,a ,,complete ,,hi/ory ,,( ,,music ,,= ,,s*ools1 ,,clubs1 ,,& ,,private ,,read+ ,by ,w4 ,j4 ,,baltzell ,contributions by ,h4 ,a4 ,,cl>ke1 ,mus4 ,doc42 ,,ar?ur ,,elson1 ,,cl>5ce ,g4 ,,hamilton1 ,a4,m41 ,,edw>d ,,burl+ame ,,hill1 ,a4,b41 ,,ar?ur ,l4 ,,judson1 ,,fr$]ic ,s4 ,,law1 ,,& ,,pre/on ,,w>e ,,orem1 ,mus4 ,bac4 ,) ,portraits1 ,reproductions ( ,in/rum5ts & ,musical ,examples ,,philadelphia1 ,,pa4 ,,!odore ,,press] #aijh ,copyright1 #aije1 by ,,!o4 ,,press]4 ,,briti% ,,copyright ,,secur$4 ,,preface4 ,! plan ( arrangem5t us$ 9 ?is book has 9 view a comb9ation ( ! recitation & lecture sy/ems1 & af=ds an opportunity = tea*]s to apply ! be/ pr9ciples ( bo?4 ,! p>agraph head+s %\ld be ?or\ghly fix$ 9 m9d & close att5tion %\ld be giv5 to ! words 9 heavy type & ,italics t occur 9 ! body ( a p>agraph2 toge!r !y =m a conv5i5t outl9e = ! lesson4 ,! que/ions at ! end ( ea* lesson are to be us$ to te/ ! pupils' ma/]y ( ! lesson mat]ial2 all available works ( ref]5ce %\ld be consult$ = full] in=mation ?an ! limit$ space ( "o book w admit (1 ea* memb] ( ! class prep>+ "o or m ab/racts to be read be=e ! class4 ,! review outl9es & sugge/ions are to be us$ 9 ! same way1 special att5tion be+ giv5 to writt5 answ]s su* z w\ld be requir$ 9 an exam9ation4 ,) a view ( furni%+ ! read] a consid]able am\nt ( mat]ial on ! gr[? ( music z an art1 biographical sket*es h be5 made %ort1 especially s9ce s _m excell5t works ( t description are available at a small price4 ,emphasis has be5 laid on ! "w ( ! m5 :o develop$ music1 on ! influ5ces :i* %ap$ _! c>e]s & ! p]man5t value ( _! contributions to music4 ,a cle> k ( h[ music rea*$ its pres5t /ate is n to be _h by /udy+ books1 biographical & critical2 ! works ( ! compos]s mu/ be exam9$1 play$ & sung1 comp>$1 analyz$ z to me?ods ( con/ruction 7,=m7 & expression 7,melody1 ,h>mony & ,rhy?m71 s t ! /ud5t may appreciate ! *ange f simple1 elem5t>y processes to ! free1 polyphonic /yle f\nd 9 ! complex mod]n piano & or*e/ral scores4 ,ref]5ce is made to repres5tative compositions by classical & mod]n compos]s1 :i* are "p ( ! av]age tea*+ rep]toire4 ,! works ( ! e>li] compos]s are n1 h[ev]1 readily accessible1 al?\gh good examples ( ! /yle ( ! #af? & #ag? c5turies are 9 ! *eap editions ( ,pet]s1 ,litolff1 ,aug5]1 ,breitkopf & ,hrtel1 & ,ricordi4 ,! plan ( ?is book provides = two lessons a week = ?irty weeks4 ,?is w occupy a s*ool ye> & all[ "t = quizzes1 reviews & exam9ations4 ,if m "t is available1 ! "w may be divid$ into f\r1 five or six t]ms & /ress laid on ! /udy ( repres5tative compositions1 ! prep>ation ( %ort pap]s on ! sugge/$ topics1 add+1 z a feature to int]e/ fri5ds & music lov]s g5]ally1 public programs includ+ music4 ,musical clubs w f9d 9 ?is book mat]ial = sev]al ye>s' programs1 special att5tion hav+ be5 giv5 to ! lessons on mod]n compos]s & _! music1 ! sugge/ions z to class-"w apply+ ) equal =ce to ! /udy classes ( clubs4 ,! individual read] %\ld foll[ out ! sugge/$ hi/orical & biographical p>allels :i* help s /rongly to fix 9 ! m9d ! p]iods 9 :i* compos]s liv$4 ,lessons ,,iii to ,,vi 7 prep>$ by ,dr4 ,h4 ,a4 ,cl>ke1 ( ! ,univ]sity ( ,p5nsylvania2 ,lessons ,,viii to ,,xiv by ,mr4 ,ar?ur ,l4 ,judson1 ( ,d5ison ,univ]sity2 ,lessons ,,xv & ,,xvi by ,mr4 ,pre/on ,w>e ,orem1 ,mus4 ,bac41 ( ,philadelphia2 ,lessons ,,xvii to ,,xix1 ,,xxi to ,,xxiii1 ,,xxxvii to ,,xl by ,mr4 ,fr$]ic ,s4 ,law1 ( ,philadelphia2 ,lessons ,,xxv to ,,xxxiii by ,mr4 ,cl>5ce ,g4 ,hamilton1 ,a4 ,m41 ( ,wellesley ,college2 ,lessons ,,xli to ,,xlviii by ,mr4 ,edw>d ,burl+ame ,hill1 ,a4 ,b41 ( ,bo/on2 ,lessons ,l to ,,lvi by ,mr4 ,ar?ur ,elson1 ( ,bo/on4 ,w4 ,j4 ,b4 ,,novemb] #a1 #aije4 ,,septemb] #a1 #aijf4 ,,cont5ts4 ,,preface v ,,introduction #ag ,,lesson ,i4 ,,music ,,( ,,! ,,*9ese1 ,,japanese ,,& ,,h9doos #bd ,,lesson ,,ii4 ,,music ,,( ,,! ,,babylonians1 ,,egyptians ,,& ,,hebrews #ce ,,lesson ,,iii4 ,,music ,,( ,,! ,,greeks3 ,,scales #df ,,lesson ,,iv4 ,,music ,,( ,,! ,,greeks 7,,conclud$7 #ed ,,lesson ,v4 ,,ecclesia/ical ,,sy/em #fa ,,lesson ,,vi4 ,,notation #gj ,,lesson ,,vii4 ,,music ,,outside ,,! ,,*ur* #gg ,,lesson ,,viii4 ,,! ,,causes ,,( ,,polyphonic ,,developm5t ,,& ,,! ,,importance ,,( ,,! ,,polyphonic ,,era #hh ,,lesson ,,ix4 ,,! ,,p>is ,,s*ool #ii ,,lesson ,x4 ,,! ,,gallo-,,belgic ,,s*ool #ajg ,,lesson ,,xi4 ,,! ,,engli% ,,s*ool #aae ,,lesson ,,xii4 ,,! ,,s*ool ,,( ,,! ,,ne!rl&s #abc ,,lesson ,,xiii4 ,,! ,,italian ,,s*ool #aca ,,lesson ,,xiv4 ,,pale/r9a ,,& ,,8 ,,influ5ce ,,on ,,! ,,music ,,( ,,! ,,italian ,,s*ool4 ,,! ,,madrigal #aci ,,lesson ,,xv4 ,,musical ,,in/rum5ts #adg ,,lesson ,,xvi4 ,,! ,,organ1 ,,organ ,,play+ ,,& ,,organ ,,music #aef ,,lesson ,,xvii4 ,,! ,,beg9n+ ,,( ,,! ,,op]a #aga ,,lesson ,,xviii4 ,,! ,,oratorio4 ,,developm5t ,,( ,,! ,,op]a #agi ,,lesson ,,xix4 ,,aless&ro ,,sc>latti ,,& ,,! ,,neapolitan ,,s*ool #ahg ,,lesson ,,xx4 ,,s++ ,,& ,,s+]s #aie ,,lesson ,,xxi4 ,,op]a ,,9 ,,france ,,& ,,engl& #bjc ,,lesson ,,xxii4 ,,! ,,op]a ,,9 ,,g]many4 ,,h&el ,,& ,,gluck #baa ,,lesson ,,xxiii4 ,,moz>t ,,to ,,ross9i #bai ,,lesson ,,xxiv4 ,,! ,,oratorio #bbf ,,lesson ,,xxv4 ,,! ,,evolution ,,( ,,! ,,pian(orte #bcf ,,lesson ,,xxvi4 ,,! ,,e>ly ,,italian ,,clavi] ,,compos]s #bdf ,,lesson ,,xxvii4 ,,! ,,e>ly ,,engli% ,,& ,,fr5* ,,clavi] ,,s*ools #bee ,,lesson ,,xxviii4 ,,! ,,g]man ,,polyphonic ,,clavi] ,,s*ools #bfc ,,lesson ,,xxix4 ,,! ,,g]man ,,sonata ,,compos]s ,,to ,,haydn #bgd ,,lesson ,,xxx4 ,,franz ,,joseph ,,haydn #bhc ,,lesson ,,xxxi4 ,,wolfgang ,,amadeus ,,moz>t #bia ,,lesson ,,xxxii4 ,,ludwig ,,van ,,bee?ov5 #bii ,,lesson ,,xxxiii4 ,,bee?ov5 ,,& ,,! ,,sonata #cjg ,,lesson ,,xxxiv4 ,,! ,,viol9 ,,& ,,its ,,mak]s #cae ,,lesson ,,xxxv4 ,,viol9 ,,play+ ,,& ,,viol9 ,,music #cbb ,,lesson ,,xxxvi4 ,,! ,,or*e/ra ,,& ,,absolute ,,music #ccd ,,lesson ,,xxxvii4 ,,! ,,romantic ,,op]a4 ,,web]1 ,,spohr1 ,,m>s*n] #cde ,,lesson ,,xxxviii4 ,,! ,,fr5* ,,s*ool ,,( ,,! #ai,,? ,,c5tury #cec ,,lesson ,,xxxix4 ,,! ,,italian ,,s*ool ,,( ,,! #ai,,? ,,c5tury #cfa ,,lesson ,,xl4 ,,ri*>d ,,wagn]',s ,,music ,,dramas4 ,,o!r ,,s*ools #cfi ,,lesson ,,xli4 ,,piano ,,play+ ,,& ,,composition3 ,,clem5ti ,,to ,,field #chj ,,lesson ,,xlii4 ,,franz ,,pet] ,,s*ub]t #cia ,,lesson ,,xliii4 ,,web]4 ,,m5delssohn #cig ,,lesson ,,xliv4 ,,rob]t ,,s*umann #djg ,,lesson ,,xlv4 ,,fr$]ic ,,*op9 #dag ,,lesson ,,xlvi4 ,,franz ,,liszt #dbe ,,lesson ,,xlvii4 ,,piani/s ,,& ,,tea*]s ,,s9ce ,,liszt4 ,i #dcf ,,lesson ,,xlviii4 ,,piani/s ,,& ,,tea*]s ,,s9ce ,,liszt4 ,,ii #ddf ,,lesson ,,xlix4 ,,! ,,art ,,song4 ,,oratorio ,,aft] ,,m5delssohn #ded ,,lesson ,l4 ,,! ,,symphonic ,,poem ,,9 ,,g]many #dfc ,,lesson ,,li4 ,,g]man ,,op]a ,,s9ce ,,wagn] #dgb ,,lesson ,,lii4 ,,old ,,& ,,new ,,s*ools ,,9 ,,france #dha ,,lesson ,,liii4 ,,musical ,,reg5]ation ,,9 ,,italy #dia ,,lesson ,,liv4 ,,engl& ,,& ,,! ,,ne!rl&s #dii ,,lesson ,,lv4 ,,national ,,s*ools3 ,,bohemia ,,& ,,sc&9avia #ejg ,,lesson ,,lvi4 ,,! ,,russian ,,s*ool #eae ,,lesson ,,lvii4 ,,music ,,9 ,,! ,,unit$ ,,/ates #ebe ,,lesson ,,lviii4 ,,am]ican ,,compos]s3 ,,works ,,9 ,,l>ge ,,in/rum5tal ,,=ms #ece ,,lesson ,,lix4 ,,am]ican ,,compos]s3 ,,vocal ,,=ms2 ,,piano ,,& ,,organ4--,,musical ,,lit]ature #edc ,,lesson ,,lx4 ,,musical ,,education #eeb ,,index #efa ,,introduction4 ,purpose ( ! ,/udy ( ! ,hi/ory ( ,music4--,! purpose ( ! /udy ( ! hi/ory ( music is to trace ! developm5t ( ! _m phases :i* make up mod]n music :i* we _c b reg>d z a great social =ce1 an intellectual1 an uplift+ =ce4 ,if we consid] x f ! mat]ial side1 x is "o ( magnitude2 we ne$ b ?9k ( ! money inve/$ 9 build+s1 op]a h\ses1 s*ools1 conc]t halls1 publi%+ plants1 factories1 ! sums sp5t on musical in/rum5ts1 in/ruction1 conc]ts1 op]a1 etc41 to recognize ! comm]cial side4 ,:5 we ?9k ( ! great army ( p]sons ^: livelihood is condition$ ^u musical "w1 ^u ! great audi5ces t support musical ent]prises1 we recognize ! magnitude ( music 9 a social s5se1 & t x (f]s a l>ge field = /udy4 ,^! conditions1 int]e/+ z !y are1 repres5t only phases ( musical "w1 n ,music itself1 & s]ve to %[ ! place :i* ,music occupies 9 ! life ( today4 ,our inve/igation is1 !n1 a consid]ation ( ! orig9 & developm5t ( ,music1 & ! means by :i* x took %ape4 ,! ,place ( ,intellect 9 ,music4--,:5 we ?9k ( ,music we h 9 m9d an organization ( musical s\nds into some?+ def9ite1 some?+ by design1 n by *ance1 ! product ( ! work+ ( ! human m9d ) musical s\nds & _! effects ^u ! human s5sibilities4 ,s long z man accept$ ! v>i\s ph5om5a ( musical s\nds z isolat$ facts1 !re c\ld be no art4 ,b :5 he began to use !m to m9i/] to 8 pleasure & to /udy !m & _! effects1 he began to =m an art ( music4 ,! /ory ( music is ! record ( a s]ies ( attempts on ! "p ( man to make arti/ic use ( ! mat]ial :i* ! e> accepts z capable ( af=d+ pleasure & z useful 9 express+ ! inn]mo/ feel+s4 ,! raw mat]ial ( music consi/s ( ! s\nds consid]$ musical1 ! human voice1 v>i\s musical in/rum5ts & ! use ( ?is mat]ial 9 su* ways z to affect ! human s5sibilities2 t is1 to make an impression ^u ! he>] :i* %all co9cide ) t ( ! orig9al mak] ( ! music :o gives to 8 feel+s expression 9 music4 ,we f9d 9 music1 z 9 o!r bran*es1 t man tries to r$uce ph5om5a to ord] & to def9ite =m4 ,! mass ( musical mat]ial is vague1 incoh]5t1 disorganiz$4 ,man seeks to devise ways to use x intelligibly1 & to promote e/hetic pleasure4 ,if musical s\nds are to be comb9$ simultane\sly or successively1 ?is comb9ation %\ld be 9 accordance ) design1 n haphaz>d1 j z ! build] ( ! h\se or ! temple puts toge!r 8 mat]ial accord+ to a regul> plan4 ,^? :o h be5 lead]s 9 ! ,art ( ,music h labor$ 9 two ways3 to ext5d ! limits ( expression 9 music1 & to f9d ! means to conta9 t expression4 ,at "o p]iod /ress is laid on mak+ music expressive1 at ano!r on ! m$ium = convey+ expression to o!rs1 ! latt] be+ compreh5d$ 9 ! t]m ,=m4 ,9 connection ) ?is /atem5t1 ! /ud5t w d well to rememb] t e p]iod ( great intellectual activity1 social or political1 react$ ^u music & ! o!r arts2 to illu/rate1 we ne$ b ref] to ! =mal1 ev5 artificial "* ( ! music ( ! p]iod prec$+ ! ,fr5* ,revolution & ! fre$om & vigor imp>t$ by ! _s ( ,romanticism :i* foll[$ 9 ! wake ( t great political movem5t1 a diff]5ce /rik+ly illu/rat$ 9 ! music ( ,haydn & ,bee?ov51 ,clem5ti & ,s*umann4 ,!re is also a con/ant action & reaction ( ! v>i\s racial /reams ( p[] su* z ! ,aryan on ! ,semitic1 ,ea/ ^u ! ,we/1 ,lat9 ^u ! ,teuton1 ,folk-music ^u ! ,s*ola/ic4 ,! ,pr9ciples 9 ,music4--,! lead+ pr9ciples 9 music are3 ,rhy?m1 ,melody1 ,h>mony1 ,color or ,tone ,quality1 & 9 ! execution ( works ( music1 ,dynamic ,contra/1 an ess5tial factor 9 ,expression4 ,= ages aft] ! bir? ( ,music1 ,rhy?m & ,melody 7 ! only real elem5ts1 ,rhy?m be+ fir/ recogniz$4 ,! pot5cy ( ,rhy?m1 /rong & irresi/ible 9 ! e>ly days ( ! race & ) primitive man1 is /ill ackn[l$g$4 ,music t lacks a cle>ly-def9$ rhy?m does n move ! masses4 ,witness m>tial music1 ! dance airs & ! 8popul> song40 ,all primitive languages 7 *>act]iz$ by concise1 figurative & picturesque qualities2 !y easily *ang$ f ! ord9>y into ! l(ty & ! impassion$4 ,intonation & *ang+ inflection _h mu* to d ) mean+1 z is ! case ) ! ,*9ese language ( today4 ,hi/orians ascribe ! orig9 ( ,melody to ?is pr9ciple ( vocal expression4 ,= ye>s prior to ! ,*ri/ian ,era1 & long aft]1 ,rhy?m & ,melody 7 ! only accept$ elem5ts ( ,music1 & ! art rema9$ 9 a l[ grade ( developm5t4 ,x 0 n until ,h>mony appe>$1 cle> & unmi/akable1 t ,music 0 able to claim a position equal to t accord$ to ! si/]-arts1 ,poetry1 ,pa9t+1 ,sculpture & ,ar*itecture4 ,^! pr9ciples1 ,rhy?m1 ,melody & ,h>mony1 became1 :5 c\*$ 9 ! =ms ( expression adopt$ by ! great ma/]s1 :at we call ,mod]n ,music1 & ! /ory is "o ( a developm5t f extreme simplicity to ! complexity illu/rat$ 9 mod]n or*e/ral scores4 ,means ( ,expression4--,"o m phase mu/ be m5tion$ "h1 ! means us$ to pres5t to o!rs ! ?\ghts or feel+s ( ! compos]1 t is1 ! human voice & its arti/ic use1 in/rum5ts ( v>i\s k9ds1 _! primitive =ms & gradual developm5t1 _! use s+ly & 9 comb9ation ) o!r in/rum5ts4 ,?is phase is peculi>ly associat$ ) mod]n music2 = x 0 n until ! art _h fre$ itself f ! fett]s impos$ by vocal music1 t absolute music1 avail+ itself ( p]fect$ in/rum5ts1 came into its own4 ,f t "t developm5t 0 unprec$5t$ly rapid4 ,:at is to be ,br\ght ,=w>d4--,! hi/ory ( ,music is1 !n1 a recital ( facts be>+ ^u ! developm5t ( mod]n music & we %all lay /ress on su* facts z %[ a p]man5t impress & a solid contribution to progress 9 "o or m ( ! l9es m>k$ out3 ,=m1 ,expression1 ,melody1 ,rhy?m1 ,h>mony & ,in/rum5tal ,color4 ,9 ! /udy ( a compos]1 ! facts ess5tial to ! hi/ory ( music are critical r ?an biographical2 n a life *ronicle s mu* z a cle> /atem5t ( :at he specially contribut$ to =w>d ! art4 ,to ga9 an educational value1 ! facts ( ! hi/ory ( music are to be /udi$ s z to glean f !m _! significance1 & an und]/&+ ( ! causes & conditions :i* made !m possible2 !n we g on to disc]n ! consequ5ces to :i* !y 9 turn gave rise4 ,no man works = himself & out ( himself4 ,he builds ^u :at o!rs h done1 & he builds = o!rs4 ,! /ud5t %\ld disc]n ! lesson 9 ! pa/1 & receive guidance = ! future4 ,:at ,we ,le>n f ,ar*ology4--,! hi/ory ( an art su* z ,music mu/ give ! hi/orical data 9 connection ) ! developm5t ( art & arti/s1 free ( all que/ionable & false features1 & give z tru/wor?y1 z accurate a picture ( ! v>i\s /ages z possible4 ,if we g backw>d 9 our rese>* we rea* a po9t at :i* ord9>y records fail4 ,if we make an inquiry into ! beg9n+s ( music we mu/ h rec\rse to ! f9d+s & int]pretations ( ,ar*ology4 ,! results are by no means satisfactory4 ,9 all ! digg+ 9 ! ru9s ( ! once great cities ( ,egypt1 & ,we/]n ,asia1 & ( ,greece & ,etruria z well1 ) p]haps "o exception1 no music has be5 br\ght to light1 & b a few in/rum5ts1 & ^! c sc>cely be consid]$ p]fect4 ,h[ev]1 ! pictorial repres5tations on tombs1 monum5ts1 temples & h\ses give valuable aid1 enabl+ s*ol>s to recon/ruct ! /ory ( music among ! old] civilizations4 ,we mu/ n =get1 h[ev]1 t conjecture plays a m or less prom95t "p 9 all ! translations ( ! old hi]oglyphic & cunei=m writ+s4 ,we h no direct k ( ! scales us$ or h[ ! in/rum5ts 7 play$ toge!r1 :at 0 ! nature ( ! sci5ce & sy/em 9 use4 ,:at we h is m]e inf]5ce f ! nature ( ! in/rum5ts & ! repres5tations ( musicians play+ _! in/rum5ts1 toge!r ) fragm5ts f contempor>y or lat] writ+s4 ,:at ,we ,le>n f ,e?nology4--,ano!r s\rce op5 to /ud5ts ( ! beg9n+s ( music is ! mat]ial ga!r$ by ,e?nology4 ,^? :o place /ress on ?is means ( rese>* lay d[n ! proposition t ! primitive p ( ! _w ( today occupy a m5tal & social /age simil> to t ( ! primitive races f :i* ! civiliz$ folk ( today h sprung4 ,!re=e1 !y /udy ! music1 ! rude *ants1 ! dances1 ! in/rum5ts1 etc41 ( v>i\s primitive tribes1 & !n by comp>ison try to indicate ! v>i\s /ages ?r\gh :i* music came to h ! art g]m1 f :i* ! great product we "k has develop$4 ,"s ,!ories4--,we c give 9 ?is lesson only a few ( ! !ories (f]$ by ^? :o h discuss$ ! matt] ( ! orig9 ( music3 ,! ,dance1 ,poetry & ,music =m a gr\p :i* _c readily be sep>at$2 !y are n indep5d5t ( ea* o!r1 b mo/ intimately connect$4 ,?is view fails to take acc\nt ( ! fact t ,music :i* is1 ext]nally1 s closely connect$ ) ! ,dance & ) ,poetry1 is1 9 its ess5ce1 absolutely di/9ct4 ,s*op5hau]1 ! philosoph] f :om ,ri*>d ,wagn] drew inspiration1 holds ?is view v /rongly4 ,he says3 8,music is q indep5d5t ( ! visible _w1 is absolutely ignorant ( x1 & c\ld exi/ 9 a c]ta9 way if !re 7 no _w2 :i* _c be said ( ! o!r arts40 ,! o!r arts are ess5tially imitative & repres5tative2 !y are bas$ ^u ,nature4 ,"s writ]s1 ! ,fr5*man ,dubos & ! ,engli% philosoph] ,h]b]t ,sp5c] among !m1 claim t ,music does repres5t ,nature4 ,!y say t z ! pa9t] imitates ! =ms & colors he sees 9 nature1 s ! musician foll[s ! v>i\s modulations ( ! voice1 f9d+ !re ! basic conceptions ( ,rhy?m1 ,melody & ,color4 ,s++1 :i* ,sp5c] consid]s ! orig9al music1 is ! emphasiz+ & int5sify+ ( ! prop]ties ( spee*4 ,gurney says1 p] contra1 t 8,music creates audible =ms1 successions & comb9ations ( tones :i* h no prototype 9 ,nature & d n exi/ outside ( ,music40 ,^? :o believe t ,music is a sep>ate entity !re=e seek to trace x to a completely indep5d5t beg9n+4#a ,d>w9 (f]$ ano!r !ory z to ! way 9 :i* man arriv$ at ,music4 ,8 idea is t ! faculty ( produc+ musical tones & rhy?m 0 fir/ acquir$ by our animal ance/ors z a means ( attract+ ! opposite sex1 ! faculty be+ develop$ & improv$ by ! process ( selection4 ,! ,conception ( ,fix$ ,scales4--,! "q is sometimes rais$3 ,h[ did man rea* ! conception ( fix$ scales8 ,"h aga9 op9ions diff]4 ,"s consid] t ! extreme notes 7 fix$ by ! av]age compass ( ! human voice 9 impassion$ spee*1 ! int]val be+ v>i\sly divid$4 ,o!rs claim t along ) ! vocal phase ( music !re 0 an in/rum5tal side1 & t ! me*anical conditions 9 connection ) in/rum5ts _h be>+ 9 ! matt] ( organiz+ s\nds into a scale2 ! rude1 primitive trumpet ( wood or b>k1 /ill f\nd among =e/ tribes 9 ,s\? ,am]ica & ,africa1 gives a s]ies ( h>monic notes4 ,:i/les or flutes made 9 prehi/oric times ) a s]ies ( sev]al tones1 examples ( comb9ations ( little pipes1 su* z ^? kn[n by ! "n ( 8,pan's ,pipes10 also be> on ?is "q4 ,yet ! facts are few & we are compell$ to satisfy ourselves ) m]e conjecture4 ,,ref]5ces4 ,tylor4--,an?ropology4 ,r[bo?am4--,hi/ory ( ,music4 ,smi?4--,! ,_w's ,e>lie/ ,music4 ,grosse4--,! ,beg9n+s ( ,art4 ,raymond4--,! ,g5esis ( ,art4 ,helmholtz4--,! ,s5sations ( ,tone4 ,p>ry4--,evolution ( ! ,art ( ,music4 ,bosanquet4--,hi/ory ( ,ae/hetic4 ,knight4--,philosophy ( ! ,beautiful1 ,"p ,,ii1 ,*ap4 ,,ix4 ,,que/ions ,,& ,,sugge/ions4 ,:y d we consid] music a =ce 9 civilization8 ,:at d we mean by ,expression 9 music8 ,! tea*] w cite p]iods :5 8,expression0 0 ! *ief aim1 :5 ,=m 04 ,cite p]iods :5 int5se political & intellectual upheaval react$ on music4 ,give examples ( ! lead+ pr9ciples ( ,music4 ,:at k9d ( facts are ( importance to ! hi/ory ( ,music8 ,:at is ! value ( ,ar*ology to ! hi/ory ( music8 ,:y is ,e?nology valuable to ! hi/ory ( music8 ,give sev]al !ories z to ! orig9 ( music4 ,is ! scale us$ by u ! scale ( all nations8 ,9 prep>+ = recitation1 /ud5ts %\ld get an outl9e ( ea* lesson by ! use ( ! p>agraph head+s & !n "w out ! lesson by ! use ( ! que/ions t foll[4 ,if ! ref]5ce books sugge/$ are available1 additional read+ %\ld be done4 ,a good plan is = ! tea*] to assign "o or two p>agraphs to a pupil & h ! latt] br+ 9 su* o!r in=mation ( int]e/ z c be secur$4 ,"s que/ions may be gr\p$ & pupils direct$ to prep>e a %ort essay to be read be=e ! class4 ,9 reg>d to dates1 ! sugge/ion is t pupils take turns1 lesson by lesson1 9 pres5t+ a plan by :i* to memorize !m4 ,:5 ! p]iod is "o t c be relat$ to "s well-kn[n ev5t 9 g5]al hi/ory1 z ! life ( ,*>lemagne1 ! ,norman ,conque/ ( ,engl&1 ! ,crusades1 ! ,w>s ( ! ,roses1 discov]y ( ,am]ica1 inv5tion ( pr9t+1 etc41 x is well to d s2 or make a well-kn[n musician a contempor>y ( "s arti/1 /atesman1 k+1 sci5ti/1 man ( lett]s1 etc4 ,! tea*] %\ld be prep>$ 9 ?is mann] = ea* lesson4 ,ev5ts be=e ! ,*ri/ian ,era may be relat$ to "s ev5t or "* 9 ,biblical hi/ory4 ,,lesson ,i4 ,,music ,,( ,,! ,,*9ese1 ,,japanese ,,& ,,h9doos4 ,s\rces ( ,our ,k4--,:5 we /udy ! music ( ! e>ly p]iod ( ! human race1 we f9d no records su* z we are /or+ today 9 our libr>ies4 ,we mu/ dep5d ^u ! discov]ies ( ar*ologi/s 9 ! buri$ cities ( e>ly civilizations4 ,( contemporane\s books1 prop]ly speak+1 tablets ( music expla9+ ! con/ruction & me?ods ( play+ ! musical in/rum5ts !n 9 use we h few2 if !y exi/ !y are 9 dead languages to :i* s*ol>s are b sl[ly f9d+ ! key4 ,x is true t "s in/rum5ts h be5 f\nd1 b we c h no c]ta9ty t !y are 9 p]fect condition4 ,! pr9cipal s\rces ( ! in=mation we possess h be5 ! pa9t+s1 decorations & sculptures on monum5ts & on ! walls ( build+s & tombs t h be5 une>!d4 ,e>ly languages 7 l>gely pictorial1 & records kept 9 ?is mann] furni% u repres5tations ( ! religi\s1 m>tial1 & social life ( ! e>ly races4 ,c\ntries ) a ,musical ,pa/4--,! l&s t (f] ! greate/ field = ! /udy ( ! music ( ! pa/ are ,*aldea or ,babylonia & ,egypt4 ,"s ( ! old ,greek cities1 z well z cities 9 ! we/]n "p ( ,asia ,m9or & ,pale/9e1 h be5 ! subject ( explorations4 ,/ill ano!r c\ntry ab\nd+ 9 int]e/ to ! /ud5t ( ! music ( ! pa/ is ,*9a1 liv+1 yet dead6 ,:at a contra/ to ,*aldea & ,egypt6 ,! civilization ( ! latt] is dead2 ,*9a1 ! old]1 is /ill liv+4 ,^! races _h a common home1 yet ! =m]1 hav+ develop$ a high civilization & fulfill$ its mission1 disappe>$ f ! face ( ! e>?1 :ile ,*9a1 hav+ also rea*$ a high /ate ( culture1 has rema9$ /agnant1 all en]gies t[>d a high] level be+ arre/$4 ,! ,common ,home ( ! ,race4--,sci5ti/s place ! cradle ( ! human race 9 ! high plateau ( ,asia1 ext5d+ f ,p]sia ea/w>d ?r\gh ,?ibet & includ+ "p ( ,man*uria4 ,! yell[ race1 accord+ to "s e?nologi/s1 is ! m ak9 to ! primitive race2 ! o!r two1 ! :ite & ! black1 be+ d]iv$ f x by emigration1 *ange ( climate & mode ( liv+4 ,van ,aal/1 ! lead+ writ] on ,*9ese ,music1 says t 8! fir/ invad]s ( ,*9a 7 a b& ( immigrants fight+ _! way among ! aborig9es & suppos$ to h come f ! c\ntry s\? ( ! ,caspian ,sea40 ,x is outside ! prov9ce ( ?is "w to detail ! argum5ts t s]ve to %[ ! connection ( ! ,*9ese ) ! o!r races m5tion$4 ,b]osus1 ! old ,babylonian hi/orian1 writes3 8,!re 0 orig9ally 9 ! l& ( ,babylon a multitude ( m5 ( =eign race :o _h settl$ 9 ,*aldea40 ,^! m5 are kn[n 9 hi/ory by ! "n ( ,akkads or ,akkadians1 8f ! nor!rn m\nta9s10 ,sum]ians1 f ! 8s\!rn m\nta9s02 t is1 ! highl& ranges ly+ to ! nor? & ea/ ( ! ,euphrates ,valley4 ,!re 7 two ma9 types among ^! tribes3 a yell[1 black-hair$ p1 & a r$ type4 ,! records %[ t migrations f ?is c5tral home came ab\t by reason ( fam9es1 plagues or floods4 ,:5 did ! black-hair$1 yell[ p sw>m (f8 ,:5 did ! 8r$0 p1 f :i* ,egyptian tradition claim$ ance/ry1 g away8 ,probably ! ,*9ese 7 ! fir/ to leave ! c5tral home1 tak+ ) !m ! elem5ts ( a consid]able civilization1 :i* also =m$ ! basis ( ! lat] ,*aldean1 ,babylonian1 ,assyrian & ,egyptian cultures1 & ?r\gh v>i\s *annels1 ( ! ,etrurian & ,greek4 ,high ,place ( ,music ,among ! ,*9ese4--,! sci5ce ( music _h a high place 9 ,*9ese philosophy2 ! sages alone compreh5d ! canons1 & ! m&>9s 9 music are consid]$ sup]ior to ^? 9 ma!matics4 ,"s mo/ int]e/+ dates are giv51 %[+ h[ e>ly ! ,*9ese _h develop$ a sci5ce ( music4 ,we are told t 9 #bbgg ,b4 ,c41 !re 7 tw5ty-two writ]s on ! dance & music1 tw5ty-?ree on anci5t music1 tw5ty-f\r on play+ ! ,k9 & ! ,*e1 & tw5ty-five on con/ruction ( scales4 ,^! facts imply _m ye>s ( previ\s developm5t be=e ! "t :5 works treat+ ( ! sci5ce ( music w\ld be prep>$4 ,confucius1 ! *ief ,*9ese philosoph]1 wrote ab\t anci5t music 9 #eea ,b4 ,c4 ,un=tunately1 anci5t records & books 7 almo/ entirely de/roy$1 #bdf ,b4 ,c41 by ord] ( ! ,emp]or !n on ! ?rone2 he except$ f ?is de/ruction only works on m$ic9e1 agriculture & div9ation4 ,a comp>ison ( record$ dates %[s t ! ,*9ese 7 writ+ le>n$ works on ! sci5ce ( music :5 ! ,ph>aohs 7 build+ ! pyramids4 ,sonor\s ,bodies4--,! ,*9ese h always %[n a fondness = in/itut+ lik5esses betwe5 ?+s 9 heav5 & e>?1 & ?+s intellectual & mat]ial4 ,accord+ to _! !ory1 !re are eight s\nd-giv+ bodies3 ,/one1 ,metal1 ,silk1 ,bamboo1 ,wood1 ,sk91 ,g\rd & ,clay4 ,! ,%5g4--,"o ( ! mo/ important musical in/rum5ts 9 use among ! ,*9ese1 "o t is indisp5sable to _! temple ritual1 is ! ,%5g4 ,?is in/rum5t is ! repres5tative ( ! g\rd pr9ciple2 orig9ally ! b[l 0 =m$ f a portion ( a g\rd or a calaba%1 ! top be+ cov]$ by a circul> piece ( wood ) holes ar\nd ! m>g9 9 :i* ! pipes1 sev5te5 9 numb]1 are fix$2 9 ! side ( ! g\rd is plac$ a m\?piece or tube cov]$ ) ivory1 ?r\gh :i* ! play] draws 8 brea?4 ,ea* pipe is fitt$ ) a small free re$ ( copp]4 ,a small hole is made 9 ea* pipe j above ! b[l1 :i* prev5ts a pipe f speak+ :5 ! air is drawn 9 by ! play]1 unless ! hole is clos$ by a f+]4 ,! in/rum5t is plac$ to ! m\? ) ! pipes slant+ t[>d ! "r %\ld]4 ,! notes s\nd$ by ! pipes ( ! ,%5g z !y are arrang$ are3 ,music giv+ ! foll[+ scale or s]ies ( s\nds3 ,music f\r ( ! sev5te5 pipes are mutes1 plac$ !re d\btless = purposes ( symmetry4 ,illu/ration3 ,,k94 ,,se ,,or ,,*e4 ,,%5g4 ,! ,k94--,! pr9ciple ( ! s\nd ( silk is exemplifi$ 9 ! ,k9 or ,*'91 ! /r+s1 8made ( twi/$ silk1 be+ /ret*$ ov] a wood5 frame40 ,?is in/rum5t 0 ! favorite ( ,confucius1 ! great law-giv]1 & 9 8 "t 0 ( great antiquity4 ,! numb] ( /r+s 0 five1 to agree ) ! five elem5ts2 ! upp] "p 0 r\nd$1 to repres5t ! heav5s2 ! bottom 0 flat1 to repres5t ! gr\nd4 ,! numb] ( /r+s 0 lat] increas$ to sev51 :i* is ! favor$ =m1 tun$ to ,g1 ,a1 ,c1 ,d1 ,e1 ,g1 ,a1 a p5tatonic scale4 ,! ,se4--,ano!r /r+$ in/rum5t is ! ,s1 7also writt5 ,*e71 :i* _h orig9ally fifty /r+s4 ,z n[ us$1 x has only tw5ty-five /r+s4 ,f\r k9ds are 9 use1 diff]+ 9 size & 9 numb] ( /r+s2 x is cu/om>y t !y %\ld give ! s\nd ( two notes simultane\sly1 g5]ally octaves4 ,"s ( ^!1 us$ by ! mo/ skilful p]=m]s1 h only ?irte5 or f\rte5 /r+s4 ,! /r+s are pluck$ by two small ivory picks4 ,flutes4--,! s\nd ( bamboo is exemplifi$ 9 c]ta9 in/rum5ts ( ! flute family4 ,! bamboo plant is us$ by ! ,*9ese 9 v _m ways2 x is natural t !y %\ld use x = mak+ musical in/rum5ts4 ,!re are two types ( pipes or flutes3 ^? bl[n at ! end1 z a :i/le1 & ^? bl[n across a hole ne> "o end1 z is our mod]n flute2 ! ,*9ese flutes are ( ! latt] class4 ,!y v>i$ 9 size & 9 ! numb] ( holes1 f ?ree to six1 ! little f+] ( ea* h& n be+ us$4 ,a popul> flute1 call$ ! ,ti-,tzu1 has1 9 addition to ! six f+] holes1 "o = bl[+ & "o cov]$ ) a ?9 membrane1 to v>y ! s\nd4 ,ano!r k9d1 v anci5t1 & mu* 9 use1 accord+ to ,*9ese writ]s dur+ ! p]iod #bbje-aabb ,b4 ,c41 may be call$1 %ortly1 ! ,t*e4 ,x has six f+] holes1 ?ree ne> ea* end1 & is pi]c$ ) ano!r hole at ! middle1 across :i* ! play] bl[s4 ,! scale is said to consi/ ( six semitones1 beg9n+ ) ,f1 fif? l9e treble clef4 ,! peculi> con/ruction ( ?is flute pres5ts "s ac\/ical problems4 ,illu/ration3 ,,t*e4 ,o!r sonor\s bodies are1 metal f :i* ! ,*9ese make gongs1 bells & trumpets--!y seem to h kn[n ! pr9ciple ( ! slide1 z 9 ! trombone1 b nev] develop$ x2 /one1 c]ta9 v>ieties1 9 ! %ape ( ! lett] ,l1 pi]c$ ) a hole at ! angle1 susp5d$ 9 a frame & /ruck by a hamm]2 sk91 f :i* drums 7 made2 clay1 f :i* in/rum5ts 7 made 9 %ape resembl+ ! oc>9a1 famili> to u4 ,*9ese ,scales4--,! vocal & ! in/rum5tal music h diff]5t scales1 ! =m] diatonic--) two notes ( ! sev5 omitt$1 =m+ a p5tatonic 7five-tone scale71 ! lett]s ( :i*1 s9ce ,f is a favorite tonic1 may be repres5t$ by ,f1 ,g1 ,a1 ,c1 ,d4 ,! in/rum5tal scales are *romatic 9 "*4 ,:5 ! voice is accompani$ by in/rum5ts1 ! vocal scale is us$4 ,s++ is 9 unison1 modifi$ by f\r?s1 occasionally4 ,! s++ tone is a sort ( nasal s+-song1 ! favorite me?od a nasal falsetto1 ! m\? be+ ne>ly clos$4 ,music ,?is repres5ts ! conclud+ /rophes ( ! ,hymn to ,confucius4 ,! "t is v sl[2 ea* measure repres5ts a l9e ( f\r syllables2 betwe5 ! l9es "o ( ! in/rum5ts gives a sort ( int]lude4 ,s mu* space has be5 tak5 ) ,*9ese music because ! cons]vatism ( t race has pres]v$ in/rum5ts & music t date back to ! e>ly hi/ory ( our race4 ,illu/ration3 ,,koto4 ,japanese ,music4--,9 ! ,japanese sy/em we f9d a p5tatonic scale & a semitonal division ( ! octave4 ,japanese music does n proce$ 9 semitones1 ! *romatic scale be+ dem&$ by ! cu/om ( transpos+ a melody f "o />t+ po9t to ano!r1 n m ?an f\rte5 s\nds = a melody4 ,a favorite ,japanese in/rum5t is ( ! cl>9et type2 x is call$ ! ,hi*i-riki2 9 l5g? x v>ies f a little less ?an n9e in*es to a little m4 ,! scale z set =? by ! ,in/itute ( ,tokio is f ,g1 second l9e1 treble /aff to ! ,a above1 ,f1 fif? l9e1 be+ %>p$4 ,?is in/rum5t is play$ by draw+ 9 ! brea?4 ,! ,japanese h an in/rum5t call$ ! ,%o1 simil> to ! ,*9ese ,%5g4 ,! national in/rum5t is ! ,koto1 :i* has ?irte5 /r+s1 tun$ ?us3 ! fir/1 middle ,c %>p1 ! second1 ,f %>p a fif? l[]2 subsequ5t /r+s asc5d 9 ord]1 ,g %>p1 ,a1 ,c %>p1 ,d1 ,f %>p1 ,g %>p1 ,a1 ,c %>p1 ,d1 ,f %>p1 ,g %>p2 betwe5 ! f\r? & fif? s\nds is a ?ird1 :i* int]val1 9 practice1 0 fill$ by press+ ! /r+ beh9d ! bridge1 ?us increas+ ! t5sion2 ea* /r+ c be rais$ a semitone or ev5 a tone by increas+ ! pressure4 ,by ?is means additional notes c be secur$1 giv+ a scale id5tical ) ! ,greek ,dorian or ecclesia/ical ,aeolian4 ,mu* ( ! popul> ,japanese music is writt5 )\t ! extra notes1 & ! s]ies ( tones c be *>act]iz$ z a p5tatonic scale bas$ on ! natural m9or4 ,?us3 ,music ,! ,h9doos4--,among ! ,asiatic races t /ill reta9 national1 al?\gh n a sep>ate political exi/5ce1 & h a musical sy/em peculi> to !mselves1 ! ,h9doos are prom95t4 ,! ,h9doos belong to ! ,aryan race1 7f :i* we also sprang71 & _h _! home orig9ally 9 ,c5tral ,asia1 probably nor? ( ! ,h9doo ,koo% range4 ,:5 !y sw>m$ (f f ! old home !y made _! way d[n ?r\gh ! m\nta9s along ! riv] valleys to ! great f]tile pla9s ( ,india1 & conqu]+ ! aborig9al races1 develop$ ! sy/em ( ca/e1 :i* has _h s great an influ5ce on _! religion1 lit]ature1 sci5ce & art4 ,! old ,h9doo lit]ature %[s cle>ly ! high reg>d 9 :i* ! art ( song 0 held4 ,celebrat$ m9/rels 7 ma9ta9$ 9 ! royal c\rts ^: duty x 0 to *ant songs 9 praise ( _! patrons4 ,music1 or song1 0 j z indisp5sable 9 ! religi\s c]emonies4 ,"o ( ! holy books makes ! /atem5t t 8,indra rejects ! (f]+ made )\t music40 ,9 "t ! s+] became a memb] ( ! prie/ly ca/e4 ,illu/ration3 ,,v9a4 ,,ravana/ron4 ,! ,v9a4--,f antiquity to ! pres5t "t among ! ,h9doos pure in/rum5tal music held almo/ equal place ) song or accompani$ vocal music4 ,! ,h9doo in/rum5ts belong to ! p]cussion types1 trumpets & trombones1 nose flute1 & especially to ! /r+$ class4 ,x is notewor?y t ! simpl] k9ds1 9 :i* ea* /r+ gives b "o tone1 d n exi/1 :]eas !re are _m v>ieties ( ^? :i* h f+]bo>ds4 ,! olde/ & mo/ important is ! ,v9a1 :i* consi/s ( a wood5 pipe ab\t f\r feet long atta*$ to two g\rds or resonators4 ,! sev5 metal /r+s are /ret*$ ov] n9ete5 bridges or frets1 becom+ gradually high]1 & t\* only ! la/ & highe/ "o4 ,! o!r eighte5 s]ve to fix ! pit* ( ! tone desir$1 z 9 our guit> or m&ol91 ! /r+s be+ set 9 vibration by be+ pluck$ ) a metal ?imble or r+ l t us$ by zi!r play]s4 ,ano!r ,h9doo in/rum5t1 consid]$ by "s z ! prototype ( /r+$ in/rum5ts play$ ) a b[1 is ! ,ravana/ron4 ,h9doo ,musical ,philosophy4--,h9doo my?s ascribe a div9e orig9 to music4 ,a close connection 0 e/abli%$ betwe5 ! scale & _! religi\s ideas4 ,ea* s+le tone 0 "u ! protection ( a nymph1 & ! fir/ syllables ( ! names ( ^! nymphs1 accord+ to ,clem5t1 ! ,fr5* hi/orian1 7 giv5 to ! tones1 ?us3 ,sa1 ,ri1 ,ga1 ,ma1 ,pa1 ,da1 ,ni1 sev5 9 all1 diff]+ 9 t respect f ! p5tatonic =m usually f\nd among ! e>ly races4 ,9 _! endeavor to satisfy ! melody ( spee*1 ! inflections ( ! voice 9 speak+1 ! ,h9doos divid$ ! int]val ( ! octave into small p>ts1 & transpos$ ! scale freely up & d[n2 s x is easily conceivable t _! complete sy/em recogniz$ #ifj scales1 _! sacr$ writ+s speak+ ( #af1jjj4 ,9 practice !y cont5t$ !mselves ) #cf1 "s writ]s say #gb4 ,! foll[+ is giv5 z ! scale3 ,music ,! pr9cipal feature ( ,h9doo music is ! melody & rhy?m1 ! latt] be+ v complicat$4 ,( h>mony 9 our s5se ( ! ^w !re is no sign4 ,9 accompany+ ! voice ! ,h9doos us$ only ! pure fif?1 :i* !y consid]$ a p]fect consonance1 ! f\r?1 an imp]fect consonance1 & ! octave4 ,high ,e/eem ( ,music ,among ! ,h9doos4--,music _h a high place among ! ,h9doos1 all fe/ivities made use ( x1 & ! private & social life dem&$ x4 ,x 0 us$ freely 9 ! ,h9doo drama1 ! latt] call+ = ! dance1 spok5 & sung dialogue & in/rum5tal music & songs4 ,! ma9 reason :y ,h9doo music did n develop 9 ! pa/ c5turies d\btless lies 9 ! fact t1 z 9 ,egypt1 ! rul+ p[] 0 ve/$ 9 ! prie/hood1 :i* controll$ all ! arts & sci5ces4 ,music 0 s int]wov5 ) _! religi\s rites & obs]vances1 & s h$g$ ar\nd ) irrevocable & sacr$ laws t ! slighte/ alt]ation 0 consid]$ a sacrilege4 ,9 clos+ ?is section x may be add$ t inve/igators ref] ! gipsies1 p>ticul>ly ^? ( ,hung>y1 :o are not$ = _! musical temp]am5t1 to ,h9doo orig91 probably ! p>iah ca/e4 ,_! music1 ) its wild1 free rhy?m & elaborate melodic embelli%m5t1 has a m>k$ resemblance to ! music ( ! ,h9doos4 ,,ref]5ces4 ,smi?4--,! ,_w's ,e>lie/ ,music4 ,&]son4--,! ,/ory ( ,ext9ct ,civilizations4 ,rice4--,:at is ,music8 ,piggott4--,music & ,musical ,in/rum5ts ( ,japan4 ,day4--,musical ,in/rum5ts ( ! ,deccan4 ,,que/ions4 ,:at is ! s\rce ( our in=mation z to ! beg9n+s ( music8 ,:at c\ntries are be+ explor$ by ar*ologi/s8 ,:]e 0 ! cradle ( ! human race8 ,:i* bran* 0 probably ! fir/ to 8sw>m (f08 ,h[ anci5t are "s ,*9ese records conc]n+ music8 ,:at are ! s\nd-giv+ bodies accord+ to ,*9ese !ories8 ,give an example ( ea* k9d4 ,describe ! ,%5g1 ,k91 ,*e & ,t*e4 ,:at k9d ( scale is us$ 9 ,*9ese vocal music8 ,:at is ! ,japanese national in/rum5t8 ,:at k9ds ( in/rum5ts did ! ,h9doos h8 ,_! favorite in/rum5t8 ,describe ! latt]4 ,tell ab\t ! ,h9doo scale4 ,:y did music among ! ,h9doos fail to develop8 ,,lesson ,,ii4 ,,music ,,( ,,! ,,babylonians1 ,,egyptians ,,& ,,hebrews4 ,hi/ory a ,record ( ,*ange4--,hi/ory is a record ( *ang+ conditions4 ,nations rise into prom95ce & fall aga92 cities are built to be torn d[n by conqu]ors2 ev5 ! face ( ! e>? has *ang$ s9ce ! days :5 ! scions ( ! ,aryan race began to leave _! home 9 ,c5tral ,asia4 ,arms ( ! sea h %runk to riv]s1 riv]s to %all[ /reams1 ! des]t s&s h encroa*$ on ! once f]tile valleys1 & *ok$ ! spr+s & brooks ( ! mead[s4 ,geologi/s tell u t ! great valleys 7 made by ! alluvial deposit wa%$ d[n f ! hills & m\nta9s by ! /reams4 ,! ,*9ese foll[$ ! c\rse ( ! great riv]s t made t[>d ! ea/]n seas1 ! ,h9doos t[>d ! s\!rn ocean1 & /ill ano!r 8sw>m0 foll[$ ! great riv]s ,euphrates & ,tigris1 :i* came f ! m\nta9s ( ,we/]n ,asia4 ,! great valley ly+ betwe5 ! des]t & ! m\nta9s1 a sc5e ( wa/e & ru9 z f> back z ! "t ( anci5t ,greece & ,rome1 0 once a mo/ important c5tre ( population & weal?1 ! home = c5turies ( races t _h rea*$ a high degree ( culture 9 ! arts & sci5ces1 & ! seat ( :at may be consid]$ ! olde/ ( ext9ct civilizations4 ,! valley 0 wond]fully f]tile1 0 br\ght to a high degree ( cultivation & support$ an enorm\s population4 ,z an in/ance ( ! physical *anges t h tak5 place 9 ?is region1 x may be m5tion$ t ab\t #djjj ,b4 ,c41 ! ,tigris & ! ,euphrates ent]$ ! sea by diff]5t m\?s1 in/ead ( jo9+ z n[ & 9 ! days ( ,abraham1 ! patri>*1 :o came f ?is region1 & ! t[n id5tifi$ by mod]n s*ol>s z 8,ur ( ! ,*aldees10 :i* is n[ #aej miles up ! ,euphrates1 0 an important seaport4 ,! ,*aldeans4--,:5 ! ,aryans came d[n into ?is valley !y f\nd already e/abli%$ !re a p ^: records are n[ be+ une>!d1 call$ ,akkads1 belong+ to ! ,mongolian family1 :o _h rea*$ a high degree ( cultivation 9 art & sci5ce4 ,! records f\nd %[ t music 0 an important bran* ( /udy2 at a v e>ly date ! h>p1 pipe & cymbals are m5tion$1 & we inf] t ! p 7 fond ( s++1 s9ce _m sacr$ hymns h be5 record$ 9 tablets4 ,?is race1 jo9$ to o!rs1 f\nd$ ! ,*aldean k+dom1 ! capital be+ ,babylon4 ,9 ! #ab? c5tury ,b4 ,c41 a k+ ( ,assyria1 9 ! nor!rn "p ( ! ,tigris valley1 conqu]$ ,babylon & ?us ga9$ ! asc5dancy4 ,! ,practice ( ,music ,among ! ,babylonians4--,9 ! great ru9s n[ be+ excavat$1 tablets ( clay h be5 f\nd :i* give a vivid idea ( ! social & religi\s e/eem 9 :i* music 0 held by ! ,babylonians4 ,"o ( ^! tablets1 said to date back m ?an ?ree ?\s& ye>s ,b4 ,c41 conta9s a repres5tation ( musicians4 ,"o /rikes ) a hamm] ^u a metal plate1 ano!r c>ries a re$ pipe1 a ?ird plays ^u a h>p ( elev5 /r+s1 :ile two o!rs beat "t or give ! acc5t by clapp+ _! h&s4 ,especially ri* 9 sculpture is ! palace ( ,s5na*]ib4 ,"o ( ! relief decorations %[s a fe/ival procession 9 honor ( ! return+ conqu]or4 ,9 front walk five m51 ?ree ) h>ps1 a f\r? ) a k9d ( lyre1 ^: /r+s 7 /ruck ) a plectrum2 ! fif? be>s a d\ble flute4 ,two ( ! h>p]s & ! lyre play] dance4 ,!n foll[ six wom51 ( :om f\r c>ry h>ps1 "o bl[s a d\ble flute1 :ile ! la/ beats a sort ( drum4 ,foll[+ ! in/rum5tali/s come six wom5 & six *ildr5 s++1 :o indicate ! rhy?m by clapp+ _! h&s4 ,f ! fact t 9 ^! sculptures a few soldi]s indicate an army1 we inf] t ! ,babylonians made use ( l>ge bodies ( play]s & s+]s 9 _! great c]emonies4 ,^! tablets indicate t ! ,babylonians made mu* use ( trumpets to give signals to ! armies & :5 great masses ( ! p 7 ga!r$ toge!r4 ,t musicians 7 highly e/eem$ we judge f ! fact t on "o occasion ,s5na*]ib sp>$ ! lives ( musicians among 8 captives1 all o!rs be+ put to dea?4 ,s9ce ! ,*aldeans1 especially1 7 fam\s z a/ronom]s & ma!maticians1 x is ?\ght t !y1 l ! ,egyptian sages1 _h k ( ! ma!matical relations ( ! v>i\s int]vals4 ,illu/ration3 ,,assyrian ,,h>p 7,,sambuca74 ,,santir4 ,*aldean ,in/rum5ts4--,two in/rum5ts seem to be especially noticeable3 ! ,symphonia & ,sambuca4 ,! =m] 0 c>ri$ to ,pale/9e by ! ,hebrews1 at ! end ( _! captivity1 &1 accord+ to _! acc\nts1 seems to h be5 a sort ( bagpipe1 an in/rum5t p>ticul>ly suit$ to a pa/oral p l ! e>ly ,*aldeans4 ,z to ! ,sambuca we h no au!ntic k2 x seems1 h[ev]1 to h be5 an in/rum5t ( ! zi!r type1 held horizontally & play$ ) a plectrum4#b ,a /r+$ in/rum5t1 /ruck ) a hamm]1 call$ ! ,santir is cr$it$ to ! ,assyrians4 ,egyptian ,music4--,:5 ! great ,alex&rian ,libr>y ( #die1jjj works ( ,p]sian1 ,*aldean1 ,hebrew1 ,egyptian1 ,greek & ,roman lit]ature 0 p>tly de/roy$ dur+ ,julius ,cs>'s battles ) ! native ,egyptians1 9 #dg ,b4 ,c41 & f9ally1 ,a4 ,d4 #cia1 by ,*ri/ian fanatics1 hi/ory suff]$ an irrep>able loss4 ,treasures ( le>n+ 9 all bran*es1 ! records ( e>ly civilizations p]i%$1 nev] to be replac$4 ,today we are dep5d5t ^u ! discov]ies ( explor]s 9 ! ru9s ( ! great ,egyptian cities1 temples1 tombs & pyramids4 ,! ,egyptians believ$ t articles ( necessity to ! liv+ be+ 7 necess>y to ! individual 9 a future exi/5ce4 ,if c]ta9 ?+s c\ld n1 9 reality1 be plac$ 9 ! tomb1 a pictorial repres5tation w\ld h almo/ equal value 9 ! invisible _w4 ,9 ,egyptian tombs pipes or 8flutes0 h be5 f\nd1 & 9 "o in/ance1 9 ! tomb ( a musician1 ! bronze cymbals he play$ :5 alive4 ,9 ! v>i\s tombs & ru9s t h be5 exam9$ by explor]s1 pictorial repres5tations ( practically e phase ( ,egyptian life h be5 f\nd4 ,! s\rces = our k1 almo/ :olly inf]5tial1 are1 !n1 ! v>i\s pictorial & sculptur$ repres5tations ( ! ,egyptian musical in/rum5ts & ! mann] 9 :i* !y 7 us$1 & a few fragm5ts ( _! sacr$ books1 :i* 7 =ty-two 9 numb]1 two be+ devot$ to music1 al?\gh b "o fragm5t has be5 f\nd4 ,x mu/ be not$1 fur!r1 t ! ,egyptian ,gov]nm5t1 al?\gh nom9ally a mon>*y1 limit$1 n absolute1 0 9 reality !ocratic4 ,! prie/ly ca/e _h f9al p[]1 & ! rules & regulations drawn up by !m prescrib$ ! m9ute/ detail ( life1 cru%+ all possibility ( indep5d5t ?\ght & fre$om ( action1 a condition fatal to high arti/ic developm5t4 ,place ( ,music 9 ,egyptian ,life4--,to %[ ! place ( music 9 ,egyptian life1 ! foll[+ f ,ambros' hi/ory w s]ve admirably3 8,f ^! decorations on ! walls ( tombs we p]ceive t ! ,egyptians made great use ( music4 ,we f9d h>ps ( _m sizes & %apes1 small & easily portable1 to o!rs beyond ! height ( a man1 crude & ( ! utmo/ simplicity1 to o!rs elaborate & extremely ri* 9 decoration4 ,we note an almo/ endless v>iety ( lyres1 guit>s & m&ol9s t is1 simil> 9 type to ! in/rum5ts we "k by ^! names1 s+le & d\ble flutes1 play$ by h&s ( num]\s musicians1 toge!r ) male & female s+]s4 ,music 0 us$ to accompany ! dance1 ! fun]al cortge1#c ! banquet & o!r social functions4 ,inscriptions %[ t !re 7 musicians ( high social position at ! c\rt40 ,egyptian ,in/rum5ts4--,! records %[ a developm5t ( music f a crude simplicity 9 e>ly days to a brilliant & complex sy/em alongside ( ! *anges 9 o!r arts & ! sci5ces1 "s ( ! discov]ies go+ z f> back z #afbe ,b4 ,c4 ,we give illu/rations ( sev]al =ms ( ! ,egyptian h>ps4 ,! numb] ( /r+s v>i$ f ?ree or f\r to tw5ty-"o4 ,mr4 ,j4 ,f4 ,r[bo?am1 ! ,engli% hi/orian ( music1 says t 8tak+ ,b bel[ ! bass /aff z ! l[e/ note ( ! ,egyptian scale1 7s9ce x likely foll[$ ! ,assyrian 9 ?is respect7 ! compass ( ! great h>p w\ld ext5d to ,e1 fir/ l9e1 treble /aff4 ,! small h>ps ( v>i\s sizes _h a compass f ,d1 ?ird l9e1 bass /aff1 to ,d or ,e above ! treble /aff4 ,ano!r s]ies ( /r+$ in/rum5ts1 kn[n "u ! g5]al "n1 lyres1 _h ! same compass z ! small h>ps2 ! lutes _h a l[ ,g1 7bass7 /r+1 & ! highe/ note 0 ,c or ,d on ! treble /aff2 v>i\s =ms ( ! flutes _h ab\t ! same compass2 pipes1 :i* may be repres5t$ by ! flageolet ( today _h a compass ( ab\t "o octave upw>d f ,e1 f\r? space1 treble clef4 ,o!r in/rum5ts 7 ( ! p]cussion "*1 tamb\r9es1 drums1 cymbals1 etc4 ,al?\gh ! ,egyptians us$ _! in/rum5ts 9 comb9ation1 !re is reason to believe _! practice 0 ! alt]nation ( gr\ps1 only occasionally us+ all simultane\sly1 to secure fulness & p[] ( tone40 ,illu/ration3 ,,horizontal ,,h>p4 ,,small ,,h>p4 ,,great ,,h>p4 ,philosophy & ,practice ( ,egyptian ,music4--,! cons5sus ( op9ion is t ,egyptian music 0 melodic 9 "*1 ! in/rum5ts or voices play+ or s++ 9 diff]5t octaves1 reject+ o!r int]vals4 ,z ! ,greeks seem to h drawn f ! ,egyptians mu* ( _! practice 9 music1 x is reasonable to suppose t !y w\ld h us$ h>mony if ! ,egyptians _h be5 accu/om$ to make use ( x4 ,z to ! ,egyptian !ory ( music we h no in=mation4 ,s9ce1 h[ev]1 ,py?agoras1 ! ,greek philosoph]1 0 a /ud5t ( ! ,egyptian s*ool = prie/s1 we inf] t 8 tea*+s 7 f\nd$ on ! sci5ce he acquir$ !re2 h5ce x is probable t ! ,egyptians 7 famili> ) a sev5-fold division ( ! octave & ! ma!matical relations ( ! f\r? & fif?1 z well z o!r int]vals ( ! scale4 ,( ! old ,egyptian hymns we h no rema9s unless x be1 z "s ass]t1 t fragm5ts /ill exi/ among ! ,coptic ,*ri/ians4 ,illu/ration3 ,,transv]se ,,flute4 ,,d\ble ,,flute4 ,! ,hebrews4--,:at a wond]ful hi/ory is t ( ! ,hebrews6 ,x has se5 nation aft] nation rise to p[] & g d[n4 ,x has be5 enslav$1 seem+ly beyond all possibility ( recov]+ a national exi/5ce1 yet rega9$ place4 ,egypt1 ,assyria1 ,p]sia1 ,rome1 held ! ,hebrews1 yet ! latt] are /ill ) u1 z a di/9ct race1 :ile _! conqu]ors h b pages ( hi/ory4 ,a glance at ! hi/ory ( ! race w %[ t !y t\*$ ! s\rces ( e>ly civilization4 ,abraham 0 a resid5t1 accord+ to ! ,bible /ory1 ( ,ur 9 ! l& ( ! ,*aldees1 :]e a consid]able civilization _h be5 atta9$4 ,f "h he w5t to ,canaan1 !nce to ,egypt1 & back aga9 to ! c\ntry ea/ ( ! ,r$ ,sea4 ,:5 8 desc5dants w5t to ,egypt !y mu/ h c>ri$ ) !m ,syrian music & in/rum5ts1 d\btless pres]v+ a trace ( ,*aldean influ5ce4 ,x 0 dur+ ! f\r c5turies' soj\rn 9 ,egypt t ! ,hebrews1 ?\gh = a "t enslav$1 ga9$ ! proportions ( a nation4 ,z _! duties plac$ !m 9 close relations to _! ma/]s1 !y ga9$ consid]able ( ! ,egyptian sci5ce1 lit]ature1 cu/oms1 etc4 ,at t "t1 musicians 7 slaves1 & tradition says t ,miriam1 ! si/] ( ,moses1 0 a slave danc+-girl & s+]4 ,we "k t ,moses 0 in/ruct$ 9 ! le>n+ ( ! ,egyptian prie/hood1 & 9 t capacity (ficiat$ 9 "s ( ! functions ( ! temple s]vices4 ,su* facts z ^! g f> to ju/ify ! idea t ! ,hebrews ga9$ _! fundam5tal notions ( music & musical in/rum5ts dur+ _! long soj\rn 9 ,egypt4 ,"s writ]s claim t ! songs ( ! ,hebrews 7 adapt$ to ,egyptian *ants4 ,! pa/oral life l$ by ! desc5dants ( ,abraham1 ! p]iod ( slav]y :i* ! ,hebrews suff]$ 9 ,egypt1 & ! subsequ5t migratory life 9 ! wild]ness 7 n adapt$ to develop a p's song4 ,! life 9 ,pale/9e = _m ye>s 0 a /r5u\s "o2 & !n came ano!r p]iod ( slav]y among ! ,assyrians1 by :i* ! ,hebrew ideas 7 aga9 modifi$4 ,a ,religi\s ,p4--,! ,hebrews 7 an int5sely religi\s p1 ! code deliv]$ to !m by ,moses fix+ ! /atus ( music up to ! "t ( ! pleasure-lov+ ,solomon4 ,_! music1 9 di/9ction f t ( ! nations ar\nd !m1 0 n s5su\s b a true musica sacra1 9 ?is respect m a matt] ( religion ?an ( art4 ,dur+ ! reign ( ,david1 ! ,levites 7 organiz$ z ! s+]s = ! ,temple s]vices4 ,music & poetry 7 ! *ief subjects ( in/ruction4 ,david himself compos$ _m ( ! tunes to :i* 8 ,psalms 7 sung4 ,hebrew ,poetry & ,its ,relation to ,_! ,music4--,! key to ! music ( ! ,hebrews is _! poetry4 ,!y grew to numb]s "u ! mo/ adv]se circum/ances1 & develop$ a temp]am5t indiff]5t to environm5t & elevat$ to high spiritual aspiration1 mak+ !m an int5sely religi\s p1 ^: life 0 little s(t5$ by arti/ic practice4 ,! effect ( ! injunction aga9/ ! mak+ ( 8grav5 images10 z giv5 !m 9 ! code ( ,moses1 0 to cut !m (f f ! ex]cise ( ! e/hetic faculty 9 sculpture or pa9t+2 _! unsettl$ mode ( life prev5t$ outlet 9 ar*itecture4 ,s !y p\r$ out ! :ole /r5g? ( _! passionate1 p[]ful natures 9 poetry & song4 ,! mo/ /rik+ *>act]i/ic ( ! ,hebrew poetry is ! p>allelism ( ! phrases1 ea* s5t5ce or complete ?\ght be+ made up ( two simil> or contra/$ ?\ghts1 & ! accompany+ music mu/ h _h ! same "*4 ,! foll[+ f ! ,psalms %[s ?is feature3 8,"l1 he> my voice3 let ?9e e>s be att5tive to ! voice ( my supplication40 8,i w n give sleep to my eyes1 or slumb] to m9e eyelids40 ,:5 ! great *oirs ( m5 s+]s 7 organiz$ = ! ,temple s]vices1 ?is p>allelism br\ght ab\t ! division into two bodies1 :o sang alt]nately1 a practice 9 use today 9 c]ta9 *ur*es ) rituali/ic s]vices1 & kn[n z antiphonal s++4 ,hebrew ,music4--,x is un=tunate t we h no reason to believe t ! hymns 9 use 9 ! ,jewi% synagogues today are sung to ! tunes ( ?\s&s ( ye>s ago1 ev5 if modifi$4 ,9 ! v>i\s c\ntries ( ,europe1 ,spa91 ,italy1 ,g]many1 ,russia1 ! airs are q diff]5t1 sugge/+ t tradition has fail$ to deliv] any?+ t c trac$ to ! days ( ! poet-k+ ( ,israel4 ,"s au?orities f9d 9 ! ,gregorian *ants traces ( ,hebrew melodies :i* came d[n f ! e>ly ,*ri/ians ( ,jewi% bir? & tra9+4 ,clem5t ( ,alex&ria says t _! songs 7 e>ne/ & dignifi$2 !re mu/ h be5 "s special "* 9 !m z %[n by ! comm& ( ! ,babylonians1 8,s+ u ! songs ( ,zion40 ,! pr9cipal relation t ! ,hebrews h to ! hi/ory ( music arises f ! endur+ impress ! works ( ! ,psalmi/ & o!r portions ( ! ,scriptures h made ^u ! music ( ! ,*ri/ian ,*ur*4 ,hebrew ,in/rum5ts4--,! ,hebrews borr[$ _! in/rum5ts f o!r nations1 pr9cipally f ! ,egyptians1 ! "o mo/ favor$ be+ a =m ( ! h>p1 small en\gh to be portable1 us$ to give effect to ! *ant+ ( ! prophets4 8,to prophesy meant to s+10 & x is q likely t ,isaiah1 ,j]emiah & ! o!r inspir$ poets utt]$ _! ?\ghts 9 v]se & song1 bo? be+ extemporiz$4 ,! /ud5t %\ld be> 9 m9d t ! v>i\s musical in/rum5ts m5tion$ 9 ! ,bible mu/ be und]/ood z types4 ,! h>p ( ,david 0 n ! same z our h>p1 ! organ 0 n l our great *ur* in/rum5ts1 viols1 sackbuts1 cornets1 pipes1 psalt]ies1 etc41 are names giv5 by ! translators to ! ,hebrew t]ms us$ 9 ! ,bible4 ,!y us$ words ) :i* !y 7 famili>1 & :i* !y ?\ght correspond$ 9 type to ! in/rum5ts us$ by ! ,hebrews4 ,,ref]5ces4 ,r[bo?am4--,hi/ory ( ,music4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,engel4--,musical ,in/rum5ts4 ,smi?4--,! ,_w's ,e>lie/ ,music4 ,&]son4--,! ,/ory ( ,ext9ct ,civilizations4 ,maspro4--,anci5t ,egypt & ,assyria4 ,dick9son4--,music 9 ! ,hi/ory ( ! ,we/]n ,*ur*4 ,,que/ions4 ,:at great riv] valley 0 ! home ( ! ,*aldeans8 ,:at d we "k ( music among ! ,akkads8 ,:at evid5ce h we to %[ t ! ,assyrians held music 9 high e/eem8 ,:at in/rum5ts did !y use8 ,h[ d we le>n ( ! ideas ( ! ,egyptians 9 reg>d to music8 ,:o controll$ ! k ( music & o!r sci5ces & arts8 ,0 ?is b5eficial to music8 ,:at in/rum5ts did ! ,egyptians use8 ,:at 0 ! "* ( ,egyptian music8 ,:at 0 ! orig9 ( ! ,hebrew race8 ,:at influ5ces did !y come "u 9 ,egypt8 ,:at diff]5ce 0 !re betwe5 ! music ( ! ,hebrews & t ( ! nations ar\nd !m8 ,:y did !y express !mselves 9 poetry & music8 ,:at 0 a lead+ *>act]i/ic ( _! poetry8 ,h any anci5t ,hebrew melodies be5 pres]v$8 ,:at musical in/rum5ts did ! ,hebrews h8 ,:at 0 ! orig9 ( ^! in/rum5ts8 ,,lesson ,,iii4 ,,music ,,( ,,! ,,greeks3 ,,scales4 ,:5 we ?9k ( ,greece1 x is ,a!ns1 ! c5tre ( ,greek art & culture1 t comes to m9d4 ,an anci5t city1 ,a!ns1 z hi/ory tea*es u4 ,! record is t x 0 f\nd$ by ,cecrops1 :o br\ght a colony f ,egypt1 9 #aeef ,b4 ,c41 a p]iod :5 ,egypt 0 a c5tre ( p[]1 weal?1 education & sci5ce4 ,!re=e we inf] t ^! coloni/s br\ght ) !m to ,greece ! ord9>y1 popul> music & in/rum5ts to :i* !y _h become accu/om$ 9 _! home4 ,b !re 0 an old] ,greece2 = late discov]ies %[ t !re 7 five cities1 ea* built ^u ! ru9s ( an old] city1 ! fir/ "o go+ back to #bejj ,b4 ,c4 ,^! e>li] inhabitants1 !mselves an (f%oot ( ! great ,aryan race1 7 absorb$ by ! coloni/s4 ,music & ,my? 9 ,greece4--,! beg9n+s ( music 9 ,greece are m+l$ ) my?s3 ,pan1 ,apollo1 ,m]cury1 ,a!ne & o!rs appe> z ! patrons & exempl>s ( ! musical art4 ,aside f ! names ( ! my?ical gods & goddesses1 !re are names ( human be+s t /& out ) cle>ness4 ,^! e>ly musicians 7 s+]s or b>ds :o *ant$ ! songs compos$ 9 honor ( *iefs & tribal h]oes4 ,su* 7 ,hyagnis1 #aejf ,b4 ,c41 ,m>syas1 8 son1 & ,olympus ! eld]1 ,orpheus1 ,musu 7#adbf ,b4 ,c471 *ief ( ! ,eleus9ian my/]ies1 ,l9us1 ,amphion1 ,?aletes1 ^: songs 7 favorites ( ,py?agoras2 ! greate/ ( ^! b>ds 0 ! bl9d ,hom]1 to :om ! date #ijj ,b4 ,c4 is assign$4 8,by ! ,greeks1 music z an art 0 consid]$ an aid 9 regulat+ by rule ! inflections ( ! voice1 to m>k ! places ( emphasis1 & to def9e ! pauses 9 ! recitation ( _! epic poetry2 & ! rhy?m ( _! songs foll[$ /rictly laws t _h be5 laid d[n2 innovation 0 repreh5d$1 & ev5 prohibit$40#d ,e>ly ,greek ,musicians & ,writ]s4--,! e>lie/ musician's "n met ) 9 ! annals ( music is t ( ,t]p&] 7#fgf ,b4 ,c71 :o is said to h increas$ ! numb] ( /r+s on ! lyre f f\r to sev54 ,next 9 ord] 0 ,py?agoras 7#ehe-eje ,b4 ,c471 :o add$ an eigh? /r+ to ! lyre4 ,he 0 call$ ! discov]] ( ! ,tetra*ord1 :i* is /ill kn[n by ?is "n1 ! inv5tor or discov]] ( ! ,octave ,scale1 also ! discov]] ( ! ratios ( ! consonances2 b !re is no d\bt t he le>n$ all ^! ?+s dur+ 8 soj\rn 9 ,egypt4 ,he is also cr$it$ ) ! inv5tion ( ! ,canon or ,mono*ord ) movable bridges1 a contrivance /ill 9 use = inve/igat+ ! ratios ( int]vals4 ,un=tunately none ( ! writ+s--if any ev] exi/$--( ,py?agoras h come d[n to u4 ,our k ( 8 !ories is second-h&1 ga!r$ f ! writ+s ( 8 disciples4 ,py?agoras seems to h /udi$ s\nd m 9 ! mann] ( ! ac\/ician ?an ( ! musician2 h5ce 8 foll[]s1 or r ^? :o call$ !mselves by 8 "n1 7 m conc]n$ ) ! ratios ( s\nds ?an ) _! musical effects4 ,among ! great philosoph]s :o treat$ on music1 ,ari/otle 7#chd ,b4 ,c47 holds an important place4 ,we f9d 8 !ories express$ 9 "o ( 8 works call$ 8,problems40 ,a pupil ( 8--,ari/ox5us 7#cej-cbj ,b4 ,c471 has left ! mo/ valuable treatise on music1 ( any ( ! anci5ts1 ! olde/ musical "w kn[n at ! pres5t "t2 x is1 un=tunately1 n complete4 ,ari/ox5us 0 a practical1 9 addition to be+ a !oretical musician2 he ?\ght t ! e> 0 ! f9al c\rt ( appeal 9 matt]s musical4 ,h5ce ! musical _w 0 divid$ into two factions3 ! ,py?agoreans1 :o held t music 0 purely a matt] = ari?metical inve/igation1 & ! ,ari/ox5ians1 :o claim$ t ! *ief end ( music 0 to be li/5$ to4 ,?is dispute la/$ = _m c5turies4 ,boe?ius1 ! ,roman philosoph]1 9 8 writ+s takes sides ) ! ,py?agoreans & p\rs contempt on ! m]e musician4 ,! successors ( ! ,py?agoreans are ev5 yet n ext9ct1 z e n[ & aga9 "s wiseacre turns up ) a s*eme to secure j intonation1 at ! price ( los+ all t music has ga9$ "u our pres5t sy/em4 ,plato 7#dcj ,b4 ,c471 ! greate/ ( philosoph]s1 has mu* to say ab\t music2 b ^! say+s are l>gely incompreh5sible to mod]n und]/&+s4 ,euclid 7#cbc ,b4 ,c471 ! great ma!matician1 treat$ l>gely ( music4#e ,ari/ides ,qu9tilianus 0 ano!r au?or ( great weight4 ,plut>*1 9 8 ,symposia1 has "o devot$ to music1 b un=tunately ! mean+ ( ^! au?ors is (t5 s obscure t x _c n[ be discov]$4 ,alex&ria1 9 ,egypt1 came into prom95ce 9 music :5 ! great libr>y 0 f\nd$ !re by ,alex&] ! ,great1 9 #ccb ,b4 ,c4 ,erato/h5es 7#bgf-aif ,b4 ,c471 ! libr>ian1 figures 9 ! ma!matics ( music4 ,:5 we rea* ! ,*ri/ian ,era1 we meet ) two m writ]s1 ,didymus 7,a4 ,d4 #fj71 :o introduc$ ! 8m9or0#f tone into ! scale1 & ,claudius ,ptolemy 7,a4 ,d4 #acj74 ,! ,music ( ,anci5t ,greece ! ,f\ndation ( ,mod]n ,european ,music4--,al?\gh ! hi/ory ( ,european music prop]ly beg9s ) ! music ( ,anci5t ,greece1 we are /ill v ignorant ( ! subject1 ow+ to ! fact t !re is n 9 exi/5ce a note ( music ant]ior to ! ,*ri/ian ,era4 ,b lately1 9 ! anci5t treasure h\se at ,delphi1 a hymn 0 f\nd inscrib$ 9 m>ble on ! inn] wall4 ,mr4 ,j4 ,p4 ,mahaffy1 an au?ority 9 matt]s p]ta9+ to ,greek lit]ature1 says3 8,! "t is giv5 by ! metre1 a long syllable & ?ree %ort1 v>i\sly plac$1 or two long & a %ort betwe5 !m1 9 e case #e-h 9 a measure4444 ,z reg>ds ! accompanim5t or h>moniz+ ( ! air1 !re is none extant4 ,z to ! melody al?\gh !re is rhy?m & ev5 a recurr5ce ( phrases to m>k ! close ( ! p]iod1 no?+ wor?y ( be+ call$ melody 9 any mod]n s5se is to be f\nd40 ,! inscription dates f ! ?ird c5tury be=e ,*ri/1 is a hymn to ,apollo & ! ,muses1 & consi/s ( phrases equal to eighty measures 9 our mod]n reckon+4 ,! blank spaces 9 ! measure 7 fill$ 9 by an in/rum5t1 probably ! ci?>a4 ,our k is conf9$ to ! treatises ( ma!maticians & musicians1 previ\sly m5tion$1 & ^! works are (t5 s obscure t !re is mu* unc]ta9ty z to _! mean+4 ,besides1 ^! writ+s are scatt]$ ov] a p]iod ( ab\t #hjj ye>s2 t is1 f #ehe ,b4 ,c41 ! date ( ,py?agoras1 to #acj ,a4 ,d41 ! date ( ,claudius ,ptolemy4 ,numb]less *anges took place 9 ! art 9 ! c\rse ( ?is long p]iod2 h5ce ! attempt to elucidate a homog5e\s sy/em by comp>+ ^! writ+s is ab\t z hopeless z w\ld be ! attempt to d$uce ! mod]n sy/em ( music f ! collocation ( ! works ( ,guido & ,hucbald ( ! #aj? c5tury ) ^? ( ,ri*t] & ,pr\t 9 ! #ai?4 ,illu/ration3 ,music ,,hymn ,,to ,,apollo ,,& ,,! ,,muses4 ,we owe mu* to ! labors ( ^! bygone writ]s2 9 fact1 ! ,greek sy/em ( music is ! f\ndation ^u :i* ! mod]n sy/em is ! sup]/ructure4 ,no attempt w be made "h to settle ! _m disput$ po9ts t h puzzl$ ! le>n$ = t5 or m c5turies1 b a cle> & concise acc\nt ( all t is necess>y to an und]/&+ ( ! place ( ?is sy/em 9 ! hi/orical developm5t ( music w be giv54 ,=mation ( ! ,greek ,scale4--,! ,greek ,scale 0 f\nd$ on a tetra*ord or succession ( f\r s\nds1 arrang$ z foll[s3 ,e 7half tone7 ,f 7:ole tone7 ,g 7:ole tone7 ,a ,x is commonly believ$ t ^! lett]s writt5 on ! bass /aff1 ?us3 ,music repres5t ! exact pit*1 z ne> z may be1 ( ?is tetra*ord4 ,9 e>ly times ! lyre 0 tun$ to ^! f\r s\nds1 & 0 call$ ! ,tetra*ordon2 t is1 f\r /r+s4 ,?is gracefully %ap$ in/rum5t has rema9$ to ?is day ! symbol ( music4 ,?is limit$ scale 0 ext5d$ by add+ ano!r tetra*ord1 :i* began ) ! la/ note ( ! fir/ tetra*ord1 ?us3 ,a--,b ,c ,d ,e--,f ,g ,a mak+ a scale ( sev5 s\nds1 call$ ! scale ( ,conjunct or ,jo9$ ,tetra*ords2 also f its sev5 /r+s1 ! ,hepta*ord scale4 ,! next /ep 0 to take 9 ! limit ( ! octave4 ,! fir/ way adopt$ 0 to raise ! highe/ /r+ a :ole tone1 ?us mak+ x ! octave ( ! l[e/2 ! six? /r+ 0 also rais$ a :ole tone to make x a :ole tone bel[ ! sev5?4 ,! result 0 a scale ( sev5 s\nds ) "o degree omitt$1 ?us3 ,a--,b 7,c7 ,d ,e ,e--,f ,g ,a ,! next =m 03 ,e--,f ,g ,a ,b 7,c7 ,d ,e ,x w be se5 t 9 ?is scale ! second tetra*ord beg9s a :ole tone above ! fir/1 in/ead ( beg9n+ ) ! f9al ( ! fir/4 ,x is !re=e call$ ! scale ( ,disjunct or ,sep>at$ ,tetra*ords4 ,! miss+ s\nd 7,c7 is "h add$ & ! octave scale is complete4 ,:5 ! lyre _h sev5 /r+s1 ! middle /r+1 t is1 ! f\r?1 c\nt+ f ei!r end1 0 call$ ,mese1 :i* means 8middle02 b ?is ^w soon ga9$ a second>y mean+ :i*1 9 "t1 became ! mo/ important1 viz43 ,keynote4 ,! ,less] ,p]fect ,sy/em4--,!re 0 9 use at ! same "t a scale call$ ! ,less] ,p]fect ,sy/em1 :i* 0 made f ! conjunct sev5-note scale by add+ ano!r conjunct tetra*ord bel[1 ?us3 ,a--,b ,c ,d ,e--,f ,g ,a 7,a7 ,b--,c ,d ,e ,!n ,a 0 add$ bel[ ! fir/ tetra*ord to make an octave ) ! note ,mese4 ,?is ,a 0 ! l[e/ s\nd admitt$ 9 ! ,greek ,sy/em4 ,x 0 ! ,romans :o gave to ?is s]ies ( s\nds ! fir/ sev5 lett]s ( ! alphabet1 :i* !y /ill reta94 ,?is octave 7,a to ,a7 is also ! orig9 ( our natural m9or scale4 ,?is ,less] ,sy/em 0 ! scale us$ 9 ! ,temple rites4 ,x cont9u$ to be us$ = ?is purpose long aft] ! sy/em ab\t to be describ$ 0 inv5t$4 ,! ,great] ,p]fect ,sy/em4--,?is 0 made f ! disjunct octave by add+ a conjunct tetra*ord bel[ & "o above1 ?us3 ,e--,f ,g ,a ,e--,f ,g ,a ,b--,c ,d ,e 7,a7 ,b--,c ,d ,e ,! ,a bel[ 0 also add$1 ?us mak+ a scale two octaves 9 ext5t4 ,9 lat] times ! disjunct tetra*ord1 ,b--,c--,d--,e1 0 add$ at ! top4 ,?is ,e 0 ! highe/ note admitt$ 9 ! ,greek ,sy/em2 consequ5tly1 _! music nev] exce$$ ! limits ( two octaves & a fif?1 & ! s\nds includ$ 9 ^! sy/ems 7 z foll[s3 ,music3 ,great] ,p]fect ,sy/em )\t ,b ,add$ ,note ,less] ,p]fect ,sy/em )\t ,b ,peculi> int]e/ atta*es to ?is s]ies ( s\nds1 because 9 ! ,middle ,ages !y 7 suppos$ to be ! only s\nds admitt$ by ! ,greeks4 ,?is acc\nts = ! fact t ,b 0 ! fir/ note t x 0 consid]$ "r to use 9 two =ms4 ,! ,greek ,scales4--,! ,greeks did n by any means conf9e !mselves to ^! s\nds1 b *ang$ ! pit* ( ! />t+ note j z we d ) our scales2 9 o!r words1 bo? ( ^! sy/ems might be transpos$4 ,!re=e !y n only _h all ! s\nds at comm& t we h1 b z _! scales 7 7!oretically1 at lea/7 tun$ ac\/ically true1 !y _h a great _m m4 ,b _! scales 7 all diatonic 7! scales !y call$ ,*romatic & ,enh>monic w be expla9$ lat]71 !y 7 all l our natural m9or4 ,:5 !y said 8,dorian ,scale0 !y meant j :at we mean :5 we say scale ( ,d m9or2 ,phrygian ,scale meant ,e m9or2 ,lydian ,scale1 ,f-%>p m9or2 ,mixo-,lydian1 ,g m9or4 ,9 addition to ^! f\r scales !re 7 ?ree t began a f\r? bel[1 "o a f\r? bel[ ! ,dorian1 call$ ! ,hypo-,dorian1 ,a m9or2 a f\r? bel[ ! ,phrygian1 call$ ! ,hypo-,phrygian1 ,b m9or2 & a f\r? bel[ ! ,lydian1 call$ ,hypo-,lydian1 ,c-%>p m9or2 ^! 7 ! /&>d scales ( ,greek music4 ,^! names1 ,dorian1 etc41 7 reta9$ 9 ! ,ecclesia/ical ,sy/em1 b ! mi/ake 0 made ( suppos+ t ! ,greeks us$ only ! fix$ s\nds giv5 by ! untranspos$ ,great] ,sy/em4 ,h5ce ! ,*ur* ,dorian has ,b natural1 n ,b-flat2 ! ,*ur* ,phrygian1 ,f natural1 n ,f %>p2 & ! ,*ur* ,lydian beg9s on ,f natural1 in/ead ( on ,f %>p4 ,h5ce1 no two *ur* scales are alike 9 ! positions ( ! halftones4 ,,que/ions ,,& ,,sugge/ions4 ,"n "s ( ! my?s connect$ ) music among ! ,greeks4 ,consult a "w on my?ology4 ,"n ! musicians & philosoph]s connect$ ) ,greek music2 arrange !m 9 *ronological ord]1 ) dates4 ,/ate ! successive po9ts ( developm5t4 ,:y d we consid] t ! hi/ory ( music z we "k x today beg9s ) ,greek music8 ,h we music t belongs to ! ,greek p]iod8 ,on :at 0 ! ,greek ,scale f\nd$8 ,h[ 0 ?is ext5d$8 ,:at "n did ?is =m receive8 ,9 :at respect did ! ,disjunct =m diff] f ! ,conjunct8 ,:at 0 ! ,mese8 ,:at 0 ! ,less] ,p]fect ,sy/em8 ,:at 0 ! ,great] ,p]fect ,sy/em8 ,:at 0 ! highe/ note us$ by ! ,greeks8 ,:at 0 ! l[e/8 ,7 ^! sy/ems transposable8 ,:at is ! mean+ ( ! prefix 8,hypo08 ,,lesson ,,iv4 ,,music ,,( ,,! ,,greeks 7,conclud$74 ,! ,greek ,octave ,sy/em4--,s f>1 ev]y?+ is cle> en\gh2 b ! next /ep is n q s sure4 ,! ,greeks spoke ( ! ,dorian ,octave1 ! ,phrygian ,octave1 & s on2 & ! ^w ,octave1 us$ 9 ?is way1 has be5 ?\ght to be synonym\s ) ,scale1 :i* is d\btful1 = ! foll[+ reasons3 ,! /&>d in/rum5t ( ! ,greeks 0 ! octave lyre4 ,! l[e/ & highe/ /r+s 7 tun$ respectively ,a1 fif? l9e bass /aff1 & ,a1 second space1 treble4 ,music3 ,dorian ,octave4 ,signature ,b ,phrygian ,octave4 ,signature ,f ,lydian ,octave4 ,signature ,f1 ,c & ,g %>ps4 ,mizo-,lydian ,octave4 ,signature ,b & ,e flats4 ,hypo-,dorian ,octave4 ,hypo-,phrygian ,octave4 ,signature ,f & ,c %>ps4 ,hypo-,lydian ,octave4 ,signature ,f1 ,c1 ,g ,d %>ps4 ,^! 7 fix$ s\nds1 b ! tun+ ( ! rema9+ six /r+s might be *ang$ at w2 !re=e1 a s]ies ( s\nds belong+ to any "o ( ^! scales c\ld be made2 & x w be se51 on exam9+ ! foll[+ table1 t all ! sev5 scales may be repres5t$ )\t *ang+ ! extreme notes1 ,a to ,a4 ,suppose we make ! ,b flat4 ,n[ ,b-flat is ! *>act]i/ic note ( ! ,dorian ,scale1 9 our t]m1 its signature4 ,!re=e ?is octave w\ld be call$ ! ,dorian ,octave1 n ,dorian ,scale4 ,we speak ( a scale z beg9n+ & end+ on its keynote2 if x does n1 we call x a scale passage 9 su* & su* a key4 ,! notes m>k$ are ! keynotes 7,mese74 ,x w be se5 at once t ! positions ( ! halftones diff] 9 ea* ( ^! octaves4 ,"o _c help feel+ a slight suspicion t "s confusion betwe5 scale & octave _h a great deal to d ) ! gr[? ( ! ,ecclesia/ical ,scales4 ,"o ( ! late/ ( ! anci5t writ]s on music1 ,claudius ,ptolemy 7ab\t #acj ,a4 ,d471 propos$ t all ^! octaves %\ld be transpos$ a f\r? l[]2 ?is made ! ,dorian ,octave ,e to ,e 7all naturals74 ,"o result ( ?is *ange is t _m au?orities at ! pres5t "t call ?is ! ,dorian ,scale1 :]eas x is evid5t t x is simply ! ,dorian ,octave1 z giv5 above1 transpos$ a f\r? l[]4 ,o!r scales 7 add$ f "t to "t1 call$ ,hyp]-,dorian1 ,hyp]-,phrygian1 etc41 a f\r? above ! /&>d scales2 b x is v unc]ta9 :e!r !y 7 9 practical use2 !y 7 probably purely matt]s ( !ory4 ,*>act]i/ics ,attribut$ to ! ,diff]5t ,greek ,scales4--,! ,greeks attribut$ _m fanciful *>act]i/ics to ! v>i\s modes or scales1 mu* z "s mod]n musicians1 ,b]lioz1 = example1 d to ! diff]5t keys4 ,b all seem to h agre$ z to ! ,dorian4 ,?is 0 consid]$ ! true ,greek mode1 & 0 call$ sev]e1 firm & manly1 suitable = m>tial songs4 ,! ,lydian mode 0 e/eem$ to be effem9ate1 suit$ to love songs1 possibly because ! ,lydian ,octave corresponds ) ! scale ( ,a major1 & a major scale 0 n reli%$ by ! ,greeks1 any m ?an x 0 by ! e>ly ecclesia/ical musicians4 ,a m probable explanation ( ?is attribution ( diff]5t *>act]s to ! diff]5t scales is1 t x 0 cu/om>y to use c]ta9 modes = songs on c]ta9 subjects1 & ! "* ( ! poetry 0 transf]r$ to ! music4 ,! ,greek ,*romatic ,scale diff]$ altoge!r f :at we call a *romatic scale4 ,x 0 made by l[]+ ! pit* ( ! f\r? & sev5? /r+s above ! keynote a halftone4 ,suppos+ ! octave lyre to be tun$ to ! ,hypo-,dorian ,mode or ,scale1 x w\ld beg9 & end on ! ,keynote 7,mese71 ?us3 ,music ,n[1 by l[]+ ,d & ,g we get ! foll[+ scale3 ,music ,?is is ! scale t 0 call$ ,*romatic4 ,x is said to h be5 at "o "t ! mo/ popul> ( all ! scales1 a /atem5t we c easily cr$it1 s9ce x conta9s 9 itself ! two _w-wide five-note or ,p5tatonic ,scales1 commonly kn[n z ! ,scot* or ,iri% ,scales1 ! mo/ widely di/ribut$ ( all scales 9 ,europe1 ,asia & ,am]ica4 ,music3 ,major p5tatonic scale ,m9or p5tatonic scale ,! ,greek ,enh>monic ,scale4--,! scale call$ ,enh>monic 0 made ?us3 ,! f\r? & sev5? /r+s 7 l[]$ a :ole tone2 t is1 to ! pit* ( ! second & six?1 ! second & six? 7 l[]$ a qu>t]tone1 ?us3 ,music ,c-flat is suppos$ to be halfway betwe5 ,b & ,c2 ,f-flat halfway betwe5 ,e & ,f4 ,our mod]n sy/em does n provide = ! notation ( qu>t]tones4 ,illu/ration3 ,,lyre4 ,,ci?>a4 ,,lydian ,,magadis4 ,greek ,in/rum5ts4--,! /&>d in/rum5t ( ! ,greeks 0 ! ,lyre4 ,x bore _m names1 z ,lyre1 ,tetra*ordon1 ,*elys1 ,phorm9x1 ,ci?>a1 etc4 ,!re may h be5 slight diff]5ces 9 ! size & ! numb] ( ! /r+s1 b great unc]ta9ty prevails on ?is po9t4 ,"u ! "n ( ,flute 7,aulos7 !y seem to h includ$ bo? ,flutes prop] & in/rum5ts ( ! hautboy or cl>9et family4 ,^! in/rum5ts bore a bewild]+ numb] ( names1 ! exact mean+ ( :i* is lo/4 ,judg+ f ! pictorial repres5tations t rema91 ! ,greek in/rum5ts 7 inf]ior bo? 9 v>iety & ext5t to ^? ( ! ,egyptians4 ,!y seem to h made little use ( ! ,h>p1 ( :i* in/rum5t ! ,egyptians _h a great v>iety4 ,! ,greeks seem to h us$ in/rum5ts *iefly1 if n solely1 to accompany ! voice2 & !y appe> nev] to h comb9$ l>ge numb]s ( in/rum5ts = any purpose4 ,ev5 9 _! trag$ies1 :i* 7 p]=m$ 9 imm5se !atres op5 to ! sky1 ! ,*orus 0 limit$ to fifte5 m51 accompani$ by two flutes4 ,:5 accompany+ ! voice ) ! lyre !y may h occasionally /ruck ! f\r?1 fif? or octave ( ! vocal melody2 b1 9 g5]al1 !y play$ ! voice "p4 ,_! mo/ highly develop$ in/rum5t 0 a v>iety ( lyre1 ! /r+s ( :i* pass$ ov] a bridge plac$ "o-?ird ( ! /r+s' l5g? f ! l[] end ( ! lyre1 ?us caus+ ! l[] "p ( ! /r+ to s\nd ! octave ( ! upp] "p4 ,! %ort] "p ( ! /r+ 0 play$ ) a plectrum 9 ! "r h&1 ! long] "p by ! f+]s ( ! left h&4 ,?is in/rum5t 0 call$ ,magadis--f ,magas1 a bridge4 ,! t]m ,magadize 0 ev5tually us$ to signify play+ or s++ 9 octaves1 & 0 synonym\s ) ,antiphony4 ,illu/ration3 ,,d\ble ,,flute4 ,,jo9$ ,,flute4 ,,phorbeia4 ,greek ,musical ,notation4--,our k ( ,greek musical notation is v defective1 be+ d]iv$ f only f\r or five specim5s ( anci5t music1 & a few small fragm5ts4 ,!y appe> to h us$ a sep>ate notation = ea* mode1 & ^! f\r hymns are app>5tly all 9 ! same mode1 b au?orities diff] z to ! mode4 ,!y us$ ! lett]s ( _! alphabet1 bo? capital & small1 writt5 9 v>i\s positions1 sometimes upright1 sometimes ly+ on "o side4 ,! notation = ! lyre diff]$ f t us$ = ! voice4 ,! lett]s repres5t+ ! vocal "p 7 writt5 above ! words1 ^? repres5t+ ! in/rum5tal "p1 bel[ ! words4 ,^! lett]s repres5t$ ! pit* ( ! s\nds1 b n _! duration4 ,! duration 0 regulat$ by ! met] ( ! poetry4 ,in/ead ( a portion ( "o ( ^! hymns1 ! fir/ ?ree l9es ( our ,national ,hymn are giv5 z a sample ( ?is notation3 ,r ,r ,r ,r ,r ,r ,my c\ntry 'tis ( !e1 ,sweet l& ( lib]ty1 ,( !e ,i s+4 ,^! lett]s h be5 int]pret$ z indicat+ ! foll[+ s\nds1 ! transpos$ ,hypo-,lydian ,scale 9 its old =m2 t is1 ! ,less] ,p]fect ,sy/em ) ,g %>p z its keynote4 ,music ,greek ,view ( ,h>mony4--,! "q has be5 mu* debat$ z to :e!r or n ! ,greeks practic$ h>mony4 ,x seems h>dly possible ) su* a defective notation2 b ! be/ argum5t aga9/ x is1 t !re is n a ^w 9 any ( ! extant treatises z to comb9ations & successions ( ^! comb9ations1 & x is impossible t any art ( h>mony %\ld h exi/$ unless "s rules = its employm5t %\ld h be5 evolv$4 ,greek ,t]ms 9 ,music4--,! mod]n t]m9ology ( music is l>gely indebt$ to ! ,greek sy/em1 al?\gh _m ( ! words h entirely *ang$ _! significance4 ,! ^w ,music itself1 to ! ,greek1 meant ! :ole circle ( ! sci5ces1 especially ,a/ronomy & ,ma!matics4 ,melody meant ! ris+ & fall+ ( ! voice 9 ei!r speak+ or s++4 ,h>monia meant r :at we call ,melody ?an our ,h>mony4 ,?is latt]1 namely1 ! s\nd+ toge!r ( diff]5t s\nds1 0 call$ ,symphony4 ,antiphony orig9ally meant s++ 9 octaves1 t is1 m5 ) wom5 or boys4 ,*romatic & ,enh>monic h already be5 expla9$4 ,diapason1 n[ appli$ *iefly to organ /ops1 orig9ally meant ! octave2 t is1 8?r\gh all40 ,diatonic has ne>ly reta9$ its orig9al mean+4 ,tone1 ,semitone & ,tetra*ord h reta9$ _! mean+1 ) ! exception t 9 ! mod]n tetra*ord ! halftone is at ! o!r end4 ,,ref]5ces4 ,monro4--,! ,modes ( ,anci5t ,greek ,music4 ,r[bo?am4--,hi/ory ( ,music4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i4 ,,que/ions ,,& ,,sugge/ions4 ,:at 0 ! ,greek use ( ! t]m ,octave2 8,dorian ,octave10 = example8 ,:at *ange did ,claudius ,ptolemy sugge/8 ,:at confusion result$8 ,:at is ! mean+ ( ! prefix 8,hyp]08 ,expla9 ! ,greek ,*romatic ,scale4 ,expla9 ! ,greek ,enh>monic ,scale4 ,:at 0 ! /&>d ,greek musical in/rum5t8 ,:at names 7 giv5 to modifications ( x8 ,:at in/rum5ts 7 compreh5d$ "u ! t]m ,aulos8 ,h[ 7 ! in/rum5ts us$ 9 accompany+ ! voice8 ,:at is meant by 8magadiz+08 ,give an acc\nt ( ,greek musical notation4 ,did ! ,greeks use 8,h>mony0 z we und]/& t t]m8 ,"n "s musical t]ms t come f ! ,greek4 ,b]lioz gives ! *>act]s ( diff]5t keys 9 8 book on ,in/rum5tation4 8,auld ,lang ,syne0 is a p5tatonic melody1 scale ( ,f1 ) f\r? & sev5? omitt$4 ,any s]ies ( five notes on ! black keys ( ! piano w make a p5tatonic scale1 major "*4 ,! language ( music 0 det]m9$ by s*ol>s1 h5ce ! use ( s _m t]ms ) ,greek & ,lat9 roots4 ,,lesson ,v4 ,,ecclesia/ical ,,sy/em4 ,rome ! ,new ,c5tre4--,! ,p[] t rules 9 ! affairs ( m5 seems to h made provision = ! elevation ( ! :ole race by diffus+ at int]vals ( c5turies1 ! treasures ( art1 sci5ce & ?\ght accumulat$ by a nation ( unusual p[] & en]gy4 ,egypt dom9at$ ! nor!rn "p ( ,africa1 ! %ores ( ! ,m$it]ranean & ! we/]n slopes ( ,asia ,m9or1 & 9 c\rse ( "t yield$ to ! advance ( ! ,greeks1 b leav+ beh9d1 z a legacy1 mu* t has _h endur+ value4 ,:at _h once be5 c5tr$ 9 "o nation1 "u ! control ( "o ca/e1 ! prie/s1 0 spread ?r\gh mu* ( ! kn[n _w4 ,greece1 9 turn1 %ap$ ! de/9ies ( exp&+ civilization4 ,9 ! ,greek social life free art play$ a great "p2 :]ev] ! ,greeks w5t z m]*ants & coloni/s1 !y c>ri$ ) !m ! pr9ciples ( ,greek art1 includ+ music4 ,greek musicians 7 acc\nt$ />s ( ! fir/ magnitude 9 ,egypt1 9 ! ,greek colonies ( ,italy1 & lat] 9 ,rome1 :i*1 aft] ! fall ( ,greece z a political factor1 became ! political1 social & arti/ic c5tre ( ! _w2 ?r\gh h] conque/s & subsequ5t coloniz+ diffus+ ?r\gh\t a l>g] _w ?an ,egypt & ,greece knew1 an increas$ weal? ( ?\ght & action :i* greatly influ5c$ lat] g5]ations4 ,rome ,dep5d5t ,^u ,greece4--,! ,romans did n %[ a native in/9ct = art4 ,_! national qualities 7 ess5tially w>like1 & 7 develop$ by ye>s ( /ruggle = exi/5ce4 ,a p ^: organiz$ life 0 political & m>tial1 & = s long f\nd expression fir/ 9 def5ce1 lat] 9 conque/1 w\ld n develop a true art life4 ,z !y grew /rong] !y built up _! collections by pillage & by pur*ase2 !y 7 taught music1 oratory1 ar*itecture1 sculpture by ,greeks :o s\ght ! capital ( ! _w4 ,roman nobles imitat$ ,greek cu/oms1 le>n$ ! ,greek language & lit]ature1 cultivat$ music accord+ to ,greek me?ods1 us$ ,greek in/rum5ts1 su* z ! ci?>a1 lyre & flute1 sang ,greek songs & =m$ companies ( s+]s & play]s to furni% ent]ta9m5t at _! fea/s & at ! public spectacles4 ,! ,roman drama 0 modifi$ by ,greek pr9ciples1 & ,greek actors replac$ ,roman arti/s2 ! pantomime 0 borr[$ f ,egypt4 ,music 0 a favorite di/raction 9 ! high ranks ( ,roman society1 & m5 kn[n to hi/ory 7 skilful play]s or s+]s--,sylla1 ,flaccus1 ,calpurnius ,piso1 ,titus1 ,caligula1 ,hadrian1 &1 be/ kn[n ( all1 ,n]o4 ,illu/ration3 ,,roman ,,horn4 ,,syr9x4 ,gr[? ( ,*ri/ianity4--,:ile ! ,roman ,empire1 9 its turn1 _h s]v$ ! purpose ( ! ,rul+ ,p[] 9 ! affairs ( m51 9 secret a new =ce 0 ga9+ /r5g?1 "o t 0 soon to drive pagan arts & pleasures f op5 cultivation4 ,9 ! ,catacombs1 9 remote sections ( ! great city1 pursu$1 hunt$ l bea/s1 m>tyriz$1 ! ,*ri/ians clung to _! fai? ) its simple rites ( wor%ip1 9 :i* ! s++ ( songs 0 a m>k$ feature4 ,:5ce ^! songs came is by no means c]ta91 ! prevail+ op9ion be+ t !y 7 ( ,greek orig91 modifi$ by ,hebrew influ5ce4#g ,9 ! c\rse ( ye>s songs 7 introduc$ 9 ! ,*ri/ian s]vice ) no o!r w>rant ?an t ( tradition4 ,dur+ ! ye>s ( p]secution no sy/ematic cultivation ( music 0 possible4 ,lat]1 :5 ,con/ant9e accept$ ! ,cross1 #cbe ,a4 ,d41 & ,*ri/ianity _h triumph$ ov] ,paganism1 ! abuses became su* t ! ecclesia/ical au?orities set !mselves to ! task ( re=m & ( e/abli%+ a sy/em ( song = ! use ( ! ,*ur*4 ,music3 ,tonus ,p]egr9us z a *ant ,orig9 ( ! ,*ur* ,scales4--,x is absolutely unkn[n :5 or by :om ! sy/em ( scales1 kn[n z ! ,*ur* ,scales1 0 inv5t$4 ,! late/ writ] on ! ,greek ,sy/em 0 ,claudius ,ptolemy 7ab\t #acj ,a4 ,d474 ,9 #ccj1 ,pope ,sylve/] e/abli%$ a s*ool = tra9+ *ur* s+]s1 b we h no in=mation z to ! sy/em he employ$4 ,! "n ( ,ambrose1 ,bi%op ( ,milan 7#ccc-cig71 has = c5turies be5 associat$ ) :at are call$ ! ,au!ntic ,scales1 b !re is no valid evid5ce :atev] t he _h any?+ to d ) _! adoption4 ,! "n ( ,pope ,gregory 7#edj-fjd7 has also be5 associat$ ) ano!r set ( scales call$ ,plagal1 ) z little au?ority z 9 ! previ\s case4 ,!re does n appe> to h exi/$ any sy/em ( notation 9 ! "t ( ,ambrose or ,gregory4 ,! ,greek notation by lett]s 0 =gott51 & ! v insuffici5t sy/em ( notation by ,neumes _h n be5 inv5t$4 ,! only writ] ( any au?ority aft] ,ptolemy 0 ,boe?ius1 & he did m to confuse ! subject ( music ?an to expla9 x4 ,f\ndation ( ! ,*ur* ,scales4--,b if we "k no?+ ( ! inv5tor ( ! ,*ur* ,scales1 or ( ! way 9 :i* !y grew into _! f9al =m1 we are1 nev]!less1 p]fectly well in=m$ ( ! fully-develop$ sy/em :i*1 x mu/ be rem>k$1 grew out ( a misund]/&+ ( ! ,greek ,scales4 ,! ,*ur* ,scales 7 f\nd$ on ! ,great] ,p]fect ,sy/em ( ! ,greeks1 ) ?is re/riction1 namely1 t x 0 n transposable2 :]eas1 we h se5 t ! v>i\s ,greek modes 7 transpositions ( ei!r ! ,less] or ,great] ,sy/ems4 ,music ,?is is ! s]ies ( s\nds f :i* ! ,*ur* ,scales 7 made4 ,none ( !m might be alt]$ by %>p or flat1 except ! ,b 9 ! second octave 7& ?is 0 a lat] addition :i* 0 probably ow+ to a remembrance ( ! ,less] ,p]fect ,sy/em 9 :i* ! ,b 0 flat47 ,! ,greek names 7 reta9$ = ! ,*ur* ,scales1 b z n "o ( ! notes 0 inflect$1 x foll[s t ! halftones occur 9 diff]5t places 9 e scale4 ,! scales to :i* ^! names 7 giv5 7 call$ ,au!ntic1 ^? ) ! prefix ,hypo 7 call$ ,plagal4 ,9 ! table on ! next page1 ! ,greek & ,*ur* ,scales1 also ! ,greek octaves are giv5 side by side4 ,confusion ,betwe5 ! ,sy/ems4--,we may ga!r f ?is table h[ ! confusion betwe5 ,dorian & ,phrygian has aris54 ,! ,phrygian ,octave is id5tical ) ! ,*ur* ,dorian1 & ! ,dorian ,octave ) ! ,*ur* ,phrygian4 ,a pro( t ! ,*ur* ,scales orig9at$ 9 ! way indicat$ may be f\nd 9 ! fact t ! ,*ur* & ,greek ,hypo-,dorian ,scales are id5tical1 ?is be+ ! only ,greek ,scale )\t a %>p or flat4 ,! ,*ur* ,hypo-,lydian 0 also call$ ! ,ionian ,scale2 its arrangem5t ( tones & semitones is ! same z t ( ! mod]n major scale4 ,x 0 n consid]$ appropriate = *ur* music1 be+ look$ ^u z s(t1 effem9ate & lascivi\s1 by bo? ,greeks & m$ival *ur*m54 ,music3 ,,greek ,,octaves ,,*ur* ,,scales ,,greek ,,scales ,at ! pit* z transpos$ by ,ptolemy ,phrygian ,octave ,dorian ,dorian ,dorian ,octave ,phrygian ,phrygian ,hypo-,lydian ,octave ,lydian ,lydian ,hypo-,phrygian ,octave ,mixo-,lydian ,mixo-,lydian ,hypo-,dorian ,octave ,hypo-,dorian ,hypo-,dorian ,mixo-,lydian ,octave ,hypo-,phrygian ,hypo-,phrygian ,lydian ,octave ,hypo-,lydian ,hypo-,lydian ,phrygian ,octave ,hypo-,mixo-,lydian ,eight ,modes 9 ,use4--,! ,*ur* ,scales 7 numb]$ f "o to eight2 ! ,au!ntic ,scales 7 giv5 ! odd1 & ! ,plagal ,scales ! ev5 numb]s1 ?us3 #a4 ,dorian #b4 ,hypo-,dorian relat$ scales4 #c4 ,phrygian #d4 ,hypo-,phrygian relat$ scales4 #e4 ,lydian #f4 ,hypo-,lydian relat$ scales4 #g4 ,mixo-,lydian #h4 ,hypo-,mixo-,lydian relat$ scales4 ,a melody 9 an ,au!ntic ,scale _h to end on its ,keynote1 b a melody 9 a ,plagal ,scale end$ on ! ,keynote ( its relat$ ,au!ntic ,scale4 ,obs]ve t ! ,dorian & ,hypo-,mixo-,lydian ,scales are id5tical2 b :ile ! =m] _h to end on ! ,keynote1 ,d1 ! latt] end$ on ,g1 :i* is ! f\r? ( its scale1 & ,keynote ( its relat$ ,au!ntic ,scale4 ,traces ( ^! ,au!ntic & ,plagal ,scales may be f\nd 9 _m old folk-songs4 ,?us1 ! melody ( ! 8,la/ ,rose ( ,summ]0 beg9s on ! ,keynote1 rises 9 ! c\rse ( ! melody to ! octave1 b ends by fall+ to ! ,keynote2 x is !re=e ,au!ntic4 ,on ! o!r h&1 ! melody ( 8,rob9 ,adair0 beg9s on ! f\r? bel[ ! ,keynote1 rises to its octave1 b ends on ! f\r? above its initial note & is ,plagal2 ?us3 ,music3 ,range ,range ,initial ,f9al ,initial ,f9al ,,la/ ,,rose ,,( ,,summ]4 ,,rob9 ,,adair4 ,! t]m ,hyp] 7above7 0 sometimes appli$ to ! ,au!ntic ,scales4 ,9 ! ,greek ,sy/em ! ,hyp] ,scales 7 ! same di/ance above ! /&>d scales t ! ,hypo ,scales 7 bel[4 ,al?\gh twelve modes 7 !oretically admitt$ 9 *ur* music1 x 0 = ! mo/ "p conf9$ to ! eight modes giv5 above4 ,! ,dom9ant4--,9 addition to ! keynote !re 0 ano!r note 9 e scale ( almo/ equal importance1 call$ ! ,dom9ant4 ,?is "n has be5 reta9$ 9 ! mod]n sy/em1 b ) a total *ange ( mean+4 ,9 ! ,*ur* ,scales x meant ! ,recit+ ,note1 t is1 ! note on :i* ! pr9cipal "p ( ! words 0 *ant$4 ,9 all ! ,au!ntic ,scales b ! ,phrygian1 ! fif? ( ! scale is ! ,dom9ant2 9 ! ,phrygian ! six? is ! ,dom9ant1 because ! ,b 0 a *angeable note1 t is1 might be natural or flat4 ,! ,dom9ants ( ! ,plagal ,scales are a ?ird bel[ ! ,dom9ants ( ! relat$ ,au!ntic ,scales1 except 9 ! ,hypo-,mixo-,lydian1 9 :i* ! ,dom9ant is a second bel[ t ( its relat$ ,au!ntic ,scale4 ,!re=e ! ,dom9ant is ! six? ( all ! ,hypo ,scales1 b ! ,hypo-,phrygian & ,hypo-,mixo-,lydian1 9 :i* x is ! sev5?4 ,hucbald's ,scale4--,two attempts 7 made 9 ! #aj? c5tury to con/ruct new scales1 fir/ by ,hucbald1 :o f\nd$ 8 s]ies ( s\nds on a tetra*ord1 9 :i* ! halftone 0 betwe5 ! second & ?ird1 ?us3 ,a ,b ,c ,d4 ,8 object seems to h be5 to obta9 a s]ies 9 :i* a succession ( p]fect f\r?s & fif?s might be secur$1 = :i* purpose he made use ( ! foll[+ s]ies ( s\nds3 ,music ,9 ! fir/ tetra*ord ,b 0 flat1 9 ! ?ird natural2 9 ! f\r?1 ,f 0 %>p4 ,z to ! use made ( ?is scale1 little or no?+ is kn[n4 ,guido's ,scale4--,! o!r attempt1 usually attribut$ to ,guido1 a contempor>y ( ,hucbald1 result$ 9 ! ,hexa*ord ,scale 7six-note scale74 ,?is scale 0 =m$ by add+ a :ole tone above & bel[ ! ,hucbald tetra*ord1 ?us3 ,g1 ,a1 ,b1 ,c1 ,d1 ,e4 ,to complete ! s]ies ( ,hexa*ord ,scales1 ano!r s\nd 0 add$1 namely3 ! ,g bel[ ! ,a on :i* ! ,greek scales & _! d]ivatives1 ! ,*ur* scales1 began4 ,! fir/ sev5 lett]s ( ! ,roman alphabet 7 us$ to "n ! s\nds already 9 use1 h5ce to indicate ?is s\nd ! ,greek lett]1 ,gamma1 0 adopt$4 ,at ! same "t ! syllables ut--re--mi--fa--sol--la 7 us$ to "n ! s\nds ( e hexa*ord 7precisely z ! movable ,d is us$ n[72 h5ce ?is l[e/ s\nd 0 call$ ,gamma-ut1 corrupt$ into ,gamut4 ,! s\nds 9 ! s]ies 7 indicat$ by plac+ aft] ! lett] ! syllables t indicat$ its position 9 all ! hexa*ords 9 :i* x 0 f\nd1 ?us3 ,g ,a ,b--,c ,d ,e ,c ,d ,e--,f ,g ,a #a4 ,gamma--ut4 #b4 ,a--re4 #c4 ,b--mi4 #d4 ,c--,fa--ut1 because ,c is fa 9 ! fir/1 & ut 9 ! second hexa*ord4 ,consequ5tly1 to a m$ival musician1 ,c--fa--ut meant :at we w\ld call ,c1 second space bass clef4 ,! foll[+ table gives all ! ,hexa*ord ,scales ) ! names ( ! s\nds4 ,x is ( int]e/ because ?is sy/em ( nom5clature p]si/$ long aft] ! "o :i* gave rise to x 0 obsolete4 ,e la ,d la sol ,sup] ,c sol fa ,acute ,b mi ,b fa ,a la mi re ,g sol re ut ,f fa ut ,e la mi ,acute ,d la sol re ,octave ,c sol fa ut ,b mi ,b fa ,a la mi re ,g sol re ut ,f fa ut ,e la mi ,grave ,d sol re ,octave ,c fa ut ,b mi ,a re ut ,! ,hexa*ords 9 :i* ! ,b 0 flat 7 call$ ,s(t 7,mollis72 ^? 9 :i* ,b 0 natural1 ,h>d 7,dura72 ! t]m mollis has be5 reta9$ 9 ! ,fr5* ^w ,bemol1 a flat1 & 9 ! ,g]man "n = a m9or key1 ,moll4 ,! ^w dura 7h>d7 is also reta9$ 9 ! ,g]man z a "n = ! major key ,dur4 ,:5 ! lett]s 7 us$ z a means ( notation1 ! s\nd ,b-flat 0 indicat$ by ! old =m ( ! lett] b1 :i* has be5 reta9$ z ! sign = a flat4 ,?is 0 call$ ,b rotundum 7r\nd ,b72 :5 ,b natural 0 want$1 a /roke 0 put on ! "r side ( ! 1 call$ ,b quadratum 7squ>$ ,b71 ! sign to ?is day = a natural4 ,,ref]5ce4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i4 ,,que/ions ,,& ,,sugge/ions4 ,:at city became ! c5tre ( life aft] ,a!ns & ,greece fell8 ,:at new influ5ce 0 %ap+ 9 ! ,roman ,empire8 ,:5 did music receive (ficial att5tion & re=m8 ,:at names are associat$ ) ! e>ly hi/ory ( ,*ur* ,music8 ,on :i* ,greek sy/em 7 ! ,*ur* ,scales f\nd$8 ,:at diff]5ce exi/s betwe5 ! ,greek & ! ,*ur* ,scales z to ! positions ( ! halftones8 ,:at is meant by ,au!ntic & ,plagal8 ,:at 7 ! rules 9 reg>d to a melody 9 ! ,au!ntic =ms8 ,:at ,plagal8 ,give an example ( ea*4 ,:at is meant by ,dom9ant8 ,0 ! position ( ! ,dom9ant ! same 9 ea* scale8 ,"n "s v>iations4 ,:at attempts 7 made to con/ruct new scales8 ,:at is meant by 8,gamut08 ,:at is meant by ,c--fa--ut8 ,:at names 7 giv5 to ! diff]5t =ms ( ! ,hexa*ord8 ,:at are ! mod]n mean+s ( ! t]ms8 ,:at is ! orig9 ( ! flat & natural signs8 ,note ! po9ts ( simil>ity & diff]5ce 9 ! ?ree scale =ms on page #fe 9 ?is lesson4 ,z an ex]cise take well-kn[n airs to see if !y are ,au!ntic or ,plagal4 ,9 ! 8,tam+ ( ! ,%rew10 by ,%akespe>e1 is a passage 9 :i* ref]5ce is made to ! names ( ! notes z f\nd 9 ?is lesson4 ,read ?is passage 9 class4 ,,lesson ,,vi4 ,,notation4 ,sy/em ( ,notation by ,lett]s4--,! e>lie/ sy/em ( ,notation1 attribut$ to ,boe?ius1 ! ,roman philosoph]1 seems to h be5 ! plac+ ( lett]s ov] ! syllables1 ?us3 ,c ,c ,d ,b ,c ,d ,my c\ntry 'tis ( !e4 ,music3 ,boe?ius' ,notation ,dur+ ! p]iod ( hi/ory dom9at$ by ,pope ,gregory ! ,great1 a *ange 0 made 9 ?is sy/em by :i* capital lett]s1 small lett]s & d\ble lett]s 7 us$1 an improvem5t1 s9ce only ! fir/ sev5 lett]s ( ! alphabet 7 employ$1 ?us3 ,music ,?is sy/em seems to h be5 us$ *iefly = !oretic demon/ration4 ,^! two me?ods indicat$ ! pit* suffici5tly1 b n ! duration ( ! s\nds4 ,neumes4--,! next attempt 0 some:at ( a retrogression in/ead ( an improvem5t4 ,signs call$ ,neumes 7 plac$ ov] ! words4 ,^! signs consi/$ ( po9ts1 l9es1 acc5ts1 hooks1 curves1 angles & a numb] ( o!r *>act]s plac$ m or less exactly ov] ! syllables to :i* !y 7 int5d$ to be sung1 9 su* mann] z to %[1 relatively1 by ! di/ance above ! text1 h[ mu* ! voice 0 to rise or fall4 ,!y did n indicate absolute pit* or duration4 ,! numb] ( *>act]s 9 use1 accord+ to manuscripts /ill pres]v$1 v>i$ f sev5 to =ty4 ,9 lat] =ms !y appe> 9 ! notation us$ = ! old ,pla9 ,song melodies 7,gregorian7 :i* 7 recall$ into g5]al use by ,pope ,pius ,x1 9 #aijd4 ,music3 ,neumes4 ,lettres4 fh f gd fff efgfd d g g hg hi h kk hg ef ,notation du treizime sicle4 ,notation mod]ne4 ,neumes4 ,lettres4 gfg ef hi g g fd f de de c d gh efg f d c dd4 ,notation du treizime sicle4 ,notation mod]ne4 ,p>allel ,l9es4--,ano!r plan 0 to use a v>iable numb] ( l9es1 writ+ ! syllables 9 ! spaces1 ?us3 ,illu/ration ,?is clumsy contrivance indicat$ relative pit* well en\gh1 b n ! key--or ! duration4 ,! next /ep 0 to use l9es--:i* v>i$ 9 numb]--^u or betwe5 :i* ! ,neumes1 :i* gradually *ang$ to squ>e notes1 7 writt54 ,! pit* 0 indicat$ by us+ a r$ l9e = ,f1 & a yell[ or gre5 l9e = ,c4 ,a fur!r improvem5t 01 to put ! lett]s ,f or ,c & lat] ,g on "o ( ! l9es at ! beg9n+2 ! mod]n clefs are simply modifications ( ^! lett]s4 ,*>act]s to ,indicate ,duration4--,! honor ( sugge/+ *>act]s to indicate duration is usually attribut$ to ,franco ( ,cologne1 an ecclesia/ic :o liv$ 9 ! latt] "p ( ! #ab? c5tury2 b z 9 ! case ( ,gregory & ,guido1 we mu/ believe t 8 "n simply /&s z repres5tative ( a p]iod4 ,a sy/em is r>ely ! "w ( "o man1 r a developm5t f ! labor ( _m4 ,franco's treatise on ! subject m>k$ an epo*4 ,up to ! end ( ! #ac? c5tury ! notes 9 use 7 ! ,longa1 ,brevis1 & ,semibrevis1 z well z ! ,duplex ,longa1 or ,maxima4 ,! small] values1 ! ,m9ima1 & ! ,semim9ima fir/ occur ab\t #acjj4 ,ab\t ! middle ( ! #ae? c5tury :ite notes 7 introduc$ 9 place ( c]ta9 ( ! black1 ! latt] color be+ res]v$ only = ! small] note values4 ,! signs und]w5t "s *ange at ?is "t4 ,maxima1 ,longa1 ,brevis1 ,semibrevis 7our :ole note71 ,m9ima 7half note71 ,semim9ima 7qu>t]71 ,fusa 7eigh?71 ,semifusa 7sixte5?74 ,illu/ration3 ,longa ,brevis ,semibrevis ,duplex ,longa or ,maxima ,m9ima ,semim9ima ,illu/ration3 ,maxima ,longa ,brevis ,semibrevis ,m9ima ,semim9ima ,fusa ,semifusa ,! ,beg9n+s ( ,h>mony4--,our in=mation z to ! beg9n+ ( ,h>mony is v vague & unc]ta94 ,z e>ly z ! ,saxon times 9 ,engl& "s rude k9d ( "p s++1 )\t writt5 rules app>5tly1 seems to h exi/$4 ,! fir/ intimations we h ( any sci5tific attempts are ,faburd5 or ,falsobord5 & ,diaphony or ,organum4 ,faburd5 consi/$ ( s++ a melody :ile ano!r voice sang a drone accompanim5t bel[ x2 ?us3 ,music ,diaphony or ,organum consi/$ ( a succession ( f\r?s or fif?s & octaves1 ?us3 ,music3 ,two ,p>ts ,?ree ,p>ts ,x has be5 d5i$ by "s au?orities t su* a b>b>\s mann] ( s++ ev] exi/$2 b two consid]ations h be5 lo/ sight (1 9 mak+ ?is d5ial3 ,fir/1 ! f\r?1 fif? & octave 7 e/eem$ ! only consonances4 ,secondly1 ! undisput$ fact t z late z ! "t ( ,*auc]1 if n lat]1 :at 0 call$ 8discant+ quatible0 or 8qu9able0 exi/$2 ?is discant+ 0 done z foll[s3 ,! p]=m] :ile s++ a melody accompani$ himself on ! lute1 play+ ! same melody a f\r? or fif? above4 ,x c h>dly be d\bt$ t a /yle ( p]=mance t 0 e/eem$ 9 ! #ae?1 0 p]fectly satisfactory to ! e>s ( ! #aj? c5tury4 ,discant4--,ano!r e>ly attempt at h>monic effect 0 ! s++ ( an extemporane\s "p or p>ts ) ! melody1 call$ ,discant+4 ,9 c\rse ( "t ! ,discant or ,organum gradually cry/alliz$ into rules1 & o!r int]vals 7 accept$4 ,/rangely en\gh1 dissonances seem to h be5 admitt$ ) great fre$om1 & ?irds & especially six?s1 7 avoid$4 ,! only dissonance t 0 n all[$ 0 ! m9or second4 ,! ,new ,organum4--,9 ! #aa? c5tury1 a me?od ( comb9+ s\nds1 call$ ! ,new ,organum1 0 develop$4 ,?is k9d ( ,organum admitt$ ?irds & six?s4 ,! foll[+ example w suffici5tly illu/rate ?is3 ,music ,measur$ ,music4--,! next /ep 9 advance1 & "o t prov$ v important & f>-rea*+ 9 its results on ! developm5t ( music1 0 ! inv5tion ( a notation t indicat$1 al?\gh n v conv5i5tly1 ! relative duration ( s\nds4 ,?us x became possible to express two or m p>ts 9 a p]man5t =m4 ,! plan ( ?is fir/ attempt at a notation by means ( :i* relative duration ( notes might be express$ 0 v complicat$4 ,music writt5 ) ^! signs 0 call$ ,measur$ ,music 7,cantus ,m5surabilis74 ,! ,record ( ,e>ly ,h>mony4--,!re are ref]5ces to ! mann] ( us+ voices 9 comb9ation 9 ! writ+s ( sev]al m5 associat$ ) ! ,*ri/ian ,*ur* 9 its e>ly days4 ,c5sor9us1 :o liv$ 9 ! #c;d c5tury1 makes m5tion ( a practice ( us+ a melody 9 octaves accompani$ by ! fif? to ! l[] note ( ! octave1 :i* is also ! f\r? to ! upp]4 ,cassiodorus1 9 ! #f? c5tury1 m5tions v>i\s ways ( accompany+ ! *ant ) consecutive f\r?s & fif?s4 ,9 a "w call$ 8,s5t5ces ,ab\t ,music10 writt5 by ,bi%op ,isidore ( ,seville1 :o liv$ 9 ! #g? c5tury1 we read t 8h>mony is a modulation ( ! voice1 ! concordance ( _m s\nds & _! agreem5t40 ,9 ! #i? c5tury we meet ) ! names ( sev]al writ]s3 ,remi d',aux]re :o def9es h>mony z 8a consonance ( voices1 & _! union 9 "o gr\p02 ,jean ,scot ,erig5e :o recogniz$ t ! succession ( *ords compos$ ( octaves1 fif?s & f\r?s is a rational "o2 ,odo or ,otg]1 a *ur*man ( ! s\? ( ,france1 ^: "w 0 ! fir/ to m>k an epo* 9 ! developm5t ( ! art ( music4 ,also ano!r monk1 ! ,flem+ ,hucbald1 :o liv$ 9 ! #aj? c5tury4 ,!y def9$ consonance & dissonance1 & appe> to h be5 ! fir/ to give rules = ! con/ruction ( ,diaphony4 ,hucbald says 9 8 8,musica ,en*iriadis03 8,c]ta9 dissimil> s\nds sung toge!r make an agreeable effect1 & ?is m+l+ ( voices is sweet to ! e>40 ,_! imm$iate successor1 ,guido1 has be5 cr$it$1 unju/ly1 ) be+ ! inv5tor ( ne>ly e improvem5t 9 ! art up to 8 "t4 ,! old organum clos$ ) 84 ,! e>lie/ writ] :o treats ( ! new organum is ,john ,cotton1 9 ! #aa? c5tury4 ,he 0 ! fir/ to promulgate ! rule t contr>y motion is always to be pref]r$ to simil> or oblique4 ,he says3 8,at lea/ two s+]s are requir$ 9 diaphony =m$ f diff]5t s\nds4 ,:ile "o voice s+s a melody1 ! o!r surr\nds x ) diff]5t tones1 & at ! end ( ! phrases ! two voices unite at ! unison or octave40 ,! fulle/ developm5t ( ! new organum 0 atta9$ 9 ! works ( ,guy de ,*alis1 ab\t ! close ( ! #ab? c5tury4 ,he gives examples 9 :i* we f9d int]vals ( ! elev5? & twelf?1 a demon/ration ( ! exi/5ce ( a sy/em diff]+ f ! ,gregorian1 :i* does n exce$ ! octave4 ,9 ! same epo*1 ,d5is ,lewts1 ( ,lige1 a ,c>?usian monk1 gives rules to fix ! use ( accid5tal signs1 a flat to l[] ,b1 a %>p to raise ,f4 ,he speaks ( ^! z if !y _h be5 9 use = a long "t1 & indicat$ t ! idea 0 to avoid ! occurr5ce ( ! dim9i%$ fif? or ! augm5t$ f\r?1 kn[n 9 h>mony z ! tritone4 ,?is process is call$ ,musica ,ficta1 & =m$ a "p ( ! in/ruction ( s+]s4 ,! examples cit$ by ,lewts con=m to ?is !ory1 & %[ t al?\gh 9 ! songs1 motets & o!r compositions ( ! p]iod ! %>ps & flats are n f\nd1 x is because musicians knew ! pr9ciples & made ! application = !mselves4 ,in/ruction 9 ^? days 0 *iefly oral1 a me?od :i* plac$ a premium on a ret5tive memory4 ,by ! "t t ! #ac? c5tury 0 rea*$1 musical =ms & melodies 7 widely spread1 & z we look back to ! #i? c5tury x is possible to note ! gradual developm5t4 ,h>mony always exi/$1 9 a limit$ s5se2 b x did n take on a sci5tific developm5t until ! ,middle ,ages4 ,x is to ! musicians ( ?is latt] p]iod1 f ! #ac? to ! #ae? c5turies1 t we mu/ give ! honor ( hav+ tak5 ! g]m ( a sci5ce ( h>mony & ( hav+ br\ght x =w>d to mature developm5t4 ,,ref]5ce4 ,williams4--,! ,/ory ( ,notation4 ,,que/ions4 ,expla9 ! e>lie/ sy/em ( notation us$ = ! ,*ur* scales4 ,:at 0 ! next improvem5t8 ,/ate ! defects4 ,:at 0 ! sy/em ( ,notation by ,neumes8 ,did !y indicate absolute or relative pit*8 ,give ! successive /eps mak+ use ( l9es4 ,:at 0 ! orig9 ( our ,clef signs8 ,:o is cr$it$ ) introduc+ signs to indicate ,duration8 ,"n ! signs adopt$4 ,comp>e !m to ! notes n[ 9 use4 ,expla9 ,faburd52 ,diaphony2 ,organum2 ,discant2 ,measur$ ,music4 ,:o 7 ! e>ly writ]s on ! subject ( music8 ,,lesson ,,vii4 ,,music ,,outside ,,! ,,*ur*4 ,up to ?is1 our /udy ( music 9 ! ,*ri/ian ,era has trac$ ! developm5t ( ! art z fo/]$ by ! ,*ri/ian ,*ur*1 & ma9ly among ! p ( ,s\!rn ,europe1 9 :om !re 0 a /rong admixture ( ! ,lat9 blood & _s4 ,be=e go+ f>!r on ?is l9e we w look into ! record ( music among ! races ( ,nor!rn ,europe4 ,music ( ! ,gauls4--,roman writ]s give u "s acc\nt ( ! "* ( ! music ( ! ,gauls1 :i* diff]$ mu* f ! ,greco-,lat9 songs4 ,roman hi/orians make m5tion ( ! songs ( ! ,gallic b>ds1 :o 7 poets & musicians z well1 compos+ bo? religi\s hymns & songs 9 honor ( _! h]oes4 ,accord+ to ,diodorus ( ,sicily1 ! ,gauls practic$ ! musical art long be=e ! ,*ri/ian ,era1 hav+ regul> s*ools = ! in/ruction ( ! y\ng] b>ds4 ,! in/rum5t us$ 9 accompany+ _! songs 0 a sort ( lyre1 judg+ f repres5tations on "s gold m$als made 9 ! "t ( ,julius ,cs>4 ,*>lemagne ord]$ a collection ( ! e>ly ,gallic songs to be made1 b ! "w has n surviv$4 ,! ,celtic ,b>ds4--,! ,breton b>ds made use ( an in/rum5t ! "n ( :i* is v>i\sly spell$ ,cr\?1 ,cr[d1 ,*rotta1 ,crw?1 play$ ) a b[1 ) an op5+ 9 ! upp] "p ?r\gh :i* ! p]=m] plac$ ! left h& 9 ord] to press ! /r+s1 ! numb] ( :i* v>i$ f ?ree to six4 ,! cr\? ( ! ,wel% b>ds diff]$ 9 "s respects f ^? t 7 made use ( by ! ,breton b>ds4 ,) !m1 h[ev]1 a =m ( ! h>p became ! national in/rum5t4 ,! e>ly hi/ory ( ,celtic music 9 ,wales 9 p>ticul>1 is m+l$ ) my?4 ,we h only ! names ( b>ds1 ,f+al1 ,f]gus & ,ossian1 no au!ntic music4 ,:at is ( importance to u is ! secul> organization ( ! b>ds4 ,"o class includ$ poets1 hi/orians & ^? skill$ 9 ! sci5ce ( h]aldry2 ano!r class compreh5d$ musical b>ds1 h>p play]s be>+ ! title ( doctors ( music1 play]s ( ! six /r+$ cr\? & s+]s1 :o mu/ h be5 skill$ m51 s9ce n9e ye>s' /udy 0 exact$ ( !m4 ,illu/ration3 ,,breton ,,cr\?4 ,,lyre 7#i,,? ,,c5t74 ,illu/ration3 ,,iri% ,,h>p4 ,,engli% ,,h>p4 ,irel&4--,! tradition>y b>d ( ,irel& is ,f]gus1 ^: songs 7 ( w> & h]oes4 ,:5 ,/4 ,patrick introduc$ ,*ri/ianity into ,irel& 9 ! #e? c5tury1 le>n+ & skill 9 ! arts ( poetry & music grew to be cultivat$ z ext5sively z 9 m favor$ l&s4 ,9 ! #aj? c5tury1 ! fam\s musician 0 ! ,k+ ,o',bri5 ,boru1 ^: h>p is /ill %[n 9 ! ,dubl9 ,museum4 ,?is has tw5ty-eight /r+s1 & ! s\nd+ bo>d1 9 :i* !re are f\r holes1 is v l>ge at ! base4 ,aft] ,irel& 0 conqu]$ by ! ,engli% its culture decl9$1 ow+ to cont9u\s w>s & int]nal /rife4 ,scotl&4--,! music ( ! ,scot*1 l ! o!r ,celtic races j m5tion$1 is *>act]i/ic4 ,_! h>p 0 simil> 9 =m to ! ,iri%2 _! favorite in/rum5t 0 ! bagpipe4 ,k+ ,james ,i is cr$it$ ) hav+ done mu* to /imulate an int]e/ 9 music among 8 subjects4 ,hav+ be5 a captive 9 ,engl& = a p]iod ( eighte5 ye>s1 he _h acquir$ great skill 9 music1 :i* 0 ! solace ( 8 we>y h\rs4 ,accord+ to a contempor>y hi/orian1 ! k+ play$ a great _m ( ! in/rum5ts 9 use 9 8 day3 ! bagpipe1 psalt]y1 organ1 h>p1 lute1 flute & dulcim]4 ,! music ( ,scotl& makes great use ( ! p5tatonic scales1 & x is likely t ! orig9al =m ( _m ( ! old ,scotti% folk-melodies 0 p5tatonic4 ,a *>act]i/ic feature ( ,scotti% music is ! s-call$ 8,scot* snap10 illu/rat$ 9 ! %ort notes 9 ! famili> air 8,com9' ,?ro' ! ,rye10 & 9 ! foll[+ dance tune3 ,music3 ,,/ra?spey ,an in/rum5t ( s m>k$ *>act]i/ics z ^? display$ by ! bagpipe w naturally develop a *>act]i/ic /yle ( music4 ,! pip]s gave extraord9>y /udy to ! ma/]y ( _! in/rum5t & not$ play]s acquir$ wond]ful skill4#h ,engl&4--,until ! "t ( ! conque/ ( ,engl& by ,william ( ,norm&y 7#ajff71 music among ! ,anglo-,saxons 0 practic$ by ! scalds or b>ds1 m9/rels 7also call$ gleem571 & ! monks 9 ! mona/]ies4 ,poetry & music 7 mu* enc\rag$ by "s ( ! k+s & ,alfr$ ! ,great 7#hdi-ija7 0 widely fam$ = 8 skill 9 play+ ! h>p & z a s+]4 ,9 ! manuscripts belong+ to ^! e>ly days 9 ,engl& we read ( su* in/rum5ts z ! psalt]y1 ! rota1 little h>ps ( elev5 /r+s1 viols1 call$ fiddles1 ci?>as1 cornets1 trumpets1 etc4 ,illu/ration3 ,,sc&9avian ,,ludr4 ,sc&9avia4--,! ,runic /yle ( writ+1--:i* has num]\s analogies to ! neumes1--us$ by ! nor!rn p1 pres5ts _m difficulties 9 ! matt] ( translation1 s t we h little *ance to =m an op9ion z to ! e>ly music ( ! ,sc&9avian races4 ,!y h _! national poems1 a pres5tation ( _! my?s 9 ! ,edda1 & ! de$s ( _! great h]oes 9 ! ,sagas1 songs :i* inspir$ bo? poets & musicians1 an (fice mo/ g5]ally f\nd unit$ 9 "o p]son1 call$ a scald1 7equival5t to ! ,saxon b>d74 ,! sagas 7 sung or *ant$ by ! scalds to ! accompanim5t ( a small h>p4 ,9 #afci & aga9 9 #agcd1 9 ! du*y ( ,s*leswig1 horns ( pure gold 7 f\nd :i* _h be5 us$ 9 ! wor%ip ( ,od91 cov]$ ) ,runic inscriptions1 :i* h n yet be5 satisfactorily deciph]$4 ,o!r in/rum5ts belong+ to ?is p]iod t h be5 discov]$ & pres]v$ 9 museums are bronze horns some:at curi\s 9 %ape1 call$ ldr4 ,^! in/rum5ts h be5 te/$ by exp]i5c$ horn play]s & give =? a f9e1 resonant tone4 ,up to ! pres5t no?+ has be5 discov]$ to indicate t ! nor!rn races _h a sy/em ( musical notation2 melodies 7 und\bt$ly transmitt$ by oral communication4 ,f9l&4--,! p ( ,f9l& are int5sely musical & h _m beautiful folk-songs4 ,_! national epic is call$ ! 8,kalevala10 & gives ! hi/ory ( ! h]o1 ,wa9moni51 god ( music1 :o by ! ex]cise ( 8 art1 became ! ma/] ( ! univ]se1 analog\s to ! ,greek my? ( ,orpheus4 ,! ,f9ni% b>ds us$ an in/rum5t call$ ,kantle or ,h>pu1 a sort ( psalt]y ) five /r+s =m+ ! fir/ five notes ( ! m9or scale1 ,g f\r? space1 bass /aff1 to ,d above4 ,progress 9 ,s\!rn ,europe4--,z may be ga!r$ f ! ha/y survey ( music among ! nations 9 ! we/ & nor? ( ,europe1 !y did n contribute to its gr[? dur+ ! c5turies "u consid]ation4 ,x 0 9 ! s\? ( ,europe t ! =ces 7 =m+1 & n 9 ! ,*ur* z h]et(ore1 b outside1 among ! p4 ,we _c say :o compos$ ! songs ( ! p1 s diff]5t 9 "* f ! songs ( ! ,*ur*2 !y seem$ to spr+ up spontane\sly & 7 pass$ f "o to ano!r orally4 ,! music ( ! ,*ur* lack$ measure or rhy?m1 z we may say1 :ile ! music ( ! p1 closely associat$ ) danc+1 0 rhy?mic4 ,9 fact1 ! s*ol>ly musicians ( t p]iod condemn$ ! music ( ! p because ( its m>k$ rhy?mic "*4 ,on acc\nt ( ! crud5ess ( ! e>ly in/rum5ts1 (t5 ! lack ( !m & ( compet5t play]s1 ! p 7 accu/om$ to s+ to _! danc+1 a cu/om /ill foll[$ 9 c]ta9 places4 ,! next /ep 0 an easy "o1 t ( mak+ new v]ses to famili> airs4 ,ano!r factor 9 spread+ music among ! p appe>s 9 ! travel+ m9/rels4 ,)\t a fix$ resid5ce1 ow+ allegiance to no "l1 by law1 9 _m cases1 out ( ! pale ( society1 ^! free sons ( art1 :o began to come into prom95ce 9 ! #aa? c5tury1 rov$ f place to place1 re/+ = ! night 9 ca/le1 mona/]y1 inn or wayside camp4 ,9 return = ! hospitality freely giv51 !y sang ! songs !y le>n$ f ea* o!r & 9 ! v>i\s l&s !y visit$4 ,_! accompli%m5ts 9 ! music l9e 7 v>i$4 ,"o1 ,rob]t le ,ma9s1 said3 8,i c play ! lute1 ! viol91 ! pipe1 ! bagpipe1 ! syr9x1 ! h>p1 ! gigue1 ! gitt]n1 ! symphony1 ! psalt]y1 ! organi/rum1 ! regals1 ! tabor & ! rote4 ,i c s+ a song well & make tales & fables40 ,tr\vres4--,ano!r influ5ce 0 also at "w1 "o t 0 greatly to affect music1 rais+ x f ! level ( common ent]ta9m5t to an art patroniz$ by ! highe/ social circles4 ,! ,crusades left a p]man5t influ5ce ^u ! p ( ,europe & ^u ! in/itution ( ,*ivalry1 ! knightly s+]s 7tr\vres7 vy+ ) ea* o!r 9 v]se & song1 z well z 9 arms4 ,education took a high] place & s*ools became m num]\s 7#ab? & #ac? c5turies71 & music 0 giv5 recognition2 ?is 0 ! case n only 9 s*ools connect$ ) mona/]ies1 b also 9 ! newly e/abli%$ univ]sities1 su* z t at ,p>is4 ,secul> music also _h s*ools1 s to speak1 =1 dur+ ,l5t1 :5 all gay songs 7 =bidd51 ! tr\vres & m9/rels w\ld /op at "s conv5i5t po9t & tea* _! songs to all :o w\ld le>n2 hi!r ! great lords w\ld s5d ! m9/rels 9 _! pay to r5ew _! rep]toires & le>n ! songs t 7 mo/ favor$ by ! polite _w4 ,x 0 n possible t mu* advance c\ld be made 9 musical education1 f a sci5tific side1 = !re 0 no g5]al sy/em ( conv5i5t notation4 ,airs 7 taught by play+ !m ov]1 ! s+] ) ! ready e> hav+ ! advantage4 ,/ill ! ef=ts & /udies made 9 ! mona/]ies & s*ools 7 n fruitless1 al?\gh ! sy/ems evolv$ 7 v complicat$1 mak+ ! read+ ( music a difficult matt]4 ,! ,music ( ! ,p]iod4--,x is a =tunate ?+ = ! inve/igator ( ! hi/ory ( music t1 at ! pres5t "t1 a numb] ( collections ( ! airs ( ! #ab? & #ac? c5turies are /ill 9 exi/5ce2 = example1 9 ! ,national ,libr>y1 ,p>is1 :i* possesses a numb] ( magnific5t manuscripts1 conta9+ songs not$ d[n by ! ,fr5* tr\vres2 also 9 ! ,libr>y ( ! ,m$ical ,s*ool ( ,montpeli] !re is a collection ( ne>ly f\r hundr$ songs1 secul> & religi\s1 = two1 ?ree or f\r voices4 ,! melodic ideas ( ?is p]iod1 z indicat$ by ^! manuscripts1 7 vague & ! rhy?ms unc]ta94 ,yet ?is music1 b>b>\s z x appe>s to u1 0 n ! product ( *ance1 z we may ?9k2 x _h its rules1 j l ! music ( today1 ! art ( compos+ be+ call$ ,discant1 ref]r$ to 9 ,lesson ,,vi4 ,sometimes ^! s+]s ( ! #ab? & #ac? c5turies tri$ to inv5t orig9al airs1 v frequ5tly !y w\ld take sev]al famili> airs1 two1 ?ree or f\r & comb9e !m 9 :at seems to u a crude way1 yet 9 a mann] t 0 pleas+ to ! he>]s ( _! "t4 ,! /yle ( ! songs 9 use v>i$ greatly1 9 spite ( ! pov]ty ( musical res\rces4 ,9 g5]al1 a song = "o voice 0 us$ only 9 sett+ ! ,*ansons des ,ge/es1 ,romances1 ,pa/\relles1 ,s]v5tois1 ,lais & ,jeux ,p>tis4 ,! discant /yle 0 us$ 9 ,motets1 ,rondeaux1 ,conduits2 accord+ z ^! latt] compositions 7 = two1 ?ree1 f\r or five voices1 !y 7 call$ duplum1 triplum1 quadruplum1 & qu9tuplum4 ,tr\bad\rs4--,! cradle ( ! ,fr5* tr\bad\rs 0 9 ,prov5ce1 ! s\? ( ,france4 ,!y usually belong$ to ! nobility1 &1 in/ead ( p]=m+ _! own pieces1 _h !m p]=m$ by ! jongleurs1 only occasionally cons5t+ to s+ = "s company ( high-born nobles & ladies4 ,we m5tion a few ( ^? :o 7 c\nt$ among ! tr\bad\rs3 ,ri*>d ! ,lion-,he>t$1 ( ,engl&1 ,c\nt ,william ( ,poiti]s1 ,ramb\t1 ,c\nt ( ,orange1 ,pi]re d',auv]gne1 ,pi]re ,ramon de ,t\l\se1 ,pi]re ,vidal1 ,pons de ,capdueil1 poet1 s+] & viol9i/1 ,aim]ic de ,pequila91 ,blagobres1 a virtuoso on all in/rum5ts1 ,blondel de ,nesle1 ! ,*atela9 de ,c\cy1 ,?ibault1 ,k+ ( ,nav>re4 ,clem5t1 ! ,fr5* hi/orian1 gives a li/ ( #bh tr\vres ( ! #ac? c5tury1 less prom95t socially ?an ^? already m5tion$4 ,! mo/ celebrat$ ( !m & ! mo/ important f ! hi/orian's /&po9t is ,adam de ,la ,hale or ,halle1 born #abdj4 ,he wrote _m pieces1 ( :i* we h ?irty-?ree songs1 "s rondeaux1 six motets1 "s ,jeux ,p>tis1 among ! latt] be+ a "w :i* is reg>d$ z a sort ( comic op]a1 sometimes call$ ! 8fir/ op]a03 8,rob9 & ,m>ion02 x consi/s ( dialogue & airs4 ,music3 ,,air ,,f ,,rob9 ,,& ,,m>ion4 ,illu/ration3 ,,in/rum5ts ,,( ,,! ,,m9nes+]s4 ,m9nes+]s4--,:ile ! tr\vres & tr\bad\rs 7 s++ 9 ,prov5ce & 9 ,france1 an analog\s association 0 =m+ 9 ,g]many1 to :i* ! "n ,m9nes+]s 7,m9ne1 old ,g]man1 8love07 0 giv54 ,a li/ ( names belong+ to ! #ac? c5tury includes #afb m51 among :om are sev]al occupy+ ?rones4 ,names t h int]e/ = u are ,kl+sor1 ,wolfram von ,es*5ba* 7au?or ( a poem on 8,p>cival071 ,gottfri$ ( ,/rassburg 7au?or ( a poem 8,tri/an & ,isolde071 ,walt] von d] ,vogelweide1 ! ,*evali] ,tannhaeus] & ,he9ri* ,meiss51 call$ ,frau5lob4 ,ri*>d ,wagn] has introduc$ "s ( ^! m5 9 8 op]as4 ,! v]sification ( ! ,m9nes+]s has be5 mu* admir$ by critics2 x 0 fill$ ) art z well z beauty4 ,_! love !mes diff]$ f ^? ( ! ,prov5al s+]s 9 t :ile ! poetry ( ! latt] decl>$ love z a gallant s5tim5t1 ! ,g]mans gave x a l(ti] tone by m+l+ x ) ! ,madonna s5tim5t4 ,folk-,song4--,:ile ! ,g]man nobles 7 employ+ !mselves 9 ! s]vice ( art1 ! p 7 n idle4 ,!y _h _! tunes & _! v]ses4 ,! ,lo*eim] ,li$]bu* 7#adeb71 conta9s a numb] ( songs1 "s ( :i* are und\bt$ly v old2 !y are melodi\s1 v>i$ 9 rhy?m & full ( nave simplicity4 ,"s ( !m are arrang$ 9 ! popul> ?ree-voice /yle1 & %[ correct "p lead+1 ! incl9ation be+ t[>d our major & m9or modes in/ead ( ! ,*ur* ,modes4 ,illu/ration3 ,,hans ,,sa*s4 ,ma/]s+]s4--,! mo/ not$ musical organization among ! p 0 t ( ! ,ma/]s+]s 7celebrat$ 9 ,ri*>d ,wagn]'s op]a72 ,nuremb]g1 ,may5ce1 ,/rassburg & ,frank=t 7 _! c5tres4 ,! memb]s 7 organiz$ into a ,guild1 j z 0 ! case 9 trade affairs2 !y _h a *>t] f ! ,emp]or ,*>les ,,iv4 ,_! poetry & music 7 n elevat$1 = ! memb]s ( ! ,guild 7 n ( a /&+ & an education to give !m real skill 9 ! f9e arts4 ,! records ( ! ,ma/]s+]s %[ t ! memb]s 7 pr9cipally tradesm51 su* z f>ri]s1 armor]s1 locksmi?s1 tailors1 cobbl]s2 yet !re 7 "s memb]s :o c\ld lay claims to culture & high] /&+1 z engrav]s1 physicians & a few g5tlem5 ( leisure4 ,! mo/ conspicu\s ( !m all 0 ,hans ,sa*s1 ! cobbl]-poet ( ,nuremb]g4 ,_! works 7 m>k$ by monoton\s melody1 7= ! pit* is b little v>i$7 & a heavy1 clumsy rhy?m4 ,to make up = ! lack ( real arti/ic idea !y 7 p$antic to an extreme2 composition 0 h$g$ ab\t by a multitude ( rules1 to :i* compos]s mu/ give exact ob$i5ce4 ,^! rules 7 giv5 9 a code call$ ,tablatura4 ,!y held conte/s 9 :i* ! memb]s vi$ 9 produc+ works exemplify+ ! pr9ciples ( ! organization4 ,,que/ions ,,& ,,sugge/ions4 ,:at c\ntry 9 ,europe 0 inhabit$ by ! ,gauls8 ,:]e did ! ,celts live8 ,:at c\ntries did ! ,sc&9avians inhabit8 ,give an acc\nt ( _! music4 ,describe ! "w ( m9/rels1 jongleurs1 tr\vres1 tr\bad\rs4 ,:]e did ! ,m9nes+]s live8 ,tell ab\t ! ,ma/]s+]s4 ,give ! names ( m9/rels or o!r s+]s fam\s 9 hi/ory4 ,:at 0 ! condition ( ! artisan classes & guilds 9 ! l>g] ,g]man cities at ?is "t8 ,if possible1 get ! /ories ( ! op]as1 8,tannhus]0 & ! 8,ma/]s+]s ( ,nuremb]g0 & read !m privately or 9 ! class4 ,,sugge/ions ,,= ,a ,,review ,,( ,,previ\s ,,lessons4 ,give an idea ( ! process by :i* music becomes an art & :at ! pr9ciples ( music are4 ,:at sci5ces are drawn ^u1 & h[1 9 ! /udy ( ! beg9n+s ( music8 ,:at c\ntries (f] int]e/ to ! /ud5t ( musical beg9n+s8 ,h[ are ^! races relat$8 ,give a summ>y ( music among ! ,*9ese4 ,! ,japanese4 ,! ,h9doos4 ,give a summ>y ( music among ! ,*aldeans4 ,! ,egyptians4 ,! ,hebrews4 ,:at po9ts 9 common did ^! races %[8 ,give an acc\nt ( ! writ]s on music among ! ,greeks1 & _! works4 ,describe ! ,scale ( ,conjunct ,tetra*ords4 ,disjunct ,tetra*ords4 ,! ,less] ,p]fect ,sy/em4 ,! ,great] ,p]fect ,sy/em4 ,give ! names ( ! v>i\s ,greek ,scales4 ,give a summ>y ( ! ,greek ,octave ,sy/em4 ,describe ! ,*romatic & ,enh>monic ,scales4 ,describe ! ,greek musical in/rum5ts2 notation4 ,tell ! /ory ( music among ! ,romans4 ,h[ did ! ,*ur* ,scales orig9ate8 ,/ate ! diff]5ces betwe5 ! ,greek & ! ,*ur* ,scales4 ,:at is ! function ( ! ,dom9ant 9 ! ,*ur* ,scales8 ,describe ! ,hexa*ord ,scales & ! names ( ! s\nds4 ,describe e>ly sy/ems ( notation 9 music4 ,describe e>ly attempts at ,h>mony4 ,:at 0 ,discant8 ,give a summ>y ( ! /atem5ts ( ! e>ly writ]s on ! subject ( ,h>mony4 ,give an acc\nt ( music among ! ,gauls & ,celts1 ! ,saxons1 ,sc&9avians1 etc4 ,tell ab\t ! great song movem5t outside ! *ur*1 m9/rels1 etc42 ! ,m9nes+]s2 ! ,ma/]s+]s4 ,ea* ( ^! que/ions or sev]al toge!r may be made ! subject ( a writt5 pap]1 giv+ a summ>y4 ,/ud5ts %\ld be enc\rag$ to make critical exam9ation ( a subject1 to in/itute comp>isons %[+ progress1 & ! /eps t m>k t progress1 :]e9 "o man has drawn f a pr$ecessor1 :]e9 new ?