The Book-Lover's Library. 
 
 Edited by 
 Henry B. Wheatley, F.S.A.
 
 THE LITERATURE 
 OF MUSIC 
 
 BY 
 
 JAMES E. MATTHEW 
 
 AUTHOR OF "A MANUAL OF MUSICAL HISTORY' 
 
 r 
 
 LONDON 
 
 ELLIOT STOCK, 62, PATERNOSTER ROW 
 1896
 
 CONTENTS. 
 
 PAGE 
 
 CHAPTER I. THE LITERATURE OF ANCIENT 
 
 Music .... i 
 
 II. THE MEDI/EVAL WRITERS ON 
 
 Music . . . .14 
 
 III. EARLY WORKS ON Music AFTER 
 
 THE INVENTION OF PRINTING 21 
 
 IV. MUSICAL LITERATURE IN THE 
 
 SEVENTEENTH CENTURY . 44 
 
 V. THE MUSICAL LITERATURE OF 
 
 THE EIGHTEENTH CENTURY . 79 
 
 VI. HISTORIES OF Music BIO- 
 GRAPHY . . .102 
 
 VII. DICTIONARIES OF Music . . 144 
 
 VIII. THE LITERATURE OF SACRED 
 
 Music. . 1 68
 
 x Contents, 
 
 PAGE 
 
 CHAPTEP IX. THE LITERATURE OF THE 
 
 OPERA . . . . iSo 
 
 X. THE LITERATURE OF MUSICAL 
 
 INSTRUMENTS . . . 205 
 
 XI, THE LITERATURE OF Music AS 
 
 A SCIENCE . . . 232 
 
 XII. THE BIBLIOGRAPHY OF Music 242 
 INDEX ...... . 257
 
 THE 
 
 LITERATURE OF MUSIC. 
 
 CHAPTER I. 
 THE LITERATURE OF ANCIENT Music. 
 
 JIHE familiar description of Jubal 
 in the book of Genesis as " the 
 father of all such as handle the 
 harp and organ " is the earliest 
 mention in literature of the art of Music, 
 and many other references in the Bible, 
 chiefly in the Old Testament, will be 
 familiar to every reader. 
 
 It will not be supposed that the trans- 
 lations of the names of the different in- 
 struments can be accepted as more 
 than approximations. At the time the 
 Authorised Version was made no adequate 
 knowledge of the subject existed, and 
 in many cases no exact equivalent was to 
 be found among the instruments then in 
 use. The difficulty of the investigation
 
 2 The Literature of Music. 
 
 commended it to almost every commen- 
 tator. Among the most celebrated of 
 these we may mention the learned 
 Benedictine Dom Calmet, in his Com- 
 mentaire litteral (Paris, 1714-20), an 
 enormous work in twenty-six volumes 
 quarto. Another, and an earlier writer, 
 of whom we shall have to speak again, 
 Pere Marin Mersenne, possessed more 
 ample qualifications for the task. He pro- 
 jectedacommentary on the Book of Genesis 
 Qucsstiones celeberrimce. in Genesim (Paris, 
 1623 : folio), with a view of confut- 
 ing certain objections to the Mosaic 
 Cosmogony. The good father was a man 
 of universal acquirements, but the art of 
 Music was his delight, and the mention of 
 Jubal an opportunity which was irresist- 
 able. It served as the text for a disquisi- 
 tion, not only on the music of the Hebrews, 
 but also of the Greeks, and even of the 
 Moderns. It extends to one hundred 
 pages folio, with a supplement of thirty-one 
 pages. With so long a commentary on a 
 single text, it is not surprising that the 
 author found himself compelled to bring 
 his work to a conclusion at the end of 
 the sixth chapter, having already occupied 
 one thousand one hundred and seventy- 
 five pages ! 
 
 It cannot be said that the labours of
 
 Literature of Ancient Music, 3 
 
 these, and of many other earnest workers 
 in the same field, threw much light on 
 the subject of Jewish music ; nor were the 
 professed historians of Music much more 
 fortunate. Each of them was of course 
 bound to begin at the earliest times, and to 
 say all that he knew, and much that he 
 imagined, on the music of the Hebrews. 
 In truth the requisite materials were not 
 available, nor did it occur to any one that 
 the Jews in 'all probability acquired what- 
 ever knowledge of the arts they possessed 
 during their sojourn of three hundred 
 years in the land of Egypt ; nor would 
 this have appreciably advanced the matter, 
 as information about the music of Egypt 
 was equally wanting. 
 
 Strange to say, when the first piece of 
 solid information was brought to light, the 
 learned public received it with scorn. 
 The well-known traveller Bruce communi- 
 cated to Dr. Burney a copy of a painting 
 of an Egyptian harp which he claimed to 
 have discovered in an ancient tomb. It 
 was reproduced in the first volume of 
 Burney's History. The instrument ap- 
 proximated so nearly to the modern form 
 that it was believed to have existed only 
 in Bruce's imagination ; subsequent dis- 
 coveries, however, have proved the abso- 
 lute correctness of the drawing.
 
 4 The Literature of Music. 
 
 It is well known that when General 
 Bonaparte made his expedition into 
 Egypt, he organised a body of savants to 
 investigate the monuments and antiquities 
 of that country. Among these was G. A. 
 Villoteau, a well-qualified musician. The 
 result of his researches will be found in 
 the magnificent work published by the 
 French Government, La Description de 
 FEypte (Paris, 1809-26 : 20 vols., folio) ; 
 a second edition was published by Panc- 
 koucke in octavo, in which form it is more 
 readily to be met with. The articles 
 by Villoteau will be found in vols. vii., 
 viii., xiii., xiv., and were by far the most 
 valuable contributions to the knowledge 
 of the subject up to that date. This was 
 followed in 1836 by the publication of 
 Sir J. Gardner Wilkinson's work on the 
 Ancient Egyptians, better known in the 
 popular edition, which has been reprinted 
 several times, and contains much useful 
 and trustworthy information on the subject 
 of Music in that country. 
 
 In the meantime many specimens of 
 Egyptian instruments found their way into 
 museums, and still more numerous repre- 
 sentations of them were discovered de- 
 picted on the tombs and other buildings of 
 ancient Egypt. In 1847 the world was 
 astonished by the discoveries of Sir A. H.
 
 Literature of Ancient Music. 5 
 
 (then Mr.) Layard in the mounds of 
 Nimrood and Kouyunjik. The sculptured 
 slabs and other objects which he un- 
 earthed and sent to the British Museum 
 contained many representations of the 
 musical instruments in use by the Assyrians. 
 These found an interpreter in the late 
 Mr. Carl Engel, whose work, The Music of 
 the Most Ancient Nations (London, 1864 : 
 8vo) is a most able investigation of the 
 subject, on which it must be considered 
 the standard work. A useful and popular 
 little book under the title of The Music 
 of the Bible (London, 1879 : 8vo) was 
 written by Sir. J. Stainer, based mainly 
 on the conclusions of Engel. It has been 
 contended that Plain-Song is identical 
 with the music used in the Jewish 
 Temple. This view is advocated with 
 much conviction and learning by the Rev. 
 Arthur Bedford in his Temple Mustek 
 (London, 1706 : 8vo). 
 
 It is not till the later period of Grecian 
 history that we meet with any actual 
 treatise on the art of Music. The tenets 
 of Pythagoras on this and other subjects 
 are handed down to us by tradition only, 
 but he still lives in the literature of Music 
 in the oft -repeated story of his discovery 
 of the ratio of musical intervals by the 
 different notes produced from an anvil
 
 6 T/ie Literature of Music. 
 
 when struck by hammers of varying 
 weights. No such result is produced, as 
 simple experiment would have proved, 
 but the anecdote was universally repeated 
 by the old writers, and the supposed 
 discovery is said to have led him to 
 investigate the divisions of the mono- 
 chord. 
 
 Passing over something more than two 
 centuries we come to Aristoxenus 
 (probably the author of the earliest treatise 
 on music which has come down to us) 
 Euclid, Eratosthenes, Alypius, and, ex- 
 tending into the Christian era, Plutarch, 
 Ptolemy, Nicomachus and others, forming 
 a considerable mass of literature. The 
 subject of Greek music is one of extra- 
 ordinary complexity, but it may be said 
 that the main purpose of these treatises 
 is to explain the construction of the 
 various scales at that time in use. Manu- 
 scripts of these and of other Greek works 
 on Music are to be found in many of the 
 large libraries. The first to find its way 
 into print was a Latin translation, by 
 G. Valla, of a treatise purporting to be 
 by Cleonides, which was published at 
 Venice in 1497 in folio, forming part of a 
 volume containing other treatises, includ- 
 ing that of Vitruvius on Architecture. 
 It turns out that the supposed work of
 
 Literature of Ancient Music. 7 
 
 Cleonides is identical with a treatise attri- 
 buted in several MSS. to Euclid, the 
 famous geometrician, and the rival claims 
 have not been settled, although it has been 
 pointed out by the great English mathe- 
 matician Wallis that the work is incon- 
 sistent with another treatise of Euclid 
 known as The Section of the Canon i.e., 
 the division of the monochord. Be this 
 as it may, the Greek texts of both works 
 were first published in Paris by the mathe- 
 matician Pena, with a Latin translation 
 (1557 : 4to). In 1562 Gogavinus gave an 
 edition, but in Latin only, of the writings 
 of Aristoxenus and Ptolemy (Venice : 4to). 
 The work was undertaken at the instance, 
 as he tells us in the preface, of the famous 
 Venetian theorist Zarlino. In 1616 the 
 eminent scholar Meursius published for 
 the first time (Leyden, L. Elzevir : 4to) the 
 Greek texts of Aristoxenus, Nicomachus, 
 and Alypius, with notes. 
 
 But the greatest impetus to the study 
 of Greek music was given by the publica- 
 tion by Marcus Meibomius of his Anti- 
 ques Musicce Auctores Septem (Amsterdam, 
 L. Elzevir, 1652 : 2 vols., 4to) a book 
 which, in spite of certain imperfections, is 
 indispensable to every one who wishes to 
 study the subject. The seven authors 
 are Aristoxenus, Euclid, Nicomachus,
 
 8 The Literature of Music. 
 
 Alypius, Gaudentius, Bacchius senior, 
 and Aristides Quintilianus. To all these 
 a Latin translation is appended, as well as 
 numerous notes, and a Latin treatise of 
 Martianus Capella is added. 
 
 Meibomius was a native of Schleswig- 
 Holstein, his real name being Meybaum, 
 which he Latinised, according to the ped- 
 antic habit of the time. He dedicated his 
 work to Christina, Queen of Sweden, who 
 persuaded him to take up his residence 
 at her Court. In an evil moment he was 
 induced to give a performance of what he 
 conceived to be a true specimen of Greek 
 music. Great as were his theoretical 
 acquirements, he was unfortunately de- 
 ficient both in ear and voice. His 
 rendering so excited the risibility of the 
 courtiers, that, losing his temper, he boxed 
 the ears of the Queen's physician, who 
 seems to have planned the exhibition. 
 The result was that Meibomius had to 
 leave the Court. 
 
 It may be mentioned that the treatise 
 of Bacchius senior was also twice printed 
 by Mersenne firstly in Latin, in the place 
 where one would be most unlikely to look 
 for it in his Qucestiones celeberrimtz in 
 Genesim, of which we have already spoken, 
 and secondly in French in his Traite de 
 F Harmonic (Paris, 1627 : 8vo).
 
 Literature of Ancient Music. 9 
 
 The Latin treatise of Martianus Capella, 
 who was a much later writer, living about 
 A.D. 475, forms part of a series on the 
 seven liberal arts, entitled De nuptiis 
 Philologies, et Mercurii. The editio prin- 
 ceps is Vicenza 1499 folio. It is this work 
 which Grotius edited when only fifteen 
 years of age (Leyden, 1599 : 8vo). 
 
 The publication of original texts was 
 worthily continued by the great English 
 mathematician Wallis, who in 1682 
 (Oxford : 410) gave an excellent edition of 
 the Harmonicorum Libri Tres of Claudius 
 Ptolemaeus, the celebrated geographer, 
 together with a Latin translation and 
 elucidations. This was reprinted in the 
 collection of his mathematical works 
 (Oxford, 1695-9 : 3 vols., folio), with the 
 addition of a commentary on it by Por- 
 phyry, and also of the Harmonics of 
 Bryennius, a very much later work (A.D. 
 1320), but which is valuable, as it contains 
 many extracts from earlier writers. 
 
 The Ilept MOVO-IAO}? of Philodemus was 
 the last work to be brought to light. The 
 author's name was mentioned by Cicero, 
 but none of his writings were known until 
 a manuscript was found at Herculaneum 
 containing a portion of his work on Music. 
 Unlike the treatises we have been speak- 
 ing of, this consists of a consideration of
 
 IO The Literature of Music. 
 
 the question whether the pursuit of the 
 art is worthy of praise or of blame. The 
 papyrus was unrolled with great difficulty, 
 being much charred. Printed most 
 luxuriously, it forms the first volume of 
 the edition of the recovered manuscripts. 
 It is engraved in facsimile on thirty-nine 
 copper plates, with a letter-press reprint 
 facing each plate in which the lacuna 
 existing in the MSS. are restored in red 
 ink. A Latin translation is supplied, 
 accompanied by a commentary and notes, 
 and it forms a volume of great magnificence 
 and interest. The title is Herculamnsium 
 Voluininum qutz supersunt Tomus I. 
 (Neapoli, 1793 : folio). 
 
 It remains to mention the Dialogue of 
 Plutarch on music, which forms the main 
 source of information as to the history of 
 the art among the Greeks. The editions 
 are so numerous that it is unnecessary to 
 specify any one in particular. 
 
 We have now recorded the principal 
 works on which our knowledge of Greek 
 music is based. Some of them are avail- 
 able in more modern form ; for instance, 
 Aristoxenus has been edited, with a 
 German translation, by Paul Marquard 
 (Berlin, 1868 : 8vo), and there is a French 
 translation by C. E. Ruelle (Paris, 1871 : 
 8vo). F. Bellermann edited the treatise
 
 Literature of Ancient Music, n 
 
 of Bacchius senior (Berlin, 1841 : 4to) with 
 a second part not found in Meibomius. 
 An English translation of the Canon of 
 Euclid will be found in Davy's Letters 
 addressed to a Young Gentleman (Bury 
 St. Edmunds, 1787 : 2 vols., 8vo), while 
 Plutarch, De Musica, was edited, with a 
 Latin translation, by R. Volkmann (Leip- 
 zig, 1856 : 8vo) and by R. Westphal 
 (Breslau, 1865 : 8vo). An English transla- 
 tion of this author, beautifully printed by 
 C. Whittingham (London, 1822 : 8vo), 
 said to have been made by J. H. Bromby, 
 of Hull, to present to his friends, is 
 met with but seldom. And in 1895 
 Carolus Janus (Jahn?) has edited in a 
 cheap and handy volume Musici Scrip- 
 tores Greed, comprising Aristotle, Euclid, 
 Nicomachus, Bacchius, Gaudentius, and 
 Alypius, together with all the known 
 examples of Grecian melody (Leipzig, 
 1895 : 8vo). 
 
 If the reader is disposed to enter the 
 thorny path of the study of Greek music 
 he may well bear in mind the remark of 
 Dr. Burney that " he never understood 
 the Greek music, nor found any one that 
 did ! " If he still persevere, there is no 
 lack of writers anxious to help him on the 
 way. Passing over the works of Burette, 
 to be found in the Memoires of the
 
 12 The Literature of Music. 
 
 Academic des Inscriptions (1717-21), the 
 Dialogue sur la Musique des Anctens, 
 published anonymously, but by the Abbe 
 de Chateauneuf (Paris, 1725 : i2mo), and 
 the Memoire sur la Musique des Anciens of 
 the Abbe Roussier (Paris, 1770 : 4to), are 
 both well-known works and readily obtain- 
 able. The Theory of Harmonics of John 
 Keeble (London, 1784 : 4to) may also be 
 consulted. But the student will probably 
 find greater help from more modern 
 writers, especially from the Germans 
 Drieberg, F. Bellermann, R. Westphal, 
 and C. F. Weitzmann. The eminent 
 French mathematician A. J. H. Vincent, 
 in addition to editing some of the musical 
 MSS. in the Paris libraries, with copious 
 elucidations, wrote much on the subject ; 
 but he had an inveterate habit of dissipat- 
 ing his powers in controversial pamphlets, 
 which are of course not easy to meet 
 with. The greatest work of all is that by 
 F. A. Gevaert Histoire et Theorie de la 
 Musique de T Antiquite (Ghent, 1875, x ^ 81 : 
 2 vols., 8vo). It is a work of enormous 
 research, comprising all that is known of 
 the subject up to the present time. It is 
 much to be regretted that so admirable a 
 book should be issued without an index. 
 
 It may be well to mention here, that 
 while such a mass of Greek literature on
 
 Literature of Ancient Music. 13 
 
 Music has been handed down to us, 
 until some recent discoveries three 
 authentic fragments only of Greek music 
 were known to exist. They were first 
 printed by Vincenzo Galilei in his 
 Dialogo della Musica Antica e Moderna 
 (Florence, 1581 : folio). The object of 
 the work was to exalt the music of antiquity 
 at the expense of the music of the day. 
 The great revival of classical studies had 
 disposed certain minds to believe that the 
 excellence of the ancients was paramount 
 in all the arts alike. The opinion died 
 hard ; in 1647 tnat i s > sixty-six years later 
 the learned G. B. Doni published his 
 treatise, De prcestantia Musiaz Veteris 
 (Florence : 4to), in which he advocates the 
 same views ; and writers of even a later 
 date shared the prejudice. 
 
 We must also mention another question 
 which has been hotly contested whether 
 harmony, as we understand it, was prac- 
 tised by the Greeks. Even now the ques- 
 tion cannot be considered settled. The 
 paper read by Fetis before the Academic 
 Royale de Belgique (vol. xxxi., April 
 1858) is readily obtainable and forms an 
 excellent resume of the subject, although 
 written in opposition to the claim.
 
 CHAPTER II. 
 
 THE MEDIEVAL WRITERS ON Music. 
 
 |T will have been remarked that, 
 with the exception of the work 
 of Martianus Capella, the lan- 
 guage of all the treatises on 
 Music which we have mentioned has been 
 Greek. It is not till we arrive at the 
 threshold of the Middle Ages that we find 
 any original work on the subject in Latin. 
 One writer then appeared whose treatise 
 on Music acquired an unfortunate popu- 
 larity Boethius for it is quite certain 
 that he possessed no practical acquaint- 
 ance with the subject. His work was 
 based on those treatises of which we have 
 been speaking in the last chapter, the 
 purport of which he so completely mis- 
 understood as to render darker what was 
 already sufficiently difficult of comprehen- 
 sion. Partly owing to the extraordinary 
 admiration in which his character was 
 held, still more probably to the fact that 
 he wrote in Latin, his treatise was accepted 
 14
 
 Mediczval Writers on Music. 15 
 
 as the acknowledged text-book. Its 
 approximate date is A.D. 500. 
 
 No manuscripts are more common than 
 the works of Boethius, and very soon 
 after the invention of printing copies were 
 still further multiplied. The earliest 
 edition of the De Institutione Musica was 
 printed at Venice in 1492, folio, but the 
 best of the old editions is that published 
 at Basle in 1570, folio, in which the work 
 on Music was edited by Glareanus, a 
 scholar distinguished for his knowledge of 
 that art, of whom we shall have to speak 
 again later. The authority of Boethius 
 made itself felt for centuries, and it is 
 only recently that its baselessness has 
 been exposed. 
 
 A knowledge of the science of Music 
 was confined almost exclusively to the 
 ecclesiastics. A certain acquaintance with 
 it was necessary for the proper rendering 
 of the offices of the Church, and many 
 treatises were written, almost invariably 
 by priests, with the object of supplying 
 this knowledge, MSS. of which existed in 
 most of the monastic libraries, and are 
 now valuable as a means of tracing the 
 gradual progress of musical art. 
 
 It is entirely owing to the labours of 
 two eminent antiquaries that it has been 
 possible for modern students to become
 
 1 6 The Literature of Music. 
 
 acquainted with these precious remains of 
 a remote antiquity. The first to shake 
 the dust from these old parchments was 
 Martin Gerbert, Prince Abbot of the 
 Monastery of St. Blaise in the Black 
 Forest, a man who, by his many virtues, 
 earned the respect and affection of all the 
 country round, and, by his publications 
 on the art which he loved, secured the 
 gratitude of all musical students. In 1784 
 he brought out his Scriptores Ecclesiastici de 
 Musica Sacra potissimum in three volumes 
 quarto, printed in the monastery. It con- 
 tains about forty works, many of them of the 
 highest interest, arranged chronologically, 
 dating from the fourth to the fifteenth cen- 
 turies. The whole ground of the develop- 
 ment of musical notation is covered, from 
 the time of St. Isidore of Seville (seventh 
 century), who denied the possibility of 
 preserving melodies otherwise than by 
 tradition, " quia scribi non possunt" to the 
 perfected system virtually identical with 
 that now in use. We have not space to 
 give a complete table of the contents, 
 but we find the Musica enchiriadis of 
 Hucbald, with his ingenious notation 
 which was so great an advance on the 
 Neumes ; several treatises by Guido 
 d'Arezzo the musician for whom so much 
 has been claimed, but whose actual per-
 
 Medieval Writers on Music. 17 
 
 formances it is so difficult to estimate ; it 
 is probably safe, however, to attribute to 
 him the system of hexachords, which for 
 so many centuries added to the difficulties 
 of musical study for an explanation of 
 which we must refer the reader to the 
 article "Hexachord " in Grove's Dictionary 
 or to that on " Musical Notation" in Stainer 
 and Barrett's Dictionary and also of the 
 " Guidonian Hand " a memoria technica of 
 this elaborate system. We may further 
 mention the Musica of Cotton, in which 
 he so clearly sets forth the imperfections 
 of the system of Neumes, as well as the 
 treatises of Franco of Cologne, Joannes 
 de Muris and Adam de Fulda. 
 
 It has been said that Gerbert was not 
 sufficiently critical in the choice of the 
 authors whose works he printed, and that 
 he did not always avail himself of the 
 best MSS. This may probably be true, 
 but it must be remembered that at that 
 time most of these works were lying un- 
 known and forgotten on the shelves of 
 monastic libraries, which had probably 
 never been catalogued. One of the 
 results of the Napoleonic wars was the 
 suppression of these houses and the 
 absorption of the literary treasures which 
 they contained in public libraries, where 
 they became available. We may regret
 
 1 8 The Literature of Music. 
 
 these shortcomings, but must be thankful 
 to the good Abbot who was the first to 
 break ground in an unexplored country. 
 
 It is to a learned French antiquary, 
 Edmond de Coussemaker, that we are 
 indebted for a continuation of the work 
 so well begun by Gerbert. Although 
 esteemed as a lawyer, and acting as juge 
 de paix successively in several towns in 
 French Flanders, he found time to pro- 
 duce a series of works of the greatest 
 value on the musical literature of the 
 Middle Ages. His first work, the 
 Mcmoire sur Hucbald, originally published 
 in the proceedings of the Socie"te Royale 
 de Douai, was printed separately from 
 the same type, but in quarto and with a 
 new title, dated Paris, 1841. The work 
 is a running commentary on the treatises 
 of Hucbald printed by Gerbert, and it had 
 the merit of being the first to bring 
 prominently to the notice of musicians 
 the importance of these treatises to the 
 history both of notation and of harmony. 
 The merit of Hucbald is that, more than 
 a century before Guido d'Arezzo, he con- 
 trived a system of notation, which, unlike 
 the Neumes then employed, gave a definite 
 pitch to the note, and also a graphic re- 
 presentation of a musical passage in fact, 
 he was very near to the invention of our
 
 Mediceval Writers on Music. 19 
 
 existing notation. His plan consisted in 
 using the spaces alone to represent the 
 notes, and in writing the syllables of the 
 words in the spaces indicating the suc- 
 cessive notes of the melody. No notes 
 were placed on the lines ; their only 
 function was to separate the spaces. The 
 principal objection to this method is the 
 room it occupies. Strange to say, it 
 seems to have been used by the inventor 
 only, and the ordinary music stave to 
 have had an altogether independent 
 development. 
 
 The work on which Coussemaker's fame 
 will probably rest is the admirable continua- 
 tion of Gerbert's Scriptores. This was 
 commenced in 1864 under the title of 
 Scriptorum de Musica Medii svi novam 
 seriem a Gerbertina alteram collegit E. de 
 Coussemaker. The fourth and con- 
 cluding volume was brought out in 1876, 
 shortly after the death of the compiler. 
 The work contains about seventy treatises, 
 mostly distinct from those in Gerbert, 
 except in a few cases where the editor 
 has had access to a better or more com- 
 plete manuscript. Among the most in- 
 teresting is a long series of the works 
 of Tinctoris, a writer not represented at 
 all in Gerbert. This includes his 
 Diffinitorium^ which was one of the
 
 2O The Literature of Music. 
 
 earliest books on Music to receive the 
 honour of the printing press. 
 
 This collection, however, forms but a 
 small part of the labours of M. de Cousse- 
 inaker. Not to mention lesser works, 
 we are indebted to him for a Histoire de 
 F Harmonic au Moyen Age (Paris, 1852), 
 and L'Art Harmonique aux XII 1 ' et XIIP 
 Siecles (Paris 1865), both in quarto, in which 
 this interesting subject is investigated with 
 great skill and research ; also for his 
 Drames Liturgiques du Moyen Age (Paris, 
 1861 : 4to), an interesting account of the 
 precursors of the Oratorio, and for an 
 edition of the works of the troubadour 
 Adam de la Halle (Paris, 1872 : large 
 8vo). The one thing to regret about 
 the works of Coussemaker is their great 
 and increasing value. They are all 
 printed with much luxury, profusely 
 illustrated with admirable facsimiles, and 
 produced in limited editions, so that they 
 have become valuable possessions. 
 
 It will be seen that the collections of 
 Meibomius, Gerbert, and Coussemaker, 
 contain nearly all that is valuable from 
 the time of the Greeks to that of the 
 invention of printing.
 
 CHAPTER III. 
 
 EARLY WORKS ON Music AFTER THE 
 INVENTION OF PRINTING. 
 
 i|T is remarkable how treatises on 
 Music were multiplied almost 
 immediately after the invention 
 of printing. There is but little 
 doubt that the Diffinitorium Musices 
 of Tinctoris was the first musical work 
 to see the light. This volume, a small 
 quarto, was printed at Treviso, about the 
 year 1474. It is a work of the greatest 
 rarity. Dr. Burney found a copy in the 
 library of George III., which is now in 
 the King's Library at the British Museum, 
 and a copy was discovered at Gotha, 
 by Forkel, the well-known historian of 
 Music. It is a little galling to learn 
 that a copy in the Heber sale was knocked 
 down for one shilling ! The work has 
 been frequently reprinted. 
 
 The earliest work with a date is the 
 Theoricum opus armonice discipline of
 
 22 The Literature of Music. 
 
 Franchinus Gaforius, printed in Naples in 
 1480, quarto, and that there was already 
 a public for works of this nature is proved 
 by the numerous editions of this writer's 
 works which followed in rapid succession. 
 The titles of the works of Gaforius show 
 that he was endowed with a good share 
 of self-esteem, unless the apparent vanity 
 should be attributed to his printer. In this 
 work, for example, the title reads, Clarissimi 
 et Prtzstantissimi Musici Franchini Gafori 
 . . . Opus. A second edition was printed 
 at Milan in 1492, folio, with some changes. 
 The work begins with a long series of 
 quotations from all the authors of anti- 
 quity, sacred and profane, who have spoken 
 in praise of Music. It then proceeds with 
 an exposition of the principles of Music, 
 based on the writings of Boethius, followed 
 by an explanation of the music of the 
 Greeks, the division of the monochord 
 and the solmisation of Guido d'Arezzo. 
 The many diagrams are boldly cut in wood, 
 and there are exceedingly rough and some- 
 what comic cuts of the anvil of Pythagoras, 
 and the applications of the principles he 
 was supposed to have drawn from it to 
 bells, musical glasses, strings, and pipes, 
 but it contains no example of musical 
 notation. 
 
 This work was followed by the Practica
 
 Early Printed Works. 23 
 
 Musice, the first edition of which was 
 printed in Milan in 1496. It was re- 
 printed at Brescia in 1497 and 1502, and 
 at Venice in 1512, all in folio. It consists 
 mainly of instructions in Plain-Song, 
 measurable music, and counterpoint, and 
 contains a large number of musical 
 illustrations, all engraved on wood. The 
 title of the first edition, and the borders 
 of the opening pages of Books I. and II. 
 which are repeated in Books III. and IV. 
 show considerable skill, and are a great 
 advance on the illustrations to the previous 
 works. In the edition of 1502 all the 
 examples and the table of the lengths of 
 organ pipes are printed from the identical 
 blocks used in the first edition. In the 
 Venetian edition these have all been 
 re-engraved. 
 
 The third work of Gaforius was the 
 De Harmonia Musicorum Instrumen- 
 torum Opus, published at Milan in 1518 
 (folio), of which this edition alone exists. 
 On the title-page is a woodcut, repre- 
 senting the author addressing his disciples, 
 who are seated on the floor, while he 
 occupies a desk, duly supplied with an 
 hour-glass. The book is a learned one 
 may say pedantic treatise on the music 
 of the Greeks. One of its principal 
 points of interest consists in a short life
 
 24 The Literature of Music. 
 
 of the author, by Pantaleone Melegoli, 
 which is appended to it. 
 
 These are the three original works of 
 Gaforius, but in 1508 he published at 
 Milan, in folio, his Angelicum ac divinum 
 opus musice ; materna lingua scriptum. 
 This was an epitome of the Theoricum 
 Opus, and of the Practica Musice, in the 
 Italian language, which he adopted in 
 consequence of the imperfect scholarship 
 of many musicians, who were unable to 
 understand his other works. 
 
 Gaforius was also concerned in a 
 controversy which was carried on with 
 extraordinary bitterness. In 1482 a 
 Spanish musician, Ramis de Pareja, settled 
 in Bologna and founded a music-school. 
 In that year he published a book, now of 
 the very greatest rarity, in which he 
 criticised with freedom the system of 
 Guido. The point at issue was that the 
 system of hexachords made no provision 
 for the fact that if the fifths were in perfect 
 tune the thirds would require to be ad- 
 justed, and vice versa. It is the earliest 
 notice of a difficulty which has continued 
 to occupy the attention of musicians to 
 the present time. This brought forth a 
 vigorous rejoinder from Nicolaus Burtius 
 (Bologna, 1487 : 4to) Musices Opusculum; 
 cum defensione Guidonis Aretini adversus
 
 Early Printed Works. 25 
 
 quendam hyspanum veritatis prevarica- 
 torem ; a book which has an additional in- 
 terest, as containing the earliest example 
 of printed music. Spartaro, a pupil of 
 Ramis, replied, asserting that Burtius was 
 incapable of understanding the subject 
 (Bologna, 1491 : 410). When Gaforius 
 published his -De Harmonia Musicorum 
 Instrumentorum in 1518 he expressed 
 with great decision his opposition to the 
 views of Ramis. It would seem that 
 letters must have passed between Gaforius 
 and Spartaro on the subject, in which the 
 discussion grew warmer, and it has been 
 suggested that Spartaro was urged on by 
 those who were jealous of the position 
 held by Gaforius. However this may 
 be, Gaforius, now a old man, was at last 
 roused to fury, which he allowed to 
 explode in his Apologia adversus Johannem 
 Spartarium et complices musicos Bon- 
 onienses (Turin, 1520: folio). In it he 
 becomes roundly abusive, and accuses 
 Spartaro of daring to teach Music when 
 he is grossly ignorant of it, and of Latin, 
 and of every other form of learning. 
 Spartaro lost no time in replying in his 
 Errori di Franchino Gafurio da Lodi ; 
 Da Maestro Joane Spartario Musico, 
 Bolognese : in sua deffensione : 6 del suo 
 preceptore Maestro Bartolomeo Ramis
 
 26 The Literature of Music. 
 
 Hispano : Subtilimente demonstrati (Bo- 
 logna, 1521 : 4to). He heads his 
 preface In Franchinum Gafurium Lau- 
 densem invectiva ; and the last word 
 accurately describes the style of the book. 
 It is addressed throughout to Gaforius in 
 the second person singular, and all his 
 supposed errors are duly tabulated. No 
 reply to this work has been found, but 
 that one must have been made by Gaforius 
 or his friends is proved by the fact that 
 in May of the same year Spartaro returns 
 to the charge with a pamphlet entitled, 
 Dilucide et probatissimc Demonstratione 
 de Maestro Joanne Spartario Musico 
 Bolognese, contra certe frivole et vane ex- 
 cusatione Da Franchinus Gafurio 
 (Maestro de li errori) in luce aducte. In 
 1522 Gaforius died and the controversy 
 ended, although in 1531 Spartaro brought 
 out a Tractate di Musica in a great 
 measure directed against the views of the 
 old master. 
 
 It may be remarked that Gaforius spelt 
 his name indifferently as Gaforius, 
 Gafforius, and Gafurius, and that by early 
 Italian writers he is frequently referred to 
 as Franchinus. 
 
 Another famous writer of a rather later 
 date was Pietro Aaron, or Aron for he 
 also adopted variety in spelling his name.
 
 Early Printed Works. 27 
 
 A priest, as was Gaforius, and a native of 
 Florence, he is said to have published his 
 first work, Dell 'Istituzione armonica, at 
 Bologna, in 1516 ; but the publication of 
 any work under such a title is open to con- 
 siderable doubt, for it is only known by a 
 Latin translation, made by his friend, J. A. 
 Flaminius, which appeared in that year 
 (Bologna : 4to). Probably Aaron was not 
 so good a scholar as Gaforius, for all 
 his original works are in Italian. The 
 principles enunciated in the book just 
 mentioned had the result of drawing him 
 into the controversy of which we have 
 already spoken, and he received some 
 rough treatment from Gaforius. In all 
 probability he was one of the Complices 
 Musici Bononienses who so sadly excited 
 the ire of Gaforius. The work by which 
 he is best known is his ToscanelloinMusica, 
 which passed through five editions, all 
 printed at Venice in folio, in the years 
 
 T 5 2 3> I 5 2 5> X 5 2 9' J 539> and 1562 the 
 last after the death of the author. He 
 travels over the same ground as Gaforius, 
 and was no doubt the foremost represen- 
 tative of the rival school of Bologna. 
 The title is supposed to have been in- 
 tended as a compliment to his native 
 country. According to Fe"tis the rules 
 of counterpoint are well explained. In
 
 28 The Literature of Music. 
 
 the edition of 15495 and subsequently, he 
 added a chapter on Plain-Song, but he 
 had already in 1525 brought out a treatise 
 on the eight tones, under the title of Trat- 
 tato della Natura et Cognitione di Tutti 
 gli tuoni di Canto Figurato (Venice, 1525 : 
 folio). Both these works are furnished 
 with a large wood engraving of the author 
 in the act of lecturing to his pupils ; and 
 in a little book of a much more miscel- 
 laneous character, entitled Lucidario in 
 Musica (Venice, 1545 : 4to) we find a 
 portrait taken later in life, with a copy of 
 verses headed Virga Aron floruit. This 
 work discusses many opinions held by 
 different authorities on points of musical 
 interest, and in it we find a list of some 
 of the principal musicians of the day, 
 both professional and amateur, including 
 many ladies, so that the book is of great 
 historical interest. 
 
 The proportions of the intervals of the 
 scale continued to engross the attention 
 of most of the learned musicians. Among 
 these we have Ludovicus Foglianus, whose 
 Musica Theorica docte simul ac dilucide 
 pertractata (Venice, 1529 : folio) is of great 
 interest. It is divided into three Books, 
 the first of which treats of the proportions 
 of intervals, the second of consonances, 
 and the third of the division of the
 
 Early Printed Works. 29 
 
 monochord. The book is profusely illus- 
 trated with remarkable diagrams showing 
 the relative proportions of the intervals, 
 and also of the use of the monochord. 
 Some of these are reproduced in Hawkins's 
 notice of this author, but not in a manner 
 to do justice to the originals. 
 
 But the greatest of the early Italian 
 theorists was undoubtedly Gioseffe Zarlino 
 of Chioggia, Maestro di Capella at St. 
 Mark's in Venice a man of great acquire- 
 ments in all departments of learning, 
 whose love for Music led him to devote 
 his best energies to its advancement. 
 He is principally known as the author of 
 two treatises Istitutioni Armoniche, first 
 printed in Venice in 1558, folio, reprinted 
 1562 and 1573, and Dimostrationi Ar- 
 moniche (Venice, 1571: folio), reprinted 
 
 1573- 
 
 The first Book of the Istitutioni com- 
 prises the usual dissertation in praise of 
 Music, its uses, and its varieties, together 
 with an explanation of such arithmetical 
 rules as are required in the consideration 
 of musical problems. The second Book 
 is devoted to the proportion of intervals ; 
 and in it he advocates a form of scale 
 known as the Synotonoiis, or Intense 
 Diatonic, of Ptolemy, which is virtually 
 identical with our modern major scale in
 
 3O The Literature of Music. 
 
 just intonation. The third Book ex- 
 pounds the laws of counterpoint, and the 
 fourth treats of the Church Modes. 
 
 The Dimostrationi have a dramatic 
 setting. Zarlino tells us that in 1562, in 
 the month of April, Adrian Willaert, the 
 famous founder of the Venetian School, 
 was laid up with gout. During his illness 
 his friends Claudio Merulo, Francesco 
 Viola, Maestro di Capella to Alfonso 
 d'Este, and Zarlino, were in the habit of 
 cheering him by meeting at his house to 
 converse on various topics of musical 
 interest. The Dimostrationi is a report 
 of the discussions of these " Friends in 
 Council." 
 
 The views of Zarlino were not allowed 
 to pass without controversy. His former 
 pupil, Vincentio Galilei, a man of con- 
 siderable learning, a good musician, and 
 the father of the more celebrated Galileo 
 Galilei, attacked them with much violence 
 in his Dialogo delta Musica Antica e 
 Moderna (Florence, 1581 : folio), a book 
 of great musical interest, to which we 
 have already referred (p. 13). In 1589 
 Zarlino published a complete edition of 
 his works in four volumes folio (Venice). 
 Vol. iii. is entitled Sopplimenti Musicali, 
 which, while going over much of the 
 same ground as his previous work, is also
 
 Early Printed Works. 31 
 
 a reply to the attack of his old pupil. It 
 is worthy of note that while the other 
 volumes are dated 1589, this third volume 
 is dated 1588, having probably been pub- 
 lished out of its turn in order to answer 
 Galilei. The tone of the reply differs 
 widely from the attack, and should have 
 protected the venerable master from the 
 intemperate rejoinder of Galilei, Discorso 
 intorno a//' opere di messer Gioseffo Zarlino 
 da Chioggia (Florence, 1589 : 8vo) a 
 little book which possesses one curious 
 characteristic. Although containing one 
 hundred and thirty-four pages, from be- 
 ginning to the end of the book there is 
 no break of paragraph ; and as it is with- 
 out index, to find any particular statement 
 is almost hopeless. 
 
 Another very learned theorist of a 
 slightly later period was Ludovico Zacconi 
 whose Prattica di Musica (Venice, 1592 ; 
 reprinted, 1596 ; with a second part, 
 1619 : folio), forms a complete handbook, 
 covering the whole range of the musical 
 knowledge of the time. The author 
 possessed great clearness of exposition 
 a gift to be valued by those who are 
 studying the abstruse musical systems of 
 that day. 
 
 The writings of Bottrigari deserve to 
 be mentioned, principally on account of
 
 32 The Literature of Music. 
 
 a curious mystification attaching to one 
 of them. His first work, // Patrido overo 
 de 1 tetracordi di Aristossene (Bologna, 
 1593 : 4to), is sufficiently described by 
 its title. The book about which dis- 
 cussion has arisen is // Desiderio, overo 
 de' Concerti di varij Strumenti Musicali. 
 Dialogo di Alemanno Benelli (Venice, 
 1594 : 4to). The work was actually by 
 Bottrigari, but, not wishing his own name 
 to appear, his friend Annibal Melone 
 lent his, under the anagram of Alemanno 
 Benelli. The title, // Desiderio, is taken 
 from the name of one of the interlocutors 
 in the dialogue of which the work con- 
 sists, Grazioso Desiderio, the other being 
 Alemanno Benelli. It appears that subse- 
 quently Melone claimed the work as his 
 own, to the annoyance of Bottrigari, who, 
 according to Fe"tis, proceeded to reprint 
 it at Bologna in 1599 (410), and that 
 Melone brought out another edition under 
 his own name at Milan in the year 1601, 
 which consists simply of the old " re- 
 mainder " of 1594, with a new title. We 
 have before us a copy of the 1599 edition 
 with the name of Bottrigaro (sic) on the 
 title. With the exception of the title, 
 prefatory matter, and index, it is identical 
 with that of 1594, differing in this only, 
 that throughout the work a little slip, " Del
 
 Early Printed Works. 33 
 
 S. C. Here. Bottrig." has been very care- 
 fully pasted over the original heading, 
 " Di Alemanno JBenellt." The work itself 
 is interesting, as showing the ideas about 
 orchestral music in those days. 
 
 On account of its beauty we must 
 mention the charming little Compendium 
 Musices (Venice, Lucantonio de Giunta, 
 1513 : 8vo) a little manual of Plain-Song 
 printed in red and black a book several 
 times re-issued under the title of Can- ' 
 torinus. 
 
 Germany was not far behind Italy in 
 its production of works on Music. The 
 earliest known work is the Flares Musice 
 omnis cantus Gregoriani, which was 
 printed at Strasburg by Pryss, in the year 
 1488, in quarto. The work itself belongs 
 to a much earlier date, having been written 
 in 1332 by a monk, Hugo von Reutlingen, 
 whose real name is believed to have been 
 Spechtshart. It consists of a Latin poem 
 of six hundred and thirty-five hexameter 
 verses, which are also leonine. The 
 book is a fine specimen of Gothic type. 
 The poem itself is printed in a bold 
 letter, and continuously, with no separa- 
 tion of the lines beyond the fact that each 
 begins with a capital, and it is accompanied 
 with an elaborate commentary in smaller 
 type, the author of which is unknown.
 
 34 The Literature of Music. 
 
 It is divided into four Books, which treat 
 of Gamut, of the Monochord, of Intervals, 
 and of the Church Tones and their use, 
 and it was designed as an assistance to 
 the younger clergy in the proper discharge 
 of their duties. These are not easy 
 matters to explain in prose, but the diffi- 
 culty is greatly increased when the medium 
 is verse. It is, therefore, not wonderful 
 that occasionally the poem without the 
 commentary is wholly unintelligible. No 
 doubt, the object was to impress the rules 
 of the art on the memory, in the same 
 way that in the old days of the Eton 
 Latin Grammar one learned Propria qua 
 maribus and As in prccsenti. The reader 
 may be glad to see a specimen. This 
 is part of the description of the mono- 
 chord : 
 
 " Pythagoras factor cujus fuit atque repertor, 
 Istum doctorem tibi praestant concava 
 
 ligna, 
 
 Cum sola chorda magadis apte sociata 
 
 Ad quas stet scripta per claves schedula 
 
 longa, 
 Qua; claves veras prsestent ex ordine for- 
 
 mas." 
 
 We have put spaces to show the rhyme 
 between the first and second half of the 
 line. " Magada " is the " bridge " of a 
 lyre.
 
 Early Printed Works. 35 
 
 The volume is of great rarity, but 
 a copy is to be found at the British 
 Museum, and a reprint of it, with a trans- 
 lation both of the poem and of the com- 
 mentary, in German, with preface and 
 notes by Carl Beck, Dean of Reutlingen, 
 forms Vol. Ixxxix. of the Bibliothek des 
 Litterarischen Verein in Stuttgart (Stutt- 
 gart, 1868: 8vo). 
 
 The next work to be noted is the 
 equally rare Lilium Musice Plane of 
 Michael Keinspeck (Basel, 1496 : 410), of 
 which there are several editions, followed 
 in 1501 by the Opus Aureum of Nicolaus 
 Wollick, Impressum Colonie per honestum 
 virum Henricum Quentel, Anno missionisin 
 carnem divini verbi millesimo quingentesimo 
 uno addito (quarto), with two subsequent 
 editions. The purpose of most of the 
 books on Music which now began to be 
 published in rapid succession was the 
 instruction of ecclesiastics in the proper 
 rendering of the musical part of divine 
 worship. Secular music was scarcely 
 considered worthy of serious treatment. 
 These all follow much the same plan, 
 treating of the elements of Music, 
 Gregorian Plain-Song and the definition 
 of the eight tones, with the rules of 
 measurable Music and of counterpoint. 
 Of such treatises it will suffice to mention
 
 36 The Literature of Music. 
 
 the TdracJiordon of Cochloeus (Nuremberg, 
 1507 : 4to), of which there are later edi- 
 tions, the Clarissima plane atque choralis 
 Musice Interpretatio of Praspergius (Basel, 
 1507 : 4to), the Opusculum Musices 
 of Simon de Quercu (a Belgian, whose 
 real name was Duchesne) (Nuremberg, 
 1513 : 4to), and the Musiae Institutiones 
 of Othmar Nachtigall, (Strasburg, 1515 : 
 4to), all in the Latin language ; while 
 Martin Agricola brought out Ein Kurtz 
 Deudsche Musica (Wittemberg, 1528 : 8vo) 
 and his Musica figuralis Deudsch (ib., 
 1532 : 8vo), both printed by George 
 Rhaw. With these may be mentioned 
 a number of still smaller didactic works, 
 in the form of primers or catechisms, 
 of which the most popular was the 
 Enchiridion of George Rhaw, the printer 
 of Wittemberg, which was reprinted many 
 times between the years 1518 and 1553. 
 This is a primer intended for the boys in 
 the school of Wittemberg, but Rhaw 
 published also a catechism drawn up by 
 Spangenberg for the school of Nordhausen, 
 the editions of which are also numerous. 
 
 In the Rerum Musicarum Opusculum of 
 Froschius (Strasburg, 1635 : folio) the 
 author indulges in many speculations ; but 
 the book is noticeable for the beautiful 
 printing of the examples by Peter Schoeffer
 
 Early Printed Works. 37 
 
 and Mathias Apiarius, the latter of whom 
 afterwards carried on business alone in 
 Berne, where he published a Compendium 
 Musices\yy Lampadius (1537 : 8vo). The 
 Ars Canendi of Sebaldus Heyden (Nurem- 
 berg, 1537 : 4to), apart from its merits as 
 a treatise, is valuable for the examples 
 which it contains of the works of Obrecht, 
 Josquin de Pres, Senfel, Heinrich Isaac, 
 and others, which are not to be found 
 elsewhere. 
 
 But German or perhaps we should 
 rather say Swiss musical scholarship was 
 best represented by Henricus Loris, or 
 Loritus, better known as Glareanus, from 
 his birth in the Canton of Glarus. He 
 was a man of vast general acquirements, 
 was crowned poet-laureate in 1512 for 
 his poem in honour of the Emperor 
 Maximilian I., and lived on terms of 
 intimacy with Erasmus and other learned 
 men of the time. His edition of Boethius 
 has already been mentioned, but he made 
 other valuable additions to the literature 
 of Music. His first work was his Isagoge 
 in Musicen (410), published without place, 
 printer's name, or date, but from the 
 dedication it appears to have been brought 
 out at Basle in 1516. The work is orna- 
 mented with a title-page by Holbein and 
 differs little from other rudimentary works
 
 38 The Literature of Music. 
 
 of the time. The reputation of Glareanus 
 rests on a work of much greater import- 
 ance, his Dodecachordon (Basel, 1547 : 
 folio). The student of musical history 
 will remember that St. Ambrose recognised 
 four Church modes, while St. Gregory 
 extended the number to eight. The 
 object of the treatise of Glareanus is to 
 prove that there were actually twelve 
 modes, and that they are identical with 
 the ancient Greek modes, rejecting the 
 Locrian and Hypolocrian as unavailable. 
 Apart from the importance of the work as 
 a theoretical treatise, it has other claims 
 on the gratitude of musicians, on account 
 of the numerous examples it contains of 
 the works of the older musicians, such as 
 Josquin de Pres, H. Isaac, Okenheim, 
 Pierre de la Rue, and others. An epitome 
 of this work in Latin was produced at 
 Basle in 1557 and 1559 (small square 
 8vo) and a German translation of the 
 epitome in similar form at Basle in 1559, 
 both probably by Viconegger (Woneggar). 
 The Mu sice active Micrologus (Leipzig, 
 1517 : obi. 4to) of Ornithoparcus (Vogel- 
 sang), a treatise on all the different 
 branches of musical knowledge, received 
 the honour of translation into English at 
 the hands of the eminent lutenist John 
 Dowland (London, 1609: folio). Both
 
 Early Printed Works. 39 
 
 the original and the translation are of 
 considerable rarity and interest, the out- 
 spoken quaintness of the original losing 
 none of its vigour in the translation. It 
 is from this work that comes the often- 
 quoted passage " The English doe carroll ; 
 the French sing ; the Spaniards weepe ; 
 the Italians which dwell about the coasts 
 of Janua (Genoa?) caper with their 
 voyces ; the others barke ; but the Ger- 
 manes (which I am ashamed to utter) doe 
 howle like Wolves." 
 
