It is written in 3/4 time always, and 
 generally is in the major key, although many examples are found in 
 the minor key also. There are usually a great many couples, as 
 many as an English country dance, who sing while dancing, the men 
 always striking their heels together to accent the rhythm. [Lesson 
 XXIII, Course I.] 
 
 63460 Na Wawel Polish 
 
 This dance song is an excellent example of the folk music of 
 Poland. [Lesson XXIII, Course I.] 
 
 85104 Voce di donna (Angelic Voice) (" La Gioconda") Ponchielli 
 
 This scene occurs in the first act of "La Gioconda." The stage 
 
 shows the courtyard of the Ducal Palace filled with a noisy crowd, 
 
 who are celebrating the victory of the boat races. La Cieca, the 
 
 aged blind mother of Gioconda, is accused by the loser of the race 
 
 to have used witchcraft against him. The crowd turn on her and 
 
 are about to take her life, when she is saved through the intervention 
 
 of Laura, the wife of the noble Alvise. La Cieca speaks her gratitude : 
 
 Thanks to thee, angelic voice, 
 My fetters asunder are broken, 
 I cannot see the face of her 
 By whom these words were spoken; 
 Yet Lady, thou must not depart 
 Without a gift from me, 
 This rosary I offer, 
 No richer prize possessing; 
 Deign to accept the humble gift, 
 'Twill bring to thee a blessing, 
 And on thy head may bliss descend, 
 T'll ever, ever, pray for thee. 
 
 [Lesson XXII, Course IV.] 
 
 64070 Cielo e mar (Heaven and Ocean) (" La Gioconda") Ponchielli 
 
 This great tenor aria occurs in the second act. Enzo is waiting 
 
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 Analyses 
 
 on the deck of his boat for the arrival of his beloved Laura, whom 
 
 Barnaba has promised to bring to him in safety. He sings : 
 
 Enzo: 
 
 Heaven and Ocean ! yon ethereal veil 
 
 Is radiant as a holy altar, 
 
 My angel, will she come from heaven? 
 
 My angel, will she come o'er ocean? 
 
 Here I await her, I breathe with rapture 
 
 The soft zephyrs fill 'd with love, 
 
 Mortals oft, when fondly sighing, 
 
 Find ye a torment, O golden, golden dreams. 
 
 Come then, dearest, here I'm waiting; 
 
 Wildly panting in my heart. 
 Come then, dearest, oh come, my dearest! 
 
 Oh come, taste the kisses that magic bliss impart! 
 
 Oh come! Oh come! Oh come! 
 
 [Lesson XXII, Course IV.] 
 
 70070 Dance of the Hours (" La Gioconda ") Ponchielli 
 
 In the third act of Ponchielli 's opera, "La Gioconda," the scene 
 shows us the interior of the Duke's Palace during a masked ball. 
 For the entertainment of the guests the dance is then given. Each 
 group of dancers is dressed to represent darkness, dawn, light and 
 twilight, and the action represents the struggle of light and darkness 
 for supremacy. It is a charming example of ballet music, and the 
 dance here given is one of the most popular from the series. [Lesson 
 VII, Course III; Lesson XXII, Course IV.] 
 
 64085 Musetta's Waltz Song ("La Boheme ") Puccini 
 
 This delightful waltz song occurs in the second act of Puccini's 
 beautiful setting of Murger's book, "La Vie de Boheme." The 
 scene shows us the Cafe Momus, and gathered there are all the types 
 to be found in the gay life of Montmarte. Musetta appears with a 
 wealthy banker, and poor Marcel is overcome with jealousy ; but after 
 singing this charming waltz, she deserts the banker and returns to 
 her former lover. [Lesso?i XXIII, Course IV.] 
 
 55020 Quartet — Addio (Farewell, Sweet Love) ("La Boheme") 
 
 The charm and grace of Puccini's "La Boheme" is strikingly 
 felt in this ever popular Quartet, which holds an important position 
 on the concert stage today. 
 
 This number is the last scene of Act III, and tells us of the 
 farewell between Mimi and Rudolph. All the characters are here 
 briefly sketched in tone by Puccini : the gentle Mimi, who has been 
 saddened by the mistrust of Rudolph ; the poet, whose love for Mimi 
 
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 Analyses 
 
 is once more re-awakened ; the fickle gaiety of Musetta, and the 
 quarrelsome bickerings of Marcel and Musetta. [Lesson XXIII, 
 Course IV.] 
 88113 Un bel di vedremo (Some Day) (" Madame Butterfly ") Puccini 
 
 The story of John Luther Long, which was first dramatized by 
 Belasco, and later used by Puccini for his opera, "Madam But- 
 terfly," is a simple story of life in Japan that has met with universal 
 approval. 
 
 In the first act we see the wedding celebration of Butterfly to 
 the young American Lieutenant; in the second act is portrayed her 
 hope in his ultimate return to her side, and in the Finale the tragic 
 death of Butterfly. 
 
 This aria, which is one of the most popular numbers from the 
 opera, occurs at opening of the second act. Butterfly who, in the 
 three years since Pinkerton's departure has never given up hope that 
 he shall return, is living with her little boy and her faithful maid in 
 the little house where she had been so happy. Suzuki begins to doubt 
 that the American husband will return ; but Butterfly calms her fears, 
 in the beautiful aria, in which she tells of the great ship which 
 will surely come again and bring once more happiness to them all. 
 [Lesson XXIII, Course IV.] 
 89008 Duet of the Flowers (" Madama Butterfly ") Puccini 
 
 This beautiful duet for soprano and alto occurs in the second 
 act of Puccini's Japanese opera, "Madame Butterfly." Poor little 
 Madame Butterfly at last sees the ship of Lieutenant Pinkerton come 
 into the harbor, and, feeling certain that her husband will come to 
 her, she calls to Suzuki, her faithful maid, to help her to decorate the 
 room with flowers. So Suzuki goes to the garden and brings in all 
 the flowers from the garden, and as they decorate the room they sing 
 this beautiful duet. [Lesson VI, Course I; Lesson XXVI, Course II; 
 Lesson XXIII, Course IV.] 
 88122 Cantabile Scarpia ("Tosca") Puccini 
 
 Puccini's setting of Sardou's great drama "Tosca" gives us a 
 wonderful musical delineation of character in the description of Scarpia, 
 the Chief of Police of Rome, who is bent on Cavaradossi's destruction, 
 that he may win Tosca for himself. [Lesson XXIII, Course IV.] 
 88010 Aria — Vissi d'arte ("Tosca") Puccini 
 
 This great aria occurs in the finale of the second act of Puccini's 
 "Tosca." Tosca has been forced by the torture of her lover to reveal 
 
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 Analyses 
 
 to Scarpia the secret of Angelotti's hiding place. She then consents 
 to accept Scarpia's proposal if he will promise that Cavaradossi will 
 be free. This aria is her final appeal to the base wretch Scarpia, just 
 before the end of the second act. [Lesson XXIII Course IV.] 
 
 74249 Nightingale's Passion Song Rameau 
 
 This beautiful soprano aria is from Rameau 's first opera, " Hip- 
 poly te et Aricie." Strangely enough, Rameau wrote no operas until 
 he was fifty years old, when "Hippolyte" appeared. Previous to this, 
 Rameau had made a setting of Voltaire's "Samson," but the piece 
 was interdicted on the eve of its performance. At Rameau 's request, 
 the Abbe Pelegrim provided an opera book based on Racine's 
 "Phedre, " which was produced at the Academie Royale de Musique 
 as "Hippolyte et Aricie" in 1733. This opera tells us of the son of 
 Theuseus, Duke of Athens, and Hippolyta, the Amazon queen, whose 
 nuptials are celebrated in Shakespeare's "A Midsummer Night's 
 Dream." This youth comes to grief because of the jealous anger of 
 Venus. This aria is in the Italian style of the period known as ' ' Aria 
 d Tmitazione. " [Lesson VII, Course II; Lesson IV, Course IV.] 
 
 64209 Song of the Shepherd Lehl (" Snow Maiden ") Rimsky-Korsakoff 
 
 Rimsky-Korsakoff belongs to the National School of Russia and 
 was originally educated as a naval officer. He is the dean of the school 
 of Neo-Russia to-day, as Glazounow, Rachmaninow and others are all 
 his pupils. 
 
 Rimsky-Korsakoff has written his best works for orchestra and 
 the concert room, but he also wrote several operas on Russian stories, 
 which have been popular in his native land. His ballet on the story 
 of "The Snow Maiden" has been very popular, its captivating music 
 being reminiscent of the Russian folk song. ' ' The Song of the Shep- 
 herd Lehl" is an excellent example of his use of folk characteristics. 
 
 The flying cloud called to the thunder 
 You rumble. 1*11 scatter the rain. 
 Then the plains will be green with springtime 
 And the smiling flowers shall spring. 
 
 Now the girls through woods appear. 
 
 Their strawberries they gather far and near, 
 
 We hear their song and laughter. 
 
 Then a sudden cry of torture. 
 
 ''One maiden she has gone. 
 
 Alas! she'll meet the wolf alone." 
 
 Oh! My Lehl! My Lehl! My Lehl! 
 
 302
 
 Analyses 
 
 While the maidens sigh and cry — 
 
 A wild eyed stranger they spy — 
 
 "You silly girls, have you lost your wits? 
 
 Why do you weep and cry? 
 
 Your silly tears will do no good, 
 
 Why don't you look about the wood?" 
 
 Oh! My Lehl! My Lehl! My Lehl ! 
 
 [Lesson XXII, Course II.] 
 
 74093 Cujus animam ("Stabat Mater ") Rossini 
 
 The "Stabat Mater" of Eossirii belongs distinctly to the French 
 Grand Opera School of Rossini's day. Although a musical setting of 
 the most sacred words in the Catholic Church service, Eossini has 
 here used the same musical expression he would have employed for 
 any trivial operatic libretto. The superficial tendency of Rossini's age 
 has been remarked, and as he favored the singers with florid and highly 
 embellished arias in his operas, we find that the selections chosen from 
 the "Stabat Mater" answer the same dramatic deficiencies. The "Cujus 
 Animam" is sung by the tenor, and follows the opening chorus "Stabat 
 Mater Dolorosa." 
 
 Savior breathe forgiveness o'er me, 
 In my need guide me, keep me, 
 God of mercy. God of love. 
 
 Heavenly Father, help I pray Thee, 
 While I humbly bend before Thee, 
 Save and help me blessed Lord. 
 
 [Lesson IX, Course IV.] 
 
 35157 Cujus Animam (For Trombone) Rossini 
 
 [Lesson XXI, Course HI.] 
 
 70037 Inflammatus (" Stabat Mater ") Rossini 
 
 The most brilliant soprano solo in Rossini's "Stabat Mater" is 
 the Inflammatus, which has its place between the Stabat Mater 
 (quartet) and the Quando Corpus (quartet). This prayer to the 
 Virgin is accompanied by chorus and is a beautiful example of Ros- 
 sini's strength as a writer of concerted music. [Lesson IX, Course 
 IV.] 
 
 88391 Largo al Factotum (" The Barber of Seville ") Rossini 
 
 No single number from Rossini's ever popular "Barber of 
 Seville," has been more universally acclaimed than Figaro's aria 
 from the first act. This is one of the old style songs of Opera Buffa 
 known as "the Patter Song," in which the character tells of his work 
 and personal habits. Figaro enters with a guitar hung about his 
 neck.
 
 Analyses 
 
 Figaro : 
 
 Room for the city's factotum here, 
 
 La, la, la, la, la, la. 
 1 must be off to my shop, for the dawn is near, 
 
 La, la, la, la, la, la. 
 What a merry life, what pleasure gay, 
 
 Awaits a barber of quality. 
 Ali. brave Figaro; bravo, bravissimo, brave. 
 
 La, la, la, la, la, la. 
 Of men, the happiest, sure, art lliou. liravo. 
 
 La, la, la, la, la, la. 
 
 "Oh! what a happy life," soliloquizes the gay barber of quality. "Oh, 
 bravo, Figaro, bravo, bravissimo; thou art sure the happiest of men, ready at all 
 hours of the night, and, by day, perpetually in bustle and motion. What happier 
 region of delight; what nobler life for a barber than mine! Razors, combs, 
 lancets, scissors — behold them all at my command! besides the snug perquisites 
 of the business, with gay damsels and cavaliers. All call me! all want me! — dames 
 and maidens — old and young. My peruke! eries one — my beard! shouts another — 
 bleed me! cries this — this billetdoux! whispers that. Figaro, Figaro, heavens, what 
 a crowd. Figaro, Figaro! heavens what a tumult ! One at a time, for mercy sake! 
 Figaro here: Figaro there: Figaro above; Figaro below: I am all activity: 
 I am quick as lightning; in a word — I am the factotum of the town. Oh, what a 
 happy life! but little fatigue — abundant amusement — with a pocket that can always 
 boast a doubloon, the noble fruit of my reputation. But I must hasten to the 
 shop. ' ' 
 
 [Lesson XVII, Course II ; Lesson X, Course IV.] 
 
 88097 Una voce poco fa (" Barber of Seville") Rossini 
 
 In the "Barber of Seville" Rossini lias given us his best work, 
 for although in the form of Opera Buffa, this opera has been ever 
 considered his greatest and most popular composition. The story is 
 from the Beaumarchais's comedy, and is the same which Mozart im- 
 mortalized in "The Marriage of Figaro." 
 
 The cavatina "Una Voce Poco Fa" is sung by Rosina in the 
 first act : 
 
 Rosina: 
 
 A little voice I heard just now; 
 
 Oh, it has thrill 'd my very heart! 
 
 I feel that I am wounded sore: 
 
 And Lindor 'twas who hurl'd the dart, 
 
 Yes, Lindor, dearest, shall be mine ! 
 
 I 've sworn it, and we '11 never part. 
 
 My guardian sure will ne'er consent: 
 But I must sharpen all my wit : 
 Content at last, he will relent, 
 And we, oh, joy! be wedded yet. 
 Yes, Lindor, I have sworn to love! 
 And loving, we'll our cares forget. 
 
 [Lesson I, Course IV; Lesson X, Course IV.) 
 
 304
 
 Analyses 
 
 92051 Trio (" William Tell ") Rossini 
 
 Rossini's "William Tell" is his masterpiece in the style of the 
 Opera Seria. The scene of the opera is laid in Switzerland and the 
 story follows in general the historical events credited to the life 
 of the Swiss patriot, by Schiller, in his drama "Wilhelm Tell." 
 
 This trio is sung by Tell, and his companions, Walther and 
 Arnold. Tell is urging them to free their fatherland. 
 
 Arnold : 
 
 His life the tyrant wickedly hath taken, 
 And yet my sabre in its sheath reposeth; 
 Alas! my father his son's aid was needing, 
 While Helvetia was e'en then betraying. 
 Heavens ! never again shall 1 behold him ! 
 
 Trio : 
 
 May glory our hearts with courage exalt 
 
 Our cause propitious Heaven will aid; 
 
 The shade of your father our souls will inspire! 
 
 Vengeance it calls for, and not lamentation; 
 
 Although departed, he doth seem to say, 
 
 Happy in his destiny hath he been ; 
 
 His remains a martyr's tomb shall hallow, 
 
 Of virtue such as his the fit recompense. 
 
 [Lesson X, Course IV.] 
 
 60051 Melody in F Rubinstein 
 
 This ever popular composition was originally a short piano selec- 
 tion. It clearly shows the influence of Mendelssohn and the German 
 Romantic School, for it must be remembered that Rubinstein, although 
 a Russian, was educated in Germany. The composer once said of 
 himself, ' ' The Germans call me a Russian ; the Russians a German ; 
 the Jews a Christian, and the Christians a Jew. What then am I?" 
 In this famous Melody in F, we can clearly note the influence of 
 Mendelssohn's "Songs Without Words," for although this beautiful 
 number does not bear a title, it is an excellent example of music illus- 
 trating a poetic thought. [Lesson I, Course I.] 
 
 60039 Toreador and Andalouse Rubinstein 
 
 This charming tone picture is one of a set of twenty short pieces 
 for piano, which Rubinstein called by the general name of "Bal 
 Costume." Each describes some particularly national costume, this 
 one being a short musical portrayal of Spanish characters. [Lesson 
 XXII, Course II.] 
 
 70077 Kammenoi-Ostrow Rubinstein 
 
 This collection of twenty-four piano pieces is Op. 10 in the Rubin- 
 stein Catalogue. The general title "Kammenoi Ostrow, " takes its 
 
 305
 
 Analyses 
 
 name from a popular fashionable resort on the Kammenoi Island in 
 the river Neva, where Rubinstein spent many vacation days. Each 
 one of these short pieces is a tonal portrait of one of the friends or 
 acquaintances made by Rubinstein while there. No. 22, "Reve An- 
 gelique," is dedicated to Mile. Anna de Friedbourg, and is said to be 
 her idealized portrait painted in tone. [Lesson XXII, Course II.] 
 
 17001 Kamarinskaia Russian Dance 
 
 The Kamarinskaia is the national dance of Russia. It is in 
 4-4 time and is almost -barbaric in its vigorous strength. It was 
 originally danced only by men, and an unlimited number of steps 
 were taken. Many of the Russian composers have incorporated this 
 air into their orchestral compositions. [Lesson XIV, Course I; Lesson 
 XXII, Course L] 
 
 61181 Folk Song — Let Joy Abide Russian 
 
 This interesting old Russian folk song is sung to the accompani- 
 ment of the balalaika. It is a dance folk song, consisting of two 
 verses exactly alike, then a contrasting verse, a variation of the contrast- 
 ing verse and return to the original verse. [Lesson XXIV, Course 
 III.] 
 63153 Two Folk Songs — (1) Vanka (2) Kolebalna Russian 
 
 These two folk songs are excellent examples of Russian folk music. 
 Vanka is in the gay mood which distinguishes the dance song. Kolebalna 
 is a Cossack's lullaby arranged by Bachmetieff. It is a charming example 
 of the song form, full of the tender sadness of the Russian people. The 
 mother, whose husband is a Cossack soldier, sings as she rocks her baby, 
 that the day will soon come when he will go into the army to fight for 
 Czar and country. [Lesson XV, Course I; Lesson XXII, Course 1.] 
 70034 Russian Folk Songs — Molodka (2) Sun in the Sky Stop Shining 
 
 These two folk songs are excellent examples of the dance songs 
 of "Little Russia." It will be noted that the melody is here re- 
 peated ever and ever with increasing tempo. As these dances are 
 played here by the Balalaika Orchestra, we have a perfect example 
 of this style of dance tune, so popular among the Russian folk. [Les- 
 son XXII, Course I ; Lesson XXIV, Course III.] 
 16313 Russian Fantasia Russian 
 
 This Russian Fantasia is a series of variations on the Russian 
 folk song "The Red Sarafan." the Russian National Anthem, "God 
 Save the Czar," being incorporated at the end of the composition. 
 
 306
 
 Analyses 
 
 The Red Sarafan is one of the best known national airs of central 
 Russia. The dress, or robe, called the Sarafan, is the national cos- 
 tume of the Russian female peasant. "God Save the Czar" was 
 written by General Lwoff. [Lesson XX, Course III.] 
 
 64046 Le Cygne Saint-Saens 
 
 No work of the famous French composer, Camille Saint-Saens, 
 has been more universally popular than this charming short tone 
 picture, which the composer has inscribed "The Swan." That the 
 piece must be as popular with its composer as with the public is 
 attested to by the fact that Saint-Saens has made transcriptions of 
 this composition for all the instruments. This work belongs to that 
 class of program music in which the title- merely suggests to the 
 auditor the mood or poetic thought of the composer. [Lesson VI, 
 Course III.] 
 
 35019 Marche Heroi'que Saint-Saens 
 
 This brilliant orchestral march, by the dean of the modern 
 French School, is a good example of the inarch as used for a concert 
 number. It follows, in general, the customary three-part form, of 
 march, trio, march and coda. The composition is dedicated to Henri 
 Regnault. [Lesson XXVII, Course II.] 
 
 87087 Pause, My Brothers ! ("Samson et Dalila") Saint-Saens 
 
 This great aria occurs in the first act of Saint-Saens' Biblical 
 
 opera "Samson et Dalila," often given in concert form by choral 
 
 societies. The stage shows a public place in the city of Gaza, where 
 
 the Hebrew men and women are praying to their God to save them 
 
 from the Philistines. Samson emerges from the throng, faces his 
 
 brethren, and speaks : 
 
 Samson (coming out from the throng) : 
 Let us pause, my brothers, 
 
 And bless the holy name of the God of our fathers! 
 For now the hour is here when pardon shall be spoken. 
 Yes a voice in my heart is the token. 
 
 'Tis the voice of the Lord, who by my mouth thus speaketh. 
 Our prayers to him have risen, 
 And liberty is ours. 
 Brothers! we'll break from bondage! 
 Our altars raise once more 
 To our God as before ! 
 
 [Lesson XXIX, Course IV.] 
 
 17180 Chorus ("Samson et Dalila ") Saint-Saens 
 
 This charming chorus for women's voices occurs in the second 
 scene of the first act. The fair temptress of Sorek follows in the train
 
 Analyses 
 
 of her maidens, who dance as they weave the garlands of spring, sing- 
 ing these beautiful verses. [Lesson VI, Course I; Lesson XXIX, 
 
 Course IV.] 
 
 88199 My Heart at Thy Sweet Voice ("Samson et Dalila") Saint-Saens 
 
 This great aria occurs in the second act of "Samson et Dalila." 
 
 The scene shows the valley of Sorek and Dalila's dwelling. It is a 
 
 dark stormy night and distant flashes of lightning are seen. Thither 
 
 comes Samson beguiled by the charms of the beautiful Dalila. She 
 
 sings to him : 
 
 My heart at thy dear voice 
 
 Opens wide like a flower 
 
 Which the morning's kisses waken, 
 
 But that I may rejoice 
 
 That my tears no more shower 
 
 Tell thy love still unshaken. 
 
 0. say thou wilt not now 
 
 Leave Dalila again ! 
 
 Repeat with accents tender 
 
 Every passionate vow, 
 
 Ah, thou dearest of men ! 
 
 Ah, to the charms of love surrender, 
 
 Rise with me to its heights of splendor. 
 
 # * * # * 
 
 Copy't 1892, G. Schirmer. 
 
 [Lesson XXIX, Course IV.] 
 
 17174 Tarantella (For Flute and Clarinet) Saint-Saens 
 
 The old Italian song dance, the tarantelle, has been very popular 
 as a form for brilliant solo compositions. This duet for flute and 
 clarinet, by Camille Saint-Saens, gives us an excellent idea of the 
 form as so employed. It will be remembered that as a dance, the 
 Tarantelle is participated in by two dancers. In this illustration 
 the dancers are the clarinet and flute, so we have not only an ex- 
 cellent opportunity of studying the form, but also the tone quality 
 of these wood-wind instruments. [Lesson XVI, Course HI.] 
 
 64001 Ave Maria (For Violoncello) Schubert 
 
 This beautiful arrangement of Schubert's song has become a 
 great favorite with concert audiences. The 'cello is, of all instruments, 
 the most nearly akin to that of the human voice, and this sympathetic 
 quality is most beautiful in this arrangement of the maiden's appeal 
 to the Virgin. [Lesson VI. Course III.] 
 
 308
 
 Analyses 
 
 88342 Erl King Schubert 
 
 This wonderful setting of Goethe's poem was Schubert's first 
 
 published work, and belongs to the year 1815. Yet this wonderful 
 
 song is today still considered the most remarkable art-song in all 
 
 song literature. Not only is it a perfect example of the song form, 
 
 but it also perfectly relates the story by the use of the three voices 
 
 and the marvelous descriptive character of the accompaniment: 
 
 Who rideth so late through windy night wild? 
 It is the father, he holds his child, 
 And close the boy nestles within his arm, 
 He holds him tightly, he holds him warm. 
 
 ' ' My son, why in terror do you shrink and hide ? ' ' 
 "O father, see next us the Erl King doth ride, 
 The Erl King dreaded with crown and robe. ' ' 
 ' ' My son, 'tis but the mist of a cloud. ' ' 
 
 ' ' Thou lovely child, come go with me 
 Such merry plays I '11 play with thee, 
 Many gay blossoms are blooming there, 
 My mother hath many gold robes to wear. ' ' 
 
 ' ' My father, my father, did 'st you not hear 
 What the Erl King whispers so soft in my ear?" 
 ' ' Be quiet, my child, do not mind, 
 'Tis but the dead leaves stirred by the wind. ' ' 
 
 "Come, lovely boy, wilt go with me? 
 
 My daughters fair shall wait on thee, 
 
 My daughters lead in the revels each night, 
 
 There is dancing and singing and laughter bright. ' ' 
 
 ' ' My father, my father, oh, see 'st thou not, 
 The Erl King's daughter in yonder dim spot?" 
 ' ' My son, my son, I know and I say, 
 'Tis only the olden willows so grey." 
 
 ' ' I love thee so, thou must come with me now, 
 Thou must know to my will thou shalt bow. ' ' 
 ' ' My father, my father, oh fast hold me so, 
 The Erl King will drag me away from you. ' ' 
 
 The father is troubled, he rides now wild ; 
 And holds close in his arms his shuddering child. 
 He reaches the house with doubt and dread, 
 But in his arms his child lies dead. 
 
 [Lesson XIV, Course II.] 
 
 64093 3 } Serenade Schubert 
 
 No work of Schubert's is more deservedly popular than the ever 
 beautiful song, the "Serenade." 
 
 Thro ' the leaves the night-winds moving, murmur low and sweet ; 
 To thy chamber window roving, love hath led my feet. 
 Silent pray'rs of blissful feeling link us though apart, 
 
 309
 
 Analyses 
 
 Link us though apart, on the breath of music stealing, 
 To my dreaming heart, to thy dreaming heart. 
 
 Sadly in the forest mourning wails the whip-poor-will 
 And the heart for thee is yearning. 
 O bid it love, be still. 
 
 Moonlight on the earth is sleeping, winds are rustling low, 
 Where the darkling streams are creeping, dearest, let us go ! 
 All the stars keep watch in heaven, while I sing to thee, 
 While I sing to thee: and the night for love was given, 
 Dearest, come to me, dearest, come to me. 
 
 Words by Frederick Manly from Laurel Music Reader. 
 Courtesy of C. C. Birchard & Co. 
 
 [Lesson XIV, Course II; Lesson V, Course III.] 
 
 88013 Who is Sylvia? Schubert 
 
 This charming setting of the love song from Shakespeare's "Two 
 Gentlemen of Verona" has an interesting history. It is said that Schu- 
 bert was one afternoon with friends in a restaurant of Vienna when 
 he noticed a volume of Shakespeare on the table. Opening it, he 
 noted the verses of "Cymbeline" and remarked : "These would make a 
 pretty song." Taking the back of the menu card, he wrote the music 
 of "Hark, Hark the Lark." Then turning the card over, he wrote 
 the music for these verses : 
 
 Who is Sylvia, what is she? 
 
 That all our swains commend her ? 
 
 Holy, fair, and wise is she, 
 
 The heavens such grace did lend her 
 
 That she might admired be, 
 
 That she might admired be. 
 
 Is she kind as she is fair? 
 For beauty lives with kindness. 
 To her eyes love doth repair 
 To help him of his blindness 
 And being helped, inhabits there, 
 And being helped, inhabits there. 
 
 Then to Sylvia let us sing 
 That Sylvia is excelling, 
 She excels every mortal thing 
 Upon the dull earth dwelling. 
 To her let us garlands bring, 
 To her let us garlands bring. 
 
 [Lesson XIV, Course II.] 
 
 68339 The Wanderer Schubert 
 
 One of the most beautiful of the early songs of Schubert is 
 "Der Wanderer," which was written to words of George Schmidt, 
 in 1816. It is said that Schubert wrote this work when but nineteen 
 
 310
 
 Analyses 
 
 and that it was composed in one evening. Were it not for the fact 
 that "Erl King" was written the year previous, it would seem im- 
 possible to believe that such a mature work could have been con- 
 ceived by such a young man. This is a wonderful example of the 
 art song. The words are : 
 
 From the lonely mountains I come 
 
 From the dim vale, and ever moans the sea. 
 
 Yet I wander joyously on 
 
 And ever ask the question, "Where?" 
 
 The sun seems to me pale and cold, 
 The flowers are faded, life is old; 
 And even speech has but a hollow sound. 
 I am a friendless stranger everywhere. 
 
 Where art thou, where art thou, my beloved land? 
 
 I seek for you but never know 
 
 That land where hope is green, 
 
 That land where blooms the rose, 
 
 Where friends so dear do wander, 
 
 Where all the dead do live again — 
 
 That land where all my tongue do speak. 
 
 Land, where art thou? 
 
 Yet I wander joyously on 
 
 And ever ask the question, "Where?" 
 
 1 hear the spirit's voice in answer, 
 
 ' ' There, where thou art not, there is thy rest. ' ' 
 
 [Lesson XIV, Course II.] 
 
 64076 The Bee Franz Schubert 
 
 Franz Schubert, the composer of this charming little tone paint- 
 ing, was a violinist of Dresden, and was no relation to Franz Peter 
 Schubert, of Vienna, the great composer of the time of Beethoven. 
 This Franz Schubert was born in Dresden, 1808, and died there in 
 1878. Almost all of his compositions were for his favorite instru- 
 ment. Possibly the one which has won for him the greatest recogni- 
 tion is this short but exceedingly clever musical delineation of the 
 buzzing bee. [Lesson I, Course I.] 
 
