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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..9d87717 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66346 (https://www.gutenberg.org/ebooks/66346) diff --git a/old/66346-0.txt b/old/66346-0.txt deleted file mode 100644 index 0778e6f..0000000 --- a/old/66346-0.txt +++ /dev/null @@ -1,15912 +0,0 @@ -The Project Gutenberg eBook of The Lighter Classics in Music, by David Ewen - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Lighter Classics in Music - A Comprehensive Guide to Musical Masterworks in a Lighter Vein - -Author: David Ewen - -Release Date: September 19, 2021 [eBook #66346] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Stephen Hutcheson, Dave Morgan and the Online Distributed - Proofreading Team at https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK THE LIGHTER CLASSICS IN MUSIC *** - - - - - _The Lighter Classics in Music_ - - - [Illustration: glyph] - - _A Comprehensive Guide to - Musical Masterworks in a Lighter Vein - by 187 Composers_ - - - _by David Ewen_ - - [Illustration: glyph] - - _Arco Publishing Company, Inc._ - NEW YORK - - - _Library of Congress Catalog Card Number: 61-17781 - Copyright 1961 by Arco Publishing Company, Inc., New York - All rights reserved. - Manufactured in the United States of America, - by H. Wolff, New York_ - - - - - Contents - - - Joseph Achron 1 - Adolphe-Charles Adam 2 - Richard Addinsell 4 - Isaac Albéniz 5 - Hugo Alfvén 7 - Louis Alter 8 - Leroy Anderson 10 - Daniel François Esprit Auber 12 - Johann Sebastian Bach 15 - Michael Balfe 18 - Hubert Bath 19 - Ludwig van Beethoven 20 - Vincenzo Bellini 23 - Ralph Benatzky 24 - Arthur Benjamin 26 - Robert Russell Bennett 27 - Hector Berlioz 29 - Leonard Bernstein 31 - Georges Bizet 33 - Luigi Boccherini 37 - François Boieldieu 39 - Giovanni Bolzoni 40 - Carrie Jacobs Bond 41 - Alexander Borodin 42 - Felix Borowski 44 - Johannes Brahms 45 - Charles Wakefield Cadman 48 - Lucien Caillet 49 - Alfredo Catalani 50 - Otto Cesana 51 - Emmanuel Chabrier 52 - George Whitefield Chadwick 54 - Cécile Chaminade 55 - Gustave Charpentier 56 - Frédéric Chopin 57 - Eric Coates 61 - Peter Cornelius 63 - Noel Coward 64 - César Cui 65 - Claude Debussy 66 - Léo Delibes 68 - Gregore Dinicu 71 - Gaetano Donizetti 72 - Franz Drdla 75 - Riccardo Drigo 76 - Arcady Dubensky 76 - Paul Dukas 77 - Antonin Dvořák 79 - Sir Edward Elgar 83 - Duke Ellington 86 - Georges Enesco 87 - Leo Fall 89 - Manuel de Falla 90 - Gabriel Fauré 91 - Friedrich Flotow 92 - Stephen Foster 94 - Rudolf Friml 95 - Julius Fučík 98 - Sir Edward German 98 - George Gershwin 100 - Henry F. Gilbert 109 - Don Gillis 111 - Alberto Ginastera 112 - Alexander Glazunov 113 - Reinhold Glière 116 - Michael Glinka 117 - Christoph Willibald Gluck 119 - Benjamin Godard 120 - Leopold Godowsky 121 - Edwin Franko Goldman 122 - Karl Goldmark 123 - Rubin Goldmark 125 - François Gossec 126 - Louis Gottschalk 127 - Morton Gould 128 - Charles Gounod 131 - Percy Grainger 134 - Enrique Granados 136 - Edvard Grieg 137 - Ferde Grofé 141 - David Guion 143 - Johan Halvorsen 144 - George Frederick Handel 145 - Joseph Haydn 147 - Victor Herbert 149 - Ferdinand Hérold 154 - Jenö Hubay 155 - Engelbert Humperdinck 157 - Jacques Ibert 158 - Michael Ippolitov-Ivanov 159 - Ivanovici 160 - Armas Järnefelt 160 - Dmitri Kabalevsky 161 - Emmerich Kálmán 162 - Kéler-Béla 165 - Jerome Kern 166 - Albert Ketelby 169 - Aram Khatchaturian 170 - George Kleinsinger 171 - Fritz Kreisler 172 - Édouard Lalo 175 - Josef Lanner 176 - Charles Lecocq 177 - Ernesto Lecuona 179 - Franz Léhar 180 - Ruggiero Leoncavallo 183 - Anatol Liadov 185 - Paul Lincke 186 - Franz Liszt 187 - Frederick Loewe 189 - Albert Lortzing 191 - Alexandre Luigini 192 - Hans Christian Lumbye 193 - Edward MacDowell 194 - Albert Hay Malotte 196 - Gabriel Marie 196 - Martini il Tedesco 197 - Pietro Mascagni 198 - Jules Massenet 199 - Robert McBride 203 - Harl McDonald 204 - Felix Mendelssohn 205 - Giacomo Meyerbeer 208 - Karl Milloecker 211 - Moritz Moszkowski 212 - Wolfgang Amadeus Mozart 213 - Modest Mussorgsky 215 - Ethelbert Nevin 218 - Otto Nicolai 220 - Siegfried Ochs 221 - Jacques Offenbach 222 - Ignace Jan Paderewski 225 - Gabriel Pierné 226 - Jean-Robert Planquette 227 - Eduard Poldini 228 - Manuel Ponce 229 - Amilcare Ponchielli 230 - Cole Porter 231 - Serge Prokofiev 233 - Giacomo Puccini 235 - Sergei Rachmaninoff 238 - Joachim Raff 240 - Maurice Ravel 241 - Emil von Rezniček 243 - Nikolai Rimsky-Korsakov 244 - Richard Rodgers 247 - Sigmund Romberg 253 - David Rose 256 - Gioacchino Rossini 257 - Anton Rubinstein 261 - Camille Saint-Saëns 262 - Pablo de Sarasate 267 - Franz Schubert 268 - Robert Schumann 272 - Cyril Scott 274 - Jean Sibelius 274 - Christian Sinding 277 - Leone Sinigaglia 278 - Bedřich Smetana 280 - John Philip Sousa 283 - Oley Speaks 285 - Robert Stolz 286 - Oscar Straus 287 - Eduard Strauss 288 - Johann Strauss I 289 - Johann Strauss II 291 - Josef Strauss 298 - Sir Arthur Sullivan 299 - Franz von Suppé 311 - Johan Svendsen 313 - Deems Taylor 314 - Peter Ilitch Tchaikovsky 316 - Ambroise Thomas 322 - Enrico Toselli 324 - Sir Paolo Tosti 325 - Giuseppe Verdi 326 - Richard Wagner 332 - Emil Waldteufel 338 - Karl Maria von Weber 339 - Kurt Weill 341 - Jaromir Weinberger 343 - Henri Wieniawski 345 - Ralph Vaughan Williams 346 - Jacques Wolfe 347 - Ermanno Wolf-Ferrari 348 - Sebastian Yradier 350 - Carl Zeller 350 - Karl Michael Ziehrer 352 - - - - - _The Lighter Classics in Music_ - - - - - Joseph Achron - - -Joseph Achron was born in Lozdzieje, Lithuania, on May 13, 1886. He -attended the St. Petersburg Conservatory, where he studied the violin -with Leopold Auer and theory with Anatol Liadov, graduating in 1904. -After teaching at the Kharkov Conservatory for three years, he toured -Russia, Europe and the Near East as a concert violinist for about six -years, and settled permanently in the United States in 1925. Some of his -most ambitious and significant compositions were written in this -country. Among these were three violin concertos, two violin sonatas, -the _Golem Suite_ for orchestra and the _Stempenyu Suite_ for violin and -piano. Achron died in Hollywood, California, on April 29, 1943. - -When Achron was twenty-five years old, and still living in Russia, he -became a member of the music committee of the Hebrew Folk Music Society -of St. Petersburg. Its aim was twofold: to encourage research in Hebrew -music, and to direct the enthusiasm of gifted Russian composers toward -the writing of Hebrew music. It was as a direct result of this -association, and the stimulus derived from the achievements of this -society, that in 1911 Achron wrote a popular composition in a Hebraic -vein which to this day is his most famous piece of music. It is the -_Hebrew Melody_, Op. 33, for violin and orchestra. The melodic germ of -this composition is an actual synagogical chant, amplified by Achron -into a spacious melody following several introductory measures of -descending, brooding phrases. This melody is first given in a lower -register, but when repeated several octaves higher it receives -embellishments similar to those provided a synagogical chant by a -cantor. The composition ends with the same descending minor-key phrases -with which it opened. This _Hebrew Melody_, in a transcription for -violin and piano by Leopold Auer, has been performed by many of the -world’s leading violin virtuosos. - - - - - Adolphe-Charles Adam - - -Adolphe-Charles Adam, eminent composer of comic operas, was born in -Paris on July 24, 1803. He attended the Paris Conservatory, where he -came under the decisive influence of François Boieldieu, under whose -guidance he completed his first comic opera, _Pierre et Catherine_, -first produced at the Opéra-Comique in Paris on February 9, 1829. His -first major success, _Le Chalet_, was given on September 25, 1834, -enjoying almost fifteen hundred performances in Paris before the end of -the century. Adam subsequently wrote almost fifty other stage works in a -light style. With Boieldieu and Auber he became founder and leading -exponent of the opéra-comique. His most celebrated work in this genre -was _Le Postillon de Longjumeau_, first given at the Opéra-Comique on -October 13, 1836. This work was frequently heard in the United States in -the 1860’s and 1870’s, but has since lapsed into obscurity. Adam was -also a highly significant composer of ballets, of which _Giselle_ is now -a classic; of many serious operas; and of a celebrated Christmas song, -“Noël,” or “Oh, Holy Night” (“_Cantique de Noël: Minuit, Chrétiens_”), -which has been transcribed for orchestra. In 1847, Adam founded his own -theater—the Théâtre National—which a year later (with the outbreak of -the 1848 revolution in France) went into bankruptcy. From 1849 on he was -professor of composition at the Paris Conservatory. Adam died in Paris -on May 3, 1856. - -_Giselle_ is one of the proudest achievements of French Romantic ballet. -Through the years it has never lost its immense popularity. With -choreography by Jules Perrot and Jean Coralli, it was introduced in -Paris on June 28, 1841. Carlotta Grisi appeared in the title role. -_Giselle_ was an immediate triumph. Since then, the world’s foremost -ballerinas have appeared as Giselle, including Fanny Elssler, Taglioni, -Pavlova, Karsavina, Markova, Danilova, Margot Fonteyn, and Moira -Shearer. - -“What is the secret charm of this ballet?” inquires the famous scenic -designer, Alexander Benois. He goes on to answer: “It is mainly due to -its simplicity and clearness of plot, to the amazingly impetuous -spontaneity with which the drama is developed. There is barely time to -collect one’s thoughts before the heroine, who but a moment ago charmed -everybody with her vitality, is lying stiff and cold and dead at the -feet of the lover who deceived her.... It is deeply moving, and the -magic of a true poet ... consists in making us accept without question -any absurdities he may choose to offer us.... No one is inclined to -criticize while under the spell of this strange idyl.” - -The ballet text was the collaborative creation of Théophile Gautier, -Vernoy de Saint-Georges, and Jean Coralli. Gautier had read a legend by -Heinrich Heine in _De L’Allemagne_ which described elves in white -dresses (designated as “wilis”) who died before their wedding day and -emerged from their graves in bridal dress to dance till dawn. Any man an -elf met was doomed to dance himself to death. Gautier, recognizing the -ballet potentialities of this legend, decided to adapt it for Carlotta -Grisi. He interested Vernoy de Saint-Georges in assisting him in making -this ballet adaptation and Jean Coralli in creating some of the dance -sequences. “Three days later,” Gautier revealed in a letter to Heine, -“the ballet _Giselle_ was accepted. By the end of the week, Adam had -improvised the music, the scenery was nearly ready, and the rehearsals -were in full swing.” - -The ballet text finds Giselle as a sweet, carefree peasant girl. -Betrayed by Albrecht, the Duke of Silesia, she goes mad and commits -suicide. Her grave is touched by the magic branch of Myrtha, Queen of -the Wilis. Giselle arises from the grave as a wili, and performs her -nocturnal dance. Albrecht, who comes to visit her grave, is caught up by -her spell and must dance to his doom. - -A master of expressive and dramatized melodies, Adam here created a -score filled with the most ingratiating tunes and spirited rhythms, all -beautifully adjusted to the sensitive moods of this delicate fantasy. -From this score the 20th-century English composer Constant Lambert -extracted four melodic episodes which he made into a popular orchestral -suite: “Giselle’s Dance”; “Mad Scene”; “Pas de deux, Act 2”; and -“Closing Scene.” - -From the repertory of Adam’s operas comes a delightful overture, a -favorite in the semi-classical repertory, even though the opera itself -is rarely heard. It is the Overture to _If I Were King_ (_Si j’étais -roi_). This comic opera was first performed in Paris on November 4, -1852; the libretto was by D’Ennery and Brésil. In Arabia, the fisherman, -Zephoris, has managed to save the life of Nemea, beautiful daughter of -King Oman. But Nemea is being pursued by Prince Kador, who does not -hesitate to employ treachery to win her. Nemea is determined to marry -none but the unidentified man who had saved her life. Eventually, the -fisherman is brought to the palace, placed in command of the troops, and -becomes a hero in a war against the Spaniards. Kador is sent to his -disgrace, and Zephoris wins the hand of Nemea. - -The oriental background of the opera permeates the atmosphere of the -overture. A forceful introduction for full orchestra and arpeggio -figures in harp lead to a skipping and delicate tune for first violins -against plucked cello strings. The flutes and clarinets respond with a -subsidiary thought. A crescendo brings on a strong subject for the -violins against a loud accompaniment. After a change of tempo, another -light, graceful melody is given by solo flute and oboes. The principal -melodic material is then amplified with dramatic effect. - - - - - Richard Addinsell - - -Richard Addinsell was born in Oxford, England, on January 13, 1904. -After studying law at Oxford, he attended the Royal College of Music in -London and completed his music study in Berlin and Vienna between 1929 -and 1932. In 1933 he visited the United States, where he wrote music for -several Hollywood films and for a New York stage production of _Alice in -Wonderland_. He has since made a specialty of writing music for the -screen, his best efforts being the scores for _Goodbye, Mr. Chips_, -_Blithe Spirit_, _Dangerous Moonlight_, _Dark Journey_, and _Fire Over -England_. During World War II he wrote music for several documentary -films, including _Siege of Tobruk_ and _We Sail at Midnight_. - -Addinsell’s most frequently played composition is the _Warsaw Concerto_, -for piano and orchestra. He wrote it for the English movie _Dangerous -Moonlight_ (renamed in the United States _Suicide Squadron_). Anton -Walbrook here plays the part of a renowned concert pianist who becomes -an officer in the Polish air force during World War II and loses his -memory after a crash. The _Warsaw Concerto_, basic to the plot -structure, recurs several times in the film. It first became popular, -however, on records, and after that with “pop” and salon orchestras. -Though the composer’s indebtedness to Rachmaninoff’s Second Piano -Concerto is pronounced, the _Warsaw Concerto_ has enough of its own -individuality and charm to survive. Structurally, it is not a concerto -but a rhapsody. It opens with several massive chords, arpeggios, and -scale passages in the piano. This dramatic opening leads to the -sensitive and romantic principal melody, heard in the strings. Later on -there appears a second lyric thought, but the rhapsodic character -remains predominant. The composition ends with a final statement of the -opening phrase of the first main melody. - -Addinsell is also sometimes represented on semi-classical programs with -a light-textured and tuneful composition called _Prelude and Waltz_, for -orchestra. This also stems from a motion picture, in this case the -British screen adaptation of Noel Coward’s _Blithe Spirit_. - - - - - Isaac Albéniz - - -Isaac Albéniz, one of Spain’s most distinguished composers, was born in -Camprodón, Spain, on May 29, 1860. He was a child prodigy who gave piano -concerts in Spain after some spasmodic study in Paris with Marmontel. In -1868 he entered the Madrid Conservatory, but in his thirteenth year he -ran away from home and spent several years traveling about in Puerto -Rico, Cuba, and the United States, supporting himself all the while by -playing the piano. He was back in Spain in 1875, and soon thereafter -undertook music study seriously, first at the Brussels Conservatory and -then at the Leipzig Conservatory. He settled in Paris in 1893, where he -wrote his first important works, one of these being his first -composition in a national Spanish idiom: the _Catalonia_, for piano and -orchestra, in 1899. After 1900 he lived in his native land. From 1906 to -1909 he devoted himself to the writing of his masterwork, the suite -_Iberia_, consisting of twelve pieces for the piano gathered in four -volumes. _Iberia_ is a vast tonal panorama of Spain, its sights and -sounds, dances and songs, backgrounds. Albéniz died in Cambo-Bains, in -the Pyrenees, on May 18, 1909. - -Albéniz may well be regarded as the founder of the modern Spanish -nationalist school in music. This school sought to exploit the rhythms -and melodies and styles of Spanish folk music within serious concert -works, thus providing a musical interpretation to every possible aspect -of Spanish life. - -Albéniz’ first work in the national style is also one of his rare -compositions utilizing an orchestra. It is the _Catalonia_, written in -1899, and introduced that year at a concert of the Société nationale de -musique in Paris. This work is sometimes erroneously designated as a -suite, but it is actually a one-movement rhapsody. A single theme, -unmistakably Spanish, dominates the entire work. A brief rhythmic middle -section for wind, percussion, and a single double bass provides -contrast. This middle part is intended as a burlesque on a troupe of -wandering musicians playing their favorite tune: the clarinet plays off -key and the bass drum is off beat. The original dance melody returns to -conclude the work. - -_Córdoba_, a haunting nocturne, is the fourth and most famous number -from the _Cantos de España_, a suite for the piano, op. 232. _Córdoba_ -is a vivid tone picture of that famous Andalusian city. Sharp chords, as -if plucked from the strings of a guitar, preface an oriental-type melody -which suggests the Moorish background of the city. - -_Fête Dieu à Seville_, or _El Corpus en Sevilla_ (_Festival in Seville_) -is the third and concluding number from the first volume of _Iberia_. -Besides its original version for the piano, this composition is -celebrated in several transcriptions for orchestra, notably those by E. -Fernández Arbós and Leopold Stokowski. This music depicts a religious -procession in the streets of Seville on the Thursday after Trinity -Sunday. At the head of the procession is the priest bearing the Host, or -Blessed Sacrament, under a lavishly decorated canopy. As the procession -moves, worshipers who crowd the streets improvise a religious chant. - -_Fête Dieu à Seville_ opens with a brusquely accented march melody, -against which emerges an improvisational-type melody similar to those -sung by worshipers in the street. The march melody and the improvised -chant alternate, but it is the chant that is carried to a thunderous -climax. Then this chant subsides and fades away into the distance, as -the composition ends. - -_Navarra_ is a poignant tonal evocation for piano of the Spanish -province below the Pyrenees. Albéniz never completed this work; it was -finished after his death by Déodat de Séverac. This composition is -perhaps best known in Fernández Arbós’ transcription for orchestra. -Against the provocative background of a jota rhythm moves a languorous -and sensual gypsy melody. - -_Sevillañas_ (_Seville_) is the third number from _Suite española_ for -piano; it has become famous independent of the larger work and is often -heard in transcription. The heart of the piece is a passionate song, -typical of those heard in the haunts of Seville. As a background there -is an incisive rhythm suggesting the clicking of castanets. - -The Tango in D major, op. 165, no. 2, for piano, is not only the most -famous one by Albéniz but one of the most popular ever written. With its -intriguing flamenco-like melody and compelling rhythm it is Spanish to -the core—the prototype of all tango music. The original piano version as -written by the composer is not often heard. When it is performed on the -piano, this tango is given in a brilliant but complex arrangement by -Leopold Godowsky. But it is much more famous in various transcriptions, -notably one for violin and piano by Fritz Kreisler, and numerous ones -for small or large orchestras. - -_Triana_ is the third and concluding number from the second book of -Albéniz’ monumental suite for piano, _Iberia_. Triana, of which this -music is a tonal picture, is a gypsy suburb of Seville. In the -introduction, random phrases bring up the image of various attitudes and -movements of Spanish dances. A triple-rhythmed figure leads to a light -and graceful dance melody against a bolero rhythm. As the melody is -developed and repeated it gains in intensity and is enriched in color -until it evolves climactically with full force. A transcription for -orchestra by Fernández Arbós is as famous as the original piano version. - - - - - Hugo Alfvén - - -Hugo Alfvén was born in Stockholm, Sweden, on May 1, 1872. His music -study took place at the Stockholm Conservatory and, on government -stipends, with César Thomson in Brussels, and in Germany and France. -From 1910 to 1939 he was musical director and conductor of the student -chorus at the Uppsala University. Alfvén was a nationalist composer of -Romantic tendencies who wrote five symphonies together with a -considerable amount of orchestral and choral music. He died in Faluns, -Sweden, on May 8, 1960. - -_Midsummer Vigil_ (_Midsommarvaka_), op. 19 (1904), a Swedish rhapsody -for orchestra, is his best known composition. It was produced as a -ballet, _La Nuit de Saint-Jean_, in Paris on October 25, 1925, where it -proved so successful that it was given more than 250 performances within -four years. As a work for symphony orchestra it has received universal -acclaim for its attractive deployment of national Swedish folk song -idioms and dance rhythms. The music describes a revel held in small -Swedish towns during the St. John’s Eve festival. The work opens with a -gay tune for clarinet over plucked strings. This is followed by a -burlesque subject for bassoon. Muted strings and English horns then -offer a broad, stately, and emotional folk song. Repeated by the French -horns, this song is soon amplified by the strings. The tempo now -quickens, and a rustic dance theme is given softly by the violins. The -mood gradually becomes frenetic. The violins offer a passionate subject -over a pedal point. A climax is finally reached as the revelry becomes -unconfined. - - - - - Louis Alter - - -Louis Alter was born in Haverhill, Massachusetts, on June 18, 1902, -where he received his academic education in the public schools, and his -initial instruction in music. Music study was completed with Stuart -Mason at the New England Conservatory. In 1924 Alter came to New York, -where for five years he worked as accompanist for Nora Bayes, Irene -Bordoni and other stars of the stage; he also did arrangements for a -publishing firm in Tin Pan Alley. Between 1925 and 1927 he wrote his -first popular songs and contributed a few of them to Broadway -productions. Since then he has written many song hits, as well as scores -for Broadway musicals and Hollywood films. His best known songs include -“A Melody from the Sky” and “Dolores,” both of which were nominated for -Academy Awards; also “Twilight on the Trail,” such a favorite of -President Franklin D. Roosevelt that the manuscript, together with a -recording by Bing Crosby, repose in the Roosevelt Museum in Hyde Park, -New York. - -Alter has been successful in writing skilful compositions for piano and -orchestra in which the popular element is pronounced, encased within a -symphonic structure. Some of them are now staples in the symphonic-jazz -repertory. His best compositions were inspired by the sights, sounds and -moods of New York City. - -_Jewels from Cartier_ (1953), as the title indicates, was inspired not -by New York but by one of the city’s most famous jewelers when Alter was -one day allowed to inspect its collection. In his suite, Alter attempts -in eight sections to translate various jewels into tones. The first -movement is “Emerald Eyes.” Since many beautiful emeralds come from -South America, this section emphasizes the rumba beat and other -Latin-American rhythms. “The Ruby and the Rose” is a romantic ballad in -which voices supplement the instruments of the orchestra. “Pearl of the -Orient” consists of an oriental dance. “Black Pearl of Tahiti” exploits -exotic Polynesian rhythms and its languorous-type melodies. “Diamond -Earrings” is a swirling waltz while “Star Sapphire” is a beguine. In -“Cat’s Eye in the Night,” the music suggests a playful kitten darting -about in a room. The finale, “Lady of Jade,” is in the style of Chinese -processional music. - -_Manhattan Masquerade_ (1932) is the most dramatic of Alter’s New York -murals. It consists of a Viennese-type waltz played in fox-trot time, a -suggestion on the part of the composer that Vienna and New York are not -too far apart spiritually. - -_Manhattan Moonlight_ (1932) is, on the other hand, atmospheric. It -opens with four chords in a nebulous Debussy vein. The core of the work -is an extended melody for strings against piano embellishments. A light -and frivolous mood is then invoked before the main melody returns in an -opulent scoring. - -_Manhattan Serenade_ (1928) is the most famous of all Alter’s -instrumental works and the one that first made him known. He published -it first as a piano solo, but soon rewrote it for piano and orchestra. -Paul Whiteman and his orchestra made it popular in 1929 on records and -in public concerts. This work is extremely effective in laying bare the -nerves of the metropolis through syncopations, and jazz tone -colorations. Its main melody is a plangent song to which, in 1940, -Howard Johnson adapted a song lyric. _Manhattan Serenade_ is often heard -as background music on radio and television programs about New York. - -_Side Street in Gotham_ (1938) attempts to portray the city from river -to river. The composition begins with a few notes suggesting “London -Bridge Is Falling Down,” which is later elaborated in a vigorous and -amusing tempo; the reason this theme is here used is because it is -referred to in the lyric of “The Sidewalks of New York.” Some of the -mystery of New York’s side streets can also be found in this music. - - - - - Leroy Anderson - - -Leroy Anderson is one of America’s most successful and best known -composers of light orchestral classics. He was born in Cambridge, -Massachusetts, on June 29, 1908. His early musical training took place -at the New England Conservatory, after which he studied the bass and -organ with private teachers. In 1929 he was graduated from Harvard -_magna cum laude_, and one year after that he received there his -Master’s degree in music on a Naumberg Fellowship. For the next few -years he served as organist and choirmaster in Milton, Massachusetts; as -a member of the music faculty at Radcliffe College; and as director of -the Harvard University Band. In 1935 he became a free-lance conductor, -composer and arranger in Boston and New York. As orchestrator for the -Boston Pops Orchestra, for which he made many orchestral arrangements -over a period of several years, Anderson completed his first original -semi-classical composition, _Jazz Pizzicato_, successfully introduced by -the Boston Pops Orchestra in 1939. Since then the Boston Pops Orchestra -has introduced most of Anderson’s compositions, many of which proved -exceptionally popular in concerts throughout the country and on records. -Anderson has also appeared frequently as guest conductor of important -American symphony orchestras and has conducted his own compositions with -his orchestra for records. In 1958, his first musical comedy, -_Goldilocks_, was produced on Broadway. - -Beyond possessing a most ingratiating lyric invention and a consummate -command of orchestration, Anderson boasts an irresistible sense of humor -and a fine flair for burlesque. He is probably at his best in -programmatic pieces in which extra-musical sounds are neatly adapted to -and often serve as a background for his sprightly tunes—ranging from the -clicking of a typewriter to the meowing of a cat. - -_Blue Tango_ is the first strictly instrumental composition ever to -achieve first place on the Hit Parade. For almost a year it was the -leading favorite on juke boxes, and its sale of over two million records -represents Anderson’s healthiest commercial success. Scored for violins, -this music neatly combines an insistent tango rhythm with a sensual -melody in a purple mood. _Bugler’s Holiday_ is a musical frolic for -three trumpets. _A Christmas Festival_ provides a colorful orchestral -setting to some of the best loved Christmas hymns, including “Joy to the -World,” “Deck the Halls,” “God Rest Ye Merry Gentlemen,” “Silent Night,” -“Jingle Bells,” and “Come All Ye Faithful.” - -_Fiddle-Faddle_ is a merry burlesque-escapade for the violins, inspired -from a hearing of Paganini’s _Perpetual Motion_; this, then, is a modern -style “Perpetual Motion.” In _Horse and Buggy_, the music nostalgically -evokes a bygone day with a sprightly, wholesome tune presented against -the rhythms of a jogging horse. The _Irish Suite_ was commissioned by -the Eire Society of Boston, and is a six-movement adaptation of six of -Thomas Moore’s _Irish Melodies_. They are: “The Irish Washerwoman,” “The -Minstrel Boy,” “The Rakes of Mallow,” “The Wearing of the Green,” “The -Last Rose of Summer,” and “The Girl I Left Behind Me.” _Jazz Legato_ and -_Jazz Pizzicato_ are studies in contrasting moods and dynamics. The -_Jazz Pizzicato_ consists of a jazz melody presented entirely by plucked -strings; its companion piece is a broader jazz melody for bowed strings. -_Plink, Plank, Plunk_ also makes effective use of pizzicato strings, -this time attempting to simulate the sounds suggested by the descriptive -title. _Saraband_ brings about the marriage between the very old and -very new in musical styles. The old classical dance in slow triple time -and accented second beat is exploited with a quickening of tempo and -with modern rhythmic and melodic embellishments. - -In _Sleigh Bells_, jangling sleighbells and the sound of a cracking -whip, provide a delightful background to a jaunty tune that has the bite -and sting of outdoor winterland. This piece has become something of a -perennial favorite of the Christmas season. In _The Syncopated Clock_, -the rhythm of a clicking grandfather’s clock, presented by percussion -instruments in a modern rhythm, is placed against a bouncy, syncopated -melody. This number has become popular as theme music for the CBS-TV -“Early Show.” _The Trumpeter’s Lullaby_ is a sensitive melody with the -soothing accompaniment of a lullaby. - -_The Typewriter_ permits members of the percussion section to imitate -the incisive, rigid rhythm of a functioning typewriter, punctuated by -the regular tinkle of the bell to provide the warning signal that the -carriage has come to the end of a line. Against this rhythm moves a -vivacious message in strings. _The Typewriter_ was played in the motion -picture _But Not for Me_, starring Clark Gable, released in 1959. In -_The Waltzing Cat_, an imaginary cat dances gracefully to a waltz melody -made up mainly of meows. - - - - - Daniel François Auber - - -Daniel François Esprit Auber, genius of opéra-comique, was born in Caen, -Normandy, France, on January 29, 1782. In his youth he lived in London, -where he studied both the business of art, in which he hoped to engage, -and music. There he wrote several songs which were heard at public -entertainments. After returning to France and settling in Paris in 1804, -he gave himself up completely to music. Two minor stage works with music -were privately performed between 1806 and 1811 before his first opera -received its première performance: _Le Séjour militaire_ in 1813. His -first success came seven years after that with _La Bergère châtelaine_. -From then on he was a prolific writer of both light and grand operas, -many to texts by Eugène Scribe. _La Muette de Portici_ in 1828 was a -triumph, and was followed by such other major successes _Fra Diavolo_ -(1830), _Le Cheval_ _de bronze_ (1835), _Le Domino noir_ (1837) and _Les -Diamants de la couronne_ (1841). His last opera, _Rêves d’amour_, was -completed when he was eighty-seven. Auber was one of France’s most -highly honored musicians. From 1842 until his death he was director of -the Paris Conservatory, and in 1857 he was made by Napoleon III Imperial -Maître de Chapelle. Auber died in Paris on May 12, 1871. - -With Adam and Boieldieu, Auber was one of the founding fathers of the -opéra-comique. He was superior to his two colleagues in the lightness of -his touch, surpassing wit, and grace of lyricism. But Auber’s charm and -gaiety were not bought at the expense of deeper emotional and dramatic -values; for all their lightness of heart, his best comic operas are -filled with pages that have the scope and dimension of grand opera. As -Rossini once said of him, Auber may have produced light music, but he -produced it like a true master. - -Overtures to several of his most famous operas are standards in the -light-classical repertory. - -_The Black Domino_ (_Le Domino noir_), text by Eugène Scribe, was -introduced in Paris on December 2, 1837. The central character is Lady -Angela, an abbess, who attends a masked ball where she meets and falls -in love with Horatio, a young nobleman. Numerous escapades and -adventures follow before Angela meets up again with her young man. Now -released from her religious vows by the Queen, Angela is free to marry -him. - -In the overture, a loud outburst for full orchestra emphasizes a -strongly rhythmic theme. A staccato phrase in the woodwind and a return -of the initial strong subject follow. This leads into a light dancing -motive for the woodwind. Another _forte_ passage is now the bridge to a -melodious episode in the woodwind. A change of key brings on a gay -bolero melody for clarinets and bassoons in octaves. After this idea is -amplified, a jota-like melody is given by the full orchestra. The -closing section is a brilliant presentation of a completely new jota -melody. - -_The Crown Diamonds_ (_Les Diamants de la couronne_) was first produced -in Paris on March 6, 1841, when it scored a major success. But it -enjoyed an even greater triumph when it was first performed in England -three years after that; from then on it has remained a great favorite -with English audiences. The text, by Eugène Scribe and Saint-Georges, is -set in 18th-century Portugal where the Queen assumes the identity of the -leader of a gang of counterfeiters and uses the crown diamonds to get -the money she needs to save her throne. When Don Henrique falls into the -unscrupulous hands of these counterfeiters, the Queen saves his life and -falls in love with him. The throne is eventually saved, and the crown -jewels retrieved. The Queen now can choose Don Henrique as her husband. - -The overture opens with a sustained melody for the strings that is -dramatized by key changes. A rhythmic passage leads to a martial subject -for the brass. Several other vigorous ideas ensue in the brass and -woodwind. After their development there comes a lyrical string episode -which, in turn, leads into a second climax. Contrast comes with a -lyrical idea in the strings. A loud return of the first martial subject -in full orchestra marks the beginning of a spirited conclusion. - -_Fra Diavolo_ was an immediate success when first given in Paris on -January 28, 1830; it has remained Auber’s best known comic opera. It has -even received burlesque treatment on the Hollywood screen in a comedy -starring Laurel and Hardy. The text by Eugène Scribe has for its central -character a bandit chief by the name of Fra Diavolo who disguises -himself as an Italian Marquis. He flirts with a lady of noble birth, -hides in the bedroom of Zerlina, the inn-keeper’s daughter, and is -finally apprehended by Zerlina’s sweetheart, the captain of police. - -This popular overture opens with a _pianissimo_ drum roll, the preface -to a march tune for strings. The march music is extended to other -instruments, and as the volume increases it gives the impression of an -advancing army. It attains a _fortissimo_ for full orchestra, then -subsides. The overture ends with several sprightly melodies from the -first act of the opera. - -_The Mute of Portici_ (_La Muette de Portici_)—or, as it is sometimes -called, _Masaniello_—is a grand opera that contributed a footnote to the -political history of its times. First performed in Paris on February 29, -1828, it had profound repercussions on the political situation of that -period, and it is regarded by many as a significant influence in -bringing on the July Revolution in Paris in 1830. When first performed -in Brussels the same year, it instigated such riots that the occupying -Dutch were ejected from that country and Belgium now achieved -independence. - -The text by Eugène Scribe and Germain Delavigne is based on an episode -from history: a successful Neapolitan revolt against the Duke of Arcos, -headed by Tommaso Anello in 1647. In the opera, Masaniello assumes -Anello’s part, and toward the end of the opera after the insurrection is -smothered, he is assassinated. - -The overture begins with stormy music in full orchestra. After the tempo -slackens, a sensitive melody is presented by clarinets and bassoons in -octaves. The main section of the overture now unfolds, its main theme -divided between the strings and the woodwind. After a _fortissimo_ -section for full orchestra, a second important melody is heard in the -woodwind and violins. The two main subjects are recalled and developed. -The overture closes with a coda in which percussion instruments are -emphasized. - - - - - Johann Sebastian Bach - - -Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685. -He was the most significant member of a family that for generations had -produced professional musicians. His career can be divided into three -convenient periods. The first was between 1708 and 1717 when, as -organist to the Ducal Chapel in Weimar, he wrote most of his masterworks -for organ. During the second period, from 1717 to 1723, he served as -Kapellmeister to Prince Leopold in Coethen. During this period he wrote -most of his major works for orchestra, solo instruments, and -chamber-music ensembles. The last period took place in Leipzig from 1723 -until his death where he was cantor of the St. Thomas Church. In Leipzig -he produced some of his greatest choral compositions. Towards the end of -his life he went blind and became paralyzed. He died in Leipzig on July -28, 1750. - -As the culmination of the age of polyphony, Johann Sebastian Bach’s -masterworks are, for the most part, too complex and subtle for popular -appeal. But from his vast and incomparable output of concertos, sonatas, -suites, masses, passions, cantatas, and various compositions for the -organ and for the piano, it is possible to lift a few random items of -such melodic charm and simple emotional appeal that they can be -profitably exploited for wide consumption. In these less complicated -works, Bach’s consummate skill at counterpoint, and his equally -formidable gift at homophonic writing, are always in evidence. - -The _Air_ is one of Bach’s most famous melodies, a soulful religious -song for strings. It can be found as the second movement of his Suite -No. 3 in D major for orchestra, but is often performed apart from the -rest of the work. August Wilhelmj transcribed this music for violin and -piano, calling it the _Air on the G String_. This transcription has been -severely criticized as a mutilation of the original; Sir Donald Francis -Tovey described it as a “devastating derangement.” Nevertheless, it has -retained its popularity in violin literature, just as the original has -remained a favorite in orchestral music. - -_Come Sweet Death_ (_Komm, suesser Tod_) is a moving chorale for voice -and accompaniment: a simple and eloquent resignation to death. It does -not come from any of Bach’s larger works but can be found in Schemelli’s -collection (1736). It has become extremely popular in orchestral -transcriptions by Leopold Stokowski and Reginald Stewart, but is also -sometimes heard in arrangements for various solo instruments and piano, -as well as for the organ. - -_Jesu, Joy of Man’s Desiring_ (_Jesu bleibt meine Freude_) is probably -Bach’s best known and most frequently performed chorale: a stately -melody introduced by, then set against, a gracefully flowing -accompaniment. This composition comes from the church cantata No. 147, -_Herz und Mund und Tat und Leben_. Various transcriptions have -popularized this composition, notably that for piano by Myra Hess, for -organ by E. Power Biggs, and for orchestra by Lucien Caillet. - -The _Prelude in E major_ is a vigorous and spirited piece of music whose -rhythmic momentum does not relax from the first bar to the last. It -appears as the first movement of the Partita No. 3 in E major for solo -violin. It is perhaps even better known in transcription than in the -original version, notably in those for violin and piano by Robert -Schumann and Fritz Kreisler, for solo piano by Rachmaninoff, and for -orchestra by Stokowski, Riccardo Pick-Mangiagalli, Sir Henry J. Wood, -and Lucien Caillet. - -The _Siciliano_ is a beautiful, stately song—the first movement of the -Sonata No. 4 in C minor for violin and accompaniment. Stokowski has made -a fine transcription for orchestra. - -_The Wise Virgins_ is a ballet-suite comprising six compositions by Bach -drawn from his literature for the church and transcribed for orchestra -by the eminent British composer, Sir William Walton. It was used for a -ballet produced at Sadler’s Wells in 1940. Frederick Ashton’s -choreography drew its material from the parable of the Wise and Foolish -Virgins in the 25th chapter of the Gospel According to St. Matthew; but -this parable is seen through the eyes of the Italian Renaissance -painters. “Ashton,” wrote Arnold Haskell, “has provided the perfect -meeting place for music and painting. The inspiration was pictorial ... -it is equally musical. The movement and unfolding of the narrative -follow directly from the Bach music so brilliantly arranged and -orchestrated by William Walton.” - -All six movements of the suite are so lyrical and emotional that their -impact on listeners is immediate. The first movement, “What God Hath -Done Is Rightly Done” comes from the opening chorus of a cantata of the -same name, No. 99 (_Was Gott tut das ist wohlgetan_). A lively melody is -first shared by strings and woodwind and then given fanciful -embellishments. A strong chorale melody for the brass is then given -prominent treatment. The second movement, “Lord, Hear My Longing” is a -chorale from the _Passion According to St. Matthew_ which is here given -the treatment of an organ chorale-prelude with a tenderly expressive -chorale melody in woodwind amplified by strings. The third movement, -“See What His Love Can Do” is an expansive melody for strings and -woodwind against a flowing accompaniment; this music is derived from -Cantata No. 85, _Ich bin ein guter Hirt_. This is followed by “Ah, How -Ephemeral,” a dramatic page for full orchestra highlighting a chorale -for brass taken from Cantata No. 26, _Ach, wie fluechtig_. The fifth -section is the most famous. It is “Sheep May Safely Graze” (“_Schafe -koennen sicher weiden_”) from the secular Cantata No. 208, _Was mir -behagt_. An introductory recitative for solo violin leads to a swaying -melody for the woodwind. The lower strings then present a pastoral song -which soon receives beautiful filigree work from other parts of the -orchestra. The swaying subject for woodwind closes the piece. Sir John -Barbirolli also made an effective orchestral transcription of this -composition, while Percy Grainger arranged it for solo piano, and Mary -Howe for two solo pianos. The finale of the suite is “Praise Be to God,” -which is also the finale of Cantata No. 129, _Gelobet sei der Herr, mein -Gott_. This is vigorous music that is an outpouring of pure joy. - - - - - Michael Balfe - - -Michael William Balfe was born in Dublin, Ireland on May 15, 1808. The -son of a dancing master, Michael was only six when he played the violin -for his father’s classes. In 1823, Balfe came to London where he studied -the violin and composition with private teachers and earned his living -as violinist and singer. Additional study took place in Italy in 1825, -including singing with Bordogni. Between 1828 and 1833 he appeared as -principal baritone of the Italian Opera and several other French -theaters in Paris. In 1835, he initiated an even more successful career -as composer of English operas, with _The Siege of Rochelle_, produced -that year in London. He continued writing numerous operas, producing his -masterwork, _The Bohemian Girl_, in 1843. Between 1846 and 1856 Balfe -traveled to different parts of Europe to attend performances of his -operas. In 1864 he left London to retire to his estate in Rowney Abbey -where he died on October 20, 1870. - -_The Bohemian Girl_ is a classic of English opera. It was first produced -at Drury Lane in London on November 27, 1843, when it enjoyed a -sensational success. It was soon translated into French, German and -Italian and was extensively performed throughout Europe. The libretto, -by Alfred Bunn, was based on a ballet-pantomime by Vernoy de -Saint-Georges. The setting is Hungary in the 18th century, and its -heroine is Arline, daughter of Count Arnheim who, as a girl, had been -kidnapped by gypsies and raised as one of them. She is falsely accused -by the Count’s men of stealing a valuable medallion from the Count’s -palace and is imprisoned. Appearing before the Count to ask for -clemency, she is immediately recognized by him as his daughter. - -Melodious selections from this opera are frequently heard. The most -famous single melody is “I Dream’d That I Dwelt in Marble Halls” which -Arline sings in the first scene of the second act as she recalls a -dream. “The Heart Bowed Down,” the Count’s song in the fourth scene of -the second act as he gazes longingly on a picture of his long lost -daughter, and “Then You’ll Remember Me,” a tenor aria from the third act -are also familiar. - - - - - Hubert Bath - - -Hubert Bath was born in Barnstaple, England, on November 6, 1883. He -attended the Royal Academy of Music in London, after which he wrote his -first opera. For a year he was conductor of an opera company that toured -the world. After 1915 he devoted himself mainly to composition. Besides -his operas, tone poems, cantatas and various instrumental works he wrote -a considerable amount of incidental music for stage plays and scores for -the motion pictures. He died in Harefield, England, on April 24, 1945. - -The _Cornish Rhapsody_, for piano and orchestra, is one of his last -compositions and the most famous. He wrote it for the British motion -picture _Love Story_, released in 1946, starring Margaret Lockwood and -Stewart Granger. Lockwood plays the part of a concert pianist, and the -_Cornish Rhapsody_ is basic to the story which involves the pianist with -a man in love with another woman. The rhapsody begins with arpeggio -figures which lead to a strong rhapsodic passage in full chords. A bold -section is then contrasted by a gentle melody of expressive beauty, the -heart of the composition. A cadenza brings on a return of the earlier -strong subject, and a recall of the expressive melody in the orchestra -to piano embellishments. The composition ends with massive passages and -strongly accented harmonies. - - - - - Ludwig van Beethoven - - -Ludwig van Beethoven was born in Bonn, Germany, on December 16, 1770. He -received his earliest musical training in his native city where he early -gave strong evidence of genius. He published his first works when he was -eleven, and soon thereafter was performing publicly on the organ, -cembalo, and the viola. He also disclosed a phenomenal gift at -improvisation. He established permanent residence in Vienna in 1792. -Three years later he made there his first public appearance, and from -then on began to occupy a high position in Viennese musical life as a -piano virtuoso. His fame as a composer soon superseded that of virtuoso -as he won the support of Vienna’s aristocracy. He entered upon a new -creative phase, as well as full maturity, beginning with 1800, when his -first symphony was introduced in Vienna. His creative powers continually -deepened and became enriched from that time on. As he restlessly sought -to give poetic and dramatic expression to his writing he broke down the -classical barriers so long confining music and opened up new horizons -for style and structure. Meanwhile, in or about 1801 or 1802, he -realized he was growing deaf, a discovery that swept him into -despondency and despair, both of which find expression in a unique and -remarkable document known as the Heiligenstadt Testament. Deafness led -to personal idiosyncrasies and volatile moods which often tried the -patience of even his closest friends, but it did not decrease the -quantity of his musical production nor prevent him from achieving -heights of creative expression achieved by few, if any. He died in -Vienna on March 26, 1827 after having ushered in a new age for music -with his symphonies, concertos, sonatas, string quartets, and -masterworks in other categories including opera and choral music. - -The grandeur of expression, the profundity of thought, and the -independence of idiom we associate with Beethoven is not to be found in -his lighter music which, generally speaking, is in a traditional mold, -pleasing style, and in an inviting lyric vein. This is not the Beethoven -who was the proud democrat, whose life was a struggle with destiny, and -who sought to make music the expression of his profoundest concepts. -This is rather, another Beethoven: the one who liked to dance, though he -did it badly; who flirted with the girls; and who indulged in what he -himself described as “unbuttoned humor.” - -Beethoven wrote twelve _Contredanses_ (_Contretaenze_) in 1801-1802. -These are not “country dances” as the term “_contretaenze_” is sometimes -erroneously translated. The Contredanse is the predecessor of the waltz. -Like the waltz it is in three-part form, the third part repeating the -first, while the middle section is usually a trio in contrasting mood. -In 1801-1802, when Beethoven wrote his _Contredanses_, he was already -beginning to probe deeply into poetic thought and emotion in his -symphonies, sonatas, and concertos. But in the _Contredanses_ the poet -becomes peasant. This is earthy music, overflowing with melodies of -folksong vigor, and vitalized by infectious peasant rhythms. The -_Contredanse_ No. 7 in E-flat major is particularly famous; this same -melody was used by the composer for his music to the ballet -_Prometheus_, for the finale of his _Eroica Symphony_, and for his Piano -Variations, op. 35. The key signatures of the twelve _Contredanses_ are: -C major, A major, D major, B-flat major, E-flat major, C major, E-flat -major, C major, A major, C major, G major and E-flat major. - -A half dozen years before he wrote his _Contredanses_ Beethoven had -completed a set of twelve _German Dances_ (_Deutsche Taenze_). The form, -style, and spirit of the _German Dance_ is so similar to the -_Contredanse_ that many Austrian composers used the terms -interchangeably. Beethoven’s early _German Dances_, like the later -_Contredanses_, are a reservoir of lively and tuneful semi-classical -music with an engaging earthy quality to the melodies and a lusty -vitality to the rhythms. - -Few Beethoven compositions have enjoyed such universal approval with -budding pianists, salon orchestras, and various popular ensembles as the -_Minuet in G_. It is not too far afield to maintain that this is one of -the most famous minuets in all musical literature. Beethoven wrote it -originally for the piano; it is the second of a set of six minuets, -written in 1795, but published as op. 167. It is even more celebrated in -its many different transcriptions than it is in the original. The -composition is in three-part form. The first and third parts consist of -a stately classical melody; midway comes a fast-moving trio of -contrasting spirit. - -The first movement of the _Moonlight Sonata_ is also often heard in -varied transcriptions for salon or “pop” orchestras. The _Moonlight -Sonata_ is the popular name of the piano sonata in C-sharp minor, op. -27, no. 2 which Beethoven wrote in 1801 and which he designated as -_Sonata quasi una fantasia_ mainly because of the fantasia character of -this first movement. The poetic and sensitive mood maintained throughout -the first movement—with a romantic melody of ineffable sadness -accompanied by slow triplets—is the reason why the critic Rellstab (and -_not_ the composer) provided the entire sonata with the name of -“Moonlight.” To Rellstab this first movement evoked for him a picture of -Lake Lucerne in Switzerland at night time, gently touched by the -moonlight. The fact that Beethoven dedicated the sonata to Countess -Giulietta Guicciardi, with whom he was then in love, leads to a legend -that he wrote this music to express frustrated love, but this was not -the case. Another myth about this first movement is that Beethoven -improvised this music while playing for a blind boy, as moonlight -streamed into the window of his room; after he had finished playing he -identified himself to the awe-stricken youngster. It was the opinion of -the eminent critic, Henry E. Krehbiel, that the sonata was inspired by a -poem, _Die Beterin_ by Seume, describing a young girl kneeling at an -altar begging for her father’s recovery from a serious illness; angels -descend to comfort her and she becomes transfigured by a divine light. - -Beethoven wrote two _Romances_ for violin and orchestra: in F major, op. -50 (1802) and G major, op. 40 (1803). Rarely do we encounter in -Beethoven’s works such a fresh, spontaneous and entirely unsophisticated -outpouring of song—a song that wears its beauty on the surface—as in -these two compositions. The two _Romances_ are companion pieces and -pursue a similar pattern. Each opens with the solo violin presenting the -main melody (in the F major accompanied by the orchestra, in the G -major, solo). Each then progresses to a pure outpouring of lyricism -followed by virtuoso passages for the solo instrument. In each, violin -and orchestra appear to be engaging in a gentle dialogue. - -The _Turkish March_ (_Marcia alla turca_) is one of several numbers (the -fourth) comprising the incidental music to a play by Kotzebue, _The -Ruins of Athens_ (_Die Ruinen von Athen_), op. 113 (1811). The -production of this play with Beethoven’s music was intended for the -opening of a theater in Pesth on February 9, 1812. The _Turkish March_ -is in the pseudo-Turkish melodic style popular in Vienna in the early -19th century, and it employs percussion instruments such as the triangle -which the Viennese then associated with Turkish music. The march, with -its quixotic little melody, begins softly, almost like march music heard -from a distance. It grows in sonority until a stirring climax is -achieved. Then it dies out gradually and ebbs away in the distance. -Leopold Auer made a famous transcription for violin and piano, while -Beethoven himself transcribed it for piano, with six variations, op. 76 -(1809). - - - - - Vincenzo Bellini - - -Vincenzo Bellini was born in Catania, Sicily, on November 3, 1801. Born -to a musical family, he received music instruction in childhood, and -while still very young started composing. He then attended the San -Sebastiano Conservatory in Naples; during his stay there he completed a -symphony, two masses, and a cantata among other works. He made his bow -as opera composer with _Adelson e Salvini_, introduced at the -Conservatory in 1825. He continued writing operas after that, and having -them produced in major Italian opera houses with varying degrees of -success. _I Capuleti e i Montecchi_, given in Venice in 1830, was a -triumph. Then came the two operas by which Bellini is today most often -represented in the repertory: _La Sonnambula_ and _Norma_, both produced -in 1831. In 1833 he came to Paris where he completed his last opera, _I -Puritani_, given in Paris in 1835. He was at the height of his fame and -creative powers when he died in Puteaux, near Paris, on September 23, -1835, at the age of thirty-four, a victim of intestinal fever. - -Bellini was the genius of opera song. His fresh, pure lyricism—perfect -in design and elegant in style—elevates his greatest operas to a place -of significance. His masterwork is _Norma_, introduced at La Scala in -Milan on December 26, 1831, where it was at first a failure. The -libretto by Felice Romani was based on a tragedy by L. A. Soumet. In -Gaul, during the Roman occupation, in or about 50 B.C., Norma, high -priestess of the Druids, violates her vows by secretly marrying the -Roman proconsul, Pollione, and bearing him two sons. Pollione then falls -in love with Adalgisa, virgin of the Temple of Esus. Unaware that -Pollione is married, Adalgisa confides to Norma she is in love with him. -With Pollione’s infidelity now apparent, he is brought before Norma for -judgment. She offers him the choice of death or the renunciation of -Adalgisa. When Pollione accepts death, Norma confesses to her people -that, having desecrated her vows, she, too, must die. Moved by this -confession, Pollione volunteers to die at her side in the funeral pyre. - -The overture is famous. Loud dramatic chords in full orchestra are -succeeded by a soft _lento_ passage. A strong melody is then presented -by flutes and violins against an incisive rhythm. There follows a -graceful, sprightly and strongly accented tune in the strings. Both -melodies are then amplified, dramatized, and repeated; particular -emphasis is placed on the delicate, accented tune. The overture then -proceeds to an energetic conclusion. - -One vocal episode from _Norma_ is also extremely popular and is often -heard in orchestral transcriptions. It is Norma’s aria, “_Casta diva_,” -surely one of the noblest soprano arias in all Italian operatic -literature. It comes in the first act and represents Norma’s prayer for -peace, and her grief that the hatred of her people for the Roman -invaders must also result in their hatred for her husband, Pollione, the -Roman proconsul. - - - - - Ralph Benatzky - - -Ralph Benatzky was born in Moravské-Budejovice, Bohemia, on June 5, -1884. He acquired his musical training in Prague and with Felix Mottl in -Munich, after which he devoted himself to light music by composing -operettas. While residing at different periods in Vienna, Berlin, and -Switzerland, he wrote the scores for over ninety operettas and 250 -motion pictures, besides producing about five thousand songs. His most -successful operettas were _The Laughing Triple Alliance_, _My Sister and -I_, _Love in the Snow_, _Axel at the Gates of Heaven_, and _The White -Horse Inn_. He came to live in the United States in 1940, but after -World War II returned to Europe. He died in Zurich on October 17, 1957. - -_The White Horse Inn_ (_Im weissen Roess’l_) is not only Benatzky’s most -celebrated operetta, but also one of the most successful produced in -Europe between the two world wars, and possibly the last of the great -European operettas. It was first performed in Berlin in 1930, after -which it enjoyed over a thousand performances in Europe. Its première in -America in 1936 (the book was adapted by David Freedman, lyrics were by -Irving Caesar, William Gaxton and Kitty Carlisle starred) was only a -moderate success. The operetta book of the original—freely adapted by -Erik Charell and Hans Mueller, from a play by Blumenthal and -Kadelburg—is set in the delightful resort of St. Wolfgang on Wolfgangsee -in Austria, in the era just before World War I. Leopold, headwaiter of -_The White Horse Inn_, is in love with its owner, Frau Josepha, who -favors the lawyer, Siedler. In a fit of temper she fires Leopold, but -upon learning that Emperor Franz Josef is about to pay the inn a visit, -she prevails upon him to stay on. Leopold makes a welcoming speech to -the Emperor, during which his bitter resentment against Frau Josepha -gets the upper hand. Later on, when Frau Josepha confides to the Emperor -that she is in love with Siedler, he urges her to consider Leopold for a -husband. Leopold then comes to Josepha with a letter of resignation, -which she accepts, but only because she is now ready to give him a new -position, as her husband. - -Selections from this tuneful operetta include the main love song, “_Es -muss ein wunderbares sein_,” the ditty “_Zuschau’n kann ich nicht_,” and -the lively waltz, “_Im weissen Roess’l am Wolfgangsee_.” - -It is mainly the worldwide popularity of this operetta (even more than -the natural beauty of Wolfgangsee) that brings tourists each year to the -White Horse Inn at St. Wolfgang, for a sight of the operetta’s setting, -and to partake of refreshments on the attractive veranda overlooking -Wolfgangsee. The inn is now generously decorated with pictures in which -the two main songs of the operetta are quoted, supplemented by a -portrait of Benatzky. Souvenir ashtrays also carry musical quotations -from the operetta. - - - - - Arthur Benjamin - - -Arthur Benjamin was born in Sydney, Australia, on September 18, 1893. -His music study took place at the Royal College of Music in London. -After serving in World War I, he became professor at the Sydney -Conservatory, and in 1926 he assumed a similar post with the Royal -College of Music in London. Meanwhile in 1924 he received the Carnegie -Award for his _Pastoral Fantasia_, and in 1932 his first opera, _The -Devil Take Her_, was produced in London. For five years, beginning with -1941, he was the conductor of the Vancouver Symphony. He has written -notable concertos, a symphony, and other orchestral music, together with -chamber works and several operas including _A Tale of Two Cities_ which -won the Festival of Britain Prize following its première in 1953. He -also wrote a harmonica concerto for Larry Adler. Though many of his -compositions are in an advanced style and technique, Benjamin was -perhaps best known for his lighter pieces, particularly those in a -popular South American idiom. He died in London on April 10, 1960. - -The _Cotillon_ (1939) is a suite of English dances derived from a medley -entitled _The Dancing School_, published in London in 1719. Presented by -Benjamin in contemporary harmonic and instrumental dress, these -tunes—popular in England in the early 18th century—still retain their -appeal. A short introduction, built from a basic motive from the first -dance, leads to the following episodes with descriptive titles: “Lord -Hereford’s Delight” for full orchestra; “Daphne’s Delight” for woodwind -and strings; “Marlborough’s Victory,” for full orchestra; “Love’s -Triumph” for strings; “Jig It A Foot” for full orchestra; “The Charmer” -for small orchestra; “Nymph Divine” for small orchestra and harp solo; -“The Tattler” for full orchestra; and “Argyll” for full orchestra. A -figure from the final tune is given extended treatment in the coda. - -Benjamin’s best known piece of music is the _Jamaican Rumba_ (1942). -This is the second number of _Two Jamaican Pieces_ for orchestra. A -light staccato accompaniment in rumba rhythm courses nimbly through the -piece as the woodwinds present a saucy melody, and the strings a -countersubject. Consecutive fifths in the harmony, a xylophone in the -orchestration, and the changing meters created by novel arrangement of -notes in each measure, provide particular interest. The _Jamaican Rumba_ -has been transcribed for various solo instruments and piano as well as -for piano trio. - -The _North American Square Dances_, for two pianos and orchestra (1955), -is a delightful treatment of American folk idioms. The work comprises -eight fiddle tunes played at old-time square dances. The native flavor -is enhanced in the music by suggestions and simulations of -feet-stamping, voice calling, and the plunking of a banjo. In the -Introduction there appear fragments of the first dance; these same -fragments return in the coda. There are eight sections: Introduction and -“Heller’s Reel”; “The Old Plunk”; “The Bundle Straw”; “He Piped So -Sweet”; “Fill the Bowl”; “Pigeon on the Pier”; “Calder Fair”; and -“Salamanca” and “Coda.” The fourth and seventh dances are in slow tempo, -while all others are fast. - - - - - Robert Russell Bennett - - -Robert Russell Bennett was born in Kansas City, Missouri, on June 15, -1894. He began his music study in Kansas City: piano with his mother; -violin and several other instruments with his father; and harmony with -Carl Busch. While still a boy he wrote and had published several -compositions. He came to New York in 1916, worked for a while as copyist -at G. Schirmer, then during World War I served for a year in the United -States Army. After the war he spent several years in Paris studying -composition with Nadia Boulanger; during this period he was twice the -recipient of a Guggenheim Fellowship. In 1926-1927 he received honorable -mention for his first symphony, in a contest sponsored by _Musical -America_; in 1930 he received two awards from RCA Victor, one for -_Sights and Sounds_, an orchestral tone poem, the other for his first -successful and widely performed work, the symphony _Abraham Lincoln_. -Since then Bennett has worked fruitfully in three distinct areas. As a -composer of serious works he has produced several operas (including -_Maria Malibran_), symphonies and other significant orchestral -compositions. As an orchestrator for the Broadway theater, he has been -involved with some of the foremost stage productions of our times -including musicals by Rodgers and Hammerstein, Jerome Kern, Cole Porter, -and Lerner and Loewe, and many others. He has also written compositions -of a more popular nature, compositions which, while fully exploiting the -resources of serious music, are nevertheless filled with popular or jazz -materials. Among the last are his effective symphonic adaptations of -music from George Gershwin’s _Porgy and Bess_; _Oklahoma!_ and _South -Pacific_ of Rodgers and Hammerstein; and _Kiss Me Kate_ of Cole Porter. -In each instance, the main melodies are brilliantly orchestrated and -skilfully combined into an integrated synthesis so that each becomes a -coherent musical composition. - -The _March_, for two pianos and orchestra, (1930) makes delightful use -of jazz melodies and rhythms. There are here four connected movements, -each in march time. The first movement, in a vigorous style, leaps from -one brief motive to another without any attempt at development. In the -second, a sustained melody, first for solo oboe and later for the piano -with full orchestra, is placed against a shifting rhythm. The third is a -serious recitative culminating in an episode in which the classic -funeral march is given sophisticated treatment. The fourth movement -begins with a _marche mignonne_ and concludes with a forceful, at times -overpowering, statement of the funeral-march theme of the third -movement. - -While the _Symphony in D_ (1941) is scored for symphony orchestra and -has been played by many leading American orchestras, it is music with -its tongue in the cheek, and is consistently light and humorous. This -symphony was written to honor the Brooklyn Dodger baseball team (that -is, when they were still in Brooklyn)—ironically enough an ode to a -colorful team by a composer who has been a lifelong rooter of its most -bitter rival, the New York Giants (once again, when they were still at -the Polo Grounds). There are four brief movements. The first, subtitled -“Brooklyn Wins,” “means to picture the ecstatic joy of the town after -the home team wins a game,” as the composer has explained. This is -followed by a slow (_Andante lamentoso_) movement, appropriately -designated as “Brooklyn Loses”—music filled with “gloom and tears, and -even fury.” The third movement, a scherzo, is a portrait of the club’s -then (1941) president, Larry MacPhail, and his pursuit of a star -pitcher. “We hear the horns’ bay call—then we hear him in Cleveland, -Ohio, trying to trade for the great pitcher, Bob Feller. He offers -Prospect Park and the Brooklyn Bridge as an even trade, but the -Cleveland management says ‘No’ in the form of a big E-flat minor chord. -After repeated attempts we hear the hunting horns again, as he resumes -the hunt in other fields.” The finale is a choral movement, and like -that of Beethoven’s Ninth Symphony, an ode to joy. “It is purely -fictitious, this text, but it speaks for itself. The subtitle of this -finale is ‘The Giants Come to Town.’” - -Bennett has written two delightful orchestral compositions derived from -the songs of Jerome Kern. One is _Symphonic Study_, a synthesis of some -of Kern’s best-loved melodies, and _Variations on a Theme by Jerome -Kern_. Both of these compositions are discussed in the section on Kern. -Bennett’s symphonic treatment of George Gershwin’s _Porgy and Bess_, -entitled _Symphonic Picture_, is commented upon in the Gershwin section, -specifically with _Porgy and Bess_; Bennett’s symphonic treatment of the -music of Cole Porter’s _Kiss Me Kate_, and of _Oklahoma!_ and _South -Pacific_ is spoken of in the sections devoted to Cole Porter and Richard -Rodgers, respectively. Bennett has also orchestrated, and adapted into a -symphonic suite, the music from Richard Rodgers’ _Victory at Sea_, -described in the Richard Rodgers section. - - - - - Hector Berlioz - - -Hector Berlioz was born in Côte-Saint-André, France on December 11, -1803. As a young man he was sent to Paris to study medicine, but music -occupied his interests and he soon abandoned his medical studies to -enter the Paris Conservatory. Impatient with the academic restrictions -imposed upon him there, he left the Conservatory to begin his career as -a composer. From the very beginning he set out to open new horizons for -musical expression and to extend the periphery of musical structure. His -first masterwork was the _Symphonie fantastique_, inspired by his love -for the Shakespearean actress, Harriet Smithson. It was introduced in -Paris in 1830, a year in which Berlioz also won the Prix de Rome. In his -later works, Berlioz became one of music’s earliest Romantics. He was a -bold innovator in breaking down classical restraint; he helped extend -the dramatic expressiveness of music; he was a pioneer in the writing of -program music and in enriching the language of harmony, rhythm, and -orchestration. Among his major works are the _Requiem_, _Harold in -Italy_ for viola solo and orchestra, the _Roman Carnival Overture_, the -dramatic symphony _Romeo and Juliet_, and _The Damnation of Faust_. -Berlioz married Harriet Smithson in 1833. It proved to be a tempestuous -affair from the outset, finally ending by mutual consent in permanent -separation. From 1852 until his death Berlioz was a librarian of the -Paris Conservatory. He was active throughout Europe as a conductor and -was a trenchant writer on musical subjects; among his books is a volume -of _Memoirs_. He died in Paris on March 8, 1869. - -The compositions by which Berlioz is most often heard on semi-classical -programs are three excerpts from _The Damnation of Faust_: “The Dance of -the Sylphs” (“_Danse des sylphes_”); “The Minuet of the -Will-o’-the-Wisps” (“_Menuet des feux-follets_”), and “Rakóczy March” -(“_Marche hongroise_”). - -_The Damnation of Faust_, op. 24, described by the composer as a -“dramatic legend,” took many years for realization. It was based on a -French translation of Goethe’s _Faust_, published in 1827. A year later, -Berlioz completed a musical setting of eight scenes as part of an -ambitious project to prepare a huge cantata based on the Faust legend. -He did not complete this project until eighteen years after that. Upon -returning to it, he revised his earlier material, and wrote a -considerable amount of new music. This work was first performed in -oratorio style in Paris on December 6, 1846 and was a fiasco. It was -given a stage presentation in Monte Carlo in 1903. Since then it has -been performed both in concert version and as an opera. - -“The Dance of the Sylphs” is graceful waltz music, its main melody -assigned to the violins. It appears in the second part of the “legend.” -Faust is lulled to sleep by sylphs who appear in his dream in a delicate -dance which brings up for him the image of his beloved Marguerite. -“Minuet of the Will-o’-the-Wisps” comes in the third part of the legend. -Mephisto summons the spirits and the will-of-the-wisps to encircle -Marguerite’s house. The dance tune is heard in woodwind and brass. After -the trio section, the minuet melody is repeated twice, the second time -interrupted by chords after each phrase. The “Rakóczy March” is based on -an 18th-century Hungarian melody. It is logically interpolated into the -Faust legend by the expedience of having Faust wander about in Hungary. -A fanfare for the brass leads to the first and main melody, a brisk -march subject begun quietly in the woodwind. It gains in force until it -is exultantly proclaimed by full orchestra. A countersubject is then -heard in strings. After the march melody returns, it again gains in -volume until it is built up into an overpowering climax. - - - - - Leonard Bernstein - - -Leonard Bernstein was born in Lawrence, Massachusetts, on August 25, -1918. Early music study took place with private piano teachers, and -subsequently with Helen Coates and Heinrich Gebhard. He was graduated -from Harvard in 1939 after which he attended the Curtis Institute of -Music (a pupil of Fritz Reiner in conducting) and three summer sessions -of the Berkshire Music Center as a student and protégé of Serge -Koussevitzky. He made a sensational debut as conductor with the New York -Philharmonic in 1943, appearing as a last-minute substitute for Bruno -Walter who had fallen ill. Since that time he has risen to the front -rank of contemporary symphony conductors, having led most of the world’s -leading organizations, and being appointed music director of the New -York Philharmonic in 1958. As a serious composer he first attracted -attention with the _Jeremiah Symphony_ in 1944, which was performed by -most of America’s leading orchestras, was recorded, and received the New -York City Music Critics Award. He subsequently wrote other major works -for orchestra as well as the scores to successful ballets, an opera, and -several Broadway musical comedies that were box-office triumphs; the -last of these included _On the Town_ (1944), _Wonderful Town_ (1953) and -_West Side Story_ (1957). Bernstein has also distinguished himself as a -musical commentator and analyst over television, concert pianist, and -author. - -Whether writing in a serious or popular vein Bernstein consistently -reveals himself to be a master of his technical resources, endowed with -a fine creative imagination, a strong lyric and rhythmic gift, and a -restless intelligence that is ever on the search for new and fresh -approaches in his writing. High on the list of favorites in the -semi-classical repertory are the orchestral suites he adapted from his -two popular and successful ballets. - -_Facsimile_, choreography by Jerome Robbins, was introduced in New York -in 1946. The ballet scenario revolves around three lonely people—a woman -and two men—who find only frustration and disenchantment after trying to -find satisfactory personal relationships. The orchestral suite from this -vivacious score, vitalized with the use of popular melodies and dance -rhythms, is made up of four parts. I. “Solo.” The principal musical -material here is found in a solo flute. This is a description of a woman -standing alone in an open place. II. “Pas de Deux.” Woman meets man, and -a flirtation ensues to the tune of a waltz. The scene achieves a -passionate climax, and is followed by a sentimental episode, -romanticized in the music by a subject for muted strings and two solo -violins and solo viola. The love interest dies; the pair become bored, -then hostile. III. “Pas de trois.” The second man enters. This episode -is a scherzo with extended piano solo passages. A triangle ensues -between the two men and one woman, there is some sophisticated interplay -among them, and finally there ensue bitter words and misunderstandings. -IV. “Coda.” The two men take their departure, not without considerable -embarrassment. - -_Fancy Free_ was Bernstein’s first ballet, and it is still his most -popular one; he completed his score in 1944 and it was introduced by the -Ballet Theater (which had commissioned it) on April 18 of that year. It -was a success of major proportions, received numerous performances, then -became a staple in the American dance repertory. It is, wrote George -Amberg, “the first substantial ballet entirely created in the -contemporary American idiom, a striking and beautifully convincing -example of genuine American style.” The scenario, by Jerome Robbins, -concerned the quest of girl companionship on the part of three sailors -on temporary shore leave. Bernstein’s music, though sophisticated in its -harmonic and instrumental vocabulary, is filled with racy jazz rhythms -and idioms and with melodies cast in a popular mold. The orchestral -suite is made up of five parts: “Dance of the Three Sailors”; “Scene at -the Bar”; “Pas de deux”; “Pantomime”; “Three Variations” (Galop, Waltz, -Danzon) and Finale. - -When this Suite was first performed, in Pittsburgh in 1945, with -Bernstein conducting, the composer provided the following description of -what takes place in the music. “From the moment the action begins, with -the sound of a juke box wailing behind the curtain, the ballet is -strictly Young America of 1944. The curtain rises on a street corner -with a lamppost, side street bar, and New York skyscrapers tricked out -with a crazy pattern of lights, making a dizzying background. Three -sailors explode onto the stage; they are on shore leave in the city and -on the prowl for girls. The tale of how they meet first one girl, then a -second, and how they fight over them, lose them, and in the end take off -after still a third, is the story of the ballet.” - -_Fancy Free_ was expanded into a musical-comedy by Betty Comden and -Adolph Green, for which Bernstein wrote his Broadway score. Called _On -the Town_ it started a one-year Broadway run on December 28, 1944, and -subsequently was twice revived in off-Broadway productions, and was made -into an outstanding screen musical. - - - - - Georges Bizet - - -Georges Bizet was born in Paris on October 25, 1838. Revealing a -pronounced gift for music in early childhood he was entered into the -Paris Conservatory when he was only nine. There—as a pupil of Marmontel, -Halévy, and Benoist—he won numerous prizes, including the Prix de Rome -in 1857. In that year he also had his first stage work produced, a -one-act opera, _Le Docteur miracle_. After his return from Rome to Paris -he started to write operas. _Les Pêcheurs de perles_ (_Pearl Fishers_) -and _La jolie fille de Perth_ were produced in Paris in 1863 and 1867 -respectively. Success came in 1872 with his first Suite from the -incidental music to Daudet’s _L’Arlésienne_. After that came his -masterwork, the opera by which he has earned immortality: _Carmen_, -introduced in Paris two months before his death. Bizet died in Bougival, -France, on June 3, 1875. - -His gift for rich, well-sounding melodies, and his feeling for inviting -harmonies and tasteful orchestration make many of his compositions ideal -for programs of light music, even salient portions of _Carmen_. - -_Agnus Dei_ is a vocal adaptation (to a liturgical Latin text) of the -intermezzo from Bizet’s incidental music to _L’Arlésienne_. It is also -found as the second movement of the _L’Arlésienne Suite No. 2_. A -dramatic dialogue between forceful strings and serene woodwinds leads -into a spiritual religious song. - -The _Arlésienne Suite No. 1_ is made up of parts from the incidental -music, which Bizet wrote for the Provençal drama of Alphonse Daudet, -_The Woman of Arles_ (_L’Arlésienne_). The play, with Bizet’s music -consisting of twenty-seven pieces, was given at the Théâtre du -Vaudeville in Paris in 1872. Out of this score the composer selected -four excerpts and assembled them into an orchestral suite, which has -become his most celebrated instrumental composition, and his first -success as a composer. A knowledge of the plot and characters of the -Daudet play is by no means essential to a full appreciation of Bizet’s -tuneful suite. - -The first movement, “Prelude,” begins with a march melody based on an -old French Christmas song. This is subjected to a series of variations. -After the march tune has been repeated vigorously by the full orchestra -there appears a pastoral interlude, scored originally for saxophones, -but now usually heard in clarinets. This, in turn, is succeeded by a -passionate song for strings, with brass and woodwind accompaniment. The -second movement is a “Minuet,” whose principal theme is a brisk and -strongly accented subject. In the trio section, the clarinet appears -with a flowing lyrical episode. As the violins take this material over -they become rapturous; the harp and woodwind provide intriguing -accompanying figures. A brief “_Adagietto_” comes as the third movement. -This is a sensitive romance for muted strings. In the finale, -“Carillon,” we get a picture of a peasant celebration of the Feast of -St. Eloi. The horns simulate a three-note chime of bells which -accompanies a lively dance tune, first in strings, then in other -sections of the orchestra. A soft interlude is interposed by the -woodwind. Then the lively dance reappears, once again to be accompanied -by vigorous tolling bells simulated by the horns. - -There exists a second suite made up of four more numbers from the -incidental music to _L’Arlésienne_. This was prepared after Bizet’s -death by his friend, Ernest Guiraud. This second suite is rarely played, -but its second movement, “Intermezzo,” is celebrated in its liturgical -version as “_Agnus Dei_” (which see above). The other movements are -Pastorale, Minuet and Farandole. - -If the name of Bizet has survived in musical history and will continue -to do so for a long time to come, it is surely because of a single -masterwork—his opera _Carmen_. This stirring music drama—based on the -famous novel of Prosper Mérimée, adapted for Bizet by Meilhac and -Halévy—never fails in its emotional and dramatic impact. Carmen is the -seductive gypsy girl who enmeshes two lovers: the bull fighter -Escamillo, and the sergeant, Don José. Both she and Don José meet a -tragic end on the day of Escamillo’s triumph in the bull ring. The -background to this fatal story of love and death is provided by the -Spanish city of Seville—its streets, bull ring, taverns, and nearby -mountain retreat of smugglers. - -_Carmen_ was introduced at the Opéra-Comique on March 3, 1875. Legend -would have us believe it was a fiasco, and further that heartbreak over -this failure brought about Bizet’s premature death two months after the -opera was first heard. As a matter of historic truth, while there were -some critics at that first performance who considered the text too stark -and realistic for their tastes, _Carmen_ did very well, indeed. By June -18th it enjoyed thirty-seven performances. At the start of the new -season of the Opéra-Comique it returned to the repertory to receive its -fiftieth presentation by February 15, 1876. It was hailed in Vienna in -1875, Brussels in 1876, and London and New York in 1878. Many critics -everywhere were as enthusiastic as the general public, and with good -reason. For all the vivid color of Spanish life and backgrounds, and all -the flaming passions aroused by the sensual Carmen, were caught in -Bizet’s luminous, dramatic score. - -The Prelude to _Carmen_ represents a kind of resumé of what takes place -in the opera, and with some of its musical material. It opens with -lively music for full orchestra describing the festive preparations in -Seville just before a bull fight. After a sudden change of key, and -several chords, the popular second-act song of Escamillo, the -bullfighter, is first given quietly in strings, then repeated more -loudly. Then there is heard an ominous passage against quivering strings -which, in the opera, suggests the fatal fascination exerted by Carmen on -men. This is repeated in a higher register and somewhat amplified until -a dramatic chord for full orchestra brings this episode, and the -overture itself, to a conclusion. - -The Prelude to Act II is constructed from a motive of an off-stage -unaccompanied little song by Don José in the same act praising the -dragoons of Alcala. The Prelude to Act III is actually an entr’acte, a -gentle little intermezzo which Bizet originally wrote for -_L’Arlésienne_. The Prelude to Act IV is also an entr’acte, this time of -dramatic personality. The brilliant and forceful music is based upon an -actual Andalusian folk song and dance; it sets the mood for the gay -festivities in a public square on the day of a gala bull-fight with -which the fourth act opens. - -It is sometimes a practice at concerts of semi-classical or pop music to -present not merely one of the four orchestral Preludes but also at other -times salient musical episodes from the opera, arranged and assembled -into fantasias or suites. These potpourris or suites are generally made -up of varied combinations of the following excerpts. From Act I: the -“Changing of the Guard”; Carmen’s seductive and extremely popular aria, -the Habanera (“_L’amour est un oiseau rebelle_”), which was not by Bizet -but borrowed by him from a song by Sebastian Yradier (see Yradier); the -duet of Micaëla and Don José, “_Qui sait de quel démon_”; and Carmen’s -Séguidille, “_Près des ramparts de Séville_.” From Act II: “The March of -the Smugglers,”; Carmen’s “_Chanson bohème_”; the rousing Toreador Song -of Escamillo; and Don José’s poignant “Flower Song” to Carmen, “_La -fleur que tu m’avais jetée_.” From Act III: Carmen’s Card Song, “_En -vain pour éviter_”; and Micaëla’s celebrated Air, “_Je dis que rien ne -m’épouvante_”. From Act IV: the Chorus, March, and Finale. - -Utilizing many of these selections, Ferruccio Busoni and Vladimir -Horowitz each prepared striking concert fantasias for solo piano; Pablo -de Sarasate, for violin and piano; and Franz Waxman for violin and -orchestra for the motion picture, _Humoresque_, starring John Garfield. - -_Children’s Games_ (_Jeux d’enfants_) is a delightful suite of twelve -pieces for piano (four hands) for and about children. Bizet wrote it in -1871, but shortly afterwards orchestrated five of these numbers and -assembled them into a suite, op. 22. The first movement is a march -entitled “Trumpeter and Drummer” (“_Trompette et tambour_”) music -punctuated by trumpet calls and drum rolls, accompanying a troop of -soldiers as it approaches and then disappears into the distance. This is -followed by a tender berceuse for muted strings, “The Doll” (“_La -Poupée_”). The third movement is “The Top” (“_La Toupie_”), an impromptu -in which the violins simulate the whirr of a spinning top while the -woodwinds introduce a jolly dance tune. The fourth movement, “Little -Husband, Little Wife” (_“Petit mari, petite femme”_) is a quiet little -dialogue between husband and wife, the former represented by first -violins, and the latter by the cellos. The suite ends with “The Ball” -(“Le Bal”), a galop for full orchestra. - -The _Danse bohèmienne_ is a popular orchestral episode that comes from a -comparatively unknown (and early) Bizet opera, _La jolie fille de -Perth_, introduced in Paris in 1867. This vital dance music appears in -the second act, but it is also often borrowed by many opera companies -for the fourth act ballet of _Carmen_. The harp leads into, and then -accompanies, a soft, sinuous dance melody for the flute. The tempo -rapidly quickens, and the mood grows febrile; the strings take over the -dance melody in quick time, and other sections of the orchestra -participate vigorously. - -_La Patrie_ Overture, op. 19 (1873) is music in a martial manner. A -robust, strongly rhythmed march tune is immediately presented by the -full orchestra. After some amplification it is repeated softly by the -orchestra. The second main theme is a stately folk melody first given by -the violins, clarinets and bassoons, accompanied by the double basses. -This new subject receives resounding treatment in full orchestra and is -carried to a powerful climax. After a momentary pause, a third tune is -heard, this time in violas and cellos accompanied by brasses and double -basses, and a fourth, in violas, clarinets and English horn with the -muted violins providing an arpeggio accompaniment. Then the stirring -opening march music is recalled and dramatized. The overture ends in a -blaze of color after some of the other themes are brought back with -enriched harmonies and orchestration. - -This music was written for a play of the same name by Sardou. - - - - - Luigi Boccherini - - -Luigi Boccherini was born in Lucca, Italy, on February 19, 1743. After -studying music with various private teachers in Rome, he gained -recognition as a cellist both as a member of theater orchestras in Lucca -and later on tour throughout Europe in joint concerts with Filippo -Manfredi, violinist. He served as court composer in Madrid from 1785 to -1787, and from 1787 until 1797 for Friedrich Wilhelm II of Prussia. His -last years were spent in Madrid in poverty and poor health, and he died -in that city on May 28, 1805. - -Boccherini, a contemporary of Haydn, was a prolific composer of -symphonies, concertos, and a considerable amount of chamber music which -were all-important in helping to develop and crystallize a classical -style of instrumental writing and in establishing the classic forms of -instrumental music. - -Despite the abundance of his creation in virtually every branch of -instrumental music, and despite the significance of his finest works, -Boccherini is remembered today by many music lovers mainly for a -comparatively minor piece of music: the sedate _Minuet_ which originated -as the third movement of the String Quintet in E major, op. 13, no. 5. -Transcribed for orchestra, and for various solo instruments and piano, -(even for solo harpsichord) this light and airy Minuet has become one of -the most celebrated musical examples of this classic dance form. - -Several of Boccherini’s little known melodies from various quintets and -from his Sinfonia No. 2 in B-flat were used by the contemporary French -composer, Jean Françaix, for a ballet score, from which comes an -enchanting little orchestral suite. The ballet was _The School of -Dancing_ (_Scuola di Ballo_), with book and choreography by Leonide -Massine; it was introduced by the Ballet Russe de Monte Carlo in Monte -Carlo in 1933. The book was set in the dancing school of Professor -Rigadon. The professor tries to palm off one of his backward pupils on -an impresario, while withholding his star; in the end all pupils leave -him in disgust. The suite is in four parts. The first consists of -“_Leçon_” and “_Menuet_”; the second, “_Larghetto_,” “_Rondo_,” and -“_Dispute_”; the third, “_Presto_,” “_Pastorale_,” and “_Danse -allemande_”; the last, “_Scène du notaire_” and “_Finale_.” An -unidentified program annotator goes on to explain: “An occasional stern -note in the ‘_Leçon_’ and strong chords in the ‘_Menuet_’ suggest the -teacher. The violin and bassoon play a duet which very clearly pictures -the inept pupil. Further atmosphere is furnished by a guitar-like -accompaniment heard on the harp from time to time. One is soon -acquainted with the characters who reappear in the various sections. The -‘_Larghetto_’ closely resembles a movement in one of Haydn’s symphonies, -which suggests a tempting line of speculation. The orchestration of the -‘_Rondo_’ and the syncopation of the ‘_Danse allemande_’ are -noteworthy.” - - - - - François Boieldieu - - -François-Adrien Boieldieu, genius of opéra-comique, was born in Rouen, -France, on December 16, 1775. After studying music with Charles Broche, -Boieldieu became a church organist in Rouen in his fifteenth year. Two -years later his first opera, _La fille coupable_, was successfully given -in the same city. In 1796 he came to Paris where from 1797 on his operas -began appearing in various theaters, climaxed by his first major -success, _Le Calife de Bagdad_ in 1801. In 1798 he was appointed -professor of the piano at the Paris Conservatory. From 1803 until 1811 -he lived in Russia writing operas for the Imperial theaters and -supervising musical performances at court. After returning to Paris in -1811, he reassumed his significant position in French music. From 1817 -to 1826 he was professor of composition at the Paris Conservatory, and -in 1821 he was made Chevalier of the Legion of Honor. All the while he -kept on writing operas and enjoying considerable popularity. His most -significant work was the opéra-comique, _La Dame blanche_, a sensation -when introduced in Paris in 1825. Ill health compelled him to abandon -his various professional activities in 1832. Supported by an annual -government grant, he withdrew to Jarcy where he spent the last years of -his life devoting himself mainly to painting. He died there on October -8, 1834. Boieldieu, with Adam and Auber, was one of the founders of -French comic opera, and his best works are still among the finest -achieved in this _genre_. - -The Overture to _The Caliph of Bagdad_ (_Le Calife de Bagdad_) is -Boieldieu’s most famous piece of music. The opera was a triumph when -introduced at the Opéra-Comique in Paris on September 16, 1801. The -libretto, by Saint-Just, is set in Bagdad where Isaaum is a benevolent -Caliph, but given to mischievous pranks and tricks, including parading -around the city in various disguises. Once, as an army officer, he meets -and makes love to Zeltube. Her mother, suspicious of him, orders his -arrest. When the Caliph reveals himself, he also discloses his -intentions were honorable and that he intends making Zeltube his bride. - -The overture opens with a mellow song for strings. When the tempo -changes, a sprightlier tune is heard in strings and brought to a -forceful climactic point. The music now assumes a dramatic character -after which a new subject, again in a sensitive lyrical vein, is offered -by the strings. - -The Overture to _La Dame blanche_ (_The White Lady_) is also popular. -_La Dame blanche_ is the composer’s greatest work in the opéra-comique -form. It was received with such sensational acclaim when introduced in -Paris on December 10, 1825 that, temporarily at any rate, the sparkling -comic operas of Rossini (then very much in vogue) were thrown into a -shade. In time, _La Dame blanche_ received universal acceptance as a -classic in the world of opéra-comique. Between 1825 and 1862 it enjoyed -over a thousand performances in Paris; by World War I, the total passed -beyond the fifteen hundred mark. The libretto, by Eugène Scribe, is -based on two novels by Sir Walter Scott, _The Monastery_ and _Guy -Mannering_. The setting is Scotland, and the “white lady” is a statue -believed to be the protector of a castle belonging to the Laird of -Avenel. The castle is being administered by Gaveston who tries to use -the legend of the white lady for his own selfish purposes, to gain -possession of the family treasures. Anna, Gaveston’s ward, impersonates -the white lady to help save the castle and its jewels for the rightful -owner. - -The vivacious overture is made up of several of the opera’s principal -melodies. The introduction begins with a motive from the first-act -finale, and is followed by the melodious and expressive “Ballad of the -White Lady.” The Allegro section that follows includes the drinking song -and several other popular arias, among these being the ballad of “Robin -Adair” which appears during the hero’s first-act revery and as a concert -piece in the third act. - - - - - Giovanni Bolzoni - - -Giovanni Bolzoni was born in Parma, Italy, on May 14, 1841. He attended -the Parma Conservatory, then achieved recognition as a conductor of -operas in Perugia and Turin. In 1887 he became director of the Liceo -Musicale in Turin. Bolzoni wrote five operas, a symphony, overtures, and -chamber music, but all are now in discard. He died in Turin on February -21, 1919. - -About the only piece of music by Bolzoni to survive is a beguiling -little Minuet which comes from an unidentified string quartet and which -has achieved outstanding popularity in various transcriptions, including -many for salon orchestras with which it is a perennial favorite. - - - - - Carrie Jacobs Bond - - -Carrie Jacobs Bond, whose art songs are among the most popular by an -American, was born in Janesville, Wisconsin, on August 11, 1862. Coming -from a musical family, she was given music instruction early, and made -appearances as a child-prodigy pianist. After marrying Dr. Frank L. -Bond, a physician, she went to live in Chicago where her husband died -suddenly, leaving her destitute. For a while she earned a living by -renting rooms, taking in sewing, and doing other menial jobs. Then she -began thinking of supplementing this meager income with the writing of -songs. To issue these compositions, she formed a modest publishing firm -in New York with funds acquired from her New York song recital; for a -long time her office was in a hall bedroom. Her first publication, just -before the end of the century, was _Seven Songs_, which included “I Love -You Truly” and “Just a Wearyin’ For You,” each of which she subsequently -published as separate pieces. In 1909 she achieved a formidable success -with the famous ballad, “The End of a Perfect Day,” of which more than -five million copies of sheet music were sold within a few years. Her -later songs added further both to her financial security and her -reputation. She was invited to give concerts at the White House, -received awards for achievement in music from various organizations, and -was singled out in 1941 by the Federation of Music Clubs as one of the -two outstanding women in the field of music. She died in Hollywood, -California, on December 28, 1946. - -Carrie Jacobs Bond knew how to write a song that was filled with -sentiment without becoming cloying, that was simple without becoming -ingenuous, and which struck a sympathetic universal chord by virtue of -its mobile and expressive lyricism. Besides “I Love You Truly,” “Just a -Wearyin’ for You” and “The End of a Perfect Day,” her most famous songs -included “His Lullaby,” “Life’s Garden,” “I’ve Done My Work,” and “Roses -Are in Bloom.” Her songs are so popular that they have been often heard -in various transcriptions for salon orchestras and band. - - - - - Alexander Borodin - - -Alexander Borodin was born in St. Petersburg, Russia, on November 11, -1833. He was trained in the sciences, having attended the Academy of -Medicine in St. Petersburg and in 1858 receiving his doctorate in -chemistry. He continued after that to devote himself to scientific -activities, both in and out of Russia. He produced several significant -papers and, from 1859 to 1862, served on an important scientific -mission. - -He had also received some musical training in his boyhood. In 1862 he -began to direct his energies with equal vigor to music as well as to -science. He soon joined four colleagues (Mussorgsky, Balakirev, Cui, and -Rimsky-Korsakov) in forming a national school of composition henceforth -identified as “The Mighty Five” or “The Russian Five.” Like the other -members of this group, Borodin concerned himself with the creation of a -national Russian musical art, well grounded in Russian folk song and -dance, Russian culture and history. In this style he produced three -symphonies, the folk opera _Prince Igor_, two string quartets, and -various operas and instrumental compositions. He differed from the other -members of the “Russian Five” by his partiality to Oriental melodies, -harmonies, rhythms, and instrumental colors, and by his preference for -exotic subjects. Borodin died in St. Petersburg on February 27, 1887. - -_In the Steppes of Central Asia_ (1880) is a popular tone poem for -orchestra, one of several _tableaux vivants_ (“living pictures”) -commissioned from various composers to honor the 25th anniversary of the -reign of Czar Alexander II. Each _tableau vivant_ was intended to -portray an incident from the Russian past, or a picture of a Russian -scene. Borodin prepared his own programmatic note to explain his music; -it appears in the published score. “Over the uniformly sandy steppes of -Central Asia come sounds of a peaceful Russian song. Along with them are -heard the melancholy strains of Oriental melodies, then the stamping of -approaching horses and camels. A caravan, accompanied by Russian -soldiers, traverses the measureless waste. With full trust in its -protective escort, it continues its long journey in a carefree mood. -Onward the caravan moves. The songs of the Russians and those of the -Asiatic natives mingle in common harmony. The refrains curl over the -desert and then die away in the distance.” - -The peaceful Russian song is given by the clarinet, while the -“melancholy strains of Oriental melodies” is an expressive song for -English horn. These two melodies are the core of a composition that is -free in form. - -The _Nocturne_ (_Notturno_) is a haunting, poetic song for strings, the -third movement of the composer’s String Quartet No. 2 in D major (1885). -It is often heard apart from the rest of the work, particularly in -various transcriptions for orchestra, or for violin and piano. In 1953, -furnished with lyrics and adapted into a popular song by Robert Wright -and George “Chet” Forrest, it was heard in the Broadway musical _Kismet_ -as “This Is My Beloved” and became an outstanding hit. - -The _Polovtsian Dances_ come from _Prince Igor_, a folk opera with -libretto by Vladimir Stassov based on an old Russian chronicle. It was -introduced at the Imperial Opera in St. Petersburg in 1890. The setting -is 12th-century Central Asia where a Tartar race, known as the Polovtzi, -capture Prince Igor and his son, Vladimir. Though captives, Prince Igor -and his son are regaled by the leader of the Tartars with a lavish feast -and Oriental dances. It is at this point in the opera (Act 2) that the -popular _Polovtsian Dances_ appear. They are exciting aural experiences -because of their primitive rhythms, exotic Oriental melodies, and -flaming instrumental colors. One of the dances is a poignant melody for -flute and oboe; another is a dance of savage men in which the main -melody in clarinet is set against a sharply accented phrase of four -descending notes; a third is barbaric, a syncopated melody for strings -accompanied by crash of cymbals; a fourth is a haunting Oriental song -divided by violins and cellos. This last melody was used by Robert -Wright and George “Chet” Forrest for their popular song hit of 1953, -“Stranger in Paradise,” in their Broadway musical, _Kismet_. The -concluding dance is again in a savage manner. A passionate melody is -begun by the woodwind and carried on by the strings, while receiving a -vigorous horn accompaniment. - - - - - Felix Borowski - - -Felix Borowski was born in Burton, England, on March 10, 1872. He -received his musical training at the Cologne Conservatory and with -private teachers in England. In 1897 he settled in the United States -where he later became a citizen. From 1897 to 1916 he was professor of -harmony and counterpoint at Chicago Musical College, and from 1916 to -1925 its president. His career in music criticism began in 1905. From -1907 to 1917 he was music critic of the Chicago _Record-Herald_ and from -1942 until his death, of the Chicago _Sun_. He was also program -annotator for the concerts of the Chicago Symphony from 1908 on, some of -these annotations being published in the books, _Standard Concert Guide_ -and _Encyclopedia of the Symphony_. Borowski died in Chicago, Illinois, -on September 6, 1956. - -As a composer, Borowski produced three symphonies, three string -quartets, several ballet-pantomimes, various tone poems and other -instrumental compositions. His major works are now rarely given, but his -smaller salon pieces have retained their popularity through the years. -The best of these are the _Adoration_, for violin and piano, the _La -Coquette_ and _Valsette_ for piano, all transcribed for orchestra. All -three pieces are in simple song structure and unashamedly Romantic in -their lyricism and emotional content. The uninhibited sentimentality of -_Adoration_ has made that piece a particular favorite. - - - - - Johannes Brahms - - -Johannes Brahms was born in Hamburg, Germany, on May 7, 1833. He -received instruction in music from his father, Otto Cossel, and Eduard -Marxsen. At fourteen he gave his first public concert as pianist, in -which he introduced one of his own compositions. In 1853 he toured with -the Hungarian violinist, Eduard Reményi, as his accompanist. During this -period he met and aroused the interest of such notable musicians as -Joachim, Liszt, and Schumann. The last of these was one of the first to -give Brahms public recognition, through a glowing article in the _Neue -Zeitschrift fuer Musik_. After a considerable amount of travel in -Germany and Austria, and after holding various musical positions, Brahms -established himself permanently in Vienna in 1863. The promise he had -shown in his early piano and chamber music became fully realized with -his first piano concerto in 1857, the _German Requiem_ written between -1857 and 1868, and the first symphony completed in 1876. In his later -orchestral, piano, and chamber music he assumed a position of first -importance in the German Romantic movement, the spokesman for absolute -music, the genius who succeeded in combining respect for classical -discipline and tradition with the Romanticist’s bent for emotion, -poetry, and flexible thought. Brahms died in Vienna on April 3, 1897. - -The supreme craftsmanship, mature thought, and profound feelings of -Brahms’ music do not lend themselves to popular consumption. -Occasionally, though not frequently, he chose to give voice to a lighter -mood, as he did in his ever-popular _Hungarian Dances_. In such music, -as in his more ambitious works, he is always the master of form and -style, and a powerful and inventive creator. - -The _Cradle Song_ (_Wiegenlied_) is Brahms’ universally loved art song, -one of the most famous lullabies ever written. It is the fourth in a -collection of five songs, op. 49 (1868). Its lyric is a folk poem -(“_Guten Abend, Gute Nacht_”). In its many and varied transcriptions, -this lullaby has become an instrumental favorite. - -The _Hungarian Dances_ was originally published in 1869 in two volumes -for four-hand piano. The first book contained dances Nos. 1 through 5, -while the second book had Nos. 6 through 10. Brahms took special pains -to point out that these melodies were not his own, but were adaptations. -On the title page there appeared the phrase “arranged for the piano.” -Brahms further refused to place an opus number to his publication as -another indication that this was not original music; and in a letter to -his publisher, Simrock, he explained he was offering this music “as -genuine gypsy children which I did not beget but merely brought up with -bread and milk.” - -Despite Brahms’ open candor about the origin of these melodies, a storm -of protest was sounded by many newspapers and musicians accusing Brahms -of plagiarism. Fortunately, the general public refused to be influenced -by this unjust accusation. The two volumes of _Hungarian Dances_ were a -formidable success, the greatest enjoyed by Brahms up to that time. - -In 1880, Brahms issued two more volumes of _Hungarian Dances_, still for -four-hand piano. Book 3 had dances Nos. 11 through 16, and Book 4, Nos. -17 through 21. This time many of the melodies were original with Brahms, -even if modeled after the style and idiosyncrasies of actual Hungarian -folk dances and gypsy melodies. - -The _Hungarian Dances_ are most popular in transcriptions for orchestra. -Brahms himself transcribed Dances Nos. 1, 3, and 10; Andreas Hellen, -Nos. 2, 4, and 7; Dvořák, Nos. 7 through 21; and Albert Parlow, the -rest. Walter Goehr and Leopold Stokowski also made transcriptions of -several of these dances for orchestra. In addition, Brahms adapted Book -1 for piano solo, and Joachim all the dances for violin and piano. - -The dances range from sentimental to passionate moods. They abound with -abrupt contrasts of feeling and dynamics; they are often vital with -vertiginous rhythms and changing meters. These gypsy melodies, both the -gay and the sad, warm the heart like Tokay wine; the pulse of the rhythm -is similarly intoxicating. As Walter Niemann wrote of these dances: -“They are pure nature music, full of unfettered, vagrant, roving spirit, -and a chaotic ferment, drawn straight from the deepest well springs of -music by children of Nature. It seems impossible to imprison them in the -bonds of measure, time, and rhythm, to convert their enchantingly -refreshing uncivilized character, their wild freedom, their audacious -contempt for all order into a civilized moderation and order.” - -Yet Brahms was able to discipline this music with modern techniques -without robbing it either of its personality or popular appeal. “He has -maintained,” continues Niemann, “and preserved the essential, individual -genuine features of gypsy music in his musical idiom: the dances sound -like original Hungarian folk music ... and for this reason they delight -and enchant everybody: the amateur by their natural quality, the -specialist by their art.” - -The most famous of these dances is the fifth in F-sharp minor, its -passionate, uninhibited dance melody released at once by the strings -against a strong rhythm. - -The following are some other popular dances. - -No. 1, in G minor. A slow and languorous dance unfolds in strings, and -then is contrasted by a slight, tripping theme in woodwind; a second -languorous dance melody follows in the strings. - -No. 6 in D-flat major. A slow syncopated melody begins sensually but -soon gains in tempo and volume; a second arresting dance tune is then -offered by strings against strong chords in the rest of the orchestra. - -No. 7 in A major. This dance opens with a vivacious melody in strings, -but through most of the piece a comparatively restrained mood is -maintained. - -No. 12 in D minor. The first dance melody is presented in a halting -rhythm by the woodwind against decorative figures in the strings. This -is followed by two other dance tunes, the first in strings with -trimmings in the woodwind, and the second in full orchestra. - -No. 19 in B minor and No. 21 in E minor. Both are fleet and graceful -both in melody and rhythm. - -The _Waltz in A-flat major_, a graceful dance which is given without any -introduction or coda, originated as a piece for piano duet: the -fifteenth of a set of sixteen such waltzes op. 39 (1865). All of Brahms’ -waltzes reveal their Viennese identity in their charm and lightness of -heart. Some are derivative from the waltzes of Johann Strauss II, but -the one in A-major is more in the character of a Schubert Laendler than -a Strauss waltz, though it does boast more delicacy and refinement than -we usually find in peasant dances. David Hochstein’s transcription for -violin and piano is in the concert violin repertory. - - - - - Charles Wakefield Cadman - - -Charles Wakefield Cadman was born in Johnstown, Pennsylvania, on -December 24, 1881. As a boy he played the organ in a church near -Pittsburgh, and wrote a march that was published. His main music study -took place with private teachers: Leo Oehmler, Luigi von Kunits, and -Emil Paur. From 1908 to 1910 he was the music critic of the Pittsburgh -_Dispatch_. Meanwhile, a meeting in 1902 with the lyric writer Nellie -Richmond Eberhart, turned him to the writing of songs in which he -achieved his initial outstanding successes as composer. Some of these -were inspired by the American Indian. Later researches in the field of -American-Indian ceremonials and music led him to write his opera -_Shanewis_, produced by the Metropolitan Opera in 1918, as well as -several significant instrumental works including the _Thunderbird Suite_ -and _To a Vanishing Race_. From 1917 until his death he lived in -California where he wrote several major orchestral and chamber-music -works, but none in the American-Indian idiom with which he became -famous. He died in Los Angeles on December 30, 1946. - -The _American Suite_, for strings (1938), is an engaging piece of music -in which Cadman makes use of several different American folk idioms. In -the first movement he borrows his melodies from the tribal music of -Omaha Indians. In the second movement we hear Negro folk tunes -indigenous to South Carolina. And in the third movement, two old fiddle -tunes are effectively employed, “Sugar in the Gourd,” and -“Hoop-de-den-do.” - -“At Dawning” is one of Cadman’s two most famous songs. It sold millions -of copies of sheet music and records, and has been translated into many -languages. Though originally published in 1906, it reposed forgotten and -unknown on the shelves of the publisher (Oliver Ditson) until John -McCormack sang it at one of his recitals in 1909 and was given an -ovation. “At Dawning” was transcribed for violin and piano by Fritz -Kreisler. - -_Dark Dancers of Mardi Gras_, for orchestra with piano, (1933), is one -of Cadman’s most popular symphonic compositions. The composer explains: -“The work takes its name from the Negro side of the Mardi Gras, though -no Negro themes are used. The Negroes of New Orleans have a Mardi Gras -of their own. The fantasy is supposed to reflect the fantastic, the -grotesque, the bizarre spirit of the carnival. The original theme goes -into a major key in the central section, and might represent the -romantic feeling of the King and Queen, and the Court in carnival -fashion.” - -“From the Land of the Sky-Blue Water” is the second of Cadman’s two -outstandingly successful songs. It is one of four songs with lyrics by -Nellie Richmond Eberhart appearing in _American-Indian Songs_, op. 45, a -cycle which was published in Boston in 1909 and in the same year -received a prize in a contest sponsored by the Carnegie Institute. This -song was first swept to national fame by the prima donna, Lillian -Nordica, in her song recitals. It soon entered the repertory of -virtually every leading concert singer in America. Fritz Kreisler -transcribed it for violin and piano. - - - - - Lucien Caillet - - -Lucien Caillet was born in Dijon, France on May 22, 1891. After -attending the Dijon Conservatory he came to the United States in 1918 -and settled first in Pennsylvania, and later in California. He has -distinguished himself by his skilful symphonic transcriptions of -compositions by Johann Sebastian Bach, Mussorgsky, and others. In his -own works he frequently makes skilful use, and astute adaptations, of -some famous pieces of popular music. - -The _Fantasia and Fugue on Oh, Susanna!_ (1942) for orchestra has for -its point of departure the famous song of Stephen Foster, “Oh, Susanna!” -Caillet’s composition begins with a preface: a tutti for orchestra which -quotes the melody only partly. This leads into a fantasia section -featuring the solo string quartet and presenting a quiet version of the -melody. A fugue follows, the germ of the “Susanna” melody found in first -and second violins in unison. - -In _Pop Goes the Weasel_ for orchestra (1938) Caillet brings the full -resources of his harmonic and instrumental skill to a famous American -folk tune. “Pop Goes the Weasel” is a Western two-part melody, long a -favorite of country fiddlers since before the Civil War. After -presenting this melody, Caillet subjects it to intriguing variations, -sometimes with comic effect. - - - - - Alfredo Catalani - - -Alfredo Catalani was born in Lucca, Italy, on June 19, 1854. After -receiving preliminary instruction in music from his father he was -allowed to enter the Paris Conservatory without examinations. He -concluded his music study at the Milan Conservatory, where in 1886 he -succeeded Ponchielli as professor of composition. In 1880 he had his -first opera, _Elda_, produced in Turin. He continued to confine himself -to the stage, his most successful operas being _Loreley_ in 1890, and -_La Wally_ in 1892. In his own time, and shortly thereafter, his operas -were outstandingly successful in Italy. Today they are remembered almost -exclusively because of some orchestral excerpts. Catalani died in Milan -on August 7, 1893. - -The most popular episodes from Catalini’s two most famous operas are -dances often performed by salon orchestras. “The Dance of the Waves” -(_Danza delle ondine_) and “The Waltz of the Flowers” (_Valzer_ _dei -fiori_) appear in _Loreley_, an opera introduced in Turin in 1890. In -this opera the action takes place on the banks of the Rhine. Walter, -about to marry Anna, is loved by the orphan girl, Loreley. When Loreley -learns she is about to lose her beloved, she calls upon the nymphs and -the sprites of the Rhine to help her; throwing herself into the river, -she becomes one of them. During the wedding ceremonies, Loreley appears -and entices Walter away from his bride. Anna dies of grief; and Walter -meets his doom in the Rhine, to which he is helplessly drawn through -enticements by the sprites and by Loreley. - -“The Dance of the Waves” takes place in the last act. After Anna’s -funeral procession passes by, Walter comes to the edge of the Rhine, -grief-stricken. Out of the waters come the sprites to dance seductively -before Walter and to beckon him on into the river. “The Waltz of the -Flowers” is a graceful, even gentle, dance performed in the second act, -during the wedding ceremonies of Walter and Anna. - -“The Waltz of the Kiss” (_Valzer del bacio_) is a segment from _La -Wally_, Catalani’s most famous opera, which was such a particular -favorite of Arturo Toscanini that not only did he conduct it frequently -in Italy but he also named his son after its heroine. _La Wally_ was -introduced at La Scala in Milan in 1892. The text, by Luigi Illica, was -based on a novel by Wilhelmine von Hillern. The setting is 19th century -Switzerland where Wally and Hagenbach are in love, and meet their death -in an avalanche; all the while Wally is being sought after by Gellner, -whom she detests. The “Waltz of the Kiss” is a caressing piece of music -from the second act which accompanies a dance by Wally and Hagenbach, in -which they first discover they are in love and yield to passionate -kissing while the hateful Gellner watches. - - - - - Otto Cesana - - -Otto Cesana was born in Brescia, Italy, on July 7, 1899. He came to the -United States in boyhood and studied music with private teachers. After -working in Hollywood, where he wrote a considerable amount of music for -motion pictures, he came to New York to become arranger for Radio City -Music Hall, and for several important radio programs. In his own music -he has been particularly successful in using within large forms popular -American elements, at times folk idioms. In a more serious attitude he -has produced half a dozen symphonies and various concertos for solo -instruments and orchestra. - -_Negro Heaven_ for orchestra is one of his more popular attempts to use -an American folk idiom within a symphonic mold. He explains: “Here -follows a musical interpretation of the fluctuating moods that seize the -colored man—now gay, now sad, always, however migrating towards -carefreeness and abandon, as exemplified in the return of the first -subject, which is soon followed by one of those superlative moods, a -Negro in the throes of nostalgia.” - -_Swing Septet_ (1942), for string orchestra, guitar and percussion is in -three short movements, the first in sonata form, and the last two in -three-part song form. “The chief purpose,” says the composer, “is to -give the string players an opportunity to compete with the ad lib boys -who, while they improvise the wildest phrases imaginable, are ‘floored’ -whenever an approximation of that material is set down on paper.” - - - - - Emmanuel Chabrier - - -Emmanuel Chabrier was born in Ambert, France, on January 18, 1841. He -was trained as a lawyer; from 1862 to 1880 he was employed at the -Ministry of the Interior in Paris. But he had also received a sound -musical training with private teachers. Composition began for him in -earnest in the 1870’s, with two of his operettas receiving performances -in Paris between 1877 and 1879. In 1879 he made a pilgrimage to Germany -to hear Wagner’s music dramas whose impact upon him proved so -overwhelming that he finally decided to give up his government work and -concentrate on music. Returning to Paris in 1880 he published the -_Pièces pittoresques_ for piano. Following a visit to Spain he produced -in 1883 his first major work for orchestra and realized with it his -first major success as a composer—the rhapsody _España_. He also wrote -two operas, _Gwendoline_ produced in 1886, and _Le Roi malgré lui_ -introduced one year later. Some of his best writing was for the piano -and included such distinguished works as the _Habanera_, _Bourrée -fantasque_, and _Trois valses romantiques_. Chabrier became a victim of -paralysis in the last two years of his life, and just before his death -he began losing his sanity. He died in Paris on September 13, 1894. - -While in his operas he revealed his profound indebtedness to the -Wagnerian idiom, Chabrier was at his best either in music that -interpreted Spain or to which he brought a natural bent for laughter, -gaiety, and the grotesque. - -_España_, an orchestral rhapsody, is his most famous composition, as -popular in the semi-classical literature as it is in the symphonic -repertory. Chabrier wrote it in 1883 after a Spanish holiday, and its -première in Paris on November 4 of that year was a sensation. This -rhapsody is built from three principal subjects, two borrowed from -Spanish folk melodies, and one Chabrier’s own. A nervous rhythm in -plucked strings leads to a strongly accented malagueña, first heard in -the wind instrument. Different sections take it over before soaring -strings arrive with a lyrical jota melody. Chabrier’s own theme, a -stately subject for trombones, is then heard, set against the background -of the malagueña melody. The French waltz-king, Waldteufel, used -Chabrier’s themes from _España_ for one of his most famous waltzes, also -entitled _España_. - -The _Joyeuse marche_ (1888) reveals the composer in one of his satirical -moods. Chabrier wrote it at first as a piano composition to be used for -a sight-reading class at the Bordeaux Conservatory. It proved too -difficult to fulfil this function, and Chabrier decided to orchestrate -it, calling it _Joyeuse marche_ and presenting it as one of his more -serious endeavors. The music is in a burlesque style, believed to be a -musical description of drunken musicians staggering home after a festive -evening. The work opens with an orchestral flourish, following which the -oboe offers a capricious subject. This gaiety is maintained in the -lively second theme for the violins. - -The _Suite pastorale_ (1880) is an orchestral adaptation of four of the -ten piano pieces in _Pièces pittoresques_. In the first, “_Idylle_,” a -beautiful melody is accompanied by plucked strings. The second, “_Danse -villageoise_” is a country dance in which the lively dance tune is first -heard in clarinets. The third piece, “_Sous bois_” has a pastoral -character, while the concluding number, “_Scherzo-Valse_” is a -protracted piece of pulsating music. - - - - - George Chadwick - - -George Whitefield Chadwick was born in Lowell, Massachusetts, on -November 13, 1854. Most of his music study took place in Germany. When -he was being graduated from the Leipzig Conservatory in 1879, his -overture _Rip Van Winkle_ received its première performance. He then -studied organ and composition with Rheinberger in Munich. After -returning to the United States in 1880, he became a teacher of harmony -and composition at the New England Conservatory, rising to the post of -director in 1897. He was also active for several years as director of -the Worcester Music Festival. He died in Boston on April 4, 1931. - -Chadwick was a prolific composer of symphonies, concertos, and various -other orchestral and choral works. He never freed himself from the -influence of German Romanticism, with which he had been infected during -his student days. He wrote with a sure craftsmanship, usually filling -his classical structures with winning melodies and often lush harmonies -and orchestration. - -Two compositions for orchestra are of particular popular appeal: -_Jubilee_ and _Noël_. Both are movements from the _Symphonic Sketches_ -(1895) which received its world première in Boston in 1908. (The other -two movements, the third and fourth, are “Hobgoblin” and “A Vagrom -Ballad.”) _Jubilee_ is a vigorous tonal picture of a carnival. A -spirited melody is loudly presented by the full orchestra and is -elaborated upon. A second virile subject is then presented by bass -clarinet, bassoons, violas and cellos. Following a lively return of the -opening carnival theme, the woodwind and horns appear with a lyrical -subject. The music then gains in vitality until it comes to a rousing -conclusion with a coda built from the carnival motive. - -_Noël_ has been described as “a little Christmas song.” It is a haunting -orchestral nocturne in which a serene Yuletide melody is offered by the -English horn. - - - - - Cécile Chaminade - - -Cécile Chaminade was born in Paris on August 8, 1857. Music study took -place in Paris with Marsick and Godard among others. In 1875 she -launched her career as concert pianist by touring Europe in programs -that often included her own compositions. At her American debut, on -November 7, 1908, she appeared as soloist with the Philadelphia -Orchestra in a performance of her own _Concerstueck_. She wrote many -other ambitious works including a symphony, two orchestral suites, and -ballets. She died in Monte Carlo on April 18, 1944. - -Though Chaminade staked her future as composer on her larger, serious -works for orchestra and the ballet stage, she is today remembered almost -exclusively for her slight morsels of the salon variety. Most of these -originated as compositions for the piano; her piano music numbers about -two hundred works including arabesques, etudes, impromptus, -valse-caprices, and so forth. _Automne_, a sentimental melody, and -_Sérénade espagnole_, in a pseudo-Spanish style, come from her piano -music: _Automne_ from the _Concert Etudes_, op. 35. It has been -transcribed for popular orchestra by Melachrino. _Sérénade espagnole_ -has been adapted for violin and piano by Fritz Kreisler. Chaminade’s -most popular piece, _Scarf Dance_, comes from a ballet, _Callirhoë_, -produced in Marseilles in 1888. It is often heard in its original -orchestral version and in various transcriptions for solo piano, and -solo instrument and piano. - - - - - Gustave Charpentier - - -Gustave Charpentier was born in Dieuze, France, on June 25, 1860. He -received his musical training in the Conservatories in Lille and Paris, -winning the Prix de Rome in 1881. During his stay in Rome he wrote -_Impressions of Italy_ for orchestra, with which he realized his first -success upon its première performance in Paris in 1892. Charpentier’s -fame, however, rests securely on a single opera, _Louise_, a triumph -when introduced in Paris on February 2, 1900, and since become -recognized as one of the major achievements of the French lyric theater. -A sequel, _Julien_ (1913), was a failure. From 1913 on, Charpentier -wrote almost nothing more, living a Bohemian existence in the Montmartre -section of Paris where he died on February 18, 1956. - -_Impressions of Italy_, a suite for orchestra (1890) is a nostalgic -picture of five Italian scenes. The first movement is “Serenade,” in -which is described a picture of young men emerging from a bistro at -midnight, singing love songs under the windows of their girl friends. -“At the Fountain” depicts girls parading with dignified steps near a -waterfall by a ravine; from the distance come the sounds of a shepherd’s -tune. “On Muleback” tells of evening as it descends on the Sabine -Mountains. The mules trot along, and there rises the song of the -muleteer followed by the sweet love song of girls riding in their carts -to the village. “On the Heights” presents noontime on the heights -overlooking Sorrento. All is peace, though the toll of bells can be -heard from a distance. The finale is a musical tribute to a great city, -“Naples.” In this music we see the crowds of the city, the parading -bands. A tarantella is being danced in the streets. The strains of a -sentimental folk song drift in from the quay. Evening falls, and -fireworks electrify the sky. - - - - - Frédéric Chopin - - -François Frédéric Chopin, genius of music for the piano, was born in -Zelazowa Wola, Poland, on February 22, 1810. He began to study the piano -at six. One year later he made his first public appearance and wrote his -first piece of music. His later music study took place privately with -Joseph Elsner and at the Warsaw Conservatory from which he was graduated -with honors in 1829. In that year he visited Vienna where he gave two -successful concerts of his works. He left Poland for good in 1830, -settling permanently in Paris a year after that. He soon became one of -the most highly regarded musicians in France, even though he gave only a -few public concerts. In 1837 he first met the writer, George Sand, with -whom he was involved emotionally for about a decade, and under whose -influence he composed some of his greatest music. Always sensitive in -physique and of poor health, Chopin suffered physically most of his -adult life. He died in Paris on October 17, 1849 and was buried in Père -Lachaise. - -Chopin produced 169 compositions in all. Practically all of them are for -the piano, and most within the smaller forms. In writing for the piano -he was an innovator who helped change the destiny of piano style and -technique. He is often described as the poet of the keyboard, by virtue -of his sensitive and deeply affecting lyricism (usually beautifully -ornamented), his always exquisite workmanship, and his profound emotion. -Many of his works are nationally Polish in expression. - -The Etude in E major, op. 10, no. 3 (1833) is one of two of Chopin’s -most famous works in the etude form. While an etude is essentially a -technical exercise, Chopin produced twenty-seven pieces for piano which, -though they still probe various technical problems, are nevertheless so -filled with poetic thought and musical imagination that they belong in -the realm of great art and must be numbered with his most significant -compositions. That in E major is one of his most beautiful melodies, a -soulful song rather than a technical exercise; Chopin himself regarded -this as one of his most inspired pages. One of the many transcriptions -of this composition existing is for the voice. - -The so-called _Revolutionary Etude_—C minor, op. 10, no. 12 (1833)—was -inspired by the tidings received by Chopin while he was traveling from -Vienna to Paris that Warsaw had fallen to the Russians. His first -impulse was to rush back home and join in the battle. He was dissuaded -from doing this by his family, and instead he sublimated his intense -patriotic feelings by writing a fiery piece of national music, full of -the spirit of defiance. Since then this etude has become as inextricably -associated with Poland and its national aspirations and ideals as, for -example, is Sibelius’ _Finlandia_ with Finland. This etude was -repeatedly played over the Polish radio when Nazi Germany first attacked -Poland in 1939, a continual inspiration to the defenders of Warsaw; it -was the last piece of music played over the Polish radio before the -Germans took over. - -In the Fantaisie-Impromptu in C-sharp minor, op. 66 (1834), Chopin makes -a structural compromise between the forms of the fantasy and the -impromptu. In doing so, he produced one of his best known melodies, a -melody that appears after a fast bravura opening. This is a flowing -sentimental song that was used for the popular American tune, “I’m -Always Chasing Rainbows.” - -The _Funeral March_ is surely the most celebrated funeral music ever -written. It is found as the third movement of the Sonata No. 2 in B-flat -minor, for piano, op. 35 (1839). In various arrangements, especially for -orchestra, for band and for organ, this music has accompanied the dead -to their final resting place in every part of the civilized world. In -three-part form, the first section consists of a slow, mournful march. -In the middle trio a more reflective mood is projected, almost like a -kind of gentle recollection of the dead and the good he had performed. -The opening mournful tread returns after this trio to bring the -composition to its conclusion. - -The fifty-five Mazurkas are among the most national of Chopin’s -compositions, those in which he most fervently expressed his strong -feelings about his native land. The Mazurka is a Polish dance in ¾ time, -somewhat slower in tempo than the waltz, and highly varied in rhythm and -emotion. In Chopin’s Mazurkas we find, on the one hand, brief mood -pictures, and on the other, a fiery romantic temperament which expresses -itself in rapid and at times abrupt alternations of feeling from the gay -to the melancholy, from the energetic to the pensive. One of the most -beautiful of the Mazurkas is that in A minor, op. 17, no. 4 (1833), of -which Stokowski made an excellent orchestral arrangement. One of the -most dramatic is that in B-flat minor, op. 24, no. 4 (1835) orchestrated -by Stokowski, Auber, among others. Two other Chopin Mazurkas that have -been orchestrated are found in _Les Sylphides_ (see below): that in D -major, op. 33, no. 2 (1838) and C major, op. 67, no. 3 (1835). - -Chopin wrote nineteen Nocturnes, each one a slow, poetic and atmospheric -piece of “night music.” “Chopin loved the night,” wrote James Gibbons -Huneker, “and its soft mysteries, and his nocturnes are true night -pieces, some with agitated, remorseful countenance, others seen in -profile only, while many others are whisperings at the dusk.” The most -celebrated of Chopin’s Nocturnes is that in E-flat major, op. 9, no. 2 -(1833), truly a “whispering at the dusk.” This is a beautiful, romantic -song that begins without preliminaries. As this spacious melody unfolds, -it acquires even new facets of beauty through the most exquisite -embellishments. Among the many transcriptions that have become popular, -besides those for orchestra, is one for violin and piano by Pablo de -Sarasate, and another for cello and piano by David Popper. - -There are two Chopin Polonaises that are particularly favored by -audiences everywhere. One is the _Heroic_, the other the _Military_. -Chopin was especially successful in endowing artistic dimensions and -significance to this old courtly folk dance which is technically -characterized by its syncopations and accents on the half beat. He wrote -twelve for piano. The _Heroic_, in A-flat major, op. 53, no. 6 (1842) is -fiery music, its first robust theme being the reason why the entire work -has been designated as “heroic.” This main melody was borrowed for the -American popular song, “Till the End of Time,” a big hit in 1945. -(Sigmund Spaeth has pointed up the interesting fact that while “Till the -End of Time” was at the head of the “Hit Parade” in 1945, the polonaise -itself from which this song was derived was in fifteenth place, -“competing with all the light and serious music of the world.” And one -of the reasons why the Polonaise suddenly became so popular was because -it was featured prominently in the screen biography of Chopin released -that year, _A Song to Remember_.) The _Military Polonaise_, in A major, -op. 40, no. 1 (1839) is one of Chopin’s most commanding pieces of music. -Both principal themes have a pronounced military character, though the -second is somewhat more subdued and lyrical than the first. Glazunov’s -transcription for orchestra, for the ballet _Chopiniana_, is one of -several adaptations. - -Of Chopin’s twenty-six Preludes, two should be singled out for their -enormous popular appeal. Chopin’s Preludes are brief compositions -suggesting a mood or picture, but at the end leaving the impression with -the listener that much more could be spoken on that subject. These -Preludes, as Robert Schumann wrote, “are sketches, the beginnings of -studies, or, if you will, ruins; eagles’ pinions, wild and motley and -pell-mell. But in every piece we find, in his own pearly handwriting, -‘this is by Frederic Chopin’; even in his pauses we recognize him by his -agitated breathing.” There are twenty-four pieces in op. 28 (1839), each -one in one of the keys of the major or minor scale, beginning with C -major and A minor, and concluding with F major and D minor. The most -popular is that in A major, one of the shortest in the group, a -sixteen-bar melody in two short sentences; this is not only one of -Chopin’s simplest lyrical thoughts, but also one of his most eloquent. -Among the orchestral transcriptions is the one found in the ballet _Les -Sylphides_ (see below). - -The second of Chopin’s most popular Preludes is the so-called -_Raindrop_, in D-flat major, op. 28, no. 15. Some of the depression -experienced by Chopin during a miserable stay in Majorca with George -Sand—where he was plagued by illness, bad weather, and the antagonism -and suspicions of his neighbors—can here be found. The melody is a -somber reflection, through which is interspersed a repetitious figure -that seems to suggest the rhythm of falling raindrops, the reason why -this piece acquired its familiar nickname. The belief that Chopin was -inspired to write this music by listening to the gentle sound of falling -rain on the roof of his Majorca house is apocryphal. - -_Les Sylphides_, one of the most popular works in the classic ballet -repertory, makes extensive use of some of Chopin’s best-known -compositions for the piano, orchestrated by Stravinsky, Alexander -Tcherepnine, Glazunov, and Liadov. With choreography by Michel Fokine it -was first presented by Diaghilev’s Ballet Russe de Monte Carlo in Paris -on June 2, 1909 with Pavlova, Karsavina, and Nijinsky as principal -dancers. There is no story line to this ballet. In place of characters -there are only dancers dressed in long white dresses, and a danseur in -black and white velvet. In place of an actual plot there is only -atmosphere and mood. A subdued, introspective overture (Prelude in A -major, op. 28, no. 7) leads to the rise of the curtain on an ancient -ruin within a secluded wood. Girls in white are transfixed in a tableau; -then they begin dancing to the strains of the Nocturne in A-flat, op. -32, no. 2. After that come various dances to the following Chopin -compositions: Waltz in G-flat, op. 70, no. 1; Mazurka in C major, op. -67, no. 3; Mazurka in D major, op. 33, no. 2; a repetition of the -opening A major Prelude; Waltz in A-flat, op. 69, no. 1, the _L’adieu_; -a repetition of the opening A major Prelude; Waltz in C-sharp minor, op. -64, no. 2; Waltz in E-flat, op. 18, the _Grande valse brillante_. - -Chopin’s fourteen waltzes are the last word in aristocratic elegance and -refinement of style; they are abundant with the most beguiling lyrical -ideas. Perhaps the best loved of all these waltzes is that in C-sharp -minor, op. 64, no. 2 (1847). The waltz opens without preliminaries with -music of courtly grace; two other equally appealing subjects follow. The -so-called _Minute Waltz_—in D-flat major, op. 64, no. 1—is one of the -shortest of Chopin’s compositions for the piano. The term “minute” does -not refer to the sixty seconds supposedly required for its performance -(actually that performance takes less than a minute) but to the French -term, “_minute_” meaning “small.” - - - - - Eric Coates - - -Eric Coates, one of England’s most highly esteemed and widely performed -composers of light music, was born in Hucknall, England, on August 27, -1886. While attending the Royal Academy of Music in London, where he -specialized in the viola under Lionel Tertis, he supported himself by -playing in several of London’s theater orchestras. Upon graduating from -the Academy, Coates became violist with several string quartets, -including the Hambourg String Quartet with which he toured South Africa -in 1908. From 1912 to 1918 he was first violist of the Queen’s Hall -Orchestra. Meanwhile, in 1911 he realized his first success as composer -of light music when his _Miniature Suite_ was introduced at a Promenade -Concert; after 1920 he devoted himself almost completely to composition, -producing ballets, rhapsodies, suites, marches, and so forth, that were -heard around the world. In 1930, his valse-serenade _Sleepy Lagoon_ -achieved a phenomenal success in London; with lyrics by Jack Lawrence -and in a popular-song arrangement by Dr. Albert Sirmay, it made in 1942 -seventeen appearances on the American “Hit Parade,” twice in first -place. Coates appeared as guest conductor throughout the music world, -visiting the United States in 1946 and 1955, on both occasions -conducting concerts of his music over the radio networks. In 1957 he -became president of the British Light Music Association. He died in -Chichester, England, on December 21, 1957. - -In _Four Centuries_, a suite for orchestra (1941), Coates created a -four-movement work, each of which was in a musical style of a different -century. The first movement is a fugue, the second pavane, the third -Valse, and the last is called “Jazz.” - -_London Suite_ (1932), for orchestra, is one of his best known works -inspired by the city dearest to his heart. As he himself wrote: “My best -inspiration is to walk down a London street and a tune soon comes to me. -When I can think of nothing I walk down Harley Street and there is a -lamp post. Every time I catch sight of it a tune comes to my mind. That -lamp post has been my inspiration for years.” The most celebrated -movement of his suite is the stirring “Knightsbridge March,” one of the -most popular marches by an Englishman, perhaps second only in universal -appeal to Elgar’s _Pomp and Circumstance_. It has been used as the theme -music for a program on the BBC, and when first used the radio station -was swamped with over twenty thousand letters asking for its -identification. Two other highly familiar movements from this suite are -“Westminster” and “Covent Garden.” The former is a “meditation,” -introduced by the chiming of bells of the Westminster clock and followed -by tunes both gay and pensive suggesting different moods of people -strolling in London streets below. The second is a tarantella, a lively -dance recalling the fact that the famous opera house, Covent Garden, has -also distinguished itself for the performances of comic and light -operas. - -_The Three Bears_ is a realistic tonal picture of the famous fairy tale -of Goldilocks and the three bears. An expressive _Andante_ section is -intended to depict the query of the three bears, “Who’s been sitting in -my chair?” In the gentle waltz section that follows, Goldilocks goes to -sleep in the small bear’s bed. A vigorous fast section demonstrates how -the three bears discover Goldilocks and chase her wildly. They finally -give up the pursuit, go home in good humor, while Goldilocks returns to -her grandmother to tell her of her adventure that day. - -In _The Three Elizabeths_ (1944), Coates provides sensitive lyrical -portraits of three English queens, Queen Elizabeth I, the Virgin Queen; -Elizabeth, the Queen mother, widow of King George VI; and Elizabeth II. - - - - - Peter Cornelius - - -Peter Cornelius was born in Mayence, Germany, on December 24, 1824. -After studying theory with Dehn in Berlin from 1845 to 1852 he became a -passionate advocate of the “music of the future” as promulgated by Liszt -and Wagner. It was Liszt who introduced Cornelius’ comic opera, _The -Barber of Bagdad_, in Weimar in 1858; Liszt was finally forced to resign -his conducting post in Weimar because of the hostility of the audiences -to this masterwork. From 1865 on Cornelius lived in Munich where he was -reader to King Ludwig II and professor of harmony at the Royal -Conservatory. He died in Mayence on October 26, 1874. He was a composer -of operas and songs, but is today remembered almost exclusively for _The -Barber of Bagdad_, one of the most delightful comic operas in the German -repertory. - -_The Barber of Bagdad_ (_Der Barbier von Bagdad_)—whose world première -took place in Weimar on December 15, 1858, Liszt conducting—has an -amusing text written by the composer himself. The plot concerns a -rendezvous between Nureddin and Margiana, daughter of the Caliph; -Nureddin’s friend, the barber of Bagdad, stands guard. This amatory -adventure is brightened by a series of episodes and accidents in which -Nureddin (mistaking his friend for the Caliph) seeks refuge in a chest -in which he almost suffocates. All turns out well in the end. The Caliph -offers his parental blessings to Nureddin and Margiana. - -The overture is famous. Its main melody is a chromatic Oriental subject -which represents the barber. Another significant episode is the theme -with which the overture opens: a tender melody for woodwind and muted -strings. These two ideas, and several subsidiary ones derived from the -opera score, are developed with considerable good humor and merriment -until a dramatic conclusion is realized in the coda. - - - - - Noel Coward - - -Noel Coward, one of England’s most brilliant and versatile men of the -theater in the 20th century, was born in Teddington, on December 16, -1899. He made his stage debut in 1911 in a fairy play, and for the next -few years appeared regularly in various other productions. His career as -performer was interrupted by military service during World War I. After -the war he decided upon a career as writer. His first major success came -with the play _The Vortex_, in 1924. From then on he wrote dramas and -comedies which placed him in the front rank of contemporary playwrights. -But his achievements in the theater do not end here. He has also -distinguished himself as an actor, night-club entertainer, producer, -lyricist, composer, and on occasion even as a conductor. He wrote the -texts, lyrics, and the music to several musical productions, the most -famous of which is the operetta, _Bitter Sweet_, in 1929. Other musicals -by Coward include _Year of Grace_ (1928), _Words and Music_ (1932), -_Conversation Piece_ (1934) and _After the Ball_ (1954). Out of some of -these have come such celebrated Coward songs as “Mad About the Boy,” -“Mad Dogs and Englishmen,” “Some Day I’ll Find You” and “I’ll Follow My -Secret Heart.” An anthology of fifty-one Noel Coward songs from his -various musical productions called _The Noel Coward Song Book_ was -published in New York in 1953. Never having received any musical -training, Coward can play the piano only in a single key, and must call -upon the services of an amanuensis to get his melodies down on paper. - -_Bitter Sweet_ is his most famous musical, first produced in London on -July 18, 1929, and in New York on November 5, 1929. It was twice adapted -for motion-pictures, the first time in 1933 in England, and the second -time in 1940 in the United States in a production starring Jeanette -MacDonald and Nelson Eddy. In _Bitter Sweet_, Noel Coward made a -conscious effort at writing a romantic, sentimental, nostalgic operetta -in the style so long favored in Vienna; indeed it was a hearing of a -recording of Johann Strauss’ _Die Fledermaus_ that proved to be the -immediate stimulus in the writing of his text. The setting is for the -most part Vienna, and the time the 1880’s. Sari, an English girl, is -about to marry an English man of means when she suddenly decides to -elope with Carl, a music teacher. They go to live in Vienna. Carl comes -to his sudden death in a duel, after which Sari continues to live in -Vienna where she becomes a famous singer. In her old age, after an -absence of half a century, she returns to London. - -Three melodies from _Bitter Sweet_ have become extremely popular. The -first is a nostalgic waltz, “I’ll See You Again,” from the first act, -the love song of Sari and Carl; the song recurs again in the third act, -and its closing measures serve to bring the play to a dramatic -conclusion. “Zigeuner,” also sung by Sari is, as its name suggests, in -the gypsy style so favored by the Viennese public. The third famous -melody from _Bitter Sweet_ is “If Love Were All.” - -“I’ll Follow My Secret Heart” comes from _Conversation Piece_, first -produced in London on February 16, 1934, and in New York the same fall. -The setting of this sentimental and nostalgic operetta is the English -resort town of Brighton in 1811 where Paul, a duke turned adventurer, -and Melanie, a Parisian chanteuse, are involved in a stormy romance that -ends happily. As sung by Yvonne Printemps in London, “I’ll Follow My -Secret Heart” was the pivot on which the story rotated, and the main -reason for this operetta’s enormous success. - - - - - César Cui - - -César Cui was born in Vilna, Russia, on January 18, 1835. He was -graduated as an engineer from the St. Petersburg Engineering Academy in -1857; following that he served for many years as a topographer, as an -authority on fortifications, and as an engineering professor. All the -while his principal avocation was music, which he had studied from -childhood on. Between 1864 and 1900 he was active as music critic for -various Russian newspapers and journals. As a composer, he belonged to -the nationalist group known as the “Russian Five” or “Mighty Five,” but -unlike his distinguished colleagues (Balakirev, Rimsky-Korsakov, -Mussorgsky and Borodin) his influence proved far greater than his music. -He wrote many operas and large orchestral works, but none have remained -alive in the repertory. He was probably at his best in miniature for the -piano, and in his songs. He died in St. Petersburg on March 24, 1918. - -It is with one of his miniatures that his name is still remembered. This -piece is the _Orientale_, a composition originally for violin and piano, -the ninth number in a suite of twenty-four pieces collectively entitled -_Kaleidoscope_, op. 50. The principal melody is in oriental style, -introduced and then accompanied by a persistent rhythm (which in the -original version is produced by plucked strings, while the melody itself -is first given by the piano. This melody is soon taken over by the -violin.) Transcriptions for orchestra have made this a salon favorite. - - - - - Claude Debussy - - -Achille-Claude Debussy, father of musical Impressionism, was born in St. -Germain-en-Laye, France, on August 22, 1862. From 1873 to 1884 he -attended the Paris Conservatory where he was both a rebellious and a -brilliant student. He won many prizes, including the Prix de Rome in -1884. In the compositions written in Rome under the provisions of the -Prix he already revealed his independence of thought and unorthodoxy of -style. After returning from Rome to Paris he became influenced not only -by the Impressionist movement in French art and the Symbolist movement -in French literature but also by the iconoclastic musical approaches and -idioms of Erik Satie. Debussy now began to develop his own techniques -and mannerisms and to crystallize his highly personal style. His first -masterworks appeared between 1892 and 1893: the orchestral prelude, _The -Afternoon of a Faun_ (_L’Après-midi d’un faune_), and his string -quartet. With later works for orchestra and for solo piano—and with his -remarkable opera, _Pelleas and Melisande_, introduced at the -Opéra-Comique on April 30, 1902—he brought musical Impressionism to its -highest technical development and to its most advanced stage of artistic -fulfillment. He became the musical poet of the most subtle suggestions, -elusive moods, and delicate impressions. A victim of cancer, Debussy -suffered severely in the closing years of his life. He died in Paris on -March 25, 1918, on a day when the city was being bombarded by the -Germans during World War I. Because of the war, his death passed -unnoticed except by a handful of friends. - -Debussy’s greatest works are, to be sure, too complex in technique and -too subtle in style to enjoy ready consumption by the general public. -But a few of his compositions have a wide appeal because their charm and -sensitivity are easily comprehended, even at first hearing. One of these -is the delightful piano suite, _Children’s Corner_ (1908) written by the -composer for the delight of his little daughter, Chou-Chou. In it -Debussy evokes the imaginative world of the child; but he also produces -unsophisticated descriptive music that is readily appreciated by the -very young. Debussy used English rather than French titles for this work -because he wished to suggest the kind of stories and games that involve -an English governess and a French child. André Caplet’s orchestration of -this suite is famous. - -There are six brief movements. The first, “Doctor Gradus ad Parnassum,” -is a satire on young pianists and their struggles with five-finger -exercises. This is followed by “Jimbo’s Lullaby,” a tender lullaby -crooned by a child to his toy elephant named Jimbo. In the third -movement, “Serenade for a Doll,” the child turns from his pet elephant -to his pet doll to croon to it a sensitive serenade. “The Snow Is -Falling” is a tone picture of a snowfall, seen by a child from his -window. “The Little Shepherd” is a pastoral piece of music. The most -famous movement of the suite is the last one, “Golliwogg’s Cakewalk” in -which the composer exploits the style and rhythm of a Negro dance -popular in America in the 19th century, the cakewalk. In this movement, -the composer maliciously interpolates a fragment from the Prelude of -Wagner’s _Tristan and Isolde_. - -The beloved _Clair de Lune_ (_Moonlight_) is probably the composer’s -most celebrated melody. This is a poetic, sensitive evocation of the -peace and beauty of a moonlight light. It comes from his _Suite -bergamasque_ for piano (1890), where it can be found as the third of -four movements. Orchestral transcriptions have made this piece of music -world-famous. - -_The Girl With the Flaxen Hair_ (_La Fille aux cheveux de lin_) is an -exquisite portrait, in the composer’s most felicitous impressionist -style. It is the eighth number of his Preludes for the piano, Book I -(1910), and like _Clair de lune_ is often heard in various orchestral -transcriptions; Arthur Hartmann’s adaptation for violin and piano is -also familiar. - -The _Petite Suite_ (_Little Suite_) for piano duet (1889) is early -Debussy, more in the Romantic vein of Delibes than in the provocative -idiom Debussy later made famous. As orchestrated by Henri Busser it is -in the repertory of many salon and pop orchestras. There are four short -movements. The first, “_En Bateau_” (“_In a Boat_”) is particularly -popular. In the orchestration a gentle barcarolle melody for flute -suggests the gentle course of the boat in a placid lake. This is -followed by turns by a vigorous episode and a passionate section, both -of them for the strings. The flute then restores placidity, and the -opening sensitive melody returns in the violins. “_Cortège_” (“March”) -is a pert little march tune shared by the woodwind and strings. -“_Menuet_” is of classic grace while the finale, “_Ballet_,” has a -compelling rhythmic vigor. - -_Rêverie_ (1890) is a brief, atmospheric piece for the piano which has -became a favorite with Americans because in 1938 it was adapted into the -popular song, “My Reverie.” - - - - - Léo Delibes - - -Léo Delibes was born in St. Germain-du-Val, France, on February 21, -1836. After attending the Paris Conservatory from 1848 on, he became an -accompanist for the Théâtre Lyrique and organist of the Church of -St.