+s h be5 done4 ,,lesson ,,viii4 ,,! ,,causes ,,( ,,polyphonic ,,developm5t ,,& ,,! ,,importance ,,( ,,! ,,polyphonic ,,era4 ,9 ! ,introduction att5tion 0 call$ to ! fact t ! labors ( musicians to develop an art ( music v>i$ betwe5 ! ef=t to make arti/ic use ( ! mat]ial ( music1 t is1 to give x def9ite =m1 & to make x express ! feel+s ( mank9d2 ! fir/ is 9 ! l9e ( con/ruction1 ! second1 cont5t4 ,! p]iod we n[ take up 0 conc]n$ mo/ deeply1 9 its e>li] /ages1 z we %all see1 ) f9d+ adequate & logical pr9ciples ( con/ruction by :i* a musical composition ( m or less l5g? c\ld be made f a simple musical idea & 9 :i* m ?an "o voice c\ld be us$4 ,?is p]iod %\ld be /udi$ ) ! greate/ ?or\ghness1 & all possible examples ( music ( ! compos]s repres5tative ( ! p]iod %\ld be exam9$ t "o may ga!r a cle> idea ( ! beg9n+s ( composition & ! developm5t t %[s f "o g5]ation to ! next4 ,^! fir/ grop+s aft] ! pr9ciples are matt]s ( extreme int]e/ to ! musician :5 he comp>es ! results 9 ! music ( ! tw5tie? c5tury4 ,! ,polyphonic & ,monophonic ,/yles4--,/ud5ts frequ5tly express surprise t ! complicat$ polyphonic or contrapuntal sy/em1 :i* began to take %ape 9 ! #aa? c5tury1 %\ld appe> fir/1 hi/orically4 ,! pupil 9 composition beg9s 8 /udies ) ! h>monic or monophonic /yle & is aft]w>ds induct$ into ! polyphonic /yle4 ,:y did ! musical art develop along polyphonic & n on ! simpl] l9es8 ,x is int5d$ t ?is lesson & ^? t foll[ %all %[ "s ( ! influ5ces t caus$ ! l9e ( developm5t to move 9 a polyphonic & n 9 a monophonic direction4 ,"o ?\ght is important to note4 ,! elem5ts ( ! simple1 monophonic /yle 7 pres5t 9 ! music ( ! e>ly c5turies1 9 ! p's song1 pr9cipally2 s9ce1 h[ev]1 x 0 ! ,*ur* t det]m9$ ! direction ( arti/ic composition1 ! simple1 natural pr9ciples ( melody-mak+ yield$ prec$5ce to a m highly organiz$1 intellectual process4 ,be=e tak+ up ! consid]ation ( ^! matt]s x is well to get an und]/&+ ( ! t]ms ,monophony & ,polyphony4 ,!re are two me?ods ( giv+ h>monic support to a melody3 by add+ an accompanim5t ( *ords1 9 simple or elaborat$ =m1 or by divid+ ! notes ( ! *ords among ?ree or m voices1 :i* notes are sung or play$ simultane\sly ) ! melody 7an example is furni%$ by any simple air ) accompanim5t or a hymn-tune 9 f\r p>ts1 9 :i* ! 8air0 or melody is 9 ! soprano72 ?is is ,monophony1 7monos--,greek = 8"o10 phone--8s\nd072 a second me?od is to add to ! giv5 melody o!r melodies1 ea* indep5d5t 9 its movem5t up & d[n & 9 ! duration ( its successive s\nds s f> z conc]ns ! movem5t & duration ( ! s\nds 9 ! giv5 melody4 ,?is is ,polyphony 7polus1 ,greek = 8_m074 ,relation ( ,polyphonic to ,mod]n ,music4--,! exact relation ( ! ,polyphonic ,era to mod]n music has r>ely be5 correctly e/imat$4 ,writ]s on ?is phase ( ! developm5t ( music are apt to lose !mselves 9 wond] on not+ ! sci5tific gr[? ( ! art1 & to express _! great surprise t s peculi> an evolution %\ld occur4 ,?is view ( ! "q is totally inadequate4 ,9 ord] truly to e/imate ! value & influ5ce ( ! p]iod1 x is necess>y to inquire into ! prop]ties ( ! mat]ials ( musical con/ruction :i* 7 develop$1 & ! value ( ^? mat]ials z a f\ndation = ! mod]n /ructure ( music1 app>5tly s diff]5t f ! e>ly =ms1 b yet s intimately relat$ to ^! =ms4 ,polyphonic music pres5ts to ! /ud5t s complex a =m z to require ! aid ( mat]ial imag]y 9 ord] to help ! m9d to a prop] conception ( x4 ,p]haps no m mislead+ idea has be5 advanc$ ?an t :i* makes use ( ! ,go?ic ca!dral z an illu/ration ( polyphonic =m4 ,x is true t 9 its multiplicity & yet int]-relation ( details ! ca!dral expresses "o ( ! dom9ant ideas ( polyphonic music2 b "h ! lik5ess fails4 ,a nic] p]ception ( ! subject may be ga9$ by comp>+ polyphonic music to ! f\ndation ( a ,go?ic ca!dral1 /rong & massive 9 con/ruction1 ( utmo/ ne$ to ! p]man5ce ( ! build+1 b entirely lo/ sight ( 9 a g5]al view ( ! :ole /ructure2 ! importance ( ! comp>ison be+ ! lik5ess ( ! complex & highly-develop$ sup]/ructure to monophonic or mod]n music1 seem+ly s indep5d5t ( :at lies b5ea?1 b 9 reality1 dep5d5t ^u1 & intimately connect$ ) ! e/abli%$ basis4 ,only 9 ?is way c we appreh5d ! real value ( ! polyphonic f\ndation to our sup]/ructure ( mod]n music2 b = t f\ndation our mod]n music mu/ h rema9$ 9 its infancy = c5turies to come4 ,no fre$om ( arti/ic expression c be ga9$ until absolute comm& ( ! mat]ial to be us$ has be5 obta9$1 & ! pr9ciples ?or\ghly assimilat$ by ! arti/4 ,polyphony & ,monophony ,contra/$4--,9 ! concrete1 polyphonic music may be repres5t$ by a s]ies ( l9es repres5t+ sep>ate & di/9ct melodies2 ?\gh a pr9cipal melody is always us$1 x is n support$ by *ords ( h>monic /ructure b by o!r melodies1 or transpositions ( ! same melody1 s us$ z to contra/ ) & support ea* o!r4 ,polyphonic music 0 ess5tially melodic1 &1 z has be5 v aptly /at$1 is to be ?\ght ( horizontally4 ,monophonic music might be/ be repres5t$ by "o horizontal l9e support$ at int]vals by %ort1 p]p5dicul> l9es4 ,9 ?is case ! horizontal l9e repres5ts ! only di/9ct melody1 & ! p]p5dicul> l9es ! subord9ate or h>monic support or accompanim5t4 ,! foll[+ example illu/rates ! process ( us+ ! same melody to furni% ! pr9cipal idea & also ! accompany+ support1 ! latt] be+ at ! same "t simply a transposition ( ! orig9al melody4 ,music3 ,l5to #a/ ,voice #b;d ,voice #c;d ,voice ,polyphonic ,/yle4 ,ba* ,fugue4 ,subject 7or melody7 ent]s 9 measure "o2 aga91 transpos$ to ! f\r? bel[ 9 measure ?ree1 & "o octave bel[ 9 measure t54 ,en\gh is cit$ to %[ ! horizontal /ructure ( polyphonic music4 ,to pres5t ! idea m cle>ly & = ! sake ( contra/1 a melody ) accompanim5t is %[n 9 ! next illu/ration1 giv+ a s+le melody ) ! subord9ate *ord accompanim5t1 ! *ords 9 :ole notes indicat+ ! h>monic /ructure or basis4 ,music ,bee?ov51 ,op4 #bd1 ,monophonic ,/yle4 ,sonata = ,viol9 & ,piano4 ,melody ent]s 9 measure "o ) subord9ate accompanim5t4 ,se>* = ,/ructural ,pr9ciples4--,:ile ?is "q ( ! relation ( polyphonic music to mod]n music may n apply to ! fir/ /ep 9 ! developm5t ( ! polyphonic /yle1 yet x furni%es a preface to a discussion ( ! e>lie/ /ages ( polyphonic evolution4 ,! p]iod prec$+ ! ye> #ajjj ,a4 ,d4 0 truly a p]iod ( fundam5tal rese>* into ! und]ly+ pr9ciples ( melodic & h>monic /ructure2 b s crude & hesitat+ 0 ! use ( :at 0 f\nd t x is c]ta9 t polyphonic mat]ial 0 entirely misus$ until ! bir? ( 8measur$ music0 dispell$ ?is d>kness by ! enlight5+ influ5ce ( ,proportion & ,=m4 ,s _m =ms ( musical gr[?1 su* z came 9 lat] ye>s1 7 impossible )\t ! m5sural proportion1 t is1 music writt5 s z to indicate duration1 t ?is initial p]iod ga!r$ b a *aotic mass ( musical mat]ial :i* 0 left undige/$ & unassimilat$ until ! epo* ( ! ,p>is s*ool4 ,beg9n+ ( ,polyphony 9 ,greek ,magadiz+4--,! music ( ! ,middle ,ages has great int]e/ = ! hi/orian & ! /ud5t4 ,x /&s betwe5 our music & ! music ( ! anci5ts2 x drove its roots deep into ! anci5t "t & ext5d$ its bran*es f> into ! contemporane\s epo*4 ,x is ! /ruggle betwe5 ! two elem5ts1 ! *anges =e%ad[$ & app>5t t give su* int]e/ to ! hi/ory ( music 9 ! ,middle ,ages4 ,polyphonic music 0 long 9 gr[+4 ,to und]/& cle>ly1 "o mu/ exam9e x f its v beg9n+ 9 ,greek magadiz+1 ref]r$ to 9 ,lesson ,v4 ,music = _m c5turies 01 9 all its mo/ important phases1 entirely vocal4 ,! anci5ts1 probably because ( ! crude =ms ( _! in/rum5ts1 valu$ ! human voice z ! mo/ suitable means ( express+ ! feel+s ?r\gh music1 ?us caus+ ! peculi> ph5om5on ( ! extremely late developm5t ( dissonances4 ,:ile in/rum5ts c easily p]=m ev5 ! h>%e/ ( ! dissonances1 x is almo/ impossible = untra9$ voices to s+ o!r ?an ! m simple consonances4 ,= ?is reason1 ! dep5d5ce on ! voice z practically ! only m$ium = ! expression ( musical ideas =c$ ! cultivators ( music to use ! simple consonances ( ! octave1 f\r? & fif?4 ,9 its e>lie/ /ages music 0 entirely melodic & 0 limit$ to ! use ( "o di/9ct melody1 s t1 no matt] h[ _m 7 s++1 b "o melody 0 employ$4 ,soon arose ! problem ( accommodat+ ! voices ( boys & m5 to ! same melody4 ,x 0 manife/ly impossible to h m5 & boys s+ 9 unison1 because ( ! diff]5ce 9 ! compass ( _! voices2 s ! ,greeks hit ^u ! plan ( caus+ !m to s+ 9 octaves1 a plan :i* sci5ce sanction$1 = _h n ,py?agoras prov5 t ! octave1 aft] ! unison1 0 ! mo/ p]fect consonance8 ,?is ! ,greeks call$ ,magadiz+4 ,:y ! ,greeks1 kn[+ z !y did ! o!r consonances1 did n magadize 9 ! f\r? & fif? _c be expla9$2 ! only argum5t t c be advanc$ is1 t _! melodies 7 s limit$ 9 range t ! voice ( any man1 :e!r t5or or bass1 c\ld )\t difficulty rea* ! highe/ or l[e/ tones ( a melody 9 unison4 ,:ile magadiz+ among ! ,greeks _c be c\nt$ z a great advance t[>d ! realm ( polyphony & h>mony1 yet x 0 ! fir/ important /ep 9 ! evolution1 & z su*1 is important4 ,s f>1 ! voices s++ simultane\sly1 ?\gh at a diff]5t pit*1 & mov+ toge!r 9 simil> "t values1 foll[$ monophonic me?ods4 ,organum ! ,next ,/ep4--,fur!r developm5t did n take place until ! de/ruction ( ,greek civilization _h occurr$ & a suffici5t lapse ( "t _h all[$ ! ,*ri/ian ,*ur* to e/abli% itself3 9 a religi\s s5se1 9 ! he>ts ( ! p1 & 9 a p]man5t s5se1 by build+ *ur*es & mona/]ies4 ,9 ^! mona/]ies we f9d ! next great advance 9 magadiz+1 ?\gh n[ "u ! "n ( ,diaphony or ,organum4 ,! musical le>n+ ( ! "t 0 pa9fully inadequate = ! uses to :i* x 0 put4 ,!re rema9$ 9 exi/5ce only a few ( ! ,greek sci5tific scales1 & ^? woefully di/ort$ 9 =m2 no simple notation or musical lit]ature2 & 9 all probability1 only a tradition 9 reg>d to ! melodic con/ruction & magadiz+4 ,p]haps ?is 0 j z well1 h[ev]1 = ! problem confront+ ^! monks diff]$ greatly f t solv$ by ! ,greeks4 ,9 ! mona/]ies only m5's voices 7 us$1 & ^! )\t special reg>d to ! compass4 ,! problem 0 ?is3 ,giv5 a melody to s+1 us+ m5's voices ( e range1 f high t5or to l[ bass1 )\t us+ indep5d5t p>ts4 ,! difficulties 7 two 9 numb]3 !y _h no conception ( indep5d5t p>ts1 & _! melodies 7 ( great] range ?an ^? ( ! ,greeks1 ?us =bidd+ ! practice ( s++ entirely 9 ! octave or unison4 ,! solution 0 rea*$ 9 ! foll[+ way1 z indicat$ 9 ! prec$+ lesson3 ,if ! octave1 unison1 f\r? & fif? 7 consonances1 :y n s+ 9 ! f\r? & fif? z well z 9 ! unison & octave8 ,!y _h z yet no idea ( s++ two di/9ct melodies at ! same "t1 b ?\ght only ( s++ ! same melody 9 ! mo/ consonant or agreeable mann]4 ,! result 0 music :i* s\nd$ l ! foll[+ example2 :ile x 0 crude & h>%1 x gave e monk opportunity to s+ simultane\sly ! same melody1 no matt] :at ! range ( 8 voice3 ,music ,ab\t ! close ( ! n9? c5tury1 z we le>n$ 9 ,lesson ,,vi1 at ! "t ( ,otg] or ,odo1 an abbot ( ,prov5ce1 9 ,france1 organiz+ _h s develop$ z to be writt5 = z _m z f\r p>ts1 us+1 h[ev]1 only ! p]fect consonances1 z ! next example w %[4 ,9 reality !re are b two p>ts1 z ! two l[] voices d\ble ! upp]4 ,music ,secul> ,organum4--,! mo/ rem>kable advance is %[n 9 a =m call$ ,secul> ,organum1 probably because ( "s relation to ! ,folk-song & ! common p4 ,?is =m %[$ ! use n only ( p]fect consonances b ( ! imp]fect consonance ( ! ?ird2 &1 wond]ful to relate1 ( a second1 ?\gh only 9 a pass+ s5se4 ,t su* a discord %\ld be us$ is a rem>kable comm5t>y on ! inh]5t s5se ( h>mony :i* seem$ to exi/ naturally1 ev5 at t e>ly day4 ,?is =m may h _h its g]m 9 ! drone bass suppli$ by ! bagpipe1 :i* figur$ 9 ! music ( ! p4 ,music ,example ( ,secul> ,organum %[+ use ( ?ird & second4 ,! ,work]s4--,two m51 z 0 %[n 9 ! prec$+ lesson1 7 in/rum5tal 9 rem>kably fur!r+ ?is gr[? ( music4 ,hucbald1 ( ,/4 ,am&1 9 ,fl&]s1 0 born 9 #hdj ,a4 ,d4 & di$ 9 #icj4 ,he 0 a fri5d ( ,otg] ( ,prov5ce1 & x is ?r\gh ! latt] t "s ( ,hucbald's "w is pres]v$4 ,hucbald probably nev] wrote 9 organum ( m ?an two p>ts1 ?\gh m5tion is made ( an organum cr$it$ to him & hav+ 9 addition to ! two voices1 a ?ird s++ a p$al-po9t1 or a bass on "o s+le tone4 ,8 pr9cipal "w is a manuscript on organum1 a "w ( great ref]5ce value4 ,guido ( ,arezzo1 born #iij1 di$ #ajej1 is ( ev5 m importance4 ,unlike ,hucbald & ,otg]1 he seems to h be5 m ?an a seclud$ monk1 = he visit$ ,rome & 0 a well-kn[n figure 9 ! *ur*4 ,he 0 a mo/ active tea*]1 & :ile 8 *ief "w 0 9 develop+ notation1 he nev]!less contribut$ important mat]ial 9 ! =m ( organum1 writ+ 9 z _m z f\r p>ts1 ?\gh 9 respect to ! use ( ! less p]fect consonances he 0 v little fre] ?an ,hucbald4 ,a %ort example1 extract$ f an #aa? c5tury ?ree-"p composition1 is giv5 "h z a specim5 ( ! comb9ations & successions t 7 tol]at$ by ! e>s ( ! ,middle ,ages1 & to %[ ! t5d5cy t[>d great] fre$om 9 ! direction ( ! motion ( ! p>ts1 po9t+ t[>d ^? pr9ciples :i* lat] =m$ ! sci5ce ( ,c\nt]po9t4 ,music3 ,,t5or 7s\nds l[] octave7 ,,t5or 7s\nds l[] octave7 ,,bass ,sev]al int]e/+ po9ts may be se5 9 ?is b>b>\s composition3 ,fir/1 ! imitation by ! second t5or ( ! phrase giv5 by ! fir/ t5or4 ,?is is evid5tly int5tional1 z ?is phrase occurs ?ree times 9 ! c\rse ( ! composition & is imitat$ 9 ! same way e "t4 ,?is same phrase occurs ne> ! end ( ! bass "p 7:i* is ! !me or ,cantus7 & x may h be5 *os5 = ?is v reason = use 9 ! ,discant p>ts4 ,secondly1 ! initial & f9al *ords1 viz43 root1 fif? & octave--are famili> to all /ud5ts ( ,/rict ,c\nt]po9t4 ,writ]s z late z ,*]ub9i call ?is comb9ation ! be/ = beg9n+ & end+ ,?ree ,"p ,c\nt]po9t4 ,developm5t ,det]m9$ by ! ,*ur*4--,! ,*ur* & its beliefs 7 responsible = ?is s+ul> yet n illogical developm5t4 ,consid]+ ! peculi> mona/ic conditions1 ! evolution c\ld n be expect$ to occur along l9es :i* x w\ld h tak5 _h x be5 develop$ among ! p & "u ! influ5ce ( ! ,folk-song4 ,! le>n+ ( ^! monks 0 l>gely 9 *ur* lore1 & ?is1 ) a desire = a peculi> *ur* music1 l$ to ! disc>d+ ( ! natural & vivaci\s melodies & rhy?ms ( ! p1 = ! sci5tific & ascetic music & discipl9e ( mona/ic religion4 ,! "o great advantage ( ?is p]iod to mod]n music 0 ! con/ant association ) ! pr9cipal int]vals ( ! scale2 an association :i* may be p>tially responsible = our mod]n ,tonic & ,dom9ant h>monies4 ,on ! :ole1 ?is p]iod repres5ts ! m>k+ out ( ! l9es ( musical developm5t = ! eight c5turies foll[+1 ?\gh ! m5 responsible = ?is beg9n+ c\ld h>dly h kn[n or appreciat$ ! impetus :i* 0 to be giv5 polyphonic music by ! inv5tion ( _! simple devices to accommodate voices ( diff]5t compass & to secure conc]t$ s++4 ,,ref]5ces4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ,h>mony1 ,s*ools ( ,composition1 & ,organum4 ,hope4--,m$ival ,music4 ,williams4--,music ( ! ,anci5t ,greeks4 ,hymn to ,apollo4 7,note small compass ( ! melody47 ,r[bo?am4--,hi/ory ( ,music4 ,*apt] on 8,music 9 ! ,mona/]ies40 ,dick9son4--,hi/ory ( ,music 9 ! ,we/]n ,*ur*4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,iv4 ,,que/ions ,,& ,,sugge/ions4 ,:at is meant by ,monophony8 ,polyphony8 ,make an analogy betwe5 ,polyphonic music & ,ar*itecture4 ,contra/ ,polyphony & ,monophony by ! use ( l9es4 ,:at 0 ! nature ( ! rese>*es 9 music be=e #ajjj ,a4 ,d48 ,h[ did ! ,greek magadiz+ influ5ce musical developm5t8 ,:at is ,organum8 ,secul> ,organum8 ,:o 7 ! prom95t musicians ( ?is p]iod8 ,h[ did ! ,*ur* influ5ce musical developm5t8 ,! tea*] or "o ( ! pupils may give a summ>y ( ! ,go?ic /yle ( ar*itecture4 ,ano!r pupil may give ! mo/ not$ hi/orical ev5ts co9cid+ ) ?is p]iod2 also hi/orical *>act]s4 ,s*ol>%ip 0 *]i%$ pr9cipally 9 ! ,*ur* & 9 ! mona/]ies1 h5ce ! pr$om9ance ( ,*ur*m5 9 ! e>ly hi/ory ( music4 ,hucbald liv$ dur+ ! "t ( ,alfr$ ! ,great2 ,guido di$ #af ye>s be=e ! battle ( ,ha/+s 7#ajff74 ,a useful device 9 fix+ ! details ( a lesson is = ! tea*] to arrange t ! pupils %all "q him1 ! que/ions to be ( su* a nature z to %[ t !y "k ! lesson ?or\ghly4 ,,lesson ,,ix4 ,,! ,,p>is ,,s*ool4 ,influ5ce ( ,art on ,music4--,all ( ! f9e arts1 ) ! exception ( ,music _h1 by ! ye> #aajj1 rea*$ a fairly high /age ( developm5t due1 no d\bt1 to ! fact t !y are to a great ext5t compos$ ( concrete mat]ials4 ,music1 ow+ to its lack ( ! concrete & ! inability ( m5 lit]ally to place _! h&s ^u its mat]ial1 _h lagg$ beh9d1 s t 9 #aajj we f9d only a small am\nt ( mat]ial1 & t 9 a mo/ *aotic condition4 ,?is mat]ial 01 h[ev]1 suffici5t to produce def9ite musical =ms if unit$ into a homog5e\s :ole2 su* a /ate1 h[ev]1 c\ld be produc$ only z ! result ( "s great influ5ce :i* w\ld galvanize ! compon5t p>ts into action4 ,=tunately1 !re 0 j su* an influ5ce1 "o :i* _h pass$ ?r\gh an evolution simil> to t ne$$ 9 music1 ?\gh because ( its m concrete =m & its necessity to man1 ?is evolution _h occurr$ at a proportionately e>li] date4 ,?is influ5ce 0 an art =m1 a phase ( ar*itecture kn[n z ! ,go?ic4 ,go?ic ar*itecture 0 a =m built up by ! unify+ ( ! pr9cipal /yles ( ar*itecture into "o uni=m :ole1 & compos$ ( a multiplicity ( details1 b ( su* evid5t relation to ea* o!r z to make a di/9ct art =m4 ,?is =m 0 fir/ us$ 9 ,p>is ab\t ! ye> #ajjj ,a4 ,d4 ,music 01 approximately1 9 ! same condition z ,ar*itecture be=e ! bir? ( ! ,go?ic pr9ciple1 & ne$$ a /imulus1 a comrade art und]go+ mu* ! same evolution1 to />t x on its pa? ( polyphonic developm5t4 ,9 ! ye> #aajj musical *aos became unit$ into "o uni=m art by means ( ,measur$ ,music or ,proportion1 ?us all[+ ! sy/ematiz+ ( ! mass ( !n exi/+ mat]ial1 & ! con/ruction ( def9ite art =ms4 ,s9ce ,ar*itecture _h und]gone j su* a *ange "o c5tury be=e1 x is m ?an probable t ! effect ( ?is *ange 0 ! />t+ ( a simil> "o 9 ,music1 ?\gh ! result 0 n to %[ until "o hundr$ ye>s aft] its occurr5ce 9 ! k9dr$ art4 ,p>is ! ,c5tre ( ,europe4--,x 0 natural t ^! two great *anges %\ld take place 9 ,p>is1 at t "t ! c5tre ( weal? & le>n+ = all ,europe4 ,p>is1 9 addition to its _m o!r advantages1 _h long possess$ a great univ]sity :i* _h produc$ _m s*ol>s & !ologians4 ,! influ5ce ( ! ,*ur* 9 all art 0 !n p>am\nt1 = all art 0 employ$ 9 ! s]vice ( ! ,*ur*2 ,ar*itecture gave to ! ,*ur* its ,go?ic ca!drals2 ,pa9t+ & ,fresco+ its m>vel\s int]ior decorations2 :ile ,music made possible ! ri*] =ms ( ! s]vice or liturgy4 ,9 t s5se ! ,*ur*1 9 its c5tre ( !ological /udy1 w\ld und\bt$ly react on ! practice ( music & produce m beautiful =ms = ! s]vice4 ,9 ?is p]iod x is wor?y ( note t all ! fam\s musicians1 z be=e1 7 monks1 or m5 employ$ 9 ! ,*ur*1 & ! reason = ?is condition is pla93 !re 0 no art ( music outside ( ! ,*ur*4 ,measur$ ,music4--,j z ! use ( _m voices produc$ s++ 9 p>ts1 s did x produce ,measur$ ,music4 ,to make x possible to use m ?an two p>ts at ! same "t x 0 necess>y to h "s def9ite agreem5t z to ! value ( ! notes1 9 ord] to h c]ta9 uni=m times = beg9n+1 end+ & p]=m+ ! diff]5t portions ( a composition agreeably2 & s ,measur$ ,music 0 born4 ,x may be said "h t ! diff]5t metrical divisions 7 n %[n by means ( b> l9es z we n[ use !m1 b by diff]5t gr\p+s ( ! notes1 ! "t value ( ea* dep5d+ on its relative position to ! o!rs4 ,p]haps ( all =ms produc$ by ?is sy/em1 ! ,organum ,purum 0 ! e>lie/ & mo/ peculi>4 ,x consi/$ ( a ,cantus ,firmus set to words1 & metrical 9 =m2 a second voice freely extemporiz$ a high] "p1 evid5tly ! only rule be+ t ! two f9i% toge!r4 ,at a late date1 /rict ,discant sometimes alt]nat$ ) ! old ,organum1 mak+ x mu* less free 9 "*4 ,! ,important ,=ms4--,9 reality1 ! important =ms produc$ 7 entirely 9 /rict metrical divisions4 ,( ^!1 ! mo/ important 7 ! s-call$ /rict ,organum1 ! ,conductus1 ! ,r\ndel & ! ,motet4 ,( ! /rict ,organum v little is kn[n1 except+ t x 0 a /rictly metrical =m1 diff]+1 9 t s5se only1 f ! ,organum ,purum2 x _h also words = all p>ts & n only = ! ,cantus ,firmus1 z _h ! old] =ms4 ,! ,conductus1 f ! ,lat9 conduc]e1 to conduct1 0 important1 & 0 a secul> =m hav+ z its basis a popul> melody or a newly inv5t$ "o1 secul> words & mu* fre] int]vals ?an *ur* compositions4 ,ea* "p 0 expect$ to be melodi\s2 & x v>i$ f two to f\r 9 ! numb] ( voices us$4 ,x 0 sung dur+ a m>*1 a fun]al cortge or procession4 ,music ,conductus = ?ree voices %[+ t ea* "p is a di/9ct melody4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i4 ,! ,r\ndel1 f an hi/orical view-po9t1 0 ! mo/ important =m1 = 9 x mu* use 0 made ( ,imitation4 ,x c be/ be expla9$ 9 ! words ( ,walt] ,od+ton1 a !ori/ ( ! "t3 8,let a melody1 ) or )\t a text1 9 "o ( ! regul> modes ( rhy?m1 & z beautiful z possible1 be devis$1 & let ea* voice s+ ?is 9 turn4 ,& at ! same "t let o!r melodies be devis$ to accompany x 9 ! second & 7if !re be ?ree voices7 9 ! ?ird voice2 let !m proce$ 9 consonances1 & s t :5 "o voice asc5ds ano!r desc5ds1 & let ! ?ird n foll[ too closely ! movem5t ( ei!r ( ! o!rs1 except p]haps = ! sake ( great] beauty4 ,& let all ( ^! melodies be sung by ea* voice 9 turn40 ,:ile ! use ( ,imitation is important 9 t x recognizes ! repetition ( a set phrase z an aid to ,unity1 its importance is detract$ f1 at lea/ at ?is p]iod1 because x 0 n us$ 9 any ( ! o!r =ms !n 9 vogue4 ,music ,r\ndel = ?ree voices %[+ ,imitation4 ,!re are six di/9ct melodic phrases1 & by numb]+ ^! :]ev] !y appe>1 ! ,imitation c readily be obs]v$4 ,imitation a ,means ( ,secur+ ,unity4--,an art =m mu/ submit to ! laws ( ! human m9d1 :i* dem& t a "w ( art %all %[ ?ree pr9ciples3 ,unity1 ,v>iety or ,contra/ & ,proportion or ,symmetry4 ,! problem set be=e ! old compos]s 0 to produce musical works :i* %\ld exhibit ob$i5ce to ! canons ( art z det]m9$ 9 ! si/] arts :i* _h already rea*$ great p]fection4 ,unity 9 a musical "w means t x is a developm5t ( "o c5tral ?\ght1 9 elaborate works1 ( sev]al lead+ ideas4 ,! g]m ( a musical composition is 9 ! ,!me4 ,! compos]'s problem is to elaborate a piece ( "s l5g? f ?is ,!me1 9 t way to secure ,unity ( idea4 ,if he 7 limit$ to writ+ 9 "o "p1 he w\ld be compell$ to repeat ! ,!me a numb] ( times1 ei!r on ! same or on a diff]5t degree4 ,:5 he mu/ write = ?ree or m voices ! problem becomes m complicat$4 ,let u imag9e a compos] ( ! #ab?-c5tury at 8 "w4 ,he has a !me to use1 l ! "o 9 ! example at ! end ( ! prec$+ p>agraph1 :i* he is to use 9 ?ree p>ts4 ,f ! compos]s ( ! prec$+ c5turies he receiv$ ! pr9ciple ( transpos+ ! !me a f\r? or fif? or octave high] or l[]1 ?us s++ ! same melody simultane\sly at diff]5t pit*es2 b ?is he rejects z crude2 he has pass$ t /age & wi%es to use a new]1 m advanc$ me?od4 ,obvi\sly 8 rec\rse w be to let ea* ( ! o!r two voices s+ ! op5+ !me successively at ! same pit*4 ,to /op ) ?is *ange w\ld result only 9 ?ree successive repetitions ( ! op5+ !me2 s he makes ! second & ?ird voices s+ ! phrases us$ by ! fir/ voice aft] ! fir/ !me has be5 giv51 :i* s]ve z an accompanim5t to ! second & ?ird entries ( ! fir/ !me2 ?us all ! voices s+ ! v>i\s phrases1 at diff]5t times & 9 diff]5t successions1 z %[n by ! numb]+ ( ! phrases4 ,9 lat] times ! pr9cipal phrases 7 sung successively & transpos$ at ! same "t4 ,?is pr9ciple ( ,imitation is ! v f\ndation ( ! lat] complicat$ polyphonic sy/em4 ,! ,motet4--,9 ! =m ( ! ,motet we note _m peculi>ities4 ,ea* voice _h diff]5t words1 ?\gh ! ,t5or or f\ndation ( ! composition us$ b "o s+le ^w ?r\gh\t2 also1 ! ,t5or 0 compos$ ( a c]ta9 metrical & melodic figure closely adh]$ to & built up out ( "s popul> song4 ,! words & ! =m 7 sacr$ 9 t !y 7 us$ 9 wor%ip4 ,! ,m5 ( ! ,"t4--,!re are _m m5 :o wrote 9 ^! =ms b x is only necess>y to exam9e ^? ( importance4 ,franco ( ,cologne 7#aaej-abbj71 7dates disput$71 an organi/1 0 probably ! pione] 9 ! adoption ( ,measur$ ,music4 ,he fir/ advocat$ ! use ( triple met] & classifi$ ! dissonances ( major & m9or ?irds & six?s4 ,he us$ 8 influ5ce aga9/ ! use ( consecutive f\r?s & fif?s1 & = ! use ( contr>y motion4 ,! result is 9 _m ways %[n 9 ! foll[+ example3 ,music ,leon9 7ab\t #aadj7 & ,p]ot9 78 pupil7 7 organi/s at ,notre ,dame 9 ,p>is4 ,! =m] 0 notewor?y 9 ! re=m ( notation1 :ile ! latt] is kn[n pr9cipally = 8 use ( crude ,imitation1 & a t5d5cy n to use consecutive f\r?s & fif?s1 ?\gh he nev] entirely succe$$ 9 eradicat+ !m4 ,franco ( ,p>is 7#aaej------71 (t5 confus$ ) 8 namesake ( ,cologne1 0 a !oretician1 improv$ notation1 & wrote a treatise on ,m5sural ,music4 ,jean de ,g>l&e 7#aagj-abe--7 n only wrote a v valuable treatise on ,m5sural ,music1 b 0 also a compos] ( note2 8 writ+s conta9$ specim5s ( ,d\ble ,c\nt]po9t1 ?\gh probably us$ )\t ! int5tion ( produc+ !m4 ,j]ome de ,moravie 7#abfj7 wrote a s*ol>ly treatise on ,discant1 & su* 0 8 ability t he illu/rat$ x ) 8 own compositions1 mak+ x "o ( ! mo/ valuable ref]5ce works 9 exi/5ce4 ,x is wor?y ( m5tion t all ( ^! m5 7 *ur*m5 9 ! s5se t _! "w 0 all done 91 or ) ! approval (1 ! ,*ur*1 & 0 !re=e influ5c$ by ! peculi> beliefs & cu/oms !n obta9+ 9 t in/itution4 ,?is po9t mu/ ev] be kept 9 m9d1 = any prolong$ contact ) ,folk-music mu/ h *ang$ ! entire developm5t ( ! art2 !re=e we mu/ reg>d ! ,*ur* z ! dom9ant influ5ce ( e>ly music4 ,summ>y4--,! "w ( ?is p]iod c h>dly be ov]-e/imat$4 ,fir/ we see ! influ5ce ( ! ,go?ic 9 ar*itecture1 produc+ a correspond+ unity 9 music2 a unity :i* 0 concomitant ) ,measur$ or ,m5sural ,music4 ,we next see ! attempt to comb9e metrical ) unmetrical =ms 9 ! ,organum ,purum1 & ! f9al result 9 ! /rict =m ( ,organum4 ,!n we note ! fre$om %[n 9 ! ,conductus1 ,r\ndel & ,motet1 z well z fre$om 9 ! use ( m pleas+ int]vals1 ) ! t5d5cy to eradicate consecutive f\r?s & fif?s2 ! use ( contr>y motion in/ead ( p>allel1 & ! consequ5t melodic fre$om ( ! voices1 & f9ally ! use ( ,imitation1 ?\gh p]haps un9t5tionally1 except 9 ! ,r\ndel4 ,?is p]iod !n m>ks ! acquisition n only ( new int]vals1 new =ms1 new /yles ( melodic writ+1 imitation1 measur$ music & simple c\nt]po9t ( note aga9/ note1 b also =ms ! f\ndation = a rapid developm5t by bequea?+ to ! ,gallo-,belgic ,s*ool a weal? ( mat]ial1 b\nd up ) rules & only half-suspect$ z to its value1 x is true1 b broad & firm en\gh to su/a9 a mighty /ructure ( true ,polyphonic ,music4 ,,ref]5ces4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,grove4--,diction>y ( ,music & ,musicians4 ,article on ,s*ools ( ,composition1 section relat+ to e>ly ,fr5* music4 ,hope4--,m$ival ,music4 ,te*nical ,explanation ( ,m5sural ,music4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i1 pages #gd-chh4 ,te*nical explanation ( measur$ music4 ,luebke4--,hi/ory ( ,art1 = an acc\nt ( ,byzant9e1 ,romanesque & ,go?ic ,ar*itecture4 ,guizot4--,hi/ory ( ,france1 = an acc\nt ( ,p>is 9 #aajj1 ) a /atem5t ( mann]s & cu/oms4 ,,que/ions ,,& ,,sugge/ions4 ,h[ did art influ5ce music8 ,:at made ,p>is ! c5tre ( ,europe8 ,:at 0 ,measur$ ,music8 ,:at =ms ( music 7 develop$ 9 ?is p]iod8 ,expla9 !m4 ,:y is ,imitation a logical process t[>d secur+ ,unity 9 musical con/ruction8 ,:o are lead+ compos]s ( ?is p]iod8 ,:at are ! successive /eps ( developm5t z %[n 9 ?is p]iod8 ,! hi/orical p]iod correspond+ ) ?is lesson ext5ds f ! dea? ( ,william ,rufus1 son ( ,william ! ,conqu]or1 to ! dea? ( ,ri*>d ! ,lion-,he>t$1 & includes ! ,crusade 9 :i* t h]o 0 ! pr9cipal figure4 ,x w be rememb]$ t ,ri*>d 0 a great patron ( m9/relsy4 ,,lesson ,x4 ,,! ,,gallo-,,belgic ,,s*ool4 ,a ,new ,art ,c5tre4--,! developm5t ( any art1 & m especially ,music1 requires ! dom9ance ( weal?1 le>n+ & g5]al civiliz+ =ces1 to =m an epo*-m>k+ s*ool4 ,p>is = a "t satisfactorily fill$ ^! conditions1 & !n gave place to a s*ool1 /rong] & bett] equipp$3 t ( ! ,ne!rl&s4 ,!re 7 sev]al reasons = ?is *ange 9 ! c5tre ( musical activity4 ,s long z ,p>is 0 dom9ant 9 weal? & civilization1 & s long z %e ma9ta9$ h] supremacy 9 ! intellectual fields ( ! ,*ur* & univ]sity1 s long did %e reta9 ! c5tre ( culture2 b :5 h] weal? became su* z to produce deg5]acy 9 ! ta/e = pure art1 & love ( %[ r ?an real wor? became pr$om9ant1 !n h] native pupils began to lose _! intellectual /r5g?1 & ! pupils f =eign c\ntries began to furni% ! real culture4 ,! e/abli%m5t ( ! ,papal ,see at ,avignon 9 ! s\? ( ,france d\btless contribut$ to ! supremacy ( ,france 9 music & ! lib]al arts4 ,:5 ! ,see 0 re/or$ to ,rome1 9 #acgg1 ,p>is & h] s*ool ( music 7 relegat$ to ! backgr\nd4 ,f ?is p]iod on x 0 b a matt] ( "t = ^! pupils to c>ry ! c5tre ( musical culture f ,p>is to a place possess+ a f\ndation = musical gr[?1 & a great] numb] ( /rong m9d$ s*ol>s1 & :]e political conditions 7 favorable4 ,! ,ne!rl&s surpass$ ,p>is 9 all ( ^! important p>ticul>s1 ?\gh n at ! "t :5 ! ,p>is ,s*ool ceas$ to be ( importance4 ,!re 0 a s*ool ( transition :i* fill$ ! space left betwe5 ! important "w ( ,p>is & ! supremacy ( ! ,ne!rl&s2 t s*ool 0 ! ,gallo-,belgic1 locat$ nor!a/ f ,p>is on ! bord]l9e betwe5 ,france & ,belgium1 ,t\rnay be+ ! c5tre4 ,! s*ool at ,p>is 0 occupi$ 9 acquir+ mat]ial = use2 ! s*ool ( ! ,ne!rl&s develop$ polyphonic music emotionally2 ! /ep f acquisition to arrangem5t ( mat]ial 0 necess>y be=e emotional developm5t c\ld occur1 & t 0 ! "w ( ! ,gallo-,belgic ,s*ool4 ,?is s*ool 0 locat$ 9 ! c\ntry ( ,hucbald & ,odo1 :o _h built up !re1 a little :ile be=e1 a sy/em ( music :i* 0 ! f\ndation ( ! polyphonic /yle1 & :i* _h prep>$ ! p = a culture ( great] value & importance4 ,?us we see t musical developm5t foll[$ ! l9e ( greate/ prep>ation1 & utiliz$ ! prep>atory "w furni%$ by ^! two m54 ,& f9ally1 x 0 a direct /ep t[>d ! ,ne!rl&s :i* 7 ev5 !n beg9n+ ! /ruggle 9 :i* !y 7 victori\s1 = supremacy 9 comm]ce1 art1 & music4 ,contribution ( ! ,p>is ,s*ool4--,:5 ! ,p>is s*ool ceas$ to be ( utmo/ importance to ! _w ( music x _h bequea!d to ! lat] s*ools ,measur$ ,music1 & its =ms ( ,organum1 ,motet1 ,conductus & ,r\ndel1 & ! use ( c]ta9 n unpleas+ int]vals1 ?\gh occasional consecutive f\r?s1 fif?s1 & octaves appe>$4 ,x 01 !n1 ! bus9ess ( ! ,gallo-,belgic s*ool to ref9e ^! int]vals1 develop measur$ music1 & s improve & develop ^! old prim>y =ms1 elim9at+ "s & evolv+ o!rs1 z to give ! s*ool ( ! ,ne!rl&s1 "o c5tury lat]1 =ms pleas+ 9 int]vals & ( suffici5t unity & design to af=d opportunity = ! infusion ( ! emotional4 ,9 ! matt] ( int]vals mu* 0 done to develop & use ! old ones1 except+ ! consecutive f\r?s & fif?s :i* 7 aboli%$ nev] to appe> aga91 & _m new1 or previ\sly unus$ int]vals1 7 made use (4 ,9 ! matt] ( =ms1 we he> no m ( ! crude ,organum & ,conductus1 b a little ab\t ! ,motet1 & no?+ at all 9 reg>d to ! ,r\ndel1 z su*4 ,x is1 h[ev]1 due entirely to ?is la/ =m t polyphonic music develop$2 ?\gh we he> no m ( ! ,r\ndel1 we d he> mu* 9 reg>d to ! ,canon1 & ! ,canon 0 b a highly develop$ species ( ! ,r\ndel4 ,imitation & ! ,canon4--,! use ( ,imitation1 z we h se51 gradually became m & m important4 ,! old monks1 9 ! v beg9n+1 imitat$ melody 9 ! f\r? & fif?2 at ! "t ( ! ,p>is s*ool ^! melodies 7 comb9$ ) new ones mak+ ,imitation ) m ?an "o melody1 ?\gh ! melody und]w5t no real organic developm5t4 ,n[ we see 9 ! inception ( ! ,canon a developm5t ( real ,imitation ( only "o melody1 b giv5 ,v>iety by use ( ! devices ( ,inv]sion1 ,augm5tation1 ,dim9ution1 etc4 ,& n only did ?is occur 9 ! ,canon1 b we f9d x also 9 ! o!r =ms1 9 a fre] /yle1 add+ mat]ially to ! ,unity4 ,imitation is ! f\ndation pr9ciple ( polyphonic music1 & ?is pr9ciple 0 pres5t 9 ! crude ef=ts ( ! old monks1 9 ! m intellig5t ef=ts ( ! ,p>is s*ool1 & n[ = ! fir/ "t1 receives1 9 ! ,gallo-,belgic s*ool1 a p>tial recognition ( its real value1 & a comm5surate use4 ,music ,naumann1 ,hi/ory ( ,music1 ,vol4 ,i1 page #cae1 extract f a *anson by ,dufay4 ,figure #a %[s ! pr9cipal melody1 figure #b %[s ! same at ! fif? bel[4 ,! entire *anson is quot$ 9 ,naumann ) ! v>i\s imitations fairly well m>k$2 ! /ud5t %\ld ref] to x4 ,! ,value ( ,imitation4--,we mu/ und]/&1 h[ev]1 t m]e ,imitation is 9 itself n a rem>kable ph5om5on4 ,we imitate1 m or less unconsci\sly1 9 all arts1 & ev5 9 our daily habits2 b ?is w\ld be ( no la/+ importance did we n take t imitation z a f\ndation = future developm5t1 z did ! compos]s ( ?is s*ool4 ,& 9 ^! polyphonic s*ools ! imitation 0 un9t5tional1 z a def9ite aid to ! /ructure ( a musical idea1 until x 0 se5 t ! imitation mu/ be conf9$ to "o def9ite idea or melody4 ,x 0 !n t ! orig9al treatm5t ( melodic developm5t began1 & ! v>i\s devices = develop+ a melody1 )\t *ang+ its organic /ructure1 inaugurat$4 ,?is m>k$ ! beg9n+ ( a s*ool ( musical art1 a s*ool ( def9ite1 & n *ance evolution2 or 9 o!r words1 arrangem5t & developm5t ( ! e>li] acquir$ ideas4 ,a ,te*nical ,pr9ciple4--,a little consid]ation w %[ h[ ! pr9ciple ( ,imitation 0 develop$4 ,! fir/ /ep 0 to imitate a melody at a l[] or high] pit* & s+ ! two or m v]sions simultane\sly2 ! next /ep 0 to br+ 9 ! second & o!r imitat+ voices successively1 at ! same or diff]5t pit*2 ?us mak+ ! imitation m prom95t4 ,s long z compos]s conf9$ _! ef=ts to us+ fix$ melodies1 !y c\ld n g f>4 ,:5 !y began to adapt well-kn[n melodies & lat] to inv5t _! own x became possible to make a l5g?y "w1 ?is lead+ to a composition 9 :i* ea* ( ! accompany+ voices imitat$ ! fir/2 sometimes only two voices us$ imitation1 ! o!r hav+ a some:at free "p4 ,a next /ep 0 to v>y ! imitation1 by *ang+ ! motion ( ! imitat+ "p2 if ! melody mov$ up1 ! imitat+ "p mov$ d[nw>d & vice v]sa2 sometimes ! movem5t 0 rev]s$1 ! imitation beg9n+ ) ! la/ note ( ! phrase & proce$+ to ! fir/2 sometimes x 0 made 9 notes ( small] value 7dim9ution71 sometimes 9 l>g] 7augm5tation74 ,^! & o!r devices 7 exp]im5t$ ) & work$ out by ! ,gallo-,belgic compos]s4 ,"o readily sees t ?is is intellectual "w1 t x puts a premium on clev]ness & lays expression aside4 ,yet ! te*nic ( an art mu/ fir/ be acquir$ & ! compos]s ( ?is p]iod 7 do+ ?is 9 work+ out a sy/em ( te*nic 9 composition ) ,imitation z ! f\ndation4 ,music ,illu/ration f ,naumann1 8,hi/ory ( ,music10 page #cba1 ,vol4 ,i1 %[+ at #a & #b ! pr9cipal melody & its imitation1 & at #c1 imitation & inv]sion4 ,! /ud5t %\ld exam9e ! entire example 9 ,naumann4 ,! ,"w ( ! ,gallo-,belgic ,s*ool4--,we note t _m ( ! new ideas came into be+ at ?is "t1 all ( !m1 h[ev]1 t5d+ t[>d ! arrang+ ( mat]ial or ! prep>+ ( x = ! emotional /yle4 ,! ,canon1 & ! pr9ciple ( ,imitation1 develop$ a set ( /rict rules :i* t5d$ to produce m adequate comm& ( mat]ial & assi/$ 9 %ap+ ! ,fugue2 ?\gh we1 9 our own day1 reg>d ^! rules z positively detrim5tal to ! real expression ( emotion1 yet !y 7 necess>y adjuncts to ! real comm& ( te*nic4 ,) ,imitation came ,c\nt]po9t ( a m highly develop$ =m2 an inevitable /ep t[>d ! fugal /yle ( ! lat] polyphonic p]iods4 ,& la/ly came a use ( ,folk-music melodies & ! ,lead+ ,tone1 important because !y =e%ad[ ! ab&onm5t ( ! old ,*ur* ,modes1 & ! adoption ( ! ,natural ,scale4 ,?is m>ks ! important po9t 9 ! ,gallo-,belgic s*ool2 = ) ! introduction ( ! ,natural ,scale !re came increas+ t5d5cy = emotional expression1 :i* c\ld nev] h occurr$ _h ! ,*ur* ,modes reta9$ _! =m] position 9 music4 ,! idea ( ?is prep>ation ( mat]ial = emotional developm5t _c be emphasiz$ too /rongly4 ,^u ! ,gallo-,belgic s*ool re/$ ! burd5 ( prep>+ ?is mat]ial = ! lat] s*ools1 s t ^! c\ld demon/rate to ! _w t :ile polyphonic music c\ld n be surpass$ z a means ( express+ c]ta9 imp]sonal1 almo/ religi\s emotions1 x c\ld n express to ! fulle/1 ! intimate1 p]sonal1 emotional ideas ( ! romantic compos]s4 ,! ,m54--,! m5 ( ?is p]iod are m important ?an any t h yet be5 m5tion$1 & = t reason require m detail$ /udy4 ,h4 de ,zeel&ia 7#ac---acgj71 a native ( ,fl&]s1 0 a tea*] & compos]1 & au?or ( a !oretical treatise ) musical examples1 8,de ,musica02 ) him ! use ( consecutive f\r?s1 fif?s & octaves almo/ disappe>s1 ?\gh x rema9$ = a lat] compos] to aboli% ^! entirely4 ,guillaume ,dufay 7#acee-adce7 0 ! "o to :om ?is re=m mu/ be f9ally accr$it$4 ,he us$ 9 place ( ! old *ur* =m ( ,cantus ,firmus1 ! popul> melodies ( ! p ) _! t5d5cy t[>d ! ,natural ,scale & ! use ( ! ,lead+ ,tone & its decisive tonality2 x may be said t ^! melodies 7 n us$ 9 _! entirety1 or ev5 9 _! orig9al =m1 ! rhy?m & met] (t5times be+ alt]$ s t ! airs 7 h>dly recognizable1 ?\gh ! ess5tial p>ts 7 !re4 ,x is ,dufay :o is responsible = ! fir/ intellig5t use ( ,imitation z a basis = ! ,canon4 ,gilles 7gidius7 ,b9*ois 7#adjj-adfe7 0 a not$ compos] &1 ) ,dufay1 a jo9t f\nd] ( ! ,gallo-,belgic s*ool4 ,he is said to h be5 a soldi] be=e he ent]$ ! ,*ur*1 & mu/ h be5 ( a light-he>t$ disposition1 z he 0 call$ 8! fa!r ( joy\sness40 ,he 0 ! tea*] ( ,okeghem1 ,firm9 ,c>on & ( ,busnois4 ,anto9e de ,busnois 7#addj-adha7 0 ! la/ fam\s ma/] ( ?is s*ool be=e x 0 m]g$ into ! s*ool ( ! ,ne!rl&s4 ,9 8 works "o c note a fur!r progress 9 smoo?ness ( /yle & examples ( well manag$ imitation4 ,! "* ( ! latt] is s s*ol>ly & s cle>ly n a matt] ( improvisation t we mu/ consid] him a man giv5 to /udy & reflection1 j ! k9d ( "* to give sci5tific /udy to ! pr9ciple ( ,imitation4 ,! ,importance ( ?is ,s*ool4--,?is s*ool occupi$ only a %ort p]iod ( "t 7#acfj-adfj71 z comp>$ to "s ( ! o!r s*ools2 b 9 t "t mu* 0 done4 ,! mat]ial tak5 f ! ,p>is s*ool 0 great & capable ( be+ develop$1 ?\gh x 0 encumb]$ by unusual int]vals & a prejudice aga9/ ! m euphoni\s ones1 & by a numb] ( obsolete =ms2 s obsolete1 9 fact1 t ) p]haps "o exception1 ! ,motet1 none la/$ until ! "t ( ,ba*4 ,b ! use ( ,imitation & ,measur$ ,music 0 suffici5t = ! m5 ( ! ,gallo-,belgic s*ool1 & ) ?is z a f\ndation1 & ! con/antly-increas+ t5d5cy to use ! ,folk-music & ! ,natural ,scale1 !y succe$$ 9 s arrang+ _! mat]ial t ! m5 ( ! ,ne!rl&s _h b to infuse emotion to make x produce great music4 ,dufay & 8 contempor>ies _h done ?is mu*3 to create organically well-ord]$ tone comb9ations agreeable bo? 9 melodic & h>monic relations4 ,bo? arti/s & public f\nd pleasure 9 ! _m transitions1 ! free use ( susp5sions1 ! alt]$ tones & *ords borr[$ f o!r scales1 9 ! ensemble ( ^! me?ods :i* did n give rise 9 reality to *ord-relations z we und]/& !m1 yet sugge/$ some?+ ( ! k9d1 & p>ticul>ly 7 !y pleas$ ) ! use ( ! v>iety-giv+ *ang+ notes4 ,because ! ,gallo-,belgic s*ool did n inv5t new =ms1 or develop old =ms to a high degree ( p]fection1 is no reason :y x %\ld n be giv5 a high rank among polyphonic s*ools1 = ! process ( ref9+ & transition is (t5 m difficult ?an t ( inv5t+4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians4 ,look up biographical ref]5ces ( ! m5 m5tion$ 9 ?is lesson1 also ! explanation ( ,imitation & ,canon4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,p>ry4--,evolution ( ! ,art ( ,music4 ,,que/ions ,,& ,,sugge/ions4 ,:y did ,p>is lose h] position z ! c5tre ( culture 9 art8 ,:at did ! ,p>is s*ool contribute8 ,9 :at way 0 ,imitation to be valuable to musical composition8 ,:at new me?ods ( ,imitation n[ appe>8 ,:at are ! important po9ts 9 ! "w ( ! ,gallo-,belgic s*ool8 ,:o 7 ! prom95t musicians 9 ?is s*ool8 ,:at advance is m>k$ ov] ! "w ( ! ,p>is s*ool8 ,! tea*] %\ld place on ! bo>d an outl9e ( ! lead+ c\ntries ( ,europe1 ,italy1 ,france1 ,g]many & ! ,ne!rl&s1 %[+ ! cities conc]n$ 9 ! developm5t ( music up to ! "t ( ,ba* & ,h&el4 ,! read] c appreciate t ! condition ( ,france & ,p>is 0 n favorable to ! gr[? ( art at ?is p]iod1 :i* 0 "o ( w>s betwe5 ,engl& & ,france 9 ! t]ritories ( ! latt]4 ,9 #acdf1 ,edw>d ,,iii ( ,engl& won ! battle ( ,crcy2 ! /ruggle 0 cont9u$ = ! next hundr$ ye>s at int]vals1 :5 ! appe>ance ( ,joan ( ,arc 7#adab-adca7 assi/$ ! ,fr5*4 ,mona/]ies 7 left unmole/$1 h5ce ! monks ne> ! ,belgian bord] 7 able to "w 9 comp>ative peace & quiet4 ,,lesson ,,xi4 ,,! ,,engli% ,,s*ool4 ,! ,engli% ,polyphonic ,s*ool is at once ! lea/ important & ! mo/ peculi> ( all ! s*ools ( ! ,polyphonic ,p]iod4 ,x is usually ignor$ by ! writ]s on e>ly music1 n because !re 0 no musical culture1 b because !re 0 n cont9u\s & orig9al developm5t4 ,engli% writ]s on ?is phase ( musical developm5t are too apt1 ?r\gh a p>donable pride ( nationality1 to exagg]ate ! value ( ,briti% music1 & 9 consult+ su* au?orities1 "o %\ld be c>eful to exam9e ?or\ghly all pro(s ( a dom9ant national s*ool & disc>d su* /atem5ts z are n p]fectly au!nticat$4 ,x is h>dly ! ,engli%man's fault t he has _h no def9ite culture :i* he may call g5u9ely ,engli%1 = native compos]s h _h m enc\ragem5t 9 ,engl& ?an usually falls to ! lot ( a creative musician4 ,inde$1 ,engl& has always be5 a patron ( ! be/ 9 music1 native or =eign1 & no "o nation has1 z a :ole1 be5 m g5]\s 9 appreciation2 h] treatm5t ( ,bee?ov5 on 8 dea?-b$ is a notable example ( dis9t]e/$ g5]osity4 ,b 9 real1 orig9al1 creative art ,engl& has _h no great pa/2 & especially is ?is true ( ! ,polyphonic ,p]iod4 ,a ,w>like ,p4--,?is is almo/ entirely due to h] geographical position2 !re are _m o!r reasons b !y are almo/ all dep5d5t on ?is "o1 & s mu/ be treat$ 9 a subord9ate s5se4 ,9 h] e>ly days1 ,engl&'s position s]v$ z a protection & kept intact h] weal? ( native ,folk-music2 b ) ! adv5t ( ! ,romans & ! spread ( ! k ( h] natural weal?1 came invasion aft] invasion4 ,s9ce ! fir/ invasion1 ,engl& has nev] be5 at peace2 %e has ei!r be5 busily engag$ 9 repell+ ! enemy f h] own %ores1 or aid+ 9 a conque/ ( "s less =tunate foe4 ,^! w>s & conque/s n only s]v$ to cultivate a militant & re/less _s1 b also produc$ a race ( fight]s f natural incl9ation4 ,look at ! w>like ,angles & ,saxons1 note ! mixture ( ,romans1 ,normans1 ,dut* & ,hugu5ots1 all at ! z5i? ( _! fight+ p[]s1 & !n cease to wond] t ,engl&'s greatness has be5 9 ! p[] to fight1 to gov]n1 to make conque/s1 r ?an to cultivate art4 ,engl&1 :5 %e rea*$ ! /age ( conqu]+ r ?an def5d+1 began to give1 m ?an to acquire1 & nev] rea*$ ! acquisitive /age until ! pres5t "t ) ,elg> & ! less] lights ( ! new s*ool1 unless we except ,%akespe>e & 8 contempor>ies 9 ! realm ( lit]ature4 ,engl&'s ca!drals are b ! results ( ,european ca!dral build+ & ! unity ( ,gov]nm5t & ,*ur*2 _h ! ,*ur* & ,/ate always be5 sep>ate1 x is safe to say t ,engl& w\ld h wait$ mu* long] = h] ca!drals4 ,! ,k9dr$ ,arts4--,lit]ature 0 ! only exception2 & x is n necess>y to seek = a fur!r reason ?an ! fact t ,lit]ature1 z an art1 always develop$ be=e ,music4 ,art1 9 pa9t+1 0 9 ! e>ly days borr[$ f o!r c\ntries1 & n until mod]n times did ,engl& acquire a national s*ool ( ,pa9t+2 a notewor?y fact1 = l ,lit]ature1 su* an art almo/ always prec$es a national culture ( ,music4 ,b ^! examples ( ! evolution ( ! k9dr$ arts ( ,lit]ature & ,pa9t+ are enc\rag+ r ?an disc\rag+1 =1 hav+ atta9$ a high /&>d 9 ^!1 ,engl& may n[ hope to develop a national culture ( ,music4 ,9 ,music mu* ! same conditions obta9$ z 9 ,lit]ature & ,pa9t+4 ,) ! exception ( "o or two isolat$ compos]s1 & ^! tra9$ 9 =eign s*ools1 ,engl& always borr[$ h] music2 note = example1 ,h&el1 ,buononc9i1 ,m5delssohn1 to quote j a few notewor?y =eign compos]s4 ,ea* race z x conqu]$ ,engl& br\ght its own music4 ,/4 ,augu/9e sang a ,gregorian *ant z he ent]$ ,cant]bury2 ! ,normans & ! ,dut* _h _! own music2 & ,italian & ,g]man music long held ! bo>ds 9 ,engl&4 ,?us little "t 0 sp5t 9 develop+ a native music1 because ! frequ5t w>s & political tr\bles direct$ ! /r5g? into o!r *annels ?an ^? ( art2 ! proximity ( a high] culture 9 ,europe1 & ! t5d5cies ( ,engl&'s =eign rul]s1 enabl$ !m to import & subsi/ on =eign music :5 !y %\ld h be5 develop+ a native /yle4 ,& f9ally1 ! isolation ( ,engl& 9 ! e>ly days1 lat] became an actual help to ! acquirem5t ( an ali5 /yle1 because ( ! absolute necessity = /ud5ts to live abroad to acquire musical le>n+4 ,native ,musical ,life4--,!re 0 a c]ta9 am\nt ( native musical life1 b ?is did n t5d to produce music along ! conv5tional l9es4 ,( ,folk-music !re 0 mu*1 & ! developm5t1 z a g5]al rule1 0 aid$ r ?an ret>d$ by ! conque/s1 ?\gh ! comb9ation ( ,folk-music ( diff]5t nationalities does n usually t5d to aid its unifi$ evolution4 ,! only real example ( notewor?y writ+1 9 ! e>ly polyphonic s*ool1 is ! canon 8,sum] is icum5 910 dat$ #abbh1 & attribut$ to an e>ly ,engli% writ]4 ,!re is no pro( except+ ! fact t ! manuscript is 9 ,engli%1 t ! canon is ( ,engli% orig92 nei!r is !re pro( to ! contr>y4 ,s+le in/ances1 h[ev]1 d n prove ! exi/5ce ( an orig9al s*ool2 & especially is ?is ! case :5 t s*ool1 9 its writ+s1 f> surpasses any o!r s*ool ( t p]iod ( :i* we "k4 ,9 spite ( ! fact ( ! ,engli% text1 & t ?is canon may be b "o ( _m surviv+ ! de/ruction ( ! ,engli% mona/]ies1 imp>tial hi/orians believe mo/ /rongly t ! canon is ( ,fr5* orig91 reset to ,engli% words & c>ri$ to ,engl& by a /ud5t ( ! ,p>is s*ool4 ,! ,p>is s*ool 0 at its height at ?is "t1 & 0 ! only s*ool ( su* writ+ 9 ! _w2 & :ile we h no o!r example ( t s*ool equal to ?is canon1 yet x is easi] to believe x to be ,fr5* ?an ,engli%1 = ,engl& _h no su* s*ool at all4 ,%e _h musicians 7l ,od+ton71 b !y 7 all pupils ( ! ,p>is s*ool2 & ev5 _h ?is "w be5 produc$ 9 ,engl&1 x w\ld be saf] to cr$it x to ! ,p>is s*ool1 = ! man :o wrote x w\ld1 almo/ ( necessity1 h /udi$ !re4 ,! only o!r way ( acc\nt+ = x is to presume ! date to be too e>ly4 ,x is b fair to say t :ile ?is canon may owe its orig9 to ! pr9ciples ( ! ,gallo-,belgic s*ool1 x /&s alone z an article ( hi/orical int]e/ to ! musician4 ,n[h]e on ! ,cont95t has a "w ( equal importance ( s e>ly a date be5 br\ght to view4 ,mr4 ,wm4 ,*appell1 ! ,engli% antiqu>ian1 br\ght to light sev]al o!r productions ( e>ly ,engli% compos]s1 includ+ a hymn 9 ,engli%1 scor$ = two voices1 & ano!r 9 ,lat91 = ?ree voices4 ,! manuscript has be5 def9itely attribut$ to ! middle ( ! #ac? c5tury4 ,!re c be little d\bt t :5 s _m mona/]ies1 ) _! treasures ( le>n+1 7 suppress$ & _! inmates scatt]$1 9 ! "t ( ,h5ry ,,viii1 ow+ to ! national *ange f ! ,romi% fai?1 _m valuable manuscripts t w\ld today h ! utmo/ int]e/ to ! musical hi/orian 7 de/roy$4 ,music3 ,,old ,,engli% ,,canon 8,,sum] ,,is ,,icum5 ,,940 ,music ,:e!r ?is is purely ,engli% or n matt]s little1 = x is a f9e specim5 & exemplifies ,walt] ,od+ton's rule = ! con/ruction ( a ,r\ndel1 cit$ 9 a =m] lesson4 ,?is is m ?an a m]e r\ndel1 hav+ n only a little ,inv]sion & mu* ,imitation1 manag$ 9 a mo/ +5i\s mann]1 b also ! :ole canon is f\nd$ on a gr\nd bass 9 two p>ts1 !mselves 9 canonic =m4 ,?is bass consi/s ( ! regulation metrical =m z se5 at ,a & ! foll[+ two measures1 has "o measure =m+ a connect+ passage1 ?us br++ 9 ! portion m>k$ ,b :i* is ! same z ,a only a fif? high]2 ! :ole =ms a rem>kable evid5ce ( an e>ly conception ( ! relation ( ! ,tonic & ,dom9ant1 h>dly to be believ$4 ,?is metrical =m is introduc$1 slightly *ang$ & inv]t$1 9 ! upp] voices at ,a & ,b4 ,! fir/ voice /ates 9 all five melodies & ! o!r voices foll[ at int]vals ( #d1 #h1 & #ab measures2 9 end+ voice numb] two omits "p ( !me ,v1 voice numb] ?ree all ( x & voice numb] f\r all ( ,v & ! imitation ( ! metrical bass4 ,outside ?is "o example1 ,engl& produc$ little b mod]ately good polyphonic music 9 ! =m ( motets & madrigals1 & 9 ! "t ( ,gibbons & ,purcell1 sonatas & op]as4 ,!re 7 also an!ms1 ! old pla9 *ant & mu* ,folk-music1 b no?+ t c be consid]$ z important4 ,! ,folk-music is all t c claim orig9ality1 & t ranks favorably ) ! be/ examples ( o!r nations & is1 inde$1 9 advance ( t ( o!r nations consid]$ m musical4 ,! ,m5 ( ! ,"t4--,:ile ,engli% music 0 n1 at ?is p]iod1 v important1 !re 7 _m compos]s ^: names at lea/ %\ld be famili>4 ,aft] ! pass+ ( ! b>ds & m9/rels1 ! monks controll$ ! compos+ ( music until ! dissolution ( ! mona/]ies1 :5 x pass$ into ! h&s ( ! s*oolm5 ( ,cambridge & ,ox=d1 :]e x rema9s today1 ?\gh !re are1 at pres5t1 signs ( an important awak5+1 presag+ ! pass+ ( musical p[] f ! h&s ( ! cons]vative doctors ( ,ox=d & ,cambridge1 to ! pres5t g5]ation ( y\ng] & m tal5t$ writ]s4 ,walt] ,od+ton 7#aahj-abej7 0 a pupil ( ! ,p>is s*ool & a !ori/ ( note1 writ+ on ! ,m5sural ,sy/em z exploit$ 9 ! ,fr5* s*ool4 ,rob]t ,de,handlo 7#acbf7 0 ano!r !oretician :o wrote on ! same subject4 ,john ,dun/able 7#adjj-adeh7 0 contemporane\s ) ! m5 ( ! ,gallo-,belgic s*ool & did ! same = ,engli% music 9 re=m+ x z ! latt] did = ! =eign s*ool4 ,9 rec5t ye>s examples ( 8 writ+s h be5 une>!d 9 ! ca!dral libr>ies ( ,tr5t & ,bologna1 z well z else:]e1 mak+ x cle> t 9 8 lifetime he 0 reg>d$ z "o ( ! =emo/ compos]s ( ,europe4 ,! !ori/1 ,t9ctoris1 ( ! ,ne!rl&s s*ool1 consid]$ 9 ! next lesson1 speaks ( ! 8s\rce & orig9 ( ! new art ,c\nt]po9t be+ among ! ,engli%1 ! =emo/ ( :om is ,john ,dun/able40 ,a contempor>y :o 0 also well-kn[n 9 ,italy 0 ,john ,ho?by1 :o wrote sev]al treatises on music4 ,!re 7 o!r musicians ( prom95ce prior to ! ,re=mation "u ,h5ry ,,viii1 b we "k little ab\t !m save _! names4 ,john ,m]becke 7#aeae-aehe7 adapt$ ! ,gregorian *ant to ! ,engli% pray] book1 :i* 0 publi%$ 9 #aeej4 ,*ri/oph] ,tye 7#aeae-aehj7 0 a tea*] & wrote mu* *ur* music2 s also 0 ,?omas ,tallis 7#aeae-aehe71 "o ( ! mo/ le>n$ compos]s ( 8 "t1 :o set ! *oral portions 9 ! s]vice to music4 ,he is not$ = a celebrat$ canon 9 =ty p>ts & = a hymn-tune1 kn[n z 8,tallis0 or 8,ev5+ ,hymn10 :i* conta9s a canon betwe5 ! soprano & t5or p>ts4 ,william ,byrd 7#aech-afbc7 0 ano!r not$ compos] ( ?is s*ool1 be+ also fam\s z a writ] ( in/rum5tal music4 ,que5 ,elizabe? grant$ to ,tallis & ,byrd ! exclusive "r to pr9t music & to rule music pap]4 ,orl&o ,gibbons 7#aehc-afbe7 wrote motets & madrigals & is kn[n z a writ] ( bo? polyphonic & monophonic music4 ,h5ry ,purcell 7#afeh-afie7 0 ! greate/ compos] ( ! ,engli% ,polyphonic s*ool1 writ+ op]as 9 ! ,engli% & ,italian /yle1 songs1 sonatas1 motets & an!ms4 ,he seems to h be5 9 _m respects a v able writ] & musician1 b di$ too "y to make any decid$ impression on 8 times4 ,summ>y4--,f ?is x w be se5 t :ile ,engl& _h a musical p compos$ ( a mixture ( ! mo/ musical peoples ( ,europe1 yet because ( geographical position1 political di/urbances1 religi\s tr\bles & w>s1 %e 0 nev] able to produce a great & comm&+ s*ool4 ,%e did n lack =ce1 b x 0 direct$ into o!r1 & = ! "t be+1 m important *annels4 ,almo/ ev]y?+ ( an arti/ic nature 0 borr[$1 or 0 a transplant$ culture2 & :ile ! art ( music nev] lack$ m5 to cultivate x1 yet ^! m5 7 n ( ! calibre ( ! m5 employ$ 9 ! o!r works ( ! nation1 s t s f> z ! ,polyphonic p]iod is conc]n$1 ,engl& is n important1 & b = su* m5 z ,dun/able & ,purcell & ! canon 8,sum] ,is ,icum5 ,910 ,engl& might be completely ignor$ 9 respect to h] influ5ce on polyphonic developm5t4 ,,ref]5ces4 ,cr[e/4--,! ,/ory ( ,briti% ,music4 ,! entire book4 ,davey4--,hi/ory ( ,engli% ,music1 ,*apt]s ,i to ,v inclusive4 ,grove4--,diction>y ( ,music & ,musicians4 ,article on ,s*ools ( ,composition1 relat+ to ,engl&4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,i4 ,,que/ions4 ,:y did ,music h s unc]ta9 a gr[? 9 ,engl&8 ,:at is ! e>lie/ ,engli% composition ( value8 ,:at 7 ! causes = ! loss ( e>ly ,engli% music manuscripts8 ,:at pr9ciples are %[n 9 ?is old ,canon8 ,:o 7 ! lead+ compos]s 9 ,engl& 9 ! p]iod consid]$ 9 ?is lesson8 ,,lesson ,,xii4 ,,! ,,s*ool ,,( ,,! ,,ne!rl&s4 ,! ,dom9ance ( ! ,ne!rl&s4--,! mo/ important asset ( a nation is its comm]cial activity1 = ^u t dep5ds its art life4 ,! f9e arts are to an ext5t luxuries1 & until a nation has1 by comm]cial activity1 acquir$ weal?1 !y _c be e>ne/ly cultivat$1 = all arts require f ! arti/ 8 entire "t & life1 & until !re is money & incl9ation en\gh among ! p to support an arti/ 9 8 comm]cially non-productive /ate1 !re c be no art2 h5ce we see a %ift+ ( art c5tres 9 ! ,middle ,ages1 j z ! comm]cial c5tres *ang$4 ,! ,ne!rl&s 7 prem95tly fitt$ to c>ry on great comm]cial pursuits by virtue ( _! geographical situation & long combat & association ) ! sea4 ,possess+ ! natural outlet to a great "p ( ,europe1 x 0 reasonable t ! ,ne!rl&s %\ld play an important "p 9 ! ,hanseatic ,league1 & t h] fleets %\ld trade on e sea & h] c(f]s be enri*$ by b>t] 9 ! produce ( e clime4 ,x 0 a gold5 age = ! ,l[l&s1 f #acej to #afbe1 = _! trade made !m "o ( ! weal?ie/ & mo/ important nations 9 ! _w4 ,_! situation betwe5 ! trad+ c\ntries ( ! ,s\? & ! ,nor? made !m1 z x 71 ! comm]cial ex*ange ( ,europe4 ,! consequ5t weal? c\ld n lie dormant1 !re=e mu* ( x 0 us$ 9 build+ notable ar*itectural /ructures1 enc\rag+ ,pa9t+1 & develop+ ! !n infant art ( ,music4 ,x is unnecess>y to m5tion ! fam\s /ructures :i* 7 ! result ( ?is p]iod1 & x is b necess>y to "n ,hub]t ,van ,eyck1 ,rub5s1 ,van ,dyck1 to und]/& ! prom95ce giv5 to ! art ( ,pa9t+ by ! acquisition ( ?is enorm\s weal?4 ,& x is l>gely due to ?is comm]cial activity t ! s*ool ( ! ,ne!rl&s atta9$ su* an undy+ fame4 ,"o o!r influ5ce1 & t dep5d5t on comm]cial activity1 produc$ great results4 ,art is n sectional1 x is univ]sal2 & great art works are produc$ n by local influ5ces b by association1 or contact1 ) ! _w4 ,= ?is reason1 ! int]c\rse ) ! entire _w g5]at$ by ! great comm]cial activity ( ! times produc$ ! fir/ great _w ,s*ool ( ,music4 ,int]c\rse develop$ emotion & produc$ broad] & less localiz$ view-po9ts ( life3 x br\ght into close association ! art life ( diff]5t nations & infus$ a unity ( emotion :]ev] x occurr$4 ,9 %ort1 ,music1 by be+ br\ght into contact ) ! ideas ( ! _w in/ead ( a local association1 took on a univ]sal =m & feel+ nev] be=e felt & nev] to be rel9qui%$4 ,= ?is reason1 ,music unconsci\sly advanc$ f ,p>is to ! ,ne!rl&s1 t[>d ! great] sph]e ( influ5ce1 /opp+ = only a %ort p]iod ) ! ,gallo-,belgic s*ool1 :]e x 0 prep>$ te*nically = its new gr[? z a _w =m4 ,! ,gallo-,belgic & ! ,ne!rl&s ,s*ools ,comp>$4--,! ,gallo-,belgic s*ool1 9 ! control ( *ur*m51 0 isolat$ f any influ5ce t5d+ to develop a broad emotional s*eme4 ,& x is d\btful :e!r x c\ld h caus$ any *ange 9 musical evolution1 = ! te*nical =ms 7 n ready4 ,& s ! ,gallo-,belgic s*ool1 9 its retirem5t f ! great _w activities1 conf9$ itself to atta9+ ! p[] to manipulate notes1 = ! sake ( m]e te*nical effects1 leav+ emotional developm5t entirely out ( consid]ation4 ,) su* a s*ool1 :ile its "w 0 important1 no real art feel+ c\ld be ga9$2 & s ! s*ool ( ! ,ne!rl&s m>ks ! dep>ture into a new romantic s*ool gov]n$1 to a great ext5t1 by ! emotional4 ,! ,ne!rl&s1 because ( _! m compreh5sive view ( ! musical activities ( ! pa/ & _! con/ant int]c\rse1 comm]cially & arti/ically1 ) all nations1 acquir$ a m human s5se ( ! beauty ( music1 & ceas$ to manipulate musical mat]ial = te*nical ends1 produc+ in/ead ( cold1 lifeless =ms1 music puls+ ) vigor1 life & emotion4 ,) ?is prim>y *ange ( view-po9t came a direct gr[? ( =m1 ! ,canon be+ p]fect$ & imm$iately giv+ bir? to ! ,fugue2 ! ,madrigal & ,canzona & _m o!r less] =ms sprang into be+1 all capable ( emotional developm5t1 & almo/ imm$iately produc+ great results4 ,= ! fir/ "t music 0 free f consecutive f\r?s1 fif?s & octaves because compos]s creat$ f ! /&po9t ( emotional beauty & n t ( te*nical utility4 ,! result 0 a musical te*nic capable ( developm5t1 & ref9$ beyond ne$ ( fur!r re=mation4 ,! ,organ & its ,influ5ce4--,! organ 0 ! ?ird great re=mative p[] 9 ?is epo*4 ,all music 0 vocal & no o!r conception c\ld be _h1 = effective in/rum5ts & in/rum5tal music 7 n yet 9 exi/5ce4 ,! organ1 because its tones 7 suit$ to accompany+ ! human voice & because its tone color 0 closely id5tical ) t ( ! voice1 0 readily adapt$ to ! vocal =ms !n 9 use4 ,?is gave a great] res\rce1 = :at 0 (t5 te*nically impossible ) ! human voice became easy ) ! organ4 ,! me*anical improvem5t ( ?is in/rum5t imm$iately gave great] fre$om & range ( te*nic1 & x prov$ s well suit$ to polyphonic developm5t t x aid$ ! evolution m ?an any o!r "o ag5cy4 ,! use ( ! organ mu/ n be acc\nt$ z ! beg9n+ ( in/rum5tal music1 = ! organ us$ only adapt$ voice-=ms1 su* z ! ,canon1 ,fugue1 ,madrigal1 etc42 = ?is reason x is to be d\bt$ if x aid$ 9 emotional developm5t except by mak+ te*nical res\rces mu* less re/rict$4 ,9 ?is s5se1 !n1 ! te*nic ( ?is s*ool 0 fre$ f mo/ ( its =m] rules1 & ,music1 previ\sly cramp$ by n>r[ vocal re/rictions1 pass$ into ! comp>ative fre$om ( ! polyphonic /yle ( ! organ4 ,! ,m5 ( ?is ,s*ool are h>dly to be sep>at$ f ! m5 ( ! ,gallo-,belgic s*ool4 ,! "w passes f "o s*ool to ! next ) little or no p]ceptible pause1 & ! fir/ m5 ( ! lat] s*ool are pupils or disciples ( ! la/ m5 ( ! ,gallo-,belgic p]iod4 ,ano!r notewor?y fact is1 t s great 0 ! musical gr[?1 ( ?is s*ool & ! skill & le>n+ ( its foll[]s t ! compos]s ( ! ,ne!rl&s expatriat$ !mselves & settl$ 9 all p>ts ( ,europe1 f\nd+ fam\s s*ools 9 ,p>is1 ,madrid1 ,naples1 ,v5ice1 ,muni* & ,rome2 ! celebrat$ ,italian s*ool is really an (f%oot ( t ( ! ,ne!rl&s4 ,x is ?is ov]fl[ :i* m>ks ?is s*ool z ! greate/ ( ! e>ly polyphonic s*ools & %[s :y & h[ x acquir$ its emotional supremacy4 ,jean de ,okeghem 7#adcj-aeab71 pupil ( ,b9*ois1 0 ! fir/ prom95t work]4 ,x is difficult to class him z a compos] ( ! ,belgian or ,ne!rl&s s*ool1 = he has ! e>m>ks ( bo?4 ,he liv$ dur+ ! supremacy ( ! ,ne!rl&s1 b work$ ) ! mat]ial ( ! ,belgians4 ,he develop$ ! ,canon to its highe/ te*nical po9t & took ! fir/ /ep t[>d ! orig9at+ ( ! ,fugue4 ,to him is due ! cr$it ( introduc+ ! use ( retrograde1 inv]t$1 dim9i%$ & augm5t$ imitation 9 ! ,canon4 ,mu* ( 8 "w 0 done 9 ,france4 ,! t5d5cy ( 8 tea*+ 0 t[>d artificiality1 z he delight$ 9 puzzle canons & o!r exhibitions ( +5uity4 ,antonius ,brumel 7#adfj-aebj71 a pupil ( ,okeghem1 is notewor?y because ( a =e%ad[+ ( ! use ( *ords 9 real h>monic progressions4 ,music3 #hve l[] ,"p ( a motet by ,brumel1 ,naumann1 ,hi/ory ( ,music1 ,vol4 ,i1 page #ccc1 us$ to illu/rate ! idea ( ! h>monic feel+ ( "s ( ! polyphonic writ]s4 ,! re/ ( ! composition is /rictly 9 ! polyphonic /yle4 ,jakob ,hobre*t 7#adcj-aejf7 0 ! fir/ real ,dut* compos]1 & is not$1 9 8 use ( te*nical =ms1 = _! emotional beauty r ?an me*anical excell5ce4 ,music ,"p ( a composition by ,hobre*t1 cit$ by ,naumann1 8,hi/ory ( ,music10 ,vol4 ,i1 page #cca4 ,exc]pt %[s h[ /rictly ev5 ?is fragm5t is writt5 & yet h[ musical x is4 ,at #a is %[n a figure 9 ! bass repeat$ 9 imitation a /ep high] at #b4 ,at ,a is %[n a melody imitat$ at ,b 9 augm5tation & ) alt]$ rhy?m4 ,! /ud5t %\ld ref] to ,naumann4 ,?is is truly a rem>kable "w = t p]iod1 & %[s t ev5 !n compos]s 7 beg9n+ to obs]ve ! emotional p[] ( *ord relation%ip4 ,johann ,t9ctor 7#addf-aeaa71 a disciple ( ,okeghem1 work$ 9 ,rome & ,naples1 & w be consid]$ ) ! ,italian s*ool4 ,josqu9 de ,pres 7#adej-aeba71 also a disciple ( ,okeghem1 work$ 9 ,rome & ,p>is1 & mu/ also be consid]$ z "o ( ! ,italian s*ool4 ,x may be "h m5tion$ t he 0 "o ( ! fir/ to use music z a vehicle = express+ human emotions r ?an te*nical p[]4 ,he summ$ up 9 himself all ! h>monic sci5ce ( ! #ae? c5tury4 ,he 0 r5[n$ ?r\gh all ,europe z a compos]1 & if 8 music seems to u some:at dry & p$antic !re is abundant te/imony to ! deep impression x made ^u 8 contempor>ies1 :i* is a te/ ( its p[] to excite & to express emotion4 ,comp>$ ) ! works ( 8 pr$ecessors & ev5 ! majority ( 8 contempor>ies1 ,josqu9's writ+s %[ fre$om f ! bonds ( ! old s*ola/icism1 great] simplicity & e/hetic beauty4 ,among ^? ( 8 works t h come to u is a ,mis]]e = five voices1 & an ,ave ,m>ia t _c be consid]$ o!r ?an lovely music4 ,ni*olas ,gomb]t 7#adie-aegj71 a pupil ( ,josqu9 de ,pres1 _h a natural1 tuneful & fl[+ /yle simil> to t aft]w>ds %[n by ,pale/r9a4 ,8 "w 0 done 9 ,madrid1 & to him ,spa9 & ,portugal owe all !y h ( ! anci5t polyphonic music4 ,jacob ,arkadelt 7#adib-aegj7 & ,claude ,g\dimel 7#aeaj-aegb7 work$ 9 ,rome1 ,adrian ,willa]t 7#adhj-aefb7 & ,cyprian de ,rore 7#aeaf-aefe7 9 ,v5ice1 & w be consid]$ ) ! ,italian s*ool4 ,orl&o di ,lasso 7#aebj-aeid7 work$ "s 9 ,italy1 b mo/ly 9 ,muni*1 :]e 8 influ5ce 0 great4 ,8 /yle 0 broad1 fl[+ & especially emotional1 & z a writ] ( ! ,ne!rl&s s*ool 8 "n /&s z "o ( ! v highe/4 ,j4 ,p4 ,sweel9ck 7#aefb-afba7 is ! la/1 & :ile ( ! ,ne!rl&s1 /udi$ 9 ,v5ice1 b did 8 "w at home4 ,he 0 a great organi/ & ! la/ great ma/] ( ! s*ool1 & _h ! honor ( be+ ! l9k betwe5 x & ! ,g]man s*ool1 s]v+ z an example = ,seba/ian ,ba*4 ,8 works h rec5tly be5 publi%$ 9 ,g]many4 ,( all ^! m5 x may be said t !y develop$ music /eadily t[>d ! goal ( emotional fre$om4 ,summ>y4--,! great "w ( ?is s*ool 0 to make te*nic subs]vi5t to ?\ght4 ,9 all prec$+ s*ools1 ! mat]ial & ! =ms 7 s new & ! me?ods ( h&l+ !m s crude1 t te*nic always dom9at$ ?\ght4 ,& x 0 naturally s1 = expression _c come until ! p[] to ma/] ! mat]ial has be5 atta9$2 x 0 by ?is p[] t ! ,ne!rl&s develop$ emotional music4 ,b ! /ud5t inv>iably objects & says he does n see any emotion 9 ! polyphonic music ( ?is p]iod6 ,! /ud5t mu/ place himself 9 ! position ( ^! old ma/]s1 support$ by ! *ur* & con/antly imbib+ ! religi\s atmosph]e ( ! in/itution !y s]v$1 until !y unconsci\sly express$1 9 _! music1 ! gr&eur & p[] ( _! religion r ?an ! intimate p]sonal feel+ ( mod]n musicians2 & !n ! /ud5t w und]/& :at is meant by polyphonic emotion4 ,we mu/ always rememb] t polyphonic emotion is n monophonic emotion1 & t its trem5d\s te*nic & complexity ( device 7 b ! means ( express+ its peculi> =m ( emotion1 :i* to und]/&1 "o mu/ /udy dilig5tly1 & !n approa* ) a rev]5t feel+4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 article on ,s*ools ( ,composition1 relat+ to ! ,ne!rl&s4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,smi?4--,music2 ,h[ x ,came to be ,:at x ,is4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt]s ,,iv & ,v4 ,langhans4--,hi/ory ( ,music4 ,,que/ions ,,& ,,sugge/ions4 ,:y did ! ,ne!rl&s become ! musical c5tre8 ,h[ did geographical situation favor ! ,ne!rl&s 9 ! /ruggle = comm]cial supremacy8 ,:at circum/ances gave _! art a g5]al r ?an sectional "*8 ,comp>e ! ,gallo-,belgic & ! ,ne!rl&s s*ools4 ,h[ did ! ,organ aid 9 developm5t8 ,:o are ! mo/ fam\s memb]s ( ?is s*ool ( composition8 ,:at are ! special *>act]i/ics ( ea*8 ,:at is a ,mis]]e8 ,:at is an ,ave ,m>ia8 ,:at 0 ! ,hanseatic ,league8 ,:at 0 ! contribution ( ! ,ne!rl&s s*ool8 ,consult a g5]al hi/ory = ! ev5ts :i* made ! ,ne!rl&s s important at ?is "t4 ,9 select+ a hi/orical epo* to accompany ! p]iod ( ! ,ne!rl&s s*ool & its successor1 ! ,italian s*ool1 ! c5tral figure t w be mo/ famili> is ,*ri/oph] ,columbus1 ^: life & "w cov]$ ! e>ly p]iod1 ! close ( ! old polyphonic s*ool dat+ ) ,pale/r9a's dea? 9 #aeid1 #ajj ye>s aft] ! discov]y ( ,am]ica4 ,?is hundr$ ye>s repres5ts ! fl[]+ "t ( polyphony z an art4 ,,lesson ,,xiii4 ,,! ,,italian ,,s*ool4 ,italy ! ,new ,c5tre4--,music develop$ 9 ! ,ne!rl&s because ( comm]cial supremacy & ! consequ5t _w association4 ,we %all n[ see x pass to ,italy1 b because ( a v diff]5t reason4 ,f ! e>lie/ ,*ri/ian days ,italy 0 ! c5tre ( religi\s influ5ce2 x is only necess>y to exam9e hi/ory to obs]ve ! ramifications ( t p[] 9 ,engl&1 ,france1 ,g]many1 ! ,ne!rl&s & o!r c\ntries4 ,?is influ5ce1 (t5 m political ?an religi\s 9 "*1 gave to ! ,italian ,*ur* 7!n ! ,italian ,/ate71 a pr$om9ance ( au?ority1 :i* 0 a great p[] 9 religi\s & secul> ?\ght4 ,?is influ5ce spread to music = v>i\s reasons4 ,we mu/ rememb] t ! s*ool at ,p>is 0 controll$ by ! ,*ur*1 t ! ,gallo-,belgic s*ool ow$ its f\ndation to ! same cause1 & t ! m5 ( all ?ree s*ools 7 employ$ z organi/s by ! ,*ur*4 ,x is true t 9 ,italy ! ,*ur* _h n ! broad5+ influ5ce ( comm]cial int]c\rse1 b 0 m ?an comp5sat$ = t lack by :at we may call arti/ic int]c\rse4 ,! ,*ur* 0 ! "o /able in/itution 9 ^! times ( w> 9 :i* pa9t]s c\ld f9d a refuge = _! works1 & f :i* patronage fl[$ 9 a /eady /ream to ! ev]-ne$y arti/s4 ,?us 0 caus$ & ma9ta9$ ! arti/ic atmosph]e necess>y to ! cultivation ( ,music4 ,z an art1 ! ,*ur* 0 ! only support ( arti/ic music4 ,:5 ,music orig9at$ x ne$$ an in/itution to protect & fo/] x & safegu>d its gr[?1 & ?is x f\nd 9 ! ,*ur*2 x repaid ?is protection by evolv+ a /yle em95tly suit$ to ! ne$s ( ! ,*ur*1 b absolutely useless = ! expression ( secul> & natural emotion4 ,to ?is patronage ( its peculi> art is due ! importation into ,italy ( ! be/ 9 music :]ev] f\nd1 to aid 9 ^! s]vices4 ,& s we f9d s+]s f ! ,ne!rl&s engag$ = ! ,*ur* 9 ,italy4 ,?is1 & ! fame ( ,italy z ! home ( sup]ior s+]s1 und\bt$ly l$ ! majority ( ^? num]\s ,ne!rl&i% ma/]s to seek _! homes abroad1 & pref]ably 9 ,italy4 ,! fact t all music 0 vocal 9 /yle & t ! ,*ur* 0 ! only in/itution capable ( support+ su* a /yle1 _c be too /rongly /at$2 = ^u t dep5d$ n only ! evolution ( ,music1 b also ! v life ( ! ,polyphonic emotional /yle4 ,emotion 9 ,polyphony4--,?is /yle is wor?y ( exam9ation4 ,z a preface we mu/ rememb] t we h to deal ) ! ,*ur* & human voices only1 = in/rum5ts _h n be5 p]fect$ suffici5tly = *ur* use1 except+ ! organ1 & t we mu/ consid] a voice because ( its peculi> tonal qualities & ! adaptation ( vocal =ms & /yles to its use4 ,?is vocal /yle _h develop$ gradually1 ?r\gh a long c\rse ( re=ms1 until x rea*$ its p]fection 9 ! lat] polyphonic s*ools1 & express$ ! peculi> emotion suit$ = ! s]vices4 ,lack ( rhy?m 0 a po9t$ *>act]i/ic2 =1 9 ! fir/ place1 x _h be5 disc>d$ z pr(ane1 & 9 ! next place1 a long c\rse ( treatm5t 9 ! managem5t ( voices to avoid any?+ l conc]t$ & acc5tuat$ dissonances _h produc$ a peculi> fl[+ movem5t :i*1 h[ev] smoo? x might be1 c]ta9ly possess$ no rhy?mic =ce4 ,!n1 too1 ! old scale =ms caus$ any?+ writt5 9 _! idioms to s\nd grave1 sev]e & dignifi$1 if n h>%4 ,! transition to ! mod]n major & m9or 9 ! ,monophonic s*ool ( #afjj & ! imm$iate cultivation ( music by ! p may be tak5 z an example ( ! musical qualities ( ! two modes4 ,all ( ^! causes t5d$ to produce a suitable =m ( music & an emotional expression peculi>ly suit$ to ! ,roman s]vices4 ,9 ?is /yle !re 0 little /orm & /ress1 little ( ! p]sonal appeal to ,god2 on ! o!r h&1 x 0 grave1 sev]e & immovable1 or 9 a bett] s5se1 imp]sonal 9 its expression4 ,music ( ! polyphonic p]iod1 ev5 until ! "t ( ,seba/ian ,ba*1 9 ^: works x is well exemplifi$1 does n %[ u ! appeal to ,god f ! he>t ( ! active ,*ri/ian work]1 b r ! appeal to a va/ imp]sonal & maje/ic ,god f> remov$ f ! ne$s & supplications ( ! m]e individual4 ,x 0 ?is k9d ( emotion t develop$ 9 ! ,italian ,polyphonic s*ools4 ,! human & m expressive emotion ( ! s*ools ( ! ,ne!rl&s 0 transmitt$1 9 ! s*ools ( ! ,italian1 into ! high1 contemplative moods ( religi\s expression2 & x 0 well t x %\ld be s1 = polyphonic music c\ld nev] h express$ ! emotion ( a ,bee?ov52 & x 0 n only be/ t x %\ld express its own peculi> /yle ( emotion1 b inevitable t x %\ld d s4 ,illu/ration3 ,,orl&o ,,di ,,lasso4 ,s*ools ,outside ,italy4--,! ov]fl[ f ! ,ne!rl&s conc5trat$ its ef=ts on c]ta9 po9ts or s*ool c5tres4 ,9 ,italy1 ^! 7 ,naples1 ,v5ice & ,rome4 ,!re 7 o!rs ?r\gh\t ,europe1 su* z ,madrid1 ,p>is & ,muni*1 :i* we mu/ consid] fir/ because ( _! relation to ,italy4 ,ni*olas ,gomb]t 7#adie-aegj7 influ5c$ ! polyphonic developm5t 9 ,madrid1 b s isolat$ 0 ! "w t no?+ great result$4 ,okeghem 7#adcj-aeab7 work$ long] 9 ,p>is ?an o!r ma/]s1 ?\gh sev]al liv$ !re = %ort int]vals1 su* z ,arkadelt & ,g\dimel4 ,orl&o di ,lasso 7#aebj-aeid7 did almo/ all 8 "w 9 ,muni* & e/abli%$ ! mo/ important s*ool outside ( ,italy4 ,he 0 a mo/ prolific writ] & c be comp>$ 9 ability & /yle to ,pale/r9a4 ,8 /yle 0 broad & bold & conta9$ mu* ( t s]i\s & e>ne/ "* n[ attribut$ to 8 ,teutonic associations4 ,he wrote 9 all kn[n =ms & 0 well nigh univ]sal 9 8 k ( =m1 te*nic & expression4 ,8 facility 9 ! art ( writ+ 0 v great & 0 fully equall$ by 8 love = "w4 ,al?\gh 8 "w has some:at less p]fection ?an t ( 8 great contempor>y1 ,pale/r9a1 x has a/oni%+ p[] ( expression4 ,x %[s ! =ce ( 8 g5ius t he 0 able to make 8 works 9 ! /rict contrapuntal =ms full ( real feel+4 ,he 0 a man ( int]e/+ p]sonal "*4 ,! mo/ fam\s ( 8 works is 8 sett+ ( sev5 8,p5it5tial ,psalms10 conta9+ a numb] ( mo/ curi\s effects = unaccompani$ voices1 ) mu* t is s+ul>ly *>act]i/ic & beautiful1 & %[+ well ! "* ( 8 g5ius4 ,we give "p ( a composition by di ,lasso %[+ 8 broad /yle & ! increas+ use ( :at s\nds suspici\sly l our mod]n *ord progressions4 ,! lack ( rhy?mic effect & ! hold+ ov] ( notes pa/ ! acc5t$ beat is %[n 9 ?is ex]cise4 ,! :ole example1 ) words1 may be f\nd 9 ,naumann1 ,hi/ory ( ,music1 ,vol4 ,i1 page #chg4 ,music ,! ,italian ,s*ool4--,b x is ) ! ,italian s*ools t we are mo/ conc]n$4 ,! s*ool at ,naples _h z its pr9cipal ma/] ,johannes ,t9ctoris 7#addf-aeaa7 a ,flem+ by bir?1 a doctor ( laws & a ma!matician1 "o ( ^? peculi> comb9ations seldom notic$ aft] ! ,p>is s*ool1 & almo/ sure to m>k ! !oretician4 ,8 "w 0 pr9cipally !oretical & 8 treatises are ( great value4 ,adrian ,willa]t 7#adhj-aefb71 born at ,bruges1 0 a pupil ( ,jean ,m\ton1 at ,p>is4 ,aft] visit+ ,rome & ,f]r>a1 he settl$ 9 ,v5ice &1 z organi/ ( ,/4 ,m>k's1 f\nd$ an important s*ool4 ,he introduc$ ! use ( l>ge d\ble *oruses :i* caus$ him to write h>monically r ?an polyphonically4 ,?is influ5ce caus$ him to relegate ! imitative polyphonic "p writ+ to small] =ms 7motets1 etc47 & to write pla9 *ord progressions 9 8 l>g] works2 & be=e long he began to obs]ve & to use ! relation%ip betwe5 ! ,tonic & ! ,dom9ant4 ,?is t5d5cy & ! inv5tion ( ! ,madrigal furni%$ ! basis = a new in/rum5tal s*ool at a lat] date4 ,8 be/-kn[n pupil1 ,cipriano di ,rore 7#aeaf-aefe71 0 %ort-liv$1 & work$ 9 bo? ,v5ice & ,p>ma4 ,he made "s inve/igation into ! use ( *romatics1 ?us %[+ ! gr[+ t5d5cy to ab&on ! ,*ur* modes = ! natural scales4 ,foll[+ ^! ,dut* ma/]s came ! two ,gabrieli's1 :o 7 native ,italians4 ,&rea ,gabrieli 7#aeaj-aehf7 0 a great organi/ & wrote 9 ! /yle ( ,willa]t1 8 fam\s ma/]4 ,giovanni ,gabrieli 7#aeeg-afac7 0 a pupil ( 8 uncle ,&rea1 & c>ri$ ! latt]'s me?ods fur!r t[>d p]fection4 ,he also wrote = in/rum5ts 9 conjunction ) voices1 ab&on+ to a c]ta9 ext5t ! a capella /yle1 & op5+ t epo* ( in/rum5tal music =e%ad[$ by ,willa]t 9 8 madrigals4 ,rome 0 ! c5tre ( *ur* gov]nm5t1 ( *ur* art & also ( *ur* music1 & z su*1 _h ! l>ge/ & greate/ ( ,italian music s*ools4 ,jacob ,arkadelt 7#adib-aegj71 a ,ne!rl&]1 liv$ n9ete5 ye>s 9 ,rome & did mo/ ( 8 "w !re2 he wrote bo? secul> & sacr$ compositions 9 ! /rict polyphonic /yle1 & 9 t ( ,willa]t4 ,claude ,g\dimel 7#aeaj-aegb71 ?\gh a prom95t ma/] 9 ,p>is1 work$ mu* 9 ,rome & 0 ! tea*] ( ,pale/r9a4 ,he set to music 9 f\r p>ts metrical v]sions ( ! ,psalms1 publi%$ 9 #aefe4 ,9 him is to be obs]v$ t cle>ness ( expression & beauty ( melodic fl[ ) :i* ,pale/r9a atta9$ su* a high po9t ( expression4 ,pale/r9a4--,x rema9$ = 8 pupil ,pale/r9a1 7,giovanni ,pi]lugi ,sante1 #aead-aeid7 an ,italian1 to rea* ! highe/ po9t ( emotional expression & te*nical fre$om2 we mu/1 h[ev]1 rank ,orl&o di ,lasso ) him4 ,he c>ri$ to ! highe/ fruition ! tea*+s ( ! ,ne!rl&s1 temp]$ by ! romantic & melodic t5d5cy ( ! ,italian nature4 ,8 writ+s 7 s free te*nically t !y h be5 call$ simple 9 =m2 ?is !y are1 b ! simplicity is ! simplicity ( g5ius4 ,8 /yle is melodic1 & has a cle>ness nev] atta9$ by any writ] be=e 8 "t1 & yet 8 music is writt5 9 ! mo/ sev]e =ms4 ,he f\nd$ a s*ool ( music 9 ,rome :i*1 h[ev]1 nev] produc$ any great ma/]s1 = x 0 ! "t :5 ! re=mation ( ,op]a began & c>ri$ ! developm5t ( music into o!r *annels4 ,music3 ,,sop4 ,,alto ,,t5or ,,bass ,! end ( a composition by ,pale/r9a1 %[+ ! melody 9 ! upp] voice in/ead ( ! t5or1 z 0 usually ! case 9 polyphonic compositions1 & ! use ( our mod]n ,m9or mode4 ,?is composition1 at lea/ ?is la/ "p ( x tak5 alone1 might be by a mod]n writ]1 s famili> d its progressions s\nd2 inde$1 ! melody ( ! fir/ two measures is /rik+ly simil> to a progression us$ by ,bee?ov5 9 "o ( 8 /r+ qu>tets4 ,! entire example ) words may be se5 9 ,naumann1 ,hi/ory ( ,music1 ,vol4 ,i1 page #eaj4 ,summ>y4--,! ,polyphonic ,era has _m important *>act]i/ics & results :i* make x wor? :ile to sum x up4 ,its developm5t is l>gely ! hi/ory ( ! developm5t ( vocal music to its highe/ po9t1 & ! consequ5t failure ( x to provide accurate expression = human ne$s4 ,x m>ks ! developm5t ( scales1 int]vals1 =ms1 in/rum5ts & emotion4 ,9 scales we f9d ! tr5d to be always t[>d ! natural2 9 int]vals1 t[>d fre$om1 us+ only ! e> z a crit]ion2 9 in/rum5ts we note ! developm5t ( ! organ1 b ! lack ( o!rs :i* w\ld h *ang$ music entirely2 9 emotion1 we note ! evolution f crud5ess to ! highe/ & mo/ poli%$ =ms ( imp]sonal expression4 ,! lack ( ! ,polyphonic s*ool 0 n 9 ! intr9sic value ( ! music1 nor 9 any lack ( ! desire to express emotion2 ! failure to provide a suitable means ( musical expression 0 due to ! idea ( *ur* relation to ,god r ?an to ! p]sonal individuali/ic relations e/abli%$ by ,lu!r4 ,aft] ! ,re=mation music takes up ?is new idea & imm$iately a secul> music1 vocal & in/rum5tal1 beg9s to develop1 culm9at+ 9 an emotional s*ool ( a totally diff]5t & tru] /yle ?an ! ,polyphonic4 ,polyphonic music express$ ! old monki% ideas ( religion p]fectly1 b monophonic music expresses ! emotion ( ! p1 a univ]sal emotion4 ,polyphonic music mu/ always be appreciat$ = its value1 b x mu/ be exam9$ = its fundam5tal pr9ciples & reasons = be+1 be=e x c be und]/ood4 ,!n we may "k its value z a f\ndation = our mod]n music4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 article on ,s*ools ( ,composition1 section relat+ to ,italy4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,langhans4--,hi/ory ( ,music4 ,,que/ions ,,& ,,sugge/ions4 ,:y did ! c5tre ( music %ift to ,italy8 ,:at k9d ( emotion is pres5t 9 ! polyphonic /yle ( music8 ,:at compos]s 7 prom95t outside ( ,italy8 ,"n ! prom95t compos]s ( ! ,italian s*ool4 ,sum up ! ,polyphonic ,era4 ,consult a hi/ory ( art & give an acc\nt ( ! great pa9t]s1 sculptors1 ar*itects & _! greate/ works dur+ ! c5tury prec$+ ! developm5t ( ! ,italian s*ool4 ,,lesson ,,xiv4 ,,pale/r9a ,,& ,,8 ,,influ5ce ,,on ,,! ,,music ,,( ,,! ,,italian ,,s*ool4 ,,! ,,madrigal4 ,illu/ration3 ,,pale/r9a4 ,a ,*ur* ,compos]4--,b "o ma/] ( ! ,italian ,polyphonic s*ools is wor?y ( l5g?y notice1 m because ( 8 influ5ce on ! music ( ! ,*ur* ?an 8 contribution to ! new in/rum5tal s*ool !n only 9 its infancy4 ,pale/r9a1 :ile acqua9t$ ) ,galilei1 ! re=m] ( ,op]a1 & ,n]i1 ! orig9ator ( ,oratorio1 & ) _m ( ! m5 id5tifi$ ) ! new /yle ( vocal & in/rum5tal music1 gave 8 entire life to ! compos+ ( ,*ur* music1 ?\gh 9 8 pov]ty-/rick5 condition musical "w "u weal?y patronage mu/ h (t5 appeal$ to him4 ,at any rate1 ! f>!/ he ev] /ray$ f ! ,*ur* 0 9 ! compos+ ( _m madrigals1 9 :i* he excell$2 x is almo/ c]ta9 t 9 ^! he un9t5tionally influ5c$ ! developm5t ( in/rum5tal music4 ,= ! pres5t1 h[ev]1 a consid]ation ( 8 life & influ5ce on ,*ur* music is m important4 ,b = him1 ,*ur* music w\ld h lack$ = at lea/ a c5tury t simple & individual note s (t5 /ruck by himself & ,ba*4 ,pale/r9a1 by ! enorm\s numb] ( 8 masses & by ! f]tility ( 8 inv5tion1 plac$ ! music ( ! ,lat9 ,*ur* on s high a plane t no compos]s1 at lea/ until ! "t ( ,ba*1 ev5 approa*$ him1 mu* less equall$ him4 ,giovanni ,pi]luigi ,sante1 kn[n z ,pale/r9a1 aft] 8 bir?place1 0 born 9 #aead at ,pale/r9a1 a small t[n s\!a/ ( ,rome4 ,8 p>5ts 7 peasants & ! boy receiv$ b ! ord9>y education ( 8 class4 ,:ile v "y he seems to h become a *oir-boy at ,rome1 ?\gh x is record$ t 8 voice 0 any?+ b pleas+4 ,^u ?is supposition re/s ! /atem5t t he 01 = a %ort "t1 a pupil ( ,arkadelt2 ?is is unimportant because ev5tually 7#aedj7 he became a pupil ( ,g\dimel1 ^: influ5ce f> ov]%ad[$ t ( any =m] tea*]4 ,9 #aedh he m>ri$ & f\r sons 7 ! result ( ! union1 ?ree1 h[ev]1 dy+ at an e>ly age & ! f\r? prov+1 9 aft]-life1 a wor?less fell[4 ,9 #aeea he succe$$ ,arkadelt z *oir-ma/] ( ,/4 ,pet]'s2 lat] ! d$ication ( ?ree masses to ,pope ,julian ,,iii won him a position z s+] 9 ! ,papal ,*oir4 ,ow+ to ! jeal\sy ( ! o!r s+]s he f9ally lo/ 8 position1 b receiv$ an appo9tm5t at ! ,*ur* ( ,santa ,m>ia ,maggiore :]e he /ay$ = t5 ye>s4 ,naumann says t 9 #aefe he receiv$ ! appo9tm5t ( ma/] ( ! ,si/9e ,*apel1 b nev] occupi$ ! position because ( ! opposition among ! *oir4 ,grove1 h[ev]1 says t 9 #aefe he 0 made compos] to ! ,pontifical ,*oir & did n become ma/] until #aehe1 hold+ ! position f t "t on4 ,9 #aega he 0 aga9 connect$ ) ,/4 ,pet]'s2 ?is also m>ks 8 acqua9tance ) ,n]i1 = :om he wrote "s music1 & ! f\nd+ ( a music s*ool1 ?\gh x _c h am\nt$ to mu* s9ce mo/ au?orities give no p>ticul>s 9 reg>d to x4 ,inde$1 x is c]ta9 t he _c h _h mu* influ5ce 9 t l9e1 = 8 pupils1 outside ( 8 own family1 did n am\nt to m ?an a scant half-doz54 ,9 #aegf he 0 giv5 ! task ( revis+ ! ,gradual & ,antiphon>y ( ! ,lat9 ,*ur* b1 ) ! assi/ance ( a pupil1 f9i%$ only a little m ?an "o-half ( ! "w4 ,he di$ 9 #aeid & 0 buri$ 9 ! ,vatican4 ,8 life is m>k$ by ! usual jeal\sies & qu>rels ( musicians1 ?\gh ,pale/r9a himself seems to h be5 noblem9d$ & m ?an reasonably free f all su* faults4 ,he 0 9 poor circum/ances dur+ 8 life1 & 8 only liv+ son 0 a bitt] disappo9tm5t4 ,altoge!r1 z we exam9e 8 life we are impress$ by _m ?+s2 fir/1 8 app>5t failure f a worldly po9t ( view2 secondly1 ! enorm\s am\nt ( compos+ :i* he did2 &1 f9ally1 8 devotion to ! ,*ur* & h] music1 & because ( x1 8 glori\s success z a musician1 & 8 undy+ fame4 ,re=m ( ,*ur* ,music4--,! ye> m>k+ ! climax ( 8 life 0 #aefe4 ,! ,c\ncil ( ,tr5t1 by a unanim\s vote1 decid$ to prohibit ! use ( music 9 ! ,*ur* unless "s means c\ld be devis$ to make x m devotional & suit$ to its purpose4 ,naumann says t x 0 ! desire ( ! ,c\ncil ( ,tr5t to simplify ! music s t ! p might take "p 9 ! s]vices2 b ,grove claims t x 0 because ( ! use ( secul> music 9 ! composition ( ! masses4 ,x seems t x 0 cu/om>y1 = "p ( ! s+]s at lea/1 to s+ 9 s]vices n only ! melodies ( ! popul> songs1 b also ! words1 ?us produc+ confusion & defeat+ ! v purpose ( ! music4 ,9 all probability1 bo? ( ^! reasons _h some?+ to d ) ! edict4 ,x is pla9 t ! fundam5tal pr9ciple at /ake 0 ! lack ( ! p]sonal devotional note 7:i* caus$ ?is action by ! ,c\ncil ( ,tr5t71 & x 0 ! supply+ ( ?is want t made ,pale/r9a ! savi\r ( music 9 ! ,*ur*4 ,a committee ( ,c>d9als 0 appo9t$ to see if prop] music = ! s]vice c\ld be f\nd4 ,!y commission$ ,pale/r9a to write a mass & submit x = trial4 ,:5 ! trial came1 at ! home ( ,c>d9al ,vitellozzi1 ,pale/r9a submitt$ ?ree masses1 ! la/ ( :i* 0 ! be/2 ?is he aft]w>ds call$ ! 8,missa ,pap ,m>celli40 ,pale/r9a's ,/yle4--,9 ^! masses ,pale/r9a _h succe$$ s well 9 subord9at+ te*nic to expression1 & 9 elim9at+ all extrane\s matt]1 t he 0 hail$ z ! greate/ musician ( ! ,*ur*1 & honors 7 %[]$ ^u him4 ,f ?is x w\ld be suppos$ t ,pale/r9a _h %[n an entire *ange 9 /yle1 yet ?is 0 n ! case4 ,g\dimel1 8 ma/]1 %[s traces ( ! s-call$ ,pale/r9a /yle1 & ,pale/r9a himself 0 gradually gr[+ into t simplicity :i* m>k$ ! music ( 8 lat] days4 ,?is simplicity 0 n only simplicity ( emotion b also simplicity ( te*nic2 only a man ) a mo/ consummate skill c\ld h writt5 su* great music ) su* little use ( %[y te*nic4 ,pale/r9a wrote 9 all ( ! polyphonic =ms1 complex & simple1 b he rea*$ 8 highe/ po9t 9 8 mo/ simple works2 & ^? works 7 writt5 = 8 ,*ur*4 ,secul> ,art ,song4--,! secul> life ( ! #ae? & #af? c5turies1 z well z ! ,*ur*1 _h an art music1 :i*1 l ! o!r music ( ! p]iod 0 vocal1 n solos ) accompanim5ts1 b *oral1 consi/+ ( ?ree or m p>ts2 ?is we may call a species ( vocal *amb] music4 ,we c trace ! developm5t ( ?is =m ( musical composition to an application ( ! pr9ciple ( ,discant to secul> or ,folk-melodies4 ,! m9/rels1 z m5tion$ 9 a previ\s lesson1 7 accu/om$ to improvise accompany+ p>ts to a famili> song--a favorite cu/om 0 t ( add+ two p>ts--= ! ent]ta9m5t ( _! he>]s4 ,?is process 0 n a haphaz>d "o1 b foll[$ fix$ rules4 ,! abs5ce ( a simple sy/em ( notation1 h[ev]1 prev5t$ ! accumulation ( musical records4 ,& :5 m9/relsy ceas$ to exi/ z a call+1 only ! memory ( ! crude attempts ( ! m9/rels rema9$4 ,b ! pr9ciple 0 n lo/4 ,=tunately = ! good ( ! art1 ! tra9$ musicians ( ! ,*ur* took x up1 &1 call+ to _! aid ! res\rces ( _! art z us$ 9 ! music ( ! ,*ur*1 appli$ !m all to secul> melodies1 ! songs ( ! p4 ,! ,pr$ecessors ( ! ,madrigal4--,sev]al ( ! =ms ( secul> music f\nd 9 ,italy1 ! ,frottole 7song ( ! mass or cr[d71 & ! ,vilanelle 7village or peasant songs71 7 us$ 9 a crude way by ! musicians ( ! p z airs to :i* to add accompany+ p>ts4 ,bo? ,g]mans & ,engli% made simil> use ( _! folk melodies4 ,b s9ce ! text 0 usually ( a humor\s1 or a witty "*1 ! accompany+ melodies or 8c\nt]po9ts0 7 simple 9 /yle4 ,! "w ( ! tra9$ compos]s along ?is l9e result$ 9 ! ,madrigal1 :i* %[s a union ( ! musical _s ( ! p ) ! f9e/ poetic art2 ! melodies _h ! /yle ( ! popul> music1 b !y 7 us$ ) te*nical skill4 ,! ,madrigal4--,! text ( ! madrigal 0 erotic 9 "*1 repres5t+ ! emotions ( a he>t fill$ ) noble1 (t5 hopeless love4 ,! ,italian poets ,tasso & ,petr>* 7 ma/]s 9 ?is /yle ( writ+4 ,! "n ,madrigal 0 fir/ appli$ to ?is k9d ( lyric1 & aft]w>d became id5tifi$ ) ! music itself4 ,!re is disagreem5t z to ! orig9 ( ! "n1 ! common explanation be+ t x comes f ! ^w m&ra1 a %eepfold1 m&riale1 %eph]d1 9 allusion to ! frequ5t pa/oral "* ( ! text4 ,! ,madrigal und\bt$ly owes its orig9 to ! compos]s ( ! ,flemi% s*ool4 ,! musicians ( ! ,ne!rl&s1 9 ! middle ( ! #ae? c5tury1 _h a polyphonic song1 elaborate 9 con/ruction1 9 ! old ,*ur* modes1 model$ d\btless on ! plan ( ! ,motet1 b us+ ! melody ( "s popul> song z a ,cantus ,firmus4 ,:5 ! c5tre ( musical p[] 0 transf]r$ to ,italy1 ! madrigal pr9ciple came into new h&s1 ^? ( ! compos]s ( ! ,v5etian s*ool1 :o gave x ! "* :i* made x s popul>4 ,! ,italian ,s*ool4--,! fir/ great compos] 9 ?is /yle 0 ,adrian ,willa]t4 ,aft] him came ,arkadelt1 :o publi%$ sev]al books ( madrigals4 ,! mo/ fam\s compos] ( madrigals 0 ,luca ,m>5zio 7#aefj-aeii71 call$ by 8 contempor>ies 8! sweete/ swan ( ,italy10 ^: works atta9$ extraord9>y vogue4 ,!y are extremely melodi\s4 ,a compos] :o made consid]able use ( ! *romatic elem5t 0 ,gesualdo1 ,pr9ce ( ,v5usia 7#aefj-afad74 ,o!r ,italian compos]s ( madrigals are ,fe/a1 ,pale/r9a1 ,an]io1 ,waelrant1 ,orl&o di ,lasso1 ,cipriano di ,rore1 ,vec*i & ,ga/oldi1 ! latt] be+ cr$it$ ) ! introduction ( ! 8,fa1 la40 ,! ,engli% ,s*ool4--,! ,madrigal nev] displac$ ! ,folk-song 9 ,g]many or ! ,*anson 9 ,france1 b x f\nd a home 9 ,engl&1 9 :i* c\ntry a numb] ( compos]s 7 develop$ ^: be/ "w is consid]$ to be sup]ior to t ( _! ,italian pr$ecessors4 ,! p]iod ( fifty ye>s1 beg9n+ ) #aehh1 :5 ! fir/ collection ( madrigals 0 publi%$ 9 ,london1 is call$ ! ,madrigalian ,era4 ,! compos]s ( prom95ce are3 ,william ,byrd1 ,?omas ,morley1 ,?omas ,weelkes1 ,john ,d[l&1 ,john ,wilbye1 ,orl&o ,gibbons & ,ri*>d ,edw>des4 ,s great 0 ! int]e/ 9 ?is class ( music t x 0 consid]$ a necess>y "p ( ! education ( a g5tleman t he %\ld be able to s+1 :5 reque/$1 a "p 9 a madrigal1 z we le>n f a "w or music /udy publi%$ by ,?omas ,morley 9 #aeig4 ,*>act]i/ics ( ! ,madrigal4--,! be/ means ( secur+ an und]/&+ ( ! ,madrigal /yle is to /udy good examples1 &1 if possible1 to he> !m sung by a good *oral organization4 ,!y are writt5 9 ?ree1 f\r1 five & six p>ts1 ! five "p be+ ! "o mo/ favor$4 ,! pr9ciple ( con/ruction is polyphonic1 imitation be+ freely us$1 cross acc5ts be+ frequ5t on acc\nt ( ! syncopat$ /yle1 ea* "p be+ conceiv$ z melody1 n z ! result ( ! movem5t ( successive *ords4 ,influ5ce ( ! ,madrigal4--,! great numb] ( madrigals writt5 by s _m compos]s may be tak5 z an indication ( ! gr[? ( musical s5sibility4 ,! creative side develop$4 ,! compos] 0 no long] cont5t$ ) tak+ a melody or "s !me ready made1 & elaborat+ x or accompany+ x2 he inv5t$ 8 own !mes1 ?us op5+ ! way to ! idea t ea* text %\ld h a !me to suit its special "*1 a pr9ciple :i* rules 9 mod]n music4 ,s9ce ! !mes ?us took on great] significance1 x became important t accompany+ p>ts %\ld n obscure !m by ov]-elaboration2 h5ce ! c\nt]po9t us$ became cle>] & simpl]1 & !re=e m arti/ic4 ,ano!r fact ( great significance is t frequ5tly ! madrigals 7 play$ by viols1 in/ead ( be+ sung by voices4 ,compos]s m>k$ ! pieces z 8,apt = viols or voices40 ,x 0 also cu/om>y to s+ "o "p & play ! o!rs on in/rum5ts1 ! design be+ to cause ! melody to /& out m cle>ly2 ?is aid$ 9 develop+ a feel+ = ! solo ) in/rum5tal accompanim5t1 a fact ( great significance 9 prep>+ ! way = ! op]a4 ,petrucci4--,music owes a great debt to ,ottaviano ,petrucci1 :o is cr$it$ ) devis+ a me?od = pr9t+ music f movable type4 ,he 0 born 9 #adff1 di$ 9 #aebc or %ortly aft] t date4 ,be=e he began 8 great "w all music 0 writt5 out by h&1 a fact :i* necess>ily int]f]$ ) its circulation2 ! works ( ! great writ]s 7 jeal\sly gu>d$ & /ud5ts _h small *ance to pr(it by ! "w ( exp]i5c$ compos]s4 ,petrucci & 8 successors *ang$ ?is4 ,9 #aeja1 he pr9t$ a collection ( n9ety-six pieces 9 ?ree & f\r p>ts by ,isaac1 ,josqu91 ,hobre*t1 ,okeghem & o!rs2 9 #aejd1 a collection ( eighty-?ree motets = f\r1 five & six voices4 ,by ! "t ! compos]s ( ! ,v5etian ,madrigal s*ool appe>$ on ! sc5e1 pr9t+ processes _h be5 improv$ & spread m widely2 ?us _! works c\ld be circulat$ freely & made popul>4 ,we :o "k ! trem5d\s p[] ( ! pr9t+ press c appreciate ! new =ce 9 ! developm5t ( music inaugurat$ by ,petrucci 9 ! e>ly "p ( ! #af? c5tury4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ,pale/r9a & ! ,madrigal4 ,dick9son4--,music 9 ! ,hi/ory ( ! ,we/]n ,*ur*4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,v4 ,b>rett4--,engli% ,glee & ,madrigal ,writ]s4 ,,que/ions ,,& ,,sugge/ions4 ,:o 0 ! mo/ important ( ! e>li] compos]s = ! ,*ur*8 ,give a sket* ( 8 life4 ,:at did he d = ! music ( ! ,*ur*8 ,:at peculi>ities m>k$ 8 /yle8 ,give a brief rsum ( ! ,c\ncil ( ,tr5t4 7,consult a g5]al hi/ory or *ur* hi/ory47 ,:at attempts at "p music did ! ,m9/rels make8 ,:o took up ?is "w lat]8 ,:at is ! orig9 ( ! ^w ,madrigal8 ,"n "s compos]s ( ,madrigals 9 ,italy4 ,9 :at o!r c\ntry did ! ,madrigal take hold8 ,"n "s ( ! compos]s 9 t c\ntry :o cultivat$ ! ,madrigal /yle4 ,"n "s *>act]i/ics ( ! ,madrigal4 ,:at influ5ce did ! ,madrigal ex]t8 ,:o inv5t$ pr9t+ music f movable types8 ,if ! memb]s ( ! class _c s+ a madrigal or !re is no *oral society at h& t s+s !m1 a /r+ qu>tet c play ! p>ts1 or any comb9ation ( in/rum5ts t c repres5t ! necess>y f\r1 five or six p>ts2 two or f\r play]s at two pianos c give "s idea4 ,novello ,co4 publi% 9 *eap octavo =m _m ( ! f9e/ madrigals by ! ,italian & ,engli% compos]s4 ,! memb]s ( ! class %\ld s+ or foll[ ! play+ ( ea* "p ( at lea/ "o madrigal & note its ess5tially melodic "*4 ,?is class ( compositions w also give an idea ( ! "* ( ! old ,*ur* motet & ! me?ods us$ 9 ! masses4 ,,lesson ,,xv4 ,,musical ,,in/rum5ts4 ,classification ( ,in/rum5ts4--,! means = ! production ( musical s\nd are few 9 numb]1 & ( su* univ]sality & antiquity t we _c say :51 h[1 or by :om !y 7 inv5t$4 ,mod]n skill has n add$ "o new means1 b has simply improv$ ! contrivances by :i* musical s\nd is produc$4 ,we c1 h[ev]1 trace ! evolution & gr[? ( ! v>i\s in/rum5ts ) consid]able accuracy1 & to ?is end x is ( ! utmo/ importance to h a cle> und]/&+ ( ! pr9ciples ^u :i* musical in/rum5ts are con/ruct$1 9 ord] to avoid bewild]m5t among ! endless v>iety t h be5 & are yet made4 ,all in/rum5ts may be divid$ into ?ree g5]al classes3 ,p]cussion ,in/rum5ts1 ,w9d ,in/rum5ts1 ,/r+$ ,in/rum5ts4 ,! ,p]cussion ,in/rum5ts are ! in/rum5ts ( rhy?m4 ,9 ?is class are includ$ all in/rum5ts us$ = ?is purpose4 ,x is univ]sally admitt$ t rhy?m is ! v basis ( music1 )\t :i* x is vague & mean+less4 ,possibly ! physical fact t lies beh9d rhy?m is ! t5d5cy ( all repeat$ muscul> action to become regul>2 witness ! bl[s ( ! hamm] on ! anvil1 or ! c>p5t] driv+ 9 a nail4 ,! psy*ologic reason is t :5 ! w has set a c]ta9 muscul> action 9 motion1 x leaves ! c>ry+ out ( ! comm& to "s subord9ate function1 s long z x is cont9u\s2 b if ! cont9uity is to be int]rupt$1 ! w mu/ aga9 ex]t itself2 h5ce1 drumbeat+ & rattle %ak+ mu/ ( necessity be rhy?mic4 ,ne>ly all savages h dances ( v>i\s k9ds4 ,v>ieties ( drum rhy?ms arise f ! almo/ univ]sal cu/om ( accompany+ dances ) drums & rattles4 ,v>ieties ( ,p]cussion ,in/rum5ts4--,p]cussion in/rum5ts are almo/ endless 9 v>iety4 ,! mo/ primitive example is t ( a holl[ log beat5 ) a w>-club by "s prehi/oric savage4 ,! next /ep leads to ! holl[ g\rd or o!r holl[ body1 across ! op5 end ( :i* is /ret*$ ! dri$ membrane ( "s wild animal4 ,f ^! desc5d all ! long l9e ( drums ( all sorts1 end+ ) ! mod]n or*e/ral kettle-drums 7tympani7 :i*1 by means ( a me*anism = *ang+ ! t5sion ( _! p>*m5t heads1 may be tun$ 9 v>i\s keys4 ,p]cussion in/rum5ts ( metal are ( v anci5t orig94 ,9 ?is category are includ$ cymbals ( v>i\s sizes & %apes1 gongs ( all sorts1 & lat]1 bells & triangles4 ,comp>atively few ( ! p]cussion in/rum5ts emit s\nds ( any def9ite pit*4 ,!y 7 & are to a great ext5t noise-produc+1 us$ = ! purpose ( m>k+ rhy?ms4 ,w9d ,in/rum5ts3 ,vibrat+ ,column ( ,air 9 a ,tube4--,! next /ep 9 advance ( noise-produc+ in/rum5ts is ! discov]y ( means = ! production ( musical s\nd1 :i* diff]s f noise 9 ! possession ( def9ite pit*4 ,?is leads to a consid]ation ( ! w9d in/rum5ts t produce s\nd by means ( a vibrat+ column ( air enclos$ 9 a tube4 ,?is is an important class & has sev]al subdivisions1 z w be se54 ,! simple/ =m ( ! w9d in/rum5t is ! pla9 tube1 produc+ a s+le s\nd :5 bl[n across ! top4 ,a s]ies ( su* tubes fa/5$ toge!r side by side con/itutes ! ,syr9x or ,pan's pipe1 an in/rum5t kn[n ov] all ! _w f ! remote/ ages4 ,?is is ?\ght to be ! in/rum5t m5tion$ 9 ,g5esis ) ! ,hebrew "n ,ugab--translat$ organ1 9 ! v]se3 8,jubal 0 ! fa!r ( all su* z h&le ! h>p or ! organ40 ,x is g5]ally believ$ by s*ol>s t ! ,p&ean ,pipe or ,syr9x is ! olde/ ( musical in/rum5ts2 b long be=e a suffici5t advance _h be5 made to b9d toge!r sev]al re$s giv+ diff]5t s\nds1 ! discov]y 0 made t s\nd might be produc$ 9 ?is way4 ,"s prehi/oric man f\nd x out1 p]haps by bl[+ across ! top ( a holl[ bone4 ,a :i/le ( ?is k9d1 ( prehi/oric make1 bor$ f "o ( ! bones ( a re9de]'s foot1 0 f\nd 9 a bone cave 9 ,france4 ,x may h be5 us$ z a signal1 & we may imag9e t x may h guid$ a troop ( paloli?ic hunt]s 9 ! *ase ( ! mammo? or rh9oc]os1 :5 ^! animals /ill roam$ ov] ! pla9s ( ,europe4 ,a ,tube ,pi]c$ ) ,holes4--,! next advance 0 ! discov]y t "o tube c\ld be made to give sev]al s\nds by pi]c+ holes 9 x4 ,! effect ( pi]c+ is equival5t to %ort5+ ! tube2 ?us ! ,flute came into exi/5ce4 ,!re are ?ree =ms ( ! flute2 ! simple/ is ! old ,japanese flute1 bl[n at ! end & pi]c$ ) a few holes4 ,next1 ! endless v>iety ( flutes bl[n at a hole 9 ! side1 h5ce call$ ! cross flute1 or ,flauto ,trav]so1 9 ,g]man1 ,qu]flte4 ,a p]fect s]ies ( ^! flutes may be made4 ,f ! piece ( bamboo ) ?ree or f\r holes1 up to ! exquisite workman%ip & musical possibilities ( ! or*e/ral ,boehm flute1 all ^! flutes are id5tical 9 pr9ciple4 ,! ?ird k9d ( flute is bl[n at ! end & is furni%$ ) a diaphragm1 :i* directs ! air 9 a ?9 /ream aga9/ ! edge ( ! op5+4 ,flutes ( ?is k9d 7 once us$ "u ! names ( flageolet & record]4 ,_! *ief int]e/ lies 9 ! fact t !y h s]v$ z ! model = ! flue pipes ( ! organ1 f ! pond]\s ?irty-two foot ,diapason to ! half-in* extreme ( ! ,mixture4 ,! ,tube ) a ,re$4--,! next subdivision is3 ,! tube 9 conjunction ) a tongue or slip ( cane1 call$ a re$4 ,re$ in/rum5ts are fur!r divid$ into s+le & d\ble re$ in/rum5ts4 ,! d\ble re$ in/rum5t is ( great antiquity & widely kn[n4 ,?is is ! in/rum5t g5]ally meant by ! t]m 8flute0 9 ! anci5t ,greek au?ors4 ,x is kn[n 9 ,*9a & ,?ibet1 & 9 its mod]n =m z ,hautboy 7oboe71 ,engli% ,horn or ,bassoon1 is an important memb] ( ! mod]n or*e/ra4 ,! beat+ or s+le re$ is s-call$ because x is made a little l>g] ?an ! orifice ov] :i* x is fix$1 & !re=e beats aga9/ ?is orifice at e vibration1 clos+ x & caus+ ! air to be emitt$ 9 puffs4 ,?is =m ( re$ in/rum5t is also widely di/ribut$4 ,by ! ,greeks x 0 call$ ! ,b]ecyn?ian pipe2 9 mod]n ,egypt ,arghool1 9 e>ly ,engl& ! ,%awm1 :i* is a corruption ( an old] ,fr5* "n--,*alumeau4 ,"u ! "n ,cl>9et x is ano!r important memb] ( ! or*e/ra4 ,! beat+ re$ also furni%es ! model aft] :i* ! re$ /ops ( ! organ are con/ruct$4 ,! ,tube ) ! ,lips ( ! ,play]4--,! la/ subdivision is ! tube 9 conjunction ) ! lip ( ! p]=m]1 ! lips assum+ ! rle ( ! re$4 ,c\ntless v>ieties ( trumpets h be5 us$ f "t immemorial1 made at fir/ f t natural tube t has giv5 !m _! g5]ic "n1 ! 8horn0 ( ! ox or goat or antelope4 ,! =ms ( ! horn are endless1 b f ! con* %ell ( ! ,japanese or ! ram's horn ,%(> ( ! ,hebrews to ! p]fectly tun$ & me*anically p]fect in/rum5ts ( our b&s & or*e/ras ! s]ies is complete1 & ! ac\/ic pr9ciple 9 all respects id5tical4 ,/r+$ ,in/rum5ts ,play$ by ,pluck+4--,! /r+$ in/rum5ts are ^? :i* dep5d = _! s\nd ^u ! vibration ( /ret*$ /r+s4 ,?is class ( in/rum5ts is ( v anci5t orig94 ,z 9 ! case ( ! w9d in/rum5ts1 ! discov]y ( ! pr9ciple ( ! vibration ( a /ret*$ /r+ 0 probably accid5tal4 ,! twang+ ( a b[-/r+ sugge/s a possible clue1 or ! membranes ( animals us$ = any purpose 9 :i* t5sion is requir$4 ,e>lie/ among /r+$ in/rum5ts are ! v>i\s =ms ( ,h>p or ,lyre1 9 :i* ea* /r+ gives a s+le s\nd1 & is put 9 motion by be+ pluck$ by ! f+] or /ruck by a rod or flat /rip ( wood1 ivory1 etc41 call$ a plectrum4 ,9 ! next class are includ$ ^? in/rum5ts t are furni%$ ) a neck or f+]bo>d1 ) or )\t frets4 ,9 ?is class ! /r+s are comp>atively few 9 numb]1 z _m s\nds may be obta9$ f ea* /r+ by alt]+ its l5g? by ! pressure ( ! f+]s on ! neck4 ,^! in/rum5ts are also play$ ei!r ) ! f+]s or ! plectrum2 to ?is class belong ! ,guit>1 ,lute1 ,m&ol91 etc4 ,! ,lute ,family4--,= _m ye>s1 until displac$ by in/rum5ts ( ! viol9 family1 ! ,lute occupi$ ! =emo/ position among in/rum5ts4 ,x 0 a favorite in/rum5t 9 ! ,ea/1 :5ce x rea*$ ,spa9 & l[] ,italy4 ,dur+ ! #ad? c5tury1 x spread ov] all ,europe1 reta9+ its popul>ity f ! #ae? to ! #ag? c5turies4 ,9 %ape x 0 simil> to ! m&ol9 ( ! pres5t day4 ,x _h1 h[ev]1 a f> great] numb] ( /r+s4 ,five pairs ( ^! & a s+le melody /r+ lay ov] ! keybo>d1 :ile ! bass /r+s 7f9ally five 9 numb] & us$ only z op5 /r+s7 lay at ! side4 ,m elaborate =ms ( ! lute1 ow+ to improvem5ts 9 ! arrangem5t ( ! bass /r+s1 7 ! ,!orbo & ! ,ar*ilute4 ,= ! v>i\s =ms ( ! lute ! ord9>y measur$ notation 0 n us$1 b special lett]s or figures 7 giv5 to indicate1 n ! pit* ( ! s\nd1 b ! prop] fret on ! f+]bo>d ( ! in/rum5t to be us$ by ! play]4 ,?is me?od ( notation 0 call$ ,tablature2 x diff]$ some:at 9 ! v>i\s c\ntries4 ,until displac$ by ! viol91 ! lute 0 9 use z an or*e/ral in/rum5t4 ,9 addition1 transcriptions ( all sorts ( vocal & in/rum5tal pieces 7 made = ! lute1 = home use1 mu* 9 ! same mann] z !y are at ! pres5t day made = ! pian(orte4 ,/r+$ ,in/rum5ts ,play$ ) a ,b[4--,! next & mo/ important class resembles ! la/ 9 be+ furni%$ ) a neck or f+]bo>d1 b ) /r+s put 9 vibration by a b[1 ! famili> ,viol9 family4 ,a ,g]man writ] on ! /r+$ in/rum5ts play$ ) a b[ gives ! foll[+ z ! successive /eps 9 ! evolution ( ! viol93 ,rebec1 ,tromba ,m>9a1 ,hurdy ,gurdy1 ,fidel 7,fidula71 ,*rotta1 ,viole1 & ,viol94 ,! e>ly hi/ory ( in/rum5ts is %r\d$ 9 d>kness1 :i* exi/$ up to ! #af? c5tury4 ,be=e t "t1 al?\gh writ]s on music made ref]5ce to ! in/rum5ts 9 use1 !y did n give detail$ descriptions4 ,virdung1 :o publi%$ a "w 9 #aeaa2 ,agricola1 9 #aebh2 & ,g]le1 9 #aedf1 7 among ! fir/ writ]s4 ,yet mu* confusion has aris5 f ! fact t ^! writ]s us$ diff]5t t]ms = ! same in/rum5ts1 a difficulty t confronts ! /ud5t ( musical hi/ory :o consults ,g]man1 ,fr5*1 or ,italian works4 #a4 ,! ,rebec 0 ( ,ori5tal orig9 & consi/$ ( a wood5 frame1 :i* =m$ ! side walls1 ! top & ! bottom be+ spann$ ) sk91 l a drum4 ,! in/rum5t _h only two /r+s1 & 0 us$ 9 accompany+ s++4 ,lat] ! numb] ( /r+s 0 increas$ to ?ree4 ,9 ! #h? or #i? c5tury an in/rum5t call$ ! ,lyra 7,lyre7 0 9 use4 ,its %ape %[s a *ange t[>d ! pe>-%ap$ body & n>r[ neck ( ! lute4 ,illu/ration3 ,,rebec4 ,,lyre 7,,accord+ ,,to ,,g]b]t74 ,,bass ,,viol4 #b4 ,! ,tromba ,m>9a 7,eng41 lit]ally1 8,m>9e ,trumpet071 :i* ! ,g]mans call ,trums*eit1 _h a long1 sonor\s body1 ov] :i* a /rong /r+1 l t ( ! 'cello ,d1 0 /ret*$4 ,?is /r+1 :5 s\nd$ ) ! b[1 gave =? a h>%1 some:at nasal tone1 simil> to t ( ! #h-;foot wood5 organ re$-pipe4 ,b ! prop] way to play x 0 by lightly t\*+ ! /r+ ) ! f+]1 z 9 mak+ h>monics on ! viol94 ,?is gave a s]ies ( tones1 accord+ to ! pit* ( ! op5 /r+1 ! same z ! s-call$ ov]tones4 ,if ! /r+ 7 tun$ to l[ ,c1 ! s\nds 7 middle ,c1 !n 9 succession ,e1 ,g1 ,c1 ,d1 ,e1 ,f1 ,g1 ,a1 ,b1 ,c4 ,?is in/rum5t 0 a favorite ) *oirs ( nuns to accompany _! s++4 ,ano!r "n giv5 to ?is in/rum5t f its s+le /r+ is ,mono*ord4 #c4 ,! ,hurdy ,gurdy1 also call$ ,vielle1 ,radlei] 78:eel lyre071 ,bettl]lei] 78m5dicants' lyre071 ,organi/rum & ,*iffonie1 0 a great favorite 9 ! p]iod f ! #aj? to ! #ab? c5tury4 ,?is peculi> in/rum5t consi/$ ( a resonant body1 ov] :i* f\r /r+s 7 /ret*$4 ,x has analogies to b[$ & key$ in/rum5ts4 ,its %ape 0 some:at l t ( ! lute or ! viola d'amore or guit>4 ,two ( ! /r+s 7 tun$ 9 unison1 7 /opp$ by an arrangem5t ( keys1 direct$ by ! play]'s left h& %ort5+ ! /r+1 ?us mak+ x possible to play melodies ( a limit$ compass4 ,! o!r two /r+s 7 usually tun$ z ,tonic & ,dom9ant1 ?us giv+ a drone l ! bagpipe4 ,! /r+s are set 9 vibration by a wood5 :eel1 :i*1 be+ well ros9$1 has ! function ( a viol9 b[2 ?is :eel is turn$ by a h&le at ! tail end ( ! in/rum5t1 ! play] us+ 8 "r h& = ! purpose4 #d4 ,! ,*rotta 7,wel% ,crw?--8croo?07 is "o ( ! olde/ ( /r+ in/rum5ts play$ ) a b[4 ,! orig9al home 0 possibly ,india1 b 9 its ,european use x 0 limit$ to ,engl&1 & especially to ,wales4 ,x 0 a favorite in/rum5t ( ! ,wel% b>ds4 ,! olde/ =m _h ?ree /r+s4 ,9 its lat] =m x 0 m\nt$ ) six /r+s1 f\r /ret*$ ov] ! f+]bo>d & play$ ) ! b[1 & two ly+ at ! side ( ! f+]bo>d1 & p9*$ ) ! ?umb ( ! left h&4 #e4 ,fidula 7,fidel1 ,fiddle71 equival5t to 8viol10 is ! compreh5sive t]m = ! /r+ in/rum5ts ( ! #h? to ! #ad? c5tury4 ,its resonant body 0 ar*$ & pe>-%ap$4 ,! ,fr5* flatt5$ x m & call$ x ,gigue1 ! ,italians ,giga1 ! ,g]mans ,geige1 ! latt] t]m /ill be+ us$4 ,two v>ieties 7 9 use--! small & ! l>ge4 ,! =m] _h ?ree /r+s tun$ 9 fif?s1 ! latt] f\r to six1 usually tun$ 9 f\r?s & "o ?ird4 ,! 8l>ge0 species 0 made 9 f\r sizes = ,discant 7soprano71 ,alto1 ,t5or1 & ,bass4 ,! 8l>ge0 in/rum5t _h no bridge su* z ! viol9 ( today has1 & 9 its r\nd$ =m 0 difficult to play4 ,lat] x 0 cut out at ! sides1 ?us approa*+ ! %ape ( our viol94 #f4 ,! ,viol1 :i* fir/ appe>s 9 ! #ae? c5tury1 _h a resonant body :i* came almo/ to a po9t back ( ! neck1 & ! upp] "p ( ! body ( ! in/rum5t 0 small] ?an ! l[]2 ! f+]bo>d _h frets l our guit>2 ! edges 7 high]1 ! f holes 7 sickle-%ap$1 ! top 0 flat1 & ! numb] ( /r+s 0 six4 ,viols 7 divid$ into two gr\ps--^? held ) ! arm 7l our viol971 ^? play$ betwe5 ! knees 7l our 'cello74 ,!y 7 nam$ ! soprano or discant viol 7violetta71 ! alto & t5or viols1 & ! bass viol 7gamba74 ,! contra-bass or d\ble bass has ! viol =m 9 c]ta9 respects4 ,f ! viol family comes our viol9 ?r\gh a dim9ution & beautify+ ( ! =m1 ?r\gh less5+ ! numb] ( /r+s & do+ away ) ! frets4 ,,ref]5ces4 ,lavignac4--,music & ,musicians4 ,section on ,in/rum5ts4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ! v>i\s in/rum5ts4 ,,que/ions ,,& ,,sugge/ions4 ,:at are ! g5]al classes into :i* musical in/rum5ts are gr\p$8 ,"n ! p]cussion in/rum5ts4 ,"n ! pr9ciples ( classification = w9d in/rum5ts4 ,give examples ( ea* class4 ,:at is a re$8 ,h[ _m k9ds are 9 use8 ,:at me?ods ( produc+ s\nd are us$ 9 play+ /r+$ in/rum5ts8 ,give examples ( ea* class4 ,give a description ( ! lute4 ,"n ! /eps 9 ! evolution ( ! viol94 ,! catalogues ( ! in/rum5ts conta9$ 9 ! ,metropolitan ,museum 7,crosby-,br[n ,collection71 ,new ,york ,city1 w be f\nd v useful = ref]5ce4 ,?is collection is "o ( ! mo/ complete 9 ! _w1 & is arrang$ s z to %[ ! developm5t ( in/rum5ts ( ! v>i\s types4 ,!y c be secur$ at slight exp5se by address+ ! ,museum4 ,,lesson ,,xvi4 ,,! ,,organ1 ,,organ ,,play+ ,,& ,,organ ,,music4 ,9 ! book ( ,g5esis x is writt53 8,jubal1 he 0 ! fa!r ( all su* z h&le ! h>p & organ40 ,x is n to be und]/ood t ! ^w organ 9 ?is passage meant an in/rum5t any?+ l t he>d 9 our *ur*es at ! pres5t day4 ,9 fact1 z ,/4 ,augu/9e tells u1 !re 0 a "t :5 all musical in/rum5ts 7 call$ organs4 ,! ,g]m ( ! ,organ4--,! inv5tion ( ! organ is veil$ 9 deepe/ d>kness4 ,its developm5t f its e>lie/ =ms to its pres5t /ate has occupi$ a p]iod ( almo/ two ?\s& ye>s4 ,d\btless1 ! fir/ idea ( a w9d in/rum5t 0 sugge/$ by ! breeze bl[+ across ! op5 ends ( brok5 re$s1 ! discov]y naturally foll[+ t re$s ( diff]5t l5g?s gave =? s\nds ( v>y+ pit*4 ,9 c\rse ( "t1 re$s or pipes1 diff]+ 9 l5g?1 began to be jo9$ toge!r1 conv5i5tly arrang$ s z to produce a succession ( musical s\nds1 ! play]s bl[+ !m ) ! m\?4 ,^! in/rum5ts 7 call$ ,pan's ,pipes1 ! ,syr9x ( ! anci5t ,greeks4 ,! ,fir/ ,/age ( ,developm5t4--,z ! numb] ( pipes 0 increas$1 ! mov+ ( ! head back & =? 9 ord] to bl[ !m became difficult4 ,! pipes 7 !n plac$ 9 a sort ( box or w9d *e/1 a tube be+ add$ ?r\gh :i* ! play] c\ld bl[1 ! pipes n int5d$ to s\nd be+ clos$ by ! f+]s4 ,fur!rmore1 z ! pipes 7 increas$ 9 numb] & 9 size1 x became necess>y to employ v>i\s me*anical accessories to furni% adequate w9d supply1 & to op5 & close ! pipes at w1 ! brea? & f+]s ( ! play] prov+ insuffici5t4 ,a device 0 inv5t$ 9 ! =m ( a slide1 rule or tongue ( wood1 :i* 0 plac$ b5ea? ! ap]ture ( ! pipe1 & p]=at$ s z to %ut (f or admit w9d to ! pipe z x 0 drawn back or =?4 ,! e>lie/ =m ( bell[s might be sugge/$ by ! lea!rn bag ( ! bagpipe4 ,9 ?is ! w9d pressure 0 un/eady & ! tone necess>ily disconnect$4 ,illu/ration3 ,,pan',s ,,pipes 7,,syr9x74 ,,e>ly ,,=m ,,( ,,! ,,organ4 ,! ,hydraulic ,organ4--,! fir/ attempts to secure regul> or /eady w9d pressure 7 made by ,ctesibus1 :o liv$ at ,alex&ria1 ab\t #ahj ,b4 ,c4 ,to him is ascrib$ ! inv5tion ( ! s-call$ 8,hydraulic ,organ40 ,?is t]m seems some:at ( a misnom]1 s9ce ! wat] 0 us$ m]ely to give ! necess>y pressure to ! bell[s1 & to regulate ! w9d supply4 ,?is me?od 0 nev] develop$1 s9ce ! device did n seem applicable to in/rum5ts ( any consid]able size4 ,! tr5d 0 r t[>d a w9d supply f a bell[s op]at$ on ! same pr9ciple z t ( ! blacksmi?'s4 ,9 ! ,hydraulic ,organ ! wat] 0 ?us appli$3 ,an inv]t$ air receiv]1 into :i* ! w9d 0 =c$ by a bell[s1 0 imm]s$ 9 a tank ( wat]1 ! pressure ( ! wat] ar\nd & above ! receiv] =c+ ! air ?r\gh an ap]ture at ! top into ! pipes1 ! pressure be+ regulat$ by ! volume ( wat] 9 ! tank4 ,! hydraulic organ cont9u$ m or less 9 use up to ! e>ly "p ( ! #ad? c5tury4 ,! ,e>lie/ ,organs4--,! organ develop$ little z to size or me*anical improvem5ts dur+ ! fir/ t5 c5turies ( ! ,*ri/ian ,era1 & x is difficult to trace ! progressive /ages 9 po9t ( "t1 place or me*anical inv5tion4 ,! fir/ organ kn[n to ! p ( ,we/]n ,europe 0 a pres5t f ! ,byzant9e emp]or1 ,con/ant9e1 to ,pep9 ! ,%ort1 ,major-,domo ( ! ,franki% ,k+dom1 9 #gdb4 ,x _h brass pipes & ! 8keys0 7 /ruck by h&s & feet4 ,ea/]n organs also came into ,france 9 ! "t ( ,*>lemagne1 son ( ,pep94 ,! fir/ organ us$ 9 ,g]many 0 made 9 #hab1 modell$ aft] ! "o j m5tion$4 ,9 #hhj1 ! ,pope ord]$ an organ & an organ build] f ,g]many1 :i* seems to indicate t ! art _h f\nd support !re at an e>ly date4 ,al?\gh n consid]$ absolutely indisp5sable1 ! organ f t "t on seems to h be5 g5]ally adopt$ = use 9 *ur*es4 ,its _m imp]fections gave gr\nd = criticism1 yet today x is consid]$1 p> excell5ce1 ! ecclesia/ical in/rum5t4 ,increase 9 ! ,size ( ,organs4--,! organ build]s ( ^! e>ly days 7 mo/ly monks1 ,pope ,sylve/] ,,ii 7#ajjc7 be+ em95t1 "u ! "n ( ,g]b]t1 prior to 8 election to ! papacy4 ,!y built small organs call$ 8,portative10 & l>ge organs call$ 8,positive40 ,! old hydraulic organ1 ow+ to its excessive weight1 0 call$ 8,positive0 to di/+ui% x f ! 