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http://www.archive.org/details/chopinsgreaterwoOOklec

CHOPIN'S

GREATER WORKS

WORKS RELATING TO
Handbook to Chopin's Works.
all

Giving a Detailed Account of

the Compositions of Chopin.

Piano Student.

By G.

C.

CHOPIN.

Short Analyses for the

Ashton Jonson.

Guide

Concert-Goers, Pianists and Pianola- Players.

for

Cr. 8vo,

cloth, 6s.

Man and

His Music. By James Huneker.

With Musical 'Examples. Thick cr. 8vo, cloth, ios.

Chopin: The

Chopin:

As Kevealed by Extracts from His

Count Tarnowski.
N. Janotha.

The

Life

Translated from

Diary.

the

Polish

By
by

Portraits, cr. 8vo, cloth, 2s. 6d. net.

and

Letters

Karasowski.

of

Frederic

Translated from the

Chopin.

German by

By M.
E. Hill.

2 vols., cr. 8vo, cloth, ios.

The Works of Chopin and Their Proper Interpretation.

By J. Kleczynski. Translated by A. Whittingham.
Cr. 8vo, cloth,

3s. 6d.

Frederic Chopin, Life

in full for the first

By Franz Liszt. Translated

of.
time by John Broadhouse. Cr. 8vo,

cloth, 6s.

London: William Reeves.

fl"-

--

--'.
I,.
:
'

"

;
:

'-.;3'

CHOPIN.

'"'

ntipii

<

hoping

c.i

ah

Wnrkt.

CHOPIN'S GREATER

WORKS

(PRELUDES, BALLADS, NOCTURNES,

POLONAISES, MAZURKAS)

HOW THEY SHOULD

BE UNDERSTOOD

BY

JEAN

KLECZYNSKI

INCLUDING

CHOPIN'S NOTES FOR A

"METHOD OF METHODS."

TRANSLATED WITH ADDITIONS BY

NATALIE JANOTHA

WITH THREE PORTRAITS AND A FACSIMILE

LONDON:
WILLIAM REEVES, 83 CHARING CROSS ROAD,
SECOND EDITION

W.C.

Printed by The

Mew Temple

Press, 17 Grant Dead, Croydcn

THIS TRANSLATION

IS

DEDICATED

BY SPECIAL PERMISSION
TO

H.R.H.

THE PRINCESS BEATRICE,

PRINCESS HENRY OF BATTENBERG.

CONTENTS.

Preface

----------

Notes for a "Method of Methods

Lecture

Lecture

II

Lecture

III

ILLUSTRATIONS.
Portrait of

Chopin from an

oil

painting.

Portrait of Princess Czartoryska.

Portrait of

Chopin from a sketch.

Facsimile of Mazurka in C.

PAGE

g
,j

13

17

53

73

The

Rt.

Hon. W. E. Gladstone to his

Daughter, Mrs. Drew.

" /

am

Janotha
tion

of

extremely glad to hear that Miss

is

giving her aid to the interpreta-

Chopin,

whom

she

so

deeply

venerates, for I feel sure that no one living

is

more competent

to

do

it"

PREFACE.

ALL

musical students will be interested by the

publication
which,

delivered

of

at

Kleczynski's

Warsaw

in

last

are

1883,

lectures

highly

esteemed in the author's native land.

The following

letter

was addressed by the Prin-

cess Marceline Czartoryska, the illustrious friend

and

pupil of Chopin to the author of these lectures on

the occasion of the publication of an earlier series

of lectures;'* which,

full

cient introduction to

any work concerning Chopin

of

appreciation,

is

suffi-

"Monsieur Kleczynski, Vos belles pages sur l'CEuvre

de Chopin m'ont vivement interessee
vivement charmee,
*

elles

seront, je

et,

non moins

n'en doute pas,

''The Works of Chopin and their Proper Interpreta-

tion," translated by A. "Whittingham (London:

New York

C. Scribner's Sons).
9

W. Reeves:

PREFACE.

10

un

complement a

tres utile

l'etude d'un maitre ad-

mirable, dont la connaissance se repand chaque jour

d'avantage; a vous Monsieur

faire

l'expression de
cesse

grand merite d'en

Veuillez

comprehension.

la

jaillir

le

mes sentiments

recevoir

les meilleurs.

Prin-

M. C."

The

frontispiece portrait

from an

is

oil

colour

painting of Chopin, painted from life in 1847-8 at

Anthony Kolberg, a Polish

Paris by

and a friend of Chopin.

The

portrait painter

correct

Chopin's birth, erroneously stated by

graphers,
is

is

all

date of
his bio-

February 22nd, 18 10, 23rd April, 18 10,

the date of his christening.

The MS.
ending

from

Polish words

The MS.

Mazurka

of the

ordinary

the

mean

"

in

has a different

published

The

one.

end with a shake."

of Chopin's

"

Methode des Methodes

" for

which the Trois Nouvelles Etudes were composed

was

given

Chopin's

to

sister,

the

M.

Czartoryska

by

after his death.

Mr. Sutherland
this translation.

Princess

Edwards has most kindly

edited

Notes for a "Method

of Methods.

'

NOTES FOR A "METHOD OF METHODS."

must be well understood that there

IT question of musical feeling or

of
technical
execution mechanism,

style,

it.

The study of

parts.

To

this

mechanism

is

to say, a tone or half a tone.

and chromatic
abstract

exists, all that

at

but simply

as

call

learn to play the notes with both hands,

one key's distance from one another

As no

here no

divide into three

at

diatonic

is

scales

method

distant, that

This includes the

and the shakes.

for pursuing this study

one can do, in order to play the notes

a half tone or whole tone distance will be to

employ combinations
practise

shakes.

It

or
is

fractions of scales or to

unnecessary
is

to

begin

the

NOTES FOR A ''METHOD OF METHODS."

14

study of the scales with that of C, which

easiest to read, but the

most

is

difficult to play, as it

lacks the support afforded by the black notes.

will be well to play, first of

the

all,

the scale of

It
flat,

which places the hand regularly, utilising the long

fingers for the black keys.

The student

will arrive progressively at the scale

of C, using each time one finger less on the black

The shake should be played with

keys.

fingers; or with four as

an

three

The chromatic

exercise.

scale should be practised with the thumb, the fore-

and middle

finger

the third

and

the

finger, also

middle

with the

little finger,

fingers.

In thirds, as in sixths and octaves, use always the

same

fingers.

Words were born of sounds; sounds

words.

word

Sounds are used

is

to

existed before

a certain modification of sound.

make

music, just as words are

used to form a language.

Thought

is

expressed

through sounds.

An
the

undefined

art

of

human

utterance

manipulating

sounds

is

is

mere sound
music.

An

NOTES FOR A "METHOD OF METHODS."

make

abstract sound does not

does not make a language.

music
wrist

many sounds

No

word

For the production of

The

are required.

analogous to taking breath

is

N.B.

action of the

in singing.

one notices inequality in the power of

the notes of a scale

when

it is

equally, as regards time.

aim

music, as one

played very fast and

In a

good mechanism

the

not to play everything with an equal sound

is,

but to acquire a beautiful quality of sound and a

For a long time players have

shading.

perfect

acted against nature in seeking to give an equal

power to each

finger.

On

the contrary, each finger

should have an appropriate part assigned to

thumb has
finger
at

the greatest power,

and the

freest.

is

assisted

the

Then comes

the

finger

first.

The middle

As

to this

players try to force

it

is

Finally comes the third, the

Siamese twin of the middle

bound by one and the same

independent.

little finger,

main support of the hand, and

by the

weakest one.

The

being the thickest

the other extremity of the hand.

finger

it.

with

all their

ligament

might

to

some
become

thing impossible, and most likely

NOTES FOR A

"

There

unnecessary.

METHOD OF METHODS."
are,

then,

many

different

qualities of sound, just as there are several fingers.

The

point

is

other words,

to utilise the differences;

is

the art of fingering.

and

this,

in

CHOPIN.
From a drawing from

lift

by F, A. WinterhaUer.

I.

my

IN the
of

each

LECTURE.

former lectures on Chopin*

desirability of

work of

making

that

mentioned

a special analysis

master.

These

analyses

taken as a distinct course, and particularly as a

private

present

study,

work

would be very

it is

In

profitable.

the

not here intended to analyse every

one of Chopin's compositions; but we will occupy

ourselves with the most important
teristic

and most charac-

of his masterpieces, and try to point out the

peculiarities

which are common

manner we may be of some use

to

them

In this

all.

to the admirers,

and

also to the authoritative judges of the genius of

Chopin, and

"The Works

if

we may

of Cliopin

use the expression,

add

and thoir Proper Interpretation."

17

CHOPIN.

new

former lectures the endeavour was

the

In some of the

brick to the tower of his glory.

remarkable

made

of

characteristics

the

to point out

works

of

Chopin, such as their melodiousness, their constant

legato, their simplicity,

which by no means excludes

rich fantasy, their graceful rubato, their sentiment

and passion restrained within due

limits; while in

regard to the technical part of Chopin's works, we

remarked that interpreters of

this composer,

more

perhaps than those of any other, require a touch of

exquisite beauty.

It is

only a happy combination

of the qualities previously named, which can form

that

ideal

whom we

executant

encountered.

The

have not hitherto

use of the pedal moreover, or

rather both pedals,

is

in

this case a point of

the

greatest importance.

As

a whole, the works of Chopin represent to us

the pianoforte in
full of poetry

noble grandeur as an instrument

its

and

clearness of tone, with a

includes that of the

human

voice.

The marvellous

variety of the qualities of Chopin's

exemplified in his Etude in

flat

melody

Muse

is

(Op. 25, No.

well
1).

ETUDE IN A

The

FLAT.

IQ

fluent legato in the first place so thoroughly

by gliding hngers, and the almost

vocal, brought out

continuous, that

is

to say, constantly

changing use

of the pedal, the softness of the cantilena, of which

the

tones,

clearly

on;

at

first

and more

then more

delicate,

marked with a rippling murmur move on and

all these are striking peculiar characteristics in

the works of Chopin.

It

said that Chopin explained to one of his

is

pupils the manner in which this study should be

"

executed.

who

Imagine," he said,

refuge

takes

in

rain,

melody on

peaceful

little

shepherd

from

grotto

In the distance rushes the wind

approaching storm.

and the

"

while the shepherd gently plays a

his flute."

Everyone knows that a beautiful legato cannot be

attained

without a graceful

and practised

touch.

That noble roundness of tone which the singer

acquires by soft breathing through the throat,
the violinist

bow,

is

and

by a skilfully gentle pressure of the

reached by the pianist through a pressure of

the fingers which

is

soft

and not forced

and

in the

20

CHOPIN.

case of a stronger note, through the elasticity of the

arm, as distinguished from violence or heaviness*

It

might

at

first

seem that

observation on

this

pianoforte playing in general could have been dis-

pensed with
loses so

Not

here.

much through

so,

the

however.

No

author

want of a beautiful tone

on the part of the executant as Chopin, who using,

not often, sudden accents and being particularly
fluent

and

equal, requires in his performer a greater

perfection of nuances, a greater poetising of each

note.

poser

On

In this respect,

Schumann

who somewhat resembles

is

the only com-

him.

the use of the pedal in Chopin's compositions,

as in those of other composers, a separate lecture

might be delivered.

Hans Schmidt

Conservatorium

specially

has

of the Vienna

discoursed

on

this

subject in a series of lectures afterwards published

book form.

in

quite suffice to

perusal of this

will

show that the theory of the pedal

very imperfectly dealt with even in

work alone

For a study on the subject

formerly published lectures.

many

is

of the best

of tone see the second of the

ON THE USE OF THE

works on musical execution.

PEDAL.

21

The pianoforte

pedal,

so important an agent in elucidating the composer's

thought and rendering the tone

through improper
it,

use, as

plastic,

becomes,

Schmidt himself expresses

wet sponge rudely passed over a beautiful

like a

picture.

then suggests the saying of Talleyrand

It

about language having been given to

his thoughts, for the

precisely

man

pedal seems to have been given

that purpose to a great

for

to conceal

number of

pianists.

Some
pedal,
will

remarks, therefore, on the subject of the

first

not,

general,

in

we

think,

at

and then
this

in

point,

particular,

be

out

of

place.

Let us observe that not only are two different

harmonies on two different keys dissonant, but

as a matter of

fact,

two sounds belonging

and the same chord ought not

if

to be joined in

that,

to one

pedal

they produce melody in the single note; for in

this case the sounds,

momentary

heard together, would make

duct, which a third

into a tiercet,

and

so forth.

sound would convert

CHOPIN.

22

For example we

will take the beginning of the

well-known Prelude
Ex.

in

Hat.

1.

ife^
s

r>;

0-0-0^

ir

P
P

(a)

(b)

In the
the ear

first

* P

(wrong.)
(right.)

case (a) the impression produced on

would be

as follows

s"V^ J

t
Ex.

2.

which, certainly,

in

is

accordance neither with the

intention of the composer nor with

ought to be played as at

(b).

fourth Nocturne of Field (in

should be changed as follows

14
Ex.

3.

=-*
P

good

taste.

Similarly,

in

It

the

major) the pedal

r n-

In Chopin's works, as in those of almost all other

composers,

we meet with many pedal marks

entirely

ON THE USE OF THE

false.

The beginning of

PEDAL.

23

the Nocturne in

sharp

is

a case in point.
Ex.4.

If

Larghttto,

we wish

(ft)

Ped.

(b)

* P

to give effect to the

melody,

or,

phrase goes, to the painting of the picture,

to

play according to

as the

we ought

(b).

In marking the pedal thus, the composers showed

inadvertence;

same

though

time, influenced

they

were

perhaps,

at

the

by the imperfect construction

of the pianos of those days, which, being weaker in

tone,

required

their

tone to be strengthened

and

prolonged by means of the pedal more frequently

than our modern instruments.
fifty

is

certain

that

years ago that bar of the nocturne in which

the pedal
c

It

was employed

ounded agreeable

as

shown

to the ear;

in (a)

whereas

could have
in

our day

such an execution would rob the wonderful melody

CHOPIN.

24
of

The same thing may be

all its grace.

said con-

cerning every composition where the pedal

is

used

too often, even though in acccrdance with the rules,

as in the Nocturnes in

and

32),

present instruments

of the pedal, even

or,

more

flat

(Op.

flat

(Op.

would offend the

realise.
if

ear, as every-

continued employment

lowered, creates a sort of noise

precisely, crash, which, as

it

increases in

surrounds the melody under execution with a

force,

This

certain atmosphere of triviality.

in the

triviality lies

monotonous rumour of the pedal, which, even

although increasing force

will

9),

Such a use of the pedal on our

so forth.

one can perfectly

still

may

not be applied to

it,

prove fatiguing as well as obscuring to the

theme, which, in this case, bears resemblance to a

boat tossed on some tempestuous wave.

of the truth of this opinion
the pedal,

should be noticed that

used on proper occasions, produces a

colossal effect,

and renders

it

In proof

if

accompanied by a

the whole passage

skilful crescendo,*

more majestic and

richer in colour.

Hans Schmidt on

the Pianoforte Pedal, page 57.

ON THE USE OF THE

The constant

PEDAL.

25

use of the pedal introduces a powerin

minor (Op. 17); and towards the end the pedal

is

middle of the Mazurka

ful crescendo into the

even employed through a number of bars in succession, the

same

effect is

of the Prelude in

obtained in the middle part

flat,

and

in the octave part of

the Polonaise (Op. 53).

All those effects of pedal, of phrasings, of rubato,

with the distinctive forms given to them, combine

produce

to

in

Chopin's compositions, such a happy

whole that a particular analysis of them

is

practi-

cally indispensable here.

To

who introduced

to perfection,

Ry

and

but

it

first

composer

form was, as

this musical

known, John Field

it

The

begin with the nocturnes.

is

well-

was Chopin who carried

lent to

a deeper significance.

it

thorough and correct comprehension of the

nocturnes,

one can

acquire

key to unlock the

mysteries of the other and more magnificent works

of the master.
a

cantilena with

effects

of

The manner
so

delicate

of the instrument,

Chopin's.

We

do

is

not

in

which he conducts

perception of the

a peculiar characteristic

propose,

however,

to

26

CHOPIN.

analyse each of the nocturnes in this place; but

shall

confine our attention to

more

difficult,

some more

typical,

and consequently more important

ones.

The Nocturne

in

sharp (Op.

15,

No.

a type remarkably characteristic of the

of Chopin; the Nocturne in

us the composer in the

youthful

Nocturne

and

dreams
in

minor (Op.

flat

2),

exhibits

first

youth

(Op. 27), shows

development of his

full

enchantments;

and

the

48), depicts exalted suffer-

ings and a deep anguish of soul, the outcome of a

longer and acuter

In the

life.

sharp Nocturne

the performer has an opportunity for the display of

his

the

intelligence
first

into the

by the manner

duction; as in

the opening note,

study which

which he takes

Chopin here enters suddenly

sharp.

middle of

in

his theme, without

any

intro-

sharp in that nocturne so also in

flat,

we have

which occurs

in the

flat

recently mentioned, each note

requires a certain accent, a certain pressure of the

fingers,

showing that

it

is

the

commencement of

an expressive thought, and suggesting a burst of

sentiment akin to the overflowing of a cup charged

THE NOCTURNES.
beyond the brim.
artist, J.

27

short time ago a well-known

Wieniawski, simply by hearing one note at

the beginning taken with

proper accent, instantly

its

guessed which composition was thought

first

phrase of the nocturne

from the upper

crescendo

note,

of.

This

indeed wonderful,

is

which we ascend by a

to

Ex.5.

fw"^- $ f *~ *

falling pensively as far as

In the second

sharp.

half of the bar upon the two further

sharps

fruits

strength grows until

strong accent of the

bar.

Afterwards

it

first

it

rests

upon the

sufficiently

sharp in the following

finishes

with a

soft

passage

which winds gracefully upwards. This whole phrase

is

like

the

cup of a

flower

which on one side

descends in a beautiful curve and, on the other, rears

its

out

petals with a

still

softer grace.

an object that we particularly

It

is

not with-

describe

this

CHOPIN.

28

phrase, for the description will soon be necessary to

For indeed, immediately afterwards the

our study.

same thought

is

presented though in a richer form.

Ex.6.

-s

tfc

Hi
$

-^-y
jcza

*=*P

In this shape,

it

must be observed, the general

lines of the

thought remains the same, though more

warmth of

feeling

and even more power must be

employed; for the repetition we have met with

one that does not

finish

is

with diminished power but

develops the inspiration; this same phrase appearing, again, a third time, in a higher degree of the

scale

Ex.

