Chapter X: Chamber Music of Recent Times (2)

1840. =Hermann Goetz= (Königsberg), 1840-76. German
composer of genius, who unfortunately died young. His Piano
Trio in G minor and other chamber music works are highly
esteemed.

1840. =Johann S. Svendsen= (Christiania), 1840.
Norwegian violinist and composer of a fresh and delightful
talent. He has written a good deal of chamber music.

1841. =Anton Dvořák= (Nelahozeves), 1841. The
well-known composer, who has written works of the utmost
importance in all styles, including chamber music.

1842. =Victor Duvernoy= (Paris), 1842. French composer
and pianist, who, along with M. Leonard the violinist,
established important chamber music soirées in Paris.

1843. =Edvard H. Grieg= (Bergen), 1843. Charming Norse
composer. His piano and violin sonatas are well known, or
should be.

1843. =G. Sgambati= (Rome), 1843. Italian composer,
who has written some chamber music. Some laudatory
expressions of Richard Wagner’s first drew attention to him.

1843. =J.S. Shedlock= (Reading), 1843. Musical critic
and _littérateur_, who has also published some musical
works. His articles on Beethoven’s Sketch Books, Cramer’s
Piano Studies, with Beethoven’s notes, which he discovered;
his work on the Sonata, and on Kuhnau’s Biblical Sonatas,
are of great interest, bearing, as they do in part, on the
subject of chamber music.

1844. =Edward Dannreuther= (Strasburg), 1844. Pianist
and teacher, who resides in London. His influence has been
of the highest value to the cause of chamber music in
England.

1844. =Rimsky-Korsakoff= (Tichwin), 1844. Russian
composer of distinction. His works include some interesting
chamber music.

1844. =Hugo Heeymann= (Frankfurt), 1844. Violinist and
leader of the quartett known by his name, one of the best
in Germany.

1845. =Friedrich Niecks= (Düsseldorf), 1845. Professor
of Music in the University of Edinburgh, where he has done
much to promote the culture of chamber music.

1845. =Gabriel Fauré= (Pamiers), 1845. French
composer, whose works include some chamber music.

1847. =August Klughardt= (Cöthen), 1847. Scholarly
German composer, who, as well as chamber music, has written
a good deal in the larger forms.

1847. =Sir Alex. C. Mackenzie= (Edinburgh), 1847.
Principal of the Royal Academy of Music. A distinguished
composer in all styles.

1847. =Benno Walter= (Munich), 1847. Violinist, and
distinguished German quartett leader.

1847. =Agnes Zimmermann= (Cologne). Pianist of
distinction, who has written chamber music, and also edited
the piano works of Mozart, Beethoven, and Schumann. Miss
Zimmermann has chiefly resided in London.

1847. =Robert Fuchs= (Vienna), 1847. German composer,
who has written a good deal of music, chiefly in classical
form. His chamber music possesses a certain interest.

1848. =Sir C. Hubert H. Parry= (London), 1848.
Principal of the Royal College of Music, London. Has
written with distinction in every form save opera. His
chamber music is of great interest, although he has chiefly
occupied himself with larger works.

1848. =G.J.R. Heckmann= (Mannheim), 1848-91. Violinist
and founder of the quartett which was known by his name.

1848. =Count Franchi-Verney= (Turin), 1848. Italian
writer on music. He established at Turin in 1875 a society
for the culture of chamber music. The celebrated violinist
Teresina Tua is the Countess Verney.

1848. =F.G. Gleason= (Chicago), 1848. An American
chamber music composer.

1849. =Benjamin Godard= (Paris), 1849-95. French
composer of some note. He was awarded the chamber music
prize by the Institute of France.

1850. =F.X. Scharwenka= (Samter), 1850. Pianist, and
composer of chamber music of an interesting character.

1850. =Hans Sitt= (Prague), 1850. Violinist,
composer, and conductor. Is on the staff of the Leipzig
Conservatoire. He played viola in the Brodsky Quartett.

