Rheinberger,86, (101).
(Richter, Jean Paul),71.
(Riemann),10,34,80,109,153,164.
Rietz,77.
Rimski-Korsakoff,154.
Ritter, A.,105, (107).
(Ritter, Dr.),162.
Rogers,172.
(Rösch),110,113,115.
Rossini,64.
Rousseau,37.
Rubinstein,155, (81).
Rübner,173.
Sacchini,40.
SAINT-SAËNS,131, (Music,247).
Salieri,40.
Sammartini,42,43.
(Savanarola),6.
Sax,12,63.
SCARLATTI,22, (Music,194).
Scarlatti, D.,25.
Scharwenka, X.,170.
Scheel,171.
Scheidt,25.
(Schiller),187.
Schillings,123.
Schoenefeld,168.
(Schopenhauer),186.
Schubert,74.
Schuch,118.
Schumann,78.
Schumann, Georg,123.
Schütz,17.
Seidl,171.
Serow,153.
Sgambati,143.
Shelley,172.
Sherwood,164.
Sibelius,151.
Sinding,151.
Smetana,147.
Smith, G.,172.
Smith, W.G.,173.
Södermann,149.
Sousa,172.
Spalding,173.
(Spencer),186.
Spohr,70.
Spontini,63.
Stamitz,42,44.
Stanford,160, (159).
Steffani,21.
Stennhammer,151.
Story,173.
Strauss, J.,124.
STRAUSS, RICHARD,106, (Music,267).
Striggio,7.
Strong,172.
Stubbs,172.
Suk,147.
Sullivan,158.
Suppé,124.
Svendsen,150.
Sylvester,2.
Tallys,4.
Telemann,33.
Theile,33.
Thomas, Ambrose,129.
Thomas, A. Goring,159.
Thomas, Theodore,170,171, (109).
Thuille,123.
Tomlins,171,173.
Torelli,21.
TSCHAIKOWSKY,155, (Music,254).
van der Stucken,169.
van Malder,44.
Verdi,140, (59).
Viadana,7.
Vidal,136.
Vivaldi,21.
Volkmann,79.
von Bülow,103,106,107.
WAGNER,93, (72,92), (Music,238).
Walther, Benno,106.
Wanhal,44.
Warren, R.H.,172.
Warren, S.,172.
WEBER,71, (Music,215).
Weingartner,105.
White,166.
Whiting,172.
Whitney,172.
Widor,136.
Willaert,3.
(Willeby),159,160.
Wolf,123.
Wolf-Ferrari,144.
Zeck,169.
Zerrahn,171.
“AN undertaking which,” saysW.S. Henderson, inThe Atlantic Monthly, “will suffice for many years to come, and will remain for all time a monument to the learning, patience, and judgment of the editor.”A New EditionRevised and greatly enlarged ofGrove’s Dictionary ofMusic and MusiciansEDITED BYJ.A. FULLER MAITLAND, M.A., F.S.A.In five 8vo volumes, each illustrated with a photogravure and twenty-four full-page half-tone plates, besides many illustrations in the text.“Unquestionably the most valuable work of the kind in English, and at present superior to any other in any language, considering its encyclopædic character and the substantial quality of its most important articles.”—The New York Times.“The best and most comprehensive dictionary of music is still the pioneer one.... Grove’s ‘Dictionary of Music and Musicians’ has become a standard work without a rival.”—The Review of Reviews.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
“AN undertaking which,” saysW.S. Henderson, inThe Atlantic Monthly, “will suffice for many years to come, and will remain for all time a monument to the learning, patience, and judgment of the editor.”A New EditionRevised and greatly enlarged ofGrove’s Dictionary ofMusic and MusiciansEDITED BYJ.A. FULLER MAITLAND, M.A., F.S.A.In five 8vo volumes, each illustrated with a photogravure and twenty-four full-page half-tone plates, besides many illustrations in the text.“Unquestionably the most valuable work of the kind in English, and at present superior to any other in any language, considering its encyclopædic character and the substantial quality of its most important articles.”—The New York Times.“The best and most comprehensive dictionary of music is still the pioneer one.... Grove’s ‘Dictionary of Music and Musicians’ has become a standard work without a rival.”—The Review of Reviews.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
“AN undertaking which,” saysW.S. Henderson, inThe Atlantic Monthly, “will suffice for many years to come, and will remain for all time a monument to the learning, patience, and judgment of the editor.”