7.

more

figlfSfeSB

powerful,

^3t

therefore,

until

it

reaches

culminating point with an intensity of feeling on

sharp in the sixth bar, and
point that

it

falls,

it

is

its

only from this

through the two succeeding bars,

THE NOCTURNES.

piano in a manner both graceful and

to the first

Some

logical.

29

pianists in repeating the theme at

bar nine, take the second pedal, for the sake of a

much

piano.

greater

quite rational

This,

my

to

mind,

seems

do not apply exceptional pressure

myself but would leave the pianist to play with

greater strength

if

he prefers to do

ever, in repeating the theme,

sary

it

is

otherwise

perceive

thoroughly to study

we

its

how

neces-

character,

for

shall be unable adequately to render

charming

the

we

Here, how-

so.

which

ornamentation

adorns

the

eleventh bar.

Ex.

....

8.

Kin
nuzuiy.
re slowly.
more
J

accel.

S*ftP

a eel.

ra

jl

J*U

7.

One glance

"1-4

3=3=^
j

at the bars

extending from the ninth

to the sixteenth suffices to

show

that they are only

CHOPIN.

30
a repetition of bars

passage

fore, the said

immensely enriched.
play

it

similarly.

,x.

..

Logic, therefore, directs us to

Then

nothing but the third bar

is

the group

gjjl ff
1

requires the

In the eleventh bar, there-

1-8.

J*^~J J

same crescendo

Jj_fe
i

to be

employed as

in

connection with the short note.

* *
Ex. 10.

Consequently we must divide the said

little

pas-

sage into two halves of which one will descend, the

other ascend.
will

In like manner a

show us that the chief point

little

intelligence

(the bottom, as

it

were of the flower-cup) from which the descending

line begins to

note,

one,

we

sharp.
shall

ascend again, will be the nineteenth

Thus, in the

first

half, the descending

have eighteen notes, in the second

half, the ascending one twelve.

It

must not surprise

THE NOCTURNES.
us

if,

as

said formerly, the two lines on the

we have

two sides of the flower-cup had rather

different

This division will at the same time indicate

curves.

to us the point at

which the bass

to be taken, as

is

four notes (semiquavers) in the bass accompaniment

will take this order

a,

b,

c,

d.

The same

simple,

logical view will enable us to attain a perfect inter-

pretation of the
still

richer

form

same passage when

at the

it

appears in a

end of the nocturne

Ex. 11.

1m

aaal

32
ralF

poco

accel.

of which

manner

forty

nine,

a, b, c, d,

notes are taken

nine, ten

express

the

following

as

the letters

in

and twelve

it.

This method must sometimes be used

in

passages

CHOPIN.

32

of Chopin's music, their importance

and not an accidental one

melody and not mere

is

an organic

they exhibit an enriched

trifles.

Moreover, we must bear in mind that the characteristic

features of

equality

of

would be

incorrect.

Chopin genius

such that an

playing these passages

executions in
It is

is

therefore necessary, besides

strengthening and silencing, to vary the passages by

alternate

delays

remember

that

and
in

hurryings;

ending,

an

we must

while

acceleration

follow (see former lectures, pages 60-1).

dwelt upon this peculiarity

utmost

is

Having

one of the

key to

all

the

we can pass more abruptly over the

rest.

importance since

nocturnes

which

must

it

is

Alter the long shake:

Ex

12.

mm

|^g^-_

which can be lengthened even

to will,

it

-4*
<j.

rm

^Zj^l=^:

t*

to fermato, according

begins with comparative slowness, then

hurries forward,

and slowly sinks again

at the

end

THE NOCTURNES.
of the

In the second part the melody

part.

first

takes a reverse direction.

x. 13.

33

It

slowly rises

^-|^r

'

and then suddenly descends

Ex. 14.

Then

fjg^g^l

the small chromatic scale renders the fall of

the voice easy,

and excellently

imitates the vocal

portamento or the gliding of the finger along the

strings of a violin.

fantasy
is

is

greater

In

my

still if, at

opinion the charm and

the time

when

the scale

being descended, we retain the higher note

^-f-ygppp

-g

(a)

and leave

the upper

Pcd.

key only at the

last

note of the
3

CHOPIN.

34
fall.

The holding

of the pedal,

shown

at (a) still

effect,

so entirely

further elevates the beauty of this

As

original.

to the

middle part of the nocturne,

as that

characterised

is

would be

superfluous.

beginning,

its

sudden

forcible

fall to the

by such

though brief crescendo,

pianissimo cause
the

in

peaceful life of a youthful soul.

to

the

and with
refined

it

the calm

Chopin.

comment

and passionate

soft

Its

some tempestuous episode

returns,

unrest,

and

it

to resemble

expansive

The

its

first

and

theme

elegance, peculiar

Finishing the phrase of

eight bars in the returning theme

we meet with a

peculiarity worthy of note.

The ending has

,s
-

the form previously

employed

gH^B^iii

but instead of ending, this bar

shape always more enriched.

is

repeated twice in a

THE NOCTURNES.

&juunm

35
tr

/-

E,

'

fch

5EE!

SS

ten.

NJW5fc|

ci'Cet.

nt.

The

expression, therefore, with small variations

must be the same; and

facilitate

this fact will particularly

the pianist's execution of

the

last

which should not be extended, but of which the

part should

be played tenderly

second part

in

hurried

quickly to reach the

to be

to

first

and rubato, the

fashion,

so

as

the

more

natural upon which a rest

is

made, as formerly upon the shake.

The end of
in our

bar,

the nocturne

is

now

We

easy.

spoke

preceding lectures about those rules which are

be observed

in

the

greater

part

of

Chopin's

ornamentation, especially in their frequently representing a phrase formerly used but

a richer form.

For

this last

named

now

exhibited

in

reason the com-

poser does net like us to linger too long over the

CHOPIN.

36

details but usually hurries us

movement
a

to the

stronger

final

on at the end of the

main destination

We

note.

object,

have seen

which
this

is

rule

applied in the recently described runs of the Nocturne in

sharp.

We

shall perceive the rule also in

other places where, in view of producing the same

effect,

a similar execution

in the

is

Nocturne, Op.

flat

required

9, first

for

example

phrase

For the second time thus

Ex.

rfr

19.

% TxJL^Tr ;gffi
^rr*-FF:
m=]
h

targamentt.

For the third time thus

cnh

Ex. 20.

-&=!:

\~

idem.

suss

fcco a pcco accel.

THE NOCTURNES.
a variant often

me by

added by Chopin and indicated

to

Mr. Makomaski, a pupil of Telefsen

Ex. 21

gjgN^a^
fill

fr

37

_,,.

^^,,^-^4^

follows the same rule and leads to the same destination, halts, that is to say,

on the best

note, without a

previous ritenuto.

Similar to this
Concerto.

changes
time

The

the larghetto of the

form

original

in bars 7,

in bars 26, 27, 28, 29, etc.,

presents

detail,

is

itself

with

and

F minor

8, 9,

10, etc.,

for the third

indescribable

at the end, after the recitative.

riches

of

Yet after

each of these repetitions any enlargement of the

details or
tiful

any sentimentalism would

ornamentations.

tardily to halt

They must not move

upon the stronger notes

which arc for the most

following bars.

spoil the beau-

great

part, the

at the end,

beginning of the

number of

might be cited from the Nocturne

too

these ornaments
in

minor, the

CHOPIN.

38

andante spianato, the

first

concerto,

judge that an intelligent performer,

if

but

etc.,

he

familiar

is

how

with our former lectures, will De able to see

most characteristic examples here given

all

instances of the kind.

remarks, therefore,

The Nocturne
rich composition,

we may

in

flat

the

illustrate

After these eoisodical

return to our task.

(Op. 27)

is

an immensely

and possesses distinction of form,

independently of the nobility of

It is for these

we

its

main conception.

reasons one of the most finished and

most typical of Chopin's compositions, though the

type does not seem to us to differ greatly from that

Consequently

of the nocturne previously analysed.

we do not propose

to analyse

it

specially; but

it

should be mentioned that this nocturne has for some

time past been becoming better known, and
frequently heard
concert platform.

we must

it

played very well indeed on the

The one circumstance upon which

direct our attention

is,

what

is

understood, that the principal themes

Ex 22
.

we have

ggggj|gj

not generally

THE NOCTURNES.
which according
everyone

Chopin's intention, occurs, as

to

aware,

is

39

three

times,

should each time

appear with a different strength and a different

The

shade of expression.

first

time, for instance,

it

should be given fiano> with softness and simplicity

by the second

the second time, pianissimo, assisted

pedal, which

and

perfectly justified by the character

is

the modulation which prepares

it

Ex. 23.

&=*

poco

i^l

-0- -p-

r-n

\m

hTI

rtt

dim.

accel.

-*- -#r,

fwv-b-fc

+~

SlZi

<$:

^=t

e rit.

-m-

g-g-J to
vm

Rr Hm\

S
1

/>...*/>. ..#/>. ..#/>..

/*

and the

/*

third time forte

pointing of the

text,

and

f}

entirely contrary to the

which directs that

taken delicately and diminuendo.

it

is

to

be

This was once

CHOPIN.

40

demonstrated to

specially

Fontana; and

middle

part,

it is

me by

the

late

Julius

very logical, for after the entire

which develops

itself

theme resumed for the third time

Why

produces no effect

crescendo, the

in a feeble

manner

marking was

the faulty

never rectified in Chopin's lifetime, and

why

the

long passage which occurs at bar 7 after the return

of the theme, has been directed to be played con
forza instead of con delicatezza,

am

at a loss to

understand.
If the

and

Nocturne

well, since

in

it is

flat is

performed frequently

easier to understand, the case

far different with the great Nocturne in

(Op. 48, No.

is

1).

is

C minor

This dignified and expressive work

very often played coldly and phrased colour-

lessly or falsely.
is full

Yet every note

of meaning.

in this

do not know

if

composition

the legend be

true that this nocturne represents the contrition of a

sinner.

The reproaches

of conscience are according

to this idea followed in the

middle part by heavenly

harps and angelic choirs, and later on, by a growing

disquietude, ending with death
to

heaven

(last passage).

and a yearning flight

THE NOCTURNES.

41

In any case such an idea would very well explain

the different phases of this most poetic work.

The beginning, with

requires for the two

it

notes

first

pressure, but at the

indicate, as

a hushed tone in the treble,

a light

flat,

same time a

lifting action to

stronger than G.

were, sighs.

In the second bar

G and A

flat is

accent

the

falls

upon G, the

remainder to be played tenderly and with expression,

and moreover with a regulated shading of

melody alternately upwards and downwards.

We will

here mention the chief practical directions

Chopin often repeated

as to expression which

"A

pupils:
note.

long note

dissonant

so a syncope.

comma,

is

is

stronger, as

likewise stronger,

The ending of

or a stop,

is

always

ascends, one plays crescendo,

cendo.
accents.

is

to his

also a high

and equally

a phrase, before a

zvcak.
if it

If the

melody

descends, decres-

Moreover, notice must be taken of natural

For

instance,

in

a bar of two, the

first

CHOPIN.

42
note
the

is

first

strong, the second weak, in a bar of three

strong and the two others weak.

To

the

smaller parts of the bar the same direction will

apply.

Such then are the

are always indicated

The ending of

by the authors themselves."

and crescendo,

is

dramatic manner, the last

what drawn out by the pedal.

generally twice in a bar,
first

exceptions

the

the whole half phrase in the fourth

bar, a little rubato

sufficiently

rules

and third parts of the

is

The

played

in a

being somepedal, taken

held only through the

bar.

The

other four bars

are played similarly, but with a softer termination,

in
1

minor by way of

contrast.

In bars

11,

13

and

4 the bass

Ex. 25.

^W
taken dramatically and with expression, ought to
paint the soul's disquietude.
the music ought deeply

to

In the fifteenth bar

affect

the soul of the

THE NOCTURNES.
Yet out of

listener.

43

momentary calm, we

this

are

led again by a dramatic crescendo back to the chief

theme beginning

growing

at the sixteenth bar,

sound and power,

until in the twenty-first bar, the

culminating point of power and expression

Two

understanding of the whole.)

middle

grow

part, at first soft,

end

this

stormy wave,

The chords of

soul.

The same may be

fortissimo.

triplets

like the last tossing of a

show the disquietude of the

the

reached

facilitate our

seek in every composition; this will

and

is

(Such culminating points we must

en the high C.

Erst part;

in

to a

powerful

said of the finale

where the inequality of the bass perfectly depicts

We

the returning agony.

need not enlarge upon

If the introduction

this subject.

is

understood the

interpretation of the other parts cf the

easier matter.

shall

work

is

an

end with a few remarks con-

cerning a melodious rubato and the style of recitative

which we meet with

nocturne

as

Chopin's

seemingly

Not

well

music

difficult.

that, in our

the

first

frequently

as

and

in

of

We

which
say

the

part of the

elsewhere
execution

seemingly

in
is

difficult.

opinion any real difficulties

exist,

CHOPIN.

44

many

but that
the

right

pianists, not placing themselves

of

difficulties

these

cope with them at

of this failure

unformed

magnify

standpoint,

is

One

amongst

reason,

others,

that in our age, after Chopin, the

some very strange shapes,

style assumes

breaking away from

rules of tempo,

all

We

all sesthetical principles.

accustomed

themselves the

to

and frequently cannot

parts,

all.

on

are accordingly

to those fantastic flights

no means absent from

and even

Liszt,

now

which are by

but which are only

occasionally appropriate to the works of Chopin.

Yet

have read,

periodical, that to

works pleasing
precision of
posers.

I,

in

make

it is

recently

started

German

the performance of Chopin's

sufficient to

play them with

less

rhythm than the music of other com-

on the contrary, do not know a single

phrase of Chopin's works (including even the freest

amongst them)
as

it

in

which the balloon of inspiration,

moves through the

air,

is

not checked by an

anchor of rhythm and symmetry.

as occur in the
(the

the

middle

flat

F minor

part), the

Impromptu

Ballad, the

Such passages

flat

Scherzo

minor Prelude, and even

are not devoid of rhythm.

THE NOCTURNES.

The most crooked

certo,

recitative of the

minor Con-

as can easily be proved, has a fundamental

rhythm which

is

not at

only

we

all fantastic,

and which can-

when playing with

not be dispensed with

If

45

understand

well

orchestra.

and thoroughly

impress ourselves with this rule, namely, that Chopin

never overdoes fantasy, and

always restrained by

is

a pronounced acsthetical instinct

we

have a

shall

hint as to the style in which his most difficult works

sharp Study, the

etc.

Everywhere the

should be played, such as the

Ballads in

F major and

simplicity

of

his

G,

poetical

and

inspiration,

and

sobriety will save us from extravagance

pathos.

On

this point

we must

briefly

his

false

add some

observations in regard to certain other nocturnes.

The Nocturne

in

played too slowly.

flat

minor ought not

There should, as

it

to

be

were, be

very unfrequent breathing on the part of the per-

former so as not to interrupt the thought.

passages, bars

2,

3,

10,

II,

somewhat rubato, with a

three last notes.

etc.,

should be executed

slight significance

The middle of

and heavy, though piano.

The

on the

the nocturne, slow

Finally concerning the

CHOPIN.

46
use of the pedal,

etc.,

the pianist should keep to the

directions given in the edition revised

by me of

Chopin's works (Gebethner and Wolff).

Nocturne

(2)

with simplicity and natural-

flat,

ness; the time not too slow.

towards the end.

in bars 16-24 are hurried

Nocturne
pedal,

and

simplicity

The passages contained

(4) F, there is scarcely

any use of the

the playing should be characterised by

and

observed in the

correct

first part,

be restlessness and

Precision

time.

in the

should be

middle there should

fire.

As regards Nocturne

(6)

minor,

it

was

origin-

ally intended to be called: "After a representation

of the tragedy of 'Hamlet.'

abandoned

this

notion,

Afterwards Chopin

"

saying

"

Let them guess

for themselves."

For the Nocturne 7

structions

contained

in

in

the

sharp minor the

former

lectures

in-

will

suffice.

In Nocturne 9 in B, the pedal should likewise be

used seldom, and a simplicity equal to that of

Mozart should be observed.

THE NOCTURNES.
In the

47

Nocturne a more drawing-room style

flat

should be employed, and overstraining in rubato

avoided

As

middle

in the

Nocturne

to

part.

II,

minor,

see

the previous

lectures.

Of Nocturne
middle theme

is

been

it

is

very likely that the

taken from the motive of a French

Normandy.

song, sung in

has

G,

12,

thoroughly

Nocturne

described

in

15,

the

minor,

previous

lectures.

In Nocturne

16,

the

flat,

style

somewhat

is

grandiose, by reason of an extended phrasing.

we

will stop,

though we ought

the nocturnes the berceuse.

work the bass ought

right

To

hand plays
the

to

to

It is

add

Here

to the best of

known

that in this

keep in rhythm while the

rubato.

we must

nocturnes

likewise

add

the

preludes.

We

have

Prelude in
with

less,

middle
end.

few

C must
the

part, the

preludes

to

be played twice the

second

with

The

mention.

greater

first

haste

in

time
the

speed becoming slower towards the

CHOPIN.

48

Prelude 2 ought not to be played, as

No.

and

(G), is quick

bizarre.

played almost in

is

middle part (C sharp) a

religious style, the

rubato.

is

No. 4 (E minor),

flying.

No. 13 (F sharp),

very slowly.

it

In a few bars at the end there

is

such a

construction of the chord played by the right

that above

some of the notes

in this

little

hand

chord a single

note in the high octave and piano must be taken.

To my mind
and

violins,

produces the

this

effect

and the execution should be without

arpeggio, just as described here

(first

then the single note quite gently).

and beautiful

As

of flageolets

the chord

and

gives a

new

It

effect.

to Prelude

15,

the student should

what Liebelt has said

in his "^Esthetics,"

remember
viz.,

that

one single note, repeated can give the idea of a row

of columns, erected in one line into infinity.

convey this impression

it

is

To

here essential to play

equally in tempo) and the playing should be at no

distance from equality in such bars as the fourth,
etc.

Prelude 16

is

one which Rubinstein plays famously,

with quickness and

fire.

No.

17,

flat, is

a beautiful

THE PRELUDES.

One can

romance.

No.

24,

and

fire,

minor,

49

say the same of No. 21,

flat.

played with great dramatic force

is

the last three strokes being

made with

the

entire strength.

Perhaps there

is

no more poetical adagio than

what Chopin modestly

(Op.