 In France, works on Music do not 
 appear to have been so numerous. The 
 earliest is a little treatise t by J. Faber 
 Stapulensis (Le Febvre, of Etaples). Fetis 
 says that the first edition was published 
 in Paris in 1496, folio, under the title of 
 Elementa MusicaHa, and that he bought a 
 copy in London; no such volume, however, 
 'is to be found in the catalogue of his 
 library. It was reprinted by H. Stephanus, 
 Paris, 1510, and again in 1514, in the 
 latter case together with a treatise on 
 Arithmetic by Nemorarius, and other 
 works. The last edition, Musica libris 
 quatuor demonstrata, was printed in Paris 
 by Cavellat (1551 : 4to). The only other 
 work which seems to have met with any 
 vogue was the Utilissime musicales regule 
 of Guerson, first published at Paris in the
 
 40 The Literature of Music. 
 
 early years of the sixteenth century. Fetis 
 quotes two other editions Paris, 1509, and 
 $., 1513, both small quarto, in Gothic type. 
 The writer's copy is dated 1510 and pro- 
 bably differs only in date from the edition 
 of 1509. Throughout the work the 
 initials and headings of the chapters are 
 printed in red, as are the staves of the 
 musical examples. 
 
 In Spain musical scholarship was up- 
 held by the De Musica Libri Septem of 
 Franciscus Salinas (Salamanca, 1577 : 
 folio). The author was blind from his 
 early years, but succeeded in acquiring 
 a profound knowledge of Music and the 
 command of an admirable Latin style. 
 Twenty-three years of his life were passed 
 in Rome, but he returned to Salamanca 
 to become professor at the University, 
 where his work was published as a text- 
 book for his lectures. The first Book 
 treats of musical ratios, the second of 
 intervals ; the third is occupied with the 
 ancient musical systems and the con- 
 sideration of Temperament as applied to 
 instruments ; the fourth treats of the 
 teachings of Pythagoras and Aristoxenus, 
 with criticisms on Gaforius, Glareanus, 
 Zarlino, and others. The remaining books 
 are devoted to rhythm, both as applied 
 to Music and to Latin versification. These
 
 Early Printed Works. 41 
 
 are illustrated by many specimens of 
 Spanish melodies. 
 
 As Music formed one of the seven 
 liberal arts, it was of course treated of in 
 the many works written in their explana- 
 tion generally in a very perfunctory 
 manner. Among these we may mention 
 as favourable specimens the Somma di 
 tutte le Scienze of Aurelius Marinati (Rome, 
 1557 : 4to). And it is of course treated 
 of in such encyclopaedic works as the 
 De Expetendis, et Fugiendis Rebus Opus 
 of George Valla (Venice, Aldus 1501 ; 
 2 vols, folio), which a recent bibliographer 
 describes as " two splendid volumes, with 
 absolutely nothing interesting in them," 
 and in the equally ponderous Lectionum 
 antiquarum Libri XXX of L. Rhodoginus, 
 also printed by Aldus in 1516, folio. It 
 was reprinted in 1550 by Frobenius 
 (Basel) in one volume folio of cclii. + 1182 
 pages. No wonder the printer adds a 
 note " Opus hoc in duo volumina com- 
 mode secari poterit in ternione gg." ! 
 
 The Rosetum of Joannes Mauburnus 
 (Paris, 1510) is on a more merciful scale, 
 for it is a quarto of about seven hundred 
 pages only. It is doubtful whether this 
 curious work should be included here, as 
 its aim is religious rather than musical ; 
 however, the author describes and gives
 
 42 The Literature of Music. 
 
 figures of several musical instruments, but 
 always with the view of drawing a moral 
 lesson from them. He even contrives to 
 extract spiritual comfort from the Guido- 
 nian Hand which to many must have 
 produced quite other feelings. 
 
 The respective merits of Plain-Song 
 where the notes simply followed the 
 prosody of the words and of the Cantus 
 Mensurabilis i where the relative duration 
 of the notes, governed by an elaborate 
 and complicated system, was fixed by the 
 notation an obvious necessity as soon as 
 harmony came into use -were warmly 
 contested. A curious development of 
 this discussion was the Bellum Musicale 
 inter plant et mensurabilis Cantus reges, de 
 Principatu in Musics Provincial obtinendo, 
 contendentes of Claude Sebastian (Stras- 
 burg, 1563 : 4to). (The first edition is 
 said to be 1553.) The work is rather a 
 tedious allegory (as allegories are apt to 
 be), describing the war between two kings, 
 brothers, who reign over the adjacent 
 kingdoms of Plain-Song and Mensurate 
 Music. The King of Plain-Song finds 
 many allies, the Pope the Cardinals 
 even the Lutheran ministers. The King 
 of the Mensurates has under command 
 his relatives, Mode, Time, and Prolation. 
 Each army is composed of notes, and the
 
 Early Printed Works. 43 
 
 shock of war is so violent that some of 
 the notes receive black eyes ! Plain-Song 
 at first appears to be gaining the day, 
 but victory is finally decided in favour 
 of Cantus Mensurabilis. Peace is at last 
 made between the rival sovereigns, and 
 the limits of their respective empires 
 finally settled. The book is scarce, but a 
 German translation by Raymund Schlecht 
 (reprinted from Cacilia) was published at 
 Treves in 1876, octavo. 
 
 Strange to say, a very similar allegory 
 on the same subject was written many 
 years later, although it may be convenient 
 to speak of it here. The title of the 
 work is Belltgerasmus, id esf Historia belli 
 exorti in Regno Miisico (Hamburg, 1622 : 
 8vo). The plot is almost identical with 
 that of the former work; in this case 
 Orpheus is the champion of Mensurate 
 'Music, Bisthon of Plain-Song. There 
 is a curious literary question attached to 
 this little book. It was published under 
 the name of Erasmus Sartorius, and a 
 second edition appeared in 1626. In 
 1637 Sartorius died, and in 1639 Laurem- 
 berg, a physician and poet of Rostock, 
 republished the book, claiming to be the 
 author. His claim has yet to be sub- 
 stantiated.
 
 CHAPTER IV. 
 
 MUSICAL LITERATURE IN THE 
 SEVENTEENTH CENTURY. 
 
 N the early years of the seven- 
 teenth century was published a 
 work on Music which, partly on 
 account of its real value, and 
 perhaps still more on account of its 
 excessive rarity, has been surrounded 
 with interest. This is El Melopeo of 
 Pedro Cerone, which although written in 
 Spanish was the work of an Italian and 
 published at Naples in 1613, in a folio 
 volume of about twelve hundred pages. 
 The author, born at Bergamo, became a 
 priest, and, visiting Spain, joined the 
 Chapel Royal of Philip II. and his 
 successor Philip III. The kingdom of 
 Naples and that of Spain were then 
 under the same ruler, and thus the 
 services of Cerone were transferred to 
 Naples, and there his book was published. 
 It is supposed that the king must have 
 44
 
 Books in the \jtJi Century. 45 
 
 borne the whole or a part of the expense 
 of printing it, and that he made the use 
 of the Spanish language a condition of 
 his assistance. The tradition is that the 
 entire edition was shipped to Spain, that 
 the ship was wrecked and the whole of 
 the copies lost, with the exception of 
 thirteen which had been retained in 
 Naples. We are ignorant of the authority 
 for this story, but the work is undoubtedly 
 among the scarcest in musical literature. 
 Fetis speaks of the difficulties which both 
 he and Padre Martini met with in obtain- 
 ing copies, and of the want of success 
 which attended Dr. Burney in the search. 
 One, however, was in the possession of 
 the late Mr. John Bishop, of Cheltenham, 
 and a magnificent copy is lying before 
 the writer as he pens this notice. 
 
 It is curious that, although possessing a 
 copy, Fetis should have given the author's 
 name wrongly as " Dominique Pierre," an 
 error followed by Grove's dictionary, 
 which calls him " Domenico Pietro." 
 The title stands Compitesto por el R. D. 
 Pedro Cerone i.e., el Reverendo Don 
 Pedro Cerone. Domenico is a misreading 
 altogether, and this the dedicatory verses 
 fully confirm. 
 
 Fetis is also guilty of suggesting a 
 charge against the author for which there
 
 46 The Literature of Music 
 
 seems to be no foundation whatever. 
 Cerone, like many learned men of that 
 period, although showing a vast erudition, 
 frequently allows his fancy to run away 
 with him, and becomes prolix and tedious, 
 so that the reader is tempted to believe 
 that two different writers have been con- 
 cerned. It appears that Zarlino in his 
 Sopplimenti announced his intention of 
 producing a work under the same title, 
 and Fe'tis is bold enough to start the idea 
 that Cerone may in some unexplained 
 way have become possessed of the manu- 
 script and incorporated it in his own 
 book: but the charge is absolutely un- 
 supported by evidence. The book is 
 undoubtedly long-winded above the aver- 
 age. It considers at great length the 
 moral qualities desirable in a musician, 
 the evil and the good caused by the use 
 of wine, and other such useless inquiries, 
 which fill the first two hundred pages of 
 the volume ; but when the author really 
 " buckles to " he is clear in his explana- 
 tions, which cover the whole field of 
 musical knowledge. 
 
 We have now to speak of two writers 
 whose reputation extended far beyond 
 the limits of the musical world both men 
 of wide and various learning, and of both 
 of whom it may be said, as in the case of
 
 in the Seventeenth Century. 47 
 
 a modern scholar, that their "foible was 
 omniscience." 
 
 The first of these was Pere Marin 
 Mersenne, of the order of Minims, the 
 fellow-student of Descartes, the intimate 
 friend of the elder Pascal, of Roberval 
 and of Peiresc, the correspondent of all 
 who were eminent among mathematicians, 
 or in the pursuit of physical science. In 
 those days scientific journalism was not 
 invented ; anything worthy of note was 
 sure to be at once communicated to 
 Mersenne, and as certain to be passed 
 on to all who were likely to take interest 
 in it in fact, he may be said to have 
 performed the functions of a " clearing 
 house" of scientific information. His 
 thirst for knowledge extended to all 
 branches of learning, both theological and 
 scientific, but his tastes led him to take 
 a special interest in Music, with the result 
 that his writings on that science form the 
 larger part of his somewhat voluminous 
 publications. It must be admitted that 
 Mersenne was disposed to be over 
 credulous. A little want of the critical 
 faculty, possibly an occasional absence of 
 common-sense, at times lead him into 
 extravagances which we can afford to 
 smile at, while admiring the powers of 
 patient research, and the wide-spread
 
 48 The Literature of Music 
 
 knowledge, which rendered him the 
 prominent figure in the musical literature 
 of the first half of the seventeenth 
 century. 
 
 Many of his works are far from common, 
 and his most important one decidedly 
 scarce, and frequently imperfect. It is, 
 we suppose, for this reason that so many 
 of the descriptions of them are incorrect 
 for instance, the article in Grove's 
 Dictionary, although short and perfunctory, 
 is a tissue of blunders ; the writer cannot 
 have examined the works which he pro- 
 fesses to describe. This is the more inex- 
 cusable as Fetis has done so with more 
 than usual care and accuracy. 
 
 We have already spoken of Mersenne's 
 Qucestioms Celeberrimcc. in Genesim. Early 
 in life he seems to have projected a vast 
 work on his favourite subject, but was 
 probably compelled to moderate his 
 ambition by the difficulty of finding a 
 publisher willing to risk so serious a 
 venture. At any rate, for several years 
 he contented himself by bringing out 
 a series of small works, each embracing 
 a portion only of the subject. The first 
 of these was his Traitc de E Harmonic 
 Universclle. Ou est contcnu la Musique 
 Theorique et Pratique des Anciens and 
 Modernes, avec les causes de ses t'ffefs,
 
 in the Seventeenth Century. 49 
 
 (Paris, 1627 : 8vo). This work was not 
 published under his own name, but pro- 
 fesses to be written by le Sieur de 
 Sermes. The work begins with a sum- 
 mary of the projected sixteen Books on 
 Music ; the volume itself, of four hun- 
 dred and eighty-seven pages, contains 
 only the first two of these, Book I. con- 
 taining, in the words of our author, " that 
 which is 'taught by Euclid, Ptolemy, 
 Bacchius, Boethius, Guido d'Arezzo, Faber, 
 Glareanus, Folianus, Zarlino, Salinas, 
 Galilei, ITlluminato (Illuminate Aiguino, 
 of Brescia, who published a book on 
 Plain-Song, Venice, 1562: 4to), Cerone, 
 etc, and many other things which have 
 not been treated of up to the present 
 time." Book II. considers the relations 
 of sounds, of consonances, of rhythm, 
 and runs off into very characteristic 
 flights of fancy for instance, that the pro- 
 portions of Solomon's Temple are based 
 on the application of the laws of musical 
 harmony. Not the least curious part of 
 this curious book is the following note 
 on the last page: " Acheve d* imprinter 
 Pan de la periode de Scaliger 634.2, du 
 monde 5612, and de Jesus Christ 1618, 
 que les autres croyent estre le 1634 ou 
 
 l6 35-" 
 This was followed by the Questions
 
 50 The Literature of Music 
 
 Harmoniques (Paris, 1634: 8vo). No 
 author's name appears on the title, but 
 the privilege is granted to the R.P.M.R.M. 
 (i.e., Reverend Pere Marin Mersenne), 
 and the dedication is signed F.M. While 
 still intended as a prelude to a larger 
 work, this volume forms no part of the 
 sixteen Books of which the syllabus is 
 given in the Traite. It addresses itself to 
 the following questions : 
 
 1. Whether Music is agreeable, whether 
 men of learning should take pleasure in 
 it, and what should be thought of those 
 who do not like it, or who dislike it, or 
 even hate it. 
 
 2. Whether Music is a science, and 
 is governed by fixed and ascertainable 
 principles. In the course of this investi- 
 gation he prints the Discours Sceptique sur 
 la Musique of La Mothe le Vayer, with- 
 out any clue to its origin. It had been 
 communicated to Mersenne by its author. 
 
 3. Whether the learned in Music are 
 better judges of the excellence of airs, etc., 
 than those who are ignorant of Music. 
 
 4. Whether the practice of Music is 
 preferable to the theory, and whether 
 more should be thought of one who 
 knows only how to compose, or to sing, 
 than of one who knows only the scientific 
 part of Music.
 
 in the Seventeenth Century. 51 
 
 In his next work, Les Preludes dc 
 F Harmonic Universelle (Paris, 1634 : 8vo), 
 his fantastic nature fairly runs away with 
 him, as the reader will see. In the first 
 chapter the author considers what should 
 be the horoscope of the perfect musician, 
 and he proceeds to cast the nativity of 
 such a person calculated for the latitude 
 of Paris. He has to admit with regret 
 that he would be of short life, and meet 
 with a violent end. It is a relief to find 
 two alternative horoscopes of " a very 
 perfect musician," which are apparently 
 not open to this objection. Having 
 seriously given these nativities, he pro- 
 ceeds at great length to inquire whether 
 any credence whatever is to be given to 
 Judicial Astronomy, and arrives at the 
 conclusion that if human beings are in- 
 fluenced by the stars, the knowledge 
 of it is reserved to God, and that man 
 cannot reasonably desire to penetrate it. 
 To this somewhat lame conclusion he 
 arrives after wasting a hundred and nine 
 pages over the question. 
 
 He then proceeds to consider what 
 should be the temperament of the perfect 
 musician. The reader would probably 
 find it difficult in these days to get his 
 nativity cast, but he may be glad to 
 know whether his temperament promises
 
 52 The Literature of Music 
 
 success in the art. To our great regret 
 we cannot enlighten him, for Mersenne 
 adduces the merits of each in succession 
 with such judicial fairness that he con- 
 fesses himself quite unable to arrive at 
 any decision on the point. Space fails 
 to go through the entire work, but he 
 reverts [^ ^ Iie q ues tion whether 'the ear 
 or the intellect should be the judge of 
 excellence in a musical composition, and 
 then, descending to practical matters, 
 describes experiments made to decide 
 in what part musical strings equal in 
 length and thickness would break when 
 stretched by equal forces. 
 
 He still kept his projected work steadily 
 in view, and in 1635 succeeded in finding 
 a publisher for his Harmonicorum Libri 
 XII. (Paris: folio). Fetis gives this date, 
 but his own copy is dated 1636 ; it appears 
 however, that the " Privilege " was granted 
 as early as 1629, so we may assume that 
 the work was probably completed, although 
 not printed, in that year. The arrange- 
 ment of the Books is different, but with the 
 works already described the ground pre- 
 viously mapped out in the sixteen Books 
 of his Traits of 1627 is virtually covered. 
 It is not to be supposed that the author 
 could entirely curb his active imagination, 
 but on the whole he succeeded in keeping
 
 in the Seventeenth Century. 53 
 
 much closer to his subject. An examina- 
 tion of the work will at once show how 
 much it was in advance of anything pub- 
 lished up to that time, and it is the first 
 in which the science of acoustics is applied 
 practically to the study of Music. Perhaps 
 to us in the present day the greatest interest 
 is in the last four Books, treating of the 
 various instruments known at that time, 
 divided into stringed and wind instruments 
 (the organ having a book to itself) and 
 instruments of percussion, as bells and 
 drums. These are illustrated profusely 
 with woodcuts, as well as with engravings 
 on copper, both printed in the text. It is 
 worthy of notice that in treating of the 
 organ, several schemes are given for divid- 
 ing the octave into more than twelve 
 semi-tones, so as to be able to use it in 
 keys impossible with unequal tempera- 
 ment. 
 
 Having published this treatise in 1636, 
 it is not a little remarkable that in the 
 same year he at last fulfilled the wish of 
 his life, by bringing out the first part of 
 his great work under the title of Harmonie 
 Universelle. It was printed in Paris by 
 Sebastian Cramoisy, who deserves to have 
 his name recorded for his enterprise in 
 venturing to undertake so enormous a 
 work upwards of fifteen hundred pages
 
 54 The Literature of Music 
 
 folio filled with woodcuts and engrav- 
 ings, those, however, in the Harmonicorum 
 Libri XII. doing duty again. A note is 
 appended, stating that the musical ex- 
 amples are printed by Pierre Ballard, as 
 was also the case in the former work. 
 This was rendered necessary by the fact 
 that Ballard (and his descendants for many 
 years after) had the exclusive right of 
 printing music in France. 
 
 It would take too much of our space to 
 give an analysis of this work. In the 
 main it follows the arrangement of its 
 Latin predecessor, but it is misleading to 
 speak of it as a translation. The subjects 
 are treated much more exhaustively, and 
 on the whole the author keeps more closely 
 to his text. But there is no lack of unex- 
 plainable wanderings from it. Between 
 Books III. and IV. he prints a Traite de 
 Mtcanique by his friend Roberval which 
 has no connexion whatever with Music. 
 The Book on instruments of percussion 
 winds up if not without rhyme, without 
 reason with a long versification of the 
 Athanasian Creed ! This is followed by 
 several pages of errata and addenda, con- 
 cluding with an Essay on the moral 
 lessons to be drawn from Pure Mathe- 
 matics. 
 
 Scattered through the book are many
 
 in the Seventeenth Century. 55 
 
 examples taken from the works of 
 musicians not to be found elsewhere, 
 which of course are of great historical 
 interest. With all its faults it is a rich 
 storehouse of musical information, which 
 has been freely drawn upon by many of 
 the author's successors. On the strength 
 of a statement of De Bure it has the repu- 
 tation of being the rarest work in musical 
 literature. No doubt, comparatively few 
 copies would be called for of a book 
 appealing to a limited public, and which 
 must have been at all times costly. Copies 
 of it undoubtedly fetch a high price in the 
 present day, but many musical works are 
 of much greater rarity. The collation is 
 exceedingly difficult, as the pagination 
 frequently recommences, on no apparent 
 system. 
 
 It remains to be said that in 1648 
 Mersenne brought out a second edition 
 of his Harmonicorum Libri XII., but 
 whether this is a complete reprint the 
 writer is unable to say ; also that the 
 Cogitata-physico-mathematica (Paris, 1644 : 
 2 vols., 410), contains four books on " Har- 
 monia " i.e., Music, sandwiched between 
 a treatise on Navigation and one on 
 Mechanics, in which several of the figures 
 from his other works are used. 
 
 When a young man of twenty-two years,
 
 56 The Literature of Music 
 
 Descartes the lifelong friend of Mer- 
 senne wrote, to please a friend, a short 
 treatise on the mathematical proportions 
 of musical intervals. Feeling a want of 
 sufficient practical knowledge, he would 
 never consent to its publication ; it was, 
 however, printed after his death under the 
 title of Compendium Musicce (Utrecht, 
 1650: 4to), and from that time was in- 
 cluded in the collected edition of his 
 works. This little book was twice trans- 
 lated, firstly into English as Renatus Des- 
 cartes' 1 Excellent Compendium of Mustek : 
 with Necessary and Judicious Animadver- 
 sions Thereupon, By a person of Honour, 
 who was Lord Brouncker, the first president 
 of the Royal Society (London, 1653 : 4to). 
 The other translation was into French by 
 the Abbe Poisson (Paris, 1668 : 4to), also 
 with some elucidations by the translator. 
 
 We must not dismiss French writers on 
 Music without mentioning the work of the 
 . eminent engineer Solomon de Caus : Insti- 
 tution Harmonique, Divisee en deux parties, 
 En la premiere sont monstrees les propor- 
 tions des intervalles harmoniques, Et en la 
 deuxieme les compositions dicelles (Frankfort, 
 1615 : folio), a work which would be 
 worthy of note if only on account of its 
 admirable printing. 
 
 Germany possessed almost an exact
 
 in the Seventeenth Century. 57 
 
 counterpart of Mersenne in the famous 
 Jesuit, Father Athanasius Kircher, a man 
 of the most wide-reaching knowledge, with 
 the most insatiable desire to increase it. 
 Natural Science, the study of ancient and 
 oriental languages, Antiquity, Music, all 
 had attractions for him. He was one of 
 the first to form a Museum, which has 
 been often described and is still to be 
 seen in Rome. His entire works number 
 over thirty, some in several volumes, most 
 of them in folio. His learning was pro- 
 bably as great as that of Mersenne, and it 
 will scarcely be wronging him to admit 
 that he was equally credulous. 
 
 His earliest work was on the subject of 
 Magnetism, which would not appear to 
 have much connexion with Music. His 
 Magnes, sive de Arte Magnetica opus tri- 
 gartitum (first published in Rome, 1641: 
 4to ; but more commonly met with in the 
 folio edition of 1654) contains, however, 
 a chapter on the magnetic influence of 
 Music, and then proceeds to consider the 
 effect of the bite of the tarantula spider, 
 the evil results of which he attributes to 
 magnetic influence, to be cured by dancing 
 alone. He gives the music in use for 
 that purpose, which bears no resemblance 
 to that known as a tarantella in the present 
 day.
 
 58 Ike Literature of Music 
 
 His great work, the Musurgia Univer- 
 salis (Rome, 1650 : 2 vols., folio), is on a 
 scale but slightly smaller than the Har- 
 monic Universelle of Mersenne, and, like it, 
 the plan of the work covers the whole 
 field of musical knowledge. Something, 
 no doubt, it owes to its predecessor, but 
 it has an independent interest of its own. 
 After some general remarks on sound, the 
 author proceeds to give a description of 
 the organs both of hearing and speech, 
 in man and in other animals, giving the 
 songs of several birds in musical nota- 
 tion, and explaining the production of 
 sound by insects. He then treats of the 
 music of the Jews and the Greeks, the 
 proportions of intervals, the theories of 
 Boethius and Guido d'Arezzo, with the 
 explanation of the Guidonian Hand and of 
 the use of the monochord. This brings 
 us to Book V., which contains the famous 
 Nodus Salomonis, a canon originally com- 
 posed by Pietro Valentini to be sung by 
 ninety-six voices arranged in twenty-four 
 choirs. Kircher rightly describes it as 
 " verius Labyrinthum" and then proceeds 
 to improve on it by showing that it could 
 be sung by twelve million two hundred 
 thousand voices, disposed in three million 
 two hundred thousand choirs that all the 
 men in Italy, Spain, Germany, or France,
 
 in the Seventeenth Century. 59 
 
 would barely suffice for its performance, 
 which would last two hundred and thirty- 
 two days, allowing no interval for refresh- 
 ment or sleep ! 
 
 After this solemn trifling the learned 
 Jesuit gives an excellent description of 
 the different instruments then in use. 
 He goes at length into the question of 
 the necessity of additional notes to the 
 octave in instruments having fixed tones, 
 and on this point he is largely indebted 
 to Mersenne, from whose work many of 
 the figures are copied. Rhythm and 
 Accent come in for a large share of atten- 
 tion, and then his love of the marvellous 
 begins to run away with him; we have 
 disquisitions on the curative effects of 
 Music, our old friend the tarantula makes 
 a further appearance, we are taught how 
 harmony is exemplified in the construction 
 of the human form, and a system of secret 
 writing by means of musical notes. The 
 Harmony of the Spheres comes in for 
 attention, several musical automata are 
 described, and, lastly, the construction of 
 the yEolian Harp, of which Kircher was 
 probably the inventor. 
 
 Unlike the Harmonic Universelle of 
 Mersenne, this work is by no means un- 
 common, and with all its faults perhaps 
 partly on account of them -is a book
 
 60 The Literature, of Music 
 
 which may be alway; consulted with 
 pleasure. It should be added that an 
 epitome of the wcrk in German was 
 made by Andreas Hirsch, a Protestant 
 minister, under t'ie title of Kircherus 
 Jesuita Germans s Germanics redonatus 
 (Hall [in SwabisJ, 1662: sm. 8vo), the 
 value of which .s greatly diminished by 
 a total absence of illustrations. 
 
 The consideration of the phenomena of 
 Echoes formed a portion of the Musurgia. 
 Kircher returned to this subject at greater 
 length in his Phcnurgia nova (Kempten, 
 1673 : folio). He explains with great 
 detail the principles of the reflection of 
 Sound, and describes his own original 
 experiments to ascertain the rate at which 
 it travels. The musical properties of 
 tubes, both cylindrical and conical, are 
 expounded, and the reasons of the im- 
 perfect scales of such instruments. The 
 plan adopted by the ancients of building 
 vases into the walls of their theatres is 
 described at length, and he then proceeds 
 to give descriptions of some of the most 
 famous echoes known to him. He then 
 applies the principles he has enunciated 
 to the contrivance of what he conceives 
 to be works of practical utility for in- 
 stance, how a room may be constructed 
 so that whatever is said in it may be dis-
 
 in the Seventeenth Century. 61 
 
 tinctly heard in another chamber, or how 
 two people at a distance, and unable to 
 see each other, may yet be able to indulge 
 in conversation ; and he anticipates the 
 resonators which have been used with 
 such results by Helmholtz in his re- 
 searches. Among many other curious 
 inquiries, he investigates the reasons of 
 the fall of the walls of Jericho, which he 
 concludes must have been miraculous. 
 The book is a beautiful specimen of 
 printing, and profusely illustrated, both 
 with woodcuts and copperplate engrav- 
 ings. It was translated into German 
 under the title of Neue Hall-und Thou- 
 Kunst (Nordlingen, 1684 : folio) by 
 Agathus Cario, a pseudonym which re- 
 mains unexplained. The cuts and en- 
 gravings are much less artistic than those 
 in the original edition. 
 
 The similarity between the two previous 
 writers has induced us to pass over a 
 book of earlier date, unfortunately of very 
 great rarity the Syntagma Musicum of 
 Michael Prsetorius, a musician of whom 
 little is known apart from the voluminous 
 compositions which he has left, and the 
 bare facts that he was born in 1571 and 
 died on his fiftieth birthday in 1621 at 
 Wolfenbiittel, having filled the posts of 
 Kapellmeister at Luneburg, and after-
 
 62 The Literature of Music 
 
 wards of organist, Kapellmeister and 
 secretary to the Duke of Brunswick, and 
 that he was in orders. There can be no 
 doubt that his real name was Schulz = 
 magistrate, of which Prsetorius was the 
 received Latinity. From his book one 
 may judge him to have been an earnest- 
 minded, plodding man, of ample know- 
 ledge, not without the fair share of pedantry 
 which becomes a German of that date. 
 It was the author's intention to have com- 
 pleted the work in four volumes, but 
 unfortunately death overtook him before 
 the completion of the last. Of these 
 volumes the first is in Latin and was 
 published at Wittemberg in the year 
 1615, in quarto. It is divided into two 
 parts, the first treating of sacred music 
 among the Jews, with an account of the 
 musical instruments mentioned in the 
 Bible, tracing the history of Music down 
 to the Romish Church, with a description 
 of the music of the Mass and other offices. 
 The second part is devoted to the secular 
 music and musical instruments of the 
 ancients. 
 
 The second volume is entitled De 
 Organogr aphia, and was published at 
 Wolfenbiittel in 1619. In it he drops the 
 use of the Latin language and writes in 
 German. It consists of a description of
 
 in tlie Seventeenth Century. 63 
 
 the various instruments in use at that 
 time, and it is on this that the principal 
 value of the work at the present day de- 
 pends. It is accompanied by a Theatrum 
 Instrumentorum, sen Sriographia (Wolfen- 
 biittel, 1620) containing excellent wood- 
 engravings of the instruments described 
 in the text. This is of the greatest 
 interest, and fortunately has been admir- 
 ably reproduced by the Gesellschaft fur 
 Musikforschung, Berlin, 1882. 
 
 The third volume, which is also in 
 German, and published at Wolfenbiittel 
 in 1619, treats of contemporary music in 
 Italy, France, England, and Germany, and 
 of the different forms of composition in 
 use. The only Englishman mentioned 
 seems to be Thomas Morley, and his 
 name appears in a list of composers only. 
 It then proceeds to give a description of 
 'notation, the modes, and transposition, 
 with an explanation of Italian musical 
 terms, the arrangement of a vocal and 
 instrumental concert, as well as instruc- 
 tions in the true way of training choir- 
 boys in the Italian manner. The volume 
 closes with a very interesting list of his 
 numerous musical works already pub- 
 lished, or " mit Gottlicher Hiilfe " still to 
 be published, "so im der Hebe Gott das 
 Leben fristet." But this was not to be.
 
 64 The Literature of Music 
 
 The author was not even able to com- 
 plete his great work, the fourth volume 
 of which was to have been devoted to the 
 explanation of the rules of counterpoint. 
 The dates and descriptions have been 
 taken from an excellent and complete 
 copy in the writer's possession ; but an 
 article in Grove's Dictionary (" Syntagma," 
 vol. iv., p. 44), by Mr. W. S. Rockstro, 
 proves that there was an earlier edition of 
 the second and third volumes, as shown 
 by typographical differences. 
 
 The German works of this period are 
 distinguished by their pedantry, and by 
 the length of their titles, which forbids 
 us to transcribe them in full. We must, 
 however, mention the Musica Prattica 
 of Herbst (Nuremberg, 1642), the same 
 writer's Musica Poetica (ib., 1643), and 
 the Arte Practica e Poetica (Frankfort, 
 1653) all in quarto, and written in German, 
 in spite of the first words of the title, 
 which in each case is continued in a 
 barbarous jumble of languages. 
 
 But for pedantry and elephantine wit, 
 the name of Wolfgang Caspar Printz, von 
 Waldthurm, as he invariably describes 
 himself, from the place of his birth, stands 
 unrivalled. His best and most useful 
 work is undoubtedly his Historische 
 Eeschreibnng, to be spoken of later. The
 
 in the Seventeenth Century. 65 
 
 book, however, by which he is best known 
 is probably his Phrynis Mytilenaus oder 
 Satyrischer Componist, two parts of which 
 were published successively at Quedlin- 
 burg, in 1676 and 1677, in quarto. But 
 these were reprinted, together with a third 
 Book, at Dresden, also in quarto, in the 
 year 1696. The work is a satire against 
 ignorant and incompetent composers who 
 presume to teach others. Phrynis of Mytil- 
 ene was a musician of antiquity, who in 
 this work is supposed to have been placed 
 with a modern master to learn his art. 
 The style is heavy and tedious, and the wit 
 cumbrous. Printz published other works, 
 but several awaiting publication were 
 burned in a fire which destroyed his 
 house, and the greater part of the town 
 of Sorau, where he lived. He tells us 
 that this misfortune had the effect of 
 impairing his memory it certainly saved 
 the world several prolix and tedious 
 treatises. 
 
 Literary activity appears to have ceased 
 in Italy during this century, perhaps be- 
 cause the musicians were more usefully 
 occupied in composition ; but the innova- 
 tions of Monteverde, that great originator 
 of the modern school of music, were not 
 suffered to pass without a protest. In 
 1600 Giovanni Maria Artusi, already
 
 66 The Literature of Music 
 
 known by a treatise on counterpoint, pub- 
 lished the first instalment of his Artitst, 
 overo delle Imperfettioni delta Moderna 
 Musica (Venice : folio). Artusi was an 
 uncompromising advocate of the old 
 order of things, and his book, which 
 takes the form of a dialogue between 
 Luca and Vario, is a protest against the 
 use of unprepared sevenths and ninths, 
 although he indulges in frequent digres- 
 sions into other subjects of interest. A 
 continuation was published in Venice in 
 1603, also folio. The controversy was 
 revived more than forty years later by a 
 royal disputant, John IV., King of Portugal, 
 in his Defensa de la Musica Moderna 
 1 contra la errada opinion del obispo 
 ' Cyrillo Franco^ published anonymously 
 (at Lisbon in 1649 (?) : 4 to )' tne authorship 
 of which, however, is well authenticated. 
 An Italian translation, also without place 
 or date, appeared later. 
 
 The Organo Suonarino of Banchieri 
 ; (Venice, 1605 : 4to) was often re- 
 ; printed, having been one of the first 
 books to give instructions for playing 
 from a figured Bass. Treatises on Plain- 
 Song, a knowledge of which formed a 
 necessary part of the education of every 
 , priest, appeared in rapid succession. In 
 '1657 Avella produced his Rcgole di
 
 in tlie Seventeenth Century. 67 
 
 Musica . , . e molte cose nuove e curiose 
 (Rome : folio), the interest of which will 
 be found in the " new and curious mat- 
 ters " rather than in the Rules. He 
 treats of the relation between Music and 
 the motions of the stars, and gives some 
 good advice to singers, especially on the 
 preservation of the voice, recommending 
 them to mix water with their wine in 
 summer, but to drink it neat in winter. 
 The first edition of Li Primi Albori 
 Musicali of Lorenzo Penna appeared 
 in 1656 (Bologna: 4to). The work, 
 several times reprinted, is a treatise on 
 the general principles of music and 
 counterpoint, while the third part teaches 
 the principles of playing the organ or 
 harpsichord " sopra la parte" i.e., the art 
 of accompanying from the figured bass. 
 
 The works of Berardi, a notice of which 
 will conclude our remarks on Italian pub- 
 lications during the seventeenth century, 
 prove how Music was losing the fine 
 traditions of Palestrina and his school in 
 the search after ingenious contrivances 
 with which Art had no connexion. His 
 first work, Ragionamenti Musicali (Bo- 
 logna, 1 68 1 : i2mo), was in the form of 
 a dialogue, actually written by Giuseppe 
 Orsolini, a Bass of the Cathedral of 
 Spoleto, of which Berardi was Maestro
 
 68 The Literature of Music 
 
 di Capella, based on his oral teaching. 
 The contents are very miscellaneous, 
 treating of musicians from Tubal Cain to 
 Palestrina, attributing the invention of 
 the violin to Orpheus, and of the bow 
 to Sappho in short, the work is more 
 amusing than useful. 
 
 His Documenti Armonici (Bologna, 
 1687 : 4-to) consists of explanations of 
 the various ingenious contrivances which 
 the taste of the time introduced into 
 counterpoint, fugue, and canon a book, 
 no doubt, of vast learning, sadly mis- 
 applied. The Miscellanea Musicale (Bo- 
 logna, 1689 : 410), after some speculative 
 matter, settles down to an explanation of 
 the rules of counterpoint. The Arcani 
 Musicali (Bologna, 1690: 4to) perhaps 
 exemplifies most completely the taste of 
 the day, being wholly devoted to me- 
 chanical contrivances such as the " canon 
 cancrizans" which could be read back- 
 wards, as a crab is supposed to run 
 duets which could be sung whether the 
 book was held upwards or downwards, 
 and such other abstruse trifling. His 
 last work, the PercJie Musicale (Bologna, 
 1693 : 4to), consists of letters to friends 
 explaining various points of musical in- 
 terest. 
 
 The first Er glish contribution to the
 
 in tJie Seventeenth Century. 69 
 
 literature of Music of sufficient importance 
 to be noticed here is Thomas Morley's 
 well-known Plaine and Rasie Introduction 
 to Practicall Musicke, set downe in forme 
 of a Dialogue (London, 1597 : folio ; 
 reissued with a new title in 1608). The 
 introduction has been so often quoted 
 that it must be familiar to most readers 
 how Polymathes, " supper being ended 
 and Musicke books brought to the table," 
 had to confess his inability to take his 
 part, so that the next day he lost no time 
 in seeking Master Gnorimus to repair the 
 defects of his education. The work 
 carries us through the course of instruc- 
 tion, which is given with much clearness ; 
 and any one desiring to master the com- 
 plicated time-table of that day, with its 
 greater and lesser prolations, cannot have 
 .a better guide. It contains many ex- 
 amples of interest, and a list of previous 
 writers and composers who have been 
 consulted. A proof of the popularity of 
 the work, and of the diligence with which 
 it has been studied, is the battered and 
 thumbed state of most of the copies 
 which are met with. The work was 
 reprinted as late as the year 1771. 
 
 That Music was considered to form 
 part of a liberal education is also proved 
 by the fact that a chapter on it is included
 
 7<D The Literature of Music 
 
 in the Compleat Gentleman of Henry 
 Peacham (London, 1622 : quarto). After 
 praising Henry VIII. and other noble 
 persons for their devotion to the art, he 
 proceeds to characterise some of the 
 principal composers of the day. " For 
 Motets and Musick of Piety and Devo- 
 tion ... I prefer above all other our 
 Phoenix Mr. William Byrd, whom in 
 that kind, I know not whether any may 
 equall, I am sure none excell." Vittoria, 
 Luca Marenzio, Orazio Vecchi, Giovanni 
 Croce, and other foreign composers, re- 
 ceive commendation, and he speaks 
 according to knowledge, for he is able 
 to recommend special works by them ; but 
 while he rightly admires these writers, it 
 is pleasant to find him speaking of Douland, 
 Morley, Wilbye, Weelkes, East, Bateson, 
 and others of our noble body of 
 madrigal writers, as " inferior to none in 
 the world (how much soever the Italian 
 attributes to himself) for depth of skill, 
 and richness of conceit." Several editions 
 of this work appeared. 
 
 We have already mentioned Douland's 
 translation of Ornithoparcushis Micrologus. 
 In 1636 appeared a curious book, The 
 Principles of Musick, In singing and set- 
 ting : With the twofold use thereof : \Eccles- 
 iasticall and Civil], " by the Rev. Charles
 
 in the Seventeenth Century. 71 
 
 Butler (London, 1636 : 4to). It is an 
 excellent little practical treatise on Music ; 
 the remarkable point about it is that the 
 author was an early, probably the first, 
 adopter of phonetic spelling, which he 
 had already used in a previous work, The 
 feviinin Monarch? or the Histori of Bees 
 (Oxford, 1634 : 4to), a book which also 
 has a slight musical interest as containing 
 a description of the music of Bees when 
 swarming, which the author has arranged as 
 a "Melissomelos, or Bees' Madrigall." His 
 system of phonetics involved the casting 
 of some special type : for instance, h follow- 
 ing a consonant is always represented by a 
 stroke through it. The initial th of the, 
 this, that, etc. is always represented by d 
 with a stroke. This and other eccen- 
 tricities give the book what Mr. Butler 
 calls an od appearance. 
 
 In this century were published two 
 handbooks of the art of Music, both of 
 which enjoyed remarkable popularity. 
 The first in the field, and the more 
 popular, was Playford's Introduction to the 
 Skill of Mustek. In two Books, first, 
 A brief and plain Introduction to Musick, 
 both for singing and for playing on the 
 Violl. By J. P. Second, The Art of 
 Setting or Composing of Musick in Parts 
 by a most familiar and easie Rule of
 
 72 The Literature of Music 
 
 Counterpoint. Formerly published by Dr. 
 Tho. Campion : but now republished with 
 large Annotations by Mr. Cristoph. 
 Sympson, and other Additions (London, 
 1655 : 8vo). This passed for many years 
 as the first edition, till the late Dr. 
 Rimbault came into the possession of a 
 copy dated 1654 the only one known 
 which at his sale in 1877 was knocked 
 down for ten guineas. Numerous editions 
 of this work, with alterations and additions, 
 were issued, the last, purporting to be 
 the nineteenth, in 1730; but there are 
 five or six unnumbered editions. To the 
 seventh (1674) "The order of Perform- 
 ing the Divine Service in Cathedrals and 
 Collegiate Chappels" was added; it 
 appears in all subsequent editions, with 
 the exception of the twelfth and thirteenth, 
 (1694, 1697). In the tenth edition 
 (1683) Campion's " Art of Setting " dis- 
 appears, and is replaced by a " Brief 
 Introduction to the Art of Descant or 
 Composing Musick in Parts." No author's 
 name is affixed to this, but it is afterwards 
 stated to be " with the additions of the 
 late Mr. Henry Purcell." Each edition 
 contains a portrait of the author, of which 
 there are five variations. 
 
 In 1665 Christopher Simpson (or 
 Sympson, for he used both spellings),
 
 in the Seventeenth Century. 73 
 
 who had a hand in the earlier editions 
 of Playford's Introduction, brought out 
 a handbook of his own under the title 
 of The Principles of Practical Musick 
 (London, 1665 : 8vo) which in the second 
 and subsequent editions he changed to 
 A Compendium of Practical Musick in 
 Five Parts, i. The Rudiments of Song. 
 2. The Principles of Composition. 3. The 
 Use of Discords. 4. The Form of Figura- 
 tive Descant. 5. The Contrivance of 
 Canon. Eight editions were published 
 in rapid succession, the last of which is 
 dated 1732. They all contain a portrait, 
 drawn and engraved by Faithorne, printed 
 from the same plate. Many years after- 
 wards a ninth and last edition (about 
 1760 ?) was brought out in oblong quarto. 
 Simpson had already won his spurs as 
 a writer on Music by his Division Violist : 
 'or an Introduction to the Playing upon a 
 Ground (London, 1659: folio), of which 
 Playford was the publisher. The dedica- 
 tion to Sir Robert Bolles, stating that it 
 was " chiefly contrived . . . for the in- 
 struction of your little son," is very quaint. 
 After describing the kind of viol and 
 bow " fittest for Division," with a very 
 characteristic full-page engraving of a 
 gentleman in hat and wig, wearing very 
 square-toed shoes on his very carefully
 
 74 The Literature of Music 
 
 turned-out feet, engaged in playing 
 divisions, he proceeds to explain the 
 mysteries of the art, appending a number 
 of examples. 
 
 A second edition appeared in 1667 
 no longer published by " honest John 
 Playford," with whom we hope he had 
 not quarrelled in consequence of the 
 publication of the rival elementary work 
 already described. Sir Robert Bolles's 
 " then little son " had grown to manhood 
 and succeeded to his father's estate. To 
 him it is dedicated, for the reasons that 
 " you were the chief Occasion of the 
 Book, ... for it was contriv'd and 
 carried on for Your Instruction in Musick. 
 . . . And as it was made for You, so it 
 has made You (by your ingenuity) not 
 only the greatest Artist, but also the 
 ablest Judge of it, that (I think) is this 
 day in Europe ; (I mean) of a Gentleman, 
 and no Professor of the science." It 
 appears that Sir John Bolles produced 
 such an effect in Rome by his playing, 
 as witnessed by a copy of Latin verses 
 addressed to him on the occasion, that 
 his old instructor decided on issuing, 
 with the assistance of his " own honoured 
 Friend (and sometime Scholar in Musick), 
 Mr. William Marsh " a Latin translation, 
 side by side with the English work, " that
 
 in the Seventeenth Century. 75 
 
 it might be understood in Foreign Parts." 
 Perhaps out of regard to the superior 
 politeness of foreigners, the gentleman 
 who is playing the divisions has removed 
 his hat. The plate is otherwise identical. 
 A third edition was published in 1712. 
 Both the second and third editions 
 contain a portrait of the author painted 
 by Carwarden, admirably engraved by 
 Faithorne. 
 
 In 1664 John Birchensha, an Irishman, 
 who describes himself as " Philomath " 
 published a translation (London : 8vo) of 
 the Elementale Musicum of " the learned 
 and famous Johannes Henricus Alstedius," 
 originally produced at Frankfort in 1611. 
 As the production of a man signing him- 
 self " Philomath " it is not surprising to 
 meet with a fair share of pedantry. A 
 more important work is Matthew Locke's 
 Melothesia, or Certain General Rules for 
 playing upon a Continued Bass (London : 
 obi. 4to) the first treatise on the subject 
 published in this country. 
 
 A most delightful book, Thomas Mace's 
 MusicKs Monument ; or a Remembrancer 
 of the Best Practical Mustek, both Divine 
 and Civil, that has ever been known to 
 have been in the World, appeared in 1676 
 (London : folio). The reader is puzzled 
 which to admire most, the fervour and
 
 j6 The Literature of Mttsic 
 
 enthusiasm of the author, or the quaint- 
 ness of his style, with his fondness for 
 long compound words. On account of 
 the interest of the book, even to the non- 
 musical reader, and perhaps also for its 
 excellent portrait of the author engraved 
 by Faithorne, it is much sought for ; 
 copious quotations from it, however, will 
 be found in Southey's Doctor, which no 
 doubt has helped to increase its popularity. 
 The book is divided into three parts, 
 the first of which treats of Music in 
 Parochial and Cathedral Churches. He 
 gives a description of the highest form of 
 psalm singing. The Loyal City of York 
 was in 1644 undergoing a siege, and our 
 author, with "abundance of People of 
 the best Rank and Quality viz., Lords, 
 Knights and Gentlemen of the Countries 
 round about, besides the Souldiers and 
 Citizens" went constantly to the Cathedral 
 on Sunday ; " and indeed their Number 
 was so exceeding great that the Church 
 was (as I may say) even cramming or 
 squeezing full. Now here you must take 
 notice, that they had then a Custom in 
 that Church that always before the Sermon 
 the whole Congregation sang a Psalm, 
 together with the Quire and the organ', 
 And you must also know, that there 
 was a most Excellent-large-plump-lusty-
 
 in the Seventeenth Century. 77 
 
 full-speaking Organ, which cost (as I 
 am credibly informed) a thousand pounds. 
 
 " This Organ, I say, being let out, into 
 all its fulness of Stops, together with the 
 Quire, began the Psalm. 
 
 "But when that Vast-Conchording- 
 Unity of the whole Congregational- 
 Chorus^ came (as I may say) Thundering 
 in, even so, as it made the very Ground 
 shake under us ; (Oh the unutterable 
 ravishing Soul's delight!) In the which 
 I was so transported, and wrapt up into 
 High Contemplations, that there was no 
 room left in my whole Man, viz. Body, 
 Soul, and Spirit, for anything below 
 Divine and Heavenly Raptures." 
 