-Jean et St.-François in Paris in 1853. Between 1855 and 1865 he -wrote a dozen operas, none of them successful. In 1865 he was appointed -chorusmaster of the Grand Opéra where he was encouraged to write music -for ballet; the first of these was _La Source_ in 1866 (renamed _Naila_ -when later given in Vienna). His most successful ballets were _Coppélia_ -in 1870 and _Sylvia_ in 1876, both still vital in the repertory. In 1873 -his most important opéra-comique, _Le Roi l’a Dit_, was introduced by -the Opéra-Comique; Delibes’ most important opera, _Lakmé_, was first -performed on April 14, 1883 by the Paris Opéra. Meanwhile, in 1881, -Delibes was appointed professor of composition at the Conservatory. -Three years after that he became a member of the French Academy. He died -in Paris on January 16, 1891. - -Delibes is often described as the creator of modern ballet music. He was -the first composer to write symphonically for the dance, to bring to -ballet music the fullest creative and technical resources of the skilled -serious composer. Thus he opened a new field of compositions which later -composers (Tchaikovsky, Stravinsky, and Ravel among many others) -cultivated with fertility. The elegance of Delibes’ style, the caressing -warmth of his lyricism, the richness of his harmonic and rhythmic -language, the delicacy of his orchestration endow his ballet music with -interest even when it is divorced from its choreography. - -_Coppélia_ is a staple in the classic ballet repertory. It was -introduced at the Paris Opéra on May 25, 1870, choreography by A. -Saint-Léon, and scenario by C. Nuitter and A. Saint-Léon based upon _The -Sandman_, a story by E. T. A. Hoffmann. _Coppélia_ is the first -successful ballet to utilize the subject of a doll become human. -Coppélia is a doll created by Dr. Coppélius. She comes to life and gets -out of control. Franz, thinking she is human, falls in love with her. -But when he realizes she is but a doll he becomes reconciled with his -former sweetheart, Swanilda. - -Delibes’ score is one of the earliest in ballet to make successful use -of such folk dances as the Mazurka and the Czardas; because of his -success in this direction, many later composers of ballet music were -encouraged to follow suit. - -An orchestral suite adapted from the score never ceases to delight -audiences at both symphonic and semi-classical concerts. It opens with -the “_Valse lente_,” a suave waltz to which Swanilda dances as she -strives to attract the attention of Coppélia, of whom she is jealous. -This is followed by the “Mazurka,” a gay episode danced by a group of -villagers after Franz has mistaken Coppélia for a human and salutes her. -The “Ballade” then comes as a pensive interlude; to this music Swanilda -puts a stalk of wheat to her ear, following a long existing -superstition, to discover if Franz has been faithful to her. When the -answer is in the negative, she breaks the stalk savagely before his very -eyes. “_Theme Slave Varié_” is danced by Swanilda; this section -comprises a tuneful Polish melody and five variations. The stately and -at times fiery “Czardas” which concludes the first act is a corybantic -in which all villagers join. “_Valse de la poupée_” (or “Dance of the -Doll”) is probably the most familiar musical number in the entire -ballet, an elegant waltz danced by Swanilda as she assumes the dress, -and imitates the actions, of Coppélia. - -The _Naila Waltz_ (or _Pas des Fleurs_) was written by Delibes in 1867 -as an intermezzo for the revival in Paris of Adolph Adam’s opera _Le -Corsaire_, in Paris. When Delibes’ early ballet, _La Source_, was -introduced in Vienna as _Naila_, this waltz was interpolated into the -production. A short, vigorous introduction for full orchestra and -several notes in the basses lead to the lilting waltz melody in strings, -with the woodwinds soon joining in. Ernst von Dohnányi made an effective -transcription of this waltz for the piano. - -_Le Roi l’a dit_ (_The King Said So_) is an opéra-comique with libretto -by Edmond Gondinet, introduced at the Opéra-Comique in Paris on May 24, -1873. The plot revolves around a peasant boy whom a Marquis is trying to -pass off before the king as his own son. The peasant makes the most of -this situation to the continual embarrassment and chagrin of the Marquis -who finally manages to get rid of him by marrying him off to a maid with -whom the boy is in love. - -The popular overture to this light opera opens with a brisk march in -full chords. A gracious little melody then unfolds in the strings. After -a return of the march music in a more subdued vein, a romantic song is -offered by the clarinets against plucked strings. The music now grows -livelier as a principal thought is given by chattering strings and -woodwind. Extended use is now made of the first graceful melody. The -opening march is at last recalled to bring the overture to a boisterous -end. - -The second of Delibes’ famous ballets, _Sylvia_, was introduced at the -Paris Opéra on June 14, 1876. The choreography was by Louis Mérante, and -the text by Jules Barbier and Baron de Reinach. The classical subject is -derived from mythology. Aminta, a shepherd, comes to a sacred grove -seeking a huntress he had once seen there. She is Sylvia, who soon -appears with her nymphs. She is later captured by Orion, the black -huntsman. But her escape is effected by Eros, and she and Aminta are -reunited in love. - -Like _Coppélia_, _Sylvia_ has a popular orchestral suite adapted from -the ballet score. After a brief Prelude comes “_Les Chasseresses_” (“The -Huntresses”), sprightly music with which Sylvia and her nymphs make -their first appearance; to its rhythmic strains they dance before a -statue of Eros. A gentle “Intermezzo” follows, describing the nymphs as -they rest near a stream. In the “_Valse lente_” Sylvia dances to a -graceful musical episode. The “Barcarolle” highlights a saxophone solo; -to this background music appears a ship bearing Eros, disguised as a -pirate. The most celebrated single number in the entire suite comes -next, the “Pizzicato,” a delicate dance performed by Sylvia disguised as -a slave. The “_Cortège de Bacchus_” (“March of Bacchus”) is the dynamic -music with which a bacchanalian rite is being celebrated. - - - - - Gregore Dinicu - - -Gregore Dinicu, who was born in Bucharest, Rumania, on April 5, 1889, is -a gypsy violinist who became popular in leading Rumanian cabarets and -restaurants. In 1939 he visited the United States, scoring a major -success with his gypsy orchestra at the New York World’s Fair. His _Hora -Staccato_, for violin and piano (or violin and orchestra)—a virtuoso -piece of folk character—is his only composition to become famous outside -Rumania. Jascha Heifetz, the famous virtuoso, heard Dinicu play it in -Rumania and was so delighted with it that he transcribed it, and -popularized it both at his concerts and on records. The Hora is an -exciting Rumanian folk dance with lively rhythms and a vertiginous -melody that shifts flexibly from major to minor or modal scales. These -traits are all found in Dinicu’s electrifying _Hora Staccato_. - - - - - Gaetano Donizetti - - -Gaetano Donizetti was born in Bergamo, Italy, on November 29, 1797. His -early music study took place in Bergamo and Naples and was completed at -the Liceo Filarmonico in Bologna. Despite his strong bent not only for -music but also for art, literature, and architecture, he aspired for a -military career. While serving in the Austrian army he completed his -first opera, _Enrico di Borgogna_, introduced in Venice in 1818. Success -came four years after that in Rome with _Zoraide di Granata_. Now -exempted from further military duty, Donizetti was able to devote -himself entirely to composition. Between 1822 and 1829 he wrote -twenty-three operas. In 1830 he achieved renown throughout Europe with -_Anna Bolena_, introduced in Milan. In the five succeeding years he -produced two masterworks by which he is still represented in the -operatic repertory: _L’Elisir d’amore_ in 1832 and _Lucia di Lammermoor_ -in 1835. From 1837 to 1839 he was the director of the Naples -Conservatory. In 1839 he went to live in Paris where he wrote and had -produced several highly successful operas including _The Daughter of the -Regiment_ and _La Favorita_ in 1840 and _Don Pasquale_ in 1843. Soon -after this he returned to his native city where he was stricken by a -mental disorder and for a time confined to an asylum. He died in Bergamo -on April 8, 1848. - -The facility with which Donizetti wrote his sixty-seven operas is -apparent in the easy flow of his lovable melodies and in the spontaneity -of his aurally agreeable harmonies. He also possesses a fine theatrical -gift, and much of his best music combines delightful lyricism and -affecting emotion with dramatic force. - -_The Daughter of the Regiment_ (_La Fille du régiment_, or _La figlia -del reggimento_) was first performed at the Opéra-Comique in Paris on -February 11, 1840. The French libretto by Jean François Bayard and -Vernoy de Saint-Georges was translated into Italian by the composer. The -setting is Tyrol in 1815, then being invaded by Napoleon’s troops. Marie -is the _vivandière_ (canteen manager) of the 21st Regiment of the French -army. In love with Tonio, who is suspected by the French of being a spy, -she is able to prevail on the troops to save his life. But Marie is soon -compelled to be separated from both Tonio and the French soldiers when -it is discovered that she is the long lost niece of the Countess of -Berkenfeld and must return with her aunt to her castle. The Countess -wants Marie to marry the Duke of Crackenthorp. When the French troops, -with Tonio among them, storm the Berkenfeld castle and want to reclaim -Marie, the Countess now reveals that Marie is not her niece but her -daughter and thus must obey her wishes. However, the French soldiers -finally prevail on the Countess to permit Marie to marry Tonio. - -The most popular selections from this tuneful, and occasionally -martially stirring opera are: Marie’s moving tribute to her regiment -(“_Ah, chacun le sait, chacun le dit_”) and her tender farewell as she -is about to leave for Berkenfeld (“_Il faut partir, mes bons -compagnons_”) and a spirited French war song to victory (“_Rataplan_”) -all from the first act; and from the second act, Marie’s moving aria -(“_Par le rang, et l’opulence_”), the orchestral entr’acte -“_Tyrolienne_,” and the dramatic paean to France (“_Salut à la France_”) -with which the opera ends. - -_Don Pasquale_ is a classic in the literature of opera buffa. It -received its première in Paris on January 3, 1843; its libretto (by the -composer and Giacomo Ruffini) is based on a libretto created by Angelo -Anelli for another opera. The central character is an old bachelor who -objected to the marriage of his young nephew with a beautiful widow, -Norina. To teach him a lesson, Norina puts on a disguise, involves the -old man in a mock marriage, and then tortures him with her shrewish -ways. Pasquale finally becomes so relieved to discover that he has -merely been the victim of an intrigue, rather than a catastrophic -marriage, that he does not hesitate any longer to give Norina and his -nephew his consent to their marriage. - -In the case of _Don Pasquale_ its overture is heard far more often than -potpourris of principal sections. It opens with heavy descending chords -which lead into an opulent song for cellos, soon assumed by horns and -the woodwind. The heart of the overture is a saucy melody for strings. -The music now becomes dramatized with transitional material, but a new -gay melody is offered by the woodwind and strings. The main string -melody and the succeeding sprightly tune are recalled to finish the -overture in a gay mood. - -_L’Elisir d’amore_ (_The Elixir of Love_) like _Don Pasquale_, is a -delightful comic opera, one of the most effervescent ever written. It -received its first performance in Milan on May 12, 1832. The libretto, -by Felice Romani, was based on Eugène Scribe’s _Le Philtre_. Nemorino, -in love with Adina who rejects him, purchases a love elixir from the -quack, Dr. Dulcamara. But a sudden inheritance from his uncle, which -forthwith makes Nemorino extremely popular with the girls, proves even -more potent in winning Adina’s love than the potion itself. - -Orchestral selections from his gay opera include one of the best loved -tenor arias in the operatic repertory. It is “_Una furtiva lagrima_,” a -soulful song by Nemorino in the second act with which he hopes to -console Adina when he sees her jealousy suddenly aroused by the fact -that he had become the favorite of the village girls. Other familiar -episodes include a merry comic number “_Udite, Udite_” in which Dr. -Dulcamara boasts of the power of his potions, and a beautiful aria, -“_Quanto è bella_,” in which Nemorino discloses his love and longing for -Adina, both in the first act. - -_Lucia di Lammermoor_ is Donizetti’s most famous grand opera, and the -title role has been favored by the world’s foremost coloratura sopranos. -The libretto, by Salvatore Cammarano, was based on the Sir Walter Scott -romance, _The Bride of Lammermoor_. The opera was first performed in -Naples on September 26, 1835. Lucia, sister of Lord Ashton, is in love -with Edgar; but in planning to have her marry the wealthy Lord Arthur -Bucklaw, Lord Ashton uses lies and wiles to convince his sister that -Edgar does not love her. On the day of the signing of the marriage -contract between Lucia and Bucklaw, Edgar invades the Lammermoor castle -and curses its family. Maddened by her grief, Lucia kills her husband -soon after the wedding, and then dies. When Edgar learns that Lucia has -loved him all the time, he commits suicide. - -The favorite selections from this opera include one of the most famous -ensemble numbers in all opera, the sextet “_Chi mi frena_.” It is sung -in Act 2, Scene 2, by Lucia, Edgar, Bucklaw, Raimond, Ashton and Alisa -after Edgar had invaded the Lammermoor castle and witnessed the signing -of the marriage contract between Lucia and Bucklaw. Each of the -characters here gives voice to his or her personal reaction to this -dramatic situation: Lucia speaks of her despair at the treachery of her -brother; Edgar wonders why he does not commit an act of vengeance; Lord -Ashton is led to sympathy at his sister’s despair; Lucia’s companion, -Alisa, and Bucklaw hope that bloodshed might be averted; and Raimond, a -chaplain, invokes divine help. - -Another highly popular excerpt from the opera offered in orchestral -potpourris includes Lucia’s “Mad Scene” from Act 3, Scene 2 (“_Ardon -gl’incensi_”). Dressed in a white gown, Lucia appears and mistakes her -brother for her beloved Edgar, who she believes has come to marry her. -Then she entreats those around her to place a flower on her grave and -not to weep at her death (“_Spargi d’amaro pianto_”). - -Several other selections often played include Lucia’s lyrical cavatina -from Act 1, Scene 2 (“_Quando rapita in estasi_”) as she thinks of her -beloved Edgar; the love duet of Lucia and Edgar from the same scene -(“_Verrano a te sull’aure_”); and the wedding music from Act 3, Scene 1 -that precedes the “Mad Scene” (“_D’immenso giubilo_”). - - - - - Franz Drdla - - -Franz Drdla was born in Saar, Moravia on November 28, 1868. He attended -the Conservatories in Prague and Vienna, winning at the latter place -first prize in violin playing and the medal of the Gesellschaft der -Musikfreunde. After serving for several years as a violinist in the -orchestra of the Vienna Court Opera, he toured Europe as a concert -violinist. From 1923 to 1925 he lived in the United States, making many -concert appearances. He died in Bad Gastein, Austria, on September 3, -1944. - -Drdla’s most famous compositions are slight but lyrical pieces for the -violin, of which he wrote over two hundred fifty. His most famous -composition is the _Souvenir_, with its familiar upward skip in the main -melody and its broad sentimental middle section in double stops. In a -similarly sentimental and gentle melodic vein (they might aptly be -described as instrumental songs) are the _Romance_, _Serenade in A_ (No. -1), and _Vision_. All are familiar to violin students, and to lovers of -light classics in transcriptions for orchestra. - - - - - Riccardo Drigo - - -Riccardo Drigo was born in Padua, Italy, on June 30, 1846. He first -became famous as conductor of orchestral concerts at the Imperial -Theater in St. Petersburg. After World War I, he continued his -activities as conductor in his native city. He died there on October 1, -1930. - -Drigo was the composer of ballets and operas, none of which have -survived. He is today remembered almost exclusively for two slight but -well loved items. One is the melodically suave _Serenade_, popular in -every conceivable transcription. It comes out of a ballet entitled _I -milioni d’Arlecchino_ (_Harlequin’s Millions_) and consequently is -sometimes known as the _Harlequin’s Serenade_. The other is _Valse -bluette_, an elegant waltz melody, which the composer originally wrote -for salon orchestra, but which is in the violinist’s repertory by virtue -of a famous transcription. - - - - - Arcady Dubensky - - -Arcady Dubensky was born in Viatka, Russia, on October 15, 1890. After -being graduated from the Moscow Conservatory in 1909 he played the -violin in the orchestra of the Moscow Opera. In 1921 he came to the -United States, where he later became a citizen. He served as violinist -of the New York Symphony Society, and after that of the New York -Philharmonic Orchestra, until his retirement in 1953. - -Dubensky had written many works for orchestra, whose sound technique and -fresh approaches command respect. One or two of these are of popular -appeal without sacrificing sound musical values. Of particular interest -is the _Stephen Foster Suite_ for orchestra (1940), in which Dubensky -quotes five Stephen Foster songs: “My Old Kentucky Home,” “Jeanie With -the Light Brown Hair,” “Some Folks,” “I See Her Still in My Dreams,” and -“Camptown Races.” The composer goes on to explain: “The first part -represents to me a beautiful summer evening in the country. From far -away I hear a choir, coming gradually closer and then fading into the -distance. It sings to me the wonder song, ‘My Old Kentucky Home.’ The -second part is built around ‘Jeanie With the Light Brown Hair.’ Here the -melody is given to a tenor solo, with a soft, gentle orchestral -accompaniment beginning with a short introduction. The last two parts -are for orchestra. The fourth part centers around the song ‘I See Her -Still In My Dreams.’ It is a dreamy song, and I have given it the -character of an intermezzo played by string orchestra, muted. If this -movement is played in slow tempo, and pianissimo, it sounds not at all -realistic but like the dream it portrays. The fifth part, ‘Camptown -Races’ is the focal point of the suite. The theme is treated in a number -of different keys and always in a different character. Sometimes it is -delicate and graceful, and sometimes rude and robust, but always it is -gay.” - - - - - Paul Dukas - - -Paul Dukas was born in Paris, France, on October 1, 1865. After -attending the Paris Conservatory, where he won prizes in counterpoint -and fugue as well as the second Prix de Rome, he served as music critic -for several Parisian journals. From 1910 to 1912 he was professor of -orchestration at the Paris Conservatory, and from 1927 until his death -its professor of composition. His first successful work was a concert -overture, _Polyecute_, introduced in Paris in 1892. His Symphony in C -major, first heard in 1897, enhanced his reputation while his orchestral -scherzo, _The Sorcerer’s Apprentice_, also introduced in 1897, made him -famous. Being exceptionally fastidious and self-critical, Dukas did not -produce many compositions, but the best of these are works so -aristocratic in technique and subtle in musical content that they make a -direct appeal only to sophisticated music lovers. These works include -the opera _Ariane et Barbe-bleue_, first performed in Paris on May 10, -1907; the ballet, _La Péri_, introduced in Paris on April 22, 1912; and -some piano music. Towards the end of his life, Dukas destroyed several -of his earlier works deeming them unsuitable for survival. He was one of -France’s most revered musicians. He was made Chevalier of the Legion of -Honor in 1906, and in 1918 elected a member of the _Conseil de -l’enseignement supérieur_ at the Paris Conservatory. He died in Paris on -May 17, 1935. - -_The Sorcerer’s Apprentice_ (_L’Apprenti sorcier_), scherzo for -orchestra (1897), is Dukas’ most famous composition, the one that made -him known throughout the world of music. It is so witty, so vivid in its -pictorial writing that it has become a favorite of both the very young -and the mature. The program, which the music follows with amazing -literalness, comes from Goethe’s ballad _Der Zauberlehrling_ which, in -turn, was adapted from a famous folk tale. The story goes something like -this: An apprentice to a magician has come upon his master’s secret -formula for turning a broom into a human being and making it perform -human tasks. The apprentice decides to try out this incantation for -himself while the master is away, and watches with amazement as the -broom acquires human powers. He orders the broom to fetch water, a -command meekly obeyed. Pail after pail of water is carried into the -magician’s shop by the broom until the place is rapidly being inundated. -The apprentice now tries to arrest the water-fetching activity of the -broom, but he does not know the proper incantation to achieve this, or -to strip the broom of its human powers. In terror, the apprentice -attacks the broom with a hatchet. The broom, split into two brooms, now -becomes two humans performing the ritual of bringing water into the den. -In despair, the apprentice cries out for his master who arrives in time -to bring the broom back to its former inanimate state, and to restore -order. - -The atmosphere of mystery and peace prevailing in the magician’s den is -created in the opening measures with a descending theme for muted -violins, while different woodwinds give a hint of the principal subject, -a roguish tune describing the sorcerer’s apprentice; this subject -finally appears in the double bassoon, and is then repeated by the full -orchestra. The call of trumpets suggests the incantation pronounced by -the apprentice; a brisk theme for bassoons against plucked strings -describes the parade of the broom back and forth as it brings the water; -and arpeggio figures in the orchestra depict the water itself. The music -then portrays the mounting terror of the apprentice as he is unable to -arrest the march of the broom. After an overwhelming climax, at which -point the apprentice splits the broom into two with a hatchet, the saucy -march tune is doubled to inform us that two brooms are now at work. A -shriek in the orchestra simulates the panic-stricken call of the -apprentice. After the master arrives and sets things in order, the music -of the opening measures is repeated to suggest that once again the -magician’s den is pervaded by peace and mystery. - -_The Sorcerer’s Apprentice_ was made into an animated motion picture by -Walt Disney, the Dukas music performed on the sound track by the -Philadelphia Orchestra under Stokowski; it was part of a program -collectively entitled _Fantasia_ which came to New York on November 13, -1940. - - - - - Antonin Dvořák - - -Antonin Dvořák was born in Muehlhausen, Bohemia, on September 8, 1841. -As a boy he studied the violin with the village schoolmaster. He -subsequently attended the Organ School in Prague. After completing his -studies, he played in various orchestras in Prague, including that of -the National Theater from 1861 to 1871 where he came under the influence -of Smetana, father of Bohemian national music. Dvořák first attracted -interest as a composer with _Hymnus_, a choral work introduced in 1873. -Two years later he won the Austrian State Prize for a symphony, and in -1878 he became famous throughout Europe with the _Slavonic Dances_. In -1883 he was appointed organist of the St. Adalbert Church in Prague. -From 1892 to 1895 he was the director of the National Conservatory in -New York. During this period he was influenced in his compositions by -the folk music of the American Negro and Indian. From 1901 until his -death he was director of the Prague Conservatory. He died in Prague on -May 1, 1904. - -A prolific composer of operas, symphonies, chamber and piano music, and -songs, Dvořák stood in the forefront of the Romantic composers of the -late 19th century and among the leading exponents of Bohemian national -music. He was gifted with an expressive melodic gift, a strong and -subtle rhythmic pulse, and an inventive harmonic language. Whatever he -wrote was charged with strong emotional impulses, whether he used the -style of Bohemian folk music or those of the American Negro and American -Indian. - -The _Carnival Overture_ (_Carneval_), written in 1891, is one of three -overtures planned by the composer as a cycle to portray “three great -creative forces of the Universe—Nature, Life, and Love.” A unifying -element among them was a melody intended to describe the “unchangeable -laws of Nature.” Eventually, Dvořák abandoned this plan and published -the three overtures separately, calling them _In Nature_ (_In der -Natur_), op. 91, _Carnival_, op. 92, and _Othello_, op. 93. - -Dvořák himself provided a description of the music of _Carnival -Overture_. He aimed to describe “a lonely, contemplative wanderer -reaching the city at nightfall where a carnival of pleasure reigns -supreme. On every side is heard the clangor of instruments, mingled with -shouts of joy and the unrestrained hilarity of the people giving vent to -their feelings in songs and dances.” The overture begins with a lively -section portraying the gayety of the carnival. A subdued melody in the -violins brings relaxation, but the hubbub soon returns. Another gentle -episode depicts a pair of lovers in a secluded corner; the principal -melodic material in this part is offered by the solo violin, and by the -English horns and flutes. The brilliant opening material returns. It is -with this spirit of revelry that the overture ends. - -The _Humoresque_ in G-flat major is the seventh in a set of eight -_Humoresques_ for piano (1894). This delightful, elegant piece of music -in three-part song form has been transcribed not only for orchestra but -for every possible instrument or combinations of instruments, and is -undoubtedly the most popular composition by the composer. It was Fritz -Kreisler, the famous violin virtuoso, who helped make the work so -famous. Kreisler visited Dvořák in 1903 and asked him for some music. -Dvořák showed him a pile of compositions, most of it completely unknown. -Among these was the G-flat major _Humoresque_. Kreisler transcribed it -for violin and piano, introduced it at his concerts, later recorded it, -and made it universally popular. As we know it today the _Humoresque_ is -not the way Dvořák intended it to sound. Dvořák wanted it to be a light, -whimsical piece of music, a “humoresque,” in fast tempo. Kreisler -transcribed it in a slower tempo and more sentimental mood; and it is in -this style that _Humoresque_ is now known and loved. - -The _Indian Lament_ is one of several compositions by Dvořák influenced -by the idioms of American-Indian music. While serving as director of the -National Conservatory in New York, he paid a visit to the town of -Spillville, Iowa. There three Iroquois Indians visited him and -entertained him with authentic Indian music. Dvořák was so taken with -this strange and haunting lyricism, and the primitive rhythms, that he -wrote several major works incorporating these idioms. One was a Sonatina -in G major for violin and piano, op. 100 (1893). Its slow movement is a -delicate song embodying the intervallic peculiarities of authentic -American-Indian music. Fritz Kreisler edited this movement and named it -_Indian Lament_, the version in which it has become famous. Gaspar -Cassadó transcribed this movement for cello and piano. - -Dvořák’s _Largo_ is the second movement of his Symphony No. 5 in E minor -better known as the _Symphony from the New World_ (1893). This is the -symphony written by Dvořák during his visit to the United States as -director of the National Conservatory. One of his students was Harry T. -Burleigh, who brought to his attention the music of the Negro Spiritual. -These melodies moved Dvořák so profoundly that he urged American -composers to use the style, technique and personality of these Negro -songs as the basis for national American music. As if to set an example, -Dvořák wrote several compositions in which his own melodic writing was -strongly influenced by the Negro Spiritual. The most significant of -these was his symphony, which received its world première in the United -States (at a concert of the New York Philharmonic Orchestra on December -15, 1893, Anton Seidl conducting). The main spacious, poignant melody of -the Largo movement—given by English horn over string harmonies after a -few preliminary chords—so strongly simulates the personality of a Negro -Spiritual that it was long thought that Dvořák was indulging in -quotation. This is not true; the melody is Dvořák’s own. Many -transcriptions of this melody exist. One is the familiar song, “Goin’ -Home,” lyrics by William Arms Fisher (also one of Dvořák’s pupils); -another is a composition for violin and piano by Fritz Kreisler called -_Negro Spiritual Melody_; a third is an adaptation for salon orchestra -by Sigmund Romberg. - -This Largo movement has two other melodies besides the basic one in the -Negro-Spiritual style. One is heard in flute and oboe, and the second in -the oboe. - -The _Scherzo Capriccioso_, in D-flat major, op. 66 (1883) is one of the -composer’s liveliest and most dynamic larger works for orchestra, but in -an idiom that is neither Bohemian nor American. It is in two sections. -The first is the Scherzo, opening with an energetic subject for horns -that is a kind of a motto theme for the entire work. The principal -melody that follows is stated by full orchestra; after that comes a -waltz-like tune for violins. The second part of the composition, a trio, -is introduced by an expressive melody for English horn. A secondary -theme then comes in the strings and wind. The principal idea of the -first section now receives extended treatment before the second theme of -the second part returns in a modified form. The work ends with a coda in -which effective use is made of the opening motto subject. - -Dvořák achieved international fame for the first time with the first set -of eight _Slavonic Dances_, op. 46, published in 1878. He had been -recommended to the publisher Simrock by Brahms; it was the publisher who -suggested to Dvořák that he write Slavonic dances similar to the -Hungarian dances which Brahms had made so popular. Dvořák wrote his -first set for piano four-hands; but these instantly proved so successful -that Simrock prevailed on Dvořák to orchestrate them. In 1886, Dvořák -wrote a second set of eight _Slavonic Dances_, op. 72, once again both -for four-hand piano and for orchestra. Though the melodies and harmonic -schemes in all these dances are Dvořák’s, they have caught the essence -of the Slavonic folk song and dance, and to such a degree that their -authentic national character has never been questioned. Karel -Hoffmeister wrote: “Something of the Slavic character speaks in every -phrase of them—the stormy high-spirited mood of the Furiants; the -whimsical merriment, the charm, the touch of coquettry, the ardent -tenderness of the lyrical passages.” - -The following are among the best known of these dances: - -C major, op. 46, no. 1. A chord sustained through one measure is -followed by a whirlwind presto passage. After a sudden pianissimo we -hear a second rhythmic melody. Music of a more serene character appears -in flute and strings after a change of key. A force climax is evolved to -set the stage for the return of the opening whirlwind subject. - -E minor, op. 46, no. 2. A poignant melody is here contrasted with a -dynamic rhythmic section. Fritz Kreisler transcribed this dance for -violin and piano. - -A-flat major, op. 46, no. 6. A dance melody with a strong rhythmic -impulse is the opening subject. Pianissimo chords lead to a new virile -subject, but there soon comes a decisive change of mood with two -expressive melodies. This dance, however, ends dynamically. - -G minor, op. 46, no. 8. This is one of the gayest of the Slavonic -dances, alive in its electrifying changes of dynamics and tonality. - -E minor, op. 72, no. 2. This is one of the best loved of all these -dances, a song of rare sensitivity and sadness, only temporarily -alleviated by the more optimistic music of the middle section. Fritz -Kreisler transcribed it for violin and piano. - -A-flat major, op. 72, no. 8. Here, as in the preceding E minor dance, -the emphasis is on tender, elegiac song in strings. A dramatic middle -section provides some relief, but the gentle moodiness of the opening -section soon returns. Fritz Kreisler transcribed it for violin and -piano. - -_Songs My Mother Taught Me_ is one of Dvořák’s most celebrated songs. It -is one of seven gypsy songs, based on Slavonic-gypsy folk idioms, -gathered in op. 55 (1880); the lyrics are by Adolf Heyduk. This -nostalgic, delicate melody has enjoyed numerous transcriptions, -including one for violin and piano by Fritz Kreisler, and another for -cello and piano by Alfred Gruenfeld. - - - - - Sir Edward Elgar - - -Sir Edward Elgar was born in Broadheath, near Worcester, England on June -2, 1857. He studied the organ with his father, and the violin with Adolf -Pollitzer in London. In 1885 he succeeded his father as organist of St. -George’s Church in Worcester. Two years after his marriage to Alice -Roberts, which had taken place in 1889, he withdrew to Malvern where he -lived the next thirteen years, devoted completely to serious -composition. Several choral works were performed at various English -festivals before Elgar achieved outstanding success, first with the -_Enigma Variations_ for symphony orchestra, introduced in London in -1899, and then with his oratorio, _The Dream of Gerontius_, whose -première took place in Birmingham in 1900. From then on Elgar assumed a -position of first importance in English music by virtue of his two -symphonies, vast amount of orchestral, choral and chamber music, and -songs. He was generally regarded one of the most significant English -composers since Purcell in the 17th century. Elgar was knighted in 1904, -appointed Master of the King’s Music in 1924, and made a baronet in -1931. He died in Worcester, England, on February 23, 1934. - -It is not difficult to understand Elgar’s enormous popularity. Together -with an elegant sense of structure and style, and a consummate -musicianship, he had a virtually inexhaustible fund of ingratiating -lyricism. His best works are conceived along traditional lines. They are -Romantic in concept, and poetic in content. These qualities—and with -them a most ingratiating sentiment—are also found in his semi-classical -pieces. - -The _Bavarian Dances_, for orchestra, come from _The Bavarian -Highlands_, a set of choral songs based on Bavarian folk songs adapted -by Elgar’s wife, Alice, and set for chorus with piano and orchestra, op. -27 (1895). Three folk tunes were subsequently adapted by the composer -for orchestra. Collectively called _Bavarian Dances_, the individual -dances were subtitled by the composer “The Dance,” “Lullaby,” and “The -Marksman.” These dances were first introduced in London in 1897 and have -since enjoyed universal acceptance in some cases for their peasant -rhythmic vigor, and in others for their atmospheric charm. - -The _Cockaigne Overture_ (_In London Town_), for orchestra, op. 40 -(1901) describes London “as represented by its parks and open spaces, -the bands marching from Knightsbridge to Buckingham Palace, Westminster -with its dignified associations of Church and State,” in the words of -Sir George Grove. The composer himself revealed he wanted to portray in -his music the sights witnessed by a pair of lovers as they stroll -through the city. The hubbub of the city is depicted in the opening -measures, following by an intensely romantic section highlighted by a -broad melody for strings, reflecting the feelings of the lovers as they -stop off momentarily to rest in a public park. They continue their walk, -hear the approaching music of a brass band, then enter a church where -organ music is being played. The lovers continue their walk. The -animated life of the city streets once again is reproduced, and the -earlier romantic melody telling of their emotional ardor for each other -is repeated. - -_In the South_ (_Alassio_), a concert overture for orchestra, op. 50 -(1904) was written one Spring while the composer was vacationing in -southern Europe. This work reflects Elgar’s intense love of Nature. The -following quotation appears in the published score: “A land which _was_ -the mightiest in its old command and _is_ the loveliest; wherein were -cast the men of Rome. Thou are the garden of the world.” The overture -opens with a gay tune for clarinets, horns, violins and cellos. It -receives vigorous treatment and enlargement before a pastoral section is -given by the woodwind and muted strings, a description of a shepherd and -his flock. The overture then alternates between stress and tranquillity, -with great prominence being given to the shepherd’s melody. A viola solo -then leads to the recapitulation section. - -_Pomp and Circumstance_ is a set of five marches for symphony orchestra, -op. 39. The composers wanted these marches to provide such music with -symphonic dimensions in the same way that dance music (polonaise or -waltz, etc.) acquired artistic stature at the hands of Chopin, among -others. The phrase “pomp and circumstance” comes from Shakespeare’s -_Othello_. The five marches are in the keys of D major, A minor, C -minor, G major, and C Major. The first two were written in 1901; the -third, in 1905; the fourth in 1907; and the fifth in 1930. The most -famous of these is the second in A minor, one of Elgar’s most frequently -performed compositions, and music as often identified with the British -Empire as “God Save the King.” It opens in a restless, vigorous vein and -erupts into a spacious melody for strings which Laurence Housman -subsequently set to lyrics (“Land of Hope and Glory”). Elgar once again -used this same melody in his _Coronation Ode_ for King Edward VII in -1902. The opening brisk, restless music is recalled after a full -statement of the melody. - -The first in D major has a vigorous introduction after which unison -strings come forth with a robust march tune. The opening introduction is -subsequently used as a transition to the trio in which a soaring melody -is set against a uniform rhythmic beat. - -The fourth in G major, known as “Song of Liberty,” is also familiar. -Once again the opening consists of spirited march music, and once again -the heart of the composition is a broad and stately melody for the -strings. This melody receives extended treatment which culminates with a -rousing statement by the full orchestra. - -_Salut d’amour_, for chamber orchestra, op. 12 (1889) is a nostalgic and -sentimental piece of music in three-part song form that has become a -salon favorite. It is also famous in a transcription for violin and -piano. - - - - - Duke Ellington - - -Edward Kennedy “Duke” Ellington was born in Washington, D.C. on April -29, 1899. His career as a popular musician began in his adolescence when -he performed jazz pieces on the piano in an ice-cream parlor in -Washington, and after that formed his own jazz group. In 1923 he came to -New York where he soon thereafter formed a jazz band which performed at -the Kentucky Club in Harlem. Discovered by Irving Mills, the publisher, -Ellington was booked for the Cotton Club where he remained several years -and established his fame as an outstanding exponent of real jazz—as -pianist, conductor of his orchestra, composer, and arranger. He has -since joined the all-time greats of jazz music, acclaimed in night -clubs, on the Broadway stage and Hollywood screen, over the radio, on -records, and in triumphant tours throughout the music world. - -As a composer Ellington is famous for his popular songs (“Mood Indigo,” -“Sophisticated Lady” and so forth) and short instrumental jazz pieces -(_Black and Tan Fantasy_, _Creole Rhapsody_, _East St. Louis Toodle-oo_, -etc.) All this falls within the province of either popular music or -jazz, and for this reason cannot be considered here. - -Ellington has also produced a rich repertory of larger works for -orchestra which have a place in the permanent library of semi-classical -music in the same way that Gershwin’s larger works do. Skilfully -utilizing the fullest resources of jazz techniques, styles, and idioms, -Ellington has created in these larger works an authentically American -music. He himself prefers to consider many of these works as “Negro -music” rather than jazz; nevertheless, in their blues harmonies, jazz -colorations, and melodic and rhythmic techniques these works represented -jazz music at its very best. - -Perhaps the most distinguished of these symphonic-jazz works is _Black, -Brown and Beige_, an extended work which Ellington introduced with his -orchestra in Carnegie Hall, New York, in 1943, and which he described as -a “tonal parallel of the Negro in America.” The first movement, “Black,” -is a musical picture of the Negro at work, singing at his labors on the -docks and levees in the slavery period before the Civil War. An alto -saxophone solo brings on a plangent Spiritual, “Come Sunday.” The second -movement, “Brown,” represents the wars in which Negroes have -participated. A tenor solo sings an eloquent blues of the unsettled -condition of the Negro after the Civil War. The contemporary Negro is -the inspiration for the finale, “Beige,” utilizing jazz idioms and -styles in portraying the period of the Twenties, Thirties and Forties. -Many facets of Negro life are drawn in brief musical episodes, including -the Negro church and school, and the Negro’s aspiration towards -sophistication. The work ends on a patriotic note, prophesying that the -Negro’s place in the American way of life is secure. - - - - - Georges Enesco - - -Georges Enesco was born in Liveni, Rumania, on August 19, 1881. He -studied the violin at the Conservatories of Vienna and Paris, winning -highest honors in both places. Following the completion of his studies -in 1899, he launched a successful career both as concert violinist and -as composer. For several years he was the court violinist to the Queen -of Rumania, besides making outstandingly successful appearances on the -concert stage throughout Europe. His debut as composer took place in -Paris before his sixteenth birthday, with a concert devoted entirely to -his own works. Success came in 1901 with his _Rumanian Rhapsody No. 1_. -Enesco also distinguished himself as a conductor. When he made his -American debut—on January 2, 1923 with the Philadelphia Orchestra in New -York City—it was in the triple role of violinist, conductor, and -composer. After World War I, Enesco divided his residence between Paris -and his native Rumania while touring the music world. He made his last -American appearance in 1950 on the occasion of the 60th anniversary of -his debut as violinist; once again he appeared in the triple role of -violinist, conductor and composer. He suffered a stroke in Paris in July -1954 and died there on May 4, 1955. After his death, his native village, -and a street in Bucharest, were named after him. - -Enesco was Rumania’s foremost twentieth-century composer. His major -compositions range freely over several different styles from -nationalism, to neo-classicism, to ultra-modernism. But the works with -which he first gained world fame, and which have since had the widest -circulation, are those in a national Rumanian style, with Oriental-like -melodies and propulsive rhythms all modeled after the exotic folk songs -and dances of the Rumanian gypsies. - -In such a style are his two Rumanian rhapsodies for orchestra: No. 1 in -A major, op. 11, no. 1 (1901); No. 2 in D major, op. 11, no. 2 (1902). -The first rhapsody is the one played more often. It opens with a -languorous subject for clarinet which is soon assumed by other woodwind, -then by the strings and after that (in a quickened tempo) by the full -orchestra. A passionate gypsy tune follows in the strings; and this is -succeeded by an abandoned dance melody in first violins and the -woodwind, and an Oriental-type improvisation in solo flute. Now the mood -becomes more frenetic, with a rapid succession of whirling folk-dance -tunes and rhythms that are carried to a breathtaking climax. Relaxation -finally comes with a gentle Oriental melody in clarinet, but this is -only a passing phase. The rhapsody ends in a renewed outburst of -vitality. - -In comparison to the first, the second rhapsody is an emotionally -reserved piece of music. After a solemn declaration by the strings, -there comes an equally sober and restrained folk song in the strings. -The dark mood thus projected becomes further intensified with a theme -for English horn against tremolo strings and continues throughout most -of the rhapsody, except for a brief interpolation of a vigorous dance -melody by the solo viola. - - - - - Leo Fall - - -Leo Fall was born in Olmuetz, Austria, on February 2, 1873. The son of a -military bandmaster, he early received music instruction from his -father. Then, after attending the Vienna Conservatory, he conducted -theater orchestras in Berlin, Hamburg, and Cologne. An opera, _Paroli_, -was unsuccessfully produced in Berlin before Fall settled permanently in -Vienna to devote himself to the writing of those charming operettas in -an abundantly lyric vein and graceful, sophisticated manner which the -Austrian capital favored. His greatest successes were _The Dollar -Princess_ in 1907, _The Rose of Stamboul_ (_Die Rose von Stambul_) in -1916, and _Madame Pompadour_ in 1923. He died in Vienna on September 15, -1925. - -Fall’s most famous operetta is _The Dollar Princess_ (_Die -Dollarprinzessin_), selections from which are often given on salon -programs. _The Dollar Princess_—book by A. M. Willner and F. Gruenbaum -based upon a comedy by Gatti-Trotha—was introduced in Vienna on November -2, 1907. Its first American performance took place on September 6, 1909 -at the Knickerbocker Theater in an adaptation by George Grossmith, Jr. -Some songs by Jerome Kern were interpolated into the New York -production. The “dollar princess” is the heroine of the operetta: Alice -Couder, pampered daughter of a New York coal magnate who goes in pursuit -of Freddy. When at a lavish party at the Couder mansion she brazenly -announces her intention of marrying Freddy without previously consulting -him, he leaves her in disgust, and goes off to Canada where he becomes a -successful business man. He cannot forget Alice, however. He brings the -Couders to Canada on a pretext of discussing with the father a business -deal, when he confesses his love to Alice, who no longer is brazen or -arrogant. - -A Viennese operetta must by necessity have a major waltz number, and -_The Dollar Princess_ is no exception; “_Will sie dann lieben treu und -heiss_” from Act 1, is the most important melody of the operetta. When -other selections from this operetta are given they invariably include -also the lilting title song from Act 2, and the seductive little duet -“_Wir tanzen Ringelreih’n hin einmal und her_.” - - - - - Manuel de Falla - - -Manuel de Falla, Spain’s most significant twentieth-century composer, -was born in Cádiz on November 23, 1876. After studying music with -private teachers in his native city, and with J. Tragó and Felipe -Pedrell in Madrid, he completed in 1905 _La Vida breve_, a one-act opera -that received first prize in a competition for native Spanish operas -sponsored by the Academia de Bellas Artes. From 1907 to 1914 he lived in -Paris where he absorbed French musical influences and became a friend of -Debussy and Ravel. In 1914 he was back in his native land; from 1921 to -1939 he lived a retiring existence in Granada, devoting himself to -serious composition. He left his native land in 1939 because of his -disenchantment with the Franco regime which he had originally favored. -Until his death on November 14, 1946, he lived in seclusion in Alta -Gracia, in the province of Córdoba, in Argentina. - -Falla’s art is deeply embedded in the soil of Spanish folk songs and -dance. His major works, which number a mere handful, are all evocations -of the spirit of Spain in music which, though never a direct quotation -from Spanish sources, is nevertheless Spanish to the core in details of -melody, harmony, and rhythm. His principal works include a harpsichord -concerto, _Nights in the Gardens of Spain_ (_Noches en los jardines de -España_) for piano and orchestra, the ballet _El Amor brujo_, and the -opera _The Three-Cornered Hat_ (_El sombrero de tres picos_). - -In Falla’s most effective national idiom are two popular Spanish dances. -The _Ritual Fire Dance_ (_Danza ritual del fuego_) is the seventh -section from the ballet, _El Amor brujo_ (1915). Trills with the searing -intensity of hot flame lead into a languorous Spanish melody for the -oboe, behind which moves an irresistible rhythm. This is followed by a -second subject more intense in mood, loudly proclaimed by unison horns -and after that repeated quietly by muted trumpets. Throughout, this -dance has an almost savage ferocity, the music continually punctuated by -piercing chords; the dance is finally brought to a frenetic conclusion. -The composer himself made a highly effective transcription of this dance -for solo piano, and Gregor Piatigorsky for cello and piano. - -The _Spanish Dance No. 1_ comes from the second act of the opera, _La -Vida breve_, with which Falla first achieved recognition. An impulsive -rhythmic opening serves as the background for a bold and sensual gypsy -melody for horns and strings. The piece ends with rich chords for full -orchestra. Fritz Kreisler made a fine transcription of this dance for -violin and piano. - - - - - Gabriel Fauré - - -Gabriel-Urbain Fauré was born in Pamiers, France, on May 12, 1845. His -music study took place in Paris with Niedermeyer and Saint-Saëns. After -that he served as organist in Rennes and Paris, and held the important -post of organist at the Madeleine Church in Paris from 1896 on. In 1896 -he also became professor of composition at the Paris Conservatory where, -from 1905 until 1920, he was director. In 1909 he was elected member of -the Académie des Beaux Arts, and in 1910 made Commander of the Legion of -Honor. In the last years of his life he suffered from deafness. He died -in Paris on November 4, 1924. - -Fauré was one of France’s major composers, creator of a considerable -library of piano and chamber music as well as works for symphony -orchestra which included _Pelleas and Melisande_, a suite (1898) and the -_Ballade_ for piano and orchestra (1881). His music is filled with -classic beauty, serenity, and a most delicate sensibility and thus makes -an appeal only to a highly cultivated music lover. But a few of his -works have such melodic charm and appealing moods that they cannot fail -to cast a spell even on the untrained listener. - -_Après un rêve_ is a song, the first in a set of three published as op. -7 (1885), lyrics by Romain Bussine. Exquisite in its sensitive lyricism, -this melody has become popular in many transcriptions, some for -orchestra, one for violin and piano by Mischa Elman, and another for -cello and piano by Pablo Casals. - -_Dolly_ (1893-1896) is a suite of six pieces for children which the -composer originally wrote as a piano duet for Dolly Bardac, daughter of -a woman who later became Debussy’s wife. Henri Rabaud orchestrated this -suite in 1906, and it was first performed in connection with a ballet -staged at the Théâtre des Arts in Paris. In this music the composer -looks back on childhood and the world of the child with poetic insight -and occasionally a gentle sense of humor; in this respect this suite is -not unlike _Children’s Corner_ of Debussy. It opens with “Berceuse,” a -gentle melody for the woodwind, which Jacques Thibaud arranged for -violin and piano. This is followed by “Mi-a-ou,” a little quartet for -muted trumpets. A flute solo dominates “_Le Jardin de Dolly_,” while -“_Kitty Valse_” is a light and vivacious waltz tune. In “_Tendresse_” -the melody is first heard in strings. A tranquil middle section presents -the solo oboe above a harp accompaniment. The closing movement, “_Le Pas -espagnol_” is gay and brilliant music that pays homage to Chabrier, -composer of _España_. - -The _Pavane_, for orchestra, op. 50 (1887) is music of stately, classic -beauty over which hovers the Hellenic spirit so often found in Fauré’s -most significant works. Against an insistent rhythm, the flute offers -the haunting refrain of the Pavane. This dance melody is soon shared by -the other woodwind, after which it unfolds completely in violins and the -woodwind, other strings providing a rhythmic pizzicato accompaniment. A -transition in the strings then leads us back to the graceful mood and -the gentle lyricism of the Pavane melody. - -The same subdued and classic repose we find in the _Pavane_ -distinguishes another of Fauré’s popular compositions, the _Sicilienne_, -for cello and piano, op. 78 (1898). Transcriptions for orchestra of this -composition are even more famous than the original version. - - - - - Friedrich Flotow - - -Friedrich Freiherr von Flotow was born in Teutendorf, Mecklenburg, on -April 26, 1812. He was descended from a family that traced its nobility -back several centuries. After studying music in Paris with Anton Reicha -and Johann Pixis between 1828 and 1830, he wrote his first opera, _Peter -und Katharina_. Success came first with _Alessandro Stradella_ -introduced in Hamburg in 1844, and was solidified in 1847 with the opera -by which he is still remembered, _Martha_. From 1856 to 1863 he was -Intendant of the Schwerin Court Theater. He went into retirement in 1880 -and died in Darmstadt, Germany, on January 24, 1883. - -The ebullient melodies with which Flotow flooded his operas made him -extremely popular in his day. This same joyous lyricism keeps the -overtures to _Alessandro Stradella_ and _Martha_ fresh in the orchestral -repertory. - -_Alessandro Stradella_—introduced in Hamburg on December 30, 1844—was -based on a romantic episode in the life of a 17th century opera -composer; the libretto was by Wilhelm Friedrich. Stradella elopes with -Leonora, whose guardian hires assassins to kill the composer. But -Stradella’s singing has such an effect on the assassins that they are -incapable of murdering him. They let him go, and in the end the guardian -himself is moved to forgive the composer and sanction his union with -Leonora. - -The overture opens with a solemn chant for the brass (Stradella’s song -in the last act). Vigorous transitional material leads to a robust song -for full orchestra which is soon repeated expressively by the strings. A -sprightly tune for strings (the bell chorus of the second act) is given -prominent treatment and developed climactically. The mood now alternates -between lightness and gaiety with an occasional intrusion of a strong -dramatic effect. - -_Martha_ received its première in Vienna on November 25, 1847. The -libretto, by Friedrich Wilhelm Riese was based on a ballet-pantomime by -Vernoy de Saint-Georges. “Martha” is Lady Harriet in disguise as a -servant girl for the sake of an amusing escapade; and the opera is -concerned with her amatory adventures with Lionel, and that of her maid -with Plunkett, at the Richmond fair. The complications that ensue when -the men discover this deception are eventually happily resolved. - -The overture begins with a slow introduction which leads into a -_Larghetto_ section where considerable attention is paid to the main -melody of the quintet at the close of the third act, “_Mag der Himmel -euch vergeben_.” The tempo quickens as the lively country dances of the -opera are presented. A crescendo reaches towards a fortissimo -restatement of the main theme of the third-act quintet, and the overture -ends with a brief and energetic coda. - -Salon orchestras often present potpourris of this opera’s main melodies. -Two are always dominant in such potpourris. “The Last Rose of Summer” -(“_Qui sola, vergin rosa_”)—an aria sung by the heroine in the second -act—is a melody familiar to all; it is not by Flotow, but from an old -Irish song, “The Groves of Blarney,” set to a poem by Thomas Moore. The -second famous melody from _Martha_ is the beautiful tenor aria from the -third act, “_M’Appari_,” in which Lionel expresses his grief when he -feels he has lost Martha for good. - - - - - Stephen Foster - - -Stephen Collins Foster, America’s foremost song composer, was born in -Lawrenceville, near Pittsburgh, Pennsylvania on July 4, 1826. He -received no formal musical training. _Tioga Waltz_, in 1841, was his -first piece of music to get performed. About a year after that, Foster -published his first song, “Open Thy Lattice, Love.” His initial success -came with “Oh, Susanna!” for which he received only $100. But “Oh, -Susanna!” became so popular soon after its publication in 1848 that it -became the theme song (with improvised lyrics) of the Forty Niners on -their way to California. Beginning with 1848 he wrote songs for Ed -Christy’s Minstrels—at first allowing some of them to appear as -Christy’s own creations. It was within the context of the minstrel show -that such permanent Foster favorites as “Camptown Races” and “Old Folks -at Home” were first performed. Both songs were outstandingly successful -and, because of a favorable contractual arrangement with a New York -publisher, Foster was earning handsome royalties. Now feeling -financially secure, Foster married Jane Denny McDowell in 1850, a -relationship that was unhappy almost from the beginning. In 1860 Foster -came to New York with the hope of furthering his career as a composer. -But by now he was virtually forgotten by the public, and publishers paid -him only a pittance for his last songs, many of them mostly hack pieces. -Always disposed towards alcohol, Foster now became a habitual drunkard, -living in the most abject poverty in a miserable room on the Bowery. He -died at Bellevue Hospital on January 13, 1864. - -Foster was the composer of numerous songs which in various orchestral -arrangements are basic to the repertory of every salon or pop orchestra. -His greatest songs were inspired by the Negro; they are the eloquent -expressions of Northern sentiment about slavery in the South. Foster’s -most famous Negro songs are: “Old Folks at Home” (or “Swanee River”), -“Massa’s in de Cold, Cold Ground,” “My Old Kentucky Home,” and “Ol’ -Black Joe.” - -When Foster first wrote “Old Folks at Home” his inspiration was an -obscure Florida River by the name of “Pedee.” But while writing his song -he thought “Pedee” not sufficiently euphonious for his purpose. He went -to a map of Florida to find another river, came upon “Suwanee” which he -contracted to “Swanee.” - -Foster was also successful in the writing of sentimental ballads. Here -his most important songs were “Jeanie With the Light Brown Hair” -(written for and about his wife), and “Beautiful Dreamer.” - -Besides orchestral adaptations of individual songs, Foster’s music is -represented on orchestral programs by skilful suites, or ingenious -symphonic transcriptions of individual songs, by other composers. Arcady -Dubensky’s _Stephen Foster Suite_ is discussed in the section on -Dubensky, and Lucien Caillet’s _Fantasia and Fugue on “Oh, Susanna!”_ in -the Caillet section. Other composers to make symphonic use of Foster’s -melodies are: Mario Castelnuovo-Tedesco (_Humoresques on Foster -Themes_); Morton Guild (_Foster Gallery_); and Alan Shulman (_Oh, -Susanna!_). - - - - - Rudolf Friml - - -Rudolf Friml was born in Prague, Czechoslovakia, on December 7, 1879. He -received his musical training at the Prague Conservatory, after which he -toured Europe and America as assisting artist and accompanist for Jan -Kubelik, the noted violin virtuoso. In 1906, Friml established permanent -residence in the United States, making several appearances as concert -pianist, twice in the performance of his own Concerto in B-flat. He now -published piano pieces, instrumental numbers, and songs which attracted -the interest of two publishers, Gus Schirmer and Max Dreyfus. When, in -1912, Victor Herbert stepped out of an assignment to write the music for -the operetta _The Firefly_, both Schirmer and Dreyfus recommended Friml -as his replacement. _The Firefly_ made Friml famous. Until 1934 he -continued writing music for the Broadway stage, achieving further -triumphs with _Rose Marie_ in 1924, _The Vagabond King_ in 1925, and -_The Three Musketeers_ in 1928. After 1934, Friml concentrated his -activity on motion pictures in Hollywood. - -Friml belongs with those Broadway composers of the early 20th century -whose domain was the operetta modelled after German and Austrian -patterns. As long as the operetta was popular on the Broadway stage, -Friml remained a favorite, for his ingratiating melodies, pleasing -sentimentality, winning charm, and strong romantic flair were in the -best traditions of the operetta theater. But when the vogue for -operettas died down and the call came for American musicals with native -settings and characterizations, realistic approaches, and a greater -cohesion between text and music, Friml’s day was over. He has produced -nothing of significance since the middle 1930’s, and very little of -anything else. But the music he wrote for his best operettas has never -lost its appeal. - -_The Firefly_, book and lyrics by Otto Harbach, was introduced in New -York on December 2, 1912. The plot concerned a little Italian street -singer by the name of Nina (enchantingly played by Emma Trentini). She -disguises herself as a boy to get a job aboard a yacht bound for -Bermuda, and is first accused and then cleared of the charge of being a -pickpocket. Many years later she reappears as a famous prima donna when -she is finally able to win the wealthy young man with whom she had -fallen in love while working on the yacht. - -Orchestral potpourris from _The Firefly_ always include three of the -songs Emma Trentini helped to make famous: “Giannina Mia,” “The Dawn of -Love” and “Love is Like a Firefly.” The melodious duet, “Sympathy,” is -also popular. - -_The Donkey Serenade_, now regarded as one of the favorites from _The -Firefly_ score, was not in the original operetta when it was produced on -Broadway. Friml wrote it in collaboration with Herbert Stothart for the -motion picture adaptation of the operetta released in 1937 and starring -Jeanette MacDonald and Allan Jones. This appealing Spanish-type melody -is set against an intriguing rhythm suggesting the jogging movement of a -donkey; this rhythm precedes and closes the number, which has become as -celebrated in an instrumental version as it is as a song with lyrics by -Chet Forrest and Bob White. - -_Rose Marie_, book and lyrics by Otto Harbach and Oscar Hammerstein II, -came to Broadway on September 2, 1924 where it remained for more than a -year. The rest of the country became acquainted with this lovable -operetta at that time by means of four road companies. The setting is -the Canadian Rockies, and the love interest involves Rose Marie and Jim, -the latter falsely accused of murder. The Canadian Mounted Police, -headed by Sergeant Malone, help to clear Jim and to bring the love -affair of Rose Marie and Jim to a happy resolution. Selections in -orchestral adaptations most often heard from this operetta include two -of Friml’s most famous songs, the title number and “Indian Love Call”; a -third delightful song was found in “Totem Tom Tom.” _Rose Marie_ was -adapted for motion pictures three times, once in a silent version. - -_The Vagabond King_ had for its central character the French vagabond -poet of the 15th century, François Villon, who is made king for a day. -This musical was based on the romance of J. H. McCarthy, _If I Were -King_, adapted by Brian Hooker. _The Vagabond King_, which opened on -September 21, 1925, was one of Friml’s greatest successes, mainly -because of such rousing numbers as “The Song of the Vagabonds,” the -caressing waltz melody “Waltz Huguette,” and the love song “Only a -Rose,” all often heard in orchestral adaptations. _The Vagabond King_ -was made into motion pictures twice, most recently in 1956 starring -Kathryn Grayson and Oreste. - - - - - Julius Fučík - - -Julius Fučík was born in Prague, Czechoslovakia, on July 18, 1872. He -was a pupil of Antonin Dvořák in composition. After playing the bassoon -in the German Opera in Prague in 1893, he became bandmaster of the 86th -and 92nd Austrian Regiments in which he won renown throughout Europe. He -died in Leitmeritz, Czechoslovakia, on September 25, 1916. Fučík wrote -numerous dance pieces and marches for band. The most popular of these is -the stirring march, _Entrance of the Gladiators_, which became popular -throughout the world and is still frequently played by salon orchestras -as well as bands. - - - - - Sir Edward German - - -Sir Edward German was born Edward German Jones in Whitchurch, England, -on February 17, 1862. He attended the Royal Academy of Music in London -where, in 1895, he was elected Fellow. Meanwhile, in 1888-1889 he became -the musical director of the Globe Theater in London. The incidental -music he wrote there that year for Richard Mansfield’s production of -_Richard III_ proved so popular that Sir Henry Irving commissioned him -to write similar music for his own presentation of _Henry VIII_. German -subsequently wrote incidental music for many other plays including -_Romeo and Juliet_ (1895), _As You Like It_ (1896), _Much Ado About -Nothing_ (1898) and _Nell Gwynn_ (1900). He also produced a considerable -amount of concert music, including two symphonies and various suites, -tone poems, rhapsodies, and a march and hymn for the Coronation of -George V in 1911. German was knighted in 1928, and in 1934 he received -the Gold Medal of the Royal Philharmonic Society. He died in London on -November 11, 1936. - -German is most famous for his incidental music for the stage. He -combined a graceful lyricism with a consummate skill in orchestration. -He also possessed to a remarkable degree the capacity of simulating the -archaic idioms of old English music of the Tudor and Stuart periods. -Thus the greatest charm of his writing lies in its subtle atmospheric -recreation of a bygone era; but a lightness of touch and freshness of -material are never sacrificed. - -Of his incidental music perhaps the most famous is that for -Shakespeare’s _Henry VIII_, introduced at the Lyceum Theater in London -in 1892 in Sir Henry Irving’s production. German’s complete score -consists of an overture, five entr’actes, a setting of the song “Orpheus -and his Lute” and other pieces. But what remain popular are three -delightful old English dances from the first act; the style and spirit -of old English music are here reproduced with extraordinary effect. The -three are: “Morris Dance,” “Shepherd’s Dance,” and “Torch Dance.” - -The best sections of his incidental music to Anthony Hope’s _Nell -Gwynn_, produced at the Prince of Wales Theater in 1900, also are -revivals of old English dances: “Country Dance,” “Merrymaker’s Dance,” -and “Pastoral Dance.” Other delightful dances, often in an old English -folk style, are found in his incidental music to _As You Like It_ -(“Children’s Dance,” “Rustic Dance,” and “Woodland Dance”) and _Romeo -and Juliet_ (“Pavane” and “Torch Dance”). - -German also wrote several operettas, the most famous being _Merrie -England_, text by Basil Hood, first performed at the Savoy Theater in -London on April 2, 1902. The setting is Elizabethan England, and the -plot involves the love affair of Sir Walter Raleigh and the Queen’s Maid -of Honor which upsets Queen Elizabeth since she herself has designs on -Sir Walter. German’s score is filled with the most delightful old world -jigs, country dances, glees, and melodies imitating the style of -old-time madrigals. In addition, there is here an impressive patriotic -song (“The Yeomen of England”), Queen Elizabeth’s effective air (“O -Peaceful England”), a rousing drinking song by Sir Walter Raleigh, a -poignant ballad by the Maid of Honor, and an equally moving love duet by -the Maid of Honor and Sir Walter Raleigh. Because of its effective -music, rich with English flavors, _Merrie England_ has survived as one -of the most popular English operettas of the 20th century, and has often -been revived in London. - -Among German’s many concert works for orchestra one of the most famous -is the _Welsh Rhapsody_ (1902). This is a skilful symphonic adaptation -of Welsh tunes, the last of which (“Men of Larech”) is utilized by the -composer to bring his rhapsody to a powerful culmination. The other -Welsh folk songs used earlier by the composer in this rhapsody are -“Loudly Proclaim O’er Land and Sea,” “Hunting the Hare,” “Bells of -Aberdorry” and “David of the White Rock.” - - - - - George Gershwin - - -George Gershwin was born in Brooklyn, New York on September 26, 1898. -Though he received serious musical training in piano from Charles -Hambitzer, and in harmony and theory from Edward Kilenyi, he early set -his sights on popular rather than serious music. When he was fifteen he -found a job as song plugger and staff pianist in Tin Pan Alley where he -soon began writing songs. The first to get published was “When You Want -’Em You Can’t Get ’Em” in 1916; in the same year another of his songs, -“The Making of a Girl” appeared for the first time on the Broadway -stage, in _The Passing Show of 1916_. Gershwin’s first complete score -for Broadway was _La, La, Lucille_, and his first smash song hit was -“Swanee,” both in 1919. Between 1920 and 1924 Gershwin wrote the music -for five editions of the George White _Scandals_ where he first -demonstrated his exceptional creative gifts; his most famous songs for -the _Scandals_ were “I’ll Build a Stairway to Paradise” and “Somebody -Loves Me.” For one of the editions of the _Scandals_ he also wrote a -one-act Negro opera to a libretto by Buddy De Sylva—originally called -_Blue Monday_ but later retitled _135th Street_. - -Late in 1923, Paul Whiteman, the orchestra leader, commissioned Gershwin -to write a symphonic work in a jazz style for a concert Whiteman was -planning for Aeolian Hall, in New York. That jazz composition—introduced -on February 12, 1924—was the _Rhapsody in Blue_ with which Gershwin -achieved world renown, and which once and for all established the jazz -idiom and jazz techniques as significant material for serious musical -deployment. From then on, until the end of his life, Gershwin continued -to write concert music in a popular style—growing all the time in -technical assurance, in the command of jazz materials, and in the -inventiveness of his melodic, rhythmic, and harmonic writing. In the -eyes of the world he assumed a position of first significance among -American composers. For the symphony orchestra he wrote the Piano -Concerto in F, _An American in Paris_, _Cuban Overture_, _Variations on -I Got Rhythm_, and the _Second Rhapsody_; for solo piano, the three -piano preludes; for the stage his monumental folk opera, _Porgy and -Bess_. - -While devoting himself to the concert field, Gershwin did not neglect -the popular Broadway theater. He produced a library of remarkable songs -for such productions as _Lady Be Good_ (1924), _Oh Kay!_ (1926), _Funny -Face_ (1927), and _Girl Crazy_ (1930). The best of these included -“Fascinating Rhythm,” “Lady Be Good,” “Someone to Watch Over Me,” “Clap -Yo’ Hands,” “’S Wonderful,” “I Got Rhythm,” “Embraceable You,” and “But -Not for Me.” The lyrics for these and other Gershwin song classics were -written by his brother, Ira. - -In 1930 Gershwin revealed a fresh bent for mockery and satire, together -with a new skill for more spacious musical writing than that required -for a song, in _Strike Up the Band_, a satire on war. These qualities in -Gershwin’s music came to full ripeness in 1931 with the political satire -_Of Thee I Sing!_, the first musical ever to win the Pulitzer Prize for -drama. - -In 1931, Gershwin wrote his first original score for motion pictures, -_Delicious_. When he returned to Hollywood in 1936 he settled there -permanently and wrote the music for several delightful screen musicals, -among these being _Damsel in Distress_, _Shall We Dance_, and _The -Goldwyn Follies_. The songs he wrote for the last-named revue (they -included “Love Walked In” and “Love Is Here to Stay”) were the last -pieces of music he was destined to write. He died in Hollywood, -California on July 11, 1937, a victim of a cystic tumor on the right -temporal lobe of the brain. His screen biography, _Rhapsody in Blue_, -was produced in 1945. In 1951, the screen musical, _An American in -Paris_ (whose score included several of Gershwin’s songs as well as the -tone poem that gave this picture its title) received the Academy Award -as the best picture of the year. _Porgy and Bess_ was adapted for motion -pictures, in a Samuel Goldwyn production, in 1959. - -It would be difficult to overestimate Gershwin’s importance in American -music. To the popular song he brought the technical skill of a -consummate musician, endowing it with a rhythmic, melodic and harmonic -language it had rarely before known. By that process he often lifted it -to the status of true art. To serious music he contributed the vitality -and the spirit—as well as the techniques and idioms—of American popular -music; serious musicians throughout the world were inspired by his -example to create a serious musical art out of the materials of American -popular music. Since his untimely death, his artistic stature has grown -in all parts of the civilized world. There will be few today to deny him -a place of honor among America’s foremost composers. - -_An American in Paris_ is a tone poem for symphony orchestra inspired by -a European vacation in 1928. It received its world première in New York -on December 13, 1928, Walter Damrosch conducting the New York -Philharmonic Orchestra. In this music the composer describes the -nostalgia of an American tourist for home, and his experiences as he -strolls along the boulevards of Paris. It opens with a “walking theme,” -a sprightly little tune for strings and oboe; our American is beginning -his stroll. As he walks he hears the piercing warnings of taxi horns: -Gershwin’s score calls for the use of actual Parisian taxi horns. The -American passes a café, and stops for a moment to listen to the sounds -of a music-hall melody, presented by the trombones. Then he resumes his -stroll, as a second walking subject is heard in the clarinet. A solo -violin (which Deems Taylor interpreted as a young lady accosting our -tourist!) provides a transition to two main melodies in both of which -the American’s growing feeling of homesickness finds apt expression. The -first is a blues melody for muted trumpets; the second a Charleston -melody for two trumpets. The blues melody receives climactic treatment -in full orchestra. After a hasty recollection of the second walking -theme, the composition comes to a vigorous conclusion. As Mr. Taylor -goes on to explain, the tourist now decides “to make a night of it. It -will be great to get home, but meanwhile, this is Paris!” - -The Concerto in F, for piano and orchestra, was the immediate -consequence of Gershwin’s phenomenal success with the _Rhapsody in -Blue_. The Concerto was commissioned in 1925 by the New York Symphony -Society and its conductor, Walter Damrosch. They introduced it in -Carnegie Hall, on December 3, 1925, with the composer as soloist. This -work, like its eminent predecessor, is in a jazz style; but unlike the -first version of the _Rhapsody in Blue_ it boasts Gershwin’s own -orchestration. (From this time on Gershwin would always prepare his own -orchestrations for his serious concert music.) There are three -movements. The first (_Allegro_) begins with a Charleston theme shared -by the woodwind and timpani. The main body of this movement is given -over to a spicy jazz tune first heard in the bassoon and after that in -full orchestra; to a tender melody for solo piano; and to a lilting -waltz for strings with decorative treatment by the piano. The second -movement (_Andante con moto_) is lyrical throughout, and at times subtly -atmospheric and poetic. Muted trumpet, against harmonies provided by -three clarinets, set the romantic stage for the felicitous lyrical -thoughts that ensue: a brisk, jazzy, strikingly rhythmic idea for the -piano; and a broad, sensual melody for strings. This movement ends in -the same sensitive atmospheric mood with which it began. In the finale -(_Allegro con brio_) dynamic forces are released. Main themes from the -first two movements are recalled with a particularly effective -recapitulation of the second theme of the first movement in the strings. - -The _Cuban Overture_ was written in 1932 after a brief visit to Havana -and was introduced at the Lewisohn Stadium in New York, Albert Coates -conducting, on August 16, 1932. This is a concert overture for orchestra -utilizing native percussion Cuban instruments. The work has three -sections played without interruption. The first consists of two -melodies, a Cuban theme in strings followed by a second lyrical subject -which is placed against the contrapuntal background of fragments from -the first Cuban theme. A solo clarinet cadenza leads to the middle -section which is a two-voice canon. The ensuing finale makes -considerable use of earlier thematic material and ends with an -electrifying presentation of a fully projected rumba melody in which -prominent use is made of Cuban percussion instruments (cuban stick, -bongo, gourd, and maracas). - -The folk opera, _Porgy and Bess_, was Gershwin’s last work in the field -of serious music—and his greatest. It took Gershwin over two years to -write his opera, a period during which he spent some time in the opera’s -setting of Charleston, South Carolina, absorbing not only local color -but also native Negro music whose style he skilfully assimilated into -his own writing. He completed his opera in the summer of 1935; on -September 30 its world première took place in Boston; and on October 10, -it began its New York run. It cannot be said that either critics or -audiences were fully aware at the time that they were hearing a -masterwork. Some of the Boston and New York scribes found things to -admire in the opera, but most of them were highly critical. Olin Downes -said “it does not utilize all the resources of the operatic composer or -pierce very often to the depths of the pathetic drama.” Lawrence Gilman -found Gershwin’s emphasis on the popular element a disturbing blemish -while Virgil Thomson did not hesitate at the time to refer to it as “a -fake.” The run of 124 performances in New York (followed by a -three-month tour) represented a box-office failure. - -Gershwin himself remained convinced he had written a work of first -importance, but regrettably he did not live to see his faith in his -opera justified beyond his wildest hopes or aspirations. Revived in New -York in 1941 it had an eight-month run, the longest of any revival in -Broadway history. More important still, many critics revised earlier -estimates. Virgil Thomson now spoke of it as “a beautiful piece of music -and a deeply moving play for the lyric theater.” Olin Downes said that -Gershwin had here “taken a substantial step, and advanced the cause of -native opera.” The New York Music Critics Circle singled it out as the -most important musical revival of that season. - -But still greater triumphs awaited the opera. In 1952, a Negro cast -toured Europe under the auspices of the State Department. Before that -tour was over, several years later, the opera had been heard throughout -Europe, the Near East, in countries behind the Iron Curtain, the Soviet -Union and Latin America. Everywhere it enjoyed acclaim realized by few -contemporary operas anywhere. There were not many dissenting voices in -the universal judgment that _Porgy and Bess_ was one of the most -significant operas of the twentieth century, and certainly one of the -most popular. And its popularity was further enhanced by the stunning -production given it by Samuel Goldwyn in motion pictures in 1959. - -The text of the opera was based on the play _Porgy_, by Dorothy and Du -Bose Heyward, produced by the Theater Guild in New York in 1927, which -in turn had been adapted from Du Bose Heyward’s novel of the same name. -The opera text and lyrics were written by Du Bose and Dorothy Heyward -with several additional lyrics by Ira Gershwin. The tragic love affair -of the cripple, Porgy, and Bess, a lady of easy virtue, is set in the -Negro tenement, Catfish Row, in Charleston, South Carolina. Porgy has -found true happiness with Bess for the first time in his life. When -Crown, Bess’ old sweetheart returns to claim her, Porgy kills him but -manages to elude the law after having been detained a while. Upon -returning to Catfish Row he discovers that his Bess had succumbed to the -lure of dope, and the gay life in New York offered her by Sportin’ Life. -Heartbroken, Porgy jumps in his goat cart to follow Bess to New York and -try to bring her back. - -The main melodic sections of the opera have provided the material for -several delightful suites. The most famous is _A Symphonic Picture_ by -Robert Russell Bennett, commissioned by Fritz Reiner, the conductor of -the Pittsburgh Symphony in 1942. Bennett created out of the score an -integrated tone poem faithful to Gershwin’s own harmonic and orchestral -intentions. The tone poem (or suite) is made up of the following -sequences in the order of their appearance: Scene of Catfish Row with -the peddler’s calls; Opening Act II; “Summertime” and Opening of Act I; -“I Got Plenty of Nuttin’”; Storm Music; “Bess, You Is My Woman Now”; “It -Ain’t Necessarily So” and the finale, “Oh Lawd I’m On My Way.” - -George Gershwin himself prepared an orchestral suite from his opera -score in 1936, and conducted it in performances with several major -American orchestras in 1936-1937. This manuscript, long forgotten, was -found in the library of Ira Gershwin, and was revived in 1959 by Maurice -Abravanel and the Utah Symphony. Now named _Catfish Row_, to distinguish -it from other suites prepared by other musicians, it had five sections: -“Catfish Row,” “Porgy Sings,” “Fugue,” “Hurricane,” and “Good Morning, -Brother.” - -Beryl Rubinstein transcribed five of the principal melodies from the -opera for piano, and Jascha Heifetz for violin and piano. - -The three piano _Preludes_ are famous not only in their original version -but also in transcriptions for symphony orchestra. The first prelude, in -B-flat major, is rhythmically exciting, highlighting the basic elements -of the tango and the Charleston. The second, in C-sharp minor, is the -most famous of the set. This is an eloquent three-part blues melody. The -concluding prelude, in E-flat major, once again like the first one has -greater rhythmic than melodic interest, a lively expression of -uninhibited good feelings. Besides transcriptions for orchestra by Roy -Bargy, Gregory Stone and several others, these preludes have been -adapted for violin and piano by Heifetz, for trumpet and piano by -Gregory Stone, and for saxophone and piano by Sigurd Rascher. - -The _Rhapsody in Blue_ was Gershwin’s first work for symphony orchestra -and it is the composition with which he first won fame, fortune, and -artistic significance. It was commissioned by Paul Whiteman for an -all-American music concert planned by that bandleader for Aeolian Hall, -New York, on February 12, 1924. With the composer at the piano, the -_Rhapsody_ appeared as the tenth and penultimate number of a long -program, but it was the work that gave Whiteman’s concert its main -interest and significance. The critics the following day were divided in -their opinion. On the one hand, Henry T. Finck considered it superior to -the music of Schoenberg and Milhaud; equally high words of praise came -from Gilbert W. Gabriel, William J. Henderson, Olin Downes, Deems -Taylor, and Carl van Vechten. In the opposite camp stood Pitts Sanborn -and Lawrence Gilman who described the work as “meaningless repetition” -and “trite, feeble, and conventional.” - -But the opposing opinions notwithstanding, the _Rhapsody in Blue_ -immediately became one of the most famous pieces of serious music by an -American. It was transcribed for every possible instrument or groups of -instruments; it was adapted several times for ballet; it was used in a -motion picture. Royalties from the sale of sheet music and records -brought in a fortune. Through the years it has never lost its -popularity; it is still one of the most frequently performed American -symphonic works. - -Its prime significance rests in the fact that it decisively proved that -it was possible to produce good music within ambitious structures -utilizing idioms and techniques of American jazz. The _Rhapsody in Blue_ -was by no means the first composition to do so; it was preceded by works -by Erik Satie, Stravinsky, and Milhaud among others. But due to its -enormous popular appeal it was the most influential composition of all -in convincing the world’s foremost composers that jazz could be used -with serious intent. Undoubtedly it was largely as a result of the -triumph of the _Rhapsody in Blue_ that world-famous composers like -William Walton, Constant Lambert, Maurice Ravel, Kurt Weill and Paul -Hindemith among many others produced serious jazz music. - -Much has been said about its diffuseness of structure, and the inept way -its material is developed. But for all its faults, the _Rhapsody in -Blue_ remains a vital, dynamic and at times an inspired piece of music. -It is filled with wonderful lyricism; its rhythmic cogency is -irresistible; its identity is completely American. - -The work opened with an ascending seventeen-note slide by the clarinet -which culminates in the saucy, first theme. A transition in the wind -instrument leads to another brisk, jaunty idea for piano. After some -development, and several ascending chords in the piano we get to the -heart of the rhapsody and to one of the most famous melodies in all -contemporary symphonic music: a spacious, rhapsodic song for the -strings. The full orchestra repeats it. Two earlier themes are now -briefly recalled, the first theme by the full orchestra, the second by -the piano. A brief, dramatic coda brings the rhapsody to an exciting -conclusion. - -For the Paul Whiteman concert of 1924, Ferde Grofé provided the -orchestration from a two-piano version handed him by the composer. -Gershwin later prepared his own orchestration, and it is this version -that is now given by all the major symphonic organizations. - -The _Second Rhapsody_ for orchestra succeeded the more popular _Rhapsody -in Blue_ by eight years; it was first performed by the Boston Symphony -under Koussevitzky on January 29, 1932. Gershwin originally called this -work _Rhapsody in Rivets_ because the opening measures present a -strongly rhythmic subject in solo piano suggesting riveting. This “rivet -theme” is then taken over by the full orchestra, after which we hear a -rumba melody. These ideas are then developed. A piano cadenza brings on -a spacious melody, first in strings, and then in brass. All this -material is amplified before the rhapsody is swept to an exciting end. - -This rhapsody was the outgrowth of a six-minute sequence written by the -composer for the motion picture, _Delicious_. The sequence was intended -to describe the sights and sounds of a city. In the picture only one of -the six minutes of this music was retained, but Gershwin liked the rest -of it well enough to expand it into a major symphonic work. - -The _Variations on I Got Rhythm_, for piano and orchestra, was written -for a tour of one-night stands made by Gershwin throughout the United -States in all-Gershwin programs. Its first performance took place in -Boston on January 14, 1934. The main subject is a famous Gershwin song, -“I Got Rhythm” which Ethel Merman made famous in the musical comedy -_Girl Crazy_. The symphonic work begins with a four-note ascending -phrase from the first measure of the song’s chorus, presented by solo -clarinet. The theme is then taken over by solo piano and after that by -full orchestra, after which the entire chorus is presented by the piano. -In the ensuing variations the composer changes not only the basic -structure of the song, melodically and rhythmically, but also its mood -and feeling, traversing the gamut of emotion from melancholy to spirited -gaiety. - -Still another remarkably effective symphonic adaptation of “I Got -Rhythm” was made by Morton Gould, and introduced by him with his -orchestra over the CBS radio network in 1944. - -Gershwin wrote two marches, both with satirical overtones, which are -often given at “pop concerts.” Each was meant for a musical comedy. -“Strike Up the Band” comes from the musical comedy of the same name, -produced on January 14, 1930 starring Clark and McCullough. This was a -stinging satire on war and international diplomacy, with America -embroiled in a conflict with Switzerland over the issue of chocolates. -The march, “Strike Up the Band,” helps deflate some of the pomp and -ceremony of all martial music. - -“Wintergreen for President” comes from _Of Thee I Sing_, the -epoch-making satire on politics in Washington, D.C., first produced on -December 26, 1931. “Wintergreen for President” is the music accompanying -a political torchlight parade whose illuminated signs read “Even Your -Dog Loves Wintergreen” and “A Vote for Wintergreen Is a Vote for -Wintergreen” and so on. The march music carries over the satirical -implications of this procession by quoting such tunes as “Hail, Hail the -Gang’s All Here,” “Tammany,” “A Hot Time in the Old Town Tonight” and -“Stars and Stripes Forever.” This music even carries a hasty -recollection of Irish and Jewish music to suggest that Wintergreen is a -friend of both these people. - -Gershwin’s greatest songs are often performed in orchestral -transcriptions at all-Gershwin concerts and other “pop performances,” -sometimes singly, and sometimes in various potpourris. Besides songs -already mentioned in the first part of this section, Gershwin’s greatest -ones include the following: “Bidin’ My Time” from _Girl Crazy_; “I’ve -Got a Crush On You” from _Strike Up the Band_; “Let’s Call the Whole -Thing Off” from _Shall We Dance_; “Liza” from _Show Girl_; “The Man I -Love,” originally meant for _Lady Be Good_ but never used there; “Mine” -from _Let ’Em Eat Cake_; the title song from _Of Thee I Sing_; “Soon” -from _Strike Up the Band_; “That Certain Feeling” from _Tip Toes_; and -“They Can’t Take That Away From Me” from _Shall We Dance_. Among those -who have written orchestral medleys of Gershwin’s songs are Nathan van -Cleve, Fred von Epps, Claude Thornhill, David Broekman, Irving Brodsky, -George B. Leeman, and Nathaniel Finston. - - - - - Henry F. Gilbert - - -Henry Franklin Belknap Gilbert was born in Somerville, Massachusetts, on -September 26, 1868. He attended the New England Conservatory, and -studied composition privately with Edward MacDowell, before playing the -violin in various theaters. For many years music was a secondary pursuit -as he earned his living in a printing establishment, a real-estate -agent, factory foreman, and finally an employee in a music-publishing -firm. A hearing in Paris of Gustave Charpentier’s opera, _Louise_, -proved such an overpowering experience that it inspired him to devote -himself henceforth to music alone. In 1902 he helped found in America -the Wa-Wan Press which promoted nationalism in American music and -published Gilbert’s first works. In these a strong emphasis was placed -by the composer upon American folk music and American folk idioms. In -1903 he wrote _Humoresque on Negro Minstrel Tunes_. After that came his -famous _Comedy Overture on Negro Themes_ (1905), the symphonic ballet -_The Dance in Place Congo_ (1906), the _Negro Rhapsody_ (1913), and -_Indian Sketches_ (1921). Here native elements were skilfully fused into -a style that was Romantic to produce music that remains appealing for -its freshness and vitality. Towards the end of his life, Gilbert was an -invalid. Nevertheless, in 1927, he traveled to Germany in a wheel-chair -to attend a performance of his _Dance in Place Congo_ at the Festival of -the International Society for Contemporary Music in Frankfurt. He died -in Cambridge, Massachusetts, on May 19, 1928. - -The _Comedy Overture on Negro Themes_ (1905) is one of Gilbert’s most -frequently performed compositions. It is made up of five sections played -without interruption. The composer goes on to explain: “The first -movement is light and humorous, the theme being made from two -four-measure phrases taken from Charles L. Edwards’ book _Bahama Songs -and Stories_.... This is followed by a broader, and somewhat slower, -phrase. I have here used the only complete Negro tune which occurs in -the piece ... formerly used as a working song by roustabouts and -stevedores on the Mississippi River steamboats in the old days.... Next -comes a fugue. The theme of this fugue consists of the first four -measures of the Negro Spiritual ‘Old Ship of Zion.’... It is given out -by the brass instruments and interspersed with phrases from the -roustabouts’ song.... After this a short phrase of sixteen measures -serves to reintroduce the comic element. There is a repetition of the -first theme and considerable recapitulation, which leads finally to the -development of a new ending or coda, and the piece ends in an orgy of -jollity and ragtime.” - -_Dance in Place Congo_ (1906) is both a ballet and a tone poem for -orchestra. Its first version was a pantomime ballet, but soon thereafter -the composer adapted his score into a composition for orchestra. The -tone poem—describing the barbaric revels on a late Sunday afternoon of -slaves in Place Congo, a section on the outskirts of New Orleans—opens -in a dark mood which achieves a climax with an outcry in the orchestra. -At this point a bamboula melody is heard in full orchestra. It is -permitted to gain in intensity until it acquires barbaric ferocity. When -the passions are spent, a beautiful romantic section unfolds, -occasionally interrupted by a recall of the bamboula theme. Various -Negro songs and dances are then presented over an insistent rhythm. The -somber mood of the opening is brought back to conclude the composition. - -_The Indian Sketches_ for orchestra (1921) presents several facets of -American-Indian life. “They are,” explains the composer, “for the most -part not musical pictures of definite incidents so much as they are -musical mood pictures.” There are six sections. The first, a prelude, is -music of savage power. This is followed by the subjective music of the -“Invocation,” a prayer or supplication of the Great Spirit. “Song of the -World” briefly develops a cry of the Kutenai Indians, and “Camp Dance” -is a scherzo portraying the lighter side of Indian life. “Nocturne” is a -romantic description of the dark forests alive with the distant sounds -of birds and animals. The suite concludes with the “Snake Dance,” -suggested by a prayer dance for rain of the Hopi Indians in Arizona. - - - - - Don Gillis - - -Don Gillis was born in Cameron, Missouri, on June 17, 1912. He was -graduated from Christian University at Fort Worth, Texas in 1936, after -having engaged in various musical activities including the direction of -a band and a symphony orchestra, and the writing of two musical comedies -produced at the University. Following the completion of his education he -became a member of the faculty of Christian University and Southwest -Baptist Seminary; served as a trombonist and arranger for a Fort Worth -radio station; and played the trombone in the Fort Worth Symphony. In -1944 he became a producer for the National Broadcasting Company in New -York, taking charge of many important programs including those of the -NBC Symphony. - -As a composer of symphonies and other orchestral compositions Gillis -reveals a refreshing sense of humor as well as a delightful bent for -whimsy, qualities which make some of his works ideal for programs of -light music. He has often drawn inspiration and materials from American -folk music and jazz, consistently producing music that combines sound -musical values with sound entertainment. “My feeling,” he has said, “is -that music is for the people and the composer’s final aim should be to -reach them. And since the people whistle and sing, I should like them to -whistle and sing my music.” Thus Gillis aims for simplicity, sincere -emotions, and sheer fun. “I have tried to write so that there will be a -feeling of enjoyment in the fun of the thing.” - -_Portrait of a Frontier Town_, a suite for orchestra (1940), is a -tuneful composition consisting of five short movements. The title of -each of these provides the clue to the programmatic content of the -music. The first, “Chamber of Commerce,” portrays the activities of such -an organization in a typical American town. “Where the West Begins” -tells of the opening of the West through two significant musical -subjects, the first for strings, and the second for oboe, flute, and -clarinet. “Ranch House Party” is described in the score as “brightly—in -a gay manner.” A jovial melody first given by the full orchestra gives -prominent attention to percussion instruments. This is followed by a -mood picture, “Prairie Sunset” in which the English horn, answered by -the clarinet, presents the main melody. The suite concludes with “Main -Street Saturday Night,” in which gaiety and abandon alternate with -suggestions of nostalgia. - -_Symphony No. 5½_ (1947), is one of the composer’s wittiest works which -he himself subtitled as “a symphony for fun.” It consists almost -entirely of jazz melodies, some treated in burlesque fashion; the work -also quotes some famous melodies in a facetious manner. The four -movements have whimsical titles: “Perpetual Emotion,” “Spiritual?”, -“Scherzophrenia” and “Conclusion.” - - - - - Alberto Ginastera - - -Alberto Ginastera was born in Buenos Aires, Argentina, on April 11, -1916. He was graduated with honors from the National Conservatory in his -native city where, in 1953, he became professor. In 1946 he visited the -United States remaining a year on a Guggenheim Fellowship. Ginastera’s -music combines musical elements native to Argentina with modern -techniques and idioms, and includes ballets, chamber music, a _Pastoral -Symphony_ and other works for orchestra, and pieces for the piano. - -The _Dances_ from the ballet, _Estancia_ (1941) is among his most -popular works. The ballet, choreography by George Balanchine, was first -introduced by the Ballet Caravan. It describes life on an “estancia,” an -Argentine ranch, tracing the activities of its principal character -through a single day from dawn of one day to dawn of the next. The -orchestral dances are rich in native melodies and rhythms, presenting -the various dance sequences in “stylized version.” Two dances are -especially popular: “Dance of the Wheat” and “Malambo.” - - - - - Alexander Glazunov - - -Alexander Glazunov was born in St. Petersburg, Russia, on August 10, -1865. As a boy he studied music privately while attending a technical -high school. At fifteen he became a pupil of Rimsky-Korsakov in harmony, -counterpoint and orchestration. Such was his progress that only one year -later he completed a gifted symphony which was performed in St. -Petersburg in 1882 and acclaimed by several eminent Russian musicians. -Between that year and 1900, Glazunov produced most of the works which -won him renown not only in Russia but throughout the rest of the music -world: symphonies, string quartets, numerous shorter orchestral works, -and compositions in a lighter style. Here he was the traditionalist who -placed reliance on palatable melodies, sound structures, and heartfelt -emotion. For these reasons much of what he has written falls gracefully -into the light-classic category. After 1914 he wrote little, nothing to -add to his stature. Meanwhile he achieved renown first as professor then -as director of the St. Petersburg Conservatory. He also made successful -appearances as conductor following his debut at the Paris Exposition in -1899; his first appearance in the United States took place in Detroit on -November 21, 1929. In 1928, Glazunov left his native land for good, and -from then until his death on March 21, 1936 his home was in Paris. - -The _Carnival Overture_, or _Carnaval_, op. 45 (1894) is a brilliant -picture of a festival. It opens with a lively dance melody in violins -and woodwind. This is followed by a more stately melody in woodwind and -violins against a counter-melody in cellos and bassoons. A brief -transition leads to the main body of the overture built out of two basic -ideas. The first is a gay dance tune in flutes and clarinets; the second -provides a measure of contrast through a more reflective subject for -oboes, clarinets, horns, and cellos. - -_From the Middle Ages_—a suite for orchestra, op. 79 (1902)—evokes the -settings and backgrounds of the middle ages in four sections. The first -is a “Prelude,” portraying a castle by the sea, the home of two lovers. -Death plays the violin in the second movement, a “Scherzo”; he urges the -people to dance to his abandoned fiddling. In the third part, -“Serenade,” a troubadour sings his tune. The suite ends with “The -Crusaders,” in which soldiers are marching off to war, while priests -chant a solemn blessing. - -The original title of _Ouverture solennelle_, op. 73 (1901) was -_Festival Overture_; the music throughout has a festive character. After -preliminary chords, woodwind and horns present a subject soon taken over -and amplified by the strings. The main part of the overture begins with -an expressive and soulful melody for the violins. The second theme is -first given by the clarinets against a vigorous accompaniment. After the -first theme receives elaboration, the overture concludes with a forceful -coda. - -The orchestral suite _Raymonda_, op. 57a, comes from the score to a -ballet with choreography by Marius Petipa; it was introduced in St. -Petersburg on January 17, 1898. The composer’s first work for the stage, -this ballet has for its central character the lovely Raymonda, betrothed -to a knight. After the knight has gone off to join the Crusade and fight -the Saracens, Raymonda is wooed by a Saracen. When she rejects him he -makes an attempt to abduct her. Just then the knight returns, and slays -the culprit. The lovers thus reunited, are now able to celebrate their -nuptials. - -The orchestral suite is a staple in the light-classical repertory. It -consists of the following sections: I. “Introduction.” Raymonda’s sorrow -at the absence of her lover. A scene in Raymonda’s castle where pages -indulge in athletics. II. “_La Traditrice._” The dance of pages and -maidens. III. “_Moderato._” Fanfares announce the arrival of a stranger. -Joy and general animation. As Raymonda enters, girls throw flowers in -her path. IV. “_Andante._” Raymonda is playing the lute outside the -castle in the moonlight. Raymonda dances. VI. “Entr’acte; _Valse -fantastique_.” Raymonda dreams she is in fairyland with her beloved. -VII. “_Grand Pas d’action._” At a feast given by Raymonda at her castle -the Saracen appears, woos her, and is spurned. VIII. “Variation.” -Raymonda defies the Saracen, who now tries to dazzle her with his -wealth. IX. “Dance of the Arab Boys.” “Dance of the Saracens.” X. -“Entr’acte.” The triumph of love and the festivities attending the -nuptials. - -_Scènes de ballet_, suite for orchestra, op. 52 (1894) is made up of -eight parts. The first, “_Préamble_,” has an extended introduction to a -main section in which the main subject is given by the violins. -“Marionettes,” offers a lively theme for piccolo and glockenspiel with -which this section opens and closes; midway comes a trio with main theme -in first violins. The third part is a “Mazurka” for full orchestra. The -fourth is a “Scherzo,” its principal idea in muted strings and woodwind. -An expressive melody for cellos and violins is the heart of the fifth -section, “_Pas d’action_,” while the sixth, “_Dame orientale_” is a -sensuous, exotic dance melody set against the insistent beats of a -tambourine. The ensuing “_Valse_” begins with an introduction following -which the main waltz melody is presented by the violins. The suite -concludes with a dashing “Polonaise” for full orchestra. - -The orchestral suite, _The Seasons_, op. 67—like that of -_Raymonda_—comes from a ballet score. The ballet—choreography by Marius -Petipa—was first performed in St. Petersburg in 1900. The scenario -interprets the four seasons of the year in four scenes and an -apotheosis. First comes Winter and her two gnomes; they burn a bundle of -faggots, whose heat causes Winter to disappear. Spring now arrives with -Zephyr, Birds and Flowers. All of them join in a joyous dance. When -Summer comes he is in the company of the Spirit of the Corn. Various -flowers perform a dance, then fall exhausted on the ground. Satyrs and -fauns, playing on pipes, try to recapture the Spirit of the Corn who is -protected by the flowers. In the Autumn scene, Bacchantes perform a -dance in the company of the Seasons. The Apotheosis presents an idyllic -scene with stars shining brightly in the sky. - -The orchestral suite adapted from the ballet score by the composer for -concert purposes is one of his best known compositions. It consists of -the following sections: I. “Winter: Introduction; The Frost; The Ice; -The Hail; The Snow.” II. “Spring.” III. “Summer: Waltz of the -Cornflowers and Poppies; Barcarolle; Variation; Coda.” IV. “Autumn: -Bacchanale—Petit Adagio. Finale—The Bacchantes and Apotheosis.” - -The _Valse de concert_ Nos. 1 and 2, D major and F major respectively, -opp. 47 and 51, are among the composer’s most delightful shorter pieces. -The first waltz, written in 1893, begins with a brief introduction after -which the principal waltz melody is heard first in violas and clarinets, -and subsequently in violins. A second theme is then offered by the -clarinets against plucked strings, after which the first waltz -reappears. The second waltz came one year after the first. This also has -a short introduction in which the main waltz melody is suggested. This -melody is finally given by the strings. While other thematic material -occasionally intrudes, the main waltz subject dominates the entire -composition. - - - - - Reinhold Glière - - -Reinhold Glière was born in Kiev, Russia, on January 11, 1875. He was -graduated from the Moscow Conservatory in 1900. After two years in -Berlin, he returned to his native land to become professor of -composition at the Kiev Conservatory; from 1914 to 1920 he was its -director. After 1920 he was a member of the faculty of the Moscow -Conservatory. Glière’s most famous works are his third symphony (named -_Ilia Mourometz_) introduced in Moscow in 1912, and the ballet, _The Red -Poppy_. But he wrote many other works—orchestral, chamber, and vocal, as -well as ballets. On two occasions he received the Stalin Prize: in 1948 -for his fourth string quartet, and two years later for his ballet, _The -Bronze Horseman_. He died in Moscow on June 23, 1956. - -Two excerpts from the Soviet ballet, _The Red Poppy_, are perhaps the -composer’s best known compositions. The ballet was first presented in -Moscow on June 14, 1927 with extraordinary success. Its setting is a -port in China where coolies are exploited. When a Soviet ship comes to -port, its captain falls in love with a Chinese girl, Tai-Hao. She is -ultimately killed by the port commander while she is trying to escape -from China on the Soviet ship. Her last words urge the Chinese to fight -for their liberty, and she points to a red poppy as a symbol of their -freedom. - -The most celebrated single excerpt from this ballet is the _Russian -Sailors Dance_, for orchestra, with which the third act comes to a -whirlwind conclusion. The main melody is a simple Russian tune that -appears first in lower strings. It is then subjected to a series of -variations, and is permitted to gain momentum through acceleration of -tempo and expanding sonorities until an orgiastic climax is reached. -Less popular, but still often performed, is the “Dance of the Chinese -Girls” from the same ballet. A repeated descending interval leads to an -Oriental dance in the pentatonic scale; in this dance percussion -instruments and the xylophone are used prominently and with telling -effect. - - - - - Michael Glinka - - -Michael Glinka was born to prosperous landowners in Novosspaskoye, in -Smolensk, Russia, on June 1, 1804. His academic education took place at -a private school in St. Petersburg, while he studied music with Carl -Meyer, Carl Boehm and John Field. From 1824 to 1827 he worked in the -office of the Ministry of Communications in St. Petersburg. Further -music study then took place in Italy and Germany. After returning to his -native land in 1834, he was fired with the ambition of writing a -national Russian opera. That opera was _A Life for the Tsar_, produced -in 1836, an epoch-making work since it is the foundation upon which all -later Russian national music rests. Glinka’s second national opera, -_Ruslan and Ludmila_, produced in 1842, successfully carried on the -composer’s national ideals further. In the last years of his life Glinka -traveled a great deal, spending considerable time in Paris, Warsaw, and -Spain. He died suddenly in Berlin, Germany, on February 15, 1857. - -It is impossible to overestimate Glinka’s significance in Russian music. -His national operas were the source from which the later nationalists, -the “Russian Five” derived their direction and inspiration. - -In _Jota aragonesa_, a “caprice brilliant” for orchestra (1845) Glinka -is stimulated by Spanish rather than Russian folk music. This is the -first Russian composition to make serious use of Spanish folk idioms. It -was written during the composer’s visit to Spain in 1845 where he was -fascinated by Spanish folk songs and dances. Within a fantasy form, -Glinka poured melodies and dance rhythms closely modeled after the -Spanish in which the background, culture, and geography of that colorful -country have been fixed. - -_Kamarinskaya_ (1848), also for orchestra, is a fantasy in the field in -which Glinka was both an acknowledged master and a significant -pioneer—Russian folk music. This composition is based on two Russian -folk songs heard by the composer in Warsaw: “Over the Hills, the High -Hills” (which appears in strings following a brief introduction), and a -dance tune, “Kamarinskaya” (first heard in violins). - -The most popular excerpts from Glinka’s national opera, _A Life for the -Tsar_, are the overture, and the Mazurka and Waltz, for orchestra. The -opera—libretto by Baron von Rosen—was first performed in St. Petersburg -on December 9, 1836. The action takes place in Poland and Russia in -1612. During the struggle between Russia and Poland, Romanov becomes the -new Czar of Russia, and Ivan Susanin, a peasant, is the hero who saves -Russia and the Czar. The love interest involves Ivan’s daughter, -Antonida, and Bogdan Sabinin. - -The overture opens with a stately introduction dominated by a melody for -the oboe. A spirited melody brings on the main section. After this -melody is developed, a second theme is offered by the clarinets. Both -ideas are discoursed upon briefly, and they are given further -amplification in the coda. - -The Mazurka and Waltz appear at the close of the second act, climaxing a -festive celebration held in the throne room of Sigismund III of Poland -in his ancient castle. The Waltz comes first. Two principal waltz -melodies are given by the woodwind and repeated by strings; a third -waltz tune is then heard in brass, and soon taken over by the strings. -The Waltz is immediately followed by the Mazurka. After a dignified -introduction, a vigorous Mazurka melody unfolds. This leads to a second -dance tune, first heard in the woodwind and cellos; but the first -Mazurka melody soon reappears in the full orchestra. A third lively -dance melody is then presented by the strings. - -_Ruslan and Ludmila_ also contributed a lively overture to the -orchestral repertory. This opera, with libretto by the composer and -several others based on a Pushkin poem, was first heard in St. -Petersburg on December 9, 1842. Ruslan is a knight who is a rival of -Ratmir for the love of Ludmila. Ludmila is abducted by the dwarf -Tchernomor, and after Ruslan has saved her, Ludmila’s father blesses his -future son-in-law. - -Vigorous chords lead to a dashing melody in violins, violas and -woodwinds. A more lyrical second theme, almost folk-song in character, -is then heard in violas, cellos and bassoons. Both themes are given a -vigorous development in which the sprightly character of the overture is -never allowed to lose its brisk pace or vitality. - - - - - Christoph Willibald Gluck - - -Christoph Willibald Gluck was born in Erasbach, Upper Palatinate, on -July 2, 1714, the son of a forester on the estate of Prince Lobkowitz. -Gluck received his early music instruction in his native country from -local teachers. He then earned his living playing the violin and cello -in rural orchestras. In 1736 he came to Vienna where soon thereafter he -began to serve as chamber musician for Prince Lobkowitz. After a period -of study and travel in Italy he returned to Vienna, now to become one of -its most influential musicians. In Vienna he had produced several of his -early operas, all of them in the traditional Italian style of that -period. But he soon drew away from the stilted conventions of the -Italian opera to achieve a fusion of music and drama new to opera, as -well as dramatic truth, simplicity, and directness of emotional appeal. -His works in this new style, with which a new epoch in opera was -launched, included _Orfeo ed Euridice_ in 1762, _Alceste_ in 1767, and -_Iphigénie en Aulide_ in 1774, the last written for the Paris stage. -After living in Paris from 1773 to 1779, Gluck returned to Vienna to -remain there the rest of his life. During his last years he was an -invalid. He died in Vienna on November 15, 1787. - -Gluck was a giant in the early history of opera. With Rameau, he was a -pioneer in establishing music drama as opposed to formal Italian opera. -_Orfeo ed Euridice_, produced in Vienna on October 5, 1762—with which -Gluck first set forth his new ideas and theories about opera—is the -earliest opera to have survived in the permanent repertory. - -A delightful _Ballet Suite_, adapted by Felix Mottl from various -orchestral dances from several of Gluck’s greatest operas, is an -orchestral work by which the composer is most often represented on -semi-classical as well as symphonic programs. This suite includes the -following: “Dance of the Blessed Spirits” from _Orfeo ed Euridice_; -“_Air gai_” and “_Lento_” from _Iphigénie en Aulide_; and two old -baroque dances, the “Musette” and “Sicilienne” from _Armide_. - -The “Dance of the Blessed Spirits” is one of the loveliest of all -Gluck’s melodies, and one of the most famous from 18th century opera. -This is a beatific song mainly for flute solo and strings, describing -Elysium, to which Orfeo has come in search of his wife, Eurydice. Fritz -Kreisler’s transcription for violin and piano is entitled _Mélodie_. -Sgambati arranged it for piano solo, and Gruenfeld for cello and piano. - - - - - Benjamin Godard - - -Benjamin Louis Godard was born in Paris on August 18, 1849. After -attending the Paris Conservatory, he received in 1878 a municipal prize -for an orchestral work, besides having his first opera produced. He -wrote several operas after that, winning fame with _Jocelyn_ in 1888. He -also wrote a considerable amount of chamber and orchestral music, in -which his fine, sensitive lyricism is evident. He died in Cannes, -France, on January 10, 1895. - -Among his more familiar works is the _Adagio pathétique_. This started -out as a piece for violin and piano, the third of a set of compositions -in op. 128. It was orchestrated by Ross Jungnickel in 1910, and is most -popular in this version. This is music notable for its expressive -emotion; its lyricism at times has a religious stateliness. - -The most famous single piece of music by Godard, however, is the -“Berceuse” from his opera, _Jocelyn_. With libretto by Paul Armand and -Silvestre and Victor Capoul—based on a poem by Lamartine—_Jocelyn_ was -introduced in Brussels on February 25, 1888. The setting is France -during the French Revolution, and concerns the love of Jocelyn, a young -priest, for the daughter of a nobleman. After many inner struggles, -Jocelyn decides to remain true to his calling and give up his beloved. -They meet for the last time at her deathbed to which Jocelyn has been -summoned to administer absolution. The “Berceuse” is a tender aria by -Jocelyn (“_Cachés dans cet asile_”) in which he calls upon angels to -protect his loved one. - - - - - Leopold Godowsky - - -Leopold Godowsky was born in Soshly, near Vilna, Poland, on February 13, -1870. A prodigy pianist, he attended the Berlin High School for Music, -after which he made his American debut in Boston in 1884. Additional -study took place in Paris with Saint-Saëns. Godowsky then launched his -career as a mature concert pianist with performances throughout the -world of music. He achieved international renown not only as a virtuoso -but also as a teacher of the piano, at the Chicago Conservatory and the -Vienna Academy. His concert career ended in 1930 when he was stricken by -a slight paralysis of the hand. As a composer, Godowsky was most famous -for his suites for the piano, the most famous being _Triakontameron_, -_Java_, and _Renaissance_. He also produced a library of remarkable -transcriptions for the piano. He died in New York City on November 21, -1938. - -Though Godowsky was a sophisticated composer of highly complex piano -works, he did succeed in producing at least one number that became an -international “hit.” It was the _Alt Wien_ (_Old Vienna_), a -sentimental, nostalgic piece of music on whose title page appears the -following quotation: “Whose yesterdays look backwards with a smile -through tears.” _Alt Wien_ is the eleventh number in _Triakontameron_ -(1920), a suite in six volumes described by the composer as “thirty -moods and scenes in triple measure.” The immense popularity of _Alt -Wien_ is proved by its many and varied transcriptions: for salon -orchestra; band; violin and piano (by Heifetz); three-part woman’s -chorus; dance orchestra; marimba and piano; and even a popular song -adapted by David Saperton to lyrics by Stella Ungar. - - - - - Edwin Franko Goldman - - -Edwin Franko Goldman was born in Louisville, Kentucky, on January 1, -1878. He came from a distinguished musical family. His uncles were Sam -Franko and Nahan Franko, both prominent in New York as conductors, -violinists, and pioneers in the presentation of free concerts. Goldman -attended the National Conservatory in New York, specializing in the -cornet. After completing his training with Jules Levey, he served for -ten years as solo cornetist of the Metropolitan Opera orchestra. In 1911 -he organized his first band. Seven years later he founded the famous -Goldman Band which from then on gave free concerts in New York and -Brooklyn public parks, and elsewhere on tour. Under his direction it -became one of the outstanding musical organizations of its kind in the -country, presenting a remarkable repertory of popular music, light -classics, and band transcriptions of symphonic and operatic -compositions. Goldman conducted his band until his death, which took -place in New York on February 21, 1956. He was succeeded by his son, -Richard Franko Goldman, who for many years had served as his father’s -assistant. - -For his concerts Goldman wrote over a hundred marches which have won him -recognition as John Philip Sousa’s successor. The best of the Goldman -marches won immediate success for their robust tunes and vigorous beat. -These include: “Central Park,” “Children’s March,” “On the Campus,” “On -the Farm,” and “On the Mall.” - -The “Children’s March,” is actually an adaptation for band of several -children’s tunes including “Three Blind Mice,” “Jingle Bells,” and “Here -We Go Round the Mulberry Bush,” presented in march time. - - - - - Karl Goldmark - - -Karl Goldmark was born in Keszthely, Hungary, on May 18, 1830, the son -of a cantor. Demonstrating unusual talent on the violin, he was sent to -Vienna in 1844. There he studied with Leopold Jansa, then attended the -Vienna Conservatory. His musical education was brought to an abrupt halt -by the revolution of 1848. For many years after that, Goldmark earned -his living by teaching music, playing in theater orchestras, and writing -criticisms. He first came to the fore as a composer with a concert of -his works in Vienna on March 20, 1857. Success followed eight years -later with the première of his concert overture, _Sakuntala_. From then -on, Goldmark occupied an esteemed position in Viennese music by virtue -of many distinguished works that included the opera _The Queen of -Sheba_, the _Rustic Wedding Symphony_, and various shorter works for -orchestra, as well as numerous compositions for chorus, the piano, and -chamber-music groups. He died in Vienna on January 2, 1915. - -Throughout his life he remained true to the Germanic-Romantic tradition -on which he was nurtured. His writing was always vital with emotion, at -times to the point of being sensual; it overflowed with luxurious melody -and harmony. Most of the works by which he is remembered, while of the -serious concert-hall variety, are light classics because of their charm -and grace and pleasing melodic content. - -The _Bacchanale_ for orchestra is in Goldmark’s identifiable sensual -style. This is an episode from his most famous opera, _The Queen of -Sheba_ (_Die Koenigin von Saba_), libretto by Solomon Herman Mosenthal -based on the Old Testament story of the love of the Queen of Sheba for -Assad. The opera was successfully introduced in Vienna on March 10, -1875. The _Bacchanale_ takes place at the beginning of Act 3 in which a -sumptuous reception honors the Queen of Sheba. This dynamic piece of -music is especially interesting for its Oriental melodies and lush -orchestral colors. - -_In Spring_ (_Im Fruehling_), op. 36 (1889), is a concert overture for -orchestra echoing the composer’s emotional reaction to the vernal -season. The first main theme, in first violins accompanied by other -strings, is given without any preliminaries. The second theme in violins -is more bucolic, the woodwind suggesting bird calls in the background. -Both themes are discussed and stormy episodes ensue. After the return of -the two main themes the overture ends with a brilliant coda. - -The _Rustic Wedding Symphony_ (_Laendliche Hochzeit_), op. 26 (1876) is -a programmatic composition for orchestra in five movements. The first is -a “Wedding March” in which the main melody (given in fragments in the -lower strings) is subjected to thirteen variations. The second movement -is a “Bridal Song,” a lovely tune mainly for oboe in which the -first-movement march subject occasionally intrudes in the background in -the basses. This is followed by the third-movement “Serenade,” its main -subject being a spacious melody mainly for the violins. The fourth -movement, “In the Garden,” depicts the walk of two lovers in a garden as -they exchange tender sentiments. The symphony ends with a vital “Dance,” -in which the main theme receives fugal treatment. - -The concert overture for orchestra, _Sakuntala_, op. 13 (1865)—with -which the composer achieved his first major success and which is still -one of his most popular works—was based on the celebrated story of -Kalidasa. Sakuntala is the daughter of a water nymph who is raised by a -priest as his own daughter. The King falls in love with her and marries -her, giving her a ring which will always identify her as his wife. A -powerful priest, seeking revenge against Sakuntala, effects a loss of -memory in the king, who now no longer recognizes her as his wife. To -complicate matters further, Sakuntala has lost her ring while washing -clothes in a sacred river. After being repudiated by the king as a -fraud, Sakuntala returns to her water-nymph mother. The king’s memory is -restored when the ring is found, and he is overwhelmed with grief at his -loss of Sakuntala. - -A somber introduction is highlighted by a rippling subject in lower -strings and bassoons suggesting the water which was Sakuntala’s original -abode and to which she finally returns. After a change of tempo, -clarinets and cellos in unison offer a beautiful love melody. This is -followed by a hunting theme in first violins and oboes while the second -violins and violas present a fragment of the love song as a -countersubject. After this material has been amplified into a loud and -dramatic climax there comes still a third idea, in oboes and English -horn against chords in harp and arpeggios in strings. In a free fantasia -section some of this material is reviewed after which the coda offers -the hunting theme, and after that the love melody. A climax is realized -with the hunting theme bringing the overture to a dramatic ending. - - - - - Rubin Goldmark - - -Rubin Goldmark, nephew of Karl, was born in New York City on August 15, -1872. After studying music with private teachers in New York, he -attended first the Vienna Conservatory in Austria, and after that the -National Conservatory in New York where one of his teachers was Antonin -Dvořák. His primary energy was directed to teaching. For six years he -was the director of the Colorado College Conservatory, and from 1924 -until his death head of the composition department at the Juilliard -School of Music in New York. As a composer, Goldmark is most often -remembered for the _Negro Rhapsody_ and the _Requiem_ for orchestra, the -latter inspired by Lincoln’s Gettysburg Address. Goldmark died in New -York City on March 6, 1936. - -It is with the _Negro Rhapsody_ (1923) that Goldmark is most often -represented on concert and semi-classical concerts. As its title -suggests the work is made up of Negro melodies. After a slow -introduction, the cellos and violas in unison offer the strains of -“Nobody Knows De Trouble I’d Seen.” Before long, the basses are heard in -“O Peter, Go Ring Dem Bells.” The main section of the rhapsody begins -with a variation of “Nobody Knows De Trouble I’d Seen” and a repeat of -“O Peter.” The violins then engage “Oh Religion, I See Fortune,” and the -English horn is heard in “Sometimes I Feel Like a Motherless Child.” -After the solo cello quotes two measures of “Oh, When I Come to Die,” -the last Negro melody of the rhapsody appears. This melody comes from an -untitled song found by Goldmark in a magazine, a tune sung by Tennessee -Negroes while working on the river. - - - - - François Gossec - - -François Joseph Gossec was born in Vergniès, Belgium, on January 17, -1734. After receiving some music instruction in his native town, he came -to Paris in 1751, and three years after that was attached to the musical -forces employed by La Pouplinière. For these concerts, Gossec wrote many -symphonies and chamber-music works. He later worked in a similar -capacity for the Prince de Conti. In 1770 he founded the Concerts des -Amateurs, in 1773 became director of the Concert Spirituel, and from -1780 to 1785 was conductor at the Paris Opéra. When the Paris -Conservatory was established in 1795 Gossec became Inspector and -professor of composition. In the same year he also became a member of -the newly founded Institut de France. During the French Revolution he -wrote many works celebrating events growing out of that political -upheaval, allying himself with the new regime. He lived to a ripe old -age, spending the last years of his life in retirement in Passy. He died -in Paris on February 16, 1829. - -Gossec was a significant pioneer of French orchestral and chamber music, -though little of his music is remembered. What remains alive, however, -is a graceful trifle: the Gavotte, one of the most popular pieces ever -written in that form. This music comes from one of his operas, _Rosina_ -(1786); a transcription for violin and piano by Willy Burmeister is -famous. - - - - - Louis Gottschalk - - -Louis Moreau Gottschalk was born in New Orleans on May 8, 1829. His -music study took place in Paris where he specialized in the piano. He -gave many successful concerts as pianist in France, Switzerland and -Spain before returning to the United States in 1853. He then began the -first of many tours of the country, to become the first significant -American-born piano virtuoso. At his concerts he featured many of his -own works; his reputation as a composer was second only to that as -virtuoso. He was on tour of South America when he was stricken by yellow -fever. He died in Rio de Janeiro on December 18, 1869. - -Gottschalk was the composer of numerous salon pieces for the piano, -enormously popular in his day—a favorite of young pianists everywhere. -One of these pieces is “The Banjo,” familiar on semi-classical programs -in orchestral arrangements. In his music Gottschalk often employed -either Spanish or native American idioms. - -The contemporary American composer, Ulysses Kay, used several of -Gottschalk’s piano pieces for a ballet score, _Cakewalk_. This ballet, -with choreography by Ruthanna Boris based on the minstrel show, was -introduced by the New York City Ballet in New York on June 12, 1951. The -dancers here translate the routines of the old minstrel show into dance -forms and idioms. An orchestral suite, derived from this ballet score, -has five sections: “Grand Walkaround,” in which the performers strut -around the stage led by the interlocutor; “Wallflower Waltz,” music to a -slow, sad dance performed solo by a lonely girl; “Sleight of Feet,” a -rhythmic specialty accompanying feats of magic performed by the -Interlocutor; “Perpendicular Points,” a toe dance performed by the two -end men, one very tall, the other very short; and “Freebee,” an exciting -dance performed by the girl, as other performers accompany her dance -with the rhythm of clapping hands. - - - - - Morton Gould - - -Morton Gould was born in New York City on December 10, 1913. He received -a comprehensive musical education at the Institute of Musical Art in New -York, at New York University, and privately (piano) with Abby Whiteside. -After completing these studies, he played the piano in motion-picture -theaters and vaudeville houses and served as the staff pianist for the -Radio City Music Hall. He was only eighteen when the Philadelphia -Orchestra under Stokowski introduced his _Chorale and Fugue in Jazz_, -his first successful effort to combine classical forms and techniques -with modern popular American idioms. In his twenty-first year he started -conducting an orchestra for radio, and making brilliant transcriptions -of popular and semi-classical favorites for these broadcasts. During the -next two decades he was one of radio’s outstanding musical -personalities, his programs enjoying important sponsorship. During this -period he wrote many works for orchestra which have been performed by -America’s foremost symphony orchestras. He also wrote the scores for -several successful ballets (including _Interplay_ and _Fall River -Legend_), as well as music for Broadway musical comedies and motion -pictures. - -Like Gershwin, Gould has been a major figure in helping make serious -music popular by writing ambitious concert works which make a skilful -blend of serious and popular musical elements. Gershwin came to the -writing of serious concert works after apprenticeship in Tin Pan Alley; -Gould, on the other hand, came to popular writing after an intensive -career in serious music. Thus he brings to his more popular efforts an -extraordinary technique in composition, advanced thinking in -orchestration, harmony, counterpoint, and rhythm. Yet there is nothing -pedantic about his writing. Many of his works are such consistent -favorites with audiences because they are the creations of a consummate -musician without losing popular appeal. Few have been more successful -than Gould in achieving such a synthesis between concert and popular -music. - -_American Salute_ (1942) is a brilliant orchestral adaptation of the -famous American popular song by Patrick Gilmore, “When Johnny Comes -Marching Home.” Though written during the Civil War, this robust -marching song became most popular during the Spanish American War with -which it is today most often associated. Gould prepared this composition -during World War II for an all-American music concert broadcast over the -Mutual radio network on February 12, 1942. “I have attempted,” Gould -explained, “a very simple and direct translation in orchestral idiom of -this vital tune. There is nothing much that can be said about the -structure or the treatment because I think it is what you might call -‘self-auditory.’” - -The _American Symphonette No. 2_ is one of several works for orchestra -in the sinfonietta form in which Gould made a conscious effort to fuse -classical structure with elements of popular music. The composer’s -purpose, as he explained, was “entertainment, in the better sense of the -term.” The most famous movement is the middle one, a “Pavane,” often -played independently of the other movements. It is particularly favored -by school orchestras, and has also been adapted for jazz band. The old -and stately classical dance of the Pavane is here married to a spicy -jazz tune jauntily presented by the trumpet; there are here overtones of -a gentle sadness. The first and last movements of this Symphonette -abound with jazz rhythms and melodies, respectively marked “Moderately -Fast, With Vigor” and “Racy.” - -The _Cowboy Rhapsody_ (1944) started out as a composition for brass -band, but was later adapted by the composer for orchestra. This is a -rhapsodic treatment of several familiar and less familiar cowboy tunes -including “Old Paint,” “Home on the Range,” “Trail to Mexico” and -“Little Old Sod Shanty.” The composer here attempted “a program work -that would effectively utilize the marvelous vigor and sentiment of -these unusual songs.” - -_Family Album_ (1951) is one of two suites in which Gould evokes -nostalgic pictures of the American scene and holidays through -atmospheric melodies. (The other suite is _Holiday Music_, written in -1947.) The composer explains that the music of both these suites is so -simple and direct in its pictorial appeal that it requires no program -other than the titles of the respective movements to be understood and -appreciated; nor is any analysis of the music itself called for. _Family -Album_, for brass band, is made up of five brief movements: “Outing in -the Park,” “Porch Swing on a Summer Evening,” “Nickelodeon,” “Old -Romance” and “Horseless Carriage Gallop.” _Holiday Music_, for -orchestra, also has five movements: “Home for Christmas,” “Fourth of -July,” “Easter Morning,” “The First Thanksgiving,” and “Halloween.” - -_Interplay_ is a ballet with choreography by Jerome Robbins introduced -in New York in 1945. The score is an adaptation of the composer’s -_American Concertette_, for piano and orchestra, written for the piano -virtuoso, José Iturbi. The text of the ballet contrasts classic and -present-day dances; Gould’s music is a delightful contrast between old -forms and styles, and modern or popular ones. _Interplay_, as the -concert work is now called, has four movements, each of popular appeal. -The first, “With Drive and Vigor,” was described by the composer as -“brash.” It has two sprightly main themes and a brief development. This -is followed by a “Gavotte” in which the composer directs “a sly glance -to the classical mode.” The third movement is a “Blues,” “a very simple -and, in spots, ‘dirty’ type of slow, nostalgic mood.” The finale, “Very -Fast” brings the composition to a breathless conclusion through -unrelenting motor energy. - -_Latin-American Symphonette_, for orchestra (1941) is the fourth of -Gould’s sinfoniettas using popular idioms. The three earlier ones -exploit jazz, while the fourth consists of ideas and idioms indigenous -to Latin America. Each of the four movements consists of a stylized -Latin-American dance form: “Rumba,” “Tango,” “Guaracha,” and “Conga.” - -In _Minstrel Show_ (1946) Gould tried to bring to orchestral music some -of the flavor of old time minstrel-show tunes and styles. There are no -borrowings from actual minstrel shows. All the melodies are the -composer’s own, but they incorporate some of the stylistic elements of -the original product. “The composition,” Gould goes on to say, -“alternates between gay and nostalgic passages. There are characteristic -sliding trombone and banjo effects, and in the middle of the piece the -sandpaper blocks and other percussion convey the sounds and tempo of a -soft-shoe dance. The score ends on a jubilant note.” - -_Yankee Doodle Went to Town_, like the _American Salute_, is the -presentation of a popular American tune in modern orchestration and -harmony. The tune in this case is, to be sure, “Yankee Doodle,” probably -of English origin which made its first appearance in this country in -1755. The general belief is that it was used by a certain Richard -Shuchburg, a British Army soldier, to poke fun at the decrepit colonial -troops. For two decades after that the tune was frequently heard in the -Colonies as the means by which British soldiers could taunt Colonials. -Once the Revolution broke out, however, the colonists used “Yankee -Doodle” as its favorite war song, and it was sung lustily by them when -Cornwallis surrendered at Yorktown. Gould’s orchestration emphasizes -some of the humorous elements in the song, while giving it some -freshness and vitality through his fine sense for orchestral color and -striking harmonizations. - - - - - Charles Gounod - - -Charles François Gounod was born in Paris on June 17, 1818. He received -his academic education at the Lycée St. Louis, and his musical training -at the Paris Conservatory with Halévy and Lesueur among others. In 1839 -he won the Prix de Rome. During his stay in Italy he became interested -in church music and completed several choral works. He turned to opera -after returning to Paris, his first work for the lyric stage being -_Sapho_, successfully produced at the Paris Opéra in 1851. From then on, -for many years, he concentrated mainly on opera, winning world renown in -1859 with _Faust_. In 1870 he visited London where he conducted -orchestral and choral concerts. During the last years of his life he -devoted himself for the most part to the writing of religious music. -Gounod died in Paris on October 18, 1893. He is most famous for his -operas, and most specifically for _Faust_, though _Mireille_ (1864) and -_Roméo et Juliette_ (1867) have also been highly acclaimed and -frequently given. Gounod was a composer who conveyed to his music -sensitive human values. He was a melodist of the first order, his -lyricism enhanced in its expressiveness through his subtle feeling for -orchestral and harmonic colors. - -The _Ave Maria_, while originally a song, is famous in transcriptions -for solo instruments and also for orchestra. The interesting feature of -this work is the fact that Gounod wrote this spiritual, deeply moving -melody to the famous prayer in Latin, against an accompaniment -comprising the music (without any change whatsoever) of Bach’s Prelude -in C major from the _Well-Tempered Clavier_. The marriage of melody and -accompaniment is so ideal it is difficult to realize that each is the -work of a different composer from a different generation. - -Gounod’s masterwork, the opera _Faust_, is surely one of the most -celebrated works of the French lyric theater. Many of its selections are -deservedly popular. The opera—libretto by Jules Barbier and Michel Carré -based on the poetic drama of Goethe—was first performed in Paris on -March 19, 1859. Strange to report, it was originally a failure with both -audience and critics. Not until it was revived in Paris in 1869 did the -opera finally win favor; from this point it went on to conquer the -world. One of the reasons for this permanent, if somewhat belated, -success, is the sound theatrical values of the libretto. The opera is -consistently excellent theater, rich with emotion, pathos, drama, pomp -and ceremony. The story, of course, is that of the celebrated Faust -legend. Faust makes a pact with the devil, Mephistopheles, to trade his -soul for the return of his youth. As a young man, Faust makes love to -Marguerite. When she becomes a mother she kills her child. Faust comes -to her prison cell to entreat her to escape, but she does not seem to -understand him. After her punishment by death, Faust is led to his own -doom by Mephistopheles. - -Perhaps the most famous single excerpt from the opera is the rousing -_Soldier’s Chorus_ (“_Gloire immortelle des nos aïeux_”) from Act 4, -Scene 3. The soldiers, returning from the war, sing out their joy on -coming home victorious. This episode is celebrated in transcriptions -either for orchestra or for brass band. Almost as popular is the -captivating Waltz in Act 2. In the opera it is sung and danced by -villagers during a celebration in the public square (“_Ainsi que la -brise légère_”); this excerpt is also familiar in transcription. - -The Walpurgis Night Ballet Music from _Faust_, though generally omitted -from the performances of the opera itself, has become a concert -favorite. This music is given in Paris during the first scene of the -last act. The classic queens—Helen, Phryne and Cleopatra—and their -attendants are called upon to dance to distorted versions of several of -the opera’s beloved melodies. There are here seven dances of which six -appear in the score only with tempo markings: _Waltz_, _Adagio_, -_Allegretto_, _Moderato maestoso_, _Moderato con moto_, _Allegretto_, -and _Allegro vivo_. - -When an orchestral potpourri from the opera is given by semi-classical -orchestra, it includes some other beloved excerpts: Marguerite’s “Jewel -Song” (“_Je ris de me voir_”), in which she speaks her joy in finding -the casket of jewels secretly placed for her in her garden by Faust; the -rousing _Kermesse_ or Fair Music that opens the second act, “_Vin ou -bière_”; Mephistopheles’ cynical comment on man’s greed for gold, “_Le -Veau d’or_”; Faust’s hymn of love for Marguerite, “_O belle enfant! je -t’aime_”; the “Chorus of Swords” (“_De l’enfer qui vient émousser_”), a -vibrant exhortation by the young men of the village who, sensing they -are in the presence of the devil, raise their swords in the form of a -cross to confound him. - -The _Funeral March of a Marionette_ (_Marche funèbre d’une marionnette_) -is a delightful piece originally written for the piano in 1873, and -after that transcribed by the composer for orchestra. Gounod had hopes -to make it the first movement of a piano suite. When he failed to -complete that suite, he issued the march as a separate piece of music in -the now-famous orchestral version. The opening march music tells of the -procession of pallbearers to a cemetery as they carry a dead marionette. -A brighter spirit is induced as the pallbearers stop off at an inn. Then -the procession continues. The funereal atmosphere of the closing -measures speaks of the ephemeral nature of all life, even the life of a -marionette. - -The opera _Mireille_—libretto by Barbier and Carré based on Mistral’s -poem, _Mirèio_—is not often performed. But this is not true of its -overture. The opera was first performed in Paris on March 19, 1864. The -story revolves around the tragic love affair of the Provençal girl, -Mireille, and the basket-weaver, Vincent. The overture opens with a slow -introduction in which a stately idea is offered by the woodwind. In the -main body, the principal melody is heard in the strings while the -subsidiary theme is first presented by the violins. After both ideas are -amplified, a crescendo section leads to the triumphant reappearance of -the first theme in the full orchestra. The overture ends with a short -but spirited coda. - -Out of the opera _Roméo et Juliet_ comes a most charming waltz. The -opera was introduced in Paris on April 27, 1867. The libretto, once -again by Barbier and Carré, was based on the Shakespeare tragedy. The -waltz opens the first act, a ballroom scene in the Capulet palace -honoring Juliet. Against the lilting strains of this music, the guests -perform an eye-filling dance. - - - - - Percy Grainger - - -Percy Aldridge Grainger was born in Melbourne, Australia on July 8, -1882. After receiving some piano instruction from his mother he was sent -to Germany in his twelfth year to continue his music study with James -Kwast and Ferruccio Busoni. In 1900 he made his debut as concert pianist -in London, following which he made an extended tour of Great Britain, -New Zealand, Australia, and South Africa. A meeting with Grieg, in 1906, -was a significant influence in Grainger’s artistic development. Grieg -infected the young man with some of his own enthusiasm for folk music. -The result was that Grainger now began to devote himself to research in -the English folk music of the past. His orchestral and piano -arrangements of many of these folk tunes and dances, between 1908 and -1912, were responsible for bringing them to the attention of the music -world. In 1915, Grainger made his debut as pianist in the United States. -He has lived in America since that time, devoting himself to concert -work, lecturing and teaching, besides composition. Grainger died in -White Plains, New York, on February 20, 