8,portative0 or portable organ1 & ^! t]ms h be5 p]petuat$ to ! pres5t "t4 ,an organ built = ! ,ca!dral at ,w9*e/]1 ,engl&1 _h t5 keys1 f\r hundr$ pipes & tw5ty-six bell[s1 :i* 7 op]at$ by sev5ty m51 89 ! sweat ( _! br[s40 ,s9ce =ty pipes 7 atta*$ to a s+le key1 x may be readily und]/ood :y its tone 0 comp>$ to ?und]4 ,! keys 7 v l>ge1 hav+ a deep fall1 & requir$ ! :ole =ce ( ! h& to press d[n a s+le "o4 ,me*anical ,improvem5ts4--,! pipes 9 ! e>ly organs 7 made ( copp]1 lead1 t91 silv]1 glass1 ivory & v>i\s woods1 b exp]im5ts f9ally %[$ t9 or wood to be be/ suit$ = ! purpose4 ,! e>lie/ organs _h ab\t twelve pipes1 & ! l>g] in/rum5ts ?ree octaves1 b )\t ! *romatic int]vals4 ,! pipes 7 arrang$ accord+ to ! sequ5ce ( tones 9 ! old ,*ur* modes1 ! octave conta9+ b ?ree semitones3 betwe5 ,e-,f1 ,a-,b flat & ,b-,c4 ,! *romatic tones 7 add$ gradually1 ! bread? ( ! keys be+ correspond+ly r$uc$ z ! increas$ numb] ( keys occupi$ ! same space z be=e4 ,h]et(ore1 ! w9d _h usually be5 =c$ f ! bell[s by ! weight ( m5 /&+ ^u !m1 b 9 ! #aj? c5tury use began to be made ( a lev]1 ! bell[s presumably be+ weight$4 ,! ,keybo>d is ,adopt$4--,9 ! #aa? c5tury1 ! keybo>d appe>$1 supplant+ ! lev]s & slides1 previ\sly 9 use4 ,! fir/ organ conta9+ ?is m>k$ improvem5t 0 made = ! ,ca!dral at ,magdeburg1 ,g]many4 ,x _h sixte5 keys4 ,9 #acej1 a monk at ,?orn built an organ ) tw5ty-two keys1 & 9 #acfa an organ 0 built = ! ,ca!dral at ,halb]/adt ) f\rte5 diatonic & eight *romatic tones 9 a compass ext5d+ f ,b1 second l9e1 bass /aff1 to ,a1 second space1 treble4 ,?is organ _h ?ree keybo>ds1 n[ t]m$ manuals4 ,! ,p$als4--,! inv5tion ( p$als is v>i\sly ascrib$ to ,alb]t ,van ,os 7ab\t #aabj71 to ,van ,valbeke1 ( ,brabant1 & to a ,g]man nam$ ,b]nh>d 7#adgj71 an organi/ ( ,v5ice4 ,! latt] probably improv$1 b did n inv5t ! p$als4 ,! p$als at fir/ did n exce$ ! compass ( an octave1 & 7 us$ only = su/a9+ prolong$ tones4 ,!y 7 fa/5$ to ! broad manual keys by /\t cords1 ?us enabl+ ! p]=m] to draw d[n ! desir$ key ) ! foot4 ,ab\t ! ye> #adah ! p$als began to be atta*$ to indep5d5t p$al-pipes1 ?us imp>t+ to ! organ a c]ta9 dignity & sonority1 /ill a *ief *>act]i/ic ( ! in/rum5t4 ,aft] #adge1 all important organs 7 built ) p$al keybo>d4 ,! ,introduction ( ,/ops4--,up to ! #ad? c5tury1 ! diff]5t regi/]s 7set ( pipes ) uni=m tone quality7 c\ld n be s\nd$ sep>ately1 t is to say3 all ! pipes belong+ to any "o key s\nd$ :5 t key 0 depress$4 ,at ! close ( ! #ad? c5tury x 0 f\nd possible to add valves to ! pipes 9 su* a mann] z to cause ! w9d to pass ?r\gh or be cut (f f any s]ies ( pipes at w4 ,! op5+ & clos+ 0 manag$ ?r\gh a spr+4 ,! next improvem5t 0 to introduce a slide to op5 or close ! passage ( w9d into ! pipes4 ,) ^! improvem5ts x became possible = build]s to set !mselves to ! improvem5t ( ! v>i\s 8/ops0 or regi/]s4 ,improvem5ts 9 ,/ops4--,9 ! #ae? c5tury1 pipes ( sixte5 & ?irty-two feet 9 l5g? began to be us$1 necessitat+ a greatly enl>g$ bell[s4 ,pipes 7 clos$ at ! top1 !reby l[]+ ! pit* an octave4 ,!y 7 giv5 small] diamet]s1 produc+ a s(t] tone quality4 ,! %apes ( ! pipes 7 v>i$1 giv+ additional v>iety 9 tone quality4 ,?us began ! broad classifications ( 8,op50 & 8,/opp$0 pipes 9 all _! v>ieties4 ,! 8,re$s0 7pipes conta9+ a vibrator or tongue to set ! column ( air 9 motion7 7 famili> to ! e>lie/ p]=m]s1 b 7 n introduc$ into ! organ until z late z ! #ad? c5tury4 ,fur!r improvem5ts 7 made 9 ! bell[s at ! beg9n+ ( ! #af? c5tury4 ,/4 ,m>y's1 ,lbeck4--,9 #aefa1 a ?ree-manual organ 0 9 use 9 ,/4 ,m>y's1 ,lbeck1 ,g]many4 ,to ?is organ all ! important improvem5ts 7 successively add$ at v>i\s int]vals until x _h1 at ! beg9n+ ( ! #ah? c5tury1 9 ! ?ree manuals1 respectively1 ?irte51 f\rte5 & fifte5 /ops1 & 9 ! p$al1 fifte5 /ops4 ,x 0 to he> ! fam\s ,buxtehude play ^u ?is organ t ,seba/ian ,ba* walk$ fifty miles 9 #agje4 ,design ( ,improvem5ts4--,great improvem5ts h be5 made 9 organ build+ s9ce ! "t ( ,ba*1 all design$ to give ! play] great] res\rces1 & increas$ facility 9 ! h&l+ & control ( ! res\rces1 :i* 9 ! pres5t day are simply enorm\s4 ,! ,organ 9 ! ,am]ican ,colonies4--,al?\gh ! fir/ organs he>d 9 ,am]ica 7 probably introduc$ by ! ,spani>ds1 ( ^! !re are no au!ntic records4 ,accord+ to reliable hi/oric data1 ! fam\s old 8,brattle0 organ 0 8! fir/ organ t ev] peal$ to ! glory ( ,god 9 ?is c\ntry40 ,x 0 import$ f ,london1 9 #agac1 by ,mr4 ,?omas ,brattle1 :o bequea!d x to ! ,brattle ,/reet ,*ur*1 ,bo/on1 direct+ t ! p>i% 8procure a sob] p]son t c play skilfully !reon ) a l\d noise40 ,?is organ became ! prop]ty ( ,k+'s ,*apel1 ,bo/on1 & 0 us$ until #agef4 ,no ,art 9 ,e>ly ,organ ,play+4--,! organs ( ! e>ly ,*ri/ian p]iod 7 ( su* a "* t play+1 9 ! s5se 9 :i* we n[ und]/& ! ^w1 0 out ( ! "q4 ,= "s "t ! span ( ! h& possible to play]s did n exce$ ! di/ance ( a fif?4 ,if an octave 0 to be /ruck1 a second play] 0 necess>y4 ,only ) ! n>r[+ ( ! keys did arti/ic play+ become possible4 ,9 fact1 organ play+ has inv>iably reflect$ ! /yle & developm5t ( contempor>y musical art4 ,e>ly ,organi/s4--,! cr$it ( be+ 8fa!r ( organi/s0 is giv5 to ,francesco ,l&9o1 ( ,flor5ce 7#acbe-acij71 & aft] him to ,b]nh>d1 m5tion$ z ! inv5tor ( ! organ p$als4 ,! olde/ organ compositions are "s works by ,konrad ,paumann 7#adaj-adgc71 :o 0 born bl9d1 yet1 l _m o!rs s9ce1 became a ?or\ghly tra9$ musician 9 spite ( 8 affliction4 ,he also play$ o!r in/rum5ts & 0 a f9e contrapunti/4 ,ano!r ( ! e>ly organi/s is ,b5$ictus ,ducis 7or ,h]toghs71 born at ,bruges1 ab\t #adhj4 ,he 0 a pupil ( ,josqu9 des ,pres4 ,f ,ducis1 repres5t+ ! second ,flemi% s*ool1 z f\nd$ by ,okeghem1 !re is a *a9 almo/ ( ma/] & pupil1 betwe5 ! e>ly ma/]s ( organ play+ & polyphonic writ+ & ,ba*1 :o 9 ^! arts became ! ma/] ( all4 ,paumann's pieces %[ ! /yle ( compos+ = ! in/rum5t t 0 consid]$ appropriate4 ,!y are ess5tially transcrib$1 b elaborat$1 vocal works4 ,! compositions ( ! next organi/s ( fame1 ,willa]t1 ( ,v5ice 7#adij-aefb71 & ,cyprian di ,rore 7#aeaf-aefe71 pupil ( ! =m]1 h di/9ct names4 ,ric]c>i1 ,intonationi1 ,contrapunti1 ,toccati1 ,praeambula1 & ,canzoni1 b ! "* rema9s ! same1 vocal pieces1 elaborat$ & freely embelli%$ ) runs & o!r passage "w4 ,lat] ! t]m ,ric]c>i came to mean a sort ( fantasia 9 fugal =m1 (t5 on a popul> air2 ,toccata became a free fantasia ) brilliantly figurat$ passages1 & a ,praeambulo a prelude to a l>g] piece4 ,o!r fam\s organi/s ( ?is p]iod 7 ,b]nh>d ,s*midt 7#aebj-871 ,g]man2 ,claudio ,m]ulo 7#aecb-afjd71 organi/ at ,v5ice1 & 8 successors1 ! two ,gabrieli's4 ,frescobaldi & ,8 ,successors4--,! greate/ ( all ! organi/s ( ! e>li] days1 to :om ! title ( 8,fa!r ( true organ play+0 has be5 giv51 0 ,girolamo ,frescobaldi1 born 9 #aehc at ,f]r>a1 9 ,italy1 educat$ 9 ,fl&]s1 & f #afjh to 8 dea? 9 #afdd organi/ at ,/4 ,pet]'s1 ,rome4 ,8 fame 0 s great t ! spaci\s ca!dral 0 (t5 fill$ :5 he gave an organ recital4 ,8 compositions1 _m ( :i* h be5 pres]v$1 h a v decid$ contrapuntal "*1 :5ce "s h call$ him ! inv5tor ( ! organ fugue4 ,two prom95t ,g]man organi/s1 ^: compositions 7 /udi$ by ,ba*1 7 ,casp> ,k]l 7#afbg-afic71 & ,jacob ,frob]g] 7------#affg71 bo? ( :om liv$ 9 ,vi5na4 ,! mo/ em95t organi/ ( ! #ag? c5tury 0 ,johann ,pet] ,sweel9ck 7#aefb-afba71 pupil ( ,z>l9o1 ! fam\s ,italian !ori/1 & ( ,&reas ,gabrieli1 organi/ ( ,v5ice4 ,sweel9ck occupi$ ! position ( organi/ at ! ,ca!dral 9 ,am/]dam1 & gave mu* att5tion to ! developm5t ( ! fugal /yle ( composition4 ,8 compositions are ( ! highe/ importance hi/orically1 s9ce !y exhibit ! fir/ kn[n examples ( ! indep5d5t use ( ! p$als 9 a real fugal "p4 ,he 0 ! mo/ em95t organi/ ( 8 "t 7be+ call$ ! organi/ mak]71 & 0 ! tea*] ( ! foll[+ not$ play]s3 ,jacob ,praetorius 7di$ at ,hamburg 9 #afea72 ,he9ri* ,s*eidemann 7#aeif-affc71 also locat$ at ,hamburg2 ,jan ,adams ,re9k5 7#afbc-agbb71 f #affc organi/ & successor to ,s*eidemann at ! ,ca!r9e ,*ur*1 ,hamburg 7,ba* came to ,hamburg sev]al times to he> ,re9k5 play & to le>n 8 /yle72 ,samuel ,s*eidt 7#aehg-afed71 organi/ at ,halle4 ,"s ( _! compositions are accessible4 ,illu/ration3 ,,johann ,,pet] ,,sweel9ck4 ,o!r fam\s organi/s ( ?is p]iod 7 ,johann ,pa*elbel 7#afec-agjf71 locat$ at ,nuremb]g 7,ba* /udi$ 8 works z a lad72 ,dietri* ,buxtehude 7#afcg-agjg71 organi/ at ,lbeck = ?irty-n9e ye>s4 ,"o ( ! mo/ important names ( ?is p]iod ( developm5t is t ( ,johann ,joseph ,fux 7#affj-agda74 ,8 8,gradus ad ,p>nassum10 publi%$ 9 #agbe1 a treatise on c\nt]po9t bas$ on ! practice ( ! great ma/]s1 play$ an important "p 9 ! tra9+ ( ,haydn1 ,moz>t & ,bee?ov54 ,engli% ,organi/s4--,9 ! hi/ory ( ,engli% organ play+1 ! fir/ great "n to engage our att5tion is t ( ,?omas ,tallys1 born ab\t #aebj4 ,he is call$ ! 8,fa!r ( ,engli% *ur* music40 ,he s]v$ "u ,h5ry ,,viii1 ,edw>d ,,vi1 ,que5 ,m>y & ,que5 ,elizabe?1 z organi/ ( ! ,*apel ,royal4 ,engli% organi/s ( di/9ction contempor>y ) & succe$+ ,tallys 7 ,john ,m]becke1 ,ri*>d ,f>rant1 ,william ,byrd1 ,john ,bull1 ,?omas ,morley1 ,orl&o ,gibbons 7a contempor>y ( ,frescobaldi71 ,mat!w ,lock1 ,john ,bl[ & ,h5ry ,purcell4 ,! la/ m5tion$1 born 9 #afeh1 became organi/ ( ,we/m9/] ,abbey 9 #afhj4 ,! "n ( ,purcell is "o ( ! /ronge/ 9 ! hi/ory ( ,engli% music4 ,x 0 8 ambition to f\nd a di/9ctive s*ool ( ,engli% composition4 ,al?\gh n successful 9 ?is1 he made a la/+ impression on ,engli% *ur* music & produc$ _m *>m+ secul> works4 ,x is on record t he /ood high 9 ! e/imation ( 8 ,european contempor>ies4 ,culm9ation 9 ,ba* & ,h&el4--,! ,polyphonic ,p]iod culm9at$ 9 ,ba* & ,h&el1 bo? born 9 #afhe4 ,^! two1 :o nev] met1 & :o work$ ^u dissimil> l9es1 7 ! mo/ fam\s organi/s ( _! day1 9 addition to _! greatness 9 composition4 ,! ,organ & ,polyphonic ,music4--,ba* mu/ be reg>d$ z ! s\rce ( mod]n organ composition & play+4 ,9 him polyphonic composition atta9$ its highe/ p]fection & ! organ /&s z ! c5tre ( ! ,polyphonic s*ool4 ,! developm5t ( ! ,op]a & its influ5ce t[>ds a fre] /yle 9 vocal & in/rum5tal composition & ! t5d5cy ( in/rum5tal music to develop along h>monic l9es _h ! effect ( relegat+ polyphonic music to ! ,*ur* ) ! organ z its *ief vehicle4 ,x is only ( comp>atively rec5t ye>s t ! organ has become a conc]t in/rum5t4 ,ba*'s treatm5t ( ! in/rum5t s]ves z a model = ! compos]s ( all "t & ! /udy ( 8 works is indisp5sable to ! developm5t ( te*nical comm& ( ! organ & ! cultivation ( ! true organ /yle4 ,h&el's p]man5t contribution to organ lit]ature consi/s ( sets ( ,conc]tos4 ,^! conc]tos1 a numb] ( :i* are /ill play$ & admir$1 excit$ ! en?usiasm ( ,sir ,john ,hawk9s1 :o gives a gl[+ acc\nt ( !m 9 8 hi/ory4 ,ba* 0 appo9t$ ,cantor at ! ,/4 ,?omas ,s*ule1 ,leipzig1 9 #agbc1 & x 0 "h t mu* ( 8 greate/ "w 0 accompli%$4 ,9 addition to 8 duties at ! s*ool1 he direct$ ! music 9 ! ,*ur*es ( ,/4 ,?omas & ,/4 ,ni*olas4 ,z to ! relative sup]iority ( ,ba* & ,h&el z organi/s1 contempor>y op9ion seems to h diff]$ widely4 ,ea* und\bt$ly _h a /yle ( 8 own z %[n 9 8 publi%$ compositions4 ,ea* excell$ 9 improvisation4 ,! ,*orale 9 ,prote/ant ,organ ,music4--,9 addition to 8 incomp>able preludes & fugues1 toccatas1 fantasias & pieces 9 ! l>g] =ms1 ,ba* made ! polyphonic treatm5t ( ! *orale an art peculi>ly 8 own4 ,9 fact1 ! ,g]man /yle ( organ play+ may be said to h develop$ f ! *orale & f ! music ( ! ,re=mation4 ,?is furni%$ a fre%] & v diff]5t s\rce ( inspiration f ! ,gregorian *ant :i* _h be5 h&l$ s effectively by ,frescobaldi & 8 ,italian successors4 ,m>*&4--,"o ( ! mo/ r5[n$ ( e>ly ,fr5* organi/s 0 ,l\is ,m>*& 7#afga-agcb74 ,9 #agag1 :ile liv+ "u bani%m5t 9 ,dresd51 he 0 to h ent]$ into a trial ( skill ) ,ba*1 b lo/ c\rage & dep>t$ on ! morn+ ( ! appo9t$ day4 ,a c]ta9 triviality has at times *>act]iz$ ! ,fr5* s*ool ( organ music1 und\bt$ly a reflection ( ! prevail+ /yle & ta/e 9 o!r bran*es ( musical composition4 ,( lat] ye>s1 h[ev]1 a m s]i\s & exalt$ /yle has develop$4 ,! ,g]man ,s*ool4--,to return to ! ,g]man organi/s4 ,a "n famili> to all /ud5ts ( ! organ is t ( ,r9ck4 ,johann ,c4 ,h4 ,r9ck 7#aggj-ahdf7 0 a pupil ( ,kittel1 :o 9 turn 0 a pupil ( ,j4 ,s4 ,ba*4 ,r9ck's reputation is bas$ l>gely on 8 8,practical ,organ ,s*ool10 a "w /ill 9 use4 ,ano!r "n ( importance is t ( ,johann ,gottlob ,s*neid] 7#aghi-ahfd74 ,he has _h ! reputation ( be+ "o ( ! greate/ ,g]man organi/s s9ce ! "t ( ,ba*4 ,( ! great compos]s s9ce ,ba*1 ,m5delssohn /&s conspicu\s z an organi/ & compos] ( organ music4 ,haydn1 ,moz>t & ,bee?ov51 al?\gh occasionally us+ ! organ 9 _! scores1 did n compose = ! in/rum5t4 ,m5delssohn develop$ a decid$ fondness = ! organ1 :i* he play$ admirably4 ,8 six sonatas & ?ree preludes & fugues are ma/]pieces4 ,among ! repres5tative ,g]man organi/s & compos]s %\ld be m5tion$3 ,adolph ,hesse 7#ahji-ahfc71 au?or ( ! 8,practical ,organi/0 & a prolific compos]2 ,k>l ,augu/ ,haupt 7#ahaj-ahia71 a celebrat$ tea*]1 numb]+ among 8 _m pupils f all c\ntries su* prom95t ,am]ican organi/s z ,eug5e ,?ay]1 ,cl>5ce ,eddy & ,j4 ,k4 ,pa9e2 ,c>l ,ludwig ,?iele 7#ahaf-ahdh7 compos] ( "s ( ! mo/ difficult kn[n works = ! organ2 ,gu/av ,m]kel 7#ahbg-ahhe71 a prolific compos]1 ^: sonatas are numb]$ among ! /&>d works = ! in/rum5t2 ,j4 ,g4 ,rhe9b]g] 7#ahcg-aija71 "o ( ! f9e/ organi/s & be/ tea*]s ( 8 "t & a compos] ( great ability1 ^: tw5ty sonatas =m a p]man5t addition to ! be/ organ lit]ature4 ,a numb] ( ,am]ican organi/s 7 among 8 pupils4 ,! ,fr5* ,s*ool4--,prom95t among organi/s ( ! ,fr5* s*ool 9 ! #ai? c5tury may be m5tion$3 ,l4 ,j4 ,a4 ,lefbure-,wly 7#ahag-ahfi7 & ,anto9e ,edu>d ,bati/e 7#ahbj-ahgf74 ,! works ( bo? ^! organi/s are /ill widely play$ & h won mu* popul>ity4 ,wely has be5 call$ ! 8,aub] ( ! organ40 ,8 works display f]tility ( melodic inv5tion & a piquancy ( h>monic treatm5t1 b are entirely lack+ 9 ! polyphonic elem5t4 ,mu* ! same may be said ( ,bati/e1 :o 0 a f9e play] & tea*]1 & :o equall$ ,wely 9 tunefulness b n 9 musician%ip4 ,ni*olas ,jacques ,lemm5s 7#ahbc-ha71 a great play] 7especially ( ,ba*7 & au?or ( ! celebrat$ 8,ecole d',orgue0 may be said to h laid ! f\ndation ( ! mod]n ,fr5* s*ool4 ,conspicu\s among 8 successors h be53 ,camille ,sa9t-,sans 7#ahce-----71 a mo/ v]satile musician & a not$ organi/2 ,?odore ,dubois 7#ahcg-----71 ,?odore ,salome 7#ahcd-----7 & ,felix ,alex&re ,guilmant 7#ahcg-----74 ,guilmant1 "o ( ! mo/ not$ organi/s & compos]s ( ! pres5t day1 0 a favorite pupil ( ,lemm5s4 ,he has be5 "o ( ! mo/ prolific compos]s s9ce ! "t ( ,ba*1 is a ma/] ( all ! res\rces ( ! mod]n organ1 & has a f]tility ( inv5tion & a flu5t comm& ( contrapuntal res\rces4 ,ano!r em95t ,fr5* organi/ is ,c4 ,m4 ,widor 7#ahde-----71 also a compos] ( di/9ction4 ,a p[]ful influ5ce 0 ex]t$ on mod]n organ music1 z well z g5]al composition1 by ! em95t organi/ & compos]1 ,cs> ,franck1 :o 01 = a numb] ( ye>s1 9 *>ge ( ! organ class at ! ,p>is ,cons]vatoire4 ,! ,italian ,s*ool4--,among rec5t ,italian organi/s ,filippo ,capocci 7#ahdj-----7 & ,enrico ,bossi 7#ahfa-----7 are wor?y ( m5tion4 ,bo? are spl5did organi/s & prolific compos]s4 ,!y are lead]s 9 ! revival ( good organ play+ 9 ,italy1 :]e a det]m9$ ef=t is be+ made to re/ore ! art to its =m] supremacy4 ,! ,engli% ,s*ool4--,engl& has furni%$ a long l9e ( #ai? c5tury organi/s ( ability1 prom95t among :om are3 ,sir ,john ,goss 7#ahjj-ahhj71 ,h5ry ,sm>t 7#ahac-ahgi71 ,e4 ,j4 ,hopk9s 7#ahah-aija71 ,s4 ,s4 ,wesley 7#ahaj-ahgf71 ,dr4 ,wm4 ,sp>k 7#ahbe-ahig74 ,=emo/ among ,engli% organi/s /&s ! "n ( ,wm4 ,t4 ,be/ 7#ahbf-ahig74 ,he 0 "o ( ! mo/ fam\s conc]t organi/s ( 8 "t1 b is be/ kn[n to organ /ud5ts by 8 8,arrangem5ts f ! ,scores ( ! ,great ,ma/]s10 9 :i* he demon/rat$ t ! organ is 9 itself capable ( reproduc+ c]ta9 or*e/ral effects )\t transc5d+ its prop] functions or desc5d+ to trick]y4 8,! ,organ10 by ,sir ,john ,/a9] 7#ahdj-aija71 is "o ( ! mo/ widely us$ elem5t>y works = in/ruction 9 organ play+4 ,dr4 ,/a9] 0 ! successor ( ,sir ,john ,goss1 at ,/4 ,paul's1 ,london1 & 0 appo9t$ ,pr(essor ( ,music at ,ox=d ,univ]sity 9 #ahhi4 ,fr$]ic ,ar*] 7#ahch-aija7 has be5 consid]$ "o ( ! greate/ ( organ play]s4 ,aft] a successful c>e] 9 ,engl&1 he came to ,am]ica 9 #ahhj4 ,he did mu* t[>ds popul>iz+ & elevat+ ! art ( organ play+ 9 ?is c\ntry4 ,prom95t among contempor>y ,engli% organi/s /&s ,edw9 ,h4 ,lem>e 7#ahfe-----71 :o succe$$ ,fr$]ic ,ar*] z organi/ ( ,c>negie ,hall1 ,pittsburg1 9 #aijb4 ,he is a skilful virtuoso1 a compos] ( orig9ality1 & a lead+ repres5tative ( ! mod]n ,engli% s*ool4 ,mod]n ,organ ,music4--,organ play+ & composition h kept pace ) ! me*anical & arti/ic evolution ( ! in/rum5t1 & ! l9es betwe5 ! v>i\s s*ools are becom+ less closely drawn4 ,! t5d5cy ( build]s to imitate or*e/ral tone & effects has _h influ5ce on compos]s & play]s alike4 ,?is t5d5cy is less noticeable 9 ! works ( ! ,g]man s*ool1 :]e a modifi$ polyphony /ill fl\ri%es1 bas$ on ! pr9ciple ( ! classic treatm5t ( ! *orale & gr[+ out ( ! music ( ! ,lu!ran ,*ur*4 ,! organ compositions ( ! mod]n ,fr5* s*ool are *>act]iz$ by grace1 ref9em5t & orig9ality1 c\pl$ ) a c]ta9 dignity & elegance4 ,!y comb9e free h>monic treatm5t & mod]n polyphony1 toge!r ) c]ta9 ornate *>act]i/ics1 gr[+ out ( ! elaborate c]emonial music ( ! ,lat9 ,*ur*1 & br++ into play all ! res\rces ( tone color & expressive treatm5t ( ! mod]n in/rum5t4 ,mu* ! same may be said ( ! mod]n ,engli% s*ool1 :i* nev]!less /ill %[s traces ( ! e>ly ,engli% /yle1 bas$ on ! dignity & purity ( ca!dral use & tradition4 ,! or*e/ral t5d5cy1 bo? 9 composition = ! organ & 9 ! transcription ( or*e/ral works = ! in/rum5t1 %[s itself m or less 9 all s*ools1 & ! organ1 9 addition to its position 9 ! *ur*1 is becom+ m & m a conc]t in/rum5t4 ,! compositions ( ! ,am]ican organi/s reflect1 9 a measure1 ! *>act]i/ics ( ! s*ools 9 :i* !y h be5 tra9$1 & 9 p>ticul> %[ traces ( ! /yles ( ! ma/]s ) :om !y h *iefly /udi$4#i ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians4 ,articles on ! ,organ1 & ,organi/s m5tion$ 9 ?is lesson4 ,williams4--,/ory ( ! ,organ4 ,lahee4--,! ,organ & its ,ma/]s4 ,mat!ws4--,h&book ( ! ,organ4 ,pirro4--,j4 ,s4 ,ba*3 ,! ,organi/ & ,8 ,works4 ,audsley1 ,g4 ,a4--,! ,art ( ,organ ,build+1 #b vols4 ,,que/ions4 ,9 :at e>ly in/rum5t is ! g]m ( ! organ f\nd8 ,describe its gradual developm5t4 ,describe ! g5]al "* ( ! e>ly organs4 ,describe ! v>i\s me*anical improvem5ts4 ,:5 & by :om 7 p$als introduc$8 ,m5tion "s ( ! e>ly organi/s4 ,9 :om did ! ,polyphonic ,p]iod culm9ate8 ,:o is ! s\rce ( mod]n organ composition & play+8 ,m5tion "s ,g]man organi/s s9ce ! "t ( ,ba*4 ,m5tion "s prom95t ,fr5* & ,engli% organi/s ( ! #ai? c5tury4 ,describe ! mod]n t5d5cies 9 organ composition4 ,,sugge/ions ,,= ,a ,,review ,,( ,,lessons ,,viii ,,to ,,xvi4 ,get a cle> idea ( ! p]iod1 :i* includes ! ye>s betwe5 #aajj & ! dea? ( ,pale/r9a 9 #aeid1 almo/ #ejj ye>s4 ,! lesson on ! organ & organ play+ belongs to ?is p]iod1 *ronologically1 9 "p only4 ,! diff]5ce betwe5 ! monophonic & polyphonic /yles mu/ be cle>ly appreciat$ 9 ord] to get a cle> grasp ( ! two fundam5tal /yles 9 music4 ,illu/rations f ! ma/]s are to be plac$ 9 contra/4 ,polyphony develop$ f melodic pr9ciples1 ! simultane\s s\nd+ ( sev]al melodies4 ,monophony dep5ds ^u a h>monic basis4 ,indicate ! /eps 9 ! gr[? ( ,polyphony4 ,h[ did ! ,*ur* contribute8 ,:at political & o!r conditions made ,p>is ! c5tre ( ,europe 9 ! #ab? c5tury8 ,:at is ! =ce ( ,imitation z a pr9ciple to secure ,unity 9 musical composition8 ,h[ 0 x us$ by ! compos]s ( ! ,p>is s*ool8 ,:at advances 9 ! use ( ,imitation did ! m5 ( ! ,gallo-,belgic s*ool make8 ,indicate c]ta9 hi/orical ev5ts & "n prom95t p]sonages ( ! p]iods includ$ 9 ?is section4 ,:y did ! e>ly ,engli% s*ool ex]cise s little influ5ce on music8 ,:at not$ musical composition is cr$it$ to ! ,engli% s*ool8 ,:at k9d ( "w is x8 ,:at hi/orical p]iods co9cide ) ! ,engli% s*ool z describ$ 9 ?is section8 ,comp>e ! ,gallo-,belgic & ! ,ne!rl&s s*ools4 ,:at did ! =m] contribute to ! latt]8 ,:at is ! musical value ( ! pr9ciple ( ! ,canon8 ,:y did ! musical c5tre %ift respectively f ,p>is to ,belgium1 to ! ,ne!rl&s & !n to ,italy8 ,make a li/ ( ! compos]s ( ! diff]5t s*ools ( ?is p]iod & trace ! connection betwe5 !m4 ,give a sket* ( ,pale/r9a & %[ 8 contribution to *ur* music4 ,describe ! madrigal4 ,comp>e a madrigal ) a mod]n "p-song & note ! diff]5ce 9 /yle4 ,give ! classification ( musical in/rum5ts4 ,examples 9 ea* class4 ,give a sket* ( ! developm5t ( ! viol4 ,:at is ! g]m ( ! pr9ciple ( ! organ8 ,:at is ! necessity = ! use ( a bell[s8 ,:at are ! successive /eps 9 improv+ ! organ8 ,m5tion ! important play]s 9 *ronological ord]4 ,classify !m 9 ! prop] s*ools4 ,comp>e ! ,g]man1 ,fr5* & ,engli% s*ools4 ,,lesson ,,xvii4 ,,! ,,beg9n+ ,,( ,,! ,,op]a4 ,! ,r5aissance4--,! ,op]a1 9 its inception1 0 lit]>y r ?an musical 9 nature4 ,x 0 a result ( :at is kn[n z ! ,r5aissance1 s-call$ because its mo/ prom95t manife/ation 9 ,italy 0 a revival ( ! le>n+ ( ! anci5ts4 ,?is phase ( ! movem5t 0 initiat$ by ,petr>* 7#acjd-acgj71 :o devot$ 8 life to ! /udy ( ! classical pa/ ( ,italy4 ,! ,lat9 classics _h nev] be5 entirely lo/1 b ^? ( ! ,greeks _h become practically ext9ct dur+ ! d>k ages :i* foll[$ ! conque/ ( ! ,roman ,empire by ! b>b>ians ( ! ,nor?1 9 ! #e? c5tury4 ,! arts _h be5 kept alive only ?r\gh ! fo/]+ c>e ( ! ,*ur*1 & all _h tak5 on a conv5tionally ecclesia/ical "*4 ,education _h decl9$2 x 0 practically conf9$ to *ur*m5--ev5 k+s & rul]s c\ld b>ely sign _! names1 :ile ! p at l>ge 7 sunk 9 gross ignorance4 ,! revival ( ,lat9 lit]ature ?r\gh ! influ5ce ( ,petr>* l$ to an int]e/ 9 ! ,greek classics :i* soon became ! engross+ /udy ( ! le>n$4 ,dilig5t se>* 0 made = lo/ & =gott5 manuscripts2 academies ( le>n+ 7 f\nd$2 lectures 7 giv5 on ,greek philosophy4 ,9 ! en?usiasm ?us creat$ x 0 ev5 ?\ght t n only ! arts & lit]ature ( ! anci5t _w might be re/or$1 b its gov]nm5tal1 social & political /ructure z well4 ,scope ( ! ,r5aissance4--,! ,r5aissance1 h[ev]1 0 n m]ely lit]>y 9 nature4 ,x 0 9 reality ! awak5+ ( man f ! spiritual & intellectual slumb] :i* _h b\nd him = ne>ly a ?\s& ye>s4 ,long be=e x 0 def9$ x _h be5 p]ceptible 9 _m ways4 ,fir/1 mat]ially1 9 a _s ( exploration1 ( adv5ture & ent]prise4 ,trad]s & travel]s />tl$ ,europe ) gl[+ acc\nts ( ! f> ,ea/2 mission>ies took long & dang]\s voyages 9 ! hope ( conv]t+ its hea!n inhabitants4 ,an eag] desire = increas$ comm]cial facilities ) ^! favor$ c\ntries by means ( a we/w>d passage br\ght ab\t ! discov]y ( ,am]ica1 ) :i* mod]n hi/ory may be said to h op5$4 ,) ?is ext5sion ( ! _w's b\nd>ies1 ! m9d ( man began to exp& z well4 ,z he look$ =w>d ) eag] anticipation to ! future1 he /udi$ ! pa/ ) an eye newly alive to ! treasures ( its buri$ culture4 ,in/ead ( 8 =m] acquiesc5ce 9 be+ "o ( a dull1 in]t mass1 s]v+ )\t "q ^? 9 au?ority ov] him1 he began to feel & to ass]t 8 own individuality1 to resi/ ! cru%+ weight ( feudalism :i* _h hi!rto oppress$ him4 ,fre$om ( intellect1 ( consci5ce1 ( sci5ce1 ( art1 0 9 ! air4 ,! effect ( ?is transition f m$ievalism t[>d mod]n lib]ty ( ?\ght & action v>i$ ) diff]5t nationalities4 ,9 nor!rn nations x took ! direction ( rebellion aga9/ prevail+ religi\s & political conditions1 = example1 9 ,g]many & ,engl&4 ,italy1 h[ev]1 rema9$ /eadfa/ 9 religion & gov]nm5t2 ! revolt 0 aga9/ traditions 9 matt]s ( art & lit]ature4 ,roman law & ,greek philosophy 7 exhum$2 ! classics 7 zeal\sly /udi$ = /&>ds ( ta/e & culture4 ,music ( ! ,anci5ts4--,not)/&+ ?is rese>*1 no trace 0 f\nd ( ! music actually 9 use among ! anci5ts4 ,f ! evanesc5t nature ( ! art & ! total lack ( examples1 ! elaborate descriptions ( its complicat$ sy/em ( scales & modes giv5 by ,greek philosoph]s fail$ to yield a tru/wor?y clue to its real "*4 ,x 0 kn[n1 h[ev]1 t ! drama1 ow+ to ! enorm\s proportions ( ! amphi!atre 9 :i* x 0 p]=m$1 0 musically declaim$1 & t ! voices ( ! actors & *orus 7 su/a9$ by lyres & flutes4 ,?us1 9 ! ,greek trag$y we f9d ! pr9cipal features ( ! mod]n op]a--sc5]y1 dramatic action1 solo & *oral s++1 ! or*e/ra4 ,x 0 also kn[n t 9 ! music ( ! ,greeks ! ^w 0 ! gov]n+ pr9ciple2 t !re 0 no indep5d5t in/rum5tal music--nor 0 !re else:]e = _m c5turies aft]w>d4 ,! tone 0 reg>d$ only z a means ( height5+ ! effect ( ! poetry2 ! succession ( long & %ort syllables dictat$ bo? rhy?m & melody4 ,( h>mony 9 ! mod]n s5se ( ! t]m1 !re 0 none2 in/rum5ts & voices alike 7 9 unison4 ,music ,*iefly ,*oral4--,9 ! #af? c5tury1 ,flor5ce 0 ! c5tre ( ! en?usiasm = ,greek culture4 ,%e & h] si/]-cities 9 ! nor? ( ,italy 7 ! arbit]s 9 matt]s ( ta/e1 ( le>n+ & erudition4 ,!re1 t[>d ! end ( ! c5tury1 a small gr\p ( s*ol>s & musicians1 kn[n z ! ,cam]ata 7,*amb]71 meet+ at ! h\se ( ,c\nt ,b>di1 discuss$ ! possibility ( reproduc+ ! musical declamation ( ,greek trag$y4 ,! "t 0 ripe = su* an exp]im5t4 ,! polyphonic s*ool _h rea*$ its climax 9 ! intricate works ( di ,lasso 7#aebj-aeid7 & ,pale/r9a 7#aead-aeid74 ,?\gh admirably suit$ to ! ,*ur*1 ! contrapuntal /yle ( ^! great compos]s 0 manife/ly unfit = dramatic purposes2 x c\ld voice ! aspirations ( a body ( wor%ip]s sway$ by a common belief1 b c\ld n express individual feel+4 ,no voice 0 m important ?an ano!r1 all progress$ accord+ to canonic law1 _! complex int]tw9+ practically de/roy+ ! ess5tially secul> elem5ts ( acc5t & rhy?m4 ,x 01 9 %ort1 ! embodim5t 9 music ( ! m$ievalism :i* _h s long controll$ ,*ur* & ,/ate4 ,?us f> ! _s ( emancipation :i* _h produc$ su* great results 9 ! o!r arts & 9 politics else:]e _h t\*$ music b lightly4 ,attempts _h be5 made to break ! re/ra9ts ( contrapuntalism1 b !re 0 a total ignorance z to :at /eps w\ld prove mo/ effective 9 rea*+ t end1 & no?+ def9ite _h be5 accompli%$4 ,aside f ! ,folk-song1 :i* 0 ignor$ by musicians save only z x s]v$ z ,cantus ,firmus = _! c\nt]po9t1 !re 0 no music = ! solo voice2 x 0 conceiv$ solely f a *oral /&po9t4 ,! ,recitative4--,_! dissatisfaction ) ! s*ool ( music !n 9 vogue & ! impossibility ( adapt+ x to _! purpose l$ to v>i\s exp]im5ts by ?is b& ( en?usia/s to discov] ! pr9ciples ^u :i* ! ,greeks _h f\nd$ ! musical declamation employ$ 9 _! trag$ies4 ,!y argu$ t x mu/ h foll[$ z closely z possible ! inflections ( ! voice 9 speak+2 !re=e !y made ?is _! /udy4 ,?us orig9at$ ! ,recitative1 ! di/+ui%+ feature ( ! lyric drama1 :i*1 ?\gh us+ ! def9ite pit*es ( ! musical scale1 reproduces 9 its progressions & cad5ces ! *>act]i/ic b int5sifi$ effect ( an oratorical deliv]y ( ! text4 ,x 0 ! exact contr>y ( ! music ( ! age 9 :i* ! ^w c\nt$ = almo/ no?+1 ! art ( comb9+ indep5d5t voices & ( play+ !m (f "o aga9/ ! o!r = ev]y?+4 ,! ,cantata4--,! fir/ result ( _! ef=ts 0 ! ,cantata 7f cant>e1 to s+71 mean+ a composition = ! voice 9 contradi/9ction to ! ,sonata 7f son>e1 to s\nd71 :i* 0 appli$ to "o = in/rum5ts4 ,! ,cantata _h b little 9 common ) :at is n[ und]/ood by ! t]m4 ,x 0 a recitation on musical int]vals = a s+le voice accompani$ by b "o in/rum5t4 ,any?+ l a =mal melody 0 c>efully avoid$1 & ! accompanim5t1 g5]ally play$ on ! lute1 0 ( ! mo/ unpret5d+ "*4 ,! fir/ ( ^! cantatas 0 compos$ by ,v9c5zo ,galilei1 ! fa!r ( ! celebrat$ a/ronom]1 on ! tragic fate ( ,c\nt ,ugol9o1 z relat$ by ,dante 9 ! ,inf]no4 ,?is1 !re=e1 0 ! fir/ art-song ev] compos$4 ,un=tunately1 x has be5 lo/2 b contempor>y acc\nts tell ( ! pr(\nd impression x creat$4 ,o!r cantatas 7 writt5 & sung by ,giulio ,cacc9i 7#aeej-afah71 a skill$ & an admirable luti/ z well1 & all awak5$ ! utmo/ en?usiasm among ! little company4 ,^! works 7 kn[n z ,nuove ,musi*e 7new music7 & su* z h surviv$ are1 9 g5]al1 pa9fully ?9 & crude to mod]n e>s4 ,:5 comp>$ ) ! ri* polyphony ( ! prevail+ ,*ur* /yle !y seem at ! fir/ blu% to indicate retrogression4 ,progress1 h[ev]1 seldom advances 9 a direct l9e2 x g5]ally moves by spirals :i* at times app>5tly retreat only to m\nt ! high] at ! succe$+ curve4 ,^! dull recitatives bore ! g]m ( emancipation f ! s*ola/ic laws :i* _h h]et(ore prev5t$ music f express+ individual emotion2 !y typify ! _s ( ! ,r5aissance & are ! f\ndation ( ! art z we n[ "k x4 ,! ,fir/ ,op]a4--,ano!r ( ! numb]1 ,jacopo ,p]i 7#aefa-afcc71 also a musician1 took ! next /ep by compos+ music ( ! same /yle to a drama1 ! ,dafne 7,daphne7 ( ! poet ,r9ucc9i1 :o 0 ! life & s\l ( ?is attempt to revive ! lo/ declamation ( ! ,greeks4 ,?is 0 p]=m$ privately 9 #aeie at ! ,corsi ,palace1 & produc$ s /rong an impression t x 0 repeat$ a numb] ( times at ! ,c>nival seasons ( ! succe$+ ye>s4 ,9 #afjj1 ,p]i 0 invit$ to compose a simil> "w = ! m>riage fe/ivities ( ,h5ry ,,iv ( ,france & ,m>ia di ,m$ici4 ,?is 0 ,euridice1 also writt5 by ,r9ucc9i1 :i* be>s ! di/9ction ( be+ ! fir/ op]a to receive public p]=mance1 & ?us introduc+ ! new art-=m to ! _w at l>ge4 ,! score ( ,dafne has be5 lo/1 b t ( ,euridice /ill exi/s4 ,x 0 !n kn[n z a music drama 7melo dramma or dramma p] la musica72 ! t]m op]a 7abbreviation = op]a 9 musica1 t is1 musical "w7 did n come into use until ! middle ( ! c5tury4 ,! or*e/ra1 :i* 0 play$ beh9d ! sc5es1 consi/$ ( a h>psi*ord1 two lutes & a bass-viol4 ,9 addition1 ?ree lutes play$ a %ort ritornello 7int]lude7 9 "o sc5e4 ,) ?is exception1 ! in/rum5ts 7 us$ m]ely to support ! voice2 ! tonality 0 almo/ exclusively m9or1 & ! h>mony ( ! simple/4 ,x is ?\ght t ,p]i sang ! "p ( ,orpheus & t ,francesca ,cacc9i1 daught] ( ! compos] & "o ( ! mo/ gift$ s+]s ( ! day1 sang ,euridice4 ,music3 ,radoppia e fiamm'e lumi al memorabil giorno1 ,febo *'il c>ro d'or rivolgi intorno4 ,,"p ,,( ,,an ,,air ,,by ,,cacc9i4 ,cacc9i claim$ ! new /yle z 8 inv5tion1 & x is c]ta9 t p>ts ( ,euridice 7 compos$ by him1 ?\gh ,p]i's "n alone appe>s on ! title page ( ! publi%$ "w4 ,emulat+ ! success ( 8 colleague1 ! =m] soon set ! same drama to music4 ,*>act]i/ics ( ! ,e>ly ,op]a4--,! two sett+s are s simil> t "o might almo/ be tak5 = ! o!r4 ,bo? display ! same *>act]i/ics4 ,( dramatic feel+ or *>act]ization z und]/ood at ! pres5t day !re is no sign2 developm5t ( musical ?\ght1 none :atev]2 a dre>y wa/e ( recitatives is b slightly reliev$ by ! occasional fl\ri%es 7giri e gruppi1 t is1 runs & turns7 all[$ ! s+]s by ! ta/e ( ! times4 ,! *oruses1 h[ev]1 :i* are introduc$ freely1 s]ve to v>y ! monotony some:at4 ,!y exhibit a s+ul> m+l+ ( ! old & new /yles1 natural "u ! circum/ances4 ,! voices s+ ei!r 9 a recitative-l unison1 or beg9 9 fugato1 & lat] move 9 simple h>monic progression4 ,_! di/a/e = ! contrapuntal /yle l$ ^! re=m]s to reject x s f> z !y c\ld4 ,its appe>ance at all is due to ! fact t no o!r mode ( writ+ = a numb] ( voices _h z yet be5 devis$--a /rictly h>monic treatm5t _h n be5 ?\ght (4 ,s9ce1 !n1 !y 7 at a loss z to ! managem5t ( *oral masses1 !y 7 oblig$ to h rec\rse 9 "p to old me?ods4 ,ano!r "n associat$ ) ! ,flor5t9e s*ool des]v+ m5tion is t ( ,m>co da ,gagliano1 a prie/ :o soon took ! lead 9 ! new movem5t4 ,8 fir/ op]a 0 ,dafne 7#afjg71 compos$ to ,r9ucc9i's drama :i* _h already s]v$ ,p]i2 x 0 a common practice 9 ^? days = compos]s to use ! same text4 ,z a s*ol> & musician1 ,gagliano 0 sup]ior to 8 pr$ecessors4 ,he %[s a great] w>m? ( feel+ & a t5d5cy t[>d melody :i* !y consid]$ z a l[]+ ( _! ideals4 ,! ,flor5t9e ,s*ool4--,"o p>ticul> *>act]i/ic ( ! ,flor5t9e s*ool 0 a s$ul\s avoidance ( any?+ l ext5d$ melody or def9ite =m4 ,to ! compos]s ( ?is s*ool1 music 0 n an end 9 itself2 x 0 subord9ate to ! di/9ct1 impassion$ declamation ( ! poet's v]ses4 ,!y held t any indep5d5t developm5t ( musical ?\ght 0 a weakness2 t x t5d$ to di/ract ! att5tion ( ! he>] f ! drama1 & to int]f]e ) its logical cont9uity4 ,! pr$om9ant influ5ce 0 t ( ! s*ol>1 n ( ! musician4 ,?is 0 to be expect$ f ! "* ( ! little cot]ie int]e/$ 9 ! new art-=m4 ,! majority 7 weal?y amateurs1 zeal\s /ud5ts ( ! classics & aflame ) ! desire = ! actual revival ( ! ,greek trag$y4 ,p]i & ,cacc9i 7 ! only musicians & !y 7 /rongly av]se to ! contrapuntal music ( ! day4 ,its p]si/5tly ecclesia/ical effect deb>r$ x f express+ ! p]sonal feel+ :i* 0 ! object ( _! rese>*4 ,9 ! ef=t to escape its ban1 !y unwitt+ly emancipat$ _! art f ! control ( ! ,*ur*1 & made x accessible to mank9d 9 g5]al4 ,?is1 !re=e1 is ! great s]vice ( ! ,flor5t9e re=m]s3 ! e/abli%m5t ( a purely secul> s*ool ( music susceptible ( indef9ite developm5t4 ,mak+ all[ance = ! va/ diff]5ce 9 means due to ! practical creation ( indep5d5t in/rum5tal music s9ce ! #ag? c5tury1 _! practice 0 precisely ! same z t ( ! mod]n compos] :o writes a music drama & uses ! same t]m to def9e 8 "w4 ,:5 ,dafne & ,euridice fir/ saw ! light1 h[ev]1 !re 0 nei!r k nor exp]i5ce to po9t ! way2 x 0 f\nd only aft] a sl[ & labori\s process ( exp]im5tation1 involv+ ! acceptance ( mu* t 0 reject$ aft] hav+ s]v$ its turn4 ,?\gh ,p]i & ,cacc9i ) _! confrres did n succe$ 9 ! end !y _h 9 view1 !y accompli%$ f> m by orig9at+ ! ,op]a1 ! po9t ( dep>ture = ! :ole mod]n art ( music4 ,,ref]5ces4 ,symonds4--,! ,r5aissance 9 ,italy4 ,ap?orp4--,op]a ,pa/ & ,pres5t4 ,grove4--,diction>y ( ,music & ,musicians4 ,articles on subjects m5tion$ 9 ?is & foll[+ lessons4 ,/reatfeild4--,! ,op]a4 ,^! g5]al works s]ve = o!r lessons on ! op]a4 ,,que/ions ,,& ,,sugge/ions4 ,:at 0 ! ,r5aissance8 ,:at 0 ! effect ( ?is idea on music8 ,:at 0 ! orig9 ( ,recitative8 ,:at 0 und]/ood by ,nuove ,musi*e8 ,:o wrote ! fir/ op]a8 ,:at t]m 0 appli$ to ?is k9d ( musical "w8 ,give a description ( ! e>ly op]a4 ,give an acc\nt ( ! ,flor5t9e s*ool & _! fundam5tal ideas4 ,s9ce ! beg9n+ ( ! ,op]a is practically ! beg9n+ ( a c5tury1 ! #ag?1 x %\ld n be a difficult matt] to keep ?is date 9 m9d4 ,x !re=e ant$ates ! settlem5t at ,jame/[n1 ,va41 by a few ye>s1 mak+ ! beg9n+ ( ,am]ican hi/ory "u ,engli% auspices & ! ,op]a co9cide4 ,,lesson ,,xviii4 ,,! ,,oratorio4 ,,developm5t ,,( ,,! ,,op]a4 ,! ,fir/ ,oratorio4--,! novelty ( ! new /yle1 :i* 0 call$ ! /ilo rappres5tativo 7repres5tative /yle71 ! vigor & fre$om x gave to an impressive deliv]y ( ! text1 ar\s$ univ]sal att5tion4 ,among ! compos]s :o essay$ x 0 ,emilio del ,cavali]e 7#aeej-aeii74 ,by apply+ x to a sacr$ subject1 he orig9at$ ! ,oratorio4 ,roman by bir?1 he _h pass$ "p ( 8 life 9 ,flor5ce1 & ?\gh n a memb] ( ! ,cam]ata1 0 famili> ) its aims & practice4 ,! g]m bo? ( ! ,op]a & ,oratorio is to be f\nd 9 ! ,miracle ,plays or s-call$ ,my/]ies ( ! ,middle ,ages4 ,^! 7 dramatic repres5tations ( ,bible sc5es or religi\s allegories by means ( :i* a populace unable to read 0 taught ! great tru?s ( sacr$ hi/ory4 ,cavali]e's oratorio1 ,la ,rappres5tazione di ,anima e di ,corpo 7,! ,repres5tation ( ,s\l & ,body71 0 giv5 9 #afjj 9 ,rome1 at ! ,oratory ( ! ,*ur* ( ,santa ,m>ia 9 ,vallicella--h5ce its "n4 ,music3 ,,passage ,,f ,,cavali]e',s ,,oratorio4 ,its ,*>act]i/ics4--,save = ! nature ( ! subject1 !re 0 no app>5t diff]5ce betwe5 x & an op]a4 ,! allegorical *>act]s tak+ "p appe>$ 9 co/ume & 9 action4 ,! score ev5 gives directions by :i* x may be conclud$ ) a dance if s desir$4 ,by ?is1 h[ev]1 dignifi$ & /ately movem5ts are und]/ood1 9 n[ise resembl+ ! rapid dance ( mod]n times4 ,! compos] 9 8 in/ructions = p]=mance1 :i* are unusually full & complete1 lays great /ress ^u an expressive deliv]y ( ! text1 & ! swell+ & dim9i%+ ( ! tones by ! s+]s4 ,9 vigor & *>act]ization x f> surpasses ,p]i's & ,cacc9i's op]as4 ,cavali]e's dea?1 :i* occurr$ t5 mon?s be=e ! production ( 8 "w1 & ! great popul>ity ( ! ,op]a1 put a /op to ! imm$iate developm5t ( ! ,oratorio2 t 0 res]v$ = ,c>issimi a g5]ation lat]4 ,montev]de4--,! task ( tak+ ! op]a f ! exp]im5tal /age & ( plac+ x on ! arti/ic f\ndation :i* x n[ occupies 0 accompli%$ by ,claudio ,montev]de 7#aefh-afdc71 a man ( extraord9>y g5ius & orig9ality4 ,a h>moni/ ( surpass+ =ce & boldness1 he _h always rebell$ aga9/ ! re/ra9ts ( ! contrapuntal s*ool1 ?\gh1 unlike ,p]i & ,cacc9i1 he 0 skill$ 9 its intricacies4 ,he 0 viol play] 9 ! b& ( ! ,duke ( ,mantua1 & _h compos$ masses & madrigals1 _m ( :i* 7 sev]ely criticis$ by ! p$ants ( ! day4 ,he jo9$ def9ite issue ) !m 9 8 fre$om ( treat+ dissonances1 ! di/+ui%+ feature ( mod]n h>mony4 ,h]et(ore1 sev5?s1 n9?s1 augm5t$ f\r?s & ! l _h nev] be5 he>d )\t prep>ation4 ,montev]de1 h[ev]1 introduc$ !m )\t reg>d to ?is re/riction1 little he$+ ! ana!mas heap$ ^u 8 head by ^? :o consid]$ 8 infractions ( e/abli%$ rules unp>donable4 ,8 ard5t1 re/less temp]am5t1 seek+ novel modes ( expression1 (t5 l$ to wild & extravagant comb9ations :i* ev5 today appe> h>% & =c$4 ,at t "t !y mu/ h seem$ wilful attempts at outrag+ ! e> & ! s5se ( h>monic propriety4 ,^! innovations1 h[ev]1 are ! corn]/one ( mod]n h>mony2 ( ?is z well z ( ! op]a1 ,montev]de is ! real f\nd]4 ,:at are defects 9 8 *ur* music are excell5ces 9 8 op]as4 ,! discords :i* di/urb ! s]5ity ( a religi\s atmosph]e are admirably fitt$ to produce dramatic effects & p[]ful climaxes4 ,montev]de belong$ to ! /age z 8 great contempor>y1 ,pale/r9a1 belong$ to ! *ur*4 ,position ( ,music 9 ! #ag? ,c5tury4--,! int]e/ :i* ! success ( ! ,flor5t9e compos]s w\ld h = a man ?us gift$ c be readily imag9$4 ,yet he 0 oblig$ to wait a numb] ( ye>s = an opportunity to emulate _! a*ievem5ts4 ,music !n 0 ! especial pa/ime ( ! great2 x 0 "p ( ! /ate ) :i* !y surr\nd$ !mselves4 ,almo/ all titl$ & weal?y families _h _! own b&s ( musicians & *oirs ( s+]s4 ,^! assi/$ 9 _! private *apels & l5t additional eclat to seasons ( fe/ivity4 ,conc]ts & op]as 7 giv5 only at c\rt or 9 ! palaces ( noblem52 public halls = any k9d ( musical occasion 7 unkn[n4 ,a musician or compos] c\ld make 8 way only by atta*+ himself to a noble h\se or by secur+ a patron 9 c\rt circles4 ,dafne & ,euridice 7 made possible ?r\gh ! int]e/ & protection ( ,c\nt ,b>di & ,c\nt ,corsi4 ,! op]a 0 also att5d$ ) great exp5se4 ,! ta/e ( ! times dem&$ an enorm\s outlay = m\nt+--co/umes1 sc5]y1 decorations2 only ! extremely weal?y c\ld af=d x1 & !y res]v$ x = occasions ( especial importance4 ,music3 ,,ariadne',s ,,lam5t4 ,montev]de's ,fir/ ,op]a4--,9 #afjg1 ! m>riage ( ,m>g>et ( ,savoy to ,francesco ,gonzaga1 son ( ! ,duke ( ,mantua1 op5$ ! way = ,montev]de's fir/ op]a1 ,arianna 7,ariadne71 :i* 0 receiv$ ) ! utmo/ en?usiasm4 ,un=tunately1 b a fragm5t ( x rema9s1 ,ariadne's lam5t aft] h] des]tion by ,!seus1 ! mo/ celebrat$ op]a air ev] writt54 ,9 its unprep>$ discords ( ! h>%e/ nature1 9 ! poignant expression ( grief & despair s at v>iance ) ! placid art ( ! day1 ?is %[s h[1 by a s+le /roke1 ,montev]de cut loose f all ! traditions ( ! pa/4 ,9 its less ?an a score ( measures x also anticipates pr9ciples ( arti/ic /ructure :i* 7 n =mulat$ = ne>ly a c5tury lat] & :i* hold good to ! pres5t day4 ,x is said t x br\ght te>s to e eye4 ,music3 ,,ritornello ,,by ,,montev]de4 ,8 ,second ,op]a4--,! foll[+ ye> he produc$ 8 second op]a1 ,orfeo 7,orpheus71 s call$ to di/+ui% x f ,p]i's ,euridice on ! same subject4 ,?\gh mo/ ( ,montev]de's works h be5 lo/1 ! score ( ,orfeo has be5 pres]v$4 ,x %[s a surpris+ advance ov] ! simplicity ( ! ,flor5t9e op]as4 ,fir/ ( all1 9 ! great expansion ( ! or*e/ra4 ,?is numb]s ?irty-sev5 in/rum5ts :i* ?r\gh\t are comb9$ 9 gr\ps & z a :ole ) an art prefigur+ c]ta9 effects ( or*e/ration suppos$ to be purely mod]n4 ,l h>mony1 in/rum5tation dates f ,montev]de4 ,in/ead ( ! cu/om>y vocal prologue1 x beg9s ) a ,toccata 7in/rum5tal prelude74 ,! compos]'s ke5 dramatic in/9ct is %[n by ! ma/]ly way 9 :i* he avoids ! monotony ( 8 pr$ecessors2 ! recitatives are v>i$ by ! introduction ( ritornelli1 & ea* act ends ) a *orus & a /ately passage = ! or*e/ra4 ,five ye>s lat]1 ! mo/ fam\s compos] ( ! day1 he left ,mantua = ,v5ice1 :]e until 8 dea? he 0 director ( music at ,/4 ,m>k's4 ,montev]de's ,*>act]i/ics4--,montev]de's greate/ s]vice to ! op]a lay 9 enl>g+ ! sph]e ( ! or*e/ra1 & 9 ! initiation ( a ?or\ghly in/rum5tal /yle adapt$ to ! "* ( ea* in/rum5t4 ,he increas$ ! numb] ( play]s & releas$ ! or*e/ra f ! subord9ate position ( be+ a m]e support = ! voice by employ+ x to height5 ! dramatic situation4 ,he orig9at$ _m previ\sly unkn[n effects1 among !m ! pizzicato & ! tremolo ( ! viol9s 9 precisely ! same =m z us$ at pres5t4 ,! latt] s a/\nd$ ! play]s t at fir/ !y refus$ to attempt x1 say+ t x 0 impossible4 ,he end[$ ! ,recitative ) f> great] fre$om & dep? ( expression2 "u 8 h& x lo/ mu* ( ! dryness ( ! ,flor5t9e s*ool4 ,8 mann] ( writ+ = ! voice 0 declamatory r ?an melodi\s2 :at traces ( def9ite melody occur 9 8 works are g5]ally conf9$ to ! in/rum5ts1 9 :i* he curi\sly anticipates ! practice ( latt]-day dramatic compos]s4 ,popul>ization ( ! ,op]a4--,until #afcg ! op]a 0 re/rict$ to royalty & ! nobility4 ,9 t ye> ! fir/ public op]a h\se 0 op5$ 9 ,v5ice1 & su* 0 ! popul>ity ( ! new amusem5t t be=e ! end ( ! c5tury !re 7 no few] ?an elev5 9 t city alone1 !n ) a population ( ab\t #adj1jjj4 ,x spread ?r\gh ,italy ) almo/ l rapidity1 be>+ 9 its wake an unp>allel$ developm5t ( ! art ( song4 ,*ange ( ,"*4--,) its introduction to ! p1 x 0 manife/ly impossible = ! op]a to reta9 its orig9al "*4 ,s long z x 0 conf9$ to ! cultivat$1 ! classical ideals ( its f\nd]s met ) intellig5t appreciation1 b :5 confront$ ) audi5ces drawn f ! masses desir\s only ( be+ amus$1 a *ange 0 inevitable4 ,my?ological & classical subjects 7 gradually disc>d$ 9 favor ( ^? involv+ intrigue & disguise2 comic p]sonages 7 introduc$ to enliv5 ! sc5e4 ,z ! dramatic action 0 ?us br\ght ne>] ! compreh5sion ( ! unle>n$1 s ! music dep>t$ f ! oratorical /&>ds ( ! e>ly s*ool1 & %[$ a frank t5d5cy t[>d melody & regul>ity ( =m4 ,:at 0 lo/ 9 elevation ( !me1 h[ev]1 0 made up by ! human int]e/ imp>t$ to ! play & ! consequ5t endeavor ( ! compos] to express1 by 8 music1 ! v>y+ vicissitudes ( life4 ,?us x ga9$ 9 w>m? ( feel+ & flexibility 9 means ( expression1 :ile ! evolution ( rhy?mic melody & def9ite musical /ructure laid ! f\ndation ( ! art z we n[ h x4 ,! ,v5etian ,s*ool4--,v5ice naturally became ! c5tre ( an important developm5t ( ! op]a4 ,( ! num]\s compos]s =m+ ! ,v5etian s*ool1 ,francesco ,cavalli 7#afjj-afgf7 & ,m>co ,ce/i 7#afbj-affi7 are second only 9 importance to ,montev]de4 ,! fir/ 0 ,montev]de's pupil1 & _h mu* ( 8 broad dramatic /yle modifi$ by ! influ5ces ( :i* we h j spok54 ,ce/i came to ,v5ice f ,rome1 :]e he _h be5 ! pupil ( ,c>issimi1 & br\ght ) him ! smoo?ness & melodic fl[ ( 8 ma/]1 albeit lack+ 9 ess5tial p[]4 ,o!r names ( a lat] date are ,giovanni ,legr5zi 7#afbe-afij71 especially not$ = _s & vivacity1 & ,antonio ,lotti 7#affg-agdj71 8 pupil1 kn[n by "o or two *>m+ airs :i* /ill survive4 ,c>issimi & ! ,oratorio4--,giovanni ,c>issimi 7#afjd-afgd71 ?\gh he nev] wrote = ! /age1 0 ! /ronge/ musical influ5ce ( 8 day4 ,he 0 an ard5t admir] ( ! new s*ool1 & adapt$ x 9 ! =m ( oratorios & cantatas to ! ,*ur*4 ,9 su* works ! necessity = =m z reg>ds def9ite tonality1 di/9ct rhy?m & melodic sequ5ce is naturally mu* great] ?an 9 ! ,op]a :]e music is us$ to illu/rate ! dramatic situation1 & is fur!rmore elucidat$ by ! action ( ! play4 ,:5 ! e> alone is oblig$ to pass judgm5t !re mu/ be evid5ce ( design 9 ^! p>ticul>s1 else ! effect is confus$ & bewild]+4 ,c>issimi's musical in/9ct grasp$ ?is tru?4 ,8 oratorios & cantatas %[ a logical arrangem5t ( *oruses & ensembles1 recitatives & arias comb9$ ) a unity ( effect & a cle>ness ( *>act]ization h]et(ore unkn[n4 ,! *oruses 9 p>ticul> are /rongly rhy?mic & f> m dramatic ?an ^? :i* 7 commonly he>d on ! /age4 ,music3 ,,f 8,,jeph?a0 ,,by ,,c>issimi4 ,secul>ization ( ,*ur* ,music4--,?is introduction ( ! new /yle into ! ,*ur* m>k$ ! pass+ ( ! old s*ool & /rongly affect$ me?ods ( dramatic composition4 ,! public _h nev] be5 9 sympa?y ) ! au/]e /&>ds ( ! ,flor5t9e s*ool & welcom$ ! appe>ance ( intelligible melody & ! spirit$ rhy?ms to :i* ,c>issimi gave ! fir/ direct impulse4 ,n only ?is2 he fix$ ! =m t ! music ( ! ,*ur* 0 to be> = a c5tury to come4 ,?is secul>ization ( *ur* music _h its good & bad sides2 good by reason ( ! great] fre$om & v>iety ( expression ?us ga9$2 bad because ( ! bold & me*anical imitation ( ,c>issimi's purely =mal details by 8 successors1 :i* 9 ! end l$ to a tiresome monotony ( /yle4 ,*>act]i/ics ( ! ,v5etian ,s*ool4--,?us 0 tak5 ! fir/ /ep t[>d ! complete rev]sal ( ! conditions "u :i* ! e>ly ,op]a _h aris54 ,in/ead ( ! music's be+ subord9ate to ! drama1 ! drama 0 soon to s]ve m]ely z an excuse = ! music2 ! op]a 0 de/9$ to s9k to ! level ( a conc]t sung 9 co/ume2 ! dramatic action r$uc$ to a m9imum4 ,! ,v5etian s*ool m>ks ! turn+-po9t 9 ?is direction4 ,! high ideals ( ,montev]de & 8 pr$ecessors 7 gradually ?ru/ into ! backgr\nd2 ! s+] began to assume prec$5ce ov] ! actor2 tru? ( expression yield$ to ! fasc9ations ( "t & tune1 :i* ev5 ! musically uncultivat$ c\ld enjoy )\t bo!r+ _! heads z to real dramatic fitness4 ,closely connect$ ) ^! t5d5cies 0 ! e/abli%m5t ( a s*ool ( s++ :i*1 if we may believe contempor>y acc\nts1 surpass$ 9 te*nical facility & brilliancy any vocal art he>d ei!r be=e or s9ce t "t4 ,! result 0 t s+]s f9ally reg>d$ ! op]a only z a field = ! display ( _! dazzl+ accompli%m5ts & 9 ?is !y 7 will+ly support$ by a public eag] to be ent]ta9$ & amus$4 ,,ref]5ces4 ,ap?orp4--,! ,op]a1 ,pa/ & ,pres5t4 ,elson4--,! ,hi/ory ( ,op]a4 ,grove4--,diction>y ( ,music & ,musicians1 article on ,op]a4 ,,que/ions ,,& ,,sugge/ions4 ,:o wrote ! fir/ oratorio8 ,9 :at respects did an op]a & an oratorio diff]8 ,give an acc\nt ( ,montev]de & 8 innovations 9 ,op]a4 ,:at 0 ! /ate ( music 9 ! #ag? c5tury8 ,describe ,montev]de's fir/ op]a4 ,describe ,montev]de's second op]a4 ,:at 0 und]/ood by ! t]ms ,toccata1 ,ritornello8 ,:at 7 ,montev]de's contributions to ! ,op]a8 ,:at *ange took place 9 ! "* ( ! ,op]a 9 ! latt] half ( ! #ag? c5tury8 ,:o 7 ! prom95t memb]s ( ! ,v5etian s*ool8 ,give an acc\nt ( ,c>issimi & 8 "w4 ,give a *>act]ization ( ! ,v5etian s*ool4 ,a %ort acc\nt ( ! ,my/]ies or ,miracle ,plays ( ! ,middle ,ages may be assign$ to a pupil z special "w4 ,! ,passion ,play1 /ill giv5 today at ,ob]amm]gau1 ,g]many1 is a relic ( ! old-"t religi\s plays4 ,,lesson ,,xix4 ,,aless&ro ,,sc>latti ,,& ,,! ,,neapolitan ,,s*ool4 ,! ,neapolitan ,s*ool4--,:at 9 ! ,v5etian s*ool _h be5 a reaction 9 favor ( =m & melody became ! e/abli%$ practice ( ! ,neapolitan s*ool4 ,political di/urbances _h h9d]$ ! spread ( ! ,op]a 9 s\!rn ,italy1 p>ticul>ly 9 ,naples1 b at ! end ( ! #ag? c5tury x assum$ ! position =m]ly occupi$ by ,flor5ce & ,v5ice4 ,be=e ?is1 h[ev]1 a /rong influ5ce _h be5 ex]t$ by c]ta9 compos]s 9 ,rome1 ( :om ,c>issimi 0 fir/ 9 importance4 ,_h x n be5 = ! disapproval ( ! ,*ur*1 a def9ite ,roman s*ool might h aris54 ,su* a s*ool w\ld d\btless h be5 advantage\s to ! arti/ic gr[? ( ! ,op]a1 s9ce ! public ta/e at ,rome 9 matt]s ( art 0 m s]i\s 9 nature ?an at ,naples4 ,9 #afig1 public p]=mances ( op]a 7 =bidd5 by ! ecclesia/ical au?orities1 & ?us ! seat ( fur!r developm5t 0 transf]r$ to ,naples ?r\gh ! removal ?i!r f ,rome ( ,aless&ro ,sc>latti 7#afei-agbe71 ! f\nd] ( ! ,neapolitan s*ool4 ,z a lad1 he _h be5 a pupil ( ,c>issimi & also probably ( ,legr5zi1 ^: influ5ce is cle>ly se5 9 8 e>ly works4 ,aless&ro ,sc>latti4--,sc>latti inve/$ 8 op]as ) a melodic *>m & a symmetrical =m :i* ?us f> _h appe>$ only sporadically4 ,fasc9at$ by ! fre$om ( ! new /yle1 ! e>ly compos]s _h neglect$ ! sev]e /udy :i* _h be5 indisp5sable to ma/]y 9 ! ,contrapuntal ,s*ool1 & _h 9 ! ma9 reli$ on natural gifts4 ,foll[+ ! ideal ( ,p]i & 8 associates1 _! op]as 7 l>gely a succession ( recitatives :i* 9 ! end grew monoton\s & we>isome2 ( =m1 ( /ructure1 ( purely musical effect !y bore b slight traces4 ,sc>latti saw t ! "t _h come = a *ange 9 /yle--"o t %\ld comb9e ! musical int]e/ ( ! old ) ! dramatic _s ( ! new4 ,! =emo/ musician ( 8 "t1 he p]ceiv$ ! weakness ( ! exclusively declamatory op]a--its lack ( v>iety & want ( appeal to ! public 9 g5]al4 ,illu/ration3 ,,aless&ro ,,sc>latti4 ,8 ,*>act]i/ics4--,he 0 n a re=m]4 ,he lack$ ! /rong & rugg$ dramatic fibre ( 8 pr$ecessor1 ,montev]de4 ,s*ol>%ip2 an inexhau/ible fund ( melody1 pure1 poli%$1 ref9$2 a gift ( *>act]ization--g5]al1 n p>ticul>1 & always subord9ate to a ke5 s5se ( beauty--are 8 di/+ui%+ *>act]i/ics4 ,he fell 9 ) ! ta/e ( ! day & devot$ 8 gifts to ! production ( works :i* %\ld satisfy ! musician & please ! public4 ,! solidity ( 8 e>ly s*ool+ _h made him a ma/] ( c\nt]po9t1 & ?is he appli$ 9 ! con/ruction ( logically work$-out accompanim5ts1 full]1 ri*] & m expressive ?an _h be5 attempt$ by 8 less le>n$ contempor>ies4 ,9 nobility ( conception & skill 9 solv+ contrapuntal problems he (t5 %[s t he is n unwor?y ! "n ( ! 8,italian ,ba*10 z he is sometimes call$4 ,l ,ba*1 also1 he 0 "o ( ! mo/ prolific compos]s ( all times4 ,he left "o hundr$ & fifte5 op]as1 sixty-six ( :i* are /ill extant1 m ?an two hundr$ masses1 besides _m miscellane\s works = *ur* & conc]t1 bo? vocal & in/rum5tal4 ,8 ,s]vices to ! ,op]a4--,to ! simple recitative 7recitativo secco71 inv5t$ by ,p]i1 he add$ ! important =m kn[n z ! recitativo /rom5tato 7accompani$ recitative74 ,?is 0 n /rictly orig9al ) ,sc>latti1 s9ce x _h be5 introduc$ by ,purcell 9 8 ,dido & ,eneas t5 ye>s be=e ! ,italian _h fir/ us$ x 9 8 op]a ,rosaura 7#afij74 ,!re is no probability1 h[ev]1 t ,sc>latti 0 acqua9t$ ) ! ,engli%man's works2 x is a n uncommon matt] = two m9ds to arrive indep5d5tly at ! same result4 ,9 ! accompani$ recitative1 ! voice1 in/ead ( be+ support$ by deta*$ 7secco7 *ords on ! h>psi*ord1 sometimes ) ! addition ( a s+le /r+$ in/rum5t1 z 9 ! simple recitative1 0 accompani$ by ! entire or*e/ra1 :i* _h gr[n to proportions undream$-( 9 ,p]i's day4 ,va/ly develop$ by ! gr[? ( or*e/ral res\rces1 x is ! di/+ui%+ feature ( ! mod]n music drama4 ,z a rule1 h[ev]1 x 0 b little us$ 9 ,sc>latti's op]as or 9 ^? ( 8 contempor>ies4 ,int]e/ 9 ! drama1 z su*1 0 fa/ s9k+ to a negligible quantity2 audi5ces assembl$ to he> _! favorite s+]s1 n to foll[ ! c\rse ( a m or less involv$ dramatic action4 ,! simple recitative 01 !re=e1 m frequ5tly employ$ 9 ord] to hurry ?r\gh ! necess>y details ( ! play & rea* ! mom5t :5 ! s+] c\ld delight by 8 art 9 ! aria4 ,music3 ,,air ,,f ,,sc>latti',s ,,op]a 8,,turno ,,aric9o04 ,! ,aria4--,sc>latti 0 n ! inv5tor ( ! aria or air = ! s+le voice 9 ! mean+ ( ! t]m z appli$ to a c]ta9 fix$ =m4 ,o!r compos]s _h us$ x be=e him 9 its ess5tial pr9ciples1 b he 0 ! fir/ to =mulate x into a p]si/5t type1 :i* x reta9$ = ne>ly a c5tury1 despite its undramatic "*4 ,! ,sc>latti aria consi/$ ( ?ree p>ts3 two contra/+ sections1 conclud+ ) a ,da ,capo or repetition ( ! fir/1 express$ by ! =mula ,a ,b ,a4 ,! pr9ciple ( ,repetition z an elem5t ( =m is n[ a commonplace1 b at ! "t x 0 a novelty1 & ! emphasis giv5 to x by ! aria fasc9at$ ! public & made x ! pr9cipal feature ( ! op]a4 ,m ?an any?+ else1 x l$ to its deg5]ation4 ,s+]s f\nd 9 ! aria a means ( display+ _! te*nical skill2 x became ! canvas on :i* !y embroid]$ ! mo/ a/oni%+ t\rs de =ce4 ,! art ( act+ almo/ disappe>$ f ! op]atic /age2 ! poise ( body & voice requir$ = su* vocal ef=ts bani%$ all b a few conv5tional ge/ures4 ,! ,ov]ture4--,sc>latti's p[]s 7 by no means conf9$ to writ+ = ! voice2 ! in/rum5tal portions ( 8 works give evid5ce ( equal ma/]y1 ?\gh ! popul> ta/e = s++ all[$ him b little scope = ext5sion 9 ?is direction4 ,8 ov]tures 9 p>ticul> %[ a great advance ov] ! simple preludes ( ! e>ly ,italian op]as4 ,he p]fect$ :at is kn[n z ! ,italian ,ov]ture 9 contradi/9ction to ! e>li] =m inv5t$ by ,lully1 & call$ ! ,fr5* ,ov]ture4 ,x consi/$ ( ?ree movem5ts1 ! fir/ & la/ quick1 ! middle movem5t sl[4 ,9 its arrangem5t1 ?is 0 ! direct precursor ( ! mod]n symphony4 ,at fir/ ! two t]ms 7 int]*angeable2 an ov]ture :5 play$ be=e an op]a 0 call$ a ,s9fonia1 & curi\sly en\gh1 :5 play$ indep5d5tly z a conc]t numb] x 0 frequ5tly call$ an ov]ture4 ,"s ( ! e>ly symphonies 7 ev5 pr9t$ ) "o title outside & ! o!r inside4 ,! ,typical ,italian ,op]a4--,?us at ! beg9n+ ( ! #ah? c5tury we f9d ! ,op]a on an ov]:elm+ly musical basis in/ead ( ! oratorical f\ndation :i* x _h 9 its inception4 ,sc>latti fix$ its =m = a c5tury4 ,he left x consi/+ pr9cipally ( recitatives & arias1 ea* op]a conta9+ f fifty to sixty ( ! latt]4 ,aside f ^! !re 0 b little =mal music--only an occasional m>* or dance besides ! ov]ture4 ,! simple recitative 0 us$ = ord9>y dialogue2 h5ce x 0 peculi>ly applicable to ! ,op]a ,buffa 7comic op]a74 ,! accompani$ recitative 0 res]v$ = situations ( dramatic importance1 & ! aria s]v$ to express individual emotion4 ,! *orus 0 employ$ b sp>+ly1 g5]ally appe>+ only at ! end ( ! act to give great] eclat to ! f9ale4 ,! dance1 :i* 9 ! e>ly ,op]a _h play$ a "p ( "s importance1 0 f9ally bani%$ entirely f ! sc5e1 ?\gh n f ! /age4 ,x 0 giv5 betwe5 ! acts z an int]mezzo 7int]lude71 & ?us develop$ into ! =mal ballet4 ,spectacul> features1 too1 assum$ great prom95ce4 ,! ,int]mezzo4--,! ,int]mezzo has a close connection ) ! op]a4 ,x arose f ! cu/om ( introduc+ some?+ betwe5 ! acts ( a play or op]a to ent]ta9 ! audi5ce dur+ ! necess>y p]iod ( wait+4 ,at fir/1 songs or madrigals 7 sung1 !n by degrees ! ent]ta9m5t took on a dramatic =m1 until at la/ a drama 0 giv5 totally indep5d5t ( ! pr9cipal play4 ,s+ul>ly en\gh1 ! acts ( ! two plays 7 p]=m$ alt]nately1 nei!r hav+ any connection ) ! o!r4 ,! ,int]mezzo 0 always ( a gay]1 light] "*2 ?us :5 ! incongruity ( ! practice became app>5t1 x naturally evolv$ into ! ,op]a ,buffa4 ,?is 0 br\ght ab\t by ! success ( ! mo/ celebrat$ comic op]a ev] writt51 ,la ,s]va ,padrona 7,! ,maid z ,mi/ress71 by ,giovanni ,p]golesi 7#agaj-agcf74 ,?is 0 orig9ally produc$ 7#agcd7 z an ,int]mezzo betwe5 ! acts ( ano!r play1 & aft]w>d made a triumphant progress ?r\gh all ! op]a h\ses 9 ,europe z an indep5d5t "w4 ,! ,op]a ,buffa4--,?\gh = ! sake ( contra/1 comic *>act]s _h be5 introduc$ into ! op]a dur+ ! e>ly ,v5etian p]iod1 ! ,op]a ,buffa did n rea* its full developm5t until ! foll[+ c5tury4 ,ow+ to ! abs5ce ( c]ta9 conv5tions :i* _h gr[n ar\nd ! ,op]a ,s]ia 7s]i\s op]a7 x became a m *>act]i/ic mode ( expression ?an ! latt]4 ,its melodies 7 fre%]1 its dramatic action 0 less re/ra9$ & tru] to life1 :ile x p]=m$ a valuable s]vice by do+ away ) ! /range m+l+ ( comic & s]i\s /yles :i* _h previ\sly disfigur$ _m o!rwise impressive works4 ,to x we owe ! conc]t$ ,f9ale :i* is su* a feature ( mod]n gr& op]a4 ,x is attribut$ to ,niccolo ,logrosc9o 7#agjj-agfc71 :o in/ead ( ! cu/om>y conclusion ( an act by a simple duet1 trio1 or qu>tet1 br\ght all ! ,dramatis ,p]son on ! /age to take "p 9 a *>act]i/ic ensemble4 ,greatly develop$ by lat] compos]s1 su* f9ales 7 = a long "t conf9$ to ,op]a ,buffa1 until ,paisiello f9ally introduc$ !m into s]i\s op]a4 ,prom95t ,compos]s ( ! ,neapolitan ,s*ool4--,x is h>dly possible to m5tion m ?an a few ( ! num]\s compos]s belong+ to ! ,neapolitan s*ool4 ,besides ,p]golesi1 ! mo/ important works ( ?is s*ool 7 compos$ by ,niccolo ,porpora 7#afhe-agfg71 ,niccolo ,jommelli 7#agad-aggd71 ,niccolo ,picc9i 7#agbh-ahjj71 ,giovanni ,paisiello 7#agda-ahaf7 & ,dom5ico ,cim>osa 7#agdi-ahja74 ,mo/ ( ^! 7 equally at home 9 ! ,op]a ,s]ia & ! ,op]a ,buffa1 b _! works 9 ! latt] /yle h prov$ ! m endur+4 ,porpora is m notewor?y = ! s+]s he =m$ ?an = 8 =ty-six op]as1 all ( :i* h sunk into oblivion4 ,he 0 ! greate/ ( ! _m ma/]s ( s++ :o ?r\gh _! pupils made ! ,op]a ( ! #ah? c5tury ! field ( display = ! mo/ rem>kable s+]s ! _w has ev] he>d4 ,jommelli 0 "o ( ! mo/ gift$ compos]s ( 8 day4 ,he sp5t fifte5 ye>s 9 ,g]many z capellmei/] to ! ,duke ( ,wurtemburg1 b ! influ5ce ( ?is long resid5ce 9 a c\ntry :]e musical ideals 7 ( a m au/]e type ?an 9 ,italy1 ?\gh x add$ dignity & solidity to 8 art1 0 fatal to 8 popul>ity :5 he return$ to 8 native l&2 8 c\ntrym5 f\nd 8 op]as heavy 9 /yle & defici5t 9 melody4 ,picc9i 0 ! compos] ( ! mo/ popul> ,op]a ,buffa ( ! c5tury1 ,cec*9a1 b is n[ rememb]$ pr9cipally by ! bitt] feud :i* arose 9 ,p>is 9 #aghg betwe5 8 admir]s & ^? ( ,gluck4 ,paisiello's mo/ celebrat$ "w 0 ,il ,b>bi]e di ,siviglia 7,! ,b>b] ( ,seville71 :i* held ! /age = ?irty ye>s until ! success ( ,ross9i's ma/]piece on ! same subject =c$ x into retirem5t4 ,cim>osa's ,il ,matrimonio ,segreto 7,! ,secret ,m>riage7 0 an equal favorite2 "o ( its numb]s1 ! trio = wom5's voices1 ,ti ,faccio un ,in*9o 7,i make !e a rev]5ce71 sometimes appe>s on mod]n programs4 ,influ5ce ( ! ,neapolitan ,s*ool4--,not)/&+ ! =malism ( ! ,neapolitan s*ool1 :i* l$ to a regrettable neglect ( ! dramatic signification ( ! ,op]a by an ov]-emphasis ( its musical elem5t1 x 0 ( no small importance 9 ! developm5t ( music 9 g5]al4 ,by fix+ ! pr9ciples ( =m & melody at a "t :5 bo? 7 vague & undet]m9$1 ,sc>latti laid ! f\ndation ( ! great classical p]iod1 beg9n+ ) ,haydn & ,moz>t & end+ ) ,bee?ov54 ,?is 0 8 contribution to absolute music1 :i* _c exi/ )\t =m1 ?\gh its influ5ce 0 disa/r\s to purity ( =m 9 ! bran* ( ! art :i* he p>ticul>ly cultivat$4 ,,ref]5ces4 ,d5t4--,aless&ro ,sc>latti3 ,8 ,life & ,works4 ,,que/ions ,,& ,,sugge/ions4 ,:i* ,italian city n[ became ! c5tre ( op]atic developm5t8 ,:o 0 ! f\nd] ( ?is new s*ool8 ,tell ab\t 8 /yle & tra9+4 ,:at did he contribute to ! developm5t ( ! ,op]a8 ,describe ! ,aria4 ,describe ! ,ov]ture4 ,describe a typical ,italian ,op]a4 ,describe ! ,int]mezzo4 ,describe ! ,op]a ,buffa4 ,:o 7 ! prom95t compos]s ( ! ,neapolitan s*ool8 ,:at 0 ! influ5ce ( ?is s*ool8 ,! p]iod ( ,sc>latti's "w ext5ds approximately f ! ,engli% ,revolution ( #afhh1 :i* drove ,james ,,ii f ! ?rone1 to ! end ( ! reign ( ,george ,i4 ,9 ,am]ican ,colonial hi/ory ?is p]iod is "o ( ga!r+ /r5g? 9 ! v>i\s prov9ces on ! ,atlantic ,coa/4 ,,lesson ,,xx4 ,,s++ ,,& ,,s+]s4 ,e>ly ,me?ods ( ,s++4--,z has be5 not$ by ! read]1 music1 up to ?is "t1 develop$ pr9cipally along vocal l9es4 ,we h no details z to ! "* ( ! tra9+ ( s+]s among ! ,*aldeans1 ,egyptians & ,greeks except su* z indicate t _! idea ( s++ 0 a sort ( musical declamation4 ,su* seems also to h be5 ! idea ( ! nations 9 ! nor? ( ,europe4 ,we h se5 t ! ,wel% b>ds 7 requir$ to und]go a v ?or\gh & exact+ c\rse ( /udy1 b ! practical side ( s++ & ! rules laid d[n = ! tra9+ ( ! "y m9/rels is n a "p ( our k4 ,! songs ( ! e>ly ,*ur*1 sung by masses ( wor%ip]s1 7 ( necessity simple 9 e way1 requir+ no art4 ,x 0 n until ! use ( ,discant became popul>1 & ! ,polyphonic s*ool began to use florid writ+ t we c inf] t !re mu/ h be5 "s me?ods ( tra9+ vocali/s = arti/ic "w4 ,al?\gh we h little or no details z to ! c\rse ( tra9+ :i* ! e>ly s+]s receiv$1 we are ju/ifi$ 9 assum+ t !y mu/ h possess$ skill 9 execution ( no mean ord]4 ,x mu/ n be =gott5 t practically all ! compos]s ( ! e>ly ,polyphonic s*ool 7 s+]s1 able to execute _! own works4 ,h5ce1 /udies 9 s++ mu/ h gone h& 9 h& ) composition4 ,! voice p>ts ( ! masses1 motets & madrigals ( ! compos]s ( ! #ac? to ! #af? c5turies h absolute indep5d5ce ( progression1 syncopations1 embelli%m5ts1 etc41 to su* an ext5t t x taxes ! musician%ip ( ! *orus s+] ( ! pres5t day to s+ !m2 !y are n only exact+ 9 intonation1 rhy?m & o!r musical matt]s b also 9 me*anical po9ts1 su* z flexibility & fre$om ( voice & ?or\gh brea? control4 ,influ5ce ( ! ,op]a on ,s++4--,:5 ! ,op]a 0 e/abli%$1 aft] ! declamatory /yle (f]$ by ! fir/ compos]s _h prov5 unsuccessful 9 hold+ ! public1 ! florid /yle ( ! old discant]s 0 reviv$ & modifi$1 :i*1 z ! ,op]a develop$1 gave a great impetus to a sy/ematic & ?or\gh /udy ( s++4 ,! new /yle ( melody introduc$ by ! op]a compos]s ( ! #ag? c5tury dem&$ purity ( voice1 wide range1 flexibility1 expressive %ad+ & a m>vel\s brea? control1 z well z great physical endurance4 ,s+]s 7 expect$ to execute ! mo/ intricate passages1 ab\nd+ 9 diatonic & *romatic scales1 arpeggios1 turns1 gruppettos1 trills1 etc41 ( ! mo/ elaborate nature1 passages su* z are consid]$ purely in/rum5tal today4 ,aless&ro ,sc>latti1 ! compos]1 & himself a s+]1 is cr$it$ ) hav+ _h mu* to d ) ! great developm5t 9 ! art ( s++4 ,he tra9$ a numb] ( s+]s & pupils1 & ?us f\nd$ ! 8old ,italian0 s*ool ( s++4 ,x 0 natural t ! art side ( s++ %\ld ?us develop 9 ,italy = sev]al reasons1 notably1 because ,italy _h a great numb] ( highly-tra9$ compos]s1 ! "* ( ! language is su* z to l5d itself to ! requirem5ts ( arti/ic s++1 broad full v[els1 s(t consonants1 abs5ce ( f9al consonants1 etc41 & ! en?usia/ic1 ess5tially lyric temp]am5t ( ! race4 ,! ,tra9+ ( a #ag? ,c5tury ,s+]4--,we are giv5 an idea ( ! c\rse ( tra9+ :i* s+]s ( ! #ag? c5tury 7 oblig$ to obs]ve 9 a "w ,hi/oria ,musica1 publi%$ by ,g4 ,a4 ,a4 ,buontempi1 9 #afie4 ,?is conta9s an acc\nt ( ! regulations ( a s*ool = s+]s 9 ,rome1 direct$ by ,virgilio ,mazzoc*i1 9 :i* ,buontempi 0 a pupil3 ,! pupils 7 oblig$ to devote "o h\r ea* day to ! s++ ( difficult passages ) ! idea ( acquir+ exp]i5ce2 "o h\r to ! practice ( ! trill1 "o to passages 9 agility1 "o to lit]>y /udies1 "o to vocalises & to v>i\s o!r te*nical ex]cises "u ! direction ( a tea*] & be=e a mirror to acquire ! c]ta9ty t ! s+] did n make a faulty movem5t ( ! face1 ! =ehead1 ! eyes or ! m\?4 ,?is 0 ! morn+'s "w4 ,9 ! aft]noon1 a half-h\r 0 giv5 to !ory /udy1 ! same am\nt to writ+ c\nt]po9t on pla9-song melodies1 !n to le>n+ & apply+ ! rules ( composition 7writ+ on an erasable %eet72 !n foll[$ a half-h\r ( /udy ( a lit]>y nature1 & ! re/ ( ! day 0 giv5 to practice on ! clavi*ord1 to ! composition ( a psalm1 motet1 canzonetta1 or any o!r k9d ( piece accord+ to ! pupil's *oice4 ,su* 7 ! common ex]cises ( ^? days :5 ! pupils 7 kept on duty at ! s*ool4 ,on o!r days1 !y w\ld g outside ! ,angelica ,gate to s+ aga9/ ! fam\s e*o t 0 f\nd !re1 li/5+ to ! response 9 ord] to criticise _! "w4 ,o!r duties 7 to s+ 9 ne>ly all ! musical solemnities ( ! v>i\s *ur*es1 to /udy att5tively ! /yle ( ! great s+]s ( ! day1 to make a report ( _! obs]vations to _! ma/]1 :o1 ! bett] to impress ! result ( _! /udies ^u ! m9ds ( 8 pupils1 add$ rem>ks & advice z he deem$ necess>y4 ,"u su* discipl9e x is n a/oni%+ t ! ,italian s+]s atta9$ a high degree ( excell5ce1 & became n only di/+ui%$ s+]s b skilful compos]s z well4 ,t ! read] may ga!r an idea ( ! "* ( passages execut$ by ^! s+]s an example is giv5 on ! previ\s page4 ,music3 ,,air = ,,bass ,,f ,a 8,,mis]]e0 ,,by ,,d5tice1 ,,end ,,( #af,,? ,,c5tury4 ,gr[? ( ! ,florid ,/yle4--,z ! art ( s++ develop$1 ! s+]s increas$ _! caprici\s embelli%m5ts4 ,) ! idea ( secur+ brilliancy z well z ! hope ( w9n+ success = _! works1 compos]s yield$ to ! exactions ( s+]s & ! deprav$ ta/e ( ! dilettanti4 ,?is expla9s ! seem+ly endless vocaliz+ & ^? passages ( pure agility :i* cr[d ! scores ( ! be/ ,italian ma/]s ( ! #ag? & #ah? c5turies4 ,be=e giv+ "s acc\nt ( ! fam\s s+]s ( ! old ,italian s*ool x w be int]e/+ to h a few notes ^u a "w on vocal music :i* be>s ^u ! matt] ( execution4 ,a ,"w on ,s++4--,9 #agbe1 ,pi] ,francesco ,tosi1 a r5[n$ s+] 7born ab\t #afej1 di$ #agcj71 publi%$ a "w1 translat$ into ,engli%1 & publi%$ 9 #agdb "u ! title 8,obs]vations on ! ,florid ,song1 or ,s5tim5ts ( ! ,anci5t & ,mod]n ,s+]s10 :i* conta9s "s int]e/+ & valuable /atem5ts = ! /ud5t ( ! hi/ory ( ! art ( s++4 ,! mo/ m9ute pr9ciples are set =? ) mu* grace & _s1 9 all cases %[+ en?usiasm on ! "p ( ! au?or = 8 art & a high s5se ( ! dignity ( ! pr(ession ( s++4 ,:5 ! discussion is 9 reg>d to c]ta9 k9ds ( passages 9 :i* ! s+] 0 accu/om$ to improvise ornam5ts1 ,tosi dem&s ! union ( five qualities3 intellig5ce1 inv5tion1 met] 7rhy?m71 me*anism 7te*nic7 & ta/e2 & 9 addition1 o!r qualities :i* he calls 8second>y & auxili>y graces03 ! appoggiatura1 ! trill1 ! portam5to di voce1 phras+4 ,?is "w by ,tosi & "o by ,m>cello entitl$ ,le ,!atre la ,mode ?r[ mu* light on ! execution ( ! vocal music ( ! #ah? c5tury4 ,sev5te5? ,c5tury ,s+]s4--,baldass>e ,f]ri 7#afaj-afhj7 0 "o ( ! mo/ r5[n$ ( ! male sopranos ( ! old s*ool4 ,8 voice _h ! greate/ agility & facility1 p]fect intonation1 a brilliant %ake or trill & 8 brea? supply seem$ to be inexhau/ible4 ,9 reg>d to 8 intonation1 x is said t he 0 able to asc5d & desc5d 9 "o brea? a two-octave scale ) a cont9u\s trill )\t accompanim5t ) su* p]fection ( intonation t :5 he f9i%$ he _h n v>i$ a %ade f ! pit* ( 8 />t+-note4 ,he 0 9 high favor 9 ! c\rts ( ,pol&1 ,g]many1 ,sw$5 & ,engl&4 ,a m$al 0 /ruck 9 8 honor4 ,antonio ,b]nac*i 7#afij-agef7 0 a pupil ( ,pi/oc*i 7#afei-agbj71 ! mo/ celebrat$ tea*] 9 ,italy at ?is "t1 ^: pr9ciples are repres5t$ 9 ,tosi's book4 ,he comm5c$ 8 c>e] e>ly & appe>$ 9 op]a 9 ,italy1 lat] 9 ,engl& & ,g]many4 ,aft] "s ye>s ( exp]i5ce ) ! public ta/e he alt]$ 8 /yle1 mak+ great use ( ! florid /yle1 a v]itable embroid]y ( r\lades1 an innovation t 0 s successful z to be imm$iately foll[$ by o!r s+]s 9 spite ( ! prote/s ( ! old] s*ool ( s+]s4 ,x is relat$ t :5 ,pi/oc*i he>d 8 =m] pupil1 he said3 8,ah6 woe is me6 ,i taught !e to s+ & n[ ?\ wilt play60 ,he sang 9 ,h&el's op]a company 9 ,london1 #agbi-cj4 ,he !n return$ to ,italy to take up ! c>e] ( a tea*] & br\ght out a numb] ( f9e s+]s4 ,francesco ,b]n>di ,s5es9o 7#afhj-agej7 0 a great favorite 9 ,engl&1 :]e he sang 9 ,h&el's op]as4 ,8 voice 0 exceptionally f9e 9 quality1 cle>1 p5etrat+ & flexible1 8 te*nic rem>kable2 8 /yle 0 m>k$ by purity1 simplicity & expressiv5ess1 & 8 deliv]y ( recitative 0 fam\s ov] all ,europe4 ,! "n ( ,niccolo ,porpora 0 m5tion$ 9 connection ) ! op]a z a celebrat$ s++ ma/] z well z compos]4 ,no s+]s be=e or s9ce h sung l 8 pupils1 notably ,caff>elli & ,f>9elli4 ,gaetano ,majorano ,caff>elli 7#agjc-aghc7--! read] w note t _m ( ! old s*ool ( musicians liv$ to a ripe old age--0 ! son ( a ,neapolitan peasant1 :o tri$ to repress ! boy's evid5t musical incl9ations4 ,caf>o1 director ( ! ,*apel ,royal1 at ,naples1 *anc$ to he> him s+ & succe$$ 9 gett+ *>ge ( him & gave him 8 elem5t>y in/ruction1 :i* 0 foll[$ by in/ruction f ,porpora1 :o 0 !n liv+ 9 ,naples4 ,porpora 0 a mo/ exact+ tea*]1 requir+ implicit ob$i5ce & unceas+ practice4 ,! /ory is told t ,porpora kept ,caff>elli = five or six ye>s to ! unv>i$ /udy ( a s+le page ( ex]cises despite ! pupil's mo/ /r5u\s objections4 ,at ! end ( ! "t1 :5 ,caff>elli decl>$ he w\ld submit no long]1 ! old tea*] said3 8,g1 my son4 ,i h no?+ m to tea* y4 ,y are ! greate/ s+] 9 ,europe40 ,:5 he fir/ appe>$ 9 op]a he sang female p>ts1 = :i* 8 beautiful face 0 well-suit$4 ,"s ye>s lat] he took m5's p>ts4 ,he ga9$ great popul>ity 9 ! lead+ cities ( ,europe & amass$ an enorm\s =tune4 ,he excell$ 9 sl[ & pa!tic airs1 yet he 0 mo/ admirable 9 ! bravura /yle1 & 8 te*nic 9 ! trill & *romatic scales 0 unapproa*$ by any o!r s+] ( 8 "t4 ,he 0 fond ( introduc+ *romatic passages 9 quick movem5ts4 ,f>9elli 7#agje-aghb71 ^: real "n 0 ,c>lo ,bros*i1 0 a pupil ( ,porpora4 ,he made 8 fir/ public appe>ance 9 ,rome :5 he 0 sev5te5 ye>s old4 ,x 0 on ?is occasion t he sang ! fam\s aria ) trumpet obligato1 writt5 by 8 ma/]1 a piece :i* became s associat$ ) him z to be dem&$ at all 8 conc]ts4 ,9 ?is piece1 trumpet & voice vie ) ea* o!r 9 hold+ & swell+ a note ( extraord9>y l5g? & volume2 :5 ! trumpet] _h exhau/$ 8 brea? ,f>9elli kept on ) increas$ p[] & end$ ) a great vocal display4 ,?is aria call$ = wond]ful vocal te*nic ow+ to ! novelty & difficulty ( ! trills & v>iations introduc$4 ,9 #agbg1 he engag$ 9 a musical duel ) ,b]nac*i1 previ\sly ref]r$ to1 9 :i* he 0 conqu]$4 ,z a result ( ?is he plac$ himself "u ,b]nac*i's in/ruction1 & ?us p]fect$ 8 wond]ful tal5t4 ,9 #agca1 at ! sugge/ion ( ! ,emp]or ,*>les ,,vi1 he modifi$ 8 /yle & devot$ /udy to ! ma/]y ( pa?os & simplicity4 ,dur+ 8 public c>e] he won ! greate/ possible success 9 ! ,european capitals & pass$ ! la/ ye>s ( 8 life 9 weal?4 ,manc9i1 a fell[-pupil ( ,f>9elli & lat] a fam\s s++ ma/]1 says ( ,f>9elli's voice3 8,x 0 s p]fect1 s p[]ful1 s sonor\s & s ri* 9 its ext5t1 bo? 9 ! high & ! l[ p>ts ( ! regi/]1 t its equal has nev] be5 he>d 9 our "t4444 ,! art ( tak+ & keep+ ! brea? s s(tly & easily t no "o c\ld p]ceive x began & end$ ) him4 ,! qualities 9 :i* he excell$ 7 ! ev5ness ( 8 voice1 ! art ( swell+ its s\nd1 ! portam5to1 ! union ( ! regi/]s1 a surpris+ agility1 a graceful & pa!tic /yle & a %ake z admirable z x 0 r>e40 ,a few o!r s+]s ( ?is class may be m5tion$3 ,giac*9o ,conti1 call$ ,gizziello 7#agad-agfa71 ,giovanni ,c>e/9i 7#agje-ageh87 a contralto1 ,giuseppe ,bos*i1 ! mo/ celebrat$ basso ( ! #ah? c5tury1 "o ( ,h&el's s+]s1 & ,girolamo ,cresc5t9i 7#agff-ahdf74 ,s mu* space has be5 giv5 to ^! s+]s because _! "w laid ! pr9ciples = vocal tra9+ t h ev] s9ce be5 ! f\ndation ^u :i* ! great ma/]s & s+]s ( lat] times h built _! art2 to ^! pr9ciples has be5 giv5 ! "n ( ! old ,italian ,s*ool ( ,s++4 ,ill-effect ( ,virtuosity4--,! /ud5t :o goes fully into ! subject ( ! relation ( s+]s to ! op]a w f9d t ! great developm5t ( virtuosity among s+]s ex]t$ an ill-effect & call$ =? a v pron\nc$ re=m 9 :i* ,gluck 0 ! lead]4 ,s+]s 7 capable ( su* great vocal display1 & ! public %[$ s mu* en?usiasm = ! brilliant feats ( vocalism1 & s great 0 ! rivalry betwe5 s+]s & _! p>tisans t compos]s vi$ ) ea* o!r 9 _! ef=ts to introduce ! mo/ difficult & florid passages possible4 ,! text ( an aria _h no real value & became m]ely a vehicle ^u :i* to place ! dazzl+ vocalization ( ! s+]4 ,dramatic tru? 0 ru?lessly sacrific$4 ,a s+]1 suppos$ to be 9 ! v ?roes ( dea?1 w\ld give a virtuosic display t w\ld tax ! lung p[] ( a man 9 ! mo/ p]fect physical condition4 ,gluck's re=m consi/$ 9 requir+ t ! arias %\ld express ! emotions suit$ to ! situation1 ?us call+ = expressive s++1 n m]e vocal display4 ,! hi/ory ( ! op]a & s++ s9ce !n %[s p]iods ( *ange t[>d "o idea or ! o!r until ! pr9ciples ( ,ri*>d ,wagn] z to dramatic tru? 7 g5]ally accept$4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ! s+]s m5tion$ 9 ?is lesson4 ,,que/ions4 ,:at circum/ances %[ t ! *ur* s+]s ( ! #ac? to #af? c5turies mu/ h _h consid]able skill 9 s++8 ,:at 0 ! influ5ce ( ! op]a on s++8 ,:at 0 ! c\rse ( tra9+ requir$ ( "y s+]s 9 ! #ag? c5tury8 ,:at important "w on s++ dates f ! e>ly "p ( ! #ah? c5tury8 ,give "s ( its pr9ciples4 ,describe ! celebrat$ s+]s ( ?is p]iod & _! "w4 ,:at 0 ! influ5ce ( vocal virtuosity on music8 ,,lesson ,,xxi4 ,,op]a ,,9 ,,france ,,& ,,engl&4 ,spread ( ,italian ,op]a4--,! fame ( ,italian op]a soon spread to o!r c\ntries4 ,pr9ces & k+s1 eag] to he> ! new /yle ( music1 held out gold5 inducem5ts to ,italian compos]s & s+]s to come to _! c\rts2 x 0 g5]ally ?\ght t none b an ,italian c\ld compose an op]a or s+ an aria4 ,! consequ5ce 0 t 9 almo/ all c\ntries dur+ ! #ah? c5tury ! prevail+ musical influ5ce 0 ,italian2 native compos]s & s+]s 7 oblig$ to /udy ,italian models if !y wi%$ to atta9 to popul> favor4 ,9 ,france1 h[ev]1 ?is influ5ce 0 only suffici5t to modify )\t obscur+ ! features ( an ess5tially national s*ool4 ,indep5d5ce 9 matt]s ( art has always be5 a m>k$ *>act]i/ic ( ! ,fr5*2 !y h l$ r ?an foll[$4 ,! mo/ di/+ui%$ names 9 ! hi/ory ( ,fr5* op]a h be5 ^? ( =eign bir?1 b :atev] _! nationalities1 all give evid5ce ( ! effect ex]t$ ^u !m by ! def9ite =m1 ! cle>ness ( dramatic int5tion dem&$ by ! canons ( ,fr5* ta/e4 ,orig9 ( ,fr5* ,op]a4--,z ! ,italian op]a 0 d]iv$ f ! classical trag$y1 s ! ,fr5* op]a _h its orig9 9 ! ,ballet1 ! favorite =m ( amusem5t 9 ,france4 ,! ,fr5* ,ballet ( ! #ag? c5tury 0 by no means conf9$ to ! dance2 x 0 a het]og5e\s m+l+ ( dances & dialogues1 songs & *oruses1 correspond+ to ! ,engli% ,masque4 ,l ! e>ly op]as 9 ,italy1 _! spectacul> features 7 on a l>ge & exp5sive scale1 :i* conf9$ !m to occasions ( especial fe/ivity at c\rt or among ! nobility4 ,! ta/e = danc+ _h mu* to d ) ! direction tak5 by ! op]a 9 ,france2 x is /ill *>act]i/ic ( ! ,fr5* s*ool1 z is %[n by ! prom95t place giv5 to ! ballet 9 ! ,gr& ,op]a4 ,lully4--,! f\nd] ( ! ,fr5* s*ool1 ,jean ,bapti/e ,lully 7#afcc-afhg71 0 ,italian by bir?1 b at ! age ( ?irte5 he 0 tak5 f 8 native city1 ,flor5ce1 to ,france1 z a page 9 ! s]vice ( ! ,*evali] de ,guise4 ,8 musical gifts soon won him a place 9 ! royal b& & f9ally ! po/ ( c\rt compos]4 ,he fir/ wrote ballets 9 :i* ! ,k+ 7,l\is ,,xiv7 himself danc$1 & lat] turn$ 8 att5tion to ! op]a4 ,italian ,op]a 9 ,france4--,italian op]a _h already be5 he>d 9 ,france4 ,?r\gh ,c>d9al ,maz>91 an op]a company f ,v5ice _h visit$ ,p>is 9 #afde1 & two ye>s lat] ,p]i's ,euridice _h be5 giv5 also by a ,v5etian tr\pe2 b ^! & lat] p]=mances _h ar\s$ no attempts at imitation by ,fr5* compos]s4 ,!y cont5t$ !mselves ) writ+ ballets :i* 7 p]=m$ z int]mezzos betwe5 ! acts ( ,italian op]as 9 ord] to br+ !m ne>] ! ,fr5* /&>ds ( ta/e4 ,! sup]ior vocal ability ( ! ,italians 0 ackn[l$g$1 b ! lack ( rhy?mic =m 9 _! music made an unfavorable impression4 ,! k+ 0 passionately fond ( danc+2 he & 8 c\rti]s frequ5tly took "p 9 ! ballets produc$ at c\rt1 h5ce ! int]e/ lay 9 ! drama z illu/rat$ by ! dance r ?an by song4 ,beg9n+ ( ,fr5* ,op]a4--,! fir/ ,fr5* op]a to receive public p]=mance 0 ,pomone 7,pomona71 9 #afga1 by ,rob]t ,camb]t 7#afbh-afgg71 :o _h previ\sly writt5 sev]al o!rs :i* _h be5 p]=m$ only 9 private4 ,x awak5$ mu* m int]e/ ?an ! ,italian op]as :i* ?us f> _h be5 he>d 9 ,p>is1 & incit$ ,lully to ! composition ( 8 fir/ op]a1 ,les ,ftes de l',am\r et ,bac*us 7,! ,fea/s ( ,love & ,bac*us71 :i* 0 produc$ ! foll[+ ye>4 ,f t "t until 8 dea? he compos$ fifte5 op]as1 :i* det]m9$ ! =m ( ,fr5* op]a = practically a c5tury4 ,*>act]i/ics ( ,lully's ,op]as4--,lully's op]as1 l ^? ( ! ,flor5t9e s*ool1 7 on ! :ole declamatory 9 /yle1 & l !m _! subjects 7 g5]ally tak5 f classical my?ology4 ,!y are de/itute ( ! su/a9$ melody :i* appe>$ some:at lat] 9 ! ,neapolitan s*ool2 b ! recitatives are s skilfully v>i$ 9 rhy?m & %[ su* intimate k ( ! g5ius ( ! ,fr5* language t 9 dramatic effect !y are f> sup]ior to ^? ( ! e>li] s*ool4 ,to ! ov]ture1 ! ballet1 ! *orus1 he assign$ music ( a diff]5t type1 rhy?mic & =mal 9 nature1 ?us reliev+ ! monotony ( an exclusively declamatory /yle4 ,a ma/] ( /agecraft1 8 op]as ab\nd$ 9 cunn+ly-devis$ spectacles & orig9al sc5ic effects :i* excit$ wond] & held ! att5tion4 ,9 %ort1 s f> z ! means ( ! times all[$1 we f9d 9 ! ,lully op]as ! well-consid]$ balance betwe5 ! musical & dramatic elem5ts /ill *>act]i/ic ( ! ,fr5* s*ool4 ,! ,fr5* ,ov]ture4--,"o ( ,lully's greate/ s]vices 0 ! elaboration ( ! ,ov]ture into a l>g] & m dignifi$ =m4 ,! ,italians _h nev] paid mu* att5tion to ! ov]ture4 ,at fir/ x appe>$ only z a brief in/rum5tal prelude1 sometimes b a few measures 9 l5g?4 ,! introduction to ,montev]de's ,orfeo1 = example1 consi/s ( only n9e measures :i* ! compos] directs to be play$ ov] ?ree times to s]ve z ov]ture4 ,lat] x 0 some:at ext5d$ 9 l5g? & provid$ ) "s regul>ity ( design1 b ! ,ov]ture z a fix$ =m dates f ,lully4 ,x began ) an impressive sl[ movem5t1 foll[$ by an ,allegro 9 fugue /yle4 ,sometimes ?is 0 all2 b x g5]ally conclud$ ) ano!r sl[ movem5t1 (t5 "o ( ! /ately1 dignifi$ dance tunes ( ! day1 & (t5 m]ely a repetition ( ! ,introduction4 ,?is =m 0 kn[n z ! ,fr5* ,ov]ture1 & 0 soon adopt$ by compos]s ( all nationalities4 ,ab\t ! middle ( ! #ah? c5tury x 0 supplant$ by ! ,italian ,ov]ture1 p]fect$ by ,sc>latti1 & describ$ 9 ,lesson ,,xix4 ,! ,prologue4--,! ov]ture 0 commonly foll[$ by a ,prologue4 ,?is _h no?+ to d ) ! action ( ! drama2 x introduc$ my?ological & allegorical *>act]s :o danc$ & sang1 (t5 pay+ ! mo/ fulsome adulation to ! k+1 :o 0 comp>$ to ! mo/ celebrat$ h]oes ( my?ology & antiquity4 ,aft] ! prologue1 ei!r ! ov]ture 0 repeat$1 or ano!r & a %ort] "o 0 play$4 ,?is pseudo-classical type ( op]a naturally fl\ri%$ 9 ! artificial atmosph]e ( ! c\rt on :i* x 0 dep5d5t = favor4 ,x la/$ until ! "t ( ,gluck1 :5 ! influ5ces :i* l$ to ! great upris+ ( ! p 9 ! latt] "p ( ! #ah? c5tury swept x away ) o!r traditions & conv5tions4 ,rameau4--,until we come to ,jean ,philippe ,rameau 7#afhc-agfd71 none ( ,lully's successors succe$$ 9 def9itely ext5d+ ! limits he _h fix$4 ,rameau _h won ! "n ( ! fir/ !oretician ( ! day1 & 0 a man ( fifty :5 8 fir/ op]a1 ,hippolyte et ,aricie1 0 produc$4 ,ev5 he made no ess5tial *ange 9 ! s*eme e/abli%$ by ,lully beyond greatly enl>g+ ! sph]e ( ! or*e/ra1 orig9at+ novel rhy?ms & bold] h>monies4 ,?is 01 h[ev]1 a long /ep 9 advance1 s9ce x sav$ ! op]a f s9k+ to ! level ( a dull1 me*anical imitation ( ,lully's me?ods1 into :i* contempor>y compos]s _h fall54 ,! ,engli% ,s*ool4--,italian music1 9 ! =m ( ! ,madrigal1 _h be5 popul> 9 ,engl& s9ce ! "t ( its introduction 9 #aeih1 by ,?omas ,morley 7#aeeg-afjd74 ,native compos]s imm$iately took x into favor1 a favor x has nev] lo/2 madrigals are /ill compos$ & sung 9 ,engl&1 ?\gh else:]e ! =m has be5 dead = ne>ly two c5turies4 ,! declamatory op]a ( ! e>ly ,italian s*ool1 h[ev]1 nev] took root4 ,x 01 z we h se51 prim>ily a drama 9 :i* music play$ a second>y "p1 & z su* x 0 f> too crude & lack+ 9 human int]e/ to appeal to a public accu/om$ to ! plays ( ,%akespe>e & 8 contempor>ies1 & ^: ta/e 9 music1 moreov]1 0 r = melody ?an = recitative4 ,!n1 dur+ ! ,protectorate1 ! ,puritanical _s :i* l$ to ! de/ruction ( *ur* organs & = a "t =bade all !atrical p]=mances prov$ an insup]able ob/acle to any developm5t ( dramatic music4 ,! ,fir/ ,engli% ,op]as4--,9 #afef1 ,sir ,william ,dav5ant1 ! playwright & !atrical manag]1 evad$ ?is prohibition by introduc+ music into 8 plays & call+ !m op]as4 ,mu* ( ?is music1 :i* 0 9 ! =m ( incid5tal songs1 *oruses & in/rum5tal int]ludes1 0 writt5 by ,h5ry ,lawes 7#aeie-affb7 & ,mat!w ,lock 7----d4 #afgg74 ,! latt] is well kn[n = 8 music to 8,macbe?10 :i* up to )9 a few ye>s 0 n infrequ5tly he>d 9 p]=mances ( ! trag$y4 ,^! s-call$ op]as _h little or no effect on ! developm5t ( a native s*ool4 ,!y are pr9cipally notewor?y 9 be+ ! fir/ ,engli% op]as & ! fir/ !atrical p]=mances 9 ,engl& 9 :i* wom5 appe>$ on ! /age4 ,previ\sly ! p>ts ( wom5 _h be5 play$ by boys4 ,influ5ce ( ! ,fr5* ,s*ool4--,at ! ,re/oration 9 #affj1 ,*>les ,,ii f\nd ! prevail+ /yle ( music 9 ,engl& b little to 8 ta/e4 ,fond ( ! gay measures & lively dances ( ! ,fr5* op]a1 9 #affd he s5t ,pelham ,humfrey 7#afdg-afgd71 ! mo/ tal5t$ ( ! boys =m+ ! *oir 9 ! ,*apel ,royal1 to ,p>is to /udy ) ,lully4 ,?ree ye>s lat] he return$1 & became ! tea*] ( ,engl&'s greate/ compos]4 ,h5ry ,purcell4--,?is 0 ,h5ry ,purcell 7#afeh-afie71 "o ( a family ( musicians ( :om he /&s fir/4 ,z a *ild he is said to h compos$ an!ms :ile a *ori/] 9 ! ,*apel ,royal1 & at ! age ( tw5ty-two he compos$ 8 fir/ op]a1 ,dido & ,eneas1 a mo/ rem>kable "w = a y\? ( 8 ye>s4 ,x is ! only "o ( 8 dramatic works 9 :i* !re is no spok5 dialogue1 its place be+ suppli$ by recitative1 & !re=e1 /rictly speak+1 x 0 8 only op]a4 ,he c nev] h se5 an op]a ( ?is type2 8 acqua9tance ) ! new /yle mu/ h be5 l>gely bas$ on :at ,humfrey _h told him ( su* p]=mances 9 ,p>is1 ?\gh x is possible t he _h ! opportunity ( /udy+ ,lully's scores4 ,9 its union ( dramatic feel+ & *>act]ization ) dep? ( musical res\rce1 ,dido & ,eneas 0 f> 9 advance ( any?+ t _h yet appe>$ 9 ,france or ,italy4 ,?\gh x %[s ! influ5ce ( ! ,fr5* s*ool1 ! /urdy ,engli% "* :i* di/+ui%es all ( ,purcell's music is pla9ly app>5t4 ,illu/ration3 ,,h5ry ,,purcell4 ,purcell's ,dramatic ,works4--,x 0 foll[$ by a l>ge numb] ( works = ! /age1 b ^! 7 9 ! ma9 m]ely incid5tal music = dramas2 among !m ,%akespe>e's 8,tempe/10 8,midsumm] ,night's ,dream0 7kn[n z ,! ,fairy ,que571 ,dryd5's 8,k+ ,ar?ur10 ! la/ be+ ! mo/ important & ext5d$ 9 =m4 ,un=tunately1 _m ( !m h be5 lo/2 b en\gh rema9 to %[ t 9 ,purcell's e>ly dea? ,engl& lo/ ! mo/ orig9al musical g5ius %e ev] possess$4 ,he f\nd$ a di/9ctly national s*ool :i*1 = ! lack ( a successor ( equal gifts1 0 de/9$ to succumb to =eign influ5ces4 ,_! ,*>act]i/ics4--,8 melodies be> ! fre%ness & spontaneity ( ! ,engli% ,folk-song at a p]iod :5 music 0 g5]ally cultivat$1 be=e civil w>s & religi\s bigotry _h cru%$ ! art _s :i*1 dur+ ! #af? c5tury1 _h made ! ,engli% p ! lead]s 9 musical progress4 ,8 recitatives %[ a vigor & an intuitive p]ception ( dramatic effect unsurpass$ by any ( 8 contempor>ies on ! ,cont95t4 ,he 0 an accompli%$ contrapunti/ & appli$ 8 k ( c\nt]po9t ) admirable results to sacr$ music1 yet nev] all[$ x to become obtrusive 9 8 dramatic works4 ,9 ^! cle>1 expressive melody & vigor\s declamation 7 ! di/+ui%+ features2 8 le>n+ s]v$ only to secure a natural fl[ ( ! "o & an appropriate sett+ = ! o!r4 ,! ,masque4--,! precursor ( ! ,engli% op]a 0 ! ,masque4 ,l ! ,fr5* ,ballet1 ?is 0 a dramatic ent]ta9m5t consi/+ ( dialogues1 dances1 songs1 & *oruses4 ,! subject 0 allegorical or my?ical 9 nature & ! m\nt+ ( ! mo/ elaborate description4 ,! lead+ poets & dramati/s ( ! day wrote _m masques4 ,! mo/ fam\s 0 ,milton's 8,masque ( ,comus10 ! music by ,lawes1 :i* 0 p]=m$ at ,ludl[ ,ca/le 9 #afcd4 ,! music 9 ^! masques 0 at fir/ design$ m]ely to give v>iety to :at 0 9 ! ma9 a pleasure to ! eye1 b ,purcell reliev$ x ( ?is subord9ate "* by inve/+ x ) a weight & au?ority :i* made x an integral factor 9 ! dramatic expression4 ,typical ,engli% ,op]a4--,he ?us fix$ ! =m ( ! ,engli% op]a z a play ) songs1 *oruses1 ensembles1 etc41 connect$ by spok5 dialogue in/ead ( recitatives4 ,! music1 !re=e1 in/ead ( c>ry+ on ! action1 is conf9$ to ! m quiet situations ( ! drama1 su* z are naturally adapt$ to lyrical expression4 ,! inflexibility ( ?is =m has d\btless _h mu* to d ) ! lack ( developm5t 9 ! ,engli% ,s*ool ( ,op]a comp>$ ) ! rem>kable gr[? ( o!r s*ools :i* h ab&on$ ! union ( ! spok5 ) ! sung ^w 9 ! s]i\s op]a4 ,! ,ballad ,op]a4--,! only *>act]i/ic creation ( ! ,engli% s*ool is ! ,ballad ,op]a4 ,?is _h its orig9 9 8,! ,begg>'s ,op]a10 produc$ 9 #agbh4 ,slight 9 texture1 x 0 simply a play ) songs set to ! mo/ popul> ballad tunes ( ! day4 ,its extraord9>y success 9 ! face ( ! f9ancial failure ( ,italian op]a left no d\bt z to ! real ta/e ( ! ,engli% p1 & 0 decisive z to ! direction tak5 by lat] compos]s1 su* z ,sir ,h5ry ,bi%op 7#aghf-ahee71 ,mi*ael ,balfe 7#ahjh-ahgj71 ,ar?ur ,sullivan 7#ahdb-aija74 ,,ref]5ces4 ,davy4--,hi/ory ( ,engli% ,music4 ,,que/ions ,,& ,,sugge/ions4 ,:at circum/ances att5d$ ! spread ( ! ,italian ,op]a8 ,:i* ,european c\ntry 0 ! next to take up ,op]a8 ,:o 0 ! f\nd] ( ?is new s*ool8 ,:at ef=ts _h be5 made prior to 8 appe>ance8 ,describe ,lully's op]a =m4 ,describe ! ,fr5* ,ov]ture4 ,describe ! ,prologue4 ,:o 0 ,lully's successor8 ,:at prev5t$ ! spread ( ! pr9ciples ( ! e>ly ,italian ,op]a 9 ,engl&8 ,give names ( m5 connect$ ) ! e>ly hi/ory ( ,op]a 9 ,engl&4 ,give an acc\nt ( ,purcell & 8 works4 ,:at 0 ! ,masque8 ,describe ! typical ,engli% ,op]a4 ,! ,ballad ,op]a4 ,! pupil w note t ! developm5t ( ,fr5* ,op]a took place 9 ! reign ( ,l\is ,,xiv1 & t x 0 aft] ! re/oration ( ,*>les ,,ii 9 ,engl& t op]a began !re1 ,purcell's "w end+ ) ! close ( ! #ag? c5tury4 ,,lesson ,,xxii4 ,,! ,,op]a ,,9 ,,g]many4 ,,h&el ,,& ,,gluck4 ,op]a 9 ,g]many4--,! introduction ( ! op]a into ,g]many dates f #afbg4 ,9 t ye> a ,g]man translation ( ,r9ucc9i's ,dafne1 :i*1 x w be rememb]$1 0 ! text ( ,p]i's fir/ op]a1 0 set to music by ,he9ri* ,s*uetz 7#aehe-afgb7 & p]=m$ on ! occasion ( ! w$d+ ( ! ,l&graf ( ,hesse4 ,s*tz1 :o also compos$ ! fir/ ,g]man oratorio1 ,die ,auf]/ehung ,*ri/i 7,! ,resurrection ( ,*ri/71 _h be5 s5t by ! ,l&graf to /udy 9 ,italy 9 #afji1 only two ye>s aft] ! production ( ,montev]de's ,orfeo4 ,! score ( 8 ,dafne has be5 lo/1 b x 0 d\btless 9 accordance ) ! pr9ciples ( ! ,flor5t9e s*ool4 ,! ,?irty ,ye>s' ,w> & its lam5table consequ5ces prev5t$ any imm$iate developm5t ( ! new =m4 ,occasional productions ( ,italian op]a 7 giv5 9 sev]al ,g]man cities1 b x 0 n until ! e/abli%m5t ( ! ,hamburg op]a late 9 ! c5tury t ! new musical movem5t ga9$ a p]man5t foot+ 9 ,g]many4 ,ev5 !n its popul>ization proce$$ b sl[ly4 ,illu/ration3 ,,he9ri* ,,s*uetz4 ,g]man ,compos]s ,b>r$4--,x is true t n long aft] ! beg9n+ ( ! #ah? c5tury1 great int]e/ 0 manife/$ 9 ,italian op]a at a numb] ( c\rts1 ,b]l9 & ,dresd5 9 p>ticul>1 b ?is _h no influ5ce 9 ! =mation ( a national s*ool4 ,its effect inde$ 0 ! exact contr>y4 ,s+]s & compos]s 7 br\ght f ,italy2 among ! cultivat$ classes op]a 9 ,g]man 0 consid]$ a b>b>ism1 s t native musicians met ) little or no enc\ragem5t 9 ?is field4 ,!y 7 oblig$ to write _! op]as to an ,italian text if !y wi%$ a he>+ = !m2 ! ,*ur* alone 0 freely op5 to ,g]man compos]s4 ,! ,*ur*1 too1 0 ! only place :]e ! p c\ld he> music2 public conc]ts 7 unkn[n &1 save at ,hamburg1 ! op]a c\ld be he>d only by invitation to ^? :o _h entre to c\rt circles4 ,?is l$ to ! rem>kable activity 9 ! production ( sacr$ music :i* is su* a feature ( t p]iod4 ,?is also1 z %[n by ! e>ly hi/ory ( ! ,hamburg op]a1 0 m 9 consonance ) ,g]man "* ?an ! light1 ephem]al op]as :i* rul$ ! ,italian /age4 ,*>act]i/ics ( ! ,e>ly ,g]man ,op]a4--,! ,hamburg op]a h\se 0 op5$ 9 #afgh ) a ,biblical ,s+spiel 7lit]ally song-play7 ( an allegorical nature1 ,adam und ,eva2 od] d] ers*aff5e1 gefall5e und wi$] aufg]i*tete ,m5s* 7,adam & ,eve2 or ! ,creat$1 ,fall5 & ,r$eem$ ,man7 by ,johann ,!ile 7#afdf-agbd7 a not$ organi/ ( ! day & a pupil ( ,s*tz4 ,?is 0 ! fir/ p]=mance ( a ,g]man op]a on a public /age4 ,! ,s+spiel corresponds to ! ,engli% ballad op]a 9 be+ a s]ies ( songs1 ensembles1 etc41 ma9ly ( a simple nature1 connect$ by spok5 dialogue4 ,! curi\s ta/e ( ! "t is %[n by ! *oice ( subject2 ! "w itself 0 a survival ( ! ,miracle ,plays & ,my/]ies ( ! ,middle ,ages4 ,x beg9s ) ! creation ( ! e>?1 :i* is =m$ out ( *aos by *>act]s repres5t+ ! f\r elem5ts2 ! ,almighty desc5ds by means ( a fly+ ma*9e & calls man into be+2 ,lucif] succe$s 9 8 temptation ( ,eve to ! great joy ( demons :o s+ an exult+ *orus1 etc4 ,z ! ,italians took ! subjects = _! e>ly op]as f classical my?ology1 s ! ,g]mans took !irs f ,bible hi/ory4 ,adam & ,eve 0 foll[$ by a s]ies ( simil> ,s+spiele3 ,mi*al & ,david1 ,! ,maccabean ,"m1 ,e/h]1 ,ca9 & ,abel1 & _m o!rs4 ,*ange ( ,"*4--,9 "t1 h[ev]1 ^! gave way to op]as 9 ! ,italian /yle4 ,! *ief ag5t 9 ?is *ange 0 ,re9h>d ,keis] 7#afgd-agci7 :o1 z compos] & manag]1 br\ght ! ,hamburg op]a to its highe/ po9t4 ,associat$ ) him 0 ,johannes ,mat!son 7#afha-agfd71 a man ( _m & v>i$ gifts z s+]1 compos]1 conductor1 s*ol> & diplomat1 n[ *iefly rememb]$ by 8 close relations ) ,george ,fr$]ic ,h&el 7#afhe-agei74 ,! latt] at ! age ( eighte5 came f 8 native city1 ,halle1 to ,hamburg1 !n ! musical c5tre ( ,g]many1 to cont9ue 8 /udies4 ,mat!son recogniz$ ! y\?'s g5ius & op5$ ! way = ! p]=mance ( 8 fir/ op]a1 ,almira4 ,h&el & ! ,hamburg ,op]a4--,?is1 ) ,n]o1 0 giv5 9 #agje ) su* success t ,keis]1 jeal\s ( ! "y compos]1 set !m bo? to music himself & bani%$ 8 rival's works f ! /age4 ,h&el !reupon )drew & ! ye> foll[+ w5t to ,italy1 :]e he sp5t sev]al ye>s4 ,8 connection ) ! ,hamburg op]a 0 too slight = him to h ex]cis$ any influ5ce ^u x2 !n1 too1 he _h n yet rea*$ arti/ic indep5d5ce himself1 & x is d\btful :e!r he w\ld h made any *ange 9 ! direction x 0 tak+ t[>d conv5tionaliz$ ,italian op]a4 ,at t "t ! ,hamburg op]a 0 rapidly los+ its national "*2 ! /yle ma9ly cultivat$ 0 t ( ! ,neapolitan s*ool2 a ta/eless m+l+ ( languages 0 ev5 all[$ 9 "o & ! same op]a--! recitatives 7 (t5 sung 9 ,g]man & ! arias 9 ,italian4 ,?is decad5ce cont9u$1 ) a consequ5t loss ( popul> favor1 until 9 #agch op]a 9 ,g]man 0 giv5 up entirely1 & ,italian op]a reign$ triumphant 9 ,g]many4 ,! ,conv5tionaliz$ ,italian ,op]a4--,h&el1 on 8 return f ,italy1 f9ally f\nd 8 way to ,engl&1 :]e he made 8 home = ! re/ ( 8 life4 ,! s]ies ( op]as he produc$ !re =m ! climax ( ! type orig9at$ by ,sc>latti1 :i* by ?is "t fl\ri%$ on all /ages to ! exclusion ( all o!rs1 save 9 ,france1 :]e ! ideals ( ,lully & 8 s*ool /ill prevail$4 ,its *ief aim 0 to af=d s+]s an opportunity to display _! accompli%m5ts4 ,to ?is end ! compos] direct$ 8 att5tion pr9cipally to ! production ( arias :i* %\ld correspond to ?is dem&4 ,exquisitely beautiful z ^! (t5 71 _! prepond]ance completely obscur$ ! dramatic significance ( ! op]a1 & l$ ! s+]s to ent]ta9 grossly exagg]at$ ideas ( _! importance4 ,!y dictat$ to compos]s1 refus$ to s+ :at 9 _! op9ion fail$ to suit _! voices1 & 9 _m ways kept ! op]a f ris+ above ! l[ arti/ic level to :i* x _h fall54 ,to please !m1 a highly artificial s*eme ( arrangem5t 0 adopt$ to :i* ! drama 0 totally subs]vi5t4 ,only six *>act]s 7 all[$1 ?ree m5 & ?ree wom52 ! arias 7 /rictly classifi$ accord+ to /yle & assign$ to ! s+]s 9 a c]ta9 fix$ ord]2 no ensemble beyond a duet 0 p]mitt$1 & ! *orus sang only 9 ! clos+ f9ale4 ,no matt] :at ! dramatic exig5cies might be1 adh]5ce to ^! =mul 0 rigidly exact$4 ,h&el's ,op]as4--,?\gh ,h&el infus$ a vigor ( _s & a weal? ( *>act]i/ic melody into ?is =m ( op]a1 he made no def9ite attempt to escape its re/rictions4 ,_m ( 8 mo/ beautiful creations are buri$ 9 op]as :i* are dead beyond possibility ( resurrection on acc\nt ( 8 acquiesc5ce 9 ! s5tim5t ( 8 times4 ,t ?is is n due to lack ( innate p[] is %[n by 8 oratorios4 ,illu/ration3 ,,*ri/oph ,,willibald ,,gluck4 ,gluck & ,8 ,re=m ( ! ,op]a4--,?is s-call$ conc]t op]a reign$ ) almo/ undisput$ sway until ! influ5ce ( ,*ri/oph ,willibald ,gluck 7#agad-aghg7 wr\ght a mom5t\s *ange4 ,p]suad$ ( ! l[ e/ate to :i* ! op]a _h be5 r$uc$1 ,gluck /ood = a return to fir/ pr9ciples2 he advocat$ a ru?less sacrifice ( ! conv5tionalities :i* ?r\gh ! vanity ( s+]s & ! love ( s5sation on ! "p ( ! public _h gr[n up ar\nd ! op]a & ! plac+ ( x ^u its orig9al f\ndation ( ! drama4 ,he 0 a man ( mature ye>s :5 9 #agfb he put 8 !ories into practice by ! production ( ,orfeo 9 ,vi5na4 ,he _h compos$ _m op]as 9 ! prevail+ ,italian /yle1 b 8 judgm5t1 =m$ by ext5sive /udy & travel1 conv9c$ him ( ! ess5tial weakness ( t s*ool3 its conc5tration ^u ! purely musical elem5t4 ,?is he saw made ( ! op]a a puppet-%[ = ! display ( vocal art :i*1 great z x 0 f a te*nical po9t ( view1 0 me*anical & m]etrici\s 9 "*4 ,he 0 n alone 9 8 condemnation2 critics & ?9k]s su* z ,addison & ,/eele 9 ,engl&1 ,did]ot 9 ,france1 ,m>cello & ,alg>otti 9 ,italy _h employ$ ! v>i$ res\rces ( wit1 satire & reason to expose ! follies & inconsi/5cies ( ! op]a4 ,f ! nature ( ! case1 h[ev]1 !y c\ld "w no *ange2 mo/ ( !m 7 lit]>y m5 :o c\ld criticise b n create4 ,gluck's ,travels & _! ,influ5ce4--,gluck _h travel$ mu*4 ,!re 0 h>dly an art-c5tre 9 ,europe f ,cop5hag5 to ,naples :i* he _h n visit$ = ! purpose ( br++ out 8 works4 ,9 ,engl&1 he _h he>d ,h&el's oratorios1 :i* pr(\ndly impress$ him2 9 ,p>is1 he _h made acqua9tance ) ,rameau's op]as4 ,bo? ( ^! ma/]s ex]cis$ a /rong influ5ce ov] 8 *ange ( /yle2 ! =m] by 8 p[]ful h&l+ ( ! *orus :i* _h be5 practically bani%$ f ! ,italian /age1 ! latt] by 8 consi/5t adh]5ce to dramatic tru? ( expression4 ,he 0 9 addition a zeal\s /ud5t ( art & lit]ature 9 all _! phases2 he br\ght to 8 problem n only ! e> ( ! musician b ! intellect ( ! s*ol>4 8,orfeo40--,9 ,orfeo1 ,gluck took ! same /& :i* ,p]i _h tak5 9 8 op]a on ! same my? a c5tury & a half be=e3 ! illu/ration ( ! drama ?r\gh music :i* %\ld give x a poignancy ( expression d5i$ to ! spok5 ^w4 ,! lat] compos] _h ! imm5se advantage ( musical res\rces undream$-( at ! "t ( ! ,flor5t9e op]a1 b bo? /& ^u ! same arti/ic plat=m4 ,x 0 a d>+ task t ,gluck _h attempt$4 ,orpheus1 robb$ by dea? ( ,euridice1 seeks to rega9 h] by =c+ entrance to ! place ( dep>t$ spirits4 ,on 8 desc5t to ! ne!r _w he is confront$ by a b& ( demons :o b> 8 way1 b f9ally melt$ to te>s by ! pa?os ( 8 song1 !y all[ him to pass4 ,! compos] mu/ make ?is appeal adequate to ! effect2 any?+ less w\ld result 9 an anti-climax totally disa/r\s to dramatic illusion4 ,gluck pass$ ?is te/ triumphantly4 ,ev5 today ?is sc5e rema9s "o ( ! mo/ p[]ful kn[n to ! op]atic /age4 ,orfeo1 9 its /r5g? & simplicity1 0 s oppos$ to ! ta/e ( ! day t its victory 0 by no means unque/ion$1 b x soon won univ]sal recognition & ) its successor1 ,alce/e 7#agfg71 is ! olde/ op]a he>d at ! pres5t day4 ,gluck 9 ,p>is4--,alce/e 0 foll[$ by ,p>ide ed ,el5a 7,p>is & ,hel571 b ! sev]ity ( ! new /yle ar\s$ su* a /orm ( ho/ile criticism t ! disc\rag$ compos] turn$ to ,p>is ) 8 ,iphig5ie en ,aulide 7,iphig5ia 9 ,aulis7 to a ,fr5* text aft] ,rac9e's trag$y4 ,m>ie ,anto9ette1 !n ! wife ( ! ,dauph91 _h be5 8 pupil 9 ,vi5na1 & ?r\gh h] influ5ce ! op]a 0 produc$1 ?\gh n )\t ar\s+ "o ( ! mo/ bitt] w>s 9 musical annals4 ,twelve ye>s be=e1 ,italian ,op]a ,buffa _h ga9$ a foot+ 9 ,p>is4 ,its lightness1 melodic grace1 & witty dramatic situations captivat$ _m :o imm$iately attack$ ! prevail+ type ( ,fr5* op]a1 ( :i* ,rameau 0 ! head1 z heavy & unmusical4 ,?is op9ion 0 /r5u\sly combat$ by o!rs :o upheld native art4 ,?us !re 7 two /rongly-oppos$ p>ties1 "o def5d+ ! ,italian1 ! o!r ! ,fr5* s*ool ( op]a4 ,aft] ,rameau's dea?1 ! ,italian p>ty 0 9 ! asc5d5cy1 b on ,gluck's arrival ) a ,fr5* op]a he 0 tak5 z ! repres5tative ( ! national s*ool4 ,picc9i1 ! mo/ popul> ,italian compos] ( ! day1 0 pitt$ aga9/ him1 b x ne$$ only ! production ( ,gluck's ,iphig5ie en ,tauride 7,iphig5ia 9 ,tauris7 to cru% 8 rival's claims4 ,?is 0 8 la/ great "w4 ,he retir$ to ,vi5na1 :i* 0 8 home until 8 dea?4 ,influ5ce ( ,gluck4--,! influ5ce ex]t$ by ,gluck 0 f>-rea*+ & p]man5t4 ,! re=m he initiat$ did n create a s*ool--x did f> m2 x pr(\ndly affect$ all s*ools4 ,) no imm$iate foll[]s among ! compos]s ( 8 "t he /ood alone1 z he /&s today1 "o ( ! mo/ comm&+ figures 9 musical hi/ory4 ,8 ,orfeo m>ks ! beg9n+ ( a new era by rescu+ a great & important =m ( art f a decad5ce :i* _h robb$ x ( legitimate p[] & effect4 ,! op]a m ?an any o!r =m ( music is dep5d5t ^u popul> favor = exi/5ce4 ,x is !re=e peculi>ly susceptible to influ5ces :i* t5d to l[] arti/ic /&>ds4 ,gluck1 h[ev]1 made x impossible t x %\ld ev] aga9 s9k to ! level ( ! mass ( crudities & pu]ilities f :i* he lift$ x4 ,,ref]5ce4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,,iv4 ,,que/ions ,,& ,,sugge/ions4 ,give an acc\nt ( ! introduction ( op]a into ,g]many4 ,:y did ,g]man compos]s develop sl[ly8 ,describe ! e>ly ,g]man op]a =ms4 ,:o 0 ! *ief ag5t 9 a *ange8 ,give an acc\nt ( ,h&el's "w 9 connection ) ,g]man op]a4 ,:at _h be5 ! influ5ce ( s+]s8 ,:at 7 ! influ5ces to cause ,gluck to set ab\t op]a re=m8 ,give an acc\nt ( 8,orfeo40 ,:y did ,gluck g to ,p>is & :at success did he h !re8 ,:at 0 ! influ5ce ( ,gluck ^u ! future ( ! op]a8 ,x w be not$ t ! ,?irty ,ye>s' ,w> 9 ,g]many int]f]$ ) ! developm5t ( ! ,op]a4 ,fr$]ick ! ,great's gr&fa!r & fa!r laid ! f\ndations ( ! ,prussian k+dom4 ,9 ,france1 ,gluck's works c>ry u up to ! p]iod ( social & political agitation prec$+ ! ,fr5* ,revolution4 ,9 ,engl&1 ! ,h\se ( ,hanov] is becom+ m firmly e/abli%$ on ! ?rone2 9 ,am]ica1 ! p]iod is t ( ! /ruggles betwe5 ! ,fr5* & ,engli% coloni/s4 ,,lesson ,,xxiii4 ,,moz>t ,,to ,,ross9i4 ,! ,op]a aft] ,gluck4--,aft] ,gluck ! fir/ great "n is t ( ,wolfgang ,amadeus ,moz>t 7#agef-agia74 ,haydn _h inde$ writt5 a numb] ( op]as1 b !y 71 9 ! ma91 light 9 "* & ex]cis$ no influ5ce :atev] on ! developm5t ( ! =m4 ,at ! age ( twelve1 ,moz>t _h compos$ two op]as1 b ! fir/ to receive public p]=mance 0 ,mitridate1 ,re di ,ponto 7,mi?ridates1 ,k+ ( ,pontus71 :i* 0 produc$ at ,milan two ye>s lat] "u 8 own direction4 ,?is 0 foll[$ by o!rs1 b ^! e>ly works d n call = any ext5d$ m5tion4 ,?\gh !y ab\nd 9 melody & %[ a maturity rem>kable 9 s "y a compos]1 !y 7 frankly writt5 to please ! ta/e ( ! "t & d n 9 any ess5tials dep>t f ! accept$ ,italian /yle !n 9 favor1 z fix$ by ,sc>latti & 8 contempor>ies4 ,gluck & ,moz>t ,comp>$4--,x 0 n until ,idom5eo1 ,re di ,creta 7,idom5eus1 ,k+ ( ,crete7 0 br\ght out dur+ ! ,c>nival season ( #agha1 t he demon/rat$ fully ! gifts :i* made him ! fir/ dramatic compos] ( 8 "t4 ,9 ?is he %[s a great advance ov] ! conv5tional op]a ( ! p]iod & an approa* to ! ideals ( ,gluck1 ?\gh nei!r 9 ,idom5eo nor 9 any ( 8 lat] op]as did he attempt to embody ^! ideals 9 ! uncompromis+ =m *os5 by ! old] ma/]4 ,?\gh contempor>ies1 no two compos]s c\ld well be m unlike 9 "*1 temp]am5t & me?ods ?an ,gluck & ,moz>t4 ,! "o1 a man ( ye>s1 rip5$ ?r\gh travel & /udy1 condition$ 8 music accord+ to ! requirem5ts ( ! drama2 ! o!r1 a y\? ( no great intellectual end[m5ts aside f 8 art1 b aflame ) ! fire ( g5ius1 felt ! drama 9 t]ms ( music4 ,?us !y approa*$ ! task f opposite sides4 ,n t ,gluck 0 )\t feel+ or ,moz>t )\t intellect2 x 0 simply a case ( ! dramati/ & ! musician solv+ ! problem ea* 9 8 own way4 ,at ! same "t x 0 impossible t ,gluck's !ories %\ld be entirely )\t influ5ce on ,moz>t4 ,ev5 a g5ius mu/ le>n f 8 environm5t1 & ,gluck's position1 ?\gh %>ply disput$ by ! ,italian s*ool to :i* ,moz>t belong$1 c\ld n be ignor$ by ! y\ng] man4 ,!n1 too1 ,moz>t _h be5 9 ,p>is dur+ ! height ( ! ,gluck-,picc9i controv]sy1 & x is kn[n t he _h made a close /udy ( ,alce/e1 to :i* ,gluck1 9 ! =m ( a d$ication to ! ,gr& ,duke ( ,tuscany1 _h giv5 a preface conta9+ a cle> exposition ( 8 pr9ciples ( dramatic composition4 ,x is h>d to say1 h[ev]1 :at direction ,moz>t's dramatic c\rse might h tak5 _h 8 life n be5 cut s pitilessly %ort & if 8 outw>d circum/ances _h be5 less con/ra9$4 ,he 0 oblig$ to adapt himself to ,italian influ5ces :i* at t "t 7 all p[]ful4 ,! ,s+spiel4--,z already m5tion$1 ! fir/ attempts at ,g]man op]a took ! =m ( ! ,s+spiel1 b x gradually di$ out dur+ ! invasion ( ,italian op]a 9 ,g]many4 ,its revival & developm5t to a high] /&>d 0 due to ,johann ,adam ,hill] 7#agbh-ahjd71 :o receiv$ 8 fir/ impulse ?r\gh an ,engli% ballad op]a ( a f>cical nature1 8,! ,devil to ,pay40 ,?is 0 translat$ into ,g]man & giv5 7#agdc7 at ,b]l9 ) ! orig9al ,engli% melodies tak5 f popul> ballads4 ,hill] set ?is translation to music & foll[$ x ) _m o!rs :i* soon acquir$ great vogue2 "o or two1 = example1 ,d] ,dorfb>bi] 7,! ,village ,b>b]71 are /ill he>d 9 ,g]many4 ,hill]1 ?\gh "o ( ! mo/ le>n$ musicians ( ! day1 ! f\nd] ( ! celebrat$ ,gew&haus ,conc]ts 9 ,leipzig & editor ( ! fir/ musical p]iodical ev] publi%$1 adopt$ a simple1 natural ,folk-/yle 9 ^! op]ettas1 z !y 7 also call$4 ,goe! 0 p>ticul>ly int]e/$ 9 ?is revival ( a national =m ( op]a2 x /imulat$ him to ! writ+ ( ! ballads :i* 9 turn act$ s p[]fully 9 develop+ ! ,g]man song "u ! h&s ( ,loewe1 ,s*ub]t1 ,s*umann & o!rs4 ,moz>t's ,fir/ ,g]man ,op]a4--,emp]or ,joseph ,,ii1 wi%+ to e/abli% ! ,s+spiel 9 ,vi5na1 commission$ ,moz>t to write a ,g]man op]a ( a simil> /yle4 ,?is result$ 9 ,die ,entfhrung aus dem ,s]ail 7,! ,elopem5t f ! ,s]aglio71 & ! compos]'s hopes ( f\nd+ a national s*ool ( op]a 7 high4 ,un=tunately1 he 0 doom$ to disappo9tm5t4 ,?\gh ,die ,entfhrung 0 receiv$ ) en?usiasm1 popul> favor 0 av]se to op]a 9 any o!r tongue ?an ,italian2 ! ,g]man !atre 0 op5 only a few ye>s & ) ! exception ( ,die ,zaub]flte1 8 future op]as 7 compos$ to ,italian texts4 ,8 ,lat] ,op]as4--,le ,nozze di ,fig>o 7,! ,m>riage ( ,fig>o--#aghf71 ,don ,giovanni 7,don ,juan--#aghh71 ,die ,zaub]flte 7,! ,magic ,flute--#agia7 rank z ,moz>t's greate/ op]as4 ,consid]$ z music alone1 ! la/ rea*es a height :i* gives an idea ( :at he might h done 9 nationaliz+ ! op]a if he _h be5 sp>$ a score ( ye>s long]2 b its confus$1 irrational plot /&s 9 ! way ( its popul>ization4 ,! same objection holds good ( ,cos fan ,tutte 7,wom5 are ,all ,alike--#agij71 :i* conta9s "s ( 8 mo/ exquisite music4 ,*>act]i/ics ( ,moz>t's ,op]as4--,moz>t's conception ( ! op]a is t ( ! musician1 n ( ! dramati/4 ,?is is pla9 f ! indiff]5t texts he will+ly accept$1 yet s univ]sal 0 8 g5ius t he fus$ ! two elem5ts into a complete & consi/5t :ole4 ,su* a union ( cle>ly-cut *>act]ization & musical beauty is unkn[n 9 ! op]a4 ,he made 8 *>act]s et]nal types by means ( music s apposite to _! individuality t x seems 9 ea* case to spr+ f inw>d necessity1 yet :i* z music has nev] be5 surpass$ = intr9sic grace & *>m4 ,italian melody 9 its be/ e/ate on a f\ndation ( ,g]man dep? & solidity is its di/+ui%+ *>act]i/ic4 ,?is *>act]ization is conf9$1 h[ev]1 to details & p]sonages2 ( ! developm5t ( ! drama z a :ole he app>5tly _h b little idea4 ,?is1 h[ev]1 0 n call$ = by ! ta/e ( ! times2 ! op]a 0 n consid]$ f a dramatic /&po9t1 save by ,gluck & ! compos]s ( ! ,fr5* s*ool2 ! libretto furni%$ a s]ies ( situations suitable = musical illu/ration1 n a consi/5t & logical dramatic action4 ,_! ,significance to ,g]man ,art4--,moz>t m>ks ! highe/ po9t rea*$ by ! op]a ( ! #ah? c5tury2 he also m>ks ! pass+ ( ,italian supremacy 9 ,g]many4 ,! ,g]mans 7 already ma/]s ( ! o!r great =ms1 ! ,oratorio & ! ,symphony2 ,gluck & ,moz>t captur$ ! ,op]a also = ,g]many1 ?\gh x 0 n = sev]al decades aft] ,moz>t's dea? t ,g]man op]a rose f its discr$it$ position at ! close ( ! c5tury4 ,bee?ov5's ,fidelio4--,a mighty impulse 0 giv5 to ! developm5t ( a national s*ool by ! production ( ,fidelio 7#ahje71 ,bee?ov5's only op]a4 ,8 two great pr$ecessors _h be5 oblig$ = ! mo/ "p to write _! op]as to ,fr5* & ,italian texts4 ,bee?ov5 7#aggj-ahbg71 h[ev]1 %[$ 8 indep5d5ce & /urdy national "* by *oos+ a subject totally ali5 to ! frivol\s intrigues :i* at t "t rul$ ! ,vi5nese /age--a /ory ( h]oic1 wifely devotion--& compos$ x to ,g]man words & 9 ! ,g]man /yle2 t is1 ) dialogue in/ead ( recitative4 ,ess5tially symphonic 9 "*1 ,fidelio %[s ! same disreg>d ( vocal limitations :i* *>act]izes ! ,n9? ,symphony & ! ,mass 9 ,d4 ,difficult = ! s+]s1 x 0 /ill m difficult = ! public4 ,9 subject & treatm5t x 0 above _! heads2 !y turn$ x ! cold %\ld] & x soon disappe>$ f ! bo>ds4 ,an appreciation ( its greatness 0 res]v$ = a lat] day4 ,italian ,compos]s 9 ,france & ,g]many4--,! popul>ity ( ,italian op]a outside ( ,italy l$ to ! expatriation ( _m ,italian compos]s :o ex]cis$ a p[]ful influ5ce 9 ,france & ,g]many4 ,among ^! ,antonio ,sali]i 7#agej-ahbe7 des]ves m5tion = 8 c>e] 9 ,vi5na1 :]e he 0 ! successful rival ( ,moz>t 9 c\rt favor & lat] ! tea*] ( ,bee?ov54 ,m important 0 ,luigi ,*]ub9i 7#agfj-ahdb71 :o f\nd 8 way to ,p>is j be=e ! ,revolution4 ,a ma/] ( ! sev]e contrapuntal s*ool1 :i* 0 !n pass+ away1 ,bee?ov5 consid]$ him ! fir/ compos] ( ! day = ! /age & /udi$ 8 works zeal\sly4 ,*]ub9i 0 pres5t at ! fir/ p]=mance ( ,fidelio1 :i* %[s /rong traces ( ! influ5ce ex]t$ ^u ,bee?ov5 by ,les ,deux ,j\rnes 7,! ,two ,days1 kn[n 9 ,g]many & ,engl& z ,! ,wat] ,c>ri]71 ,*]ub9i's greate/ op]a4 ,! two 7 on intimate t]ms dur+ ! /ay ( ! latt] 9 ,vi5na = ! purpose ( br++ out sev]al ( 8 op]as4 ,!re 0 mu* 9 common betwe5 !m2 ! ,italian _h ! solidity1 dignity & nobility ( treatm5t g5]ally associat$ ) ! ,g]man "*4 ,bee?ov5's *oice ( a subject = 8 op]a 0 d\btless influ5c$ by ,les ,deux ,j\rnes2 ! !mes ( bo? are mu* ! same1 involv+ devotion & self-sacrifice ( ! highe/ ord]4 ,spont9i & ,ross9i4--,ano!r ,italian compos] :o w5t fir/ to ,france & aft]w>d to ,g]many 0 ,gasp>o ,spont9i 7#aggd-ahea71 :o ) ,la ,ve/ale 7,! ,ve/al7 enl>g$ ! sph]e ( ! op]a 9 ,p>is4 ,spectacul> & pomp\s 9 "*1 sonor\s & p[]ful 9 in/rum5tation1 x po9t$ directly to ! type ( gr& op]a orig9at$ by ,mey]be] ne>ly a g5]ation lat]4 ,9 #ahbj1 he 0 summon$ to ,b]l91 :]e he rema9$ z c\rt compos] & conductor = tw5ty-two ye>s1 a p]iod co9cid5t ) ! mo/ significant developm5t ( ! ,g]man s*ool ( op]a4 ,spont9i 0 ! la/ ( ! _m ,italians :o _h = a c5tury & a half borne almo/ un9t]rupt$ sway 9 ,g]many4 ,! mo/ brilliant & gift$ ( all ^! w&]+ sons ( ,italy 0 ,gioac*9o ,ross9i 7#agib-ahfh74 ,z ri* 9 melody z ,moz>t1 ?