1850. =Ludwig Stiehle= (Frankfurt), 1850. Violinist,
pupil of Joachim; member of Hubay’s Quartett at Basel. He
also played in the Hochberg Quartett, in Alard’s Paris
Quartett, and in that of Baron von Derwies at Nice.

1850. =Zdenko Fibich= (Bohemian), 1850; A somewhat
distinguished composer, known in England by his Piano
Quartett in E minor, op. 11.

1851. =Adolph Brodsky= (Taganrog), 1851. Now resident
in Manchester as Principal of the School of Music, and
where he has formed a quartett called by his name. He was
formerly a member of the Hellmesberger Quartett in Vienna.

1851. =Vincent d’Indy= (Paris), 1851. French composer
of modern tendencies. Amongst his chamber music is a suite
for trumpet, two flutes, and string quartett.

1852. =Hans Huber= (Schönewerd), 1852. His
compositions include a considerable amount of chamber music.

1852. =Dr. Frederic Cowen= (Kingston, Jamaica), 1852.
Distinguished English composer and conductor. He has
written chamber music, some of which is not yet published.

1852. =Benedetto Junck= (Turin), 1852. Italian
composer of talent. Has published a string quartett, and
piano and violin sonatas.

1852. =Sir C. Villiers Stanford= (Dublin), 1852.
British composer of distinction in all styles.

1853. =Gustave Dannreuther= (Cincinnati, U.S.A.),
1853. Violinist. Has been specially associated with
quartett playing and chamber music in New York. He is
brother to Edward Dannreuther (London).

1853. =Arthur W. Foote= (Boston, U.S.A.), 1853.
American composer, who has written string quartetts and
other chamber music.

1854. =G.W. Chadwick= (Lowell, U.S.A.), 1854. One of
the leading American composers. His chamber music works
include a Piano Quintett in E♭, five string quartetts, and
a string trio.

1855. =Julius Röntgen= (Leipzig), 1855. Pianist and
chamber music composer of merit.

1856. =G. Martucci= (Bologna), 1856. Italian composer,
whose chamber music is of considerable interest.

1856. =Christian Sinding= (Kongsberg), 1856. Norwegian
composer, who studied at Leipzig. His chamber music is of
importance.

1856. =Herbert Thompson= (Leeds), 1856. Musical
and art critic to the _Yorkshire Post_, a leading
provincial daily journal. His numerous articles and
_critiques_ have very beneficially influenced the
condition of music, including that of chamber music, in the
North of England.

1856. =Edward Schütt= (St. Petersburg), 1856. Pianist
and composer, who has written some interesting chamber
music, _i.e._ Walzer-Märchen Trio, and Trio in C minor
for piano, violin, and ’cello.

1856. =J.A. Fuller-Maitland=, M.A. Cantab. (London),
1856. Pianist and musical critic of _The Times_. Has,
among other important musical work, edited Purcell’s twelve
sonatas for strings.

1858. =T. Adamoffski= (Warsaw), 1858. He organised the
string quartett called after his name in Boston, U.S.A.
This quartett gave about thirty concerts annually in the
chief American cities.

1858. =Nicolas Sokoloff= (St. Petersburg), 1858 (?
1847). Russian composer of high rank. His string quartett
and quintett are noteworthy.

1858. =Eugene Ysaye= (Liège), 1858. Distinguished
violinist and leader of the Ysaye Quartett in Brussels. Has
more recently resided in London.

1859. =Willy Hess=, 1859. Well-known violinist, and
leader of the Cologne Quartett, consisting of himself
and Herren Körner (second violin), Schwarz (viola), and
Grützmacher (’cello), which from 1895 to 1903 played
frequently in all the chief German cities. In 1904, when
he entered on the duty of violin professor at the Royal
Academy of Music, London, he established the “Willy Hess”
Quartett, the other artists being H. Fellowes (second
violin), L. Tertis (viola), and H. Withers, ’cello.