1961. - -In his own music, Grainger reveals the impact that his studies in -English music made upon him: in his partiality to modal writing, to the -contrapuntal technique, to placid lyricism. But it is in his fresh -arrangements of old English songs and dances that Grainger is most -famous. “Even when he keeps the folk songs within their original -dimensions,” says Cyril Scott, “he has a way of dealing with them which -is entirely new, yet at the same time never lacking in taste.” - -_Brigg Fair_ is a plaintive melody of pastoral character from the -district of Lincolnshire. It was used by the contemporary British -composer, Frederick Delius, as the basis for his orchestral rhapsody of -the same name (dedicated to Grainger). - -The bucolic and ever popular _Country Gardens_ is a “Mock Morris,” the -“Mock Morris” being an old English dance popular during the reign of -Henry VII and since then associated with festivities attending May Day. -Grainger’s original transcription was for piano solo, and only later did -he adapt it for orchestra. - -_Handel in the Strand_ is a lively clog dance. _Irish Tune from County -Derry_ is better known as the _Londonderry Air_, a poignant melody now -known to us through numerous versions other than that originally made -famous by Grainger. The piece, designated as a Mock Morris, is one of a -series in a collection entitled _Room Music Tit Bits_. “No folk music -tune-stuffs at all are used herein,” says the composer. “The rhythmic -cast of the piece is Morris-like, but neither the build of the tunes nor -the general layout of the form keeps to the Morris dance shape.” - -The lively _Molly on the Shore_ was first written for piano before being -adapted by the composer for orchestra. _Shepherd’s Hey_ is a Mock Morris -and consists of four tunes, two fiddle tunes and two folk songs. - -Of Grainger’s own compositions three are of general interest. The -_Children’s March_ (1917) was written during World War I for the United -States Army Band. “This march,” says the composer, “is structurally of a -complicated build, on account of the large number of different themes -and tunes employed and of the varied and irregular interplay of many -contrasted sections. Tonally speaking, it is a study in the blend of -piano, wind, and percussion instruments.” - -_Passacaglia on Green Bushes_ has two versions. One is for small -orchestra, and the other for a large one. This composition is built -around the folk melody “Green Bushes” which remains unchanged in key, -line, and rhythm throughout the work (except for eight measures of free -passage work near the beginning, and forty measures at the end). Against -this melody move several folk-like melodies of Grainger’s own invention. - -_Youthful Suite_ for orchestra is made up of five sections. Part of this -work was completed in 1902, and part in 1945. The first movement, -“Northern March,” derives its character from the melodic and rhythmic -traits of the folk music of North England and Scotland. The main melody -here acquires its folk-song character through the use of the -flat-seventh minor scale. “Rustic Dance” achieves an exotic quality -through the employment of an unusual variant of the F major chord. -“Norse Digger” is a somber lament in which is mourned the passing of a -dead hero, possibly from an Icelandic saga. “Eastern Intermezzo” has an -Oriental cast. The repeated use of drum beats and the virile rhythms -were inspired by a reading of a description of the dance of the -elephants in _Toomal of the Elephants_ from Kipling’s Jungle Book. This -suite ends with a formal “English Waltz.” - - - - - Enrique Granados - - -Enrique Granados was born in Lérida, Spain, on July 27, 1867. After -completing his music study at Conservatories in Barcelona and Madrid, -and privately with Charles de Bériot in Paris, he earned his living -playing the piano in Spanish restaurants. In 1898, his first opera was -produced in Madrid, _Maria del Carmen_. The national identity of this -music was to characterize all of Granados’ subsequent works and place -him among the most significant of Spanish national composers. His most -famous composition is _Goyescas_, a remarkable series of piano pieces -inspired by the paintings of Goya; the composer later adapted this music -for an opera, also called _Goyescas_, which received its world première -in New York at the Metropolitan Opera on January 28, 1918. Granados came -to the United States to attend this performance, after which he visited -Washington, D.C. to play the piano for President Wilson at the White -House. He was aboard the ship _Folkstone_, sailing from Folkstone to -Dieppe, when it was torpedoed by a German U-Boat during World War I on -March 24, 1916, bringing him to his death. - -In their rhythmic and harmonic vocabulary, Granados’ best music is -unmistakably Spanish. Perhaps his most famous single piece of music is -an orchestral “Intermezzo” from the opera _Goyescas_. He wrote it after -he had fully completed his score to the opera because the directors of -the Metropolitan Opera filled the need of an instrumental interlude. -This sensual Spanish melody is as famous in various transcriptions -(including one for cello and piano by Gaspar Cassadó) as it is in its -original orchestral version. - -Twelve _Spanish Dances_, for piano, op. 37 (1893) are also popular. The -most frequently performed of these is the fifth in E minor named -_Andaluza_ (or _Playera_). Fritz Kreisler transcribed it for violin and -piano, one of numerous adaptations. The sixth in D major is also -familiar—_Rondalla Aragonesa_, a jota, transcribed for violin and piano -by Jacques Thibaud. - - - - - Edvard Grieg - - -Edvard Hagerup Grieg, Norway’s greatest composer, was born in Bergen on -June 15, 1843. Revealing unusual talent for music as a boy, he was sent -to the Leipzig Conservatory in 1858. He remained there several years, a -pupil of Plaidy, Moscheles, and Reinecke among others. In 1863 he -returned to his native land where several of his early compositions were -performed. He then lived for several years in Copenhagen. There he met -and became a friend of two musicians who interested him in Scandinavian -music and musical nationalism: Niels Gade and Rikard Nordraak. Under -their guidance and stimulation Grieg began writing music in a national -style, beginning with the _Humoresques_ for piano, op. 6, which he -dedicated to Nordraak. Grieg also became a sponsor of Scandinavian music -and composers by helping Nordraak organize a society for their benefit. -In 1866, Grieg helped arrange in Oslo the first concert ever given over -entirely to Norwegian music; a year later he helped found the Norwegian -Academy of Music. He also served as a conductor of the Harmonic Society, -an important influence in presenting Scandinavian music. - -After marrying Nina Hagerup in 1867, Grieg settled in Oslo to assume an -imperial position in its musical life. He also achieved worldwide -recognition as a composer through his violin Sonata in F major, the A -major piano concerto, and the incidental music to Ibsen’s _Peer Gynt_. -He was the recipient of many honors both from his native land and from -foreign countries. His sixtieth birthday was honored as a national -Norwegian holiday. From 1885 on Grieg lived in a beautiful villa, -Troldhaugen, a few miles from Bergen. Music lovers made pilgrimages to -meet him and pay him tribute. His remains were buried there following -his sudden death in Bergen on September 4, 1907. - -Its national identity is the quality that sets Grieg’s music apart from -that of most of the other Romanticists of his day. Though he rarely -quoted folk melodies or dance tunes directly, he produced music that is -Norwegian to its core. In his best music he speaks of Norway’s -geography, culture, people, backgrounds, holidays, and legends in -melodies and rhythms whose kinship with actual folk music is -unmistakable. - -The _Holberg Suite_ for string orchestra, op. 40 (1885)—or to use its -official title of _From Holberg’s Time_—was written to honor the -bicentenary of Ludvig Holberg, often called the founder of Danish -literature. The composer also adapted this music for solo piano. Bearing -in mind that the man he was honoring belonged to a bygone era, Grieg -wrote a suite in classical style and with strictly classical forms; but -his own romantic and at times national identity is not sacrificed. The -first movement is a “Prelude,” a vigorous movement almost in march time. -This is followed by three classical dances—“Sarabande,” “Gavotte,” and -“Musette.” The fourth movement temporarily deserts the 17th and 18th -centuries to offer a graceful “Air” in the manner of a Norwegian folk -song, but the classical era returns in all its stateliness and grace in -the concluding “Rigaudon.” - -_In Autumn_, a concert overture for orchestra, op. 11 (1865, revised -1888) was Grieg’s first effort to write symphonic music. This -composition is a fresh and spontaneous expression of joy in Nature’s -beauties. The principal melody is a song written by Grieg in 1865, -“Autumn Storm.” This material is preceded by an introduction and -followed by a coda in which a happy dance by harvesters is introduced. - -The _Lyric Suite_ for orchestra, op. 54 (1903) is an adaptation by the -composer of four numbers from his _Lyric Pieces_, for piano—a set of -sixty-six short compositions gathered in ten volumes, each a delightful -miniature of Norwegian life. The first of the four episodes in the -_Lyric Suite_ is “Shepherd Lad,” scored entirely for strings, music in a -dreamy mood whose main romantic melody has the character of a nocturne. -“Rustic March” (or “Peasant March”), for full orchestra, has for its -principal thought a ponderous, rhythmic theme first given by the -clarinets. The third movement is a poetic “Nocturne” whose main melody -is presented by the first violins. The suite ends with the popular -“March of the Dwarfs” in the grotesque style of the composer’s “In the -Hall of the Mountain King” from _Peer Gynt_. This movement alternates a -sprightly fantastic march tune (first heard in the violins) with an -expressive melody for solo violin. - -The _Norwegian Dance No. 2_ is the second of a set of four folk dances -originally for piano four hands and later transcribed by the composer -for orchestra, op. 35 (1881). This second dance, in the key of A minor, -is probably the composer’s most famous composition in a national idiom. -It is in three parts, the flanking section consisting of a sprightly -rustic dance tune, while the middle part is faster and more vigorous -contrasting music. The other somewhat less familiar, but no less -beguiling, _Norwegian Dances_ are the first in D minor, the third in G -major, and the fourth in D major. - -The _Peer Gynt Suite No. 1_, for orchestra, op. 46 (1876) consists of -four numbers from the incidental music for the Ibsen drama, _Peer Gynt_, -produced in Oslo in 1876. Ibsen’s epic is a picaresque drama about a -capricious and at times spirited Norwegian peasant named Peer, and his -fabulous adventures, some of them amatory. He abducts the bride, -Solveig, then deserts her; as an outlaw he roams the world; when he -returns home he finds Solveig still believing in him and through that -belief he comes upon salvation. - -The first movement of Suite No. 1 is a bucolic picture, “Morning,” in -which a barcarolle-type melody is prominent. This is followed by a -tender elegy for muted strings, “Ase’s Death,” Ase being Peer Gynt’s -mother. A capricious, sensual dance follows, “Anitra’s Dance,” a -mazurka-like melody with an Oriental identity. The final movement, “In -the Hall of the Mountain King” is a grotesque march built from a -four-measure phrase which grows in volume and intensity until it evolves -into a thunderous fortissimo. - -Grieg prepared a second suite from his incidental music for _Peer Gynt_, -op. 55. Only one movement from this set is popular, “Solveig’s Song,” a -haunting Norwegian song for muted strings portraying Solveig, the -abducted bride who thereafter remains forever faithful to Peer Gynt. -This is the final movement of a suite whose preceding movements are -“Ingrid’s Lament,” “Arabian Dance,” and “Peer Gynt’s Homecoming.” - -_Sigurd Jorsalfar_, a suite for orchestra, op. 56 (1872, revised 1892) -also comes from the incidental music to a play, in this case a -historical drama of the same name by Bjørnstjerne Bjørnson, produced in -Oslo in 1872. The central character is the twelfth-century Norwegian -king, Sigurd, who joins the Crusades to fight heroically against the -Saracens. There are three movements to this suite. The first “Prelude” -is subtitled “In the King’s Hall,” and has three distinct sections. In -the first of these the main thought is a theme for clarinets and -bassoons against plucked strings; in the second, a trio, the most -prominent melody is that for flute imitated by the oboe; the third part -repeats the first. The second movement is “Intermezzo” or “Borghild’s -Dream.” This is serene music alternated by an agitated mood. The finale -is “March of Homage” in which trumpet fanfares and a loud chord for full -orchestra set the stage for the main theme, in four cellos. This same -theme is later proclaimed triumphantly by the full orchestra. Midway -there appears a trio in which the first violins offer the main melody. - -_Two Elegiac Melodies_, for string orchestra, op. 34 (1880) are -adaptations of two of the composer’s most famous songs found in op. 33, -“Heartwounds” and “The Last Spring,” lyrics by A. O. Vinje. Both -melodies are for the most part in a somber mood. The first is in a -comparatively fast time while the second is in slow tempo. - -_Two Northern Melodies_, for string orchestra, op. 63 (1895) is, as the -title indicates, in two sections. The first, “In the Style of a -Folksong,” offers its main melody in the cellos after a short -introduction. The second, “The Cowherd’s Tune,” begins with a slow, -simple tune and ends with a delightful peasant dance. - -The Broadway operetta, _Song of Norway_, was not only based upon -episodes in the life of Grieg but also makes extensive use of Grieg’s -music. The book is by Milton Lazarus based on a play by Homer Curran, -and the lyrics and music are by Robert Wright and George Forrest. The -operetta opened on Broadway on August 21, 1944 (Lawrence Brooks played -Grieg, and Helena Bliss his wife, Nina) to accumulate the impressive run -of 860 performances. Since the operetta has become something of a -classic of our popular theater through frequent revivals—and since its -music is sometimes heard on concerts of semi-classical music—it deserves -consideration. The story centers mainly around the love affair of Grieg -and Nina Hagerup, and their ultimate marriage; it also carries the -composer from obscurity to world fame. Wright and Forrest reached into -the storehouse of Grieg’s music for their songs. “Strange Music,” which -became a popular-song hit in 1944 and 1945, is based on one of Grieg’s -_Lyric Pieces_ for piano, _Wedding Day in Troldhaugen_. “I Love You” is -based on Grieg’s famous song of the same name (“_Ich liebe Dich_”) which -he actually wrote to express his love for Nina; the lyric was by Hans -Andersen, and the song appeared in a set of four collected in op. 5 -(1864). Musical episodes from Grieg’s G major Violin Sonata, the _Peer -Gynt Suite_, _Norwegian Dance No. 2_, the A minor Piano Concerto, and -some of the piano pieces provided further material for popular songs and -ballet music. - - - - - Ferde Grofé - - -Ferde Grofé was born Ferdinand Rudolph Von Grofé in New York City on -March 27, 1892. He began to study the violin and piano early. During his -adolescence he became a member of the viola section of the Los Angeles -Philharmonic. While engaged in serious music he started playing with -jazz ensembles. Before long he formed one of his own, for which he made -all the arrangements, and whose performances attracted considerable -interest among jazz devotees. Paul Whiteman was one of those who was -impressed by Grofé’s brand of jazz. In 1919 he hired Grofé to play the -piano in, and make all the arrangements for, the Paul Whiteman -Orchestra. Grofé worked for Whiteman for a dozen years, a period during -which he prepared most of the arrangements used by Whiteman, including -that of George Gershwin’s historic _Rhapsody in Blue_ at its world -première in 1924. In 1924, Grofé wrote his first symphonic composition -in a jazz style, _Broadway at Night_. One year later, came the -_Mississippi Suite_, his first success. In 1931 he scored a triumph with -the _Grand Canyon Suite_, still his most celebrated composition. After -1931, Grofé toured the country as conductor of his own orchestra, making -numerous appearances in public and over the radio. From 1939 to 1942 he -taught orchestration at the Juilliard School of Music in New York and in -1941 he began an eight-year contract with the Standard Oil Company of -California to conduct the San Francisco Symphony over the radio. Grofé -has also written music for motion pictures and special works for -industry. - -With Gershwin, Grofé has been an outstanding composer of symphonic music -utilizing jazz and other popular styles and idioms. He is distinguished -for his remarkable skill at orchestration, which frequently employs -non-musical devices for special effects—for example, a typewriter in -_Tabloid_, pneumatic drills in _Symphony in Steel_, a bicycle pump in -_Free Air_, shouts and door-banging in _Hollywood Suite_, and the sound -of bouncing bowling balls in _Hudson River Suite_. - -The _Grand Canyon Suite_ (1931), Grofé’s most significant composition as -well as the most famous, is an orchestral description in five movements -of one of America’s natural wonders. The first movement, “Sunrise,” -opens with a timpani roll to suggest the break of dawn over the canyon. -The main melody depicting the sunrise itself is heard in muted trumpet -against a chordal background. As the movement progresses, the music -becomes increasingly luminous, until the sun finally erupts into full -resplendence. “The Painted Desert” is an atmospheric tone picture. -Nebulous chords suggest an air of mystery before a sensual melodic -section unfolds. “On the Trail” is the most popular movement of the -suite, having for many years been expropriated as the identifying -theme-signature for the Philip Morris radio program. An impulsive, -restless rhythm brings us a picture of a jogging burro. A cowboy tune is -then set contrapuntally against this rhythm. In “Sunset” animal calls -precede a poignant melody that speaks about the peace and serenity that -descend on the canyon at sunset. “Cloudburst” is the concluding movement -in which a violent storm erupts, lashes the canyon with its fury, and -then subsides. Tranquillity now returns, and the canyon is once more -surrounded by breathless and quiet beauty. - -The _Hudson River Suite_ (1955) was written for André Kostelanetz, the -conductor, who introduced the work in Washington, D.C. This music -provides five different aspects of the mighty river in New York, and its -associations with American history. The river itself is described in the -opening movement, “The River.” This is followed by a portrait of Henry -Hudson. The colonial times and the land of Rip Van Winkle are discussed -in the third movement, “Rip Van Winkle,” while in “Albany Night Boat,” a -delightful account is given of New York in years gone by, when a holiday -trip on the boat was a favorite pastime of New York couples. The suite -ends with “New York” a graphic etching of the metropolis along the -Hudson. - -The _Mississippi Suite_ (1925)—like its eminent successor, the _Grand -Canyon Suite_—was written for Paul Whiteman, who introduced it in -Carnegie Hall. The first movement, “Father of the Waters” has a melody -of an American-Indian identity representing the river. In “Huckleberry -Finn,” the character of the boy is suggested by a jazz motive in the -tuba, later amplified into a spacious jazz melody for strings. “Old -Creole Days” highlights a Negro melody in muted trumpet soon taken over -by different sections of the orchestra. The closing movement is the -suite’s best known section and the composer’s own favorite among his -compositions. Called “Mardi Gras” it is a lively and colorful picture of -carnival time in New Orleans. A rhythmic passage with which the movement -opens serves as the preface to an eloquent melody for strings. - - - - - David Guion - - -David Wendell Fentress Guion was born in Ballinger, Texas, on December -15, 1895. He received his musical training at the piano with local -teachers and with Leopold Godowsky in Vienna. After returning to the -United States he filled several posts as teacher of music in Texas, and -from 1925 to 1928 taught piano at the Chicago Music College. Early in -the 1930’s he appeared in a cowboy production featuring his own music at -the Roxy Theater in New York and soon thereafter made weekly broadcasts -over the National Broadcasting Company network. A David Guion Week was -celebrated throughout Texas in 1950. - -He is best known for his skilful arrangements and transcriptions of -Western folk songs and Negro Spirituals, some of which first became -famous in his versions. His orchestral adaptation of “The Arkansas -Traveler” has long been a favorite on “pop” concerts. A familiar legend -helped to dramatize this American folk song to many. A traveler caught -in the rain stops outside an Arkansas hut where an old man is playing -part of a folk tune on his fiddle. Upon questioning him the traveler -learns that the old fiddler does not know the rest of the song, -whereupon the stranger takes the fiddle from him and completes it. The -two then become devoted friends. - -Even more famous is David Guion’s arrangement of “Home on the Range,” in -1930. It is not quite clear who actually wrote this song. It was -discovered by John A. Lomax who heard it sung by a Texan saloon keeper, -recorded it, and published it in his 1910 edition of _Cowboy Songs_. -Only after Guion had arranged it did it become a national favorite over -the radio, its popularity no doubt immensely enhanced by the widely -circulated story that this was President Franklin D. Roosevelt’s -favorite song. - -Guion’s concert arrangement for full orchestra of “Turkey in the Straw” -is also of interest. This folk tune—sometimes known as “Zip Coon”—first -achieved popularity on the American musical stage in the era before the -minstrel show. It was published in Baltimore in 1834 and first made -popular that year by Bob Farrell at the Bowery Theater. After that it -was a familiar routine of the black-faced entertainer, George Washington -Dixon. Several have laid claim to the song, but it is most likely -derived from an English or Irish melody. - -Other arrangements and transcriptions by Guion include “Nobody Knows De -Trouble I’ve Seen,” “Oh, Bury Me Not on the Lone Prairie,” “Ride Cowboy -Ride,” “Short’nin’ Bread,” and “Swing Low, Sweet Chariot.” - -Guion has also written several compositions of his own in which the folk -element is pronounced. One of these is named _Alley Tunes_, three -musical scenes from the South. Its most famous movement is the last, -“The Harmonica Player,” but the earlier two are equally appealing for -their homespun melodies and vigorous national identity: “Brudder -Sinkiller and His Flock of Sheep” and “The Lonesome Whistler.” Another -pleasing orchestral composition by Guion is a waltz suite entitled -_Southern Nights_. - - - - - Johan Halvorsen - - -Johan Halvorsen was born in Drammen, Norway, on March 15, 1864. After -attending the Stockholm Conservatory he studied the violin with Adolf -Brodsky in Leipzig and César Thomson in Belgium. In 1892 he returned to -his native land. For many years he was the distinguished conductor of -the Oslo National Theater. His admiration of Grieg (whose niece he -married) directed him toward musical nationalism, a style in which many -of his most ambitious works were written. He was the composer of three -symphonies, two rhapsodies, a festival overture, several suites, and a -number of peasant dances all for orchestra. He died in Oslo on December -4, 1935. - -The _Andante religioso_, in G minor, for violin and orchestra, is a -richly melodious and spiritual work which has gained recognition with -semi-classical orchestras. But Halvorsen’s most popular composition is -the _Triumphant Entry of the Boyars_, for orchestra. The boyar or boyard -was a military aristocrat of ancient Russia, a tyrant as notorious for -his cruelty as for his extravagant way of life. Halvorsen’s vigorous, -colorful march has an Oriental personality. It opens with a stirring -march subject for clarinet against a drone bass in cellos and double -basses, and it highlights a fanfare for trumpets and trombones. - - - - - George Frederick Handel - - -George Frederick Handel was born in Halle, Saxony, on February 23, 1685. -After studying the organ in his native city he settled in Hamburg where -he wrote, and in 1705 had produced, his first operas, _Almira_ and -_Nero_. A period of travel and study in Italy followed, during which he -was influenced by the Italian instrumental music of that period. In 1710 -he was appointed Kapellmeister in Hanover. In 1712 he settled -permanently in England where in 1727 he became a British subject and -Anglicized his name. He became one of England’s giant figures in music, -first as a composer of operas in the Italian style, and after that (when -the vogue for such operas died out) as a creator of oratorios. For -several years he was the court composer for Queen Anne and royal music -master for George I. In 1720 he was appointed artistic director of the -then newly organized Royal Academy of Music. In the last years of his -life he suffered total blindness, notwithstanding which fact he -continued giving public performances at the organ, conducting his -oratorios, and writing music. He died in London on April 14, 1759 and -was buried in Westminster Abbey. - -Handel was a prolific composer of operas, oratorios, orchestral music, -concertos for solo instruments and orchestra, sonatas, compositions for -harpsichord, and chamber works. He was greatest in his religious music, -in the deservedly world-famous oratorio _Messiah_, and in such somewhat -less familiar but no less distinguished works as _Judas Maccabaeus_, -_Samson_, _Solomon_, and _Israel in Egypt_. His greatest music is on -such a consistently high spiritual plane, is filled with such grandeur -of expression, and reveals such extraordinary contrapuntal skill that it -does not easily lend itself to popular consumption. But one passage from -the _Messiah_ is particularly famous, and especially popular with people -the world over; it is probably the most celebrated single piece of music -he ever wrote, and while originally for chorus and orchestra, is -familiar in innumerable transcriptions for orchestra or for band. It is -the sublime “Hallelujah Chorus,” about which the composer himself said -when he finished writing it: “I did think I did see all Heaven before -me, and the great God himself.” This grandiose choral passage, a miracle -of contrapuntal technique, is undoubtedly the climactic point of the -entire oratorio. When the _Messiah_ was first heard in London on March -23, 1743 (a little less than a year after its world première which took -place in Dublin, Ireland, on April 13, 1742) the awesome immensity of -this music made such an impression on King George II, in the audience, -that he rose spontaneously in his seat and remained standing throughout -the piece. The audience followed their king in listening to the music in -a standing position. Since then it has been a custom in performances of -_Messiah_ for the audience to rise during the singing of the “Hallelujah -Chorus.” - -The _Harmonious Blacksmith_ is Handel’s best known composition for the -harpsichord. This is the fourth movement of a harpsichord suite, No. 5 -in E major, which the composer wrote in 1720; but most frequently it is -played apart from the rest of the movements as a self-sufficient -composition. The title _Harmonious Blacksmith_ was created not by the -composer but by a publisher in Bath, England, when in 1822 he issued the -fourth movement of the suite as a separate piece of music. There -happened to be in Bath a blacksmith who often sang this Handel tune and -who came to be known in that town as the “harmonious blacksmith.” The -Bath publisher recognized the popular appeal of a title like “Harmonious -Blacksmith” and decided to use it for this music. The story that Handel -conceived this tune while waiting in a blacksmith’s shop during a storm -is, however, apocryphal. The _Harmonious Blacksmith_ begins with a -simple two-part melody which then undergoes five equally elementary -variations. - -The _Largo_, so familiar as an instrumental composition in various -transcriptions, is really an aria from one of Handel’s operas. It was a -tenor aria (“_Ombrai mai fu_”) from _Serse_ (1738) in which is described -the beauty of the cool shade of a palm tree. In slower tempo it has -become, in its instrumental dress, a broad, stately melody of religious -character with the simple tempo marking of _Largo_ as its title. - -The _Water Music_ (1717) is a suite for orchestra made up of charming -little dances, airs and fanfares written for a royal water pageant held -on the Thames River in London on July 19, 1717. A special barge held the -orchestra that performed this composition while the musicians sailed -slowly up and down the river. The king was so impressed by Handel’s -music that he asked it be repeated three times. In its original form, -this suite is made up of twenty pieces, but the version most often heard -today is an adaptation by Sir Hamilton Harty in which only six movements -appear: Overture, Air, Bourrée, Hornpipe, Air, and Fanfare. - - - - - Joseph Haydn - - -Franz Joseph Haydn was born in Rohrau, Austria, on March 31, 1732. From -1740 to 1749 he was a member of the choir of St. Stephen’s in Vienna, -attending its school for a comprehensive musical training. For several -years after that he lived in Vienna, teaching music, and completing -various hack assignments, while pursuing serious composition. In 1755 he -was appointed by Baron Karl Josef Fuernberg to write music for and -direct the concerts at his palace; it was in this office that Haydn -wrote his first symphonies and string quartets as well as many other -orchestral and chamber-music works. From 1758 to 1760 he was -Kapellmeister to Count Ferdinand Maximilian Morzin. In 1761 Haydn became -second Kapellmeister to Prince Paul Anton Esterházy at Eisenstadt, -rising to the post of first Kapellmeister five years after that. Haydn -remained with the Esterházys until 1790, a period in which he arrived at -full maturity as a composer. His abundant symphonies, quartets, sonatas -and other compositions spread his fame throughout the length and breadth -of Europe. After leaving the employ of the Esterházys, Haydn paid two -visits to London, in 1791 and again in 1794, where he directed -orchestral concerts for which he wrote his renowned _London_ symphonies. -At the dusk of his career, Haydn produced two crowning masterworks in -the field of choral music: the oratorios _The Creation_ (1798) and _The -Seasons_ (1801). Haydn died in Vienna on May 31, 1809. - -Haydn was an epochal figure during music’s classical era. He helped to -establish permanently the structures of the symphony, quartet, sonata; -to arrive at a fully realized homophonic style as opposed to the -contrapuntal idiom of the masters who preceded him; and to arrive at new -concepts of harmony, orchestration, and thematic development. He helped -pave the way for the giants who followed him, most notably Mozart and -Beethoven, who helped carry the classical era in music to its full -flowering. To his musical writing Haydn brought that charm, grace, -stateliness, beauty of lyricism that we associate with classicism, and -with it a most engaging sense of humor and at times even a remarkable -expressiveness. Most of Haydn’s music belongs to the serious concert -repertory. He did write some music intended for the masses—mainly the -Contredanses, German Dances and Minuets which, after all, was the dance -music of the Austrian people in Haydn’s time. Haydn’s _German Dances_ -and Minuets are especially appealing. The former was the forerunner of -the waltz, but its melodies and rhythms have a lusty peasant quality and -an earthy vitality; the latter was the graceful, sedate dance of the -European court. Twelve of Haydn’s _German Dances_ and twelve of his -Minuets (the latter called _Katherine Menuetten_) were written in the -closing years of his life and published in 1794; they were intended for -the court ball held at the Redoutensaal in Vienna where they were -introduced on November 25, 1792. The _German Dances_ here have sobriety -and dignity, and are often filled with Haydn’s remarkable innovations in -melodic and harmonic writing; the Minuets are consistently light and -carefree in spirit. - -The _Gypsy Rondo_—often heard in various transcriptions, including one -for violin and piano by Fritz Kreisler—comes from the Piano Trio No. 1 -in G major, op. 73, no. 2 (1795) where it is the concluding movement -(Rondo all’ ongarese). It is in Hungarian style, vivacious in rhythmic -and melodic content; it is for this reason that Haydn himself designated -this music “in a gypsy style” and Kreisler’s transcription bears the -title of _Hungarian Rondo_. - -Of Haydn’s more than one hundred symphonies the one occasionally given -by pop orchestras is a curiosity known as the _Toy Symphony_. Actually -we now know that Haydn never really wrote it, but it was the work of -either Mozart’s father, Leopold, or Haydn’s brother, Michael. But it was -long attributed to Joseph Haydn, and still is often credited to him. -This little symphony in C major, which is in three short movements, was -long believed to have been written by Haydn during his visit to -Berchtegaden, Bavaria, in 1788 where he became interested in toy -instruments. The symphony uses numerous toy instruments (penny trumpet, -quail call, rattle, cuckoo, whistle, little drum, toy triangle, and so -forth) together with three orthodox musical instruments, two violins and -a bass. - -Joseph Haydn was also the composer of Austria’s national anthem, “_Gott -erhalte Franz den Kaiser_.” He was commissioned to do so in 1797 by the -Minister of the Interior to help stir the patriotic ardor of Austrians; -it was first performed in all Austrian theaters on the Emperor’s -birthday on February 12, 1797. The Emperor was deeply impressed by the -anthem. “You have expressed,” he said, “what is in every loyal Austrian -heart, and through your melody Austria will always be honored.” Haydn -himself used the same melody in one of his string quartets: as the slow -second movement in which it receives a series of variations. It is for -this reason that this quartet, in C major, op. 76, no. 3, is popularly -known as the _Emperor Quartet_. - - - - - Victor Herbert - - -Victor Herbert was born in Dublin, Ireland, on February 1, 1859. He -received a sound musical training at the Stuttgart Conservatory, -following which he studied the cello privately with Bernhard Cossmann in -Baden-Baden. For several years after that he played the cello in many -German and Austrian orchestras. His bow as a composer took place with -two ambitious works, a suite and a concerto, both for cello and -orchestra. They were introduced by the Stuttgart Symphony (the composer -as soloist) in 1883 and 1885 respectively. After marrying the prima -donna, Therese Foerster, in 1886, Herbert came to the United States and -played the cello in the Metropolitan Opera orchestra, his wife having -been engaged by that company. He soon played the cello in other major -American orchestras, besides conducting symphonic concerts, concerts of -light music, and performances at important festivals. In 1893 he -succeeded Patrick S. Gilmore as bandleader of the famous 22nd Regiment -Band, and from 1898 to 1904 he was principal conductor of the Pittsburgh -Symphony. After 1904 he was the conductor of his own orchestra. - -Herbert won world renown as a composer of operettas for which he -produced a wealth of melodies that have never lost their charm or -fascination for music lovers. His first produced operetta, _Prince -Ananias_, in 1894 was a failure. But one year later came _The Wizard of -the Nile_, the first of a long string of stage successes Herbert was -henceforth to enjoy. From then on, until the end of his life, Herbert -remained one of Broadway’s most productive and most significant -composers. Many of his operettas are now classics of the American -musical stage. Among these are: _The Fortune Teller_ (1898), _Babes in -Toyland_ (1903), _Mlle. Modiste_ (1905), _The Red Mill_ (1906) and -_Naughty Marietta_ (1910). A facile composer with an extraordinary -technique at orchestration and harmonization, and a born melodist who -had a seemingly inexhaustible reservoir of beautiful tunes, Herbert was -a giant figure in American popular music and in the music for the -American popular theater. He died of a heart attack in New York City on -May 26, 1924. - -Victor Herbert produced a considerable amount of concert -music—concertos, symphonies, suites, overtures—most of which has passed -out of the more serious repertory. A few of these concert works have -enough emotional impact and melodic fascination to enjoy a permanent -status in the semi-classical repertory. Potpourris from the scores of -his most famous operettas—and orchestral transcriptions of individual -songs from these productions—are, of course, basic to any pop or -semi-classical orchestra repertory. For Herbert’s greatest songs from -his operettas are classics, “as pure in outline as the melodies of -Schubert and Mozart” according to Deems Taylor. - -_Al Fresco_ is mood music which opens the second act of the operetta, -_It Happened in Nordland_ (1904). Herbert had previously written and -published it as a piano piece, using the pen-name of Frank Roland, in -order to test the appeal of this little composition. It did so well in -this version that Herbert finally decided to include it in his operetta -where it serves to depict a lively carnival scene. - -_The American Fantasia_ (1898) is a brilliantly orchestrated and -skilfully contrived fantasy made up of favorite American national -ballads and songs. It is the composer’s stirring tribute to the country -of his adoption. The ballads and songs are heard in the following -sequence: “Hail Columbia,” “Swanee River,” “The Girl I Left Behind Me,” -“Dixie,” “Columbia the Gem of the Ocean.” This composition comes to an -exciting finish with “The Star-Spangled Banner” in a Wagnerian-type -orchestration. - -The operetta _Babes in Toyland_, which opened in New York on October 13, -1903, was an extravaganza inspired by the then-recent success on -Broadway of _The Wizard of Oz_. Herbert’s operetta drew its characters -from fairy tales, _Mother Goose_, and other children’s stories, placing -these characters in a rapid succession of breath-taking scenes of -spectacular beauty. The complicated plot concerned the escape of little -Jane and Alan from their miserly uncle to the garden of Contrary Mary. -They then come to Toyland where they meet the characters from fairy -tales and Mother Goose, and where toys are dominated by the wicked -Toymaker whom they finally bring to his destruction. Principal musical -numbers from this score include the delightful orchestral march, “March -of the Toys,” and the songs “Toyland” and “I Can’t Do the Sum.” - -_Dagger Dance_ is one of the most familiar pieces in the semi-classical -repertory in the melodic and rhythmic style of American-Indian music. It -comes from Herbert’s opera _Natoma_, whose première took place in -Philadelphia on February 25, 1911. This spirited Indian dance music -appears in the second act, at a climactic moment in which Natoma, -challenged to perform a dagger dance, does so; but during the -performance she stabs and kills the villain, Alvarado. - -_The Fortune Teller_ whose New York première took place on September 26, -1898, is an operetta that starred Alice Neilsen in the dual role of -Musette, a gypsy fortune teller, and Irma, a ballet student. Against a -Hungarian setting, the play involves these two girls in love affairs -with a Hungarian Hussar and a gypsy musician. Hungarian characters and a -Hungarian background allowed Herbert to write music generously spiced -with Hungarian and gypsy flavors, music exciting for its sensual appeal. -The most famous song from this score is “Gypsy Love Song,” sometimes -also known as “Slumber On, My Little Gypsy Sweetheart,” sung by Sandor, -the gypsy musician, in tribute to Musette. - -_Indian Summer: An American Idyll_ (1919) is a tone picture of Nature -which Herbert wrote in two versions, for solo piano, and for orchestra. -Twelve years after the composer’s death, Gus Kahn wrote lyrics for its -main melody, and for fourteen weeks it was heard on the radio Hit -Parade, twice in the Number 1 position. - -_The Irish Rhapsody_ for orchestra (1892) is one of several concert -works in which Herbert honored the country of his birth. This work is -built from several familiar Irish ballads found by the composer in -Thomas Moore’s _Irish Melodies_, published in 1807. “Believe Me if All -These Endearing Young Charms” comes immediately after a harp cadenza. -This is followed by a variation of “The Rocky Road to Dublin,” “To -Ladies’ Eyes,” “Thamma Hulla,” “Erin, Oh Erin,” and “Rich and Rare Were -the Gems She Wore.” An oboe cadenza then serves as the transition to -“St. Patrick’s Day.” The rhapsody ends with “Garry Owen” set against -“Erin, Oh Erin” in the bass. - -_Mlle. Modiste_, introduced in New York on December 25, 1905, is the -operetta in which Fritzi Scheff, once a member of the Metropolitan -Opera, became a star of the popular musical theater. This is also the -operetta in which she sang the waltz with which, for the rest of her -life, she became identified, “Kiss Me Again.” Fritzi Scheff was cast as -Fifi, an employee in a Parisian hat shop. Her lowly station precludes -her marriage to the man she loves, Capt. Etienne de Bouvray. An American -millionaire becomes interested in her, and provides her with the funds -to pursue her vocal studies. Fifi then becomes a famous opera star, -thereby achieving both the fame and the fortune she needs to gain Capt. -Etienne as a husband. - -Early in this operetta, Fifi tries to demonstrate her talent as a singer -by performing a number called “If I Were On the Stage,” in which she -offers various types of songs, including a polonaise, a gavotte, and a -waltz. The waltz part was originally intended by Herbert as a caricature -of that kind of dreamy, sentimental music and consisted of the melody of -“Kiss Me Again” which he had written some time earlier, in 1903. On -opening night the audience liked this part of the number so well, and -was so noisy in its demonstration, that Herbert decided to feature it -separately and prominently in his operetta, had new sentimental lyrics -written for it, and called it “Kiss Me Again.” This, of course, is the -most celebrated single number from this operetta, but several others are -equally appealing, notably one of Herbert’s finest marches, “The Mascot -of the Troop,” another waltz called “The Nightingale and the Star,” and -a humorous ditty, “I Want What I Want When I Want It.” - -The operetta, _Naughty Marietta_—first New York performance on November -7, 1910—was set in New Orleans in 1780 when that city was under Spanish -rule. The noble lady, Marietta (starring the prima donna, Emma Trentini) -had come to New Orleans from Naples to avoid an undesirable marriage. -There she meets, falls in love with, and after many stirring adventures -wins, Captain Dick Warrington. A basic element of this story is a -melody—a fragment of which has come to the heroine in a dream. Marietta -promises her hand to anybody who could give her the complete song of -which this fragment is a part, and it is Dick Warrington, of course, who -is successful. This melody is one of Herbert’s best loved, “Ah, Sweet -Mystery of Life.” Other favorites from _Naughty Marietta_ are “I’m -Falling in Love With Someone,” “Italian Street Song,” the serenade -“’Neath the Southern Moon,” and the march, “Tramp, Tramp, Tramp.” - -_Pan Americana_ (1901) is a composition for orchestra described by -Herbert as a “_morceau caractéristique_.” He wrote it for the Pan -American Exposition in Buffalo in 1901 (where President McKinley was -assassinated). The three sections are in three different popular styles, -the first in American-Indian, the second in ragtime, and the third in -Cuban or Spanish. - -_Punchinello_ and _Yesterthoughts_ (1900) are two evocative tone -pictures originally for piano from a suite of pieces describing the -natural beauties of scenes near or at Lake Placid, New York. Herbert -orchestrated both these numbers. - -_The Red Mill_, which came to New York on September 24, 1906, was an -operetta starring the comedy team of Fred Stone and David Montgomery in -a play set in Holland. They are two Americans stranded and penniless at -an inn called “The Sign of the Red Mill.” When they discover that little -Gretchen is in love with Capt. Doris van Damm and refuses to marry the -Governor to whom she is designated by her parents, they come to her -assistance. After numerous escapades and antics they help her to win her -true lover who, as it turns out, is the heir to an immense fortune. The -following are its principal musical episodes: the main love duet, “The -Isle of Our Dreams,”; “Moonbeams”; and the comedy song, “Every Day Is -Ladies’ Day for Me.” - -The _Suite of Serenades_, for orchestra (1924) was written for the same -Paul Whiteman concert of American music at Aeolian Hall on February 12, -1924 in which Gershwin’s _Rhapsody in Blue_ was introduced. This is a -four movement suite which represented Herbert’s only attempt to write -directly for a jazz orchestra, and parts of it are characterized by jazz -scoring and syncopations. Herbert wrote a second version of this suite -for symphony orchestra. In the four movements the composer skilfully -simulates four national styles. The first is Spanish, the second -Chinese, the third Cuban, and the fourth Oriental. - -Another familiar orchestral suite by Herbert is the _Suite Romantique_ -(1901). Herbert’s vein for sentimental melody is here generously tapped. -The four movements are mood pictures named as follows: “_Visions_,” -“_Aubade_” (a beautiful solo for the cellos), “_Triomphe d’amour_” (a -glowing love duet), and “_Fête nuptiale_.” - -_The Woodland Fancies_, for orchestra (1901) also consist of four -evocative and pictorial mood pictures, this time inspired by the -Adirondack mountains where Herbert maintained a summer home and which he -dearly loved. Here the four movements are entitled: “Morning in the -Mountains,” “Forest Nymphs,” “Twilight,” and “Autumn Frolics.” - -There are individual songs from several other Herbert operettas that are -part of the semi-classical repertory in orchestral transcriptions. Among -these are: “The Angelus” and the title song from _Sweethearts_ (1913); -“I Love Thee, I Adore Thee” which recurs throughout _The Serenade_ -(1897); “A Kiss in the Dark” from _Orange Blossoms_ (1922); “Star Light, -Star Bright,” a delightful waltz from _The Wizard of the Nile_ (1895); -and “Thine Alone” from the Irish operetta, _Eileen_ (1917). - - - - - Ferdinand Hérold - - -Louis Joseph Ferdinand Hérold was born in Paris on January 28, 1791. He -began to study music when he was eleven. From 1805 to 1812 he attended -the Paris Conservatory where his teachers included Adam and Méhul. In -1812 he received the Prix de Rome. Following his three-year stay in Rome -he settled in Naples where he was pianist to Queen Caroline and had his -first opera, _La Gioventù di Enrico_, produced in 1815. After returning -to his native city he completed a new opera, _Charles de France_, which -was successfully produced in 1816 at the Opéra-Comique in Paris where, -from this time on, all his operas were given. Hérold wrote many serious -operas before turning to the field in which he earned his importance and -popularity, the opéra-comique. His first work in this genre was _Marie_ -in 1826; his most successful, _Zampa_, in 1831. He also enjoyed a -triumph with his last opéra-comique, _Le Pré aux clercs_, produced in -1832. Hérold died of consumption in Paris on January 19, 1833 before -reaching his forty-second birthday. - -About all that has survived from Hérold’s most famous opera, _Zampa_, is -its overture, a semi-classical favorite everywhere. _Zampa_—libretto by -Mélesville—was introduced at the Opéra-Comique in Paris on May 3, 1831. -The hero, Zampa, is the leader of a band of pirates who invade an -island. He meets Camille and compels her to desert her lover and marry -him. During the marriage festivities the pirate leader mockingly tries -to place a ring on the finger of a statue. The statue suddenly comes to -life and brings Zampa to his doom by drowning. - -The overture opens with a robust subject for full orchestra (derived -from the pirates’ chorus of the first act). A brief pause separates this -section from a slower one in which timpani rolls and loud chords in the -wind precede a stately melody for wind instruments. After some -development, in which the mood becomes dramatic, two new subjects are -heard: the first is a sensitive melody for clarinet against plucked -strings, and the second is a soaring song for the violins. - - - - - Jenö Hubay - - -Jenö Hubay was born in Budapest, Hungary, on September 15, 1858. His -father, a professor of the violin at the Budapest Conservatory, gave him -his first violin lessons. Jenö made his public debut as violinist when -he was eleven, then completed his violin studies with Joachim in Berlin -and with Vieuxtemps in Belgium. In 1886 he was appointed professor of -the violin at the Budapest Conservatory, and from 1919 to 1934 he was -its director. Hubay was one of Europe’s most eminent violinists, violin -teachers, and performers of chamber music, the last with the Hubay -Quartet which he founded. He died in Vienna on March 12, 1937. - -Hubay was the composer of several operas, four symphonies, four violin -concertos, and many pieces for the violin. He was at his best when he -drew both his inspiration and materials from Hungarian folk music. -Perhaps his best known work is a set of fourteen pieces for violin and -orchestra collectively known as _Scènes de la Csárda_, or _Hungarian -Czardas Scenes_. The czardas is a popular Hungarian folk dance in duple -time characterized by quick syncopations, and exploiting alternating -slow and rapid passages. These _Scènes_ are often presented as -orchestral compositions. The fourth, _Hejre Kati_, is the most popular -of the group, a piece of music electrifying for its rhythmic momentum. -The second, known as _Hungarian Rhapsody_, and the fifth, _Waves of -Balaton_, are also familiar. Besides their rhythmic vitality these -compositions are of interest for their sensual melodies, and dramatic -contrasts of tempo and mood. - -From Hubay’s most famous opera, _The Violin Maker of Cremona_, comes a -sensitively lyrical “Intermezzo,” for orchestra. Hubay wrote this -one-act opera in 1894, and it was introduced in Budapest the same year. -The text by Francois Coppé and Henri Beauclair concerns a violin-making -contest in Ferrari, Italy, in which the prize is the beautiful girl, -Giannina. A hunchback, Filippo, makes the best violin, but he generously -permits Giannina to marry Sandro, the man she really loves. A -transcription of the “Intermezzo” for violin and piano is popular in the -repertory and bears the title of the opera. The Intermezzo had also been -adapted by Stoll as a composition for voice and orchestra under the name -“Lonely Night.” - - - - - Engelbert Humperdinck - - -Engelbert Humperdinck was born in Sieburg, Germany, on September 1, -1854. He attended the Cologne Conservatory where his teachers included -Hiller (who was the first to recognize his talent), Jensen and -Gernsheim. After winning the Mozart Scholarship of Frankfort in 1876, -Humperdinck continued his music study in Munich with Franz Lachner and -Rheinberger. In Munich he published his first important composition, a -_Humoreske_ for orchestra (1880). In 1881, he received the Meyerbeer -Prize and in 1897, the Mendelssohn Prize, both for composition. Between -1885 and 1887 he was professor of the Barcelona Conservatory in Spain -and in 1890 he became professor at Hoch’s Conservatory in Frankfort, and -music critic of the _Frankfurter Zeitung_. He achieved his greatest -success as a composer with the fairy opera, _Hansel and Gretel_, -produced in Weimar in 1893. After 1896, Humperdinck devoted himself -exclusively to composition, and though he wrote several fine operas none -was able to equal the popularity of his fairy-opera. He died in -Neustrelitz, Germany, on September 27, 1921. - -_Hansel and Gretel_ scored a sensational success in its own day; and, in -ours, it is the only opera by which Humperdinck is remembered. Following -its première in Weimar, Germany, on December 23, 1893, it was performed -within a year in virtually every major German opera house. In 1894 it -came to London, and in 1895 to New York. The text by Adelheid Wette -(Humperdinck’s sister) is based on the Ludwig Grimm fairy tale familiar -to young and old throughout the world. - -The overture, and two orchestral episodes, are often performed outside -the opera house. The Overture is made up of several melodies from the -opera beginning with the so-called “prayer melody,” a gentle song for -horns and bassoons. A rhythmic passage then describes the spell effected -by the witch on the children. After this comes the lovable third-act -melody in which the children are awakened by the dewman. The happy dance -of the children from the close of the opera leads back to the opening -prayer with which the overture comes to a gentle conclusion. - -The _Dream Pantomime_ comes in the second act and is an orchestral -episode in which is described the descent of the fairies who provide a -protective ring around the children, alone and asleep in the deep -forest. The _Gingerbread Waltz_ (_Knusperwalzer_) from Act 3 is the -joyous music expressing the children’s delight after they have succeeded -in pushing the witch inside the oven and burning her to a crisp. - -Among Humperdinck’s many works for symphony orchestra one is -occasionally performed by semi-classical or pop orchestras. It is the -_Moorish Rhapsody_ (1898) written for the Leeds Festival in England. The -first movement, “Tarifa—Elegy at Sunrise” reflects the sorrow of a -shepherd over the decay of the Moorish people. “Tangiers—A Night in a -Moorish Café” is a coffee-house scene highlighted by the sensual chant -of a café singer. The suite concludes with “Tetuan—A Rider in the -Desert,” depicting a desert ride with a view of Paradise in the -distance. To carry into his music an Oriental atmosphere, Humperdinck -modeled some of his principal themes after actual Moorish melodies, such -as the second theme of the first movement for English horn, and the main -melody for woodwind in the second movement. - - - - - Jacques Ibert - - -Jacques Ibert was born in Paris on August 15, 1890. He attended the -Paris Conservatory between 1911 and 1919, with a hiatus of several years -during World War I when he served in the French Navy. In 1919 he won the -Prix de Rome. While residing in the Italian capital he wrote a symphonic -work with which he scored his first major success, the suite _Escales_, -introduced in Paris in 1924. From 1937 to 1955 he was director of the -Academy of Rome. During this period he also served for a while as -director of the combined management of the Paris Opéra and -Opéra-Comique. - -Ibert has written many works in virtually every form, which have placed -him in the front rank of contemporary French composers. Many of these -compositions are in a neo-classical idiom. Occasionally, however, he has -made a delightful excursion into satire. It is with one of the latter -works, the _Divertissement_ for orchestra (1930) that he has entered the -semi-classical repertory, though to be sure this composition is also -frequently given at symphony concerts. The _Divertissement_ begins with -a short Introduction in which the prevailing mood of levity is first -introduced. Then comes the “_Cortège_.” A few introductory bars suggest -two march themes, the first in strings, and the second in trumpet. After -that appears a loud quotation from Mendelssohn’s “Wedding March” from -his _A Midsummer Night’s Dream Suite_. The “Nocturne” is a dreamy little -melody which precedes a delightful “Waltz” and a breezy “Parade.” The -finale is in the style of an Offenbach can-can, with the piano -interpolating some impudent dissonant harmonies. - - - - - Michael Ippolitov-Ivanov - - -Michael Ippolitov-Ivanov was born in Gatchina, Russia, on November 19, -1859. He was graduated from the St. Petersburg Conservatory in 1882 -where he was a pupil in composition of Rimsky-Korsakov. From 1882 to -1893 he was associated with the Tiflis Music School, first as teacher, -then as director. In 1893 he was appointed professor of composition at -the Moscow Conservatory on Tchaikovsky’s recommendation, and from 1906 -to 1922 he served as its director. He also distinguished himself as a -conductor of opera in Moscow. He died in that city on January 28, 1935. - -Ippolitov-Ivanov’s best music profited from his intensive researches -into Caucasian folk music. His principal works have assimilated many of -the Oriental melodic and rhythmic idioms of songs and dances from that -region. His most popular work of all is the _Caucasian Sketches_ for -orchestra, op. 10 (1895). The first movement, “In the Mountain Pass,” -brings up the picture of a mountain scene. Horn calls are here used -prominently. “In the Village” opens with a cadenza for English horn and -proceeds to a beautiful melody for viola set against a persistent ⅜ -rhythm. “In the Mosque” dispenses with the strings while describing an -impressive religious ceremony. The suite ends with the stirring “March -of the Sirdar,” a “sirdar” being an Oriental potentate. - - - - - Ivanovici - - -Neither Ivanovici’s first name nor details of his life are known. He was -born in Banat, Rumania, in 1848, distinguished himself as a bandleader -in his native country, and died in Bucharest on April 1, 1905. For his -band concerts he wrote many popular concert numbers. One of these is the -concert waltz, _The Waves of the Danube_ (_Donauwellen_), written in -1880, and achieving from the first phenomenal popularity throughout -Europe. The main waltz melody of this set of waltzes was expropriated by -Al Dubin and Dave Franklin for the American popular song “The -Anniversary Song,” (lyrics by Saul Chaplin), which was effectively used -in the motion picture _The Jolson Story_ in 1946, sung on the sound -track by Jolson himself. - - - - - Armas Järnefelt - - -Armas Järnefelt was born in Viborg, Finland, on August 14, 1869. He -studied music in Helsingfors with Ferruccio Busoni and Martin Wegelius; -in Berlin with A. Becker; and in Paris with Massenet. Beginning with -1898, and for several years thereafter, he conducted opera performances -in Viborg and Helsingfors. In 1907 he settled in Sweden where three -years later he became a citizen. There he became court composer and the -conductor of the Royal Opera. After returning to Helsingfors in 1932, he -directed the Opera for four years and the Helsingfors Municipal Theater -for one. He also appeared as guest conductor of many important Finnish -orchestras, distinguishing himself particularly in performances of music -by Jean Sibelius (his brother-in-law). In 1940, Järnefelt received the -official title of Professor. He died in Stockholm in June 1958. - -Järnefelt wrote many works for orchestra, including suites, overtures, -and shorter works. One of the last is _Berceuse_ for two clarinets, one -bassoon, two horns, violin solo and strings (1905), a moody and -sensitive piece of music. The romantic main melody appears in solo -violin after four introductory bars for muted strings. - -His most popular composition is the _Praeludium_ for chamber orchestra. -It opens with a three-measure introduction for plucked strings. This is -followed by a brisk march subject for oboe which is soon discussed by -other winds, and after that by the violins over a drone bass. A passage -for solo violin leads to the return of the march melody. - - - - - Dmitri Kabalevsky - - -Dmitri Kabalevsky was born in St. Petersburg on December 30, 1904, and -received his musical training in Moscow, at the Scriabin Music School -and the Moscow Conservatory. He was graduated from the latter school in -1929, and in 1932 he was appointed instructor there. His first success -as composer came in 1931 with his first symphony, commemorating the -fifteenth anniversary of the Russian revolution; this was followed in -1934 by his second symphony, which enjoyed an even greater triumph both -in and out of the Soviet Union. In 1939 Kabalevsky was elected a member -of the Presidium of the Organizing Committee of the Union of Soviet -Composers; in 1940 he was given the Order of Merit; and in 1946 he -received the Stalin Prize for the second string quartet. He has also -written operas, concertos, additional symphonies, and piano music. - -A composer who has always been partial to the more conventional means -and techniques, and has relied heavily on broad and stately melodies and -subjective feelings, Kabalevsky has managed to produce several -compositions that have wide appeal. One is the sprightly _Colas Breugnon -Overture_. _Colas Breugnon_ was an opera adapted by V. Bragin from a -novel by Romain Rolland; it was first performed in Leningrad on February -22, 1938. The central character is a 16th-century craftsman—a jovial man -who enjoys life and has a spicy sense of humor and a happy outlook on -all things. The overture is essentially a study of that man, -consistently gay and sprightly. There are two main melodies, both of -them lively, and both derived from Burgundian folk songs. - -Another popular work by Kabalevsky is _The Comedians_, op. 26 (1938), an -orchestral suite made up of selections from the incidental music to a -children’s play, _The Inventor and the Comedians_. The play is about the -varied and picaresque adventures of a group of wandering performers in -various towns and at public fairs. There are ten episodes in the suite, -each in a light, infectious style that makes for such easy listening -that this work is often given at children’s concerts. The ten sections -are: Prologue, Galop, March, Waltz, Pantomime, Intermezzo, Little -Lyrical Scene, Gavotte, Scherzo, and Epilogue. - - - - - Emmerich Kálmán - - -Emmerich Kálmán was born in Siófok, Hungary, on October 24, 1882. He -studied composition in Budapest. In 1904 one of his symphonic -compositions was performed by the Budapest Philharmonic, and in 1907 he -received the Imperial Composition Prize. After settling in Vienna he -abandoned serious composition for light music. From this time on he -devoted himself to and distinguished himself in writing tuneful -operettas. His first success came in 1909 with _Ein Herbstmanoever_, -presented in New York as _The Gay Hussars_. Subsequent operettas made -him one of Europe’s leading composers for the popular theaters. The most -famous are: _Sari_ (1912), _The Gypsy Princess_ (1915), _Countess -Maritza_ (1924) and _The Circus Princess_ (1926). In 1938 he left -Vienna, and after a period in Paris, he came to the United States where -he remained until 1949. He completed his last operetta, _The Arizona -Lady_, a few days before his death in Paris, on October 30, 1953; it was -presented posthumously in Berne, Switzerland, in 1954. - -Kálmán’s forte in writing music for operettas was in combining the -charm, _Gemuetlichkeit_ and sentiment of Viennese music in general, and -the Viennese waltz in particular, with the hot blood and sensual moods -of Hungarian gypsy songs and dances. - -_The Circus Princess_ (_Die Zirkusprinzessin_)—first performed in Vienna -in 1926, and in New York in 1927—was set in St. Petersburg and Vienna -during the period immediately preceding World War I. When Fedora rejects -the love of Prince Sergius by insisting she would sooner marry a circus -performer, he seeks revenge by engaging a famous circus performer to -pose as a member of nobility and woo and win Fedora. After their -marriage, Fedora discovers the true identity of her husband, and leaves -him. But she soon comes to the realization she is really in love with -him and promises to come back if he in turn offers to give up his -profession—a profession she now despises not from snobbery but because -of fears for his safety. Two delightful waltz melodies—“_Leise schwebt -das Glueck vorueber_” “_Im Boudoir der schoensten Frau_”—and an -intriguing little melody that recurs throughout the operetta, “_Zwei -maerchenaugen_” are the principal selections from this operetta. - -_Countess Maritza_ (_Die Graefin Mariza_) is Kálmán’s most popular and -successful operetta. It was first produced in Vienna in 1924, and in New -York in 1926. The setting is Hungary in 1922. An impoverished count, -Tassilo, finds employment on the estate of Countess Maritza under the -assumed name of Torok. He falls in love with her, but when she learns of -his real background she feels he is a fortune hunter interested only in -her wealth. About to leave the employ of the countess and to bid her -permanent farewell, Tassilo’s fortune suddenly takes a turn for the -better when his aunt, a Princess, comes to inform him that Tassilo is a -wealthy man after all, due to her manipulations of his tangled business -affairs. Now convinced that he loves her for herself alone, the Countess -Maritza is only too happy to accept him as her husband. - -This score contains some of Kálmán’s finest and most beguiling music in -a Hungarian-gypsy style. The most famous song is in this sensual, -heart-warming idiom: “Play Gypsies, Dance Gypsies” (“_Komm Zigan, Komm -Zigan, spiel mir was vor_”). This number begins with a languorous, -romantic melody that soon lapses into a dynamic Hungarian-gypsy dance. -Austrian waltz-music in a more sentimental manner is found in three -winning songs: “Give My Regards to the Lovely Ladies of Fair Vienna” -(“_Gruess mir die reizenden Frauen im schoenen Wien_”), “I Would Like to -Dance Once More” (“_Einmal moecht’ ich wieder tanzen_”) and “Say, Yes!” -(“_Sag ja, mein Lieb_”). - -_The Gypsy Princess_ (_Die Csárdásfuerstin_) was first performed in -Vienna in 1915, and produced in New York in 1917 under the title of _The -Riviera Girl_. The heroine is Sylvia Varescu, a performer in a Budapest -cabaret, who is loved and pursued by Prince Edwin. But the Prince’s -father insists that he marry the Countess Stasi. Eventually the father’s -heart is softened and he becomes more tolerant towards having Sylvia as -a daughter-in-law when he is discreetly reminded that once he, too, had -been in love with a cabaret singer. The principal selections from his -score include two soaring waltz melodies: “_Machen wir’s den Schwalben -nach_” and “_Tausend kleine Engel singen hab mich lieb_.” The score also -includes a dynamic Czardas, and a pleasing little tune in “_Ganz ohne -Weiber geht die Chose nicht_.” - -_Sari_ was introduced in New York in 1914. Pali is a gypsy violinist who -has grown old and is eclipsed at one of his own concerts by his son, -Laczi. Pali throws his beloved Stradivarius into the flames. Since both -father and son have fallen in love with the same girl, the older man -also renounces her. He wants Laczi to have her as well as his musical -success. A bountiful score includes such delights as “Love Has Wings,” -“Love’s Own Sweet Song,” “My Faithful Stradivari,” and “Softly Through -the Summer Night.” - - - - - Kéler-Béla - - -Kélér-Béla was born Albert von Keler in Bartfeld, Hungary, on February -13, 1820. He studied law and worked as a farmer before turning to music -in his twenty-fifth year. After studying in Vienna with Sechter and -Schlesinger he played the violin in the orchestra of the -Theater-an-der-Wien. In 1854 he went to Berlin where he became conductor -of Gungl’s Orchestra. He was soon back in Vienna to take over the -direction of the famous Joseph Lanner Orchestra. From 1856 to 1863 he -conducted an army band, and from 1863 to 1873 an orchestra in Wiesbaden. -He died in that city on November 20, 1882. - -Kéler-Béla wrote about one hundred and thirty compositions in the light -Viennese style of Lanner and the two Johann Strausses. His works include -waltzes, galops, and marches, a representative example of each being the -waltz _Hoffnungssterne_, the _Hurrah-Sturm_ galop, and the -_Friedrich-Karl_ march. - -His most popular work is the _Hungarian Comedy Overture_ (_Lustspiel -Ouverture_). It opens in a stately manner with forceful chords and a -sustained melody in the woodwind. But the comedy aspect of this overture -is soon made evident with two lilting tunes for the woodwind, separated -by a dramatic episode for full orchestra. These two tunes receive -extended enlargement. The overture ends with a succession of emphatic -chords. - - - - - Jerome Kern - - -Jerome David Kern was born in New York City on January 27, 1885. He -first studied the piano with his mother. After being graduated from -Barringer High School in Newark, New Jersey, he attended the New York -College of Music where he was a pupil of Alexander Lambert, Albert von -Doenhoff, Paolo Gallico and Austen Pearce. He received his -apprenticeship as composer for the popular theater in 1903 in London, -where with P. G. Wodehouse as his lyricist he wrote a topical song, “Mr. -Chamberlain” that became a hit. After returning to the United States he -worked in Tin Pan Alley and immediately became a prolific contributor of -songs to the musical stage. In 1905 his song “How’d You Like to Spoon -With Me?” was interpolated into _The Earl and the Girl_ and became an -outstanding success. From that time on, and up to the end of his life, -he wrote over a thousand songs for more than a hundred stage and screen -productions, thereby occupying an imperial position among American -popular composers of his generation. His most famous Broadway musicals -were: _The Girl from Utah_ (1914), _Very Good, Eddie_ (1915), _Oh, Boy!_ -(1917), _Leave it to Jane_ (1917), _Sally_ (1920), _Sunny_ (1925), _Show -Boat_ (1927), _The Cat and the Fiddle_ (1931), _Music in the Air_ -(1932), and _Roberta_ (1933). His most significant motion pictures were -_Swingtime_ with Fred Astaire and Ginger Rogers, _You Were Never -Lovelier_ and _Cover Girl_ both with Rita Hayworth, and _Centennial -Summer_. Over a dozen of his songs sold more than two million copies of -sheet music including “All the Things You Are,” “They Didn’t Believe -Me,” “Smoke Gets In Your Eyes,” and “Look for the Silver Lining.” Two of -his songs received the Academy Award: “The Way You Look Tonight” from -_Swingtime_ and “The Last Time I Saw Paris” interpolated into _Lady Be -Good_. Kern died in New York City on November 11, 1945. - -Kern wrote two compositions for symphony orchestra which have entered -the semi-classical repertory even though they are also performed by -major symphony orchestras. These were his only ventures into the world -of music outside the popular theater. One was _Mark Twain: A_ _Portrait -for Orchestra_ which he wrote on a commission from André Kostelanetz, -who introduced it with the Cincinnati Symphony in 1942. This is a four -movement suite inspired by the personality and life of Kern’s favorite -author, Mark Twain. The first movement, “Hannibal Days,” describes a -sleepy small town on a summer morning a century ago. The cry “Steamboat -comin’!” pierces the silence. The town suddenly awakens. In the second -movement, “Gorgeous Pilot House” Mark Twain leaves home to become a -pilot’s assistant on the Mississippi steamboat; this period in Mark -Twain’s life, which spans about nine years, ends with the outbreak of -the Civil War. In “Wandering Westward,” Twain meets failure as a Nevada -prospector, after which he finally turns to journalism. The suite ends -with “Mark in Eruption,” tracing Twain’s triumphant career as a writer. - -Kern’s second and only other symphonic work is _Scenario_ in which he -drew his basic melodic materials from his greatest and best loved -musical production, _Show Boat_. Kern prepared _Scenario_ at the behest -of Artur Rodzinski, conductor of the Cleveland Orchestra, who felt that -the music of _Show Boat_ had sufficient artistic validity to justify its -use in a major symphonic work. Rodzinski introduced _Scenario_ in -Cleveland with the Cleveland Orchestra in 1941, and since that time it -has been performed by most of the major American orchestras. - -A discussion of _Show Boat_ is essential before _Scenario_ can be -commented upon. The libretto and lyrics are by Oscar Hammerstein II, -based on the famous novel by Edna Ferber. _Show Boat_, in a lavish -Florenz Ziegfeld production, was introduced in New York in 1927 and was -an instantaneous box-office and artistic triumph. It has, to be sure, -become a classic of the American stage, continually revived in all parts -of the country, three times adapted for motion pictures, and has been -given by an American opera company in its regular repertory. It proved a -revolution in the American musical theater by avoiding the usual stilted -routines and patterns of musical comedy—chorus girls, production -numbers, synthetic humor, set dances and so forth—and arriving at an -integrated musical play filled with authentic characterizations, -backgrounds, atmosphere and dramatic truth. The story opens and closes -on _Cotton Blossom_, a show boat traveling along the Mississippi to give -performances at stops along the river. The principal love action -involves Magnolia, daughter of Cap’n Andy (owner of the boat) and the -gambler, Gaylord Ravenal. They run off and get married, but their -happiness is short-lived. Magnolia, though pregnant, leaves her -irresponsible husband. After the birth of Magnolia’s daughter, Kim, the -mother earns her living singing show boat songs in Chicago where she is -found by her father and brought back to _Cotton Blossom_. Eventually, -Magnolia and Ravenal are reconciled, and their daughter Kim becomes the -new star of the show boat. - -The most famous songs from this incomparable Kern score are: “Only Make -Believe” and “Why Do I Love You?”, both of them love duets of Magnolia -and Ravenal; two poignant laments sung by the half-caste Julie, a role -in which Helen Morgan first attained stardom as a torch-song performer, -“Can’t Help Lovin’ That Man” and “Bill” (the latter with lyrics by P. G. -Wodehouse); and a hymn to the Mississippi which has acquired virtually -the status of an American folk song, “Ol’ Man River.” - -_Scenario_ makes extended use of these songs in an integrated piece of -music. It opens with a sensitive passage for muted strings and continues -with a theme for horn; both subjects are intended to portray the -Mississippi River and are the motto subjects of the entire work. The -main melody of this tone poem is “Ol’ Man River,” first given softly by -violas and bass clarinet. Other major songs of the musical play follow, -among them being “Only Make Believe” and “Why Do I Love You?”, after -which “Ol’ Man River” is heard for the last time. - -Many of Kern’s more than a thousand popular songs are now classics in -the popular repertory. They are so fresh and spontaneous in their -lyricism, so inventive in the harmonic background, so filled with charm -and grace that their survival seems assured. Two symphonic compositions -by Robert Russell Bennett are constructed from one or more of Kern’s -best known songs. One is _Symphonic Study_, a tone poem introduced in -1946 by the NBC Symphony under Frank Black. This work presents several -Kern songs in correct chronological sequence beginning with “They Didn’t -Believe Me.” After that come “Babes in the Wood,” “The Siren’s Song,” -“Left All Alone Again Blues,” “Who?”, “Ol’ Man River,” “Smoke Gets In -Your Eyes,” and “All the Things You Are.” The second of Bennett’s -symphonic compositions is the _Variations on a Theme by Jerome Kern_, -written in 1934 and soon after that introduced in New York by a chamber -orchestra conducted by Bernard Herrmann. The theme here used for an -effective series of variations is “Once in a Blue Moon” from the -Broadway musical _Stepping Stones_. - - - - - Albert Ketelby - - -Albert William Ketelby was born in Birmingham, England, in or about -1885. Precocious in music he completed a piano sonata when he was only -eleven. For six years he attended the Trinity College of Music in London -where he captured every possible prize. When he was sixteen he became a -church organist in Wimbledon, and at twenty-one he conducted a theater -orchestra in London. He later distinguished himself as a conductor of -some of London’s most important theater orchestras, besides appearing as -a guest conductor of many of Europe’s major symphonic organizations, -usually in performances of his own works. For many years he was also the -music director of the Columbia Gramophone Company in England. He died at -his home on the Isle of Wight on November 26, 1959. - -A facile composer with a fine sense for atmospheric colors and for -varied moods, Ketelby produced a few serious compositions among which -were a _Caprice_ and a _Concerstueck_ (each for piano and orchestra), an -overture and _Suite de Ballet_ (both for orchestra) and a quintet for -piano and woodwind. He is, however, most famous for his lighter -compositions, two of which are known and heard the world over. _In a -Monastery Garden_ opens with a gentle subject describing a lovely garden -populated by chirping birds. After that comes a religious melody—a chant -of monks in a modal style. _In a Persian Garden_ is effective for its -skilful recreation of an exotic background through Oriental-type -melodies, harmonies, and brilliant orchestral colors. Ketelby wrote -several other compositions in an Oriental style, the best of which is -_In a Chinese Temple Garden_. - - - - - Aram Khatchaturian - - -Aram Khatchaturian was born in Tiflis, Russia, on June 6, 1903. He was -of Armenian extraction. He came to Moscow in 1920, and enrolled in the -Gniessen School of Music. From 1929 to 1934 he attended the Moscow -Conservatory. He first achieved recognition as a composer in 1935 with -his first Symphony, and in 1937 he scored a major success throughout the -music world with his first piano concerto, still a favorite in the -modern concert repertory. As one of the leading composers in the Soviet -Union he has been the recipient of numerous honors, including the Order -of Lenin in 1939, and the Stalin Prize in 1940 and 1942. In 1954 he -visited London where he led a concert of his own music, and early in -1960 he toured Latin America. - -Khatchaturian’s music owes a strong debt to the folk songs and dances of -Armenia and Transcaucasia. It is endowed with a sensitive and at times -exotic lyricism, a compulsive rhythmic strength, and a strong feeling -for the dramatic. - -The most popular single piece of music by Khatchaturian comes from his -ballet, _Gayne_ (or _Gayaneh_), first performed in Moscow on December 9, -1942, and the recipient of the Stalin Prize. The heroine of this ballet -is a member of a collective farm where her husband, Giko, proves a -traitor. He tries to set the farm afire. The farm is saved by a Red -Commander who falls in love with Gayne after Giko has been arrested. - -Khatchaturian assembled thirteen numbers from his ballet score into two -suites for orchestra. It is one of these pieces that has achieved -widespread circulation: the “Saber Dance,” a composition whose impact -comes from its abrupt barbaric rhythms and vivid sonorities; midway, -relief from these rhythmic tensions comes from a broad folk song in -violas and cellos. “Saber Dance” has become popular in numerous -transcriptions, including an electrifying one for solo piano. In 1948 -Vic Schoen made a fox-trot arrangement that was frequently played in the -United States. - -Two other excerpts from these _Gayne_ suites are also familiar. “Dance -of the Rose Girls” presents a delightful Oriental melody in oboe and -clarinet against a pronounced rhythm. “Lullaby” has a gentle swaying -motion in solo oboe against a decisive rhythm in harp and bassoon; -flutes take up this subject, after which the melody grows and expands in -full orchestra, and then subsides. - -_Masquerade_ is another of Khatchaturian’s orchestral suites, this one -derived from his incidental music to a play by Mikhail Lermontov -produced in 1939. Each of the five numbers of this suite is appealing -either for sensitive and easily assimilable melodies or for rhythmic -vitality. Gentle lyricism, of an almost folk-song identity, -characterizes the second and third movements, a “Nocturne” and -“Romance.” The first and the last two movements are essentially -rhythmic: “Waltz,” “Mazurka,” and “Polka.” - - - - - George Kleinsinger - - -George Kleinsinger was born in San Bernardino, California, on February -13, 1914, and came to New York City in his sixth year. He was trained -for dentistry, and only after he had left dental school did he -concentrate on music. His first intensive period of music study took -place with Philip James and Marion Bauer at New York University where he -wrote an excellent cantata, _I Hear America Singing_, performed publicly -and on records by John Charles Thomas. Kleinsinger then attended the -Juilliard Graduate School on a composition fellowship. In 1946 he scored -a major success with _Tubby the Tuba_. He later wrote several other -works with humorous or satiric content, often filled with unusual -instrumental effects. Among these are his _Brooklyn Baseball Cantata_; a -concerto for harmonica and orchestra; and the musical, _Archy and -Mehitabel_ (_Shinbone Alley_), which was produced for records, on -Broadway and over television. In a more serious vein are a symphony and -several concertos. - -_Tubby the Tuba_, for narrator and orchestra (1942) belongs in the class -of Prokofiev’s _Peter and the Wolf_. It serves to familiarize children -with the instruments of the orchestra, but because of its wit and simple -melodies it also makes for wonderful entertainment. It tells the story -of a frustrated tuba who complains that he must always play -uninteresting “oompahs oompahs” while the violins are always assigned -the most beautiful tunes. In the end Tubby happily gets a wonderful -melody of his own to enjoy and play. All the characters in this tale are -instruments of the orchestra. In 1946 a recording of _Tubby the Tuba_ -sold over a quarter of a million albums. Paramount made a movie of it, -and major orchestras throughout the country presented it both at -children’s concerts and in its regularly symphonic repertory. - - - - - Fritz Kreisler - - -Fritz Kreisler, one of the greatest violin virtuosos of his generation, -was born in Vienna, Austria, on February 2, 1875. He was a child prodigy -at the violin. From 1882 to 1885 he attended the Vienna Conservatory, a -pupil of Leopold Auer, winning the gold medal for violin playing. In -1887, as a pupil of Massart at the Paris Conservatory, he was recipient -of the Grand Prix. In 1888, he toured the United States in joint -concerts with the pianist, Moriz Rosenthal, making his American debut in -Boston on November 9. Upon returning to Vienna, he suddenly decided to -abandon music. For a while he studied medicine at the Vienna Academy. -After that he entered military service as an officer in a Uhlan -Regiment. The decision to return to the violin led to a new period of -intensive training from which he emerged in March 1899 with a recital in -Berlin. From 1901 on until his retirement during World War II he -occupied a magistral place among the concert artists of his time. - -As a composer, Kreisler produced a violin concerto and a string quartet. -But his fame rests securely on an entire library of pieces for the -violin now basic to that repertory and which are equally well loved in -transcriptions for orchestra. The curious thing about many of these -compositions is that for many years Kreisler presented them as the -genuine works of the old masters, works which he said he had discovered -in European libraries and monasteries, and which he had merely adapted -for the violin. He had recourse to this deception early in 1900 as the -expedient by which a still young and unknown violinist could get his own -music played more frequently, besides extending for his own concerts the -more or less limited territory of the existing violin repertory. His -deception proved much more successful than he had dared to hope. -Violinists everywhere asked him for copies of these pieces for their own -concerts. Publishers in Germany and New York sold these “transcriptions” -by the thousands. As the years passed it became increasingly difficult -for Kreisler to confess to the world that he had all the while been -palming off a colossal fraud. Then, in 1935, Olin Downes, the music -critic of the _New York Times_, tried to trace the source of one of -these compositions—Pugnani’s _Praeludium and Allegro_—now a worldwide -favorite with violinists. Downes first communicated with Kreisler’s New -York publishers who were suspiciously evasive. After that Downes cabled -Kreisler, then in Europe. It was only then that the violinist revealed -that this piece was entirely his, and so were many others which he had -been presenting so long as the music of Vivaldi, Martini, Couperin, and -Francoeur among others. - -It was to be expected that musicians and critics should meet such a -confession with anger and denunciation. “We wish to apply the term -discreditable to the whole transaction from start to finish,” one -American music journal said editorially. In England, Ernest Newman was -also devastating in his attack. “It is as though Mr. Yeats published -poems under the name of Herrick or Spenser,” he said. - -Yet, in retrospect, it is possible to suggest that musicians and critics -should not have been taken altogether by surprise. For one thing, as -Kreisler pointed out, numerous progressions and passages in all of these -compositions were in a style of a period much later than that of the -accredited composers, a fact that should have inspired at least a -certain amount of suspicion. Also, when Kreisler presented his own -_Liebesfreud_, _Liebesleid_, and _Schoen Rosmarin_ as transcriptions of -posthumous pieces by Joseph Lanner in a Berlin recital, and was -vigorously assailed by a Berlin critic for daring to include such gems -with “tripe” like Kreisler’s own _Caprice Viennois_, Kreisler replied -with a widely published statement that those pieces of Lanner were of -his own composition. The reasonable question should then have arisen -that if the three supposedly Lanner items were by Kreisler, how -authentic were the other pieces of old masters played by the virtuoso? - -Besides all this, Kreisler himself provided a strong clue to the correct -authorship in the frontispiece of his published transcriptions. It read: -“The original manuscripts used for these transcriptions are the private -property of Mr. Fritz Kreisler and are now published for the first time; -they are, moreover, so freely treated that they constitute, in fact, -original works.” - -The furor and commotion caused by the uncovering of this fraud has long -since died down. It has had no visible effect on Kreisler’s immense -popularity either as a violinist or composer. Since then, all this music -has been published and performed as Kreisler’s without losing any of its -worldwide appeal. - -Among the compositions by Kreisler which he originally ascribed to other -masters in imitation of their styles were: _Andantino_ (Martini); -_Aubade provençale_ (Couperin); _Chanson Louis XIII et Pavane_ -(Couperin); _Minuet_ (Porpora); _Praeludium and Allegro_ (Pugnani); _La -Précieuse_ (Couperin); _Scherzo_ (Dittersdorf), _Sicilienne et Rigaudon_ -(Francoeur); _Tempo di minuetto_ (Pugnani). - -Perhaps the best loved pieces by Kreisler are those in the style of -Viennese folk songs and dances in which are caught all the grace and -Gemuetlichkeit of Viennese life and backgrounds. Some he originally -tried to pass off as the works of other composers, as was the case with -the already-mentioned _Liebesfreud_, _Liebesleid_, and _Schoen -Rosmarin_, attributed to Lanner. Some were outright transcriptions. _The -Old Refrain_ is an adaptation of a song “_Du alter Stefanturm_” by -Joseph Brandl taken from his operetta, _Der liebe Augustin_, produced in -Vienna in 1887. Still others were always offered as Kreisler’s own -compositions and are completely original with him: _Caprice Viennois_, -for example, and the _Marche miniature viennoise_. - -Among other original Kreisler compositions which he always presented as -his own are the following: _La Gitana_, which simulates an -Arabian-Spanish song; _Polichinelle_, a serenade; _Rondino_, based on a -theme of Beethoven; _Shepherd’s Madrigal_; _Slavonic Fantasia_, based on -melodies of Dvořák; _Tambourin Chinois_; and _Toy Soldiers’ March_. - - - - - Édouard Lalo - - -Édouard Lalo was born in Lille, France, on January 27, 1823. After -receiving his musical training at Conservatories in Lille and Paris, he -became a member of the Armingaud-Jacquard Quartet, a renowned French -chamber-music ensemble. In 1848-1849 he published some songs; in 1867 he -received third prize in a national contest for his opera, _Fiesque_; and -in 1872 he was acclaimed for his _Divertimento_, for orchestra, -introduced in Paris. Two major works written for the noted Spanish -violinist, Pablo de Sarasate, added considerably to his reputation: a -violin concerto in 1872, and the celebrated _Symphonic espagnole_, for -violin and orchestra, two years after that. One of his last major works -was the opera, _Le Roi d’Ys_, introduced at the Opéra-Comique in Paris -on May 7, 1888. In that same year he was made Officer of the Legion of -Honor and sometime later he received the Prix Monbinne from the Académie -des Beaux-Arts. In the last years of his life he was a victim of -paralysis. He died in Paris on April 22, 1892. - -A composer of the highest principles and aristocratic style, Lalo is -essentially a composer for cultivated tastes. One of his works, however, -makes for easy listening. It is the _Norwegian Rhapsody_ (_Rapsodie -norvégienne_), for orchestra (1875). There are two sections. The first -begins slowly and sedately, its main melody appearing in the strings. -Here the tempo soon quickens and a sprightly passage ensues. The second -part of the rhapsody, ushered in by a stout theme for trumpets, is -vigorous music throughout. - - - - - Josef Lanner - - -Josef Lanner, the first of the great waltz kings of Vienna, was born in -the Austrian capital on April 12, 1801. When he was twelve he played the -violin in the band of Michael Pamer, a popular Viennese composer of that -day. In 1818 Lanner formed a trio which played in smaller cafés and at -the Prater. In 1819 the trio grew into a quartet with the addition of -the older Johann Strauss (father of the composer of _The Blue Danube_), -then only fifteen years old. Soon afterwards, the quartet was expanded -into a quintet. By 1824, Lanner’s ensemble was a full-sized orchestra -popular throughout Vienna, heard in such famous café houses as the -_Goldenen Rebbuhn_, and the _Gruenen Jager_, as well as at leading balls -and other gala social events in Vienna. The call for Lanner’s music was -so insistent that to meet the demand it soon became necessary to create -two orchestras; one led by Lanner, and the other by the elder Strauss. -Lanner remained an idol of Vienna until his death, which took place in -Oberdoebling, near Vienna, on April 14, 1843. - -For his various ensembles and orchestras Lanner produced a wealth of -popular Viennese music: quadrilles, polkas, galops, marches, and more -than a hundred waltzes. It is in the last department that Lanner was -most important, for he was one of the first composers to carry the waltz -to its artistic fulfillment. With composers from Mozart to Schubert, the -waltz was only a three-part song form with a trio. Johann Hummel and -Karl Maria von Weber suggested a more spacious design by assembling -several different waltz tunes into a single integrated composition. -Lanner extended this form further. He prefaced each series of waltzes -with an introduction in which the theme of the main melody was often -suggested; after the waltz melodies had been presented, Lanner brought -his composition to completion with a coda which served as a kind of -summation of some of the ideas previously stated. Between the -introduction and the coda came the succession of lilting, lovable, -heart-warming waltz-melodies so remarkable for their grace, elegance, -freshness and poignancy that Lanner has sometimes been described as “the -Mozart of the dance.” Nevertheless, Lanner always emphasized soaring -lyricism where the elder Strauss was more partial to rhythm. The -Viennese used to say: “With Lanner, it’s ‘Pray dance, I beg you.’ With -Strauss it’s ‘You must dance, I command you!’” - -The form which Lanner finally crystallized, and the style with which his -waltz music unfolded, were adopted by the two Johann Strausses, father -and son, who were destined to bring this type of Viennese music to its -ultimate development. Thus Lanner was the opening chapter of a musical -epoch. He was the dawn of Vienna’s golden age of waltz music. - -Lanner’s most famous waltz is _Die Schoenbrunner_, op. 200, his swan -song. Other outstanding Lanner waltzes are: _Die Pesther_, op. 93, _Die -Werber_, op. 103, _Hofballtaenze_, op. 161, _Die Romantiker_, op. 167, -and _Abendsterne_, op. 180. “With Lanner,” wrote H. E. Jacob, “the -romantic epoch began for the waltz, and the flower-gardens and green -leaves of Spring penetrated into the ballroom. Lanner’s compositions are -unsophisticated and unpretentious, but his waltzes could no more be -commonplace than could a flower.” - - - - - Charles Lecocq - - -Charles Lecocq was born in Paris on June 3, 1832. For four years he -attended the Paris Conservatory where, as a pupil of Bazin and Halévy, -he received prizes in harmony and fugue. For a while he earned his -living teaching the piano and writing church music. In 1857 he shared -with Bizet the first prize in a competition for one-act operettas -sponsored by Offenbach. This winning work, _Le Docteur miracle_, was -successfully introduced in Paris that year. After that Lecocq wrote -several light operas which were failures, before he enjoyed a major -success with _Fleur de thé_ in 1868, first in Paris and subsequently in -England and Germany. His greatest successes came with two crowning works -in the French light-opera repertory: _La Fille de_ _Mme. Angot_ in 1872, -and _Giroflé-Girofla_, in 1874. Between 1874 and 1900 he wrote over -thirty more operettas. He died in Paris on October 24, 1918 after -enjoying for almost half a century a place of signal honor among -France’s composers for the popular theater. - -Lecocq is remembered today mainly for _La Fille de Mme. Angot_ and -_Giroflé-Girofla_. The first of these was introduced in Brussels on -December 4, 1872. In Paris, where it was given on February 23, 1873, it -enjoyed the formidable run of more than five hundred consecutive -performances. The book—by Siraudin, Clairville and Koning—was set in -Paris during the French Revolution. Clairette, daughter of Mme. Angot, -must marry the barber Pomponnet even though she loves the poet, Pitou. -To avoid an undesirable marriage, even at the risk of arrest, Clairette -sings a daring song by Pitou about an illicit affair between Mlle. Lange -(reputed a favorite of Barras, head of the Directory) and a young lover. -When Pitou proves fickle, and is discovered in the boudoir of Mlle. -Lange, Clairette stands ready to forget him completely and to take -Pomponnet as her husband. - -The sprightly overture, filled with vivacious tunes and dramatized by -energetic rhythms, is a favorite of semi-classical orchestras. So are -several dances from the operetta, including an electrifying Can-Can, and -a sweeping _Grand Valse_ with which the second act comes to an exciting -close. The main vocal excerpts are Pomponnet’s passionate avowal of -Clairette’s innocence, “_Elle est tellement innocente_” and the duet of -Mlle. Lange and Clairette, “_Jours fortunés de notre enfance_” both from -Act 2. - -_Giroflé-Girofla_—book by Vanloo and Leterrier—was introduced in -Brussels on March 21, 1874. Giroflé and Girofla are twin sisters. -Giroflé is pressured by her parents to marry the banker, Marasquin; -Girofla is in love with an impoverished fire-eating Moor, Mourzouk. When -Girofla is secretly abducted by pirates, the Moor comes to her home -demanding to see her, only to mistake Giroflé for Girofla. The -complicated situation ensuing becomes resolved only after Girofla is -rescued and brought back home. - -The most frequently heard excerpts from this gay score are the Pirates’ -Chorus, “_Parmi les choses_”; the rousing drinking song, “_Le Punche -scintille_”; the ballad, “_Lorsque la journée est finie_”; and the love -duet, “_O Ciel!_” - - - - - Ernesto Lecuona - - -Ernesto Lecuona was born in Havana, Cuba, on August 7, 1896. As a boy of -eleven he published his first piece of music—an American two step still -popular with some Cuban bands. While attending the National Conservatory -in Cuba, from which he was graduated in 1911 with a gold medal in piano -playing, he earned his living as a pianist in cafés and movie theaters. -In 1917 he paid the first of several visits to the United States, at -that time making some records and giving a piano recital. He then made -concert tours throughout America and Europe playing the piano and -conducting semi-classical and popular orchestras. His performances were -largely responsible for popularizing in America both the conga and the -rumba in the 1920’s. He also made some successful appearances at the -Capitol Theater, in New York, where he introduced his own music, -including such outstanding successes as _Malagueña_, _Andalucía_, and -_Siboney_ (the last originally entitled _Canto Siboney_, which became an -American popular-song hit in 1929). These and similar pieces made -Lecuona one of the most successful exponents of Latin-American melodies -and dance rhythms in the United States. Lecuona has written over five -hundred songs, forty operettas, and numerous compositions both for -orchestra and for piano solo. - -From a piano suite entitled _Andalucía_ come two of Lecuona’s best known -instrumental compositions. The first is also called _Andalucía_, a -haunting South American melody set against a compulsive rhythm. It was -made into an American popular song in 1955. - -Another movement from _Andalucía_ is even more familiar: the -_Malagueña_. Since its publication as a piano solo in 1929, _Malagueña_ -has sold annually over a hundred thousand copies of sheet music each -year; it has become a favorite of concert pianists; it is also often -performed by salon and pop orchestras everywhere in orchestral -transcriptions; and it has been adapted into a popular song, “At the -Crossroads.” It is in three sections, the first being in the malagueña -rhythm dynamically projected in slowing expanding sonorities; a contrast -comes in the middle part with a poignant Latin-American melody. - -_Andalucía_, the single movement and not the suite as a whole, has been -given a brilliant orchestral dress by Morton Gould who has also -orchestrated two outstandingly popular Lecuona songs. One is “La -Comparasa,” a picture of a traditional parade during the Carnival season -in which Negroes and muleteers play their native instruments and sing -their sensual songs. The other is “Gitanerias,” haunting gypsy music. - - - - - Franz Lehár - - -Franz Lehár was born in Komorn, Hungary, on April 30, 1870. His father, -a bandmaster, was his first music teacher. When Franz was twelve, he -entered the Prague Conservatory where he remained six years specializing -in the violin with Bennewitz and theory with Foerster. His studies were -completed in 1888, after which he played the violin in the orchestra of -the Eberfeld Opera. He subsequently became an assistant bandleader of -his father’s ensemble and a director of Austria’s foremost Marine bands. -In 1896 he realized his first success as a composer of operettas with -_Kukuschka_, produced in Leipzig. In 1902 he became conductor of the -Theater-an-der-Wien, in Vienna, home of operettas. There, in the same -year, he had produced _Viennese Women_ (_Wiener Frauen_). The operetta -after that was _The Gypsy_ (_Der Rastelbinder_), seen in 1902 in one of -Vienna’s other theaters. With _The Merry Widow_ (_Die lustige Witwe_), -seen in 1905, Lehár achieved a triumph of such magnitude that from then -on he was one of Austria’s most celebrated operetta composers (and one -of the wealthiest) since Johann Strauss II. He wrote about thirty more -operettas (three of them in the single year of 1909-1910). The most -famous were _The Count of Luxembourg_ (_Der Graf von Luxemburg_) in -1909; _Gypsy Love_ (_Zigeunerliebe_) in 1910; _Frasquita_ in 1922; -_Paganini_ in 1925; _The Tsarevitch_ (_Der Zarewitsch_) in 1927; and -_The Land of Smiles_ (_Das Land des Laechelns_) in 1929. During World -War II Lehár lived in seclusion at his villa in Bad Ischl, Austria. -After the war he became embittered by the widely publicized accusation -that he had been pro Nazi, arising no doubt from the well-known fact -that _The Merry Widow_ was Hitler’s favorite operetta. What was -forgotten in this attack against Lehár was the fact that his wife had -been classified by Nazis as non-Aryan and that on one occasion both and -he and his wife were subjected by the Gestapo to house arrest. Lehár -died in Bad Ischl, Austria, on October 24, 1948. He is one of the few -composers to outlive the copyrights of some of his most famous works. - -Lehár’s popularity in the early part of this century gave the Viennese -operetta a new lease on life at a time when its heyday was believed -over. It was through the influence of Lehár’s immense popularity and -success that composers like Oscar Straus, Emmerich Kálmán, and Leo Fall -began writing their own operettas. Lehár’s best stage works have been -described as “dance operettas” because of the emphasis placed on dance -music, the waltz specifically. The dance usually becomes the climax, the -focal point, of the production. Stan Czech further points out that -Lehár’s waltzes are “slower and sweeter than those of Johann Strauss, -were definite prototypes of the modern slow waltz, and their Slav -atmosphere gave them an exciting and individual character.” - -_The Count of Luxembourg_ (_Der Graf von Luxemburg_)—text by Willner and -Robert Bodanzky—was first given in Vienna on November 12, 1909. This -operetta opens in an artist’s studio in Paris where René, the -impoverished Count of Luxembourg, is offered five hundred thousand -francs by Prince Basil if René is willing to marry the singer Angele and -let her share his title. The reason for this peculiar arrangement is -that the Prince is himself in love with Angele, wants to marry her, but -prefers that his wife have a title. After they get married, René and -Angele discover they are in love with each other, a fact which -eventually the Prince is willing to accept since he is ordered by the -Czar to marry a legitimate Countess. As in most Lehár’s operettas, the -high musical moment comes with a waltz—the infectious duet of René and -Angele, “_Bist du’s, lachendes Glueck_,” which is also extremely popular -in orchestral adaptations. Other appealing numbers are the second act -duet, “_Lieber Freund, man greift nicht_” and the tenor aria, “_Maedel -klein, Maedel fein_.” - -_Frasquita_, produced in Vienna on May 12, 1922, is remembered most -often for one of Lehár’s most beautiful vocal numbers, the nostalgic and -romantic _Frasquita Serenade_, “_Hab ein blaues Himmelbett_.” Fritz -Kreisler made a fine transcription for violin and piano, and Sigmund -Spaeth provided the melody with American lyrics. - -_Gypsy Love_ (_Zigeunerliebe_), had its world première in Vienna on -January 8, 1910. The librettists (Willner and Bodanzky) provided a -romantic storybook setting of Rumania, and a romantic central character -in the form of the gypsy violinist, Jozsi. Zorika is ineluctably drawn -to Jozsi though she is actually betrothed to his half-brother, Jonel. In -a dream, she gets a foretaste of what her life would be with one so -irresponsible and fickle as a gypsy violinist, with the result that she -is more than happy to marry Jonel. The main waltz melody (one of Lehár’s -greatest) is “_Nur der Liebe macht uns jung_” and the most infectious -Hungarian tune is Jozsi’s soaring entrance gypsy melody to the -accompaniment of his violin, “_Ich bin ein Zigeunerkind_.” - -From _The Land of Smiles_ (_Das Land des Laechelns_) comes what is -probably the best loved and most widely sung of all of Lehár’s vocal -numbers, “Dein ist mein ganzes Herz” (“Thine Is My Heart Alone”) which -opened not in Vienna but in Berlin, on October 10, 1929. This was -actually a new version of an old Lehár operetta, originally called _The -Yellow Jacket_ (_Die gelbe Jacke_) which had been introduced in Vienna -in 1923. The romantic plot of both operettas involved a Chinese -diplomat, Prince Sou-Chong, and Lisa, daughter of an Austrian Count. -They marry and settle in Peking in whose strange setting, Lisa’s love -for the Prince soon turns to hate. With great magnanimity—even though -this is in violation of ancient Chinese traditions and customs—he allows -Lisa to leave him and return home. - -In _The Yellow Jacket_, “Thine Is My Heart Alone” is sung by Lisa, and -at that time this number made little impression. The famous tenor, -Richard Tauber, fell in love with it, and performed it so extensively in -his recitals everywhere that he and the song became inextricably -identified. When Lehár revised his operetta and renamed it _The Land of -Smiles_, he cast the song “Thine Is My Heart Alone” as a major -second-act aria for Prince Sou-Chong, Richard Tauber playing the part of -the Prince. _The Land of Smiles_ was a personal triumph for Tauber who -appeared in it over 2,500 times all over the world. “Thine Is My Heart -Alone” became with him something of a theme song. He rarely gave a -concert anywhere without singing it either on the program itself or as -an encore. When _The Land of Smiles_ was given in New York City in 1946, -with Tauber as the star, the operetta was renamed _Yours Is My Heart_; -in this production Tauber sang the song four times in four different -languages, French, Italian, German, and English. - -There can be little question but that _The Merry Widow_ (_Die lustige -Witwe_) is one of the most famous operettas ever written. It was a -sensation when first performed, in Vienna on December 28, 1905. It came -both to London and New York in 1907, a major success in both places. In -Buenos Aires it was performed simultaneously in five theaters in five -different languages. Since 1907 there was hardly a time when _The Merry -Widow_ was not being performed in some part of the world. It has enjoyed -in excess of six thousand performances, a thousand of these in Vienna -alone. On several occasions it has been adapted for the screen. - -Victor Léon and Leo Stein wrote the text. This is the usual operetta -material involving a beautiful heiress from a mythical kingdom. She is -Sonia from Marsovia, who is leading a gay life in Paris. Beautiful and -wealthy, she is inevitably sought out by the most handsome men of Paris. -The government of Marsovia is eager to get her to marry one of its -native sons, the dashing Prince Danilo, thereby keeping her fortune at -home. As she conducts her vivacious night life she is zealously watched -over by the Marsovian Ambassador, Baron Popoff, who never loses an -opportunity to further the interests of Danilo. Eventually, Sonia has -had her fling and is ready to settle down with the Prince. - -The _Merry Widow Waltz_, “_S’fluestern Geigen, Lippen schweigen_,” an -eye-filling climax to the third act, is not only the most popular -excerpt from this operetta but also one of the most celebrated waltzes -ever written. A secondary waltz, “Vilia” is also highly beguiling, while -a third musical favorite from this score is “_Da geh’ ich zu Maxim_” -(“_The Girl at Maxim’s_”). - -What is one of Lehár’s best waltzes, second in popularity only to that -of _The Merry Widow_, does not come from any operetta. It is the _Gold -and Silver Waltzes_ (_Gold und Silber Waelzer_), op. 79 which he wrote -as a concert number. - - - - - Ruggiero Leoncavallo - - -Ruggiero Leoncavallo was born in Naples, Italy, on March 8, 1858. He was -graduated from the Bologna Conservatory, then spent several years -traveling. He finally came to Paris where he earned his living playing -the piano, singing, and writing music-hall songs. The powerful Italian -publisher, Ricordi, commissioned him to write a trilogy of operas set in -the Renaissance. Leoncavallo completed the first of these operas, _I -Medici_, but it proved too expensive to mount and was shelved. This -experience convinced him that he ought to write an opera of slighter -dimensions, one which would not cost too much to produce, and which -would be in the realistic style (“_Verismo_”) just made so popular by -Mascagni’s _Cavalleria Rusticana_. In four months’ time, Leoncavallo -completed _Pagliacci_, the opera through which his name survives. It -received a triumphant première in Milan in 1892, with Toscanini -conducting. Though Leoncavallo wrote many operas after that he never -wrote one as good or as popular as the one that made him world famous. -Only one of these later operas has retained interest, _Zaza_, introduced -in 1900. A third opera, _La Bohème_, was well received when introduced -in Venice in 1897, but was soon thrown into complete obscurity by a -rival opera on the same subject, that of Puccini. In 1906 Leoncavallo -toured the United States in performances of _Pagliacci_. The failures of -his last operas made him a bitter, broken man in the last years of his -life. He died in Montecatini, Italy, on August 9, 1919. - -The composer prepared his own libretto for _Pagliacci_, a play within a -play. A troupe of strolling players headed by Canio arrives for -performances in a Calabrian village. Canio’s wife, Nedda, falls in love -with Silvio, one of the villagers, and she in turn is being pursued by -the pathetic clown of the troupe, Tonio. Through Tonio, Canio discovers -his wife has been unfaithful to him, but fails to learn the identity of -his rival. At the troupe’s evening performance—and in a play that -closely resembles the actual happenings within the company—Canio kills -Nedda when she fails to tell him who her lover is. But Silvio, in the -audience, reveals himself by rushing on the stage to help Nedda. There -Canio kills him. - -Many of the selections from this opera are famous, but the most famous -of all is the tenor aria, in which Canio speaks his immense grief on -discovering that his wife has a lover, “_Vesti la giubba_.” - -The other familiar excerpts include the baritone prologue, “_Si può_,” -in which Tonio explains to his audience that the incidents in the play -about to be presented are true to life and that the players are not -performers but human beings; Nedda’s delightful ballatella, “The Bird -Song” (“_Stridono lassù_”) where she tries to forget about Tonio’s -initial response of jealousy by watching and describing the casual and -carefree flight of birds overhead; the “Harlequin’s Serenade” in the -play within the play sequence in the second act, “_O Columbina!_”; and a -melodious orchestral Intermezzo which separates the first and second -acts, music which hints darkly at impending tragedy through a poignant -recall of Tonio’s prologue. - - - - - Anatol Liadov - - -Anatol Liadov was born in St. Petersburg, Russia, on May 10, 1855, the -son and grandson of eminent Russian conductors. He was a pupil of -Rimsky-Korsakov at the St. Petersburg Conservatory, but was so derelict -about attending classes that in 1876 he was expelled. Reinstated two -years later he now became fired with both ambition and industry, proved -a brilliant student, and was graduated with highest honors. He was then -appointed teacher of theory there, eventually becoming a renowned -professor, a post he retained until the end of his life. He died in -Novgorod, Russia, on August 28, 1914. - -Liadov was at his best in his fairy tales for orchestra (_The Enchanted -Lake_, _Baba Yaga_ and _Kikimora_); in songs; and in smaller pieces for -the piano. He was a student of Russian folk music of which he made -numerous adaptations, and whose styles and idioms percolated into many -of his compositions. - -The _Eight Russian Folksongs_, a suite for orchestra, op. 58 (1906) is -one of Liadov’s adaptations. There are eight movements. In the first, -“Religious Chant,” the main song is that chanted by children in -religious processions; it is heard in English horn and bassoons. This is -followed by “Christmas Carol,” its main theme presented by oboes and -clarinets. “Plaintive Melody” is a village song, and “I Danced With a -Mosquito,” a humorous scherzo in which muted strings simulated buzzing -mosquitoes. The fifth movement is “Legend of the Birds” where the bird -song is presented by the woodwind. “Cradle Song” is a tender melody for -strings. This is followed by a lively rhythmic section, “Round Dance.” -The suite ends with the “Village Dance Song,” music that usually -accompanies the crowning of the May Queen. - -Liadov is also the composer of a delightful trifle called _The Music -Box_ in which the delicate little tune is the kind that lends itself -gratefully to the tinkle of a music box. Liadov wrote this piece for the -piano, op. 32, but it is better known in orchestral transcriptions. - - - - - Paul Lincke - - -Paul Lincke was born in Berlin, Germany, on November 7, 1866. After -completing his music study he played the violin and bassoon in numerous -theater orchestras. He later distinguished himself as a theater -conductor. In 1897 he had his first operetta produced in Berlin. -Thereafter he wrote many operettas, all originally given in Berlin; he -became one of the foremost exponents of the light musical theater in -Germany of his time. The most famous were _Frau Luna_ (1899), _Fraeulein -Loreley_ (1900), _Lysistrata_ (1902), _Prinzessin Rosine_ (1905), and -_Casanova_ (1914). His last operetta was _Ein Liebestraum_, produced in -Hamburg in 1940. From 1918 to 1920 he was conductor at the -Folies-Bergère in Paris. He died in Klausthal-Zellernfeld, Germany, on -September 3, 1946. - -His most famous composition is a song from _Lysistrata_ (1902): “The -Glow Worm” (“_Gluehwuermchen_”), which achieved phenomenal popularity -throughout the world independent of the operetta. It is still famous -both as a vocal composition and in orchestral transcriptions. A new -vocal version, with amusing lyrics by Johnny Mercer, was published and -popularized in the United States in 1952. - - - - - Franz Liszt - - -Franz Liszt was born in Raiding, Hungary, on October 22, 1811. A prodigy -pianist who made an impressive debut in Hungary when he was nine, Liszt -was financed by several Hungarian noblemen to study the piano with -Czerny in Vienna. In 1822, Liszt made a sensational debut in that city, -and in 1824, after a period of additional study in Paris, an equally -momentous appearance in the French capital. For the next three years -Liszt concertized throughout Europe, becoming an idol of music audiences -everywhere. Then, in 1827, he decided to abandon music for what he -regarded as nobler pursuits. He devoted himself in turn to religion, -politics, literature, and philosophy without finding the satisfaction he -sought. Then, in 1830, he went back to music. For about two years he -worked industriously on his piano technique, reassuming an imperial -position among the virtuosos of his generation beginning with 1833. He -combined profound musicianship and a phenomenal technique with such a -flair for showmanship and self-aggrandizement, that it can be said that -the modern piano virtuoso (both in the best and worst sense of that -term) was born with him. - -In 1848, Liszt came to Weimar to fulfill duties as Kapellmeister to the -Grand Duke. The eleven-year period of this office represented -music-making of the highest order, as Liszt devoted himself to -presenting the foremost operatic and symphonic music in the best -possible performances. He was indefatigable in propagandizing the music -of the avant-garde composers of his day, reviving Wagner’s _Tannhaeuser_ -and presenting the world première of that master’s _Lohengrin_ at a time -when Wagner was in disrepute in Germany because of his revolutionary -activities. - -Finding himself incapable of maintaining the high standards he had set, -and disturbed by the prevailing antagonism to his espousal of new music, -Liszt left Weimar in 1859. Once again he sought refuge in a career -outside music. In 1865 he submitted to the tonsure and entered the Third -Order of St. Francis of Assisi as abbé. But music was not abandoned. He -taught the piano to gifted pupils who came to him from all parts of the -world; and he wrote an abundant amount of music, mainly for the piano. -He died in Bayreuth, Bavaria, on July 31, 1886, still at the height of -his powers and fame as composer, pianist and teacher. - -Liszt left a vast repertory of music, including tone poems, symphonies, -piano concertos, songs, and a library of works for the piano. At his -best he was a great innovator, and a creator of vast dramatic and poetic -concepts. At worst, he was a showman shamelessly wooing his public with -superficial effects and trivial material. Most of his works belong to -the concert hall, but some of it has enormous popular appeal as salon -music. - -The most famous of the latter is the _Hungarian Rhapsody No. 2_ in -C-sharp minor (1847), originally for piano solo but subsequently -orchestrated by the composer himself. This was one of nineteen -compositions in which Liszt developed the form of the rhapsody and -helped to make it popular; which he filled with strong national feelings -and the individual traits of Hungarian folk music. One of the features -of all these rhapsodies is their dynamic alternation of slow and sensual -music (called _lassan_) with fast, dramatic, exciting passages (called -_friskan_). The second _Hungarian Rhapsody_ opens with a _lassan_, a -slow, stately declamation. Then, after a clarinet cadenza, the _friskan_ -appears, a spirited melody for violins and woodwind. After that fast and -slow passages, soft and loud dynamics, and rapidly changing meters and -rhythm help to generate excitement and create drama. The drama and the -excitement of this music never seem to lose their impact however many -times this rhapsody is listened to. - -Of Liszt’s twelve tone poems for orchestra the most famous is _Les -Préludes_ (1850). The tone poem, or symphonic poem, is Liszt’s creation -in an attempt to bring to orchestral music the pictorial, dramatic and -programmatic qualities of Wagner’s music dramas. Thus Liszt conceived a -one-movement composition, flexible in form, in which a story is told, -picture described, or poem interpreted. The inspiration for _Les -Préludes_ is the _Méditations poétiques_ of Lamartine, from which -several lines are quoted in the published score to provide the music -with its program: - -“What is life but a series of Preludes to that unknown song of which -death strikes the first solemn note? Love is the magic dawn of every -existence; but where is the life in which the first enjoyment of bliss -is not dispelled by some tempest; its illusions scattered by some fatal -breath; its altar consumed as by a thunderbolt? What soul, this cruelly -hurt, but seeks to repose with its memories in the sweet calm of -pastoral life? Yet no man is content to resign himself for long to the -mild, beneficent charms of Nature, and when the trumpet gives the alarm -he hastens to the post of danger, on whatever field he may be called to -fight, so that once more he may find in action full consciousness of -himself and the possession of all his powers.” - -_Les Préludes_ opens with a dignified subject in the basses which is -subjected to considerable change and amplification before the main -melody is introduced. This melody is an elegiac song expressing the -happiness of love; its first entrance comes in four horns, strings, and -harp. The music is carried to a climactic point, after which a frenetic -mood is projected. Plaintively the oboe recalls the main melody; a -country dance tune is offered by the horn; and the main melody reappears -with opulent treatment. Another section of storm and stress follows -before the final majestic statement of the main melody. - -Of Liszt’s voluminous writings for the piano, one composition above all -others has won favor throughout the music world as a tender, and -sentimental expression of love. It is the _Liebestraum_, “Love’s Dream.” -Liszt actually wrote three _Liebesträume_, but it is the third of this -set—in A-flat major (1850)—which is considered when we speak or hear of -the _Liebestraum_. All of these three piano compositions are adaptations -of songs by the same composer; the third _Liebestraum_ originated as “_O -Lieb’, so lang du lieben kannst_,” words by Freiligrath. - - - - - Frederick Loewe - - -Frederick Loewe was born in Vienna, Austria, on June 10, 1904. A musical -prodigy, he began to study the piano when he was five; started -composition at seven; at thirteen made a successful appearance as -pianist with the Berlin Symphony; and at fifteen was the composer of a -hit song, “Katrina,” that sold over a million copies of sheet music in -Europe. He received a thorough musical training from Busoni, Eugène -d’Albert, and Emil Nikolaus Rezniček, winning the Hollander Medal for -piano playing in 1923. One year after that he came to the United States. -Unable to make any progress in his musical career, he spent the next -decade traveling around the country and filling all sorts of odd jobs. -He punched cattle, mined gold, served as a riding instructor, and even -boxed professionally. Eventually he came back to New York where he found -a job in a Greenwich Village café playing the piano. In 1938 four of his -songs were heard in a Broadway musical, _Great Lady_, a failure. A -meeting with Alan Jay Lerner, a young lyricist and librettist, brought -him a gifted collaborator. They wrote a musical comedy that was produced -by a stock company in Detroit, and another called _What’s Up_ that was -seen on Broadway. Their first major success came with the Broadway -musical, _Brigadoon_, in 1947. _My Fair Lady_, in 1956, was one of the -greatest successes of the Broadway theater. They also helped make -entertainment history further by writing songs for the motion picture -musical, _Gigi_, the first to win nine Academy Awards, including one for -Lerner and Loewe for the title song. In 1960, Lerner and Loewe wrote the -Broadway musical _Camelot_ based on King Arthur and the Knights of the -Round Table. - -_Brigadoon_ was a whimsical Scottish fantasy which came to Broadway on -March 13, 1947, book and lyrics by Lerner. Brigadoon is a mythical town -in Scotland which comes to life for a single day once every hundred -years. Two American tourists happen to come to Brigadoon during its one -day of existence. They become a part of its quaint life, and one of them -falls in love with a Scottish lass. The musical highlights include a -song that became a hit in 1947, “Almost Like Being In Love,” and several -that have a charming Scottish flavor, including “Come to Me, Bend to -Me,” “The Heather on the Hill,” and “I’ll Come Home With Bonnie Jean.” - -_My Fair Lady_, produced on March 15, 1956, was Lerner’s adaptation for -the popular musical theater of Bernard Shaw’s _Pygmalion_. Eliza -Doolittle, an ignorant flower girl and daughter of a cockney, is -transformed by the phonetician, Professor Henry Higgins, into a -cultivated lady who is successfully palmed off upon high English society -as a duchess. Higgins falls in love with her and, though a long -confirmed bachelor, finds he can no longer live without her. _My Fair -Lady_ became one of the most highly acclaimed musical productions of -recent memory; Brooks Atkinson called it “one of the best musicals of -the century.” It achieved a fabulous Broadway run and was brought by -many touring countries to all parts of the civilized world, including -the Soviet Union. It captured one third of the honors annually conferred -on the theater by the Antoinette Perry Awards. The original-cast -recording sold over three million discs. The principal numbers from -Loewe’s captivating score include three romantic songs, two of the Hit -Parade variety (“I Could Have Danced All Night” and “On the Street Where -You Live”) and the third, “I’ve Grown Accustomed to Her Face”; two -atmospheric numbers that evoke musically the place and setting of the -play, “The Ascot Gavotte” and “The Embassy Waltz”; and the two cockney -ditties of Eliza’s father, “Get Me to the Church On Time” and “With a -Little Bit of Luck.” - - - - - Albert Lortzing - - -Gustav Albert Lortzing was born in Berlin on October 23, 1801. His -parents were actors compelled to lead an itinerant life which made it -impossible for Albert to obtain any systematic education. His mother -taught him music, the study of which he later continued briefly in -Berlin with Rungenhagen. His first effort at composition consisted of -some songs, but in 1824 he completed his first opera, _Ali Pascha von -Janina_. From 1833 to 1844 he was employed as a tenor at the Municipal -Theater in Leipzig, for which he wrote the comic opera _Die beiden -Schuetzen_, successfully produced in 1837. He achieved his greatest -success the same year with the comic opera, _Zar und Zimmermann_, which -within a few years’ time became a favorite among theater audiences -throughout Europe. His later operettas included _Der Wildschuetz_ (_The -Poacher_) in 1842 and _Der Waffenschmied_ (_The Armourer_) in 1846, -while one of his finest romantic operas was _Undine_ in 1845. Lortzing -also filled several engagements as conductor of operas and operettas in -Leipzig, Vienna and Berlin, and as an opera impresario. He died in -Berlin on January 21, 1851, one day after his last opera, _Die -Opernprobe_ (_The Opera Rehearsal_) was introduced in Frankfort. - -Lortzing was one of the earliest and most successful exponents of German -national comic opera; and _Czar and the Carpenter_ (_Zar und -Zimmermann_) was his masterwork. It was first produced in Leipzig on -December 22, 1837. The music is consistently light and tuneful, -frequently in the style of German folk songs. The libretto, by the -composer, is a delightful comedy based on an actual historic episode: -the escapade of Peter the Great of Russia in Holland where he worked as -a carpenter. In the Lortzing comic opera, Peter the Great is a carpenter -on a ship at Saardam where he meets a compatriot, also named Peter, who -is a deserter. Temporarily they become rivals for the affection of Mary. -After the arrival of the Ambassadors from France and England to seek out -the Emperor, the latter quietly departs for his homeland, leaving behind -him both money and an official pardon for the other Peter. The gay -spirit of the comic opera as a whole is magically caught not only in its -vivacious overture, but in several familiar excerpts. The most notable -are: the Burgomaster’s comic entrance song, “_O sancta justa_”; in the -second act, the Wedding Chorus, and the French Ambassador’s beautiful -air, “_Lebe wohl, mein flandrisch’ Maedchen_”; in the third act the -vigorous _Clog Dance_ (_Holzschutanz_), and the very famous air of Czar -Peter, “_Sonst spielt’ ich mit Zepter_.” - - - - - Alexandre Luigini - - -Alexandre Luigini was born in Lyons, France, on March 9, 1850. He was -the son of the distinguished conductor of the Théâtre-Italien in Paris. -After attending the Paris Conservatory—where he was a pupil of Massenet -and Massart among others—the younger Luigini played the violin in his -father’s orchestra. In 1870 he began a successful career as ballet -composer with _Le Rêve de Nicette_, given in Lyons. His greatest success -came with the _Ballet Égyptien_, first seen in Lyons in 1875. For twenty -years Luigini was the conductor of the Grand Theater in Lyons and -professor of harmony at the Lyons Conservatory. Until the end of his -life he was the conductor of the Opéra-Comique in Paris. He died in -Paris on July 29, 1906. - -An orchestral suite derived from some of the most attractive pages of -the _Ballet Égyptien_ score is a favorite of bands and salon orchestras -everywhere. This is music striking for its Oriental-type melodies and -harmonies, and for its colorful orchestral hues. The first two movements -are particularly popular. The first begins with a strong and stately -theme, but midway comes a gayer section in an exotic Oriental style. The -second movement highlights a capricious subject for the woodwind, once -again in a recognizable Oriental style. - - - - - Hans Christian Lumbye - - -Hans Christian Lumbye was born in Copenhagen, Denmark on May 2, 1810. As -a young man he played in military bands. He then formed an orchestra of -his own which achieved extraordinary fame throughout Copenhagen -(specifically at the Tivoli) with light musical programs. For these -concerts Lumbye produced a library of light music: waltzes, galops, -polkas, marches, and so forth. This music is so filled with infectious -tunes and pulsating rhythms—and they are so light in heart and -spirit—that they have won for their composer the sobriquet of “The -Johann Strauss of the North” and the status of Denmark’s foremost -creator of semi-classical music. He died in Copenhagen on March 20, -1874. - -Lumbye’s dance pieces are played wherever there is a salon, pop or -café-house orchestra. Among his best waltzes are _Amelie_, _Hesperus_, -and _Sophie_. Other successful Lumbye compositions are the _Columbine -Mazurka_, the _Champagne Galop_, _Concert Polka_, _Dream Pictures_, _An_ -_Evening at the Tivoli_, _King Frederick VII Homage March_, and the -_Railway Galop_. - - - - - Edward MacDowell - - -Edward Alexander Macdowell, one of America’s most significant -19th-century composers, was born in New York City on December 18, 1861. -After preliminary music study with private teachers, he attended the -Paris Conservatory from 1876 to 1878, and the Frankfort Conservatory in -Germany from 1879 to 1881. Maintaining his home in Germany, MacDowell -joined the faculty of the Darmstadt Conservatory in 1881, and in 1882 he -made an official bow as a composer by introducing his first piano -concerto in Zurich, and his _Modern Suite_ for piano in Germany. He -returned to the United States in 1888, settling in Boston where a year -later the Boston Symphony under Gericke introduced his now-famous Second -Piano Concerto, the composer appearing as soloist. From then on, most of -his important symphonic works were introduced by the Boston Symphony, -placing him in the vanguard of American composers of that period. In -1896 he filled the first chair of music created at Columbia University -in New York; at that time he was described as “the greatest musical -genius America has produced.” MacDowell resigned in 1904 after sharp -differences with the trustees of the University over the way a music -department should be run. The bitterness and frustrations suffered by -MacDowell during this altercation with the University undermined and -finally broke his always delicate health. His brain tissues became -affected. From 1905 on he was a victim of insanity, spending his time in -an innocent, childlike state, until his death in New York City on -January 23, 1908. Shortly after his death the MacDowell Memorial -Association was founded to establish a retreat for American creative -artists on MacDowell’s summer residence in Peterborough, New Hampshire, -which MacDowell’s widow had deeded to the Association. - -A composer whose artistic roots lay deep in the soil of German -Romanticism, MacDowell was a composer who filled his writing with noble -poetic sentiments and the most sensitive emotions. His sense of style -and his feeling for structure were the last words in elegance, and his -lyricism and harmonic language were ever ingratiatingly inviting to the -ear. - -The _Indian Suite_, op. 48 (1892) is the second of MacDowell’s suites -for orchestra. It is one of several works in which MacDowell uses -melodic and rhythmic material of the American Indian, blending this -idiom with his usual sensitive and poetic style. This is one of -MacDowell’s most popular works for orchestra. The first movement, -“Legend,” has a slow introduction in which the main melody is given by -three unaccompanied horns in unison. The melody is taken over by other -instruments and developed. Here the material comes from a sacred -ceremony of Iroquois Indians. The second movement is “Love Song,” whose -principal subject is immediately given by the woodwind; this melody is -derived from the music of Iowa Indians. “War Time” follows, a movement -dominated by a melody to which Indians of the Atlantic Coast ascribed -supernatural origin. This melody is heard in the first sixteen measures -in two unison unaccompanied flutes. A subsidiary section follows. -“Dirge,” the fourth movement, is a woman’s song of mourning for an -absent son, come from the Kiowa Indians. The mournful melody is heard in -muted violins. The suite ends with “Village Festival,” in which two -light and vivacious melodies from the Iroquois Indians are presented; -the first is a woman’s dance, and the second a war song. - -The most familiar pieces of music written by MacDowell—_To a Water Lily_ -and _To a Wild Rose_—come from the _Woodland Sketches_, op. 51 (1896), a -suite for solo piano made up of ten sections, each a descriptive poem in -tones. In this suite MacDowell became one of the first American -composers to interpret the beauty of American scenes and countrysides in -delicate melodies. Both _To a Water Lily_ and _To a Wild Rose_ are -exquisite tone pictures of Nature, and both have enjoyed numerous -transcriptions. The other eight movements of the _Woodland Sketches_ -are: _Will o’ the Wisp_, _At an Old Trysting Place_, _In Autumn_, _From -an Old Indian Lodge_, _From Uncle Remus_, _A Deserted Farm_, _By a -Meadow Brook_, and _Told at Sunset_. - - - - - Albert Hay Malotte - - -Albert Hay Malotte was born in Philadelphia, Pennsylvania, on May 19, -1895. The son of a choirmaster, he himself was a boy chorister, at the -St. James Episcopal Church in his native city. After his music studies -were completed in Paris and London, he served as organist in Chicago and -London. In 1927 he opened a school for organists in Los Angeles, but -when sound came to the screen he gave up the school to write music for -the films. He subsequently joined the music staff at the Walt Disney -studio, creating music for several of Disney’s animated cartoons, -including _Ferdinand the Bull_. He has written ballets, choral music, -and songs, besides scores for motion pictures, having received early in -his career as composer important advice, guidance and encouragement from -Victor Herbert. - -Malotte is most famous for his song, “The Lord’s Prayer,” published in -1935, and since become a favorite of concert singers everywhere. Its -deep religious sentiment, and the exciting dramatic thrust of its -concluding measures, have an inescapable impact on audiences. - - - - - Gabriel Marie - - -Gabriel Marie was born in Paris, France, on January 8, 1852. After -completing his music study at the Paris Conservatory he served for six -years as chorusmaster of the Lamoureux Orchestra. Between 1887 and 1894 -he conducted the concerts of the Société nationale de musique. He later -led the orchestral performances in Bordeaux and Marseilles, and during -the summers at the Vichy Casino. He was traveling in Spain when he died -there suddenly on August 29, 1928. - -Marie was a successful composer of light music for orchestra. The one -composition which has survived is _La Cinquantaine_, a sentimental piece -for orchestra which is also famous in adaptations for violin and piano, -or cello and piano. Marie described this work as an “air in the old -style.” It is in three-part song form. The first and third parts consist -of a light, delicate little air; the middle section is in a slower and -statelier style. - - - - - Martini il Tedesco - - -Jean Paul Égide Martini—sometimes called “Il Tedesco” or “The German” to -distinguish him from Padre Martini the famous 18th century Italian -composer and theorist—was born in Freistadt, in the Palatinate, on -September 1, 1741. His real name is Schwarzendorf. After completing the -study of the organ and serving for a while as church organist, he won a -prize for a military march for the Swiss Guard. For many years he was an -officer of a Hussar regiment. During this military service he completed -an opera, _L’Amoureux de quinze ans_ (successfully introduced in Paris -in 1771) and a considerable amount of band music. After leaving the -army, he served as music director for the Prince of Condé and the Comte -d’Artois; as conductor at the Théâtre Feydeau in Paris; and as Inspector -and teacher of composition at the Paris Conservatory. He died in Paris -on February 10, 1816. - -The composer of twelve operas, some church music and many songs, Martini -is today remembered for a single song—the eloquent and tender love -melody, “_Plaisir d’amour_,” written originally for voice and harp, and -arranged by Berlioz for voice and orchestra. Since Berlioz’ time it has -enjoyed numerous instrumental adaptations. Effective use of the song, as -recurring theme music, was made in the American motion picture starring -Irene Dunne and Charles Boyer, _Love Affair_ (1939). - - - - - Pietro Mascagni - - -Pietro Mascagni was born in Leghorn, Italy, on December 7, 1863. He -studied music with private teachers in Leghorn, then for several years -attended the Milan Conservatory. In 1884 he was appointed conductor of -the municipal band in Cerignola. Meanwhile in 1880 he had completed his -first opera, _Pinotta_. Success as composer came later in 1890 with the -world première of the opera, _Cavalleria Rusticana_ in Rome. A sensation -when first introduced, _Cavalleria Rusticana_ made the rounds of the -world capitals to enjoy a triumph experienced by few operas before or -since. Mascagni wrote many operas after that. Though he enjoyed varying -degrees of success with _L’Amico Fritz_ in 1891 and _Iris_ in 1898, he -never again duplicated the acclaim given _Cavalleria Rusticana_; and it -is still the only one of his operas performed in the world’s foremost -opera houses. As he himself once said sadly: “It is a pity I wrote -_Cavalleria_ first. I was crowned before I became king.” Mascagni made -many tours as a conductor. He visited the United States in 1902 in -performances of several of his operas, and South America in 1911. In -1929 he succeeded Toscanini as musical director of La Scala in Milan. -Identifying himself closely with the Fascist regime—even to the point of -writing an opera, _Nerone_, glorifying Mussolini—Mascagni was subjected -to considerable abuse and attack after World War II. He was deprived of -his property and other assets. The last year of his life was lived in -poverty and disrepute in a small hotel room in Rome, where he died on -August 2, 1945. - -_Cavalleria Rusticana_ is a one-act opera, libretto by Giovanni -Targioni-Tozzetti and Guido Menasci based on a short story by Giovanni -Verga. The setting is Sicily in the latter part of the 19th century. -Turiddu, a soldier, is in love with Lola, wife of Alfio, a teamster. But -he has also conducted an illicit affair with Santuzza. When Turiddu -rudely rejects Santuzza, she finds revenge by revealing to Alfio the -love intrigue existing between Lola and Turiddu. In the duel that -follows Alfio kills Turiddu. - -The most celebrated single excerpt from the opera is the melodious -Intermezzo for orchestra which accompanies the departing townspeople as -they leave church after the Easter services. This music is radiant with -the holiness and serenity of the Easter holiday. - -Other popular excerpts include the lovely Siciliana, “_O Lola bianca_,” -a tenor aria which is sung offstage and breaks into the middle of the -opening orchestral prelude; this is a serenade by Turiddu to Lola, sung -to harp accompaniment. Santuzza’s passionate aria, “_Voi lo sapete_” is -the one in which she first discloses to Alfio that his wife and Turiddu -are lovers. Turiddu’s deeply emotional aria, “_Addio alla madre_” is his -poignant farewell to his mother just before he engages in the duel in -which he meets his doom. - - - - - Jules Massenet - - -Jules Massenet was born in Montaud in the Loire region of France on May -12, 1842. He entered the Paris Conservatory when he was nine, -subsequently winning prizes in fugue and piano playing and, in 1863, the -Prix de Rome. Four years later his first opera, _La Grand’ Tante_, was -produced in Paris. During the Franco-Prussian War he was a member of the -National Guard. After the war, he achieved recognition as a composer -with his incidental music to _Les Érynnies_, an oratorio _Marie -Magdaleine_, and an opera _Le Roi de Lahore_. In 1878 he was elected to -the Académie des Beaux-Arts, the youngest man ever to receive this -honor, and was appointed professor of composition at the Paris -Conservatory. He held the latter post until his death with outstanding -distinction. His most significant operas appeared between 1880 and 1900, -and included _Hérodiade_ (1881), _Manon_ (1884), _Le Cid_ (1885), -_Werther_ (1892), _Thaïs_ (1894) and _Sapho_ (1897). He died in Paris on -August 13, 1912. - -A style that had lyrical charm, tender feelings, and poetic content -placed Massenet with the foremost French composers for the lyric -theater. The same qualities are found to a large degree in his -instrumental compositions, and endow them with their immense audience -appeal. He had a vein of tenderness that was his uniquely, often -contrasting this with striking passion and intensity. A master of many -different moods and emotions, he was able to convey them in music that -is suave and polished in the best French tradition. - -_Alsatian Scenes_ (_Scènes alsaciennes_) is one of Massenet’s most -popular orchestral compositions. It is the seventh of his suites for -orchestra and was written in 1881. For each of its four movements the -composer provided an explicit program. About the first movement, “Sunday -Morning” (“_Dimanche matin_”) the composer writes: “I recall with -particular delight the Alsatian village Sunday morning at the hour of -divine service; the streets deserted, the houses empty except for the -elderly ones who sun themselves before their doors. The church is full, -and the sacred hymns are heard at intervals in passing.” “The Tavern” -(“_Au cabaret_”) is described as the happy meeting place of his friends -“with its little windows framed with lead, garlanded with hops and -roses.... ‘Ho, Schmidt, some wine!’ And the songs of the forest rangers -going to shooting matches. Oh, the joyous life and the gay companions!” -“Under the Linden Trees” (“_Sous les tilleuls_”) depicts pictorially -“the edge of the fields on a Sunday afternoon, the long avenue of linden -trees, in the shadow of which, hand in hand, quietly talks a pair of -lovers.” The suite ends with “Sunday Evening” (“_Dimanche soir: Air -alsacien, Retraite française_”). “In the market place, what noise, what -movement! Everyone at the doorsteps, groups of young gallants in the -streets, and dances which embody in rhythm the songs of the country. -Eight o’clock! The noise of the drums, the blare of the trumpets—’tis -the retreat! The French retreat! And when in the distance the sound of -the drum died down, the women called their children in the street, the -old men relighted their big old pipes, and to the sounds of violins the -dance is joyously recommenced in smaller circles, with couples closer.” - -The ballet music for _Le Cid_ is strikingly appealing for its exotic -melodies and lambent orchestral colors. This opera, text by Louis Gallet -and Edouard Blau, is based on Corneille’s tragedy; its première -performance took place in Paris on November 30, 1885. The setting is -12th century Burgos, in Spain, where Rodrigo called Le Cid, or The -Conqueror, kills Chimène’s father in a duel. She seeks vengeance but is -unable to carry it out because she has fallen in love with him. The -ballet music appears in the second scene of the second act. A public -square is alive and colorful with dancing crowds, and six dances are -performed in rapid succession, some with melodic and rhythmic material -derived by Massenet from Spanish folk sources. These are the dances: -“_Castillane_,” a highly rhythmic dance found in the Castille region of -Spain; “_Andalouse_,” a sinuous, gypsy-like dance from Andalusia; -“_Aragonaise_,” a dance popular in the Aragon district; “_Aubade_,” a -gentle lyrical section; “_Catalane_,” a dance popular in Catalonia; -“_Madrilène_,” a two-part dance from Madrid, the first quiet and -introspective, the second dynamic; and “_Navarraise_,” a dance from -Navarre. - -The popular “_Élégie_,” a plangent melody muted in its grief, comes from -the incidental music to _Les Érynnies_ with which Massenet first won -acclaim in 1873. The play, by Charles Marie Leconte based on Aeschylus, -was produced with Massenet’s music at the Odéon in Paris. Here the -“_Élégie_” appeared as “_Invocation_,” scored for string orchestra. -Later on Massenet arranged this section for cello and piano, and it was -upon this occasion that he renamed the piece _Élégie_. It was later on -also transcribed for violin and piano, and adapted into a song with -lyrics by E. Gallet. - -Three other sections from _Les Érynnies_ have almost as much emotional -appeal as the _Élégie_, but in varied moods. The “Entr’acte” is a -passionate song for unison violins over a disturbed accompaniment. -“Grecian Dance” begins with a vivacious dance tune for two flutes in -thirds. A slow dialogue ensues between oboes and clarinets, in which the -main subject has an Oriental identity. A fast section brings this -movement to a close. “_Scène religieuse_” is a graceful, at times -solemn, minuet in which a solo cello provides the main melody. - -The famous opera _Manon_ (1884) has two delightful dance episodes that -are particularly well known, a gavotte and a minuet. _Manon_ was based -on the famous tale of Abbé Prévost, _L’Histoire du chevalier des Grieux -et de Manon Lescaut_, adapted by Henri Meilhac and Philippe Gille. Its -setting is France in the 18th century, and in the spirit of that place -and time Massenet recreated two old-world dances, both of them appearing -in the first scene of the third act, during a festival-day celebration -in Paris. Before the curtain goes up, the graceful music of the minuet -is heard in the orchestra as an entr’acte. After the rise of the -curtain, and the appearance of Manon, she expresses her hedonistic -philosophy of life in a gavotte (“_Obéissons quand leur voix appelle_”). -This gavotte is often heard in an exclusively instrumental arrangement. - -The _Phèdre Overture_ (1876) is another of Massenet’s frequently -performed orchestral compositions. The music closely follows the action -of the Racine tragedy, in which Phedre—daughter of King Minos and wife -of Theseus—falls in love with Theseus’ son, Hippolytus, who fails to -respond to her passion. The overture begins in a gloomy mood, -forecasting ominously the imminent tragedy awaiting Phedre and -Hippolytus. Phedre’s grief over her unreciprocated love is suggested by -a passionate subject for clarinet; a second equally passionate melody -brings us the picture of Hippolytus sent to his doom by an irate father. -Violins in unison now bring us a rapturous melody speaking of Phedre’s -love, while a fiery dramatic section that follows tells of the doom -awaiting Hippolytus at the hands of Neptune. - -_Picturesque Scenes_ (_Scènes pittoresques_) is the fourth of Massenet’s -suites for orchestra, completed in 1873. There are four short, tuneful -sections: “March” (“_Marche_”), “Air de Ballet,” “Angelus” and “Bohemian -Festival” (“_Fête bohème_”). The religious music of the third movement, -“Angelus,” with its solemn tolling of bells, is the most popular section -of this suite, frequently performed separately from the other movements. - -Second only to the “_Élégie_” in popularity among Massenet’s best-loved -melodies is the “Meditation” which comes from the opera _Thaïs_. This -excerpt is an orchestral entr’acte with violin obbligato heard just -before the first scene of the second act. The opera, libretto by Louis -Gallet based on the novel of Anatole France, describes the degradation -of Athanaël, a Cenobite monk, because of his unholy passion for Thaïs, a -courtesan. The radiant music of the “Meditation” describes Thaïs’ -renunciation of a life of pleasure for one of the spirit. - - - - - Robert McBride - - -Robert Guyn McBride was born in Tucson, Arizona, on February 20, 1911. -As a boy he learned to play the clarinet and saxophone. He later played -both instruments in various dance orchestras. In 1933 he was graduated -from the University of Arizona, and a year after that received there his -Master’s degree. Having studied the oboe in college, he played that -instrument with the Tucson Symphony for several years. Then, after -additional study of the piano, composition and voice, he joined the -music faculty of Bennington College in Vermont in 1935, holding this -post eleven years. During this period he received a Guggenheim -Fellowship. In 1942, the American Academy of Arts and Letters awarded -him a prize for creating a “new idiom in American music.” McBride has -made successful use of jazz, popular and folk elements in serious -chamber-music and orchestral compositions. - -The _Mexican Rhapsody_ (1936) is one of McBride’s best known works for -orchestra. He wrote it in Arizona while studying at the University. It -was first presented in Tucson in a two-piano arrangement, then in its -definitive orchestral version, and finally as a choreographic -presentation. McBride here makes a colorful and freshly conceived -presentation of four Mexican folk songs familiar to many: “_El Rancho -Grande_,” “_Jarabe_” (or “Hat Dance”), “_Cuatro Milpas_,” and “_La -Cucaracha_.” - -McBride has written several interesting compositions in a jazz style. -One of the best is the _Strawberry Jam_ (1942). This is a caricature of -a jazzband jam session, but with the utilization of modern harmonies and -symphonic orchestration. _Stuff in G_, for orchestra (1942), is in the -racy, tuneful style of Tin Pan Alley, while _Swing Stuff_ (1941) brings -to the symphonic orchestra the improvisational devices and techniques -and the beat of Swing music. - - - - - Harl McDonald - - -Harl Mcdonald was born in Boulder, Colorado, on July 27, 1899. His music -study took place in Redlands, California and at the University of -Southern California. The winning of prizes from the American Federation -of Music Clubs for two orchestral works enabled him to go to Europe and -attend the Leipzig Conservatory. In Germany, his symphonic fantasy, -_Mojave_, was successfully introduced by the Berlin State Opera -Orchestra. After returning to the United States he was appointed in 1926 -to the music faculty of the University of Pennsylvania, where he later -became professor of music, and finally head of the music department. At -the University he conducted various choral groups which appeared with -the Philadelphia Orchestra. From 1939 until his death he was manager of -the Philadelphia Orchestra, which introduced many of his orchestral -compositions. McDonald wrote four symphonies, a two-piano concerto, a -violin concerto, and various suites and tone poems for orchestra. He -died in Princeton, New Jersey, on March 30, 1955. - -The _Children’s Symphony_ was a work intended to teach children -something about symphonic form through melodies they knew and loved. The -form of the symphony is adhered to—in the presentation of two themes, -their development, and recapitulation. Simple and unsophisticated, this -symphony makes ideal listening for children, but there is enough charm -here to provide considerable enjoyment to older people as well. In the -first movement, McDonald uses for his two main themes, “London Bridge” -and “Baa Baa Black Sheep.” In the second movement we hear “Little Bo -Peep” and “Oh, Dear, What Can the Matter Be?”; in the third, “Farmer in -the Dell” and “Jingle Bells”; and in the finale, “Honey Bee” and “Snow -Is Falling On My Garden.” - -_Rhumba_, for symphony orchestra, is the third movement of McDonald’s -Symphony No. 2 (1935). But this movement (which in the symphony -displaces the conventional scherzo) is so popular that it is often -played apart from the rest of the work. The symphony itself was inspired -by the turbulent 1930’s, with its labor conflicts, breadlines, -unemployment, and depression. _Rhumba_ injected a gay note into these -somber proceedings, attempting to interpret “the passionate search after -good times and diversions, and the restless pursuit of intoxicated -pleasures,” as the composer explained. McDonald goes on to say that he -here used the rumba rhythm because he liked it and because it seemed to -him to be the pulse of those times. - - - - - Felix Mendelssohn - - -Felix Mendelssohn-bartholdy was born in Hamburg, Germany, on February 3, -1809. His grandfather was the famous philosopher, Moses Mendelssohn; his -father, a successful banker. Both were of Jewish origin. When Felix was -still a boy, however, his immediate family was converted to -Protestantism, the occasion upon which they added the name of -“Bartholdy” to their own to distinguish them from the other members of -their family. A pupil of Ludwig Berger and Karl Friedrich Zelter, Felix -was extraordinarily precocious in music. When he was seven and a half he -made a successful appearance as pianist in Berlin; by the time he was -twelve he had already written operas and symphonies; and in his -seventeenth year he produced an unqualified masterwork in the _Overture -to A Midsummer Night’s Dream_. In 1827, one of his operas was produced -in Berlin, but by that time he had already completed thirteen symphonies -and a library of chamber music as well. - -In 1829, Mendelssohn conducted in Berlin the first performance of Bach’s -_Passion According to St. Matthew_ to be given since Bach’s own day. -This concert became a powerful influence in reviving interest in Bach’s -music, which at that time had been languishing in both neglect and -obscurity. A few weeks after Mendelssohn had directed a repeat -performance, he made his first trip to England where he led the première -of a new symphony and was made honorary member of the Royal -Philharmonic. A tour of Scotland that followed immediately was the -inspiration for his overture, _Fingal’s Cave_. - -In 1833, Mendelssohn served as musical director of the city of -Duesseldorf. He held this post only six months. Much more significant -was his engagement as the principal conductor of the Gewandhaus -Orchestra in Leipzig in 1835 which, during the five years of his -leadership, was elevated to a position of first importance among the -world’s symphony orchestras. - -In 1841, Mendelssohn became head of the music department of a projected -Academy of Arts in Berlin. This appointment did not prevent him from -visiting England where he was received with an adulation accorded to no -foreign musician since Handel. Returning to Berlin he found that the -Academy of Arts project had been abandoned. He was now made -Kapellmeister to the King, an honorary post allowing him complete -freedom of activity and movement. During the next few years he conducted -concerts of the Gewandhaus Orchestra, and paid two more highly -successful visits to England. He was also instrumental in helping to -found the Leipzig Conservatory in 1843. Always of delicate health and -sensibilities, Mendelssohn collapsed at the news that his beloved -sister, Fanny, died in 1847. He died in Leipzig soon after that, on -November 4, 1847. - -The finest qualities of German Romantic music can be found in -Mendelssohn. He had the Romantic’s partiality for fantasy and the -supernatural, together with the lightness of touch with which to create -such worlds through music. He had the Romantic’s gift for translating -natural scenes, landscapes and lyric poetry into sensitive tone -pictures. He had a most winning lyricism and graceful harmonic and -orchestral gift, and he never lacked the ability to charm and enchant -his listeners with the most tender and lovable musical expression. Other -composers may have written profounder or more emotionally stirring music -than Mendelssohn; but no one could be more ingratiating, sensitive, or -refined. Some of Mendelssohn’s serious symphonic works are so full of -the most wonderful melodies and beguiling moods that they have the -universal appeal of semi-classics. - -The concert overture, _Fingal’s Cave_, or as it is also sometimes known, -_Hebrides Overture_, op. 26 (1832) was inspired by the composer’s visit -to the Scottish Highlands in 1830. The opening theme in lower strings -and bassoons suggests the roll of the waves at the mouth of a cave, a -melody that came to the composer while visiting the caves of Staffa. -This idea is developed, then a second beautiful melody unfolds in cellos -and bassoons. - -The orchestral suite, _A Midsummer Night’s Dream_, op. 61 is derived -from the incidental music comprising thirteen numbers which Mendelssohn -wrote for a Potsdam production of the Shakespeare comedy in 1843; the -Overture, however, was a fruit of the composer’s youth, having been -written in 1826. The magic world of fairies and elves which Mendelssohn -projected so delicately in his youthful overture is preserved in many of -the numbers he wrote seventeen years later. The Overture, op. 21, is -initiated with four sensitive chords, and proceeds with fleeting, -diaphanous music for strings with which we are suddenly plunged in -fairyland. The main thematic material to follow comprises a haunting -song for horn, a romantic episode for woodwind and strings, and a -sprightly fairy dance for strings. - -Three other musical sections from this incidental music, and basic to -the orchestral suite, are famous. The “Nocturne” is a broad, moody song -for horns. The “Scherzo”—like the Overture—is a picture of the world of -fairies, gnomes and elves, though in a more energetic and spirited vein. -The “Wedding March” is now one of the most frequently played pieces of -wedding music, second in popularity only to Wagner’s wedding music from -_Lohengrin_; it first became popular as wedding music at the nuptials of -the English Princess in London in 1858. A trumpet fanfare leads to the -dignified march melody which is twice alternated with melodious trio -sections. - -“On Wings of Song” (“_Auf Fluegeln des Gesanges_”), op. 34, no. 2 (1834) -is Mendelssohn’s best-known song, a melody of incomparable loveliness -and serenity. The poem is by Heine. Franz Liszt transcribed it for -piano; Joseph Achron for violin and piano; Lionel Tertis for viola and -piano. It has also enjoyed various orchestral transcriptions. - -_Ruy Blas_, op. 95 (1839)—like _Fingal’s Cave_—is a concert overture for -orchestra; here the inspiration is the drama of Victor Hugo. Four solemn -bars for wind instruments lead to the principal subject, first violins -and flutes; clarinets, bassoons, and cellos later offer the second -contrasting staccato theme. - -The _Spinning Song_ and the _Spring Song_ are both instrumental -favorites, and both come from the _Songs Without Words_ (_Lieder ohne -Worte_), for solo piano. The form of “song without words” is a creation -of Mendelssohn: a brief composition of such essentially lyric character -that it is virtually a “song” for the piano. Mendelssohn wrote -forty-eight such pieces gathered in eight books. The _Spinning Song_ in -C major appears in op. 67 as the fourth number (1844). This is a tender -melody placed against a rhythmic background suggesting the whirring of a -spinning wheel. The _Spring Song_ in A major is surely one of the most -familiar tonal pictures of the vernal season to be found in the -semi-classical literature; it appears in op. 62 (1842) as the concluding -number. Both the _Spinning Song_ and _Spring Song_ appear in all kinds -and varieties of transcriptions. - -The stirring _War March of the Priests_ is a number from the incidental -music for Racine’s drama, _Athalie_, op. 74 (1843); this incidental -music was first performed with the Racine play in Berlin in 1845. - - - - - Giacomo Meyerbeer - - -Giacomo Meyerbeer was born in Berlin, Germany, on September 5, 1791. His -name, at birth, was Jakob Liebmann Beer. When Meyer, a rich relative, -left him a legacy, he decided to change his name to Meyerbeer; some -years later upon initiating a career as composer of Italian operas he -Italianized his name. His music study took place with Clementi, Zelter, -Anselm Weber and Vogler, the last of whom encouraged him to write his -first opera, _Jephtha’s Vow_ (_Jephtha’s Geluebde_), a failure when -first performed in Munich in 1812. A second opera, performed in -Stuttgart, was also a failure; Meyerbeer now seriously entertained the -thought of abandoning composition altogether. The noted Viennese -composer and teacher, Antonio Salieri, however, convinced him what he -needed was more study. This took place in Italy where for several years -Meyerbeer assimilated Italian traditions of opera. His first endeavor in -this style was _Romilda e Costanza_, a success when introduced in Padua -in 1817. During the next few years Meyerbeer wrote several more operas, -some of them on commission, and became one of Italy’s most highly -regarded composers for the stage. In 1826, Meyerbeer settled in Paris -where association with composers like Cherubini and Halévy, made him -impatient with the kind of operas he had thus far created. In 1831, with -_Robert le Diable_, he entered upon a new artistic phase in which -Italian methods, procedures and traditions were discarded in favor of -the French. _Robert le Diable_, produced at the Opera on November 21, -1831 was a sensation. Meyerbeer continued writing operas in the French -style for the remainder of his life. These are the operas by which he is -most often represented in the world’s opera theaters: _Les Huguenots_ -(1836), _Le Prophète_ (1849), and _L’Africaine_ (1865). Meyerbeer died -in Paris on May 2, 1864. - -Meyerbeer was an exponent of drama in the grand style, his finest operas -being filled with big climactic scenes, elaborate stage effects, and -eye-filling visual displays. But he also had a pronounced dramatic gift, -one which evoked from Wagner the highest admiration; and a pronounced -expressiveness of lyricism. - -_L’Africaine_ (_The African_) is Meyerbeer’s last opera, and many -regarded it as his best. He completed it in 1864 just before his death, -and its world première at the Paris Opera took place posthumously on -April 28, 1865. The text, by Eugène Scribe, is set in Lisbon and -Madagascar in the 15th century. The main action concerns the love of -Selika, an African queen, for the Portuguese explorer, Vasco da Gama; Da -Gama in turn is loved by Inez, daughter of Don Diego. Selika offers the -explorer a secret route to the land of which she is queen, Madagascar, -and with which Da Gama becomes enraptured. But when Inez appears, he -abandons Selika for her, and leaves the magic island. Heartbroken, -Selika kills herself by breathing the deadly fragrance of a manchineel -tree. - -The opera’s most popular excerpt is Vasco da Gama’s rapturous tenor aria -from the fourth act in which he describes the beauty of Madagascar, “_O -Paradis_.” Another vocal favorite is the baritone ballad of Nelusko, -slave of Selika, “_Adamastor, roi des vagues profondes_”; as he steers -the ship bearing Selika and Vasco da Gama to Madagascar he sings of -Adamastor, monarch of the sea, who sends ships to their doom on -treacherous reefs. - -The _Coronation March_ (_Marche du couronnement_)—music of pomp and -circumstance—comes from the opera _Le Prophète_, first performed at the -Paris Opéra on April 16, 1849. Eugène Scribe’s libretto is based on an -actual historical episode in 16th century Holland centered around the -Anabaptist uprising, with John of Leyden, leader of the Anabaptists, as -the principal character. In Act four, scene two, John is being crowned -king outside the Muenster Cathedral. As a magnificent royal procession -enters the Cathedral, the music of the _Coronation March_ matches in -splendor and grandeur the visual majesty of this scene. Another popular -musical excerpt for orchestra from this opera is Prelude to Act 3, a -colorful and rhythmic Quadrille that leads into the opening scene of -that act, providing the lively musical background for a ballet and -ice-carnival skating scene. Liszt made a technically brilliant -transcription for the piano of this Quadrille music. - -_Les Huguenots_ (_The Huguenots_) was first performed at the Paris Opéra -on February 29, 1836, the year it was completed; the libretto was by -Eugène Scribe and Émile Deschamps. In 16th century Touraine and Paris, -Raoul, a Huguenot nobleman, has saved the life of Valentine, daughter of -the Catholic leader, St. Bris. She falls in love with Raoul, but the -latter repudiates her, believing her to be the mistress of Count de -Nevers. When he discovers he has been mistaken, Raoul risks his life to -see her. During this visit he overhears a Catholic plot to massacre the -Huguenots. After Raoul and Valentine get married, they are both murdered -in the massacre—Valentine by her own father. - -The Overture to _Les Huguenots_ is built almost entirely from the melody -of the famous Lutheran chorale, _Ein’ feste Burg_, which in the opera -itself served as the musical symbol for militant Protestantism. The -outstanding individual excerpts from the opera include Raoul’s beautiful -romance from Act 1 describing the woman he has saved, “_Plus blanche que -la blanche hermine_”; the rhapsodic description in the second act of the -Touraine countryside by Marguerite de Valois, betrothed to Henry IV of -Navarre, “_O beau pays de la Touraine_”; and in the fourth act the -stirring “Benediction of the Swords,” (“_Gloire au grand Dieu vengeur_”) -with which the Catholics are blessed by three monks on the eve of their -holy war against the Huguenots. - -The exciting _Torch Dance_, No. 1, in B-flat is not from one of -Meyerbeer’s operas. It was written in 1846 for the wedding of the King -of Bavaria, and originally was scored for brass band. It is now most -frequently heard in orchestral adaptations. Meyerbeer subsequently wrote -two other _Torch Dances_: the second in 1850 for the wedding of Princess -Charlotte of Prussia, and the third in 1853 for the wedding of Princess -Anne of Prussia. - - - - - Karl Milloecker - - -Karl Milloecker was born in Vienna, Austria, on May 29, 1842. His -father, a jeweler, wanted him to enter the family business, but from his -childhood on, Karl was drawn to music. After studying music with private -teachers, he attended the Conservatory of the Gesellschaft der -Musikfreunde. Meanwhile, in his sixteenth year, he supported himself by -playing the flute in a theater orchestra. When his music study ended, he -became conductor of a theater in Graz in 1864; there his first operetta -was produced one year later. In 1866 he was back in Vienna, and from -1869 to 1883 he was principal conductor at the Theater-an-der-Wien where -most of his famous operettas were produced including _Countess Du Barry_ -(_Graefin DuBarry_) in 1879, _The Beggar Student_ (_Der Bettelstudent_) -in 1882, _Gasparone_ in 1884, and _Poor Jonathan_ (_Der arme Jonathan_) -in 1890. Milloecker died in Baden, near Vienna, on December 31, 1899. - -Milloecker’s most famous operetta is _The Beggar Student_ (_Der -Bettelstudent_), which was first produced at the Theater-an-der-Wien in -Vienna on December 6, 1882, and after that enjoyed highly successful -performances at the Casino Theater in New York in 1883, and the Alhambra -in London in 1884. The scene is Cracow, Poland; the time, 1704. General -Ollendorf, spurned by Laura, evolves an elaborate plot to avenge -himself. He finances the impoverished student, Symon, dresses him up as -a lord, and sends him off to woo and win Laura. Only after the wedding -does the General reveal the fact that Symon is a beggar. Just as -disgrace faces the young man, he becomes involved in a successful -maneuver to restore the rejected Polish king to his throne. Thus he -acquires wealth and a title, and is welcomed with pride and love by -Laura and her mother. Potpourris and selections from this tuneful -operetta always include the principal waltz melody which comes as a -first act finale, “_Ach ich hab’ sie ja nur auf die Schulter gekuesst_.” -Other delightful excerpts include Symon’s mazurka, “_Ich knuepfte manche -zarte Bande_,” his lament “_Ich hab’ kein Geld_,” and the second act -duet of Symon and Laura, “_Ich setz den Fall_.” - - - - - Moritz Moszkowski - - -Moritz Moszkowski was born in Breslau, Germany, on August 23, 1854. He -received his musical training at three leading German Conservatories: -the Dresden Conservatory, the Stern Conservatory and Kullak Academy in -Berlin. He began a career as pianist in 1873, touring Europe with -outstanding success. He also achieved recognition as a teacher of the -piano at the Kullak Academy. In 1897, he went into retirement in Paris -where he lived for the remainder of his life. In 1899 he was elected a -member of the Berlin Academy. Towards the end of his life his financial -resources were completely depleted, and his fame as composer, pianist, -and teacher had long been eclipsed. He died in poverty and obscurity in -Paris on March 4, 1925. - -Though he wrote operas, ballets, suites, concertos and a symphony, -Moszkowski was at his best—and is most famous today—for his lighter -music in a Spanish idiom. Typical of his music in this style were the -rhythmic _Bolero_, op. 12, no. 5, for piano solo; the languorous and -haunting _Guitarre_, op. 45, no. 2, for piano solo (transcribed by Pablo -de Sarasate for violin and piano); and the dashing _Malagueña_, from the -opera _Boabdil_. - -But his most celebrated compositions are the delightful _Spanish -Dances_, opp. 12, and 65, two books of pieces for piano solo or piano -duo, which have been arranged for orchestra. The most popular are the -first in C major, the second in G minor, and the fifth (a bolero) in D -major. While none of these dances can be accepted as authentic Spanish -music—actually they are only a German Romantic’s conception of what -Spanish music is—they make most effective use of Spanish dance rhythms. - - - - - Wolfgang Amadeus Mozart - - -Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, -1756. The son of Leopold, Kapellmeister at the court of the Salzburg -Archbishop, Wolfgang Amadeus disclosed his remarkable musical powers at -a tender age. He began composition at the age of five, completed a piano -sonata at seven, and a symphony at eight. Taught the harpsichord, also -very early in his childhood, he revealed such phenomenal abilities at -improvisation and sight reading that he was the wonder and awe of all -who came into contact with him. His ambitious father exhibited this -formidable prodigy for several years before the crowned heads of Europe; -and wherever he appeared the child was acclaimed. Goethe said: “A -phenomenon like that of Mozart remains an inexplicable thing.” In Milan -in 1770 he was commissioned to write an opera _Mitridate, rè di Ponto_, -successfully performed that year. In Bologna he became the only musician -under the age of twenty to be elected a member of the renowned Accademia -Filarmonica. And in Rome he provided dramatic evidence of his -extraordinary natural gifts by putting down on paper the entire complex -score of Allegri’s _Miserere_ after a single hearing. - -As he outgrew childhood he ripened as a composer, gaining all the time -in both technical and creative powers. But he was a prodigy no more, and -though he was rapidly becoming one of the most profound and original -musicians in Europe he was unable to attract the adulation and -excitement that had once been his. Between 1772 and 1777, as an employee -in the musical establishment of the Salzburg Archbishop, he was treated -like a menial servant. The remarkable music he was writing all the time -passed unnoticed. Finally, in 1782, he made a permanent break with the -Archbishop and established his home in Vienna where he lived for the -remainder of his life. Though he received some important commissions, -and enjoyed several triumphs for his operas, he did not fare any too -well in Vienna either. He had to wait several years for a court -appointment, and when it finally came in 1787 he was deplorably -underpaid. Thus he lived in poverty, often dependent for food and other -necessities of life on the generosity of his friends. And yet the -masterworks kept coming in every conceivable medium—operas, symphonies, -sonatas, quartets, concertos, choral music and so forth. A few people in -Vienna were aware of his prodigious achievements, and one of these was -Joseph Haydn who called him “the greatest composer I know either -personally or by name.” During the last years of his life Mozart was -harassed not only by poverty but also by severe illness. Yet his last -year was one of his most productive, yielding his last three symphonies, -the _Requiem_, the opera _The Magic Flute_ (_Die Zauberfloete_), the -_Ave Verum_, and a remarkable piano concerto and string quintet. He died -in Vienna on December 5, 1791 and was buried in a pauper’s grave with no -tombstone or cross for identification. - -Through his genius every form of music was endowed with new grandeur, -nobility of expression and richness of thought. He was a technician -second to none; a bold innovator; a creator capable of plumbing the -profoundest depths of emotion and the most exalted heights of -spirituality. Yet he could also be simple and charming and graceful, in -music remarkably overflowing with the most engaging melodies conceived -by man, and characterized by the most exquisite taste and the most -consummate craftsmanship. Thus Mozart’s lighter moods in music are often -also endowed with extraordinary creative resources and original -invention; yet they never lose their capacity to delight audiences at -first contact. - -The music Mozart wrote directly for popular consumption were the hundred -or so _Dances_ for orchestra: _Country Dances_, _German Dances_, -_Minuets_. The greatest number of these consist of the _German Dances_. -These are lively melodies in eight-measure phrases and with forceful -peasant rhythms. Some of the best _German Dances_ are those in which -Mozart utilized unusual orchestral resources or instruments to suggest -extra-musical sounds. _The Sleighride_ (_Die Schlittenfahrt_), K. 605, -in C major, simulates the sound of sleigh bells in the middle trio -section, sounded in the tones A-F-E-C. _The Organgrinder_ (_Der -Leiermann_), K. 602, imitates the sound of a hurdy-gurdy. In _The -Canary_ (_Der Kanarienvogel_), K. 571, flutes reproduce the chirping of -birds. - -The _Country Dance_, or _Contretanze_, is sometimes regarded as the -first modern dance, forerunner of the quadrille. Structurally and -stylistically these are very much like _German Dances_ with a -peasant-like vitality and earthiness. Here, too, Mozart sometimes -realistically imitates non-musical sounds as in _The Thunder Storm_ -(_Das Donnerwetter_), K. 534, in which the role of the timpani suggests -peals of thunder. - -Mozart’s most popular Minuet—indeed, it is probably one of the most -popular minuets ever written—comes from his opera _Don Giovanni_, -libretto by Lorenzo da Ponte, and first performed in Prague in 1787. The -hero of this opera is, to be sure, the Spanish nobleman of the 17th -century whose escapades and licentious life finally bring him to doom at -the hands of the statue of the Commandant come to life to consign him to -the fires of hell. The Minuet appears in the fifth scene of the first -act. Don Giovanni is the gracious host of a party held in his palace, -and there the guests dance a courtly minuet while Don himself is making -amatory overtures to Zerlina. - -In a lighter mood, also, is the _Eine kleine Nachtmusik_ (_A Little -Night Music_), K. 525, a serenade for string orchestra (1787). This work -is consistently tuneful, gracious, charming. The first movement has two -lilting little melodies, which are presented and recapitulated with no -formal development to speak of. The second movement is a Romance, or -Romanza, a poetic song contrasted by two vigorous sections; the main -thought of this movement is then repeated between each of these two -vigorous parts. After that comes a formal minuet, and the work ends with -a brisk and sprightly rondo. - -Mozart’s popular _Turkish March_—in the pseudo Turkish style so popular -in Vienna in his day—comes out of his piano Sonata in A major, K. 331 -(1778), where it appears as the last movement. This march is extremely -popular in orchestral transcription. - - - - - Modest Mussorgsky - - -Modest Mussorgsky was born in Karevo, Russia, on March 21, 1839. When he -was thirteen he entered the cadet school of the Imperial Guard in St. -Petersburg, from which he was graduated to join the Guard regiment. In -1857 he met and befriended several important Russian musicians -(including Balakirev and Stassov) under whose stimulus he decided to -leave the army and become a composer. Until now his musical education -had been sporadic, having consisted of little more than some piano -lessons with his mother and a private teacher. He now began an intensive -period of study with Balakirev, under whose guidance he completed a -_Scherzo_ for orchestra which was performed in St. Petersburg in 1860, -as well as some piano music and the fragments of a symphony. Associating -himself with Balakirev, Rimsky-Korsakov, Borodin, and Cui he now became -a passionate advocate of musical nationalism, becoming the fifth member -of a new school of Russian music henceforth identified as “The Mighty -Five” or “The Russian Five.” In 1863, with serfdom abolished in Russia, -he lost the outside financial resources he had thus far enjoyed as the -son of a landowner. To support himself he worked for four years as a -clerk in the Ministry of Communications; in 1869 he found employment in -the forestry department. During this period music had to be relegated to -the position of an avocation, but composition was not abandoned. He -completed the first of his masterworks, the orchestral tone poem, _A -Night on the Bald Mountain_, in 1866. A lifelong victim of nervous -disorders, melancholia and subsequently of alcoholism, his health soon -began to deteriorate alarmingly; but despite this fact he was able to -complete several works of crowning significance in 1874 including his -folk opera, _Boris Godunov_, and his _Pictures at an Exhibition_, for -piano. After 1874 his moral and physical disintegration became complete; -towards the last months of his life he gave indications of losing his -mind. He died in St. Petersburg on March 28, 1881. - -As one of the most forceful and original members of the “Russian Five” -Mussorgsky’s greatest works certainly do not lend themselves to popular -distribution. His writing is too individual in its melodic and harmonic -construction; and his works show too great a tendency towards musical -realism to make for palatable digest. However, several of the folk -dances in his operas are strikingly effective for their rhythmic pulse -and national colors and are by no means as elusive in their appeal as -the rest of his production. - -Mussorgsky’s masterwork is his mighty folk opera, _Boris Godunov_, where -we encounter one such delightful dance episode, the Polonaise. _Boris -Godunov_, libretto by the composer based on a Pushkin drama, traces the -career of the Czar from the years 1598 to 1605, from his coronation to -his insanity and death. The Polonaise occurs in the first scene of the -third act. At the palace of a Polish landowner, handsomely costumed -guests perform this festive courtly dance in the adjoining garden. The -première of _Boris Godunov_ took place in St. Petersburg on February 8, -1874. - -Two orchestral dances can also be found in another of Mussorgky’s folk -operas, _The Fair at Sorochinsk_, which was not introduced until October -26, 1917, in St. Petersburg. The libretto was by the composer based on -Gogol’s story, _Evenings on a Farm Near Dikanka_. Tcherevik, a peasant, -wants his daughter to marry Pritzko, whereas the peasant’s wife is -partial to the pastor’s son. However, when the pastor’s son compromises -the peasant’s wife she realizes that Pritzko is, after all, the right -man for her daughter. In the third act of this opera comes the lively -_Hopak_, or _Gopak_, a folk dance with two beats to a measure. - -Folk dances of a completely different nature—more oriental and exotic -than the previously discussed Russian variety—will be found in -_Khovanschina_, a musical drama with libretto by the composer and -Stassov; this opera was first given, in an amateur performance, in St. -Petersburg on February 21, 1886. Here the setting is Moscow during the -reign of Peter the Great, and the plot revolves around the efforts of a -band of radicals known as the Streltsy who try to overthrow the Czar. -Prince Ivan Khovantsky, who is in league with the Streltsy, is murdered -by assassins, and the insurrection is suppressed. But before the leaders -of the Streltsy can destroy themselves they are given an official pardon -by the Czar. A high moment in this opera comes with the _Dances of the -Persian Slaves_, which takes place in the first scene of the fourth act. -At the country house of Khovantsky, the Prince is being entertained by -an elaborate spectacle, the main attraction of which is the sinuous, -Corybantic dancing of the Persian slaves. - -Almost as popular as these Persian dances are the Prelude to the first -act and an entr’acte between the first and second scenes from this -opera; these two episodes for orchestra are highly atmospheric, graphic -in the pictures of Russian landscapes. The first act Prelude has been -named by the composer, _Dawn on the Moskava River_. This is a subtle -tone picture made up of a folk melody and five variations. The entr’acte -offers another kind of landscape, this time a bleak one describing the -vast, lonely plains of Siberia. - - - - - Ethelbert Nevin - - -Ethelbert Woodbridge Nevin was born in Edgeworth, Pennsylvania, on -November 25, 1862. A precocious child in music, he wrote his first piano -piece when he was eleven. A year later he wrote and had published a song -that became exceedingly popular, “Good Night, Good Night Beloved.” After -studying music with private teachers, he went to Berlin in 1884, -studying for two years with Hans von Buelow and Karl Klindworth. He -returned to the United States in 1886. Soon after that he made his -formal American concert debut as pianist with a program on which he -included some of his own compositions. By 1890 he decided to give up his -career as a virtuoso and to concentrate on being a composer. In 1891 he -completed _Water Scenes_, a suite for the piano in which will be found -one of the most popular piano pieces by an American, “Narcissus.” In -1892 and again 1895 Nevin traveled extensively through Europe and -Morocco. In 1897 he settled in New York City where he wrote one of the -best-selling art songs by an American, “The Rosary.” In 1900 Nevin went -to live in New Haven. During the last year of his life he was a victim -of depressions which he tried to alleviate through excessive drinking. -He died of an apoplectic stroke in New Haven, Connecticut, on February -17, 1901. - -“Mighty Lak a Rose” and “The Rosary” are Nevin’s two most famous art -songs; they are also among the most popular art songs written in -America. “Mighty Lak a Rose” was one of Nevin’s last compositions, -written during the closing months of his life. He never lived to see the -song published and become popular. The song is a setting of a poem by -Frank L. Stanton, and is described by John Trasker Howard (Nevin’s -biographer) as “probably the simplest of all his songs ... [with] a -freshness and whimsical tenderness that make its appeal direct and -forceful.” - -“The Rosary,” words by R. C. Rogers, was an even greater success. From -1898 to 1928 it sold over two and a half million copies of sheet music. -When Nevin had finished writing this song in 1898, he invited the singer -Francis Rogers to dinner, after which he handed him a scribbled piece of -music paper. “Here is a song I just composed,” he told Rogers. “I want -you to sing it at your concert next week.” Rogers deciphered the notes -as best he could while Nevin played the accompaniment from memory. The -little audience listening to this first informal presentation of “The -Rosary” was enthusiastic, but one of its members insisted it would be -impossible for Rogers to memorize the song in time for the concert the -following week. The guest bet Nevin a champagne supper for all present -that the song would not be on Rogers’ program. He lost the bet. The -following week, on February 15, 1898, Rogers introduced the song at the -Madison Square Concert Hall. - -The _Water Scenes_, suite for piano, op. 13 is remembered principally -because one of its movements is “Narcissus,” often considered one of the -most popular compositions ever written in this country. Nevin himself -provided information about the origin of “Narcissus.” “I remembered -vaguely that there was once a Grecian lad who had something to do with -the water and who was called Narcissus. I rummaged about my old -mythology and read the story over again. The theme, or rather both -themes, came as I read. I went directly to my desk and wrote out the -whole composition. Afterwards, I rewrote it and revised it a little. The -next morning I sent it to my publishers. Until the proofs came back to -me I never tried it on the piano. I left almost immediately for Europe -and was surprised when a publisher wrote to me of the astonishing sale -of the piece.” During Nevin’s lifetime, the piece sold over 125,000 -copies of sheet music, and was heard throughout America both in its -original piano version (a favorite repertory number of piano students -and budding piano virtuosos) and in transcriptions. It went on to circle -the globe. As Vance Thompson wrote: “It was thrummed and whistled half -around the world. It was played in Cairo as in New York and Paris; it -was played by orchestras, on church organs, and on the mouth harps of -Klondike miners; it became a mode, almost a mania.” - -The other movements of _Water Scenes_ are: “Barcarolle,” “Dragon Fly,” -“Water Nymph,” “At Twilight,” and “Ophelia.” Each is a sensitive piece -of tone painting, as lyrical and as unashamedly sentimental as the -beloved “Narcissus.” - - - - - Otto Nicolai - - -Otto Nicolai was born in Koenigsberg, Germany, on June 9, 1810. After -completing his music study with Zelter and Bernhard Klein, he came to -Paris in 1830 where he remained three years. In Berlin he completed -several works for orchestra, and some for chorus. In 1834 he went to -Italy where he was organist in the Prussian Embassy at Rome and became -interested in opera. From 1837 to 1838 he was principal conductor at the -Kaerthnerthor Theater in Vienna. Then he returned to Italy to devote -himself to the writing of operas, the first of which, _Rosmonda -d’Inghilterra_ was a failure when produced in Turin in 1838. His second -opera, however, was a major success when first given in Turin in 1840: -_Il Templario_ based on Sir Walter Scott’s _Ivanhoe_; it was produced in -Naples and Vienna. In 1841 Nicolai came to Vienna to serve for six years -as Kapellmeister to the court. During this period, in 1842, he helped to -found the renowned Vienna Philharmonic Orchestra. In 1847 he came to -Berlin to become conductor of the Domchor. It was here that he completed -the work upon which his reputation rests, the comic opera, _The Merry -Wives of Windsor_ (_Die lustigen Weiber von Windsor_). He died in Berlin -of an apoplectic stroke on May 11, 1849, only two months after the -première performance of his famous comic opera. - -_The Merry Wives of Windsor_ (_Die lustigen Weiber von Windsor_) is -Nicolai’s only opera to survive; and its overture is his only work for -orchestra which retains its popularity. The opera received a highly -successful première in Berlin on March 8, 1849. Its libretto, by Hermann -Salomon Mosenthal, is based on Shakespeare’s comedy and follows that -play with only minor modifications. Falstaff’s cronies (Bardolph, Pistol -and Nym) are omitted; only slight reference is made to the love of Anne -and Fenton; and considerable attention is paid to Falstaff’s comical -amatory overtures to Mistresses Ford and Page. - -The overture opens with a slow introduction in which a flowing melody is -given against a high G in the violins. This melody is repeated by -several different sections of the orchestra, then treated in imitation. -The main part of the overture is made up of two vivacious melodies, the -second of which, in the violins, is intended to depict Mistress Page. -The development of both themes is in a gay mood, with a robust passage -in F minor representing Falstaff. The overture concludes with an -animated coda. - -From the opera itself come three melodious vocal selections, prominent -in all orchestral potpourris: Falstaff’s drinking song, a long time -favorite of German bassos, “_Als Bueblein klein_”; Fenton’s serenade to -Anne Page, “_Horch, die Lerche singt in Haim_”; and Mistress Page’s -third-act ballad of Herne the Hunter. - - - - - Siegfried Ochs - - -Siegfried Ochs was born in Frankfort on the Main, Germany, on April 19, -1858. While studying medicine, he attended the Berlin High School for -Music. Then deciding upon music as a life’s career, he continued his -music study with private teachers and became a protégé of Hans von -Buelow. In 1882 he founded the Philharmonic Choir of Berlin, one of -Germany’s most celebrated choral groups. He remained its conductor even -after it merged with the chorus of the Berlin High School for Music in -1920. Ochs died in Berlin on February 6, 1929. - -Ochs wrote several comic operas, song cycles, and some choral music. A -semi-classical favorite is the set of orchestral variations on the -well-known German folk song, “_Kommt ein Vogel_.” These variations are -each in the style of a famous composer—Bach, Mozart, Beethoven, Wagner, -Johann Strauss II, and so on; and each variation shows a remarkable -skill, and a winning wit, in mimicking the individual creative -mannerisms and idiosyncrasies of each composer. - - - - - Jacques Offenbach - - -Jacques Offenbach was born Jacques Oberst in Cologne, Germany, on June -20, 1819; his father was a cantor in one of the city synagogues. After -attending the Paris Conservatory, Offenbach played the cello in the -orchestra of the Opéra-Comique. Then, in 1849 he became conductor at the -Théâtre Français. In 1850 he achieved his initial success as a composer -with the song, “_Chanson de Fortunio_” interpolated into a production of -the Alfred de Musset drama, _Chandelier_. Three years later his first -operetta, _Pepito_, was produced at the Théâtre des Variétés. Between -1855 and 1866 he directed his own theater where operettas were given, -Les Bouffes Parisiens, which opened on July 5, 1855 with a performance -of one of his own works, _Les Deux aveugles_. For his theater Offenbach -wrote many operettas including his masterwork in that genre, _Orpheus in -the Underworld_, in 1858. After closing down the Bouffes Parisiens, -Offenbach went to Germany and Austria where he had produced several more -of his operettas. But in 1864 he was back in Paris. The première of _La -Belle Hélène_ at the Variétés that year enjoyed a spectacular success. -Among his later operettas were _La Vie parisienne_ (1866), _La Grande -Duchesse de Gérolstein_ (1867), and _La Périchole_ (1868). In 1877 he -toured the United States, an account of which was issued in America in -1957 under the title of _Orpheus in America_. Towards the end of his -life Offenbach devoted himself to the writing of his one and only grand -opera, _The Tales of Hoffmann_ (_Les Contes d’Hoffmann_). He did not -live to see it performed. He died in Paris on October 5, 1880, about -half a year before the première of his opera at the Opéra-Comique on -February 10, 1881. - -Offenbach was the genius of the opéra-bouffe, or French operetta. His -music never lacked spontaneity or gaiety, sparkle or engaging lyricism. -His writing had the warmth of laughter, the sting of satire, and the -caress of sincere and heartfelt emotion. His lovable melodies woo and -win the listener. The lightness of his touch and the freshness of his -humor give voice to the joy of good living. Like his celebrated Viennese -contemporary, Johann Strauss II, Offenbach is a giant figure in -semi-classical music. To the lighter musical repertory he brings the -invention and imagination of a master. - -The _Apache Dance_ is the dashing music that invariably accompanies a -performance of French Apache dances, though there are few that know -Offenbach wrote it. Actually, the _Apache Dance_ is an adaptation of the -main melody of a waltz (“_Valse des Papillons_”) from Offenbach’s comic -opera, _Le Roi Carotte_ (1872). - -_La Belle Hélène_ (_Fair Helen_), first performed in Paris on December -17, 1864, draws material for laughter and satire from mythology. Henri -Meilhac and Ludovic Halévy prepared the text which is based on the love -of Paris and Helen that led to the Trojan war. But this story is told -with tongue-in-cheek frivolity, and the life of the Greeks is gaily -parodied. One of the most familiar musical excerpts from _La Belle -Hélène_ is whirling Can-Can music—the Can-Can being the voluptuous -French dance which first became popular in Paris in 1830 and which -contributed to the quadrille high kicks, skirt-lifting and other -suggestive and at times vulgar movements. (Offenbach also wrote -brilliant Can-Can music for _Orpheus in the Underworld_, _Barbe-Bleue_, -and _La Vie parisienne_.) Other delightful episodes from this operetta -are Helen’s invocation with chorus, “_Amours divins_,” and her highly -lyrical airs, “_On me nomme Hélène_,” “_Un mari Sage_,” and “_La vrai! -je ne suis pas coupable_.” - -The Galop is almost as much a specialty with Offenbach as the Can-Can. -This is a spirited, highly rhythmic dance of German origin introduced in -Paris in 1829. Two of Offenbach’s best known Galops appear respectively -in _La Grande Duchess de Gérolstein_ (1867) and _Geneviève de Brabant_ -(1859). - -It is perhaps not generally known that the famous “Marine’s Hymn” -familiar to all Americans as “From the Halls of Montezuma” also comes -out of _Geneviève de Brabant_. The Hymn was copyrighted by the Marine -Corps in 1919. It is known that the lyric was written in 1847 by an -unidentified Marine. The melody was taken from one of the airs in -Offenbach’s operetta, _Geneviève de Brabant_. - -_Orpheus in the Underworld_ (_Orphée aux enfers_) is Offenbach’s -masterwork, first produced in Paris on October 21, 1858. This delightful -comic opera, with book by Hector Crémieux and Ludovic Halévy, is a -satire on the Olympian gods in general, and specifically on the legend -of Orpheus and Eurydice. _Orpheus in the Underworld_ was not at first -successful since audiences did not seem to find much mirth in a satire -on Olympian gods. But when a powerful French critic, Jules Janin, -violently attacked it as a “profanation of holy and glorious antiquity,” -the curiosity of Parisians was aroused, and the crowds began swarming -into the theater. Suddenly _Orpheus in the Underworld_ became a vogue; -it was the thing to see and discuss; its music (particularly the -waltzes, galops, and quadrilles) were everywhere played. The operetta -had a run of 227 performances. - -The Overture is a perennial favorite of salon and pop orchestras -throughout the world. It opens briskly, then progresses to the first -subject, a light and gay tune for strings. The heart of the overture is -the second main melody, a sentimental song first heard in solo violin, -and later repeated by full orchestra. - -The Can-Can music in _Orpheus in the Underworld_ is also famous. Much of -its effect is due to the fact that Offenbach presented the can-can -immediately after a stately minuet in order to emphasize the contrast -between two periods in French history. A contemporary described this -Can-Can music as follows: “This famous dance ... has carried away our -entire generation as would a tempestuous whirlwind. Already the first -sounds of the furiously playing instruments seem to indicate the call to -a whole world to awake and plunge into the wild dance. These rhythms -appear to have the intention of shocking all the resigned, all the -defeated, out of their lethargy and, by the physical and moral upheaval -which they arouse, to throw the whole fabric of society into confusion.” - -_The Tales of Hoffmann_ (_Les Contes d’Hoffmann_) is Offenbach’s only -serious opera; but even here we encounter some semi-classical favorites. -This opera, one of the glories of the French lyric theater, was based on -stories by E. T. A. Hoffmann, adapted into a libretto by Jules Barbier -and Michel Carré. It concerns the three tragic loves of the poet -Hoffmann: Olympia, a mechanical doll; Giulietta, who is captive to a -magician; and Antonia, a victim of consumption. - -The “Barcarolle” from this opera is surely one of the most popular -selections from the world of opera. It opens the second act. Outside -Giulietta’s palace in Venice, Hoffmann hears the strains of this music -sung by his friend Nicklausse and Giulietta as they praise the beauty of -the Venetian night. Harp arpeggios suggest the lapping of the Venetian -waters in the canal, providing a soothing background to one of the most -radiant melodies in French music. It is interesting to remark that -Offenbach did not write this melody directly for this opera. He had -previously used it in 1864 as a ghost song for an opera-ballet, _Die -Rheinnixen_. - -Two dance episodes from _The Tales of Hoffmann_ are also frequently -performed outside the opera house. One is the infectious waltz which -rises to a dramatic climax in the first act. To this music Hoffmann -dances with the mechanical doll, Olympia, with whom he is in love. The -second is an enchanting little Minuet, used as entr’acte music between -the first and second acts. - -A collation of some of Offenbach’s most famous melodies from various -operettas can be found in _La Gaieté parisienne_, an orchestral suite -adapted from a score by Manuel Rosenthal to a famous contemporary -ballet. This one-act ballet, with choreography by Leonide Massine and -scenario by Comte Étienne de Beaumont, was introduced in Monte Carlo by -the Ballet Russe in 1938. The setting is a fashionable Parisian -restaurant of the 19th century; and the dance offers a colorful picture -of Parisian life and mores of that period, climaxed by a stunning -Can-Can. Musical episodes are used from _Orpheus in the Underworld_, _La -Périchole_, _La Vie parisienne_, and several other Offenbach -opéra-bouffes. Beloved Offenbach melodies from various opéra-bouffes -were adapted for the score of a Broadway musical produced in 1961, _The -Happiest Girl in the World_. - - - - - Ignace Jan Paderewski - - -Ignace Jan Paderewski, one of the world’s foremost piano virtuosos and -one of Poland’s most renowned statesmen, was born in Kurylówka, Podolia, -on November 18, 1860. A child prodigy, he was given piano lessons from -his third year on. Several patrons arranged to send him to the Warsaw -Conservatory, from which he was graduated in 1878. Between 1881 and 1883 -he studied composition and orchestration in Berlin, and from 1884 to -1887 piano with Leschetizky in Vienna. Paderewski’s first major success -as a pianist came in Vienna in 1889, a concert that was the beginning of -a virtuoso career extending for about half a century and carrying him -triumphantly to all parts of the world. In 1919 he temporarily withdrew -from music to become the first Premier of the Polish Republic, but about -a year later he resumed concert work. He made his American debut in New -York in 1891, and his last American tour took place in 1939. During the -early part of World War II he returned to political activity as -President of the Parliament of the Polish Government in Exile. He died -in New York on June 29, 1941. By order of President Roosevelt he was -given a state burial in Arlington National Cemetery. - -Paderewski produced many ambitious compositions, some in the style of -Polish folk music; these included the opera _Manru_, a symphony, piano -concerto, the _Polish Fantasy_ for piano and orchestra and numerous -shorter compositions for the piano. Ironically it is not for one of his -ambitious works that he is most often recalled as a composer, but -through a slight piece: the _Minuet_ in G, or _Menuet à l’antique_, a -graceful, well-mannered composition in an 18th-century style. This is -one of the three most popular minuets ever written, the other two being -by Mozart and Beethoven. Paderewski originally wrote it for the piano; -it is the first of six pieces collectively entitled _Humoresques de -concert_, op. 14. Fritz Kreisler transcribed it for violin and piano; -Gaspar Cassadó for cello and piano. It has, of course, been frequently -adapted for orchestra. - - - - - Gabriel Pierné - - -Gabriel Pierné was born in Metz, France, on August 16, 1863. He attended -the Paris Conservatory for eleven years, a pupil of Massenet and César -Franck. He won numerous awards there including the Prix de Rome in 1882. -After returning from Rome, he succeeded Franck as organist of the Ste. -Clothilde Church in Paris, retaining this post until 1898. From 1903 -until 1932 he was, first the assistant, and from 1910 on the principal, -conductor of the Colonne Orchestra. He combined his long and fruitful -career as conductor with that of composer, producing a vast library of -music in virtually every form, including operas, oratorios, ballets, -symphonic and chamber music. He achieved renown with the oratorio _The -Children’s Crusade_ (_La Croisade des enfants_), introduced in 1905 and -soon after that winner of the City of Paris Award. Another major success -came with the ballet, _Cydalise and the Satyr_ in 1923. A conservative -composer, Pierné utilized traditional forms with distinction, and filled -them with beautiful lyricism, well-sounding harmonies, and a poetic -speech. In 1925 Pierné was elected member of the Académie des -Beaux-Arts. He died in Ploujean, France, on July 17, 1937. - -The _Entrance of the Little Fauns_ (_Marche des petites faunes_) is a -whimsical little march for orchestra from the ballet, _Cydalise and the -Satyr_ (_Cydalise et le chèvre-pied_), introduced at the Paris Opéra on -January 15, 1923. A saucy tune for muted trumpet is juxtaposed against -the wail of piccolos; all the while an incisive rhythm is projected not -only by the snare drum and tambourine but also by the violinists tapping -the wood of their bows on the strings. Within the ballet this march -accompanies the appearance of a group of small fauns, led by their -teacher, an old satyr, as they enter school to learn pan pipes. - -The _March of the Little Lead Soldiers_ (_Marche des petits soldats de -plomb_) originated as a piano piece in the _Album pour mes petits amis_, -op. 14 (1887), but was subsequently orchestrated by the composer. It -opens with a muted trumpet call. A snare drum then establishes the -rhythm and sets the stage for the appearance of the main march melody in -solo flute. - - - - - Jean-Robert Planquette - - -Jean-Robert Planquette was born in Paris on July 31, 1848. He attended -the Paris Conservatory after which he supported himself by writing -popular songs and chansonettes for Parisian _café-concerts_. He started -writing operettas in 1874, and achieved world fame with _The Chimes of -Normandy_ in 1877. He wrote many more operettas after that, the most -successful being _Rip Van Winkle_ (1882), _Nell Gwynne_ (1884) and -_Mam’zelle Quat’Sous_ (1897). He died in Paris on January 28, 1903. - -_The Chimes of Normandy_ (_Les Cloches de Corneville_) is one of the -most famous French operettas of all time, and it is still occasionally -revived. Introduced in Paris at the Folies Dramatiques on April 19, -1877, its success was so immediate and permanent that within a decade it -had been given over a thousand times in Paris alone. It was first seen -in New York in 1877, and in London in 1888, major successes in both -places. The book by Clairville and Gabet presents the life of fishing -and peasant folk in Normandy during the regime of Louis XV. Germaine is -in love with the fisherman, Jean, but finds opposition in her miserly -old uncle, Gaspard, who has other plans for her. To escape her uncle, -Germaine finds employment with Henri, a Marquis, who has suddenly -returned to his native village to take up residence in the family castle -rumored to be haunted. The mystery of the haunted castle is cleared up -when the discovery is made that Gaspard has used it to hide his gold; -and the bells of the castle begin to ring out loud and clear again. -Gaspard, after a brief siege with insanity, is made to sanction the -marriage of Germaine and Jean at a magnificent festival honoring the -Marquis; at the same time it is suddenly uncovered that Germaine is in -reality a Marchioness. - -This is an operetta overflowing with ear-caressing melodies. The most -famous are Germaine’s bell song, “_Nous avons, hélas, perdu d’excellence -maîtres_”; the Marquis’ lilting waltz-rondo, “_Même sans consulter mon -coeur_”; and Serpolette’s cider song, “_La Pomme est un fruit plein de -sève_.” - - - - - Eduard Poldini - - -Eduard Poldini was born in Budapest, Hungary, on June 13, 1869. His -music study took place at the Vienna Conservatory. Poldini subsequently -established his home in Vevey, Switzerland, where he devoted himself to -composition. His most significant works are for the stage—both comic and -serious operas that include _The Vagabond and the Princess_ (1903) and -_The Carnival Marriage_ (1924). He was also a prolific composer of salon -pieces for the piano, familiar to piano studies throughout the world. In -1935 Poldini received the Order of the Hungarian Cross and in 1948 the -Hungarian Pro Arte Prize. He died in Vevey, Switzerland on June 29, -1957. - -_Poupée valsante_ (_Dancing Doll_) is Poldini’s best known composition, -a fleet, graceful melody contrasted by a sentimental counter-subject. -The composer wrote it for solo piano. Fritz Kreisler adapted it for -violin and piano, and Frank La Forge for voice and orchestra. It has -also often been transcribed for orchestra. - - - - - Manuel Ponce - - -Manuel Maria Ponce was born in Fresnillo, Mexico, on December 8, 1882. -His main music study took place in Europe where he arrived in 1905: -composition with Enrico Bossi in Bologna; piano with Martin Krause in -Berlin. After returning to Mexico he gave a concert of his own -compositions in 1912. For several years he taught the piano at the -National Conservatory in Mexico City, and from 1917 to 1919 he was the -conductor of the National Symphony Orchestra there. During World War I -he lived in Havana and New York. After the war he went to Paris for an -additional period of study with Paul Dukas. From 1933 to 1938 he was -professor of folklore at the University of Mexico. In 1941 he toured -South America, and in 1947 he was the recipient of the first annual -Mexican Arts and Sciences Award established by the President of Mexico. -He died in Mexico City on April 24, 1948. - -Ponce was a modernist who filled his orchestral compositions with the -most advanced resources of modern harmony, counterpoint and rhythm. But -in his songs he possessed a spontaneous and ingratiating lyricism, often -of a national Mexican identity. It is one of these that has made him -famous in semi-classical literature: “_Estrellita_” (“Little Star”), a -song with such a strong Spanish personality of melody and rhythm that it -was long believed to be a folk song. Ponce first published it in 1914 -but it did not become universally popular until 1923 when it was issued -in a new arrangement (by Frank La Forge) and translated into English. - - - - - Amilcare Ponchielli - - -Amilcare Ponchielli was born in Paderno Fasolaro, Italy, on August 31, -1834. For nine years he attended the Milan Conservatory where he wrote -an operetta in collaboration with three other students. Following the -termination of his studies, he became organist in Cremona, and after -that a bandmaster in Piacenza. His first opera, _I Promessi sposi_, was -introduced in Cremona in 1856, but it did not become successful until -sixteen years later when a revised version helped to open the Teatro dal -Verme in Milan. World renown came to Ponchielli with _La Gioconda_, -first given at La Scala in Milan in 1876. Though Ponchielli wrote many -other operas after that he never again managed to reach the high -artistic level of this masterwork, nor to repeat its world success. From -1883 until his death he was professor of composition at the Milan -Conservatory. He died in Milan, Italy, on January 16, 1886. - -What is undoubtedly Ponchielli’s most famous orchestral composition, -“The Dance of the Hours” (“_Danza della ore_”) comes from his -masterwork, the opera _La Gioconda_. This opera—first performed in Milan -on April 8, 1876—was based on Victor Hugo’s drama, _Angelo, tyran de -Padoue_, adapted by Arrigo Boïto. The setting is 17th century Venice, -and the principal action involves the tragic love triangle of Alvise, -his wife Laura, and her beloved, Enzo. - -“The Dance of the Hours” comes in the second scene of the third act. -Alvise is entertaining his guests at a sumptuous ball in his palace, the -highlight of which is a magnificent ballet, intended to symbolize the -victory of right over wrong. The dancers in groups of six come out -impersonating the hours of dawn, day, evening, and night. The music -begins with a slight murmur, shimmering sounds passing through the -violins and woodwind. Dawn appears. The music is carried to a dramatic -climax with a strong rhythmic pulse as the day unfolds. When the music -achieves mellowness and tenderness, the softness of evening touches the -stage; and with the coming of night the music acquires a somber -character. At midnight, the music is reduced to a sigh. The harp -presents some arpeggios, and a broad melody unfolds. The mood then -becomes excitable as all the twenty-four hours plunge into a spirited -dance, as light conquers darkness. - -The most familiar vocal excerpts from this opera are La Cieca’s romanza -from the first act, “_A te questo rosario_”; Barnaba’s fisherman’s -barcarolle (“_Pescator, affonda l’esca_”) and Enzo’s idyll to the beauty -of the night (“_Cielo e mar_”) from the second act; and La Gioconda’s -dramatic narrative in which she plans to destroy herself (“_Suicidio_”). - - - - - Cole Porter - - -Cole Porter was born in Peru, Indiana, on June 9, 1893 to an immensely -wealthy family. Precocious in music, he began studying the violin when -he was six, and at eleven had one of his compositions published. He -pursued his academic studies at the Worcester Academy in Massachusetts -and at Yale; music study took place at the School of Music at Harvard -and subsequently in Paris with Vincent d’Indy at the Schola Cantorum. At -Yale he participated in all its musical activities and wrote two -football songs still favorites there, “Yale Bull Dog” and “Bingo Eli -Yale.” In 1916 he wrote the music for his first Broadway musical comedy, -_See America First_, a failure. During the next few years he was a -member of the French desert troops in North Africa, while during World -War I he taught French gunnery to American troops at Fontainebleau. Just -after the close of the war he contributed some songs to _Hitchy Koo_ of -1918, and in 1924 five more songs to the _Greenwich Village Follies_, -both of them Broadway productions. Success first came in 1928 with his -music for _Paris_ which included “Let’s Do It” and “Let’s Misbehave.” -For the next quarter of a century and more he was one of Broadway’s most -successful composers. His greatest stage hits came with _Fifty Million -Frenchmen_ (1929), _The Gay Divorce_ (1932), _Anything Goes_ (1934), -_Leave It to Me_ (1938), _Panama Hattie_ (1940), _Let’s Face It_ (1941), -_Kiss Me Kate_ (1948), _Can-Can_ (1953) and _Silk Stockings_ (1955). -From these and other stage productions came some of America’s best loved -popular songs, for which Porter wrote not merely the music but also the -brilliant lyrics: “Night and Day,” “Begin the Beguine,” “Love for Sale,” -“You Do Something to Me,” “My Heart Belongs to Daddy,” and so forth. He -was also a significant composer for motion pictures, his most successful -songs for the screen including “I’ve Got You Under My Skin,” “In the -Still of the Night,” “You’d Be So Nice to Come Home To,” “Don’t Fence Me -In,” and “True Love.” - -The most successful of all the Cole Porter musical comedies was _Kiss Me -Kate_ which began a Broadway run of over one thousand performances on -December 30, 1948, then went on to be a triumph in Vienna, Austria, -where it became the greatest box-office success in the history of the -Volksoper where it was given. In Poland it was the first American music -performed in that country. The text by Bella and Sam Spewack was based -partly on Shakespeare’s _Taming of the Shrew_, but it was really a play -within a play. A touring company is performing the Shakespeare comedy in -Baltimore, Maryland. The musical comedy moves freely from scenes of that -production to the backstage complications in the private lives of its -principal performers. In the end, the amatory problems of the two stars -are resolved within a performance of the Shakespeare comedy. This was -not only Cole Porter’s most successful musical comedy but also the -finest of his scores. Never before (or since) was he so prolix with song -hits in a single production; never before was his style so varied. The -repertory of semi-classical music has been enriched by a symphonic -treatment given the best of these melodies by Robert Russell Bennett. -Bennett’s symphonic presentation of _Kiss Me Kate_ opens with -“Wunderbar,” a tongue-in-cheek parody of a sentimental Viennese waltz. -It continues with the sprightly measures of “Another Openin’, Another -Show,” and after that come the plangent, purple moods of “Were Thine -That Special Face,” “I Sing of Love,” and the show’s principal love -song, “So In Love.” - - - - - Serge Prokofiev - - -Serge Prokofiev was born in Sontzovka, Russia, on April 23, 1891. He was -extraordinarily precocious in music. After receiving some training at -the piano from his mother, he completed the writing of an opera by the -time he was ten. Preliminary music study took place with Glière. In his -thirteenth year he entered the Moscow Conservatory where he was a pupil -of Rimsky-Korsakov and Liadov among others and from which he was -graduated with the Rubinstein Prize for his first piano concerto. His -advanced musical thinking was already evident in his first major work -for orchestra, _The Scythian Suite_, introduced in St. Petersburg in -1916. He continued to develop his own personality, formulating his -highly individual style and creative idiosyncrasies in works like the -ballet _Chout_, the first violin concerto, and the _Classical Symphony_, -all written during the era of World War I. In 1918 he toured the United -States, making his American debut with a New York piano recital on -November 20. While in the United States he was commissioned to write the -opera _The Love for Three Oranges_ for the Chicago Opera. From 1919 to -1933 Prokofiev made his home in Paris, but in 1933 he returned to his -native land to stay there for the rest of his life. Though he was -honored in the Soviet Union as one of its great creative figures—and was -the recipient of the Stalin Prize for his monumental Seventh Piano -Sonata inspired by World War II—he did not escape censure in 1948 when -the Central Committee of the Communist Party denounced Soviet composers -for their partiality towards experimentation, modernism and cerebralism, -in their musical works. Nevertheless, Prokofiev soon recovered his high -estate in Soviet music; in 1951 he received the Stalin Prize again, this -time for his oratorio _On Guard for Peace_ and the symphonic suite, -_Winter Bonfire_. His sixtieth birthday, that year, was celebrated -throughout the country with concerts and broadcasts. Prokofiev died of a -cerebral hemorrhage in Moscow on March 5, 1953. - -Prokofiev was one of the giants of 20th-century music. His seven -symphonies, five piano concertos, nine piano sonatas, the opera _War and -Peace_, ballets, chamber music, piano compositions and various shorter -orchestral works are among the most significant contributions made in -our time to music. The highly personal way of writing melodies, his -unusual progressions, his harmonic vocabulary are all present in the few -lighter and simpler works with which he made a significant contribution -to the contemporary repertory of semi-classics. - -The _March_ so familiar to radio listeners throughout the United States -as the theme music for the program “The F.B.I. in Peace and War” comes -from the opera _The Love for Three Oranges_ (1921). The libretto by the -composer based on a tale of Carlo Gozzi is a charming fantasy in which a -prince saves himself from death through gloom by means of laughter, and -who then goes at once to rescue a princess from her prison in an orange. -The march occurs in the second act where an effort is being made to get -the Prince to laugh, for which purpose a festival is being arranged. The -march music is played as the court jester drags the reluctant Prince to -these festivities. The quixotic skips in the melody, the grotesquerie of -the musical style, and the pert discords are all typical of Prokofiev’s -creative manner. - -_Peter and the Wolf_, a “symphonic fairy tale” for narrator and -orchestra op. 67 (1936) was intended by the composer to teach children -the instruments of the orchestra. But the music is so consistently -delightful for its sprightly lyricism and wit that it has proved a -favorite at symphony and semi-classical concerts. The story here being -told is about a lad named Peter who turns a deaf ear to his -grandfather’s warning and goes out into the meadow. There a wolf has -frightened, in turn, a cat, bird, and duck. But Peter is not afraid of -him. He captures the wolf, ties him up with a rope and takes him to the -zoo. - -The composition opens with the following explanation by the narrator: -“Each character in the tale is represented by a different instrument in -the orchestra: the bird by a flute; the duck by an oboe; the cat by a -clarinet in the low register; grandpapa by the bassoon; the wolf by -three French horns; Peter by the string quartet; and the hunter’s rifle -shots by the kettledrums and bass drums.” Then, as the story of Peter -and the wolf unfolds, little melodies appear and reappear, each -identifying some character in the story. Peter’s theme is a lyrical folk -song with a puckish personality for strings. Vivid and realistic little -tunes represent the cat, bird, and duck, each tune providing an amusing -insight into the personality of each of these animals. - -_Summer Day_, opp. 65a and 65b (1935) is another of the composer’s -compositions for children which makes for delightful listening. It -started out as a suite of twelve easy piano pieces for children called -_Music for Children_. Later on the composer orchestrated seven of these -sections and called the new work _Summer Day_. In the first movement, -“Morning,” a whimsical little tune is heard in first flute against a -contrapuntal background by other woodwinds, strings, and bass drum. -Midway a secondary melody is given by bassoons, horns and cellos. “Tag,” -the familiar child’s game, is represented in a tripping melody for -violins and flutes; the music grows increasingly rhythmic in the -intermediary section. In the “Waltz,” a saucy waltz tune with an unusual -syncopated construction is presented by the violins, interrupted by -exclamations from the woodwind with typical Prokofiev octave leaps. -“Regrets” opens with a tender melody for cellos, but is soon taken over -by oboes, and then the violins. This melody is then varied by violins -and clarinets. “March” offers the main march melody in clarinets and -oboes. “Evening” highlights a gentle song by solo flute, soon joined by -the clarinet. As the violins take over the melody the pensive mood is -maintained. The concluding movement, “Moonlit Meadows” is dominated by a -melody for solo flute. - - - - - Giacomo Puccini - - -Giacomo Puccini was born in Lucca, Italy, on December 22, 1858, to a -family which for several generations had produced professional -musicians. As a boy, Giacomo attended the Istituto Musicale in his -native city, played the organ in the local church, and wrote two choral -compositions. A subsidy from Queen Margherita enabled him to continue -his music study at the Milan Conservatory with Bazzini and Ponchielli. -The latter encouraged Puccini to write for the stage. Puccini’s first -dramatic work was a one-act opera, _Le Villi_, given successfully in -Milan in 1884, and soon thereafter performed at La Scala. On a -commission from the publisher, Ricordi, Puccini wrote a second opera -that was a failure. But the third, _Manon Lescaut_—introduced in Turin -in 1893—was a triumph and permanently established Puccini’s fame. He now -moved rapidly to a position of first importance in Italian opera with -three successive master-works: _La Bohème_ (1896), _Tosca_ (1900) and -_Madama Butterfly_ (1904). Puccini paid his first visit to the United -States in 1907 to supervise the American première of the last-named -opera; he returned in 1910 to attend the world première of _The Girl -from the Golden West_ which had been commissioned by the Metropolitan -Opera. Puccini’s subsequent operas were: _La Rondine_ (1917), _Il -Trittico_, a trilogy of three one-act operas (1918), and _Turandot_ -(1924), the last of which was left unfinished but was completed by -Franco Alfano. Operated on for cancer of the throat, in Brussels, -Puccini died of a heart attack in that city on November 29, 1924. - -Though Puccini was an exponent of “Verismo,” a movement in Italian opera -which emphasized everyday subjects treated realistically, he poured into -his operas such a wealth of sentiment, tenderness, sweetness of -lyricism, and elegance of style that their emotional appeal is -universal, and he has become the best loved opera composer of the 20th -century. Selections from his three most popular operas are basic to the -repertory of any semi-classical or “pop” orchestra. - -_La Bohème_ was based on Murger’s famous novel, _Scènes de la vie de -Bohème_ adapted into an opera libretto by Giacosa and Illica. When first -introduced (Turin, February 1, 1896) the opera encountered an apathetic -audience and hostile critics. It had no big scenes, no telling climaxes, -and most of its effects were too subtle emotionally to have an -instantaneous appeal. But the third performance—in Palermo in -1896—received an ovation. From that time on it never failed to move -opera audiences with its deeply moving pathos and its vivid depiction of -the daily problems and conflicts of a group of Bohemians in mid -19th-century Paris. The central theme is the love affair of the poet, -Rodolfo, and a seamstress, Mimi. This love was filled with storm and -stress, and ended tragically with Mimi’s death of consumption in -Rodolfo’s attic. The following are some of the episodes heard most often -in potpourris or fantasies of this opera: Rodolfo’s celebrated narrative -in the first act, “_Che gelida manina_,” in which he tells Mimi about -his life as a poet; Mimi’s aria that follows this narrative immediately, -“_Mi chiamano Mimi_,” where she tells Rodolfo of her poignant need for -flowers and the warmth of springtime; the first act love duet of Mimi -and Rodolfo, “_O soave fanciulla_”; Musetta’s coquettish second-act -waltz, “_Quando m’en vo’ soletta_,” sung outside Café Momus in the Latin -Quarter on Christmas Eve, informing her admirers (specifically Marcello -the painter), how men are always attracted to her; Rodolfo’s poignant -recollection of his one time happiness with Mimi, “_O, Mimi, tu più_” in -the fourth act; and Mimi’s death music that ends the opera. - -_Madama Butterfly_—libretto by Illica and Giacosa based on David -Belasco’s play of the same name, which in turn came from John Luther’s -short story—was first performed in Milan on February 17, 1904 when it -was a fiasco. There was such pandemonium during that performance that -Puccini had to rush on the stage and entreat the audience to be quiet so -that the opera might continue. Undoubtedly, some of Puccini’s enemies -had a hand in instigating this scandal, but the opera itself was not one -able to win immediate favor. The exotic setting of Japan, the unorthodox -love affair involving an American sailor and a geisha girl ending in -tragedy for the girl, and the provocatively different kind of music -(sometimes Oriental, sometimes modern) written to conform to the setting -and the characters—all this was not calculated to appeal to Italian -opera lovers. But three months after the première the opera was repeated -(with some vital revisions by the composer). This time neither the play -nor the music proved shocking, and the audience fell under the spell of -enchantment which that sensitive opera cast all about it. From then on, -the opera has been a favorite around the world. - -The most celebrated single excerpt from the opera is unquestionably -Madame Butterfly’s poignant aria, her expression of belief that her -American lover, so long absent from Japan with his fleet, would some day -return to her: “_Un bel di_.” Other popular episodes include the -passionate love music of Madame Butterfly and the American lieutenant -with which the first act ends, “_Viene la sera_”; the flower duet of the -second act between Madame Butterfly and her servant in which the heroine -excitedly decorates her home with cherry blossoms upon learning that her -lover is back with his fleet (“_Scuoti quella fronda di ciliegio_”); the -American lieutenant’s tender farewell to Madame Butterfly and the scene -of their love idyl from the third act (“_Addio fiorito_ _asil_”); and -Madame Butterfly’s tender farewell to her daughter before committing -suicide (“_Tu, tu piccolo iddio_”). - -_Tosca_—based on the famous French drama of the same name by Sardou, the -libretto by Giacosa and Illica—was introduced in Rome on January 14, -1900. It was a blood and thunder drama set in Rome at the turn of the -19th century; the dramatic episodes involved murder, horror, suicide, -sadism. The heroine, Floria Tosca, is an opera singer in love with a -painter, Mario Cavaradossi; she, in turn, is being pursued by Scarpia, -the chief of police. To save her lover’s life, she stands ready to give -herself to Scarpia. The latter, nonetheless, is responsible for -Cavaradossi’s execution. Scarpia is murdered by Tosca, who then commits -suicide. - -Two tenor arias by Cavaradossi are lyrical highlights of this opera. The -first is “_Recondita armonia_,” in the first act, in which the painter -rhapsodizes over the beauty of his beloved Tosca; the second, “_E -lucevan le stelle_,” comes in the last act as Cavaradossi prepares -himself for his death by bidding farewell to his memory of Tosca. The -third important aria from this opera is that of Tosca, “_Vissi d’arte_,” -a monologue in which she reflects on how cruel life had been to one who -has devoted herself always to art, prayer, and love. In addition to -these three arias, the opera score also boasts some wonderful love -music, that of Cavaradossi and Tosca (“_Non la sospiri la nostra -casetta_”) and the first act stately church music (“_Te Deum_”). - - - - - Sergei Rachmaninoff - - -Sergei Rachmaninoff was born in Oneg, Novgorod, Russia, on April 1, -1873. He attended the St. Petersburg Conservatory for three years, and -his musical training ended at the Moscow Conservatory in 1892 when he -received a gold medal for a one-act opera, _Aleko_. In that same year he -also wrote the Prelude in C-sharp minor with which he became world -famous. His first piano concerto and his first symphony, however, were -dismal failures. In 1901 he scored a triumph with his Second Piano -Concerto which, since then, has been not only the composer’s most -celebrated composition in a large form but also one of the best loved -and most frequently performed piano concertos of the 20th century. -Rachmaninoff combined his success as composer with that as piano -virtuoso. Beginning with 1900 he toured the world of music achieving -recognition everywhere as one of the most renowned concert artists of -his generation. The first of his many tours of America took place in -1909. He also distinguished himself as a conductor, first at the Bolshoi -Theater between 1904 and 1906, and later with the Moscow Philharmonic. -As a composer he enhanced his reputation with a remarkable second -symphony, two more piano concertos, and sundry works for orchestra. He -was a traditionalist who preferred working within the structures and -with the techniques handed down to him by Tchaikovsky. Like Tchaikovsky -whom he admired and emulated, he wore his heart on his sleeve, ever -preferring to make his music the vehicle for profoundly felt emotions. -His broad rhapsodic style makes his greatest music an ever stirring -emotional experience. In 1917 Rachmaninoff left Russia for good, -establishing his permanent home first in Lucerne, Switzerland, and in -1935 in the United States. All the while he continued to tour the world -as concert pianist. His last years were spent in Beverly Hills, -California, where he died on March 28, 1943. - -The Prelude in C-sharp minor, op. 3, no. 2 (1892) is Rachmaninoff’s most -popular composition; the transcriptions and adaptations it has received -are of infinite variety. He wrote it when he was nineteen and -instantaneously the piece traveled around the globe. Unfortunately, the -composer never profited commercially from this formidable success, -having sold the composition outright for a pittance. The Prelude opens -in a solemn mood with a theme sounding like the tolling of bells, or the -grim pronouncement by some implacable fate. The second theme is agitated -and restless, but before the composition ends the solemn first theme -recurs. Numerous efforts have been made to provide this dramatic music -with a program, including one which interpreted it in terms of the -burning of Moscow in 1812. - -The Prelude in G minor, op. 23, no. 5, for piano (1904), is almost as -famous. The opening subject has the character of a brisk military march, -while the contrasting second theme is nostalgic and reflective. - -The _Vocalise_, op. 34, no. 14 (1912) is one of the composer’s best -known vocal compositions. This is a wordless song—a melody sung only on -vowels, a “vocalise” being actually a vocal exercise. Rachmaninoff -himself transcribed this work for orchestra, a version perhaps better -known than the original vocal one. Many other musicians have made sundry -other transcriptions, including one for piano, and others for solo -instruments and piano. - - - - - Joachim Raff - - -Joseph Joachim Raff was born in Lachen, on the Lake of Zurich, -Switzerland, on May 27, 1822. He was mostly self-taught in music, while -pursuing the career of schoolmaster. Some of his early compositions were -published through Mendelssohn’s influence, a development that finally -encouraged Raff to give up schoolteaching and devote himself completely -to music. An intimate association with Liszt led to the première of an -opera, _King Alfred_, in Weimar in 1851. In 1863, his symphony, _An das -Vaterland_, received first prize from the Vienna Gesellschaft der -Musikfreunde. From 1877 until his death he was director of Hoch’s -Conservatory in Frankfort, Germany. He died in that city on June 25, -1882. - -A prolific composer of symphonies, concertos, overtures, quartets, -sonatas and sundry other works, Raff was a major figure in the German -Romantic movement, highly regarded by his contemporaries, but forgotten -since his death. Only some of his minor pieces are remembered. The most -popular is the _Cavatina_ in A-flat major, op. 85, no. 3, for violin and -piano, a perennial favorite with violin students and young violinists, -and no less familiar in various orchestral adaptations. A “cavatina” is -a composition for an instrument with the lyric character of a song. -Raff’s broad and expressive melody has an almost religious stateliness. - -Another popular Raff composition in a smaller dimension is the -picturesque piano piece, _La Fileuse_ (_The Spinner_), op. 157, no. 2, -in which the movement of the spinning wheel is graphically reproduced. - - - - - Maurice Ravel - - -Maurice Ravel was born in Ciboure, France, on March 7, 1875. After -studying music with private teachers in Paris he entered the Paris -Conservatory in 1889, remaining there fifteen years, and proving himself -a brilliant (if at times an iconoclastic) student. While still at the -Conservatory his _Menuet antique_ for piano was published, and _Les -Sites auriculaires_ for two pianos was performed. By the time he left -the Conservatory he was already a composer of considerable stature, -having completed two remarkable compositions for the piano—_Pavane pour -une Infante défunte_ and _Jeux d’eau_, both introduced in 1902—and an -unqualified masterwork, the String Quartet, first performed in 1904. The -fact that a composer of such attainments had four times failed to win -the Prix de Rome created such a scandal in Paris that the director of -the Paris Conservatory, Théodore Dubois, was compelled to resign. But -Ravel’s frustrations from failing to win the Prix de Rome did not affect -the quality of his music. In the succeeding years he produced a -succession of masterworks: the ballet _Daphnis and Chloe_, its première -by the Ballet Russe de Monte Carlo in Paris on June 8, 1912; the -_Spanish Rhapsody_ (_Rapsodie espagnole_) for orchestra; the suite -_Miroirs_, for piano. During World War I, Ravel served at the front in -an ambulance corps. After the war, he withdrew to his villa in Montfort -l’Amaury where he lived in comparative seclusion, devoted mainly to -creative work. Nevertheless, in 1928, he toured the United States, -making his American debut in Boston with the Boston Symphony on January -12, 1929; Ravel died in Paris on December 28, 1937, following an -unsuccessful operation on the brain. - -One of the most significant of Impressionists after Debussy, Ravel was -the creator of music that is highly sensitive in its moods, elegant in -style, exquisite in detail, and usually endowed with the most stunning -effects of instrumentation, rhythm, and harmony. Some of his best-known -works derive their inspiration and material from Spanish sources. It is -one of these that is probably his most popular orchestral composition, -and one of the most popular of the 20th century, the _Bolero_. A -“bolero” is a Spanish dance in ¾ time accompanied by clicking castanets. -Ravel wrote his _Bolero_ in 1928 as ballet music for Ida Rubinstein who -introduced it in Paris on November 22, 1928. But _Bolero_ has since then -separated itself from the dance to become a concert hall favorite. When -Toscanini directed the American première in 1929 it created a sensation, -and set into motion a wave of popularity for this exciting music -achieved by few contemporary works. It was performed by every major -American orchestra, was heard in theaters and over radio, was reproduced -simultaneously on six different recordings. It was transcribed for every -possible combination of instruments (including a jazz band); the word -“Bolero” was used as the title of a motion picture. Such immense appeal -is not difficult to explain. The rhythmic and instrumental virtuosity of -this music has an immediate kinaesthetic effect. The composition derives -its immense impact from sonority and changing orchestral colors. The -bolero melody has two sections, the first heard initially is the flute, -then clarinet; the second is given by the bassoon, and then the -clarinet. This two-part melody is repeated throughout the composition -against a compelling rhythm of a side drum, all the while gradually -growing in dynamics and continually changing its colors chameleon-like -through varied instrumentation. A monumental climax is finally realized, -as the bolero melody is proclaimed by the full orchestra. - -Another highly popular Ravel composition has a far different -personality—the _Pavane pour une Infante défunte_ (_Pavane for a Dead -Infante_). Where the appeal of the _Bolero_ is strong, direct, immediate -and on the surface, that of the Pavane is subtle, elusive, sensitive. A -Pavane is a stately court dance (usually in three sections and in ⁴/₄ -time) popular in France. Ravel’s _Pavane_ is an elegy for the death of a -Spanish princess. Ravel wrote this composition for piano (1899) but he -later transcribed it for orchestra. An American popular song was adapted -from this haunting melody in 1939, entitled “The Lamp Is Low.” - - - - - Emil von Rezniček - - -Emil Von Rezniček was born in Vienna, Austria, on May 4, 1860, the son -of a princess and an Austrian field marshal. For a time he studied law, -but then devoted himself completely to music study, mainly at the -Leipzig Conservatory. From 1896 to 1899 he was the conductor of several -theater orchestras in Germany, Austria, and Switzerland. In 1902 he -settled in Berlin where he founded and for several years conducted an -annual series of orchestral concerts. Subsequently he was the conductor -of the Warsaw Opera and from 1909 to 1911 of the Komische Oper in -Berlin. He also pursued a highly successful career as teacher, -principally at the Scharwenka Conservatory in Berlin and from 1920 to -1926 at the Berlin High School of Music. He went into retirement in -1929, and died in Berlin on August 2, 1945. - -Rezniček was the composer of several operas, five symphonies, three tone -poems and various other compositions. His greatest success came with the -comic opera, _Donna Diana_, introduced in Prague on December 16, 1894, -and soon thereafter heard in forty-three European opera houses. The -opera—libretto by the composer based on a Spanish comedy by Moreto y -Cabana—is consistently light and frothy. Carlos is in pursuit of -Princess Diana, and to effect her surrender he feigns he is madly in -love with her. Princess Diana plays a game of her own. Coyly she eludes -him after seeming to fall victim to his wiles. In the end they both -discover they are very much in love with each other. - -The opera is almost never heard any longer, but the witty overture is a -favorite throughout the world; it is the only piece of music by the -composer that is still often performed today. A sustained introduction -leads into the jolly first theme—a fast, light little melody that sets -the prevailing mood of frivolity. The heart of the overture is an -expressive melody shared by basses and oboe. It grows in passion and -intensity as other sections of the orchestra develop it. When this -melody comes to a climax, the passionate mood is suddenly dissipated, -and the frivolous first theme of the overture returns to restore a mood -of reckless gaiety. - - - - - Nikolai Rimsky-Korsakov - - -Nikolai Rimsky-Korsakov was born in Tikhvin, Russia, on March 18, 1844. -Trained for a naval career, he was graduated from the Naval School in -St. Petersburg in 1862, after which he embarked on a two-and-a-half-year -cruise as naval officer. From earliest boyhood he had been passionately -interested in music, especially the folk operas of Glinka and Russian -ecclesiastical music. When he was seventeen, he was encouraged by -Balakirev to essay composition. After returning to Russia in 1864, -Rimsky-Korsakov associated himself with the national Russian school then -being realized by Balakirev and Mussorgsky among others, and completed -his first symphony, introduced in St. Petersburg in 1865. He plunged -more deeply into musical activity after that by completing several -ambitious works of national character, including the _Antar Symphony_ -and an opera, _The Maid of Pskov_. In 1873 he was relieved by the -government of all his naval duties and allowed to devote himself -completely to music. At that time the special post of Inspector of -Military Orchestras was created for him. He soon distinguished himself -as a conductor of the Free Music Society in St. Petersburg and as -professor of composition and orchestration at the St. Petersburg -Conservatory. He did not neglect composition, producing many significant -operas and orchestral works. In his music he remained faithful to -national ideals by filling his music with melodies patterned after -Russian folk songs, harmonies derived from the modes of Russian church -music, and rhythms simulating those of Russian folk dances. To all his -writing he brought an extraordinary technical skill in structure, -orchestration and harmony. He died of a heart attack in Liubensk, -Russia, on June 21, 1908. - -The exotic personality and harmonic and instrumental brilliance of -Eastern music are often encountered in Rimsky-Korsakov. They are found -in two extremely popular excerpts from his opera _Le Coq d’or_ (_The -Golden Cockerel_): “Bridal Procession” and “Hymn to the Sun.” - -_Le Coq d’or_ is a fantasy-opera, introduced in Moscow on October 7, -1909; the libretto, by Vladimir Bielsky, is based on a tale by Pushkin. -A golden cockerel with the talent of prophecy is presented to King Dodon -by his astrologer. In time the cockerel accurately prophesies the doom -of both the astrologer and the King. - -The oriental, languorous “Hymn to the Sun” (“_Salut à toi soleil_”) -appears in the second act, a salute by the beautiful Queen of Shemaka. -After the Queen has captured the love of King Dodon with this song, they -marry. There are many transcriptions of this beautiful melody, including -one for violin and piano by Kreisler and for cello and piano by Julius -Klengel. - -The third act of this opera opens with the brilliant music of the -“Bridal Procession.” The royal entourage passes with pomp and ceremony -through the city accompanied by the cheers of the surrounding crowds. - -In the vital “Dance of the Tumblers” or “Dance of the Buffoons” for -orchestra, Rimsky-Korsakov skilfully employs folk rhythms. This dance -comes from the composer’s folk opera, _The Snow Maiden_ -(_Snegourochka_). The third act opens with a gay Arcadian festival -celebrated by the Berendey peasants during which this gay and exciting -folk dance is performed. - -The pictorial, realistic “Flight of the Bumble Bee” is an excerpt from -still another of Rimsky-Korsakov’s operas, _The Legend of Tsar Saltan_. -This is an orchestral interlude in the third act describing tonally, and -with remarkable realism, the buzzing course of a bee. This piece retains -its vivid pictorialism even in transcriptions, notably that for solo -piano by Rachmaninoff, and for violin and piano by Arthur Hartmann. - -The “Hindu Chant” or “The Song of India” is also an operatic excerpt, -this time from _Sadko_. It appears at the close of the second tableau of -the second act. Sadko is the host to three merchants from foreign lands. -He invites each to tell him about his homeland, one of whom is a Hindu -who proceeds in an Oriental melody to speak of the magic and mystery of -India. - -The _Russian Easter Overture_ (_La Grand pâque russe_), for orchestra, -op. 36 (1888) was one of the fruits of the composer’s lifelong -fascination for Russian church music. The principal thematic material of -the overture comes from a collection of canticles known as the _Obikhod_ -from the Russian Orthodox Church. Two of these canticles are heard in -the solemn introduction, a section which the composer said represented -the “Holy Sepulcher that had shone with ineffable light at the moment of -the Resurrection.” The first is given loudly by strings and clarinets, -the second quietly by violins and violas accompanied by woodwind, harps, -and pizzicato basses. A brief cadenza for solo violin is the transition -to the main body of the overture where the two canticles from the -introduction are amplified and developed. A brilliant coda leads to the -conclusion of the work where the second of the two melodies is given for -the last time by trombones and strings. - -Rimsky-Korsakov’s most famous work for orchestra is the symphonic suite, -_Scheherazade_, op. 35 (1888). Nowhere is his remarkable gift at -pictorial writing, at translating a literary program into tones, more in -evidence than here. This music describes episodes from the _Arabian -Nights_ in four movements which are unified by the recurrence of two -musical motives. The first is that of the Sultan, a forceful, majestic -statement for unison brass, woodwinds and strings; the second is a -tender melody in triplets for strings depicting the lovely Scheherazade. -The Sultan theme opens the first movement, entitled “The Sea and -Sinbad’s Ship.” After quiet chords for the brass, the Scheherazade -melody is heard in solo violin accompanied by harp arpeggios. The music -later becomes highly dramatic as Sinbad’s ship, represented by a flute -solo, is buffeted about by an angry sea, the latter portrayed by rapid -arpeggio figures. The poignant Scheherazade motive in solo violin -introduces the second movement, “The Tale of the Kalendar.” The tale is -spun in a haunting song for bassoon, dramatically contrasted by a -dynamic rhythmic section for full orchestra. The third movement, “The -Young Prince and the Princess” is a tender love dialogue between violins -and clarinets. After a recall of the Scheherazade melody there appears -the finale: “The Festival at Bagdad; The Sea, The Ship Founders on the -Rock.” A brief recall of the Sinbad theme brings on an electrifying -picture of a festival in Bagdad. The gay proceedings, however, are -interrupted by a grim shipwreck scene, vividly depicted by the exciting -music. This dramatic episode passes, and the suite ends with a final -statement of the Scheherazade theme. - -The _Spanish Caprice_ (_Capriccio espagnol_), for orchestra, op. 34 -(1887) is one of the composer’s rare attempts at exploiting the folk -music of a country other than his own. There are five parts. The first -is a morning song, or “Alborada,” in which two main subjects of Spanish -identity are given by the full orchestra. This is followed by -“Variations.” A Spanish melody is here subjected to five brief -variations. In the third part, the Alborada music returns in a changed -tonality and orchestration. The fourth movement is entitled “Scene and -Gypsy Dance” and consists of five cadenzas. The Capriccio ends with -“_Fandango asturiano_,” in which a dance melody for trombones is -succeeded by a contrasting subject in the woodwinds. A last recall of -the main Alborada theme of the first movement brings the work to its -conclusion. - - - - - Richard Rodgers - - -Richard Rodgers was born in Hammels Station, near Arverne, Long Island, -on June 28, 1902. As a child he began studying the piano and attending -the popular musical theater. He wrote his first songs in 1916, a score -for an amateur musical in 1917, and in 1919 created the music for the -Columbia Varsity Show, the first freshman ever to do so. Meanwhile he -had initiated a collaborative arrangement with the lyricist, Lorenz -Hart, that lasted almost a quarter of a century. Their first song to -reach the Broadway theater was “Any Old Place With You” in _A Lonely -Romeo_ in 1919. Their first Broadway musical was _The Poor Little Ritz -Girl_ in 1920, and their first success came with _The Garrick Gaieties_ -in 1925 where the song, “Manhattan,” was introduced. For the next twenty -years, Rodgers and Hart—frequently with Herbert Fields as -librettist—dominated the musical stage with some of the most original -and freshly conceived musical productions of that period: _Dearest -Enemy_ (1925), _The Girl Friend_ (1926), _Peggy-Ann_ (1926), _A -Connecticut Yankee_ (1927), _On Your Toes_ (1936), _Babes in Arms_ -(1937), _I’d Rather Be Right_ (1937), _I Married an Angel_ (1938), _The -Boys from Syracuse_ (1938), and _Pal Joey_ (1940). From these and other -productions came hundreds of songs some of which have since become -classics in American popular music. The best of these were “Here In My -Arms,” “Blue Room,” “My Heart Stood Still,” “My Romance,” “The Most -Beautiful Girl in the World,” “There’s a Small Hotel,” “Where or When,” -“My Funny Valentine,” “Spring Is Here,” “Falling in Love With Love,” “I -Could Write a Book” and “Bewitched, Bothered and Bewildered.” - -_By Jupiter_, in 1942, was the last of the Rodgers and Hart musicals. -Hart’s physical and moral disintegration made it necessary for Rodgers -to seek out a new collaborator. He found him in Oscar Hammerstein II, -with whom Rodgers embarked on a new and even greater career as composer -for the theater. Their first collaboration was _Oklahoma!_ in 1943, an -unprecedented box-office triumph, and a production that revolutionized -the musical stage by crystallizing the concept and procedures of the -musical play as opposed to the musical comedy. After that Rodgers and -Hammerstein brought to the stage such classics as _Carousel_, _South -Pacific_, and _The King and I_. Other Rodgers and Hammerstein -productions were _Allegro_ (1947), _Me and Juliet_ (1953), _Pipe Dream_ -(1955), _The Flower Drum Song_ (1958) and _The Sound of Music_ (1959). -Among the most famous songs by Rodgers from these productions—besides -those from musical plays discussed below—were “A Fellow Needs a Girl,” -“No Other Love,” “Everybody’s Got a Home But Me,” “All at Once You Love -Her,” “I Enjoy Being a Girl,” “Do, Re, Mi,” “The Sound of Music” and -“Climb Every Mountain.” The collaboration of Rodgers and Hammerstein -ended in 1960 with the death of the lyricist. - -_Oklahoma!_, _Carousel_, _South Pacific_, and _The King and I_ have -become enduring monuments in the American theater. They are continually -revived, have been adapted for motion pictures, and are perpetually -represented at semi-classical concerts and on records. In whatever form -they appear they never fail to excite and inspire audiences. It is in -these productions that Rodgers has reached the highest creative -altitudes of his career, with music of such expressive lyricism, -dramatic impact, consummate technical skill, and pervading charm and -grace that its survival in American music seems assured. Robert Russell -Bennett has made skilful orchestral adaptations of the basic melodic -material from each of these musical plays, and it is most usually these -adaptations that are most frequently performed by pop and semi-classical -orchestras. - -_Carousel_ is the second of the Rodgers and Hammerstein masterworks, -succeeding _Oklahoma!_ by about two years. It is one of the most radiant -ornaments of our musical stage. Oscar Hammerstein II here adapted Ferenc -Molnar’s play, _Liliom_, with changes in setting, time, and some basic -alterations of plot. In the musical version the action takes place in -New England in 1873. Billy Bigelow, a barker in an amusement park, falls -in love and marries Julie Jordan. A charming but irresponsible young -man, Billy decides to get some money in a holdup, when he learns his -wife is pregnant. Caught, Billy eludes arrest by committing suicide. -After a brief stay in Purgatory, Billy is permitted to return to earth -for a single day to achieve redemption, the price for his admission to -Heaven. On earth, he meets his daughter. Through her love, understanding -and forgiveness he achieves his redemption. Thus the musical ends in a -happy glow of love and compassion whereas Molnar’s original play ended -on the tragic note of frustration. - -_Carousel_ opened in New York on April 19, 1945. John Chapman described -it as “one of the finest musical plays I have ever seen, and I shall -remember it always.” It received the Drama Critics Award and eight -Donaldson Awards. Since then it has often been revived besides being -adapted for the screen; in 1958 it was presented at the World’s Fair in -Brussels. - -The heartwarming glow that pervades the play in Hammerstein’s moving -dialogue and lyrics was magically caught in the score, which begins with -an extended waltz sequence for orchestra. In the play this music is -heard under the opening scene which represents an amusement park -dominated by a gay carousel. This waltz music is a self-sufficient -composition that can be, and often is, played independently of the other -excerpts. The other main musical episodes include the love duet of Billy -and Julie, “If I Loved You”; Billy’s eloquent and extended narrative, -“Soliloquy,” when he learns he is about to become a father; the -spiritual “You’ll Never Walk Alone”; the ebullient “June Is Bustin’ Out -All Over”; two vigorous choral episodes, “Blow High, Blow Low” and “This -Was a Real Nice Clambake.” - -_The King and I_, presented on March 29, 1951, was adapted by Oscar -Hammerstein II from Margaret Landon’s novel _Anna and the King of Siam_ -(which had already been made into a successful non-musical motion -picture starring Rex Harrison and Irene Dunne). Anna, played in the -musical by Gertrude Lawrence, is an English schoolmistress come to Siam -to teach Western culture to the royal princes and princesses. Her own -strong will and Western independence comes into sharp conflict with the -king, an Eastern despot enacted by Yul Brynner. But they are nonetheless -drawn to each other, partly through curiosity, partly through -admiration. Naturally, since they are of different social stations and -cultures, a love interest is out of the question, but they are -ineluctably drawn to each other, particularly after Anna has managed to -save a critical political situation in Siam through her ingenuity. The -king dies just before the final curtain; Anna remains on as a teacher of -the children she has come to love. - -Part of the attraction of Rodgers’ music is its subtle Oriental -flavoring. In the music—as in text, settings and costuming—_The King and -I_ is a picture of an “East of frank and unashamed romance,” as Richard -Watts, Jr., said, “seen through the eyes of ... theatrical artists of -rare taste and creative power.” The Oriental element is particularly -pronounced in the orchestral excerpt, “The March of the Royal Siamese -Children,” with its exotic syncopated structure and orchestration. Other -popular excerpts from this score include Anna’s lilting “I Whistle a -Happy Tune”; her poignant ballad “Hello, Young Lovers”; Anna’s duet with -the king, “Shall We Dance?”; her amiable conversation with the children, -“Getting to Know You”; the King’s narrative, “A Puzzlement”; also two -sensitive and atmospheric duets by the two Siamese lovers, Tuptim and -Lun Tha, “We Kiss in the Shadow” and “I Have Dreamed.” - -_Oklahoma!_, the first of the Rodgers and Hammerstein musical -plays—which opened on March 31, 1943—made stage history. Its run of -2,248 performances was the longest run of any Broadway musical up to -then; a national company toured for ten years. It was successfully -produced in Europe, Africa, and Australia. But beyond being a box-office -triumph of incomparable magnitude, it was also an artistic event of the -first importance. This was musical comedy no more, but a vital folk play -rich in dramatic content, and authentic in characterization and -background. The play upon which it was based was Lynn Riggs’ folk play, -_Green Grow the Lilacs_, adapted by Oscar Hammerstein II. In making his -adaptation, Hammerstein had to sidestep long accepted formulas and -clichés of the American musical stage to meet the demands of Riggs’ -play. Chorus-girl routines made way for American ballet conceived by -Agnes De Mille. Set comedy routines were replaced by a humor which rose -naturally from text and characters. Each musical incident was basic to -the movement of the dramatic action. Even the plot was unorthodox for -our musical theater. At the turn of the present century in West-Indian -country, Laurey and Curly are in love, but are kept apart by their -respective diffidence and a false sense of hostility. An ugly, lecherous -character, Jud Fry, pursues Laurey. Laurey and Curly finally declare -their love for each other. At their wedding Jud arrives inebriated, -attacks Curly with a knife, and becomes its fatal victim when he -accidentally falls upon the blade during a brawl. A hastily improvised -trial exonerates Curly of murder and permits him and his bride to set -off on their honeymoon for a land that some day will get the name of -Oklahoma. - -The play opens at once with its best musical foot forward, a simple -song, “Oh, What a Beautiful Mornin’,” which has the personality of -American folk music. It is sung offstage by Curly. After that the -principal musical episodes include the love song of Curly and Laurey, -“People Will Say We’re in Love”; several songs with a strong American -national identity, including “Kansas City,” “The Farmer and the Cowman,” -“The Surrey With the Fringe on Top,” and the title number; and two -highly expressive numbers, “Out of My Dreams” and “Many a New Day.” - -_Slaughter on Tenth Avenue_ is one of Rodgers’ most famous orchestral -compositions, and one of the finest achievements of the school of -symphonic-jazz writing. This music was used for a ballet sequence in the -Rodgers and Hart musical, _On Your Toes_, first produced in 1936. Since -_On Your Toes_ dwelled in the world of ballet, with dancers as principal -characters, ballet episodes played an important part in the unfolding of -the story; these episodes were conceived by George Balanchine. The play -reaches a dramatic climax with a jazz ballet, a satire on gangsters, -entitled _Slaughter on Tenth Avenue_. This is a description of the -pursuit by gangsters of a hoofer and his girl. Caught up in a Tenth -Avenue café, the gangsters murder the girl and are about to kill the -hoofer when the police come to his rescue. Rodgers’ music for the ballet -is an extended and integrated symphonic-jazz composition which has won -its way into the permanent repertory of semi-classical music. It is -constructed from two main melodic ideas. The first is an impudent little -jazz tune, and the second is a rich and luscious jazz melody for -strings. - -_South Pacific_, produced on April 7, 1949, was both commercially and -artistically of the magnitude of _Oklahoma!_ Its Broadway run of 1,925 -performances was only 325 less than that of its epoch-making -predecessor. In many other respects _South Pacific_ outdid _Oklahoma!_: -In the overall box-office grossage; in sale of sheet music and records; -in the capture of prizes (including the Pulitzer Prize for drama, seven -Antoinette Perry and nine Donaldson awards). The book was adapted by -Oscar Hammerstein II and Joshua Logan from _Tales of the South Pacific_, -a series of short stories about American troops in the Pacific during -World War II. In the adaptation two love plots are emphasized. The first -involves the French planter, Emile de Becque, and the American ensign, -Nellie Forbush; the other engages Liat, a Tonkinese girl, and Lieutenant -Cable. The first ends happily, but only after complications brought on -by the discovery on Nellie’s part that Emile was once married to a -Polynesian and is the father of two Eurasian children. The other love -affair has a tragic ending, since Lieutenant Cable dies on a mission. -With Ezio Pinza as De Becque and Mary Martin as Nellie, _South Pacific_ -was “a show of rare enchantment,” as Howard Barnes reported, “novel in -texture and treatment, rich in dramatic substance, and eloquent in -song.” Among its prominent musical numbers are De Becque and Nellie’s -love song, “Some Enchanted Evening”; De Becque’s lament “This Nearly Was -Mine”; Cable’s love song “Younger Than Springtime”; three songs by -Nellie, “I’m Gonna Wash That Man Right Outa My Hair,” “A Cockeyed -Optimist,” and “I’m in Love with a Wonderful Guy”; two exotic numbers by -the Tonkinese Bloody Mary, “Happy Talk” and “Bali Ha’i”; and a spirited -and humorous choral number by the Marines, “There Is Nothing Like a -Dame.” - -_Victory at Sea_ is a nine-movement suite for symphony orchestra adapted -by Robert Russell Bennett from the extended musical score for a series -of documentary films on naval operations during World War II. These -films were presented over NBC television in 1952 and received both the -Sylvania and the George Foster Peabody Awards. Much of the acclaim -accorded to these remarkable films belonged to Rodgers’ background music -which, as Otis L. Guernsey said, “suggested courage, self-sacrifice and -the indomitable spirit of the free man.” A _New Yorker_ critic described -Rodgers’ music as a “seemingly endless creation, now martial, now -tender, now tuneful, now dissonant ... memorable and tremendously -moving.” - -The first movement, “The Song of the High Seas,” is a picture of ships -menaced by Nazi U-boats on the seas during the early part of World War -II. They finally get involved in battle. “The Pacific Boils Over” -describes the beauty of Hawaii at peace in a melody suggesting Hawaiian -song and dance. War comes, and this idyllic mood is shattered. A broad -melody for strings ending in forceful chords tells about the tragedy of -Pearl Harbor and the grim business of repairing the damage inflicted -upon it by the Japanese. The third movement is one of the most famous in -the suite, often performed independently of the other sections. It is -stirring and dramatic march music of symphonic dimensions entitled -“Guadalcanal March.” This is followed by “D Day,” its principal melody a -broad, strong subject for brass telling of the gradual build-up of men -and materials for the invasion of Fortress Europe. The fifth movement, -“Hard Work and Horseplay” provides the lighter side of war. American -soldiers find relief from grim realities in mischievous escapades and -playtime. “Theme of the Fast Carrier” brings up the picture of a battle -scene and ends with moving funeral music. In “Beneath the Southern -Cross” we get an infectious tango melody which Rodgers later borrowed -for his hit song, “No Other Love,” for the Rodgers and Hammerstein -musical play, _Me and Juliet_. “Mare Nostrum” recalls the harsh -realities of war, first by presenting a serene Mediterranean scene, and -then showing how it is torn and violated by the fierce naval attack on -North Africa, Sicily, Salerno, and Anzio. The suite ends on a note of -triumph with “Victory at Sea.” A hymn of thanksgiving is sounded. Then -we hear reminders of the “Guadalcanal March” and the seductive tango -melody from “Beneath the Southern Cross.” This tango is soon transformed -into a rousing song of joy and triumph with which the suite comes to a -magnificent culmination. - - - - - Sigmund Romberg - - -Sigmund Romberg was born in Szeged, Hungary, on July 29, 1887. His -boyhood and early manhood were spent in Vienna where he studied -engineering and fulfilled his military service with the 19th Hungarian -Infantry stationed in that city. In Vienna, Romberg’s lifelong interest -in and talent for music found a favorable climate. He heard concerts, -haunted the city’s leading music salons, was a devotee of Viennese -operettas at the Theater-an-der-Wien. Vienna’s influence led him to -abandon all thoughts of becoming an engineer. In 1909 he came to the -United States where he led salon orchestras in various restaurants and -published his first popular songs. In 1912 he was engaged as staff -composer for the Shuberts, for whose many and varied Broadway -productions Romberg supplied all the music. Within a three-year period -he wrote the scores for eighteen musicals, one of which was his first -operetta in a European style, _The Blue Paradise_ (1915) for which he -created his first outstanding song hit, “_Auf Wiedersehen_.” Though he -continued writing music for many musical comedies, revues and -extravaganzas—including some starring Al Jolson at the Winter Garden—it -was in the field of the operetta that Romberg achieved significance in -American popular music. His musical roots were so deeply embedded in the -soil of Vienna that only in writing music for operettas in the manner -and procedures of Vienna did he succeed in producing a lyricism that ran -the gamut from sweetness and sentimentality to gaiety, masculine vigor -and charm. His most successful operettas, which are discussed below, -have never lost their capacity to enchant audiences however many times -they are revived. - -Romberg began writing music for motion pictures in 1930 with _Viennese -Nights_. Out of one of his many scores for the screen came the poignant -ballad, “When I Grow Too Old to Dream.” His last huge success on -Broadway was achieved not with an operetta but with an American musical -comedy with American backgrounds, settings and characters—and songs in a -pronounced American idiom. It was _Up in Central Park_ in 1945. His last -musical comedy was _The Girl in Pink Tights_ produced on Broadway -posthumously in 1954. Romberg died in New York City on November 9, 1951. -Three years after his death his screen biography, _Deep in My Heart_, -was released, with José Ferrer playing the part of the composer. - -_Blossom Time_ was first produced on Broadway on September 29, 1921 and -proved so successful that to meet the demand for tickets a second -company was formed to perform it at a nearby theater. There were also -four national companies running simultaneously. This musical was derived -from the successful German operetta, _Das drei Maederlhaus_, adapted by -Dorothy Donnelly. The central character is the beloved Viennese composer -of the early 19th century, Franz Schubert, and the plot is built around -the composer’s supposed frustrated love for Mitzi, who, in turn, falls -in love with Schubert’s best friend. The composer’s anguish in losing -her makes it impossible for him to finish the symphony he was writing -for her—and it remains forever unfinished. This tragic episode, however, -has no basis in biographical fact and is entirely the figment of a -fertile operetta librettist’s imagination. - -Romberg’s most famous songs were all based on Schubert’s own melodies, -and one became a hit of major proportions: “Song of Love” based on the -beautiful main theme from the first movement of the _Unfinished -Symphony_. Other popular selections include “Tell Me Daisy,” “Lonely -Hearts,” “Serenade” and “Three Little Maids”—all possessed of that -charm, grace and _Gemuetlichkeit_ which we always associate with the -city of Vienna and its popular music. - -_The Desert Song_, produced on November 30, 1926, had for its background -the colorful setting of French Morocco. There Margot Bonvalet is in love -with the Governor’s son but is being pursued by the bandit chief, The -Red Shadow. In the end it turns out that the Governor’s son and The Red -Shadow are one and the same person. The principal musical excerpts -include the romantic duet of Margot and The Red Shadow, “Blue Heaven”; -the rapturous love song of The Red Shadow, “One Alone”; and two virile -episodes, “Sabre Song” and “French Marching Song.” - -Unlike most Romberg operettas, _Maytime_, presented on August 16, 1917, -did not have a foreign or exotic setting. The action takes place in -Gramercy Park, New York, between 1840 and 1900. However, the tragic -frustrations of the love affair of Ottilie and Richard belong inevitably -in the make-believe world of the operetta. Ottilie is forced to marry a -distant relative. Many years later, Ottilie’s granddaughter and -Richard’s grandson find each other, fall in love, and fulfil the -happiness denied their grandparents. The most important musical number -in this play is the sweet and sentimental waltz, “Will You Remember?”, -which is repeated several times during the course of the action. Other -numbers include “Jump Jim Crow,” “It’s a Windy Day” and “Dancing Will -Keep You Young.” - -_The New Moon_—which came to Broadway on September 19, 1928—was -described by its authors (Oscar Hammerstein II, Frank Mandel, and -Laurence Schwab) as a “romantic musical comedy.” Its hero is a -historical character, Robert Mission, an 18th-century French aristocrat -who has come to New Orleans as a political fugitive. In the operetta he -is a bondservant to Monsieur Beaunoir, with whose daughter, Marianne, he -is in love. When the French police arrive to take him back to Paris for -trial, Marianne boards his ship upon which a mutiny erupts on the high -seas. The victorious bondservants now take possession of a small island -off the coast of Florida where they set up their own government with -Robert as leader, who then takes Marianne as his wife. This opulent -score yields one of Romberg’s most beautiful love songs, “Lover Come -Back to Me,” but it is significant to point out that its main melody was -expropriated by Romberg from a piano piece by Tchaikovsky. Other -delightful musical excerpts from this tuneful operetta include the -tender ballads “Softly as in a Morning Sunrise,” “One Kiss” and “Wanting -You,” and the stirring male chorus, “Stout-Hearted Men.” - -_The Student Prince_, like _Blossom Time_, was based on a successful -German operetta, _Old Heidelberg_, once again adapted for the American -stage by Dorothy Donnelly. Its first performance took place on December -2, 1924. It has become one of the best loved operettas of the American -theater; there is hardly a time when it is not revived somewhere in the -United States. The setting is the romantic German University town of -Heidelberg in 1860. Prince Karl Franz falls in love with Kathie, a -waitress at the local inn. Their romance, however, is doomed to -frustration, since the Prince must renounce her to marry a Princess. -Romberg’s music is a veritable cornucopia of melodic riches, including -as it does the love duet of Kathie and the Prince, “Deep in My Heart,” -the Prince’s love song “Serenade,” and with them, “Golden Days” and a -vibrant male chorus, “Drinking Song.” - - - - - David Rose - - -David Rose was born in London, England, on June 15, 1910. His family -came to the United States in 1914, settling in Chicago where Rose -received his musical training at the Chicago Musical College. After -working for radio and as pianist of the Ted Fiorito Orchestra, Rose came -to Hollywood in 1938 where he became music director of the Mutual -Broadcasting network. During World War II he served as musical director -of, and composer for, _Winged Victory_, the Air Corps production by Moss -Hart. After the war, Rose became outstandingly successful as musical -director for leading radio and television programs (including the first -Fred Astaire television show for which he received an “Emmy” Award), and -as a composer of background music for many motion pictures. He has also -appeared extensively in America and Europe as guest conductor of -symphony orchestras. - -Rose is the composer of several instrumental compositions in a popular -style that have achieved considerable popularity. Indeed, it was with -one of these that he first became famous as a composer. This was the -_Holiday for Strings_, written and published in 1943, a three-part -composition in which the flanking sections make effective use of plucked -strings while the middle part is of lyrical character. _Holiday for -Strings_ received over a dozen different recordings and sold several -million records. Fifteen years later, Rose wrote another charming -composition in a similar vein, _Holiday for Trombones_ in which -virtuosity is contrasted with lyricism. Other instrumental works by Rose -outstanding for either melodic or rhythmic interest are _Big Ben_, -_Dance of the Spanish Onion_, _Escapade_, and _Our Waltz_. - - - - - Gioacchino Rossini - - -Gioacchino Rossini was born in Pesaro, Italy, on February 29, 1792. He -received his musical training at the Liceo Musicale in Bologna. In 1810 -he wrote his first opera, _La Cambiale di matrimonio_, produced in -Venice. Success came in 1812 with his third opera, _La Pietra del -paragone_, given at La Scala in Milan. _Tancredi_ and _L’Italiana in -Algeri_, performed in Venice in 1813, further added to his fame and -helped make him an adulated opera composer at the age of twenty-one. In -1815 Rossini was appointed director of two opera companies in Naples for -which he wrote several successful operas. But his masterwork, which came -during this period, was not written for Naples but for Rome: _The Barber -of Seville_ introduced in the Italian capital in 1816. In 1822 Rossini -visited Vienna where he became the man of the hour. In 1824 he came to -Paris to assume the post of director of the Théâtre des Italiens. Among -the operas written for Paris was _William Tell_, introduced at the Paris -Opéra in 1829. Though Rossini was now at the height of his fame and -creative power—and though he lived another thirty-nine years—he never -wrote another work for the stage. He continued living in Paris, a -dominant figure in its social and cultural life. His home was the -gathering place for the intellectual élite of the city, the scene of -festive entertainments. He died of a heart attack in Paris on November -13, 1868. - -Rossini was the genius of Italian comic opera (_opera buffa_). His -melodies are filled with laughter and gaiety; his harmonies and rhythms -sparkle with wit and the joy of life. He was at his best when he brought -to his writing an infallible instinct for comedy, burlesque, and -mockery. But he was also capable of a lyricism filled with poetry and -infused with heartfelt sentiments. He was, moreover, a master of -orchestral effect—especially in his dramatic use of the extended -_crescendo_—and highly skilled in contrasting his moods through rapid -alternation of fast and slow passages. He was also a daring innovator in -his instrumentation. - -He is a giant in opera, but with his infectious moods and endless fund -of melodies he is also a crowning master in semi-classical music. His -masterwork, _The Barber of Seville_ (_Il Barbiere di Siviglia_) is as -popular with salon orchestras through its merry overture and main -selections as it is in the opera house. _The Barber of Seville_ is based -on two plays by Beaumarchais, _Le Barbier de Séville_ and _Le Mariage de -Figaro_, adapted by Cesare Sterbini. It is a vivacious comedy in which -Count Almaviva, in love with Rosina (ward of Doctor Bartolo who is in -love with her himself) tries to penetrate Bartolo’s household by -assuming various disguises. The Count and Rosina plan to elope, but -Rosina reneges when Bartolo convinces her that the Count is unfaithful -to her. Eventually, Rosina discovers that Bartolo has deceived her. She -marries the Count, and Bartolo finds consolation in the fact that the -Count is willing to renounce Rosina’s dowry in his favor. - -When this work was first performed in Rome on February 20, 1816 it was a -dismal failure. This was largely due to a carefully organized uproar in -the theater by admirers of another famous Italian composer, Paisiello, -who had previously written an opera on the same subject. A sloppy -performance did not help matters either. The furor in the auditorium was -so great that it was impossible at times to hear the singers; and -Rossini was in the end greeted with hisses and catcalls. But the second -performance told a far different story. The singing and staging now went -off much more smoothly, and Rossini’s enemies were no longer present to -do their damage. Consequently the opera was acclaimed. Five years later, -a tour of the opera throughout Italy established its fame and popularity -on a solid and permanent basis. - -The deservedly famous overture is so much in the carefree and ebullient -spirit of the opera as a whole—and so felicitously sets the tone for -what is soon to follow on the stage—that it comes as a shock to discover -that it was not written for this work. Rossini had actually created it -for an earlier opera, and then used it several times more for various -other stage works, tragedies as well as comedies. The overture opens -with a slow introduction in which the violins offer a graceful tune. A -transition of four chords leads to the main body in which strings -doubled by the piccolo offer a spicy little melody. The same infectious -gaiety is to be found in the second theme which is first given by oboe -and clarinet. A dramatic crescendo now leads into the development of -both themes, and the overture ends with a vivacious coda. - -Besides the overture, some of the principal melodies from this opera are -frequently given in various orchestral potpourris and fantasias: Count -Almaviva’s beautiful serenade, “_Ecco ridente in cielo_” and Figaro’s -patter song, “_Largo al factotum_” from the first act; in the second -act, Rosina’s coloratura aria, “_Una voce poco fa_” and Basilio’s -denunciation of slander in “_La Calunnia_”; and in the third act, -Basilio’s unctuous greeting “_Pace e gioia sia con voi_” and Figaro’s -advice to the lovers to get married in haste and silence, “_Zitti, -zitti, piano, piano_.” - -_La Gazza ladra_ (_The Thieving Magpie_), first produced at La Scala on -May 31, 1817, is also a light comedy; libretto by Giovanni Gherardini, -based on a French play. The central character is a servant girl falsely -accused of having stolen a silver spoon; she is exonerated when the -spoon is found in a magpie’s nest just as the girl is about to be -punished at the scaffold. The overture begins with an -attention-arresting roll on the snare drum. This is followed by a brisk, -march-like melody for full orchestra. In the main section, the principal -themes consist of a sensitive little tune for strings and a pert melody -for strings and woodwind. - -_L’Italiana in Algeri_ (_The Italian Lady in Algiers_) is, on the other -hand, a serious opera. It was first produced in Venice on May 22, 1813, -libretto by Angelo Anelli. In Algiers, Lindoro and Isabella are in love, -but their romance is complicated by the fact that Isabella is sought -after by the Mustafa. The lovers manage to effect their escape while the -Mustafa is involved in complicated rites serving as his initiation into -a secret society. The solemn opening of the overture has for its main -thought a beautiful song for oboe. A crescendo then carries the overture -to its principal section in which two lively melodies are heard, the -first for woodwind, and the second for oboe. - -_La Scala di seta_ (_The Silken Ladder_) is an opera buffa which had its -first performance in Venice on May 9, 1812. The libretto by Gaetano -Rossi was based on a French farce involving a young girl who tries -desperately to keep secret from her jealous guardian her marriage to the -man she loves. A brief and electrifying opening for strings in the -overture brings on a sentimental duet for flute and oboe. Two principal -subjects in the main body of the overture include a gay and sprightly -melody for strings, echoed by oboe, and a tender theme for flute and -clarinet accompanied by strings. - -_Semiramide_—introduced in Venice on February 3, 1823—is a serious opera -based on Voltaire with libretto by Gaetano Rossi. Semiramis is the Queen -of Babylon who is driven by her love for Asur to murder her husband. Her -later love life is complicated when she discovers that the object of her -passion, a Scythian, is actually her son. Semiramis is killed by a -dagger which Asur directs at her Scythian son; Semiramis’ son then -murders Asur and assumes the throne. The overture opens dramatically -with a gradual crescendo at the end of which comes a slow and solemn -melody for four horns, soon taken over by woodwind against plucked -strings. A short transition in the woodwind brings on a return of the -opening crescendo measures. We now come to the main part of the overture -in which the first theme is for strings, and the second for the -woodwind. - -The most famous of all Rossini’s overtures, more celebrated even than -that for _The Barber of Seville_, is the one for the tragic opera -_William Tell_ (_Guillaume Tell_). This is perhaps the most popular -opera overture ever written. It is much more than merely the preface to -a stage work but is in itself an elaborate, eloquent tone poem, rich in -dramatic as well as musical interest, and vivid in its pictorial and -programmatic writing. - -_William Tell_, which had its première in Paris on August 3, 1829, is -based on the drama of Friedrich Schiller, the libretto adaptation being -made by Étienne de Jouy and Hippolyte Bis. The hero is, of course, the -Swiss patriot who triumphs over the tyrant Gessler and helps bring about -the liberation of his country. - -In the early measures of the overture we get a picture of sunrise over -the Swiss mountains, its beautiful melody presented by cellos and -basses. A dramatic episode for full orchestra then depicts an Alpine -storm. When it subsides we get a pastoral scene of rare loveliness -evoked by a poignant Swiss melody on the English horn. Trumpet fanfares -then bring on the stirring march music which, in our time and country, -has been borrowed by radio for the theme melody of “The Lone Ranger.” -The overture ends triumphantly in telling of William Tell’s victory over -tyranny and oppression. - -The contemporary British composer, Benjamin Britten, has assembled -various melodies by Rossini into two delightful suites for orchestra. -_Soirées musicales_ (1936) is made up of five compositions by -Rossini—from _William Tell_ and from several pieces from a piano suite -entitled _Péchés de vieillesse_. The five movements are marked; I. -March; II. Canzonetta; III. Tyrolese; IV. Bolero; V. Tarantella. -_Matinées musicales_ (1941) also gets its material from _William Tell_ -and the piano suite. Here the movements are: I. March; II. Nocturne; -III. Waltz; IV. Pantomime; V. Moto Perpetuo. - - - - - Anton Rubinstein - - -Anton Rubinstein was born in Viakhvatinetz, Russia, on November 28, -1829. He studied the piano with Alexandre Villoing after which, in 1839 -he came to Paris with his teacher, deeply impressing Chopin and Liszt -with his performances. Between 1841 and 1843 Rubinstein made a concert -tour of Europe, but his career as a world-famous virtuoso did not begin -until 1854 when his formidable technique and musicianship aroused the -enthusiasm of Western Europe. After that he made many tours of the -world, his reputation as pianist second only to that of Liszt; his first -American appearance took place in 1872-1873 when he gave more than two -hundred concerts. He also distinguished himself as conductor of the -Russian Musical Society, and as director of the St. Petersburg -Conservatory which he helped found in 1862. He was one of the most -highly honored musicians in Russia of his generation. He resigned his -post as director of the Conservatory in 1891, and on November 20, 1894 -he died in St. Petersburg. - -Rubinstein was an extraordinarily prolific composer, his works including -many operas, symphonies, concertos, overtures, tone poems, chamber music -together with a library of music for solo piano. About all that has -survived from his larger works is his Fourth Piano Concerto which is -flooded with Romantic ardor and is often in the recognizable style of -Mendelssohn. Beyond this concerto, only a few of his smaller pieces for -piano are still heard, so delightful in their melodic content and so -charming in mood and atmosphere that they have lost little of their -universal appeal. - -_Kamenoi-Ostrow_, though best known as a composition for orchestra, -originated as a piece for the piano. Actually the name _Kamenoi-Ostrow_ -belongs to a suite of twenty-four compositions for solo piano, op. 10. -But the twenty-second number has become so popular independent of the -suite, and in so many different guises, that its original title (“_Rêve -angelique_”) has virtually been forgotten and it is almost always -referred to now by the name of its suite. Kamenoi-Ostrow is a Russian -town in which the Grand Duchess Helena maintained a summer palace. -Rubinstein was its chamber virtuoso from 1848 on for a few years, and -while there he wrote his piano suite, naming it after the Grand Duchess’ -residence. The solemn melody and its equally affecting countermelody -have an almost religious character, emphasized in orchestral -transcription by a background of tolling bells. Victor Herbert made an -effective orchestral adaptation. - -The _Melody in F_ is one of the most popular piano pieces ever written. -It is found in the first of _Two Melodies_, for solo piano, op. 3, but -is most often heard in orchestral transcription, or adaptations for solo -instrument and piano. The vernal freshness of its spontaneous lyricism -has made it particularly appropriate describing Springtime; indeed, -verses about Spring have been written for this melody. - -The _Romance in E-flat major_ is almost as well known as the _Melody in -F_. This sentimental melody—filled with Russian pathos, yearning and -dark brooding—is the first number in a set of six pieces for solo piano -collectively entitled _Soirées de St. Petersbourg_, op. 44. - - - - - Camille Saint-Saëns - - -Camille Saint-saëns was born in Paris on October 9, 1835. He was -extraordinarily precocious. After some piano instruction from his aunt -he gave a remarkable concert in Paris in his ninth year A comprehensive -period of study followed at the Paris Conservatory where he won several -prizes, though never the Prix de Rome. In 1852 he received a prize for -_Ode à Sainte Cécile_, and in 1853 the première of his first symphony -attracted considerable praise. From 1858 to 1877 he was the organist of -the Madeleine Church in Paris, a position in which he achieved renown as -a performer on the organ. From 1861 to 1865 he was an eminent teacher of -the piano at the École Niedermeyer, and in 1871 he helped organize the -distinguished Société Nationale in Paris devoted to the introduction of -new music by French composers. From 1877 his principal activity was -composition in which, as in all the other areas in which he had been -engaged, he soon became an outstanding figure. He was made Chevalier of -the Legion of Honor in 1868; Officer in 1884; Grand Officer in 1900; and -in 1913 the highest rank in the Legion of Honor, the Grand-Croix. He -became a member of the Institut de France in 1881. Saint-Saëns paid his -first visit to the United States in 1906, and made his first tour of -South America in 1916 when he was eighty-one. He remained active until -the end of his long life, appearing as pianist and conductor in a -Saint-Saëns festival in Greece in 1920, and performing a concert of his -own music in Dieppe a year later. He was vacationing in Algiers when he -died there on December 16, 1921. - -Though Saint-Saëns lived well into the 20th century and was witness to -the radical departures in musical composition taking place all about -him, he remained a conservative to the end of his days. He was, from a -technical point of view, a master. There is no field of musical -composition which he did not cultivate with the most consummate skill -and the best possible taste. He was gifted not merely with a fine -lyrical gift but also at other times with passion, intensity, and a -sardonic wit. He wrote numerous compositions in a light style, but many -of his most serious efforts are readily assimilable at first hearing and -readily fall into the category of semi-classics. - -_The Carnival of Animals_ (_Le Carnaval des animaux_), for two pianos -and orchestra (1886) finds the composer in a gay mood. This is witty, -ironic and at times satiric music. The composer regarded the writing of -this work as a lark, thought so little of the composition that he did -not permit a public performance or a publication during his lifetime. -Nevertheless it is one of the composer’s most infectious compositions, -one that never fails to enchant audiences young and old. It was -described by the composer as “a grand zoological fantasy,” and its -fourteen sections represent pictures of various animals. The suite -begins with a march (“Introduction and Royal March of the Lion,” -“_L’Introduction et marche royale du lion_”). After a brief fanfare, -sprightly march music is heard. We can readily guess who is at the head -of the parade by the lion’s roar simulated by the orchestra. After this -we are given a picture of a hen through the cackle in piano and strings, -and of a cock through a clarinet call (“Hens and Cocks,” “_Poules et -coqs_”). This is followed by music for two unaccompanied pianos intended -to depict “Mules” (“_Hémiones_”). Actually this portion was planned by -the composer as a satire on pianists who insist on playing everything in -a strict rhythm and unchanging dynamics. In the fourth movement, -“Tortoises” (“_Tortues_”), two amusing quotations are interpolated from -Offenbach’s _Orpheus in the Underworld_. A cumbersome melody in a -stately rhythm then introduces us to the “Elephant” (“_L’Eléphant_”). In -this part the composer’s fine feeling for paradox and incongruity -asserts itself in contrasting a ponderous theme with a graceful waltz -tune. In the halting music of the next movement, “Kangaroos” -(“_Kangourous_”), the composer aims his satirical barbs not on these -graceless animals but upon concert audiences who insist on talking -throughout a performance. “Aquarium” consists of a sensitive melody for -flute and violin against piano arpeggio figures. In “Personages With -Long Ears” (“_Personnages à longues oreilles_”) donkeys are represented -by a melody with leaping intervals. The “Cuckoo in the Woods” (“_Le -Coucou au fonds des bois_”) consists of a melody for clarinet. “Aviary” -(“_Volière_”) reproduces the flight and singing of birds. “Pianists” -(“_Pianistes_”), the composer feels, belongs to the animal kingdom; the -attempt by embryo pianists to master his scales is here described -amusingly. “Fossils” (“_Fossiles_”) quotes four popular themes from the -classics: from Rossini’s _The Barber of Seville_, Saint-Saëns’ _Danse -macabre_, and two French folk songs. Satire and wit are replaced by the -most sensitive lyricism and winning sentiment in the thirteenth -movement, a section so famous that it is most often heard apart from the -rest of the suite, and in many different versions and arrangements. This -is the movement of “The Swan” (“_Le Cygne_”), a beautiful melody for the -cello in which the stately movement of the swan in the water is -interpreted. A dance inspired by this music was made world famous by -Anna Pavlova. The suite ends with the return of all the preceding -characters in a section entitled “Finale.” In the present-day concert -hall, it is sometimes the practice to present _The Carnival of Animals_ -with an appropriate superimposed commentary in verse by Ogden Nash -preceding each section. - -_Danse macabre_, tone poem for orchestra, op. 40 (1874) is a musical -interpretation of a poem by Henri Cazalis. The composition opens with a -brief sequence in the harp suggesting that the hour of midnight has -struck. Death tunes his violin and almost at once there begins a -demoniac dance, its abandoned theme first presented by the flute. -Another equally frenetic dance tune is given by Death, the xylophone -simulating the rattle of bones. In the midst of the orgy the solemn -refrain of the “Dies Irae” is sounded. Dawn is announced by the crowing -of a cock. The wild dance dies down and the dancers disappear in the -mist. - -_The Deluge_ (_Le Déluge_), op. 45 (1876), is an orchestral prelude to a -Biblical poem, text by Louis Gillet. The inspiration for this music -comes from a passage in the _Genesis_: “And God repented of having -created the world.” Solemn chords preface a fugal passage built from a -theme in violas. After this a beautiful melody for solo violin unfolds -symbolizing humanity in its original state of purity. - -The _Havanaise_, op. 83 (1887) is a popular composition for violin and -piano which makes effective use of a languorous Spanish melody set -against the habanera rhythm. “Havanaise” is the French term for -“Habanera,” a popular Spanish dance in slow ²/₄ time said to have -originated in Cuba. - -_Henry VIII_, an opera, is remembered for its effective ballet music. -The opera, with libretto by Leonce Detroyat and Armand Sylvestre was -first performed at the Paris Opéra on March 5, 1883. Since its setting -is England during the Tudor Period, the popular ballet music is -restrained, sensitive and graceful. It is heard in the second act during -a festival given by the King of Richmond to honor the Papal Legate. Much -of the material for these dances was acquired by the composer from a -collection of Scottish and Irish tunes and dances provided him by the -wife of one of his librettists. The Ballet Music is made up of five -sections. The first is a restrained Introduction. Then comes “The Entry -of the Clans.” This music, it is amusing to remark, is English rather -than Scottish in style because the composer confused the English Dee -with the Scottish river of the same name and decided to use the English -melody “The Miller of the Dee.” The third movement is a “Scotch Idyll,” -this time a bright Scottish tune in the oboe. The Ballet Music continues -with a “Gypsy Dance” in which a Hungarian-type melody for English horn -is followed by brisker music whose main subject is offered by the -violins. The suite concludes with “Gigue and Finale.” - -The _Introduction and Rondo Capriccioso_, op. 28 (1863) is for violin -and orchestra. The main theme of the Introduction is found in the solo -violin in the second measure, accompanied by the strings. A forceful -chord for full orchestra brings on the Rondo Capriccioso section, whose -main melody is presented by the solo violin. The solo instrument later -on also introduces a contrasting second theme. After some embellishment -of both ideas, the orchestra loudly interpolates a third subject which -is repeated by the solo violin. All this material is amplified, often -with brilliant virtuoso passages in the violin. A climactic point is -reached when the first theme of the Rondo Capriccioso is pronounced by -the orchestra against broken chords in the violin. This composition -concludes with a coda marked by virtuoso passages for the solo -instrument. - -The _Marche heroïque_, for orchestra, op. 34 (1871) was originally -written for two solo pianos but later the same year orchestrated by the -composer himself. The composition is dedicated to one of Saint-Saëns’ -friends, the painter Alexandre Regnault, who served in the French army -and was killed during the Franco-Prussian War. This music has a -seven-bar introduction following which the principal march subject is -given by the woodwind accompanied by plucked strings. In the middle trio -section a contrasting theme is offered by the trombone against an -accompanying figure taken from the earlier march melody. The march music -returns in the closing section, but more vigorously than heretofore. The -composition ends with a powerful coda. - -_Le Rouet d’Omphale_ (_Omphale’s Spinning Wheel_), is an orchestral tone -poem, op. 31 (1871), based on an old legend. Hercules is the slave of -the Lydian queen. He disguises himself as a woman and is put to the task -of spinning. The whirr of the spinning wheel is simulated by the violins -at the beginning of the composition. The abused Hercules is then -represented by a somber subject for the bass. Soon the whirr returns in -an increased tempo to point up Hercules’ return to the business of -spinning. - -The composer’s most famous opera, _Samson and Delilah_, is represented -on semi-classical programs with its colorful, exciting _Bacchanale_. The -opera was first performed in Weimar in 1877, its libretto (by Ferdinand -Lemaire) based on the famous Biblical story. The Bacchanale comes -towards the end of the opera, the second scene of the third act. At the -Temple of Dagon, the Philistines are celebrating their victory over -Samson and the Hebrews with wild revelry in front of a statue of their -god. A part of these festivities consists of a bacchanale to wild music -Semitic in melodic content, orgiastic in tone colors, and barbaric in -rhythms. The most celebrated vocal selection from this opera is -Delilah’s seductive song to Samson, “My Heart at Thy Sweet Voice” (“_Mon -coeur s’ouvre à ta voix_”). - -The _Suite algérienne_, for orchestra, op. 60, is a set of four -“picturesque impressions of a voyage to Algeria,” in the composer’s own -description. The opening movement is a prelude. The sea is here depicted -in a swelling figure while brief snatches of melody suggest some of the -sights of Algiers as seen from aboard ship. “Moorish Rhapsody” -(“_Rapsodie mauresque_”) is made up of three sections. The first and -last are brilliant in sonority and tonal colors, while the middle one is -an Oriental song. “An Evening Dream at Blidah” (“_Rêverie du soir_”) is -a dreamy nocturne picturing a famous Algerian fortress. The most popular -movement of the suite is the last one, a rousing “French Military March” -(“_Marche militaire française_”)—vigorous, at times even majestic, music -representing the composer’s delight and sense of security in coming upon -a French garrison. - - - - - Pablo de Sarasate - - -Pablo de Sarasate was born in Pamplona, Spain, on March 10, 1844. As a -child prodigy violinist he made his debut in Spain when he was six, and -soon thereafter toured the country. In 1859 he completed with honors a -three-year period of violin study at the Paris Conservatory. He was only -fifteen when he initiated a worldwide career as virtuoso which continued -until the end of his life and placed him with the foremost violinists of -his generation. In his concerts he featured prominently his own -arrangements and fantasias of opera arias as well as his original -compositions in all of which he could exhibit his phenomenal technique. -Some of his compositions are now staples in the violin repertory. They -include the _Gypsy Airs_ (_Zigeuenerweisen_), _Caprice Basque_, _Jota -aragonesa_, _Zapatadeo_, and the _Spanish Dances_. - -The _Gypsy Airs_ is a fantasia made up of haunting gypsy tunes and dance -rhythms. The heart of the composition comes midway with a sad gypsy song -which finds contrast in the electrifying dance melodies and rhythms that -follow immediately. - -Sarasate produced four sets of _Spanish Dances_, opp. 21, 22, 23, and -26, all for violin and piano. The identifiable Spanish melodies and -rhythms of folk dances are here exploited most effectively. The most -famous of these is the _Malagueña_, a broad and sensual gypsy melody -followed by a rhythmic section in which the clicking of castanets is -simulated. - - - - - Franz Schubert - - -Franz Peter Schubert was born in Vienna, Austria, on January 31, 1797. -He was extraordinarily precocious in music and was early trained to play -the violin, viola and organ. From 1808 to 1813 he attended the Imperial -Chapel School where he received a thorough musical background while -preparing to be a chorister in the Chapel Choir. He showed such -remarkable and natural gifts for music that one of his teachers, the -renowned Antonio Salieri, did not hesitate to call him a “genius.” When -the breaking of his voice compelled him to leave the school in 1813, -Schubert was encouraged by his father, a schoolmaster, to enter the -field of education. For two years, from 1814 on, Schubert taught in the -school owned and directed by his father. During this period he -demonstrated phenomenal fertility as a composer by producing operas, -symphonies, masses, sonatas, string quartets, piano pieces, and almost -150 songs including his first masterpiece, _The Erlking_ (_Der -Erlkoenig_). After 1817, Schubert devoted himself completely to -composition. He remained singularly productive even though recognition -failed to come. Few of his works were either published or performed—and -those that were heard proved dismal failures. He managed to survive -these difficult years only through the kindness and generosity of his -intimate friends who loved him and were in awe of his genius. Combined -with the frustration in failing to attract public notice with his -music—and the humiliation of living on the bounty of friends—was the -further tragedy of sickness brought on by a venereal disease. A concert -of his works in Vienna on March 26, 1828 seemed to promise a turn in his -fortunes. But it came too late. He died in Vienna on November 19, -1828—still an unrecognized composer. So completely obscure was his -reputation that for many years some of his crowning master works lay -forgotten and neglected in closets of friends and associates, none of -whom seemed to realize that they were in the possession of treasures. - -Schubert was undoubtedly one of the greatest creators of song the world -has known. His almost five hundred art songs (_Lieder_) is an -inexhaustible source of some of the most beautiful, most expressive, -most poetic melodies ever put down on paper. He created beauty as easily -as he breathed. The most inspired musical thoughts came to him so -spontaneously that he was always reaching for quill and paper to get -them down—whether at his home, or at the houses of his friends, in -restaurants, café-houses, and even while walking through the country. -“The striking characteristics of Schubert’s best songs,” wrote Philip -Hale, “are spontaneous, haunting melody, a natural birthright mastery -over modulation, a singular good fortune in finding the one inevitable -phrase for the prevailing sentiment of the poem, and in finding the -fitting descriptive figure for salient detail. His best songs have an -atmosphere which cannot be passed unnoticed, which cannot be -misunderstood.” But far and beyond his natural gift at lyricism was his -genius in translating the slightest nuances and suggestions of a line of -poetry into tones. It is for this very reason that he is often described -as the father of the _Lied_, or art song. - -Because Schubert’s melodies come from the heart and go to the heart they -have been staples in semi-classical literature by way of orchestral -transcription. Thus