 We have no room for further quotation, 
 but we think we have given enough to 
 show the charm of the volume. The 
 second book is the Noble Lute made 
 Easie, and consists of the praise of that 
 instrument, its proper care and manage- 
 ment, the best way to repair accidental 
 injuries, the method of fingering, and an 
 explanation of the English lute tablature. 
 His instructions as to the management of 
 the instrument are very clear and practical. 
 To keep the lute in the best order for 
 playing, he recommends putting it " into 
 a Bed that is constantly used, between 
 the Rug and Blanket," but he is careful
 
 78 The Literature of Music. 
 
 to add "That no Person be so incon- 
 siderate as to Tumble down upon the 
 Bed while the Lute is There." 
 
 The third part treats of " the Generous 
 Viol," and also contains the plan of a 
 " Musick-Roome, with Conveniency for 
 severill Sorts of Auditors," and other 
 musical contrivances. 
 
 Mace was one of the clerks of Trinity 
 CoFege, Cambridge, and apparently held 
 in ^reat respect by the University, for a 
 large proportion of the subscribers to his 
 book were members. Amongst these we 
 notice the names of Drs. Barrow, Cud- 
 worth, and Isaac Newton. Sir Robert 
 Bolles, the patron of Christopher Simpson, 
 also appears in the list.
 
 CHAPTER V. 
 
 THE MUSICAL LITERATURE OF THE 
 EIGHTEENTH CENTURY. 
 
 ONTINUING our chronological 
 outline of the progress of Musical 
 Literature, it will be seen that 
 the eighteenth century was one of 
 great advance, having been rendered illus- 
 trious by the work of Marpurg, Kirnber- 
 ger, Mattheson and Forkel in Germany, 
 Fux in Austria, Burney and Hawkins in 
 England, Martini in Italy, Rameau and 
 Rousseau in France. 
 
 Although the larger part of the works 
 of Werckmeister appeared in the closing 
 years of the previous century, it is con- 
 venient to speak here of his writings. 
 His reputation rests more especially on 
 his oftentimes reprinted little book on 
 " Orgelprobe," or the art of examining an 
 organ in all its departments, to ascertain 
 whether the builder has honestly carried 
 out his instructions. But in addition to 
 79
 
 8o The Literature of Music 
 
 this work, Werckmeister was a voluminous 
 contributor to the literature of Music. 
 His title-pages display all the pedantry of 
 the time, and begin in Latin, proceed- 
 ing in a mixture of German and Latin, 
 while the works themselves are invariably 
 in German. For instance, the title of his 
 first theoretical work is Musica Mathe- 
 matics Hodegus Curiosus (Frankfort, 
 1687 : 4to), which he proceeds to translate 
 as Richtiger Musicalischer Weg- Weiser. 
 It may be remarked that " Hodegus " is 
 Greek and not Latin, and that the title 
 continues to describe at great length the 
 contents of the book, which is really a 
 deduction of the ratios of the intervals 
 of the scale from the division of the 
 monochord. His Hypomnemata Musica 
 (Quedlimburg, 1697 : 4to) treats of con- 
 sonances and dissonances, while a consider- 
 able share of the book is devoted to the 
 question of Temperament. The Noth- 
 wendigsten Anmerckungen imd Regeln wie 
 der Bassus Continuus, oder General-Bass 
 wol konne tractiret werden (Aschersleben, 
 1698 : 410) describes its own purpose, the 
 writer having been content, for once, to 
 use his own language. His Cribrum 
 Musicum (Musical Sieve) (Quedlimburg, 
 1700 : 4to) consists of instructions for 
 avoiding false progressions. His Harmono-
 
 in the Eighteenth Century. 81 
 
 logia Musica (Frankfort, 1702 : 4to) is a 
 handbook of single and double counter- 
 point, while his last work, Musickalische 
 Paradoxat-Discmtrse(Quedlimburg, 1707 : 
 4to) is an examination into the causes of 
 the decay of sound-music. 
 
 The most prominent, and certainly the 
 most voluminous, writer of this time was 
 undoubtedly Johann Mattheson, a man 
 of universal accomplishments well ac- 
 quainted both with classical and modern 
 languages, a fine organist and player on 
 the harpsichord, composer, tenor singer, 
 politician, and secretary of the English 
 Legation at Hamburg. Every German 
 of that time was pedantic, and Mattheson 
 was no exception ; his books bubble over 
 with amusing self-complacency, while in 
 controversy he is rough-tongued and 
 opinionated. But his knowledge was 
 both solid and extensive. 
 
 The most famous of his didactic works 
 is Der Vollkommene Kapellmeister (Ham- 
 burg, 1739 : folio), a handbook of all the 
 acquirements which go to the formation 
 of the perfect music-director. It contains 
 much information on the various forms 
 of musical composition then in vogue, 
 which even now is of great interest. 
 His Exemplarische Organisten- Probe im 
 Artikel vom General-Bass (Hamburg, 
 
 6
 
 82 The Literature of Music 
 
 1719: 4to ; with an excellent portrait of 
 the author) consists of an elaborate treatise 
 on the ratios of intervals and the science 
 of harmony, followed by examples of 
 figured basses, with explanations of the 
 method of filling them up. A second 
 and enlarged edition of this work was 
 published as Grosse General-Bass Schuk 
 
 \\ (Hamburg, 1731 : 4to), and an English 
 translation exists. In 1735 ne published 
 a Kleine General-Bass Schule (Hamburg : 
 410), not, as might be supposed, an abridg- 
 ment of the previous book, but a perfectly 
 distinct work, beginning with the more 
 elementary stage of musical knowledge, 
 and comprising some instructions for 
 the harpsichord. His Kern Melodisches 
 Wissenschaft (Hamburg, 1737: 4to) goes 
 over much of the ground traversed after- 
 wards in the Vollkomniene Kapellmeister. 
 
 There is a curious little book by 
 Mattheson (if we may call a book little 
 which, although small in size, contains at 
 least seventeen hundred pages !) which 
 may be spoken of under didactic works, 
 although it is this and something more. 
 Its title, or rather that of the first volume, 
 which we transcribe in full, as it explains 
 the purpose of the work and shows his 
 
 ,. : ridiculous affectation in the use of three lan- 
 guages, is : Das Neu Eroffnete Orchestre,
 
 in the Eighteenth Century. 83 
 
 oder Universelle und grilndliche Anleitung 
 wie ein Galant Homme einen vollkomm- 
 nen Begriff von der Hoheit und Wilrde der 
 edlen Music erlangen, seinen Gout darnach 
 formiren, die Terminos technicos verstehen 
 und geschicklich von dieser vortrefflichen 
 Wissenschafft raisonniren moge (Ham- 
 burg, 1713: lamo). The second and 
 third volumes, under slightly varying titles, 
 appeared in 1717 and 1721. The object 
 of the book, as will have been seen from 
 the title, was to impart sufficient know- 
 ledge to the amateur to enable him to 
 take an intelligent interest in the music 
 which he heard. 
 
 In this volume the author had very 
 rightly accepted the addition of the 
 seventh degree of the scale, which had 
 already come into general use, forming 
 the diatonic scale, now universal, which 
 distinguishes the modern from the ancient 
 schools of composition. 
 
 But there were still those who clung to 
 the older tradition, and among these was 
 a musician of the name of Buttstett, a 
 man of some celebrity, both as an organist 
 and as a composer, who was induced to 
 launch a quarto volume of his belief, in 
 opposition to Mattheson. The title of 
 this work is, Uf, Re, Mt, Fa, Sol, La, 
 Tota Musica et Harmonia sEterna (Erfurt,
 
 84 The Literattire of Music 
 
 s. a., but 1717). Mattheson was the last 
 man to allow such a challenge to pass, so 
 that, unfortunately for his " galant-homme" 
 the greater part of his second volume is 
 devoted to a refutation, in no measured 
 terms, of Buttstett's attempt to stop a 
 development which was inevitable. Of 
 course, Mattheson had the best of the 
 argument, which at the same time was 
 wholly out of place in a work of that 
 nature. The third volume opens with an 
 attempt to lay down sound principles of 
 musical criticism, and then proceeds to 
 consider the question whether the interval 
 of a fourth is a consonance or a dis- 
 sonance, with elaborate discussions on 
 the opinions of other musicians on that 
 point, which at that time was warmly 
 contested. 
 
 It will have been gathered from the 
 description of this work that the faculty 
 of keeping to the point was not a promi- 
 nent quality in our author. It must 
 be admitted, also, that the intolerable 
 pedantry, which he shared with most of 
 his countrymen at that time, makes his 
 works but dreary reading. They are too 
 numerous to give even their titles here, 
 but we must say a few words on the 
 subject of his critical writings, which are 
 valuable, both on account of his opinions
 
 in the Eighteenth Century. 85 
 
 and also as materials for musical history. 
 The first of these is the Critica Musica, a t 
 monthly publication extending from 1722 
 to 1725, forming two volumes quarto 
 (Hamburg), which is the earliest attempt 
 at a musical journal. In it several 
 treatises on Music are translated into 
 German, criticisms on different works are 
 given, together with such musical news 
 as Mattheson was able to collect. The 
 work expired in 1725, but a further 
 attempt of a similar nature, with the $ 
 title of Der Musicalische Patriot, was in- 
 itiated in January 1728. It appears to 
 have been a weekly publication, and to 
 have expired with the forty-third num- 
 ber. Among the contents of this maga- 
 zine is a " History of the Opera at 
 Hamburg," with a very interesting cata- 
 logue of the works produced. His 
 valuable contributions to musical bio- 
 graphy will be noticed elsewhere. It may 
 be interesting to mention that his con- 
 tributions to musical literature alone 
 extend to upwards of eight thousand 
 pages, and that these form a part only 
 of his writings. 
 
 The greatest of the German theorists of 
 this time was Friedrich Wilhelm Marpurg. 
 His first work, Die Kunst das Klavier zu 
 Spielen, was published in 1750 (Berlin,
 
 86 The Literature of Music 
 
 4to; second part 1751), under the pseu- 
 donym of Der Kritische Musikus an der 
 Spree ; but in subsequent editions, of which 
 there were several, the author's name 
 appears. It is a practical treatise on play- 
 ing the harpsichord and on the art of 
 accompaniment, and was followed in 1755 
 by the Anleitung zum Clavier-spielen, a 
 work of a more advanced nature. 
 
 His great works, Abhandlung von der 
 Fuge (Berlin, 1753: 4to), and the Hand- 
 buck bey dem General-Basse und der Com- 
 position (Berlin, 1757-8: 4to), are those on 
 which his fame rests, and they have formed 
 the foundation of the theoretical education 
 of many generations of musicians, since 
 their publication. The work on fugue 
 was translated into French by the author 
 himself (Berlin, 1756: 4to). His Anleitung 
 zur Sing-composition (Berlin, 1758: 4to) 
 is an admirable work on the art of setting 
 words to music, with special reference to 
 the prosody both of German, Italian, and 
 Latin, while the mathematical calculation 
 of musical intervals, and the question 
 of Temperament, are considered in his 
 Anfangsgrunde der Theoretischen Musik 
 (Berlin, 1757 : 4to) and his Anfangs- 
 griinde der progress ional figur lichen Ziffer- 
 kalkuls (Berlin, 1774 : 8vo). 
 
 Marpurg was equally distinguished in
 
 in the Eighteenth Century. 87 
 
 the realms of criticism. His Kritische 
 Einleitung in die Geschichte und Lehrsdtze 
 der alten und neuen Musik (Berlin, 1759 : 
 4to) is a history of ancient music in which 
 much attention is given to the vexed ques- 
 tion as to whether the Greeks practised 
 harmony. He made three several attempts 
 to found a journal of current criticism, the 
 first under the title of Der Critische 
 Musicus an der Spree (Berlin : 4to), which 
 appeared weekly from March 4th, 1749, 
 to February i7th, 1750. It may be well 
 to remind the reader that the Spree is the 
 name of the sluggish river on which 
 Berlin is situated. Complete sets of this 
 publication are of very unusual occurrence. 
 His next attempt, Historisch- Kritische 
 Beytrage zur Aufnahme der Musik (Berlin, 
 1754-62: forming 5 vols., 8vo), had a 
 longer existence, but it is remarkable that 
 during its currency he started a third 
 serial, the Kritische Briefe iiber die 
 Tonkunst (Berlin, 1759-64: 4to), also pub- 
 lished weekly. The letters were frequently 
 addressed to distinguished musicians, but 
 this probably was merely a literary artifice. 
 There can be no doubt that Marpurg was 
 also the author of a little book Legende 
 einiger Musikheiligen (Cologne, 1786 : 8vo) 
 purporting to be by " Simeon Meta- 
 phrastes the younger," which is a collec-
 
 88 The Literature of Music 
 
 tion of anecdotes about Music and 
 musicians. 
 
 The fame of Kirnberger as a theorist 
 was scarcely inferior to that of Marpurg. 
 His most important publication was Die 
 Kunst des reinen Satzes in der Musik 
 (Berlin : 2 vols., 4to ; the first without 
 date, the second, which is chiefly devoted 
 to double counterpoint, in 1777). Kirn- 
 berger was a pupil of J. S. Bach, and it 
 is to be regretted that he published no 
 treatise on the art of fugue, embodying 
 the practice of his immortal master. No 
 doubt a long illness, terminated by his 
 premature death, prevented such an 
 undertaking. 
 
 Although an Austrian, and not a 
 German, the name of Fux is so often 
 connected with those of Marpurg and 
 Kirnberger that we may be allowed to 
 speak here of his famous Gradus ad 
 Parnassum, a title amply justified by the 
 results of its teaching. The first edition, 
 in Latin, appeared at Vienna in 1725, 
 in an admirably printed folio volume, 
 with a finely engraved frontispiece, under 
 the auspices of his consistent patron the 
 Emperor Charles VI. , who bore the cost 
 of its publication. The work is a lucid 
 and well-arranged exposition of the rules 
 of musical composition in all the various
 
 in the Eighteenth Century. 89 
 
 styles, partly carried on in the form of a 
 dialogue between master and pupil. Its 
 merit was at once recognised and it was 
 translated into all the principal languages 
 of Europe. The three writers, Fux, 
 Marpurg, and Kirnberger, were for years 
 looked on as the court of appeal in all 
 questions of musical orthodoxy. | 
 
 The name of Georg Andreas Sorge also 
 stands high as a musical theorist; his 
 principal work is Vorgemach der musika- 
 lischen Composition (Lohenstein, 1745-7 : 
 4to), the professed aim of which is, in the 
 words of the title, to render the " Studiosus 
 Musices " a " Compositor extemporaneus." 
 But he was also favourably known for his 
 researches into the scientific principles of 
 Music, and especially into the question of 
 Temperament. 
 
 There was no want of lesser lights in 
 the musical firmament to aid in dissipating 
 the darkness of ignorance. These were 
 frequently men of great learning, who 
 devoted themselves to the task of impart- 
 ing it with true German thoroughness. 
 Among the foremost of these must be 
 mentioned Joseph Riepel, who published 
 an Anfangsgriinde zur Musikalischen Setz- 
 kunst (Augsburg, 1752 : folio). The com- 
 plete work consists of six parts, the last 
 of which was published at Ratisbon in
 
 90 The Literature of Music 
 
 1786, the whole forming a formidable 
 volume which probably no one in the 
 present day has read ; perhaps in an 
 earlier generation some student, as earnest 
 as the author, may have made the study 
 of it the work of his life. The Tractatus 
 Musicus Compositorio-Practicus, Das tst, 
 Musikalischer Tractat of the learned 
 Benedictine Meinardus Spiess (Augsburg, 
 1746: folio) professes to be written in 
 German, but it is so interlarded with 
 Latin that the well-known musician J. A. 
 Hiller proposed that it should be trans- 
 lated from German into German. 
 
 As we have previously said, nearly all 
 the German works of this period are 
 distinguished by a strange jumble of 
 languages in their titles. A book intended 
 for self-instruction by J. P. Eisel (although 
 his name does not appear) carries off the 
 palm for what we suppose must have been 
 considered a merit at that time. He 
 contrives to use four languages in the 
 first six lines of the title, as follows : 
 Musicus cturoSi'SaKTos, oder Der sich selbst 
 informirende Musicus bestehend sowohl in 
 Vocal-als ilblicher Instrumental-Musique, 
 (Erfurt, 1738 : 4to). The book, which is 
 written in the form of question and answer, 
 is not without interest, for among other 
 information it describes the various in-
 
 in the Eighteenth Century. 91 
 
 struments then in use, with diagrams of 
 the fingering of the different wind instru- 
 ments. Facing page 70 is a very quaint 
 cut of a gentleman playing the musical 
 glasses. 
 
 In Italy Padre Martini was the living 
 representative of the traditions of the 
 great Roman School. His historical 
 labours will be noticed elsewhere, but 
 we must in this place mention his Exem- 
 plare o sia Saggio Fundamentale pratico di 
 Contrappunto sopra il Canto fermo, 
 (Bologna, 1774: 2 vols., 4to), the second 
 volume being devoted to contrappunto 
 fugato. The work is throughout based 
 on the tonality of the ancient Plain-Song, 
 and the plan of it consists in selecting 
 passages from the great writers of the 
 Roman and Spanish Schools, with a 
 running commentary of great learning and 
 value on the musical treatment of the 
 different compositions. The plan had 
 already been adopted with success by his 
 pupil Giuseppe Paolucci in his Arte 
 pratica di Contrappunto (Venice, 1765, 
 1766, 1772 : 3 vols., 4to). Both works are 
 exceedingly valuable, not only for their 
 admirable exposition of the principles of 
 the greatest school of sacred vocal writing, 
 but also for the interest of the musical 
 examples, many of which are not readily
 
 92 The Literature of Music 
 
 to be met with in a separate form. The 
 whole of the examples chosen by Martini 
 were subsequently included by Chorqn in 
 his Prindpes de Composition des Ecoles 
 d* Italic (Paris, 1808 : 3 vols., folio). 
 
 A book which excited much attention 
 at this time, and fluttered the dovecotes 
 of the orthodox musicians, was entitled 
 Dell' origine e delle Regole della Musica, 
 colla storia del suo progresso, decadenza 
 e rinnovazione (Rome, 1774 : 4to) by 
 a learned Spanish Jesuit, I). Antonio 
 Eximeno, who had been long established 
 in Italy. The work was a revolt against 
 the trammels of the strict laws of counter- 
 point. The author approached Music 
 from the aesthetic side alone, maintaining 
 that its primary intention is to express 
 emotion. The theorists were up in arms, 
 and even the placid temper of Padre 
 Martini gave way. Eximeno replied in a 
 Dubbio di D. Antonio Eximeno sopra il 
 Saggio Fundamentale pratico di Contrap- 
 piinto del R. P. Maestro Giambattista 
 Martini (Rome, 1775 : 4to). The con- 
 troversy coincided with the gradual 
 extinction of the noble school of composi- 
 tion in Italy. 
 
 In France the most prominent figure 
 was undoubtedly Jean Philippe Rameau, 
 the inventor of the system of the " Fund-
 
 in the Eighteenth Century. 93 
 
 amental Bass " a discovery which his 
 contemporary admirers did not hesitate 
 to compare to those of Newton. His 
 first theoretical work, the Traite de 
 FHarmonie reduite a ses Principes naturels 
 was published in Paris in 1722 (410), 
 and in it is the first enunciation of the 
 theory. It seems remarkable that the 
 law of inversion in chords, from which 
 the system of fundamental bass is derived, 
 should have remained undiscovered until 
 so late a period in musical history. The 
 research and industry of Rameau is borne 
 witness to by the works which he pub- 
 lished in further development of his 
 system. In 1726 appeared his Nouveau 
 systeme de Musique Theorique . . . pour 
 servir d? Introduction au Traite de FHar- 
 monie (Paris : 4:0), in 1737 his Gen- 
 eration harmoniqite, ou Traite de Musique 
 Theorique et Pratique (Paris : 8vo), and in 
 1760 the Code de Musique Pratique (Paris : 
 4to), and during this time a succession 
 of pamphlets of a controversial nature in 
 defence of different points of his theories ; 
 and all these works were written during 
 the constant occupation of composing and 
 producing new operas. It must be 
 admitted that the style of Rameau is 
 greatly wanting in clearness, so that some 
 resolution is called for in reading his works.
 
 94 The Literature of Music 
 
 This deficiency of the author was felt by 
 his friend, D'Alembert, who produced, 
 anonymously, Elemens de Musique, theo- 
 rique et pratique suivant les Principes de 
 M. Rameau (Paris, 1759: 8vo), with a 
 view of placing his views before the 
 public in a smaller compass, and in more 
 intelligible language. 
 
 The theories of Rameau almost at once 
 received a wide acceptation. They led 
 Marpurg to modify his views. In France 
 their warmest advocate was the Abbe 
 Roussier, who published a Traitc des 
 Accords et de leur Succession, selon le 
 Systeme de la Basse Fondamentale (Paris, 
 1764 : 8vo), and the more important parts 
 of the Traite de FHarmonie was within a 
 few years translated into English. 
 
 It was a legitimate object of ambition 
 with Rameau to be entrusted with the 
 articles on Music in the famous Encyclo- 
 p'edie of Diderot and D'Alembert, but in 
 this he was disappointed, and the work 
 was given to J. J. Rousseau, who possessed 
 few of the qualifications for such an 
 undertaking, as the result proved. Rameau 
 was not slow to seize on the opportunity, 
 by publishing his Erreurs sur la Musique 
 dans F Encyclopedic (Paris, 1755: 8vo). 
 Rousseau wrote a reply, which was only 
 published after his death, in the col-
 
 in the Eighteenth Century. 95 
 
 lection of his works. He was gradually 
 led to acknowledge the justice of these 
 strictures, and entered on a course of 
 deeper study, which resulted in his famous 
 Dictionary, of which we shall have to 
 speak later, as also of his contributions 
 to the Guerre des Bouffons. 
 
 It can hardly be necessary to speak 
 of Balliere, Jamard, Mercadier de Belesta, 
 and other French theorists, whose works 
 have now an interest only for the student 
 of the development of the science of 
 Harmony. Such persons I would refer 
 to the Esquisse de FHistorie de I 'Harmonic 
 of the late M. Fetis (Paris, 1840 : 8vo), 
 a little work of very great interest, re- 
 printed from the Gazette Musicale as 
 presents for the author's friends, which, 
 in consequence, is unfortunately of ex- 
 ceeding rarity. 
 
 There is one writer, however, who 
 must be mentioned here, as the student 
 of musical literature is sure to run against 
 some of his works very early in his course. 
 This is Bemetzrieder, whose principal 
 claim to celebrity is his charlatanry. An 
 Alsatian and an ex-Benedictine, he found 
 his way to Paris, ready to turn to account 
 any of the various accomplishments to 
 which he laid claim. On the advice of 
 Diderot he adopted Music as the readiest
 
 g6 TJie Literature of Music 
 
 means of livelihood, the philosopher's 
 daughter becoming his first pupil. For 
 her he wrote his well-known Lecons de 
 Clavecin et Principes d 1 Harmonic (Paris, 
 1771: 4to), which owes its literary shape 
 entirely to Diderot. The book is in 
 the form of a dialogue between master 
 and pupil, and is certainly amusing; it 
 obtained for Bemetzrieder great vogue 
 as a teacher among the upper classes. 
 Many other works succeeded it, but it 
 seems that he soon dropped out of fashion, 
 for in 1782 he settled in London, where 
 he brought out several works. 
 
 In England it must be admitted that 
 musical literature languished during the 
 earlier part of the eighteenth century. The 
 first work that claims notice is Alexander 
 Malcolm's Treatise of Musick, Speculative, 
 Practical, and Historical (Edinburgh, 1721: 
 8vo). The book covers the whole field 
 of musical knowledge, and the author has 
 the gift of clear exposition. The portion 
 on tuning and Temperament is excellent. 
 
 Among the many schemes for simplify- 
 ing musical notation was the New System of 
 Music, both Theorical and Practical, And 
 yet not Mathematical, by James Francis 
 De La Fond, a Frenchman, settled in 
 England, where he became a teacher of 
 Ians;ua2es and Music. His grievance with
 
 in the Eighteenth Century. 97 
 
 the existing notation was that a degree of 
 the stave did not always represent the 
 same interval ; for example, in the key of 
 C, from C to D, and from D to E i.e., 
 from the third space in the treble to the 
 fourth line, and from the fourth line to 
 the fourth space, each represent a whole 
 tone, while from the fourth space to the 
 fifth line (from E to F) is only a semi- 
 tone ; and he overcame this by dividing 
 the octave into twelve semitones, each 
 of which was distinguished by a line 
 or a space. The author was a man of 
 original views on most points, among 
 others on spelling, and he frequently 
 breaks off from his main argument to 
 defend his opinions ; he looked on " sami- 
 fying" as a better word than "identifying" 
 but then, he was a "Foreiner." It is 
 to be supposed that the book met with 
 but little success, for it concludes with 
 the words " End of the first volume," but 
 no continuation is known to have existed. 
 
 The popularity of the little handbooks 
 of Playford and Sympson continued well 
 on into this century ; it was partly shared 
 by the Modern Music Master, or the Uni- 
 versal Musician of Peter Prelleur, also a 
 Frenchman (London, 1730: 8vo). 
 
 In 1730 appeared anonymously A Short 
 Treatise on Harmony. It was supposed 
 
 7
 
 98 The Literature of Music 
 
 to be by Lord Paisley, afterwards Earl of 
 Abercorn, but it consisted simply of the 
 rules which Dr. Pepusch had written for 
 his use, without the examples necessary to 
 explain them. Dr. Pepusch was naturally 
 annoyed that his work should be pro- 
 duced in such a shape, so that in self- 
 defence he brought out a second edition 
 (London, 1731 : obi. 4to), still, however, 
 without appending his name as author. 
 I n X 737 J onn Frederick Lampe, also a 
 German, settled in England, published his 
 Plain and Compendious Method of teaching 
 Thorough Bass (London : 4to), which he 
 followed up in 1740 with his Art of 
 Musick (London : 8vo), in both of which 
 he shows himself a disciple of Rameau. 
 And in 1770 John Holden, a professor 
 of Music in Glasgow, produced An Essay 
 towards a rational system of Music 
 (Glasgow : obi. 4to), also strongly imbued 
 with the principles of Rameau, in which 
 the whole science of Music is explained 
 with great method and clearness. 
 
 A book which attracted much attention 
 in the musical world was published by 
 Charles Avison, organist of Newcastle-on- 
 Tyne, with the title An Essay on Musical 
 Expression (London, 1752: 8vo). In it 
 the author freely delivers his opinions on 
 the comparative merits of the various com-
 
 in the Eighteenth Century. 99 
 
 posers in vogue. It was these judgments 
 which brought the book into notice. 
 He was without doubt a scholar and a 
 man of some literary taste, but we cannot 
 greatly respect the soundness of his 
 critical faculties when they lead him to 
 exalt Marcello and Geminiani at the 
 expense of a master of such surpassing 
 powers as Handel. We are far from 
 underrating the works of Marcello, and 
 his admirers owe a debt of gratitude to 
 Avison for the assistance and support 
 given to John Garth, organist of Durham, 
 in the production of the only English 
 edition of that admirable musician's 
 Psalms, now, alas ! almost forgotten ; but 
 to compare Geminiani, a merely elegant 
 composer, with Marcello, and to place the 
 two on a higher pinnacle than the giant 
 Handel, shows a twist of intellect, and a 
 want of sense of proportion, which is 
 inexplicable. It was not long before Dr. 
 W. Hayes, then Professor of Music at 
 the University of Oxford, joined issue in 
 his Remarks on Mr. Avisorfs Essay on 
 Musical Expression (London, 1753 : 8vo), 
 and in the same year Avison issued a 
 second edition of his Essay, with the 
 addition of an Appendix, in reply, towards 
 which he is said to have had the assis- 
 tance of Dr. Jortin, who also added a
 
 ioo The Literature of Music 
 
 letter to the author, concerning the music 
 of the Ancients. 
 
 This brings us to the latter years of 
 the eighteenth century, which were des- 
 tined to be the period of the greatest 
 glory of musical literature in this country, 
 for in it were written those two great 
 histories of Music by Burney and Hawkins 
 which have formed the foundation of 
 nearly all that has been since written on 
 the subject. These will be considered 
 in our next chapter, but we may here 
 notice the interesting travels of Dr. 
 Burney in search of materials for his 
 great undertaking. The Present State of 
 Music in France and Italy appeared in 
 1771 (London : 8vo). Among much 
 that is interesting there is an account of 
 an interview with the famous Padre 
 Martini, who was himself at that time 
 engaged on a similar work. This volume 
 was followed by two others on The 
 Present State of Music in Germany, the 
 Netherlands, and the United Provinces. 
 This work, published in 1773, recounts 
 his relations with Metastasio (whose life 
 he afterwards wrote), Hasse and Gluck. 
 It is worthy of note that the excellent 
 Abbot Gerbert, who also formed a friend- 
 ship with Martini, had published an 
 account of his travels in search of
 
 in the Eighteenth Century. 101 
 
 materials for his famous Scriptores, under 
 the title of Iter Alemannicum, accedit 
 Italicum et Gallicum (Saint Blaise, 1765 : 
 8vo) which may have suggested the pub- 
 lication of these works to Burney. 
 
 It is not surprising that the ardent 
 satisfaction with which Burney records 
 the politeness of his reception by the 
 different persons of eminence to whom 
 he bore letters of introduction should 
 have formed the ground for some good- 
 humoured banter. This found vent in 
 Musical Travels through England, by Joel 
 Collier, Licentiate in Music (London, 
 1774 : 8vo) perhaps a little too free for 
 present tastes said to have been written 
 by a musician named J. L. Bicknell. Fetis 
 asserts that Burney and Bicknell bought 
 up the copies, and that it is consequently 
 rare ; but both the fact and the supposed 
 result seem doubtful.
 
 CHAPTER VI. 
 
 HISTORIES OF Music BIOGRAPHY. 
 
 HAVING traced the principal ob- 
 jects with which musical literature 
 occupied itself in the different 
 countries of Europe to the end 
 of the eighteenth century, we now propose 
 to consider some of the special branches 
 into which it has been directed. Among 
 these the history of Music undoubtedly 
 holds the first place. Much historical 
 information is, of course, to be found in 
 many of the works already noticed, but 
 we are now about to speak of those which 
 are professedly historical. 
 
 The first serious attempt at a general 
 history of Music was Printz's Historische 
 Beschreibung der Edelen Sing und Kling- 
 Kunst (Dresden, 1690 : 410). The earlier 
 part of the work, containing the history of 
 Music among the ancients, is superseded 
 by the more accurate scholarship of the 
 present day, but in its information about 
 the musicians who immediately preceded 
 
 102
 
 Histories of Music Biography. 103 
 
 the author, or were his contemporaries, it 
 is one of the most valuable sources of 
 information. 
 
 The Historia Musica of G. A. Angelini 
 Bontempi (Perugia, 1695 : folio) is a little 
 disappointing, for it actually consists of 
 dissertations on the ancient and modern 
 theory and practice of Music, and in no 
 respect justifies its title. 
 
 The earliest attempt at a history of 
 Music in France was by Jacques Bonnet, 
 and a very feeble attempt it was. The 
 materials were collected by the Abbe 
 Bourdelot (who, in spite of his title, was a 
 physician and not an ecclesiastic) and they 
 were arranged and published after his 
 death by Bonnet, who was his nephew. 
 The first edition appeared under the title 
 of Histoire de la Musique et de ses effets 
 (Paris, 1715 : i2mo). Bonnet's name 
 does not appear on the title, but is ap- 
 pended to the dedication, and in the pre- 
 face he duly acknowledges his indebtedness 
 to his uncle, and to his brother Pierre 
 Bonnet, to whom his uncle had left his 
 papers, on condition that he took the name 
 of Bourdelot and completed the History. 
 Pierre's death prevented this, and the work 
 passed to his younger brother Jacques. 
 The book went through more editions 
 than its merits warranted ; the last has the
 
 IO4 The Literature of Music. 
 
 Hague and Frankfurt on the title and is 
 dated 1743. Bourdelot's name appears as 
 author in all editions after the first, and 
 the work is extended to four duodecimo 
 volumes. Of these the first alone con- 
 tains the work of Bonnet or Bourdelot ; 
 the other three consist of a reprint, 
 under Bourdelot's name, of the Com- 
 paraison de la Musique italienne et de la 
 Musique fran$aise of Le Cerf de la 
 Vieville. It is in each case a Dutch 
 printer to whom this discreditable act is 
 due. Jacques Bonnet was somewhat 
 crack-brained, and it is on the authority of 
 this History alone that the well-known and 
 romantic story of Stradella rests. The 
 Histoire generate, critique et philologique de 
 la Musique of Blainville (Paris, 1767 : 4to) 
 is of the very smallest value. 
 
 It was not till 1757 that a history of 
 Music on an adequate scale, by a writer 
 possessing the necessary qualifications, 
 began to see the light. In that year the 
 learned and famous Padre Giambatista 
 Martini published the first volume of his 
 Storia della Musica, which at once placed 
 him in the front rank of writers on Music. 
 Martini was fifty-one years of age when 
 this volume appeared, which was succeeded 
 in 1770 and 1781 by the second and third 
 volumes (Bologna : 4to). The three
 
 Histories of Music Biography. 105 
 
 volumes bring this history down to no 
 later a date than the Greeks. A fourth 
 volume was to have treated of the music 
 of the Middle Ages, but this, alas ! the 
 learned father did not live to complete. 
 It was supposed that the MS. was ready 
 for the press, but the researches of Fetis 
 proved that only a few materials existed. 
 The book thus remains a magnificent frag- 
 ment, containing, on the period covered, all 
 the information that was available at the 
 time of its publication. The work is so 
 ample in its treatment, and so brimful of 
 learning and research, that it is impossible 
 to conceive how many volumes would have 
 been necessary to bring it down to modern 
 times ; and one is tempted to regret the 
 vastness of scale which rendered its com- 
 pletion by the labours of a single man 
 impossible. 
 
 Each chapter begins and ends with a 
 puzzle canon, resolutions of the whole of 
 which were published by Cherubini. The 
 book is excellently printed and illustrated, 
 and is by no means uncommon. A copy 
 is occasionally met with, sumptuously 
 printed in large folio, with ornamental 
 borders, the text being identical. These 
 were designed by the Padre as presents 
 for Sovereigns and other great personages. 
 
 A few years after the appearance of
 
 io6 T/te Literature of Music. 
 
 Martini's second volume, two other works 
 of the first importance burst upon the 
 world, and both in our own country. In 
 1776 the first volume of Dr. Burney's 
 History appeared ; about four months 
 later the five volumes of Sir John Hawkins' 
 History were published together (London, 
 1776 : 4to). Dr. Burney's work was 
 completed in four volumes quarto, the 
 second appearing in 1781, and the con- 
 cluding volumes in 1789. They are 
 both works of which a nation may be 
 proud, and both fortunate in that the 
 authors were enabled to carry out to com- 
 pletion the plan they had laid down for 
 themselves. It is curious that two men, 
 one a learned professor, the other a well- 
 qualified amateur, and both of them 
 members of THE Club, should have under- 
 taken so extensive a work, bounded by 
 the same limits, at the same time, and 
 entirely independently. 
 
 In comparing the two works critically, 
 it must be admitted that " that clever dog 
 Burney," as Dr. Johnson was fond of 
 calling him, was well equipped for the 
 undertaking. In addition to adequate 
 training as a musician he was an excellent 
 scholar, and possessed the art of writing 
 with skill and taste. On theoretical sub- 
 jects he speaks, of course, with greater
 
 Histories of Music Biography, 107 
 
 authority than Sir J. Hawkins. It is to 
 be regretted that his admiration for the 
 works of foreign composers led him to 
 undervalue those of Englishmen. His 
 account of our great school of madrigal 
 writers is meagre to the last degree, show- 
 ing that his acquaintance with a period 
 which forms one of the chief glories of 
 the English school was of the slightest ; 
 while his unconcealed contempt for those 
 he vouchsafes to mention does little credit 
 to his critical faculties. With the style of 
 Purcell he had greater sympathy, so that 
 of him his notice is more appreciative. 
 With Handel he was personally acquainted, 
 and the account he gives of the earlier 
 part of his life in this country, and of his 
 operatic career, is both detailed and 
 interesting, forming one of the chief 
 sources of information for the particulars 
 of this portion of the composer's career. 
 The account of his oratorios is dis- 
 appointing. 
 
 There is no doubt that contemporary 
 opinion was entirely in favour of Dr. 
 Burney ; and indeed, it was a bold attempt 
 on the part of an amateur to undertake so 
 formidable a work as a history of Music, 
 and to publish it in its completeness in 
 five quarto volumes, knowing that a pro- 
 fessional musician of eminence was engaged
 
 io8 T/ie Literature of Music. 
 
 in a like task. The fact proves that he 
 was in no way indebted to the researches 
 of his professional rival. The result fully 
 justified the boldness of the attempt. The 
 style is not so polished, and the work 
 possibly not such amusing reading as that 
 of his rival, but in research and accuracy 
 it need fear no comparison. A large 
 number of well-selected examples add 
 greatly to its value, and many portraits 
 of musicians are given those of English 
 musicians principally copied from the 
 paintings in the Oxford Music School. 
 Not having enjoyed the advantage of 
 foreign travel, the author was under no 
 obligation to decry that which was English, 
 and his account of the works of our 
 own madrigalists is both adequate and 
 appreciative. Sir John Hawkins must 
 have been a man of very remarkable 
 powers and attainments ; there can be 
 little doubt that Boswell looked on him 
 with jealousy probably for the reason 
 that Johnson made him one of his exe- 
 cutors for the biographer never men- 
 tions him in the Life except in terms of 
 depreciation. 
 
 Contemporary opinion has been re- 
 versed. Burney has never been reprinted, 
 while Hawkins has been issued in a con- 
 venient form, with notes which more
 
 Histories of Music Biography. 109 
 
 recent knowledge has rendered necessary, 
 by Messrs. Novello & Co. ; in this form it 
 is still obtainable, and will be found most 
 useful. 
 
 The next serious attempt at a history 
 based on original research was that of 
 Johann Nicholaus Forkel, an esteemed 
 critic and writer on Music. The first volume 
 of his Allgemeine Geschichte der Musik 
 appeared in 1788 (Leipzig: 4to), the second 
 not until 1801. The writer had the advan- 
 tage of the previous labours of Martini, 
 Burney, and Hawkins, and rightly made 
 use of them ; but he was very painstaking 
 and accurate indeed, much too minute 
 in detail, treating important and unimpor- 
 tant points with the same exhaustiveness, 
 so that the subject proceeds with some- 
 what irritating deliberation. The second 
 volume carries us no further than the 
 middle of the sixteenth century. The 
 author died in 1818, not having completed 
 the third volume, for which he had col- 
 lected a large mass of materials. These 
 were offered to Choron and to Fetis, with 
 the view of their completing the work. 
 Many difficulties prevented the adoption 
 of this scheme, and the work remains a 
 fragment, useful principally as a storehouse 
 of facts, in the main trustworthy. 
 
 One of the reasons which induced Fetis
 
 no The Literature of Music. 
 
 to decline the proposal was that he had 
 already conceived the plan of a work, on 
 lines altogether different from those fol- 
 lowed by Forkel. It resulted in the 
 masterly Resume philosophique de V Histoire 
 de laMusique, which forms the introduction 
 to the first edition of his Biographic uni- 
 verselle des Musitiens (Brussels, 1837-44: 
 8 vols., 8vo). It fully carries out its title, 
 and in two hundred and eighteen octavo 
 pages gives an admirably succinct and 
 well-arranged account of the gradual 
 development of the art of Music, certainly 
 far in advance of anything existing up to 
 that time. It is to be regretted that, 
 not being published in separate form, 
 it is not obtainable apart from the rest 
 of the work, now wholly superseded 
 by a later edition to which this Resume 
 is not appended, for the reason that 
 Fe'tis had decided on writing an in- 
 dependent history of Music. Like so 
 many attempts of this nature, the under- 
 taking was never completed : two volumes 
 appeared during the life of the author 
 (Paris, 1869: 8vo) ; the third was passing 
 through the press when death put a stop 
 to a career of bewildering activity, the day 
 after he had completed his eighty-seventh 
 year. Three more volumes were ready 
 for the press, and they were produced
 
 Histories of Music Biography, ill 
 
 under the supervision of the author's son, 
 in 1874-76. In this work the author 
 treats the subject in his usual magisterial 
 style. On every point his opinion is 
 stated with unerring clearness and con- 
 viction, from which no appeal is permis- 
 sible ; nor was he the man to give other 
 writers the credit of the views which he 
 had done them the honour to adopt. 
 There can be no doubt that he was 
 largely indebted for many of his facts to 
 La Fage, of whom, however, he always 
 speaks with depreciation ; and the illustra- 
 tions of Assyrian musical instruments, and 
 in many cases the descriptions of them, 
 have been taken from C. Engel's Music of 
 the most ancient Nations, without any 
 acknowledgment. 
 
 It is a little curious that, having found 
 himself unable to continue the work of 
 Forkel, his own labours should have come 
 to a termination at the same period the 
 fifteenth century. Great advance has 
 been made in the study of ethnology 
 during the present century, so that Fetis 
 stands on much firmer ground than his 
 predecessors when treating of the musical 
 efforts in many cases rude enough- of 
 various nations possessing but an imperfect 
 civilisation. He insists, with great success, 
 on the universality of the pentatonic scale
 
 1 1 2 The Literature of Music. 
 
 among such peoples. The music of the 
 Hebrews and of the Greeks is treated at 
 great length, but one cannot help a feel- 
 ing of regret that the author was not 
 content to pass much of this by, and to 
 give us a history of that Art of Music, as 
 practised by the civilised world, which 
 forms our great inheritance. 
 
 We have just mentioned the name of 
 Adrien de La Fage. His Histoire generate 
 de la Musique et de la Danse (Paris, 
 1844 : 2 vols., 8vo) adds one more to the 
 list of works on the subject which were 
 destined to remain uncompleted. The 
 two volumes published treat of the music 
 of China, India, Egypt, and of the 
 Hebrews, and it may be well to mention 
 that they should be accompanied by a 
 folio volume of examples and illustrations, 
 which is frequently wanting. La Fage 
 was a man of great learning, and the 
 Histoire is an excellent work as far as it 
 goes ; probably it did not receive sufficient 
 support to warrant its continuance. 
 
 For the last of the great attempts at a 
 history of Music we are indebted to a 
 German originally, and till his fiftieth 
 year, a hard-worked official in the Austrian 
 Civil Service who, strange to say, in his 
 youth was taught every accomplishment 
 except Music, which, it was feared, would
 
 Histories of Music Biography, 113 
 
 unfit him for the career for which he was 
 destined. This remarkable man was 
 August Wilhelm Ambros. Having made 
 himself favourably known by several essays 
 in musical criticism, he produced the 
 first volume of his Geschichte der Musik 
 in 1862, the successive volumes appearing 
 in 1864, 1868, 1878 (Leipzig: 8vo), the 
 last a fragment, edited after 'the death of 
 the author by his friend E. Schelle. This 
 is one of the most important and authori- 
 tative books of our own time, and is charac- 
 terised by careful investigation, great 
 learning, sound judgment, and, what is 
 perhaps rarer among German writers, by 
 an agreeable style. The first volume 
 treats of the music of China, India, Arabia, 
 and Greece. Vol. ii. is occupied with 
 early Christian music, Gregorian Plain- 
 Song, Hucbald, Guido d'Arezzo, the 
 Troubadours and Minnesingers, and the 
 origin of harmony. Vol. iii. introduces 
 us to the great school of the Netherlands, 
 and traces its wide-spread influence over 
 the rest of Europe. Our early English 
 musicians are not overlooked. We are 
 then carried to Venice, and the volume 
 concludes with an account of the pre- 
 decessors of Palestrina in Rome and the 
 south of Italy. Vol. iv. begins with the 
 great period of the Roman School that
 
 114 TJie Literature of Music. 
 
 of Palestrina and his disciples and then 
 proceeds to the consideration of the rise of 
 the Opera in Italy under Caccini and Peri, 
 and of the innovations of Monteverde. 
 Some space is given to the theorists of that 
 time Zarlino, Zacconi, Artusi, and others; 
 and a notice of the early organists among 
 whom are Banchieri, Frescobaldi and Fro- 
 berger brings this volume to a premature 
 conclusion, which cannot be too deeply 
 regretted, for in many respects it is the 
 most valuable history which has appeared. 
 A continuation, however, bringing the 
 work down to recent times, has been 
 brought out by Dr. Wilhelm Langhans 
 (Leipzig, 1884, 1887: 2 vols., 8vo), the 
 able Professor of Musical History at the 
 Conservatoire of Berlin. A new edition 
 of Ambros's work has lately been pub- 
 lished, and if any one could be found enter- 
 prising enough to give an English trans- 
 lation of it, it would be a boon to many 
 students. 
 
 These works are the most important 
 of the histories which were designed to 
 embrace the whole scope of the subject, 
 and have formed the hunting ground of 
 all subsequent writers. It will have been 
 remarked that our own historians, Burney 
 and Hawkins, are the only writers who 
 have brought their labours to a termina-
 
 Histories of Music Biography. 1 1 5 
 
 tion, but this termination has now been left 
 in the far-away past. To the professed 
 student these works are a necessity, but 
 the general reader will be glad of a book 
 on a less extended scale, bringing our 
 knowledge down to a more recent date. 
 Of such works there is an abundance. 
 Among the best known of these, and 
 already long superannuated, is Dr. Busby's 
 General History of Music (London, 1829 : 
 2 vols., 8vo), which is little more than a 
 compilation from Burney and Hawkins. 
 The History of Music, by W. C. Stafford 
 (Edinburgh, 1830: i2mo) formed a 
 volume of Constable's Miscellany, and 
 received the unmerited honour of transla- 
 tion, both into French (by Madame Fe"tis) 
 and into German. In 1834 George 
 Hogarth, the well-known musical critic, 
 published his Musical History, Biography, 
 and Criticism (London: i2mo), an 
 enlarged edition of which appeared in 
 1838. All these, however, have become 
 somewhat " ancient history," and the 
 reader will inquire for a work coming 
 down to later times. Such is the 
 History of Music in the form of Lectures, 
 by F. L. Ritter, a native of Strasburg 
 settled in America, where the work was 
 originally published, but it has been 
 reprinted more than once in this country ;
 
 n6 The Literature of Music. 
 
 or A General History of Music, by W. S. 
 Rockstro (London, 1886: 8vo). They 
 are both excellent works in a moderate 
 compass. The late Sir G. A. Macfarren, 
 also, reprinted his article on the history 
 of Music from the last edition of the 
 Encyclopaedia Britannica, which is fur- 
 nished with a useful " Roll " of the names 
 of musicians, giving the places and dates 
 of their births and deaths. The little 
 History of Music by the Rev. J. Bonavia 
 Hunt, Mus. Doc., has the merit of 
 remarkable succinctness perhaps some- 
 what at the expense of interest and 
 has become very popular as a text- 
 book. 
 
 In Germany the most popular History 
 appears to have been Dr. K. F. BrendePs 
 Geschichte der Musik in Italiens, Frank- 
 reich und Deutschland (Leipzig, 1852 : 8vo), 
 which has been several times reprinted. 
 Brendel had identified himself with the 
 advanced school of German musicians, 
 which no doubt has had influence on the 
 popularity of the work it cannot have 
 been owing to the graces of its style. 
 Another excellent history is the Allgemeine 
 Geschichte der Musik of the very indus- 
 trious and well-informed writer August 
 Reissmann (Munich, 1863, 1864 3 vols. 
 8vo), a carefully planned work abounding
 
 Histories of Music Biography. 117 
 
 in well-chosen examples. Both these are 
 characterised by sound learning. Of a 
 more popular nature is Dr. Emil Nau- 
 mann's Illustrirte Musik Geschichte (Berlin, 
 1880-85 : 2 vols., 8vo), a work profusely 
 illustrated with portraits and other wood- 
 cuts, but noticeable also for the numerous 
 facsimiles of autograph compositions by 
 the great composers, which recent develop- 
 ments of photography have rendered 
 possible at a moderate outlay. The work 
 has been translated into English by 
 Ferdinand Praeger, and was published in 
 serial numbers by Messrs. Cassell & Co., 
 having the advantage of the editorship of 
 the late Rev. Sir F. A. Gore-Ouseley, who 
 added some information on Music in this 
 country. 
 
 The French have always excelled in 
 the compilation of attractive popular 
 works. Among these Felix Clement's 
 Histoire de la Musique (Paris, 1885 : 8vo) 
 must be noticed. It is a portly volume 
 of eight hundred pages, freely illustrated. 
 The writer is a man of wide acquirements, 
 who has done much useful work in other 
 departments of musical literature, and the 
 History is distinguished by French clear- 
 ness of statement and good arrangement. 
 The Histoire de la Musique of H. Lavoix 
 fils (Paris, s.a. [1884] : 8vo), on a smaller
 
 n8 The Literature, of Music. 
 
 scale, is also well illustrated, and contains 
 many facsimiles of the autographs of 
 musicians. 
 