25,

turnes.

No.

7),

What

observable

in

Etude

calls the

is

sharp

which we may class with the noc-

a noble
this

and elevated

duo;

what

simplicity

melancholy,

exquisite form in the melodious turns

work

in

what

That

this

often played badly and with mannerism

To

not astonishing.

those

who

acquainted with Chopin's style

is

is

are not specially

it

is

very

difficult.

deep perception, and, notwithstanding

It

requires

its

powerful dramatic character must not be rendered

with undue roughness or sharpness.

In the intro-

ductory recitative according to the later edition by

Mikuli, two notes,

Ex. 23.

sharp and

sharp.

J.J'J-Eti

which were formerly semiquavers must be regarded

as

quavers.

Moreover,

beyond

the

opinion
4

of

50

CHOPIN.

Mikuli on this point,

in

have seen the same notation

a score eorrected by

Chopin's

the possession of

still

in

here

consider

The

right

the

hand,

bass
in

his

own hand, and

family.

chief

melody.

usually

answers

be the

to

duo,

this

One must

with a degree of discretion though at the same

time very expressively.
slowly with

must be played very

It

much sadness and

The execution of

the

great

accompaniment

simplicity.

in the repeated

chords

Ex.

should be extremely soft and poetical.

At

the end of the

L.-V-

first

part

4>'

3*zzwl

<2~.

#*ft^3
the performer must avoid affectation into which he

can easily fall on account of the beautiful turns of

melody.

It is

extremely important that he should

not caress these beautiful thoughts too

much but

ETUDE IN C SHARP.
that he should play with naturalness

As regards Chopin's

expressive

and

simplicity.

melodies of

description, one cannot too strongly

this

recommend a

close observance of those general rules previously

set forth

which are particularly essential for find-

ing out the strongest notes and giving them their

proper accentuation, as well as for making duly

restricted pauses

between the musical phrases.

This

will prove of especial necessity in the second part

where the musical richness of the runs introduce

greater difficulties into the execution, already

midable enough by reason of

mechanical kind.

for-

their difficulties of a

LECTURE

II.

BALLADS.

WORK

is

of beauty and

substance

is

when

called classical

when

is

model

the forms in which

developed are perfect.

work, on the other hand, the form

is

it

its

In a romantic
is

freer,

and

it

permitted to the composer to astonish his audi-

ence with a greater number of unexpected

Moreover a classical work tends

soul,

and

to tranquilise the

whereas a romantic one tends to sway

fro.

classical

turns.

it

to

Nevertheless, these two definitions of the

and the romantic

arc subject at times to

such marked exceptions that the distinction between

them must not always be looked

ten vears

for.

work which

n^o was romnntir we p^rhnps rank to-dnv

G3

CHOPIN.

54
as classical
at

it

and

in

analysing

beauty we wonder

its

indeed, but are not astonished as our ancestors

were,

who

never thought

it

anyone

possible that

could accustom himself to such adventurous music.

It

was

Haydn, Mozart, Beethoven, Chopin

so with

and Schumann.

It will

The

a certain time after his death.

subject of his ideas will cease, what

be accepted and what

mankind

will

feel

is

Wagner

be the same with

is

on the

strife

good

in

disagreeable refused.

bored and

look

out

him

Then

for

new

wonder-creators.

In the ballads Chopin shows almost to the fullest

extent the originality

and

fection of his forms, besides an

substance.
quiet

first

In the

same time the

at the

uncommon

per-

poetical

one (F) the contrast of the

first

motive with the stormy passages continu-

ing the second motive exhibits the chief foundation

of the poetic whole.

In the last part just as the

music attains the culminating point of agony, the

tempest

is

suddenly hushed and a calm follows

after which a remnant of the former theme, in a

strain

of

sad

ending sadly

in

musing,

minor.

returns,

the

composition

THE BALLADS.

The form
elaborate;
larly the

in the second

and here

Ballad

55

in

minor

more particu-

the author follows

model of the

first

more

is

The

allegro of a sonata.

exposition preceded by an introduction gives us two

In the middle part

themes.

clear

passionate and
there

is

and

energetic,

a return to the

first

the

motive

afterwards

shortly

The

thought.

is

finale

is

stormy and ends with powerful chords.

The Ballad

in

flat

perhaps, greater

exhibits,

unity in the expansion of the principal thought, of

which we will speak particularly

The

fourth Ballad in

like the

second one, and

later on.

F minor

has a structure

if it fails in

anything

it

is

that the final passages are less happily thought out,

containing as they do, more ostentation of

ties

than organic development of the idea.

much

as regards the whole shape

and

difficul-

Thus

structure of

these works.

As
upon

to the

details

we

shall

direct

one, in preference to all others,

important part

in

our attention

which plays an

Chopin's ballads.

This detail clearly exhibits the difference between

CHOPIN.

56
the romantic

and

the classical school,

their distinctive names.

forms

duction of vocal

necessitates a greater

and the

rubato,

in

it

at

Mozart as also

all

freedom

in the

Trio in

sonatas of Beethoven, though

and more

it

fiat

For

themes are very

this reason

difficult to

As

Bach

Rondo

and

we
of

the last

occurs exceptionally

who employs

rarely than in Chopin,

very frequently.

intro-

in the execution.

moments

in the

more

pianoforte music that

a matter of fact rubato existed even in

meet with

justifies

the tendency of

It is

modern composers towards

and

it

some of Chopin's

perform and easily lend

themselves to exaggeration.

To

this class

the introductory themes to the

first

ballad (G minor),

and

in

the second

(F).

belong

This continual wavering

of the theme (especially in the last-named ballad),

which,

though

it

is

based on the one hand on

rhythm, but on the other on fantasy,

is

unquestion-

ably a new principle compared with the usually

strict

such parts ought to be performed

easy,

To show how

forms of Beethoven's sonatas.

for here the individuality

is

not precisely

of the executant

THE BALLADS.

$?

has much to do with the rendering.

this

There

in

is

an inspiration, a fantasy, in one word

case,

power without whose verifying

creative

princi-

ples these parts of the music will always look like

moonlit

silhouettes,

Eut what we
ing

have

appropriate

very

render great assistance.

begins,

where

it

of

and, what
cal

theme

is

much

ends,

to

know which

if

not to

notes

are

lengthen the

they extend over several bars,

very important, not to play any musi-

in the

same way twice

these

fantasy

and

individuality,

will

guardian angel or as righthand to them.

a

and

the phrase

on which a competent knowledge, though

replace

life.

here

office

To know where

strong and which are weak,

phrases too

independent

punctuation and musical phras-

call

devoid

are points
it

will not

serve

as

It will

be

foundation on which, when the executant has

obtained a

firm

footing,

he can venture to take

flights freely.

Ballad in
There

is

G.

porbably not ?n atom of truth

legend concerning this ballad which

is

in

contained

the
in

CHOPIN.

58
a

book

little

According to

"

entitled

this

Adventure."

Chopin's

pamphlet Chopin, during the

first

years of his success in Paris, was haunted all the

year round by a certain obstinate Englishman, who,

if

immediately opposite him and

with rivetted
appropriate
felt

would

a concert or in a drawing-room,

at

as

attention,

all the master's

listen to his

playing

though he wished
mysteries;

sit

to

and Chcpin

himself always transfixed by that gaze and

conceived

When

one

dread

settled

evening

of

Countess

the

at

Englishman.

the

Chopin was prevailed on by the

d'Agoult's,

entreaties of the

hostess to play the Eallad in G, that lady allowed

him

to be

approached by the mysterious English-

man, who introduced himself

brief

from Chopin.

"

And

accomplished player?" the

after

you already an
"I do not

artist inquired,

"

you demand
say,"

is

it."

an impossibility."

said the

but not-

must take lessons from you and

play that ballad as you play

are

a single note," was the calm reply,

withstanding that

as

and

ceremonies avowed that he wished to take

lessons

know

to the artist

"

Eut,

"Yet

Englishman with

it

sir,

what

must be

decision, as

THE BALLADS.

59

Chopin

he pierced the artist with a strange look.

shuddered but refused the lessons with firmness.

The Englishman
Chopin

felt relieved

and

coldly

saluted

went

and was seized with a

out.
fit

of

such good humour that he improvised wonderfully

until

one o'clock in the morning.

Returning home,

however, at an advanced hour, he parted from the

friends

who had been accompanying

ing into a side

him, and, turn-

was suddenly surrounded,

street,

blindfolded, placed in a carriage and carried

to

a neighbourhood to which he

There, in a

gorgeously

secluded

villa

near

was a
Paris,

away

stranger.
its

rooms

furnished, appeared the ever-courteous

Englishman who told Chopin decisively that he

would remain a prisoner

Ballad in

G adding

that he

made extremely

had taught him the

would pay

a princely

There was no help for

fee for the instruction.

The unconventional

until he

lessons

it.

began and the pupil

rapid progress, though he proved

very exacting as he wished not only to play well,

but to catch and copy

all

of the master's execution

This truthful

little

the most poetical accents

in fa^t to

play as he did.

pamphlet declares that after one

60

CHOPIN.

month of study the Englishman already knew

whole of that part which we
that

will proceed to analyse;

Then Chopin's

to say, the first passages.

is

the

imprisonment ended, as the Englishman, having

been released by his fiancee from any further proof

The

of his affection, decided to release Chopin too.

most fantastic feature of

this

legend

is

not

the

mysterious seizure, with the circumstances surrounding

it,

but the possibility which

it

alleges of an un-

musical person's learning the part in question, so

For

difficult as it is to phrase.

the opening

melody of

this

let

us consider that

ballad has not the calm

and equal rhythm which develops

classically

in

Mozart's sonatas nor even the dramatic tendency of

Beethoven's

"

Pathetic

the composer's spirit

is

Sonata, where the flight of

regulated throughout by the

strongly

principle

of

rhythm.

In

the

fantastic,

"

and

strictly

accentuated

opening melody of

Chopin the

from the

first,

entwines

its

wonderful

wings, and requires that the rhythm shall

gracefully, appearing at the

front,

waver

then stepping

back and producing incessantly new forms and contrasts.

Would

it

be possible to imagine this theme

THE BALLADS.

6l

played methodically, with a certain degree of equal

rhythm,
"

different

the

introduction

it

is,

and

the

to

In the ballad, the introduction

Pathetii

grand as

of

imitation

in

itself,

really pathetic, prepares us in a

manner; we

be the plot

feel that here will

of a mysterious and fantastic novel.

In the

pared

new

for

edition of

publication,

Chopin which

is

being pre-

we have endeavoured

to

point out as far as possible the changes of rhythm

and phrasing especially

in the introductory part; but

the most precise hints on this subject (taking

for

it

granted that they meet with the approval of the

performers) will not

executant has not

suffice if the

imbued himself with the same

spirit

which animated

We

the composer at the time of creation.

will here

give the sketch of the opening

]>:.

2'J.

^
9^
feco

rit.

-ry-

-2- s

23

:<r~
-

a titnpo.

rit.

a ienpo.

iq:

rit.

^M3

Zmmr

rit.\

CHOPIN.

62

ggg
a^ fv^
the

same

in

-?-,<*-

PTr

(More

<c^_
H

-P-

I"

tempo than previously, but always

in

style.)

EX. 30.

pZZpZZI^EIjBj
i

4
r

G^
-lesEszfEeE* zr
r
r
2-

tf pra rr

In the further development of the theme, a more

rhythmical form

may

pages

same idea

later

rubato style
shall

the

may

move on

be adopted, but when a few

return,

to a

repeated

is

and by

soft

and equal

in

the aid of

it

powerful and passionate

theme

cendo, leading to the second

second theme,

same

the

which

is

A.

cres-

This

appearance, has a

flat at its first

character,

in

we

most necessary for

the sake of contrast, especially after the lively

and

hurried passages which precede

con-

clusion

we meet with

it.

Just at

its

a curious detail, namely, that

whereas everywhere before we have had the rhythm

of eight bars, here two bars

THE BAfXADS.

63

Ex. 31.
O-

at

it

Such

are,

ss

molto.

ritenuto.

replace four.

P : p%

w=^

:cr

Therefore they need to be enlarged.

more or

Notwithstanding

the principles of this style.

less,

wavering

its

however, must not be overdone),

ballad,

this

that

sometimes,

it

rhythm (which,

in

we may
in

reaches a strong dramatic pathos,

case

and

see,

of

answers the requirements of aesthetic beauty,

neither grandeur nor
in

this

are easy

which are of

ballad
to

seriousness.

be understood

and

need,

while

that,

it

by

it

lacks

Those passages
lively

character

require

no com-

ment.

is

Not

less difficult,

the

theme of the

even in the more delicate shades,

first

Ballad in F.

One

general

curve placed by Chopin over the themes docs not

mean

that the phrasing

is

to be colourless.

It

shows

only that entire breaks or sharp pauses are to be

avoided.

Here

part in question

is

a sketch of the phrasing of the

CHOPIN.

64
Ex. 32.

Beginning of the Theme.

s~

E3BBgE

3S
iV-^r

ma

pcco mcno Unto>

Lenlo,

molto tranqiiillo.

pill piano.

cres.

* S=*-i~JV
+:m

js:

^=3i
^-

-["t
;//.

a tempo.

BEk
1

-=

^S

S^S ^^P

3B33E

0/0/V0 r*V.

The passages themselves

pcjczac

a tempo.

are here easy to under-

stand, but, on the other hand, the subsequent return

with a change of the

difficulties

of

style.

first

theme presents many

delicate

wavering

of

THE BALLADS.
poetic thought

changed

65
terror.

The

to this

music

an entirely peculiar and original character.

We

is

contrasts of peace

to

dramatic

and excitement give

find such contrasts in the following modulations

Ex. 33.

m JW
*=?

^l

jj.

S
E

*l

7* pd

>
^=
jfrrtfrjA moss,.

<9 <p

-f_j4

4=^

fF

i-S'

1.

u^A^.

>

J_-J

rw.

Efe^-*

|B=

jfefefe

1=

We

will

not reproduce the second part as

only a repetition of this one in F.

The

last

culminating contrast of this beautiful work

duced by the long pause after the

final,

crescendo in the ever-rising passages.

is

it

minor.

is

and
pro-

sudden

After that

pause comes the melancholy end of the "story"

the sad

in

66

CHOPIN.

The

third Ballad in

of the

"

classical "

flat

has incomparably more

The

character.

unity of thought which so strikingly pervade

certainly the cause of

its

it

amongst

Its

in

general.

are

it

and

greater popularity,

the particular approbation which

musicians

and

simplicity

has obtained

themes

are

perhaps not so remarkably beautiful as those of the

former ballads; but the form

more

in a

which

model fashion, and

may be

perhaps

described

is

invests

it

with features

monumental.

as

of

characteristic

more developed and

romanticism

It

that

is

its

ideas are particularly beautiful and enchanting by

their originality, but this very

beauty prevents their

being so well worked out as a simpler and,

say,

would

more natural thought.

The

first

eight bars of the ballad are, as

the introduction to some

" story."

it

were,

One ought

to

play them calmly, with tunefulness and fullness of

sound, to part the middle notes well after the fourth

bar and somewhat to silence the two last bars.

the ninth bar

we already

to characterise the

find the

whole work.

on the third quaver,

rhythm which

This

is

In
is

the accent

THE BALLADS.

67

3=

^=5g=E3^

P
Ex. 34.

SI
This accent continually recurs and soon passes
also on the sixth part of the bar, to introduce, in this

graceful form, the beginning of the theme.

Ex. 35.

ta=s

^E^^rm
,

tT

^5:
*

fe

U*

'

The whole ballad makes

rhythm,

rendering

becomes

passionate

especially in

development.

grows

silent,

it

the utmost use of this

poetical.

and

From

powerful,

tender

and

it

receives,

sharp minor, an entirely dramatic

On

the last two pages

it

apparently

but only to exhibit, with a stormy bass

CHOPIN.

68

accompaniment, a picture of dark horror, increasing

in

intensity,

suggestive

of

and ex-

a whirlpool

ploding at the end of the composition with

dramatic power of the

first

theme.

all the

There

is

no

doubt that the impulse to create the ballads was

given to Chopin by the ballads of Mickiewicz; and
the third ballad

evidently inspired by Undine.

is

That passionate theme

is

The ending

"Rusalka."

mate drowning,

in

song

in the spirit of the

vividly depicts the ulti-

some abyss, of the fated youth

in question.

We

need not say much concerning the fourth

We

ballad.
detail,

shall direct our attention only to one

which tends enormously to

phrasing of Chopin's works.

bar rhythm of musical phrases.

It

fault.

the

concerns the eight-

When we

this in the lectures a certain critic

Chopin as a

facilitate

mentioned

charged

it

upon

Yet not only Chopin, but

all

composers, take the eight-bar cycle as a measure for

their creative work.
this

rhythm, adding,

one,

and

still,

if

If Beethoven sometimes quits

now only

the later composers

a few bars,

make more

such facts do not weaken the rule

now only

exceptions

itself.

If

we

THE SCHERZI.
emphasise

69
performance

this point in reference to the

of Chopin's works,

because, irrespectively of the

it is

simplicity of his style of composition,

we have often

heard virtuosi who seem to forget the rule in quesputting

not

tion,

in

rests

where they ought,

or

mannerising the rhythm whereby a comprehension

of the eight-bar rhythm

is

made more difficult. These

points must above all be observed in executing these

which Chopin, one knows

works, so full of

lire,

to

not why, gave the

title

of scherzi.

does not
stands
quil

many

offer

its

The

difficulties; for

passionate, stormy

first

scherzo

everyone under-

first figures,

the tran-

charm of the middle theme, exhaling an

idyllic

ending with that chromatic

breath, the thunderous

conclusion which virtuosi change (this time correctly)

into octaves.

But

third scherzo
pretation.

in the

we often meet with

In the

ought to be played

fifth

flat

in a

so that the listener

in the

second and sometimes in the

minor Scherzo the

quick rhythm.

is

first

page

manner unusually rhythmical,

may

twenty-second bar,

bar, F,

that false inter-

precisely understand that

flat,

and

in the forty-

placed on the second part of the

CHOPIN.

JO

How

Ex

36.

moves

perfectly the wonderful

-G>
&&&
g_^=g

^zzr^i

in cycles of eight bars

lectures of 1879.

&

22

The middle

melody

we have shown

in th<

part:

fe

Ex.37,

JD_!_

!.

i-r^'-' 5
'FD~

i^Shnprr

>

rg.r

-cr

-p

has in a few places one bar added to the original

rhythm.