 31740 Song — The Two Grenadiers Schumann 
 
 This song by Robert Schumann is remarkable, not only because 
 it is a perfect example of the art-lieder, but because Schumann has 
 brought into the music a national expression in the employment of 
 the Marseillaise Hymn. It seems strange that two Germans as essen- 
 tially Teutonic as Heine and Schumann should have given us a song
 
 Analyses 
 
 which expresses the patriotic nationalism of France. [Lesson XVIll, 
 Course I; Lesson XV, Course II.] 
 
 74285 Vogel als Prophet Schumann 
 
 This charming short composition belongs to Opus 83, where it is 
 No. 7, in a series of pianoforte pieces entitled "Forest Scenes." It 
 was written by Schumann, in 1848. This piece belongs to the class 
 of Imitative Music, as Schumann here describes the voice of the 
 prophet bird, as heard in the forest. [Lesson XV, Course II.] 
 
 35254 Gypsy Life Schumann 
 
 This charming chorus for women's voices shows Schumann in 
 an attempt to portray the national characteristics of the gypsies. It 
 is a beautiful part song which gives us an excellent opportunity of 
 noting the combination of voices. [Lesson IX, Course I.] 
 
 64217 The Return of Spring Schumann 
 
 The charming tone picture of spring is a beautiful example of 
 poetic thought. | Lesson XV, Course II.] 
 
 17140 Scotch Medley March 
 
 The famous Sutcliffe Troupe, which is composed of bag-pipers and 
 drummers, have in this medley given us a very interesting use of 
 several of the best known Scotch airs. 
 
 The origin of the bag-pipes is lost to history, but we can trace 
 peculiarities of its type in instruments to be found in Asia, Africa and 
 Europe. 
 
 The instrument was popular at the courts of France, Austria and 
 Italy during the sixteenth and seventeenth centuries, but it reached its 
 perfection in Scotland, where it is in the truest sense, the national 
 instrument. At the time of the Eeformation, and again in 1745 the 
 English Government banished the bag-pipe, declaring it to be "an 
 instrument of war." It is now universally regarded as a part of the 
 army life of Great Britain; the Scotch piper bands being as important 
 as the military bands, not only in the British Isles, but in the Colonies 
 as well. 
 
 The two chief peculiarities of the bag-pipe are: the use of the 
 old pentatonic, or five-tone scale, which is without one fourth and 
 seventh in the major, and the second and sixth in the minor; and 
 also the rhythmic device, known as the "Scotch snap," in which the 
 
 312
 
 A n a J y s e s 
 
 first tone has only one-quarter of the duration of the second. [Lesson 
 XXVIII, Course I.] 
 
 17001 Highland Fling Scotch 
 
 A popular dance of the Scotch Highlands is the "Highland 
 Fling," so called from the peculiar step, which is almost a kicking 
 gesture. The performer dances on each leg alternately, and "flings" 
 the other leg, now front, now back of him. The music is usually 
 the same as that used for the other Highland dance, the Strathspey, 
 which is distinguished by the constant employment of the semi- 
 quavers, which precede the long note, and which is characterized by 
 the term "Scotch Snap." [Lesson XIV, Course I; Lesson XXVIII, 
 Course I.] 
 
 16961 Jock o' Hazeldean Scotch 
 
 Sir Walter Scott wrote the words of this song, using an old 
 ballad having the same title. The melody is an old Scotch border 
 song. The well-known air, "The Girl I Left Behind Me," was taken 
 from this tune. [Lesson XXVIII, Course I.] 
 
 64210 Loch Lomond Old Scotch 
 
 This beautiful Scotch legendary song is a Jacobite air, and is 
 an excellent example of the hexachordal (six-noted) scale. The 
 words, "I'll tak' the low road," indicate that the song is that of a 
 fugitive, who must needs travel by stealth along hidden paths to 
 reach his native Scotland. [Lesson XXVIII, Course I.] 
 
 16961 Scots Wha Hae Wi' Wallace Bled Old Scotch 
 
 It is said that this stirring Scotch patriotic hymn was first sung 
 by Robert Bruce 's army when they marched to Bannockburn, in 1314. 
 In 1715 and 1745 the tune was certainly used under the name of 
 "Hei Tutti Taiti," words imitative of the martial notes of the 
 trumpet. The air was ever popular throughout Scotland, and Lady 
 Nairne used it for a setting of her words, "I'm Wearing Awa Jean." 
 The words by Robert Burns (published May, 1794), are, however, 
 much more fitting to the character of the music. This song is an ex- 
 cellent example of the old scale-form of the Scotch pentatonic scale. 
 [Lesson XV, Course I ; Lesson XXV III, Course I.] 
 
 17181 The Loreley Friedrich Silcher 
 
 There have been many wonderful musical settings of Heine's 
 poem, the Loreley, but no one, not even Liszt, in his wonderful art 
 
 313
 
 Analyses 
 
 song, came so closely to the popular idea of the legend as did Silcher 
 in this song. Although a product of the nineteenth century, Sil- 
 cher 's music has all the elements of the German folk song. Just as 
 Heine has immortalized for us the wonderful old Rhine legend, so 
 has Silcher in his music given us a perfect example of the true 
 legendary folk song. [Lesson XIX, Course I.] 
 
 35148 Overture (" The Bartered'Bride ") Smetana 
 
 With this opera, "The Bartered Bride," Smetana laid the founda- 
 tion of the Bohemian National School of Music. In this work he 
 has used a Bohemian folk tale, and has set it to Bohemian folk music. 
 The overture is in a merry mood, being filled with Bohemian tunes 
 employed in a remarkable manner. It follows the general ideas of 
 the sonata overture, but vaguely. The first subject is based on 
 two folk-dance tunes, the second subject, being the love theme; the 
 working out is short; the subjects are again heard, and a short coda 
 brings the work to a conclusion. [Lesson XX, Course I; Lesson XVI /. 
 Course IV.] 
 
 63302 Comedian's March ("The Bartered Bride ") Smetana 
 
 This music was written to accompany the performance given by 
 the strolling players in the third act of Smetana 's Bohemian opera, 
 "The Bartered Bride." The scene shows us a typical Bohemian 
 inn, and the townspeople are gathered there to watch the arrival of 
 a band of strolling players, w T ho give an informal entertainment as 
 an advertisement of their "show" announced for the evening. This 
 music is typically Bohemian. [Lesson I, Course II.] 
 
 16205 Aria-Jenik ("The Bartered Bride ") Smetana 
 
 This aria is sung by Jenik in the second act of "The Bartered 
 Bride," after he has made the agreement with Kezal, the marriage 
 broker, that, for three hundred gulden, he will withdraw his claim on 
 Marie, provided it is clearly stated that she shall wed only the son 
 of Micha. 
 
 16208 Terzetto (" The Bartered Bride ") Smetana 
 
 This Terzetto occurs in the third act of Smetana 's opera, "The 
 Bartered Bride." It is sung by Marie, "the bartered bride," Kezal,
 
 Analyses 
 
 the marriage broker, and Jenik, Marie's lover, who, although under 
 contract to Kezal not to make love to Marie if she marry "the son 
 of Micha," knows that he is the lost son of Micha and she still will 
 be his. 
 
 Jenik tries to comfort her and assures her Micha 's son loves her 
 truly, but Marie replies, that he is a hypocrite to sell her love and 
 that he has darkened her life forever, while Kezal cries that his 
 happiness is now complete. [Lesson XVII, Course IV.] 
 
 64213 Cradle Song ("Hubicka") Smetana 
 
 "Hubicka" is a Bohemian opera by Smetana, which is practically 
 unknown outside of Bohemia, yet in his use of folk music, Smetana 
 has in this work given us a wonderful example of his power in this 
 style of composition. This Bohemian Cradle Song is sung by Ven- 
 dulka. (As it is here sung in English, no statement of the words is 
 needed. [Lesson XIII, Course III ; Lesson XX, Course I.] 
 
 35159 Swedish Wedding March Sodermann 
 
 August Johann Sodermann (1832-1876) was one of the best Swed- 
 ish composers of the modern day. Most of the Swedish music has 
 been strongly influenced by that of France and Germany, and is not 
 as unusual or distinctive as that of Russia or Norway. This march 
 is in regulation form with trio and is based on a Swedish folk air. 
 Note the use of the kettle-drums. Compare this march with Grieg's 
 Norwegian Wedding March. [Lesson III, Course I; Lesson XXV, 
 Course I.] 
 
 60026 Spinning Wheel Spindler 
 
 Fritz Spindler was born in Wurzbach, November 24, 1817, and 
 is best known as a pianist and teacher, being particularly associated 
 with the city of Dresden, where he located, in 1841, and where he 
 remained until his death, December 26, 1905. His compositions in- 
 clude several works on a large scale, but his best known efforts are 
 his short pieces for piano, which are used frequently for teaching 
 purposes. He was very enthusiastic over the wind instruments of 
 the orchestra and left many short compositions for flute, oboe, clarinet, 
 horn and bassoon. The "Spinning Wheel" is an excellent example 
 of that class of music which, although following a definite form, 
 gives us a distinct tonal picture of the busily whirring wheel. This is 
 
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 Analyses 
 
 an excellent piece in which to judge of the gradations of tone possible 
 to the flute. [Lesson XIV, Course III.] 
 
 63353 Two Spanish Selections Spanish 
 
 This record gives us an excellent example of the instrumental 
 music of Spain. 
 
 (a.) Melangia is a short composition of the poetic style which 
 reflects the homesickness of the exile. It is in the form of the duet 
 with band accompaniment; the principal voices are played on the 
 Moorish pipes, an instrument similar in tone quality to the English 
 horn. 
 
 (b.) Alborada Gallega is a morning song from Gallicia, here 
 played by the Municipal Band of Barcelona. We are more familiar 
 with the Serenade or Evening Song than with the Aubade, which was 
 sung in the early morning. Originally this Alborada or Aubade was 
 sung by the Troubadours, but in the seventeenth and eighteenth cen- 
 turies, it was generally played by the instruments. The custom of 
 playing a morning song before the windows of the fair lady is still 
 retained in southern France and Spain. One of the most famous 
 examples of the use of the Aubade is the beautiful "Hark, Hark, the 
 Lark," from Shakespeare's " Cymbeline. " [Lesson XVII, Course I.] 
 
 64043 Teresita Mia Spanish 
 
 This song is an excellent example of the popular serenades of 
 
 the mountain people of the Spanish Pyrenees. It is a legendary song, 
 
 but filled with the melodic charm so characteristic of the love songs 
 
 of the Latin races. 
 
 Teresita mia, I think of thee, 
 
 When the hills are bathed in moonlight, 
 
 I see thine eyes beaming so bright 
 
 Sleep well — Teresita mia, 
 
 Thou heart's delight, 
 
 Yet hear in thy dreams 
 
 The woes of thy lover. 
 
 [Lesson XVII, Course I.] 
 
 64042 Linda Mia Spanish 
 
 This old Spanish dance song is a love song from the Pyrenees. 
 
 My fair one was born in Castilla 
 
 And the people all call her Linda. 
 
 She was maid to a noble one in Salamanca, 
 
 And there we first met. 
 
 Ah ! won 't you dance the fandango 
 
 With me, O Linda mia? 
 
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 Analyses 
 
 Alas, my fair one is to leave me, 
 
 To seek her fortune, the world to see; 
 
 What shall I do, my Linda, without thee, 
 
 How shall I live alone, my pet? 
 
 O yet we will dance the fandango 
 
 O ! Linda mia ! Linda mia ! 
 
 [Lesson XVII, Course I.] 
 
 88019 Voce di primavera (Voice of Spring) Johann Strauss 
 
 This beautiful waltz song of spring is one of the best concert 
 numbers ever written for coloratura soprano. It is the work of 
 Johann Strauss (1825-1899), "The Waltz King." 
 
 The Southwind has come breathing perfume, 
 
 The birds in rapture sing. 
 
 The flowerets wake from Winter's tomb 
 
 And smile to greet the Spring — 
 
 Ah ! Ah ! Ah ! 
 
 In brightest verdure, the meadows appear, 
 
 And all our grief like dreams departs, 
 
 The gentle Spring does ever bring 
 
 Happiness and love to all our hearts. 
 
 All the day the sun's bright ray 
 
 Smiles on the Earth, with joy and mirth. 
 
 Young and old together sing — 
 
 To hail the Spring! the gentle Spring! 
 
 [Lesson IV, Course I; Lesson XIII, Course III.] 
 
 17179 Allerseelen Richard Strauss 
 
 As a composer of songs, Richard Strauss well deserves the great 
 popularity which has come to him. One of the most beautiful of his 
 early songs is this setting of "All Souls' Day," by Herman V. 
 Gilm.* The words are : 
 
 Place on the mound sweet mignonette before us, 
 
 The last red blooming asters hither bring, 
 Let mem 'ry 's charm our early love restore us, 
 
 As once in Spring. 
 
 How sweetly blooms each grave with fragrant flowers, 
 
 Sacred to all souls of our dead, this day, 
 Come to my heart, through all the blessed hours, 
 
 As once in May. 
 
 Copy't 1905, by Oliver Ditson. 
 
 [Lesson XXV, Course II.] 
 
 * It will be remembered that the first of November is a day set apart in the Church for the 
 saying of prayers to all saints, while the day following, known as "All Souls' Day," is supposed 
 to be the time when the spirits of those who have gone before return to earth to commune with 
 their loved ones. 
 
 317
 
 Analyses 
 
 17085 Bleking Swedish Dance 
 
 This simple old folk dance reflects the quiet side of the Swedish 
 people. It is in simple dance form and is danced with a more serious 
 mien than the Polka or Carrousel. [Lesson XXV, Course I.] 
 
 17086 Carrousel or "Flying Horse" Swedish Dance 
 
 This is an old Swedish dance game, in which the dancers imitate 
 the riders on a " merry-go-round. " It starts slowly, then, as the 
 "wheels go round," the movement becomes faster and faster until 
 the players are quite out of breath. [Lesson XIII, Course I.] 
 
 17002 Reap the Flax Swedish 
 
 An excellent example of the dance songs of the working people 
 is this Swedish "dance of customs." It is entitled "Reap the Flax," 
 because it was originally danced during the harvest time, and also 
 because it imitated the reapers, reaping, gathering, hackling, spinning 
 and weaving the flax. [Lesson XIV, Course I.] 
 
 17085 Mountain Polka Swedish 
 
 The polka, one of the popular dances of Poland, has been copied 
 by many other countries. It is said that this lively dance was 
 originally sung to verses entitled "Uncle Nimra bought a white 
 horse." The polka became a fashionable court dance during the 
 reign of Louis Phillippe, but it is as a dance of the folk that it has 
 been most popular. It is danced in Bohemia, Poland, Hungary, 
 Sweden and Norway. In the northern countries it is danced in 
 couples, and seems to represent the height of joyful intoxication. [Les- 
 son XXV, Course I.] 
 63429 Swedish Folk Songs Swedish 
 
 These two Swedish folk songs are sung with lute accompani- 
 ment, by Torkel Scholander, a famous singer of Scandinavian songs. 
 The first of these is a folk song of a shepherd boy, who dreams as he 
 watches his flock and sees the beautiful doves soaring in the blue sky 
 above him. It is of the type of legendary folk songs. The other song 
 is a setting of Bellman's famous Fredman's Epistle, No. 16. 
 
 Karl Nikarl Bellman (1740-95), a poet, whose genius is akin to 
 that of Marlowe, is one of the most unique figures in Swedish litera- 
 ture. A great favorite with Gustavus III, who gave him a large 
 pension, Bellman's verses became as popular at court as among the 
 folk. All his works are essentially folk-music, and are full of animal 
 
 318
 
 Analyses 
 
 spirits and originality, although he frequently borrowed his musical 
 themes from German and French songs. His greatest works were 
 the Epistles, which he wrote under the nom de plume of "Fredman." 
 These recount the experiences to be found in the Stockholm taverns 
 and are full of exquisite simple humor. They have frequently been 
 compared to the paintings of the folk life in the late Netherland School 
 of painters. The "Fredman" songs are always sung in Sweden, and 
 are popular also in Germany, as well as throughout Scandinavia. 
 Bellman originally accompanied his songs with the lute as Scholander 
 does in this song. \ Lesson XXV, Course I.] 
 
 17003 Oxdansen Swedish 
 
 This vigorous Swedish dance was usually danced only by the 
 youths and men. It follows the customary dance form. This ar- 
 rangement is from the Burchenal-Crampton Folk Dance collection. 
 [Lesson.XXV, Course I.] 
 Serenade Anton Emil Titl 
 
 31337 Flute and Viola 
 
 35150 Flute and 'Cello 
 Anton Emil Titl was born in Moravia, 1809, and died in Vienna, 
 1882. He is chiefly associated with musical life in Vienna, where 
 he was Kapellmeister of the Burg Theatre, from 1850 to the time 
 of his death. Among his short compositions the most popular in this 
 Serenade. We have chosen these records for the different combina- 
 tions of instruments in order to illustrate the tone quality of the 
 flute in contrast with the strings and the brasses. [Lesson V, 
 Course III.] 
 
 17290 When the Nightingale Doth Sing (Troubadour) 
 
 Reinald Werrenrath 
 
 Among the twelfth century Troubadours we find a French knight, 
 Chatelain deCoucy, whose tragic fate has been often a theme for 
 poets, the Ballade of Uhland being founded on his history. He loved 
 the wife of another, and realizing his duty, departed for the Crusades 
 where he lost his life. To comply with his dying request, his heart 
 was embalmed and sent to his fair mistress, whose husband inter- 
 cepted the gift, and it is said caused it to be served to his wife for 
 dinner. After she had unsuspectingly eaten of this gruesome dish, her 
 lord informed her she had eaten the heart of her lover. To this 
 she bravely replied that as she had consumed that which she most 
 
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 Analyses 
 
 dearly loved she would never again eat of anything inferior, so she 
 declined all food and shortly after died. 
 
 This song is said to have been inspired by the love of deCouey for 
 this lady. [Lesson V, Course II.] 
 
 70050 Marche Slave Op. 31 Tschaikowsky 
 
 This popular selection was written in 1876, the year of the war 
 between Turkey and Servia. It will be remembered that many dem- 
 onstrations of Slavonic patriotism took place in Russia at this time, 
 and for the great concert, arranged by Nicholas Rubenstein for the 
 benefit of the wounded soldiers, Tschaikowsky wrote the great Marche 
 Slave. The composition opens w r ith a dirge-like chant, sung by the 
 bassons, to the accompaniment of the double basses; presently a gay 
 folk song is heard in the oboe, carried on by the other wood-winds, 
 until the full orchestra takes up the theme, and it is carried to a 
 resounding climax. In the trio of the Marche notice the employment 
 of the Russian national anthem, which again is triumphantly* shouted 
 by the brasses in the coda ending. [Lesson XXII, Course I; Lesson 
 VII, Course III; Lesson XVII, Course III; Lesson XXX, Course 
 III.] 
 31739 Overture— 1812 (Op. 49) Tschaikowsky 
 
 This popular composition was written by Tschaikowsky, in 1880, 
 for the great patriotic festival in the celebration of the consecration 
 of the Cathedral of Christ, in Moscow. It was the composer's inten- 
 tion to depict the stirring events in Russia during Napoleon's cam- 
 paign, in 1812. It will be remembered that after his victory of 
 Borodino, the army of Napoleon marched into Moscow and took 
 possession of the Kremlin or citadel. But the patriotic Russians set 
 fire to their town during the night, and at the signal, all the Russian 
 peasantry rose against Napoleon, who was forced to retreat. 
 
 This overture opens with a Russian hymn, "God Preserve Thy 
 People," sung by the basses; next we hear the Marseillaise Hymn, 
 which depicts the victory for the French, and after the conflict, the 
 great Russian national anthem, "God Save our Czar," is heard in 
 the coda, which brings the work to a close. 
 
 It is said that the French soldiers, during the Napoleon Cam- 
 paign, did not sing the Marseillaise, and as the Russian Anthem was 
 not written until 1863, Tschaikowsky certainly committed an 
 anachronism in their use here, but he has given us a wonderful picture 
 of Russian patriotism. [Lesson XXI, Course II.] 
 
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 Analyses 
 
 61136 Duet— Pique Dame Tschaikowsky 
 
 Tschaikowsky 's opera, "Pique Dame," belongs to the year 1890, 
 and is one of the last operatic works of the great Russian composer. 
 This duet is sung by Lisa and Pauline in the second scene of the first 
 act of the opera : 
 
 It is twilight, the brightly shining clouds 
 Which shone in sun's last rays do fade, 
 
 The vale lies quiet in the darkening night. 
 No sound disturbs the gentle silence here. 
 The birdlings nestle in their downy beds, 
 But faint is heard the chirp of cricket near. 
 
 Copy 't G. Schirmer. 
 [Lesson XVII, Course IV.] 
 
 31800 Adagio Lamentoso ("Pathetic Symphony") Tschaikowsky 
 
 This wonderful finale to Tschaikowsky's last symphony is one 
 of the most beautiful and remarkable dirges in all musical literature. 
 The Sixth Symphony was produced in St. Petersburg, October 16, 
 1893, and after this performance, the composer spoke of the work as 
 the "Pathetic" Symphony. Three weeks from the date of its first 
 hearing, the work was again given, this time as a memorial to the 
 dead composer, whose sudden demise has been generally believed to 
 have been suicide. This movement is well fitted to be the "Swan 
 Song" of the composer, for as one critic has said, "It sings of the 
 entombment of a nation." It is certainly the most hopelessly sad 
 page of music ever written, and one cannot but feel that it not only 
 reflects the morbid unhappiness of the composer himself, but also 
 speaks of the overwhelming grief of the Russian people. [Lesson 
 XXII, Course II.} 
 
 64189 Good Bye, Sweet Day Vannah 
 
 A charming writer of popular songs is the American, Kate 
 Vannah, whose dainty compositions have been received with favor. 
 An excellent example of her style is this setting of the verses by 
 Celia Thaxter. [Lesson II, Course I.] 
 
 88127 Celeste Aida ("Ai'da") Verdi 
 
 The most famous aria for tenor, from any modern opera, is the 
 popular Romanza, from the first act of Verdi's "Ai'da." The scene 
 shows us the Hall in the Memphis palace of the King of Egypt. The 
 young warrior Rhadames has returned from the wars victorious, 
 
 321
 
 Analyses 
 
 and after a short dialogue with Ramphis, the high priest, he discloses 
 
 his love for the captive princess Ai'da, in the following aria : 
 
 Kii \HA\IES: 
 
 Heavenly A'ida, beauty resplendent, 
 
 Radiant Hewer, blooming and bright; 
 Queenly thou reignest o'er me transcendent, 
 Bathing my spirit in beauty's light. 
 
 Would that thy bright skies once more beholding, 
 Breathing the sofl airs of thy native laud, 
 
 Round thy fair brow a diadem folding, 
 
 Thine were a throne next the sun to stand! 
 
 [Lesson XXI, Course IV.} 
 
 35265 Triumphal March (" Ai'da ") Verdi 
 
 No modern operatic, work gives ;i greater chance for the display 
 of stage splendor than does Verdi's great opera, "Ai'da." This march 
 occurs at the opening of the second scene in the second act. Rhadames 
 has returned from the war, with the victorious Egyptian army, and 
 the entire Court has assembled to do him homage. Notice the inter- 
 esting use of the trumpets and trombones in the orchestration. [Les- 
 son XX, Course III ; Lesson XXI, Course IV.] 
 
 89028 Duet— The Fatal Stone ("A'ida") Verdi 
 
 This beautiful duet makes a fitting dramatic climax to the opera 
 of Ai'da," while also serving as an excellent example of the use of a 
 concerted finale. The stage is arranged in two parts, so that we see 
 above the temple of Phtah, crowded with the priests chanting, as the 
 stone is laid, which seals A'ida and Rhadames in their rocky tomb 
 below. We see them united in their last hours on earth as they sing 
 this wonderful duet : 
 
 Ehadames (despairingly) : 
 
 The fatal stone upon me now is closing! 
 Now has the tomb engulf d me! 
 The light of day no more shall T see! 
 No more behold A'ida! 
 A'ida, where art thou now ! 
 Whate'er befall me, may'st thou be happy! 
 Ne'er may my frightful doom be told to thine ear! 
 
 What moan was that? 
 Ts't a phantom, or vision dread? 
 No! 'tis a human being! 
 Heaven! A'ida! 
 
 A'ida : 
 Yes! 
 
 322
 
 Analyses 
 
 Rhadames (in great desperation) : 
 Thou, with me here buried ! 
 
 Aida: 
 
 My heart forboded this, thy dreadful sentence, 
 
 And to this tomb that shuts on thee its portal, 
 
 I crept, unseen by mortal, 
 
 Here, free from all, 
 
 Where none can more behold us, 
 
 Clasp 'd in thy arms, love, 
 
 I resolved to perish. 
 
 Rhadames: 
 
 To die! so pure and lovely! 
 
 In all thy beauty blooming, 
 
 Fade thus forever! 
 
 Thou, whom the gods alone for love created ; 
 
 Yet to destroy thee, was my love then fated! 
 
 Thou shalt not die! so much I love thee, 
 
 Thou art too lovely ! 
 
 Aida {transported) : 
 
 See'st thou where death, in angel guise, 
 
 With heavenly radiance beaming, 
 
 Would waft us to eternal joys, 
 
 On golden wings above! 
 
 I see heaven 's gates are open wide 
 
 Where tears are never streaming, 
 
 Where only bliss and joy reside. 
 
 The bliss and joy of never fading, endless love ! 
 
 [Lesson XIX, Course II; Lesson XXI, Course IV.] 
 
 35170 O sommo Carlo (Oh, Noble Carlos) ("Ernani*') Verdi 
 
 "Ernani," an adaptation of Victor Hugo's great drama, "Her- 
 nani," is one of the earlier operas of the great Italian genius, 
 Giuseppe Verdi. 
 
 This great aria occurs at the end of Act III. The King, Carlos, 
 knowing that his life is in danger, has hidden himself in the tomb of 
 his ancestor, Charlemagne, in the crypt of the Cathedral of Aix la 
 Chapelle. 
 
 He overhears the plotting of his enemies, who have conspired to 
 take his life, but at this dramatic moment the booming of the cannon 
 announces that Carlos has been proclaimed Emperor. He comes 
 forth, surprises the conspirators and condemns them to death. The 
 life of Ernani is spared by the pleading of Elvira, and the Emperor 
 unites them in marriage. 
 
 (For complete story, see "The Victor Book of the Opera.") 
 
 [Lesson XX, Course IV.] 
 
 323
 
 Analyses 
 
 35170 Ferma, Crudele (Stay Thee, My Lord) (" Ernani ") Verdi 
 
 This dramatic duet occurs in the last scene of Verdi's opera. 
 "Ernani." The love dream of Elvira and Ernani is awakened by 
 the blast of a silver horn, and Ernani recognizes this as the signal 
 made in his compact with Silva, that he shall give his life on Silva's 
 demand. 
 
 In vain Elvira pleads with Silva that he shall spare her hus- 
 band's life, but Ernani, after a touching farewell to his wife, ful- 
 fils his vow by a blow from his dagger, and Elvira falls lifeless on 
 his dead body. [Lesson VIII, Course I; Lesson XX, Course IV.] 
 
 88030 IagoVCredo (".Otello") Verdi 
 
 In the writing of both "Otello" and "Falstaff" Verdi was aided 
 by the dramatic genius of Arrigo Boito, himself an opera composer 
 of no mean attainment. In arranging Shakespeare's "Otello" Boito 
 also introduced several scenes which were entirely original. Of these, 
 the best is Iago's Credo, which opens the second act. It is a wonderful 
 description of the malign Iago, who in his monologue tells all his 
 thoughts and feelings. [Lesson XXI, Course IV.] 
 
 88214 Willow Song ("Otello") Verdi 
 
 This beautiful song occurs in the last act of Verdi's "Otello." 
 when Desdemona says that her mother had a maid called Barbara, 
 whose lover had become insane, and that the poor creature used to 
 sing a sad song called "Willow," which so haunted her (Desdemona) 
 that she must sing it. 
 
 The poor soul sat sighing by a sycamore tree, 
 
 Sing all a green willow; 
 Her hand on her bosom, her head on her knee, 
 
 Sing willow, willow, willow. 
 
 The fresh streams ran by her, and murmur 'd her moans ; 
 
 Sing willow, etc. 
 Her salt tears fell from her, and soften 'd the stones; 
 
 [Lesson XXI, Course IV.] 
 
 87017 La donna e mobile (Woman is Fickle) ("Rigoletto"; Verdi 
 
 Possibly the best known air from Verdi's early opera "Rigoletto" 
 is "La donna e Mobile," which is sung by the Duke at the opening of 
 Act III. The scene shows us an inn, in a lonely spot near the river. 
 Hither Rigoletto comes with his daughter Gilda, who is disguised as 
 a boy. It is her father's wish that she may see the false Duke as he 
 really is. It is not long before the Duke, in the dress of a common 
 
 324
 
 Analyses 
 
 soldier, comes to the inn and asks for wine. He then begins this famous 
 song: 
 
 Duke: 
 
 Woman is fickle, false altogether, 
 
 Moves like a feather borne on the breezes ; 
 Woman with guiling smile will e'er deceive you, 
 
 Often can grieve you, yet e'er she pleases 
 Her heart's unfeeling, false altogether; 
 
 Moves like a feather borne on the breeze! 
 
 Borne on the breeze, borne on the breeze! 
 Wretched the dupe is, who when she looks kindly, 
 Trusts to her blindly. Thus life is wasted! 
 
 \et he must surely be dull beyond measure, 
 Who of love's pleasure never has tasted. 
 
 Woman is fickle, false altogether, 
 
 Moves like a feather, borne on the breeze ! 
 
 [Lesson XX, Course IV.] 
 