 Among the most useful works of 
 original research on musical history will 
 be found those numerous monographs 
 which confine themselves to the history 
 of a particular country, or to that of a 
 particular department or period. Pro- 
 miment among the latter stands the name 
 of Raphael Georg Kiesewetter. His 
 earliest appearance as a writer on Music 
 was in his prize essay on the influence 
 of the musicians of the Netherlands on 
 the musical schools of Italy Verhan- 
 delingen over de Vraag : welke verdiensten 
 hebben zich de Nederlanders vooral in de 14", 
 i5 e , en i6 e eeniv in het vak der Toonkunst 
 vorworven (Amsterdam, 1829 : 410). The 
 work is in German, the title only in Dutch. 
 To this essay the gold medal of the Nether- 
 lands Institute was awarded, while Fetis 
 received the silver medal. The two 
 works were printed together, and both 
 are distinguished by masterly treatment 
 of a subject of the highest interest in 
 musical history. His next work was the 
 Geschichte der europliisch-abendlandischen 
 oder nnser heutigen Musik (Leipzig, 1834 : 
 4to ; 2nd edition, il>., 1846), of which an 
 English translation by R. Miiller, under the
 
 Histories of Music Biography. 119 
 
 title of History of the Modern Music of 
 Western Europe, appeared (London, 1848: 
 8vo). The most valuable part of this 
 work is undoubtedly the history of 
 the earlier periods; with modern music 
 the writer had but little sympathy, and 
 it is dismissed in a very few pages. 
 He next gave to the world his treatise, 
 Ueber die Musik der neueren Griechen, 
 nebst freien Gedanken ilber altegyptische 
 und altgriechische Musik (Leipzig, 1838 : 
 4to), in which he joins issue with some 
 of the opinions expressed by Fetis in 
 his Resume philosophique. The last work 
 of Kiesewetter which we shall mention is 
 his Schicksale und Beschaffenheit des welt- 
 lichen Gesanges (Leipzig, 1841 : 4to), which 
 contains the results of much research 
 into the early history of the Opera. 
 
 In England perhaps the most remark- 
 able modern publication has been the late 
 Mr. William Chappell's History of Music 
 (London, 1874 : 8vo), a work which, with 
 the assistance of other writers, was to have 
 been completed in four volumes. The 
 first only was published ; a few sheets of 
 the second volume were in type, when a 
 fire at the printing office destroyed them, 
 and the author, already an old man, does 
 not seem to have had the heart to go 
 over his labour a second time. Not that
 
 I2O The Literature of Music. 
 
 the single volume published shows any 
 want of energy ! On the contrary, it is 
 characterised throughout by a most re- 
 markable spirit of pugnacity. Almost all 
 the accepted authorities, from Boethius 
 to Helmholtz, come in for a castigation. 
 The author claims to have placed our 
 knowledge of Grecian music on a firm 
 basis, to have established the existence 
 of simultaneous harmony among the 
 ancients, and to have explained the 
 hydraulic organ of Vitruvius. The 
 volume is mainly occupied with the music 
 of the Greeks, and, whether agreeing or 
 not with its conclusion, the reader cannot 
 fail to be delighted with its really youthful 
 vigour. 
 
 Of a less exhilarating nature, but truly 
 excellent books, are the two courses of 
 lectures by the late John Hullah, re- 
 published under the titles of The History 
 of Modern Music (London, 1861 : 8vo ; 
 2nd edition, 1875), and The Transition 
 Period of Musical History (London, 1865 : 
 8vo; 2ndedition, 1876). The former covers 
 the period from A.D. 370 to our own time, 
 while the Transition treats with greater 
 detail of the period from 1600 to 1750, 
 covering the rise of our modern music 
 from the time of Monteverde. The 
 writer was a thoroughly capable and accom-
 
 Histories of Music Biography. 121 
 
 plished musician, and both works are 
 most useful and to be recommended. 
 The Transition contains a number of 
 interesting examples, while the Modern 
 History is furnished with a series of 
 chronological tables, in the form of 
 diagrams, showing what musicians were 
 contemporary, on a principle first used 
 (in musical history, at least) by Dr. Crotch 
 in his printed lectures. 
 
 It is difficult to know how to speak of 
 Mr. J. F. Rowbotham's History of Music 
 (London, 1885, 1886, 1887 : 3 vols., 8vo). 
 The work is complete according to the 
 author's intentions, but it carries us no 
 further than the Troubadours, so that the 
 title is somewhat misleading. The earlier 
 part of the work exhibits a profound ac- 
 quaintance with ethnological literature as 
 far as it concerns Music, and the leading 
 idea is that from the dawn of civilisation 
 Music has gradually developed through the 
 Drum stage, the Pipe stage, and the Lyre 
 stage, and this theory is supported with 
 great wealth of illustration.- The Lyre 
 stage appears not to have been reached 
 till the time of the Egyptians, whose 
 music and instruments, as well as those of 
 the Assyrians and Hebrews, are con- 
 sidered at some length. The music of 
 the Chinese and Hindus is next treated
 
 122 The Literature of Music. 
 
 of, while vol. ii. is almost entirely devo- 
 ted to the music of the Greeks, an 
 elaborate investigation of the various 
 rhythms and metres occupying the largest 
 share of the space. Vol. iii. opens with the 
 " Decline of Paganism, and the dark Ages," 
 containing the history of the adoption of 
 the Church Modes, with much information 
 on early systems of musical notation, and 
 an elaborate description of the " neums." 
 The remainder of the volume traces the 
 history of Music during the Middle Ages, 
 the supposed influence of Arabian music, 
 concluding with an account of the Trou- 
 badours. It is a bewildering book, begin- 
 ning with the history of Music among 
 pre-historic nations, of which we con- 
 fessedly know nothing, and terminating 
 on what is almost the threshold of the 
 subject. There is no index not even any 
 headings to the chapters while the dis- 
 play of learning becomes oppressive and 
 the style wearisome. 
 
 An excellent work, going over much of 
 the same ground, is the Primitive Music : 
 an inquiry into the origin and develop- 
 ment of Music, Song, Intruments, Dances, 
 and Pantomime of Savage Races, by 
 Richard Wallaschek (London, 1893 : 8vo), 
 which owes its English form to Mr. 
 R. H. Legge.
 
 Histories of Music Biography. 123 
 
 The works on the history of the 
 music of particular nations form a large 
 class, a few only of which can be named 
 here. Among the most important is the 
 Historia de la Musica Espafiola of 
 Mariano Soriano Fuertes (Madrid, 1855-9 : 
 4 vols., 8vo) an excellent work, devoted 
 to Music in Spain, containing information 
 not otherwise attainable. For the history 
 of Music in Germany the only one re- 
 quiring notice is Reissmann's Illustrirte 
 Geschichte (Leipzig, 1881 : 8vo), a well- 
 illustrated work, with some excellent 
 facsimiles. That of France is repre- 
 sented by Poisot's Histoire de la Musique 
 en France (Paris, 1860 : i2tno) ; the same 
 writer also produced an Essai sur les 
 Musiciens bourguignons (Dijon, 1854 : 
 8vo), while M. Albert Jacquot brought 
 out a sumptuous volume, La Musique en 
 Lorraine (Paris, 1882 : Svo). Music in 
 England has received but scant attention : 
 The Old Cheque-Book of the Chapel Royal 
 from 1561 to 1744, edited by the late 
 Dr. Rimbault for the Camden Society 
 (1872 : 4to), and the Memoirs of Mustek of 
 the Hon. Roger North, written in 1728, 
 but published for the first time in 1846, 
 (London : 4to), also under the auspices 
 of Dr. Rimbault, are rather materials 
 towards it than actual history, although
 
 124 The Literature of Music. 
 
 of very great value. The only historical 
 work devoted exclusively to England 
 with which we are acquainted is Dr. F. 
 L. Ritter's Music in England, the original 
 American edition of which the writer has 
 not seen ; but it was reprinted in London 
 in 1884, octavo, with a companion volume 
 on Music in America. It will be well, 
 perhaps, to mention here Mr. W. A. 
 Barrett's little work on English Glee 
 Writers (London, 1886 : 8vo), an excellent 
 resume of a notable period of our musical 
 history. 
 
 Several good local histories exist of 
 Italian music. Of these we must mention 
 Villarosa's Memorie dei Compositori di 
 Musica di Napoli (Naples, 1840: 8vo) 
 and Florimo's La Scuola Musicale di 
 Napoli, of which two editions have 
 appeared, the first, Naples, 1869, 1871 : 2 
 vols., 8vo ; the second, ib., 1881 : 4 vols., 
 8vo, a carefully executed work. Ales- 
 sandro Sala brought out I musicisti Veronesi 
 (Verona, 1879: 8vo), and G. Gaspari, La 
 Musica in Bologna (Bologna, s.a. : 8vo). 
 No Italian book exists, as far as we know, 
 embracing the general history of Music 
 in that country. A Russian, Count Orloff, 
 attempted an Essai sur FHistoire de la 
 Musique en Italic (Paris, 1822 : 2 vols., 
 8vo) a wretched compilation, full of
 
 Histories of Music Biography. 125 
 
 errors in the spelling of proper names, 
 which seem to have proceeded from 
 ignorance rather than carelessness. In 
 spite of its worthlessness it was translated 
 both into German and into Italian. A 
 much better work is E. Naumann's 
 Die Italienischen Tondichter (Berlin, 
 1876 : 8vo). 
 
 Of special works on the music of 
 Oriental nations, we must add to those 
 already mentioned on that of the Hebrews, 
 Salomon Van Til's Digt-, Sang- en Speel- 
 Konst, soo der Ouden, als bysonder der 
 Hebreen (Dordrecht, 1692 : 4to), several 
 Dutch editions of which exist, while two 
 editions were printed of the German trans- 
 lation (Frankfurt and Leipzig, 1706 and 
 1719: 4to). Arabian music has come in for 
 much attention. In addition to the work 
 of Kiesewetter on the subject, Die Mitsik 
 der Araber (Leipzig, 1842 : 4to), we have 
 the Esquisse Historique de la Musique 
 Arabe by Christianowitsch (Cologne, 1863 : 
 4to) a somewhat sketchy performance, and 
 La Musique Arabe, ses rapports avec la 
 Musique Greeque et la Chant Grcgorien of 
 Salvador Daniel (Algiers, 1863 : 8vo), the 
 almost unknown musician who, on the 
 death of Auber, was appointed by the Com- 
 mune Principal of the Conservatoire at 
 Paris. On the entry of the regular troops
 
 126 The Literature of Music. 
 
 into the city he was seized while firing 
 upon them from the window of his apart- 
 ment, taken into the street, and shot on 
 the spot. 
 
 The earliest information on the music 
 of China is the treatise of the Pere Amiot, 
 one of the Jesuit missionaries to that 
 country, forming the sixth volume of the 
 Mbnoires concernant FHistoire, ks Sciences, 
 etc., des Chinois (Paris, 1780 : 15 vols., 4to), 
 of which a few copies were printed with a 
 separate title, dated 1779. The facts and 
 the illustrations given in this work have 
 been used by every subsequent writer. 
 The manuscript of the book was sent 
 from China by the author to M. Bertin, 
 Minister and Secretary of State, and was 
 edited, annotated, and passed through the 
 press, by the Abbe Roussier. The writer's 
 copy is the original one which belonged 
 to the Abbe, and is further enriched by 
 many notes in his handwriting. But it 
 has another special point of interest. All 
 through the notes, the author is referred 
 to as "le Pere Amiot"; in 1764, however, 
 the Society of Jesus had been suppressed 
 in France. There is bound in at the end 
 of the volume a letter from the secretary 
 of M. Bertin, in the following terms : 
 
 " M. Bertin, Monsieur, a remarque que 
 M. Amiot etoit appelle dans vos notes
 
 Histories of Music Biography. 1 27 
 
 sur la Musique k P. Amiot. Je vous 
 serais oblige de vouloir bien corriger cette 
 faute dans le reste de 1'ouvrage, et faire 
 imprimer M. Amiot au lieu de le P. 
 Amiot. Les Jesuites n' existant plus." 
 
 Another letter follows, waiving the 
 objection, as the sheets were already 
 printed off ; a note is added in Roussier's 
 handwriting, to state that the requisite 
 correction was made in the index. 
 
 The learned Orientalist, Sir William 
 Jones, was the first to give any account of 
 Music in India. His paper "On the 
 Musical Modes of the Hindus " was 
 originally contributed to the Asiatic Re- 
 searches (vol. iii., p. 55), and afterwards 
 included in his collected works. A trans- 
 lation into German was made by Baron 
 Uablerg, who had paid much attention to 
 the subject, and was able to add con- 
 siderably to the value of the researches 
 of Sir W. Jones. In this form the work 
 is much more readily procured. The 
 writer has never seen Willard's Treatise 
 on the Music of Hindoostan (Calcutta, 
 1834: 8vo), which Feds says "is super- 
 ficial." In later years Rajah Sir Sourindro 
 MohunTagore, Mus. Doc., a well-qualified 
 musician, has published several works on 
 the subject. 
 
 In addition to the numerous works we
 
 128 The Literature of Music. 
 
 have mentioned, there remain some which, 
 while not deserving the title of histories, 
 form valuable sources of information as 
 being contemporary records. Italy is not 
 rich in works of this nature, but some 
 interesting matter is to be found in a little 
 treatise of Pietro della Valle, Delia Musica 
 dell' eta nostra, included in the magnificent 
 edition of the works of G. B. Doni, edited 
 by Gori a century and a quarter after his 
 decease (Florence, 1773 : 2 vols., folio). 
 
 The literature of France is richer in 
 contemporary records. The first to be 
 mentioned is a work of a very curious 
 nature. A certain M. Titon du Tillet 
 conceived the idea of erecting a monu- 
 ment to the glory of Louis XIV., and of 
 all the great men of his reign. It was to 
 be called " Le Parnasse Frangois," and 
 was to be executed on a large scale in 
 bronze. Probably funds were not forth- 
 coming for so magnificent a scheme, but 
 a model was exhibited in the Bibliotheque 
 Royal, at Paris. A description of the 
 work was published in a handsome folio 
 volume, Le Parnasse Francois (Paris, 1 732), 
 with several supplements. In addition to 
 a description of the monument, biographies 
 are given of the eminent persons repre- 
 sented in it. Among the musicians thus 
 honoured are the Couperins, Lully, Col-
 
 Histories of Mtisic Biography. 1 29 
 
 lasse, Marais, Monte"clair, the Philidors, 
 and others of less note. The work had 
 been preceded by a volume, identical in 
 plan, but on a smaller scale, Description 
 du Parnasse Francois (Paris, 1727 : 
 i2mo). 
 
 The other French work which we have 
 to mention is the Essai sur la Musique 
 Anctenne et Moderne (Paris, 1780 : 4 vols., 
 4to), published anonymously, the privilege 
 even being granted to Notre am'e le sieur 
 . . ., but which is well known to have 
 been compiled by or perhaps it would 
 be more correct to say, under the auspices 
 of J. B. de la Borde, one of the farmers 
 general, who, like so many of his order, 
 perished by the guillotine, a few days 
 only before the fall of Robespierre. La 
 Borde has come into notice during the last 
 few years on the strength of a collection 
 of songs in four volumes, octavo, which 
 has lately been fetching ridiculous prices 
 at sales, on account of the engravings with 
 which it is illustrated. The Essai is also 
 tastefully printed and illustrated with 
 excellent engravings, of which the head- 
 pieces of the chapters are specially charm- 
 ing. The literary part of the work is 
 unfortunately not so admirable, and it has 
 been described as a " chefd'oeuvre of ignor- 
 ance, disorder, and carelessness." La
 
 130 The Literature of Music. 
 
 Borde's share in the work consisted 
 mainly in supplying the funds, and in 
 exercising a general supervision. The 
 materials were collected by a number of 
 writers, a certain Beche, one of three 
 brothers, members of the King's Band, 
 having a large share in the work, while 
 the Abbe Roussier is answerable for the 
 theoretical portion. The result is a 
 strange jumble of ill-arranged information, 
 much of which is of very doubtful author- 
 ity. Vol. iii. contains a series of short 
 accounts of the musicians of different 
 countries, arranged alphabetically, those 
 of each nation separately. The list of 
 Italian composers is a long one, and the 
 information it contains was not readily 
 to be found elsewhere at that time. This 
 is followed by lists of poets and per- 
 formers, and another of theoretical writers. 
 Chapters viii. x. of this volume are 
 devoted to French musicians, among 
 whom Lully is, of course, included ; and it 
 is here that the value of the work is con- 
 centrated, for it forms the principal source 
 of our information on Music in France 
 during that period. The fourth volume 
 is principally devoted to French lyric 
 poets, with some information supple- 
 mentary to that in the previous volume. 
 With all its faults, there is a certain
 
 Histories of Music Biography. 1 3 1 
 
 pleasure in turning over the pages of so 
 well printed a book, on which no expense 
 was spared; most of the copies also are 
 bound in contemporary French calf, 
 which it is a delight to look upon. 
 
 Our knowledge of the lives of the 
 earlier German musicians is largely 
 derived from Mattheson's Grundlage 
 einer Ehrenpforte (Hamburg, 1740 : 4to), 
 which forms, with Walther's Lexicon, to 
 be noticed later, the principal source of 
 information. The work is a series of 
 biographies, arranged alphabetically, of 
 eminent German musicians. The author 
 is careful to distinguish the sources from 
 which his information is derived. When 
 the master was still living, he applied to 
 him direct for his facts, drawing up his 
 account from the information given. In 
 this way he applied to his old friend 
 Handel, who, however, refused or ne- 
 glected to supply the desired particulars. 
 Mattheson's acquaintance among his 
 contemporaries was a wide one, and the 
 period was important in the history of 
 German music, which makes this some- 
 what scarce book a desirable possession. 
 
 M. E. Van der Straeten's La Musique 
 aux Pays-Bas, of which eight volumes have 
 already appeared (Brussels, 1867, etc.: 
 Svo), contains much valuable informa-
 
 132 The Literature of Music. 
 
 tion on the progress of the art in those 
 countries. It is emphatically " materials 
 for history," the result of the writer's 
 laborious researches among public and 
 other documents, printed with but little 
 arrangement, apparently direct from his 
 commonplace book. The author was 
 for a time secretary to Ftis, and sub- 
 sequently engaged in the " Archives " 
 of Brussels. 
 
 Hardly separable from history are the 
 biographies of musicians, which go so far 
 to form the materials of the former. Of 
 nearly every musician of eminence a 
 published biography is to be found, 
 and of the more famous there is a choice. 
 It is obviously impossible to treat of this 
 subject fully to do so would require a 
 volume larger than the present ; we will, 
 however, mention a few of the more 
 important, and for further imformation 
 must refer the reader to the pages of 
 Fe"tis or Grove, both of whom indicate 
 the principal sources of information. 
 
 It is remarkable that the first serious 
 attempt at a life of Handel should have 
 proceeded from a Frenchman living in 
 this country Victor Schoelcher (Lon- 
 don, 1857 : Svo). The author was an 
 indifferent musician, and his critical 
 judgment was not trustworthy, but the
 
 Histories of Music Biography. 133 
 
 work contains much interesting informa- 
 tion. The great Handel scholar, Dr. 
 Chrysander, embarked on a life of the 
 composer, but it has stood still for many 
 years in the middle of the third volume, 
 and will now probably be never com- 
 pleted. Mr. Rockstro is answerable for 
 an admirable biography (London, 1883 : 
 8vo), while, on a smaller scale, that of 
 Mrs. Julian Marshall in the " Great 
 Musicians " series is excellent, forming one 
 of a valuable little collection. 
 
 Of Handel's great contemporary J. S. 
 Bach, apart from notices in musical jour- 
 nals (and of these the most important is 
 that by Bach's son Emanuel and his 
 pupil Agricola, to be found in Mitzler's 
 Musikalische Bibliothek (1734)), the first 
 attempt at a biography was that of Forkel 
 Johann Sebastian Sack's Leben, Kunst, und 
 Kunstwerke (Leipzig, 1802 : 4to), of which 
 an English translation has been published 
 (London, 1820 : 8vo) ; but the authorita- 
 tive biography is that by Spitta (Leipzig, 
 1873-80: 2 vols., 8vo), of which an ex- 
 cellent translation by Miss C. Bell and 
 Mr. Fuller-Maitland has been published 
 by Messrs. Novello (1884-5 : 3 vols., 
 8vo). 
 
 The biography of Haydn was the occa- 
 sion of a most remarkable instance of
 
 134 The Literature of Music. 
 
 literary dishonesty. In the year 1814 
 appeared in Paris, Lettres ccrites de Vienne 
 en Autriche sur le celebre compositeur Jf. 
 Haydn, suivies d'une vie de Mozart et de 
 considerations stir Metastase, purporting to 
 be by Louis Alexandre Cesar Bombet. 
 The person really answerable for the 
 volume was Marie Henri Beyle, who after- 
 wards achieved some celebrity as a writer, 
 and was without doubt a man of ability. 
 The work was no sooner published than 
 a well-known musical litterateur, Giuseppe 
 Carpani, recognised it as a barefaced 
 appropriation of his own work on Haydn, 
 whose intimacy he enjoyed, entitled Le 
 Hay dine (Milan, 1812: 8vo). The pla- 
 giarism was at once exposed, for it was 
 incontestible. Most men with such a 
 charge brought home to them would have 
 courted obscurity by withdrawing the 
 work. Not so M. Beyle ; he made no 
 attempt at a reply, but in 1817 positively 
 had the effrontery to publish a second 
 edition this time under a new pseu- 
 donym, that of De Stendhal. An English 
 translation of the work appeared in 1817, 
 by Robert Brewin, of Leicester, with notes 
 by William Gardiner, the enthusiastic 
 amateur and stocking weaver of the same 
 town, who sent Haydn a present of stock- 
 ings, with subjects from the composer's
 
 Histories of Music Biography. 135 
 
 works woven in ! Nor did M. Beyle stop 
 here. In 1823 he produced a Vie de 
 Rossini (Paris: 8vo), again under the name 
 of Stendhal, a large part of which was 
 " conveyed " from letters contributed by 
 Carpani to Italian and German news- 
 papers. No complete life of Haydn exists. 
 C. F. Pohl, the learned librarian of the 
 Gesellschaft der. Musick-freunde in 
 Vienna, has treated of a portion of the 
 composer's life with great detail in his 
 Mozart und Haydn in London (Vienna, 
 1867 : 2 vols., 8vo), and has also published 
 two volumes of a biography of the master 
 (Leipzig, 1875 : 8vo); but it is scarcely 
 probable that the work will ever be com- 
 pleted. 
 
 The charm of Mozart's personality has 
 proved very attractive to biographers. 
 Neglecting mere obituary notices, the 
 earliest in the field was Franz Niemtschek 
 with the Leben des Kapellmeisters Wolfgang 
 Gottlieb Mozart (Prag, 1798: 4to) 
 little more than a pamphlet, of which a 
 second edition appeared in 1808 : 8vo. 
 In 1803 J. E. F. Arnold published his 
 Mozart's Geist (Erfurt : 8vo). But no 
 adequate biography appeared until that 
 by Nissen (Leipzig, 1828: 8vo, with a 
 supplement). The author, Danish charge 
 d'affaires at Vienna, who married the
 
 136 The Literature of Music. 
 
 Composer's widow, spent five-and-twenty 
 years in collecting and arranging his 
 materials, but did not live to see the 
 work through the press. In spite of this 
 devotion to the subject, the work is a 
 collection of materials of the highest 
 value, indeed rather than a biography. 
 It was translated into several languages. 
 The delightful Life of Mozart, by Edward 
 Holmes (London, 1845 : 8vo '> 2n & 
 edition, $., 1878, with the addition of 
 excellent notes by Professor Prout), is 
 based on it ; there is a French translation 
 by Albert Sowinski (Paris, 1869 : 8vo), 
 and the Abbe Goschler brought out an 
 abridgment with the curious title, Mozart : 
 Vie (fun artiste chretien (Paris, 1857 : 
 i2mo). Nissen's work was followed, in 
 1 843, by the Nouvelle Biographie de Mozart 
 of the enthusiastic Russian amateur, 
 Alexander von Oulibicheff so idolatrous 
 an admirer of the Composer that he was 
 quite incapable of recognising merit else- 
 where. The book was published at Mos- 
 cow in three octavo volumes, in the 
 French language, and is now rarely met 
 with, but it is obtainable in a German 
 translation, of which several editions have 
 appeared (Stuttgart, 1847, etc.; 3 or 4 
 vols., 8vo). It may be interesting to 
 point out that the numerous musical
 
 Histories of Music Biography. 137 
 
 examples are, in the original edition, en- 
 graved on wood, thus going back to the 
 earliest method of reproducing music. 
 The most exhaustive, and it may be said 
 the standard, book is Otto Jahn's W. A. 
 Mozart (Leipzig, 1856-9 : 4 vols. ; 2nd 
 edition, 2 vols., 1862). This also has 
 been well translated by Pauline D. Town- 
 send, and published by Messrs. Novello 
 (London, 1882 : 3 vols., 8vo). 
 
 Mozart himself has furnished a large 
 portion of the materials for his own life in 
 the very charming series of letters which 
 he left behind. Nissen's work, and that 
 of Jahn, contain a large selection of them, 
 but they were added to by the collection 
 published by Ludwig Nohl (Leipzig, 1865 : 
 8vo), excellently translated by Lady 
 Wallace. Nohl added several volumes 
 to the Mozart literature. 
 
 The reader will remember the curious 
 history of Mozart's Requiem, and the con- 
 troversy with regard to its authenticity. 
 The subject will be found admirably 
 summed up in The Story of Mozart's 
 Requiem, by William Pole, F.R.S. (London, 
 1879 : 8vo). 
 
 Of Beethoven, the earliest biographies 
 were the Biographische Notizen by 
 Wegeler and Ries (Coblentz, 1838 : 8vo), 
 and Schindler's Biographic (Munster,
 
 138 The Literature of Music. 
 
 1840 : 8vo), of which Moscheles's Life 
 (London, 1841 : 2 vols., 8vo) is little 
 more than a translation. Works on a 
 larger scale were issued by Marx and 
 Ludwig Nohl, but the most important 
 is that by A. W. Thayer, Ludwig von 
 Beethoveris Leben (Berlin 1866-79 : 3 vols., 
 8vo). Mr. Thayer is an American who has 
 devoted himself with great singleness of 
 purpose to the study of the subject, and 
 his work is of the utmost value. Un- 
 fortunately the three volumes already 
 published only carry us down to 1816, so 
 that eleven years of the great Composer's 
 life remain unchronicled. The work was 
 written in English, but issued in a German 
 translation, with a view to inviting criti- 
 cism, of which the author proposed to 
 avail himself before publishing his definite 
 edition in the English language. It is a 
 little remarkable that there should be no 
 adequate life of Beethoven in our own 
 language for that of Moscheles does not 
 satisfy modern requirements. Of very 
 great interest to the student of the master 
 are his sketch-books, first laid open to 
 the public by G. Nottebohm in his 
 Skizzenbuch von Beethoven (Leipzig, 1863 : 
 8vo), and in his Beethoveniana (Leipzig, 
 1872 and 1887 : 8vo). The reader is 
 enabled to see how gradual was the
 
 Histories of Music Biography. 139 
 
 development of many of Beethoven's 
 greatest and apparently most spontaneous 
 works, and how rigid was the criticism 
 which he brought to bear on his own 
 composition. Never was genius more 
 emphatically " the art of taking infinite 
 pains." 
 
 The division of the works of Beethoven 
 into three periods was first suggested by 
 Fetis in the first edition of his Biographic 
 Universelle, but the idea was caught up 
 and elaborated by the Russian amateur 
 Lenz, in his Beethoven et ses trois styles 
 (St. Petersburg, 1852: 2 vols., 8vo ; but 
 more frequently met with in the French 
 reprint, Paris, 1855). The book is an 
 enthusiastic rhapsody, in which the author 
 takes occasion to attack Oulibicheff for 
 his exclusive devotion to Mozart and his 
 inability to appreciate the later works of 
 Beethoven, when he had shaken himself 
 free from the style of the earlier 
 composer. Oulibicheff replied in his 
 Beethoven, ses critiques et ses glossateurs 
 (Paris, 1857: 8vo); but the controversy 
 embittered his existence and is said to 
 have shortened his life, for he died in the 
 following year. 
 
 Schubert's life has been written by 
 Kreissle von Hellborn (Vienna, 1865 : 
 8vo), translated into English by Mr. A. D.
 
 140 TJie Literature of Music. 
 
 Coleridge (London, 1869 : 2 vols., 8vo), 
 and epitomised by Mr. Wilberforce 
 (London, 1866 : 8vo), but the best infor- 
 mation is without doubt contained in the 
 article by Sir G. Grove in his Dictionary, 
 whose articles on Mendelssohn and 
 Schumann, in the same work, are also 
 excellent. Both Mendelssohn and Schu- 
 mann may be said to await a definitive 
 biography, although many materials for 
 it have, in each case, been given to the 
 world. Among the most interesting in 
 the case of the former composer are the 
 two charming series of letters, Reisebriefe 
 aus den Jahren 1830 bis 1832 (Leipzig, 
 1 86 1 : 8vo), and Brief e aus den Jahren 
 1833 bis 1847 (ib., 1863 : 8vo). Both 
 of these have been translated into English 
 by Lady Wallace (London, 1862, 1863: 
 8vo). Mendelssohn's sunny nature shines 
 through all his letters, and they form 
 delightful reading, even to those not 
 specially interested in music. The same 
 may be said of Hensel's Die Fandlie 
 Mendelssohn (Berlin, 1879 : 3 vols., 8vo), 
 an interesting account of a highly culti- 
 vated family. It has been translated 
 into English by K. Klingemann (London, 
 1 88 1 : 2 vols., 8vo). Mendelssohn was 
 so prominent a figure in the musical 
 world up to the time of his premature
 
 Histories of Music Biography. 141 
 
 decease, and his character was so attrac- 
 tive, that all the memoirs of that period 
 are full of references to him. Some of 
 the most interesting are contained in 
 Madame Moscheles' Aus Moscheles Leben 
 (Leipzig, 1872-3 : 2 vols., 8vo), translated 
 into English by A. D. Coleridge (London, 
 1873 : 2 v l s -> 8vo). 
 
 Of Schumann, the fullest life is that 
 by Wasielewski Robert Schumann, seine 
 Biographic (Dresden, 1858: Svo; with 
 subsequent editions). This has been 
 translated by A. Alger (London, 1878 : 
 Svo). Spohr's Autobiography (Cassel, 
 1 860-6 1 : 2 vols., Svo; English transla- 
 tion, London [but printed in Germany], 
 1865 : Svo) will be found most enter- 
 taining reading ; it is full of real interest, 
 but tinctured with the most delight- 
 ful self-complacency. Finally, Chopin 
 must be mentioned. The earliest work 
 on his life was that of Liszt Frederic 
 Chopin written in French, but first pub- 
 lished in book form at Leipzig (Breitkopf, 
 1882 : Svo), although it was rather a 
 critical study than a biography, the first 
 systematic attempt at which was M. 
 Karaso\vski's^ra&r/<r/ Chopin; seine Leben, 
 seine Werke und seine Briefe (Dresden, 
 1887 : 8vo). Of both these works there 
 are English translations. In 1888 Mr. F.
 
 142 The Literature of Music. 
 
 Niecks brought out his Frederick Chopin 
 as a man and musician (London : 2 vols., 
 Svo), an exhaustive work, probably con- 
 taining all we are likely to know of the 
 great musician. It is right to add that the 
 author does not satisfy those who are 
 more anxious to have depicted a Chopin, 
 and a George Sand, who conform to their 
 own ideals rather than to the testimony 
 of contemporary evidence. 
 
 M. Pougin, the well-known editor of 
 the continuation of the Biographic of 
 Fe"tis has been a most industrious bio- 
 grapher of musicians, mainly French. 
 This author's life of Verdi, originally 
 contributed to the Menestrel in 1878 was 
 soon afterwards translated into Italian 
 (by Folchetto), and also into Spanish and 
 German. In 1886 M. Pougin brought 
 out a new edition, which was translated 
 into English by the compiler of this 
 volume, and it has also been translated 
 into German. 
 
 An excellent series of Masters of English, 
 French, German, and Italian Music 
 (London, 1893-5 : 4 vols., Svo) has been 
 published. The respective volumes are 
 by Messrs. C. Willeby, A. Hervey, J. A. 
 Fuller-Maitland and R. A. Streatfield. 
 These treat of contemporary musicians. 
 Mr. W. H. Haclow has published two
 
 Histories of Music Biography. 143 
 
 series of really admirable Studies in 
 Modern Music. The author's critical 
 powers place him among the foremost 
 musical writers of the day. And we must 
 here mention Mr. Hubert Parry's Art of 
 Music (London, 1894 : 8vo), which is 
 virtually a history of the development 
 of Musical Form. It is a work of the 
 first importance, showing a masterly grasp 
 of the subject, and should be in the hands 
 of every student. 
 
 The history of Musical Notation is well 
 traced by E. David and M. Lussy, in 
 their Histoire de la Notation Musicale 
 (Paris, 1882 : folio).
 
 CHAPTER VII. 
 
 DICTIONARIES OF Music. 
 
 |E now come to the consideration 
 of a large and a useful class of 
 musical literature the Diction- 
 aries of Music, which range 
 themselves under three groups technical 
 dictionaries, biographical dictionaries, and 
 those which endeavour to combine both 
 subjects. 
 
 It has already been pointed out that 
 Music was the earliest of the arts to 
 possess a special dictionary the Dijfini- 
 torium Miisiccc of Tinctoris, published, it 
 is believed, as early as 1474, the interest 
 of which now is purely antiquarian. But 
 it is equally remarkable that, although 
 such terms as fell within the scope of 
 his work are explained in the well-known 
 Glossarium of Ducange, no second attempt 
 of the kind should have been made till 
 the year 1701, when Thomas Balthazar 
 Janowka, an organist at Prague, published 
 his C lav is ad Thesaurum magruc artis 
 144
 
 Dictionaries of Music. 145 
 
 Musicce. (Prague, 1701 : 8vo). The book 
 is of very great rarity, and the writer has 
 never seen it; but as it contains three 
 hundred and twenty-four pages, the sub- 
 ject must have been treated with some 
 detail. A copy is in the Fetis library at 
 Brussels. 
 
 This publication was followed up almost 
 immediately in France by the Dictionnaire 
 de Musique, contenant une Explication 
 des termes grecs, latins, italiens et fran^ois, 
 lesplus usitez dans la Musique, by Sebastien 
 de Brossard (Paris, 1703 : folio). The 
 work is disposed in two alphabets, the 
 first devoted to Italian terms, the second 
 to French, together with such Greek and 
 Latin words as are current in the art. 
 The work is of great excellence for the 
 time when it appeared, and it must be 
 remembered that it was entirely original, 
 and that the author had no previous work 
 of a like nature to guide him in the 
 selection of terms and subjects to be 
 handled a selection made with con- 
 siderable completeness. The alphabetical 
 part is succeeded by a treatise on the 
 manner of pronouncing Italian words, 
 and then follows one of the earliest at- 
 tempts to form a bibliography of books 
 on Music, which is of the greatest interest. 
 The folio edition is far from common, 
 
 10
 
 146 The Literature of Music. 
 
 but a second edition appeared in Paris 
 in 1705 (8vo), and a third at Amsterdam 
 (probably pirated) by Estienne Roger, 
 without date, which is frequently to be 
 met with, and is worth acquiring. 
 
 If England was well to the front in the 
 production of histories of Music, it was 
 not far behind with dictionaries of the 
 subject. In 1724 appeared A Short Ex- 
 plication of such Foreign Words as are 
 made Use of in Mustek Books. As the 
 preface states, it was "not intended for 
 the Use of Masters, but only for such 
 Gentlemen and Ladies who, being Lovers 
 of Musick, nevertheless may possibly be 
 ignorant of the true Signification of many 
 of the said Terms." It is a pretty little 
 duodecimo volume of ninety-six pages, and 
 as the type is rather large for the size of 
 the page, there is no room for very long 
 explanations ; but they are sensible and 
 accurate, and there is added an interesting 
 appendix, giving lists of music printed for 
 various instruments. The writer is quite 
 at a loss to assign the authorship of this 
 interesting little work. 
 
 But this was soon followed by a work 
 of larger proportions and more important 
 aims the Musical Dictionary ; being a 
 collection of Terms and Characters as well 
 ancient as modern, by James Grassineau,
 
 Dictionaries of Music. 147 
 
 Gent. (London, 1740: 8vo). The author 
 was born in London, of French parents, 
 and, after a period of less congenial occu- 
 pation, became secretary to Dr. Pepusch, 
 and by his advice he undertook the trans- 
 lation of Brossard's Dictionary. It was 
 on this translation that Grassineau's work 
 was based, but with many modifications 
 and additions which gave it a value of 
 its own. The compiler expresses his 
 obligations to Dr. Pepusch, and it is 
 generally supposed that much of the 
 additional matter was supplied by him. 
 
 The Dictionary of Music which has 
 been most talked about, and most often 
 reprinted, is, without doubt, that of Jean 
 Jacques Rousseau, first published at 
 Geneva in 1767 (410). In the preface 
 to this work the author explains the 
 circumstances which induced him to 
 undertake it. Rousseau's knowledge of 
 the science of Music was neither deep 
 nor accurate, and it was on account of 
 his friendly relations with Diderot and 
 D'Alembert that he was selected to under- 
 take the musical part of the famous En- 
 cyclopedic^ to the great chagrin of Rameau, 
 whose qualifications were so much more 
 commanding. The time allowed for the 
 completion of these articles was insufficient 
 to allow their author to engage in the
 
 148 The Literature of Music. 
 
 preliminary studies which his indifferent 
 acquaintance with the subject rendered 
 necessary. Rousseau himself recognised 
 their deficiences, and, having taken up 
 his residence in Switzerland, decided on 
 devoting his time to re-casting his materials 
 and to the production of a work of more 
 solid value. 
 
 It will be admitted that Rousseau's 
 mind was not of the cast to qualify him 
 for such a task. The remarkable popu- 
 larity of the Dictionnaire has depended 
 rather on its literary merits, which make 
 it interesting reading. His love and taste 
 for Music were undoubted, and give to 
 his critical articles a certain value. It 
 is well known that for a long period of 
 his life Rousseau supported himself as 
 a music copyist ; his practical acquaintance 
 with the art makes the article Copiste one 
 of the best, which may still be studied 
 with advantage. The Dictionary was re- 
 printed many times, both separately and 
 as forming part of his complete works ; 
 it was also translated into most of the 
 European languages, the English version 
 being by William Waring. 
 
 Rousseau had numerous successors in 
 France, the work on the largest scale being 
 the Dictionnaire de Musiyue, forming two 
 out of the two hundred and one volumes
 
 Dictionaries of Music. 149 
 
 quarto of the Encyclopedic M'ethodique. 
 The first volume, published in 1791, was 
 edited by Framery and Ginguene, both of 
 whom were better known as litterateurs 
 than as musicians. They were assisted in 
 the theoretical part of the work by the 
 Abbe Feytou. It is avowedly based on 
 the Dictionary of Rousseau, with many of 
 whose views, however, the compilers were 
 at variance, nor did they agree among 
 themselves, so that many of the articles 
 are contradictory. Ginguene was answer- 
 able for the historical notices, in compiling 
 which he was greatly indebted to Burney's 
 History. The publication of the work 
 was interrupted by the troubles of the 
 Revolution, and it was not till 1818 that 
 the second volume appeared, with the 
 name of De Momigny added to those of 
 the previous editors ; but at that date 
 both Framery and Ginguene were dead, 
 so that the whole responsibility of the 
 volume devolved on Momigny, who had 
 a theory of his own, entirely opposed to 
 the views expressed in the earlier volume, 
 which he advances in season and out of 
 season. The result is that the huge work 
 of eleven hundred and twenty closely 
 printed pages of double columns, with a 
 hundred and fourteen pages of examples, is 
 a very blind guide. It must be mentioned
 
 1 50 The Literature of Music. 
 
 as a merit that the principal articles are 
 signed. 
 
 No good purpose would be served by 
 enumerating all the dictionaries which 
 have been compiled from time to time, 
 both in France and England, for most 
 of which no critical value can be claimed. 
 We may mention those of Castil-Blaze 
 and of the brothers Escudier as having 
 had a wide circulation in France, while 
 in our own country the Dictionary of 
 Busby was frequently reprinted, answering 
 the demands of the ordinary inquirer, till 
 it was superseded by more modern works, 
 among the best of which is that of Dr. H. 
 Hiles. But a truly admirable Dictionary 
 of Musical Terms was some years back 
 published by Messrs. Novello, edited by 
 Sir John Stainer and Mr. W. A. Barrett, 
 assisted by a few specialists, which is far 
 in advance of any such work previously 
 brought out. It is indispensable to every 
 musician, as it is no mere compilation, 
 but the result of much original research, 
 conveyed in clear and succinct language, 
 and well abreast of the scientific dis- 
 coveries of the day. Our only complaint 
 (and that does not touch the merits of the 
 book) is that it is issued without a date. 
 
 The Land of Song possessed no dic- 
 tionary of Music till the publication of
 
 Dictionaries of Music. 151 
 
 the Abbate Pietro Gianelli's Dizionario in 
 1 80 1 (Venice : 3 vols., 8vo). In this first 
 edition of the work the author included 
 notices of some of the principal musicians, 
 but they are very imperfect. For instance, 
 all he finds to say about Handel is that 
 an example in his Suite de pieces proves 
 that the fourth is not a dissonant interval 
 that he was a celebrated composer, and that 
 we have of his, twelve celebrated chamber 
 duets ! The existence of his oratorios 
 seems quite unsuspected ! In the second 
 edition (Venice, 1820), the work was 
 extended to seven very thin volumes, and 
 the author had the good sense to leave 
 out his inadequate biographical notices. 
 
 Italy produced one excellent dictionary 
 of Music, although the author was a 
 Hungarian. This is the Dizionario e 
 Bibliografia della Musica of Dr. Pietro 
 Lichtenthal (Milan, 1826). With the 
 bibliography, of which we shall have to 
 speak later, the work occupies four volumes 
 octavo, two of which are devoted to the 
 dictionary. The author, who was a phy- 
 sician, was a very earnest and careful 
 student of Music, and his work may be 
 consulted with advantage. A French 
 translation of it was made by D. Mondo 
 (Paris, 1839 : 2 vols., 8vo). 
 
 In Germany the plan of combining the
 
 152 Tlie Literature of Music. 
 
 technical and the biographical dictionaries 
 seems to have been preferred. The 
 earliest dictionary not comprising bio- 
 graphy is that of G. F. Wolf (Halle, 1787 : 
 8vo), with subsequent editions in 1792 
 and 1806. This was followed, in 1802, by 
 the Musikalisches Lexikon of H. C. Koch 
 (Frankfurt-on-Main, 1802 : 8vo), a scien- 
 tific and well-informed writer. It is a work 
 on a large scale, comprising over eighteen 
 hundred columns, adapted to the needs of 
 advanced students. Koch himself pub- 
 lished an abridgment of his work, under 
 the title of Kurzgefasstes Handworterbuch 
 der Musik (Leipzig, 1807 : 8vo), also 
 a useful and popular work, which main- 
 tained its position for a long time, an 
 edition purporting to be Koch's dictionary 
 having been issued by Arrey von Dom- 
 mer so late as 1865, in which, however, 
 but little of the original remains. In a 
 country where music is so much studied 
 as in Germany, there has been, of course, 
 a constant supply of dictionaries adapted 
 to the wants of young students, which 
 need not be spoken of here. 
 
 There exist a few technical dictionaries 
 devoted to special departments of musical 
 knowledge. Among these must be men- 
 tioned the Worterbuch der griechischen 
 Musik of F. von Drieberg (Berlin, 1835 :
 
 Dictionaries of Music, 153 
 
 4to), the scope of which is sufficiently 
 indicated by its title, and a truly remark- 
 work, the Dictionnaire de Plain- Chant et 
 de Musique d'Eglise, by Joseph d'Ortigue 
 (Paris, 1853 : large 8vo). This forms the 
 twenty-seventh volume of the well-known 
 Encyclopedic Theologique, published by the 
 Abbe Migne, who has been so instru- 
 mental in bringing the works of the 
 Fathers within the means of those who 
 are not in a position to acquire Benedic- 
 tine editions. The various subjects are 
 treated exhaustively, and the work is in- 
 dispensable to those who are interested in 
 such matters. It is, of course, designed 
 for the use of members of the Roman 
 Church. Equally valuable, from a differ- 
 ent point of view, is the Dictionary of 
 Hymnology (London, 1892 : large 8vo), 
 a colossal undertaking, for which our 
 thanks are due both to the editor, the 
 Rev. J. Julian, and his able assistants, 
 as well as to the publisher, Mr. Murray, 
 for bringing such an enterprise to so 
 successful an issue. 
 
 We now come to dictionaries devoted 
 exclusively to the biography of musicians. 
 The earliest of these is the Historisch- 
 Biographisches Lexicon, of Ernst Ludwig 
 Gerber (Leipzig, 1790 and 1792 : 2 vols., 
 Svo), which is really the parent of all subse-
 
 1 54 The Literature of Music. 
 
 quent undertakings of a like nature. The 
 work had its origin in a desire to extend 
 and complete the labours of Walther, who 
 had compiled a dictionary both technical 
 and biographical, of which we shall have 
 to speak later. Fifteen years were occu- 
 pied in collecting materials, in which the 
 author was assisted by J. A. Hiller, Forkel, 
 and Ebeling. The manuscript was shown 
 to Breitkopf by Hiller, who at once saw the 
 value of the work, and engaged Gerber to 
 complete and produce it. The result was 
 the dictionary of 1790 and 1792, which, 
 however, was not entirely satisfactory, 
 although it had a large circulation. Many 
 errors, almost inseparable from a work 
 of this kind, had crept in errors in dates, 
 omissions, double articles, really referring 
 to the same person, and actual mistakes. 
 But the compiler was both modest and 
 industrious, and he did not cease to 
 collect material, which he subsequently 
 embodied in his Neues historisch-biographi- 
 sches Lexikon (Leipzig, 1812-14 : 4 vols., 
 8vo). It must be understood that this 
 second work does not supersede the first, 
 but consists of additions and corrections. 
 The earlier book is constantly referred to, 
 and must be at hand to enable the 
 student to make full use of the second. 
 It contains a very valuable and useful
 
 Dictionaries of Music. 155 
 
 table of published portraits of musicians, 
 giving both painter and engraver, and 
 this is supplemented in the more recent 
 dictionary. 
 
 The success of this book suggested to 
 the well-known French musician, Choron, 
 the issue of a similar work, a prospectus 
 of which he issued. This came to the 
 notice of Fayolle, who had been making 
 collections with the same object. He 
 acquainted Choron with the fact, and 
 they very wisely arranged to combine 
 their labours. In the meantime Choron 
 fell ill, so that, with the exception of the 
 historical summary prefixed to the dic- 
 tionary, and one or two articles, Fayolle 
 became answerable for the whole, which 
 appeared at Paris in iSioand 1811: 2 vols., 
 Svo. Part of the edition was issued with 
 a title, dated 1817. A large portion of 
 the work is simply a translation of Gerber, 
 and it cannot be looked on as of much 
 authority. 
 
 The writer has never been able to as- 
 certain who were the compilers of our 
 English Dictionary of Musicians (London, 
 1824: 2 vols., Svo; 2nd edition, 1827), 
 which frankly confesses its obligations to 
 Gerber, Choron and Fayolle, and other 
 works. Such value as the work possesses 
 is dependent mainly on the information
 
 156 The Literature of Music. 
 
 given about native musicians. The Dizi- 
 onario storico-critico of the Abbate Giu- 
 seppe Bertini (Palermo, 1814 and 1815 : 
 4 vols., small 4to) owes its origin to the 
 same sources, but has some original 
 matter on Italian musicians. 
 