Ex. 38.

which

It is in this

bar that occurs

H=j
3?
is

absent the

first

time.

Finally, everywhere this order prevails

and

We

lights

up

all the corners

the

same of the Scherzo, C sharp minor and E.

the

first

necessity

of the fiery poem.

one, as

we play

of

phrasing

the

middle part (D

clearly

will

can say

flat)

In
the

successfully

THE SCHERZI.
restrain us

from too great an inequality of rhythm;

a matter wherein virtuosi sin so often, playing as

they do, the chords too slow and the subsequent pas-

sages too quick.

Having more

particularly described the ballads

we need not dwell

so long

on the

scherzi nor

on those

other works of the composer which are

more cosmo-

politan in their character, as concertos

and

To

sonatas.

the understanding of these, sufficient hints will

probably be found in the new edition.

The same

hints will apply to the Fantasia in F, Allegro de

Concert,

etc.

LECTURE

III.

POLONAISES.

CHOPIN

exhibited

in

the polonaises

and

in

the mazurkas the greatest attributes of his

mind and by
greatest
aesthetics

these compositions certainly

claim to immortality.

may

say,

am

made

his

Whatever German

of opinion that

it

is

mistake but a merit on the part of an author

not a
if

he

familiarises the world with the peculiar characteristics

of his nation by

domain of

art.

transporting them into the

Whatever

mands an uncontradicted
tnough the type
into

never

trivialities.

be

feared

in

is

a type thereby com-

right to a

place in

art,

question must never betray art

This
where

last-named
Chopin's
73

danger

need

works are con-

CHOPIN.

74
cerned

his type

is

always

assthetical in the highest

degree and his method of exhibiting

As

uncouth.

least

than foreigners

we

and
art,

Slavonic world spoke for the

is

which

not at

is still

certainly

better

admire the manifestation of

type as a new phase of

type,

not in the

who understand and

us,

Chopin so well

appreciate

this

for

it

seeing that all the

first

time through this

eagerly spreading

its

wings.

It

extraordinary that at the appearance

all

of a type so new, so special, the western world of

art felt a strong

tude.

The

inevitably

shock and took up a hostile

striking exhibition of such a type

be

condemned by conservative

atti-

would
critics.

This antagonism, especially between the German

and the Polish-Slavonic

in art, exists to this

a certain degree, though

it is

day

in

Only

already shaken.

a more complete development of our individuality,

together

with

other

Slavonic

individualities

conquer a thorough approbation for the type

and likewise
Chopin

can

itself,

for the highly-artistic forms with which

and

Moniuszko,

adorned that type.

to

some

extent

also

THE POLONAISES.

Nobody

will

Polish type
find

is

deny that the

75

characteristic of the

perfectly expressed

in

the gorgeous

appear-

own

nobility,

ances and warlike personalities of our

as well as in

its

versation, in the

loud and somewhat brusque con-

dance and so

rough feature of the type

mitigated aesthetically.
of Chopin the

we

a certain " knighthood " which

warm

is

This rather

forth.

not harmful

if

it

is

gives to all the dances

It

colour, the fire

which glows

in

them and gives them a mysterious dignity of beauty.

In the private life of the Poles the sharpness of the

type

smoothed by inborn goodness accompanied

is

by courtesy, not the spurious kind, consisting

externals, but the delicate one in

in

sympathy with the

pangs and sufferings of a neighbour whose misfortunes

compassionates, and in whose prosperity

it

delights.
truth,

Let us add to this type righteousness and

heartiness,

and we

social

simplicity,

which, reflected in

art, will

degree a sympathetic type.

People

good humour,
and

strictly

in the

highest

shall get a type purely Polish

aesthetic,

it

may laugh

It

is

be

such as we

at our impracticability

arc.

and com-

CHOPIN.

;6

plain of our want of political instinct; but they

must love us for our

nobility,

whereby we glow for

great ideas, our disinterestedness^ so rare in nations,

and

also our probity

which we are ready

As we

are,

wish to

such

is

and goodness,

to render to everyone his due.

our type in music.

ready to be brethren to

does not

German

We

type.

is

are

all.

peculiarities of the Polish character in par-

and

expansiveness

good-heartedness,

ticular,

certain

It

above others or to despise them, as

rise

the strong tendency of the

The

in virtue of

buoyancy and elegance, are strongly ex-

hibited in Chopin's works, especially the works of

his youth.

characteristics,

more advanced age deepened these

and added

and agony such as

for mankind.

to

them a hue of

all hearts

suffering

experience which feel

But nowhere are the lineaments of the

type so brightly drawn as in the dances, where the

energetic

The

rhythm

is

of such great assistance.

polonaise, as a court dance, seems to have

Poland

first

appeared

It is

a sort of procession in which

in

in the sixteenth century.

all

the

company

THE POLONAISES.

-/J

pass along in a stream and then defile in pairs with

movements

fancy and

of

full

almost boasting of

its

chivalrous

charm,

beauty and animation.

It

seems true that the primitive aim of this dance, as

history
nobility

was a procession of the whole

asserts,

before

polonaise, then,

is

The

monarch.

newly-chosen

not a dance but a march, whose

music ought, though not by a coupling of bars, to

preserve

the

martial

Accordingly

character.

we

understand that the movement of a polonaise must

be

strongly

importance;

weighed and that each note

and our advice

is

that

is

of

Chopin's

in

polonaises, without exception the counting should be

not in threes but in sixes.

The most

beautiful

wrote were those of Oginski.

tnat

and

serious,

yet

is

They

Chopin

possess in

Chopin developed so

character which

Their best example

before

polonaises

perhaps No.

bud

fully.

(F), so elegant

redolent of mystery

and charm.

who continued

this

form

very well though he did not create a new type.

But

After him came Kurpinski,

the appearance of the

Polonaise (Op. 40, dedi-

cated to Fontana) was for the time being an epoch.

CHOPIN.

78
Liszt, so far as

we know, played

may

In this dance which

certs.

it

at all his con-

be called glorious

in the full significance of the word, the Polish type

appears

in

its

somewhat

splendour

glows with

accent,

We

all

and with

sumptuousness,

Each

theatrical.

life

note,

each

and power.

will point to the accent

on the

triplet in the

second bar
x. S9.

PMmssmm
often

paid scant attention

The sudden modulation

chord)

in

the

fifth

to

bar

to,

C
is

yet

indispensable.

sharp (on the four-six

gorgeous.

The two

last of the eight bars, first part, exhibit the robust

characteristic of a polonaise.

Ex. 40.

|i*i

There each of the

of

its

-^-

six quavers has a solid

own, an accent, a significance.

weight

As regards

the

THE POLONAISES.
strong accent on the quaver
accent,

in the last bar, this

though not uncommon (Kaminski, Eisner,

Kurpinski, Oginski)

is

nevertheless, through the

previous accents on the same note

feebler

ever,

79

prepared

which

are,

two

how-

splendidly and effectively.

Already the short analogy we have made shows

us what the tempo of this

buoyant,
as

entirely lose the accents in the

last bars.

The second
idea of the

part

first

a further development of the

is

and

sideration here.

therefore requires no close con-

There

is

the

same accent on the

triplets, the

same weightiness of chords

and fourth

bars,

theme, where one

and

also

on the return

may make

music

are

to the first

(it

heard and the

The piano seems

in general deceives the ear.

change into an orchestra

in the third

a ritenuto.

In the third part trumpets

to

to be

indeed, but never too fast or too flying

we should then

two

"march" ought

is

curious that this

part arranged for an actual orchestra, shows to least

advantage).
spontaneous.

The touch ought now

The player must

and a greater power and accent

to be sharp

give equal

and

energy

to the shakes in the

80

CHOPIN.

fourth bar of the bass which imitates the roll of a

The whole must

drum.
to

get slower towards the end,

supply the want of a coda

which can be found

We

the

only deficiency

in the composition.

have halted a

over this polonaise so as

little

also to discover elsewhere the model, the type which

it

This type

presented.

though with other

details,

more particular analysis

way of

preparation

Polonaise in
If

and upon another founda-

following Polonaise in

tion, so to say, in the

splendidly exhibited, too,

is

we assume

other

we

of

such

that

it

will be here in place,

study of

our

an

by

earlier

was composed

earlier

than the

admire

all the

more the

shall be obliged to

exhibits,

it

and

fantastic

Polonaises as those in
71),

minor.

sharp (Op. 26, dedicated to Dessauer).

perfection of the type

in

sharp minor,

though contained

poetical

flat,

flat,

long space of time and we

minor,

etc.,

know

Such

forms.

minor (Op.

preceded

it

by a

these works as the

products of Chopin's youth, which include also the

charming and incomparably elegant Polonaise

flat

(Op.

22).

It

is

a pyrotechnic

in

display of

wonderful passages and daring changes, as though

THE POLONAISES.

The ending

created for the concert platform.

the

first

part

is

of

wonderful.

x. 4i.

v'\i

The Polonaise

in

^+~fT"
C

sharp

fcza

in quite a different

is

manner.

There the dancing character disappears

entirely.

The whole work, highly

poem

full of

original,

is

fantasy in which, although the rhythm

of a polonaise

is

perfectly preserved, the author finds

scope for the liveliest contrasts.

After the intro-

duction of four bars, strong and energetic, comes

the

first part,

in

which are represented,

in the

questions and answers, two opposite ideas.

opening bars are passionate and

to be

played with great

the dominant,
in a

rhythm

force.

full of fire,

form of

The

four

and ought

Suddenly we stop on

and take the other four bars piano,

full of

charm and wavering

and the end

Ex 42

fe^E&E5
finally regulates the

rhythm and

justifies the title of

CHOPIN.

82
polonaise.

We

find similar contrast in the second

an

with

begins

rhythmical

extremely

part.

It

figure

(which must be counted in study,

quavers,

six

and the place well denoted where the bass

This part always develops

falls in with the treble).

#; then stops on

in a continual crescendo until the

the chord in

sharp and develops to the new part

on the dominant of the scale

and

as

in E,

so full of simplicity that

be marked senza espressione.

part follows; a repetition;

which

is

so soft

we recommend

return to the

and then

it

to

first

the Trio in

flat.

Simplicity and exquisiteness are combined in this

trio in

a really Chopinesque and characteristic way.

Besides a certain degree of intention, indispensable

in such cases to a

good

execution, the player should

also bring to his task a consideration of the details

on the basis already mentioned, of strong and weak

The phrase

notes.

is

eminently a four-bar one, and

therefore gets rapidly weaker in the fourth bar.

note
as

it

F which
is

begins

it

is

The

the most difficult to take,

long, and, opening the descending phrase,

should be sufficiently loud though not

in the least

THE POLONAISES.
harsh

on the contrary, noble and

83

The

soft.

grace-

fully falling triplet

Ex. 43.

-&

likewise presents no slight difficulties.

It

should be

regular and yet not taken mechanically or indiffer-

In this

ently.

triplet, as in the

whole phrase, there

should be a certain blending of pride and elegance,

a certain distinction, to use a
it

is

true,

word which

is

foreign,

but which often expresses the character

of Chopin's phrases.

The more

likely second half

of the phrase needs no particular comment.

In the

second change of eight bars in this half, the tempo

rubato, which occurs, after a

played,

is

a point worthy of consideration.

striking the stronger

full of

few bars have been

flat,

a sudden turn follows,

charm.
Ex. 44.

f.r:7 h

After

L fa j

PP

CHOPIN.

84

We

are

transported into another world by the

enharmonic change, which, although pianissimo and

without strictness of touch, develops freely, suspending for the time being,

all

musical rules.

After this

ingenious and charming turn the rhythm returns

gracefully in the last two bars, and reminds us that

wonderful

this

polonaise.
clearer,

The

fantasia

notwithstanding

might be mentioned
to

part

last

nothing

is

theme of the

and

and also

in connection with it; the turn

and the power-

flat,

ritenuto before returning to the

which by

trio,

obliged to appear with

bars, then to

power

all its

construction

this

grow calm again and

excels

by an equally

turns are even

flat

to

end as

before.

The

minor, of the same opus,

rich

fantasy.

The

phrase of eight bars repeats

itself

time

is

curious.

Some

of

its

more beautiful and noble than those

preceding polonaise.

in the

is

in the first four

This polonaise has no very definite ending.

second Polonaise in

Just two points

duo.

its

piano by the modulation to

ful crescendo

charming,

is

but

else

The

difficulty

trio in

even to the fourth

which

player, especially as simplicity

which the

is

this causes the

indispensable,

is

THE POLONAISES.

As regards

extreme.

85

peculiar kind

this

of

turn

which results from an imitation of popular form, we

shall say

"

more under the head of

We

Mazurkas."

do not propose any further analysis of the polonaises

not even the beautiful Polonaise

we

minor, where

find such original turns in rubato, nor even indeed

the Polonaise in

the

sharp, where

thunders,

it

middle suggests the distant echo of a

with guns

flat,

Op.

compositions,

and

point,

later

on,

exhibits a

53,

in

battle,

by the flowers

which,
a

like

is

even

among

culminating

most majestic and finished

In this beautiful work, what

style.

and

But we must speak of the great

Polonaise in

Chopin's

veiled,

firing,

of a mazurka.

is

in

first strikes

us

the great plan, the exalted idea, the powerful

and

This polonaise

inspiration.

effective

a glorious apotheosis of the past, that

master,

as

is

well

and caused him

of

the

castle

at

to

known,
fly

into

it

is

such

led the

hallucinations,

from the solitary tower

Nohant,

where

he

fancied

he

heard the footsteps of ancestors in their rattling

armour

him

in

and

saw

majestic

their

figures

procession.

gliding

The

towards

dignity

of

CHOPIN.

86

this procession is perfectly reflected

by that ponderof

which

each sixth of the three-four bars has an

accent

of

ousness

rhythm,

in

consequence

Ex. 45.

and

a value.

convince

Let us but try and we shall readily

ourselves

that

this

cannot

be

played

differently.

These basses strengthen the impression with each

The

bar.

moment
up

in

idea

to

dignified train

moment, and a vast concourse

an apotheosis before

it

seems to increase from

us.

is

conjured

In view of the main

must be observed that the quick tempo, which

the majority of players (even the most celebrated

ones) give to this work,

It is

is

entirely

inappropriate.

true that, through a quick tempo, the octaves of

the third part, those for the left hand, apparently

THE POLONAISES.
But what a superficial view

gain.

duce an

87
this is

To

pro-

which will scarcely astonish anyone (as

effect

the difficulties are not so colossal) they sacrifice the

of

character

the

most beautiful

part.

In

truth,

however, the tempo ought not to depend on the

figure

of the accompaniment, which, though very

beautiful,

not of the

is

importance, but on the

first

And

theme for the right hand.

is

as if

it

that theme, which

were played on wind instruments, has

such a clear decided rhythm in itself that

it

is

only with great difficulty that one can err as to the

real

tempo.

than the

It

first

may indeed

away from

polonaise

the

sacrifice

somewhat ought never

part, but this

to carry us too far

be somewhat quicker

the

to

the

main idea and

octaves.

If

these

octaves are to express the cantering of horses, or

some such
which

does

thing,

not

that
enter

is

into

subordinate question
a

good performance.

After these octaves we pass to a further develop-

ment
several

of

the

composition

more bars

in the

which,

continuing

for

same energetic mood sud-

denly stops and gives place to strange and most

charming passages, whose connection with the main

88

CHOPIN.

idea

not easily perceptible and which presents no

is

little difficulty

To

of style to the performer.

explain the significance of this part and to

give at least a certain hint thereto,

mitted

turn

to

immediate

aside

moment

for

we must be

per-

from

the

subject.

In the course and development of

positions, especially those of

many com-

Chopin (and generally

we sometimes meet

those of the romantic school)

with parts, of which the union with the entire work

is

by no means easy

reason

that as a rule their basis

is,

new idea of which

to

us

by

the

is

on an

entirely

meaning can only be revealed

imagination.

must create

The

to perceive at a glance.

It

is

which

imagination

in our soul a certain

whole which

will

bring into harmony the various contrasts, a whole

with which the parts are sometimes connected only

obliquely,

put

it

by a combination of sounds

more

the steps of

only

modern music often follows

programme

music,

to

that

we

programme

in

and can be explained

from the same standpoint.

beforehand
foes

clearly,

To

only.

We

are

sufficiently

music.

Music,

must say
pronounced

with

pro-

THE POLONAISES.

gramme

before

not unfrequently enters into the

it,

domain of painting and can

with the

aid

of

the

an

programme

its

one art (no matter which)

explanation too great

all

murmurs" a
view,"

or

" star

to forbid to

art,

its

Such expressions

looks

every historical figure in the language

kind of picture.
verse,

"

as

down upon

musical harmony

is

would be

most beauti-

landscape "fades

distant

then

entrance, even for a

often to deprive that art of one of

ornaments.

listener,

But

moment, into the domain of another

ful

If,

forms are neglected for

out of place.

is

imagination.

on the part of the

effort is required

the

for

or, if

purpose only

fulfil its

listener's

therefore, strictly musical

the programme,

89

rivulet

from the

almost

us

"

is

already a

necessary to

an imitation of rhythm renders services to

and, moreover,

we

find

ture of every language.

harmony

Why,

also be allowed to borrow

it,

in the very struc-

then,

should not music

some of

its effects

other arts; or from certain analogies already so

from

much

popularised as to be comprehensible to everyone

Sunrise,

depicted

or clear,

with

bright colour, was long since

success

by the tremolo of

violins.

go

CHOPIN.

The

ever comical bassoon sometimes (as in the

"

scene from

Robert

")

makes, with

its

veiled sound,

The low sounds

a terrific impression.

tomb

of the Clar-

is

inet

have in themselves something infernal, though

this

same instrument

has, in its

toral effect, while in the

even

One

upper notes

The horn suggests

trivial.

instrument

The

piano)

(the

another (horn, drum,

polonaises.

middle

as

etc.),

notes, a pas-

it

may become

war, the chase,

sometimes

we have

etc.

imitates

seen in the

orchestra, as a whole, has a diversi-

fied province, its palette

being furnished with thou-

sands of colours and shades.

Beethoven did not

hesitate to use those nuances in a picturesque way.

He was

really

when he wrote

prompted by impression and feeling

the pastoral symphony.*

less introduces into

It is

a nightingale, a cuckoo and a

etc.

particularly where

words and action step

to assist the music, that its

more

neverthe-

as a storm, a subsequent clearing of

lark, as well

the sky,

it

He

facilitated,

"

and

More

programme

character

new enrichment of

feeling than painting."

in,
is

resource

THE POLONAISES.
and a new incitement
music,

for

instance,

9
Operatic

to creation occurs.

by

all

composers, contains a
scenes

we

and

the

action give us a key to their comprehension.