A New Edition
Revised and greatly enlarged of
Grove’s Dictionary ofMusic and Musicians
EDITED BY
J.A. FULLER MAITLAND, M.A., F.S.A.
In five 8vo volumes, each illustrated with a photogravure and twenty-four full-page half-tone plates, besides many illustrations in the text.
In five 8vo volumes, each illustrated with a photogravure and twenty-four full-page half-tone plates, besides many illustrations in the text.
“Unquestionably the most valuable work of the kind in English, and at present superior to any other in any language, considering its encyclopædic character and the substantial quality of its most important articles.”—The New York Times.
“The best and most comprehensive dictionary of music is still the pioneer one.... Grove’s ‘Dictionary of Music and Musicians’ has become a standard work without a rival.”—The Review of Reviews.
PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
By DANIEL GREGORY MASONEditor of “Masters in Music,” Lecturer inthe New York Normal College and in theExtension Department of Columbia UniversityBeethoven and His ForerunnersFour portraits and 25 plates. Cloth, $1.50 net“Mr. Mason has brought the same clear thought, suggestiveness and philosophic spirit to bear upon this subject as he exhibited in his former volume, and the result is a treatment that will be found stimulating by all who approach music as something more than a mere sensuous pleasure.”—Richard Aldrich in The Music Review.The Romantic Composers12mo, cloth, $1.75 netThe composers treated are Schubert, connecting link between Beethoven and the “romantic” school; Schumann, who created a new type of piano music; Mendelssohn, who anticipated the orchestral style of to-day; Chopin, the supreme master of the pianoforte; Berlioz, the pioneer of the dramatic symphony and a virtuoso of the orchestra; and Liszt, who contributed to music that form,—the symphonic poem,—most persistently cultivated by modern musicians.“Mr. Daniel Mason is a critic of music whose deliverances one may not ignore. Since the appearance, four years ago, of his volume of studies in modern music, from Grieg to Brahms, he has been recognized as an uncommonly able commentator upon the most difficult and evasive of the arts. He has scholarship, he is penetrating and alert, and he is master of a style at once dignified and engaging, distinguished and precise.”—Bookman.From Grieg to BrahmsCloth, $1.25 net“A peculiarly sane and readable book, enriched and not merely bedecked with literary allusions, and at all times reasonable and sincere.”—Mail and Express.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
By DANIEL GREGORY MASONEditor of “Masters in Music,” Lecturer inthe New York Normal College and in theExtension Department of Columbia UniversityBeethoven and His ForerunnersFour portraits and 25 plates. Cloth, $1.50 net“Mr. Mason has brought the same clear thought, suggestiveness and philosophic spirit to bear upon this subject as he exhibited in his former volume, and the result is a treatment that will be found stimulating by all who approach music as something more than a mere sensuous pleasure.”—Richard Aldrich in The Music Review.The Romantic Composers12mo, cloth, $1.75 netThe composers treated are Schubert, connecting link between Beethoven and the “romantic” school; Schumann, who created a new type of piano music; Mendelssohn, who anticipated the orchestral style of to-day; Chopin, the supreme master of the pianoforte; Berlioz, the pioneer of the dramatic symphony and a virtuoso of the orchestra; and Liszt, who contributed to music that form,—the symphonic poem,—most persistently cultivated by modern musicians.“Mr. Daniel Mason is a critic of music whose deliverances one may not ignore. Since the appearance, four years ago, of his volume of studies in modern music, from Grieg to Brahms, he has been recognized as an uncommonly able commentator upon the most difficult and evasive of the arts. He has scholarship, he is penetrating and alert, and he is master of a style at once dignified and engaging, distinguished and precise.”—Bookman.From Grieg to BrahmsCloth, $1.25 net“A peculiarly sane and readable book, enriched and not merely bedecked with literary allusions, and at all times reasonable and sincere.”—Mail and Express.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
By DANIEL GREGORY MASON
Editor of “Masters in Music,” Lecturer inthe New York Normal College and in theExtension Department of Columbia University
Beethoven and His Forerunners
Four portraits and 25 plates. Cloth, $1.50 net
“Mr. Mason has brought the same clear thought, suggestiveness and philosophic spirit to bear upon this subject as he exhibited in his former volume, and the result is a treatment that will be found stimulating by all who approach music as something more than a mere sensuous pleasure.”—Richard Aldrich in The Music Review.