 But all these works are virtually super- 
 seded by one which is absolutely indis- 
 pensable to every musical student the 
 Biographic universelle des Musiciens of 
 F. J. Fetis. The first edition of this 
 great work appeared in Brussels in 
 1835-44 : 8 vols., 8vo. This issue is, of 
 course, set aside by the more recent 
 edition, Paris, 1860-65, but it still has 
 a value, on account of the excellent 
 Resume Philosophique before alluded to. 
 This edition, it must be acknowledged, 
 is full of blunders, especially in the notices 
 of English musicians, which are very 
 inadequate, and mainly taken from the 
 Biographical Dictionary 0/1824. ^ n J 860 
 Fetis began the issue of a second edition, 
 which he completed in 1865 in eight 
 volumes. Nothing comparable to this 
 remarkable work has appeared either be- 
 fore or since. The erudition and research 
 which it displays are wonderful. Never- 
 theless, Fetis is very far from being a 
 perfectly satisfactory guide. His self-con- 
 fidence was absolute ; any one who differed
 
 Dictionaries of Music. 157 
 
 from his views was wrong. From his judg- 
 ment there was no appeal ! This master- 
 fulness is a little apt to impose on the reader 
 till experience teaches him that the author's 
 statements are frequently coloured by his 
 own opinions, and that his dates require 
 further investigation. Nor was he, as we 
 have before remarked, willing to acknow- 
 ledge assistance rendered by others in 
 fact, he was not above using such sources 
 of information as a means of attack on the 
 giver. But, with all these faults, there is 
 no other book to take its place ; and those 
 who, like the writer, have had occasion to 
 consult it almost daily for many years past, 
 must be lost in admiration at the depth 
 and extent of knowledge which it displays. 
 
 With the lapse of years a supplement 
 was, of course, called for. This has been 
 admirably supplied by M. Arthur Pougin 
 in 1878, 1880: 2 vols., 8vo. M. Pougin 
 called to his assistance a number of cap- 
 able writers, and adopted the excellent 
 plan of adding their signatures to the 
 articles. The possessor of the original 
 work (and it is one of the first which the 
 student should acquire) will not fail to 
 add these two volumes. 
 
 The Biographical Dictionary of Musi- 
 cians by Mr. J. D. Brown (Paisley, 1886 : 
 8vo), formerly of the Mitchell Library,
 
 158 The Literature of Music. 
 
 Glasgow, but now of the Clerkenwell 
 Library, one of our most capable librarians, 
 was scarcely received with the attention 
 it deserved. It is a most painstaking work. 
 The biographical notices are succinct, 
 and to each is appended a really excellent 
 bibliography of the works of the composer. 
 It is especially good in notices of recent 
 English musicians, and much information 
 which will be looked for in vain in other 
 works will be found here. Mr. David 
 Baptie's Handbook of Musical Biography 
 (London, [1883] : 8vo) confines itself to 
 the barest facts, but it is a useful little 
 work, and, the writer has reason to think, 
 very accurate in dates. Both Mr. Baptie 
 and Mr. W. H. Cummings have also 
 issued alphabetical lists, confining the 
 information to the nature of the com- 
 poser's work and the dates of his birth 
 and death, which is carrying compression 
 almost too far. 
 
 Without professing to have exhausted 
 the purely biographical dictionaries, we 
 have mentioned the most important and 
 the most useful. There is another class 
 which may be also consulted with advan- 
 tage : dictionaries devoted to the musi- 
 cians of a particular town or country. 
 Of these there are several. The earliest 
 was the Baierisches Musik Lex ikon of
 
 Dictionaries of Music. 159 
 
 F. J. Lipowsky (Munich, 1811 : 8vo). 
 In 1846 and 1847 appeared the Schlesisches 
 Tonkiinstler-Lexikon of Kossmaly and 
 Carlo, devoted to the musicians of Silesia. 
 (Breslau : 8vo). The information is said 
 to be trustworthy, but the arrangement is 
 most inconvenient. It was issued in four 
 parts, each containing an entire alphabet, 
 so that four references are sometimes 
 necessary to ascertain whether a name 
 is included. In addition to the biogra- 
 phies of musicians, it gives accounts of 
 the various musical societies belonging 
 to the Province. In 1857 Albert Sow- 
 inski, a capable and esteemed Polish 
 musician, resident in Paris, published 
 Les Musiciens Polonais et Slaves, anciens 
 et modernes, Dictionnaire Biographique 
 (Paris : 8vo), a work of very great research, 
 indispensable to those who wish to investi- 
 gate the musical history of this richly 
 endowed nation. The musicians of Berlin 
 found an admirable biographer in Carl 
 von Ledebur, whose Tonkiinstler-Lexikon 
 Berlins appeared in that city in 1861, in a 
 large octavo volume of over seven hundred 
 pages. We are particular in giving these 
 details, as at the time Fetis wrote his 
 notice of Ledebur the work was incom- 
 plete, and Fetis appears to have supposed 
 that it was destined to remain so. It
 
 160 The Literature of Music. 
 
 contains living as well as deceased 
 musicians, and much of it is based on 
 original investigations, so that its value 
 is considerable. Even such small cities as 
 Liibeck, in North Germany, and Salzburg, 
 in Austria, have their special dictionaries 
 by Stiehl (Liibeck, 1821 : 8vo) and Pill- 
 wein (Salzburg, 1821 : 8vo). 
 
 For the musicians of Spain we have the 
 Diccionario of Baltasar Saldoni, the con- 
 tents of which are admirable, but arranged 
 with extraordinary perversity. The first 
 attempt at this work was produced in 
 1860 (Madrid: i vol., 8vo), under the 
 title of Efemerides de Musicos Espa notes, 
 and, as expressed by the title, it took the 
 unfortunate shape of a calendar, the notice 
 of each musician being under the date of 
 his birth, or, more frequently, of his death. 
 This is of necessity followed by an index, 
 with a reference to the date under which 
 the name is treated. When the author 
 knows neither the date of the birth nor of 
 the death, his system, of course, breaks 
 down, and he is compelled to provide for 
 such cases in a separate alphabet, which 
 extends to almost as many pages as the 
 Efemerides, although printed in much 
 smaller type. Why he cannot have com- 
 bined the two in one general alphabet 
 passes comprehension ; but the principle
 
 Dictionaries of Music. 161 
 
 of a calendar seems to have had a fascina- 
 tion for him, for in 1868 he embarked on 
 a greatly enlarged work, still following the 
 same system. This first volume of the 
 new attempt contains the months of 
 January and February only, with an 
 alphabetical index to each month separ- 
 ately, and a few names, beginning with the 
 letter A, of those whose births or deaths 
 were unknown to him. Probably the 
 work languished from lack of patronage, 
 as no further instalment appeared till 
 1880, when the second and third volumes 
 appeared, the second with supplementary 
 names in January and February, each 
 with a distinct index, but bringing the 
 general calendar down to June, while 
 the third finished the year and contained, 
 in addition to the index to each month, 
 a general index to the whole work. In 
 1 88 1 the fourth and concluding volume 
 appeared, almost entirely devoted to an 
 alphabetical dictionary of names to whose 
 birth or death no date can be assigned. It 
 should be mentioned that each volume con- 
 cludes with a few pages of " Variedades," 
 which seem to consist of cuttings from 
 newspapers on such musical subjects as- 
 interested the author. In the two sections 
 of the work he claims to have noticed 
 three thousand eight hundred and seventy- 
 
 ii
 
 1 62 The Literature of Music. 
 
 one musicians, which is not a bad muster 
 for one nation. It will be conceded that 
 the book is most harassing to consult, 
 but the information, when found, is gene- 
 rally trustworthy. 
 
 The dictionary of Portuguese musicians, 
 by Joaquim de Vasconcellos, a well- 
 qualified writer (Os Musicos Portuguezes, 
 Porto, 1870 : 2 vols., Svo), is fortunately 
 free from any such vagaries of arrange- 
 ment. It is to be regretted that as yet 
 no one has been patriotic enough to 
 attempt a dictionary of English musi- 
 cians. 
 
 We are now brought to the third class 
 of dictionaries of music those which 
 attempt to combine the technical with 
 the biographical, a plan which too often 
 results in sacrificing much of the utility 
 of each. The practice has met with 
 special favour in Germany. 
 
 The first attempt of this sort was the 
 Musikalisches Lexicon, oder Musikalische 
 Bibliothec of Johann Gottfried Walther, 
 a musician of great attainments and a 
 relation of J. S. Bach. In 1728 he 
 published, or printed, a specimen of his 
 musical dictionary one copy of which 
 only is known, that in the Fetis library 
 covering the letter A. Four years later 
 he brought out his complete work (Leipzig,
 
 Dictionaries of Music. 163 
 
 1738 ; 8vo) of six hundred and sixty-eight 
 pages, with plates of music. The work has 
 a distinct value of its own, for with the 
 Ehrenpforte of Mattheson it forms the 
 principal source of our information about 
 the German musicians of that period. It 
 contains the names of musicians then 
 living, and it is curious that, while several 
 of the Bach family are noticed, the name 
 of Handel does not occur. All successive 
 labourers in the field of musical biography 
 and bibliography are under great obliga- 
 tions to Walther, while the definitions and 
 explanations of musical terms are well 
 executed. 
 
 The writer is unable to assign the 
 authorship of a work on a smaller scale, 
 the Kurzgefasstes Musicaliches Lexicon, 
 the first edition of which appeared in 
 1737, 2nd edition 1749, both at Chemnitz 
 (sm. 8vo). It seems to be the result 
 of independent work, and not an abridg- 
 ment of Walther. 
 
 The next work of sufficient importance 
 to be noticed is the Encyclopddie der 
 gesammten musikalischen Wissenschaften, 
 oder Universal Lexicon der Tonkunst, 
 of which Dr. Schilling was editor, assisted 
 by several capable musicians, among 
 whom were Grosheim, Marx, L. Rellstab, 
 Seyfried, and Gottfried Weber. The first
 
 164 The Literature of Music. 
 
 volume appeared in 1835 (Stuttgart : 8vo), 
 and the sixth, completing the original work, 
 in 1838; but, as usual in such undertakings, 
 a supplementary volume and this with an 
 " Anhang " was called for in 1842. This 
 work enjoyed great popularity, especially 
 in Germany, and is still valuable, although 
 now superseded by the Musikalisches 
 Conversations-Lexikon projected by Her- 
 mann Mendel, with a well-chosen band 
 of assistants, among who are Ferdinand 
 David, Dorn, Naumann, Oscar Paul, 
 Reissmann, and Tiersch. The original 
 editor did not live to see the work com- 
 pleted, and the volumes after 1876 were 
 edited by Dr. Reissman. A supple- 
 mentary volume became necessary in 
 1883, and the whole work forms twelve 
 large octavo volumes (Berlin, 1 8 70-83). It 
 is probably the best existing dictionary 
 for general purposes, although the bio- 
 graphical articles are not so full as those 
 in Fe"tis. A revised edition is now 
 appearing. 
 
 As no such work existed in the English 
 language, a great opportunity was offered 
 to Sir George Grove in the compilation 
 of his Dictionary of Music and Musicians 
 (London, 1879-89: 4 vols., 8vo ; with 
 an index to the whole work issued 
 separately in 1890). It cannot be said
 
 Dictionaries of Music. 165 
 
 that the opportunity was fully grasped, 
 for the work is almost as remarkable for 
 its deficiencies as for its many and un- 
 doubted merits. It seems to have been 
 part of the editor's plan to be entirely 
 independent of all previous works of a 
 like nature, to the extent even of making 
 no comparison to ascertain whether names 
 of importance were omitted. A long list 
 might be drawn up of names which the 
 searcher has a right to expect to find, but 
 which are entirely omitted to give one 
 instance, that of a musician so prominent 
 in the musical history of this country as 
 Bononcini, an omission which had to be 
 rectified by a note when the article on 
 Handel came to be written. Perhaps it 
 is unfair to complain that the scheme of 
 the work appears to have been enlarged 
 as it progressed, but surely a little fore- 
 sight might have avoided the ridiculous 
 circumstance that the title of the first 
 volume announces the work as in two 
 volumes, that of the second in three, and 
 that of the third in four, the fourth volume 
 being largely composed of a supplement, 
 supplying the necessary corrections and 
 additions to the original work. Some of 
 the articles are altogether out of proportion 
 to a work of this nature, and in this the 
 editor is one of the chief offenders. The
 
 1 66 T/te Literature of Music. 
 
 notices of Beethoven, Mendelssohn, 
 Schubert, and Schumann, together occupy 
 more than two hundred pages. They are 
 undoubtedly valuable in themselves, and 
 Sir George Grove has laboured so earnestly 
 in the interests of Schubert's reputation 
 that it seems perhaps ungracious to object 
 to his exhaustive treatment of the subject, 
 which we must consider too detailed for 
 the position it occupies. The editor was, 
 of course, assisted by a numerous and 
 well-chosen staff of contributors, and the 
 subjects have usually been wisely appor- 
 tioned. The one glaring exception is 
 that of the article on Hummel. The 
 author of it is entitled to his own critical 
 views, but he would have done well to 
 consult the first music-seller's catalogue he 
 came across before exposing his ignorance, 
 real or affected, of what Hummel has 
 really written. 
 
 With all these faults, the work is so 
 truly admirable that we cannot help 
 regretting the more keenly that a little 
 more alertness of supervision was not 
 exercised, for it is what is wanting that 
 is to be regretted, and not the quality 
 of the information given, which is almost 
 invariably excellent much of it also not 
 to be found elsewhere. Among the most 
 useful items are the lists given of the
 
 Dictionaries of Music. 167 
 
 contents of the various collections of 
 musical works such, for example, as 
 Boyce's Cathedral Music, Bodenschatz's 
 Florilegium Portense, and other similar 
 works. Many of the articles on musical 
 instruments are in the safe and capable 
 hands of Mr. A. J. Hipkins, who is the 
 highest authority on the pianoforte and 
 its progenitors. The learned articles of 
 Mr. W. S. Rockstro on the various forms 
 of music used in the Roman Catholic 
 service, and on other matters, especially 
 a very remarkable article on Schools of 
 Music, although possibly too extended, 
 contain information of the greatest value, 
 nowhere previously given. The index, 
 drawn up with infinite care and labour 
 by Mrs. E. R. Wodehouse, forms a most 
 useful, and indeed indispensable, addition 
 to the work.
 
 CHAPTER VIII. 
 THE LITERATURE OF SACRED Music. 
 
 |E have already commented on 
 the constant stream of works on 
 the practice of Plain-Song which 
 flowed from the Italian press. 
 As it forms a necessary part of the educa- 
 tion of every ecclesiastic, no doubt each 
 seminary has had its favourite handbook 
 probably the work of the professor en- 
 trusted with that part of the student's 
 education. No good purpose would be 
 served by giving their titles here. But 
 there is one work which should be men- 
 tioned, as it is the only available source 
 of original information on the subject of 
 the Ambrosian Rite, which, as is well 
 known, is still adhered to in Milan. This 
 work, drawn up at the request of St. 
 Carlo Borromeo, but not published till 
 after the death of the author, Padre 
 Camillo Perego, is entitled La Regola del 
 Canto Fcrmo Ambrosiano (Milan, 1622 : 
 4to). It must be studied by any one who 
 1 68
 
 Literature of Sacred Music. 169 
 
 wishes to understand the distinctions 
 between the Roman and the Ambrosian 
 Chant. 
 
 The most important work on the subject 
 of Plain-Chant published in France was 
 La Science et la Pratique du Plain Chant 
 . . . par un Religieux Benedictin de la 
 Congregation de S. Maur (Paris, 1673 : 
 4to). The "Religieux" wasDom Jumilhac. 
 The original edition of this work is of very 
 great rarity, but a second edition was issued 
 in 1847 (Paris : 4to) a hundred and 
 seventy-four years after the first publica- 
 tion under the able editorship of MM. 
 Theodore Nisard (the Abbe Normand) 
 and A. le Clercq, who have added many 
 valuable notes. The Traite historique et 
 pratiqiie sur le chant ecclesiastique . . . 
 suivant /'usage du diocese de Paris (Paris, 
 1741 : Svo), by the Abbe Lebeuf, is interest- 
 ing, on account of its historical portion, 
 tracing the variations in Plain-Song which 
 had established themselves in different 
 parts of France, although it must be fol- 
 lowed with some caution. The practical 
 part was by the Abbe Chastelain. Another 
 work of importance is the Traite theorique 
 et pratique du Plain-Chant, appele gregorien 
 of the Abbe Poisson (Paris, 1750: Svo). 
 
 The issue of the second edition of 
 Dom Jumilhac marks a period of extra-
 
 170 The Literature of Music. 
 
 ordinary revival of interest in the subject 
 which manifested itself in France, as 
 evidenced by the labours of such men as 
 Fetis, La Fage, Felix Clement, the Abbe 
 Normand, Pere Lambillotte, and Danjou ; 
 the latter started a paper Le Revue de la 
 Musique religieuse (Paris, 1845-54: Svo ; 
 but it was suspended by the Revolution 
 of 1848 for a long interval). La Fage 
 drew up a Cours complet de Plain- Chant 
 (Paris, 1855-6 : 2 vols., Svo), and all the 
 above, with other workers, entered with 
 much energy into the controversy which 
 the attempt to restore the true ancient 
 tradition aroused, resulting in a plentiful 
 crop of pamphlets, which it is impossible 
 to detail here. In Germany, at about 
 the same time, a similar movement, more 
 quietly carried on, was in progress. It 
 centred in the city of Regensburg, under 
 the fostering care of Carolus Proske, to 
 whom we are indebted for the magnificent 
 collection of Church music known as 
 Musica Divina. 
 
 The training of priests of the Roman 
 faith was for so long a time penal in this 
 country that there is a remarkable absence 
 of handbooks of Plain-Song until com- 
 paratively recent times. The only book 
 on the subject known to the writer is 
 An Essay on the Church Plain-Chant
 
 Literature of Sacred Music. 171 
 
 (London, 1782: 8vo), published anony- 
 mously, " with approbation " ; but with 
 the advance of the Oxford movement in 
 the Church of England " Gregorians " were 
 suddenly received with remarkable favour 
 by the more ecstatic members of the 
 school, and several works appeared, ex- 
 plaining their principles. Among the 
 best and earliest of these was the Concise 
 Explanation of the Church Modes, by 
 Charles Child Spencer (London, 1846: 
 4 to). 
 
 The history of religious music has a 
 considerable literature. To speak first 
 of the music of the Roman Church, we 
 have the De Cantu et Musica sacra of the 
 excellent Prince Abbot Martin Gerbert 
 (St. Blaise, 1774: 2 vols. 4to), a work 
 of great erudition, which forms the basis 
 of most subsequent attempts. It is a 
 mine of wealth, and although in some 
 particulars corrected by the scholarship 
 of modern times, an honour to the man 
 and the age which produced it. To this 
 work should be added the same writer's 
 Vetus Liturgia Alemannica (St. Blaise, 
 1776: 2 vols., 4to, paged continuously), 
 although more particularly devoted to 
 ritual. 
 
 The Histoire Generate de la Musique 
 religieuse of M. Felix Clement is a series
 
 \"J2 The Literature of Music. 
 
 of articles on various periods of musical 
 history, and on topics connected with 
 Church music, rather than a true history. 
 A large portion of the work is taken up 
 with an account of liturgical dramas in 
 churches, and the author's devotion to 
 Plain-Song seems to blind him to the 
 merits of Palestrina and his school. The 
 Geschichte der Kirchenmusik of Raymond 
 Schlecht (Regensburg, 1871 : 8vo) answers 
 much more accurately to its title, and is 
 illustrated with a large number of musical 
 examples. 
 
 The important part which the Monastery 
 of St. Gall played in early times, in the 
 diffusion of Plain-Song, is well known. 
 An excellent monograph on the subject 
 has been written by P. Anselm Schubiger, 
 with the title of Die Sangerschule St. 
 Gallens vom achten bis zwolftes-Jahrhundert 
 (Einsieldeln and New York, 1858: 4to), 
 illustrated with several facsimiles of por- 
 tions of manuscripts preserved in that 
 rich library, as well as other examples. 
 And we may also here mention the 
 admirable photographic facsimiles of 
 ancient musical manuscripts which are 
 being issued by the Benedictines of 
 Solesmes, principally on account of the 
 excellent elucidatory matter which accom- 
 panies them.
 
 Literature of Sacred Music. 175 
 
 Much interest, of course, gathers round 
 the famous choir of the Vatican, for so 
 many years the centre of all that was 
 greatest in Church music. There are 
 several works devoted to it, the earliest, 
 and perhaps the most important, of which 
 is the Osseroazioni per ben regolare il coro 
 de i cantori della Capella Pontifica by 
 Andrea Adami da Bolsena, who filled 
 the office of " maestro " of the chapel 
 (Rome, 1711: 4to). The work begins 
 with a short history of the choir, and 
 then proceeds to give particular instruc- 
 tions as to the ritual to be observed at 
 all functions, ordinary or extraordinary, 
 as far as they concern the duties of the 
 choir. This is followed by a list of all 
 those who have been members of the 
 choir, and, in the case of the more 
 celebrated, a short biography is given, 
 and occasionally a portrait. This is a 
 most valuable work, and in many instances 
 forms the only source of information. 
 Further details as to this interesting body 
 are to be found in F. X. Haberl's Die 
 Romische Schola Cantorum (Leipzig, 1888: 
 8vo), a reprint from the Vierteljahrschrift 
 fiir Musikwissenschaft. Here are to be 
 found the rules governing the members 
 of the chapel, and their emoluments. 
 Much further information is given in the
 
 174 The Literature of Music. 
 
 Memorie storicho-criticlie della vita e dclle 
 opere di Giovanni Pierlingi da Palestrina 
 of the Abbate G. Baini (Rome, 1828: 
 2 vols., 4to) a model of what such a work 
 should be, the title of which gives no 
 notion of the wealth of information sup- 
 plied. Baini was himself "maestro" of 
 the chapel. The work was translated into 
 German by Kandler, with notes by 
 Kiesewetter (Leipzig, 1834: 8vo). 
 
 Venice probably formed the other most 
 important centre of Church music in 
 Italy. On this school much important 
 information is to be found in Winterfeld's 
 Johannes Gabrieli und sein Zeitalter 
 (Berlin, 1834: 2 vols., 410 ; with a volume 
 of examples, folio), and also in the careful 
 and excellent Storia della Musica sacra 
 nella gia Cape I la Ducale di San Marco 
 in Venezia del 1318 al 1797 of Francesco 
 Caffi (Venice, 1854: 2 vols., 8vo). 
 
 Coming to the music of the Lutheran 
 Church in Germany, it must be obvious 
 how largely it is indebted to the Reformer's 
 love for the art, which shows itself so 
 frequently in his works and in his table- 
 talk. The reader may be glad to find 
 the extent of his services to Music in- 
 vestigated in Rambach's Ueber I). Martin 
 Luther's Verdienst nni den Kirchengesang 
 (Hamburg, 1813: 8vo) ; while F. A.
 
 Literattire of Sacred Music. 175 
 
 Beck's Dr. Martin Luther's Gedanken iiber 
 die Musik (Berlin, 1825 : 8vo) collects 
 his remarks on the subject in a convenient 
 form. 
 
 The literature of the music of the 
 Lutheran Church virtually resolves itself 
 into the history of the chorales, which 
 are so strongly bound up with the religious 
 life of the people. It has become volu- 
 minous. One of the most important works 
 on the subject is Carl von Winterfeld's 
 Der evangelische Kirchengesang (Leipzig, 
 1843-47 : 3 vols, 4to), in which the sub- 
 ject is treated with great detail, and the 
 authorship of most of the works of this 
 nature is carefully traced. The work is 
 amply illustrated with examples, and is, 
 without doubt, the book on the subject 
 in its musical aspects. The Geschichte der 
 Kirchcnlieds of E. E. Koch, the last (3rd ?) 
 edition of which is Stuttgart, 1866 and 
 1867, four volumes octavo, is more largely 
 occupied with the consideration of the 
 words of the chorales, although much 
 information will also be found on the 
 authorship of the music. Hoffmann von 
 Fallersleben has also written a book on 
 the subject of the Metrical German Church 
 music earlier than Luther, with the title, 
 Geschichte des Detitsches Kirchenliedes bis 
 auf Luther's Zeit, the third edition of which
 
 176 The Literature of Mil sic. 
 
 (octavo) came out in Hannover, in 1861 ; 
 while Winterfield produced a further 
 work Zur Geschichte heiliger Tonkunst 
 (Leipzig, 1850-52 : 2 vols., 8vo) a some- 
 what miscellaneous collection, which in- 
 cludes, among other matters, a chapter on 
 Psalmody in England. 
 
 A truly excellent little work on the 
 history of Church music in our own 
 country is found in the English Church 
 Composers, by W. A. Barrett, one of the 
 " Great Musicians " series (London, 1882 : 
 8vo), mainly devoted to cathedral music 
 from the Reformation to our own times. 
 Its utility would be greatly enhanced by 
 an index. 
 
 Two important works on Church music 
 in England must be referred to. The 
 first is The Music of the Church considered 
 in its Various Branches, Congregational and 
 Choral, by the Rev. John Antes La Trobe, 
 son of the compiler of the well-known 
 collection of sacred music (London, 
 1831 : 8vo) a work far in advance of 
 its time, an earnest plea by a lover of 
 Music and a good practical musician, for 
 a greater recognition of the claims of 
 Music in God's service which may still 
 be read with satisfaction. The other 
 is The Choral Service of tlie United 
 Church of England and Ireland, by the
 
 Literature of Sacred Music. 177 
 
 Rev. John Jebb, afterwards D.D., and 
 Canon of Hereford, also an esteemed 
 musician (London, 1843 : 8vo). It is a 
 practical guide to the due performance 
 of the cathedral service, which has borne 
 good fruit in the increased reverence 
 which has become universal in these 
 buildings. 
 
 Mr. J. S. Curwen's Studies of Worship- 
 Music must also be mentioned. It is 
 mainly a plea for congregational singing, 
 and contains much sound sense and many 
 useful hints. The work is partly occupied 
 with a description of visits to the places of 
 worship of various denominations, which 
 is not without interest. 
 
 Church music in Scotland should per- 
 haps be mentioned, on account of the 
 remarkably acrimonious controversy which 
 broke out on the attempt to introduce 
 the organ into public worship in that 
 country. The discussion was supported 
 by Drs. Candlish, Porteous, and others. 
 A novel, even, with the title of Cold Souls 
 (Edinburgh, 1876 : 8vo), was written in 
 denunciation of the practice a work of 
 incredible narrow-mindedness and bigotry. 
 The Church of England, in the days 
 succeeding Puritan ascendency, was also 
 agitated by the same discussion. The 
 practice was vindicated, among others, 
 
 12
 
 178 The Literature of Music. 
 
 by the Rev. J. Newte, in a sermon 
 preached at Tiverton, in Devon, on the 
 occasion of the erection of an organ in 
 that parish church (London, 1696: 4to), 
 and further in the treatise of Henry Dod- 
 well, Concerning the Lawfulness of Musick 
 in Holy Offices. To which is prefixed a 
 preface in vindication of Mr. Newte's 
 Sermon (London, 1700: 8vo), a book so 
 learned and pedantic that it is absolutely 
 unreadable. 
 
 The theory of the Rev. Arthur Bedford, 
 in his Temple Musick, that the English 
 cathedral service is a direct derivation 
 from the music of the Hebrew Temple, 
 has been already mentioned. Very few 
 people have any acquaintance with the 
 music at present used in the synagogues, 
 which claims to be traditional. Those 
 who wish to investigate this interesting 
 and difficult subject will find full informa- 
 tion in Baal T : Fillah oder Der practische 
 Vorbeter of Abraham Baer (Frankfurt 
 [1883] : folio). This is the second edition 
 of the work. 
 
 The history of the Oratorio has scarcely 
 received the attention it deserves. We 
 know of only two works specially devoted 
 to the subject. The first, by C. H. Bitter, 
 modestly claims to be only Beitrdge zur 
 Geschichte des Oratoriums (Berlin, 1872 :
 
 Literature of Sacred Music. 179 
 
 8vo); and, indeed, it is totally deficient in 
 arrangement, beginning with Mendelssohn, 
 and treating subsequently of the works 
 of Handel. It is more especially devoted 
 to German effort in this direction. A 
 more comprehensive and orderly work is 
 the Geschichte des Oratoriums of Otto 
 Wangemann (Demmin, 1882 : [second 
 edition], 8vo). The work is copiously 
 illustrated with musical examples, and 
 contains much bibliographical information 
 of great interest.
 
 CHAPTER IX. 
 THE LITERATURE OF THE OPERA. 
 
 JiN the threshold of the considera- 
 tion of the literature of the Opera, 
 a word or two may perhaps be 
 said as to the objection often 
 urged against the very existence of the 
 Opera that to carry on the action of 
 a drama by means of music is opposed 
 to nature, and therefore ridiculous. One 
 of the best known examples of the 
 advocacy of this view is found in the 
 series of papers by Addison in the earlier 
 numbers of the Spectator. The charm 
 and playful delicacy of his style blind the 
 reader to the fallacy of his criticism. The 
 warrant for the existence of the Opera 
 exists in the fact that the force of the 
 words of the drama is added to, and 
 accentuated, by the employment of the 
 resources of a sister art. This was well 
 put by the Abbe Du Bos in his Reflexions 
 critiques sur la Poesie et la Peinture which 
 appeared in 1719, a few years only after 
 1 80
 
 Literature of tJie Opera. 181 
 
 Addison's essays. The work, often re- 
 printed, was translated into English by 
 Thomas Nugent (London, 1748: 3 vols., 
 8vo). In the words of this translation, 
 Music is " one of those means which have 
 been invented in order to add a new 
 strength to poetry, and to render it 
 capable of making a greater impression." 
 The discussion has been often revived, 
 even in our own day, but no more need 
 be said on the subject here. 
 
 Of the Liturgical dramas of the Middle 
 Ages a full description, with examples, 
 will be found in the Drames liturgiques du 
 Moyen Age of Coussemaker (Paris, 1861 : 
 4to). But in point of fact the Modern 
 Opera owes nothing to its religious proto- 
 type. It was an entirely new departure, 
 having its origin in the attempt of Vincenzo 
 Galilei, Peri, and Caccini, with the help of 
 the poet Rinuccini, to revive the ancient, 
 and probably greatly overrated, glories of 
 the Greek drama, an account of which 
 will be found in every history of Music. 
 
 Considering that this attempt was made 
 in Florence, and that after a few years 
 Venice might almost be looked on as the 
 headquarters of the Opera, it is remark- 
 able how meagre the Italian literature of 
 the subject is. We have the Opera in 
 Musica of Antonio Planelli (Naples, 1772 :
 
 1 82 The Literature of Music. 
 
 8vo), a work which passes over the history 
 of the Opera very rapidly, and is devoted 
 rather to the esthetic principles of the 
 subject, and to the means of putting them 
 into practice. A more important work 
 was Le Rivoluzioni del Teatro Musicale 
 Italiano of Stefano Arteaga (Bologna, 
 1783: 2 vols., 8vo; 2nd edition, Venice, 
 I 7^5 : 3 vols., 8vo), which received the 
 honours of translation into German at 
 the hands of Forkel (Leipzig, 1789 : 8vo), 
 and of a French abridgment published 
 in London in 1802, octavo. The 
 work of Arteaga, who was a Spanish 
 Jesuit, is original and important, and 
 characterised by great clearness of judg- 
 ment. We must also mention the little 
 work of that universal genius Count 
 Algarotti, Saggio sopra r Opera in Musica, 
 the first edition of which was published 
 in 1755, without name of place. It was 
 afterwards often reprinted, both alone and 
 in the collected editions of Algarotti's 
 works, and translated into English (Lon- 
 don, 1767: 8vo; and Glasgow, 1768). 
 It is really a very sensible little book, 
 foreshadowing several of the views after- 
 wards advocated by Gluck. If to these 
 works be added the brilliant little satire 
 of Benedetto Marcello // Teatro alia 
 Moda first published without a date
 
 Literature of the Opera. 183 
 
 (Borghi di Belisania [Venice] : 8vo), but 
 probably in 1721, we have mentioned all 
 the works of any importance which ap- 
 peared in Italy before the present century. 
 It professes to give instruction in their 
 duties to all the various persons engaged 
 in the Opera. It passed through several 
 editions in Venice, and has been more 
 than once reprinted during the present 
 century in one instance with the addition 
 of a song in the Bolognese dialect in p r aise 
 of Malibran ! and in a French translation 
 by Ernest David (Paris, 1890 : 8vo). 
 
 It was in France that the greatest 
 literary activity gathered around the 
 Opera. Possessing no composer of the 
 first rank, France has always attracted to 
 its capital the most eminent operatic 
 writers of other countries, and Paris has 
 proved the battlefield of rival factions in 
 the operatic world. 
 
 It is impossible to enter on this subject 
 without some knowledge of the outlines 
 of its history. Companies of Italian 
 singers had been introduced into France 
 by Mazarin to do pleasure to Anne of 
 Austria. These performed exclusively at 
 Court, where ballets had, for a long time, 
 formed a favourite source of amusement, 
 royal personages even not disdaining to 
 take part in them. It was not till 1669
 
 184 The Literature of Music. 
 
 that Perrin obtained his patent for the 
 establishment of a public theatre devoted 
 to Opera, for which purpose he associated 
 himself with Cambert as composer of the 
 music. The arrangement was of short 
 duration, for the wily Italian Lulli soon 
 succeeded in ousting them, and in obtain- 
 ing the patent for his exclusive advantage. 
 The character of Lully, as his name 
 became in France, was grasping and 
 crafty, and he was very far from being 
 loved. A satire directed against him 
 appeared from the pen of La Fontaine, 
 whom he employed as a librettist during 
 the temporary disgrace of his favourite 
 poet Quinault; but one of the most curious 
 writings against him is the Lettre de 
 Clement Marot a Monsieur de . . . touchant 
 ce qui Jest passe a I'arrivce dejean Baptiste 
 Lully aux Champs-Elysees (Cologne [?], 
 1688 : i2mo), by Antoine Bauderon, Sieur 
 de Senece, whose grievance was of a like 
 nature to La Fontaine's. The author 
 does not scruple to accuse Lully of the 
 actual murder of Cambert. 
 
 The reader will not need telling that 
 the genius of Lully was in every way 
 successful, and that he was adopted by 
 the nation as the French composer. His 
 claims and those of his successors were 
 not, however, universally admitted. They
 
 Literature of the Opera. 185 
 
 were contested in a pamphlet by the Abbe 
 Raguenet, who had travelled in Italy, 
 entitled Paralttle des Italiens et des 
 franfais, en ce qui regarde la Musique et 
 les Operas (Paris, 1702: i2mo; English 
 translation, London, 1709: 8vo). Such an 
 indictment against the national taste could 
 not go unanswered, and in 1704 Lecerf 
 de la Vieville replied with much vigour 
 in his Comparaison de la Musique italienne 
 et de la Musique francoise, (Brussels, 1 704 : 
 i2mo), and in the following year the 
 work was reprinted, with additions, con- 
 taining a life of Lully and a history of 
 Music and the Opera. The work called 
 forth a reply from Raguenet, with whom 
 the honours of the controversy remained. 
 The English translation of Raguenet's 
 book, to which an interesting appendix on 
 "Operas and Musick in England" is added, 
 is attributed to Galliard by Hawkins, but 
 this view is contested by Burney. Who- 
 ever is answerable for it, the English is 
 very quaint and curious. 
 
 The controversy was allowed to slumber 
 for the greater part of half a century, 
 when an Italian company visited Paris 
 and produced the delightful little duologue 
 of Pergolesi, La Serva Padrona. This 
 was the signal for the renewal of the 
 conflict with increased bitterness. Then
 
 1 86 The Literature of Music. 
 
 broke out the famous Guerre des Bouffons, 
 in which every one who was a wit, or 
 assumed to be one, was compelled to 
 take sides, and to belong either to the 
 " Coin du Roi," which supported the 
 patriotic view, or the " Coin de la Reine," 
 which declared for Italian music. Among 
 the combatants were Grimm, D'Holbach, 
 D'Alembert, Travenol, Cazotte, the Abbe 
 Arnaud, Frederick the Great and, hottest 
 of all in the fray J. J. Rousseau, who 
 declared that " the French have no music, 
 and never will have any ; and if they 
 ever should have, it will be so much the 
 worse for them " (Lettre sur la Musique 
 franfai'se, 1753). Those who wish to in- 
 vestigate the subject for themselves will 
 find a complete bibliography, carefully 
 drawn up by E. Thoinan, in vol. ii. 
 p. 449 of the supplement to the 
 Didionnaire of Fetis. But the controversy 
 is dreary reading ! All the sparkle has long 
 evaporated. The catalogue, as here given, 
 comprises sixty-three works. Most of 
 them are, of course, only pamphlets of a 
 few pages, which get thrown away when 
 read ; it is therefore very difficult almost 
 impossible to form a complete collec- 
 tion. The writer, for many years past, 
 has availed himself of every opportunity 
 that offered, but has succeeded in
 
 Literature of the Opera, 187 
 
 acquiring little more than half the series 
 many more, however, than he has had 
 the patience to read ! 
 
 The war came to an end from the 
 exhaustion of the combatants on either 
 side, the last stray shot being an article 
 inserted by D'Alembert in his well-known 
 Melanges (1759). But the peace was 
 not destined to be a lasting one. In 
 1774, with the protection of Marie 
 Antoinette, Gluck produced his Iphigenie 
 en Aulide in Paris. Its success was 
 followed by that of Orphee,, Alceste, and 
 Armide. The advocates of Italian music, 
 annoyed at Gluck's triumph, brought 
 Piccinni to Paris. The war between the 
 advocates of the Austrian and of the 
 Italian broke out with a fierceness greater 
 even than that of the Guerre des Bouffons. 
 Marmontel, La Harpe, Ginguene, D'Alem- 
 bert, Framery, espoused the Italian cause, 
 Suard and the Abbe Arnaud that of 
 Gluck. The discussion was more sincere, 
 as it involved the defence of definite prin- 
 ciples, and was not so obviously continued 
 simply to air the wit of the disputants 
 as was that of the Guerre des Bouffons. 
 Fortunately the principal contributions 
 to the discussion were collected in a 
 volume by the Abbe Leblond under the 
 title of Mhnoires pour servir a r Histoire
 
 1 88 The Literature of Music. 
 
 de la Revolution oper'ee dans la Musique 
 par M, le Chevalier Gluck (Naples (?) and 
 Paris, 1781 : 8vo), so that the course of 
 the discussion can be readily followed. 
 The advocates of Gluck had the good 
 sense to base their arguments on the 
 principles enunciated in Gluck's famous 
 dedication to Maria Theresa of the opera 
 Alceste, a translation of which appears in 
 this collection, and has been quoted over 
 and over again ; but it may be well to 
 add that the original is to be found in the 
 edition of the full score of the opera 
 published in Vienna by Trattner in 1769. 
 His views were further emphasized in the 
 dedication of Paride ed Elena (Vienna, 
 1770), both of which original editions 
 are far from common. The discussion 
 was prolonged from the year 1772 to 1780, 
 when more serious matters began to 
 agitate the nation. The best works on 
 the subject of Gluck and his influence 
 are Anton Schmid's Christopher Willibald 
 Ritter von Gluck, dessen Leben und 
 tonkunstlerisches Wirken (Leipzig, 1854 : 
 Svo), a book abounding in detail and 
 executed with great care ; and in French 
 Gluck et Picdnni 1774-1800 by G. 
 Desnoiresterres (Paris, 1872 : Svo), a 
 book specially devoted to the considera- 
 tion of Gluck's influence in France ; while
 
 Literature of the Opera. 189 
 
 Mr. Ernest Newman has recently published 
 a most painstaking work on the subject, 
 under the title Gluck and the Opera : a 
 Study in Musical History (London, 1895 : 
 8vo). 
 
 Turning now to works devoted to the 
 history of the Opera in France, the 
 earliest to be mentioned are the two little 
 volumes of the learned Jesuit, Menestrier 
 Des representations en Musique anciennes 
 et modernes (Paris, 1681 : i2mo) and Des 
 ballets anciens et modernes selon les regies 
 du Theatre (Paris, 1682: i2mo), both 
 forming parts of a larger work never 
 carried out, and containing much infor- 
 mation, the fruits of original research ; 
 but their date covers but a very small 
 portion of the history of the subject. 
 The anonymous Histoire du Theatre de 
 r Opera en France (Paris, 1753 : 8vo) 
 was by Jacques Durey de Noinville, as- 
 sisted by Louis Travenol, a violinist in the 
 opera band and one of those who joined 
 in the Guerre des Bouffons, whose taste 
 for literature led him into several scrapes. 
 Little is to be said in favour of the book ; 
 its interest lies in the information about 
 \\\& personnel oi the Opera and in a chrono- 
 logical list of works produced. 
 
 The Art du Theatre of Nougaret (Paris, 
 1769 : 2 vols., i2mo) contains information
 
 190 The Literature of Music. 
 
 on the history of the Opera and of the 
 Opera Comique ; while the anonymous 
 Histoire deT Opera Bouffon (Paris, 1768: 
 
 2 vols., i2mo), the author of which was 
 Contant D'Orville, gives details both of 
 the plot and caste of the works performed 
 at that theatre ; the Histoire dn Theatre 
 de r Opera Comique (Paris, 1769 : 2 vols., 
 i2mo) follows the same course. The 
 author of this work was J. A. Jullien, 
 known under the name of Uesboulmiers. 
 Les Trois Theatres de Paris of Des Essarts 
 (Paris, 1777 : 8vo) gives a very rapid 
 history of the Opera, but is mainly inter- 
 esting from the fact that it contains all 
 the arrcts governing the management of 
 that theatre. 
 
 Covering a later period are the Mcmoires, 
 ou essais sur la Musique by the Citoyen 
 Gretry (Paris, Pluviose, an V, [1797] : 
 
 3 vols., 8vo). The details are almost 
 exclusively about his own operas, but 
 the book is amusing reading. While 
 Martine, in his Musique dramatique en 
 France (Paris, 1813 : 8vo), gives many 
 particulars about the operas of Gre"try, 
 Philidor, Monsigny, D'Alayrac, Boieldieu, 
 Me"hul, and other French composers of 
 that time. 
 
 In 1820 Castil-Blaze, who was edu- 
 cated for the bar, and had become sous-
 
 Literature of the Opera. 191 
 
 prefet in the department of Vaucluse, 
 threw up his appointment and came to 
 Paris, with a view of publishing his work, 
 De rOper a en France (Paris, 1820 : 2 vols., 
 8vo). It was the most valuable work 
 which had appeared up to that time. It 
 is critical rather than historical, and the 
 title does not describe the full scope of 
 the book. The first volume is really an 
 introduction to the art, as opposed to 
 the science, of Music, and contains much 
 valuable advice on the choice of words, 
 the selection and training of voices, the 
 constitution of the orchestra, on accom- 
 paniment, etc., conveyed with great vigour 
 of language. The second volume con- 
 siders in detail the various parts of an 
 opera, with a valuable chapter on the 
 history of Opera in the provinces. The 
 success of the work obtained for Castil- 
 Blaze the position of musical critic of the 
 Journal des Debats, and he became from 
 that time one of the most active writers 
 on music, although none of his subsequent 
 works are so valuable as that just noticed 
 in fact, he became the facile musical 
 feuilletoniste, aiming at amusement rather 
 than instruction. He projected a series 
 of works on the lyric theatres of Paris, of 
 which there appeared L* Academic Imperiale 
 de Musique de 1645 a 1855 (Paris, 1855 :
 
 192 The Literature of Music. 
 
 2 vols., 8vo) and r Opera It alien de 1548 
 a 1856 (Paris, 1856 : i vol., 8vo). In 
 these works the author is disposed to run 
 off into amusing gossip, not always very 
 pertinent. Much of the information is 
 taken from the immense MS. collections 
 on the history of the Opera, both in 
 France and in other countries, made by 
 Beffara, commissaire de police in Paris from 
 1792 to 1816, forming eighty volumes, 
 quarto and folio, of patient researches, 
 which he left to the City of Paris, and which 
 were disastrously burnt during the Com- 
 mune. Castil-Blaze announced a work 
 on the Opera Comique, but did not live 
 to publish it; the manuscript has been 
 acquired by the Library of the Opera. 
 
 An excellent work on the Opera in 
 France is M. Gustave Chouquet's Histoire 
 de la Musique Dramatique en France 
 (Paris, 1873 : 8vo), which covers the 
 whole ground, and will be found useful. 
 M. Pougin's Vrais crcateurs de I' Opera 
 francais (Paris, 1881 : 121110) is devoted 
 to a detailed and interesting account of 
 the ousting of Cambert and Perrin by 
 Lully, while Les origines de r Opera francais, 
 by Nuitter (the Archivist of the Opera) 
 and Thoinan (Paris, 1886 : 8vo), although 
 going over much of the same ground, 
 contains useful information as to the
 
 Literature of the Opera. 193 
 
 position of the earlier homes of the Opera, 
 a question also discussed in Les treize 
 salles de F Opera of Lasalle (Paris, 1875 : 
 i2mo). 
 
 Of modern operas, much criticism will 
 be found in the republished collections of 
 contributions to newspapers which are so 
 common in France, while almost unknown 
 in this country, such as those of Scudo, 
 Adam, Berlioz, and others. Berlioz's 
 own operas gave rise to much controversy. 
 The Parisians at that time had not dis- 
 covered the merits of Berlioz as a com- 
 poser, and as a critic he had hit hard, so 
 that there was no lack of those ready to 
 retaliate, both in the press and in carica- 
 ture. An amusing collection of the latter 
 will be found in the Hector Berlioz of 
 Adolphe Jullien (Paris, 1888: 4to), who 
 is also the author of several pamphlets on 
 points of interest connected with the 
 Opera. 
 
 But by far the most valuable work on 
 the Opera in France is the admirable 
 Catalogue of the Musical Library of the 
 Opera, by M. Theodore de Lajarte, the 
 excellent librarian of that establishment. 
 In it may be traced the history of nearly 
 all the operas which have been produced, 
 form the time of Cambert to our own 
 day. The catalogue is arranged chrono-
 
 194 Tlie Literature of Music. 
 
 logically, specifying what scores and parts 
 of each opera exist in the library, the 
 author of the music and words, the date of 
 first representation, with the caste, and a 
 mention of the various " numbers " which 
 became celebrated. To these details are 
 appended admirable notes, giving many 
 interesting particulars of the different 
 works, while short biographies are added 
 of the authors both of the words and 
 music. The work, which comes down to 
 December 1876, is handsomely printed 
 (Paris, Jouast, 1877 : 2 vols., 8vo), and 
 illustrated by excellent etched portraits 
 by Le Rat, and is furnished with neces- 
 sary indexes a merit not always possessed 
 by French books. 
 
 Space is wanting to refer to the numer- 
 ous biographies of eminent performers ; 
 we may perhaps, however, mention two 
 works on the witty and brilliant Sophie 
 Arnould Arno/diana, ou Sophie Arnould 
 et ses contemperains (Paris, 1813 : i2mo), 
 and Sophie Arnould, by E. and J. de Gon- 
 court (Paris, 1857 : i2mo), and these lead 
 us to speak of Campardon's L Academic 
 Roy ale de Musique au XVIlI e siecle 
 Documents inedits dc converts aux Archives 
 nationales (Paris, 1884 : Svo), two hand- 
 some volumes, consisting of a dictionary, 
 mainl devoted to all those connected with
 
 Literature of tJie Opera. 195 
 
 that theatre who had the misfortune to be 
 concerned in any legal process, with parti- 
 culars and documents, which it may well be 
 supposed are frequently of a very edifying 
 nature. An attempt is made to give a list 
 of all the parts which each performer under- 
 took, so that the book is not wholly useless. 
 Finally we should mention M. E. G. J. 
 Gregoir's Des Gloires de F Opera et la 
 Musique a Paris (Brussels, 1878-81 : 
 3 vols., 8vo), which we believe is all that 
 has been published, although the work is 
 not complete. It consists of a very re- 
 markable collection of facts and docu- 
 ments connected with the Opera in 
 France, set down in an order roughly 
 chronological, but entirely deficient in 
 arrangement, with the usual absence of 
 index, which, in such a work, is of the first 
 importance. 
 