1859. =W.H. Hadow= (Ebrington), 1859. Musical writer
of distinction. His work, _Studies in Modern Music_,
occupies a high place among current musical literature.
He has also composed among other chamber music a string
quartett, a piano trio, two sonatas for piano and violin,
and a sonata for piano and viola.

1859. =Algernon Ashton= (Durham), 1859. Composer of
chamber music, who has also written a good deal of music
in the larger forms. He has published two quintetts, two
quartetts, and three trios for piano and strings, and some
ten sonatas for various instruments.

1859. =Arthur S. Chappell= (London), 1859. Director of
the celebrated Monday Popular Chamber Concerts in London,
and head of the firm of Chappell & Co.

1860. =Felix Woyrsch= (Troppau), 1860. Austrian
composer whose works are said to be characterised by
freshness and energy. He has, among others, written a
string and a piano quartett and a violin and piano sonata.

1862. =A.S. Arensky= (Novgorod), 1862. Russian pianist
and composer. Some of his chamber music (Piano Trio in D
minor) has been performed recently in London.

1863. =Miss Fanny Davies= (Guernsey). Eminent pianist,
who has taken part in most of the important chamber music
concerts in England. Miss Davies was a pupil of Madame
Schumann.

1863. =Arnold J. Rosé= (Vienna), 1863. Solo violinist
and leader of the well-known Rosé Quartett.

1864. =Eugen D’Albert= (Glasgow), 1864. Composer and
pianist of high rank. He has especially distinguished
himself as a chamber music performer. His compositions in
this style, too, are noteworthy.

1864. =Richard Strauss= (Munich), 1864. Important
modern composer. His later works are chiefly orchestral,
but he wrote chamber music, in classical form, in his
earlier years.

1865. =A. Glazounoff= (St. Petersburg), 1865. Russian
composer of distinction, who has written some chamber music.

1865. =Robert Kahn= (Mannheim), 1865. Composer of
somewhat interesting chamber music.

1866. =F.B. Busoni= (Florence), 1866. Eminent solo
pianist and chamber music composer.

1866. =Prince Nicholas Galatzin= (Russian), died 1866.
Amateur musician and ’cellist, to whom Beethoven dedicated
some of his last string quartetts.

1868. =Leonard Borwick= (Walthamstow), 1868. Solo
and chamber music pianist of distinction. Mr. Borwick was
a pupil of Madame Schumann, and has played in the chief
concerts, both English and continental.

1873. =S.V. Rachmaninoff= (Novgorod), 1873. A Russian
pianist and composer. Among his chamber music is a Trio
Élégiaque, op. 9.

1874. =Josef Suk= (Křečovic), 1874. Bohemian violinist
and composer of some excellent chamber music. He is a
member of the Bohemian Quartett.

1875. =S. Coleridge-Taylor= (London), 1875. One of
the most promising of the young composers of to-day. He
is, on his father’s side, of West African descent. Among
much interesting music he has written some in chamber music
style.

1875. =Donald F. Tovey= (Eton College), 1875. Pianist
and composer of high aim. His works include a quintett
and a quartett for piano and strings; trios for piano,
clarinet, and horn; piano, violin, and cor Anglais; and
piano, violin, and ’cello. Sonatas for piano and violin,
piano and clarinet, and duets for oboe and piano.

Other contemporary composers and performers of chamber music are:—

R.H. Walthew.
Joseph Holbrooke.
Cyrill Scott.
Norman O’Neill.
J. Kruse.
F.A. Lamond.
E. von Dohnányi.
J.B. McEwen.
A. Fransella.
G. Henschel.
F. Weingartner.
C. Halir.
R. Gomperz.
J. Ludwig.
A.E. Ferir.
P. Cathie.
John Sanders.
Charles Draper.
A. Randegger, jun.
Baron d’Erlanger.
W.H. Reed.
H. Walford Davies.
H. Wessely.
Franklin Taylor.
H. Hofmann.
L. Risegari.
E. Sjögren.
Haydn Inwards.
M. Esposito.
A. Hobday.
P. Wolfrum.
F.W. Davenport.
Rawdon Briggs.
A. Beer-Walbrunn.
A. Burnett.
V. Wilm.
Carl Fuchs.
G.F. Cobb.
G. Henschel.
J.C. Culwick.
J. Klengel.
S. Speelman.
L. Thuille.
W.M. Malsch.
S. Jadassohn.
Chas. Reynolds.
E. Reznicek.
W.B. Wooton.
G.A. Clinton.
G. Horton.
W.E. Whitehouse.
M. Gomez.