The Romantic Composers
12mo, cloth, $1.75 net
The composers treated are Schubert, connecting link between Beethoven and the “romantic” school; Schumann, who created a new type of piano music; Mendelssohn, who anticipated the orchestral style of to-day; Chopin, the supreme master of the pianoforte; Berlioz, the pioneer of the dramatic symphony and a virtuoso of the orchestra; and Liszt, who contributed to music that form,—the symphonic poem,—most persistently cultivated by modern musicians.
The composers treated are Schubert, connecting link between Beethoven and the “romantic” school; Schumann, who created a new type of piano music; Mendelssohn, who anticipated the orchestral style of to-day; Chopin, the supreme master of the pianoforte; Berlioz, the pioneer of the dramatic symphony and a virtuoso of the orchestra; and Liszt, who contributed to music that form,—the symphonic poem,—most persistently cultivated by modern musicians.
“Mr. Daniel Mason is a critic of music whose deliverances one may not ignore. Since the appearance, four years ago, of his volume of studies in modern music, from Grieg to Brahms, he has been recognized as an uncommonly able commentator upon the most difficult and evasive of the arts. He has scholarship, he is penetrating and alert, and he is master of a style at once dignified and engaging, distinguished and precise.”—Bookman.
From Grieg to Brahms
Cloth, $1.25 net
“A peculiarly sane and readable book, enriched and not merely bedecked with literary allusions, and at all times reasonable and sincere.”—Mail and Express.
PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The Historyof American ArtEdited byJohn C. Van DykeThe HistoryofAmerican MusicByLOUIS C. ELSONIllustrated with twelve photogravure plates and more thanone hundred text illustrationsImperial 8vo, cloth, gilt, $5.00 netIn this “History of American Music,” the second of the series, the author has told of the beginnings, the foreign influences, the changes, the methods, the personal endeavors, that have gone to the making of our present music. Many of the events here narrated occurred but yesterday or are happening to-day, and hence have little perspective for the historian. It has not always been possible to say a final word, even if that were desirable. In its stead the widely scattered facts have been brought together and arranged sequentially that they might tell their own story and point their own conclusion.ContentsThe Religious Beginnings of American Music—Early Musical Organizations—Instrumental Music and American Orchestras—Musical Societies and Institutions—Opera in America—The Folk-Music of America—National and Patriotic Music—American Tone-Masters—The Orchestral Composers of America—Other Orchestral Composers of America—Operatic, Cantata, and Vocal Composers—American Song-Composers—Organists, Choir and Chorus Leaders—The American Composers for Pianoforte—American Women in Music—Musical Criticism and Authorship—The Musical Education of the Present—Qualities and Defects of American Music—General Bibliography—Index.“At last the widely scattered facts which must be the basis of any competent study of American Music are so brought together as to tell their own story and point their own conclusion.“Written in a kindly spirit by an able critic, it is without question the most comprehensive and the best of the works of its class.”—Chicago Record-Herald.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The Historyof American ArtEdited byJohn C. Van DykeThe HistoryofAmerican MusicByLOUIS C. ELSONIllustrated with twelve photogravure plates and more thanone hundred text illustrationsImperial 8vo, cloth, gilt, $5.00 netIn this “History of American Music,” the second of the series, the author has told of the beginnings, the foreign influences, the changes, the methods, the personal endeavors, that have gone to the making of our present music. Many of the events here narrated occurred but yesterday or are happening to-day, and hence have little perspective for the historian. It has not always been possible to say a final word, even if that were desirable. In its