though they are as lofty and as noble a musical -expression as can be found anywhere, Schubert’s songs have such -universality that they are as popular as they are inspired. These are a -few of the Schubert songs that have profited from instrumental -adaptations: - -“_Am Meer_” (“By the Sea”), poem by Heinrich Heine. This stately melody -seems to catch some of the vastness and mystery of the sea. This is the -twelfth song from the song cycle _Schwanengesang_ (1828). - -“_An die Musik_” (“To Music”), poem by Franz von Schober (1817). The -glowing melody has caught the composer’s wonder and awe at the magic of -music. - -“_Auf dem Wasser zu singen_” (“To Be Sung on the Water”) poem by -Stolberg. This gay, heartfelt tune expresses the composer’s delight in -floating on the water. - -“_Ave Maria_,” based on a poem by Sir Walter Scott (1825). This is a -melody of exalted spiritual character touched with serenity and -radiance. August Wilhelmj’s transcription for violin and piano is a -staple in the violin repertory. - -“_Du bist die Ruh’_” (“You are Peace”), poem by Rueckert. An atmosphere -of serenity is magically created by a melody of wondrous beauty. - -“_Der Erlkoenig_” (“The Erlking”), poem by Goethe (1815). This is one of -Schubert’s most dramatic songs, describing the death of a child at the -hands of the Erlking, symbol of death. - -“_Die Forelle_” (“The Trout”), poem by Schubert (1817). This gay tune -gives a lively picture of a trout leaping happily in and out of the -water. Schubert used this melody for a set of variations in his piano -quintet in A major, op. 114 (1819). - -“_Gretchen am Spinnrade_” (“Marguerite at the Spinning Wheel”), poem by -Goethe (1814). Against an accompaniment suggesting the whirr of the -spinning wheel, comes Marguerite’s haunting song as she thinks of her -loved one. - -“Hark, Hark, the Lark” (“_Horch, Horch, die Lerch_”), poem by -Shakespeare (1826). The melody reflects the light-hearted mood of the -famous Shakespeare verse from _Cymbeline_. - -“_Der Lindenbaum_” (“The Linden Tree”), poem by Mueller is a poignant -poem of unhappy love. It is the fifth song in the cycle _Die -Winterreise_ (1827). - -“_Staendchen_” (“Serenade”), poem by Rellstab. This is probably one of -the most famous love songs ever written. It is the fourth song in the -cycle _Schwanengesang_ (1828). - -“_Der Tod und das Maedchen_” (“Death and the Maiden”), poem by Claudius -(1817). This dramatic song consists of a dialogue between a young girl -and Death, the words of death appearing in a solemn melody while that of -the girl in a breathless entreaty. Schubert used this melody for a set -of variations in his string quartet in D minor (1824). - -Like Beethoven and Mozart Schubert wrote a considerable amount of -popular dance music for solo piano, and also for orchestra: German -Dances, Laendler, and Waltzes. All have a vigorous peasant rhythm and -with melodies reminiscent of Austrian folk music. Schubert’s waltzes are -of particular interest since he was one of the first composers to unite -several different waltz tunes into a single integrated composition. The -Schubert waltzes, each a delight, are found in _Valses sentimentales_, -op. 50 (1825) and _Valses nobles_, op. 77 (1827). Liszt adapted nine of -the more popular of these waltz melodies in _Soirées de Vienne_ for solo -piano. The 20th-century French Impressionist composer, Maurice Ravel, -was inspired by these Schubert waltzes to write in 1910 the _Valses -nobles et sentimentales_ in two versions, for solo piano, and for -orchestra. - -_Marche militaire_ (_Militaermarsch_) is a popular little march in D -major originally for piano four hands, the first of a set of three -marches gathered in op. 41. This is one of Schubert’s most popular -instrumental numbers. Karl Tausig transcribed it for solo piano, and it -has received many other adaptations including several for orchestra, in -which form it is undoubtedly best known. - -_Moment Musical_ is a brief composition for the piano. It is in song -form and of an improvisational character, and is a _genre_ of -instrumental composition created and made famous by Schubert. He wrote -many such pieces, but the one always considered when this form is -designated is No. 3 in F minor, a graceful and lovable melody, the very -essence of Viennese _Gemuetlichkeit_, although it is subtitled “Russian -Air” (_Air Russe_). Fritz Kreisler transcribed it for violin and piano -and it is, to be sure, familiar in orchestral adaptations including one -by Stokowski, as well as versions for cello and piano, string quartet, -clarinet quartet, four pianos, and so forth. - -The incidental music to _Rosamunde_ (1823) includes an often played -overture and another of Schubert’s universally loved instrumental -numbers, the _Ballet Music_. When _Rosamunde_ was introduced in Vienna -on December 20, 1823 it was a failure, but this was due more to the -insipid play of Helmina von Chézy than to Schubert’s music. The overture -heard upon that occasion is not the overture now known as _Rosamunde_. -The latter is one which Schubert had written for an earlier operetta, -_Die Zauberharfe_. A dignified introduction is dominated by a soaring -melody for oboe and clarinet. The tempo changes, and a brisk little -melody is given by the violins; a contrast is offered by a lyric subject -for the woodwind. - -The Entr’acte No. 2 in B-flat major from _Rosamunde_ is one of -Schubert’s most inspired melodies, whose beauty tempted H. L. Mencken -once to point to it as the proof that God existed. Schubert himself was -fond of the melody for he used it twice more, in his String Quartet in A -minor (1824) and for a piano Impromptu in B-flat major (1827). - -There are two musical episodes in _Rosamunde_ designated as _Ballet -Music_. The famous one is the second in G major, a melody so sparkling, -infectious and graceful—and so full of the joy of life—that once again -like the _Moment Musical_ in F minor it embodies the best of what today -we characterize as Viennese. Fritz Kreisler’s transcription for violin -and piano is famous. - - - - - Robert Schumann - - -Robert Schumann was born in Zwickau, Germany, on June 8, 1810. Though he -demonstrated an unusual gift for music from earliest childhood he was -directed by his father to law. While attending the Leipzig Conservatory -in 1828 he studied the piano with Friedrich Wieck. In 1829, in -Heidelberg, where he had come to continue his law study, he completed -the first of his works to get published, the _Abegg Variations_ for -piano. He returned to Leipzig in 1829, having come to the decision to -make music and not law his lifework, and plunged intensively into study. -His ambition was to become a great virtuoso of the piano. In his efforts -to master his technique he so abused his hands that a slight paralysis -set in, putting to rest all hopes of a career as pianist. He now decided -on composition. After an additional period of study with Heinrich Dorn, -he completed his first major work, the _Paganini Etudes_ for piano, and -started work on his first symphony. He became active in the musical life -of Leipzig by helping found and editing the _Neue Zeitschrift fuer -Musik_, which became a powerful medium for fighting for the highest -ideals in music. He also formed a musical society called the -_Davidsbuendler_ made up of idealistic young musicians who attacked -false values and philistinism in music. All the while his creative life -was unfolding richly. He wrote two unqualified masterworks for piano -between 1833 and 1835, the _Carnaval_ and the _Études symphoniques_. In -1840 Schumann married Clara Wieck, daughter of his one-time piano -teacher. Their love affair had been of more than five years’ duration, -but Clara’s father was stubbornly opposed to their marriage and put -every possible obstacle in their way. Schumann finally had to seek the -sanction of the law courts before his marriage could be consummated. He -now entered upon his most productive period as composer, completing four -symphonies, three string quartets, a piano quartet, numerous songs, a -piano concerto among other works. In 1843, he helped found the Leipzig -Conservatory where for a while he taught the piano, and between 1850 and -1853 he was municipal music director for the city of Duesseldorf. After -1853 there took place a startling deterioration of his nervous system, -bringing on melancholia, lapses of memory, and finally insanity. The -last two years of his life were spent in an asylum at Endenich, Germany, -where he died on July 29, 1856. - -Schumann was a giant in German Romantic music. His works abound with the -most captivating lyricism, heartfelt emotion, subtle moods, and an -unrestricted imagination. There is not much in this wonderful literature -that falls naturally within the category of semi-classics—only three -piano pieces familiar in transcriptions, and a song. - -_Abendlied_ (_Evening Song_), a gentle mood picture in the composer’s -most rewarding Romantic vein, comes from _Twelve Four-Hand Pieces for -Younger and Older Children_, op. 85 (1849) where it is the final number. - -“_Die beiden Grenadiere_” (_The Two Grenadiers_) op. 49, no. 1 (1840) is -probably the most familiar of Schumann’s many songs. The poem is by -Heine. The music describes with telling effect the reaction of two -French grenadiers on learning that their Emperor Napoleon has been -captured. The song reaches a powerful climax with a quotation from the -_Marseillaise_. - -The _Traeumerei_ (_Dreaming_) is the seventh number in a set of thirteen -piano pieces collectively entitled _Scenes from Childhood_ -(_Kinderscenen_), op. 15, (1838). Like the _Abendlied_, it is an -atmospheric piece, perhaps one of the most popular compositions by -Schumann. - -_Wild Horseman_ (_Wilder Reiter_) can be found in the _Album for the -Young_ (_Album fuer die Jugend_), op. 68, no. 3 (1848). It was made into -an American popular song in the early 1950’s by Johnny Burke. - - - - - Cyril Scott - - -Cyril Meir Scott was born in Oxton, England, on September 27, 1879. His -musical training took place at Hoch’s Conservatory in Frankfort, -Germany, and privately with Ivan Knorr. He went to live in Liverpool in -1898 where he taught piano and devoted himself to composition. -Performances of several orchestral and chamber-music works at the turn -of the century helped establish his reputation. He also distinguished -himself as a concert pianist with performances throughout Europe and a -tour of America in 1921. Though frequently a composer with _avant-garde_ -tendencies—one of the first English composers to use the most advanced -techniques of modern music—Scott is most famous for his short pieces for -the piano which have been extensively performed in transcription. His -writing is mainly impressionistic, with a subtle feeling for sensitive -atmosphere and moods. The best of these miniatures, each a delicate tone -picture, are: _Danse nègre_ (_Negro Dance_), op. 58, no. 3 (1908); and -_Lotus Land_, op. 47, no. 1 (1905). The latter was transcribed for -violin and piano by Kreisler and for orchestra by Kostelanetz. - - - - - Jean Sibelius - - -Jean Sibelius was born in Tavastehus, Finland, on December 8, 1865. -Though he early revealed a pronounced gift for music he planned a career -in law. After a year at the University of Helsinki he finally decided -upon music. From 1886 to 1889 he attended the Helsinki Conservatory -where one of his teachers was Ferruccio Busoni, after which he studied -in Berlin with Albert Becker and in Vienna with Robert Fuchs and Karl -Goldmark. He was back in his native land in 1891, and one year after -that conducted in Helsinki the première of his first work in a national -style, _Kullervo_. From then on, he continued producing works with a -pronounced national identity with which he became not only one of -Finland’s leading creative figures in music but also its prime musical -spokesman. In 1897 he was given the first government grant ever bestowed -on a musician which enabled him to give up his teaching activities for -composition. He now produced some of his greatest music, including most -of his symphonies. In 1914 he paid his only visit to the United States, -directing a concert of his works in Norfolk, Connecticut. After World -War I, he toured Europe several times. Then from 1924 on he lived in -comparative seclusion at his home in Järvenpää, which attracted admirers -from all parts of the world. Sibelius wrote nothing after 1929, but by -then his place in the world’s music was secure as one of the foremost -symphonists since Brahms. In Finland he assumed the status of a national -hero. He died at his home in Järvenpää on September 20, 1957. - -Some of the compositions by Sibelius enjoying popularity as -semi-classics are in the post-Romantic German style which he had assumed -early in his career; only one or two are in the national idiom for which -he is so famous. - -In the former category belongs a slight, sentimental piece called -_Canzonetta_, for string orchestra, op. 62a (1911). As its name implies -it is a small and simple instrumental song for muted strings, deeply -emotional in feeling, at times with deeply somber colorations. - -_Finlandia_, for symphony orchestra, op. 26 (1900) is one of Sibelius’ -earliest national compositions, and to this day it is the most famous. -Both in and out of Finland this music is as much an eloquent voice for -its country as its national anthem. One can go even further and say that -more people in the world know the melodies of _Finlandia_ than the -Finnish anthem. So stirring are its themes, so identifiably Finnish in -personality and color, that for a long time it was believed Sibelius had -utilized national folk tunes; but the music is entirely Sibelius’. It -opens with a proud exclamation in the brass. After this comes a -sensitive melody for the woodwind, and a prayer-like song for the -strings. The music now enters a dramatic phase with stormy passages. But -there soon arrives the most famous melody in the entire work, a -beautiful supplication sounded first by the woodwind and then by the -strings. A forceful climax ensues with a strong statement which seems to -be speaking in loud and ringing tones of the determination of the people -to stay free. - -Performances of _Finlandia_ played a prominent role in the political -history of Finland. When performed in its first version, in 1899, it was -used to help raise funds for a Press Pension fight against the -suppression of free speech and press by the Russians. Within the next -two years (following a radical revision of the music in 1900) the work -was given under various titles: In France it was first performed as -_Suomi_ and then as _La Patrie_; in Germany, as _Vaterland_. In Finland -the music proved so inflammatory in arousing national ardor that Russia -suppressed its performances in that country, while permitting it to be -played in the Empire so long as the title _Impromptu_ was used. When, in -1905, Russia made far-reaching political concessions to Finland, -Sibelius’ tone poem was once again permitted performances. For the next -twelve years it became the national expression of a people stubbornly -fighting for its independence. Performances kept alive the national fire -to such an extent that it has been said that they did more to promote -the cause of Finland’s freedom than all the propaganda of speeches and -pamphlets. - -When the Soviets invaded Finland in the first stages of World War II, -_Finlandia_ once again acquired political importance. In the free world, -particularly in the United States, the music was used to speak for the -spirit of a people refusing to accept oppression and defeat. - -Another piece of stirring national music that has become a lighter -classic comes out of the _Karelia Suite_ for orchestra, op. 11 (1893), -the _Alla Marcia_ section. This work was written for a historical -pageant presented by the students of Viborg University and consists of -an overture, two melodious sections (_Intermezzo_ and _Ballade_) and the -_Alla marcia_, march music of dramatic surge and sweep, in which -effective use is made of abrupt key changes. - -Sibelius wrote several delightful _Romances_ in the German-Romantic -idiom of his early _Canzonetta_. One of these was originally for solo -piano, in D-flat major, op. 24, no. 9 (1903); another for violin and -piano, F major, op. 78, no. 2 (1915). The former has become popular in -transcriptions for salon orchestra; the latter, for violin and -orchestra, and cello and piano. Perhaps the most famous of Sibelius’ -_Romances_ is that in C major, for string orchestra, Op. 42 (1903). It -begins with an unorthodox opening, unusual in harmonic structure and -varied in inflections, but its principal melody—a soulful song—is in the -traditional idiom of an uninhibited Romanticist. - -The best known of Sibelius’ Romantic compositions, a universal favorite -with salon orchestras, is the _Valse Triste_, for orchestra, op. 44 -(1903). This is a section from the incidental music for _Kuolema_, a -play by Sibelius’ brother-in-law, Arvid Jaernefelt; but it is the only -one from this score to get published. This slow and lugubrious melody, -bathed in sentimentality, is a literal musical interpretation of the -following program, translated by Rosa Newmarch: “It is night. The son -who has been watching by the bedside of his sick mother has fallen -asleep from sheer weariness. Gradually a ruddy light is reflected -through the room; there is a sound of distant music; the glow and the -music steal nearer until the strains of a valse melody float distinctly -to our ears. The sleeping mother awakens, rises from her bed, and, in -her long white garment which takes the semblance of a ball dress, begins -to move slowly and silently to and fro. She waves her hands and beckons -in time to the music, as though she were summoning a crowd of invisible -guests. And now they appear, these strange visionary couples, turning -and gliding to an unearthly valse rhythm. The dying woman mingles with -the dancers, she strives to make them look into her eyes, but the -shadowy guests one and all avoid her glance. Then she seems to sink -exhausted on her couch, and the music breaks off. But presently she -gathers all her strength and invokes the dance once again with more -energetic gestures than before. Back come the shadowy dancers, gyrating -in a wild, mad rhythm. The weird gaiety reaches a climax; there is a -knock at the door, which flies wide open; the mother utters a despairing -cry; the spectral guests vanish; the music dies away. Death stands on -the threshold.” - - - - - Christian Sinding - - -Christian Sinding was born in Kongsberg, Norway, on January 11, 1856. -After attending the Leipzig Conservatory from 1877 to 1881 he settled in -Oslo as a teacher of the piano. His first published composition was a -piano quintet in 1884, and in 1885 he directed a concert of his own -music in Oslo. Though he wrote in large forms, including symphonies, -concertos, suites, tone poems and various chamber-music compositions, he -is best known for his smaller pieces for the piano. In 1890 he received -an annual subsidy from his government to enable him to devote himself -completely to composition. One of Norway’s most significant composers, -he was given a handsome life pension in 1915, and in 1916 an additional -government gift of 30,000 crowns. In 1921-1922 he visited the United -States when he served for one season as a member of the faculty of the -Eastman School of Music. He died in Oslo on December 3, 1941. - -His smaller pieces for the piano include etudes, waltzes, caprices, -intermezzos and various descriptive compositions. It is by one of the -last that he is most often remembered, a favorite of young pianists -throughout the world, and of salon and pop orchestras in instrumental -adaptations. This is the ever-popular _Rustle of Spring_ -(_Fruehlingsrauschen_), probably the most popular piece of music -describing the vernal season. This is the second of _Six Pieces_, for -solo piano, Op. 32 (1896). The rustle can be found in the accompaniment, -against which moves a soft, sentimental song filled with all the magic -of Nature’s rebirth at springtime. In this same suite, a second number -of markedly contrasting nature, has also become familiar—the first -number, played in a vigorous and picaresque style, the _Marche -grotesque_. - - - - - Leone Sinigaglia - - -Leone Sinigaglia was born in Turin, Italy, on August 14, 1868. His -preliminary music study took place at the Liceo Musicale of his native -city and was completed with Mandyczewski in Vienna and Dvořák in Prague. -The latter encouraged him to write music in a national Italian idiom. It -was in this style that he created his earliest significant compositions, -the first being _Danze piemontesi_, introduced in Turin in 1905, -Toscanini conducting. Later works included _Rapsodia piemontese_ for -violin and orchestra; _Piemonte_, for orchestra; a violin concerto; and -various works for chamber music groups, solo instruments and orchestra. -He died in Turin on May 16, 1944. - -His best known and most frequently played composition is a gay, -infectious little concert overture, _Le Baruffe chiozzotte_ (_The -Quarrels of the People of Chiozzo)_, op. 32 (1907). It was inspired by -the Goldoni comedy of the same name which offers an amusing picture of -life in the little town of Chiozzo. There Lucietto and Tita are in love, -quarrel, and become reconciled through the ministrations of the -magistrate. A loud theme for full orchestra provides the overture with a -boisterous beginning. A passing tender thought then comes as contrast. -After some elaboration of these ideas, a delightful folk song is heard -first in the oboe, and then in violins. The tempo now quickens, the mood -becomes restless, and the music grows sprightly. An amusing little -episode now appears in woodwind and violins after which the folk song -and the loud opening theme are recalled. - -_Piemonte_, a suite for orchestra, op. 36 is a charming four-movement -composition in which the folk melodies and dances of Piedmont are -prominently used. The first movement, “Over Woods and Fields,” opens -with a folk tune, which the composer repeats in the finale. Two other -delightful ideas follow: the first in the horn, repeated by the cellos; -the second in muted first violins. In the second movement, “A Rustic -Dance,” the principal Piedmont dance tune is heard in solo violin and -oboe; a second subject occurs after the development of the first in -lower strings and woodwind. The heart of the third movement, “In the -Sacred Mountain,” is a folk song first offered by the horns, accompanied -by cellos and double basses. The suite ends with a picture of a -festival, “Piedmontese Carnival,” its two vigorous ideas heard -respectively in full orchestra, and in trumpet and first violins. - - - - - Bedřich Smetana - - -Bedřich Smetana was born in Leitomischl, Bohemia, on March 2, 1824. -Though he was interested in music from childhood on, he received little -training until his nineteenth year when he came to Prague and studied -with Josef Proksch. For several years after the completion of his music -study he worked as teacher of music for Count Leopold Thun. He soon -became active in the musical life of his country; in 1848 he was a -significant force in the creation of Prague’s first music school. In -1849, Smetana was appointed pianist to Ferdinand I, the former Emperor -of Austria residing in Prague. From 1856 to 1861 Smetana lived in -Gothenburg, Sweden, where he was active as conductor, teacher, and -pianist. After returning to his native land in 1861 he became one of its -dominant musical figures. He served as director of the music school, -conducted a chorus, wrote music criticisms, founded and directed a drama -school, and organized the Society of Artists. He also wrote a succession -of major works in which the cause of Bohemian nationalism was espoused -so vigorously and imaginatively that Smetana has since become recognized -as the father of Bohemian national music. His most significant works are -the folk opera, _The Bartered Bride_, and a cycle of orchestral tone -poems collectively entitled _My Country_ (_Má Vlast_). Smetana was -stricken by deafness in 1874, despite which he continued creating -important works, among them being operas and an autobiographical string -quartet called _From My Life_ (_Aus meinem Leben_). Total deafness was -supplemented by insanity in 1883 which necessitated confinement in an -asylum in Prague where he died on May 12, 1884. - -The rich folk melodies and pulsating folk rhythms of native dance music -overflow in Smetana’s music, providing it with much of its vitality and -popular interest. Smetana’s gift at writing music in the style, idiom, -and techniques of Bohemian folk dances is evident in many of his -compositions, but nowhere more successfully than in his delightful folk -comic opera, _The Bartered Bride_ (_Prodaná nevešta_). This little -opera, first performed in Prague on May 30, 1866, is the foundation on -which Bohemian national music rests securely. It is a gay, lively -picture of life in a small Bohemian village. The principal action -involves the efforts of the village matchmaker to get Marie married to -Wenzel, a dim-witted, stuttering son of the town’s wealthy landowner. -But Marie is in love with Hans who, as it turns out, is also the son of -the same landowner, though by a previous marriage. Through trickery, -Hans manages to win Marie, though for a while matters become complicated -when Marie is led to believe that Hans has deserted her. - -In its first version, _The Bartered Bride_ was presented as a play (by -Karel Sabina) with incidental music by Smetana. Realizing that this work -had operatic possibilities, Smetana amplified and revised his score, and -wrote recitatives for the spoken dialogue. In this new extended form the -opera was heard in Vienna in 1892 and was a sensation; from then on, and -to the present time, it has remained one of the most lovable comic -operas ever written. - -There are three colorful and dynamic folk dances in this opera which -contribute powerfully to the overall national identity, but whose impact -on audiences is by no means lost when heard apart from the stage action. -“The Dance of the Comedians” appears in the third act, when a circus -troupe appears in the village square and entertains villagers with a -spirited dance. The “Furiant”—a fiery type of Bohemian dance with marked -cross rhythms—comes in the second act when villagers enter the local inn -and perform a Corybantic dance. The “Polka,” a favorite Bohemian dance, -comes as an exciting finish to the first act as local residents give -vent to their holiday spirits during a festival in the village square. - -The effervescent overture which precedes the first act is as popular as -the dances. The merry first theme is given by strings and woodwind in -unison against strong chords in brasses and timpani. This subject is -simplified, at times in a fugal style, and is brought to a climax before -a second short subject is stated by the oboe. Still a third charming -folk tune appears, in violins and cellos, before the first main subject -is recalled and developed. The coda, based on this first theme, carries -the overture to a lively conclusion. Gustav Mahler, the eminent music -director of the Vienna Royal Opera which gave this opera its first major -success outside Bohemia, felt this overture was so much in the spirit of -the entire work, and so basic to its overall mood and structure, that he -preferred using it before the second act so that latecomers into the -opera house might not miss it. - -Smetana’s most famous work for orchestra comes from his cycle of six -national tone poems entitled _My Country_ (_Má Vlast_), which he wrote -between 1874 and 1879 in a tonal tribute to his native land. Each of the -tone poems is a picture of a different facet of Bohemian life, -geography, and background. The most famous composition of this set is -_The Moldau_ (_Vltava_), a portrait of the famous Bohemian river. This -is a literal tonal representation of the following descriptive program -interpolated by the composer in his published score: - -“Two springs gush forth in the shade of the Bohemian forest, the one -warm and spouting, the other cold and tranquil. Their waves, gayly -rushing onward over their rocky beds, unite and glisten in the rays of -the morning sun. The forest brook, fast hurrying on, becomes the river -Vltava, which, flowing ever on through Bohemia’s valleys, grows to be a -mighty stream; it flows through thick woods in which the joyous noise of -the hunt and the notes of the hunter’s horn are heard ever nearer and -nearer; it flows through grass-grown pastures and lowlands where a -wedding feast is celebrated with song and dancing. At night the wood and -water nymphs revel in its shining waves, in which many fortresses and -castles are reflected as witnesses of the past glory of knighthood and -the vanished warlike fame of bygone ages. At St. John Rapids the stream -rushes on, winding in and out through the cataracts, and hews out a path -for itself with its foaming waves through the rocky chasm into the broad -river bed in which it flows on in majestic repose toward Prague, -welcomed by time-honored Vysehrad, whereupon it vanishes in the far -distance from the poet’s gaze.” - -The rippling flow of the river Moldau is portrayed by fast figures in -the strings, the background for a broad and sensual folk song -representing the river itself heard in violins and woodwind. Hunting -calls are sounded by the horns, after which a lusty peasant dance erupts -from the full orchestra. Nymphs and naiads disport to the strains of a -brief figure in the woodwind. A transition by the wind brings back the -beautiful Moldau song. A climax is built up, after which the setting -becomes once again serene. The Moldau continues its serene course -towards Prague. - - - - - John Philip Sousa - - -John Philip Sousa, America’s foremost composer of march music, was born -in Washington, D. C., on November 6, 1854. The son of a trombone player -in the United States Marine Band, John Philip early received music -instruction, mainly the violin from John Esputa. When he was about -thirteen, John enlisted in the Marine Corps where he played in its band -for two years. For several years after that he played the violin in and -conducted the orchestras of various theaters; in the summer of 1877 he -played in an orchestra conducted by Jacques Offenbach at the -Philadelphia Centennial Exposition. Between 1880 and 1892 he was the -musical director of the Marine Band. It was during this period that he -wrote his first famous marches. In 1892 he formed a band of his own with -which he toured Europe and America for many years, and with which he -gave more than a thousand concerts. His most popular marches (together -with his best transcriptions for band of national ballads and patriotic -airs) were always the highlights of his concerts. Besides the marches, -Sousa wrote the music for numerous comic operas, the most famous being -_El Capitan_ (1896) and _The Bride Elect_ (1898). In 1918 Sousa and his -band were heard in the Hippodrome extravaganza, _Everything_. He -published his autobiography, _Marching Along_, in 1928, and died in -Reading, Pennsylvania, on March 6, 1932. - -In the closing years of the 19th century, and in the first part of the -20th, America was undergoing expansion in many directions: art, science, -literature, commerce, finance, world affairs. Hand in hand with this -development and growth came an aroused patriotism and an expanding -chauvinism. Sousa’s marches were the voice of this new and intense -national consciousness. - -As Sigmund Spaeth has pointed out, most of Sousa’s famous marches follow -a similar pattern, beginning with “an arresting introduction, then using -a light, skipping rhythm for his first melody, going from that into a -broader tune,” then progressing to the principal march melody. A massive -climax is finally realized with new, vibrant colors being realized in -the main march melody through striking new combinations of instruments. - -The following are some of Sousa’s most popular marches: - -_El Capitan_ (1896) was adapted from a choral passage from the comic -opera of the same name. This music was played aboard Admiral Dewey’s -flagship, _Olympia_, when it steamed down Manila Bay for battle during -the Spanish-American War. And it was again heard, this time performed by -Sousa’s own band, when Dewey was welcomed as a conquering hero in New -York on September 30, 1900. - -_King Cotton_ (1895) was written on the occasion of the engagement of -the Sousa Band at the Cotton States Exposition. _Semper Fideles_ (1888) -was Sousa’s first famous composition in march tempo, and to this day it -is still one of his best known marches, a perennial favorite with -parades of all kinds. Since Sousa sold this march outright for $35.00 he -never capitalized on its immense popularity. - -Sousa’s masterpiece—and probably one of the most famous marches ever -written—was the _Stars and Stripes Forever_, completed on April 26, -1897. In 1897 Sousa was a tourist in Italy when he heard the news that -his friend and manager had died in the United States. Sousa decided to -return home. Aboard the _Teutonic_ a march melody kept haunting him. As -soon as he came home he put the melody down on paper, and it became the -principal subject of “The Stars and Stripes Forever.” This principal -melody achieves an unforgettable climax in the march when it is proudly -thundered by the full orchestra to figurations in the piccolo. - -_The Thunderer_ and _The Washington Post March_ were written in 1889. -The latter was commissioned by the _Washington Post_ for the ceremonies -attending the presentation of prizes in a student essay contest. - -Among Sousa’s other marches are _The Bride Elect_ (1897) from the comic -opera of the same name; _The Fairest of the Fair_ (1908); _Hands Across -the Sea_ (1899); _Invincible Eagle_ (1901); and _Saber and Spurs_ (1915) -dedicated to the United States Cavalry. - -It was long maintained that Sousa was the composer of the famous hymn of -the Artillery branch of the United States armed services, “The Caisson -Song.” Sousa played this march in his own brilliant new band arrangement -at a Liberty Loan Drive at the Hippodrome, in New York, in 1918. For -some time thereafter Sousa was credited as being the composer. But -further research revealed the fact that the words and music had been -written in 1908 by Edmund L. Gruber, then a lieutenant with the 5th -Artillery in the Philippines. - - - - - Oley Speaks - - -Oley Speaks was born in Canal Winchester, Ohio, on June 28, 1874. He -received his musical training, principally in voice, from various -teachers including Armour Galloway and Emma Thursby. He then filled the -post of baritone soloist at churches in Cleveland, Ohio, and New York -City, including the St. Thomas Church in New York from 1901 to 1906. He -also filled numerous engagements in song recitals and performances of -oratorios. He died in New York City on August 27, 1948. - -Speaks was the composer of more than 250 published art songs which have -placed him in a front rank among American song composers. Three have -become outstandingly popular; there is hardly a male singer anywhere who -has not sung such all-time favorites as “Morning,” “On the Road to -Mandalay” and “Sylvia,” each of which is among the most widely -circulated and most frequently heard art songs by an American. -“Morning,” words by Frank L. Stanton, was published in 1910. Where -“Morning” is lyrical, “On the Road to Mandalay” (published in 1907) is -dramatic, a setting of the famous poem by Rudyard Kipling. The -persistent rhythmic background suggesting drum beats, and the effective -key change from verse to chorus, have an inescapable effect on -listeners. “Sylvia,” poem by Clinton Scollard, published in 1914, is in -a sentimental mood, and like “Morning” reveals the composer’s marked -gift for sensitive lyricism. - - - - - Robert Stolz - - -Robert Stolz was born in Graz, Austria, on August 25, 1882. His parents -were musical, his father being a successful conductor and teacher, and -his mother a concert pianist. Robert’s music study took place first with -his father, then with Robert Fuchs in Vienna and Humperdinck in Berlin. -In 1901 he assumed his first post as conductor, at an opera house in -Brunn. When he was twenty-five he was appointed conductor of the -Theater-an-der-Wien in Vienna where he remained twelve years, directing -most of the masterworks in the field of Austrian and German operettas. -His own career as composer of operettas had begun in 1903 with _Schoen -Lorchen_ produced in Salzburg. Since then Stolz has written music for -about sixty operettas, scores for more than eighty films, and a thousand -songs in all. His music is in the light, graceful, ebullient style that -has characterized Viennese operetta music since the time of Johann -Strauss II. His most famous operettas are: _Die lustigen Weiber von -Wien_ (1909), _Die Gluecksmaedel_ (1910), _Die Tanzgraefin_ (1921), -_Peppina_ (1931), _Zwei Herzen in dreiviertel Takt_ (1933), _Fruehling -im Prater_ (1949) and _Karneval in Wien_ (1950). In 1938 Stolz came to -the United States where for several years he worked in Hollywood. After -the end of World War II he returned to Vienna, remaining active as a -composer not only in that city but also in Berlin and London. - -Stolz’ most famous song is “_Im Prater bluehn wieder die Baeume_” (“In -the Prater the Trees Are Again Blooming”), a glowing hymn not only to a -district in Vienna famous for its frolic and amusement but even more so -to the city of Vienna itself. - -A waltz from his operetta, _Two Hearts in Three-Quarter Time_ (_Zwei -Herzen in dreiviertel Takt_) is perhaps one of the most celebrated -pieces in three-quarter time written in Vienna since Lehár, and it is -loved the world over. This operetta originated in 1931 as a German -motion-picture which won accolades around the world for its charm and -freshness, for which Stolz wrote a score that included his famous waltz. -It was then adapted for the stage by Paul Knepler and J. M. Willeminsky -and introduced in Zurich, Switzerland, in 1933. This delightful text -concerns the trials and tribulations of producing an operetta. That -operetta is accepted for production on the condition that a good waltz -melody is written for it, and the composer Toni Hofer gets his -inspiration for that tune from lovely Hedi, the young sister of the -librettist. This waltz, of course, is the title number, which, in its -lilt and buoyancy and Viennese love of life, is in the best tradition of -Viennese popular music. - - - - - Oscar Straus - - -Oscar Straus was no relation to any of the famous Viennese Strausses; -nevertheless in the writing of light, gay music in waltz tempo and -spirited melodies for the operetta stage he was certainly their -spiritual brother. He was born in Vienna on March 6, 1870, and studied -music with private teachers in Vienna and Berlin, including Max Bruch. -In 1901 he settled in Berlin where he became conductor at a famous -cabaret, _Ueberbrettl_, for whose productions of farces he wrote a -number of scores. Soon after that he turned to writing operettas, -becoming world famous with _The Waltz Dream_ in 1907 and _The Chocolate -Soldier_ in 1908, both introduced in Vienna. He wrote about thirty -operettas after that, many heard with outstanding success in the music -centers of the world. The best of these were _Der letzte Walzer_ (1920), -_Die Teresina_ (1921), _Drei Walzer_ (1935), and _Bozena_ (1952). He was -at his best writing waltz melodies but he was also skilful in -interpolating satirical elements into his musical writing through the -exploitation of ragtime, jazz, and the shimmy. Straus lived in Berlin -until 1927, and for a decade after that he made his home in Vienna and -Paris. In 1939 he became a French citizen, and from 1940 to 1948 he -lived in the United States, filling some assignments in Hollywood. He -returned to his native land in 1948, and died at Bad Ischl, Austria, on -January 11, 1954. - -_The Chocolate Soldier_ (_Der tapfere Soldat_) was the operetta -adaptation of Bernard Shaw’s comedy, _Arms and the Man_, by R. Bernauer -and L. Jacobsen. Its première took place in Vienna on November 14, 1908, -with the first American performance taking place a year later at the -Casino Theater in New York. The setting is Serbia in 1885 where the -hero, Lieutenant Bumerli, gains the nickname of “chocolate soldier” -because of a sweet tooth. While escaping from the enemy, he finds refuge -in the bedroom of Nadina, daughter of Colonel Popoff. Nadina becomes the -instrument by means of which the lieutenant is now able to effect his -escape, disguised in the coat of Colonel Popolf. But before the final -curtain Bumerli and Nadina also become lovers. - -The waltz, “My Hero,” (“_Komm, Komm, Held meiner Traeume_”) Nadina’s -waltz of love to the chocolate soldier, is the most celebrated excerpt -from this operetta. Other familiar pages include the lovely first act -duet of Nadina and Bumerli, “Sympathy”; the little orchestral march in -the second act, a satirical take off on military pomp and circumstance; -and Nadina’s “Letter Song” in the third act. - -_A Waltz Dream_ (_Ein Walzertraum_), book by Felix Doermann and Leopold -Jacobsen, was introduced in Vienna on March 2, 1907, and in New York in -April 1908. Lieutenant Niki of the Austrian army is ordered by the -Austrian Emperor to marry Princess Helen, but he falls in love with -Frantzi, a violinist in a girl’s orchestra. This love affair becomes -frustrated when Niki must return to Vienna to become Prince Consort. - -The main musical selection from this operetta is the title number, a -waltz which first appears as a duet between Niki and a fellow officer in -the first act, then recurs throughout the operetta, and finally brings -it to a close. Two sprightly march excerpts, from the second and third -acts respectively, and the duet, “Piccolo, piccolo, tsin, tsin, tsin” -are also popular. - - - - - Eduard Strauss - - -Eduard Strauss, the younger brother of Johann Strauss II, was born in -Vienna on March 15, 1835. He studied music in Vienna with G. Preyer -following which he made his café-house debut in 1862 by conducting his -father’s orchestra at the Dianasaal. He continued to lead his father’s -orchestra at the Volksgarten and Musikverein as well as at various -leading café-houses in Vienna. He also made many tours, including two of -the United States in 1892 and 1901. In 1902 he dissolved the musical -organization which his father had founded three-quarters of a century -earlier and which all that time had dominated the musical life of -Vienna. Besides conducting this orchestra, he also substituted from time -to time for his famous brother, Johann Strauss II, and in 1870 he -succeeded him as conductor of the court balls. Eduard Strauss died in -Vienna on December 28, 1916. - -Eduard wrote over three hundred popular instrumental compositions in the -style of his celebrated brother but without ever equalling his -remarkable creative freshness and originality. But there is a good deal -of pleasurable listening in Eduard’s waltzes and polkas. In the former -category belongs the _Doctrinen_ (_Faith_) Waltzes, op. 79; in the -latter, the gay _Bahn Frei_ (_Fast Track_) Polka, op. 45. In -collaboration with his two brothers, Johann and Josef, Eduard wrote the -_Trifolienwalzer_ and the _Schuetzenquadrille_. - - - - - Johann Strauss I - - -Johann Strauss I was one of the two waltz kings of Vienna bearing that -name. The more famous one, the composer of “The Blue Danube” was the -son. But the father was also one of Vienna’s most popular composers and -café-house conductors. He was born in Vienna on March 14, 1804, and as a -boy he studied both the violin and harmony. His love for music, combined -with the decision of his parents to make him a bookbinder, led him to -run away from home. When he was fifteen he joined Michael Pamer’s -orchestra which played at the Sperl café; another of its members was -Josef Lanner, soon also to become a major figure in Vienna’s musical -life. As Lanner’s star rose, so did Johann Strauss’. First Strauss -played in the Lanner Quartet at the _Goldenen Rebbuhn_ and other cafés; -after that he was a member of the Lanner Orchestra which appeared in -Vienna’s leading cafés. When Lanner’s mounting success made it necessary -for him to create two orchestras, he selected Johann Strauss to conduct -one of them. Then, in 1826, Johann Strauss formed an orchestra of his -own which made its debut at the Bock Café. For the next two decades he -was the idol of Vienna, Lanner’s only rival. By 1830 he had two hundred -musicians under him. His major successes as a café-house conductor came -at the Sperl and the Redoutensaal. But his fame spread far beyond -Vienna. In 1833 he toured all Austria, and in 1834 he appeared in -Berlin. After that he performed in all the major European capitals, -achieving formidable successes in London and Paris. Meanwhile, in 1833, -he had become bandmaster of the first Vienna militia regiment, one of -the highest honors a performer of light music could achieve in Austria. -In 1845 he was appointed conductor of the Viennese court balls. He died -in Vienna on September 25, 1849. - -Like Lanner, Strauss wrote a considerable amount of dance and café-house -music, over 250 compositions. His first composition was the -_Taeuberlwalzer_, named after the café _Zwei Tauben_ where he was then -appearing. After that he wrote waltzes, galops, polkas, quadrilles, -cotillons, contredanses, and marches—which Vienna came to love for their -rhythmic vitality and appealing lyricism. People in Vienna used to say -that the waltzes of the first Johann Strauss were _made_ for dancing -because their rhythmic pulse excited the heart and made feet restless. - -Not much of the father Strauss’ library of music has survived. The -exceptions are the following waltzes: _Caecilien_, _Donaulieder_, the -_Kettenbruecken_, and the _Lorelei Rheinsklaenge_. To the waltz, the -older Johann Strauss brought a symphonic dimension it had heretofore not -known, particularly in his spacious introductions of which the -thirty-bar prelude of the _Lorelei Rheinsklaenge_ is an outstanding -example. He also carried over to the waltz a variety of mood and feeling -and a lightness of touch new for this peasant dance. “This demon of the -ancient Viennese folk spirit,” wrote Richard Wagner after hearing -Strauss perform one of his own waltzes in Vienna, “trembled at the -beginning of a new waltz like a python preparing to spring, and it was -more the ecstasy produced by the music than the drinks among the -enchanted audience that stimulated that magical first violin to almost -dangerous flights.” - -Of his other music the most famous is the _Radetzky March_. Count -Radetzky was an Austrian military hero, victor over the Italians in -1848-1849. In honor of his Italian triumphs and suppression of the -Italian nationalist movement, Strauss wrote the spirited, sharply -accented march in 1848 which almost at once became the musical symbol of -Hapsburg Vienna and Austrian military power. The following programmatic -interpretation of this music by H. E. Jacob is of interest: “Drunk with -triumph, the Generalissimo’s battalions hurl themselves down into -Lombardy. They are close on the heels of the fleeing troops of King -Albert, the King of Sardinia. And then comes a new phase of the march to -accompany the victorious troops. A different sun shines down on this, a -memory of Vienna, a lingering trace of the feel of girls’ arms; scraps -of a dance song with a backward glance at three-quarter time. But on -they go, still forward. There are no more shots, there is laughter. The -trio follows. The ... superdominant ... hoisted as if it were a flag.... -Finally comes the return of the principal theme with the laurels and -gaiety of victory.” - - - - - Johann Strauss II - - -Johann Strauss II, son of the first Johann Strauss, was born in Vienna -on October 25, 1825. Though he showed an unmistakable bent for music -from his childhood on, he was forbidden by his father to study music or -to indulge in any musical activity whatsoever. The young Johann Strauss, -encouraged by his mother, was forced to study the violin surreptitiously -with a member of his father’s orchestra. Only after the father had -deserted his family, to set up another home with his mistress, did young -Johann begin to devote himself completely and openly to music. After -studying the violin with Kohlmann and counterpoint with Joseph -Drechsler, he made his debut as a café-house conductor and composer at -Dommayer’s Casino in Hietzing, near Vienna, on October 15, 1844. The -event was widely publicized and dramatized in Vienna, since the son was -appearing as a rival to his father. For this momentous debut, the son -wrote the first of his waltzes—the _Gunstwerber_ and the -_Sinngedichte_—which aroused immense enthusiasm. He had to repeat the -last-named waltz so many times that the people in the café lost count. -“Ah, these Viennese,” reported the editor of _The Wanderer_. “A new -waltz player, a piece of world history. Good night, Lanner. Good -evening, Father Strauss. Good morning, Son Strauss.” The father had not -attended this performance, but learned of his son’s triumph from one of -his cronies. - -Thus a new waltz king had arisen in Vienna. His reign continued until -the end of the century. For fifty years Johann Strauss II stood alone -and unequalled as the musical idol of Vienna. His performances were the -talk of the town. His own music was on everyone’s lips. After the death -of father Strauss in 1849, he combined members of the older man’s -orchestra with his own, and toured all of Europe with the augmented -ensemble. From 1863 to 1870 he was conductor of the Viennese balls, a -post once held by his father. In 1872 he made sensational appearances in -Boston and New York. All the while he was writing some of the most -famous waltzes ever written, as well as quadrilles and polkas and other -dance pieces. And in 1871, with the première in Vienna of _Indigo_ he -entered upon a new field, that of the operetta, in which once again he -was to become a dominating figure. He was admired not merely by the -masses but also by some of the greatest musicians of his -generation—Brahms, Wagner, Verdi, Hans von Buelow, Offenbach, Goldmark, -Gounod, all of whom expressed their admiration for his music in no -uncertain terms. In 1894, Vienna celebrated the 50th anniversary of his -debut with a week of festive performances; congratulations poured into -Vienna from all parts of the civilized world. He died five years after -that—in Vienna on June 3, 1899—and was buried near Schubert, Beethoven, -and Brahms. - -It is perhaps singularly fitting that Johann Strauss should have died in -1899. A century was coming to an end, and with it an entire epoch. This -is what one court official meant when he said that “Emperor Francis -Joseph reigned until the death of Johann Strauss.” History, with its -cold precision, may accurately record that the reign of Francis Joseph -actually terminated in 1916. But its heyday had passed with the 19th -century. The spirit of old Vienna, imperial Vienna of the Hapsburgs, the -Vienna that had been inspiration for song and story, died with Johann -Strauss. After 1900, Vienna was only a shadow of its former self, and -was made prostrate by World War I. - -If the epoch of “old Vienna” died with Johann Strauss, it was also born -with him. After 1825, the social and intellectual climate in the -imperial city changed perceptibly. The people, always gay, now gave -themselves up to frivolity. For this, political conditions had been -responsible. The autocratic rule of Francis I brought on tyranny, -repression, and an army of spies and informers. As a result, the -Viennese went in for diversions that were safe from a political point of -view: flirtation, gossip, dancing. They were partial to light musical -plays and novels. Thus, an attitude born out of expediency, became, with -the passing of time, an inextricable part of everyday life in Vienna. - -Of the many light-hearted pleasures in which the Viennese indulged none -was dearer to them than dancing. It has been recorded that one out of -every four in Vienna danced regularly. They danced the polka, and the -quadrille; but most of all they danced the waltz. - -Johann Strauss II was the genius of the Viennese waltz. More than -anybody before him or since he lifted the popular dance to such artistic -importance that his greatest waltzes are often performed at symphony -concerts by the world’s greatest orchestras under the foremost -conductors. Inexhaustible was his invention; richly inventive, his -harmonic writing; subtle and varied his gift at orchestration; fresh and -personal his lyricism; aristocratic his structure. To the noted 20th -century German critic, Paul Bekker, the Strauss waltz contained “more -melodies than a symphony of Beethoven, and the aggregate of Straussian -melodies is surely greater than the aggregate of Beethoven’s.” - -Actually the waltz form used by Strauss is basically that of Lanner and -of Strauss’ own father. A slow symphonic introduction opens the waltz. -This is followed by a series of waltz melodies (usually five in number). -A symphonic coda serves both as a kind of summation and as a conclusion. -But here the similarity with the past ends. This form received from the -younger Strauss new dimension, new amplification. His introductions are -sometimes like tone poems. The waltz melodies are incomparably rich in -thought and feeling, varied in mood and style. A new concept of thematic -developments enters waltz writing with Strauss. And his codas, as his -introductions, are symphonic creations built with consummate skill from -previously stated ideas, or fragments of these ideas. No wonder, then, -that the waltzes of Johann Strauss have been described as “symphonies -for dancing.” - -The following are the most popular of the Johann Strauss waltzes: - -_Acceleration_ (_Accelerationen_), op. 234, as the title indicates, -derives its effect from the gradual acceleration in tempo in the main -waltz melody. Strauss had promised to write a waltz for a ball at the -Sofiensaal but failed to deliver his manuscript even at the zero hour. -Reminded of his promise, he sat down at a restaurant table on the night -of the ball and hurriedly wrote off the complete _Acceleration Waltz_ on -the back of a menu card, and soon thereafter conducted the première -performance. - -_Artist’s Life_ (_Kuenstlerleben_), op. 316, opens in a tender mood. A -transition is provided by an alternation of soft and loud passages, -after which the first waltz melody erupts zestfully as a tonal -expression of the lighthearted gaiety of an artist’s life. A similar -mood is projected by the other waltz melodies. - -_The Blue Danube_ (_An der schoenen blauen Donau_), op. 314, is perhaps -the most famous waltz ever written, and one of the greatest. It is now a -familiar tale how Brahms, while autographing a fan of Strauss’ wife, -scribbled a few bars of this waltz and wrote underneath, “alas, not by -Brahms.” Strauss wrote _The Blue Danube_ at the request of John Herbeck, -conductor of the Vienna Men’s Singing Society; thus the original version -of the waltz is for chorus and orchestra, the text being a poem by Karl -Beck in praise of Vienna and the Danube. Strauss wrote this waltz in -1867, and it was introduced on February 15 of the same year at the -Dianasaal by Strauss’ orchestra, supplemented by Herbeck’s singing -society. The audience was so enthusiastic that it stood on the seats and -thundered for numerous repetitions. In the Spring of 1867, Strauss -introduced his waltz to Paris at the International Exposition where it -was a sensation. A tremendous ovation also greeted it when Strauss -performed it for the first time in London, at Covent Garden in 1869. -When Johann Strauss made his American debut, in Boston in 1872, he -conducted _The Blue Danube_ with an orchestra numbering a thousand -instruments and a chorus of a thousand voices! Copies of the music were -soon in demand in far-off cities of Asia and Australia. The publisher, -Spina, was so deluged by orders he had to have a hundred new copper -plates made from which to print over a million copies. - -It is not difficult to see why this waltz is so popular. It is an -eloquent voice of the “charm, elegance, vivacity, and sophistication” of -19th century Vienna—so much so that it is second only to Haydn’s -Austrian National Anthem as the musical symbol of Austria. - -_Emperor Waltz_ (_Kaiserwalz_), op. 437, was written in 1888 to -celebrate the 40th anniversary of the reign of Franz Joseph I. This is -one of Strauss’ most beautiful waltzes. A slow introduction spanning -seventy-four bars that has delicacy and grace, and is of a stately -march-like character, is Viennese to its very marrow. A suggestion of -the main waltz tune then appears quickly but is just as quickly -dismissed by a loud return of the main introductory subject. Trombones -lead to a brief silence. After some preparation, a waltz melody of rare -majesty finally unfolds in the strings. If this wonderful waltz melody -can be said to represent the Emperor himself then the delightful waltz -tunes that follow—some of almost peasant character—can be said to speak -for the joy of the Austrian people in honoring their beloved monarch. An -elaborate coda then comes as the crown to the whole composition. - -_Morning Journals_ (_Morgenblaetter_), op. 279, was written for a -Viennese press club, the Concordia. Offenbach had previously written for -that club a set of waltzes entitled “_Evening Journals_.” Strauss -decided to name his music _Morning Journals_. The Offenbach composition -is today remembered only because it provided the stimulus for Strauss’ -title. But Strauss’ music remains—the four waltzes in his freshest and -most infectious lyric vein, and its introduction highlighted by a melody -of folk song simplicity. - -_Roses from the South_ (_Rosen aus dem Sueden_), op. 388, is a potpourri -of the best waltz tunes (each a delight) from one of the composer’s -lesser operettas, _Spitzentuch der Koenigen_ (_The Queen’s Lace -Handkerchief_). The “south” in the title refers to Spain, the background -of the operetta, but there is nothing Spanish to this unmistakably -Viennese music. - -_Tales from the Vienna Woods_ (_G’schichten aus dem Wiener Wald_), op. -325—performed for the first time by the Strauss orchestra at the _Neue -Welt_ café in 1868—is a bucolic picture of Nature’s beauty in the -forests skirting Vienna. The beauty of Nature is suggested in the -stately introduction with its open fifths and its serene melody for -cello followed by a flute cadenza. All the loveliness of the Vienna -woods is then represented by a waltz melody (originally scored for -zither, but now most often presented by strings), a loveliness that is -carried on with incomparable grace and charm by the ensuing waltz tunes. - -_Vienna Blood_ (_Wiener Blut_), op. 354, like so many other Strauss -waltzes, is a hymn of praise to Strauss’ native cities; but where other -waltzes are light and carefree, this one is more often moody, dreamy, -and at times sensual. After the introduction come four waltz melodies, -the first full of fire and the last one touched with sentimentality. The -second and third waltz tunes are interesting for their rhythmic vitality -and marked syncopations. - -_Voices of Spring_ (_Fruehlingstimmen_), op. 410—dedicated to the -renowned Viennese pianist, Albert Gruenfeld—is (like the _Tales from the -Vienna Woods_) an exuberant picture of the vernal season, the joy and -thrill that the rebirth of Nature always provides to the Viennese. - -_Wine, Woman and Song_ (_Wein, Weib und Gesang_), op. 333, opens with an -eloquent mood picture that is virtually an independent composition, even -though it offers suggestions of later melodies. This is a spacious -ninety-one bar introduction that serves as an eloquent peroration to the -four waltz melodies that follow—each graceful, vivacious, and at times -tender and contemplative. Richard Wagner, upon hearing Anton Seidl -conduct this music, was so moved by it that at one point he seized the -baton from Seidl’s hand and conducted the rest of the piece himself. - -Strauss wrote other dance music besides waltzes. He was equally -successful in bringing his wonderful melodic invention, fine rhythmic -sense, and beautiful instrumentation to the Polka, the native Bohemian -dance in duple quick time and in a lively mood. The best of the Strauss -polkas are: _Annen-Polka_, op. 117; _Electrophor Polka_, op. 297 -dedicated to the students of a Vienna technical school, its effect -derived from its breathless tempo and forceful dynamics; _Explosions -Polka_, op. 43, written when Strauss was only twenty-two and -characterized by sudden brief crescendos; _Pizzicato Polka_, written in -collaboration with the composer’s brother Josef, and, as the name -indicates, an exercise in plucked strings; and the capricious -_Tritsch-Tratsch_ (or _Chit-Chat_) _Polka_, op. 214. - -Of Strauss’ other instrumental compositions, the best known is a lively -excursion in velocity called _Perpetual Motion_, op. 257, which the -composer himself described as a “musical jest.” - -Beyond being Vienna’s waltz king, Johann Strauss II was also one of its -greatest composers of operettas. Indeed, if a vote were to be cast for -the greatest favorite among all Vienna operettas the chances are the -choice would fall on Strauss’ _Die Fledermaus_ (_The Bat_), first -produced in Vienna on April 5, 1874, book by Carl Haffner and Richard -Genée based on a French play by Meilhac and Halévy. This work is not -only a classic of the light theater, but even a staple in the repertory -of the world’s major opera houses. It is a piece of dramatic intrigue -filled with clever, bright and at times risqué humor, as well as irony -and gaiety. The plot, in line with operetta tradition, involves a love -intrigue: between Rosalinda, wife of Baron von Eisenstein, and Alfred. -The Baron is sought by the police for some slight indiscretion, and when -they come to the Baron’s home and find Alfred there, they mistake him -for the Baron and arrest him. Upon discovering he is supposed to be in -jail, the Baron decides to take full advantage of his liberty by -attending a masked ball at Prince Orlovsky’s palace and making advances -there to the lovely women. But one of the masked women with whom he -flirts is his own wife. Eventually, the identity of both is uncovered, -to the embarrassment of the Baron, and this merry escapade ends when the -Baron is compelled to spend his time in jail. - -The overture is a classic, recreating the effervescent mood that -prevails throughout the operetta. It is made up of some of the principal -melodies of the opera: Rosalinda’s lament, “_So muss allein ich -bleiben_” first heard in the woodwind; the chorus, “_O je, o je, wie -ruhrt mich dies_” in the strings; and most important of all, the main -waltz of the operetta and the climax of the second act, also in the -strings. - -Other delightful episodes frequently presented in instrumental versions -include the lovely drinking song, “_Trinke, Liebchen, trinke schnell_”; -the laughing song of the maid, Adele, “_Mein Herr Marquis_”; the -blood-warming czardas of the “Hungarian countess” who is actually -Rosalinda in disguise, “_Klaenge der Heimat_”; the stirring hymn to -champagne, “_Die Majistaet wird anerkannt_”; and the buoyant waltz, “_Du -und du_.” - -_The Gypsy Baron_ (_Die Ziguenerbaron_) is almost as popular as _Die -Fledermaus_. This is an operetta with libretto by Ignaz Schnitzer, -introduced in Vienna on October 24, 1885. Sandór Barinkay returns to his -ancestral home after having left it as a child. He finds it swarming -with gypsies who have made it their home, and he falls in love with one -of them, Saffi. - -The overture is made up of material from the concerted finales, -beginning with the entrance of the gypsies in the first finale; -continuing with Saffi’s celebrated gypsy air, “_So elend und treu_”; and -culminating with the celebrated waltz music of the second act, the -_Schatz_, or _Treasure_, waltzes. - -Other familiar excerpts include Sandór’s exuberant aria with chorus from -the first act “_Ja, das alles auf Ehr_,” probably the most celebrated -vocal excerpt from the entire operetta; and the _Entry March_ -(_Einzugmarsch_) from the third act—for chorus and orchestra in the -operetta, but often given by salon ensembles in an orchestral version. - - - - - Josef Strauss - - -Josef Strauss, like Eduard, is a younger brother of Johann Strauss II, -and son of Johann Strauss I. He was born in Vienna on August 22, 1827. -He was an extremely talented young man not only in music but even as -architect and inventor. Of more serious and sober disposition than -either of his two brothers, he long regarded café-house music -condescendingly, his musical preference being for the classics. His -famous brother, Johann Strauss II, needing someone to help him direct -his orchestra, finally prevailed on Josef to turn to café-house music. -Josef made his debut as café-house conductor and composer simultaneously -on July 23, 1853, his first waltz being _Die Ersten_. After that he -often substituted for brother Johann in directing the latter’s orchestra -in Vienna and on extended tours of Europe and Russia. Josef died in -Vienna on July 21, 1870. - -Josef Strauss wrote almost three hundred dance compositions. Though -certainly less inspired than his brother, Johann, he was also far more -important than Eduard. Josef’s best waltzes have much of the lyrical -invention, and the harmonic and instrumental invention of those by -Johann Strauss II. Perhaps his greatest waltz is the _Dorfschwalben aus -Oesterreich_ (_Swallows from Austria_), op. 164, a nature portrait often -interrupted by the chirping of birds. Here Josef’s outpouring of the -most sensitive lyricism and delicate moods is hardly less wondrous than -that of Johann Strauss II. H. E. Jacob went so far as to say that “since -Schubert’s death there has been no such melody. It is in the realm of -the Impromptus and Moments Musicaux. It breathes the sweet blue from -which the swallows come.” - -Another Josef Strauss classic in three-quarter time is _Sphaerenklaenge_ -(_Music of the Spheres_), op. 285, equally remarkable for its -spontaneous flow of unforgettable waltz tunes. Among Strauss’ other -delightful waltzes are the _Aquarellen_, op. 258; _Delirien_, op. 212; -_Dynamiden_, op. 173; _Marienklaenge_, op. 214. A theme from _Dynamiden_ -waltzes was used by Richard Strauss in his famous opera _Der -Rosenkavalier_. - -In collaboration with his brother, Johann, Josef wrote the famous -_Pizzicato Polka_ and several other pieces including the -_Monstrequadrille_ and _Vaterlandischer March_. With Johann and Eduard -he wrote the _Schuetzenquadrille_ and the _Trifolienwalzer_. - - - - - Sir Arthur Sullivan - - -Sir Arthur Seymour Sullivan—musical half of the comic-opera team of -Gilbert and Sullivan—was born in London, England, on May 13, 1842. The -son of a bandmaster, Sullivan was appointed to the Chapel Royal School -in 1854. One year after that his first published composition appeared, -an anthem. In 1856 he was the first recipient of the recently instituted -Mendelssohn Award which entitled him to attend the Royal Academy of -Music where he studied under Sterndale Bennett and Goss. From 1858 to -1861 he attended the Leipzig Conservatory. After returning to London in -1862, he achieved recognition as a serious composer with several -ambitious compositions including the _Irish Symphony_, a cello concerto, -a cantata, and an oratorio. Meanwhile, in 1866, he had become professor -of composition at the Royal Academy, and in 1867 he completed his first -score in a light style, the comic opera _Cox and Box_, libretto by F. C. -Burnand, which enjoyed a successful engagement in London. - -In 1871, a singer introduced Sullivan to W. S. Gilbert, a one-time -attorney who had attracted some interest in London as the writer of -burlesques. An enterprising impresario, John Hollingshead of the Gaiety -Theater, then was responsible for getting Gilbert and Sullivan to work -on their first operetta. This was _Thespis_, produced in London in 1871, -and a failure. It was several years before librettist and composer -worked together again. When they did it was for a new impresario, -Richard D’Oyly Carte, for whom they wrote a one-act comic opera, _Trial -by Jury_, a curtain raiser to a French operetta which Carte was -producing in London on March 25, 1875. _Trial by Jury_—a stinging satire -on court trials revolving around a breach of promise suit—inaugurates -the epoch of Gilbert and Sullivan. D’Oyly Carte now commissioned Gilbert -and Sullivan to create a new full length comic opera for a company he -had recently formed. The new light opera company made a successful bow -with _The Sorcerer_, on November 17, 1877. _Pinafore_, a year later on -May 25, 1878, made Gilbert and Sullivan a vogue and a passion both in -London and in New York. In 1879 Gilbert and Sullivan came to the United -States where on December 31 they introduced a new comic opera, _The -Pirates of Penzance_, that took the country by storm. Upon returning to -London, Gilbert and Sullivan opened a new theater built for them by -D’Oyly Carte—the Savoy—with _Patience_, a tumultuous success on April -25, 1881. After that came _Iolanthe_ (1882), _Princess Ida_ (1884), _The -Mikado_ (1885), the _Yeomen of the Guard_ (1888) and _The Gondoliers_ -(1889). - -Gilbert and Sullivan came to the parting of the ways in 1890, the final -rift precipitated by a silly argument over the cost of a carpet for the -Savoy Theater. But the differences between them had long been deep -rooted. An attempt to revive the partnership was made in 1893 with -_Utopia Limited_, and again with _The Grand Duke_ in 1896. Both comic -operas were failures. - -After 1893, Sullivan wrote a grand opera, _Ivanhoe_, and several -operetta scores to librettists other than Sullivan. None of these were -successful. During the last years of his life he suffered from -deterioration of his health, and was almost always in acute pain. He -died in London on November 22, 1900. Gilbert died eleven years after -that. - -Of Sullivan’s other achievements in the field of music mention must be -made of his importance as a conductor of the concerts of the London -Philharmonic from 1885 to 1887, and of the Leeds Festival from 1880 to -1898. Between 1876 and 1881 he was principal of, and professor of -composition at, the National Training School for Music. In recognition -of his high estate in English music, he was the recipient of many -honors. In 1878 he was made Chevalier of the Legion of Honor, and in -1883 he was knighted by Queen Victoria. - -It is irony fitting for a Gilbert and Sullivan comic opera that the -music on which Sullivan lavished his most fastidious attention and of -which he was most proud has been completely forgotten (except for one or -two minor exceptions). But the music upon which he looked with such -condescension and self apology is that which has made him an immortal—in -the theater if not in the concert world. For where Sullivan was -heavy-handed, pretentious, and often stilted in his oratorios, serious -operas, and orchestral compositions, he was consistently vital, fresh, -personal, and vivacious in his lighter music. In setting Gilbert’s -lyrics to music, Sullivan was always capable of finding the musical _mot -juste_ to catch every nuance of Gilbert’s wit and satire. So neatly, -even inevitably, does the music fit the words that it is often difficult -to think of one without the other. Like Gilbert, Sullivan was a master -of parody and satire; he liked particularly to mock at the pretensions -of grand opera, oratorio, and the sentimental ballad, pretensions of -which he himself was a victim when he endeavored to work in those -fields. Like Gilbert, he had a pen that raced with lightning velocity in -the writing of patter music to patter verses. Sullivan, moreover, had a -reservoir of melodies seemingly inexhaustible—gay tunes, mocking tunes, -and tunes filled with telling sentiment—and he was able to adapt the -fullest resources of his remarkable gift at harmony, rhythm and -orchestration to the manifold demands of the stage. He was no man’s -imitator. Without having recourse to experimentation or unorthodox -styles and techniques, his style and manners were so uniquely his that, -as T. F. Dunhill has said, “his art is always recognizable.... The -Sullivan touch is unmistakable and can be felt instantly.” - -Of the universality of the Gilbert and Sullivan comic operas, Isaac -Goldberg wrote: “They [Gilbert and Sullivan] were not the rebels of an -era, yet as surely they were not the apologists. Their light laughter -carried a pleasant danger of its own that, without being the laughter of -a Figaro, helped before the advent of a Shaw to keep the atmosphere -clear. Transition figures they were, in an age of transition, caught -between the personal independence of the artist and the social -imperatives of their station. They did not cross over into the new day, -though they served as a footbridge for others. Darwin gave them ... only -a song for _Princess Ida_, their melodious answer to the revolt of woman -against a perfumed slavery; Swinburne and Wilde ... characters for -_Patience_. They chided personal foibles, and only indirectly social -abuses. They were, after all, moralists not sociologists. It was in -their natures; it was of their position. Yet something vital in them -lives beyond their time. From their era of caste, of smug rectitude, of -sanctimoniousness, they still speak to an age that knows neither corset -nor petticoat, that votes with its women, and finds Freud insufficiently -aphrodisiac. Perhaps it is because they chide individuals and not -institutions that their work, so admirably held in solution by -Sullivan’s music, has lived through the most critical epoch in modern -history since the French Revolution. For, underneath the cataclysmic -changes of history remain the foibles that make us the fit laughter of -the gods.” - -Overtures to and potpourris from the principal Gilbert and Sullivan -comic operas are integral to the repertory of salon and pop orchestras -everywhere. In all cases, the overture is made up of the opera’s main -melodies, and in most cases these overtures were written by others. - -_The Gondoliers_ was the last of the Gilbert and Sullivan comic operas -to survive in the permanent repertory. It was produced on December 7, -1889. After the operatic pretension of the _Yeomen of the Guard_ which -had preceded it, _The Gondoliers_ represented a welcome return by the -authors to the world of paradox, absurdity, and confusion. It has aptly -been described as a “farce of errors.” The setting is Venice in the -middle of the 18th century. The Duke and Duchess of Plaza-Toro come to -Venice accompanied by their daughter, Casilda, and a drummer boy, Luiz, -who loves her. In her childhood, Casilda had married the infant heir to -the throne of Barataria. This heir had then been stolen and entrusted to -the care of a gondolier who raised him as one of his two sons. In time -the gondolier himself has forgotten which of his two boys is of royal -blood. To complicate matters even further, the two gondolier boys, Marco -and Giuseppe, are married. Thus it seems impossible to solve the problem -as to who really is the heir to Barataria’s throne and by the same token -Gasilda’s husband. But when this problem is finally unscrambled it turns -out that the heir is neither Marco nor Giuseppe, but none other than -Luiz. - -The following are the principal selections from _The Gondoliers_: -Antonio’s song, “For the Merriest Fellows Are We”; the duet of Marco and -Giuseppe, “We’re Called Gondolieri”; the autobiographical chant of the -Duke of Plaza-Toro, “The Duke of Plaza-Toro”; the duet of Casilda and -Luiz, “There Was a Time”; the song of the Grand Inquisitor, “I Stole the -Prince”; Tessa’s song, “When a Merry Maiden Marries”; the duet of Marco -and Giuseppe, “For Everyone Who Feels Inclined”; Giuseppe’s patter song, -“Rising Early in the Morning”; Marco’s serenade, “Take a Pair of -Sparkling Eyes”; and the song of the Duchess, “On the Day that I was -Wedded.” - -_Iolanthe_, introduced on November 25, 1882, carried Gilbert’s love of -paradox, confusion and absurdity into the fairy kingdom. To Isaac -Goldberg, this comic opera, both as words and as music is “a peer among -its kind. It is surprisingly complete. It is, indeed, of Gilbert and of -Sullivan, all compact. The Gilbertian conflict between reality and -fantasy is mirrored in details great and small—in scene, costume, in -line, in gesture.... It would be difficult to find among the remaining -thirteen comic operas one that reveals the collaborators playing so -neatly into each other’s hands—responding so closely to the conscious -and unconscious demands of the reciprocal personality.” The heroine, -Iolanthe, is a fairy who has married a mortal and thus has been banished -to the bottom of a stream by the Queen of her kingdom. But the Queen -eventually forgives Iolanthe. Upon returning to her fairy kingdom, -Iolanthe discovers she is the mother of a son, Strephon, who is half -fairy and half mortal; and Strephon is in love with the mortal, Phyllis, -who, in turn, is being pursued not only by her guardian, the Lord -Chancellor, but even by the entire House of Peers. When Phyllis finds -Strephon with Iolanthe she suspects him of infidelity, since she has no -idea that Iolanthe is Strephon’s mother. Immediately she begins to -bestow her kindly glances upon two members of the House of Peers. -Summoned for help, Iolanthe reveals that Strephon is, indeed, her son, -and that his father is none other than the Lord Chancellor. By this time -the other fairies of the kingdom have succumbed to the charms and appeal -of the Peers. Iolanthe is saved from a second punishment when the Lord -Chancellor helps change fairy law to read that any fairy _not_ marrying -a mortal is subject to death. - -Leading numbers from _Iolanthe_ include the following: the opening -chorus of the fairies, “Tripping Hither, Tripping Thither”; Strephon’s -song, “Good Morrow, good Mother”; the love duet of Phyllis and Strephon, -“Thou the Tree and I the Flower”; Entrance, chorus, and march of the -Peers, “Loudly Let the Trumpet Bray” followed immediately by the Lord -Chancellor’s monologue, “The Law is the True Embodiment”; the Lord -Chancellor’s personal credo, “When I Went to the Bar”; the song of -Willis, the sentry, “When All Night Long a Chap Remains”; Lord Mount -Arrat’s chauvinistic hymn, “When Britain Really Ruled the Waves”; the -Fairy Queen’s song, “Oh, Foolish Fay”; the Lord Chancellor’s patter song -about a nightmare, “When You’re Lying Awake”; the trio of the Lord -Chancellor, Mount Ararat and Tolloler, “If You Go In”; Strephon’s song, -“Fold Your Flapping Wings”; and the finale, “Soon as We May.” - -_The Mikado_ was a sensation when first performed in London on March 14, -1885; and with many it is still the favorite of all Gilbert and Sullivan -comic operas. By 1900, it had received over one thousand performances in -London and five thousand in the United States. Since then these figures -have multiplied. It has been adapted for motion pictures, and in New -York it has been given in two different jazz versions (_The Hot Mikado_ -and _Swing Mikado_). In 1960 it was presented over television with -Groucho Marx as the Lord High Executioner. - -In its own day much of its appeal was due to its exotic setting of Japan -and strange Japanese characters. Such a novelty for the English stage -was the strong spice that endowed the play with much of its succulent -flavor. Gilbert’s inspiration had been a miniature Japanese village set -up in the Knightsbridge section of London which aroused and stimulated -the interest of the English people in all things Japanese. Gilbert was -one of those who became fascinated by this Oriental exhibit, and his -fascination led him to conceive a comic opera with a Japanese -background. - -But while the Japanese are certainly no longer curiosities in the -theater—have, indeed, become a vogue on Broadway since the end of World -War II—_The Mikado_ has never lost its tremendous popularity. For _The -Mikado_ represents Gilbert and Sullivan at their creative peak. The -whimsical characters, absurd situations, the savage malice of the wit -and satire, and the strange and paradoxical deviations of the plot find -Gilbert at the height of his whimsical imagination and skill; and at -every turn, Sullivan was there with music that captured every subtle -echo of Gilbert’s fancy. - -The thought of having to marry the unattractive Katisha proves so -distasteful to Nanki-Poo, son of the Mikado, that he puts on the -disguise of a wandering minstrel and flees. After coming to the town of -Titipu, he meets and falls in love with Yum-Yum who, in turn, is being -sought after by her own guardian, Ko-Ko, the Lord High Executioner. The -Lord High Executioner faces a major problem. The ruler of Japan has sent -a message to Titipu stating that since no execution has taken place -there for many years the office of Lord High Executioner will be -abolished if somebody is not executed shortly. When Ko-Ko discovers that -Nanki-Poo is about to commit suicide, rather than live without Yum-Yum, -he finds a solution to his own problem. Ko-Ko is willing to allow -Nanki-Poo to marry Yum-Yum and live with her for a month if at the end -of that time he allows himself to be beheaded. The wedding takes place, -but before the beheading can be consummated the Mikado arrives on the -scene with Katisha. Only then is the discovery made in Titipu that -Nanki-Poo is the Mikado’s son and that anyone responsible for his death -must boil in oil. The news that Nanki-Poo is alive saves Ko-Ko from this -terrible fate; but he soon confronts another in the form of Katisha, -whom he must now marry to compensate her for her loss of Nanki-Poo. - -Many of the excerpts from _The Mikado_ are known to anyone who has ever -heard or whistled a tune. These are the most significant: the opening -chorus of the Japanese nobles, “If You Want to Know Who We Are”; -Nanki-Poo’s self-introductory ballad, “A Wandering Minstrel I”; -Pish-Tush’s description of the Mikado’s decree against flirtation, “Our -Great Mikado”; Ko-Ko’s famous patter song, “I’ve Got a Little List”; the -song of Yum-Yum’s companions, “Three Little Maids”; the affecting duet -of Nanki-Poo and Yum-Yum, “Were You Not to Ko-Ko Plighted”; Yum-Yum’s -radiant song, “The Sun Whose Rays”; Ko-Ko’s allegorical song, “Tit -Willow”; the madrigal of Yum-Yum, Pitti Sing, Nanki-Poo and Pish Tush, -“Brightly Dawns Our Wedding Day”; the sprightly trio of Yum-Yum, -Nanki-Poo and Ko-Ko, “Here’s a How-de-do”; the song of the Mikado, “My -Object All Sublime”; the duet of Nanki-Poo and Ko-Ko, “The Flowers That -Bloom in the Spring.” - -_Patience_ in 1881 directed its well aimed satirical pricks and barbs at -the pre-Raphaelite movement in England with its fetish for simplicity -and naturalness; and with equal accuracy at poets and esthetes like -Oscar Wilde and Algernon Swinburne, leaders of an esthetic movement that -encouraged postures, poses, and pretenses. Twenty maidens are turned -into esthetes through their common love for the “fleshly poet” -Bunthorne. Because of this love they hold in disdain their former -sweethearts, the officers of the Heavy Dragoon. Bunthorne, however, is -in love with the simple, unselfish milkmaid Patience, who dotes after -the idyllic poet of heavenly beauty, Grosvenor. Since Patience is -unselfish she cannot hope to win Grosvenor’s love, for to be loved by -one so beautiful is the most selfish thing in the world. She decides to -accept Bunthorne. Now the twenty love-sick maidens fall in love with -Grosvenor and through his influence abandon estheticism for simplicity. -Unaware of this new direction in their loved ones, the Dragoons desert -their uniforms for esthetic garb, substitute their former practical -everyday behavior for extravagant postures and poses. Weary of the -demands made upon him by the doting maids, Grosvenor (with a push from -Bunthorne) becomes commonplace. But, unfortunately for Bunthorne, since -it is no longer selfish to be loved by a commonplace man, Patience -returns to Grosvenor. The maidens, now interested in the commonplace, -can now return to their Dragoons. But poor Bunthorne is left alone with -nothing but a lily in his hand to console him. - -The following are the principal selections from _Patience_: the opening -female chorus, “Twenty Lovesick Maidens We”; Patience’s simple query -about the nature of love, “I Cannot Tell What This Love May Be”; the -chorus of the Dragoons, “The Soldiers of Our Queen” followed immediately -by the Colonel’s patter song, “If You Want a Receipt”; Bunthorne’s -recipe for success in the business of being an esthete, “If You’re -Anxious For to Shine”; Grosvenor’s duet with Patience, “Prithee, Pretty -Maiden”; Jane’s soliloquy, “Silvered is the Raven Hair” with which the -second act opens; Grosvenor’s fable to the lovesick maidens, “The Magnet -and the Churn”; Patience’s ballad, “Love is a Plaintive Song”; and the -gay duet of Bunthorne and Grosvenor, “When I Go Out of Doors.” - -_Pinafore_ was the first of the successful Gilbert and Sullivan comic -operas in which we encounter that strange topsy-turvy world over which -Gilbert and Sullivan ruled; that we confront the accidents, -coincidences, paradoxes, and mishaps that beset its hapless inhabitants. -_Pinafore_ is a devastating satire on the Admiralty in general and -William H. Smith, its First Lord, in particular. But it also makes a -mockery of social position. Ralph Rackstraw, a humble seaman, is in love -with Josephine, daughter of Captain Corcoran, commanding officer of the -_H.M.S. Pinafore_. But the first Lord of the Admiralty, Sir Joseph -Porter, is also in love with her. Since Josephine’s father would never -consent to have his daughter marry one so lowly as Ralph, the lovers -decide to elope. But the plans are overheard by the seaman, Dick -Deadeye, who reports them to the Captain with the result that Ralph is -put in irons. An impasse is thus reached until Little Buttercup, a -“Portsmouth Bumboat woman,” reveals an incident of the distant past. -Entrusted the care of two infants she mixed them up with the result that -the lowly born child, Corcoran, was mistaken for the one of high station -and was thus able to rise to the station of Captain; but the child of -high station believed to have been of lowly origin, Ralph, had been -forced to become a seaman. By order of Sir Joseph, Ralph now becomes the -master of the ship and can claim Josephine as his bride. The proud -Captain, now reduced to a seaman, must content himself with Little -Buttercup. - -_Pinafore_ was a sensation when introduced in London in 1878, enjoying -seven hundred consecutive performances. But it proved even more -sensational in the United States, following its première there at the -Boston Museum on November 25 of the same year. Ninety different -companies presented this comic opera throughout the country in that -first season, with five different companies operating simultaneously in -New York. _Pinafore_ was given by colored groups, children’s groups, and -religious groups. It was widely parodied. Some of its catch phrases -(“What never? No never!” and “For he himself has said it”) entered -American _argot_. - -As a bountiful source of popular melodies, the score of _Pinafore_ is -second only in importance to that of _The Mikado_. Here are the main -ones: the opening chorus of the sailors, “We Sail the Ocean Blue”; -Buttercup’s forthright self-introduction, “I’m Called Little Buttercup”; -Ralph’s madrigal, “The Nightingale,” and ballad, “A Maiden Fair to See”; -the Captain’s colloquy with his crew, “I Am the Captain of the -_Pinafore_”; Josephine’s poignant ballad, “Sorry Her Lot”; Sir Joseph’s -exchange with his sisters, cousins, and aunts, “I am the Monarch of the -Sea,” and his autobiographical, “When I Was a Lad”; the Captain’s sad -reflection, “Fair Moon to Thee I Sing”; the choral episode, “Carefully -on Tip-Toe Stealing” followed by the tongue-in-the-cheek paean to -England and Englishmen, “He Is an Englishman.” - -_The Pirates of Penzance_ was the only Gilbert and Sullivan comic opera -to receive its world première outside England. This took place in New -York at the Fifth Avenue Theater in 1879. (There was a single hastily -prepared performance in Paignton, England, on December 30, 1879 but this -is not regarded as an official première.) The reason why _The Pirates_ -was introduced in New York was due to the presence there of its authors. -Numerous pirated versions of _Pinafore_ were then being given throughout -the United States in about a hundred theaters, and Gilbert and Sullivan -decided to come to America for the dual purpose of exploring the -conditions under which they might protect their copyright and to offer -an authorized version of their opera. In coming to the United States, -they brought with them the manuscript of their new work, _The Pirates of -Penzance_, and arranged to have its première take place in New York. - -_The Pirates of Penzance_ is a blood relative of _Pinafore_. Where -_Pinafore_ made fun of the British Navy, _The Pirates_ concentrates on -the British Army and constabulary. In _Pinafore_ two babies are mixed up -in the cradle for a confusion of their identities; in _The Pirates_ it -is the future professions of babies which are confounded in the cradle. -In _Pinafore_ the secret is divulged by Buttercup, in _The Pirates_ by -Ruth. _Pinafore_ boasts a female chorus of cousins, sisters and aunts -while _The Pirates_ has a female chorus made up of the Major General’s -daughters. - -The hero is young Frederic, apprenticed to a band of pirates by his -nurse Ruth, who mistakes the word “pilot” for “pirate.” Frederic falls -in love with Mabel, one of the many daughters of Major General Stanley -and looks forward eagerly to his freedom from his apprenticeship to the -pirate band, which arrives on his twenty-first birthday. But Frederic -discovers that since he was born on leap year the year of his -freedom—his twenty-first _birthday_—is many, many years off; that by the -calendar he is still only a little boy of five. As a pirate he must join -his confederates in exterminating Mabel’s father and the constables -attending him. But all turns out happily when the pirates actually prove -to be ex-noblemen, and are thus found highly acceptable as husbands for -the daughters of Major General Stanley. The Major General is also in -favor of the union of Mabel and Frederic. - -The following are the leading musical selections: the opening chorus of -the pirates, “Pour, Oh Pour, the Pirate Sherry”; the Pirate king’s hymn -to his profession, “For I am a Pirate King”; the chorus of the Major -General’s daughters, “Climbing Over Rocky Mountain”; Frederic’s -plaintive plea for a lover, “Oh, Is There Not One Maiden Breast”; the -Major General’s autobiographical patter song, “I Am the Very Pattern of -a Modern Major General”; the rousing chorus of the constabulary, “When -the Foeman Bares His Steel”; the tripping trio of Ruth, Fred and the -Pirate King on discovering Fred is only a child of five, “A Paradox, a -Most Ingenious Paradox”; Mabel’s haunting ballad, “Oh, Leave Me Not to -Pine”; the Police Sergeant’s commentary on his profession, “When a -Felon’s Not Engaged in His Employment”; the Pirates’ chorus, “Come -Friends Who Plough the Sea,” a melody expropriated by an American, -Theodore Morse, for the lyric “Hail, Hail the Gang’s All Here”; and the -General’s idyllic ballad, “Sighing Softly To the River.” - -_Ruddigore_, a travesty on melodrama, was first performed on January 22, -1887. Because the Murgatroyd family has persecuted witches, an evil -spirit had fated it to commit a crime a day. Ruthven Murgatroyd tries to -flee from this curse by assuming the identity of simple Robin Oakapple. -He meets and falls in love with Rose who is being sought after by -Ruthven’s foster brother, Richard. Since Ruthven as Robin Oakapple has -the upper hand with Rose, Richard avenges himself by revealing the fact -that his brother is really a member of the Murgatroyd family and like -all of them is the victim of the ancient family curse. Back in his -ancestral home, Ruthven must fulfil his quota of crimes, a job he -bungles so badly that his ancestors suddenly come alive out of the -picture frames on the wall, to condemn him. But after numerous -convolutions of typically Gilbertian logic and reasoning, the curse is -broken and Ruthven can live happily with his beloved Rose. - -From _Ruddigore_ come the following familiar sections: the opening -chorus of the bridesmaids, “Fair Is Rose as the Bright May Day”; -Hannah’s legend, “Sir Rupert Murgatroyd”; Rose’s ballad, “If Somebody -There Chanced to Be”; the extended duet of Robin and Rose, “I Know a -Youth Who Loves a Little Maid”; Richard’s ballad, “I Shipped, D’ye See, -in a Revenue Sloop”; Robin’s song, “My Boy You May Take it From Me”; the -chorus of the bridesmaids, “Hail the Bride of Seventeen Summers” -followed by Rose’s madrigal, “Where the Buds Are Blossoming”; the duet -of Robin and Adam, “I Once Was As Meek as a New Born Lamb”; Rose’s -ballad, “In Bygone Days”; the chorus of the family portraits, “Painted -Emblems of a Race”; Sir Roderic’s patter song, “When the Night Wind -Howls”; and Hannah’s ballad, “There Grew a Little Flower.” - -_The Sorcerer_, the first successful Gilbert and Sullivan comic opera, -was introduced in 1877. Alexis, in love with Aline, wishes to spread -around the blessings of love. For this purpose he enlists the -cooperation of John Wellington Wells, the creator of a love brew. In an -effort to perpetuate Aline’s love for him, Alexis has her drink this -potion, only to discover that his beloved has fallen for the vicar, Dr. -Daly, he being the first man she sees after drinking the draught. Since -Alexis is not the only one to suffer from this now-general epidemic of -loving, a serious effort must be made to offset the effects of this -magic: a human sacrifice. Naturally that sacrifice becomes none other -than John Wellington Wells who is driven to self immolation before -things can once again be set normal. - -The music of _The Sorcerer_ is not so well known as that of the other -famous comic operas, but it does contain several Gilbert and Sullivan -delights. Among them are: the song with which Wells introduces himself -and his black art, “Oh! My Name Is John Wellington Wells,” the first of -the Gilbert and Sullivan patter songs; the vicar’s haunting ballad, -“Time Was When Love and I Were Well Acquainted”; and the romantic duet -of Aline and Alexis, “It Is Not Love.” - -In the _Yeomen of the Guard_, produced on October 3, 1888, the -topsy-turvy world of Gilbert and Sullivan is temporarily sidestepped for -another of operatic pretensions. Of all the Gilbert and Sullivan plays -this one comes closest to resembling an opera. The immediate stimulus -for the writing of the text came to Gilbert from an advertisement in a -railway station depicting a Beefeater. Out of this acorn grew the oak of -Gilbert’s play in which Colonel Charles Fairfax is falsely accused by -his kinsman, Poltwhistle, of sorcery. For this he must be condemned to -death in the Tower of London. Since Fairfax is not married, his fortune -will pass on to his accuser. But Charles thwarts such evil designs by -marrying Elsie Maynard, a strolling player—if only for an hour. Then he -manages to escape from the Tower disguised as a yeoman of the guard. -When the execution is to take place there is no victim. Eventually, a -reprieve enables Charles to live permanently with Elsie. - -The most important selections from the _Yeomen of the Guard_ are: -Phoebe’s song with which the opera opens, “When Maiden Loves”; the -chorus of the yeomen, “In the Autumn of Our Life”; Fairfax’ ballad, “Is -Life a Boon?”; the extended duet of Point and Elsie, “I Have a Song to -Sing, O”; Phoebe’s ballad, “Were I Thy Bride”; Point’s patter song, “Oh, -a Private Buffoon Is a Light-Hearted Loon”; the quartet of Elsie, -Fairfax, Dame Carruthers and Meryll, “Strange Adventure”; the trio of -Fairfax, Elsie and Phoebe, “A Man Who Would Woo a Fair Maid”; the -quartet of Elsie, Fairfax, Phoebe and Point, “When a Wooer Goes -a-Wooing”; and the finale, “Oh, Thoughtless Crew.” - -Besides his music for the comic operas there exists a vast repertory of -serious music by Sullivan. Of this hardly more than two songs have -retained their popularity. One is “The Lost Chord,” lyric by Adelaide -Proctor, written by Sullivan in December 1876 at the deathbed of his -brother, Fred. From Charles Willeby we get an account of how this deeply -moving piece of music came into being: “For nearly three weeks he -watched by his bedside night and day. One night—the end was not very far -off then—while his sick brother had for a time fallen into a peaceful -sleep, and he was sitting as usual by the bedside, he chanced to come -across some verses by Adelaide Proctor with which he had some five years -previously been struck. He had then tried to set them to music, but -without satisfaction to himself. Now in the stillness of the night he -read them over again, and almost as he did so, he conceived their -musical equivalent. A stray sheet of music paper was at hand, and he -began to write. Slowly the music took shape, until, becoming quite -absorbed in it, he determined to finish the song. Even if in the cold -light of day it were to prove worthless, it would at least have helped -to while away the hours of watching. So he worked on at it. As he -progressed, he felt sure this was what he had sought for, and failed to -find on the occasion of his first attempt to set the words. In a short -time it was complete and not long after in the publisher’s hands. Thus -was written ‘The Lost Chord,’ perhaps the most successful song of modern -times.” - -“Onward Christian Soldiers,” words by Sabine Baring-Gould, is the most -celebrated of Sullivan’s more than fifty religious hymns. It is -effective not merely for its religious mood but also for its martial -spirit. “The music,” says Isaac Goldberg, “has the tread of armies in -it, and a broad diatonic stride.” Sullivan wrote it in 1873 upon being -appointed editor of the _Hymnal_, a collection of hymns published by -Novello for the Society for the Promotion of Christian Knowledge and the -Hymnary. - - - - - Franz von Suppé - - -Franz von Suppé was born Francesco Suppé-Demelli in Spalato, Yugoslavia, -on April 18, 1819. He played the flute at eleven, at thirteen started -the study of harmony, and at fifteen completed a Mass. Nevertheless, for -a while he entertained the idea of becoming either a physician or a -teacher of Italian. When he finally decided upon music as a profession -he attended the Vienna Conservatory. After serving an apprenticeship as -conductor of operettas in Pressburg and Baden, he was appointed -principal conductor at Theater-an-der-Wien in Vienna. In 1862 he assumed -a similar post with the Karlstheater, and from 1865 until his death at -the Leopoldstadttheater. While absorbing the influence and traditions of -the opéra-bouffe of Offenbach, he began writing operettas of his own in -a style uniquely his, setting and establishing many of the traditions -and clichés which would henceforth identify the Viennese operetta. He -had an unusual gift for light, caressing tunes, a gay and infectious -spirit, and a direct emotional appeal. His first operetta was _Jung -lustig in alter traurig_ in 1841. Success came with his incidental music -to _Poet and Peasant_ (_Dichter und Bauer_), introduced on August 24, -1846; its overture is still his best known composition and a classic in -the musical literature in a lighter vein. A succession of popular -operettas, over twenty-five in number, made him one of Europe’s most -celebrated composers for the stage. His most famous operettas were: _Das -Maedchen vom Lande_ (1847), _Die schoene Galatea_, or _Beautiful -Galathea_ (1865), _Leichte Cavallerie_, or _Light Cavalry_ (1866), -_Fatinitza_ (1876), _Boccaccio_ (1879), and _Donna Juanita_ (1880). -Suppé died in Vienna on May 21, 1895. - -The overture to _The Beautiful Galathea_ (_Die schoene Galatea_) opens -with brisk music. Horns and woodwind lead into an extended portrayal of -exaltated character by strings. Once again horns and woodwind appear, -this time providing a transition to a caressing melody that soon -develops into a fulsome song. After a theatrical passage, the overture’s -main melody is heard in the strings, with harmonies filled in by the -woodwind; this is a graceful dance tune which, towards the end of the -overture, is repeated with harmonic and tonal amplitude by the full -orchestra. - -The _Light Cavalry_ Overture (_Leichte Cavallerie_) is, as its name -indicates, stirring music of martial character. Horn calls and forceful -chords in full orchestra provide at once the military character of this -music. A vivacious tune for the violins follows this forceful -introduction after which comes the brisk melody for woodwind followed by -the full orchestra that has made this overture so famous; the gallop of -the cavalry is here simulated in a brisk rhythm. The agitation is -dissipated by a sensitive transition in strings and clarinet to a -spacious melody in strings in a sensual Hungarian style. The brisk -military music and the open horning calls then give the overture a -dynamic conclusion. - -_Morning, Noon and Night in Vienna_ (_Ein Morgen, ein Mittag, ein Abend -in Wien_) is one of the composer’s famous concert overtures. A dramatic -introduction—with forceful chords in full orchestra—leads to a beautiful -and fully realized song for solo cello against plucked strings, one of -Suppé’s most inspired flights of melody. The song ended, the dramatic -opening is recalled to serve as a transition to two buoyant and graceful -Viennese tunes in the strings, the second repeated vigorously and -amplified by full orchestra. The overture ends in a robust rather than -lyrical vein. - -The _Pique Dame_ (_Queen of Spades_) Overture begins with a murmuring -passage for strings that grows in volume and changes character before an -expressive melody unfolds in lower strings against an accompanying -figure borrowed from the opening passage. A vigorous interlude of strong -chords and a vigorous pronouncement by the brass lead into the most -famous theme of the composition, a vivacious and jaunty melody for -strings and woodwind. This subject is developed at some length before a -melodic episode is offered by the lower strings as a preface to a soft, -idyllic interlude for the woodwind. The conclusion of the overture is in -a vigorous manner with an energetic restatement of earlier thematic -material. - -Of all the Suppé overtures, whether for the stage or the concert hall, -the most famous undoubtedly is the _Poet and Peasant_ (_Dichter und -Bauer_). After a stately introduction there arrives a gentle song for -the strings. This is succeeded by a more robust theme. The main melody -of the overture is a pulsating melody in ⅜ time. Indicative of the -enormous popularity of this overture in all parts of the world is that -it has been adapted for almost sixty different combinations of -instruments. - - - - - Johan Svendsen - - -Johan Svendsen was born in Oslo, Norway, on September 30, 1840. The son -of a bandmaster, he dabbled in music for many years before receiving -formal instruction. When he was twenty-three he embarked for the first -time on a comprehensive musical education by attending the Leipzig -Conservatory where he was a pupil of Ferdinand David, Reinecke, and -others. After that he toured Europe as a concert violinist and lived for -a while in Paris where he played in theater orchestras. In 1870 he -visited the United States where he married an American woman whom he had -originally met in Paris. Following his return to his native land he was -the conductor of the Christiana Musical Association from 1872 to 1877 -and again from 1880 to 1883. In 1883 he settled in Copenhagen where for -sixteen years he was court conductor, and part of that time conductor at -the Royal Theater as well. As a composer Svendsen distinguished himself -with major works for orchestra in a pronounced Norwegian style, the most -famous being four Norwegian Rhapsodies and the _Carnaval des artistes -norvégiens_, in all of which Norwegian folk melodies are used -extensively. He also produced many works not of a national identity, -among which were symphonies, concertos, chamber-music works, and the -highly popular _Carnival in Paris_, for orchestra. Svendsen died in -Copenhagen on June 14, 1911. - -_The Carnival in Paris_ (_Carnaval à Paris_), for orchestra, op. 9 -(1873) is one of Svendsen’s best-known works, even though it is not in -his characteristic Norwegian style. His early manhood in Paris had been -one of the composer’s happiest experiences in life, and some of that joy -and feeling of excitement is found in this music describing a Mardi Gras -in Paris. The full orchestra enters after a swelling trumpet tone over -drum rolls. There is then heard an exchange among the wind instruments -and a quickening of the tempo to lead into the first main theme, a -delicate subject for flutes and clarinets. This theme is twice repeated -after which the music becomes stormy. Divided violins then bring on the -second theme, which like the first is quiet and gentle. In the -development, in which much is made of the first subject, there are -effective frequent alternations of tempo. A rhapsodic section, with a -subject for divided strings, followed by extended drum rolls and calls -for muted horns, precede the concluding section. - - - - - Deems Taylor - - -Joseph Deems Taylor was born in New York City on December 22, 1885. He -received his academic education in New York, at the Friends School, -Ethical Culture School, and New York University. All the while he -studied music with private teachers. Following his graduation from -college, Taylor appeared in vaudeville, worked for several magazines, -and from 1921 to 1925 was the music critic of the New York _World_. He -first distinguished himself as a composer in 1919 with the orchestral -suite, _Through the Looking Glass_. In 1925 he resigned from the _World_ -to concentrate on composition. In the next half dozen years he completed -two operas, each successfully performed at the Metropolitan Opera: _The -King’s Henchman_ (with libretto by Edna St. Vincent Millay) in 1927, and -_Peter Ibbetson_ in 1931. Since 1927, Taylor has followed several -careers besides that of one of America’s most important serious -composers. He was editor of _Musical America_, music critic for the _New -York American_, master of ceremonies on radio and television, program -annotator, intermission commentator for broadcasts of opera and -orchestral music, and author of several best-selling books on music. A -highly sophisticated composer with a consummate technical skill, -Taylor’s works are not for popular consumption. But he did write one -composition in a popular style, _Circus Day_; and a second of his works, -_Through the Looking Glass_, while intended for symphonic concerts, has -enough wit and charm to fall gracefully into the semi-classical -category. - -_Circus Day_ is a fantasy for orchestra, op. 18 (1925) written on -commission from Paul Whiteman and his Orchestra. When Whiteman and his -orchestra introduced it that year, the work was orchestrated by Ferde -Grofé, but since then Taylor has prepared his own symphonic adaptation. -Subtitled “eight pictures from memory” this fantasy strives “to convey -one’s early impressions of a day at the circus.” The composer has -provided his own program notes for the eight movements. The first, -entitled “Street Parade,” describes the circus parade as it “passes on -down the street.” “The playing of the band grows fainter and dies away -in the distance.” “The Big Tops” tells in musical terms about “peanuts, -popcorn, pink lemonade, bawling side-show barkers.” This is followed by -“Bareback Riders.” “As the ringmaster cracks his whip, the riders -perform the miraculous feats ... that make horseback riders the objects -of such awe and admiration.” The fourth movement is in three parts. The -first is devoted to “The Lion’s Cage.” “The roar of the lions is blood -curdling, but they go through their tricks with no damage to any of us.” -The second speaks about “The Dog and the Monkey Circus.” “Into the ring -dash a whole kennel full of small dogs guised as race horses, ridden by -monkeys dressed as jockeys.” In the third, we get a picture of “The -Waltzing Elephants.” “The great beasts solemnly waltz to a tune that is -a pachydermous version of the theme of the bareback riders.” In the -fifth movement, “Tight-Rope Walker,” the performer “balances his -parasol; he pirouettes and slips and slides as he makes his perilous way -along the taut wire.” “The Jugglers,” in the sixth movement, “juggle -little balls and big ones, knives, dishes, hats, lighted candles....” -Even the orchestra is seized by the contagion and finally juggles its -main theme, keeping three versions of it in the air. In “Clowns,” two of -them “come out to play us a tune.... Finally, after a furious argument, -the entire clown band manages to play the tune through, amid applause.” -The finale, the composer goes on to explain, “might better be called -‘Looking Back.’ For the circus is over, and we are back at home, trying -to tell a slightly inattentive family what we saw and heard. The helpful -orchestra evokes recollections of jugglers, clowns, bareback riders, -tight-rope walkers, trained animals.” - -_Through the Looking Glass_, a suite for orchestra (1919) is a musical -setting of episodes from Lewis Carroll’s delightful tale of the same -name. Taylor’s suite is in four movements, for which he has provided his -own program. The first movement, “Dedication; The Garden of Live -Flowers,” consists of “a simple song theme, briefly developed,” which -leads immediately to the brisk music of “The Garden of Live Flowers.” In -the second movement, “Jabberwocky,” the theme of the frightful beast, -the Jabberwock, “is first announced by the full orchestra. The clarinet -then begins the tale [with] the battle with the monsters recounted in a -short and rather repellant fugue.” The third movement, “Looking Glass -Insects” tells of “the vociferous _diptera_ that made such an impression -on Alice—the Bee-elephant, the Gnat, the Rockinghorse fly, and the -Bread-and-butter fly.” The last movement, “The White Knight” has two -themes. “The first is a sort of instrumental prance, being the knight’s -own conception of himself as a slashing daredevil. The second is bland, -mellifluous, a little sentimental—much more like the knight as he really -was.” - - - - - Peter Ilitch Tchaikovsky - - -Peter Ilitch Tchaikovsky was born in Votkinsk, Russia, on May 7, 1840. -Serious music study began comparatively late, since he prepared for a -career in law and then for three years served as clerk in the Ministry -of Justice. He had, however, revealed unusual sensitivity for music from -earliest childhood, and had received some training on the piano from the -time he was five. Intensive music study, however, did not begin until -1861 when he became a pupil of Nicholas Zaremba, and it was completed at -the St. Petersburg Conservatory. His professional career began in 1865, -the year in which he was appointed professor of harmony at the newly -founded Moscow Conservatory. This was also the year when one of his -compositions was performed for the first time: _Characteristic Dances_, -for orchestra, introduced by Johann Strauss II in Pavlovsk, Russia. -Tchaikovsky’s first symphony was introduced in Moscow in 1868; his first -opera, _The Voivoda_, in Moscow in 1869; and his first masterwork—the -orchestral fantasy _Romeo and Juliet_—in Moscow in 1870. During the next -half dozen years he reached maturity as composer with the completion of -his second and third symphonies, first two string quartets, famous Piano -Concerto No. 1, and the orchestral fantasy, _Francesca da Rimini_. - -In 1877, Tchaikovsky embarked precipitously on a disastrous marriage -with Antonina Miliukova. He did not love her, but was flattered by her -adoration of his music. In all probability he regarded this marriage as -a convenient cloak with which to conceal his sexual aberration which was -already causing some talk in Moscow and of which he was heartily -ashamed. In any event, this marriage proved a nightmare from the -beginning. Always hypersensitive, he now became a victim of mental -torment which led him to try suicide. Failing that, he fled from his -wife to find refuge in his brother’s house where he collapsed -physically. For a year after that he traveled about aimlessly in Europe. - -This strange relationship with his wife was followed by another one, -even more curious and unorthodox, with the woman whom he admired and -loved above all others. She was the wealthy patroness and widow, -Nadezhda von Meck, with whom he maintained a friendship lasting thirteen -years. But during all that time he never once met her personally, their -friendship being developed through an exchange of often tender at times -even passionate letters. She had written him to speak of her admiration -for his music and he had replied in gratitude. Before long, she endowed -him with a generous annual subsidy to allow him full freedom to write -music. From then on, they wrote each other frequently, with Tchaikovsky -often baring his heart and soul. The reason why they never met was that -Mme. von Meck had firmly established that condition for the continuation -of their friendship and her financial generosity. Why this strange -request was made, and why she adhered to it so tenaciously, has never -been adequately explained. She may have been influenced by their -different stations in life, or by her excessive devotion to her -children, or even by a knowledge of the composer’s sexual deviation. - -Now financially independent—and strengthened by the kindness, affection -and sympathy of his patroness—Tchaikovsky entered upon one of his -richest creative periods by producing one masterwork after another: the -fourth and fifth symphonies, the opera, _Eugene Onegin_; the violin -concerto; the _Capriccio italien_, for orchestra; a library of wonderful -songs. Inevitably he now assumed a rank of first importance in Russian -music. In 1884 he was honored by the Czar with the Order of St. -Vladimir, and in 1888 a life pension was conferred upon him by the -Russian government. - -In 1890, while traveling in the Caucasus, Tchaikovsky heard from Mme. -von Meck that she had recently suffered financial reverses and was -compelled to terminate her subsidy. The composer replied that he was no -longer in need of her financial help but that he hoped their friendship -might continue. To this, and to all subsequent letters by Tchaikovsky, -Mme. von Meck remained silent. Upon returning to Moscow, Tchaikovsky -discovered that his patroness was in no financial difficulties -whatsoever, but had used this as an excuse to terminate a relationship -of which she had grown weary. The loss of his dearest friend, and the -specious reason given for the termination of their relationship, was an -overwhelming blow, one largely responsible for the fits of melancholia -into which Tchaikovsky lapsed so frequently from this time on. - -In 1891, Tchaikovsky paid his only visit to the United States where he -helped open Carnegie Hall in New York by directing a performance of his -own _Overture 1812_. After returning to Russia, he became so morbid, and -succumbed so helplessly to fits of despair, that at times he thought he -was losing his mind. In such a mood he wrote his last symphony, the -_Pathétique_, one of the most tragic utterances in all music; there is -good reason to believe that when Tchaikovsky wrote this music he was -creating his own requiem. He died in St. Petersburg on November 6, 1893, -a victim of cholera contracted when he drank a glass of boiled water -during an epidemic. - -The qualities in his major serious works that made Tchaikovsky one of -the best loved and most frequently performed composers in the world are -also the traits that bring his lesser works into the permanent -semi-classical repertory: an endless fund of beautiful melody; an -affecting sentiment that at times lapses into sentimentality; a lack of -inhibitions in voicing his deepest emotions and most personal thoughts. - -The _Andante Cantabile_ is a gentle, melancholy song in three-part form -which comes from one of the composer’s string quartets, in D major, op. -11 (1871). This is the second movement of the quartet, and the reason -why this work as a whole is still occasionally performed. This famous -melody, however, is not original with the composer, but a quotation of a -Russian folk song, “Vanya Sat on the Divan,” which the composer heard a -baker sing in Kamenka, Russia. Tchaikovsky himself adapted this music -for orchestra. In 1941, this melody was adapted into the American -popular song, “On the Isle of May.” - -_Chanson Triste_ is another of the composer’s soft, gentle melodies that -is filled with sentiment. This is the second of twelve children’s pieces -for the piano “of moderate difficulty,” op. 40 (1876-1877). - -_Humoresque_, op. 10, no. 2 (1871)—a “humoresque” being an instrumental -composition in a whimsical vein—finds Tchaikovsky in a less familiar -attitude, that of grotesquerie. This sprightly little tune is almost as -celebrated as the very popular _Humoresque_ of Dvořák; and like that of -Dvořák, it originated as a composition for the piano, a companion to a -_Nocturne_ which it follows. Fritz Kreisler made a fine transcription -for violin and piano, while Stokowski was one of several to adapt it for -orchestra. - -The _Marche Slav_, for orchestra, op. 31 (1876) was intended for a -benefit concert in St. Petersburg for Serbian soldiers wounded in the -war with Turkey. At that performance, the work aroused a “whole storm of -patriotic enthusiasm,” as the composer himself reported. The work opens -with a broad Slavic march melody which Tchaikovsky borrowed from a -Serbian folk song. The middle trio section is made up of two other folk -tunes. The composition ends with a triumphant restatement of the opening -march melody, now speaking for the victory of the Serbs over the Turks. - -The _Melodie_, in E-flat major, op. 42, no. 3 (1878) is a simple and -haunting little song that originated as a piece for violin and piano. It -appears in a set of three such pieces entitled _Souvenir d’un lieu -cher_, of which it is the closing number. This melody was used in 1941 -for the American popular song, “The Things I Love.” - -_The Months_, op. 37b (1876) is a suite for piano out of which come -several compositions exceedingly popular in transcriptions. Each -movement of this suite is devoted to a month of the year. The sixth -movement is _June_, a little barcarolle, or Venetian boat song. The -tenth, for October, is _Autumn Song_, a gentle melody lightly touched by -sadness. The eleventh, for November, is by contrast a lively piece -entitled _Troika en Traneaux_, or _The Troika_. - -“None But the Lonely Heart” is one of Tchaikovsky’s most famous songs, a -melancholy setting of Goethe’s poem. This is the last of a set of six -songs, op. 16 (1872) which is extensively performed in transcriptions of -all sorts. - -The _Nutcracker Suite_, or _Casse-Noisette_, op. 71a (1892) is a suite -for orchestra adapted from a ballet score. The ballet (introduced in St. -Petersburg in 1892) tells about a nutcracker, received as a Christmas -gift by a little girl, which in her dreams becomes a handsome prince. He -leads toys into battle against mice, and conducts the little girl to Jam -Mountain, Arabia, where she is delighted with all kinds of games and -dances. Those accustomed to associate the name of Tchaikovsky with -lugubrious music will find this suite a revelation, for it is filled -with the most enchanting moods, and is consistently light of heart and -spirit. The highly popular suite for orchestra is made up of eight -little movements. “Miniature Overture” is built from two lively tunes. -The main subject of the “March” is a pert melody for clarinet, horn, and -two trumpets; the trio section consists of a vivacious staccato melody -for the woodwind and strings. “The Dance of the Sugarplum Fairy” is a -sensitive melody for the celesta, the “Trepak” is a vigorous, rhythmic -Russian dance, the “Arabian Dance” is an exotic melody for the clarinet, -and the “Chinese Dance” an Oriental subject for flute and piccolo. The -two last movements are the “Dance of the Flutes” in which a sensitive -melody for flutes is contrasted by a more robust section for trumpets, -and the “Waltz of the Flowers,” where the waltz tune in horns and then -in clarinets is followed by two more important ideas, the first in the -strings, and the second in flutes and oboe. - -The _Overture 1812_ is a concert overture for orchestra, op. 49 (1880) -commissioned for the consecration of a temple built as a memorial to -Napoleon’s defeat in Russia in 1812. This overture was intended by the -composer to describe the historic events of Napoleon’s invasion of and -flight from Russia. An introductory section quotes the well-known -Russian hymn, “God Preserve Thy People.” In the main body of the -overture, the Battle of Borodino is dramatically depicted, the two -opposing armies represented by quotations from the _Marseillaise_ and -the Russian national anthem. A climax is reached with a triumphant -restatement of the Russian national anthem. - -The _Polonaise_ is one of two celebrated dance episodes in the opera -_Eugene Onegin_. (The other is the Waltz discussed below.) This -three-act opera is based on a poem by Pushkin, adapted by Konstantin -Shilovsky and the composer himself, and was introduced in Moscow on -March 29, 1879. The setting is St. Petersburg in or about 1815, and its -central theme concerns the frustrated love affair of Eugene Onegin and -Tatiana. The brilliant music of the Polonaise is heard in the first -scene of Act 3. In the palace of Prince Gremin there takes place a -reception during which the guests dance to the vital strains of this -courtly Polish dance, its vigor derived from sharp syncopations and -accents on the half beat. - -_Romance_, in F minor, op. 5 (1868) is a composition for piano written -by the composer when he believed himself in love with the singer, -Désirée Artôt, to whom the piece is dedicated. This music gives voice to -a romantic ardor. - -The _Sérénade mélancolique_ in B-flat minor, op. 26 (1875) is a work for -violin and orchestra. As the title indicates it is a sentimental rather -than romantic effusion. Here a brief subject leads to a soaring -three-part song for the violin. - -_Serenade for Strings_, in C major, op. 48 (1880) is particularly famous -for its second and third movements. The second is a Waltz, perhaps the -most popular of this composer’s many well loved waltzes. This is a -graceful, even elegant, dance movement, the waltz of the Parisian salon -rather than the more vital and earthy dance of Vienna. Such a -light-hearted mood is instantly dispelled by the gloom of the third -movement, an eloquent _Elegy_, in which the sorrow is all the more -poignant because it is so subdued and restrained. - -Solitude, op. 73, no. 6 (1893)—sometimes known as Again as Before—is a -song set to a poem by D. M. Rathaus. This is the last of a set of six -songs. Stokowski made an effective arrangement for orchestra. - -_Song Without Words_ (_Chanson sans paroles_), in F major is the third -of a set of three pieces for the piano collectively entitled _Souvenir -de Hapsal_, op. 2 (1867). This tender melody is far more familiar in -transcriptions than it is in its original version. - -Tchaikovsky wrote three Suites for orchestra. From two of these come -movements which must be counted with the composer’s most popular works. -The Suite No. 1 in D minor, op. 43 (1880) is famous for its fourth -movement, a _Marche Miniature_. The inclusion of this section into the -suite was something of an afterthought with the composer, since it was -interpolated into the work only after it had been published, placed as a -fourth movement between an intermezzo and a scherzo. This march is in -the grotesque, fantastic style of the piano _Humoresque_. The main -subject is heard in the piccolo against plucked-string accompaniment. A -transitory episode in strings and bells leads to a development of this -melody. - -The third movement from this same suite, _Intermezzo_, has two main -melodies: the first appears in first violins, violas, bassoons and -flute; the second, in cellos and bassoon. The coda is based on the first -theme. - -The suite No. 3 in G major, op. 55 (1884) is a four-movement work of -which the second is particularly celebrated. This is a _Valse -mélancolique_ for full orchestra, highly expressive and emotional music -in the composer’s identifiable sentimental style. - -There are several other waltzes by Tchaikovsky familiar to all lovers of -light music. The _Valse sentimentale_, op. 51, no. 6 comes from a set of -six pieces for the piano (1882) where it is the final number. The opera -_Eugene Onegin_ (commented upon above for its Polonaise) is also the -source of a remarkable waltz episode. This music, the essence of -aristocratic style and elegance, appears in the first scene of the -second act. Tatiana’s birthday is celebrated with a festive party during -which the guests dance to its infectious strains. Two other famous -Tchaikovsky waltzes come from his famous ballets—_Sleeping Beauty_ and -_Swan Lake_. In the orchestral suite derived from the score of _Sleeping -Beauty_, the waltz appears as the fourth and concluding movement and -consists of a lilting melody for strings which is carried to an -overpowering climax. The _Swan Lake_ consists of thirty-three numbers, -various combinations of its most popular sections serving as orchestral -suites for concert performance. The suave waltz music serves in the -ballet for a dance of the swans at the lakeside in the second act. - - - - - Ambroise Thomas - - -Ambroise Thomas was born in Metz, France, on August 5, 1811. Between -1828 and 1832 he attended the Paris Conservatory where he won numerous -prizes including the Prix de Rome. After his three-year stay in Rome, -where he wrote some orchestral and chamber music, he returned to Paris -in 1836 and devoted himself to writing operas. The first was _La double -échelle_, produced at the Opéra-Comique in 1837. His first success was -realized in 1843 with _Mina_, and in 1866 the opera by which he is -remembered, _Mignon_, was triumphantly introduced at the Opéra-Comique. -Later operas included _Hamlet_ (1868) and _Françoise de Rimini_ (1882). -In 1851, Thomas was elected member of the French Academy. In 1871 he was -appointed director of the Paris Conservatory, and in 1894 he was the -recipient of the Grand Cross of the Legion of Honor. He died in Paris on -February 12, 1896. - -_Mignon_ represents the French lyric theater at its best, with its -graceful melodies, charming moods, and courtly grace of style. Its world -première took place at the Opéra-Comique on November 17, 1866. In less -than a century it was given over two thousand performances by that -company besides becoming a staple in the repertory of opera houses the -world over. The opera is based on Goethe’s novel, _Wilhelm Meister_, -adapted by Michel Carré and Jules Barbier. Mignon is a gypsy girl -purchased by Wilhelm Meister. She falls in love with him and is -heartbroken to discover how he is attracted to the actress, Philine. She -tells the demented Lothario of her sorrow and of her wish that Meister’s -castle be burned to the ground. Lothario then proceeds to set Meister’s -castle aflame. Mignon, caught therein, is saved by Meister and then -gently nursed back to health. Meister now realizes he is in love with -her and her alone. When the demented Lothario regains his sanity we -learn that Mignon is in actuality his daughter and that the castle he -has burned is not Meister’s but his own. - -Parts of this opera are better known than the whole, and through these -parts _Mignon_ remains deservedly popular on semi-classical programs. -The Overture makes extended use of two of the opera’s main melodies. The -first is “_Connais-tu le pays_,” (“_Knowest Thou the Land?_”), Mignon’s -poignant first-act aria in which she recalls her childhood in some -distant land; the melody is given in the wind instruments after a brief -introduction. The second aria is Philine’s polonaise, “_Je suis -Titania_” (“_I am Titania_”) from the second scene of the second act. - -Another delightful orchestral episode from this opera is a suave, -graceful little gavotte heard as entr’acte music just before the rise of -the second-act curtain. - -The _Raymond_ Overture is even more popular than that to _Mignon_. -_Raymond_ was first performed at the Opéra-Comique on June 5, 1851. The -overture opens with a spirited section punctuated with dashing chords. A -serene transition, highlighted by a passage for solo cello, brings on a -light, tuneful air in the violins against sharply accented plucked -strings; a graceful countermelody for the woodwind follows. This -appealing material is repeated at some length with embellishments and -amplifications until a new thought is asserted: a brisk, march-like -melody that slowly gains in sonority and tempo until a climactic point -is reached in which this march melody is forcefully given by the full -orchestra. The strings then offer a sentimental melody by way of -temporary relief. But the overture ends in a dramatic and spirited mood -with a finale statement of the march tune. - - - - - Enrico Toselli - - -Enrico Toselli was born in Florence, Italy, on March 13, 1883. After -studying with Sgambati and Martucci, Toselli toured Italy as a concert -pianist. But he achieved renown not on the concert stage but with the -writing of several romantic songs. One of these is the “_Serenata_,” No. -1, op. 6, through which his name survives. He also wrote some orchestral -music and an operetta, _La Principessa bizzarra_ (1913) whose libretto -was the work of the former Crown Princess Luisa of Saxony whom he -married in 1907 thereby creating an international sensation. Toselli -died in Florence, Italy, on January 15, 1926. - -The “_Serenata_” (“_Rimpianto_”) with Italian words by Alfred Silvestri -and English lyrics by Sigmund Spaeth was published in the United States -in 1923. This romantic, sentimental, Italian melody, as well loved in -this country as in Europe, was for many years used by Gertrude Berg as -the theme music for her radio and television program, _The Goldbergs_. -It was also used as the theme music for an early talking picture, _The -Magic Flame_, in which Ronald Colman and Vilma Banky were starred. - - - - - Sir Paolo Tosti - - -Sir Francesco Paolo Tosti, one of Italy’s best known song composers, was -born in Ortona sul Mare, Abruzzi, Italy, on April 9, 1846. His musical -education took place at the Royal College of San Pietro a Maiella in -Naples. He left Naples in 1869 after serving for a while as teacher of -music. Returning to his native city he now initiated his career as a -composer of songs. Though a few of these early efforts became popular he -failed for a long time to find a publisher. Success first came to him in -Rome at a song recital in which he featured some of his own -compositions. He scored an even greater success as singer-composer in -London in 1875. He now settled permanently in London, serving as a -singing master to the royal family, and as professor of singing at the -Royal Academy of Music. In 1908 he was knighted. In 1913 he returned to -his native land. He died in Rome on December 2, 1916. - -Tosti had a remarkable lyric gift that was Italian to its very core in -the ease, fluidity, and singableness of his melodies. This talent was -combined with an elegant style and a sincere emotion. His best songs are -among the most popular to emerge from Italy. The most famous and the -most moving emotionally is without question “_Addio_” (“Goodbye, -Forever”). Almost as popular and appealing are “_Ideale_” (“My Ideal”), -“_Marechiare_,” “_Mattinata_,” “_Segreto_,” “_La Serenata_,” and -“_Vorrei morire_.” - - - - - Giuseppe Verdi - - -Giuseppe Verdi, the greatest of the Italian opera composers, was born in -Le Roncole, Italy, on October 10, 1813. He demonstrated such -unmistakable gifts for music in his boyhood that his townspeople created -a fund to send him to the Milan Conservatory. In 1832 he appeared in -Milan. Finding he was too old to gain admission to the Conservatory, he -studied composition privately with Vincenzo Lavigna. For several years -Verdi lived in Busseto where he conducted the Philharmonic Society and -wrote his first opera, _Oberto_, produced in Milan in 1839. Now settled -in Milan, he continued writing operas, achieving his first major success -with _Nabucco_ in 1842. During the next eight years he solidified his -position as one of Italy’s best loved opera composers with several -important works among which were _Ernani_ (1844), _Macbeth_ (1847) and -_Luisa Miller_ (1849). A new era began for Verdi in 1851 with -_Rigoletto_, an era in which he became Italy’s greatest master of opera, -and one of the foremost in the world. _Il Trovatore_ and _La Traviata_ -came in 1853, to be followed by _I Vespri Siciliani_ (1855), _Simone -Boccanegra_ (1857), _Un ballo in maschera_ (1859), _La Forza del -destino_ (1862), and _Aida_ (1871). Now a man of considerable wealth (as -well as fame), Verdi bought a farm in Sant’ Agata where he henceforth -spent his summers; after the completion of _Aida_, he lived there most -of the time in comparative seclusion, tending to his crops, gardens, and -live stock. When Cavour initiated the first Italian parliament, Verdi -was elected deputy. But Verdi never liked politics, and soon withdrew -from the political arena; however, in 1874, he accepted the honorary -appointment of Senator from the King. - -As a composer, Verdi remained silent for about fifteen years after -_Aida_. By the time the world became reconciled to the fact that Verdi’s -life work was over, he emerged from this long period of withdrawal to -produce two operas now generally regarded as his crowning achievements: -_Otello_ (1887) and _Falstaff_ (1893). During the last years of his -life, Verdi lived in a Milan hotel. His sight and hearing began to -deteriorate, and just before his death—in Milan on January 27, 1901—he -suffered a paralytic stroke. His death was mourned by the entire nation. -A quarter of a million mourners crowded the streets to watch his bier -pass for its burial in the oratory of the Musicians Home in -Milan—accompanied by the stately music of a chorus from _Nabucco_, -conducted by Toscanini. - -Verdi’s profound knowledge of the theater and his strong dramatic sense, -combined with his virtually incomparable Italian lyricism, made him one -of the greatest composers for the musical theater of all time. But it is -his lyricism—with all its infinite charm and variety—that makes so much -of his writing so popular to so many in such widely scattered areas of -the world. Selections from his most famous operas are favorites even -with many who have never seen them on the stage, because their emotional -appeal is inescapable. - -_Aida_ is an opera filled not only with some of the most wonderful -melodies to be found in Italian opera but also with scenes of pomp, -ceremony, with exotic attractions, and with episodes dynamic with -dramatic interest. This was the opera that brought Verdi’s second -creative period to a rich culmination; and it is unquestionably one of -the composer’s masterworks. He wrote it on a commission from the -Egyptian Khedive for ceremonies commemorating the opening of the Suez -Canal. However, Verdi took so long to complete his opera that it was not -performed in Cairo until about two years after the canal had been -opened, on December 24, 1871. The libretto—by Antonio Ghislanzoni—was -based on a plot by Mariette Bey. Radames, captain of the Egyptian guard, -is in love with Aida, the Ethiopian slave of Amneris. The latter, -daughter of the King of Egypt, is herself in love with Radames. When an -invading Ethiopian force comes to threaten Egypt, Radames becomes the -commander of the army and proves himself a hero. Lavish festivities and -ceremonies celebrate his victorious return, during which the king of -Egypt offers him the hand of Amneris as reward. But Radames is still in -love with Aida. Since Aida is actually the daughter of the Ethiopian -king, she manages to extract from Radames the secret maneuvers of the -Egyptian army, information enabling the Ethiopian army to destroy the -Egyptians. For this treachery, Radames is buried alive; and Aida, still -in love with him, comes within his tomb to die with him. - -The brief overture opens with a tender melody in violins suggesting -Aida. After an effective development we hear a somber and brooding -motive of the Priests of Isis, which soon receives contrapuntal -treatment. The Aida motive is dramatized, brought to a magnificent -climax, then allowed to subside. - -The Ballet Music is famous for its brilliant harmonic and orchestral -colors, exotic melodies, and pulsating rhythms. In Act 2, Scene 1 there -takes place the _Dance of the Moorish Slaves_, an oriental dance -performed before Amneris by the Moorish boys. The _Ballabile_ is another -oriental dance which appears in Act 2, Scene 2, performed by the dancing -girls during the celebration attending the arrival of the triumphant -Egyptian army headed by Radames. In this scene there is also heard the -stirring strains of the _Grand March_. This march begins softly but soon -gathers its strength and erupts with full force as the king, his -attendants, the Priests, the standard bearers, Amneris and her slaves -appear in a brilliant procession. The people raise a cry of praise to -the king and their Gods in “_Gloria all’ Egitto_.” After this comes the -dramatic march music to which the Egyptian troops, with Radames at their -head, enter triumphantly into the square and file proudly before their -king. - -Of the vocal excerpts the most famous is undoubtedly Radames’ ecstatic -song of love to Aida in the first act, first scene, “_Celeste Aida_,” -surely one of the most famous tenor arias in all opera. Two principal -arias for soprano are by Aida. The first is her exultant prayer that -Radames come back victorious from the war, “_Ritorna vincitor_” in Act -1, Scene 1; the other, “_O Patria mia_,” in Act 3, is her poignant -recollection of her beloved homeland in Ethiopia. Amneris’ moving aria -in Act 2, Scene 1, “_Vieni amor mio_” where she thinks about her beloved -Radames, and the concluding scene of the opera in which Radames and Aida -bid the world farewell, “_O terra, addio_” are also famous. - -_La Forza del destino_ (_The Force of Destiny_) has a popular overture. -This opera was first performed in St. Petersburg, Russia on November 10, -1862—libretto by Francesco Piave based on a play by the Duke de Riva. -Leonora, daughter of the Marquis of Calatrava, is in love with Don -Alvaro, a nobleman of Inca origin. When they plan elopement, Leonora’s -father intervenes and is accidentally killed in the ensuing brawl. -Leonora’s brother, Don Carlo, swears to avenge this death by killing Don -Alvaro. On the field of battle, Don Alvaro saves Don Carlo’s life. Not -recognizing Don Alvaro as his sworn enemy, Don Carlo pledges eternal -friendship; but upon discovering Don Alvaro’s true identity, he -challenges him to a duel in which Don Carlo is wounded. Aware that he -has brought doom to two people closest and dearest to his beloved -Leonora, Don Alvaro seeks sanctuary in a monastery where many years -later he is found by Don Carlo. In the sword duel that follows, Don -Alvaro kills Don Carlo, whose last act is to plunge a fatal knife into -his sister’s heart. - -A trumpet blast, creating an ominous air of doom, opens the overture. An -air in a minor key then leads to a gentle song for strings; this is -Leonora’s prayer for help and protection to the Virgin in the second -scene of the second act, “_Madre pietosa_.” A light pastoral tune, -depicting the Italian countryside in the third act, is now heard. -Leonora’s song of prayer is now forcefully repeated by the full -orchestra, after which the overture ends robustly. - -_Rigoletto_, introduced in Venice on March 11, 1851, is based on the -Victor Hugo play, _Le Roi s’amuse_ adapted by Francesco Piave. Rigoletto -is the hunchbacked jester to the Duke of Mantua who jealously guards his -daughter, Gilda, from the world outside their home. Disguised as a -student, the Duke woos Gilda and wins her love. Since the Duke’s -courtiers hate the jester, they conspire to abduct Gilda and bring her -to the ducal court to become the Duke’s mistress. Distraught at this -turn of affairs, the jester vows to kill the Duke and hires a -professional assassin to perform this evil deed. But since his own -sister loves the Duke, the assassin decides to spare him and to kill a -stranger instead. The stranger proves to be none other than Gilda, -disguised as a man for a projected flight to Verona. The body is placed -in a sack for delivery to Rigoletto who, before he can get rid of the -body, discovers that it is that of his beloved daughter. - -The following are the best loved and most widely performed excerpts from -this tuneful opera: the Ballata, “_Questa o quella_” from the first act -in which the Duke flippantly talks of love and his many conquests; the -graceful Minuet to which the courtiers dance during a party at the Ducal -palace in the same act; Gilda’s famous coloratura aria, “_Caro nome_” -from the second act, in which she dreams about the “student” with whom -she has fallen in love; the light and capricious aria of the Duke, “_La -donna è mobile_” from the third act, in which the Duke mockingly -comments on fickle womanhood, and one of the most celebrated tenor arias -in the repertory; the quartet “_Bella figlia dell’ amore_”—as celebrated -an ensemble number as “_La donna è mobile_” is as an aria—in which each -of the four principal characters of the opera (Gilda, Rigoletto, the -Duke, and Maddalena) speaks of his or her inner turmoil, doubts, and -hatreds in the third act. - -_La Traviata_ (_The Lost One_) is Francesco Maria Piave’s adaptation of -Alexandre Dumas’ celebrated romance, _La Dame aux camélias_. Its central -theme is the tragic tale of the courtesan, Violetta, who falls in love -with and is loved by Alfredo Germont. After they live together for a -blissful period, Alfredo’s father is instrumental in breaking up the -affair by convincing Violetta she must give up her lover for his own -good. She does so by feigning she has grown tired of him. Only too late -does Alfredo learn the truth; when he returns to Violetta, she is dying -of tuberculosis. - -The première of _La Traviata_ in Venice on March 6, 1853 was a dismal -failure. The public reacted unfavorably to a play it regarded immoral, -and to the sight of a healthy prima donna seemingly wasting away with -tuberculosis; it also resented the fact that the opera was given in -contemporary dress. At a revival, a year later in Venice, the opera was -performed in costume and settings of an earlier period. Profiting -further from a carefully prepared presentation, the opera now cast a -spell on its audience. From this point on, _La Traviata_ went on to -conquer the opera world to become one of the most popular operas ever -written. - -The orchestral preludes to the first and third act are celebrated. The -Prelude to Act 1 begins softly and slowly with a poignant melody -suggesting Violetta’s fatal sickness; this is followed by a broad, rich -song for the strings describing Violetta’s expression of love for -Alfredo. The Prelude to Act 3 also begins with the sad, slow melody -speaking of Violetta’s illness. The music then becomes expressive and -tender to point up the tragedy of her life; this prelude ends with a -succession of broken phrases as Violetta’s life slowly ebbs away. - -The following are the principal vocal selections from _La Traviata_: the -opening drinking song, or Brindisi (“_Libiamo, libiamo_”); Violetta’s -world-famous aria, “_Ah, fors è lui_” in which she reveals her love for -Alfredo followed immediately by her determination to remain free and -pleasure-loving (“_Sempre libera_”) also in the first act; Alfredo’s -expression of joy that Violetta has come to live with him, “_De’ miei -bollenti spiriti_” and the elder Germont’s recollection of his happy -home in the Provence, “_Di Provenza il mar_” from the second act; -Violetta’s pathetic farewell to the world, “_Addio del passato_,” and -Alfredo’s promise to the dying Violetta to return together to their -happy home near Paris, “_Parigi, o cara_” from the fourth act. - -_Il Trovatore_ (_The Troubadours_) is so full of familiar melodies that, -like a play of Shakespeare, it appears to be replete with “quotations.” -It was first performed in Rome on January 19, 1853. The libretto by -Salvatore Commarno, based on a play by Antonio Garcia Gutiérrez, is -complicated to a point of obscurity, and filled with coincidences and -improbabilities; but this did not prevent Verdi from creating one of his -most melodious scores, an inexhaustible reservoir of unforgettable arias -and ensemble numbers. The story involves Count di Luna in a frustrated -love affair with Leonora; his rival is Manrico, an officer of a rival -army with whom Leonora is in love. The gypsy Azucena convinces Manrico, -her foster son, that Count di Luna had been responsible for the death of -Manrico’s father, and incites him on to avenge that murder. Later in the -play, Azucena and Manrico are captured by Di Luna’s army. To help free -Manrico, Leonora promises to marry the Count. Rather than pay this -price, Leonora takes poison and dies at Manrico’s feet. Manrico is now -sentenced to be executed. After his death, Azucena, half-crazed, reveals -that Manrico is really Count di Luna’s half brother. - -The long list of favorite selections from _Il Trovatore_ includes the -following: Manrico’s beautiful serenade to Leonora in Act 1, Scene 2, -“_Deserto sulla terra_”; Leonora’s poignant recollections of a -mysterious admirer in the second scene, “_Tacea la notte placida_”; the -ever popular _Anvil Chorus_ of the gypsies with which the second act -opens, “_Vedi! le fosche_”; Azucena’s stirring recollection of the time -long past when her mother had been burned as a witch, “_Stride la -vampa_,” and Count di Luna’s expression of love for Leonora, “_Il -balen_” also in the second act; in the third act, Manrico’s dramatic -aria, “_Di quella pira_” and the rousing soldier’s chorus of Manrico’s -troops, “_Squilli, echeggi la tromba guerriera_”; Leonora’s prayer for -her beloved Manrico “_D’amor sull’ ali rosee_” followed immediately by -the world-famous _Miserere_ (“_Ah, che la morte ognora_”), a choral -chant asking pity and salvation from the prisoners, all in the first -scene of the fourth act; and the poignant duet of Manrico and Azucena in -the final scene, a fervent, glowing hope that some day they can return -to their beloved mountain country in peace and love, “_Ai nostri -monti_.” - -While _I Vespri siciliani_, or _Les Vêpres siciliennes_ (_Sicilian -Vespers_) is one of Verdi’s less familiar operas, its overture is one of -his most successful. The opera-libretto by Eugène Scribe and Charles -Duveyrier—was first performed at the Paris Opéra on June 13, 1855. Its -setting is 13th-century Sicily where the peasants rise in revolt against -the occupying French. The overture is constructed from some basic -melodies from the opera. The first _Allegro_ theme speaks of the -massacre of the French garrison. A second melody—a beautiful lyrical -passage _pianissimo_ against tremolos—is taken from the farewell scene -of the hero and the heroine who are about to die. - - - - - Richard Wagner - - -Wilhelm Richard Wagner, genius of the music drama, was born in Leipzig, -Germany, on May 22, 1813. In his academic studies (at the Kreuzschule in -Dresden, the Nikolaischule in Leipzig, and the University of Leipzig) he -was an indifferent, lazy, and irresponsible student. But his intensity -and seriousness of purpose where music was concerned were evident from -the beginning. He studied theory by memorizing a textbook and then by -receiving some formal instruction from Theodor Weinlig. In short order -he completed an overture and a symphony that received performances -between 1832 and 1833; in 1834 he completed his first opera, _Die Feen_, -never performed in his lifetime. In 1834 he was appointed conductor of -the Magdeburg Opera where, two years later, his second opera, _Das -Liebesverbot_, was introduced. Between 1837 and 1838 he conducted opera -in Riga. Involvement in debts caused his dismissal from this post and -compelled him to flee to Paris, where he arrived in 1839. There he lived -for three years in extreme poverty, completing two important operas, -_Rienzi_ in 1840, and _The Flying Dutchman_ in 1841. His first major -successes came with the first of these operas, introduced at the Dresden -Opera on October 20, 1842. This triumph brought Wagner in 1843 an -appointment as Kapellmeister of the Dresden Opera which he held with -considerable esteem for six years. During this period he completed two -more operas: _Tannhaeuser_, introduced in Dresden in 1845, and -_Lohengrin_, first performed in Weimar under Liszt’s direction, in 1850. - -As a member of a radical political organization, the Vaterlandsverein, -Wagner became involved in the revolutionary movements that swept across -Europe in 1848-1849. To avoid arrest, he had to flee from Saxony. He -came to Weimar where he was warmly welcomed by Liszt who from then on -became one of his staunchest champions. After that Wagner set up a -permanent abode in Zurich. He now began to clarify and expound his new -theories on opera. He saw opera as a drama with music, a synthesis of -many arts; he was impatient with the old clichés and formulas to which -opera had so long been enslaved, such as formal ballets, recitatives and -arias, production scenes, and so forth. And he put his theories into -practice with a monumental project embracing four dramas, collectively -entitled _The Nibelung Ring_ (_Der Ring des Nibelungen_) for which, as -had always been his practice, he wrote the text as well as the music; -the four dramas were entitled _The Rhinegold_ (_Das Rheingold_), _The -Valkyries_ (_Die Walkuere_), _Siegfried_, and _The Twilight of the Gods_ -(_Goetterdaemmerung_). It took him a quarter of a century to complete -this epic. But during this period he was able to complete several other -important music dramas, including _Tristan and Isolde_ in 1859 and _The -Mastersingers_ (_Die Meistersinger_) in 1867. - -In 1862, Wagner was pardoned for his radical activities of 1849 and -permitted to return to Saxony. There he found a powerful patron in -Ludwig II, king of Bavaria, under whose auspices premières of Wagner’s -mighty music dramas were given in Munich beginning with _Tristan and -Isolde_ in 1865. In 1876 there came into being one of Wagner’s most -cherished dreams, a festival theater built in Bayreuth, Bavaria, -according to his own specifications, where his music dramas could be -presented in the style and manner Wagner dictated. This festival opened -in August 1876 with the first performance anywhere of the entire _Ring_ -cycle. Since then Bayreuth has been a shrine of Wagnerian music drama to -which music lovers of the world congregate during the summer months. -Wagner’s last music drama was the religious consecrational play, -_Parsifal_, first performed in Bayreuth on July 26, 1882. Wagner died in -Venice on February 13, 1883, and was buried in the garden of his home, -Wahnfried, in Bayreuth. - -Of his turbulent personal life which involved him in numerous and often -complex love affairs, mention need here be made only of his relations -with Cosima, daughter of Liszt, and wife of Hans von Buelow. Wagner and -Cosima fell in love while the latter was still von Buelow’s wife. They -had two illegitimate children before they set up a home of their own at -Lake Lucerne; and one more (Siegfried) before they were married on -August 25, 1870. - -Wagner’s creative career divides itself into two phases. In the first he -was the composer of operas in more or less a traditional style. To the -accepted formulas of operatic writing, however, he brought a new -dimension—immense musical and dramatic power and invention. In the -second phase he was the prophet of a new order in music, the creator of -the music drama. It is from the works of his first phase that salon or -pop orchestras derive selections that have become universal -favorites—sometimes overtures, sometimes excerpts. For these earlier -works abound with such a wonderful fund of melody, emotion, -expressiveness and dramatic interest that they have become popular even -with those operagoers to whose tastes the later Wagner is perhaps too -subtle, complex, elusive, or garrulous. - -From _The Flying Dutchman_ (_Der fliegende Hollaender_) comes a dramatic -overture. This opera—text by the composer based on an old legend adapted -by Heinrich Heine—was first performed at the Dresden Opera on January 2, -1843. “The Flying Dutchman” is a ship on which the Dutchman must sail -until he achieves redemption through the love of a faithful woman. Only -once in every seven years is he permitted to go ashore to find that -love. He finally achieves his redemption through Senta. They both meet -their final doom together in a raging sea which swallows up the ship. - -Turbulent music, intended to describe a storm at sea, opens the -overture. We then hear the theme of the Dutchman in the horns and -bassoons. The stormy music returns and subsides as a motive from Senta’s -beautiful second-act ballad, “_Traft ihr das Schiff_” is presented. This -motive brings up the image of Senta herself. A vigorous sailors’ chorus -is followed by a return of the Senta motive in full orchestra. - -Three selections from _The Flying Dutchman_ are of particular appeal: -Senta’s spinning song, “_Summ und brumm_” and her famous ballad, both -from the second act; and the chorus of the sailors in the third act, a -rousing chantey, “_Steuermann! lass die Wacht_.” - -_Lohengrin_ was Wagner’s last “opera.” After that he confined himself to -music dramas. He completed it in 1848. After its première in Weimar on -August 28, 1850 it became one of the most successful operas in Germany -of that period. The text, by the composer, was adapted from medieval -legends. Lohengrin is a knight of the Holy Grail who becomes Elsa’s -champion against Telramund when Elsa is unjustly accused of having -murdered Gottfried. Lohengrin arrives on a swan and extracts from Elsa -the promise that she must never try to uncover his true identity. After -defeating Telramund, Lohengrin marries Elsa who, provoked by Telramund’s -wife, cannot stifle her curiosity about her husband’s background and -source. He finally must reveal to her that he is a knight of the Holy -Grail. Having made that revelation he must leave her forever. - -The two familiar orchestral preludes, from the first and third acts, are -opposites in mood, texture, and dynamics. The Prelude to Act 1 has -spiritual content, a portrait of a heavenly vision wherein the Holy -Grail is carried by angels. The main theme is heard quietly in the upper -registers of the violins, then repeated by other instruments. This theme -is developed into a _crescendo_ and culminates in an exultant statement -by trumpets and trombones. Now the theme is given in a _decrescendo_, -and the prelude ebbs away _pianissimo_, once again in the strings in the -upper register. - -The Prelude to Act 3 is more robust in character, since it depicts the -joy of Elsa and Lohengrin on the eve of their wedding. A forceful melody -is pronounced by the full orchestra, succeeded by a second strong theme -for the cellos, horns, bassoons in unison; a march-like episode for the -wind instruments follows. - -What is probably the most famous wedding march ever written comes out of -_Lohengrin_. Its strains are heard after the rise of the curtain for Act -3, Scene 1, as a procession enters the bridal chamber. The chorus hymns -a blessing to the marriage couple (“_Treulich gefuert_”). From one side -ladies conduct Elsa, while from the other the King and his men lead -Lohengrin. The two processions then meet midstage and Elsa joins -Lohengrin to be blessed by the King. The two columns of the procession -then refile and march out of the two sides of the stage. - -_The Mastersingers_ (_Die Meistersinger_), while written after Wagner -had set forth on his operatic revolution, is the only one of his music -dramas with a recognizable operatic ritual: big arias, huge production -numbers, even dances. For _The Mastersingers_ is a comedy, the only one -Wagner ever wrote. For purposes of comedy some of the traditions of -opera still prove useful to Wagner, even if fused with techniques, -approaches and esthetics of the music drama. Wagner completed _The -Mastersingers_ in 1867—eight years after _Tristan and Isolde_ and more -than a decade following the first two dramas of the _Ring_ cycle. The -first performance took place in Munich on June 21, 1868. The libretto, -by the composer, was set in Nuremberg in the middle 16th century, and -its plot revolves around a song contest conducted by the Mastersingers, -its winner to receive the hand of lovely Eva, daughter of the -cobbler-philosopher, Hans Sachs. Walther von Stolzing, a knight, and -Beckmesser, a contemptible town clerk, are the main rivals for Eva. At a -magnificent ceremony at the banks of the Pognitz River the contestants -sing their offerings. It is Walther’s eloquent “Prize Song” that emerges -victorious. - -This “Prize Song” (“_Morgenlich leuchtend_”) is one of Wagner’s most -famous melodies, the pivot upon which the entire opera gravitates. It is -first heard in the first scene of the third act, where Walther comes to -tell Hans Sachs of a song come to him in a dream. The song is repeated -in the closing scene of the opera during the actual contest. This “Prize -Song” is used by Wagner symbolically. Its victory over the dull and -stilted creation of Beckmesser represents the triumph of inspiration and -freedom of expression over hackneyed rules and procedures. August -Wilhelmj made a famous transcription of the “Prize Song” for violin and -piano. - -_Rienzi_, an early Wagner opera, is today remembered primarily for its -overture. But in its own day it was extremely popular. Immediately after -its première performance in Dresden on October 20, 1842, _Rienzi_ made -Wagner’s name known throughout all of Germany for the first time, -appearing in the repertory of virtually every major German opera house -at the time. The novel from which the composer derived his libretto is -that of Bulwer-Lytton. The central character, Rienzi, is a Roman ruler -of the 14th century who meets his destruction at the hands of his -enemies who set the Capitol aflame in which Rienzi perishes. Trumpet -calls in the opening measures of the overture lead to a slow section in -which is prominent an affecting melody for strings, Rienzi’s prayer for -the Roman people. In the main section of the overture, the first main -theme is the battle hymn of the first act (in the brass) set against -Rienzi’s prayer-melody. The opening slow section returns and is -succeeded by the stirring music from the first act finale. In the coda, -the battle-hymn music is powerfully projected for the last time. - -_Tannhaeuser_ boasts many popular selections beyond its very famous -overture. The opera was first performed in Dresden on October 19, 1845. -The libretto is by the composer. Tannhaeuser is a minstrel-knight who -has grown weary of the carnal delights on the Hill of Venus and longs -for his own world. By invoking the name of the Virgin Mary, in whom he -places his trust, Tannhaeuser is transported to a valley near the -Wartburg Castle, where he is recognized and welcomed back by Wolfram, a -companion minstrel-knight. Joyously, Tannhaeuser returns with Wolfram to -the Hall of the Minstrels in the Wartburg Castle to find that his -beloved Elisabeth is still in love with him. But only he who can come -out triumphant in a song contest on the subject of love can win -Elisabeth. The song Tannhaeuser presents, glorifying sensual pleasure, -horrifies the audience. Contrite, Tannhaeuser offers to atone for his -sins by joining pilgrims to Rome and seeking absolution from the Pope. -Elisabeth promises to pray for his soul. After several months have -passed, Elisabeth is awaiting the return of the Roman pilgrims, and -Wolfram beseeches heaven to guide Elisabeth and protect her. Suddenly -Tannhaeuser—haggard and decrepit—makes his appearance. He confesses to -Wolfram that his soul will not be redeemed until the staff in the Pope’s -hands sprouts leaves. Only after Elisabeth has died of grief in despair -of ever seeing Tannhaeuser again, do the tidings come from Rome that the -Pope’s staff has, indeed, blossomed with foliage. - -The Overture is built from some of the principal melodies of the opera; -in a sense it traces the main events of the story. The religious chant -of the Pilgrims (in clarinets, bassoons and horns) is heard at once. -This is followed by music suggesting Tannhaeuser’s repentance, a -touching melody for strings. After both these ideas have been discussed -we hear in the strings the voluptuous music of Venusberg, a picture of -the carnal life led by Tannhaeuser with Venus on Venus Hill. The music -is brought to a compelling climax with a loud statement of Tannhaeuser’s -passionate hymn to carnal love with which he so horrified the -minstrel-knights at Wartburg Castle. The chant of the pilgrims, which -had opened the overture, also brings it to conclusion. - -The Prelude to Act 3 is solemn music that bears the title, -“Tannhaeuser’s Pilgrimage.” Two themes are set forth at once, that of -Tannhaeuser’s repentance, and that suggesting Elisabeth’s intercession. -Tannhaeuser’s suffering is then portrayed by a poignant melody for -strings. Suggestions of the Pilgrim’s Chorus and a motive known as -“Heavenly Grace” are then offered. The prelude ends quietly and -sensitively, as Tannhaeuser at long last achieves salvation. - -The sensual, even lascivious, music of the _Bacchanale_ in the opening -scene (recreating the revelry enjoyed by Tannhaeuser and Venus on Venus -Hill) is often performed in conjunction with the Overture, sometimes -independently. Another orchestral episode extremely popular is the -stately _March_ of the second act with which the minstrel-knights of the -Wartburg file into the Castle, followed by the nobles, ladies, and -attendants, as they chant the strains of “_Freudig begruessen wir die -edle Halle_.” - -The most popular vocal excerpt from _Tannhaeuser_ is Wolfram’s “Ode to -the Evening Star” (“_O du mein holder Abendstern_”) in the last act. -This atmospheric music, a hymn to the mystery and beauty of the night, -is Wolfram’s prayer to the evening star that it guide and protect -Elisabeth. Elisabeth’s second-act song of praise to the Hall of Wartburg -Castle in which she speaks of her joy in learning of Tannhaeuser’s -return (“_Dich, teure Halle_”) and her eloquent third-act prayer for -Tannhaeuser’s forgiveness (“_Allmaecht’ge Jungfrau_”) are also -deservedly celebrated for their affecting lyricism. - -Wagner did not write much music not intended for the stage. Of this -meager repertory one or two items deserve attention in the -semi-classical repertory. One is “_Traeume_” (“Dreams”) a song often -heard in transcriptions, particularly for orchestra. This is one of five -poems by Mathilde Wesendonck which Wagner set to music in 1857-1858, and -it appears as the last song of the cycle. This gentle nocturne derives -some of its melody from the famous love-duet of the second act of -_Tristan and Isolde_ (“_O sink hernieder, Nacht der Liebe_”) but the -overall effect of the song is one of gentle revery rather than sensual -love. Wagner himself arranged “_Traeume_” for small orchestra. On -Mathilde Wesendonck’s birthday on December 23, 1857, he conducted -eighteen musicians in a performance of the song under Mathilde’s window. - -The _Kaiser March_ was another of Wagner’s compositions not intended for -the stage. He wrote it in 1871 to celebrate Germany’s victory over -France. A proud, exultant theme is first offered by the full orchestra. -A transition in the brasses and timpani brings on a second theme of -contrasting character in the woodwind. There follows a brief statement -of Martin Luther’s famous chorale, “_Ein feste Burg_.” After dramatic -music depicting the fever of battle, the Luther chorale is repeated -triumphantly by the brasses. The first theme returns loudly in full -orchestra after a fanfare to end the march. - - - - - Emil Waldteufel - - -Emil Waldteufel, waltz-king of France, was born in Strasbourg on -December 9, 1837. His father, a professor of music at the Strasbourg -Conservatory, gave him his first music instruction. After that Emil -attended the Paris Conservatory, but he never completed his course of -study there, leaving the schoolroom to take on a job with a piano -manufacturer. He published his first waltzes at his own expense in 1860, -_Joies et peines_ and _Manola_. The latter so enchanted the Prince of -Wales that he willingly accepted the dedication of Waldteufel’s next -waltz, _Bien aimé_, a fact that played no small part in establishing -Waldteufel’s reputation in England. Waldteufel now decided to sidestep -all other activities to concentrate on the writing of waltz music. In -short order he became the idol of Paris in the same way that Johann -Strauss II was of Vienna. For a period, Waldteufel’s fame throughout -Europe was second only to that of the Viennese waltz king. Waldteufel -made many tours of the European capitals conducting his own -compositions, scoring triumphs in Covent Garden in 1885, and in Berlin -in 1889. In 1865 he became chamber musician to the Empress Eugénie and -director of the court balls. He died in Paris on February 16, 1915. - -Waldteufel published over 250 waltzes. A comparison with Johann Strauss -is perhaps inevitable. The French waltz king never equalled Strauss’ -remarkable melodic invention, original approaches in harmony and -orchestration, and overall inspiration. Most of Waldteufel’s waltzes are -functional pieces, and make far better dance music than concert music. -But a handful of his waltzes are classics, and deservedly so. They are -buoyant and inviting in their spirit, aristocratic in style, spontaneous -in expression. Waldteufel’s most famous waltzes include the following: -_España_, op. 236, which utilizes for its waltz melodies the basic -themes from Chabrier’s rhapsody of the same name; and _The Skaters_ -(_Les Patineurs_), op. 183, in which the main elegant melody has the -lightness of foot and the mobility of motion of facile figure skaters. -Other popular Waldteufel waltzes include the _Acclamations_, op. 223; -_Dolores_, op. 170; _Estudiantina_, op. 191; _Mon rêve_, op. 151; _Les -Sirènes_, op. 154; _Toujours ou jamais_, op. 156; and _Violettes_, op. -148. - - - - - Karl Maria von Weber - - -Karl Maria von Weber was born in Eutin, Oldenburg, Germany, on November -18, 1786. His father, who played the violin in small theaters, was -determined to make his son a musical prodigy, subjecting him from -childhood on to severe discipline, and to intensive study with Karl’s -stepbrother, J. P. Heuschkel and Michael Haydn. Weber made public -appearances as pianist in early boyhood. His first opera was written -when he was only thirteen, and at fourteen his second opera was -performed in Chemnitz, Freiberg, and Vienna. An even more comprehensive -period of study than heretofore followed in Munich with Abbé Vogler. -After that, in 1804, Weber was appointed conductor of the Breslau City -Theater. In 1806 he became Musik Intendant to the Duke of Wuerttemberg, -and in 1807 private secretary and music master to Duke Ludwig in -Stuttgart. From 1813 to 1816 he was the music director of German Opera -in Prague and in 1817 musical director of German Opera in Dresden. It -was in this last post that he created the first of his unqualified -masterworks, the opera _Der Freischuetz_, introduced with phenomenal -success in Berlin on June 18, 1821. It was with this work that German -Romantic opera was born, grounded in Germanic nationalism, filled with -the German love for the legendary and the supernatural, and -characterized by its use of German landscapes and backgrounds. Weber -wrote two more masterworks with which his high station in opera was -solidified: _Euryanthe_, introduced in Vienna on October 25, 1823, and -_Oberon_, first heard in London, on April 12, 1826. In London, attending -the première of the latter opera, Weber succumbed to his last sickness -on June 5, 1826. His body was transferred to Dresden where it was buried -to special ceremonies at which Wagner delivered the eulogy. - -Weber’s monumental contributions to opera in general, and German opera, -in particular, do not fall within the scope of this volume; neither do -the three masterworks with which he gained immortality. In music in a -lighter vein he was most significant for being one of the first to -create waltz music within an extended structure. The most popular of -these compositions was the _Invitation to the Dance_ (_Aufforderung zum -Tanz_), written in 1819 as a “rondo brilliant” in D-flat major, for -piano solo. It has since become celebrated in several orchestral -transcriptions, notably those by Berlioz and Felix Weingartner. This -work is one of the first in music history in which several different -waltz tunes are combined into a single cohesive composition, preceded by -an introduction and concluding with an epilogue. The introduction -consists of a subdued, well-mannered melody, simulating the request to a -lady by a young man for a dance, and the acceptance. Several waltz -melodies follow, to which this couple dance. The epilogue consists of a -return of the introduction, this time with the gentleman thanking the -lady for having danced with him. - -The _Jubilee Overture_ (_Jubel_), op. 59, for orchestra is another of -Weber’s more popular creations, this time in a stirring style. He wrote -it in 1818 on the occasion of the 50th anniversary of the ascension to -the throne by the King of Saxony. A slow introduction leads to the main -body of the overture in which the main theme is forcefully stated by the -full orchestra. By contrast there later appears a light-hearted tune, -soon given considerable prominence in the development section. When both -ideas have been repeated, a climax is reached with a statement of the -English anthem, “God Save the King” in the wind instruments accompanied -by the strings. - - - - - Kurt Weill - - -Kurt Weill was born in Dessau, Germany, on March 2, 1900. A -comprehensive musical training took place first with private teachers in -Dessau, then at the Berlin High School of Music, and finally for three -years with Ferruccio Busoni. Weill started out as a composer of -avant-garde music performed at several important German festivals. His -first opera, _The Protagonist_, with a text by Georg Kaiser, was -produced in 1926. From this point on Weill continued writing operas in -which the texts were realistic or satiric, and the music filled with -popular idioms, sometimes even those of jazz. The most important were -_The Royal Palace_ in 1927; _The Three-Penny Opera_, a sensation when -first produced in 1928; _The Czar Has Himself Photographed_, also in -1928; and _The Rise and Fall of Mahagonny_, in 1930, one of whose -numbers, “The Alabamy Song,” was a leading song hit in Germany that -year. With these works Weill became one of the leading exponents of the -cultural movements then sweeping across Germany under the banners of -_Zeitkunst_ (Contemporary Art) and _Gebrauchsmusik_ (Functional Music). -In the fall of 1935, Weill established permanent residence in the United -States, becoming an American citizen in 1943. He soon assumed a position -of first importance in the Broadway theater by virtue of a succession of -outstanding musicals: _Johnny Johnson_ (1936); _Knickerbocker Holiday_ -(1938) in which Walter Huston starred as Peter Stuyvesant and out of -which came one of Weill’s most popular musical numbers, “September -Song”; Moss Hart’s musical about psychoanalysis and the dream life, -_Lady in the Dark_ (1941) in which Gertrude Lawrence was starred; _One -Touch of Venus_ (1943), with Mary Martin; _Street Scene_ (1947), a -trenchant musical play based on Elmer Rice’s realistic drama of New -York; _Love Life_ (1948), book and lyrics by Alan Jay Lerner, its main -musical number being another all-time Weill song favorite, “Green-Up -Time”; and _Lost in the Stars_ (1949), a powerful musical drama adapted -from Alon Paton’s novel, _Cry, the Beloved Country_. Weill died in New -York City on April 3, 1950. - -_The Three-Penny Opera_ (_Die Dreigroschenoper_) is one of the most -important musical productions of the post-World War I era in Europe; and -since its premiere it has lost little of its initial popularity. This -musical play (or opera, if you will) was based on the historic -18th-century ballad opera of John Gay, _The Beggar’s Opera_. The text -was rewritten and modernized by Berthold Brecht, in whose hands the -comic opera became a brilliant, though often bitter, satire of Germany -in the late 1920’s, with penetrating satirical comments on crime and -corruption in this post-war era. Weill’s opera was introduced in Berlin -on August 31, 1928 and scored a sensation with few parallels in -contemporary German theater. Over one hundred theaters gave it four -thousand performances throughout Germany in its initial year. It was -made into a motion-picture by G. W. Pabst (the first of several screen -adaptations). It was introduced in the leading theatrical centers of the -world; the American première—in New York on April 13, 1933—was, however, -a dismal failure. It has since been revived frequently in all parts of -the civilized world. An off-Broadway presentation in 1954—with a new -modernized text by Marc Blitzstein, but with the Weill music -untouched—made history by accumulating a run of more than five years; a -national company was then formed to tour the country in 1960. During -this long Broadway run, the principal musical number, “Moritat” (or -“Mack the Knife”) became an American hit song on two different -occasions. In 1955 it was given over twenty different recordings and was -often represented on the Hit Parade; revived in 1959 by Bobby Darin, it -sold over a million discs. - -Weill’s score is a mixture of opera and musical comedy, of European -stage traditions and American idioms. It opens with a blues and -concludes with a mock chorale, while in between these opposite poles -there can be heard a shimmy, a canon in fox-trot, popular tunes, formal -ballads, light airs, choruses, and ensemble numbers. The style ranges -freely from Tin Pan Alley clichés to atonality, from mock romanticism to -dissonance. Each number was basic to the plot; principal numbers often -became penetrating psychological commentaries on the characters who -presented them. “Moritat” (or “Mack the Knife”) is the main musical -number. But several others are also of outstanding interest including -“Love Song” (“_Liebeslied_”), “The Ballad of Pleasant Living” (“_Ballade -vom angenehmen Leben_”), the Canon-Song, _Barbarasong_, and the Bully’s -Ballad (“_Zuhaelterballade_”). - - - - - Jaromir Weinberger - - -Jaromir Weinberger was born in Prague, Czechoslovakia, on January 8, -1896. After completing his music study at the Prague Conservatory, and -privately with Max Reger in Berlin, he came to the United States in -1922, teaching for one season at the Ithaca Conservatory in Ithaca, New -York. Following his return to Europe he held various posts as teacher -and conductor. He achieved international renown as a composer with a -Bohemian folk opera, _Schwanda, der Dudelsackpfeifer_ first performed in -Prague on April 27, 1927, then successfully heard throughout Europe and -in the United States. Weinberger wrote many operas after that, and a -considerable amount of orchestral music. Up to 1937 his home was in -Prague, but since 1939 he has lived in the United States. One of his -most successful works for orchestra was introduced in the United States -soon after his arrival, _Under the Spreading Chestnut Tree_. - -Among the numerous works by Weinberger are two that can be said to have -a more popular appeal than the others. One is in an American idiom and -manner which Weinberger assumed for many of his major works after coming -to this country; the other is in the Bohemian style with which he first -became famous. - -That in the American style and spirit (but technically in a fugue idiom) -is a delightful treatment of the popular American tune by Dan Emmett, -“Dixie.” “Dixie” had originated as a minstrel-show tune, being written -by Emmett as a “walk-around” (or closing number) for a minstrel-show -production at the Bryant Theater in New York in November 1859. It became -an immediate favorite with minstrel troupes throughout the country. -During the Civil War it became the Southland’s favorite battle hymn, -despite the fact that it was the work of a Northerner. The charge at -Gettysburg by General George Pickett was made to the strains of this -music. After the surrender at Appomattox, President Lincoln invited a -band outside the White House to play the tune for him maintaining that -since the North had conquered the Southern army it had also gained its -favorite song as a spoils of war. In 1940 Weinberger wrote the _Prelude -and Fugue on Dixie_ for symphony orchestra. The prelude devotes itself -to a simple statement of the melody, after which comes the lively fugal -treatment of its main theme. The treatment is throughout so skilful and -musical that we never feel any sense of contradiction in the use of a -popular minstrel-show tune within a soundly classical structure and -through soundly classical means. - -Out of the composer’s most famous opera, _Schwanda, der -Dudelsackpfeifer_ (_Schwanda, the Bagpipeplayer_) comes a _Polka and -Fugue_ for orchestra that is undoubtedly the most familiar excerpt from -the opera. The vivacious _Polka_—which has a lusty peasant vitality in -its marked accentuations—comes from Act 2, Scene 2; the fugue (whose -main theme is suggested in the polka) is used in the opera’s closing -scene. Just before the end of the fugue, the polka melody is heard -again, set contrapuntally against the fugue tune in a powerful climax in -which the full orchestra, as well as an organ, is utilized. - - - - - Henri Wieniawski - - -Henri Wieniawski was born in Lublin, Poland, on July 10, 1835. When he -was eight he entered the Paris Conservatory, from which he was graduated -three years later with first prize in violin-playing, the first time -this institution conferred such an honor on one so young. Sensational -appearances as child prodigy followed throughout Europe. After an -additional period of study at the Paris Conservatory between 1849 and -1850, he initiated his career as a mature performer, and as one of the -world’s foremost violinists, with performances in Europe and Russia. In -1872 he toured the United States with the pianist, Anton Rubinstein. -Meanwhile, in 1859, he was appointed solo violinist to the Czar of -Russia, and from 1862 to 1867 he was professor of the violin at the St. -Petersburg Conservatory. In 1874 he succeeded Vieuxtemps as professor of -the violin at the Brussels Conservatory where he remained fourteen -years. He suffered a heart attack while performing in Berlin in 1878, -and died in Moscow on March 31, 1880. - -Wieniawski produced a rich repertory of music for the violin which is -still performed extensively. This includes the famous Concerto in D -minor and many smaller compositions. Among the latter can be found -pieces which have become favorites with salon orchestra in -transcription. These, like other major works by the composer, are -characterized by broad and expressive melodies and brilliant technical -effects. - -The _Kujawiak_, in A minor, op. 3 is a brilliant rhythmic number—a -spirited mazurka which derives its name from the fact that it has come -out of the Kuawy district of Poland. The _Légende_, op. 17, on the other -hand, is outstanding for its sentimental lyricism. This piece is an -eloquent song, originally for violin and orchestra, that seems to be -telling a romantic tale. The _Polonaise brillante_, in D major, op. 4, -like the _Kujawiak_, is a successful attempt to incorporate within a -concert work the characteristics of a popular Polish dance. This -composition is appealing for its sharp accentuations on the half beat, -syncopations, and brilliant passage work. The _Souvenirs of Moscow_ -(_Souvenirs de Moscou_), op. 6, is a fantasia on famous Russian airs, -the most important of which is “The Red Sarafin.” - - - - - Ralph Vaughan Williams - - -Ralph Vaughan Williams was born in Down Ampney, England, on October 12, -1872. After attending the Royal College of Music, he studied composition -privately with Max Bruch in Berlin. In 1901 he was appointed organist of -the St. Barnabas Church in London. For the next few years he devoted -himself mainly to church music. His interest in the English folk songs -of the Tudor period, first stimulated in 1904, proved for him a decisive -turning point. Besides dedicating himself henceforth to intensive -research in English folk music (much of which he helped to revive from -neglect and obscurity through his editions and adaptations) he found a -new direction as composer: in the writing of music with a national -identity, music absorbing the melodic, harmonic and modal techniques—at -times even the actual material—of these old songs and dances. This new -trend first became evident in 1907 with his _Norfolk Rhapsodies_. After -an additional period of study with Maurice Ravel in Paris, Vaughan -Williams embarked upon the writing of his first major works which -included the famous _Fantasia on a Theme by Thomas Tallis_, _London -Symphony_, and the opera _Hugh the Drover_. Subsequent works in all -fields of composition placed him with the masters of 20th-century music. -These compositions included symphonies, operas, concertos, fantasias, -choral and chamber music. For more than thirty years, Vaughan Williams -taught composition at the Royal College of Music in London; from 1920 to -1928 he was the conductor of the Bach Choir, also in that city. He paid -two visits to the United States, the first time in 1922 to direct some -of his works at a music festival in Connecticut, and the second time a -decade later to lecture at Bryn Mawr College. He received the Order of -Merit in 1935 and the Albert medal of the Royal Society of Arts in 1955. -He died in London on August 26, 1958. - -Only a meagre number of Vaughan Williams’ compositions have popular -appeal. One of these is the _Fantasia on Greensleeves_, for orchestra. -“Greensleeves” is an old English folk song dating from the early 16th -century, and mentioned in Shakespeare’s _The Merry Wives of_ _Windsor_. -In the 17th century it became the party song of the Cavaliers. Americans -know it best through a popular-song adaptation in 1957. Vaughan -Williams’ delightful fantasia appears as an orchestral interlude in his -opera _Sir John in Love_ (1929), based on _The Merry Wives of Windsor_. -A brief episode for flute leads to “Greensleeves,” which is harmonized -opulently for strings. Two brief variations follow. Then the opening -flute episode is recalled as is the folk song itself—the main melody in -lower strings with embellishments in the upper ones. - -_The March of the Kitchen Utensils_ is an amusing little episode for -orchestra, part of the incidental music prepared by the composer for a -production of Aristophanes’ _The Wasps_ in Cambridge in 1909. This march -opens with a humorous little theme for the wind instruments in the -impish style of Prokofiev. The theme is taken over by the strings. The -middle section is much more in the identifiable national style of -Vaughan Williams with a melody that resembles an old English folk dance. - - - - - Jacques Wolfe - - -Jacques Wolfe, composer of songs in the style of Negro Spirituals -familiar in the repertory of most American baritones, was born in -Botoshan, Rumania on April 29, 1896. He was trained as a pianist at the -Institute of Musical Art. While serving in the army during World War I, -a member of the 50th Infantry Band, he was stationed in North Carolina -where he first came into contact with Negro folk songs. This made such a -profound impression on him that he devoted himself to research in this -field. After the war he made many appearances on the concert stage both -as a solo performer and as an accompanist. For several years he was also -a teacher of music at New York City high schools. - -Wolfe’s two best known songs in the style of Negro folk songs appeared -in 1928. One is “De Glory Road,” words by Clement Wood, a work of such -extraordinary fervor and dramatic character that it has proved a -sure-fire number with concert baritones throughout the country, and -notably with Lawrence Tibbett with whom it was a particular favorite. -The other was “Short’nin’ Bread,” to Wolfe’s own words. The latter in -all probability is not original with Wolfe but an adaptation of one of -the melodies he discovered in North Carolina. Several Negro composers -have been credited with being its composer; one of them was Reese d’Pres -who is said to have written the melody in or about 1905. - -Among Wolfe’s other familiar songs are “God’s World,” “Goin’ to Hebb’n” -and “Hallelujah Rhythm.” - - - - - Ermanno Wolf-Ferrari - - -Ermanno Wolf-Ferrari was born in Venice, Italy, on January 12, 1876. -Originally planning to make art his career he went to Rome, but while -there became so fascinated by opera that then and there he decided to -become a musician. He completed his musical training in Munich in 1895 -with Josef Rheinberger. In 1899 he returned to his native city where his -first major work—an oratorio, _La Sulamite_—was successfully performed. -His first opera, _Cenerentola_ (_Cinderella_) was introduced in Venice -in 1900. His first comic opera (or opera buffa) came to Munich in 1903: -_Le Donne Curiose_. He achieved world renown with still another comic -opera, _The Secret of Suzanne_, first performed in Munich in 1909. This -distinguished achievement was followed by an equally significant -achievement in a serious vein, the grand opera, _The Jewels of the -Madonna_, first heard in Berlin in 1911. One year later Wolf-Ferrari -paid his first visit to the United States to attend in Chicago the -American première of _The Jewels of the Madonna_. He wrote many operas -after that, both in a comic and serious style, but his fame still rests -securely on _The Secret of Suzanne_ and _The Jewels of the Madonna_. -From 1902 to 1912 he was director of the Benedetto Marcello Conservatory -in Venice. He died in that city on January 21, 1948. - -From _The Jewels of the Madonna_ (_I Gioielli della Madonna_) have come -several familiar orchestral episodes. This tragedy—libretto by the -composer with verses by Carlo Zangarini and Enrico Golisciani—was -successfully introduced in Berlin on December 23, 1911. Rafaele, leader -of the Camorrists, and Gennaro, a blacksmith, are rivals for the love of -Maliela. After Rafaele appears to have won Maliela’s love, Gennaro wins -her away from his rival by stealing for her the jewels decorating the -image of the Madonna. Maliela confesses to Rafaele and other Camorrists -about this theft, then rushes off into a raging sea to meet her death. -After Gennaro has returned the jewels to the Madonna, he plunges a -dagger into his own breast. - -Two melodious intermezzos for orchestra are often played by salon and -pop orchestras. The first comes between the first and second acts and is -in a languorous mood. The second, heard between the second and third -acts, opens with a light subject and continues with a broadly lyrical -episode. A third popular orchestral excerpt from this opera is the -dramatic “Dance of the Camorristi” during a revel in the Camorristi -hideout in the opening of the third act. - -As an opera _The Secret of Suzanne_ (_Il Segreto di Susanna_) is a -trifle. The libretto by Enrico Golisciani concerns a terrible secret -harbored by the heroine, Suzanne: she is addicted to smoking. Since her -husband finds cigarette butts in their house he suspects her of -entertaining a lover during his absence. Spying on her through the -window, one day, he learns about his wife’s secret to his infinite -relief, and does not hesitate to join her in a smoke. Light, breezy, -infectious, and unpretentious, this little opera has been a favorite -with operagoers everywhere since its world première in Munich on -December 4, 1909. - -The overture is as gay and as capricious as this merry tale. It begins -vivaciously with the main theme in first violins and the woodwind. After -this idea has been elaborated upon, a second melody is heard in the -flute and clarinet accompanied by strings. The two melodies are soon -merged contrapuntally, with the first theme heard in woodwinds and -trumpet and the second in the strings. - - - - - Sebastián Yradier - - -Sebastián Yradier was born in Sauciego, Álava, Spain on January 20, -1809. Little is known of his career beyond the fact that his music -instruction took place with private teachers; that in 1851 he was -appointed singing master to the Empress Eugénie in Paris; and that for a -period he lived in Cuba. He died in Vitoria, Spain, on December 6, 1865. -He was a successful composer of Spanish songs. The most famous is “_La -Paloma_,” which is in the habanera rhythm, its melody in the sensual, -sinuous style of a flamenco song. “_El Arreglito_,” also a habanera, was -borrowed by Bizet for his opera _Carmen_ where it re-emerges as the -world-famous “Habanera”; Bizet made only minor changes in the melody -while retaining Yradier’s tonality and accompaniment. A third popular -Yradier song, in a style similar to “_La Paloma_,” is “_Ay Chiquita!_” - - - - - Carl Zeller - - -Carl Zeller was born in St. Peter-in-der-Au, Austria on July 19, 1842. -Music, the study of which he had pursued since boyhood with private -teachers, was an avocation. He earned his living as an official in the -Ministry of Education in Austria. Nevertheless, he managed to write many -operettas, two of which were among the most successful written in -Austria during his time. Among his first works for the stage were -_Joconde_ (1876), _Die Carbonari_ (1880), and _Der Vagabund_ (1886). His -first major success came with _Der Vogelhaendler_ in 1886, still a great -favorite on the Continent. The second of his operetta classics, _Der -Obersteiger_, was introduced in 1894. A later successful, though less -well known, operetta, _Der Kellermeister_, was produced posthumously in -1901. Zeller died in Baden near Vienna on August 17, 1898. - -_Der Obersteiger_ (_The Master Miner_)—book by M. West and L. -Held—received its première in Vienna on January 5, 1894. The setting is -a salt-mining district of Austria in or about 1840. Martin instigates a -strike among the miners, for which he is deprived of his job. To support -himself he organizes a band of musicians from among the miners and tours -the country. Eventually Martin returns to his mining town where he -finally manages to regain his job and to win Nelly, with whom he has -always been in love. The most popular song in the operetta is Martin’s -air with chorus, “_Wo sie war, die Muellerin_,” and its most delightful -waltz is “_Trauet nie dem blossen schein_.” - -_Der Vogelhaendler_ (_The Bird-Seller_), once again with a book by M. -West and L. Held, was first heard in Vienna on January 10, 1891; but in -1933 it was presented in a new version in Munich adapted by Quedenfelt, -Brugmann and Bauckner. In the Rhine Palatinate in the 18th century, -Adam, a wandering bird-seller, is in love with Christel, but she refuses -to consider marriage unless he gets a permanent job. He gets that job on -the estate of the Elector Palatine at which point Christel is all too -willing to give up a projected marriage with Count Stanislaus for the -sake of her beloved Adam. The lovable melodies from this operetta—in the -best traditions of Suppé and Johann Strauss II—have made it a favorite -not only in Germany and Austria, but also throughout the rest of Europe, -in North and South America, and in South Africa. Among the musical -highlights of this operetta are the waltz “_Schau mir nur recht ins -Gesicht_”; the “Nightingale Song” (“_Wie mein Ahn’l zwanzig Jahr_”); the -pert march tune “_Kaempfe nie mit Frau’n_”; and Christel’s sprightly -air, “_Ich bin die Christel von der Post_.” - - - - - Karl Michael Ziehrer - - -Karl Michael Ziehrer, beloved Viennese composer of waltzes and -operettas, was born in Vienna on May 2, 1843. He was completely -self-taught in music. In 1863 he formed a café-house orchestra with -which he toured Austria and Germany, often featuring his own dance -pieces and marches. He later expanded this orchestra into an ensemble -numbering fifty players with which he gave a series of successful -concerts of semi-classical music in Vienna. In 1907 he became music -director of the court balls. After World War I he suffered extreme -poverty, his personal fortune having been lost with the collapse of the -Hapsburg monarchy. He died in want and obscurity in Vienna on November -14, 1922. - -Ziehrer wrote more than five hundred popular pieces for orchestra, -including numerous marches and waltzes. His waltzes were particularly -favored, many of these in the style of Johann Strauss II. Some are still -extensively played. Probably the most famous of all his waltzes is -Wiener Maedchen (“Vienna Maidens”), which must rank with Lehár’s “Merry -Widow Waltz” as one of the most popular such dances produced in Vienna -since the time of Johann Strauss II. Its first melody sounds like a -Schubert Laendler, with the peasant vigor of its rhythm and its robust -tune; but the main subject is a soaring waltz in the finest traditions -of Viennese café-house music. The following are other famous Ziehrer -waltzes: “_Alt Wien_” (“Old Vienna”), “_Faschingskinder_” (“Carnival -Children”), and “_Wiener Buerger_” (“Viennese Citizens”), all three of -which come closest among his works in assuming the structural outlines -and the melodic identity of the Johann Strauss waltz classics. Also -popular are the “_Donauwalzer_” (“Waltzes from the Danube”) and -“_Evatochter_” (“Daughter of Eve”). - -Ziehrer’s most famous operetta is _Die Landestreicher_ (_The -Vagabonds_)—book by L. Krenn and C. Lindau, first performed in Vienna on -July 26, 1899. In upper Bavaria two tramps—Fliederbusch and his wife -Bertha—manage to live by their wits. Disguised respectively as Prince -Gilka and a dancer they visit a famous resort hotel and are involved in -numerous adventures. By managing to retrieve a supposedly valuable lost -necklace for the Prince they finally win his favor and enter his -service. Of particular interest is the captivating waltz at the end of -the first act, “_Sei gepriesen, du lauschige Nacht_.” - -From several of Ziehrer’s other operettas there come other delightful -waltzes, notably “_Samt und Seide_” from _Der Fremdenfuehrer_ (1902) and -“_Hereinspaziert_” from _Der Schatzmeister_ (1904). - - - - - An Alphabetical Listing of the Lighter Classics in Music - - - “_Abendlied_” (Schumann) - _Abendsterne_ (Lanner) - _Acceleration Waltzes_ (Johann Strauss II) - _Acclamations_ (Waldteufel) - “_Ach, ich hab’ sie ja nur die Schulter gekuesst_” (Milloecker), see - _The Beggar Student_ - _Adagio pathétique_ (Godard) - “_Addio_” (Tosti) - “_Addio all madre_” (Mascagni), see _Cavalleria Rusticana_ - “_Addio del passato_” (Verdi), see _La Traviata_ - “_Addio fiorito asil_” (Puccini), see _Madama Butterfly_ - _Adoration_ (Borowski) - _L’Africaine_: Selections (Meyerbeer) - _Agnus Dei_ (Bizet) - “_Ah! che la morte ognora_,” or “_Miserere_” (Verdi), see _Il - Trovatore_ - “_Ah, fors è lui_” (Verdi), see _La Traviata_ - “_Ah Sweet Mystery of Life_” (Herbert), see _Naughty Marietta_ - _Aida_: Overture, Ballet Music, and Selections (Verdi) - “_Ai nostri monti_” (Verdi) see _Il Trovatore_ - _Air_, or _Air on the G String_ (Bach) - _Al fresco_ (Herbert) - “_Allia marcia_” (Sibelius), see _Karelia Suite_ - “_Allmaecht’ge Jungfrau_,” or “Elisabeth’s Prayer” (Wagner), see - _Tannhaeuser_ - Alley Tunes (Guion) - “Almost Like Being in Love” (Loewe), see _Brigadoon_ - _Alsatian Scenes_ (Massenet) - “_Als Bueblein klein_” (Nicolai), see _The Merry Wives of Windsor_ - _Alt Wien_ (Godowsky) - _Alt Wien_ (Ziehrer) - _Amelia_ (Lumbye) - _American Fantasia_ (Herbert) - _American Salute_: “When Johnny Comes Marching Home” (Gould) - _American Suite_ (Cadman) - _American Symphonette No. 2_ (Gould) - “_Am Meer_” (Schubert) - _An American in Paris_ (Gershwin) - _Andalucia_ (Lecuona) - _Andaluza_ (Granados), see _Spanish Dances_ - _Andante cantabile_ (Tchaikovsky) - _Andante religioso_ (Halvorsen) - _Andantino_ (Kreisler) - _An der schoenen blauen Donau_ (Johann Strauss II), see _The Blue - Danube_ - “_An die Musik_” (Schubert) - “The Angelus” (Herbert) - _Anitra’s Dance_ (Grieg), see _Peer Gynt Suite_, No. 1 - _Annen-Polka_ (Johann Strauss II) - _Anvil Chorus_ (Verdi), see “_Vedi, le fosche notturne spoglie_,” _Il - Trovatore_ - _Apache Dance_ (Offenbach) - “_Après un rêve_” (Fauré) - _Aquarellen_ (Josef Strauss) - _Arabian Dance_ (Tchaikovsky), see _Nutcracker Suite_ - _Arkansas Traveler_ (Guion) - _L’Arlésienne_, Suite Nos. 1 and 2 (Bizet) - “_El Arreglito_” (Yradier) - _Artist’s Life_ (Johann Strauss II) - _Ascot Gavotte_ (Loewe), see _My Fair Lady_ - _Ase’s Death_ (Grieg), see _Peer Gynt Suite_, No. 1 - _As You Like It_: Dances (German) - “At Dawning” (Cadman) - “_A te questo rosario_” (Ponchielli), see _La Gioconda_ - _Aubade provençale_ (Kreisler) - “_Auf dem Wasser zu singen_” (Schubert) - _Aufforderung zum Tanz_ (Weber), see _Invitation to the Dance_ - “_Auf Fluegeln des Gesanges_” (Mendelssohn), see “On Wings of Song” - “_Au mont Venus_” (Offenbach), see _La Belle Hélène_ - Austrian National Anthem (Haydn), see “_Gott erhalte Franz den - Kaiser_” - _Autumn Song_ (Tchaikovsky), see _The Months_ - “_Ave Maria_” (Gounod) - “_Ave Maria_” (Schubert) - “_Ay Chiquita_” (Yradier) - - _Babes in Toyland_: Selections (Herbert) - Bacchanale, from _The Queen of Sheba_ (Karl Goldmark) - Bacchanale, from _Samson and Delilah_ (Saint-Saëns) - Bacchanale, from _Tannhaeuser_ (Wagner) - _Bahn-Frei Polka_ (Eduard Strauss) - “Bali H’ai” (Rodgers), see _South Pacific_ - _Ballabile_ (Verdi), see _Aida_ - “_Ballade vom angenehmen Leben_” (Weill), see “The Ballad of Pleasant - Living,” _The Three-Penny Opera_ - “Ballad of Herne the Hunter” (Nicolai), see _The Merry Wives of - Windsor_ - “The Ballad of Pleasant Living” (Weill), see _The Three-Penny Opera_ - _Ballatella_, or “Bird Song” (Leoncavallo), see “_Stridono lassu_” - _Pagliacci_ - _Ballet Égyptien_ (Luigini) - Ballet Music from _Rosamunde_ (Schubert) - _Ballet Suite_ (Gluck-Mottl), see Gluck - _The Banjo_ (Gottschalk) - _Barbara-Song_ (Weill), see _The Three-Penny Opera_ - _The Barber of Seville_: Overture and Selections (Rossini) - _Barcarolle_ from _The Tales of Hoffmann_ (Offenbach) - _Bartered Bride_: Overture and Selections (Smetana) - _Le Baruffe Chiozzotte_, Overture (Sinigaglia) - _The Bat_ (Johann Strauss II), see _Die Fledermaus_ - _Bavarian Dances_ (Elgar) - “Beautiful Dreamer” (Foster) - _Beautiful Galathea_, Overture (Suppé) - “_Die beiden Grenadiere_” (Schumann) - _The Beggar Student_: Selections (Milloecker) - “_Bella figlia dell’ amore_,” Quartet (Verdi), see _Rigoletto_ - _La Belle Hélène_: Selections (Offenbach) - _Berceuse_ from _Jocelyn_ (Godard) - _Berceuse_ (Järnefelt) - “Bess, You Is My Woman Now” (Gershwin), see _Porgy and Bess_ - _Der Bettelstudent_ (Milloecker), see _The Beggar Student_ - _Big Ben_ (Rose) - “Bill” (Kern), see _Show Boat_ - _Bird Song_, “_Stridono lassu_” (Leoncavallo), see _Pagliacci_ - “_Bist du’s, lachendes Glueck_” (Lehár), see _The Count of Luxembourg_ - _Black, Brown and Beige_ (Ellington) - _The Black Domino_: Overture (Auber) - “Blow High, Blow Low” (Rodgers), see _Carousel_ - _The Blue Danube_ (Johann Strauss II) - “Blue Heaven” (Romberg), see _The Desert Song_ - _Blue Tango_ (Anderson) - _La Bohème_: Selections (Puccini) - _The Bohemian Girl_: Selections (Balfe) - _Bolero_ (Moszkowski) - _Bolero_ (Ravel) - _Boris Godunov_: Polonaise (Mussorgsky) - _Bridal Procession_ (Rimsky-Korsakov), see _Le Coq d’or_ - _Brigadoon_: Selections (Loewe) - _Brigg Fair_ (Grainger) - “Brightly Dawns Our Wedding Day” (Sullivan), see _The Mikado_ - _Brindisi_ (Verdi), see “_Libiamo, Libiamo_,” _La Traviata_ - _Bugler’s Holiday_ (Anderson) - “The Bully’s Ballad” (Weill), see _The Three-Penny Opera_ - - _Caecilien_ (Johann Strauss II) - _Cakewalk_ (Gottschalk-Kay), see Gottschalk - _Caliph of Bagdad_: Overture (Boieldieu) - “_La Calunnia_” (Rossini), see _The Barber of Seville_ - “Camptown Races” (Foster) - _The Canary_ (Mozart), see _German Dances_ - Can-Can (Offenbach), see _La Belle Hélène_, _Orpheus in the - Underworld_ - “Canon Song” (Weill), see _The Three-Penny Opera_ - “Can’t Help Lovin’ That Man” (Kern), see _Show Boat_ - “_Cantique Noël_” (Adam) - “_Canto Siboney_” (Lecuona) - _Canzonetta_ (Sibelius) - _Capriccio espagnol_ (Rimsky-Korsakov), see _Spanish Caprice_ - _Caprice Basque_ (Sarasate) - _Caprice Viennois_ (Kreisler) - “Card Song” (Bizet), see _Carmen_ - “Carefully on Tip-Toe Stealing” (Sullivan), see _Pinafore_ - _Carmen_: Preludes and Selections (Bizet) - _Carnaval à Paris_ (Svendsen), see _Carnival in Paris_ - _Carnival of Animals_ (Saint-Saëns) - _Carnival Overture_ (Glazunov) - “_Caro nome_” (Verdi), see _Rigoletto_ - _Carousel_: Selections (Rodgers) - _Carousel Waltz_ (Rodgers), see _Carousel_ - _Casse-noisette_ (Tchaikovsky), see _Nutcracker Suite_ - “_Casta diva_” (Bellini), see _Norma_ - _Catalonia_ (Albéniz) - _Catfish Row_ (Gershwin), see _Porgy and Bess_ - _Cavalleria Rusticana_: Selections (Mascagni) - _Caucasian Sketches_ (Ippolitov-Ivanov) - _Cavatina_ (Raff) - “_Celeste Aida_” (Verdi), see _Aida_ - _Central Park_ (Goldman) - _Champagne Galop_ (Lumbye) - _Chanson bohème_ (Bizet), see _Carmen_ - _Chanson Louis XIII et Pavane_ (Kreisler) - _Chanson sans paroles_ (Tchaikovsky), see _Song Without Words_ - _Chanson triste_ (Tchaikovsky) - “_Che gelida manina_” (Puccini), see _La Bohème_ - _Children’s Corner_ (Debussy) - _Children’s Dance_ (German), see _As You Like It_ - _Children’s Games_ (Bizet) - _Children’s March_ (Goldman) - _Children’s March_ (Grainger) - _Children’s Symphony_ (McDonald) - _Chimes of Normandy_: Selections (Planquette) - _The Chocolate Soldier_: Selections (Straus) - “Chorus of Swords” (Gounod), see _Faust_ - _Christmas Festival_ (Anderson) - _Le Cid_: Ballet Music (Massenet) - “Cider Song” (Planquette), see _The Chimes of Normandy_ - “_Cielo e mar_” (Ponchielli), see _La Gioconda_ - _Circus Day_ (Taylor) - _Clair de lune_ (Debussy) - “Climbing Over Rocky Mountain” (Sullivan), see _Pirates of Penzance_ - _Les Cloches de Corneville_ (Planquette), see _The Chimes of Normandy_ - _Clog Dance_ (Lortzing), see _Czar and Carpenter_ - _Cockaigne Overture_ (Elgar) - “Cockeyed Optimist” (Rodgers), see _South Pacific_ - _Colas Breugnon_: Overture (Kabalevsky) - _The Comedians_ (Kabalevsky) - _Comedy Overture on Negro Themes_ (Gilbert) - “Come Friends Who Plough the Sea” (Sullivan), see _Pirates of - Penzance_ - “Come, Sweet Death” (Bach) - “_La Comparasa_” (Lecuona) - “Come to Me, Bend to Me” (Loewe), see _Brigadoon_ - _Concert Polka_ (Lumbye) - Concerto in F (Gershwin) - “_Connais-tu le pays?_” (Thomas) see _Mignon_ - _Les Contes d’Hoffmann_ (Offenbach), see _Tales of Hoffmann_ - _Contredanses_ (Beethoven) - _Contretaenze_ (Mozart), see _Country Dances_ - _Conversation Piece_: Selections (Coward) - _Coppélia_: Suite (Delibes) - _Le Coq d’or_: _Bridal Procession_, _Hymn to the Sun_ - (Rimsky-Korsakov) - _La Coquette_ (Borowski) - _Córdoba_ (Albéniz) - _Cornish Rhapsody_ (Bath) - _Coronation March_ (Meyerbeer), see _Le Prophète_ - _El Corpus en Seville_ (Albéniz), see _Fête-Dieu à Seville_ - _Cottilon_ (Benjamin) - _Countess Maritza_: Selections (Kálmán) - _The Count of Luxembourg:_ Selections (Lehár) - _Country Dance_ (German), see _Henry VIII_ - _Country Dances_ (Mozart) - _Country Gardens_ (Grainger) - _Cowboy Rhapsody_ (Gould) - “Cradle Song” (Brahms) - _The Crown Jewels_: Overture (Auber) - _Cuban Overture_ (Gershwin) - _Le Cygne_ (Saint-Saëns), see _The Swan_, _Carnival of Animals_ - _Czar and Carpenter_: Selections (Lortzing) - _Czardas_ (Delibes), see _Coppélia_ - _Die Czardasfuerstin_ (Kálmán), see _The Gypsy Princess_ - _Czar und Zimmermann_ (Lortzing), see _Czar and Carpenter_ - - _Dagger Dance_ (Herbert) - “_Da geh’ ich zu Maxim_” (Lehár), see _The Merry Widow_ - _La Dame blanche_: Overture (Boieldieu) - _Damnation of Faust_: Selections (Berlioz) - “_D’amor sull’ ali rosee_” (Verdi), see _Il Trovatore_ - _Dance in Place Congo_ (Gilbert) - _Dance of the Blessed Spirits_ (Gluck) - _Dance of the Buffoons_ (Rimsky-Korsakov) - _Dance of the Camorristi_ (Wolf-Ferrari), see _The Jewels of the - Madonna_ - _Dance of the Chinese Girls_ (Glière), see _The Red Poppy_ - _Dance of the Comedians_ (Smetana), see _The Bartered Bride_ - _Dance of the Flutes_ (Tchaikovsky), see _Nutcracker Suite_ - _Dance of the Moorish Slaves_ (Verdi), see _Aida_ - _Dance of the Rose Girls_ (Khatchaturian), see _Gayane_ - _Dance of the Spanish Onion_ (Rose) - _Dance of the Sugarplum Fairy_ (Tchaikovsky), see _Nutcracker Suite_ - _Dance of the Sylphs_ (Berlioz), see _Damnation of Faust_ - _Dance of the Tumblers_ (Rimsky-Korsakov), see _Dance of the Buffoons_ - _Dance of the Waves_ (Catalani), see _The Loreley_ - _Dance of the Wheat_ (Ginastera), see Dances from _Estancia_ - _Dancers of Mardi Gras_ (Cadman) - Dances from _Estancia_: _Dance of the Wheat_ (Ginastera) - “Dancing Will Keep You Young” (Romberg), see _Maytime_ - _Danse macabre_ (Saint-Saëns) - _Danse nègre_ (Scott) - _Danza della ore_ (Ponchielli), see _Dance of the Hours_, _La - Gioconda_ - _Daughter of the Regiment_: Overture (Donizetti) - “Dawn of Love” (Friml), see _The Firefly_ - “Death and the Maiden” (Schubert), see “_Der Tod und das Maedchen_” - “Deep in My Heart” (Romberg), see _The Student Prince_ - “De Glory Road” (Wolfe) - “_Dein ist mein ganzes Herz_” (Lehár), see _The Land of Smiles_ - _Delirien_ (Josef Strauss) - _The Deluge_ (Saint-Saëns) - “_De’ miei bollenti spiriti_” (Verdi), see _Rigoletto_ - “_Deserto sulla terra_” (Verdi), see _Il Trovatore_ - _The Desert Song_: Selections (Romberg) - _Deutsche Taenze_ (Beethoven), see _German Dances_ - _Deutsche Taenze_ (Mozart) see _German Dances_ - _Les Diamants de la couronne_ (Auber), see _The Crown Jewels_ - _Dichter und Bauer_, _Overture_ (Suppé), see _Poet and Peasant_ - “_Dich teurer Halle_” (Wagner), see _Tannhaeuser_ - “_Di Provenza il mar_” (Verdi), see _La Traviata_ - “_Di quella pira_” (Verdi), see _Il Trovatore_ - “_Dis moi Venus_” (Offenbach), see _La Belle Hélène_ - _Divertissement_ (Ibert) - _Doctrinen_ (Eduard Strauss) - _Dolly_ (Fauré) - _Dolores_ (Waldteufel) - _Le Domino noir_ (Auber), see _The Black Domino_ - _Donaulieder_ (Johann Strauss I) - “Donkey Serenade” (Friml) - _Donna Diana_: Overture (Rezniček) - “_La donne è mobile_” (Verdi) see _Rigoletto_ - _Donnerwetter_ (Mozart), see _Country Dances_ - _Don Pasquale_: Overture (Donizetti) - _Dorfschwalben aus Oesterreich_ (Josef Strauss) - _Dream Pantomime_ (Humperdinck), see _Hansel and Gretel_ - _Dream Pictures_ (Lumbye) - _Die Dreigroschenoper_ (Weill), see _The Three-Penny Opera_ - “Drinking Song” (Romberg), see _The Student Prince_ - “_Du bist die Ruh_” (Schubert) - “The Duke of Plaza-Toro” (Sullivan), see _The Gondoliers_ - “_Du and Du_” (Johann Strauss II), see _Die Fledermaus_ - _Dynamiden_ (Josef Strauss) - - “_Ecco ridente in cielo_” (Rossini), see _The Barber of Seville_ - _Eight Russian Folk Songs_ (Liadov) - _Ein Morgen, ein Mittag, ein Abend in Wien_ (Suppé), see _Morning, - Noon and Night in Vienna_ - _Einzugmarsch_ (Johann Strauss II), see _The Gypsy Baron_ - _El Capitan_ (Sousa) - _Electrophor-Polka_ (Johann Strauss II) - _Élégie_ (Massenet), see _Les Érynnies_ - _Elegy_ (Tchaikovsky), see _Serenade for Strings_ - _L’Elisir d’amore_: Selections (Donizetti) - “Elisabeth’s Prayer” (Wagner), see “_Allmacht’ge Jungfrau_,” - _Tannhaeuser_ - “_E lucevan le stelle_” (Puccini), see _Tosca_ - _Embassy Waltz_ (Loewe), see _My Fair Lady_ - _Emperor Waltz_ (Johann Strauss II) - _En bateau_ (Debussy), see _Petite suite_ - “The End of a Perfect Day” (Bond) - “Entry March” (Johann Strauss II), see _The Gypsy Baron_ - “_Der Erlkoenig_” (Schubert) - _Les Érynnies_ (Massenet) - _Escapade_ (Rose) - _España_ (Chabrier) - _España_ (Waldteufel) - “_Estrellita_” (Ponce) - _Estudianta_ (Waldteufel) - Etudes (Chopin), see also _Revolutionary Etude_ - _Evatochter_ (Ziehrer) - _Evening in the Tivoli_ (Lumbye) - “_Evening Song_” (Schumann), see “_Abendlied_” - _Explosions Polka_ (Johann Strauss II) - - _Facsimile_: Suite (Bernstein) - _The Fair at Sorochinsk_: Hopak (Mussorgsky) - “Fair Is the Rose as the Bright May Day” (Sullivan), see _Ruddigore_ - “Fair Moon to Thee I Sing” (Sullivan), see _Pinafore_ - _Family Album_ (Gould) - _Fancy Free_: Suite (Bernstein) - _Fantasia and Fugue on Oh, Susanna_ (Caillet) - _Fantasia on Greensleeves_ (Vaughan Williams) - Fantaisie-Impromptu in C-sharp minor (Chopin) - “The Farmer and the Cowman” (Rodgers), see _Oklahoma!_ - _Faschingskinder_ (Ziehrer) - _Faust_: Selections (Gounod) - _Fête-Dieu à Seville_ (Albéniz) - _Fiddle Faddle_ (Anderson) - _La Fileuse_ (Raff) - _La Fille aux cheveux de lin_ (Debussy), see _The Girl With the Flaxen - Hair_ - _La Fille de Mme. Angot_: Selections (Lecocq) - _Fingal’s Cave_, or _Hebrides_, Overture (Mendelssohn) - _Finlandia_ (Sibelius) - _The Firefly_: Selections (Friml) - _Die Fledermaus_: Overture, Selections (Johann Strauss II) - _Der fliegende Hollaender_ (Wagner), see _The Flying Dutchman_ - _Flight of the Bumble Bee_ (Rimsky-Korsakov) - “Flower Song” (Bizet), see _Carmen_ - “The Flowers that Bloom in the Spring” (Sullivan), see _The Mikado_ - _The Flying Dutchman_: Overture, Selections (Wagner) - “Fold Your Flapping Wings” (Sullivan), see _Iolanthe_ - “_Die Forelle_” (Schubert) - “For I am a Pirate King” (Sullivan), see _Pirates of Penzance_ - “For Everyone Who Feels Inclined” (Sullivan), see _The Gondoliers_ - “For He is an Englishman” (Sullivan), see _Pinafore_ - “For the Merriest Fellows are We” (Sullivan), see _The Gondoliers_ - _Fortune Teller_: Selections (Herbert) - _La Forza del destino_: Overture (Verdi) - _Four Centuries_ (Coates) - _Fra Diavolo_: Selections (Auber) - _Frasquita Serenade_ (Herbert) - “French Marching Song” (Romberg), see _The Desert Song_ - _French Military March_ (Saint-Saëns), see _Suite algérienne_ - “_Freudig begruessen_” (Wagner), see _Tannhaeuser_ - _Friedrich-Karl March_ (Kéler-Béla) - “From the Land of the Sky-Blue Water” (Cadman) - _From the Middle Ages_ (Glazunov) - _Fruehlingsrauschen_ (Sinding), see _Rustle of Spring_ - _Fruehlingsstimmen_ (Johann Strauss II), see _Voices of Spring_ - _Funeral March_ (Chopin) - _Furiant_ (Smetana) see _The Bartered Bride_ - - _La Gaieté parisienne_ (Offenbach-Rosenthal), see Offenbach - Galops (Offenbach), see _La Grand Duchesse de Gerolstein_ - _Gavotte_ (Gossec) - _Gavotte_ (Thomas), see _Mignon_ - _Gayane_: Suite (Khatchaturian) - _La Gazza ladra_: Overture (Rossini) - _German Dances_ (Beethoven) - _German Dances_ (Haydn) - _German Dances_ (Mozart) - _German Dances_ (Schubert) - “Get Me to the Church on Time” (Loewe), see _My Fair Lady_ - “Getting to Know You” (Rodgers), see _The King and I_ - “Giannina Mia” (Friml), see _The Firefly_ - _Gingerbread Waltz_ (Humperdinck), see _Hansel and Gretel_ - _La Gioconda_: Selections (Ponchielli) - “The Girl at Maxim’s” (Lehár), see _The Merry Widow_ - _The Girl With the Flaxen Hair_ (Debussy) - _Giroflé-Girofla_: Selections (Lecocq) - _Giselle_: Suite (Adam) - _La Gitana_ (Kreisler) - _Gitanerias_ (Lecuona) - “_Gloire au grand Dieu vengeur_” (Meyerbeer), see _Les Huguenots_ - “_Gloria all’ Egitto_” (Verdi), see _Aida_ - “The Glow-Worm” (Lincke) - “_Gluewuermchen_” (Lincke), see “The Glow-Worm” - “God’s World” (Wolfe) - “Goin’ to Heaven” (Wolfe) - _Gold and Silver Waltzes_ (Lehár) - _Golliwogg’s Cakewalk_ (Debussy), see _Children’s Corner_ - _The Gondoliers_: Selections (Sullivan) - “Goodbye, Forever” (Tosti), see “_Addio_” - “Good Morning, Good Mother” (Sullivan), see _Iolanthe_ - Gopak, from _The Fair at Sorochinsk_ (Mussorgsky), see Hopak - “_Gott erhalte Franz den Kaiser_,” Austrian national anthem (Haydn) - _Grafin Mariza_ (Kálmán), see _Countess Maritza_ - _Der Graf von Luxemburg_ (Lehár), see _The Count of Luxembourg_ - _Grand Canyon Suite_ (Grofé) - Grand March, from _Aida_ (Verdi) - _La Grand Pâque Russe_ (Rimsky-Korsakov), see _Russian Easter - Overture_ - _Greensleeves_ (Vaughan Williams), see _Fantasia on Greensleeves_ - “_Gretchen am Spinnrade_” (Schubert) - _G’schichten aus dem Wiener Wald_ (Johann Strauss II), see _Tales from - the Vienna Woods_ - _Guadalcanal March_ (Rodgers), see _Victory at Sea_ - _Guillaume Tell_ (Rossini), see _William Tell_ - _Guitarre_ (Moszkowski) - _Gypsy Airs_ (Sarasate) - _Gypsy Baron_: Selections (Johann Strauss II) - _Gypsy Love_: Selections (Lehár) - “Gypsy Love Song” (Herbert), see _The Fortune Teller_ - _Gypsy Princess_: Selections (Kálmán) - _Gypsy Rondo_ (Haydn) - - Habanera (Bizet), see _Carmen_ - “_Hab ein blaues Himmelbett_” (Lehár), see _Frasquita Serenade_ - “Hail the Bride of Seventeen Summers” (Sullivan), see _Ruddigore_ - _Handel in the Strand_ (Grainger) - “Hallelujah Chorus” from _Messiah_ (Handel) - _Hansel and Gretel_: Overture and Selections (Humperdinck) - “Happy Talk” (Rodgers), see _South Pacific_ - “Hark, Hark, the Lark” (Schubert) - _Harlequin Serenade_ (Drigo), see _Serenade_ - _Harlequin Serenade_ (Leoncavallo), see “_O, Columbina!_”, _Pagliacci_ - _Harmonica Player_ (Guion), see _Alley Tunes_ - _Harmonious Blacksmith_ (Handel) - _Havanaise_ (Saint-Saëns) - “The Heart Bowed Down” (Balfe), see _The Bohemian Girl_ - “Heather on the Hill” (Loewe), see _Brigadoon_ - _Hebrew Melody_ (Achron) - _Hebrides Overture_, (Mendelssohn), see _Fingal’s Cave_ - _Hejre Kati_ (Hubay), see _Hungarian Czardas Scenes_ - “Hello, Young Lovers” (Rodgers), see _The King and I_ - _Henry VIII_: Dances (German) - _Henry VIII_: Ballet Music (Saint-Saëns) - “_Hereinspaziert_” from _Der Schatzmeister_ (Ziehrer) - “Here’s a How-de-do” (Sullivan), see _The Mikado_ - _Heroic Polonaise_ (Chopin) - _Hesperus_ (Lumbye) - _Hindu Chant_ (Rimsky-Korsakov) - _His Lullaby_ (Bond) - _Hoffballtanz_ (Lanner) - _Hoffnungssterne_ (Kéler-Béla) - _Holberg Suite_ (Grieg) - _Holiday for Strings_ (Rose) - _Holiday for Trombones_ (Rose) - _Holiday Suite_ (Gould) - _Holzschutanz_ (Lortzing), see _Clog Dance_, _Czar and Carpenter_ - “Home on the Range” (Guion) - Hopak, from _The Fair at Sorochinsk_ (Mussorgsky) - _Hora staccato_ (Dinicu) - “_Horch, horche die Lerche_” (Schubert), see “Hark, Hark, the Lark” - _Horse and Buggy_ (Anderson) - _Hudson River Suite_ (Grofé) - _Les Huguenots_: Overture, Selections (Meyerbeer) - _Humoresque_ (Dvořák) - _Humoresque_ (Tchaikovsky) - _Hungarian Comedy Overture_ (Kéler-Béla) - _Hungarian Czardas Scenes_ (Hubay) - _Hungarian Dances_ (Brahms) - _Hungarian Rhapsody_ (Hubay), see _Hungarian Czardas Scenes_ - _Hungarian Rhapsody No. 2_ (Liszt) - _Hurrah-Sturm_ (Kéler-Béla) - “Hymn to the Sun” (Rimsky-Korsakov), see _Le Coq d’or_ - - “I Am the Captain of the Pinafore” (Sullivan), see _Pinafore_ - “I Am the Monarch of the Sea” (Sullivan), see _Pinafore_ - “I Am Titania” (Thomas), see “_Je suis Titania_,” _Mignon_ - “I Am the Very Pattern of a Modern Major General” (Sullivan), see - _Pirates of Penzance_ - “I Cannot Tell What This Love May Be” (Sullivan), see _Patience_ - “_Ich bin die Christel von der Post_” (Zeller), see _Der - Vogelhaendler_ - “_Ich bin ein Zigeuenerkind_” (Lehár), see _Gypsy Love_ - “_Ich hab’ kein Geld_” (Milloecker), see _The Beggar Student_ - “_Ich knuepfte manche zarte Bande_” (Milloecker), see _The Beggar - Student_ - “_Ich setz den Fall_” (Milloecker), see _The Beggar Student_ - “I Could Have Danced All Night” (Loewe), see _My Fair Lady_ - “_Ideale_” (Tosti) - “I Dream’d I Dwelt in Marble Halls” (Balfe), see _The Bohemian Girl_ - “If I Loved You” (Rodgers), see _Carousel_ - “If Somebody There Chanced to Be” (Sullivan), see _Ruddigore_ - “If You Go In” (Sullivan), see _Iolanthe_ - “If You’re Anxious For to Shine” (Sullivan), see _Patience_ - “If You Want a Receipt” (Sullivan), see _Patience_ - “If You Want to Know Who We Are” (Sullivan), see _The Mikado_ - “I Got Plenty of Nuttin’” (Gershwin), see _Porgy and Bess_ - “I Have a Song to Sing, O” (Sullivan) see _Yeomen of the Guard_ - “I Have Dreamed” (Rodgers), see _The King and I_ - “I Know a Youth Who Loves a Little Maid” (Sullivan), see _Ruddigore_ - “_Il balen_” (Verdi), see _Il Trovatore_ - “I’ll Follow My Secret Heart” (Coward), see _Conversation Piece_ - “I Love You” (Wright and Forrest), see _Song of Norway_, Grieg - “I Love You, Porgy,” (Gershwin), see _Porgy and Bess_ - “I Love You, Truly” (Coward), see _Bitter Sweet_ - “I’m Called Little Buttercup” (Sullivan), see _Pinafore_ - “I’m Falling in Love With Someone” (Herbert), see _Naughty Marietta_ - “I’m Gonna Wash That Man Right Outa My Hair” (Rodgers), see _South - Pacific_ - “I’m in Love with a Wonderful Guy” (Rodgers), see _South Pacific_ - “_Im Prater bluehn wieder die Baeume_” (Stolz) - _Impressions of Italy_ (Charpentier) - _In a Chinese Garden_ (Ketelby) - _In a Monastery Garden_ (Ketelby) - _In a Persian Garden_ (Ketelby) - _In Autumn_ (Grieg) - “In Bygone Days” (Sullivan), see _Ruddigore_ - _Indian Lament_ (Dvořák) - “Indian Love Call” (Friml), see _Rose Marie_ - _Indian Sketches_ (Gilbert) - _Indian Summer_ (Herbert) - _In Spring_ (Karl Goldmark) - _Intermezzo_, from _Cavalleria Rusticana_ (Mascagni) - _Intermezzo_, from _Goyescas_ (Granados) - _Intermezzo_, from _Pagliacci_ (Leoncavallo) - _Intermezzo_, from _The Violin Maker_ (Hubay) - _Intermezzo_ (Tchaikovsky), see Suite for Orchestra, No. 1 - _Intermezzos_ from _The Jewels of the Madonna_ (Wolf-Ferrari) - _Interplay_ (Gould) - “In the Autumn of Our Life” (Sullivan), see _Yeomen of the Guard_ - _In the Hall of the Mountain King_ (Grieg), see _Peer Gynt Suite_, No. - 1 - _In the South_ (Elgar) - _In the Steppes of Central Asia_ (Borodin) - _Introduction and Rondo Capriccioso_ (Saint-Saëns) - _Invitation to the Dance_ (Weber) - _Iolanthe_: Selections (Sullivan) - “I Once Was as Meek as a New Born Lamb” (Sullivan), see _Ruddigore_ - _Irish Rhapsody_ (Herbert) - _Irish Suite_ (Anderson) - _Irish Tune from County Derry_: “Londonderry Air” (Grainger) - “I Shipped, D’ye See, in a Revenue Sloop” (Sullivan) see _Ruddigore_ - “Isle of Dreams” (Herbert) see _The Red Mill_ - “Is Love a Boon?” (Sullivan), see _Yeomen of the Guard_ - “I Stole the Princess” (Sullivan), see _The Gondoliers_ - “It Ain’t Necessarily So” (Gershwin), see _Porgy and Bess_ - _L’Italiana in Algeri_: Overture (Rossini) - “Italian Street Song” (Herbert), see _Naughty Marietta_ - “It is Not Love” (Sullivan), see _The Sorcerer_ - “It’s a Windy Day on the Battery” (Romberg), see _Maytime_ - “I’ve Done My Work” (Bond) - “I’ve Got a Little List” (Sullivan), see _The Mikado_ - “I’ve Grown Accustomed to Her Face” (Loewe), see _My Fair Lady_ - “I Whistle a Happy Tune” (Rodgers), see _The King and I_ - - “_Ja, das alles auf Ehr_” (Johann Strauss II), see _Gypsy Baron_ - _Jamaican Rumba_ (Benjamin) - _Jazz Legato_ (Anderson) - _Jazz Pizzicato_ (Anderson) - “Jeanie With the Light Brown Hair” (Foster) - _Jesu, Joy of Man’s Desiring_ (Bach) - “_Je suis Titania_” (Thomas), see _Mignon_ - _Jeux d’enfants_ (Bizet), see _Children’s Games_ - “Jewel Song” (Gounod), see _Faust_ - _Jewels of the Madonna_: Intermezzo, Dance of the Camorristi - (Wolf-Ferrari) - _Jewels from Cartier_ (Alter) - _Jota aragonesa_ (Glinka) - _Jota aragonesa_ (Sarasate) - _Joyeuse marche_ (Chabrier) - _Jubilee_ (Chadwick) - _Jubilee Overture_ (Weber) - “Jump Jim Crow” (Romberg), see _Maytime_ - _June_ (Tchaikovsky), see _The Months_ - “June Is Bustin’ Out All Over” (Rodgers), see _Carousel_ - “Just a Wearyin’ for You” (Bond) - - “_Kaempfe nie mit Frauen_” (Zeller), see _Der Vogelhaendler_ - _Kaiser March_ (Wagner) - _Kaiserwaltz_ (Johann Strauss II), see _Emperor Waltz_ - _Kamarinskaya_ (Glinka) - _Kamenoi-Ostrow_ (Rubinstein) - _Der Kanarienvogel_ (Mozart), see _German Dances_ - “Kansas City” (Rodgers), see _Oklahoma!_ - _Karelia Suite_ (Sibelius) - _Katharine Menuetten_ (Haydn), see _Minutes_ - _King Frederick VII Homage March_ (Lumbye) - _La Kermesse_ (Gounod), see _Faust_ - _Kettenbruecken_ (Johann Strauss I) - _Khovantschina_: Dances of Persian Slaves, Prelude to Act 1, and - Entr’acte (Mussorgsky) - _The King and I_: Selections (Rodgers) - _King Cotton_ (Sousa) - “Kiss Me Again” (Herbert), see _Mlle. Modiste_ - _Kiss Me Kate_: Selections (Porter) - “_Klaenge der Heimat_” (Johann Strauss II), see _Die Fledermaus_ - _Eine kleine Nachtmusik_ (Mozart) - _Knightsbridge March_ (Coates), see _London Suite_ - “Knowest Thou the Land” (Thomas), see “_Connais-tu le pays?_”, - _Mignon_ - “_Komm, komm, Held meiner Traeume_” (Straus), see “My Hero,” _The - Chocolate Soldier_ - _Komm suesser Tod_ (Bach), see _Come, Sweet Death_ - _Kommt ein Vogel_, Variations (Ochs) - - _Das Land des Laechelns_ (Lehár), see _The Land of Smiles_ - _The Land of Smiles_: Selections (Lehár) - _Die Landestreicher_: Selections (Ziehrer) - _Laendler_ (Schubert) - _Largo_, from the _New World Symphony_ (Dvořák) - _Largo_, from _Xerxes_ (Handel) - “Largo al factotum” (Rossini), see _The Barber of Seville_ - _Latin-American Symphonette_ (Gould) - “Laughing Song” (Johann Strauss II), see “_Mein Herr, Marquis,_” _Die - Fledermaus_ - “The Law is the True Embodiment” (Sullivan), see _Iolanthe_ - “_Lebe wohl, mein flandrisch’ Maedchen_” (Lortzing), see _Czar and - Carpenter_ - _Légende_ (Wieniawski) - _Leichte Cavallerie_ Overture (Suppé), see _Light Cavalry_ - _Der Leiermann_ (Mozart), see _German Dances_ - _Les Préludes_ (Liszt) - “Letter Song” (Straus), see _The Chocolate Soldier_ - “_Libiamo, libiamo_,” or “_Brindisi_” (Verdi), see _La Traviata_ - “_Lieber Freund, man greift nicht_” (Lehár), see _Count of Luxembourg_ - _Liebesfreud_ (Kreisler) - _Liebesleid_ (Kreisler) - “_Liebeslied_” (Weill), see _The Three-Penny Opera_ - _Liebestraum_ (Liszt) - _A Life for the Tsar_: Overture, Mazurka and Waltz (Glinka) - “Life’s Garden” (Bond) - _Light Cavalry Overture_ (Suppé) - “_Der Lindenbaum_” (Schubert) - _Lohengrin_: Prelude to Acts 1 and 3, Wedding March (Wagner) - _London Suite_ (Coates) - “Londonderry Air (Grainger),” see _Irish Tune from County Derry_ - “Lonely Hearts” (Romberg), see _Blossom Time_ - “The Lord’s Prayer” (Malotte) - _Lorelei Rheinsklaenge_ (Johann Strauss I) - “The Lost Chord” (Sullivan) - _Lotus Land_ (Scott) - “Loudly Let the Trumpet Bray” (Sullivan), see _Iolanthe_ - _Love for Three Oranges_: March (Prokofiev) - “Love is a Firefly” (Friml), see _The Firefly_ - “Love is a Plaintive Song” (Sullivan), see _Patience_ - “Lover Come Back to Me” (Romberg), see _The New Moon_ - “Love Song” (Weill), see _The Three-Penny Opera_ - _Lucia di Lammermoor_: Selections (Donizetti) - _Lullaby_ (Khatchaturian), see _Gayane_ - _Die lustige Witwe_ (Lehár), see _The Merry Widow_ - _Lyric Suite_ (Grieg) - - “Mack the Knife” (Weill), see _The Three-Penny Opera_ - _Madama Butterfly_: Selections (Puccini) - “_Madre pietosa_” (Verdi), see _La Forza del destino_ - “Mad Scene” (Donizetti), see _Lucia di Lammermoor_ - “_Maedel klein, Maedel fein_” (Lehár), see _The Count of Luxembourg_ - “The Magnet and the Churn” (Sullivan), see _Patience_ - “A Maiden Fair to See” (Sullivan), see _Pinafore_ - “_Die Majistaet wird anerkannt_” (Johann Strauss II), see _Die - Fledermaus_ - _Malambo_ (Ginastera), see Dances from _Estancia_ - _Malagueña_ (Lecuona) - _Malagueña_, from _Boabdil_ (Moszkowski) - _Malagueña_ (Sarasate) - _Manhattan Masquerade_ (Alter) - _Manhattan Moonlight_ (Alter) - _Manhattan Serenade_ (Alter) - Manon: Gavotte, Minuet (Massenet) - “A Man Who Would Woo a Fair Maid” (Sullivan), see _Yeomen of the - Guard_ - “Many a New Day” (Rodgers), see _Oklahoma!_ - March, from _Tannhaeuser_ (Wagner) - _March of the Gladiators_ (Fučík) - _March of the Little Fauns_ (Pierné) - _March of the Little Lead Soldiers_ (Pierné) - _March of the Royal Siamese Children_ (Rodgers), see _The King and I_ - _March of the Smugglers_ (Bizet), see _Carmen_ - March of the Toys (Herbert), see _Babes in Toyland_ - _Marche miniature_ (Tchaikovsky), see _Suite for Orchestra, No. 1_ - _Marche Slav_ (Tchaikovsky) - “_Marechiare_” (Tosti) - _Marienklaenge_ (Josef Strauss) - _Mark Twain: A Portrait for Orchestra_ (Kern) - _Masaniello_ (Auber), see _The Mute of Portici_ - _Masquerade_ (Khatchaturian) - “Massa’s in De Cold, Cold Ground” (Foster) - _The Mastersingers_: “Prize Song” (Wagner) - _Matinées musicales_ (Rossini-Britten), see Rossini - “_Mattinata_” (Tosti) - _Maytime_: Selections (Romberg) - _Mazurka_ (Delibes), see _Coppélia_ - _Mazurka_ (Glinka), see _A Life for the Tsar_ - Mazurkas (Chopin) - _Meditation_, from _Thaïs_ (Massenet) - “_Mein Herr, Marquis_” (Johann Strauss II), see _Die Fledermaus_ - _Die Meistersinger_ (Wagner), see _The Mastersingers_ - _Mélodie_ (Tchaikovsky) - _Melody in F_ (Rubinstein) - _Menuet à l’antique_ (Paderewski), see _Minuet_ - _Merrie England_: Selections (German) - _Merrymaker’s Dance_ (German), see _Nell Gwynn_ - _The Merry Widow_: Selections (Lehár) - _The Merry Widow Waltz_: “_S’fuersten Geigen_” (Lehár), see _The Merry - Widow_ - _The Merry Wives of Windsor_: Overture, Selections (Nicolai) - _Mexican Rhapsody_ (McBride) - “_Mi chiamano Mimi_” (Puccini), see _La Bohème_ - _Midsommarvaka_ (Alfvén), see _Midsummer Vigil_ - _A Midsummer Night’s Dream_, Suite (Mendelssohn) - _Midsummer Vigil_ (Alfvén) - “Mighty Lak’ a Rose” (Nevin) - _Mignon_: Overture, Selections (Thomas) - _The Mikado_: Selections (Sullivan) - _Military Polonaise_ (Chopin) - _Miniature Overture_ (Tchaikovsky), see _Nutcracker Suite_ - _Minstrel Show_ (Gould) - _Minuet in G_ (Beethoven) - _Minuet_ (Boccherini) - _Minuet_ (Bolzoni) - _Minuet_ (Kreisler) - _Minuet_, from _Don Giovanni_ (Mozart) - _Minuet_, from _The Tales of Hoffmann_ (Offenbach) - _Minuet_ (Paderewski) - _Minuet_, from _Rigoletto_ (Verdi) - _Minuet of the Will’o-the-Wisp_ (Berlioz), see _The Damnation of - Faust_ - Minuets (Haydn) - Minuets (Mozart) - _Minute Waltz_ (Chopin) - _Mlle. Modiste_: Selections (Herbert) - _Mireille_: Overture (Gounod) - “_Miserere_” (Verdi), see “_Ah, che la morte ognora_,” _Il Trovatore_ - _Mississippi Suite_ (Grofé) - _The Moldau_, or _Vltava_ (Smetana) - _Molly on the Shore_ (Grainger) - “_Mon coeur s’ouvre à ta voix_” (Saint-Saëns), see _Samson and - Delilah_ - _Mon rêve_ (Waldteufel) - _The Months_ (Tchaikovsky) - “Moonbeams” (Herbert), see _The Red Mill_ - _Moonlight Sonata_ (Beethoven) - _Moorish Rhapsody_ (Humperdinck) - _Morgenblaetter_ (Johann Strauss II), see _Morning Journals_ - “_Morgenlich leuchtend_” (Wagner), see “Prize Song,” _The - Mastersingers_ - “Moritat” (Weill), see _The Three-Penny Opera_ - _Morning_ (Grieg), see _Peer Gynt_, Suite No. 1 - “Morning” (Speaks) - _Morning Journals_ (Johann Strauss II) - _Morning, Noon, and Night in Vienna_ (Suppé) - _Morris Dance_ (German), see _Henry VIII_ - _La Muette de Portici_ (Auber), see _The Mute of Portici_ - _Musetta’s Waltz_ (Puccini), see _La Bohème_ - _The Music Box_ (Liadov) - _Music of the Spheres_ (Josef Strauss), see _Sphaerenklaenge_ - _The Mute of Portici_: Overture (Auber) - “My Boy You May Take it From Me” (Sullivan), see _Ruddigore_ - _My Fair Lady_: Selections (Loewe) - “My Heart at Your Sweet Voice” (Saint-Saëns), see _Samson and Delilah_ - “My Hero” (Straus), see _The Chocolate Soldier_ - “My Ideal” (Tosti), see “_Ideale_” - “My Man’s Gone Now” (Gershwin), see _Porgy and Bess_ - “My Object All Sublime” (Sullivan), see _The Mikado_ - “My Old Kentucky Home” (Foster) - - _Naïla Waltz_ (Delibes) - _Narcissus_, from _Water Scenes_ (Nevin) - _Naughty Marietta_: Selections (Herbert) - _Navarra_ (Albéniz) - “’Neath the Southern Moon” (Herbert), see _Naughty Marietta_ - _Negro Heaven_ (Cesana) - _Negro Rhapsody_ (Rubin Goldmark) - _Nell Gwynn_: Dances (German) - _New Moon_: Selections (Romberg) - “The Nightingale” (Sullivan), see _Patience_ - “The Nightingale Song” (Zeller), see “_Wie mein Ahn’l zwanzig Jahr_,” - _Der Vogelhaendler_ - _Nocturne_ (Borodin) - _Nocturne in E-flat_ (Chopin) - _Nocturne_ (Mendelssohn), see _A Midsummer Night’s Dream_, Suite - “_Noël_,” or “_Cantique de Noël_” (Adam) - “None But the Lonely Heart” (Tchaikovsky) - “_Non la sospiri la nostra casetta_” (Puccini), see _Tosca_ - _Norma_: Overture, “_Casta Diva_” (Bellini) - _North American Square Dances_ (Benjamin) - _Norwegian Dances_ (Grieg) - _Norwegian Rhapsody_ (Lalo) - _Nutcracker Suite_, or _Casse-noisette_ (Tchaikovsky) - - “_O beau pays de la Touraine_” (Meyerbeer), see _Les Huguenots_ - “_Obéissons quand leur voix appelle_” (Massenet), see _Manon_ - _Der Obersteiger_: Selections (Zeller) - “_O, Columbina!_,” Harlequin’s Serenade (Leoncavallo), _Pagliacci_ - “Ode to the Evening Star” (Wagner), see “_O du, mein holder - Abendstern_,” _Tannhaeuser_ - _Of Thee I Sing_ (Gershwin) - “Oh Foolish Fay” (Sullivan), see _Iolanthe_ - “Oh, Is There Not One Maiden Breast?” (Sullivan), see _Pirates of - Penzance_ - “Oh a Private Buffoon is a Light-Hearted Loon” (Sullivan), see _Yeomen - of the Guard_ - “Oh, Leave Me Not to Pine” (Sullivan), see _Pirates of Penzance_ - “Oh My Name is John Wellington Wells” (Sullivan), see _The Sorcerer_ - “Oh, Susanna!” (Foster) - “Oh, Thoughtless Crew” (Sullivan), see _Yeomen of the Guard_ - “Oh, What a Beautiful Mornin’” (Rodgers), see _Oklahoma!_ - _Oklahoma!_: Selections (Rodgers) - “Ol’ Black Joe” (Foster) - “Old Folks at Home,” or “Swanee River” (Foster) - _The Old Refrain_ (Kreisler) - “Ol’ Man River” (Kern), see _Show Boat_ - “_O Lola Bianca_” (Mascagni), see _Cavalleria Rusticana_ - “_O Mimi, tu più_” (Puccini), see _La Bohème_ - _Omphale’s Spinning Wheel_ (Saint-Saëns), see _Le Rouet d’Omphale_ - “One Kiss” (Romberg), see _The New Moon_ - “Only a Rose” (Friml), see _The Vagabond King_ - “Only Make Believe” (Kern), see _Show Boat_ - “On the Day that I Was Wedded” (Sullivan), see _The Gondoliers_ - _On the Campus_ (Goldman) - _On the Farm_ (Goldman) - _On the Mall_ (Goldman) - “On the Road to Mandalay” (Speaks) - “On the Street Where You Live” (Loewe), see _My Fair Lady_ - _On the Trail_ (Grofé), see _Grand Canyon Suite_ - “Onward Christian Soldiers” (Sullivan) - “On Wings of Song” (Mendelssohn) - “_O Patria mia_” (Verdi), see _Aida_ - “_O Paradiso!_” (Meyerbeer), see _L’Africaine_ - _The Organgrinder_ (Mozart), see _German Dances_ - _Orientale_ (Cui) - _Orphée aux enfers_ (Offenbach), see _Orpheus in the Underworld_ - _Orpheus in the Underworld_: Selections (Offenbach) - “_O Sancta justa_” (Lortzing), see _Czar and Carpenter_ - “_O soave fanciulla_” (Puccini), see _La Bohème_ - “_O terra addio_” (Verdi), see _Aida_ - “Our Great Mikado” (Sullivan), see _The Mikado_ - “Out of My Dreams” (Rodgers), see _Oklahoma!_ - _Ouverture solennelle_ (Glazunov) - _Overture 1812_ (Tchaikovsky) - - “_Pace e gioia sia con voi_” (Rossini), see _The Barber of Seville_ - _Pagliacci_: Selections (Leoncavallo) - “Painted Emblems of a Race” (Sullivan), see _Ruddigore_ - “_La Paloma_” (Yradier) - _Pan-Americana_ (Herbert) - “A Paradox, a Most Ingenious Paradox” (Sullivan), see _Pirates of - Penzance_ - “_Parigi, o cara_” (Verdi), see _La Traviata_ - _Passacaglia on Green Bushes_ (Grainger) - _Pastoral Dance_ (German), see _Henry VIII_ - _Patience_: Selections (Sullivan) - _Les Patineurs_ (Waldteufel), see _The Skaters_ - _La Patrie_ (Bizet) - _Pavane_ (Fauré) - _Pavane_ (German), see _Romeo and Juliet_ - _Pavane_ (Gould), see _American Symphonette No. 2_ - _Pavane pour une Infante défunte_ (Ravel) - _Peer Gynt_, Suites Nos. 1 and 2 (Grieg) - “People Will Say We’re in Love” (Rodgers), see _Oklahoma!_ - _Perpetual Motion_ (Johann Strauss II) - “_Pescator, affond a l’esca_” (Ponchielli), see _La Gioconda_ - _Die Pesther_ (Lanner) - _Peter and the Wolf_ (Prokofiev) - _Petite suite_ (Debussy) - _Phèdre Overture_ (Massenet) - “_Piccolo, piccolo, tsin, tsin, tsin_” (Straus), see _A Waltz Dream_ - _Picturesque Scenes_ (Massenet) - _Piemonte_ (Sinigaglia) - _Pinafore_: Selections (Sullivan) - _Pique Dame Overture_ (Suppé) - _Pirates of Penzance_: Selections (Sullivan) - _Pizzicato Polka_ (Johann Strauss II) - “_Plaisir d’amour_” (Martini) - “Play Gypsies, Dance Gypsies” (Kálmán), see _Countess Maritza_ - _Plink, Plank, Plunk_ (Anderson) - “_Plus blanche que la blanche hermine_” (Meyerbeer) see _Les - Huguenots_ - _Poet and Peasant Overture_ (Suppé) - _Polichinelle_ (Kreisler) - _Polka_ (Smetana), see _The Bartered Bride_ - _Polka and Fugue_, from _Schwanda_ (Weinberger) - _Polonaise_, from Boris Godunov (Mussorgsky) - _Polonaise_, from Eugene Onegin (Tchaikovsky) - _Polonaises_ (Chopin) - _Polonaise brilliante_ (Wieniawski) - _Polovtsian Dances_, from _Prince Igor_ (Borodin) - _Pomp and Circumstance_ (Elgar) - _Pop Goes the Weasel_ (Caillet) - _Porgy and Bess_: Selections (Gershwin) - _Portrait of a Frontier Town_ (Gillis) - _Poupée valsante_ (Poldini) - “Pour, Oh, Pour the Pirate Sherry” (Sullivan), see _Pirates of - Penzance_ - _Praeludium_ (Järnefelt) - _Praeludium and Allegro_ (Kreisler) - _Praise Be to God_ (Bach) - _La Précieuse_ (Kreisler) - _Prelude in E major_ (Bach) - _Prelude in A major_ (Chopin) - _Prelude and Fugue on Dixie_ (Weinberger) - _Prelude and Waltz_ (Addinsell) - Preludes (Chopin) - Preludes (Gershwin) - Preludes (Rachmaninoff) - “Prithee, Pretty Maiden” (Sullivan), see _Patience_ - “Prize Song” from _The Mastersingers_ (Wagner) - _Le Prophète_: Coronation March, Prelude to Act 3 (Meyerbeer) - _Punchinello_ (Herbert) - “A Puzzlement” (Rodgers), see _The King and I_ - - “_Quando m’en vo’ soletto_,” Musetta’s Waltz (Puccini), see _La - Bohème_ - Quartet, from _Rigoletto_ (Verdi), see “_Bella figlia dell’ amore_” - _Queen of Spades Overture_ (Suppé), see _Pique Dame Overture_ - “_Questa o quella_” (Verdi), see _Rigoletto_ - - _Radetzky March_ (Johann Strauss I) - _Railway Galop_ (Lumbye) - _Raindrop Etude_ (Chopin) - _Rakóczy March_ (Berlioz), see _The Damnation of Faust_ - _Raymond Overture_ (Thomas) - _Raymonda_: Suite (Glazunov) - “_Recondita armonia_” (Puccini), see _Tosca_ - _The Red Mill_: Selections (Herbert) - _The Red Poppy_: Selections (Glière) - _Rêve angelique_ (Rubinstein), see _Kamenoi-Ostrow_ - _Rêverie_ (Debussy) - _Revolutionary Etude_ (Chopin) - _Rhapsody in Blue_ (Gershwin) - _Rienzi_: Overture (Wagner) - _Rigoletto_: Selections (Verdi) - “_Rimpianto_” (Toselli), see “_Serenata_” - “Rising Early in the Morning” (Sullivan), see _Gondoliers_ - “_Ritorna vincitor_” (Verdi), see _Aida_ - _Ritual Fire Dance_ (Falla) - _Le Roi l’a dit_: Overture (Delibes) - _Romance_ (Drdla) - Romances (Beethoven) - _Romance in E-flat_ (Rubinstein) - _Romance in F minor_ (Tchaikovsky) - Romances (Sibelius) - _Die Romantiker_ (Lanner) - _Romeo and Juliet_: Waltz (Gounod) - _Rondalla aragonesa_ (Granados), see _Spanish Dances_ - _Rondino_ (Kreisler) - “The Rosary” (Nevin) - _Rosamunde_: Overture, Ballet Music (Schubert) - _Rose Marie_: Selections (Friml) - _Rosen aus dem Sueden_ (Johann Strauss II), see _Roses from the South_ - “Roses are in Bloom” (Bond) - _Roses from the South_ (Johann Strauss II) - _Le Rouet d’Omphale_ (Saint-Saëns) - _Ruddigore_: Selections (Sullivan) - _Rumanian Rhapsodies_, Nos. 1 and 2 (Enesco) - _Rumba_ (McDonald) - _Ruslan and Ludmilla_: Overture (Glinka) - _Russian Easter Overture_ (Rimsky-Korsakov) - _Russian Sailors’ Dance_ (Glière), see _The Red Poppy_ - _Rustle of Spring_ (Sinding) - _Rustic Dance_ (German), see _As You Like It_ - _Rustic March_ (Grieg), see _Lyric Suite_ - _Rustic Wedding Symphony_ (Karl Goldmark) - _Ruy Blas Overture_ (Mendelssohn) - - _Saber Dance_ (Khatchaturian), see _Gayane_ - “Saber Song” (Romberg), see _Desert Song_ - “Sailors’ Chorus” (Wagner), see “_Steuermann! lass die Wacht_,” _The - Flying Dutchman_ - _Sakuntala Overture_ (Karl Goldmark) - _Salut d’amour_ (Elgar) - _Samson and Delilah_: Selections (Saint-Saëns) - “_Samt und seide_” from _Der Fremdenfuehrer_ (Ziehrer) - _Saraband_ (Anderson) - _Sari_: Selections (Kálmán) - _La Scala di Seta_: Overture (Rossini) - _Scarf Dance_ (Chaminade) - _Scenario_ (Kern) - _Scènes alsaciennes_ (Massenet), see _Alsatian Scenes_ - _Scènes de ballet_ (Glazunov) - _Scènes pittoresques_ (Massenet), see _Picturesque Scenes_ - “_Schafe koennen sicher weiden_” (Bach), see _The Wise Virgins_ - _Schatz_, Waltzes (Johann Strauss II), see _Gypsy Baron_ - “_Schau mir nur recht ins Gesicht_” (Zeller), see _Der Vogelhaendler_ - _Scheherazade_ (Rimsky-Korsakov) - _Scherzo_ (Kreisler) - _Scherzo_ (Mendelssohn), see _A Midsummer Night’s Dream_, Suite - _Die Schlittenfahrt_ (Mozart), see _German Dances_ - _Die Schoenbrunner_ (Lanner) - _Die schoene Galatea_ (Suppé), see _The Beautiful Galathea_ - _Schoen Rosmarin_ (Kreisler) - _School of Dancing_ (Boccherini-Françaix), see Boccherini - _Scuola di Ballo_ (Boccherini-Françaix), see _School of Dancing_, - Boccherini - “_Scuoti quella fronda di ciliegio_” (Puccini), see _Madama Butterfly_ - _The Seasons_: Suite (Glazunov) - _Second Rhapsody_ (Gershwin) - _Secrets of Suzanne_: Overture (Wolf-Ferrari) - “_Segreto_” (Tosti) - “_Seguidille_” (Bizet), see _Carmen_ - “_Sei gepreissen, du lauschige Nacht_” (Ziehrer), see _Die - Landestreicher_ - “_Sei nicht bos, es kann nicht sein_” (Zeller), see _Der Obersteiger_ - _Semiramide_: Overture (Rossini) - _Semper fideles_ (Sousa) - “_Sempre libera_” (Verdi), see _La Traviata_ - _Serenade_ (Drigo) - _Serenade in A_ (Drdla) - _Serenade_ (Romberg), see _Blossom Time_, _The Student Prince_ - _Serenade_ (Schubert), see _Staendchen_ - _Sérénade espagnole_ (Chaminade) - _Serenade for Strings_ (Tchaikovsky) - _Sérénade mélancolique_ (Tchaikovsky) - _Serenata_, “_Rimpianot_” (Toselli) - _La Serenata_ (Tosti) - _Sevillañas_ (Albéniz) - Sextet from Lucia di Lammermoor (Donizetti), see “_Chi mi frena_” - “_S’fuersten Geigen, Lippen schweigen_” (Lehár), see _The Merry Widow_ - “Shall We Dance?” (Rodgers), see _The King and I_ - _Shepherd’s Dance_ (German), see _Henry VIII_ - _Shepherd’s Hey_ (Grainger) - _Shepherd’s Madrigal_ (Kreisler) - “Shepherd’s Song” (Offenbach), see _La Belle Hélène_ - “Short’nin’ Bread” (Wolfe) - _Show Boat_: Selections (Kern) - “_Siboney_,” or “_Canto Siboney_” (Lecuona) - _Siciliano_ (Bach) - _Sicilienne_ (Fauré) - _Sicilienne et Rigaudon_ (Kreisler) - _Side Street in Gotham_ (Alter) - “Sighing Softly to the River” (Sullivan), see _Pirates of Penzance_ - _Si j’etais roi_ (Adam), see _If I Were King_ - “Silvered is the Raven Hair” (Sullivan), see _Patience_ - “_Si può_” (Leoncavallo), see _Pagliacci_ - _Les Sirènes_ (Waldteufel) - “Sir Rupert Murgatroyd” (Sullivan), see _Ruddigore_ - _The Skaters_ (Waldteufel) - _Slaughter on Tenth Avenue_ (Rodgers) - _Slavonic Dances_ (Dvořák) - _Slavonic Fantasia_ (Kreisler) - _Sleigh Bells_ (Anderson) - _The Sleighride_ (Mozart), see _German Dances_ - “_So elend und treu_” (Johann Strauss II), see _Gypsy Baron_ - “Softly as in a Morning Sunrise” (Romberg), see _The New Moon_ - _Soirées de Vienne_ (Schubert-Liszt), see Schubert - _Soirées musicales_ (Rossini-Britten), see Rossini - “So in Love” (Porter), see _Kiss Me Kate_ - “Soldiers’ Chorus” (Gounod), see _Faust_ - “Soldiers’ Chorus” (Verdi), see “_Squilli, echeggi la tromba - guerriera_,” _Il Trovatore_ - _Solitude_ (Tchaikovsky) - “Solveig’s Song” (Grieg), see _Peer Gynt_, Suite No. 2 - “Some Enchanted Evening” (Rodgers), see _South Pacific_ - _Song of India_ (Rimsky-Korsakov), see _Hindu Chant_ - “Song of Love” (Romberg), see _Blossom Time_ - _Song of Norway_ (Wright and Forrest), see Grieg - “Song of the Vagabond” (Friml), see _The Vagabond King_ - _Song Without Words, Chanson sans paroles_ (Tchaikovsky) - “Songs My Mother Taught Me” (Dvořák) - “_Sonst spielt ich mit Zepter_” (Lortzing), see _Czar and Carpenter_ - “Soon as We May” (Sullivan), see _Iolanthe_ - _Sophie_ (Lumbye) - “Sorry Her Lot” (Sullivan), see _Pinafore_ - _South Pacific_: Selections (Rodgers) - _Southern Nights_ (Guion) - _Souvenir_ (Drdla) - _Souvenirs of Moscow_ (Wieniawski) - _Spanish Caprice_ (Rimsky-Korsakov) - _Spanish Dance No. 1_ (Falla) - _Spanish Dances_ (Granados) - _Spanish Dances_ (Moszkowski) - _Spanish Dances_ (Sarasate) - _Sphaerenklaenge_ (Josef Strauss) - _Spinning Song_ (Mendelssohn) - _Spring Song_ (Mendelssohn) - “_Squilli, echeggi la tromba guerriera_,” or “Soldiers’ Chorus” - (Verdi), see _Il Trovatore_ - “_Staendchen_” (Schubert) - _Stars and Stripes Forever_ (Sousa) - _Stephen Foster Suite_ (Dubensky) - “_Steuermann! lass die Wacht_” (Wagner), see _The Flying Dutchman_ - “Stout-Hearted Men” (Romberg), see _The New Moon_ - “Strange Adventure” (Sullivan), see _Yeomen of the Guard_ - “Strange Music” (Wright and Forrest), see _Song of Norway_, Grieg - “_Stride la vampa_” (Verdi), see _Il Trovatore_ - “_Stridono lassu_,” “Bird Song” (Leoncavallo), see _Pagliacci_ - “Strike Up the Band” (Gershwin) - _Student Prince_: Selections (Romberg) - _Stuff in G_ (McBride) - “_Suicidio!_” (Ponchielli), see _La Gioconda_ - _Suite algérienne_ (Saint-Saëns) - Suite for Orchestra, Nos. 1 and 3 (Tchaikovsky) - _Suite of Serenades_ (Herbert) - _Suite pastorale_ (Chabrier) - _Suite romantique_ (Herbert) - “_Summ und brumm_” (Wagner), see _The Flying Dutchman_ - _Summer Day_ (Prokofiev) - “Summertime” (Gershwin), see _Porgy and Bess_ - “The Sun Whose Rays” (Sullivan), see _The Mikado_ - “The Surrey With the Fringe on Top” (Rodgers), see _Oklahoma!_ - _Swallows from Austria_ (Josef Strauss), see _Dorfschwalben aus - Oesterreich_ - _The Swan_ (Saint-Saëns) - “Swanee River,” or “Old Folks at Home” (Foster) - _Swing Sextet_ (Cesana) - _Swing Stuff_ (McBride) - _Les Sylphides_ (Chopin-Rosenthal), see Chopin - _Sylvia_: Suite (Delibes) - “Sylvia” (Speaks) - “Sympathy” (Friml), see _The Firefly_ - “Sympathy” (Straus), see _The Chocolate Soldier_ - _Symphonic Picture_ (Gershwin-Bennett), see _Porgy and Bess_, Gershwin - _Symphony in D_, “Dodgers” (Bennett) - _Symphony No. 5½_ (Gillis) - _Syncopated Clock_ (Anderson) - - “_Tacea la notte placide_” (Verdi), see _Il Trovatore_ - “Take a Pair of Sparkling Eyes” (Sullivan), see _Gondoliers_ - _Tales from the Vienna Woods_ (Johann Strauss II) - _Tales of Hoffmann_: Barcarolle, Minuet, and Waltz (Offenbach) - _Tambourin Chinois_ (Kreisler) - _Tango in D major_ (Albéniz) - _Tannhaeuser_: Overture, Selections (Wagner) - _Tannhaeuser’s Pilgrimage_ (Wagner), see Prelude to Act 3, - _Tannhaeuser_ - _Te Deum_ (Puccini), see _Tosca_ - “Tell Me Daisy” (Romberg), see _Blossom Time_ - _Tempo di minuetto_ (Kreisler) - _Thaïs: Meditations_ (Massenet) - “Then You’ll Remember Me” (Balfe), see _The Bohemian Girl_ - “There Grew a Little Flower” (Sullivan), see _Ruddigore_ - “There Is Nothing Like a Dame” (Rodgers), see _South Pacific_ - “There’s a Boat That’s Leavin’ Soon for New York” (Gershwin), see - _Porgy and Bess_ - “There Was a Time” (Sullivan), see _Gondoliers_ - “Thine Alone” (Herbert) - “Thine Is My Heart Alone” (Lehár), see _The Land of Smiles_ - “This is a Real Nice Clambake” (Rodgers), see _Carousel_ - “Thou the Tree, and I the Flower” (Sullivan), see _Iolanthe_ - _The Three Bears_ (Coates) - _The Three Elizabeths_ (Coates) - “Three Little Maids” (Sullivan), see _The Mikado_ - _The Three-Penny Opera_: Selections (Weill) - _The Thunderer_ (Sousa) - _The Thunderstorm_ (Mozart), see _Country Dances_ - “This Nearly Was Mine” (Rodgers), see _Carousel_ - “Time Was When Love and I Were Acquainted” (Sullivan), see _Sorcerer_ - “Tit Willow” (Sullivan), see _The Mikado_ - _To a Water Lily_ (MacDowell) - _To a Wild Rose_ (MacDowell) - “_Der Tod und das Maedchen_” (Schubert) - _Torch Dance No. 1_ (Meyerbeer) - _Toujours ou jamais_ (Waldteufel) - “_Traeume_” (Wagner) - “_Traft ihr Das Schiff_” (Wagner), see _The Flying Dutchman_ - “_Trauet nie dem Blossen schein_” (Zeller), see _Der Obersteiger_ - _La Traviata_: Prelude to Acts 1 and 3, Selections (Verdi) - _Trepak_ (Tchaikovsky), see _Nutcracker Suite_ - “The Trout” (Schubert), see “_Die Forelle_” - _Triumphant Entry of the Boyars_ (Halvorsen) - _Troïka_, or _Troïka en Traneaux_ (Tchaikovsky), see _The Months_ - _Il Trovatore_: Selections (Verdi) - _The Trumpeter’s Holiday_ (Anderson) - “The Two Grenadiers” (Schumann), see “_Die beiden Grenadiere_” - _Through the Looking Glass_ (Taylor) - “_Treulich gefuert_” (Wagner), see _Lohengrin_ - _Tubby the Tuba_ (Kleinsinger) - _Turkey in the Straw_ (Guion) - _Turkish March_ (Beethoven) - _Turkish March_ (Mozart) - “Tu, tu piccolo idio” (Puccini), see _Madama Butterfly_ - “Twenty Lovesick Maidens We” (Sullivan), see _Patience_ - _Two Elegiac Melodies_ (Grieg) - “Two Hearts in Three-Quarters Time” (Stolz) - _Two Northern Melodies_ (Grieg) - _The Typewriter_ (Anderson) - - “_Un bel di_” (Puccini), see _Madama Butterfly_ - “_Una furtiva lagrima_” (Donizetti), see _L’Elisir d’amore_ - “_Una voce poco fa_” (Rossini), see _The Barber of Seville_ - “_Un nenn’ mein Lieb’ dich_” (Lehár), see _Gypsy Love_ - - _The Vagabond King_: Selections (Friml) - _Valse bluette_ (Drigo) - _Valse de concert_, Nos. 1 and 2 (Glazunov) - _Valse de la poupée_ (Delibes), see _Coppélia_ - _Valse mélancolique_ (Tchaikovsky), see Suite for Orchestra, No. 3 - _Valses nobles_ (Schubert) - _Valses sentimentales_ (Schubert) - _Valse triste_ (Sibelius) - _Valsette_ (Borowski) - _Variations on I Got Rhythm_ (Gershwin) - _Variations on Kommt ein Vogel_ (Ochs) - _Variations on a Theme by Jerome Kern_ (Kern-Bennett), see Kern - “_Vedi! le fosche_” or “Anvil Chorus” (Verdi), see _Il Trovatore_ - _I Vespri siciliani_, or _Les Vêpres siciliennes_: Overture (Verdi) - “_Vesti la giubba_” (Leoncavallo), see _Pagliacci_ - _Victory at Sea_ (Rodgers) - “_Viene la sera_” (Puccini), see _Madama Butterfly_ - “_Vieni amor mio_” (Verdi), see _Aida_ - _Vienna Blood_ (Johann Strauss II) - “_Vilia_” (Lehár), see _The Merry Widow_ - _Violetta_ (Waldteufel) - “_Vissi d’arte_” (Puccini), see _Tosca_ - _Vltava_ (Smetana), see _The Moldau_ - _Vocalise_ (Rachmaninoff) - _Der Vogelhaendler_: Selections (Zeller) - _Voices of Spring_ (Johann Strauss II) - “_Voi lo sapete_” (Mascagni), see _Cavalleria Rusticana_ - “_Vorrei morire_” (Tosti) - - _Walpurgis Night_, Ballet Music (Gounod), see _Faust_ - _Waltz in A-flat_ (Brahms) - _Waltz in C-sharp minor_ (Chopin) - _Waltz_ (Glinka), see _A Life for the Tsar_ - _Waltz_ (Offenbach), see _Tales of Hoffmann_ - _Waltz_, from _Eugene Onegin_ (Tchaikovsky) - _Waltz_, from _Serenade for Strings_ (Tchaikovsky) - _Waltz_, from _Sleeping Beauty_ (Tchaikovsky) - _Waltz_, from _Swan Lake_ (Tchaikovsky) - Waltzes (Chopin) - Waltzes (Schubert) - _Waltz of the Flowers_, from _Loreley_ (Catalani) - _Waltz of the Flowers_ (Tchaikovsky), see _Nutcracker Suite_ - _A Waltz Dream_: Selections (Straus) - “_Waltz Huguette_” (Friml), see _The Vagabond King_ - _Ein Walzertraum_ (Straus), see _A Waltz Dream_ - _The Waltzing Cat_ (Anderson) - “Wanting You” (Romberg), see _The New Moon_ - “A Wandering Minstrel I” (Sullivan), see _The Mikado_ - _War March of the Priests_ (Mendelssohn) - _Warsaw Concerto_ (Addinsell) - _Washington Post_ (Sousa) - _Water Music_ (Handel) - _Water Scenes_ (Nevin) - _Waves of the Balaton_ (Hubay), see _Hungarian Czardas Scenes_ - _Waves of the Danube_ (Ivanovici) - _Wedding March_ (Mendelssohn), see _A Midsummer Night’s Dream_, Suite - _Wedding March_ (Wagner), see _Lohengrin_ - _Wein, Weib, Gesang_ (Johann Strauss II), see _Wine, Women, and Song_ - “_Im weissen Roessl_” (Benatzky), see _The White Horse Inn_ - “We Kiss in the Shadow” (Rodgers), see _The King and I_ - _Welsh Rhapsody_ (German) - _Die Werber_ (Lanner) - “We’re Called Gondolieri” (Sullivan), see _The Gondoliers_ - “Were I Thy Bride” (Sullivan), see _Yeomen of the Guard_ - “Were Thine That Special Face” (Porter), see _Kiss Me Kate_ - “Were You Not to Ko-Ko Plighted” (Sullivan), see _The Mikado_ - “We Sail the Ocean Blue” (Sullivan), see _Pinafore_ - “What God Hath Done Is Rightly Done” (Bach), see _The Wise Virgins_ - “When a Felon’s Not Engaged in his Employment” (Sullivan), see - _Pirates of Penzance_ - “When All Night Long a Chap Remains” (Sullivan), see _Iolanthe_ - “When a Maiden Loves” (Sullivan), see _Yeomen of the Guard_ - “When a Merry Maiden Marries” (Sullivan), see _The Gondoliers_ - “When a Wooer Goes a-Wooing” (Sullivan), see _Yeomen of the Guard_ - “When Britain Really Ruled the Waves” (Sullivan), see _Iolanthe_ - “When I Go Out of Doors” (Sullivan), see _Patience_ - “When I Was a Lad” (Sullivan), see _Pinafore_ - “When I Went to the Bar” (Sullivan), see _Iolanthe_ - “When Johnny Comes Marching Home” (Gould), see _The American Salute_ - “When the Foeman Bares His Steel” (Sullivan), see _Pirates of - Penzance_ - “When the Night Wind Howls” (Sullivan), see _Ruddigore_ - “Where the Buds are Blossoming” (Sullivan), see _Ruddigore_ - _The White Horse Inn_: Selections (Stolz) - “_Wiegenlied_” (Brahms), see “Cradle Song” - “_Wie mein Ahn’l zwanzig Jahr_,” the “Nightingale Song” (Zeller), see - _Der Vogelhaendler_ - _Wiener Buerger_ (Ziehrer) - _Wiener Maedchen_ (Ziehrer) - _Wild Horsemen_ (Schumann) - _William Tell_: Overture (Rossini) - _Wine, Women and Song_ (Johann Strauss II) - “Wintergreen for President” (Gershwin), see _Of Thee I Sing_ - _The Wise Virgins_ (Bach-Walton), see Bach - “With a Little Bit of Luck” (Loewe), see _My Fair Lady_ - “A Woman is a Sometime Thing” (Gershwin), see _Porgy and Bess_ - _Woodland Dance_ (German), see _As You Like It_ - _Woodland Fancies_ (Herbert) - “_Wunderbar_” (Porter), see _Kiss Me Kate_ - “Why Do I Love You?” (Kern), see _Show Boat_ - - _Yankee Doodle Went to Town_ (Gould) - _Yeomen of the Guard_: Selections (Sullivan) - “You’ll Never Walk Alone” (Rodgers), see _Carousel_ - “Younger than Springtime” (Rodgers), see _South Pacific_ - _Youthful Suite_ (Grainger) - - _Zampa_: Overture (Hérold) - _Zapatadeo_ (Sarasate) - _Zar und Zimmermann_ (Lortzing), see _Czar and Carpenter_ - “_Zigeuener_” (Coward), see _Bitter Sweet_ - _Zigeunerbaron_ (Johann Strauss II), see _Gypsy Baron_ - _Zigeuenerliebe_ (Lehár), see _Gypsy Love_ - _Die Zirkusprinzessin_ (Kálmán), see _The Circus Princess_ - “_Zitti, Zitti, piano, piano_” (Rossini), see _The Barber of Seville_ - “_Zorike, kehre zurueck_” (Lehár), see _Gypsy Love_ - “_Zuhaelterballade_” (Weill), see “The Bully’s Ballad,” _The - Three-Penny Opera_ - “_Zwei Herzen in drei-viertel Takt_” (Stolz), see _Two Hearts in - Three-Quarter Time_ - - -Ewen’s -LIGHTER CLASSICS -IN MUSIC - - by DAVID EWEN - -In one brilliant volume, David Ewen offers a classic in musical -literature. Here are the treasured semi-classical works of two -continents—enduring, always alive—analyzed by a famed authority, -acclaimed as “music’s interpreter to the American people.” A must for -the music lover THE LIGHTER CLASSICS IN MUSIC is the first reference -book of its kind in any language. - -Here is the music of Victor Herbert, Eric Coates, Jacques Offenbach, -Johann Strauss and Franz Lehár. This is the music of the salon, -café-house, pop concert, and operetta theatre. - -THE LIGHTER CLASSICS IN MUSIC is also the story of the spontaneity and -creative invention of popular contemporary composers; Duke Ellington -(“Black, Brown, and Beige”), Morton Gould (“Yankee Doodle Went To -Town”), George Gershwin. These favorites are universally loved; their -long life-span is assured. - -There is still a third story—a story of the genius of classical masters -who have produced works whose popular interest and subtle freshness -compels an immediate emotional impact. Beethoven, Mozart, Haydn, Brahms, -Chopin, Schubert—all have brought forth wonderlands of sound to delight -the senses. - -The author needs no introduction to music afficionados. MUSIC FOR -MILLIONS went through six printings in as many years. A revised, -up-dated edition, EWEN’S MUSICAL MASTERWORKS, was soon demanded and -brought about. On the whimsical side, illustrator A. Birnbaum and Mr. -Ewen put their heads together and came up with LISTEN TO THE MOCKING -WORDS, a medley of anecdotes about music and musicians. - -Now Mr. Ewen turns a brilliant musical literacy and easy, non-pompous -style exclusively to the lighter classics. Here are the lives of 187 -composers; over 1000 perceptive analyses of musical masterpieces in the -lighter style prefaced by biographical sketches. An easy-to-use -alphabetical listing of the lighter classics makes it easy to get the -specific information you need. - -THE LIGHTER CLASSICS IN MUSIC is an enduring book to be cherished by the -concertgoer, record collector, musician, instructor, historian—all music -lovers who know the universal sounds of music in the lighter style. - - - - - Transcriber’s Notes - - -—Silently corrected a few typos; did not modernize spelling. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - -*** END OF THE PROJECT GUTENBERG EBOOK THE LIGHTER CLASSICS IN MUSIC *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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} -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.pcap { margin-left:0em; text-indent:0; text-align:center; margin-top:0; } -p.pcapc { margin-left:4.7em; text-indent:0em; text-align:justify; } -span.attr { font-size:80%; font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; } -</style> -</head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Lighter Classics in Music, by David Ewen</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: The Lighter Classics in Music</p> -<p style='display:block; margin-top:0; margin-bottom:1em; margin-left:2em; text-indent:0;'>A Comprehensive Guide to Musical Masterworks in a Lighter Vein</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: David Ewen</div> - -<div style='display:block; margin:1em 0'>Release Date: September 19, 2021 [eBook #66346]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Stephen Hutcheson, Dave Morgan and the Online Distributed Proofreading Team at https://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE LIGHTER CLASSICS IN MUSIC ***</div> -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="Lighter Classics in Music" width="500" height="758" /> -</div> -<div class="box"> -<h1><i>The Lighter Classics in Music</i></h1> -<div class="img"> -<img src="images/p2.jpg" id="ncfig1" alt="glyph" width="390" height="41" /> -</div> -<p class="center"><i>A Comprehensive Guide to -<br />Musical Masterworks in a Lighter Vein -<br />by 187 Composers</i></p> -<p class="tbcenter"><i>by David Ewen</i></p> -<div class="img"> -<img src="images/p3.jpg" id="ncfig2" alt="glyph" width="219" height="47" /> -</div> -<p class="center"><i>Arco Publishing Company, Inc.</i> -<br /><span class="smaller">NEW YORK</span></p> -</div> -<p class="tbcenter"><i>Library of Congress Catalog Card Number: 61-17781 -<br />Copyright 1961 by Arco Publishing Company, Inc., New York -<br />All rights reserved. -<br />Manufactured in the United States of America, -<br />by H. Wolff, New York</i></p> -<h2 id="toc" class="center">Contents</h2> -<dl class="toc"> -<dt><a href="#c1">Joseph Achron</a> 1</dt> -<dt><a href="#c2">Adolphe-Charles Adam</a> 2</dt> -<dt><a href="#c3">Richard Addinsell</a> 4</dt> -<dt><a href="#c4">Isaac Albéniz</a> 5</dt> -<dt><a href="#c5">Hugo Alfvén</a> 7</dt> -<dt><a href="#c6">Louis Alter</a> 8</dt> -<dt><a href="#c7">Leroy Anderson</a> 10</dt> -<dt><a href="#c8">Daniel François Esprit Auber</a> 12</dt> -<dt><a href="#c9">Johann Sebastian Bach</a> 15</dt> -<dt><a href="#c10">Michael Balfe</a> 18</dt> -<dt><a href="#c11">Hubert Bath</a> 19</dt> -<dt><a href="#c12">Ludwig van Beethoven</a> 20</dt> -<dt><a href="#c13">Vincenzo Bellini</a> 23</dt> -<dt><a href="#c14">Ralph Benatzky</a> 24</dt> -<dt><a href="#c15">Arthur Benjamin</a> 26</dt> -<dt><a href="#c16">Robert Russell Bennett</a> 27</dt> -<dt><a href="#c17">Hector Berlioz</a> 29</dt> -<dt><a href="#c18">Leonard Bernstein</a> 31</dt> -<dt><a href="#c19">Georges Bizet</a> 33</dt> -<dt><a href="#c20">Luigi Boccherini</a> 37</dt> -<dt><a href="#c21">François Boieldieu</a> 39</dt> -<dt><a href="#c22">Giovanni Bolzoni</a> 40</dt> -<dt><a href="#c23">Carrie Jacobs Bond</a> 41</dt> -<dt><a href="#c24">Alexander Borodin</a> 42</dt> -<dt><a href="#c25">Felix Borowski</a> 44</dt> -<dt><a href="#c26">Johannes Brahms</a> 45</dt> -<dt><a href="#c27">Charles Wakefield Cadman</a> 48</dt> -<dt><a href="#c28">Lucien Caillet</a> 49</dt> -<dt><a href="#c29">Alfredo Catalani</a> 50</dt> -<dt><a href="#c30">Otto Cesana</a> 51</dt> -<dt><a href="#c31">Emmanuel Chabrier</a> 52</dt> -<dt><a href="#c32">George Whitefield Chadwick</a> 54</dt> -<dt><a href="#c33">Cécile Chaminade</a> 55</dt> -<dt><a href="#c34">Gustave Charpentier</a> 56</dt> -<dt><a href="#c35">Frédéric Chopin</a> 57</dt> -<dt><a href="#c36">Eric Coates</a> 61</dt> -<dt><a href="#c37">Peter Cornelius</a> 63</dt> -<dt><a href="#c38">Noel Coward</a> 64</dt> -<dt><a href="#c39">César Cui</a> 65</dt> -<dt><a href="#c40">Claude Debussy</a> 66</dt> -<dt><a href="#c41">Léo Delibes</a> 68</dt> -<dt><a href="#c42">Gregore Dinicu</a> 71</dt> -<dt><a href="#c43">Gaetano Donizetti</a> 72</dt> -<dt><a href="#c44">Franz Drdla</a> 75</dt> -<dt><a href="#c45">Riccardo Drigo</a> 76</dt> -<dt><a href="#c46">Arcady Dubensky</a> 76</dt> -<dt><a href="#c47">Paul Dukas</a> 77</dt> -<dt><a href="#c48">Antonin Dvořák</a> 79</dt> -<dt><a href="#c49">Sir Edward Elgar</a> 83</dt> -<dt><a href="#c50">Duke Ellington</a> 86</dt> -<dt><a href="#c51">Georges Enesco</a> 87</dt> -<dt><a href="#c52">Leo Fall</a> 89</dt> -<dt><a href="#c53">Manuel de Falla</a> 90</dt> -<dt><a href="#c54">Gabriel Fauré</a> 91</dt> -<dt><a href="#c55">Friedrich Flotow</a> 92</dt> -<dt><a href="#c56">Stephen Foster</a> 94</dt> -<dt><a href="#c57">Rudolf Friml</a> 95</dt> -<dt><a href="#c58">Julius Fučík</a> 98</dt> -<dt><a href="#c59">Sir Edward German</a> 98</dt> -<dt><a href="#c60">George Gershwin</a> 100</dt> -<dt><a href="#c61">Henry F. Gilbert</a> 109</dt> -<dt><a href="#c62">Don Gillis</a> 111</dt> -<dt><a href="#c63">Alberto Ginastera</a> 112</dt> -<dt><a href="#c64">Alexander Glazunov</a> 113</dt> -<dt><a href="#c65">Reinhold Glière</a> 116</dt> -<dt><a href="#c66">Michael Glinka</a> 117</dt> -<dt><a href="#c67">Christoph Willibald Gluck</a> 119</dt> -<dt><a href="#c68">Benjamin Godard</a> 120</dt> -<dt><a href="#c69">Leopold Godowsky</a> 121</dt> -<dt><a href="#c70">Edwin Franko Goldman</a> 122</dt> -<dt><a href="#c71">Karl Goldmark</a> 123</dt> -<dt><a href="#c72">Rubin Goldmark</a> 125</dt> -<dt><a href="#c73">François Gossec</a> 126</dt> -<dt><a href="#c74">Louis Gottschalk</a> 127</dt> -<dt><a href="#c75">Morton Gould</a> 128</dt> -<dt><a href="#c76">Charles Gounod</a> 131</dt> -<dt><a href="#c77">Percy Grainger</a> 134</dt> -<dt><a href="#c78">Enrique Granados</a> 136</dt> -<dt><a href="#c79">Edvard Grieg</a> 137</dt> -<dt><a href="#c80">Ferde Grofé</a> 141</dt> -<dt><a href="#c81">David Guion</a> 143</dt> -<dt><a href="#c82">Johan Halvorsen</a> 144</dt> -<dt><a href="#c83">George Frederick Handel</a> 145</dt> -<dt><a href="#c84">Joseph Haydn</a> 147</dt> -<dt><a href="#c85">Victor Herbert</a> 149</dt> -<dt><a href="#c86">Ferdinand Hérold</a> 154</dt> -<dt><a href="#c87">Jenö Hubay</a> 155</dt> -<dt><a href="#c88">Engelbert Humperdinck</a> 157</dt> -<dt><a href="#c89">Jacques Ibert</a> 158</dt> -<dt><a href="#c90">Michael Ippolitov-Ivanov</a> 159</dt> -<dt><a href="#c91">Ivanovici</a> 160</dt> -<dt><a href="#c92">Armas Järnefelt</a> 160</dt> -<dt><a href="#c93">Dmitri Kabalevsky</a> 161</dt> -<dt><a href="#c94">Emmerich Kálmán</a> 162</dt> -<dt><a href="#c95">Kéler-Béla</a> 165</dt> -<dt><a href="#c96">Jerome Kern</a> 166</dt> -<dt><a href="#c97">Albert Ketelby</a> 169</dt> -<dt><a href="#c98">Aram Khatchaturian</a> 170</dt> -<dt><a href="#c99">George Kleinsinger</a> 171</dt> -<dt><a href="#c100">Fritz Kreisler</a> 172</dt> -<dt><a href="#c101">Édouard Lalo</a> 175</dt> -<dt><a href="#c102">Josef Lanner</a> 176</dt> -<dt><a href="#c103">Charles Lecocq</a> 177</dt> -<dt><a href="#c104">Ernesto Lecuona</a> 179</dt> -<dt><a href="#c105">Franz Léhar</a> 180</dt> -<dt><a href="#c106">Ruggiero Leoncavallo</a> 183</dt> -<dt><a href="#c107">Anatol Liadov</a> 185</dt> -<dt><a href="#c108">Paul Lincke</a> 186</dt> -<dt><a href="#c109">Franz Liszt</a> 187</dt> -<dt><a href="#c110">Frederick Loewe</a> 189</dt> -<dt><a href="#c111">Albert Lortzing</a> 191</dt> -<dt><a href="#c112">Alexandre Luigini</a> 192</dt> -<dt><a href="#c113">Hans Christian Lumbye</a> 193</dt> -<dt><a href="#c114">Edward MacDowell</a> 194</dt> -<dt><a href="#c115">Albert Hay Malotte</a> 196</dt> -<dt><a href="#c116">Gabriel Marie</a> 196</dt> -<dt><a href="#c117">Martini il Tedesco</a> 197</dt> -<dt><a href="#c118">Pietro Mascagni</a> 198</dt> -<dt><a href="#c119">Jules Massenet</a> 199</dt> -<dt><a href="#c120">Robert McBride</a> 203</dt> -<dt><a href="#c121">Harl McDonald</a> 204</dt> -<dt><a href="#c122">Felix Mendelssohn</a> 205</dt> -<dt><a href="#c123">Giacomo Meyerbeer</a> 208</dt> -<dt><a href="#c124">Karl Milloecker</a> 211</dt> -<dt><a href="#c125">Moritz Moszkowski</a> 212</dt> -<dt><a href="#c126">Wolfgang Amadeus Mozart</a> 213</dt> -<dt><a href="#c127">Modest Mussorgsky</a> 215</dt> -<dt><a href="#c128">Ethelbert Nevin</a> 218</dt> -<dt><a href="#c129">Otto Nicolai</a> 220</dt> -<dt><a href="#c130">Siegfried Ochs</a> 221</dt> -<dt><a href="#c131">Jacques Offenbach</a> 222</dt> -<dt><a href="#c132">Ignace Jan Paderewski</a> 225</dt> -<dt><a href="#c133">Gabriel Pierné</a> 226</dt> -<dt><a href="#c134">Jean-Robert Planquette</a> 227</dt> -<dt><a href="#c135">Eduard Poldini</a> 228</dt> -<dt><a href="#c136">Manuel Ponce</a> 229</dt> -<dt><a href="#c137">Amilcare Ponchielli</a> 230</dt> -<dt><a href="#c138">Cole Porter</a> 231</dt> -<dt><a href="#c139">Serge Prokofiev</a> 233</dt> -<dt><a href="#c140">Giacomo Puccini</a> 235</dt> -<dt><a href="#c141">Sergei Rachmaninoff</a> 238</dt> -<dt><a href="#c142">Joachim Raff</a> 240</dt> -<dt><a href="#c143">Maurice Ravel</a> 241</dt> -<dt><a href="#c144">Emil von Rezniček</a> 243</dt> -<dt><a href="#c145">Nikolai Rimsky-Korsakov</a> 244</dt> -<dt><a href="#c146">Richard Rodgers</a> 247</dt> -<dt><a href="#c147">Sigmund Romberg</a> 253</dt> -<dt><a href="#c148">David Rose</a> 256</dt> -<dt><a href="#c149">Gioacchino Rossini</a> 257</dt> -<dt><a href="#c150">Anton Rubinstein</a> 261</dt> -<dt><a href="#c151">Camille Saint-Saëns</a> 262</dt> -<dt><a href="#c152">Pablo de Sarasate</a> 267</dt> -<dt><a href="#c153">Franz Schubert</a> 268</dt> -<dt><a href="#c154">Robert Schumann</a> 272</dt> -<dt><a href="#c155">Cyril Scott</a> 274</dt> -<dt><a href="#c156">Jean Sibelius</a> 274</dt> -<dt><a href="#c157">Christian Sinding</a> 277</dt> -<dt><a href="#c158">Leone Sinigaglia</a> 278</dt> -<dt><a href="#c159">Bedřich Smetana</a> 280</dt> -<dt><a href="#c160">John Philip Sousa</a> 283</dt> -<dt><a href="#c161">Oley Speaks</a> 285</dt> -<dt><a href="#c162">Robert Stolz</a> 286</dt> -<dt><a href="#c163">Oscar Straus</a> 287</dt> -<dt><a href="#c164">Eduard Strauss</a> 288</dt> -<dt><a href="#c165">Johann Strauss I</a> 289</dt> -<dt><a href="#c166">Johann Strauss II</a> 291</dt> -<dt><a href="#c167">Josef Strauss</a> 298</dt> -<dt><a href="#c168">Sir Arthur Sullivan</a> 299</dt> -<dt><a href="#c169">Franz von Suppé</a> 311</dt> -<dt><a href="#c170">Johan Svendsen</a> 313</dt> -<dt><a href="#c171">Deems Taylor</a> 314</dt> -<dt><a href="#c172">Peter Ilitch Tchaikovsky</a> 316</dt> -<dt><a href="#c173">Ambroise Thomas</a> 322</dt> -<dt><a href="#c174">Enrico Toselli</a> 324</dt> -<dt><a href="#c175">Sir Paolo Tosti</a> 325</dt> -<dt><a href="#c176">Giuseppe Verdi</a> 326</dt> -<dt><a href="#c177">Richard Wagner</a> 332</dt> -<dt><a href="#c178">Emil Waldteufel</a> 338</dt> -<dt><a href="#c179">Karl Maria von Weber</a> 339</dt> -<dt><a href="#c180">Kurt Weill</a> 341</dt> -<dt><a href="#c181">Jaromir Weinberger</a> 343</dt> -<dt><a href="#c182">Henri Wieniawski</a> 345</dt> -<dt><a href="#c183">Ralph Vaughan Williams</a> 346</dt> -<dt><a href="#c184">Jacques Wolfe</a> 347</dt> -<dt><a href="#c185">Ermanno Wolf-Ferrari</a> 348</dt> -<dt><a href="#c186">Sebastian Yradier</a> 350</dt> -<dt><a href="#c187">Carl Zeller</a> 350</dt> -<dt><a href="#c188">Karl Michael Ziehrer</a> 352</dt> -</dl> -<h1 title=""><i>The Lighter Classics in Music</i></h1> -<div class="pb" id="Page_1">1</div> -<h2 id="c1"><span class="small">Joseph <b id="g_Achron">Achron</b></span></h2> -<p>Joseph Achron was born in Lozdzieje, Lithuania, on May -13, 1886. He attended the St. Petersburg Conservatory, where he studied -the violin with Leopold Auer and theory with Anatol Liadov, -graduating in 1904. After teaching at the Kharkov Conservatory for -three years, he toured Russia, Europe and the Near East as a concert -violinist for about six years, and settled permanently in the United -States in 1925. Some of his most ambitious and significant compositions -were written in this country. Among these were three violin concertos, -two violin sonatas, the <i>Golem Suite</i> for orchestra and the <i>Stempenyu -Suite</i> for violin and piano. Achron died in Hollywood, California, on -April 29, 1943.</p> -<p>When Achron was twenty-five years old, and still living in Russia, he -became a member of the music committee of the Hebrew Folk Music -Society of St. Petersburg. Its aim was twofold: to encourage research in -Hebrew music, and to direct the enthusiasm of gifted Russian composers -toward the writing of Hebrew music. It was as a direct result of this association, -and the stimulus derived from the achievements of this society, -that in 1911 Achron wrote a popular composition in a Hebraic vein -which to this day is his most famous piece of music. It is the <i>Hebrew -Melody</i>, Op. 33, for violin and orchestra. The melodic germ of this composition -is an actual synagogical chant, amplified by Achron into a spacious -melody following several introductory measures of descending, -brooding phrases. This melody is first given in a lower register, but when -repeated several octaves higher it receives embellishments similar to -those provided a synagogical chant by a cantor. The composition ends -with the same descending minor-key phrases with which it opened. This -<i>Hebrew Melody</i>, in a transcription for violin and piano by Leopold -Auer, has been performed by many of the world’s leading violin virtuosos.</p> -<div class="pb" id="Page_2">2</div> -<h2 id="c2"><span class="small">Adolphe-Charles <b id="g_Adam">Adam</b></span></h2> -<p>Adolphe-Charles Adam, eminent composer of comic -operas, was born in Paris on July 24, 1803. He attended the Paris Conservatory, -where he came under the decisive influence of François Boieldieu, -under whose guidance he completed his first comic opera, <i>Pierre -et Catherine</i>, first produced at the Opéra-Comique in Paris on February -9, 1829. His first major success, <i>Le Chalet</i>, was given on September 25, -1834, enjoying almost fifteen hundred performances in Paris before the -end of the century. Adam subsequently wrote almost fifty other stage -works in a light style. With Boieldieu and Auber he became founder -and leading exponent of the opéra-comique. His most celebrated work -in this genre was <i>Le Postillon de Longjumeau</i>, first given at the Opéra-Comique -on October 13, 1836. This work was frequently heard in the -United States in the 1860’s and 1870’s, but has since lapsed into obscurity. -Adam was also a highly significant composer of ballets, of which -<i>Giselle</i> is now a classic; of many serious operas; and of a celebrated -Christmas song, “Noël,” or “Oh, Holy Night” (“<i>Cantique de Noël: -Minuit, Chrétiens</i>”), which has been transcribed for orchestra. In 1847, -Adam founded his own theater—the Théâtre National—which a year -later (with the outbreak of the 1848 revolution in France) went into -bankruptcy. From 1849 on he was professor of composition at the Paris -Conservatory. Adam died in Paris on May 3, 1856.</p> -<p><i>Giselle</i> is one of the proudest achievements of French Romantic ballet. -Through the years it has never lost its immense popularity. With -choreography by Jules Perrot and Jean Coralli, it was introduced in -Paris on June 28, 1841. Carlotta Grisi appeared in the title role. <i>Giselle</i> -was an immediate triumph. Since then, the world’s foremost ballerinas -have appeared as Giselle, including Fanny Elssler, Taglioni, Pavlova, -Karsavina, Markova, Danilova, Margot Fonteyn, and Moira Shearer.</p> -<p>“What is the secret charm of this ballet?” inquires the famous scenic -designer, Alexander Benois. He goes on to answer: “It is mainly due to -its simplicity and clearness of plot, to the amazingly impetuous spontaneity -with which the drama is developed. There is barely time to collect -<span class="pb" id="Page_3">3</span> -one’s thoughts before the heroine, who but a moment ago charmed -everybody with her vitality, is lying stiff and cold and dead at the feet of -the lover who deceived her.... It is deeply moving, and the magic of -a true poet ... consists in making us accept without question any -absurdities he may choose to offer us.... No one is inclined to criticize -while under the spell of this strange idyl.”</p> -<p>The ballet text was the collaborative creation of Théophile Gautier, -Vernoy de Saint-Georges, and Jean Coralli. Gautier had read a legend -by Heinrich Heine in <i>De L’Allemagne</i> which described elves in white -dresses (designated as “wilis”) who died before their wedding day and -emerged from their graves in bridal dress to dance till dawn. Any man -an elf met was doomed to dance himself to death. Gautier, recognizing -the ballet potentialities of this legend, decided to adapt it for Carlotta -Grisi. He interested Vernoy de Saint-Georges in assisting him in making -this ballet adaptation and Jean Coralli in creating some of the dance -sequences. “Three days later,” Gautier revealed in a letter to Heine, -“the ballet <i>Giselle</i> was accepted. By the end of the week, Adam had improvised -the music, the scenery was nearly ready, and the rehearsals -were in full swing.”</p> -<p>The ballet text finds Giselle as a sweet, carefree peasant girl. Betrayed -by Albrecht, the Duke of Silesia, she goes mad and commits suicide. Her -grave is touched by the magic branch of Myrtha, Queen of the Wilis. -Giselle arises from the grave as a wili, and performs her nocturnal dance. -Albrecht, who comes to visit her grave, is caught up by her spell and must -dance to his doom.</p> -<p>A master of expressive and dramatized melodies, Adam here created -a score filled with the most ingratiating tunes and spirited rhythms, all -beautifully adjusted to the sensitive moods of this delicate fantasy. From -this score the 20th-century English composer Constant Lambert extracted -four melodic episodes which he made into a popular orchestral -suite: “Giselle’s Dance”; “Mad Scene”; “Pas de deux, Act 2”; and “Closing -Scene.”</p> -<p>From the repertory of Adam’s operas comes a delightful overture, a -favorite in the semi-classical repertory, even though the opera itself is -rarely heard. It is the Overture to <i>If I Were King</i> (<i>Si j’étais roi</i>). This -comic opera was first performed in Paris on November 4, 1852; the -libretto was by D’Ennery and Brésil. In Arabia, the fisherman, Zephoris, -has managed to save the life of Nemea, beautiful daughter of King -Oman. But Nemea is being pursued by Prince Kador, who does not -hesitate to employ treachery to win her. Nemea is determined to marry -<span class="pb" id="Page_4">4</span> -none but the unidentified man who had saved her life. Eventually, the -fisherman is brought to the palace, placed in command of the troops, -and becomes a hero in a war against the Spaniards. Kador is sent to his -disgrace, and Zephoris wins the hand of Nemea.</p> -<p>The oriental background of the opera permeates the atmosphere of -the overture. A forceful introduction for full orchestra and arpeggio -figures in harp lead to a skipping and delicate tune for first violins -against plucked cello strings. The flutes and clarinets respond with a -subsidiary thought. A crescendo brings on a strong subject for the -violins against a loud accompaniment. After a change of tempo, another -light, graceful melody is given by solo flute and oboes. The principal -melodic material is then amplified with dramatic effect.</p> -<h2 id="c3"><span class="small">Richard <b id="g_Addinsell">Addinsell</b></span></h2> -<p>Richard Addinsell was born in Oxford, England, on -January 13, 1904. After studying law at Oxford, he attended the Royal -College of Music in London and completed his music study in Berlin -and Vienna between 1929 and 1932. In 1933 he visited the United -States, where he wrote music for several Hollywood films and for a New -York stage production of <i>Alice in Wonderland</i>. He has since made a -specialty of writing music for the screen, his best efforts being the scores -for <i>Goodbye, Mr. Chips</i>, <i>Blithe Spirit</i>, <i>Dangerous Moonlight</i>, <i>Dark -Journey</i>, and <i>Fire Over England</i>. During World War II he wrote music -for several documentary films, including <i>Siege of Tobruk</i> and <i>We Sail -at Midnight</i>.</p> -<p>Addinsell’s most frequently played composition is the <i>Warsaw Concerto</i>, -for piano and orchestra. He wrote it for the English movie -<i>Dangerous Moonlight</i> (renamed in the United States <i>Suicide Squadron</i>). -Anton Walbrook here plays the part of a renowned concert pianist -who becomes an officer in the Polish air force during World War II and -loses his memory after a crash. The <i>Warsaw Concerto</i>, basic to the plot -<span class="pb" id="Page_5">5</span> -structure, recurs several times in the film. It first became popular, however, -on records, and after that with “pop” and salon orchestras. -Though the composer’s indebtedness to Rachmaninoff’s Second Piano -Concerto is pronounced, the <i>Warsaw Concerto</i> has enough of its own -individuality and charm to survive. Structurally, it is not a concerto but -a rhapsody. It opens with several massive chords, arpeggios, and scale -passages in the piano. This dramatic opening leads to the sensitive and -romantic principal melody, heard in the strings. Later on there appears -a second lyric thought, but the rhapsodic character remains predominant. -The composition ends with a final statement of the opening -phrase of the first main melody.</p> -<p>Addinsell is also sometimes represented on semi-classical programs -with a light-textured and tuneful composition called <i>Prelude and Waltz</i>, -for orchestra. This also stems from a motion picture, in this case the -British screen adaptation of Noel Coward’s <i>Blithe Spirit</i>.</p> -<h2 id="c4"><span class="small">Isaac <b id="g_Albeniz">Albéniz</b></span></h2> -<p>Isaac Albéniz, one of Spain’s most distinguished composers, -was born in Camprodón, Spain, on May 29, 1860. He was a child prodigy -who gave piano concerts in Spain after some spasmodic study in -Paris with Marmontel. In 1868 he entered the Madrid Conservatory, -but in his thirteenth year he ran away from home and spent several -years traveling about in Puerto Rico, Cuba, and the United States, supporting -himself all the while by playing the piano. He was back in -Spain in 1875, and soon thereafter undertook music study seriously, -first at the Brussels Conservatory and then at the Leipzig Conservatory. -He settled in Paris in 1893, where he wrote his first important works, -one of these being his first composition in a national Spanish idiom: the -<i>Catalonia</i>, for piano and orchestra, in 1899. After 1900 he lived in his -native land. From 1906 to 1909 he devoted himself to the writing of his -masterwork, the suite <i>Iberia</i>, consisting of twelve pieces for the piano -gathered in four volumes. <i>Iberia</i> is a vast tonal panorama of Spain, its -<span class="pb" id="Page_6">6</span> -sights and sounds, dances and songs, backgrounds. Albéniz died in -Cambo-Bains, in the Pyrenees, on May 18, 1909.</p> -<p>Albéniz may well be regarded as the founder of the modern Spanish -nationalist school in music. This school sought to exploit the rhythms -and melodies and styles of Spanish folk music within serious concert -works, thus providing a musical interpretation to every possible aspect -of Spanish life.</p> -<p>Albéniz’ first work in the national style is also one of his rare compositions -utilizing an orchestra. It is the <i>Catalonia</i>, written in 1899, and -introduced that year at a concert of the Société nationale de musique in -Paris. This work is sometimes erroneously designated as a suite, but it -is actually a one-movement rhapsody. A single theme, unmistakably -Spanish, dominates the entire work. A brief rhythmic middle section -for wind, percussion, and a single double bass provides contrast. This -middle part is intended as a burlesque on a troupe of wandering musicians -playing their favorite tune: the clarinet plays off key and the bass -drum is off beat. The original dance melody returns to conclude the -work.</p> -<p><i>Córdoba</i>, a haunting nocturne, is the fourth and most famous number -from the <i>Cantos de España</i>, a suite for the piano, op. 232. <i>Córdoba</i> -is a vivid tone picture of that famous Andalusian city. Sharp chords, -as if plucked from the strings of a guitar, preface an oriental-type -melody which suggests the Moorish background of the city.</p> -<p><i>Fête Dieu à Seville</i>, or <i>El Corpus en Sevilla</i> (<i>Festival in Seville</i>) is the -third and concluding number from the first volume of <i>Iberia</i>. Besides -its original version for the piano, this composition is celebrated in several -transcriptions for orchestra, notably those by E. Fernández Arbós -and Leopold Stokowski. This music depicts a religious procession in -the streets of Seville on the Thursday after Trinity Sunday. At the head -of the procession is the priest bearing the Host, or Blessed Sacrament, -under a lavishly decorated canopy. As the procession moves, worshipers -who crowd the streets improvise a religious chant.</p> -<p><i>Fête Dieu à Seville</i> opens with a brusquely accented march melody, -against which emerges an improvisational-type melody similar to those -sung by worshipers in the street. The march melody and the improvised -chant alternate, but it is the chant that is carried to a thunderous -climax. Then this chant subsides and fades away into the distance, as -the composition ends.</p> -<p><i>Navarra</i> is a poignant tonal evocation for piano of the Spanish province -below the Pyrenees. Albéniz never completed this work; it was -<span class="pb" id="Page_7">7</span> -finished after his death by Déodat de Séverac. This composition is perhaps -best known in Fernández Arbós’ transcription for orchestra. -Against the provocative background of a jota rhythm moves a languorous -and sensual gypsy melody.</p> -<p><i>Sevillañas</i> (<i>Seville</i>) is the third number from <i>Suite española</i> for piano; -it has become famous independent of the larger work and is often heard -in transcription. The heart of the piece is a passionate song, typical of -those heard in the haunts of Seville. As a background there is an incisive -rhythm suggesting the clicking of castanets.</p> -<p>The Tango in D major, op. 165, no. 2, for piano, is not only the most -famous one by Albéniz but one of the most popular ever written. With -its intriguing flamenco-like melody and compelling rhythm it is Spanish -to the core—the prototype of all tango music. The original piano -version as written by the composer is not often heard. When it is performed -on the piano, this tango is given in a brilliant but complex -arrangement by Leopold Godowsky. But it is much more famous in -various transcriptions, notably one for violin and piano by Fritz Kreisler, -and numerous ones for small or large orchestras.</p> -<p><i>Triana</i> is the third and concluding number from the second book of -Albéniz’ monumental suite for piano, <i>Iberia</i>. Triana, of which this -music is a tonal picture, is a gypsy suburb of Seville. In the introduction, -random phrases bring up the image of various attitudes and movements -of Spanish dances. A triple-rhythmed figure leads to a light and -graceful dance melody against a bolero rhythm. As the melody is developed -and repeated it gains in intensity and is enriched in color until -it evolves climactically with full force. A transcription for orchestra by -Fernández Arbós is as famous as the original piano version.</p> -<h2 id="c5"><span class="small">Hugo <b id="g_Alfven">Alfvén</b></span></h2> -<p>Hugo Alfvén was born in Stockholm, Sweden, on May 1, -1872. His music study took place at the Stockholm Conservatory and, -on government stipends, with César Thomson in Brussels, and in Germany -<span class="pb" id="Page_8">8</span> -and France. From 1910 to 1939 he was musical director and conductor -of the student chorus at the Uppsala University. Alfvén was a -nationalist composer of Romantic tendencies who wrote five symphonies -together with a considerable amount of orchestral and choral -music. He died in Faluns, Sweden, on May 8, 1960.</p> -<p><i>Midsummer Vigil</i> (<i>Midsommarvaka</i>), op. 19 (1904), a Swedish rhapsody -for orchestra, is his best known composition. It was produced as a -ballet, <i>La Nuit de Saint-Jean</i>, in Paris on October 25, 1925, where it -proved so successful that it was given more than 250 performances within -four years. As a work for symphony orchestra it has received universal -acclaim for its attractive deployment of national Swedish folk song -idioms and dance rhythms. The music describes a revel held in small -Swedish towns during the St. John’s Eve festival. The work opens with -a gay tune for clarinet over plucked strings. This is followed by a burlesque -subject for bassoon. Muted strings and English horns then offer -a broad, stately, and emotional folk song. Repeated by the French -horns, this song is soon amplified by the strings. The tempo now -quickens, and a rustic dance theme is given softly by the violins. The -mood gradually becomes frenetic. The violins offer a passionate subject -over a pedal point. A climax is finally reached as the revelry becomes -unconfined.</p> -<h2 id="c6"><span class="small">Louis <b id="g_Alter">Alter</b></span></h2> -<p>Louis Alter was born in Haverhill, Massachusetts, on June -18, 1902, where he received his academic education in the public -schools, and his initial instruction in music. Music study was completed -with Stuart Mason at the New England Conservatory. In 1924 Alter -came to New York, where for five years he worked as accompanist for -Nora Bayes, Irene Bordoni and other stars of the stage; he also did -arrangements for a publishing firm in Tin Pan Alley. Between 1925 -<span class="pb" id="Page_9">9</span> -and 1927 he wrote his first popular songs and contributed a few of them -to Broadway productions. Since then he has written many song hits, as -well as scores for Broadway musicals and Hollywood films. His best -known songs include “A Melody from the Sky” and “Dolores,” both of -which were nominated for Academy Awards; also “Twilight on the -Trail,” such a favorite of President Franklin D. Roosevelt that the -manuscript, together with a recording by Bing Crosby, repose in the -Roosevelt Museum in Hyde Park, New York.</p> -<p>Alter has been successful in writing skilful compositions for piano -and orchestra in which the popular element is pronounced, encased -within a symphonic structure. Some of them are now staples in the -symphonic-jazz repertory. His best compositions were inspired by the -sights, sounds and moods of New York City.</p> -<p><i>Jewels from Cartier</i> (1953), as the title indicates, was inspired not by -New York but by one of the city’s most famous jewelers when Alter was -one day allowed to inspect its collection. In his suite, Alter attempts in -eight sections to translate various jewels into tones. The first movement -is “Emerald Eyes.” Since many beautiful emeralds come from South -America, this section emphasizes the rumba beat and other Latin-American -rhythms. “The Ruby and the Rose” is a romantic ballad in -which voices supplement the instruments of the orchestra. “Pearl of -the Orient” consists of an oriental dance. “Black Pearl of Tahiti” exploits -exotic Polynesian rhythms and its languorous-type melodies. -“Diamond Earrings” is a swirling waltz while “Star Sapphire” is a -beguine. In “Cat’s Eye in the Night,” the music suggests a playful kitten -darting about in a room. The finale, “Lady of Jade,” is in the style of -Chinese processional music.</p> -<p><i>Manhattan Masquerade</i> (1932) is the most dramatic of Alter’s New -York murals. It consists of a Viennese-type waltz played in fox-trot time, -a suggestion on the part of the composer that Vienna and New York are -not too far apart spiritually.</p> -<p><i>Manhattan Moonlight</i> (1932) is, on the other hand, atmospheric. It -opens with four chords in a nebulous Debussy vein. The core of the -work is an extended melody for strings against piano embellishments. -A light and frivolous mood is then invoked before the main melody -returns in an opulent scoring.</p> -<p><i>Manhattan Serenade</i> (1928) is the most famous of all Alter’s instrumental -works and the one that first made him known. He published it -first as a piano solo, but soon rewrote it for piano and orchestra. Paul -Whiteman and his orchestra made it popular in 1929 on records and in -<span class="pb" id="Page_10">10</span> -public concerts. This work is extremely effective in laying bare the -nerves of the metropolis through syncopations, and jazz tone colorations. -Its main melody is a plangent song to which, in 1940, Howard -Johnson adapted a song lyric. <i>Manhattan Serenade</i> is often heard as -background music on radio and television programs about New York.</p> -<p><i>Side Street in Gotham</i> (1938) attempts to portray the city from river -to river. The composition begins with a few notes suggesting “London -Bridge Is Falling Down,” which is later elaborated in a vigorous and -amusing tempo; the reason this theme is here used is because it is -referred to in the lyric of “The Sidewalks of New York.” Some of the -mystery of New York’s side streets can also be found in this music.</p> -<h2 id="c7"><span class="small">Leroy <b id="g_Anderson">Anderson</b></span></h2> -<p>Leroy Anderson is one of America’s most successful and -best known composers of light orchestral classics. He was born in Cambridge, -Massachusetts, on June 29, 1908. His early musical training took -place at the New England Conservatory, after which he studied the -bass and organ with private teachers. In 1929 he was graduated from -Harvard <i>magna cum laude</i>, and one year after that he received there his -Master’s degree in music on a Naumberg Fellowship. For the next few -years he served as organist and choirmaster in Milton, Massachusetts; -as a member of the music faculty at Radcliffe College; and as director -of the Harvard University Band. In 1935 he became a free-lance conductor, -composer and arranger in Boston and New York. As orchestrator -for the Boston Pops Orchestra, for which he made many orchestral -arrangements over a period of several years, Anderson completed his -first original semi-classical composition, <i>Jazz Pizzicato</i>, successfully introduced -by the Boston Pops Orchestra in 1939. Since then the Boston -Pops Orchestra has introduced most of Anderson’s compositions, many -of which proved exceptionally popular in concerts throughout the -<span class="pb" id="Page_11">11</span> -country and on records. Anderson has also appeared frequently as guest -conductor of important American symphony orchestras and has conducted -his own compositions with his orchestra for records. In 1958, his -first musical comedy, <i>Goldilocks</i>, was produced on Broadway.</p> -<p>Beyond possessing a most ingratiating lyric invention and a consummate -command of orchestration, Anderson boasts an irresistible -sense of humor and a fine flair for burlesque. He is probably at his best -in programmatic pieces in which extra-musical sounds are neatly -adapted to and often serve as a background for his sprightly tunes—ranging -from the clicking of a typewriter to the meowing of a cat.</p> -<p><i>Blue Tango</i> is the first strictly instrumental composition ever to -achieve first place on the Hit Parade. For almost a year it was the leading -favorite on juke boxes, and its sale of over two million records -represents Anderson’s healthiest commercial success. Scored for violins, -this music neatly combines an insistent tango rhythm with a sensual -melody in a purple mood. <i>Bugler’s Holiday</i> is a musical frolic for three -trumpets. <i>A Christmas Festival</i> provides a colorful orchestral setting to -some of the best loved Christmas hymns, including “Joy to the World,” -“Deck the Halls,” “God Rest Ye Merry Gentlemen,” “Silent Night,” -“Jingle Bells,” and “Come All Ye Faithful.”</p> -<p><i>Fiddle-Faddle</i> is a merry burlesque-escapade for the violins, inspired -from a hearing of Paganini’s <i>Perpetual Motion</i>; this, then, is a modern -style “Perpetual Motion.” In <i>Horse and Buggy</i>, the music nostalgically -evokes a bygone day with a sprightly, wholesome tune presented against -the rhythms of a jogging horse. The <i>Irish Suite</i> was commissioned by -the Eire Society of Boston, and is a six-movement adaptation of six of -Thomas Moore’s <i>Irish Melodies</i>. They are: “The Irish Washerwoman,” -“The Minstrel Boy,” “The Rakes of Mallow,” “The Wearing of the -Green,” “The Last Rose of Summer,” and “The Girl I Left Behind -Me.” <i>Jazz Legato</i> and <i>Jazz Pizzicato</i> are studies in contrasting moods -and dynamics. The <i>Jazz Pizzicato</i> consists of a jazz melody presented -entirely by plucked strings; its companion piece is a broader jazz melody -for bowed strings. <i>Plink, Plank, Plunk</i> also makes effective use of pizzicato -strings, this time attempting to simulate the sounds suggested by -the descriptive title. <i>Saraband</i> brings about the marriage between the -very old and very new in musical styles. The old classical dance in slow -triple time and accented second beat is exploited with a quickening of -tempo and with modern rhythmic and melodic embellishments.</p> -<p>In <i>Sleigh Bells</i>, jangling sleighbells and the sound of a cracking whip, -provide a delightful background to a jaunty tune that has the bite and -<span class="pb" id="Page_12">12</span> -sting of outdoor winterland. This piece has become something of a -perennial favorite of the Christmas season. In <i>The Syncopated Clock</i>, -the rhythm of a clicking grandfather’s clock, presented by percussion -instruments in a modern rhythm, is placed against a bouncy, syncopated -melody. This number has become popular as theme music for the CBS-TV -“Early Show.” <i>The Trumpeter’s Lullaby</i> is a sensitive melody with -the soothing accompaniment of a lullaby.</p> -<p><i>The Typewriter</i> permits members of the percussion section to imitate -the incisive, rigid rhythm of a functioning typewriter, punctuated by -the regular tinkle of the bell to provide the warning signal that the carriage -has come to the end of a line. Against this rhythm moves a vivacious -message in strings. <i>The Typewriter</i> was played in the motion picture -<i>But Not for Me</i>, starring Clark Gable, released in 1959. In <i>The -Waltzing Cat</i>, an imaginary cat dances gracefully to a waltz melody -made up mainly of meows.</p> -<h2 id="c8"><span class="small">Daniel François <b id="g_Auber">Auber</b></span></h2> -<p>Daniel François Esprit Auber, genius of -opéra-comique, was born in Caen, Normandy, France, on January 29, -1782. In his youth he lived in London, where he studied both the business -of art, in which he hoped to engage, and music. There he wrote -several songs which were heard at public entertainments. After returning -to France and settling in Paris in 1804, he gave himself up completely -to music. Two minor stage works with music were privately performed -between 1806 and 1811 before his first opera received its première -performance: <i>Le Séjour militaire</i> in 1813. His first success came -seven years after that with <i>La Bergère châtelaine</i>. From then on he was -a prolific writer of both light and grand operas, many to texts by -Eugène Scribe. <i>La Muette de Portici</i> in 1828 was a triumph, and was -followed by such other major successes <i>Fra Diavolo</i> (1830), <i>Le Cheval</i> -<span class="pb" id="Page_13">13</span> -<i>de bronze</i> (1835), <i>Le Domino noir</i> (1837) and <i>Les Diamants de la -couronne</i> (1841). His last opera, <i>Rêves d’amour</i>, was completed when -he was eighty-seven. Auber was one of France’s most highly honored -musicians. From 1842 until his death he was director of the Paris Conservatory, -and in 1857 he was made by Napoleon III Imperial Maître -de Chapelle. Auber died in Paris on May 12, 1871.</p> -<p>With Adam and Boieldieu, Auber was one of the founding fathers of -the opéra-comique. He was superior to his two colleagues in the lightness -of his touch, surpassing wit, and grace of lyricism. But Auber’s -charm and gaiety were not bought at the expense of deeper emotional -and dramatic values; for all their lightness of heart, his best comic -operas are filled with pages that have the scope and dimension of grand -opera. As Rossini once said of him, Auber may have produced light -music, but he produced it like a true master.</p> -<p>Overtures to several of his most famous operas are standards in the -light-classical repertory.</p> -<p><i>The Black Domino</i> (<i>Le Domino noir</i>), text by Eugène Scribe, was introduced -in Paris on December 2, 1837. The central character is Lady -Angela, an abbess, who attends a masked ball where she meets and falls -in love with Horatio, a young nobleman. Numerous escapades and adventures -follow before Angela meets up again with her young man. -Now released from her religious vows by the Queen, Angela is free to -marry him.</p> -<p>In the overture, a loud outburst for full orchestra emphasizes a -strongly rhythmic theme. A staccato phrase in the woodwind and a return -of the initial strong subject follow. This leads into a light dancing -motive for the woodwind. Another <i>forte</i> passage is now the bridge to a -melodious episode in the woodwind. A change of key brings on a gay -bolero melody for clarinets and bassoons in octaves. After this idea is -amplified, a jota-like melody is given by the full orchestra. The closing -section is a brilliant presentation of a completely new jota melody.</p> -<p><i>The Crown Diamonds</i> (<i>Les Diamants de la couronne</i>) was first produced -in Paris on March 6, 1841, when it scored a major success. But it -enjoyed an even greater triumph when it was first performed in England -three years after that; from then on it has remained a great favorite -with English audiences. The text, by Eugène Scribe and Saint-Georges, -is set in 18th-century Portugal where the Queen assumes the -identity of the leader of a gang of counterfeiters and uses the crown -diamonds to get the money she needs to save her throne. When Don -Henrique falls into the unscrupulous hands of these counterfeiters, the -<span class="pb" id="Page_14">14</span> -Queen saves his life and falls in love with him. The throne is eventually -saved, and the crown jewels retrieved. The Queen now can choose Don -Henrique as her husband.</p> -<p>The overture opens with a sustained melody for the strings that is -dramatized by key changes. A rhythmic passage leads to a martial subject -for the brass. Several other vigorous ideas ensue in the brass and -woodwind. After their development there comes a lyrical string episode -which, in turn, leads into a second climax. Contrast comes with a lyrical -idea in the strings. A loud return of the first martial subject in full -orchestra marks the beginning of a spirited conclusion.</p> -<p><i>Fra Diavolo</i> was an immediate success when first given in Paris on -January 28, 1830; it has remained Auber’s best known comic opera. It -has even received burlesque treatment on the Hollywood screen in a -comedy starring Laurel and Hardy. The text by Eugène Scribe has for -its central character a bandit chief by the name of Fra Diavolo who disguises -himself as an Italian Marquis. He flirts with a lady of noble birth, -hides in the bedroom of Zerlina, the inn-keeper’s daughter, and is finally -apprehended by Zerlina’s sweetheart, the captain of police.</p> -<p>This popular overture opens with a <i>pianissimo</i> drum roll, the preface -to a march tune for strings. The march music is extended to other instruments, -and as the volume increases it gives the impression of an -advancing army. It attains a <i>fortissimo</i> for full orchestra, then subsides. -The overture ends with several sprightly melodies from the first act -of the opera.</p> -<p><i>The Mute of Portici</i> (<i>La Muette de Portici</i>)—or, as it is sometimes -called, <i>Masaniello</i>—is a grand opera that contributed a footnote to the -political history of its times. First performed in Paris on February 29, -1828, it had profound repercussions on the political situation of that -period, and it is regarded by many as a significant influence in bringing -on the July Revolution in Paris in 1830. When first performed in Brussels -the same year, it instigated such riots that the occupying Dutch -were ejected from that country and Belgium now achieved independence.</p> -<p>The text by Eugène Scribe and Germain Delavigne is based on an -episode from history: a successful Neapolitan revolt against the Duke of -Arcos, headed by Tommaso Anello in 1647. In the opera, Masaniello -assumes Anello’s part, and toward the end of the opera after the insurrection -is smothered, he is assassinated.</p> -<p>The overture begins with stormy music in full orchestra. After the -tempo slackens, a sensitive melody is presented by clarinets and bassoons -<span class="pb" id="Page_15">15</span> -in octaves. The main section of the overture now unfolds, its -main theme divided between the strings and the woodwind. After a -<i>fortissimo</i> section for full orchestra, a second important melody is -heard in the woodwind and violins. The two main subjects are recalled -and developed. The overture closes with a coda in which percussion -instruments are emphasized.</p> -<h2 id="c9"><span class="small">Johann Sebastian <b id="g_Bach">Bach</b></span></h2> -<p>Johann Sebastian Bach was born in Eisenach, Germany, -on March 21, 1685. He was the most significant member of a -family that for generations had produced professional musicians. His -career can be divided into three convenient periods. The first was between -1708 and 1717 when, as organist to the Ducal Chapel in Weimar, -he wrote most of his masterworks for organ. During the second period, -from 1717 to 1723, he served as Kapellmeister to Prince Leopold in -Coethen. During this period he wrote most of his major works for -orchestra, solo instruments, and chamber-music ensembles. The last -period took place in Leipzig from 1723 until his death where he was -cantor of the St. Thomas Church. In Leipzig he produced some of his -greatest choral compositions. Towards the end of his life he went blind -and became paralyzed. He died in Leipzig on July 28, 1750.</p> -<p>As the culmination of the age of polyphony, Johann Sebastian Bach’s -masterworks are, for the most part, too complex and subtle for popular -appeal. But from his vast and incomparable output of concertos, -sonatas, suites, masses, passions, cantatas, and various compositions for -the organ and for the piano, it is possible to lift a few random items of -such melodic charm and simple emotional appeal that they can be -profitably exploited for wide consumption. In these less complicated -works, Bach’s consummate skill at counterpoint, and his equally -formidable gift at homophonic writing, are always in evidence.</p> -<div class="pb" id="Page_16">16</div> -<p>The <i>Air</i> is one of Bach’s most famous melodies, a soulful religious -song for strings. It can be found as the second movement of his Suite -No. 3 in D major for orchestra, but is often performed apart from the -rest of the work. August Wilhelmj transcribed this music for violin -and piano, calling it the <i>Air on the G String</i>. This transcription has -been severely criticized as a mutilation of the original; Sir Donald Francis -Tovey described it as a “devastating derangement.” Nevertheless, it -has retained its popularity in violin literature, just as the original has -remained a favorite in orchestral music.</p> -<p><i>Come Sweet Death</i> (<i>Komm, suesser Tod</i>) is a moving chorale for -voice and accompaniment: a simple and eloquent resignation to death. -It does not come from any of Bach’s larger works but can be found in -Schemelli’s collection (1736). It has become extremely popular in -orchestral transcriptions by Leopold Stokowski and Reginald Stewart, -but is also sometimes heard in arrangements for various solo instruments -and piano, as well as for the organ.</p> -<p><i>Jesu, Joy of Man’s Desiring</i> (<i>Jesu bleibt meine Freude</i>) is probably -Bach’s best known and most frequently performed chorale: a stately -melody introduced by, then set against, a gracefully flowing accompaniment. -This composition comes from the church cantata No. 147, -<i>Herz und Mund und Tat und Leben</i>. Various transcriptions have popularized -this composition, notably that for piano by Myra Hess, for -organ by E. Power Biggs, and for orchestra by Lucien Caillet.</p> -<p>The <i>Prelude in E major</i> is a vigorous and spirited piece of music -whose rhythmic momentum does not relax from the first bar to the last. -It appears as the first movement of the Partita No. 3 in E major for solo -violin. It is perhaps even better known in transcription than in the -original version, notably in those for violin and piano by Robert -Schumann and Fritz Kreisler, for solo piano by Rachmaninoff, and for -orchestra by Stokowski, Riccardo Pick-Mangiagalli, Sir Henry J. Wood, -and Lucien Caillet.