 The history of the Opera in France 
 was identical with the history of the 
 Opera in Paris. In Germany there were 
 many centres of musical activity at the 
 various Courts which maintained a theatre. 
 There is no doubt that Hamburg was the 
 first place where this form of amusement 
 took any hold of the public, and that this 
 result was mainly owing to Reinhold 
 Keiser. All the contemporary informa- 
 tion we have about him is to be found
 
 196 TJie Literature of Music. 
 
 in the Ehrenpforte of Mattheson, for 
 Walther, in his dictionary, adds nothing 
 to the particulars there given, for which 
 he acknowledges his indebtedness to 
 Mattheson, who, from his continued 
 residence in Hamburg and his per- 
 sonal connexion with that theatre, had 
 the best opportunities of acquiring them. 
 The early history of the German Opera 
 has been investigated by Dr. E. O. 
 Lindner in his Die erste stehende DeutscJie 
 Oper (Berlin, 1855 : 8vo), who has added, 
 in a separate volume, a series of extracts 
 from the exceedingly rare works of Reiser. 
 H. M. Schletterer has traced the history 
 of the German "Singspiel" i.e., a piece 
 in which singing alternates with spoken 
 dialogue in his Das deutsche Singspiel 
 von seinem ersten Aufdngen Iris auf die 
 neueste Zeit (Augsburg, 1863 : 8vo). 
 
 The rest of the German literature on 
 the Opera (with the exception of that 
 on Wagner) mainly resolves itself into 
 records of the work carried on at the 
 principal theatres, with t\\Q persomtel of the 
 staff. The proceedings of the Opera in 
 nearly all the larger cities are thus re- 
 corded. Of Berlin we have L. Schneider's 
 GeschicJite der Oper und des Koniglichen 
 Opernhauscs (Berlin, 1852 : 8vo), and 
 more recently Brachvogel's Geschichte des
 
 Literature of the Opera. 197 
 
 Koniglichen Theaters zu Berlin (Berlin 
 1877-8 : 2 vols., Svo), the second volume 
 of which is devoted to the Opera. Dres- 
 den is also rich in such works. We have 
 M. Fiirstenau's Zur Geschichte der Musik 
 und des Theaters am Hofe zu Dresden 
 (Dresden, 1861, 1862 : 2 vols., 8vo), an in- 
 teresting book which, however, carries us 
 no further than 1763, and Prolss's 
 Geschichte des Ho/theaters zu Dresden von 
 seinen Aufangen bis zum Jahre 1862 
 (Dresden, 1878 : 8vo), furnished with 
 excellent tables of the works performed 
 and of the artists engaged. The history 
 of the Opera in Dresden is interesting 
 from the fact that Weber was for a time 
 music-director there, fighting the battle 
 of national opera against Italian, which 
 was then in universal favour. Darmstadt 
 has an excellent record in H. Knispel's 
 Das Grossherzogliche Hof theater in Darm- 
 stadt von 1810 1890 (Darmstadt, 1891 : 
 large Svo), a work with a first-rate index 
 so rare a merit in German books that 
 it ought to be mentioned. Leipzig has 
 found chroniclers both in Kneschke Zur 
 Geschichte des Theaters nnd der Musik in 
 Leipzig (Leipzig, 1864 : Svo) and in 
 Miiller Das Stadt-Theater Leipzig ($., 
 1891 : Svo) ; and several other towns have 
 records of a like nature. If Weimar
 
 198 The Literature of Music. 
 
 possesses any such history, the writer is 
 ignorant of it. It would be of great 
 interest, on account of the work carried 
 on there by Liszt during the time he was 
 conductor of the Court theatre. Much 
 information on the period is to be found 
 in Liszt's Correspondence, recently edited 
 by La Mara (Leipzig, 1893 : 2 vols., 8vo), 
 which has been excellently translated by 
 Miss Constance Bache (London, 1894 : 
 2 vols., 8vo), as well as in the correspon- 
 dence of Wagner, which was also rendered 
 into English by the late Dr. Hueffer 
 (London, 1888 : 2 vols., 8vo), and a 
 further series by Mr. Shedlock (London, 
 1890 : 8vo). 
 
 These works lead us to speak of the 
 overwhelming amount of literature which 
 Wagner's theories of Art have called 
 forth. Without giving details of the 
 original and separate editions of his 
 literary works, it may be noted that they 
 were collected in ten volumes octavo 
 (Leipzig, 1871-85), and in a cheaper 
 reprint (Leipzig, 1887-8: TO vols., Svo). 
 The Guerre des Bouffons and the Gluck 
 and Piccinni contest sink into insignifi- 
 cance by the side of the vast mass of 
 literature which has collected and is 
 still collecting round his name. Herr 
 Oseterlein has made a catalogue of his
 
 Literature of the Opera. 199 
 
 own enormous collection, which in itself 
 fills three large octavo volumes, running to 
 9462 items, and a supplementary volume 
 has just appeared. This vast number 
 includes portraits of the composer and of 
 those who assisted in the performance 
 of his works or were otherwise concerned 
 in the movement, as well as newspaper 
 notices. Nothing seems to have escaped 
 the grasp of this indefatigable collector. 
 
 The best account of Wagner's life and 
 works is to be found in Glasenapp's 
 Richard Wagner's Leben und Wirken (ist 
 edition, Leipzig, 1876-7: 2 vols., Svo ; 
 2nd edition, ib., 1882. A third is in 
 course of publication). The same writer 
 has compiled a Wagner Lexicon (Stutt- 
 gart, 1883 : Svo) a useful exposition of 
 " the Master's " views. There exists also 
 another curious little dictionary about 
 Wagner by Tappert of all the impolite 
 things which have been said of him by his 
 opponents Wdrterbuch der Unhoflichkeit 
 . . . gegen den Meister (Leipzig, 1877 : Svo). 
 
 In France, one of the most serious 
 works in advocacy of his theories is Le 
 Drame nmsicale of E. Schure (Paris, 
 1875 : 2 vols., Svo), but in that country 
 the question has been greatly prejudiced 
 by political views, while caricature, on the 
 whole good-natured, has had free scope.
 
 2OO The Literature of Music. 
 
 Many of these, with much other interesting 
 matter, and numerous portraits, have been 
 collected in the handsome volume of 
 Adolphe Jullien Richard Wagner, sa vie, 
 et ses ceuvres (Paris, 1886 : 4to) a com- 
 panion volume to the same writer's Berlioz, 
 already spoken of. An equally amusing 
 volume, of more modest proportions, is 
 Richard Wagner en caricatures, by John 
 Grand-Carteret (Paris [1893]: 8vo). The 
 French are admirable in the compilation 
 of such books. 
 
 In England, one- of Wagner's warmest 
 advocates was the late Dr. Hueffer. His 
 Richard Wagner and the Music of the 
 Future (London, 1874: 8vo), as well as 
 his little book, Richard Wagner (London, 
 1 88 1 : 8vo), one of the " Great Musicians " 
 series, may be read with advantage. Mr. 
 Bannreuther has translated several of 
 Wagner's works into English, including 
 The Music of the Future, Beethoven, and 
 On Conducting, while Mr. Ashton Ellis 
 has begun the Herculean task of trans- 
 lating the whole of the works into English. 
 Three volumes have already appeared, 
 executed with most painstaking care. 
 
 The writer has not succeeded in finding 
 any work embracing the history of Opera 
 in Vienna, but Von Kochel's excellent 
 Johann Josef Fux (Vienna, 1872: 8vo)
 
 Literature of tlie Opera. 201 
 
 furnishes much information of its early 
 days, giving a list of all the works pro- 
 duced from 1631 to 1740, a catalogue 
 greatly added to by Pohl in his Josef 
 Haydn, already referred to. Of late 
 (possibly for many years past) a Jahrbuch 
 des Hof Operntheaters is published. 
 
 Of most of the Italian opera-houses, 
 statements of the works performed have 
 been published from time to time, such 
 as that of La Scala at Milan by Romani 
 (Milan, 1862 : 4to), many of the smaller 
 towns even adopting this excellent habit. 
 In Venice, the cradle of the Opera, a 
 work of this nature was published as 
 early as 1730, entitled Le Glorie della 
 Poesia e della Mtisica (Venice : 1 2mo). 
 This is said to be by J. C. Bonlini. It 
 covers a very interesting period, is arranged 
 chronologically, in many cases interesting 
 notices of the works are added, and there 
 is an excellent index. A Catalogo di tutti 
 i Drammi per Musica, bringing the list 
 down to 1745, was produced in that year, 
 " posto in luce," by Antonio Groppo, 
 who stands on the title as its printer. The 
 printer of the earlier work, according to 
 the privilege, was Bonarigo. The type 
 of both works appears to be identical, the 
 dedication to the reader is in absolutely 
 the same words, and it is difficult to
 
 2O2 The Literature of Music. 
 
 believe that they have not a common 
 origin. The notices are omitted in 
 Groppo. 
 
 In our own country we are badly pro- 
 vided with records of our opera-houses 
 in fact, no systematic works of this 
 nature exist. For the early history of 
 the subject, and for details of the operas 
 produced by Handel and others, the 
 History of Burney is the best authority, 
 and it is mainly from this source that 
 Hogarth and Sutherland Edwards have 
 derived their information. Some par- 
 ticulars of a later period may be found 
 in the Earl of Mount Edgcumbe's Musical 
 Reminiscences (ist edition, London, 1825 ; 
 the 4th and most recent, London, 1834 : 
 i2mo), and also in the amusing and 
 gossiping Reminiscences of Michael Kelly 
 (London, 1826 : 2 vols., 8vo) and in the 
 Musical Memoirs of W. T. Parke, the 
 oboe player (London, 1830 : 2 vols., 8vo) ; 
 but both these works must be used with 
 caution. The former contains an ap- 
 pendix on the history of the King's 
 Theatre in the Haymarket. Seven years 
 of the Kings Theatre, by John Ebers 
 (London, 1828 : 8vo), a librarian who 
 was induced to become lessee of that 
 house, is a more systematic record from 
 1821 to 1827 of the history of Opera
 
 Literature of the Opera. 203 
 
 during that period, and gives an excel- 
 lent idea of the vicissitudes of a manager's 
 career. The Reminiscences of Benjamin 
 Lumley, another equally unsuccessful 
 manager, cover the history of the same 
 house from 1841 to 1858, while The 
 Mapleson Memoirs, 1848 1888 (London, 
 1888 : 2 vols., 8vo), come down to the 
 final closing of the theatre. It will be 
 seen that of the latter years of the enter- 
 prise we possess something like a con- 
 nected series, although amounting to 
 little more than gossip. Of the course 
 of events at that admirably appointed 
 house, Covent Garden, during the rule 
 of the late Mr. Gye, we unfortunately 
 possess no chronicle ; Mr. Gruneisen has, 
 however, put on record the circumstances 
 which led to its establishment. 
 
 We conclude this chapter by directing 
 attention to certain works of the greatest 
 utility to all who have occasion to study 
 the history of the Opera. Of these, the 
 well-known Drammaturgia of Lione 
 Allacci is the prototype. The best edi- 
 tion is that of Venice, 1755, 4to. It 
 consists of an alphabetical dictionary of 
 all the dramatic works, including operas, 
 which had been produced in Italy up 
 to that date. Still more useful in our 
 own day is the Dictionnaire Lyriquc of
 
 2O4 TJie Literature of Mtisic. 
 
 F. Clement and Larousse (Paris, s.a. : 
 8vo), which, apart from some of the 
 faults inevitable in such an undertaking, 
 the writer has found most helpful. The 
 compilers have added many interesting 
 details as to the success of the different 
 works, with particulars of the most popular 
 numbers in fact, just the information 
 which one wants. The drawback of such 
 a work is that the lapse of time renders 
 supplements necessary, several of which 
 we believe have already been added. 
 A similar work in German by Dr. 
 Riemann, under the title of Opern 
 Handbuch (Leipzig, 1887), has been pub- 
 lished. Less detail is entered into, but 
 the book has the advantage that the 
 names of composers are inserted in their 
 alphabetical position, with a list of their 
 works, which adds to its convenience as 
 a book of reference. A tolerably bulky 
 supplement forms part of the volume as 
 originally published.
 
 CHAPTER X. 
 
 THE LITERATURE OF MUSICAL 
 INSTRUMENTS. 
 
 HE origin and development of 
 the various instruments of music 
 cannot fail to be a subject of 
 interest to the musician. The 
 invention of many of them is lost in 
 antiquity. The earliest printed work 
 on the subject is the Musica getutscht of 
 Sebastian Virdung, which is supposed to 
 have been printed at Basle in 1511 
 (obi. 410). The book, which is in 
 German, is in the form of a dialogue, 
 and contains descriptions, with woodcuts, 
 of all the instruments then existing, in- 
 cluding both the clavichord and the 
 virginal, with keyboards as at present 
 in use. The book is of the greatest rarity, 
 five copies only being known, of which 
 one is in the possession of Mr. Alfred 
 Littleton, and another of the writer. For- 
 tunately an admirable facsimile was issued 
 205
 
 206 The Literature of Music. 
 
 by the Gesellschaft fur Musikforschung, 
 which, for all practical purposes, is as useful 
 as the original. The Musurgia of Ottomar 
 Luscinius (Nachtigall) (Strasburg, 1536: 
 obi. 4to) is little more than a translation 
 into Latin, with additions, of the treatise 
 of Virdung, and the identical wood blocks 
 are used. Another early work of interest, 
 also with woodcuts, is the Musica instru- 
 mentalis deudsch of Martin Agricola 
 (Wittemberg, 1528 : 8vo), more than once 
 reprinted. We have already described at 
 some length the Syntagma of Michael 
 Prsetorius. The Theatrum Instrumen- 
 torum, forming part of this work (Wol- 
 fenbiittel, 1620 : 4to), gives interesting 
 illustrations of the instruments of a later 
 date. Fortunately this part of the work 
 has been reproduced. 
 
 Coming to the instruments of the 
 modern orchestra, those of the violin 
 family claim the first notice. So admirable 
 a bibliography of the subject has just 
 been completed by Mr. E. Heron-Allen, 
 under the title of De Fidiatiis Biblio- 
 graphia (London, 1890-94: 2 vols., 4to), 
 that we might almost content ourselves 
 with directing our readers to that work ; 
 there are, however, a few prominent works 
 which ought to be mentioned. 
 
 Books on the violin (which must here
 
 Works on Instruments. 207 
 
 be understood to include the viola, 
 violoncello, and contrabasso), which give 
 an account of the different makers, and 
 attempt to distinguish their different 
 characteristics, have a perennial interest 
 for all owners of such instruments. The 
 most important of these is the Instruments 
 a archet of Antoine Vidal (Paris, 1876-78 : 
 3 vols., 4to), printed in sumptuous style, 
 with numerous etchings by F. Hille- 
 macher. The first volume, after tracing 
 the early history of the violin, gives an 
 account of the rise of the great schools of 
 violin-making, followed by lists of the work- 
 ers in Italy, Germany, Holland, Belgium, 
 England, and France, amply illustrated by 
 well-executed facsimiles of the tickets they 
 used. The volume concludes with an 
 account of the principal bow-makers. 
 
 The second volume considers at some 
 length the interesting questions of the 
 Roi des Violons, and the Corporation des 
 Menestriers. This is followed by a history 
 of the art of violin-playing, with notices, 
 and in many cases portraits, of the most 
 celebrated violinists and violoncellists. 
 Vol. iii. is occupied with biographies of 
 composers of chamber-music, to which 
 is appended an excellent bibliography of 
 music of that nature. 
 
 The work is turned out with true
 
 208 The Literature of Music. 
 
 French splendour, so that its money value 
 is considerable. To suit purchasers 
 anxious to possess the part of the work 
 relating to the different makers and their 
 instruments, M. Vidal was induced to 
 issue it in large octavo form in 1889, under 
 the title La Lutherie et les Luthiers. In 
 it he availed himself of the latest know- 
 ledge ; the etched copies of tickets are 
 replaced by photogravures, which are even 
 more successful. 
 
 Another sumptuous little book is Les 
 Luthiers Italie?is, of M. Jules Gallay 
 (Paris, Academic de Bibliophiles, 1869 : 
 Svo). In the year 1806 the Abbe Sibire 
 issued a book on the Italian makers, 
 under the title of La Chclomanie (Paris : 
 Svo), from information supplied to him 
 by the well-known maker, Lupot. The 
 work, and a second edition (Brussels, 
 1823 : i2mo), both became exceedingly 
 rare. It is a reprint of this work which 
 forms the principal part of M. Gallay's 
 book, but its value is enhanced by much 
 valuable information, supplied by the 
 editor. Strange to say, this book, in its 
 turn, has become exceedingly scarce. An 
 inferior reprint of La Chclomanie has 
 been made at Brussels, 1885 : 121110. 
 
 In English we have Sandys' and 
 Forster's History of the Violin (London,
 
 Works on Instruments. 209 
 
 1864 : 8vo), a work of considerable value, 
 travelling over the whole subject, but of 
 special interest as regards our English 
 workmen. One of the authors was 
 a member of the well-known Forster 
 family, who obtained such deserved repu- 
 tation, especially for their violoncellos ; 
 the family is, therefore, treated with great 
 detail. Much information will also be 
 found as to the introduction of many of 
 Haydn's works to the English public, 
 William Forster " No. i " having acquired 
 the copyright of them in this country. 
 
 Another English violin-maker George 
 Hart has also published a work which 
 has attained to considerable popularity 
 The Violin ; its Famous Makers and Their 
 Imitators (London, 1875 : 4 to > an d also 
 a cheaper edition, 8vo). The great ex- 
 perience which the author had, as a 
 dealer, renders his opinions valuable, and 
 the work is illustrated by woodcuts of 
 instruments, which are as excellent as it 
 is possible to be. It has been translated 
 into French by A. Royer (Paris, 1886 : 
 4to). Mr. Hart published a further work, 
 called The Violin and its Music (London, 
 1 88 1 : 4to and 8vo), illustrated with steel 
 portraits of eminent violinists, but the 
 book is of less interest than the preceding 
 volume.
 
 2io The Literature of Music. 
 
 Books of less pretention, but still valu- 
 able, are J. M. Fleming's Old Violins and 
 Their Makers (London, 1883: 8vo; and 
 certainly one subsequent edition), Joseph 
 Pearce's Violins and Violin Makers (Lon- 
 don, 1866 : 8vo), while those who wish to 
 try their hand at the difficult art of violin- 
 making will find all the information which 
 a book can impart in the excellent and 
 clearly written Violin Making as it was and 
 is (London, 1884 : 8vo ; with a second 
 edition in 1885, and subsequent reprints), 
 by Mr. E. Heron-Allen, who writes from 
 practical acquaintance with the subject. 
 There is also an excellent little handbook 
 of the art in the Roret Manuals, by 
 Mangin and Maigne (Paris, 1869 : i2mo 
 (2nd edition). A very popular book also has 
 been Otto's On the Violin, of which there 
 are three German editions. The best 
 English translation is that of Mr. John 
 Bishop, whose notes add greatly to its 
 value. 
 
 In Italian we have the Liutai Antichi e 
 Moderni of Giovanni de Piccolellis (Flo- 
 rence, 1885 : large 8vo), an excellent work, 
 illustrated with photogravures of a number 
 of fine specimens. A supplementary note 
 to this work was published in 1886. 
 Germany has given us the painstaking 
 and exhaustive Geschichte der Bozen In-
 
 Works on Instruments. 211 
 
 strumente of Julius Riihlmann (Brunswick, 
 1882: 8vo; with an atlas of plates, obi. 
 4to), a book to be strongly recommended 
 as trustworthy. Mr. Heron-Allen tells us 
 the remarkable circumstance that the 
 author was not a violinist, but a trumpet- 
 player ! 
 
 The acoustic principles of the violin 
 were first scientifically investigated by 
 Felix Savart in a Memoire sur la construc- 
 tion des Instrumens a Cordes et a Archet, 
 read before the Academie des Sciences 
 on May 3ist, 1819. It is in this paper 
 that Savart's famous box violin is des- 
 cribed. It was referred to a mixed 
 committee of musicians and scientific 
 men, including Cherubini and Biot, who 
 drew up an elaborate report. No doubt 
 this is to be found in the proceedings of 
 the Academie, but both the paper and the 
 report were printed as an octavo pamphlet 
 (Paris, 1819), by the author. In neither 
 of these forms is it very accessible, but, 
 as every book on the violin refers to these 
 researches, the reader may be glad to 
 know that there is a German translation 
 (Leipzig, 1844: 8vo), while an English 
 version is to be found in Davidson's The 
 Violin (London, 1881 : 8vo [the 4th 
 edition]). 
 
 In addition to these general works on
 
 212 The Literature of Music. 
 
 the subject, there are certain monographs 
 which should be mentioned. Among 
 these is Fetis's Antoine Stradivari (Paris, 
 1856 : 8vo) which, however, is more com- 
 prehensive than its title suggests. In 
 1891 Messrs. W. E. Hill &Sons, the well- 
 known and respected makers, issued two 
 most sumptuous little works, one on the 
 famous Stradiuarius known as " Le Messie," 
 the other on the " Tuscan " Stradiuarius 
 each of them illustrated with chromo- 
 lithographs by Mr. Alfred Slocombe, which 
 are the most wonderful representations 
 of violins ever executed; while in 1892 
 they produced a work of even greater 
 value by Mrs. Huggins, on the Life and 
 Work of G. P. Maggini, illustrated with 
 equal skill by the same artist. Messrs. 
 Hill have a work on Stradivari in 
 progress. 
 
 The early history of the violin, and its 
 development, have been well treated by 
 the late Carl Engel in his Researches into 
 the Early History of the Violin Family 
 (London: 8vo), a posthumous work, issued 
 under the editorship of Mr. Hipkins. It 
 shows all the careful investigation for 
 which that excellent student of the 
 development of musical instruments was 
 well known ; and we should mention 
 J. W. von Wasielewski's Die Violine t<nd
 
 Works on Instruments. 213 
 
 ihre Meister (Leipzig, 1869 : 8vo; enlarged 
 editions 1883, and 1893), which passes in 
 review nearly all the violinists known to 
 fame, while his Das Violoncell und seine 
 Geschichte (Leipzig, 1889 : 8vo) performs 
 the same office for the violoncello. 
 The latter work has been translated into 
 English by Miss Stigand (London, 1894 : 
 8vo). The well-known book, Dubourg on 
 the Violin, consists mainly of an amusing 
 collection of anecdotes and gossip, more 
 or less anthentic. 
 
 The violin and its fellows did not achieve 
 their proud position without a struggle 
 with their predecessors, the fretted viols. 
 This found its expression in a rare little 
 work, the Defense de la Basse de Viole 
 contre les Entreprises du Violon et les 
 Pretentions du Violoncel. Par Monsieur 
 Hubert Le Blanc, Docteur en Droit 
 (Amsterdam, 1740 : i2mo). The book, 
 altnough small, is tedious; its principal 
 value rests in the information it gives 
 about the French viol players, and espe- 
 cially about Marin Marais. Another rare 
 book on the viol must also be mentioned, 
 the Traite de la Viole of Jean Rousseau 
 (Paris, 1687 : 8vo), which also contains, in 
 the introduction, some interesting details 
 about French performers on the instru- 
 ment.
 
 214 The Literature of Music. 
 
 The wind instruments of the orchestra 
 have made little mark in literature, with 
 the exception of the flute. The scale of 
 the old eight-key flute was both out of 
 tune and uneven in quality and power, 
 and it was not until the improvements 
 of Boehm that this instrument became 
 tolerable. Boehm's inventions were 
 claimed for Captain Gordon, a Swiss of 
 English origin, who was an officer in the 
 French Royal Guard. The first note of 
 the controversy was sounded in 1838 by 
 M. Coche, professor at the Paris Con- 
 servatoire, who published a pamphlet, 
 Examen critique de la Flute ordinaire 
 comparee a la Flute deB ohm, which was 
 mainly designed to recommend Z flute, 
 with still further improvements, by the 
 writer. In this he had many imitators, 
 who, while producing pamphlets in praise 
 of their own particular adaptation of them, 
 all base them on Boehm's or Gordon'^ 
 inventions. In 1881 Boehm died, at in 
 advanced age, and the discussion was 
 revived. In the following year Mr. W. . 
 Broadwood published an original "essay'' 
 by Boehm " on the construction of the 
 flute," which had remained in manuscript 
 since 1847, "with correspondence and 
 other documents" (London, 1882: 8vo), 
 in which the scientific principles involved
 
 Works on Instruments. 215 
 
 are investigated, while in 1883 Mr. C. 
 Welch brought out his History of the 
 Boehm Flute, in which the controversy 
 is treated in a judicial spirit, so that the 
 reader who is interested in the subject 
 may be safely guided by it. 
 
 Considering the popularity of the 
 "household orchestra," it is remarkable 
 how little has been written about the 
 pianoforte in England, apart from mere 
 advertisements of particular makers. The 
 Pianoforte, its Origin, Progress, and Con- 
 struction of the late Dr. Rimbault 
 (London, 1860 : 4to) is somewhat inade- 
 quate. The best sources of information 
 are the articles on the pianoforte and its 
 predecessors by Mr. A. J. Hipkins, to be 
 found in Grove's Dictionary, in which 
 both the history and the mechanism are 
 treated with perfect knowledge. An ex- 
 cellent summary, fully establishing the 
 claims of Cristofori to the invention of 
 the pianoforte, will be found in the 
 Cenni storici . . . della origine del Piano- 
 forte a paper read to the Reale Istituto 
 Musicale of Florence in 1873 by Cav. 
 Puliti, but published separately in 1874, 
 which contains excellent diagrams of the 
 actions invented by Cristofori, as well 
 as of those contrived by Marius of Paris, 
 and by Schroeter, a German, for both of
 
 2i6 The Literature of Music. 
 
 whom the invention has been claimed. 
 The latter was a musician, and not a 
 maker of instruments, and it is asserted 
 that his ideas were put into practical form 
 by the famous Silbermann. Schrceter's 
 claims are warmly advocated by Dr. 
 Oscar Paul in his Geschichte des Klaviers 
 (Leipzig, 1868: 8vo). The placing of a 
 tablet to the memory of Cristofori in the 
 Church of Santa Croce in 1876 formed the 
 occasion of a little work by C. Ponsicchi, 
 II Pianoforte sua origine esvihippo (Firenze, 
 1876: 8vo), with diagrams. DcrFlugelQi 
 H. Welcker von Gontershausen (Frankfort- 
 on-Main, 1856: 4to), Der Clavierbau, of 
 the same author (ib., 1870: 8vo), and // 
 Pianoforte by G. F. Sievers (Naples, 
 1868 : large 8vo), aim at being practical 
 guides to the art of constructing piano- 
 fortes. They are both amply illustrated 
 with diagrams. There is also an excel- 
 lent little Manuel complet de Paccordeitr 
 et du rcparateur de Pianos by G. Huberson 
 in the Roret series (Paris, 1891 : i2mo); 
 while the Art d'aaorder soi-mcme son piano, 
 by the very remarkable blind piano-manu- 
 facturer, Claude Mental, the editions and 
 translations of which are numerous, may 
 be useful to those who find themselves 
 far removed from a tuner. 
 
 We may here mention the Geschichte des
 
 Works on Instruments. 217 
 
 Clavierspiels of the late C. F. Weitzmann 
 (Stuttgart, 1863 : 8vo), an excellent history, 
 with examples, of the development of 
 the art. 
 
 The literature of the organ is very 
 extensive. The first work we have to 
 mention is one of great excellence, and 
 also of great splendour L'Art du Facteur 
 <?Orgues, by Dom Bedos de Celles, a 
 Benedictine of St. Maur, which forms 
 part of the Encyclopedic des Arts et 
 Metiers (Paris, 1766 : 2 vols., large folio). 
 The first volume contains the text, while 
 the second is devoted to the plates. It 
 is impossible to speak too highly of this 
 admirable work, and the plates are truly 
 magnificent. Every detail of the organ 
 is accurately figured, and every tool used 
 is represented. Some of the plates are 
 on a very large scale, that of the organ 
 at Weingarten, for instance, measuring 
 twenty-seven by twenty and a half inches, 
 exclusive of margin, while the representa- 
 tion of the interior of an organ is thirty 
 inches by twenty -four. They are all 
 engraved in the highest style of art, and it 
 is a real pleasure to examine them. The 
 book is by no means uncommon, and 
 should be in the possession of every 
 one interested in the "king of instru- 
 ments."
 
 218 The Literature of Music. 
 
 The Roret cyclopaedia contains a 
 Notiveau Manuel complet du Facteur 
 d'Orgues by M. Hamel, based on the pre- 
 vious work, comprised in three 12 mo 
 volumes of text, and a folio atlas of plates 
 (Paris, 1849). The work is brought to a 
 more modern standard, and is an excellent 
 little book. The plates are clear and 
 adequate, but of course very far from 
 reproducing the splendour of the original 
 work. 
 
 In our own language we are fortunate 
 in possessing a treatise of great excellence 
 The Organ of Dr. Rimbault and Mr. E. 
 Hopkins (London, 1855, and two sub- 
 sequent editions : large 8vo). The his- 
 torical part, by Dr. Rimbault, is fairly done, 
 but the technical part, by Mr. Hopkins, 
 is a model. The author has very excep- 
 tional skill in describing mechanism, 
 which makes the book a delight to all 
 who are interested in the subject. The 
 writer is glad to record his personal 
 gratitude for the pleasure and instruction 
 he has derived from it. 
 
 Till the production of this book, as 
 far as the writer knows, the only work in 
 the English language on the subject was 
 a translation of Seidel on the organ 
 (London, 1855 [ 2n d edition]: 8vo). 
 The work is a curiosity, for the translator
 
 Works on Instruments. 219 
 
 apparently knew nothing of the organ, 
 and but little of the language into which 
 he was endeavouring to turn the original. 
 Seidel was an organist at Breslau, and if 
 the translation were only intelligible, it 
 would not be a bad book ; as it stands it 
 becomes amusing to those who can fathom 
 the author's meaning. 
 
 The success attained to by the earlier 
 organ-builders was the result of experi- 
 ence. The first to apply scientific and 
 mathematical knowledge to the subject 
 was Gottlob Topfer, an organist at Weimar. 
 His Orgelbau-Kunst nach einer neuen 
 Theorie dargestellt (Weimar, 1833: 8vo), 
 with a supplement, forms an era in the 
 art of organ-building, and has been the text- 
 book for all who were not content with 
 "rule of thumb." Topfer published a 
 second work Die Orgel, Zweck und 
 Beschaffenheit ihre Theile, etc. (Erfurt, 1 843 : 
 8vo). The late Aristide Cavaille-Coll, 
 the famous French organ-builder, was 
 also a man of science, ^and the author, 
 among other papers of Etudes experimen- 
 tales sur les tuyaux d 1 argues, read at the 
 Academic in February 1849. 
 
 Of other practical works on organ- 
 building, the earlier practice will be found 
 well illustrated in the Musica Mechanica 
 Organoedi of Jakob Adlung (Berlin, 1768 :
 
 22O The Literature of Music. 
 
 2 vols., 4to). De Orgelmaaker of J. van 
 Heurn (Dordrecht, 1805 : 3 vols., 8vo; with 
 an atlas of plates) is apparently an excel- 
 lent work, with the disadvantage of being in 
 the Dutch language. To the numerous 
 class of amateurs who attempt organ-build- 
 ing, Practical Organ-building, by the Rev. 
 W. E. Dickson, Precentor of Ely, will 
 prove an excellent guide ; while in Organs 
 and Organ- Building ( London, 1881 : 8vo) 
 much useful information will be found on 
 the developments of the pneumatic action 
 invented by our countryman Barker, which 
 have so revolutionised the interior of the 
 modern organ. It is a really excellent 
 little book. Some good hints as to organs 
 in small churches will be found in 
 Scudamore Organs, by the Rev. J. Baron, 
 which contains some excellent designs 
 for chancel organs by the late G. E. 
 Street (London, 1858: 8vo). 
 
 The avidity with which lovers of the 
 organ collect specifications of these instru- 
 ments is a recognised weakness, well 
 provided for among the works already 
 mentioned, especially in " Rimbault and 
 Hopkins," while the original specifications 
 of many organs which have been since 
 modified will be found in the anony- 
 mous Sammlung etniger Nachrichten von 
 berilhmten Or^el- Wercken in Teutschland
 
 Works on Instruments. 221 
 
 (Breslau, 1757 : 4to), and of the famous 
 Dutch organs in the Dispositien der merk- 
 waardigste Kerk-Orgelen of Joachim 
 Hess (Gouda, 1774; 4to) ; while nearly 
 every church organ of any pretention on 
 the Continent has been described in a 
 pamphlet by the organist in office at the 
 time of its erection. These, of course, 
 it is impossible to enumerate. 
 
 In addition to the history of the organ 
 by the late Dr. Rimbault, that industri- 
 ous antiquary published a lecture on The 
 Early English Organ Biiilders and their 
 works, from the Fifteenth Century to the 
 period of the Great Rebellion (London, 
 1865: 8vo) ; there is also a charming little 
 volume (by the late Sir John Sutton (?) ), 
 A Short account of Organs built in England 
 from the reign of King Charles the Second 
 to the present Time (London, 1847 : Svo), 
 while the famous strife between the rival 
 builders, Father Smith and Renatus 
 Harris is well chronicled in A few notes 
 on the Temple Organ, by E. Macro ry 
 (London, s.a.: 8vo), which also describes 
 Smith's method of introducing two extra 
 notes in the octave. Much information 
 on organs and organists in Belgium will 
 be found in the Historique de la Facture 
 et des Factenrs dOrgue of E. G. J. Gregoir 
 (Antwerp, 1865 : Svo).
 
 222 The Literature of Music. 
 
 It may be a question whether the 
 design of the case of an organ does not 
 more properly belong to the literature of 
 architecture than to that of Music, but the 
 works we are proposing to mention con- 
 tain so much other information that we 
 must include them. The first of these 
 is Church Organs ; their position and 
 construction. With an Appendix contain- 
 ing some account of the Mediaeval Organ 
 Case still existing at Old Radnor, South 
 Wales (London, 1872 : folio), by the Rev. 
 F. H. Button, containing some admirable 
 designs. The Box of Whistles : an illus- 
 trated book on Organ Cases (London, 
 1878: folio) contains a large number of 
 drawings of organs, both at home and 
 abroad, executed with fair success in 
 chromolithography after the drawings of 
 the author, Mr. John Norbury, an accom- 
 plished amateur. The Organ Cases and 
 Organs of the Middle Ages and Renais- 
 sance, by Mr. A. G. Hill, M.A., F.S.A., 
 a member of the well-known and respected 
 family of organ-builders (London, 1883, 
 1891 : 2 vols, large folio) is a really 
 monumental work, containing seventy-five 
 excellent lithographic facsimiles of the 
 author's own drawings. The specification 
 of the organ is in most cases given, and 
 many historical and other useful notes are
 
 Works on Instruments. 223 
 
 added, making it a work of great value 
 and interest. 
 
 Mr. J. W. Warman began, in the English 
 Mechanic^ a series of elaborate articles on 
 the construction of the organ, which were 
 never brought to a conclusion, being pro- 
 bably on too detailed a scale for such 
 a publication. Part of his proposed work 
 has been published in a separate form, 
 under the title of The Organ ; its compass, 
 tablature, and short and incomplete octaves 
 (London, 1884: Svo). It contains ex- 
 haustive information on the subjects in- 
 dicated although it may be well to point 
 out that by " tablature " Mr. Warman does 
 not mean the peculiar method of notation 
 for the organ which was made use of in old 
 time. Mr. Warman is still labouring at 
 his work, which is to contain a bibliography 
 compiled with all possible completeness. 
 
 Zur Geschichte des Orgelspiels, vornehm- 
 lich des deutschen im 14 bis zum Aufange 
 des 1 8 Jahrhunderts of A. G. Ritter 
 (Leipzig, 1884 : 2 vols., large Svo) will 
 be found a useful work on the subject 
 of the early organ-players. The second 
 volume contains examples of their works 
 not otherwise easy of access. We must 
 conclude this long notice of works on the 
 organ by mentioning a useful little work on 
 the law as affecting church organists The
 
 224 TJie Literature of Music. 
 
 Law of Organs and Organists by Blew 
 (London, 1878 : 8vo) an acquaintance 
 with which both by the clergy and organ- 
 ists would avoid many unpleasant disputes. 
 The book is additionally useful as it has 
 an appendix on the " hire purchase " 
 system also a fruitful source of mis- 
 understanding. 
 
 The modern harp owes its existence to 
 the ingenuity of the late Sebastian Erard, 
 whose inventions are recorded by Fetis in 
 a Notice Biographique (Paris, 1831 : 4to). 
 The article in the Dictionnaire of Fetis 
 was also separately struck off as a pam- 
 phlet ; but the best description of the 
 double-action harp, with excellent dia- 
 grams of its very ingenious mechanism, 
 will be found in the Reports of the Exposi- 
 tion of 1855 (Paris, 1855 : 4to). It will 
 suffice to mention Gunn's Historical En- 
 quiry respecting the performance of the 
 Harp in the Highlands of Scotland (Edin- 
 burgh, 1807 : 410). 
 
 The inventive genius of the late 
 Adolphe Sax (his real name was Antoinc 
 Joseph Sax] has revolutionised nearly the 
 whole family of brass instruments. An 
 interesting account of these will be found 
 in Comettant's somewhat too extensive 
 Histoirc d'nn inventeur an XIX'" Siecle 
 (Paris, 1860 : 8vo).
 
 Works on Instruments. 225 
 
 Among the most interesting documents 
 in connexion with musical instruments 
 will be found the catalogues of collections 
 of instruments, either in museums, or in 
 specially organised exhibitions. Among 
 these, our own collection at the South 
 Kensington Museum is one of the best, 
 and it is certainly the best catalogued. 
 An excellent Descriptive Catalogue, con- 
 taining an immense amount of information, 
 was compiled by the late C. Engel, illus- 
 trated with photographs and cuts (Lon- 
 don, 1874 : 8vo [2nd edition] ) ; and there 
 is a smaller catalogue of a more popular 
 nature (London, [1875] : 8vo) by the 
 same. A set of photographs of some of 
 the principal objects, on a larger scale, 
 was also issued by the Arundel Society, 
 with an introduction and descriptions by 
 the same writer (London, 1869 : folio). 
 
 The Museum of the Conservatoire at 
 Paris is also an excellent collection, and 
 has been catalogued by M. Gustave 
 Chouquet. Two editions have been pub- 
 lished (Paris, 1875 : 8vo ; an d 1884 : 8vo), 
 the latter with some illustrations. A sup- 
 plement (1894) has already been found 
 necessary. The Conservatoire at Brussels 
 can also boast of a good collection, which 
 has been catalogued by M. Mahillon. 
 
 An excellent loan exhibition was held
 
 226 The Literature, of Music. 
 
 in the South Kensington Museum in 1872, 
 the catalogue of which, enriched with 
 photographs, had also the advantage of 
 the able editing of Mr. Engel. A still 
 finer collection was got together in con- 
 nexion with the Inventions Exhibition in 
 1885 probably the most remarkable and 
 most valuable assemblage ever united in 
 one building. No attempt was made by 
 the authorities to compile a catalogue 
 worthy of so great an opportunity, the 
 only one issued being a mere inventory, 
 apparently drawn up by a clerk. Owing 
 to private enterprise, the opportunity was 
 not suffered to pass without a record 
 and a noble one in the magnificent 
 volume, Musical Instruments, Historic, 
 Rare, and Unique (London, 1888 : folio), 
 by Mr. A. J. Hipkins, whose name is suffi- 
 cient guarantee of the excellence of the 
 work ; but the author was fortunate in 
 finding in Mr. William Gibb an artist 
 who has a real genius for depicting such 
 objects, and chromolithographers in 
 Messrs. M'Lagan and Cuming, of Edin- 
 burgh, with skill to reproduce these draw- 
 ings in a manner perfectly surprising. 
 The work is a credit to every one con- 
 cerned in its production. 
 
 A collection of military instruments 
 formed part of the Military Exhibition of
 
 Works on Instruments. 227 
 
 1 890. These found a most able cataloguer 
 in Captain C. R. Day ; the work (London, 
 1891 : 4to), while answering to its des- 
 cription as a catalogue, is really an ex- 
 cellent treatise on the construction and 
 history of the different instruments used 
 in military bands, and is illustrated both 
 with woodcuts and with photogravures. 
 To it is added an appendix on Musical 
 Pitch, by Mr. D. J. Blaikley. While on 
 the subject of military music, we may 
 mention the Manuel General de Musique 
 Militaire a V usage des Armees Francaises, 
 by the late George Kastner (Paris, 1848 : 
 4to), which contains an interesting history 
 of martial music among different nations, 
 with descriptions of the instruments then 
 in use, including those invented by 
 Adolphe Sax. 
 
 Of private collections, the one that has 
 been favoured with the most sumptuous 
 catalogue is, without doubt, that of Mrs. 
 J. Crosby Brown, of New York. It forms 
 a large quarto volume, entitled Musical 
 Instruments and their Homes, by Mary E. 
 Brown, and William Adams Brown (New 
 York, 1885). It is illustrated by a large 
 number of facsimiles of pen-and-ink draw- 
 ings of the various instruments, by W. 
 Adams Brown. Much more modest is 
 the catalogue of the Musee Kraus at
 
 228 The Literature of Music. 
 
 Florence (Florence, 1878: 8vo), which is 
 little more than a hand list, useful only in 
 connexion with the specimens ; but the 
 Japanese instruments in the collection 
 have a separate catalogue, La Musique en 
 Japon (Florence, 1878 : 8vo), illustrated 
 with numerous photographs. Japanese 
 instruments are further treated of in The 
 Music and Musical Instruments of Japan, 
 by F. T. Piggott, with notes by T. L. 
 Southgate an excellent book, adequately 
 illustrated. The visit of the Siamese 
 military band to this country drew forth 
 a small work, Notes on Siamese Musical 
 Instruments (London, 1885 : 8vo), appa- 
 rently well executed. 
 
 Raja Sir Sourindro Mohun Tagore, Mus. 
 Doc., the most prominent of modern Hindu 
 musicians, and a voluminous writer on 
 the subject, has given us, Yantra Kosha ; 
 or a treasury of the -musical instruments 
 of Ancie?it and of Modern India (Calcutta, 
 1875 : 8vo) ; but as the work is principally 
 written in Hindustani, the writer is com- 
 pelled to take its merits, which are no 
 doubt great, on trust. In deference, how- 
 ever, to those who are debarred by this 
 difficulty, the author has issued Short 
 Notices of Hindu Musical Instruments 
 (Calcutta, 1877), a funny little book 
 measuring 4 in. x 3 in. For the finest
 
 Works on Instruments. 229 
 
 work on Indian instruments we have again 
 to thank both Captain C. R. Day for The 
 Music and Musical Instruments of Southern 
 India and the Deccan, and Mr. Gibb for 
 the admirable illustrations (London, 1891 : 
 4to) a beautiful book, most tastefully 
 produced by Messrs. Novello & Co. 
 
 A comprehensive account of the prac- 
 tical construction of musical instruments 
 of all kinds, from the Jew's-harp to the 
 organ, will be found in H. Welcker von 
 Gontershausen's Neue eroffnetes Magazin 
 Musicalischer Tonwerkzeuge (Frankfort- 
 on-Main, 1855 : 8vo), with numerous wood- 
 cuts. The Organographie of Comte de 
 Pontecoulant (Paris, 1861 : 2 vols., 8vo), 
 a somewhat discursive book, with a similar 
 purpose, contains much interesting statisti- 
 cal matter bearing on the commercial 
 aspects of instrument-making. 
 
 Of obsolete instruments, the lute has 
 probably received the greatest attention. 
 Vincentio Galilei's // Fronimo (Venice, 
 1585 : folio), and Mace's Mustek's Monu- 
 ment (London, 1676 : folio), in which 
 much interesting information will be found, 
 have both been already referred to. Pro- 
 bably the most recent, and certainly one 
 of the most valuable, works on the in- 
 strument is E. G. Baron's Historich 
 Theoretisch imd Practische Untersuchung
 
 230 The Literature of Music. 
 
 des Instruments der Lauten (Niirnberg, 
 1727: 8vo), with portrait of the author 
 and several woodcuts, the title of which 
 sufficiently indicates its scope. The 
 musette, a species of small bagpipes, 
 which attained so great a vogue in France 
 during the reign of Louis XIV. was 
 treated of in a sumptuous work by C. E. 
 Borjon, an advocate of the Parlement of 
 Paris, and a voluminous writer on juris- 
 prudence. The work is entitled Traitc 
 de la Musette (Lyons, 1672 : folio), and is 
 illustrated with admirable engravings. 
 It is of considerable rarity. Although 
 written in the first person singular the 
 author's name appears nowhere in the 
 work not even in the privilege. 
 
 The number of patents which have 
 been granted for improvements in musical 
 instruments is enormous. The specifica- 
 tion of any one of these is to be obtained 
 at the Patent Office, while excellent 
 abridgments of them have been pub- 
 lished in three volumes, at a moderate 
 price, bringing the information down to 
 the end of 1883. The last volume, which 
 is on much larger paper, has the advantage 
 of being illustrated with diagrams. 
 
 We have omitted to mention the Gabin- 
 etto Armonico of P. Bonanni (Rome, 1723 : 
 410), a book of plates of instruments,
 
 Works on Instruments. 231 
 
 with descriptions. Many of the instru- 
 ments are imaginary, and the book is 
 absolutely valueless. A second edition, 
 with a French translation, was given by 
 the Abbe Cerutti in 1776.
 
 CHAPTER XL 
 
 THE LITERATURE OF Music AS A 
 
 SCIENCE. 
 
 ||HE investigation of the laws of 
 sound has occupied much of the 
 attention of men of science from 
 an early time. The division of 
 the monochord formed the subject of 
 most of the Greek writers on Music, and 
 in more modern times equally attracted 
 the attention of Mersenne, Kircher, and 
 Descartes, whose writings have already 
 been referred to. Scarcely any mathema- 
 tician of eminence can be named who, at 
 some period of his career, has not treated 
 of such questions as the vibrations of 
 strings, the production of sound by 
 musical pipes, or the relations of the 
 intervals. Among these we may mention 
 Wallis, Newton, Brooke Taylor, the Ber- 
 nouillis (James I. and David), Euler, 
 Diderot, and D'Alembert. These re- 
 searches are generally contained in papers 
 232
 
 The Science of Music. 233 
 
 addressed to various academies and 
 learned societies, in the transactions of 
 which they must be sought for, unless the 
 works of the author have been published 
 in a collected form. To give any particu- 
 lars here would be impossible. 
 
 Towards the end of the last century 
 Chladni was led to investigate the phe- 
 nomena of sound experimentally. His 
 most valuable researches are probably 
 those on the vibrations of plates, but the 
 whole subject of acoustics is treated of in 
 his Akustik (Leipzig, 1802 : 4to), a work 
 which was translated into French under 
 the title of Traite tfacoustique (Paris, 
 1809 : 8vo), at the instance of the Emperor 
 Napoleon, who found the means. An 
 excellent and appreciative account of 
 Chladni's discoveries will be found in 
 Professor Tyndall's Sound. 
 
 It is much to be regretted that the 
 investigations of Savart into the principles 
 involved in the construction of musical 
 instruments are not available in a collected 
 form. His toothed wheel was one of the 
 earliest attempts at an absolute measure 
 of pitch, but this was soon set aside by 
 the invention of Cagniard de la Tour's 
 " siren," which greatly facilitated the deter- 
 mination of absolute pitch. Few subjects 
 have made more rapid advances in
 
 234 The Literature of Music. 
 
 modern times than acoustics, mainly 
 owing to the labours of the renowned 
 physicist the late Professor Helmholtz, 
 whose work, Die Lehre von Tonempfind- 
 nngen, first published in 1863, is a com- 
 plete encyclopaedia of the subject, and 
 should be in the hands of every one who 
 takes an interest in the " scientific basis " 
 of the art of Music. The work has been 
 translated into English by Mr. A. J. Ellis, 
 himself an authority on kindred subjects, 
 who has added much valuable matter. 
 Two editions of this translation have 
 appeared : the last and most complete is 
 London 1885, 8vo. It is impossible to 
 give an analysis of so comprehensive and 
 elaborate a work in the space at our 
 disposal ; probably the most important 
 feature is that the different qualities of 
 tone produced by different musical instru- 
 ments (" timbre ") are for the first time 
 explained as depending on the harmonics 
 produced by the note sounded ; and it is 
 by the invention of his " resonators " that 
 it has become possible to disengage and 
 identify these harmonic sounds. 
 