By

number of picturesque
understand

because

perfectly

which

scenes,

the

text

accustoming himself to these forms, the

mind becomes furnished with

and

similarities;

transported

into

commentator.

It

a store of impressions

and thus dramatic

effects

may

for this reason that so

dramatic overtures are written

a greater musical whole
sion within us, whether

many

which produce

it

suggestion, such as the

so

be

any

music, without

instrumental
is

listener's

many

parts of

an impres-

be by means of picturesque

murmur of

a rivulet, storms,

the cantering of horses, or whether by indicating a

dramatic tale in which the soul

picture

of

is

impressed by the

some strange murder by threatenings,

bewitchings, oaths, treasons or what-not.

In

analysing the

flat

Ballad we could not

allow our observations not to be influenced by the

programme

We
certain

see,

character of the music.

then, that the

extent,

programme plan

is,

to

acceptable in music; so far as

a
its

CHOPIN.

92
design

is

purely

trolled throughout

musical,

developments

con-

by rule and the attention paid

detail not too great.

its

The information given by such

programme not only

interests but facilitates the

The most

comprehension of the work.

composers often use

to

this

classical

programme method

in the

very process of their creation, though they only use

it

momentarily, by

way

Thus Haydn often

of spur.

arrayed in his own mind the plots of tales while he

was creating

symphonies

his

which,
He

date, he did not leave to posterity.

later

did

right,

at

for several reasons; for certainly his music speaks

to

us with unusual clearness.

obtain possession of one of his

these plans were noted,
find

it

Yet

we were

if

little diaries in

to

which

we should unquestionably

a precious aid towards the lights and shades

of the execution.

Sometimes such an explanation of

ture savours too greatly of

Yet

aim.

one

good

agree, the very title of

be

an

admirable

composers

do

not

hint,

a musical pic-

freedom
to

to effect

which

explanation,
shrink

from

and

even

such

will

all

may

a composition

the

often
great

titles

as

THE POLONAISES.

"The

Battle

Vittoria"

of

Scenes" with subordinate

(Schumann),

Scenes

"

be

friend

agree

that

the

the title

interesting if

name

the

Some
"

music

is

may

"

not

must

all
"

instrumented

Ride

understood

known, and would be much

Character

Piece

of overtures, such as

said

it

a certain picturesqueness

under

it

"King Lear" and

any plastic

pic-

enough as a general

what prompted the composer

From what we have

less

Orchestra."

for

to us

ture; but they are already useful

of

but

quite differently

Manfred," need not suggest

hint as to

or

we were only acquainted with

of

titles

is

"

"Children's

also

One may

magnificently

of the Valkyries

when

titles,

etc.

"Forest

(Beethoven),

Wagner's

to

93

to write.

appears that the idea

in

music,

as

far

as

concerns main conception, must not be hastily con-

demned, as

it

affords composers no small faculties

for varying their works.

are

Moreover, we must observe

constantly

that

there

that

picturesqueness.

varying descriptions of

First,

we have

dramatic

picturesqueness, specially united with words, which

conveys the strongest possible plastic images.

Then

come those standard works whose picturesque

titles

CHOPIN.

94

some movement

paint

nature

in

Berceuse, Ruisseau, Matinee

tioned) while,

or

(as

life

and others above men-

come the most

finally,

in

forms

ideal

of the picturesque which receive only their general

colour
the

from the theme, as clearly appears from

("King Lear," "Faust,"

title

We

etc.).

desire to speak of a proper use of these

of the terrible abuse

made

posers, especially those of

do not

means nor

of them by some com-

modern

times.

We

wish

only to derive some profit from considering them

with an eye to practical execution.

The

polonaise,

may

then,

be

assigned

second category, especially when we recognise

that

middle picturesqueness which

plastic, as representations of

is

the

to

in

it

not so entirely

thunder and lightning

sometimes used in the orchestra, nor so entirely

objective as the titles of the overtures,

and

"

Manfred."

like that

It is

"King Lear"

a species of picturesqueness

which dominates

summer Night's Dream."

in

Mendelssohn's

What

hand

On

a creeping passage, sufficiently

senting quiet

Mid-

are the particular

principles of this phrase of the Polonaise?

right

"

and monotonous movement

the

repre-

on

the

THE POLONAISES.
hand

left

the

asserts itself
over, the

rhythm of the polonaise constantly

and does not stop

movement of

more and more

ally

95

for a

the right

moment. More-

hand becomes graduthough dying

silent, as

in the

distance; while in the last few bars, with a kind of

and

assault

in a very rapid crescendo,

bursts out with the principal theme.

To speak

precisely,

we have

it

and

returns

What

then

here already, without

a commentary, a part joined logically to the whole

through the rhythm in the bass, contrasting so well

as after a prolonged forte follows a passage,

with

it,

soft

and

aesthetically

rounded, through the poeti-

cal

diminuendo, and through the return by means

of

is

crescendo

this part

the

castle,

towers,

halls,

of

ancient

passages,

the centre ball-room, a fine

The couples

polonaise.
like

Imagine

bridges.

band plays

in

with

structure,

national

In

it,

in

a majestic
dress,

war-

with swords, glide dignified, accentuating with

the step the

But what

thought.

chief

doing in the whole picture?

gorgeous

many

to

flat).

rhythm

(as given

by the basses

In the middle part (E),

wc may

flat,

see the

approach of a cavalcade, maybe after a triumph;

"

CHOPIN.

96

no matter, we shall only give our attention

part

of

arch,

following the

adjacent

where

polonaise

the

glides

bridges, enters the park,

excursion,

when they

buoyant

couple, passes gaily into

first

then

halls,

the

all

to that

all

the

distant

after

such an

over

and only
seemed

lost,

do we hear

them approaching by another entrance and with

them the
vivats

strains of triumphal music plaudits

to

although

we do not obtrude

play the piece?

our

way

the

delicacy,
will

with

Do we

passages,

knowing the

this
it,

explanahelp

us

not feel more sure of

in consequence of it?

pianissimo

Pan Thaddeus

Does not

(Mickiewicz's masterpiece).
tion,

"

tone picture of

real

and

Shall

with

we not shade

more charming

significance of the music,

and

not the fortissimo phrases appear afterwards

greater

splendour?

Shall

we

not

perceive

more clearly a need of accentuating the bass and

that obstinate

in the treble

when we thus under-

stand the plan of the whole?

certainly

cannot be contested

every art in

life,

and

all

These observations
;

and,

inasmuch as

arts whatsoever, require

suitable analogies applied to them, the like analogies

THE POLONAISES.

97

should not be ignored in connection with music,

though they should only be employed

in

modera-

it

being never forgotten that plastic musical

pictures

develop themselves most readily on the

tion;

and of a plan well worked

basis of feeling,

lending

itself particularly to

musical treatment.

Painting, for the sake of painting,

To

of music.

own

one's

create a thesis,

soul,

and not

is

not the aim

however

poetical, in

to express

it

in

sufficiently pleasing or precise is scarcely a

The

operation.

out,

a form

worthy

beautiful in music ought to speak

out to us; and behind

may

it

then be hidden a

deeper symbolism taken from the analogies of

The

last

proof that the legend

to enable the musical

found
"

work

structure of this
fies

to carry us

in the last polonaise

to

masterly

the

monument

work

called

We

Fantaisie-Polonaise."
is

itself is

life.

not sufficient

away

is

to be

by the author

cannot deny that the

good

hand

many

that

a detail

testi-

sculptured

but the general ideas are somewhat

distinct, their

working out

is

this
in-

lost in complications,

not well adapted to Chopin's muse, and certainly no

great

impressions

is

made upon

the

hearer.

Vet

CHOPIN.

9$

Chopin, in writing this polonaise, was haunted by a

most beautiful legend.

ought perfectly to
position.

The

reflect

past

and

the

future

each other in this com-

Unfortunately, a certain musical stiffness

paralyzes the impression, and the work remains one

of Chopin's less happy creations.
insufficient.

The golden sun

The symbolism

is

of inspiration does not

illumine the work, proceeding more from fantasy

and from the head than from

Let us

here,

the heart.*

however, conclude our observations

on the Polonaises and turn our attention

at last to

the Mazurkas.

11

* The patriotic idea was

Dream." (Translator).

to

assume the form

of

Byron's

THE MAZURKAS.

99

Mazurkas.

Welcome gems
most

precious

Not great

diamonds
reflected

in

jewels
extent,

in
in

of the purest water

our

in

but rich

master's

is

that not one of his worshippers will

his

sparklingly

There are indeed, many wonderful

works from the pen of Chopin, but

all

true

Welcome, bewitch-

a thousand hues.
!

crown

contents;

in

which the sun of genius

ing mazurkas

Welcome

am

sure

deny that

if

compositions were lost and the mazurkas

alone saved, he would rise out of them as grand as

he appears at present.

The book

We

are

not

is

is

Nearly every one

an inexhaustible well of poetry.

of these works

of mazurkas

a masterpiece.

speaking,

posthumous mazurkas.

at

With

this

moment, of the

the exception of that

one, which, as everyone knows,

was written on the

composer's death-bed, they were

all

youthful essays,

100

CHOPIN.

which Chopin did not intend

and

logical

clever master as he was, he felt,

what he was destined soon

child,

Strangely

to publish.

when a
and

to become,

therefore did not give to the world works of a kind

in

which a new composer

is

invariably trying to

change the forms of his predecessors.

rondo the influence exerted upon him by a study

first

of

In Chopin's

Hummel

wrought

is still visible,

out,

and

form

its

the originality

which distinguishes

detail

but

it

he also

is

diligently

and newness of

justifies its publication.

followed

traces

of

Hummel, but how magnificently he expanded

his

In

the

model

concerto

In the nocturnes,

the

moreover, he over-dis-

tanced Field by a whole heaven, as he did likewise

in his published

Mazurkas (Op. 6 and

7).

He

in-

stantly attained a standpoint of high originality

and

artistic finish, casting

away

all

which might have been calculated

previous essays
to

assist

him.

The

publication of Chopin's youthful productions

may

be interesting in a physiological and patho-

logical sense, but to art this point of view

of an indifferent order.

is

quite

THE MAZURKAS.
In the
life

first

101

mazurkas at once appears that national

from which, as from an inexhaustible treasury,

Chopin drew

his inspirations.

he obtained so
All

to say.

much

material

we know

Where, when and how

almost impossible

it is

that he went sometimes

is

He was

into the country for his holidays.

collector of songs

ing them

nor

as yet no one thought of collect-

did he devote himself to a special

study of national

which resounded

To him

never a

airs.

at

He was

an ^olian harp

the smallest breath of wind.

the slightest waft

was

sufficient.

He

dis-

covered inexhaustible treasures where no one before

him had even thought of them.

This

is

exemplified in his Mazurkas Nos. 2 and

6,

sufficiently
3,

from Op.

each of them equally picturesque and peasantyet each

like,
first

in

quite

a different

style.

In

the

of these (C sharp) you hear, at the commence-

ment,

the

bass

murmur

in

lowly

strains,

while

the violinist, preserving a firm tone on the second

chord, purrs silently to himself, and wavers some-

what roughly,
first

eight

in

the

rhythm of the melody

bars at the beginning).

(the

Then follows

CHOPIN.

102

a song,

sad,

so

and

caressing,

heartfelt,

naive,

and

diversified

upon the

so wonderfully constructed

two contrasts of piano and forte that one cannot

long enough to

listen

so

gay and

as

though

after which the

village-like that

sets one's feet

is

moving

-2:

:=

9F=*=p

^~

Then

it

middle

to a dance.

Ex. 46.
> -

it

to*

the former bass passages return

&

and

the

first

motive follows them, with the wonderful change

in

tempo rubato

Ex. 47.
~

it

>3

ffirftTT
in

which one

rather

sees the real

ideal

fantasy

and

intoxicated

expand the impulses of

peasant with his

an

eagerness

to

his soul.

Let us now take the succeeding Mazurka (Op.

No. 3) in which, from a distance, one at

first

6,

hears


THE MAZURKAS.

103

Then

only the sound of the basses.

the

music

comes steadily nearer and the whole cavalcade of a

wedding

hurries

How

merriment.

on the scene
true this

yet

how

we

refer only to the

largely

istic

that

ably by

An

it

all

its

Hf

its

fe

real

how

natural,

riches even if

Cg-

,-*- -*-

chromatic harmony,

becomes a

and noisy

the third part.

^ j g

*k

is

so character-

model, followed inevit-

Chopin's imitators from sheer necessity.

exquisite mazurka, buoyant

found

to life,

harmony of

-1

This, with

leaps

endowed with musical

Jlf

is

in

highest

and

development

full of elegance,
in

the

flat

CHOPIN.

104

Mazurka (Op.

7,

enthusiasm in

its

charm

What movement, what

1).

opening, what grace and noble

In the third part

in the later short notes.

we hear

the popular note again, in a characteristic-

monotonous

ally

No.

bass,

and with

it

the never-to-be

ignored rubato, which, whatever else

purely
It

curious

is

and

Polish-Slavonic,

that

in

the

it

entirely

mazurkas

may

be, is

peasant-like.
this

rubato

should be found so often and play so great a part.

It

has the

effect

upon the auditor which we have

already mentioned

it is

festively peasant-like

and

gay, and has a certain air of intoxication about

In these wavering strains one recognises the

it.

whole soul of a Slav, with

its

its

free impulses

and

expansion under emotion.

Those sparkling
of other types

could seize

and

characteristics of the peasant, as

characteristics

were

seized

which no one

by Chopin

else

instinctively,

idealized to the dignity of real poems.

We

are

already acquainted with some of his improvisations

in this direction;

we know from

his

biography that

he could imitate not only the peasants' but the

<*f*

win

CM"

rz^s;

FAC,
C

cue

MAZ
I

THE MAZURKAS.

105

dance perfectly; and when he was in the

Jews'

country staying at a friend's mansion, the Jews,

assembled in the place for the purpose of trading

acknowledged that he played "Majufes"

corn,

a born Jew.

Nothing, therefore,

the Mazurka, Op. 17, No.

in

like

more comic than

is

concerning which Mr.

g,

M. A. Szulc sent me from Posen a truthful testimony

in

which he says

His story

Jew."

care for

used to be called the "Little

it

as follows:

is

programme

Chopin did

not

music, though more than one

of his compositions, full of expression and character,

may

be included under that name.

know Mazurka No.

to

Lena Freppa

4,

It

part

7,

Who

does not

of a book dedicated

was already known

in

our

country, before the departure of our artist abroad,

"

as the

Little Jew."

Chopin which

Jew

in

It

is

one of those works of

are characterised

slippers

by

distinct

humour.

and a long robe comes out

of his inn and seeing an unfortunate peasant,

had been

his

customer

tumbling about the road

just
jind

exclaims from his threshold,

as

if

before,

intoxicated,

uttering complaints,

"What

by way of contrast to

who

this

is

this?"

scene,

Then,

the

gay

106

CHOPIN.

wedding party of a

rich burgess

way from

with shouts of various kinds,

church,

which are accompanied in a

lively

The

its

manner by the

train passes by,

and

the tipsy peasant recommences his complaints,

and

violins

and the bagpipes.

comes along on

emphasises his misery which he had endeavoured

drown

to

from
"

What was

returns indoors

shaking his head and saying

his threshold,

One

The Tew

in the elass.

this ?"

purely technical and characteristic detail in

Chopin's mazurkas, a detail which has since been

copied in

all

the mazurkas of other composers,

is

the oft-repeating triplet.

It is to

be observed that

too quickly, or

The

we
It

first

find
is,

as

it

Mazurka
it

we

this

must not be played

will thereby lose its characteristic.

in

sharp minor begins with

it

and

likewise in Chopin's youthful mazurkas.

see

from the Mazurka

almost invariably used

in

in

sharp minor,

expressing feelings and

THE MAZURKAS.
exhibiting different shades.
the opening of the

from the

Simple and natural

mazurka

in

bends, immediately

it

fifth bar, into various effective shapes, per-

mitting a free execution.

by so much
the

10/

repetition,

end of the

it

first part,

Later on, as

fatigued

begins again slowly.

again,

passing quietly by and resting

like air of stupidity

if

on the

it

At

smiles pleasingly,,

itself

with a country-

last note.

Ex. 49.

*=F
Then, further on, after the energetic second part

and that

-fifth,

so full of

fire

Ex. 50.
-tf*5

-N

1.-*' tx'

*f=i^fr=^^
rail.

-N

triplet

assumes a passionate and

And how many

characters does

following mazurkas?

In the

it

fiery

character.

not take in the

(Op. 33) Mazurka

CHOPIN.

io8

we must

same bar

is

we have already remarked

in

notice that part where the

repeated sixteen times.

Ex. 61.

Such a

repetition, as

our previous lectures, has a character of determined

enjoyment

dancingnotwithstanding

misery

and

trouble, or of childlike naivete with constant return-

ing to and moving round one idea.

Those

critics,

and

especially foreigners,

who have

passed judgment on the piece in question, forgot

that similar impulses of simplicity

other composers, that in

generally in naive themes,

Haydn and
we

30,

No.

2,

we

in

Mozart, and

often find repetitions

of one note or phrase, just as

instance of this kind

may be found

here.

second

find in the Mazurka, Op.

where the following passage

Ex. 62.

zct

THE MAZURKAS.

109

perfectly realised the'character of Ujejski in his little

poem, "The Cuckoo."

Chopin wrote

when, as we have said, no

all this

one had hitherto dreamed about the peasantry and

when

dealt with at

Mazurka
with

phase of

their particular

its

What

all.

life

had not been

a wonderful

(Op. 24, No.

characteristic scale

in its

1)

poem

is

simplicity

the

and

XX. 63.

t:;m

33 t-M-J*^

ending the phrase of eight

lapse of so

many

bars.

years, not only can

Now,

after the

no fault what-

ever be found with this characteristic of Chopin, but

the

ever

testify

multiplying

more and more

the genius which

number
to the

knew how

of

popular

songs

wonderful nature of
to

copy a type with

such photographic truth.

Every one of Chopin's mazurkas deserves not

be forgotten.

No.

3),

The

very beautiful one in

(Op.

to
7,

where, to a sort of sad theme of violins, the

no

CHOPIN.

bass supports the rhythm so cheerfully and where

the middle part

is

so original

and

full of energetic

fantasy

Ex. 54.

or the following one,

wonderful modulation to

where we find the

flat,

and the

ritenuto

Ex. 55.