 88320 Monologo (" Rigoletto ") Verdi 
 
 In many parts of "Rigoletto" Verdi discloses the great genius which 
 we do not see fully revealed until ' ' Ai'da. ' ' The monologue for Rigo- 
 letto in the second scene of the first act is such an instance. Here the 
 true character of the poor jester Rigoletto is depicted for us in his 
 remarkable aria. 
 
 Rigoletto ; 
 
 Yon assassin is my equal — 
 
 He stabs in darkness, 
 
 While I with a tongue of malice 
 
 Stab men by daylight! 
 
 (He thinks of Monterone's curse) 
 
 He laid a father 's curse on me . . . 
 
 {Continuing in a burst of rage) 
 
 Of hideous fate! Cruel nature! 
 
 Thou hast doom'd me to a life of torment. 
 
 I must jest, I must laugh, 
 
 And be their laughing stock! 
 
 Yonder the Duke, my master, 
 
 Youthful and brilliant, rich and handsome. 
 
 Tells me, between sleeping and waking: 
 
 "Come buffoon, I would laugh now!" 
 
 Oh shame, I must obey him ! 
 
 Oh life accursed ! How I hate ye, 
 
 Race of vile and fawning courtiers! 
 
 'Tis my only joy to taunt ye! 
 
 For if I am vile, 'tis to your vice I owe it! 
 
 (He thinks of his home and daughter) 
 
 In that blest abode my nature changes! 
 
 (Again lie remembers the curse) 
 
 How heavy was that old man's curse! 
 
 Still I hear it; 'tis ringing in my ears! 
 
 My soul is troubled — fear I some misfortune? 
 
 Ah, no this is folly! 
 
 [Lesson XX, Course IV.} 
 
 325
 
 Anal v s e s 
 
 88018 Aria— Ah! Fors' e Lui (" La Traviata") Verdi 
 
 This popular aria for coloratura soprano occurs in the first act 
 of "La Traviata." The scene shows the supper at Violetta's home; 
 after the vivacious opening chorus sung by the guests, and an im- 
 passioned love duet between Violetta and Alfred. Violetta sings 
 this grand scena, which has become the favorite show-aria for the 
 concert soprano. 
 
 How wondrous! 
 
 His words deep within my heart are graven ! 
 
 No love of mortal yet hath moved me. 
 
 Shall I dare distain it, 
 
 And choose the empty follies that now surround me? 
 
 Ah, was it he my heart foretold, when in the throng of pleasure, 
 Oft have I joy'd to shadow forth one whom alone I'd treasure. 
 He who with watchful tenderness guarded my waning powers, 
 
 Strewing my way with flowers, 
 
 Waking my heart to love ! 
 
 Ah, now I feel that 'tis love and love alone, 
 
 Sole breath of all in the life, the life universal, 
 
 Mysterious power, guiding the fate of mortals, 
 
 Sorrow and sweetness of this poor earth. 
 
 [Lesson XX, Course IV.] 
 
 890181 
 
 168111 *-* uet — Home to Our Mountains (" II Trovatore ") Verdi 
 
 "II Trovatore," although the setting of a libretto which is 
 absurdly impossible, has remained a popular opera on account of the 
 beautiful Italian melody, with which Verdi has surrounded it. This 
 famous duet is sung by the gypsy, Azucena, and her foster son, Man- 
 rico, in the prison scene where they are under sentence of death. As 
 the curtain rises on the last act, Manrico is trying to comfort the 
 gypsy with the assurance that they will soon be free and can return 
 to their mountain home together. 
 
 Manrico: 
 
 If thy love remains in thy bosom, 
 
 If thou art yet my mother, oh, hear me! 
 
 Seek thy terrors to number, 
 
 And gain repose from thy sorrows in soothing slumber, 
 
 Azucena: 
 
 Yes, I am grief-worn and fain would rest me, 
 But more than grief have sad dreams oppressed me; 
 Should that dread vision rise in slumber 
 Rouse me ! its horrors may then depart. 
 
 Manrico : 
 
 Rest thee, oh mother! I'll watch o'er thee. 
 Sleep may restore sweet peace to thy heart. 
 
 326
 
 Analyses 
 
 Azucena {dreaming) : 
 
 Home to our mountain, let us return, love, 
 There in thy young days peace had its reign ; 
 There shall thy song fall on my slumbers, 
 There shall thy lute make me joyous again. 
 
 Mankico: 
 
 Rest thee, my mother, kneeling beside thee, 
 1 will pour forth my troubadour lay. 
 
 Azucena: 
 
 O sing and wake now thy sweet lute's soft numbers, 
 Lull me to rest, charm my sorrows away, 
 
 Both: 
 
 Lull (me ) to rest! 
 (thee) 
 
 [Lesson VIII, Course I; Lesson XIX, Course II; 
 
 Lesson XX, Course IV.] 
 
 16371 Miserere (" II Trovatore ") Verdi 
 
 This arrangement of the famous duet from Verdi's opera "II 
 Trovatore," is for cornet and trombone and gives us an excellent 
 opportunity to contrast the tone quality of these instruments. [Les- 
 son XXI, Course III.] 
 
 35182 Concertino for Clarinet von Weber 
 
 Few great composers have left us any individual solos for the 
 wind instruments. This Concertino for clarinet by von Weber is one 
 of the best known solo works for that beautiful wind instrument. 
 Weber shows in his use of the orchestra in all his works a marked 
 predilection for the clarinet, and beautiful phrases for this instru- 
 ment are found in all Weber's compositions. All the registers of the 
 clarinet are well illustrated in this beautiful concertino. [Lesson 
 XVI, Course III.] 
 
 62636 Overture (" Der Freischiitz") von Weber 
 
 With his opera, "Der Freischiitz," von Weber laid the founda- 
 tion for the German Romantic Opera School. The legend, which 
 is the basis of this story of "The Free-Shooter" is a very popular one 
 in Germany, being practically the same as that of "Faust" and "The 
 Flying Dutchman," the redeeming power of woman's love. Although 
 von Weber has followed the general outline of the "sonata" form 
 in this overture, he has also incorporated much of the melodic mate- 
 rial of the opera. 
 
 The opening theme of the introduction is given by the French
 
 Analyses 
 
 horns, and is the same melody which has hecome a popular church 
 hymn; the main part of the overture is a Vivace movement, with the 
 orthodox contrasting subjects, and their usual working out and re- 
 capitulation. The coda is based on the second subject. [Lesson XIX, 
 Course III; Lesson XXVIII, Course III; Lesson VIII, Course 
 IV. \ 
 
 74244 Through the Forest (/^DerJFreischiitz ") von Weber 
 
 "Der Freischiitz" tells us of the old German legend of the for- 
 ester, who sells his life to the power of evil for the magic bullets which 
 always hit their mark. The young hunter Max, wishing to win the 
 hand of Agatha, and also to succeed her father as chief forester, is 
 very anxious to win the shooting contest. Therefore he consults the 
 Evil One, Zamiel, obtains the magic bullets, and is saved from the 
 curse in the end by the self-sacrificing love of Agatha. 
 
 This aria is sung by Max at the beginning of the opera. He is 
 filled with forebodings about the contest on the morrow. 
 
 Max: 
 
 O, I can bear my fate no longer! 
 
 E 'en hope is banished from my soul ! 
 What unknown grief thus haunts my spirit, 
 
 And o'er me works its dark control? 
 Thro ' the forest, thro ' the meadows, 
 
 Joy has wont with me to stray, 
 While my rifle never failing, 
 
 Made each bird and beast my prey, 
 When at length from chase returning, 
 
 Ere home rose before my sight, 
 Agnes smiling met me, 
 
 Clothed in beauty's heavenly light. 
 But now am I by Heaven forsaken 
 
 And left — the power of chance to know? 
 Will hope 's long slumber ever waken, 
 
 Or am I doomed to endless woe? 
 Now, methinks, beside her lattice, 
 
 I my lovely fair one see; 
 While her ears seem fondly list 'ning, 
 
 Every coming sound for me: 
 See, she fondly waves a welcome, — 
 
 Fancy's eye her lover sees; 
 But her signal gains no answer, 
 
 Save the sigh of whispering trees ! 
 What dark 'ning power is ruling o 'er me ? 
 
 My anxious bosom fear hath riven, — - 
 Despair hath spread her snares before me : 
 
 Does fate rule blindly? 
 Aid me Heaven ! 
 
 [Lesson VIII, Course IV. 
 
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 Analyses 
 
 64236 Caspar's Air (" Der Freischutz ") von Weber 
 
 In von Weber's Opera, "Der Freischutz, " we have the simple 
 pastoral version of the folk tale of the youth who sells his soul to 
 the devil for magic bullets which will ever shoot the mark. The 
 young Free Shooter, Max, being anxious to win the hand of Agatha, 
 the daughter of the chief forester, is in despair that he cannot 
 shoot as of yore. 
 
 Knowing this, the evil Caspar, who has previously made a 
 compact with Zamiel, the Evil One, hopes, by persuading Max to come 
 to the Wolf's Glen and sign the compact, that he may himself be 
 freed of the curse. He is finally able to induce Max to meet him at 
 Zamiel 's abode, and promises him the magic bullets. After the de- 
 parture of Max, Caspar gives vent to his joy in this great dramatic 
 
 aria. 
 
 Caspar (alone) : 
 
 Hush! hush! that no one may alarm thee! 
 Hellish lures now soon will charm thee; 
 Nothing can save thee now from the chain. 
 Surround him, ye imps who in darkness still fly. 
 Already fallen he strives in vain, 
 Revenge, revenge, thy triumph is nigh ! 
 
 [Lesson VIII, Course IV.] 
 
 62636 Aria — Prayer of Agatha (" c Der Freischutz ") von Weber 
 
 This great aria for soprano occurs at the beginning of the second 
 act of Weber's "Der Freischutz." The scene shows the interior of 
 the forester's home, and there Annie and Agnes are together. Annie, 
 the faithful maid, tries to console her mistress, and tells her that her 
 lover will surely come soon. To this, Agnes replies : 
 
 Agnes : 
 
 Softly sighing, day is dying, 
 Soar my prayer heav'nward flying! 
 Starry splendor shining yonder, 
 Pour on us thy radiance tender! 
 How the golden stars are burning 
 Thro' yon vault of ether blue, 
 But lo, gath'ring o'er the mountains 
 Is a cloud, foreboding storm. 
 
 Earth has lull'd her care to rest; 
 Why delays my loitering love? 
 Fondly beats my anxious breast : 
 Where, my Rudolph, dost thou rove? 
 Scarce the breeze among the boughs 
 Wakes a murmur thro ' the silence, 
 Save the nightingale lamenting 
 Not a sound disturbs the night ! 
 
 [Lesson VIII, Course IV.] 
 
 329
 
 Anal y s e s 
 
 31689 Overture Oberon von Weber 
 
 The overture to Oberon was von Weber's last composition, as 
 he died in London a few weeks after the first performance of his 
 Fairy Opera in iSi'ti. With this work Weber unlocked the nia^ie 
 realms of Fairyland into which Mendelssohn, Wagner and other great 
 composers have since led us. 
 
 The overture opens with the tones on the echo horn, suggesting 
 the magic of Oberon 's magic horn. The elfin dance begins and leads us 
 into a beautiful song of love sung by the clarinets; with a sudden 
 crash the allegro proper commences; the first subject a delightfully 
 fresh, spirited melody, being followed by the second subject, which in 
 the opera is the theme of Sir ITuon's love song; the short working 
 out reintroduces these subjects, and leads to the coda, where the great 
 aria of Rezia, "Ocean Thou Mighty Monster," furnishes the melodic 
 material. [Lesson XIX, Course III.] 
 
 31787 Overture (" The Flying Dutchman ") Wagner 
 
 Although Wagner does not use his idea of the prelude until his 
 opera "Lohengrin" was produced in 1850, we find that in both the 
 overtures to "The Flying Dutchman" and " Tannhiiuser " he has 
 given us a complete miniature idea of his drama, in tone. 
 
 The overture to "The Flying Dutchman" begins with a strong 
 passage for full orchestra which is descriptive of the storm at sea. 
 We hear the sinister motive of the curse which rests on the Dutch- 
 man, then in its fury the storm again is depicted, the curse motive 
 and the sailors' chorus being woven into its polyphonic web. But 
 now, as a voice of consolation, comes the theme in the wood-winds 
 which tells of the redeeming power of love, for the Dutchman may be 
 freed from his curse if he can find "a woman who will be faithful 
 unto death." The storm once more increases in fury, but the theme 
 of redemption becomes stronger and stronger until it finally triumphs. 
 [Lesson XIII, Course IV.] 
 
 74230 Recitative and Aria, " In Ocean's Deepest Wave " ("The 
 
 Flying Dutchman") Wagner 
 
 Wagner's great "Flying Dutchman" was inspired by the stories 
 told him by the sailors when he was crossing the North Sea, from Riga 
 to London. The legend of "The Wandering Jew of the Sea" made 
 a great impression on Wagner, and he used it as the dramatic material 
 for his second opera. 
 
 330
 
 Analyses 
 
 This aria occurs in the first act. The spectre ship of the "Flying 
 Dutchman" has taken shelter in the harbor of a Norwegian fishing 
 town, and the cursed Dutchman here will again try his quest to find 
 a woman "faithful unto death," who will be his redeemer. 
 
 Dutchman : 
 
 Engulf 'd in ocean's deepest wave, 
 
 Oft have I long 'd to find a grave ; 
 
 But ah ! a grave, I found it not ! 
 
 I oft have blindly rushed along, 
 
 To find my death sharp rocks among; 
 
 But ah ! my death I found it not, 
 
 And oft, the pirate boldly daring, 
 
 My death I've courted from the sword, 
 
 Here, cried I, work thy deeds unspairing, 
 
 My ship with gold is richly stor'd! 
 
 Alas, the sea's rapacious son, 
 
 But sign'd the cross, and straight was gone. 
 
 Nowhere a grave, no way of deatli ! 
 
 Mine is a curse of living breath. 
 
 Thee do I pray, 
 
 Bright angel sent from Heaven, 
 
 Was there a fruitless hope to mock me given? 
 
 When thou didst tell me how to gain release, 
 
 A single hope with me remaineth, 
 
 A single hope still standeth fast; 
 
 When all the dead are raised again, 
 
 Destruction then I shall attain. 
 
 Ye worlds, your course continue not ! 
 
 Endless destruction be my lot ! 
 
 [Lesson XIII, Course IV.] 
 
 88116 Senta's Ballad (" The Flying Dutchman ") Wagner 
 
 This aria occurs in the second act of Wagner's "Flying Dutch- 
 man." The scene opens in Daland's home; his daughter, Senta, and 
 her friends are spinning under the direction of Dame Mary. They ask 
 Senta to tell to them of the story of the "Flying Dutchman," and she 
 
 begins : 
 
 Senta: 
 
 Yo-ho-hoe! Yo-ho-hoe! Yo-ho-hoe! Yo-ho-hoe! 
 
 Saw ye the ship on the raging deep? 
 
 Blue-red the canvas, black the mast, 
 
 On board unceasing watch doth keep 
 
 The vessel's master pale and ghast! 
 
 Hui! How roars the wind! Yo-ho-hoe! Yo-ho-hoe! 
 
 Hui ! How bends the mast! Yo-ho-hoe! Yo-ho-hoe! 
 
 Hui! Like an arrow she flies 
 
 Without aim, without goal, without rest! 
 
 (She gazes at the portrait ivith growing excitement.) 
 Yet can the spectre seaman 
 Be freed from the curse infernal, 
 Find he a woman on earth 
 
 331
 
 Analyses 
 
 Who'll pledge him her love eternal, 
 Ah! that the unhappy man may find her. 
 I 'ray, that Heaven may soon 
 In pity grant him boon! 
 
 [Lesson XIII, Course IV.] 
 
 88057 Dich, theure Halle (Hail, Hall of Song) ("Tannhauser") Wagner 
 
 The Hall of Song in the Wartburg Castle was t lie annual meeting 
 place of the Minnesingers of Germany, who gathered here each year to 
 take part in the annual contest of soul;. 
 
 This great aria, sung by Elizabeth, the niece of the Landgrave 
 Hermann, occurs at the opening of Act II of Wagner's "Tann- 
 hauser." Elizabeth has come to the hall in advance of the others, 
 hoping to meet Tannhauser. 
 She sings: 
 
 Elizabeth : 
 
 Oh, hall of song, I give thee greeting! 
 
 All hail to thee, thou hallowed place! 
 
 'Twas here that dream so sweet and fleet inir. 
 
 Upon my heart his song did trace. 
 
 But since by him forsaken 
 
 A desert thou dost seem — 
 
 Thy echoes only waken 
 
 Remembrance of a dream 
 
 But now the flame of hope is lighted. 
 
 Thy vault shall ring with glorious war: 
 
 For he whose strains my soul delighted 
 
 No longer roams afar! 
 
 [Lesson XIII, Course IV.] 
 17133 Pilgrims' Chorus ("Tannhauser") Wagner 
 
 This arrangement of Wagner's ever popular "Pilgrims' Chorus," 
 from "Tannhauser," gives an unusual example of the deep sonority 
 of the basses, which in this arrangement admirably reflects the re- 
 ligious character of this remarkable composition. [Lesson XVIII, 
 Course HI.] 
 88154 Wolfram's Aria ("Tannhauser") Wagner 
 
 This ever popular aria for baritone in its rightful place in opera 
 is taken from the third act of Wagner's "Tannhauser." The faith- 
 ful Wolfram has watched with Elizabeth the return of the pilgrims 
 in the sunset, and after her appeal to the Virgin, she turns and climbs 
 the rocky path up to the Wartburp; Castle. Wolfram watches her 
 retreating form, and then, taking his minstrel harp, he sings: 
 
 Wolfram : 
 
 Like Death's dark shadow, Night her gloom extendeth, 
 Her sable wing o'er all the vale she bendeth; 
 Her soul that longs to tread yon path of light, 
 Yet dreads to pass the gate of fear and night 
 
 332
 
 Analyses 
 
 I look on thee, oh, star in Heaven the fairest, 
 
 Thy gentle beam thro' trackless space thou bearest; 
 
 The hour of darkness is by thee made bright, 
 
 Thou lead'st us upward by pure light. 
 
 O ev'ning star; thy holy light 
 
 Was ne'er so welcome to my sight, 
 
 With glowing heart, that ne'er disclosed, 
 Greet her when she in thy light reposed ; 
 When parting from the vale a vision 
 She rises to an angel's mission. 
 
 [Lesson XIII, Course IV.] 
 
 31779 Prelude (Vorspiel) ("Lohengrin") Wagner 
 
 It was with this work, that Wagner first used the overture to 
 prepare the audience for the action of the scene, which was to 
 follow, so he deliberately here departed from the use of the orthodox 
 form of overture, and in this Vorspiel tells us of the descent of the 
 Holy Grail, as it was brought by the angels and delivered into the 
 hands of the holy Titurel, who built for its shrine, the Castle of 
 Montsalvat. One writer has said that this Vorspiel is "a mighty 
 web of sound woven on the single theme of the Holy Grail." "We 
 hear the motive at first softly in the highest register of the divided 
 violins ; it is taken up by the deeper strings, and, gradually increas- 
 ing in volume, it is finally loudly intoned by the trombones ; then as 
 silently the theme dies away with a long diminuendo to the high 
 tones of the strings again. 
 
 "To the enraptured look of the highest, celestial longing for love, the clearest 
 blue atmosphere of Heaven at first seems to condense itself into a wonderful, 
 scarcely perceptible, but magically pleasing vision ; with gradually increasing preci- 
 sion the wonder-working angelic host is delineated in infinitely delicate lines as, 
 conveying the holy vessel (the Grail) in its midst, it insensibly descends from the 
 blazing heights of Heaven. As the vision grows more and more distinct, as it 
 hovers over the surface of the earth, a narcotic, fragrant odor issues from its 
 midst; entrancing vapors well up from it like golden clouds, and overpower the 
 sense of the astonished gazer, who from the lowest depths of his palpitating heart 
 feels himself wonderfully urged to holy emotions. Imparting comfort the nearer 
 it approaches, the divine vision reveals itself to our entranced senses, and when 
 at last the holy vessel shows itself in the marvel of undraped reality, and clearly 
 revealed to him to whom it is vouchsafed to behold it, as the Holy Grail, which 
 from out of its divine contents spreads broadcast the sunbeams of highest love, 
 like the lights of a heavenly fire that stirs all hearts with the heat of the flame 
 of its everlasting glow, the beholder's brain reels — he falls down in a state of 
 adoring annihilation. With chaste rejoicing, and smilingly looking down, the 
 angelic host mounts again to Heaven 's heights ; the source of love, which had 
 dried up upon the earth, has been brought by them to the world again — the Grail 
 they have left in the custody of pure-minded men, in whose hands its contents 
 overflow as a source of blessing and the angelic host vanishes in the glorious light 
 of Heaven 's blue sky, as, before, it thence came down. ' ' 
 
 [Lesson III, Course III ; Lesson XXIX, Course III ; Lesson XIV, 
 
 Course IV.]
 
 A n a I y s e s 
 
 88038 Elsa's Dream (" Lohengrin ") Wagner 
 
 This beautiful aria for soprano occurs in the first act of 
 "Lohengrin." King Henry lias culled before him the Court of Bra- 
 bant, and Elsa is told that she must answer the charges brought 
 against her by Frederick von Telramund. She answers: 
 
 Elsa: 
 
 Oft when the hours were lonely, 
 I unto Heav'n have prayed, 
 One boon I ask 'd for only, 
 To semi the orphans aid; 
 I prayed in tears and sorrow, 
 Willi heavy heart and sore, 
 Hoping a brighter tomorrow 
 Yet was for us in store. 
 Away my words were wafted, 
 I dreamt not help was nigh, 
 But one on high vouchsaf'd it. 
 While in sleep did lie. 
 
 {Grail motive heard in the strings, with enthusiasm.) 
 I saw in splendor shining 
 A knight of glorious mien, 
 On me his eyes inclining, 
 With tranquil gaze serene. 
 A horn of gold beside him, 
 He leant upon his sword. 
 Thus when I erst espied him, 
 'Mid clouds of light he soar'd; 
 His words so low and tender, 
 Brought life renew 'd to me. 
 (With rapture.) 
 
 My guardian, my defender, 
 Thou shalt my champion be. 
 
 [Lesson XIV, Course IV.] 
 
 61203 Swan Song ("Lohengrin") Wagner 
 
 This beautiful tenor aria occurs in the first act of "Lohengrin." 
 The knight arrives in his swan boat and is hailed with wonder and joy 
 by the people. As the knight steps from the skiff, all are silent, await- 
 ing some further miracle. Lohengrin bends toward the swan, who 
 draws his boat, and sings : 
 
 Lohengrin : 
 
 I give thee thanks, my faithful swan' 
 
 Turn thee again and breast the tide, 
 
 Return unto that land of dawn 
 
 Where joyous we did long abide, 
 
 Well thy appointed task is done! 
 
 Farewell, farewell! my trusty swan! 
 (To the King.) 
 
 Hail, gracious sov 'reign! 
 
 Victory and honor by thy valor's meed! 
 
 Thy glorious name shall from the land 
 
 That chose thee ruler, ne 'er depart, 
 
 334
 
 Analyses 
 
 Lohengrin : 
 
 Ye knights, nobles and freemen of this land, 
 Guiltless and true is Elsa of Brabant ! 
 Thy tale was falsehood, Count Telramund, 
 By Heav'n's assistance all thou shalt recant! 
 
 [Lesson XIV, Course IV.] 
 
 31846 Bridal Chorus (" Lohengrin ") Wagner 
 
 This popular chorus from "Lohengrin" is sung by the bridal 
 
 procession of Lohengrin and Elsa, as they lead the Swan Knight and 
 
 his bride to the nuptial chamber at the beginning of the third act of 
 
 "Lohengrin." 
 
 Chorus: 
 
 Faithful and true we lead thee forth 
 
 Where love triumphant, shall crown ye with joy! 
 
 Star of renown, flow'r of the earth, 
 
 Blest be ye both far from all life 's annoy ! 
 
 Champion victorious, go thou before ! 
 
 Maid bright and glorious, go thou before ! 
 
 Mirth 's noisy revel ye 'e forsaken, 
 
 Tender delights for you now awaken ; 
 
 Fragrant abode enshrine ye in bliss; 
 
 Splendor and state in joy ye dismiss! 
 
 Eight Ladies (passing around the bridal pair) : 
 As solemn vows unite ye 
 We hallow ye to joy! 
 This hour shall still requite ye, 
 When bliss hath known alloy ! 
 
 [Lesson XVIII, Course II; Lesson XIV, Course IV.] 
 
 74130 Lohengrin's Narrative ("Lohengrin") Wagner 
 
 It is this narrative sung in the finale of Wagner's "Lohengrin" 
 that the Swan Knight discloses his true name and dwelling place. 
 Then the swan boat appears, and releasing the swan from the fatal 
 spell of Ortrud, Lohengrin delivers Lisa's brother to her arms. But 
 she falls senseless on the shore, from which the boat, now guided by a 
 dove, draws Lohengrin away to his distant home on Montsalvat. 
 
 Lohengrin : 
 
 In distant land by ways remote and hidden, 
 
 There stands a mount that men call Montsalvat; 
 
 It holds a shrine, to the profane forbidden : 
 
 More precious there is nought on earth than that, 
 
 And thron 'd in light it holds a cup immortal, 
 
 That whoso sees from earthly sin is cleans 'd; 
 
 'Twas borne by angles thro' the heav'nly portal — 
 
 Its coming hath a holy reign commenced. 
 
 Once every year a dove from Heav'n descendeth, 
 
 To strengthen it anew for works of grace; 
 
 'Tis called the Grail, the pow'r of Heav'n attendeth 
 
 The faithful knights who guard that sacred place. 
 
 335
 
 Analyses 
 
 He whom the Grail to be its servant chooses 
 
 [a armed henceforth by high invincible might; 
 
 All evil craft its power before him loses, 
 
 The spirits of darkness where he dwells take flight, 
 
 Nor will he lose the awful charm it blendeth, 
 
 Although he should be called to distant lands, 
 
 When the high cause of virtue he defendeth; 
 
 While he 's unknown, its spell he still commands. 
 
 By perils dread the holy Grail is girded, 
 
 No eye rash or profane its light may see; 
 
 Its champion knight from doubtings shall be warded, 
 
 If known to man, he must depart and flee. 
 
 Now mark, craft or disguise my soul disdaineth, 
 
 The Grail sent me to right yon lady's name; 
 
 My father, Percival, gloriously reigneth, 
 
 His knight am I, and Lohengrin my name ! 
 
 [Lesson XIV, Course IV.] 
 
 88092 Weiche, Wotan, Weiche (Waver, Wotan) ("Rhinegold") Wagner 
 
 Erda's great warning to Wotan occurs just before the end of Wag- 
 ner's "Rhinegold." Wotan and Loge have stolen the Rhine gold from 
 the dwarfs of Nibelheim, and Wotan has paid it to the giants for a 
 ransom for Freia. 
 
 The giants demand of him the ring on his finger, but, knowing 
 that this ring, forged from the Rhine gold, gives to its wearer the 
 power of the world, Wotan is loathe to give it up. Suddenly, from a 
 cleft in the rock, appears the Goddess Erda. She is the Goddess of 
 Wisdom, and as all power and wisdom come from the depths of the 
 Rhine, it is noticed that Wagner surrounds her with the motive he 
 has used to describe the mighty river. 
 
 She warns Wotan of the curse which rests on the gold and tells 
 him to give them the ring. (The aria is sung by Mme. Schumann- 
 Heink, Wotan's responses by Herbert Witherspoon.) 
 
 Erda (stretching her hand) : 
 Waver, Wotan, waver! 
 Quit the Ring accursed! 
 (She continued her solemn warning) 
 Ruin and dismalest downfall wait thee in its wealth : 
 
 Wotan : 
 
 Who speaks such menacing words ? 
 
 Erda: 
 
 Whatever was. was I: what is, as well; 
 
 What ages shall work — all I show ; 
 
 The endless world's All-wise one, Erd opens thine eyes. 
 
 Three, the daughters born to me 
 
 E'er the world was made; all I notice 
 
 Xightly thou knowest from the Nornir, 
 
 But hither in dire danger haste I to thy help. 
 
 Hear me! Hear me! Hear me! 
 
 336
 
 Analyses 
 
 All that exists, endeth! 
 
 A dismal day dawns for the Aesir! 
 
 render wisely the ring! 
 
 (She begins to sink slowly to the earth.) 
 WOTAN : 
 
 A secret spell speaks in thy words : 
 
 Wait and impart more wisdom. 
 Erda (disappearing) : 
 
 I've warned thee now : thou wott'st enough : 
 
 Pause and ponder truth ! 
 
 (She completely disappears.) 
 
 [Lesson XV, Course IV.] 
 
 88276 Siegmund's Love Song (" Die Walkiire/') Wagner 
 
 This beautiful love song occurs at the end of the first act of Wagner's 
 
 opera "Die Walkiire," which is the second part of "The Ring of the 
 
 Nibelungen." The scene shows us the woodland hut of Hunding, which 
 
 is built around an ash tree, which rises through the center of the roof. 
 
 Thither has come the defenceless Siegmund, and in his conversation 
 
 with Sieglinde, the unfortunate captive of the robber Hunding, it is 
 
 disclosed that Sieglinde and Siegmund must henceforth belong to each 
 
 other. Siegmund sings this impassioned love song of spring, then draws 
 
 forth the sword from the tree, and he and Sieglinde go out into the 
 
 forest together. 
 
 Siegmund: 
 
 Winter storms have waned 
 
 'Neath the winsome moon, 
 
 In mild ascendance 
 
 Smileth the Spring; 
 
 And, swayed by zephyrs 
 
 Soft and soothing, 
 
 Weaving wonders 
 
 Lo! he wends. 
 