\gh ( a less ref9$ type1 he ow$ m to nature ?an to /udy4 ,8 fir/ successful op]a1 ,tancr$i 7#ahac71 set all ,italy agog ) ! fre%ness & vivacity ( its airs1 & x 0 n long be=e he 0 ! mo/ popul> compos] 9 ,europe4 ,gift$ ) prodigi\s facility--9 "o p]iod ( eight ye>s he wrote tw5ty op]as--8 op]as rul$ all /ages & fix$ ! /&>d by :i* all o!rs 7 judg$4 ,illu/ration3 ,,gioac*9o ,,ross9i4 ,*>act]i/ics ( ,ross9i's ,op]as4--,!y are1 on ! :ole1 a rev]sion to ! conv5tionaliz$ op]a ( ,h&el's "t 9 be+ writt5 = ! s+] to exhibit 8 art & n to express ! significance ( ! drama2 ?is not)/&+ _! und\bt$ *>m1 ! _m piquant & orig9al t\*es 9 rhy?m & h>mony1 ! occasional sugge/ive in/rum5tation4 ,an int5sely florid /yle is us$ n only 9 ! buffa s*ool :]e x c readily be ju/ifi$1 b 9 op]as ( a tragic nature :]e x is manife/ly out ( place4 ,9 ,semiramide1 = in/ance1 a /ory ( battle1 murd] & sudd5 dea? is told 9 ! same rippl+ rhy?ms & highly ornam5t$ melodies t illu/rate ! intrigues ( 8 ,b>bi]e di ,siviglia 7,b>b] ( ,seville71 :]e !y are em95tly appropriate4 ,8 ,*ange ( ,/yle4--,?is is true1 h[ev]1 only ( 8 works compos$ = ! ,italian /age4 ,8 ,guillaume ,tell 7,william ,tell71 produc$ 9 #ahbi1 five ye>s aft] 8 arrival 9 ,p>is1 %[$ ! influ5ce ( 8 new environm5t by an almo/ />tl+ *ange ( /yle4 ,elevat$ & dramatic 9 treatm5t1 %orn ( r$undant ornam5t z befits ! "* ( ! subject--tak5 f ,s*ill]'s play ( ! same "n--x rema9s 8 greate/ a*ievem5t2 at lea/ 9 s]i\s op]a4 ,x 0 also 8 la/ "w = ! /age4 ,x is n kn[n by :at /range caprice he practically clos$ 8 c>e] z compos] at ! age ( ?irty-n9e4 ,,ref]5ce4 ,ox=d ,hi/ory ( ,music1 ,vol4 ,v4 ,,que/ions ,,& ,,sugge/ions4 ,"n ! mo/ prom95t successor ( ,gluck 9 op]a4 ,comp>e ! two4 ,describe ! ,s+spiel4 ,"n "s ( ,moz>t's op]as4 ,m5tion _! *>act]i/ics & influ5ce4 ,give an acc\nt ( ,bee?ov5's "w 9 ,op]a4 ,tell ab\t ,sali]i1 ,*]ub9i1 ,spont9i1 ,ross9i4 ,give ! *>act]i/ics ( ,ross9i's op]as4 ,:at *ange 9 8 /yle is evid5t 9 8,william ,tell08 ,we n[ approa* ! p]iod prec$+ ! ,am]ican & ! ,fr5* ,revolutions :i* s greatly affect$ ! masses ( ,europe1 an influ5ce ext5d$ by ! w>s ( ,napoleon4 ,music %[s traces ( ! p[]ful =ces at "w1 los+ ! =m] artificiality & becom+ m & m1 9 ! h&s ( ,bee?ov51 an expression ( dramatic & p]sonal feel+4 ,,lesson ,,xxiv4 ,,! ,,oratorio4 ,oratorio 9 ,italy aft] ,c>issimi4--,aft] ! beg9n+ made by ,c>issimi1 ! next "w ( importance 9 ,oratorio is t ( ,aless&ro ,sc>latti1 :o e/abli%$ ! ,aria =m z expla9$ 9 ! /udy ( ! ,op]a4 ,! compos]s ( ! ,italian s*ool ( ! la/ "p ( ! #ag? & ! e>ly "p ( ! #ah? c5tury us$ practically ! same me?ods 9 ,op]a & ,oratorio1 ! diff]5ce be+ ma9ly 9 ! "* ( ! text1 & 9 ! e>ne/ness or religi\s feel+ ( ! compos]4 ,sc>latti is also signaliz$ by 8 improvem5ts 9 ! ,recitative1 :i* result$ 9 sev]al =ms made use ( by 8 successors1 ,recitativo ,secco & ,accompani$ ,recitative4 ,he wrote t5 oratorios4 ,contempor>ies ^: "w %\ld be m5tion$ are ,antonio ,cald>a 7#afgh-agfc7 & ,leon>do ,leo 7#afid-agdf71 a pupil ( ,sc>latti1 :o wrote ne>ly a hundr$ works = ! *ur*1 ! *ief "o be+ ! oratorio1 ,santa ,el5a al ,calv>io & a ,mis]]e = a d\ble *oir4 ,he 0 /rong 9 8 writ+ = *orus1 mak+ spl5did use ( ! fugal /yle4 ,ano!r contempor>y ( ! fir/ rank 0 ,aless&ro ,/radella 7#afde-afha71 ^: oratorio1 ,san ,giovanni ,batti/a 7,/4 ,john ! ,bapti/7 is a mo/ beautiful "w4 ,x conta9s a free treatm5t ( ! accompany+ in/rum5ts1 ! arias are cle> & well-design$1 ! *orus writ+ = five p>ts is effective z well z +5i\s1 & ! "w z a :ole %[s consid]able p[] ( dramatic expression1 =m+ a sort ( transition betwe5 ,sc>latti & ,h&el4 ,/radella is said to h be5 a pupil ( ,c>issimi4 ,oratorio 9 ,g]many4--,9 ,oratorio z 9 ,op]a1 ! /yle spread to o!r c\ntries1 !re1 9 ! case ( ! ,oratorio1 ultimately to f9d a m cong5ial home2 = ! ,oratorio1 9 ,italy aft] ! "t ( ,/radella1 seem$ to lose hold on compos]s & public4 ,! latt] did n grasp ! fact t ! ,oratorio _h )9 x "o elem5t1 ! *orus1 to give to x a def9ite individuality4 ,!y submitt$ to ! public's pref]5ce = solo s++ & made up _! oratorios l>gely ( conv5tional arias--?us invit+ comp>ison ) ! ,op]a1 & res]v$ _! writ+ 9 *oral =m = _! works = ! ,*ur* s]vice1 su* z psalms1 magnificats1 masses & motets4 ,9 ,g]many1 ! attitude ( ! p t[>d religi\s music1 d\btless ow+ to ! ,re=mation z well z to ! s]i\s nature ( ! p1 0 mu* m favorable ?an 9 ,italy4 ,?is temp]am5t is %[n by ! fact t :5 ,g]man compos]s ca/ ab\t = !mes = _! oratorios !y seem$ to *oose ! /ory ( ! ,passion4 ,! olde/ example ( ! ,g]man ,oratorio is 8,! ,resurrection ( ,*ri/10 writt5 by ,he9ri* ,s*uetz 7#aehe-afgb71 a pupil ( ,giovanni ,gabrieli1 :i* 0 produc$ at ,dresd5 9 #afbc4 ,! n>rative portions 7 committ$ almo/ entirely to ! *orus4 ,we m5tion also a sett+ ( ! ,passion1 by ,johann ,seba/iani1 publi%$ 9 #afgb1 :i* conta9s int]sp]s$ *orales1 sung z arias by "o voice ) viol9 accompanim5t1 & by ,re9h>d ,keis] 7#afgd-agci74 ,use ( ! ,*orale4--,a /ep 9 advance 0 tak5 :5 ,g]man compos]s began to use ! *orale ( ! ,g]man ,prote/ant ,*ur* z ! subject = contrapuntal elaboration1 a t5d5cy %[n 9 ! "w ( ,seba/iani ref]r$ to 9 ! prec$+ p>agraph4 ,! ,*orale _h absorb$ into itself ! _s ( ! ,volksli$1 & its use suppli$ ! m$ium = ! public to ent] fully into ! _s ( ! oratorio4 ,two compos]s :o develop$ ! 8,passion ,music0 idea to its height1 ,k>l ,he9ri* ,graun 7#agja-agei7 & ,johann ,seba/ian ,ba*1 made ! ,*orale an integral "p ( _! works4 ,! greate/ "w 9 oratorio =m writt5 by ,graun 0 call$ ,d] ,tod ,jesu 7,! ,dea? ( ,jesus71 :i* 0 fir/ produc$ 9 ! ,ca!dral at ,b]l9 9 #agee4 ,?is "w consi/s ( recitatives1 airs & *oruses1 ! fugal treatm5t ( ! latt] be+ admirable 9 po9t ( cle>ness ( design & bread? ( =m4 ,graun us$ 9 ?is oratorio six *orales4 ,d] ,tod ,jesu1 ow+ to a beque/1 is /ill giv5 9 ,b]l94 ,ba*4--,! greate/ ( all ! sett+s ( ! ,passion are ^? by ,johann ,seba/ian ,ba* 7#afhe-agej74 ,! fir/ "w 9 ?is /yle by ,ba* 0 ! "o accord+ to 8,/4 ,john10 9 #agbc1 fir/ p]=m$ on ,good ,friday1 #agbd1 at ,leipzig4 ,?is "w1 f9e z x is1 mu/ yield to ! second sett+1 accord+ to 8,/4 ,mat!w10 fir/ produc$ on ,good ,friday1 #agbi1 aft]w>d revis$ & giv5 aga9 9 #agdj4 ,a few notes on ! 8,passion accord+ to ,/4 ,mat!w0 w s]ve = bo? works4 ,! *>act]s introduc$ are ,jesus1 ,judas1 ,pet]1 ,pilate1 ! ,apo/les & ! ,p4 ,c]ta9 reflections on ! n>rative are int]pret$ by a *orus4 ,! text :i* furni%es ! n>rative is assign$ to ! pr9cipal t5or4 ,fifte5 *orales ( ! ,lu!ran ,*ur* are introduc$1 & 9 ! s++ ( ^! ! g5]al congregation 0 expect$ to jo94 ,! *oruses conta9 p[]ful & dramatic vocal effects1 & ?\gh n /rictly fugal are intricate 9 _! "p-writ+4 ,a d\ble *orus is us$1 ea* *orus hav+ a sep>ate or*e/ra & organ accompanim5t4 ,! p]=mance ( ?is "w 7,/4 ,mat!w ,passion7 0 re/rict$ to ,leipzig 9 ! #ah? c5tury1 & 0 discont9u$ altoge!r 9 ! #ai? until ,m5delssohn reviv$ x 9 #ahbi4 ,x is giv5 v frequ5tly at ! pres5t day dur+ ! ,l5t5 season1 9 "p or 9 full4 ,! 8,*ri/mas ,oratorio0 7#agcd7 is really a s]ies ( cantatas = ea* ( ! fir/ days ( ! ,*ri/mas week1 & conta9s no new ideas s f> z =m is conc]n$4 ,/abat ,mat]4--,9 connection ) ! 8,passion0 ref]5ce %\ld be made to ! ,lat9 hymn1 8,/abat ,mat]10 :i* has be5 made ! subject ( treatm5t 9 oratorio =m1 by ,pale/r9a1 ,giovanni ,batti/a ,p]golesi 7#agaj-agcf7 = soprano & contralto accompani$ by /r+s & organ1 ,emanuele d',a/orga 7#afha-agcf7 = f\r voices ) in/rum5tal accompanim5t1 ! m mod]n "w1 9 l>ge =m1 by ,gioac*9o ,ross9i 7#agib-ahfh71 mo/ beautiful z music if p>tak+ too mu*1 z critics say1 ( ! s5su\s1 & ! magnific5t sett+ ( ,anton9 ,dvok 7#ahda-aijd74 ,?is "w has be5 plac$1 by musicians & ! public1 9 ! category ( ! _w's ma/]pieces ( *oral writ+4 ,george ,fri$ri* ,h&el 7#afhe-agei74--,we n[ come to ,ba*'s contempor>y1 ! greate/ "n 9 ! hi/ory ( ! ,oratorio1 to ! compos] :o br\ght to 8 "w a musical le>n+ equal to t ( ,ba*1 ,g]man e>ne/ness & ma/]y ( contrapuntal sci5ce1 temp]$ by k ( & exp]i5ce 9 ,italian vocal me?ods1 produc+ simple1 cle> melody support$ by ri*1 firm h>monies1 a complete ma/]y ( ! or*e/ra ( ! day1 a cle> und]/&+ ( ! value ( ! *orus 9 work+ out dramatic effects2 & ?is comb9ation 0 (f]$ a cong5ial field = labor 9 ,engl&1 "o ( ! great ,prote/ant c\ntries ( ,europe1 ) a deep rev]5ce = religion & = ! n>ratives ( ! ,bible & ! tru?s & lessons !y en=ce4 ,?is latt] po9t is /rik+ly pres5t 9 ! texts ( ,h&el's oratorios2 ! symbolic mean+ ( ! n>rative is cle>ly indicat$ & made ! c5tral ?\ght ( ! "w1 produc+ a rem>kable effect ( ,unity4 ,z a writ] has said3 8,h&el prea*es ?r\gh ! voices ( 8 *orus40 ,! or*e/ra = :i* ,h&el wrote 0 small] ?an ! full or*e/ra to :i* we are accu/om$ today4 ,! proportion ( /r+ play]s to ! :ole numb] ( play]s 0 small]1 b on ! o!r side1 m ?an two oboes & bassoons 7 us$2 flutes 7 mo/ frequ5tly us$ z solo in/rum5ts or to d\ble ! "p ( ! oboes2 ! cl>9et ,h&el nev] us$1 d\btless because ( its imp]fections1 :i* 7 n rem$i$ until lat]2 ! brass in/rum5ts us$ 7 trumpets ) kettle drums = _! natural bass1 horns & ! ?ree trombones1 alto1 t5or & bass2 o!r in/rum5ts ( a s(t-voic$ quality1 l ! h>p1 viola da gamba1 7 occasionally us$ = obligato accompanim5ts4 ,! organ 0 always us$1 ! "p be+ writt5 accord+ to ! figur$ bass sy/em1 & ! h>psi*ord 0 us$ by ! conductor4 ,! read] :o is able to analyze "o ( ,h&el's oratorio scores w be surpris$ to note ! sup]b effects he makes ) comp>atively small res\rces4 ,comp>$ ) ! polyphonic writ+ ( 8 pr$ecessors & 8 great contempor>y1 ,ba*1 8 fugues seem light & simple1 b t v ?+ gives !m _! admirable cle>ness & purity2 comp>$ ) lat] works1 8 diatonic progressions & h>monies bas$ on common *ords seem colorless1 especially s 9 contra/ ) ! kaleidoscopic *romatic figures & /rongly dissonant h>monies ( ! new] s*ool2 yet 9 ?is po9t is ! /r5g? ( ,h&el's works ) ! public2 simplicity is valu$ m highly ?an complexity1 naturalness r ?an ! indications ( sci5ce4 ,h&el wrote sev5te5 works t c be class$ z oratorios4 ,! fir/ ( ^! 0 8,e/h]10 9 #agbj1 revis$ & br\ght out anew 9 #agcb4 ,9 #agcc 8,deborah10 p]haps be/-kn[n = a p[]ful d\ble *orus1 0 (f]$ to ! public2 8,a?aliah0 9 ! same ye>4 ,9 #agci came 8,saul0 & 8,israel 9 ,egypt10 ! =m] be/-kn[n today = its fam\s 8,dead ,m>*10 ! latt] = ! music descriptive ( ! plagues4 ,9 #agda1 he wrote 8 greate/ oratorio 8,! ,messiah10 :i* 0 fir/ p]=m$ publicly1 ,april #ac1 #agdb1 9 ,dubl94 ,9 ?is we f9d a c]ta9 reflective "* :i* recalls ! ,passion music ( ! ,g]man s*ool4 ,! only o!r oratorio :i* is /ill giv5 9 any?+ l entirety is 8,judas ,maccabu0 7#agdg72 o!r works f :i* c]ta9 portions are /ill 9 use are 8,samson0 7#agdc71 8,solomon0 7#agdi71 8,!odora0 7#agej71 a "w :i* ,h&el consid]$ 8 be/1 & 8,jeph?a0 7#ageb74 ,great z 0 ,h&el's fame 9 ,engl&1 ! "* ( 8 works & ! =ms he us$ made little or no impression ^u ,g]man & ,italian compos]s4 ,johann ,adolph ,hasse 7#afii-aghc71 ,niccolo ,porpora 7#afhf-agfg71 ,antonio ,sac*9i 7#agcd-aghf71 ,giovanni ,paisiello 7#agda-ahaf71 ,niccolo ,jommelli 7#agad-aggd7 & ,pietro ,guglielmi 7#agbg-ahjd7 wrote 9 ! ,italian /yle1 & _! works are1 prop]ly speak+1 conc]t oratorios1 sc>cely di/+ui%able f ! op]a save by ! text4 ,franz ,joseph ,haydn4--,! next "n ( importance is t ( ,haydn 7#agcb-ahji71 :o wrote 8,! ,creation0 & 8,! ,seasons0 t[>d ! end ( a long life1 aft] 8 "w z a compos] _h giv5 him a comm& ( musical res\rces excell$ only by ,bee?ov51 :o did n equal him 9 skill 9 writ+ effectively & suitably = voices4 ,x 0 9 #agih t 8,! ,creation0 0 fir/ giv5 9 ,vi5na4 ,! score ab\nds 9 effective writ+ = ! solo voices1 9 ! florid /yle & 9 ! conv5tional aria =m1 & 9 brilliant *oruses :i*1 h[ev]1 _c comp>e 9 dignity & bread? ) ^? ( ,h&el4 ,! or*e/ral accompanim5ts are mu* m elaborate ?an ^? us$ by ,h&el1 z c naturally be expect$ f a compos] :o _h giv5 8 greate/ ef=ts to ! developm5t ( in/rum5tal music4 8,! ,seasons0 0 fir/ p]=m$ 9 ,vi5na 9 #ahja4 ,x prov$ z successful z 8,! ,creation40 ,haydn's simple1 g5ial nature is app>5t 9 ?is beautiful "w1 really too light to be> ! "n ( oratorio1 :i* has su* close association ) works ( a deep1 religi\s "*4 ,moz>t & ,bee?ov54--,z ! or*e/ra develop$ "u ! ma/]s ( tone & dramatic effects1 ,moz>t1 ,gluck & ,bee?ov51 s ! works 9 oratorio =m took on a diff]5t texture4 ,9 ! e>li] p]iods1 ! accompanim5ts 7 subord9ate1 ! int]e/ 0 c5tr$ 9 ! voices4 ,b z compos]s realiz$ ! possibilities ( ! con/antly-improv+ or*e/ra & ! opportunities = effective comb9ations ( voices & in/rum5ts1 ! t5d5cy became m & m m>k$ to elaborate ! in/rum5tal p>ts & to create an ensemble m complicat$ & gorge\s1 bas$ ^u ! or*e/ra & its tone-color s*eme r ?an on pure vocal effects4 ,moz>t's 8,requiem0 7#agia71 writt5 j be=e ! compos]'s dea?1 br+s into use ! mo/ p[]ful dramatic res\rces ( or*e/ra & voices to portray ! _s ( ! 8mass = ! dead40 ,9 oratorio1 z 9 op]a1 ,bee?ov5 wrote b "o "w1 8,! ,m\nt ( ,olives0 7#ahjc74 ,! /yle is florid & op]atic1 some:at 9 ! /yle ( ! ,italian compos]s2 ! res\rces ( ! or*e/ra are drawn ^u m ext5sively ?an m>k$ ! me?ods ( ,haydn4 ,! *orus is freely us$1 ! 8,hallelujah0 be+ ! /ronge/ movem5t4 ,! *oral movem5ts 9 ! ,n9? ,symphony sugge/ :at ,bee?ov5 might h done _h he set himself to writ+ an oratorio 9 great] submission to ! capacity ( ! human voice4 ,spohr4--,f n[ on1 oratorio composition is associat$ ) ! ma/]s ( in/rum5tal music1 ! or*e/ra is drawn ^u = its ri*e/ & mo/ p[]ful res\rces to "w out ! emotional & dramatic qualities ( ! texts2 x is n[ no long] a m]e accompany+ in/rum5t2 x is 9 ! highe/ degree ess5tial to ! effects design$ by ! compos]4 ,ludwig ,spohr 7#aghd-ahei71 a great viol9i/1 wrote 8 fir/ oratorio1 8,das ,jng/e ,g]i*t0 7,! ,la/ ,judgm5t71 :5 he 0 b tw5ty-eight ye>s old4 ,a lat] "w produc$ 9 #ahbf1 goes by ! ,engli% "n 8,! ,la/ ,judgm5t10 al?\gh t is n ! lit]al translation ( ! ,g]man title ,die ,letzt5 ,d+e4 ,9 ?is "w we f9d ! romantic idea cle>ly 9 evid5ce4 ,! compos]'s /yle _h be5 develop$ & individualiz$ by 8 long exp]i5ce z play] & conductor2 he 0 a ma/] ( ! res\rces ( in/rum5tation1 conv]sant bo? z compos] & conductor ) ! limitations ( voices--he wrote a numb] ( op]as--s t he 0 prep>$ = ! creation ( a "w :i* has a "* ( its own4 ,a /rik+ feature ( ?is oratorio is ! frequ5t use ( *romatic progressions1 :i* is inde$ a *>act]i/ic ( ,spohr's writ+4 ,m5delssohn4--,! next great compos] 9 ,oratorio 0 a ,g]man2 l him also 8 works _h _! greate/ reception 9 ,engl&1 ,felix ,m5delssohn ,b>?oldy 7#ahji-ahdg74 ,8 fir/ "w1 8,/4 ,paul10 0 giv5 at ,dsseldorf 9 #ahcf4 ,8 greate/ oratorio1 "o t ranks ) ,h&el's 8,messiah0 9 public favor1 is 8,elijah10 :i* 0 writt5 = ! ,birm+ham1 ,engl&1 ,fe/ival4 ,x 0 fir/ produc$ 9 #ahdf4 ,z a dilig5t & en?usia/ic /ud5t ( ,ba*1 x seems natural t ,m5delssohn %\ld h adopt$ ! great ma/]'s me?ods4 ,9 /yle 8,/4 ,paul0 & 8,elijah0 %[ lean+s t[>d ,ba* & ! ,g]man oratorio r ?an t[>d ,h&el4 ,m5delssohn1 :o produc$ ,ba*'s 8,passion accord+ to ,/4 ,mat!w0 9 ,b]l91 9 #ahbg1 0 ?or\ghly famili> ) ! plan ( ! ,g]man oratorio1 a m+l+ ( n>rative1 dramatic & m$itative or reflective elem5ts1 & especially ! ,*orale to repres5t ! ,*ur*1 ! *orus be+1 prop]ly speak+1 a "p ( ! dramatis p]son1 repres5t+ masses ( p :o %>e 9 ! action1 :ile ! congregation repres5ts ! reflective elem5t4 ,he uses a fugal /yle q freely 9 8 *oruses1 b a /rict fugue1 9 ! /yle ( ,h&el1 is r>e1 z ! compos]'s feel+ = emotional effects dem&s a fre] /yle2 ! accompanim5ts are elaborate1 p>tak+ ( ! dramatic elem5t & draw+ ^u ! fulle/ res\rces ( ! or*e/ra4 ,m5delssohn _h />t$ ! composition ( ano!r oratorio1 8,*ri/us10 on ! l9es ( ! 8,passion0 music ( ,ba*1 b di$ be=e ! "w 0 complet$4 ,8 8,hymn ( ,praise0 7#ahdj71 a l>ge *oral "w t is occasionally sung1 well repres5ts ,m5delssohn's skill 9 comb9+ vocal & or*e/ral effect4 ,riemann calls x a symphony-cantata1 ,p>ry says x 8comb9es ! qualities ( a symphony & ( an oratorio40 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ,oratorio & on compos]s nam$ 9 ?is lesson4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt]s ,,vii & ,,xiii4 ,,que/ions ,,& ,,sugge/ions4 ,give ! names ( ! ,italian compos]s :o foll[$ ,c>issimi 9 ! ,oratorio4 ,:at contribut$ to make ,g]many a cong5ial field = ,oratorio8 ,:o are ! e>ly compos]s ( ! 8,passion0 music8 ,give an acc\nt ( ,ba*'s "w 9 ,oratorio4 ,give ! names ( ! lead+ compos]s ( ! 8,/abat ,mat]40 ,describe ,h&el's or*e/ra4 ,m5tion ,h&el's mo/ important works 9 ,oratorio =m4 ,give an acc\nt ( ,haydn's "w 9 ,oratorio4 ,:at works did ,moz>t & ,bee?ov5 write 9 ,oratorio =m8 ,describe ,spohr's "w 9 ,oratorio4 ,:]e did ,m5delssohn's "w become mo/ popul>8 ,give an acc\nt ( 8 compositions 9 ,oratorio =m4 ,! class %\ld1 if ! works are at h&1 read ?r\gh ! text ( ,ba*'s1 ,h&el's1 ,haydn's1 ,spohr's & ,m5delssohn's oratorios1 all or z _m z c be secur$4 ,ea* pupil may be ask$ to write an acc\nt ( "o "w4 ,,sugge/ions ,,= ,a ,,review ,,( ,,lessons ,,xvii ,,to ,,xxiv4 ,! tea*] or a pupil %\ld /udy ! subject ( ! ,r5aissance 9 a hi/ory ( lit]ature & also ( art1 & !n pres5t to ! class an ab/ract ( ! /udy1 to %[ ! _s ( ! movem5t & its influ5ce on art1 especially music4 ,use ! p>agraph heads 9 ea* *apt] ) ! important s5t5ces 9 ! p>agraphs to make an outl9e ( ea* lesson4 ,?is is a great help 9 fix+ ! lessons 9 ! m9d 9 prep>+ = exam9ation4 ,sum up ,montev]de & 8 "w1 8 relations to pr$ecessors & successors4 ,:y did ! c5tre %ift f ,flor5ce to ,v5ice8 ,give a sket* ( ,sc>latti1 8 life & contributions to music4 ,if "t w p]mit1 "s pupil %\ld prep>e a %ort acc\nt ( su* compos]s z ,p]golesi1 ,porpora1 ,picc9i & ,paisiello4 ,give a summ>y ( ! developm5t ( ! art ( ,s++4 ,a pupil %\ld consult ,grove's 8,diction>y0 & make a pap] on ! great s+]s ( ! old5 times1 _! p]sonality2 also int]e/+ anecdotes4 ,comp>e ! ,italian ,op]a ) ! =m develop$ by ,lully & ,rameau4 ,9 :at respects did ! ,engli% ,op]a diff] f ! ,italian & ,fr5* =m8 ,/ate ! *>act]i/ics ( ! ,g]man ,op]a4 ,h&el's "w 9 ,op]a1 especially 9 ,engl&1 w make an int]e/+ /udy = a %ort pap] to be read be=e ! class by "s memb] ( x4 ,gluck's c>e] is full ( int]e/ & incid5t & 8 gr[? is cle>ly a matt] ( exp]i5ce4 ,a pupil c1 to advantage1 /udy 8 life 9 "s biography or 9 ,grove's ,diction>y & pres5t an ab/ract to ! class4 ,9 :at respects did ,moz>t's & ,bee?ov5's op]as %[ diff]5ces f ! conv5tional ,italian =m8 ,a /udy ( ,ross9i's life & works is full ( int]e/1 on acc\nt ( 8 /rong p]sonality & /rik+ *>act]i/ics4 ,:at is 8,passion ,music08 ,:y is x specially suit$ to ! ,g]man ,prote/ant ,*ur*8 ,comp>e ,h&el's1 ,haydn's1 ,spohr's & ,m5delssohn's "w 9 ,oratorio4 ,excell5t results w be obta9$ by hav+ pupils prep>e *>ts :i* are fill$ up f lesson to lesson4 ,take a l>ge %eet ( pap]1 divide x into columns1 ea* column into qu>t] sections1 ea* column repres5t+ a c5tury1 ea* section1 tw5ty-five ye>s4 ,add dates ( bir? & dea? ( ! great musicians1 m>k+ ea* "n ,i1 ,f1 ,g1 to %[ nationality 7,italian1 ,fr5*1 ,g]man1 etc474 ,ano!r *>t %\ld %[ ! v>i\s national s*ools1 ,france1 ,g]many1 ,italy1 etc41 by c5turies & qu>t] c5turies2 ano!r ! developm5t ( su* phases z op]a1 oratorio1 s++1 sonata1 etc4 ,a v valuable *>t is "o %[+ contempor>ies1 9 musical & g5]al hi/ory1 also p>allel ev5ts1 = example1 ! musicians :o liv$ 9 a c]ta9 c5tury1 fam\s k+s1 /atesm51 explor]s1 poets1 sci5ti/s1 discov]ies 7su* z ,am]ica1 pr9t+1 etc471 fam\s battles1 ev5ts 9 ,biblical & ,am]ican hi/ory1 & o!r political ev5ts ( ! same c5tury4 ,cr$it %\ld be giv5 9 class /&+ = ^! *>ts4 ,,lesson ,,xxv4 ,,! ,,evolution ,,( ,,! ,,pian(orte4 ,:ile ! viol91 on acc\nt ( ! simplicity ( its con/ruction1 arriv$ e>ly at a /age ( p]fection1 ! complicat$ me*anism ( ! pian(orte requir$ _m g5]ations & _m scores ( m or less successful exp]im5ts to atta9 any?+ l a correspond+ plane4 ,inde$1 su* exp]im5ts are /ill con/antly 9 progress2 s t ! pian(orte ( ! future may conceivably realize possibilities z f> ahead ( ! pres5t piano z t is ahead ( its pr$ecessors4 ,! fir/ attempts at piano manufacture1 h[ev]1 _h little 9 common ) our mod]n pianos1 save ! pr9ciple ( ! comb9ation ( ! keybo>d ) /r+s2 s9ce 9 con/ruction & result+ tone few po9ts ( simil>ity exi/4 ,clavi] a ,sub/itute = ! ,organ4--,we are probably indebt$ to ! ext5sive use ( ! organ = ! e>lie/ comb9ations ( keys & /r+s4 ,z ! dem& arose = a m conv5i5tly-key$ in/rum5t ?an ! l>ge *ur* organs1 = practice or private h\ses1 small portable organs 7 inv5t$2 yet ev5 ^! did n satisfy ! want entirely1 ow+ to ! difficulties 9 _! w9d supply1 :i* requir$ an assi/ant z bl[]4 ,?us ! organ keybo>d came to be appli$1 z e>ly z ! #aa? c5tury1 to already exi/+ /r+$ in/rum5ts :i* 7 adapt$ to ! purpose4 ,two ,classes4--,!re 7 two classes ( ^!1 ea* made on ! pr9ciple ( ! zi!r3 namely1 by /ret*+ /r+s ov] a flat surface or box1 g5]ally across bridges1 ?is box s]v+ z a resonator1 to re9=ce ! weak tone ( ! /r+s4 ,"o su* in/rum5t1 9 :i* ! /r+s 7 /ruck by little wood5 hamm]s1 0 call$ ! ,dulcim]2 ano!r1 9 :i* ! /r+s 7 s\nd$ by pluck+ ) ! f+]s or by a quill1 0 call$ ! ,psalt]y2 & f ^! two 7 develop$ ! e>lie/ in/rum5ts ( ! piano class1 call$ by ! g5]al "n ( 8,clavi]s10 f ,clavis1 a key4 ,! dulcim] type result$ 9 ! ,clavi*ord2 ! psalt]y type 9 ! ,h>psi*ord1 &1 al?\gh _m o!r names 7 giv5 to v>ieties ( ^! in/rum5ts1 all may be plac$ 9 "o ( ! two classes ( :i* !y are ! *ief repres5tatives4 ,illu/ration3 ,,cymbalum ,,or ,,dulcim]4 ,illu/ration3 ,,psalt]y4 ,?is in/rum5t also came 9 squ>e & o!r =ms2 /r+s v>i$ f #f to #ch4 ,pr9ciple ( ! ,clavi*ord4--,! fir/ ( ! ,clavi*ord in/rum5ts _h ! "n ( ,mono*ord1 or "o-/r+$ in/rum5t--a "n ( great antiquity1 fir/ giv5 by ! ,grecian ,py?agoras to an in/rum5t ( "o /r+ us$ by him 9 det]m9+ ! relations ( tones4 ,simil> exp]im5ts 7 made 9 ! ,middle ,ages1 9 :i* ! v>i\s tones result+ f ! vibrations ( p>ts ( a /r+ 7 /udi$ by means ( movable bridges2 facility 0 ga9$ by increas+ ! numb] ( /r+s to f\r or five1 tun$ 9 unison4 ,next1 keys 7 appli$ to ^! 9 place ( ! bridges1 :i* keys /ruck ! /r+s at v>i\s def9ite po9ts by means ( upright p9s or tang5ts1 z !y 7 call$1 produc+ v>y+ pit*es1 accord+ to ! l5g? ( ! "p ( ! /r+ all[$ to s\nd1 ! rema9+ segm5t be+ sil5c$ by a piece ( clo?4 ,?us sev]al tang5ts /ruck ! same /r+ at diff]5t po9ts1 produc+ diff]5t degrees ( pit*4 ,at fir/1 :5 only ! scales correspond+ to ! :ite keys 7 employ$1 f\r or five /r+s suffic$ to s\nd ! necess>y tones1 n ov] tw5ty-two 9 numb]4 ,lat]1 h[ev]1 :5 *romatic notes 7 adopt$1 ! numb] ( /r+s & keys 0 increas$1 s t1 by ! beg9n+ ( ! #af? c5tury1 ! keybo>d _h a range ( ?ree or f\r full octaves4 ,f ?is "t on1 ?is in/rum5t1 n[ g5]ally kn[n z ! ,clavi*ord1 won a popul>ity :i* ext5d$ to ! beg9n+ ( ! #ai? c5tury1 :5 ! ,pian(orte gradually displac$ x4 ,a famili> in/rum5t 9 ,engl& & ,g]many1 x 0 especially cultivat$ by musicians ( note 9 ! latt] c\ntry1 ev5 ! r5[n$ ,ba* pref]r+ x to all o!r =ms ( its class4 ,! ,clavi*ord4--,9 %ape1 ! ,clavi*ord 0 an oblong box1 ! /r+s ( brass ext5d+ l5g?wise4 ,! fact t "o /r+ s]v$ = sev]al keys made x impossible to s\nd c]ta9 int]vals toge!r2 yet ! device ( giv+ a sep>ate /r+ to ea* key seems n to h come 9 till ab\t ! ye> #agbe1 & ev5 !n n to h be5 g5]ally adopt$4 ,)\t legs1 ! ,clavi*ord 0 support$ on a table :5 9 use4 ,its tone 0 exce$+ly weak & tremul\s1 audible only )9 ! di/ance ( a few feet2 yet ! fact t ?is tone c\ld be giv5 diff]5t degrees ( int5sity1 & c\ld be v>i$ to "s ext5t ev5 :ile s\nd+1 by a peculi> pressure on ! keys 7bebung71 imbu$ its tone ) a sympa!tic quality :i* helps to acc\nt = ! t5acity ) :i* musicians clung to x1 not)/&+ all its imp]fections4 ,illu/ration3 ,,! ,,clavi*ord4 ,pr9ciple ( ! ,h>psi*ord4--,in/rum5ts ( ! ,h>psi*ord class 7 especially num]\s 9 ,italy1 ,france & ,engl&4 ,!y diff]$ f ! ,clavi*ord *iefly 9 ! me?od ( sett+ ! /r+ 9 vibration4 ,?is 0 done by pluck+ ! /r+ ) a quill set 9 a jack at ! end ( ! key1 ! action s arrang$ t1 aft] ! key 0 releas$1 ! jack fell back to its place1 :ile a damp] came aga9/ ! /r+1 prev5t+ its fur!r vibration4 ,s9ce ^! /r+s c\ld n be us$ z bridges1 l ! tang5ts ( ! ,clavi*ord1 x 0 necess>y f ! fir/ t ea* key %\ld h a sep>ate /r+4 ,moreov]1 z ^! /r+s 7 ?us made ( v>y+ l5g?s & ?icknesses1 ! ,h>psi*ords 7 m (t5 made 9 a triangul> %ape1 or "o l our mod]n gr& pianos1 ?an 9 ! rectangul> ,clavi*ord %ape4 ,! *ief defect1 & ! "o :i* mak]s tri$ 9 va9 to rem$y1 lay 9 ! fact t ! pluck+ ( ! /r+s1 :ile produc+ great] brilliancy1 admitt$ ( no v>iation 9 its degrees ( l\dness or s(tness4 ,virg9al & ,sp9et4--,sev]al small in/rum5ts ( ?is k9d prec$$ its full developm5t1 diff]+ ma9ly 9 %ape & *oice ( mat]ials4 ,9 ,engl& ^! receiv$ ! "n ( ,virg9al2 9 ,france1 t ( ,sp9et4 ,bo? ( ^! 7 introduc$ into polite society1 *iefly z small h\se in/rum5ts ( limit$ compass1 v>i$ sizes1 & frequ5tly ) elaborate decoration4 ,! diff]5ce betwe5 !m 0 pr9cipally "o ( %ape1 ! ,virg9al tak+ ! oblong =m ( ! ,clavi*ord1 :ile ! ,sp9et 0 m (t5 triangul>4 ,!y appe>$ bo? ) & )\t supports2 & 9 "s cases ! /r+s 7 plac$ 9 a v]tical position1 z 9 our upright pian(ortes4 ,illu/ration3 ,,! ,,virg9al ,,or ,,sp9et4 ,! ,h>psi*ord4--,! ,h>psi*ord prop] 0 simply a l>g] =m ( ! ,sp9et & ,virg9al1 & 0 made 9 ! =m ( ! gr& pian(orte4 ,on acc\nt ( its add$ brilliancy ( tone1 x 0 admirably adapt$ = use 9 ! or*e/ra1 9 :i* x became ! conductor's in/rum5t 9 connection ) ! op]a4 ,9 ,italy1 ! t]ms ,clavicembalo & ,gravicembalo 7 giv5 to x1 :ile 9 ,g]many x 0 call$ ,flgel1 or w+1 f its w+-%ap$ cov]4 ,z x became popul> z a conc]t in/rum5t1 _m inv5tions 7 add$ to increase ! brilliancy & v>iety ( its tone3 an extra keybo>d 0 plac$ above ! fir/1 z 9 ! organ1 & ?ree or f\r /r+s 7 giv5 ea* note1 :i* c\ld be us$ to re9=ce ! s+le-/r+ tone1 by means ( ! second keybo>d4 ,moreov]1 v>i\s k9ds ( quills 7 inv5t$1 giv+ diff]5t tone qualities2 & su* effects 7 controll$ by /ops or p$als4 ,^! exp]im5ts 7 especially num]\s 9 ! #ah? c5tury1 9 :i* ! rapid gr[? ( musical res\rces dem&$ con/antly m tonal possibilities4 ,l>ge manufactur]s1 su* z ! ,ruck]s family ( ,antw]p1 & ,tabel 9 ,engl&1 vi$ ) ea* o!r 9 produc+ novel devices1 su* z ! imitation ( o!r in/rum5ts1 ! tun+ ( an extra /r+ = ea* note an octave above its normal pit*1 & ! addition ( a keybo>d connect$ ) an organ4 ,attempts to produce a su/a9$ tone result$ 9 ! ,piano-,viol91 9 :i* a revolv+ ros9$ :eel 0 press$ by ! key aga9/ ! /r+1 to cont9ue ! tone2 b all su* 7 ab&on$ f9ally z unsuccessful4 ,illu/ration3 ,,two-,,manual ,,h>psi*ord4 ,inv5tion ( ! ,pian(orte4--,to ?is exceptional activity 9 key$ in/rum5ts1 & ! f9al failure to produce a s++ tone capable ( v>iation 9 ! ,h>psi*ord1 we owe ! inv5tion ( ! ,pian(orte4 ,9 #agaa1 ,b>tolomeo ,cri/(ori1 a not$ h>psi*ord mak] ( ,tuscany1 exhibit$ sev]al 8=te-pianos0 9 :i* ! action 0 s con/ruct$ t ! keys1 :5 depress$1 ?rew little lea!r-head$ hamm]s1 affix$ to a b> above !m1 aga9/ ! /r+s1 ?us mak+ x possible to modulate ! /r5g? ( tone by ! degree ( =ce ) :i* ! keys 7 /ruck4 ,:5 ! key 0 releas$1 a damp] came aga9/ ! /r+ f b5ea?1 /opp+ fur!r vibration4 ,e>ly ,mak]s4--,al?\gh ?is inv5tion did n at fir/ attract widespread att5tion1 x und\bt$ly =m$ ! basis ( ! o!rs :i* quickly foll[$ x1 & really ass]t$ ! pr9ciple aft]w>ds adopt$ = ! piano action4 ,9 #agaf1 ,m>ius1 a ,fr5* manufactur]1 submitt$ f\r models = piano actions1 :i*1 h[ev]1 7 nev] develop$4 ,also1 ,s*roet]1 a ,g]man1 con/ruct$ two models ( piano actions1 9 #agag1 9 "o ( :i* ! hamm]s /ruck on top ( ! /r+s2 b nei!r ( ^! 0 put to practical use4 ,f9ally1 ,gottfri$ ,silb]mann1 ( ,saxony1 di/+ui%$ z an organ & h>psi*ord mak]1 made two pian(ortes1 ! action ( :i* 0 evid5tly bas$ on t ( ,cri/(ori1 & :i* he exhibit$ to ,j4 ,s4 ,ba*4 ,:ile prais+ !m 9 _m respects1 ,ba* criticis$ !m z too weak 9 ! upp] notes1 & too h>d to play4 ,silb]mann 0 exce$+ly pa9/ak+ z a workman1 hav+ ! reputation ( break+ to pieces ) an axe ev5 a f9i%$ product :i* %[$ any imp]fection4 ,he !re=e set to "w to rem$y ^! defects1 &1 9 #agcg1 produc$ sev]al pian(ortes :i* won ,ba*'s unqualifi$ approval4 ,sup]iority ( ! ,piano4--,! ,pian(orte 0 n[ plac$ ^u a firm basis2 & al?\gh _m ye>s elaps$ be=e its res\rces 7 develop$ suffici5tly to cause its univ]sal adoption by musicians1 ! f9al victory ov] its pr$ecessors 0 complete4 ,& ?is victory 0 natural1 s9ce ! ,pian(orte 0 f\nd capable ( comb9+ ! be/ qualities ( ! ,clavi*ord & ! ,h>psi*ord1 ) ! addition ( a tone capacity inf9itely sup]ior to ei!r4 ,improvem5ts4--,! /ory ( succe$+ piano manufacture & ! manifold inv5tions & improvem5ts relative to x is "o ( inf9ite details4 ,among ^! we notice t :ile ,silb]mann pianos 7 9 8gr&0 =m1 ,fr$]ici ( ,g]a 7di$ #aggi7 con/ruct$ !m 9 oblong or 8squ>e0 %ape2 t ! pianos ( ,spae? 7di$ #agif7 & ( ,j4 ,&reas ,/e9 7di$ #agib71 ^: pianos 7 adopt$ = use by ,moz>t1 %[$ consid]able advancem5t4 ,! ,/e9 family became alli$ ) ,&reas ,/rei*]1 an inv5tive g5ius1 & f\nd$ a manufactory 9 ,vi5na :i* has ma9ta9$ a high /&>d to ! pres5t "t4 ,! action inv5t$ by !m1 kn[n z ! ,vi5nese action1 diff]s f t ( ,cri/(ori 9 hav+ ! hamm]s annex$ to ! keys !mselves1 in/ead ( on a b> above !m2 ?us giv+ a light t\* & tone4 ,9 ,engl&1 ! pr9ciple ( ! ,cri/(ori action 0 develop$ by ! r5[n$ h\se ( ,broadwood1 _! action becom+ kn[n z ! ,engli% action2 :ile 9 ,france1 ,seba/ian ,erh>d1 or ,er>d1 a ,/rasburg inv5tor1 f\nd$ ! ,er>d action1 :i* has a d\ble hamm] movem5t1 all[+ ! hamm]s to fall ei!r entirely1 or only p>tially into place aft] ! key is /ruck1 at ! w ( ! p]=m]4 ,! 8cottage0 action1 introduc$ by ,william ,s\?well1 ab\t #ahjj1 0 ! beg9n+ ( ! 8upright0 =m1 :i* has n[ entirely sup]s$$ t ( ! squ>e piano4 ,?us1 by cont9u$ exp]im5ts1 ! piano has ga9$ 9 compass1 brilliancy1 su/a9+ p[] & /r5g? ( con/ruction1 to meet ! con/antly-increas+ dem&s plac$ ^u x1 until ! mod]n piano seems to possess unlimit$ res\rces1 & until ! un5d+ supply ( in/rum5ts ( all grades f hundr$s ( factories is suffici5t to place "o ( ^! 8h\sehold or*e/ras0 )9 ! rea* ( ri* & poor alike4 ,equal ,temp]am5t4--,an e>ly difficulty 9 ! case ( key$ in/rum5ts 0 ! matt] ( tun+1 caus$ by ! fact t x 0 f\nd sci5tifically impossible to tune all ! int]vals ( ! scale at ! same "t to ! true pit*2 t is1 ! pit* dem&$ by ! natural ov]tones ( ! fundam5tal note ( ! scale4 ,at ! outset1 = in/ance1 x 0 f\nd t if ! fif?s 7 tun$ true1 ! octaves w\ld be a trifle %>p2 &1 conv]sely1 if ! octaves 7 true1 ! fif?s w\ld be a trifle flat4 ,9 ! case ( /r+$ in/rum5ts1 :]e ! tone 0 made by ! p]=m]1 x c\ld be s modifi$ z n to conflict s]i\sly2 b ) key$ in/rum5ts ?is 0 impossible4 ,?us1 _m sy/ems ( tun+ or 8temp]am5ts0 7 tri$1 su* z hav+ two keys = two notes ne>ly 9 unison1 l ,f-%>p & ,g-flat1 mo/ ( ^! result+ 9 ! possibility ( play+ 9 a few ne>ly relat$ keys1 to ! exclusion ( ! o!rs4 ,f9ally1 ?r\gh ! influ5ce ( ,j4 ,s4 ,ba* 7#afhe-agej7 & ! ,fr5*man ,rameau 7#afhc-agfd71 ! simple exp$i5t 0 def9itely adopt$ ( tun+ ! octaves true1 & divid+ ea* octave into twelve equal p>ts1 ?us unit+ su* notes z ,f-%>p & ,g-flat 9 "o tone slightly out ( tune ) ei!r1 b n en\gh s]i\sly to (f5d ! e>4 ,?is1 call$ 8equal temp]am5t10 0 a great ga9 to music1 s9ce x n only remov$ a radical defect 9 key$ in/rum5ts1 b also op5$ ! door to t free int]*ange ( keys :i* has done s mu* t[>d enri*+ ! color+ & scope ( succe$+ compositions4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ! ,clavi*ord1 ,virg9al1 ,sp9et1 ,h>psi*ord1 ,pian(orte4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,weitzmann4--,hi/ory ( ! ,pian(orte4 ,br9smead4--,hi/ory ( ! ,pian(orte4 ,rimbault4--,! ,pian(orte3 ,its ,orig91 ,progress & ,con/ruction4 ,spillane4--,hi/ory ( ! ,am]ican ,pian(orte4 ,,que/ions4 ,:at pr9ciple did ! fir/ attempts at piano-mak+ recognize8 ,to :at circum/ance are we indebt$ = ! attempt to make an in/rum5t ( ! ,clavi] type8 ,:at are ! two classes ( /r+$ in/rum5ts ) keybo>d z kn[n 9 ! #aa? c5tury8 ,/ate ! /eps 9 ! developm5t ( ! ,clavi*ord pr9ciple4 ,describe ! ,clavi*ord4 ,describe ! ,h>psi*ord pr9ciple4 ,describe ! ,virg9al & ,sp9et4 ,describe ! ,h>psi*ord4 ,:o 0 ! inv5tor ( ! ,pian(orte8 ,:5 did he exhibit ! fir/ in/rum5t8 ,:o 7 ! e>ly mak]s8 ,:at po9ts ( sup]iority did ! ,piano h ov] ! ,clavi*ord & ! ,h>psi*ord8 ,:at successive improvem5ts 7 made by v>i\s mak]s8 ,:at is meant by ,equal ,temp]am5t8 ,,lesson ,,xxvi4 ,,! ,,e>ly ,,italian ,,clavi] ,,compos]s4 ,e>ly ,in/rum5tal ,music4--,! hi/ory ( pian(orte composition & play+ really beg9s ) t ( ! prec$+ key$ in/rum5ts ) /r+s1 to all ( :i* ! conv5i5t "n ( 8,clavi]s0 w be giv54 ,z ^! e>ly in/rum5ts 7 at fir/ m]ely sub/itutes = ! organ1 :i* 9 turn 0 us$ simply to r$uplicate voice p>ts1 ! music fir/ play$ on !m 0 9 no wise diff]5t f ! vocal & organ music ( ! day4 ,:51 moreov]1 music writt5 = ! organ _h "s features di/9ct f purely vocal music1 x 0 frequ5tly inscrib$ to be play$ on ! organ or clavi]1 )\t discrim9ation4 ,influ5ce ( ! ,r5aissance4--,z mo/ ( ! patt]ns ( musical =m h proce$$ f ,italy1 s x 0 !re1 9 ,v5ice1 t in/rum5tal music seems to h em]g$ f its union ) vocal music1 & to h assum$ ! elem5ts ( a /yle ( its own4 ,?is 0 directly ! result ( ! g5]al awak5+ ( ?\ght aft] ! ,d>k ,ages1 kn[n z ! ,r5aissance1 :i*1 lead+ to indep5d5t inve/igation 9 ! doma9s ( sci5ce & art1 br\ght 9 ! once unhe>d-( inv5tions & ! discov]y ( new worlds1 & 9 ! o!r a fre$om ( treatm5t fitt$ to express ! new ideas surg+ ?r\gh\t ! civiliz$ _w4 ,?us1 9 ! fir/ "p ( ! #af? c5tury1 :ile ,raphael & ,mi*ael ,angelo 7 voic+ ^! ?\ghts 9 _! immortal creations1 9 ,v5ice1 a s*ool ( musicians 0 turn+ its att5tion t[>d in/rum5tal music1 & /riv+ to produce 9 music a ri*ness ( color1 j z ! great ,v5etian pa9t]s1 l ,titian & ,giorgione1 7 produc+ simil> effects ^u canvas4 ,tea*]s & /ud5ts 7 congregat+ !re1 en?usia/ic ov] ! new ideas 9 music2 & ! focal po9t ( all ?is activity 0 ! ,*ur* ( ,/4 ,m>k's1 ^: magnific5t d\ble organ furni%$ an inc5tive to g5ius4 ,! ,fir/ ,sonata4--,among ^! musicians 7 a numb] ( apo/les ( ! ,ne!rl&s s*ool1 ( :om ,adrian ,willa]t 7#adhj-aefb7 0 especially honor$ & belov$4 ,he & 8 successors1 z organi/s at ,/4 ,m>k's1 wrote compositions = organ or clavi]1 :i* !y taught to "y ladies 9 ! conv5ts4 ,su* compositions 7 made ! m possible by ! fact t into ! old ,*ur* ,modes1 =m$ by us+ only ! tones repres5t$ by ! :ite keys ( our piano1 8*romatic0 or color$ tones came to be ins]t$2 s t1 9 ! c\rse ( ! #af? c5tury1 ! mod]n scales1 ) _! *>act]i/ic keynotes1 or tonalities1 came to vie ) ! old modes1 & ultimately ne>ly to displace !m1 ?us giv+ a *ance = a v>iety & gr\p+ ( h>monies necess>y 9 ! elaboration ( in/rum5tal music4 ,! "n ,sonata1 or 8s\nd0 piece1 0 at fir/ giv5 indiscrim9ately to su* in/rum5tal works1 9 di/9ction f ! ,cantata1 or vocal "w4 ,willa]t & ,8 ,pupils4--,willa]t 0 especially successful z a tea*]1 & ?us left a numb] ( accompli%$ pupils to c>ry on 8 labors4 ,( ^!1 ,girolamo ,p>abosco 7#aeic-afji7 0 not$ = 8 free fantasias1 & 8 improvisations ( sonatas on ! h>psi*ord2 :ile ,claudio ,m]ulo ( ,correggio 7#aecc-afjd7 wrote a numb] ( toccatas1 9 :i* ! old *ur* *orale /yle 0 reliev$ by contra/+ passages consi/+ ( brilliant runs4 ,! ,toccata1 or t\* piece1 _h1 z its *>act]i/ics1 su* quick runn+ passages1 probably fir/ sugge/$ by ! light tone & action ( ! ,clavi]4 ,:ile ^! runs _h at fir/ v little relevancy to "o ano!r1 !y 7 mu* delight$ 9 by ^! e>ly pione]s1 :o sport$ ) !m z a *ild plays ) a new toy4 ,! ,gabrieli's4--,two o!r organi/s ( ,/4 ,m>k's1 ,&reas ,gabrieli 7#aeaj-aehf71 & 8 nephew & pupil1 ,giovanni ,gabrieli 7#aeeg-afac71 add$ to ! res\rces ( in/rum5tal music4 ,! fir/ ( ^!1 a pupil ( ,willa]t1 himself became a fam\s tea*]2 & bo? contribut$ _m canzone & sonatas to organ & clavi] lit]ature4 ,9 all ^! ! subjects 7 di/9ct1 &1 9 ! canzone especially1 ! _m quick passages & *ang+ rhy?ms 7 us$ 9 a mann] t contribut$ to unity4 ,! ,h>psi*ord 9 ,op]a4--,a new factor n[ appe>$ 9 ,flor5ce1 de/9$ greatly to fur!r ! cause ( clavi] music3 namely1 ! ,op]a4 ,tak+ ! position ( ! conductor's in/rum5t1 ! h>psi*ord became ! mo/ useful memb] ( ! or*e/ra1 & 0 employ$ con/antly to fill 9 vague h>monies1 & to /rike *ords z a support to ! musical declamation ( ! s+]s4 ,su* *ords 7 n g5]ally writt5 out1 b 7 sugge/$ by _! bass note1 ov] :i* figures 7 writt5 to %[ _! positions4 ,to ?is %or?& sy/em ! "n ( ,?or\gh-bass 0 giv54 ,9 ?is way ! value ( *ord comb9ations came to be recogniz$1 & ! relation%ips ( su* *ords /udi$ entirely ap>t f ! voice writ+2 s ! idea ( a s+le melody1 support$ by occasional *ords1 0 transplant$ f ! ,op]a1 & ! mod]n h>monic /yle ( music came into be+4 ,dance ,tunes4--,b1 9 ?is new /yle1 ! old basis = ,unity 9 ! composition1 furni%$ by ! imitation ( "o "p by ano!r1 _h to be ab&on$1 s9ce only "o melodic "p exi/$ at a "t2 h5ce a new basis _h to be f\nd 9 ! mann] 9 :i* h>monies succe$$ ea* o!r4 ,9 det]m9+ su* *ord relation%ips1 compos]s 7 oblig$ to look else:]e ?an to ! old ,*ur* music2 & s turn$ _! att5tion to ! =ms ( ,dance ,tunes :i* _h already be5 9 use = a long "t among ! p 9 _! ,folk-songs1 & 9 ! p]=mances ( ! w&]+ m9/rels4 ,mo/ ( ^! dance tunes 7 =m$ 9 a v simple two-"p design ( h>mony1 consi/+ 9 a transition f ! initial key to a contra/+ key1 = ! fir/ "p1 & a return f ! contra/+ key to ! fir/ key1 9 ! second "p4 ,orig9 ( ! ,suite4--,a book ( su* dances1 bas$1 h[ev]1 on ! clumsy *ur* modes1 0 publi%$ 9 #aeea4 ,lat]1 h[ev]1 su* dances came to be writt5 9 ! new h>monic /yle2 & by putt+ toge!r a set ( dances all 9 ! same key b diff]+ 9 rhy?m & mode ( expression1 a l>g] =m ( composition 0 devis$1 comb9+ ,v>iety ) ,unity4 ,to ?is =m ! "n ( ,suite 0 giv54 ,illu/ration3 ,,girolamo ,,frescobaldi4 ,frescobaldi4--,ano!r elem5t t5d+ to give ,unity to ! composition 0 develop$ :5 compos]s le>n$ to "w out a s+le subject1 or melodic phrase repres5t+ a def9ite musical idea1 by introduc+ x a numb] ( times 9 ! c\rse ( ! composition1 sometimes ) slight v>iation1 b always recognizable & us$ 9 su* a way z to b9d ! v>i\s p>ts ! m closely toge!r by _! simil>ity ( conception4 ,sev]al organi/s at ,rome wrote music :i* possess$ su* unity ( idea4 ,"o ( ^! 0 ,girolamo ,frescobaldi 7#aehc-afdd71 a man :o 0 a close /ud5t ( ! be/ ,italian music ( 8 "t1 & :o _h1 moreov]1 be5 br\ght into contact ) ,ne!rl&s ideas ?r\gh travel 9 ,belgium4 ,on 8 fir/ appe>ance z organi/ ( ,/4 ,pet]'s 9 ,rome1 9 #afae1 s great fame _h prec$$ him t ov] #cj1jjj p are said to h att5d$ ! p]=mance4 ,8 skill on ! clavi] 0 no less ?an t on ! organ2 & = bo? ( ^! in/rum5ts he wrote ,ric]c>i1 ,canzone & ,capricci1 :i* %[$ consid]able unity ( subject1 toge!r ) flu5cy 9 ! treatm5t ( *romatic progressions1 & a weal? ( inv5tion1 :i* display$ itself 9 novel !mes & unusual h>monies2 8 compositions are well wor? /udy4 ,pasqu9i4--,9 ! second half ( ! #ag? c5tury1 ,b]n>do ,pasqu9i 7#afcg-agaj71 a pupil ( ! op]a compos] ,ce/i1 c>ri$ on ! "w at ,rome4 ,9 8 toccati he %[s great fre$om 9 dep>t+ f ! /rict vocal /yle1 & 8 clavi] works h features1 l ! su/a9$ trill1 :i* di/+ui% !m decid$ly f organ works4 ,me?od ( ,play+ ! ,clavi]4--,! me?od ( play+ ! clavi] us$ by ^! old ma/]s 0 peculi>4 ,9 a "w on ! subject publi%$ by ,di ,ruta1 ab\t ! ye> #afjj1 ! rules giv5 include hold+ ! f+]s out flat on ! keys1 & sc>cely us+ ! ?umb at all1 all[+ x to hang bel[ ! level ( ! keybo>d4 ,! scales 7 play$ ea* ) two f+]s1 accord+ to fix$ rules2 s t smoo?ness comb9$ ) rapidity seems to h be5 made impossible4 ,! ,sonata & ,ov]ture4--,/>t+ ) ! h>monic =m ( ! old dance tunes1 compos]s n[ began to elaborate ?is to a =m capable ( express+ m s]i\s ideas1 by giv+ m def9it5ess to ! musical subject treat$1 & by introduc+ mat]ial d]iv$ f ! old vocal =ms4 ,corelli1 ! viol9i/ 7#afec-agac71 & ! viol9i/s ( 8 s*ool1 re/rict$ ! "n ,sonata to comb9ations ( su* movem5ts1 9 di/9ction f ! light] =ms ( ! ,suite2 & ! celebrat$ op]a compos]1 ,aless&ro ,sc>latti 7#afei-agbe71 appli$ simil> me?ods to ! composition ( 8 op]atic ov]tures1 writ+ !m 9 ?ree p>ts3 fir/1 a mod]ately fa/ movem5t1 :i* 0 foll[$ by a sl[ movem5t1 ! :ole clos+ ) a movem5t 9 quick tempo4 ,dom5ico ,sc>latti4--,clavi] music lagg$ some:at beh9d viol9 music1 ow+ to ! great] p]fection ( ! viol9 z an in/rum5t1 & also to ! popul>ity ( ! lute1 :i* 0 mu* affect$ 9 fa%ionable circles4 ,f9ally1 h[ev]1 a man appe>$ :o possess$ ! g5ius to develop ! peculi> res\rces ( ! h>psi*ord to a rem>kable ext5t4 ,?is 0 ,dom5ico ,sc>latti1 ! son & pupil ( ,aless&ro ,sc>latti4 ,! latt] 0 himself a skilful clavi] play] & compos]2 b 8 son atta9$ a pr(ici5cy s f> eclips+ t ( any ( 8 pr$ecessors z to place him entirely )\t ! pale ( comp>ison ) any ( !m4 ,dom5ico ,sc>latti1 :o 0 born at ,naples 9 #afhc1 two ye>s be=e ,h&el & ,ba*1 fir/ attract$ att5tion :5 ab\t tw5ty-"o ye>s old1 z an op]a compos]2 b a*iev$ 8 greate/ successes z a virtuoso on ! h>psi*ord1 w9n+ a _w-wide reputation = 8 wond]ful play+1 :i* 0 a revelation ( :at c\ld be done ) ?is hi!rto undevelop$ in/rum5t4 ,9 "o ( ,h&el's ,italian j\rneys a conte/ ( skill 0 in/itut$ betwe5 ^! two musical giants2 & ! result 0 a drawn battle s f> z ! h>psi*ord 0 conc]n$1 al?\gh ,h&el triumph$ at ! organ4 ,sc>latti travel$ ab\t some:at1 sp5d+ mo/ ( 8 lat] life 9 ! position ( c\rt music ma/] at ,madrid4 ,he f9ally return$ to 8 bir?place1 :]e he di$ 9 #ageg4 ,sc>latti's ,use ( ,=m4--,9 ! matt] ( =m1 ,sc>latti develop$ /ill fur!r ! "w ( 8 pr$ecessors1 apply+ to ! h>psi*ord ! pr9ciples ass]t$ by ,corelli & 8 s*ool4 ,8 ,sonatas 7 writt5 9 "o movem5t only1 & h v def9ite subjects1 :i* are c>ri$ out along recogniz$ l9es4 ,8 ,capriccii--%ort pieces writt5 9 a rhy?mic & delicately /accato /yle--are "s ( 8 be/ works1 & und\bt$ly pav$ ! way = ! ,s*]zi1 writt5 by ,bee?ov5 & ,m5delssohn4 ,8 compositions are %ort1 b concise & def9ite4 ,sc>latti's ,/yle ( ,play+4--,b 8 *ief addition to musical mat]ial lies 9 ! new /yle ( play+ :i* he inv5t$4 ,novel effects1 l cross+ ! h&s1 long leaps1 brok5 *ords 9 contr>y motion1 rapidly repeat$ notes1 & runs 9 ?irds & six?s--effects :i* 7 9 _m cases f> ahead ( 8 "t1 s9ce !y 7 n us$ by succe$+ compos]s until a mu* lat] p]iod--7 employ$ by him ) ! utmo/ flu5cy1 s t he has be5 aptly call$ ! fa!r ( mod]n pian(orte te*nic4 ,music3 ,,examples ,,( ,,sc>latti',s ,,/yle4 ,durante4--,! ,neapolitan s*ool boa/$ sev]al o!r wor?y clavi] compos]s1 :o contribut$ 9 v>i\s ways to ! composition ( ! ,sonata4 ,"o ( ^! 0 ,francesco ,durante 7#afhd-agee71 :o wrote sonatas 9 two movem5ts ( diff]5t "* b 9 ! same key4 ,! fir/1 call$ a ,/udio1 0 writt5 z a free fugue ) runn+ passages2 ! second1 or ,div]tim5to1 0 m animat$ & less s*ola/ic4 ,dom5ico ,alb]ti 7#agjg-agdj7 compos$ sonatas simil> 9 g5]al =m1 b ( less arti/ic wor?1 consi/+ z !y did simply ( a s+le-voic$ melody1 support$ by an h>monic accompanim5t hav+ no indep5d5ce ( /yle4 ,mu* ( ?is 0 9 ! =m ( brok5 *ords1 a mann]ism :i* 0 aft]w>ds us$ to excess1 & became dubb$ ! 8,alb]ti bass40 ,?is accompanim5t =m d\btless suit$ ! clavi*ord & h>psi*ord1 b is n s well adapt$ to ! m sonor\s mod]n piano4 ,x is /ill us$ by compos]s = v simple accompanim5ts4 ,music ,pi] ,dom5ico ,p>adies 7#agaj-agib7 des]ves special m5tion z ! writ] ( elegant & well-balanc$ clavi] music4 ,he fir/ won success z a compos] ( op]as1 :i* 7 giv5 9 ,italy1 & aft]w>ds 9 ,london1 :]e he f9ally settl$ z clavi] tea*]4 ,8 sonatas h two movem5ts1 l ,durante's1 & conta9 brilliant allegros1 besides attractive melodies4 ,8 two-"p rapid contrapuntal "w is excell5t1 bo? = musical m]it & = te*nical /udy4 ,summ>y4--,we h se51 !n1 t 9 ! #af? c5tury1 9 ,italy1 in/rum5tal music began to break f its union ) vocal music2 t ! ,op]a br\ght ! h>psi*ord especially into notice 9 ! #ag? c5tury1 on acc\nt ( its availability = accompanim5ts1 & t f9ally1 9 ! #ah? c5tury1 ! ,neapolitan compos]s develop$ = x a /yle :i* took advantage ( its peculi> res\rces1 & appli$ !m to ! enri*m5t ( ! h>monic =ms :i* 7 com+ into vogue4 ,,ref]5ces4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,j4 ,s4 ,%$lock4--,! ,pian(orte ,sonata4 ,h5d]son4--,h[ ,music ,develop$4 ,h5d]son4--,preludes & ,/udies4 ,,musical ,,illu/rations4 ,weitzmann's ,hi/ory1 pages #bia-cac4 ,rimbault1 8,! ,pian(orte10 pages #beg1 #cjf1 #caj4 ,litolff edition1 ,no4 #cig1 second volume ( 8,music by ,old ,ma/]s40 ,aug5] edition1 ,no4 #hbih1 ,old ,italian ,compositions4 ,! ,breitkopf ,edition1 ,nos4 #aaa1 #aab1 #daa1 h ref]5ce to music = ! clavi]1 writt5 dur+ ! #ag? & #ah? c5turies4 ,biblioteca d',oro1 ,ricordi1 conta9s examples ( ! compositions ( ! lead+ compos]s ( ! #ag? to #ai? c5turies4 ,,que/ions4 ,:at influ5ce did ! ,r5aissance h on e>ly in/rum5tal music8 ,give an acc\nt ( ! 8sonatas0 writt5 by ,willa]t4 ,:at o!r k9ds ( composition 7 writt5 dur+ ?is p]iod8 ,:at 7 ! contributions ( ! ,gabrieli's8 ,h[ did ! ,op]a influ5ce h>psi*ord music8 ,:at pr9ciples 7 us$ 9 mak+ dance tunes8 ,:at 0 ! orig9 ( ! ,suite8 ,h[ did ^! e>ly compos]s attempt to give ,unity to a composition8 ,tell ab\t ! "w ( ,frescobaldi & ,pasqu9i4 ,:at peculi>ities ( f+]+ 7 us$ by ! e>ly play]s8 ,:at di/9ction did ,corelli & 8 successors make betwe5 ! ,sonata & ! ,suite8 ,describe ! c>e] ( ,dom5ico ,sc>latti4 ,:at =ms did he use 9 8 compositions8 ,:at *>act]i/ics did he %[ 9 8 play+8 ,tell ab\t ! "w ( ,durante1 ,alb]ti & ,p>adies4 ,give ! successive /ages ( developm5t f ! #af? to ! #ah? c5tury4 ,,lesson ,,xxvii4 ,,! ,,e>ly ,,engli% ,,& ,,fr5* ,,clavi] ,,s*ools4 ,engli% ,s*ools to ,h5ry ,,viii4--,popul> music1 bo? vocal & in/rum5tal1 0 an e>ly ,engli% in/itution4 ,! _m ,folk-songs :i* h come d[n f a v e>ly p]iod be> witness to ! ,engli% love ( conviviality4 ,dance tunes1 sometimes bas$ on ^! ,folk-songs1 7 play$ on ! in/rum5ts ( ! m9/rels1 :i*1 z e>ly z #adhd1 includ$ ! clavi*ord2 & ! fact t su* in/rum5ts 7 cultivat$ by p ( high] rank is %[n by ! record t ,james ,,iv ( ,scotl& & 8 que5 pur*as$ clavi*ords to play ^u1 9 #aejc1 :ile ! que5 ( ,h5ry ,,vii ( ,engl& b\ght a clavi*ord = h] private use 9 #aejb4 ,! virg9al is spok5 ( 9 ! reign ( ,h5ry ,,vii2 ,h5ry ,,viii 7reign$ #aeji-aedg71 :o 0 an accompli%$ musician1 play$ ^u bo? ^! in/rum5ts1 & also wrote music = !m4 ,to ,que5 ,elizabe?'s ,"t4--,edw>d ,,vi 7r4 #aedg-aeec7 _h ?ree duly appo9t$ virg9al play]s among 8 c\rt musicians2 & aft] ,elizabe? 7r4 #aeeh-afjc7 asc5d$ ! ?rone1 ! virg9al increas$ 9 popul>ity2 inde$1 its "n 0 =m]ly ?\ght to h be5 d]iv$ f h] z ! virg9 que52 al?\gh ! fact t ! in/rum5t 0 spok5 ( z ! virg9al be=e h] reign makes its d]ivation f its popul>ity among "y ladies ! m probable4 ,que5 ,elizabe?1 z well z h] si/] ,m>y1 receiv$ in/ruction 9 virg9al play+ dur+ h] e>ly y\?1 & became an accompli%$ p]=m]2 & in/ances are %[n ( ! =m]'s great pride 9 ?is accompli%m5t4 ,9 ! c\rse ( h] illu/ri\s reign1 :5 all ! arts fl\ri%$ to a rem>kable degree1 & :5 great wits & litt]ateurs vi$ ) ea* o!r 9 ! g5ius ( _! productions1 ! art ( music receiv$ its %>e ( att5tion also4 ,! fact t musical degrees 7 e>ly giv5 at ! great univ]sities1 ,ox=d & ,cambridge1 t5d$ to raise ! /&>d ( musical k1 & to produce a numb] ( compos]s :o 7 especially gift$ 9 ! m s]i\s ,*ur* =ms ( writ+4 ,_m su*1 connect$ ) ! ,royal ,*apel & ! c\rt1 wrote excell5t an!ms & secul> "p-songs2 & n[1 attract$ by ! popul>ity ( ! in/rum5t1 !y began to give a m wor?y sett+ to ! folk & dance tunes play$ on ! clavi]4 ,dance ,tunes4--,a clavi] composition is extant1 dat$ #aeee1 by ,william ,bli!man1 an ,engli% *ur* compos]1 consi/+ ( a *orale-l melody 9 :ole notes1 accompani$ fir/ by a fl[+ eigh?-note figure1 & next by triplet qu>t] notes1 ) a ?ird voice add$ lat]4 ,su* a s]i\s /yle prefigur$ ! v>iations ^u dance tunes1 :i* 7 especially cultivat$ by ,william ,byrd 7#aech-afbc74 ,9 su* v>iations ! melody 0 fir/ h>moniz$ 9 simple fa%ion1 & 0 aft]w>ds play$ sev]al times 9 ! same "p1 ) slight *anges1 :ile ! accompany+ p>ts 7 v>i$ 9 rhy?m & /yle1 becom+ g5]ally quick] 9 tempo4 ,to mod]n e>s ! result is monoton\s1 z ! same key & "t signature is ma9ta9$ ?r\gh\t2 b ! v>iety 9 pres5tation mu/ h be5 grateful aft] ! simplicity ( ! dance tunes4 ,! ,virg9al ,book4--,o!r popul> =ms 7 ! ,fancie1 9 :i* sev]al melodic subjects 7 imitat$ 9 ! v>i\s voices2 & ! ,pavane1 a dance 9 common "t1 ^: !me 0 repeat$ 9 ! foll[+ ,galli>de1 a dance 9 triple "t4 ,^! & o!r =ms are us$ 9 a curi\s collection ( clavi] pieces n[ pres]v$ at ,cambridge1 & kn[n z ,que5 ,elizabe?'s ,virg9al ,book4 ,?is collection1 consi/+ ( f\r hundr$ & eighte5 manuscript pages1 writt5 on a six-l9$ /aff1 conta9s sev5ty compositions by ,byrd1 besides o!rs by mo/ ( ! compos]s ( ! ,elizabe?an era1 l ,tallis1 ,dr4 ,bull1 ,giles1 ,f>naby & _m o!rs4 ,lead+ ,elizabe?an ,compos]s4--,byrd 0 a pupil ( ,?omas ,tallis 7d4 #aehe71 ! r5[n$ *ur* compos]1 & toge!r !y 7 made organi/s ( ,que5 ,elizabe?'s ,*apel1 9 #aege1 receiv+ also ! sole "r to pr9t music4 ,ano!r musician :o des]ves special m5tion is ,dr4 ,john ,bull 7#aefc-afbh71 :o won _w-wide fame z organi/ & clavi] play]1 f9ally becom+ organi/ at ,antw]p ,ca!dral1 :i* po/ he held until 8 dea?4 ,8 clavi] compositions %[ great te*nical flu5cy4 ,orl&o ,gibbons 7#aehc-afbe71 a ,doctor ( ,music at ,ox=d1 & organi/ at ,we/m9/] ,abbey1 wrote excell5tly 9 ! prevail+ /yle4 ,%akespe>e te/ifies to ! popul>ity ( clavi] play+ at ?is "t 9 "o ( 8 sonnets1 :]e he speaks ( ! keys z 8,o'er :om ?y f+]s walk ) g5tle gait40 ,al?\gh ^! e>ly ,engli% compos]s wrote ) musical solidity1 _! compositions c sc>cely be said to h add$ mu* to ! developm5t ( ! in/rum5tal /yle1 or to clavi] te*nic2 &1 9 fact1 !y am\nt$ to little m ?an a side issue 9 music1 )drawn f ! g5]al advancem5t1 & valuable *iefly z curiosities4 ,! melodies 7 apt to be we>isome1 ?r\gh monoton\s repetitions1 ! rhy?ms to lack v>iety1 & ! modulations to appe> *iefly 9 ! =m ( unsuccessful attempts4 ,! ,p>!nia4--,dur+ ! fir/ half ( ! #ag? c5tury ! virg9al reta9$ its popul>ity1 al?\gh political turmoils prev5t$ mu* positive advancem5t 9 music4 ,! 8,p>!nia10 a volume conta9+ ! fir/ pr9t$ collection ( virg9al music1 appe>$ 9 #afaa1 compos$ ( tw5ty-"o pieces by ,byrd1 ,bull & ,gibbons2 & a simil> volume foll[$1 ) compositions = virg9al & bass viol1 by ,rob]t ,hole4 ,purcell4--,9 ! reign ( ,*>les ,,ii 7#affj-afhe7 music aga9 came to ! =e1 & 0 ably promot$ by ,h5ry ,purcell1 :o 0 born 9 ! ye> :5 ,cromwell di$1 #afeh1 & di$ 9 #afie4 ,purcell is a %9+ figure 9 ,engli% musical hi/ory1 ?r\gh 8 ability z an op]a compos]1 9 :i* capacity he produc$ bright & pi?y works1 ?or\ghly ,engli% 9 _s1 & heal?y 9 tone4 ,he publi%$ a volume ( twelve clavi] sonatas 9 #afhc1 ) p>ts also = two viol9s & a bass viol1 f\nd$ on ! model ( ! ,italian viol9 sonatas1 ea* hav+ an ,adagio1 a ,canzona1 a sl[ movem5t & an ,air4 ,lat] he publi%$ o!r sonatas1 besides suites & sep>ate pieces = ! clavi]4 ,^u ! adv5t ( ,h&el1 h[ev]1 ! ,engli% compos]s became1 = ! mo/ "p1 m]e imitators ( 8 /yle1 :i* _h s caught ! national e> z to well-nigh eclipse all o!r k9ds ( music4 ,! e>ly ,engli% s*ool1 !re=e1 c be said to h _h its la/ expon5t 9 ! p]son ( ,purcell4 ,rise ( ! ,fr5* ,s*ool4--,9 ,france a s*ool ( clavi] compositions develop$ dur+ ! brilliant reign ( ,l\is ,,xiv 7#afdc-agae71 :i* did mu* t[>d imp>t+ elegance & poli%1 besides *>act]i/ic rhy?ms & te*nical figures1 to clavi] music4 ,! head ( ?is s*ool & ! p]sonal tea*] ( _m succe$+ clavi] compos]s & play]s 0 ,&re ,*ampion de ,*ambonnires 7d4 #afgj71 :o became c\rt clavi] play] to ! k+4 ,he is said to h be5 ma/] ( a full tone on ! h>psi*ord atta9$ by none o!r ?an himself2 he also publi%$ two books ( clavi] compositions1 writt5 9 ! pure h>monic /yle1 & %[+ ! t5d5cy t[>d brilliant embelli%m5ts :i* became a *>act]i/ic ( 8 successors4 ,( 8 pupils1 ,jean ,h5ry d',angleb]t 7d4 #afia71 0 clavi] play] at c\rt1 & publi%$ 9 #afhi a book conta9+ clavi] arrangem5ts ( airs & dances f ! op]as ( ,lully1 ) rules = _! execution4 ,! ,c\p]9 ,family4--,two1 at lea/1 ( ! fam\s musical family ( ,c\p]9 also came "u ! in/ruction ( ,*ampion4 ,^! 7 ,l\is ,c\p]9 7#afcj-affe71 & ,franois ,c\p]9 7#afca-agja71 :o1 ) _! bro!r ,*>les ,c\p]9 7#afch-affi71 & 8 son ,franois ,c\p]91 call$ 8le ,gr&0 7#affh-agcc71 7 all at v>i\s times organi/s ( ! *ur* ( ,/4 ,g]vais1 at ,p>is4 ,! ,c\p]9s may be consid]$ z classic compos]s = ! clavi]1 z _! /yle1 ?\gh hav+ an h>monic basis1 0 mo/ly 9 ! l9e ( in/rum5tal voice writ+4 ,! fir/-nam$ publi%$ ?ree suites ( dances = clavi]2 & ! second 0 em95tly popul> z a tea*]4 ,franois ,c\p]94--,franois ,c\p]91 8le ,gr&10 des]ves special att5tion1 & has be5 call$ ! fir/ great compos] di/9ctively = ! clavi]4 ,he 0 a pupil ( ! organi/ ,?omel91 & rose quickly to s comm&+ a position z play] ( ! organ & clavi] t1 9 #agja1 he 0 appo9t$ c\rt clavi] play] & organi/ at ! ,royal ,*apel4 ,he 0 v accurate z a compos]2 & 9 ! f\r books ( clavi] pieces :i* he publi%$ successively1 he gave m9ute directions = int]pret+ ! weal? ( ornam5tation ) :i* 8 melodies are surr\nd$4 ,mo/ ( ^! pieces are writt5 9 two voices1 ) ! upp] melody mo/ prom95t2 & !y reflect ! artificial %[ & glitt] ( ! ,fr5* c\rt 9 _! endless turns & embelli%m5ts4 ,yet = ?is v reason !y h amplifi$ ! res\rces ( clavi] compositions1 prep>+ ! way = compos]s l ,sc>latti1 ,ba* & ,h&el4 ,_m ( !m %[ ! ,fr5* ta/e t[>d atta*+ def9ite mean+ to music1 by _! fanciful titles1 l 8,la t5dre ,nanette10 8,la ,flatteuse0--a cu/om foll[$ by o!rs ( ?is s*ool4 ,c\p]9 wrote also a treatise on clavi] t\*1 & 0 "o ( ! fir/ to make use ( ! ?umb 9 play+4 ,l\is ,m>*& 7#affi-agcb7 0 a brilliant ?\gh dissipat$ figure 9 clavi] play+4 ,becom+ organi/ at ! c\rt ( ,v]sailles1 he lo/ ! po/ ?r\gh 8 reckless habits1 &1 go+ to ,dresd51 he 0 some:at subdu$ 9 8 conceit by ! evid5t sup]iority ( ,ba*4 ,on 8 return to ,p>is1 he became exce$+ly popul> z a tea*]1 al?\gh 8 extravagant /yle ( liv+ br\ght him f9ally to pov]ty4 ,8 pupil1 ,l\is ,claude ,daqu9 7#afid-aggb71 receiv$ ?r\gh him an appo9tm5t z organi/ at ! *ur* ( ,/4 ,paul1 9 pref]5ce to ,rameau1 ( ^: sup]iority ,m>*& became jeal\s4 ,daqu9 publi%$ a numb] ( r sup]ficial clavi] pieces4 ,illu/ration3 ,,jean-,,phillippe ,,rameau4 ,jean-,phillippe ,rameau1 ! la/ & greate/ light ( ?is s*ool1 has ev5 great] fame z an op]a compos]4 ,he 0 born at ,dijon 9 #afhc1 & display$ s great musical tal5t :5 a m]e *ild t1 al?\gh 8 p>5ts _h int5d$ him = ano!r pr(ession1 he 0 f9ally s5t to ,italy to /udy music4 ,aft] sp5d+ "s "t !re1 he jo9$ ! or*e/ra ( an op]a tr\pe1 travel+ ab\t ,france & ga9+ an insight into dramatic composition4 ,^u go+ to ,p>is he /udi$ ) ,m>*&1 :o recogniz$ & fe>$ 8 tal5t1 & :o f9ally 0 ! means ( 8 leav+ ,p>is4 ,lat]1 h[ev]1 he obta9$ an organ position outside ( ,p>is1 & soon attract$ att5tion n only by 8 play+1 b also by ! publication1 9 #agbf1 ( a treatise on ,h>mony4 ,9 ?is he r$uc$ ! /udy ( *ords to a sci5tific f\ndation1 & won 8 title ( ! "n ( creator ( ! mod]n sci5ce ( ,h>mony4 ,return+ to ,p>is1 he n[ secur$ an organ position !re1 & set to "w ^u ! s]ies ( dramatic productions :i* made him ! =emo/ op]a compos] ( 8 day1 sup]ior ev5 to ! popul> ,lully4 ,9 #agcg1 he publi%$ ano!r !oretical "w1 9 :i* ! pr9ciples ( ,equal ,temp]am5t1 :i* ,j4 ,s4 ,ba* _h adopt$ fifte5 ye>s be=e1 7 s cle>ly /at$ z to make _! e/abli%m5t p]man5t = future compos]s4 ,rameau's !ories 7 ! subject ( mu* controv]sy 9 8 day2 b _m di/+ui%$ contempor>ies1 l ,r\sseau & ,voltaire1 7 8 w>m p>tisans4 ,he di$ 9 #agfd4 ,rameau's ,clavi] ,works4--,8 num]\s clavi] compositions %[ great advance 9 fre$om ( expression1 & are writt5 mo/ly 9 ?ree p>ts1 ) an occasional succession ( full *ords4 ,_m ( ^! h descriptive titles1 su* z 8,la ,p\le10 9 :i* ! cackl+ ( a h5 is clev]ly imitat$4 ,o!rs are 9 ! =m ( dance suites4 ,! ord] ( ,prelude1 ,allem&e1 ,c\rante1 ,s>ab&e1 ,gigue 0 made ! basis ( ^! suites z well z ^? ( ,c\p]91 al?\gh ?is ord] admitt$ ( consid]able v>iation2 & no o!r pr9ciple ( ,unity appe>s 9 !m1 ) ! exception ( a common key4 ,end ( ! ,e>ly ,fr5* ,s*ool4--,! gr[+ importance ( ! ,g]man s*ool n[ came to be felt 9 ,france s /rongly t ! ,fr5* s*ool came to lose its individuality4 ,we !re=e turn our att5tion to ! important developm5ts 9 in/rum5tal music :i* 7 effect$ 9 ,g]many4 ,,ref]5ces4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,rimbault4--,! ,pian(orte4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,h5d]son4--,preludes & ,/udies4 ,naylor4--,an ,elizabe?an ,virg9al ,book4 ,,musical ,,illu/rations4 ,weitzmann's ,hi/ory1 pages #cad-cbi4 ,rimbault4--8,! ,pian(orte10 pages #bcg1 #bdj1 #bde1 #bdh1 #bec1 #bfb-bhc1 #caf4 ,litolff ,ed41 ,no4 #cig1 #bnd vol4 ( 8,music by ,old ,ma/]s40 ,aug5] ,ed41 ,nos4 #hcjj1 #hbii4 ,breitkopf ,ed41 z = ,*apt] ,,ii4 ,,que/ions ,,& ,,sugge/ions4 ,tell ab\t e>ly ,engli% in/rum5tal music4 ,tell ab\t music 9 ,que5 ,elizabe?'s "t4 ,describe ! ,v>iation =m us$ by ,byrd4 ,:at 0 ! ,virg9al ,book8 ,:at 0 ! /yle ( ! ,elizabe?an compos]s8 ,:at 0 ! 8,p>!nia08 ,give an acc\nt ( ,purcell & 8 "w4 ,:o 0 ! f\nd] ( ! ,fr5* s*ool8 ,:at family figures prom95tly 9 ! ,fr5* s*ool8 ,:o 0 ! greate/ memb] ( ?is family8 ,tell ab\t 8 "w4 ,tell ab\t ,m>*& & ,daqu94 ,:at great !ori/ is prom95t 9 ,fr5* clavi] music8 ,tell ab\t 8 "w4 ,note t ! ,engli% s*ool 0 at its height 9 ! reign ( ,que5 ,elizabe?1 ,purcell1 9 ! reign ( ,*>les ,,ii1 be+ ! greate/ light ( ! s*ool4 ,! /r5g? ( ! ,fr5* s*ool 0 dur+ ! reign ( ,l\is ,,xiv4 ,,lesson ,,xxviii4 ,,! ,,g]man ,,polyphonic ,,clavi] ,,s*ool4 ,g]man ,ma/]y ( ,polyphonic ,music4--,! ,italians1 ) _! quick p]ception ( /ructural beauty1 h be5 ! pione]s 9 ! inv5tion & use ( mo/ art =ms4 ,s x happ5$1 9 ! hi/ory ( in/rum5tal music1 t !y 7 ! ones to inv5t & give to o!r nations ! vehicle ( expression1 :ile x rema9$ = _! pupils1 notably1 9 ?is case1 ! compos]s ( ,g]many1 to fill ^! =ms out ) ! expression ( real & deep feel+4 ,! ,g]man t5d5cy t[>d s]i\s & philosophical ?\ght f\nd ! intricacies ( polyphonic music1 or ! simultane\s fl[ ( indep5d5t melodies1 admirably adapt$ to _! ne$ ( expression2 & :5 ?is /yle ( voice writ+ 0 appli$ to in/rum5tal compositions1 ,g]man musicians f\nd a bran* ( art 9 :i* !y 7 admirably qualifi$ to excel4 ,s1 f be+ m]e pupils ( ! ,italians1 !y advanc$ to ! production ( works ( mu* m di/+ui%$ "* & deep]1 ri*] cont5t ?an 0 possible to m]e beauty ( =m & melody4 ,hasl]4--,9 ! second half ( ! #af? c5tury1 ! clavi] 0 popul> 9 ,g]many1 disput+ ! place ( ! lute z a social in/rum5t1 al?\gh organ & clavi] compositions 7 id5tical1 z 9 ,italy4 ,!re is a record ( ! publication ( two books ( pieces = organ & 8in/rum5t0--by :i* is meant ! clavi]--9 #aege-gg1 9 :i* !re 7 dance tunes ) accompany+ *ords4 ,hans ,leo ,hasl] 7#aefd-afab71 a pupil ( ,a4 ,gabrieli1 & fell[-/ud5t ) ,g4 ,gabrieli1 0 especially prom95t z organ & clavi] play] & compos] dur+ ?is epo*1 publi%+ a numb] ( su* dances writt5 = ! organ or ! clavi]4 ,frob]g]4--,! deva/at+ ,?irty ,ye>s' ,w> 7#afah-dh7 put an end to arti/ic ambition dur+ its progress4 ,h[ev]1 art quickly recov]$ at its close1 & a numb] ( wor?y musicians appe>$4 ,an int]e/+ figure among !m1 & a man :o has be5 call$ ! fir/ ,g]man clavi] virtuoso1 0 ,johann ,jacob ,frob]g] 7#afje-affg74 ,%[+ great promise z a boy1 he 0 br\ght to ! notice ( ! ,au/rian ,kais]1 ,f]d9& ,,iii1 :o s5t him to ,rome1 :]e he /udi$ ) ,frescobaldi = ?ree ye>s4 ,aft] ?is we he> ( him z a successful p]=m] at ,p>is1 &1 on 8 return to ,vi5na1 z c\rt organi/1 9 :i* position he won widespread fame4 ,a rem>kable /ory is told ( a p]il\s j\rney to ,engl&1 :]e he arriv$ p5niless1 & ( 8 subsequ5t recognition & 8 cordial reception by ,*>les ,,ii1 :o 0 delight$ ) 8 improvisation ^u ! h>psi*ord4 ,aft]w>ds return+ to ,vi5na1 he resign$ 8 po/ !re1 ?r\gh "s disagreem5t1 & liv$ aft]w>ds 9 retirem5t4 ,9 a numb] ( ,caprices1 ,toccatas & ! l1 writt5 9 ! contrapuntal /yle1 he def9itely adopt$ ! five-l9$ /aff1 & introduc$ _m embelli%m5ts1 aft] ! ,fr5* fa%ion4 ,he possess$ mu* *>m+ melodic inv5tion1 &1 9 8 ,toccatas employ$ a treatm5t ( 8 subject 9 def9ite sections1 :i* aft]w>ds appe>$ 9 ! fugue =m4 ,frob]g] anticipates ! program /yle ( music1 z he is said to h improvis$ descriptions ( ev5ts1 l t ( ! ,c\nt von ,?urn's cross+ ( ! ,rh9e1 :i* he depict$ 9 tw5ty-six pieces4 ,johann ,kasp> ,k]l 7#afbe-ij71 also s5t by ,f]d9& ,,iii to ,rome1 /udi$ !re ) ,c>issimi1 ! oratorio writ]1 becom+ accompli%$ z an extemporiz]4 ,he occupi$ a numb] ( organ positions 9 ,vi5na & ,muni*1 also tea*+ ! clavi]1 & wrote compositions :i* %[ a t5d5cy t[>d ! mod]n scale sy/ems4 ,johann ,pa*elbel 7#afec-agjf71 celebrat$ z organ & clavi] play]1 wrote pleas+ works = ! clavi]1 9 :i* he tri$ to foll[ out ! *>act]i/ics ( ! in/rum5t4 ,_m ( ^! 7 9 ! =m ( v>iations4 ,georg ,muffat 7d4 #agjd7 %[$ 9 8 compositions a t5d5cy t[>d ,fr5* ornam5tation1 & 8 son ,gottlieb 7#afhc-aggj71 a pupil ( ! contrapunti/ ,j4 ,j4 ,fux1 0 organi/ to ! ,kais] ,*>les ,,vi1 9 ,vi5na1 & clavi] tea*] to ! ,imp]ial family4 ,8 clavi] compositions 7 9 ! =m ( ,v]settes & ,toccatas4 ,eighte5? ,c5tury ,clavi] ,compos]s4--,! ,?irty ,ye>s' ,w> ex]cis$ a demoraliz+ influ5ce ^u music trades1 & _m excell5t musicians 7 unable to h _! compositions publi%$ 9 consequ5ce4 ,! result is1 t comp>atively few specim5s ( ! works ( ! compos]s m5tion$ h come d[n to u 9 available =m4 ,approa*+ ! #ah? c5tury1 we n[ come to a gr\p ( compos]s :o repres5t ! mo/ brilliant epo* ( e>ly clavi] "w4 ,_! productions1 :ile reta9+ ! dignity & complexity ( ! contrapuntal s*ool1 yet use its mat]ial ) a fre$om ( modulation & ( dissonant *ords suffici5t to express g5u9e emotional ideas ?r\gh _! m$ium4 ,re9k5 & ,buxtehude4--,! ,hamburg organi/ ,johann ,adam ,re9k5 7#afbc-agbb71 a native ( ,holl&1 wrote a numb] ( clavi] compositions1 publi%+ 9 #agjd1 pieces = two viol9s & h>psi*ord4 ,dietri* ,buxtehude 7#afcg-agjg71 organi/ at ,/4 ,m>y's ,*ur*1 ,lbeck1 f #affh1 excell$ 9 free /yle ( writ+ = clavi]4 ,! latt] gave a s]ies ( ,sunday ev5+ conc]ts at 8 *ur* :i* ga9$ r5[n ?r\gh all ! surr\nd+ c\ntry2 & ,j4 ,s4 ,ba* himself is said to h walk$ to ^! conc]ts1 a di/ance ( fifty miles4 ,in/rum5tal ,polyphonic ,=ms4--,^! m5 h be5 m5tion$ l>gely because _! "w made possible ! results :i* ,ba* aft]w>ds atta9$ f an elaboration ( :at !y _h already accompli%$4 ,x 0 among su* em95t ,g]man organi/s t ! in/rum5tal ,fugue1 ! highe/ in/rum5tal type ( polyphonic music1 took def9ite %ape1 consi/+ ( an ,exposition1 9 :i* ! ,subject1 ,answ] & ,c\nt]subject 7 ann\nc$ by ! v>i\s voices2 & a subsequ5t ,developm5t1 9 :i*1 accord+ to c]ta9 laws m or less /rict1 ! mat]ial pres5t$ 0 c>ri$ ?r\gh a v>iety ( phases & br\ght f9ally to a triumphant close4 ,( o!r =ms1 l ! ,toccata & ,canzona1 ! t5d5cy came to be t[>d m fre$om ( treatm5t on ! "o h&1 & an increas+ def9it5ess & consi/5cy on ! o!r4 ,h&el's ,e>ly ,life4--,a compos] mu/ n[ be m5tion$ ^: "w lay *iefly 9 o!r fields ?an ! clavi]1 b :o nev]!less drew mu* ( 8 inspiration f ! /r+s ( ! h>psi*ord4 ,?is 0 ,george ,fr$]ick ,h&el 7#afhe-agei71 :o 0 born at ,halle1 & ^: musical g5ius ass]t$ itself s /r5u\sly t1 al?\gh 8 fa!r 0 /rongly oppos$1 he le>n$ ! h>psi*ord z a m]e *ild1 & became s pr(ici5t a p]=m] t ! reign+ ,duke ( ,saxe-,weiss5fels1 he>+ him play1 insi/$ on 8 receiv+ a ?or\gh musical education4 ,s he 0 plac$ "u ,za*au1 a compet5t organi/ & musician1 at 8 native place1 ) :om he /udi$ dilig5tly4 ,aft] 8 fa!r's dea? he w5t to ,hamburg1 ent]+ ! or*e/ra ( ! ,op]a h\se & ris+ to ! po/ ( h>psi*ordi/4 ,laun*+ out z an op]a compos]1 he began to acquire a reputation1 & 9 #agjf w5t to ,italy1 meet+ _m di/+ui%$ musicians !re1 among !m ,dom5ico ,sc>latti1 ) :om he _h a conte/ z to ability z clavi*ordi/ & organi/1 & w9n+ fre% laurels4 ,h&el 9 ,engl&4--,9 #agjg1 he became music director to ! ,elector ( ,hanov]1 b quickly left ! po/ = ,engl&1 :]e1 ) ! exception ( %ort int]vals1 he pass$ ! rema9d] ( 8 life1 becom+ a naturaliz$ ,engli% subject4 ,x 0 no wond] t he 0 s w>mly atta*$ to 8 adopt$ c\ntry1 s9ce he became ! popul> idol1 ev5 w9n+ ov] ! k+1 ,george ,i1 =m]ly ,elector ( ,hanov]1 :o1 on 8 accession to ! ?rone1 0 at fir/ angry ) ,h&el = 8 des]tion ( ! po/ 9 8 s]vice at ,hanov]4 ,illu/ration3 ,,george ,,fri$ri* ,,h&el4 ,h&el's ,op]as & ,oratorios4--,h&el 0 ( an irascible disposition1 &1 liv+ 9 ! artificial atmosph]e ( ,london1 among wits & satiri/s l ,dr4 ,johnson1 ,addison & ,pope1 he 0 con/antly embroil$ ) ! cabals ( 8 rivals1 & ! fickl5ess ( ! public4 ,he produc$ a great numb] ( op]as1 mo/ ( !m successful2 b z !atrical manag] he met ) sev]e losses1 & f9ally gave up op]a writ+ 9 despair1 & turn$ to ! composition ( oratorios4 ,! result 0 t 9 ?is =m he has left 8 mo/ endur+ & elevat$ compositions2 = :ile 8 op]as 7 sometimes writt5 d[n to ! popul> ta/e = empty ,italian melody1 ! l(ty !mes ( 8 oratorios inspir$ him to 8 gr&e/ & mo/ s9c]e /yle1 :i*1 moreov]1 0 r5d]$ ! m dramatic & intelligible by 8 k ( ! requirem5ts ( 8 audi5ces4 ,h&el's ,clavi] ,works4--,h&el 0 an exp]t p]=m] on ! h>psi*ord1 = :i* he wrote two sets ( ,suites1 besides a numb] ( s+le pieces4 ,! ,suites1 ( :i* ! fir/ set is by f> ! bett]1 are writt5 mo/ly 9 ! dance =ms1 b ) ! int]polation ( m s]i\s =ms1 su* z ,airs1 ,v>iations & ,fugues4 ,! contrapuntal /yle is "h mo/ prom95t1 al?\gh ) h>monic basis1 & ) a laxity 9 ! /rictness ( ! voice writ+1 caus$ by ! occasional use ( extra notes to complete *ords4 ,"s ( ! v>iations are work$ up to effective climaxes1 & h runn+ passages & brok5 *ords1 9 :i* ! res\rces ( ! clavi] are clev]ly drawn ^u4 ,h&el's ,la/ ,ye>s4--,h&el became bl9d 9 #ageb1 b cont9u$ to take "p 9 ! p]=mances ( 8 works till ! ye> ( 8 dea?4 ,*ol]ic z 0 8 temp]am5t1 ! kn[n g5]osity ( 8 nature & 8 devotion to ! ideals ( 8 art made him ! idol ( ! ,engli% p4 ,he 0 buri$ 9 ,we/m9/] ,abbey4 ,mat!son4--,a close associate ( ,h&el1 :5 he 0 9 ! ,hamburg or*e/ra1 0 ,johann ,mat!son 7#afha-agfd71 fam$ = 8 lit]>y writ+s on musical subjects no less ?an = 8 musical ability4 ,he wrote suites1 a sonata & fugues 9 two p>ts1 = clavi]1 :i* 7 ( excell5t workman%ip4 ,ba*'s ,e>ly ,life4--,b all o!r names 9 ! doma9 ( polyphonic in/rum5tal music pale be=e t ( ,johann ,seba/ian ,ba*1 ! culm9ation ( ! s*ool ( voice writ+1 & ! musician :o put ! /amp ( greatness on all =m] /yles1 :ile at ! same "t act+ z guide to future fields ( composition4 ,born at ,eis5a* 9 #afhe1 z a scion ( a family ! memb]s ( :i* _h be5 musical lead]s = g5]ations1 he seems to h embodi$ 9 himself ! sum ( ! g5ius ( 8 =efa!rs4 ,! /ory ( 8 life is a prosaic "o1 z he fill$ x ) unflagg+ indu/ry1 c>ry+ out 8 unsw]v+ ideals ( 8 art1 c>+ little = m]e popul>ity1 & re>+ a l>ge family ( sons & daught]s1 "s ( :om prov$ wor?y to cont9ue 8 "w4 ,z a boy1 he lo/ bo? p>5ts at ! age ( t51 & 0 taught clavi] play+ by 8 eld] bro!r1 ,johann ,*ri/ian1 :o took him 9 *>ge4 ,he seiz$ ) avidity e opportunity to /udy 8 belov$ music1 copy+ hundr$s ( pages ( manuscript1 li/5+ to e musical p]=mance possible1 dr9k+ 9 & assimilat+ ! ideas ?us ga9$1 to reproduce !m lat] on1 /amp$ ) 8 g5ius4 ,lat] ,life4--,at 8 bro!r's dea? he w5t to ,lneburg z *oir boy1 :]e he became acqua9t$ ) ,re9k5's "w4 ,at eighte5 he 0 viol9i/ 9 ! c\rt b& at ,weim>1 %ortly aft]w>d becom+ organi/ at a *ur* at ,arn/adt4 ,8 next position 0 z c\rt organi/ at ,weim>1 9 #agjh1 :]e _m ( 8 mo/ important organ compositions 7 writt54 ,?is po/ he left 9 #agag = t ( c\rt *apel-ma/] at ,anhalt-,k!n1 :]e he rema9$ six ye>s1 aft] :i* he w5t to ,leipzig1 z ,cantor ( ! ,?omass*ule1 /ay+ !re till 8 dea?1 9 #agej4 ,incid5ts ( ,ba*'s ,c>e]4--,ba*'s life 0 n altoge!r a happy "o1 z he 0 mu* annoy$ at ! p]secutions ( 8 rivals2 &1 l ,h&el1 he 0 afflict$ ) bl9dness 9 8 la/ ye>s4 ,nev] consid]+ ! elem5t ( m]e popul>ity 9 8 "w1 8 greatness 0 little appreciat$ 9 8 lifetime2 & x 0 fifty ye>s aft] 8 dea? be=e x began to receive recognition4 ,a pleasant incid5t ( 8 decl9+ ye>s 0 8 cordial reception by ,fr$]ick ! ,great at 8 c\rt1 9 #agdg1 :]e ,ba*'s son 0 9 favor z h>psi*ord play]1 & :]e ,ba* 0 %[n a numb] ( excell5t new ,silb]mann pian(ortes4 ,x is a curi\s circum/ance t he & ,h&el1 al?\gh born 9 ! same ye>1 7 de/9$ nev] to meet4 ,! ,well-,temp]$ ,clavi*ord4--,x has be5 /at$ t ,ba* adopt$ ! pr9ciple ( ,equal ,temp]am5t = clavi] tun+4 ,9 support ( ?is he wrote tw5ty-f\r preludes & fugues1 "o 9 ea* major & m9or key1 requir+1 !re=e1 equal temp]am5t = _! p]=mance2 & lat] add$ a second simil> volume4 ,! :ole =ty-eight make up ! monum5tal "w call$ ! 8,well-,temp]$ ,clavi*ord02 & ?is "w1 writt5 orig9ally = ! clavi*ord1 has rema9$ ! bulw>k ( piano play+ to ! pres5t day4 ,its fugues1 writt5 ) consummate ma/]y ( ! te*nic ( in/rum5tal polyphony1 are n only models ( skill 9 voice writ+1 b also are made ! vehicles ( g5u9e moods & emotions2 :ile ea* prec$+ prelude gives ! keynote ( expression to its foll[+ fugue1 al?\gh writt5 9 a mu* fre] /yle1 frequ5tly closely alli$ ) ! works ( ! purely h>monic s*ool4 ,illu/ration3 ,,johann ,,seba/ian ,,ba*4 ,ba*'s ,o!r ,clavi] ,works4--,ba* wrote also sonatas & conc]tos1 ! latt] = "o1 two or ?ree clavi]s1 sometimes ) /r+ accompanim5t4 ,^! works1 al?\gh compris+ sev]al movem5ts1 d n o!rwise co9cide ) ! h>monic sonata =m1 s9ce _! /yle is m polyphonic1 & s9ce !y are occupi$ ma9ly ) ! developm5t ( a s+le subject4 ,8 suites1 ( :i* he wrote two sets1 call$ respectively ,engli% & ,fr5*1 are no less important1 s9ce 9 !m ! dance =ms are inve/$ ) a s]i\sness & an arti/ic f9i% hi!rto unatta9$4 ,( o!r clavi] works1 8 fam\s 8,*romatic ,fantasie0 has a weal? ( h>monic comb9ations1 fi]y runs & arpeggios1 & dramatic recitative :i* give x a wor?y place 9 ! ,romantic s*ool develop$ mu* lat]1 & ( ^: /yle x 0 ! =]unn]4 ,8 8,inv5tions10 /udies writt5 orig9ally = 8 *ildr51 9 two or ?ree p>ts1 are an excell5t introduction to ! /udy ( 8 l>g] works4 ,re=ms 9 ,f+]+4--,ano!r gift ( ,ba*'s to com+ g5]ations 0 8 ?or\gh revision ( clavi] play+4 ,rais+ ! h& above ! keys f its =m] flat position1 he br\ght ! ?umb into use1 & by inv5t+ ! scale f+]+1 aft]w>ds univ]sally adopt$1 he op5$ ! way to ! /yle ( brilliant & smoo?ly runn+ passages :i* 0 aft]w>ds s highly develop$4 ,?us ,ba*1 :ile putt+ ! f9al t\* to ! old =ms1 gave an impetus to ! h>monic /yle1 :i* 0 !n 9 its infancy1 & ( :i* we %all n[ trace ! c\rse4 ,,ref]5ces4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,i4 ,vol4 ,,ii1 ,ba* & ,h&el4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,h5d]son4--,preludes & ,/udies4 ,spitta4--,life ( ,ba*4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,viii4 ,williams4--,ba* 7,ma/] ,musicians ,s]ies74 ,,musical ,,illu/rations4 ,weitzmann's ,hi/ory1 pages #ccj1 #ccf4 ,rimbault4--,! ,pian(orte1 pages #bii1 #ccb1 #cdj4 ,litolff ed41 ,no4 #cif1 #a/ volume ( ,music by ,old ,ma/]s4 ,aug5] ed41 ,no4 #hbig4 ,breitkopf ,ed41 z be=e4 ,works ( ,h&el & ,ba*1 publi%$ 9 all ! *eap editions4 ,,que/ions4 ,comp>e ! ,italian & ! ,g]man t5d5cies4 ,give an acc\nt ( ,hasl]4 ,tell ab\t ,frob]g]4 ,9 :at /yles did he write8 ,tell ab\t ,k]l1 ,pa*elbel & ! ,muffats4 ,:at advances d we f9d 9 ! works ( ! compos]s ( ! e>ly "p ( ! #ah? c5tury8 ,:at =ms n[ beg9 to take def9ite %ape8 ,give a sket* ( ,h&el's e>ly life4 ,give a sket* ( ,h&el's "w 9 ,engl&4 ,/ate ! *>act]i/ics ( ,h&el's clavi] works4 ,:at affliction befell him dur+ ! la/ ye>s ( 8 life8 ,:at associate ( ,h&el's 0 fam\s z writ] & compos]8 ,tell ab\t ,ba*'s e>ly life4 ,tell ab\t ,ba*'s lat] life4 ,:at great k+ invit$ ,ba* to visit 8 c\rt8 ,describe ! 8,well-,temp]$ ,clavi*ord40 ,m5tion o!r clavi] works by ,ba*4 ,:at improvem5ts 9 te*nic did ,ba* introduce8 ,,lesson ,,xxix4 ,,! ,,g]man ,,sonata ,,compos]s1 ,,to ,,haydn4 ,=mation ( ,h>monic ,design4--,side by side ) ! ultimate developm5t ( polyphonic music 9 its p]fect$ in/rum5tal =m1 ! =ms ( ! new h>monic /yle 7 be+ work$ out1 by long processes ( developm5t4 ,f9ally1 j z ! ,fugue came to be adopt$ z ! highe/ =m ( ! old s*ool1 s ! ,sonata 0 *os5 z ! mo/ dignifi$ expon5t ( ! new art4 ,b1 :ile ! old s*ool arriv$ at a high /ate ( p]fection at ! h&s ( ,h&el & ,ba*1 ! necessity = inv5t+ & exp]im5t+ ) ! possibilities ( ! new =ms made ! fir/ attempts 9 ?is direction seem *ildi% & crude beside ,ba*'s "w2 s t x 0 sev]al g5]ations aft] him be=e ! h>monic /yle 0 br\ght to ! /age at :i* x c\ld be made to express ideas ( equal magnitude1 & d x successfully4 ,developm5t ( ! ,sonata4--,! orig9al plan associat$ ) ! ,sonata 0 t ( comb9+ sev]al movem5ts 9 su* a way z to appeal1 9 ! complet$ product1 to all k9ds ( emotion1 intellectual1 spiritual & physical4 ,9 ! h&s ( its f\nd]s1 ! ,italian viol9i/s1 ! exposition ( ?is ?\ght _h be5 ma9ly contrapuntal4 ,we h se5 h[ ,dom5ico ,sc>latti arriv$ at a /yle 9 :i* a s+le "p1 support$ by an accompanim5t1 0 appli$ to ! clavi]1 9 a mann] :i* br\ght out its /rik+ *>act]i/ics2 & we h n[ to trace ! progress ( ?is /yle 9 ,g]many1 up to ! po9t :]e ! v>i\s contributions ( diff]5t compos]s c\ld be unit$ into a sy/ematic & fix$ =m1 suffici5t = ! free expression ( ! highe/ musical inspiration1 & adapt$ to all ! v>i$ dem&s ( in/rum5tal music4 ,ess5tial ,elem5ts ( a ,sonata4--,c]ta9 po9ts seem to h be5 g5]ally agre$ ^u z necess>y compon5ts ( ! ,sonata4 ,! fir/ 0 its union ( sev]al movem5ts1 f two up to five1 or occasionally ev5 m4 ,! second 0 t ! fir/ movem5t %\ld display ! mo/ +5uity & elaboration4 ,?is movem5t ?us came to receive ! mo/ att5tion1 & %[$ a process ( evolution f ! simple dance =m consi/+ ( a modulation f a pr9cipal key to a contra/+ key & back aga91 to a highly organis$ & conv5tional art-=m--a =m1 moreov]1 ( su* a capacity t x c\ld be us$ z ! m\ld = ! pr9cipal movem5t ( a wide range ( compositions1 f a %ort pian(orte sonata to a gr& symphony4 ,*anges 9 ! ,old ,dance ,=m4--,9 ?is evolution1 ! fir/ half ( ! dance =m 0 made to consi/ ( a ,subject1 ei!r !matic or melodic1 cle>ly def9+ ! key1 & !n a modulat+ passage1 g5]ally fre] 9 its runs & arpeggios1 lead+ up to ! po9t ( contra/2 & ! fir/ section 0 !n repeat$4 ,! greate/ *anges took place 9 ! second half4 ,at fir/1 ?is consi/$ 9 ! repeat ( ! ,pr9cipal ,!me 9 ! contra/+ key1 & a return to ! fir/ key ?r\gh modulations simil> to ^? 9 ! fir/ section2 lat]1 h[ev]1 s9ce ?is design gave little opportunity = a display ( ! compos]'s orig9ality1 ! enunciation ( ! ,subject 9 ! contra/+ key 0 foll[$ by a free passage1 :i* gave ample scope to ! compos]'s fancy2 aft] :i* ! subject aga9 appe>$ 9 ! pr9cipal key1 ) a conclud+ passage 9 ! same key4 ,e/abli%m5t ( ! ,cyclic ,=m4--,! =m z a :ole 0 n[ practically divid$ into ?ree sections1 & a bett] balance 0 giv5 to ?is division by ! omission ( ! second appe>ance ( ! ,subject 9 ! contra/+ key1 & ! sub/itution ( o!r mat]ial1 ei!r relevant or contra/+4 ,! movem5t n[ assum$ a cyclic =m--a /atem5t1 lead+ to a po9t ( contra/1 a free fantasia1 & f9ally ! /atem5t1 lead+ to a close4 ,?is 0 practically ! c\rse ( developm5t ( :at has be5 nam$ ! ,sonata ,=m1 up to ! "t ( ,haydn4 ,we are n[ prep>$ to consid] ! especial contributions ( compos]s to ?is =m4 ,fir/ ,pr9t$ ,clavi] ,sonata4--,! fir/ pr9t$ clavi] sonata seems to h be5 publi%$ by ,johann ,kuhnau 7#affj8-agbb74 ,?is 0 9 ! key ( ,b-flat1 & 0 ! la/ ( sev]al pieces 9 ! same volume4 ,9 ! preface1 ! au?or gives a semi-apology = its introduction1 say+ t he sees no reason :y sonatas %\ld n be writt5 = ! clavi] z well z = any o!r in/rum5t4 ,?is sonata beg9s ) an ,allegro1 foll[$ by a fugal movem5t2 & 9 ! foll[+ ,adagio movem5t1 ! t5d5cy to put ! sl[ movem5t into a contra/+ key is illu/rat$1 z ?is is 9 ,d-flat major4 ,aft] ano!r ,allegro1 !re is a ,da ,capo to ! fir/ "p4 ,o!r ,sonatas by ,kuhnau4--,x 0 difficult = ! e>ly sonata writ]s to break away entirely f ! old polyphonic /yle2 & :5 a "p appe>$ 9 ! nature ( a ,free ,fantasia1 !y g5]ally _h rec\rse to fugal "w1 hav+ no prec$5t 9 h>monic music to fall back ^u4 ,?us1 9 8 sev5 sonatas publi%$ 9 #afif1 entitl$ 8,fre% ,fruits = ! ,clavi]10 :i* %[ m individuality 9 melodic inv5tion1 ,kuhnau uses ! fugal /yle :5ev] ! h>monic =ms fail him4 ,^! sonatas %[ a preval5ce ( ornam5ts1 :i*1 he says1 are 8sug> to sweet5 ! fruits40 ,a rem>kable collection ( clavi] pieces are 8 six ,bible sonatas1 9 :i* ! =m is entirely outside ( ! developm5t trac$ above1 s9ce ! v>i\s movem5ts ( ea* sonata simply foll[ ! l9es ( a ,bible /ory1 l t ( ! 8,combat betwe5 ,david & ,golia?10 :i* !y illu/rate4 ,z samples ( program music1 !y proce$ 9 ! /eps ( ,pa*elbel1 & o!rs on record4 ,kuhnau /udi$ law1 & 0 f #afhb organi/ at ,/4 ,?omas' ,*ur*1 at ,leipzig1 :]e he prec$$ ,j4 ,s4 ,ba*4 ,fr$]ick ! ,great's ,influ5ce4--,a great impetus 0 giv5 to ,g]man clavi] music by ! int]e/ ) :i*1 l all o!r =ms ( in/rum5tal music1 x 0 view$ by ,fr$]ick ! ,great ( ,prussia 7r4 #agdj-hf74 ,?is w>like b ?or\ghly ,teutonic mon>* ga!r$ at 8 c\rt a brilliant cot]ie ( in/rum5tali/s1 delight+ to p]=m ) !m on 8 favorite in/rum5t1 ! flute4 ,al?\gh ?is musical inspiration 0 di/urb$ by ! w>s 9 :i* he engag$1 & especially by ! ,sev5 ,ye>s' ,w> 7#agef-fc71 ! gr[? ( clavi] music 0 nev]!less /eady4 ,musical ,j\rnals4--,a numb] ( musical j\rnals :i* appe>$ f #agfj on1 contribut$ also to ?is en?usiasm1 9 giv+ clavi] compos]s a m$ium = br++ _! works be=e ! public1 & also 9 giv+ !m ! *ance to pr(it by "o ano!r's exp]im5ts4 ,_m writ]s ?us came to ! =e1 :o aid$ mat]ially 9 ! elaboration ( h>monic music mat]ial4 ,o!r ,e>ly ,compos]s4--,( ^!1 ,gottfri$ ,he9ri* ,/oelzel 7#afij-agdi71 *apel-ma/] at ,saxe-,go?a1 wrote an 8enh>monic0 clavi] sonata 9 ?ree p>ts1 a ,l>go 9 ,c m9or1 9 #d_/d "t2 a %ort fugue2 & a #c_/h movem5t1 9 h>monic =m1 9 :i* exp]im5ts 9 modulation 7 tri$4 ,8 successor at ,saxe-,go?a 0 ,georg ,b5da 7#agba-ie71 :o publi%$ a numb] ( clavi] pieces & sonatas1 besides two conc]tos = clavi] & /r+ qu>tet1 all ( :i* %[ a desire = g5u9e expression 9 ! h>monic =m4 ,! fir/ f\r-h& sonatas seem to h be5 publi%$ by ,*>les ,he9ri* ,mll]1 ( ,halb]/adt1 9 #aghc1 & ano!r appe>$ 9 #aghd1 by ,ern/ ,wilhelm ,wolf 7#agce-ib71 c\rt *apel-ma/] 9 ,saxe-,weim>1 ! writ] ( num]\s o!r clavi] sonatas & conc]tos %[+ great purity & orig9ality ( /yle4 ,at ! c\rt ( ,fr$]ick ! ,great1 at ,b]l91 ,*ri/oph ,ni*elmann 7#agag-fb71 a pupil ( ,ba*1 & ,c>l ,fas* 7#agcf-ahjj7 7 successively second h>psi*ordi/s4 ,bo? wrote sonatas1 ^? ( ! =m] 9 two movem5ts1 :ile ^? ( ! latt] _h g5]ally ?ree1 ( a brilliant & attractive /yle4 ,fri$ri* ,wilhelm ,m>purg 7#agah-ie71 ! di/+ui%$ ,b]l9 !oretician1 0 m successful 9 contrapuntal "w ?an 9 8 sonatas1 writt5 9 fre] /yle4 ,georg ,*ri/oph ,wag5seil 7#agae-gg71 pupil ( ,j4 ,j4 ,fux1 c\rt music tea*] & celebrat$ clavi] virtuoso1 wrote sonatas = clavi] & viol9 & a numb] = clavi] alone4 ,wilhelm ,fri$emann ,ba*4--,p]haps ! mo/ /rik+ developm5ts1 h[ev]1 7 at ! h&s ( ! sons ( ,j4 ,s4 ,ba*1 :o 7 all1 hav+ come "u 8 direct in/ruction1 ( ref9$ musical judgm5t1 :ile "s ( !m possess$ m>ks ( 8 g5ius4 ,( ^!1 ,wilhelm ,fri$emann ,ba* 7#agaj-hd71 ! elde/1 call$ ! ,ba* ( ,halle1 f 8 long resid5ce !re1 /udi$ at ! ,univ]sity ( ,leipzig1 di/+ui%+ himself 9 ma!matics2 0 organi/ at ,dresd5 & ,halle successively1 & f9ally came to ,fr$]ick ! ,great's c\rt1 at ,b]l91 ?r\gh ! influ5ce ( 8 bro!r ,c>l4 ,al?\gh he possess$ great gifts z a play] & compos]1 8 dissipat$ habits br\ght him to disgrace1 & he di$ 9 pov]ty4 ,he wrote _m clavi] compositions1 %[+ a bold use ( h>monies1 & includ+ sonatas :i* h decid$ly in/rum5tal !mes & developm5t4 ,a l>ge numb] ( 8 fa!r's manuscripts kn[n to h be5 9 8 possession h be5 irretrievably lo/4 ,johann ,*ri/ian ,ba*1 ! ,london ,ba*1 y\nge/ ( ,j4 ,s4 ,ba*'s sons1 0 born at ,leipzig 9 #agce1 & di$ at ,london 9 #aghb4 ,he /udi$ ) 8 bro!r1 ,c>l1 aft] 8 fa!r's dea?1 &1 aft]w>ds go+ to ,italy1 became organi/ at ! ,milan ,ca!dral4 ,ga9+ great favor 9 ?is capacity1 he 0 appo9t$ conc]t-director at ,london 9 #agei1 & !re he became a popul> favorite1 produc+ sev]al op]as & receiv+ ! appo9tm5t ( music ma/] to ! royal family4 ,8 ,italian exp]i5ces influ5c$ 8 sonata writ+1 z 8 subjects are 9 ! /yle ( ! popul>1 ?\gh some:at trivial ,italian melody4 ,yet he introduc$ "s /rik+ improvem5ts1 notably t ( employ+ a second contra/+ subject1 in/ead ( a m]e modulat+ or clos+ passage1 at ! end ( ! fir/ & ?ird sections ( ! sonata =m4 ,8 graceful & melodi\s works 7 fa%ionable 9 ,london society4 ,illu/ration3 ,c4 ,p4 ,e4 ,,ba*4 ,c4 ,p4 ,e4 ,ba*4--,! ?ird & greate/ ( ,ba*'s sons 0 ,c>l ,philip ,emanuel ,ba*1 ! ,b]l9 ,ba*4 ,inh]it+ 8 fa!r's love ( g5u9e & =ceful expression1 he _h no less l(ty ideals ( 8 art1 ?\gh recogniz+ 8 inf]iority 9 tal5t4 ,also1 p]ceiv+ t ! h>monic s*ool 0 9 ! l9e ( progression1 he devot$ himself to x1 ?us produc+ purely h>monic works1 :i* 7 only limit$ by ! lack ( res\rces ?us f> discov]$4 ,he 0 born at ,weim>1 9 #agad1 &1 ?\gh a /ud5t ( law & philosophy at ,leipzig1 he f9ally decid$ to give re9 to 8 natural b5t t[>d ! musical pr(ession4 ,conduct+ & compos+ = a musical society at ,frank=t1 he 0 appo9t$ fir/ clavi] play] at ! c\rt ( ,fr$]ick ! ,great1 at ,b]l91 :]e he /ay$ f #agdj to #agfg1 9 high favor on acc\nt ( 8 /]l+ musician%ip1 & enjoy+ ! society ( _m di/+ui%$ musicians ( ! day4 ,9 #agfg1 he became musical director ( ! pr9cipal *ur* 9 ,hamburg1 :]e he rema9$ till 8 dea?1 9 #aghh4 ,a vigor\s work] ?r\gh\t 8 life1 he left a l>ge numb] ( compositions1 includ+ two hundr$ & t5 clavi] pieces & fifty-two conc]tos = clavi] & or*e/ra1 besides mu* *amb] music1 eighte5 symphonies1 oratorios & cantatas4 ,c4 ,p4 ,e4 ,ba*'s ,sonatas4--,8 mo/ endur+ & important "w 0 9 connection ) ! pian(orte sonata1 s9ce "u 8 h&s x began to assume def9ite %ape4 ,9 ! six sets ( sonatas publi%$1 ! numb] ( movem5ts is g5]ally fix$ at ?ree1 ( :i* ! ?ird is frequ5tly 9 ! h>monic =m ( ! ,rondo1 :i* consi/s 9 ! recurr5ce ( a pr9cipal !me1 ) modulatory episodes betwe5 its appe>ances4 ,h5ce ! ord] ( movem5ts1 :i*1 9 ! e>li] writ]s1 took all sorts ( =ms f fugue to dance =m1 becomes ,allegro1 ,adagio1 ,rondo4 ,ba*'s !mes are also made v *>act]i/ic1 f\nd$ ^u "s easily-recogniz$ in/rum5tal figure4 ,9 ! developm5t portion ( ! sonata =m he does n resort to ! polyphonic /yle1 b uses phrases or sections f ! fir/ "p 9 new comb9ations & keys4 ,sometimes1 also1 ! direction is giv5 9 ! repeat ( ! fir/ section1 to introduce v>iations ( ! text at w4 ,8 ,!oretical ,works4--,ba* publi%$ at ,b]l91 9 #agec1 an essay on 8,! ,true ,me?od ( ,play+ ! ,clavi]10 9 :i* he gives a def9ite exposition ( 8 fa!r's re=ms 9 play+1 treat+ ! position ( ! h&1 embelli%m5ts & arti/ic r5d]+1 :i* he says %\ld t\* ! he>ts ( ! he>]s4 ,a second "p1 publi%$ 9 #agfb1 discusses ! sci5ce ( accompanim5t & improvisation4 ,adoption ( ! ,piano4--,! clavi*ord1 not)/&+ its feeble tone1 rema9$ 8 favorite in/rum5t on acc\nt ( its p[]s ( expression1 9 :i* he delight$4 ,8 bro!r1 ,johann ,*ri/ian1 0 "o ( ! fir/ def9itely to adopt ! new pian(orte4 ,j4 ,g4 ,m!l publi%$ 9 #agga :at 7 probably ! fir/ compositions m5tion+ ! pian(orte = _! p]=mance1 a duet = two pian(ortes or h>psi*ords2 aft] ! "t ( ,c4 ,p4 ,e4 ,ba*1 clavi] compositions 7 writt5 9 g5]al di/9ctively = ! pian(orte & n = ! clavi]4 ,,ref]5ces4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,%$lock4--,! ,pian(orte ,sonata4 ,grove4--,diction>y ( ,music & ,musicians1 article 8,sonata40 ,p>ry's 8,evolution ( ! ,art ( ,music10 ,*apt] ,,ix4 ,h5d]son4--,h[ ,music ,develop$1 ,*apt] ,x4 ,,musical ,,illu/rations4 ,weitzmann1 pages #cch1 #cdj1 #cdb-cee4 ,rimbault4--8,! ,pian(orte10 pages #ceg-cfh4 ,edition ,litollf1 ,aug5]1 ,breitkopf1 z = ,*apt] ,,iv4 ,works ( ,c4 ,p4 ,e4 ,ba*1 9 ,pet]s' edition4 ,,que/ions ,,& ,,sugge/ions4 ,:at =ms ( composition 7 be+ work$ out :ile ! polyphonic /yle 0 rea*+ a culm9ation8 ,:at /yle _h be5 mo/ prom95t 9 ! e>ly sonata8 ,:at po9ts _h be5 agre$ ^u z necess>y 9 ! con/ruction ( ! sonata8 ,:at *anges 7 made f ! simple dance =m8 ,9 :at "p ( ! sonata did ! greate/ *ange occur8 ,:at 0 ! c\rse ( developm5t 9 sonata =m up to ,haydn8 ,tell ab\t ,kuhnau & 8 "w4 ,tell ab\t o!r e>ly compos]s4 ,tell ab\t ,wilhelm ,fri$emann ,ba*4 ,tell ab\t ,johann ,*ri/oph ,ba*4 ,tell ab\t ,c>l ,philip ,emanuel ,ba*4 ,tell ab\t ,c>l ,philip ,emanuel ,ba*'s contribution to ! developm5t ( ! sonata4 ,:at o!r works did ,c4 ,p4 ,e4 ,ba* write8 ,a comp>ison ( ! dates f ,kuhnau's publi%$ "w 9 ,sonatas to t ( ,c4 ,p4 ,e4 ,ba*1 ! imm$iate pr$ecessor & model = ,haydn1 %[s t ! =m took def9ite %ape 9 ! c\rse ( ab\t fifty ye>s4 ,illu/ration3 ,,franz ,,joseph ,,haydn4 ,,lesson ,,xxx4 ,,franz ,,joseph ,,haydn4 ,! ,?ree ,great ,sonata ,writ]s4--,9 ! ye> ( ,c4 ,p4 ,e4 ,ba*'s dea?1 #aghh1 ?ree m5 _h already ent]$ ! ar5a z *ampions ( t ,sonata ,=m to :i* he contribut$ s mu*4 ,haydn 0 !n fifty-six1 ,moz>t ?irty-two & ,bee?ov5 eighte5 ye>s ( age4 ,all ?ree add$ to ! glory ( ,vi5na by mak+ x _! dwell+-place 9 _! lat] ye>s2 & ! ?ree =m$ a triumvirate :i* n only gave to ! ,sonata a p]man5t & complete =m1 b also br\ght ?is =m into absolute subs]vi5ce to ! expression ( e v>iety ( emotional ?\ght4 ,haydn's ,*ildhood4--,franz ,joseph ,haydn1 a native ( ,rohrau1 9 l[] ,au/ria1 0 born on ,m>* #ca1 #agcb1 ! second ( a family ( twelve *ildr54 ,8 fa!r1 an humble :eelwright1 0 accu/om$ to br+ 8 family toge!r 9 ! ev5+s & holidays1 z 0 ! ,g]man cu/om1 to unite 9 song2 & ! true e> & feel+ = rhy?m ( little 8,sepp]l10 z ,joseph 0 call$1 0 quickly noticeable4 ,s a c\s9 ( 8 fa!r1 :o 0 a s*oolma/] at ,ha9burg1 0 all[$ to take ! boy home ) him1 plac+ him 9 ! s*ool *oir1 & direct+ 8 /udies1 :i* includ$ s++1 & ! play+ ( ! viol9 & o!r in/rum5ts4 ,/4 ,/eph5's ,*oir1 ,vi5na4--,george ,reutt]1 prec5tor ( ,/4 ,/eph5's ,ca!dral1 at ,vi5na1 paid a visit to ! s*ool & 0 attract$ by ! *ild's 8sweet1 weak voice10 z he express$ x1 & (f]$ him a position 9 8 *oir4 ,z ?is 0 consid]$ a r>e opportunity1 he 0 all[$ to g1 & at ! age ( eight we f9d him in/all$ 9 ! *oir s*ool at ,vi5na1 att5d+ ! daily s]vice & *oir practice1 besides ! regul> s*ool /udies4 ,b ,reutt] seems to h lo/ 8 p]sonal int]e/ 9 ! lad1 neglect+ him 9 v>i\s ways1 do+ no?+ ) 8 "w 9 musical !ory1 & f9ally dropp+ all 8 tuition4 ,haydn 0 fond ( mis*ief2 & :5 8 voice began to break & 8 bro!r ,mi*ael became soloi/ 9 8 place1 8 cruel ma/] took ! pretext ( "s trifl+ prank to turn him adrift1 p5niless1 into ! /reet4 ,h>d%ips 9 ,vi5na4--,at ! age ( sev5te51 !re=e1 he w&]$ ! /reets all ( "o ra9y ,novemb] night1 ) no fri5d to :om to turn4 ,f9ally1 9 ! morn+1 he met an acqua9tance =m]ly at ! s*ool1 ,spangl]1 a t5or s+]1 himself ne>ly z poor z ,haydn4 ,nev]!less1 he took ! outca/ home to 8 g>ret1 :]e he 0 ek+ out an exi/5ce ) 8 family2 & ?us tempor>ily provid$ =1 ,haydn set ab\t f9d+ "w to d4 ,small jobs1 l play+ 9 b&s1 or at w$d+s & baptisms1 & s++ 9 *oirs1 he eag]ly s\ght2 8 sp>e mom5ts he occupi$ 9 writ+ music = s]5ades or g>d5-p>ties4 ,:ile und]go+ ^! h>d%ips1 h[ev]1 he 0 becom+ famili> ) ! music de> to ! p's he>t1 & also ) ! v>i$ effects ( in/rum5tal comb9ations4 ,/udies & ,new ,fri5ds4--,9 #agej1 he r5t$ a g>ret 9 a h\se 9 ,vi5na1 &1 hav+ secur$ a dilapidat$ sp9et1 set himself dilig5tly to "w to /udy all available musical compositions1 notably ^? ( ! new sonata ord]1 & especially ! sonatas ( ,c4 ,p4 ,e4 ,ba*4 ,!oretical works1 also1 l ! 8,gradus ad ,p>nassum0 ( ,j4 ,j4 ,fux1 & ,mat!son's "w on conduct+1 7 eag]ly dev\r$ by ! y\?ful en?usia/4 ,by a piece ( good =tune1 ,meta/asio1 ! popul> op]a libretti/1 room$ 9 ! same h\se1 & le>n+ ( ! tal5t hidd5 away 9 ! g>ret1 s\ght ,haydn out1 gave him ,italian lessons1 & ultimately />t$ him on ! road to success by recomm5d+ him z clavi] tea*] to a ,spani% lady1 to ^: daught] he gave lessons4 ,connection ) ,porpora4--,h] s++ ma/] 0 ! r5[n$ op]a compos]1 ,porpora1 :o recogniz$ ,haydn's tal5t z accompani/1 & proce$$ to make him useful to himself1 giv+ him in/ruction 9 composition 9 return = 8 s]vices1 :i* 7 frequ5tly ( ev5 a m5ial nature4 ,accompany+ ,porpora on 8 j\rneys1 he met musicians l ,wag5seil & ,gluck2 & at ! age ( tw5ty _h writt5 _m compositions1 includ+ a mass 9 ,f1 an op]a & _m works ( ! sonata ord]1 f\nd$ on ! /yle ( ,c4 ,p4 ,e4 ,ba*4 ,bett] ,times4--,bett] times n[ op5$ be=e ,haydn4 ,ga9+ influ5tial fri5ds1 he won1 ?r\gh !m1 ! po/ ( music director & compos] to ,c\nt ,morz91 a position :i* he held only a %ort "t1 s9ce ! ,c\nt gave up 8 musical e/abli%m5t soon4 ,b he 0 imm$iately engag$ by ! weal?y & cultivat$ ,pr9ce ,paul ,e/]hazy1 :o _h be5 *>m$ at he>+ a symphony ( ,haydn's1 z assi/ant director ( music at 8 e/ate at ,eis5/adt4 ,! same ye> ,haydn made an unhappy m>riage ) ! daught] ( ,kell]1 a wigmak]1 :i* he _h cause to regret = ! rema9d] ( 8 life4 ,or*e/ras 9 ,g]many4--,to und]/& ,haydn's "w ) ! ,e/]hazy family1 x w be necess>y to review ! /ate ( music 9 ,g]many at ?is "t4 ,:5 ! or*e/ral ov]tures ( ! ,italian op]as _h become us$ z conc]t pieces1 a great /imulus 0 giv5 to ?is k9d ( music4 ,conc]tos1 /r+ qu>tets1 trios1 &1 mo/ important ( all1 symphonies1 came to be writt5 9 great numb]s2 & ?r\gh\t ,g]many a mania = or*e/ral music arose4 ,weal?y families vi$ ) ea* o!r 9 ! size & pre/ige ( _! musical e/abli%m5ts1 :i* includ$ in/rum5tali/s & vocali/s2 & ! small] g5try ev5 press$ _! dome/ic s]vants into ! s]vice1 induc+ !m to /udy in/rum5ts1 & to p]=m /r+ qu>tets & ! l on occasions4 ,inasmu* z a great "p ( ! music writt5 = ^! 0 n publi%$1 & ex*ange ( music 9 manuscript betwe5 diff]5t e/abli%m5ts 0 att5d$ ) "s difficulty1 x 0 necess>y t ! music director %\ld h ! ability to write 8 own music1 z well z to direct x4 ,haydn's ,"w at ,e/]hazy4--,a r>e opportunity !re=e op5$ to ,haydn1 ) 8 exceptional gifts z a compos]1 :5 he 0 plac$ at ! head ( an e/abli%m5t l t ( ! ,e/]hazys'1 :i* 0 p]haps ! mo/ brilliant & compet5t 9 ,europe4 ,he rema9$ 9 active s]vice ) ?is family = ?irty-?ree ye>s1 dur+ :i* ,pr9ce ,nicolas ,e/]hazy succe$$ 8 bro!r ,paul1 ^u ! dea? ( ! latt]1 9 #agfb4 ,nicolas1 call$ ! 8,great10 on acc\nt ( 8 love ( magnific5ce & 8 lavi% /yle ( liv+1 built a sumptu\s summ] palace ne> ,sttor1 9 ,bohemia2 & "h he sp5t mo/ ( 8 "t1 ) 8 tr\p ( reta9]s1 ent]ta9+ royalty1 9 a /yle comp>able ) t ( ,v]sailles4 ,w]n]1 8 head director1 :o _h nev] appreciat$ ,haydn's gifts on acc\nt ( 8 old-s*ool pr9ciples1 di$ 9 #agff1 & ,haydn1 :o _h made a firm fri5d ( ,pr9ce ,nicolas1 0 giv5 8 place4 ,! or*e/ra & s+]s 7 n[ entirely "u 8 comm&2 ! =m] 0 increas$ f ! orig9al numb] ( sixte5 to ?irty1 all capable p]=m]s2 s t 8 life 0 sp5t 9 a r\nd ( rehe>sals1 dramatic p]=mances & conc]ts = ! num]\s ent]ta9m5ts con/antly 9 progress4 ,two well-equipp$ !atres1 "o = op]as & dramas1 & ! o!r = m>ionette plays1 gave him an opportunity = adequate p]=mances2 he ?us _h an exceptional *ance to /udy ! effects 9 8 num]\s qu>tets1 trios1 symphonies & op]as1 at fir/ h&4 ,j\rneys to ,vi5na4--,on sev]al occasions1 ,pr9ce ,nicolas took 8 entire tr\pe ( musicians to ,vi5na1 :]e ,haydn conduct$ ! p]=mances1 meet+ also ! di/+ui%$ musicians ( ! day4 ,x 0 on "o ( ^! j\rneys1 9 #aghe1 t he met ,moz>t1 ^: g5ius he 0 quick to appreciate1 & :o1 f be+ 8 pupil1 f9ally gave to ,haydn ! add$ inspiration ( 8 own brilliant ?\ghts4 ,haydn's reputation _h n[ spread abroad1 & 8 compositions 7 eag]ly look$ = ?r\gh\t ! musical _w4 ,haydn 9 ,london4--,on ,pr9ce ,nicolas' dea?1 9 #agij1 ,pr9ce ,anton1 8 bro!r1 succe$$1 :o1 h[ev]1 dismiss$ ! or*e/ra1 provid+ = ,haydn by a lib]al p5sion4 ,haydn's "t 0 n[ 8 own2 & he decid$ to settle 9 ,vi5na2 b an ,engli% impres>io & publi%] nam$ ,salomon n[ (f]$ him su* exceptional inducem5ts to come to ,london t he accept$ ! (f]4 ,he 0 receiv$ ) great honor1 be+ grant$ ! degree ( ,doctor ( ,music f ,ox=d ,univ]sity4 ,he also conduct$ twelve gr& symphonies1 especially writt5 = ?is visit1 :i* 71 moreov]1 "s ( 8 f9e/ productions4 ,on a second visit1 9 #agid-e1 he excit$ ev5 great] en?usiasm2 & he return$ to ,vi5na suppli$ ) money suffici5t to insure an old age free f pecuni>y want4 ,"s ( 8 late/ works 7 ! ,au/rian ,national ,hymn1 & 8 oratorios ( 8,! ,creation0 & 8,! ,seasons10 :i* imm$iately atta9$ a popul>ity t has ev5 yet h>dly dim9i%$4 ,honors4--,haydn1 9 8 old age1 0 %[]$ ) honors bo? at home & abroad2 a culm9at+ po9t 0 rea*$ :51 on 8 sev5ty-six? bir?day1 at a p]=mance ( 8,! ,creation10 8 fri5ds1 includ+ _m repres5tatives ( royalty1 unit$ to d him honor4 ,8 g5ial1 *ild-l disposition won him ! sobriquet ( 8,papa ,haydn02 & ?is brightness & simplicity ( ?\ght he s transmitt$ to 8 compositions t !y c>ry 8 atmosph]e ( sun%9e :]ev] !y are p]=m$4 ,he di$ 9 ,vi5na1 soon aft] its capture by ! ,fr5*1 9 ! ,napoleonic w>s1 ,may #ca1 #ahji4 ,importance ( ,8 ,"w4--,haydn has be5 call$ ! fa!r ( ! ,symphony & ! ,/r+ ,qu>tet4 ,9 nei!r case is ?is /rictly true1 s9ce he _h pr$ecessors 9 bo? fields2 b 8 "w 0 none ! less important1 s9ce he collect$ ! scatt]$ ?reads ( _! attempts1 & w\nd !m into a concise & def9ite art =m1 /amp$ ) ! hallm>ks ( 8 own g5ius4 ,! seal ( arti/ic complet5ess :i* he plac$ on ! =m ( ! ,sonata 0 8 greate/ a*ievem5t2 &1 writt5 9 ?is =m1 8 symphonies & qu>tets 7 simply an enl>gem5t ( 8 clavi] works1 ! symphonies hav+ an add$ ,m9uet movem5t betwe5 ! second & la/ movem5ts ( ! clavi] =m ( sonata1 ?us ext5d+ ! piece to l>g] proportions4 ,sonata-,=m z ,fix$ by ,haydn4--,9 ^! clavi] sonatas1 ,haydn fix$ ! =m :i* _h be5 ! subject ( s _m exp]im5ts1 once & = all4 ,! numb] ( movem5ts ) him is almo/ inv>iably ?ree1 ( :i* ! fir/1 at lea/1 is 9 ! sonata-=m4 ,?is consi/s ( a fir/ section1 ! ,exposition1 9 :i* ! fir/ subject1 a di/9ct melody hav+ ! ,teutonic individuality1 is /at$1 def9+ ! pr9cipal key2 & a second subject1 m l5g?y & div]se 9 "*1 br+s on a close 9 ! contra/+ key4 ,9 ! second section1 or ,developm5t1 phrases or motives f ! fir/ section are clev]ly int]tw9$ 9 modulat+ keys1 ) runn+ scales or arpeggios z connect+ l9ks4 ,^!1 h[ev]1 lead naturally into ! fir/ subject1 9 its orig9al key1 :i* op5s ! ?ird section1 or ,reprise4 ,?is section is practically l ! fir/1 save t ! second subject & ! close are transf]r$ into ! pr9cipal key1 9 :i* ! movem5t ends4 ,! ,second ,movem5t4--,! second1 or sl[ movem5t1 is ca/ sometimes 9 ! same =m1 abbreviat$1 & sometimes 9 a simpl] =m4 ,! lack ( su/a9+ p[] 9 ,haydn's pian(orte1 & 8 attempt to atone = ?is by trills & ornam5ts1 make ?is less successful ?an ! o!r movem5ts2 a result :i* is also caus$ by ! fact t int5sity & dep? ( emotion _h n yet be5 develop$ 9 ! h>monic s*ool ( music4 ,9 key1 ?is movem5t 0 contra/$ ) ! fir/1 sometimes q %>ply1 z 9 "o ( ! sonatas 9 ,e-flat1 9 :i* ! sl[ movem5t is 9 ,e major4 ,?ird ,movem5t4--,! lively ?ird movem5t is frequ5tly 9 ! light] =m ( ! ,rondo1 or x may be a set ( ,v>iations1 or a ,m9uet4 ,?is movem5t1 ?\gh sprightly1 is apt to be some:at ?9 9 its h>monies1 & trivial 9 developm5t4 ,nev]!less1 ^! la/ two movem5ts %[ an expansion ( ! =ms ( ! old] writ]s1 & a def9it5ess ( "* :i* insur$ _! future developm5t4 ,def9it5ess & ,unity4--,?is elem5t ( absolute def9it5ess is ! mo/ /rik+ feature ( ,haydn's "w--def9it5ess none ! less 9 ! g5]al =m ?an 9 ea* individual compon5t4 ,ea* "p ( ea* section ends ) a cad5ce1 giv+ x absolute f9ality1 & mak+ ! :ole a comb9ation ( small entities1 :i*1 ?\gh di/9ct1 are yet relevant & nicely balanc$4 ,humor & ,fre%ness4--,ano!r quality :i* he introduc$ 0 t ( humor1 :i* is prom95t n only 9 ! g5]al tone ( g5iality1 b 9 little unexpect$ twi/s ( h>mony1 melody or rhy?m1 :i* give an irresi/ibly comic effect4 ,especially is ?is true 9 8 symphonies1 :]e ! v>i\s tone colors are us$ = su* results4 ,especial m5tion %\ld also be made ( 8 ,masses1 9 :i* tunefulness ( melody & sprightly rhy?ms comb9e to give an endur+ popul>ity4 ,altoge!r1 ,haydn's "w is r$ol5t ( ! spr+ ( musical activity1 :]e ! novelty ( ea* h>monic effect is employ$ ) an outbur/ ( joy1 & :]e "o travels1 z x 71 ?r\gh a sunny g>d51 fill$ ) ! fl[]s ( musical ?\ghts4 ,,ref]5ces4 ,%$lock4--,! ,pian(orte ,sonata4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,,ii1 *apt] on ,haydn4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,xi4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,grove4--,diction>y ( ,music & ,musicians1 article 8,haydn40 ,v>i\s lives ( ,haydn4 ,haydn appe>s z "o ( ! *>act]s 9 ,george ,s&'s musical novel 8,consuelo40 ,= musical illu/rations1 see especially ,haydn's pian(orte sonatas1 9 ,edition ,pet]s1 ,no4 #gac1 a1 b1 c & d1 or 9 o!r *eap editions4 ,,que/ions4 ,:o are ! ?ree great sonata writ]s8 ,tell ab\t ,haydn's *ildhood4 ,tell ab\t ,haydn's life 9 ,vi5na4 ,give an acc\nt ( ,haydn z a /ud5t4 ,:at great s++ ma/] did he meet8 ,:at patrons did ,haydn ga98 ,:at 0 ! value to ! musical art ( ! patronage ( ! great nobles & pr9ces8 ,describe ,haydn's duties & opportunities 9 ,pr9ce ,e/]hazy's s]vice4 ,:at great compos] did ,haydn meet 9 ,vi5na 9 #aghe8 ,:5 ,haydn's s]vice ceas$1 to :at city did he g8 ,:at works did he br+ out !re8 ,:at 0 ! importance ( 8 "w to ! ,sonata & ! ,symphony8 ,describe ! fir/ movem5t-=m z fix$ by ,haydn4 ,describe ! second movem5t z fix$ by ,haydn4 ,describe ! ?ird movem5t z fix$ by ,haydn4 ,"n c]ta9 qualities *>act]i/ic ( ,haydn's music4 ,:at great ,am]ican 0 born 9 ! same ye> z ,haydn8 ,"n m5 & wom5 ( prom95ce :o 7 contempor>ies ( ,haydn4 ,,lesson ,,xxxi4 ,,wolfgang ,,amadeus ,,moz>t4 ,:ile ,haydn's g5ius 0 %9+ /eadily z a fix$ />1 ,moz>t fla%$ across ! musical heav51 meteorlike1 ?r[+ a flood ( light ov] ! music _w4 ,! k :i* o!rs sp5t ye>s 9 acquir+ seem$ 8 by bir?right2 & ?us1 al?\gh ! ye>s ( 8 life 7 few1 ! p]iod ( 8 arti/ic activity 0 proportionately long4 ,moz>t's ,e>ly ,musical ,tra9+4--,wolfgang ,amadeus ,moz>t 0 born at ,salzburg1 ,janu>y #bg1 #agef4 ,8 fa!r1 himself ( "s reputation z a compos] & z ! au?or ( ! fir/ ,g]man viol9 me?od1 0 quick to p]ceive ! *ild's s5sitiv5ess t[>d music2 & began in/ruction 9 clavi] play+ :5 ,wolfgang 0 b f\r ye>s old1 tea*+ also 8 daught]1 ,m>ia ,anna1 five ye>s old]4 ,wolfgang 0 an exce$+ly delicate & receptive *ild2 & at ! age ( six he _h n only acquir$ rem>kable pr(ici5cy on ! in/rum5t1 b _h compos$ a numb] ( little pieces1 & a clavi] sonata4 ,fir/ ,conc]t ,t\rs4--,realiz+ ! rem>kable tal5t ( 8 *ildr51 ,moz>t1 ! fa!r1 9 #agfb1 v5tur$ on a conc]t trip ) !m to ,muni*1 & lat] to ,vi5na1 :]e _! play+ became ! s5sation ( ! h\r1 & :]e !y 7 receiv$ by ! ,emp]or1 ,franz ,josef ,i1 at 8 palace4 ,hav+ be5 pres5t$ ) a small viol91 ,moz>t acquir$ facility 9 its te*nic ) extraord9>y quickness1 z also 0 ! case :5 he attempt$ ! use ( organ p$als4 ,! brilliant ,fr5* c\rt 0 !n ! ,mecca ( arti/s2 & 9 #agfc1 ! *ildr5 7 tak5 to ,p>is1 :]e _! successes 7 r$\bl$1 & :]e !y gave two brilliant conc]ts1 aft] hav+ play$ be=e ! royal family at ,v]sailles4 ,at ,p>is1 moreov]1 ! opus #a & opus #b ( ! little ,moz>t 7 publi%$1 ea* compris+ two sonatas = h>psi*ord1 ) accompanim5t ( viol9 or flute4 ,engl&4--,proce$+ n[ to ,engl&1 ! *ildr5 won fre% laurels1 rema9+ !re fifte5 mon?s2 dur+ :i* "t ,wolfgang excit$ ! admiration ( ! k+1 ,george ,,iii1 by 8 sight-read+ ( works by ,h&el1 ,ba* & o!rs4 ,he also wrote o!r sonatas1 & 8 fir/ symphonies4 ,return+ to ,salzburg1 aft] a ?ree ye>s' abs5ce1 ,moz>t appli$ himself to s]i\s /udy1 compos+ 8 fir/ oratorio & op]a1 :i* latt] 0 n p]=m$ 9 public1 & also appe>+ z conductor at a conc]t 9 :i* 8 8,solemn ,mass0 0 p]=m$4 ,honors 9 ,italy4--,r5ew$ triumphs await$ him 9 ,italy1 :]e 8 fa!r took him 9 #agfi1 & :]e 8 g5ius 0 imm$iately recogniz$ 9 ! lead+ cities4 ,at ,rome he 0 honor$ by ! ,ord] ( ! ,gold5 ,spur1 conf]r$ by ! ,pope2 & 9 ,bologna 0 admitt$ to memb]%ip 9 ! exclusive ,philh>monic ,academy1 pass+ ) ease an exam9ation :i* w\ld h appall$ _m mature musicians2 9 ,milan 8 op]a 8,mitridate0 0 receiv$ en?usia/ically1 & giv5 tw5ty consecutive p]=mances1 "u 8 own direction4 ,j\rney to ,p>is4--,return+ to ,salzburg1 ,moz>t took up ! po/ previ\sly giv5 him ( music director to ! ,ar*bi%op2 b 8 emolum5t1 at fir/ :olly want+1 0 insignificant1 & ! ,ar*bi%op1 hav+ little appreciation ( 8 abilities1 prov$ a ?ankless taskma/]4 ,dur+ ?is "t he made sev]al j\rneys to ,milan1 produc+ new dramatic works !re2 & 9 #aggg1 z 8 ,salzburg position _h become intol]able1 he resolv$ to give x up1 & to repair to ,p>is4 ,/>t+ on ?is j\rney ) 8 "m1 he /opp$ at ,muni*1 & !n at ,augsburg1 :]e he became int]e/$ 9 ! ,/e9 pian(ortes1 h5ce=? adopt+ !m = 8 conc]t "w4 ,at ,mannheim he he>d ! fam\s or*e/ra1 ( :i* ,/amitz 0 ! f\nd]1 ^: comm& ( in/rum5tal brilliancy & color made s p[]ful an impression ^u him t he transmitt$ x to 8 succe$+ or*e/ral compositions4 ,illu/ration3 ,,wolfgang ,,amadeus ,,moz>t4 8,idom5eo0 & 8,il ,s]aglio40--,at ,p>is1 he f\nd society divid$ into two w>r+ op]atic factions1 l$ by ,gluck & ,picc9i1 & av]se to any?+ else 9 music4 ,sadd5$ also by ! dea? ( 8 "m1 he return$ to ,salzburg1 & resum$ 8 =m] po/ ) ! ,ar*bi%op4 ,receiv+ an ord] to write an op]a = ! ,c>nival at ,muni*1 he produc$ 8 8,idom5eo0 !re 9 #agha4 ,%ortly aft]1 he 0 compell$1 ?r\gh ill-treatm5t1 to break f9ally ) ! ,ar*bi%op1 & he resolv$ to settle 9 ,vi5na4 ,9 ! same ye>1 #aghb1 9 :i* he produc$ !re 8 op]a1 8,entfhrung aus dem ,s]ail10 compos$ by comm& ( ! ,emp]or1 he m>ri$ ,con/ance ,web]4 ,f9ancial ,tr\bles4--,8 life f ?is "t 0 a con/ant /ruggle aga9/ pov]ty2 = not)/&+ 8 wond]ful g5ius1 he receiv$ only scant recognition f 8 patron1 ! ,emp]or1 al?\gh loyal to him to ! end4 ,8 exi/5ce 0 ek$ out *iefly by ! sale ( 8 compositions1 :i* publi%]s pur*as$ at a l[ price1 by giv+ lessons & by play+ at conc]ts2 :ile ! jeal\sy ( rivals furni%$ a con/ant s\rce ( annoyance4 8,fig>o10 8,don ,giovanni0 & ,symphonies4--,8 comic op]a1 8,! ,m>riage ( ,fig>o10 produc$ 9 ,vi5na 9 #aghf1 came ne> fail+ ?r\gh ^! enemies1 b 0 an unqualifi$ success 9 ,prague1 :]e1 9 ! foll[+ ye>1 8 ma/]piece1 8,don ,giovanni10 0 produc$4 ,on a conc]t t\r 9 #aghf he 0 (f]$ an excell5t po/ 9 ! s]vice ( ,k+ ,fr$]ic ,wilhelm ,,ii1 ( ,prussia1 :i* he refus$1 ?r\gh loyalty to 8 ,emp]or--a devotion :i* receiv$ no rew>d save an ord] to write ano!r op]a4 ,9 ! same ye>1 #aghi1 8 ?ree mo/ important symphonies 7 complet$--! 8,jupit]10 9 ,c1 & ^? 