Appendix B.

Glossary of Terms.

=Absolute Music=, music _per se_ without relation
to the arts, or to any presentation whatever outside of
it.[43]

[Footnote 43: Riemann’s _Dictionary of Music_.]

=Chamber Music Pitch.= Formerly absolute pitch did not
exist. During the sixteenth and seventeenth centuries the
pitch was high. This we find according to the old organs,
which are some of them a tone higher than our present
French diapason. Chamber pitch in olden times differed from
church pitch. The adoption of a uniform pitch is very much
to be desired at the present time.

=Divertimento=, a kind of chamber music suite, or
combination of pieces of a pleasing and diverting kind.

=Gudok=, a violin-like Russian instrument with drones.

=Volte Subito, or Vide Sequens=, written usually V.S.
It means turn over quickly, or see what follows.

=Violone=, the Italian name for the double bass.

=Musica da Camera=, chamber music (Italian). The
term came into use about the beginning of the seventeenth
century.

=Chrotta= (Latin), =Crwth= (British), probably
the oldest of European stringed instruments. Historically
it is found mentioned so far back as the year 609. The
word chrotta means literally “a bulging box.” The rebec was
the same as the crwth, or nearly so. The geige is a like
instrument.

=Kit= (French Pochette), a small violin which was
carried in the pocket; used by teachers of dancing.

=Early Instrumental Music.= Brass instruments in
the very early times were not used for musical purposes,
but only as an accompaniment to military and other such
affairs. At festivals and weddings of the middle ages
stringed instruments came into use, and here we have the
beginnings of instrumental music. The earliest traces of
the use of violin-like instruments is found about the ninth
century.

=Baryton=, an instrument of the violoncello type.
Haydn wrote much for the instrument, which was played by
his patron, Prince Esterhazy.

=Chanterelle=, the highest string on instruments of
the violin family. Usually associated with the E string of
the violin.

=Concerto da Camera=, chamber concerto. The title was
introduced by Torelli, about 1686.

=The String Quartett.= The instruments which form this
combination, viz.: the two violins, viola, and violoncello,
are, as to their construction, the result of a slow
development of probably 1000 years, the fully-developed
violin dating from about the end of the fifteenth century.
Music for the string quartett came into vogue about the
middle of the eighteenth century. Earlier than this such
music usually took the form of the sonata a tre, viz.: two
violins and bass.

=Arpeggione=, an instrument after the kind of the
gamba (a small ’cello). First made in Vienna, about the
year 1823. Schubert wrote a sonata for this instrument.

=Bassett=, the old German name for the violoncello.

=Modern Violins.= In the year 1891 a certain Dr.
Stelzner, a German, made public his method of constructing
new violins, for which it was claimed that they would
outstrip the old Italian instruments. Stelzner inserted
vibrating tongues in the _f_ holes, and made other
so-called improvements. The claims made for these
instruments have not, however, been sustained. Another
attempt of this kind, called the “Stroh” violin, does not
seem to have been successful.

=Violin Tone.= The players on the viol in England in
the seventeenth century did not welcome the violin. Its
stronger and, to their ears, harsh tone was said to destroy
the delicate balance of the viols.

=Alto Violoncello=, a smaller instrument than the
ordinary one. Boccherini directs, in some of his chamber
music, that the ’cello part is to be played on this
instrument. The unusual difficulty of some of his ’cello
parts may be explained, in part, by this direction.