 Through wood and broadland 
 
 Wafts his breathing, 
 
 Widely beam 
 
 His eyes with bliss. 
 
 In songs of birds resounds 
 
 His silvery voice, 
 
 Pleasant odours 
 
 Pours he forth ; 
 
 From his living blood outburst 
 
 The loveliest blossoms; 
 
 Verdant sprays 
 
 Upspring at his voice. 
 
 With softly wielded sceptre 
 
 Sways he the world; 
 
 [Lesson I, Course II; Lesson XV, Course IV.] 
 87002 Ho-yo-to-ho ("Die Walkiire ") Wagner 
 
 The magnificent battle-cry of the Valkyrie maidens is heard sev- 
 eral times during the action of Wagner's "Die Walkiire." It is first
 
 Analyses 
 
 given in its entirety by Brunnhilda during the first scene of the second 
 act of this work. Wotan has commanded his favorite daughter, Brunn- 
 hilda, to ride to the conflict between Hunding and Siegmund, and to 
 protect the Volsung in the struggle. As she leaves her father and 
 climbs upward over the rocks, we hear the battle-cry of the Valkyries. 
 
 Brunnhilde: 
 
 Ho-yo-to-ho! Ho-yo-to-ho! Hei-aha! 
 
 But listen, father! care for thyself; 
 
 For a storm o 'er thee will break ; 
 
 Fricka, thy busy wife, approacheth in her ram-impelled car. 
 
 Ha! how she swings her golden whip! 
 
 The frightened goats are fainting with fear, 
 
 Wheels rattling and rolling whirl her here to the fight, 
 
 At such a time away I would be, 
 
 Tho' my delight is in scenes of war! 
 
 Take heed that defeat be not thine, 
 
 For now I must leave you to fate! 
 
 [Lesson XVIII, Course II; Lesson XIII, Course III ; 
 
 Lesson XV, Course IV.] 
 62693 Ride of the Valkyries Wagner 
 
 This famous excerpt from Wagner's "Ring of the Nibelungen" 
 occurs as the introduction to the third act of Wagner's "Die Wal- 
 kure." This great tone picture of the ride of the war-like Valkyrie 
 maidens, through the air, serves to prepare the audience for the 
 scene on the Valkyrie rock, for when the curtain arises, we see the 
 sisters on their winged steeds and the arrival of Brunnhilde, with 
 Seiglinda, on her saddle bow. This is one of the greatest uses of the 
 tone color of the violins we find in all orchestral literature. [Lesson 
 XVIII, Course II; Lesson XXIX, Course III; Lesson XV, Course IV.] 
 
 74305 Wotan's Farewell (" Die Walkure ") Wagner 
 
 Wagner once said that the saddest music he ever wrote was the 
 last scene of "Die Walkure," where Wotan says farewell to his be- 
 loved daughter, Brunnhilde. As a punishment for disobeying him, 
 and for guarding Siegmund in the conflict, Wotan decrees that Brunn- 
 hilde shall become mortal. He will put her into a deep sleep, and 
 whoever shall awaken her shall claim her for his mortal bride. No 
 more may she enter Walhalla. Brunnhilde then begs him to grant 
 her request that only a fearless hero shall find her. 
 
 Those eyes so lustrous and clear, 
 
 Which oft in love I have kissed, 
 
 When warlike longings won my lauding, 
 
 Or when with lisping of heroes' leal thy honied lips were inspired; 
 
 Those effulgent, glorious eyes, 
 
 Whose flash my gloom oft dispelled, 
 
 When hopeless cravings my heart discouraged, 
 
 338
 
 Analyses 
 
 Or when my wishes t 'wart worldly pleasure from wild warfare were turning — 
 
 Their lustrous gaze lights on me now as my lips imprint this last farewell I 
 
 On happier mortal here shall they beam ; 
 
 The grief suffering god may never henceforth behold them! 
 
 Now heart-torn he gives thee his kiss, 
 
 And taketh thy godhood away! 
 
 [Lesson XV, Course IV.] 
 17174 Siegfried's Horn Call Wagner 
 
 There never was a more beautiful theme written for the French 
 horn than the joyous horn call of that happy, fearless child of the 
 woods, the boy Siegfried, whose history is narrated by Wagner in "The 
 Ring of the Niebelungen." [Lesson XIX, Course III.] 
 
 35246 Siegfried's Death March (" Die Gotterdammerung ") Wagner 
 
 This wonderful death march occurs as the musical interlude 
 between the two scenes in the last act of Wagner's finale to "The 
 Ring of the Niebelungen." After the treacherous murder of Sieg- 
 fried, by Hagen, the men at the command of King Gunther carry 
 on their shields, the body of the hero, back to the Hall of the 
 Gibichungs. The sun has set and twilight darkens to night, a dense 
 fog covers over the Rhine, and by means of this music, we are carried 
 by Wagner on, on, to the castle by the Rhine, where Gutrune and 
 Brunnhilde are awaiting the return of the hunters. In this music 
 Wagner has epitomized the life of his hero in tones of grandeur and 
 mighty strength. We hear those motives which have been associated 
 with Siegfried's life, but all are here woven into a polyphonic web of 
 tone, which makes this "the greatest funeral oration in all musical 
 literature." [Lesson XXIX, Course III; Lesson XV, Course IV.] 
 
 88185 Immolation^Scene (" Die Gotterdammerung ") Wagner 
 
 This great scene occurs at the last act of Wagner's final opera 
 in the ' ' Ring of the Niebelungen. ' ' Brunnhilde, realizing, through the 
 death of Siegfried, all the treachery of Hagen, now orders a great 
 funeral pyre to be built and Siegfried's body placed thereon. She 
 takes the ring from the hero's finger, and mounting her horse Grani, 
 she takes the torch, lights the pyre and rides into the midst of the 
 flames. The Rhine overflows its banks, the Hall of the Gibichungs 
 is destroyed, while in the distance the red glow of the burning 
 Walhalla tells us that the "Twilight of the Gods" has come. The 
 Rhine daughters drag Hagen deep into the depths of the Rhine, and 
 holding up the Ring in the red glow of the burning Walhalla we 
 see that through the sacrifice and love of Brunnhilde the gold has 
 been redeemed. 
 
 339
 
 Analyses 
 
 Brunnhilde : 
 
 Draweth near in gloom 
 The dusk of the gods. 
 Thus, casting my torch, 
 I kindle Valhalla's tow'rs! 
 
 (To the horse.) 
 
 Grani, my horse, greet thee again ! 
 
 Wouldst thou know, dear friend, 
 
 What journey we follow? 
 
 By flame illumined lies there thy lord, 
 
 Siegfried, the star of my life. 
 
 To meet with thy master neighest thou merrily 1 
 
 Lo! how the flame 
 
 Doth leap and allure thee! 
 
 Feel how my breast too hotly doth burn ; 
 
 Sparkling fireflame my spirit enfolds. 
 O, but to clasp him — 
 Recline in his arms! 
 In madd'ning emotion 
 Once more to be his! 
 
 Heiajaho! Grane! Greet we our hero! 
 Siegfried! Siegfried! see! 
 Sweetly greets thee thy wife! 
 
 [Lesson XV, Course IV.] 
 70080 Walter's Prize Song (" Die Meistersinger ") Wagner 
 
 The great prize song of German music was written by Wagner 
 
 while in Paris, an exile from his native land. It is the most popular 
 
 aria from "Wagner's one comic opera, which tells us of the customs and 
 
 manners of the Meistersingers of Nurnberg in the sixteenth century. 
 
 In the last act of the opera takes place the song contest, which occurs 
 
 on the banks of the river Pegnitz, outside of the town of Nurnberg. 
 
 By the singing of this song, the young Walter von Stolzing wins the 
 
 contest and the hand of Eva, the maiden he loves. 
 
 Walter (who has ascended to the platform with firm and proud 
 steps) : 
 Morning was beaming with roseate light, 
 The air was filled 
 With scent distilled 
 Where, beauty beaming, 
 Past all dreaming, 
 A garden did invite. 
 
 (The masters here, absorbed, let fall the scroll they are watching, to prove 
 that Walter knows the song; he notices it without seeming to do so, and now 
 proceeds in a freer style.) 
 
 Wherein, beneath a wondrous tree 
 
 With fruit superbly laden, 
 
 In blissful love-dream I could see 
 
 The rare and tender maiden, 
 
 Whose charms beyond all price, 
 
 Entranced my heart — 
 
 Eva, in Paradise! 
 
 340
 
 Analyses 
 
 The People (softly to one another) : 
 
 That is quite different ! Who would surmise 
 That so much in performance lies? 
 
 Walter : 
 
 Evening fell and night closed around ; 
 
 By rugged way 
 
 My feet did stray 
 
 Towards a mountain, 
 
 Where a fountain 
 
 Enslaved me with its sound; 
 
 And there beneath a laurel tree, 
 
 With starlight glinting under, 
 
 In waking vision greeted me 
 
 A sweet and solemn wonder; 
 
 She dropped on me the fountain 's dews, 
 
 That woman fair — 
 
 Parnassus' glorious Muse. 
 
 (With great exaltation.) 
 Thrice happy day, 
 
 To which my poet 's trance gave place ! 
 That Paradise of which I dreamed, 
 In radiance before my face 
 Glorified lay: 
 
 To point the path the brooklet streamed : 
 She stood beside me, 
 Who shall my bride be, 
 The fairest sight earth ever gave, 
 My Muse, to whom I bow, 
 So angel sweet and grave. 
 I woo her boldly now, 
 Before the world remaining, 
 By might of music gaining 
 Parnassus and Paradise. 
 
 People (accompanying the close, very softly) : 
 I feel as if in a lovely dream, 
 Hearing but grasping not the theme! 
 Give him the prize ! 
 
 Masters: 
 
 Yes, glorious singer! Victor, rise! 
 Your song has won the Master-prize! 
 
 [Lesson XVIII, Course II; Lesson XVI, Course IV.] 
 
 68210 Prelude ("Tristan and Isolde ") Wagner 
 
 The greatest love story ever penned is that which Wagner took 
 from the old Minnesinger legend of Gottfried von Strassburg, and 
 gave to the world in 1865 as "Tristan and Isolde." The prelude to 
 this work is cast in much the same mould as "Lohengrin"; beginning 
 softly, it is developed through a long crescendo to a fortissimo
 
 Analyses 
 
 climax, and then as slowly dies away again. The whole work is a 
 
 polyphonic web of tone woven on the themes of "Tristan" and 
 
 "Isolde," in which are combined the motives of the "Glance," the 
 
 "Magic Casket," the "Love Potion" and the "Deliverance by 
 
 Death." 
 
 Wagner's own description of the Prelude is our best analysis of 
 
 this great work. 
 
 "A primitive, old love-poem which, far from having become extinct, is 
 constantly fashioning itself anew, and has been adopted by every European lan- 
 guage of the Middle Ages, tells us of Tristan and Isolde. Tristan, the faithful 
 vassal, woes for his king her for whom he dares not avow his own love, Isolde. 
 Isolde, powerless to do otherwise than obey the wooer, follows him as bride to his 
 lord. Jealous of this infringement of her rights, the Goddess of Love takes her 
 revenge. As the result of a happy mistake, she allows the couple to taste of the love- 
 potion, which, in accordance with the custom of the times, and by way of precau- 
 tion, the mother had prepared for the husband who should marry her daughter 
 from political motives, and which, by the burning desire which suddenly inflames 
 them after tasting it, opens their eyes to the truth, and leads to the avowal that 
 for the future they belong only to each other. Henceforth there is no end to the 
 longings, the demands, the joys and woes of love. The world, power, fame, 
 splendor, honor, knighthood, fidelity, friendship, all are dissipated like an empty 
 dream. One thing only remains: longing, — longing, insatiable longing, forever 
 springing up anew, pining and thirsting. Death, which means passing away, 
 perishing, never awakening, their only deliverance. . . . Powerless, the heart 
 sinks back to languish in longing, in longing without attaining; for each attain- 
 ment only begets new longing, until in the last stage of weariness the foreboding 
 of the highest joy of dying, of no longer existing, of the last escape into that 
 wonderful kingdom from which we are furthest off when we are most strenuously 
 striving to enter therein. Shall we call it Death? Or is it the hidden wonder- 
 world, from out of which an ivy and vine, entwined with each other, grew up upon 
 Tristan's and Isolde's grave, as the legend tells us." 
 
 [Lesson XVI, Course IV.] 
 
 88058f" Liebestod ("Tristan and Isolde") Wagner 
 
 The name of "Isolde's Liebestod" (or Love Death) was given to 
 the closing scene of the music drama "Tristan and Isolde" by Franz 
 Liszt. The scene takes place in the courtyard of Tristan's castle in 
 Brittany. Overcome with the excitement and joy of again seeing 
 Isolde, Tristan dies in her arms just as the shouting of the men pro- 
 claim the arrival of the boat of King Mark, after a short conflict in 
 which the faithful Kurwenal is fatally wounded. The king, with Bran- 
 gane and several of the knights, enters to tell Tristan he is forgiven 
 and is to return to Cornwall. Isolde then raises herself and sings 
 her last farewell to her lover as she expires on his dead body. This 
 "Love Death" song is woven of the themes of the great love scene 
 heard in the second act of the opera, ending with the great motif of 
 "Deliverance by Death." 
 
 342
 
 Analyses 
 
 Isolde (unconscious of all around her, turning her eyes with rising inspiration 
 on Tristan's body) : 
 
 Mild and softly he is smiling; 
 
 How his eyelids sweetly open! 
 
 See, oh comrades, see you not 
 
 How he beameth ever brighter — 
 
 How he rises ever radiant 
 
 Steeped in starlight, borne above? 
 
 See you not how his heart 
 
 With lion zest, calmly happy 
 
 Beats in his breast? 
 
 From his lips in Heavenly rest, 
 
 Sweetest breath he softly sends. 
 
 Harken, friends! 
 
 Hear and feel ye not? 
 
 Is it I alone am hearing 
 
 Strains so tender and endearing? 
 
 Passion swelling, all things telling, 
 
 Gently bounding, from him sounding, 
 
 In me pushes, upward rushes 
 
 Trumpet tone that round me gushes. 
 
 Brighter growing, o'er me flowing, 
 
 Are these breezes airy pillows ? 
 
 Are they balmy beauteous billows? 
 
 How they rise and gleam and glisten! 
 
 Shall I breathe them? Shall I listen? 
 
 Shall I sip them, dive within them ? 
 
 To my panting breathing win them? 
 
 In the breezes around, in the harmony sound, 
 
 In the world's driving whirlwind be drown'd — 
 
 And, sinking, be drinking — 
 
 In a kiss, highest bliss ! 
 
 (Isolde sinks, as if travisfigured, in Brangane's arms upon Tristan's body. 
 Profound emotion and grief of the bystanders. Mark invokes a blessing on the 
 dead.) 
 
 [Lesson XVI, Course IV.] 
 74144 Good Friday Spell (" Parsifal ") Wagner 
 
 Wagner's last opera is a setting of the Grail legend of Wolfram 
 von Eschenbach, and tells ns of the coming of the deliverer of the 
 Grail, ' ' Parsifal. ' ' This beautiful ' ' Good Friday Spell ' ' is taken from 
 the third act. The scene shows the hermit hut of Gurnemanz, and the 
 meadows and fields which lead to the rocky heights of Montsalvat, the 
 castle of the Grail. 
 
 Here, after years of search, the Knight Parsifal has found his 
 way. He is recognized by the aged Gurnemanz, who hails with joy 
 the return of the sacred spear borne now in the hands of the Grail's 
 chosen, Parsifal. Kundry comes forward in the guise of the peni- 
 tent, bathes the feet of the knight, and dries them with her unbound 
 hair, while Gurnemanz anoints Parsifal with holy oil and declares 
 
 343
 
 Analyses 
 
 him to be the King of the Grail. As they look out upon the fields, a 
 strange miracle seems to take place, which Gurnemanz thus describes: 
 
 GURNEMANZ:. 
 
 That is Good Friday 's spell, my lord ! 
 Parsifal : 
 
 Alas, that day of agony ! 
 
 Now surely everything that thrives, 
 
 That breathes and lives and lives again, 
 
 Should only mourn and sorrow .' 
 Gurnemanz : 
 
 Thou see 'st, that is not so. 
 
 The sad repenteth tears of sinners 
 
 Have here with holy rain 
 
 Besprinkled field and plain, 
 
 And made them glow with beauty. 
 
 All earthly creatures in delight 
 
 At the Eedeemer 's trace so bright 
 
 Uplift their pray'rs of duty. 
 
 To see Him on the Cross they have no power: 
 
 And so they smile upon redeemed man, 
 
 Who, feeling freed, with dread no more doth cower. 
 
 Through God's love-sacrifice made clean and pure: 
 
 And now perceives each blade and meadow-flower 
 
 That mortal foot to-day it need not dread; 
 
 For, as the Lord in pity man did spare, 
 
 And in His mercy for him bled, 
 
 All men will keep, with pious care, 
 
 To-day a tender tread. 
 
 Then thanks the whole creation makes, 
 
 With all that flow 'rs and fast goes hence, 
 
 That trespass-pardoned Nature wakes 
 
 Now to her day of Innocence. 
 
 [Lessoii XVI, Course IV.] 
 31735 Procession of the Knights ("Parsifal") Wagner 
 
 This beautiful orchestral excerpt takes place in the third act of 
 Wagner's last opera, "Parsifal." The aged Gurnemanz recognizes 
 in the strange knight who appears at his hut on Good Friday morn, 
 the heaven-sent deliverer, Parsifal. The knight is anointed as the 
 King of the Grail, and, robed in the sacred garments, Parsifal, with 
 Gurnemanz and Kundry, starts for the Grail Castle, high on the 
 mountain above them. As the wonderful scene unfolds, we follow 
 them up over the rocky heights into the castle where the knights are 
 gathering. This music, the procession of the knights, is one of the 
 greatest religious compositions which has ever been conceived. 
 [Lesson XXIII, Course III ; Lesson XVI, Course IV.] 
 74100 All Through the Night Welsh 
 
 This song is set to an old Welsh air, originally known as "Poor 
 Mary Ann" ("Ar Hyd y Nos" in Welsh). It is a most interesting 
 example of the earliest folk song; the first phrase of four measures 
 
 344
 
 Analyses 
 
 being here twice repeated. A simple way to outline this form is to 
 number the first phrase No. 1, the second phrase (which differs in 
 melodic or rhythmic character from the first) No. 2, then we will find 
 that the representative type of simple folk song follows this pattern : 
 1-1-2-1. [Lesson XIII, Course I; Lesson XXVII, Course I.] 
 
 17180 Men of Harlech Welsh 
 
 This song, which is the national anthem of Wales, dates from 
 the fifteenth century. Harlech is the name of a small town on the 
 Welsh coast, where is located a famous fourteenth century castle, 
 which for many years held out against the Yorkist invaders. In 
 1468 the castle was forced to surrender. This song dates from that 
 day. The English words are by John Oxenford. [Lesson XXVII, 
 Course I.] 
 
 64141 Mentra'Gwen Welsh 
 
 This charming old Welsh serenade belongs to the class of ' ' legend- 
 ary folk songs. ' ' This English translation is by Walter Maynard : 
 
 The stars in Heaven are bright 
 Lovely Gwen, lady mine ! 
 The moon is full tonight, 
 Lady mine ! 
 
 O deign to smile upon me, 
 Cast but one kind look on me 
 While here I wait upon thee, 
 Longing for thee, lady mine ! 
 
 The night wind passing by 
 Lovely Gwen, lady mine ! 
 To thee wafts many a sigh, 
 Lady mine! 
 
 The flowers around are sleeping, 
 And pearly tears are weeping, 
 While I my guard am keeping, 
 Longing for thee, lady mine ! 
 
 [Lesson XXVII, Course I.] 
 
 74051 Souvenir de Moscow Wieniawski 
 
 Henri Wieniawski (1835-1880) was a famous Polish violinist, 
 who spent much of his life touring throughout Europe as a virtuoso. 
 He came to America, in 1872, with Anton Rubinstein. While all of 
 his works were written with the thought of giving the greatest possible 
 technical opportunity to the performer, Wieniawski has also used 
 the rhythms and characteristic melodies of his native land. This 
 composition is very free in form ; it incorporates many Polish and 
 Russian characteristics, but it also illustrates the different technical 
 possibilities of the violin. [Lesson XXIII, Course I.] 
 
 345
 
 Analyses 
 
 16882 The Watch on the Rhine (1854) Carl Wilhelm 
 
 This German patriotic song is one of the best examples we have 
 of "National Patriotic" compositions. It was written by Carl Wil- 
 helm, the director of a German choral society in Crefeld. During the 
 Franco-Prussian War "The Watch on Rhine" became the National 
 Hymn of Germany, and its composer was rewarded in 1780 by Em- 
 peror William I with a gold medal and a government pension. [Les- 
 son XIX, Course I.] 
 
 17179 Zur Ruh, zur Ruh (To rest, to rest) Hugo Wolf 
 
 Hugo Wolf (1860-1902) is only now beginning to receive the 
 
 recognition which is due his great genius, for as a composer of song, 
 
 no musician since Schumann has equaled him. The great English 
 
 authority, Ernest Newman, declares that Wolf is the greatest song 
 
 writer the world has ever seen and ranks his works above those of 
 
 Schubert and Schumann, comparing Wolf's work in song literature 
 
 as being the same as that of Wagner's in the drama. This beautiful 
 
 song was written in 1883, after the death of the composer's father. 
 
 It is a setting of the poem by Justinius Kerner (1786-1862). 
 
 To rest, to rest, 
 My toil is over. 
 May slumber blest, 
 Mine eyelids cover. 
 
 Lead me tonight, 
 
 Ye powers immortal, 
 
 Into the light, 
 
 Thro ' midnight 's portal. 
 
 In dreams apart, 
 
 From cares that grieve me, 
 
 The mother heart 
 
 Will there receive me! 
 
 [Lesson XXV, Course II.] 
 
 35270 Intermezzo (" The Jewels of the Madonna ") Wolf-Ferrari 
 
 No work of modern days has met with such immediate success 
 as "The Jewels of the Madonna," which was given its initial per- 
 formance by the Chicago Opera Co., in January, 1912. The com- 
 poser of this work is Ermanno Wolf-Ferrari (1875), who is one of 
 the most unique geniuses of the present time. Brought up in the 
 strict contrapuntal school of Rheinberger, in Germany, Wolf-Ferrari 
 obtained his operatic education under the late Verdi and the result 
 is a combination of technical skill and melodic beauty, which is rare 
 and wonderful. 
 
 346
 
 Analyses 
 
 In this work Wolf-Ferrari has given us the story of a common- 
 place incident of every-day life, in Naples, which reflects all the folk 
 music of this interesting place. The work opens without an orches- 
 tral overture, but there are beautiful entr'actes or intermezzi be- 
 tween each act. It will be recalled that this is a favorite custom of 
 Italian composers, the Intermezzo from "Cavalleria Rusticana" be- 
 ing a striking example. [Lesson XXVI, Course II; Lesson XXIV, 
 Course IV.] 
 
 89057 Duet (" Secret of Suzanne *') Wolf-Ferrari 
 
 This charming, graceful duet, almost reminiscent of Mozart in 
 its idyllic beauty, is from Wolf-Ferrari's one-act musical setting of 
 Goliseiani's comedy, "The Secret of Suzanne." 
 
 Suzanne: 
 
 T seem to live again 
 Each precious moment 
 Of that passionate idyl. 
 
 Gil: 
 
 There in the garden — 
 
 Suzanne: 
 
 Bathed in moonlight — 
 
 Gil: 
 
 Many the sighs — 
 
 Suzanne: 
 
 And few the words — 
 
 I shunned you — 
 
 ****** 
 Gil: 
 
 I took that first kiss in secret! 
 
 Suzanne: 
 
 You stole it from me! 
 
 Gil: 
 
 But repaid you with interest. 
 1 was a thief, but an honest one. 
 
 Both: 
 
 Sweetest memories, 
 Alluring enchantment 
 Of a paradise 
 That brought us bliss ! 
 
 [Lesson XXIV, Course IV.] 
 
 70031 At the Fountain Zabel 
 
 This is a charming tone picture, descriptive, as its title implies, 
 of the play of the fountain. It gives one an excellent idea of the 
 possibilities of the harp. Zabel (1822-1883) was a Berlin composer of 
 many ballets, dances and military marches. [Lesson XI, Course III.] 
 
 347
 
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 ** Wagner's Life and Works. 2 Vols. Schirmer, 1890. Kreh- 
 biel (H. E.). **Studies in the Wagnerian Drama. Harper, 
 1891. Kufferath (Maurice). "Parsifal." Holt, 1904. Lavignac 
 (Albert). **The Music Dramas of Wagner. Todd, New York, 
 
 1898. Liszt and Wagner. Correspondence. Tr. by Hueffer. 
 2 Vols. Scribner, 1889. Neumann (Angelo). **Personal 
 Recollections of Wagner. Newman (Ernest). **A Study of 
 Wagner. Putnam, 1899. Nohl (Louis). Life of Wagner. Tr. 
 by Upton. McClurg, Chicago. Praeger (Ferdinand). Wagner 
 as I Knew Him. Rankin (Reginald). Nibelungen Ring done 
 into English. Shaw (G. Bernard). *The Perfect Wagnerite. 
 Richard, 1902. Autobiography. Wagner (Richard). *Art Life 
 and Theories. Tr. by Burlingame. Holt, 1889. Letters to 
 Heckel. Richards, 1899. Letters to Dresden Friends. Greval, 
 London, 1890. Letters to Wesendonck. Richards, London, 
 
 1899. Letters to Mathilde Wesendonck. Scribner, 1905. Prose 
 Works. 8 Vols. Tr. by Ellis. Paul, London, 1899. Minna to 
 Richard Wagner. Tr. 'by Ellis. Scribner, 1909. Text of all 
 Wagner Dramas. Tr. by H. and F. Corder. Schott, Maine. 
 Weston (Jessie L.). **Legends of the W^agner Drama. Scribner, 
 1896. Wolzogen (Hans von). Guide through the music of 
 "Parsifal." Scribner, 1891. Guide through the music of 
 
 352
 
 Bibliography 
 
 "Ring of the Nibelung." Schirmer. Guide to "Tristan and 
 Isolde." Brcitkopf and Haertel. 
 Weber. — *Benedict (Julius). Life of von Weber. Scribner, 1881. 
 *Weber (Max von), von Weber (C. M.). 2 Vols. Ditson, Boston. 
 
 Instrumental Music 
 
 Goepp (Philip). — Symphonies and Their Meaning, 1st Vol. Sym- 
 phonies and Their Meaning, 2d Vol. 
 **Gilman (Laurence). — Stories of Symphonic Music. Harpers, 1907. 
 
 Harding (H. A.). — Analysis of Form. Novello, London. 
 **Niecks (Frederick). — Programme Music. Novello. 
 
 Prout (Ebenezer). — Applied Forms. Augener, 1895. *Musical 
 
 Form. Schirmer, 1893. 
 Shedlock (J. S.) — The Pianoforte Sonata. Methuen, London, 1895. 
 Upton (G. P.).— **The Standard Symphonies. McClurg, 1893. 
 **Standard Concert Goer. McClurg, 1909. 
 **Weingartner (Felix). — Symphony Since Beethoven. Ditson, 1904. 
 Weitzmann (C. F.). — History of Piano Playing. Schirmer, 1895. 
 
 Opera 
 
 Annesley (Charles). — The Standard Opera Glass. Brentano's, New 
 York. 
 *Apthorp (W. F.).— The Opera, Past and Present. Scribner's, 1901. 
 *Elson (Arthur). — A Critical History of Opera. Page, Boston. 
 *Guerber (H. A.). — Stories of Famous Operas. Stories of Popular 
 Operas. Stories of Wagner Operas. 
 Gilman (Laurence). — *Aspects of Modern Opera. John Lane, 
 1909. *The Music of To-morrow. John Lane, 1907. < De- 
 bussy's "Pelleas and Melisande." Schirmer, 1907. *"SaIome," 
 by Richard Strauss. John Lane, 1907. 
 *Henderson (W. J.). — Massenet and His Operas. 
 Hogarth (George). — Memoirs of the Music Drama. 2 Vols. 
 
 Bentley, London, 1838. 
 Hutcheson (Ernest). — Guide to "Electra." Schirmer, 1910. 
 *Mason (Henry L.). Opera Stories. Mason, 1912. 
 **Newman (Ernest). — Gluck and the Opera. Putnam. 
 
 Paget (Violet). — Studies of Eighteenth Century Music in Italy. 
 Unwin, London, 1887. 
 **Singleton (Esther). — A. Guide to the Opera. **A Guide to 
 
 Modern Opera. 
 **Streatfield (R. A.). — The Opera. Lippincott, 1910. 
 **Upton (G. P.).— The Standard Operas. New Ed. McClurg, 1906. 
 **Victor Book of the Opera. 
 Wagner. — See page 352. 
 