9 ,g m9or & ,e-flat major4 ,o!r ,op]as--,dea?4--,8 succe$+ op]as 7 8,cos fan ,tutte10 p]=m$ at ,vi5na 9 #agij2 8,! ,clem5cy ( ,titus10 giv5 at ,prague 9 #agia1 = ! coronation fe/ivities ( ,k+ ,leopold ,,ii ( ,bohemia1 & 8,! ,magic ,flute10 produc$ at ,vi5na 9 #agia1 :i*1 ?r\gh its ,g]man subject & /yle1 0 a signal success1 especially 9 8 own c\ntry4 ,disc\ragem5ts & h>d "w n[ told ^u him2 & 9 ! mid/ ( 8 labors ^u a gr& ,requiem1 he 0 /rick5 d[n1 & di$ ,decemb] #e1 #agia4 ,relations ) ,haydn4--,no "o admir$ ,moz>t's g5ius m ?an ,haydn2 & a pro( ( ! latt]'s fre$om f ! petty jeal\sies ( less] m5 is f\nd 9 ! fact t1 :ile he 0 at fir/ ,moz>t's tea*]1 he 0 aft]w>d glad to adopt _m ( ! innovations :i* 7 ! result ( ,moz>t's g5ius4 ,! labors ( ! two m5 admirably supplem5t$ ea* o!r2 = ,moz>t assimilat$ & bl5d$ :at ,haydn _h def9itely /at$1 adorn+ ! rugg$ outl9es ) ! graceful drap]ies :i* 8 skill z a p]=m] & 8 arti/ic nature dictat$4 ,italian ,influ5ces4--,?us1 :ile ,moz>t adopt$ ! =m ( ! ,sonata practically z enunciat$ by ,haydn1 he 0 able to imp>t new elem5ts to x1 drawn f 8 own exp]i5ce & individuality4 ,8 ,italian j\rneys1 = in/ance1 _h br\ght him into close t\* ) ! highly-adorn$ ,italian op]a /yle1 !n ev]y:]e popul>2 & ?is he introduc$ into 8 in/rum5tal !mes1 mak+ !m at once s++ & graceful 9 tone4 ,9 ! ,sonata ,=m1 he made ! second !me m def9ite1 contra/+ x ) ! fir/1 & frequ5tly ca/+ x 9 ! =m ( an ,italian /yle ( melody1 9 di/9ction f a m t]se & !matic pr9cipal subject4 ,moz>t z ,piano ,virtuoso4--,z a virtuoso1 ,moz>t imm5sely develop$ ! res\rces ( ! piano4 ,aft] ! ,ba*s1 ,j4 ,s4 & 8 son ,c4 ,p4 ,e41 _h e/abli%$ a rational scale f+]+1 & x 0 f\nd possible to introduce passages at once quickly runn+ & smoo? ^u ! clavi]1 su* scale passages became v frequ5t 9 ! compositions ( ! "t1 & !y 71 moreov]1 well adapt$ to ! light ,vi5nese action f\nd 9 ! ,/e9 pianos1 :i* ,moz>t us$4 ,h5ce we f9d scale-runs z ! corn]/one ( 8 virtuosity1 con/antly employ$ 9 florid & transitional passages4 ,classic ,f9i%4--,b ,moz>t's compositions 7 n simply an advance 9 brilliancy1 s9ce 8 sl[ movem5ts & !mes are full ( mu* g5u9e s5tim5t1 & give opportunity = t expressive song-/yle :i* he emphasiz$ s /rongly4 ,moreov]1 8 feel+ = arti/ic f9i% caus$ him1 by r\nd+ (f e detail1 to avoid abruptness1 replac+ !m by little delicate turns ( musical expression & graceful embelli%m5ts1 :i* give an atmosph]e ( classic repose & f9i% to ! :ole4 ,v>iations4--,embelli%m5ts ( ?is k9d are introduc$ inv>iably ) su* naturalness & fitness z to make !m seem p]fectly adapt$ to ! subject 9 h&1 & gr[+ unconsci\sly out ( x4 ,s ,moz>t ?r[s a network ( embroid]y ab\t 8 !mes at _! recurr5ce :i* %[s _! beauties to ev] great] advantage4 ,! ability to d ?is makes him a specially felicit\s compos] 9 ! ,v>iation =m1 9 :i* "s ( 8 mo/ attractive movem5ts & salon pieces are writt54 ,piano ) ,o!r ,in/rum5ts4--,8 s5se ( fitness is %[n also 9 ! vivid contra/s :i* occur1 especially 9 8 ,fantasias1 9 :i* brilliant passages are reliev$ by bits ( exquisite melody1 9 arti/ic proportion4 ,all ^! qualities are manife/$ 9 8 pian(orte conc]tos1 :i*1 :ile replete ) flights ( virtuosity1 yet always subord9ate1 cause him to br+ ?is into equal prom95ce ) ! piano1 s t ! "o ably seconds ! o!r 9 ! attempt to produce a well-r\nd$ & ?or\ghly g5u9e musical effect4 ,! same qualities are exhibit$ 9 8 sonatas = viol9 & piano1 & 9 8 piano trios4 ,especial ,*>act]i/ics4--,moz>t consid]$ ?ree elem5ts necess>y = ! true int]pretation ( piano music1 namely1 an expressive legato t\*1 mod]ation 9 ! rate ( spe$ ( p]=mance1 & /rictness 9 adh]+ to ! "t adopt$4 ,) an unfeel+ t\* or a breakneck velocity he _h no pati5ce1 & s _h no sympa?y ) _m not$ piani/s ( 8 day1 & notably ,clem5ti4 ,x has be5 said t ,moz>t1 almo/ f 8 infancy1 ?\ght 9 music z o!rs d 9 words2 & ?is ?\ght 9 music 0 regulat$ by a s5se ( arti/ic comb9ation & proportion :i* p]meat$ all 8 works4 ,z samples ( virtuosity 8 piano works h long be5 surpass$ by ! a/oni%+ developm5ts s9ce 8 "t1 & p>ticul>ly by ! add$ res\rces ( ! in/rum5t itself2 b z samples ( pure & unaffect$ music _! wor? c nev] be dim9i%$4 ,,ref]5ces4 ,%$lock4--,! ,pian(orte ,sonata4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,xi4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,,ii1 ,*apt] ,,xxx4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,jahn4--,life ( ,moz>t4 ,articles 9 ,grove's ,diction>y on subjects treat$4 ,,musical ,,illu/rations4 ,works ( ,moz>t1 especially ! ,sonatas4 ,,que/ions4 ,give a sket* ( ,moz>t's *ildhood4 ,give an acc\nt ( ,moz>t's fir/ conc]t t\r4 ,tell ab\t ! fir/ trip to ,italy4 ,:at drawbacks did he suff] f 8 connection ) ! ,ar*bi%op ( ,salzburg8 ,:]e did he come into contact ) ! piano8 ,) a fir/-class or*e/ra8 ,:y 0 8 life full ( f9ancial tr\ble8 ,summ>ize 8 "w 9 op]a4 ,:at additions did ,moz>t make to ! =m ( ! sonata z develop$ by ,haydn8 ,give an acc\nt ( ,moz>t's "w z a virtuoso4 ,:at qualities besides brilliancy are %[n 9 8 works8 ,9 :at =m are "s ( 8 mo/ delightful pieces writt58 ,tell ab\t ,moz>t's compositions = or*e/ra4 ,:at ?ree elem5ts did ,moz>t consid] necess>y = ! int]pretation ( piano music8 ,illu/ration3 ,,ludwig ,,van ,,bee?ov54 ,,lesson ,,xxxii4 ,,ludwig ,,van ,,bee?ov54 ,=malism ( ,haydn & ,moz>t4--,x has be5 se5 t ! =ms ( h>monic music1 gr[+ out ( num]\s & sometimes crude exp]im5ts1 7 br\ght to a high /ate ( p]fection ?r\gh ! g5ius ( ,haydn & ,moz>t2 & t !y left a def9ite /ructure1 nicely balanc$1 capable ( express+ def9ite ?\ghts 9 a unifi$ =m1 & at ! same "t ( all[+ free re9 to ! compos]'s fancy4 ,( _! in/rum5tal works1 ! def9ition ( ! musician-philosoph] ,j4 ,j4 ,r\sseau 7d4 #aggh71 t 8music is ! art ( comb9+ s\nds 9 a mann] agreeable to ! e>10 gave a fitt+ *>act]ization2 = :ile a t+e ( melan*oly is occasionally p]ceptible1 & !re are passages ( "s dramatic int5sity1 nev]!less su* elem5ts are introduc$ ma9ly to give a pleas+ contra/ f ! ev5 fl[ ( poli%$ & idealiz$ s\nd4 ,_! ,gift to ,bee?ov54--,9 o!r words1 nei!r ,haydn nor ,moz>t ev] sacrifices 8 s5se ( arti/ic f9i% to ! expression ( ! heights & dep?s ( human emotion4 ,putt+ ! seal ( g5ius ^u in/rum5tal =ms1 !y transmitt$ ^! =ms to ano!r m colossal m9d1 :i* %\ld make use ( !m1 to be sure1 b %\ld absolutely subord9ate !m to ! expression ( ! burn+ ?\ghts & passions ( a great individuality2 a m9d :i*1 l t ( ,%akespe>e1 0 able to look fe>lessly ^u univ]sal tru?s1 & to br+ ^! to ! light1 9 ?is in/ance ?r\gh ! m$ium ( tone4 ,:ile _! pr$ecessors1 by unwe>y+ attempts1 made possible ?is det]m9ation ( a capable art =m1 s ,haydn & ,moz>t1 9 _! turn1 pav$ ! way = ! full] expression :i* ,bee?ov5 gave to music1 & :i* w\ld o!rwise n h be5 possible1 s9ce ! vehicle = 8 ?\ghts w\ld h be5 want+4 ,?us ! opportunity _h arriv$ = broad5+ ! def9ition :i* ,r\sseau gave1 & ann\nc+ ! fact t music is ! art ( ! expression ( e emotion1 :e!r pleasurable or pa9ful1 ?r\gh ! m$ium ( highly organiz$ s\nd4 ,bee?ov5's ,e>ly ,life4--,ludwig van ,bee?ov51 ! la/ & greate/ ( ?is triumvirate ( sonata writ]s1 0 a native ( ,bonn-on-!-,rh9e1 :]e he 0 born ,decemb] #af1 #aggj4 ,8 p>5ts 7 l[ly p1 8 fa!r a t5or s+] 9 ! ,elector ( ,cologne's *apel1 & 8 "m a cook2 &1 moreov]1 ,bee?ov5's e>ly life 0 an unhappy "o1 ?r\gh 8 fa!r's irascible disposition & t5d5cy t[>d dissipation4 ,bee?ov51 ( an acutely s5sitive nature1 inh]it$ 8 fa!r's quick temp] & annoyances at trifles1 s t all ?r\gh 8 tr\bl$ life he 0 con/antly 9 a /ate ( irritation aga9/ some?+ or someone4 ,l ,moz>t1 he %[$ e>ly & unmi/akable signs ( a musical susceptibility2 unlike him1 h[ev]1 ! unfold+ ( 8 g5ius 0 ultimately sl[1 s9ce he atta9$ to 8 greate/ p[]s mu* lat] 9 life ?an 8 ph5om5al pr$ecessor4 ,8 e>ly in/ruction 0 begun ) 8 fa!r2 b soon he 0 plac$ 9 ! c>e ( sev]al local musicians3 ,pfeiff]1 music director & oboi/2 ,van d] ,e$51 ! c\rt organi/2 & especially ! successor to ! latt]1 ,neefe 7#agdh-agih71 a man ( reputation z organi/ & compos] = ! pian(orte4 ,z a result1 ,bee?ov5 play$ ! viol9 well at eight1 & at twelve _h ma/]$ ! works ( ,h&el & ! 8,well-,temp]$ ,clavi*ord0 ( ,j4 ,s4 ,ba*4 ,?is intimate /udy ( ! be/ works ( ! old polyphonic s*ool 0 ( great advantage lat] 9 solidify+ 8 gifts z a musician4 ,fir/ ,compositions4--,9 #aghb1 7 publi%$ 8 fir/ attempts at composition--a set ( v>iations1 & ?ree sonatas2 & ^!1 toge!r ) 8 rem>kable extempore play+1 began to attract ! att5tion ( p]sons ( influ5ce4 ,he 0 appo9t$ organi/ at ,bonn1 & at sixte5 0 s5t by ! ,elector ,max ,franz1 bro!r ( ! ,emp]or ,joseph ,,ii1 to ,vi5na1 :]e he receiv$ praise f ,moz>t1 :o pr$ict$ a brilliant future = him4 ,! ,breun+ ,family4--,9 #aghg1 8 "m di$2 & ?is loss1 toge!r ) 8 fa!r's intemp]ate habits1 made 8 home extremely unpleasant4 ,=tunately = ,bee?ov51 h[ev]1 ! en?usiasm = music :i* 0 rife 9 ,g]many at ?is "t among p ( culture & position 0 ! cause ( attract+ to 8 side _m true fri5ds1 :o1 appreciat+ 8 /]l+ qualities1 7 able to p>don 8 r\gh ext]ior & mann]s4 ,?us he 0 receiv$ z tea*] & fri5d into ! home ( ! cultivat$ von ,breun+ family1 "u ^: ref9+ influ5ce he came into t\* ) ! ma/]pieces ( ,engli% & ,g]man lit]ature4 ,"h he fir/ met 8 /aun* fri5d1 ,c\nt ,wald/e92 & "h he _h leisure = long walks amid ! rural retreats :i* he he>tily lov$1 & = m$itation ^u ^? musical ideas :i* he 0 accu/om$ to jot d[n 9 r\gh sket*es1 & :i* %\ld lat] be translat$ into 8 immortal creations4 ,9 ,vi5na4--,haydn1 pass+ ?r\gh ,bonn1 w>mly prais$ a cantata ( ,bee?ov5's2 & ! ,elector1 mov$ by su* m>ks ( approbation1 s5t him aga9 to ,vi5na1 9 #agib1 = s]i\s /udy4 ,"h he 0 in/ruct$ by ,haydn till ! latt]'s dep>ture = ,engl&1 9 #agid1 :5 he w5t to ,albre*tsb]g]1 ! celebrat$ contrapunti/1 & o!rs2 b ^! expon5ts ( an e>li] s*ool look$ some:at askance at ! bold innovations :i* ,bee?ov5 introduc$ into recogniz$ pr9ciples1 & fail$ to und]/& ! irrepressible g5ius :i* prompt$ !m4 ,no?+ daunt$1 he laun*$ zeal\sly into composition1 support$ by a gr[+ circle ( admir]s to :i* ! ,elector's patronage _h introduc$ him2 & soon became a favorite at ! private soires ( ! nobility1 :]e1 on acc\nt ( 8 ecc5tric mann]s1 he 0 kn[n z an 8orig9al10 b :]e 8 wond]ful extemporiz+ 0 receiv$ ) ec/asy4 ,successes z a ,piani/4--,bee?ov5's fir/ public p]=mance 9 ,vi5na occurr$ 9 #agie1 :5 he p]=m$ 8 pian(orte conc]to 9 ,c major at a conc]t4 ,dur+ a j\rney soon aft]1 he play$ be=e ,k+ ,fri$ri* ,wilhelm ,,ii1 at ,b]l91 :o di/+ui%$ him ) m>ks ( favor1 & to :om ,bee?ov5 d$icat$ two sonatas writt5 = pian(orte ) 'cello4 ,"h also he met ! conductor1 ,fri$ri* ,himmel 7#agfe-ahad71 a piani/ & compos] ( high rank4 ,we he> next ( 8 trial ( piani/ic skill ) ,/eibelt1 a popul> virtuoso1 9 :i* ,bee?ov5 won an ov]:elm+ victory4 ,) ,wlfl1 ano!r di/+ui%$ rival1 8 relations 7 ^? ( mutual e/eem1 & ! two ma/]s delight$ to extemporize da%+ capriccios on two pian(ortes4 ,fir/ ,p]iod4--,! ?irte5 ye>s1 f #agij to #ahjc1 are usually consid]$ to embrace 8 fir/ p]iod ( activity z a compos]1 compris+ 8 works to opus #ej4 ,8 opus #a1 ?ree trios = piano1 viol9 & 'cello1 appe>$ 9 #agie1 & soon aft] ?ree piano sonatas1 opus #b1 d$icat$ to ,haydn1 7 publi%$4 ,among ! o!r notewor?y works ( ?is p]iod 7 8 fir/ two symphonies1 9 ,c & ,d1 ?ree piano conc]tos1 ! piano sonatas includ+ opus #bg1 ! ,kreutz] sonata = piano & viol91 & 8 fam\s ,septet = /r+s & w9d in/rum5ts4 ,9 g5]al1 ^! compositions foll[ closely ! l9es laid d[n by ,haydn & ,moz>t1 al?\gh !re is1 notably 9 ! piano sonatas1 a gradual t5d5cy t[>d fre$om ( expression1 & ! ass]tion ( individuality4 ,tr\bles n[ began to ga!r ab\t him4 ,ab\t #ahjj 8 he>+ became defective1 & ! malady grew /eadily f bad to worse1 s t by #ahaf he 0 oblig$ to use an e>-trumpet1 & by #ahbb he 0 /one-deaf4 ,to add to 8 discom=ts1 8 bro!rs ,k>l & ,johann treat$ him %amefully1 & a son ( ! =m]1 to :om he 0 left gu>dian at ! fa!r's dea?1 & ^u :om he lavi%$ a fa!r's c>e1 turn$ out a scapegrace1 repay+ 8 affection ) ! base/ +ratitude4 ,weigh$ d[n by ^! mis=tunes1 ,bee?ov5 became irritable & morbid1 di/ru/+ 8 mo/ fai?ful fri5ds1 & con/antly imag9+ plots aga9/ himself4 ,8 utt] ignorance ( worldly matt]s1 too1 br\ght him into f9ancial tr\bles1 & involv$ 8 dome/ic affairs 9 a /ate ( cont9ual confusion4 ,second ,p]iod4--,yet1 z if to prove man's ability to rise sup]ior to e affliction1 dur+ ?is v "t he 0 writ+ compositions :i*1 = joy\s fre%ness & spiritual elevation1 h be5 sc>cely1 if ev]1 equall$4 ,dur+ 8 second p]iod1 ext5d+ to #ahae1 & includ+ 8 compositions to ab\t opus #ij1 he adopt$ a fre$om ( expression entirely untrammell$ by =mal limitations1 enl>g+ & vivify+ ! ,sonata ,=m1 & v>y+ x to suit 8 *ang+ moods4 ,! joy ( liv+1 ) its int5sity ( passion & dep?s ( emotion1 is reflect$ 9 ^! works1 :i* ass]t a "* /rong 9 its /ruggle aga9/ adv]se fate1 confid5tly look+ t[>d ! goal ( ultimate good4 ,compositions ( ?is ,p]iod4--,8 mo/ popul> symphonies 7 writt5 dur+ ?is p]iod1 :i* embraces ^? f ! ?ird to ! eigh?1 inclusive4 ,! 8,eroica10 numb] ?ree1 0 orig9ally writt5 9 homage to ,napoleon1 :om ,bee?ov5 honor$ z ! guide ( ! ,fr5* nation t[>d t ass]tion ( indep5d5ce & individuality :i* he de>ly lov$2 b :5 ! news arriv$ t ,napoleon 0 decl>$ ,dictator1 9 #ahjd1 he tore up ! d$icatory page 9 a fit ( ang]4 ,ano!r ( 8 greate/ compositions 0 8 op]a ( 8,fidelio10 ^u :i* ,bee?ov5 sp5t an amaz+ am\nt ( "t & pa9s1 ^: ov]ture he rewrote twice4 ,produc$ 9 ,vi5na1 9 #ahje1 soon aft] ! occupation ( ! city by ! ,fr5*1 x 0 receiv$ coldly2 & only aft] sev]al revisions did x score a success at all 9 keep+ ) its gr& & inspir+ conception4 ,sev]al or*e/ral ov]tures2 8 viol9 conc]to2 an oratorio2 a mass 9 ,c2 "s ( 8 be/ *amb] music1 includ+ ! celebrat$ ,rasumovsky /r+ qu>tets2 & 8 piano conc]tos 9 ,g & ,e-flat1 7 o!r fruits ( ab\t ?is "t4 ,( f\rte5 piano sonatas1 we f9d sev]al :i* h cont9u$ 9 unbrok5 popul>ity1 notably ! two 9 opus #bg1 ! 8,pa/orale10 opus #bh1 ! 8,wald/e910 opus #ec1 & ! 8,appassionata40 ,latt] ,ye>s ( ,8 ,life4--,! latt] "p ( ,bee?ov5's life1 aft] #ahae1 0 sp5t 9 ,vi5na1 9 a /ate ( despond5cy f 8 tr\bles :i* 8 g5]al recognition z ! =emo/ musician ( 8 day c\ld sc>cely alleviate4 ,8 _m fri5ds plac$ him1 by _! ef=ts1 9 com=table pecuni>y circum/ances2 yet he con/antly imag9$ himself /ruggl+ ) pov]ty4 ,s5sitive to 8 affliction1 he made himself exce$+ly inaccessible1 & pass$ 8 days 9 unceas+ labor ^u ^? works :i* eclips$1 9 pr(undity & individuality1 all ( 8 =m] compositions1 & :i* 7 an index to ! conflict+ /ruggles 9 8 m9d4 ,/one-deaf1 he yet revell$ 9 a spiritual _w ( tone1 he>+ 8 greate/ compositions only 9 ! realms ( 8 imag9ation4 ,an attack ( pneumonia 9 #ahbf left effects :i* prov$ la/+1 & :i* caus$ 8 dea? on ,m>* #bf1 #ahbg4 ,9 8 la/ illness he 0 surr\nd$ by 8 circle ( unfail+ fri5ds1 among :om ! mode/ ,s*ub]t 0 admitt$2 & a pro( ( 8 hold ^u 8 c\ntrym5 is %[n 9 ! fact t #bj1jjj p]sons are said to h att5d$ 8 fun]al4 ,la/ ,great ,works4--,! greate/ fruit ( ^! lat] ye>s 0 8 la/ symphony1 ! ,n9?1 or 8,*oral10 9 :i*1 = ! fir/ "t1 he introduc$ voices z an aid to ! in/rum5tal climax4 ,! free v5t :i* he gave to 8 radical t5d5cies 9 ?is symphony1 its unhe>d-( boldness ( h>monic progressions1 & its defiance ( all conv5tional rules1 ar\s$ a /orm ( prote/ f 8 critics :i* 0 only lull$ aft] succe$+ g5]ations _h plac$ ! /amp ( unmi/akable approval ^u ! "w1 & _h recogniz$ x z a monum5t ( g5ius4 ,ne> to ?is 9 importance /&s 8 8,solemn ,mass0 9 ,d1 a "w imbu$ ) all ! religi\s f]vor ( 8 decl9+ ye>s4 ,sonatas ( ,?ird ,p]iod4--,o!r notable a*ievem5ts1 9 ! l9e ( *amb] music1 m>k ?is p]iod2 & ! la/ five piano sonatas1 ext5d+ f opus #aja to opus #aaa1 exhibit ! same undaunt$ fre$om t is f\nd 9 ! ,n9? symphony4 ,enorm\s 9 _! dem&s ^u ! piani/1 !y are food = none b virtuosi2 b analyz$1 !y %[ a comp5dium ( all kn[n musical res\rces1 f ! *oral fugue to ! mo/ d>+ flights ( h>monic expression4 ,bee?ov5's ,dual ,p]sonality4--,bee?ov5 furni%es an example ( a p]sonality ^: dual nature is rem>kably app>5t4 ,(t5 unkempt1 & rude 9 8 outw>d be>+1 he seem$ at times absolutely oblivi\s to 8 surr\nd+s & to *afe at 8 bodily limitations2 yet 8 app>5t rud5ess t[>d 8 fri5ds 0 z (t5 humbly aton$ = by 8 confession ( 8 ha/e 9 judg+ !m4 ,8 indep5d5ce ( _s c\ld brook no submission to au?ority o!r ?an 8 own consci5ce2 & t consci5ce prompt$ him to /& firm 9 support ( ! g5u9e1 ! pure & ! ideal2 firm1 ?us1 9 its abhorr5ce ( artificiality & deceit4 ,9 8 ignorance ( worldly wiles he 0 on a p> ) a little *ild2 f9d+ 8 true sph]e :5 buri$ 9 ! l(ty problems ( 8 art1 giv+ to ! _w ! fruits ( 8 inn]mo/ _s1 :i* 7 ev] animat$ by nobility & tru? ( expression4 ,bee?ov5 ,/ood ,alone4--,dete/+ ! fett]s ( tea*+ "w1 he left few pupils4 ,among ^! ,f]d9& ,ries 7#aghd-ahch7 enjoy$ an intimate association ) him1 & aft]w>ds became prom95t z piano virtuoso & compos]4 ,) ! great m5 ( 8 day he affiliat$ b little4 ,goe! 7#agdi-ahcb7 he met b once1 on "o ( 8 j\rneys2 b ! meet+ _h no fur!r results4 ,l o!r great m9ds1 8 orig9al ideas _h to make _! way amid a %[] ( abuse f m conv5tional contempor>ies1 :o laud$ z 8 equal or sup]ior o!rs ^: works h long s9ce pass$ into oblivion2 b1 =tunate 9 f9d+ /aun* def5d]s1 he made /eady progress aga9/ 8 enemies1 until 8 position 9 ! music _w became unique & unassailable4 ,,que/ions4 ,:at did ,haydn & ,moz>t give to ,bee?ov58 ,give a sket* ( ,bee?ov5's e>ly life4 ,:at works did he p>ticul>ly /udy8 ,:at 7 8 fir/ compositions8 ,:at intimate fri5ds did he make 9 e>ly life8 ,:at city did he select z 8 home8 ,:at ye>s embrace 8 fir/ p]iod8 ,:at are ! lead+ works ( ?is p]iod8 ,:at affliction develop$ 9 #ahjj8 ,:at ye>s compose ! second p]iod8 ,:at *anges came into 8 /yle8 ,"n ! lead+ works ( ! second p]iod4 ,tell ab\t ,bee?ov5's lat] life1 f #ahae on4 ,:at are ! lead+ works ( ?is la/ p]iod8 ,describe ! p]sonality ( ,bee?ov54 ,,lesson ,,xxxiii4 ,,bee?ov5 ,,& ,,! ,,sonata4 ,ba* & ,bee?ov5 ,contra/$4--,we n[ consid] ! exact nature ( ! "w :i* ,bee?ov5 did1 9 di/9ction f t ( ,haydn & ,moz>t4 ,x has be5 said t ,ba* gave ! ,old ,te/am5t 9 music1 :ile ,bee?ov5 gave ! ,new2 t is1 t ,ba* consummat$ ! old polyphonic s*ool1 :ile ,bee?ov5 did an equal "w = ! new h>monic s*ool4 ,yet ?is is only a half tru?2 = ,ba*1 besides p]fect+ =m] /yles1 gave glimpses ( mod]n *romatic modulation & free expression2 :ile ,bee?ov51 a /ud5t ( ! old ma/]s1 employ$ polyphonic =ms z well z h>monic1 mak+ all "w toge!r to translate 8 ?\ght1 & s m\ld+ !m into a means ( portray+ e emotion z to op5 ! door =ev] to ! untrammell$ pres5tm5t ( ?\ght1 ?r\gh ! m$ium ( music4 ,bee?ov5's ,gradual ,developm5t4--,b ,bee?ov5 did n arrive at ?is result 9 an in/ant4 ,x is true t1 ev5 9 8 e>ly works1 a di/9ction ( /yle is %[n :i* removes !m f a m]e imitation1 b1 z has be5 %[n1 he began practically at ! po9t :]e ,haydn & ,moz>t left (f1 ) compositions :i* c h>dly be plac$ on a high] level ?an !irs2 &1 9 ! c\rse ( a life full ( /r5u\s exp]i5ces1 he gradually unfold$ ! res\rces :i* he _h receiv$ f 8 pr$ecessors1 until he made !m adequate to give v5t to ! mighty ideas :i* well$ f 8 s\l4 ,?us we f9d 9 8 works a p]iod 9 :i* =m is rigidly obs]v$2 & we pass !nce ?r\gh an era ( expansion1 dur+ :i* =m becomes m ela/ic1 ?r\gh ! add$ requirem5ts plac$ ^u x1 until ! ?\ght & emotion become s p>am\nt t ! =mal l9es h entirely disappe>$1 & are only to be trac$ by c>eful analysis4 ,bee?ov5 & ! ,or*e/ra4--,z ! great expon5t ( in/rum5tal music1 ,bee?ov5 f\nd ! or*e/ra 8 be/ & fulle/ vehicle ( expression4 ,s 8 massive m9d1 grasp+ ) ease ! effects ( manifold comb9ations ( in/rum5ts1 0 able to m\ld 8 ?\ghts into t]ms ( tone color 9 :i* ea* in/rum5t %\ld be employ$ to br+ out ! exact %ade ( feel+ requir$4 ,s ! or*e/ra becomes ) him a great individual in/rum5t1 respond+ to ! slighte/ *ange ( mood4 ,use ( ! ,piano4--,b z a prep>ation = su* or*e/ral "w1 ,bee?ov5 realiz$ ! value ( ! pian(orte4 ,atta9+ a m>vel\s degree ( virtuosity 9 ! use ( ! keybo>d at an e>ly age1 he lat] f\nd ?is ( ! greate/ advantage 9 work+ out 8 ideas1 &1 fur!r1 9 actually try+ _! effects ^u auditors4 ,?us we f9d 9 8 fir/ pian(orte sonatas effects :i* appe>$ mu* lat] 9 ! great] elaboration ( 8 symphonies2 ?us also is %[n ! necess>y imp]fection ( any division ( 8 works into di/9ct p]iods1 s9ce 8 pian(orte /yle 0 s greatly 9 advance ( 8 or*e/ral4 ,improvem5t 9 ! ,piano4--,9 ?is connection1 x is important to note t ,bee?ov5's res\rces 7 greatly increas$ by ! improvem5ts :i* _h be5 made 9 piano manufacture4 ,! dem& = in/rum5ts1 creat$ by ! gr[+ popul>ity ( ! pian(orte1 /imulat$ manufactur]s to r$\bl$ en]gy 9 p]fect+ !m2 &1 conv]sely1 ! add$ res\rces ?us develop$ 7 an in/igation to compos]s to te/ _! abilities 9 ! inv5tion ( new effects4 ,?us ,bee?ov5 0 plac$ 9 comm& ( a piano ( mu* great] p[] ?an ,moz>t's2 & ! "w ( te*nicians1 l ,clem5ti1 = :om he _h great respect1 0 already h9t+ at new & m>vel\s possibilities4 ,add$ ,sonority & ,su/a9+ ,p[]4--,?is /r5g? ( con/ruction result$ 9 great] sonority4 ,h5ce we f9d full *ord progressions & ri* floods ( tone 9 ,bee?ov5's works1 9 place ( ! da9ty h>monic accompanim5t ( =m] writ]s4 ,moreov]1 ! increase 9 su/a9+ =ce1 enhanc$ by ! use ( ! p$al1 made possible a su/a9$ legato tone = s++ passages1 :i* _h =m]ly to be m]ely h9t$ at ?r\gh %akes & o!r embelli%m5ts4 ,a consequ5t tone v>iety made x possible to emphasize a s+le voice 9 ?is way1 :ile ! accompany+ h>monies c\ld be kept well 9 ! backgr\nd4 ,aga91 ?is range ( tone prov$ an inc5tive = long cresc5dos1 f ! s(te/ suspicion ( s\nd to an ov]:elm+ tonal climax4 ,increas$ ,compass4--,! add$ range :i* ! keybo>d develop$ also enhanc$ su* effects1 by ! *ance = brilliancy 9 ! treble1 & = pr(undity 9 ! bass2 moreov]1 ,bee?ov5 0 quick to make use ( ! v>iety ( effects caus$ by play+ 9 ! diff]5t regi/]s2 sometimes sugge/+ 9 ?is way ! contra/ 9 ! or*e/ra betwe5 diff]5t gr\ps ( in/rum5ts1 su* z ! /r+s & woodw9d4 ,/ructure ( ,bee?ov5's ,sonatas4--,) su* res\rces at 8 comm&1 ,bee?ov5 0 able to give a full] scope to ! ,sonata ?an 0 =m]ly possible1 fill+ out ea* movem5t1 & p]fect+ x = ! expression ( an integral "p ( ! g5]al idea1 & f9ally plac+ x 9 its prop] relation%ip to ! :ole4 ,! ,sonata ,=m1 z settl$ by ,haydn1 0 made ! po9t ( dep>ture1 s]v+ almo/ inv>iably z ! basis ( ! fir/ movem5t1 & frequ5tly1 9 %ort5$ =m1 = ! second1 g5]ally sl[1 movem5t4 ,= ! ?ird movem5t1 ,bee?ov5 at fir/ employ$ ! ,m9uet1 foll[+ ! cu/om 9 ! symphonies ( ,haydn & ,moz>t2 b lat] ?is 0 g5]ally omitt$ 9 ! pian(orte sonatas1 :ile 9 ! symphonies its "t 0 quick5$ into t ( ! da9ty1 sp>kl+ ,s*]zo4 ,= ! f9ale1 ! ,rondo =m 0 mo/ frequ5t2 ?\gh1 9 ord] to give a full] compass to ! ?\ght1 a comb9ation ( ! ,rondo & ,sonata =ms 0 inv5t$ by ,bee?ov51 & us$ ev5 9 8 fir/ sonatas4 ,! ,rondo =m also appe>$ occasionally 9 ! sl[ movem5t4 ,add t o!r =ms1 notably t ( ! ,v>iation1 sometimes supplant$ "o or ! o!r ( ^!1 & we h ! /ructure g5]ally foll[$ by ,bee?ov54 ,unity ( ,conception4--,all ^! movem5ts 7 associat$ 9 an organic unity ( conception :i* made "o gr[ out ( ano!r ) p]fect naturalness4 ,sometimes1 inde$1 z 9 opus #bg1 a cont9uity ( p]=mance 0 indicat$2 always1 h[ev]1 ! feel+ ( dep5d5ce ( "o movem5t ^u ano!r is pres5t2 s t ! criticism made ^u ,haydn's symphonies1 t a movem5t ( "o c\ld be int]*ang$ ) a simil> movem5t ( any o!r )\t p]ceptible diff]5ce1 c\ld nev] be made ) reg>d to ,bee?ov5's works4 ,key ,relation%ip4--,9 key relation%ip1 ,bee?ov5 /ruck out f /]eotyp$ pa?s1 frequ5tly us+ contra/+ keys relat$ to ! ?ird ( ! initial *ord2 ?us a movem5t or passage 9 ,c major might be foll[$ by any key relat$ to ,e1 ! ?ird ( ! *ord ( ,c1 su* z ,e or ,a major or m9or4 ,! orig9al key 0 mo/ widely dep>t$ f 9 ! sl[ movem5t1 :]e ! beauty ( contra/ 0 exceptionally noticeable4 ,numb] ( ,movem5ts4--,! numb] ( movem5ts :i* he adopt$ 0 at fir/ f\r1 b ?is aft]w>ds v>i$ consid]ably1 two or ?ree movem5ts prevail+2 :ile 9 ! fantasie-sonatas1 & especially 9 ! la/ five sonatas1 an indef9ite numb] ( movem5ts1 "s ( !m v %ort1 appe>$4 ,he expla9$ ?is discrepancy on ! gr\nd t he adapt$ ! numb] ( movem5ts to 8 ?\ght2 & :5 he felt t he _h giv5 complete expression to ?is1 ! sonata 0 br\ght to a close4 ,developm5t ( ,fir/ ,movem5t ,=m4--,( ,bee?ov5's fir/ movem5ts1 x may be said t no "o has ev] spok5 ) ! p]fect fre$om & naturalness :i* he displays4 ,ea* "p ( ! movem5t he /r5g!n$ & develop$2 ! fir/ section ann\nc$ two !mes1 contra/+1 b /ill closely id5tifi$2 sometimes ) a sl[ introduction to u%] !m 92 ! ,developm5t 0 giv5 a contrapuntal treatm5t1 solidifi$ by ri* h>monies2 ! ?ird section 0 v>i$ by rhy?mic or tonal devices1 t5d+ to broad5 its effect2 &1 f9ally1 ! ,coda 0 sometimes develop$ to ! l5g? ( a f\r? section1 9 :i* rem9isc5ces ( mat]ial us$ previ\sly 7 work$ up to a fitt+ climax4 ,devices = ,giv+ ,unity4--,b ! mo/ evid5t *>act]i/ic :i* ,bee?ov5 put into ?is =m 0 t ( ,unity1 or ,cont9uity ( idea4 ,?is he accompli%$ by sev]al means4 ,( ^!1 ! fir/ 0 by sep>at+ ! mo/ /rik+ p>ts ( 8 subjects into %ort1 def9ite phrases or motives1 & by introduc+ ^! 9 e v>iety ( mann] ?r\gh\t ! movem5t1 sometimes 9 a sequ5ce on diff]5t degrees ( ! scale1 sometimes by imitation 9 diff]5t voices1 aga9 by v>y+ ! l5g? ( ! compon5t notes1 & f9ally by dropp+ (f portions1 :ile ! portions rema9+ keep ! idea /ill be=e ! auditor4 ,or1 "s casual phrase1 9 an unimportant section1 w /rike 8 fancy & he w develop x ) a weal? ( imag]y a/oni%+ 9 its inv5tiv5ess4#aj ,cont9uity ( ,v>i\s ,p>ts4--,?is con/ant pres5tm5t ( a !matic idea also s]ves to b9d passages closely toge!r :i*1 9 ! sonatas ( ,haydn & ,moz>t1 7 sep>at$ by def9ite pauses4 ,inde$1 ,bee?ov5 s$ul\sly avoids a complete cad5ce1 seek+1 by lead+ ! li/5] eag]ly on f "o connect+ phrase to ano!r1 to reta9 ! int]e/ & make x m\nt up high] & high]1 z ! effects gr[ 9 int5sity4 ,s phrases are made to ov]lap "o ano!r1 ) _! b\nd>ies practically elim9at$4 ,x has be5 said t ,bee?ov5 tore d[n ! f5ces :i* ,haydn & ,moz>t _h erect$ betwe5 ! v>i\s p>ts ( ! ,sonata ,=m2 & ?is is prov5 by ! fact t1 9 ! ,bee?ov5 sonatas1 au?orities frequ5tly diff] z to :]e "o "p ends & ano!r beg9s1 s close & cont9u\s is ! bond betwe5 !m4 ,dramatic ,effects 9 ,climaxes4--,?is close connection is made a ready elem5t t[>d ! dramatic expression :i* f9ds v5t 9 ! climaxes1 made f culm9at+ tonal effects1 :]e ! !matic phrase m\nts up /ep by /ep1 high] & high]1 gr[+ brea?less by %ort5$ rhy?m1 until ! he>] is br\ght to ! summit ( dramatic int5sity2 & "h ?und]\s arpeggios1 m+l$ toge!r by ! use ( ! p$al1 hold him spellb\nd ) _! sonor\s waves ( s\nd4 ,! supreme passion :i* ,bee?ov5 does n :olly conceal ev5 9 8 quiet] moods appe>s frequ5tly 9 /range1 agitat$ rhy?ms & />tl+ acc5ts ?r[n ^u unexpect$ notes or 9 unexpect$ places4 ,he also us$ _m m m>ks ( expression ?an 8 pr$ecessors4 ,fre$om 9 ,modulations4--,! boldness ( 8 modulations has already be5 m5tion$2 & ^! appe> ) ! mo/ fre$om 9 ! developm5t sections1 :]e tonalities pile ^u "o ano!r1 until ! auditor is app>5tly inextricably involv$ 9 a maze ( h>monies2 f :i*1 naturally z ! awak5+ f a dream1 he f9ds himself transport$ back to ! orig9al key1 9 :i* ! fir/ !me is tak+ its c\rse4 ,bee?ov5's s5se ( proportion1 h[ev]1 sees to x t ?is intricacy ( keys is well prep>$ by ! def9ite tonality ( 8 orig9al subjects1 & by ! f9al complete re/atem5t ( ! orig9al key4 ,8 h>monies frequ5tly %ock$ 8 contempor>ies by _! violations ( conv5tional rules2 b !y h long s9ce be5 ju/ifi$ by succe$+ musicians1 :o h dep>t$ f !m to mu* bold] flights4 ,program ,music4--,x has be5 said t ,bee?ov5 furni%es examples ( ! program /yle--t is1 ! depict+ ( def9ite ideas ?r\gh music4 ,we h already f\nd a t5d5cy ( ?is sort among ! e>ly ,fr5* clavi] compos]s--,rameau1 ! ,c\p]9s & o!rs ( _! s*ool2 also 9 "s ( ! ,g]man writ]s1 l ,pa*elbel & ,kuhnau4 ,view$ 9 relation to ^! e>ly compos]s1 ,bee?ov5's "w seems to h little 9 common1 s9ce 8 ne>e/ approa* to program music 0 9 atta*+ to "s ( 8 works c]ta9 moods1 inspir$ by ev5ts or sc5es4 ,?us he gives ! "n 8,pa?tique0 to ! sonata1 opus #ac1 8,appassionata0 to opus #eg1 8,les ,adieux0 to opus #ha2 :ile we h ! 8,pa/oral0 symphony1 depict+ ! mood inspir$ by c\ntry sc5es1 & ! 8,eroica10 %[+ ! mood aris+ f ! contemplation ( a h]o's c>e]4 ,pian(orte ,conc]tos4--,! same *>act]i/ics :i* are not$ 9 8 pian(orte sonatas appe>$1 develop$ /ill fur!r1 9 8 l>g] works1 su* z 8 symphonies & piano conc]tos4 ,! latt]1 five 9 numb]1 display ! res\rces ( ! virtuosity ( ,bee?ov5's day1 & yet keep ?is always subord9at$ to ! inspir$ musical s5tim5t1 ) :i* ! or*e/ra nobly accords4 ,! la/ two ( ^!1 belong+ to ! maturity ( 8 g5ius1 amply display ! p[]s ( g5u9e expression4 ,v>iations4--,( num]\s o!r piano compositions1 ! sets ( ,v>iations are prom95t4 ,he 0 fond ( tak+ "s %ort & simply con/ruct$ musical ?\ght1 sometimes f "s song or op]a1 & treat+ x 9 e v>iety ( mann] t 8 f]tile g5ius c\ld sugge/4 ,su* compositions1 :ile g5]ally playful 9 mood1 h ! f9i% :i* ,bee?ov5 nev] fail$ to give to 8 "w4 ,bee?ov5's ,accuracy 9 ,writ+4--,x is ?is s]i\sness t[>d 8 art :i* mo/ fully acc5tuates ! real und]ly+ drift ( 8 nature4 ,9 ! mid/ ( 8 untidy mnage1 :5 confusion ( mat]ial goods reign$ ab\t him1 ,bee?ov5 nev]!less treat$ ea* "w :i* fl[$ f 8 p5 ) ! mo/ c>eful & critical revision1 nev] all[+ x to g out until he _h absolutely fix$ ea* note 9 its prop] place4 ,:]e 8 art 0 involv$1 8 usually irritable nature acquir$ a fund ( pati5ce2 s t sometimes :ole scores 7 rewritt51 until he arriv$ at accurate expression2 &1 :5 t po9t 0 rea*$1 8 fiat 0 irrevocable4 ,x is ?us a satisfaction to note t he has n left u ! erratic w&]+s ( an ecc5tric m9d2 b ! complet$ & matur$ product ( a g5ius1 speak+ ) au?ority & precision4 ,,ref]5ces4 ,weitzmann4--,hi/ory ( ,pian(orte ,play+4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,xii4 ,%$lock4--,! ,pian(orte ,sonata1 ,*apt] ,,vii4 ,naumann4--,hi/ory ( ,music1 ,vol4 ,,ii1 ,*apt] ,,xxxii4 ,s*9dl]4--,life ( ,bee?ov54 ,o!r lives ( ,bee?ov51 especially t 9 ,grove's ,diction>y4 ,= musical illu/rations1 consult ! works ( ,bee?ov51 especially ! ,pian(orte sonatas1 publi%$ complete 9 all ! *eap editions4 ,,que/ions4 ,contra/ ,ba* & ,bee?ov54 ,*>act]ize ,bee?ov5's ?ree p]iods4 ,:at 0 ! greate/ means ( expression 9 ,bee?ov58 ,:at 0 ! value ( 8 "w = ! piano 9 relation to ! or*e/ra8 ,:at 0 ! effect ( ! improvem5ts 9 ! piano ( ,bee?ov5's "t ov] t ( ,moz>t8 ,give a /atem5t ( ! ,sonata z con/ruct$ by ,bee?ov54 ,:at *anges did he introduce3 ,key relation%ip8 ,numb] ( movem5ts8 ,:at qualities are f\nd 9 8 fir/ movem5t =m8 ,h[ does he secure great unity & cont9uity ( idea8 ,h[ does he secure dramatic expression8 ,:]e does he introduce bold modulations8 ,) :at effect8 ,:at use did ,bee?ov5 make ( ! program idea8 ,tell ab\t 8 ,conc]tos4 ,8 ,v>iations4 ,,lesson ,,xxxiv4 ,,! ,,viol9 ,,& ,,its ,,mak]s4 ,*ange f ! ,viol to ! ,viol94--,! read] :o has /udi$ ! pr9ciples ( con/ruction & play+ ( ! old /r+ in/rum5ts1 z expla9$ 9 ,lesson ,,xv1 or exam9$ !m 9 museums1 w n h fail$ to note t !y 7 complicat$ & limit$ 9 te*nic4 ,! memb]s ( ?is family 7 l>ge & cumb]some1 tr\blesome to h&le & n p>ticul>ly graceful or pleas+ to ! eye2 ! position 9 :i* ! play] 0 =c$ to hold !m 0 difficult to ma9ta9 & n conducive to a rapid1 facile te*nic4 ,n[1 ! direction ( a p]fect$ art is always t[>d simplicity2 ! v>i\s memb]s ( ! viol family 7 to yield place to a new in/rum5t1 a modification ( ! orig9al type1 & "o t possess$ "s /rik+ & valuable advantages ov] ! viol4 ,ano!r elem5t t aid$ 9 ! *ange f ! viol 0 ! ef=ts ( compos]s to produce a di/9ctive in/rum5tal music1 a /yle :i* dem&$ an in/rum5t ) a high] range ?an ! viols1 correspond+ to ! highe/ female voice4 ,/ill ano!r elem5t to be consid]$ 0 ! /ir 9 intellectual1 social1 political & comm]cial life :i* 0 evid5t ev]y:]e1 ! product ( ! ,r5aissance4 ,music 0 influ5c$ by ?is _s2 compos]s 7 seek+ new =ms 9 :i* to express _! ?\ghts & 7 call+ = new & bett] m$ia = pres5t+ !m to o!rs4 ,z compos]s ga9$ 9 bread? & p[] ( conception1 in/rum5ts 7 improv$ ev5 beyond _! dem&s2 ! increase 9 res\rces /imulat$1 9 turn1 ! compos]s4 ,at ?is p]iod music 0 on ! ?re%old ( a spl5did activity 9 in/rum5tal l9es1 ! reign ( ! old *oral music & ! contrapuntal compos] 0 be+ *all5g$1 & ! way prep>$ = ,haydn1 ,moz>t & ,bee?ov54 ,beg9n+ ( ! ,viol94--,) reg>d to ! viol91 z 9 o!r beg9n+s1 !re is disagreem5t2 ! /ronge/ claims are set =? = ,france & ,italy1 ) ,g]man hi/orians by no means lax 9 attribut+ ! fir/ in/rum5ts to "o ( _! own c\ntrym54 ,we give ! foll[+ facts :i* seem to divide ! honors3 ,9 ! scores ( ,italian works ( ! #af? c5tury1 a "p may be f\nd = :at is call$ ! piccolo viol9o alla francese 7little ,fr5* viol71 a fact :i* w\ld argue t an in/rum5t ( ?is k9d1 p]haps mo/ commonly us$ 9 ,france1 _h be5 kn[n = "s "t4 ,! olde/ kn[n in/rum5t ( ! viol9 type is "o :i* be>s ! date #addi1 & is sign$ ,jean ,k]l91 a ,breton lu?i] 7lute mak]1 a t]m appli$ also to viol9 mak]s71 ^: "n is also giv5 z ,k]l9o1 liv+ 9 ,brescia1 ,italy1 9 ! middle ( ! #ae? c5tury4 ,ab\t ! same "t !re liv$ 9 ,bologna1 ,padua & ,v5ice1 memb]s ( a celebrat$ lute-mak+ family1 nam$ ,duiffoprugc>1 ,italian equival5t = ! ,g]man "n1 ,tieff5bruck]1 = ! family came f ! ,italian ,tyrol4 ,! mo/ celebrat$ memb] ( ?is family 0 ,gasp>o ,duiffoprugc> 7,casp] ,tieff5bruck]71 :o 0 born ab\t #adfi1 liv$ 9 ,bologna until #aeae1 :5 he w5t to ,p>is4 ,lat] he remov$ to ,lyons1 :]e he sp5t ! re/ ( 8 life4 ,six in/rum5ts hav+ viol9 *>act]i/ics 7high1 n slop+ %\ld]s1 deep] curves 9 ! wai/ & bett]-def9$ f holes7 are attribut$ to him1 be>+ dates ( #aeaj1 #aeaa1 #aeae & #aeag4 ,e>ly ,italian ,mak]s4--,! next "n is t ( ,gasp>o di ,salo1 f\nd] ( ! ,brescian s*ool ( viol9-mak+1 :o 0 born at a little village call$ ,salo1 on ,lake ,g>da2 h5ce 8 "n4 ,8 model v>i$1 sometimes x 0 high1 at o!r times flat2 z 8 in/rum5ts produc$ a full1 sonor\s tone1 ! model 0 reviv$ 9 lat] ye>s by ,joseph ,gu>n]ius4 ,8 t5ors & d\ble-basses are consid]$ 8 f9e/ "w1 8 viol9s be+ a trifle small4 ,! favorite d\ble bass ( ,dragonetti1 ! fam\s contrabassi/1 0 by di ,salo2 ,ole ,bull frequ5tly play$ on a di ,salo viol9 9 8 conc]ts4 ,! greate/ successor ( di ,salo 0 8 pupil1 ,giovanni ,paolo ,magg9i 7#aeij-afdj71 ^: viol9s are highly priz$4 ,!y are *>act]iz$ by a br[n v>ni% & a d\ble purfl+4 ,! ,cremona ,s*ool4--,) ! public ! "n ,cremona is indissolubly connect$ ) viol9-mak+4 ,9 ! #af? c5tury ?is city 0 a fam\s art c5tre1 rival+ ,bologna 9 music & pa9t+4 ,! fir/ great mak] & f\nd] ( ! ,cremona s*ool 0 ,&rea 7,&rew7 ,amati1 born ab\t #aebj & di$ #aegg or #aehj4aa ,he us$ mo/ly a small patt]n1 top & back high1 ! v>ni% amb] 9 color4 ,a numb] ( 8 in/rum5ts furni%$ = ! ,*apel ,royal ( ,*>les ,,ix 7 kn[n to h be5 9 ,v]sailles prior to ! ,fr5* ,revolution4 ,! ,amati /yle 0 cont9u$ by ,&rea's two sons1 ,antonio 7,an?ony7 & ,hi]onymus 7,g]onimo or ,j]ome7 ,amati4 ,! =m] is said to h liv$ #aeej-afch1 ! latt] #aeea-afce4 ,!y work$ conjo9tly1 al?\gh ! latt] made "s exp]im5ts ) a l>g] model ?an ! usual ,amati4 ,nicolo ,amati4--,! greate/ ( ! ,amati family & ! "o ^: in/rum5ts are /ill highly priz$ 0 ,nicolo 7,nicolaus7 ,amati 7#aeif-afhd71 ! son ( ,g]onimo4 ,he =ms "o ( ! great triumvirate ( viol9-mak+1 ,amati1 ,gu>n]ius & ,/radiv>ius4 ,at fir/ he foll[$ ! small =m adopt$ by 8 fa!r & 8 uncle1 al?\gh he improv$ on ! workman%ip4 ,b ab\t #afbe1 no d\bt z ! result ( an exp]im5t1 he began to use a slightly l>g] patt]n :i* is kn[n to connoisseurs z ! 8,gr& ,amati40 ,^! in/rum5ts repres5t 8 be/ "w & comm& a high price4 ,! ,amati tone is sweet1 mell[ yet some:at delicate1 al?\gh rem>kable 9 purity2 ! in/rum5ts are unsuit$ to or*e/ral "w1 al?\gh admirable 9 *amb] music1 p>ticul>ly ( ! old /yle4 ,! v>ni% is yell[i% or amb] color$4 ,joseph ,gu>n]ius4--,9 our /udy ( ! piano we not$ h[ ! small1 weak tone ( ! clavi*ord & h>psi*ord gave way be=e ! full] ton$1 sonor\s pian(orte1 :i*1 ) its great] possibilities1 came into use at a "t :5 compos]s 7 seek+ = means to give increas$ bread? & p[] to ! reproduction ( _! music4 ,x w\ld h be5 un=tunate = in/rum5tal music if ! small ?\gh sweet tone ( ! ,amati viol9 _h be5 accept$ z ! ideal4 ,we c\ld n h _h ! surg+ tumult ( ,bee?ov5's 8,eroica0 symphony1 ! great dramatic pictures ( ,wagn] ) ! ,amati to lay on ! colors4 ,m tone1 m sonor\sness1 m virile s++ 0 ne$$4 ,"o ( ! m5 to place 9 ! h&s ( executants ! in/rum5t to "w out ! conceptions ( ! great compos]s 0 ,giuseppe ,gu>n]i or1 z he is g5]ally call$1 ,joseph ,gu>n]ius del ,gesu4 ,he 0 born at ,cremona1 #afhc1 & belong$ to a family ( lute & viol9 mak]s4 ,he has be5 cr$it$ ) hav+ be5 a pupil ( ,/radiv>i1 yet 8 in/rum5ts %[ no trace ( t mak]'s influ5ce4 ,he seems to h be5 impress$ ) ! tone-produc+ qualities ( ! di ,salo viol9s1 = 8 be/ in/rum5ts h some?+ ( _! bold1 vigor\s /yle4 ,he 0 an exp]im5t]1 ev] seek+1 x w\ld seem1 = ! means ( produc+ big1 sonor\s tone1 & *ang$ 8 model frequ5tly1 = :i* reason 8 in/rum5ts v>y mu* 9 value4 ,8 "w 0 n s highly favor$ by connoisseurs until ,pagan9i %[$ ! value ( a ,gu>n]ius f ! /&po9t ( tone4 ,8 be/ in/rum5ts are n[ greatly admir$ &1 because s few 9 good condition are kn[n1 comm& a high price4 ,! date ( ,gu>n]ius' dea? is n kn[n4 ,o!rs ( ! ,gu>n]ius family :o liv$ & work$ at ,cremona 7 ,&reas ,gu>n]ius1 uncle to ,giuseppe1 8 son also call$ ,joseph & kn[n z 8filius ,&re0 7,son ( ,&reas7 to di/+ui% him f 8 c\s91 ,joseph del ,gesu1 ano!r son ,pet]1 8( ,cremona10 & a son ( ,joseph filius ,&re1 kn[n z ,pet] ( ,v5ice4 ,antonius ,/radiv>ius4--,! greate/ ( viol9-mak]s :o unit$ 9 8 in/rum5ts ! brilliant & p[]ful tone ( di ,salo & ! ,brescian s*ool & ! purity & f9i% ( ! ,amati 0 ,antonius ,/radiv>ius 7,antonio ,/radiv>i is ! ,italian =m71 born 9 #afdd1 "o ye> aft] ! dea? ( ,montev]de1 & di$ 9 #agcg1 five ye>s aft] ! bir? ( ,haydn1 a p]iod ( ne>ly a c5tury 9 :i* a mo/ significant developm5t took place 9 music4 ,he 0 appr5tic$ to ,nicolo ,amati1 & ! in/rum5ts ( 8 e>ly ye>s are fai?ful copies ( t ma/]'s "w2 b z he grew 9 ye>s & exp]i5ce he improv$ on ! ,amati model1 e *ange t5d+ to produce a m p[]ful & resonant tone4 ,! diff]5ces t /rike ! eye mo/ /rongly are ! l>g] proportions1 ! flatt] ar* ( ! top1 & ! %ape ( ! s\nd holes4 ,9 8 e>li] in/rum5ts he us$ a yell[i% v>ni%2 aft] #afhd1 "o ( a r$di% t9t4 ,/radiv>ius also fix$ ! =m & adju/m5t ( ! bridge4 ,he left two sons1 ,francesco & ,omoboni1 :o f9i%$ "s ( _! fa!r's in/rum5ts aft] 8 dea?4 ,!y bo? di$ five or six ye>s lat]4 ,pupils ( ,/radiv>ius :o made excell5t in/rum5ts 7 ,c>lo ,b]gonzi 7#agab-agej71 ,lor5zo ,guadagn9i 7#afie-agdj7 & 8 son ,johannes ,bapti/a ,guadagn9i 7#agej-aghe7 & ,aless&ro ,gagliano4 ,o!r ,mak]s4--,g]many's contribution to viol9-mak+ dates f ,jakob ,/a9]1 ( ,absam 9 ,tyrol 7#afba-afhc74 ,tradition has x t he le>n$ 8 art at ,cremona2 if s1 8 "w %[s no influ5ce ( ! ,amati2 8 model is diff]5t1 some:at broad] & %ort]1 ! ar* ( ! belly is great]1 & ! s\nd holes are set diff]5tly2 ! v>ni% v>ies f a br[n to an amb] color2 ! tone is sweet & quick to respond1 b lacks int5sity4 ,a foll[] ( ,/a9] 0 gidius ,klotz 7#afec-agdc71 _m ( ^: in/rum5ts 7 sold z ( ,/a9]'s make4 ,france contribut$ no mak]s ( great r5[n4 ,! names ( importance are ,ni*olas ,lupot 7#ageh-ahbd71 a foll[] ( ,/radiv>ius1 & ,j4 ,b4 ,vuillaume 7#agii-ahge74 ,9 ,engl& ! mo/ di/+ui%$ names are ,ri*>d ,duke & ,b5jam9 ,banks 7#agbg-agie74 ,! ,viol9 ,b[4--,a few words mu/ be said 9 reg>d to ! b[1 ! means = produc+ tone f ! viol9 /r+s4 ,9 its e>lie/ =m x 0 simply a b[ ) a /ret*$ /r+4 ,hair came into use1 to replace ! /r+1 ab\t ! #ac? c5tury1 & ! b[ lo/ its orig9al %ape1 becom+ /raight = ne>ly its entire l5g?1 curv+ d[nw>d at ! po9t4 ,corelli us$ a b[ ( ?is %ape4 ,t>t9i's b[ _h ! same %ape1 b 0 made long]4 ,at ! end ( ! #ah? c5tury1 ,franois ,t\rte 7#agdg-ahce71 a ,p>is b[-mak]1 l5g!n$ ! b[ /ill m1 & b5t x slightly inw>d1 giv+ x ! =m famili> to u today4 ,viotti 0 ! fir/ great play] to use ?is /yle ( b[1 & is cr$it$ ) a %>e 9 p]fect+ x4 ,x is no exagg]ation to say t ^u ,t\rte's improvem5ts to ! b[ re/s ! :ole fabric ( mod]n viol9-play+1 ) its wond]ful v>iety ( execution & consequ5t nuances 9 expression4 ,! ,viola & ! ,violoncello4--,two o!r in/rum5ts ( ! viol9 type are 9 use1 ! ,viola1 ! t5or viol91 & ! ,violoncello1 ! bass viol92 bo? ^! in/rum5ts %>$ 9 ! developm5t ( ! viol91 & 7 made by ! great mak]s1 ,amati1 ,gu>n]ius & ,/radiv>ius4 ,! ,contra-bass1 ! bass-viol1 z x is (t5 call$1 :ile x is us$ to furni% ! bass to ! /r+ or*e/ra1 is a memb] ( ! viol family1 hav+ ! special *>act]i/ics1 slop+ %\ld]s & flat back4 ,in/rum5ts 7 made on ! viol9 patt]n1 b giv5 up z less satisfactory ?an ! viol type4 ,! impetus giv5 to in/rum5tal composition by ! p]fect+ ( ! in/rum5ts ( ! /r+ gr\p /imulat$ mak]s to "w = improvem5t 9 ^? belong+ to ! family ( w9d in/rum5ts1 flutes1 oboes1 cl>9ets1 horns1 h>ps1 etc41 ?us (f]+ ! means to reproduce = he>]s ! great conceptions ( ! tone-ma/]s4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 article on ! viol94 ,/oev+4--,/ory ( ! ,viol94 ,h>t4--,! ,viol94 ,its ,fam\s ,mak]s & _! ,imitators4 ,h]on-,all54 ,viol9-,mak+ z x ,0 & ,is4 ,haweis4--,old ,viol9s4 ,,que/ions4 ,:y did ! ,viol type yield to ! ,viol98 ,:o is cr$it$ ) be+ ! orig9ator ( ! ,viol9 type8 ,give ! names ( ! e>ly ,italian mak]s4 ,:at not$ family ( viol9 mak]s />t$ ! fame ( ,cremona8 ,:at 0 ! model us$ by ! ,amati family8 ,:at improvem5ts did ,joseph ,gu>n]ius make8 ,:at 0 ,/radiv>ius' contribution8 ,:o 0 ! greate/ ,g]man mak]8 ,"n ,fr5* & ,engli% mak]s4 ,comp>e ! great mak]s ( viol9s & _! "w4 ,! au?or sugge/s t a viol91 viola1 'cello & d\ble bass & ! respective b[s be exhibit$ to ! class & exam9$1 ! descriptions z giv5 9 ! ref]5ce works to be comp>$ ) ! in/rum5ts4 ,! catalogue ( ! ,metropolitan ,museum ( ,art1 ,new ,york ,city1 conta9s "s f9e illu/rations = ! use ( /ud5ts1 z well z descriptions4 ,a copy ( ?is %\ld be 9 e tea*]'s libr>y4 ,x c be secur$ = a small am\nt by address+ ! ,museum z above4 ,,lesson ,,xxxv4 ,,viol9 ,,play+ ,,& ,,viol9 ,,music4 ,reciprocal ,influ5ces ( ,in/rum5ts & ,composition4--,! developm5t ( ! viol91 ( viol9 play+ & viol9 music1 9 a c]ta9 s5se %[s reciprocal influ5ces1 & w5t h& 9 h&4 ,?is 0 ! m c]ta9 because ! compos]s :o wrote = ! in/rum5t 7 also play]s1 9 almo/ e in/ance ! virtuosi ( _! times4 ,dur+ ! polyphonic p]iod1 compos]s 7 s+]s or organi/s2 dur+ ! p]iod :5 ! viol9 dom9at$ in/rum5tal composition1 compos]s 9 t =m 7 usually viol9i/s4 ,9 ! next p]iod1 :5 ! pian(orte 0 com+ to ! front1 ! repres5tative compos]s 7 clavi] compos]s4 ,& s9ce !n ) b few exceptions ! great compos]s h also be5 piani/s4 ,e>lie/ ,viol9 ,compositions4--,9 ! music ( ! viol p]iod no dem&s 7 made ^u ! in/rum5tal play] except t he %\ld d\ble ! voice "p1 :i* 0 simple1 view$ f ! /&po9t ( mod]n viol9 play+4 ,ev5 lat] :5 music 0 writt5 = qu>tets ( viols ! p>ts 7 vocal 9 "* & did n exce$ voices 9 range4 ,! e>lie/ kn[n solo composition 0 publi%$ 9 #afbj1 by ,m>9i4 ,x dem&s b little f ! executant4 ,! next "w ( importance 0 9 #afbg1 :5 ,c>lo ,f>9a1 an ,italian liv+ at ,dresd51 publi%$ a collection ( pieces :i* %[ q an advance te*nically1 includ+ v>iety ( b[+1 d\ble /opp+ & *ords4 ,! names appli$ to viol9 compositions 73 ,sonate1 ,canzone & ,s9fonia1 ! pr9ciple ( ! fir/ nam$ be+ an alt]nation ( sl[ & quick movem5ts4 ,ab\t #afej ! t]m ,sonata comes into g5]al use1 & a fur!r di/9ction is made betwe5 ,sonata da ,*iesa 7*ur* sonata7 & ,sonata da ,cam]a 7*amb] sonata71 ! =m] consi/+ ( ?ree or f\r movem5ts v>y+ 9 tempo1 ! latt] be+ really a suite ( dances1 ) sl[ & quick movem5ts 9 alt]nation4 ,! ,*ur*1 always ready to make use ( ! f9e arts1 soon discov]$ ! capabilities ( ! viol9 & its music1 & adopt$ x z "o ( its musical =ces1 n m]ely = assi/+ 9 accompanim5ts b = indep5d5t p]=mances4 ,z a result ( ?is patronage1 ! viol9 sonata1 ! only =m ( s]i\s composition = ! in/rum5t1 took on ! sev]] "* ( ! *ur* sonata1 giv+ an impulse t[>d ! e/abli%m5t ( sonata =m4 ,compos]s ( ! #ag? ,c5tury4--,among ^? :o prep>$ ! way = ! great ones to foll[ 0 ,giovanni ,batti/a ,vitali 7#afdd-afib71 :o %[s 9 8 *amb] sonatas ! t5d5cy to adopt ! =m ( ! *ur* sonata4 ,8 "n is be/ kn[n 9 viol9 lit]ature by a ,*aconne ) v>iations1 :i* makes no inconsid]able dem&s on ! te*nic ( a play]1 & mu/ h m>k$ him out z a conspicu\s play] 9 8 own "t4 ,?is is a wor?y =]unn] ( ,ba*'s great "w 9 a simil> =m4 ,9 ,g]many ! significant "n is ,he9ri* ,bib] 7#afdd-agjd71 :o _h a highly develop$ te*nic = t p]iod1 = 8 works c>ry ! play] up to ! six? position & introduce difficult d\ble /opp+ & arpeggios4 ,! next "n to be notic$ is ,giuseppe ,torelli 7#affj-agjh71 :o liv$ _m ye>s 9 ,bologna z lead] ( a *ur* or*e/ra4 ,he is cr$it$ ) hav+ be5 ! fir/ to apply ! pr9ciples ( con/ruction z %[n 9 ! *ur* sonata to conc]t$ music1 :i* lat] develop$ into ! ,conc]to4 ,illu/ration3 ,,arcangelo ,,corelli4 ,corelli4--,9 any great movem5t "o man seems to sum up ! be/ ( ! "w ( 8 pr$ecessors4 ,! "n associat$ ) putt+ viol9 music & play+ on a firm f\ndation is t ( ,arcangelo ,corelli 7#afec-agac71 em95t bo? z compos] & play]4 ,he 0 a contempor>y ( ,gu>n]ius & ,/radiv>ius1 :o br\ght ! in/rum5t to p]fection4 ,( ,corelli's e>ly life little is kn[n4 ,he travel$ 9 ,france & 0 also 9 ,muni* = "s ye>s4 ,9 #afha he return$ to ,italy1 mak+ 8 home at ,rome4 ,z a tea*]1 he acquir$ great fame & pupils came to him f all p>ts ( ,europe4 ,! mo/ em95t viol9i/s :o 7 "u 8 in/ruction 7 ,gem9iani1 ,locatelli1 ,somis1 ,bapti/e1 & ,ca/rucci4 ,corelli did n inv5t new =ms ( composition or ( te*nic--9 ! latt] respect he did n equal c]ta9 ( 8 contempor>ies--he 0 a re=m] r ?an an innovator4 ,he _h1 h[ev]1 a ke5 s5se = effects t 7 specially suit$ to ! in/rum5t1 & 8 cons]vatism put ! art ( play+ ! viol9 on a solid basis ^u :i* o!rs 7 able to add new] & m difficult te*nic4 ,8 works includ$ =ty-eight ?ree-"p sonatas = v>i\s comb9ations1 twelve two-"p sonatas = viol9 & cembalo1 n9e = two viol9s & cembalo1 & six conc]tos = two viol9s & 'cello ) a qu>tet accompanim5t4 ,! viol9 be+ s prem95tly a s++1 a melody in/rum5t1 x is s+ul> t ,corelli & 8 contempor>ies did n grasp ! pr9ciple ( us+ cle>ly def9$ melodic !mes4 ,?is fact %[s t ! influ5ce ( ! *ur* sonata & its rejection ( a =mal tune z unsuit$ to s]i\s art 0 /ill /rong4 ,!re=e1 :ile ,corelli's works d n %[ !mes su* z are *>act]i/ic ( ! next p]iod ( ! sonata1 8 con/ruction is logical & 8 h&l+ ( 8 =m-mat]ial is concise & cle>4 ,! /ud5t ( ,=m 9 music w f9d ! g]ms ( sonata-=m 9 ,corelli's works4 ,corelli's ,pupils4--,among ,corelli's pupils mu/ be m5tion$ ,francesco ,gem9iani 7#afhj-agfb71 :o sp5t "p ( 8 life 9 ,engl&4 ,he publi%$ ! fir/ "w ( a p$agogic "*1 a 8,me?od = ,viol9 ,play+10 9 ,london1 9 #agdj4 ,he also recomm5d$ hold+ ! viol9 on ! left side in/ead ( on ! "r1 z 0 cu/om>y 9 8 "t4 ,pietro ,locatelli 7#afic-agfd7 greatly influ5c$ ! developm5t ( viol9 te*nic4 ,giovanni ,batti/a ,somis 7#afgf-agfc7 liv$ at ,tur91 0 ! tea*] ( ,pugnani1 ! in/ructor ( ,viotti4 ,antonio ,vivaldi 7#afge-agdc7 devot$ himself to virtuosity & influ5c$ ! ,conc]to f ?is po9t4 ,he 0 f]tile & +5i\s 9 mak+ new comb9ations & devis+ new effects4 ,j4 ,s4 ,ba* arrang$ 8 works1 sixte5 = ! clavi]1 f\r = ! organ1 & "o z a conc]to = f\r clavi]s & a qu>tet ( /r+$ in/rum5ts4 ,/ill ano!r "n is to be m5tion$1 t ( ,francesco ,m>ia ,v]ac9i 7#afhe-agej71 :o greatly influ5c$ ,t>t9i by 8 play+4 ,he 0 a play] full ( temp]am5t1 :i* made 8 play+ p[]fully expressive4 ,8 sonatas are bold 9 h>monic & melodic treatm5t1 & well con/ruct$4 ,_! te*nical difficulty is consid]able4 7,8 lifetime co9cides ) ,ba*47 ,illu/ration3 ,,giuseppe ,,t>t9i4 ,giuseppe ,t>t9i 7#afib-aggj7 is "o ( ! comm&+ figures ( musical hi/ory4 ,he 0 int5d$ = ! pr(ession ( law by 8 p>5ts b1 =tunately = music1 did n fall 9 ) ! plan4 ,a ha/y m>riage ) ! niece ( an ar*bi%op br\ght him into tr\ble1 & he fl$ to a mona/]y1 :]e he sp5t two ye>s1 devot+ ! great] "p ( 8 "t to musical /udies4 ,at ! end ( ?is "t he 0 all[$ to rejo9 8 wife1 & w5t to ,v5ice1 :]e he le>n$ to "k ,v]ac9i1 ) :om he /udi$ to correct ! faults he _h acquir$ ?r\gh pursu+ 8 /udies undirect$4 ,aga9 he w5t into retirem5t & gave himself up to ! /udy ( viol9 te*nic4 ,among o!r ?+s he made "s improvem5ts 9 ! b[1 increas+ ! range ( effects4 ,8 contempor>ies ascribe to him 8a f9e tone1 unlimit$ comm& ( f+]bo>d & b[1 p]fect intonation 9 d\ble /ops1 a mo/ brilliant trill & d\ble trill z well1 :i* he c\ld execute equally well ) all f+]s40 ,8 celebrat$ composition 8,il ,trillo del ,diavolo0 78,! ,devil's ,trill07 %[s 8 skill 9 embelli%m5ts4 ,a te*nical "w 8,arte dell' ,arco0 78,! ,art ( ,b[+07 gives a cle> idea ( 8 me?od 9 t bran* ( ! viol9i/'s art4 ,9 8 compositions he %[s advance on ,corelli & ,vivaldi1 = 8 melody is broad]1 8 phrases m develop$ & cle>]1 8 h>monies ri*] & bett] contra/$1 ) _m passages ( a /rongly emotional "*4 ,he wrote a great numb] ( pieces1 sonatas & conc]tos4 ,9 addition to 8 "w z play] & compos]1 ,t>t9i devot$ himself to tea*+4 ,8 s*ool at ,padua 0 ! ,mecca ( viol9i/s f all ,europe4 ,9 ^? days !re 7 no in/ruction books2 ,t>t9i's pupils look$ to him = ev]y?+1 & 8 "* z a tea*] c be le>n$ 9 a lett] address$ by him to a pupil4#ab ,t>t9i's contribution to music also includes "w ( a !oretical "*4 ,he discov]$ ! s-call$ comb9ational s\nd1 by :i* is meant ! s\nd+ ( a ?ird s\nd :5 two tones are s\nd$ toge!r4#ac ,he publi%$ a treatise on ! subject4 ,two pupils ( ,t>t9i's :o des]ve m5tion are ,pietro ,n>d9i 7#agbb-agic7 & ,gaetano ,pugnani 7#agbf-ahjc71 :o 0 also a pupil ( ,somis1 ?us unit+ 9 himself ! tea*+s ( ! two great ma/]s1 ,t>t9i & ,corelli1 :i* he transmitt$ to lat] g5]ations ?r\gh 8 great pupil1 ,viotti4 ,) ,t>t9i ! viol9 sonata ( ! old type lo/ its place1 be+ succe$$ by ! sonata = ! piano :i* 0 be+ develop$ by compos]s1 giv+ rise to a =m t 0 lat] to be ! basis ( a new sonata = viol9 & piano 9 :i* ea* in/rum5t fill$ an equal place4 ,9 ! e>li] days ! tone ( ! clavi*ord & h>psi*ord1 weak & ?91 0 n suit$ save = accompany+ ! full-ton$ brilliantly effective viol92 b aft] ,t>t9i's "t ! in/rum5t ga9$ 9 p[] & sonor\sness & =m$ a wor?y helpmeet = ! viol94 ,illu/ration3 ,,giovanni ,,batti/a ,,viotti4 ,viol9 play+ 9 ,france 0 l>gely influ5c$ by ,italian play]s4 ,lully1 ! op]a compos]1 0 a viol9i/1 b ! ,italian s*ool _h n develop$ :51 z a lad1 he left 8 native c\ntry4 ,! ,corelli pr9ciples 7 c>ri$ to ,france by ,leclair 7#afhg-agfd71 :o receiv$ 8 tra9+ f ,somis1 a pupil ( ,corelli4 ,8 treatm5t ( ! b[ %[$ ! lightness & agility t lat] became di/9ctive ( ! ,fr5* s*ool4 ,pi]re ,gav9is 7#agbf-ahjj7 l5t /r5g? to ! e/abli%m5t ( an indep5d5t ,fr5* s*ool ( play+4 ,he is be/ kn[n today by a set ( difficult /udies4 ,giovanni ,batti/a ,viotti 7#agec-ahbd71 an ,italian by bir?1 greatly influ5c$ viol9 play+ 9 8 day4 ,z a lad ( sev5te5 he travel$ ?r\gh ,europe ) ,pugnani1 8 tea*]1 w9n+ great success4 ,lat] he locat$ 9 ,p>is1 tea*+ & compos+1 giv+ regul>ly private p]=mances at :i* he br\ght out 8 conc]tos4 ,8 !mes h a m>k$ s++ "*1 & all 8 writ+ is em95tly suit$ to ! in/rum5t4 ,9 8 conc]tos he us$ ! elaborat$ sonata-=m z develop$ by ,haydn1 ,moz>t & ,bee?ov51 & 9 8 accompanim5ts draws fully on ! res\rces ( ! or*e/ra4 ,8 works include a f9e set ( duets = two viol9s4 ,8 mo/ em95t pupils 7 ,pi]re ,rode 7#aggd-ahcj7 & ,pi]re ,m>ie ,franois de ,sales ,baillot 7#agga-ahdb7 :o ) ,rodolphe ,kreutz] 7#agff-ahca7 7 tea*]s 9 ! ,p>is ,cons]vatoire1 = :i* !y prep>$ ! fam\s 8,m?ode de ,viol940 ,rode & ,kreutz] are fam\s 9 viol9 lit]ature = _! /udies = advanc$ play]s4 ,bee?ov5 d$icat$ 8 great sonata = piano & viol91 ,op4 #dg1 to ,kreutz]1 = :i* reason x is kn[n by ! latt]'s "n4 ,9 connection ) ! educational writ]s j m5tion$1 ,f$]igo ,fiorillo1 born #agec1 9 ,g]many1 ( ,italian p>5ts1 is to be not$4 ,8 ?irty-six etudes or caprices rank ) ! works ( ,rode & ,kreutz]4 ,antonio ,lolli 7#agcj-ahjb7 0 a virtuoso & no?+ else4 ,8 execution 0 m>vel\s1 & he 01 9 _m respects1 a =]unn] ( ,pagan9i4 ,viol9 play+ 9 ,g]many _h its s\rce & inspiration 9 ! conc]t t\rs made 9 t c\ntry by ! great ,italian virtuosi1 a numb] ( :om liv$ = p]iods ( "s l5g? at ! c\rts ( ,b]l91 ,dresd51 ,mannheim & o!r capitals1 :]e !y tra9$ pupils = ! v>i\s ducal or*e/ras4 ,! or*e/ra at ,mannheim 0 ! mo/ fam\s = its "w & s5t out a numb] ( f9e play]s & musicians4 ,space does n p]mit ! m5tion ( ^! m54 ,! fir/ great "n 9 ! viol9 _w ( ,g]many is ,ludwig ,spohr 7#aghd-ahei71 :o 0 also "o ( ! great compos]s ( 8 "t1 8 activity lead+ him into ! doma9 ( ! oratorio & op]a z well z or*e/ra & in/rum5tal music4 7,8 pr9cipal tea*] 0 ,franz ,eck 7#aggd-ahjd71 :o belong$ to ! ,mannheim s*ool47 ,lat] he _h opportunity to he> ,rode1 by ^: play+ he 0 mu* impress$4 ,he sp5t "s ye>s 9 conc]tiz+1 & 9 #ahbb locat$ at ,cassel z ! director ( ! or*e/ra !re4 ,"h he taught _m not$ pupils1 ! be/ kn[n be+ ,f]d9& ,david4 ,:ile ,spohr 0 a great play] & a great tea*]1 he influ5c$ mod]n viol9 play+ m by 8 compositions4 ,"s ( 8 conc]tos /ill figure 9 ! viol9i/'s rep]toire & 8 duos & conc]tantes = two viol9s & = viol9 & viola are unsurpass$ by any compositions 9 t /yle4 ,9 #ahca1 he publi%$ 8 8,viol9 ,s*ool10 :i* 0 a /&>d "w = _m ye>s4 ,! direct successor ( ,spohr 0 ,f]d9& ,david 7#ahaj-ahgc71 a great play] & a great tea*] :o 0 associat$ ) ,m5delssohn 9 ! f\nd+ ( ! fam\s ,leipzig ,cons]vatorium4 ,f ?is in/itution ,david's pupils w5t ov] all ,europe into positions ( responsibility & reputation4 ,8 greate/ pupil 0 ,augu/ ,wilhelmj 7b4 #ahde74 ,aft] ,david's dea? supremacy 9 ! field ( viol9 play+ gradually fell away f ,leipzig & c5tr$ 9 ,b]l9 ar\nd ,joseph ,joa*im1 ! ,ne/or ( ! pres5t-day#ad viol9 _w4 ,illu/ration3 ,,ludwig ,,spohr4 ,! ,vi5na ,s*ool4--,! s\!rn ,g]mans _h c]ta9 *>act]i/ics :]e9 !y diff]$ f _! nor!rn k92 !y 7 9 clos] t\* ) ,italy & 7 also influ5c$ by _! ,hung>ian neighbors4 ,9 ,bee?ov5's "t consid]able att5tion 0 giv5 by ,vi5nese viol9i/s to *amb]-music4 ,f\r names are prom95t3 ,k>l ,ditt]sdorf 7#agci-agii71 ,anton ,wranitzky 7#agef-ahjh71 ,joseph ,mays$] 7#aghi-ahfc7 & ,joseph ,bhm 7#agie-ahgf71 ! latt] be+ ! tea*] ( a numb] ( fam\s viol9i/s1 ,hellmesb]g]1 ,dont1 ,rem5yi1 ,ern/ & ,joseph ,joa*im 7b4 #ahca71 ! latt]1 repres5t+ ! solid1 classical /yle ( 8 tea*]1 jo9$ to a ma/]y ( ! te*nic ( 8 in/rum5t t enabl$ him to w9 & ma9ta9 ! highe/ rank z virtuoso1 qu>tet play] & compos] = 8 in/rum5t4 ,up to ! "t ( 8 dea?1 ,augu/ #ae1 #aijg1 he 0 director ( ! ,royal ,high ,s*ool ( ,music 9 ,b]l94 ,he 0 ! tea*] ( hundr$s ( play]s1 includ+ _m celebrat$ arti/s ( ! pres5t day4 ,illu/ration3 ,,joseph ,,joa*im4 ,illu/ration3 ,,nicolo ,,pagan9i4 ,pagan9i4--,! mo/ unique1 mo/ />tl+ figure 9 music belongs to ! viol91 a law unto himself 9 8 play+1 "o = :om ! viol9 seem$ to h be5 p]fect$ long ye>s be=e by ,gu>n]ius & ,/radiv>ius & "o :o seem$ to h be5 made = ! viol91 ! h]o ( fictions innum]able1 to :om 0 attribut$ 9 8 day all mann] ( occult p[]4 ,?is my/]i\s k+ ( ! viol9 0 ,nicolo ,pagan9i1 born 9 ,g5oa1 ,febru>y #ah1 #aghb1 di$ ,may #bg1 #ahdj4 ,nev] /rong 9 body1 9 8 e>ly y\? he gave himself up to dissipation to su* an ext5t t he und]m9$ 8 con/itution1 & pass$ ?r\gh ! _w z a spectre r ?an z a man4 ,pagan9i 0 self-develop$1 he belong$ to no s*ool & he f\nd$ none1 yet s great 0 8 comm& ( ! te*nic ( ! viol9 & ! b[1 t no o!r play] s pr(\ndly influ5c$ contempor>ies & successors on ! matt] ( virtuosity4 ,he taught b "o pupil1 ,camille ,sivori 7#ahae-ahid74 ,pagan9i greatly influ5c$ ! y\ng] ,fr5* viol9i/s ( 8 day1 among :om may be m5tion$ ,al>d & ,dancla4 ,aft] ^! m5 come ,*>les de ,briot 7#ahjb-ahgj71 :o repres5ts ! ,belgian ,s*ool1 8 pupil ,h5ri ,vieuxtemps 7#ahbj-ahha7 & ?ird g5]ation 9 ! l9e ( pupilage1 ,eug5 ,ysaye 7b4 #aheh74 ,o!rs :o belong to ! ,belgian ,s*ool are ,mass>t 7tea*] ( ,wi5iawski1 ,kreisl] & o!rs71 ,lon>d 7tea*] ( ,cs> ,?omson1 ,m>sick1 ,mus91 ,m>teau1 etc474 ,at ! pres5t "t ! c5tre ( int]e/ 9 ! viol9 _w has %ift$ to ,prague1 :]e ,ottok> evk has s5t out "y viol9i/s ( ! ,slav race :o display ! mo/ a/oni%+ te*nical ma/]y4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ,viol9 ,play+1 ,sonata1 ,conc]to1 & play]s m5tion$ 9 ?is lesson4 ,/oev+4--,/ory ( ! ,viol94 ,ehrli*4--,celebrat$ ,viol9i/s4 ,h>t4--,! ,viol9 & its ,music4 ,,que/ions4 ,:at 0 ! =m ( e>ly viol9 music8 ,:at diff]5ce 0 !re 9 sonatas8 ,:at 7 ,corelli's contributions to music8 ,:at 7 ,t>t9i's contributions to music8 ,trace ! connection betwe5 ! ,fr5* & ,italian s*ools4 ,trace ! connection betwe5 ! ,g]man & ! ,italian s*ools4 ,trace ! connection betwe5 ! ,vi5na & ! ,italian s*ools4 ,:at compos]s contribut$ mo/ l>gely to ! educational side ( viol9 music8 ,prep>e a %ort sket* ( ,pagan9i4 ,,lesson ,,xxxvi4 ,,! ,,or*e/ra ,,& ,,absolute ,,music4 ,! ,or*e/ra z a ,means ( ,expression4--,! mo/ p]fect means = expression 9 music is pres5t$ by ! or*e/ra1 :i*1 9 its complete =m z %[n today1 is ! result ( a long developm5t 9 _m directions4 ,to give u ?is magnific5t mass-in/rum5t requir$ a sift+ ( ! v>i\s in/rum5ts & ! *oice ( ^? t (f]$ ! be/ possibilities1 a p]fect+ ( ^! in/rum5ts1 a %ap+ ( sy/ems ( play+ !m1 ( te*nic t %\ld draw out all possible effects1 & an und]/&+1 on ! "p ( compos]s1 ( ! nature & dem&s ( absolute music & h[ be/ to %ape _! conceptions 9 accordance ) ^! dem&s4 ,! or*e/ra & its music1 !re=e1 repres5ts ! extreme height ( man's "w 9 music1 = ev5 :5 *oral =ces are jo9$ to ! or*e/ra1 ! in/rum5tal idea dom9ates1 z1 = example1 9 ! ,n9? ,symphony ( ,bee?ov51 9 :i* ! *orus is simply a vocal b& add$ to ! o!r gr\ps4 ,! or*e/ra is a great means = musical expression because x (f]s to ! compos] ! maximum ( res\rces4 ,9 mod]n days1 :5 ! e/hetic pr9ciple ( ,unity 9 ,v>iety receives ! mo/ ela/ic int]pretation due to ! dem& = ! greate/ possible contra/s 9 tone-color1 p[] & 9 nuances1 all1 h[ev]1 int5d$ to exhibit & illum9e ! !mes inv5t$ by ! compos] 9 _! v>i\s trans=mations1 9 ^! days ! or*e/ra is truly ! mo/ complete art-means kn[n4 ,gr\ps 9 ! ,or*e/ra4--,! or*e/ra is compos$ ( gr\ps ( in/rum5ts alli$ by simil>ity ( con/ruction4 ,! usual classification is into ?ree ma9 gr\ps1 /r+s1 7b[$ in/rum5ts71 w9d & p]cussion in/rum5ts4 ,9 ! =m] are includ$ ! viol9s1 viola1 violoncello & d\ble or contra-bass2 w9d in/rum5ts subord9ate into wood w9d & brass1 ! =m] include in/rum5ts ( ! flute1 oboe1 bassoon & cl>9et families1 ! latt] horns1 trumpets1 trombones1 tuba or o!r bass in/rum5ts2 ! p]cussion includes kettle drums1 o!r drums1 triangles1 cymbals1 etc42 ! h>p1 :ile a /r+$ in/rum5t1 is n includ$ 9 t class4 ,^! in/rum5ts (f] a great v>iety ( effects1 s+ly & 9 _m possible comb9ations1 9 ! peculi> effects possible by v>iety 9 play+1 :i* 9 b[$ in/rum5ts is consid]able1 & p>ticul>ly by contra/ ) ea* o!r4 ,:ile ! or*e/ra today is 9 a highly develop$ condition1 compos]s are seek+ to ext5d ! limits ( _! art by ! use ( m elaborate & subtle =ms2 s t we _c 9 any wise pr$ict ! c\rse & limits ( absolute music ) ! almo/ unlimit$ res\rces at its disposal 9 ! mod]n or*e/ra4 ,purpose 9 ,comb9ation4--,:5 we consid] ! or*e/ra z a comb9ation ( in/rum5ts we mu/ be> 9 m9d t ?is comb9ation is ! result ( a def9ite purpose to produce music indep5d5t ( re/rictions su* z 7 %[n to h exi/$ 9 ! days ( ! dom9ation ( ! ,*ur*4 ,! compos]s ( ! e>ly polyphonic p]iod & up to ! #ag? c5tury b5t _! ef=ts to ! composition ( *oral music :i* 0 sung = _m ye>s )\t in/rum5tal support4 ,:5 lat] ! organ1 & /ill lat]1 viols & o!r in/rum5ts 7 draft$ into ! s]vice ( *ur* music1 ! accompanim5ts 7 n indep5d5t ( ! voice1 b m]ely d\bl$ ! v>i\s p>ts4 ,compos]s ?\ght 9 t]ms ( voices & _! limitations1 n 9 ! great] range & endurance ( in/rum5ts4 ,!n1 too1 ! in/rum5ts 7 crude & _! tone lack$ di/9ctiv5ess z well z ! comp>ative sweetness & purity ( ! vocal music ( t day4 ,comb9ations ( in/rum5ts exi/$ 9 ! ,middle ,ages1 b n accord+ to a sy/em1 & 7 due to ! executants :o assembl$ !m r ?an to ! dem& = !m 9 ! works ( compos]s4 ,x 0 9 ! attempts at light dramatic music t prec$$ ! e/abli%m5t ( ! op]a t in/rum5ts 7 gr\p$ toge!r1 %[+ a great weakness1 f our po9t ( view1 9 /r+$ in/rum5ts play$ ) ! b[1 & a correspond+ prepond]ance ( brass4 ,influ5ce ( ! ,op]a4--,! fir/ compos]s ( op]a & oratorio gave in/rum5tal support to ! s+]s1 al?\gh x 0 v meag]4 ,yet ! op]a gave ! help ( t great pr9ciple ( inv5tion1 necessity1 & compos]s began to exp]im5t ) v>i\s comb9ations ( in/rum5ts to secure a m adequate accompanim5t = ! voice z well z to height5 ! effects dem&$ by ! drama4 ,montev]de1 an indep5d5t ?9k] & innovator1 m>k$ out l9es 9 :i* ef=ts %\ld be made by successors4 ,he /udi$ ! *>act]i/ic effects ( ! v>i\s gr\ps & made use ( !m z he felt !m4 ,8 or*e/ra = 8,orfeo0 7#afjh7 0 made up ( two h>psi*ords1 t5 t5or viols1 two bass viols1 two 8little ,fr5* viol9s10 "o d\ble h>p1 two organs ( wood1 "o regal1 two viole de gamba1 two l>ge guit>s1 two cornets1 two trombones1 ?ree trumpets ) mutes1 "o octave flute1 "o cl>ion4 ,! mo/ significant item is f\nd 9 ! 8little ,fr5* viol9s10 :i* presages ! appe>ance ( ! in/rum5t :i* 01 a c5tury lat]1 to be recogniz$ z ! backbone ( ! or*e/ra4 ,among ! di/9ctive in/rum5tal effects :i* ,montev]de introduc$ 0 ! tremolo = b[$ /r+ in/rum5ts z well z ! pizzicato4 ,9 look+ ov] ! in/rum5ts ( ,montev]de's or*e/ra we w note b "o wood w9d1 ! flute4 ,?is %[s t compos]s1 d\btless ?r\gh ! milit>y use ( brass & drums1 _h accept$ ! latt] z means = special effects4 ,in/rum5ts ( ! wood w9d type 7 /ill too crude to be admitt$4 ,aless&ro ,sc>latti1 :o did s mu* = ! op]a f ! side ( =m & cont5t1 also contribut$ to ! developm5t ( or*e/ral music4 ,he evid5tly p]ceiv$ ! importance ( hav+ a nucleus ar\nd :i* to build 8 h>monies1 a gr\p ( in/rum5ts :i* %\ld furni% a firm support & :i* c\ld bl5d ! v>i\s tone qualities4 ,) ! intuition ( g5ius he select$ ! /r+ tone = ?is purpose1 & 9 ?is he 0 greatly aid$ by ! fact t ! ,amati family1 & _! successors1 ,gu>n]ius & ,/radiv>ius1 _h already p]fect$ ! viol91 al?\gh ! great play]s 7 yet to come4 ,sc>latti wrote 9 f\r p>ts = ! /r+ in/rum5ts1 ! treble "p to ! fir/ viol91 ! alto to ! second1 ! t5or "p to ! viola1 :i* previ\sly _h (t5 play$ 9 unison ) ! d\ble bass1 :ile ! bass "p 0 tak5 by 'cellos & basses4 ,he also add$ oboes & bassoons to ! /r+s & brass4 ,lully 9 ,france us$ an or*e/ra simil> to t adopt$ by ,sc>latti4 ,! kettle-drums n[ come into use4 ,! works ( ,corelli & 8 viol9i/ successors1 :i* %[$ ! possibility ( writ+ = /r+s1 und\bt$ly influ5c$ or*e/ral writ+4 ,ba* & ,h&el4--,we n[ come to ! p]iod ( ,ba* & ,h&el1 ea* di/9ct 9 me?ods1 ! latt] ! m imm$iately influ5tial 9 ! developm5t ( ! or*e/ra1 ! =m]'s pr9ciples ( writ+ 9 ! polyphonic /yle n be+ tak5 up until aft] ye>s by ,wagn] & m rec5tly by ! extreme mod]n compos]s ) _! free polyphony4 ,9 a ,ba* score ea* in/rum5t _h an indep5d5t "p to s+1 & 0 treat$ f a musical /&po9t1 :]eas ! t5d5cy ( o!r compos]s 0 to seek figures & passages :i* %\ld be *>act]i/ic ( ! in/rum5t1 ! /&po9t ( effect4 ,?is p>ticul>ly applies to ! w9d in/rum5ts4 ,h&el's idea seem$ to be ! build+ up ( great mass effects1 8 /yle p>took ( ! h>monic r ?an ! polyphonic4 ,he us$ all ! important in/rum5ts f\nd 9 ! mod]n or*e/ra except ! cl>9et1 al?\gh ! proportion ( ! w9d in/rum5ts to ! /r+s is great]1 due to ! relatively inf]ior p[] ( ^! in/rum5ts 9 ,h&el's "t4 ,haydn & ,moz>t4--,f ,h&el we pass to ! fir/ ( 8 ?ree great successors1 ,haydn1 :o has be5 call$ ! 8fa!r ( ! symphony10 :o det]m9$1 9 fact1 ! c\rse ( or*e/ral developm5t4 ,& we %\ld n ov]look ! fact be=e-m5tion$1 namely1 t ! pr(essional viol9i/s1 mo/ ( :om 7 also directors ( or*e/ras 9 ! pay ( great pr9ces1 7 te/+ ! capacities & res\rces ( ! in/rum5ts us$4 ,9 ! p]iod :i* ,haydn repres5ts1 ! proportions ( ! in/rum5ts 9 ! or*e/ra 7 def9itely fix$ & ! size ( ! /r+ b& became relatively great]1 ! 'cello com+ 9 to great] prom95ce 9 its use z a melody in/rum5t4 ,haydn's la/ symphony1 writt5 9 #agie1 calls = two flutes1 two oboes1 two cl>9ets1 two bassoons1 two kettle drums1 & ! usual /r+ b&4 ,?is 0 ! comb9ation :i* ,haydn select$ z ! mo/ useful & effective1 z ! result ( 8 exp]i5ce z a conductor = _m ye>s4 ,x 0 to ,moz>t t ! introduction ( ! cl>9et into ! or*e/ra is due1 = ,haydn did n employ ?is in/rum5t 9 8 e>li] works4 ,! cl>9et began to take an effective =m ab\t ! end ( ! #ag? c5tury1 yet x 0 n until ! #ai? c5tury t x receiv$ ! improvem5ts t n[ make x "o ( ! mo/ useful in/rum5ts 9 ! or*e/ra1 ) a wond]fully facile te*nic & correct intonation4 ,! greate/ ( ^! *anges 0 ! application1 to ! cl>9et1 ( ! sy/em ( keys & f+]+ inv5t$ by ,!obald ,boehm 7#agid-ahha7 = ! flute4 ,9 addition to %[+ ! value ( ! cl>9et z an in/rum5t1 ,moz>t po9t$ ! way to "s uses ( ! trombone4 ,8 ,e-flat ,symphony is scor$ = "o flute1 two cl>9ets1 two bassoons1 two horns1 two trumpets1 tympani & /r+s2 9 ! score ( ! 8,jupit]0 symphony1 ! cl>9et does n appe>4 ,bee?ov5 e/abli%$ ! or*e/ra z 8! compos]'s in/rum5t40 ,he add$ b little to ! in/rum5ts us$ b he took ! res\rces e/abli%$ by 8 pr$ecessors & demon/rat$ :at c\ld be done ) !m4 ,e gr\p ( in/rum5ts 0 us$ ) m detail & to produce *>act]i/ic effects bo? sep>ately & 9 comb9ation4 ,9 8 fir/ & second symphonies he uses ! same or*e/ra3 two flutes1 two oboes1 two cl>9ets1 two bassoons1 two horns1 two trumpets1 tympani & /r+s2 9 ! 8,eroica10 a ?ird horn "p is add$2 ! f\r? has ! same or*e/ra z ! fir/ two1 except t "o flute is dropp$2 ! fif? calls = piccolo1 two flutes1 two oboes1 two cl>9ets1 two bassoons1 contra-bassoon1 two horns1 two trumpets1 ?ree trombones1 tympani & /r+s2 9 ! six? he uses ! same or*e/ra z 9 ! fif?1 except t he drops ! contra-bassoon & "o trombone2 9 ! sev5? & eigh? ! or*e/ra is ! same z 9 8 fir/ & second symphonies4 ,9 ! n9? 7,*oral ,symphony7 he calls = a l>g] or*e/ra3 piccolo1 two flutes1 two oboes1 two cl>9ets1 two bassoons1 contra-bassoon1 f\r horns1 two trumpets1 ?ree trombones1 tympani1 triangle1 cymbals1 bass drum & /r+s4 ,x w be not$ t ,bee?ov5 does n use ! h>p4 ,x 0 n until #ahbj1 sev5 ye>s be=e ,bee?ov5's dea?1 t ,er>d inv5t$ ! d\ble-action h>p1 an effective & a playable in/rum5t4 ,b]lioz1 ,wagn] & ,ri*>d ,/rauss4--,! compos] :o fir/ made an exhau/ive /udy ( or*e/ral in/rum5ts1 _! di/9ctive qualities1 sep>ately & 9 comb9ations1 0 ,b]lioz1 :o gave to ! _w 8 k 9 8 8,treatise on ,in/rum5tation10 publi%$ 9 #ahdd4 ,b]lioz gave to e "o ( 8 works a m or less di/9ctive quality by v>y+ ! composition ( 8 or*e/ra in/ead ( us+ ! conv5tional comb9ations4 ,he made frequ5t use ( ! h>p1 bass cl>9et1 ,engli% horn1 bass tuba1 besides o!r less frequ5tly us$ in/rum5ts4 ,he v mu* enl>g$ ! scope ( or*e/ral music by ! new effects he devis$4 ,ri*>d ,wagn]1 9 8 great music dramas1 makes use ( _m new means ( dramatic musical effects1 introduc+ new in/rum5ts1 enl>g+ ! v>i\s families1 divid+ ! /r+s into eight p>ts1 increas+ ! numb] ( brass in/rum5ts1 giv+ to 8 scores a ri*ness ( p[] & a sonor\s quality unkn[n be=e 8 "t4 ,ri*>d ,/rauss is1 today1 ! greate/ ma/] ( ! te*nic ( or*e/ral writ+4 ,8 tone-poems make great] dem&s on ! res\rces ( ! in/rum5ts & conta9 effects beyond ^? ( ,wagn]4 ,illu/ration3 ,,hector ,,b]lioz4 ,hector ,b]lioz 7#ahjc-ahfi7 0 ! son ( a ,fr5* physician1 :o design$ him = 8 own pr(ession4 ,b ! lad's b5t = music 0 s /rong t :5 s5t to ,p>is to prep>e = a m$ical degree1 he sp5t mo/ ( 8 "t 9 go+ to ! op]a & 9 /udy+ ! scores ( ! ma/]s4 ,mu* aga9/ ! w ( 8 p>5ts1 he det]m9$ to give up m$ic9e & ent]$ ! ,cons]vatoire4 ,8 e>ly musical tra9+ _h be5 f> f ?or\gh & 8 c>e] 0 at fir/ n successful4 ,?is add$ to 8 fa!r's displeasure1 & he f9ally )drew all support f 8 son1 :o1 r ?an ab&on 8 art1 /ruggl$ ) ! mo/ cru%+ pov]ty until a viol5t illness br\ght on by privation reconcil$ 8 p>5ts to 8 *oice ( a pr(ession4 ,aft] sev]al unsuccessful attempts1 he ga9$ ! great ,roman ,prize1 :i* entitl$ him to a p]iod ( /udy 9 ,italy & ,g]many at ! co/ ( ! ,/ate1 b ?r\gh\t 8 life he battl$ at home ) adv]se & disc\rag+ conditions1 arti/ic & dome/ic4 ,until aft] 8 dea? 8 works nev] receiv$ ! recognition gladly paid !m 9 =eign c\ntries1 :]e he made frequ5t t\rs = ! purpose ( produc+ !m4 ,8 dem& = exceptional means ( p]=mance1 bas$ ^u _! l>ge scope & previ\sly unhe>d-( effects1 0 ridicul$ 9 ,france1 :]e !y 7 also consid]$ dissonant & bomba/ic2 he enc\nt]$ jeal\sy & intrigue at e turn & bore !m1 too1 9 no pati5t _s4 ,8 ,important ,works4--,z a w9n] ( ! ,roman ,prize1 h[ev]1 he _h a claim on ! ,/ate4 ,?us 8 great 8,te ,deum10 writt5 = ?ree *oruses1 soli1 & or*e/ra1 0 "o ( sev]al commissions f ! ,gov]nm5t & 0 compos$ = ! op5+ ( ! ,exposition ( #ahee4 ,ano!r simil> colossal "w is 8 8,requiem10 ) its f\r small or*e/ras ( brass /ation$ at ! corn]s ( ! pr9cipal or*e/ra4 ,^! cross & re-cross ) ?rill+ effect1 simulat+ ! bl[+ ( ! la/ trump4 ,8 mo/ popul> & widely-kn[n "w1 8,! ,damnation ( ,fau/10 a dramatic cantata n[ frequ5tly he>d 9 ?is c\ntry & 9 ,europe1 fail$ to awak5 ! slighte/ int]e/ at its fir/ p]=mance 9 #ahdf & involv$ ! compos] heavily 9 debt4 ,8 en?usiasm = ,%akespe>e l$ to ! composition ( :at "s consid] 8 mo/ important "w1 8,romeo & ,juliet10 a symphony = or*e/ra1 solo voices & *orus4 ,b]lioz' g5ius 0 ess5tially in/rum5tal & symphonic 9 "*2 h5ce1 ?\gh he compos$ a numb] ( op]as1 none 0 successful4 ,inde$1 ! failure ( 8,les ,troy5s0 7,! ,trojans71 ! subject ( :i* 0 tak5 f ! 8neid0 & :i* he int5d$ to be 8 ma/]piece1 0 8 dea?-bl[4 ,8 ,g5ius z an ,or*e/ral ,compos]4--,b]lioz 0 ! f\nd] ( ! mod]n s*ool ( or*e/ration1 z well z ! pione] 9 ! art ( express+ a def9ite program 9 t]ms ( absolute music4 ,l 8 great contempor>y1 ,wagn]1 he 0 no executant2 he play$ b little &1 curi\sly en\gh1 only su* insignificant in/rum5ts z ! flute1 flageolet1 & guit>4 ,! or*e/ra 0 8 in/rum5t & no "o has ev] _h a m un]r+ in/9ct = its capabilities ei!r z a :ole or 9 its compon5t p>ts4 ,9 ! orig9ation ( weird1 une>?ly effects he _h be5 anticipat$ by ,web]1 :om he greatly admir$2 b he w5t beyond him 9 devis+ bold & d>+ comb9ations1 :i* he ju/ifi$ by ! end 9 view1 ?\gh x _c be said t a ref9$ ta/e always f9ds ?is end 9 itself ju/ifiable4 ,= example1 9 ! la/ movem5t ( 8 8,fanta/ic ,symphony10 he pictures an execution by ! guillot9e4 ,a company ( wit*es & demons dance ar\nd ! headless body & p]=m a burlesque requiem--! :ole suppos$ to be a nightm>e suff]$ by an arti/ "u ! influ5ce ( opium4 ,color r ?an outl9e1 ?rill+ & novel effects ( sonority1 rhy?mical v>iety & animation1 int5sity ( expression & dramatic climax are ! pr9cipal *>act]i/ics ( ,b]lioz' music4 ,yet delicacy & *>m are by no means lack+ 9 8 works4 ,irregul> 9 proportion & unequal 9 inspiration z !y frequ5tly are1 !y und\bt$ly entitle him to ! di/9ction ( be+ ! greate/ compos] t ,france has yet produc$4 ,! ,music ( ! ,or*e/ra includes ,symphonies1 ,ov]tures1 ,symphonic ,poems1 ,tone-,poems & ,suites & ! ,conc]to = a solo in/rum5t ) or*e/ral support4 ,! symphony is an elaborat$ sonata1 & ! fir/ movem5t is usually con/ruct$ on ! pr9ciples recogniz$ "u ! t]m ,sonata-=m2 ! same pr9ciples are us$ 9 ! ,ov]ture1 :i* consi/s ( b a s+le movem5t4 ,liszt1 9 8 ef=ts 9 ! program music /yle1 devis$ ! ,symphonic ,poem1 :i* aims to pres5t a s]ies ( emotional pictures 9 ! ,symphonic /yle1 b ) ! v>i\s movem5ts cont9u\s4 ,he advocat$ d]iv+ all !mes f a common s\rce1 trans=m+ !m rhy?mically z ne$$ to "w out 8 conception4 ,8 successors 9 ?is /yle ( music /ill use ! !matic me?ods devis$ by ! writ]s 9 ! true symphonic /yle1 b are free 9 _! me?ods ( con/ruction & elaboration4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ! ,or*e/ra & ! v>i\s in/rum5ts us$1 ! ,sonata1 ,symphony1 ,ov]ture1 ,suite1 etc41 & ,sonata-,=m4 ,h5d]son4--,! ,or*e/ra & ,or*e/ral ,music4 ,,que/ions4 ,:y is ! or*e/ra ! greate/ means = musical expression8 ,classify ! in/rum5ts us$ 9 ! or*e/ra4 ,:at diff]5ce is !re 9 ! comb9ation ( in/rum5ts 9 ! mod]n or*e/ra & 9 ! fir/ attempts8 ,h[ did ! op]a influ5ce ! developm5t ( ! or*e/ra & or*e/ral music8 ,contra/ ,ba* & ,h&el4 ,^: me?ods are us$ today to ! great] ext5t8 ,:at did ,haydn & ,moz>t contribute8 ,:at did ,bee?ov5 contribute8 ,contra/ ! or*e/ra us$ by ! compos]s m5tion$4 ,give an acc\nt ( ! "w ( ,b]lioz 9 ! or*e/ral field4 ,give an acc\nt ( ! great writ]s ( mod]n times4 ,:at =m is ! basis ( writ+ = ! or*e/ra8 ,,sugge/ions ,,= ,a ,,review ,,( ,,lessons ,,xvii ,,to ,,xxiv4 ,indep5d5t rese>* on ! "p ( pupils is ess5tial to real ma/]y ( a subject4 ,! foll[+ topics c be us$ z subjects = %ort essays to be prep>$ by pupils4 ,! mat]ial w be f\nd 9 ?is book & 9 ! ref]5ce works m5tion$ 9 connection ) ! v>i\s lessons4 ,,lesson ,,xxv4--#a4 ,! ,pian(orte 9 ,am]ica4 #b4 ,pian(orte ,mak]s 9 ! #ai? ,c5tury4 #c4 ,po9ts ( diff]5ce betwe5 ! e>ly ,clavi]s & ! ,mod]n ,piano4 ,,lesson ,,xxvi4--#a4 ,comp>ison betwe5 ! ,e>ly ,v5etian s*ools ( ,pa9t+ & ,music4 #b4 ,! compos]s ( ! ,e>ly ,v5etian s*ool4 #c4 ,! compos]s ( ! ,lat] ,v5etian s*ool4 #d4 ,! developm5t ( ! ,sci5ce ( ,?or\gh-,bass4 ,,lesson ,,xxvii4--#a4 ,que5 ,elizabe? z a ,patron ( ,art4 #b4 ,*>act]i/ics ( ! ,e>ly ,fr5* ,clavi] s*ool4 #c4 ,influ5ce ( ! ,e>ly ,engli% & ,fr5* ,clavi] s*ools on subsequ5t ,writ+s4 ,,lesson ,,xxviii4--#a4 ,g]man "* z reflect$ 9 e>ly music4 #b4 ,comp>ison ( ,ba* & ,h&el's ,clavi] ,works4 #c4 ,influ5ce ex]t$ by ! ,well-,temp]$ ,clavi*ord4 ,,lesson ,,xxix4--#a4 ,comp>ison betwe5 ! ,polyphonic & ,h>monic /yles4 #b4 ,musical influ5ce ( ,j4 ,s4 ,ba*'s ,*ildr54 #c4 ,! ,fir/ ,sonatas comp>$ ) ,mod]n ,music4 ,,lesson ,,xxx4--#a4 ,g]man appreciation ( music 9 ,haydn's "t4 #b4 ,haydn z a man4 #c4 ,haydn's connection ) ,moz>t4 ,,lesson ,,xxxi4--#a4 ,moz>t's "*4 #b4 ,moz>t's /ruggles ) pov]ty4 #c4 ,moz>t's contributions to =m4 #d4 ,! ,vi5nese s*ool ( ?is p]iod4 ,,lesson ,,xxxii4--#a4 ,bee?ov5's "* z %[n 9 8 lett]s4 #b4 ,bee?ov5's peculi>ities4 #c4 ,bee?ov5 & 8 contempor>ies4 ,,lesson ,,xxxiii4--#a4 ,bee?ov5's mann] ( compos+4 #b4 ,bee?ov5's love ( nature4 #c4 ,effect ( ,bee?ov5 ^u succe$+ compos]s4 ,,lesson ,,xxxiv4--#a4 ,! po9ts ( sup]iority ( ! ,viol9 ov] ! ,viol4 #b4 ,! ?ree great mak]s ( viol9s4 #c4 ,:y ! viol9 is call$ ! ,k+ ( ,in/rum5ts4 ,,lesson ,,xxxv4--#a4 ,! "* ( e>ly viol9 music4 #b4 ,! developm5t ( viol9 play+ & composition4 #c4 ,arrange ! great play]s 9 _! respective s*ools4 ,,lesson ,,xxxvi4--#a4 ,classify ! in/rum5ts ( ! or*e/ra4 #b4 ,give a sket* ( ! developm5t ( ! or*e/ra1 in/rum5ts add$1 etc4 #c4 ,contra/ ,bee?ov5's "w ) t ( 8 pr$ecessors & successors4 #d4 ,:at is ! =m ( a ,symphony8 ,9 :at respects does ! =m us$ by mod]n compos]s diff] f t ( ! classical symphony8 ,,lesson ,,xxxvii4 ,,! ,,romantic ,,op]a4 ,,web]1 ,,spohr1 ,,m>s*n]4 ,! ,romantic ,movem5t4--,! revolution>y _s :i* arose 9 ,europe t[>d ! end ( ! #ah? c5tury _h its c\nt]p>t 9 a simil> intellectual & arti/ic reaction1 commonly kn[n z ! ,romantic ,movem5t4 ,9 ,lit]ature1 ?is movem5t 0 l$ by ,france2 9 ,music1 by ,g]many4 ,briefly describ$1 x consi/$ 9 ca/+ aside ! classical traditions :i* ! ,r5aissance _h impos$ ^u art 9 g5]al & 9 a sub/itution ( !mes & a treatm5t m 9 consonance ) ! atmosph]e ( fre$om :i* _h inspir$ su* mom5t\s social & political *anges4 ,its ,effect on ,music4--,! musician also felt ! influ5ce ( ! g5]al unre/4 ,9 seek+ new modes ( expression1 he rose to a consci\sness ( indep5d5ce bo? z man & arti/2 he refus$ long] to occupy ! position ( an upp] s]vant :i* _h be5 decre$ him by c\rt & nobility4 ,moz>t m>k$ ! pass+ ( ! old ord] ( ?+s by 8 indignant rejection ( ! humiliat+ conditions ( s]vice "u ! haughty ,ar*bi%op ( ,salzburg1 only rememb]$ by lat] g5]ations ?r\gh 8 connection ) ! musician he treat$ s contemptu\sly4 ,h]et(ore music _h be5 ! privileg$ ent]ta9m5t ( ! great & weal?y4 ,l o!r privileges1 x 0 to pass into ! possession ( ! p1 hi!rto %ut out f its enjoym5t save 9 ! ,*ur*4 ,x 0 to draw inspiration f a ri* /ore ( ,folk-lore & poetry h]et(ore disreg>d$ by ! s*ol> & ! musician1 b soon to be recogniz$ z a national h]itage ( high import2 x 0 to create new =ms in/ead ( be+ dep5d5t on "t-worn =mul :i* 7 repress+ gr[? & developm5t4 ,! ,romantic ,op]a4--,! ,romantic ,movem5t _h ! effect ( f9ally bani%+ f ! /age ! *>act]s ( classical my?ology1 ! h]oes & p]sonages ( antiquity :o _h be5 ?\ght alone wor?y ( repres5tation by ! poets & savants :o _h ?us f> prep>$ ! texts = op]as4 ,9 ! romantic op]a _! places 7 tak5 by figures ( leg5d or *ivalry1 elves & spirits ( e>? or air2 ! action paid no reg>d to ! unities ( "t & place2 x 0 brisk & animat$ & ! sup]natural play$ an important "p 9 x4 ,! music1 in/ead ( be+ gov]n$ by ! re/ra9ts ( def9ite =ms1 adapt$ itself to ! v>y+ exig5cies ( ! drama2 ! %>p division betwe5 ! recitative & ! aria 0 s(t5$ by ! introduction ( ! ,sc5a1 a peculi>ly effective m+l+ ( ! features ( bo?2 ! ov]ture became an integral "p ( ! :ole by ! use ( !mes associat$ ) lead+ dramatic situations4 ,! or*e/ra n only suppli$ an h>monic & a rhy?mically int]e/+ accompanim5t b its p[] ( indep5d5t expression 0 enorm\sly enl>g$2 x became1 s to speak1 "o ( ! ,dramatis ,p]son & vi$ ) ! s+]s 9 indicat+ psy*ological & dramatic crises4 ,?is 0 l>gely due to ! developm5t ( a new phase ( in/rum5tation1 p]haps ! mo/ /rik+ detail ( ! ,romantic s*ool--t ( novel & orig9al comb9ations ( in/rum5ts to produce v>y+ & expressive %ades ( tone color4 ,h]et(ore ! or*e/ra _h be5 consid]$ 9 ! ma9 9 its m obvi\s divisions2 sonority & beauty ( tone _h be5 ! *ief aim ( ! classical compos]s4 ,c>l ,m>ia von ,web] 7#aghf-ahbf7 0 ! fir/ to utilize ! individual timbres ( or*e/ral in/rum5ts to secure effects ( a weird1 une>?ly "*4 ,illu/ration3 ,,c>l ,,m>ia ,,von ,,web]4 ,web] & ! ,romantic ,op]a4--,9 8 ,d] ,freis*tz 7,! ,free%oot]7 we fir/ f9d ! union ( all ^! *>act]i/ics4 ,h5ce ,web] is rightfully consid]$ ! f\nd] ( ! romantic op]a2 b x w\ld be a mi/ake to assume t he 0 ! orig9ator ( all its features4 ,^! _h be5 long 9 ! air4 ,9 ,haydn1 ! works ( ,moz>t & ,bee?ov51 9 ! ballads ( ,loewe1 ! songs ( ,s*ub]t1 unmi/akable romantic traits c (t5 be f\nd1 b !y are embodi$ 9 e/abli%$ =ms4 ,web]1 h[ev]1 br\ght toge!r ! qualities n[ associat$ ) ! t]m romantic 9 music1 & 9 apply+ !m to ! drama fre$ !m f ! re/rictions ( a fix$ musical /ructure4 ,influ5ce ( 8,d] ,freis*tz40--,! effect ( ,d] ,freis*tz on its production 9 ,b]l9 9 #ahba 0 in/antane\s4 ,! /ory ( ! hunt]'s rec\rse to unholy arts 9 ord] to w9 success 9 ! *ase1 ( 8 rescue f ,satanic p[] & ! f9al triumph ( good ov] evil2 ! music1 fre%1 vivid1 ess5tially national 9 color1 appeal$ to ! p to :om ! leg5d 0 well kn[n4 ,x meant ! bir? ( ,g]man op]a1 ,g]man alike 9 drama & music2 x gave ! f9al bl[ to ! supremacy ( =eign influ5ces 9 ,g]many4 ,?is success at fir/1 h[ev]1 0 conf9$ almo/ entirely to ! p4 ,critics & musicians g5]ally c\ld n reconcile !mselves to its m+l+ ( /yles2 ! sup]natural elem5t seem$ to !m exagg]at$1 ! introduction ( ! ,folk-song want+ 9 dignity4 ,only ! greate/ ( !m all1 ,bee?ov51 deaf & cynical z he 01 realiz$ ! signification ( ,d] ,freis*tz z ! beg9n+ ( a new era = ,g]man art4 ,he said to ,ro*litz3 8,web] %\ld n[ write op]as--"o aft] ! o!r )\t hesitation40 ,euryan!4--,web]'s next op]a 0 ,euryan!1 produc$ 9 #ahbc 9 ,vi5na4 ,9 ?is he 0 hamp]$ by a text ( m ?an d\btful m]it & lack+ ! national elem5t :i* _h be5 s /rong a factor 9 ,d] ,freis*tz4 ,! /ory is laid 9 ! m$ieval *ivalric epo* & /rongly resembles ,%akespe>e's ,cymbel9e4 ,he also v5tur$ ^u an innovation :i* 0 n 9 favor ) ! ,g]man public3 he set x to music ?r\gh\t1 ! place ( ! dialogue cu/om>y 9 ,g]man op]a be+ tak5 by accompani$ recitative4 ,euryan! & ,spohr's ,jessonda1 :i* appe>$ sev]al mon?s be=e ! =m]1 7 ! fir/ ,g]man op]as 9 ?is /yle s9ce ,s*tz's ,dafne4 ,?is & its confus$ plot kept ,euryan! f ! popul> success a*iev$ by ,d] ,freis*tz1 yet x conta9s "s ( ,web]'s mo/ ?rill+ inspirations1 & is ! direct prototype ( ! mod]n music drama4 ,ob]on4--,9 ,ob]on 7#ahbf71 compos$ = ,london to an ,engli% text1 ,web] return$ to 8 =m] mann]1 ?\gh some:at aga9/ 8 w4 ,he f\nd ! ,engli% op]a mu* ! same z 9 ,purcell's "t1 practically a play ) music z an incid5tal feature r ?an z an integral "p ( ! drama4 ,he int5d$ ca/+ ,ob]on into a l>g] m\ld1 r$uc+ ! dialogue & add+ to ! music1 b ?is 0 prev5t$ by 8 premature dea? 9 ,london two mon?s aft] its production4 ,recitative & ,dialogue4--,! *ill+ effect ( alt]nat+ spee* & song has already be5 spok5 ( 9 connection ) ! ,engli% op]a4 ,at t "t1 bo? ,engli% & ,g]man ta/e 0 aga9/ ! use ( recitative 9 ! n>rative p>ts ( an op]a4 ,! recitativo secco1 :i* x w be rememb]$ is a recitative support$ only by *ords on ! h>psi*ord or piano1 sometimes accompani$ ) a s+le /r+$ in/rum5t1 has nev] met ) favor outside ( ,italy1 :]e its intonations ne>ly approa* ! half-s++ inflections ( ,italian spee*4 ,! exclusive use ( accompani$ recitative--t is1 ! recitative accompani$ by ! full or*e/ra1 h[ev]1 delays ! action & moreov] appe>s weighty & ov]wr\ght unless appli$ to subjects ( an elevat$ or h]oic "*4 ,9 ,g]many & ,engl& ! desire to und]/& cle>ly ! dramatic movem5t l$ to ! ret5tion ( dialogue 9 all op]as4 ,9 ,france a di/9ction 0 made betwe5 op]as ) dialogue & op]as ) recitative only4 ,! fir/ is call$ ,opra ,comique1 orig9ally an (f%oot f ! ,italian ,op]a ,buffa1 9 :i* ! recitativo secco 0 replac$ by dialogue4 ,lat] ! t]m assum$ a te*nical mean+ by :i* x 0 appli$ to all op]as conta9+ spok5 dialogue :e!r _! subjects 7 comic or tragic1 9 contradi/9ction to :at is kn[n z ,gr& ,opra1 9 :i* ! accompani$ recitative is us$ exclusively4 ,! ,melodrama4--,! s-call$ melodrama is a compromise betwe5 ! dialogue & ! recitative4 ,9 ?is ! p]=m] recites 9 ! speak+ voice :ile ! or*e/ra supplies an accompanim5t :i* seeks to int5sify ! dramatic situation4 ,?is device orig9at$ 9 ,g]many & has f\nd ! mo/ favor f ,g]man compos]s4 ,x 0 fir/ employ$ by ,georg ,b5da 7#agba-agie7 9 a recitation1 ,ariadne 9 ,naxos 7#agdd71 :i* creat$ mu* int]e/4 ,two ( ! mo/ /rik+ in/ances ( ! melodrama are to be f\nd 9 ! grave-digg+ sc5e 9 ,fidelio & 9 ! incantation sc5e 9 ,d] ,freis*tz4 ,b h[ev] effective its occasional use may be1 ! e> suff]s f ! inevitable dissonance betwe5 ! fix$ pit*es ( ! musical scale & ! natural inflections ( ! speak+ voice4 ,?is is n[ s g5]ally recogniz$ t x has be5 practically ignor$ by mod]n compos]s 9 _! works = ! /age4 ,spohr & ! ,romantic ,op]a4--,ludwig ,spohr 7#aghd-ahei71 ,g]many's greate/ viol9i/ & a compos] ( em95ce 9 _m fields1 wrote a numb] ( op]as4 ,( ^!1 ,fau/ & ,jessonda /& fir/ 9 %[+ a ve9 ( g5u9e romanticism1 albeit !y lack ! ,folk-elem5t :i* br\ght ,web]'s music s close to ! he>ts ( ! p4 ,full ( beauty z !y und\bt$ly are1 l all ( ,spohr's music !y are weak5$ by ! con/ant recurr5ce ( c]ta9 mann]isms1 su* z *romatic progressions ( a p]si/5t type1 enh>monic modulations1 ! ov]-frequ5t use ( dim9i%$ int]vals4 ,spohr ex]cis$ a /rong influ5ce 9 favor ( ! new direction on acc\nt ( 8 high position z ! mo/ e/eem$ compos] & p]=m] ( ! day4 ,8 significance 9 ! romantic movem5t consi/s 9 8 be+1 z x 71 an int]m$i>y betwe5 ! late classical p]iod repres5t$ by ,bee?ov5 & ! mod]n music drama4 ,he knew ,bee?ov5 9 ,vi5na1 & 9 8 latt] days1 :5 director ( ! op]a 9 ,cassel1 did 8 utmo/ to introduce ,wagn]'s e>ly op]as to ! ,g]man public4 ,m>s*n]1 ,web]'s ,successor4--,web]'s legitimate successor 9 ! romantic op]a 0 ,he9ri* ,m>s*n] 7#agie-ahfa74 ,he _h be5 associat$ ) ,web] z assi/ant conductor at ! op]a 9 ,dresd51 & a /rong fri5d%ip exi/$ betwe5 !m4 ,web]'s influ5ce1 h[ev]1 0 wide & f>-rea*+2 x ext5d$ beyond ! op]a4 ,m>s*n]'s sph]e 0 practically conf9$ to ! /age1 :i* he enri*$ ) a s]ies ( /rongly *>act]iz$ works ma9ly ( a gloomy1 uncanny nature4 ,he %[s b little ( ! g5ial art ) :i* ,web] avails himself ( ! sup]natural m]ely z a backgr\nd = ! do+ & /riv+ ( 8 *>act]s1 & ?us nev] compromises ! human int]e/ !y h = u4 ,m>s*n] makes x ! sali5t *>act]i/ic ( 8 /ronge/ works4 ,9 ^! 8 pr9cipal ,dramatis ,p]son are demons & evil spirits :o tempt & torm5t ! innoc5t & lov+4 ,8 fir/ romantic op]a 0 ,d] ,vampyr 7#ahbe7 compos$ to a text prep>$ f ,byron's poem1 8,"l ,ru?v510 :i* is f\nd$ ^u a ,scot* leg5d4 ,not)/&+ ! repulsive nature ( ! subject1 its p[]ful treatm5t br\ght x imm$iate success 9 ,g]many & a little lat] 9 ,engl&4 ,x 0 foll[$ by ,d] ,templ> und die ,jd9 7,! ,templ> & ! ,jewess71 a v]sion ( ,scott's 8,ivanhoe40 ,?is1 h[ev]1 met ) less success ?an ,d] ,vampyr or its successor1 ,hans ,heil+1 ,m>s*n]'s ma/]piece4 ,! ,spielop]4--,! ,romantic s*ool _h a /rong influ5ce 9 ! developm5t ( a =m kn[n z ! ,spielop] 7lit]ally play-op]a71 :i* occupies a place betwe5 ! works we h be5 consid]+ & ! ,s+spiel4 ,z ?or\ghly ,g]man z ! latt]1 x %[s m f9i% & great] elaboration ( musical effect4 ,?\gh ess5tially romantic 9 ! fre$om ( its scope & *oice ( means1 its real sph]e is nei!r ! h]oic nor ! my/ic2 x conc]ns itself r ) ! light] aspects ( life1 ^? :i* require no exalt$ p[]s ( imag9ation or wide culture to appreciate--humor1 good *e]1 ! m]rim5t & mir? ( ! p 9 holiday mood4 ,alb]t ,lortz+ 7#ahjc-ahea7 is accept$ z ! creator ( ?is type1 ( :i* 8 mo/ popul> op]a1 ,z> und ,zimm]mann 7,cz> & ! ,c>p5t]71 is ! be/ kn[n example4 ,influ5ce ( ! ,romantic ,op]a4--,! value ( ! application ( all ! res\rces ( music to ! unfett]$ del9eation ( feel+ & emotion 9 all _! phases inaugurat$ by ! romantic op]a c h>dly be ov]-e/imat$4 ,f ! op]a x has won its way into absolute music1 creat+ new & orig9al =ms4 ,! *ange x has wr\ght 9 ! progress & developm5t ( ! art 9 g5]al is only second to ! revolution occasion$ by ! bir? ( ! op]a itself1 ?ree c5turies ago4 ,! impulse ( ! romantic movem5t 9 music is f> f be+ exhau/$ at ! pres5t day4 ,on ! contr>y1 x seems to h ga!r$ /r5g? & if x has rea*$ its culm9ation1 z "s w\ld h u believe1 ! signs are n yet app>5t to an unprejudic$ obs]v]4 ,,que/ions4 ,:at 0 ! ,romantic ,movem5t8 ,its effect on music8 ,tell ab\t ! ,romantic ,op]a4 ,:o 0 ! f\nd] ( ! ,romantic ,op]a8 ,give an acc\nt ( ,web]'s op]as4 ,contra/ ! use ( ,recitative & ,dialogue 9 op]a4 ,:at is ! ,melodrama8 ,give an acc\nt ( ,spohr & 8 "w4 ,give an acc\nt ( ,m>s*n] & 8 "w4 ,:at is ! ,spielop]8 ,:at 0 ! influ5ce ( ! ,romantic ,op]a8 ,,lesson ,,xxxviii4 ,,! ,,fr5* ,,s*ool ,,( ,,! ,,xix? ,,c5tury4 ,fr5* ,s*ools ( ,opra4--,z already expla9$1 ,fr5* op]a is divid$ into two /yles1 kn[n z ,opra ,comique & ,gr& ,opra1 accord+ to ! use ( dialogue or recitative4 ,n t ?is is ! only diff]5ce4 ,! ,gr& ,opra is naturally adapt$ to subjects ( a l>ge or h]oic scope2 ! ,opra ,comique1 l ! ,spielop] 9 ,g]many1 to light] episodes ( a romantic or humor\s nature4 ,z w be se51 h[ev]1 x n infrequ5tly happ5s t ! latt] =m is adopt$ = s]i\s subjects1 ow+ to ! fact t x is g5]ally easi] = a compos] to f9d acceptance at ! ,opra ,comique ?an at ! ,gr& ,opra4 ,! y\?ful compos] or ! "o :o has n yet acquir$ a "n = himself is expect$ to w9 8 spurs 9 ! =m] be=e attempt+ to ent] ! latt]4 ,h5ce1 ev5 if 8 "w is somb] or tragic 9 "* he (t5 f9ds x advisable to ca/ x into ! light] =m = ! sake ( hav+ x produc$4 ,! ,opra ,comique4--,! ,opra ,comique _h its orig9 9 ! introduction ( ! ,opra ,buffa 9 ,p>is by an ,italian company ab\t ! middle ( ! #ah? c5tury1 :i* l$ to ! ,gluck-,picc9i controv]sy4 ,p]golesi's ,la ,s]va ,padrona 9 p>ticul> awak5$ great admiration & br\ght ab\t ! creation ( a simil> type ( ,fr5* op]a4 ,x 0 at fir/ h>dly m ?an an elaboration ( ! already exi/+ vaudeville1 or play ) songs4 ,franois ,philidor 7#agbf-agie7 & ,&re ,grtry 7#agda-ahac7 7 its f\nd]s4 ,grace & simplicity1 scrupul\s adaptation ( ! music to ! cle>ness ( diction always dem&$ by ,fr5* ta/e 7 its di/+ui%+ *>act]i/ics4 ,its ,developm5t4--ti5ne ,mhul 7#agfc-ahag71 a pupil ( ,gluck1 gave x a l>g] musical developm5t & a great] dep? ( dramatic feel+4 ,8 ,joseph 7#ahjg71 f\nd$ on ,biblical hi/ory1 is a classic ( ?is s*ool4 ,its dignity1 its sev]e & noble /yle won less cordial recognition 9 ,france ?an 9 ,g]many2 a g5]ation lat] x 0 to ex]cise a decisive influ5ce on ! future creator ( ! music drama4 ,x 0 ?r\gh a p]=mance ( ,joseph t ,ri*>d ,wagn]1 !n director ( ! op]a 9 ,riga1 fir/ felt inspir$ to battle aga9/ ! empty conv5tionalities ( ! op]atic /age4 ,mhul's enl>gem5t ( ! ,opra ,comique 0 c>ri$ on by ,*]ub9i1 :o ?r\gh ! ill-w ( ,napoleon f\nd ! doors ( ! ,acadmie de ,musique1 ! te*nical title ( ! ,gr& ,opra1 clos$ aga9/ him4 ,ev5 8 greate/ tragic op]a1 ,m$e 7,m$ea71 0 produc$ 7#agig7 z an opra comique )\t recitative & ballet1 ! latt] be+ also res]v$ exclusively = ,gr& ,opra4 ,?us x (t5 happ5$ t !re 0 little1 9 _m cases no intr9sic diff]5ce betwe5 ! music ( ! two s*ools4 ,! ,typical ,opra ,comique4--,!re 01 on ! o!r h&1 a developm5t ( a type m closely correspond+ to ! orig9al s*eme ( ! ,opra ,comique4 ,/rongly influ5c$ by ! romantic t5d5cies ( ! day1 its romanticism by no means resembles t ( ! ,g]man s*ool z repres5t$ by ,web] & 8 foll[]s4 ,?is1 9 its appeal to ! deep] emotions by ! idealization ( nature & rec\rse to ! sup]natural1 is ?or\ghly ali5 to ! ,gallic temp]am5t1 & _h no appreciable effect on ,fr5* compos]s4 ,gaiety & humor1 fre%ness ( inv5tion1 lightness ( t\*1 elegance & f9i% *>act]ize ! true ,opra ,comique4 ,its pa?os nev] s9ks bel[ a c]ta9 s5tim5t :i* is skilfully us$ r = ! sake ( contra/ ?an f any p]si/5t attempt at awak5+ ! m somb] feel+s4 ,! s+] & ! actor bo? meet ) consid]ation2 ! =m] by sp>kl+ melodies1 expressive & grateful to s+1 n ov]-burd5$ ) ! te*nical difficulties 9 :i* ! ,italian s*ool ab\nds2 ! latt] by a drama furni%+ piquant situations1 season$ ) wit & int]e/+ 9 itself z a play4 ,boieldieu1 its ,f\nd]4--,z ,mhul gave ! impulse to ! grav]1 m dignifi$ /yle1 s ,franois ,boieldieu 7#agge-ahcd7 laid ! f\ndation ( ! typical ,opra ,comique1 ! mo/ orig9al & ess5tially national ,fr5* op]atic =m4 ,8 ,jean de ,p>is 7,john ( ,p>is7 & ,la ,dame ,blan*e 7,! ,:ite ,lady7 plac$ him at ! head ( ?is s*ool4 ,! latt] 9 p>ticul>1 bas$ on a curi\s comb9ation ( situations tak5 f two ( ,scott's novels1 8,! ,mona/]y0 & 8,guy ,mann]+10 has be5 sung ! _w ov] & /ill rema9s an unsurpass$ example ( ! ,opra ,comique 9 its be/ e/ate4 ,aub]4--,! mo/ prolific compos] 9 ?is /yle 0 ,daniel ,aub] 7#aghb-ahga74 ,?\gh he began z an amateur & aft] ye>s sp5t 9 o!r pursuits1 he outliv$ all 8 e>ly contempor>ies & became its mo/ widely kn[n repres5tative4 ,) "o exception1 to be notic$ lat]1 8 works reveal ! sali5t *>act]i/ics ( ! s*ool--fre%ness & melodic *>m1 f9esse ( rhy?m & in/rum5tation1 delicacy & ref9em5t r ?an p[] & dep?4 ,8 mo/ popul> op]a1 ,fra ,diavolo 7#ahcj71 has be5 sung on all /ages & 9 almo/ all languages4 ,o!rs less kn[n b equally m]itori\s are ,le ,maon 7,! ,mason & ! ,locksmi?71 ,le ,dom9o ,noir 7,! ,black ,dom9o7 & ,les ,diamants de la ,c\ronne 7,! ,cr[n ,diamonds47 ,hrold & ,adam4--,l\is ,hrold 7#agia-ahcc71 z a pupil ( ,mhul1 incl9es to a m s]i\s /yle4 ,8 ,zampa conta9s /rongly romantic features :i* made x m successful 9 ,g]many ?an ! melodi\s ,le ,pr aux ,cl]cs 7,! ,cl]ks' ,mead[--a not$ duell+ gr\nd 9 ,p>is dur+ ! #ag? c5tury71 ?\gh 9 ,france ?is vies ) ,la ,dame ,blan*e 9 ! di/9ction ( be+ ! mo/ popul> ,opra ,comique 9 ! rep]tory4 ,?\gh less significant ?an any ( ! =ego+1 ,adolphe ,adam 7#ahjc-ahef71 ! compos] ( ,le ,po/illon de ,longjumeau 7,! ,po/ilion ( ,longjumeau71 des]ves m5tion = ! grace & flu5cy ( 8 melodies1 albeit !y %[ a decl9e 9 "* & /yle :i* prefigures ! decad5t s*ool ( ! ,opra ,b\ffe 7burlesque op]a74 ,opra ,b\ffe4--,! att5tive obs]v] c h>dly fail to p]ceive t ! op]a z appeal+ to ! p at l>ge m ?an any o!r =m ( music is peculi>ly susceptible to social & political influ5ces4 ,! ,opra ,b\ffe be+ a deg5]ate (f%oot f ! ,opra ,comique1 x is no m]e accid5t t ! p]iod ( its mo/ ext5d$ popul>ity co9cid$ ) ! extravagance & folly ( ! ,second ,empire4 ,z a di/9ct type x is due to ,jacques ,(f5ba* 7#ahai-ahhj71 a ,g]man by bir?1 :o took advantage ( ! ta/e ( ! "t by turn+ 8 att5tion to ! p>ody ( ! classical & my?ological subjects :i* _h furni%$ mat]ial = ! e>ly op]as4 ,frivol\s & mock+ 9 text1 sprightly & vivaci\s 9 melody & rhy?m1 8 op]ettas possess und\bt$ piquancy & an eff]vesc5t /yle :i* = a "t intoxicat$ ! public4 ,_! vogue 0 happily brok5 by a s]ies ( light op]as ( mu* m wor?4 ,( ^!1 ,les ,clo*es de ,corneville1 kn[n to ,am]icans z 8,! ,*imes ( ,norm&y10 by ,rob]t ,planquette 7#ahdj-aijc7 is ! be/ example4 ,! ,influ5ce ( ! ,opra ,comique4--,! ,opra ,comique1 z f\nd$ by ,boieldieu & cont9u$ by ,aub] & ,hrold1 be>s a di/9ctively national "* to a mu* great] degree ?an ! m cosmopolitan ,gr& ,opra4 ,unlike ?is1 its developm5t 0 entirely due to native compos]s :o gave x ! ?or\ghly ,gallic impress ( _s1 vivacity1 & tru? to nature :i* c>ri$ x triumphantly ?r\gh all ! !atres ( ,europe4 ,?us x s]v$ to c\nt]act 9 "p ! reaction>y t5d5cy ( ,italian op]a4 ,9 ,p>is1 z else:]e1 dur+ ! fir/ qu>t] ( ! #ai? c5tury ,italian influ5ces 7 v p[]ful2 ,ross9i's works & ^? ( 8 imitators _h ! undesirable effect ( reviv+ 9 a mod]niz$ =m ! conv5tionaliz$ op]a ( ! #ah? c5tury1 ! *ief object ( :i* 0 ! display ( ! s+]4 ,! ,opra ,comique1 ?\gh limit$ to ! light] phases ( ! drama1 p]=m$ a s]vice ( no small value 9 uphold+ a /&>d ( legitimate musical expression at a "t :5 ! allurem5ts ( florid song 7 obscur+ ! dramatic ideals :i* ,gluck _h e/abli%$ at ! co/ ( s mu* labor & ef=t4 ,gr& ,opra4--,ab\t ! same "t1 important *anges 7 imp5d+ 9 ,gr& ,opra1 ?\gh ^! 7 m 9 ! nature ( a developm5t f ! type f\nd$ by ,lully & aft]w>d enl>g$ by ,rameau1 ,gluck & ,spont9i ?an a revolution su* z ,web] & 8 foll[]s _h effect$ 9 ,g]many4 ,!y 71 h[ev]1 ! outcome ( ! same romantic influ5ces modifi$ by ! *>act]i/ic ,fr5* adh]5ce to e/abli%$ =m4 ,a gr& op]a accord+ to tradition mu/ h five acts1 consi/+ ( arias1 ensembles1 *oruses1 etc41 connect$ by recitatives1 ) a ballet 9 "o or two ( ! middle acts1 g5]ally ! second & f\r?4 ,its ,*ange ( ,/yle4--,aub]'s ,la ,muette de ,portici 7,! ,dumb ,girl ( ,portici--kn[n also z ,masaniello71 produc$ at ! ,acadmie de ,musique 9 #ahbh1 =m$ ! po9t ( dep>ture = ! new /yle4 ,?\gh x held to ! traditional =m ( ,gr& ,opra1 x 0 9 _s1 !me & treatm5t a />tl+ *ange f ! ord9>ily g5ial works ( ?is compos]1 *>act]iz$ z x 0 by a =ce & fire1 a vigor & decision :i* he _h nev] %[n be=e & 0 nev] to %[ aga94 ,x m>ks ! beg9n+ ( ! mod]n hi/orical op]a1 ! complete ab&onm5t ( classical & anci5t hi/ory z ! only appropriate mat]ial = ,gr& ,opra4 ,! p 7 br\ght ^u ! /age n z slaves or z meekly acquiesc+ 9 ! w ( ^? 9 au?ority1 b z insurrectioni/s dem&+ rights ( :i* !y _h be5 defraud$4 ,! /ory ( ! ,neapolitan fi%]man lead+ 8 comrades into rebellion aga9/ _! tyrannical rul]s _h a p[]ful effect 9 ! agitat$ /ate ( political affairs :i* culm9at$ 9 ! revolutions ( #ahcj4 ,x is significant t a p]=mance ( ,la ,muette de ,portici imm$iately prec$$ ! riots 9 ,brussels1 :i* 9 t ye> result$ 9 ! expulsion ( ! ,dut* f ,belgium4 ,ross9i's ,william ,tell1 :i* foll[$ 9 #ahbi1 manife/$ precisely ! same t5d5cies1 musically z well z dramatically4 ,bo? 7 de/9$ to be ca/ into ! %ade by ! works ( a ?ird compos] :o gave ! ,fr5* gr& op]a a /yle :i* practically dictat$ conditions on all /ages = half a c5tury & is /ill n )\t influ5ce4 ,illu/ration3 ,,giacomo ,,mey]be]4 ,mey]be]4--,?is compos] 0 ,giacomo ,mey]be] 7#agia-ahfd71 ,g]man by bir? & e>ly education1 ,italian by tra9+ 9 m mature ye>s1 & f9ally ,fr5* by adoption4 ,a juv5ile piani/ ( great promise1 he /udi$ ) ,clem5ti2 he w5t ?r\gh a sev]e c\rse ( fugue & c\nt]po9t ) ,zelt]1 ! tea*] ( ,m5delssohn2 9 composition he 0 a fell[-/ud5t ) ,web] "u ! fam\s ,abb ,vogl]4 ,9 ,vi5na he knew ,bee?ov5 & 0 advis$ by ,sali]i to /udy 9 ,italy1 :]e he wrote a numb] ( ,italian op]as aft] ! /yle ( ,ross9i4 ,9 #ahbf1 he w5t to ,p>is1 ! ,mecca ( all op]a compos]s1 ) ! design ( mak+ himself famili> ) ! conditions ( ,gr& ,opra4 ,8 ,fir/ ,gr& ,op]a4--,! result ( 8 /udies 0 ,rob]t le ,diable 7,rob]t ! ,devil7 produc$ 9 #ahca4 ,?is creat$ a v]itable s5sation4 ,no?+ ( s compreh5sive a /yle _h be5 se5 or he>d be=e4 ,mey]be]'s cosmopolitan education1 8 receptive r ?an orig9al m9d1 enabl$ him to comb9e ! outw>d *>act]i/ics at lea/ ( ! ?ree s*ools--,fr5*1 ,g]man1 ,italian--z no "o _h ev] attempt$4 ,! /ory ( ! ar*-enemy ( mank9d seek+ to ensn>e a son by an e>?ly "m into %>+ 8 lo/ condition1 ! /ruggle betwe5 ! p[]s ( good & evil = ! ma/]y ( ! tempt$ s\l gave full scope to su* an amalgamation ( /yles4 ,! ballet & spectacul> effects ( ,lully1 ! sup]naturalism ( ,web]1 ! r\lades ( ,ross9i 7 all br\ght toge!r ) an art t dazzl$ & intoxicat$ an admir+ public4 ,8 ,o!r ,gr& ,op]as4--,five ye>s lat] ,rob]t 0 foll[$ by ,les ,hugu5ots 7,! ,hugu5ots71 :i* a*iev$ a /ill great] success1 & is ! "o op]a ( ,mey]be] :i* cont9ues to hold its own aga9/ ! encroa*m5ts ( "t4 ,9 "o or two episodes ( ,le ,prophte 7,! ,prophet71 :i* 0 produc$ 9 #ahdi1 ! compos] rea*$ ! highe/ level ( 8 creative activity1 not)/&+ ! manife/ artificiality ( 8 s*eme4 ,8 la/ "w1 ,l',africa9e 7,! ,african71 0 br\ght out ! ye> aft] 8 dea? & l ! o!rs ow$ its success to a skilful m+l+ ( all ! elem5ts1 musical1 spectacul>1 & dramatic1 :i* g to make up ?is type ( op]a4 ,8 ,l'toile du ,nord 7,/> ( ! ,nor?7 & ,le ,p>don de ,plormel 7bett] kn[n z ,d9orah7 7 compos$ = ! ,opra ,comique4 ,influ5ce ( ,mey]be]4--,mey]be] s held ! public 9 8 grip t o!r compos]s ( ,gr& ,opra ga9$ b slight att5tion dur+ 8 lifetime4 ,only ,jacques ,halvy 7#agii-ahfb7 0 able to meet him on equal t]ms 9 ?is field ) ,la ,juive 7,! ,jewess71 9 :i* he %[s ! e>ne/ _s ( 8 ma/] ,*]ub9i4 ,?\gh ,mey]be]'s wat*word 0 success at any co/ & 8 aim to assure x by ! accumulation ( cunn+ly devis$ s5sations r ?an ?r\gh ! innate p[] ( 8 music1 8 works _h a p[]ful &1 on ! :ole1 a b5eficial influ5ce on ! c\rse ( mod]n dramatic music4 ,!y plac$ liv+1 palpitat+ be+s on ! /age in/ead ( ! cold ab/ractions ( my?ology & antiquity2 ! s+] 0 =c$ to imp]sonate z well z to s+4 ,8 insi/5ce on all means ( expression--vocal1 in/rum5tal1 & sc5ic--?\gh (t5 exagg]at$ & fatal to purity ( /yle1 l$ to an ext5sion ( te*nical ability 9 all ^! directions1 & prep>$ ! way = a ma/] ( great] p[] & high] aims4 ,x mu/ n be ov]look$ t ,ri*>d ,wagn] frankly model$ 8 ,ri5zi 7#ahdb7 aft] ,les ,hugu5ots1 & t ,mey]be] 9 ,le ,prophte %[s pla9ly ! influ5ce ( ?is "w by 8 ,g]man contempor>y4 ,,que/ions4 ,:at two /yles are f\nd 9 ,fr5* op]a8 ,tell ab\t ! orig9 ( ,opra ,comique4 ,tell ab\t ! developm5t ( ,opra ,comique4 ,describe ! typical opra comique4 ,m5tion ! prom95t compos]s 9 ?is =m & _! "w4 ,describe ,opra ,b\ffe4 ,:at compos]s 7 prom95t 9 ?is =m8 ,:at 0 ! influ5ce ( ! ,opra ,comique8 ,:at 0 ! e/abli%$ =m ( ,gr& ,opra8 ,:o contribut$ to a *ange ( /yle8 ,:at 7 ! *anges8 ,give an acc\nt ( ,mey]be] & 8 "w 9 ,op]a4 ,:at 0 8 influ5ce8 ,,lesson ,,xxxix4 ,,! ,,italian ,,s*ool ,,( ,,! ,,xix? ,,c5tury4 ,lat] ,italian ,s*ool4--,:ile ,mey]be] 0 dom9at+ ! ,fr5* /age & ?r\gh x ex]t+ a p[]ful influ5ce on s]i\s op]a 9 all c\ntries1 ! ,italian s*ool 0 recov]+ 9 "p f ! impulse giv5 x by ,ross9i4 ,! highly ornam5t$ /yle :i* he br\ght into vogue 0 modifi$ 9 ! works ( sev]al compos]s :o also gave m consid]ation to tru? ( expression4 ,) ^!1 melody /ill reign$ supreme1 b x 0 %orn ( ! excessive ornam5tation :i* ov]load$ ,ross9i's music2 9 "* & rhy?m x 0 also m g5]ally 9 accord ) s5tim5t & situation4 ,! florid elem5t 0 by no means suppress$2 x _h be5 an integral factor 9 ,italian music = two c5turies & 0 too /rongly entr5*$ 9 public favor to be bani%$ s completely z x _h be5 9 ! ,g]man romantic op]a1 b x 0 kept 9 subord9ation & 9 ! ma9 n all[$ to dictate ! melodic idea4 ,?is 0 a /ep 9 advance = ! ,italian s*ool ( t p]iod1 :i* ?r\gh ! flu5t w>bl+s ( ,ross9i & 8 imitators1 _h approa*$ dang]\sly ne> ! ,sc>latti-,h&el type ( ! previ\s c5tury4 ,donizetti4--,?is reaction 9 ! direction ( great] simplicity & s9c]ity 0 l$ by ,gaetano ,donizetti 7#agig-ahdh74 ,at fir/ a foll[] ( ,ross9i1 he only atta9$ success aft] ! latt] _h ceas$ compos+ & he himself _h acquir$ a /yle ( 8 own4 ,donizetti 0 n )\t innate =ce1 b 8 great melodic facility l$ him to rely ^u melody r ?an ^u musical developm5t or dramatic *>act]ization4 ,h5ce 8 tragic op]as1 ?\gh (t5 admirable 9 detail1 lack ! su/a9$ /r5g? dem&$ by _! subjects4 ,( ^!1 ,lucia 7f\nd$ ^u ,scott's 8,bride ( ,lamm]moor07 a*iev$ ! greate/ popul>ity1 :ile 9 ,la ,favorita 7compos$ = ! ,gr& ,opra7 he %[s m dramatic p[] ?an 9 any ( 8 m ?an ?ree-score op]as4 ,9 _m ( 8 light] works he is p>ticul>ly happy2 = example1 9 ,don ,pasquale1 :i* comp>es favorably ) ,ross9i's ,il ,b>bi]e1 & 9 ,l',elisire d',amore 7,! ,elixir ( ,love74 ,la ,fille du ,rgim5t 7,! ,daught] ( ! ,regim5t--writt5 = ! ,opra ,comique7 has made ! t\r ( ! _w4 ,bell9i4--,8 y\ng] contempor>y1 ,v9c5zo ,bell9i 7#ahja-ahce71 on ! contr>y1 displays no capacity = humor nor is he mu* bett] fitt$ to cope ) ! somb] or ! h]oic4 ,ess5tially a lyrical temp]am5t1 nei!r broad nor deep b end[$ ) exquisite s5sibility )9 c]ta9 limits1 8 sph]e is ! emotional1 ! t5d] & ! elegiac4 ,= ?is reason 8 *>m+ op]a1 ,la ,sonnambula 7,! ,somnambuli/71 on acc\nt ( its idyllic subject1 is a m repres5tative "w ?an ,norma or ,i ,puritani 7,! ,puritans71 ?\gh bo? enjoy$ high popul>ity until )9 rec5t ye>s4 ,mu* ( ,bell9i's vogue 0 due to ! admirable s++ ( a numb] ( ,italian arti/s :o 7 id5tifi$ ) 8 works--,pa/a1 ,grisi1 sopranos2 ,m>io1 t5or2 ,tambur9i1 b>itone2 ,labla*e1 basso1 n to =get ,j5ny ,l9d1 :o 0 at h] be/ 9 8 op]as4 ,) _! pass+ & ! e/abli%m5t ( ! mod]n s*ool ( dramatic composition1 9 :i* ! voice is only "o ( _m factors in/ead ( be+ ! *ief elem5t ( expression1 !y h gradually dropp$ f ! rep]tory4 ,v]di4--,a f> m significant p]sonality ?an ei!r ,donizetti or ,bell9i is ,giuseppe ,v]di 7#ahac-aija74 ,n m]ely a melodi/ b a dramati/ z well1 8 long life gave him ! opportunity ( pr(it+ by ! _m influ5ces :i* br\ght ab\t ! mighty musical developm5t ( ! la/ hundr$ ye>s4 ,! fact t he did s )\t compromis+ 8 arti/ic or national individuality %[s ! inh]5t g5ius :i* gives to him ! di/9ction ( be+ ! great ,italian compos] ( ! c5tury4 ,/rong & /urdy f ! fir/1 8 e>ly works1 if some:at co>se 9 fib]1 seem$ d\bly p[]ful 9 contra/ ) ^? ( 8 contempor>ies1 :i* 7 di/+ui%$ by sweetness & melody r ?an by dep? or vigor4 ,f ,ernani to ,rigoletto1 f ! mu* sung ,trovatore to ,don ,c>los1 to m5tion only a few ( 8 ?irty op]as1 ,v]di %[s a /eady gr[? 