A Popular History of the Art of Music | Page 3

of the musical drama--the representative principle in music--music last of the arts--Florence and Venice the centers--statistics of books published from 1470 to 1500.
CHAPTER XVIII
--FIRST CENTURY OF ITALIAN OPERA AND DRAMATIC SONG 221-234
Circle of the Literati in Florence--Galilei and his monody--Peri's "Dafne"--Sch��tz's setting of the same--Peri's "Eurydice"--rare editions--Il stilo rappresentativo--Cavaliere's oratorio "The Soul and the Body"--second period of opera--Monteverde's "Arianna"--orchestra of the same--new orchestral effects--scene from "Eurydice"--director of St. Mark's--Legrenzi--Cesti--public theaters--Alessandro Scarlatti--recitativo stromentato--Corelli--sonatas for the violin--influence of the violin upon the art of singing--origin of Italian school of singing--artificial sopranos--Porpora; Selections from Monteverde, Cavalli and Scarlatti.
CHAPTER XIX
--BEGINNINGS OF OPERA IN FRANCE AND GERMANY 235-243
Slow progress of opera to other parts of Europe--origin of French opera--ballets of Boesset--Perrin--Cambert--their first opera--their patent from the king--Lulli--his success and productivity--attention to verbal delivery and the vernacular of the audience--foundations of the French Acad��mie de Musique--opera in Germany--Sch��tz--Hamburg and Keiser--selection from Lulli--"Roland"--Mattheson.
CHAPTER XX
--THE PROGRESS OF ORATORIO 244-248
Oratorio invented simultaneously with opera--Cavaliere--mystery plays--Carissimi--two types of oratorio--cantata--H?ndel's appropriation from Carissimi--sacred oratorio--Sch��tz's Passions--"Last Seven Words."
CHAPTER XXI
--BEGINNINGS OF INSTRUMENTAL MUSIC 249-260
Beginnings of instrumental music in seventeenth century--tentative character of instrumental music of sixteenth century--Gabrieli and organ pieces--imitations of vocal works--melodies not fully carried out--Swelinck--Scheidt--Schein--Frescobaldi--Reinken--Pachelbel; Muffat--Corelli--orchestra of the period--its defects.
BOOK FOURTH--FLOWERING TIME OF MODERN MUSIC.
CHAPTER XXII
--MUSIC IN THE EIGHTEENTH CENTURY 261-264
The flowering time of modern music--complexity of developments now taking place--principal actors--two main channels of improvement; fugue--sonata--Bach and H?ndel as writers of fugue--people's song makes its way into cultivated instrumental music--reference to Mozart's sonatas--thematic and lyric as elements of contrast.
CHAPTER XXIII
--JOHN SEBASTIAN BACH 265-272
Bach as a composer--sketch--his clavier--attainments as virtuoso upon the clavier and the organ--choral works--Passion oratorios--his pre-eminence as writer of fugues--general sketch of the form of a fugue--prelude--mutually complementary--Bach's concertos--his rhythm.
CHAPTER XXIV
--GEO. FRIEDRICH H?NDEL 273-281
The companion figure of Bach--early life--violinist at Hamburg--conductor; composer--first opera--Italy--successes there--England--Italian operas--oratorio "Messiah"--other oratorios--list of his works--Bach and H?ndel compared--H?ndel's place in art--personalities.
CHAPTER XXV
--EMANUEL BACH, HAYDN--THE SONATA 282-291
The sons of Bach--Emanuel Bach as composer--difficulty of founding a new form--Haydn--early years--conductor for Prince Esterhazy, compositions--the visit to London--the money he made--"The Creation"; second visit to London--Haydn and the sonata form--"The Last Seven Words"--his rank as tone-poet.
CHAPTER XXVI
--MOZART AND HIS GENIUS 292-304
Charming personality--childhood--early talent--concerts--Mozart at Bologna and the test of his powers--Haydn's opinion--early operas--"Marriage of Figaro"--success--accompaniments added to H?ndel's "Messiah" and other works--call to Berlin--mysterious order for the "Requiem"--death--general quality of Mozart's music.
CHAPTER XXVII
--BEETHOVEN AND HIS WORKS 305-315
A worthy successor to Haydn and Mozart--early years--orchestral leader--piano playing--his friends--Count Waldstein--his first visit to Vienna--settled in Vienna--compositions--life--appearance--place in art.
CHAPTER XXVIII
--HAYDN, MOZART AND BEETHOVEN COMPARED 316-326
Their relation to symphony--refinement of Mozart--early age of Mozart--Beethoven's independence--relation to sonata--Beethoven more free--climax of classical art--Beethoven adagios--summing up--tendency of progress.