__o
nvn\

^y

'

l_zz3

>s>
g
ni

of a religious nature, so beautiful and so unexpected

What
variety

is

of

weeps, one

besides inexpressibly interesting,

One mazurka

ideas.
is

one in D.

like No. 4,

the

Op.

1)

another

follows the celebrated

One developed
24,

into a masterpiece,

and another only sketched

C major Mazurka

an end.

the

thoughtful, another dances; after the

tender one (Op. 33, No.

lively

laughs,

is

(Op.

7,

No.

5)

like

without even

THE MAZURKAS.

With

the mazurkas

the

is

it

Ill

same as with other

works of Chopin, that the performers, instead of the

and naturalness reigning

in them, try to

and thereby

spoil the proper

And

to

no other works

so harmful as to the mazurkas.

The Mazurka

simplicity
find

an

artificial

pathos,

characteristic of the work.

is it

(Op. 33, No. 4) has two commentaries.

"The Dragoon,"

of Ujejski,

pays compliments and

She

hostelry.

takes

flatteries

to

that

says,

flight,

to

The poem
a

soldier

a girl in an

and

her

lover,

believing she has deceived him, drowns himself in

despair.

On

the other hand, a humoristic

by Zelenski

entirely

poem

written

explains this mazurka by a

domestic scene between a peasant and his wife.

the

part the intoxicated peasant sings

first

dana

when

"

(Oh dear me!)

his

head

is

sufficiently

telligibly, as imitated

Ex. 50.

as he returns

"

Oj

In
ta

home; and

turned he growls unin-

by the bass:

"

CHOPIN.

112

When

the wife reproaches him, the peasant, thrown

into a passion, strikes her

Ex. 67.

k=d
>f

sfcfe

LMr*-^^~

and complains (melody

sighs

Lord!" the peasant returns

again, shouting

"Be

quiet,

Ex. 58.

:#*-*-

-&

==:

you old vixen!"

be qui

=r=q
old

et,

vix

Shan't be quiet, shan't be quiet

Ex. 59.

-0-

gigg^
.

Shan't

B), "

be

qui

et.

to strike her

=ES=

Ah

"

h*-

IZ-Z

The woman
Lord,

*s

en.

THE MAZURKAS.
answers

113

But the peasant, already fatigued,

she.

begins to grow calm.

He

goes away, grumbling in

a more subdued tone (solo for the left hand)

Ix. GO.

At

last

he falls asleep.

by way of reminder.

as if

wakes, remembers what

sorry for his
Kx.

good

wife.

melody

first

The peasant

has happened

He

calls her

returns

shortly

and

feels

0!

-i&-

Kit

'

The

P
I

-o-

ir

*&-

Come,

Kit

tv.

do comt here,

We

forgive yon.

cite this

tale not

for the purpose of actual

criticism, for the author himself

in that light, but to

scene

is

show how much

nearer the truth.

one might prefer

docs not consider

Perhaps

it

this naturalistic

in the

B melody

to sec a certain expression of

CHOPIN.

114

rather than the groans of

soul

girlish

a peasant

much charm from

wife; but the whole gains

the

comic interpretation.

For

Those

Ujejski.

"

is

you."

not

different

fifths

Kitty,

If

we

me

that

dramatic

here,

tales

real

Here
forgive

is

it

necessarily

are

hidden by them but that they point

groundwork of

in

ring, ring the

mazurkas "poems"

these

certain

ending

the

to the depths!"

do come

Kitty,

call

is

mean: "Ring,

Horse, carry

bell there!
it

how

instance,

on the

to us

the peasant type different shades of

and not forced

we read with

Just as

feelings.

delignt the conversations of the peasants in Sienkie-

wicz catching the characteristic words and expressions,

so

is

it

here

one

as being truly typical

is

to

be

deny; but

it

small

turn

satisfies us.

delights

That

"

us,

crime

"

found amongst the people, we do not

an exception and not a leading

is

it

of

characteristic

their

nature.

Chopin,

the

first

interpreter of popular character, certainly took that

view.

Let

it

here be remarked that another of his

mazurkas was
night"

supposed

depicted

to

represent

by Ujejski!

Listening

" terrific

to

that

THE MAZURKAS.
hearty and,

if

we

honest melody,

be allowed the expression,

shall

never discover any such

Musically speaking neither the flow of the

terrors.

melody, so

of simplicity and charm, nor the

full

harmony, which
emphatic

or

may

1 1

no sudden

in all its wealth, exhibits

changes,

justifies

an

such

interpre-

tation.

The
us

last

mazurkas, some of them especially, offer

and

longer

poems,

future

composers

from

of

representation

how

show

should

developed

type

the

be

much

able

into

wealth
extract

to

it.

Having,
his general

in our previous

features,

work shown Chopin

we have

here

made

in

a nearer,

closer inspection of his principal compositions.

Not-

withstanding the ever-widening admiration which

the

works of the master are exciting,

seemed

May
will

the

has not

the hints and observations

to us that

have made were

it

at the present time uncalled

day soon come when

be unnecessary

END.

all

we
for.

such commentary

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New Temple

Press, Croydon.

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.ESTHETICS, CRITICISMS, ESSAYS.

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GREATER WORKS OF CHOPIN.

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HOW TO

PLAY CHOPIN.

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ESTHETICS, CBITICISMS, ESSAYS.

BEETHOVEN'S PIANOFORTE SONATAS

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BEETHOVEN'S SYMPHONIES

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BEETHOVEN'S SYMPHONIES

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AESTHETICS, CRITICISMS, ESSAYS.

/ESTHETICS OF MUSICAL ART, or, The Theory of Beautiful in Music.

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PURITY IN MUSIC.
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J.

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BIOGRAPHICAL.
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BIOGRAPHICAL.

10

THE MAN AND HIS MUSIC. By James

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With Musical Examples. Thick crown 8vo, cloth, 10s.

CHOPIN:

" Mr. Huneker is a Chopin enthusiast. He accords admiration to Brahms,

Wagner, to Tchaikovsky his worship is reserved for Chopin. Being
gifted with clear insight and imagination which grasp many and diverse
moods Mr. Huneker is a sane critic and a manly
There is no pretence at new material in the book. Mr. Huneker has garnered all that has
been written about the composer and he has threshed out the grain from
the chaff. The result is, therefore, of value." Musical Standard.
" The volume will at once take its place in the front rank of books on
the masterly chapter of seventy-four pages on the etudes will
Chopin.
soon be found indispensable by all teachers and students of the pianoforte."
The Nation (U.S.A.).
" A work of unique merit, of distinguished style, of profound insight and
sympathy and of the most brilliant literary quality." The New York
Times.
" Of works on Chopin published since Niecks' life, this is by far the
most important." G. C. Ashton Jonson in " A Handbook to Chopin's
Works."
to

LIFE OF CHOPIN.

By Franz Liszt. New and very much

Enlarged Edition. Translated in full now for the first
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Crown 8vo, cloth, 6s.

George Sand describes it as " un peu exuberent en

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Chopin student."
" Franz Liszt has written a charming sketch of Chopin's life and art."
:

h'ncy. Brit.
" Liszt's criticisms upon his separate works have all the eloquent mysticisms to be expected from him; and the biography is a book musicians
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Sunday Time*.

" It will afford the student the greatest help in understanding the
undercurrent of emotion which characterises the works of Chopin."
Morning Post
" Let us therefore contribute one good word to help it forward, as we
would tend a flower which springs up spontaneously over the grave of
one we love." Musical Times.

BEETHOVEN.

By Richard Wagner. With a Supplement

from the Philosophical Works of Arthur Schopenhauer.
Translated by Edward Dannreuther. Third Edition.

Crown 8vo, cloth, 6s.

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much tact and patience." Musical Times.

BIOGRAPHICAL.

11

FREDERIC CHOPIN: HIS LIFE AND LETTERS.

By

Moritz Karasowski. Translated by E. Hill. New

Edition Revised and further Letters added written
during the Composer's Sojourn in England and Scotland, 1848-9.
Second and Revised Edition. With 8
Portraits and a Facsimile. 2 volumes. Crown 8vo,
bevelled cloth, 10s.
" Chopin is and remains the boldest and proudest poetic spirit of the
age." Robert Schumann.

"

A book with which all students of Chopin must needs he acquainted

contains a good deal of first hand information and is our only source
for many valuable documents."
The Guardian.
It

Grove's Dictionary of Musicians says " The truth about Chopin's birth,
family, health, character, friendships, early training and the dawn of his
career as a player and composer was not known until the publication of
Moritz Karasowski's recent and trustworthy biography.''
" The first serious attempt at a biography of Chopin." Prof. Nieces.
:

" Gives bits of information found nowhere else and the Letters of Chopin
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master." Musical America.

make the book invaluable

MAKERS OF MUSIC.

Biographical Sketches of the Great

With Chronological Summaries

Composers.

their

of

Works and Facsimiles from Musical MSS. of Bach,

Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, Weber, Schubert, Berlioz, Mendelssohn, Chopin,
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Brahms and Grieg, with General Chronological Table.

ByR. Farqtjharson Sharp. Numerous Portraits. Fourth

Crown 8vo, cloth, os.
Edition, Revised and Enlarged.
The author's endeavour throughout this work Las been to oonYoy au impression of the personality <>f each composer, as well as to furnish biographioal detail. At the end of each biography is a tabulated list of the
oomposer's works and dates of production, together with ;> facsimile from
one of li is original manusoripte
A a si ful v. lame, got up in good Btyle and
well adapted for
L itt or prize.
Has speedily run into four editions.
'i

CHOPIN:

AS

REVEALED BY EXTRACTS FROM HIS

DIARY.

By Count Tarnow ski. Translated from the

Polish by N. JANOIHA.
With Eight Portraits. Crown
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BIOGBAPHICAL.

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HISTORY.
TREATISE ON BYZANTINE MUSIC.

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fascinating." Daily Hail.

memoirs are not always such an intellectual feast as this,

he long before we get mother book so full of variety and

vitality."/^// Mull Cuzrtte.

" It ought to be
U.8.A.

in

every library as a work of reference." The Musi-

cian,

" It is not only a very readable book, bnf a contribution of some importance to maeioeJ bietory." '///< Vorkthirt Pot!

"Anyone deelroui of a knowledge of the vtate of nneie and the personalities of miiHical artists. British and foreign, during the roigl of
Qneen Victoria will find what be is in qoeel of In From hfendelieohn to
Wagner.'" Hie Dundee Atlirrt
'

15

HISTORY.

16

BIBLIOGRAPHY OF MUSICAL INSTRUMENTS AND

ARCH/EOLOGY. Intended as a Guide to the Study
the
History of Musical Instruments.
Schlesinger. 8vo, cloth, gilt top, 5s. net.

of

By

K.
1912

The above is reprinted from the two-volume work entitled " The Instruments of the Modern Orchestra and Early Records of the Precursors
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The Times: "Is the finest work of its kind since ' De Fidiculis Bibliographia,' and will be found of great value to all musicians."

HISTORY OF HUNGARIAN MUSIC. By

of the Boyal Hungarian Opera).
cloth, 2s. 6d. net.

J. Kaldy (Director
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THE RISE AND DEVELOPMENT OF OPERA. Embracing

a Comparative View of the Art in Italy, Germany,
France and England. By Joseph Goddard. Showing
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the Modern Period, and the Compensation which that
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THE RISE AND DEVELOPMENT OF MILITARY MUSIC.

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G.

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THE MUSIC OF THE MOST ANCIENT NATIONS.

Parthe Assyrians, Egyptians and Hebrews;

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ticularly

of

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authorities on his subject in Europe, he became a collector when opportunities were more frequent than they are now for acquiring rare instruments and books. He thus formed a private museum and library that
could hardly be rivalled except by a few public institutions."

HISTORY.

17

MANUAL OF MUSICAL HISTORY. From

the Epoch of
Ancient Greece to our Present Time. By Dr. F. L.
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THE NATIONAL MUSIC OF THE WORLD.

By H. F.

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Chorlit.

8vo, cloth, 6s.

The volume treats of the national

1911

folk-songs and airs of the

various races of the world. And the chapters are undoubtedly marked in a
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learning as a student of the art.
tunes,

CHRONOMETRICAL CHART OF MUSICAL HISTORY.

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to the
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Chart of Musical History
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i
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'

'

Sure to be very useful to students

teems to be very accurate and thorough."
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Dr. Ralph Dunstan.
.

and

and is certainly valuable in helping the imaginasynchronous events." H. Osmond Andertox, Esq., Librarian
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.

tion to grasp
to

THE RISE OF MUSIC.

Being a Careful Enquiry into the

Development of the Art from its Primitive Puttings
forth in Egypt and Assyria to its Triumphant Consummation in Modem Effect. By Josepb Qoddard. AVilh
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MEMOIRS OF THE ROYAL ARTILLERY BAND,

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tary Music in England.
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J.

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2

HISTOBY.

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CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY.

By F. J. Crowest. Revised and Enlarged Edition.
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down

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is

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HISTORY OF PIANOFORTE MUSIC. With

Critical

Greatest Masters and Sketches of their

Lives.
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Estimates of

its

cloth, 3s. 6d.

Dudley Buck says of it " In
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:

my judgment

the work should be in the

" The only work of its kind in English. It groups the composers and
works into epochs and gives a clear description of the different
epoohs .''Etude.

their

THE WORLD'S EARLIEST MUSIC.

Traced to its Beginnings in Ancient Lands.

By collected Evidences of
Relics, Records^ History and Musical Instruments, from
Greece, Etruria, Egypt, China, through Assyria and
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and Sumer. By Hermann Smith. With 65 full page
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Crown 8vo,
cloth, 6s.

THE

GROWTH

AND

DEVELOPMENT

OF

MUSIC.

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By Edward Dickinson. With an Annotated Guide to
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:

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History of Music,

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ORCHESTRAL.
THE WIND-BAND AND

ITS INSTRUMENTS. Their HisConstruction, Acoustics, Technique and Combination.

By Arthur A. Clappe, Royal Military
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A Work

of Original

Besearch and Study.

THE INSTRUMENTS OF THE MODERN ORCHESTRA

AND EARLY RECORDS OF THE PRECURSORS OF
THE VIOLIN FAMILY. With 500 Illustrations and
Plates.

By Kathleen Schlesinger.

Two handsome

volumes, thick 8vo, cloth, gilt tops, 18s. 6d. net.

" It is no mere echo of other historians but a work of original research.
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violin
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years of laborious and persevering study given to its compilation and
composition will be appreciated by generations yet to come. Birmnujhum Gazette and Express.
John BrOADHOUSI in the Musical Standard writes: "Far Bar paste I any
book on the subject which it has been our good fortune to read. The
whole line of the investigation is in every sense of the word original; not
trusting the researches of her predecessors, Miss Schlesinger has, during
many years, gone fully and deeply into the matter for herself; and,
having arrived at conclusions quite at variance with those of other
writers, she is not afraid to say so. The toue of the book is mod. rat ion
itself

."

The music critic of the American Musical ('miner in an able essay says:
"It is a great work in two volumes with over five hundred illustrations
She [the author] is a kind of musical Darwin who has
and plates
given no end of foil and trouble to trnce the anoestOH of our instruments
into their humble and remote sources."
E. vw nut KruwriN writes in the Strad: "This work ranks among the
most remarkable modern literature on the subject."

HOW TO

PLAY FROM SCORE.

ment from Score on

the

Translated by A.
Musical Examples. Cr. 8vo, bevelled cloth, 3s. 6d.
popular and useful book mighl hare b en entitled "The \rf of

I'ftim.

of
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lias:

Treatise on AccompaniOrgan or Pianoforte. By F.

Whittingham. With 40 pp.

'

and other Boores."

^^r the
it

"r.

contains

i,n

all

or
t li

subject.
I'l

nt

Pianoforte from Full Orchestral

is Deoessarj
to know upon thii

OBCHESTBAL.

20

MODERN ORCHESTRAL INSTRUMENTS,

Their History,

By K. Schlesinger. A
Practical Illustrated Handbook for the Musician, Student and Concert-Goer. Numerous Illustrations and
Structure and Capabilities.

Musical

Examples throughout.

8vo,

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7s. 6d.

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which are now to be found in our large military and municipal bands."
:

The above volume, with " The Precursors of the Violin Family," form
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ON CONDUCTING.

By Richard Wagner.

E. Dannreuther.

Second Edition.

Translated by

Cr. 8vo, cloth, 5s.

A treatise on style in the execution of classical music, written

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NOTES ON CONDUCTING AND CONDUCTORS.

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T. R.

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OEGAN.
IN THE ORGAN AND IN THE
ORCHESTRA. By Hermann Smith. An Analysis of
the Work of the Air in the Speaking Organ Pipe of the

THE MAKING OF SOUND

Various Constant Types, and an Exposition of the

Theory of the Air-Stream-Reed Based upon the Discovery of the Tone of the Air, by Means of Displacement Rods. With 30 Illustrations and Tables. Thick

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MODERN ORGAN BUILDING.

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Drawn

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1911
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ADVICE TO YOUNG ORGANISTS.

TIE PEDAL ORGAN.

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THE ORGAN FIFTY YEARS HENCE. A

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By

Study

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Past History and

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We have every sympathy for the opinion! Mr.
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'

Fifty

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THE EARLY ENGLISH ORGAN BUILDERS

and their
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in Unwritten Chapter on the B
Greal Rebellion,
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By Db. E. I'. Rimbault. Well
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Poet

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21

S*

OBGAN.

22

SOME CONTINENTAL ORGANS

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MODERN ORGAN TUNING,

The How and Why, Clearly

Explaining the Nature of the Organ Pipe and the
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Crown 8vo, cloth, 3s. 6d.

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scale

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SHORT HISTORY OF THE ORGAN, ORGANISTS AND

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ANALYSIS

OF MENDELSSOHN'S ORGAN WORKS.

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ORGANIST'S QUARTERLY JOURNAL

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ORGAN.

23

ORGAN SCHOOL: A New Edition,

Carefully Revised. The Pedal Part printed on a Separate Staff, and the Preface, Remarks and Technical
Terms translated from the German expressly for this
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The best edition ever published of this Grand Classical work. No other

RINK'S PRACTICAL

edition will bear comparison with it for care and skill in editing, nor for
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edition is that the bar lines are bold, and that they are drawn right through
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The student who will take the trouble to test this edition against any
other, will at once perceive the advantage he gains from this clear and
distinct style of " barring " to an advanced performer the matter may be
;

perhaps

importance, but even he cannot

fort of increased legibility.
of less

fail to

appreciate the com-

As a royal road

to thorough and sound Organ Playing in all styles, there

a Beginner
no other School which will bear comparison with this
can follow no better course than to go through it slowly.
is

THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS

AND OTHER CHORAL WORKS. Analytically ConBy Orlando A. Mansfield, Mus.Doc, r-'.R.C.O.
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sidered.
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HENRY SMART'S ORGAN COMPOSITIONS ANALYSED.