stead the widely scattered facts have been brought together and arranged sequentially that they might tell their own story and point their own conclusion.ContentsThe Religious Beginnings of American Music—Early Musical Organizations—Instrumental Music and American Orchestras—Musical Societies and Institutions—Opera in America—The Folk-Music of America—National and Patriotic Music—American Tone-Masters—The Orchestral Composers of America—Other Orchestral Composers of America—Operatic, Cantata, and Vocal Composers—American Song-Composers—Organists, Choir and Chorus Leaders—The American Composers for Pianoforte—American Women in Music—Musical Criticism and Authorship—The Musical Education of the Present—Qualities and Defects of American Music—General Bibliography—Index.“At last the widely scattered facts which must be the basis of any competent study of American Music are so brought together as to tell their own story and point their own conclusion.“Written in a kindly spirit by an able critic, it is without question the most comprehensive and the best of the works of its class.”—Chicago Record-Herald.PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The HistoryofAmerican Music
ByLOUIS C. ELSON
Illustrated with twelve photogravure plates and more thanone hundred text illustrations
Imperial 8vo, cloth, gilt, $5.00 net
In this “History of American Music,” the second of the series, the author has told of the beginnings, the foreign influences, the changes, the methods, the personal endeavors, that have gone to the making of our present music. Many of the events here narrated occurred but yesterday or are happening to-day, and hence have little perspective for the historian. It has not always been possible to say a final word, even if that were desirable. In its stead the widely scattered facts have been brought together and arranged sequentially that they might tell their own story and point their own conclusion.
In this “History of American Music,” the second of the series, the author has told of the beginnings, the foreign influences, the changes, the methods, the personal endeavors, that have gone to the making of our present music. Many of the events here narrated occurred but yesterday or are happening to-day, and hence have little perspective for the historian. It has not always been possible to say a final word, even if that were desirable. In its stead the widely scattered facts have been brought together and arranged sequentially that they might tell their own story and point their own conclusion.
Contents
The Religious Beginnings of American Music—Early Musical Organizations—Instrumental Music and American Orchestras—Musical Societies and Institutions—Opera in America—The Folk-Music of America—National and Patriotic Music—American Tone-Masters—The Orchestral Composers of America—Other Orchestral Composers of America—Operatic, Cantata, and Vocal Composers—American Song-Composers—Organists, Choir and Chorus Leaders—The American Composers for Pianoforte—American Women in Music—Musical Criticism and Authorship—The Musical Education of the Present—Qualities and Defects of American Music—General Bibliography—Index.
The Religious Beginnings of American Music—Early Musical Organizations—Instrumental Music and American Orchestras—Musical Societies and Institutions—Opera in America—The Folk-Music of America—National and Patriotic Music—American Tone-Masters—The Orchestral Composers of America—Other Orchestral Composers of America—Operatic, Cantata, and Vocal Composers—American Song-Composers—Organists, Choir and Chorus Leaders—The American Composers for Pianoforte—American Women in Music—Musical Criticism and Authorship—The Musical Education of the Present—Qualities and Defects of American Music—General Bibliography—Index.
“At last the widely scattered facts which must be the basis of any competent study of American Music are so brought together as to tell their own story and point their own conclusion.
“Written in a kindly spirit by an able critic, it is without question the most comprehensive and the best of the works of its class.”—Chicago Record-Herald.
PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The Art of the Musician:A Guide to the Intelligent Appreciation of MusicBy Dr.HENRY G. HANCHETT12mo, cloth, $1.50 net (by mail, $1.63)The art of the musician is shown as an intelligent presentation of sounds and rhythms and inspirations into works displaying beauty or expressing emotion. It is by the handling of the materials of music that the composer proves the beauty of his vision.“It should be the duty of every teacher (of music) to see that the work is in the hands of his pupils, for it will make things easier, clearer and more enjoyable.”—Musical Leader.Our Mountain GardenBy Mrs.THEODORE THOMAS (Rose Fay)Cloth, illustrated from photographs, $1.50This is not, like the above, a book about music, but one that must always remain dear to the many friends of the musician whose ideally beautiful summer home in New Hampshire it describes.Music-Study in GermanyByAMY FAYWith a Preface by SirGeorge Groveand a PortraitEighth Edition. 12mo, cloth, $1.25A series of lively letters from an American lady, written while a student of music in various cities of Germany.How to Sing(Meine Gesangskunst)ByLILLI LEHMANNTranslated from the German byRichard AldrichIllustrated, 12mo, cloth, $1.50 net (by mail, $1.63)PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The Art of the Musician:A Guide to the Intelligent Appreciation of MusicBy Dr.HENRY G. HANCHETT12mo, cloth, $1.50 net (by mail, $1.63)The art of the musician is shown as an intelligent presentation of sounds and rhythms and inspirations into works displaying beauty or expressing emotion. It is by the handling of the materials of music that the composer proves the beauty of his vision.“It should be the duty of every teacher (of music) to see that the work is in the hands of his pupils, for it will make things easier, clearer and more enjoyable.”—Musical Leader.Our Mountain GardenBy Mrs.THEODORE THOMAS (Rose Fay)Cloth, illustrated from photographs, $1.50This is not, like the above, a book about music, but one that must always remain dear to the many friends of the musician whose ideally beautiful summer home in New Hampshire it describes.Music-Study in GermanyByAMY FAYWith a Preface by SirGeorge Groveand a PortraitEighth Edition. 12mo, cloth, $1.25A series of lively letters from an American lady, written while a student of music in various cities of Germany.How to Sing(Meine Gesangskunst)ByLILLI LEHMANNTranslated from the German byRichard AldrichIllustrated, 12mo, cloth, $1.50 net (by mail, $1.63)PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
The Art of the Musician:A Guide to the Intelligent Appreciation of Music
By Dr.HENRY G. HANCHETT
12mo, cloth, $1.50 net (by mail, $1.63)
The art of the musician is shown as an intelligent presentation of sounds and rhythms and inspirations into works displaying beauty or expressing emotion. It is by the handling of the materials of music that the composer proves the beauty of his vision.
The art of the musician is shown as an intelligent presentation of sounds and rhythms and inspirations into works displaying beauty or expressing emotion. It is by the handling of the materials of music that the composer proves the beauty of his vision.
“It should be the duty of every teacher (of music) to see that the work is in the hands of his pupils, for it will make things easier, clearer and more enjoyable.”—Musical Leader.
Our Mountain Garden
By Mrs.THEODORE THOMAS (Rose Fay)
Cloth, illustrated from photographs, $1.50
This is not, like the above, a book about music, but one that must always remain dear to the many friends of the musician whose ideally beautiful summer home in New Hampshire it describes.
This is not, like the above, a book about music, but one that must always remain dear to the many friends of the musician whose ideally beautiful summer home in New Hampshire it describes.
Music-Study in Germany
ByAMY FAY
With a Preface by SirGeorge Groveand a Portrait
Eighth Edition. 12mo, cloth, $1.25
A series of lively letters from an American lady, written while a student of music in various cities of Germany.
A series of lively letters from an American lady, written while a student of music in various cities of Germany.