</p> -<p>The <i>Siciliano</i> is a beautiful, stately song—the first movement of the -Sonata No. 4 in C minor for violin and accompaniment. Stokowski has -made a fine transcription for orchestra.</p> -<p><i>The Wise Virgins</i> is a ballet-suite comprising six compositions by -Bach drawn from his literature for the church and transcribed for -orchestra by the eminent British composer, Sir William Walton. It was -used for a ballet produced at Sadler’s Wells in 1940. Frederick Ashton’s -choreography drew its material from the parable of the Wise and Foolish -Virgins in the 25th chapter of the Gospel According to St. Matthew; -<span class="pb" id="Page_17">17</span> -but this parable is seen through the eyes of the Italian Renaissance -painters. “Ashton,” wrote Arnold Haskell, “has provided the perfect -meeting place for music and painting. The inspiration was pictorial -... it is equally musical. The movement and unfolding of the narrative -follow directly from the Bach music so brilliantly arranged and -orchestrated by William Walton.”</p> -<p>All six movements of the suite are so lyrical and emotional that their -impact on listeners is immediate. The first movement, “What God -Hath Done Is Rightly Done” comes from the opening chorus of a -cantata of the same name, No. 99 (<i>Was Gott tut das ist wohlgetan</i>). A -lively melody is first shared by strings and woodwind and then given -fanciful embellishments. A strong chorale melody for the brass is then -given prominent treatment. The second movement, “Lord, Hear My -Longing” is a chorale from the <i>Passion According to St. Matthew</i> which -is here given the treatment of an organ chorale-prelude with a tenderly -expressive chorale melody in woodwind amplified by strings. The third -movement, “See What His Love Can Do” is an expansive melody for -strings and woodwind against a flowing accompaniment; this music is -derived from Cantata No. 85, <i>Ich bin ein guter Hirt</i>. This is followed -by “Ah, How Ephemeral,” a dramatic page for full orchestra highlighting -a chorale for brass taken from Cantata No. 26, <i>Ach, wie fluechtig</i>. -The fifth section is the most famous. It is “Sheep May Safely Graze” -(“<i>Schafe koennen sicher weiden</i>”) from the secular Cantata No. 208, -<i>Was mir behagt</i>. An introductory recitative for solo violin leads to a -swaying melody for the woodwind. The lower strings then present a -pastoral song which soon receives beautiful filigree work from other -parts of the orchestra. The swaying subject for woodwind closes the -piece. Sir John Barbirolli also made an effective orchestral transcription -of this composition, while Percy Grainger arranged it for solo piano, -and Mary Howe for two solo pianos. The finale of the suite is “Praise -Be to God,” which is also the finale of Cantata No. 129, <i>Gelobet sei der -Herr, mein Gott</i>. This is vigorous music that is an outpouring of pure -joy.</p> -<div class="pb" id="Page_18">18</div> -<h2 id="c10"><span class="small">Michael <b id="g_Balfe">Balfe</b></span></h2> -<p>Michael William Balfe was born in Dublin, Ireland -on May 15, 1808. The son of a dancing master, Michael was only -six when he played the violin for his father’s classes. In 1823, Balfe came -to London where he studied the violin and composition with private -teachers and earned his living as violinist and singer. Additional study -took place in Italy in 1825, including singing with Bordogni. Between -1828 and 1833 he appeared as principal baritone of the Italian Opera -and several other French theaters in Paris. In 1835, he initiated an even -more successful career as composer of English operas, with <i>The Siege -of Rochelle</i>, produced that year in London. He continued writing -numerous operas, producing his masterwork, <i>The Bohemian Girl</i>, in -1843. Between 1846 and 1856 Balfe traveled to different parts of Europe -to attend performances of his operas. In 1864 he left London to retire -to his estate in Rowney Abbey where he died on October 20, 1870.</p> -<p><i>The Bohemian Girl</i> is a classic of English opera. It was first produced -at Drury Lane in London on November 27, 1843, when it enjoyed a -sensational success. It was soon translated into French, German and -Italian and was extensively performed throughout Europe. The libretto, -by Alfred Bunn, was based on a ballet-pantomime by Vernoy de -Saint-Georges. The setting is Hungary in the 18th century, and its -heroine is Arline, daughter of Count Arnheim who, as a girl, had been -kidnapped by gypsies and raised as one of them. She is falsely accused -by the Count’s men of stealing a valuable medallion from the Count’s -palace and is imprisoned. Appearing before the Count to ask for clemency, -she is immediately recognized by him as his daughter.</p> -<p>Melodious selections from this opera are frequently heard. The most -famous single melody is “I Dream’d That I Dwelt in Marble Halls” -which Arline sings in the first scene of the second act as she recalls a -dream. “The Heart Bowed Down,” the Count’s song in the fourth -scene of the second act as he gazes longingly on a picture of his long -lost daughter, and “Then You’ll Remember Me,” a tenor aria from -the third act are also familiar.</p> -<div class="pb" id="Page_19">19</div> -<h2 id="c11"><span class="small">Hubert <b id="g_Bath">Bath</b></span></h2> -<p>Hubert Bath was born in Barnstaple, England, on November -6, 1883. He attended the Royal Academy of Music in London, after -which he wrote his first opera. For a year he was conductor of an opera -company that toured the world. After 1915 he devoted himself mainly -to composition. Besides his operas, tone poems, cantatas and various instrumental -works he wrote a considerable amount of incidental music -for stage plays and scores for the motion pictures. He died in Harefield, -England, on April 24, 1945.</p> -<p>The <i>Cornish Rhapsody</i>, for piano and orchestra, is one of his last -compositions and the most famous. He wrote it for the British motion -picture <i>Love Story</i>, released in 1946, starring Margaret Lockwood and -Stewart Granger. Lockwood plays the part of a concert pianist, and the -<i>Cornish Rhapsody</i> is basic to the story which involves the pianist with -a man in love with another woman. The rhapsody begins with arpeggio -figures which lead to a strong rhapsodic passage in full chords. A bold -section is then contrasted by a gentle melody of expressive beauty, the -heart of the composition. A cadenza brings on a return of the earlier -strong subject, and a recall of the expressive melody in the orchestra to -piano embellishments. The composition ends with massive passages -and strongly accented harmonies.</p> -<div class="pb" id="Page_20">20</div> -<h2 id="c12"><span class="small">Ludwig van <b id="g_Beethoven">Beethoven</b></span></h2> -<p>Ludwig van Beethoven was born in Bonn, Germany, -on December 16, 1770. He received his earliest musical training -in his native city where he early gave strong evidence of genius. He published -his first works when he was eleven, and soon thereafter was performing -publicly on the organ, cembalo, and the viola. He also disclosed -a phenomenal gift at improvisation. He established permanent -residence in Vienna in 1792. Three years later he made there his first -public appearance, and from then on began to occupy a high position in -Viennese musical life as a piano virtuoso. His fame as a composer soon -superseded that of virtuoso as he won the support of Vienna’s aristocracy. -He entered upon a new creative phase, as well as full maturity, -beginning with 1800, when his first symphony was introduced in -Vienna. His creative powers continually deepened and became enriched -from that time on. As he restlessly sought to give poetic and dramatic -expression to his writing he broke down the classical barriers so long -confining music and opened up new horizons for style and structure. -Meanwhile, in or about 1801 or 1802, he realized he was growing deaf, -a discovery that swept him into despondency and despair, both of which -find expression in a unique and remarkable document known as the -Heiligenstadt Testament. Deafness led to personal idiosyncrasies and -volatile moods which often tried the patience of even his closest friends, -but it did not decrease the quantity of his musical production nor prevent -him from achieving heights of creative expression achieved by few, -if any. He died in Vienna on March 26, 1827 after having ushered in a -new age for music with his symphonies, concertos, sonatas, string quartets, -and masterworks in other categories including opera and choral -music.</p> -<p>The grandeur of expression, the profundity of thought, and the independence -of idiom we associate with Beethoven is not to be found in -his lighter music which, generally speaking, is in a traditional mold, -pleasing style, and in an inviting lyric vein. This is not the Beethoven -who was the proud democrat, whose life was a struggle with destiny, -<span class="pb" id="Page_21">21</span> -and who sought to make music the expression of his profoundest concepts. -This is rather, another Beethoven: the one who liked to dance, -though he did it badly; who flirted with the girls; and who indulged -in what he himself described as “unbuttoned humor.”</p> -<p>Beethoven wrote twelve <i>Contredanses</i> (<i>Contretaenze</i>) in 1801-1802. -These are not “country dances” as the term “<i>contretaenze</i>” is sometimes -erroneously translated. The Contredanse is the predecessor of the waltz. -Like the waltz it is in three-part form, the third part repeating the first, -while the middle section is usually a trio in contrasting mood. In 1801-1802, -when Beethoven wrote his <i>Contredanses</i>, he was already beginning -to probe deeply into poetic thought and emotion in his symphonies, -sonatas, and concertos. But in the <i>Contredanses</i> the poet becomes -peasant. This is earthy music, overflowing with melodies of folksong -vigor, and vitalized by infectious peasant rhythms. The <i>Contredanse</i> -No. 7 in E-flat major is particularly famous; this same melody was -used by the composer for his music to the ballet <i>Prometheus</i>, for the -finale of his <i>Eroica Symphony</i>, and for his Piano Variations, op. 35. The -key signatures of the twelve <i>Contredanses</i> are: C major, A major, D -major, B-flat major, E-flat major, C major, E-flat major, C major, A -major, C major, G major and E-flat major.</p> -<p>A half dozen years before he wrote his <i>Contredanses</i> Beethoven had -completed a set of twelve <i>German Dances</i> (<i>Deutsche Taenze</i>). The form, -style, and spirit of the <i>German Dance</i> is so similar to the <i>Contredanse</i> -that many Austrian composers used the terms interchangeably. Beethoven’s -early <i>German Dances</i>, like the later <i>Contredanses</i>, are a reservoir -of lively and tuneful semi-classical music with an engaging earthy -quality to the melodies and a lusty vitality to the rhythms.</p> -<p>Few Beethoven compositions have enjoyed such universal approval -with budding pianists, salon orchestras, and various popular ensembles -as the <i>Minuet in G</i>. It is not too far afield to maintain that this is one -of the most famous minuets in all musical literature. Beethoven wrote -it originally for the piano; it is the second of a set of six minuets, written -in 1795, but published as op. 167. It is even more celebrated in its -many different transcriptions than it is in the original. The composition -is in three-part form. The first and third parts consist of a stately -classical melody; midway comes a fast-moving trio of contrasting spirit.</p> -<p>The first movement of the <i>Moonlight Sonata</i> is also often heard in -varied transcriptions for salon or “pop” orchestras. The <i>Moonlight -Sonata</i> is the popular name of the piano sonata in C-sharp minor, op. -27, no. 2 which Beethoven wrote in 1801 and which he designated as -<span class="pb" id="Page_22">22</span> -<i>Sonata quasi una fantasia</i> mainly because of the fantasia character -of this first movement. The poetic and sensitive mood maintained -throughout the first movement—with a romantic melody of ineffable -sadness accompanied by slow triplets—is the reason why the critic Rellstab -(and <i>not</i> the composer) provided the entire sonata with the name -of “Moonlight.” To Rellstab this first movement evoked for him a picture -of Lake Lucerne in Switzerland at night time, gently touched by -the moonlight. The fact that Beethoven dedicated the sonata to Countess -Giulietta Guicciardi, with whom he was then in love, leads to a -legend that he wrote this music to express frustrated love, but this was -not the case. Another myth about this first movement is that Beethoven -improvised this music while playing for a blind boy, as moonlight -streamed into the window of his room; after he had finished playing he -identified himself to the awe-stricken youngster. It was the opinion of -the eminent critic, Henry E. Krehbiel, that the sonata was inspired by a -poem, <i>Die Beterin</i> by Seume, describing a young girl kneeling at an altar -begging for her father’s recovery from a serious illness; angels descend -to comfort her and she becomes transfigured by a divine light.</p> -<p>Beethoven wrote two <i>Romances</i> for violin and orchestra: in F major, -op. 50 (1802) and G major, op. 40 (1803). Rarely do we encounter in -Beethoven’s works such a fresh, spontaneous and entirely unsophisticated -outpouring of song—a song that wears its beauty on the surface—as -in these two compositions. The two <i>Romances</i> are companion pieces -and pursue a similar pattern. Each opens with the solo violin presenting -the main melody (in the F major accompanied by the orchestra, in -the G major, solo). Each then progresses to a pure outpouring of -lyricism followed by virtuoso passages for the solo instrument. In each, -violin and orchestra appear to be engaging in a gentle dialogue.</p> -<p>The <i>Turkish March</i> (<i>Marcia alla turca</i>) is one of several numbers -(the fourth) comprising the incidental music to a play by Kotzebue, -<i>The Ruins of Athens</i> (<i>Die Ruinen von Athen</i>), op. 113 (1811). The production -of this play with Beethoven’s music was intended for the opening -of a theater in Pesth on February 9, 1812. The <i>Turkish March</i> is in -the pseudo-Turkish melodic style popular in Vienna in the early 19th -century, and it employs percussion instruments such as the triangle -which the Viennese then associated with Turkish music. The march, -with its quixotic little melody, begins softly, almost like march music -heard from a distance. It grows in sonority until a stirring climax is -achieved. Then it dies out gradually and ebbs away in the distance. -Leopold Auer made a famous transcription for violin and piano, while -<span class="pb" id="Page_23">23</span> -Beethoven himself transcribed it for piano, with six variations, op. 76 -(1809).</p> -<h2 id="c13"><span class="small">Vincenzo <b id="g_Bellini">Bellini</b></span></h2> -<p>Vincenzo Bellini was born in Catania, Sicily, on November -3, 1801. Born to a musical family, he received music instruction -in childhood, and while still very young started composing. He then -attended the San Sebastiano Conservatory in Naples; during his stay -there he completed a symphony, two masses, and a cantata among other -works. He made his bow as opera composer with <i>Adelson e Salvini</i>, introduced -at the Conservatory in 1825. He continued writing operas -after that, and having them produced in major Italian opera houses -with varying degrees of success. <i>I Capuleti e i Montecchi</i>, given in -Venice in 1830, was a triumph. Then came the two operas by which -Bellini is today most often represented in the repertory: <i>La Sonnambula</i> -and <i>Norma</i>, both produced in 1831. In 1833 he came to Paris -where he completed his last opera, <i>I Puritani</i>, given in Paris in 1835. -He was at the height of his fame and creative powers when he died in -Puteaux, near Paris, on September 23, 1835, at the age of thirty-four, a -victim of intestinal fever.</p> -<p>Bellini was the genius of opera song. His fresh, pure lyricism—perfect -in design and elegant in style—elevates his greatest operas to a place -of significance. His masterwork is <i>Norma</i>, introduced at La Scala in -Milan on December 26, 1831, where it was at first a failure. The libretto -by Felice Romani was based on a tragedy by L. A. Soumet. In -Gaul, during the Roman occupation, in or about 50 B.C., Norma, high -priestess of the Druids, violates her vows by secretly marrying the -Roman proconsul, Pollione, and bearing him two sons. Pollione then -falls in love with Adalgisa, virgin of the Temple of Esus. Unaware that -Pollione is married, Adalgisa confides to Norma she is in love with him. -<span class="pb" id="Page_24">24</span> -With Pollione’s infidelity now apparent, he is brought before Norma -for judgment. She offers him the choice of death or the renunciation of -Adalgisa. When Pollione accepts death, Norma confesses to her people -that, having desecrated her vows, she, too, must die. Moved by this -confession, Pollione volunteers to die at her side in the funeral pyre.</p> -<p>The overture is famous. Loud dramatic chords in full orchestra are -succeeded by a soft <i>lento</i> passage. A strong melody is then presented by -flutes and violins against an incisive rhythm. There follows a graceful, -sprightly and strongly accented tune in the strings. Both melodies are -then amplified, dramatized, and repeated; particular emphasis is placed -on the delicate, accented tune. The overture then proceeds to an energetic -conclusion.</p> -<p>One vocal episode from <i>Norma</i> is also extremely popular and is often -heard in orchestral transcriptions. It is Norma’s aria, “<i>Casta diva</i>,” -surely one of the noblest soprano arias in all Italian operatic literature. -It comes in the first act and represents Norma’s prayer for peace, and -her grief that the hatred of her people for the Roman invaders must -also result in their hatred for her husband, Pollione, the Roman proconsul.</p> -<h2 id="c14"><span class="small">Ralph <b id="g_Benatzky">Benatzky</b></span></h2> -<p>Ralph Benatzky was born in Moravské-Budejovice, Bohemia, -on June 5, 1884. He acquired his musical training in Prague and -with Felix Mottl in Munich, after which he devoted himself to light -music by composing operettas. While residing at different periods in -Vienna, Berlin, and Switzerland, he wrote the scores for over ninety -operettas and 250 motion pictures, besides producing about five thousand -songs. His most successful operettas were <i>The Laughing Triple -Alliance</i>, <i>My Sister and I</i>, <i>Love in the Snow</i>, <i>Axel at the Gates of -Heaven</i>, and <i>The White Horse Inn</i>. He came to live in the United -<span class="pb" id="Page_25">25</span> -States in 1940, but after World War II returned to Europe. He died in -Zurich on October 17, 1957.</p> -<p><i>The White Horse Inn</i> (<i>Im weissen Roess’l</i>) is not only Benatzky’s -most celebrated operetta, but also one of the most successful produced -in Europe between the two world wars, and possibly the last of the great -European operettas. It was first performed in Berlin in 1930, after -which it enjoyed over a thousand performances in Europe. Its première -in America in 1936 (the book was adapted by David Freedman, lyrics -were by Irving Caesar, William Gaxton and Kitty Carlisle starred) was -only a moderate success. The operetta book of the original—freely -adapted by Erik Charell and Hans Mueller, from a play by Blumenthal -and Kadelburg—is set in the delightful resort of St. Wolfgang on -Wolfgangsee in Austria, in the era just before World War I. Leopold, -headwaiter of <i>The White Horse Inn</i>, is in love with its owner, Frau -Josepha, who favors the lawyer, Siedler. In a fit of temper she fires -Leopold, but upon learning that Emperor Franz Josef is about to pay -the inn a visit, she prevails upon him to stay on. Leopold makes a welcoming -speech to the Emperor, during which his bitter resentment -against Frau Josepha gets the upper hand. Later on, when Frau Josepha -confides to the Emperor that she is in love with Siedler, he urges her to -consider Leopold for a husband. Leopold then comes to Josepha with a -letter of resignation, which she accepts, but only because she is now -ready to give him a new position, as her husband.</p> -<p>Selections from this tuneful operetta include the main love song, -“<i>Es muss ein wunderbares sein</i>,” the ditty “<i>Zuschau’n kann ich nicht</i>,” -and the lively waltz, “<i>Im weissen Roess’l am Wolfgangsee</i>.”</p> -<p>It is mainly the worldwide popularity of this operetta (even more -than the natural beauty of Wolfgangsee) that brings tourists each year -to the White Horse Inn at St. Wolfgang, for a sight of the operetta’s -setting, and to partake of refreshments on the attractive veranda overlooking -Wolfgangsee. The inn is now generously decorated with pictures -in which the two main songs of the operetta are quoted, supplemented -by a portrait of Benatzky. Souvenir ashtrays also carry musical -quotations from the operetta.</p> -<div class="pb" id="Page_26">26</div> -<h2 id="c15"><span class="small">Arthur <b id="g_Benjamin">Benjamin</b></span></h2> -<p>Arthur Benjamin was born in Sydney, Australia, on -September 18, 1893. His music study took place at the Royal College -of Music in London. After serving in World War I, he became professor -at the Sydney Conservatory, and in 1926 he assumed a similar post with -the Royal College of Music in London. Meanwhile in 1924 he received -the Carnegie Award for his <i>Pastoral Fantasia</i>, and in 1932 his first opera, -<i>The Devil Take Her</i>, was produced in London. For five years, beginning -with 1941, he was the conductor of the Vancouver Symphony. He -has written notable concertos, a symphony, and other orchestral music, -together with chamber works and several operas including <i>A Tale of -Two Cities</i> which won the Festival of Britain Prize following its première -in 1953. He also wrote a harmonica concerto for Larry Adler. -Though many of his compositions are in an advanced style and technique, -Benjamin was perhaps best known for his lighter pieces, particularly -those in a popular South American idiom. He died in London on -April 10, 1960.</p> -<p>The <i>Cotillon</i> (1939) is a suite of English dances derived from a medley -entitled <i>The Dancing School</i>, published in London in 1719. Presented -by Benjamin in contemporary harmonic and instrumental dress, -these tunes—popular in England in the early 18th century—still retain -their appeal. A short introduction, built from a basic motive from the -first dance, leads to the following episodes with descriptive titles: “Lord -Hereford’s Delight” for full orchestra; “Daphne’s Delight” for woodwind -and strings; “Marlborough’s Victory,” for full orchestra; “Love’s -Triumph” for strings; “Jig It A Foot” for full orchestra; “The -Charmer” for small orchestra; “Nymph Divine” for small orchestra and -harp solo; “The Tattler” for full orchestra; and “Argyll” for full orchestra. -A figure from the final tune is given extended treatment in the -coda.</p> -<p>Benjamin’s best known piece of music is the <i>Jamaican Rumba</i> (1942). -This is the second number of <i>Two Jamaican Pieces</i> for orchestra. A -light staccato accompaniment in rumba rhythm courses nimbly through -<span class="pb" id="Page_27">27</span> -the piece as the woodwinds present a saucy melody, and the strings a -countersubject. Consecutive fifths in the harmony, a xylophone in the -orchestration, and the changing meters created by novel arrangement -of notes in each measure, provide particular interest. The <i>Jamaican -Rumba</i> has been transcribed for various solo instruments and piano as -well as for piano trio.</p> -<p>The <i>North American Square Dances</i>, for two pianos and orchestra -(1955), is a delightful treatment of American folk idioms. The work -comprises eight fiddle tunes played at old-time square dances. The -native flavor is enhanced in the music by suggestions and simulations -of feet-stamping, voice calling, and the plunking of a banjo. In the Introduction -there appear fragments of the first dance; these same fragments -return in the coda. There are eight sections: Introduction and -“Heller’s Reel”; “The Old Plunk”; “The Bundle Straw”; “He Piped -So Sweet”; “Fill the Bowl”; “Pigeon on the Pier”; “Calder Fair”; and -“Salamanca” and “Coda.” The fourth and seventh dances are in slow -tempo, while all others are fast.</p> -<h2 id="c16"><span class="small">Robert Russell <b id="g_Bennett">Bennett</b></span></h2> -<p>Robert Russell Bennett was born in Kansas -City, Missouri, on June 15, 1894. He began his music study in Kansas -City: piano with his mother; violin and several other instruments with -his father; and harmony with Carl Busch. While still a boy he wrote -and had published several compositions. He came to New York in 1916, -worked for a while as copyist at G. Schirmer, then during World War I -served for a year in the United States Army. After the war he spent -several years in Paris studying composition with Nadia Boulanger; during -this period he was twice the recipient of a Guggenheim Fellowship. -In 1926-1927 he received honorable mention for his first symphony, in -a contest sponsored by <i>Musical America</i>; in 1930 he received two awards -<span class="pb" id="Page_28">28</span> -from RCA Victor, one for <i>Sights and Sounds</i>, an orchestral tone poem, -the other for his first successful and widely performed work, the symphony -<i>Abraham Lincoln</i>. Since then Bennett has worked fruitfully in -three distinct areas. As a composer of serious works he has produced -several operas (including <i>Maria Malibran</i>), symphonies and other significant -orchestral compositions. As an orchestrator for the Broadway -theater, he has been involved with some of the foremost stage productions -of our times including musicals by Rodgers and Hammerstein, -Jerome Kern, Cole Porter, and Lerner and Loewe, and many others. He -has also written compositions of a more popular nature, compositions -which, while fully exploiting the resources of serious music, are -nevertheless filled with popular or jazz materials. Among the last are -his effective symphonic adaptations of music from George Gershwin’s -<i>Porgy and Bess</i>; <i>Oklahoma!</i> and <i>South Pacific</i> of Rodgers and Hammerstein; -and <i>Kiss Me Kate</i> of Cole Porter. In each instance, the main -melodies are brilliantly orchestrated and skilfully combined into an -integrated synthesis so that each becomes a coherent musical composition.</p> -<p>The <i>March</i>, for two pianos and orchestra, (1930) makes delightful use -of jazz melodies and rhythms. There are here four connected movements, -each in march time. The first movement, in a vigorous style, -leaps from one brief motive to another without any attempt at development. -In the second, a sustained melody, first for solo oboe and later for -the piano with full orchestra, is placed against a shifting rhythm. The -third is a serious recitative culminating in an episode in which the classic -funeral march is given sophisticated treatment. The fourth movement -begins with a <i>marche mignonne</i> and concludes with a forceful, at times -overpowering, statement of the funeral-march theme of the third movement.</p> -<p>While the <i>Symphony in D</i> (1941) is scored for symphony orchestra -and has been played by many leading American orchestras, it is music -with its tongue in the cheek, and is consistently light and humorous. -This symphony was written to honor the Brooklyn Dodger baseball -team (that is, when they were still in Brooklyn)—ironically enough an -ode to a colorful team by a composer who has been a lifelong rooter of -its most bitter rival, the New York Giants (once again, when they were -still at the Polo Grounds). There are four brief movements. The first, -subtitled “Brooklyn Wins,” “means to picture the ecstatic joy of the -town after the home team wins a game,” as the composer has explained. -This is followed by a slow (<i>Andante lamentoso</i>) movement, appropriately -<span class="pb" id="Page_29">29</span> -designated as “Brooklyn Loses”—music filled with “gloom and -tears, and even fury.” The third movement, a scherzo, is a portrait of the -club’s then (1941) president, Larry MacPhail, and his pursuit of a star -pitcher. “We hear the horns’ bay call—then we hear him in Cleveland, -Ohio, trying to trade for the great pitcher, Bob Feller. He offers Prospect -Park and the Brooklyn Bridge as an even trade, but the Cleveland management -says ‘No’ in the form of a big E-flat minor chord. After repeated -attempts we hear the hunting horns again, as he resumes the hunt in -other fields.” The finale is a choral movement, and like that of Beethoven’s -Ninth Symphony, an ode to joy. “It is purely fictitious, this text, -but it speaks for itself. The subtitle of this finale is ‘The Giants Come -to Town.’”</p> -<p>Bennett has written two delightful orchestral compositions derived -from the songs of Jerome Kern. One is <i>Symphonic Study</i>, a synthesis of -some of Kern’s best-loved melodies, and <i>Variations on a Theme by -Jerome Kern</i>. Both of these compositions are discussed in the section -on Kern. Bennett’s symphonic treatment of George Gershwin’s <i>Porgy -and Bess</i>, entitled <i>Symphonic Picture</i>, is commented upon in the Gershwin -section, specifically with <i>Porgy and Bess</i>; Bennett’s symphonic -treatment of the music of Cole Porter’s <i>Kiss Me Kate</i>, and of <i>Oklahoma!</i> -and <i>South Pacific</i> is spoken of in the sections devoted to Cole Porter -and Richard Rodgers, respectively. Bennett has also orchestrated, and -adapted into a symphonic suite, the music from Richard Rodgers’ <i>Victory -at Sea</i>, described in the Richard Rodgers section.</p> -<h2 id="c17"><span class="small">Hector <b id="g_Berlioz">Berlioz</b></span></h2> -<p>Hector Berlioz was born in Côte-Saint-André, France on -December 11, 1803. As a young man he was sent to Paris to study medicine, -but music occupied his interests and he soon abandoned his medical -studies to enter the Paris Conservatory. Impatient with the academic -<span class="pb" id="Page_30">30</span> -restrictions imposed upon him there, he left the Conservatory to begin -his career as a composer. From the very beginning he set out to open -new horizons for musical expression and to extend the periphery of -musical structure. His first masterwork was the <i>Symphonie fantastique</i>, -inspired by his love for the Shakespearean actress, Harriet Smithson. It -was introduced in Paris in 1830, a year in which Berlioz also won the -Prix de Rome. In his later works, Berlioz became one of music’s earliest -Romantics. He was a bold innovator in breaking down classical restraint; -he helped extend the dramatic expressiveness of music; he was -a pioneer in the writing of program music and in enriching the language -of harmony, rhythm, and orchestration. Among his major works -are the <i>Requiem</i>, <i>Harold in Italy</i> for viola solo and orchestra, the -<i>Roman Carnival Overture</i>, the dramatic symphony <i>Romeo and Juliet</i>, -and <i>The Damnation of Faust</i>. Berlioz married Harriet Smithson in -1833. It proved to be a tempestuous affair from the outset, finally ending -by mutual consent in permanent separation. From 1852 until his -death Berlioz was a librarian of the Paris Conservatory. He was active -throughout Europe as a conductor and was a trenchant writer on -musical subjects; among his books is a volume of <i>Memoirs</i>. He died in -Paris on March 8, 1869.</p> -<p>The compositions by which Berlioz is most often heard on semi-classical -programs are three excerpts from <i>The Damnation of Faust</i>: -“The Dance of the Sylphs” (“<i>Danse des sylphes</i>”); “The Minuet of the -Will-o’-the-Wisps” (“<i>Menuet des feux-follets</i>”), and “Rakóczy March” -(“<i>Marche hongroise</i>”).</p> -<p><i>The Damnation of Faust</i>, op. 24, described by the composer as a -“dramatic legend,” took many years for realization. It was based on a -French translation of Goethe’s <i>Faust</i>, published in 1827. A year later, -Berlioz completed a musical setting of eight scenes as part of an ambitious -project to prepare a huge cantata based on the Faust legend. He -did not complete this project until eighteen years after that. Upon returning -to it, he revised his earlier material, and wrote a considerable -amount of new music. This work was first performed in oratorio style -in Paris on December 6, 1846 and was a fiasco. It was given a stage -presentation in Monte Carlo in 1903. Since then it has been performed -both in concert version and as an opera.</p> -<p>“The Dance of the Sylphs” is graceful waltz music, its main melody -assigned to the violins. It appears in the second part of the “legend.” -Faust is lulled to sleep by sylphs who appear in his dream in a delicate -dance which brings up for him the image of his beloved Marguerite. -<span class="pb" id="Page_31">31</span> -“Minuet of the Will-o’-the-Wisps” comes in the third part of the legend. -Mephisto summons the spirits and the will-of-the-wisps to encircle Marguerite’s -house. The dance tune is heard in woodwind and brass. After -the trio section, the minuet melody is repeated twice, the second time -interrupted by chords after each phrase. The “Rakóczy March” is based -on an 18th-century Hungarian melody. It is logically interpolated into -the Faust legend by the expedience of having Faust wander about in -Hungary. A fanfare for the brass leads to the first and main melody, a -brisk march subject begun quietly in the woodwind. It gains in force -until it is exultantly proclaimed by full orchestra. A countersubject is -then heard in strings. After the march melody returns, it again gains in -volume until it is built up into an overpowering climax.</p> -<h2 id="c18"><span class="small">Leonard <b id="g_Bernstein">Bernstein</b></span></h2> -<p>Leonard Bernstein was born in Lawrence, Massachusetts, -on August 25, 1918. Early music study took place with private -piano teachers, and subsequently with Helen Coates and Heinrich Gebhard. -He was graduated from Harvard in 1939 after which he attended -the Curtis Institute of Music (a pupil of Fritz Reiner in conducting) -and three summer sessions of the Berkshire Music Center as a student -and protégé of Serge Koussevitzky. He made a sensational debut as conductor -with the New York Philharmonic in 1943, appearing as a last-minute -substitute for Bruno Walter who had fallen ill. Since that time -he has risen to the front rank of contemporary symphony conductors, -having led most of the world’s leading organizations, and being appointed -music director of the New York Philharmonic in 1958. As a -serious composer he first attracted attention with the <i>Jeremiah Symphony</i> -in 1944, which was performed by most of America’s leading -orchestras, was recorded, and received the New York City Music Critics -Award. He subsequently wrote other major works for orchestra as well -as the scores to successful ballets, an opera, and several Broadway musical -<span class="pb" id="Page_32">32</span> -comedies that were box-office triumphs; the last of these included -<i>On the Town</i> (1944), <i>Wonderful Town</i> (1953) and <i>West Side Story</i> -(1957). Bernstein has also distinguished himself as a musical commentator -and analyst over television, concert pianist, and author.</p> -<p>Whether writing in a serious or popular vein Bernstein consistently -reveals himself to be a master of his technical resources, endowed with -a fine creative imagination, a strong lyric and rhythmic gift, and a restless -intelligence that is ever on the search for new and fresh approaches -in his writing. High on the list of favorites in the semi-classical repertory -are the orchestral suites he adapted from his two popular and successful -ballets.</p> -<p><i>Facsimile</i>, choreography by Jerome Robbins, was introduced in New -York in 1946. The ballet scenario revolves around three lonely people—a -woman and two men—who find only frustration and disenchantment -after trying to find satisfactory personal relationships. The orchestral -suite from this vivacious score, vitalized with the use of popular melodies -and dance rhythms, is made up of four parts. I. “Solo.” The principal -musical material here is found in a solo flute. This is a description -of a woman standing alone in an open place. II. “Pas de Deux.” Woman -meets man, and a flirtation ensues to the tune of a waltz. The scene -achieves a passionate climax, and is followed by a sentimental episode, -romanticized in the music by a subject for muted strings and two solo -violins and solo viola. The love interest dies; the pair become bored, -then hostile. III. “Pas de trois.” The second man enters. This episode -is a scherzo with extended piano solo passages. A triangle ensues between -the two men and one woman, there is some sophisticated interplay -among them, and finally there ensue bitter words and misunderstandings. -IV. “Coda.” The two men take their departure, not without -considerable embarrassment.</p> -<p><i>Fancy Free</i> was Bernstein’s first ballet, and it is still his most popular -one; he completed his score in 1944 and it was introduced by the Ballet -Theater (which had commissioned it) on April 18 of that year. It was a -success of major proportions, received numerous performances, then -became a staple in the American dance repertory. It is, wrote George -Amberg, “the first substantial ballet entirely created in the contemporary -American idiom, a striking and beautifully convincing example -of genuine American style.” The scenario, by Jerome Robbins, concerned -the quest of girl companionship on the part of three sailors on -temporary shore leave. Bernstein’s music, though sophisticated in its -harmonic and instrumental vocabulary, is filled with racy jazz rhythms -<span class="pb" id="Page_33">33</span> -and idioms and with melodies cast in a popular mold. The orchestral -suite is made up of five parts: “Dance of the Three Sailors”; “Scene at -the Bar”; “Pas de deux”; “Pantomime”; “Three Variations” (Galop, -Waltz, Danzon) and Finale.</p> -<p>When this Suite was first performed, in Pittsburgh in 1945, with -Bernstein conducting, the composer provided the following description -of what takes place in the music. “From the moment the action -begins, with the sound of a juke box wailing behind the curtain, the -ballet is strictly Young America of 1944. The curtain rises on a street -corner with a lamppost, side street bar, and New York skyscrapers -tricked out with a crazy pattern of lights, making a dizzying background. -Three sailors explode onto the stage; they are on shore leave -in the city and on the prowl for girls. The tale of how they meet first -one girl, then a second, and how they fight over them, lose them, and -in the end take off after still a third, is the story of the ballet.”</p> -<p><i>Fancy Free</i> was expanded into a musical-comedy by Betty Comden -and Adolph Green, for which Bernstein wrote his Broadway score. -Called <i>On the Town</i> it started a one-year Broadway run on December -28, 1944, and subsequently was twice revived in off-Broadway productions, -and was made into an outstanding screen musical.</p> -<h2 id="c19"><span class="small">Georges <b id="g_Bizet">Bizet</b></span></h2> -<p>Georges Bizet was born in Paris on October 25, 1838. Revealing -a pronounced gift for music in early childhood he was entered -into the Paris Conservatory when he was only nine. There—as a pupil -of Marmontel, Halévy, and Benoist—he won numerous prizes, including -the Prix de Rome in 1857. In that year he also had his first stage -work produced, a one-act opera, <i>Le Docteur miracle</i>. After his return -from Rome to Paris he started to write operas. <i>Les Pêcheurs de perles</i> -(<i>Pearl Fishers</i>) and <i>La jolie fille de Perth</i> were produced in Paris in -1863 and 1867 respectively. Success came in 1872 with his first Suite -from the incidental music to Daudet’s <i>L’Arlésienne</i>. After that came his -<span class="pb" id="Page_34">34</span> -masterwork, the opera by which he has earned immortality: <i>Carmen</i>, -introduced in Paris two months before his death. Bizet died in Bougival, -France, on June 3, 1875.</p> -<p>His gift for rich, well-sounding melodies, and his feeling for inviting -harmonies and tasteful orchestration make many of his compositions -ideal for programs of light music, even salient portions of <i>Carmen</i>.</p> -<p><i><span id="agnus">Agnus Dei</span></i> is a vocal adaptation (to a liturgical Latin text) of the -intermezzo from Bizet’s incidental music to <i>L’Arlésienne</i>. It is also -found as the second movement of the <i>L’Arlésienne Suite No. 2</i>. A -dramatic dialogue between forceful strings and serene woodwinds leads -into a spiritual religious song.</p> -<p>The <i>Arlésienne Suite No. 1</i> is made up of parts from the incidental -music, which Bizet wrote for the Provençal drama of Alphonse Daudet, -<i>The Woman of Arles</i> (<i>L’Arlésienne</i>). The play, with Bizet’s music consisting -of twenty-seven pieces, was given at the Théâtre du Vaudeville -in Paris in 1872. Out of this score the composer selected four excerpts -and assembled them into an orchestral suite, which has become his most -celebrated instrumental composition, and his first success as a composer. -A knowledge of the plot and characters of the Daudet play is by no -means essential to a full appreciation of Bizet’s tuneful suite.</p> -<p>The first movement, “Prelude,” begins with a march melody based -on an old French Christmas song. This is subjected to a series of variations. -After the march tune has been repeated vigorously by the full -orchestra there appears a pastoral interlude, scored originally for -saxophones, but now usually heard in clarinets. This, in turn, is succeeded -by a passionate song for strings, with brass and woodwind accompaniment. -The second movement is a “Minuet,” whose principal theme -is a brisk and strongly accented subject. In the trio section, the clarinet -appears with a flowing lyrical episode. As the violins take this material -over they become rapturous; the harp and woodwind provide intriguing -accompanying figures. A brief “<i>Adagietto</i>” comes as the third movement. -This is a sensitive romance for muted strings. In the finale, -“Carillon,” we get a picture of a peasant celebration of the Feast of -St. Eloi. The horns simulate a three-note chime of bells which accompanies -a lively dance tune, first in strings, then in other sections of the -orchestra. A soft interlude is interposed by the woodwind. Then the -lively dance reappears, once again to be accompanied by vigorous tolling -bells simulated by the horns.</p> -<p>There exists a second suite made up of four more numbers from the -incidental music to <i>L’Arlésienne</i>. This was prepared after Bizet’s death -<span class="pb" id="Page_35">35</span> -by his friend, Ernest Guiraud. This second suite is rarely played, but -its second movement, “Intermezzo,” is celebrated in its liturgical version -as “<i>Agnus Dei</i>” (which see <a href="#agnus">above</a>). The other movements are Pastorale, -Minuet and Farandole.</p> -<p>If the name of Bizet has survived in musical history and will continue -to do so for a long time to come, it is surely because of a single -masterwork—his opera <i>Carmen</i>. This stirring music drama—based on -the famous novel of Prosper Mérimée, adapted for Bizet by Meilhac -and Halévy—never fails in its emotional and dramatic impact. Carmen -is the seductive gypsy girl who enmeshes two lovers: the bull fighter -Escamillo, and the sergeant, Don José. Both she and Don José meet a -tragic end on the day of Escamillo’s triumph in the bull ring. The background -to this fatal story of love and death is provided by the Spanish -city of Seville—its streets, bull ring, taverns, and nearby mountain retreat -of smugglers.</p> -<p><i>Carmen</i> was introduced at the Opéra-Comique on March 3, 1875. -Legend would have us believe it was a fiasco, and further that heartbreak -over this failure brought about Bizet’s premature death two -months after the opera was first heard. As a matter of historic truth, -while there were some critics at that first performance who considered -the text too stark and realistic for their tastes, <i>Carmen</i> did very well, -indeed. By June 18th it enjoyed thirty-seven performances. At the start -of the new season of the Opéra-Comique it returned to the repertory to -receive its fiftieth presentation by February 15, 1876. It was hailed in -Vienna in 1875, Brussels in 1876, and London and New York in 1878. -Many critics everywhere were as enthusiastic as the general public, -and with good reason. For all the vivid color of Spanish life and backgrounds, -and all the flaming passions aroused by the sensual Carmen, -were caught in Bizet’s luminous, dramatic score.</p> -<p>The Prelude to <i>Carmen</i> represents a kind of resumé of what takes -place in the opera, and with some of its musical material. It opens with -lively music for full orchestra describing the festive preparations in -Seville just before a bull fight. After a sudden change of key, and several -chords, the popular second-act song of Escamillo, the bullfighter, is -first given quietly in strings, then repeated more loudly. Then there is -heard an ominous passage against quivering strings which, in the opera, -suggests the fatal fascination exerted by Carmen on men. This is repeated -in a higher register and somewhat amplified until a dramatic -chord for full orchestra brings this episode, and the overture itself, to -a conclusion.</p> -<div class="pb" id="Page_36">36</div> -<p>The Prelude to Act II is constructed from a motive of an off-stage -unaccompanied little song by Don José in the same act praising the -dragoons of Alcala. The Prelude to Act III is actually an entr’acte, a -gentle little intermezzo which Bizet originally wrote for <i>L’Arlésienne</i>. -The Prelude to Act IV is also an entr’acte, this time of dramatic personality. -The brilliant and forceful music is based upon an actual -Andalusian folk song and dance; it sets the mood for the gay festivities -in a public square on the day of a gala bull-fight with which the fourth -act opens.</p> -<p>It is sometimes a practice at concerts of semi-classical or pop music -to present not merely one of the four orchestral Preludes but also at -other times salient musical episodes from the opera, arranged and -assembled into fantasias or suites. These potpourris or suites are generally -made up of varied combinations of the following excerpts. From -Act I: the “Changing of the Guard”; Carmen’s seductive and extremely -popular aria, the Habanera (“<i>L’amour est un oiseau rebelle</i>”), which -was not by Bizet but borrowed by him from a song by Sebastian Yradier -(see <a href="#c186">Yradier</a>); the duet of Micaëla and Don José, “<i>Qui sait de quel -démon</i>”; and Carmen’s Séguidille, “<i>Près des ramparts de Séville</i>.” From -Act II: “The March of the Smugglers,”; Carmen’s “<i>Chanson bohème</i>”; -the rousing Toreador Song of Escamillo; and Don José’s poignant -“Flower Song” to Carmen, “<i>La fleur que tu m’avais jetée</i>.” From Act -III: Carmen’s Card Song, “<i>En vain pour éviter</i>”; and Micaëla’s celebrated -Air, “<i>Je dis que rien ne m’épouvante</i>”. From Act IV: the -Chorus, March, and Finale.</p> -<p>Utilizing many of these selections, Ferruccio Busoni and Vladimir -Horowitz each prepared striking concert fantasias for solo piano; Pablo -de Sarasate, for violin and piano; and Franz Waxman for violin and -orchestra for the motion picture, <i>Humoresque</i>, starring John Garfield.</p> -<p><i>Children’s Games</i> (<i>Jeux d’enfants</i>) is a delightful suite of twelve -pieces for piano (four hands) for and about children. Bizet wrote it in -1871, but shortly afterwards orchestrated five of these numbers and -assembled them into a suite, op. 22. The first movement is a march -entitled “Trumpeter and Drummer” (“<i>Trompette et tambour</i>”) music -punctuated by trumpet calls and drum rolls, accompanying a troop of -soldiers as it approaches and then disappears into the distance. This is -followed by a tender berceuse for muted strings, “The Doll” (“<i>La -Poupée</i>”). The third movement is “The Top” (“<i>La Toupie</i>”), an impromptu -in which the violins simulate the whirr of a spinning top -while the woodwinds introduce a jolly dance tune. The fourth movement, -<span class="pb" id="Page_37">37</span> -“Little Husband, Little Wife” (<i>“Petit mari, petite femme”</i>) is a -quiet little dialogue between husband and wife, the former represented -by first violins, and the latter by the cellos. The suite ends with -“The Ball” (“Le Bal”), a galop for full orchestra.</p> -<p>The <i>Danse bohèmienne</i> is a popular orchestral episode that comes -from a comparatively unknown (and early) Bizet opera, <i>La jolie fille de -Perth</i>, introduced in Paris in 1867. This vital dance music appears in -the second act, but it is also often borrowed by many opera companies -for the fourth act ballet of <i>Carmen</i>. The harp leads into, and then -accompanies, a soft, sinuous dance melody for the flute. The tempo -rapidly quickens, and the mood grows febrile; the strings take over the -dance melody in quick time, and other sections of the orchestra participate -vigorously.</p> -<p><i>La Patrie</i> Overture, op. 19 (1873) is music in a martial manner. A -robust, strongly rhythmed march tune is immediately presented by the -full orchestra. After some amplification it is repeated softly by the -orchestra. The second main theme is a stately folk melody first given by -the violins, clarinets and bassoons, accompanied by the double basses. -This new subject receives resounding treatment in full orchestra and -is carried to a powerful climax. After a momentary pause, a third tune -is heard, this time in violas and cellos accompanied by brasses and -double basses, and a fourth, in violas, clarinets and English horn with -the muted violins providing an arpeggio accompaniment. Then the -stirring opening march music is recalled and dramatized. The overture -ends in a blaze of color after some of the other themes are brought -back with enriched harmonies and orchestration.</p> -<p>This music was written for a play of the same name by Sardou.</p> -<h2 id="c20"><span class="small">Luigi <b id="g_Boccherini">Boccherini</b></span></h2> -<p>Luigi Boccherini was born in Lucca, Italy, on February -19, 1743. After studying music with various private teachers in Rome, -he gained recognition as a cellist both as a member of theater orchestras -<span class="pb" id="Page_38">38</span> -in Lucca and later on tour throughout Europe in joint concerts with -Filippo Manfredi, violinist. He served as court composer in Madrid -from 1785 to 1787, and from 1787 until 1797 for Friedrich Wilhelm II -of Prussia. His last years were spent in Madrid in poverty and poor -health, and he died in that city on May 28, 1805.</p> -<p>Boccherini, a contemporary of Haydn, was a prolific composer of -symphonies, concertos, and a considerable amount of chamber music -which were all-important in helping to develop and crystallize a classical -style of instrumental writing and in establishing the classic forms of -instrumental music.</p> -<p>Despite the abundance of his creation in virtually every branch of -instrumental music, and despite the significance of his finest works, -Boccherini is remembered today by many music lovers mainly for a -comparatively minor piece of music: the sedate <i>Minuet</i> which originated -as the third movement of the String Quintet in E major, op. 13, no. 5. -Transcribed for orchestra, and for various solo instruments and piano, -(even for solo harpsichord) this light and airy Minuet has become one -of the most celebrated musical examples of this classic dance form.</p> -<p>Several of Boccherini’s little known melodies from various quintets -and from his Sinfonia No. 2 in B-flat were used by the contemporary -French composer, Jean Françaix, for a ballet score, from which comes -an enchanting little orchestral suite. The ballet was <i>The School of -Dancing</i> (<i>Scuola di Ballo</i>), with book and choreography by Leonide -Massine; it was introduced by the Ballet Russe de Monte Carlo in -Monte Carlo in 1933. The book was set in the dancing school of Professor -Rigadon. The professor tries to palm off one of his backward -pupils on an impresario, while withholding his star; in the end all -pupils leave him in disgust. The suite is in four parts. The first consists -of “<i>Leçon</i>” and “<i>Menuet</i>”; the second, “<i>Larghetto</i>,” “<i>Rondo</i>,” -and “<i>Dispute</i>”; the third, “<i>Presto</i>,” “<i>Pastorale</i>,” and “<i>Danse allemande</i>”; -the last, “<i>Scène du notaire</i>” and “<i>Finale</i>.” An unidentified -program annotator goes on to explain: “An occasional stern note in the -‘<i>Leçon</i>’ and strong chords in the ‘<i>Menuet</i>’ suggest the teacher. The -violin and bassoon play a duet which very clearly pictures the inept -pupil. Further atmosphere is furnished by a guitar-like accompaniment -heard on the harp from time to time. One is soon acquainted with -the characters who reappear in the various sections. The ‘<i>Larghetto</i>’ -closely resembles a movement in one of Haydn’s symphonies, which -suggests a tempting line of speculation. The orchestration of the -‘<i>Rondo</i>’ and the syncopation of the ‘<i>Danse allemande</i>’ are noteworthy.”</p> -<div class="pb" id="Page_39">39</div> -<h2 id="c21"><span class="small">François <b id="g_Boieldieu">Boieldieu</b></span></h2> -<p>François-Adrien Boieldieu, genius of opéra-comique, -was born in Rouen, France, on December 16, 1775. After -studying music with Charles Broche, Boieldieu became a church organist -in Rouen in his fifteenth year. Two years later his first opera, <i>La fille -coupable</i>, was successfully given in the same city. In 1796 he came to -Paris where from 1797 on his operas began appearing in various theaters, -climaxed by his first major success, <i>Le Calife de Bagdad</i> in 1801. -In 1798 he was appointed professor of the piano at the Paris Conservatory. -From 1803 until 1811 he lived in Russia writing operas for the -Imperial theaters and supervising musical performances at court. After -returning to Paris in 1811, he reassumed his significant position in -French music. From 1817 to 1826 he was professor of composition at -the Paris Conservatory, and in 1821 he was made Chevalier of the -Legion of Honor. All the while he kept on writing operas and enjoying -considerable popularity. His most significant work was the opéra-comique, -<i>La Dame blanche</i>, a sensation when introduced in Paris in -1825. Ill health compelled him to abandon his various professional -activities in 1832. Supported by an annual government grant, he withdrew -to Jarcy where he spent the last years of his life devoting himself -mainly to painting. He died there on October 8, 1834. Boieldieu, with -Adam and Auber, was one of the founders of French comic opera, and -his best works are still among the finest achieved in this <i>genre</i>.</p> -<p>The Overture to <i>The Caliph of Bagdad</i> (<i>Le Calife de Bagdad</i>) is -Boieldieu’s most famous piece of music. The opera was a triumph when -introduced at the Opéra-Comique in Paris on September 16, 1801. The -libretto, by Saint-Just, is set in Bagdad where Isaaum is a benevolent -Caliph, but given to mischievous pranks and tricks, including parading -around the city in various disguises. Once, as an army officer, he meets -and makes love to Zeltube. Her mother, suspicious of him, orders his -arrest. When the Caliph reveals himself, he also discloses his intentions -were honorable and that he intends making Zeltube his bride.</p> -<p>The overture opens with a mellow song for strings. When the tempo -changes, a sprightlier tune is heard in strings and brought to a forceful -<span class="pb" id="Page_40">40</span> -climactic point. The music now assumes a dramatic character after -which a new subject, again in a sensitive lyrical vein, is offered by the -strings.</p> -<p>The Overture to <i>La Dame blanche</i> (<i>The White Lady</i>) is also popular. -<i>La Dame blanche</i> is the composer’s greatest work in the opéra-comique -form. It was received with such sensational acclaim when introduced -in Paris on December 10, 1825 that, temporarily at any rate, the sparkling -comic operas of Rossini (then very much in vogue) were thrown -into a shade. In time, <i>La Dame blanche</i> received universal acceptance -as a classic in the world of opéra-comique. Between 1825 and 1862 it -enjoyed over a thousand performances in Paris; by World War I, the -total passed beyond the fifteen hundred mark. The libretto, by Eugène -Scribe, is based on two novels by Sir Walter Scott, <i>The Monastery</i> and -<i>Guy Mannering</i>. The setting is Scotland, and the “white lady” is a -statue believed to be the protector of a castle belonging to the Laird of -Avenel. The castle is being administered by Gaveston who tries to use -the legend of the white lady for his own selfish purposes, to gain possession -of the family treasures. Anna, Gaveston’s ward, impersonates -the white lady to help save the castle and its jewels for the rightful -owner.</p> -<p>The vivacious overture is made up of several of the opera’s principal -melodies. The introduction begins with a motive from the first-act -finale, and is followed by the melodious and expressive “Ballad of the -White Lady.” The Allegro section that follows includes the drinking -song and several other popular arias, among these being the ballad of -“Robin Adair” which appears during the hero’s first-act revery and as a -concert piece in the third act.</p> -<h2 id="c22"><span class="small">Giovanni <b id="g_Bolzoni">Bolzoni</b></span></h2> -<p>Giovanni Bolzoni was born in Parma, Italy, on May 14, -1841. He attended the Parma Conservatory, then achieved recognition -as a conductor of operas in Perugia and Turin. In 1887 he became director -<span class="pb" id="Page_41">41</span> -of the Liceo Musicale in Turin. Bolzoni wrote five operas, a symphony, -overtures, and chamber music, but all are now in discard. He -died in Turin on February 21, 1919.</p> -<p>About the only piece of music by Bolzoni to survive is a beguiling -little Minuet which comes from an unidentified string quartet and -which has achieved outstanding popularity in various transcriptions, -including many for salon orchestras with which it is a perennial -favorite.</p> -<h2 id="c23"><span class="small">Carrie Jacobs <b id="g_Bond">Bond</b></span></h2> -<p>Carrie Jacobs Bond, whose art songs are among the -most popular by an American, was born in Janesville, Wisconsin, on -August 11, 1862. Coming from a musical family, she was given music -instruction early, and made appearances as a child-prodigy pianist. -After marrying Dr. Frank L. Bond, a physician, she went to live in -Chicago where her husband died suddenly, leaving her destitute. For -a while she earned a living by renting rooms, taking in sewing, and -doing other menial jobs. Then she began thinking of supplementing -this meager income with the writing of songs. To issue these compositions, -she formed a modest publishing firm in New York with funds -acquired from her New York song recital; for a long time her office was -in a hall bedroom. Her first publication, just before the end of the century, -was <i>Seven Songs</i>, which included “I Love You Truly” and “Just -a Wearyin’ For You,” each of which she subsequently published as -separate pieces. In 1909 she achieved a formidable success with the -famous ballad, “The End of a Perfect Day,” of which more than five -million copies of sheet music were sold within a few years. Her later -songs added further both to her financial security and her reputation. -She was invited to give concerts at the White House, received awards -for achievement in music from various organizations, and was singled -<span class="pb" id="Page_42">42</span> -out in 1941 by the Federation of Music Clubs as one of the two outstanding -women in the field of music. She died in Hollywood, California, -on December 28, 1946.</p> -<p>Carrie Jacobs Bond knew how to write a song that was filled with -sentiment without becoming cloying, that was simple without becoming -ingenuous, and which struck a sympathetic universal chord by virtue of -its mobile and expressive lyricism. Besides “I Love You Truly,” “Just -a Wearyin’ for You” and “The End of a Perfect Day,” her most famous -songs included “His Lullaby,” “Life’s Garden,” “I’ve Done My Work,” -and “Roses Are in Bloom.” Her songs are so popular that they have -been often heard in various transcriptions for salon orchestras and -band.</p> -<h2 id="c24"><span class="small">Alexander <b id="g_Borodin">Borodin</b></span></h2> -<p>Alexander Borodin was born in St. Petersburg, Russia, -on November 11, 1833. He was trained in the sciences, having attended -the Academy of Medicine in St. Petersburg and in 1858 receiving his -doctorate in chemistry. He continued after that to devote himself to -scientific activities, both in and out of Russia. He produced several significant -papers and, from 1859 to 1862, served on an important scientific -mission.</p> -<p>He had also received some musical training in his boyhood. In 1862 -he began to direct his energies with equal vigor to music as well as to -science. He soon joined four colleagues (Mussorgsky, Balakirev, Cui, -and Rimsky-Korsakov) in forming a national school of composition -henceforth identified as “The Mighty Five” or “The Russian Five.” -Like the other members of this group, Borodin concerned himself with -the creation of a national Russian musical art, well grounded in Russian -folk song and dance, Russian culture and history. In this style he -produced three symphonies, the folk opera <i>Prince Igor</i>, two string quartets, -<span class="pb" id="Page_43">43</span> -and various operas and instrumental compositions. He differed -from the other members of the “Russian Five” by his partiality to Oriental -melodies, harmonies, rhythms, and instrumental colors, and by -his preference for exotic subjects. Borodin died in St. Petersburg on -February 27, 1887.</p> -<p><i>In the Steppes of Central Asia</i> (1880) is a popular tone poem for -orchestra, one of several <i>tableaux vivants</i> (“living pictures”) commissioned -from various composers to honor the 25th anniversary of the -reign of Czar Alexander II. Each <i>tableau vivant</i> was intended to portray -an incident from the Russian past, or a picture of a Russian scene. -Borodin prepared his own programmatic note to explain his music; it -appears in the published score. “Over the uniformly sandy steppes of -Central Asia come sounds of a peaceful Russian song. Along with them -are heard the melancholy strains of Oriental melodies, then the stamping -of approaching horses and camels. A caravan, accompanied by Russian -soldiers, traverses the measureless waste. With full trust in its protective -escort, it continues its long journey in a carefree mood. Onward -the caravan moves. The songs of the Russians and those of the Asiatic -natives mingle in common harmony. The refrains curl over the desert -and then die away in the distance.”</p> -<p>The peaceful Russian song is given by the clarinet, while the “melancholy -strains of Oriental melodies” is an expressive song for English -horn. These two melodies are the core of a composition that is free -in form.</p> -<p>The <i>Nocturne</i> (<i>Notturno</i>) is a haunting, poetic song for strings, the -third movement of the composer’s String Quartet No. 2 in D major -(1885). It is often heard apart from the rest of the work, particularly in -various transcriptions for orchestra, or for violin and piano. In 1953, -furnished with lyrics and adapted into a popular song by Robert -Wright and George “Chet” Forrest, it was heard in the Broadway -musical <i>Kismet</i> as “This Is My Beloved” and became an outstanding -hit.</p> -<p>The <i>Polovtsian Dances</i> come from <i>Prince Igor</i>, a folk opera with -libretto by Vladimir Stassov based on an old Russian chronicle. It was -introduced at the Imperial Opera in St. Petersburg in 1890. The setting -is 12th-century Central Asia where a Tartar race, known as the Polovtzi, -capture Prince Igor and his son, Vladimir. Though captives, Prince -Igor and his son are regaled by the leader of the Tartars with a lavish -feast and Oriental dances. It is at this point in the opera (Act 2) that the -popular <i>Polovtsian Dances</i> appear. They are exciting aural experiences -<span class="pb" id="Page_44">44</span> -because of their primitive rhythms, exotic Oriental melodies, and -flaming instrumental colors. One of the dances is a poignant melody for -flute and oboe; another is a dance of savage men in which the main -melody in clarinet is set against a sharply accented phrase of four descending -notes; a third is barbaric, a syncopated melody for strings -accompanied by crash of cymbals; a fourth is a haunting Oriental song -divided by violins and cellos. This last melody was used by Robert -Wright and George “Chet” Forrest for their popular song hit of 1953, -“Stranger in Paradise,” in their Broadway musical, <i>Kismet</i>. The concluding -dance is again in a savage manner. A passionate melody is begun -by the woodwind and carried on by the strings, while receiving a vigorous -horn accompaniment.</p> -<h2 id="c25"><span class="small">Felix <b id="g_Borowski">Borowski</b></span></h2> -<p>Felix Borowski was born in Burton, England, on March -10, 1872. He received his musical training at the Cologne Conservatory -and with private teachers in England. In 1897 he settled in the United -States where he later became a citizen. From 1897 to 1916 he was professor -of harmony and counterpoint at Chicago Musical College, and from -1916 to 1925 its president. His career in music criticism began in 1905. -From 1907 to 1917 he was music critic of the Chicago <i>Record-Herald</i> -and from 1942 until his death, of the Chicago <i>Sun</i>. He was also program -annotator for the concerts of the Chicago Symphony from 1908 on, some -of these annotations being published in the books, <i>Standard Concert -Guide</i> and <i>Encyclopedia of the Symphony</i>. Borowski died in Chicago, -Illinois, on September 6, 1956.</p> -<p>As a composer, Borowski produced three symphonies, three string -quartets, several ballet-pantomimes, various tone poems and other instrumental -compositions. His major works are now rarely given, but his -smaller salon pieces have retained their popularity through the years. -<span class="pb" id="Page_45">45</span> -The best of these are the <i>Adoration</i>, for violin and piano, the <i>La -Coquette</i> and <i>Valsette</i> for piano, all transcribed for orchestra. All three -pieces are in simple song structure and unashamedly Romantic in their -lyricism and emotional content. The uninhibited sentimentality of -<i>Adoration</i> has made that piece a particular favorite.</p> -<h2 id="c26"><span class="small">Johannes <b id="g_Brahms">Brahms</b></span></h2> -<p>Johannes Brahms was born in Hamburg, Germany, on -May 7, 1833. He received instruction in music from his father, Otto -Cossel, and Eduard Marxsen. At fourteen he gave his first public concert -as pianist, in which he introduced one of his own compositions. In -1853 he toured with the Hungarian violinist, Eduard Reményi, as his -accompanist. During this period he met and aroused the interest of -such notable musicians as Joachim, Liszt, and Schumann. The last of -these was one of the first to give Brahms public recognition, through a -glowing article in the <i>Neue Zeitschrift fuer Musik</i>. After a considerable -amount of travel in Germany and Austria, and after holding various -musical positions, Brahms established himself permanently in Vienna -in 1863. The promise he had shown in his early piano and chamber -music became fully realized with his first piano concerto in 1857, the -<i>German Requiem</i> written between 1857 and 1868, and the first symphony -completed in 1876. In his later orchestral, piano, and chamber -music he assumed a position of first importance in the German Romantic -movement, the spokesman for absolute music, the genius who succeeded -in combining respect for classical discipline and tradition with -the Romanticist’s bent for emotion, poetry, and flexible thought. -Brahms died in Vienna on April 3, 1897.</p> -<p>The supreme craftsmanship, mature thought, and profound feelings -of Brahms’ music do not lend themselves to popular consumption. -Occasionally, though not frequently, he chose to give voice to a lighter -<span class="pb" id="Page_46">46</span> -mood, as he did in his ever-popular <i>Hungarian Dances</i>. In such music, -as in his more ambitious works, he is always the master of form and -style, and a powerful and inventive creator.</p> -<p>The <i>Cradle Song</i> (<i>Wiegenlied</i>) is Brahms’ universally loved art song, -one of the most famous lullabies ever written. It is the fourth in a collection -of five songs, op. 49 (1868). Its lyric is a folk poem (“<i>Guten -Abend, Gute Nacht</i>”). In its many and varied transcriptions, this lullaby -has become an instrumental favorite.</p> -<p>The <i>Hungarian Dances</i> was originally published in 1869 in two volumes -for four-hand piano. The first book contained dances Nos. 1 -through 5, while the second book had Nos. 6 through 10. Brahms took -special pains to point out that these melodies were not his own, but -were adaptations. On the title page there appeared the phrase “arranged -for the piano.” Brahms further refused to place an opus number -to his publication as another indication that this was not original -music; and in a letter to his publisher, Simrock, he explained he was -offering this music “as genuine gypsy children which I did not beget -but merely brought up with bread and milk.”</p> -<p>Despite Brahms’ open candor about the origin of these melodies, a -storm of protest was sounded by many newspapers and musicians accusing -Brahms of plagiarism. Fortunately, the general public refused to -be influenced by this unjust accusation. The two volumes of <i>Hungarian -Dances</i> were a formidable success, the greatest enjoyed by Brahms up -to that time.</p> -<p>In 1880, Brahms issued two more volumes of <i>Hungarian Dances</i>, still -for four-hand piano. Book 3 had dances Nos. 11 through 16, and Book -4, Nos. 17 through 21. This time many of the melodies were original -with Brahms, even if modeled after the style and idiosyncrasies of actual -Hungarian folk dances and gypsy melodies.</p> -<p>The <i>Hungarian Dances</i> are most popular in transcriptions for orchestra. -Brahms himself transcribed Dances Nos. 1, 3, and 10; Andreas Hellen, -Nos. 2, 4, and 7; Dvořák, Nos. 7 through 21; and Albert Parlow, -the rest. Walter Goehr and Leopold Stokowski also made transcriptions -of several of these dances for orchestra. In addition, Brahms adapted -Book 1 for piano solo, and Joachim all the dances for violin and piano.</p> -<p>The dances range from sentimental to passionate moods. They -abound with abrupt contrasts of feeling and dynamics; they are often -vital with vertiginous rhythms and changing meters. These gypsy -melodies, both the gay and the sad, warm the heart like Tokay wine; the -pulse of the rhythm is similarly intoxicating. As Walter Niemann wrote -<span class="pb" id="Page_47">47</span> -of these dances: “They are pure nature music, full of unfettered, vagrant, -roving spirit, and a chaotic ferment, drawn straight from the -deepest well springs of music by children of Nature. It seems impossible -to imprison them in the bonds of measure, time, and rhythm, to convert -their enchantingly refreshing uncivilized character, their wild -freedom, their audacious contempt for all order into a civilized moderation -and order.”</p> -<p>Yet Brahms was able to discipline this music with modern techniques -without robbing it either of its personality or popular appeal. “He has -maintained,” continues Niemann, “and preserved the essential, individual -genuine features of gypsy music in his musical idiom: the dances -sound like original Hungarian folk music ... and for this reason they -delight and enchant everybody: the amateur by their natural quality, -the specialist by their art.”</p> -<p>The most famous of these dances is the fifth in F-sharp minor, its passionate, -uninhibited dance melody released at once by the strings against -a strong rhythm.</p> -<p>The following are some other popular dances.</p> -<p>No. 1, in G minor. A slow and languorous dance unfolds in strings, -and then is contrasted by a slight, tripping theme in woodwind; a second -languorous dance melody follows in the strings.</p> -<p>No. 6 in D-flat major. A slow syncopated melody begins sensually -but soon gains in tempo and volume; a second arresting dance tune is -then offered by strings against strong chords in the rest of the orchestra.</p> -<p>No. 7 in A major. This dance opens with a vivacious melody in -strings, but through most of the piece a comparatively restrained mood -is maintained.</p> -<p>No. 12 in D minor. The first dance melody is presented in a halting -rhythm by the woodwind against decorative figures in the strings. This -is followed by two other dance tunes, the first in strings with trimmings -in the woodwind, and the second in full orchestra.</p> -<p>No. 19 in B minor and No. 21 in E minor. Both are fleet and graceful -both in melody and rhythm.</p> -<p>The <i>Waltz in A-flat major</i>, a graceful dance which is given without -any introduction or coda, originated as a piece for piano duet: the -fifteenth of a set of sixteen such waltzes op. 39 (1865). All of Brahms’ -waltzes reveal their Viennese identity in their charm and lightness of -heart. Some are derivative from the waltzes of Johann Strauss II, but -the one in A-major is more in the character of a Schubert Laendler -than a Strauss waltz, though it does boast more delicacy and refinement -<span class="pb" id="Page_48">48</span> -than we usually find in peasant dances. David Hochstein’s transcription -for violin and piano is in the concert violin repertory.</p> -<h2 id="c27"><span class="small">Charles Wakefield <b id="g_Cadman">Cadman</b></span></h2> -<p>Charles Wakefield Cadman was born in Johnstown, -Pennsylvania, on December 24, 1881. As a boy he played the organ -in a church near Pittsburgh, and wrote a march that was published. His -main music study took place with private teachers: Leo Oehmler, -Luigi von Kunits, and Emil Paur. From 1908 to 1910 he was the music -critic of the Pittsburgh <i>Dispatch</i>. Meanwhile, a meeting in 1902 with -the lyric writer Nellie Richmond Eberhart, turned him to the writing -of songs in which he achieved his initial outstanding successes as composer. -Some of these were inspired by the American Indian. Later researches -in the field of American-Indian ceremonials and music led him -to write his opera <i>Shanewis</i>, produced by the Metropolitan Opera in -1918, as well as several significant instrumental works including the -<i>Thunderbird Suite</i> and <i>To a Vanishing Race</i>. From 1917 until his -death he lived in California where he wrote several major orchestral -and chamber-music works, but none in the American-Indian idiom -with which he became famous. He died in Los Angeles on December -30, 1946.</p> -<p>The <i>American Suite</i>, for strings (1938), is an engaging piece of music -in which Cadman makes use of several different American folk idioms. -In the first movement he borrows his melodies from the tribal music -of Omaha Indians. In the second movement we hear Negro folk tunes -indigenous to South Carolina. And in the third movement, two old -fiddle tunes are effectively employed, “Sugar in the Gourd,” and “Hoop-de-den-do.”</p> -<p>“At Dawning” is one of Cadman’s two most famous songs. It sold -millions of copies of sheet music and records, and has been translated -<span class="pb" id="Page_49">49</span> -into many languages. Though originally published in 1906, it reposed -forgotten and unknown on the shelves of the publisher (Oliver Ditson) -until John McCormack sang it at one of his recitals in 1909 and was -given an ovation. “At Dawning” was transcribed for violin and piano -by Fritz Kreisler.</p> -<p><i>Dark Dancers of Mardi Gras</i>, for orchestra with piano, (1933), is one -of Cadman’s most popular symphonic compositions. The composer -explains: “The work takes its name from the Negro side of the Mardi -Gras, though no Negro themes are used. The Negroes of New Orleans -have a Mardi Gras of their own. The fantasy is supposed to reflect the -fantastic, the grotesque, the bizarre spirit of the carnival. The original -theme goes into a major key in the central section, and might represent -the romantic feeling of the King and Queen, and the Court in carnival -fashion.”</p> -<p>“From the Land of the Sky-Blue Water” is the second of Cadman’s -two outstandingly successful songs. It is one of four songs with lyrics by -Nellie Richmond Eberhart appearing in <i>American-Indian Songs</i>, op. -45, a cycle which was published in Boston in 1909 and in the same year -received a prize in a contest sponsored by the Carnegie Institute. This -song was first swept to national fame by the prima donna, Lillian -Nordica, in her song recitals. It soon entered the repertory of virtually -every leading concert singer in America. Fritz Kreisler transcribed it -for violin and piano.</p> -<h2 id="c28"><span class="small">Lucien <b id="g_Caillet">Caillet</b></span></h2> -<p>Lucien Caillet was born in Dijon, France on May 22, -1891. After attending the Dijon Conservatory he came to the United -States in 1918 and settled first in Pennsylvania, and later in California. -He has distinguished himself by his skilful symphonic transcriptions of -compositions by Johann Sebastian Bach, Mussorgsky, and others. In his -<span class="pb" id="Page_50">50</span> -own works he frequently makes skilful use, and astute adaptations, of -some famous pieces of popular music.</p> -<p>The <i>Fantasia and Fugue on Oh, Susanna!</i> (1942) for orchestra has -for its point of departure the famous song of Stephen Foster, “Oh, -Susanna!” Caillet’s composition begins with a preface: a tutti for orchestra -which quotes the melody only partly. This leads into a fantasia -section featuring the solo string quartet and presenting a quiet version -of the melody. A fugue follows, the germ of the “Susanna” melody -found in first and second violins in unison.</p> -<p>In <i>Pop Goes the Weasel</i> for orchestra (1938) Caillet brings the full -resources of his harmonic and instrumental skill to a famous American -folk tune. “Pop Goes the Weasel” is a Western two-part melody, long a -favorite of country fiddlers since before the Civil War. After presenting -this melody, Caillet subjects it to intriguing variations, sometimes with -comic effect.</p> -<h2 id="c29"><span class="small">Alfredo <b id="g_Catalani">Catalani</b></span></h2> -<p>Alfredo Catalani was born in Lucca, Italy, on June 19, -1854. After receiving preliminary instruction in music from his father -he was allowed to enter the Paris Conservatory without examinations. -He concluded his music study at the Milan Conservatory, where in 1886 -he succeeded Ponchielli as professor of composition. In 1880 he had -his first opera, <i>Elda</i>, produced in Turin. He continued to confine himself -to the stage, his most successful operas being <i>Loreley</i> in 1890, and -<i>La Wally</i> in 1892. In his own time, and shortly thereafter, his operas -were outstandingly successful in Italy. Today they are remembered almost -exclusively because of some orchestral excerpts. Catalani died in -Milan on August 7, 1893.</p> -<p>The most popular episodes from Catalini’s two most famous operas -are dances often performed by salon orchestras. “The Dance of the -Waves” (<i>Danza delle ondine</i>) and “The Waltz of the Flowers” (<i>Valzer</i> -<span class="pb" id="Page_51">51</span> -<i>dei fiori</i>) appear in <i>Loreley</i>, an opera introduced in Turin in 1890. In -this opera the action takes place on the banks of the Rhine. Walter, -about to marry Anna, is loved by the orphan girl, Loreley. When Loreley -learns she is about to lose her beloved, she calls upon the nymphs -and the sprites of the Rhine to help her; throwing herself into the -river, she becomes one of them. During the wedding ceremonies, Loreley -appears and entices Walter away from his bride. Anna dies of grief; -and Walter meets his doom in the Rhine, to which he is helplessly -drawn through enticements by the sprites and by Loreley.</p> -<p>“The Dance of the Waves” takes place in the last act. After Anna’s -funeral procession passes by, Walter comes to the edge of the Rhine, -grief-stricken. Out of the waters come the sprites to dance seductively -before Walter and to beckon him on into the river. “The Waltz of the -Flowers” is a graceful, even gentle, dance performed in the second act, -during the wedding ceremonies of Walter and Anna.</p> -<p>“The Waltz of the Kiss” (<i>Valzer del bacio</i>) is a segment from <i>La -Wally</i>, Catalani’s most famous opera, which was such a particular -favorite of Arturo Toscanini that not only did he conduct it frequently -in Italy but he also named his son after its heroine. <i>La Wally</i> was introduced -at La Scala in Milan in 1892. The text, by Luigi Illica, was based -on a novel by Wilhelmine von Hillern. The setting is 19th century -Switzerland where Wally and Hagenbach are in love, and meet their -death in an avalanche; all the while Wally is being sought after by -Gellner, whom she detests. The “Waltz of the Kiss” is a caressing piece -of music from the second act which accompanies a dance by Wally and -Hagenbach, in which they first discover they are in love and yield to -passionate kissing while the hateful Gellner watches.</p> -<h2 id="c30"><span class="small">Otto <b id="g_Cesana">Cesana</b></span></h2> -<p>Otto Cesana was born in Brescia, Italy, on July 7, 1899. He -came to the United States in boyhood and studied music with private -teachers. After working in Hollywood, where he wrote a considerable -<span class="pb" id="Page_52">52</span> -amount of music for motion pictures, he came to New York to become -arranger for Radio City Music Hall, and for several important radio -programs. In his own music he has been particularly successful in using -within large forms popular American elements, at times folk idioms. In -a more serious attitude he has produced half a dozen symphonies and -various concertos for solo instruments and orchestra.</p> -<p><i>Negro Heaven</i> for orchestra is one of his more popular attempts to -use an American folk idiom within a symphonic mold. He explains: -“Here follows a musical interpretation of the fluctuating moods that -seize the colored man—now gay, now sad, always, however migrating -towards carefreeness and abandon, as exemplified in the return of the -first subject, which is soon followed by one of those superlative moods, -a Negro in the throes of nostalgia.”</p> -<p><i>Swing Septet</i> (1942), for string orchestra, guitar and percussion is in -three short movements, the first in sonata form, and the last two in -three-part song form. “The chief purpose,” says the composer, “is to -give the string players an opportunity to compete with the ad lib boys -who, while they improvise the wildest phrases imaginable, are ‘floored’ -whenever an approximation of that material is set down on paper.”</p> -<h2 id="c31"><span class="small">Emmanuel <b id="g_Chabrier">Chabrier</b></span></h2> -<p>Emmanuel Chabrier was born in Ambert, France, on -January 18, 1841. He was trained as a lawyer; from 1862 to 1880 he was -employed at the Ministry of the Interior in Paris. But he had also received -a sound musical training with private teachers. Composition began -for him in earnest in the 1870’s, with two of his operettas receiving -performances in Paris between 1877 and 1879. In 1879 he made a pilgrimage -to Germany to hear Wagner’s music dramas whose impact -upon him proved so overwhelming that he finally decided to give up -his government work and concentrate on music. Returning to Paris in -<span class="pb" id="Page_53">53</span> -1880 he published the <i>Pièces pittoresques</i> for piano. Following a visit to -Spain he produced in 1883 his first major work for orchestra and realized -with it his first major success as a composer—the rhapsody <i>España</i>. -He also wrote two operas, <i>Gwendoline</i> produced in 1886, and <i>Le Roi -malgré lui</i> introduced one year later. Some of his best writing was for -the piano and included such distinguished works as the <i>Habanera</i>, -<i>Bourrée fantasque</i>, and <i>Trois valses romantiques</i>. Chabrier became a -victim of paralysis in the last two years of his life, and just before his -death he began losing his sanity. He died in Paris on September 13, -1894.</p> -<p>While in his operas he revealed his profound indebtedness to the -Wagnerian idiom, Chabrier was at his best either in music that interpreted -Spain or to which he brought a natural bent for laughter, gaiety, -and the grotesque.</p> -<p><i>España</i>, an orchestral rhapsody, is his most famous composition, as -popular in the semi-classical literature as it is in the symphonic repertory. -Chabrier wrote it in 1883 after a Spanish holiday, and its première -in Paris on November 4 of that year was a sensation. This rhapsody is -built from three principal subjects, two borrowed from Spanish folk -melodies, and one Chabrier’s own. A nervous rhythm in plucked strings -leads to a strongly accented malagueña, first heard in the wind instrument. -Different sections take it over before soaring strings arrive with -a lyrical jota melody. Chabrier’s own theme, a stately subject for trombones, -is then heard, set against the background of the malagueña -melody. The French waltz-king, Waldteufel, used Chabrier’s themes -from <i>España</i> for one of his most famous waltzes, also entitled <i>España</i>.</p> -<p>The <i>Joyeuse marche</i> (1888) reveals the composer in one of his satirical -moods. Chabrier wrote it at first as a piano composition to be used for -a sight-reading class at the Bordeaux Conservatory. It proved too difficult -to fulfil this function, and Chabrier decided to orchestrate it, calling -it <i>Joyeuse marche</i> and presenting it as one of his more serious endeavors. -The music is in a burlesque style, believed to be a musical -description of drunken musicians staggering home after a festive evening. -The work opens with an orchestral flourish, following which the -oboe offers a capricious subject. This gaiety is maintained in the lively -second theme for the violins.</p> -<p>The <i>Suite pastorale</i> (1880) is an orchestral adaptation of four of the -ten piano pieces in <i>Pièces pittoresques</i>. In the first, “<i>Idylle</i>,” a beautiful -melody is accompanied by plucked strings. The second, “<i>Danse villageoise</i>” -is a country dance in which the lively dance tune is first heard -<span class="pb" id="Page_54">54</span> -in clarinets. The third piece, “<i>Sous bois</i>” has a pastoral character, while -the concluding number, “<i>Scherzo-Valse</i>” is a protracted piece of pulsating -music.</p> -<h2 id="c32"><span class="small">George <b id="g_Chadwick">Chadwick</b></span></h2> -<p>George Whitefield Chadwick was born in -Lowell, Massachusetts, on November 13, 1854. Most of his music study -took place in Germany. When he was being graduated from the Leipzig -Conservatory in 1879, his overture <i>Rip Van Winkle</i> received its première -performance. He then studied organ and composition with Rheinberger -in Munich. After returning to the United States in 1880, he -became a teacher of harmony and composition at the New England -Conservatory, rising to the post of director in 1897. He was also active -for several years as director of the Worcester Music Festival. He died in -Boston on April 4, 1931.</p> -<p>Chadwick was a prolific composer of symphonies, concertos, and -various other orchestral and choral works. He never freed himself from -the influence of German Romanticism, with which he had been infected -during his student days. He wrote with a sure craftsmanship, -usually filling his classical structures with winning melodies and often -lush harmonies and orchestration.</p> -<p>Two compositions for orchestra are of particular popular appeal: -<i>Jubilee</i> and <i>Noël</i>. Both are movements from the <i>Symphonic Sketches</i> -(1895) which received its world première in Boston in 1908. (The other -two movements, the third and fourth, are “Hobgoblin” and “A Vagrom -Ballad.”) <i>Jubilee</i> is a vigorous tonal picture of a carnival. A spirited -melody is loudly presented by the full orchestra and is elaborated upon. -A second virile subject is then presented by bass clarinet, bassoons, -violas and cellos. Following a lively return of the opening carnival -theme, the woodwind and horns appear with a lyrical subject. The -<span class="pb" id="Page_55">55</span> -music then gains in vitality until it comes to a rousing conclusion with -a coda built from the carnival motive.</p> -<p><i>Noël</i> has been described as “a little Christmas song.” It is a haunting -orchestral nocturne in which a serene Yuletide melody is offered by the -English horn.</p> -<h2 id="c33"><span class="small">Cécile <b id="g_Chaminade">Chaminade</b></span></h2> -<p>Cécile Chaminade was born in Paris on August 8, 1857. -Music study took place in Paris with Marsick and Godard among others. -In 1875 she launched her career as concert pianist by touring Europe -in programs that often included her own compositions. At her American -debut, on November 7, 1908, she appeared as soloist with the Philadelphia -Orchestra in a performance of her own <i>Concerstueck</i>. She wrote -many other ambitious works including a symphony, two orchestral -suites, and ballets. She died in Monte Carlo on April 18, 1944.</p> -<p>Though Chaminade staked her future as composer on her larger, -serious works for orchestra and the ballet stage, she is today remembered -almost exclusively for her slight morsels of the salon variety. -Most of these originated as compositions for the piano; her piano music -numbers about two hundred works including arabesques, etudes, impromptus, -valse-caprices, and so forth. <i>Automne</i>, a sentimental melody, -and <i>Sérénade espagnole</i>, in a pseudo-Spanish style, come from her piano -music: <i>Automne</i> from the <i>Concert Etudes</i>, op. 35. It has been transcribed -for popular orchestra by Melachrino. <i>Sérénade espagnole</i> has -been adapted for violin and piano by Fritz Kreisler. Chaminade’s most -popular piece, <i>Scarf Dance</i>, comes from a ballet, <i>Callirhoë</i>, produced in -Marseilles in 1888. It is often heard in its original orchestral version -and in various transcriptions for solo piano, and solo instrument and -piano.</p> -<div class="pb" id="Page_56">56</div> -<h2 id="c34"><span class="small">Gustave <b id="g_Charpentier">Charpentier</b></span></h2> -<p>Gustave Charpentier was born in Dieuze, France, -on June 25, 1860. He received his musical training in the Conservatories -in Lille and Paris, winning the Prix de Rome in 1881. During his -stay in Rome he wrote <i>Impressions of Italy</i> for orchestra, with which he -realized his first success upon its première performance in Paris in 1892. -Charpentier’s fame, however, rests securely on a single opera, <i>Louise</i>, a -triumph when introduced in Paris on February 2, 1900, and since become -recognized as one of the major achievements of the French lyric -theater. A sequel, <i>Julien</i> (1913), was a failure. From 1913 on, Charpentier -wrote almost nothing more, living a Bohemian existence in the -Montmartre section of Paris where he died on February 18, 1956.</p> -<p><i>Impressions of Italy</i>, a suite for orchestra (1890) is a nostalgic picture -of five Italian scenes. The first movement is “Serenade,” in which is -described a picture of young men emerging from a bistro at midnight, -singing love songs under the windows of their girl friends. “At the -Fountain” depicts girls parading with dignified steps near a waterfall -by a ravine; from the distance come the sounds of a shepherd’s tune. -“On Muleback” tells of evening as it descends on the Sabine Mountains. -The mules trot along, and there rises the song of the muleteer -followed by the sweet love song of girls riding in their carts to the -village. “On the Heights” presents noontime on the heights overlooking -Sorrento. All is peace, though the toll of bells can be heard from a distance. -The finale is a musical tribute to a great city, “Naples.” In this -music we see the crowds of the city, the parading bands. A tarantella is -being danced in the streets. The strains of a sentimental folk song drift -in from the quay. Evening falls, and fireworks electrify the sky.</p> -<div class="pb" id="Page_57">57</div> -<h2 id="c35"><span class="small">Frédéric <b id="g_Chopin">Chopin</b></span></h2> -<p>François Frédéric Chopin, genius of music for -the piano, was born in Zelazowa Wola, Poland, on February 22, 1810. -He began to study the piano at six. One year later he made his first -public appearance and wrote his first piece of music. His later music -study took place privately with Joseph Elsner and at the Warsaw Conservatory -from which he was graduated with honors in 1829. In that -year he visited Vienna where he gave two successful concerts of his -works. He left Poland for good in 1830, settling permanently in Paris a -year after that. He soon became one of the most highly regarded musicians -in France, even though he gave only a few public concerts. In 1837 -he first met the writer, George Sand, with whom he was involved emotionally -for about a decade, and under whose influence he composed -some of his greatest music. Always sensitive in physique and of poor -health, Chopin suffered physically most of his adult life. He died in -Paris on October 17, 1849 and was buried in Père Lachaise.</p> -<p>Chopin produced 169 compositions in all. Practically all of them are -for the piano, and most within the smaller forms. In writing for the -piano he was an innovator who helped change the destiny of piano -style and technique. He is often described as the poet of the keyboard, -by virtue of his sensitive and deeply affecting lyricism (usually beautifully -ornamented), his always exquisite workmanship, and his profound -emotion. Many of his works are nationally Polish in expression.</p> -<p>The Etude in E major, op. 10, no. 3 (1833) is one of two of Chopin’s -most famous works in the etude form. While an etude is essentially a -technical exercise, Chopin produced twenty-seven pieces for piano -which, though they still probe various technical problems, are nevertheless -so filled with poetic thought and musical imagination that they -belong in the realm of great art and must be numbered with his most -significant compositions. That in E major is one of his most beautiful -melodies, a soulful song rather than a technical exercise; Chopin himself -regarded this as one of his most inspired pages. One of the many -transcriptions of this composition existing is for the voice.</p> -<div class="pb" id="Page_58">58</div> -<p>The so-called <i>Revolutionary Etude</i>—C minor, op. 10, no. 12 (1833)—was -inspired by the tidings received by Chopin while he was traveling -from Vienna to Paris that Warsaw had fallen to the Russians. His first -impulse was to rush back home and join in the battle. He was dissuaded -from doing this by his family, and instead he sublimated his -intense patriotic feelings by writing a fiery piece of national music, -full of the spirit of defiance. Since then this etude has become as inextricably -associated with Poland and its national aspirations and ideals -as, for example, is Sibelius’ <i>Finlandia</i> with Finland. This etude was -repeatedly played over the Polish radio when Nazi Germany first attacked -Poland in 1939, a continual inspiration to the defenders of Warsaw; -it was the last piece of music played over the Polish radio before -the Germans took over.</p> -<p>In the Fantaisie-Impromptu in C-sharp minor, op. 66 (1834), Chopin -makes a structural compromise between the forms of the fantasy and -the impromptu. In doing so, he produced one of his best known -melodies, a melody that appears after a fast bravura opening. This is a -flowing sentimental song that was used for the popular American tune, -“I’m Always Chasing Rainbows.”</p> -<p>The <i>Funeral March</i> is surely the most celebrated funeral music ever -written. It is found as the third movement of the Sonata No. 2 in B-flat -minor, for piano, op. 35 (1839). In various arrangements, especially for -orchestra, for band and for organ, this music has accompanied the dead -to their final resting place in every part of the civilized world. In three-part -form, the first section consists of a slow, mournful march. In the -middle trio a more reflective mood is projected, almost like a kind of -gentle recollection of the dead and the good he had performed. The -opening mournful tread returns after this trio to bring the composition -to its conclusion.</p> -<p>The fifty-five Mazurkas are among the most national of Chopin’s -compositions, those in which he most fervently expressed his strong -feelings about his native land. The Mazurka is a Polish dance in ¾ -time, somewhat slower in tempo than the waltz, and highly varied in -rhythm and emotion. In Chopin’s Mazurkas we find, on the one hand, -brief mood pictures, and on the other, a fiery romantic temperament -which expresses itself in rapid and at times abrupt alternations of feeling -from the gay to the melancholy, from the energetic to the pensive. -One of the most beautiful of the Mazurkas is that in A minor, op. 17, -no. 4 (1833), of which Stokowski made an excellent orchestral arrangement. -One of the most dramatic is that in B-flat minor, op. 24, no. 4 -<span class="pb" id="Page_59">59</span> -(1835) orchestrated by Stokowski, Auber, among others. Two other -Chopin Mazurkas that have been orchestrated are found in <i>Les Sylphides</i> -(see <a href="#sylph">below</a>): that in D major, op. 33, no. 2 (1838) and C major, -op. 67, no. 3 (1835).</p> -<p>Chopin wrote nineteen Nocturnes, each one a slow, poetic and atmospheric -piece of “night music.” “Chopin loved the night,” wrote James -Gibbons Huneker, “and its soft mysteries, and his nocturnes are true -night pieces, some with agitated, remorseful countenance, others seen -in profile only, while many others are whisperings at the dusk.” The -most celebrated of Chopin’s Nocturnes is that in E-flat major, op. 9, -no. 2 (1833), truly a “whispering at the dusk.” This is a beautiful, -romantic song that begins without preliminaries. As this spacious -melody unfolds, it acquires even new facets of beauty through the most -exquisite embellishments. Among the many transcriptions that have -become popular, besides those for orchestra, is one for violin and piano -by Pablo de Sarasate, and another for cello and piano by David Popper.</p> -<p>There are two Chopin Polonaises that are particularly favored by -audiences everywhere. One is the <i>Heroic</i>, the other the <i>Military</i>. -Chopin was especially successful in endowing artistic dimensions and -significance to this old courtly folk dance which is technically characterized -by its syncopations and accents on the half beat. He wrote twelve -for piano. The <i>Heroic</i>, in A-flat major, op. 53, no. 6 (1842) is fiery -music, its first robust theme being the reason why the entire work has -been designated as “heroic.” This main melody was borrowed for the -American popular song, “Till the End of Time,” a big hit in 1945. -(Sigmund Spaeth has pointed up the interesting fact that while “Till -the End of Time” was at the head of the “Hit Parade” in 1945, the -polonaise itself from which this song was derived was in fifteenth place, -“competing with all the light and serious music of the world.” And one -of the reasons why the Polonaise suddenly became so popular was because -it was featured prominently in the screen biography of Chopin -released that year, <i>A Song to Remember</i>.) The <i>Military Polonaise</i>, in -A major, op. 40, no. 1 (1839) is one of Chopin’s most commanding pieces -of music. Both principal themes have a pronounced military character, -though the second is somewhat more subdued and lyrical than the first. -Glazunov’s transcription for orchestra, for the ballet <i>Chopiniana</i>, is -one of several adaptations.</p> -<p>Of Chopin’s twenty-six Preludes, two should be singled out for their -enormous popular appeal. Chopin’s Preludes are brief compositions -suggesting a mood or picture, but at the end leaving the impression -<span class="pb" id="Page_60">60</span> -with the listener that much more could be spoken on that subject. -These Preludes, as Robert Schumann wrote, “are sketches, the beginnings -of studies, or, if you will, ruins; eagles’ pinions, wild and motley -and pell-mell. But in every piece we find, in his own pearly handwriting, -‘this is by Frederic Chopin’; even in his pauses we recognize him -by his agitated breathing.” There are twenty-four pieces in op. 28 -(1839), each one in one of the keys of the major or minor scale, beginning -with C major and A minor, and concluding with F major and D -minor. The most popular is that in A major, one of the shortest in the -group, a sixteen-bar melody in two short sentences; this is not only one -of Chopin’s simplest lyrical thoughts, but also one of his most eloquent. -Among the orchestral transcriptions is the one found in the ballet <i>Les -Sylphides</i> (see <a href="#sylph">below</a>).</p> -<p>The second of Chopin’s most popular Preludes is the so-called <i>Raindrop</i>, -in D-flat major, op. 28, no. 15. Some of the depression experienced -by Chopin during a miserable stay in Majorca with George Sand—where -he was plagued by illness, bad weather, and the antagonism and -suspicions of his neighbors—can here be found. The melody is a somber -reflection, through which is interspersed a repetitious figure that seems -to suggest the rhythm of falling raindrops, the reason why this piece -acquired its familiar nickname. The belief that Chopin was inspired to -write this music by listening to the gentle sound of falling rain on the -roof of his Majorca house is apocryphal.</p> -<p><i><span id="sylph">Les Sylphides</span></i>, one of the most popular works in the classic ballet -repertory, makes extensive use of some of Chopin’s best-known compositions -for the piano, orchestrated by Stravinsky, Alexander Tcherepnine, -Glazunov, and Liadov. With choreography by Michel Fokine it -was first presented by Diaghilev’s Ballet Russe de Monte Carlo in Paris -on June 2, 1909 with Pavlova, Karsavina, and Nijinsky as principal -dancers. There is no story line to this ballet. In place of characters there -are only dancers dressed in long white dresses, and a danseur in black -and white velvet. In place of an actual plot there is only atmosphere -and mood. A subdued, introspective overture (Prelude in A major, op. -28, no. 7) leads to the rise of the curtain on an ancient ruin within a -secluded wood. Girls in white are transfixed in a tableau; then they begin -dancing to the strains of the Nocturne in A-flat, op. 32, no. 2. After -that come various dances to the following Chopin compositions: Waltz -in G-flat, op. 70, no. 1; Mazurka in C major, op. 67, no. 3; Mazurka in -D major, op. 33, no. 2; a repetition of the opening A major Prelude; -Waltz in A-flat, op. 69, no. 1, the <i>L’adieu</i>; a repetition of the opening -<span class="pb" id="Page_61">61</span> -A major Prelude; Waltz in C-sharp minor, op. 64, no. 2; Waltz in E-flat, -op. 18, the <i>Grande valse brillante</i>.</p> -<p>Chopin’s fourteen waltzes are the last word in aristocratic elegance -and refinement of style; they are abundant with the most beguiling -lyrical ideas. Perhaps the best loved of all these waltzes is that in -C-sharp minor, op. 64, no. 2 (1847). The waltz opens without preliminaries -with music of courtly grace; two other equally appealing subjects -follow. The so-called <i>Minute Waltz</i>—in D-flat major, op. 64, no. 1—is -one of the shortest of Chopin’s compositions for the piano. The -term “minute” does not refer to the sixty seconds supposedly required -for its performance (actually that performance takes less than a minute) -but to the French term, “<i>minute</i>” meaning “small.”</p> -<h2 id="c36"><span class="small">Eric <b id="g_Coates">Coates</b></span></h2> -<p>Eric Coates, one of England’s most highly esteemed and -widely performed composers of light music, was born in Hucknall, -England, on August 27, 1886. While attending the Royal Academy of -Music in London, where he specialized in the viola under Lionel Tertis, -he supported himself by playing in several of London’s theater -orchestras. Upon graduating from the Academy, Coates became violist -with several string quartets, including the Hambourg String Quartet -with which he toured South Africa in 1908. From 1912 to 1918 he was -first violist of the Queen’s Hall Orchestra. Meanwhile, in 1911 he realized -his first success as composer of light music when his <i>Miniature -Suite</i> was introduced at a Promenade Concert; after 1920 he devoted -himself almost completely to composition, producing ballets, rhapsodies, -suites, marches, and so forth, that were heard around the world. -In 1930, his valse-serenade <i>Sleepy Lagoon</i> achieved a phenomenal success -in London; with lyrics by Jack Lawrence and in a popular-song -arrangement by Dr. Albert Sirmay, it made in 1942 seventeen appearances -on the American “Hit Parade,” twice in first place. Coates appeared -<span class="pb" id="Page_62">62</span> -as guest conductor throughout the music world, visiting the -United States in 1946 and 1955, on both occasions conducting concerts -of his music over the radio networks. In 1957 he became president of -the British Light Music Association. He died in Chichester, England, -on December 21, 1957.</p> -<p>In <i>Four Centuries</i>, a suite for orchestra (1941), Coates created a four-movement -work, each of which was in a musical style of a different century. -The first movement is a fugue, the second pavane, the third -Valse, and the last is called “Jazz.”</p> -<p><i>London Suite</i> (1932), for orchestra, is one of his best known works -inspired by the city dearest to his heart. As he himself wrote: “My best -inspiration is to walk down a London street and a tune soon comes to -me. When I can think of nothing I walk down Harley Street and there -is a lamp post. Every time I catch sight of it a tune comes to my mind. -That lamp post has been my inspiration for years.” The most celebrated -movement of his suite is the stirring “Knightsbridge March,” -one of the most popular marches by an Englishman, perhaps second -only in universal appeal to Elgar’s <i>Pomp and Circumstance</i>. It has been -used as the theme music for a program on the BBC, and when first used -the radio station was swamped with over twenty thousand letters asking -for its identification. Two other highly familiar movements from this -suite are “Westminster” and “Covent Garden.” The former is a “meditation,” -introduced by the chiming of bells of the Westminster clock -and followed by tunes both gay and pensive suggesting different moods -of people strolling in London streets below. The second is a tarantella, -a lively dance recalling the fact that the famous opera house, Covent -Garden, has also distinguished itself for the performances of comic and -light operas.</p> -<p><i>The Three Bears</i> is a realistic tonal picture of the famous fairy tale -of Goldilocks and the three bears. An expressive <i>Andante</i> section is intended -to depict the query of the three bears, “Who’s been sitting in my -chair?” In the gentle waltz section that follows, Goldilocks goes to -sleep in the small bear’s bed. A vigorous fast section demonstrates how -the three bears discover Goldilocks and chase her wildly. They finally -give up the pursuit, go home in good humor, while Goldilocks returns -to her grandmother to tell her of her adventure that day.</p> -<p>In <i>The Three Elizabeths</i> (1944), Coates provides sensitive lyrical -portraits of three English queens, Queen Elizabeth I, the Virgin Queen; -Elizabeth, the Queen mother, widow of King George VI; and Elizabeth -II.</p> -<div class="pb" id="Page_63">63</div> -<h2 id="c37"><span class="small">Peter <b id="g_Cornelius">Cornelius</b></span></h2> -<p>Peter Cornelius was born in Mayence, Germany, on -December 24, 1824. After studying theory with Dehn in Berlin from -1845 to 1852 he became a passionate advocate of the “music of the -future” as promulgated by Liszt and Wagner. It was Liszt who introduced -Cornelius’ comic opera, <i>The Barber of Bagdad</i>, in Weimar in -1858; Liszt was finally forced to resign his conducting post in Weimar -because of the hostility of the audiences to this masterwork. From 1865 -on Cornelius lived in Munich where he was reader to King Ludwig II -and professor of harmony at the Royal Conservatory. He died in -Mayence on October 26, 1874. He was a composer of operas and songs, -but is today remembered almost exclusively for <i>The Barber of Bagdad</i>, -one of the most delightful comic operas in the German repertory.</p> -<p><i>The Barber of Bagdad</i> (<i>Der Barbier von Bagdad</i>)—whose world première -took place in Weimar on December 15, 1858, Liszt conducting—has -an amusing text written by the composer himself. The plot concerns -a rendezvous between Nureddin and Margiana, daughter of the -Caliph; Nureddin’s friend, the barber of Bagdad, stands guard. This -amatory adventure is brightened by a series of episodes and accidents in -which Nureddin (mistaking his friend for the Caliph) seeks refuge in -a chest in which he almost suffocates. All turns out well in the end. The -Caliph offers his parental blessings to Nureddin and Margiana.</p> -<p>The overture is famous. Its main melody is a chromatic Oriental subject -which represents the barber. Another significant episode is the -theme with which the overture opens: a tender melody for woodwind -and muted strings. These two ideas, and several subsidiary ones derived -from the opera score, are developed with considerable good humor and -merriment until a dramatic conclusion is realized in the coda.</p> -<div class="pb" id="Page_64">64</div> -<h2 id="c38"><span class="small">Noel <b id="g_Coward">Coward</b></span></h2> -<p>Noel Coward, one of England’s most brilliant and versatile -men of the theater in the 20th century, was born in Teddington, on -December 16, 1899. He made his stage debut in 1911 in a fairy play, -and for the next few years appeared regularly in various other productions. -His career as performer was interrupted by military service during -World War I. After the war he decided upon a career as writer. His -first major success came with the play <i>The Vortex</i>, in 1924. From then -on he wrote dramas and comedies which placed him in the front rank -of contemporary playwrights. But his achievements in the theater do -not end here. He has also distinguished himself as an actor, night-club -entertainer, producer, lyricist, composer, and on occasion even as a -conductor. He wrote the texts, lyrics, and the music to several musical -productions, the most famous of which is the operetta, <i>Bitter Sweet</i>, in -1929. Other musicals by Coward include <i>Year of Grace</i> (1928), <i>Words -and Music</i> (1932), <i>Conversation Piece</i> (1934) and <i>After the Ball</i> (1954). -Out of some of these have come such celebrated Coward songs as “Mad -About the Boy,” “Mad Dogs and Englishmen,” “Some Day I’ll Find -You” and “I’ll Follow My Secret Heart.” An anthology of fifty-one -Noel Coward songs from his various musical productions called <i>The -Noel Coward Song Book</i> was published in New York in 1953. Never -having received any musical training, Coward can play the piano only -in a single key, and must call upon the services of an amanuensis to get -his melodies down on paper.</p> -<p><i>Bitter Sweet</i> is his most famous musical, first produced in London on -July 18, 1929, and in New York on November 5, 1929. It was twice -adapted for motion-pictures, the first time in 1933 in England, and the -second time in 1940 in the United States in a production starring -Jeanette MacDonald and Nelson Eddy. In <i>Bitter Sweet</i>, Noel Coward -made a conscious effort at writing a romantic, sentimental, nostalgic -operetta in the style so long favored in Vienna; indeed it was a hearing -of a recording of Johann Strauss’ <i>Die Fledermaus</i> that proved to be the -immediate stimulus in the writing of his text. The setting is for the -<span class="pb" id="Page_65">65</span> -most part Vienna, and the time the 1880’s. Sari, an English girl, is about -to marry an English man of means when she suddenly decides to elope -with Carl, a music teacher. They go to live in Vienna. Carl comes to his -sudden death in a duel, after which Sari continues to live in Vienna -where she becomes a famous singer. In her old age, after an absence of -half a century, she returns to London.</p> -<p>Three melodies from <i>Bitter Sweet</i> have become extremely popular. -The first is a nostalgic waltz, “I’ll See You Again,” from the first act, -the love song of Sari and Carl; the song recurs again in the third act, -and its closing measures serve to bring the play to a dramatic conclusion. -“Zigeuner,” also sung by Sari is, as its name suggests, in the gypsy -style so favored by the Viennese public. The third famous melody from -<i>Bitter Sweet</i> is “If Love Were All.”</p> -<p>“I’ll Follow My Secret Heart” comes from <i>Conversation Piece</i>, first -produced in London on February 16, 1934, and in New York the same -fall. The setting of this sentimental and nostalgic operetta is the English -resort town of Brighton in 1811 where Paul, a duke turned adventurer, -and Melanie, a Parisian chanteuse, are involved in a stormy romance -that ends happily. As sung by Yvonne Printemps in London, “I’ll Follow -My Secret Heart” was the pivot on which the story rotated, and the main -reason for this operetta’s enormous success.</p> -<h2 id="c39"><span class="small">César <b id="g_Cui">Cui</b></span></h2> -<p>César Cui was born in Vilna, Russia, on January 18, 1835. He -was graduated as an engineer from the St. Petersburg Engineering -Academy in 1857; following that he served for many years as a topographer, -as an authority on fortifications, and as an engineering professor. -All the while his principal avocation was music, which he had studied -from childhood on. Between 1864 and 1900 he was active as music -critic for various Russian newspapers and journals. As a composer, he -<span class="pb" id="Page_66">66</span> -belonged to the nationalist group known as the “Russian Five” or -“Mighty Five,” but unlike his distinguished colleagues (Balakirev, -Rimsky-Korsakov, Mussorgsky and Borodin) his influence proved far -greater than his music. He wrote many operas and large orchestral -works, but none have remained alive in the repertory. He was probably -at his best in miniature for the piano, and in his songs. He died in -St. Petersburg on March 24, 1918.</p> -<p>It is with one of his miniatures that his name is still remembered. -This piece is the <i>Orientale</i>, a composition originally for violin and -piano, the ninth number in a suite of twenty-four pieces collectively -entitled <i>Kaleidoscope</i>, op. 50. The principal melody is in oriental style, -introduced and then accompanied by a persistent rhythm (which in -the original version is produced by plucked strings, while the melody -itself is first given by the piano. This melody is soon taken over by -the violin.) Transcriptions for orchestra have made this a salon favorite.</p> -<h2 id="c40"><span class="small">Claude <b id="g_Debussy">Debussy</b></span></h2> -<p>Achille-Claude Debussy, father of musical Impressionism, -was born in St. Germain-en-Laye, France, on August 22, -1862. From 1873 to 1884 he attended the Paris Conservatory where he -was both a rebellious and a brilliant student. He won many prizes, including -the Prix de Rome in 1884. In the compositions written in -Rome under the provisions of the Prix he already revealed his independence -of thought and unorthodoxy of style. After returning from -Rome to Paris he became influenced not only by the Impressionist -movement in French art and the Symbolist movement in French literature -but also by the iconoclastic musical approaches and idioms of Erik -Satie. Debussy now began to develop his own techniques and mannerisms -and to crystallize his highly personal style. His first masterworks -<span class="pb" id="Page_67">67</span> -appeared between 1892 and 1893: the orchestral prelude, <i>The Afternoon -of a Faun</i> (<i>L’Après-midi d’un faune</i>), and his string quartet. With -later works for orchestra and for solo piano—and with his remarkable -opera, <i>Pelleas and Melisande</i>, introduced at the Opéra-Comique on -April 30, 1902—he brought musical Impressionism to its highest technical -development and to its most advanced stage of artistic fulfillment. -He became the musical poet of the most subtle suggestions, elusive -moods, and delicate impressions. A victim of cancer, Debussy suffered -severely in the closing years of his life. He died in Paris on March 25, -1918, on a day when the city was being bombarded by the Germans -during World War I. Because of the war, his death passed unnoticed -except by a handful of friends.</p> -<p>Debussy’s greatest works are, to be sure, too complex in technique -and too subtle in style to enjoy ready consumption by the general public. -But a few of his compositions have a wide appeal because their -charm and sensitivity are easily comprehended, even at first hearing. -One of these is the delightful piano suite, <i>Children’s Corner</i> (1908) -written by the composer for the delight of his little daughter, Chou-Chou. -In it Debussy evokes the imaginative world of the child; but -he also produces unsophisticated descriptive music that is readily appreciated -by the very young. Debussy used English rather than French -titles for this work because he wished to suggest the kind of stories and -games that involve an English governess and a French child. André -Caplet’s orchestration of this suite is famous.</p> -<p>There are six brief movements. The first, “Doctor Gradus ad Parnassum,” is -a satire on young pianists and their struggles with five-finger exercises. -This is followed by “Jimbo’s Lullaby,” a tender lullaby crooned by a -child to his toy elephant named Jimbo. In the third movement, “Serenade -for a Doll,” the child turns from his pet elephant to his pet doll -to croon to it a sensitive serenade. “The Snow Is Falling” is a tone -picture of a snowfall, seen by a child from his window. “The Little -Shepherd” is a pastoral piece of music. The most famous movement of -the suite is the last one, “Golliwogg’s Cakewalk” in which the composer -exploits the style and rhythm of a Negro dance popular in America in -the 19th century, the cakewalk. In this movement, the composer maliciously -interpolates a fragment from the Prelude of Wagner’s <i>Tristan -and Isolde</i>.</p> -<p>The beloved <i>Clair de Lune</i> (<i>Moonlight</i>) is probably the composer’s -most celebrated melody. This is a poetic, sensitive evocation of the -peace and beauty of a moonlight light. It comes from his <i>Suite bergamasque</i> -for piano (1890), where it can be found as the third of four -<span class="pb" id="Page_68">68</span> -movements. Orchestral transcriptions have made this piece of music -world-famous.</p> -<p><i>The Girl With the Flaxen Hair</i> (<i>La Fille aux cheveux de lin</i>) is an -exquisite portrait, in the composer’s most felicitous impressionist style. -It is the eighth number of his Preludes for the piano, Book I (1910), -and like <i>Clair de lune</i> is often heard in various orchestral transcriptions; -Arthur Hartmann’s adaptation for violin and piano is also -familiar.</p> -<p>The <i>Petite Suite</i> (<i>Little Suite</i>) for piano duet (1889) is early Debussy, -more in the Romantic vein of Delibes than in the provocative idiom -Debussy later made famous. As orchestrated by Henri Busser it is in the -repertory of many salon and pop orchestras. There are four short movements. -The first, “<i>En Bateau</i>” (“<i>In a Boat</i>”) is particularly popular. In -the orchestration a gentle barcarolle melody for flute suggests the gentle -course of the boat in a placid lake. This is followed by turns by a vigorous -episode and a passionate section, both of them for the strings. The -flute then restores placidity, and the opening sensitive melody returns -in the violins. “<i>Cortège</i>” (“March”) is a pert little march tune shared -by the woodwind and strings. “<i>Menuet</i>” is of classic grace while the -finale, “<i>Ballet</i>,” has a compelling rhythmic vigor.</p> -<p><i>Rêverie</i> (1890) is a brief, atmospheric piece for the piano which has -became a favorite with Americans because in 1938 it was adapted into -the popular song, “My Reverie.”</p> -<h2 id="c41"><span class="small">Léo <b id="g_Delibes">Delibes</b></span></h2> -<p>Léo Delibes was born in St. Germain-du-Val, France, on February -21, 1836. After attending the Paris Conservatory from 1848 on, he -became an accompanist for the Théâtre Lyrique and organist of the -Church of St.-Jean et St.-François in Paris in 1853. Between 1855 and -1865 he wrote a dozen operas, none of them successful. In 1865 he was -<span class="pb" id="Page_69">69</span> -appointed chorusmaster of the Grand Opéra where he was encouraged -to write music for ballet; the first of these was <i>La Source</i> in 1866 (renamed -<i>Naila</i> when later given in Vienna). His most successful ballets -were <i>Coppélia</i> in 1870 and <i>Sylvia</i> in 1876, both still vital in the repertory. -In 1873 his most important opéra-comique, <i>Le Roi l’a Dit</i>, was -introduced by the Opéra-Comique; Delibes’ most important opera, -<i>Lakmé</i>, was first performed on April 14, 1883 by the Paris Opéra. Meanwhile, -in 1881, Delibes was appointed professor of composition at the -Conservatory. Three years after that he became a member of the French -Academy. He died in Paris on January 16, 1891.</p> -<p>Delibes is often described as the creator of modern ballet music. He -was the first composer to write symphonically for the dance, to bring to -ballet music the fullest creative and technical resources of the skilled -serious composer. Thus he opened a new field of compositions which -later composers (Tchaikovsky, Stravinsky, and Ravel among many -others) cultivated with fertility. The elegance of Delibes’ style, the -caressing warmth of his lyricism, the richness of his harmonic and -rhythmic language, the delicacy of his orchestration endow his ballet -music with interest even when it is divorced from its choreography.</p> -<p><i>Coppélia</i> is a staple in the classic ballet repertory. It was introduced -at the Paris Opéra on May 25, 1870, choreography by A. Saint-Léon, -and scenario by C. Nuitter and A. Saint-Léon based upon <i>The Sandman</i>, -a story by E. T. A. Hoffmann. <i>Coppélia</i> is the first successful ballet -to utilize the subject of a doll become human. Coppélia is a doll created -by Dr. Coppélius. She comes to life and gets out of control. Franz, thinking -she is human, falls in love with her. But when he realizes she is but -a doll he becomes reconciled with his former sweetheart, Swanilda.</p> -<p>Delibes’ score is one of the earliest in ballet to make successful use -of such folk dances as the Mazurka and the Czardas; because of his success -in this direction, many later composers of ballet music were encouraged -to follow suit.</p> -<p>An orchestral suite adapted from the score never ceases to delight -audiences at both symphonic and semi-classical concerts. It opens with -the “<i>Valse lente</i>,” a suave waltz to which Swanilda dances as she strives -to attract the attention of Coppélia, of whom she is jealous. This is followed -by the “Mazurka,” a gay episode danced by a group of villagers -after Franz has mistaken Coppélia for a human and salutes her. The -“Ballade” then comes as a pensive interlude; to this music Swanilda -puts a stalk of wheat to her ear, following a long existing superstition, -to discover if Franz has been faithful to her. When the answer is in the -<span class="pb" id="Page_70">70</span> -negative, she breaks the stalk savagely before his very eyes. “<i>Theme -Slave Varié</i>” is danced by Swanilda; this section comprises a tuneful -Polish melody and five variations. The stately and at times fiery -“Czardas” which concludes the first act is a corybantic in which all villagers -join. “<i>Valse de la poupée</i>” (or “Dance of the Doll”) is probably -the most familiar musical number in the entire ballet, an elegant waltz -danced by Swanilda as she assumes the dress, and imitates the actions, -of Coppélia.</p> -<p>The <i>Naila Waltz</i> (or <i>Pas des Fleurs</i>) was written by Delibes in 1867 -as an intermezzo for the revival in Paris of Adolph Adam’s opera <i>Le -Corsaire</i>, in Paris. When Delibes’ early ballet, <i>La Source</i>, was introduced -in Vienna as <i>Naila</i>, this waltz was interpolated into the production. -A short, vigorous introduction for full orchestra and several notes -in the basses lead to the lilting waltz melody in strings, with the woodwinds -soon joining in. Ernst von Dohnányi made an effective transcription -of this waltz for the piano.</p> -<p><i>Le Roi l’a dit</i> (<i>The King Said So</i>) is an opéra-comique with libretto -by Edmond Gondinet, introduced at the Opéra-Comique in Paris on -May 24, 1873. The plot revolves around a peasant boy whom a Marquis -is trying to pass off before the king as his own son. The peasant makes -the most of this situation to the continual embarrassment and chagrin -of the Marquis who finally manages to get rid of him by marrying him -off to a maid with whom the boy is in love.</p> -<p>The popular overture to this light opera opens with a brisk march in -full chords. A gracious little melody then unfolds in the strings. After -a return of the march music in a more subdued vein, a romantic song is -offered by the clarinets against plucked strings. The music now grows -livelier as a principal thought is given by chattering strings and woodwind. -Extended use is now made of the first graceful melody. The opening -march is at last recalled to bring the overture to a boisterous end.</p> -<p>The second of Delibes’ famous ballets, <i>Sylvia</i>, was introduced at the -Paris Opéra on June 14, 1876. The choreography was by Louis -Mérante, and the text by Jules Barbier and Baron de Reinach. The -classical subject is derived from mythology. Aminta, a shepherd, comes -to a sacred grove seeking a huntress he had once seen there. She is -Sylvia, who soon appears with her nymphs. She is later captured by -Orion, the black huntsman. But her escape is effected by Eros, and she -and Aminta are reunited in love.</p> -<p>Like <i>Coppélia</i>, <i>Sylvia</i> has a popular orchestral suite adapted from -the ballet score. After a brief Prelude comes “<i>Les Chasseresses</i>” (“The -<span class="pb" id="Page_71">71</span> -Huntresses”), sprightly music with which Sylvia and her nymphs make -their first appearance; to its rhythmic strains they dance before a statue -of Eros. A gentle “Intermezzo” follows, describing the nymphs as they -rest near a stream. In the “<i>Valse lente</i>” Sylvia dances to a graceful -musical episode. The “Barcarolle” highlights a saxophone solo; to this -background music appears a ship bearing Eros, disguised as a pirate. -The most celebrated single number in the entire suite comes next, the -“Pizzicato,” a delicate dance performed by Sylvia disguised as a slave. -The “<i>Cortège de Bacchus</i>” (“March of Bacchus”) is the dynamic music -with which a bacchanalian rite is being celebrated.</p> -<h2 id="c42"><span class="small">Gregore <b id="g_Dinicu">Dinicu</b></span></h2> -<p>Gregore Dinicu, who was born in Bucharest, Rumania, -on April 5, 1889, is a gypsy violinist who became popular in leading -Rumanian cabarets and restaurants. In 1939 he visited the United -States, scoring a major success with his gypsy orchestra at the New York -World’s Fair. His <i>Hora Staccato</i>, for violin and piano (or violin and -orchestra)—a virtuoso piece of folk character—is his only composition to -become famous outside Rumania. Jascha Heifetz, the famous virtuoso, -heard Dinicu play it in Rumania and was so delighted with it that he -transcribed it, and popularized it both at his concerts and on records. -The Hora is an exciting Rumanian folk dance with lively rhythms and -a vertiginous melody that shifts flexibly from major to minor or modal -scales. These traits are all found in Dinicu’s electrifying <i>Hora Staccato</i>.</p> -<div class="pb" id="Page_72">72</div> -<h2 id="c43"><span class="small">Gaetano <b id="g_Donizetti">Donizetti</b></span></h2> -<p>Gaetano Donizetti was born in Bergamo, Italy, on -November 29, 1797. His early music study took place in Bergamo and -Naples and was completed at the Liceo Filarmonico in Bologna. Despite -his strong bent not only for music but also for art, literature, and architecture, -he aspired for a military career. While serving in the Austrian -army he completed his first opera, <i>Enrico di Borgogna</i>, introduced in -Venice in 1818. Success came four years after that in Rome with -<i>Zoraide di Granata</i>. Now exempted from further military duty, Donizetti -was able to devote himself entirely to composition. Between 1822 -and 1829 he wrote twenty-three operas. In 1830 he achieved renown -throughout Europe with <i>Anna Bolena</i>, introduced in Milan. In the five -succeeding years he produced two masterworks by which he is still -represented in the operatic repertory: <i>L’Elisir d’amore</i> in 1832 and -<i>Lucia di Lammermoor</i> in 1835. From 1837 to 1839 he was the director -of the Naples Conservatory. In 1839 he went to live in Paris where he -wrote and had produced several highly successful operas including <i>The -Daughter of the Regiment</i> and <i>La Favorita</i> in 1840 and <i>Don Pasquale</i> -in 1843. Soon after this he returned to his native city where he was -stricken by a mental disorder and for a time confined to an asylum. He -died in Bergamo on April 8, 1848.</p> -<p>The facility with which Donizetti wrote his sixty-seven operas is -apparent in the easy flow of his lovable melodies and in the spontaneity -of his aurally agreeable harmonies. He also possesses a fine theatrical -gift, and much of his best music combines delightful lyricism and affecting -emotion with dramatic force.</p> -<p><i>The Daughter of the Regiment</i> (<i>La Fille du régiment</i>, or <i>La figlia -del reggimento</i>) was first performed at the Opéra-Comique in Paris on -February 11, 1840. The French libretto by Jean François Bayard and -Vernoy de Saint-Georges was translated into Italian by the composer. -The setting is Tyrol in 1815, then being invaded by Napoleon’s troops. -Marie is the <i>vivandière</i> (canteen manager) of the 21st Regiment of the -French army. In love with Tonio, who is suspected by the French of -<span class="pb" id="Page_73">73</span> -being a spy, she is able to prevail on the troops to save his life. But -Marie is soon compelled to be separated from both Tonio and the -French soldiers when it is discovered that she is the long lost niece of -the Countess of Berkenfeld and must return with her aunt to her castle. -The Countess wants Marie to marry the Duke of Crackenthorp. When -the French troops, with Tonio among them, storm the Berkenfeld castle -and want to reclaim Marie, the Countess now reveals that Marie is not -her niece but her daughter and thus must obey her wishes. However, -the French soldiers finally prevail on the Countess to permit Marie to -marry Tonio.</p> -<p>The most popular selections from this tuneful, and occasionally -martially stirring opera are: Marie’s moving tribute to her regiment -(“<i>Ah, chacun le sait, chacun le dit</i>”) and her tender farewell as she is -about to leave for Berkenfeld (“<i>Il faut partir, mes bons compagnons</i>”) -and a spirited French war song to victory (“<i>Rataplan</i>”) all from the first -act; and from the second act, Marie’s moving aria (“<i>Par le rang, et -l’opulence</i>”), the orchestral entr’acte “<i>Tyrolienne</i>,” and the dramatic -paean to France (“<i>Salut à la France</i>”) with which the opera ends.</p> -<p><i>Don Pasquale</i> is a classic in the literature of opera buffa. It received -its première in Paris on January 3, 1843; its libretto (by the composer -and Giacomo Ruffini) is based on a libretto created by Angelo Anelli for -another opera. The central character is an old bachelor who objected to -the marriage of his young nephew with a beautiful widow, Norina. To -teach him a lesson, Norina puts on a disguise, involves the old man in -a mock marriage, and then tortures him with her shrewish ways. Pasquale -finally becomes so relieved to discover that he has merely been -the victim of an intrigue, rather than a catastrophic marriage, that he -does not hesitate any longer to give Norina and his nephew his consent -to their marriage.</p> -<p>In the case of <i>Don Pasquale</i> its overture is heard far more often than -potpourris of principal sections. It opens with heavy descending chords -which lead into an opulent song for cellos, soon assumed by horns and -the woodwind. The heart of the overture is a saucy melody for strings. -The music now becomes dramatized with transitional material, but a -new gay melody is offered by the woodwind and strings. The main -string melody and the succeeding sprightly tune are recalled to finish -the overture in a gay mood.</p> -<p><i>L’Elisir d’amore</i> (<i>The Elixir of Love</i>) like <i>Don Pasquale</i>, is a delightful -comic opera, one of the most effervescent ever written. It received -its first performance in Milan on May 12, 1832. The libretto, by Felice -<span class="pb" id="Page_74">74</span> -Romani, was based on Eugène Scribe’s <i>Le Philtre</i>. Nemorino, in love -with Adina who rejects him, purchases a love elixir from the quack, -Dr. Dulcamara. But a sudden inheritance from his uncle, which forthwith -makes Nemorino extremely popular with the girls, proves even -more potent in winning Adina’s love than the potion itself.</p> -<p>Orchestral selections from his gay opera include one of the best loved -tenor arias in the operatic repertory. It is “<i>Una furtiva lagrima</i>,” a soulful -song by Nemorino in the second act with which he hopes to console -Adina when he sees her jealousy suddenly aroused by the fact that he -had become the favorite of the village girls. Other familiar episodes -include a merry comic number “<i>Udite, Udite</i>” in which Dr. Dulcamara -boasts of the power of his potions, and a beautiful aria, “<i>Quanto -è bella</i>,” in which Nemorino discloses his love and longing for Adina, -both in the first act.</p> -<p><i>Lucia di Lammermoor</i> is Donizetti’s most famous grand opera, and -the title role has been favored by the world’s foremost coloratura -sopranos. The libretto, by Salvatore Cammarano, was based on the Sir -Walter Scott romance, <i>The Bride of Lammermoor</i>. The opera was first -performed in Naples on September 26, 1835. Lucia, sister of Lord -Ashton, is in love with Edgar; but in planning to have her marry the -wealthy Lord Arthur Bucklaw, Lord Ashton uses lies and wiles to convince -his sister that Edgar does not love her. On the day of the signing -of the marriage contract between Lucia and Bucklaw, Edgar invades -the Lammermoor castle and curses its family. Maddened by her grief, -Lucia kills her husband soon after the wedding, and then dies. When -Edgar learns that Lucia has loved him all the time, he commits suicide.</p> -<p>The favorite selections from this opera include one of the most -famous ensemble numbers in all opera, the sextet “<i>Chi mi frena</i>.” It is -sung in Act 2, Scene 2, by Lucia, Edgar, Bucklaw, Raimond, Ashton -and Alisa after Edgar had invaded the Lammermoor castle and witnessed -the signing of the marriage contract between Lucia and Bucklaw. -Each of the characters here gives voice to his or her personal reaction -to this dramatic situation: Lucia speaks of her despair at the -treachery of her brother; Edgar wonders why he does not commit an -act of vengeance; Lord Ashton is led to sympathy at his sister’s despair; -Lucia’s companion, Alisa, and Bucklaw hope that bloodshed might be -averted; and Raimond, a chaplain, invokes divine help.</p> -<p>Another highly popular excerpt from the opera offered in orchestral -potpourris includes Lucia’s “Mad Scene” from Act 3, Scene 2 (“<i>Ardon -gl’incensi</i>”). Dressed in a white gown, Lucia appears and mistakes her -<span class="pb" id="Page_75">75</span> -brother for her beloved Edgar, who she believes has come to marry her. -Then she entreats those around her to place a flower on her grave and -not to weep at her death (“<i>Spargi d’amaro pianto</i>”).</p> -<p>Several other selections often played include Lucia’s lyrical cavatina -from Act 1, Scene 2 (“<i>Quando rapita in estasi</i>”) as she thinks of her -beloved Edgar; the love duet of Lucia and Edgar from the same scene -(“<i>Verrano a te sull’aure</i>”); and the wedding music from Act 3, Scene 1 -that precedes the “Mad Scene” (“<i>D’immenso giubilo</i>”).</p> -<h2 id="c44"><span class="small">Franz <b id="g_Drdla">Drdla</b></span></h2> -<p>Franz Drdla was born in Saar, Moravia on November 28, -1868. He attended the Conservatories in Prague and Vienna, winning -at the latter place first prize in violin playing and the medal of the -Gesellschaft der Musikfreunde. After serving for several years as a -violinist in the orchestra of the Vienna Court Opera, he toured Europe -as a concert violinist. From 1923 to 1925 he lived in the United States, -making many concert appearances. He died in Bad Gastein, Austria, -on September 3, 1944.</p> -<p>Drdla’s most famous compositions are slight but lyrical pieces for -the violin, of which he wrote over two hundred fifty. His most famous -composition is the <i>Souvenir</i>, with its familiar upward skip in the main -melody and its broad sentimental middle section in double stops. In -a similarly sentimental and gentle melodic vein (they might aptly be -described as instrumental songs) are the <i>Romance</i>, <i>Serenade in A</i> -(No. 1), and <i>Vision</i>. All are familiar to violin students, and to lovers of -light classics in transcriptions for orchestra.</p> -<div class="pb" id="Page_76">76</div> -<h2 id="c45"><span class="small">Riccardo <b id="g_Drigo">Drigo</b></span></h2> -<p>Riccardo Drigo was born in Padua, Italy, on June 30, -1846. He first became famous as conductor of orchestral concerts at the -Imperial Theater in St. Petersburg. After World War I, he continued -his activities as conductor in his native city. He died there on October -1, 1930.</p> -<p>Drigo was the composer of ballets and operas, none of which have -survived. He is today remembered almost exclusively for two slight but -well loved items. One is the melodically suave <i>Serenade</i>, popular in -every conceivable transcription. It comes out of a ballet entitled -<i>I milioni d’Arlecchino</i> (<i>Harlequin’s Millions</i>) and consequently is -sometimes known as the <i>Harlequin’s Serenade</i>. The other is <i>Valse -bluette</i>, an elegant waltz melody, which the composer originally wrote -for salon orchestra, but which is in the violinist’s repertory by virtue -of a famous transcription.</p> -<h2 id="c46"><span class="small">Arcady <b id="g_Dubensky">Dubensky</b></span></h2> -<p>Arcady Dubensky was born in Viatka, Russia, on October -15, 1890. After being graduated from the Moscow Conservatory in 1909 -he played the violin in the orchestra of the Moscow Opera. In 1921 he -came to the United States, where he later became a citizen. He served -as violinist of the New York Symphony Society, and after that of the -New York Philharmonic Orchestra, until his retirement in 1953.</p> -<div class="pb" id="Page_77">77</div> -<p>Dubensky had written many works for orchestra, whose sound technique -and fresh approaches command respect. One or two of these are -of popular appeal without sacrificing sound musical values. Of particular -interest is the <i>Stephen Foster Suite</i> for orchestra (1940), in which -Dubensky quotes five Stephen Foster songs: “My Old Kentucky Home,” -“Jeanie With the Light Brown Hair,” “Some Folks,” “I See Her Still in -My Dreams,” and “Camptown Races.” The composer goes on to explain: -“The first part represents to me a beautiful summer evening in -the country. From far away I hear a choir, coming gradually closer and -then fading into the distance. It sings to me the wonder song, ‘My Old -Kentucky Home.’ The second part is built around ‘Jeanie With the -Light Brown Hair.’ Here the melody is given to a tenor solo, with a -soft, gentle orchestral accompaniment beginning with a short introduction. -The last two parts are for orchestra. The fourth part centers -around the song ‘I See Her Still In My Dreams.’ It is a dreamy song, and -I have given it the character of an intermezzo played by string orchestra, -muted. If this movement is played in slow tempo, and pianissimo, it -sounds not at all realistic but like the dream it portrays. The fifth part, -‘Camptown Races’ is the focal point of the suite. The theme is treated -in a number of different keys and always in a different character. Sometimes -it is delicate and graceful, and sometimes rude and robust, but -always it is gay.”</p> -<h2 id="c47"><span class="small">Paul <b id="g_Dukas">Dukas</b></span></h2> -<p>Paul Dukas was born in Paris, France, on October 1, 1865. -After attending the Paris Conservatory, where he won prizes in counterpoint -and fugue as well as the second Prix de Rome, he served as music -critic for several Parisian journals. From 1910 to 1912 he was professor -of orchestration at the Paris Conservatory, and from 1927 until his -death its professor of composition. His first successful work was a concert -<span class="pb" id="Page_78">78</span> -overture, <i>Polyecute</i>, introduced in Paris in 1892. His Symphony in -C major, first heard in 1897, enhanced his reputation while his orchestral -scherzo, <i>The Sorcerer’s Apprentice</i>, also introduced in 1897, made -him famous. Being exceptionally fastidious and self-critical, Dukas did -not produce many compositions, but the best of these are works so aristocratic -in technique and subtle in musical content that they make a -direct appeal only to sophisticated music lovers. These works include -the opera <i>Ariane et Barbe-bleue</i>, first performed in Paris on May 10, -1907; the ballet, <i>La Péri</i>, introduced in Paris on April 22, 1912; and some -piano music. Towards the end of his life, Dukas destroyed several of -his earlier works deeming them unsuitable for survival. He was one of -France’s most revered musicians. He was made Chevalier of the Legion -of Honor in 1906, and in 1918 elected a member of the <i>Conseil de -l’enseignement supérieur</i> at the Paris Conservatory. He died in Paris -on May 17, 1935.</p> -<p><i>The Sorcerer’s Apprentice</i> (<i>L’Apprenti sorcier</i>), scherzo for orchestra -(1897), is Dukas’ most famous composition, the one that made him -known throughout the world of music. It is so witty, so vivid in its pictorial -writing that it has become a favorite of both the very young and -the mature. The program, which the music follows with amazing literalness, -comes from Goethe’s ballad <i>Der Zauberlehrling</i> which, in turn, -was adapted from a famous folk tale. The story goes something like this: -An apprentice to a magician has come upon his master’s secret formula -for turning a broom into a human being and making it perform human -tasks. The apprentice decides to try out this incantation for himself -while the master is away, and watches with amazement as the broom -acquires human powers. He orders the broom to fetch water, a command -meekly obeyed. Pail after pail of water is carried into the magician’s -shop by the broom until the place is rapidly being inundated. -The apprentice now tries to arrest the water-fetching activity of the -broom, but he does not know the proper incantation to achieve this, or -to strip the broom of its human powers. In terror, the apprentice attacks -the broom with a hatchet. The broom, split into two brooms, now -becomes two humans performing the ritual of bringing water into the -den. In despair, the apprentice cries out for his master who arrives in -time to bring the broom back to its former inanimate state, and to -restore order.</p> -<p>The atmosphere of mystery and peace prevailing in the magician’s -den is created in the opening measures with a descending theme for -muted violins, while different woodwinds give a hint of the principal -<span class="pb" id="Page_79">79</span> -subject, a roguish tune describing the sorcerer’s apprentice; this subject -finally appears in the double bassoon, and is then repeated by the full -orchestra. The call of trumpets suggests the incantation pronounced by -the apprentice; a brisk theme for bassoons against plucked strings describes -the parade of the broom back and forth as it brings the water; -and arpeggio figures in the orchestra depict the water itself. The music -then portrays the mounting terror of the apprentice as he is unable to -arrest the march of the broom. After an overwhelming climax, at which -point the apprentice splits the broom into two with a hatchet, the saucy -march tune is doubled to inform us that two brooms are now at work. -A shriek in the orchestra simulates the panic-stricken call of the apprentice. -After the master arrives and sets things in order, the music of the -opening measures is repeated to suggest that once again the magician’s -den is pervaded by peace and mystery.</p> -<p><i>The Sorcerer’s Apprentice</i> was made into an animated motion picture -by Walt Disney, the Dukas music performed on the sound track by -the Philadelphia Orchestra under Stokowski; it was part of a program -collectively entitled <i>Fantasia</i> which came to New York on November -13, 1940.</p> -<h2 id="c48"><span class="small">Antonin <b id="g_Dvorak">Dvořák</b></span></h2> -<p>Antonin Dvořák was born in Muehlhausen, Bohemia, on -September 8, 1841. As a boy he studied the violin with the village -schoolmaster. He subsequently attended the Organ School in Prague. -After completing his studies, he played in various orchestras in Prague, -including that of the National Theater from 1861 to 1871 where he -came under the influence of Smetana, father of Bohemian national -music. Dvořák first attracted interest as a composer with <i>Hymnus</i>, a -choral work introduced in 1873. Two years later he won the Austrian -State Prize for a symphony, and in 1878 he became famous throughout -<span class="pb" id="Page_80">80</span> -Europe with the <i>Slavonic Dances</i>. In 1883 he was appointed organist -of the St. Adalbert Church in Prague. From 1892 to 1895 he was the -director of the National Conservatory in New York. During this period -he was influenced in his compositions by the folk music of the American -Negro and Indian. From 1901 until his death he was director of the -Prague Conservatory. He died in Prague on May 1, 1904.</p> -<p>A prolific composer of operas, symphonies, chamber and piano music, -and songs, Dvořák stood in the forefront of the Romantic composers -of the late 19th century and among the leading exponents of Bohemian -national music. He was gifted with an expressive melodic gift, a strong -and subtle rhythmic pulse, and an inventive harmonic language. Whatever -he wrote was charged with strong emotional impulses, whether he -used the style of Bohemian folk music or those of the American Negro -and American Indian.</p> -<p>The <i>Carnival Overture</i> (<i>Carneval</i>), written in 1891, is one of three -overtures planned by the composer as a cycle to portray “three great -creative forces of the Universe—Nature, Life, and Love.” A unifying -element among them was a melody intended to describe the “unchangeable -laws of Nature.” Eventually, Dvořák abandoned this plan and published -the three overtures separately, calling them <i>In Nature</i> (<i>In der -Natur</i>), op. 91, <i>Carnival</i>, op. 92, and <i>Othello</i>, op. 93.</p> -<p>Dvořák himself provided a description of the music of <i>Carnival Overture</i>. -He aimed to describe “a lonely, contemplative wanderer reaching -the city at nightfall where a carnival of pleasure reigns supreme. On -every side is heard the clangor of instruments, mingled with shouts of -joy and the unrestrained hilarity of the people giving vent to their feelings -in songs and dances.” The overture begins with a lively section portraying -the gayety of the carnival. A subdued melody in the violins -brings relaxation, but the hubbub soon returns. Another gentle episode -depicts a pair of lovers in a secluded corner; the principal melodic -material in this part is offered by the solo violin, and by the English -horns and flutes. The brilliant opening material returns. It is with this -spirit of revelry that the overture ends.</p> -<p>The <i>Humoresque</i> in G-flat major is the seventh in a set of eight -<i>Humoresques</i> for piano (1894). This delightful, elegant piece of music -in three-part song form has been transcribed not only for orchestra but -for every possible instrument or combinations of instruments, and is -undoubtedly the most popular composition by the composer. It was -Fritz Kreisler, the famous violin virtuoso, who helped make the work -so famous. Kreisler visited Dvořák in 1903 and asked him for some -<span class="pb" id="Page_81">81</span> -music. Dvořák showed him a pile of compositions, most of it completely -unknown. Among these was the G-flat major <i>Humoresque</i>. -Kreisler transcribed it for violin and piano, introduced it at his concerts, -later recorded it, and made it universally popular. As we know it -today the <i>Humoresque</i> is not the way Dvořák intended it to sound. -Dvořák wanted it to be a light, whimsical piece of music, a “humoresque,” -in fast tempo. Kreisler transcribed it in a slower tempo and -more sentimental mood; and it is in this style that <i>Humoresque</i> is now -known and loved.</p> -<p>The <i>Indian Lament</i> is one of several compositions by Dvořák influenced -by the idioms of American-Indian music. While serving as director -of the National Conservatory in New York, he paid a visit to the -town of Spillville, Iowa. There three Iroquois Indians visited him and -entertained him with authentic Indian music. Dvořák was so taken -with this strange and haunting lyricism, and the primitive rhythms, -that he wrote several major works incorporating these idioms. One was -a Sonatina in G major for violin and piano, op. 100 (1893). Its slow -movement is a delicate song embodying the intervallic peculiarities of -authentic American-Indian music. Fritz Kreisler edited this movement -and named it <i>Indian Lament</i>, the version in which it has become -famous. Gaspar Cassadó transcribed this movement for cello and piano.