9 l>g5ess ( /yle & comm& ( means :i* culm9at$ 9 ,ada1 writt5 = ! ,kh$ive ( ,egypt to celebrate ! op5+ ( ! ,suez canal 9 #ahga4 ,illu/ration3 ,,giuseppe ,,v]di4 ,ada4--,ada is ! full fruition ( ! ,romantic movem5t beyond ! ,alps1 manife/$1 h[ev]1 9 a /yle & mann] ?or\ghly ,italian4 ,unmi/akably influ5c$ by ! uncompromis+ /& tak5 9 ,g]many by ,wagn]1 ,v]di "h %[s ! def9ite adoption ( a new /&>d1 yet by me?ods :i* make no decid$ break ) :at he _h hi!rto accompli%$4 ,9 =m1 ,ada is closely alli$ to ! ,mey]be] type ( ,gr& ,opra ?r\gh its succession ( dramatic & spectacul> features1 b ^! develop naturally 9 ! c\rse ( ! action & are comb9$ ) a s9c]ity & unity ( effect lack+ 9 ! m artificial creations ( ! ,g]man compos]4 ,! florid /yle is /rictly avoid$2 )\t ! cont9u\s fl[ ( ! music drama1 ! diff]5t movem5ts1 recitatives1 arias1 ensembles1 etc41 are yet m closely connect$ & are su/a9$ by a ri*]1 m flu5t or*e/ration ?an he _h hi!rto giv5 to 8 op]as1 ! local color call$ = by ! ,egyptian !me receiv+ adequate consid]ation4 ,significance ( ,ada4--,ada m>ks ! beg9n+ ( ! new ,italian s*ool1 "o m 9 sympa?y ) ! orig9al conception ( ! op]a z a drama1 :ile reta9+ ! *>act]i/ic ,italian grace & *>m ( vocal treatm5t4 ,?is s*ool 0 /ill fur!r enl>g$ & develop$ by ,v]di1 b ?is ext5sion belongs to a lat] p]iod & w be consid]$ 9 its logical connection4 ,wagn] & ! ,music ,drama4--,x is to ,ri*>d ,wagn] 7#ahac-ahhc7 t we owe ! r5aissance 9 mod]n =m ( ! primitive ideal ( ! op]a z embodi$ 9 ! works ( ,p]i & ,cacc9i4 ,simple & =mless z ^! n[ appe>1 !y conta9 ! g]m ( all t he has accompli%$1 ap>t f ! "q ( means1 ev5 to ! v "n ( music drama4 ,?is he reviv$ because1 9 8 op9ion1 ! t]m op]a _h acquir$ a prepond]antly musical signification :i* made x inappropriate = 8 lat] works 9 view ( _! dramatic "*4 ,an exception to ! g5]al rule ( precocity among musicians1 x 0 n until 8 sixte5? ye> t he resolv$ to devote himself to music4 ,l ,web]1 :om z a *ild he saw frequ5tly & reg>d$ ) ! utmo/ rev]5ce1 8 e>ly associations 7 ) ! !atre & ! drama1 a fact ( no small significance 9 ! c>e]s ( bo?4 ,d] ,freis*tz 0 8 favorite op]a1 a lik+ :i* bore abundant fruit 9 lat] ye>s4 ,illu/ration3 ,,wagn] ,,9 #ahec4 ,8 ,e>ly ,op]as4--,! future ma/] ( ! music drama1 h[ev]1 began by compos+ op]as--op]as1 moreov]1 9 :i* he %[s orig9ality 9 "o feature only--t ( writ+ _! texts himself1 & ?is rema9$ 8 inv>iable practice4 ,9 o!r respects !y gave no h9t ( ! />tl+ individuality he 0 to unfold s unexpect$ly 9 8 ,fly+ ,dut*man4 ,8 fir/ op]a 0 ,die ,fe5 7,! ,fairies74 ,x 0 bas$ on a fairy tale ( b slight wor?1 & ! music 0 /rongly rem9isc5t ( ,web] & ,m>s*n]4 ,z ! "w ( a y\? ( tw5ty1 )\t reputation or influ5ce1 x is h>dly surpris+ t he f\nd no manag] will+ to produce x4 ,he 0 some:at m =tunate ) 8 second op]a1 ,das ,liebesv]bot 7,! ,love ,veto71 an adaptation ( ,%akespe>e's 8,measure = ,measure40 ,?is 0 p]=m$ once1 9 #ahcf1 at ,magdeburg1 :]e he 0 director ( ! op]a1 & _h ?us come "u ! influ5ce ( ! ,fr5* & ,italian compos]s !n popul> 9 ,g]many4 ,! music is su* a palpable imitation ( ,adam1 ,aub]1 ,donizetti1 & ,bell9i t x has nev] be5 giv5 s9ce4 ,die ,fe5 0 nev] produc$ dur+ 8 lifetime1 b a few ye>s aft] 8 dea? receiv$ a numb] ( repres5tations 9 ,muni*4 ,8 ,soj\rn 9 ,p>is4--,9 #ahci1 he det]m9$ to g to ,p>is4 ,_m =eign compos]s _h succe$$ 9 ent]+ ! ,gr& ,opra1 among !m ,mey]be]1 !n 9 ! full flu% ( ! r5[n he _h ga9$ ) ,les ,hugu5ots4 ,:at "o ,g]man _h done1 ano!r might attempt4 ,accord+ly1 ) ! utmo/ fai? 9 8 /> & amid manifold disc\ragem5ts1 ,wagn] made 8 way to ! ,fr5* capital1 :]e he hop$ ?r\gh ! influ5ce ( ,mey]be] to secure ! acceptance ( 8 ,ri5zi at ! ,gr& ,opra4 ,he _h prep>$ x f ,bulw]'s novel ( ! same "n ) ! express int5tion ( utiliz+ x z a framework = ! l>ge spectacul> /yle dem&$ by ! ,acadmie de ,musique4 ,8 soj\rn 9 ,p>is br\ght him no?+ b disappo9tm5t4 ,nei!r ,ri5zi nor ,d] ,flieg5de ,hollnd] 7,! ,fly+ ,dut*man71 :i* he wrote dur+ 8 /ay ( two & a half ye>s1 0 successful 9 w9n+ a he>+1 :ile he liv$ ! great] "p ( ! "t 9 ! mo/ pa9fully /rait5$ circum/ances4 ,ri5zi4--,be=e long1 he realiz$ ! hopelessness ( 8 endeavor & s5t ,ri5zi to ,dresd51 :]e x 0 accept$ & aft] a long delay p]=m$ 9 #ahdb4 ,! result 0 a triumphant success & l$ to ! spe$y production ( ,! ,fly+ ,dut*man4 ,?is1 h[ev]1 by no means made a simil> impression4 ,ri5zi 0 an op]a ( ! type made famili> by ,mey]be]1 9 :i* effect 0 secur$ by ! heap+ toge!r ( e device kn[n to /agecraft4 ,! ballet1 ! m>* ( ! ,mess5g]s ( ,peace1 ! f9al cata/rophe ( ! burn+ ( ,rome1 _h z mu* to d ) its en?usia/ic reception z ! music1 :i* 0 noisy1 %[y & brilliant1 z befitt$ a "w ( su* calibre4 ,! ,fly+ ,dut*man4 ,*ange ( ,/yle4--,! ,fly+ ,dut*man1 h[ev]1 %[$ ,wagn] 9 an entirely diff]5t light4 ,) x1 in/ead ( receiv+ 8 inspiration f )\t1 z _h be5 ! case ) ! prec$+ op]as1 x came f )94 ,on 8 way to ,p>is he _h made a /ormy voyage ( sev]al weeks f a port on ! ,baltic to ,london4 ,he 0 famili> ) ! my? ( ! ,fly+ ,dut*man1 & f\nd t ! sailors on bo>d 8 %ip believ$ x implicitly4 ,?is 9 connection ) ,he9e's v]sion ( ! leg5d1 :i* repres5ts ! unhappy m>9] z doom$ to p]petual w&]+ on /ormy seas until he f9ds a woman fai?ful unto dea?1 made a /rong impression on him1 & :ile 9 ,p>is he wrote ! poem & compos$ ! music )9 sev5 weeks aft] f9i%+ ,ri5zi4 ,a m sudd5 metamorphosis ( /yle is unkn[n 9 ! hi/ory ( music4 ,! e>li] "w 0 an op]a pure & simple1 9 ! ord9>y acceptation ( ! t]m1 *>act]iz$ by pomp1 brilliancy1 sonority4 ,its successor 0 conceiv$ z a drama 9 :i* music s]v$ to emphasize ! action & to int5sify ! emotional situations2 in/ead ( be+ ma/]1 x 0 s]vant2 ext]nal effects 7 disreg>d$ save only z !y 7 9 h>mony ) ?is conception4 ,n t ! compos] entirely a*iev$ ?is ideal2 ,! ,fly+ ,dut*man displays n a few lapses into op]atic conv5tionalities1 b z a :ole x 0 a />tl+ & radical *ange :i* puzzl$ & displeas$ ! public4 ,!y _h look$ = some?+ 9 ! /yle ( ,ri5zi & c\ld make no?+ ( a "w s contr>y to ! popul> idea ( :at an op]a %\ld be4 ,accord+ly1 aft] a few p]=mances1 x 0 dropp$ f ! rep]tory4 ,tannhus]4--,no?+ daunt$ by ! lack ( favor %[n 8 *ange ( /yle1 ,wagn] c>ri$ x to a /ill great] ext5t 9 8 next op]a1 ,tannhus] 7#ahde71 f\nd$ on a m$ieval leg5d4 ,! dramatic motive ( ?is is mu* ! same z t ( ,! ,fly+ ,dut*man1 "o ( :i* ,wagn] 0 p>ticul>ly fond--! p[] ( love to r$eem & save f ! consequ5ces ( s9 & error4 ,tannhus] br\ght ab\t 8 head ! full /orm ( ho/ile criticism :i* ) ,! ,fly+ ,dut*man _h only begun to l[]4 ,he 0 reproa*$ = its difficulty1 = its lack ( pleas+ melodies1 = ! audaci\s h>monies :i* _m critics consid]$ inexcusable dissonances4 ,s+]s object$ to ! broad declamation x requir$2 !y compla9$ t x w\ld ev5tually ru9 _! voices4 ,loh5gr94--,?is almo/ g5]al dissatisfaction1 h[ev]1 l$ to no concessions by ! compos] 9 8 next op]a1 ,loh5gr91 :i* m>k$ a fur!r advance 9 ! unpopul> direction tak5 by its pr$ecessors1 b x int]f]$ ) its p]=mance4 ,?\gh he 0 conductor ( ! ,opra at ,dresd51 he c\ld n secure p]mission to produce x4 ,baffl$ & disc\rag$ 9 8 arti/ic s*emes1 a radical 9 politics1 he jo9$ ! insurrectioni/s dur+ ! revolution ( #ahdi4 ,! failure ( ! rebellion necessitat$ a ha/y flight f ,g]many4 ,he took refuge 9 ,switz]l& & rema9$ 9 exile until a proclamation ( amne/y 9 #ahfa all[$ him to return4 ,9 ! meantime he _h s5t ! score ( ,loh5gr9 to ,liszt1 !n conductor ( ! op]a at ,weim>1 & !re x 0 br\ght out 9 #ahej4 ,loh5gr9 prov$ ! turn+-po9t 9 8 =tunes4 ,! romance ( ! subject1 its dramatic treatm5t & und5iable beauty gradually reconcil$ ! public to ! novelty ( its /yle4 ,be=e ,wagn] 0 reliev$ f 8 s5t5ce ( bani%m5t x _h become "o ( ! mo/ popul> op]as 9 ,g]many--he once ruefully rem>k$ t he w\ld soon be ! only ,g]man :o _h n he>d x4 ,,que/ions4 ,:o l$ 9 ! *anges 9 ,italian ,op]a aft] ,ross9i8 ,give an acc\nt ( ,donizetti & 8 "w4 ,give an acc\nt ( ,bell9i & 8 "w4 ,give an acc\nt ( ,v]di & 8 e>li] works4 ,:at is ! significance ( ,ada 9 ! hi/ory ( ,op]a8 ,tell ab\t ! *anges t ,wagn] 0 to make4 ,give an acc\nt ( 8 e>ly op]as4 ,:y did he g to ,p>is8 ,describe ,ri5zi1 ,! ,fly+ ,dut*man1 ,tannhus]1 ,loh5gr94 ,,lesson ,,xl4 ,,ri*>d ,,wagn]',s ,,music ,,dramas4 ,,o!r ,,s*ools4 ,wagn]'s ,!ory ( ! ,music ,drama4--,loh5gr91 l ,! ,fly+ ,dut*man1 0 transitional 9 "* & l$ into ,wagn]'s ?ird mann]4 ,x 0 8 la/ op]a2 all 8 lat] works 7 kn[n z music dramas4 ,9 ^! he pursu$ unhesitat+ly ! logical conclusions ( ! !ories :i* he exp\nd$ at great l5g? 9 8 controv]sial writ+s1 ?\gh he 0 f> f be+ always consi/5t ) himself4 ,?us he reason$ t s9ce 9 ! spok5 drama b "o speak] is he>d at a "t1 ! same practice %\ld prevail 9 ! music drama1 :i* w\ld naturally d away ) all conc]t$ music1 *oruses1 etc4 ,?is rule he obs]v$ 9 ,! ,r+ ( ! ,nibelung51 b he wisely ab&on$ x 9 8 lat] works4 ,9 ,die ,mei/]s+] he also fail$ to foll[ 8 !ory t my?ical & leg5d>y subjects 7 ! only suitable mat]ial = ! music drama4 ,briefly /at$1 8 ultimate conclusion 0 z foll[s3 t ! art-"w ( ! future1 z he call$ x1 %\ld consi/ ( a syn!sis ( all ! arts4 ,music1 poetry1 pa9t+1 sculpture1 ar*itecture1 he ass]t$1 _h exhau/$ all t 0 possible to !m z sep>ate arts2 a high] plane c\ld be rea*$ h]eaft] only by a comb9ation :i* %\ld ga9 unity by subord9ation to a s+le pr9ciple4 ,?is pr9ciple he f\nd 9 poetry4 ,bee?ov51 he argu$1 _h felt ! insuffici5cy ( music alone to express 8 deepe/ inspiration1 & = t reason _h incorporat$ 9 8 la/ & greate/ symphony a *oral movem5t to ! words ( ,s*ill]'s 8,ode to ,joy40 ,9 ! music drama1 !re=e1 ! sc5e pa9t] replaces ! arti/ & ! ar*itect1 ! actor by pla/ic poses ! sculptor1 :ile ! musician mu/ all[ 8 music no =m b t dictat$ by ! poet 9 8 v]ses4 ,he ascrib$ ! ?rill+ effect ( ! ,greek drama to su* a union ( ! arts & ?is x 0 8 aim to revive ?r\gh 8 own works4 ,! ,lead+ ,motive4--,! "p assign$ by ! ,greek dramati/s to ! *orus :o exp\nd$ & comm5t$ on ! ev5ts ( ! play 0 9 8 s*eme transf]r$ to ! or*e/ra4 ,?is he did by means ( ! ,leitmotiv 7lead+ motive74 ,a leitmotiv is a *>act]i/ic !me or h>monic progression associat$ ) ea* ( ! ,dramatis ,p]son & :i* appe>s ) su* modification ( mode1 rhy?m1 or any ( its compon5t p>ts z ! dramatic situation dem&s4 ,x is n conf9$ to p]sonages alone2 9 ,! ,r+ ( ! ,nibelung1 = in/ance1 ! /ol5 gold1 ! r+ =m$ f x1 ! sword :i* plays su* an important "p 9 ,die ,walkre & 9 ,siegfri$ all h _! correspond+ motives4 ,x is ?r\gh ^! motives t ,wagn] is able to give 8 or*e/ra an all b articulate spee* & to weld ! music drama into an organic :ole4 ,by _! trans=mation & developm5t he succe$s 9 indicat+ psy*ological /ates & *anges z well z mat]ial conditions & objects4 ,rem9isc5t !mes ( a some:at simil> nature _h be5 us$ z f> back z ,moz>t & _h be5 employ$ m freely by compos]s ( ! ,romantic s*ool1 notably by ,web] 9 ,d] ,freis*tz & ,euryan!1 b !y 7 undevelop$ & elem5t>y 9 "*4 ,b]lioz 9 8 ,fanta/ic ,symphony 0 ! fir/ to conceive a typical !me & to alt] x 9 logical accordance ) ! progression ( 8 program1 b he did n adopt ! practice 9 8 op]as4 ,illu/ration3 ,,wilhelm ,,ri*>d ,,wagn]4 ,! ,un5d+ ,melody4--,beg9n+ ) ,loh5gr91 ,wagn] ab&on$ fix$ =ms & sub/itut$ :at he call$ un5d+ melody1 a practically cont9u\s fl[ ( tone divid$ alike betwe5 voices & in/rum5ts4 ,= ! mo/ "p he assign$ ! s+] a declamation z f> remov$ f ! set aria on ! "o h& z x 0 f dry recitative ( ! e>ly ,italian op]a on ! o!r4 ,yet l ! latt] x 0 condition$ by pr9ciples ( spee*4 ,l ! e>ly compos]s1 also1 8 subjects ) b two exceptions 7 my?ical or leg5d>y4 ,?is1 because ! sup]natural & ! unreal correspond m closely ) ! ideal elem5t introduc$ by ! use ( song = spee* ?an mat]ial drawn f ev]yday exp]i5ce or f ! exact *ronicles ( hi/ory4 ,! ,r+ ( ! ,nibelung4--,9 ! old ,teutonic folk-epic1 ! ,nibelung5 ,li$ 7,lay ( ! ,nibelung71 ,wagn] f\nd ! inspiration = 8 next & mo/ ext5d$ "w4 ,?is is ! great tetralogy1 ,d] ,r+ des ,nibelung 7,! ,r+ ( ! ,nibelung71 compos$ ( f\r dramas design$ = cont9u\s repres5tation3 ,das ,rhe+old 7,! ,rh9e ,gold71 ,die ,walkre 7,! ,valkyrie71 ,siegfri$1 ,die ,gtt]dmm]ung 7,! ,twilight ( ! ,gods74 ,x 0 begun & p>tially f9i%$ dur+ 8 /ay 9 ,switz]l&1 b 8 disc\ragem5t ov] :at he felt to be ! hopeless task ( ev] secur+ its p]=mance l$ him to ab&on x & to set to "w on ano!r drama :i* he decid$ %\ld be light] 9 "* & less difficult to execute1 9 ord] ! m readily to f9d acceptance4 ,tri/an & ,isolde4--,! result ( ?is resolution 0 ,tri/an und ,isolde1 b f> f be+ a return to 8 e>li] /yle1 z he _h plann$1 x 0 & probably /ill is ! mo/ intricate op]atic score 9 exi/5ce4 ,x 0 accept$ by ! ,op]a 9 ,vi5na1 b aft] fifty-sev5 rehe>sals ! s+]s decl>$ !mselves unable to le>n x & x 0 giv5 up z impossible ( execution4 ,?ree ye>s aft] 8 return to ,g]many an unlook$-= *ange took place 9 8 =tunes4 ,! "y k+ ( ,bav>ia1 ,ludwig ,,ii1 :o _h j asc5d$ ! ?rone1 _h be5 an ard5t admir] ( ,wagn] s9ce z a boy ( fifte5 he _h he>d ,loh5gr94 ,h>dly _h he tak5 8 seat be=e he summon$ ! disc\rag$ compos] to ,muni* & assur$ him support & protection4 ,tri/an und ,isolde 0 soon br\ght out 7#ahfe71 & ,wagn] busi$ himself ) ! composition ( ,die ,mei/]s+] von ,nrnb]g 7,! ,ma/] ,s+]s ( ,nuremb]g71 produc$ 9 #ahfh4 ,die ,mei/]s+]4--,?is is 8 only comic "w1 full ( hi!rto unsuspect$ humor & g5iality4 ,! /ory ( ! "y poet endeavor+ to ga9 admission to ! jeal\sly-gu>d$ ranks ( ! ma/] s+]s :o1 not)/&+ ! beauty ( 8 song1 reject him because he has violat$ _! hide-b\nd rules has a di/9ctly autobiographic value4 ,wagn] _h endur$ too mu* f simil> p$ants to be l5i5t ) ! picture he drew ( _! prototypes 9 m$ieval ,nuremb]g4 ,z /rik+ly diatonic 9 /yle z ,tri/an und ,isolde is *romatic1 ^! two works are ! /ronge/ illu/rations ( 8 v]satility4 ,bayreu? & ! ,fe/ival ,!atre4--,wagn] _h long *]i%$ ! plan ( a fe/ival !atre = ! p]=mance ( 8 ,r+ ( ! ,nibelung4 ,jeal\sy ( 8 favor ) ! k+ l$ to v>i\s intrigues :i* prev5t$ ! build+ ( su* a !atre 9 ,muni*4 ,! quiet t[n ( ,bayreu?1 !re=e1 z be+ a c5tral po9t1 0 *os51 & !re 9 #ahgf ! ,fe/spielhaus 0 op5$ ) ! fir/ complete p]=mance ( ! ,tetralogy4 ,x made a pr(\nd impression1 b ! exp5se ( ! und]tak+ 0 s great t x result$ 9 a heavy loss & ! !atre 0 clos$ = a numb] ( ye>s4 ,9 #ahhb1 h[ev]1 x reop5$ ) ,p>sifal & s9ce !n its triumphant c>e] has be5 "p ( musical hi/ory4 ,p>sifal4--,until #aijc1 :5 x 0 giv5 9 ?is c\ntry1 ,p>sifal 0 he>d only 9 ,bayreu?4 ,its semi-sacr$ "*1 its m+l+ ( religi\s my/icism & sorc]y1 its unrival$ /age effects1 its ov]:elm+ p[] ( climax1 ! consummate art ( its !matic con/ruction h made x ! mo/ discuss$ ( ,wagn]'s works4 ,:at place x may ev5tually hold 9 respect to ! o!rs c be decid$ only by "t4 ,z x is1 x /&s alone2 a second ,p>sifal is h>dly conceivable4 ,influ5ce ( ,wagn]4--,unlike ,web]1 ,wagn] did n create a s*ool--he belong$ to ! s*ool :i* ,web] f\nd$4 ,l ,gluck1 8 influ5ce p]meat$ all s*ools b to a mu* great] ext5t2 none has succe$$ 9 escap+ x4 ,?us f> 9 ,g]many x has be5 felt m 9 ! developm5t ( program music1 ! symphonic poem1 etc41 ?an 9 ! music drama itself4 ,_m h attempt$ to foll[ directly 9 8 /eps1 among !m ,augu/ ,bung]t 7#ahdf------7 ) a cycle ( music dramas1 ,die ,hom]is*e ,welt 7,! ,_w ( ,hom]71 f\nd$ ^u ! ,iliad & ! ,odyssey1 & ,ri*>d ,/rauss 7#ahfd------7 ) 8 ,guntram1 ,feu]sno? 7,fire ,fam9e7 & ,salome1 b none has yet %[n ! p[] to b5d ! b[ ( ,a*illes4 ,engelb]t ,hump]d9ck 7#ahed------7 is ! only "o ( ,wagn]'s successors to develop a new phase ( ! music drama4 ,?is he did by apply+ x to ! fairy tale 9 8 ,hnsel und ,gretel 7#ahic71 :i* soon f\nd its way to all /ages1 ! fir/ ,g]man op]a to h su* a success s9ce ! dea? ( ,wagn]4 ,wagn] 9 ,france4--,9 ,france1 ,wagn] act$ at fir/ n s mu* directly z indirectly1 & m 9 8 connection ) ! ,romantic s*ool ( ,web] ?an ?r\gh 8 individual /yle z reveal$ 9 ! music drama4 ,! *>act]i/ic cons]vatism ( ! ,fr5* s*ool 0 %[n 9 hold+ to =ms :i* _h be5 fix$ = g5]ations1 b little by little ^! 7 fill$ ) ! new romantic _s4 ,?is comes to ! =e 9 ,*>les ,g\nod 7#ahah-ahic71 ^: ,fau/ 7#ahei7 has ex]cis$ a /rong & la/+ influ5ce on ! lyric drama 9 ,france4 ,?\gh set =ms are n ab&on$1 !y are closely jo9$ by a melodi\s declamation :i* approa*es ! song-spee* ( ,wagn]2 ! or*e/ration1 too1 is unmi/akably romantic 9 treatm5t4 ,georges ,bizet 7#ahch-ahge7 9 ,c>m5 7#ahge71 an opra comique not)/&+ its tragic d5\em5t1 produc$ a "w ( great individuality1 :i* %[s ev5 m pla9ly ! influ5ce ( mod]n romanticism4 ,_h ! compos]'s c>e] n be5 cut %ort by 8 untimely dea?1 x is possible t ! ,fr5* s*ool w\ld h ma9ta9$ a m comm&+ position4 ,= ,p>is no long] holds h] =m] prem95ce z op]atic c5tre2 %e has be5 di/anc$ by ,bayreu?4 ,( late ye>s ! works t h _h ! mo/ pron\nc$ success 9 ! ,fr5* capital h be5 ,wagn]'s music dramas4 ,a little m ?an a g5]ation ago1 9 ! palmy days ( ,aub] & ,mey]be]1 a success at ! ,gr& ,opra or ! ,opra ,comique _h an int]national import & meant a spe$y transf]5ce to =eign /ages4 ,n[ ! int]e/ is l>gely local2 b few ( ! mod]n ,fr5* op]as are he>d outside ( ,france4 ,! influ5ce ( ,wagn] is evid5t 9 a new ,fr5* s*ool1 consi/+ 9 ! ma9 ( "y compos]s ^: works manife/ /rongly transitional features4 ,at pres5t ?is s*ool is 9 its /orm & /ress p]iod2 x is yet too e>ly to =eca/ its ultimate effect4 ,wagn] 9 ,italy4--,italy prov$ m responsive to ,wagn]'s influ5ce ?an ,france4 ,! p]=mance ( ,loh5gr9 7#ahfh71 9 ,bologna1 creat$ mu* en?usiasm among ! "y musicians ( nor!rn ,italy1 b x 0 ! septuag5>ian ,v]di :o inaugurat$ ! era ( ! music drama by 8 ,otello 7#ahhg7 & ,fal/aff 7#ahic74 ,/rictly speak+1 he _h be5 anticipat$ by ,arrigo ,boto 7#ahdb------71 :o1 ?r[n "u ,wagn]'s influ5ce 9 ,g]many1 _h foll[$ 8 example 9 be+ ! poet & compos] alike ( ,mefi/(ele 7#ahfh71 a v]sion ( ! ,fau/ leg5d4 ,b ?is 0 ,boto's only op]a1 & ?\gh he gave ! initial impulse to ! movem5t1 x 0 ,v]di :o c>ri$ x to a triumphant issue4 ,v]di's ,late/ ,/yle4--,ada _h be5 a gr& op]a ) /rong musico-dramatic t5d5cies4 ,9 ,otello & ,fal/aff1 ,v]di made a def9ite entrance into ! music drama4 ,! latt] 9 p>ticul>1 f\nd$ on ,%akespe>e's 8,m]ry ,wives ( ,w9dsor10 is an a/oni%+ t\r de =ce = a man ( f\r-score ye>s4 ,full ( ! sp>kle & fre%ness ( y\?1 yet 9 e measure reveal+ ! rip5ess ( matur$ g5ius1 x is "o ( an immortal trio ( lyric com$ies ( :i* ! o!rs are ,moz>t's ,fig>o & ,wagn]'s ,mei/]s+]4 ,! set & traditional =ms ( ! op]a "h disappe> entirely2 ! music is condition$ by ! text & its dramatic requirem5ts2 ! or*e/ra supports ! voices 9 a full1 melodi\s1 & compreh5sive fl[1 b nev] ov]p[]s !m4 ,h>dly any?+ c be deta*$ f its context )\t los+ significance & int]e/2 & ?is1 by ! way1 is "o ( ! mo/ di/9ctive peculi>ities ( ! music drama & m ?an any?+ else po9ts ! radical diff]5ce betwe5 x & ! op]a4 ,yet ?\gh ?is *ange ( mann] is und\bt$ly due to ,wagn]1 ,v]di is 9 no s5se an imitator4 ,! /yle rema9s 8 own & is ess5tially ,italian 9 "*--t is1 x is bas$ ^u vocal r ?an in/rum5tal capabilities4 ,! ,new ,italian ,s*ool4--,! late/ developm5t ( ! music drama 9 ,italy has be5 9 ! direction ( s-call$ naturalism4 ,?is consi/s 9 ! *oice ( brutal phases ( life = illu/ration1 told 9 %ort1 concise =ms :i* conc5trate & ha/5 ! dramatic action4 ,a great] contra/ to ! inord9ately long & h]oic op]as ( ,mey]be] & ,wagn] c h>dly be imag9$2 x is m ?an probable1 inde$1 t ! reaction aga9/ ! excessive l5g? ( ! music drama l$ to ! great & sudd5 vogue ( ?is s*ool4 ,! fir/ impulse to naturalism 0 giv5 by ,pietro ,mascagni 7#ahfc------7 9 8 two-act op]a1 ,cavall]ia ,ru/icana 7,ru/ic ,*ivalry71 9 #ahij4 ,?is is a tale ( love1 jeal\sy1 & rev5ge told 9 music admirably adapt$ to ! vivid1 crude repres5tation ( elem5tal passions4 ,two ye>s lat] foll[$ ,i ,pagliacci 7,! ,cl[ns7 by ,ruggi]o ,leoncavallo 7#aheh------71 a "w ( precisely ! same "*4 ,?\gh _m o!rs h essay$ ! same /yle1 ^! two ?us f> rema9 ! mo/ repres5tative ( _! class4 ,_! popul>ity has be5 approa*$ only by ,giacomo ,pucc9i 7#aheh------7 9 ,la ,bohme 7,! ,bohemians71 produc$ 9 #ahif4 ,f\r ye>s lat] 8 ,tosca appe>$ & did mu* to /r5g!n ! impression giv5 by its pr$ecessor--t 9 ,pucc9i ,italy possesses h] mo/ promis+ dramatic compos]4 ,s*ools ,comp>$4--,?us at ! beg9n+ ( ! #bj? c5tury we f9d ! pr9ciples ( ! music drama z enunciat$ by ,wagn] influ5c+ all ! ?ree great s*ools ( dramatic composition4 ,x is wor?y ( note1 h[ev]1 t ^! s*ools1 ?\gh ?us approa*+ 9 arti/ic ideals1 /ill reta9 ! *>act]i/ics :i* di/+ui%$ !m f ! v beg9n+3 ! ,italian1 melody & beauty ( tone2 ! ,fr5*1 cle>ness ( =m & logical dramatic developm5t2 ! ,g]man1 elevation ( subject & h>monic ri*ness4 ,y\ng] ,s*ools4--,y\ng] s*ools hav+ a /rongly national "* exi/ 9 ,russia & ,bohemia1 b z yet !y possess only local signification & h produc$ no practical effect outside ( _! respective c\ntries4 ,mi*ael ,gl9ka 7#ahjc-aheg7 ) 8 patriotic op]a1 ,life = ! ,cz>1 f\nd$ ! ,russian op]a 9 #ahcf4 ,! ,bohemian op]a is ( m rec5t orig9 & is associat$ pr9cipally ) ! names ( ,fri$ri* ,smetana 7#ahbd-ahhd7 & ,anton9 ,dvok 7#ahda-aijd74 ,resum4--,f its dual nature1 ! op]a is necess>ily a compromise4 ,compos$ ( two elem5ts1 ! musical & ! dramatic1 x is peculi>ly susceptible to dis9tegration2 its hi/ory is a record ( almo/ cont9u\s ve]+ f "o to ! o!r ( ^! two phases4 ,we h se5 h[ ! imm5se proportions ( ! anci5t amphi!atres l$ to ! musical declamation on :i* ! op]a is f\nd$1 f ! fact t ! tones ( ! s++ voice are f> m rea*+ ?an ^? ( ! voice 9 speak+4 ,! ,flor5t9e exp]im5t]s1 9 seek+ to re/ore ?is declamation1 soon discov]$ ! capabilities = emotional expression lat5t 9 ! v>y+ timbres & va/ly ext5d$ range ( ! =m]4 ,z = its musical possibilities1 ^! 7 entirely beyond _! k54 ,! /eps tak5 9 t direction !y reg>d$ ) disfavor z indicat+ a deviation f ! oratorical /&>ds :i* 7 _! sole aim4 ,aft] ,c>issimi & ,sc>latti _h develop$ ! elem5ts ( symmetrical =m & melody1 music em]g$ f ?is dep5d5t condition & dictat$ to ! drama1 :i* sank to an almo/ negligible factor4 ,! reaction l$ by ,gluck s]v$ to re/ore ! balance = a "t1 b ?r\gh ,ross9i & 8 foll[]s ! p5dulum aga9 swung 9 ! o!r direction4 ,! ,romantic movem5t !n br\ght ! drama aga9 to ! =e2 ! _s ( ! age 0 beh9d x & all s*ools felt its influ5ce1 ?\gh ea* manife/$ x 9 *>act]i/ic fa%ion4 ,influ5ce ( ! ,op]a on ,music 9 ,g5]al4--,^! alt]nations h _h a p[]ful effect on ! developm5t ( music 9 g5]al1 an effect bo? te*nical & expressive 9 nature4 ,f ! h>psi*ord & ! few viols us$ at fir/ m]ely to support ! voice & to give x pit*1 ! or*e/ra exp&$ into a l>ge body ( in/rum5ts capable 9 itself ( dramatic utt]ance4 ,f ! t9y ritornello ( eight measures play$ by ?ree flutes 9 ,p]i's ,euridice1 !re has gr[n an indep5d5t in/rum5tal art ( va/ significance4 ,! op]a also creat$ a s*ool ( s++ :i* ?\gh (t5 unwor?ily us$ = purposes ( purely p]sonal display is ! basis ( ! vocal art ( today4 ,9 %ort1 x is n too mu* to say t ! little b& ( s*ol>s & musicians :o met ?ree c5turies ago ) ! aim ( reviv+ a lo/ art practically orig9at$ a new "o4 ,,ref]5ces4 ,f9ck4--,wagn] & ,8 ,works4 ,mod]n ,compos]s & ,_! ,works4 ,,que/ions4 ,give an acc\nt ( ,wagn]'s !ory ( ! ,music ,drama4 ,:at is meant by ! t]m ,lead+ ,motive8 ,un5d+ melody8 ,:at works compose ! ,r+ s]ies8 ,tell ab\t 8,tri/an und ,isolde10 8,die ,mei/]s+]40 ,9 :at city 0 a !atre built = ,wagn]'s dramas8 ,describe 8,p>sifal40 ,:at compos]s has ,wagn] influ5c$8 ,:at 0 8 influ5ce on ,fr5* compos]s & ! names ( ^? mo/ prom95t2 _! works8 ,:at 0 8 influ5ce ^u ! ,"y ,italian s*ool8 ,:o are ! prom95t memb]s ( t s*ool8 ,:at *anges did ,v]di %[ 9 8 late/ works8 ,:at are ! *>act]i/ics ( ! v>i\s s*ools8 ,give a rsum ( ! developm5t ( op]a4 ,:at has be5 ! influ5ce ( op]a ^u music8 ,,review ,,sugge/ions1 ,,lessons ,,xxxvii ,,to ,,xl4 ,:at 0 ! effect ( ! ,romantic movem5t on ! ,op]a8 ,write a sket* ( ,web] & 8 "w 9 ,op]a4 ,:at diff]5ces are !re betwe5 ,opra ,comique & ,gr& ,opra8 ,comp>e ! works ( ,spohr & ,m>s*n] ) ^? ( ,web]4 ,describe ! typical ,opra ,comique & "n "s notable "w 9 ?is /yle4 ,:at *anges took place 9 ,gr& ,opra ?r\gh ! influ5ce ( ,aub] & ,mey]be]8 ,/ate ! diff]5ces betwe5 ! ,g]man1 ,fr5* & ,italian op]a /yles4 ,write a sket* ( ,v]di & 8 works4 ,give an acc\nt ( ,wagn] & ! works ( 8 fir/ p]iod4 ,8 second p]iod4 ,:at 0 ,wagn]'s !ory ( ! music drama8 ,expla9 ! two ess5tial pr9ciples he us$4 ,describe ,wagn]'s lat] works3 8,r+0 s]ies1 8,tri/an und ,isolde10 8,die ,mei/]s+]10 8,p>sifal40 7,ea* "o may be made ! subject ( an essay47 ,h[ did ,wagn] influ5ce op]a 9 ,italy & 9 ,france8 ,give a sket* ( ! lat] s*ools ( op]a4 ,,lesson ,,xli4 ,,piano ,,play+ ,,& ,,composition3 ,,clem5ti ,,to ,,field4 ,dur+ ! p]iod aft] ,moz>t to ! beg9n+ ( ! ,romantic movem5t1 "o "n alone atta9s ! fir/ rank--t ( ,bee?ov54 ,at ! same "t !re are sev]al epo*-mak+ piani/s1 ^: compositions display tal5t r ?an g5ius1 b :o h ea* r5d]$ indisputable s]vice 9 accompli%+ ! transition f ! classic to ! romantic compos]s4 ,! l&m>ks1 s to speak1 ( ?is p]iod are ,clem5ti1 ,cram]1 ,hummel1 ,cz]ny1 ,mos*eles & ,field4 ,muzio ,clem5ti 7#ageb-ahcb7 0 born at ,rome4 ,8 fa!r 0 quick to p]ceive 8 son's gift = music1 & /rove to develop x by ! be/ tea*+ available4 ,:ile he 0 /ill a lad1 an ,engli%man1 ,b$=d or ,beck=d1 took "y ,clem5ti ) him to ,engl& :]e he liv$ ) 8 b5efactor until #aggj1 p]fect+ himself 9 piano play+ & composition4 ,at 8 fir/ appe>ances 9 ,london he creat$ a furore1 & f #aggg-aghj he conduct$ at ! piano 9 ! ,italian op]a !re4 ,9 #agha1 he began 8 travels z a virtuoso4 ,at ,vi5na he made ! acqua9tance ( ,josef ,haydn1 & also _h a sort ( musical combat ) ,moz>t4 ,ea* read at sight1 play$ 8 own compositions & improvis$4 ,op9ion 0 divid$ z to ! outcome4 ,clem5ti display$ m virtuosity1 :ile ,moz>t *>m$ by 8 s++-tone1 f9i%$ phras+ & expressive /yle4 ,= ! foll[+ tw5ty ye>s1 ,clem5ti liv$ 9 ,london4 ,he became int]e/$ 9 a piano manufactory & :5 ! firm fail$1 he e/abli%$ ano!r1 :i* is /ill c>ri$ on4 ,9 #ahjb1 ,clem5ti w5t on a conc]t-t\r ) two favorite pupils1 ,j4 ,b4 ,cram] & ,john ,field4 ,!y visit$ ,p>is1 ,vi5na & ev5 ,/4 ,pet]sburg1 ar\s+ great en?usiasm ev]y:]e4 ,9 #ahaj1 he settl$ 9 ,london p]man5tly1 devot+ himself to composition & bus9ess4 ,9 #ahag1 he publi%$ 8 ,gradus ad ,p>nassum1 a s]ies ( "o hundr$ /udies treat+ e bran* ( te*nic & e problem ( piano play+ !n kn[n4 ,illu/ration3 ,,muzio ,,clem5ti4 ,clem5ti z ,compos] & ,piani/4--,9 addition to 8 e>ly works1 ,clem5ti compos$ symphonies1 m ?an "o hundr$ sonatas = piano1 preludes1 toccatas1 canons & o!r piano music & f9ally ! ,gradus4 ,z ,clem5ti 0 a true ,italian by temp]am5t1 & ,g]man 9 8 education1 ! sonatas %[ ! influ5ce ( ,dom5ico ,sc>latti1 z well z ( ,haydn & ,moz>t4 ,!y are te*nically 9 advance ( _! day1 ?\gh incl9$ to dryness musically4 ,h[ev]1 ,bee?ov5 admir$ !m1 & is said to h pref]r$ !m to ^? ( ,moz>t4 ,clem5ti's monum5tal "w1 ! /udies1 treats e difficulty & /yle ( piano play+ s v compreh5sively t x is /ill indisp5sable to ! /ud5t4 ,9 8 y\? ,clem5ti 0 a bravura-play]1 pure & simple4 8,/rong 9 runs ( ?irds1 b )\t a p5nywor? ( feel+0 0 ,moz>t's v]dict4 ,b lat]1 :5 ,clem5ti _h become acqua9t$ ) ! l>g] tone ( ! ,engli% pianos1 he cultivat$ expressive play+4 ,at 8 be/1 8 brilliancy & facility 7 dazzl+1 & he inv>iably c>ri$ all be=e him4 ,consid]+ ! fundam5tal value ( 8 /udies1 & 8 prem95t abilities z a piani/1 x is j to give him ! title ( 8,! ,fa!r ( ,piano ,play+40 ,johann ,bapti/ ,cram] 7#agga-aheh7 0 born at ,mannheim1 ,g]many4 ,:5 he 0 b a ye> old 8 fa!r mov$ to ,london4 ,z a boy he /udi$ ! viol9 & ! piano1 z well z ! !ory ( music1 b soon %[$ ! great] aptitude = ! piano4 ,lat] he became a pupil ( ,clem5ti4 ,h&el1 ,ba*1 ,sc>latti1 ,haydn & ,moz>t 7 ! objects ( 8 att5tion1 ?us e/abli%+ a ta/e = ! classics4 ,9 #aghh1 ,cram] began a s]ies ( t\rs on ! ,cont95t1 liv+ at ,london 9 ! int]vals4 ,9 #ahbh1 he f\nd$ ! music publi%+ firm ( ,j4 ,b4 ,cram] ,co4 ,he liv$ 9 ,p>is f #ahcb to #ahde1 b return$ to ,london1 :]e he rema9$ until 8 dea?4 ,cram] z ,compos] & ,piani/4--,( ,cram]'s num]\s compositions1 su* z sev5 conc]tos & "o hundr$ & five sonatas = ! piano1 besides v>iations1 rondos1 fantasias1 etc41 a qu>tet & qu9tet1 little is wor? survival4 ,8 repres5tative "w is a s]ies ( sev5ty-six /udies1 ,op4 #ej1 to :i* he aft]w>ds add$4 ,^! /udies long enjoy$ a reputation second only to ^? ( ,clem5ti4 ,!y d n aim prim>ily at virtuosity1 b t[>ds ! cultivation ( musical /yle2 at ! same "t !y exhibit novelty ( te*nical inv5tion1 & dem& a decid$ pr(ici5cy4 ,?us !y t5d to supplem5t ! /udies ( ,clem5ti :i* are *iefly conc]n$ ) te*nic4 ,z a p]=m]1 ,cram] 0 greatly admir$ = 8 p]fect legato1 di/9ctness ( phras+ & quiet s++ tone4 ,bee?ov5 is said to h pref]r$ him to all o!r piani/s ( 8 "t4 ,:ile ,cram] does n pres5t a te*nical advance ov] ,clem5ti1 he und\bt$ly did mu* = ! cultivation ( ! m /rictly musical qualities & ?us /&s = a def9ite progress4 ,illu/ration3 ,j4 ,b4 ,,cram]4 ,j4 ,n4 ,,hummel4 ,johann ,nepomuk ,hummel 7#aggh-ahcg7 0 born at ,presburg1 ,hung>y4 ,8 fa!r1 :o _h be5 in/ructor 9 music at a milit>y s*ool 9 ,w>tburg1 mov$ to ,vi5na 9 #aghf to become director at ! !atre ( ,s*ikan$]1 7! au?or ( ! libretto ( ,moz>t's op]a 8,! ,magic ,flute074 ,moz>t soon took s deep an int]e/ 9 "y ,hummel t he took him to live ) him & taught him = two ye>s4 ,f #aghh to #agie1 ,hummel travel$ z a virtuoso4 ,on return+ to ,vi5na he /udi$ composition ) ,albre*tsb]g]1 & receiv$ advice f ,sali]i & ,haydn4 ,f #ahjd to #ahaa he 0 music-director "u ,pr9ce ,e/]hazy1 ,haydn's patron4 ,9 #ahaf1 he became conductor at ,/uttg>t1 & 9 #ahai he occupi$ a simil> position at ,weim>4 ,f "h he w5t to ,russia1 :]e he made a successful conc]t-t\r1 play+ at ,w>saw1 :]e ! y\?ful ,*op9 he>d him4 ,f #ahbe to #ahcc he travel$ on conc]t-t\rs1 return+ to ,weim>1 :]e he pass$ ! rema9d] ( 8 life4 ,hummel z ,compos] & ,piani/4--,hummel's compositions include op]as1 ballets1 masses & o!r *ur* music1 a qu9tet1 trios1 rondos1 /udies & o!r music = ! piano1 b he is be/ kn[n = ! piano conc]tos 9 ,a-flat1 ,a m9or & ,b m9or1 ! sonatas 9 ,f-%>p m9or & ,d major1 ! ,septet1 ,op4 #gd1 & a volum9\s in/ruction-book = ! piano1 *iefly rem>kable = its p$antry & abs5ce ( practicality4 ,z a pupil ( ,moz>t1 he foll[$ 8 tea*]'s =m & /yle1 )\t exhibit+ m>k$ creative g5ius4 ,8 te*nic is noticeable *iefly = its sup]ficial glitt] ( brilliant passages1 :i* con/itute a c]ta9 developm5t 9 !mselves4 ,8 compositions 7 9 great vogue at "o "t1 & he 0 once ev5 reg>d$ z ! equal ( ,bee?ov54 ,z a piani/1 ,hummel 0 unusual4 ,8 /yle 0 di/+ui%$ by precision1 cle>ness1 & comm& ( brilliant effect4 ,8 influ5ce z a conc]t piani/ 0 v great1 & 9 ?is direction 8 ext5sion ( ! prov9ce ( ! virtuoso is consid]able4 ,he und\bt$ly affect$ ,*op9's piano /yle = a "t & = ?is reason alone %\ld claim our att5tion4 ,c>l ,cz]ny 7#agia-aheg7 0 born at ,vi5na4 ,8 fa!r1 an excell5t musician1 taught 8 son piano play+ at an e>ly age4 ,bee?ov5 became int]e/$ 9 him1 & gave him lessons4 ,he also le>n$ mu* f ,hummel & ,clem5ti4 ,cz]ny soon became 9 great dem& z a tea*]4 ,he made conc]t-t\rs to ,leipzig1 ,p>is1 ,london & ,lomb>dy4 ,= ! mo/ "p he liv$ quietly 9 ,vi5na1 tea*+ & compos+4 ,9 #ahej1 8 heal? gave way f ov]work4 ,8 mo/ celebrat$ pupils 7 ,franz ,liszt & ,!odore ,les*etizky4 ,cz]ny's ,compositions4--,cz]ny 0 an indefatigable & ov]-flu5t compos] :o weak5$ 8 p[]s by ov]-productivity4 ,h5ce1 ( m ?an a ?\s& works1 8 masses1 requiems1 symphonies1 ov]tures1 *amb]-music1 etc41 are obsolete1 b 8 educational works are de/9$ to live4 ,( _m valuable sets ( /udies1 ! mo/ us$ are ^? = ,velocity1 ,op4 #bii1 & ,f+] ,tra9+1 ,op4 #gdj4 ,musically1 !y are ( slight importance1 b !y are invaluable to ?is day 9 acquir+ facility4 ,cz]ny _h an imm5se k ( ! high] me*anism ( piano play+1 & a ke5 p]ception ( practical me?ods4 ,8 fame z a piani/ 0 ov]%ad[$ by 8 ceaseless "w z tea*] & compos]4 ,illu/ration3 ,,c>l ,,cz]ny4 ,ignaz ,mos*eles 7#agid-ahgj71 describ$ z 8! =emo/ piani/ aft] ,hummel & be=e ,*op910 0 born at ,prague4 ,he /udi$ ! piano ) ,dionys ,web]1 director ( ! ,prague ,cons]vatory1 & at f\rte5 play$ a conc]to ( 8 own 9 public4 ,aft] ! dea? ( 8 fa!r1 he w5t to ,vi5na to make 8 way z a tea*]1 & to cont9ue 8 /udies 9 composition4 ,he soon became 9 great dem& z a piani/ & tea*]1 & = t5 ye>s liv$ ! life ( a travel+ virtuoso4 ,9 #ahbd1 he gave lessons to ,m5delssohn1 !n a boy ( fifte51 at ,b]l94 ,soon aft] 8 m>riage at ,hamburg1 9 #ahbf1 he w5t to ,london1 :]e he rema9$ ) "s int]ruptions = ne>ly tw5ty ye>s ( activity z piani/1 tea*] & conductor4 ,9 #ahde1 he took ! po/ ( tea*] ( ! piano at ! ,leipzig ,cons]vatory1 f\nd$ by ,m5delssohn4 ,illu/ration3 ,,ignaz ,,mos*eles4 ,mos*eles z ,compos] & ,piani/4--,z a compos]1 ,mos*eles 0 divid$ betwe5 8 classical tra9+ & 8 unmi/akably romantic in/9cts4 ,h5ce1 a long li/ ( v>iations1 fantasias1 rondos1 writt5 to please publi%]s1 9 accordance ) ! fa%ion ( ! "t1 h n surviv$1 b 8 be/ works1 ! conc]to 9 ,g m9or1 ! 8,pa!tic0 conc]to1 ! sonata1 ,op4 #di1 8 duet = two pianos1 8,hommage ,h&el0 & especially ! /udies1 ,op4 #gj & #ie1 comb9e a respect = classic =m ) ! gr[+ ,romantic movem5t4 ,! /udies may be reg>d$ z ! legitimate successors to ^? ( ,cram]1 & pav$ ! way = ! m romantic etudes ( ,*op94 ,mos*eles 0 a solidly tra9$ piani/ ( great brilliancy4 ,he _h _m *>act]i/ics ( ! classical s*ool2 he us$ ! p$als sp>+ly1 he play$ octaves ) a /iff wri/1 8 phras+ 0 precise & 8 acc5ts 7 %>ply m>k$2 b 9 ! brilliant /yle he _h no rivals4 ,he 0 fam\s = 8 improvisations2 8 cad5zas to conc]tos & 8 extempore treatm5ts ( well-kn[n !mes 7 m>k$ by spontaneity1 brilliance & exquisite feel+4 ,john ,field 7#aghb-ahcg71 "o ( ! la/ connect+ l9ks betwe5 ! ,classical & ,romantic s*ools1 0 born at ,dubl94 ,e>ly 9 life1 he 0 tak5 to ,london & appr5tic$ to ,clem5ti1 :o gave him lessons1 & employ$ him to %[ (f 8 pianos4 ,9 #ahjb1 he w5t on a conc]t-t\r ) ,clem5ti to ,p>is1 ,g]many & ,russia4 ,field liv$ = _m ye>s z piani/ & tea*] at ,/4 ,pet]sburg & ,mosc[4 ,aft] return+ to ,engl&1 he made a long t\r ?r\gh ,belgium1 ,switz]l&1 & f9ally1 ,italy1 :]e 8 heal? gave way4 ,%ortly aft] he return$ to ,mosc[1 :]e he di$4 ,field z ,compos] & ,piani/4--,field's compositions 9 classical =ms include sev5 conc]tos1 f\r sonatas1 rondos1 v>iations1 etc4 ,!y are =gott5 n[1 al?\gh ,*op9 _h a p>tiality = 8 conc]to 9 ,a-flat & gave x to 8 pupils2 b 8 lyric pieces = piano1 entitl$ nocturnes1 are /ill play$4 ,!y are ! =]unn]s ( ! type s ext5d$ & develop$ by ,*op94 ,he is ?us "o ( ! fir/ ( ! romantici/s 9 spite ( 8 classical tra9+4 ,9 #ahjb1 ,field a/oni%$ ! ,p>isians by 8 ma/]ly play+ ( ,ba* & ,h&el1 b 8 individuality lat] took a m romantic turn4 ,8 tone 0 t5d] & melan*oly1 & 8 phrases g5tly expressive4 ,%ortly be=e 8 dea?1 ?\gh brok5 9 heal?1 he creat$ a /ir 9 ,vi5na by 8 int]pretations ( 8 own nocturnes4 ,9 "s respects 8 play+ 0 ak9 to ,*op9's highly individual /yle4 ,to sum up1 x w be se5 t ,clem5ti 0 ! orig9ator ( a sy/em ( te*nic t has s]v$ z ! f\ndation ( mod]n piano play+2 ,cram] 0 ! cons]v] ( classic /yle & purity ( /&>d2 ,hummel1 z a brilliant piani/1 _h a decid$ influ5ce on ! piano play+ ( 8 "t1 b z a compos] attempt$ to pass sup]ficial brilliance = ! true co9 ( musical sub/ance2 ,cz]ny1 "o ( ! greate/ educators 9 ! hi/ory ( piano play+1 has _h an imm5se influ5ce ?r\gh 8 invaluable educational works1 & z ! tea*] ( ,franz ,liszt1 ! epitome ( mod]n piano play+1 & also ( ,!odore ,les*etizky1 possibly ! =emo/ tea*] ( ! pres5t day2 ,mos*eles1 ! classic piani/1 gave decid$ impetus to ! cause ( romanticism by 8 be/ compositions2 ,field1 ?\gh ! pupil ( ,clem5ti1 prep>$ ! way ?r\gh 8 own individuality = ! greate/ piano compos] ( ! ,romantic p]iod1 ,*op91 & ?us became an important factor 9 ! transition f ! ,classic to ! ,romantic p]iod4 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 articles on ,pian(orte ,play+ & play]s m5tion$ 9 ?is lesson4 ,weitzmann4--,hi/ory ( ,piano ,play+4 ,bie4--,! ,piano4 ,fillmore4--,pian(orte ,music4 ,,que/ions4 ,:at compos]s =m ! transition f ! ,classic to ! ,romantic s*ool8 ,give a summ>y ( ?is transition p]iod4 ,give a sket* ( ,clem5ti4 ,:at 0 ,clem5ti's greate/ "w8 ,:at 7 8 contributions to piano play+8 ,give a sket* ( ,cram]4 ,:at "w is mo/ repres5tative ( ,cram] z a compos]8 ,m5tion 8 contributions to piano play+4 ,give an acc\nt ( ,hummel's life4 ,:at classic piani/ 0 a pupil ( ,moz>t8 ,:at 0 8 influ5ce on piano play+8 ,give a sket* ( ,cz]ny's c>e]4 ,:o 7 ,cz]ny's mo/ fam\s pupils8 ,:at influ5ce did he ex]t on piano play+8 ,give a sket* ( ,mos*eles' life4 ,:at compos] 0 ! intimate fri5d ( ,mos*eles8 ,:at is ! value ( 8 educational works8 ,give a sket* ( ,field's c>e] & 8 influ5ce on piano play+4 ,:at =m did ,field orig9ate8 ,illu/ration3 ,,franz ,,pet] ,,s*ub]t4 ,,lesson ,,xlii4 ,,franz ,,pet] ,,s*ub]t4 ,! rise ( ! ,romantic s*ool involves a great] fre$om 9 =m1 a full] play ( poetry & imag9ation1 a g5]al arti/ic evolution & indep5d5ce 9 comp>ison ) ! =mality ( ! ,classic p]iod4 ,! /ruggle to e/abli% ^! pr9ciples 0 long & ob/9ate1 b ! outcome 0 z inevitable z ! victory won by ,bee?ov5's sonata & symphonic =ms ov] ! m primitive types ( ,haydn & ,moz>t4 ,! fir/ dep>tures f ! classic attitude 7 made by ,s*ub]t1 ^: influ5ce has be5 p]man5t 9 ! developm5t ( romanticism4 ,s*ub]t's ,e>ly ,life 7#agig-ahaf74--;,franz ,pet] ,s*ub]t 0 born 9 a suburb ( ,vi5na1 ,janu>y #ca1 #agig4 ,at an e>ly age he _h lessons on ! viol9 f 8 fa!r1 :o 0 a s*ool tea*]1 & on ! piano1 f 8 eld] bro!r4 ,he s quickly out/ripp$ bo? tea*]s t he 0 s5t to ,mi*ael ,holz]1 *oir-ma/] ( ! p>i%1 :o taught him piano1 organ1 viol91 s++ & !ory4 ,9 lat] ye>s1 ,holz] disclaim$ ! value ( 8 in/ruction1 say+3 8,if ,i ev] wi%$ to tea* him any?+ new1 ,i f\nd he _h already ma/]$ x40 ,aft] s++ 9 ! p>i% *oir1 he pass$ an exam9ation = admission to ! ,imp]ial ,convict or s*ool = ! ,royal *ori/]s4 ,! tra9+ includ$ g5]al education z well z music2 !re 0 also an or*e/ra among ! boys 9 :i* ,s*ub]t play$ ! viol9 & sometimes conduct$4 ,!re 7 privations connect$ ) life at ! ,convict1 ! practice rooms 7 insuff]ably cold1 & ! food insuffici5t4 ,9 #ahaj1 ,s*ub]t began to compose1 dat+ 8 pieces c>efully1 & ! only *eck to 8 inspiration 0 ! lack ( music-pap]1 :i* he 0 too poor to buy4 ,a g5]\s fri5d made up ! defici5cy4 ,9 #ahac1 he left ! ,convict1 al?\gh 8 g5]al education 0 by no means complete1 s9ce he _h neglect$ 8 /udies on acc\nt ( 8 increas+ passion = composition4 ,aft] leav+ ! ,convict1 ,s*ub]t taught elem5t>y classes at 8 fa!r's s*ool1 b ! drudg]y became insupportable4 ,an ard5t fri5d & admir]1 ,franz von ,s*ob]1 realiz+ t ,s*ub]t's creative p[]s 7 greatly hamp]$ by ! conditions ( 8 life1 gave him a home4 ,already he _h compos$ "s ( 8 mo/ fam\s songs1 includ+ 8,! ,erl-,k+40 ,lat] ,ye>s 7#ahaf-ahbh74--;,f #ahaf on1 ,s*ub]t appe>s to h liv$ 9 ,s*ob]'s ap>tm5ts1 except = two ye>s %>$ ) ! poet ,may]h(]1 & a p]iod sp5t ) a fri5d1 ,s*w9d4 ,x is a my/]y h[ ,s*ub]t manag$ to live1 = he taught little1 & 8 few publications c\ld h br\ght him at be/ only small sums at irregul> int]vals4 ,he _h already fail$ to secure a position 9 a ,gov]nm5t s*ool ( music1 b 9 #ahah he pass$ ! summ] z music tea*] to ! h\sehold ( ,c\nt ,johann ,e/]hazy1 9 ,zelescz1 ,hung>y4 ,! record ( 8 life h]eaft] is "o ( incessant composition1 ) few int]ruptions or facts ( int]e/4 ,9 #ahbc1 he %[$ ,web] 8 eigh? "w = ! /age3 8,alfonso & ,e/rella40 ,! only advice he receiv$ 0 t 8fir/ op]as1 l fir/ puppies1 %\ld be dr[n$40 ,! summ] ( #ahbd 0 sp5t aga9 ) ! ,e/]hazys & _m *>act]i/ic compositions1 su* z ! qu>tet 9 ,a m9or1 ! 8,hung>ian ,div]tissem5t10 ! piano sonata 9 ,b-flat1 etc41 date f ?is "t4 ,9 #ahbf1 ,s*ub]t fail$ to obta9 ei!r ( two positions1 :i* w\ld h plac$ him above ne$1 ! second because1 l ,bee?ov51 he refus$ to alt] a trial aria to suit ! voice ( a caprici\s s+]4 ,s*ub]t 0 tak5 to see ,bee?ov5 dur+ 8 la/ illness1 9 #ahbg4 ,9 #ahbh1 he w5t to live ) 8 bro!r ,f]d9& 9 a new & damp h\se4 ,8 heal?1 :i* _h be5 tr\blesome be=e1 n[ gave way1 & he di$ ( typhoid fev]1 ,novemb] #bh1 #ahbh1 9 8 ?irty-second ye>4 ,p]sonal ,traits & ,habits ( ,"w4--,s*ub]t 0 %ort ( /ature1 ?ickset & r heavy 9 features4 ,8 face 9 repose 0 r devoid ( expression1 b :5 int]e/$ 9 any?+1 8 eyes gl[$ ) en?usiasm & 8 :ole appe>ance *ang$4 ,8 disposition 0 ev5 & good-temp]$1 he 0 simple & tru/+ by nature1 & c\ld r>ely be induc$ to put himself =w>d4 ,al?\gh receiv+ _m favors f fri5ds1 8 g5]osity (t5 l$ him to give to o!rs :5 he c\ld ill sp>e x4 ,he began compos+ e>ly 9 ! morn+ & work$ un9t]rupt$ly = sev]al h\rs2 he walk$ mu* 9 ! aft]noon or paid visits to fri5ds1 sp5d+ 8 ev5+s ) cong5ial spirits at v>i\s tav]ns4 ,compos+ 0 ! ma9spr+ ( 8 exi/5ce1 & he (t5 wrote d[n 8 ideas :ile 9 ! mid/ ( conv]sation ) o!rs4 ,?us he wrote 8 immortal 8,s]5ade0 on ! back ( a bill-(-f>e at a tav]n2 a piece = f\r-h&s :ile wait+ at a hospital = a fri5d1 8& d9n] miss$ 9 consequ5ce02 a movem5t ( a /r+ qu>tet 0 begun ab\t midnight & f9i%$ 9 ! e>ly morn+4 ,al?\gh he set _m poems by ,goe!1 ,s*ill] & ,he9e1 8 inspiration 0 q z effectively ar\s$ by second-rate poems ( 8 fri5ds ,may]h(]1 von ,s*ob]1 or ! artless poems ( ,mll]4 ,s*ub]t 0 %y & res]v$ 9 :at might be call$ 8good society02 he pref]r$ ! company ( cong5ial fri5ds 9 an humbl] social /ation4 ,he seems to h c>$ little = lit]ature1 & 8 love ( poetry 0 limit$ to its availability z texts = songs4 ,9 e>ly life he play$ ! viol9 & ! viola 9 a family /r+ qu>tet4 ,s*ub]t 0 no virtuoso on ! piano1 b he play$ exquisite accompanim5ts1 & he read well at sight 9 spite ( defective eyesight4 ,8 p]=mance 0 m>k$ by e>ne/ness & att5tion to ! inn] s5tim5t ( ! music r ?an by ! sup]ficial poli% ( ! m]e piani/4 ,x 0 said t no "o c\ld =get ! effect ( ,s*ub]t's songs z p]=m$ by himself & 8 fri5d ,vogl2 ! two seem$ absolutely unit$1 ! ideal condition = ! r5d]+ ( vocal works4 ,s*ub]t's ,compositions4--,s*ub]t complet$ m ?an elev5 hundr$ pieces 9 ab\t eighte5 ye>s4 ,su* f]tility is unique 9 ! hi/ory ( composition1 & is sc>cely equall$ ev5 by ,moz>t1 ^: activity ext5d$ ov] ne>ly ?irty ye>s4 ,s*ub]t's p[]s ( spontane\s inv5tion h nev] be5 approa*$2 he compos$ g5]ally )\t mak+ sket*es2 he seldom revis$1 = 8 ideas came fa/] ?an he c\ld write !m d[n4 ,x is impossible to enum]ate all ,s*ub]t's works1 b ! foll[+ comprise ! mo/ important3 ,n9e symphonies1 elev5 works = ! /age1 six masses1 ov] sev5ty "p-songs1 *oruses1 etc41 = v>i\s comb9ations1 tw5ty-f\r sonatas = piano1 fantasies1 ov]tures1 v>iations1 m>*es & dances = piano duet1 impromptus1 mom5ts musicals1 fantasies1 v>iations & ov] two hundr$ dances = piano solo1 two trios = piano & /r+s1 a qu9tet = /r+s & piano1 a /r+ qu9tet & sev]al /r+ trios1 tw5ty-f\r /r+ qu>tets1 besides ab\t six hundr$ songs ) piano accompanim5t & occasionally ) obligatos = o!r in/rum5ts4 ,x is obvi\s t su* f]tility is n consi/5t ) ev5ness ( quality2 we mu/ pick & *oose to f9d ! real ,s*ub]t4 ,h[ev]1 ! symphonies 9 ,c & ,b m9or 78,unf9i%$071 ! /r+ qu>tets 9 ,d m9or & ,g major1 sev]al sonatas = piano1 ! impromptus1 mom5ts musicals1 ! fantasy 9 ,c = piano1 ! ,hung>ian ,div]tissem5t1 sev]al m>*es & o!r compositions = f\r h&s1 _m *>m+ two-h& waltzes1 &1 f9ally1 su* song-cycles z ! 8,mill]-,songs10 ! 8,w9t] ,j\rney10 ^? call$ 8,swan-,songs0 by ! publi%]s1 z well z ab\t ?irty sep>ate songs 8,! ,erl-,k+10 8,! ,w&]]10 8,to ,sylvia10 8,! ,omnipot5t10 8,! ,"y ,nun10 ! 8,s]5ade10 8,h>k6 ,h>k6 ! ,l>k10 8,sei mir ,gegrs/10 8,du bi/ die ,ruh10 8,ave ,m>ia10 8,litany10 & o!rs1 are ! works ( ,s*ub]t :i* w live4 ,s*ub]t at 8 be/ entrances u by 8 wond]ful fl[ ( melody1 8 spontaneity1 8 symmetrical =m1 :i*1 h[ev]1 is sometimes diffuse4 ,8 *ief qualities lie 9 ! simple expressiv5ess ( 8 music1 a direct appeal to s9c]ity ( emotion1 & to ! s5se ( ! poetic4 ,he began by imitat+ ! =m & /yle ( ,moz>t & ,bee?ov52 b f 8 eighte5? ye> onw>d he develop$ an individuality entirely ap>t4 ,despite ! virtues ( 8 in/rum5tal music1 8 great a*ievem5t 0 ! creation ( ! ,g]man song1 9 :i* dep>tm5t he /&s unrivall$ 9 ! inexhau/ibility ( 8 melody1 ! v>iety ( mood :i* !y display1 ! subtlety & h>monic beauty ( 8 accompanim5ts1 z well z art 9 creat+ vocal effects4 ,s*ub]t's ,influ5ce on ,music4--,9 abundance ( res\rce1 poetic feel+ & true imag9ation1 ,s*ub]t has br\ght new =ces into music4 ,8 influ5ce on romantic compos]s 0 widespread & deep4 ,s*umann 0 a ?or\gh admir] ( ,s*ub]t4 ,s*umann's songs c\ld h>dly h come into exi/5ce b = ^? ( ,s*ub]t1 & ! latt]'s %ort pieces = piano 7 und\bt$ly z pot5t an inspiration = 8 piano works4 ,brahms1 too1 _h a real rev]5ce = ,s*ub]t1 t is pla9ly exhibit$ 9 8 works4 ,despite ! diff]5ces ( _! arti/ic individuality1 !re are traces ( ,s*ub]t 9 ! =m]'s songs z well z 9 "s ( 8 %ort piano pieces4 ,liszt's p>tiality to ,s*ub]t 0 untir+ 9 its zeal4 ,he play$ 8 piano music1 transcrib$ ! 8,hung>ian ,div]tissem5t10 arrang$ "s ( ! m>*es = two h&s & = or*e/ra2 he made a v]sion ( ! fantasy 9 ,c = piano & or*e/ra1 :i* is /ill popul>2 &1 f9ally 7p]haps 8 greate/ s]vice to ,s*ub]t7 he transcrib$ no less ?an fifty-sev5 ( 8 songs = piano4 ,9 ?is =m he creat$ an int]e/ 9 ,s*ub]t :]e ! orig9al v]sions 7 unkn[n1 & did mu* to spread _! r5[n4 ,9 spite ( all %ortcom+s1 ,s*ub]t's g5ius 0 s rem>kable1 & 8 imm$iate effect ^u ! ,romantic movem5t s app>5t & 8 legacy to ! musical _w s imp]i%able t x is difficult n to agree ) ,sir ,george ,grove :5 he wrote3 8,!re has nev] be5 "o l him & !re nev] w be ano!r40 ,,ref]5ces4 ,grove4--,diction>y ( ,music & ,musicians1 article on ,s*ub]t4 ,fro/4--,life ( ,s*ub]t4 ,von ,hellborn4--,life ( ,franz ,s*ub]t4 ,dvok4--,franz ,s*ub]t4 7,c5tury ,libr>y ( ,music47 ,,que/ions4 ,f :at rank 9 life did ,s*ub]t come8 ,give ! lead+ incid5ts 9 8 life4 ,:at k9d ( man 0 he physically1 m5tally & socially8 ,h[ did ,s*ub]t compose8 ,9 :at =ms ( composition did ,s*ub]t "w8 ,:at =m ( composition did he especially enri*8 ,:i* ( 8 productions h ! greate/ vogue today8 ,:at influ5ce did ,s*ub]t ex]t on music8 ,:o did mu* to spread a k ( 8 works8 ,"n "s compos]s :o h felt 8 =ce4 ,,lesson ,,xliii4 ,,web]4 ,,m5delssohn4 ,s*ub]t's op]as _h no appreciable effect on ! ,romantic compos]s1 = ! simple reason t !y 7 nev] he>d on acc\nt ( ! absurdities ( _! librettos & ! weakness ( _! /age situations4 ,at ab\t ! same p]iod1 a slightly old] compos] 0 beg9n+ a s]ies ( works de/9$ to place ,g]man ,op]a on a firm basis1 to ex]cise a decid$ influ5ce on ,wagn]1 besides contribut+ n a little to ! developm5t ( piano te*nic4 ,c>l ,m>ia ,fri$ri* ,ern/ von ,web] 0 born at ,eut91 ,decemb] #ah1 #aghf4 ,8 fa!r1 a re/less man ( _m tal5ts1 0 a !atrical manag] dur+ ,web]'s e>ly ye>s1 :5 con/ant travel+ 0 ! rule1 & music lessons ! exception4 ,8 irregul> e>ly in/ruction "u sev]al tea*]s1 ( :om ,mi*ael ,haydn 0 ! mo/ em95t1 0 supplem5t$ by two ye>s ( solid /udy "u ! gift$ & ecc5tric ,abb ,vogl]4 ,f #ahjd to #ahjf1 ,web] 0 music-director at ! ,breslau !atre1 & soon made a "n = himself z compos] & piani/ z well z conductor4 ,aft] ?is he rema9$ "u ! protection ( ! ,duke ( ,wurtemburg1 e>n+ a liv+ by giv+ lessons1 & act+ z secret>y to ! ,duke's bro!r4 ,dur+ ?is p]iod he compos$ an op]a 8,silvana10 ov]tures1 a cantata1 piano music1 etc4 ,?ree ye>s ( w&]+1 *iefly on conc]t t\rs1 ensu$ aft] 8 bani%m5t f ,wurtemburg on acc\nt ( unju/ly suspect$ complicity 9 an intrigue = a position at c\rt4 ,to ^! ye>s belong a comic op]a1 8,abu ,hassan10 ! piano conc]tos 9 ,c & ,e-flat1 ?ree conc]tos = cl>9et1 ! piano sonata 9 ,c1 etc4 ,9 #ahad & #ahae1 he compos$ ! *oruses1 8,lyre & ,sword10 & a cantata1 8,battle & ,victory10 bo? ! outcome ( political ev5ts1 & widely popul> f _! patriotic "*4 ,9 #ahaf1 he became music-director ( ! ,g]man op]a at ,dresd54 ,he reviv$ int]e/ 9 ,g]man op]a1 /imulat$ public support & 9 ! foll[+ ye>s began ! composition ( 8,d] ,freis*tz10 an op]a ?or\ghly ,g]man 9 its "* & ! key/one ( ,web]'s fame4 ,x 0 n f9i%$ until #ahbj1 = 9 ! meantime he wrote mu* ( 8 be/ piano music1 songs & incid5tal music = a gipsy play 8,preciosa40 ,j aft] ! completion ( 8 popul> ,conc]t-piece = piano & or*e/ra1 8,d] ,freis*tz0 0 giv5 = ! fir/ "t at ,b]l91 ,june #ah1 #ahba1 & ! result 0 "o ( ! greate/ triumphs ev] be/[$ on a ,g]man compos]4 ,x 0 soon giv5 9 all ! pr9cipal !atres 9 ,g]many1 includ+ ,dresd51 & also 9 ,vi5na4 ,9 #ahbc1 ,web]'s mo/ ambiti\s op]a1 8,euryan!10 0 giv5 9 ,vi5na & prov$ almo/ a failure4 ,web]'s heal?1 :i* _h n be5 satisfactory = "s ye>s1 %[$ signs ( be+ und]m9$4 8,euryan!0 0 p]=m$ ) great] success dur+ #ahbd & #ahbe1 at ,dresd51 ,leipzig & ,b]l91 :]e ,web] 0 almo/ too ill to conduct4 ,9 spite ( 8 ill-heal? he agre$ to write an op]a = ! ,cov5t ,g>d5 ,!atre1 9 ,london1 beg9n+ ! music to 8,ob]on0 e>ly 9 #ahbe & f9i%+ ! la/ numb] 9 ! spr+ ( #ahbf4 ,! p]=mances 7 m ?an satisfactory1 & ,web] 0 receiv$ ev]y:]e ) en?usiasm4 ,8 /r5g? 0 n[ entirely ov]tax$1 & he hop$ to return to 8 family1 b he di$ sudd5ly f consumption1 on ,june #d1 #ahbf4 ,web]'s p]sonality 0 pleas+2 ( excell5t bir?1 8 exp]i5ce ( ! _w ?r\gh 8 positions z op]a-director & 8 frequ5t conc]t-t\rs1 made him an agreeable companion & a favorite 9 society4 ,he 0 cultivat$1 well read 9 philosophy & sci5ce2 he possess$ consid]able lit]>y & critical ability4 ,9 consequ5ce ( 8 intellectual & social gifts1 he 0 a new type ( musician1 :o did mu* to improve ! social /atus ( ! compos]4 ,he 0 a rem>kable piani/1 ) an imm5se comm& ( te*nic1 orig9al 9 /yle & eloqu5t 9 expression2 also a =ceful conductor4 ,web] ! ,compos]4--,web] is1 fir/ ( all1 ! compos] ( ! ?ree op]as1 8,d] ,freis*tz10 8,euryan!0 & 8,ob]on10 :i* are discuss$ 9 ,lesson ,,xxxvii4 ,! ov]tures to 8 op]as are 8 be/ or*e/ral works2 8 symphonies & *amb]-music are unimportant4 ,h[ev]1 8 ?ree conc]tos = cl>9et & or*e/ra are classics 9 ! lit]ature ( t in/rum5t4 ,web]'s songs are int]e/+ = ! sidelight !y ?r[ on ! developm5t ( ! ,folk-song t5d5cy1 b 9 ?is l9e he 0 entirely ov]%ad[$ by ,s*ub]t & ,s*umann4 ,h[ev]1 ,web]'s piano music is exce$+ly important4 ,! conc]tos = piano are seldom he>d1 b ! 8,conc]t-piece0 is /ill amply wor? /udy4 ,! piano sonatas 7especially ^? 9 ,c & ,a-flat7 %[ great te*nical inv5tiv5ess1 melodic *>m & orig9al effects1 b !y are less happy 9 po9t ( =m4 ,next to ! sonatas 9 int]e/ comes ! delightful ,op4 #fe1 8,invitation to ! ,dance10 s well-kn[n 9 ,b]lioz' or*e/ral v]sion4 ,9 addition are ! 8,mom5to ,capriccioso10 ,op4 #ab1 ! ,rondo 9 ,e-flat1 ,op4 #fb1 ! 8,polacca ,brillante10 ,op4 #gb1 ! ,polonaise1 ,op4 #ba4 ,web] did mu* to develop ! te*nic ( ! left h&2 8 piano compositions are ?or\ghly piani/ic & rank high 9 ! music ( ! ,romantic p]iod4 ,web]'s ,influ5ce4--,web]'s position 9 ! evolution ( ! ,romantic s*ool is extremely important4 ,9 ,op]a 8 exploration ( ! imag9ative field 9 s _m directions n only op5$ a new ve9 9 dramatic music1 b its influ5ce 0 felt 9 e bran* ( composition4 ,?us sev]al ( ,s*umann's *oral works1 ,m5delssohn's 8,midsumm] ,night's ,dream0 music1 ! 8,walpurgis ,night0 cantata1 ! conc]t ov]tures1 & pieces = piano & or*e/ra are direct musical desc5dants ( ,web]4 ,m5delssohn's ,conc]to 9 ,g m9or1 ! 8,s]5ade0 & 8,allegro ,giojoso10 8 s*]zos & 8,songs ,)\t ,words0 are ! direct outcome ( ,web]'s example4 ,9 g5]al1 ! te*nical /yle ( ,web]'s piano music 0 ?or\ghly absorb$ by bo? ,m5delssohn &1 to "s ext5t1 ,liszt1 :o edit$ ,web]'s sonatas & solo pieces ) tempt+ additions2 he transcrib$ = piano ! ov]tures 8,jubilee10 8,freis*tz0 & 8,ob]on10 & arrang$ ! 8,polacca ,brillante10 ,op4 #gb1 = piano & or*e/ra4 ,liszt 0 v fond ( ,web]'s music1 8 piano /yle 0 sympa!tic to him1 8 int]pretation ( ! ,conc]t-piece1 ,op4 #gi1 nev] fail$ to produce an ov]:elm+ effect4 ,f9ally1 ,web]'s influ5ce on ,wagn] mu/ be m5tion$4 ,wagn] greatly admir$ ,web]'s dramatic insight1 8 picturesqu5ess1 & especially ! poetry & novel color ( 8 or*e/ral /yle4 ,,m5delssohn4 ,! influ5ce :i* ,m5delssohn ex]cis$ dur+ two-?irds ( ! #ai? c5tury among ! m cons]vative ,g]man musicians & 9 ,engl& 0 no?+ %ort ( extraord9>y4 ,he und\bt$ly gave great impetus to ! /udy ( ! classic ma/]s1 especially ,ba*1 & 8 romantic t5d5cies 7 s balanc$ & controll$ z to ga9 a spe$y recognition = 8 music4 ,today1 ,m5delssohn ! classici/ is less admir$1 & 8 music w live *iefly = its romantic qualities4 ,m5delssohn's ,life4--,jakob ,ludwig ,felix ,m5delssohn-,b>?oldy#ae 0 born at ,hamburg1 ,febru>y #c1 #ahji4 ,8 fa!r1 a prosp]\s bank]1 mov$ to ,b]l9 9 #ahaa4 ,8 fir/ lessons 9 music 7 giv5 him by 8 "m1 b he soon began to /udy ! piano ) ,ludwig ,b]g]1 a pupil ( ,clem5ti1 & composition ) ,zelt]4 ,9 #ahbj1 he began to compose sy/ematically4 ,9 #ahba1 he made ! acqua9tance ( ,web]1 & 8 en?usiasm = ! romantic compos] la/$ all 8 life4 ,9 #ahbd1 he =m$ a life-long fri5d%ip ) ,mos*eles1 :o gave him piano lessons4 ,already he 0 rem>kable = 8 improvisations & = play+ f scores4 ,9 #ahbe1 a trip to ,p>is br\ght him into contact ) ! celebrat$ musicians !re4 ,9 ?is ye> he compos$ 8 octet = /r+s1 9 :i* 8 individuality fir/ ass]t$ itself /rongly4 ,9 ! foll[+ summ] he wrote ! ov]ture to 8,a ,midsumm] ,night's ,dream10 a precoci\s evid5ce ( orig9ality4 ,9 #ahbg1 he made ! fir/ draft ( 8 ov]ture 8,a ,calm ,sea & a ,prosp]\s ,voyage10 a fur!r /ep into ! realm ( imag9ation4 ,9 #ahbi1 he organiz$ ! fir/ p]=mance ( ,ba*'s 8,/4 ,mat!w ,passion0 music s9ce ! compos]'s dea?4 ,9 ?is ye> a visit to ,engl&1 :]e "s ( 8 compositions 7 p]=m$1 0 foll[$ by a trip to ,scotl&1 ! ,hebrides & ,wales1 ( :i* 8 impressions are record$ 9 ! 8,hebrides0 ov]ture1 ! 8,scot*0 symphony & o!r works ( lat] ye>s4 ,he travel$ mu* dur+ ! foll[+ ye>s4 ,9 #ahcc1 aft] ano!r visit to ,engl&1 :]e 8 rec5tly compos$ 8,italian0 symphony 0 play$1 he conduct$ a musical fe/ival at ,dsseldorf1 ! fir/ ( _m simil> engagem5ts4 ,dur+ ! next few ye>s he 0 con/antly employ$ 9 conduct+1 play+ & compos+1 especially 8 oratorio 8,/4 ,paul40 ,9 #ahcg1 he m>ri$ ,miss ,ccile ,jeanr5aud4 ,f ?is "t dates 8 second piano conc]to 9 ,d m9or1 9 :i* are to be se5 traces ( ,?alb]g's piano /yle4 ,dur+ ! next few ye>s ,m5delssohn liv$ at ,leipzig4 ,9 #ahdc1 he e/abli%$ a cons]vatory at ,leipzig1 long ! mo/ celebrat$ 9 ,europe4 ,s*umann1 & lat] ,mos*eles1 7 among ! tea*]s z well z ,m5delssohn himself4 ,9 #ahdf1 ,m5delssohn's oratorio 8,elijah0 0 giv5 a triumphant fir/ p]=mance at ,birm+ham "u ! compos]'s direction4 ,9 #ahdg1 he made 8 t5? visit to ,engl& = p]=mances ( 8,elijah10 ( 8 complet$ 8,midsumm] ,night's ,dream0 music 7compos$ 9 #ahde71 ! 8,scot*0 symphony & o!r works4 ,! dea? ( 8 si/]1 ,fanny1 foll[+ soon aft] ^? ( 8 p>5ts1 0 s great a %ock to him t he w5t to ,switz]l& = a re/4 ,he return$ improv$ 9 heal?1 b c\ld n consid] commissions = new works f ,engl&1 ,frank=t & ,cologne4 ,he 0 consid]+ a trip to ,vi5na to he> ,j5ny ,l9d s+ 9 8,elijah0 :5 he 0 tak5 sudd5ly ill & di$1 ,novemb] #d1 #ahdg4 ,p]sonal ,traits4--,m5delssohn is describ$ z hav+ an unusually animat$1 w9n+ p]sonality4 ,he 0 imm5sely fond ( society1 :i* he c\ld enjoy )\t detrim5t to 8 "w4 ,8 lett]s describe 9 detail 8 innum]able pr(essional engagem5ts1 8 r\nd ( social fe/ivities & 8 j\rneys ) equal fidelity4 ,m5delssohn 0 fond ( out-(-door life1 walk+1 rid+ & swimm+2 he also greatly enjoy$ danc+4 ,"o ( 8 favorite relaxations 0 to sket* f nature or pa9t 9 wat]-colors4 ,m5delssohn 0 a rem>kable piani/1 ( an unaffect$ type1 n a virtuoso1 yet 8 int]pretations 7 full ( vigor1 *>m & a ?or\ghly musical _s4 ,8 improvisations 7 rem>kable = _! spontane\s inv5tion1 brilliance & sci5ce display$1 & 8 cad5zas to ,bee?ov5's #d? conc]to & ,moz>t's1 9 ,d m9or1 7 /rik+ examples ( 8 skill4 ,m5delssohn 0 also a rem>kable organi/1 if ,engli% te/imony is to be cr$it$4 ,at all ev5ts1 he did mu* to fur!r ! k ( ,ba*'s organ works4 ,m5delssohn's incessant activity und\bt$ly ha/5$ 8 dea?2 ! am\nt t he compress$ into 8 %ort life 0 incr$ible4 ,compositions4--,! works mo/ repres5tative ( ,m5delssohn are ! 8,scot*0 & 8,italian0 symphonies1 ! ov]tures 8,a ,calm ,sea & a ,prosp]\s ,voyage10 8,a ,midsumm] ,night's ,dream10 8,! ,hebrides10 8,melus9a10 8,ruy ,blas02 ! conc]tos & two small] pieces = piano & or*e/ra2 ! conc]to = viol92 ! octet = /r+s2 two qu9tets & sev5 qu>tets2 ?ree qu>tets = piano & /r+s2 two trios2 two sonatas = piano & 'cello2 = ! piano1 six preludes & fugues2 ?ree sonatas2 ! 8,s]i\s ,v>iations02 six books ( 8,songs ,)\t ,words02 _m small] pieces1 includ+ ! 8,capriccio10 ,op4 #h2 ! 8,rondo ,capriccioso10 ,op4 #ad2 ! ,caprices1 ,op4 #cc2 ! ,s*]zo ,capriccio & o!rs2 sonatas1 preludes & fugues = organ2 ! oratorios 8,/4 ,paul10 & 8,elijah02 music to 8,a ,midsumm] ,night's ,dream10 to ! dramas 8,a?alie10 8,antigone0 & 8dipus02 ! cantata 8,walpurgis ,night40 ,he also wrote a great deal ( *ur* music1 psalms1 hymns1 motets1 & cantatas = v>i\s occasions1 includ+ ! 8,lobgesang10 a symphony-cantata2 _m "p-songs1 duets & songs = s+le voice ) piano accompanim5t4 ,illu/ration3 ,,felix ,,m5delssohn-,,b>?oldy4 ,m5delssohn's ,t5d5cies4--,al?\gh he wrote almo/ exclusively 9 ! conv5tional =ms1 ,m5delssohn _c be reg>d$ z a cont9uator ( ! classics4 ,9 =m1 !matic developm5t1 c\nt]po9t1 "p-writ+1 etc41 he imitat$ ! lett] ( classic example closely1 b c\ld n atta9 ! inn] _s4 ,to "s ext5t he foll[$ ,ba*1 ,h&el1 ,moz>t & ,bee?ov51 b ! *ief s\rce ( 8 individuality is ! romanticism ( ,web]4 ,8 piano /yle is adapt$ f t ( ,web] ) "s ext5sions ( 8 own4 ,%[]$ ) praise z he 0 dur+ 8 lifetime1 z ! possessor ( all ! classic virtues1 we n[ admire him *iefly = 8 romanticism1 timid & fa/idi\s ?\gh x appe>s by comp>ison ) ! g5u9e innovations ( ,b]lioz1 ,liszt & ,wagn]4 ,9 ! light ( ! /urdy qualities ( ,brahms1 8 classicism seems sup]ficial4 ,8 /yle 0 too poli%$ to admit ( real vigor4 ,nev]!less1 ,m5delssohn ( ! two symphonies1 ! 8,midsumm] ,night's ,dream10 8,melus9a0 & 8,hebrides0 ov]ture1 ! viol9 conc]to1 ! piano conc]to 9 ,g m9or1 ! sonata = piano & 'cello 9 ,d1 ! s*]zo ( ! octet1 ! 8,s]i\s ,v>iations10 ! ,s*]zo ,capriccio & "s half a doz5 ( ! 8,songs ,)\t ,words0 %[s u a delicate & *>m+ individuality ) ! ref9em5t & decid$ p]ceptions ( ! poet1 :o reg>d$ ! _w ) ! eyes ( a romantici/ record+ _m impressions ( picturesqu5ess & grace1 if seldom ( /r5g?4 ,m5delssohn's ,influ5ce z an ,arti/4--,= a "t1 ,m5delssohn's influ5ce 0 unb\nd$4 ,8 symphonies & ov]tures 7 consid]$ wor?y successors to ^? ( ,bee?ov52 8 *amb]-music 0 equally valu$2 8 oratorios 7 reg>d$ z on a level ) ^? ( ,h&el2 8 piano music1 especially ! 8,songs ,)\t ,words10 7 9 univ]sal vogue4 ,8 or*e/ral /yle conta9$ _m novel features1 x is true1 b 8 *amb]-music 0 n writt5 9 ! g5u9e mann] & is f> inf]ior to t ( ! lat] ma/]1 ,brahms4 ,8 oratorios conta9 "s notable *oruses & airs1 b on ! :ole are only fa9t imitations ( ! real oratorio /yle4 ,/ill !y suffic$ to =m ! f\ndation ( an ,engli% s*ool ( composition 9 ?is =m4 ,8 piano music conta9s mu* t is trivial1 b at its be/ und\bt$ly did some?+ to prep>e ! way = ! deep] romanticism ( ,s*umann1 ,*op9 & ,liszt4 ,8 songs also h f> less v>iety ( mood & lyric inspiration ?an ^? ( ,s*ub]t & ,s*umann1 b !y too act$ z prophets ( ! m vital creations to foll[4 ,t ?is rev]5ce = ,m5delssohn 0 no m]e infatuation ( ! mom5t b a sob] respect c be/ be judg$ f ! div]sity 9 nationality & temp]am5t ( ^? :o came "u 8 influ5ce3 ,gade1 ! ,norwegian2 ,/]ndale ,b5nett1 ! ,engli% compos] & piani/2 ,hill] & ,re9ecke among ! ,g]mans1 & ,rub9/e9 f ,russia4 ,^! names con/itute b a small proportion ( ,m5delssohn's disciples1 8 p]sonality dom9at$ musical ,engl& 9 e bran* ( composition = _m ye>s2 & ,engli% compos]s are only j beg9n+ to ?r[ (f ! yoke ( adh]5ce to ! traditional oratorio =m z exhibit$ 9 8,/4 ,paul0 & 8,elijah40 ,s*umann admir$ ,m5delssohn )\t res]ve & )\t a sugge/ion ( jeal\sy1 al?\gh ! tide ( popul> favor neglect$ him = 8 m easily und]/ood contempor>y4 ,today1 criticism has swung possibly too f> 9 ! opposite direction1 & ,m5delssohn suff]s f depreciation4 ,,ref]5ces4 ,grove's & ,riemann's ,diction>ies4--,articles on ,web] & ,m5delssohn4 ,b5$ict4--,c>l ,m>ia von ,web]4 ,rock/ro4--,life ( ,m5delssohn4 ,lampadius4--,life ( ,m5delssohn4 ,re9ecke4--,m5delssohn 7,c5tury ,libr>y ( ,music71 ,m5delssohn's ,lett]s4 ,,que/ions ,,& ,,sugge/ions4 ,m5tion ! significant ev5ts 9 ,web]'s life4 ,describe ,web] ! man4 ,sket* ! "w ( ,web] z a compos]4 ,%[ ! influ5ce ( ,web] ^u music4 ,"n "s ( ,web]'s be/-kn[n piano works4 ,:at compos]s 7 greatly influ5c$ by ,web]8 ,give an acc\nt ( ,m5delssohn's boyhood1 manhood4 ,:at educational "w 9 music did ,m5delssohn orig9ate8 ,9 :at l9es ( musical "w did ,m5delssohn excel8 ,"n repres5tative compositions ( ,m5delssohn4 ,:at compos]s did ,m5delssohn foll[8 ,:at influ5ce did ,m5delssohn ex]t on music8 ,= /ud5ts :o wi% to /udy ,web]'s *>act]i/ics1 ! ,mom5to ,capriccioso1 ,op4 #ab1 ! 8,invitation to ! ,dance10 ,op4 #fe1 ! piano sonatas 9 ,c & ,a-flat are ! mo/ repres5tative1 :ile ! ov]tures to 8,d] ,freis*tz10 8,euryan!0 & 8,ob]on0 %[ 8 /yle z a dramatic compos]4 ,! foll[+ sugge/ions may aid ! /ud5t 9 8 /udy ( ,m5delssohn's works3 ,! 8,italian0 & 8,scot*0 symphonies1 ! 8,midsumm] ,night's ,dream10 8,hebrides0 & 8,melus9a0 ov]tures1 ! ,nocturne & ,s*]zo f ! 8,midsumm] ,night's ,dream0 music1 ! viol9 conc]to1 ! conc]to 9 ,g m9or & ! ,capriccio ,brillante = piano & or*e/ra1 ! pieces = piano1 ,op4 #g1 ,nos4 #c & #g1 ! ,rondo ,capriccioso1 ,op4 #ad1 ! ,caprice1 ,op4 #af1 ,no4 #b1 ! ,prelude & ,fugue1 ,op4 #ce1 ,no4 #a1 ! ,s]i\s ,v>iations1 ,op4 #ed1 ! ,s*]zo ,capriccio )\t opus numb]1 & ! foll[+ 8,songs ,)\t ,words10 ,op4 #ai1 ,nos4 #a1 #b1 #c1 #f2 ,op4 #ch1 ,nos4 #b1 #c1 #e2 ,op4 #fb1 ,nos4 #c1 #f2 ,op4 #fg1 ,no4 #d1 & ,op4 #ajb1 ,no4 #c4 ,liszt has made an exce$+ly effective transcription ( ,m5delssohn's song 8,on ! ,w+s ( ,song10 :i* is a popul> conc]t numb] today4 ,,lesson ,,xliv4 ,,rob]t ,,s*umann4 ,! ,romantic ,movem5t be=e ,s*umann4--,s*ub]t gave a decid$ impetus to ! ,romantic movem5t ?r\gh 8 spontane\s melody & deep fund ( imag9ation4 ,he infus$ poetry into ! classic =ms1 8 piano works 9 ! small =ms %[$ ! way to future a*ievem5t 9 ^! l9es1 b especially he f\nd$ ,g]man song1 :i* _h sc>cely be5 h9t$ at by ,moz>t & ,bee?ov54 ,al?\gh ,web] ext5d$ ! prov9ce ( piano te*nic1 & exhibit$ fur!r possibilities ( romantic feel+ 9 comb9ation ) ! rondo & sonata =ms1 8 *ief "w 0 ! realization ( ,g]man op]a1 else:]e describ$4 ,b /ill ano!r ,g]man 0 de/9$ to contribute ri*ly to romantic piano lit]ature1 to prove no mean successor to ,s*ub]t 9 ! prov9ce ( song1 & to add fur!r pro(s ( 8 g5ius 9 *amb]-music1 *oral works & ! symphony4 ,s*umann's ,e>ly life4--,rob]t ,alex&] ,s*umann 0 born at ,zwickau1 9 ,saxony1 ,june #h1 #ahaj4 ,8 fa!r 0 a booksell] ) "s atta9m5ts z an au?or4 ,s*umann's gift = music ass]t$ itself e>ly4 ,he _h piano lessons f a local organi/ at ! age ( six1 & began to compose soon aft]4 ,a ta/e = improvisation also develop$4 ,= sev]al ye>s 8 lit]>y int]e/s 7 z pron\nc$ z ^? = music4 ,he read assidu\sly1 & 0 especially devot$ to poetry4 ,8 g5]al education 0 cont9u$ at ! ,zwickau ,academy1 :]e he /udi$ until #ahbh4 ,9 #ahbg1 he came "u ! jo9t influ5ce ( ! writ+s ( ,jean ,paul 7,ri*t]7 ! poet & noveli/1 & ( ,s*ub]t's music1 bo? ( :i* play$ an important "p 9 8 m5tal & arti/ic gr[?4 ,9 #ahbh1 he ent]$ ! ,univ]sity ( ,leipzig ) ! int5tion ( /udy+ law4 ,he kept up 8 music1 h[ev]1 & n only became en?usia/ic ov] ! clavi] works ( ,ba*1 b took piano lessons ( ,fri$ri* ,wieck1 a celebrat$ tea*] 9 ,leipzig4 ,9 #ahbi1 ,s*umann w5t to ,heidelb]g4 ,"h he cont9u$ 8 law /udies 9 a desultory fa%ion1 b work$ ) ! greate/ p]si/5ce at piano play+4 ,9 #ahcj1 he resolv$ to /udy law ) m s]i\sness1 b x 0 int5sely repugnant to him1 & aft] "s reflection1 he det]m9$1 ) ,wieck's advice1 to adopt music z a pr(ession4 ,accord+ly1 he return$ to ,leipzig to /udy ! piano ) ,wieck1 b hav+ ! mis=tune to injure a f+] 9 8 zeal = spe$y p]fection1 he 0 oblig$ to =ego ! c>e] ( a virtuoso1 p]haps to ! great ga9 ( music4 ,s*umann's ,pr(essional ,c>e]4--,he n[ devot$ 8 att5tion to ?or\gh /udy ( composition ) ,he9ri* ,dorn4 ,9 #ahcd1 ,s*umann f\nd$ ! 8,new ,j\rnal ( ,music0 9 ! int]e/s ( a high] critical /&>d1 & ! fur!rance ( wor?y compositions4 ,dur+ t5 ye>s ( editor%ip1 ,s*umann f\nd abundant outlet = 8 lit]>y int]e/s1 & 8 pap] ex]t$ a consid]able =ce on public op9ion4 ,two ( 8 greate/ piano works1 ! ,c>nival1 ,op4 #i1 & ! ,symphonic ,/udies1 ,op4 #ac1 belong to ! ye> #ahcd4 ,dur+ ! ye>s #ahcf & #ahcg1 he _h "s intimacy ) ,m5delssohn4 ,f #ahcf-ci date mo/ ( ,s*umann's important works = ! piano4 ,9 #ahdj1 ,s*umann m>ri$ ,wieck's daught]1 ,cl>a1 ! celebrat$ piani/1 aft] sev]al ye>s' /ruggle to ga9 h] fa!r's cons5t4 ,s*umann's m>riage 0 ! turn+-po9t 9 8 arti/ic c>e]1 & 8 wife's sympa?y 0 a great /imulus to 8 creative activity4 ,9 ! ye> foll[+ 8 m>riage1 ,s*umann turn$ to song-compos+1 produc+ m ?an "o hundr$ songs 9 ?is p]iod4 ,9 #ahda1 he gave himself up :olly to or*e/ral composition1 writ+ 8 symphony 9 ,b-flat1 ! fir/ draft ( 8 ,d m9or symphony1 a ?ird "w1 aft]w>ds publi%$ z ,ov]ture1 ,s*]zo & ,f9ale1 z well z ! fir/ movem5t ( 8 piano conc]to4 ,9 #ahdb1 he conf9$ himself almo/ exclusively to *amb]-music1 compos+ ?ree /r+ qu>tets1 ! ma/]ly qu9tet1 ,op4 #dd1 ! qu>tet1 ,op4 #dg1 = piano & /r+s1 & a trio4 ,to #ahde belong ! 8,v>iations0 = two pianos1 & a l>ge *oral "w1 8,p>adise & ! ,p]i40 ,9 #ahdd1 ,s*umann began ! music to ,goe!'s 8,fau/10 b ill-heal? int]rupt$ him = m ?an a ye>4 ,h[ev]1 9 #ahde he complet$ ! piano conc]to1 wrote sev]al works = p$al piano1 & 9 #ahdf f9i%$ 8 second symphony4 ,9 #ahdg1 he began 8 op]a 8,g5oveva10 :i* 0 n giv5 until #ahej4 ,late 9 #ahej he w5t to ,dsseldorf to take a position z director4 ,:ile "h he compos$ 8 ?ird symphony4 ,9 ! foll[+ ye>s he wrote sev]al ov]tures1 works = solo in/rum5ts & or*e/ra1 ! ov]ture & incid5tal music to ,byron's 8,manfr$10 8,! ,pilgrimage ( ! ,rose0 & _m o!r *oral works1 includ+ a ,mass & a ,requiem4 ,e>ly 9 #ahed1 symptoms ( a m5tal disord]1 :i* _h be5 increas+ ( late ye>s1 culm9at$ 9 an attempt at suicide4 ,he pass$ ! rema9+ ye>s ( 8 life 9 an asylum ne> ,bonn1 :]e he di$ ,july #bi1 #ahef4 ,illu/ration3 ,,rob]t ,,s*umann4 ,s*umann's ,p]sonality4--,by reason ( 8 two-fold activity z critic & compos]1 ,s*umann 0 a new =ce 9 music4 ,highly cultivat$ 9 lit]ature1 philosophy & poetry1 he possess$ a ke5 & disc]n+ critical ta/e1 & a lit]>y /yle t 0 picturesque & eloqu5t4 ,s*umann 0 %y & res]v$ by nature1 he talk$ little b obs]v$ & reflect$ abundantly4 ,he 0 nev] fond ( society1 & z ye>s w5t by he liv$ m & m l a h]mit1 absorb$ 9 composition & family life4 ,= t5 ye>s1 h[ev]1 he 0 9 t\* ) ! public by reason ( 8 editor%ip ( ! 8,new ,j\rnal10 & by 8 *ampion%ip !re9 ( all t 0 good & progressive 9 ! music ( ! day1 did mu* = ! enc\ragem5t ( true art4 ,8 articles on ,s*ub]t1 ,m5delssohn1 ,gade1 ,*op91 ,b]lioz1 ,liszt1 ,brahms & o!rs =m$ a new epo* 9 musical criticism1 & help$ ! cause ( ,romanticism immeasurably4 ,no e/imate ( ,s*umann's "* is complete )\t tak+ into acc\nt ^! di/9ct t5d5cies z critic & compos]4 ,8 collect$ writ+s give a graphic illu/ration ( 8 views on music1 & =m a supplem5t to 8 p]sonality z express$ 9 8 music4 ,s*umann's ,compositions4--,s*umann's mo/ repres5tative works include f\r symphonies & ! 8,ov]ture1 ,s*]zo & ,f9ale10 ! ov]tures 8,g5oveva0 & 8,manfr$02 ?ree /r+ qu>tets1 a piano qu9tet1 a piano qu>tet1 ?ree piano trios & two sonatas = piano & viol92 ! music to 8,fau/0 & 8,manfr$02 8,p>adise & ! ,p]i10 8,! ,pilgrimage ( ! ,rose0 & o!r works = solos1 *orus & or*e/ra2 m ?an two hundr$ songs2 ! piano conc]to & two small] works = piano & or*e/ra1 besides a monum5tal s]ies ( works = piano alone4 ,9 addition !re are duets1 "p-songs1 *oruses1 pieces = piano duet1 a conc]t piece = f\r horns & or*e/ra1 a conc]to = 'cello & or*e/ra1 a fantasy = viol9 & or*e/ra1 besides %ort pieces = oboe1 viola1 cl>9et & 'cello ) piano accompanim5t1 ! op]a 8,g5oveva10 ! ov]tures 8,! ,bride ( ,mess9a10 8,julius ,cs>0 & 8,h]man & ,doro!a10 ! ,mass1 ,op4 #adg1 & ! ,requiem1 ,op4 #adh4 ,x w be se5 t ,s*umann wrote mu* 9 ! sonata or symphonic =m1 yet 8 comm& ( x 0 f> f complete4 ,9 ?is respect & 9 in/rum5tation1 ,s*umann 0 inf]ior to 8 romantic contempor>y1 ,m5delssohn4 ,on ! o!r h&1 he 0 f> m orig9al & 8 music has a mu* great] dep? ( s5tim5t1 a high] s5se ( beauty & a noble human bread? t =ms "o ( ! highe/ po9ts 9 ! developm5t ( romanticism4 ,:at he lack$ 9 te*nical atta9m5t1 he m ?an made up 9 beauty ( !mes1 vigor & spontaneity ( treatm5t1 & ?or\gh-go+ romanticism 9 moods4 ,x is difficult to say :i* is 8 be/ symphony1 !y all h m]its ( _! own2 ( ! ov]tures1 t to 8,g5oveva0 7almo/ ! only surviv+ portion ( ! op]a7 & 8,manfr$0 are examples ( ,s*umann's ard5t romanticism at its be/4 ,! /r+-qu>tets are n always 9 qu>tet /yle & _! /ructure is sometimes op5 to criticism1 b !y are individual & conta9 mu* t is beautiful4 ,! piano-qu>tet is a g5ial "w ( great spontaneity t took ,europe by /orm4 ,x 0 imm$iately hail$ z ! greate/ "w s9ce ,bee?ov51 al?\gh its position might n[ be assail$ by ! piano qu9tets by ,brahms & ,cs> ,franck4 ,! piano qu>tet1 z well z ! qu9tet1 is a pione] 9 ?is =m ( *amb]-music1 b has n ! same fl[ ( melody z ! =m]4 ,! trios & sonatas = viol9 & piano1 al?\gh n on a level ) ! o!r *amb]-music1 h nev]!less /rik+ qualities to comm5d !m4 ,s*umann's *oral music is decid$ly unequal1 b ! 8,p>adise & ! ,p]i10 & portions ( ! 8,fau/0 & 8,manfr$0 music display ! same bread? ( human emotion s *>act]i/ic ( 8 be/ music4 ,9 ! field ( song1 ,s*umann is a wor?y successor to ,s*ub]t4 ,s*umann's songs h n ! inexhau/ible melody ( ,s*ub]t's1 b !y are ri*] h>monically1 ! accompanim5ts m individual1 & ! "* ( ! poems m subtly br\ght out4 ,s*umann's ,contribution to ! ,%ort ,piece4--,p]haps ,s*umann's mo/ conspicu\s s]vice to music lies 9 8 developm5t ( ! %ort piece4 ,9 ?is direction he has cultivat$ a bran* ( expression1 ) an orig9ality1 a fre$om & a ri*ness t h no p>allel 9 ! ,romantic movem5t except 9 ,*op94 ,m5delssohn und\bt$ly did some?+ = ! %ort piece1 b 8 8,songs ,)\t ,words0 are limit$ to a few types1 :ile ,s*umann made ! %ort =m s]ve e v>iety ( expression4 ,he und\bt$ly ow$ mu* to ! examples ( ,s*ub]t ) 8 waltzes & o!r dances1 ! impromptus & mom5ts musicals1 b 9 ri*ness ( res\rce & spontaneity ( expression he w5t mu* beyond ! old] ma/]4 ,8 piano /yle is highly di/9ctive2 x does n (f] mu* t is new 9 f+] te*nic1 b 9 polyphonic treatm5t ( melodies1 9 /rik+ rhy?ms & h>monic effects & 9 orig9al use ( ! p$al x is rem>kable4 ,bo? 9 ! sets ( small pieces1 su* z ! 8,papillons10 ,op4 #b1 ! 8,davidsbund ,dances10 ,op4 #f1 ! 8,c>nival10 ,op4 #i1 or ! ,fl[] pieces1 ,op4 #ai1 & 9 ! ,novellettes1 ,op4 #ba1 ! ,fantasie pieces1 ,op4 #ab1 ! ,symphonic ,/udies1 ,op4 #ae1 ! ,toccata1 ,op4 #g1 & ! great ,fantasy1 ,op4 #ag1 ,s*umann displays a weal? ( imag9ative poetry t makes him "o ( ! greate/ romantici/s 9 piano music4 ,8 piano works f ,op4 #b to ,op4 #bh are mat*less1 al?\gh ! sonatas1 ,op4 #aa & #bb1 suff] f lack ( coh]5ce4 ,! v>iations = two pianos1 ,op4 #df1 & ! conc]to1 ,op4 #ed1 are models ( _! type4 ,! 8,album = ! ,"y10 ,op4 #fh1 ! 8,=e/ ,sc5es10 ,op4 #hb1 ! 8,v>i$ ,leaves10 ,op4 #ii1 & ! 8,album ,leaves10 ,op4 #abd1 are all admirable1 & conta9 a great v>iety ( %ort pieces1 _m ( :i* 7 compos$ e>ly 9 8 c>e]4 ,s*umann's songs & piano pieces are ! be/ examples ( 8 contribution to romanticism4 ,s*ub]t & ,jean ,paul ,ri*t] 7! romantic noveli/ & poet7 7 ! e>lie/ influ5ces 9 ,s*umann's /udies1 nev]!less he admir$ ,bee?ov5 greatly1 & %ut himself up ) 8 qu>tets z a prep>ation = 8 own *amb]-music4 ,z a /ud5t 9 ,leipzig1 he 0 devot$ to ,ba*'s clavi] works1 & lat] 9 life he r5ew$ 8 en?usiasm = ,ba* :ile writ+ ! works = p$al piano & ! piano fugues4 ,fugal =m & romantic s5tim5t d n g well toge!r1 h[ev]1 & ,s*umann's compositions 9 ?is =m are n 8 greate/4 ,s*umann's influ5ce is /ronge/ ^u compos]s ( songs & %ort piano pieces4 ,x w\ld be difficult to "n ev5 ! mo/ repres5tative1 b ! mo/ signal example is ,brahms1 ^: songs & piano pieces c\ld h>dly exi/ b = ,s*umann4 ,9 _m ( ! mod]n ,russian compos]s we f9d di/9ct traces ( ,s*umann1 z well z among ! ,fr5*m5 ,gabriel ,faur & ,v9c5t d',indy1 ! ,g]man ,adolf ,j5s51 ! ,italian ,sgambati1 & _m o!rs4 ,compositions ,sugge/$ = ,/udy4--,! symphonies1 ov]tures1 ! *amb]-music & ! l>g] *oral works are all *>act]i/ic ( ,s*umann at 8 be/1 b = m detail$ /udy ( 8 piano music & songs ! foll[+ are sugge/$4 ,( ! piano works1 ! 8,papillons10 ,op4 #b2 ! 8,pagan9i ,caprice10 ,op4 #c1 ,no4 #b2 ! 8,davidsbund0 dances1 ,op4 #f1 ,nos4 #a1 #b1 #d1 #e1 #g1 #i1 #aa1 #ab1 #af1 #ag1 #ah2 ! 8,toccata10 ,op4 #g2 ! 8,c>nival10 ,op4 #i2 ! ,sonata1 ,op4 #aa1 especially ! 8,aria0 & 8,s*]zo02 ! 8,fantasy ,pieces10 ,op4 #ab1 entire except ! 8,fable02 ! 8,symphonic ,/udies10 ,op4 #ac2 ! 8,sc5es f ,*ildhood10 ,op4 #ae1 ,nos4 #a1 #b1 #d1 #e1 #g1 #i & #ac2 ! 8,kreisl]iana10 ,op4 #af1 ,nos4 #a1 #b1 #c1 #d1 #e & #h2 ! 8,arabesque10 ,op4 #ah2 ! 8,fl[] ,pieces10 ,op4 #ai2 ! 8,humoreskes10 ,op4 #bj2 ! 8,novellettes10 ,op4 #ba1 ,nos4 #a1 #b1 #c1 #d1 #e1 #g & #h2 ! ,sonata1 ,op4 #bb2 ! 8,night ,piece10 ,op4 #bc1 ,no4 #d2 ! 8,c>nival ,prank10 ,op4 #bf1 ,nos4 #a1 #b1 #c & #d2 ! 8,romance10 ,op4 #bh1 ,no4 #b2 ! ,v>iations = two pianos1 ,op4 #df2 ! ,conc]to1 ,op4 #ed2 ! 8,album = ! ,"y10 ,op4 #fh2 8,! ,happy ,f>m]10 8,may1 ,lovely ,may10 8,fir/ ,loss10 8,small ,romance10 8,remembrance10 ,novemb] #d1 #ahdg 7! date ( ,m5delssohn's dea?72 8,canonic ,song10 8,!me10 two pieces )\t "n1 8,nor!rn ,song02 ,op4 #gf1 ,nos4 #a1 #c & #d2 8,=e/ ,sc5es10 ,op4 #hb2 8,entrance10 8,lovely ,fl[]10 8,inn10 8,bird z ,prophet10 8,hunt+ ,song10 8,elves02 ,op4 #ii1 ,album ,leaf1 & ,novellette2 8,album ,leaves10 ,op4 #abd1 ,nos4 #a1 #b1 #c1 #d1 #aj1 #ac1 #ae & #ag4 ,( ! songs3 8,d$ication10 8,! ,nut ,tree10 8,! ,lotus ,fl[]10 8,highl& ,cradle ,song10 8,two ,v5etian ,songs10 8,?\ ,art l a ,fl[]10 & 8,conclusion10 8,! ,boy ) ! ,magic ,horn10 8,to ! ,sun%9e10 8,=e/ ,dialogue10 8,moonlight10 8,spr+ ,night10 8,woman's ,love & ,life10 8,spr+ ,j\rney10 8,9 ! ,wondr\s ,mon? ( ,may10 8,f ,my ,te>s10 8,! ,roses1 ! ,lily10 8,:5 ,i ,look into ,?9e ,eyes10 8,i ,grudge x ,n10 8,! ,two ,gr5adi]s10 8,folk-,song40 ,,ref]5ces4 ,grove's & ,riemann's ,diction>ies4--,article on ,s*umann4 ,grieg4--,rob]t ,s*umann 7,c5tury ,libr>y ( ,music74 ,had[4--,/udies 9 ,mod]n ,music4 7,*apt] on ,s*umann47 ,maitl&4--,s*umann4 ,wasielewski4--,life ( ,s*umann4 ,f9ck4--,*op9 & ,o!r ,essays4 7,*apt] on ,s*umann47 ,,que/ions4 ,:o repres5t$ ! ,romantic movem5t prior to ,s*umann8 ,give ! important ev5ts 9 ,s*umann's e>ly life4 ,give ! important ev5ts 9 ,s*umann's pr(essional c>e]4 ,give an acc\nt ( ,s*umann z a man & z a critic4 ,h[ did ,s*umann help 9 musical progress8 ,:at compos]s influ5c$ him 9 8 developm5t8 ,9 :at =ms did ,s*umann write8 ,"n repres5tative works 9 ! diff]5t =ms4 ,:at contribution did ,s*umann make to ! developm5t ( ! %ort piano piece8 ,:at compos]s did ,s*umann influ5ce8 ,illu/ration3 ,,fr$]ic ,,*op94 ,,lesson ,,xlv4 ,,fr$]ic ,,*op94 ,s*umann & ,*op94--,among ,s*umann's _m able reviews ( new music1 %[+ ! ke5e/ critical insight1 none exhibit a m j appreciation ( an orig9al tal5t ?an 8 article on "s v>iations by a "y compos] :o 0 de/9$ to ex]t s deep & widespread an influ5ce on piano /yle & piano composition4 ,*op9's romanticism1 some:at affect$ at fir/ by bo? ,hummel & ,field1 is "o ( ! mo/ individual developm5ts ( ! entire p]iod4 ,*op9's ,e>ly life4--,fr$]ic ,*op9 0 born at ,zelaz[a-,wola1 ne> ,w>saw1 9 ,pol&1 on ,m>* #a1 #ahji4 ,8 fa!r1 :o _h s]v$ 9 v>i\s positions z a tea*]1 f9ally e/abli%$ a bo>d+-s*ool 9 ,w>saw4 ,*op9 %[$ great s5sitiv5ess t[>ds music at an e>ly age4 ,8 fir/ lessons on ! piano 7 giv5 him by a ,poli% tea*] ( "s celebrity1 ,adalb]t ,zwyny4 ,he soon became fam\s z a piani/1 & f ! age ( n9e1 play$ con/antly at ! h\ses ( ! nobility1 & 0 eag]ly receiv$ by !m4 ,9 #ahbd1 he ent]$ ! ,w>saw ,lyceum 9 ord] to pursue 8 g5]al /udies4 ,ab\t ! same "t he began lessons 9 composition ) ,elsn]1 :o _h a high reputation z a tea*]4 ,he _h already compos$ pieces = ! piano on 8 own acc\nt1 & cont9u$ ) su* success t z e>ly z #ahbe 8 ,op4 #a1 a ,rondo1 0 publi%$4 ,9 #ahbg1 he left ! ,lyceum1 & gave !reaft] all 8 "t to play+ & compos+4 ,soon aft]1 he made great /rides 9 composition1 & _m ( 8 /udies & small] pieces1 z well z 8 two conc]tos1 belong to ?is p]iod1 or 7 begun !n4 ,e>ly 9 #ahbi1 ,hummel play$ 9 ,w>saw1 & ! influ5ce ( 8 piano /yle is evid5t 9 ! works ( ,*op9 = "s "t to come4 ,lat] 9 ?is ye>1 ,*op9 w5t to ,vi5na1 :]e he gave two conc]ts1 w9n+ in/ant recognition bo? z piani/ & compos]4 ,aft] 8 return to ,w>saw he cont9u$ to compose mu*4 ,*op9's ,manhood4--,a second visit to ,vi5na occurr$ t[>d ! end ( #ahcj4 ,he gave conc]ts1 came into contact ) _m musicians1 & ev5 f\nd "t to compose2 b be+ dissatisfi$ ) conditions 9 ,vi5na1 det]m9$ to g to ,p>is4 ,e>ly 9 #ahca1 aft] giv+ conc]ts on ! way1 he arriv$ at ,p>is1 :i* 0 h5ce=? to be 8 home4 ,"h he 0 soon ?r[n ) _m ( ! lead+ musicians1 8 play+ caus$ an imm$iate s5sation1 & z at ,w>saw1 he 0 welcom$ 9 ! mo/ exclusive society4 ,9 #ahcb1 he began to acquire fame z a piano tea*]1 especially ( pupils f ! ari/ocracy4 ,f #ahcc to #ahce1 8 compositions began to appe>1 & ga9$ him mu* approval z a compos]4 ,9 #ahce1 he w5t to ,leipzig1 :]e he saw ,wieck & 8 daught]1 aft]w>ds ,cl>a ,s*umann1 ,m5delssohn & ,s*umann4 ,9 #ahcg1 he met ,madame ,george ,s&1 ! fam\s writ]1 ^: influ5ce on 8 life 0 s great4 ,dur+ ?is ye> ! fir/ s9i/] symptoms ( ill-heal? made _! appe>ance4 ,) ! idea ( b5efit+ 8 heal?1 ,*op9 pass$ ! w9t] ( #ahch-ci on ! isl& ( ,majorca1 ) ,madame ,s& & h] two *ildr54 ,! climate _h a bad effect ^u him2 he c\ld compose b little1 & ! condition ( 8 lungs oblig$ a return to ,france4 ,he 0 s ill z to be oblig$ to sp5d sev]al mon?s at ,m>seilles1 recup]at+4 ,aft] a summ] at ,nohant1 ,mme4 ,s&'s c\ntry home1 he 0 aga9 at ,p>is 9 ! fall ( #ahci4 ,f #ahdj to #ahdh1 he liv$ 9 ,p>is1 ) occasional visits to ,nohant 9 ! summ]1 tea*+ z mu* z 8 heal? w\ld all[1 pass+ mu* "t 9 ! mo/ ari/ocratic society4 ,he seldom play$ 9 public1 & w\ld only play = pupils1 or :5 p]suad$ by devot$ fri5ds to display 8 extraord9>y gifts z a piani/4 ,dur+ ^! ye>s1 h[ev]1 8 heal? grew m & m prec>i\s4 ,! ,la/ ,ye>s ( ,*op94--,9 #ahdg1 ! intimacy ( ,*op9 & ,madame ,s& came to an end1 = v>i\s causes1 b l>gely because ( a "* c>icatur$ f ,*op9 9 "o ( ,madame ,s&'s novels1 & because %e 0 tir$ ( tak+ c>e ( him4 ,ill z he 01 he w5t to ,engl&1 aft] a f>ewell conc]t 9 ,p>is1 arriv+ 9 ! spr+ ( #ahdh4 ,he gave two conc]ts 9 ,london ) "s success1 besides play+ at fri5ds' h\ses4 ,he w5t to ,scotl& at ! in/ance ( a pupil1 ,miss ,/irl+1 gave conc]ts at ,ed9burgh & ,glasg[1 besides "o 9 ! int]val at ,man*e/]4 ,dur+ ?is entire t\r he suff]$ greatly f ill-heal? & exhau/ion1 & aft] "o m appe>ance 9 ,london1 he return$ to ,p>is1 exce$+ly ill1 9 ,janu>y1 #ahdi4 ,he 0 n able to tea* & 0 oblig$ to dep5d ^u ! g5]osity ( fri5ds2 among !m 8 pupil1 ,miss ,/irl+4 ,aft] sev]al mon?s ( hopeless /ruggle to rega9 8 heal?1 he di$ ( consumption on ,octob] #ag1 #ahdi1 surr\nd$ by devot$ fri5ds4 ,*op9's ,p]sonality4--,*op9 0 extremely ref9$ & delicate by nature4 ,he 0 fa/idi\s ab\t ! color & fit ( 8 clo!s1 ! furni%+ & arrangem5t ( 8 rooms1 & o!r details ( ev]yday life4 ,he 0 always extremely fond ( society & mov$ 9 ! highe/ circles4 ,z a rule1 he 0 av]se to see+ mu* ( musicians1 9 spite ( 8 fri5d%ip ) ,liszt1 ,hill]1 ,b]lioz & ,s*umann4 ,z a "y man he 0 fond ( danc+1 act+ & practical jokes2 ?\gh s5sitive1 he 0 well & /rong1 & able to endure r\gh /age-j\rneys4 ,he 0 a capital mimic all 8 life1 & a witty companion :o pleas$ by 8 g5tle irony or s>casm4 ,he 0 extremely res]v$ 9 spite ( 8 sociability1 8 intimate fri5ds 7ei!r ,poli% or favorite pupils7 ev5 qu>rell$ z to :i* knew him be/4 ,he 0 g5u9ely confid5tial only 9 8 music4 ,*op9 0 exce$+ly patriotic2 he 0 always ready to appe> 9 conc]t 9 behalf ( ,poli% refugees1 he correspond$ untir+ly ) 8 ,poli% fri5ds1 & gave _m pro(s ( 8 devotion to ,pol&1 :i* he nev] =got 9 spite ( ye>s ( abs5ce4 ,*op9 z ,piani/4--,*op9 0 a piani/ ( extraord9>y di/9ction1 9 spite ( ! prem95ce ( ,liszt4 ,8 te*nic1 f\nd$ 9 ! s*ool ( ,clem5ti & ,cram]1 ) great att5tion to ,ba*1 0 influ5c$ to "s ext5t by ,hummel & ,field1 b lat] became highly orig9al1 & expressive ( great individuality4 ,al?\gh he possess$ great brilliancy1 ! mo/ prom95t trait 9 8 play+ 0 its all-p]vad+ & inexhau/ible fund ( poetry4 ,x _h no?+ h>%1 unmelodi\s or ungraceful4 ,8 s5se ( rhy?m 0 unusually piquant1 & "o ( its features 0 ! skilful use ( tempo rubato1 a slight v>iance f /rict "t )\t di/urb+ x fundam5tally4 ,9 lat] life1 ,*op9 became dis9cl9$ to appe> 9 public1 8 p]=mances 7 limit$ to ! draw+-rooms ( ari/ocratic fri5ds1 :]e he w\ld play or improvise = h\rs4 ,he 0 nev] a robu/ piani/ at 8 /ronge/1 & ! transp>5t delicacy ( 8 play+ dur+ 8 la/ ye>s 0 almo/ incr$ible4 ,*op9's ,compositions4--,*op9's music con/itutes ! true revelation ( himself4 ,8 life1 n full ( action1 01 h[ev]1 ri* 9 emotion & s5tim5t ( great v>iety & subtlety4 ,its ma9spr+s 7 8 patriotic love ( ,pol& & ev]y?+ connect$ ) x1 & ! poetic impressionability ( 8 temp]am5t1 :i* 7 all transf]r$ to 8 music4 ,al?\gh ,*op9 compos$ a numb] ( works 9 :i* he uses ! or*e/ra1 "s *amb]-music1 & a set ( ,poli% songs1 he 0 fir/ & la/ a compos] = ! piano4 ,9 addition to ! works ref]r$ to1 he wrote ?ree sonatas1 f\r ballades1 f\r s*]zos1 t5 polonaises1 f\rte5 waltzes1 tw5ty-eight /udies1 fifty-five mazurkas1 tw5ty-five preludes1 sev5te5 nocturnes1 ?ree impromptus & a fantasie-impromptu1 ?ree rondos1 besides a sup]b fantasy1 a conc]t allegro1 a b>c>olle1 a b]ceuse1 a t>antelle1 a bol]o1 a rondo = two pianos1 & a few trifles4 ,( 8 two conc]tos1 ! second publi%$ 7al?\gh ! fir/ compos$7 is ! f9]4 ,x is rip] & m poetic1 ! sl[ movem5t rea*es a high po9t ( lyric /yle1 & ! treatm5t ( =m ?r\gh\t ! conc]to is less awkw>d4 ,*op9 is n at home 9 ! sonata =m1 ! conc]tos are int]e/+ 9 spite (1 r ?an on acc\nt (1 _! treatm5t ( =m4 ,! piano sonatas1 ,op4 #ce & #eh1 h faults ( /ructure1 & occasional incoh]5ce1 b !y are s full ( poetry1 romantic melody & dramatic mood t "o almo/ ov]looks _! te*nical %ortcom+s4 ,*op9 ,mo/ ,successful 9 ,free ,=ms4--,! mo/ repres5tative works ( ,*op9 are ^? 9 :i* he adopts no conv5tional =m1 b foll[s 8 own in/9ct entirely4 ,?us1 9 8 ballades1 s*]zos1 & especially 9 ! fantasy1 ,op4 #di1 "o f9ds fre$om ( inv5tion & v>iety ( treatm5t comb9$ ) logical developm5t & real coh]5ce4 ,! ballads are dramatic poems 9 :i* s5tim5t & virtuosity are happily unit$4 ,! s*]zos are orig9al conceptions q di/9ct f ! accept$ type2 !y h bold outl9es1 v>iety ( mood & dem& virtuosity 9 _! p]=mance4 ,! fantasy is in/ructive 9 its logical /ructure1 !re is no sign ( ! con/ra9t ( ! sonatas1 & its cont5ts are bo? dramatic on a l>ge scale & lyric by contra/4 ,! impromptus are %ort] pieces ( a lyric nature1 al?\gh ! elem5t ( virtuosity is n lack+4 ,! nocturnes are lyric pieces ( simple =m b intimate /yle4 ,_! g5]al plan 0 at fir/ copi$ f ,field1 b ! imitator w5t s f> ahead ( 8 model z almo/ to eclipse x4 ,"s ( !m portray idyllic moods1 o!rs are s5tim5tal or ev5 dramatic 9 _! outl9es4 ,! /udies1 ,op4 #aj & #be1 epitomize 9 a rem>kable way ,*op9's te*nical innovations1 & piano /yle4 ,!y are brilliant1 poetic & highly dramatic by turns1 & 9 _! cont5ts are ! mo/ musical /udies compos$ up to _! "t4 ,national ,_s 9 ,*op9's ,music4--,*op91 ! patriot1 0 devot$ to ! dances & ,folk-melodies ( 8 own c\ntry4 ,he 0 ?or\ghly national z a compos]2 h5ce 9 "s respects 8 mazurkas & polonaises are ! mo/ *>act]i/ic ( 8 compositions4 ,! mazurkas ) _! vital rhy?ms & novel h>monies1 conta9 mu* poetry ( mood & v>iety ( expression )9 small limits4 ,! polonaise1 z treat$ by ,*op91 0 less a dance =m1 & m an indep5d5t =m ) *>act]i/ic rhy?ms4 ,! polonaises1 ,op4 #dd & #ec1 are virtually patriotic poems4 ,! preludes are sket*es ( v>y+ size2 "s are g5u9e lyrics2 "s frankly te*nical 9 _! object2 o!rs h a di/9ct t\* ( ! dramatic4 ,"s ( ! waltzes sugge/ ! salon1 b 9 o!rs ,*op9 has individualiz$ ! type until x has ris5 above its orig94 ,among ! s+le pieces1 ! ,conc]t ,allegro is l>ge 9 dim5sions1 v int]e/+ te*nically & musically4 ,! ,b>c>olle1 9 nocturne-=m on a l>g] scale1 is almo/ h]oic 9 its outl9es1 & a sup]b example ( 8 mature /yle4 ,ano!r piece equally des]v+ ( di/9ction is ! ,b]ceuse1 an +5i\s s]ies ( v>iations on a p]si/5t bass4 ,! ,t>antelle & ,bol]o are m]ely fasc9at+ salon pieces4 ,( ! y\?ful works ) or*e/ra1 ! v>iations on a !me f ,moz>t's 8,don ,juan0 are m int]e/+ f ! novelty ( _! piano /yles ?an z v>iations2 ! ,fantasie on ,poli% !mes attracts att5tion *iefly on acc\nt ( its ,folk-song "*1 :ile ! 8,krak[iak0 rondo is rem>kable = its spirit$ national-dance rhy?ms4 ,! or*e/ral accompanim5ts to ^! pieces are n significant2 9 fact1 ,*op9's use ( ! or*e/ra 0 8 weake/ po9t4 ,! ,poli% songs are unequal1 & at be/ add little to 8 fame4 ,liszt1 h[ev]1 has transcrib$ six1 ( :i* two are frequ5tly he>d 9 conc]t1 :ile ,sgambati has arrang$ "o4 ,orig9ality & ,fre%ness ( ,inv5tion4--,! mo/ extraord9>y trait ( ,*op9 z a compos] is t1 9 spite ( ! limitations impos$ by repeat+ ! same =m ov] & ov] aga91 he is almo/ inexhau/ible 9 v>iety ( expression4 ,z ! poet ( lyric mood he accompli%$ almo/ z mu* z ,s*umann = ! developm5t ( ! %ort piece1 :ile 9 8 long] pieces ( dramatic mood & l>ge cont\rs he has %[n t ! sonata-=m is n ! only /ructure by :i* to convey h]oic s5tim5t4 ,8 0 ! mo/ subtle orig9ality1 ! mo/ p]sonal /yle :i* /amp$ itself indelibly on ne>ly e composition4 ,he immeasurably broad5$ ! te*nical treatm5t ( ! piano1 n only z a virtuoso1 b 9 ! direction ( v>iety ( expression1 delicate acc5tuation & exquisite tone4 ,among romantic compos]s he has done m = ! advancem5t ( piano /yle ?an anyone except ,liszt4 ,9 spite ( ! latt]'s gigantic a*ievem5t1 ! value ( ,*op9's contribution is /ill unimpair$4 ,f ! po9t ( view ( expression1 ,*op9 is m individual ev5 ?an ,s*umann1 b ! honors z ! mo/ important compos] = ! piano dur+ ! ,romantic p]iod mu/ be divid$ betwe5 !m4 ,*op9's influ5ce has be5 imm5se n only on ! compos]s & piani/s ( ,france & ,g]many b also m>k$ly among liv+ compos]s 9 ,russia4 ,*op9 is ! prem95t poet ( ! piano4 ,repres5tative ,compositions4--,! foll[+ li/ = ! /ud5t conta9s ! works & pieces mo/ ?or\ghly *>act]i/ic ( 8 g5ius3 ,! sonatas1 ,op4 #ce & #ch2 ! s*]zos1 ,op4 #bj1 #ca & #ci2 ! ballades1 ,op4 #bc1 #ch1 #dg & #eb2 ! polonaises1 ,op4 #bb1 #bf1 #dj1 #dd & #ec2 ! waltzes1 ,op4 #ah1 ,op4 #cd1 ,nos4 #a & #b2 ,op4 #db1 ,op4 #fd1 ,nos4 #a1 #b1 & ,op4 #fi1 ,no4 #a2 ! /udies1 ,op4 #aj1 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #aj & #ab2 ,op4 #be1 ,nos4 #a1 #b1 #c1 #e1 #f1 #g1 #i1 #aa & #ab2 ! mazurkas1 ,op4 #f1 ,nos4 #a1 #b2 ,op4 #g1 ,nos4 #a1 #b1 #c2 ,op4 #ag1 ,nos4 #b1 #c1 #d2 ,op4 #bd1 ,nos4 #a1 #c1 #d2 ,op4 #cj1 ,nos4 #b1 #d2 ,op4 #cc1 ,nos4 #a1 #c1 #d2 ,op4 #da1 ,nos4 #a1 #b2 ,op4 #ef1 ,no4 #b2 ,op4 #ei1 ,nos4 #b & #c2 ,op4 #fc1 ,no4 #c2 ,op4 #fh1 ,no4 #b2 ! nocturnes1 ,op4 #i1 ,op4 #ae1 ,nos1 #b1 #c2 ,op4 #bg1 ,op4 #cg1 ,op4 #dh1 ,no4 #a2 ,op4 #ee1 ,op4 #fb1 ,no4 #a2 ! preludes1 ,op4 #bh1 ,nos4 #a1 #c1 #d1 #f1 #g1 #h1 #i1 #aa1 #ae1 #af1 #ag1 #ah1 #bj1 #ba1 #bc & #bd2 ! prelude1 ,op4 #de2 ! impromptus1 ,op4 #bi1 ,op4 #ce1 ,op4 #ea1 & ! ,fantasie-,impromptu1 ,op4 #ff2 ! ,fantasy1 ,op4 #di2 ! ,t>antelle1 ,op4 #dc2 ! ,b]ceuse1 ,op4 #eg2 ! ,b>c>olle1 ,op4 #fj1 & ! ,conc]t ,allegro1 ,op4 #df4 ,,ref]5ces4 ,grove's & ,riemann's ,diction>ies4--,article on ,*op94 ,f9ck4--,*op9 & ,o!r ,musical ,essays4 ,had[4-- ,/udies 9 ,mod]n ,music4 7,*apt] on ,*op947 ,hunek]4--,*op93 ,! ,man & ,8 ,music4 ,niecks4--,fr$]ic ,*op94 ,,que/ions4 ,give an acc\nt ( ,*op9's e>ly life4 ,"n ! important ev5ts 9 8 manhood & lat] life4 ,:at 7 ! /rik+ traits ( ,*op9 z a man8 ,:at 7 ,*op9's qualities z a piani/8 ,9 :at =ms did ,*op9 compose8 ,9 :at =m 0 ,*op9 mo/ successful8 ,9 :i* ( 8 compositions is ! national _s /rongly evid5t8 ,:at *>act]i/ics d we note 9 ,*op9 z a compos]8 ,"n "s repres5tative compositions4 ,:at compos] influ5c$ ,*op9's piano /yle 9 8 e>ly life8 ,:at celebrat$ musicians 7 fri5ds ( ,*op98 ,,lesson ,,xlvi4 ,,franz ,,liszt4 ,! piano music ( ,*op9 & ,s*umann rea*$ ! highe/ level atta9$ dur+ ! ,romantic p]iod1 9 subtle orig9ality ( /yle & deep human s5tim5t1 respectively4 ,not)/&+ _! prem95ce 9 ^! p>ticul>s1 a ma/] 0 de/9$ to come :o summ$ up ! entire developm5t ( piano te*nic 9 8 a*ievem5ts1 ! greate/ virtuoso ( ! c5tury1 to ^: influ5ce all piano play+ s9ce has be5 oblig$ to ackn[l$ge its indebt$ness4 ,9 addition1 8 s]vices 9 break+ away f symphonic tradition1 9 a*iev+ propag&a = v>i\s compos]s ( epo*-mak+ works1 includ+ ,wagn]1 9 giv+ up himself z tea*] )\t remun]ation1 are equally significant4 ,liszt's ,e>ly ,life4--,franz ,liszt 0 born ,octob] #bb1 #ahaa1 at ,raid+1 ,hung>y4 ,8 "m 0 ( ,au/rian bir?2 8 fa!r1 a ,hung>ian1 occupy+ an (ficial position on ! e/ates ( ,pr9ce ,e/]hazy1 0 devot$ to music4 ,liszt 0 a some:at delicate *ild ( acute s5sibilities1 especially 9 ! direction ( music4 ,at ! age ( six he receiv$ piano lessons f 8 fa!r4 ,! int5sity ( 8 int]e/ 9 music & 8 ph5om5al progress soon %[$ ! uncommon ext5t ( 8 gifts4 ,at ! age ( n9e1 he gave 8 fir/ conc]t be=e an audi5ce compos$ l>gely ( ,hung>ian nobility4 ,8 p]=mance 0 s extraord9>y t "s ( ^? pres5t agre$ to give ,liszt a p5sion = six ye>s to insure 8 prop] education4 ,accord+ly1 fa!r & son w5t to ,vi5na1 :]e ! boy /udi$ ! piano ) ,c>l ,cz]ny & composition ) ,sali]i4 ,cz]ny put ,liszt ?r\gh s ?or\gh a c\rse ( discipl9e t at elev5 ye>s ( age ,liszt 0 kn[n = 8 play+ f scores1 & read+ ! mo/ difficult compositions at sight4 ,9 #ahbc1 he gave two successful conc]ts2 ,bee?ov5 0 pres5t at ! second1 & publicly kiss$ ! boy 9 tok5 ( 8 approval4 ,liszt's fa!r n[ took him to ,p>is to /udy at ! ,cons]vatory1 b ! director1 ,*]ub9i1 refus$ to all[ him to ent] because he 0 a =eign]4 ,liszt /udi$ composition1 h[ev]1 ) ,pa] & aft]w>ds ) ,rei*a4 ,9 ! meantime1 lett]s ( introduction f ,liszt's ,hung>ian patrons soon suffic$ to make him kn[n ?r\gh\t ! mo/ ari/ocratic circles1 :]e he creat$ an absolute furore4 ,a public conc]t produc$ ! same results on a l>g] scale4 ,lat]1 ,liszt made two visits to ,engl&2 he 0 receiv$ at ! ,c\rt ( ,george ,,iv1 play$ 9 private1 & gave conc]ts4 ,on return+ to ,p>is1 he complet$ an op]a1 :i* 0 p]=m$ 9 ,p>is4 ,?is op]a & o!r compositions ( ?is p]iod h entirely disappe>$4 ,t\rs ?r\gh ,france & a ?ird visit to ,engl& foll[$4 ,9 #ahbg1 ,liszt's fa!r di$1 & 8 "m came to ,p>is to live2 he support$ h] by giv+ lessons1 & 0 soon 9 great dem& z a tea*]4 ,an un=tunate love-affair caus$ him to consid] ent]+ ! *ur*4 ,he lo/ int]e/ 9 music1 fell ill1 & 0 suppos$ to be dead4 ,liszt gradually recov]$1 h[ev]4 ,he n[ und]w5t a rem>kable s]ies ( =mative influ5ces2 he read widely1 =m$ ! acqua9tance ( _m celebrat$ p]sonages1 includ+ ,*ateaubri&1 ,lam>t9e1 ,victor ,hugo & ,george ,s&1 became int]e/$ 9 ! pr9ciples ( ,/4 ,simonians1 a some:at sociali/ic sect1 dalli$ ) free-?9k+ & revolution>y t5d5cies1 =m$ a fri5d%ip ) ! ,abb ,lam5nais1 & became intimate ) ,b]lioz & ,*op94 ,illu/ration3 ,,franz ,,liszt4 ,p]iod ( ,prep>ation4--,( f> deep] result 0 ! appe>ance ( ,pagan9i 9 ,p>is dur+ #ahca4 ,liszt b5t all 8 en]gies t[>ds devis+ a transc5d5t piano te*nic to reproduce ,pagan9i's caprices on ! piano4 ,x 0 at ?is "t t he laid ! f\ndations ( 8 gigantic a*ievem5ts 9 piano te*nic1 n m]ely 9 ! int]e/ ( virtuosity1 b = ext5d+ ! limits ( expression4 ,he 0 also mu* affect$ by ,*op9's poetic individuality4 ,9 #ahcd1 ,liszt ent]$ into an intimacy ) ! ,comtesse d',ag\lt1 :i* la/$ = sev]al ye>s4 ,?ree *ildr5 7 born ( ?is union1 ( :om two surviv$4 ,"o daught] m>ri$ ,m4 ,ollivi]1 a ,fr5* /atesman1 ! o!r became successively ,mme4 von ,bl[ & ,mme4 ,wagn]4 ,dur+ ?is p]iod ,liszt compos$ mu* = piano1 made _m transcriptions1 & began 8 lit]>y activity on musical subjects4 ,he gave conc]ts1 *iefly = *>ity4 ,9 #ahcg1 he made a trip to ,p>is to conte/ ! supremacy ( ! piano ) ,?alb]g4 ,among 8 compositions ( ?is p]iod may be m5tion$ ! etudes1 ! ,ross9i transcriptions1 _m arrangem5ts ( ,s*ub]t's songs1 ! piano scores ( sev]al ,bee?ov5 symphonies1 besides op]a-fantasies1 orig9al pieces = piano1 etc4 ,pr(essional ,activity4--,9 #ahch1 ,liszt creat$ an extraord9>y s5sation by 8 conc]ts 9 ,vi5na1 & f #ahci to #ahdg liv$ ! life ( a travel+ virtuoso1 giv+ an unp>allel$ s]ies ( recitals ?r\gh\t ! l5g? & bread? ( ,europe1 :i* 7 a s]ies ( triumphs su* z no arti/ _h ev] be=e exp]i5c$4 ,9 #ahcb1 he 0 made c\rt music-director at ,weim>1 8 duties only requir+ 8 pres5ce = ?ree mon?s 9 ! ye>4 ,9 #ahdg1 ,liszt met ! ,pr9cess von ,sayn-,wittg5/e91 :o ex]cis$ a rem>kable influ5ce ov] him4 ,%e p]suad$ him to give up 8 c>e] z a virtuoso1 & turn to composition4 ,f #ahdh to #ahfa ,liszt pass$ ! mo/ significant p]iod ( 8 life at ,weim>4 ,f 8 position z conductor he 0 ( ine/imable s]vice to ! cause ( romantic music ?r\gh 8 p]=mance ( op]as & or*e/ral works by ,wagn]1 ,b]lioz1 ,s*umann1 ,raff1 ,cornelius & o!rs4 ,he 0 equally active ) 8 p5 9 def]5ce to ! new arti/ic pr9ciples4 ,to ?is epo* belong ,liszt's mo/ important or*e/ral works1 ! conc]tos & o!r compositions = piano & or*e/ra1 _m transcriptions & editions ( ! classics4 ,lat] ,life4--,9 #ahei1 opposition to ,liszt's progressiv5ess became s pron\nc$ t he resign$4 ,he did n leave ,weim>1 h[ev]1 until #ahfa4 ,! re/ ( 8 life 0 some:at irregul>ly divid$ betwe5 ,rome1 ,weim> & ,budape/4 ,dur+ ! fir/ few ye>s at ,rome he compos$ *iefly *ur* music & oratorios2 9 #ahfe1 he took m9or ord]s 9 ! ,*ur* ( ,rome4 ,f #ahfi on1 p]suad$ by ! ,duke & ,du*ess ( ,saxe-,weim>1 he pass$ portions ( e ye> at ,weim> 9 a beautiful h\se especially furni%$ = him by ! ,duke4 ,pupils flock$ to him1 he held a sort ( musical c\rt1 & 0 treat$ ) ! respect due to royalty4 ,8 lat] ye>s 7 full ( activity1 & g5]\s sympa?y to all t 0 wor?y1 & he 0 ! con/ant object ( homage & affection4 ,9 #ahhf1 ,liszt became ov]tax$ by a s]ies ( trips to he> 8 own works p]=m$1 includ+ a reception 9 8 honor at ,london4 ,he also made exceptional ef=t to att5d a p]=mance ( 8,tri/an & ,isolde0 at ,bayreu?4 ,a cold 0 spe$ily foll[$ by pneumonia1 f :i* he di$ on ,july #ca1 #ahhf4 ,liszt's ,p]sonality & ,"*4--,liszt's "* 0 rem>kable = its conspicu\s virtues & almo/ equally prom95t faults4 ,8 0 a l>ge1 noble nature1 ) deep humanit>ian traits4 ,8 life 0 "o long s]vice to 8 art1 accompani$ 9 8 lat] ye>s by devotion to ! *ur*4 ,?\gh n highly educat$1 except 9 exp]i5ce ( m5 & ! _w1 he _h an extremely ke5 m9d1 omnivor\s 9 its ta/es1 & 8 int]e/s 7 wide & p5etrat+4 ,p]haps 8 sali5t *>act]i/ics 7 g5]osity & unselfi%ness4 ,(t5 dur+ 8 c>e] z a virtuoso he gave freely ( ! proce$s ( 8 conc]ts to *>ity4 ,aft] ! close ( 8 conc]t-t\rs he taught = ye>s )\t remun]ation4 ,8 help to y\ng] arti/s 0 incalculable 9 its ext5t4 ,z conductor at ,weim> 8 motto 0 to help liv+ compos]s fir/1 & by 8 en]gy he did valiant "w 9 help+ ,wagn]'s cause4 ,l>gely end[$ ) wit1 a fund ( irony & *>m ( mann]1 m5 & wom5 alike almo/ lit]ally fell at 8 feet1 & x is all ! m admirable t 9 spite ( ! homage s unsp>+ly lavi%$ ^u him1 he did n sw]ve f 8 arti/ic purposes4 ,! /ra9 ( my/icism s m>k$ 9 8 y\?1 became lat] s pron\nc$ t he felt compell$ to give x expression by ent]+ ! *ur*4 ,liszt z a ,piani/4--,liszt 0 ! mo/ ph5om5al piani/ 9 ! hi/ory ( music4 ,o!r piani/s h surpass$ him 9 s+le qualities1 b no "o has unit$ 9 s /up5d\s fa%ion z mu* z he4 ,beg9n+ ) a /rictly classical education1 ,liszt evolv$ a new te*nic :i* completely summ$ up ! difficulties ( piano play+4 ,9 velocity1 wide /ret*es1 d\ble-notes1 octaves1 & a :ole sy/em 9 itself ( int]lock+ passages1 he all b atta9$ ! impossible4 ,he c>ri$ indep5d5ce ( f+]s1 especially 9 fugue play+1 to a pit* hi!rto unequall$4 ,8 p]=mance ( brilliant music repres5t$ ! la/ ^w 9 bravura2 9 ! classics 8 int]pretation 01 z ,wagn] says3 8n reproduction1 b production10 s vivid & gl[+ 0 x4 ,8 s-call$ 8or*e/ral /yle0 9 its bold color & ri* p$al effects 0 z di/9ct f ! piano play+ be=e him z ! mod]n or*e/ra 0 f t ( ,moz>t & ,haydn4 ,z he assimilat$ ev]y?+ 9 ! field ( piano play+ be=e him1 s has ev]y?+ s9ce him be5 =c$ to take 8 me?od into acc\nt4 ,liszt's ,compositions4--,among ,liszt's *ief compositions are ! 8,fau/0 & 8,dante0 symphonies1 ) *oral epilogues2 twelve symphonic poems1 a =m :i* he inv5t$1 & :i* is epo*-mak+ 9 ! developm5t ( music2 _m %ort] or*e/ral works2 two conc]tos1 ! ,hung>ian fantasy1 ! 8,dance ( ,dea?0 = piano & or*e/ra1 besides sev]al compositions = ! same comb9ation on !mes ( o!r compos]s2 ! oratorios 8,/4 ,elizabe?0 & 8,*ri/us10 a ,solemn ,mass1 ! ,hung>ian ,coronation ,mass1 sev]al o!r masses1 twelve sacr$ hymns = *orus1 five psalms1 & _m o!r pieces ( *ur* music1 *oruses = m5's voices1 sev]al compositions = solos1 *orus & or*e/ra = v>i\s fe/ival occasions2 fifty-five songs = voice ) piano accompanim5t2 ?ree collections conta9+ tw5ty-five pieces = piano1 entitl$ 8,ye>s ( ,pilgrimage10 a collection ( ! piano pieces nam$ 8,poetic & ,religi\s ,h>monies10 twelve 8,etudes ( ,transc5d5t ,te*nic10 ?ree conc]t /udies1 a sonata1 two ballades1 two 8,leg5ds10 a conc]t solo1 aft]w>ds arrang$ z a 8,pa!tic0 conc]to1 a ,valse ,impromptu1 two polonaises1 six ,consolations1 a ,spani% ,rhapsody1 & n9ete5 ,hung>ian ,rhapsodies are ! be/ kn[n ( ! piano music4 ,!re are five ballades = declamation ) piano accompanim5t4 ,= organ1 !re is a fantasy & fugue on a *oral f ,mey]be]'s 8,prophet10 a fugue on ,b4 ,a4 ,c4 ,h41 & v>iations on a !me f a ,ba* cantata4 ,liszt's ,arrangem5ts4--,( almo/ equal importance ) ,liszt's orig9al compositions are 8 mat*less transcriptions4 ,in/ead ( a trivial & lit]al process ( transcrib+1 he p5etrat$ ! intimate _s ( ! piece1 & translat$ x into 8 own piano idiom1 (t5 add+ consid]ably b always ) supreme arti/ic effect4 ,:at is lo/ 9 fidelity ( transf] is m ?an ga9$ 9 add$ *>m1 new h>monic significance & a subtle enhanc+ ( individuality4 ,liszt />t$ ! evolution ( 8 epo*-mak+ te*nic :ile exp]im5t+ ) 8 arrangem5t ( ,pagan9i's caprices1 & ( ,b]lioz' 8,fanta/ic ,symphony40 ,he made easy arrangem5ts f op]as ( ,ross9i1 ,m]cadante & ,donizetti4 ,!n he turn$ to sett+ ,s*ub]t's mat*less songs = ! piano1 arrang+ 9 all fifty-sev52 he cont9u$ by mak+ piano scores ( ,bee?ov5's symphonies1 ( ,ross9i's ov]ture to 8,william ,tell10 & to ,web]'s ov]tures 8,jubilee10 8,freis*tz0 & 8,ob]on40 ,he also made _m transcriptions f ,wagn]'s op]as1 includ+ 8,! ,fly+ ,dut*man10 8,tannhus]10 8,loh5gr910 8,die ,mei/]s+]10 8,tri/an & ,isolde0 & 8,p>sifal10 besides a fantasy on !mes f 8,ri5zi10 & an arrangem5t ( ! 8,walhalla0 motive f 8,! ,r+ ( ! ,nibelungs40 ,liszt's arrangem5ts ( six preludes & fugues z well z ! fantasy & fugue 9 ,g m9or by ,ba* are n only rem>kable = ! ext5t to :i* !y reproduce organ-effect1 b z pione]s 9 ! transf] ( organ pieces to ! piano1 9 :i* ,liszt has be5 foll[$ by ,tausig1 d',alb]t & ,busoni4 ,9 addition he transcrib$ f\rte5 songs by ,s*umann1 ?irte5 by ,franz1 eight by ,m5delssohn1 sev5 by ,bee?ov51 six by ,*op9 & two by ,web]1 besides an arrangem5t f ,m5delssohn's music to 8,a ,midsumm] ,night's ,dream10 & 8piano scores0 ( ! septets by ,bee?ov5 & ,hummel4 ,liszt arrang$ ,web]'s 8,polacca ,brillante10 ,op4 #gb1 & ,s*ub]t's ,fantasy1 ,op4 #ae1 = piano & or*e/ra4 ,!re are also _m transcriptions ( pieces by ,pale/r9a1 ,di ,lasso1 ,arcadelt1 ,moz>t1 ,gl9ka1 ,d>gomis*ky1 ,sa9t-,sans1 ,v]di1 ,raff1 ,g\nod1 ,rub9/e91 ,t*aikovsky1 ,cs> ,cui & o!rs4 ,liszt scor$ ! accompanim5t ( sev]al ,s*ub]t songs = or*e/ra1 he also or*e/rat$ sev]al ( ! ,s*ub]t f\r-h& m>*es4 ,he also arrang$ _m ( 8 own songs1 or*e/ral & *oral works = piano & = organ4 ,8 transcriptions z a :ole are monum5tal n only on acc\nt ( _! arti/ic m]it1 b because !y s]v$ an educational purpose 9 spread+ ! works ( little kn[n compos]s4 ,9 ?is way ,liszt cultivat$ ! public ta/e = ,s*ub]t's songs1 & br\ght ,wagn] )9 ! rea* ( ! av]age conc]t-go]4 ,liszt z ,writ]4--,z a critic1 ,liszt mu/ /& z a pione] al?\gh 9 a diff]5t direction f ,s*umann4 ,liszt's e>ly essay on ! position ( ! arti/ is extremely significant2 8 criticisms dur+ ! ,weim> p]iod1 especially 8 analyses ( ,wagn]'s op]as 7 ( great value2 8 8,life ( ,*op910 :ile untru/wor?y 9 detail & some:at ov]drawn1 is nev]!less graphic2 8,! ,gipsies & ,_! ,music0 is picturesque if n entirely accurate4 ,liszt's lett]s conta9 glimpses ( 8 high qualities z well z vital pres5tations ( 8 musical views4 ,! correspond5ce betwe5 ,wagn] & ,liszt gives conclusive evid5ce ( ! latt]'s unselfi%ness 9 ,wagn]'s behalf4 ,liszt's ,position & ,influ5ce z a ,compos]4--,liszt's rank z a compos] 0 und\bt$ly ov]%ad[$ by 8 fame z a piani/ & tea*]1 & by 8 facility z an arrang]4 ,= _m ye>s nei!r critics nor public w\ld ackn[l$ge 8 creative gifts4 ,:atev] our op9ion ( ! symphonies1 ! symphonic poems & ! conc]tos1 !re is no d\bt t ,liszt r5d]$ an ine/imable s]vice to ! developm5t ( music 9 break+ away f ! sonata =m1 & 9 demon/rat+ t =m & sub/ance c g h&-9-h& )\t detrim5t to organic unity & coh]5ce4 ,8 =ms are novel1 8 or*e/ration highly effective 9 spite ( ! a*ievem5ts ( ,b]lioz & ,wagn] 9 ?is direction4 ,liszt's *ur* music & 8 oratorios are wor?y ef=ts t[>ds a re=m ( ecclesia/ic music4 ,8 songs are truly spontane\s lyrics1 :i* are n appreciat$ at _! true value4 ,9 spite ( ,liszt's unque/ion$ atta9m5ts z a compos]1 !re is a sugge/ion ( skilful assimilation 9 8 individuality r ?an ( unique & unque/ion$ p]sonality4 ,nev]!less 8 influ5ce has be5 va/4 ,9 8 old age he enc\rag$ ,borod9 & ,glaz\n(f1 he conduct$ works by ,rimsky-,korsak(f1 he made 8 pupils play ,balakireff's 8,islamey40 ,9 turn1 ! 8new-,russian0 s*ool owes mu* to him4 ,t*aikovsky c\ld h>dly h writt5 8 symphonic poems )\t ,liszt's pione] "w to %[ ! way4 ,sa9t-,sans admits a simil> influ5ce4 ,9 fact1 ! entire developm5t ( ! symphonic poem is directly due to ,liszt2 x is s consid]able 9 ext5t t ! details _c be exam9$ "h1 b :ile bo? ,wagn] & ,b]lioz contribut$ mu* to ! gr[? ( or*e/ral /yle & individuality ( expression1 ! orig9ality ( ! symphonic poem =m belongs entirely to ,liszt4 ,?us ,liszt's %>e 9 ! evolution ( ultra-mod]n or*e/ral music1 z well z 9 ! developm5t ( piano play+1 is v important1 & ! greate/ liv+ compos]1 ,ri*>d ,/rauss1 al?\gh also influ5c$ by bo? ,b]lioz & ,wagn]1 frankly av[s himself to be a disciple ( ,liszt4 ,,ref]5ces4 ,grove's & ,riemann's ,diction>ies4--,article on ,liszt4 ,newman4--,a ,/udy ( ,liszt4 7,c5tury ,libr>y ( ,music47 ,ramann4--,franz ,liszt z ,arti/ & ,man4 ,sa9t-,sans4--,franz ,liszt4 7,c5tury ,magaz9e1 ,feb41 #ahjc47 ,,que/ions ,,& ,,sugge/ions4 ,:at 0 ! nature & ext5t ( ,liszt's e>ly musical education8 ,:at 0 ! effect ( 8 wide travels & meet+ ) notable p]sons on 8 "*8 ,:at set him to p]fect+ 8 te*nic8 ,"n ! mo/ important ev5ts 9 8 c>e]4 ,:at educational "w 0 ! feature ( 8 lat] ye>s8 ,sket* ,liszt's p]sonality & "*4 ,give an acc\nt ( ,liszt's contribution to piano te*nic4 ,9 :at /yles & =ms ( composition did ,liszt write8 ,:at works did he transcribe = ! piano8 ,:at lit]>y "w did he d8 ,:at compos]s did he influ5ce8 ,:at song compos] 0 br\ght into great] prom95ce by ,liszt8 ,^: symphonies did he arrange = ! piano8 ,:at op]a compos] did he assi/ greatly8 ,:at important =m did ,liszt orig9ate8 ,:at has be5 ,liszt's %>e 9 ! developm5t ( ! 8mod]n s*ool08 ,! /ud5t :o wi%es to exam9e ,liszt's works = himself1 %\ld /udy ! symphonies & symphonic poems 9 ,liszt's own arrangem5t = two pianos4 ,!y require1 h[ev]1 a te*nic beyond ! av]age play]4 ,! same difficulty applies to 8 piano music1 b ! foll[+ may s]ve z guides to ,liszt's /yle3 ,! 8,lake ( ,wall5/adt10 & 8,eclogue10 ,nos4 #b & #g1 9 ! ,swiss 8,ye>s ( ,pilgrimage02 ! 8,gondoli]a0 & 8,t>antelle0 f 8,v5ice & ,naples10 ! 8,valse ,impromptu10 8,ave ,m>ia10 8,waldesraus*50 & 8,gnom5reig510 ! pieces = ,leb]t & ,/>k's ,piano ,s*ool1 ! ,conc]t ,/udies 9 ,f m9or & ,d-flat1 ! ,love ,dreams1 ! ,consolations1 ,nos4 #a1 #b & #d2 ! ,leg5ds1 ! 