 353
 
 Examples of Form 
 
 Folk Dances 
 
 Page 
 
 Danish Ace of Diamonds 27 
 
 English May Pole Dance 51 
 
 Morris Dance 51 
 
 Hungarian Czardas 39 
 
 Irish St. Patrick's Day 47 
 
 Italian Tarantella .30 
 
 Norwegian Mountain March 44 
 
 Russian Kamarinskaia 27, 41 
 
 (Molodka 41, 162 
 
 I Sun in the Sky, Stop Shining. . .41, 162 
 Scotch Highland Fling 50 
 
 Bleking 45 
 
 Swedish Oxdansen 45 
 
 Mountain Polka 45 
 
 Reap the Flax 27 
 
 Folk Dance Song 
 
 French Amaryllis 34, 165 
 
 Irish St. Patrick's Day 27, 47 
 
 Italian Tarantella Napolitana 30 
 
 Polish Krakowiak 43 
 
 Na Wawel . ._ 43 
 
 Russian Let Joy Abide 162 
 
 Swedish Folk Song (Bellman) 45 
 
 Customs of the People 
 
 German Two Christmas Songs 36 
 
 Italian Tarantella 27 
 
 Norwegian Mountain March 44 
 
 Wedding March 44 
 
 Swedish Reap the Flax 44 
 
 Wedding March 27 
 
 Legendary Folk Song 
 
 Arne .The Lass With the Delicate Air 51 
 
 English Drink to Me Only With Thine Eyes. . 51 
 
 German Christmas Hymn 36 
 
 Tannenbaum 36 
 
 Schon Rottraut 18 
 
 Foster (American) . . . Old Folks at Home 54 
 
 My Old Kentucky Home 54 
 
 354
 
 Examples of Form 
 Legendary Folk Song— Continued 
 
 Page 
 
 French Bergere Legere 34 
 
 Grodski (Russian) . . .The Sea Gulls' Cry 17, 41 
 
 Irish Molly Bawn 47 
 
 Italian Santa Lucia 30 
 
 O Sole mio 29 
 
 Minnesinger Summertime 59, 71 
 
 Norwegian Ole, Ole 44 
 
 Astri, mi, Astri 44 
 
 Scotch Jock o' Hazeldean 50 
 
 Loch Lomond 50 
 
 Silcher (German) .... The Loreley 36 
 
 Spanish Linda Mia 32 
 
 Teresita Mia 32 
 
 Troubador When the Nightingale Doth Sing .... 71 
 
 All Through the Night 25, 48 
 
 Welsh Mentra Gwen 48 
 
 Patriotic Songs 
 
 Irish The Minstrel Boy 47 
 
 The Wearing o' the Green 47 
 
 The Harp that Once Thro' Tara's Halls . . 47 
 
 Italian Garibaldi Hymn 30 
 
 Luther (German) .... Eine feste Burg 36 
 
 Welsh Men of Harlech 48 
 
 Wilhelm Watch on the Rhine 36 
 
 National Expression 
 
 Berlioz (Hungarian) . March Rakoczy 12, 39 
 
 Bizet (Spanish) Habanera (Carmen) 15 
 
 Brahms Hungarian Dances 39, 108 
 
 Cadman (Indian) Two Indian Songs 54 
 
 Coleridge-Taylor . . . Deep River (Negro) 54 
 
 Cui Orientale 113 
 
 Dvorak Als die alte Mutter 37, 117 
 
 Largo, "The New World Symphony." 
 
 117, 152, 175 
 
 German Liebesfreud 36 
 
 Grieg All his works 44, 115 
 
 Herbert Dagger Dance 130, 136, 160 
 
 Rubinstein Toreador et Andalouse 113 
 
 Schumann Gypsy Chorus 20 
 
 Two Grenadiers 34, 95 
 
 Smetana All his works 37, 59, 149, 215 
 
 Tschaikowsky All his works 41, 110, 113 
 
 143, 154, 175, 215 
 
 355
 
 K x a m p I e s o J F o r m 
 Chant 
 
 Page 
 
 .1 ewish Birchos Kohanim 02 
 
 Kawakores Rohe Adre 62 
 
 Greek Hymn to Apollo (14 
 
 Kiiiowkon 64 
 
 Kyrie Kekraka 64 
 
 Gregorian Offertorio e Communione 59 
 
 Kyrie Eleison 67 
 
 Exultate Justi 67 
 
 Mediaeval Counterpoint 
 
 Gabrieli Filiae Jerusalem 72 
 
 Old English Sumer is Icumen In 72 
 
 Dances of the Classical School 
 
 Gluck Ballet, "Iphigenia in Aulis" 81 
 
 Bach Bourree 78, 1 65 
 
 Bach Gavotte 78 
 
 Gluck Gavotte, "Paris and Helen" 81, 146 
 
 Gossec Tambourine 59, 141 
 
 Gretry Gavotte 59, 141 
 
 Haydn Minuet 168 
 
 Mozart Minuet 83 
 
 Classic Song 
 
 Arne The Lass with the Delicate Air 51 
 
 Bach Ave Maria 78 
 
 Beethoven Adelaide 86 
 
 Haydn My Mother Bids Me Bind My Hair. . . 82 
 
 Art Song and Art Ballad 
 
 Balfe Come Into the Garden, Maud 16 
 
 Barnby Voice of the Western Wind 17 
 
 Brahms Lullaby 108 
 
 In the Churchyard 108 
 
 Cadman The Moon Drops Low 54 
 
 From the Land of the Sky Blue Water. . 54 
 
 Damrosch Danny Deever 130 
 
 German, Ed Rolling Down to Rio 126 
 
 Grieg Cradle Song 115 
 
 Ich liebe Dich 115 
 
 Massenet Elegie 78 
 
 Mendelssohn O Wert Thou in the Cauld Blast .... 17
 
 Examples of 7 ; o r m 
 Art Song and Art Ballad—Continued 
 
 Page 
 
 Rimsky- Korsakoff . .Song of Shepherd Lehl 113 
 
 Schumann Gypsy Life 20 
 
 Two Grenadiers 34, 95 
 
 "Schubert Ave Maria 142 
 
 Erl King 91 
 
 Serenade 91, 142 
 
 Who is Sylvia? 91 
 
 Strauss Allerseelen 119 
 
 Vannah Good-bye, Sweet Day 13 
 
 Wolf Zur Run 119 
 
 Imitation in Music 
 
 Adolph Birds of the Forest 22 
 
 Damare The Wren 150 
 
 David Thou Brilliant Bird 22 
 
 Dell'acqua The Swallows 13 
 
 Flotow Spinning Wheel Quartet, "Martha" .... 20 
 
 Gossec Tambourine 59, 141 
 
 Handel And 'the Trumpet Shall Sound. . . 157, 165 
 
 Italian La Mandolinata 13 
 
 Mendelssohn Spinning Song 14, 144 
 
 Rameau Nightingales' Passion Song 75, 187 
 
 Saint-Saens Tarantella for Flute and Clarinet 153 
 
 Spindler Spinning Wheel 150 
 
 Schubert, Franz . . . .The Bee 12 
 
 Strauss Voce di Primavera 15, 22, 149 
 
 Zabel At the Fountain 147 
 
 Poetic Thought 
 
 Bach Air for G string 78 
 
 Chaminade The Flatterer 123 
 
 Chopin Etude, op. 10, No. 5 98 
 
 Prelude, op. 28, No. 24 98 
 
 Debussy En Bateau 123 
 
 Dvorak Humoresque 117, 141 
 
 Hasselman Prayer 147 
 
 Herbert Badinage 21 
 
 Hubay Zephir 141 
 
 Liszt Liebestraum 21 
 
 MacDowell Woodland Sketches 130 
 
 Mendelssohn Farewell to the Forest 155 
 
 Spinning Song 144 
 
 Spring Song 95, 139, 140 
 
 357
 
 Examples of For in 
 Poetic Thought— Continued 
 
 Page 
 
 Pinsuti Spring Song 155 
 
 Rubinstein Melody in F 12 
 
 Saint-Saens "Le Cygne" 142 
 
 Schumann "Vogel als Prophet " 95 
 
 Schubert, Franz .... The Bee 12 
 
 Spanish Alborada 32 
 
 Melangia 32 
 
 Titl Serenade 142 
 
 Tschaikowsky Adagio Lamentoso 113 
 
 Wieniawski Souvenir de Moscow 43 
 
 Wolf-Ferrari Intermezzo fiom "The Jewels of the 
 
 Madonna" 228 
 
 Marches 
 
 Chopin Funeral March 159 
 
 Elgar Pomp and Circumstance 12G 
 
 Grieg Norwegian Wedding March 44 
 
 Handel Dead March, "Saul" 7G 
 
 Meyerbeer "L'Africaine" 160, 204 
 
 Saint-Saens Marche Heroique 123 
 
 Sodermann Swedish Wedding March 14, 45 
 
 Tschaikowsky Marche Slave 41, 143, 154, 175 
 
 Verdi Triumphal March, "Aiida" 223 
 
 Wagner Siegfried's Death March 172, 212 
 
 Wagner March of the Knights, "Parsifal" . . 160, 214 
 
 Intermezzi 
 
 Mascagni "Cavalleria Rusticana" 121, 136, 178 
 
 Massenet Meditation, "Thais" 110, 139 
 
 Wolf-Ferrari "The Jewels of the Madonna" 228 
 
 Vocal Introductions to Opera 
 
 Leoncavallo Prologue, "I Pagliacci" 121, 228 
 
 Mascagni Siciliana, "Cavalleria Rusticana" 228 
 
 Selections from Symphonies 
 
 Beethoven Excerpts from C-minor Symphony. . . . 169 
 
 Dvorak Largo from "New World Symphony" 
 
 117, 152, 175 
 Goldmark Bridal Song from "The Rustic Wed- 
 ding Symphony" 21, 119 
 
 Haydn Symphony No. 6 ("Surprise") 168 
 
 Tschaikowsky Finale, "Pathetic" Symphony 113 
 
 358
 
 Examples of Form 
 Overtures 
 
 Page 
 
 Beethoven "Leonora, No. 3" 86, 169, 193 
 
 Berlioz "Carnaval Romain" 98, 170 
 
 Goldmark "Sakuntala" 119 
 
 Humperdinck "Hansel and Gretel" 1 19, 219 
 
 Mendelssohn "Midsummer Night's Dream" . . 95, 136, 170 
 
 Nicolai "Merry Wives of Windsor" 217 
 
 Smetana "Bartered Bride" 37, 215 
 
 Tschaikowsky "Overture, 1812" 110 
 
 Von Weber "Der Freischutz" 153 
 
 "Oberon" 156 
 
 Wagner "The Flying Dutchman" 208 
 
 "Lohengrin" 139, 172, 209 
 
 "Tristan and Isolde" 214 
 
 Excerpts from Operas and Oratorios s A e nafy g s e es n 
 
 Bilfe "The Bohemian Girl" 240 
 
 Beethoven "Fidelio" 241, 242 
 
 Bellini "Norma" 242 
 
 "La Sonnambula" 243 
 
 Bizet "Carmen" 245, 246 
 
 Boito "Mefistofele" 246 
 
 Charpentier "Louise" 248 
 
 Donizetti "Lucia di Lammermoor" 252, 253 
 
 Flotow "Martha" 257, 258 
 
 Gluck "Alceste" 261 
 
 "Eurydice" 261 
 
 Goldmark "Queen of Sheba" 263, 264 
 
 Gomez "II Guarany" 264 
 
 Gounod "Faust" 265, 266 
 
 "The Redemption" 266 
 
 Handel "Rinaldo" 272 
 
 "Judas Maccabseus" 270 
 
 "Messiah" 270, 272 
 
 "Xerxes" 272 
 
 Humperdinck "Hansel and Gretel" 276, 277 
 
 "Koenigskinder" 278 
 
 Massenet "Herodiade" 286 
 
 "Jongleur of Notre Dame" 286 
 
 "Thais" 286, 287 
 
 Mendelssohn "Elijah" 287 
 
 "St. Paul" 288 
 
 Meyerbeer "Les Huguenots" 290 
 
 "Le Prophete" 292 
 
 359
 
 K x (i m pies of F o r in 
 
 Excerpts from Operas and Oratorios S An?ysei n 
 
 Mozart "Don Giovanni" 293 
 
 "Magic Flute" 294, 295 
 
 "Marriage of Figaro" 295 
 
 ••Titus" 295, 296 
 
 "Gloria, Twelfth Mass" 293 
 
 Ponchielli "La Gioconda" 300, 30] 
 
 Puccini "La Boheme" 30] 
 
 "Madame Butterfly" :!(>•-' 
 
 "Tosca" 302, 303 
 
 Rossini "Barber of Seville" 304, 305 
 
 "William Tell" 306 
 
 "-Stabat Mater" 304 
 
 Saint-Saens "Samson and Delilah" 338, 309 
 
 Smetana "Bartered Bride" 3L5, 316 
 
 "Hubicka" 316 
 
 Verdi "Aida" 322, 324 
 
 "Ernani" 324 
 
 "Otello" 325 
 
 "Rigoletto" 325, 326 
 
 "La Traviata" 327 
 
 "II Trovatore" 327, 328 
 
 Von Weber "Der Freischiitz" 32S, 330 
 
 Wagner "The Flying Dutchman" 331, 332 
 
 "Lohengrin" 334, 337 
 
 "Die Meistersinger" 341, 342 
 
 "Parsifal" 344, 345 
 
 "Ring of the Niebelungen" 336,337,33S,339 
 
 "Tannhauser" 333, 334 
 
 "Tristan and Isolde" 312, 344 
 
 Wolf-Ferrari "The Secret of Suzanne" 348 
 
 "Jewels of the Madonna" 317, 348 
 
 :»;o
 
 Pronunciations 
 
 Pronunciations of Names of Artists 
 
 Acerbi {Ah-cher'-bi) 
 Alda (Ahl'-da) 
 Amato {Ah-mah'-toh) 
 Andreeff (An-dree'ff) 
 Ancona {Ahn-koh' -nah) 
 Badini {Bah-dee'-nee) 
 Balalaika {Bal-lah-lie' -kali) 
 Barbaini {Bahr-byan'-ee) 
 Beddoe (Bed'-doh) 
 Boninsegna {Bo-neen-sayn'-yah) 
 Calve (Kahl-veh') 
 Campanari {Kahm-pahn-ah' -ree] 
 Carre {Kahr-ray') 
 Caruso (Kah-roo'-soh) 
 Cigada (See-gah'-dah) 
 Clement (Klaim-ong') ("ng" 
 
 only partly sounded) 
 Corsi {Kor'-see) 
 Dalmores {Dal-mo'-reli) 
 de Gogorza {Deh Goh-gort'-zah) 
 de Luna {deh Loo' -nah) 
 de Pachmann {deh Pahk'-man) 
 Destinn {Dess'-tinn) 
 Eames {Aymz) 
 Elman {Ell'-mahn) 
 Farrar {Fair'-rahr) 
 Francesco ( Frahn-chayss' -koh ) 
 Gadski {Gahd'-skee) 
 Galvany {Gahl-vah'-nee) 
 Gautier {Goh' -tee-ay) 
 Gerville-Reache 
 
 {Zher'-veel Ray-ahsh') 
 Giacomelli {Jeeah-koh-mel'-lee) 
 Gialdini {J eeahl-dee' -nee) 
 
 Gilibert {Zlu el-ih-bear') 
 
 Goritz {Go'-riiz) 
 
 Griint'eld {Groon-feld) 
 
 Gluck {Glook) 
 
 Ilambourg {Hahm-boorg) 
 
 Hamlin 
 
 lluguet {Oo-geh') 
 
 Jadlowker {Y ad' -low f -her) 
 
 Jose {Hoh-zay') 
 
 Journet {Zhur-nay') 
 
 Juch {Yuke) 
 
 Kreisler {Cry'-zlcr) 
 
 Kubelik {Koo' -bay-leek) 
 
 Lejeune {Luh-zhouen') 
 
 Lemmone {Lem-mo'-neh) 
 
 Martin 
 
 Marsh 
 
 Matzenauer {MahV-zen-aucr) 
 
 McCormack 
 
 Mileri {Mee-ler'-ee) 
 
 Minolfi {Meen-oV-fee) 
 
 Nebe {Nay'-buh) 
 
 Ottoboni {Ot-to-bo'-ni) 
 
 Paoli {Pow'-oh-lee) 
 
 Padere wski ( Pah-day -re ff'-skee) 
 
 Pasquale {Pahs-quah'-lay) 
 
 Pini-Corsi {Pee-nee-Kor' -sih) 
 
 Plancon {Plahn-son') 
 
 Powell 
 
 Reiss {Rice) 
 
 Ruffo {Roo'-foh) 
 
 Sammarco {Sahm-mar' -koh) 
 
 Sangiorgi {Sahn-jor'-jee) 
 
 Sassoli {Sass'-oh-li) 
 
 361
 
 Pronunciations 
 
 Schumann-Heink 
 
 (Shoo-mahn-Hynk') 
 Scipioni (Shee-pee-oh' '-nee) 
 Scotti (Scot'-tee) 
 Segurola (Say-goo-roh'-lah) 
 Sembrich (Z emu' -rig) 
 Sillich (Sil'-lik) 
 Sirota (Zee-roh'-tah) 
 Slezak (Slay'-tsahk) 
 Spencer 
 Tamagno {Tahm-mahn'-yoh) 
 
 Pronunciations of 
 
 Arne (Am) 
 
 Bach (Bahkh) 
 
 Balfe (Balf) 
 
 Barnby 
 
 Beach 
 
 Beethoven (Bay' -tow- fen) 
 
 Bellini (Bell-leen'-ee) 
 
 Berlioz (Bair-lee-oh') 
 
 Bizet (Bee-zeh') 
 
 Boi'to (Boh'-ee-toh) 
 
 Brahms (Brahmz') 
 
 Charninade (Sham-mee-nahd' ) 
 
 Charpentier ( Shahr-pahn-tee-ay 
 
 Chopin (Sho-pan') 
 
 Coleridge-Taylor 
 
 (Cole' -ridge Tay-lor] 
 Cui (Eooe') 
 Damare 
 
 Damrosch (Dahm'-rohsh) 
 David (Dah-veed') 
 Debussy (Deh-bu-see') 
 Dell'Acqua (Dell Ahk'-wah) 
 Donizetti (Doh-nee-tzet'-tee) 
 Dvorak (Dvor'-zhak) 
 Elgar (El'-gahr) 
 Faure (Fohr) 
 
 Tetrazzini (Tet-trah-tzee'-nee) 
 
 Trentini (Tr en-tee' -nee) 
 
 Van Rooy (Vahn Roy') 
 
 Vessella (Vessel' -lah) 
 
 Viafora (Vee-ah-fohr'-ah) 
 
 Wheeler 
 
 Williams 
 
 Witherspoon 
 
 Zaccaria (Zak-kah-ree'-ah) 
 
 Zerola (Zer'-o-lah) 
 
 Zimbalist (Zim'-bahl-ist) 
 
 Names of Composers 
 
 Flotow (Floh'-toh) 
 
 Gabrieli (Gahb-ree-el'-lee) 
 
 Gluck (Glook) 
 
 Goldmark (Gold'-mahrk) 
 
 Gomez (Goh'-meUi) 
 
 Gossec (Gos'-ekh) 
 
 Gounod (Goo-noh') 
 
 Gretry (Gray' -tree) 
 
 Grieg (Greeg) 
 
 GrSdski (Grod-skee) 
 
 Handel (Hen'-dell) 
 
 Hasselmans (Hahs'-sel-man) 
 
 Haydn (High'-dn) 
 
 Herbert 
 
 Hubay (Hoo'-by) 
 
 Humperdinck (Room' -per -dink 
 
 Leoncavallo 
 
 (Lay-ohn-kah-vahl' -low 
 de Lisle (Bay Leel') 
 Liszt (List) 
 Loewe (Loeh'-vey) 
 Luther (Loo'-ter) 
 MacDowell 
 
 Mascagni (Mas-kahn'-nyee) 
 Massenet (Mass'n-nay') 
 Mendelssohn (Men'-d'l-sohn) 
 
 362
 
 Pronunciations 
 
 Meyerbeer (Mey'-er-baer) 
 
 Mozart (Moh'-tsart) 
 
 Nevin 
 
 Nicolai (Nee'-koh-ly) 
 
 Offenbach (Of '-fen-bach) 
 
 Orth (Ohrt) 
 
 Pinsuti (Pin-soo'-tee) 
 
 Ponchielli (Pong-kyel'-lee) 
 
 Puccini (Poo-chee'-nee) 
 
 Rameau (Rah-moh') 
 
 Rimsky-Korsakoff 
 
 (Rim'-skee Kor'-sa-kof) 
 Rossini (Roh-see'-nee) 
 Rubinstein (Rue'-bin-stine) 
 Saint-Saens (Sah-sahnz') 
 Schubert (Shoo' -b air t) 
 Schumann (Shoo'-mahn) 
 
 Silcher (Zill'-cher) 
 
 Smetana (Smay-tah'-nah) 
 
 Soderman (Soe'-der-mahn) 
 
 Spindler (Spind'-laer) 
 
 Strauss (Strauz) 
 
 Titl (Tee' 41) 
 
 Tschaikowsky ( Chi-koff'-skee ) 
 
 Vannah 
 
 Verdi (V air' -dee) 
 
 Von Weber (Foil Vay'-ber) 
 
 Wagner (Vahg'-ner) 
 
 Wienawski (Vee-nee-oivs'-kee) 
 
 Wilhelm (Veil' -helm) 
 
 Wolf (Vollf) 
 
 Wolf-Ferrari ( Vollf -Fair-ah'-ree ) 
 
 Zabel (Tsah'-bell) 
 
 Pronunciations of Opera Titles 
 
 Alceste (Ahl-chest'-ay) 
 
 Africana (Af-ree-kah'-nah) 
 
 A'ida (Ah-ee'-dah) 
 
 Barbiere di Siviglia (Bahr-beay'-reh dee See-vel'-yah) 
 
 Boheme (Bow-ehm') 
 
 Carmen (Kar'-men) 
 
 Cavalleria Rusticana (Kah-vahl-lay-ree'-ah Roos-tee-kah' -nah) 
 
 Contes d 'Hoffman (Kohnt dojf'-mahn) 
 
 Das Rheingold (Dahss Rine'-gold) 
 
 Die Walkure (Dee Val-kueh'-reh) 
 
 Donne Curiose (Don'-neh Koo-reh-oh' -say) 
 
 Don Carlos (Bon Kahr'-los) 
 
 Don Giovanni (Don Joh-vahn'-nee) 
 
 Don Pasquale (Don Pahs-qiiah'-lch) 
 
 Elisir d'Amore (Ay-lee-zeer' dam-oh'-reh) 
 
 Ernani (Ayr-nah'-nee) 
 
 Falstaff (Fahl'-staff) 
 
 Faust (Foivst) 
 
 Fidelio (Fee-deh'-lee-oh) 
 
 Figlia del Reggimento (Feel' -yah del Ray-jee-men' -toh) 
 
 363
 
 P r onunciatio n s 
 
 Plauto Magico (Flau'-toh Maj'-ee-koh) 
 
 Fliegende Hollander (Flee'-gen-deh HolV-lan-der) 
 
 Freischiitz (Fry'-shi utz) 
 
 Giojelli della Madonna (Gee-oh-yeV-lee del-lah Utah-don'-ah) 
 
 Gioconda (Jeedh-kon'-dah) 
 
 Hansel und Gretel (Hahn'-sel oondt Gray'-tel) 
 
 Herodiade I Ay'-roh-dt < -ahd') 
 
 Iphigenia in Aulis (Ee-fee-zhay'-nee-ah in Au'-liss) 
 
 II Guarany {El Gair-ah-nay) 
 
 II Pensieroso (El Pen-see-ay-roh'-soh) 
 
 Jongleur (Zhong-gleur') de Notre Dame. 
 
 Judus Maccabseus (You'-dahss Mah-kah-bay'-uhss) 
 
 Konigskinder (Kd'-nieks-kinder) 
 
 L 'Enfant Prodigue (Lahn-fahn' Pro-deeg') 
 
 La Juive (Lah Zhoo-eev') 
 
 Lakme (Lak-may') 
 
 Les Huguenots {Lay Hueg-gnoh') 
 
 Lohengrin (LoW -en-grin) 
 
 Louise (Loo-eez') 
 
 Lucia di Lammermoor (Loo-chee' -ah) 
 
 Lucrezia Borgia (Loo-crcli'-tzee-ah Bor'-jah) 
 
 Manon Leseaut (Man -on' Lcs-koh') 
 
 ]\Iasaniello (Mah-san-nycl'-loh) 
 
 Martha (Mahr'-thah) 
 
 Mefistofele (May-phee-stoh'-feh-leh) 
 
 Meistersinger (My'ster-singer) 
 
 Mignon (Mecn-yon') 
 
 Natoma (Nali-to'-mah) 
 
 Norma (Nor'-mah) 
 
 Nozze di Figaro (Not-zeh dee Fee/-gar-oh) 
 
 Oberon (O'-Txr-on) 
 
 Orfeo ed Euridiee (Or-feh'-oh ayd Ay-oo-ree-dee'-cheh) 
 
 Otello (Oh-teV-oh) 
 
 Pagliacei (Palil-yat'-cliee) 
 
 Parsifal (Par'-see-falil) 
 
 Perle du Brezil (Pairl d<«> Bray-zeeV) 
 
 Philemon et Baucis (Fee-lay -mohn' ay Bow-see') 
 
 Pique Dame (Peek Dahm) 
 
 Prophete (Pro-feh'f) 
 
 364
 
 Pronunciations 
 
 Puritani (Poo-rcc-tah'-nee) 
 
 Regina di Saba (Ray-jee'-nah dee Sah'-bali) 
 
 Rheingold (Rine'-gold) 
 
 Rinaldo (Ree-nahl'-do) 
 
 Ring des Nibelimgen (Ring dess Nce'-bcl-oong-en) 
 
 Roberto II Diavolo (Roh-ber' '-toh eel Dcc-ah'-voli-loh) 
 
 Roi de Lahore (Rooak' deli' Lali-oliv') 
 
 Roi d'Ys (Rooah' deez) 
 
 Sakuntala (Sak-koon-tah'-lah) 
 
 Salome (Sal-oh-may') 
 
 Samson et Dalila (Sam-sohn' ay Dah-lee-lah') 
 
 Segreto di Suzanna (Say-grch'-toh dee Soo-zahn'-nah] 
 
 Semiramide (Say-mcc-ralim'-ce-dch) 
 
 Siegfried (Seeg'-freed) 
 
 Sonnambula (So)i-nahm' '-boo-lah) 
 
 Stabat Mater (Stah'-baht Mak'-ter) 
 
 Tannhauser (Tahn'-hoy-zcr) 
 
 Thais (Tah-ess') 
 
 Tosca {Toss'-kah) 
 
 Traviata (Trah-veeah' '-tali) 
 
 Tristan und Isolde (Tris'-tahn oondt Ecs-sol'-deli) 
 
 Trovatore (T roh-vah-toh' -reh) 
 
 Valkyrie (Vahl-kuer'-reh ) 
 
 "Werther (Wear'-ter) 
 
 Xerxes {Z ehr' -zehz) 
 
 Pronunciations of Titles 
 
 Adagio lamentoso (Ali-daW '-gce-oh lah-ment-oh' -soh) 
 
 Adelaide (AJi-day-lah-ee'-day) 
 
 Allerseelen (Ald-lair-zay' -len) 
 
 Amaryllis (Ah-mahr-yV -lees) 
 
 Aubade Provencale (Oh-bahd' Proh-vahng-sahV) 
 
 Badinage (Bali-dee-nalisW) 
 
 Barcarolle (Bahr-kah-rolV) 
 
 Bergere Legere (Baihr-zhair' Lay-zhair') 
 
 Birchos Kohanim (Birr'-kos Ko-hah-nim') 
 
 Bleking (Blay' '-king) 
 
 Bourree (Boo-ray') 
 
 Brindisi (Brin' '-dee-see) 
 
 365
 
 Pronunciations 
 
 Carrousel (Kar-roh-seW) 
 
 Czardas ( Tshahr'-dahss) 
 
 Die Uhr (Dee Oor') 
 
 Ein Feste Burg (Eyn Fes'-tay Boorg) 
 
 En Bateau (Ohng Bali-toe') 
 
 Ewig Hebe heimat (Ay'-veeg lee' -bay hy'-maht) 
 
 Exultate Juste (Ek-sool-tah'-tay Yoos'-tay) 
 
 Fackeltanz ( Fall' -k ell -t alms) 
 
 Filiae Jerusalem (Feel'-yaeh Yay-roo'-zah-lem) 
 
 Gavotte (Gah-votf) 
 
 Habanera (Hah-bah-nay' -rah) 
 
 Heroi'que (Ay-roh'-eek') 
 
 Inflammatus (I n-flali-mah'-toos) 
 
 Intermezzo (Inter-metz'-zoe) 
 
 Kamarinskaia (Kah-malir-ins-kali'-yah ) 
 
 Kammenoi Ostrow (Kahm'-ayn-ohr Oss-troff) 
 
 Kawakora Rohr ad re (Kah-vdh-hoh'-rdh Bohr ah' -dray) 
 
 Kinonikon (Kee-non-e-kon) 
 
 Kolebania (Koli-lay-balin-yah) 
 
 Krakowiak (Krah-kohv'-yahk) 
 
 Kyrie Eleison (Ku'-ree-ay Ay-lay' -ee-sohn) 
 
 Kyrie Kekraka (Ku'-ree-ay Kay-krali-kah) 
 
 La Mandolinata (Lah Malin-cloh-lee-nali'-tah) 
 
 Le Cygne (Lull Seen'-yuh) 
 
 Liebesfreud (Lee'-bess-froyd) 
 
 Liebestraum (Lee'-bes-traum) 
 
 Linda Mia (Lin'-dah Mee'-ah) 
 
 Marseillaise (Malir-say-yaiz') 
 
 Mazurka (Mah-zoor'-kah) 
 
 Mentra Gwen (Men'-trali Gven') 
 
 Molodka (Moh-lod'-kah) 
 
 Offertorio e communione (Of-fer-toh'-re-oh ay com-moo-nee-o'-ney) 
 
 sole mio (Oh soh'-lay mee'-oh) 
 
 Oxdansen (Oks'-dan-zen) 
 
 Peer Gynt (Payr Ginnt') 
 
 Rakoczy (Rah-koh'-tshee) 
 
 Sehon Rottraut (Schoehn Roht'-trawt) 
 
 Sumer is icumen in 
 
 Tambourine (Tahm-boor-een') 
 
 366
 
 Pronunciations 
 
 Tarantella (Tahr-ahn-tel'-lah) 
 
 Teresita Mia {T ay-ray-zee' -tali Mee-ah) 
 
 Toreador et Andalouse (Toh-ray-ah-dor'-ay Ahn-dah-loose') 
 
 Vanka (Vahn-kali) 
 
 Voce di Primavera {V oh' -t shay dee Pree-mah-vay'-rah) 
 
 Vogel als Prophet (Foh'-gell ahlss Proh-fate') 
 
 Zephir (T say' -fear) 
 
 Zur Ruh (Tsoor Roo')
 
 Index of Records Used as Illustrations, 
 
 Arranged Alphabetically as 
 
 to Composers 
 
 Lesson 
 
 XL 
 
 Name and Title 
 
 Adolfo. 
 