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THE INFLUENCE OF THE ORGAN

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PIANOFORTE.
HOW TO STUDY THE PIANOFORTE WORKS
GREAT

COMPOSERS.

OF THE

By

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Mus.JBac. Handel, Bach, Haydn, Scarlatti, Mozart,
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THE ARTIST AT THE PIANO.

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THE ART OF TEACHING PIANOFORTE PLAYING. A

Systematised

Selection

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Practical

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By

Suggestions

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Alfred Johnstone (author of " Piano Touch, Phrasing and Interpretation," "Modern Tendencies and Old Standards
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Second edition. Thick crown
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Many pianists who add to

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PIANOFOBTE.

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REEVES' THE POPULAR PIANOFORTE TUTOR.

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PIANOFORTE TEACHER'S GUIDE. By

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THE ART OF TUNING THE PIANOFORTE.

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PIANOFORTE.

26

TECHNICAL STUDY IN THE ART OF PIANOFORTE

PLAYING (Deppe's Principles). By C. A. EhrenWith numerous Illustrations. Fourth Edition.
Crown 8vo, bevelled cloth, 2s. 6d.
Contents
Position Arm Wrist Fingers
Touch (Tone Production)
Legato; Equality of Tone; Tension and Contraction; Five Finger Exercises
Skips The Scale Arpeggio Chords Firm Chords High Raising of
the Arm
Melody and its Accompaniment Connection of Firm Chords
The Tremolo; The Shake (Trill); The Pedal; Fingering.
fechter.

WELL-KNOWN PIANO SOLOS. How

to Play them with

Understanding, Expression and Effect. By Charles
W. Wilkinson. Four Series. Each containing about 2G
Articles dealing with the Works of Sinding, Scarlatti,
Paderewski, Handel, Rubinstein, Scharwenka, Schumann, Godard, Delibes and other Composers. Crown
8vo, Is. each series.

Contents of the First Series

Sinding, Rustle of Spring. Scarlatti,
Pastorale e Capriccio. Paderewski, Minuet in G. Handel, Harmonious
Blacksmith. Rubinstein, Melody
in
Polish
Dance.
F. Scharwfnka,
Schumann, Nachtstiicke. Godard,
from
Mazurka. Delibes,
Pizzicati
Sylvia. Grieg, Wedding Day at Troldhongen. Elgar, Salut d'Amour.
Paderewski, Melodie. Raff, La Fileuse. Tchaikovskt, Troika.
Godard,
Etincelles.
Berger et
Bergeres. Chaminade,
Pierrette. Moszkowski,
Paderewski, Minuet in A Major. Grieg, Norwegian Bridal Procession.
Liszt, Regata Yeneziana. Chaminade, Automne. Moszkowski, Sernata.
Lack, Valse Arabesque. Schumann, Arabeske. Chopin, Etude in G Flat.
Durand, First Valse.
:

The Second and Third Series contain

similar

varied selection.

Draws

one's attention to the beauties in a piece, explains difficulties here

and there, draws attention to a pedal effect and any peculiarity of fingering, and generally gives all the information a professor is expected to
give to his pupils.

" Described in

Aberdeen

in a manner to be understood by the youngest

charm that must ensure the popularity of the book."

detail

student, and with a

Daily Journal.
" In plain language free from technicalities proffers valuable help to the
budding piano soloist." Leicester Mail.

IN THE ART OF PIANOFORTE PLAYING, On

Rhythm, Measure, Phrasing, Tempo. By C. A. Ehrenfechter. Second Edition. Crown 8vo, bevelled cloth,

DELIVERY

2s.
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rendering. The section with reference to accent is particularly good.
There are numerous illustrations from the works of the masters." W. H.

Webbe

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PIANOFORTE.

27

PIANO TOUCH, PHRASING AND INTERPRETATION. By

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etc.)

Crown

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himself in clear and unmistakable terms." Aberdeen Daily Journal.

of

HANDBOOK TO CHOPIN'S WORKS.

Giving a Detailed
Compositions of Chopin. Short
Analyses for the Piano Student and Critical Quotations from
the Writings of Weil-Known Musical
Authors.
By G. C. Ashton Jonson. The Whole
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Bibliography and a Chronological List of Works, etc.

Account

Crown

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the

all

8vo, cloth, gilt top, 6s.

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can our author be accused of being tedious. The book should be greatly
studied by all." Daily Chronicle.

SYSTEM OF STUDY OF SCALES AND CHORDS.

Being
Chapters on the Elements of Pianoforte Technique. By
with
Illustrated
Vine WestbrOOK, F,B.C.O.
B.
numerous Musical Examples. 8vo, cloth, 2s. (paper

covers, Is.).
The supreme importance, the absolute

a study of scales
the student of tho
is
it
pianoforte, is universally admitted,
the aim of the writer to lay
before the reader Hie simply fundamental rulei which it ii believed will
render soalei and chords interesting and Intelligible, if not actually es

nml ohordi, the latter

The author outlines

the

pupil

system

in

in

the

of

necessity,

arpeggio,

of

to

soheme which abolishes the drudgery and ins]

for praotioe and formulates a method

an enthusiasm
which thai practice

with

form

may

be oarried out.

or

TECHNICAL AND THEORETICAL.

STEPS IN HARMONY.

With Copious Explanatory ExamGraded Test Exercises. A Handbook for

Students.
By Dr. Churchill Sibley. With Music
Examples throughout. Crown 8vo, boards, cloth back,
ples

and

2s. 6d. net.

It is believed that he who thoroughly masters the contents of these
will be prepared to study intelligently the harmonic structure of the

of the great masters,

of the present day.

600

and also

pages
works

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QUESTIONS AND 600 EXERCISES IN ELEMENTARY

MUSICAL THEORY. By W. H. Palmer. Crown 8vo,
cloth, 2s. n,t

(paper covers,

Is.

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Intended as a help to the private student and to the candidate preparing for the several musical examinations.

ON THE MODAL ACCOMPANIMENT OF PLAIN CHANT.

A Practical Treatise. By Edwin Evans, Senior,
F.B.C.O.

Part I, Theoretical; Part II, Practical

School of Plain Chant Accompaniment, consisting of 240
Exercises, with an Appendix of Notes.
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MODERN CHORDS EXPLAINED.

(The Tonal

Scale

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Harmony.) By Arthur G. Potter. With Musical Examples from the Works of C. Debussy, Richard Strauss
and Granville Bantock.
8vo, limp cloth, Is. (paper
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THE HARMONISING OF MELODIES.

A Text-Book for
Students and Beginners. By H. C. Banister. Third
Edition, with numerous Musical Examples. Crown 8vo,
limp cloth, 2s.

EXERCISES IN VOCAL SCORE READING.

Collected from
the Works of Orlando di Lasso, Palestrina, Vittoria,
Barcroft, Redford, Peter Certon, Byrd, Gibbons, Croft,
Rogers, Boyce, etc. For Students preparing for the

R.C.O. and other Examinations.

Mus.Doc. Oxon. 4to, 3s.

By James Lyon,

Although there are books on vocal score reading in existence, the author
has found the exercises contained in this book taken from the works of
writers of the early contrapuntal school of the greatest possible value in
his private teaching, and he ventures to think that students preparing
for diplomas where vocal score reading is require'!, will welcome such a

collection as this.

EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION. By James Lyon, Mus.Doc. 4to, 2s.
28

TECHNICAL AND THEORETICAL.

HOW TO

COMPOSE.

tion of

29

Practical Guide to the Composi-

Works within the Lyric Form, and which

all

the
Valse,
Gavotte,
Mazurka, Polonaise,
March, Minuet, and all Ordinary Dance Forms; as also
the Nocturne, Impromptu, Berceuse, Reverie and
Similar Characteristic Pieces. By Edwin
Evans,
Senior, F.R.C.O. (author of " The Relation of Tchaikovsky to Art-Questions of the Day," "A Handbook to
Brahms' Works," "The Modal Accompaniment to
Plain Chant," etc.).
With 60 Musical Examples.

include

Crown

8vo, cloth, 2s. 6d. (paper, Is. 6d. net).

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is

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developing a

full

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knowledge is alone required for its comprehension.
" A daring subject to tackle, and one that in most cases would be
better left alone. We must confess that we opened the book feeling very
sceptical but the author who is well known as one of the most thoughtful of our musical litterateurs has handled his subject in a manner that
compels our admiration. To the young musician who feels that he ha9
something to say, we strongly advise the immediate purchase of this
thoughtful and distinctly practical treatise. It will save him from that
loose, meandering, formless music so characteristic, unfortunately, of
many of the early works of our young composers." Aberdeen Daily
under the reader's

Journal.

PRONOUNCING DICTIONARY OF MUSICAL TERMS. By

Dr. Dudley Buck. Sixth Edition, with the Pronunciation
Edited and Revised by
of each Term accurately given.
A.

Whittingham.

Crown

8vo, cloth, Is. (paper, 6d.)

A most valuable nnri useful little book to all musical people. The method
adopted for giving the correct pronunciation of each term is most concise
and (bar.

HARMONY, EASILY AND PROGRESSIVELY ARRANGED.

Simple Manner the Elementary Ideas ai
to the Study of Harmony.
Introduction
well as the
Examples
and Exercises. By
Musical
With about 300
(paper, Is.)
cloth,
2s.
8vo,
Paul Colberg. Crown
Presenting

in a

August Wilhelmj says: "This work is distinguished by brevity and

I most vtnrnily recommend it."

clearness

BOOK OF MUSIC TOR BEGINNERS,

FIRST

Embodying

Recent English and Continental Teaching. By Alfred

Win
\<.m \t. Sixth Thousand. Crown 8vo, sewed, 2d.
i

The two prinoipa] object! kepi

in

view

in

erriting this little

the arrangement of robit

differi from nil other ilmflar irorki In that ii the technical
terms in moiio are Introduced in the aneweri not in the ritn-stioni.

Thori

Ition

and Regular Order

In

TECHNICAL AND THEOBETICAL.

30

THE RUDIMENTS OF GREGORIAN MUSIC.

Burgess, F.S.A., Scot.

Crown

By Francis

8vo, 6d.

ON GENERAL ELEMENTARY MUSIC.

EXERCISES
Book

for

Part
sewed

I,

Beginners.

Part
parts complete in
price

(2

By K. Paige.

6d.

II,

price

Fourth Edition.
9d.

Crown

8vo,

cloth, 2s.).

Contents of Part I 1. Pitch. 2. Length of Sounds. 3. Time. 4. Time

and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. Syncopation.
10. Notation.
11. Miscellaneous Questions and
9. Signs and Abbreviations.
:

Exercises.

Contents of Part II 1. Triads. 2. First Inversion of a Triad. 3. Second

Inversion of a Triad. 4. Dissonances. 5. Suspensions. 6. Sequences. 7.
Cadences. 8. Dominant Sevenths, etc.
" We have much praise not only for the general arrangement of the book,
:

but for the lucid manner in which the questions are put. The chapters on
Time and Accent are exceedingly good, and there are some useful exercises

accustom the pupil to transposition. We are especially pleased, too,

with the method of writing incomplete bars, and asking the pupil to supply
also of requiring notes to be changed into
the missing parts with rests
rests and rests into notes." Musical Times.
to

ELEMENTARY MUSIC. A Book

Westbrook.

With

Questions

Thirteenth Edition.

Crown

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and

Vocal

8vo, cloth, Is.

By Dr.

Exercises.
6d. (paper,

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Contents
and Time.

The Staff and its Clefs. 2. Notes and their Pests. 3. Bars
Accidentals. 5. Keys and Scales. 6. Intervals. 7. Musical
Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and Groups of
Notes. 11. Voices and Scores. 12. Church Modes. 13. Italian and other
Directions. 14. Foreign Note-Names. 15. Questions. 16. Vocal Exercises.
:

1.

4.

" His explanations are extremely clear. The questions at the end will be
found very useful." Musical Times.
" This little primer is one of the best of its kind, and forms an admirable course of preparation for the local examinations in music .... it
ensures, as far as a book can, an intelligent and thorough grasp of the
elements of musical knowledge. The questions at the end of the book will
be found invaluable to teachers." Journal of Trinity College, London.

HARMONY AND THE CLASSIFICATION OF CHORDS.

Exercises.
By Dr. J.
8vo, boards, cloth back, 5s.

With Questions and

Vol.

I,

Ditto, Vol. II.

COUNTERPOINT: A

H. Lewis.

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Simple and Intelligible Treatise. Containing the most Important Rules of all Text Books, in
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By A. Livingstone Hirst, (liecves* Educational
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TECHNICAL AND THEORETICAL.

HOW TO MEMORIZE

MUSIC.

31

By

numerous Musical Examples.

With
C. F. Kenyon.
Fourth Edition. Crown

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" Mr. Kenyon proves himself an excellent guide and indeed we know of
no other work devoted to the subject with which he has dealt 60 thoroughly
and so successfully." Glasgow Herald.
;

" Points out the paramount, importance of being able to play from
Many useful hints are given on the course of study to be
adopted." Morning Post.
" A most valuable little book of eight chapters, containing valuable
information on the art of memorising, with many illustrations." Western

memory.

Morning News.
" May do much good inducing young pianists
together with their fingers." Yorkshire Post.

to

exert

their

brains

THE ART OF MODULATION. A Handbook

showing at a
Glance the Modulations from one Key to any Other in
the Octave, consisting of 1,008 Modulations. For the
Use of Organists and Musical Directors. Edited by
Carli Zoeller. Third Edition. Roy. 8vo, cloth, 4s.
(paper,

2s.

6d.).

HOW TO HARMONIZE

MELODIES. With Hints on Writing for Strings and Pianoforte Accompaniments.

By

J.

Henry Bridger, Mus.Bac.

throughout.

Crown

HOW TO WRITE

With Musical Examples

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MUSIC

IN

SHORTHAND.

For Com-

Students of Harmony, Counterpoint, etc., can

be Written very Rapidly and is more Legible than
printed Music, with Specimens from Bach, Handel,
Chopin, Wagner, Mendelssohn, Spohr, Mo/art, etc. By
FBANOI8 Taylor. 14 pages, 12mo, sewed, Gd.
posers,

TRANSPOSITION AT SIGHT.

For Students

of the Organ
and Pianoforte. By H. Ernst Nichol. Fourth Edition,
with numerous Musical Exercises. Crown 8vo, cloth,
Is.

6d. (paper, Is.)

Then iH no Deed to dwell upon the neefolni

ren the neoeeeity of
transposition to the organiel or the eooompeniil
Th pi
transposing upon the lines here lnitl down deTelojM the " meat*] rar."
qiiK-kcns the m tisii al perception find pivei
in ns it is
"nt tlint, if tin' itndenl <:m trt
ti..t
lmv.- much
;i
difficulty in merely playing nt tight.
The enthor bee made free dm of the
tonic sol-fa as well aa the old notation in Lis many musical examples.

KM

i.

TECHNICAL AND THEOBETICAL.

32

MUSICAL ANALYSIS.
H. C. Banister.

A Handbook for Students. By

With Musical Illustrations. Crown

8vo, limp cloth, 2s. (paper covers, Is. net).

THE ART OF MODULATING. A

lating

at

the

Series of Papers on

With 62 Musical Examples.

(paper covers,

Modu-

By Henry C. Banister.
Crown 8vo, limp cloth, 2s.

Pianoforte.
Is. net).

THE STUDENT'S HELMHOLTZ.

Musical Acoustics or the

Phenomena of Sound as Connected with Music. By

John Broadhouse. With more than 100 Illustrations.
Fourth Edition. Crown 8vo, cloth, 7s. 6d.
" In his Preface the author says
give, in one volume, a good general

The object of the present book is to

view of the subject to those who can
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design is most satisfactorily carried out and it is not too much to say
that although the plan of the work excludes the possibility of minutely
dissecting every subject treated upon, any careful reader may obtain so
clear an insight into the principle of acoustics, as to enable him not only to
pass an examination but to store up a large amount of general knowledge
upon the phenomena of sound." Musical Times.
" ' The Student's Helmholtz will be very useful to many musicians, to
whom much in Helmholtz's work must appear obscure. I shall recommend
the book whenever an opportunity offers itself." Dr. Ritteb.
:

'

'

This work has been specially designed for musical students preparing
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EXAMPLES OF FOUR PART WRITING FROM FIGURED

BASSES AND GIVEN MELODIES. By James Lyon,
Mus.Doc.

4to, 4s.

These exercises are printed in open score so as. to be of use in score

"
reading tests. This volume forms a key to " Exercises in Figured Bass
by the same author.

THE STUDENT'S BOOK OF CHORDS. By

ham.

Crown

Pascal Neid-

8vo, sewed, 6d. net.

The Author says A very large number of music students, executive and
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and clearly explained. To these students I dedicate this work.
:

VIOLIN.
THE PRECURSORS OF THE VIOLIN FAMILY.

Records,
Researches and Studies. By K. Schlesinger. With
over Two Hundred Illustrations and Plates. Thick 8vo,
cloth, gilt top, 12s. 6d. net.

" The results of ori

says of Miss Schlesinger's work
ginal research are evident .... a new light is here thrown on the early
history of the violin family, and in any future work on this subject
account will have to be taken of the research disclosed in this volume."

The Times

This volume, complete in itself, formed originally a part of the twovolume work entitled " The Instruments of the Modern Orchestra and
Early Records of the Precursors of the Violin Family

ADVICE TO VIOLIN STUDENTS.

tion

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Wallace

Containing Informa-

the Utmost Value to Every Violinist. By

Ritchie, Principal, West London Violin

Crown 8vo, cloth, 2s. 6d. net.

School.
Contents: Selecting and Adjusting Choice of a Teacher Course of Study
The Sevcik Method Practising Style Tone Production Pronunciation
Together with
of Terms, Names, etc. Graded List of Studies, Pieces, etc.
on
Common Faults Shifting Reading Music Stopping HarHints
monics Vibrato Tempo Intonation, Pitch, etc.

AN IMPORTANT LESSON TO PERFORMERS ON THE

VIOLIN.

By

the

TARTINI.

Celebrated

Portrait.