=Viol.= This instrument preceded the violin. Its
shape, which is still in use as the ordinary double bass of
the orchestra, has been thus described by Mr. Payne:—“It
differs from the violin in having deeper ribs, and a flat
back, which is sloped off at the top. The shoulders curve
upwards, joining the neck at a tangent instead of at right
angles, as in the violin. The neck is broad and thin, the
number of strings being five, six, or seven. The viol was
made in four sizes.”

=Fiddle.= This word has its origin in “fides,” the
Latin name for any kind of string. Its diminutive is
“fiducula.”

=The Strings.= By this is usually meant the violins,
violas, ’cellos and double basses collectively. The Germans
use the term “bowed instruments,” which is better than
“the strings,” seeing that the guitar, harp, piano, etc.,
are stringed instruments. Another German authority claims
that an accurate description is “bow-stringed instruments.”

=The Violin= is constructed of fifty-seven different
pieces of wood, which are glued together, the most numerous
of these parts being the linings and purfling. Its movable
fittings (bridge, pegs, etc.) number thirteen, making in
all seventy different parts.

=François Francœur= (1715). This French composer and
violinist is said to have used the thumb in playing the
violin, so as to produce certain chords, as is done in
’cello playing.

=Lute.= An old instrument whose descendants are the
guitar and mandoline. The chiterna (citerne) was of the
same order.

=Theorbo= belongs to the lute family. It was a bass
instrument, and had a double neck with two sets of strings.

=Taille.= An alto oboe (J.S. Bach). Sometimes used to
describe the viola.

=Urh-heen.= The Chinese violin. It differs very much
from the European instrument, has a different bow, and no
fingerboard.

=Viola-pomposa.= A kind of small violoncello, invented
by J.S. Bach.

=Rebec.= Probably the oldest stringed instrument
played with a bow. Whether Spain got it from Arabia, or
_vice versâ_, is a yet unsettled historical point.

Index.

Academy of Ancient Music, 21

Amati, 6, 209

American School of Music, 126

Arensky, 169, 240

Bach, John Sebastian, 5, 22, 38, 39, 107, 145, 162, 213

—— Philipp E., 22, 39, 216

—— Friedrich, 217

Bache, F.E., 196, 233

—— Walter, 197

Balfe, M.W., 193, 227

Baltzar, (violinist), 12

Banister, John, 13, 16, 211

Bargiel, W., 194

Baryton, 57

Bassett, 246

Beethoven, 39, 49, 52, 62, 65, 71, 74, 77, 85, 92, 98, 101, 104, 106,
114, 121, 144, 145, 146, 182, 183, 190, 222

Belaieff, 162, 163

Bennett, Joseph, 131, 233

—— Sterndale, 195, 197, 230

Berens, H., 201

Berger, W., 201

Boccherini, 39, 63, 219

Bohemia, 123

Borwick, Leonard, 241

Brahms, 32, 52, 101, 105, 109, 110, 124, 146, 182, 183, 190, 198, 202,
204, 233

Britton, Thomas, 14, 16, 17

Broadwood, J., & Sons, 34

Brodsky, Adolph, 237

Bruckner, Anton, 182, 232

Bülow, Hans von, 31, 104, 232

Burney, Dr., 189

Burns, 125

Busoni, 241

Chamber music: beginnings, 2;
early compositions, 3;
various early English composers, 3;
C.M. performed in 1679, 20;
C.M. Institutions, 33;
string quartett performers, 34 and 35;
Haydn’s quartetts, 53;
Russian composers, 133;
unusual works, 205;
C.M. pitch, 244;
performers and composers, 242;
Japanese music, 36;
C.M. for wind instruments, _see_ Wind;
Horn C.M., _see_ Horns;
Clarinet C.M., _see_ Clarinet

