INTRODUCTION

CONTENTS OF VOLUME SEVEN

		PAGE
	Prefatory Note	vii
	Introduction by Harold Bauer	ix


	Part I. The Classical Period of Pianoforte Music
CHAPTER
I.	Keyboard Instruments and the Development of Keyboard Technique	1
	Keyboard instruments and their derivation; the clavichord and its mechanism; the harpsichord and its relatives, virginal, cembalo, etc.; technique and use of the harpsichord—The beginnings of harpsichord music; the Gabrielis and Merulo; early forms; the influence of harmony and the crystallization of form—Frescobaldi and other organist-composers for harpsichord; early English virginal collections; John Bull, etc.—Genesis of the suite; influence of lute-music; Froberger, Denis Gaultier, etc.; Kuhnau—Development of the harpsichord ‘style’; great players: Chambonnières, etc.
II.	The Golden Age of Harpsichord Music	40
	The period and the masters of the ‘Golden Age’—Domenico Scarlatti; his virtuosity; Scarlatti’s ‘sonatas’; Scarlatti’s technical effects; his style and form; æsthetic value of his music; his contemporaries—François Couperin, le Grand; Couperin’s clavecin compositions; the ‘musical portraits’; ‘program music’—The quality and style of his music; his contemporaries, Daquin and Rameau—John Sebastian Bach; Bach as virtuoso; as teacher; his technical reform; his style—Bach’s fugues and their structure—The suites of Bach: the French suites, the English suites, the Partitas—The preludes, toccatas and fantasies; concertos; the ‘Goldberg Variations’—Bach’s importance; his contemporary Handel.
III.	The Development of the Pianoforte Sonata	89
	Vienna as the home of the sonata; definition of ‘sonata’—Origin and history of the standard sonata cycle; relationship of sonata movements—Evolution of the ‘triplex’ form: Pergolesi’s ‘singing allegro’; the union of aria and binary forms; Padre Martini’s sonatas, Scarlatti’s true sonata in C; Domenico Alberti; the Alberti bass; the transitional period of the sonata—Sonata writers before Haydn and Mozart; J. C. Bach; Muzio Clementi—Schubert and Wagenseil; C. P. E. Bach; F. W. Rust.
IV.	Haydn, Mozart and Beethoven	131
	The ‘Viennese period’ and the three great classics—Joseph Haydn; Haydn’s clavier sonatas; the Variations in F minor—W. A. Mozart; Mozart as pianist and improvisator; Mozart’s sonatas; his piano concertos—Ludwig van Beethoven; evolution of the modern pianoforte—Musical qualities of Beethoven’s piano music; Beethoven’s technical demands; his pianoforte sonatas; his piano concertos; conclusion.
V.	Pianoforte Music at the Time of Beethoven	175
	The broadening of technical possibilities and its consequences—Minor disciples of Mozart and Beethoven: J. N. Hummel; J. B. Cramer; John Field; other contemporaries—The pioneers in new forms: Weber and Schubert; technical characteristics of Weber’s style; Weber’s sonatas, etc.; the Konzertstück; qualities of Weber’s pianoforte music—Franz Schubert as pianoforte composer; his sonatas; miscellaneous works; the impromptus; the Moments musicals—The Weber-Schubert era and the dawn of the Romantic spirit.


	Part II. The Romantic Period of Pianoforte Music
VI.	Mendelssohn, Schumann and Brahms	211
	Influence of musical romanticism on pianoforte literature—Mendelssohn’s pianoforte music, its merits and demerits; the ‘Songs without Words’; Prelude and Fugue in D minor; Variations Sérieuses; Mendelssohn’s influence, Bennett, Henselt—Robert Schumann, ultra-romanticist and pioneer; peculiarities of his style; miscellaneous series of piano pieces; the ‘cycles’: Carnaval, etc.—The Papillons, Davidsbündler, and Faschingsschwank; the Symphonic Études; Kreisleriana, etc., the Sonatas, Fantasy and Concerto—Johannes Brahms; qualities of his piano music; his style; piano sonatas, ‘Paganini Variations,’ ‘Handel Variations,’ Capriccios, Rhapsodies, Intermezzi; the Concertos; conclusion.
VII.	Chopin	250
	Chopin’s music and its relative value in musical value; racial and personal characteristics; influences and preferences; Chopin’s playing—His instinct for form; the form of his sonatas and concertos; the Polonaise-Fantaisie; the Preludes—Chopin as a harmonist; Chopin’s style analyzed: accompaniment figures, inner melodies, polyphonic suggestions, passages, melodies and ornaments—His works in general: salon music; waltzes; nocturnes; mazurkas; polonaises; conclusion.
VIII.	Herz, Thalberg, and Liszt	284
	The career of Henri Herz, his compositions and his style; virtuosity and sensationalism; means of effect—Sigismund Thalberg: his playing; the ‘Moses’ fantasia, etc.; relation of Herz and Thalberg to the public—Franz Liszt: his personality and its influence; his playing; his expansion of pianoforte technique; difficulties of his music estimated—Liszt’s compositions: transcriptions; fantasia on Don Giovanni—Realistic pieces, Années de pèlerinage—Absolute music: sonata in B minor; Hungarian Rhapsodies; conclusion.