 The first attempt at popularising the 
 scientific principles of Music is to be found 
 in Euler's Lettres a une Princesse d'Alle- 
 magne (earliest edition, St. Petersburg, 
 1768-72: 3 vols., 8vo ; but frequently re-
 
 The Science of Music. 235 
 
 printed). Of works embracing the dis- 
 coveries of Helmholtz we may mention 
 Sound, by the late Professor Tyndall 
 (London, 1867: 8vo ; with several re- 
 prints), which shows his marvellous skill 
 in popularising scientific questions ; Mr. 
 Sedley Taylor's Sound and Mime (London, 
 1873 : 8vo) ; Mr. J. Broadhouse's Student's 
 Helmholtz (London, 1881 : 8vo), a useful 
 little book, well carrying out its title ; Dr. 
 Pole's Philosophy of Music (London, 
 1879 : 8vo) ; and the late Dr. W. H. 
 Stone's happily named Scientific Basis of 
 Music, one of Messrs. Novello's music 
 primers, which gives much information in 
 a small compass. In French an excellent 
 little work is V. C. Mahillon's Elements 
 d'Acoustique musicale et instrumental 
 (Brussels, 1874 : Svo). Blaserna's Teoria 
 del suono (Florence, 1875 : 8vo) has been 
 translated in the " International Scientific 
 Series." 
 
 To follow the subject in its higher 
 developments considerable mathematical 
 knowledge is necessary. Those who are 
 thus equipped will find the most recent 
 knowledge in the work On Sound and 
 Atmospheric Vibrations of the late Sir G. 
 B. Airy (London, 1868: Svo; there is a 
 second edition), and in the Theory of 
 Sound, by Lord Rayleigh (London, 1877 :
 
 236 The Literature of Music. 
 
 2 vols., 8vo) a second edition of which is 
 also in the press. 
 
 The subject of tuning and temperament 
 has a large literature of its own. It is 
 generally stated that J. S. Bach was the 
 first to advocate practically the use of 
 equal temperament in his Wohltemperirte 
 Clavier, and there is no doubt that this 
 method of tuning received the support of 
 the great theorists, such as Sorge, Kirn- 
 berger, and Marpurg ; but it was a long 
 time before the mean-tone method of 
 tuning was abandoned, in favour of equal 
 temperament, even in Germany, while in 
 this country it was first adopted at Messrs. 
 Broadwood's in 1846, and for the organ 
 in 1854. The practice has now become 
 universal, and has been accepted by nearly 
 every practical musician. Excellent books 
 on the subject are Rev. John Curwen's 
 Tract on Musical Statics (London, 1874: 
 square 8vo) and Mr. Bosanquet's Elemen- 
 tary Treatise on Musical Intervals and 
 Temperament (London, 1876 : 8vo), while 
 the subject is treated with fuller detail in 
 the work of Helmholtz. 
 
 During the prevalence of the mean- 
 tone method many schemes were pro- 
 pounded for the distribution of the wolf, 
 and for rendering the remoter keys avail- 
 able. Among the first of these was
 
 The Science of Music. 237 
 
 that contained in Dr. Robert Smith's 
 Harmonics, the second edition of which 
 (London, 1759: 8vo) contains "a post- 
 script upon the changeable harpsichord." 
 This consisted in a mechanical method of 
 modifying the tuning according to the 
 key, and at least had the advantage of 
 leaving the keyboard untouched. Max- 
 well, in his Essay upon Tune, published 
 anonymously (Edinburgh, 1781 : 2 vols., 
 8vo), proposes an organ with several ranks 
 of pipes for each stop, to be brought on 
 to the key-board by different stop-knobs. 
 The Rev. Henry Listen, of Ecclesmachan, 
 in his Essay on Perfect Intonation (Edin- 
 burgh, 1812: 4to), proposed to modify 
 the pitch of the flue pipes by shades 
 brought over the tops, and in the case 
 of stopt pipes, over the mouth. Neither 
 of these contrivances was, of course, 
 applicable to reed stops. 
 
 Two other schemes have been ad- 
 vanced with great enthusiasm by their 
 authors. The first is explained in The 
 Principles and Practice of Just Intona- 
 tion . . . as illustrated in the Enharmonic 
 Organ, by General T. Perronet Thompson, 
 F.R.S. This instrument contained forty 
 sounds to the octave, requiring as many 
 pipes, and could "perform correctly in 
 twenty-one keys with their minors to the
 
 238 The Literature of Music. 
 
 extent of involving not more than five 
 flats." This required three rows of keys, 
 each very complicated in construction, 
 which rendered the use of the instrument 
 exceedingly difficult. A blind girl, Miss 
 E. L. Northcote, was, however, able to 
 give a public performance on it after six 
 lessons, and to her the later editions of 
 the pamphlet, ten of which at least exist, 
 are dedicated. General Thompson was a 
 good mathematician, for a time Member 
 for Hull, editor of the Westminster Review, 
 and also well known for his energetic 
 advocacy of the repeal of the Corn Laws. 
 The pamphlet was freely distributed by 
 the author. 
 
 Another scheme was propounded by 
 an American, Mr. H. W. Poole, in a 
 pamphlet which is much more difficult 
 to meet with An Essay on Perfect In- 
 tonation ; . . . together with a brief descrip- 
 tion of the Enharmonic Organ of Messrs. 
 Alley *> Poole (Newhaven, 1850 : 8vo). 
 Mr. Alley was an organ-builder of 
 Newburyport, Mass., who put the plans 
 of Mr. Poole into practical form. In the 
 organ originally constructed the ordinary 
 key-board was preserved, the necessary 
 modifications in pitch being effected by 
 means of pedals ; but it was afterwards 
 proposed to abandon this plan, in favour
 
 The Science of Music. 239 
 
 of a modification of the key-board. In 
 the organ actually constructed the range 
 of perfect keys was no greater than in 
 that of General Thompson, and the tones 
 were obtained in the same way, by in- 
 creasing the number of pipes. 
 
 One more plan, in this case adapted to 
 the harmonium, was propounded by Mr. 
 Bosanquet, under the title of The Genera- 
 lised Fingerboard, a description of which 
 will be found in his work on tempera- 
 ment. 
 
 It will be noticed that none of these 
 schemes originate with the practical 
 musician, who in our own day is content 
 to accept the method of equal tempera- 
 ment. 
 
 The practical application of equal 
 temperament, involving careful estimation 
 of the beats of tempered intervals, was 
 not without difficulty. Much attention 
 was given to the subject by H. Scheibler 
 " Seidenwaaren-Manufacturist in Crefeld," 
 as he always modestly describes himself 
 on his title-pages. One of his inventions 
 was the estimation of the number of 
 beats by the oscillation of the metronome, 
 and he also contrived a " Tonometer " of 
 fifty-two tuning forks to the octave. His 
 investigations will be found in Der 
 Physikalische und Musikalische Tonmesser
 
 240 The Literature of Music. 
 
 (Essen, 1834 : 8vo), Anleititng die Orgel 
 vermitteht der Stb'sse (vulgo Schwebungen} 
 nnd des Metronoms correct gleichschwebend 
 zu stimmen (Crefeld, 1834: 8vo), and 
 in a collected form, after his death, as 
 H. Scheibler's Schriften iiber musikalische 
 und physikalische Tonmessung (Crefeld, 
 1838 : 8vo). The mathematical relations 
 of the intervals of the scale have been 
 calculated by many men of science in 
 our own country by the late W. S. B. 
 Woolhouse, in his Essay on Musical 
 Intervals (London, 1835 : 8vo) ; while in 
 France the late M. Delezenne was an 
 industrious writer on the subject. For a 
 list of his works we must refer the reader 
 to Fetis. 
 
 The elegant experiments of Lissajous 
 for rendering the vibrations of musical 
 sounds, and their combinations, visible to 
 the eye were originally published in the 
 somewhat inaccessible form of a lecture 
 delivered before the Societe de composi- 
 teurs de Musique in 1863. A long extract 
 from the paper will be found in the 
 article " Lissajous " in the supplement to 
 the Dictionnaire of Fe"tis. The various 
 apparatus for these and other acoustical 
 experiments are described in the excellent 
 catalogues issued by Marloye and by 
 Koenig, both of Paris, as well as in Die
 
 TJte Science of Music. 241 
 
 neueren Apparate der Akustik of Prof. 
 F. J. Pisko (Vienna, 1865 : 8vo). 
 
 The question of pitch is one which 
 has been much discussed not altogether 
 without acrimony. The history of the 
 subject has been exhaustively treated by 
 the late Mr. A. J. Ellis in two papers read 
 before the Society of Arts, March 5 and 
 April 2, 1880, which were published in 
 the Journal of the Society, and privately 
 printed in a separate form. Mr. Ellis 
 treats of the question again in the 
 appendix to his last edition of Helmholtz. 
 The number of pitches he has catalogued 
 is wonderful. 
 
 There remains only to mention methods 
 of measuring time in music. The first 
 suggestion of the pendulum for that 
 purpose is to be found in Loulie's Elements 
 ou Principe s de la Musique (Paris, 1696 : 
 8vo ; reprinted, Amsterdam, 1698 : 8vo). 
 He calls his instrument a " Chronometre." 
 There was no contrivance for keeping the 
 pendulum in motion, and the speed was 
 expressed in terms of the length of the 
 pendulum a plan used early in this 
 century in Germany, and in this country 
 by Dr. Crotch. Such contrivances are, 
 of course, superseded by the metronome, 
 introduced, if not invented, by Maelzel. 
 
 16
 
 CHAPTER XII. 
 THE BIBLIOGRAPHY OF Music. 
 
 |L THOUGH coming under 
 Charles Lamb's description of 
 " books which are no books," 
 there are few more useful works 
 in the musical library than thematic 
 catalogues of the compositions of the 
 great musicians. The writer still retains 
 a lively recollection of the delight afforded 
 him, more than thirty-five years ago, by 
 the acquisition of such a catalogue of 
 Beethoven's works, which formed the 
 first volume of a collection now very 
 considerable. 
 
 As far as the writer knows, the first 
 work of this nature published was the 
 Catalogo delle Sinfonie . . . in manuscritto 
 (and works of other natures), in the pos- 
 session of J. G. Breitkopf, the founder 
 of the famous and still flourishing house 
 of Breitkopf & Ha'rtel. It was begun 
 in 1762, and completed with sixteen 
 supplements, bringing it down to 1767. 
 242
 
 The Bibliography of Music. 243 
 
 It forms a wonderful guide to the music 
 issued between these dates perhaps not 
 a very interesting period, but very valuable 
 for the history of the art. It is not 
 common, and fetches a good price when 
 a copy offers. The writer's was formerly 
 in the possession of John Bland, the music 
 publisher, who was concerned in Salomon's 
 negotiations with Haydn, and he seems 
 to have followed Breitkopf s example by 
 issuing a thematic catalogue of his own 
 publications probably the first English 
 instance of the practice. 
 
 The earliest catalogue of the works 
 of a particular composer is the well- 
 known one of the works of Mozart, from 
 February gth, 1784, to November i5th, 
 1791, the original of which was carefully 
 drawn up by his own hand. It was 
 printed by J. Andre at Offenbach, in 1805, 
 and subsequently more than once re-issued. 
 But the most admirable of all catalogues 
 is that of Mozart, by Ludwig von Kochel, 
 (Leipzig, 1862 : large 8vo). It forms a 
 worthy monument to the genius of the 
 composer, and is full of the most interest- 
 ing information. 
 
 The excellent catalogue of Beethoven's 
 works was drawn up by Nottebohm 
 (Leipzig, 1851 : large 8vo), although his 
 name does not appear till the second
 
 244 The Literature of Music. 
 
 edition (1868). This follows the order 
 of the opus numbers, which, it is well 
 known, in many cases do not agree with 
 the chronological order of their compo- 
 sition. Mr. A. W. Thayer, an American, 
 who has made the study of everything 
 concerning Beethoven the work of his 
 life, issued a Chronologisches Verzeichniss, 
 (Berlin, 1865 : 8vo), in which the order of 
 production is followed. On that account 
 alone the work would be interesting, but 
 the value is greatly enhanced by the 
 additional information given. 
 
 Of Mendelssohn, Schubert, Schumann, 
 Chopin, Liszt, excellent thematic cata- 
 logues are published. Messrs. Peters & Co. 
 issue one of J. Sebastian Bach in two 
 volumes (Leipzig, 1882 : 8vo), the first 
 devoted to the instrumental, the other to 
 the vocal works of the master. F. W. Jahn's 
 Carl Maria von Weber in seinen Werken 
 (Berlin, 1871 : large 8vo) is worthy to 
 rank with Von Kochel's Mozart for its 
 exhaustive treatment of the subject. It 
 contains some good facsimiles of Weber's 
 writing. 
 
 It is curious that no printed thematic 
 catalogue exists of the works of Haydn. 
 The fact that he himself drew up such 
 a catalogue is well known, and a few 
 manuscript copies of it are in existence
 
 The Bibliography of Music. 245 
 
 one being in the writer's library but it 
 has never been printed, and now we fear 
 the interest in his works is dying out. 
 There is a thematic catalogue of his 
 quartets published by Trautwein (Berlin, 
 1844 : 8vo). 
 
 Of non-thematic catalogues we have 
 one of the works of Joachim Raff, by 
 Albert Schafer (Wiesbaden [1888] : 8vo), 
 and an excellent catalogue of the works 
 of Rubinstein was brought out on the 
 occasion of his jubilee (Leipzig, [1890]: 
 4to). 
 
 It must be admitted that for nearly 
 all our musical bibliographies we are 
 indebted to the industry and painstaking 
 accuracy of Germans. To his translation 
 of Delmotte's Roland de Lattre (Berlin, 
 1837 : 8vo), S. W. Dehn added a careful 
 catalogue of that composer's works. This 
 has been partly superseded by the more 
 modern information contained in that 
 compiled by R. Eitner, and originally 
 brought out as a supplement to the 
 Monatshefte fiir Musikgeschichte, an ex- 
 cellent publication, which has also con- 
 tained catalogues of the compositions of 
 Hans Leo Hassler, J. B. Hasse, as well 
 as of the musical works contained in the 
 libraries of Augsburg, the Joachimsthal 
 Gymnasium in Berlin, the University
 
 246 The Literature of Music. 
 
 Library at Gottingen, and the Ritter- 
 Akademie at Liegnitz. Here also appeared 
 the very useful Verzeichniss neuer Ausgabe 
 alter Musik werke, by Robert Eitner, of 
 the greatest value to those who are seeking 
 for available means of becoming ac- 
 quainted with the rich legacy of old 
 times. This, and some of the other 
 catalogues, have been separately published. 
 An excellent attempt at a complete 
 catalogue of music printed during the 
 sixteenth and seventeenth centuries, ar- 
 ranged chronologically in classes, was 
 made by C. F. Becker (Leipzig, 2nd 
 edition, 1855 : 4to), which will be found 
 very useful. There is also an admirable 
 bibliography of collections /'.., publica- 
 tions comprising works by more than one 
 composer drawn up by Haberl, Lager- 
 berg, and Pohl, under the editorship 
 of R. Eitner, entitled Bibliographic 
 der Musik-sammel-werke der XVI. und 
 XVII. Jahrhunderts, provided with excel- 
 lent indexes (Berlin, 1877 : Svo). The 
 equally valuable Bibliothek der Gedruckten 
 Weltlichen Vocal Musik Italicns 1500 
 1700, by Dr. Emil Vogel (Berlin, 1892 : 
 2 vols., Svo), arranged under the names 
 of the composers, was published at the 
 charges of the " Stiftung von Schnyder 
 von Wartersee," with preface, etc., both in
 
 The Bibliography of Music. 247 
 
 German and Italian. These works are 
 absolutely necessary to any one studying 
 the music of this period. It would be 
 a boon if a similar catalogue of sacred 
 music were undertaken by the same 
 competent hands. 
 
 In the English language, the only 
 works of this nature we can refer to are 
 the late Dr. Rimbault's Bibliotheca 
 Madrigaliana (London : 8vo) a well- 
 executed work, and a catalogue of a 
 collection of song-books formed by Sir 
 John Stainer; but this, we believe, is 
 privately printed. 
 
 Of catalogues of public libraries of 
 musical works perhaps the most im- 
 portant is that of the Liceo Musicale of 
 Bologna, originally made by Gaetano 
 Gaspari, but edited and published, after 
 his death, by F. Parisini and L. Torchi, 
 under the auspices of the Municipio of 
 that city. It is contained in three hand- 
 some volumes (Bologna, 1890-93 : 8vo), 
 devoted severally to theory, history, etc., 
 to sacred music, and to secular music. 
 It is an excellent catalogue of an admirable 
 library, and enriched with notes full of 
 information. The noble library formed 
 by Fetis, now the property of Belgium, 
 has been well catalogued (Paris, 1877 : 
 8vo). Herr Peters, the well-known music-
 
 248 The Literature of Music. 
 
 publisher of Leipzig, has presented that 
 city with a well-selected library for the 
 special advantage of the large number of 
 students resorting to that place, of which 
 a good catalogue has been printed 
 (Leipzig, 1894 : 8vo). The printed music 
 of the Stadtbibliothek and other libraries 
 of Breslau has been catalogued up to 
 the year 1700 by E. Bohn (Breslau, 
 1883: 8vo), and the manuscripts in the 
 former library by the same capable hands 
 ($., 1890 : 8vo). 
 
 An admirable library of music was 
 collected by John IV., King of Portugal 
 (1604 1656). The fact was known, but 
 the library had entirely disappeared, and 
 a conjecture was made that it was lost 
 in the earthquake at Lisbon. Fortunately 
 a copy of the first part of the catalogue 
 was discovered in the National Library 
 at Paris, and this has been reprinted in 
 a noble quarto volume (Lisbon, 1874), 
 under the superintendence of Senor J. 
 de Vasconcellos, who has also published 
 an essay on the treasures which this 
 collection contained (Oporto, 1873 : 410). 
 
 M. Weckerlin, the esteemed librarian 
 of the Conservatoire of Paris, has issued 
 a Catalogue bibliographique of the rarer 
 works in that library, both theoretical and 
 practical (Paris, 1885 : 8vo). It forms
 
 The Bibliography of Music. 249 
 
 an interesting volume, and is illustrated 
 with facsimiles, etc. 
 
 We are indebted to Dom F. X. Haberl 
 for an excellent catalogue of the price- 
 less contents of the library of the papal 
 chapel in the Vatican, entitled, Biblio- 
 graphischer und Thematischer Musik- 
 katalog des Papstlichen Kapellarchives, 
 etc. (Leipzig, 1888 : 8vo). This ap- 
 peared originally in the Monatskefte, and 
 until its publication no certain informa- 
 tion existed as to the contents of this 
 collection, owing to the jealousy with 
 which these treasures were guarded. 
 
 This does 'not exhaust the printed 
 catalogues of foreign libraries, but we 
 have no space to give further titles. In 
 England the late Mr. T. Oliphant drew 
 up A Catalogue of the Manuscript Music 
 in the British Museum, printed by order 
 of the trustees in 1842 (8vo), good up 
 to that date, but of course now much 
 behindhand. The proposal to print a 
 catalogue of all the music in that Institu- 
 tion down to 1800, which would be a 
 real boon to students, appears to be in 
 abeyance. It seems a great waste 
 of exceptional acquirements that the 
 time of the accomplished gentlemen who 
 preside over that Department should be 
 mainly occupied in cataloguing the last set
 
 250 TJie Literature of Music. 
 
 of waltzes, or the vulgar inanities of the 
 Music-hall, no doubt a sad necessity, 
 but surely a task within the powers of an 
 intelligent lad. The municipal authorities 
 of a comparatively small Italian city can 
 find the funds to compile and print an 
 admirable catalogue of the musical 
 treasures committed to their charge, while 
 the National Library of the richest nation 
 in the world is, for lack of means, unable 
 to follow so excellent an example ! 
 
 The library of the late Sacred Harmonic 
 Society, under the fostering care of its ex- 
 cellent honorary librarian, the late Mr. W. 
 H. Husk, grew to be one of great import- 
 ance, especially as to English madrigals, 
 in which it must be unapproached. 
 Several editions of the catalogue were 
 issued, the last in 1872 (8vo), a monu- 
 ment of Mr. Husk's painstaking care. 
 A supplement was published in 1882. 
 The collection has now passed into the 
 possession of the Royal College of 
 Music. A valuable musical library was 
 bequeathed, by the late Mr. William Euing, 
 of Glasgow, to Anderson's Library, for 
 the production of a catalogue of which 
 he left a sum of ^200. The work was 
 unfortunately entrusted to wholly in- 
 competent hands, and, moreover, by the 
 terms of the will no copy could be sold.
 
 The Bibliography of Music. 251 
 
 It is a pity that a really valuable collection 
 should be thus rendered almost useless. 
 We must finally mention the catalogue 
 of the music in the Fitzwilliam Museum 
 Library at Cambridge, a collection which 
 contains the famous Queen Elizabeth's 
 Virginal Book, and is also very rich in 
 Handel manuscripts. The catalogue was 
 made by Mr. J. A. Fuller-Maitland and 
 Dr. Mann, the latter of whom under- 
 took the Handel collection with great 
 success. 
 
 Passing over the scattered notices of 
 works on Music, such as those contained 
 in the well-known Polyhistor of Morhof, 
 the first attempt at a separate bibliography 
 of the subject appears to be that made 
 by Gruber, under the titles Litteratur der 
 Musik (Nuremberg, 1783-5 : 2 vols., 8vo) 
 and Beytrdge zur Litteratur der Musik 
 (Frankfort, 1790 : 2 vols., 8vo), both 
 which works are absolutely identical, the 
 title only having been changed. The 
 work is of small value. A much better 
 attempt was made by J. G. Forkel in his 
 Allgemeine Litteratur der Musik (Leipzig, 
 1792 : 8vo), a volume of five hundred and 
 forty pages, consisting of a catalogue 
 raisonnee of musical literature. This 
 work forms the basis of two other praise- 
 worthy attempts, the first of which was
 
 252 The Literature of Music. 
 
 the Bibliografia della Musica of Dr. P. 
 Lichtenthal, issued in conjunction with his 
 dictionary (Milan, 1826 : 4 vols., 8vo). 
 This was succeeded by C. F. Becker's 
 Systematisch-chronologische Darstellung der 
 Musikalischen Litteratur (Leipzig, 1836 : 
 4to), brought down by a supplement to 
 1839. A further supplement by R. Eitner 
 is to be found in the Monatskefte, which 
 the writer thinks has not been issued sepa- 
 rately, so that it is not very available. 
 Mr. Andrew Deakin, of Birmingham, has 
 compiled an excellent bibliography of 
 works on Music, published in England, 
 arranged chronologically (Birmingham, 
 1892 : 410). He is now engaged on a 
 revised edition, in which he proposes to 
 include all musical compositions of any 
 importance brought out in this country 
 down to the year 1800 a vast under- 
 taking, the value of which cannot be 
 over-estimated. The Bibliographic Musi- 
 cale of Csar Gardeton, published anony- 
 mously (Paris, 1822 : 8vo), is futile and 
 useless. 
 
 The Recherches historiques concernant 
 les Journaux dc Mitsicjue of E. G. J. 
 Gregoir (Antwerp, 1872 : 8vo) will be 
 found a useful catalogue of such publica- 
 tions, giving the date of first publication, 
 and of their extinction, when this has
 
 The Bibliography of Music. 253 
 
 arrived. W. Freystatter's Die Musik- 
 alischer Zeitschriften (Munich, 1884 : 8vo) 
 is avowedly based on the earlier work, 
 and is somewhat more detailed. 
 
 Several interesting loan collections of 
 musical works have been made. The 
 first of these was in connexion with the 
 Caxton Exhibition in 1877. The whole 
 collection was admirably catalogued the 
 musical department by Messrs. Littleton, 
 Cummings, and Barrett. This catalogue 
 was as excellent as the next was disgrace- 
 ful that of the Loan Exhibition in the 
 Albert Hall during the Inventions Exhibi- 
 tion of 1885, which was a mere hand list, of 
 the most meagre description. At the 
 instance of Mr. Quaritch, Mr. W. H. J. 
 Weale was induced to compile a Descrip- 
 tive Catalogue of Rare Manuscripts and 
 Printed Books, chiefly liturgical (London, 
 1886 : 8vo), so that some, at least, of the 
 very rare works exhibited were adequately 
 described. 
 
 There are other more modest sources 
 of information, which must not be over- 
 looked by the ardent bibliographer. Such, 
 for example, are auction catalogues of a 
 past day, among the most interesting of 
 which are those of the libraries of Rev. 
 William Gostling, Minor Canon of Canter- 
 bury, and son of Purcell's friend, dis-
 
 254 The Literature of Music. 
 
 persed so long ago as 1777 ; of James 
 Bartleman in 1822 ; and in more modern 
 days those of the late Professor E. Taylor, 
 and of the Libri sale; not to speak of those 
 which have taken place in foreign countries. 
 Nor must the trade catalogues of dealers 
 in old music and its literature be neg- 
 lected, especially when drawn up with 
 such exceptional knowledge as that 
 possessed by Mr. L. Liepmannssohn, of 
 Berlin, to whom the writer is glad to 
 acknowledge his great indebtedness. 
 
 We must now bring these remarks to a 
 close, although the subject is very far 
 from exhausted. Our own pursuits have 
 taught us the increased zest which is 
 given to our musical enjoyments by some 
 acquaintance with the history of the Art, 
 with the aims of those who have followed 
 it, and with the development of cultivated 
 opinion on their productions. To intro- 
 duce the reader to the best sources of 
 information on these subjects has been 
 the object of this book. A work of this 
 nature is, of necessity, imperfect, and no 
 doubt many interesting branches of 
 musical knowledge will be found un- 
 touched, many valuable treatises un- 
 mentioned. In the space at our disposal 
 it has only been possible to mention those 
 works which are of the most general
 
 Tlie Bibliography of Music. 255 
 
 interest, or of the greatest utility ; but we 
 trust that the information we have been 
 able to give may start many on a voyage of 
 discovery which will prove both pleasant 
 and profitable.
 
 INDEX. 
 
 AARON, PIETRO. See Aron. 
 
 Abercorn, Earl of. Sec 
 Paisley, Lord. 
 
 Adami, Andrea, da Bolsena : 
 Osservazioni per ben rego- 
 lare il coro . . . della 
 Capclla Pontijica, 173. 
 
 Addison : Essays on the 
 Opera, 180. 
 
 Adlung, Jakob: Miisica 
 Mechanica Organoedi, 
 219. 
 
 Agricola, Martin : Ein 
 Kurtz Deudsche Musica, 
 36 ; Musica figuralis 
 Deudsch, 36; Musica in- 
 strumentalis deudsch, 206. 
 
 Aiguino, Illuminato, 49. 
 
 Airy, Sir G. B. : On Sound 
 and Atmospheric Vibra- 
 tions, 235. 
 
 Alembert, J. le R. d': Ele- 
 mens de Musique . . . 
 snivant les Principes de 
 M. Ramcan, 94 ; Me'- 
 lances, 187. 
 
 Algarotti, Count : Saggio 
 
 2S7 
 
 sopra I'Opcra in Musica, 
 182. 
 
 Allacci, Lione : Dramma- 
 turgia, 203. 
 
 Alstediiis, J. H. : Elenten- 
 tale Musicuvn, 75. 
 
 Alypius, 6, 7, 8, n. 
 
 Ambros, A. W. : Geschichle 
 der Mnsik, 113. 
 
 Ambrosian Rite, 168. 
 
 Amiot, Pere : Mcnioire sur 
 la Musique des Chinois, 
 126. 
 
 Ancient Music, literature of, 
 chap, i., 1-14. 
 
 Aristotle, n. 
 
 Aristoxenus, 6, 7, 40 ; Ger- 
 man translation by P. 
 Marquard, 10 ; French 
 translation by Ruelle, 10. 
 
 Arnold, J. E. F. : Mosart's 
 Geist, 135. 
 
 Arnould, Sophie, biogra- 
 phies of, 194. 
 
 Aron, Pietro : Dell Istitu- 
 zione armonica, 27; Latin 
 translation by Flaminius, 
 
 17
 
 2 5 8 
 
 Index. 
 
 27 ; Toscanello in Musica, 
 27 ; Trattato della Nafura 
 . . . di Tutli gli tuoni, 
 28 ; Lucidario in Mitsica, 
 28. 
 
 Arteaga, Stefano : Le Rivo- 
 luzioni del Tealro Musi- 
 cafe Italiano, 182. 
 
 Artusi, G. M., 65 : Artusi, 
 overo dclle Iinperfettioni 
 della Modcrna Musica, 66. 
 
 Auction Catalogues: Rev. 
 William Gostling, 253 ; 
 Bartleman, J., 254; Pro- 
 fessor Taylor, 254 ; Libri, 
 254- 
 
 Augsburg; musical works 
 in its libraries, 245. 
 
 Avella, G. : Regolc di 
 Musica, 67. 
 
 Avison, Charles : Essay 
 on Musical Expression, 
 99- 
 
 BACCHIUS SENIOR, 8, 10, n, 
 49- 
 
 Bach, Emanuel, and J. F. 
 Agricola : Notice of J. S. 
 Bach, 133. 
 
 Bach, J. S., 133; thematic 
 catalogue of his compo- 
 sitions, 244. 
 
 Bache, Constance : trans- 
 lation of Liszt's Corres- 
 pondence, 198. 
 
 Baer, Abraham : Dcr prac- 
 tisclie Vorbctcr, 178. 
 
 Baini, Abbate G. : Mcinoric 
 . . . della i>ita e dcllc ope re 
 
 di G. P. da Palcstrina, 
 
 174. 
 Banchieri, A. : Organo Sito- 
 
 narino, 66. 
 Baptie, David : Handbook 
 
 of Musical Biography, 
 
 158 ; List of Musicians, 
 
 158. 
 Barker, C. S. See Organs 
 
 and Organ Building, 220. 
 Baron, E. G. : Untersuch- 
 
 ung dcs Instruments der 
 
 Laitlen, 229. 
 Baron, Rev. J. : Scitdamore 
 
 Organs, 220. 
 Barrett, W. A.: English 
 
 Glee Writers, 124 ; English 
 
 Church Composers, 176. 
 
 See also Stainer, Sir J. 
 Bauderon de Senece, A. : 
 
 Lcttrc de Clement Marot, 
 
 184. 
 Beck, F. A. : Luther's Gc- 
 
 danken iiber die Musik, 
 
 I7S- 
 Becker, C. F. : catalogue of 
 
 printed music of the six- 
 teenth and seventeenth 
 
 centuries, 246 ; Darstcl- 
 
 litng der Musikalischen 
 
 Litteralur, 252. 
 Bedford, Rev. Arthur : 
 
 Temple Mustek, 5, 173. 
 Bedos de Celles, Dom : 
 
 L'Art du Factcur 
 
 d'Orgitcs, 217. 
 Beethoven, L. van, 137; 
 
 thematic catalogue of 
 
 his compositions, 243;
 
 Index. 
 
 259 
 
 Thayer's chronological 
 catalogue of his composi- 
 tions, 244. 
 
 Beffara, L. F. ; his collec- 
 tions for a history of the 
 opera, 192. 
 Bellermann, F., 12 ; edition 
 
 of Bacchius Senior, n. 
 Bemetzrieder, 95 ; Lemons 
 
 de Clavecin, 96. 
 Benedictines of Solesmes, 
 facsimiles of musical 
 manuscripts, 172. 
 Benelli, Alemano (anagram 
 
 of Annibale Melone), 32. 
 Berardi, Angelo : Ra^iona- 
 tnenti Musicali, 67 ; Docu- 
 menti Armonici, 68 ; Mis- 
 cellanea Musicalc, 68 ; 
 Arcani Musicalc, 68 ; 
 Pcrche Musicale, 68. 
 Berlin : catalogue of musi- 
 cal works in Joachimsthal 
 Gymnasium, 245. l( { 
 
 Berlioz, Hector, 193. jia tion 
 Bertini, Giusepp^,,,^), 
 
 nario storico- 
 
 Beyle, M. I^iuseppe : Le 
 Haydn, ' f I34 ; Rossini, 
 ViedeP^, 135. 
 ^Castil-Blaze, F. H. J. : 
 Dictionnaire, 150 ; De 
 f Opera en France, 191 ; 
 L' Academic hnpc'rialc de 
 Miisiqne, 191 ; L'Opera 
 Italien, 192. 
 
 Catalogues of acoustic 
 apparatus, by Marloye, 
 Kcenig, and Pisko, 240. 
 
 tion of Alstedius's Ele- 
 
 mentale Musicutn, 75. 
 Bitter, C. H. : Beitrcige zur 
 
 Geschichte des Orato- 
 
 riums, 178. 
 Blaikley, D. J. : On Musical 
 
 Pitch, 227. 
 Blainville, C. H. : Histoire 
 
 gc'ncrale, critique et philo- 
 
 logique de la Musique, 104. 
 Bland, John ; thematic 
 
 catalogue of his publica- 
 tions, 243. 
 Blaserna, P. : Teoria del 
 
 Suono, 235. 
 Blew, W. C. A. : The Law 
 
 of Organs and Organist jk 
 
 224. 
 Boehm's improve*; History 
 
 the flute, aiy. 
 
 printedn, Abbe, 169. 
 
 2T.' t eauneuf, Abbe : Dia- 
 " logue sitr la Musique des 
 
 Anciens, 12. 
 
 Cherubini publishes resolu- 
 tions of canons in Mar- 
 tini's Storia, 105. 
 China, music of, 126. 
 Chladni, E. F. F. : Akustik, 
 233; Traite d'acoustiquc, 
 
 233- 
 
 Chopin, F., 141; thematic 
 catalogue of his composi- 
 tions, 244. 
 
 Choron, A. E. : Principes de 
 Composition des Ecoles 
 d'ltalie, 92. 
 
 et Fayolle : Diclion- 
 
 naire des Ahisiciens, 155.
 
 260 
 
 Index. 
 
 Bonhni, J. C. : Le Gloric 
 della Pocsia e della Mu- 
 sica, 201. 
 
 Bonnet, Jacques : \Histoire 
 de la Musiqitc et do scs 
 effets, 103. 
 
 Bontempi, G. A. A. : His- 
 toria Musica, 103. 
 
 Borjon, C. E. : Traitc dc la 
 Musette, 230. 
 
 Bosanquet, R. H. M. : 
 Elementary Treatise on 
 Musical Intervals and 
 Temperament, 236 ; his 
 generalised fingerboard, 
 
 239- 
 "^ottrigari, Ercole : // Pa- 
 
 i'o, 32 ; II Desiderio, 32. 
 Avellit^s, Guerre des," 
 
 Musica, 
 Avison, Chan^ Histoire 
 
 on Musical Exjsi-i ses ' 
 
 99- I 
 
 BACCHIUS SENIOR, 8, 10, n, 
 49- 
 
 Bach, Emanuel, and J. F. 
 Agricola : Notice of J. S. 
 Bach, 133. 
 
 Bach, J. S., 133; thematic 
 catalogue of his compo- 
 sitions, 244. 
 
 Bache, Constance : trans- 
 lation of Liszt's Corres- 
 pondence, 198. 
 
 Baer, Abraham : Dcr prac- 
 tische Vorbcter, 178. 
 
 Baini, Abbate G. : Memoric 
 . . . della vita e dcllc operc 
 
 of manuscript music, by 
 Oliphant, 249. 
 Broadhouse, J. : Student's 
 
 Hclmliolts, 235. 
 Broadvvood, W. S., edits 
 Boehm's Essay on the 
 Flute, 214. 
 
 Bromby, J. H. : English 
 translation of Plutarch, 
 n. 
 Brossard, S. de : Diction- 
 
 naire dc Musiqne, 145. 
 Brouncker, Lord. See Des- 
 cartes, R. 
 
 Brown, J. D. : Biograpliical 
 Dictionary of Musicians, 
 157- 
 
 Brown, Mary E., and W. 
 A. Brown : Musical In- 
 struments and their 
 Homes, 227. 
 Bruce the traveller: his 
 
 Egyptian harp, 3. 
 Hurette, P. J. : Me'moircs 
 
 i,Greek Music, n. 
 Beckerpr. C. : History of 
 printed .106; views on 
 tcenth anlc, n ; The 
 centuries, ' of Music 
 lung dcr M.Italy, T.OO; 
 Littcratur, 252. 
 Bedford, Rev. Arthur: 
 
 Temple Mustek, 5, 178. 
 Bedos de Celles, Dom : 
 L'Art du Fact cur 
 d'Orgucs, 217. 
 Beethoven, L. van, 137; 
 thematic catalogue of 
 his compositions, 243 ;
 
 Index. 
 
 261 
 
 Butler, Rev. Charles : Prin- 
 ciples of Mustek, 70; 
 Fetninin Monarch?, 71. 
 
 Buttstett, J. H.: Uf, Re, Mi, 
 Fa, Sol, La, Tola Musica 
 et Harmonia AZterna, 83. 
 
 CACCINI, GIULIO, 114. 
 
 Caffi, Francesco : Storia 
 della Musica sacra nella 
 . . . Capella . . . di San 
 Marco in Vcnezia, 174. 
 
 Calmet, Dom: Commentaire 
 littc'ral, 2. 
 
 Campardon, E.: L' Academic 
 Royale de Mitsique au 
 XV I lie. siecle, 194. 
 
 Campion, Thomas : Art of 
 Setting or Composing of 
 Mustek in Parts, 71. 
 
 Candlish, Rev. Dr., 177. 
 
 Cantorinus, 33. 
 
 Cario, Agathus (pseu- 
 donym) : Neue Hall-und 
 Thon-Kitnst (translation 
 of Kircher's Phoniirgia), 
 61. 
 
 Carpani, Giuseppe : Le 
 Haydine, 134 ; Rossini, 
 letters on, 135. 
 
 Castil-Blaze, F. H. J. : 
 Dictionnaire, 150 ; De 
 f Opera en France, 191 ; 
 L' Academic Impc'riale dc 
 Musique, 191 ; L'Opcra 
 I/alien, 192. 
 
 Catalogues of acoustic 
 apparatus, by Marloye, 
 Kcenig, and Pisko, 240. 
 
 Catalogues of collections of 
 instruments, 225. 
 
 Catalogues, thematic, 242. 
 
 Cans, Solomon de : Institu- 
 tion Harmonique, 56. 
 
 Cavaille-Coll, A. : Etudes 
 experimentales sur les 
 tuyaitx d'orgues, 219. 
 
 Caxton Exhibition : cata- 
 logue of musical works, 
 253- 
 
 Cerone, Pedro : ElMelopeo, 
 44. 
 
 Cerutti, Abbe : French 
 translation of Bonanni's 
 Gabinetto Armonico, 230. 
 
 Chapel Royal, Cheque Book 
 of, 123. 
 
 Chappell, William : History 
 of Music, 119. 
 
 Chastelain, Abbe, 169. 
 
 Chateauneuf, Abbe : Dia- 
 logue sur la Musique des 
 Anciens, 12. 
 
 Cherubini publishes resolu- 
 tions of canons in Mar- 
 tini's Storia, 105. 
 
 China, music of, 126. 
 
 Chladni, E. F. F. : Akustik, 
 233 ; Traite' d'acoustique, 
 
 233- 
 
 Chopin, F., 141; thematic 
 catalogue of his composi- 
 tions, 244. 
 
 Choron, A. E. : Principes de 
 Composition des Ecolcs 
 d'ltalie, 92. 
 
 et Fayolle : Diction- 
 naire des Musiciens, 155.
 
 262 
 
 Index. 
 
 Chouquet, Gustave : His- 
 toire de la Musique Dra- 
 niatiqite en France, 192 ; 
 catalogue of museum of 
 Paris Conservatoire, 225. 
 
 Christianowitsch, Alex- 
 andre : Esquisse His- 
 torique de la Musique 
 Arabe, 125. 
 
 Chrysander, Dr. F. : G. F. 
 Handel, 133. 
 
 Clement, Felix, 170; His- 
 toire de la Musique, 117; 
 Histoire Gencrale de la 
 Musique religieuse, 171. 
 
 and Larousse : Diclion- 
 
 naire Lyrique, 203. 
 
 Cleonides, 6. 
 
 Coche, V. J. B. : Exatnen 
 critique de la Flute ordi- 
 naire comparc'e ft la Flute 
 de Boehm, 214. 
 
 Cochlceus : Tclracltordon, 
 36. 
 
 Cold Souls, 177. 
 
 Coleridge, A. D. : transla- 
 tion of Kreissle von Hell- 
 bom's Life of Schubert, 
 139 ; translation of Mos- 
 cheles' Life, 141. 
 
 Collier, Joel : Musical 
 Travels through England, 
 (by Bicknell ?) 101. 
 
 Comettant, O. : Histoire. 
 d'lin inventeitrau XIXie- 
 Siccte (Adolphe Sax), 
 224. 
 
 Compendium Musices, 
 
 printed by Giunta, 33. 
 
 Conservatoire at Paris : 
 catalogue of museum of 
 instruments, 225. 
 
 Conservatoire of Brussels 
 catalogue of museum of 
 instruments, 225. 
 
 Contant D'Orville, A. G. : 
 Histoire de I' Opera 
 Bouffon, 190. 
 
 Cotton : Musica, 17. 
 
 Coussemaker, E. de : Mc- 
 moire sur Hucbald, 18; 
 Scriptorcs de Musica 
 Medii .'Evi, 19 ; Histoire 
 de I'Harinonie an Moycn 
 Age, 20; L'Art Harino- 
 nique aux XII?- et XllJf- 
 Siecles, 20; Adam de la 
 Halle, 20 ; Dra:nes litur- 
 giques du Moyen Age, 20, 
 181. 
 
 Cummings, W. H. : Alpha- 
 betical List of Musicians, 
 158. 
 
 Curvven, Rev. John : Tract 
 on Musical Statics, 236. 
 
 Curwen, J. S. : Studies oj 
 Worship-Music t 177. 
 
 DALBERG, BARON : German 
 translation of Sir W. 
 Jones's Musical Modes of 
 the Hindus, 127. 
 
 Daniel, Salvador : La Mu- 
 sique Arabc, 125. 
 
 Danjou, J. L. F., 170; Revue 
 de la Musiijue religieuse, 
 170. 
 
 Dannreuther, E. : English
 
 Index. 
 
 263 
 
 translations of works of 
 
 Wagner, 200. 
 David, E., and M. Lussy : 
 
 Histoire de la Notation 
 
 Musicale, 143. 
 David, Ferdinand, 164, 
 Davidson, P. : The Violin, 
 
 211. 
 
 Davy, Charles : Letters to a 
 Young Gentleman (The 
 Canon of Euclid), n. 
 
 Day, Captain C. R. : cata- 
 logue of military musical 
 instruments, 227 ; Music 
 and Musical Instruments 
 of Southern India and 
 the Deccan, 229. 
 
 Deakin, Andrew : Biblio- 
 graphy of Works on 
 Music published in Eng- 
 land, 252. 
 
 Dehn, S. W. : German 
 translation of Delmotte's 
 Roland de Lattre, 245. 
 
 Delmotte, H. F. : Roland de 
 Lattre, 245. 
 
 Desboulmiers. Sec Jullien, 
 J. A. 
 
 Descartes, Renatus : Com- 
 pendium Musicce, 56 ; 
 Excellent Compendium 
 (translation of former 
 work by Lord Brouncker), 
 56 ; French translation by 
 Abbe Poisson, 56. 
 
 Description de I'Egypte, 4. 
 
 Des Essarts, N. T. : Les 
 trois Theatres de Paris, 
 190. 
 
 Desnoiresterres, G. : Gluck 
 
 et Piccinni, 188. 
 Dickson, Rev. W. E. : 
 
 Practical Organ-building, 
 
 220. 
 Dictionaries of Music : 
 
 chap, vii., 144-167. 
 Dictionary of Musicians, 
 
 IS5, 156. 
 Dictionnaire de Musique of 
 
 Framery, Ginguene and 
 
 De Momigny, 149. 
 Diderot, Denis. See Be- 
 
 metzrieder. 
 
 Dodwell, Henry : Lawful- 
 ness of Mustek in Holy 
 
 Offices, 178. 
 Dommer, Arrey von, edits 
 
 Koch's Dictionary, 152. 
 Doni, G. B. : DC prcestantia 
 
 Musicce Veteris, 13 ; 
 
 works of, edited by Gori, 
 
 128. 
 
 Dorn, H. L. E., 164. 
 Dowland, John : transla- 
 tion of Omithoparcus, his 
 
 Micrologus, 38. 
 Drieberg, F. von, 12 ; Wor- 
 
 terbuch der griechisclien 
 
 Musik, 152. 
 Du Bos, Abbe : Reflexions 
 
 critiques, 180. 
 Durey de Noinville, J., and 
 
 L. Travenol : Histoire du 
 
 Theatre de I'Ope'ra, 189. 
 
 EARLY PRINTED WORKS ON 
 Music : chap. Hi., p. 
 21-43.
 
 264 
 
 Index. 
 
 Ebers, John : Seven Years 
 of the King's Theatre, 
 202. 
 
 Egyptian Music, 3. 
 
 Eighteenth century, musi- 
 cal literature in the : 
 chap, v., 79-101. 
 
 Eisel, J. P. : Musicus 
 avToSi'SoxTos, 90. 
 
 Eitner, R. : catalogue of 
 compositions of Or- 
 lando di Lasso (R. de 
 Lattre) 245 ; Verseichniss 
 ncucrAiisga.be alter Musik 
 werke, 246 ; supplement 
 to Becker's Darslclhing 
 der Musikalischen Lit- 
 teralur, 252 ; Haberl, 
 Lagerberg, and Pohl, 
 Bibliographic der Musik- 
 sammel-werke der XVI. 
 mid XVII. Jahrliunderts, 
 246. 
 
 Ellis, A. J. : translation of 
 Helmholtz's Die Lehrc 
 von TonetHpfindungcu, 
 234 ; On Musical Pitch, 
 241. 
 
 Ellis, W. Ashton : transla- 
 tion of works of Wagner, 
 
 200. 
 
 Encyclopedic, the, 94. 
 
 Engel, Carl, 225, 226 ; Music 
 of the Most Ancient Na- 
 tions, s, ni; Researches 
 into the Early History of 
 the Violin Family, 212. 
 
 England, Opera in, 202. 
 
 Erard, Sebastian : Notice 
 
 Biographiquc, by F. J. 
 Fetis, 224. 
 
 Eratosthenes, 6. 
 
 Escudier, the brothers : 
 Dictionnairc, 150. 
 
 Euclid, 6, 7, ii, 49: Section 
 of the Canon, 7, n. 
 
 Euing, W., catalogue of 
 library left to City of 
 Glasgow by, 250. 
 
 Euler, L. : Lettrcs a itne 
 Princesse d'Allemagnc, 
 234- 
 
 Eximeno, Antonio : Dell' 
 origine e delle Regole della 
 Musica, 92 ; Dubbio sopra 
 il Saggio Fundamental 
 di Conlrappunto di Mar- 
 tini, 92. 
 
 Explication of such Foreign 
 Words as arc made Use 
 of in Music!; Books, 146. 
 
 FABER J., STAI-ULENSIS : 
 Element a Musicalia, 39. 
 
 Fayolle, F. J. M. Sec 
 Choron ct Fayolle. 
 
 Fetis, F. J., 13, 27, 32, 
 45, '48, 170; Esc/uissc de 
 I' Historic dc 1'Harinonie, 
 95 ; Histoirc de la Mu- 
 sique, no; Resume philo- 
 sophiqiie de I'Histoire de 
 la Musique, no, 119, 157; 
 Biograpliie unii'erscllc ties 
 Mitsiciens, 156; supple- 
 ment by Pougin, 157 > 
 Antoine Stradivari, 212 ; 
 Notice Biograpliiqite de
 
 Index. 
 
 265 
 
 S. Erard, 224 ; catalogue 
 of his library, 247. 
 
 Fetis, Madame, translates 
 Stafford's History of 
 Music, 115. 
 
 Fitzwilliam Museum, Cam- 
 bridge : catalogue of 
 music in library, by J. 
 A. Fuller-Maitland and 
 Dr. Mann, 251. 
 
 Flaminius, J. A. See Aron, 
 Pietro. 
 
 Fleming, J. M. : Old Violins 
 and their Makers, 210. 
 
 flares Mitsice, by Hugo 
 von Reutlingen, 33. 
 
 Florimo, Francesco : La 
 Scuola Musicale di Na- 
 (>oli, 124. 
 
 Flute, works on the, 214. 
 
 Foglianus, Ludovicus : Mu- 
 sica Theorica, 28, 49. 
 