 Birds of the Forest 
 
 Guido Gialdini 
 Arne. 
 
 The Lass With the Delicate 
 
 Air — Olive Kline XXIX 
 
 Bach. B 
 
 Gavotte in E Major — Fritz Kreisler. IX 
 
 Air for G string — ( IX 
 
 Victor Herbert's Orchestra \ XXV 
 
 Ave Maria — Johanna Gadski IX 
 
 Bourree from Violoncello f IX 
 
 Suite III— Victor Concert Orch \ XXV 
 
 Balfe. 
 
 "The Bohemian Girl." 
 
 Then You'll Remember 
 
 Me — Harry Macdonough. 
 I Dreamt I Dwelt in Marble 
 
 Halls — Elizabeth Wheeler _ 
 
 Come Into the Garden, f V 
 
 Maud— Evan Williams { XXVIII 
 
 Barnby. 
 
 Voice of the Western Wind — 
 Elizabeth Wheeler, Marguerite 
 
 Dunlap and Elsie Baker. . . VI 
 Beach. 
 
 Year's at the Spring — 
 
 Johanna Gadski XXIX 
 
 Beethoven. 
 
 Adelaide XIII 
 
 Overture, Leonore No. 3 — f XIII 
 
 Victor Concert Orchestra I XXVII 
 
 ( VII 
 
 * Parts I and II. t Part III. 
 
 XVIII 
 
 Course No. Price Page 
 
 J 16835 $0.75 22 
 
 I 17190 .75 51 
 
 II 04132 1.00 
 
 I 17100 
 
 75 
 
 II S702G 2.00 
 
 II 74307 1.50 
 
 II) 35268* 1.25 
 
 III - 35268* 1 . 25 
 
 IV ) 35269| 1 • 25 
 
 78 
 
 II ) f 7S 
 
 III} 70047 l-25{ i 6 5 
 
 II 81045 2.00 78 
 
 II) 171S4 7r f 78 
 
 III j 17184 ' 75 1 165 
 
 IV 16398 .75 217 
 II } 74109 1.50 { ^ 
 
 17 
 
 130 
 
 SO 
 
 86 
 
 169 
 
 193 
 
 368
 
 Index of Re 
 
 Name and Title Lesson 
 
 "Fidelio." 
 
 Aria. — Fateful Moment — 
 
 Otto Goritz . . . VII 
 
 Chorus of Prisoners \ vtt 
 
 Bellini. 
 "Norma." 
 
 Mira o Norma — 
 
 Ida Giacomelli and Lina Mileri . XI 
 Hear Me, Norma (Clarinet and 
 Oboe) — Doucet and Christie. . .XV 
 
 La Sonnambula XVI 
 
 Ah! fosco ciel (When Day- 
 light's Going) — Alia Scala Cho.XI 
 
 Berlioz. 
 
 Overture. — Carnaval llo- 
 
 main— ( XVI 
 
 Victor Concert Orchestra \ XXVIII 
 
 March Rakoczy — Sousa's Band \ vv i 
 J \ XXI 
 
 Bizet. 
 
 "Carmen." 
 
 Habanera — Emma Calve . . \ VV ^X 
 
 Toreador Song — C V 
 
 Emilio de Gogorza and Cho. \ XIX 
 
 (XXVI 
 Boi'TO. 
 "Mefistofele." 
 
 Son lo Spirito — 
 
 Marcel Journet XXII 
 
 Folletto, Folletto— 
 de Tura, Mansueto and Cho . . XXII 
 
 Brahms. 
 
 Lullaby — Elsie Baker XX 
 
 In the Church Yard — 
 
 Johanna Gadski XX 
 
 Hungarian Dance — f XXI 
 
 Fritz Kreisler \ XX 
 
 Cadman. C 
 
 From the Land of the Sky- 
 Blue Water — Florence Hinkle.XXX 
 The Moon Drops Low — 
 
 Janet Spencer XXX 
 
 369 
 
 cords 
 
 
 
 Course No. 
 
 Price 
 
 Page 
 
 IV G4165 
 jy } 35245 
 
 $1.00 
 1.25 | 
 
 193 
 
 86 
 
 193 
 
 IV 02101 
 
 .75 
 
 202 
 
 III 17174 
 III 
 
 .75 
 
 152 
 
 IV 02642 .75 
 
 III} 35241 
 
 I) 
 
 I J 
 
 IV 
 IV 
 
 II) 
 
 1.25J 
 
 31424 1.00 
 
 jy} 88085 
 
 I) 
 
 II [ 88178 
 
 IV 
 
 74210 
 
 87067 
 
 II 17181 
 
 II S7099 
 I) 
 
 3.00 J 
 3.00 
 
 1.50 
 2.00 
 
 .75 
 2.00 
 
 64131 1.00 
 
 I 60079 
 I 64200 
 
 .75 
 1.00 
 
 202 
 
 98 
 
 170 
 
 12 
 
 39 
 
 15 
 231 
 
 16 
 106 
 231 
 
 225 
 225 
 
 10S 
 
 108 
 39 
 
 108 
 
 54 
 54
 
 Index of Re 
 
 Name and Title Lesson 
 
 Chaminade. 
 
 The Flatterer-Franfc La Forge . XXVII 
 
 Charpentier. 
 
 Depuis le Jour. — "Louise" — 
 
 Florence Hinkle. . .XXVIII 
 
 Chopin. 
 
 Funeral March — Pryor's Band . . XXII 
 Prelude, Op. 28, No. 24 
 
 Vladimir de Pachmann .... XVI 
 Mazurka No. 2, A flat Major— f XXIII 
 
 Vladimir de Pachmann \ XVI 
 The Minute Waltz— Maud Powell ... I 
 
 Coleridge-Taylor. 
 
 Deep River (Negro Melody) — 
 
 Maud Powell. . . .XXX 
 Onaway, Awake, Beloved — 
 
 George Hamlin. . . .XXVIII 
 
 Cm. 
 
 Orientale. — Kaleidoscope — 
 
 Efrem Zimbalist .... XXII 
 
 Damare. u 
 The Wren — Darius Lyons XIV 
 
 Damrosch. 
 
 Danny Deever — 
 
 Percy Hemus XXIX 
 
 Danish. 
 
 Ace of Diamonds — Victor Band. .XIV 
 
 David. 
 
 Thou Brilliant Bird— 
 
 Luisa Tetrazzini XI 
 
 Debussy. 
 
 Air de Lia.— " L' Enfant 
 
 Prodigue"— j XXX 
 
 Jeanne Gerville-Reache \ XXVIII 
 En Bateau — 
 
 Charles Gilbert Spross .... XXVII 
 
 Dell'Acqua. 
 
 The Swallows — Lucy Marsh II 
 
 370 
 
 cord 
 
 s 
 
 
 
 Course 
 
 No. 
 
 Price 
 
 Page 
 
 II 
 
 70040 $1.25 
 
 123 
 
 IV 
 
 70085 
 
 1.25 
 
 235 
 
 III 
 
 35157 
 
 1.25 
 
 159 
 
 II 
 
 I] 
 II] 
 
 I 
 
 74260 
 64224 
 64076 
 
 1.50 
 1.00 | 
 1.00 
 
 98 
 43 
 98 
 12 
 
 I 
 
 74246 
 
 1.50 
 
 54 
 
 II 
 
 74306 
 
 1.50 
 
 126 
 
 II 
 
 64261 
 
 1.00 
 
 113 
 
 III 
 
 16047 
 
 .75 
 
 150 
 
 II 
 
 35285 
 
 1.00 
 
 130 
 
 I 
 
 17083 
 
 .75 
 
 27 
 
 I 
 
 88318 
 
 3.00 
 
 22 
 
 III I 
 
 IV j 
 
 88281 
 
 3.00 { 
 
 175 
 235 
 
 II 
 
 5865 
 
 .60 
 
 123 
 
 1 
 
 70011 
 
 1.25 
 
 13
 
 Index of Re 
 
 Name and Title Lesson 
 
 Donizetti. 
 
 "Lucia di Lammermoor." 
 
 Mad Scene— Luisa Tetrazzini \ Jr\ 
 
 { IX 
 Sextette — Victor Opera Sextette \ yj 
 
 Brindisi. — "Lucrezia Borgia" — 
 
 Ernestine Schumann-Heink XI 
 
 Dvorak. 
 
 Als die alte Mutter— J XX 
 
 Lucy Marsh { XXIV 
 
 f XXIV 
 Humoresque — Mischa Elman j jy 
 
 Largo.— "New World Sym- (XXIV 
 
 phony"— j XV 
 
 Victor Concert Orchestra ( XXX 
 
 cords 
 
 Course No. 
 
 II 
 
 IV 
 
 I 
 
 Price 
 
 88299 $3.00 
 
 70036 
 
 IV j 
 
 IV 88188 
 
 T {} 60078 
 
 III} 741 63 
 
 11 ) 
 
 III - 35275 
 
 III) 
 
 1.25 j 
 
 3.00 
 
 .75-; 
 
 1 . 50 , 
 
 1 . 25 - 
 
 Page 
 
 100 
 
 202 
 
 20 
 
 202 
 
 202 
 
 37 
 117 
 117 
 141 
 117 
 152 
 175 
 
 Elgar. E 
 
 Pomp and Circumstance 
 
 March— Pryor's Band XXVIII 
 
 English. 
 
 Drink to Me Only — 
 
 Emilio de Gogorza .... XXIX 
 May Pole Dance— Victor Band . XXIX 
 Morris Dance — Victor Band .... XXIX 
 Sumer is Icumen in — Chorus VI 
 
 II 35247 1 . 25 
 
 I 74077 
 
 I 17087 
 
 I 17086 
 
 II 35279 
 
 1.50 
 .75 
 .75 
 .75 
 
 126 
 
 51 
 51 
 51 
 
 72 
 
 Faure. * 
 
 Les Rameaux — Pol Plangon . . . XXVII 
 
 II 85020 3 . 00 
 
 123 
 
 Flotow. 
 
 
 
 
 
 
 "Martha." 
 
 
 
 
 
 Ah, Those Tears — Louise 
 
 
 
 
 
 Homer and Bessie Abbott. .XVIII 
 
 IV 
 
 89009 
 
 4.00 
 
 217 
 
 Spinning Wheel Quartet — 
 
 
 
 
 
 Victor Opera Quartet .... IX 
 
 I 
 
 70052 
 
 1.25 
 
 20 
 
 Solo Profugo — 
 
 
 
 
 
 Werrenrath and Macdonough . . VII 
 
 I 
 
 31769 
 
 1.00 
 
 18 
 
 Foster. 
 
 Old Folks at Home— 1 
 
 
 
 
 
 
 Elsie Baker 
 
 
 
 
 
 
 Old Kentucky Home — 
 
 XXX 
 
 I 
 
 16389 
 
 .75 
 
 54 
 
 Harry Macdonough J 
 
 
 
 
 
 
 371
 
 Index of Re 
 
 Name and Title Lesson 
 
 French. 
 
 Amaryllis — Victor Orchestra. . \ ^yv 
 
 Aubade Proven9ale — 
 
 Fritz Kreisler XVIII 
 
 Bergere L£gere — 
 
 Edmond Clement XVIII 
 
 /-• 
 
 Gabrieli. ^ 
 
 Filiae Jerusalem — Sistine Choir. . . . VI 
 
 German, Ed. 
 
 Rolling Down to Rio — 
 
 Herbert Witherspoon. . . .XXVIII 
 
 German. 
 
 Children's Christmas Hymns — 
 
 Kinderchor XIX 
 
 Schon Rottraut. — Ewig liebc f VII 
 
 Heimat — Neve Quartet ( XIX 
 
 Liebesfreud — Fritz Kreisler XIX 
 
 Gluck. 
 
 Fatal Divinita.— "Alceste"— ( X 
 Louise Homer \ IV 
 
 Melodie, Op. 26— Maud Powell X 
 
 I Have Lost My Eurydice — 
 
 Ernestine Schumann-H eink .... IV 
 Gavotte from Paris and Helena — ( X 
 Victor String Quartet \ X 
 Ballet. — "Iphigenia in Aulis" 
 
 Victor Orchestra .... X 
 
 Goldmark. 
 
 Bridal Song. — Symphony, 
 
 "The Rustic Wedding"— f X 
 Vienna Quartet { XXV 
 Overture. — "Sakuntala" — 
 
 Kryl's Bohemian Band .... XXV 
 Aria. — "Magic Tones," from 
 
 "Queen of Sheba" — Leo Slezak . XIX 
 
 Gomez. 
 
 Aria.— "II Guarany"— 
 
 Pasquale Amato XVII 
 
 Gossec. 
 
 Tambourine — Mischa Elman .. - v 
 
 872 
 
 cords 
 
 
 
 Course 
 
 No. 
 
 Price 
 
 Page 
 
 ul} 
 
 16474 
 
 $0.75 
 
 34 
 
 I 
 
 64202 
 
 1.00 
 
 34 
 
 I 
 
 64223 
 
 1.00 
 
 34 
 
 II 
 
 71023 
 
 1.50 
 
 72 
 
 11 
 
 64151 
 
 1.00 
 
 126 
 
 I 
 
 63S53 
 
 .75 
 
 36 
 
 n 
 i J 
 
 63779 
 
 .»{ 
 
 18 
 36 
 
 i 
 
 74196 
 
 1.50 
 
 36 
 
 hi 
 
 IV } 
 
 88286 
 
 3.00 | 
 
 81 
 
 187 
 
 ii 
 
 64075 
 
 1.00 
 
 81 
 
 IV 
 
 88091 
 
 3.00 
 
 187 
 
 III 
 IIIj 
 
 16950 
 
 .,,) 
 
 81 
 146 
 
 II 
 
 17184 
 
 .75 
 
 81 
 
 If 
 III 
 
 31772 
 
 1 . 00 | 
 
 21 
 
 119 
 
 II 
 
 31832 
 
 1.00 
 
 119 
 
 IV 
 
 64115 
 
 1.00 
 
 219 
 
 S7105 2.00 
 
 nil f "" ,s 
 
 1 00 
 
 32 
 
 59 
 
 1 II
 
 Index of R t 
 
 Name and Title Lesson 
 
 Gounod. 
 "Faust." 
 
 Trio. — Caruso, Scotti and J our net. VII 
 Trio. — Prison Scene — 
 
 Farrar, Caruso and Journet. .VIII 
 Chorus. — "The Redemp- 
 tion"— Trinity Choir XXIX 
 
 Gregorian. 
 
 Exultate Justi — Sistine Choir IV 
 
 Kyrie Eleison — Sistine Choir IV 
 
 Offertorio e Communione — j I 
 
 Sistine Choir . . { I V 
 
 Greek. 
 
 Hymn to Apollo — Elsie Baker Ill 
 
 Kyrie Kekraxa — Church Choir Ill 
 
 Kinonikon — Church Choir Ill 
 
 Gretry. 
 
 Gavotte — Mischa Elman ] : 
 
 Grieg. 
 
 Cradle Song — Aalrud Tillisch . .XXIII 
 Ich Liebe Dich— 
 
 Frederic Gunster XXIII 
 
 Norwegian Wedding March — 
 
 Wilhelm Bachaus .... XXIV 
 Peer Gynt Suite— Pryor's Band . XXIII 
 
 Grodski. 
 
 Sea Gull's Cry— f VI 
 
 Mischailowa and Tugarinoff { XXII 
 
 Handel. H 
 
 "II Pensieroso." 
 
 Aria— Sweet Bird— Nellie Melba. . II 
 Sweet Bird (for Flute and 
 
 Oboe) Doucet and Barone . . . XV 
 "Judas Maccabaeus." 
 Sound an Alarm — 
 
 Evan Williams .... VIII 
 "The Messiah." 
 
 The Trumpet Shall Sound r ^X 
 — Wither spoon j XXV 
 
 Behold and See — Evan Williams . Ill 
 
 Hallelujah Chorus — Victor C IX 
 
 Chorus with Sousa's Band - VIII 
 
 ( III 
 
 cords 
 
 
 
 Course 
 
 No. 
 
 Price 
 
 Page 
 
 I 
 
 95206 
 
 $5.00 
 
 18 
 
 I 
 
 95203 
 
 5 . 00 
 
 li) 
 
 IV 
 
 35075 
 
 1 . 25 
 
 236 
 
 II 
 
 61123 
 
 1.00 
 
 67 
 
 II 
 
 71001 
 
 1.50 
 
 67 
 
 11 1 
 
 61108 
 
 1 . 00 | 
 
 59 
 
 67 
 
 II 
 
 35279 
 
 .75 
 
 64 
 
 II 
 
 63511 
 
 .75 
 
 64 
 
 II 
 
 63511 
 
 .75 
 
 64 
 
 I-H I-H 
 
 I-H I-H 
 
 I-H 
 
 64198 
 
 1 . 00 | 
 
 59 
 141 
 
 II 
 
 63621 
 
 .75 
 
 115 
 
 II 
 
 16764 
 
 .75 
 
 115 
 
 I 
 
 71042 
 
 1.50 
 
 44 
 
 II 
 
 35007 
 
 1.25 
 
 115 
 
 I{ 
 Ij 
 
 61143 
 
 1 . 00 -J 
 
 17 
 41 
 
 IV 
 
 88068 
 
 3.00 
 
 1S1 
 
 III 
 
 17174 
 
 .75 
 
 152 
 
 II 
 
 74131 
 
 1.50 
 
 76 
 
 III) 
 III J 
 
 IV 
 
 74080 
 74126 
 
 1 . 50 | 
 1 . 50 
 
 157 
 165 
 184 
 
 "! 
 
 31770 
 
 1 . 00 
 
 20 
 76 
 
 IV 
 
 
 ( 
 
 184
 
 Index of Re 
 
 Name and Title Lesson 
 
 Handel. 
 "The Messiah." 
 
 He Shall Feed His Flock— j VIII 
 Louise Homer \ III 
 "Rinaldo." 
 
 'Mid Lures and Pleasures — J VII 
 Ernestine Schumann-Heink ( II 
 "Saul." 
 
 Dead March — Pryor's Band . . . VIII 
 "Xerxes." 
 
 Largo — Charles Gilibert \ | T 
 
 Hasselmans. 
 
 Prayer — Ada Sassoli XI 
 
 Am Springbrunnen — Ada Sassoli.. XI 
 
 Haydn. 
 
 Austrian National Hymn — 
 
 Pryor's Band . . . XI 
 "The Creation." 
 
 In Native Worth— George Hamlin. VI 
 With Verdure Clad — Lucy Marsh . VI 
 
 Menuett — Mischa Elman XI 
 
 My Mother Bids Me— 
 
 Geraldine Farrar XI 
 
 Symphony (Surprise). 
 Allegro . — And ante — 
 
 Victor Concert Orchestra . . XXVI 
 Minuet. — Finale 
 
 Victor Concert Orchestra . . XXVI 
 Herbert. 
 
 Badinage — Vienna Quartet X 
 
 "Natoma" 
 
 Dagger Dance — fXXIX 
 
 Victor Herbert's Orchestra -\ I 
 
 ( XXIII 
 
 HUBAY. 
 
 Zephir — Maud Powell IV 
 
 HUMPERDINCK. 
 
 "Hansel and Gretel." 
 
 f XXV 
 
 Prelude — Pryor's Band -> TTX 
 
 The Old Witch— Otto Goritz . j ^™ 
 
 Hexenritt (Witches' Ride) f II 
 
 Albert Reiss \ XIX 
 
 ( I 
 
 374 
 
 c o r d s 
 
 Course No. 
 
 II 
 
 IV 
 
 III 
 
 IV j 
 
 II 
 
 II 
 
 IV 
 
 III 
 III 
 
 Price 
 
 85103 $3.00' 
 
 SMS!) 
 
 16980 
 
 74155 
 
 70027 
 70031 
 
 3.00 
 
 75 
 
 f;n I 
 
 II 16083 
 
 1.50 
 
 1.25 
 1.25 
 
 .75 
 
 II 88289 3.00 
 
 Page 
 
 76 
 184 
 
 75 
 181 
 
 76 
 
 75 
 181 
 
 147 
 147 
 
 82 
 
 IV 
 
 74250 1 . 50 
 
 191 
 
 IV 
 
 60055 . 75 
 
 191 
 
 II 
 
 64135 1.00 
 
 82 
 
 82 
 
 III 
 
 35243 
 
 1 
 
 25 
 
 168 
 
 III 
 
 35244 
 
 1 
 
 25 
 
 168 
 
 I 
 
 31762 
 
 1 
 
 .00 
 
 21 
 
 1— 1 t— 1 
 
 
 
 .25] 
 
 130 
 
 70049 
 
 1 
 
 136 
 
 
 
 160 
 
 III 
 
 74188 
 
 1 
 
 .50 
 
 141 
 
 "I 
 
 31853 
 
 1 
 
 .00-f 
 
 119 
 
 IV j 
 
 
 
 { 
 
 219 
 
 III 
 
 64164 
 
 1 
 
 .ool 
 
 110 
 
 IV f 
 
 
 
 I 
 
 219 
 
 n] 
 
 
 
 ( 
 
 13 
 
 64188 
 
 1 
 
 .00-] 
 
 106 
 
 IV) 
 
 
 
 I 
 
 178
 
 Index of Re 
 
 Name and Title Lesson 
 
 HUMPERDINCK. 
 
 "Koenigskinder." 
 
 Thou Innocent One — 
 
 Otto Goritz XIX 
 
 Hungarian. 
 
 Czardas — Victor Band XXI 
 
 I 
 
 Irish. 
 The Harp That Once Thro' 
 Tara's Halls— 
 
 John McCormack XXVI 
 
 Medley of Irish Songs — 
 
 Victor Mixed Chorus .... XXVI 
 The Minstrel Boy — 
 
 John McCormack .... XXVI 
 St. Patrick's Day— ( XIV 
 
 Victor Band \ XXVI 
 Italian. 
 
 Garibaldi Hymn — Sousa's Band . . XVI 
 La Mandolinata — Emilio de Gogorza . II 
 O Sole Mio — Emilio de Gogorza. . . .XV 
 Tarantella. — Napolitana — 
 
 Enrico Caruso . . . XVI 
 Tarantella — Victor Band XIV 
 
 Jewish. ** 
 
 Birchos Kohanim— Sirota and Chorus II 
 Kawakores Rohe Ad re — 
 
 Sirota and Chorus .... II 
 
 Leoncavallo. L 
 
 "I Pagliacci" 
 
 ( XXVT 
 Prologue — Antono Scotti. . . - ^£ T v; 
 
 ( .A..X.I V 
 
 deLisle. 
 
 Marseillaise Hymn — j XIII 
 
 Marcel Journet ( XVIII 
 
 Liszt. 
 
 Hungarian Rhapsody II — j XIII 
 
 Pryor's Band \ XVI 
 
 Liebestraum— Victor Herbert's Orch . . X 
 
 Loewe. 
 Die Uhr.— The Watch— 
 
 Arthur van Eweyk XIV 
 
 375 
 
 cords 
 
 
 Course No. Price 
 
 Page 
 
 IV 64184 $1.00 
 
 219 
 
 I 17003 .75 
 
 39 
 
 I 
 
 64259 
 
 1.00 
 
 47 
 
 I 
 
 31865 
 
 1.00 
 
 47 
 
 I 
 
 64117 
 
 1.00 
 
 47 
 
 11 
 
 17002 
 
 , 5{ 
 
 27 
 
 47 
 
 I 
 
 16136 
 
 .75 
 
 30 
 
 I 
 
 64160 
 
 1.00 
 
 13 
 
 I 
 
 74105 
 
 1.50 
 
 29 
 
 I 
 
 88355 
 
 3.00 
 
 30 
 
 I 
 
 17083 
 
 .75 
 
 27 
 
 II 
 
 64228 
 
 1.00 
 
 62 
 
 II 
 
 64231 
 
 1.00 
 
 62 
 
 £} 
 
 88029 
 
 3.00 [ 
 
 121 
 
 228 
 
 l\ 
 
 74039 
 
 1 . 50 | 
 
 25 
 34 
 
 A} 
 
 35122 
 
 1 . 25 j 
 
 25 
 
 98 
 
 I 
 
 70046 
 
 1.25 
 
 21 
 
 II 
 
 68339 
 
 1.25 
 
 91
 
 Index of Re 
 
 Name and Title Lesson 
 
 Luther. 
 Ein' feste Burg (A Mighty 
 Fortress) Trinity Choir . 
 
 XIX 
 
 M.\< Do WELL. M 
 
 Woodland Sketches — 
 
 Victor Herbert's Orchestra. .XXIX 
 
 Mascagni. 
 
 "Cavalleria Rusticana." 
 
 Intermezzo — fXXVI 
 
 Victor Herbert's Orchestra \ I 
 
 L i 
 
 Siciliana — Enrico Caruso .... XXIV 
 
 Massenet. 
 
 Elegie — Emma Eames IX 
 
 Elegie — Alma Gluck IX 
 
 "Herodiade" 
 
 Aria (Fleeting Vision) 
 
 Emilio de Gogorza. .XXVII 
 "Jongleur de Notre Dame" 
 
 Legend of the Sagebrush — 
 
 Marcel Journet . . . XXVII 
 "Thais" 
 
 r xxi 
 
 Meditation — Maud Powell < III 
 
 (XXVII 
 
 Mendelssohn. 
 "Elijah." 
 
 If With All Your Hearts— 
 
 Evan Williams . . . IX 
 
 It Is Enough — 
 
 Herbert Witherspoon IX 
 
 But the Lord Is Mindful— j IV 
 
 Ernestine Schumann-H eink \ IX 
 "A Midsummer Night's Dream." 
 
 Overture — C XV 
 
 Victor Concert Orchestra -j I 
 
 (. XXVIII 
 Wert Thou in the Cauld 
 
 Blast — Wheeler and Dunlap VI 
 
 Farewell to the Forest — 
 
 Victor Brass Quartet. . . .XVIII 
 
 Spinning Song — Renard Trio . . „ TTT 
 
 c o r d s 
 
 Course No. Price 
 
 I 1015!) $0.75 
 
 II 60053 
 
 ib 
 
 11 ) ( 
 
 III (■ G0074 . 75 \ 
 
 IV \ I 
 
 IV S7072 2 . 00 
 
 III 88014 3.00 
 III 87101 2.00 
 
 IV 8S153 3.00 
 
 IV 74123 1.50 
 
 11 ) f 
 
 III 74135 1.50- 
 
 IV) ( 
 
 IV 74088 1 . 50 
 
 IV 740S2 1 . 50 
 Ij 88191 3.00 j 
 
 11 ) 
 III [ 31819 
 
 HI ) ( 
 
 1 . 00 - 
 
 I 58G4 .00 
 
 III 17210 .75 
 l\ 35159 1.25 { 
 
 TTT 
 
 Page 
 
 30 
 130 
 
 121 
 130 
 I7S 
 228 
 
 145 
 145 
 
 233 
 
 233 
 
 110 
 139 
 233 
 
 197 
 
 197 
 
 15 
 
 197 
 
 95 
 136 
 170 
 
 17 
 
 111 
 
 154 
 
 51
 
 Index of R 
 
 Name and Title Lesson 
 
 Mendelssohn. 
 Spring Song — Victor String Quartet XV 
 
 Vladimir de Pachmann \ -% 
 Meyerbeer. 
 "L'Africaine." 
 
 March j XXIII 
 
 Victor Herbert's Orchestra \ XII 
 
 Fackeltanz — Pryor's Band XXII 
 
 "Les Huguenots." 
 
 Nobil Signori — Louise Homer . . . XII 
 
 Romanza — Gautier \ ^pzt 
 
 Benediction of the Swords — C XVII 
 Marcel Journet with I 
 
 Metropolitan Opera Chorus ( XII 
 "Le Prophete." 
 
 Aria. — Ah! Mon Fils — 
 
 Ernestine Schumann-Heink . . XII 
 Thy Flow'ry Banks— 
 
 Wheeler, Baker and Dunlap . . . VI 
 
 Minnesinger. 
 
 Summertime — Reinald W errenrath - J: 
 
 Mozart. 
 
 Concerto for Harp and Flute — 
 
 Sassoli and Lemmone.^KlY 
 Gloria from Twelfth Mass— 
 
 Lyric Quartet VI 
 
 "Don Giovanni." 
 
 Duet. — La ci darem la mano — 
 
 Farrar and Scotti V 
 
 Minuet — Victor Band XII 
 
 "Magic Flute." 
 
 Invocation — Pol Plancon V 
 
 A Bird Catcher Am I— Otto Goritz . V 
 "Marriage of Figaro." 
 