How to Sing(Meine Gesangskunst)
ByLILLI LEHMANN
Translated from the German byRichard Aldrich
Illustrated, 12mo, cloth, $1.50 net (by mail, $1.63)
PUBLISHED BYTHE MACMILLAN COMPANYSIXTY-FOUR AND SIXTY-SIX FIFTH AVENUENEW YORK
[1]SeeAppendix of Musical Illustrations, Examples1to5.
[1]SeeAppendix of Musical Illustrations, Examples1to5.
[2]Ex. 2.
[2]Ex. 2.
[3]Ex. 1.
[3]Ex. 1.
[4]Monteverde's admitted position at the dawn of orchestration constitutes so vast a point of departure in scientific method, that the unprejudiced writer of to-day must, toward Monteverde rather than toward anyone else, weigh and sift opinions as to his intention, however much these opinions combat each other. The statements of the present writer that Monteverde was the first to suggest instrumental characterization in his music—the same being evidenced in the scores that have come down to us—are supported by the majority of investigators. There are, however, others who have followed the same trail and whose conclusions are as worthy of future credence. These declare that it is only a fantastic conceit, which grew out of the circumstance that in the list of characters and instruments in the prefatory matter of the score of Monteverde's "Orfeo," there is a chance association like Pluto's name standing opposite the trombones, etc., which, falsely reasoned, has placed Monteverde in an epoch-making niche where he should not be.
[4]Monteverde's admitted position at the dawn of orchestration constitutes so vast a point of departure in scientific method, that the unprejudiced writer of to-day must, toward Monteverde rather than toward anyone else, weigh and sift opinions as to his intention, however much these opinions combat each other. The statements of the present writer that Monteverde was the first to suggest instrumental characterization in his music—the same being evidenced in the scores that have come down to us—are supported by the majority of investigators. There are, however, others who have followed the same trail and whose conclusions are as worthy of future credence. These declare that it is only a fantastic conceit, which grew out of the circumstance that in the list of characters and instruments in the prefatory matter of the score of Monteverde's "Orfeo," there is a chance association like Pluto's name standing opposite the trombones, etc., which, falsely reasoned, has placed Monteverde in an epoch-making niche where he should not be.
[5]SeeAppendix of Musical Illustrations, Examples6to9.
[5]SeeAppendix of Musical Illustrations, Examples6to9.
[6]Ex. 7.
[6]Ex. 7.
[7]Ex. 6.
[7]Ex. 6.
[8]It should be borne in mind that the "heresy" of the present writer is chargeable only when consideration of Bach's music comes before or takes the place of what Bach did in the development oforchestration, which is the first consideration of this book. Of course, it is beyond question that in his instrumentation as distinct from orchestration, Bach added to the possibilities of the instruments existing at that time,—notably as shown by the obbligato wind parts, the gamba and 'cello solos, etc., in the Masses, the Passions and the Church Cantatas. These prove a much larger appreciation of orchestral color than was known in music for three-quarters of a century after him. Nevertheless it must not be forgotten that for many years Bach's music obtained for itself only restricted recognition, which therefore justifies the above made statement that Bach was not a direct evolutionist of the symphonic orchestra.
[8]It should be borne in mind that the "heresy" of the present writer is chargeable only when consideration of Bach's music comes before or takes the place of what Bach did in the development oforchestration, which is the first consideration of this book. Of course, it is beyond question that in his instrumentation as distinct from orchestration, Bach added to the possibilities of the instruments existing at that time,—notably as shown by the obbligato wind parts, the gamba and 'cello solos, etc., in the Masses, the Passions and the Church Cantatas. These prove a much larger appreciation of orchestral color than was known in music for three-quarters of a century after him. Nevertheless it must not be forgotten that for many years Bach's music obtained for itself only restricted recognition, which therefore justifies the above made statement that Bach was not a direct evolutionist of the symphonic orchestra.