 Forkel, J. N. : Allgemeine 
 GeschichtederMusik, 109 ; 
 J. S. Bach's Leben, 133; 
 Rivoluzioni del Teatro 
 Musicale of Arteaga, 
 translation of, 182 ; Allge- 
 meine Littcratur dcr Mu- 
 sik, 251. 
 
 Forster. Sec Sandys. 
 
 Framery, N. E., 149. 
 
 Franco of Cologne, 17. 
 
 French theorists, 95. 
 
 Freystatter, W. : Die Musi- 
 kaliscltcr Zcilschriften, 
 253- 
 
 Froschius : Renini Musi- 
 carum Opusculuin, 36. 
 
 Fulda, Adam de, 17. 
 
 Fuller-Maitland, J. A.: 
 Masters of German Music, 
 142 ; catalogue of music in 
 Fitzwilliam 's library, 251. 
 
 Fiirstenau, M. : Zur Ges- 
 chichle der Musik und des 
 Theaters zu Dresden, 197. 
 
 Fux, Johann Josef: Gradns 
 ad Parnassum, 88. 
 
 GAFORIUS FRANCHINUS, 40 : 
 Tlieoricum opus annonice 
 discipline, 21 ; Praclica- 
 Mitsice, 23 ; De Hannonia 
 Musicorutn Instrumento- 
 rum, 23 ; Angelicum ac 
 divinutn opus musice, 24 ; 
 Apologia adversus Spar- 
 tariutn, 25. 
 
 Galilei, Vincentio : Dialogo 
 della Musica Antica e 
 Moderna, 13, 30; Discorso 
 intorno all' opere di Zar- 
 lino, 31 ; II Fronitno, 229. 
 
 Gallay, Jules : Les Luthiers 
 Italiens, 208. 
 
 Gardeton, Cesar : Biblio- 
 graphie Musicale, 252. 
 
 Gardiner, W., of Leicester, 
 i34- 
 
 Gaspari, Gaetano. See Bo- 
 logna. 
 
 Gaudentius, 8, u. 
 
 Geminiani, F., Avison's 
 opinion of, 99. 
 
 Gerber, E. L. : Hislorisch- 
 biographisches Lexicon, 
 153 ; Neues historisch-
 
 266 
 
 Index. 
 
 biographisches Lcxikon, 
 
 154. 
 
 Gerbert, Abt. Martin : 
 Scriptores Ecclesiastici 
 dc Musica, 16 ; Iter Ale- 
 mannicum, accedit Itali- 
 cum et Gallicum, 101 ; De 
 Can/it et Musica sacra, 
 171 ; Veins Liturgia Ale- 
 mannica, 171. 
 
 Germany, the Opera in, 195. 
 
 Gevaert, F. A. : Histoire ct 
 Theorie de la Musifjue de 
 I'Antiquite, 12. 
 
 Gianelli, Abbate : Dizio- 
 nario di Musica, 151. 
 
 Gibb, William: illustrations 
 to Hipkins's musical in- 
 struments, 226; illustra- 
 tions to Day's instruments 
 of Southern India, 229. 
 
 Ginguene, P. L., 149. 
 
 Glareanus, H. L., 40; edits 
 Boethius, 15 ; Dodeca- 
 chordon, 38 ; Isagoge in 
 Musicen, 37. 
 
 Glasenapp, Richard Wag- 
 ner's Leben und Wirken, 
 199; Wagner Lexicon, 199. 
 
 Gluck, C. W. von, and 
 Piccinni controversy, 187 ; 
 his prefaces to Alceste 
 and Paride ed Elena, 
 188. 
 
 Gogavinus : edition of 
 Aristoxenus andPtolemy, 
 7. 
 
 Goncourt, E. and J. de : 
 Sophie Artioitld, 194. 
 
 Gordon, Captain : his claim 
 to Boehm's improvements 
 of the flute, 214. 
 
 Gore-Ouseley, Rev. Sir F. 
 A. : additions to Nau- 
 mann's History, 117. 
 
 Goschler, Abbe : Mozart : 
 Vie d'un artiste clirc'tici;, 
 136. 
 
 Gb'ttingen : catalogue of 
 musical works in Uni- 
 versity Library, 245. 
 
 Grand-Carteret, John : 
 
 Richard Wagner en cari- 
 catures, zoo. 
 
 Grassineau, J. : Musical 
 Dictionary, 146. 
 
 Greek knowledge of har- 
 mony, 13 ; Greek music, 5, 
 120 ; Greek music, known 
 fragments of, n, 13. 
 
 Gregoir, E. G. J. : Des 
 Gloires de FOpt'ra et la 
 Musiquc 11 Paris, 195 ; 
 Historique de la Facture 
 et des Facteurs d'Orguc, 
 221 ; Rccherches concer- 
 nant les Joumaux de 
 Musique, 252. 
 
 Gretry, A. E. M. : Mc'nioircs 
 on essais sttr la Musitjuc, 
 190. 
 
 Groppo, Antonio : Calalogo 
 di tittli i Drainnii per 
 Musica, 201. 
 
 Grosheim, G. C., 163. 
 
 Grotius, Hugo, 9. 
 
 Grove, Sir George : Dic- 
 tionary of Music and
 
 Index. 
 
 267 
 
 Musicians, 48, 64, 164 ; 
 article on Schubert, 140. 
 
 Gruber, J. S. : Litteratur 
 der Musik, 251 ; Beytrage 
 zur Litteratur der Musik, 
 251- 
 
 Gruneisen, C. L., 203. 
 
 " Guerre des Bouffons," 186. 
 
 Guerson : Utilissime musi- 
 cales regule, 39. 
 
 Guido d'Arezzo, 16, 18, 22, 
 24, 49. 58. 
 
 Guidonian Hand, 17, 42, 58. 
 
 Gttnn, John : Enquiry re- 
 specting the performance 
 of the Harp in the High- 
 lands of Scotland, 224. 
 
 HABERL, F. X. : Die Ro- 
 
 mischc Schola Cantorutn, 
 173 ; Musik-katalog des 
 PapstlicJien Kapellar- 
 chives, 249. Sec also 
 Eitner, R. 
 
 Hadow, W. H. : Studies in 
 Modern Music, 142. 
 
 Hamburg, Mattheson's his- 
 tory of Opera in, 85. 
 
 Hamel, M. P. : (Encyclo- 
 pedia Roret), Nouvcau 
 Manuel du Facteur 
 d'Orgues, 218. 
 
 Handel, G. F., 131, 132; 
 Avison's opinion about, 
 99. 
 
 Harmony, Greek know- 
 ledge of, 13. 
 
 Harp, works on the, 224. 
 
 Hart, George : The Violin ; 
 
 its Famous Makers and 
 their Imitators, 209 ; The 
 Violin and its Music, 209. 
 
 Hasse, J. B. : catalogue of 
 compositions, 245. 
 
 Hassler, Hans Leo : cata- 
 logue of compositions, 245. 
 
 Haydn, Josef, 133; thematic 
 catalogue of his quartets, 
 
 245- 
 Hawkins, Sir J., 29; History 
 
 of Music, 106. 
 Hayes, Dr. W. : Remarks on 
 
 Mr, Avison's Essay, 99. 
 Hebrew music, 3, 5, 178. 
 Hellborn, Kreissle von : 
 
 Frans Schubert, 139. 
 Helmholtz, 120; Die Lehrc 
 
 von Toncnipfindungen, 
 
 234, 236 ; English transla- 
 
 lation by A. J. Ellis, 234, 
 
 236. 
 Hensel, S: Die Familie 
 
 Mendelssohn, 140. 
 Herbst, J. A. : Musica 
 
 Prattica, 64 ; Musica 
 
 Poetica, 64 ; Arte Practica 
 
 e Poetica, 64. 
 Heron-Allen, E. : DC Fidi- 
 
 culis Bibliograpltia, 206 ; 
 
 Violin Making as it was 
 
 and is, 210. 
 Hervey, A. : Masters of 
 
 FrencJi Music, 142. 
 Hess, Joachim : Disposition 
 
 der merkivaardigste Kerk- 
 
 Orgelen, 221. 
 Heurn, J. van : De Or gel- 
 
 maaker, 220.
 
 268 
 
 Index, 
 
 Heyden, Sebaldus : Ars 
 Cancndi, 37. 
 
 Hill, A. G. : Organ Cases 
 and Organs of the Middle 
 Ages and Renaissance, 
 222. 
 
 Hill, W. E. & Sons; their 
 publications on violins, 
 212. 
 
 Hindoostan, music of, 127. 
 
 Hipkins, A. J. : Articles in 
 Grove's Dictionary, 167, 
 215 ; Musical Instruments, 
 Historic, Rare, and 
 Unique, 226. 
 
 Hirsch, Andreas: Kircherus 
 Jesui/a Germanus Ger- 
 vianicc redonatus (trans- 
 lation of Kircher's Mu- 
 surgia), 60. 
 
 Histories of Music Bio- 
 graphy, chap, vi., '102-143. 
 
 Hoffmann von Fallerslebcn, 
 A. H. : Geschichte des 
 Dentschcs Kirchenliedes 
 bis auf Luther's Zeit, 175. 
 
 Hogarth, George : Musical 
 History, Biography, and 
 Criticism, 115. 
 
 Holbein, 37. 
 
 Holden, John : Essay lo- 
 wards a rational system 
 of Music, 98. 
 
 Holmes, Edward : Life of 
 Mosart, 136. 
 
 Hopkins, Dr. E. : The 
 Organ, 218. 
 
 Huberson, G. : (Encyclo- 
 pedic Roret), Manuel dc 
 
 I'accordeur ct du rcpara- 
 teitr de Pianos, 216. 
 
 Hucbald, Musica cnchiria- 
 dis, 16, 18. 
 
 Hueffer, Dr. F. : translation 
 of Wagner's letters, 198 ; 
 R. IVagncr and the Music 
 oftlic Future, 200 ; Richard 
 Wagner, 200. 
 
 Huggins, Mrs. : G. P. Mag- 
 gini, 212. 
 
 Hugo von Reutlingen : 
 Florcs Musicc, 33 ; reprint 
 by Carl Beck, 35. 
 
 Hullah, John : History of 
 Modern Music, 120; Tran- 
 sition Period, 120. 
 
 Hunt, Dr. J. Bonavia : His- 
 tory of Music, 116. 
 
 Husk, W. H. : catalogue of 
 Sacred Harmonic So- 
 ciety's Library, 250. 
 
 Hydraulic organ of Vitru- 
 vius, 120. 
 
 Hyntnologv, Julian's Dic- 
 tionary of, 153. 
 
 INSTRUMENTS, CATALOGUES 
 OF COLLECTIONS OF, 225. 
 
 Inventions Exhibition, col- 
 lections at, 226 ; catalogue 
 of works on music, 253. 
 
 Isidore, St., of Seville, 
 denies the possibility of 
 preserving melodies, 16. 
 
 Italy, the Opera in, 201. 
 
 JACQUOT, ALBERT : La Mu- 
 siqiic en Lorraine, 123.
 
 Index 
 
 269 
 
 Jahn, F. W. : Carl Maria 
 von Weber in seinen 
 Werken, 244. 
 
 Jahn, Otto : W. A. Mozart, 
 
 !37- 
 
 Janowka, T. B. : Clavis ad 
 Thesaurum magnce arlis 
 
 Musiccc, 144. 
 Janus, C. : Musici Scriptores 
 
 Greed, n. 
 
 Japan, music in, 228. 
 Jebb, Rev. J., D.D. : The 
 
 Choral Service of the 
 
 Church of England, 176. 
 Jewish music, 3, 5, 178. 
 Jewish synagogues, music 
 
 in, 178. 
 John IV., King of Portugal : 
 
 Defensa de la Musica 
 
 Moderna, 66; his musical 
 
 library, 248. 
 Jones, Sir William : Musical 
 
 Modes of the Hindus, 
 
 127. 
 Jortin, Dr. See Avison, C., 
 
 99- 
 
 Journals, musical, 252. 
 
 Julian, Rev. J. : Dictionary 
 of Hymnology, 153. 
 
 Jullien, Adolphe : Hector 
 Berlioz, 193 ; Richard 
 Wagner, 200. 
 
 Jullien, J. A. (Desboul- 
 miers) : Histoire dn 
 TItc'atre de I'Opera Co- 
 miff He, 190. 
 
 Jumilhac, Dom : La Science 
 ft la Pratique dn Plain- 
 Chant, 169 ; second edi- 
 
 tion, by Nisard and Le 
 Clercq, 169. 
 
 KANDLER, F. S. ( 174. 
 
 Karasowski, M. : Frederick 
 Chopin ; seine Leben, etc., 
 141. 
 
 Kastner, George : Manuel 
 General de Musique Mili- 
 taire, 227. 
 
 Keeble, John : Theory of 
 Hartnonics, 12. 
 
 Keinspeck, Michael: Lilium 
 Musice Plane, 35. 
 
 Keiser, Reinhold, 193. 
 
 Kelly, Michael: Remini- 
 scences, 202. 
 
 Kiesewetter, R. G., 174; 
 Welke verdicnsten licbben 
 aich de Nederlanders, etc., 
 118; GeschicJite der euro- 
 piiisch - abendlcindischen 
 Musik, 118; History of 
 Modern Music of Western 
 Europe (translation of 
 the former work by 
 R. Muller), 118; Ueber 
 die Musik der neueren 
 Griechen, 119; Schicksale 
 und Beschaffcnheit dcs 
 weltlichcn Gesanges, 119; 
 Die Musik derAraber, 125. 
 
 Kircher, Athanasius : Mag- 
 nes , 57 Musurgia Uni- 
 versalis, 58 ; German 
 translation by A. Hirsch, 
 60; Phonurgia Nona, 60; 
 German translation by A, 
 Cario, 6i.|
 
 2/O 
 
 Index. 
 
 Kirnberger, J. P.: Die 
 Kunst des reittcn Satses 
 in tier Mnsik, 88. 
 
 Kneschke, E. : Zur Ges- 
 chichlc dcs Theaters und 
 der Must/; in Leipzig, 197. 
 
 Knispel, H.: Das Gross- 
 heraogliclie Hoftlieater in 
 Darmstadt, 197. 
 
 Koch, E. E. : Geschichtc der 
 Kirchenlieds, 175. 
 
 Koch, H. C. : Musikalisches 
 Lexikon, 152 ; Kursge- 
 fasstes Handwoi'terbitch, 
 
 *5 2 - 
 
 Kochel, L. von : Johann 
 Josef Fitx, 200; catalogue 
 of works of Mozart, 243. 
 
 Kossmaly and Carlo : Schle- 
 sischcs Tonkiinstlcr-Lexi- 
 kon, 159. 
 
 Kraus, Alessandro : cata- 
 logue of his museum, 227; 
 La Miisique en Japan, 228. 
 
 Kitrsgcfasstes Musica- 
 
 lischcs Lexicon (Chem- 
 nitz), 163. 
 
 LA BORDK, J. B. UE : Eysai 
 sier la Musique, 129. 
 
 La Fond, J. F. de : Neiv 
 SyKli'in of Music, both 
 Theorical and Practical, 
 96. 
 
 La Fage, J. A. L. de, in ; 
 Histoire gene rale dc la 
 Musique el de la Danse, 
 112; Cours coiHplet dc 
 Plain-Chant, 170. 
 
 La Fontaine, J. de : satire 
 on Lully, 184. 
 
 Lagerberg. Sec Eitner, R. 
 
 Lajarte, Theodore de : Bib- 
 liotheque musicale die 
 theatre de I'Opera, 193. 
 
 Lambillotte, Pere, 170. 
 
 La Mothe le Vayer : Dis- 
 cours Sceptitjue sitr la 
 Musique, 50. 
 
 Lampadius: Compendium 
 Musices, 37. 
 
 Lampe, J. F. : Plain and 
 Compendious Method of 
 teaching Thorough Bass, 
 98 ; Art of Mustek, 98. 
 
 Langhans, Dr. W., con- 
 tinues Geschichte of Am- 
 bros, 114. 
 
 Lasalle, Albert de : Les 
 treise sallcs de I'Opera, 
 i93- 
 
 Lassus, Orlando di {Roland 
 de Lattre), 245. 
 
 Latrobe, Rev. J. A. : The 
 Music of the Church, 176. 
 
 Latlrc, Roland dc, 245. 
 
 Lauremberg, P. : Bclli- 
 gcrasmits, 43. 
 
 Lavoix, \\.,fils : Histoircdc 
 la Musique, 117. 
 
 Layard, Sir A. H.: dis- 
 coveries in Nineveh, 4. 
 
 Lebeuf, Abbe : Traite sitr 
 le chant ecclesiastique, 169. 
 
 Le Blanc, Hubert: Defense 
 de la Basse de Viole, 213. 
 
 Leblond, Abbe : Me'moires 
 pour scri'ir a I'Histoire
 
 Index. 
 
 271 
 
 de la Revolution ope'rc'e 
 
 Principes de la Musiquc, 
 
 . . . par Gluck, 187. 
 
 241. 
 
 Lecerf de la Vieville, J. L. : 
 
 Lully, J. B., satires against, 
 
 Comparaison de la Mu- 
 
 184. 
 
 sique italienne et de la 
 
 Lumley, Benjamin : Remini- 
 
 185. 
 
 Luscinius, Ottomar (Nachti- 
 
 Lederbur, Carl von : Ton- 
 
 gall) : Musurgia, 206. 
 
 ki'instler-Lexikon Berlins, 
 
 Lussy, Mathis. See David, 
 
 159- 
 
 E. 
 
 Lenz, \V. de : Beethoven et 
 
 Luther, Dr. Martin, 174, 175. 
 
 ses trots styles, 139. 
 
 
 Lichtenthal, Pietro : Dizio- 
 
 MACE, THOMAS : Mustek's 
 
 nario e Bibliografia della 
 
 Monument, 75, 229. 
 
 Musica, 151,252. 
 
 Macfarren, Sir G. A. : article 
 
 Liegnitz : catalogue of mu- 
 
 on history of Music in 
 
 sical works in the Ritter- 
 
 Encyclopedia Britannica, 
 
 Akademie, 246. 
 
 116. 
 
 Lindner, E. O. : Die erstc 
 
 Macrory, E. : Notes on the 
 
 stekende Deutsche Opei; 
 
 Temple Organ, 221. 
 
 196. 
 
 Mahillon, Victor : catalogue 
 
 Lipowsky, F. J.: Baierisches 
 
 of museum of Brussels 
 
 Musik Lexikon, 158. 
 
 Conservatoire, 225; Ele- 
 
 Lissajous, J. : curves of, 
 
 ments d'Acoustiqitc, 235. 
 
 where described, 240. 
 
 Malcolm, Alexander : Trea- 
 
 Listen, Rev. Henry : Essay 
 
 tise of Mustek, 96. 
 
 on Perfect Intonation, 
 
 Mangin et Maigne : Lu- 
 
 237. 
 
 therie (Encyclopedic 
 
 Liszt, F. : Frederic Chopin, 
 
 Roret), 210. 
 
 141 ; correspondence 
 
 Mann, Dr. : catalogue of 
 
 edited by La Mara, 198 ; 
 
 Handel's works in Fitz- 
 
 thematic catalogue of 
 
 william library, 251. 
 
 compositions, 244. 
 
 Manuscripts, musical: Bene- 
 
 Liturgical Dramas, 181. 
 
 dictine facsimiles of, 172. 
 
 Locke, Matthew : Melo- 
 
 Mapleson Memoirs, The, 
 
 thesia, 75. 
 
 203. 
 
 Loris, or Loritus, Henricus 
 
 Marcello, Benedetto : // 
 
 See Glareanus. 
 
 Teatro alia Moda, 182 ; 
 
 Loulie, E. : Elements on 
 
 Avison's opinion of, 99.
 
 2/2 
 
 Index. 
 
 Marinati, Aurelius : Somnia 
 di iulte le Scienze, 41. 
 
 Marpurg, F. W. : Die Kunts 
 das Klavier zn Spielen, 
 85 ; Der Kritische Musikits 
 an dc r Spree, 86 ; Abliand- 
 lung von dcr Fugc, 86 ; 
 Handbuch bey dern Gene- 
 ral-Basse, 86; Anleihoig 
 zur Sing-composition, 86 ; 
 Anfangsgriinde der Tlieo- 
 rctischen\Mnsik, 86; An- 
 fangsgriinde dcr progres- 
 sional figiirliclien Ziffer- 
 kalkuls, 86 ; Kritisclie 
 Einleitung in die Ges- 
 chichie der alien jind 
 neucn Musik, 87 ; Der 
 Critische Musicits an dcr 
 Spre.e, 87 ; Historiscli- 
 Kritische Bey/rage aitr 
 Aufnalnne der Musik, 87 ; 
 Kritische Briefe iibcr die 
 Tonkunst, 87 ; Lcgcndc 
 riniger Musiklieiligcn, 87 ; 
 and Rameau's theories, 
 94. 
 
 Marquard, Paul : German 
 translation of Aris- 
 toxenus, 10. 
 
 Marshall, Mrs. Julian: Life 
 of Handel, 133. 
 
 Martianus, Capella, 8, 14; 
 De mtptiis Pliilologia; et 
 Mcrcitrii, 9. 
 
 Marline, J. D. : La MHAUJHC 
 dramatiquc 01 France, 
 190. 
 
 Martini, G. H., 45; Excn;- 
 
 plare . ..di Contrappunto, 
 91 ; Storia delta Mitsica, 
 104. 
 
 Marx, A. B., 163; L. von 
 Becthoi'en's Lcben itnd 
 Schaffen, 138. 
 
 Mathematicians, their writ- 
 ings on music, 233. 
 
 Mattheson, Johann : Der 
 Vollkommenc Kapell- 
 meister, 8 1 ; Exemplarische 
 Organisten - Probe, 81 ; 
 Grossc General - Bass 
 Sclmle, 82 ; Klcine Gene- 
 ral-Bass Scliulc, 82 ; Kern 
 Melodischcs IVisscnchaft, 
 82 ; Das Nei< Eriiffnetc 
 Orcliestre, 82 ; Critica 
 Musica, 85 ; Der Miisica- 
 lisclie Patriot, 85 ; Grund- 
 lage einer Elircnpfortc, 
 131, 163, 196. 
 
 Mauburnus, Joannes : Rose- 
 tutu, 41. 
 
 Maxwell, F. K. : Essay upon 
 Tune, 237. 
 
 Mediaeval writers on music, 
 chap, ii., 14-20. 
 
 Meibomius, Marcus, 20 ; 
 Antiquce Musiccc Auctores 
 Seplem, 7. 
 
 Mclone, Annibal, 32. 
 
 Mendel, Hermann: Miisi- 
 A'li/ischcs Conversations- 
 Lcxikon, 164. 
 
 Mendelssohn - Bartholdy, 
 Felix, 140 ; his letters, 
 140; thematic catalogue 
 of compositions, 244.
 
 Index. 
 
 273 
 
 Menestrier, C. F. ; Des re- 
 presentations en Musiquc, 
 189; Des Ballets anciens 
 ctmodernes, 189. 
 Mersenne, Marin, 47, 57, 59 : 
 Qucestiones celeberrimce 
 in Genesiw, 2, 8 ; Traite 
 de I'Harmonie, 8 ; Traite 
 de I'Harmonie Univcr- 
 selle, 48 ; Questions Har- 
 moniques, 49 ; Preludes 
 de I' Harmonic Univer- 
 selle, 51 ; Harmonicorwn 
 Libri XII., 52 ; Harmonic 
 Universelle, 53 ; Cogita- 
 ta -physico - niathematica, 
 55- 
 
 Metronome first described, 
 241. 
 
 Meursius : edition of Aris- 
 toxenus, Nichomachus, 
 and Alypius, 7. 
 
 Milan : works performed 
 at La Scala, edited by 
 Romani, 201. 
 
 Military instruments : cata- 
 logue by Captain C. R. 
 Day, 227. 
 
 Mitzler : Musikalische Bib- 
 liothek, 133. 
 
 Momigny, J. J. de, 149. 
 
 Mondo, D. : French trans- 
 lation of Diaionario of 
 Dr. P. Lichtenthal, 151. 
 
 Montal, Claude : L'Arl 
 (faccorder soi-ineine son 
 piano, 216. 
 
 Monteverde : his innova- 
 tions, 65, 114. 
 
 Morhof, D. G. : Polyhislor, 
 
 251. 
 
 Morley, Thomas, 63: Plaine 
 and Easie Introduction 
 to Practicall Musicke, 
 69. 
 
 Moscheles, Ignace : Life of 
 Beethoven, 138 ; Life of, 
 by Madame Moscheles, 
 141. 
 
 Mount Edgcumbe, Earl of: 
 Musical Reminiscences, 
 202. 
 
 Mozart, W. A., 134, 135 ; 
 his letters, 137 ; Requiem, 
 137 ; thematic catalogue 
 of compositions from 1784 
 to 1791, 243 ; von Kochel's 
 catalogue, 243. 
 Miiller, R. : translation of 
 Kiesewetter's History of 
 the Modern Music of 
 Western Europe, 119. 
 MQller, G. H. : Das Stadt- 
 
 Theater Leipzig, 197. 
 Muris, Joannes de : 17. 
 Music, earliest mention of, 
 
 i. 
 
 Musical instruments : litera- 
 ture of, chap, x., 205-231. 
 Musical literature in the 
 seventeenth century, 
 chap, iv., 44-78; in the 
 eighteenth century, chap. 
 v., 79-101. 
 
 Musicus avroSiSaicTOS. See 
 Eisel, J. P. 
 
 NACHTIGALL, OTHMAR : 
 
 18
 
 274 Index. 
 
 Musica? Institiitiones, 36. i Nougaret, P. J. B. : L'Art 
 See Luscinius. du Theatre, 189. 
 
 Naumann, E., 164: Ilhts- Nugent, Thomas: trans- 
 
 trirte Mttsik Gcschiclitc, I lator of Reflexions cri- 
 
 117; translation of, by F. ' tiques of Du Bos, 181. 
 
 Praeger, 117; Die Italieni- \ Nuitter, C. L. E., and 
 schen TondicJitcr, 125. Thoinan,Er.: Lesorigines 
 
 Newman, Ernest: Glitck \ dc I' Opera franfais, 192. 
 and the Opera, 189. 
 
 Nevvte, Rev. J. : sermon on ! OESTERLEIN : his Wagner 
 use of organ, 178. library, 198. 
 
 Nichomachus, 6, 7, n. ; Oliphant, T. : catalogue of 
 
 Niecks, F. : Frederick manuscript music in 
 
 Chopin, 141. British Museum, 249. 
 
 Niemtschek, F. : Lcben dcs > Opera, literature of the, 
 
 Kapellmeisters If. C. '. chap, ix., 180-204. 
 Mozart, 135. Oratorio, history of, 178. 
 
 Nisard, Theodore (Abbe i Organ, hydraulic, of Vitru- 
 Normand), 169, 170. vius, 120; question in 
 
 Nissen, G. N. von : Bio- Scotland, 177 ; question 
 
 graphic IV. A. Mozart's, ' in England, 177; works 
 135. on the, 217. 
 
 Nodus Salontonis, 5%. (Organs): Sammlnng 
 
 Nohl, Ludwig : edition of ' einiger Naclirichtcti von 
 Mozart's letters, 137; Orgel-Wercken in 
 
 Beethoven's Lcbcn, 138. Tcutschland, 220. 
 
 Norburj-, John : Tlie Box of \ Organs and Organ- 
 Ifhistles, 222. Building, 220. 
 
 Normand, Abbe. Sec Ni- Short account of Or- 
 
 sard, Theodore. gnus built in England 
 
 North, Hon. Roger : Mr- from the reign of Charles 
 
 inoirs of Mustek, 123. // 221. 
 
 Notation, De la Fond's pro- Orloff, Count : Essai sin- 
 posed, 97. 'Histoirc de la Miisiqnc. 
 
 Nottebohm,G.:Skiasetibiich en Italic, 124. 
 
 vmt Beethoven, 138; Bed- Ornithoparcus(Vogelsang): 
 horcniana, 138; thematic Mttsice active Micrologtts, 
 
 catalogue of Beethoven's 38; translation of, by 
 
 works, 243. Dowlnnd, 38.
 
 Index. 
 
 275 
 
 Oi tigue, Joseph d' : Diction- 
 
 naire de Plain-Chant, 153. 
 
 Otto, J. A. : On the Violin, 
 
 2IO. 
 
 Oulibicheff, A. von : Non- 
 velle Biographic de Mo 
 sart, 136; Beethoven, ses 
 critiqitesctsesglossateiirs, 
 139- 
 
 PAISLEY, LORD : Short 
 
 Treatise on Harmony, 97. 
 Paolucci, Giuseppe : Arte 
 
 pratica di Contrappunto, 
 
 gi. 
 Papal chapel : catalogue of 
 
 music by F. X. Haberl, 
 
 249. 
 
 Paris Conservatoire : cata- 
 logue of rarer works in 
 
 librarj-, by Weckerlin, 
 
 248. 
 
 Parisini, F. Sec Bologna. 
 Parke, W. T. : Musical 
 
 Memoirs, 202. 
 Parry, C. H. Hubert: Art 
 
 of Music, 143. 
 Patents, specifications of, 
 
 230 ; abridgments of, 230. 
 Paul, Oscar, 164 ; Geschiclite 
 
 des Claviers, 216. 
 Peacham, Henry : Cotnpleat 
 
 Gentleman, 70. 
 Pena : edition of Euclid, 7. 
 Penna, Lorenzo: Li Pritni 
 
 Albori Mnsicali, 67. 
 Pepusch, Dr., 147: Treatise 
 
 on Harmony, 98. 
 Perego, Camillo: La Regola 
 
 del Canto Fermo Ambro- 
 
 siano, 168. 
 Pergolesi, G. B. : discussion 
 
 raised by his La Serva 
 
 Padrona, 185. 
 Peri, Jacopo, 114. 
 Perronet Thompson, Genl. 
 
 T. Sec Thompson, Genl. 
 
 T. Perronet. 
 Peters, C. F. : catalogue of 
 
 library presented by him 
 
 to Leipzig, 247. 
 Philodemus : Ilepl MOUO-IK^S, 
 
 9- 
 Pianoforte : its history, etc., 
 
 215. 
 Piccinni and Gluck contro- 
 
 troversy, 187. 
 Piccolellis, G. de : Liutai 
 
 Antichi e Moderni, 210. 
 Piggott, F. T. : Music and 
 
 Musical Instruments of 
 
 Japan, 228. 
 Pisko, F. J.: Die ncuercn 
 
 Apparatc der Akustik, 
 
 241. 
 
 Plain-Chant, Essay on, 170. 
 Dictionnaire de. See 
 
 Ortigue, d', Joseph. 
 Plain-Song, revival of in- 
 terest in, in France and 
 
 in Germany, 169. 
 Planelli, A. : Opera in 
 
 Mitsica, 181. 
 
 Playford, John : Introduc- 
 tion to the Skill of Musick, 
 
 7i, 97- 
 
 Plutarch, 6, 10, n. 
 Pohl, C. F. : Mozart und
 
 276 
 
 Index. 
 
 Haydn in London, 135 ; 
 Haydn, 201. Sec Eitner, 
 R. 
 
 Poisot, C. E. : Histoire de 
 la Mitsique en France, 
 123 ; Musiciens boitrgitig- 
 nons, 123. 
 
 Poisson, Abbe: Traitc tltc'o- 
 rique ct pratique dn PI a in- 
 Chant, 169. See Des- 
 cartes, R. 
 
 Pole, William : Story of 
 Mozart's Requiem, 137 ; 
 Philosophy of Music, 235. 
 
 Ponsicchi, C : // Pianoforte, 
 216. 
 
 Pontecoulant, Comte de : 
 Organographie, 229. 
 
 Poole, H. W. : Essay on 
 Perfect Intonation, 238. 
 
 Porteous, Rev. Dr., 177. 
 
 Pougin, A. : Life of Verdi, 
 142 ; supplement to Fetis' 
 Biographic Univcrscllc 
 ffcs Musicians, 156 ; Lcs 
 vrais cre'atcnrs dc I' Opera 
 francais, 192. 
 
 Prastorius, Michael : Syn- 
 tagma Musicutti, 61 ; DC 
 Organograpliia, 62 ; 
 
 Theatruin Instruincnlo- 
 ritui, 63, 206. 
 
 Praspergius : Clarissima 
 plane atqite clioralis Mn- 
 xiec Interpretatio, 36. 
 
 Prelleur, Peter : Modern 
 Music Master, 97. 
 
 Printz, \V. C. : Historische 
 Beschreibuiig dcr Edclcn 
 
 Sing und Kling-Kimst, 
 
 64, 102; Phrynis Myti- 
 
 lenccus, 65. 
 Prolss : Geschichte. dcs Hof- 
 
 theaters zu Dresden, 197. 
 Proske, Carolus, 170. 
 Prout, Dr. E : edition of 
 
 Holmes's Life of Mozart, 
 
 136- 
 Pryss, printer, of Strasburg, 
 
 33- 
 
 Ptolemy, 6, 7, 49. 
 Puliti, Cavo. : Delia ongine 
 
 del Pianoforte, 215. 
 PurceJl, Henry, 72. 
 Pythagoras, 5, 40. 
 
 QUERCU, SIMON DE (Du- 
 chesne) : Opitscitluin 
 
 Musices, 36. 
 
 Quintilianus, Aristides, S. 
 
 RAFF, JOACHIM : catalogue 
 of compositions, 245. 
 
 Raguenet, Abbe : Parallilc 
 ffcs I/aliens el des Frai:- 
 fais, 185. 
 
 Rambach, A. J. : Luther's 
 Verdicnst uin den Kir- 
 cliciigcsang, 174. 
 
 Rameau, J. P. : Traite <fe 
 1'PIarinonic, 93; Nouvcait 
 systi'nie de Mttsique Tln'o- 
 riqitc, 93 ; Generation liar- 
 inoniqiie, 93 ; Coda de 
 Musique Pratique, 93 ; 
 Errcitrs . . . dans /'Eitiy- 
 clopc'die, 94. 
 
 Ramis de Pareja, 24.
 
 Index. 
 
 277 
 
 Rayleigh, Lord : Theory of 
 Sound, 235. 
 
 Reissman, August : Allge- 
 tneine Geschichte der 
 Musik, 116; Ilhtstrirte 
 Geschichte der Deutschen 
 Musik, 123 ; completes 
 Mendel's Musikalisches 
 Conversations Lexikon, 
 164. 
 
 Rellstab, L., 163. 
 
 Rhaw, George : Enchiri- 
 dion, 36. 
 
 Rhodoginus, L. : Lectiomim 
 antiquarum Libri XXX., 
 41. 
 
 Riemann, H. : OpcrnHand- 
 buch, 204. 
 
 Riepel, Joseph : Anfangs- 
 griinde siir Musikalischen 
 Sets-kunst, 89. 
 
 Rimbault, Dr. E. F. : Old 
 Cheque-Book of the Chapel 
 Royal, 123 ; The Early 
 English Organ Builders, 
 221 ; The Pianoforte, its 
 Origin, Progress, and 
 Construction, 215 ; Biblio- 
 theca Mudrigaliana, 247. 
 and Hopkins: The 
 Organ, 218, 220. 
 
 Ritter, A. G. : Zur Ges- 
 chichte des Orgelspiels, 
 223. 
 
 Ritter, Dr. F. L. : History 
 of Music in the form of 
 Lectures, 115 : Music in 
 England, 124. 
 
 Rockstro, W. S., on M. Prae- 
 
 torius, 64 ; General His- 
 tory of Music, 115; Life 
 of Handel, 133. 
 
 Rousseau, Jean: Traitc de 
 la Viole, 213. 
 
 Rousseau, J. J., writes 
 musical part of the En- 
 cyclopedic, 94, 147 ; his 
 Dictionnaire de Musique, 
 95> *47 > Lettre sitr la 
 Musique francaise, 186. 
 
 Roussier, Abbe, 126, 130; 
 Me'moire sur la Musique 
 des Anciens, 12 ; Traitc 
 des Accords, 94. 
 
 Rowbotham, J. F. : History 
 of Music, 121. 
 
 Royer, A. : French transla- 
 tion of Hart's Violin ; Us 
 famous Makers, 209. 
 
 Rubinstein, A. G. : cata- 
 logue of compositions, 245. 
 
 Ruelle, C. E. : French trans- 
 lation of Aristoxenus, 10. 
 
 Rtihlmann, Julius : Ges- 
 chichte der Bogett Instru- 
 mente, 210. 
 
 SACRED HARMONIC SO- 
 CIETY : catalogue of 
 library, by W. H. Husk, 
 250. 
 
 Sacred Music ; its Litera- 
 ture, chap, viii., 168-179. 
 
 Saldoni, Baltasar : Efe'mer- 
 ides de Musicos Espanolcs, 
 160. 
 
 Salinas, Franciscus : De 
 Musica, 40.
 
 278 
 
 Index, 
 
 Sandys and Forster: His- 
 tory of t lie Violin, 208. 
 
 Sartorius, Erasmus : Bel- 
 ligerasmus, 43. 
 
 Savart, Felix : Mc'moire sur 
 la construction des In- 
 strutnens a Cordcs, 211 ; 
 his researches, 233. 
 
 Sax, Adolphe, 227 ; Comet- 
 tant's work on, 224. 
 
 Scheibler, H. : Dcr Physika- 
 lisclie mid Musikalischc 
 Toniiicssei', 239 ; Anlci- 
 tuiiff die Orgcl . . . . su 
 stitnmen, 240 ; Schriftcii 
 fiber Tcuniiessung, 240. 
 
 Schilling, Dr. G. : Encyclo- 
 padic der gcsatninien 
 musikalischen IVissen- 
 scJiaftcn, 163. 
 
 Schindler, Anton : Bio- 
 graphic von L. von Beet- 
 hoven, 137. 
 
 Schlecht, Raymond : trans- 
 lation of the Bclhim 
 tnitsicale of C. Sebastian, 
 43 ; Geschichte der Kir- 
 cheiunusik, 172. 
 
 Schletterer, H. M. : Das 
 dcntsclic Siiigspicl, 196. 
 
 Schmid Anton : C. IT. 
 Kilter von Cluck, iSS. 
 
 Schneider, L. : Gescliichtc 
 dcrOpcr . . . in Berlin, 196. 
 
 Schoelcher, Victor : Life of 
 Handel, 132. 
 
 Schubert, Franz, 139 ; the- 
 matic catalogue of his 
 compositions, 244. 
 
 Schubiger, P. Anselm : Die 
 
 Stingerschule St. Ga/len^, 
 172. 
 
 Schumann, Robert, 141 ; 
 thematic catalogue of his 
 compositions, 244. 
 
 Schurc, E. : Lc Drnt;:i- 
 Mitsicale, 199. 
 
 Science of music : litera- 
 ture of, chap, xi., 232-241. 
 
 Sebastian, Claude : Bellinn 
 Music-ale, 42 ; translated 
 by R. Schlecht, 43. 
 
 Seidel, J. J. : On the Organ, 
 218. 
 
 Sermes, de. Sec Mersenne, 
 Marin. 
 
 Seventh degree of musical 
 scale, 83. 
 
 Seventeenth century, 
 musical literature in the, 
 chap, iv., 44-78. 
 
 Seyfried, I. X., 163. 
 
 Shedlock, J. : translation of 
 Wagner's letters, 198. 
 
 Siam : Notes on Siaiiifst 
 Musical Instruments, 228. 
 
 Sibire, Abbe : La Chc'ln- 
 manic, 208. 
 
 Sievers, G. F. : // Piano- 
 forte, 216. 
 
 Simon Mctaplirastcs. Sec 
 Marpurg, F. \V. 
 
 Simpson, Christopher. Src 
 Sj'mpson. 
 
 Slocombe, A. : his illustra- 
 tions of violins, 212. 
 
 Smith, Dr. Robert : Har- 
 monics, 237.
 
 Index, 
 
 279 
 
 Sorge, G. A. : Vorgemach 
 der ntusikalischen Com- 
 position, 89. 
 
 Soriano Fuertes, Mariano : 
 Histona de la Musica 
 Espaiiola, 123. 
 
 Sourindro Mohun Tagore, 
 Rajah Sir, 127; Yanlra 
 Kosha, 228 ; Notices of 
 Hindu Musical Instru- 
 ments, 228. 
 
 South Kensington Museum : 
 descriptive catalogues of 
 instruments, 226 ; of Loan 
 Exhibition at, 226. 
 
 Sowinski, Albert : French 
 translation of Kissen's 
 Mosart, 136; Les Musi- 
 dens Polonais et Slaves, 
 
 159- 
 Spangenberg, J. : Ques- 
 
 iones Musicce, 36. 
 Spartaro, Joannes : Errori 
 
 di Francliino Gafi'.rio, 25; 
 
 Dilucide et probatissime 
 
 Demonstrationc, 26. 
 Spectator, the : Addison's 
 
 essaj-s on the Opera, 
 
 180. 
 Spencer, Charles Child : 
 
 Concise Explanation of 
 
 tJie Church Modes, 171. 
 Spiess, Meinardus : Tracta- 
 
 tus Musicus Coniposi- 
 
 torio-Practicus, go. 
 Spitta, J. A. P. : Life of J. 
 
 S. Bach, 133. 
 Spohr, Louis : Autobio- 
 
 grapliy, 141. 
 
 Stafford, W. C. : History of 
 Music, 115. 
 
 Stainer, Sir J. : The Music 
 of the Bible, 5 ; catalogue 
 of collection of song- 
 books, 247. 
 
 and \V. A. Barrett, 
 
 Dictionary of Musical 
 Terms, 150. 
 
 Stendhal, de. See Beyle, 
 M. H. 
 
 Stigand, Miss : translation 
 of Wasielewski's Das 
 Violoncell, 213. 
 
 Stone, Dr. W. H. : Scientific 
 Basis of Music, 235. 
 
 Streatfield, R. A. : Masters 
 of Italian Music, 142. 
 
 Sutton, Rev. F. H. : Church 
 Organs; their position 
 and construction, 222. 
 
 Sympson, Christopher, 72, 
 97 ; Principles of Practi- 
 cal Music, 73 ; Compen- 
 dium of Practical Mitsick, 
 73 ; Division Violist, j^. 
 
 TAPPERT, W. : Wortcrbuch 
 der Unhoflichkcit . . . 
 gcgen den Mcistcr Wag- 
 ner, 199. 
 
 Taylor, Sedley : Sound and 
 Music, 235. 
 
 Temperament : Works on, 
 236. 
 
 Thayer, A. W. : L. von Beet- 
 hoven's Leben, 138. 
 
 Thompson, General T. 
 Perronet : Principles and
 
 280 
 
 Index. 
 
 Practice of Just Intona- 
 tion, 237. 
 
 Tiersch, O., 164. 
 
 Til, Salomon Van : Dig/-, 
 Sang-enSpeel-Konst, 125. 
 
 Tillet, Titon du : Le Par- 
 nasse Francois, 128 ; Des- 
 cription du Parnasse 
 Fratifois, 129. 
 
 Tinctoris : Diffinitorium, 
 19, 21, 144. 
 
 Topfer, Gottlob : Orgelbau- 
 Kunst nach eincr ncuen 
 Thcoric, 219 ; Die Orgel, 
 Ziveck und Beschaffctihcit 
 ihre Thcile, 219 
 
 Torchi, L. Sec Bologna. 
 
 Tuning, works on, 236. 
 
 Tyndall, Professor: On 
 Sound, 233, 235. 
 
 VALLA, G. : Latin transla- 
 tion of Cleonides, 6 ; DC 
 E.\petendis, ct Fitgicttdi* 
 Rebus Opus, 41. 
 
 Valle, Pietro della : Delia 
 Musica dell' eta nostra, 
 128. 
 
 Van der Straeten, E. ; La 
 Music/nc mix Pays-Bas, 
 131- 
 
 Vasconccllos, Joaquim de : 
 Os Mnsicos Portugueses, 
 162 ; catalogue of library 
 of John IV. of Portugal, 
 248. 
 
 Vatican choir, works upon, 
 
 '73- 
 Viconegger (Woneggar), 38. 
 
 Vidal, Antoine : Lcs Instru- 
 ments a archct, 207 ; La 
 Lutherie, 208. 
 
 Vienna : Jahrbuch dcs Hof- 
 Opcrnlhealers, 201. 
 
 Vierteljahrschrift fur 
 Miisikzvisscnschaft, 173. 
 
 Villarosa, Marquis : Meino- 
 rie dei Compositori di 
 Musica di Napoli, 124. 
 
 Villoteau, G. A. : his Egyp- 
 tian researches, 4. 
 
 Vincent, A. J. H., 12. 
 
 Virdung, Sebastian : Musica 
 getutscht, 205. 
 
 Vitruvius, hydraulic organ 
 of, 1 20. 
 
 Vogel, Dr. Emil : Bibliothck 
 derGcdrucktcn Weltlichcn 
 Vocal Mitsik Italians, 246. 
 
 Volkmann, R. : edition of 
 Plutarch, n. 
 
 WAGNER, RICHARD : cor- 
 respondence, 198 ; works 
 
 on, 198. 
 Wallaschek, R. : Primitive 
 
 Music, 122. 
 Wallis, John, 7 ; editions 
 
 of Ptolemy, Porphyry, and 
 
 Bryennius, 9. 
 Walthcr, J. G. : Mitsika- 
 
 lisclics Lexicon, 162. 
 Wangemann, Otto : Crs- 
 
 chiclitc f/cs Oratoriums, 
 
 179. 
 Warman.J.W.: The Organ, 
 
 its compass, tablatitrc, 
 
 etc., 223.
 
 Index. 
 
 281 
 
 Wasielewski, J. W. von : 
 Robert Schumann, 141 ; 
 Die Violine mid ihre 
 Meister, 213 ; Das Violon- 
 cell und seine Geschichte, 
 213. 
 
 Weale, W. H. J. : catalogue 
 of rare manuscripts and 
 printed books (Inventions 
 Exhibition), 253. 
 Weber, C. M. von : thematic 
 catalogue of compositions, 
 244. 
 
 Weber, Gottfried, 163. 
 Weckerlin, J. B. : catalogue 
 of reserve library of Paris 
 Conservatoire, 248. 
 Wegeler and Ries : Bio- 
 graphische Notizen uber, 
 L. von Beethoven, 137. 
 Weitzmann, C. F., 12 ; Ges- 
 chichte des Clavier spiels, 
 216. 
 Welch, C. : History of the 
 
 Boehm Flute, 215. 
 Welcker von Gonters- 
 hausen : Der Flugel, 216; 
 Der Clavierbau, 216 : Mag- 
 azin Musicalischer Ton- 
 werkzeuge, 229. 
 Werckmeister, Andreas : 
 Orgelprobe, 79 ; Musicce 
 Mathematicce Hodegus, 
 80 ; Hypomnemata Mu- 
 sica, 80 : Nothwendigsten 
 Anmerckungen, 80 : Cri- 
 brum Mitsicum, 80 : Har- 
 monologia Musica, So ; 
 Paradoxal-Discourse, 81. 
 
 Westphal, R., 12; edition 
 
 of Plutarch, n. 
 Wilberforce, E. ; translation 
 ofKreisslevon Hellborn's 
 Life of Schubert, 140. 
 Wilkinson, Sir J. G. : The 
 
 Ancient Egyptians, 4. 
 Willard, N. A. : Treatise on 
 the Music of Hindoostan, 
 127. 
 Willeby, C. : Masters of 
 
 English Music, 142. 
 Winterfeld, C. von: Jo- 
 hannes Gabrieli und sein 
 Zeitalter, 174 ; Der evan- 
 gelische Kirchengesang, 
 175 ; Zur Geschichte heili- 
 ger Tonkunst, 176. 
 VVodehouse, Mrs. E. R. : 
 index to Grove's Diction- 
 ary, 167. 
 
 Wolf, G. F. : Kztragefasstcs 
 
 Musikalische Lexikon, 152. 
 
 Wollick, Nicolaus, Opus 
 
 Aureum, 35. 
 Woneggar, 38. 
 Woolhouse, W. S. B. : 
 Essay on Musical In- 
 tervals, 240. 
 
 YORK MINSTER, psalm sing- 
 ing in. See Mace, Thomas. 
 
 ZACCONI : Prattica di 
 
 Musica, 31, 
 
 Zariino, Gioseffe, 7, 40, 46, 
 49, 114; Istitutioni Ar- 
 tnoniche, 29 ; Dimostra- 
 tioni Armoniche, 29; 
 collected works, 30.
 

 
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