 Voi che sapete— Nellie Melba j XI * 
 
 Aria.— "Titus"— 
 
 Ernestine Schumann-Heink. XII 
 
 Neapolitan. ^ 
 Santa Lucia — Reed Miller XVI 
 
 ;?77 
 
 e c o r d s 
 
 Course No. Price 
 
 IV 
 
 III 
 
 IV 
 
 II 
 
 IV 
 IV 
 
 IV 
 
 IV 
 
 i.75 
 
 II 16371 
 j} 74285 1.50 1 
 
 Yy} 7006S 
 III 31381 
 
 85107 
 45007 
 
 3.00 
 1.00 
 
 74275 1 . 50 
 
 IV 88187 
 I 17106 
 
 J j 17290 
 
 III 70029 
 
 IV 31589 
 
 IV 89015 
 II 17087 
 
 3.00 
 .75 
 
 85042 
 64163 
 
 j^j 88067 
 II 88196 
 
 16SS2 
 
 1.25 
 1.00 
 
 4.00 
 1.00 
 
 3.00 
 1.00 
 
 3.00 
 
 Page 
 
 95 
 139 
 146 
 
 126 1 ]G0 
 j 204 
 
 1 . 00 159 
 
 204 
 145 
 204 
 100 
 178 
 204 
 
 204 
 17 
 
 59 
 71 
 
 150 
 191 
 
 1S9 
 
 83 
 
 189 
 189 
 
 83 
 
 ( 189 
 3 . 00 83
 
 Index of Re 
 
 Name and Title Lesson 
 
 Nevin. 
 
 Little Boy Blue— 
 
 Evan Williams XXIX 
 
 Nicolai. 
 
 Overture. — (From " Merry- 
 Wives of Windsor") — 
 
 Pryor's Orchestra .... XVIII 
 Nightingale. 
 
 Nightingale Song — Nightingale .... XI 
 
 Norwegian. 
 
 Mountain March — Victor Band. XXIV 
 Folk Songs— Aalrud Tillisch. . .XXIV 
 
 Offenbach. ^ 
 
 Barcarolle.— (From 'Tales of f VIII 
 Hoffman")— VIII 
 
 Farrar and Scotti ( XVIII 
 Orchestra. 
 Instruments of the Orchestra — f II 
 Victor Concert Orchestra - XII 
 (XVII 
 Orth. 
 
 In a Clock Store — Victor Orchestra . . X 
 
 p 
 
 PlNSUTI. * 
 
 Spring Song — Brass Quartet. . . .XVIII 
 
 Polish. 
 
 Krakowiak — Soprano XXIII 
 
 Na Wawel— Male Quartet XXIII 
 
 PONCHIELLI. 
 
 "La Gioconda." 
 
 Voce di donna (Angelic 
 
 Voice) Louise Homer XXII 
 
 Cielo e mar (Heaven and 
 
 Ocean) F. Constantino. . . XXII 
 Dance of the Hours — ( XXII 
 
 Victor Herbert's Orchestra ( VII 
 Puccini. 
 "La Boheme." 
 
 Musetta's Waltz Song — 
 
 Gina Viafora XXIII 
 
 Quartet. — Addio (Farewell, 
 Sweet Love) Farrar, 
 Caruso, Viafora and Scotti. XXIII 
 
 * Parts I and II. t Parts III and IV. 
 
 378 
 
 c o r a 
 
 's 
 
 
 
 
 Course 
 
 No. 
 
 Price 
 
 
 Page 
 
 II 
 
 64102 SI. 00 
 
 
 130 
 
 IV 
 
 35270 
 
 1.00 
 
 
 217 
 
 I 
 
 64161 
 
 1.00 
 
 
 22 
 
 I 
 I 
 
 17160 
 63618 
 
 .75 
 .75 
 
 
 44 
 44 
 
 IV) 
 
 87502 
 5754 
 
 3.00 
 60 
 
 
 19 
 
 144 
 
 217 
 
 III) 
 III 
 
 III) 
 
 35236* 
 35237f 
 
 1 . 25 
 1.25 
 
 I 
 
 137 
 
 148 
 
 I 
 
 31618 
 
 1.00 
 
 
 21 
 
 III 17216 
 
 75 
 
 I 63460 . 75 
 I 63460 . 75 
 
 IV 85104 3.00 
 
 IV 64070 1 . 00 
 JV\ 70070 1.25 | 
 
 IV 64085 1 . 00 
 
 IV 96002 6 . 00 
 
 155 
 
 43 
 43 
 
 225 
 
 225 
 225 
 143 
 
 226 
 226
 
 Index of Re 
 
 Name and Title Lesson 
 
 Puccini. 
 
 "Madam Butterfly." 
 
 Duet of the Flowers— f VI 
 
 Farrar and Homer < XXVI 
 ( XXIII 
 Un bel di vedremo (Some 
 
 Day) Geraldine Farrar . . . XXIII 
 "Tosca." 
 
 Cantabile Scarpia — 
 
 Antonio Scotti. . . .XXIII 
 Aria. — Vissi d'arte — 
 
 Emma Eames. . . .XXIII 
 
 Rameau. 
 
 Nightingale's Passion Song — ( VII 
 AlmaGluckl IV 
 
 RlMSKY-KoRSAKOFF. 
 
 "Snow Maiden." 
 
 Song of the Shepherd Lehl — 
 
 A ImaGluck... XXII 
 
 Rossini. 
 "Stabat Mater." 
 
 Cujus Animam — Evan Williams. IX 
 Cujus Animam (for Trombone) 
 
 Pryor and Band .... XXI 
 Inflammatus — 
 
 Lucy Marsh and Chorus . . . IX 
 "The Barber of Seville." 
 
 Largo al Factotum — ( XVII 
 
 Titta Ruffo \ X 
 
 Una voce poco fa — f I 
 
 Marcella Sembrich \ X 
 
 "William Tell" 
 
 Trio. — Paoli, Cigada and Sillich. .X 
 
 Rubinstein. 
 
 Melody in F — Victor Herbert's Orch . . I 
 Toreador et Andalouse — 
 
 Balalaika Orchestra. . .XXII 
 Kammenoi-Ostrow 
 
 Victor Herbert's Orchestra . . XXII 
 
 Russian Dance. 
 
 Kamarinskaia — f XIV 
 
 Victor Military Band \ XXII 
 
 cords 
 
 Course No. 
 
 Price 
 
 II [ 89008 $4 . 00 
 IV j 
 
 IV 88113 3.00 
 
 IV 88122 
 IV 88010 
 
 II 
 IV 
 
 74249 
 
 3.00 
 3.00 
 
 1 . 50 | 
 
 II 64209 1 . 00 
 
 IV 74093 
 
 III 35157 
 
 IV 70037 
 
 IV } 88391 
 
 *V j 88097 
 
 1.50 
 1.25 
 1.25 
 
 3.00 
 
 3.00 
 
 IV 92051 3.00 
 
 I 60051 
 II 60039 
 II 70077 
 
 .75 
 
 .75 
 
 1.25 
 
 17001 .75 
 
 Page 
 
 17 
 121 
 226 
 
 226 
 
 226 
 226 
 
 75 
 
 187 
 
 113 
 
 197 
 
 158 
 
 197 
 
 100 
 200 
 178 
 200 
 
 200 
 
 12 
 113 
 113 
 
 27 
 41 
 
 379
 
 Index of Re 
 
 Name and Title Lesson 
 
 Russian. 
 
 Folk Song. — Let Joy Abide — 
 
 Marie Michailowa . . . XXIV 
 Two Folk Songs. — (1.) 
 
 Vanka. (2.) Kolcbalnid— ( XV 
 
 Albert Janpolski \ XXII 
 
 Russian Folk Songs. — (1.) 
 
 Molodka. (2.) Sun in 
 
 the Sky, Stop Shining— f XXII 
 
 Balalaika Orchestra \ XX I V 
 
 Russian Fantasia — Herbert Clarke .XX 
 
 Saint-Saens. S 
 
 Le Cygne — Josef II oilman \ I 
 
 Marche Heroi'que — 
 
 Pryor's Band. . . .XXVI] 
 "Samson et Dalila." 
 
 Pause, My Brothers — 
 
 Charles Dalmores XXIX 
 
 Chorus — Ladies' Chorus. . . \ __„ TV 
 
 ( XXIX 
 
 My Heart at Thy Sweet 
 
 Voice— Louise Homer XXIX 
 
 Tarantella (for Flute and Clar- 
 inet) Barone and Christie. . .XVI 
 
 Schubert. 
 
 Ave Maria — Josef H oilman VI 
 
 Erl King — 
 
 Ernestine Schumann-Heink . .XIV 
 
 Serenade — Evan Williams, f XIV 
 
 D' Almaine and Lyons { V 
 
 Who is Sylvia? — Emma Eames. . .XIV 
 
 The Wanderer — 
 
 Arthur van Eweyk. . . .XIV 
 
 Schubert (Franz). 
 
 The Bee — Maud Powell I 
 
 Schumann. 
 
 Song.-The Two Grenadiers— f XVIII 
 Reinald Werrenrath \ XV 
 Vogel als Prophet — 
 
 Vladimir de Pachmann . . . .XV 
 Gypsy Life — Victor Mixed Chorus. . IX 
 Return of Spring — Evan Williams. XV 
 
 380 
 
 cords 
 
 Course No. Price 
 
 III 61181 $1.00 
 j| G3153 .75 | 
 
 ] 70034 1.25 J 
 111 16313 .75 
 
 III 64046 1.00 
 II 35010 1.25 
 
 IV 87087 2.00 
 
 iv) 1718U - 75 { 
 
 IV 88199 3.00 
 
 III 17174 .75 
 
 III 64001 1.00 
 
 II 
 II 
 
 III 
 II 
 
 I) 
 II i 
 
 II 
 
 I 
 
 II 
 
 88342 3 . 00 
 
 64093 1 . 00 
 
 35140 1.25 
 
 88013 3.00 
 
 II 08339 1 . 25 
 
 1 64076 1.00 
 
 31740 1.00 
 
 74285 1 . 50 
 
 35254 1 . 25 
 
 64217 1.00 
 
 Page 
 
 162 
 
 29 
 
 41 
 
 41 
 162 
 157 
 
 142 
 
 123 
 
 236 
 
 17 
 
 236 
 
 236 
 
 153 
 
 142 
 
 91 
 
 91 
 
 142 
 
 91 
 
 91 
 12 
 
 34 
 95 
 
 95 
 20 
 95
 
 Index of Re 
 
 Name and Title Lesson 
 
 Scotch. 
 
 Scotch Medley March — 
 
 Sutcliffe Troupe. . . .XXVIII 
 Highland Fling— f XIV 
 
 Victor Military Band \ XXVIII 
 Jock o' Hazeldean — 
 
 John Young XXVIII 
 
 Scotch (Old). 
 
 Loch Lomond — 
 
 Evan Williams. . . .XXVIII 
 
 Scots, Wha Bae \\T Wal- 
 
 lace Bled — Werrenrath. . . \ ..."A.,. 
 
 ( XXVIII 
 
 SlLCHEK. 
 
 The Loreley (1837) Elsie Baker. .XIX 
 
 Smetana. 
 
 'The Bartered Bride." 
 
 Overture — Pryor's Baud ... - ,,.„„ 
 J I \\ II 
 
 Comedian's March — 
 
 Pryor's Band I 
 
 Aria. — Jenik — Otokar Marak. .XVII 
 
 Terzetto— 
 
 Klanova and Sir. Pollert . . .XVII 
 
 "Hubicka." 
 
 Cradle Song— Alma Gluck. . . \ ^™ 
 
 ( XX 
 
 S'ODERMAN. 
 
 Swedish Wedding March — ( III 
 
 Pryor's Band \ XXV 
 Spindler. 
 
 Spinning Wheel — John Lemmone .XIV 
 
 Spanish. 
 
 Two Spanish Selections — 
 
 Municipal Band of Barcelona . . XVII 
 Teresita Mia — Emilio de Gogorza .XVII 
 Linda Mia — Emilio de Gogorza . .XVII 
 
 Strauss, Johann. 
 
 Voce di Primavera (Voice of 
 
 Spring) Guido Gialdini XI 
 
 f IV 
 Marcella Sembrich l yttt 
 
 Strauss, Richard. 
 
 Allerseelen — Reinald Werrenrath . XXV 
 
 cords 
 
 Course No. Prii 
 
 I 17140 $0.75 
 || 17001 .75 
 
 16961 
 
 75 
 
 I 61210 1.00 
 j] 16961 .75 | 
 
 I 171 SI .75 
 
 j^j 3514S 1.2:, j 
 
 II 63302 . 75 
 
 IV 16205 .75 
 
 IV 16208 . 75 
 
 11 J j 64213 1.00 j 
 
 J j 35159 1.25 j 
 
 III 60026 .75 
 
 I 63353 . 75 
 I 64043 1 . 00 
 I 64042 1 . 00 
 
 I 16S35 .75 
 n {] 88019 3.0o| 
 
 II 17179 .75 
 
 Page 
 
 50 
 
 27 
 50 
 
 50 
 
 50 
 
 2!) 
 50 
 
 36 
 
 37 
 215 
 
 5!) 
 215 
 
 215 
 
 149 
 37 
 
 14 
 45 
 
 150 
 
 32 
 32 
 32 
 
 22 
 
 15 
 149 
 
 119 
 
 381
 
 Index of Re 
 
 Name and Title Lesson 
 
 Swedish Dance. 
 
 Bleking — Victor Band XXV 
 
 Carrousel or "Flying Horses" — 
 
 Victor Band XIII 
 
 Swedish. 
 
 Reap the Flax— Victor Band . . . .XIV 
 Mountain Polka — Victor Band . . XXV 
 Swedish Folk Songs — 
 
 Torkel Scholander XXV 
 
 Oxdansen — Victor Band XXV 
 
 cor 
 
 ds 
 
 
 
 Course 
 
 No. Price 
 
 Page 
 
 I 
 
 17085 $0 
 
 .75 
 
 45 
 
 I 
 
 17086 
 
 .75 
 
 25 
 
 I 
 
 17002 
 
 .75 
 
 27 
 
 I 
 
 17085 
 
 .75 
 
 45 
 
 I 
 
 63429 
 
 .75 
 
 45 
 
 I 
 
 17003 
 
 .75 
 
 45 
 
 TlTL. l 
 
 Serenade. — Flute and Viola — 
 
 Lyons and Reschke .... V 
 Serenade. — Flute and 'Cello — 
 
 Heine and Lyons .... V 
 
 Troubador. 
 
 When the Nightingale Doth Sing — 
 
 Reinald Werrenrath V 
 
 TSCHAIKOWSKY. 
 
 Marche Slave (Op. 31) 
 
 Victor Herbert's Orchestra 
 
 XXII 
 
 VII 
 
 XVII 
 
 XXX 
 
 Overture 1812. (Op. 49) 
 
 Pryor's Band XXI 
 
 " Pique Dame " 
 Duet— 
 Michailowa and Tugarinoff . . XVII 
 
 "Pathetic Symphony" 
 Adagio Lamentoso — 
 
 Pryor's Band XXII 
 
 Vannah. V 
 
 Good Bye, Sweet Day — 
 
 Janet Spencer II 
 
 Verdi. 
 "Aida." 
 
 Celeste Ai'da — Enrico Caruso. . .XXI 
 
 Duet.— The Fatal Stone— ( XIX 
 
 Caruso and Gadski (XXI 
 
 Triumphal March— ( XX 
 
 Vessellas Band 1 XXI 
 
 III 31337 
 III 35150 
 
 I 
 III 
 III 
 III 
 
 III 
 IV 
 
 1.00 
 1.25 
 
 II 17176 .75 
 
 70050 1 . 25 
 
 II 31739 
 IV 61136 
 
 1.00 
 1.00 
 
 II 31800 1.00 
 
 I 64189 1.00 
 
 IV 88127 
 J *l 89028 
 
 3.00 
 4.00 
 
 35265 1 . 25 
 
 142 
 142 
 
 71 
 
 41 
 143 
 154 
 175 
 
 110 
 
 215 
 
 113 
 
 13 
 
 223 
 106 
 223 
 157 
 223 
 
 3S2
 
 Index of Re 
 
 Name and Title Lesson 
 
 "Ernani." 
 
 Ferma Crudele (Stay Thee, f XX 
 My Lord) Bernacchi, -j VIII 
 
 Colazza and de Luna (_ XX 
 O Sommo Carlo (Oh, Noble 
 Carlos) Grisi, Sangiorgi, 
 
 Cigada and Chorus . XX 
 "Otello." 
 
 Iago's Credo — Antonio Scotti . .XXI 
 Willow Song — Frances Alda. . .XXI 
 "Rigoletto." 
 
 La Donna e mobile (Woman 
 
 is Fickle) Enrico Caruso .... XX 
 Monologo — Mario Sammarco . . . XX 
 "La Traviata." 
 
 Aria. — Ah! Fors' e Lui — 
 
 Marcella Sembrich .... XX 
 "II Trovatore." 
 
 Duet. — Home to our Moun- f VIII 
 
 tains — Homer, Caruso, < XIX 
 
 Exposito and Colazza (_ XX 
 
 Miserere — Pry or and Keneke . . XXI 
 
 von Weber. 
 
 Concertino for Clarinet — 
 
 Charles Draper .... XVI 
 "Der Freischutz." 
 
 Overture— ( XIX 
 
 Alia Scala Orchestra { XXVIII 
 Aria.— Prayer of Agatha— Corsi . VIII 
 Caspar's Air — Marcel Journet . . VIII 
 Through the Forest — 
 
 Daniel Beddoe VIII 
 
 "Oberon" 
 
 Overture — Pryor's Band XIX 
 
 w 
 
 Wagner. 
 
 "The Flying Dutchman." 
 
 Overture — Pryor's Band XIII 
 
 Recitation and Aria. — In 
 Ocean's Deepest Wave — 
 
 OttoGoritz. .XIII 
 Senta's Ballad — 
 
 Johanna Gadski XIII 
 
 "Tannhauser." 
 
 Dich, theure Halle (Hail, Hall 
 
 of Song) Johanna Gadski . . XIII 
 
 383 
 
 cords 
 
 Course No. 
 
 IV 
 
 I [ 3517 
 IV 
 
 IV 
 IV 
 
 IV 
 IV 
 
 III 
 III 
 IV 
 IV 
 
 IV 
 
 III 
 
 Price 
 
 .25 
 
 IV 35170 1.25 
 
 88030 
 
 88214 
 
 87017 
 92041 
 
 3.00 
 3.00 
 
 2.00 
 3.00 
 
 IV 88018 3.00 
 
 n 16811 
 
 jV^ 89018 
 III 16371 
 
 .76 f 
 
 4.00 ( 
 .75 
 
 III 35182 1.25 
 
 62636 . 75 
 
 62636 
 64236 
 
 74244 
 
 316S9 
 
 .75 
 1.00 
 
 1.50 
 
 1.00 
 
 223 
 
 19 
 
 221 
 
 221 
 
 223 
 223 
 
 221 
 
 221 
 
 221 
 
 106 
 
 19 
 
 221 
 
 153 
 
 156 
 170 
 195 
 195 
 
 195 
 
 195 
 
 IV 
 
 31787 
 
 1.00 
 
 207 
 
 IV 
 
 74230 
 
 1.50 
 
 208 
 
 IV 
 
 88116 
 
 3.00 
 
 207 
 
 IV 
 
 88057 
 
 3.00 
 
 208
 
 Index of Re 
 
 Name and Title Lesson 
 
 Wagner. 
 "Tannhauser." 
 
 Pilgrims' Chorus — 
 
 Victor Brass Quartet. .XYI1I 
 Wolfram's Aria (Evening 
 
 Star) Emilio de Gogorza . . . XIII 
 
 "Lohengrin." 
 
 Vorspiel (Prelude) C III 
 
 La Scala Orchestra \ XXIX 
 
 ( XIV 
 
 Elsa's Dream — Johanna Gadski . XIV 
 
 Swan Song — Leo Slezak XIV 
 
 Bridal Chorus— I XVIII 
 
 Victor Opera Chorus ( XIV 
 Lohengrin's Narrative — 
 
 Evan Williams. . . .XIV 
 "Rheingold" 
 
 Weiche, Wotan, Weiche 
 (Waver, Wotan) 
 
 Ernestine Schumann-Heink . XV 
 
 "Die Walkure." 
 
 Siegmund's Love Song — ( I 
 
 Ricardo Martin \ XV 
 
 Ho-yo-to-ho— f XVIII 
 
 Johanna Gadski - XIII 
 
 ( XV 
 
 Ride of the Valkyries— f XVIII 
 
 La Scala Orchestra < XXIX 
 
 ( XV 
 
 W T otan's Farewell — 
 
 Clarence Whitehill XV 
 
 "Die Gotterdammerung." 
 Siegfried's Horn Call — 
 
 A. Horner XIX 
 
 Siegfried's Death March— ( XV 
 Victor Concert Orchestra { XXIX 
 Immolation Scene — 
 
 Johanna Gadski XV 
 
 "Die Meistersinger." 
 
 Walter's Prize Song— f XVIII 
 
 Lambert Murphy { XVI 
 
 "Tristan and Isolde." 
 
 Prelude — La Scala Orchestra . . . XVI 
 Liebestod — Johanna Gadski . . . XVI 
 
 384 
 
 cords 
 
 Course No. 
 
 Price 
 
 Page 
 
 III 
 
 17133 
 
 $0.75 
 
 155 
 
 IV 
 
 88154 
 
 3.00 
 
 208 
 
 III) 
 
 III 
 
 31779 
 
 1,00 ] 
 
 139 
 
 172 
 
 IV j 
 
 
 209 
 
 IV 
 
 S8038 
 
 3.00 
 
 209 
 
 IV 
 
 61203 
 
 1.00 
 
 209 
 
 III 
 
 IV j 
 
 31846 
 
 1.00 | 
 
 104 
 209 
 
 IV 76026 1 . 50 
 
 209 
 
 IV 
 
 88092 
 
 3.00 
 
 211 
 
 II) 
 
 IV) 
 
 88276 
 
 3 . 00 | 
 
 59 
 211 
 
 n ) 
 
 
 I 
 
 104 
 
 III 
 
 87002 
 
 2.00- 
 
 149 
 
 IV \ 
 
 
 ( 
 
 212 
 
 11 ) 
 
 
 ( 
 
 104 
 
 111 
 
 62693 
 
 .75 
 
 172 
 
 IV S 
 
 
 ( 
 
 211 
 
 IV 
 
 74305 
 
 1.50 
 
 212 
 
 III 
 
 17174 
 
 .75 
 
 156 
 
 IV) 
 
 III J 
 
 35246 
 
 1 . 25 | 
 
 212 
 172 
 
 IV 
 
 88185 
 
 3.00 
 
 212 
 
 II) 
 
 IV j 
 
 70080 
 
 1 . 25 j 
 
 104 
 214 
 
 IV 
 
 68210 
 
 1.25 
 
 214 
 
 IV 
 
 88058 
 
 3.00 
 
 214
 
 Name and Title 
 
 Wagner. 
 
 "Parsifal." 
 
 Good Friday Spell — 
 
 Herbert Witherspoon . 
 Procession of the Knights — 
 Pryor's Band 
 Welsh. 
 
 All Through the Night— j 
 
 Evan Williams \ 
 
 Men of Harlech — Male Chorus. 
 
 Mentra Gwen — Evan Williams . 
 
 Index of Records 
 
 Course No. Price 
 
 Lesson 
 
 ...XVI 
 
 XVI 
 
 XXIII 
 
 XIII 
 XXVII 
 XXVII 
 XXVII 
 
 WlENIAWSKI. 
 
 Souvenir de Moscow — 
 
 Mischa Elman . . . .XXIII 
 
 Wilhelm. 
 
 The Watch on the Rhine (1854) 
 
 Reinald Werrenrath . . . XIX 
 
 Hugo Wolf. 
 
 Zur ruh', zur ruh'! (To rest, 
 
 to rest) Reinald Werrenrath . . . XXV 
 
 Wolf-Ferrari. 
 
 Intermezzo. — (From " The 
 Jewels of the Madonna") 
 
 Victor Concert Orchestra . . .XXIV 
 Duet. — (From "Secret of 
 Suzanne") 
 
 Victor Concert Orchestra . . . XXIV 
 
 IV 74144 $1.50 
 j^j 31735 1.00 1 
 
 74100 1.50 
 
 xi { 
 
 I 17180 .75 
 I 64141 1.00 
 
 I 74051 1.50 
 
 I 16882 .75 
 
 II 17179 .75 
 
 IV 35270 1.25 
 
 IV 89057 4.00 
 
 Page 
 
 214 
 214 
 160 
 
 25 
 
 48 
 
 48 
 48 
 
 43 
 
 36 
 
 119 
 
 228 
 
 228 
 
 Zabel. 
 At the Fountain- 
 
 -Ada Sassoli 
 
 XI III 70031 1.25 
 
 147 
 
 385
 
 Index of Composers 
 
 * Indicates composers from whose works illustrations are given 
 
 Page 
 
 Adam, Adolphe 230 
 
 Adam de la Halle 70, 178 
 
 Adam, Louis 202 
 
 Albert, Eugene d' 218 
 
 Ambrose, St 65 
 
 Arensky, Anton 112 
 
 *Arne, Thomas 125 
 
 Auber, Daniel 99, 280 
 
 Aulin, Tor 114 
 
 *Bach, Johann Sebastian 36, 77, 78, 107 
 
 163, 165, 184, 196 
 
 *Balfe, Michael William 125, 216 
 
 *Beach, Mrs. H. H. A 129 
 
 *Beethoven, Ludwig von 80, 85, 86, 87, 89, 92, 107 
 
 143, 160, 168, 191, 192, 193 
 
 *Bellini, Vincenzo 95, 99, 100, 102, 201, 202, 207 
 
 Benedict, Sir Julius 125 
 
 *Berlioz, Louis Hector 94, 96, 120, 139, 143, 151 
 
 152, 169, 170, 197, 201 
 
 *Bizet, Georges 22, 106, 122, 174, 230, 231 
 
 Bohm, Theobald 150 
 
 Boieldieu, Francois 99 
 
 *Boito, Arrigo 223, 224 
 
 Bossi, Marco 120 
 
 *Brahms, Johannes 94, 107, 108, 109, 118, 236 
 
 Bruch, Max 118, 236 
 
 Bruckner, Anton 118 
 
 Bruneau, Alfred 122, 123 
 
 Bull, Ole 44, 114 
 
 Busoni, Ferruccio 120 
 
 Carey, Henry 125 
 
 Carissimi, Giacomo 74, 180, 182, 183 
 
 386
 
 Index of Composers 
 
 Page 
 
 Cavalieri, Emilio 76, 182 
 
 Cavalli, Francesco 74, 179, 180 
 
 Cesti, Marcantonio 74, 180, 216 
 
 Chabrier, Alexis 122 
 
 Chadwick, George 127 
 
 *Chaminade, Cecile 122 
 
 ♦Charpentier, Gustave 122, 223 
 
 Chausson, Ernest 122 
 
 Cherubini, Luigi 95, 99, 199 
 
 *Chopin, Frederic 42, 94, 95, 96, 97, 170 
 
 Cimarosa, Domenico 199 
 
 *Coleridge-Taylor, Samuel 125 
 
 Converse, Frederick 129, 237 
 
 Cortez, Ferdinand 199 
 
 Costa, Michael 125 
 
 Cowen, Frederic 125 
 
 *Cui, Cesar 40, 111 
 
 *Damrosch, Walter 129 
 
 *Debussy, Claude 109, 123, 173, 174, 175, 223 
 
 Delibes, Leo 231 
 
 ♦Donizetti, Gaetano 95, 99, 100, 102, 201, 207 
 
 Dubois, Theodore 122, 235 
 
 Dukas, Paul 123, 234 
 
 ♦Dvorak, Antonin 110, 116, 117, 141, 173,215,228 
 
 ♦Elgar, Edward William 110, 125, 236 
 
 ♦Faure, Jean Baptiste 122 
 
 Fibich, Zdenko 117 
 
 ♦Flotow, Friedrich von 216 
 
 Foote, Arthur 129 
 
 Franck, Cesar 109, 121, 122, 174, 235 
 
 Franco of Cologne 67 
 
 ♦Gabrieli, Andrea 73 
 
 Gade, Niels Wilhelm 110,114 
 
 Gallupi, Baldassare 198 
 
 ♦German, Edward 125 
 
 Glazounow, Alexander 110, 112. 
 