Chappell, Arthur, 30, 240

Cherubini, 85, 183, 221

Chopin, 92, 228

Chrotta, 244

Clarinet works, 68, 79, 80, 84, 97, 103, 109, 111, 121, 122, 134, 202,
203

Coleridge-Taylor, S., 181, 242

Compass of violin, 7

Composers and performers, 242

Corder, Frederic, 38

Corelli, 7, 211

Couperin, 213

Cowen, F., Dr., 238

D’Albert, Eugen, 241

Dando, Joseph, 27

Dannreuther, Edward, 29, 235

Davey, Henry, 104

David, F., 228

Davidoff, C., 174

Davies, Miss Fanny, 240

Davison, J.W., 30, 131

Dittersdorf, 45, 63, 218

_Don Juan_ (Strauss), 180

Dumka, 126

Dussek, J.L., 218

Dvořák, 123, 126, 235

Elgar, Edward, Dr., 181

Ella, John, 27, 227

Emerson, R.W., 84

Emperor Frederick, 5, 22, 24, 216

English music (its great period), 3

Erklärung (explanation, Brahms and Joachim), 103

Essipoff, Madame, 198

Evans, E. (notes), 170

_Evelyn’s Diary_, 20

Fiddle, 246

Finck, H.T., 103

Frankish kings, 1

Franck, C.A., 231

Franz, Robert, 103

Frederick, Emperor, 5, 22, 24, 216

Furiant (Dvořák), 126

Gade, N.W., 200, 230

Galuppi, 189

_Gerontius, The Dream of_, 181

Glass harmonica, 68

Glazounoff, 162, 167, 241

Glinka, 134, 227

Gluck, 216

Goetz, Hermann, 198, 234

Goldberg, 217

Goldmark, C., 232

Graun, 22, 215

Gretchaninoff, 144, 147

Grieg, 135, 235

Guarneri, 6, 211

Gudok, 244

Hadow, W.H., 53, 94, 96, 108, 132, 240

Hallé, Sir Charles, 29, 230

—— Lady, 234

Handel, 16, 39, 52, 53, 57, 86, 145, 213

Hanover Square Rooms, 27

Hanslick, Dr., 188

Hauptmann, 197

Hawkins’s _History_, 20, 21

Haydn, Joseph, 2, 6, 7, 35, 39, 40, 45, 49, 53, 56, 62, 65, 79, 86,
114, 118, 135, 217

