FOOTNOTES:[32]Musiciens d'aujourd'hui; Romain Rolland.[33]Harmonie et Melodie.C. Saint-Saëns.[34]César Franck, by Vincent d'Indy.[35]Inquest on the influence of Germany, especially of Wagner, on French music, January, 1903.[36]"Revue Politique et Littéraire" (Revue Bleue), March 26, 1904.[37]Revue Musicale S. I. M., February 15, 1913.[38]Cours de Composition Musicale, Book I, page 123.[39]Cours, I, 27.[40]See the present writer's paper on "The Tyranny of the Bar-line," New Music Review, December, 1909.[41]Cours, I, 217.[42]Cours, I, 40.[43]Compare what is said of Debussy, for example, above, page 143.[44]Cours, I, 91 and 116.[45]Cours, Book I, pp. 126 and 132; Book II, Part I, p. 245.[46]Cours, Book II, Part I, pp. 454, 452.[47]Cours, II, I, 165.[48]Compare, also, the theme of the Piano Sonata, in E minor, beginning with the note B, with the same theme altered, "Mutatum," in E major, beginning with G sharp.[49]See for instance the "Poème des Montagnes," opus 15, for piano, and the Symphony on a Mountain Theme, opus 25, for piano and orchestra.[50]Note the progress from the dark key of C minor to the bright B major in "Dawn," reversed in "Evening," as another instance of the expressive use of modulation.[51]The references are to the pocket edition of the score, published by Durand.[52]Cours de composition musicale, Book II, Part I, pp. 241-242.[53]"Le Bon Sens,"Revue Musicale, S. I. M., November, 1912.[54]Cours, Book I, Part II, pp. 406, 411, 419.[55]Tribune de Saint-Gervais, March, 1899.[56]"Life of Franck," French edition, page 40.[57]Cours, Book II, Part I, 487.[58]Revue Musicale, December 1, 1906, quoted.
FOOTNOTES:
[32]Musiciens d'aujourd'hui; Romain Rolland.
[32]Musiciens d'aujourd'hui; Romain Rolland.
[33]Harmonie et Melodie.C. Saint-Saëns.
[33]Harmonie et Melodie.C. Saint-Saëns.
[34]César Franck, by Vincent d'Indy.
[34]César Franck, by Vincent d'Indy.
[35]Inquest on the influence of Germany, especially of Wagner, on French music, January, 1903.
[35]Inquest on the influence of Germany, especially of Wagner, on French music, January, 1903.
[36]"Revue Politique et Littéraire" (Revue Bleue), March 26, 1904.
[36]"Revue Politique et Littéraire" (Revue Bleue), March 26, 1904.
[37]Revue Musicale S. I. M., February 15, 1913.
[37]Revue Musicale S. I. M., February 15, 1913.
[38]Cours de Composition Musicale, Book I, page 123.
[38]Cours de Composition Musicale, Book I, page 123.
[39]Cours, I, 27.
[39]Cours, I, 27.
[40]See the present writer's paper on "The Tyranny of the Bar-line," New Music Review, December, 1909.
[40]See the present writer's paper on "The Tyranny of the Bar-line," New Music Review, December, 1909.
[41]Cours, I, 217.
[41]Cours, I, 217.
[42]Cours, I, 40.
[42]Cours, I, 40.
[43]Compare what is said of Debussy, for example, above, page 143.
[43]Compare what is said of Debussy, for example, above, page 143.
[44]Cours, I, 91 and 116.
[44]Cours, I, 91 and 116.
[45]Cours, Book I, pp. 126 and 132; Book II, Part I, p. 245.
[45]Cours, Book I, pp. 126 and 132; Book II, Part I, p. 245.
[46]Cours, Book II, Part I, pp. 454, 452.
[46]Cours, Book II, Part I, pp. 454, 452.
[47]Cours, II, I, 165.
[47]Cours, II, I, 165.
[48]Compare, also, the theme of the Piano Sonata, in E minor, beginning with the note B, with the same theme altered, "Mutatum," in E major, beginning with G sharp.
[48]Compare, also, the theme of the Piano Sonata, in E minor, beginning with the note B, with the same theme altered, "Mutatum," in E major, beginning with G sharp.
[49]See for instance the "Poème des Montagnes," opus 15, for piano, and the Symphony on a Mountain Theme, opus 25, for piano and orchestra.
[49]See for instance the "Poème des Montagnes," opus 15, for piano, and the Symphony on a Mountain Theme, opus 25, for piano and orchestra.
[50]Note the progress from the dark key of C minor to the bright B major in "Dawn," reversed in "Evening," as another instance of the expressive use of modulation.
[50]Note the progress from the dark key of C minor to the bright B major in "Dawn," reversed in "Evening," as another instance of the expressive use of modulation.
[51]The references are to the pocket edition of the score, published by Durand.
[51]The references are to the pocket edition of the score, published by Durand.
[52]Cours de composition musicale, Book II, Part I, pp. 241-242.
[52]Cours de composition musicale, Book II, Part I, pp. 241-242.
[53]"Le Bon Sens,"Revue Musicale, S. I. M., November, 1912.
[53]"Le Bon Sens,"Revue Musicale, S. I. M., November, 1912.
[54]Cours, Book I, Part II, pp. 406, 411, 419.
[54]Cours, Book I, Part II, pp. 406, 411, 419.
[55]Tribune de Saint-Gervais, March, 1899.
[55]Tribune de Saint-Gervais, March, 1899.
[56]"Life of Franck," French edition, page 40.
[56]"Life of Franck," French edition, page 40.
[57]Cours, Book II, Part I, 487.
[57]Cours, Book II, Part I, 487.
[58]Revue Musicale, December 1, 1906, quoted.
[58]Revue Musicale, December 1, 1906, quoted.