[9]To this list might properly be added the name of the Italian, dall'Abaco, since his scores, being now also available for study, reveal many interesting traits pointing toward originality and progress. He is to be classed among the earlier composers of this period, for he was prominently associated with the musical life of Munich during the first part of the eighteenth century.
[9]To this list might properly be added the name of the Italian, dall'Abaco, since his scores, being now also available for study, reveal many interesting traits pointing toward originality and progress. He is to be classed among the earlier composers of this period, for he was prominently associated with the musical life of Munich during the first part of the eighteenth century.
[10]Another plausible explanation is that the extra trumpeters and trombonists should be accredited to the "Hof Musik," which may have been only an adjunct to the "Hof Kapelle." Their principal duty may have been to announce the arrival of the Elector by a fanfare, and to give other signals at the many public functions of the Court. It has been pointed out to the present writer that this theory seems confirmed by an illustration in a book covering this period where is shown a boxful of trumpeters at a Court performance of opera at Dresden.
[10]Another plausible explanation is that the extra trumpeters and trombonists should be accredited to the "Hof Musik," which may have been only an adjunct to the "Hof Kapelle." Their principal duty may have been to announce the arrival of the Elector by a fanfare, and to give other signals at the many public functions of the Court. It has been pointed out to the present writer that this theory seems confirmed by an illustration in a book covering this period where is shown a boxful of trumpeters at a Court performance of opera at Dresden.
[11]SeeAppendix of Musical Illustrations, Examples10to17.
[11]SeeAppendix of Musical Illustrations, Examples10to17.
[12]It is not intended to belittle the original and valuable efforts of the Mannheim composer, Stamitz, and of the several other representatives of various nations as referred to on pages42and43, even though preëminence in the development of orchestration and form is accorded to Haydn and Mozart.
[12]It is not intended to belittle the original and valuable efforts of the Mannheim composer, Stamitz, and of the several other representatives of various nations as referred to on pages42and43, even though preëminence in the development of orchestration and form is accorded to Haydn and Mozart.
[13]Ex.16,17.
[13]Ex.16,17.
[14]Ex.11,14,15.
[14]Ex.11,14,15.
[15]Ex.13.
[15]Ex.13.
[16]Ex.10,12,17.
[16]Ex.10,12,17.
[17]SeeAppendix of Musical Illustrations, Examples18to23.
[17]SeeAppendix of Musical Illustrations, Examples18to23.
[18]Ex.20.
[18]Ex.20.
[19]Ex.19,20.
[19]Ex.19,20.
[20]Ex.18,22,23.
[20]Ex.18,22,23.
[21]Ex.21.
[21]Ex.21.
[22]Ex.19.
[22]Ex.19.
[23]Ex.22,23.
[23]Ex.22,23.
[24]Ex.23.
[24]Ex.23.
[25]Ex.20.
[25]Ex.20.
[26]SeeAppendix of Musical Illustrations, Examples24to35.
[26]SeeAppendix of Musical Illustrations, Examples24to35.
[27]Ex.30,31,33.
[27]Ex.30,31,33.
[28]Ex.27.
[28]Ex.27.
[29]Ex.24.
[29]Ex.24.
[30]Ex.25,28,34.
[30]Ex.25,28,34.
[31]Ex.26,31.
[31]Ex.26,31.
[32]Ex.30.
[32]Ex.30.
[33]Ex.30,32,35.
[33]Ex.30,32,35.
[34]Ex.30.
[34]Ex.30.
[35]Ex.30.
[35]Ex.30.
[36]Ex.29.
[36]Ex.29.
[37]SeeAppendix of Musical Illustrations, Examples36to47.
[37]SeeAppendix of Musical Illustrations, Examples36to47.
[38]Ex.47.
[38]Ex.47.
[39]Ex.43.
[39]Ex.43.
[40]Ex.39,41.
[40]Ex.39,41.
[41]Ex.37.
[41]Ex.37.