CHAPTER XXIX
--OPERA IN THE EIGHTEENTH CENTURY 327-351
Three great names--Graun--Gluck--his reforms--his ideal--early works--"Orpheus"--"Iphigenie"--Mozart's place in opera--Rameau--theoretical writings--Rousseau--Phillidor--Monsigny--Gr��try--Gossec--M��hul--Lesueur; Boieldieu--French opera in general--Italian opera--Pergolesi--Jomelli; Sacchini--Paisiello--Piccini--Zingarelli--opera in England--Purcell; Dr. Arne.
CHAPTER XXX
--PIANO PLAYING VIRTUOSI--VIOLINISTS--TARTINI AND SPOHR 352-369
Pianoforte established as domestic instrument--Scarlatti--Mattheson--Dr. Blow--John Bull--Clementi--Dussek--Cramer--Berger--Hummel--Moscheles; Tartini--Spohr.
BOOK FIFTH--EPOCH OF THE ROMANTIC.
CHAPTER XXXI
--THE NINETEENTH CENTURY--THE ROMANTIC--MUSIC OF THE FUTURE 373-380
Classic and romantic defined--art in general--applied to music--illustrated by Schubert--Schumann--development of virtuosity--Berlioz--"music of the future"--how originating--the outlook.
CHAPTER XXXII
--SCHUBERT AND THE ROMANTIC 381-391
Early life of Schubert--compositions--first songs--"Erl King"--rapidity of composition--unfinished symphony--industry--spontaneity--personal characteristics.
CHAPTER XXXIII
--STORY OF THE PIANOFORTE 392-403
Origin of pianoforte--spinet--clavicembalo--Mozart's grand piano; Cristofori's design of action--��rard action--iron frame--Chickering; Steinway improvements.
CHAPTER XXXIV
--GERMAN OPERA--WEBER, MEYERBEER, WAGNER 404-427
Tendency of German opera--Weber--"Der Freisch��tz"--romanticism--innovations in piano playing--Meyerbeer--early life--master works--place in art; Wagner--early life--early operas--"Lohengrin"--Zurich--Schr?der-Devrient, "Nibelung's Ring"--peculiarities.
CHAPTER XXXV
--VIRTUOSITY IN THE NINETEENTH CENTURY--PAGANINI, BERLIOZ, CHOPIN, THALBERG, LISZT 428-454
Continuity of these appearances with those already recounted--Paganini--his playing--inspiring effect--Berlioz--works--place in art--progress of piano playing--virtuosi co-operating--Thalberg and his style--Parish Alvars--Pollini--Chopin--place in art--Liszt--early appearances--rivalry with Thalberg--style--Weimar--Bonn Beethoven monument--as teacher--as composer.
CHAPTER XXXVI
--MENDELSSOHN AND SCHUMANN 455-477
Mendelssohn--personality--talent--early works--maturity--as player Leipsic Conservatory--Hauptmann--"Elijah"--"St. Paul"--Schumann; early education and habits--works--strength of the romantic tendency--his "New Journal of Music"--music in Leipsic--Clara Wieck--larger works for piano--technical traits--songs--general characteristics.
CHAPTER XXXVII
--ITALIAN OPERA IN THE NINETEENTH CENTURY 478-487
Spontini--Rossini--Donizetti--Bellini--Verdi--Boito--Ponchielli.
CHAPTER XXXVIII
--FRENCH OPERA AND COMPOSERS IN THE NINETEENTH CENTURY 488-496
Auber--H��rold--Adam--Gounod--Mass��--Massenet--Saint-Sa?ns--D��libes, Bizet--Ambroise Thomas.
CHAPTER XXXIX
--LATER COMPOSERS AND PERFORMERS 497-508
Gade--Brahms--Tschaikowsky--Svensden--Grieg--Bruch--Bennett--Macfarren; Mackenzie--Nicod��--Moszkowsky--Dvorak--Henselt--Litolff--Wilmers--Heller; Hiller--Rubinstein--B��low--Reinecke.

CHRONOLOGY OF THE GREATEST COMPOSERS.
(Copyright.)
EXPLANATION.--The heavy vertical lines are century lines. Light vertical, twenty-year lines. Horizontal lines, the life of the composer.
[Illustration]
CHRONOLOGY OF PRINCIPAL ITALIAN COMPOSERS.
(Copyright.)
From Palestrina to Present Time. (See explanation, page 11.)
[Illustration]
CHRONOLOGICAL CHART OF THE MORE IMPORTANT GERMAN COMPOSERS.
(Copyright.)
From Orlando Lassus to the Present Time. (See page 11.)
[Illustration]
CHRONOLOGICAL SUCCESSION OF PIANISTS AND COMPOSERS FOR THE PIANOFORTE.
(Copyright.)
From 1660 to the Present Time (1891).
[Illustration]

INTRODUCTION.
I.
The name "music" contains two ideas, both of them important in our modern use of the term: The general meaning is that of "a pleasing modulation of sounds." In this sense the term is used constantly by poets, novelists and even in conversation--as when we speak of the "music of the forest," the "music of the brook" or the "music of nature." There is also a reminiscence of the etymological derivation of the term, as something derived from the "Muses," the fabled retinue of the Greek god Apollo, who presided over all