8,b5$iction ( ,god 9 ! ,solitude0 & 8,love ,song0 f 8,poetic & ,religi\s ,h>monies10 & ! ,fantasie on 8,rigoletto40 ,= ! m advanc$ play] may be sugge/$ ! ,etudes1 ,nos4 #c1 #d1 #e1 #g1 #i1 #aa & #ab2 ! ,mephi/o ,waltz1 ! ,second ,ballad1 8,au ,bord d'une ,s\rce0 f ! ,swiss 8,ye>s ( ,pilgrimage10 ! ,second ,polonaise1 ! 8,fun]ailles0 f 8,poetic & ,religi\s ,h>monies10 ! ,sonata1 ! ,hung>ian ,rhapsodies1 ,nos4 #b1 #d1 #f1 #aj1 #aa1 #ab1 #ae1 & ! ,spani% ,rhapsody2 ! two conc]tos 9 ,e-flat & ,a1 ! ,hung>ian ,fantasy1 & ! conc]t piece 8,! ,dance ( ,dea?10 ! ,fantasy on 8,don ,juan40 ,among ! transcriptions1 ! ,s*ub]t songs1 8,h>k6 ,h>k6 ! ,l>k10 8,du bi/ die ,ruh10 8,frhl+sglaube10 8,! ,w&]]10 8,by ! ,sea10 8,me]es/ille10 8,b>c>olle10 8,trockne ,blum510 8,woh910 8,ung$uld10 8,erl-,k+02 ! ,m5delssohn song1 8,on ,w+s ( ,song02 ! ,s*umann songs1 8,d$ication10 8,to ! ,sun%9e10 & 8,spr+ ,night02 ! ,web] 8,slumb] ,song0 may be sugge/$4 ,( ! ,wagn] arrangem5ts1 8,! ,ev5+ ,/>01 f ,tannhus]1 ! 8,sp9n+ ,song10 f 8,! ,fly+ ,dut*man10 & 8,isolde's ,love ,dea?10 are ! mo/ *>act]i/ic4 ,! ,pagan9i ,/udies1 ,nos4 #b1 #c & #e2 ! waltz f ,g\nod's 8,fau/10 ! ,t>antelle aft] ,aub]1 & ! ,ov]ture to 8,tannhus]0 are among ! be/4 ,( ! songs1 8,mignon's ,li$0 & 8,ueb] all5 ,gipfeln10 8,comm5t disai5t-ils10 8,angiol9 dal biondo cr910 8,es muss e9 wund]b>es se910 8,die drei ,zigeun]10 & 8,d] du von dem ,himmel bi/0 & 8,die ,lorelei0 are ! be/4 ,,lesson ,,xlvii4 ,,piani/s ,,& ,,tea*]s ,,s9ce ,,liszt4 ,i4 ,introduction4--,! a*ievem5ts ( ,liszt 9 develop+ piano te*nic1 9 enl>g+ ! scope ( piano play+ ?r\gh 8 ma/]ly transcriptions1 9 v>iety & int5sity ( int]pretation1 h br\ght results t are enorm\s 9 ext5t & f>-rea*+ 9 _! developm5ts to ! g5]ations t h succe$$ him4 ,:5 ,liszt 0 9 ! height ( 8 c>e] z a virtuoso1 few c\ld ma/] ! difficulties :i* 8 epo*-mak+ works pres5t$4 ,gradually ! secrets ( 8 te*nic 7 reveal$ to ! ambiti\s few2 n[ !y are almo/ common prop]ty4 ,! great conc]t piani/s ( today possess a te*nic t w\ld h be5 unique =ty ye>s ago4 ,! rep]tory :i* all piani/s wor?y ! "n play f memory 7a practice :i* ,liszt initiat$7 is exce$+ly ext5sive1 :ile ! endurance :i* !y display & ! facility ) :i* !y reproduce ! ma/]pieces ( piano lit]ature is /up5d\s4 ,,pupils ,,( ,,liszt4 ,liszt 0 und\bt$ly ! greate/ reveal] ( ! secrets ( piano play+ 9 ! #ai? c5tury1 & 8 pupils & ^? :o h assimilat$ 8 tea*+s occupy a l>ge "p ( ! piani/ic activity ( today4 ,among ! fir/ ( ,liszt's pupils to become fam\s 7 ,tausig & von ,bl[4 ,c>l ,tausig1 born 9 #ahda1 di$ 9 #ahga1 0 tra9$ by 8 fa!r1 & lat] /udi$ ) ,liszt1 "u ^: guidance he a*iev$ a ph5om5al accuracy ( te*nic1 & a comm&+ p[] ( int]pretation4 ,8 %ort life 0 sp5t ma9ly 9 conc]t t\rs4 ,he e/abli%$ a s*ool ( music 9 ,b]l9 = advanc$ piano play+4 ,8 untimely dea? cut %ort a brilliant c>e]4 ,8 edition ( ,clem5ti's ,gradus & a collection ( f+] ex]cises are invaluable to tea*]s & to /ud5ts4 ,hans von ,bl[1 born 9 #ahcj1 di$ #ahid1 0 int5d$ = ! law1 al?\gh he /udi$ ! piano z a boy "u ,fri$ri* ,wieck4 ,9 #ahej1 he became s absorb$ 9 ,wagn]'s music t he ab&on$ all idea ( ! law4 ,he /udi$ ! piano ) ,liszt at ,weim>1 & soon acquir$ a rem>kable te*nic4 ,he 0 nev] a piani/ ( ! virtuoso type2 8 /r5g? lay 9 /riv+ to reproduce ! int5tion ( ! compos] z fai?fully z possible4 ,8 int]pretations ( ,bee?ov5 7 especially fam\s1 al?\gh he 0 progressive 9 8 ta/es4 ,9 #ahgf1 he made a t\r 9 ! ,unit$ ,/ates1 :]e he did mu* to advance ! cause ( new music4 ,z e>ly z #ahfe he conduct$ p]=mances ( ,wagn]'s op]as1 & lat] 8 association ) or*e/ras at ,me9+5 & ( ! ,b]l9 ,philh>monic ,society plac$ 8 reputation z a conductor 9 ! front rank4 ,he 0 extremely en]getic 9 ,wagn]'s behalf & did mu* to br+ 8 works to a public he>+4 ,8 editions ( ,cram]'s /udies & ,bee?ov5's sonatas are ( great value4 ,among ,liszt's lat] pupils1 "o ( ! =emo/ is ,eug5 ,d',alb]t1 born 9 #ahfd4 ,he receiv$ 8 e>ly tra9+ 9 ,engl&1 b 9 #ahha1 z a prize s*ol>1 he /udi$ ) ,liszt at ,weim>4 ,aft] brilliant conc]t t\rs ?r\gh ,europe1 he came to ,am]ica1 9 #ahhi1 ) ,s>asate1 :]e 8 ability 0 at once recogniz$4 ,he has s9ce l>gely r5\nc$ ! c>e] ( virtuoso = t ( compos]1 al?\gh he made a visit to ! ,unit$ ,/ates 9 #aije1 giv+ a numb] ( recitals4 ,moritz ,ros5?al1 possibly ! mo/ fully equipp$ virtuoso te*nically n[ be=e ! public1 0 born 9 #ahfb4 ,at fir/ a pupil ( ,mikuli1 a disciple ( ,*op91 & lat] ( ,joseffy1 he came ultimately to ,liszt1 ) :om he /udi$ = t5 ye>s4 ,aft] num]\s ,european t\rs he came to ! ,unit$ ,/ates 9 #ahhh1 :]e he dazzl$ 8 audi5ces by 8 unusual comm& ( te*nic4 ,he reappe>$ 9 ,am]ica 9 #ahif-ig1 & has s9ce made triumphal progress ?r\gh ,europe4 ,z an int]pret] he is less successful ?an z a virtuoso4 ,he is c\rt piani/ ( ,r\mania4 ,he has publi%$ a collection ( te*nical ex]cises ) ,ludwig ,s*ytt4 ,b]nh>d ,/av5hag51 born 9 #ahfb1 is ano!r not$ ,liszt pupil4 ,he act$ z ,liszt's secret>y dur+ 8 lat] ye>s1 & at ! same "t receiv$ lessons4 ,9 #ahij1 he became c\rt piani/ at ,weim>4 ,9 #ahid-ie1 he visit$ ,am]ica4 ,s9ce !n he has act$ z conductor at ,dresd5 & ,muni*4 ,emil ,sau]1 ano!r ph5om5al pupil ( ,liszt1 0 born 9 #ahfb4 ,at fir/ a pupil ( ,ni*olas ,rub9/e91 he /udi$ ) ,liszt f #ahhd until ! latt]'s dea?4 ,he possesses an extraord9>y te*nic1 & is almo/ unrivall$ = ! extreme brilliancy ( 8 effects4 ,he has receiv$ _m decorations f v>i\s c\rts ( ,europe4 ,9 #ahig-ih1 he visit$ ! ,unit$ ,/ates1 :]e he made a s5sation4 ,s9ce #aija1 he has be5 at ! head ( ! piano dep>tm5t 9 ! ,vi5na ,cons]vatory1 giv+ 8 att5tion to pupils 9 ! arti/ dep>tm5t4 ,among o!r tal5t$ pupils ( ,liszt may be m5tion$ ,alfr$ ,reis5au]1 ,ar?ur ,fri$heim & ,ri*>d ,burmei/]1 all ( :om h be5 he>d 9 ?is c\ntry4 ,! =ego+ acc\nt does n beg9 to enum]ate all1 m]ely ! celebrat$ pupils ( ,liszt4 ,o!rs w be ref]r$ to 9 ! c\rse ( ?is & ! next lesson4 ,belgian ,piani/s4--,9 piano play+1 ! ,brussels ,cons]vatory is f> bel[ ! level ( ! ,p>is ,cons]vatory1 al?\gh ! director ,gevart has a _w-wide reputation = 8 text-book on or*e/ration1 & ! symphony conc]ts at ! cons]vatory1 l$ by him1 h a high place 9 or*e/ral /&>ds4 ,nev]!less1 9 ! piano dep>tm5t two names des]ve m5tion3 ,brass9 & ,dupont4 ,l\is ,brass9 7#ahdj-ahhd7 /udi$ at ! ,leipzig ,cons]vatory "u ,mos*eles1 :]e he rema9$ five ye>s1 w9n+ num]\s prizes4 ,9 #ahff1 he became fir/ piano tea*] at ! ,/]n ,cons]vatory 9 ,b]l94 ,lat] he jo9$ ! ,brussels ,cons]vatory1 z pr(essor ( piano play+1 :]e he taught f #ahfi-ahgh4 ,9 #ahgi1 he accept$ a position at ! ,/4 ,pet]sburg ,cons]vatory1 :]e he rema9$ until 8 dea?1 9 #ahhd4 ,brass9 0 n only kn[n z a f9e piani/ & tea*]1 b also by 8 transcriptions f 8,! ,r+ ( ! ,nibelung40 ,he also compos$ piano pieces & ev5 two op]ettas4 ,augu/e ,dupont 7#ahbh-ahij7 /udi$ at ! ,lige ,cons]vatory4 ,aft] sev]al ye>s ( w&]+ life1 he became pr(essor ( piano at ! ,brussels ,cons]vatory1 a position :i* he held until 8 dea?1 9 #ahij4 ,he is kn[n also z a compos] ( graceful piano pieces1 a conc]to & a conc]t-piece1 9 all ( :i* ! influ5ce ( ,s*umann is se54 ,johannes ,brahms 7#ahcc-ahig71 fam$ bo? z compos] & piani/1 0 ! son ( an or*e/ral musician 9 ,hamburg1 ^: circum/ances 7 ( ! humble/4 ,z a *ild he develop$ rem>kable ability z a piani/1 b 8 fir/ lessons 9 composition awak5$ an en?usiasm t absorb$ 8 entire be+4 ,he 0 comp>atively unkn[n :5 at ! age ( tw5ty ,s*umann br\ght him into public notice by hail+ him z ! successor ( ,bee?ov54 ,unlike mo/ compos]s1 ,brahms 0 mature f ! v beg9n+4 ,8 e>ly works be> no trace ( ! unc]ta9ty & imitation g5]ally associat$ ) y\?1 & x 0 ?is rem>kable maturity t int]e/$ ,s*umann & gave po9t to 8 pr$ictions = ! future ( ! "y musician4 ,unaffect$ by ! pomp & gl[ ( ! ultra-romantic t5d5cy initiat$ by ,b]lioz & culm9at+ at pres5t 9 ! works ( ,ri*>d ,/rauss1 he rema9$ true to ! great classical s*ool :i* re/s on ,ba* & ,pale/r9a4 ,unlike ! mod]n impressioni/ic s*ool1 8 art is bas$ on ess5tially musical ideas & _! contrapuntal treatm5t2 x is ar*itectural r ?an pictorial4 ,9 su* a s*eme1 color is subord9ate to !matic int]e/1 h5ce 8 in/rum5tation (t5 appe>s heavy & au/]e to ^? :o look = ! brilliancy & tone pa9t+ ( ,liszt or ,wagn]4 ,8 music 9 g5]al is f\nd$ on ,ba* & ,bee?ov54 ,illu/ration3 ,,johannes ,,brahms4 ,8 works = ! piano are l>ge & or*e/ral 9 /yle1 & dem& a te*nic ( _! own1 :i* 0 at fir/ consid]$ unsuit$ to ! nature ( ! in/rum5t4 ,von ,bl[ rem>ks t :ile 9 ,ba* we he> ! organ1 9 ,bee?ov5 ! or*e/ra1 9 ,brahms we he> bo? organ & or*e/ra4 ,not)/&+ _! dignity & nobility ( conception1 !y won _! way b sl[ly to favor4 ,_! newness ( /yle & difficulty ( execution e/rang$ bo? public & musicians4 ,?\gh ,brahms' f\r symphonies h become reasonably famili>1 8 piano works h n ev5 yet a*iev$ widespread popul>ity4 ,!y comprise two conc]tos1 ?ree sonatas1 _m v>iations1 & a ho/ ( small] pieces--ballades1 s*]zos1 int]mezzos1 capriccios1 etc4 ,brahms nev] wrote = ! /age b 0 active 9 all o!r dep>tm5ts ( music4 ,8 greate/ *oral "w is ! 8,g]man ,requiem10 compos$ 9 memory ( 8 "m1 to texts select$ by himself f ! ,scriptures & sung 9 ,g]man1 in/ead ( 9 ,lat91 h5ce its "n4 ,he drew no little inspiration f ! ,folk-song1 :i* he uses n only 9 ! =m ( h>monies & rhy?ms di/9ctly bas$ on ,folk melodies1 b 9 lit]al quotations s]v+ z !mes 9 sev]al ( 8 in/rum5tal compositions4 ,?is contact ) ! p ?r\gh _! songs gives p>ticul> fre%ness & vigor to mu* ( ,brahms' music1 z well z a /urdy ,teutonic "* t /amps x z di/9ctively national 9 _s4 ,x is p]haps too soon to deliv] an au?oritative judgm5t z to ! ultimate rank t ,brahms w take among ! great compos]s ( ! pa/4 ,!re is no d\bt1 h[ev]1 t he is "o ( ! comm&+ figures ( ! la/ c5tury & t he has enri*$ ! _w ) a mass ( noble music1 all ( :i* des]ves to be kn[n = its elevation & consummate ma/]y ( detail4 ,,russian ,,piani/s4 ,( a some:at indep5d5t developm5t f ,liszt1 al?\gh mu* influ5c$ by 8 p]sonality & 8 me?od1 0 ,anton ,rub9/e91 born 9 #ahbi1 di$ 9 #ahid4 ,he /udi$ ! piano at ,mosc[ ) ,villo+1 :o gave him s ?or\gh a tra9+ t he _h no o!r tea*]4 ,f #ahdj1 aft] conc]ts 9 ,p>is1 he _h univ]sal recognition z a piani/4 ,fur!r ,european t\rs increas$ 8 fame4 ,he liv$ successively 9 ,b]l9 & ,vi5na1 & lat] return$ to ,/4 ,pet]sburg4 ,9 #ahgb-gc1 he made a rem>kable t\r ?r\gh ,am]ica1 ar\s+ an en?usiasm only equall$ 9 lat] ye>s by ,pad]ewski4 ,al?\gh he pass$ mo/ ( 8 life 9 con/ant activity z a compos]1 he direct$ ! ,russian ,symphony ,conc]ts 9 ,/4 ,pet]sburg4 ,z e>ly z #ahfb he f\nd$ ! ,/4 ,pet]sburg ,cons]vatory1 :i* has _h a prom95t place 9 ,russian music4 ,he 0 a complete ma/] ( ! piano1 8 te*nic 0 gigantic1 al?\gh 8 vitality ( int]pretation 0 s int5se t details pal$ be=e x4 ,8 hi/orical recitals cov]+ ! entire lit]ature ( ! piano 7 8 mo/ conspicu\s a*ievem5ts z a piani/4 ,he may be reg>d$ z second only to ,liszt1 & 9 "s respects he ev5 surpass$ him4 ,he 0 disappo9t$ at n be+ accord$ high rank z a compos]1 z well z a piani/4 ,8 bro!r1 ,ni*olas ,rub9/e91 born 9 #ahce1 di$ 9 #ahha1 al?\gh n s di/+ui%$ a piani/1 & a compos] ( slight acc\nt1 ex]t$ almo/ z /rong an influ5ce on ,russian music4 ,a pupil ( ,kullak1 he f\nd$ ! ,russian ,musical ,society at ,mosc[1 9 #ahei1 & 9 #ahfd ! ,mosc[ ,cons]vatory1 :i* has be5 exce$+ly active 9 ,russian musical affairs4 ,he direct$ ! ,mosc[ ,cons]vatory until 8 dea?2 he 0 an intimate advis] ( ,t*aikovsky1 :ile 8 wor? z a tea*] may be guess$ f ! prom95ce ( 8 pupils1 ,k>l ,kl9dwor?1 ,emil ,sau] & ,alex&] ,siloti1 possibly ! =emo/ ,russian piani/ today4 ,mili ,balakireff1 born 9 #ahcf1 has be5 a consid]able =ce 9 ,russian music1 besides be+ a capable piani/4 ,aft] /udy+ physics & ma!matics at ! ,univ]sity ( ,kazan1 he turn$ to music4 ,9 #ahfb1 he f\nd$ a ,free ,s*ool ( ,music 9 ,/4 ,pet]sburg4 ,among 8 associates 7 ,cs> ,cui1 ,ni*olas ,rimsky-,korsak(f1 ,alex&] ,borod9e & o!rs4 ,he has done mu* to aid ! ,neo-,russian s*ool ( composition4 ,8 piano music is effective & highly color$1 especially 8 fantasy on ,georgian !mes1 8,islamey40 ,alex&] ,siloti1 und\bt$ly ! mo/ widely-kn[n ( ,russian piani/s1 born at ,*>c[1 #ahfc1 0 a pupil 9 piano play+ ( ,ni*olas ,rub9/e91 at ! ,mosc[ ,cons]vatory4 ,f #ahhc-ahhf1 he /udi$ ) ,liszt4 ,8 te*nic is enorm\s2 :ile n int5sely magnetic1 8 intellectual grasp ( music is rem>kable4 ,he made an ,am]ican t\r 9 #ahih1 :5 he introduc$ mu* ,russian piano music t 0 new4 ,al?\gh ,siloti has taught at ! ,mosc[ ,cons]vatory1 he has liv$ ( late ye>s at ,leipzig & ,p>is4 ,among o!r ,russian piani/s are ,vassili ,sapellnik(f1 born #ahfh1 a pupil ( ,kessl]1 ,l\is ,brass91 ,sophie ,m5t]2 ,vassili ,safon(f1 a pupil ( ,les*etizky & ,z>emba 9 ,/4 ,pet]sburg1 s9ce #ahhg director ( ! ,mosc[ ,cons]vatory1 & m lately a conductor2 ,s]gei ,ra*man9(f1 born #ahgc1 a pupil ( ,siloti1 n only a brilliant piani/ b also a compos] ( orig9ality2 ,alex&] ,scriab9e1 born #ahgb1 a pupil ( ,safon(f1 :o has made successful ,european t\rs1 & l ,ra*man9(f1 has compos$ mu* = 8 in/rum5t4 ,two ,g]man piani/s1 ,h5selt & ,kl9dwor?1 7 s associat$ ) ,russian music z to w>rant _! m5tion "h4 ,adolph ,h5selt1 born #ahad1 di$ #ahhi1 at "o "t a pupil ( ,hummel1 0 = ! mo/ "p self-taught4 ,he pass$ mo/ ( 8 life 9 ,/4 ,pet]sburg1 giv+ lessons & play+ frequ5tly 9 public4 ,he also _h an (ficial position z music inspector4 ,z a piani/1 ,h5selt 0 exce$+ly em95t1 & may be rank$ next to ,rub9/e9 & von ,bl[1 al?\gh 9 lat] ye>s n]v\sness prev5t$ 8 play+ 9 public4 ,8 etudes are di/9ct additions to ! te*nical res\rces ( ! piano1 8 arrangem5ts ( ,cram] etudes ) second piano accompanim5t are praisewor?y4 ,k>l ,kl9dwor?1 born #ahcj1 0 a pupil ( ,ni*olas ,rub9/e9 & lat]1 ( ,liszt4 ,aft] liv+ 9 ,london1 he became pr(essor ( piano play+ at ! ,mosc[ ,cons]vatory1 f #ahfh-ahhd4 ,lat] he settl$ 9 ,b]l91 became conductor ( ! ,philh>monic ,society1 & op5$ a cons]vatory ) von ,bl[1 :i* 0 m]g$ ) t ( ,s*>w5ka 9 #ahic4 ,kl9dwor?'s edition ( ,*op9 is 9 "s respects ! be/4 ,he has also edit$ ,bee?ov5's sonatas1 & he prep>$ ! piano score ( ! entire 8,r+ ( ! ,nibelung40 ,,fr5* ,,piani/s4 ,9 pres5t+ ! fam\s ,fr5* piani/s1 ,*>les ,h5ri ,val5t9e ,alkan1 born #ahac1 di$ #ahhh1 mu/ n be =gott54 ,a brilliant piani/1 he claims our att5tion *iefly on acc\nt ( 8 etudes1 introduc+ novel & extremely difficult problems ( te*nic4 ,musically 8 /udies _c be comp>$ ) ^? ( ,*op9 or ,liszt1 b !y m]it att5tion1 p>ticul>ly 9 ! mod]n editions4 ,al?\gh ,camille ,sa9t-,sans is kn[n *iefly z a compos]1 he 01 dur+ 8 e>ly ye>s1 a rem>kable piani/4 ,8 contributions to piano lit]ature1 five conc]tos1 etudes & small] pieces1 are all valuable4 ,a gr\p ( ,p>is ,cons]vatory pr(essors con/itute ! mo/ di/+ui%+ tea*+ tal5t 9 ,france today4 ,fur!r ?an t1 ,p>is is "o ( ! great c5tres ( piano play+ 9 ,europe4 ,its tea*]s foll[ _! own traditions1 yet h assimilat$ f ,liszt4 ,! olde/ ( ^! is ,georges ,ma?ias 7b4 #ahbf71 pupil ( ,*op91 ,kalkbr5n] & ! ,p>is ,cons]vatory1 :o has be5 pr(essor ( piano play+ s9ce #ahfb4 ,e4 ,delaborde1 a pupil ( ,alkan1 ,mos*eles & ,liszt1 has taught at ! ,p>is ,cons]vatory s9ce #ahgc4 ,"o ( ! mo/ successful tea*]s n[ liv+ is ,l\is ,dim]1 born #ahdc1 a pupil ( ,m>montel4 ,w9n+ ! fir/ piano prize at ! age ( ?irte51 he succe$$ 8 =m] tea*] 9 #ahhh4 ,dim] has turn$ out _m fir/ prizes2 he has an impeccable te*nic2 he has done mu* to fo/] int]e/ 9 ! h>psi*ord1 ! oboe d'amore & o!r obsolete in/rum5ts4 ,he has publi%$ valuable collections ( old ,fr5* h>psi*ord music1 besides orig9al works4 ,a ,cons]vatory tea*] well-kn[n 9 ,am]ica is ,ra\l ,pugno1 born #aheb4 ,a pupil ( ! ,p>is ,cons]vatory1 he obta9$ fir/ prizes 9 piano play+1 organ & h>mony4 ,he came to ,am]ica 9 #ahig-ih ) ,ysaye & o!rs1 & aga9 9 #aijb4 ,he has taught at ! ,p>is ,cons]vatory s9ce #ahig4 ,he has a sup]b te*nic1 & is v]satile z an int]pret]4 ,he has also compos$ mu*4 ,a tea*] ( unusual insight into te*nic is ,isidor ,philipp1 born #ahfc1 a pupil ( ,ma?ias1 ,sa9t-,sans & o!rs4 ,he possesses a flawlessly accurate te*nic1 & has appe>$ frequ5tly 9 public1 al?\gh he devotes ! great] "p ( 8 en]gy to tea*+4 ,he has publi%$ _m valuable sets ( ex]cises1 collections ( difficult passages1 "s transcriptions & orig9al pieces4 ,he has be5 pr(essor at ! ,cons]vatory s9ce #aijd4 ,l\is ,breitn]1 a pupil ( ! ,milan ,cons]vatory1 ,anton ,rub9/e9 & ,liszt1 has liv$ = _m ye>s at ,p>is z piani/ & tea*]4 ,he also has visit$ ,am]ica4 ,among ! y\ng] ,fr5* piani/s are ,leon ,delafosse1 ,ed\>d ,risl]1 an eclectic piani/1 a pupil ( ,dim]1 ,d',alb]t & ,/av5hag54 ,,ref]5ces ,,= ,,lessons ,,xlvii ,,& ,,xlviii4 ,fay4--,music ,/udy 9 ,g]many4 ,walk]4--,my ,musical ,memories4 ,lahee4--,piani/s ( ! ,pa/ & ,pres5t4 ,grove's ,diction>y4--,article on ,pian(orte ,play]s4 ,f9ck4--,pad]ewski & ,8 ,art4 ,les*etizky4--,autobiography4 ,mason4--,memories ( a ,musical ,life4 ,l5z4--,! ,great ,virtuosos ( our ,"t4 ,,que/ions4 ,:o 7 ! e>lie/ ( ,liszt's pupils8 ,"n "s lat] pupils ( ,liszt4 ,:o are ! lead+ expon5ts ( ! ,belgian s*ool8 ,^: pr9ciples did ,brahms foll[8 ,:at are ! *>act]i/ics ( 8 works8 ,:at 0 ,anton ,rub9/e9's *ief *>act]i/ic z a piani/8 ,:om did ,ni*olas ,rub9/e9 assi/ greatly8 ,by :at piano piece is ,balakireff be/ kn[n8 ,:at ,russian piani/ has visit$ ,am]ica8 ,"n two "y ,russian compos] piani/s4 ,give "s acc\nt ( ,h5selt4 ,:o made ! piano score ( ,wagn]'s 8,r+ ( ! ,nibelung08 ,"n "s successful tea*]s ( ! piano at ! ,p>is ,cons]vatory4 ,:i* "o has twice visit$ ,am]ica8 ,:i* has publi%$ _m valuable sets ( ex]cises8 ,,lesson ,,xlviii4 ,,piani/s ,,& ,,tea*]s ,,s9ce ,,liszt4 ,,ii4 ,"o ( ! greate/ liv+ tea*]s 9 au?ority & bread? ( influ5ce is ,!odor ,les*etizky1 born 9 #ahca4 ,a pupil ( ,cz]ny1 he began to tea* at ! age ( fifte51 hav+ play$ 9 public s9ce #ahdb4 ,he became a tea*] 9 ! ,/4 ,pet]sburg ,cons]vatory1 :]e he taught = _m ye>s4 ,soon aft] #ahhj he settl$ 9 ,vi5na1 :]e he has liv$ ev] s9ce4 ,s9ce ! success ( 8 pupil ,pad]ewski1 ,les*etizky has be5 ! mo/ s\ght-aft] tea*] 9 ! _w4 ,he has be5 oblig$ to h assi/ants to prep>e pupils = him4 ,/ud5ts h come to ,vi5na f all p>ts ( ! _w4 ,a brilliant piani/1 he has writt5 piano music & ev5 an op]a1 b 8 m]it z a tea*] is due to ! f\ndation giv5 him by ,cz]ny1 :o acquir$ 8 traditions f ,bee?ov51 to ! ke5ness ( 8 ability to prescribe = ! individual ne$s ( ! pupil & ! simplicity & directness ( 8 8me?od40 ,8 pupils h met ) great success1 al?\gh he has n yet produc$ a second ,pad]ewski4 ,ignaz ,pad]ewski1 probably ! greate/ piani/ s9ce ,liszt1 al?\gh l him excell$ 9 "s respects by o!rs1 0 born 9 #ahei4 ,a pupil ( ! ,w>saw ,cons]vatory1 he also /udi$ at ,b]l94 ,he taught piano at ! ,w>saw ,cons]vatory f #ahgh-hc1 & also at ,/rassburg4 ,lat] he w5t to ,les*etizky = a ?or\gh c\rse ( /udy4 ,aft] 8 db at ,vi5na1 9 #ahhg1 he conqu]$ by degrees ,p>is & ,london4 ,8 fir/ visit to ,am]ica 0 9 #ahia1 :5 he c>ri$ all be=e him4 ,s9ce !n he has visit$ ! ,unit$ ,/ates ?ree times1 he has travel$ ov] all ,europe1 & has visit$ ,au/ralia ) ov]:elm+ success1 f9ancial & arti/ic4 ,8 mo/ noticeable qualities are a magnetic p]sonality1 a virtuoso te*nic1 ! color & piquant rhy?m ( 8 play+1 & ! poetry & deep human int5sity ( 8 int]pretations4 ,he has writt5 sev]al sets ( pieces = ! piano1 a conc]to1 & a fantasy ) or*e/ra1 & an op]a4 ,8 g5]\s gift ( ! end[m5t ( tri5nial prizes to ,am]ican compos]s is an admirable in/ance ( 8 w>m-he>t$ness4 ,josef ,slav9ski1 born #ahfe1 :o /udi$ ) ,/roeble1 ,anton ,rub9/e9 & f9ally ,les*etizky1 is a piani/ ( great ability :o came to ! ,unit$ ,/ates 9 #ahgc1 & aga9 9 #aija4 ,o!r ,les*etizky pupils are ,ossip ,gabril[its*1 born #ahgh1 also a pupil ( ,anton ,rub9/e9 & ! ,/4 ,pet]sburg ,cons]vatory1 :o came to ,am]ica 9 #aijj & #aijb2 ,m>k ,hamb\rg1 born 9 #ahgi1 :o fir/ /udi$ ) 8 fa!r1 & aft] a t\r ( ! ,unit$ ,/ates 9 #aijj1 has _h brilliant successes 9 ,europe & ,engl&2 ,m>t9us ,sievek+1 born #ahfg1 a pupil ( ,rntg5 at ,leipzig1 :o visit$ ,am]ica 9 #ahie & aga9 9 #ahif-ig & aft]w>ds w5t to ,vi5na4 ,!re are _m o!r brilliant pupils ( ,les*etizky1 b ! =ego+ are "s ( ! be/ kn[n4 ,pad]ewski has n taught1 z a rule1 s9ce 8 great triumphs z a virtuoso1 b he has made exceptions4 ,sigismond ,/oj[ski1 born #ahgj1 0 a pupil ( ! ,p>is ,cons]vatory1 :]e he won fir/ prizes 9 piano play+ & composition4 ,lat] he /udi$ ) ,pad]ewski1 & liv$ z piani/1 tea*] & compos] 9 ,p>is4 ,9 #aije1 he accept$ ! position ( head ( ! piano dep>tm5t at ! ,in/itute ( ,musical ,art1 ,new ,york ,city4 ,anto9ette ,szum[ska-,adam[ska 0 born 9 #ahfh4 ,%e /udi$ at ,w>saw1 & lat]1 = sev]al ye>s1 ) ,pad]ewski4 ,%e has made successful appe>ances 9 ,europe & ,am]ica4 ,lat] %e accept$ a position at ! ,new ,engl& ,cons]vatory1 9 ,bo/on1 ,u4 ,s4 ,a4 ,ano!r piani/ ( great ability :o has pr(it$ by ,pad]ewski's sugge/ions is ,h>old ,bau]1 born 9 #ahgc4 ,a /ud5t ( ! viol91 z well z ( ! piano1 he did n consid] mak+ a c>e] z a piano virtuoso until enc\rag$ by ,pad]ewski4 ,9 #ahib1 he /udi$ ) ,pad]ewski1 al?\gh he is l>gely self-taught1 = 8 individuality & musical /yle %[ slight effects ( ,pad]ewski's influ5ce4 ,bau]'s te*nic is sup]b1 al?\gh he is n a virtuoso pure & simple4 ,8 int]pretations are heal?y & vigor\s1 & especially fai?ful to ! compos]s' int5tions4 ,8 rep]tory is enorm\s4 ,he has made sev]al extremely successful t\rs to ! ,unit$ ,/ates4 ,he has travel$ also widely 9 ,europe z well z to ,s\? ,am]ica4 ,bau] is "o ( ! mo/ em95t ( liv+ arti/s4 ,among ,norwegians1 ,edv>d ,grieg1 born #ahdc1 is a rem>kable int]pret] ( 8 own individual works4 ,*ri/ian ,s9d+ & ,wilhelm ,/5hamm> also des]ve m5tion4 ,! ,italians h n produc$ _m rem>kable piani/s1 nev]!less1 sev]al are well kn[n4 ,*ief among !m is ,giovanni ,sgambati1 born #ahdc1 a pupil ( ,liszt4 ,sgambati has compos$ *>m+ music = ! piano1 z well z *amb]-music1 a conc]to & symphony4 ,he is director ( ! ,academy ( ,/4 ,cecilia1 at ,rome4 ,giuseppe ,buonamici1 born #ahdf1 a pupil ( ! ,muni* ,cons]vatory & ( von ,bl[1 has done mu* to promote music 9 ,flor5ce4 ,he has be5 connect$ ) sev]al musical societies 9 t city1 & has be5 active z a tea*]4 ,8 editions ( ,bee?ov5's sonatas1 ( ,b]t9i's etudes1 & a treatise on scale play+ are ( great value to ! /ud5t4 ,! mo/ prom95t ,italian piani/1 :o has liv$ a cosmopolitan life1 is ,f]uccio ,busoni1 born 9 #ahff4 ,e>ly 9 life he became a memb]1 z a piani/1 ( ! ,bologna ,philh>monic ,academy1 aft] a sev]e te/4 ,9 #ahhh1 he accept$ a position at ! ,hels+=s ,cons]vatory4 ,9 #ahij1 he won ! ,rub9/e9 prize z compos] & piani/4 ,subsequ5tly he taught ! piano 9 ! ,mosc[ ,cons]vatory1 & lat] he 0 connect$ ) ! ,new ,engl& ,cons]vatory at ,bo/on4 ,s9ce !n he has liv$ 9 ,europe z a piani/ & conductor ( ultra-mod]n music4 ,busoni has "o ( ! mo/ =midable te*nics ( any piani/ liv+4 ,he has edit$ ,ba*'s 8,well-,temp]$ ,clavi*ord10 ) _m helpful te*nical sugge/ions1 also ! small] preludes & inv5tions2 he has made ma/]ly transcriptions ( ,ba*'s organ works = ! piano1 ( a fantasy = organ by ,liszt1 ! same compos]'s 8,mephi/o ,waltz10 etc4 ,he re-visit$ ,am]ica 9 #aijd4 ,/eph5 ,hell]1 born #ahad1 di$ #ahhh1 0 mu* influ5c$ by ,*op94 ,he 0 a tal5t$ piani/1 :o w be rememb]$ *iefly by 8 /udies1 & a few o!r pieces1 :i* h decid$ educational value4 ,among o!r liv+ piani/s :o escape classification = "o reason or ano!r are ,moritz ,moszk[ski1 born #ahed1 a pupil ( ! ,dresd51 ,kullak & ,/]n ,cons]vatories2 :ile a successful piani/ & tea*]1 he is kn[n *iefly = 8 flu5t & graceful piano music1 al?\gh he has compos$ works 9 l>g] =ms4 ,franz ,rummel1 born #ahec1 di$ #aija1 a pupil ( ,brass9 & ! ,brussels ,cons]vatory1 t\r$ ,europe & visit$ ,am]ica sev]al times2 he taught at ! ,/]n ,cons]vatory 9 ,b]l92 ,rafael ,joseffy1 born #ahec1 w5t to ! ,leipzig ,cons]vatory1 he !n /udi$ ) ,c>l ,tausig & lat] ) ,liszt2 ( late ye>s he has taught at ! ,national ,cons]vatory at ,new ,york4 ,8 conc]t appe>ances h inv>iably be5 successful1 al?\gh he has devot$ himself l>gely to tea*+4 ,a piani/ ( especial di/9ction is ,vladimir de ,pa*mann1 born 9 #ahdh1 a pupil ( ! ,vi5na ,cons]vatory2 9 spite ( a brilliant db he retir$ = _m ye>s' /udy2 on reappe>+ he gave conc]ts ov] all ,europe1 & has made sev]al visits to ,am]ica2 8 *ief triumphs h be5 z ! inimitable int]pret] ( ,*op92 ,leopold ,god[sky1 born #ahgj1 appe>$ z a prodigy at ! age ( n9e2 he /udi$ at ! ,ho*s*ule 9 ,b]l91 made ,european t\rs1 & /udi$ ) ,sa9t-,sans f #ahhg to #ahij2 he taught at cons]vatories 9 ,philadelphia & ,*icago2 9 #aijb1 he return$ to ,europe1 :]e he has giv5 conc]ts con/antly ) ph5om5al success4 ,a compos] ( piano pieces1 he has devis$ _m extraord9>y v]sions ( ,*op9's /udies4 ,among ,engli% piani/s1 ,fr$]ic ,lamond1 a pupil ( ! ,raff ,cons]vatory1 ( von ,bl[ & ,liszt1 & ,leon>d ,borwick1 a pupil ( ,mme4 ,s*umann1 are ! be/ kn[n1 al?\gh !re are _m piani/s ( ris+ reputation4 ,two "y piani/s des]v+ ( especial recognition are ,ern/ von ,dohnanyi & ,josef ,h(mann4 ,dohnanyi1 born #ahgg1 is a pupil ( ,kessl] & ,d',alb]t4 ,9 #ahih1 he won a d\ble success z piani/ & compos] ) a piano conc]to4 ,9 #aijj1 he made a brilliant t\r 9 ,am]ica4 ,s9ce !n he has devot$ himself l>gely to composition4 ,josef ,h(mann 0 a pupil ( 8 fa!r1 & lat]1 ( ,anton ,rub9/e94 ,he play$ ! piano :5 six ye>s old2 9 public at ! age ( n9e4 ,9 ! foll[+ ye> he gave fifty-two conc]ts 9 ! ,unit$ ,/ates4 ,aft] retir+ = /udy "u ,rub9/e91 he reappe>$ a mature arti/4 ,he has s9ce visit$ ,am]ica sev]al times4 ,h(mann has an unusual te*nic2 8 individuality is n /rik+1 b he is an arti/ ( conspicu\s m]it4 ,,am]ican ,,piani/s4 ,! rapid progress ( music 9 ,am]ica r5d]s x impossible to d ju/ice to piano play+ 9 ?is c\ntry4 ,h[ev]1 ! pione] "w ( ,william ,mason1 a pupil ( ,mos*eles1 ,dreys*ock & ,liszt1 active z piani/ & tea*]1 ! au?or ( 8,t\* & ,te*nic0 & o!r te*nical treatises2 ( ,b4 ,j4 ,lang1 a pupil ( 8 fa!r1 ,f4 ,c4 ,hill1 ,salt] & ,alfr$ ,jaell1 an active piani/1 tea*]1 & conductor1 ( ,w4 ,s4 ,b4 ,ma!ws1 ,otto ,dresel1 ,ern/ ,p]abo1 & o!rs1 0 ( great importance4 ,lat] ,c>l ,ba]mann1 a ,liszt pupil1 ,c>l ,faelt51 ,william ,%]wood1 also a ,liszt pupil1 ,c>l ,/asny1 ,ar?ur ,:it+1 ,edw>d ,mac,dowell & _m o!rs h cont9u$ ! "w s ably begun4 ,edw>d ,mac,dowell is easily ! mo/ not$ ,am]ican compos]-piani/4 ,8 te*nical equipm5t1 p]sonality1 & int]pretative gifts ju/ly entitle him to ?is di/9ction4 ,a pupil ( ,mme4 ,c>reo1 ,m>montel & ,c>l ,heymann1 he has _h ?or\gh tra9+4 ,8 piani/ic c>e] has be5 limit$ by 8 ef=ts z a compos]1 & by 8 "w z ,pr(essor ( ,music at ,columbia1 :i* position he resign$ 9 #aijd1 z well z 8 activity z a tea*]4 ,8 /udies1 conc]tos & small] pieces %[ great individuality ( te*nical /yle1 besides be+ among ! mo/ valuable contributions to piano lit]ature s9ce ,liszt4 ,mac,dowell has appe>$ ) lead+ or*e/ras 9 ?is c\ntry2 he has giv5 _m recitals1 includ+ a t\r ( ! ,unit$ ,/ates 9 #aijd4 ,,wom5 ,,piani/s4 ,( ! _m di/+ui%$ wom5 piani/s s9ce ,liszt1 ! mo/ em95t 0 ,mme4 ,cl>a ,s*umann1 a pupil ( h] fa!r1 ,fri$ri* ,wieck4 ,%e play$ 9 public f ! age ( ?irte51 w9n+ in/ant recognition4 ,h] m>riage to ,s*umann dim9i%$ h] public activity1 b aft] 8 dea? 9 #ahef1 %e resum$ h] c>e]4 ,%e taught at ! ,ho* ,cons]vatory at ,frank=t1 besides play+ 9 public 9 ,europe & ,engl&4 ,among o!r fam\s wom5 piani/s 7 ,madame ,clauss-,szav>dy1 ,mme4 ,arabella ,godd>d ,davidson1 & ,mme4 ,sophie ,m5t]4 ,mme4 ,t]esa ,c>reo1 a pupil ( ,l4 ,m4 ,gotts*alk & ,g4 ,ma?ias1 has _h a rem>kable c>e] z conc]t-piani/4 ,mme4 ,essip(f1 a pupil ( ,wielhorski & ,les*etizky1 taught = _m ye>s at ! ,/4 ,pet]sburg ,cons]vatory1 aft] brilliant conc]t t\rs4 ,miss ,fanny ,davies1 a pupil ( ,re9ecke & ,mme4 ,s*umann1 ,mme4 ,rog]-,miclos & ,mlle4 ,clotilde ,kleeb]g1 pupils ( ! ,p>is ,cons]vatory1 are all piani/s ( di/9ction4 ,9 ?is c\ntry ,miss ,adele aus d] ,ohe1 a pupil ( ,kullak & ,liszt1 ,mme4 ,bloomfield-,zeisl]1 a pupil ( von ,wolfssohn & ,les*etizky1 & ,mme4 ,hel5 ,hopekirk1 a pupil ( ! ,leipzig ,cons]vatory & ( ,les*etizky1 n[ a tea*] at ! ,new ,engl& ,cons]vatory1 & ,mme4 ,szum[ska-,adam[ska1 be=e m5tion$ z a pupil ( ,pad]ewski1 are all piani/s ( great ability4 ,9 conclusion1 x may be /at$ t :ile ,liszt's pupils h done mu* to c>ry on ! traditions :i* he orig9at$1 mu* has also be5 accompli%$ = ! advancem5t ( piani/ic art by ,les*etizky & 8 pupils1 a rem>kable gr\p ( tea*]s at ! ,p>is ,cons]vatory1 & by su* indep5d5t piani/s z de ,pa*mann1 ,busoni1 ,siloti1 ,god[sky1 ,bau] & ,h(mann1 :ile _m able cons]vatories & private tea*]s 9 ,am]ica are enabl+ ! ,am]ican piani/ to compete favorably ) ,europe4 ,,que/ions4 ,:o is ! be/-kn[n piano tea*] ( today8 ,"n "s ( 8 fam\s pupils4 ,:i* "o in/itut$ prizes = ,am]ican compos]s8 ,"n "s piani/s :o h pr(it$ by ,pad]ewski's advice4 ,:i* "o has made successful t\rs ( ,am]ica8 ,"n ! mo/ fam\s ,italian piani/s4 ,:i* "o has made ma/]ly transcriptions ( ,ba* & ,liszt8 ,:at piani/ has made a specialty ( ,*op98 ,:at "y piani/ has made an especially brilliant impression 9 ,am]ica8 ,"n ! pione] piani/s ( ,am]ica4 ,:o is ! mo/ fam\s ( ,am]ican compos] piani/s8 ,"n "s tal5t$ wom5 piani/s4 ,,sugge/ions ,,= ,a ,,review ,,( ,,lessons ,,xli ,,to ,,xlviii4 ,?is p]iod is ( great int]e/ to ! /ud5t1 z ! great] "p ( ! piano lit]ature 9 use today is ! "w ( compos]s belong+ to ! ,romantic & ,po/-,classical s*ools4 ,x mu/ n be =gott5 t 9 /udy+ ! hi/ory ( music ! object is to le>n to "k ! music ( ! be/ compos]s1 n m]ely c]ta9 facts & dates 9 ! lives ( ^! compos]s4 ,! works cit$ 9 ! lessons give a wide latitude 9 ! matt] ( *oice & a cle> idea ( ! contribution ( ! diff]5t compos]s4 ,,lesson ,,xli4--#a4 ,take a composition by ea* ( ! compos]s m5tion$ & %[ its di/9ctive qualities4 #b4 ,%[ ! deep]1 full]1 m poetic "* ( ! compositions ( ,field z comp>$ ) ,clem5ti4 ,,lesson ,,xlii4--#a4 ,give a sket* ( ,s*ub]t ! man4 #b4 ,"n ! special qualities ( ,s*ub]t's music4 ,:y does he belong to ! ,romantic s*ool8 ,,lesson ,,xliii4--#a4 ,:at is ! nature ( ,web]'s contribution to music8 #b4 ,:at are ! special qualities ( ,m5delssohn's works8 ,,lesson ,,xliv4--#a4 ,comp>e ,s*umann's "w 9 ! %ort pieces & 9 ! l>ge =ms4 ,9 :i* 0 he ! m successful8 #b4 ,give an analysis ( "s ( 8 %ort pieces4 ,,lesson ,,xlv4--#a4 ,9 :at =ms did ,*op9 d 8 be/ "w8 ,m5tion "s pieces z illu/rations4 #b4 ,9 :at ways did he %[ national _s8 ,m5tion pieces4 ,,lesson ,,xlvi4--#a4 ,give a sket* ( ! important factors 9 ! mak+ ( ,liszt ! piani/4 #b4 ,:at influ5ce did he ex]t on music8 ,,lesson ,,xlvii4--#a4 ,comp>e ,rub9/e9 & ,liszt4 #b4 ,:at influ5ce did ,brahms ex]t on music8 ,,lesson ,,xlviii4--#a4 ,make a li/ ( ! v>i\s piani/s & classify !m z to nationality & s*ool4 ,,lesson ,,xlix4 ,,! ,,art-,,song4 ,,oratorio ,,aft] ,,m5delssohn4 ,developm5t ( ! ,art-,song ,idea4--,a mo/ significant phase ( musical activity is t c5tr$ ar\nd ! art-song = solo voice4 ,9 ! p]iod be=e ! op]a1 *oral s++ 0 ! pr9cipal m$ium = vocal music4 ,) ! ,op]a came a /yle ( composition f :i* 0 develop$ ! pr9ciple ( ! ,aria1 ! latt] dom9at+ bo? ,op]a & ,oratorio = _m ye>s1 z ! =m = an art-song = a solo voice4 ,9 ?is =m1 z we h se51 ! production ( vocal effects1 ! mak+ ( attractive melody1 & ! opportunity = virtuosic display 7 s\ght fir/ ( all4 ,x 0 n until ! beg9n+ ( ! #ai? c5tury1 :5 ,s*ub]t's peculi> g5ius ass]t$ itself1 t we meet :at c be truly call$ ! art-song1 a =m ( composition )\t ! artificiality ( ! op]atic aria & ) high] musicianly & arti/ic qualities ?an ^? t m>k ! p's song4 ,sev]al t5d5cies contribut$ to br+ ?is ab\t4 ,gluck's !ories & practice l$ bo? compos]s & p to pay clos] att5tion to ! text & to its deliv]y4 ,! developm5t ( in/rum5tal music1 p>ticul>ly ! pr9ciples ( !matic treatm5t1 l$ compos]s to ! inv5t+ ( new melodic & rhy?mic figures t %\ld s]ve z ! basis ( accompanim5ts ( high] arti/ic quality ?an ^? f\nd$ on "s v>iation ( ! ,alb]ti bass figure4 ,piano te*nic _h greatly improv$1 & s _h ! in/rum5t4 ,& x may also be said t ! v]se ( ?is p]iod 0 bett] suit$ = a dramatic musical sett+ ?an ! =mal1 (t5 /ilt$ & artificial lyrics ( e>li] days1 ) _! %eph]ds & %eph]desses & con/ant ref]5ce to pa/oral & classical life4 ,italian1 ,fr5* & ,engli% ,=ms4--,a /udy ( musical conditions 9 ,italy1 ,france1 ,g]many & ,engl& %[s a diff]5t /yle ( ! solo song 9 ea* c\ntry1 ea* hav+ "s di/9ctive feature t ma9ta9s today1 & "o t may be said to *>act]ize ! song-idea ( t p4 ,! ,italians 7 s tak5 ) ! op]a & 9 ! c\rse ( its developm5t x s fully embodi$ ! national love = sweet1 graceful melody t a species ( art-song ap>t f ! op]a _h little or no *ance to %ape itself4 ,! ,fr5* ,*anson has nev] yield$ place to ! me?ods :i* di/+ui% ! mod]n art-song4 ,! ,fr5* language has c]ta9 qualities :i* seem to call = a treatm5t t c5tres ! att5tion 9 ! voice "p r ?an on ! song z a :ole1 accord+ to ! ,g]man idea4 ,yet ,fr5* compos]s h produc$ & /ill make mo/ beautiful & *>m+ songs :i* unmi/akably embody ! national *>act]i/ics1 cle>ness1 poli% & an effective s++ melody4 ,! old ,engli% ,ballads are pieces ( n>rative v]se2 b ! t]m has be5 us$ s freely & = almo/ e k9d ( v]se t x is n possible to give x a precise def9ition4 ,?omas ,morley1 9 a "w on music1 :i* he publi%$ 9 #aeig1 m5tions 8songs :i*1 be+ sung to a dittie may likewise be danc$02 9 #afcf1 9 a book call$ 8,! ,pr9ciples ( ,musicke10 ! au?or1 ,butl]1 ref]s to 8! inf9ite multitude ( ,ballads set to sundry pleasant & delightful tunes by cunn+ & witty compos]s1 ) c\ntry dances fitt$ to !m40 ,! pr9ciples ( musical con/ruction & ! "* ( ! text are su* t we d n f9d 9 ! ,engli% ballad ! true g]m ( ! art-song4 ,! ,g]man 8,li$01 a poem int5d$ = s++1 z x came f ! h&s ( ! great poets1 su* z ,goe! & ,he9e1 seems to h af=d$ to compos]s ! inspiration to ! mak+ ( a /yle ( song t %\ld h ! value ( a musical sett+ 9 full consonance ) ! "* ( ! text4 ,z in/rum5tal music develop$1 ! ,volksli$1 ! p's song1 ! natural m$ium = expression1 gradually disappe>$4 ,yet compos]s made use ( x z a m$ium1 su* ma/]s z ,haydn1 ,moz>t1 ,bee?ov5 & ,web] giv+ att5tion to x1 al?\gh ! dem& = a simple1 cle> melody1 due to ! dom9ance ( ! ,italian op]a1 & = an accompanim5t t 0 always mu* subord9at$1 prev5t$ ! art-song 7,kun/li$7 f tak+ a high place4 ,s9ce !n ! accompanim5t has be5 giv5 m & m prom95ce1 less att5tion be+ paid to pure melody & m to ! value ( h>mony & rhy?m z ! means = *>act]i/ic color & expression4 ,melody1 :i* is made up ( a succession ( phrases1 _c furni% a sequ5ce ( %>p effects s readily z c well contra/$ *ords2 h5ce ! old idea ( tune *ang$ z h>mony became bett] und]/ood4 ,! me?ods ( song compos]s v>y1 & a classification is made by ,g]man writ]s3 ,a song t has simple =m & tune ak9 to t ( ! ,folk-song is call$ 8,volk/hmli*02 "o t has ! same tune to ! diff]5t /anzas is call$ /rophic2 "o t is c>efully work$ out1 ! music illu/rat+ e %ade ( mean+ & emotion is call$ 8,dur*componirt02 a n>rative song is call$ a 8,ballad0 or 8,ballade40 ,! great ma/]s 9 song composition are ,s*ub]t1 ,s*umann1 ,franz & ,brahms4 ,s*ub]t z a ,song ,writ]4--,a consid]ation ( ,s*ub]t's education & 8 g5]al make-up %[s cle>ly :y he %\ld seek outlet = self-expression 9 song r ?an 9 ! l>ge in/rum5tal =ms4 ,we f9d t he 0 n sy/ematically educat$ 9 musical sci5ce1 l ,moz>t1 ,bee?ov5 or ,web]1 & t he 0 by nature v spontane\s & am5able to ext]nal influ5ces4 ,su* a compos] is p>ticul>ly op5 to ! effect ( a poem & w turn to ! small song =m r ?an to ! elaborate in/rum5tal =ms4 ,_m ( ,s*ub]t's songs 7 writt5 on ! spur ( ! mom5t 9 response to an impulse f read+ a *ance bit ( v]se4 ,! fir/ read+ ( ! poem usually gave ! complete idea1 bo? tune & accompanim5t2 :e!r x %\ld h ! simple folk-song "*1 a m declamatory /yle1 /rophic or ! m elaborate =m1 dep5d$ ^u ! "* ( ! text4 ,x is =tunate = music t he 0 br\ght into contact ) "s ( ! f9e/ lyrics 9 ! field ( poetry1 su* z call$ =? 8 highe/ p[]s 9 melody1 h>mony1 rhy?m1 modulation1 declamation & recitative1 = he aim$ to ! v fulle/ ext5t possible to height5 ! ?\ght ( ! text by ! emotional p[] ( music4 ,x is a phase ( ,s*ub]t's g5ius t "s ( 8 f9e/ songs 7 writt5 be=e he _h rea*$ 8 majority4 ,s*umann & ,8 ,songs4--,s*umann br\ght to song writ+ a diff]5t type ( m9d f t ( ,s*ub]t1 m poetic1 m gloomy1 m emotional1 a f9e lit]>y tra9+1 a faculty = expression 9 ^w z well z 9 tone1 a fund ( new =ms ( expression 9 in/rum5tal music1 p>ticul>ly ! piano1 s t we f9d 9 8 songs c]ta9 elem5ts t indicate developm5t t[>d a m highly organiz$ /ructure4 ,s*umann 0 highly intellectual1 h5ce we f9d 9 8 songs a close union ( voice & in/rum5tal p>ts 9 work+ out ! fundam5tal conception ( ! poet's mean+2 & s deeply does he c>ry out ?is plan t ! accompani/ mu/ ent] mo/ ?or\ghly into ! s+]'s "p1 & vice v]sa1 t ! full effect be br\ght out2 z comp>$ ) ! songs ( ,s*ub]t & ,m5delssohn we c say t ! latt] are ! 8v]ses set to tunes1 :ile ,s*umann's songs are poems 9 music40 ,! piano "p ( a ,s*umann song conta9s ! atmosph]e ( ! poem1 is an attempt to height5 ! mean+ by sugge/+ ?\ghts & feel+s :i* ! words1 spok5 or sung1 _c express2 sometimes x is an entirely indep5d5t composition1 & c>ries out to a f9al close ! ?\ght left unf9i%$ by ! voice1 ?us avoid+ ! conv5tional end+1 by ! s+]1 on ! tonic *ord4 ,s*umann's ef=t 0 to express 8 own read+ ( ! poet's l9es by ! musical means t seem$ to him be/ suit$ to ! purpose4 ,to ?is end he refus$ to all[ himself to be b\nd by conv5tional treatm5t1 ei!r ( voice or in/rum5t4 ,rob]t ,franz 7#ahae-ahib7 comb9$ 9 8 songs ! romanticism & g5]al me?ods ( ,s*umann1 ) a polyphonic treatm5t inspir$ by 8 deep /udy ( ,ba*4 ,he wrote to v>i\s /yles ( v]se1 hymns1 love-songs1 lyrics ( ! field1 ! =e/1 ! hunt]1 ! soldi]1 & ?\gh 8 songs lack ! t5d]1 passionate1 melodi\s quality ( ,s*ub]t's & ! deep poetic feel+ ( ,s*umann's1 !y are nev]!less models ( p]fect1 ev5 elaborate workman%ip 9 :i* ! compos] foll[s ) great fai?fulness ! mood ( ! poet2 ,s*umann1 on ! contr>y1 seems to project 8 own int]pretation ( ! poem into 8 music1 :ile ,s*ub]t seems to grasp ! emotion at its highe/ mom5t & ! song p\rs out z ! spontane\s expression ( ! s+]4 ,?ree ,mod]n ,writ]s4--,( mod]n writ]s1 ^? :o contribut$ mo/ to ! developm5t ( ! art-song are ,wagn]1 ,brahms & ,ri*>d ,/rauss1 ! fir/-nam$ by 8 /yle & treatm5t ( ! voice & ! in/rum5tal "p r ?an by 8 songs1 :i* are few 9 numb]4 ,brahms wrote ne>ly two hundr$ songs1 v>y+ 9 "* & quality1 & us+ a highly-develop$ accompanim5t1 (t5 intricate 9 its con/ruction1 complicat$ 9 rhy?m & re/less 9 h>monic support1 employ+ all ! res\rces :i* 8 ma/]y ( *romatic h>mony plac$ at 8 disposal4 ,he frequ5tly wrote 9 ! /yle ( ! ,folk-song1 mak+ use ( its simple melodic quality1 enri*+ x1 h[ev]1 by 8 great skill 9 elaboration 9 ! accompanim5t4 ,brahms' songs are great favorites on conc]t programs4 ,ri*>d ,/rauss 7b4 #ahfd7 is ! lead+ compos] ( today1 & has us$ 9 8 songs ! pr9ciples t di/+ui% 8 l>ge works4 ,^! songs are v difficult1 bo? = voice & accompanim5t1 & are full ( tonal color+1 = ,/rauss has adapt$ to ! m9iature =m ( ! song ! means ( h>monic & rhy?mic effects :i* he uses s p[]fully 9 8 or*e/ral scores4 ,:5 well sung & well play$1 ! he>] _c b be absorb$ by ! weal? ( musical effects ( ! highe/ emotional & picturesque quality display$ 9 ,ri*>d ,/rauss' songs4 ,9 a full /udy ( songs & song writ]s1 _m m names w\ld be m5tion$2 ^? select$ = consid]ation 9 ?is lesson repres5t ^? :o h contribut$ mo/ significantly to ! developm5t ( ! mod]n art-song4 ,oratorio ,compos]s aft] ,m5delssohn4--,! lat] hi/ory ( ! ,oratorio requires "s consid]ation at ?is po9t4 ,aft] ,m5delssohn1 _m ( ! lead+ compos]s ( ,europe turn$ _! att5tion to ?is =m ( composition1 influ5c$1 9 _m in/ances1 by ! spl5did opportunities = production (f]$ by ! /rong *oral organizations & fe/ival associations ( ,g]many & ,engl&1 z well z by ! great advances made 9 or*e/ral play+1 :i* gave to compos]s res\rces f> beyond ^? at ! h& ( ,m5delssohn & 8 pr$ecessors4 ,we may m5tion1 among ! ,g]mans1 ,s*umann1 ^: 8,p>adise & ! ,p]i0 0 produc$ 9 #ahdc2 ,liszt1 :o 0 mu* attract$ to sacr$ subjects1 wrote two oratorios1 8,! ,leg5d ( ,/4 ,elizabe?0 & 8,*ri/us02 ,rub9/e91 :o us$ 8 great skill 9 tone pa9t+ ) or*e/ral masses 9 8,p>adise ,lo/0 & 9 8 sacr$ op]a 8,! ,t[] ( ,babel02 ,brahms1 ^: 8,g]man ,requiem0 is a /&>d "w to be done well only by ?or\ghly discipl9$ vocal & in/rum5tal =ces2 & ,dvok1 :o has %[n great p[] 9 8 8,/abat ,mat]40 ,among ! ,fr5* writ]s mo/ prom95t 9 ?is =m ( composition are ,b]lioz1 ^: 8,requiem0 is a colossal "w 9 :i* he drew ^u all ! res\rces ( ! or*e/ra to height5 ! p[]ful1 dramatic "* ( ! text2 ,g\nod1 :o wrote 8 rem>kable works1 8,! ,r$emption0 & 8,mors et ,vita0 = ,engli% production2 ,sa9t-,sans1 ^: 8,nol10 a ,*ri/mas "w1 is oratorio 9 /yle & con/ruction1 al?\gh small 9 dim5sions2 & ,cs> ,franck1 ! mo/ mod]n ( all1 ^: 8,beatitudes0 has be5 made ! subject ( mu* discussion4 ,engli% compos]s1 foll[+ ! lead ( ,h&el & ,m5delssohn1 h giv5 great att5tion to ?is =m4 ,b5nett1 ! fri5d ( ,m5delssohn1 produc$ a beautiful "w1 8,! ,woman ( ,sam>ia02 ,co/a1 an ,italian by bir?1 sp5t a great "p ( 8 pr(essional life 9 ,engl&2 h5ce 8 oratorio1 8,eli10 may be class$ ) ,engli% works2 ,sullivan wrote two oratorios1 8,! ,prodigal ,son0 & 8,! ,light ( ! ,_w02 ,macf>r5's 8,/4 ,john ! ,bapti/0 & ,mack5zie's 8,rose ( ,%>on0 c be class$ among oratorios4 ,! mo/ em95t 9 ?is =m at ! pres5t day is ,elg>1 8,! ,dream ( ,g]ontius0 & 8,! ,apo/les40 ,"y ,italy has lately %[n int]e/ 9 ?is =m1 ! mo/ notewor?y be+ ! ,abb ,p]osi1 :o is "u ! patronage ( ! ,pope4 ,9 ! ,unit$ ,/ates ! lead+ repres5tatives are ,j4 ,k4 ,pa9e1 ( ,h>v>d ,univ]sity1 ) ! oratorio 8,/4 ,pet]10 ,dudley ,buck1 8,gold5 ,leg5d10 & ,h4 ,w4 ,p>k]1 8,hora ,novissima40 ,! ,cantata4--,m popul> ev5 ?an ! ,oratorio ) *oral societies is ! ,cantata1 bo? sacr$ & secul>1 & ! great increase 9 /rong *oral organizations1 p>ticul>ly 9 ,engl&1 ,g]many1 ,france & ! ,unit$ ,/ates1 has result$ 9 ! production ( a numb] ( spl5did works :i* %[ dramatic p[] & ! highe/ skill 9 h&l+ voices & in/rum5ts4 ,^! works conta9 opportunities = ! use ( ! f9e/ quality ( melody1 v>iety ( rhy?m1 solid h>monic or ! m flu5t polyphonic /yle1 ri*ness ( h>monic color+ & e accessory 9 ! way ( tone pa9t+ by ! or*e/ra1 :i* su* ma/]s z ,b]lioz & ,wagn] po9t$ out4 ,! important works are too _m to be m5tion$ "h2 only ! compos]s' names c be giv54 ,9 ,g]many1 ,brahms1 ,bru*1 ,dvok1 ,gade1 ,goetz1 ,hill]1 ,h(mann1 ,rhe9b]g]2 9 ,france1 ,b]lioz & ,mass5et2 9 ,engl&1 ,b5nett1 ,cord]1 ,c[51 ,macf>r51 ,mack5zie1 ,sm>t1 ,sullivan1 ,col]idge-,taylor among ! y\ng] m52 9 ! ,unit$ ,/ates1 ,buck1 ,foote1 ,*adwick1 ,gil*ri/1 ,pa9e1 ,h4 ,w4 ,p>k]1 & ,c>l ,bus*4 ,,ref]5ces4 ,f9ck4--,songs & ,song ,writ]s4 ,grove's & ,riemann's ,diction>ies4--,articles on compos]s m5tion$1 on ,song1 ,li$1 ,volksli$1 ,*anson1 ,oratorio & ,cantata4 ,p>ry4--,evolution ( ! ,art ( ,music1 ,*apt] ,,xiii4 ,upton4--,/&>d ,oratorios4 ,/&>d ,cantatas4 ,,que/ions4 ,comp>e ! ,aria & ! ,song4 ,m5tion ! *>act]i/ics ( ! ,italian1 ,fr5* & ,engli% p's songs4 ,:at are ! *>act]i/ics ( ! ,g]man ,li$8 ,give a sket* ( ,s*ub]t z a song writ]4 ,give a sket* ( ,s*umann z a song writ]4 ,comp>e ! two4 ,give a sket* ( ,franz z a song writ]4 ,comp>e him ) ,s*ub]t & ,s*umann4 ,:o are em95t among mod]n song writ]s8 ,m5tion ! special *>act]i/ics ( ea*4 ,"n ! lead+ compos]s ( ,oratorio aft] ,m5delssohn1 & _! works4 ,:at is ! diff]5ce betwe5 an oratorio & a cantata8 ,:at compos]s h done successful "w 9 ?is l9e8 ,songs ( ! lead+ compos]s1 classic & mod]n1 %\ld be /udi$4 ,! lessons on ,s*ub]t1 ,s*umann1 ,liszt1 etc41 m5tion notable songs4 ,analyze an oratorio by "o ( ! compos]s m5tion$ 9 ?is lesson1 also "o or m cantatas4 ,illu/ration3 ,,felix ,,we+>tn]4 ,,gu/av ,,mahl]4 ,,ri*>d ,,/rauss4 ,,siegmund ,,hausegg]4 ,,lesson ,l4 ,,! ,,symphonic ,,poem ,,9 ,,g]many4 ,wagn]'s ,influ5ce4--,! g5ius ( ,wagn] produc$ & appli$ to ,op]a a f> ri*] & m complicat$ or*e/ration ?an _h exi/$ be=e 8 day4 ,s9ce !n1 9 _m p]iods & 9 _m c\ntries1 compos]s h tri$ to adopt 8 /yle1 & apply x to ! symphonic z well z to ! op]atic /age4 ,9 ! field ( purely or*e/ral music1 ,liszt & ,b]lioz _h already =mulat$ a free /yle1 & _! symphonic poems1 dep>t+ f ! set =m ( ! symphony1 h also s]v$ z models = lat] compos]s4 ,almo/ ! only rec5t expon5t ( ! /rict =m 0 ,johannes ,brahms1 = ,anton ,bruckn]1 work+ on simil> l9es1 did n a*ieve great success ) ! public4 ,ri*>d ,/rauss4--,= _m ye>s x 0 ?\ght t ,wagn]'s or*e/ration w\ld rema9 unrivall$ 9 ! field ( music4 ,b ,ri*>d ,/rauss 7born at ,muni*1 ,g]many1 #ahfd7 has made a fur!r advance 9 ?is respect1 & h&les ! full mod]n or*e/ra ) ! utmo/ skill4 ,son ( a c\rt horn-play]1 8 musical g5ius %[$ itself 9 8 e>lie/ ye>s1 & 8 /udies ) ! c\rt capellmei/]1 ,f4 ,w4 ,mey]1 result$ 9 ! publication ( sev]al works4 ,at fir/ he foll[$ ,brahms & ! /rict] s*ool1 & 8 ,f-m9or symphony is a wor?y production 9 t =m4 ,a meet+ ) von ,bl[ l$ to 8 appo9tm5t z assi/ant-conductor at ,me9+54 ,to %[ 8 ability1 ,/rauss _h to conduct1 )\t rehe>sal1 8 ,s]5ade1 ,op4 #g1 = ?irte5 w9d in/rum5ts2 & ! excell5ce ( ?is "w br\ght him ! desir$ position4 ,x 0 at ?is "t t he met ,alex&] ,ritt]1 a man ( broad intellect & radical ideas4 ,"u ! new influ5ce1 ,/rauss r5\nc$ 8 classical /yle1 & began to compose ! tone-pictures & symphonic poems t h made 8 "n s important4 ,z he is ! *ief mod]n repres5tative ( ! new s*ool1 8 works m]it detail$ exam9ation4 ,8 ,e>ly ,symphonic ,poems4--,aft] an ,italian trip 9 #ahhf1 ,/rauss gave 8 impressions ( t c\ntry 9 ! =m ( ! symphonic fantasie 8,aus ,itali510 8 fir/ "w 9 ! free /yle ( subjective emotion-pa9t+4 ,x is 9 f\r movem5ts1 ea* a complete tone-picture4 ,! fir/1 8,on ! ,campagna10 gives a vivid impression ( spaci\s solitude1 ) a h9t ( ! pageants & battles once witness$ by ?is great ,roman field4 ,! second movem5t1 8,amid ,rome's ,ru9s10 aims also to give 8fanta/ic pictures ( vani%$ spl5dor1 feel+s ( sadness 9 ! mid/ ( ! sunlit pres5t40 ,! ?ird movem5t1 8,on ! ,%ores ( ,sorr5to10 resembles ! symphonic s*]zo1 :ile ! f9ale gives an animat$ picture ( 8,neapolitan ,folk-,life10 introduc+ ! air ( 8,funiculi0 & o!r popul> ,italian tunes4 ,aft] f\r ye>s ( conduct+ at ! ,muni* c\rt !atre1 ,/rauss settl$ 9 ,weim>1 :]e he produc$ ?ree m important works4 ,! fir/ ( ^!1 8,macbe?10 %[$ t he _h ab&on$ ! old =m 9 favor ( ! symphonic poem1 9 :i* ! diff]5t movem5ts are fus$ into "o l>ge :ole1 free 9 =m4 ,! picture ( ,macbe?1 ambiti\s & cruel 9 spite ( 8 timidity1 is ably develop$1 b ! portrayal ( ,lady ,macbe? br+s a /ill /rong] climax ( magnific5t or*e/ral p[]4 8,don ,juan10 ! second ( ! ?ree1 is f\nd$ on ,l5au's poem4 ,! h]o is n a ruffian adv5tur]1 z 9 ,da ,ponte's libretto1 b is depict$ z an ar* pessimi/1 hunt+ ?r\gh ! _w = p]fection 9 pleasure1 b nev] f9d+ x4 ,!re are re/less & unc]ta9 melodies at ! op5+1 to illu/rate ! h]o's unsatisfi$ long+4 ,a knightly !me foll[s1 typical ( ,don ,juan himself4 ,!n come v>i\s episodes1 full ( attractive en?usiasm1 b always end+ ) ! same vague unre/4 ,a wild c>nival1 foll[$ by sudd5 sil5ce & ! cutt+ !me ( a trumpet1 ann\nce ! h]o's end4 8,tod und ,v]klrung0 7,dea? & ,transfiguration7 is a "w ( great p[] & beauty4 ,x depicts an exhau/$ suff]]1 asleep 9 ! quiet sick-room1 dream+ ( ! beauty ( 8 lo/ y\?4 ,!n foll[s a m discordant episode1 :i* may well picture a fi]ce conte/ ) ! p[]s ( disease1 end+ 9 defeat$ exhau/ion4 ,a ?ird portion br+s r5ew$ memories ( ! morn+ ( life2 passages ( joy\s en?usiasm & noble aspiration sugge/ ! high hope ( y\? & ! glori\s a*ievem5t ( manhood2 b aga9 comes ! /ruggle ) ! p[]s ( ,fate1 end+ 9 despair & dea?4 ,! f\r? "p is an apo!osis1 repres5t+ ! triumph ( man's upw>d /riv+ ov] dea?4 ,?is section conta9s "s ( ! mo/ impressive or*e/ral beauties 9 ! range ( ,/rauss' works4 ,program ,music4--,9 ! old] symphonic =m1 x 0 n necess>y = ! compos] to sugge/ a title = 8 "w4 ,_m h done s--,bee?ov5 9 8 8,pa/oral ,symphony10 ,m5delssohn 9 ! 8,scot*10 = example2 b ! exquisite beauty ( ,s*ub]t1 or ! romantic *>m ( ,s*umann w impress ! he>] )\t ! use ( extrane\s sugge/ions4 ,9 ! mod]n s*ool ( program music1 f\nd$ by ,liszt1 ! compos] gives ! audi5ce a m or less detail$ acc\nt ( ! subject t inspir$ him1 & tries to pa9t 9 tones ! ev5ts or moods sugge/$ by ! title4 ,mu*1 !re=e1 dep5ds on ! *oice ( ! subject4 ,if x is well-kn[n1 & gives def9ite sugge/ions ( c]ta9 moods :i* c f9d expression 9 ! or*e/ra1 !n x may receive legitimate treatm5t by be+ set to music4 ,b if ! subject is n "o t l5ds itself to broad emotional treatm5t1 or if ! compos] aims to picture def9ite ev5ts or objects1 he is dep>t+ f ! true function ( 8 art4 ,music deals ) expression ( emotion1 & %\ld n attempt some?+ t belongs r to o!r arts1 su* z ,lit]ature or ,pa9t+4 ,_m p]sons ?9k t ,/rauss has gone too f> 9 ?is direction1 especially 9 8 lat] works4 ,8 ,lat] ,symphonic ,poems4--,9 8,till ,eul5spiegel10 ! h]o is a m$ival rogue1 ^: adv5tures are f\nd 9 an old ,g]man tale4 ,he is a w&]+ me*anic1 :o does any?+ b t5d to bus9ess4 ,he is always indulg+ 9 madcap pranks1 9 :i* he manages to escape f 8 well-m]it$ puni%m5t4 ,9 ! composition1 ,/rauss has giv5 free re9 to 8 fancy1 & portray$1 ) r>e or*e/ral skill1 ! fanta/ic jokes1 ! sly humor1 & ! rollick+ disposition ( ! graceless rogue4 ,! "w is 9 rondo =m1 ) def9ite !mes to typify ! h]o4 ,^! !mes =m ! basis ( ! music1 & are v>i$ & develop$ ) inf9ite skill & rem>kable or*e/ral irony4 8,also ,spra* ,z>a?u/ra0 7,?us ,spake ,z>a?u/ra7 is bas$ on ,nietzs*e's my/ic philosophy4 ,z>a?u/ra1 or ,zoroa/]1 alms to tea* ! doctr9e ( ! 8,ov]-,man10 by :i* man is to become a sort ( demigod :o rises above good & evil into realms ( joy4 ,a picture ( ! 8,h9t]weltl]n10 or dwell]s 9 ! ,re>-,_w ( common humanity1 portrays _! ye>n+s1 _! joys1 & passions1 :ile _! sorr[s f9d voice 9 a t5d] 8,grave-,song40 ,sci5ce & its futility are repres5t$ by a fugue replete ) *romatics4 ,a passage entitl$1 8,! ,convalesc5t10 %[s ! defeat ( ! _s ( sorr[ & evil1 & ! triumph ( joy4 ,!n foll[s ! wild1 *aotic1 b /rangely-effective 8,dance-,song10 ! exultation ( ! 8,ov]-,man40 ,yet 8 triumph is n la/+1 = at ! close1 aft] a sudd5 /roke ( ! bell1 comes ! weird 8,song ( ! ,night-,w&]]10 & ! piece ends my/ically 9 two diff]5t keys1 z if repres5t+ et]nal d\bt4 ,/range z ?is "w may seem1 its effect is "o ( va/ sublimity1 & ,nietzs*e's wild philosophy is translat$ into or*e/ral effects ( rem>kable gr&eur4 ,) 8,don ,quixote0 ,/rauss ent]s ! m def9ite field ( program music1 & aims to picture ev5ts4 ,x is ca/ 9 ! v>iation =m1 b is mu* m free 9 /yle ?an t title w\ld imply4 ,!re is a !me = ! ,don1 cle> at fir/1 b becom+ obscure & illogical1 to %[ t he loses 8 sanity4 ,he is repres5t$ by a solo 'cello1 :ile 8 fai?ful squire ,san*o1 /range to say1 appe>s mo/ly 9 viola passages4 ,ea* v>iation treats ( "o adv5ture4 ,! w9dmills are attack$1 ) disa/r\s results4 ,! flock ( %eep are he>d1 bleat+ 9 full *orus until put to flight4 ,! b&s ( pilgrims are disp]s$ z robb]s4 ,! bl9dfold ride ?r\gh ! air on ! wood5 horse is made reali/ic by ! use ( ! !atrical w9d-ma*9e4 ,o!r adv5tures foll[1 & at ! end ! knightly !me recurs 9 a cl>ifi$ =m1 to %[ ,don ,quixote's return to reason & dea?4 ,x w readily be se5 t ?is "w is m exp]im5tal ?an ! e>li] ones4 8,e9 ,held5leb50 repres5ts ! fight ( ,/rauss ) 8 adv]se critics4 ,!re are six well-m>k$ sections4 ,fir/ comes ! h]o himself1 portray$ by def9ite !mes t are wov5 into a /rong climax4 ,!n 8 enemies are depict$1 ) rem>kable irony1 by a m$ley ( crackl+1 sn>l+ figures = woodw9d4 ,! h]o's helpmate is repres5t$ by a solo viol91 & 9 ?is section an in/rum5tal love-duet is introduc$4 ,!n foll[s a picture ( ! h]o's battlefield1 end+ 9 a song ( victory4 ,! h]o's works ( peace are !n describ$1 & ! mean+ ( ! composition is made cle> by ! introduction ( !mes f ! e>li] works ( ,/rauss4 ,! f9al section %[s ! h]o's dep>ture f an ungrateful _w4 ,?is piece is gr&ly plann$1 b l o!r or*e/ral works ( ,/rauss1 its !mes are n melodic & lack musical *>m4 ,! 8,s9fonia ,dome/ica0 pictures a day 9 ! compos]'s family life4 ,"h1 aga91 ! subject is "o t ! he>] _c und]/& )\t an arbitr>y explanation4 ,/rauss has giv5 no complete analysis1 b has deign$ to expla9 t ! ?ree !mes 9 ! e>ly "p repres5t fa!r1 "m & *ild1 t ! picture beg9s 9 ! aft]noon & la/s until ! next morn+1 & t ! f9al fugue repres5ts ! education ( ! *ild4 ,! unmelodic /yle ( ,/rauss is little suit$ to su* a subject1 & ! effect is su* z to make ! "w seem puzzl+1 at fir/1 if n actually ridicul\s4 ,8 ,o!r ,works4--,( ! two e>ly op]as by ,/rauss1 8,guntram0 & 8,feu]sno?10 nei!r has _h real success2 nor does 8 ?ird production1 8,salome10 seem important4 ,guntram is a fight] = love1 a memb] ( a my/ic frat]nity4 ,he rescues ,freihild f ! tyranny ( ,duke ,rob]t1 :o loves h]1 & 9 ! /ruggle he kills ,rob]t4 ,freihild falls 9 love ) him1 b he mu/ r5\nce h]1 z he kn[s t he kill$ ,rob]t out ( rivalry 9 love1 an unwor?y motive4 8,feu]sno?10 light] 9 /yle1 is bas$ on ! old leg5d ( a scornful maid51 ^: pride meets puni%m5t4 ,all fire 9 ! t[n goes out1 & no light c be rek9dl$1 save by a t\* ( h] body2 s t %e f9ds h]self expos$ to ! multitude4 ,9 ?is "w1 z 9 8,held5leb510 ,/rauss has introduc$ veil$ attacks on 8 critics4 ,! music to bo? op]as %[s ! usual ri*ness ( color+ & or*e/ral intricacy1 b _! !mes lack ! direct p[] ( ! guid+ motives 9 ,wagn]'s works4 ,! ,songs ( ,/rauss are _m 9 numb]1 & include "s ) or*e/ral accompanim5t4 ,!y %[ a modulatory /yle1 comb9$ ) a r>e melodic beauty t seems /range 9 a compos] :o indulges 9 s mu* or*e/ral ugl9ess4 ,"s ( ^! songs1 su* z 8,traum dur* die ,dmm]ung0 or 8,all]seel510 are gems ( pure/ wat]4 ,! songs are (t5 involv$ 9 /yle1 b always possess unity & directness ( effect4 ,_! beauty %[s t ! discords 9 ! compos]'s or*e/ral works are int5tional1 & n due to lack ( melodic inv5tion4 ,yet x w\ld seem z if 8 great ma/]y ( in/rum5tal color+ c\ld h be5 employ$ z effectively 9 scor+ beautiful !mes1 in/ead ( ! commonplace passages s (t5 f\nd 9 8 l>g] works4 ,hausegg]4--,siegmund von ,hausegg] 7,graz1 ,au/ria1 #ahgb7 is ano!r ma/] ( ! mod]n or*e/ra4 ,8 fa!r 0 a musician ( broad exp]i5ce & s\nd le>n+1 s t x is n /range t 8 son's gifts develop$ quickly4 ,aft] 8 regul> /udies at ! gymnasium & ! univ]sity1 ,siegmund took up music 9 e>ne/1 "u 8 fa!r & ,deg5]4 ,8 y\?ful works 7 n[ augm5t$ by a piano qu>tet1 a fantasia1 ! or*e/ral ballad 8,od9sme]esritt10 ! "o-act drama 8,helfri$10 & ! op]a 8,z9nob]10 bas$ on a tale ( ,h(mann4 ,^! 7 foll[$ by a numb] ( songs & *oruses1 b ,hausegg]'s real greatness 0 fir/ reveal$ by ! 8,dyonisiac ,fantasie10 a symphonic poem = full or*e/ra4 ,?is 0 foll[$ by a /ill great] "w1 8,b>b>ossa10 :ile 9 #aijd1 at ! ,frank=t fe/ival1 came 8,wiel& d] ,s*mi$40 8,b>b>ossa0 is 9 ?ree movem5ts4 ,! fir/ %[s ! happ9ess ( ! p gradually fad+ into sorr[ & pa91 until ! ,b>b>ossa !me at la/ is he>d2 = tradition says t ! great emp]or is n dead1 b sleeps 9 ! m\nta9 ,kyffhus]1 wait+ to arise :5 ! ne$ ( 8 p is too great to be borne4 ,! second movem5t is a weird1 gho/ly picture ( ! en*ant$ m\nta9 & ! sleep+ emp]or2 :ile ! la/ depicts 8 awak5+1 8 com+ =? at ! head ( 8 knights1 _! victory1 & ! rejoic+ ( ! p4 ,wiel& is ! wond]ful smi? ^: swords cut (f a head s cleanly t x rema9s 9 place4 ,! fir/ movem5t %[s 8 vision ( ! beautiful maid ,s*wanhilde1 appe>+ f cele/ial regions2 b :5 he w\ld claim h]1 %e retreats1 t]rifi$4 ,a second "p %[s 8 sorr[ & despair4 ,9 ! ?ird movem5t hope aga9 triumphs1 & he =ges = himself a pair ( w+s4 ,9 ! la/ movem5t ! unit$ lov]s leave ! dull _w beh9d1 & take _! flight to regions ( et]nal sunlight4 ,o!r ,or*e/ral ,compos]s4--,gu/av ,mahl] 7,kali%t1 ,bohemia1 #ahfj7 ga9$ 8 musical exp]i5ce z a director 9 "s ( ! less] !atres1 & is l>gely self-taught4 ,besides two op]as & a numb] ( beautiful songs1 he has compos$ five symphonies4 ,he has tri$ to enl>ge ! symphonic =m )\t dep>t+ f x4 ,8 symphonies all aim to express "s def9ite ?\ght1 su* z pessimism f9d+ its cure 9 simple fai?1 love ( nature lead+ to a high idea ( ,pan!ism1 or d\bt cle>+ 9 ! joys ( immortality4 ,! movem5ts are arrang$ 9 contra/+ gr\ps1 & voices are introduc$1 at fir/ solo1 & !n (t5 9 a f9al *orus ( triumph4 ,mahl]'s works are plann$ on a gr& scale1 b 8 music is (t5 uncle> & re/less 9 effect4 ,paul ,felix ,we+>tn] 7,z>a1 ,dalmatia1 #ahfc7 is ano!r musician :o s]v$ 8 appr5tice%ip 9 ! small] !atres1 & became "o ( ! _w's great conductors4 ,he is kn[n by 8 two symphonic poems1 8,k+ ,le>0 & 8,! ,elysian ,fields10 z well z by two symphonies 9 /rict =m1 & by sev]al *amb] works4 ,8 op]a 8,g5esius0 & 8 classical trilogy 8,ore/es0 are o!r successful works4 ,jean ,l\is ,nicod 7,j]czik1 ,pos51 #ahec7 is some:at old] ?an ! mod]n tone-poets1 & if less important is /ill notewor?y z an expon5t ( ! program t5d5cy4 ,8 two greate/ works are ! 8,symphonic ,v>iations10 ,op4 #bg1 & 8,das ,me]10 = male *orus1 soloi/s1 or*e/ra1 & organ4 ,! latt] is n a cantata1 b r a great suite1 9 :i* vocal movem5ts are balanc$ aga9/ or*e/ral numb]s4 ,among y\ng] m51 ,hugo ,kaun is famili> to ,am]icans because ( 8 long soj\rn 9 ,milwaukee4 ,8 symphonic poems bas$ on ,longfell['s 8,hiawa?a0 %[ mu* flu5cy & ta/e4 ,switz]l& n[ has its set ( "y compos]s1 ) ,hans ,hub] z _! lead] 9 ! or*e/ral field4 ,! ,pres5t ,situation4--,! ri* h>monies & free modulations ( ,wagn]1 comb9$ ) ! sett+ aside ( symphonic =m by ,liszt1 h caus$ ! m rec5t compos]s ( ,g]many to give up almo/ :olly ! writ+ ( symphonies4 ,! free /yle ( tone-pictur+ has be5 widely adopt$1 9 consequ5ce ( ! example ( ,/rauss4 ,he has gone s f> t "s ( 8 works seem m]ely colossal exp]im5ts 9 ?is direction1 & x is n improbable t a revulsion f su* extreme musical impressionism w take place "s "t 9 ! future4 ,,ref]5ces ,,= ,,lessons ,l ,,to ,,lvi4 ,bak]4--,biographical ,diction>y ( ,musicians4 ,elson4--,mod]n ,compos]s ( ,europe4 ,hale1 ,philip1 ,editor4--,fam\s ,compos]s & ,_! ,works1 new s]ies4 ,hunek]1 ,james4--,mezzot9ts 9 ,mod]n ,music4 ,we+>tn]1 ,paul ,felix4--,! ,symphony ,s9ce ,bee?ov54 ,,que/ions4 ,:at 0 ! influ5ce ( ,wagn]'s /yle on symphonic music8 ,:at 0 ! nature ( ,ri*>d ,/rauss' tra9+ & ! direction ( 8 e>ly compositions8 ,describe 8 e>ly symphonic poems4 ,:at is program music8 ,describe ,ri*>d ,/rauss' lat] symphonic poems4 ,9 :at o!r /yles ( composition has he writt58 ,give a sket* ( ,hausegg]4 ,give an acc\nt ( ! "w ( ,gu/av ,mahl]4 ,give an acc\nt ( ! "w ( ,felix ,we+>tn]4 ,give an acc\nt ( ! "w ( o!r ,g]man writ]s ( symphonic poems4 ,,lesson ,,li4 ,,g]man ,,op]a ,,s9ce ,,wagn]4 ,goldm>k4--,among ^? op]a compos]s :o are n direct imitators ( ,wagn]1 ,c>l ,goldm>k 7,kesz!ly1 ,hung>y1 #ahcj7 is ! mo/ not$4 ,son ( a cantor 9 a synagogue1 he %[$ decid$ musical ta/e :ile /ill a *ild1 & at twelve play$ ! viol9 9 public4 ,aft] a few cons]vatory lessons at ,vi5na1 he 0 =c$ to make 8 own way1 & live on ! small sal>y obta9$ 9 !atre or*e/ras4 ,he taught himself piano & s++1 & 0 soon able to tea* o!rs also4 ,he tra9$ himself by read+ ! scores ( ! great ma/]-works4 ,9 purely or*e/ral composition1 8 fir/ success came ) ! 8,sakuntala0 ov]ture1 inspir$ by ! /ory ( ! ,ori5tal nymph ( t "n1 :o is woo$1 =gott51 & f\nd aga9 by ! ,indian k+1 ,du%ianta4 ,lat] ov]tures are 8,p5!silea10 8,spr+10 8,prome!us ,b\nd10 & 8,italy40 ,goldm>k wrote two symphonies1 ! fir/ 78,ru/ic ,w$d+07 resembl+ a suite ( tone-pictures1 :ile ! second is 9 /rict] =m4 ,he has also publi%$ a viol9 conc]to1 "s *amb] works1 & vocal pieces4 ,8 music is m>k$ by ri*ness ( h>mony & w>m? ( in/rum5tal color+4 ,goldm>k's ,op]as4--,8 fir/ op]a 0 ! 8,que5 ( ,%eba10 deal+ ) ! infatuation ( ,assad = t que51 at ! c\rt ( ,k+ ,solomon4 ,its sc5es ( spl5did fe/ivity & dramatic p[]1 & its delightful music1 won x an imm5se success1 & ,goldm>k 0 nicknam$ 8,c\rt ,compos] to ! ,que5 ( ,%eba40 8,m]l910 8 next "w1 is bas$ on t wiz>d's love = ,viviane1 9 ! days ( ,k+ ,ar?ur4 ,x conta9s mu* noble music1 b ! libretto is weak & confus$4 8,heim*5 am ,h]d0 is an example ( ! /yle ( ,folk-op]a introduc$ by ,hump]d9ck4 ,x is a sett+ ( ,dick5s' 8,cricket on ! ,he>?10 & its music %[s a mo/ delightful fre%ness & *>m4 8,die ,kriegsgefang5e0 treats ! /ory ( ,a*illes & ,briseis ) mu* expressive p[]1 :ile 8,gtz von ,b]li*+50 is a sett+ ( ,goe!'s novel ( t title4 8,d] ,fremdl+0 7,! ,/rang]7 is a manuscript "w4 ,illu/ration3 ,,engelb]t ,,hump]d9ck4 ,hump]d9ck4--,engelb]t ,hump]d9ck 7,bonn1 ,g]many1 #ahed7 won a rem>kable success ) 8 ,folk-op]a 8,hnsel & ,gretel10 a "w :i* has almo/ f\nd$ a new s*ool 9 ,g]many4 ,hump]d9ck /udi$ ar*itecture at fir/1 b at ,hill]'s advice took up music4 8,hnsel & ,gretel0 is ! /ory ( two poor *ildr5 :o are left 9 ! woods by _! /epmo!r4 ,!y f9d a g+]bread h\se1 inhabit$ by a wit* :o wi%es to eat !m2 b ,gretel pu%es h] into h] own ov51 & frees all ! *ildr5 previ\sly "u h] spells4 ,! greatness ( ?is "w1 l t ( ,web]'s op]as1 9 _! day1 lies 9 its union ( ! popul> ,folk-song /yle ) ! ri*ness ( mod]n or*e/ration4 ,! music is fre% & tuneful1 ) an appeal+ s9c]ity t c>ries x directly to ! he>t4 ,at a p]iod :5 o!r compos]s seem$ able to produce no?+ b weak imitations ( ,wagn]'s op]as1 ?is "w won univ]sal recognition4 ,hump]d9ck has produc$ sev]al o!r fairy op]as1 su* z 8,dornrs*510 8,die ,knigsk9d]10 8,sa9t-,cyr10 & 8,die ,sieb5 ,geisle910 b none ( !m has ga9$ any la/+ success4 ,ki5zl4--,ano!r compos] ( orig9ality is ,wilhelm ,ki5zl 7,waiz5-,kir*51 ,au/ria1 #aheg74 ,he /udi$ at ,graz1 ,prague1 ,leipzig1 &1 f9ally1 ) ,liszt1 at ,weim>4 ,he1 too1 s]v$ z conductor 9 small !atres4 ,8 fir/ op]a1 8,urvasi10 is bas$ on an ,ea/ ,indian subject4 ,its music is brilliant1 b lack+ 9 dramatic effect4 8,heilm> d] ,n>r0 deals ) ! magic heal+ qualities ( a sev5? son1 :o =feits 8 p[] if rew>d$2 he cures 8 swee!>t1 b loses 8 gift because he w9s h]1 :]eupon %e sacrifices h]self to br+ back 8 skill4 ,ki5zl's greate/ "w is 8,d] ,evangelimann10 treat+ ( a true /ory ( two bro!rs 9 a small ,au/rian hamlet4 ,bo? love ! same girl1 ,m>?a1 b %e pref]s ,ma?ias4 ,johannes1 out ( jeal\sy1 sets fire to a h\se :]e ! lov]s are meet+1 & d5\nces ,ma?ias z ! inc5di>y4 ,m>?a tries 9 va9 to save him1 & he is imprison$ = tw5ty ye>s4 ,at ! end ( ?is t]m1 ,johannes1 :o has be5 prosp]\s & respect$1 is confront$ on 8 dea?-b$ by ,ma?ias1 :o =gives him4 ,?is op]a has be5 giv5 9 _m c\ntries1 & translat$ into sev]al languages4 ,its music %[s mu* dramatic =ce1 & goes f> to r$eem ^? sc5es 9 ! libretto t are lack+ 9 action4 ,a f\r? op]a by ,ki5zl is ! tragi-com$y 8,don ,quixote40 ,s*ill+s4--,among ! compos]s :o h modell$ _! works on ^? ( ,wagn] is ,max ,s*ill+s 7,dr51 ,g]many1 #ahfh74 ,he /udi$ law at fir/1 l ,s*umann1 b soon turn$ to music1 & became "o ( ,wagn]'s active assi/ants at ,bayreu?4 ,8 8,+welde0 is "o ( ! _m ,vik+ op]as t h foll[$ 9 ! lead ( 8,tri/an & ,isolde10 & aim$ at effects ( dramatic p[]4 ,+welde is =c$ by a c>eless oa? to foll[ ,klause1 enemy ( h] husb&1 ,ge/4 ,bran1 ,klause's bro!r1 loves h] also1 & kills ,klause4 ,%e returns to ,ge/1 b ,bran foll[s & kills him too1 aft] :i* ! pair die toge!r4 8,d] ,pfeif]tag10 a lat] "w1 is evid5tly inspir$ by 8,die ,mei/]s+]40 ,x is a confus$ acc\nt ( v>i\s adv5tures on 8,pip]s' ,day10 a m$ival fe/ival4 ,! *ief episodes are ! r$uction ( an excessive toll paid by ! pip]s1 ! pret5d$ dea? ( "o ( t ,guild1 :o ?us obta9s a eulogy f a rival1 & ! union ( two pairs ( lov]s4 ,! music1 ?\gh wor?y1 c h>dly /& comp>ison ) t ( ! great "w ^u :i* ! op]a 0 modell$4 ,cyrill ,ki/l] 7,augsburg1 ,g]many1 #ahdh7 0 at "o "t ?\ght to be ,wagn]'s real successor1 b ne>ly all 8 works are n[ laid aside4 ,!y %[ an evid5t /riv+ aft] musical gr&eur1 b are n :olly successful 9 atta9+ t effect4 ,ki/l] /udi$ ) ,la*n] & o!rs at ,muni*1 b became a ,wagn] en?usia/ 9 spite ( _! =mal tra9+4 ,9 8 fir/ op]a1 8,kunihild10 ! h]o9e is woo$ by "o ( ?ree bro!rs1 :o is successful 9 ! magic ride necess>y to w9 h]4 ,b !re has be5 a feud betwe5 ! h\ses1 & ano!r bro!r1 to prev5t ! m>riage1 kills ! bridegroom4 ,a comic op]a1 8,eul5spiegel10 prec$$ by t5 ye>s ! symphonic poem ( ,/rauss4 8,baldurs ,tod0 is bas$ on ! beautiful ,norse ,saga ( ! ,sun-,god4 8,im ,honigmond0 is a small] "w1 9 romantic /yle4 ,a m important production 9 ! same ve9 is 8,rsle9 im ,hag10 :i* bids fair to be successful4 8,d] ,vogt von ,mhl/e90 is a "w ( /ill m rec5t date4 ,augu/ ,bung]t 7,mhlheim1 ,g]many1 #ahdf7 /udi$ at ,cologne & ,p>is1 tak+ up composition at ,b]l9 "u ! r5[n$ ,fr4 ,kiel4 ,he has produc$ a light op]a1 8,die ,/ud5t5 von ,salamanca10 a 8,tasso0 ov]ture1 & ! symphonic poem 8,auf d] ,w>tburg40 ,b 8 life-"w has be5 ! composition ( a ,hexalogy1 or set ( six op]as1 on ,hom]ic subjects4 ,! fir/ two1 8,a*illes0 & 8,klytemne/ra10 are f ! ,iliad1 :ile ! ,odyssey furni%es ! mat]ial = 8,kirke10 8,nausikaa10 8,odysseus ,heimkehr10 & 8,odysseus ,tod40 ,! abid+ beauty ( ! old ,greek poems has be5 fai?fully pres]v$ 9 ! librettos1 & ! music has reflect$1 to "s degree1 ! noble dignity ( ^! epics4 ,! fir/ ?ree works ( ! ,odyssey cycle h be5 giv51 & h produc$ an excell5t impression on ! critics4 ,illu/ration3 ,,siegfri$ ,,wagn]4 ,siegfri$ ,wagn] 7,triebs*51 ,switz]l&1 #ahfi71 son ( ! immortal ,ri*>d1 has an und\bt$ "r to c>ry on ! family traditions4 ,he /udi$ ) ,kniese & ,hump]d9ck1 & became a v en]getic conductor4 ,8 fir/ op]a1 8,d] ,br5hut]10 is ! /ory ( a m$ival soldi] :o sells himself to ! devil1 b is r$eem$ by f9d+ a swee!>t :o w rema9 true dur+ ?ree ye>s ( abs5ce4 8,h]zog ,wildfang10 ! next "w1 treats ( a fi]y duke :o is made unpopul> & supplant$ by 8 crafty advis]1 ,ma?ias ,blank4 ,ma?ias is aft]w>d caught 9 try+ to w9 ! beautiful ,o/]l9d by trick]y1 & 8 di%one/y 9 (fice is also expos$2 :]eupon ! rightful duke comes to 8 own aga91 & ,o/]l9d m>ries h] real lov]4 8,d] ,kobold10 a ?ird "w1 treats ( ! leg5d t ! s\ls ( murd]$ *ildr5 w&] ab\t z kobolds until releas$ by ! sacrifice ( ! la/ ( _! race4 8,brud] ,lu/ig10 ! f\r? op]a1 is bas$ on an ,au/rian subject4 ,d',alb]t4--,9 ,eug5 d',alb]t 7,glasg[1 ,scotl&1 #ahfd71 we f9d a man ( real musical gifts4 ,he /udi$ "u su* m5 z ,/a9] & ,pr\t 9 ,engl&1 b he claims t 8 true musical education began only 9 lat] days1 "u ,ri*t] & ,liszt4 ,he has won int]national fame z a piani/1 & has %[n real musician%ip 9 8 purely or*e/ral works4 ,^! include two conc]tos = piano1 "o = violoncello1 ! 8,e/h]0 & 8,hyp]ion0 ov]tures1 & a wor?y symphony2 all %[+ h>monic beauty & ri*ness ( color1 )\t any inflation or exagg]at$ effects4 ,8 fir/ op]a1 8,! ,ruby10 tells ( a pr9cess imprison$ 9 ! =m ( t magic gem1 b releas$ by a poor "y man :o w9s h]4 8,ghismonda0 deals ) ! love ( a pr9cess = a "y man ( l[ degree1 b noble "*4 ,on be+ surpris$ ) ! pr9cess1 he dies r ?an reveal h] love = him1 b %e proclaims 8 *ivalry to ! _w4 8,g]not0 is an elf9 op]a1 ) mu* delicate music4 8,die ,abreise0 %[s ! reconciliation ( a m>ri$ c\ple :o h begun to drift ap>t1 & ! dep>ture ( ! ov]-amor\s cavali] :o tri$ to wid5 ! brea* = 8 own purposes4 8,ka90 is a weirdly effective "o-act drama1 ( ! reali/ic s*ool4 8,d] ,improvisator0 has = its libretto a r weak arrangem5t ( ,hugo's 8,angelo1 ,tyrant ( ,padua10 :ile 8,tiefl&0 is f\nd$ on a ,spani% tale1 9 :i* true love triumphs ov] ! s*emes ( a wick$ ,alcalde4 ,hugo ,wolf 7,vi5na1 ,au/ria1 #ahfj--,vi5na1 #aijb7 _h a con/ant /ruggle ) pov]ty1 & enjoy$ b a %ort p]iod ( fame be=e yield+ to insanity & dea?4 ,8 op]a1 8,d] ,corregidor10 is a delightful "w1 9 comic ve91 & ! humor\s sc5es on ! /age are treat$ ) rem>kable animation & skill 9 ! or*e/ra4 ,! ,corregidor is a ,spani% magi/rate1 :o is too mu* smitt5 ) ,frasquita1 ! beautiful wife ( ! mill]1 ,tio ,lucas4 ,! pair play him _m tricks1 & ! op]a ends ) 8 discomfiture be=e 8 own consort4 ,wolf's fame is mu* increas$ by ! r>e p[] & beauty ( 8 _m songs4 ,especially wor?y ( note are ! 8,feu]reit]10 8,gebet10 8,gesang ,weylas10 & ! 8,itali5is*es ,li$]bu*40 ,8 symphonic poem1 8,p5!silea10 is ano!r important "w4 ,8 /yle is sometimes biz>re & involv$1 b 8 !mes are always effective & significant4 ,o!r ,compos]s4--,max ,bru* 7,cologne1 ,g]many1 #ahch7 /udi$ "u ,hill]1 ,re9ecke1 & ,breun+4 ,8 *ief op]a1 8,h]mione10 is n important1 b he has won la/+ fame by ! bread? & nobility ( 8 epic cantatas1 su* z 8,fri?j(10 8,odysseus10 8,arm9ius10 & o!rs4 ,8 conc]tos & s]5ade = viol9 are favorite works ) soloi/s4 ,ludwig ,?uille1 a fri5d ( ,/rauss1 is giv5 high praise by musicians1 & 8 new op]a 8,gugel9e0 has be5 well receiv$4 ,he9ri* ,zolln] has won a popul> success by 8 sett+ ( ,hauptmann's delicate play1 8,! ,sunk5 ,bell40 ,hans ,pfitzn] has produc$ an excell5t "w 9 8 romantic =e/-op]a1 8,die ,rose vom ,liebesg>t540 ,leo ,ble*'s 8,alp5knig und ,m5s*5fe9d0 has receiv$ num]\s p]=mances1 :ile ,e4 ,klose's fairy op]a1 8,ilsebill10 is a wor?y example ( its s*ool4 ,op]a 9 ,g]many4--,s9ce ,wagn]'s "t1 !re has be5 no /rik+ developm5t 9 ,g]man op]a1 & 8 works /ill rema9 by f> ! mo/ important 9 t field4 ,none c rival him 9 ! p[]1 v>iety1 & expressive qualities ( 8 music4 ,/rauss surpasses him 9 intricacy & novelty ( in/rum5tal effects1 b ,wagn] himself fir/ cle>$ ! pa? 9 :i* ,/rauss 0 to foll[4 ,! greate/ successes ( ,goldm>k are ^? ( tw5ty & ?irty ye>s ago4 ,hump]d9ck's "o *ief "w is frankly popul> 9 /yle1 & its attractiv5ess _c fairly be comp>$ ) ! gr&eur ( ! music-dramas1 ev5 ?\gh x %\ld f\nd a s*ool ( its own4 ,bung]t's works1 ?\gh well receiv$1 h n be5 giv5 _m p]=mances1 :ile _m ( ^? :o h tri$ to imitate ,wagn] h e*o$ m]ely 8 outw>d mann]isms1 & n ! inw>d greatness ( 8 works4 ,x mu/ be rememb]$1 h[ev]1 t a _w-g5ius l t ( ,wagn] does n appe> 9 e c\ntry or e c5tury1 & t 8 importance prev5ts 8 successors f ga9+ _! full me$ ( appreciation4 ,,ref]5ces4 ,maitl&1 ,j4 ,a4 ,full]4--,ma/]s ( ,g]man ,music4 ,elson1 ,ar?ur4--,mod]n ,compos]s ( ,europe4 ,,que/ions4 ,give a sket* ( ,c>l ,goldm>k & 8 works4 ,9 :at /yle ( op]a has ,hump]d9ck be5 mo/ successful8 ,give an acc\nt ( ,ki5zl & 8 mo/ important works4 ,^: works seem to h furni%$ models = ,max ,s*ill+s' op]as8 ,give an acc\nt ( ! works ( ,ki/l]4 ,:at is ! great "w ( ,augu/ ,bung]t8 ,give ! /ories ( ,siegfri$ ,wagn]'s op]as4 ,give an acc\nt ( ,eug5 d',alb]t & 8 works4 ,give an acc\nt ( ,hugo ,wolf's works4 ,:at o!r compos]s h done important "w 9 ?is field8 ,summ>ize ! "w ( ! lead+ compos]s m5tion$ 9 ?is lesson4 ,illu/ration3 ,,v9c5t ,d',,indy4 ,c,,s> ,,franck4 ,,camille ,,sa9t-,,sa,,ns4 ,,jules ,,mass5et4 ,,lesson ,,lii4 ,,old ,,& ,,new ,,s*ools ,,9 ,,france4 ,sa9t-,sans4--,! end ( ! #ai? c5tury 9 ,france has be5 m>k$ by a decid$ contra/ betwe5 ! old & ! new1 ,sa9t-,sans & ,mass5et writ+ 9 ! old] /yle1 :ile ! pupils ( ,franck h /riv5 aft] novelty 9 effect4 ,*>les-,camille ,sa9t-,sans 7,p>is1 ,france1 #ahce7 witness$ ! rise & fall ( ,mey]be]1 & ! triumphs ( ,g\nod1 & 0 himself fam\s be=e ! influ5ce ( ,wagn] rea*$ ,france4 ,8 /yle is m>k$ by great div]sity1 & displays equal skill 9 _m diff]5t ve9s2 b 8 music always %[s ! utmo/ facility ( expression1 a ma/]y ( ! te*nic ( compos+1 & a rem>kable ease & flu5cy4 ,8 has be5 a true musical developm5t1 f\nd$ on rational l9es4 ,he 0 always a w>m admir] ( ,ba*1 ,bee?ov51 & ! ,classical s*ool1 & :ile he appreciat$ ,liszt1 ,wagn] & o!r mod]n ma/]s1 he did n ab&on ! old ideas ( =m & melody4 ,8 works %[ ! mo/ exquisite symmetry ( detail1 l t ( a f9ely-c>v$ monum5t enri*$ by delicate trac]y4 ,8 ,works4--,sa9t-,sans /udi$ at ! ,cons]vatoire1 "u ,/amaty1 ,halvy1 & ,b5oi/4 ,?\gh he fail$ 9 try+ = ! ,prix de ,rome1 he produc$ a wor?y symphony :5 only sixte54 ,9 op]a1 8 fir/ success 0 ! ,biblical 8,samson & ,dalila10 a "w ( expressive p[] & vivid color+4 8,le ,timbre d',arg5t0 & 8,la ,pr9cesse ,jaune0 are ( e>li] date4 8,le ,deluge10 is an op]atic cantata4 8,eti5ne-,m>cel0 won "s success 9 ,p>is1 :ile 8,h5ry ,,viii0 is a skilful bl5d+ ( old & new /yles4 8,pros]p9e0 & 8,ascanio0 foll[$1 :ile 8,phryne0 is a da9ty example ( opra comique4 8,p>ysatis10 8,djanire10 & 8,les ,b>b>es0 introduce gr&iose effects = op5-air p]=mances4 8,helne0 is a %ort] "w1 aga9 on a ,grecian subject4 ,! compos]'s v]satility & smoo?ness ( /yle prev5t him f obta9+ ! highe/ dramatic int5sity1 b 8 music is always excell5t4 ,9 ! or*e/ral field1 he has produc$ f\r lat] symphonies1 five piano conc]tos 7t 9 ,g m9or be+ ! favorite71 & two suites4 ,8 symphonic poems include 8,le ,r\et d',omphale10 a delici\s or*e/ral sp9n+-song2 8,phaeton0 & 8,la ,jeunesse d',h]cule10 also on my?ical subjects2 & ! weird 8,danse ,macabre40 ,8 viol9 conc]to 9 ,b m9or is a great favorite4 ,mass5et4--,jules ,emile ,fr$]ic ,mass5et 7,montreaux1 ,france1 #ahdb7 is ano!r ,cons]vatoire pupil4 ,reject$ at fir/ by ,baz91 z lack+ tal5t1 he work$ /eadily onw>d1 & f a play] 9 small cafs became "o ( ! =emo/ figures 9 ,fr5* music4 ,8 fir/ great triumph came ) 8,m>ie ,madele9e0 & 8,eve10 :i* are n /rictly oratorios1 b are m prop]ly call$ sacr$ dramas4 8,la ,vi]ge0 & 8,la ,t]re ,promise0 are ( lat] date4 ,^! works treat _! subjects ) mod]n _s & passion1 in/ead ( ! m classic oratorio /yle4 ,mass5et is h>dly ! equal ( ,sa9t-,sans 9 or*e/ral "w1 b 8 8,ph$re0 ov]ture & 8 suites ( tone-pictures are rem>kably attractive4 ,9 op]a1 he won 8 spurs ) 8,le ,roi de ,lahore10 a spectacul> ,ori5tal subject4 8,h]odiade0 is a sacr$ "w1 :ile 8,manon0 is a graceful sett+ ( ,prevo/'s novel ( t "n4 8,le ,cid0 is n s /rong a "w1 = ,mass5et's /yle is s5tim5tal & passionate r ?an h]oic4 8,esclairmonde10 ) a romantic & leg5d>y plot1 displays rem>kable beauty & ri*ness ( effect4 8,w]!r10 bas$ on ,goe!'s novel1 is ano!r success4 8,le ,mage10 an ,ori5tal subject1 & 8,?ais10 ) an ,egyptian plot1 7 comp>ative failures4 8,la ,nav>raise10 ) its love amid battles1 is an e*o ( ,italian realism4 ,mass5et's t5d] feel+ & vivid emotion %[ at _! be/ 9 8 lat] works = ! /age--8,le ,portrait de ,manon10 a delightful love-idyl1 8,c5drillon10 a fairy op]a1 8,griselidis10 an old leg5d ( wifely con/ancy1 & 8,le ,jongleur de ,notre-,dame40 ,! la/ is a t\*+ /ory ( a despis$ m9/rel :o w9s favor ) ! ,holy ,virg9 by 8 e>ne/ desire to d some?+ 9 h] "n1 ev5 if x be only to amuse h] ) 8 juggl+ tricks4 ,fr5* ,op]a4--,among o!r ,fr5* compos]s = ! /age1 ,mey]be]1 ,g\nod & ,bizet belong to a previ\s g5]ation4 ,delibes won "s notice ) 8,le ,roi l'a ,dit0 & 8,sylvia10 b 8 be/ "w is 8,lakm10 ano!r example ( ri* ,ori5tal w>m? & color4 ,ambroise ,?omas is kn[n *iefly z ! compos] ( 8,mignon10 a rem>kably graceful sett+ ( a libretto f ,goe!'s 8,wilhelm ,mei/]40 8,le ,songe d'un ,nuit d't10 an e>li] "w1 has also met ) des]v$ success1 b 8,hamlet0 is a ridicul\s p]v]sion ( ,%akespe>e1 & 8,franoise de ,rim9i0 fail$ to atta9 real tragic gr&eur4 ,guiraud is kn[n by 8 comic op]a 8,piccol9o02 ,poise set _m ( ,molire's plays2 ,lalo's only notable "w is 8,le ,roi d',ys02 ,god>d's da9ty 8,viv&ire0 is frankly light 9 /yle2 :ile ,salvayre's ambiti\s 8,dame de ,monsoreau0 is n a great success4 ,rey]'s 8,ero/rate0 & 8,la ,/atue0 7 prais$ 9 _! day1 b he is bett] kn[n by two lat] works--8,sigurd10 on ! subject ( 8,die ,gtt]dmm]ung10 & 8,salammb10 a sett+ ( ,flaub]t's /ory ( ,c>?age4 ,franck & ,8 ,influ5ce4--,! new ,fr5* s*ool is almo/ :olly due to ! "w ( "o man1 ,cs> ,augu/e ,franck 7,lige1 ,belgium1 #ahbb--,p>is1 #ahij74 ,he settl$ 9 ,p>is1 & /udi$ at ! ,cons]vatoire4 ,mode/ & retir+ by nature1 8le bon pre ,franck10 z he 0 call$1 divid$ 8 "t betwe5 tea*+1 compos+1 & play+ ! organ ( ! ,/e4 ,clotilde ,*ur*4 ,8 simple fai? & e>ne/ "w recall ! _s ( ! old m$ival arti/s1 :o devot$ _! lives & _! music to ! glory ( ! ,"l4 ,franck's works %[ a ma/]y & p[] t 8 pupils are sc>cely able to equal1 & 8 compositions h fairly won ! e/eem t 0 d5i$ to !m dur+ ! compos]'s lifetime4 ,among !m are ! great ,d m9or ,symphony1 ! oratorios 8,ru?10 8,rebecca10 & 8,! ,r$emption10 ! op]a 8,hulda10 & ! symphonic poems 8,psy*e0 7) voices71 8,les ,dj9ns10 8,les ,eolides10 & 8,le ,*asseur ,maudit40 ,b ,franck's mo/ notable "w is 8,les ,beatitudes10 an eight-"p oratorio treat+ ! ,s]mon on ! ,m\nt4 ,franck's /yle is radically diff]5t f t ( ,sa9t-,sans or ,mass5et4 ,x is h>monic r ?an melodic1 & extremely modulatory 9 effect4 ,8 progressions rem9d ! he>] ( ,wagn]2 b !y d n always possess ! broad simplicity t und]lies ,wagn]'s mo/ intricate passages4 ,franck's pupils h (t5 fall5 into ! error ( imitat+ 8 weake/ po9ts1 & h br\ght ab\t a /yle ( h>monic vagu5ess t seems mean+less to _m mod]n critics4 ,d',indy4--,v9c5t d',indy 7,p>is1 ,france1 #aheb7 is ! greate/ ( ,franck's pupils1 & ! lead] ( ! mod]n ,fr5* s*ool4 ,z conductor1 he has be5 an ard5t *ampion ( new & little-kn[n works4 ,8 own compositions include _m =ms1 & h all attract$ att5tion4 ,8 fir/ great "w to rea* ! public 0 ! 8,piccolom9i0 ov]ture1 a "p ( 8 or*e/ral trilogy bas$ on ,s*ill]'s 8,wall5/e940 ,two important vocal compositions are 8,la ,*evau*e du ,cid10 = b>itone1 *orus1 & or*e/ra1 & 8,le ,*ant de la ,clo*e10 a dramatic leg5d t won ! prize giv5 by ! city ( ,p>is4 ,9 ! or*e/ral field1 8,antony & ,cleopatra0 is an e>ly "w1 z is also ! 8,jean ,hunyadi0 symphony4 ,( d',indy's two lat] symphonies1 ! fir/1 bas$ on a m\nta9 air1 conta9s _m passages ( sweetness & purity1 :ile ! second is m involv$ & modulatory 9 /yle4 ,8 e>lie/ symphonic poem1 8,la ,=t ,en*ante0 is a delicate tone-picture bas$ on a ballad ( ,uhl&2 8,saugefleurie0 is f\nd$ on a /ory by de ,bonnires2 :ile 8,i/>0 is inspir$ by p>ts ( ! old ,assyrian epic 8,idzub>40 ,d',indy's music is h>dly popul> 9 /yle1 = its !mes are n def9itely melodic2 b 8 skill 9 weav+ !m into an or*e/ral tissue is admir$ by all musicians4 ,9 op]a1 8,les ,burgraves0 & ! light] 8,att5dez-,moi ,s\s l',orme0 are y\?ful works1 :ile 8,f]vaal0 is a music-drama 7action musicale7 on a ,druidic subject1 & 8,l',etrang]0 is symbolic 9 /yle4 ,he has writt5 "s important works 9 musical lit]ature & !ory4 ,*>p5ti]4--,gu/ave ,*>p5ti] 7,dieuze1 ,france1 #ahfj7 0 a ,cons]vatoire pupil4 ,! ,prix de ,rome took him to ,italy1 & 8 life !re result$ 9 ! pleas+ or*e/ral suite 8,impressions d',italie40 ,?is consi/s ( five tone-pictures1 entitl$1 8,s]5ade10 8,at ! ,f\nta910 8,on ,muleback10 8,on ! ,summits10 & 8,naples40 ,on 8 return he liv$ among ! work+-p ( ,montm>tre1 & _! life is reflect$ 9 8 lat] works4 8,la ,vie du ,pote0 is a symphony-drama1 giv+ episodes 9 ! life ( an unsuccessful g5ius4 ,9 ! beg9n+1 all is aspiration & en?usiasm4 ,!n d\bt foll[s4 ,at fir/ ! poet is consol$ by ! s]5e beauty ( ! summ] night1 b 8 fe>s ga9 ! upp] h&4 ,!n comes a picture ( impot5t rag+ & va9 ang] aga9/ fate1 aft] :i* ! poet tries to blot out 8 sorr[s 9 ! *eap gayety ( ! city4 8,la ,c\ronnem5t de la ,muse0 is a pantomime1 writt5 ) ! idea t a work+ girl 9 ea* t[n or city %\ld annually be *os5 & cr[n$ amid fe/ivities4 ,! compos]'s greate/ "w1 h[ev]1 is ! op]a 8,l\ise40 ,?is tells ! /ory ( a poor work+ girl1 ^: p>5ts =bid h] to m>ry ! some:at wayw>d ,juli54 ,at ! latt]'s p]suasion1 %e f9ally flies ) him4 ,h] p>5ts try to reclaim h]1 b aga9 %e is drawn away1 & h] fa!r is left %ak+ 8 fi/ at ! t]rible city t entices "y girls f _! homes4 ,! music ( 8,l\ise0 is full ( p[] & realism1 & ev5 ! /reet cries ( ,p>is are e*o$ 9 its measures4 ,bruneau4--,op]atic realism has f\nd a m prolific1 if less successful1 *ampion 9 ,alfr$ ,bruneau 7,p>is1 ,france1 #aheg71 ano!r ,cons]vatoire pupil4 ,he has conf9$ himself to librettos drawn f ! novels ( ,zola4 8,le ,rve10 an e>ly "w1 is a psy*ological /udy ( love1 9 ! p]son ( ! dreamy ,angelique1 :o dies f excess ( happ9ess :5 h] w$d+ is complet$4 8,l',attaque du ,m\l90 is a spirit$ /ory ( ! ,franco-,prussian w>1 set 9 a m melodic & popul> /yle4 8,messidor0 is aga9 symbolic 9 /yle1 ! !me be+ a contra/ betwe5 gre$ = gold & ! simple pleasure ( hone/ toil4 8,l',ouragan0 deals ) ! tempe/s ( human passion & jeal\sy1 z well z ! hurricanes ( nature4 8,l',enfant ,roi10 & ! music to 8,la ,faute de l',abb ,m\ret10 are m rec5t works4 ,bruneau is s9c]e & e>ne/ 9 8 ef=ts at realism1 b 8 music is (t5 heavy & un9spir$4 ,he has produc$ works 9 o!r fields1 among !m be+ a great 8,requiem10 a 8,h]oic ,ov]ture10 & ! symphonic poem 8,p5!sile10 = voice & or*e/ra4 ,8 ?ree books on ,fr5* compos]s1 & 8 _m criticisms1 h made him kn[n 9 ! doma9 ( musical lit]ature4 ,debussy4--,! new s*ool ( ,fr5* music f9ds its mo/ radical expression 9 ! compositions ( ,a*ille ,claude ,debussy 7,p>is1 ,france1 #ahfb74 ,a musician ( great gifts1 he *ooses to imbue 8 music ) a /udi$ vagu5ess ( effect1 & w&]s ?r\gh a maze ( *ang+ keys & h>monies4 ,_m p]sons f9d ! result :olly incompreh5sible at fir/1 b on repeat$ he>+ 8 works %[ a weird1 elusive beauty t is wor%ipp$ by 8 adh]5ts z ! acme ( musical expression4 ,he1 too1 0 a ,cons]vatoire /ud5t1 & won ! ,prix de ,rome ) ! cantata 8,l',enfant ,prodigue40 ,two lyric sc5es1 8,la ,demoiselle lue10 & 8,*imne10 fir/ drew att5tion to ! "y arti/4 ,!n came ! or*e/ral prelude to ,mall>m's 8,l',aprs-,midi d'un ,faune10 a delicately-wov5 rhapsody1 ) mu* beauty & mu* weirdness 9 its h>monies4 ,! ,nocturnes1 entitl$1 8,nuages0 & 8,ftes10 are describ$ by ,de ,brville z possess+ ! e!real *>m ( a p]fume t p]vades ! air1 b defies analysis4 ,a /r+ qu>tet is 9 /rict] =m1 b ! 8,proses ,lyriques10 on subjects ( ,beaudelaire1 also ! 8,*ansons de ,bilitis0 & 8,les ,e/ampes0 = piano1 aga9 %[ ! free /yle4 ,debussy's mo/ ambiti\s "w is 8,pelleas et ,mlis&e10 an op]a bas$ on ,maet]l9ck's play ( t "n4 ,! poet's words (f] ! same %ad[y sugge/ions t ! compos] gives 9 music1 & ! h>monic effects ( vague my/]y are entirely 9 place "h4 ,*ausson4--,erne/ ,*ausson 7,p>is1 ,france1 #ahee--,limay1 #ahii7 prov$ himself a compos] ( real greatness1 & 0 /ill 9 ! prime ( life :5 he met ) a fatal bicycle accid5t1 9 #ahii4 ,tra9$ = law1 he turn$ to music f *oice1 z ,s*umann did be=e him4 ,a pupil ( ,mass5et & ,franck1 he comb9$ ! direct expression ( ! =m] ) ! h>monic /yle ( ! latt]1 & produc$ works ( a mo/ attractive or*e/ral color+4 ,among 8 compositions are a wor?y symphony1 ! beautiful symphonic poem 8,viviane10 ! or*e/ral pictures 8,solitude dans les ,bois0 & 8,soir de ,fte10 a 8,pome0 = viol9 & or*e/ra1 "s *amb]-music1 & _m pleas+ songs & *oruses4 ,8 "o great op]a 0 8,le ,roi ,ar?us40 ,8 works are full ( t5d]ness & *>m1 yet n lack+ 9 vigor & bread?2 !y h ! mod]n h>monic ri*ness & or*e/ral color1 & are gr[+ /eadily 9 favor4 ,o!r ,compos]s4--,alexis ,emanuel ,*abri]1 :olly self-taught 9 music1 produc$ ! brilliant or*e/ral rhapsody 8,espaa10 an attractive 8,suite ,pa/orale10 a lively 8,m>*e ,joyeuse10 & "s effective cantatas4 ,9 op]a1 8 8,le ,roi ,malgr ,lui0 is an excell5t example 9 light] ve91 b 8 greate/ "w is 8,gw5dol9e10 on a ,vik+ subject4 ,( all ! ,fr5*m51 he 0 ! "o be/ fitt$ to attempt ! bold1 virile /yle requir$ by ! libretto4 ,! mo/ prom95t or*e/ral writ] ( ! y\ng] g5]ation is ,paul ,dukas1 ^: 8,appr5ti ,sorci]0 treats a humor\s subject ) r>e skill4 ,?odore ,dubois1 = _m ye>s head ( ! ,cons]vatoire1 is be/ kn[n by 8 oratorios1 su* z 8,p>adise ,lo/10 & 8 8,fri?j(0 ov]ture4 ,gabriel ,faur1 ! organi/1 :o succe$$ ,dubois z director ( ! ,cons]vatoire 9 #aije1 has produc$ a symphony1 two /r+ qu>tets1 & a numb] ( songs ^: intricacy _c obscure _! exquisite grace4 ,o!r organi/-compos]s are ,*>les ,m>ie ,widor1 :o wrote ! op]a 8,matre ,ambros0 & ! ballet 8,la ,korrigane10 & ,alex&re ,guilmant1 kn[n by 8 great organ symphony & sonatas4 ,b\rgault-,duc\dray has writt5 _m cantatas1 & made a valuable collection ( ,breton ,folk-songs4 ,pi]n1 ,coqu>d1 ,erlang] & ,hue won _! fame 9 op]a1 :ile ,dup>c ga9$ notice ) 8 symphonic poem 8,l5ore40 ,rop>tz & de ,brville rank ) ! be/ ( ,franck's pupils1 :ile among wom5-compos]s1 ,augu/a ,holms won r5[n by h] ma/]y ( broad or*e/ral effects1 & ,ccile ,*am9ade is kn[n by h] da9ty songs & piano pieces4 ,! ,new ,fr5* ,s*ool4--,:5 ,wagn] %[$ ! h>monic res\rces ( ! mod]n or*e/ra1 he l$ ! way = a ho/ ( imitators1 :o h (t5 done m h>m ?an good4 ,su* op]as z 8,f]vaal0 & 8,gw5dol9e10 9 l>ge measure ! result ( 8,tri/an10 are prop] applications ( ?is /yle4 ,b ! idea ( f9d+ new h>monic effects has ex]t$ its influ5ce on or*e/ral writ]s also1 & "s mod]n compos]s1 especially 9 ,france1 h devot$ all _! en]gy to ?is1 & h app>5tly sacrific$ all ?\ghts ( musical beauty4 ,! ,fr5* h ev5 inv5t$ ! t]m 8crbral10 :i* describes a compos] :o puts no emotion or feel+ into 8 music1 b works x out :olly f ! bra94 ,?us _m ( ! mod]n compositions mu/ be reg>d$ z great or*e/ral exp]im5ts1 & ! compos] :o comb9es ?is in/rum5tal te*nic ) real feel+ & directness ( utt]ance is ! "o :o w meet ) ! greate/ success4 ,,ref]5ces4 ,h]vey1 ,ar?ur4--,ma/]s ( ,fr5* ,music4 ,h]vey1 ,ar?ur4--,music 9 ! #ai? ,c5tury3 ,france4 ,elson1 ,a4--,mod]n ,compos]s ( ,europe4 ,,que/ions4 ,:i* ,fr5* compos]s repres5t ! old] /yle2 :i* ! new8 ,give a sket* ( ! works ( ,sa9t-,sans4 ,give a sket* ( ! works ( ,mass5et4 ,"n o!r important op]a compos]s 9 ,france4 ,:o 0 ! lead] ( ! new ,fr5* s*ool8 ,give an acc\nt ( 8 works4 ,"n "s ( 8 pupils4 ,:o is ! lead+ repres5tative ( ?is s*ool today 7#aije78 ,give an acc\nt ( 8 works4 ,:i* is ! mo/ important "w ( ,*>p5ti]8 ,9 :at l9es ( musical "w did ,bruneau labor8 ,"n "s ( 8 works4 ,:o is ! mo/ extreme repres5tative ( ! new ,fr5* s*ool8 ,:at are ! di/+ui%+ *>act]i/ics ( ,*ausson's works8 ,"n o!r important ,fr5* compos]s4 ,:at is ! "* ( "s ( ! works ( ! advanc$ s*ool ( composition8 ,illu/ration3 ,,pietro ,,mascagni4 ,,giacomo ,,pucc9i4 ,g4 ,,sgambati4 ,,abb ,,p]osi4 ,,enrico ,,bossi4 ,,lesson ,,liii4 ,,musical ,,reg5]ation ,,9 ,,italy4 ,musical ,decad5ce4--,:5 a nation cl+s to its own musical ideas1 & p]si/5tly disreg>ds ! gr[? & progress ( o!r nations1 x usually ent]s ^u a p]iod ( decay4 ,?is is :at took place 9 ,italy dur+ ! #ai? c5tury1 & ! c\ntry t produc$ ,pale/r9a & ! ,sc>lattis seem$ = a "t to und]/& no?+ b ! trivial op]atic melodies ( ,ross9i's successors4 ,9 #ahej1 !re 7 sc>cely any conc]t halls 9 ! c\ntry1 & ev5 ! *ur*es 7 cont5t ) op]atic airs set to sacr$ words4 ,soon aft] ?is1 ,p9elli tri$ to give an or*e/ral conc]t1 ) sixty musicians2 & ! box-(fice receipts left only f\rte5 francs ) :i* to pay !m4 ,sgambati produc$ a ,bee?ov5 symphony1 b _h to d x at 8 own exp5se4 ,z late z #ahgi1 ,sa9t-,sans1 :o gave an organ recital at ,milan1 f\nd ! organ sc>cely fit = an arti/ to play ^u4 ,9 op]a1 x 0 only ! broad judgm5t ( ,v]di t 0 able to look beyond ! bord]s ( 8 native l&1 & 8 8,ada10 z well z ,boto's 8,mefi/(ele10 0 ! beg9n+ ( a new ord] ( ?+s4 ,mascagni4--,9 #ahij1 ! publi%] ,sonzogno (f]$ a prize = ! be/ "o-act op]a submitt$ to him1 & ?is prize 0 aw>d$ to ,pietro ,mascagni 7,leghorn1 ,italy1 #ahfc71 !n an unimportant musical lead] at ,c]ignola4 ,mascagni 0 ! son ( a bak]1 :o wi%$ him to /udy law1 & lock$ him up because he practic$ ! piano 9 secret4 ,! boy 0 rescu$ by 8 uncle1 & "u ! protection ( ,c\nt ,flore/an pursu$ 8 /udies at ! ,milan ,cons]vatory4 ,! op]a t br\ght him su* fame1 :i* has s9ce become _w-wide1 0 8,cavall]ia ,ru/icana10 or 8,ru/ic ,*ivalry10 bas$ on a tale by ,v]ga4 ,! sc5e is a village squ>e1 be=e a *ur*4 ,! h]o9e1 ,santuzza1 is =sak5 by ,turiddu1 :o c>ries on an intrigue ) ,lola1 wife ( ! c>t] ,alfio4 ,santuzza1 9 despair1 d5\nces him to ,alfio1 :o *all5ges & kills him4 ,! music is h>dly ( ! highe/ /&>d2 b x is popul> & vigor\s 9 /yle1 & int5sely p[]ful4 ,! "w is sc>cely comp>able to ! music-dramas1 yet e numb] is animat$ by ! _s ( ! words1 & x is !re=e dramatically true4 ,among ! _m favorite selections f its score are ! 8,siciliana0 ( ,turiddu 7sung z "p ( ! ov]ture1 be=e ! curta9 rises71 ! broad & noble 8,reg9a ,coeli10 ,lola's s]5ely confid5t aria1 8,my ,k+ ( ,roses10 & ! jolly 8,br9disi10 or dr9k+ *orus1 to say no?+ ( ! sac*>9e 8,int]mezzo40 ,! p[] & vividness ( 8,ru/ic ,*ivalry0 made x an epo*-mak+ "w2 b ,mascagni's lat] op]as h n met ) ! same success4 ,!y include 8,l',amico ,fritz10 8,william ,ratcliff10 8,silvano10 8,iris10 8,le ,mas*]e10 & ! "o-act 8,amica40 ,leoncavallo4--,! success ( 8,ru/ic ,*ivalry0 ar\s$ ,ruggi]o ,leoncavallo 7,naples1 ,italy1 #aheh7 to try 8 h& 9 ! same s*ool4 ,8 e>ly op]a 8,*att]ton0 0 practically a failure1 :ile 8 ambiti\s 8,m$ici0 trilogy 78,i ,m$ici10 8,savon>ola10 & 8,ces>e ,borgia07 met ) no bett] reception4 ,9 8,i ,pagliacci10 h[ev]1 he produc$ a "w ( ! new s*ool1 t has tak5 its place beside ,mascagni's op]a z an example ( ! new realism4 ,! 8,pagliacci0 are /roll+ play]s4 ,canio1 ! lead]1 is ar\s$ to madness by le>n+ ( ! propos$ elopem5t ( 8 wife1 ,n$da1 b %e w n betray h] lov]'s "n4 ,!y enact = ! villag]s a mimic trag$y ( love & jeal\sy1 b ,canio makes x real by actually /abb+ ! fai?less ,n$da4 ,h] lov] !n leaps f ! audi5ce to save h]1 only to meet a simil> dea? at ,canio's h&s4 ,! music to ?is play is ( a high] /&>d ?an ,mascagni's1 ?\gh less directly popul> 9 /yle4 8,trilby0 & 8,zaza0 are lat] works ( little importance1 :ile 8,rol& ( ,b]l910 compos$ by ord] = a libretto by ! ,emp]or ( ,g]many1 ar\s$ only pass+ int]e/4 ,pucc9i4--,:5 ! great ,v]di retir$ f active life z a compos]1 he nam$ z 8 probable successor1 ,giacomo ,pucc9i 7,lucca1 ,italy1 #aheh74 ,desc5d$ f a musical family1 ,pucc9i c\ld devote himself to 8 art )\t p>5tal opposition1 & he complet$ 8 /udies "u ,pon*ielli1 at ! ,milan ,cons]vatory4 ,8 8,le ,villi0 0 really ! orig9 ( ! mod]n "o-act plays4 8,edg>0 resembles 8,c>m50 some:at1 b has a weak libretto1 & music t is n always effective4 8,manon ,lescaut0 is r a succession ( deta*$ sc5es ?an a s+le :ole1 b at times x displays a ma/]y ( dramatic contra/ f> beyond ,mass5et4 8,la ,bohme0 is a delightfully sympa!tic sett+ ( ,murg]'s well-kn[n novel1 & its sc5es ( rollick+ defiance to pov]ty & hung] rem9d "o ( ! compos]'s e>ly /ruggles4 ,! note ( haunt+ sweetness t p]vades ! score m>ks ,pucc9i z a man ( r>e musical gifts4 ,9 8,tosca10 ! h]o9e ( t "n loves ! arti/1 ,m>io1 :o aids a political refugee1 at ! risk ( 8 own life4 ,! gov]nor1 ,sc>pia1 :o captures him1 loves ,tosca also1 & tortures him to make h] yield to 8 desires4 ,to save ,m>io1 %e cons5ts1 b /abs ,sc>pia at ! la/ mom5t4 ,b ,sc>pia's trea*]y survives him1 = ! pret5d$ execution1 :i* 0 to let ,m>io escape1 turns out to be real1 & ,tosca takes h] own life 9 despair4 ,! music %[s a ripe ma/]y ( dramatic p[]4 ,! climax ( ! fir/ act1 m]g+ into ! *ur* s]vice1 & ! tragic p[] ( ! second1 well contra/$ ) ! /ra9s ( a fe/ival cantata t float 9 ?r\gh ! w9d[1 are sc5es t w9 unqualifi$ praise f all critics4 8,madame ,butt]fly10 on a ,japanese subject1 lack$ ! necess>y delicacy1 b ! two prec$+ works h made ,pucc9i ! =emo/ man 9 ,italian op]a today4 ,! ,reali/ic ,s*ool4--,_m compos]s ( ! 8,v]ismo0 s*ool adopt a realism t deals only ) ! m brutal side ( life1 & _! plots1 ?\gh /rong1 are n always pleas+4 ,giordano's 8,&rea ,*5i]0 & 8,f$ora0 %[ musical wor?1 b ,sp9elli's 8,a ,basso ,porto10 ,coron>o's 8,fe/a a ,m>9a10 & ,tasca's 8,a ,santa ,lucia0 picture "s ( ! co>se/ phases ( exi/5ce4 ,yet ?is defect may be condon$ :5 we consid] t ! movem5t has infus$ new life & p[] into ,italian music4 ,among ^? compos]s :o h /ood some:at alo( f ! new s*ool1 ,fran*etti is ! mo/ notewor?y4 ,8 op]as include 8,cri/(oro ,colombo10 8,g]mania10 & ! lat] 8,figlia di ,jorio10 & he has writt5 symphonies t place him among ! be/ ( ! lat] ,italian compos]s4 ,p]osi4--,! revival 9 sacr$ music has be5 br\ght ab\t :olly by "o man1 ,don ,lor5zo ,p]osi 7,tortona1 ,italy1 #ahgb74 ,he /udi$ fai?fully1 9 spite ( sickness--fir/ at ,milan1 !n "u ! le>n$ ,fr4 ,hab]l at ,ratisbon4 ,he became a conductor at ,imola1 & aft]w>ds at ,v5ice1 :]e he l$ 8 =ces ) decid$ vigor4 ,soon aft] ?is1 he began to compose ! oratorios t h made him s fam\s4 ,8 sacr$ trilogy1 8,! ,passion ( ,*ri/10 includ$ ! 8,la/ ,supp]10 ! 8,s]mon on ! ,m\nt10 & ! 8,dea? ( ! ,r$eem]40 ,x made a s5sation t rev]b]at$ ?r\gh all ,italy1 & caus$ 8 appo9tm5t 9 ! foll[+ ye> z honor>y ma/] ( ! ,papal ,*oir4 ,he has be5 untir+ z a compos]1 produc+ no less ?an fifte5 masses & ne>ly a doz5 oratorios4 ,among ! latt] are 8,! ,transfiguration10 8,! ,annunciation10 8,! ,rais+ ( ,laz>us10 8,! ,bir? ( ! ,r$eem]10 & ! two-"p 8,moses40 ,he writes ) en?usiasm1 & sees ! actual picture be=e him :ile he works4 ,8 music does n possess ! calm dignity %[n by ,pale/r9a1 b its semi-popul> /yle is well adapt$ to 8 he>]s1 & may lead ! way to some?+ bett]4 ,sgambati4--,! lead+ position among ,italy's new symphonic compos]s belongs to ,giovanni ,sgambati 7,rome1 ,italy1 #ahdc74 ,l _m musicians1 he 0 at fir/ de/9$ = a lawy]'s c>e]1 b began 8 musical /udies 9 "t to become kn[n z a boy-prodigy4 ,he settl$ 9 ,rome1 & soon grew fam\s z a piani/4 ,he play$ ,bee?ov51 ,s*umann & ,*op91 & did mu* to introduce _! works into ,italy4 ,he plann$ a trip to ,g]many1 b :5 ,liszt came to ,rome he rema9$ !re to /udy "u t great ma/]4 ,at ?is "t 8 e>li] compositions1 mo/ly *amb] works1 br\ght him into notice 9 a new field4 ,^! qu>tets & qu9tets 7 foll[$ by a fe/ival ov]ture1 a piano conc]to1 & ?ree symphonies 9 succession4 ,8 compositions are some:at lack+ 9 spontaneity1 b !y display great le>n+1 & und5iable skill4 ,8 works %[ ! influ5ce ( ,liszt & ,b]lioz1 m+l$ ) ! /rict] /yle ( ! old ,italian contrapuntal writ]s4 ,o!r ,or*e/ral ,compos]s4--,) ,sgambati1 ,m>tucci also des]ves m5tion 9 ! in/rum5tal field4 ,he became id5tifi$ ) ! arti/ic life ( ,naples1 :]e he f\ght a simil> fight = ! cause ( good music4 ,among sev]al o!rs1 ,del ,valle de ,paz is not$ = 8 valuable educational "w 9 ,flor5ce1 no less ?an = 8 compositions4 ,busoni1 s well kn[n z a piani/1 has also tri$ 8 h& at or*e/ral writ+ 9 ! mo/ extreme mod]n ve94 ,eug5io di ,pirani is ano!r compos] :o has id5tifi$ himself ) ! ,g]man in/rum5tal s*ool4 ,! lit]>y *ampion ( ! new ord] ( ?+s has be5 ,luigi ,tor*i1 ^: "w 9 ! magaz9es des]ves ! highe/ praise4 ,bossi4--,! mo/ prom95t figure among ! y\ng] devotees ( ! ,g]man /yle is ,m>co ,enrico ,bossi 7,salo1 ,italy1 #ahfa74 ,he /udi$ organ at fir/1 & = t5 ye>s held ! po/ ( organi/ 9 ! ,como ,ca!dral4 ,f\r ye>s ( tea*+ at ,naples 7 foll[$ by simil> "w 9 ,v5ice1 :]e he ga9$ des]v$ prom95ce4 ,8 compositions %[ great orig9ality1 & include _m diff]5t =ms4 ,an e>ly ov]ture 0 giv5 at ! ,cry/al ,palace1 9 ,london1 :i* he visit$ dur+ a piano t\r4 ,! "o-act op]a 8,paquita0 0 foll[$ by 8,l',angelo della ,notte0 & 8,il ,vegg5to10 also a l>ge "w = ! ,milan ,exposition ( #aije4 ,he has compos$ _m masses1 & ! oratorio 8,*ri/us40 ,a m rec5t triumph is 8,p>adise ,lo/10 ) ,milton's words--a "w sugge/$ by ,mme4 ,rub9/e94 ,8 organ conc]to won a decid$ success at ! ,*icago ,fair1 & 8 symphonic poem1 8,il ,cieco10 has be5 well receiv$4 ,he aims to bl5d ! old polyphonic /yle ) ! ri* in/rum5tation ( mod]n ,g]many4 ,buongiorno4--,among ! adh]5ts ( ,g]man /&>ds1 ,buongiorno 7,bonito1 ,italy1 #ahfd7 is "o :o has devot$ himself to op]a4 ,/udy+ at ! ,naples ,cons]vatory1 he became lead] ( an op]etta tr\pe1 = :i* he wrote _m popul> works4 ,8 fir/ great op]a 0 8,das ,md*5h]z0 7,il ,cuor delle ,fanciulle71 :i* treats ) admirable delicacy ! love-/ory ( ,alba & ,m>9o4 ,%e gr[s to be c\rt s+]1 & defeats an old] rival1 b ambition makes h] c>eless ( love4 ,m>9o becomes a prie/1 & only :5 ,alba is old & =sak5 does 8 consolation %[ h] :at %e has miss$4 ,! music displays mu* emotional beauty1 & ! 8play )9 ! play10 at ! ducal c\rt1 all[s ! compos] to imitate ,ba*1 ,h&el1 & o!r old ma/]s ) exquisite humor4 8,mi*elangelo & ,rolla0 is a "o-act play1 aga9 unit+ a subject ( real poetic wor? ) beautiful music4 ,^! two op]as are f> remov$ f ! crudities ( ! 8,v]ismo0 s*ool4 ,wolf-,f]r>i4--,a compos] :o may fitly foll[ ,g]man ideals is ,ermanno ,wolf-,f]r>i1 son ( a ,g]man fa!r & an ,italian "m4 ,8 8,c5]5tola0 7,c9d]ella7 has a r t$i\s fir/ act1 b ! second act %[s all ! appeal+ beauty & sympa!tic feel+ t m>k ! new romanticism4 8,le ,donne ,curiose0 is an excell5t example ( sp>kl+ com$y1 & has won mu* success 9 ,g]many4 ,x treats ( ! misadv5tures ( "s wom51 :o try to inve/igate a my/]i\s club =m$ by _! husb&s4 ,a "w 9 a diff]5t ve9 is ! compos]'s 8,vita ,nuova10 a fre% & inspir$ sett+ ( sonnets & o!r selections f ,dante's great "w4 ,music 9 ,italy4--,x is difficult = "o nation to adopt ! musical expression ( ano!r1 b ?is is practically :at ,italy has done4 ,v]di fir/ gave up ! trivial melodies s de> to ! ,italian populace1 & adopt$ a wor?i] /yle4 ,l ,boto1 he d5i$ be+ influ5c$ by ,wagn]1 b 8 works %[ t he felt ! =ce ( ! ,g]man ma/]'s or*e/ral p[]4 ,! reali/ic s*ool ( op]a has br\ght into ,italian music a vividness & p[] t are n surpass$ by any o!r nation1 :ile a /ill lat] g5]ation has /riv5 to ca/ (f ! crudities ( ?is s*ool & produce works ( real or*e/ral value4 ,italy has already done mu*1 & ! progress ( ! la/ few decades seems to pr$ict a bright future = h] music4 ,music 9 ,spa94--,dur+ ! la/ half-c5tury1 ,spa91 too1 has develop$ "s native compos]s4 ,"o ( ! be/ is ,isaac ,alb5iz1 ^: 8,pepita ,xim5es0 is a delightful com$y ( love & intrigue4 ,8 ,z>zuelas also h met ) success4 ,felipe ,p$rell1 well kn[n 9 ,european j\rnalism1 has writt5 an ambiti\s trilogy on subjects illu/rat+ ! national motto1 8,patria1 ,fides1 ,amor40 ,l>ro*a1 ,vives1 ,de ,l>a1 & ,antonio ,nogu]ra are also wor?y ( m5tion4 ,! ,z>zuela is ! peculi> ,spani% =m ( light op]a1 resembl+ ! ,italian op]a buffa1 b possess+ m brilliance & delicacy4 ,,ref]5ces4 ,/reatfeild1 ,r4 ,a4--,ma/]s ( ,italian ,music4 ,elson1 ,ar?ur4--,mod]n ,compos]s ( ,europe4 ,,que/ions4 ,:at circum/ances contribut$ to ,italy's musical decad5ce8 ,give an acc\nt ( 8,cavall]ia ,ru/icana0 & h[ x came to be writt54 ,:at compos] 0 influ5c$ by ! success ( ,mascagni8 ,describe 8 works4 ,:o wrote 8,la ,bohme08 ,tell ab\t 8 education & 8 works4 ,:at compos]s are prom95t 9 ! 8,reali/ic0 s*ool 9 ,italy8 ,give an acc\nt ( ! "w ( ,p]osi 9 ,oratorio4 ,give an acc\nt ( ! works ( ,sgambati & o!r compos]s = ! or*e/ra4 ,:at compos]s foll[ ,g]man me?ods8 ,describe _! works4 ,tell some?+ ab\t music 9 ,spa94 ,illu/ration3 ,c4 ,h4 ,h4 ,,p>ry4 ,a4 ,c4 ,,mack5zie4 ,,edw>d ,,elg>4 ,s4 ,,col]idge-,,taylor4 ,,granville ,,bantock4 ,,lesson ,,liv4 ,,engl& ,,& ,,! ,,ne!rl&s4 ,music 9 ,engl&4--,9 ! ,middle ,ages1 ! mu*-us$ art ( ,c\nt]po9t 0 develop$ by ! p ( ,engl& & ! ,ne!rl&s4 ,9 ! ,elizabe?an age1 ! music ( ,engl& 0 sc>cely less important ?an h] lit]ature4 ,"u ,*>les ,,ii1 %e c\ld boa/ ( ,h5ry ,purcell1 "o ( ! few great names 9 music4 ,b 9 ! #ai? c5tury h] musical glory _h fad$1 & s5tim5tal songs & popul> ballad-op]as seem$ all t %e c\ld produce4 ,h] musical lead]s w5t bravely to "w1 import+ su* compos]s z ,m5delssohn & ,wagn]1 & build+ up great music s*ools4 ,!re 01 h[ev]1 no high /&>d ( ta/e 9 ! c\ntry1 s ! task proce$$ sl[ly4 ,a race t is gift$ ) real love ( music1 & possesses wor?y ,folk-songs1 c easily develop great compos]s2 b ,engl&1 l ! ,unit$ ,/ates1 is too comm]cial = ! be/ results4 ,dvok once said ( ! ,engli% p3 8,!y d n love music2 !y respect x40 ,/an=d4--,= "s ye>s1 a gr\p ( five m5 7 ! advance gu>d ( ,engl&'s developm5t4 ,:ile none ( !m %[$ any rem>kable inspiration1 _! "w 0 le>n$ & ?or\gh1 & prep>$ ! way = m5 ( m orig9ality4 ,! =emo/ ( !m 0 ,*>les ,villi]s ,/an=d 7,dubl91 ,irel&1 #aheb74 ,aft] /udy+ "u ,re9ecke & ,kiel1 he became organi/ & conductor at ,cambridge ,univ]sity4 ,8 works include five symphonies 7among !m ! 8,iri%071 two ov]tures1 an 8,iri% ,rhapsody10 a piano conc]to1 two oratorios1 & sev]al cantatas2 b he is be/ kn[n by 8 op]as4 ,( ^!1 8,%amus ,o',bri50 is mo/ popul>1 because ( its subject1 :ile 8,mu* ,ado ab\t ,no?+0 %[s mu* grace & elegance4 8,! ,cant]bury ,pilgrims0 aims to picture old ,engl&1 z ! 8,mei/]s+]0 did old ,g]many4 ,/an=d's "w is always c>efully plann$1 b n deeply inspir$4 ,p>ry4--,*>les ,hub]t ,ha/+s ,p>ry 7,b\rnem\?1 ,engl&1 #ahdh7 fills a simil> position at ,ox=d ,univ]sity4 ,he has compos$ f\r symphonies1 & two ov]tures1 ! 8,tragic0 & 8,guillem de ,cabe/anh10 b 8 mo/ important "w has be5 9 ! field ( oratorio4 ,8 sacr$ works include 8,judi?10 8,de ,pr(undis10 8,job10 & 8,k+ ,saul10 also a great ,magnificat & ,te ,deum4 ,^!1 too1 %[ excess ( erudition1 & are some:at academic 9 "*2 b 9 all 8 *oral "w1 ,p>ry displays a bread? & p[] t des]ve high praise4 ,8 incid5tal music to ! 8,frogs0 & ! 8,birds0 ( ,ari/ophanes is also wor?y ( m5tion4 ,8 contributions to musical lit]ature are v important4 ,o!r ,musical ,lead]s4--,alex&] ,campbell ,mack5zie 7,ed9burgh1 ,scotl&1 #ahdg7 became tea*] & conductor 9 8 native city1 aft]w>ds jo9+ ! ,univ]sity =ces4 ,8 8,colomba10 an e>ly op]a1 displays mu* real dramatic wor?2 m1 9 fact1 ?an 8 lat] productions4 ,among 8 o!r works are two oratorios1 8,! ,rose ( ,%>on0 & 8,be?lehem10 :ile 8 entr'actes = 8,manfr$0 & 8 p[]ful 8,coriolanus0 music also des]ve notice4 ,fr$]ic ,hym5 ,c[5 7,k+/on1 ,jamaica1 #aheb7 /udi$ ) ,re9ecke1 ,mos*eles1 & ,kiel1 & conduct$ 9 _m cities1 includ+ ,melb\rne1 ,au/ralia4 ,he has writt5 two oratorios1 8,ru?0 & 8,! ,deluge10 f\r op]as1 includ+ 8,paul9e0 & 8,h>old10 & sev]al cantatas1 ( :i* 8,! ,sleep+ ,beauty0 & 8,! ,wat] ,lily0 are delightfully poetic4 ,b 8 six symphonies are 8 mo/ valuable works1 ! 8,sc&9avian10 8,idyllic10 & 8,wel%0 rank+ 9 ! ord] nam$4 ,ar?ur ,gor+ ,?omas 7,ea/b\rne1 ,engl&1 #ahej--,london1 #ahib7 devot$ himself to ! light] /yle ( romantic music1 9 :i* 8 op]a 8,esm]alda0 & 8 po/hum\s cantata 8,! ,swan & ! ,skyl>k0 met ) ! mo/ success4 ,) ^! five %\ld be class$ ,sir ,j4 ,fr$]ick ,bridge1 (t5 call$ 9 je/ 8,! ,we/m9/] ,bridge0 because ( 8 po/ z organi/ 9 ,we/m9/] ,abbey4 ,8 works include _m cantatas1 oratorios1 & less] sacr$ pieces4 ,8 tea*+ has be5 made delightful by 8 inimitable humor1 :i* (t5 appe>s 9 8 compositions also4 ,o!r m5 ( ?is s*ool are ,walt] ,cecil ,macf>r51 ,sir ,walt] ,p>ratt1 & ,*>les ,h>=d ,lloyd1 :ile ! excell5t "w ( ,sir ,ar?ur ,sullivan 9 light op]a mu/ n be =gott54 ,elg>4--,9 ,edw>d ,william ,elg> 7,broadhea?1 ,engl&1 #aheg7 we f9d a man :o is possess$ ( real orig9ality1 & takes rank ) ! _w's great compos]s4 ,?is is all ! m rem>kable :5 we consid] t he is almo/ :olly self-taught4 ,son ( an organi/1 he soon grew famili> ) ! in/rum5t1 & ga9$ fur!r musical exp]i5ce by play+ 9 a !atre or*e/ra at ,worce/]4 ,too poor to g to ,g]many1 he liv$ by tea*+ viol9 at fir/4 ,he w5t ?r\gh v>i\s books on h>mony & or*e/ration1 ga9+ mu* f ,moz>t's 8,?or\gh-,bass ,s*ool10 & ,p>ry's articles 9 ,grove's diction>y4 ,he rul$ a score = ! same numb] ( b>s & in/rum5ts z 9 ,moz>t's ,g-m9or symphony1 & wrote a "w 9 ?is =m--an ex]cise :i* he consid]s ( ! utmo/ value4 ,:5 he obta9$ a new or*e/ral "w1 he w\ld g into ! fields to /udy x4 ,8 ,works4--,elg> fir/ won att5tion by 8 cantata 8,! ,black ,knight10 giv5 at a ,worce/] fe/ival4 ,its success caus$ him to cont9ue ) 8,! ,light ( ,life0 & 8,k+ ,olaf10 ! latt] display+ mu* direct p[] & or*e/ral ma/]y4 ,8 8,v>iations10 :i* won a ,london triumph1 possess great intr9sic wor?2 b ea* "o is int5d$ to portray "s fri5d ( ! compos]'s1 & ! "w ?us has an add$ mean+ = 8 acqua9tances4 8,! ,dream ( ,g]ontius10 a sett+ ( ,c>d9al ,newman's sacr$ poem1 met ) rem>kable favor4 ,x is n altoge!r unifi$ 9 effect1 b conta9s _m passages ( compell+ beauty & sublimity4 ,x has be5 he>d 9 _m c\ntries1 & "o ,g]man writ] consid]s x ! greate/ sacr$ "w ( ! la/ c5tury1 except ! 