—— Michael, 218

Heller, Stephen, 229

Hellmesberger, 183

Henderson, W.J., 106

Hess, Willy, 239

Hiller, F., 87, 88, 200, 228

Horns (Chamber Music), 79, 80, 84, 97, 111

Hughes, John, 16

Hummel, 206

D’Indy, Vincent, 206

Ippolitoff-Ivanoff, 135, 147

Italian Academy, 21

Japanese Chamber Music, 36

Jean-renaud, Cécile (Mendelssohn), 88

Joachim, Dr., 28, 32, 103, 174, 195, 233

Kaiser Quartett (Haydn), 54

Kirchner, Theodore, 192

Kopyloff, 175

Krehbiel, H., 1, 188, 189

Kreutzer, 221

Kreuz, Emil, 200

Kroepsch, 206

Kruse, Johann, 35

Latann, 206

Liadoff, 205

Liszt, 38, 193, 197, 229

Ludwig, Paul, 174

Lute, 247

Macfarren, Sir G., 229

Mackenzie, Sir A., 201, 236

Maitland, J.A. Fuller, 115, 239

McEwen, J.B., 205

Mellon, Alfred, 197

Mendelssohn, 52, 85, 89, 130, 195, 196, 197, 228

Molique, B., 199, 226

Monday Popular Concerts, 30, 32, 174, 202, 204

Mozart, 6, 49, 59, 63, 65, 68, 70, 79, 85, 92, 114, 145, 206, 220

Mühlfeld, Herr, 122, 202

Musical humour, 76

Musical Union (Ella), 27

Music meetings, 17

Nawratil, 198

Negro Quartett, 127

Newcastle-on-Tyne Chamber Music Society, 35

Niecks, F., 236

Norman-Neruda, Madame, 31

North’s _Memoirs_, 13

Nottebohm, 230

Onslow, G., 204, 224

Oxford Music School, 17

Paganini, 223

Parry, Sir Hubert, 64, 91, 107, 194, 236

Pauer, Ernst, 93

Pepusch, 16

_Pepys’s Diary_, 18

Performers and composers, 242

Piatti, A., 231

Plaidy, 197

Position of platform, 28

Programme music, 38

Prout, Dr. E., 203, 233

Purcell, 4, 21, 85, 212

Quantz, 22, 206, 215

Queen’s Hall orchestra, 134

Rabl, W., 202

Rachmaninoff, 170

Raff, Joachim, 192, 231

Rasumowsky, 228

Rebec, 247

Reicha, 206

Reinecke, Carl, 232

Reinken, 4

Rheinberger, 202, 234

Richter, Dr. Hans, 184

Rimsky-Korsakoff, 235

Ritter, Professor, 90

Rosalia form, 96

Rubinstein, Anton, 103, 200, 232

Russian chamber music, 133

Russian schools of musical thought, 161

Russian C.M. composers, 133, 161, 163, 169

Russian miniature scores, 175

Rust, F.W., 218

Saint-Saëns, 199, 206, 234

Sainton’s Quartett, 29

Salzburg, the Archbishop of, 63

Sapellnikoff, 174

Sarti, 60

Scarlatti, A., 212

—— D., 39, 213

Schindler, 226

Schmidt, Oscar, 199

Schmitt, Aloys, 87, 200

Schumann, Madame, 31

—— Robert, 37, 52, 75, 83, 91, 101, 103, 105, 109, 130, 183, 192, 194,
228

Schubert, 65, 82, 190

Schütt, Edward, 191, 198, 239

Sgambati, G., 235

Shedlock, J.S., 235

Shield, William, 8, 220

Silence in music, 51

Sinding, C., 238

Smetana, 123, 232

Sokoloff, 175

Spitta, 25, 107

Spohr, 97, 101, 115, 224

Stanford, Sir Charles, 35, 52, 199, 238

Steibelt, 221

Strauss, Richard, 38, 178, 180, 241

Stradivari, 6, 211

Taille, 247

Tanyeëff, 175

Tartini, 214

Taylor, S. Coleridge-, 181, 242

Tennyson, 125

Theorbo, 247

Thomas, Theodore, 188

Thompson, Herbert, 239

_Till Eulenspiegel_, 178

Tourte, 219

Tovey, Donald, 242

Tschaïkovsky, 134, 136, 161, 169, 170, 175, 234

Tune in music, 145, 178

Urh-heen, 247

Veit, W.H., 205

Verdi, 203, 229

Vienna Philharmonic, 188

Viol, 246

Viola-pomposa, 247

Violin compass, 7

Violin makers, 6

Viotti, 220

Wagner, 52, 65, 69, 80, 98, 102, 103, 121, 136, 145, 146, 182, 183,
189, 193

Weber, 92, 224

Weingartner, F., 102, 190

Whichello, 16

Wieck, Clara, 94

Wind chamber music, 79, 80, 84, 134, 206

Wolf, Hugo, 206

Wollaston, 16

Wood, Henry J., 134

THE WALTER SCOTT PUBLISHING COMPANY, LTD., NEWCASTLE-ON-TYNE.

[Transcriber’s Notes:

The original text consistently misspelled "Dvořák" with the caron over the o; this has been corrected. The inconsistent use of ’s or s’s for the possessives of proper names ending in s has been normalized to s’s (e.g., “Brahms’s”). Other obvious printer errors have been corrected without note.

Italics are indicated by _underscores_ and boldface is indicated by =equal signs=.

Illustrations and sidenotes have been moved so as not to interrupt the flow of the text.

In Appendix A, Prince Rasumowsky is erroneously listed under 1808. He was actually born in 1752, per Wikipedia.]