CONTENTS OF VOLUME THREE

CHAPTER PAGE
Introduction by Edward Burlingame Hill vii
I. By- and After-Currents of the Romantic Movement 1
Introductory; the term 'modern'—The 'old-romantic'
tradition and the 'New German' school—The followers of
Mendelssohn: Lachner, F. Hiller, Rietz, etc.; Carl Reinecke—Disciples
of Schumann: Robert Volkmann; Bargiel, Kirchner
and others; the Berlin circle; the musical genre artists:
Henselt, Heller, etc. (pianoforte); Jensen, Lassen, Abt, etc.
(song)—The comic opera and operetta: Lortzing, Johann
Strauss, etc.—French eclecticism in symphonic and operatic
composition: Massenet—Saint-Saëns, Lalo, Godard, etc.
II. The Russian Romanticists 37
Romantic Nationalism in Russian Music—Pathfinders;
Cavos and Verstovsky—Mikhail Ivanovich Glinka; Alexander
Sergeyevitch Dargomijsky—Neo-Romanticism in Russian
music; Anton Rubinstein—Peter Ilyitch Tschaikowsky.
III. The Music of Modern Scandinavia 59
The rise of national schools in the nineteenth century—Growth
of national expression in Scandinavian lands—Music
in modern Denmark—Sweden and her music—The
Norwegian composers; Edvard Grieg—Sinding and other
Norwegians—The Finnish Renaissance: Sibelius and others.
IV. The Russian Nationalists 107
The founders of the 'Neo-Russian' nationalistic school:
Balakireff; Borodine—Moussorgsky—Rimsky-Korsakoff, his
life and works—César Cui and other nationalists, Napravnik,
and others.
V. The Music of Contemporary Russia 137
The border nationalists; Alexander Glazounoff, Liadoff,
Liapounoff, etc.—The renaissance of Russian church music;
Kastalsky and Gretchaninoff—The new eclectics: Arensky,
Taneieff, Ippolitoff-Ivanoff, Glière, Rachmaninoff and others—Scriabine
and the radical foreign influence; Igor Stravinsky.
VI. Musical Development in Bohemia and Hungary 165
Characteristics of Czech music; Friedrich Smetana—Antonin
Dvořák—Zdenko Fibich and others; Joseph Suk and
Vitešlav Novák—Historical sketch of musical endeavor in
Hungary—Ödön Mihálovich, Count Zichy and Jenö Hubay—Dohnányi
and Moór; 'Young Hungary': Weiner, Béla Bartók
and others.
VII. The Post-Classical and Poetic Schools of Modern Germany 201
The post-Beethovenian tendencies in the music of Germany
and their present-day significance; the problem of
modern symphonic form—The academic followers of
Brahms: Bruch and others—The modern 'poetic' school:
Richard Strauss as symphonic composer—Anton Bruckner,
his life and works—Gustav Mahler—Max Reger—Draeseke
and others.
VIII. German Opera after Wagner and Modern German song 238
The Wagnerian after-current: Cyrill Kistler; August
Bungert, Goldmark, etc.; Max Schillings, Eugen d'Albert—The
successful post-Wagnerians in the lighter genre: Götz,
Cornelius and Wolf; Engelbert Humperdinck and fairy
opera; Ludwig Thuille; Hans Pfitzner; the Volksoper—Richard
Strauss as musical dramatist—Hugo Wolf and the
modern song; other contemporary German lyricists—The
younger men: Klose, Hausegger, Schönberg, Korngold.
IX. The Followers of César Franck 277
The foundations of modern French nationalism: Berlioz;
the operatic masters: Saint-Saëns, Lalo, Franck, etc.;
conditions favoring native art development—The pioneers
of ultra-modernism: Emanuel Chabrier and Gabriel Fauré—Vincent
d'Indy: his instrumental and his dramatic
works—Other pupils of Franck: Ernest Chausson; Henri
Duparc; Alexis de Castillon; Guy Ropartz.
X. Debussy and the Ultra-Modernists 317
Impressionism in Music—Claude Debussy, the pioneer
of the 'atmospheric' school; his career, his works and his
influence—Maurice Ravel, his life and work—Alfred
Bruneau; Gustave Charpentier—Paul Dukas—Miscellany;
Albert Roussel and Florent Schmitt.
XI. The Operatic Sequel to Verdi 366
The musical traditions of modern Italy—Verdi's heirs:
Boito, Mascagni, Leoncavallo, Puccini, Wolf-Ferrari, Franchetti,
Giordano, Orefice, Mancinelli—New paths; Montemezzi,
Zandonai and de Sabbata.
XII. The Renaissance of Instrumental Music in Italy 385
Martucci and Sgambati—The symphonic composers:
Zandonai, de Sabbata, Alfano, Marinuzzi, Sinigaglia, Mancinelli,
Floridia; the piano and violin composers: Franco
da Venezia, Paolo Frontini, Mario Tarenghi; Rosario Scalero,
Leone Sinigaglia; composers for the organ—The song
writers: art songs; ballads.
XIII. The English Musical Renaissance 409
Social considerations; analogy between English and
American conditions—The German influence and its results:
Sterndale Bennett and others; the first group of independents:
Sullivan, Mackenzie, Parry, Goring Thomas,
Cowen, Stanford and Elgar—The second group: Delius and
Bantock; McCunn and German; Smyth, Davies, Wallace
and others, D. F. Tovey; musico-literary workers, musical
comedy writers—The third group: Vaughan Williams, Coleridge-Taylor
and W. Y. Hurlstone; Holbrooke, Grainger,
Scott, etc.; Frank Bridge and others; organ music, chamber
music, songs.
Literature for Vols. I, II and III 445
Index for Vols. I, II and III 491