 387
 
 Index of Composers 
 
 Page 
 
 Glinka, Michael Ill, 214 
 
 *Gluck, Christoph Wilibald 78, 81, 99, 101, 185 
 
 186, 187, 198, 199, 200 
 
 *Goldmark, Carl 106, 109, 118, 218 
 
 *Gossec, Francois 141 
 
 Goudimel, Claude 72, 204 
 
 *Gounod, Charles 106, 122, 123, 229, 235 
 
 Gregory, Saint 65, 120 
 
 *Gretry, Andre 141 
 
 *Grieg, Edvard Hagerup 44, 110, 114, 115, 236 
 
 Guido of Arezzo 67 
 
 I Guilmant, Alexandre 122 
 
 Hale vy, Jacques 99 
 
 *Handel, George Frederick 76, 81, 82, 124, 157, 165 
 
 181, 182, 183, 184, 190, 196 
 
 *Haydn, Franz Joseph 36, 81, 82, 86, 89, 145, 165, 167, 168, 190 
 
 ♦Herbert, Victor 129, 236 
 
 Herold, Louis Joseph 99, 202 
 
 Hiller, Ferdinand 94 
 
 Hucbald of Flanders 67 
 
 *Humperdinck, Engelbert 106, 109, 118, 218, 237 
 
 Humphrey, Pelham 74, 124, 181 
 
 Indy, Vincent d' 122, 174, 234 
 
 Jensen, Adolf 94 
 
 Joachim, Joseph 107 
 
 Jomelli, Nicolo 198 
 
 Jongleurs 68 
 
 Keiser, Reinhard 75 
 
 Kjerulf, Halfdan 114 
 
 Lachner, Franz 94 
 
 Lalo, Edouard 231 
 
 Lassus, Orlando 72 
 
 La wes, Henry 124, 181 
 
 Lawes, William 124, 181 
 
 ^Leoncavallo, Ruggiero 121, 223, 227, 228 
 
 388
 
 Index of Composers 
 
 Page 
 
 *Liszt, Franz 38, 94, 95, 97, 103, 107, 116 
 
 118,169,170,197,208,209 
 
 Loeffler, Charles 129 
 
 Logroscino, Nicolo 198 
 
 Lortzing, Gustav Albert 216 
 
 Lully, Jean Baptiste de 74, 124, 181, 185 
 
 *MacDowell, Edward Alexander 110, 127, 129 
 
 Mackenzie, Alexander 125 
 
 Mahler, Gustav 118 
 
 Martucci, Giuseppe 120 
 
 Marschner, Heinrich 94, 98, 100, 195 
 
 *Mascagni, Pietro 120, 223, 227, 228 
 
 Mason, Lowell 127 
 
 *Massenet, Jules 109, 122, 232, 233 
 
 Mehul, Etienne Nicolas 99, 199, 202 
 
 *Mendelssohn, Felix Bartholdy 89, 93, 94, 122, 125 
 
 158, 169, 196, 197 
 
 *Meyerbeer, Giacomo. ... 95, 100, 102, 159, 199, 203, 204, 207, 227, 229 
 
 *Minnesingers 70, 104, 161 
 
 Minstrels 68, 161 
 
 Monteverde, Claudio 74, 140, 161, 162, 179 
 
 MOUSSORGSKY, MODESTE Ill 
 
 *Mozart, Wolfgang Amadeus 80, 83, 84, 86, 89, 99, 167, 168 
 
 187, 188, 189, 190, 218, 228, 229 
 
 Neri, St. Philip 75, 182 
 
 *Nevin, Ethelbert 129 
 
 *Nicolai, Otto 216 
 
 *Offenbach, Jacques 219 
 
 Paderewski, Ignace Jan 42 
 
 Paganini, Niccolo 95 
 
 Paine, John Knowles 129 
 
 Parker, Horatio 129, 238 
 
 Parry, Charles Hubert 125 
 
 Paisiello, Giovanni 199 
 
 Pergolesi, Giovanni 198 
 
 Peri, Jacopo 73, 179 
 
 389
 
 Index of Composers 
 
 Page 
 
 Perrin, Pietro 74, 185 
 
 Perosi, Don Lorenzo 120, 235 
 
 Piccini, Niccolo 199 
 
 *Pinsuti, Ciro 125 
 
 Planquette, Robert 216 
 
 *Ponchielli, Amilcare 223, 224 
 
 ♦Puccini, Giacomo 119, 121, 224, 225, 226, 227, 237 
 
 Purcell, Henry 74, 124, 181 
 
 Rachmaninoff, Sergei 110, 112, 113 
 
 Raff, Joachim 94 
 
 *Rameau, Jean Philippe 74, 185 
 
 Randegger, Alberto 125 
 
 Ravel, Maurice 123 
 
 Reger, Max 118, 119 
 
 Reinecke, Carl 94 
 
 Remenyi, Edouard 108 
 
 Reyer, Ernest 231 
 
 Rheinberger, Joseph 118, 228 
 
 *Rimsky-Korsakoff, Nicholas Ill 
 
 Rinnuccini, Ottavis 73, 179 
 
 ♦Rossini, Gioachino 38, 98, 99, 100, 197, 199, 200, 201 
 
 ♦Rubinstein, Anton 40, 110, 111 
 
 ♦Saint-Saens, Camille 109, 123, 174, 235 
 
 Salieri, Antonio 199 
 
 Scarlatti, Alessandro 74, 179, 180, 181 
 
 Schillings, Max r 118, 219 
 
 ♦Schubert, Franz Peter 88, 90, 92, 94, 108, 170 
 
 ♦Schumann, Georg 118, 119, 236 
 
 ♦Schumann, Robert Alexander 34, 89, 93, 94, 96 
 
 107, 108, 170, 197, 207 
 
 Schutz, Heinrich 75, 183 
 
 Scriabine, Alexander 112 
 
 Sgambatti, Giovanni 109, 120 
 
 Sibelius, Jean 110, 114, 115 
 
 Sinding, Christian 44, 114, 115 
 
 Sjogren, Emil 110, 114 
 
 ♦Smetana, Friedrich 37, 116. 215 
 
 390
 
 Index of Composers 
 
 Page 
 
 *S6dermann, August 114 
 
 Spinelli, Nicola 223, 224 
 
 Spohr, Ludwig 94, 98, 100, 195 
 
 Spontini, Gasparo 95, 99, 100, 199 
 
 Stanford, Charles Villiers 125 
 
 Stradella, Alessandro 74, 180 
 
 *Strauss, Johann 219 
 
 *Strauss, Richard 106, 109, 118, 173, 174, 175, 218 
 
 Suk, Josef 117 
 
 Sullivan, Arthur Seymour 125, 316 
 
 Suppe, Franz von 216 
 
 Svendsen, Johan 114, 115 
 
 Thomas, Ambroise 230 
 
 Thomas, Arthur Goring 125 
 
 Thomas, Theodore 127, 128 
 
 Tinctor, Johann 72 
 
 Tosti, Francesco Paulo 125 
 
 *Troubadours 68, 161 
 
 *Tschaikowsky, Peter Iljitch 108, 110, 112, 113, 173, 214 
 
 *Verdi, Giuseppe 105, 106, 109, 120, 199 ; 219, 220 
 
 221, 222, 223, 224, 225, 226, 227 
 Volkmann, Robert 94 
 
 *Wagner, Richard 70, 71, 80, 101, 102, 103, 104, 105, 106, 109 
 
 118, 146, 158, 171, 172, 205, 206, 207 
 
 208, 209, 210, 211, 212, 213, 217, 219 
 
 Wagner, Siegfried 219 
 
 *Weber, Carl Maria von 80, 92, 93, 98, 100, 170, 194, 195, 202 
 
 Weingartner, Felix 118 
 
 Widor, Charles 122 
 
 Willaert, Adrian 72, 161 
 
 *Wolf, Hugo 118, 119 
 
 *Wolf-Ferrari, Ermanno 110, 121, 224, 227, 228, 237 
 
 391
 
 Index of Choruses Suggested 
 
 Page 
 
 Adoramus Te (Palestrina) 57 
 
 America 24 
 
 And the Glory of the Lord, "Messiah" (Handel) 185 
 
 Angel, The (Rubinstein) 113 
 
 Annie Laurie 18, 50 
 
 Anvil Chorus, "Trovatore" (Verdi) 18, 121 
 
 Antioch (Old Hymn) (Handel) 75 
 
 Ash Grove 49 
 
 Auld Lang Syne 51 
 
 Austrian National Hymn (Haydn) 25, 82 
 
 Ave Maria (Gounod) 134 
 
 Baal, We Cry to Thee, "Elijah" (Mendelssohn) 134, 198 
 
 Ballade of Jeanne d'Arc (Old French) 57 
 
 Battle Hymn of the Hussites 38 
 
 Beautiful Springtime (Home to our Mountains), "II Trova- 
 tore" (Verdi) 19, 121 
 
 Believe Me If All Those Endearing Young Charms (Moore) . 13 
 
 Bell Doth Toll, The 35 
 
 Bells of Aberdovey (Old Welsh) 22 
 
 Ben Bolt (Kneass) 16 
 
 Blacksmith, The, "Marriage of Figaro" (Mozart) 85, 190 
 
 Blow, Bugle, Blow (Tennyson-Neidlinger) 130 
 
 Blow, Gentle Gales (Bishop) 126 
 
 Blue Danube Waltz (Strauss) 134 
 
 Boat Song, "Oberon" (von Weber) 95, 196 
 
 Bosnian Shepherd's Song 29, 40 
 
 Break, Break, Break (Tennyson-Neidlinger) 130 
 
 Bridal Chorus, "Lohengrin" (Wagner) 210 
 
 Broken Ring, The (Gluck) 81, 187 
 
 Brooklet in the Wood (Rheinberger) 120 
 
 Build Thee More Stately Mansions (Zuni Indian Melodies) 
 
 (Arthur Farwell) 130 
 
 By Babylon's Wave (Gounod) 134 
 
 392
 
 Index of Choruses Suggested 
 
 Page 
 
 Canst Thou Count the Stars? 37 
 
 Captive (From Art Songs) (Handel) 75 
 
 Chorale (Michael Praetorius, 1586-1610) 57 
 
 Chorale (Johann Kriiger) 57 
 
 Chorus from Finale, "Lucia di Lammermoor" (Donizetti) 203 
 
 Campbells Are Comin' 51 
 
 Columbia, the Gem of the Ocean 25 
 
 Come, O Creator (Beethoven) 88 
 
 Come Unto Him, 'The Messiah" (Handel) 77 
 
 Come Unto These Yellow Hills 53 
 
 Come Where My Love Lies Dreaming 55 
 
 Come, Ye Disconsolate (von Weber) 196 
 
 Cossack's Song, The 29 
 
 Country Wedding, The 38 
 
 Cradle Song (Favorite of Jenny Line!) 46 
 
 Cradle Song (Schubert) 91 
 
 Dannebrog, The (Denmark) 27 
 
 Daybreak (Faning) 134 
 
 Dixie Land 55 
 
 Early to Bed, "Round" 35 
 
 Estudiantina (Lacome) 134 
 
 Evening Hymn of St. Ambrose (Piericini) 57 
 
 Evening Star, "Tannhauser" (Wagner) 208 
 
 Fading, Still Fading (Portuguese) 33 
 
 Farewell to the Forest (Mendelssohn) 95 
 
 Father, Hear the Prayer We Offer (Go, Forsake Me) (Mozart) 85 
 
 Flow Gently, Sweet Afton 50 
 
 Forest, The (Rheinberger) 120 
 
 Forth to the Battle 49 
 
 Freedom, Our Queen (Holmes- John K. Paine) 130 
 
 Gloria, "Twelfth Mass" (Mozart) 134, 191 
 
 God Save the King 53 
 
 Good Night, "Martha" (Flotow) 217 
 
 Greeting (Brahms) 108 
 
 393
 
 Index of Choruses Suggested 
 
 Page 
 
 Gypsy Chorus, "Bohemian Girl" (Balfe) 217 
 
 Gypsies' Song, The (Beethoven) 194 
 
 Haakon's Cradle Song (Grieg) 44, 111 
 
 Hail, Bright Abode, "Tannhauser" (Wagner) 208 
 
 Hallelujah Chorus, "Messiah" (Handel) 185 
 
 Hail, Columbia 27, 55 
 
 Hark, Hear the Drums Beat, "Barber of Seville" (Rossini) .. .200 
 
 Harvester, The (Old Russian) 42 
 
 Harp That Once Thro' Tara's Halls 47 
 
 Haste Thee, Nymphs, "L' Allegro" (Handel) 182 
 
 Heart Bowed Down, "Bohemian Girl" (Balfe) 217 
 
 Hear Me, Norma! "Norma" (Bellini) 203 
 
 Heavens are Telling, "Creation" (Hadyn) 191 
 
 Help Us, Lord (Bach) 79 
 
 He, Watching Over Israel, "Elijah" (Mendelssohn) 198 
 
 Highlands, The (Boieldieu) 101 
 
 Highland Cradle Song (Schumann) 95 
 
 Holy Night 37 
 
 Home, Sweet Home (Payne-Bishop) 16 
 
 Horn, The (Old Swedish) 46 
 
 How Can I Leave Thee? 37 
 
 How Lovely Are the Messengers, "St. Paul" (Mendelssohn) 134, 198 
 Hunting Song, "Freischiitz" (von Weber) 196 
 
 I am a Fowler, "Magic Flute" (Mozart) 190 
 
 I Dreamt I Dwelt in Marble Halls, "Bohemian Girl" (Balfe) . 126 
 
 Inflammatus, "Stabat Mater" (Rossini) 200 
 
 In Autumn (Gade) 116 
 
 In Old Madrid (Trotere) 134 
 
 Italian Hymn (Giardini) 20, 31 
 
 I Would that My Love (Mendelssohn) 17 
 
 Jerusalem, "Gallia" (Gounod) 134 
 
 Jolly Miller, The 53 
 
 Juanita 33 
 
 Largo, "Xerxes ' ' (Handel) 77, 182 
 
 Larghetto (Beethoven) 88 
 
 Last Night the Nightingale Woke Me (Kjerulf) 44 
 
 Lass of Richmond Hill 24, 53 
 
 394
 
 Index of Choruses Suggested 
 
 Page 
 
 Last Rose of Summer (Flotow) 217 
 
 La Paloma (Spanish) 33 
 
 Legend of the Bells. "Chimes of Normandy" (Planquette) . .35, 217 
 
 Lift Thine Eyes, "Elijah" (Mendelssohn) 198 
 
 Lift up Your Heads (Gluck) 81, 187 
 
 List the Trumpets' Thrilling Sound, "Huguenots" 101,205 
 
 Listen, Lordlings 53 
 
 Lord is My Shepherd, The 24 
 
 Lord God of Abraham, "Elijah" (Mendelssohn) 198 
 
 Lost Chord (Sullivan) 126 
 
 Low-Back'd Car (Lover) 47 
 
 Lullaby (Brahms) 14, 108 
 
 Maiden's Song, A (Old Bohemian) 118 
 
 Marching Through Georgia 55 
 
 Maryland 55 
 
 Marseillaise 35 
 
 Masaniello (Auber) 101 
 
 Massa Dear ' 55 
 
 May Song 43 
 
 Melody in F (Rubinstein) 113 
 
 Memorial March (Chopin) 98 
 
 Men of Harlech 49 
 
 Merry Life (Denza) 31, 134 
 
 Miller's Wooing (Faning) 126 
 
 Minnelied (Brahms) 108 
 
 Minstrel Boy (Old Irish) 25 
 
 Minuet (Mozart) 85 
 
 Miserere, "II Trovatore" (Verdi) 121 
 
 Molly Bawn 47 
 
 Morning Hymn (Beethoven) 194 
 
 Morning Songs, "Samson and Delilah" (Saint-Saens) 124 
 
 My Dear Old Mother 44 
 
 My Faithful Johnny (Beethoven) 88 
 
 My Heart's in the Highland 50 
 
 My Jesus, As Thou Wilt (von Weber) 95, 196 
 
 My Love Dwelt in a Northern Land (Elgar) 126, 135 
 
 My Old Kentucky Home 14 
 
 My Salvation's Tower (Hebrew tune, sung at Feast of Judas 
 Maccabseus) 57 
 
 395
 
 Index of Choruses Suggested 
 
 Page 
 
 National Aib of Sweden (Charles John, Our Brave King) 46 
 
 National Hymn of Norway 44 
 
 \ \/aheth (Gounod) 107 
 
 Night Picture, A (Cesar Cui) 113 
 
 \i )\v the Day is Over (Barnby) 12 
 
 O Captain, My Captain (Walt Whitman-Edgar Stillman Kelley) . 130 
 
 Ode to Joy, "Ninth Symphony" (Beethoven) 191 
 
 O, for the Wings of a Dove (Mendelssohn) 135 
 
 O, Isis and Osiris (Lovely Peace), "Magic Flute" (Mozart). . . .189 
 
 O, Italia, Beloved, "Lucrezia Borgia" (Donizetti) 101, 135, 203 
 
 Olav Trygvason (Grieg) Ill 
 
 Old Black Joe 55 
 
 Old Oaken Bucket (Woodworth) 13 
 
 O, No, John (Old English) 25 
 
 Over Hill, Over Dale (Mendelssohn) 95 
 
 Over the Summer Sea (La donna e mobile), "Rigoletto" (Verdi). 178 
 
 ( ) Wert Thou in the Cauld Blast (Burns-Mendelssohn) 17 
 
 O Worship the King (Haydn) 82 
 
 Peasant Wedding (Sodermann) 116 
 
 Pigtail, The 24 
 
 Pilgrim's Chorus, "Tannhaiuser" (Wagner) 208 
 
 Piper, The (Bohemian Folk Song) 118 
 
 Pirates' Song, "Pirates of Penzance" (Sullivan) 217 
 
 Poets' Tomb, The (Gade) 116 
 
 Polish Fatherland Song 43 
 
 Polish National Song (Old Folk Song) 43 
 
 Praise Ye the Father (Gounod) 107 
 
 Praise Ye the Lord (Saint-Saens) 124 
 
 Red Sarafan, The (Lwolf) 42 
 
 Red, White and Blue 55 
 
 Robin Adair 50 
 
 Rule Britannia (Arne) 53 
 
 Russian National Hymn 42 
 
 Sandman (Brahms) 108 
 
 Santa Lucia 31 
 
 Scotland's Burning, "Round" 35 
 
 Scots, Wha' Hae (Old Scotch) (Burns) 12, 27 
 
 396
 
 Index of Choruses Suggested 
 
 Page 
 
 See, the Conquering Hero Comes, "Judas Maccabaeus" (Handel) 77 
 
 See What Grace (Gluck) 81, 187 
 
 Serenade (Bohemian Air) 38 
 
 Serenade, "Fidelio" (Beethoven) 194 
 
 Seymour (von Weber) 196 
 
 Silent Now the Drowsy Bird (Barcarolle from "Tales of Hoff- 
 man") (Offenbach) 19 
 
 Sing, Smile, Slumber (Gounod) 135 
 
 Skies Resound, The (Beethoven) 88, 194 
 
 Skylark, For Thy Wing (Smart) 22 
 
 Soldiers' Chorus, "Faust" (Gounod) 135, 178 
 
 Song of a Thousand Years 55 
 
 Song of the Pilgrim (Bach) 79 
 
 Song of the Ghost Dance (Zuni Melodies, arranged by Arthur 
 
 Farwell) 130 
 
 Song of Summer, A (Max Bruch) 120 
 
 Songs my Mother Taught Me (Dvorak) 215 
 
 Soprano Solo, Act I, "Daughter of the Regiment" (Donizetti) .. 203 
 
 Spinning Chorus, "Flying Dutchman" (Wagner) 105, 208 
 
 Star Spangled Banner 24, 55 
 
 Sun Smiles in Beauty, The (Old Welsh Air — Ash Grove) 49 
 
 Sweet and Low (Barnby) 20 
 
 Swiss Battle Song, "William Tell" (Rossini) 200 
 
 Tannenbaum 37 
 
 Then You'll Remember Me, "Bohemian Girl" (Balfe) 126 
 
 Thou Art Like a Flower (Liszt) 98 
 
 Thou Sublime, Sweet Evening Star, "Tannhauser" (Wagner) . . 135 
 
 Three Blind Mice, "Round" 35 
 
 Thy Flow'ry Banks (O, Maiden Fair), "Huguenots" (Meyerbeer) . 205 
 
 To God on High (Ancient Church Tune) 57 
 
 To Nature (Swedish Folk Song) 46 
 
 Troika, The 42 
 
 Unfold Ye Portals, "Redemption" (Gounod) 107, 135 
 
 Unto Thee Will I Sing (Bach) 79 
 
 Vesper Hour, The (Cesar Franck) 124 
 
 Vikings, The (Faning) 126, 135 
 
 Vow, The 37 
 
 397
 
 Index of Choruses Suggested 
 
 Pa<;e 
 
 Wake, O Sweet Rose (Schumann) 95 
 
 Waltz, "Faust" (Gounod) 135 
 
 Wanderer, The (Schubert) 91 
 
 Wanderer's Night Song (Rubinstein) 113 
 
 War Songs of the Normans (Ancient Tune) 57 
 
 War Song of the Hussites (Old Bohemian) 118 
 
 Wearing of the Green 27, 47 
 
 Wedding March, "Lohengrin" (Wagner) 135 
 
 Welcome, Sweet Springtime (Rubinstein) 16 
 
 Welcome the Morning (Grieg) Ill 
 
 Welcome to Spring (Purcell) 126 
 
 Wha'll Be King But Charlie? (Old Scotch) 25, 51 
 
 When Daylight's Going, "La Sonnambula" (Bellini) 203 
 
 Who Treads the Path of Duty (Mozart) 190 
 
 Winter Hath not a Blossom, The (Reinecke) 95 
 
 Wild Rose, The (Schubert) 91 
 
 Wind, Gentle Evergreen, "Round" (Old English) 35 
 
 With Flowers of the Best (Massenet) 124 
 
 With Joy th' Impatient Husbandman, "The Seasons" (Haydn) . .191 
 
 With Sheathed Swords, "Damascus" (Costa) 126 
 
 With Verdure Clad, "The Creation" (Haydn) 191 
 
 Yankee Doodle 55 
 
 Zion, Awake (Costa) 126 
 
 Zionward (Come, Thou Fount) (Old Freedsman) 29 
 
 Cantatas Suggested 
 
 Building of the Ship 135 
 
 Crusaders (Gade) 135 
 
 Erl King's Daughter (Gade) 135 
 
 Fair Ellen (Max Bruch) 135 
 
 Gallia (Gounod) 135 
 
 Joan of Arc (Gade) 135 
 
 King Rene's Daughter (Smart) 135 
 
 Lady of Shalott, The (Tennyson-Bendall) 135 
 
 Melusina (Hoffman) 135 
 
 Rose Maiden (Cowen) 135 
 
 Ruth (Gaul) 135 
 
 Wreck of the Hesperus (Anderton) 135 
 
 398
 
 Index of Illustrations 
 
 Pagk. 
 
 Angel with Lute (da Forli) 7 
 
 Angel with Lute 59 
 
 Angel with Tambourine (Fra Angelica) 7 
 
 Angels with Lute and Viol (Fra Bartolommeo) 74 
 
 Apollo 64 
 
 Assyrian Instruments 60, 61 
 
 Bach, John Sebastian: 
 
 Portrait 77 
 
 Birthplace 78 
 
 Morning Prayers in House of Bach 79 
 
 St. John's Church, where Bach is Buried 78 
 
 Town Pipers at Period of Bach 163 
 
 Bantock, Prof. Granville 125 
 
 Beethoven: 
 
 House in Bonn, where Beethoven was born 87 
 
 Birthroom 87 
 
 Birthplace from Courtyard 87 
 
 Manuscript 87 
 
 Portraits 192 
 
 Bellini, Vincenzo 201 
 
 Berlioz, Hector 96 
 
 Bishop, Sir Henry Rowley 124 
 
 Bizet, Georges 231 
 
 Brahms, Johannes 107 
 
 Brass Choir 155 
 
 Bruch, Max 236 
 
 Bull, Ole 114 
 
 ( JhADWICK, ( iEORGE W 127 
 
 ( 'haminade, Cecile 122 
 
 ( "iiarpentier, Gustave 234 
 
 ( 'llERUBINI, LUIGI 99 
 
 Chopin, Frederic Francois 96 
 
 Church of St. Ambrose, Milan 65 
 
 399
 
 Index of Illustratio n s 
 
 p \ci 
 
 ( in Kin of St. Catherine, Nurnberg 69 
 
 ( Jhurch of St. Jullien, Paris, 1330 68 
 
 ( !oleridge-Taylor, Samuel 126 
 
 ( loLLECTION OF PAUL DE Wet, LEIPSIC I 10 
 
 ( Jolon] \i. Days 55 
 
 Court of the Lions, Alhambra 32 
 
 < 'kywth, Two Ex vmples of 161 
 
 Cui, Cesar 112 
 
 Czardas, Dancing the 39 
 
 Debussy, Claude 234 
 
 Decorations in Minstrels' Hall, Wartburg Castle 70 
 
 Die Wartburg 105 
 
 Donizetti, Gaetano 202 
 
 Dvorak, Anton in 117 
 
 Egyptian Dance 62 
 
 Elgar, Sir Edward 125 
 
 English May Festival 52 
 
 "Eurydice," Title Page 179 
 
 "Eurydice," Firsi Page 180 
 
 Folk Instruments 162 
 
 Franck, Cesar 122 
 
 French Representation of Old Grecian Dance 63 
 
 Glazounow, Alexandre 112 
 
 Glinka, Michael 111 
 
 Gluck, Christopher Willibald 80, 186 
 
 Gounod, Charles 229 
 
 Gregorian Antiphonal, First Pack 66 
 
 Gregory Dictating His Antiphonal 67 
 
 Grieg, Edvard Hagerup 114 
 
 Guido of Arezzo 67 
 
 Handel, George Frederic: 
 
 Portraits 76, 184 
 
 The Water Music 164 
 
 Haydn, Franz Josef 82
 
 Index of Illustrations 
 
 Page 
 
 Herbert, Victor 237 
 
 Humperdinck, Engelbert 119 
 
 Indy, Vincent d' 234 
 
 Irish Jig 46 
 
 Jester, The (Franz Hals) 24 
 
 Leoncavallo, Ruggiero 227 
 
 Liszt, Franz 97 
 
 MacDowell, Edward 127 
 
 Manuscript (Fourteenth Century) of Hymn to St. John the 
 
 Baptist 66 
 
 Manuscript, Specimen of Hucbald 66 
 
 Manuscripts, Old 66 
 
 Mascagni, Pietro 228 
 
 Mason, Lowell Frontispiece 
 
 Massenet, Jules 232 
 
 Mendelssohn-Bartholdv, Felix 93 
 
 Meyerbeer, Giacomo 203 
 
 Minuet — French 35 
 
 Mozart, Wolfgang Amadeus: 
 
 Portrait 1 88 
 
 Birthroom 84 
 
 House in Salzburg where Mozart was Born. .84 
 
 Statue -84 
 
 Nurnberg, The Home ok the Meistersingers .69 
 
 Oriental Sword Dance 28 
 
 Parker, Horatio 237 
 
 Percussion Instruments 160 
 
 Perosi, Don Lorenzo 120 
 
 Personification of Music with the Auxiliaries, the Parts 
 
 and the Musicians 72 
 
 Puccini, Giacomo 220 
 
 Purcell. Henry , L81 
 
 401
 
 / // d e x of III ii s t r a t i o 
 
 n s 
 
 Page 
 
 Hachm \M\niK. Sergei 113 
 
 Rameau, Jean Philippe 73, 185 
 
 Reger, Max 1 IS 
 
 Rossini, GlOACHiNO 199 
 
 l!i binstein, Anton 109 
 
 Russian Dance 40 
 
 Russian Peasant Dance 20 
 
 s u\ i Cecilia (Raphael) lf> 
 
 s unt-Saens, Camille 123 
 
 Salterello — Roman Dance 30 
 
 Schubert, Franz Peter: 
 
 Portrait 89 
 
 Birthplace in Vienna 90 
 
 House in which Schubert Died 90 
 
 Grave 90 
 
 Schumann, Robert 93 
 
 Scotch Dance, "The Reel of Tulloch" 49 
 
 Scotch Sword Dance 50 
 
 Sibelius, Jan 115 
 
 Sinding, Prof. Christian 115 
 
 Singing Boys (Delia Robia) 18 
 
 Smetana, Friedrich 215 
 
 Spanish Fandango 33 
 
 Spohr, Louis 194 
 
 Stradivari, Antonio 141 
 
 String Choir 138 
 
 Strauss, Richard 173 
 
 Student Orchestra, Richmond, Ind 132 
 
 Sullivan, Sik Arthur 216 
 
 Tablature of the Meistersingers of Nurnberg 69 
 
 Tarantella 30 
 
 Tarantella — Neapolitan Dance 31 
 
 Terpsichore 63 
 
 Thomas, Theodore 128 
 
 Thomas Orchestra, Seating Arrangement of 160 
 
 Town Piper (Durer) 36 
 
 Tschaikowsky, Peter Ilytsch 174 
 
 402
 
 / // d ex of 1 I I ii s t r a t i o n s 
 
 Page 
 
 Verdi, Giuseppe 222 
 
 Virginia Reel 53 
 
 Wagner, Wilhelm Richard: 
 
 Portrait 101 
 
 "Wahnfried" Home in Bayreuth 205 
 
 Grave in Bayreuth 200 
 
 Wagner Theatre at Bayreuth, showing Hidden Orchestra 171 
 
 Die Meistersinger: 
 
 Eva Bestows the Laurel Wreath 213 
 
 Lohengrin: 
 
 Opera House in Weimar where "Lohengrin" was produced . 208 
 
 Vorspiel to "Lohengrin" (Fantin-Latour) 209 
 
 Lohengrin's Departure 210 
 
 Tannhauser: 
 
 Elizabeth at the Shrine 207 
 
 Tannhauser on his Way to Wartburg 102 
 
 Tannhauser at the Wayside Gross 102 
 
 Weber, Garl Maria von 92 
 
 von Weber Statue in Dresden 195 
 
 Willaert, Adrian 71 
 
 Wolf, Hugo 119 
 
 Wood-Wind Ghoir 149 
 
 4(«
 
 General Index 
 
 1 J AGE 
 
 Foreword 3 
 
 Preface 5 
 
 Coi rse I The Principles of Music 10 
 
 Coi rse II — The History of Music 56 
 
 Course III The Orchestra 133 
 
 < !ourse I V The Opera 176 
 
 A\ u.ysks 239 
 
 Bibliography 348 
 
 Examples of Form 354 
 
 Pronunciations 361 
 
 [ndex of Records 36s 
 
 [ndex of Composers 386 
 
 [ndex of Choruses Si ggested 392 
 
 ( \ \tatas Suggested 398 
 
 Index of Illustrations 399
 

 
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