	Part III. Modern Pianoforte Music
IX.	Imitators and Nationalists	320
	Inevitable results of Schumann, Chopin and Liszt—Heller, Raff, Jensen, Scharwenka, Mozkowski, and other German composers—The influence of national characteristics: Grieg, his style and his compositions; Christian Sinding—The Russians: Balakireff, Rubinstein, Tschaikowsky, Arensky, Glazounoff, Rachmaninoff, Scriabin and others—Spanish traits; I. Albéniz; pianoforte composers in England and the United States.
X.	Modern French Pianoforte Music	341
	Classical traditions: Saint-Saëns, and others; C. V. Alkan—César Franck: his compositions and his style—Vincent d’Indy; Fauré—The new movement: Debussy and Ravel; Debussy’s innovations: new harmonies, scales, overtones, pianoforte technique; his compositions—Ravel differentiated; his compositions; Florent Schmitt and Eric Satie—Conclusion.


	Part IV. Violin Music
XI.	Early Violin Music and the Development of Violin Technique	368
	The origin of stringed instruments; ancestors of the violin—Perfection of the violin and advance in violin technique; use of the violin in the sixteenth century; early violin compositions in the vocal style; Florentino Maschera and Monteverdi—Beginnings of violin music: Biagio Marini; Quagliati; Farina; Fontana and Mont’Albano; Merula; Ucellino and Neri; Legrenzi; Walther and his advance in technique, experiments in tone painting—Giov. Battista Vitali; Tommaso Vitali and Torelli; Bassani; Veracini and others—Biber and other Germans; English and French composers for the violin; early publications of text-books and collections.
XII.	Violin Composers in the Eighteenth Century	396
	Corelli, Vivaldi, Albinoni—Their successors, Locatelli, F. M. Veracini, and others; Tartini and his pupils; pupils of Somis: Giardini and Pugnani—French violinists and composers: Rébel, Francœur, Baptiste Anet, Senaillé and Leclair; French contemporaries of Viotti: Pagin, Lahoussaye, Gaviniès; Viotti—Violinists in Germany and Austria during the eighteenth century: Pisendel, J. G. Graun, Franz Benda; Leopold Mozart—The Mannheim school: J. Stamitz, Cannabich and others; Dittersdorf, Wranitzky and Schuppanzigh—Non-violinist composers: Handel, Bach, Haydn, Mozart—Conclusion.
XIII.	Violin Music in the Nineteenth Century	430
	The perfection of the bow and of the classical technique—The French school: Kreutzer, Rode, and Baillot—Paganini: his predecessors, his life and fame, his playing, and his compositions—Ludwig Spohr: his style and his compositions; his pupils—Viennese violinists: Franz Clement, Mayseder, Boehm, Ernst and others—The Belgian school: De Bériot and Vieuxtemps—Other violinist composers: Wieniawski, Molique, Joachim, Sarasate, Ole Bull; music of the violinist-composers in general—Violin music of the great masters.


	Part V. Chamber Music
XIV.	The Beginnings of Chamber Music	467
	The term ‘chamber music’; fifteenth-century dances; lute music, early suites; vocal ‘chamber music’—Early ‘sonatas’: Gabrieli; Rossi; Marini; etc.—Vitali, Veracini, Bassani and Corelli; Corelli’s pupils; Vivaldi; Bach and Handel.
XV.	The First Period of the String Quartet	486
	The four-part habit of writing in instrumental forms—Pioneers of the string quartet proper: Richter, Boccherini and Haydn; Haydn’s early quartets—The Viennese era of the string quartet; Haydn’s Sonnen quartets; his ‘Russian’ quartets; his later quartets—W. A. Mozart; Sammartini’s influence; Mozart’s early (Italian) quartets; Viennese influences; Mozart’s Viennese quartets—His last quartets and their harmonic innovations.
XVI.	The String Quartet: Beethoven	509
	Beethoven’s approach to the string quartet; incentives; the six quartets opus 18—The Rasumowsky quartets; opera 74 and 95—The great development period; the later quartets, op. 127 et seq.: The E-flat major (op. 127)—The A minor (op. 132); the B-flat major (op. 130); the C-sharp minor (op. 131); the F major (op. 135).
XVII.	The String Ensemble Since Beethoven	534
	The general trend of development: Spohr, Cherubini, Schubert—Mendelssohn, Schumann and Brahms, etc.—New developments: César Franck, d’Indy, Chausson—The characteristics of the Russian schools: Tschaikowsky, Borodine, Glazounoff and others—Other national types: Grieg, Smetana, Dvořák—The three great quartets since Schubert and what they represent; modern quartets and the new quartet style: Debussy, Ravel, Schönberg—Conclusion.
XVIII.	The Pianoforte and Other Instruments in Chamber Music	573
	The trio—Pianoforte quartets and quintets—Sonatas for violoncello and piano—The piano with wind instruments—Chamber music for wind instruments by the great composers.