8,requiem0 ( ,brahms4 8,! ,apo/les10 a lat] oratorio1 is ! fir/ "p ( a propos$ trilogy4 ,x displays simil> excell5ce1 b at times is too my/ic & psy*ological 9 effect4 ,o!r works by ,elg> are ?ree ov]tures3 ! attractive 8,froiss>t10 ! broadly-popul> 8,cockaigne0 7typical ( ,london71 & ! m rec5t 8,9 ! ,s\?40 ,! music to 8,di>mid & ,grania0 is also wor? m5tion1 :ile ! five songs1 entitl$1 8,sea ,pictures10 %[ rem>kable bread? & nobility4 ,col]idge-,taylor4--,engl& boa/s ! fir/ great negro compos] 9 ,samuel ,col]idge-,taylor 7,london1 ,engl&1 #ahge74 ,son ( an educat$ ,african fa!r & a :ite "m1 he began viol9 lessons at six4 ,at a m mature age1 he /udi$ piano ) ,a%ton & composition ) ,/an=d4 ,8 e>ly works includ$ a numb] ( an!ms1 "s *amb]-music1 & a symphony 9 ,a-m9or4 ,= 8 belov$ viol9 he wrote ! passionate 8,s\!rn ,love-,songs0 & 8,african ,romances10 also ! 8,hiawa?a0 sket*es4 ,9 #ahih1 he became _w-fam\s by 8 cantata 8,hiawa?a's ,w$d+-,fea/10 :i* he foll[$ ) 8,! ,dea? ( ,m9nehaha0 & 8,hiawa?a's ,dep>ture40 ,^! display a /r5g? & pr(usion ( passion t sway all he>]s1 & ! gl[+ ri*ness ( ! in/rum5tation =ms an appropriate frame = ,longfell['s picture4 ,lat] vocal works are 8,! ,atonem5t0 & 8,! ,bl9d ,girl ( ,ca/el-,cuill40 ,8 o!r compositions include an or*e/ral ballade ) viol91 an ,idyll1 a ,solemn ,prelude1 ! music to 8,h]od10 & f\r waltzes4 ,all %[ bread? ( treatm5t1 & effects ( real beauty atta9$ by simple means4 ,bantock4--,"s y\ng] compos]s h head$ a movem5t = great] orig9ality1 "u ! lead ( ,granville ,bantock 7,london1 ,engl&1 #ahfh74 ,8 "o-act op]as 8,ca$m>0 & 8,! ,pe>l ( ,iran0 %[ mu* w>m? ( color1 & 8 musical ideas are always wor?y ( ! great lit]>y conceptions 9 :i* he delights4 ,8 two ov]tures1 8,eug5e ,aram0 & 8,saul10 ! suite ( 8,russian ,sc5es10 & ! m rec5t rhapsody1 8,! ,"t ,_s10 are ! "w ( a truly musical nature4 ,8 greate/ ef=t1 h[ev]1 is a set ( tw5ty-f\r symphonic poems1 illu/rat+ ,s\!y's 8,curse ( ,kehama40 ,o!r ,compos]s4--,9 ! new movem5t are ,william ,wallace1 ,ersk9e ,allon1 ,reg9ald ,/eggall1 ,/anley ,hawley1 & ,ar?ur ,h9ton4 ,cl>5ce ,lucas & ,cyril ,scott are two o!r "y m5 ( prom95ce4 ,edw>d ,g]man is a compos] ( rem>kable gifts1 = he atta9s effects ( ! utmo/ grace & musical beauty by ! simple/ diatonic !mes4 ,8 8,rival ,poets0 & 8,m]rie ,engl&0 are wor?y examples ( light op]a1 :ile ! 8,engli% ,fantasia10 ! symphonic poem 8,hamlet10 ! suite 8,! ,seasons10 & ! 8,wel% ,rhapsody0 are all works ( pleas+ fre%ness & orig9ality4 ,g]man has also made a "n 9 ! special field ( incid5tal music1 8 sett+s includ+ 8,romeo & ,juliet10 8,z ,y ,l ,x10 8,mu* ,ado ab\t ,no?+10 8,! ,tempe/10 & sev]al o!r plays4 ,9 a p]iod :5 _m compos]s are los+ !mselves 9 ! intricacies ( ! mod]n or*e/ral /yle1 ! cle> simplicity ( ,g]man's compositions is an example ( ! utmo/ value4 ,! ,belgian ,s*ool3 ,b5oit4--,! new s*ool ( ,belgium1 fo/]$ by ! ,brussels ,cons]vatory1 owes its orig9 *iefly to ,pet] ,b5oit 7,h>elbeke1 ,fl&]s1 #ahcd--;,antw]p1 #aija71 :o broad5$ its influ5ce by 8 tea*+ at ! ,flemi% ,s*ool ( ,music1 9 ,antw]p4 ,8 e>ly op]a1 8,het ,dorp 9 t' ,geb]gte0 7,! ,village 9 ! ,m\nta9s71 %[$ delightful local color4 ,a second op]a1 a mass1 a conc]to1 & a *oral symphony increas$ 8 fame1 b he is id5tifi$ *iefly ) ! cantata4 ,8 great works 9 ?is field include 8,oorlog0 7,w>71 8,lucif]10 8,de ,s*elde10 8,de ,rhyn10 ! ,rub5s cantata1 & 8,prome?e40 ,!y are mod]n 9 effect1 & %[ bread? ( conception & real inspiration1 unit$ ) ripe te*nical ma/]y4 ,!y h be5 describ$ z great decorative pictures 9 tone1 sugge/+ vi/as ( gr& palaces1 armies 9 battle array1 ri* fields ( gra91 my/ic visions ( ! _s _w1 or gorge\s triumphal m>*es4 ,gilson4--,paul ,gilson 7,brussels1 ,belgium1 #ahfe7 has writt5 = or*e/ra a ,dramatic ,ov]ture1 a ,fe/ival ,ov]ture1 a ,canadian & an ,iri% ,fantasy1 half a doz5 suites1 ! 8,bucolics0 ( ,virgil1 & o!r less] works4 ,b 8 be/-kn[n composition is ! set ( symphonic sket*es entitl$1 8,la ,m]40 ,?is illu/rates a poem ( ,levis1 frequ5tly read be=e ! p]=mance4 ,! diff]5t movem5ts depict sunrise at sea1 & ! _m-color$ spl5dors ( dawn2 ! rollick+ songs & lively dances ( ! seaman2 a love-duet & p>t+ betwe5 a sailor & 8 swee!>t2 & a fatal tempe/1 9 :i* ! !mes ( ! sailors' *oruses are introduc$ 9 mock+ irony z ! %ip goes d[n4 ,?r\gh x all runs a ve9 ( poetic fancy1 well sugge/+ ! beauty & my/]y ( ! sea4 ,! oratorio 8,francesca da ,rim9i0 is ano!r /rong "w1 ! be/ ( ,gilson's productions 9 t =m4 ,lekeu4--,guillaume ,lekeu 7,v]vi]s1 ,belgium1 #ahgj-ahid7 0 a compos] ^: e>ly dea? cut %ort a c>e] ( great promise4 ,8 *ief /udies 7 pursu$ 9 ,p>is1 :]e he came "u ! elevat+ influ5ce ( ,franck4 ,! subtle delicacy ( 8 h>monic effects is a result ( ?is tea*+1 & ,lekeu seems l a memb] ( ! ,fr5* s*ool :o /ray$ across ! bord] by mi/ake4 ,8 e>ly cantata 8,&romde10 & 8 ,fantasie on popul> ,angev9 airs1 ga9$ him "s notice4 ,8 works include two ,symphonic ,/udies1 an attractive 8,poeme0 = viol9 & or*e/ra1 & an exquisite ,adagio = viol91 'cello1 & /r+s4 ,8 greate/ vocal composition is ! 8,*ant ,lyrique10 = *orus & or*e/ra1 b he has produc$ _m songs ( l(ty melodic /yle4 ,8 music is m>k$ by great orig9ality & f]tility ( inv5tion1 b t+$ ) a _s ( melan*oly & gloom4 ,o!r ,compos]s4--,edg> ,t9el 7,s9aai1 ,fl&]s1 #ahed7 is ano!r pupil ( ! ,brussels ,cons]vatory1 :]e he /udi$ ) ,ftis4 ,8 great "w is ! ?ree-"p oratorio 8,franciscus10 treat+ ! /ory ( ,/4 ,francis ( ,assisi4 ,o!r works are 8,sa9te ,godelieve0 & ! music to 8,polyeucte40 ,jan ,blockx 7,antw]p1 ,belgium1 #ahea7 is ! mo/ popul> op]a compos] ( 8 c\ntry4 ,8 greate/ success is ! 8,h]b]gpr9ses0 7,pr9cess ( ! ,inn71 a "w ) a /rong dramatic plot & music ( rem>kable fre%ness & vigor4 8,?yl ,uyl5spiegel10 9 ,blockx's op]a ( t "n1 is no long] ! graceless rogue ( ! old ,g]man /ory1 b a popul> h]o :o rescues ,mae/ri*t f ! ,spani>ds4 ,o!r op]as ( ?is compos] are 8,! ,bride ( ! ,sea10 & 8,matre ,m>t910 an e>li] "w4 ,o!r compos]s prom95t 9 ! new movem5t are ,keurvels1 ,wamba*1 ,mortelmans1 ,vlee%\w]1 & ,ma?ieu4 ,! fir/ place among ! wom5 is occupi$ by ,juliette ,folville1 ! "y viol9i/1 :o has writt5 ! op]a 8,attala10 a m>*1 p>ts ( a symphony1 & _m small] works4 ,music 9 ,holl&4--,ri*>d ,hol 0 = _m ye>s ! ,ne/or ( ! ,dut* compos]s4 ,8 fame 0 assur$ by ! patriotic hymn1 8,comme je t'aime1 ,o mon pays10 & 8 long c>e] ( activity 0 ( great s]vice to ! cause ( music 9 ,holl&4 ,he 0 a prolific compos]1 & an excell5t critic & j\rnali/4 ,julius ,ro5tg51 :o /udi$ "u ,re9ecke & ,la*n]1 0 bett] kn[n z piani/ ?an z compos]1 b produc$ an excell5t conc]to1 also 8,das ,gebet10 = *orus & or*e/ra1 & o!r works4 ,! be/ ( ! y\ng] m5 are ,b]n>d ,zwe]s & ,alphonse ,diep5brock1 :ile o!rs des]v+ m5tion are ,van t',kruys1 ,gottfri$ ,mann1 ,dirk ,s*aef]1 & ! ,br&t-,buys bro!rs4 ,among ! wom5-compos]s1 ,ca!r9e van ,r5nes & ,h5drika van ,tuss5-,broek h done excell5tly 9 small =ms1 :ile ,cornelia van ,oo/]zee attempts ambiti\s or*e/ral "w1 & ,cora ,dopp] has ent]$ ! field ( op]a4 ,am/]dam has become a great musical c5tre1 & ,holl&1 no less ?an ,belgium1 is reap+ ! result ( ! widespread educational movem5t4 ,,ref]5ces4 ,maitl&1 ,j4 ,a4 ,full]4--,music 9 ! #ai? ,c5tury2 ,engl&4 ,willeby1 ,*>les4--,ma/]s ( ,engli% ,music4 ,,que/ions4 ,:at ob/acles h h9d]$ ! ,engli% 9 develop+ composition8 ,tell ab\t ! "w ( ,/an=d4 ,tell ab\t ! "w ( ,p>ry4 ,"n o!r important ,engli% compos]s4 ,give an acc\nt ( ,elg> & 8 works4 ,:at *>act]i/ics are /rong 9 ! works ( ,col]idge-,taylor8 ,"n o!r prom95t compos]s ( ! new ,engli% s*ool4 ,give an acc\nt ( ! "w ( ,b5oit1 ( ,gilson1 ,lekeu1 & o!r ,belgian compos]s4 ,:o compos$ ! mo/ popul> ,belgian op]a8 ,tell ab\t o!r works by ?is compos]4 ,"n "s lead+ compos]s ( ,holl&4 ,,lesson ,,lv4 ,,national ,,s*ools3 ,,bohemia ,,& ,,sc&9avia4 ,! ,influ5ce ( ,folk-,music4--,"s races are end[$ ) a bett] musical ta/e ?an o!rs4 ,among ^! favor$ peoples ! ,folk-song1 ! music t appeals directly to ! popul> he>t1 ne$s only ! t\* ( a gift$ compos] to fa%ion x into a great national s*ool4 ,9 ! case ( ,engl& & ,belgium1 we h se5 t ev5 ! mo/ ?or\gh musical education _c :olly atone = a lack ( real public ta/e 9 music4 ,scotl&1 possess+ a weal? ( beautiful ,folk-songs1 has n yet giv5 bir? to a compos] :o c employ its /yle 9 l>g] =ms4 ,b 9 ,bohemia & ! c\ntries ( ,nor!rn ,europe1 ! ,folk-music has n only be5 wor?y 9 itself1 b has be5 prop]ly develop$ & amplifi$ by gift$ compos]s4 ,smetana4--,frantiek kr\p 7#ahja-ahfb7 compos$ _m popul> ,bohemian ,volksli$]1 & wrote ! fir/ national op]a1 b ! real f\nd] ( ! ,bohemian s*ool 0 ,b$i*1 or ,fr$]ick1 ,smetana 7,leito mis*l1 ,bohemia1 #ahbd--,prague1 #ahhd74 ,p>5tal opposition c\ld n prev5t 8 /udy+ music1 & we f9d him at ,prague1 "u ,prok%1 &1 lat] on1 tak+ lessons ( ,s*umann4 ,t ma/] recomm5d$ a c\rse ) ,m5delssohn1 b z ! pupil 0 too poor1 he *ang$ 8 advice & sugge/$ a /udy ( ,ba*4 ,smetana became an ard5t admir] ( ,liszt1 at ^: h\se 8 own c>e] 0 decid$4 ,he>+ ,h]beck rem>k1 :ile !re1 t ! ,cze*s 7 m]ely reproductive1 he made a solemn resolution to devote 8 life to ! build+ up ( a national s*ool ( music 9 ,bohemia4 ,8 ,works4--,:ile conductor at ,go!nburg1 ,sw$51 he produc$ ?ree wor?y symphonic poems3 8,ri*>d ,,iii10 8,wall5/e9's ,camp10 & 8,hakon ,j>l40 ,on 8 return1 he wrote 8,! ,br&5burg]s 9 ,bohemia10 ! fir/ ( ! eight op]as t h made him s fam\s 9 8 native l&4 ,?is 0 ,wagn]ian 9 /yle1 & at once ! critics assail$ him fi]cely = try+ to br+ ,bohemia "u ! musical dom9ation ( ,g]many4 ,to %[ t he c\ld write 9 a m popul> ve91 ,smetana produc$ a second op]a1 8,prodan ,nev/a10 7,! ,b>t]$ ,bride71 :i* prov$ a m>vel ( musical grace & delicacy1 & 0 en\gh 9 itself to e/abli% ! reputation ( any compos]4 8,dalibor0 is a dramatic "w 9 s]i\s ve91 :ile 8,libue0 is bas$ on a national subject4 8,! ,two ,wid[s0 & 8,! ,kiss0 are light op]as ( m>k$ success1 ! latt] be+ (t5 cit$ z a p]fect model = ?is /yle4 8,! ,secret0 is 9 ! same ve91 :ile 8,! ,devil's ,wall0 is aga9 on a national leg5d4 ,o!r notable works are ! /r+ qu>tet 8,aus ,me9em ,leb510 & ! 8,c>nival ( ,prague02 b ,smetana's greate/ or*e/ral "w is ! set ( six symphonic poems entitl$ 8,ma ,vla/0 7,my ,fa!rl&74 ,^! depict 8,vyehrad10 a hi/oric =tress2 8,vltava10 ! riv] ,moldau2 8,s>ka10 a my?ical ,amazon2 8,bohemia's ,groves & ,mead[s10 8,tabor10 ! ,hussite camp2 & 8,blanik10 ! magic m\nta9 :]e ! w>riors sleep4 ,smetana's music %[s an inspiration & dep? ( feel+ t make him rank ) ! _w's great compos]s1 & 8 /ruggles aga9/ pov]ty & disease =m a /ory ( ! utmo/ pa?os4 ,dvok4--,! greate/ ( ,smetana's pupils 0 ,anton9 ,dvok 7,mhlhaus51 ,bohemia1 #ahda--,prague1 #aijd74 ,son ( a but*]1 he p]suad$ ! village s*oolma/] to give him lessons4 ,he began composition at ,zlonitz1 & soon s5t home a polka to surprise 8 family2 & z he _h writt5 x )\t consid]+ ! transpos+ in/rum5ts1 ?us caus+ ?ree diff]5t keys to s\nd toge!r1 ! result+ discords c]ta9ly accompli%$ t purpose4 ,aft] fur!r /udy at ,prague1 he 0 able to ga9 a ,gov]nm5t p5sion1 & to int]e/ su* m5 z ,hanslick & ,brahms4 ,he sp5t 8 "t 9 8h>d /udy1 occasional composition1 mu* revision1 a great deal ( ?9k+1 & little eat+40 ,be+ ask$ :at tea*] help$ him mo/1 he repli$3 8,i /udi$ ) ,god1 ! birds1 ! trees1 ! riv]s1 myself40 ,illu/ration3 ,,anton9 ,,dvo,k4 ,,*ri/ian ,,s9d+4 ,,edv>d ,,grieg4 ,,fri$ri* ,,smetana4 ,8 ,works4--,dvok's _m op]as1 includ+ 8,w&a10 8,dimitri10 8,armida10 & o!rs1 h be5 surpass$ 9 importance by 8 or*e/ral works4 ,8 8,/abat ,mat]0 & ! cantata 8,! ,spectre's ,bride0 are important vocal compositions4 ,8 ov]tures include su* well-kn[n examples z ! 8,husitzk10 8,me9 ,heim10 8,o!llo10 8,9 d] ,natur10 & ! 8,c>neval40 ,o!r in/rum5tal works are ! fam\s 8,slavic ,dances10 ! ,slavonic ,rhapsodies1 ! 8,s*]zo ,capriccioso10 ?ree ,ballades1 & a 8,h]o ,song40 ,be=e com+ to ,new ,york1 9 #ahib1 he _h writt5 f\r great symphonies2 b ! fif?1 8,aus d] ,neu5 ,welt10 is ( ! greate/ int]e/ to ,am]icans1 s9ce ,dvok "h adopt$ ! plantation /yle 9 8 !mes1 to %[ :at c\ld be done 9 build+ up an ,am]ican s*ool ( music4 ,he 0 em95tly successful 9 h&l+ 8 mat]ial1 & he produc$ a great] & m truly national "w ?an any resid5t compos] has yet done4 ,9 g5]al1 ,dvok's /yle is m cosmopolitan ?an t ( ,smetana1 & 8 faculty ( melodic inv5tion makes 8 works attractive4 ,he enri*$ ! symphony by two ,bohemian dance-movem5ts--! ,dumka1 & ! ,furiant4 ,o!r ,bohemians4--,zdnek ,fibi*1 ?\gh little kn[n outside ( 8 own c\ntry1 0 ano!r fam\s op]a-compos]4 ,he devot$ "s ef=ts to melodrama also1 8,hippodamia0 be+ 8 *ief "w 9 ?is field4 ,he publi%$ two symphonies & sev]al symphonic poems1 ! latt] %[+ ! influ5ce ( ,liszt4 ,reznck1 :o has rec5tly id5tifi$ himself ) ! musical life ( ,g]many1 has produc$ five op]as1 ( :i* ! sp>kl+ com$y 8,bonna ,diana0 & ! lat] 8,till ,eul5spiegel0 are ! be/4 ,josef ,suk1 son-9-law ( ,dvok1 has compos$ "s attractive in/rum5tal music1 :ile ,npravnk1 ( an e>li] g5]ation1 won op]atic successes 9 ,/4 ,pet]sburg4 ,hung>y1 too1 has a national s*ool ( op]a1 f\nd$ by ,franz ,erkel4 ,?is s*ool is c>ri$ on by su* m5 z ,alex&] ,erkel1 ! ,doppl] bro!rs1 ,mihalovit*1 ,zi*y1 & ,hubay1 :ile ,dohnanyi is bett] kn[n z piani/ ?an z compos]4 ,pol& is repres5t$ by ,pad]ewski1 :ile ,soltys has won r5[n 9 symphony1 & ,/alk[sky 9 op]a4 ,norwegian ,music4--,norway is prem95tly a l& ( song4 ,its sombre fiords1 d>k =e/s1 & smil+ mead[s h at all times inspir$ a s*ool ( ,folk-music ^: pla9tive sweetness ex]ts ! utmo/ *>m on ! musical auditor4 ,9 ,edv>d ,hag]up ,grieg 7,b]g51 #ahdc-aijg7 we f9d a compos] ( wond]ful melodic gifts & expressive p[]1 :o has pres]v$ admirably ! flavor ( ! local ,folk-songs & dances4 ,grieg ow$ mu* to ! wise tra9+ ( 8 "m1 a woman ( r>e gifts4 ,at ,ole ,bull's advice1 he took a c\rse at ,leipzig1 aft] :i* he /udi$ fur!r ) ,gade1 at ,cop5hag54 ,!re he met ,rik>d ,noordraak1 :o fir/ ar\s$ 8 en?usiasm = ! songs & leg5ds ( 8 native l&4 ,grieg's ,works4--,grieg's g5ius 0 ess5tially lyric & melodic1 b ?is 9 no way detracts f ! greatness ( 8 or*e/ral works4 ,! 8,autumn0 ov]ture is cle> & beautiful1 ) ! simplicity ( /r5g?1 n ( weakness4 ,! 8,norwegian ,dances0 m>k ! beg9n+ ( ! national /yle t is c>ri$ out 9 ! melodrama 8,b]gliot10 ! two 8,pe] ,gynt0 suites1 & 8,sigurd ,jorsalf]40 ,! piano conc]to1 some:at 9 ! /yle ( ,s*umann1 is "o ( ,grieg's be/ works1 & %[s ! utmo/ p]fection ( melodic & h>monic ar*itecture4 ,! 8,elegiac ,melodies10 ! 8,norwegian ,!mes10 & ! 8,holb]g ,suite10 all = /r+s1 are fur!r examples ( 8 ri* fulness ( romantic utt]ance4 ,8 *oral & *amb] works %[ ! same sympa!tic treatm5t1 :ile 8 piano works & songs include "s ( ! mo/ exquisite gems 9 ! entire musical rep]toire4 ,8 works %[ endless melodic inv5tion1 great p[] ( expression1 & a w>m? ( t5d] s5tim5t t seems nev] to lose its *>m4 ,*ri/ian ,s9d+ 7,kongsb]g1 ,norway1 #ahef7 /udi$ at ,leipzig also1 & won a royal s*ol>%ip t took him to ,muni* & ,b]l94 ,he belongs to an arti/ic family1 = "o bro!r1 ,otto1 is a pa9t]1 & ano!r1 ,/efan1 a sculptor4 ,s9d+'s music is melodic 9 "*1 & di/9ctively ,norwegian 9 /yle1 b less s ?an t ( ,grieg4 ,8 or*e/ral works include an excell5t symphony1 br\ght out "u ,we+>tn] & lat] by ,?omas2 an attractive conc]to = piano1 & two = viol92 a 8,rondo ,inf9ito02 & ! int]e/+ suite1 8,episodes ,*eval]esques40 ,8 *amb]-music1 viol9 sonatas1 piano solos1 & songs are made ( ! mo/ attractive mat]ial4 ,o!r ,norwegians4--,johann ,sev]9 ,sv5ds51 ?\gh prom95t 9 ,dani% music1 is really ,norwegian by bir?4 ,son ( a milit>y b&ma/]1 he soon obta9$ a position simil> to 8 fa!r's4 ,b he long$ = high] ?+s1 & aft] a t\r z viol9 virtuoso1 he /udi$ at ,leipzig1 "u ,re9ecke4 ,he travel$ mu*1 meet+ 9 ,p>is an ,am]ican woman :om he aft]w>ds m>ri$ 9 h] own c\ntry4 ,aft] "s exp]i5ce 9 ,*ri/iania1 he became c\rt conductor 9 ,cop5hag51 :]e he owns ! baton us$ by von ,web] & inscrib$ ) t compos]'s "n4 ,8 or*e/ral works include two symphonies1 f\r ,norwegian ,rhapsodies1 ! leg5d 8,zorahayde10 & ! 8,c>nival at ,p>is10 b !y are too conv5tional to take =emo/ rank4 ,a prom95t compos] among ! y\ng] ,norwegians is ,ole ,ols51 ( ,hamm]fe/1 ^: symphonic poem 8,asg>dsrei50 is b "o ( 8 _m successes4 ,g]h>d ,s*jeld]up is "o ( ! mod]n radicals1 & %[s all ! complexity & dissonance ( ,/rauss4 ,aga! ,back]-,grohndahl is ! lead] ( ! ,norwegian wom5-compos]s4 ,music 9 ,d5m>k4--,9 ,d5m>k1 ! fame ( ,gade obscur$ t ( o!r compos]s1 & su* a man z ,j4 ,p4 ,e4 ,h>tmann c\ld ga9 sc>cely m ?an local reputation4 ,! mo/ important "n 9 rec5t ye>s is t ( ,augu/ ,enna1 :o won a popul> op]atic triumph 9 #ahib ) 8,die ,hexe40 ,he 0 almo/ :olly self-taught1 = pov]ty prev5t$ him f tak+ lessons1 sometimes ev5 f buy+ music pap]4 8,cleopatra0 is a lat] "w1 :ile 8,! ,little ,mat*-,girl0 0 ! beg9n+ ( a s]ies ( fairy op]as4 ,enna h&les 8 or*e/ra ) boldness & skill1 & displays vocal flu5cy & !matic excell5ce4 ,edu>d ,lass5 ga9$ m r5[n by 8 melodi\s songs ?an by 8 op]as or or*e/ral works4 ,otto ,mall+ is kn[n = 8 piano pieces1 :ile ,victor ,b5dix has attempt$ ! symphonic poem4 ,ludwig ,s*ytt1 a fri5d ( ,liszt1 has made ,b]l9 8 home1 & is id5tifi$ ) light op]a z well z piano music4 ,music 9 ,sw$54--,! national op]a ( ,sw$5 0 br\ght into be+ by ,iv> ,hall/rom1 soon aft] ! middle ( ! #ai? c5tury4 ,s9ce !n1 a new s*ool has aris51 %[+ ! influ5ce ( ,liszt1 ,wagn]1 ,s*umann1 & at times1 ,b]lioz1 ) ! pla9tive sweetness ( ! native ,folk-music p]vad+ x all4 ,&]s ,hall51 ! fir/ ( ! new romantici/s1 has writt5 f\r op]as 7( :i* 8,hexfall50 is ! be/71 sev]al symphonic poems & ,sw$i% ,rhapsodies1 a numb] ( ambiti\s cantatas1 & "s beautiful ,sw$i% & ,g]man songs4 ,he unites ! *>m ( 8 native music ) /r5g? ( passion & ri*ness ( in/rum5tation4 ,emil ,sjgr5 %[s a h>monic feel+ wor?y ( ,grieg1 b 8 boldness 9 modulation (t5 produces biz>re effects4 ,he excels 9 ! small] =ms1 su* z 8 8,spani% ,songs10 8,tannhus] ,li$]10 & sev]al piano cycles4 ,wilhelm ,/5hamm>1 pupil ( ^! two1 %[s mu* en?usiasm & _s 9 8 music1 b 8 op]as are n[ laid aside4 ,wilhelm ,pet]son-,b]g] is ! be/ ( ! new op]a-compos]s1 8 music-drama 8,ran0 be+ a rec5t success4 ,hugo ,alfv5 has attempt$ ! symphony1 ) fair success4 ,tor ,aul91 a fam\s viol9i/1 has produc$ conc]tos & o!r works = 8 in/rum5t1 :ile ,erik ,ak]b]g has devot$ 8 en]gy to *oral works4 ,elfrida ,&ree is ! mo/ prom95t ( ! ,sw$i% wom5-compos]s4 ,music 9 ,f9l&4--,! national epic ( ,f9l& is ! ,kalevala1 a "w ( real poetic beauty4 ,!re is also a collection ( %ort] lyrics1 call$ ! ,kantelet>4 ,^! h furni%$ inspiration = a l>ge numb] ( mod]n compos]s1 ( :om ! mo/ important is ,jean ,sibelius4 ,he /udi$ ) ,beck] 9 ,b]l9 & ,goldm>k 9 ,vi5na4 ,on 8 return to ,hels+=s1 ! capital1 he became ! lead] ( ! new ,f9ni% s*ool4 ,8 two symphonies are wor?y if n absolutely great1 b 8 symphonic poems1 & ! suite 8,k+ ,*ri/ian ,,iv10 %[ real musical beauty4 ,he has be5 active 9 ! small] =ms also1 & holds ! ,gov]nm5t p5sion = musical excell5ce4 ,armas ,j>nefelt is ano!r good or*e/ral compos]1 :ile ,erne/ ,mielck1 :o di$ at tw5ty-two1 %[$ a lyric beauty n unwor?y ( ,s*ub]t4 ,ri*>d ,falt9 is "o ( ! old] song-compos]s4 ,m>t9 ,wegelius1 di$ #aijf1 did valuable "w z director ( ! ,musical ,in/itute1 :ile ,rob]t ,kajanus became prom95t z ! f\nd] & lead] ( ! ,hels+=s ,philh>monic ,or*e/ra4 ,bo? are excell5t compos]s1 ! =m] work+ *iefly 9 vocal =ms1 ! latt] 9 ! or*e/ral field4 ,,que/ions4 ,:o f\nd$ ! ,bohemian s*ool ( compos]s8 ,:o 0 8 greate/ pupil8 ,"n ! mo/ important works ( ^! two compos]s4 ,:at contribution did ,dvok make to ! symphony8 ,:o is ! lead+ ,norwegian compos]8 ,"n "s ( 8 be/-kn[n works4 ,comp>e ,grieg & ,s9d+4 ,:at compos]s ( ,dani% bir? h won appreciation8 ,"n ! lead+ ,sw$i% compos]s4 ,:o is ! mo/ important ,f9ni% compos]8 ,,lesson ,,lvi4 ,,! ,,russian ,,s*ool4 ,folk-,music 9 ,russia4--,! ,slav nature diff]s greatly f t ( ! races ( ,we/]n ,europe1 & ?is diff]5ce appe>s also 9 ! ,slavonic music4 ,= a prop] und]/&+ ( ! ,russian ,folk-songs1 ! /ud5t %\ld be famili> ) ! c\ntry & its hi/ory1 its va/ /eppes1 its lonely summ]s & dre>y w9t]s1 & ! pati5t pov]ty ( its long-suff]+ peasants4 ,x is ri* 9 leg5d>y lore1 & ! poetry ( ,pu%k9 & ,gogol has wr\ght ! wild beauty ( ^! tales into p]man5t =m4 ,! popul> melodies trace _! orig9 back to pagan times1 & %[ inf9ite v>iety4 ,!re are epic *ants1 songs ( w$d+s & fun]als1 & weirdly beautiful cradle-songs1 ,_! delicate1 caprici\s rhy?m1 & _! /rang5ess ( h>mony & cad5ce1 possess ! utmo/ attraction4 ,at times ! songs are /rong & savage1 at times tranquil & maje/ic1 or brisk & graceful2 b usually !y are t+$ ) ! pr(\nd melan*oly ( an oppress$ race4 ,! *ur* music1 too1 ) its old modes & deep-voic$ *oirs1 fl\ri%es 9 unusual purity4 ,! ,rise ( ,russian ,music4--,9 ! middle ( ! #ah? c5tury1 ! ,imp]ial ,c\rt began to import =eign compos]s1 & ,/4 ,pet]sburg 0 enabl$ to he> & see su* m5 z ,paisiello1 ,cim>osa1 & ,boieldieu4 ,works 9 ! native language soon foll[$1 & ! ,v5etian ,cavos became s id5tifi$ ) ,russian music t he might almo/ h pass$ = a native4 ,! fir/ ,russian compos]1 h[ev]1 0 ,gl9ka1 ^: 8,life = ! ,cz>0 7#ahcf7 0 receiv$ ) pr(\nd en?usiasm by ! entire nation4 ,o!r compos]s foll[$1 ! be/ ( :om 7 ,d>gomi%ky & ,s](f4 ,! =m] di$ only rec5tly1 & 8 lat] works %[ ! ,wagn]ian influ5ce4 ,in/rum5tal music fl\ri%$ also4 ,! ri* melodic beauty ( ,rub9/e9 *>m$ all ,europe1 & only ! passionate p[] ( ,t*aikovsky plac$ x 9 ! backgr\nd4 ,b n[ ev5 he1 ! greate/ ( ! ,russians1 is n consid]$ truly national by 8 c\ntrym51 :o ?9k him too ,g]man 9 /yle4 ,balakireff4--,( ! five m5 :o /rove to make ,russian music di/9ctively national1 ,mily ,alexejevit* ,balakireff 7,nijni-,novgorod1 ,russia1 #ahcf7 0 n ! greate/1 b may ju/ly be call$ ! f\nd] ( ! movem5t4 ,aft] 8 univ]sity /udies1 he came "u ! influ5ce ( ,alex&] ,oulibi*eff1 a retir$ diplomat :o devot$ himself to music4 ,! "y man soon settl$ 9 ,/4 ,pet]sburg1 :]e he met ,cui1 & began ) him ! "w ( develop+ ! new s*ool4 ,balakireff has be5 active z piani/1 tea*]1 & conc]t lead]4 ,! musical pr9ciples adopt$ by him & 8 f\r associates call$ = ! use ( ,russian ,folk-music 9 j ! way t ,dvok employ$ ! plantation /yle 9 8 8,new ,_w0 symphony4 ,?is idea is at lea/ z old z ! days ( ,web]1 ^: 8,freis*tz10 writt5 9 ! popul> ve91 made su* an ov]:elm+ triumph 9 ,g]many4 ,) ! weal? ( beautiful ,folk-songs 9 ,russia1 x has be5 possible to produce an imm5se am\nt ( int]e/+ music1 ) :i* ! ,we/]n _w is z yet by no means fully acqua9t$4 ,balakireff himself 0 n prolific z a compos]1 b 8 works1 ?\gh few 9 numb]1 %[ real value4 ,!y include a symphony1 ?ree ov]tures 7,russian1 ,cze*1 & ,spani%71 incid5tal music to 8,k+ ,le>10 ! symphonic poem 8,russia10 & a second "o1 8,tam>a10 bas$ on ! leg5d ( a beautiful ,caucasian pr9cess :o ent]ta9$ ! pass+ cavali] = a night1 :ile 9 ! morn+ ! riv] ,t>ek bore away 8 corpse4 ,ano!r ,ori5tal subject is ! difficult piano fantasie 8,islamey40 ,8 less] works include mazurkas1 "s f\r-h& pieces1 & a score ( rem>kable songs1 ma/]ly 9 _! p]fection ( detail4 ,illu/ration3 ,,anton ,,ar5sky4 ,c,,s> ,,cui4 ,,alex&] ,,glaz\nov4 ,,mily ,,balakireff4 ,,ni*olas ,,rimsky-,,korsak(f4 ,,s]gei ,,ra*man9(f4 ,cs> ,antonovit* ,cui 7,vilna1 ,russia1 #ahce7 has be5 ! lit]>y *ampion ( ! new s*ool4 ,son ( a ,fr5* soldi]1 ,cui /udi$ eng9e]+1 & became pr(essor ( =tification4 ,9 8 writ+s we may see t ! new ,russians seem unwill+ to admit ! greatness ( ,wagn]1 b !y h none ! less adopt$ ne>ly all 8 dramatic !ories4 ,l him1 !y revolt$ aga9/ ! inanities ( ! old ,italian op]a1 :i* 0 m]ely a s++-conc]t4 ,!y admitt$ t aft] ,bee?ov5 & ,s*umann1 ! symphony c\ld say little ( new import1 b re=m 0 ne$$ 9 op]a2 ! plot %\ld be wor?y1 & ! music n only good 9 itself1 b appropriate to ! s5tim5t4 ,yet ,russian op]a has n foll[$ ,wagn]1 b has proce$$ along its own l9es2 & ,cui ev5 writes3 8,i w\ld l to pres]ve my compatriots f ! dang]\s influ5ce ( ,wagn]'s decad5ce4 ,:oev] loves 8 music1 ceases to appreciate real music2 :oev] admires 8 op]as1 holds ,gl9ka z a writ] ( vaudevilles4 ,! desire to f9d some?+ deep :]e no?+ exi/s c h only dang]\s consequ5ces40 ,^! /rictures are n unlike c]ta9 e>ly ,g]man criticisms ( ,wagn]1 n[ happily =gott54 ,cui's own op]as include 8,! ,prison] ( ! ,caucasus10 8,william ,ratcliff10 8,angelo10 8,le ,filibu/i]10 & 8,! ,s>ac510 b none has won any real success4 ,8 music is good1 b ev5 8 own c\ntrym5 admit t x lacks novelty or individuality4 8,angelo0 is ! compos]'s favorite4 ,he1 too1 has done mu* 9 ! small] =ms4 ,m\ssorgsky4--,! /range/ figure 9 ! gr\p ( five 01 by all odds1 ,mode/ ,petrovit* ,m\ssorgsky 7,k>evo1 ,russia1 #ahci--,/4 ,pet]sburg1 #ahha74 ,l ,cui1 he receiv$ a milit>y tra9+1 & became an (fic]1 b 8 re/iv5ess soon caus$ 8 resignation1 & two lat] attempts at ,gov]nm5t "w 7 aga9 failures4 ,8 fondness = dr9k1 & 8 _m excesses1 soon m>k$ him z a ,bohemian ^: dom9at+ passions & savage indep5d5ce c\ld brook no re/ra9t4 ,! same qualities are %[n 9 8 music4 ,he 0 a poet by nature1 express+ 9 great ?\ghts ! passion & mis]y ( humanity1 b nev] tak+ ! tr\ble to ma/] ! te*nic ( 8 art4 ,?us 8 two op]as1 8,boris ,godun(f0 & 8,*ovan/*9a10 did n meet ) favor until smoo!d & poli%$ by 8 m le>n$ fri5ds4 ,! same is true ( 8 8,night on ,calv>y0 & 8,int]mezzo0 = or*e/ra4 ,8 8,defeat ( ,s5na*]ib0 is "o ( _m 8,hebraic ,*oruses10 :ile ! 8,tableaux d'une ,exposition0 are among ! be/ ( 8 piano pieces4 ,8 songs include sett+s ( ,goe! & ,he9e1 z well z ! ,russian poets4 ,alex&] ,porphyrievit* ,borod9 7,/4 ,pet]sburg1 ,russia1 #ahcd-ahhg7 c\ld claim k9%ip ) ! old pr9ces ( ,im]etia1 ! =m] ,caucasian k+dom ^: rul]s boa/$ ( _! desc5t f ,k+ ,david4 ,he /udi$ m$ic9e & surg]y1 & wrote sev]al important works on *emi/ry4 ,he 0 active 9 ! cause ( high] education = wom51 & f\nd$ a m$ical s*ool = !m4 ,9 music he ow$ 8 developm5t *iefly to ,balakireff1 ?\gh he compos$ at an e>ly age1 almo/ by in/9ct4 ,! success ( 8 fir/ symphony enc\rag$ him to write two o!rs1 z well z an or*e/ral s*]zo4 ,8 two /r+ qu>tets are full ( orig9ality1 & 8 *oral & piano music %[s ! same quality4 ,he is be/ kn[n 9 ,am]ica by ! 8,/epp5skizze10 a tone-picture ( ! va/ ,russian pla9s trav]s$ by ,ori5tal c>avans4 ,8 greate/ "w1 h[ev]1 is ! op]a 8,pr9ce ,igor10 on an old ,russian w>-leg5d treat$ by ,pu%k94 ,borod9 is a ma/] ( sombre effects1 & 8 dissonances are at times almo/ too /rik+2 b !re is real musical wor?1 also1 9 8 compositions4 ,rimsky-,korsak(f4--,! be/ ( ! r5[n$ gr\p ( five is decid$ly ,nicolai ,&reievit* ,rimsky-,korsak(f 7,tikhv91 ,russia1 #ahdd74 ,he1 too1 adopt$ a vocation o!r ?an music1 graduat+ f a ,gov]nm5t s*ool & aft]w>ds atta9+ ! rank ( admiral4 ,8 *ief musical "w has be5 9 op]a1 & 8 doz5 productions 9 ?is =m are ne>ly all widely popul> 9 8 native l&4 8,! ,cz>'s ,betro!d0 is ! be/ kn[n1 b ! 8,may ,night10 8,! ,sn[ ,maid510 & 8,sadko0 are n f> beh9d x 9 favor4 8,moz>t & ,sali]i0 is a "o-act v]sion ( a poem by ,pu%k91 bas$ on ! suspicion t ,moz>t 0 really poison$ by 8 ,italian rival4 ,9 ! or*e/ral field1 8,ant>10 8,s*eh]ezade10 & 8,sadko0 are ?ree symphonic poems t %[ rem>kable ma/]y ( expression4 ,o!r or*e/ral works are an ov]ture on popul> melodies1 ano!r on *ur* !mes1 a 8,s]b ,fantasie10 a 8,spani% ,caprice10 & a 8,fairy ,leg5d40 ,he has writt5 a noble & dignifi$ conc]to1 d$icat$ to ,liszt1 & ! usual numb] ( less] works4 ,he %[s ! greate/ skill 9 h&l+ in/rum5tal color1 an art = :i* ! ,russians are not$4 ,8 music is descriptive1 dramatic4 ,8 inspiration nev] flags1 & 8 treatm5t ( ! !matic mat]ial is always int]e/+ & skilful4 ,8 music may p]haps be criticis$ z lack+ unity1 b its bread? & orig9ality are und\bt$4 ,glaz\n(f4--,among m5 ( a lat] g5]ation1 ,alex&] ,con/ant9ovit* ,glaz\n(f 7,/4 ,pet]sburg1 ,russia1 #ahfe7 is ! mo/ prom95t1 & ! only "o :o may dispute ) ,rimsky-,korsak(f1 8 =m] tea*]1 ! position ( greate/ ( ! liv+ ,russian compos]s4 ,son ( a ri* booksell]1 he 0 able to devote all 8 en]gies to music1 & produc$ at eighte5 a symphony t won ! congratulations ( ,liszt4 ,s9ce !n he has compos$ works z beautiful z !y are num]\s4 ,8 e>ly creations %[ a t5d5cy to fanta/ic & imag9ative subjects4 ,! haunt+ beauty ( ! =e/1 ! inspir+ *>m ( spr+1 ! compell+ magic ( ! sea1 ! gorge\sness ( ! ,ori5t1 ! maje/y ( ! hi/oric ,kreml91 all f9d an e*o 9 8 great or*e/ral rhapsodies4 ,8 sev5 symphonies are m>vels ( h>monic ri*ness & melodic beauty4 ,8 8,triumphal ,m>*0 = ! ,*icago ,exposition1 & a 8,coronation ,cantata0 = ! ,cz>1 7 bo? writt5 to ord]4 ,8 e>ly ov]tures are bas$ on sacr$ !mes1 b ! 8,c>nival0 & ! 8,ouv]ture ,sol5nelle0 are aga9 9 ! /yle ( vivid color+ to :i* he has accu/om$ 8 he>]s4 ,8 eighty or m publi%$ compositions include ballades1 m>*es1 suites1 mazurkas1 & o!r numb]s = or*e/ra1 to say no?+ ( *amb] works1 songs1 cantatas1 & two piano sonatas4 ,= a "t1 he r5\nc$ 8 e>ly /yle1 & wrote s]i\s works 9 classical ,g]man ve91 b he return$ to x ) a numb] ( ballets1 or pantomimes ) real plot & full or*e/ral accompanim5t4 ,anton ,/epanovit* ,ar5sky 7,nijni-,novgorod1 ,russia1 #ahfa-aijf7 is ano!r ( a y\ng] g5]ation1 & l ,glaz\n(f1 did n limit himself to ! /yle ( ,russian ,folk-music1 b aims to be m cosmopolitan4 ,educat$ at ,/4 ,pet]sburg1 ,ar5sky soon became kn[n by a symphony & a piano conc]to1 & 0 call$ to ,mosc[ z pr(essor ( c\nt]po9t4 ,9 t city he increas$ 8 reputation by a gr& op]a1 8,a ,dream on ! ,volga40 8,raphael10 a "o-act "w1 0 foll[$ by ! ballet1 8,a ,night 9 ,egypt10 b ,ar5sky's greate/ op]a is 8,nal & ,damajanti10 on an ,ea/ ,indian subject4 ,8 o!r works include a second symphony1 a fantasie ) piano1 a viol9 conc]to1 & a 8,memorial ,m>*40 ,he displays real /r5g? ( feel+1 & he %[s ! influ5ce ( ,s*umann & ,t*aikovsky1 especially 9 8 piano music4 ,o!r ,compos]s4--,taneieff1 "o ( ^? :o held ap>t f ! national movem5t1 has writt5 a symphony1 "s /r+ qu>tets1 & num]\s *oruses1 b is be/ kn[n by 8 8,ore/eia10 an or*e/ral trilogy bas$ on ! trag$ies ( ,aes*ylus4 ,?is is a "w ( dignity & p[]1 b at times lack+ 9 inspiration4 ,ra*man9(f1 a pupil ( ,ar5sky1 is "o ( ! y\ng] m5 :o won fame z a piani/ & piano compos] be=e attempt+ l>g] works4 ,8 m ambiti\s compositions include two conc]tos1 a symphony1 a symphonic poem1 & ! cantata 8,spr+10 also two op]as 8,! ,bohemians0 & 8,! ,av>ici\s ,knight40 ,ano!r piano compos] is ,/*]bat*eff1 a pupil ( ,liszt1 :o displays excessive boldness 9 8 effects1 ?\gh 8 8,fairy ,sc5es0 are *>m+ 9 /yle1 & 8 8,fantasies ,etudes0 %[ ! influ5ce ( ,s*umann4 ,liad(f is ano!r compos] ( piano works1 su* z ! 8,arabesques0 & ! 8,biri\lki40 ,scriab9e is "o ( ! m rec5t piano writ]s :o has won 8 spurs 9 ! symphonic field also4 ,pa*ulski1 too1 has become kn[n by 8 piano compositions4 ,wihtol has done mu* valuable "w 9 collect+ ! ,lett ,folk-melodies4 ,solovieff has attempt$ op]a1 ?\gh n ) any rem>kable success4 ,ippolit(f-,ivan(f1 active 9 ! musical life ( ,mosc[1 has produc$ op]as1 suites1 & ! set ( lyric sc5es1 entitl$ 8,asia40 ,mi*ael ,ivan(f is ano!r op]a compos]1 ^: 8,sabawa0 has met ) "s favor4 ,among _m o!rs wor?y ( m5tion1 ,sokol(f has writt5 *amb]-works1 ,alph]aki is not$ = 8 songs1 ,antip(f & ,blum5feld h produc$ excell5t piano music1 :ile ,rebik(f1 kn[n = ! same reason1 has won new laurels ) 8 s-call$ mimodrame1 8,g5ius & ,dea?40 ,t*aikovsky4--,al?\gh ! new ,russian s*ool does n recognize ,pet] ,iljits* ,t*aikovsky z an expon5t ( national musical ideas & al?\gh he repres5ts a bl5d+ ( ,teutonic & ,slavonic me?ods1 yet 8 music p>takes ( ! latt]1 r ?an ( ! =m] temp]am5t1 & he is !re=e includ$ among ! ,russian compos]s 9 ?is lesson4 ,he 0 born ,may #g1 #ahdj2 at t5 he w5t to ,/4 ,pet]sburg4 ,he 0 int5d$ = ! legal pr(ession & 0 appo9t$ to a place 9 ! ,m9i/ry ( ,ju/ice :5 only n9ete5 ye>s old4 ,%ortly aft]1 he ent]$ ! h>mony classes at ! ,cons]vatory1 resign$ 8 ,gov]nm5t position1 & ent]$ ! musical pr(ession4 ,9 #ahff he became pr(essor ( h>mony at ! ,mosc[ ,cons]vatory2 9 #ahfg1 br\ght out 8 fir/ symphony & 8 fir/ op]a4 ,9 #ahgg he resign$ 8 po/ at ! ,cons]vatory & gave himself up to composition4 ,9 #ahia he visit$ ! ,unit$ ,/ates4 ,he di$1 ,octob] #ab1 #ahic1 9 ,/4 ,pet]sburg4 ,8 compositions include eight op]as1 six symphonies1 eight ov]tures & fantasias = or*e/ra1 sev5 works = special occasions1 eight or*e/ral suites1 ?ree /r+ qu>tets1 a trio & sextet1 ?ree conc]tos & two o!r pieces = piano & or*e/ra1 ?ree works = viol9 & or*e/ra1 & two = 'cello & or*e/ra1 a l>ge numb] ( piano pieces & vocal works4 ,an ,engli% critic sums up ,t*aikovsky's or*e/ral works ?us3 ,good po9ts1 beauty ( melody1 brilliancy ( workman%ip1 beauty ( color2 weak po9ts1 undue pursuit ( ! morbid1 extravagance ( idea1 nois9ess ( or*e/ration4 ,conclusion4--,at ! beg9n+ ( ! #bj? c5tury1 ! *ief *>act]i/ic ( music seems to be a developm5t ( national s*ools4 ,z already expla9$1 9 ^? c\ntries t h wor?y ,folk-music1 compos]s f9d ! mat]ial ready = !m to fa%ion4 ,su* has be5 ! case 9 ,norway1 ,sw$51 & ,bohemia1 z well z 9 ,russia4 ,c\ntries t h n ?is advantage1 su* z ,engl&1 ! ,ne!rl&s1 or ,am]ica1 atone = x 9 "p by /udy & education2 b ?is seldom produces great musical g5iuses4 ,italy1 :]e ! common p c>$ = no?+ b ! light] /yle ( tune1 has _h to build anew1 ^u =eign f\ndations4 ,france is mak+ a brave /ruggle aft] novelty1 b seems to lack ! ne$$ inspiration2 :ile ,g]many1 = ! mom5t1 seems cont5t ) ma/]+ ! mod]n or*e/ra4 ,! ,russian s*ool is today ! mo/ spontane\s1 ! lea/ artificial2 & x _c fail to gr[ 9 appreciation dur+ ! next few ye>s4 ,,ref]5ces4 ,habets4--,borod9 & ,liszt4 ,newm>*4--,life ( ,t*aikovsky4 ,lee4--,t*aikovski1 ,music ( ! ,ma/]s ,s]ies4 ,,que/ions4 ,:at is ! "* ( ! ,slavonic ,folk-music8 ,:o 0 ! fir/ ,russian compos] ( prom95ce8 ,give a sket* ( ! "w ( ! compos]s1 ,balakireff1 ,m\ssorgsky1 ,cui1 ,borod91 ,rimsky-,korsak(f & ,glaz\n(f4 ,:at composition & by :om is x consid]$ "o ( ! mo/ difficult pieces writt5 = ! piano8 ,:at compos]'s influ5ce is %[n 9 ! works ( ,ar5sky8 ,"n o!r prom95t ,russian compos]s4 ,illu/ration3 ,,!odore ,,?omas4 ,,l[ell ,,mason4 ,,/eph5 ,c4 ,,fo/]4 ,,lesson ,,lvii4 ,,music ,,9 ,,! ,,unit$ ,,/ates4 ,! ,cavali]s & ! ,puritans4--,! ,engli% settl]s :o came to ?is c\ntry & locat$ at ,jame/[n1 & _! successors1 br\ght ) !m f _! home ! songs !y sang !re--gay songs1 cavali] songs1 love-ditties & ! c\ntryside tunes2 b !y left !m at ?is1 mak+ no attempt to adapt !m to _! new surr\nd+s4 ,inde$1 x 0 z mu* a matt] ( fa%ion to be able to play or to s+ "s new ballad j br\ght f ,london z x 0 to h ! late/ fa%ion 9 dress4 ,! ,cavali]s 7 n ! p to give a di/9ctive tone to music 9 _! adopt$ home4 ,! /]n1 sev]e1 religi\s atmosph]e ( ! ,new ,engl& ,colonies did m = ! beg9n+s ( ,am]ican music1 al?\gh ! fir/ ef=ts 7 unpromis+ en\gh1 s9ce ! ,puritans disc\nt5anc$ all music except t ( ,psalm tunes1 :i* 7 probably sung 9 unison1 s9ce at t "t !re c\ld be little "q ( s++ 9 p>ts4 ,ow+ probably to a sc>city ( hymn-books1 x 0 cu/om>y to read ! hymn l9e by l9e1 & to s+ 9 alt]nation ) ! read+1 a cu/om obs]v$ 9 "s sections ( ! ,unit$ ,/ates ev5 9 ! latt] "p ( ! #ai? c5tury4 ,x 0 inevitable t ! m progressive among ! cl]gy & ! p %\ld dem& bett] s++ ( ! ,psalms2 & f ?is came ! fir/ s++ s*ools1 ! beg9n+ ( musical education 9 ! ,colonies4 ,a s++ s*ool is not$ 9 ,bo/on 9 #agag4 ,z ?is movem5t spread1 *oirs 7 organiz$1 s9ce ^? :o _h ga9$ "s skill 9 s++ & 9 read+ f notes w\ld naturally draw toge!r1 at fir/ in=mally1 lat] 9 regul> organizations4 ,?is occurr$ z e>ly z ! middle ( ! #ah? c5tury4 ,hymn-,tune ,compos]s4--,! prom95ce giv5 to ! s++ ( ,psalms & hymns is d\btless due to ! fact t ! fir/ compos]s develop$ 9 ! ,colonies conf9$ _! ef=ts to ! production ( hymn-tunes4 ,! fir/ to ga9 prom95ce 0 ,william ,bill+s1 born 9 ,bo/on 9 #agdf1 di$ !re1 #ahjj4 ,he 0 a tann] by trade & 01 ( c\rse1 self-taught4 ,8 ef=ts at h>moniz+ 7 r crude1 z is to be expect$1 s9ce he _h b few models 9 composition4 ,he introduc$ a some:at florid /yle1 al?\gh )\t tra9+ 9 c\nt]po9t4 ,yet ! critic c see 9 ! "w ( ! e>ly compos]s su* z ,bill+s1 a r\gh vigor & a /riv+ = a m di/9ctive melodic & rhy?mic "* ?an is to be f\nd 9 ! tunes br\ght ov] f ,engl&1 %[+ traces ( ! =ces already at "w to diff]5tiate ! ,am]ican "* f ! ,engli%4 ,bill+s' fir/ collection ( tunes 0 publi%$ 9 #aggj4 ,o!r compos]s ( ?is p]iod 7 ,oliv] ,hold51 :o wrote ! widely-sung 8,coronation10 ,&rew ,law1 ,jacob ,kimball1 ,daniel ,read & ,timo?y ,swan4 ,! two o!r important cities1 ,philadelphia & ,new ,york1 _h "s musical activity dur+ ! ,colonial p]iod4 ,9 #agda1 ,b5jam9 ,frankl9 publi%$ a collection ( hymns1 p]=mances 7 giv5 ( op]as1 & conc]ts = *>itable purposes 7 organiz$1 yet no?+ 9 ! way ( native composition develop$4 ,e>ly ,musical ,organizations4--,a musical atmosph]e is ess5tial to musical developm5t & progress1 & a musical atmosph]e comes only f organiz$ ef=t 9 musical "w4 ,! fir/ ef=ts 9 ?is direction 7 vocal1 foll[+ ! same l9e ( developm5t z t we obs]v$ 9 ! hi/ory ( music z a :ole1 namely3 fir/1 vocal & *oral music2 secondly1 in/rum5tal & p>ticul>ly or*e/ral4 ,! e>lie/ important society ( ?is k9d 0 ! ,/\ghton 7,mass47 ,musical ,society1 :i* grew out ( a s++ class =m$ 9 t t[n1 by ,bill+s1 9 #aggd4 ,?is organization /ill exi/s4 ,! mo/ fam\s & mo/ significant body = musical developm5t 0 ! ,h&el & ,haydn ,society1 /ill 9 exi/5ce1 :i* 0 organiz$ 9 ,bo/on1 9 #ahae1 ) a *orus ( ne>ly "o hundr$ voices4 ,bo/on _h at ?is "t "s well-tra9$ musicians1 & o!rs came !re f ,europe 9 lat] ye>s1 mak+ x ! c5tre ( ,am]ican musical life = ye>s4 ,l[ell ,mason4--,9 #ahbf1 a "y man f ! ,s\?1 b born 9 ,massa*usetts1 came to ,bo/on to beg9 a musical c>e]1 :i* =m$ a l9k betwe5 ! e>ly s++ s*ool /age & ! "w ( ! pres5t day4 ,?is 0 ,l[ell ,mason1 :o 0 born 9 #agib1 b sp5t 8 y\ng] days 9 ,savannah1 ,ga41 :]e he /udi$ music z an amateur4 ,z ! fruit ( 8 ef=ts 9 composition1 he publi%$ a collection ( *ur* music :i* 0 endors$ by ! ,h&el & ,haydn ,society1 & prov$ v successful1 enc\rag+ him1 "s ye>s lat]1 to take up music z a pr(ession4 ,he 0 ess5tially a man ( ! p among :om he liv$ & by nature an effici5t tea*]1 to :i* he add$ a skill & tra9+ t ensur$ him ! respect ( ^? :o came "u 8 in/ruction4 ,he travel$ ov] ,new ,engl& & p>ts ( ,new ,york ,/ate1 hold+ musical conv5tions1 & tea*+ ! pr9ciples ( music to hundr$s ( s+]s & tea*]s f f> & ne>4 ,8 "w ?us closely t\*$ ! p1 & 9 a day :5 music 0 n taught 9 ! public s*ools1 contribut$ greatly to spread a love = & a k ( vocal music4 ,he di$ ,augu/ #aa1 #ahgb4 ,musical ,in/rum5ts4--,:5 in/rum5tal music began to receive a %>e ( public att5tion1 a great /ep 0 tak5 t[>d developm5t ( music 9 ! ,unit$ ,/ates4 ,9 cities l ,bo/on1 ,new ,york1 ,philadelphia & "s ,s\!rn homes1 in/rum5ts ( ! sp9et & virg9al type c\ld be f\nd 9 ! #ag? & #ah? c5turies4 ,! flute 0 a g5tleman's in/rum5t 9 ^? days1 foll[+ ! ,engli% cu/om4 ,! viol9 also receiv$ "s att5tion4 7,?omas ,jeff]son 0 v fond ( ?is in/rum5t47 ,naturally1 ! fir/ in/rum5ts 7 br\ght f ,engl&1 yet ! record %[s t ,john ,h>ris1 ( ,bo/on1 :o _h le>n$ ! trade 9 ,engl&1 (f]$ = sale sp9ets ( 8 own make1 9 #agfi4 ,"s *ur* organs 7 built sev]al ye>s e>li]4 ,! h>psi*ord & piano foll[$ 9 due c\rse ( "t1 z we c ga!r f adv]tisem5ts & conc]t programs4 ,!re is controv]sy z to ! mak+ ( ! fir/ pianos 9 ! ,unit$ ,/ates4 ,bo? ,philadelphia & ,bo/on seem to h _h mak]s 9 a small way be=e ! beg9n+ ( ! #ai? c5tury4 ,! pione] 9 ?is indu/ry 0 ,jonas ,*ick]+1 :o s]v$ 8 appr5tice%ip 9 ,bo/on & />t$ 9 bus9ess on 8 own acc\nt1 9 #ahbc4 ,! gr[? ( int]e/ 9 music aris+ f ! organization ( *oral societies & ! labors ( ,l[ell ,mason1 & ! musicians ( =eign bir? :o came to ?is c\ntry creat$ a dem& = music outside ( t = ! voice1 organ & piano1 = _m ( ^! musicians _h be5 play]s 9 or*e/ras 9 ,europe4 ,e>ly ,or*e/ras4--,! fir/ p]man5t body ( or*e/ral play]s1 ! ,philh>monic ,society1 0 =m$ 9 ,bo/on4 ,! *ief promot] 0 a ,g]man1 nam$ ,graupn]1 :o came to ! city nam$1 9 #agih4 ,he ga!r$ r\nd him a few pr(essionals & "s amateurs1 s t ! nucleus ( an or*e/ra exi/$ be=e ! ,h&el & ,haydn ,society 0 =m$4 ,graupn] also kept a music /ore & pr9t$ music4 ,a l>ge or*e/ra 0 e/abli%$ 9 #ahdj1 :i* rema9$ active = ne>ly a decade4 ,new ,york _h an organization ( in/rum5tali/s :i* 0 />t$ ab\t ! same "t z ,graupn]'s society 9 ,bo/on1 b its real "w 9 ?is l9e did n occur until #ahdb1 :5 ! ,philh>monic ,society 0 f\nd$1 ) a /r5g? ( f fifty to sixty play]s4 ,?is society /ill exi/s4 ,! /ronge/ musical =ce 9 ,philadelphia 0 ! ,musical ,fund ,society1 :i* came into exi/5ce 9 #ahbj1 "o object ( :i* 0 to spread musical k 9 ! city4 ,x built a hall1 :i* /ill /&s1 & gave bo? vocal & in/rum5tal conc]ts4 ,bee?ov5's fir/ symphony 0 giv5 !re1 z e>ly z #ahba4 ,p]man5t ,or*e/ral ,organizations4--,! cr$it = rais+ ! /&>d ( or*e/ral "w & ( spread+ a popul> appreciation ( ! classics 9 absolute music belongs to ,!odore ,?omas1 born 9 ,g]many1 9 #ahce1 ^: family came to ?is c\ntry 9 #ahde4 ,he became a pr(ici5t viol9i/ :ile /ill a boy4 ,8 fir/ ef=ts 9 ! l9e ( ! high] music 7 9 ! doma9 ( *amb]-music2 9 ^! conc]ts he 0 associat$ ) ,dr4 ,william ,mason & o!rs4 ,9 #ahfd1 he began 8 "w 9 ! or*e/ral field1 9 ,new ,york1 visit+ o!r cities ) 8 m5 & spread+ a k ( ! works ( ! ma/]s4 ,mr4 ,?omas conduct$ a s]ies ( conc]ts 9 ,philadelphia1 b f9i%$ 8 labors 9 ,*icago1 z ! conductor ( ! ,*icago ,or*e/ra1 :i* 0 e/abli%$ = him4 ,he di$ 9 #aije4 ,foll[+ ! increas$ int]e/ 9 or*e/ral music 9 ,new ,york ,city1 due to ! "w ( ,?omas1 ! ,bo/on musical public call$ = a high] /&>d & a m skill$ set ( play]s ?an ! successors ( ! old ,philh>monic ,or*e/ra1 ! ,g]mania & ! ,h>v>d ,musical ,association1 :i* _h kept up ! "w 9 a cr$itable mann]4 ,! outgr[? ( ?is s5tim5t 0 ! e/abli%m5t ( ! celebrat$ ,bo/on ,symphony ,or*e/ra1 :i* gave its fir/ conc]ts 9 ! fall ( #ahha1 "u ! direction ( ,mr4 ,georg ,h5s*el4 ,! f9ancial ne$s ( ! organization 7 gu>ante$ by ,mr4 ,h5ry ,l4 ,higg9son4 ,mr4 ,h5s*el 0 succe$$1 9 #ahhd1 by ,wilhelm ,g]icke1 :o 0 foll[$ five ye>s lat] by ,ar?ur ,nikis*2 9 #ahic1 ,mr4 ,emil ,paur 0 made director1 to be succe$$ 9 #ahih by ,wilhelm ,g]icke1 :o is /ill 7#aije7 at ! head ( ! organization4 ,! "w ( ! or*e/ras m5tion$ /imulat$ music lov]s 9 o!r cities & at ! pres5t "t1 wor?y rivals ( ! old] bodies exi/ 9 ,philadelphia1 ,mr4 ,fritz ,s*eel1 director1 ! ,new ,york ,symphony ,or*e/ra1 ,mr4 ,walt] ,damros*1 director1 & ! ,pittsburgh ,or*e/ra1 "u ! direction ( ,mr4 ,emil ,paur4 ,baltimore has a good or*e/ra 9 connection ) ! ,peabody ,cons]vatory1 ,c9c9nati has a p]man5t body ) a gu>antee fund1 "u ! conductor%ip ( ,mr4 ,frank ,van d] ,/uck54 ,! or*e/ras m5tion$ give conc]ts 9 o!r cities1 s t _! "w has m ?an a local significance4 ,o!r cities 9 :i* ef=ts are be+ made to develop or*e/ral music are ,new ,hav51 ,buffalo1 ,wa%+ton1 ,clevel&1 ,atlanta1 ,/4 ,l\is1 ,kansas ,city1 ,san ,francisco1 ,los ,angeles & ,d5v]4 ,o!r ,organiz$ ,bodies4--,o!r means = promot+ musical progress 9 ! ,unit$ ,/ates 7 ! societies 9 diff]5t p>ts ( ! c\ntry1 :i* provid$ conc]ts1 aid$ musical education1 kept up public int]e/1 ! great ,g]man s++ societies1 music fe/ival associations1 lecture c\rses1 etc4 ,a prom95t example ( ?is k9d 0 ! ,musical ,fund ,society ( ,philadelphia :i*1 among its o!r activities1 op5$ a music s*ool t rema9$ 9 exi/5ce = six ye>s4 ,! ,h>v>d ,musical ,association1 an organization ( alumni :o labor$ p>ticul>ly = ! advancem5t ( music1 =m$ ! nucleus ( a musical libr>y & conduct$ or*e/ral conc]ts at its own exp5se or gu>antee4 ,9 lat] ye>s ,pittsburgh _h an active society to promote musical appreciation & ! example is be+ foll[$ by o!r cities4 ,! greate/ gr[? 9 ?is l9e1 t ( ! =mation ( music fe/ival associations & ! developm5t ( ! idea1 0 d\btless /imulat$ by ! great fe/ivals held 9 ,bo/on 9 #ahfi & #ahgb4 ,( ^!1 ! mo/ important is ! "o held 9 ,c9c9nati1 = a numb] ( ye>s "u ! direction ( ,!odore ,?omas2 aft] 8 dea?1 "u ,mr4 ,van d] ,/uck54 ,x is impossible to give "h a li/ ( su* organizations2 !y are gr[+ 9 numb]s ov] all ! c\ntry & =m a hopeful sign ( an increas+ & heal?y int]e/ 9 music4 ,9 addition to ! "w ( ^! societies mu/ be m5tion$ ! s]ies ( *amb]-music conc]ts giv5 by qu>tet organizations 9 all ! important cities1 a k9d ( music :i* dem&s a high] class ( musical culture ?an any o!r & :i* is1 !re=e1 a good index ( ! musical appreciation ( a community4 ,! great public libr>ies h collections ( musical lit]ature1 z well z ! pr9t$ works ( ! great ma/]s4 ,notable among ^! is ! ,br[n ,collection1 9 ! ,bo/on ,public ,libr>y2 ! ,newb]ry ,libr>y ( ,*icago has a v f9e collection ( musical lit]ature1 includ+ _m r>e works1 & ! new public libr>y 9 ,new ,york ,city w also h works ( great value to musicians4 ,! ,crosby-,br[n ,collection ( musical in/rum5ts 9 ! ,metropolitan ,museum ( ,art1 ,new ,york ,city1 is "o ( ! mo/ valuable 9 ! _w2 ano!r collection ( note is t :i* belongs to ! ,univ]sity ( ,mi*igan4 ,folk-,music4--,9 a /udy ( conditions connect$ ) ! developm5t ( music 9 ! ,unit$ ,/ates1 we w n f9d ! weal? ( mat]ial 9 ! direction ( ,folk-music t ,european c\ntries possess4 ,! ,am]ican p be+ a composite "o _c h a true ,folk-music z yet4 ,!re are b two types ( music t c be class$ 9 ?is category1 ! music ( ! ,indians & t ( ! negro 9 8 plantation life4 ,! *>act]i/ics ( bo? h be5 us$ by ,am]ican compos]s 9 l>ge works 7,edw>d ,mac ,d[ell3 8,indian ,suite10 = ! or*e/ra2 ,fr$]ic ,burton1 9 a *oral "w71 yet ! ,indian race =ms no "p ( ! dom9ant ,caucasian p ( ! ,unit$ ,/ates & c h>dly h any claims to be+ consid]$ ,am]ican ,folk-song4 ,among ! negroes ( ! ,s\?1 dur+ ! "t ( slav]y1 a type ( song develop$ t possesses di/9ctive qualities1 & is ?or\ghly p]vad$ ) ! emotional quality :i* *>act]izes ! ,folk-song ( ! musical races ( ,europe4 ,x is n ! song ( ! ,african 9 8 native l&1 b ! product ( 8 new environm5t4 ,p>ticul>ly is ?is ! case ) reg>d to ! songs 9 :i* ! religi\s elem5t is ! lead+ "o4 ,_m ( !m h ! spontane\s "* ( ! old m9/rel poets1 ! lead] improvis+ ! v]ses1 ! *orus jo9+ 9 ! refra94 ,sev]al compos]s h us$ mat]ial bas$ on negro musical idioms1 notably ,anton9 ,dvok1 9 8 8,f ! ,new ,_w0 symphony & ,g4 ,w4 ,*adwick1 9 ! s*]zo ( "o ( 8 symphonies1 b ! mo/ fam\s examples ( ! ,folk-song ( ! plantation type are f\nd 9 ! works ( ,/eph5 ,c4 ,fo/] 7#ahbf-ahfd71 ! "o mo/ widely-kn[n be+ 8,! ,old ,folks at ,home0 or 8,suwanee ,riv]10 incomp>able 9 its sweet melan*oly & t5d] pa?os1 yet ( extreme simplicity 9 h>monic basis & diatonic progressions4 ,! ,op]a4--,! developm5t ( ! op]a 9 ! ,unit$ ,/ates is a /ory ( *ange f ! simple /yle ( ! ,engli% ballad op]a to ! elaborate music dramas ( ,ri*>d ,wagn]1 9 ! ,nor?1 ) ,new ,york ,city z ! lead+ c5tre1 :ile ,new ,orleans1 9 ! ,s\?1 ) its l>ge ,fr5* population1 furni%es a home = ! ,fr5* & ,italian s*ool ( op]a4 ,! 8,begg>'s ,op]a10 by ,gay1 :i* _h won extraord9>y popul>ity 9 ,engl&1 0 giv5 9 ,new ,york1 9 #agej1 & z e>ly z #agia ,new ,orleans _h a company ( ,fr5* s+]s4 ,philadelphia also _h p]=mances be=e ! end ( ! #ah? c5tury4 ,x 0 n until aft] ! w>s ) ,engl&1 :5 ! c\ntry 0 gr[+ & becom+ prosp]\s1 t =eign manag]s & s+]s consid]$ x an invit+ field4 ,! fir/ company ( real arti/ic wor? 0 br\ght "h 9 #ahbe1 head$ by ,manuel ,g>cia1 :i* includ$ 8 daught]1 aft]w>d ,mme4 ,malibran4 ,9 #ahcb1 ! poet ,da ,ponte1 libretti/ ( ,moz>t's op]a 8,don ,giovanni10 :o 0 a resid5t ( ,new ,york ,city1 br\ght ano!r /rong company ( s+]s to ! ,unit$ ,/ates4 ,f t "t on1 = a numb] ( ye>s1 op]a 0 furni%$ by visit+ companies ( =eign s+]s1 :o gave p]=mances 9 ! lead+ cities ( ! c\ntry1 ,new ,orleans be+ ! fir/ to e/abli% a p]man5t op]a season ) a resid5t company4 ,x 0 9 #ahei t ,adel9a ,patti made h] fir/ appe>ance1 9 ,new ,york ,city4 ,9 #ahgh1 ,mapleson1 ! impres>io1 comm5c$ ! 8all />0 sy/em t develop$ a ta/e = op]a by giv+ ! ,am]ican public ! *ance to he> ! be/ s+]s 9 ! _w1 & set a /&>d :i* has made ! p dissatisfi$ ) a company well-balanc$ b lack+ 9 great s+]s4 ,m real "w is done to develop a community by he>+ a numb] ( p]=mances well done ?an "o or two 9 a s5sational /yle4 ,9 #ahhc1 ! ,metropolitan ,op]a ,h\se1 9 ,new ,york ,city1 0 op5$ ) a 8/>0 company1 manag$ by ,h5ry ,e4 ,abbey4 ,g]man op]a 7,wagn] music dramas7 ga9$ a foo?old 9 ?is c\ntry ?r\gh ! ef=ts ( ,dr4 ,leopold ,damros*1 :o direct$ ! fir/ arti/ic p]=mance ( ,wagn]'s ,tannhus]1 9 #ahhd1 9 ! ,metropolitan ,op]a ,h\se2 f ?is "t1 op]as ( ! ?ree great s*ools 7 giv5 "h1 ,italian1 ,fr5* & ,g]man4 ,! foll[+ ye>1 ,anton ,seidl 0 call$ to ! conductor%ip & 8 labors put ! p]=mances ( ,wagn]'s op]as on a plane equal to any 9 ! _w2 ! company _h seasons 9 ! o!r lead+ ,am]ican cities4 ,aft] ,seidl's dea?1 9 #ahih1 ! p]=mances cont9u$ along ! same l9es & ) ! same high arti/ic quality1 ! greate/ s+]s be+ engag$4 ,9 #aijc1 on ,*ri/mas ,eve1 "u ! direction ( ,mr4 ,h4 ,conri$1 ! fir/ ,am]ican repres5tation 7& ! fir/ outside ( ,bayreu?7 ( 8,p>sifal0 0 giv54 ,9 assign+ cr$it = "w ( an educational "* 9 op]a1 m5tion mu/ be made ( c]ta9 travel+ companies1 su* z ! 8,ideals0 & 8,bo/onians0 :o gave highly arti/ic p]=mances ( ! /&>d op]as1 & ( ! companies "u ! direction ( ,mr4 ,h5ry ,w4 ,savage1 :o gave gr& op]a 9 ,engli% dur+ ! fir/ decade ( ! pres5t c5tury4 ,,ref]5ces4 ,ma!ws4--,hundr$ ,ye>s ( ,music 9 ,am]ica4 ,elson4--,am]ican ,music4 ,elson4--,our ,national ,music & its ,s\rces4 ,ritt]4--,music 9 ,am]ica4 ,brooks4--,old5 ,"t ,music4 ,p]k9s & ,dwight4--,h&el & ,haydn ,society ( ,bo/on4 ,,que/ions ,,& ,,sugge/ions4 ,:o contribut$ ! great] influ5ce to ,am]ican music1 ! ,cavali]s or ! ,puritans8 ,:at 0 ! influ5ce ( ! latt]8 ,:o 7 ! e>ly hymn-tune compos]s8 ,"n "s tune by ! m prom95t4 7,if any are available1 play !m ov] or h !m sung = ! class47 ,:i* ( ! ?ree lead+ ,am]ican cities ( ! #ah? c5tury 0 ! mo/ advanc$ musically8 ,:at 7 ! fir/ societies to organize8 ,:o 0 a great factor 9 musical education 9 ! e>ly "p ( ! #ai? c5tury8 ,:at 0 ! /ate ( in/rum5tal music 9 ! ,colonial p]iod & 9 ! ye>s foll[+8 ,:]e 0 ! fir/ or*e/ra =m$8 ,:at o!r cities _h organiz$ bodies ( or*e/ral play]s8 ,give an acc\nt ( ! "w ( ,!odore ,?omas4 ,tell ab\t ! o!r great or*e/ras ( ! ,unit$ ,/ates4 ,:at o!r organizations h aid$ 9 musical progress 9 ! ,unit$ ,/ates8 ,:at are ! s\rces ( ,folk-,music 9 ! ,unit$ ,/ates8 ,:at use h compos]s made ( ?is mat]ial8 ,give a sket* ( ! ,op]a 9 ! ,unit$ ,/ates4 ,we advise t a some:at detail$ /udy ( music 9 ! ,unit$ ,/ates be made1 foll[+ ! outl9e ( ?is lesson1 by ! use ( ! ref]5ce works m5tion$ above4 ,if !re is "t = ?is extra "w1 we advise t two lessons be made ( ?is *apt] & t pupils be assign$ ! duty ( collect+ additional mat]ial on ! subject ( ! sep>ate p>agraphs4 ,! "w w be divid$ 9 ?is way & ea* pupil w h a p]sonal int]e/4 ,old hymn-tune collections %\ld be exam9$ to f9d examples ( ! tunes us$ by our =efa!rs4 ,music repres5tative ( ! v>i\s p]iods w be f\nd 9 ! books m5tion$ or indicat$ 9 o!r s\rces2 bo? vocal & in/rum5tal music %\ld be p]=m$ at ! recitations4 ,,lesson ,,lviii4 ,,am]ican ,,compos]s3 ,,works ,,9 ,,l>ge ,,in/rum5tal ,,=ms4 ,am]ican ,music ,/ill ,"y4--,musical composition 9 ! ,unit$ ,/ates is /ill too "y 9 comp>ison ) ! "w ( ,european compos]s to h made m>k$ impress on hi/ory4 ,am]ican compos]s owe _! tra9+ l>gely to ,european tea*]s1 ! models ^u :i* !y h bas$ _! "w come f ,european art1 & ! pr9ciples ( con/ruction 7 develop$ by ! ,european ma/]s4 ,h5ce ! disposition to view ,am]ican composition z /ill 9 a /ate ( pupilage4 ,yet ! record %[s a numb] ( m5 :o h done wor?y "w1 _m ( !m w9n+ f> m ?an a local reputation1 & n a few enjoy+ int]national fame4 ,& ?is "w1 especially su* z is ca/ 9 ! l>ge =ms1 = or*e/ra1 *amb]-music or *orus ) or*e/ra1 is ! product ( ! ye>s s9ce ! close ( ! ,civil ,w>1 a v %ort p]iod1 inde$1 :5 comp>$ ) ! /ory ( composition 9 mo/ ( ! ,european c\ntries4 ,x speaks volumes = ! native capacity & /urdy indu/ry ( ,am]ican compos]s t !y h1 9 less ?an a half-c5tury1 won a high place 9 ! use ( ! mat]ials ( musical composition & t !y h s readily assimilat$ ! "w & tea*+s ( ,european ma/]s4 ,pa9e4--,! e>lie/ compos] 9 l>ge in/rum5tal =ms 0 ,john ,k4 ,pa9e1 born1 ,portl&1 ,me41 #ahcd1 di$ #aijf4 ,9 #aheh1 he w5t to ,g]many to /udy & gave p>ticul> att5tion to ! organ4 ,he quickly ga9$ rank z ! *ief ,am]ican organi/1 on 8 return to ! ,unit$ ,/ates1 sev]al ye>s lat]4 ,9 #ahfb1 he became connect$ ) ,h>v>d ,univ]sity z an in/ructor 9 music1 a full pr(essor%ip be+ creat$ 9 #ahge4 ,8 fir/ important works 7 *oral1 ) or*e/ral accompanim5t4 ,8 fir/ symphony 0 br\ght out 9 #ahgf1 8 second1 call$ 8,spr+10 9 #ahhj4 ,o!r l>ge works = or*e/ra are a symphonic fantasy bas$ on ,%akespe>e's 8,tempe/10 a symphonic poem 8,an ,isl& ,fantasy10 ! inspiration ( :i* came f sev]al pa9t+s ( m>9e sc5es1 & an ov]ture to ,%akespe>e's 8,z ,y ,l ,x40 ,pr(4 ,pa9e's l>ge *oral works are3 a ,mass 9 ,d1 an oratorio 8,/4 ,pet]10 music to 8dipus ,tyrannus10 8,phbus1 ,arise10 8,nativity10 drawn f ,milton1 8,song ( ,promise10 hymns = ! ,c5t5nial & ,columbus ,exhibitions1 music to ,ari/ophanes' 8,birds10 an op]a 8,az>a10 besides organ compositions1 *amb]-music1 songs & "p-songs4 ,gil*ri/4--,a compos] ^: tra9+ 0 entirely ,am]ican is ,william ,w4 ,gil*ri/1 born 9 ,j]sey ,city1 9 #ahdf1 a resid5t ( ,philadelphia = _m ye>s1 :]e 8 pr(essional activity has includ$ important "w z tea*] ( s++1 & *orus conduct+4 ,8 musical education 0 receiv$ ma9ly f ,dr4 ,h4 ,a4 ,cl>ke1 ( ! ,univ]sity ( ,p5nsylvania4 ,8 compositions include a symphony1 a suite = or*e/ra & a great deal ( *amb]-music4 ,he has writt5 a numb] ( works = *orus ) or*e/ra1 8 mo/ notable be+ a sett+ ( ! ,=ty-six? ,psalm1 to :i* 0 aw>d$ a #ajjj prize1 (f]$ by ! ,c9c9nati ,fe/ival ,association4 ,8 o!r compositions include *oral works 9 small] =ms1 ) /r+ or o!r accompanim5t suit$ to *amb]-music1 "p-songs1 *ur* music1 & a numb] ( f9e songs4 ,he is especially happy 9 writ+ = wom5's voices4 ,illu/ration3 ,w4 ,w4 ,,gilcri/4 ,j4 ,k4 ,,pa9e4 ,,horatio ,,p>k]4 ,,ar?ur ,,foote4 ,,edw>d ,,macd[ell4 ,,mrs4 ,h4 ,h4 ,a4 ,,bea*4 ,g4 ,w4 ,,*adwick4 ,*adwick4--,a compos] :o has won appreciation 9 ,europe is ,george ,w4 ,*adwick1 born 9 ,l[ell1 ,mass41 9 #ahed4 ,8 /udies 7 c>ri$ on 9 ! ,new ,engl& ,cons]vatory1 at ,bo/on1 :i* in/itution he ent]$ 9 #ahgb4 ,five ye>s lat] he w5t to ,leipzig to /udy1 giv+ special att5tion to composition4 ,9 #ahgi1 he w5t to ,dresd5 to /udy ) ,rhe9b]g]4 ,9 #ahhj1 he return$ to ! ,unit$ ,/ates & settl$ 9 ,bo/on4 ,8 pr(essional activities includ$ "w z organi/1 conductor1 & tea*] at ! ,new ,engl& ,cons]vatory4 ,9 #ahig1 he 0 call$ to ! director%ip ( ! ,cons]vatory4 ,8 compositions are writt5 9 all ! v>i\s =ms1 8 reputation z a compos] ( high rank be+ bas$ ^u 8 l>ge or*e/ral works1 :i* include ?ree symphonies1 f\r ov]tures1 *amb]-music1 a comic op]a1 a sacr$ op]a1 8,judi?10 two cantatas1 popul> ) *oral societies1 8,phnix ,expirans0 & ! 8,lily ,nymph10 a ballad = *orus & or*e/ra1 8,lovely ,rosabelle10 "p-songs1 *ur* music1 & a numb] ( songs ( high m]it4 ,mac,dowell4--,an ,am]ican compos] 9 ?or\gh accord ) ! mod]n musical t5d5cies 9 composition is ,edw>d ,alex&] ,mac,dowell1 born 9 ,new ,york1 9 #ahfa4 ,8 mo/ fam\s tea*] 0 ,mme4 ,t]esa ,c>reo1 ! celebrat$ piani/4 ,he became a pupil ( ! ,p>is ,cons]vatoire1 9 #ahgf1 & aft] ?ree ye>s "u ,fr5* ma/]s & influ5ces1 w5t to ,g]many1 :]e he /udi$ "u ,ehl]t1 ,heymann & ,raff1 ! latt] giv+ him a ?or\gh gr\nd+ 9 ! te*nic ( composition4 ,8 musical education1 !re=e1 includ$ bo? ,fr5* & ,g]man ideas4 ,he rema9$ 9 ,g]many z piani/1 compos] & tea*] until #ahhh1 :5 he return$ to ! ,unit$ ,/ates & settl$ 9 ,bo/on4 ,9 #ahif1 he accept$ ! position ( pr(essor ( music 9 ,columbia ,univ]sity1 ,new ,york ,city1 :i* he held until #aijd1 :5 he resign$ to devote himself to composition exclusively4 ,mac,dowell 0 tra9$ to a ?or\gh und]/&+ ( =m1 yet 8 works %[ t he reg>ds only ! _s ( =m1 t he is its ma/] & n its s]vant4 ,he has pl5ty ( =ce1 vigor & orig9ality ( melody & rhy?m & is res\rceful 9 8 comm& ( mod]n h>mony4 ,critics ( high au?ority h unhesitat+ly aw>d$ him ! highe/ rank among ,am]ican-born compos]s4 ,8 compositions include works 9 ! l>ge =ms1 two conc]tos1 two suites1 f\r poems = or*e/ra1 f\r piano sonatas ( /rik+ romantic cont5t1 a numb] ( small] works = ! piano1 /udies1 songs & "p-songs1 pr9cipally = male voices4 ,horatio ,p>k]4--,x is significant ( ! advance 9 music ov] o!r sections ( ! ,unit$ ,/ates t ,new ,engl& %\ld h be5 ! bir?place ( a numb] ( compos]s ( reputation4 ,besides ,pa9e & ,*adwick1 two o!rs h a*iev$ em95ce 9 ! l>ge =ms3 ,horatio ,p>k] & ,ar?ur ,foote4 ,mr4 ,p>k] 0 born ne> ,bo/on1 9 #ahfc2 8 fa!r 0 an ar*itect1 8 "m a woman ( f9e lit]>y & musical culture4 ,8 fir/ lessons 9 music1 piano & organ1 7 receiv$ f 8 "m1 & su* 0 8 int]e/ t he made attempts at composition4 ,at sixte51 he 0 appo9t$ to a position z organi/ & 0 ?us laun*$ into musical life4 ,he kept up 8 /udies ) ,bo/on tea*]s1 9 composition ) ,*adwick1 & aft]w>ds ) ,rhe9b]g]1 9 ,g]many1 9 :i* c\ntry he rema9$ until #ahhe4 ,8 fir/ appo9tm5t 0 director ( music at ,g>d5 ,city ,ca!dral ,s*ools1 ,long ,isl&1 aft]w>ds fill+ organ positions 9 ,new ,york ,city1 ! mo/ notable "o be+ at ! ,*ur* ( ! ,holy ,tr9ity4 ,he also taught 9 ! ,national ,cons]vatory4 ,9 #ahic1 he w5t to ,bo/on z organi/ & director ( music at ,tr9ity ,*ur*1 & 9 #ahid1 to ,yale ,univ]sity1 z pr(essor ( music4 ,9 addition to ! "w 9 composition & hi/ory ( music1 ,mr4 ,p>k] conducts a s]ies ( or*e/ral conc]ts giv5 by an or*e/ra support$ by ! ,univ]sity4 ,mr4 ,p>k]'s compositions 9 l>ge =m include a symphony1 sev]al ov]tures1 a conc]to = organ & or*e/ra1 *amb]-music1 cantatas = *orus & or*e/ra1 & 9 small] =ms1 piano & organ pieces1 songs & _m "p-songs4 ,8 cantata 8,hora ,novissima0 is "o ( ! be/ works 9 ?is /yle produc$ by an ,am]ican compos]1 & has be5 giv5 9 ,engl& ) success4 ,! leg5d ( 8,/4 ,*ri/oph]0 furni%$ mat]ial = a "w ( a secul> "* t has be5 tak5 up by "s important *oral organizations4 ,ar?ur ,foote 0 born at ,salem1 ,mass41 9 #ahed4 ,8 musical education 0 :olly acquir$ 9 ,bo/on1 8 lead+ tea*]s hav+ be5 ,/eph5 ,a4 ,em]y & ,b4 ,j4 ,lang4 ,mr4 ,foote is also a graduate ( ,h>v>d ,univ]sity4 ,8 home is 9 ,bo/on1 :]e 8 pr(essional "w is t ( an organi/1 & tea*] ( piano & composition4 ,8 mo/ important "w 9 l>ge =m is a suite = or*e/ra1 ,op4 #cf2 9 addition to ?is he has writt5 successfully 9 ! doma9 ( *amb]-music1 works = /r+ or*e/ra1 a qu>tet1 a qu9tet1 a trio & a sonata = piano & viol92 he has also writt5 excell5t works = *orus ) or*e/ra1 8,wreck ( ! ,hesp]us10 piano & organ pieces1 a numb] ( f9e songs & "p-songs4 ,he is p]haps at 8 be/ 9 writ+ = male voices1 notable works be+ 8,! ,skeleton 9 ,armor0 & 8,f>ewell to ,hiawa?a40 ,hadley4--,a y\ng] compos] ?an ^? m5tion$1 ^: "w 9 ! l>ge =ms has receiv$ comm5dation1 is ,h5ry ,k4 ,hadley1 born at ,som]ville1 ,mass41 9 #ahga4 ,8 fa!r 0 a memb] ( ! musical pr(ession1 & fir/ taught 8 son1 :o lat] w5t to ,bo/on to /udy ) ,em]y1 ,*adwick & ,all5 7viol974 ,9 #ahid1 he w5t to ,vi5na to /udy & wrote sev]al works = or*e/ra :ile !re4 ,9 #ahif1 he return$ to ! ,unit$ ,/ates & taught 9 ,/4 ,paul's ,s*ool1 at ,g>d5 ,city4 ,he has writt5 sev]al symphonies1 suites1 an ov]ture1 a cantata & a numb] ( songs2 two comic op]as are also among 8 works4 ,he has won ! ,pad]ewski ,prize = composition4 ,frank van d] ,/uck51 born 9 ,fr$]icksburg1 ,texas1 9 #aheh1 ( ,belgian desc5t1 0 educat$ abroad1 ma9ly "u ,b5oit1 at ,antw]p1 & ent]$ pr(essional life 9 ,europe1 yet he is class$ ) ,am]ican compos]s1 = he has sp5t a great "p ( 8 active musical life 9 ?is c\ntry4 ,x 0 9 #ahhd1 t he came to ,new ,york ,city z conductor ( a l>ge ,g]man s++ society1 at ! same "t giv+ mu* att5tion to conduct+ or*e/ral works1 9 :i* bran* he _h _h consid]able exp]i5ce 9 ,europe4 ,9 #ahie1 he w5t to ,c9c9nati z conductor ( ! ,symphony ,or*e/ra ( t city & two ye>s lat]1 0 dean ( ! ,college ( ,music1 f ! active managem5t ( :i* he retir$ 9 #aijc4 ,al?\gh he has writt5 a numb] ( or*e/ral pieces1 8 mo/ important "w1 mod]n 9 =m & scor$ = ! full mod]n or*e/ra is 8,william ,ratcliffe10 a symphonic prologue1 :i* has a v dramatic program4 ,he has also writt5 songs t are 9 ! extreme /yle ( ! mo/ advanc$ composition4 ,mrs4 ,bea*4--,few wom5 h won any success 9 composition 9 ! l>ge musical =ms4 ,a mo/ notable exception is ,mrs4 ,h4 ,h4 ,a4 ,bea* 7,amy ,m>cy ,*5ey71 :o 0 born at ,h5nik]1 ,n4 ,h41 9 #ahfg4 ,%e %[$ m>k$ incl9ation = music :ile /ill a *ild & 0 giv5 regul> in/ruction :5 only six ye>s old4 ,soon aft] ?is h] p>5ts mov$ to ,bo/on & %e cont9u$ h] musical education !re "u ,ern/ ,p]abo & ,c>l ,ba]mann4 ,h] /udies 9 composition 7 l>gely made )\t tea*]s1 guid$ pr9cipally by ! mo/ ?or\gh & ext5sive /udy ( ! scores ( ! ma/]s4 ,%e 0 m>ri$ 9 #ahhe to a prom95t ,bo/on physician4 ,mrs4 ,bea*'s mo/ important works are h] 8,gaelic0 symphony1 a mass = *orus ) organ & small or*e/ra1 a sonata = viol9 & piano & a piano conc]to4 ,9 addition to ?is %e has writt5 a numb] ( piano pieces & songs4 ,loeffl]4--,an acc\nt ( music 9 ! ,unit$ ,/ates w\ld n be complete )\t ref]5ce to ! "w ( ,mr4 ,*>les ,m4 ,loeffl]1 "o ( ! mo/ important figures 9 mod]n musical composition4 ,al?\gh he 0 born 9 ,europe 7#ahfa7 & educat$ !re1 he has sp5t 8 adult life 9 ?is c\ntry1 hav+ be5 = _m ye>s a viol9i/ 9 ! ,bo/on ,symphony ,or*e/ra4 ,8 be/-kn[n "w is ! 8,dea? ( ,t9tagiles10 f\nd$ ^u ,maet]l9ck4 ,roll9at & ,v]la9e h also furni%$ inspiration to him4 ,a conc]t$ "w = viol9 & or*e/ra %[s 8 skill bo? z compos] & viol9i/4 ,( late ye>s1 ,mr4 ,loeffl] has turn$ 8 att5tion to song composition4 ,o!r ,compos]s4--,9 a concise acc\nt ( ! "w ( ,am]ican compos]s1 %ort m5tion only c be giv5 to a numb] ( m5 :o h work$ e>ne/ly 9 composition1 a field 9 :i* appreciation seems to be grant$ freely to ! =eign] b grudg+ly to ! compatriot4 ,conditions are n favorable to developm5t along ! l9es ( public p]=mance ( works 9 l>ge =ms1 or*e/ras are "u ! control ( =eign conductors1 mo/ ( ! play]s are =eign]s1 & ! conc]t-go+ public gives b scant att5tion to works by an ,am]ican4 ,!re=e mu* cr$it is due to ^? :o h work$ quietly & ) b little hope ( he>+ _! works1 do+ _! be/ to produce music 9 accord ) ! be/ canons ( ! art4 ,su* m5 are ,fr$]ick ,grant ,gleason1 born at ,middlet[n1 ,conn41 #ahdh 7di$ 9 ,*icago1 #aijc71 /udi$ at home & abroad2 ,adolph ,m4 ,fo]/]1 born 9 ,pittsburgh1 ,pa41 #ahed1 :o 0 educat$ 9 ,g]many1 & is n[ a resid5t ( 8 native city2 ,erne/ ,r4 ,kroeg]1 born at ,/4 ,l\is1 #ahfb1 educat$ at home1 & /ill a resid5t ( ! city ( 8 bir?2 ,h5ry ,s*o5efeld1 born at ,milwaukee1 #aheg1 educat$ at home & abroad2 ,h5ry ,hold5 ,huss1 born 9 ,new>k1 ,n4 ,j41 9 #ahfb1 /udi$ 9 ,new ,york & at ,muni*1 "u ,rhe9b]g]1 n[ a resid5t ( ,new ,york ,city2 ,ar?ur ,b4 ,:it+1 born 9 ,cambridge1 ,mass41 #ahfa1 educat$ 9 ,bo/on & by ,rhe9b]g]1 at ,muni*1 a resid5t ( ,bo/on2 ,l\is ,a4 ,co]ne1 pr(essor ( music at ,smi? ,college1 :o 0 educat$ 9 ,bo/on & ,muni* 7,rhe9b]g]72 & ,h>ry ,r[e ,%elley1 ( ,new ,york ,city1 :o 0 born at ,new ,hav51 ,conn41 #aheh1 /udi$ !re & 9 ,new ,york 7,buck & ,dvok74 ,^! compos]s h by no means conf9$ _! "w to compositions = or*e/ra1 *amb]-music1 cantatas1 etc41 b h also writt5 useful piano & organ pieces1 & 9 a numb] ( cases1 songs t h become extremely popul>4 ,,lesson ,,lix4 ,,am]ican ,,compos]s3 ,,vocal ,,=ms2 ,,piano ,,& ,,organ4--,,musical ,,lit]ature4 ,cantata ,compos]s4--,a numb] ( ,am]ican compos]s h turn$ _! att5tion to composition 9 op]a & cantata =ms4 ,"s ( ! compos]s already m5tion$ h writt5 works ( ?is "*4 ,! fir/ ( ,am]ican compos]s to "w 9 ! field ( ! cantata 0 ,j4 ,c4 ,d4 ,p>k]1 born 9 ,bo/on1 9 #ahbh1 a graduate ( ,h>v>d1 & a tea*] ) _m ye>s ( spl5did "w to 8 cr$it4 ,8 musical education 0 receiv$ at ,leipzig4 ,9 #ahed1 he locat$ 9 ,bo/on & took up a v>i$ c>e] z organi/1 conductor1 & tea*] ( piano & h>mony1 at ! ,new ,engl& ,cons]vatory4 ,8 l>ge works include a cantata1 8,r$emption ,hymn10 a secul> cantata1 8,! ,bl9d ,k+10 & two works 9 oratorio =m 8,/4 ,john0 & 8,! ,life ( ,man10 ! latt] %[+ him at 8 /ronge/4 ,dudley ,buck1 organi/1 compos] & tea*]1 is also "o ( ! vet]ans ( ,am]ican music4 ,he 0 born at ,h>t=d1 ,conn41 9 #ahci1 att5d$ ,tr9ity ,college sev]al ye>s1 began 8 musical in/ruction at sixte5 ye>s ( age1 w5t to ,g]many sev]al ye>s lat]1 giv+ 8 att5tion pr9cipally to ! organ & composition4 ,9 #ahfb1 he return$ to ! ,unit$ ,/ates1 work$ pr(essionally 9 ,h>t=d1 ,*icago1 & ,bo/on2 9 #ahgd1 he w5t to ,new ,york1 lat] to "o ( ! lead+ *ur*es ( ,brooklyn1 :i* position he reta9$ until #aije4 ,8 *oral works 9 l>ge =m are 8,don ,munio10 8,! ,voyage ( ,columbus10 8,! ,gold5 ,leg5d10 & ! 8,light ( ,asia10 8 l>ge/ & mo/ important "w1 :i* has be5 giv5 9 ,engl&4 ,he has writt5 _m works = *ur* use1 mu* organ music1 songs & conc]t$ vocal music1 especially = male voices4 ,op]a4--,9 op]a we note ! "w ( ,pa9e 78,az>a072 ,*adwick 78,judi?10 a sacr$ op]a72 ,walt] ,damros*1 compos] & conductor1 born 9 ,g]many1 9 #ahfb1 b a resid5t ( ! ,unit$ ,/ates 9 *ildhood1 & h5ce id5tifi$ ) music 9 ?is c\ntry1 :o has writt5 a "w ( s]i\s "* to a libretto f\nd$ on ,haw?orne's 8,sc>let ,lett]02 ,reg9ald de ,kov51 born at ,middlet[n1 ,conn41 9 #ahei1 ) a li/ ( sev]al successful light op]as to 8 cr$it1 z well z _m songs :i* h _h wide appreciation2 ,edg> ,/illman ,kelley1 born at ,sp>ta1 ,wiscons91 9 #aheg1 educat$ 9 ,*icago & ,g]many1 a resid5t ( ,san ,francisco = a numb] ( ye>s1 :]e he br\ght out sev]al notable works ( a popul> "* = ! /age z well z ! or*e/ra1 employ+ 9 ! latt] ,*9ese musical idioms ) success 9 a humor\s direction4 ,a compos] ^: "w 9 light op]a has _h mu* success is ,victor ,h]b]t1 born 9 ,dubl91 ,irel&4 ,8 pr(essional c>e] has be5 l>gely sp5t 9 ?is c\ntry1 8 "w z conductor ( ! ,pittsburgh ,symphony ,or*e/ra be+ notable4 ,song ,composition4--,9 ! field ( song composition1 ,am]ican compos]s h done v good "w4 ,! ,am]ican seems to turn naturally to song & few ( ! mo/ prom95t ( ! native compos]s h neglect$ ?is field1 z w h be5 notic$ 9 previ\s p>agraphs4 ,among ^? :o h won high reputation 9 ?is l9e we note ,george ,l4 ,osgood1 ( ,bo/on1 born 9 #ahdd1 compos]1 s+] & tea*]2 ,frank ,lynes1 ( ,bo/on1 born 9 #aheh1 :o has also writt5 good conc]t$ vocal music & piano pieces2 ,clayton ,johns1 born 9 ,delaw>e1 9 #aheg1 b a resid5t ( ,bo/on dur+ ! great] "p ( 8 pr(essional c>e]1 ) a long li/ ( "p-songs & "s piano pieces to 8 cr$it2 & ,e!lb]t ,nev91 born ne> ,pittsburgh1 9 #ahfb1 educat$ 9 ! ,unit$ ,/ates & 9 ,europe1 ^: songs h a truly poetic "* jo9$ to music ( a high ord]2 a numb] ( 8 piano pieces h also be5 mo/ favorably receiv$4 ,he di$ 9 #aija4 ,illu/ration3 ,,wm4 ,,mason4 ,l4 ,m4 ,,gotts*alk4 ,,dudley ,,buck4 ,h4 ,m4 ,,dunham4 ,j4 ,c4 ,d4 ,,p>k]4 ,b4 ,j4 ,,lang4 ,,wallace ,,goodri*4 ,piano ,composition4--,! dean ( ,am]ican tea*]s ( ! piano & ( compos]s = t in/rum5t is ,william ,mason1 born 9 ,bo/on1 9 #ahbi1 a son ( ,l[ell ,mason1 :o /udi$ at home & abroad & sp5t two ye>s ) ,liszt at ,weim>4 ,x 0 9 #ahed t he came back to ! ,unit$ ,/ates & locat$ 9 ,new ,york ,city4 ,9 addition to 8 works = ! piano1 "s ( :i* h be5 widely play$1 he is ! au?or ( an important te*nical "w1 :i* /amps him z an educator ( orig9ality & /r5g?4 ,a compos] :o is g5]ally class$ z ,am]ican1 al?\gh 8 ance/ry1 education & environm5t incl9e /rongly to ! ,fr5*1 is ,l\is ,moreau ,gotts*alk1 born 9 ,new ,orleans1 9 #ahbi4 ,he e>ly %[$ m>k$ incl9ation = music & 0 s5t to ,p>is to /udy4 ,8 fir/ reputation 0 won z piani/4 ,he travel$ ov] ,europe1 ! ,unit$ ,/ates & p>ts ( ,s\? ,am]ica1 giv+ conc]ts1 9 :i* he gave ! pr9cipal place to 8 own compositions4 ,he di$ 9 ,brazil1 9 #ahfi4 ,9 lat] ye>s1 ,am]ican compos]s = ! piano h n done su* di/9ctive "w z ! two writ]s j m5tion$1 yet ! names ( ,*>les ,d5nee 7#ahfc71 ,wilson ,g4 ,smi? 7#ahee71 ,james ,h4 ,rog]s 7#aheg71 & ,william ,h4 ,%]wood 7#ahed71 compos]1 piani/ & tea*]1 ^: "w 9 ! educational field is mo/ important2 ,edw>d ,baxt] ,p]ry 7#ahee71 :o has spl5didly triumph$ ov] ! infirmity ( bl9dness1 & ?r\gh 8 unique lecture recitals has be5 a /rong factor 9 musical progress 9 ! ,unit$ ,/ates2 & sev]al m5 ( =eign bir? :o h id5tifi$ !mselves ) ,am]ican musical education3 ,rafael ,joseffy1 9 ,new ,york ,city1 ,c>l ,ba]mann & ,c>l ,faelt5 9 ,bo/on1 ,con/ant9 von ,/]nb]g 9 ,philadelphia1 & ,emil ,liebl+ 9 ,*icago4 ,two o!r names %\ld be m5tion$ "h1 ,h5ry ,s*radieck1 ( ,new ,york1 ^: influ5ce z a viol9i/ & tea*] has be5 great1 & ,f4 ,l4 ,ritt]1 :o occupi$ ! *air ( music 9 ,vass> ,college1 a pione] 9 college musical "w4 ,organ ,composition4--,ne>ly all ( ! be/-kn[n ,am]ican compos]s h be5 organi/s1 yet c]ta9 m5 h made t l9e ( musical "w peculi>ly _! own4 ,su* m5 are ,b4 ,j4 ,lang 7#ahcg71 ( ,bo/on1 organi/1 conductor & tea*]2 ,george ,e4 ,:it+ 7#ahdb71 :o 9 addition to 8 high rank z an organi/ & tea*]1 has writt5 mo/ acceptably = 8 in/rum5t1 & also = ! or*e/ra & 9 ! l>ge *oral =ms2 ,george ,w4 ,w>r5 7#ahbh71 & ,s4 ,p4 ,w>r5 7#ahda71 ^: sph]e ( activity is id5tifi$ ) ,new ,york ,city2 ,e4 ,m4 ,b[man 7#ahdh71 organi/1 conductor1 piani/ & tea*]2 ,samuel ,b4 ,:itney 7#ahdb71 organi/1 not$ = 8 "w 9 tra9+ boy *oirs1 also 8 musical compositions = ! ,episcopal ,*ur* s]vice2 ,cl>5ce ,eddy 7#ahea71 organ virtuoso ) an int]national reputation2 ,h5ry ,m4 ,dunham 7#ahec71 :o has writt5 well = 8 in/rum5t & has _h an active & useful c>e] z a tea*]4 ,among ! y\ng] m5 ( prom95ce z ,am]ican organi/s :o h put !mselves abrea/ ) mod]n progress1 & h /udi$ all s*ools1 may be m5tion$ ,ev]ett ,e4 ,truette1 ,wallace ,goodri*1 ,wm4 ,c4 ,c>l1 ,g]rit ,smi?1 ,*>les ,gall[ay1 ,j4 ,fr$ ,wolle1 :o organiz$ ! ,ba* ,fe/ival at ,be?lehem1 ,pa41 ,h4 ,j4 ,/ew>t1 a repres5tative ,cali=nia organi/4 ,musical ,criticism4--,:5 indicat+ ! v>i\s ag5cies = ! %ap+ ( musical appreciation 9 ! ,unit$ ,/ates1 special m5tion mu/ be made ( a gr\p ( writ]s ^: contributions to musical magaz9es1 to ! daily press 9 ! l>ge music c5tres1 z well z _! "w 9 p]man5t =m h influ5c$ ! ta/e ( ! ,am]ican public to a degree n p>allel$ 9 any o!r c\ntry4 ,^! writ]s h enjoy$ unusual opportunities & h us$ !m well4 ,! lead+ newspap]s ( ! ,unit$ ,/ates give mu* space to reports ( musical ev5ts & h call$ to _! aid writ]s ( ke5 insight into musical matt]s1 ?or\gh equipm5t on ! score ( musical k1 & gift$ ) mu* skill 9 expression z well z ma/]y ( lit]>y /yle4 ,! ,old] ,critics4--,! fir/ ( ^! critics to claim our att5tion is ,john ,s4 ,dwight1 born 9 ,bo/on1 9 #ahac1 a graduate ( ,h>v>d1 & a /ud5t ( !ology z well4 ,gift$ ) a s\nd ta/e 9 art matt]s1 8 reviews ( musical works1 conc]ts1 etc41 7 v useful & helpful & mu* appreciat$ by ! be/ circles ( ! city1 = 8 associations 7 ) ! mo/ fam\s lit]>y & sci5tific m5 ( 8 day4 ,9 #aheb1 he e/abli%$ a musical pap]1 ,j\rnal ( ,music1 :i* la/$ ne>ly ?irty ye>s4 ,he di$ 9 #ahic4 ,ano!r ( ! old] writ]s is ,george ,p4 ,upton1 born 9 ,bo/on1 9 #ahcd1 a graduate ( ,br[n ,univ]sity1 :o ent]$ j\rnalism at tw5ty-"o1 z a memb] ( ! /aff ( ! ,*icago ,j\rnal2 aft] "s ye>s ( s]vice ) t pap]1 he w5t to ! ,tribune1 ) :i* he has ev] s9ce be5 associat$4 ,mr4 ,upton's critical "w cov]s ! p]iod ( ! gr[? ( ,*icago1 :i* has be5 ph5om5al 9 art z well z 9 comm]cial directions1 & has be5 a mo/ valuable factor 9 musical upbuild+4 ,9 rec5t ye>s 8 p5 0 a great aid to ,!odore ,?omas 9 8 ef=ts to e/abli% ! ,*icago ,symphony ,or*e/ra4 ,8 works 9 p]man5t =m are 8,woman 9 ,music10 a s]ies ( books descriptive ( ! pr9cipal oratorios1 op]as1 cantatas1 & symphonies1 translations f ! ,g]man ( ,nohl's biographies ( musicians1 & a 8,life ( ,!odore ,?omas40 ,co9cid5t ) ,mr4 ,upton's "w 9 ! ,we/ is t ( ,w4 ,s4 ,b4 ,ma!ws1 born 9 ,london1 ,n4 ,h41 9 #ahcg4 ,he 0 educat$ 9 ,bo/on2 aft] "s ye>s ( musical "w 9 ! ,s\?1 he locat$ 9 ,*icago1 z organi/1 tea*]1 writ] on musical matt]s4 ,8 reviews on local musical affairs appe>$ 9 sev]al ( ! lead+ dailies1 he 0 a contributor to ,dwight's ,j\rnal1 & to all ! musical pap]s t h come into ! field s9ce4 ,p]haps no contempor>y writ] on education 9 music has influ5c$1 & s /rongly1 z _m tea*]s & /ud5ts ( music z ,mr4 ,ma!ws4 ,he has writt5 a 8,popul> ,hi/ory ( ,music10 8,hundr$ ,ye>s ( ,music 9 ,am]ica10 8,h[ to ,und]/& ,music10 8,prim] ( ,musical ,=ms10 & sev]al works on ! great compos]s1 ) critical /udies ( _! works4 ,illu/ration3 ,w4 ,s4 ,b4 ,,ma!ws4 ,g4 ,p4 ,,upton4 ,l4 ,c4 ,,elson4 ,h4 ,e4 ,,krehbiel4 ,,philip ,,hale4 ,w4 ,f4 ,,ap?orp4 ,,james ,,hunek]4 ,bo/on ,writ]s4--,! ?ree lead+ ,bo/on writ]s ( rec5t ye>s are ,l\is ,c4 ,elson1 ,wm4 ,f4 ,ap?orp & ,philip ,hale4 ,l\is ,c4 ,elson 0 born 9 ,bo/on1 9 #ahdh4 ,he 0 educat$ = ! musical pr(ession1 at home & at ,leipzig4 ,9 #ahhj1 he became connect$ ) ! ,new ,engl& ,cons]vatory1 & at ! pres5t "t is head ( ! !ory dep>tm5t ( t in/itution4 ,8 j\rnali/ic activity cov]s a p]iod ( ab\t ?irty ye>s & 8 writ+s h appe>$ 9 ,bo/on & ,new ,york pap]s1 z well z 9 ! lead+ musical j\rnals4 ,8 works 9 book =m are t5 9 numb]1 ! mo/ valuable to ! /ud5t ( hi/ory be+ a l>ge volume on ! 8,hi/ory ( ,am]ican ,music40 ,! o!r works are critical1 te*nical1 & biographical4 ,wm4 ,f4 ,ap?orp 0 born 9 ,bo/on1 9 #ahdh1 graduat$ at ,h>v>d1 & began 8 critical "w 9 music 9 #ahgb1 be+ connect$ ) sev]al ,bo/on pap]s4 ,mr4 ,ap?orp's publi%$ works are few 9 numb]1 8,musicians & ,music ,lov]s0 & 8,! ,op]a1 ,pa/ & ,pres5t40 ,9 addition to ?is he suppli$ program mat]ial = ! ,bo/on ,symphony ,conc]ts = a numb] ( ye>s1 educational z well z descriptive & critical4 ,philip ,hale 0 born at ,norwi*1 ,vt41 9 #ahed1 graduat$ f ,yale & 0 admitt$ to ! ,b> 9 ,new ,york 9 #ahhj4 ,8 int]e/ 9 music & musical "w prov$ too /rong = him & he w5t abroad to ,g]many & ,france to /udy4 ,9 #ahhi1 he locat$ 9 ,bo/on & began "w z musical critic on ! /aff ( sev]al ( ! pap]s4 ,= a numb] ( ye>s he 0 ,bo/on correspond5t = ! ,musical ,c\ri] ( ,new ,york4 ,two o!r m5 ^: "w 9 musical lit]ature has be5 significant are ,alex&] ,w4 ,?ay]1 born at ,natick1 ,mass41 9 #ahag1 :o wrote ! /&>d biography ( ,bee?ov51 & ,?omas ,tapp]1 ( ,bo/on1 :o has writt5 a numb] ( valuable educational works 9 music4 ,new ,york ,critics4--,new ,york ,city has f\r m5 ( ! fir/ rank z writ]s on music1 n only = critical acum5 & te*nical k1 b also = lit]>y /yle4 ,h5ry ,t4 ,f9ck 0 born 9 ,miss\ri1 9 #ahed1 graduat$ f ,h>v>d ,univ]sity1 & /udi$ at ,g]man univ]sities = ?ree ye>s4 ,:5 he return$ to ! ,unit$ ,/ates he jo9$ ! editorial /aff ( ! ,ev5+ ,po/ & ! ,nation1 :i* places he /ill holds4 ,8 works 9 musical lit]ature are 8,wagn] & ,8 ,works10 8,pad]ewski & ,8 ,art10 8,songs & ,song ,writ]s10 & 8,*op9 & ,o!r ,essays40 ,h5ry ,e4 ,krehbiel 0 born at ,ann ,arbor1 ,mi*41 9 #ahed4 ,8 fir/ newspap] exp]i5ce 0 9 ,c9c9nati2 lat] he w5t to ,new ,york to ! ,tribune1 :i* place he /ill holds4 ,8 contributions to musical lit]ature are 8,/udies 9 ! ,wagn]ian ,drama10 8,h[ to ,li/5 to ,music10 & 8,music & ,mann]s 9 ! ,classical ,p]iod10 besides contributions to ! lead+ musical pap]s & g5]al magaz9es4 ,william ,j4 ,h5d]son 0 born at ,new>k1 ,n4 ,j41 9 #ahee1 graduat$ f ,pr9ceton ,univ]sity1 aft]w>d ent]+ j\rnalism 9 ,new ,york ,city1 be+ connect$ ) ! ,times1 & lat] ) ! ,sun4 ,8 books are di/9ctly educational 9 tone3 8,! ,/ory ( ,music10 8,h[ ,music ,develop$10 8,:at is ,good ,music10 8,! ,or*e/ra & ,or*e/ral ,music10 8,ri*>d ,wagn]3 ,8 ,life & ,dramas10 & 8,! ,art ( ! ,s+]40 ,a writ] on music :o has made a f9e reputation 9 lit]>y & dramatic criticism z well is ,james ,hunek]1 a native ( ,philadelphia1 ^: active "w has be5 done 9 ,new ,york ,city4 ,8 books ( int]e/ to ! musician are a 8,life ( ,*op910 8,mezzot9ts 9 ,mod]n ,music10 8,melomaniacs10 8,ov]tones10 8,iconocla/s0 & 8,vision>ies40 ,o!r ,writ]s 9 ?is field ^: "w des]ves m5tion are ,edw>d ,dick9son1 ( ,ob]l91 ,o41 ) two works1 8,hi/ory ( ,music 9 ! ,we/]n ,*ur*0 & 8,! ,/udy ( ! ,hi/ory ( ,music02 ,philip ,goepp1 ( ,philadelphia1 8,symphonies & _! ,mean+s02 ,daniel ,gregory ,mason1 ( ,bo/on1 8,f ,grieg to ,brahms02 ,lawr5ce ,gilman1 ( ,new ,york1 8,phases ( ,mod]n ,music02 ,pr(essor ,hugh ,a4 ,cl>ke1 ( ! ,univ]sity ( ,p5nsylvania1 8,music & ! ,comrade ,arts10 8,highways & ,by-ways ( ,music10 & sev]al excell5t !oretical works2 ,o4 ,b4 ,boise1 ,peabody ,cons]vatory ( ,baltimore1 ) a "w ( a hi/orical & critical nature1 8,music & ,its ,ma/]s10 & "s !oretical works2 ,rup]t ,hughes1 8,contempor>y ,am]ican ,compos]s4 ,,lesson ,,lx4 ,,musical ,,education4 ,e>ly ,musical ,education4--,! tra9+ ( /ud5ts 9 music has be5 ! special c>e ( ! greate/ m5 connect$ ) ! art1 a subject close to ! he>t ( m5 ( rank & ( means1 & ! object ( ,gov]nm5tal & municipal subv5tion4 ,9 mo/ ( ! c\ntries & _m ( ! l>g] cities ( ,europe1 ,art is consid]$ a legitimate object = public aid & fo/]+1 & music receives a fair %>e ( funds set aside = t purpose4 ,9 ! p]iod be=e ! ,*ri/ian ,era1 musical education 0 c>ri$ on to prep>e s+]s & play]s ei!r = ! religi\s s]vice1 & 9 ! h&s ( ! prie/s1 or = ent]ta9m5t & by slaves4 ,pope ,sylve/] f\nd$ a s*ool = s+]s1 at ,rome1 9 ! #d? c5tury1 & ! ,*ur* all ?r\gh its hi/ory has laid /ress on means = tra9+ executants = its musical s]vices4 ,guido ( ,arezzo1 cr$it$ ) a numb] ( re=ms 9 ! tea*+ ( vocal music1 is said to h _h a s*ool = tra9+ s+]s to read musical notation4 ,l him1 _m ( 8 successors 9 prom95ce 7 9 *>ge ( classes ( pupils1 yet ?is me?od by no means accords ) our ideas ( sy/ematic1 logical education 9 music4 ,x 0 l>gely ! p]sonal p[] & em95ce ( ! ma/] t attract$ & reta9$ pupils4 ,musical ,education 9 ,italy4--,! fir/ examples ( ! f\nd+ ( s*ools ( music or cons]vatories take u to ,italy4 ,! not$ !ori/ ,t9ctor or ,t9ctoris />t$ a s*ool at ,naples1 9 #adif1 b ?is did n la/ v long4 ,9 ! e>ly "p ( ! #af? c5tury1 sev]al in/itutions 7 f\nd$ by private contribution = ! purpose ( af=d+ homes & in/ruction to orphan$ *ildr54 ,ecclesia/ical music 0 at fir/ ! special object ( ^! s*ools4 ,! pupils sang 9 *oirs1 v>i\s religi\s (fices1 processions1 etc4 ,!re 7 f\r ( ^! in/itutions3 ,santa ,m>ia di ,loreto1 f\nd$ 9 #aece1 :i* _h on its ro/] su* em95t musicians z ,aless&ro ,sc>latti1 ,durante1 ,porpora1 ,sac*9i & ,guglielmi2 ,san ,on(rio1 f\nd$ 9 #aegf1 "s fam\s pupils be+ ,gizzi1 ,jommelli1 ,picc9i & ,paisiello2 ,de ,pov]i di ,ges ,cri/o1 e/abli%$ 9 #aehi1 numb]+ among its pupils1 ,greco1 ,v9ci1 & ,p]golesi2 ,della ,piet de' ,tur*9i1 />t$ 9 #aehd1 hav+ among its pupils1 ,leo1 ,caf>a1 & ,feo4 ,9 #agig1 ! fir/ two nam$ 7 unit$1 ! ?ird 0 *ang$ into a sem9>y = prie/s 9 #agdd1 & 9 #ahjh1 ! la/ 0 clos$1 & a s*ool ( music 0 e/abli%$ to take ! place ( ! rema9+ in/itutions4 ,?is s*ool1 :i* receiv$ ! title ,reale ,collegio di ,musica1 /ill exi/s4 ,v5ice rival$ ,naples 9 devotion to music1 & e>ly took measures to give musical in/ruction to ! w>ds ( *>itable in/itutions4 ,^! s*ools 7 n nam$ ,cons]vatorio1 z at ,naples1 b ,osp$ale 7hospital71 s9ce !y 7 a "p ( ! f\ndation = in/itutions to receive ! poor & infirm1 _! "w z cons]vatories develop+ gradually4 ,su* ma/]s z ,lotti1 ,galuppi1 ,sc>latti1 ,cim>osa presid$ ov] ! f\r s*ools be/ kn[n4 ,:5 ! ,republic fell1 ^! in/itutions collaps$ 9 ! f9ancial crisis t foll[$4 ,! pr9cipal music s*ool 9 ,v5ice at ! pres5t "t is ! ,liceo ,b5$etto ,m>cello1 :i* is subsidiz$ by ! city4 ,an ,italian cons]vatory ( anci5t date is ! "o at ,pal]mo1 :i* 0 e/abli%$ 9 #afae4 ,at ! pres5t "t x is a ,/ate in/itution4 ,! ,academy ( ,/4 ,cecilia1 at ,rome1 dates its orig9al f\ndation to a society ( musicians =m$ 9 #aeff1 a *>t] be+ grant$ by ,pope ,gregory ,,xiii1 9 #aehd4 ,! ,academy possesses ! l>ge/ & mo/ important musical libr>y 9 ,italy4 ,milan _h a s*ool ( music z e>ly z #adhc4 ,! celebrat$ !oretician1 ,gafurio1 0 ! fir/ great tea*]4 ,x 0 n p]man5t1 h[ev]1 & ?\gh !re 7 s*ools = s+]s !re f "t to "t1 x 0 n until #ahjg t ! municipality e/abli%$ a regul> s*ool ( music4 ,! fir/ s*ool ( music at ,bologna 0 e/abli%$ 9 #adhb1 b x did n become p]man5t4 ,9 lat] ye>s1 musical affairs 7 9 ! h&s ( academies = ! promotion ( arts & sci5ces4 ,9 #ahfd1 a s*ool 0 op5$ on mod]n l9es4 ,g5oa has a s*ool :i* 0 f\nd$ 9 #ahbi2 x is subsidiz$ by ! city4 ,! s*ool at ,flor5ce 0 op5$ 9 #ahfb1 & is ri*ly end[$4 ,a s*ool 0 heavily end[$ by ,ross9i & locat$ at ,pes>o1 8 bir?place4 ,! ,p>is ,cons]vatoire4--,to ,france belongs ! honor ( foll[+ closely 9 ! foot/eps ( ! ,italian au?orities4 ,9 #aghd1 a ,royal ,s*ool ( ,s++ 0 op5$ 9 ,p>is1 "u ! direction ( ,gossec1 ! compos]2 9 #agic x 0 enl>g$ 9 scope & 0 call$ ! ,national ,in/itute ( ,music2 9 #agie ! "n 0 *ang$ to ! ,cons]vatoire de ,musique1 :i* x /ill be>s4 ,9 #ahjj ! organization 0 fur!r modifi$ by ,bonap>te4 ,! in/itution receives an annual subv5tion f ! ,gov]nm5t4 ,?is s*ool is ju/ly consid]$ z "o ( ! greate/ 9 exi/5ce & has be5 ! c5tre ( musical tra9+ = practically all ! prom95t ,fr5* musicians4 ,a great inc5tive is ! celebrat$ ,prix de ,rome 7,roman ,prize71 :i* enables ! w9n] to sp5d ?ree ye>s 9 /udy 9 ,italy & ,g]many4 ,! libr>y is "o ( ! mo/ important 9 ,france1 & dates f ! f\ndation ( ! s*ool4 ,! ,museum1 :i* has "o ( ! f9e/ collections 9 ,europe1 0 e/abli%$ 9 #ahfd4 ,affiliat$ s*ools h be5 e/abli%$ 9 ! pr9cipal ,fr5* cities1 su* z3 ,m>seilles1 ,t\l\se1 ,nantes1 ,dijon1 ,lyons & ,r\54 ,musical ,education 9 ,g]many4--,among ! ,g]man cons]vatories1 t at ,prague is ! olde/4 ,x 0 f\nd$ 9 #ahaa4 ,besides music1 ! c\rse ( /udy provides = in/ruction 9 g5]al bran*es4 ,! viol9 dep>tm5t ( ?is s*ool is "o ( its /ronge/ features4 ,! cons]vatory at ,vi5na 0 op5$ 9 #ahag1 "u ! direction ( ,sali]i1 z a vocal s*ool2 o!r bran*es 7 add$ & by #ahba ! f\ndation 0 t ( a true cons]vatory4 ,! c\rse ( /udy is compreh5sive & ! s*ool has graduat$ a numb] ( em95t musicians4 ,x is "u ! patronage ( ! ,society ( ! ,fri5ds ( ,music4 ,probably ! ,g]man cons]vatory be/ kn[n to ,am]ican read]s is t f\nd$ at ,leipzig1 9 #ahdc1 by ,m5delssohn1 & ( :i* he 0 ! fir/ director4 ,! fund us$ 9 />t+ ! s*ool 0 "o ( #bj1jjj ?al]s bequea!d by a ,gov]nm5t (ficial 8= ! purposes ( art & sci5ce40 ,su* ma/]s z ,s*umann1 ,mos*eles1 ,f]d9& ,david1 ,plaidy1 ,ri*t] & ,re9ecke 7 memb]s ( ! faculty at diff]5t p]iods 9 ! hi/ory ( ! s*ool4 ,?is cons]vatory has _h a l>g] numb] ( ,am]ican pupils ?an any o!r ,g]man in/itution4 ,! olde/ cons]vatory 9 ,b]l9 0 a private in/itution4 ,! mo/ important s*ool is ! ,royal ,high ,s*ool = ,music1 :i* is a bran* ( ! ,royal ,academy ( ,arts1 & is "u ! patronage ( ! ,prussian ,gov]nm5t4 ,?is s*ool has ?ree sections1 ! "o = *ur* music 0 op5$ 9 #ahbb1 = musical composition 9 #ahcc1 t = executive art 9 #ahfi4 ,! viol9 s*ool1 "u ! direction ( ,joseph ,joa*im1 attracts pupils f all p>ts ( ! _w4 ,cologne has a cons]vatory :i* is aid$ f9ancially by ! municipality4 ,?is s*ool 0 e/abli%$ 9 #ahej1 ,f]d9& ,hill] be+ ! fir/ director4 ,! ,royal ,cons]vatory at ,dresd5 0 organiz$ 9 #ahef1 & has paid consid]able att5tion to its dep>tm5t = op]a4 ,muni* has a s*ool :i* receives ,/ate aid4 ,x 0 f\nd$ 9 #ahfg4 ,rhe9b]g]1 :o 0 tea*] ( composition "h1 drew a numb] ( ,am]icans to ! s*ool4 ,o!r s*ools receiv+ ,/ate or municipal subv5tions are ^? at ,wu]zburg1 ,weim>1 ,frank=t & ,wiesbad54 ,o!r ,european ,music ,s*ools4--,! o!r ,european c\ntries h also promot$ ! organization ( s*ools = tea*+ music4 ,! /ronge/ s*ools 9 ,switz]l& are ^? at ,zuri*1 ,g5eva1 ,basle & ,b]ne4 ,9 ,belgium are sev]al f9e s*ools3 at ,brussels1 f\nd$ 9 #ahac1 :i* is n[ a ,gov]nm5t in/itution1 at ,lige 7#ahbg71 at ,gh5t 7#ahcc71 & at ,antw]p1 ! latt] f\nd$ 9 #ahfg1 by ! not$ ,belgian compos]1 ,pet] ,b5oit4 ,^! f\r s*ools receive ,/ate aid4 ,holl& has ?ree cons]vatories 9 h] ?ree l>ge cities1 ,am/]dam1 ,rott]dam & ,! ,hague4 ,sc&9avian musical education is c>$ = by ! cons]vatories at ,cop5hag51 ,*ri/iania & ,/ockholm1 ! la/ be+ "u ,gov]nm5t patronage4 ,spa9 has cons]vatories at ,madrid1 ,s>agossa & ,val5cia1 & ,portugal1 "o at ,lisbon4 ,greece su/a9s a s*ool at ,a!ns4 ,/4 ,pet]sburg ,cons]vatory4--,a cons]vatory ( great importance is t f\nd$ at ,/4 ,pet]sburg ?r\gh ! ex]tions ( ! fam\s compos]1 ,anton ,rub9/e94 ,9 #ahei1 he organiz$ ! ,russian ,musical ,society1 ! fir/ object ( :i* 0 to give amateurs an opportunity to practice or*e/ral play+4 ,*anges 9 ! policy ( ! ,society 7 gradually introduc$1 bran*es 7 f\nd$ 9 sev]al o!r cities1 among !m ,mosc[1 & s]i\s ef=ts 7 inaugurat$ to organize a music s*ool 9 ! ,capital4 ,! fir/ in/ruction 0 giv5 gratuit\sly1 money 0 rais$ 9 private circles & a floor 0 r5t$ 9 a private h\se 9 #ahfb = ! use ( ! s*ool4 ,! ,emp]or ,alex&] ,,ii gave to ! s*ool an annuity ( #ejjj rubles & a build+ :i* 0 ! prop]ty ( ! ,cr[n4 ,9 #ahff ! "n 0 (ficially designat$ z ,cons]vatory1 & f t "t on sev]al memb]s ( ! ,royal family became patrons ( ! s*ool1 socially z well z f9ancially4 ,rub9/e9 0 ! fir/ director4 ,! build+ at pres5t occupi$ by ! s*ool 0 =m]ly ! ,gr& ,!atre & is v completely furni%$ = ! purposes ( ! ,cons]vatory1 hav+ two conc]t halls1 museums1 libr>y1 class rooms1 *apel1 etc4 ,among ! graduates ( ! in/itution are ,t*aikovsky1 ,glaz\n(f1 ,balakireff1 ,ar5sky1 ,liad[1 ,gabril[its*1 ,sapellnik(f & ,felix ,blum5feld4 ,musical ,education 9 ,engl& is well c>$ =1 pr9cipally by ! /rong s*ools 9 ,london1 ( :i* !re are f\r t call = p>ticul> notice4 ,! ,royal ,academy ( ,music is ! olde/2 x 0 f\nd$ 9 #ahbb4 ,?is in/itution has _h royal patronage f ! beg9n+4 ,! ,briti% public has g5]\sly repli$ ) subscriptions to appeals made = funds at diff]5t p]iods 9 ! hi/ory ( ! s*ool1 ! ,gov]nm5t grant be+ revok$ on sev]al occasions4 ,at ! pres5t "t ! rev5ues are a ,gov]nm5t grant1 subscriptions1 donations1 & /ud5ts' fees4 ,su* em95t musicians z ,dr4 ,crot*1 ,/]ndale ,b5nett & ,sir ,george ,macf>r5 h fill$ ! position ( pr9cipal ( ! s*ool4 ,sir ,a4 ,c4 ,mack5sie is ! pres5t head4 ,a /rong rival to ! ,royal ,academy is ! ,royal ,college ( ,music1 :i* is ! outgr[? ( ! ,national ,tra9+ ,s*ool = ,music1 f\nd$ by ! ,society ( ,arts 9 #ahgf1 ,sir ,ar?ur ,sullivan1 fir/ pr9cipal4 ,x 0 9 #ahhc t ! in/itution pass$ into ! h&s ( ! newly-organiz$ ,royal ,college ( ,music4 ,! funds ( ! college come f fees1 subscriptions & end[m5ts4 ,sir ,george ,grove 0 director = a numb] ( ye>s & 0 succe$$ by ,sir ,c4 ,h4 ,hub]t ,p>ry1 ! em95t compos] & !ori/4 ,tr9ity ,college is ! outgr[? ( ! activity ( a musical society =m$ to promote *ur* music & s++4 ,9 #ahha x 0 incorporat$ "u ! "n x n[ be>s & ! scope ( its in/ruction ext5d$4 ,! ,guildhall ,s*ool ( ,music is "u ! patronage ( ! au?orities ( ! ,city ( ,london4 ,?is in/itution 0 f\nd$ 9 #ahhj1 & has a v l>ge att5dance4 ,! pres5t director is ,mr4 ,w4 ,h4 ,cumm+s4 ,! lead+ ,engli% univ]sities1 ,cambridge1 ,ox=d1 ,london1 ,durham1 & t at ,ed9burgh & ,dubl9 h c\rses 9 ! !ory ( music1 lead+ to degrees4 ,musical ,education 9 ! ,unit$ ,/ates3 ,bo/on4--,! ,unit$ ,/ates has no s*ools ( music "u ,gov]nm5tal or municipal direction1 & none :i* receive subv5tions1 & b "o1 e/abli%$ 9 #aije1 9 ,new ,york ,city1 :i* is end[$4 ,! spread ( musical education has be5 due to ! en]gies & 9 _m cases ! sacrifices ( musicians & music lov]s 9 ! l>g] cities4 ,9 ,lesson ,,lvii ref]5ce 0 made to societies 9 ! ?ree l>ge ,am]ican cities1 ,bo/on1 ,new ,york & ,philadelphia1 to fur!r musical education4 ,! olde/ true music s*ool 9 ! ,unit$ ,/ates is ! ,new ,engl& ,cons]vatory ( ,music1 9 ,bo/on1 f\nd$ by ,dr4 ,t\rje1 9 #ahfg4 ,a notable feature 0 ! dormitory = female /ud5ts4 ,em95t in/ructors 7 engag$1 bo? =eign]s & ,am]icans1 & ! s*ool quickly e/abli%$ a reputation z ! lead+ in/itution = musical education4 ,dr4 ,t\rje 0 succe$$ 9 ! director%ip by ,mr4 ,c>l ,faelt51 :o resign$ aft] sev]al ye>s ( s]vice & 0 foll[$ 9 ! (fice by ,mr4 ,george ,w4 ,*adwick1 ! pres5t director1 9 #ahig4 ,9 #aijb a new build+ 0 erect$ l>gely ?r\gh ! b5efactions ( sev]al public-spirit$ citiz5s ( ,bo/on4 ,among ! tea*]s :o ex]t$ a /rong influ5ce on ,am]ican pupils may be m5tion$ ,/eph5 ,a4 ,em]y1 ,a4 ,d4 ,turn]1 ,lyman ,w4 ,:eel]1 ,c>lyle ,pet]silea1 ,otto ,b5dix & ,george ,e4 ,:it+4 ,a s*ool 9 ,bo/on1 ) special /r5g? 9 ! viol9 dep>tm5t1 0 ! ,bo/on ,cons]vatory1 f\nd$ by ,julius ,ei*b]g4 ,! ,we/4--,9 #ahgh1 sev]al music-lov+ citiz5s ( ,c9c9nati e/abli%$ ! ,c9c9nati ,college ( ,music1 ) ,!odore ,?omas z ! fir/ director4 ,aft] him came v>i\s memb]s ( ! faculty1 & 9 #ahig1 ,mr4 ,frank ,van d] ,/uck5 accept$ ! po/ ( dean ( ! faculty4 ,9 connection ) ! ,c9c9nati ,symphony ,or*e/ra & ! ,fe/ival ,association1 ! ,college ( ,music has be5 a p[]ful factor 9 ! musical life ( ! city4 ,z an educational =ce x has done mu* = music 9 ! ,we/ & ! ,s\?we/1 & its pupils h c>ri$ into all sections ( ! tribut>y ,/ates s\nd musical precepts4 ,*icago has1 at ! pres5t day1 sev]al s*ools1 organiz$ & conduct$ by private ent]prise1 :i* are do+ spl5did "w & h made ! city ! musical c5tre ( ! ,we/4 ,musicians ( ! highe/ rank h be5 br\ght to ! ,unit$ ,/ates by sev]al ( ^! cons]vatories1 to ! b5efit ( musical art 9 ,*icago & ! ,we/]n ,/ates4 ,ob]l9 ,cons]vatory ( ,music1 a dep>tm5t ( ,ob]l9 ,college1 may be tak5 z a type ( ! ,am]ican idea ( musical "w 9 an in/itution ( le>n+4 ,! s*ool has a /rong faculty & a l>ge numb] ( pupils1 ^: "w receives cr$it = graduation 9 ! college c\rses2 ! /ud5ts 9 music h all ! privileges ( ^? ent]$ 9 ! regul> colleges4 ,ob]l9 has be5 a great factor = musical progress 9 ! ,middle ,we/4 ,! ,ea/4--,new ,york ,city has two s*ools t des]ve m5tion3 ! ,national ,cons]vatory ( ,music1 f\nd$ by ,mrs4 ,jeannette ,?urb]1 a s*ool :i* has (f]$ z tea*]s to ! ,am]ican pupils su* musicians z ,rafael ,joseffy & ,anton9 ,dvok2 ! ,in/itute ( ,musical ,art1 op5$ 9 #aije1 ) ,frank ,damros* z director1 ) a faculty ( high repute1 bo? ,europeans & ,am]icans4 ,?is s*ool />t$ ) an end[m5t ( #ejj1jjj giv5 by ,mr4 ,james ,loeb1 a ,new ,york bank]4 ,a s*ool ( music manag$ on cons]vative l9es has exi/$ = a numb] ( ye>s 9 ,baltimore1 9 connection ) ! ,peabody ,in/itute1 :i* 0 end[$ by ! bank]1 ,george ,peabody4 ,at ! pres5t "t ne>ly e city ( importance 9 ! ,unit$ ,/ates conta9s "o or m cons]vatories1 manag$ on a /rictly bus9ess basis1 & furni%+ to ! p ( _! communities ?or\gh in/ruction at reasonable co/4 ,9 ! ,colleges4--,! important ,am]ican in/itutions = high] education1 bo? = m5 & = wom51 h recogniz$ ! claim ( music to a place 9 ! curriculum1 & h provision = in/ructions 9 ! !ory1 hi/ory & e/hetics ( music1 _m also hav+ facilities = in/ructions 9 ! practical side ( music4 ,h>v>d1 ,yale1 ,columbia1 ,p5nsylvania1 ,mi*igan1 ,cali=nia & ,nor?we/]n ,univ]sities h e/abli%$ pr(essor%ips ( music1 & h call$ em95t musicians to ! po/s4 ,! "w done 9 hundr$s ( s*ools ( less reputation is a great factor 9 spread+ musical culture ?r\gh\t ! c\ntry4 ,,index4 ,adam1 #cee ,aeolian1 #cj ,akkadians1 #be1 #cf ,alb5iz1 #dig ,alb]ti1 #beb ,alkan1 #ddc ,amati 7,amhtee71 #cag ,ambrose1 #fc ,am]ican ,indian ,music1 #eca ,am]ican ,music1 #ebe ,angleb]t d'1 #beh ,antiphony1 #ei ,apollo1 ,hymn to1 #dh1 #di ,ap?orp1 #eej ,ar*ology1 #bj ,ar*]1 #afh ,ar*ilute1 #aea ,ar5sky1 #eba ,arghool1 #aej ,aria1 #aij ,ari/otle1 #dg ,ari/ox5us1 #dg ,arkadelt1 #abh1 #acf1 #adj1 #adc ,a/orga1 #bbi ,aub] 7,o-b>e71 #cee1 #ceg ,au!ntic1 #fd1 #ff ,babylonian ,music1 #bd1 #cf ,ba* 7,bakh71 ,c4 ,p4 ,e41 #bgi ,ba*1 ,j4 ,c41 #bgh ,ba*1 ,j4 ,s41 #abh1 #afd1 #bbh1 #bdd1 #bfi1 #ccg1 #dci ,ba*1 ,w4 ,f41 #bgh ,baillot 7,ba-yo71 #cbh ,balakireff 7,balakereff71 #ddb1 #eag ,balfe 7,bolf71 #baj ,ballad1 #dee ,ballad ,op]a1 #baj ,ballet 7,ballay71 #bjc ,bantock1 #ejb ,b>ds1 #gg ,bassoon1 #adi ,bati/e 7,batee/71 #aff ,bau] 7,b[]71 #ddg ,bea*1 #eda ,bee?ov5 7,baytov571 #ah1 #bb1 #bca1 #bii1 #cjg1 #cch1 #dci ,bell9i 7,bellenee71 #cfb ,b5da1 #bgg1 #cej ,b5nett1 ,w4 ,s41 #dje1 #dei ,b5oit 7,b5wah71 #ejc ,b]gonzi 7,b]gontsee71 #cai ,briot1 de 7,b>eeoh71 #ccb ,b]l91 #eee ,b]lioz 7,b>eleoh71 #cci1 #dcc1 #dei1 #dfc ,b]nh>d1 #aei ,b]nac*i 7,b]nkkee71 #aii ,be/1 #afg ,bib]1 7,beeb]71 #cbc ,bill+s1 #ebf ,b9*ois 7,ban%wah71 #aab ,bizet 7,beezeh71 #cgd ,blockx 7,block71 #eje ,bl[1 #afd ,blum5feld1 #ebb ,boe?ius1 #dh1 #gj ,bhm1 ,j4 7,bame71 #cca ,bhm1 ,t41 #cch ,boieldieu 7,bwah-el-dyu71 #cee ,boise 7,boyce71 #eea ,boto 7,boto71 #cge ,bologna1 #eed ,borod91 #eai ,bos*i 7,boskee71 #bja ,bossi 7,bossee71 #afg1 #die ,brahms1 #dci1 #deh1 #dei1 #dfc ,brass9 7,brahssan1 nasal n71 #dch ,breitn] 7,brit5]71 #dde ,bridge1 #eja ,broadwood1 #bdc ,bru* 7,brookh71 #dgh ,brumel 7,broomel71 #abf ,bruneau 7,bruno71 #dhe ,brussels1 #eee ,buck1 #dfj1 #edc ,bull1 ,j41 #afd1 #beg ,bl[ 7,beel[71 von1 #dcg ,bung]t 7,bong]t71 #cgd1 #dgf ,buonamici 7,boname*ee71 #ddh ,buongiorno 7,bonzhrno71 #dif ,busnois 7,b9wah71 #aab ,busoni1 #ddh ,buxtehude 7,book/ehodeh71 #afc1 #bfe ,byrd 7,bird71 #aba1 #add1 #afd1 #bef ,cacc9i 7,ca*enee71 #age1 #agg ,caff>elli1 #aii ,cald>a 7,caldhra71 #bbf ,camb]t 7,camb>e71 #bjd ,canon1 #aji1 #aaa1 #abf ,cantata1 #agd ,capocci 7,cap*ee71 #afg ,c>e/9i 7,c>e/enee71 #bja ,c>issimi1 #ahd1 #bbf ,c>reo 7,c>a9yo71 #dea ,cassi odorus1 #gd ,cavalire 7,cavaliire71 #agi ,cavalli 7,cavllee71 #ahd ,celts1 #gg ,c5sor9us 7,c5sore5us71 #gd ,ce/i 7,*e/ee71 #ahd ,*abri] 7,*ahbrieh71 #dhg ,*adwick1 #ecf1 #edd ,*aldans1 #bd1 #cf1 #cg ,*ambonnires 7,%ambonniair71 #beh ,*am9ade 7,%am9ahd71 #dhh ,*anson 7,%anson1 nasal n71 #add1 #dee ,*>lemagne 7,*>lmanye71 #gg ,*>p5ti] 7,%>pahntieh71 #dhe ,*ausson 7,%[son1 nasal n71 #dhg ,*e1 #bf1 #bh ,*elys 7,kellis71 #ef ,*]ub9i 7,k>oobenee71 #bbc ,*9ese ,music1 #be-bi ,*op9 7,%[pan1 nasal n71 #chg1 #dag1 #dbe ,*orale1 #afe1 #bbg ,*orus1 ,greek1 #eg ,*romatic ,scale1 ,greek1 #ee ,*ur* ,scales1 #fd ,cim>osa 7,*im>oza71 #aic ,c9c9nati ,college ( ,music1 #eeh ,ci?>a 7,kt>a71 #ef ,cl>9et1 #aej1 #cch ,cl>ke1 #eea ,claudius ,ptolemy1 #dh1 #fc ,clavicembalo 7,clavi*emblo71 #bdj ,clavi*ord1 #bcg ,clem5ti1 #ah1 #chj ,col]idge-,taylor1 #ejb ,cologne1 #eee ,conc]to 7,con*airto71 #cbc ,conductus1 #hc1 #aja ,confucius1 #bf1 #bg1 #bi ,contra ,bass1 #cba ,corelli1 #bej1 #cbc ,cotton1 ,john1 #ge ,c\ncil ( ,tr5t1 #ada ,c\nt]po9t1 #aaa ,c\p]9 7,koop]an1 nasal n71 #beh ,c[51 #ejj ,cram] 7,krahm]71 #chb ,cresc5t9i 7,cres*5tenee71 #bja ,cri/(ori 7,cri/(ree71 #bda ,cr\? 7,croo?71 #gg1 #aec ,cui 7,koee71 #eah ,cz]ny 7,*airny71 #chd1 #dbe ,d',alb]t 7,dolb>e71 #dcg1 #dgg ,damros*1 ,w41 #ebi1 #edd ,dance ,tunes1 #bdh ,daqu9 7,dahkan1 nasal n71 #bei ,david 7,dahvid71 #ccj ,debussy 7modifi$ u1 simil> to ,g]man 71 #dhf ,de,handlo1 #aba ,dekov51 #edd ,delaborde1 #ddd ,delibes1 7,deleeb71 #dhc ,diapason1 #ei ,diaphony1 #gc1 #ic ,dick9son1 #eea ,didymus1 #dh ,dim] 7,diaimeh71 #ddd ,di ,ruta 7,di ,roota71 #bej ,di ,salo 7,di ,sahlo71 #caf ,discant1 #gc1 #ajd ,dom9ant1 #ff ,donizetti1 #cfa ,dont 7,don1 nasal n71 #cca ,dorian1 #cj1 #eb1 #ed1 #fd ,d[l&1 #add ,drama1 #agb ,dresd51 #eee ,dubois 7,doobwah71 #afg1 #dhg ,ducis1 #afa ,dufay1 #aab ,dulcim]1 #bcg ,dun/able1 #aba ,dupont 7,doopon1 nasal n71 #dci ,durante 7,doorhntay71 #beb ,dvok 7,dvorzhak71 #cgg1 #dei1 #ejh ,dwight1 #edg ,ecclesia/ical ,scales1 #eb1 #fd ,eck1 #cbi ,eddy1 #edg ,edw>des1 #add ,egyptian ,music1 #ch-da ,elg>1 #dfj1 #eja ,elson1 #eej ,engli% ,music1 #hj1 #aae ,engli% ,op]a1 #bjg ,engli% ,op]a1 typical1 #bji ,enh>monic ,scale1 ,greek1 #ef ,enna1 #eab ,equal ,temp]am5t1 #bdc ,er>d 7,air>71 #bdc ,erkel 7,airkle71 #eaj ,ern/1 7,airn/71 #cca ,essip(f1 #dea ,e?nology1 #ba ,euclid1 #dh ,faburd51 #gc ,f>9elli1 #bjj ,fas* 7,fah%71 #bgg ,faur 7,=ay71 #dac1 #dhg ,f]ri1 #aii ,fibi* 7,feebikh71 #eaj ,fidelio 7,fidaylo71 #bbb ,fidula1 #aec ,field1 #chg1 #dba ,f9ck1 #eea ,f9l&1 #ha ,fiorillo 7,feeorillo71 #cbi ,flor5ce1 #agc1 #eed ,flor5t9e ,s*ool1 #agg ,flute1 #bh1 #ch1 #ef1 #adi1 #cch ,folk-,song1 #he1 #if1 #aaa1 #ejg1 #eaf1 #eca ,foote1 #eci ,=m1 #ah ,fran*etti 7,frankettee71 #did ,franck1 #afg1 #dei1 #dhc ,franco ( ,cologne1 #gb1 #ajd ,franco ( ,p>is1 #ajd ,franz 7,frahnts71 #deg ,fr5* ,op]a1 #bjc ,frescobaldi 7,frescobahldee71 #afb1 #bdi ,frob]g] 7,frobairg]71 #afb1 #bfd ,fugue 7,fewg71 #aaa1 #abf1 #bfe ,fux 7,fooks71 #afc ,gabrieli1 ,a41 #acf1 #afb1 #bdg ,gabrieli1 ,g41 #acf1 #afb1 #bdh ,gabril[its* 7,gabrlovit*71 #ddg ,gade 7,gahdeh71 #dje ,gagliano 7,galyno71 #agg1 #cai ,galilei 7,galilaee71 #agd ,galio-,belgic ,s*ool1 #ajg1 #abd ,gamut1 #fg ,ga/oldi1 #add ,gauls1 ,music ( !1 #gg ,gav9is 7,gavniez71 #cbh ,gem9iani 7,zhem9ehnee71 #cbe ,g5oa1 #eed ,g]man1 ,e1 #ejc ,g]man ,op]a1 #baa ,gevart1 #dch ,gibbons1 #aba1 #add1 #afd1 #beg ,gil*ri/1 #ecf ,gilson 7,zhilson1 nasal n71 #ejd ,giordano 7,zhordhno71 #dic ,gipsies1 #cc ,glaz\n(f 7,glazon(71 #ebj ,gl9ka1 #cgg1 #eaf ,gluck 7,glook71 #bae ,god[sky 7,godffsky71 #ddi ,goldm>k1 #dgb ,gomb]t 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,sa*s 7,sakhs71 #hf ,safon(f 7,safn(f71 #ddc ,sa9t ,pet]sburg ,cons]vatory1 #eef ,sa9t-,sans 7,san-,sahnz1 nasal n71 #afg1 #ddd1 #dei1 #dha ,sali]i 7,solyairee71 #bbc ,sambuca1 #cg ,santir1 #ch ,sapellnik(f 7,sapllnik(f71 #ddb ,sau] 7,s\r71 #dch ,scales1 #bb1 #bi ,sc&9avian ,music1 #hj ,sc>latti1 ,a41 #ahg1 #aif1 #bbf1 #bej1 #ccf ,sc>latti1 ,d41 #bea1 #bff ,s*eidemann 7,%ydemann71 #afc ,s*eidt 7,%ite71 #afc ,s*ill+s1 #dge ,s*midt1 ,b41 #afb ,s*neid]1 #aff ,s*op5hau] 7,%op5h[]71 #ba ,s*rt] 7,%rayt]71 #bdb ,s*ub]t1 #cia1 #def ,s*umann1 ,cl>a1 #dea ,s*umann1 ,r41 #ah1 #cie1 #dja1 #djg1 #dag1 #dbe1 #dci1 #deg ,s*tz 7,%eets71 #baa1 #bbg ,s*ytt 7,skittay71 #eac ,scotti% ,music1 #gi ,scriab9e 7,skrehbe571 #ddc1 #ebb ,se1 #bh ,seidl 7,sidle71 #ecc ,s5es9o 7,s5ese5o71 #aii ,sevcik 7,%ev*ik71 #ccc ,sgambati 7,sgambhtee71 #ddh1 #did ,%awm1 #aej ,%elley1 #edb ,%5g1 #bf ,%]wood1 #dej ,%o1 #bi ,%(>1 #aej ,sibelius 7,seebailius71 #eac ,sievek+ 7,seevehk+71 #ddg ,silb]mann1 #bdb ,siloti1 #ddb ,s9d+1 #ddh1 #eaa ,s9fonia1 #aia1 #cbb ,s++1 #aie ,s+spiel 7,s+speel71 #bab1 #bbj ,sjgr5 7,%agren71 #eac ,slav9ski1 #ddg ,sm>t1 #afg ,smetana1 #cgg1 #ejg ,somis 7,somee71 #cbe ,sonata1 #bdg1 #bgd1 #bhh1 #bie1 #cjc1 #cji1 #cbb1 #daa ,song1 #cie1 #ded1 #dfh ,sp>k1 #afg ,spielop] 7,speelop]71 #cea ,sp9et1 #bci ,spohr 7,spo>71 #bcb1 #cbi1 #cej ,spont9i 7,spontenee71 #bbc ,/abat ,mat] 7,/ahbat ,maht]71 #bbh ,/a9]1 ,jakob 7,/yn]1 ,yahkob71 #cai ,/a9]1 ,john 7,/ayn]71 #afg ,/an=d1 #dig ,/av5hag5 7,/ahv5hahg571 #dch ,/*]bat*eff1 #eba ,/e91 7,/9e71 #bdc ,/]nb]g1 von1 #edf ,/oj[ski 7,/oy(fski71 #ddg ,/radella1 #bbf ,/radiv>ius1 #cai ,/rauss 7,/r\s71 ,r41 #cci1 #cgd1 #dcc1 #deh1 #dfc ,/rei*] 7,/rikh]71 #bdc ,/r+$ ,in/rum5ts1 #adg1 #aej ,suite1 #bdi ,sullivan1 #baj1 #dfj ,sum] is ,icum5 91 #aag ,sum]ians1 #be ,sv5ds51 #eab ,sweel9ck 7,swal9k71 #abh1 #afb ,sylve/]1 ,pope1 #fc ,symphonia1 #cg ,symphonic ,poem1 #cdb1 #dcc ,symphony1 #ei1 #cdb1 #daa ,syr9x1 #fb1 #adh1 #aef ,szum[ska-,adam[ska1 #ddg ,tablatura1 #hf1 #aea ,tallis1 #aba1 #afd1 #beg ,taneiff 7,tanaeff71 #eba ,tang5t1 #bch ,t>t9i 7,t>tenee71 #cbe ,tausig 7,t\sig71 #dcf ,t*aikovsky 7,*ik(fsky71 #ebb ,t*e1 #bh ,t]p&]1 #dg ,tetra*ord1 #dg1 #ej ,tetra*ordon1 #ef ,?ay]1 #eej ,!ile 7,tyleh71 #bab ,!orbo1 #aea ,?iele 7,teeleh71 #aff ,?omas 7,toamah71 ,a41 #dhc ,?omas1 ,t41 #ebh ,tieff5bruck] 7,teef5brook]71 #caf ,t9ctoris1 #abg1 #ace ,t9el1 #ejd ,ti-,tzu1 #bh ,tonus ,p]egr9us1 #fc ,torelli1 #cbc ,tosi 7,tozy71 #aih ,t\rte 7,toort71 #cbj ,tremolo1 #ahc ,tr5t1 ,c\ncil (1 #ada ,tritone1 #ge ,tromba ,m>9a 7,m>ena71 #aea1 #aeb ,tr\bad\rs1 #hc ,tr\vres 7,troovair71 #hb ,trumpet1 #aej ,tye1 #aba ,ugab 7,oogabh71 #adh ,unity1 #ajb1 #aji ,upton1 #edh ,van d] ,/uck51 #edj ,v5etian ,s*ool1 #ahd ,v5ice1 #eec ,v]ac9i 7,vaira*enee71 #cbe ,v]di 7,vairdee71 #cfa1 #cge ,vi5na1 #eed ,vieuxtemps 7,vyutom1 nasal71 #ccb ,v9a 7,ve5a71 #ca1 #cb ,viol1 #ade1 #aea1 #aed1 #cae ,viol91 #cae1 #cbj ,viol9 ,b[1 #cai ,viol9 ,play+1 #cbb ,violoncello 7,veeolon*llo71 #cbj ,viotti 7,veetti71 #cbh ,virg9al1 #bci ,virg9al ,book1 #bef ,vitali 7,vethlee71 #cbc ,vivaldi 7,veevhldee71 #cbe ,vuillaume 7,vweleyome71 #cai ,waelrant 7,wal]ant71 #add ,wag5seil 7,vahg5sile71 #bgh ,wagn] 7,vahgn]71 ,r41 #cci1 #cfj1 #cfd1 #deh ,wagn]'s 7,r47 ,!ory1 #cfi1 #dcc ,wagn]1 ,s41 #dgf ,web] 7,vab]71 #cdf1 #cig ,weelkes1 #add ,we+>tn] 7,v9eg>tn]71 #dgj ,well-,temp]$ ,clavi*ord1 #bga1 #cjj ,wesley1 #afg ,widor 7,we$o71 #afg1 #dhg ,wieck 7,veek71 #djh ,wilbye1 #add ,wilhelmj 7,vilhelmyeh71 #ccj ,willa]t1 #abh1 #ace1 #adc1 #afb1 #bdg ,w9d ,in/rum5ts1 #adg1 #adh ,wolf1 ,h41 #dgh ,wolf-,f]r>i 7,f]rhree71 #dif ,ysaye 7,esyeh71 #ccb ,zeel&ia 7,zalahndia71 #aab ,zeisl] 7,zisel]71 #dea ,,footnotes3 #a ,9 8 "w 8,! ,p[] ( ,s\nd0 ,gurney has tak5 up 9 detail ,h]b]t ,sp5c]'s !ory ( ! orig9 ( music4 #b ,/a9]1 9 8,music ( ! ,bible10 incl9es to believe t ! ,sambuca 0 a l>ge h>p ( ! k9d us$ 9 ,egypt4 #c ,maspro1 ! ,egyptologi/1 says t aft] ! tomb has be5 seal$1 ! family & gue/s return to ! h\se ( ! deceas$1 to a banquet1 aft] :i* ! 8la/ l9k :i* holds ! dead to ! family is brok54 ,! sacr$ h>pi/ plays a prelude1 !n1 /&+ be=e a /atue ( ! deceas$1 *ants ! dirge fir/ sung long ago at ! fun]al ( ! ,ph>aoh ,ant\f3 #8,! _w is b p]petual movem5t & *ange4444 ,n all ! lam5tations 9 ! _w w re/ore happ9ess to ! man :o is 9 ! sepul*re2 make !n a good-day & d n be idle 9 enjoy+ ?yself4'0 #d ,smi?4 #e ,?is treatise is n[ attribut$ to ,cleonidas1 writ+ ab\t #abj ,a4 ,d4 #f ,by ?is is meant t all int]vals ( ! major second1 s-call$1 are n equally l>ge & _c be1 if a correct division ( f\r?s & fif?s be desir$4 ,didymus made ! int]val f ,c to ,d small] ?an ! o!r seconds ( ! scale2 ,ptolemy put ! 8m9or0 tone betwe5 ,d & ,e1 :]e x is n[ plac$4 #g ,"s inve/igators claim t "s ( ^! melodies 7 "p ( ! ,temple s]vice at ,j]usalem1 mak+ ! specific /atem5t t ! melody us$ 9 "s liturgical s]vices1 & kn[n z ! ,tonus ,p]egr9us1 is bas$ on a ,temple *ant4 #h ,a f9e acc\nt ( _! me?ods is f\nd 9 ,rob]t ,l\is ,/ev5son's novel 8,kidnapp$40 #i ,m5tion ( prom95t ,am]ican organi/s & tea*]s is made 9 ,lesson ,,lix4 #aj ,see especially ,op4 #ad1 ,no4 #b1 fir/ movem5t4 #aa ,grove's ,diction>y says #afaa4 #ab ,see ,wasielewski3 ,die ,viol9e und ,ihre ,mei/]4 #ac ,?is ?ird s\nd w correspond to ! diff]5ce ( ! vibration numb]s ( ! o!r two4 #ad #aijg4 #ae ,8 "m's "n1 ,b>?oldy1 0 add$ to di/+ui% ?is bran* f o!r ,m5delssohn families4 ,transcrib]'s ,notes3 ,und]scores be=e & aft] a ^w or phrase indicate italics 9 ! orig9al text4 ,equal signs be=e & aft] a ^w or phrase indicate bold 9 ! orig9al text4 ,small capitals h be5 conv]t$ to ,,solid capitals4 ,illu/rations h be5 mov$ s !y d n break up p>agraphs4 ,old or antiquat$ spell+s h be5 pres]v$4 ,typographical errors h be5 sil5tly correct$ b o!r v>iations 9 spell+ & punctuation rema9 unalt]$4