For Every Music Lover | Page 2

age of pianoforte. Piano
composers and virtuosi, from Weber to the present time. Teachers and
performers often corrupters of music.
The Poetry and Leadership of Chopin 135

Rubinstein on Polish patriot and tone-poet who explored harmonic
vastness of pianoforte. Like exquisitely constructed sounding-board.
Enriched and spiritualized the pianoforte for all time. Universal rather
than individual experiences. National tonality. Zwyny and Elsner.
Intimate acquaintance with Bach. Prince Charming of the piano. Liszt
on Chopin. Raphael of music. Playing and teaching. Tempo rubato.
Compositions. Schumann's words. Oscar Bie.
Violins and Violinists--Fact and Fable 151
Volker the fiddler. Nibelungen lay. Videl of days of chivalry. Bow
fashioned like sword. Hagen of Tronje. Wilhelm Jordan, in
"Sigfridsage." Henrietta Sontag and the coming Paganini. Wagner's
Volker-Wilhelmj at Bayreuth. Magic fiddles and wonderworking
fiddlers. Grimm's Fairy Tales. Norse folk-lore. English nursery rhymes.
Crickets as fiddlers. Progenitors of violin. The violin of Queen
Elizabeth and her age. Shakespeare in Twelfth Night. Household of
Charles II. Butler, in Hudibras. Viola d'amore in Milwaukee, Wis.
Brescian and Cremonese violin-makers. Early violinists. Value and
history of some violins. Strings and bow. Violin virtuosi from Corelli
to our day. Mad rush for technique.
Queens of Song 183
Florentine lady, Vittoria Archilei. Embryo opera of Cavalieri. Peri's
"Eurydice." Euterpe. Marthe le Rochois and Lully's operas. Rival
queens in London. Steele, in "Tattler." Second pair of rivals, Cuzzoni
and Faustina. Master Handel. Germany's earliest queen of song.
Frederick the Great and German singers. Mrs. Billington. Haydn and
Sir Joshua Reynold's St. Cecilia. Mozart's operas introduced into
England. Catalani. Pasta. Sontag. Schröder-Devrient and Goethe's "Erl
King." Malibran a dazzling Meteor. Another daughter of Manuel del
Popolo Garcia. Marchesi, Grisi and Mario. Manuel Garcia and the
Swedish Nightingale. Other Swedish songstresses. Patti. Queens of
song pass in review. Two Wagner interpreters. A Valkyrie's horse. A
word for American girls.
The Opera and Its Reformers 213

Evolution of drama. At the altar of Dionysus. Greek poetry and music.
Aristotle on Greek stage-plays. Æschylus and Sophocles. Euripides.
Words, music and scenic effect. Lenæan theatre exhibitions. More
costly than Peloponnesian war. Roman dominion. Primitive Christian
church. St. Augustine. Mystery, miracle, morality and passion plays.
Strolling histriones, etc. Florence "Academy." Vincenzo Galilei.
Monody. Polyphonic music. Emilio del Cavalieri. Vittorio Archilei.
Music of Greeks recovered. Peri. Monteverde and his work. First opera
house. Alessandro Scarlatti. Troubadours. Lully, Rameau and French
opera. Purcell, Handel and music in England. Gluck, the regenerator.
German opera. Mozart, Beethoven, Weber and Wagner. What came
from Bach, Chopin and Berlioz. Rossini's melodies. Wagner's influence.
Verdi, the grand old man.
Certain Famous Oratorios 235
Neri's oratory. Dramatized versions of biblical stories. Palestrina and
harmonies of celestial Jerusalem. Religious dramas of Roswitha. Laura
Guidiccioni's first oratorio text. Music by Cavalieri. At Santa Maria
della Vallicella. Orchestra behind the scene. Description. Carissimi,
"father of oratorio and cantata." Alessandro Scarlatti. Another
Alessandro. Dr. Parry's opinion. "San Giovanni Battista" and famous
air. Tradition about Stradella. What recent writers say. Handel and the
"Messiah." Bach and the "Passion Music." "The Creation" and Haydn.
Beethoven's "Mount of Olives." Mendelssohn, in "St. Paul" and
"Elijah." Oratorios of Liszt and Gounod. Next step in the evolution.
Symphony and Symphonic Poem 247
That adventurous spirit, Monteverde. Charm in exploring resources of
instrumentation. Operatic overture. Forge of genius. Dance of obscure
origin. Craving for individual expression. Touch of authority by Corelli.
Cardinal Ottoboni's palace. Symphony, a sonata for orchestra. Purcell,
Scarlatti, Sammartini and the Bachs. Monophonic style. Contrasting
movements. German critic on early sonata. Further explanation.
Meaning of symphony. Haydn with Esterhazy orchestra. Father of the
symphony. Mozart. Beethoven. Schubert. Schumann. Mendelssohn.
Berlioz, the musical heretic. His "fixed idea" and programme music.

Liszt and symphonic poem. Saint-Saëns. Tschaikowsky and Russian
spirit. Sinding. Grieg. Gade. Brahms and absolute music.

Preface
We cannot gain experience by being brought into contact with the
experiences of others, nor can we know music by reading about it. Only
by taking it into our hearts and homes, by admitting it to our intimate
companionship, can we approach a knowledge of the art that has
enriched so many lives, even though it has never yet completely
fulfilled its function. At the same time, every music lover is helped to
new ideas, inspired to fresh efforts, by suggestions and statements from
those who have themselves had deep experiences in their search for the
inner sanctuary of the Temple of Art.
Musicians have been too much inclined to treat their art as something
to be exclusively appropriated by a favored class of men and women,
and are themselves greatly to blame for its mistaken isolation. True,
music has its privileged class. To this belongs the mind of creative
genius that can formulate in tones the universal passions, the eternal
verities of the soul. In it may also be numbered those gifted beings
whose interpretative powers peculiarly adapt them