Being the Translation by Dr. Burnet, issued originally in

1779, together with the original

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THE VIOLINIST'S DICTIONARY.

Containing nearly 2,000

used in the Study of
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Words, Phrases, References,

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THE VALUE OF OLD VIOLINS. By

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VIOLIN.

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INFORMATION

FOR PLAYERS,

Owners, Dealers and

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Bridge Bow Violin Case Repairs Preservation Conclusion.
:

STRADIVARIUS.

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Fetis.

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THE HISTORY OF THE VIOLIN

and other Instruments

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HOW TO

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VIOLIN MANUFACTURE IN ITALY and its German Origin.

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BIOGRAPHICAL DICTIONARY OF FIDDLERS.

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THE VIOLIN,

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Covn-NTs
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Belly The Bass Bar The Purfling The NeckThe Finger-board The
Nut and String GuardVarnishing and PolishingVarnishes and Colouring MatterThe Varnish- A Mathematical .Method of Constructing the
Outline The Remaining Accessories of the Violin.
:

This new edition has had the advantage of being revised throughout by
violin maker.

a celebrated

SKLTCHLS

GREAT

OF

PIANISTS.

VIOLINISTS

AND

GREAT

See ''Biographical Section."

01 HOLDING THL VIOLIN AND BOW AS EXEMPLIFIED BY OIL BULL. His Pose and Method

THL ART

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THL VIOLIN AND OLD VIOLIN MAKERS.

Being a Hi
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tro da

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lo.

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Is.

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VIOLIN.

36

TECHNICS OF VIOLIN PLAYING.

With

Illustrations.

(paper,
" It

is

my

Tenth

By Karl Courvoisier.

Edition.

Cloth,

2s.

6d.

all

violin

Is.)

opinion that this book will offer material aid to

players." Joachim.
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nothing to be desired. The author, who was a pupil of Joachim, has
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mend

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Educational Times.

VOCAL.
THE ART OF VOCAL EXPRESSION.

A Popular Hand-

book for Speakers, Singers, Teachers and Elocutionists.

By the Rev. Chas. Gib. Crown 8vo, cloth, 2s. net (or
paper covers, Is. net).

CHAT WITH CHORAL SINGERS.

A. It. CO. 8vo, paper cover, 4d.

By H. W. Sparrow,

f'oxTKXTS
Reading Music Tone Production Breathing Phrasing
Expression Enunciation Blend of Voices Tone, Attack, Release C'n re
:

of the Voice

HOW TO

Suggestions.

ATTAIN THE SINGING VOICE, or Singing Shorn

A Popular Handbook for those desir-

of its Mysteries.

ous of winning Success as Singers in Public and Private

By A. Richards Broad. Crown 8vo, cloth, 2s. net
(paper covers, Is. net).
Life.

" An immensely
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interesting book that has every right to be classed

are genuinely useful, and it should be prized by all
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the point, on the varied phases of the singing voice; there is none of the
superfluous literary padding about it .... is earnestly recommended to
nil as being a most exhaustive treatise in concise form of the art. and we
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" I have read and re-read your
A correspondent writes to the author

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is the best
investment I have made, and although it has dispelled many
illusions, I wish to thank you right heartily for having placed such an
excellent work at the disposal of the public."
little

VOCAL SCIENCE AND ART.

Being Hints on the ProducThe

the Rev. Chas. Gib.
Deep
Boy's Voice, Muscular Relaxation, The Art of
Breathing, Elocution for Ordination Candidates. With
Numerous Illustrations, together with an Introduction,
Notes and Diagrams by J. F. Halls Dally, M.A.,
M.J)., B.C. Cantab., M.B.C.P. Land., etc.
Dedicated
by Kind Permission to the Right Rev. the Lord Bishop
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Crown 8vo, cloth, 3s. Gd.
tion of Musical Tone.

By

THE THROAT
of

IN ITS RELATION TO SINGING. A Series

Popular Papers. By Whitfield Ward, A.M., M.D.

With

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Contents Anatomical Structure of the Throat; Wh.v w

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Voiee
OomiBOB
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-

37

VOCAL.

38

OBSERVATIONS ON THE FLORID SONG.

Or Sentiments
on the Ancient and Modern Singers. By P. F. Tosi.
Translated by Mr. Galliard.
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Recommended

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method

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by the

lato

The Etude have frequently been treated to quotations

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'

'

<l

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WAGNER.

WAGNER'S TEACHINGS BY ANALOGY.

His Views on
Articulate and
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Music
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by Edwin Evans, and Wagner students will feel they owe him a full debt
of gratitude for so clear and expository a translation which has now been
placed within their reach
This pleasure is added to by the setting of
the text which has been arranged in numbered paragraphs, each with a
sub-heading denoting the subject dealt with. A copious index makes
possible an easy and quick reference to any of these paragraphs and the
whole thus gains in attractiveness and loses the heavy and discouraging
of the

appearance of the original.

Wagner writing to his friend Uhlig said

"Here you have my testament: I may as well die now anything
further that I could do seems to me a useless piece of luxury."
" Although there
Ebkest Nfwman in " A Study of Wagner " writes
:

appears here and there in his prose-work something of the vast synthetio
power of his musical imagination such a work as Opera and Drama,'
for instance, finally compelling our admiration for its tenacity of purpose and the breadth of vision that sweeps so far before and after."

'

BEETHOVEN.

By Richard Wagner. With a Supplement

from the Philosophical Works of Schopenhauer. Translated by Edward Dannreuther. Third Edition. Crown
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40

WAGNER.

41

JUDAISM IN MUSIC.

Being the Original Essay together

with the Later Supplement.
By Richard Wagner.
Translated from the German (Das Judenthum in der
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The noise and disturbance created by the publication of the above
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The Scotsman.
'

'

'

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NIBELUNG."

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" Bnoh
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MY

RECOLLECTIONS
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WAGNER.

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WAGNER.

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By N. Kil-

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ON CONDUCTING. By Richard Wagner.

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MISCELLANEOUS.
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OLD WELSH

45

of My Land. Alawon Fy
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of their Lives.
Together with an Essay on Pennilion

Ngwlad.

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NATIONAL SCHOOL OF OPERA

IN

ENGLAND.

Being

the Substance of a Paper read before the Licentiates of

By Frank Austin.
Trinity College, March, 1882.
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MODEST IDYLLS FOR MUSICAL SETTING.

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SONGS FROM THE RAVEL.

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I>y
A Book of Prose-Lyrics from Life and Nature.
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INDEX.

46

11s. 6d.

Making
Smith

Straeten

Musical Memories. Spark

Musical Recollections. Hoffman
National Music of the World ...

History of Violoncello.

21s.
History of Violoncello.

Quarterly

Journal.

to

22

Wagner.

Davison
Parthenia
Precursors of the Violin Family.

Welsh Airs.

15

44

33

Sohlesinger

45

Bennett

10s. 6d.
and

Musicians,

Practical

10s.
:

Mozart. Wilder. 2 vols

Opera and Drama.

11

10
18
4
9

Wagner

40

8s. 6d.
and

Music

of

Nations.

Most

the

30
30

15
18
)5
34
5
21

National

Portrait
Gallery
of
British Musicians
Rink's Practical Organ School

Music. Goddard
Student's
Helmholtz.
Broadhouse
Tchaikovsky, Life and Works.
of

Mon-

posers.

Westerby

24

Music. Sharp
Memoirs of the Royal Artillery

^lakers of

11

Band. Farmer
Modern Tendencies. Johnstone
On Conducting. Wagner
On the Florid Song. Tosi
Opera and Drama, Vol. II. Evans

17
6
42

Quarterly

Organist's

3S
40

Journal.

Spark

22
13

Fetis

Stradivari.

Its Instruments.

19

Analysis of Mendelssohn's Organ

Hathaway
in

22

Piano

Johnstone
Great Violinists

and

Playing.
Pianists.

Ferris

Organ

of Mendelssohn's
Mansfield
Rise and Development of Opera.

Parts

Oratorios.

Goddard
14

23
17
32

23
16

4s.
Art of Modulation. Zoeller
...
Beethoven's Symphonies. Berlioz
Examples of Four-Part Writing.

Lyon

31
4

32

3s. 6d.

6s.
Art of Listening to Musio
Beethoven. Wagner
10
Cherubim. Bellasis
12
Handbook to Chopin's Works.
Jonson
27
Imaginary
Interviews
with
Great Composers. Cumberland
4
Liszt

...

the Pianoforte
Great Comthe

of

Newmarch and Evans

Life of Chopin.

Lewis
Lewis

12

...

Works

Works.

Lewis

II.

of Russian Music.

Essentials

Mezzotints.

I.

16

4s. 6d.

7s. 6d.

llise

Harmony, Volume
Harmony, Volume

Clappe

16

Huneker
Modern Organ Building.

21

12

Ancient

Byzantine Music. Hathevby

History of Music. Ritter
History of Music. Rockstro
History Violin. Sandys, etc.

of

Wind-Band and
First

Engel

18

Musical Instruments. Schlesinger

Biographical Dictionary of Fiddlers. Clarke
English Glee Composers. Baptie
Greater Works of Chopin. Kjeczynski

Schumann

Series.

Music

Musicians,

Johnstone
Bibliography

tagu-Nathan
How to Study

Organ School

His Life and Letters.

Chopin
Karasowski
Chopin. Huneker
Growth and Development of
Dickinson
Musi,c.
Handbook to the Yocal Works of
Brahms. Evans

40

^Esthetics of Musical Art. Hand.

Art of Teaching the Pianoforte.

H istory

Second

Schumann

Series.

Evans

I.

5s.

12s. 6d.
From Mendelssohn

9
9
17

Writers. Weingartner.
World's Earliest Musio. Smith

18s.

Rink's

21

Schlesinger (net)

Organist's

in the

Symphony

Instruments of the Modem Orchestra and Precursors of the

Musio

Sound

of

Opera and Drama, Vol.

18s. 6d.
Violin.

page
Organ.

page
Straeten

10

A Musical

Zoo. Saint-Goorge ...

Balfe: His Life and Works ...
Beethoven's Pianoforte Sonatas
Explained. Elterlein
Beethoven's
Symphonies
Discussed. Teetgen
Beethoven's
Symphonies

plained.

Goddard

7
7

Ex-

Elterlein

Deeper Sources.

12

7
...

3ft.

page

8d. (continued).

Organ Builders

English

Early

Rimbault
Great Violinists

and

21

Pianists

Ferris

How

Violin.

Broad-

house

How
How
How

35
to Play Chopin. Kleczynski 6
to Play from Score. Fetis 19
to
Understand Wagner's

" Ring."

Judaism

Kobbe

41

Music.
Life or Beethoven.
in

Wagner

...

41

Nohl
12
Modal Accompaniment of Plain
Chant. Evans
28
Modern Organ Tuning. Smith
22
"
"
Moiart's
Don Giovanni
Commentary. Hutchinson
7
Piano Touch.

Johnstone

...

Rise of Military Music. Farmer

Verdi: Man and Musician
...
Vocal Science and Art. Gib ...

27
If;

9
37

3s.
8tructnre and Preservation
the Violin. Otto

Violin
the

Banister

...

Zoeller

Harmonize

24
32
31

3
4
43

11
45
16
29

Melodies.

Bridger
Information for Players of Bow
Instruments. Hepworth
Manna] of Musical History
Masonic Musical Service Book.
Linekar

Organ from Within.

3
3

Broadhousc

Purity in Music. Thibaut

Sixty Years of Music
Smart's Organ Compositions Analysed. Broadhouse
Songs from the Ravel.

Austin.
Steve in Harmony. Sibley
Teohnioa] Study in
Pianoforte
Playing. Ehren feehter

Templeton and Malibran

Value of Old Violins. I'olonaski...
Wagner's Teaching* by Analogy.
Evany

31

31
17

41
3
8
11

30

23
5
4
28

29
15

37

KenGress34

Repair

to

Com-

Violins.

mon

84

17

31

Play the Fiddle.

to

Lesson

12

Chats with Violinist*. Ritchie

Chinese Music, etc. Green
Choir Attendance Register
Chopin: From his Diary
English
Glee
and
Madrigal
Writers. Barrett
History of Hungarian Music ...
How to Compose. Evans
to

43

Singing

Broad
Memorize Music

Voice.
to

How

34

Wood-

Bach Letters

How

the

34
to

Performers on the

lin.
Tartini
Musical Analysis.

Students.

Piano.

house
Art of Modulating.
Art of Modulation.

Attain

to

How

2s. 6d.
to

18
11

Buker
Elementary Music Paige
Exercises in Figured Bass. Lyon
Future of Music Laloy
Gipsy Music. Parker
Harmonising. Banister
Harmony. Colberg
History of the Harp. Thomas ...

2s

of

Emery

Dictionary.

Ritchie
Artist
at

History.

well

2s. 9d.

Adiire

Musical

Chronometrical Chart of Musical

Hietory. Harris
Compend of Musical Knowledge.

How

Lyon

Violinist's

of

Cherubini. Crowest
Choir Attendance Register

Uow

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Catechism
Crowest

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Exercises in Vocal Score Reading.

page

Smith
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Make a

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Music.

Pianoforte

History of
Fillmore

28,
A Mutical Zoo. Saint-George
Art of Holding the Violin
Art of Modulating. Banister ...
Art of Tuning the Pianoforte.

Vio-

33
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Banister
the
Future.

Music-Drama of
Boughton and Buckley

32
7

Notes on Conducting. Croger

20
Pedal Organ. Casson
21
Physical Development and Voice
Production. Adams
59
Piano Teaching. Le Couppey ... 25

Purcell. Cummings
600 Questions, etc. Palmer
Recollections Wagner. Lesiinple"

Some Continental Organs. Wedgwood

System

mmm

of Study of Scales and

Chords. Westbrook
Feohnioi Violin. Courvoisier
Throat. Ward
Three Impressions of Bayrcuth.

Koenig
Training Boys' Voices. Fleming"
\amping Tutor. Taylor ...
\ iolin.
Abele
Violin and Old Violin Makers
Clarke
Violin
Manufacture in " Italy.'
Sohebek
Vocal Expression. Gib
Weber. Benedict
...

23
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37
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Chopin: Prom his

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(continued).
30
Elementary Music. Westbrook
23
How to Compose. Evans
Masonic Musical Service Book.
44
Linekar

Is. 6d.

Pianoforte Scales. Rock

Transposition at Sight. Nichol

25
31

Is.
Art of Holding the Violin
Bayreuth and Munich. Blackburn
Birth of Arthur. Buckley
Catechism of Musical History.
Crowest
Catechism of Part-Singing. Hiles
Chrono metrical Chart of Musical
History. Harris
Diet, of Musical Terms. Buck ...
Dictionary of U,000 British Musicians. Crowest
Elementary Music. Westbrook
Exercises for Choristers. Fleming
Future of Music. Laloy
Gipsy Music. Parker

Harmony. Colberg
History Dulwich College Organ ...
How to Attain the Singing
Voice.
to

How

Broad
Memorize Music.

Keu-

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How

to Play the Fiddle.

Gress-

well

How

to Play Well-Known Piano

Solos. First Series. Wilkinson
Second Series. Wilkinson
Third Series. Wilkinson

How

to

Study

Works

How to

of Beethoven.
Repair Violins.

Westerby

Common

..

Influence of Organ in History ...

In the Service of Art. Nin ...
Lesson to Performers on the Violin.
Tartini
Liszt.

Martin

Modern Chords.
Modest Idylls.

Potter

Modulating. Banister
Musical Analysis. Banister
Musical Festivals. Boughton.
Musical Hints to Clergymen.
Grover
Notes on Conducting. Croger ...
Oratorio Vocal Scores
Organ 50 Years Hence. Burgess
Past and the Future. Bridge ...
Pedal Organ. Casson
Pianoforte
Teacher's
Guide.
Plaidy
Pianoforte Tutor
Place of Science in Music
Recollection'' Wagner. Lesimple

Reform

in

Organ Building,

42
2

Woman

18

Counterpoint.

38

Elementary
Paige
Wagner's " Ring."

17

of

Howarth
Palmer

Music.

000 Questions, etc.

Scales and Chords. Westbrook

Sight Singing. J{ossington
Some Famous Songs. Ritter ...
Technics
of
Violin
Playing.

Courvoisier

Printkd

30
38

34

as a Musician.

Ritter

...

9d.
Hirst
Music.

30

Part

II.

30

Kilburn

...

Accomp. to the Psalms. Webb

Book of Chords. Needham
Cesar F ranch. Hinton

...
...

41

Dictionary of k,000 British Musicians. Crowest

29 Diet, of Musical Terms. Buck ...
22 Elementary Music. Part I. Paige
Facts about Fiddles. Broadhouse
37 How to Manage a Choral Society.
Kilburn
31
How to Sing an English Ballad.
Philp
34
How to Study the Pianoforte
Works of Handel. Westerby ...
26 Ditto, C. P. Emanuel Bach 'and
26
26
24
34
23

Haydn
Ditto, Scarlatti
Ditto, J. S. Bach
Ditto, Clementi
Ditto, Mozart
How to Write Music

in

33

Modern Chords.
National
Austin

School

Rudiments

of

45
32
32
4

39
20
44
31

Potter
of

39

30
39
41

42

4d.
Manuscript Music Book
Chat with Choral Singers.

Sparrow

43
37

3d.
43

2d.

25

24

Opera.

Manuscript Music Book

39

45

21

28
27

39

31
43
28

Gregorian Music ...

Voice Production. Levien
...
Wagner, a Sketch. Kilburn ...
Wagner's " Parsifal." Kilburn

17

7
41

29
30
33

Short-

Manuscript Music Books

12

12

24
24
24
24
24

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44
32

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4

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Italy.

In

6d.
12

23

Rudiments

Manufacture
Schebek

37
31
39
38

29

cas-

son

Violin

28

Alfieri

...
Throat. Ward
Transposition at Sight. Nichol
Breathing
...
Twelve Lessons on
Twenty Lessons on the Voice ...
Violin and Old Violin Makers.
Clarke
...

35

Pianoforte

the

page
(continued).
Three Impressions of Bayreuth.
41
Koenig

Is.

Advice
to
Young Organists 21
Music for Begrs. Whittingham
29
Rudiments Vocal Mus. Pattison 38
Schumann's Rules and Maxims
8
Vocal Exercises. Westbrook ... 39

Arab Music

Salvador-Daniel

...

Gluck and his Operas. Berlioz ... 2

to Accompany. Evans
...
2
Romantic and Modern Musical
Composers. lUinciman
3

How

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