</p> -<p>Dvořák’s <i>Largo</i> is the second movement of his Symphony No. 5 in -E minor better known as the <i>Symphony from the New World</i> (1893). -This is the symphony written by Dvořák during his visit to the United -States as director of the National Conservatory. One of his students -was Harry T. Burleigh, who brought to his attention the music of the -Negro Spiritual. These melodies moved Dvořák so profoundly that he -urged American composers to use the style, technique and personality -of these Negro songs as the basis for national American music. As if to -set an example, Dvořák wrote several compositions in which his own -melodic writing was strongly influenced by the Negro Spiritual. The -most significant of these was his symphony, which received its world -première in the United States (at a concert of the New York Philharmonic -Orchestra on December 15, 1893, Anton Seidl conducting). The -main spacious, poignant melody of the Largo movement—given by English -horn over string harmonies after a few preliminary chords—so -strongly simulates the personality of a Negro Spiritual that it was long -thought that Dvořák was indulging in quotation. This is not true; the -melody is Dvořák’s own. Many transcriptions of this melody exist. One -is the familiar song, “Goin’ Home,” lyrics by William Arms Fisher (also -<span class="pb" id="Page_82">82</span> -one of Dvořák’s pupils); another is a composition for violin and piano -by Fritz Kreisler called <i>Negro Spiritual Melody</i>; a third is an adaptation -for salon orchestra by Sigmund Romberg.</p> -<p>This Largo movement has two other melodies besides the basic one -in the Negro-Spiritual style. One is heard in flute and oboe, and the -second in the oboe.</p> -<p>The <i>Scherzo Capriccioso</i>, in D-flat major, op. 66 (1883) is one of the -composer’s liveliest and most dynamic larger works for orchestra, but -in an idiom that is neither Bohemian nor American. It is in two sections. -The first is the Scherzo, opening with an energetic subject for -horns that is a kind of a motto theme for the entire work. The principal -melody that follows is stated by full orchestra; after that comes a waltz-like -tune for violins. The second part of the composition, a trio, is introduced -by an expressive melody for English horn. A secondary theme -then comes in the strings and wind. The principal idea of the first section -now receives extended treatment before the second theme of the -second part returns in a modified form. The work ends with a coda in -which effective use is made of the opening motto subject.</p> -<p>Dvořák achieved international fame for the first time with the first -set of eight <i>Slavonic Dances</i>, op. 46, published in 1878. He had been -recommended to the publisher Simrock by Brahms; it was the publisher -who suggested to Dvořák that he write Slavonic dances similar to the -Hungarian dances which Brahms had made so popular. Dvořák wrote -his first set for piano four-hands; but these instantly proved so successful -that Simrock prevailed on Dvořák to orchestrate them. In 1886, -Dvořák wrote a second set of eight <i>Slavonic Dances</i>, op. 72, once again -both for four-hand piano and for orchestra. Though the melodies and -harmonic schemes in all these dances are Dvořák’s, they have caught the -essence of the Slavonic folk song and dance, and to such a degree that -their authentic national character has never been questioned. Karel -Hoffmeister wrote: “Something of the Slavic character speaks in every -phrase of them—the stormy high-spirited mood of the Furiants; the -whimsical merriment, the charm, the touch of coquettry, the ardent -tenderness of the lyrical passages.”</p> -<p>The following are among the best known of these dances:</p> -<p>C major, op. 46, no. 1. A chord sustained through one measure is -followed by a whirlwind presto passage. After a sudden pianissimo we -hear a second rhythmic melody. Music of a more serene character appears -in flute and strings after a change of key. A force climax is -evolved to set the stage for the return of the opening whirlwind subject.</p> -<div class="pb" id="Page_83">83</div> -<p>E minor, op. 46, no. 2. A poignant melody is here contrasted with a -dynamic rhythmic section. Fritz Kreisler transcribed this dance for -violin and piano.</p> -<p>A-flat major, op. 46, no. 6. A dance melody with a strong rhythmic -impulse is the opening subject. Pianissimo chords lead to a new virile -subject, but there soon comes a decisive change of mood with two -expressive melodies. This dance, however, ends dynamically.</p> -<p>G minor, op. 46, no. 8. This is one of the gayest of the Slavonic -dances, alive in its electrifying changes of dynamics and tonality.</p> -<p>E minor, op. 72, no. 2. This is one of the best loved of all these dances, -a song of rare sensitivity and sadness, only temporarily alleviated by -the more optimistic music of the middle section. Fritz Kreisler transcribed -it for violin and piano.</p> -<p>A-flat major, op. 72, no. 8. Here, as in the preceding E minor dance, -the emphasis is on tender, elegiac song in strings. A dramatic middle -section provides some relief, but the gentle moodiness of the opening -section soon returns. Fritz Kreisler transcribed it for violin and piano.</p> -<p><i>Songs My Mother Taught Me</i> is one of Dvořák’s most celebrated -songs. It is one of seven gypsy songs, based on Slavonic-gypsy folk -idioms, gathered in op. 55 (1880); the lyrics are by Adolf Heyduk. This -nostalgic, delicate melody has enjoyed numerous transcriptions, including -one for violin and piano by Fritz Kreisler, and another for cello -and piano by Alfred Gruenfeld.</p> -<h2 id="c49"><span class="small">Sir Edward <b id="g_Elgar">Elgar</b></span></h2> -<p>Sir Edward Elgar was born in Broadheath, near Worcester, -England on June 2, 1857. He studied the organ with his father, and -the violin with Adolf Pollitzer in London. In 1885 he succeeded his -father as organist of St. George’s Church in Worcester. Two years after -his marriage to Alice Roberts, which had taken place in 1889, he withdrew -<span class="pb" id="Page_84">84</span> -to Malvern where he lived the next thirteen years, devoted completely -to serious composition. Several choral works were performed at -various English festivals before Elgar achieved outstanding success, first -with the <i>Enigma Variations</i> for symphony orchestra, introduced in -London in 1899, and then with his oratorio, <i>The Dream of Gerontius</i>, -whose première took place in Birmingham in 1900. From then on Elgar -assumed a position of first importance in English music by virtue of his -two symphonies, vast amount of orchestral, choral and chamber music, -and songs. He was generally regarded one of the most significant English -composers since Purcell in the 17th century. Elgar was knighted in -1904, appointed Master of the King’s Music in 1924, and made a -baronet in 1931. He died in Worcester, England, on February 23, 1934.</p> -<p>It is not difficult to understand Elgar’s enormous popularity. Together -with an elegant sense of structure and style, and a consummate -musicianship, he had a virtually inexhaustible fund of ingratiating -lyricism. His best works are conceived along traditional lines. They are -Romantic in concept, and poetic in content. These qualities—and with -them a most ingratiating sentiment—are also found in his semi-classical -pieces.</p> -<p>The <i>Bavarian Dances</i>, for orchestra, come from <i>The Bavarian Highlands</i>, -a set of choral songs based on Bavarian folk songs adapted by -Elgar’s wife, Alice, and set for chorus with piano and orchestra, op. 27 -(1895). Three folk tunes were subsequently adapted by the composer -for orchestra. Collectively called <i>Bavarian Dances</i>, the individual dances -were subtitled by the composer “The Dance,” “Lullaby,” and “The -Marksman.” These dances were first introduced in London in 1897 and -have since enjoyed universal acceptance in some cases for their peasant -rhythmic vigor, and in others for their atmospheric charm.</p> -<p>The <i>Cockaigne Overture</i> (<i>In London Town</i>), for orchestra, op. 40 -(1901) describes London “as represented by its parks and open spaces, -the bands marching from Knightsbridge to Buckingham Palace, Westminster -with its dignified associations of Church and State,” in the -words of Sir George Grove. The composer himself revealed he wanted -to portray in his music the sights witnessed by a pair of lovers as they -stroll through the city. The hubbub of the city is depicted in the opening -measures, following by an intensely romantic section highlighted by -a broad melody for strings, reflecting the feelings of the lovers as they -stop off momentarily to rest in a public park. They continue their walk, -hear the approaching music of a brass band, then enter a church where -organ music is being played. The lovers continue their walk. The animated -<span class="pb" id="Page_85">85</span> -life of the city streets once again is reproduced, and the earlier -romantic melody telling of their emotional ardor for each other is -repeated.</p> -<p><i>In the South</i> (<i>Alassio</i>), a concert overture for orchestra, op. 50 (1904) -was written one Spring while the composer was vacationing in southern -Europe. This work reflects Elgar’s intense love of Nature. The following -quotation appears in the published score: “A land which <i>was</i> the -mightiest in its old command and <i>is</i> the loveliest; wherein were cast the -men of Rome. Thou are the garden of the world.” The overture opens -with a gay tune for clarinets, horns, violins and cellos. It receives vigorous -treatment and enlargement before a pastoral section is given by the -woodwind and muted strings, a description of a shepherd and his flock. -The overture then alternates between stress and tranquillity, with great -prominence being given to the shepherd’s melody. A viola solo then -leads to the recapitulation section.</p> -<p><i>Pomp and Circumstance</i> is a set of five marches for symphony orchestra, -op. 39. The composers wanted these marches to provide such -music with symphonic dimensions in the same way that dance music -(polonaise or waltz, etc.) acquired artistic stature at the hands of -Chopin, among others. The phrase “pomp and circumstance” comes -from Shakespeare’s <i>Othello</i>. The five marches are in the keys of D -major, A minor, C minor, G major, and C Major. The first two were -written in 1901; the third, in 1905; the fourth in 1907; and the fifth in -1930. The most famous of these is the second in A minor, one of Elgar’s -most frequently performed compositions, and music as often identified -with the British Empire as “God Save the King.” It opens in a restless, -vigorous vein and erupts into a spacious melody for strings which -Laurence Housman subsequently set to lyrics (“Land of Hope and -Glory”). Elgar once again used this same melody in his <i>Coronation Ode</i> -for King Edward VII in 1902. The opening brisk, restless music is recalled -after a full statement of the melody.</p> -<p>The first in D major has a vigorous introduction after which unison -strings come forth with a robust march tune. The opening introduction -is subsequently used as a transition to the trio in which a soaring melody -is set against a uniform rhythmic beat.</p> -<p>The fourth in G major, known as “Song of Liberty,” is also familiar. -Once again the opening consists of spirited march music, and once -again the heart of the composition is a broad and stately melody for the -strings. This melody receives extended treatment which culminates -with a rousing statement by the full orchestra.</p> -<div class="pb" id="Page_86">86</div> -<p><i>Salut d’amour</i>, for chamber orchestra, op. 12 (1889) is a nostalgic and -sentimental piece of music in three-part song form that has become a -salon favorite. It is also famous in a transcription for violin and piano.</p> -<h2 id="c50"><span class="small">Duke <b id="g_Ellington">Ellington</b></span></h2> -<p>Edward Kennedy “Duke” Ellington was -born in Washington, D.C. on April 29, 1899. His career as a popular -musician began in his adolescence when he performed jazz pieces on the -piano in an ice-cream parlor in Washington, and after that formed his -own jazz group. In 1923 he came to New York where he soon thereafter -formed a jazz band which performed at the Kentucky Club in Harlem. -Discovered by Irving Mills, the publisher, Ellington was booked for the -Cotton Club where he remained several years and established his fame -as an outstanding exponent of real jazz—as pianist, conductor of his -orchestra, composer, and arranger. He has since joined the all-time -greats of jazz music, acclaimed in night clubs, on the Broadway stage -and Hollywood screen, over the radio, on records, and in triumphant -tours throughout the music world.</p> -<p>As a composer Ellington is famous for his popular songs (“Mood -Indigo,” “Sophisticated Lady” and so forth) and short instrumental jazz -pieces (<i>Black and Tan Fantasy</i>, <i>Creole Rhapsody</i>, <i>East St. Louis -Toodle-oo</i>, etc.) All this falls within the province of either popular -music or jazz, and for this reason cannot be considered here.</p> -<p>Ellington has also produced a rich repertory of larger works for -orchestra which have a place in the permanent library of semi-classical -music in the same way that Gershwin’s larger works do. Skilfully utilizing -the fullest resources of jazz techniques, styles, and idioms, Ellington -has created in these larger works an authentically American music. He -himself prefers to consider many of these works as “Negro music” -rather than jazz; nevertheless, in their blues harmonies, jazz colorations, -<span class="pb" id="Page_87">87</span> -and melodic and rhythmic techniques these works represented jazz -music at its very best.</p> -<p>Perhaps the most distinguished of these symphonic-jazz works is -<i>Black, Brown and Beige</i>, an extended work which Ellington introduced -with his orchestra in Carnegie Hall, New York, in 1943, and which he -described as a “tonal parallel of the Negro in America.” The first movement, -“Black,” is a musical picture of the Negro at work, singing at his -labors on the docks and levees in the slavery period before the Civil -War. An alto saxophone solo brings on a plangent Spiritual, “Come -Sunday.” The second movement, “Brown,” represents the wars in -which Negroes have participated. A tenor solo sings an eloquent blues -of the unsettled condition of the Negro after the Civil War. The contemporary -Negro is the inspiration for the finale, “Beige,” utilizing -jazz idioms and styles in portraying the period of the Twenties, Thirties -and Forties. Many facets of Negro life are drawn in brief musical -episodes, including the Negro church and school, and the Negro’s -aspiration towards sophistication. The work ends on a patriotic note, -prophesying that the Negro’s place in the American way of life is secure.</p> -<h2 id="c51"><span class="small">Georges <b id="g_Enesco">Enesco</b></span></h2> -<p>Georges Enesco was born in Liveni, Rumania, on August -19, 1881. He studied the violin at the Conservatories of Vienna and -Paris, winning highest honors in both places. Following the completion -of his studies in 1899, he launched a successful career both as concert -violinist and as composer. For several years he was the court violinist -to the Queen of Rumania, besides making outstandingly successful appearances -on the concert stage throughout Europe. His debut as composer -took place in Paris before his sixteenth birthday, with a concert -devoted entirely to his own works. Success came in 1901 with his -<i>Rumanian Rhapsody No. 1</i>. Enesco also distinguished himself as a -<span class="pb" id="Page_88">88</span> -conductor. When he made his American debut—on January 2, 1923 -with the Philadelphia Orchestra in New York City—it was in the triple -role of violinist, conductor, and composer. After World War I, Enesco -divided his residence between Paris and his native Rumania while touring -the music world. He made his last American appearance in 1950 -on the occasion of the 60th anniversary of his debut as violinist; once -again he appeared in the triple role of violinist, conductor and composer. -He suffered a stroke in Paris in July 1954 and died there on -May 4, 1955. After his death, his native village, and a street in Bucharest, -were named after him.</p> -<p>Enesco was Rumania’s foremost twentieth-century composer. His -major compositions range freely over several different styles from -nationalism, to neo-classicism, to ultra-modernism. But the works with -which he first gained world fame, and which have since had the widest -circulation, are those in a national Rumanian style, with Oriental-like -melodies and propulsive rhythms all modeled after the exotic folk songs -and dances of the Rumanian gypsies.</p> -<p>In such a style are his two Rumanian rhapsodies for orchestra: No. 1 -in A major, op. 11, no. 1 (1901); No. 2 in D major, op. 11, no. 2 (1902). -The first rhapsody is the one played more often. It opens with a languorous -subject for clarinet which is soon assumed by other woodwind, -then by the strings and after that (in a quickened tempo) by the full -orchestra. A passionate gypsy tune follows in the strings; and this is succeeded -by an abandoned dance melody in first violins and the woodwind, -and an Oriental-type improvisation in solo flute. Now the mood -becomes more frenetic, with a rapid succession of whirling folk-dance -tunes and rhythms that are carried to a breathtaking climax. Relaxation -finally comes with a gentle Oriental melody in clarinet, but this -is only a passing phase. The rhapsody ends in a renewed outburst of -vitality.</p> -<p>In comparison to the first, the second rhapsody is an emotionally reserved -piece of music. After a solemn declaration by the strings, there -comes an equally sober and restrained folk song in the strings. The dark -mood thus projected becomes further intensified with a theme for English -horn against tremolo strings and continues throughout most of the -rhapsody, except for a brief interpolation of a vigorous dance melody -by the solo viola.</p> -<div class="pb" id="Page_89">89</div> -<h2 id="c52"><span class="small">Leo <b id="g_Fall">Fall</b></span></h2> -<p>Leo Fall was born in Olmuetz, Austria, on February 2, 1873. -The son of a military bandmaster, he early received music instruction -from his father. Then, after attending the Vienna Conservatory, he conducted -theater orchestras in Berlin, Hamburg, and Cologne. An opera, -<i>Paroli</i>, was unsuccessfully produced in Berlin before Fall settled permanently -in Vienna to devote himself to the writing of those charming -operettas in an abundantly lyric vein and graceful, sophisticated manner -which the Austrian capital favored. His greatest successes were <i>The -Dollar Princess</i> in 1907, <i>The Rose of Stamboul</i> (<i>Die Rose von Stambul</i>) -in 1916, and <i>Madame Pompadour</i> in 1923. He died in Vienna on September -15, 1925.</p> -<p>Fall’s most famous operetta is <i>The Dollar Princess</i> (<i>Die Dollarprinzessin</i>), -selections from which are often given on salon programs. <i>The -Dollar Princess</i>—book by A. M. Willner and F. Gruenbaum based upon -a comedy by Gatti-Trotha—was introduced in Vienna on November 2, -1907. Its first American performance took place on September 6, 1909 at -the Knickerbocker Theater in an adaptation by George Grossmith, Jr. -Some songs by Jerome Kern were interpolated into the New York production. -The “dollar princess” is the heroine of the operetta: Alice -Couder, pampered daughter of a New York coal magnate who goes in -pursuit of Freddy. When at a lavish party at the Couder mansion she -brazenly announces her intention of marrying Freddy without previously -consulting him, he leaves her in disgust, and goes off to Canada -where he becomes a successful business man. He cannot forget Alice, -however. He brings the Couders to Canada on a pretext of discussing -with the father a business deal, when he confesses his love to Alice, who -no longer is brazen or arrogant.</p> -<p>A Viennese operetta must by necessity have a major waltz number, -and <i>The Dollar Princess</i> is no exception; “<i>Will sie dann lieben treu -und heiss</i>” from Act 1, is the most important melody of the operetta. -When other selections from this operetta are given they invariably include -also the lilting title song from Act 2, and the seductive little duet -“<i>Wir tanzen Ringelreih’n hin einmal und her</i>.”</p> -<div class="pb" id="Page_90">90</div> -<h2 id="c53"><span class="small">Manuel de <b id="g_Falla">Falla</b></span></h2> -<p>Manuel de Falla, Spain’s most significant twentieth-century -composer, was born in Cádiz on November 23, 1876. After studying -music with private teachers in his native city, and with J. Tragó and -Felipe Pedrell in Madrid, he completed in 1905 <i>La Vida breve</i>, a one-act -opera that received first prize in a competition for native Spanish -operas sponsored by the Academia de Bellas Artes. From 1907 to 1914 -he lived in Paris where he absorbed French musical influences and -became a friend of Debussy and Ravel. In 1914 he was back in his native -land; from 1921 to 1939 he lived a retiring existence in Granada, devoting -himself to serious composition. He left his native land in 1939 -because of his disenchantment with the Franco regime which he had -originally favored. Until his death on November 14, 1946, he lived in -seclusion in Alta Gracia, in the province of Córdoba, in Argentina.</p> -<p>Falla’s art is deeply embedded in the soil of Spanish folk songs and -dance. His major works, which number a mere handful, are all evocations -of the spirit of Spain in music which, though never a direct quotation -from Spanish sources, is nevertheless Spanish to the core in details -of melody, harmony, and rhythm. His principal works include a -harpsichord concerto, <i>Nights in the Gardens of Spain</i> (<i>Noches en los -jardines de España</i>) for piano and orchestra, the ballet <i>El Amor brujo</i>, -and the opera <i>The Three-Cornered Hat</i> (<i>El sombrero de tres picos</i>).</p> -<p>In Falla’s most effective national idiom are two popular Spanish -dances. The <i>Ritual Fire Dance</i> (<i>Danza ritual del fuego</i>) is the seventh -section from the ballet, <i>El Amor brujo</i> (1915). Trills with the searing -intensity of hot flame lead into a languorous Spanish melody for the -oboe, behind which moves an irresistible rhythm. This is followed by -a second subject more intense in mood, loudly proclaimed by unison -horns and after that repeated quietly by muted trumpets. Throughout, -this dance has an almost savage ferocity, the music continually punctuated -by piercing chords; the dance is finally brought to a frenetic conclusion. -The composer himself made a highly effective transcription of -this dance for solo piano, and Gregor Piatigorsky for cello and piano.</p> -<div class="pb" id="Page_91">91</div> -<p>The <i>Spanish Dance No. 1</i> comes from the second act of the opera, -<i>La Vida breve</i>, with which Falla first achieved recognition. An impulsive -rhythmic opening serves as the background for a bold and sensual -gypsy melody for horns and strings. The piece ends with rich chords -for full orchestra. Fritz Kreisler made a fine transcription of this dance -for violin and piano.</p> -<h2 id="c54"><span class="small">Gabriel <b id="g_Faure">Fauré</b></span></h2> -<p>Gabriel-Urbain Fauré was born in Pamiers, France, -on May 12, 1845. His music study took place in Paris with Niedermeyer -and Saint-Saëns. After that he served as organist in Rennes and Paris, -and held the important post of organist at the Madeleine Church in -Paris from 1896 on. In 1896 he also became professor of composition at -the Paris Conservatory where, from 1905 until 1920, he was director. In -1909 he was elected member of the Académie des Beaux Arts, and in -1910 made Commander of the Legion of Honor. In the last years of his -life he suffered from deafness. He died in Paris on November 4, 1924.</p> -<p>Fauré was one of France’s major composers, creator of a considerable -library of piano and chamber music as well as works for symphony -orchestra which included <i>Pelleas and Melisande</i>, a suite (1898) and the -<i>Ballade</i> for piano and orchestra (1881). His music is filled with classic -beauty, serenity, and a most delicate sensibility and thus makes an -appeal only to a highly cultivated music lover. But a few of his works -have such melodic charm and appealing moods that they cannot fail to -cast a spell even on the untrained listener.</p> -<p><i>Après un rêve</i> is a song, the first in a set of three published as op. 7 -(1885), lyrics by Romain Bussine. Exquisite in its sensitive lyricism, -this melody has become popular in many transcriptions, some for -orchestra, one for violin and piano by Mischa Elman, and another for -cello and piano by Pablo Casals.</p> -<p><i>Dolly</i> (1893-1896) is a suite of six pieces for children which the composer -<span class="pb" id="Page_92">92</span> -originally wrote as a piano duet for Dolly Bardac, daughter of a -woman who later became Debussy’s wife. Henri Rabaud orchestrated -this suite in 1906, and it was first performed in connection with a ballet -staged at the Théâtre des Arts in Paris. In this music the composer looks -back on childhood and the world of the child with poetic insight and -occasionally a gentle sense of humor; in this respect this suite is not unlike -<i>Children’s Corner</i> of Debussy. It opens with “Berceuse,” a gentle -melody for the woodwind, which Jacques Thibaud arranged for violin -and piano. This is followed by “Mi-a-ou,” a little quartet for muted -trumpets. A flute solo dominates “<i>Le Jardin de Dolly</i>,” while “<i>Kitty -Valse</i>” is a light and vivacious waltz tune. In “<i>Tendresse</i>” the melody is -first heard in strings. A tranquil middle section presents the solo oboe -above a harp accompaniment. The closing movement, “<i>Le Pas espagnol</i>” -is gay and brilliant music that pays homage to Chabrier, composer -of <i>España</i>.</p> -<p>The <i>Pavane</i>, for orchestra, op. 50 (1887) is music of stately, classic -beauty over which hovers the Hellenic spirit so often found in Fauré’s -most significant works. Against an insistent rhythm, the flute offers the -haunting refrain of the Pavane. This dance melody is soon shared by -the other woodwind, after which it unfolds completely in violins and -the woodwind, other strings providing a rhythmic pizzicato accompaniment. -A transition in the strings then leads us back to the graceful mood -and the gentle lyricism of the Pavane melody.</p> -<p>The same subdued and classic repose we find in the <i>Pavane</i> distinguishes -another of Fauré’s popular compositions, the <i>Sicilienne</i>, for -cello and piano, op. 78 (1898). Transcriptions for orchestra of this composition -are even more famous than the original version.</p> -<h2 id="c55"><span class="small">Friedrich <b id="g_Flotow">Flotow</b></span></h2> -<p>Friedrich Freiherr von Flotow was born -in Teutendorf, Mecklenburg, on April 26, 1812. He was descended -from a family that traced its nobility back several centuries. After studying -<span class="pb" id="Page_93">93</span> -music in Paris with Anton Reicha and Johann Pixis between 1828 -and 1830, he wrote his first opera, <i>Peter und Katharina</i>. Success came -first with <i>Alessandro Stradella</i> introduced in Hamburg in 1844, and -was solidified in 1847 with the opera by which he is still remembered, -<i>Martha</i>. From 1856 to 1863 he was Intendant of the Schwerin Court -Theater. He went into retirement in 1880 and died in Darmstadt, Germany, -on January 24, 1883.</p> -<p>The ebullient melodies with which Flotow flooded his operas made -him extremely popular in his day. This same joyous lyricism keeps the -overtures to <i>Alessandro Stradella</i> and <i>Martha</i> fresh in the orchestral -repertory.</p> -<p><i>Alessandro Stradella</i>—introduced in Hamburg on December 30, 1844—was -based on a romantic episode in the life of a 17th century opera -composer; the libretto was by Wilhelm Friedrich. Stradella elopes with -Leonora, whose guardian hires assassins to kill the composer. But -Stradella’s singing has such an effect on the assassins that they are incapable -of murdering him. They let him go, and in the end the guardian -himself is moved to forgive the composer and sanction his union with -Leonora.</p> -<p>The overture opens with a solemn chant for the brass (Stradella’s -song in the last act). Vigorous transitional material leads to a robust -song for full orchestra which is soon repeated expressively by the strings. -A sprightly tune for strings (the bell chorus of the second act) is given -prominent treatment and developed climactically. The mood now alternates -between lightness and gaiety with an occasional intrusion of a -strong dramatic effect.</p> -<p><i>Martha</i> received its première in Vienna on November 25, 1847. The -libretto, by Friedrich Wilhelm Riese was based on a ballet-pantomime -by Vernoy de Saint-Georges. “Martha” is Lady Harriet in disguise as a -servant girl for the sake of an amusing escapade; and the opera is concerned -with her amatory adventures with Lionel, and that of her maid -with Plunkett, at the Richmond fair. The complications that ensue -when the men discover this deception are eventually happily resolved.</p> -<p>The overture begins with a slow introduction which leads into a -<i>Larghetto</i> section where considerable attention is paid to the main -melody of the quintet at the close of the third act, “<i>Mag der Himmel -euch vergeben</i>.” The tempo quickens as the lively country dances of -the opera are presented. A crescendo reaches towards a fortissimo restatement -of the main theme of the third-act quintet, and the overture -ends with a brief and energetic coda.</p> -<div class="pb" id="Page_94">94</div> -<p>Salon orchestras often present potpourris of this opera’s main -melodies. Two are always dominant in such potpourris. “The Last Rose -of Summer” (“<i>Qui sola, vergin rosa</i>”)—an aria sung by the heroine in -the second act—is a melody familiar to all; it is not by Flotow, but from -an old Irish song, “The Groves of Blarney,” set to a poem by Thomas -Moore. The second famous melody from <i>Martha</i> is the beautiful tenor -aria from the third act, “<i>M’Appari</i>,” in which Lionel expresses his grief -when he feels he has lost Martha for good.</p> -<h2 id="c56"><span class="small">Stephen <b id="g_Foster">Foster</b></span></h2> -<p>Stephen Collins Foster, America’s foremost song -composer, was born in Lawrenceville, near Pittsburgh, Pennsylvania -on July 4, 1826. He received no formal musical training. <i>Tioga Waltz</i>, -in 1841, was his first piece of music to get performed. About a year -after that, Foster published his first song, “Open Thy Lattice, Love.” -His initial success came with “Oh, Susanna!” for which he received only -$100. But “Oh, Susanna!” became so popular soon after its publication -in 1848 that it became the theme song (with improvised lyrics) of the -Forty Niners on their way to California. Beginning with 1848 he wrote -songs for Ed Christy’s Minstrels—at first allowing some of them to -appear as Christy’s own creations. It was within the context of the -minstrel show that such permanent Foster favorites as “Camptown -Races” and “Old Folks at Home” were first performed. Both songs -were outstandingly successful and, because of a favorable contractual -arrangement with a New York publisher, Foster was earning handsome -royalties. Now feeling financially secure, Foster married Jane Denny -McDowell in 1850, a relationship that was unhappy almost from the -beginning. In 1860 Foster came to New York with the hope of furthering -his career as a composer. But by now he was virtually forgotten by -the public, and publishers paid him only a pittance for his last songs, -many of them mostly hack pieces. Always disposed towards alcohol, -<span class="pb" id="Page_95">95</span> -Foster now became a habitual drunkard, living in the most abject poverty -in a miserable room on the Bowery. He died at Bellevue Hospital -on January 13, 1864.</p> -<p>Foster was the composer of numerous songs which in various orchestral -arrangements are basic to the repertory of every salon or pop -orchestra. His greatest songs were inspired by the Negro; they are the -eloquent expressions of Northern sentiment about slavery in the South. -Foster’s most famous Negro songs are: “Old Folks at Home” (or -“Swanee River”), “Massa’s in de Cold, Cold Ground,” “My Old Kentucky -Home,” and “Ol’ Black Joe.”</p> -<p>When Foster first wrote “Old Folks at Home” his inspiration was an -obscure Florida River by the name of “Pedee.” But while writing his -song he thought “Pedee” not sufficiently euphonious for his purpose. -He went to a map of Florida to find another river, came upon “Suwanee” -which he contracted to “Swanee.”</p> -<p>Foster was also successful in the writing of sentimental ballads. Here -his most important songs were “Jeanie With the Light Brown Hair” -(written for and about his wife), and “Beautiful Dreamer.”</p> -<p>Besides orchestral adaptations of individual songs, Foster’s music is -represented on orchestral programs by skilful suites, or ingenious symphonic -transcriptions of individual songs, by other composers. Arcady -Dubensky’s <i>Stephen Foster Suite</i> is discussed in the section on Dubensky, -and Lucien Caillet’s <i>Fantasia and Fugue on “Oh, Susanna!”</i> in the -Caillet section. Other composers to make symphonic use of Foster’s -melodies are: Mario Castelnuovo-Tedesco (<i>Humoresques on Foster -Themes</i>); Morton Guild (<i>Foster Gallery</i>); and Alan Shulman (<i>Oh, -Susanna!</i>).</p> -<h2 id="c57"><span class="small">Rudolf <b id="g_Friml">Friml</b></span></h2> -<p>Rudolf Friml was born in Prague, Czechoslovakia, on December -7, 1879. He received his musical training at the Prague Conservatory, -after which he toured Europe and America as assisting artist -<span class="pb" id="Page_96">96</span> -and accompanist for Jan Kubelik, the noted violin virtuoso. In 1906, -Friml established permanent residence in the United States, making -several appearances as concert pianist, twice in the performance of his -own Concerto in B-flat. He now published piano pieces, instrumental -numbers, and songs which attracted the interest of two publishers, Gus -Schirmer and Max Dreyfus. When, in 1912, Victor Herbert stepped out -of an assignment to write the music for the operetta <i>The Firefly</i>, both -Schirmer and Dreyfus recommended Friml as his replacement. <i>The -Firefly</i> made Friml famous. Until 1934 he continued writing music for -the Broadway stage, achieving further triumphs with <i>Rose Marie</i> in -1924, <i>The Vagabond King</i> in 1925, and <i>The Three Musketeers</i> in 1928. -After 1934, Friml concentrated his activity on motion pictures in Hollywood.</p> -<p>Friml belongs with those Broadway composers of the early 20th century -whose domain was the operetta modelled after German and Austrian -patterns. As long as the operetta was popular on the Broadway -stage, Friml remained a favorite, for his ingratiating melodies, pleasing -sentimentality, winning charm, and strong romantic flair were in -the best traditions of the operetta theater. But when the vogue for -operettas died down and the call came for American musicals with -native settings and characterizations, realistic approaches, and a greater -cohesion between text and music, Friml’s day was over. He has produced -nothing of significance since the middle 1930’s, and very little -of anything else. But the music he wrote for his best operettas has -never lost its appeal.</p> -<p><i>The Firefly</i>, book and lyrics by Otto Harbach, was introduced in -New York on December 2, 1912. The plot concerned a little Italian -street singer by the name of Nina (enchantingly played by Emma Trentini). -She disguises herself as a boy to get a job aboard a yacht bound for -Bermuda, and is first accused and then cleared of the charge of being a -pickpocket. Many years later she reappears as a famous prima donna -when she is finally able to win the wealthy young man with whom she -had fallen in love while working on the yacht.</p> -<p>Orchestral potpourris from <i>The Firefly</i> always include three of the -songs Emma Trentini helped to make famous: “Giannina Mia,” “The -Dawn of Love” and “Love is Like a Firefly.” The melodious duet, -“Sympathy,” is also popular.</p> -<p><i>The Donkey Serenade</i>, now regarded as one of the favorites from -<i>The Firefly</i> score, was not in the original operetta when it was produced -on Broadway. Friml wrote it in collaboration with Herbert -<span class="pb" id="Page_97">97</span> -Stothart for the motion picture adaptation of the operetta released in -1937 and starring Jeanette MacDonald and Allan Jones. This appealing -Spanish-type melody is set against an intriguing rhythm suggesting the -jogging movement of a donkey; this rhythm precedes and closes the -number, which has become as celebrated in an instrumental version as -it is as a song with lyrics by Chet Forrest and Bob White.</p> -<p><i>Rose Marie</i>, book and lyrics by Otto Harbach and Oscar Hammerstein -II, came to Broadway on September 2, 1924 where it remained -for more than a year. The rest of the country became acquainted with -this lovable operetta at that time by means of four road companies. The -setting is the Canadian Rockies, and the love interest involves Rose -Marie and Jim, the latter falsely accused of murder. The Canadian -Mounted Police, headed by Sergeant Malone, help to clear Jim and to -bring the love affair of Rose Marie and Jim to a happy resolution. Selections -in orchestral adaptations most often heard from this operetta include -two of Friml’s most famous songs, the title number and “Indian -Love Call”; a third delightful song was found in “Totem Tom Tom.” -<i>Rose Marie</i> was adapted for motion pictures three times, once in a -silent version.</p> -<p><i>The Vagabond King</i> had for its central character the French vagabond -poet of the 15th century, François Villon, who is made king for -a day. This musical was based on the romance of J. H. McCarthy, <i>If I -Were King</i>, adapted by Brian Hooker. <i>The Vagabond King</i>, which -opened on September 21, 1925, was one of Friml’s greatest successes, -mainly because of such rousing numbers as “The Song of the Vagabonds,” -the caressing waltz melody “Waltz Huguette,” and the love -song “Only a Rose,” all often heard in orchestral adaptations. <i>The -Vagabond King</i> was made into motion pictures twice, most recently in -1956 starring Kathryn Grayson and Oreste.</p> -<div class="pb" id="Page_98">98</div> -<h2 id="c58"><span class="small">Julius <b id="g_Fucik">Fučík</b></span></h2> -<p>Julius Fučík was born in Prague, Czechoslovakia, on July 18, -1872. He was a pupil of Antonin Dvořák in composition. After playing -the bassoon in the German Opera in Prague in 1893, he became bandmaster -of the 86th and 92nd Austrian Regiments in which he won renown -throughout Europe. He died in Leitmeritz, Czechoslovakia, on -September 25, 1916. Fučík wrote numerous dance pieces and marches -for band. The most popular of these is the stirring march, <i>Entrance of -the Gladiators</i>, which became popular throughout the world and is still -frequently played by salon orchestras as well as bands.</p> -<h2 id="c59"><span class="small">Sir Edward <b id="g_German">German</b></span></h2> -<p>Sir Edward German was born Edward German Jones in -Whitchurch, England, on February 17, 1862. He attended the Royal -Academy of Music in London where, in 1895, he was elected Fellow. -Meanwhile, in 1888-1889 he became the musical director of the Globe -Theater in London. The incidental music he wrote there that year for -Richard Mansfield’s production of <i>Richard III</i> proved so popular that -Sir Henry Irving commissioned him to write similar music for his own -presentation of <i>Henry VIII</i>. German subsequently wrote incidental -music for many other plays including <i>Romeo and Juliet</i> (1895), <i>As You -Like It</i> (1896), <i>Much Ado About Nothing</i> (1898) and <i>Nell Gwynn</i> -(1900). He also produced a considerable amount of concert music, including -<span class="pb" id="Page_99">99</span> -two symphonies and various suites, tone poems, rhapsodies, and -a march and hymn for the Coronation of George V in 1911. German -was knighted in 1928, and in 1934 he received the Gold Medal of the -Royal Philharmonic Society. He died in London on November 11, -1936.</p> -<p>German is most famous for his incidental music for the stage. He -combined a graceful lyricism with a consummate skill in orchestration. -He also possessed to a remarkable degree the capacity of simulating the -archaic idioms of old English music of the Tudor and Stuart periods. -Thus the greatest charm of his writing lies in its subtle atmospheric -recreation of a bygone era; but a lightness of touch and freshness of -material are never sacrificed.</p> -<p>Of his incidental music perhaps the most famous is that for Shakespeare’s -<i>Henry VIII</i>, introduced at the Lyceum Theater in London in -1892 in Sir Henry Irving’s production. German’s complete score consists -of an overture, five entr’actes, a setting of the song “Orpheus and -his Lute” and other pieces. But what remain popular are three delightful -old English dances from the first act; the style and spirit of old -English music are here reproduced with extraordinary effect. The three -are: “Morris Dance,” “Shepherd’s Dance,” and “Torch Dance.”</p> -<p>The best sections of his incidental music to Anthony Hope’s <i>Nell -Gwynn</i>, produced at the Prince of Wales Theater in 1900, also are -revivals of old English dances: “Country Dance,” “Merrymaker’s -Dance,” and “Pastoral Dance.” Other delightful dances, often in an old -English folk style, are found in his incidental music to <i>As You Like It</i> -(“Children’s Dance,” “Rustic Dance,” and “Woodland Dance”) and -<i>Romeo and Juliet</i> (“Pavane” and “Torch Dance”).</p> -<p>German also wrote several operettas, the most famous being <i>Merrie -England</i>, text by Basil Hood, first performed at the Savoy Theater in -London on April 2, 1902. The setting is Elizabethan England, and the -plot involves the love affair of Sir Walter Raleigh and the Queen’s Maid -of Honor which upsets Queen Elizabeth since she herself has designs on -Sir Walter. German’s score is filled with the most delightful old world -jigs, country dances, glees, and melodies imitating the style of old-time -madrigals. In addition, there is here an impressive patriotic song (“The -Yeomen of England”), Queen Elizabeth’s effective air (“O Peaceful England”), -a rousing drinking song by Sir Walter Raleigh, a poignant ballad -by the Maid of Honor, and an equally moving love duet by the Maid of -Honor and Sir Walter Raleigh. Because of its effective music, rich with -English flavors, <i>Merrie England</i> has survived as one of the most popular -<span class="pb" id="Page_100">100</span> -English operettas of the 20th century, and has often been revived in -London.</p> -<p>Among German’s many concert works for orchestra one of the most -famous is the <i>Welsh Rhapsody</i> (1902). This is a skilful symphonic -adaptation of Welsh tunes, the last of which (“Men of Larech”) is -utilized by the composer to bring his rhapsody to a powerful culmination. -The other Welsh folk songs used earlier by the composer in this -rhapsody are “Loudly Proclaim O’er Land and Sea,” “Hunting the -Hare,” “Bells of Aberdorry” and “David of the White Rock.”</p> -<h2 id="c60"><span class="small">George <b id="g_Gershwin">Gershwin</b></span></h2> -<p>George Gershwin was born in Brooklyn, New York on -September 26, 1898. Though he received serious musical training in -piano from Charles Hambitzer, and in harmony and theory from Edward -Kilenyi, he early set his sights on popular rather than serious -music. When he was fifteen he found a job as song plugger and staff -pianist in Tin Pan Alley where he soon began writing songs. The first -to get published was “When You Want ’Em You Can’t Get ’Em” in -1916; in the same year another of his songs, “The Making of a Girl” -appeared for the first time on the Broadway stage, in <i>The Passing Show -of 1916</i>. Gershwin’s first complete score for Broadway was <i>La, La, -Lucille</i>, and his first smash song hit was “Swanee,” both in 1919. Between -1920 and 1924 Gershwin wrote the music for five editions of the -George White <i>Scandals</i> where he first demonstrated his exceptional -creative gifts; his most famous songs for the <i>Scandals</i> were “I’ll Build a -Stairway to Paradise” and “Somebody Loves Me.” For one of the editions -of the <i>Scandals</i> he also wrote a one-act Negro opera to a libretto -by Buddy De Sylva—originally called <i>Blue Monday</i> but later retitled -<i>135th Street</i>.</p> -<p>Late in 1923, Paul Whiteman, the orchestra leader, commissioned -<span class="pb" id="Page_101">101</span> -Gershwin to write a symphonic work in a jazz style for a concert Whiteman -was planning for Aeolian Hall, in New York. That jazz composition—introduced -on February 12, 1924—was the <i>Rhapsody in Blue</i> with -which Gershwin achieved world renown, and which once and for all -established the jazz idiom and jazz techniques as significant material for -serious musical deployment. From then on, until the end of his life, -Gershwin continued to write concert music in a popular style—growing -all the time in technical assurance, in the command of jazz materials, -and in the inventiveness of his melodic, rhythmic, and harmonic writing. -In the eyes of the world he assumed a position of first significance -among American composers. For the symphony orchestra he wrote the -Piano Concerto in F, <i>An American in Paris</i>, <i>Cuban Overture</i>, <i>Variations -on I Got Rhythm</i>, and the <i>Second Rhapsody</i>; for solo piano, the -three piano preludes; for the stage his monumental folk opera, <i>Porgy -and Bess</i>.</p> -<p>While devoting himself to the concert field, Gershwin did not neglect -the popular Broadway theater. He produced a library of remarkable -songs for such productions as <i>Lady Be Good</i> (1924), <i>Oh Kay!</i> (1926), -<i>Funny Face</i> (1927), and <i>Girl Crazy</i> (1930). The best of these included -“Fascinating Rhythm,” “Lady Be Good,” “Someone to Watch Over -Me,” “Clap Yo’ Hands,” “’S Wonderful,” “I Got Rhythm,” “Embraceable -You,” and “But Not for Me.” The lyrics for these and other -Gershwin song classics were written by his brother, Ira.</p> -<p>In 1930 Gershwin revealed a fresh bent for mockery and satire, together -with a new skill for more spacious musical writing than that -required for a song, in <i>Strike Up the Band</i>, a satire on war. These qualities -in Gershwin’s music came to full ripeness in 1931 with the political -satire <i>Of Thee I Sing!</i>, the first musical ever to win the Pulitzer Prize -for drama.</p> -<p>In 1931, Gershwin wrote his first original score for motion pictures, -<i>Delicious</i>. When he returned to Hollywood in 1936 he settled there -permanently and wrote the music for several delightful screen musicals, -among these being <i>Damsel in Distress</i>, <i>Shall We Dance</i>, and <i>The Goldwyn -Follies</i>. The songs he wrote for the last-named revue (they included -“Love Walked In” and “Love Is Here to Stay”) were the last pieces of -music he was destined to write. He died in Hollywood, California on -July 11, 1937, a victim of a cystic tumor on the right temporal lobe of -the brain. His screen biography, <i>Rhapsody in Blue</i>, was produced in -1945. In 1951, the screen musical, <i>An American in Paris</i> (whose score -included several of Gershwin’s songs as well as the tone poem that gave -<span class="pb" id="Page_102">102</span> -this picture its title) received the Academy Award as the best picture of -the year. <i>Porgy and Bess</i> was adapted for motion pictures, in a Samuel -Goldwyn production, in 1959.</p> -<p>It would be difficult to overestimate Gershwin’s importance in American -music. To the popular song he brought the technical skill of a consummate -musician, endowing it with a rhythmic, melodic and harmonic -language it had rarely before known. By that process he often lifted it -to the status of true art. To serious music he contributed the vitality -and the spirit—as well as the techniques and idioms—of American popular -music; serious musicians throughout the world were inspired by his -example to create a serious musical art out of the materials of American -popular music. Since his untimely death, his artistic stature has grown -in all parts of the civilized world. There will be few today to deny him -a place of honor among America’s foremost composers.</p> -<p><i>An American in Paris</i> is a tone poem for symphony orchestra inspired -by a European vacation in 1928. It received its world première in New -York on December 13, 1928, Walter Damrosch conducting the New -York Philharmonic Orchestra. In this music the composer describes the -nostalgia of an American tourist for home, and his experiences as he -strolls along the boulevards of Paris. It opens with a “walking theme,” -a sprightly little tune for strings and oboe; our American is beginning -his stroll. As he walks he hears the piercing warnings of taxi horns: -Gershwin’s score calls for the use of actual Parisian taxi horns. The -American passes a café, and stops for a moment to listen to the sounds -of a music-hall melody, presented by the trombones. Then he resumes -his stroll, as a second walking subject is heard in the clarinet. A solo -violin (which Deems Taylor interpreted as a young lady accosting our -tourist!) provides a transition to two main melodies in both of which -the American’s growing feeling of homesickness finds apt expression. -The first is a blues melody for muted trumpets; the second a Charleston -melody for two trumpets. The blues melody receives climactic treatment -in full orchestra. After a hasty recollection of the second walking -theme, the composition comes to a vigorous conclusion. As Mr. Taylor -goes on to explain, the tourist now decides “to make a night of it. It -will be great to get home, but meanwhile, this is Paris!”</p> -<p>The Concerto in F, for piano and orchestra, was the immediate consequence -of Gershwin’s phenomenal success with the <i>Rhapsody in Blue</i>. -The Concerto was commissioned in 1925 by the New York Symphony -Society and its conductor, Walter Damrosch. They introduced it in -Carnegie Hall, on December 3, 1925, with the composer as soloist. This -<span class="pb" id="Page_103">103</span> -work, like its eminent predecessor, is in a jazz style; but unlike the first -version of the <i>Rhapsody in Blue</i> it boasts Gershwin’s own orchestration. -(From this time on Gershwin would always prepare his own orchestrations -for his serious concert music.) There are three movements. The -first (<i>Allegro</i>) begins with a Charleston theme shared by the woodwind -and timpani. The main body of this movement is given over to a spicy -jazz tune first heard in the bassoon and after that in full orchestra; to a -tender melody for solo piano; and to a lilting waltz for strings with -decorative treatment by the piano. The second movement (<i>Andante -con moto</i>) is lyrical throughout, and at times subtly atmospheric and -poetic. Muted trumpet, against harmonies provided by three clarinets, -set the romantic stage for the felicitous lyrical thoughts that ensue: a -brisk, jazzy, strikingly rhythmic idea for the piano; and a broad, sensual -melody for strings. This movement ends in the same sensitive atmospheric -mood with which it began. In the finale (<i>Allegro con brio</i>) dynamic -forces are released. Main themes from the first two movements -are recalled with a particularly effective recapitulation of the second -theme of the first movement in the strings.</p> -<p>The <i>Cuban Overture</i> was written in 1932 after a brief visit to -Havana and was introduced at the Lewisohn Stadium in New York, -Albert Coates conducting, on August 16, 1932. This is a concert overture -for orchestra utilizing native percussion Cuban instruments. The -work has three sections played without interruption. The first consists -of two melodies, a Cuban theme in strings followed by a second lyrical -subject which is placed against the contrapuntal background of fragments -from the first Cuban theme. A solo clarinet cadenza leads to the -middle section which is a two-voice canon. The ensuing finale makes -considerable use of earlier thematic material and ends with an electrifying -presentation of a fully projected rumba melody in which prominent -use is made of Cuban percussion instruments (cuban stick, bongo, -gourd, and maracas).</p> -<p>The folk opera, <i>Porgy and Bess</i>, was Gershwin’s last work in the field -of serious music—and his greatest. It took Gershwin over two years to -write his opera, a period during which he spent some time in the -opera’s setting of Charleston, South Carolina, absorbing not only local -color but also native Negro music whose style he skilfully assimilated -into his own writing. He completed his opera in the summer of 1935; -on September 30 its world première took place in Boston; and on -October 10, it began its New York run. It cannot be said that either -critics or audiences were fully aware at the time that they were hearing -<span class="pb" id="Page_104">104</span> -a masterwork. Some of the Boston and New York scribes found things -to admire in the opera, but most of them were highly critical. Olin -Downes said “it does not utilize all the resources of the operatic composer -or pierce very often to the depths of the pathetic drama.” Lawrence -Gilman found Gershwin’s emphasis on the popular element a disturbing -blemish while Virgil Thomson did not hesitate at the time to -refer to it as “a fake.” The run of 124 performances in New York (followed -by a three-month tour) represented a box-office failure.</p> -<p>Gershwin himself remained convinced he had written a work of first -importance, but regrettably he did not live to see his faith in his opera -justified beyond his wildest hopes or aspirations. Revived in New York -in 1941 it had an eight-month run, the longest of any revival in Broadway -history. More important still, many critics revised earlier estimates. -Virgil Thomson now spoke of it as “a beautiful piece of music and a -deeply moving play for the lyric theater.” Olin Downes said that -Gershwin had here “taken a substantial step, and advanced the cause of -native opera.” The New York Music Critics Circle singled it out as the -most important musical revival of that season.</p> -<p>But still greater triumphs awaited the opera. In 1952, a Negro cast -toured Europe under the auspices of the State Department. Before that -tour was over, several years later, the opera had been heard throughout -Europe, the Near East, in countries behind the Iron Curtain, the Soviet -Union and Latin America. Everywhere it enjoyed acclaim realized by -few contemporary operas anywhere. There were not many dissenting -voices in the universal judgment that <i>Porgy and Bess</i> was one of the most -significant operas of the twentieth century, and certainly one of the most -popular. And its popularity was further enhanced by the stunning production -given it by Samuel Goldwyn in motion pictures in 1959.</p> -<p>The text of the opera was based on the play <i>Porgy</i>, by Dorothy and -Du Bose Heyward, produced by the Theater Guild in New York in -1927, which in turn had been adapted from Du Bose Heyward’s novel -of the same name. The opera text and lyrics were written by Du Bose -and Dorothy Heyward with several additional lyrics by Ira Gershwin. -The tragic love affair of the cripple, Porgy, and Bess, a lady of easy -virtue, is set in the Negro tenement, Catfish Row, in Charleston, South -Carolina. Porgy has found true happiness with Bess for the first time -in his life. When Crown, Bess’ old sweetheart returns to claim her, -Porgy kills him but manages to elude the law after having been detained -a while. Upon returning to Catfish Row he discovers that his Bess had -succumbed to the lure of dope, and the gay life in New York offered her -<span class="pb" id="Page_105">105</span> -by Sportin’ Life. Heartbroken, Porgy jumps in his goat cart to follow -Bess to New York and try to bring her back.</p> -<p>The main melodic sections of the opera have provided the material -for several delightful suites. The most famous is <i>A Symphonic Picture</i> -by Robert Russell Bennett, commissioned by Fritz Reiner, the conductor -of the Pittsburgh Symphony in 1942. Bennett created out of the -score an integrated tone poem faithful to Gershwin’s own harmonic and -orchestral intentions. The tone poem (or suite) is made up of the following -sequences in the order of their appearance: Scene of Catfish Row -with the peddler’s calls; Opening Act II; “Summertime” and Opening -of Act I; “I Got Plenty of Nuttin’”; Storm Music; “Bess, You Is My -Woman Now”; “It Ain’t Necessarily So” and the finale, “Oh Lawd -I’m On My Way.”</p> -<p>George Gershwin himself prepared an orchestral suite from his opera -score in 1936, and conducted it in performances with several major -American orchestras in 1936-1937. This manuscript, long forgotten, -was found in the library of Ira Gershwin, and was revived in 1959 by -Maurice Abravanel and the Utah Symphony. Now named <i>Catfish Row</i>, -to distinguish it from other suites prepared by other musicians, it had -five sections: “Catfish Row,” “Porgy Sings,” “Fugue,” “Hurricane,” -and “Good Morning, Brother.”</p> -<p>Beryl Rubinstein transcribed five of the principal melodies from the -opera for piano, and Jascha Heifetz for violin and piano.</p> -<p>The three piano <i>Preludes</i> are famous not only in their original version -but also in transcriptions for symphony orchestra. The first prelude, -in B-flat major, is rhythmically exciting, highlighting the basic -elements of the tango and the Charleston. The second, in C-sharp -minor, is the most famous of the set. This is an eloquent three-part -blues melody. The concluding prelude, in E-flat major, once again like -the first one has greater rhythmic than melodic interest, a lively expression -of uninhibited good feelings. Besides transcriptions for orchestra -by Roy Bargy, Gregory Stone and several others, these preludes have -been adapted for violin and piano by Heifetz, for trumpet and piano by -Gregory Stone, and for saxophone and piano by Sigurd Rascher.</p> -<p>The <i>Rhapsody in Blue</i> was Gershwin’s first work for symphony orchestra -and it is the composition with which he first won fame, fortune, -and artistic significance. It was commissioned by Paul Whiteman for -an all-American music concert planned by that bandleader for Aeolian -Hall, New York, on February 12, 1924. With the composer at the piano, -the <i>Rhapsody</i> appeared as the tenth and penultimate number of a long -<span class="pb" id="Page_106">106</span> -program, but it was the work that gave Whiteman’s concert its main -interest and significance. The critics the following day were divided in -their opinion. On the one hand, Henry T. Finck considered it superior -to the music of Schoenberg and Milhaud; equally high words of praise -came from Gilbert W. Gabriel, William J. Henderson, Olin Downes, -Deems Taylor, and Carl van Vechten. In the opposite camp stood Pitts -Sanborn and Lawrence Gilman who described the work as “meaningless -repetition” and “trite, feeble, and conventional.”</p> -<p>But the opposing opinions notwithstanding, the <i>Rhapsody in Blue</i> -immediately became one of the most famous pieces of serious music by -an American. It was transcribed for every possible instrument or groups -of instruments; it was adapted several times for ballet; it was used in a -motion picture. Royalties from the sale of sheet music and records -brought in a fortune. Through the years it has never lost its popularity; -it is still one of the most frequently performed American symphonic -works.</p> -<p>Its prime significance rests in the fact that it decisively proved that it -was possible to produce good music within ambitious structures utilizing -idioms and techniques of American jazz. The <i>Rhapsody in Blue</i> was -by no means the first composition to do so; it was preceded by works -by Erik Satie, Stravinsky, and Milhaud among others. But due to its -enormous popular appeal it was the most influential composition of all -in convincing the world’s foremost composers that jazz could be used -with serious intent. Undoubtedly it was largely as a result of the triumph -of the <i>Rhapsody in Blue</i> that world-famous composers like William -Walton, Constant Lambert, Maurice Ravel, Kurt Weill and Paul -Hindemith among many others produced serious jazz music.</p> -<p>Much has been said about its diffuseness of structure, and the inept -way its material is developed. But for all its faults, the <i>Rhapsody in -Blue</i> remains a vital, dynamic and at times an inspired piece of music. -It is filled with wonderful lyricism; its rhythmic cogency is irresistible; -its identity is completely American.</p> -<p>The work opened with an ascending seventeen-note slide by the -clarinet which culminates in the saucy, first theme. A transition in the -wind instrument leads to another brisk, jaunty idea for piano. After -some development, and several ascending chords in the piano we get to -the heart of the rhapsody and to one of the most famous melodies in all -contemporary symphonic music: a spacious, rhapsodic song for the -strings. The full orchestra repeats it. Two earlier themes are now briefly -recalled, the first theme by the full orchestra, the second by the piano. -<span class="pb" id="Page_107">107</span> -A brief, dramatic coda brings the rhapsody to an exciting conclusion.</p> -<p>For the Paul Whiteman concert of 1924, Ferde Grofé provided the -orchestration from a two-piano version handed him by the composer. -Gershwin later prepared his own orchestration, and it is this version -that is now given by all the major symphonic organizations.</p> -<p>The <i>Second Rhapsody</i> for orchestra succeeded the more popular -<i>Rhapsody in Blue</i> by eight years; it was first performed by the Boston -Symphony under Koussevitzky on January 29, 1932. Gershwin originally -called this work <i>Rhapsody in Rivets</i> because the opening measures -present a strongly rhythmic subject in solo piano suggesting riveting. -This “rivet theme” is then taken over by the full orchestra, after -which we hear a rumba melody. These ideas are then developed. A -piano cadenza brings on a spacious melody, first in strings, and then in -brass. All this material is amplified before the rhapsody is swept to an -exciting end.</p> -<p>This rhapsody was the outgrowth of a six-minute sequence written -by the composer for the motion picture, <i>Delicious</i>. The sequence was -intended to describe the sights and sounds of a city. In the picture only -one of the six minutes of this music was retained, but Gershwin liked -the rest of it well enough to expand it into a major symphonic work.</p> -<p>The <i>Variations on I Got Rhythm</i>, for piano and orchestra, was -written for a tour of one-night stands made by Gershwin throughout -the United States in all-Gershwin programs. Its first performance took -place in Boston on January 14, 1934. The main subject is a famous -Gershwin song, “I Got Rhythm” which Ethel Merman made famous in -the musical comedy <i>Girl Crazy</i>. The symphonic work begins with a -four-note ascending phrase from the first measure of the song’s chorus, -presented by solo clarinet. The theme is then taken over by solo piano -and after that by full orchestra, after which the entire chorus is presented -by the piano. In the ensuing variations the composer changes -not only the basic structure of the song, melodically and rhythmically, -but also its mood and feeling, traversing the gamut of emotion from -melancholy to spirited gaiety.</p> -<p>Still another remarkably effective symphonic adaptation of “I Got -Rhythm” was made by Morton Gould, and introduced by him with his -orchestra over the CBS radio network in 1944.</p> -<p>Gershwin wrote two marches, both with satirical overtones, which -are often given at “pop concerts.” Each was meant for a musical comedy. -“Strike Up the Band” comes from the musical comedy of the same -name, produced on January 14, 1930 starring Clark and McCullough. -<span class="pb" id="Page_108">108</span> -This was a stinging satire on war and international diplomacy, with -America embroiled in a conflict with Switzerland over the issue of -chocolates. The march, “Strike Up the Band,” helps deflate some of the -pomp and ceremony of all martial music.</p> -<p>“Wintergreen for President” comes from <i>Of Thee I Sing</i>, the epoch-making -satire on politics in Washington, D.C., first produced on December -26, 1931. “Wintergreen for President” is the music accompanying -a political torchlight parade whose illuminated signs read “Even -Your Dog Loves Wintergreen” and “A Vote for Wintergreen Is a Vote -for Wintergreen” and so on. The march music carries over the satirical -implications of this procession by quoting such tunes as “Hail, Hail the -Gang’s All Here,” “Tammany,” “A Hot Time in the Old Town Tonight” -and “Stars and Stripes Forever.” This music even carries a hasty -recollection of Irish and Jewish music to suggest that Wintergreen is a -friend of both these people.</p> -<p>Gershwin’s greatest songs are often performed in orchestral transcriptions -at all-Gershwin concerts and other “pop performances,” sometimes -singly, and sometimes in various potpourris. Besides songs already -mentioned in the first part of this section, Gershwin’s greatest -ones include the following: “Bidin’ My Time” from <i>Girl Crazy</i>; “I’ve -Got a Crush On You” from <i>Strike Up the Band</i>; “Let’s Call the Whole -Thing Off” from <i>Shall We Dance</i>; “Liza” from <i>Show Girl</i>; “The Man -I Love,” originally meant for <i>Lady Be Good</i> but never used there; -“Mine” from <i>Let ’Em Eat Cake</i>; the title song from <i>Of Thee I Sing</i>; -“Soon” from <i>Strike Up the Band</i>; “That Certain Feeling” from <i>Tip -Toes</i>; and “They Can’t Take That Away From Me” from <i>Shall We -Dance</i>. Among those who have written orchestral medleys of Gershwin’s -songs are Nathan van Cleve, Fred von Epps, Claude Thornhill, David -Broekman, Irving Brodsky, George B. Leeman, and Nathaniel Finston.</p> -<div class="pb" id="Page_109">109</div> -<h2 id="c61"><span class="small">Henry F. <b id="g_Gilbert">Gilbert</b></span></h2> -<p>Henry Franklin Belknap Gilbert was born -in Somerville, Massachusetts, on September 26, 1868. He attended the -New England Conservatory, and studied composition privately with -Edward MacDowell, before playing the violin in various theaters. For -many years music was a secondary pursuit as he earned his living in -a printing establishment, a real-estate agent, factory foreman, and -finally an employee in a music-publishing firm. A hearing in Paris of -Gustave Charpentier’s opera, <i>Louise</i>, proved such an overpowering -experience that it inspired him to devote himself henceforth to music -alone. In 1902 he helped found in America the Wa-Wan Press which -promoted nationalism in American music and published Gilbert’s first -works. In these a strong emphasis was placed by the composer upon -American folk music and American folk idioms. In 1903 he wrote -<i>Humoresque on Negro Minstrel Tunes</i>. After that came his famous -<i>Comedy Overture on Negro Themes</i> (1905), the symphonic ballet <i>The -Dance in Place Congo</i> (1906), the <i>Negro Rhapsody</i> (1913), and <i>Indian -Sketches</i> (1921). Here native elements were skilfully fused into a style -that was Romantic to produce music that remains appealing for its -freshness and vitality. Towards the end of his life, Gilbert was an invalid. -Nevertheless, in 1927, he traveled to Germany in a wheel-chair to -attend a performance of his <i>Dance in Place Congo</i> at the Festival of -the International Society for Contemporary Music in Frankfurt. He -died in Cambridge, Massachusetts, on May 19, 1928.</p> -<p>The <i>Comedy Overture on Negro Themes</i> (1905) is one of Gilbert’s -most frequently performed compositions. It is made up of five sections -played without interruption. The composer goes on to explain: “The -first movement is light and humorous, the theme being made from two -four-measure phrases taken from Charles L. Edwards’ book <i>Bahama -Songs and Stories</i>.... This is followed by a broader, and somewhat -slower, phrase. I have here used the only complete Negro tune which -occurs in the piece ... formerly used as a working song by roustabouts -and stevedores on the Mississippi River steamboats in the old -<span class="pb" id="Page_110">110</span> -days.... Next comes a fugue. The theme of this fugue consists of the -first four measures of the Negro Spiritual ‘Old Ship of Zion.’... It is -given out by the brass instruments and interspersed with phrases from -the roustabouts’ song.... After this a short phrase of sixteen measures -serves to reintroduce the comic element. There is a repetition of -the first theme and considerable recapitulation, which leads finally to -the development of a new ending or coda, and the piece ends in an orgy -of jollity and ragtime.”</p> -<p><i>Dance in Place Congo</i> (1906) is both a ballet and a tone poem for -orchestra. Its first version was a pantomime ballet, but soon thereafter -the composer adapted his score into a composition for orchestra. The -tone poem—describing the barbaric revels on a late Sunday afternoon -of slaves in Place Congo, a section on the outskirts of New Orleans—opens -in a dark mood which achieves a climax with an outcry in the -orchestra. At this point a bamboula melody is heard in full orchestra. It -is permitted to gain in intensity until it acquires barbaric ferocity. -When the passions are spent, a beautiful romantic section unfolds, occasionally -interrupted by a recall of the bamboula theme. Various Negro -songs and dances are then presented over an insistent rhythm. The -somber mood of the opening is brought back to conclude the composition.</p> -<p><i>The Indian Sketches</i> for orchestra (1921) presents several facets of -American-Indian life. “They are,” explains the composer, “for the most -part not musical pictures of definite incidents so much as they are -musical mood pictures.” There are six sections. The first, a prelude, is -music of savage power. This is followed by the subjective music of the -“Invocation,” a prayer or supplication of the Great Spirit. “Song of -the World” briefly develops a cry of the Kutenai Indians, and “Camp -Dance” is a scherzo portraying the lighter side of Indian life. “Nocturne” -is a romantic description of the dark forests alive with the distant -sounds of birds and animals. The suite concludes with the “Snake -Dance,” suggested by a prayer dance for rain of the Hopi Indians in -Arizona.</p> -<div class="pb" id="Page_111">111</div> -<h2 id="c62"><span class="small">Don <b id="g_Gillis">Gillis</b></span></h2> -<p>Don Gillis was born in Cameron, Missouri, on June 17, 1912. -He was graduated from Christian University at Fort Worth, Texas in -1936, after having engaged in various musical activities including the -direction of a band and a symphony orchestra, and the writing of two -musical comedies produced at the University. Following the completion -of his education he became a member of the faculty of Christian -University and Southwest Baptist Seminary; served as a trombonist -and arranger for a Fort Worth radio station; and played the trombone -in the Fort Worth Symphony. In 1944 he became a producer for the -National Broadcasting Company in New York, taking charge of many -important programs including those of the NBC Symphony.</p> -<p>As a composer of symphonies and other orchestral compositions Gillis -reveals a refreshing sense of humor as well as a delightful bent for -whimsy, qualities which make some of his works ideal for programs of -light music. He has often drawn inspiration and materials from American -folk music and jazz, consistently producing music that combines -sound musical values with sound entertainment. “My feeling,” he has -said, “is that music is for the people and the composer’s final aim should -be to reach them. And since the people whistle and sing, I should like -them to whistle and sing my music.” Thus Gillis aims for simplicity, -sincere emotions, and sheer fun. “I have tried to write so that there will -be a feeling of enjoyment in the fun of the thing.”</p> -<p><i>Portrait of a Frontier Town</i>, a suite for orchestra (1940), is a tuneful -composition consisting of five short movements. The title of each of -these provides the clue to the programmatic content of the music. The -first, “Chamber of Commerce,” portrays the activities of such an organization -in a typical American town. “Where the West Begins” tells of -the opening of the West through two significant musical subjects, the -first for strings, and the second for oboe, flute, and clarinet. “Ranch -House Party” is described in the score as “brightly—in a gay manner.” -A jovial melody first given by the full orchestra gives prominent attention -to percussion instruments. This is followed by a mood picture, -<span class="pb" id="Page_112">112</span> -“Prairie Sunset” in which the English horn, answered by the clarinet, -presents the main melody. The suite concludes with “Main Street -Saturday Night,” in which gaiety and abandon alternate with suggestions -of nostalgia.</p> -<p><i>Symphony No. 5½</i> (1947), is one of the composer’s wittiest works -which he himself subtitled as “a symphony for fun.” It consists almost -entirely of jazz melodies, some treated in burlesque fashion; the work -also quotes some famous melodies in a facetious manner. The four -movements have whimsical titles: “Perpetual Emotion,” “Spiritual?”, -“Scherzophrenia” and “Conclusion.”</p> -<h2 id="c63"><span class="small">Alberto <b id="g_Ginastera">Ginastera</b></span></h2> -<p>Alberto Ginastera was born in Buenos Aires, Argentina, -on April 11, 1916. He was graduated with honors from the National -Conservatory in his native city where, in 1953, he became professor. -In 1946 he visited the United States remaining a year on a Guggenheim -Fellowship. Ginastera’s music combines musical elements -native to Argentina with modern techniques and idioms, and includes -ballets, chamber music, a <i>Pastoral Symphony</i> and other works for -orchestra, and pieces for the piano.</p> -<p>The <i>Dances</i> from the ballet, <i>Estancia</i> (1941) is among his most popular -works. The ballet, choreography by George Balanchine, was first -introduced by the Ballet Caravan. It describes life on an “estancia,” an -Argentine ranch, tracing the activities of its principal character through -a single day from dawn of one day to dawn of the next. The orchestral -dances are rich in native melodies and rhythms, presenting the various -dance sequences in “stylized version.” Two dances are especially popular: -“Dance of the Wheat” and “Malambo.”</p> -<div class="pb" id="Page_113">113</div> -<h2 id="c64"><span class="small">Alexander <b id="g_Glazunov">Glazunov</b></span></h2> -<p>Alexander Glazunov was born in St. Petersburg, -Russia, on August 10, 1865. As a boy he studied music privately while -attending a technical high school. At fifteen he became a pupil of -Rimsky-Korsakov in harmony, counterpoint and orchestration. Such -was his progress that only one year later he completed a gifted symphony -which was performed in St. Petersburg in 1882 and acclaimed by -several eminent Russian musicians. Between that year and 1900, -Glazunov produced most of the works which won him renown not only -in Russia but throughout the rest of the music world: symphonies, -string quartets, numerous shorter orchestral works, and compositions -in a lighter style. Here he was the traditionalist who placed reliance on -palatable melodies, sound structures, and heartfelt emotion. For these -reasons much of what he has written falls gracefully into the light-classic -category. After 1914 he wrote little, nothing to add to his stature. -Meanwhile he achieved renown first as professor then as director of the -St. Petersburg Conservatory. He also made successful appearances as -conductor following his debut at the Paris Exposition in 1899; his first -appearance in the United States took place in Detroit on November 21, -1929. In 1928, Glazunov left his native land for good, and from then -until his death on March 21, 1936 his home was in Paris.</p> -<p>The <i>Carnival Overture</i>, or <i>Carnaval</i>, op. 45 (1894) is a brilliant picture -of a festival. It opens with a lively dance melody in violins and -woodwind. This is followed by a more stately melody in woodwind and -violins against a counter-melody in cellos and bassoons. A brief transition -leads to the main body of the overture built out of two basic ideas. -The first is a gay dance tune in flutes and clarinets; the second provides -a measure of contrast through a more reflective subject for oboes, clarinets, -horns, and cellos.</p> -<p><i>From the Middle Ages</i>—a suite for orchestra, op. 79 (1902)—evokes -the settings and backgrounds of the middle ages in four sections. The -first is a “Prelude,” portraying a castle by the sea, the home of two -lovers. Death plays the violin in the second movement, a “Scherzo”; -<span class="pb" id="Page_114">114</span> -he urges the people to dance to his abandoned fiddling. In the third -part, “Serenade,” a troubadour sings his tune. The suite ends with -“The Crusaders,” in which soldiers are marching off to war, while -priests chant a solemn blessing.</p> -<p>The original title of <i>Ouverture solennelle</i>, op. 73 (1901) was <i>Festival -Overture</i>; the music throughout has a festive character. After preliminary -chords, woodwind and horns present a subject soon taken over and -amplified by the strings. The main part of the overture begins with -an expressive and soulful melody for the violins. The second theme -is first given by the clarinets against a vigorous accompaniment. After -the first theme receives elaboration, the overture concludes with a -forceful coda.</p> -<p>The orchestral suite <i>Raymonda</i>, op. 57a, comes from the score to a ballet -with choreography by Marius Petipa; it was introduced in St. Petersburg -on January 17, 1898. The composer’s first work for the stage, this -ballet has for its central character the lovely Raymonda, betrothed to a -knight. After the knight has gone off to join the Crusade and fight the -Saracens, Raymonda is wooed by a Saracen. When she rejects him he -makes an attempt to abduct her. Just then the knight returns, and slays -the culprit. The lovers thus reunited, are now able to celebrate their -nuptials.</p> -<p>The orchestral suite is a staple in the light-classical repertory. It consists -of the following sections: I. “Introduction.” Raymonda’s sorrow at -the absence of her lover. A scene in Raymonda’s castle where pages -indulge in athletics. II. “<i>La Traditrice.</i>” The dance of pages and -maidens. III. “<i>Moderato.</i>” Fanfares announce the arrival of a stranger. -Joy and general animation. As Raymonda enters, girls throw flowers in -her path. IV. “<i>Andante.</i>” Raymonda is playing the lute outside the -castle in the moonlight. Raymonda dances. VI. “Entr’acte; <i>Valse fantastique</i>.” -Raymonda dreams she is in fairyland with her beloved. -VII. “<i>Grand Pas d’action.</i>” At a feast given by Raymonda at her castle -the Saracen appears, woos her, and is spurned. VIII. “Variation.” Raymonda -defies the Saracen, who now tries to dazzle her with his wealth. -IX. “Dance of the Arab Boys.” “Dance of the Saracens.” X. “Entr’acte.” -The triumph of love and the festivities attending the nuptials.</p> -<p><i>Scènes de ballet</i>, suite for orchestra, op. 52 (1894) is made up of eight -parts. The first, “<i>Préamble</i>,” has an extended introduction to a main -section in which the main subject is given by the violins. “Marionettes,” -offers a lively theme for piccolo and glockenspiel with which this section -opens and closes; midway comes a trio with main theme in first -<span class="pb" id="Page_115">115</span> -violins. The third part is a “Mazurka” for full orchestra. The fourth is -a “Scherzo,” its principal idea in muted strings and woodwind. An -expressive melody for cellos and violins is the heart of the fifth section, -“<i>Pas d’action</i>,” while the sixth, “<i>Dame orientale</i>” is a sensuous, exotic -dance melody set against the insistent beats of a tambourine. The ensuing -“<i>Valse</i>” begins with an introduction following which the main -waltz melody is presented by the violins. The suite concludes with a -dashing “Polonaise” for full orchestra.</p> -<p>The orchestral suite, <i>The Seasons</i>, op. 67—like that of <i>Raymonda</i>—comes -from a ballet score. The ballet—choreography by Marius Petipa—was -first performed in St. Petersburg in 1900. The scenario interprets -the four seasons of the year in four scenes and an apotheosis. First comes -Winter and her two gnomes; they burn a bundle of faggots, whose -heat causes Winter to disappear. Spring now arrives with Zephyr, Birds -and Flowers. All of them join in a joyous dance. When Summer comes -he is in the company of the Spirit of the Corn. Various flowers perform -a dance, then fall exhausted on the ground. Satyrs and fauns, playing -on pipes, try to recapture the Spirit of the Corn who is protected by the -flowers. In the Autumn scene, Bacchantes perform a dance in the company -of the Seasons. The Apotheosis presents an idyllic scene with stars -shining brightly in the sky.</p> -<p>The orchestral suite adapted from the ballet score by the composer -for concert purposes is one of his best known compositions. It consists -of the following sections: I. “Winter: Introduction; The Frost; The -Ice; The Hail; The Snow.” II. “Spring.” III. “Summer: Waltz of the -Cornflowers and Poppies; Barcarolle; Variation; Coda.” IV. “Autumn: -Bacchanale—Petit Adagio. Finale—The Bacchantes and Apotheosis.”</p> -<p>The <i>Valse de concert</i> Nos. 1 and 2, D major and F major respectively, -opp. 47 and 51, are among the composer’s most delightful shorter -pieces. The first waltz, written in 1893, begins with a brief introduction -after which the principal waltz melody is heard first in violas and -clarinets, and subsequently in violins. A second theme is then offered -by the clarinets against plucked strings, after which the first waltz reappears. -The second waltz came one year after the first. This also has -a short introduction in which the main waltz melody is suggested. This -melody is finally given by the strings. While other thematic material -occasionally intrudes, the main waltz subject dominates the entire -composition.</p> -<div class="pb" id="Page_116">116</div> -<h2 id="c65"><span class="small">Reinhold <b id="g_Gliere">Glière</b></span></h2> -<p>Reinhold Glière was born in Kiev, Russia, on January -11, 1875. He was graduated from the Moscow Conservatory in 1900. -After two years in Berlin, he returned to his native land to become professor -of composition at the Kiev Conservatory; from 1914 to 1920 he -was its director. After 1920 he was a member of the faculty of the Moscow -Conservatory. Glière’s most famous works are his third symphony -(named <i>Ilia Mourometz</i>) introduced in Moscow in 1912, and the ballet, -<i>The Red Poppy</i>. But he wrote many other works—orchestral, chamber, -and vocal, as well as ballets. On two occasions he received the Stalin -Prize: in 1948 for his fourth string quartet, and two years later for his -ballet, <i>The Bronze Horseman</i>. He died in Moscow on June 23, 1956.</p> -<p>Two excerpts from the Soviet ballet, <i>The Red Poppy</i>, are perhaps -the composer’s best known compositions. The ballet was first presented -in Moscow on June 14, 1927 with extraordinary success. Its setting is a -port in China where coolies are exploited. When a Soviet ship comes -to port, its captain falls in love with a Chinese girl, Tai-Hao. She is -ultimately killed by the port commander while she is trying to escape -from China on the Soviet ship. Her last words urge the Chinese to fight -for their liberty, and she points to a red poppy as a symbol of their -freedom.</p> -<p>The most celebrated single excerpt from this ballet is the <i>Russian -Sailors Dance</i>, for orchestra, with which the third act comes to a whirlwind -conclusion. The main melody is a simple Russian tune that -appears first in lower strings. It is then subjected to a series of variations, -and is permitted to gain momentum through acceleration of -tempo and expanding sonorities until an orgiastic climax is reached. -Less popular, but still often performed, is the “Dance of the Chinese -Girls” from the same ballet. A repeated descending interval leads to an -Oriental dance in the pentatonic scale; in this dance percussion instruments -and the xylophone are used prominently and with telling effect.</p> -<div class="pb" id="Page_117">117</div> -<h2 id="c66"><span class="small">Michael <b id="g_Glinka">Glinka</b></span></h2> -<p>Michael Glinka was born to prosperous landowners in -Novosspaskoye, in Smolensk, Russia, on June 1, 1804. His academic -education took place at a private school in St. Petersburg, while he -studied music with Carl Meyer, Carl Boehm and John Field. From -1824 to 1827 he worked in the office of the Ministry of Communications -in St. Petersburg. Further music study then took place in Italy and Germany. -After returning to his native land in 1834, he was fired with the -ambition of writing a national Russian opera. That opera was <i>A Life -for the Tsar</i>, produced in 1836, an epoch-making work since it is the -foundation upon which all later Russian national music rests. Glinka’s -second national opera, <i>Ruslan and Ludmila</i>, produced in 1842, successfully -carried on the composer’s national ideals further. In the last years -of his life Glinka traveled a great deal, spending considerable time in -Paris, Warsaw, and Spain. He died suddenly in Berlin, Germany, on -February 15, 1857.</p> -<p>It is impossible to overestimate Glinka’s significance in Russian music. -His national operas were the source from which the later nationalists, -the “Russian Five” derived their direction and inspiration.</p> -<p>In <i>Jota aragonesa</i>, a “caprice brilliant” for orchestra (1845) Glinka -is stimulated by Spanish rather than Russian folk music. This is the -first Russian composition to make serious use of Spanish folk idioms. -It was written during the composer’s visit to Spain in 1845 where he -was fascinated by Spanish folk songs and dances. Within a fantasy form, -Glinka poured melodies and dance rhythms closely modeled after the -Spanish in which the background, culture, and geography of that colorful -country have been fixed.</p> -<p><i>Kamarinskaya</i> (1848), also for orchestra, is a fantasy in the field in -which Glinka was both an acknowledged master and a significant -pioneer—Russian folk music. This composition is based on two Russian -folk songs heard by the composer in Warsaw: “Over the Hills, the High -Hills” (which appears in strings following a brief introduction), and a -dance tune, “Kamarinskaya” (first heard in violins).</p> -<div class="pb" id="Page_118">118</div> -<p>The most popular excerpts from Glinka’s national opera, <i>A Life for -the Tsar</i>, are the overture, and the Mazurka and Waltz, for orchestra. -The opera—libretto by Baron von Rosen—was first performed in St. -Petersburg on December 9, 1836. The action takes place in Poland and -Russia in 1612. During the struggle between Russia and Poland, -Romanov becomes the new Czar of Russia, and Ivan Susanin, a peasant, -is the hero who saves Russia and the Czar. The love interest involves -Ivan’s daughter, Antonida, and Bogdan Sabinin.</p> -<p>The overture opens with a stately introduction dominated by a -melody for the oboe. A spirited melody brings on the main section. -After this melody is developed, a second theme is offered by the clarinets. -Both ideas are discoursed upon briefly, and they are given further -amplification in the coda.</p> -<p>The Mazurka and Waltz appear at the close of the second act, climaxing -a festive celebration held in the throne room of Sigismund III of -Poland in his ancient castle. The Waltz comes first. Two principal -waltz melodies are given by the woodwind and repeated by strings; a -third waltz tune is then heard in brass, and soon taken over by the -strings. The Waltz is immediately followed by the Mazurka. After a -dignified introduction, a vigorous Mazurka melody unfolds. This leads -to a second dance tune, first heard in the woodwind and cellos; but the -first Mazurka melody soon reappears in the full orchestra. A third lively -dance melody is then presented by the strings.</p> -<p><i>Ruslan and Ludmila</i> also contributed a lively overture to the orchestral -repertory. This opera, with libretto by the composer and several -others based on a Pushkin poem, was first heard in St. Petersburg on -December 9, 1842. Ruslan is a knight who is a rival of Ratmir for the -love of Ludmila. Ludmila is abducted by the dwarf Tchernomor, and -after Ruslan has saved her, Ludmila’s father blesses his future son-in-law.</p> -<p>Vigorous chords lead to a dashing melody in violins, violas and woodwinds. -A more lyrical second theme, almost folk-song in character, is -then heard in violas, cellos and bassoons. Both themes are given a vigorous -development in which the sprightly character of the overture is -never allowed to lose its brisk pace or vitality.</p> -<div class="pb" id="Page_119">119</div> -<h2 id="c67"><span class="small">Christoph Willibald <b id="g_Gluck">Gluck</b></span></h2> -<p>Christoph Willibald Gluck was born in Erasbach, -Upper Palatinate, on July 2, 1714, the son of a forester on the -estate of Prince Lobkowitz. Gluck received his early music instruction -in his native country from local teachers. He then earned his living -playing the violin and cello in rural orchestras. In 1736 he came to -Vienna where soon thereafter he began to serve as chamber musician -for Prince Lobkowitz. After a period of study and travel in Italy he -returned to Vienna, now to become one of its most influential musicians. -In Vienna he had produced several of his early operas, all of them -in the traditional Italian style of that period. But he soon drew away -from the stilted conventions of the Italian opera to achieve a fusion of -music and drama new to opera, as well as dramatic truth, simplicity, -and directness of emotional appeal. His works in this new style, with -which a new epoch in opera was launched, included <i>Orfeo ed Euridice</i> -in 1762, <i>Alceste</i> in 1767, and <i>Iphigénie en Aulide</i> in 1774, the last -written for the Paris stage. After living in Paris from 1773 to 1779, -Gluck returned to Vienna to remain there the rest of his life. During -his last years he was an invalid. He died in Vienna on November 15, -1787.</p> -<p>Gluck was a giant in the early history of opera. With Rameau, he -was a pioneer in establishing music drama as opposed to formal Italian -opera. <i>Orfeo ed Euridice</i>, produced in Vienna on October 5, 1762—with -which Gluck first set forth his new ideas and theories about opera—is -the earliest opera to have survived in the permanent repertory.</p> -<p>A delightful <i>Ballet Suite</i>, adapted by Felix Mottl from various orchestral -dances from several of Gluck’s greatest operas, is an orchestral work -by which the composer is most often represented on semi-classical as -well as symphonic programs. This suite includes the following: “Dance -of the Blessed Spirits” from <i>Orfeo ed Euridice</i>; “<i>Air gai</i>” and “<i>Lento</i>” -from <i>Iphigénie en Aulide</i>; and two old baroque dances, the “Musette” -and “Sicilienne” from <i>Armide</i>.</p> -<p>The “Dance of the Blessed Spirits” is one of the loveliest of all -<span class="pb" id="Page_120">120</span> -Gluck’s melodies, and one of the most famous from 18th century opera. -This is a beatific song mainly for flute solo and strings, describing -Elysium, to which Orfeo has come in search of his wife, Eurydice. Fritz -Kreisler’s transcription for violin and piano is entitled <i>Mélodie</i>. Sgambati -arranged it for piano solo, and Gruenfeld for cello and piano.</p> -<h2 id="c68"><span class="small">Benjamin <b id="g_Godard">Godard</b></span></h2> -<p>Benjamin Louis Godard was born in Paris on August -18, 1849. After attending the Paris Conservatory, he received in -1878 a municipal prize for an orchestral work, besides having his first -opera produced. He wrote several operas after that, winning fame with -<i>Jocelyn</i> in 1888. He also wrote a considerable amount of chamber and -orchestral music, in which his fine, sensitive lyricism is evident. He -died in Cannes, France, on January 10, 1895.</p> -<p>Among his more familiar works is the <i>Adagio pathétique</i>. This -started out as a piece for violin and piano, the third of a set of compositions -in op. 128. It was orchestrated by Ross Jungnickel in 1910, and is -most popular in this version. This is music notable for its expressive -emotion; its lyricism at times has a religious stateliness.</p> -<p>The most famous single piece of music by Godard, however, is the -“Berceuse” from his opera, <i>Jocelyn</i>. With libretto by Paul Armand -and Silvestre and Victor Capoul—based on a poem by Lamartine—<i>Jocelyn</i> -was introduced in Brussels on February 25, 1888. The setting is -France during the French Revolution, and concerns the love of Jocelyn, -a young priest, for the daughter of a nobleman. After many inner -struggles, Jocelyn decides to remain true to his calling and give up his -beloved. They meet for the last time at her deathbed to which Jocelyn -has been summoned to administer absolution. The “Berceuse” is a -tender aria by Jocelyn (“<i>Cachés dans cet asile</i>”) in which he calls upon -angels to protect his loved one.</p> -<div class="pb" id="Page_121">121</div> -<h2 id="c69"><span class="small">Leopold <b id="g_Godowsky">Godowsky</b></span></h2> -<p>Leopold Godowsky was born in Soshly, near Vilna, -Poland, on February 13, 1870. A prodigy pianist, he attended the Berlin -High School for Music, after which he made his American debut in -Boston in 1884. Additional study took place in Paris with Saint-Saëns. -Godowsky then launched his career as a mature concert pianist with -performances throughout the world of music. He achieved international -renown not only as a virtuoso but also as a teacher of the piano, -at the Chicago Conservatory and the Vienna Academy. His concert -career ended in 1930 when he was stricken by a slight paralysis of the -hand. As a composer, Godowsky was most famous for his suites for the -piano, the most famous being <i>Triakontameron</i>, <i>Java</i>, and <i>Renaissance</i>. -He also produced a library of remarkable transcriptions for the piano. -He died in New York City on November 21, 1938.</p> -<p>Though Godowsky was a sophisticated composer of highly complex -piano works, he did succeed in producing at least one number that became -an international “hit.” It was the <i>Alt Wien</i> (<i>Old Vienna</i>), a sentimental, -nostalgic piece of music on whose title page appears the following -quotation: “Whose yesterdays look backwards with a smile through -tears.” <i>Alt Wien</i> is the eleventh number in <i>Triakontameron</i> (1920), -a suite in six volumes described by the composer as “thirty moods and -scenes in triple measure.” The immense popularity of <i>Alt Wien</i> is -proved by its many and varied transcriptions: for salon orchestra; band; -violin and piano (by Heifetz); three-part woman’s chorus; dance orchestra; -marimba and piano; and even a popular song adapted by David -Saperton to lyrics by Stella Ungar.</p> -<div class="pb" id="Page_122">122</div> -<h2 id="c70"><span class="small">Edwin Franko <b id="g_Goldman">Goldman</b></span></h2> -<p>Edwin Franko Goldman was born in Louisville, -Kentucky, on January 1, 1878. He came from a distinguished musical -family. His uncles were Sam Franko and Nahan Franko, both prominent in -New York as conductors, violinists, and pioneers in the presentation of -free concerts. Goldman attended the National Conservatory in New -York, specializing in the cornet. After completing his training with -Jules Levey, he served for ten years as solo cornetist of the Metropolitan -Opera orchestra. In 1911 he organized his first band. Seven years later -he founded the famous Goldman Band which from then on gave free -concerts in New York and Brooklyn public parks, and elsewhere on -tour. Under his direction it became one of the outstanding musical -organizations of its kind in the country, presenting a remarkable repertory -of popular music, light classics, and band transcriptions of symphonic -and operatic compositions. Goldman conducted his band until -his death, which took place in New York on February 21, 1956. He was -succeeded by his son, Richard Franko Goldman, who for many years -had served as his father’s assistant.</p> -<p>For his concerts Goldman wrote over a hundred marches which have -won him recognition as John Philip Sousa’s successor. The best of the -Goldman marches won immediate success for their robust tunes and -vigorous beat. These include: “Central Park,” “Children’s March,” -“On the Campus,” “On the Farm,” and “On the Mall.”</p> -<p>The “Children’s March,” is actually an adaptation for band of several -children’s tunes including “Three Blind Mice,” “Jingle Bells,” and -“Here We Go Round the Mulberry Bush,” presented in march time.</p> -<div class="pb" id="Page_123">123</div> -<h2 id="c71"><span class="small"><b id="g_KarlGoldmark">Karl Goldmark</b></span></h2> -<p>Karl Goldmark was born in Keszthely, Hungary, on May -18, 1830, the son of a cantor. Demonstrating unusual talent on the -violin, he was sent to Vienna in 1844. There he studied with Leopold -Jansa, then attended the Vienna Conservatory. His musical education -was brought to an abrupt halt by the revolution of 1848. For many years -after that, Goldmark earned his living by teaching music, playing in -theater orchestras, and writing criticisms. He first came to the fore as -a composer with a concert of his works in Vienna on March 20, 1857. -Success followed eight years later with the première of his concert overture, -<i>Sakuntala</i>. From then on, Goldmark occupied an esteemed position -in Viennese music by virtue of many distinguished works that included -the opera <i>The Queen of Sheba</i>, the <i>Rustic Wedding Symphony</i>, -and various shorter works for orchestra, as well as numerous compositions -for chorus, the piano, and chamber-music groups. He died in -Vienna on January 2, 1915.</p> -<p>Throughout his life he remained true to the Germanic-Romantic -tradition on which he was nurtured. His writing was always vital with -emotion, at times to the point of being sensual; it overflowed with -luxurious melody and harmony. Most of the works by which he is -remembered, while of the serious concert-hall variety, are light classics -because of their charm and grace and pleasing melodic content.</p> -<p>The <i>Bacchanale</i> for orchestra is in Goldmark’s identifiable sensual -style. This is an episode from his most famous opera, <i>The Queen of -Sheba</i> (<i>Die Koenigin von Saba</i>), libretto by Solomon Herman Mosenthal -based on the Old Testament story of the love of the Queen of Sheba -for Assad. The opera was successfully introduced in Vienna on March -10, 1875. The <i>Bacchanale</i> takes place at the beginning of Act 3 in which -a sumptuous reception honors the Queen of Sheba. This dynamic piece -of music is especially interesting for its Oriental melodies and lush -orchestral colors.</p> -<p><i>In Spring</i> (<i>Im Fruehling</i>), op. 36 (1889), is a concert overture for -orchestra echoing the composer’s emotional reaction to the vernal season. -<span class="pb" id="Page_124">124</span> -The first main theme, in first violins accompanied by other strings, -is given without any preliminaries. The second theme in violins is more -bucolic, the woodwind suggesting bird calls in the background. Both -themes are discussed and stormy episodes ensue. After the return of -the two main themes the overture ends with a brilliant coda.</p> -<p>The <i>Rustic Wedding Symphony</i> (<i>Laendliche Hochzeit</i>), op. 26 (1876) -is a programmatic composition for orchestra in five movements. The -first is a “Wedding March” in which the main melody (given in fragments -in the lower strings) is subjected to thirteen variations. The second -movement is a “Bridal Song,” a lovely tune mainly for oboe in -which the first-movement march subject occasionally intrudes in the -background in the basses. This is followed by the third-movement -“Serenade,” its main subject being a spacious melody mainly for the -violins. The fourth movement, “In the Garden,” depicts the walk of -two lovers in a garden as they exchange tender sentiments. The symphony -ends with a vital “Dance,” in which the main theme receives -fugal treatment.</p> -<p>The concert overture for orchestra, <i>Sakuntala</i>, op. 13 (1865)—with -which the composer achieved his first major success and which is still -one of his most popular works—was based on the celebrated story of -Kalidasa. Sakuntala is the daughter of a water nymph who is raised by -a priest as his own daughter. The King falls in love with her and marries -her, giving her a ring which will always identify her as his wife. -A powerful priest, seeking revenge against Sakuntala, effects a loss of -memory in the king, who now no longer recognizes her as his wife. To -complicate matters further, Sakuntala has lost her ring while washing -clothes in a sacred river. After being repudiated by the king as a fraud, -Sakuntala returns to her water-nymph mother. The king’s memory -is restored when the ring is found, and he is overwhelmed with grief at -his loss of Sakuntala.</p> -<p>A somber introduction is highlighted by a rippling subject in lower -strings and bassoons suggesting the water which was Sakuntala’s original -abode and to which she finally returns. After a change of tempo, -clarinets and cellos in unison offer a beautiful love melody. This is -followed by a hunting theme in first violins and oboes while the second -violins and violas present a fragment of the love song as a countersubject. -After this material has been amplified into a loud and dramatic -climax there comes still a third idea, in oboes and English horn against -chords in harp and arpeggios in strings. In a free fantasia section some -of this material is reviewed after which the coda offers the hunting -<span class="pb" id="Page_125">125</span> -theme, and after that the love melody. A climax is realized with the -hunting theme bringing the overture to a dramatic ending.</p> -<h2 id="c72"><span class="small"><b id="g_RubinGoldmark">Rubin Goldmark</b></span></h2> -<p>Rubin Goldmark, nephew of Karl, was born in New York -City on August 15, 1872. After studying music with private teachers in -New York, he attended first the Vienna Conservatory in Austria, and -after that the National Conservatory in New York where one of his -teachers was Antonin Dvořák. His primary energy was directed to teaching. -For six years he was the director of the Colorado College Conservatory, -and from 1924 until his death head of the composition department -at the Juilliard School of Music in New York. As a composer, -Goldmark is most often remembered for the <i>Negro Rhapsody</i> -and the <i>Requiem</i> for orchestra, the latter inspired by Lincoln’s Gettysburg -Address. Goldmark died in New York City on March 6, 1936.</p> -<p>It is with the <i>Negro Rhapsody</i> (1923) that Goldmark is most often -represented on concert and semi-classical concerts. As its title suggests -the work is made up of Negro melodies. After a slow introduction, the -cellos and violas in unison offer the strains of “Nobody Knows De -Trouble I’d Seen.” Before long, the basses are heard in “O Peter, Go -Ring Dem Bells.” The main section of the rhapsody begins with a -variation of “Nobody Knows De Trouble I’d Seen” and a repeat of -“O Peter.” The violins then engage “Oh Religion, I See Fortune,” and -the English horn is heard in “Sometimes I Feel Like a Motherless -Child.” After the solo cello quotes two measures of “Oh, When I Come -to Die,” the last Negro melody of the rhapsody appears. This melody -comes from an untitled song found by Goldmark in a magazine, a tune -sung by Tennessee Negroes while working on the river.</p> -<div class="pb" id="Page_126">126</div> -<h2 id="c73"><span class="small">François <b id="g_Gossec">Gossec</b></span></h2> -<p>François Joseph Gossec was born in Vergniès, Belgium, -on January 17, 1734. After receiving some music instruction in -his native town, he came to Paris in 1751, and three years after that was -attached to the musical forces employed by La Pouplinière. For these -concerts, Gossec wrote many symphonies and chamber-music works. He -later worked in a similar capacity for the Prince de Conti. In 1770 he -founded the Concerts des Amateurs, in 1773 became director of the -Concert Spirituel, and from 1780 to 1785 was conductor at the Paris -Opéra. When the Paris Conservatory was established in 1795 Gossec -became Inspector and professor of composition. In the same year he also -became a member of the newly founded Institut de France. During the -French Revolution he wrote many works celebrating events growing -out of that political upheaval, allying himself with the new regime. -He lived to a ripe old age, spending the last years of his life in retirement -in Passy. He died in Paris on February 16, 1829.</p> -<p>Gossec was a significant pioneer of French orchestral and chamber -music, though little of his music is remembered. What remains alive, -however, is a graceful trifle: the Gavotte, one of the most popular pieces -ever written in that form. This music comes from one of his operas, -<i>Rosina</i> (1786); a transcription for violin and piano by Willy Burmeister -is famous.</p> -<div class="pb" id="Page_127">127</div> -<h2 id="c74"><span class="small">Louis <b id="g_Gottschalk">Gottschalk</b></span></h2> -<p>Louis Moreau Gottschalk was born in New Orleans -on May 8, 1829. His music study took place in Paris where he -specialized in the piano. He gave many successful concerts as pianist in -France, Switzerland and Spain before returning to the United States -in 1853. He then began the first of many tours of the country, to become -the first significant American-born piano virtuoso. At his concerts -he featured many of his own works; his reputation as a composer was -second only to that as virtuoso. He was on tour of South America when -he was stricken by yellow fever. He died in Rio de Janeiro on December -18, 1869.</p> -<p>Gottschalk was the composer of numerous salon pieces for the piano, -enormously popular in his day—a favorite of young pianists everywhere. -One of these pieces is “The Banjo,” familiar on semi-classical programs -in orchestral arrangements. In his music Gottschalk often employed -either Spanish or native American idioms.</p> -<p>The contemporary American composer, Ulysses Kay, used several of -Gottschalk’s piano pieces for a ballet score, <i>Cakewalk</i>. This ballet, with -choreography by Ruthanna Boris based on the minstrel show, was introduced -by the New York City Ballet in New York on June 12, 1951. The -dancers here translate the routines of the old minstrel show into dance -forms and idioms. An orchestral suite, derived from this ballet score, -has five sections: “Grand Walkaround,” in which the performers strut -around the stage led by the interlocutor; “Wallflower Waltz,” music to -a slow, sad dance performed solo by a lonely girl; “Sleight of Feet,” a -rhythmic specialty accompanying feats of magic performed by the Interlocutor; -“Perpendicular Points,” a toe dance performed by the two -end men, one very tall, the other very short; and “Freebee,” an exciting -dance performed by the girl, as other performers accompany her dance -with the rhythm of clapping hands.</p> -<div class="pb" id="Page_128">128</div> -<h2 id="c75"><span class="small">Morton <b id="g_Gould">Gould</b></span></h2> -<p>Morton Gould was born in New York City on December -10, 1913. He received a comprehensive musical education at the Institute -of Musical Art in New York, at New York University, and privately -(piano) with Abby Whiteside. After completing these studies, he -played the piano in motion-picture theaters and vaudeville houses and -served as the staff pianist for the Radio City Music Hall. He was only -eighteen when the Philadelphia Orchestra under Stokowski introduced -his <i>Chorale and Fugue in Jazz</i>, his first successful effort to combine -classical forms and techniques with modern popular American idioms. -In his twenty-first year he started conducting an orchestra for radio, -and making brilliant transcriptions of popular and semi-classical favorites -for these broadcasts. During the next two decades he was one of -radio’s outstanding musical personalities, his programs enjoying important -sponsorship. During this period he wrote many works for -orchestra which have been performed by America’s foremost symphony -orchestras. He also wrote the scores for several successful ballets (including -<i>Interplay</i> and <i>Fall River Legend</i>), as well as music for Broadway -musical comedies and motion pictures.</p> -<p>Like Gershwin, Gould has been a major figure in helping make serious -music popular by writing ambitious concert works which make a -skilful blend of serious and popular musical elements. Gershwin came -to the writing of serious concert works after apprenticeship in Tin Pan -Alley; Gould, on the other hand, came to popular writing after an -intensive career in serious music. Thus he brings to his more popular -efforts an extraordinary technique in composition, advanced thinking -in orchestration, harmony, counterpoint, and rhythm. Yet there is -nothing pedantic about his writing. Many of his works are such consistent -favorites with audiences because they are the creations of a -consummate musician without losing popular appeal. Few have been -more successful than Gould in achieving such a synthesis between concert -and popular music.</p> -<p><i>American Salute</i> (1942) is a brilliant orchestral adaptation of the -famous American popular song by Patrick Gilmore, “When Johnny -<span class="pb" id="Page_129">129</span> -Comes Marching Home.” Though written during the Civil War, this -robust marching song became most popular during the Spanish American -War with which it is today most often associated. Gould prepared -this composition during World War II for an all-American music concert -broadcast over the Mutual radio network on February 12, 1942. “I -have attempted,” Gould explained, “a very simple and direct translation -in orchestral idiom of this vital tune. There is nothing much that -can be said about the structure or the treatment because I think it is -what you might call ‘self-auditory.’”</p> -<p>The <i>American Symphonette No. 2</i> is one of several works for orchestra -in the sinfonietta form in which Gould made a conscious effort to -fuse classical structure with elements of popular music. The composer’s -purpose, as he explained, was “entertainment, in the better sense of the -term.” The most famous movement is the middle one, a “Pavane,” -often played independently of the other movements. It is particularly -favored by school orchestras, and has also been adapted for jazz band. -The old and stately classical dance of the Pavane is here married to a -spicy jazz tune jauntily presented by the trumpet; there are here overtones -of a gentle sadness. The first and last movements of this Symphonette -abound with jazz rhythms and melodies, respectively marked -“Moderately Fast, With Vigor” and “Racy.”</p> -<p>The <i>Cowboy Rhapsody</i> (1944) started out as a composition for brass -band, but was later adapted by the composer for orchestra. This is a -rhapsodic treatment of several familiar and less familiar cowboy tunes -including “Old Paint,” “Home on the Range,” “Trail to Mexico” and -“Little Old Sod Shanty.” The composer here attempted “a program -work that would effectively utilize the marvelous vigor and sentiment -of these unusual songs.”</p> -<p><i>Family Album</i> (1951) is one of two suites in which Gould evokes -nostalgic pictures of the American scene and holidays through atmospheric -melodies. (The other suite is <i>Holiday Music</i>, written in 1947.) -The composer explains that the music of both these suites is so simple -and direct in its pictorial appeal that it requires no program other than -the titles of the respective movements to be understood and appreciated; -nor is any analysis of the music itself called for. <i>Family Album</i>, -for brass band, is made up of five brief movements: “Outing in the -Park,” “Porch Swing on a Summer Evening,” “Nickelodeon,” “Old -Romance” and “Horseless Carriage Gallop.” <i>Holiday Music</i>, for orchestra, -also has five movements: “Home for Christmas,” “Fourth of July,” -“Easter Morning,” “The First Thanksgiving,” and “Halloween.”</p> -<div class="pb" id="Page_130">130</div> -<p><i>Interplay</i> is a ballet with choreography by Jerome Robbins introduced -in New York in 1945. The score is an adaptation of the composer’s -<i>American Concertette</i>, for piano and orchestra, written for the -piano virtuoso, José Iturbi. The text of the ballet contrasts classic and -present-day dances; Gould’s music is a delightful contrast between old -forms and styles, and modern or popular ones. <i>Interplay</i>, as the concert -work is now called, has four movements, each of popular appeal. The -first, “With Drive and Vigor,” was described by the composer as -“brash.” It has two sprightly main themes and a brief development. -This is followed by a “Gavotte” in which the composer directs “a sly -glance to the classical mode.” The third movement is a “Blues,” “a -very simple and, in spots, ‘dirty’ type of slow, nostalgic mood.” The -finale, “Very Fast” brings the composition to a breathless conclusion -through unrelenting motor energy.</p> -<p><i>Latin-American Symphonette</i>, for orchestra (1941) is the fourth of -Gould’s sinfoniettas using popular idioms. The three earlier ones exploit -jazz, while the fourth consists of ideas and idioms indigenous to -Latin America. Each of the four movements consists of a stylized Latin-American -dance form: “Rumba,” “Tango,” “Guaracha,” and “Conga.”</p> -<p>In <i>Minstrel Show</i> (1946) Gould tried to bring to orchestral music -some of the flavor of old time minstrel-show tunes and styles. There are -no borrowings from actual minstrel shows. All the melodies are the -composer’s own, but they incorporate some of the stylistic elements of -the original product. “The composition,” Gould goes on to say, “alternates -between gay and nostalgic passages. There are characteristic sliding -trombone and banjo effects, and in the middle of the piece the sandpaper -blocks and other percussion convey the sounds and tempo of a -soft-shoe dance. The score ends on a jubilant note.”</p> -<p><i>Yankee Doodle Went to Town</i>, like the <i>American Salute</i>, is the presentation -of a popular American tune in modern orchestration and -harmony. The tune in this case is, to be sure, “Yankee Doodle,” probably -of English origin which made its first appearance in this country -in 1755. The general belief is that it was used by a certain Richard -Shuchburg, a British Army soldier, to poke fun at the decrepit colonial -troops. For two decades after that the tune was frequently heard in the -Colonies as the means by which British soldiers could taunt Colonials. -Once the Revolution broke out, however, the colonists used “Yankee -Doodle” as its favorite war song, and it was sung lustily by them when -Cornwallis surrendered at Yorktown. Gould’s orchestration emphasizes -some of the humorous elements in the song, while giving it some freshness -<span class="pb" id="Page_131">131</span> -and vitality through his fine sense for orchestral color and striking -harmonizations.</p> -<h2 id="c76"><span class="small">Charles <b id="g_Gounod">Gounod</b></span></h2> -<p>Charles François Gounod was born in Paris on -June 17, 1818. He received his academic education at the Lycée -St. Louis, and his musical training at the Paris Conservatory with -Halévy and Lesueur among others. In 1839 he won the Prix de Rome. -During his stay in Italy he became interested in church music and completed -several choral works. He turned to opera after returning to Paris, -his first work for the lyric stage being <i>Sapho</i>, successfully produced at -the Paris Opéra in 1851. From then on, for many years, he concentrated -mainly on opera, winning world renown in 1859 with <i>Faust</i>. In 1870 he -visited London where he conducted orchestral and choral concerts. During -the last years of his life he devoted himself for the most part to the -writing of religious music. Gounod died in Paris on October 18, 1893. -He is most famous for his operas, and most specifically for <i>Faust</i>, though -<i>Mireille</i> (1864) and <i>Roméo et Juliette</i> (1867) have also been highly -acclaimed and frequently given. Gounod was a composer who conveyed -to his music sensitive human values. He was a melodist of the first order, -his lyricism enhanced in its expressiveness through his subtle feeling for -orchestral and harmonic colors.</p> -<p>The <i>Ave Maria</i>, while originally a song, is famous in transcriptions -for solo instruments and also for orchestra. The interesting feature of -this work is the fact that Gounod wrote this spiritual, deeply moving -melody to the famous prayer in Latin, against an accompaniment comprising -the music (without any change whatsoever) of Bach’s Prelude -in C major from the <i>Well-Tempered Clavier</i>. The marriage of melody -and accompaniment is so ideal it is difficult to realize that each is the -work of a different composer from a different generation.</p> -<div class="pb" id="Page_132">132</div> -<p>Gounod’s masterwork, the opera <i>Faust</i>, is surely one of the most celebrated -works of the French lyric theater. Many of its selections are deservedly -popular. The opera—libretto by Jules Barbier and Michel -Carré based on the poetic drama of Goethe—was first performed in -Paris on March 19, 1859. Strange to report, it was originally a failure -with both audience and critics. Not until it was revived in Paris in 1869 -did the opera finally win favor; from this point it went on to conquer -the world. One of the reasons for this permanent, if somewhat belated, -success, is the sound theatrical values of the libretto. The opera is -consistently excellent theater, rich with emotion, pathos, drama, pomp -and ceremony. The story, of course, is that of the celebrated Faust -legend. Faust makes a pact with the devil, Mephistopheles, to trade his -soul for the return of his youth. As a young man, Faust makes love to -Marguerite. When she becomes a mother she kills her child. Faust -comes to her prison cell to entreat her to escape, but she does not seem -to understand him. After her punishment by death, Faust is led to his -own doom by Mephistopheles.</p> -<p>Perhaps the most famous single excerpt from the opera is the rousing -<i>Soldier’s Chorus</i> (“<i>Gloire immortelle des nos aïeux</i>”) from Act 4, Scene -3. The soldiers, returning from the war, sing out their joy on coming -home victorious. This episode is celebrated in transcriptions either for -orchestra or for brass band. Almost as popular is the captivating Waltz -in Act 2. In the opera it is sung and danced by villagers during a celebration -in the public square (“<i>Ainsi que la brise légère</i>”); this excerpt -is also familiar in transcription.</p> -<p>The Walpurgis Night Ballet Music from <i>Faust</i>, though generally -omitted from the performances of the opera itself, has become a concert -favorite. This music is given in Paris during the first scene of the -last act. The classic queens—Helen, Phryne and Cleopatra—and their -attendants are called upon to dance to distorted versions of several of -the opera’s beloved melodies. There are here seven dances of which -six appear in the score only with tempo markings: <i>Waltz</i>, <i>Adagio</i>, -<i>Allegretto</i>, <i>Moderato maestoso</i>, <i>Moderato con moto</i>, <i>Allegretto</i>, and -<i>Allegro vivo</i>.</p> -<p>When an orchestral potpourri from the opera is given by semi-classical -orchestra, it includes some other beloved excerpts: Marguerite’s -“Jewel Song” (“<i>Je ris de me voir</i>”), in which she speaks her joy -in finding the casket of jewels secretly placed for her in her garden by -Faust; the rousing <i>Kermesse</i> or Fair Music that opens the second act, -“<i>Vin ou bière</i>”; Mephistopheles’ cynical comment on man’s greed for -<span class="pb" id="Page_133">133</span> -gold, “<i>Le Veau d’or</i>”; Faust’s hymn of love for Marguerite, “<i>O belle -enfant! je t’aime</i>”; the “Chorus of Swords” (“<i>De l’enfer qui vient -émousser</i>”), a vibrant exhortation by the young men of the village who, -sensing they are in the presence of the devil, raise their swords in the -form of a cross to confound him.</p> -<p>The <i>Funeral March of a Marionette</i> (<i>Marche funèbre d’une marionnette</i>) -is a delightful piece originally written for the piano in 1873, and -after that transcribed by the composer for orchestra. Gounod had hopes -to make it the first movement of a piano suite. When he failed to complete -that suite, he issued the march as a separate piece of music in the -now-famous orchestral version. The opening march music tells of the -procession of pallbearers to a cemetery as they carry a dead marionette. -A brighter spirit is induced as the pallbearers stop off at an inn. Then -the procession continues. The funereal atmosphere of the closing measures -speaks of the ephemeral nature of all life, even the life of a -marionette.</p> -<p>The opera <i>Mireille</i>—libretto by Barbier and Carré based on Mistral’s -poem, <i>Mirèio</i>—is not often performed. But this is not true of its overture. -The opera was first performed in Paris on March 19, 1864. The -story revolves around the tragic love affair of the Provençal girl, -Mireille, and the basket-weaver, Vincent. The overture opens with a -slow introduction in which a stately idea is offered by the woodwind. -In the main body, the principal melody is heard in the strings while -the subsidiary theme is first presented by the violins. After both ideas -are amplified, a crescendo section leads to the triumphant reappearance -of the first theme in the full orchestra. The overture ends with a short -but spirited coda.</p> -<p>Out of the opera <i>Roméo et Juliet</i> comes a most charming waltz. The -opera was introduced in Paris on April 27, 1867. The libretto, once -again by Barbier and Carré, was based on the Shakespeare tragedy. The -waltz opens the first act, a ballroom scene in the Capulet palace honoring -Juliet. Against the lilting strains of this music, the guests perform -an eye-filling dance.</p> -<div class="pb" id="Page_134">134</div> -<h2 id="c77"><span class="small">Percy <b id="g_Grainger">Grainger</b></span></h2> -<p>Percy Aldridge Grainger was born in Melbourne, -Australia on July 8, 1882. After receiving some piano instruction -from his mother he was sent to Germany in his twelfth year to continue -his music study with James Kwast and Ferruccio Busoni. In 1900 -he made his debut as concert pianist in London, following which he -made an extended tour of Great Britain, New Zealand, Australia, and -South Africa. A meeting with Grieg, in 1906, was a significant influence -in Grainger’s artistic development. Grieg infected the young man with -some of his own enthusiasm for folk music. The result was that Grainger -now began to devote himself to research in the English folk music of -the past. His orchestral and piano arrangements of many of these folk -tunes and dances, between 1908 and 1912, were responsible for bringing -them to the attention of the music world. In 1915, Grainger made -his debut as pianist in the United States. He has lived in America since -that time, devoting himself to concert work, lecturing and teaching, -besides composition. Grainger died in White Plains, New York, on -February 20, 1961.</p> -<p>In his own music, Grainger reveals the impact that his studies in English -music made upon him: in his partiality to modal writing, to the -contrapuntal technique, to placid lyricism. But it is in his fresh arrangements -of old English songs and dances that Grainger is most famous. -“Even when he keeps the folk songs within their original dimensions,” -says Cyril Scott, “he has a way of dealing with them which is entirely -new, yet at the same time never lacking in taste.”</p> -<p><i>Brigg Fair</i> is a plaintive melody of pastoral character from the district -of Lincolnshire. It was used by the contemporary British composer, -Frederick Delius, as the basis for his orchestral rhapsody of the -same name (dedicated to Grainger).</p> -<p>The bucolic and ever popular <i>Country Gardens</i> is a “Mock Morris,” -the “Mock Morris” being an old English dance popular during the -reign of Henry VII and since then associated with festivities attending -May Day. Grainger’s original transcription was for piano solo, and only -later did he adapt it for orchestra.</p> -<div class="pb" id="Page_135">135</div> -<p><i>Handel in the Strand</i> is a lively clog dance. <i>Irish Tune from County -Derry</i> is better known as the <i>Londonderry Air</i>, a poignant melody now -known to us through numerous versions other than that originally -made famous by Grainger. The piece, designated as a Mock Morris, is -one of a series in a collection entitled <i>Room Music Tit Bits</i>. “No folk -music tune-stuffs at all are used herein,” says the composer. “The -rhythmic cast of the piece is Morris-like, but neither the build of the -tunes nor the general layout of the form keeps to the Morris dance -shape.”</p> -<p>The lively <i>Molly on the Shore</i> was first written for piano before being -adapted by the composer for orchestra. <i>Shepherd’s Hey</i> is a Mock -Morris and consists of four tunes, two fiddle tunes and two folk songs.</p> -<p>Of Grainger’s own compositions three are of general interest. The -<i>Children’s March</i> (1917) was written during World War I for the United -States Army Band. “This march,” says the composer, “is structurally of -a complicated build, on account of the large number of different themes -and tunes employed and of the varied and irregular interplay of many -contrasted sections. Tonally speaking, it is a study in the blend of piano, -wind, and percussion instruments.”</p> -<p><i>Passacaglia on Green Bushes</i> has two versions. One is for small orchestra, -and the other for a large one. This composition is built around the -folk melody “Green Bushes” which remains unchanged in key, line, -and rhythm throughout the work (except for eight measures of free -passage work near the beginning, and forty measures at the end). -Against this melody move several folk-like melodies of Grainger’s own -invention.</p> -<p><i>Youthful Suite</i> for orchestra is made up of five sections. Part of this -work was completed in 1902, and part in 1945. The first movement, -“Northern March,” derives its character from the melodic and rhythmic -traits of the folk music of North England and Scotland. The main -melody here acquires its folk-song character through the use of the -flat-seventh minor scale. “Rustic Dance” achieves an exotic quality -through the employment of an unusual variant of the F major chord. -“Norse Digger” is a somber lament in which is mourned the passing of -a dead hero, possibly from an Icelandic saga. “Eastern Intermezzo” has -an Oriental cast. The repeated use of drum beats and the virile rhythms -were inspired by a reading of a description of the dance of the elephants -in <i>Toomal of the Elephants</i> from Kipling’s Jungle Book. This -suite ends with a formal “English Waltz.”</p> -<div class="pb" id="Page_136">136</div> -<h2 id="c78"><span class="small">Enrique <b id="g_Granados">Granados</b></span></h2> -<p>Enrique Granados was born in Lérida, Spain, on July -27, 1867. After completing his music study at Conservatories in Barcelona -and Madrid, and privately with Charles de Bériot in Paris, he -earned his living playing the piano in Spanish restaurants. In 1898, his -first opera was produced in Madrid, <i>Maria del Carmen</i>. The national -identity of this music was to characterize all of Granados’ subsequent -works and place him among the most significant of Spanish national -composers. His most famous composition is <i>Goyescas</i>, a remarkable -series of piano pieces inspired by the paintings of Goya; the composer -later adapted this music for an opera, also called <i>Goyescas</i>, which received -its world première in New York at the Metropolitan Opera on -January 28, 1918. Granados came to the United States to attend this -performance, after which he visited Washington, D.C. to play the piano -for President Wilson at the White House. He was aboard the ship -<i>Folkstone</i>, sailing from Folkstone to Dieppe, when it was torpedoed by -a German U-Boat during World War I on March 24, 1916, bringing -him to his death.</p> -<p>In their rhythmic and harmonic vocabulary, Granados’ best music -is unmistakably Spanish. Perhaps his most famous single piece of music -is an orchestral “Intermezzo” from the opera <i>Goyescas</i>. He wrote it -after he had fully completed his score to the opera because the directors -of the Metropolitan Opera filled the need of an instrumental interlude. -This sensual Spanish melody is as famous in various transcriptions -(including one for cello and piano by Gaspar Cassadó) as it is in -its original orchestral version.</p> -<p>Twelve <i>Spanish Dances</i>, for piano, op. 37 (1893) are also popular. -The most frequently performed of these is the fifth in E minor named -<i>Andaluza</i> (or <i>Playera</i>). Fritz Kreisler transcribed it for violin and piano, -one of numerous adaptations. The sixth in D major is also familiar—<i>Rondalla -Aragonesa</i>, a jota, transcribed for violin and piano by Jacques -Thibaud.</p> -<div class="pb" id="Page_137">137</div> -<h2 id="c79"><span class="small">Edvard <b id="g_Grieg">Grieg</b></span></h2> -<p>Edvard Hagerup Grieg, Norway’s greatest composer, -was born in Bergen on June 15, 1843. Revealing unusual talent -for music as a boy, he was sent to the Leipzig Conservatory in 1858. -He remained there several years, a pupil of Plaidy, Moscheles, and -Reinecke among others. In 1863 he returned to his native land where -several of his early compositions were performed. He then lived for -several years in Copenhagen. There he met and became a friend of two -musicians who interested him in Scandinavian music and musical -nationalism: Niels Gade and Rikard Nordraak. Under their guidance -and stimulation Grieg began writing music in a national style, beginning -with the <i>Humoresques</i> for piano, op. 6, which he dedicated to -Nordraak. Grieg also became a sponsor of Scandinavian music and -composers by helping Nordraak organize a society for their benefit. In -1866, Grieg helped arrange in Oslo the first concert ever given over -entirely to Norwegian music; a year later he helped found the Norwegian -Academy of Music. He also served as a conductor of the Harmonic -Society, an important influence in presenting Scandinavian -music.</p> -<p>After marrying Nina Hagerup in 1867, Grieg settled in Oslo to -assume an imperial position in its musical life. He also achieved worldwide -recognition as a composer through his violin Sonata in F major, -the A major piano concerto, and the incidental music to Ibsen’s <i>Peer -Gynt</i>. He was the recipient of many honors both from his native land -and from foreign countries. His sixtieth birthday was honored as a -national Norwegian holiday. From 1885 on Grieg lived in a beautiful -villa, Troldhaugen, a few miles from Bergen. Music lovers made pilgrimages -to meet him and pay him tribute. His remains were buried -there following his sudden death in Bergen on September 4, 1907.</p> -<p>Its national identity is the quality that sets Grieg’s music apart from -that of most of the other Romanticists of his day. Though he rarely -quoted folk melodies or dance tunes directly, he produced music that -is Norwegian to its core. In his best music he speaks of Norway’s geography, -<span class="pb" id="Page_138">138</span> -culture, people, backgrounds, holidays, and legends in melodies -and rhythms whose kinship with actual folk music is unmistakable.</p> -<p>The <i>Holberg Suite</i> for string orchestra, op. 40 (1885)—or to use its -official title of <i>From Holberg’s Time</i>—was written to honor the bicentenary -of Ludvig Holberg, often called the founder of Danish literature. -The composer also adapted this music for solo piano. Bearing in -mind that the man he was honoring belonged to a bygone era, Grieg -wrote a suite in classical style and with strictly classical forms; but his -own romantic and at times national identity is not sacrificed. The first -movement is a “Prelude,” a vigorous movement almost in march time. -This is followed by three classical dances—“Sarabande,” “Gavotte,” and -“Musette.” The fourth movement temporarily deserts the 17th and -18th centuries to offer a graceful “Air” in the manner of a Norwegian -folk song, but the classical era returns in all its stateliness and grace in -the concluding “Rigaudon.”</p> -<p><i>In Autumn</i>, a concert overture for orchestra, op. 11 (1865, revised -1888) was Grieg’s first effort to write symphonic music. This composition -is a fresh and spontaneous expression of joy in Nature’s beauties. -The principal melody is a song written by Grieg in 1865, “Autumn -Storm.” This material is preceded by an introduction and followed by -a coda in which a happy dance by harvesters is introduced.</p> -<p>The <i>Lyric Suite</i> for orchestra, op. 54 (1903) is an adaptation by the -composer of four numbers from his <i>Lyric Pieces</i>, for piano—a set of -sixty-six short compositions gathered in ten volumes, each a delightful -miniature of Norwegian life. The first of the four episodes in the <i>Lyric -Suite</i> is “Shepherd Lad,” scored entirely for strings, music in a dreamy -mood whose main romantic melody has the character of a nocturne. -“Rustic March” (or “Peasant March”), for full orchestra, has for its -principal thought a ponderous, rhythmic theme first given by the clarinets. -The third movement is a poetic “Nocturne” whose main melody -is presented by the first violins. The suite ends with the popular “March -of the Dwarfs” in the grotesque style of the composer’s “In the Hall of -the Mountain King” from <i>Peer Gynt</i>. This movement alternates a -sprightly fantastic march tune (first heard in the violins) with an expressive -melody for solo violin.</p> -<p>The <i>Norwegian Dance No. 2</i> is the second of a set of four folk dances -originally for piano four hands and later transcribed by the composer -for orchestra, op. 35 (1881). This second dance, in the key of A minor, -is probably the composer’s most famous composition in a national -idiom. It is in three parts, the flanking section consisting of a sprightly -<span class="pb" id="Page_139">139</span> -rustic dance tune, while the middle part is faster and more vigorous -contrasting music. The other somewhat less familiar, but no less beguiling, -<i>Norwegian Dances</i> are the first in D minor, the third in G -major, and the fourth in D major.</p> -<p>The <i>Peer Gynt Suite No. 1</i>, for orchestra, op. 46 (1876) consists of -four numbers from the incidental music for the Ibsen drama, <i>Peer -Gynt</i>, produced in Oslo in 1876. Ibsen’s epic is a picaresque drama -about a capricious and at times spirited Norwegian peasant named Peer, -and his fabulous adventures, some of them amatory. He abducts the -bride, Solveig, then deserts her; as an outlaw he roams the world; when -he returns home he finds Solveig still believing in him and through that -belief he comes upon salvation.</p> -<p>The first movement of Suite No. 1 is a bucolic picture, “Morning,” -in which a barcarolle-type melody is prominent. This is followed by -a tender elegy for muted strings, “Ase’s Death,” Ase being Peer Gynt’s -mother. A capricious, sensual dance follows, “Anitra’s Dance,” a -mazurka-like melody with an Oriental identity. The final movement, -“In the Hall of the Mountain King” is a grotesque march built from a -four-measure phrase which grows in volume and intensity until it -evolves into a thunderous fortissimo.</p> -<p>Grieg prepared a second suite from his incidental music for <i>Peer -Gynt</i>, op. 55. Only one movement from this set is popular, “Solveig’s -Song,” a haunting Norwegian song for muted strings portraying Solveig, -the abducted bride who thereafter remains forever faithful to -Peer Gynt. This is the final movement of a suite whose preceding -movements are “Ingrid’s Lament,” “Arabian Dance,” and “Peer Gynt’s -Homecoming.”</p> -<p><i>Sigurd Jorsalfar</i>, a suite for orchestra, op. 56 (1872, revised 1892) also -comes from the incidental music to a play, in this case a historical drama -of the same name by Bjørnstjerne Bjørnson, produced in Oslo in 1872. -The central character is the twelfth-century Norwegian king, Sigurd, -who joins the Crusades to fight heroically against the Saracens. There -are three movements to this suite. The first “Prelude” is subtitled “In -the King’s Hall,” and has three distinct sections. In the first of these -the main thought is a theme for clarinets and bassoons against plucked -strings; in the second, a trio, the most prominent melody is that for -flute imitated by the oboe; the third part repeats the first. The second -movement is “Intermezzo” or “Borghild’s Dream.” This is serene music -alternated by an agitated mood. The finale is “March of Homage” in -which trumpet fanfares and a loud chord for full orchestra set the stage -<span class="pb" id="Page_140">140</span> -for the main theme, in four cellos. This same theme is later proclaimed -triumphantly by the full orchestra. Midway there appears a trio in -which the first violins offer the main melody.</p> -<p><i>Two Elegiac Melodies</i>, for string orchestra, op. 34 (1880) are adaptations -of two of the composer’s most famous songs found in op. 33, -“Heartwounds” and “The Last Spring,” lyrics by A. O. Vinje. Both -melodies are for the most part in a somber mood. The first is in a comparatively -fast time while the second is in slow tempo.</p> -<p><i>Two Northern Melodies</i>, for string orchestra, op. 63 (1895) is, as the -title indicates, in two sections. The first, “In the Style of a Folksong,” -offers its main melody in the cellos after a short introduction. The second, -“The Cowherd’s Tune,” begins with a slow, simple tune and ends -with a delightful peasant dance.</p> -<p>The Broadway operetta, <i>Song of Norway</i>, was not only based upon -episodes in the life of Grieg but also makes extensive use of Grieg’s -music. The book is by Milton Lazarus based on a play by Homer Curran, -and the lyrics and music are by Robert Wright and George Forrest. -The operetta opened on Broadway on August 21, 1944 (Lawrence -Brooks played Grieg, and Helena Bliss his wife, Nina) to accumulate -the impressive run of 860 performances. Since the operetta has become -something of a classic of our popular theater through frequent revivals—and -since its music is sometimes heard on concerts of semi-classical -music—it deserves consideration. The story centers mainly around the -love affair of Grieg and Nina Hagerup, and their ultimate marriage; it -also carries the composer from obscurity to world fame. Wright and -Forrest reached into the storehouse of Grieg’s music for their songs. -“Strange Music,” which became a popular-song hit in 1944 and 1945, is -based on one of Grieg’s <i>Lyric Pieces</i> for piano, <i>Wedding Day in Troldhaugen</i>. -“I Love You” is based on Grieg’s famous song of the same name -(“<i>Ich liebe Dich</i>”) which he actually wrote to express his love for Nina; -the lyric was by Hans Andersen, and the song appeared in a set of four -collected in op. 5 (1864). Musical episodes from Grieg’s G major Violin -Sonata, the <i>Peer Gynt Suite</i>, <i>Norwegian Dance No. 2</i>, the A minor -Piano Concerto, and some of the piano pieces provided further material -for popular songs and ballet music.</p> -<div class="pb" id="Page_141">141</div> -<h2 id="c80"><span class="small">Ferde <b id="g_Grofe">Grofé</b></span></h2> -<p>Ferde Grofé was born Ferdinand Rudolph Von Grofé in -New York City on March 27, 1892. He began to study the violin and -piano early. During his adolescence he became a member of the viola -section of the Los Angeles Philharmonic. While engaged in serious -music he started playing with jazz ensembles. Before long he formed -one of his own, for which he made all the arrangements, and whose performances -attracted considerable interest among jazz devotees. Paul -Whiteman was one of those who was impressed by Grofé’s brand of -jazz. In 1919 he hired Grofé to play the piano in, and make all the -arrangements for, the Paul Whiteman Orchestra. Grofé worked for -Whiteman for a dozen years, a period during which he prepared most -of the arrangements used by Whiteman, including that of George -Gershwin’s historic <i>Rhapsody in Blue</i> at its world première in 1924. -In 1924, Grofé wrote his first symphonic composition in a jazz style, -<i>Broadway at Night</i>. One year later, came the <i>Mississippi Suite</i>, his first -success. In 1931 he scored a triumph with the <i>Grand Canyon Suite</i>, -still his most celebrated composition. After 1931, Grofé toured the -country as conductor of his own orchestra, making numerous appearances -in public and over the radio. From 1939 to 1942 he taught orchestration -at the Juilliard School of Music in New York and in 1941 he -began an eight-year contract with the Standard Oil Company of California -to conduct the San Francisco Symphony over the radio. Grofé -has also written music for motion pictures and special works for -industry.</p> -<p>With Gershwin, Grofé has been an outstanding composer of symphonic -music utilizing jazz and other popular styles and idioms. He -is distinguished for his remarkable skill at orchestration, which frequently -employs non-musical devices for special effects—for example, a -typewriter in <i>Tabloid</i>, pneumatic drills in <i>Symphony in Steel</i>, a bicycle -pump in <i>Free Air</i>, shouts and door-banging in <i>Hollywood Suite</i>, and -the sound of bouncing bowling balls in <i>Hudson River Suite</i>.</p> -<p>The <i>Grand Canyon Suite</i> (1931), Grofé’s most significant composition -<span class="pb" id="Page_142">142</span> -as well as the most famous, is an orchestral description in five movements -of one of America’s natural wonders. The first movement, “Sunrise,” -opens with a timpani roll to suggest the break of dawn over the -canyon. The main melody depicting the sunrise itself is heard in muted -trumpet against a chordal background. As the movement progresses, the -music becomes increasingly luminous, until the sun finally erupts into -full resplendence. “The Painted Desert” is an atmospheric tone picture. -Nebulous chords suggest an air of mystery before a sensual -melodic section unfolds. “On the Trail” is the most popular movement -of the suite, having for many years been expropriated as the identifying -theme-signature for the Philip Morris radio program. An impulsive, -restless rhythm brings us a picture of a jogging burro. A cowboy tune -is then set contrapuntally against this rhythm. In “Sunset” animal -calls precede a poignant melody that speaks about the peace and -serenity that descend on the canyon at sunset. “Cloudburst” is the concluding -movement in which a violent storm erupts, lashes the canyon -with its fury, and then subsides. Tranquillity now returns, and the canyon -is once more surrounded by breathless and quiet beauty.</p> -<p>The <i>Hudson River Suite</i> (1955) was written for André Kostelanetz, -the conductor, who introduced the work in Washington, D.C. This -music provides five different aspects of the mighty river in New York, -and its associations with American history. The river itself is described -in the opening movement, “The River.” This is followed by a portrait -of Henry Hudson. The colonial times and the land of Rip Van Winkle -are discussed in the third movement, “Rip Van Winkle,” while in -“Albany Night Boat,” a delightful account is given of New York in -years gone by, when a holiday trip on the boat was a favorite pastime of -New York couples. The suite ends with “New York” a graphic etching -of the metropolis along the Hudson.</p> -<p>The <i>Mississippi Suite</i> (1925)—like its eminent successor, the <i>Grand -Canyon Suite</i>—was written for Paul Whiteman, who introduced it in -Carnegie Hall. The first movement, “Father of the Waters” has a -melody of an American-Indian identity representing the river. In -“Huckleberry Finn,” the character of the boy is suggested by a jazz -motive in the tuba, later amplified into a spacious jazz melody for -strings. “Old Creole Days” highlights a Negro melody in muted trumpet -soon taken over by different sections of the orchestra. The closing -movement is the suite’s best known section and the composer’s own -favorite among his compositions. Called “Mardi Gras” it is a lively and -colorful picture of carnival time in New Orleans. A rhythmic passage -<span class="pb" id="Page_143">143</span> -with which the movement opens serves as the preface to an eloquent -melody for strings.</p> -<h2 id="c81"><span class="small">David <b id="g_Guion">Guion</b></span></h2> -<p>David Wendell Fentress Guion was born in -Ballinger, Texas, on December 15, 1895. He received his musical training -at the piano with local teachers and with Leopold Godowsky in -Vienna. After returning to the United States he filled several posts as -teacher of music in Texas, and from 1925 to 1928 taught piano at the -Chicago Music College. Early in the 1930’s he appeared in a cowboy -production featuring his own music at the Roxy Theater in New York -and soon thereafter made weekly broadcasts over the National Broadcasting -Company network. A David Guion Week was celebrated -throughout Texas in 1950.</p> -<p>He is best known for his skilful arrangements and transcriptions of -Western folk songs and Negro Spirituals, some of which first became -famous in his versions. His orchestral adaptation of “The Arkansas -Traveler” has long been a favorite on “pop” concerts. A familiar legend -helped to dramatize this American folk song to many. A traveler caught -in the rain stops outside an Arkansas hut where an old man is playing -part of a folk tune on his fiddle. Upon questioning him the traveler -learns that the old fiddler does not know the rest of the song, whereupon -the stranger takes the fiddle from him and completes it. The -two then become devoted friends.</p> -<p>Even more famous is David Guion’s arrangement of “Home on the -Range,” in 1930. It is not quite clear who actually wrote this song. It -was discovered by John A. Lomax who heard it sung by a Texan saloon -keeper, recorded it, and published it in his 1910 edition of <i>Cowboy -Songs</i>. Only after Guion had arranged it did it become a national -favorite over the radio, its popularity no doubt immensely enhanced by -<span class="pb" id="Page_144">144</span> -the widely circulated story that this was President Franklin D. Roosevelt’s -favorite song.</p> -<p>Guion’s concert arrangement for full orchestra of “Turkey in the -Straw” is also of interest. This folk tune—sometimes known as “Zip -Coon”—first achieved popularity on the American musical stage in the -era before the minstrel show. It was published in Baltimore in 1834 -and first made popular that year by Bob Farrell at the Bowery Theater. -After that it was a familiar routine of the black-faced entertainer, -George Washington Dixon. Several have laid claim to the song, but it -is most likely derived from an English or Irish melody.</p> -<p>Other arrangements and transcriptions by Guion include “Nobody -Knows De Trouble I’ve Seen,” “Oh, Bury Me Not on the Lone Prairie,” -“Ride Cowboy Ride,” “Short’nin’ Bread,” and “Swing Low, Sweet -Chariot.”</p> -<p>Guion has also written several compositions of his own in which the -folk element is pronounced. One of these is named <i>Alley Tunes</i>, three -musical scenes from the South. Its most famous movement is the last, -“The Harmonica Player,” but the earlier two are equally appealing for -their homespun melodies and vigorous national identity: “Brudder -Sinkiller and His Flock of Sheep” and “The Lonesome Whistler.” -Another pleasing orchestral composition by Guion is a waltz suite -entitled <i>Southern Nights</i>.</p> -<h2 id="c82"><span class="small">Johan <b id="g_Halvorsen">Halvorsen</b></span></h2> -<p>Johan Halvorsen was born in Drammen, Norway, on -March 15, 1864. After attending the Stockholm Conservatory he studied -the violin with Adolf Brodsky in Leipzig and César Thomson in -Belgium. In 1892 he returned to his native land. For many years he was -the distinguished conductor of the Oslo National Theater. His admiration -of Grieg (whose niece he married) directed him toward musical -<span class="pb" id="Page_145">145</span> -nationalism, a style in which many of his most ambitious works were -written. He was the composer of three symphonies, two rhapsodies, a -festival overture, several suites, and a number of peasant dances all for -orchestra. He died in Oslo on December 4, 1935.</p> -<p>The <i>Andante religioso</i>, in G minor, for violin and orchestra, is a -richly melodious and spiritual work which has gained recognition with -semi-classical orchestras. But Halvorsen’s most popular composition is -the <i>Triumphant Entry of the Boyars</i>, for orchestra. The boyar or -boyard was a military aristocrat of ancient Russia, a tyrant as notorious -for his cruelty as for his extravagant way of life. Halvorsen’s vigorous, -colorful march has an Oriental personality. It opens with a stirring -march subject for clarinet against a drone bass in cellos and double -basses, and it highlights a fanfare for trumpets and trombones.</p> -<h2 id="c83"><span class="small">George Frederick <b id="g_Handel">Handel</b></span></h2> -<p>George Frederick Handel was born in Halle, Saxony, -on February 23, 1685. After studying the organ in his native city -he settled in Hamburg where he wrote, and in 1705 had produced, -his first operas, <i>Almira</i> and <i>Nero</i>. A period of travel and study in Italy -followed, during which he was influenced by the Italian instrumental -music of that period. In 1710 he was appointed Kapellmeister in Hanover. -In 1712 he settled permanently in England where in 1727 he became -a British subject and Anglicized his name. He became one of -England’s giant figures in music, first as a composer of operas in the -Italian style, and after that (when the vogue for such operas died out) -as a creator of oratorios. For several years he was the court composer for -Queen Anne and royal music master for George I. In 1720 he was -appointed artistic director of the then newly organized Royal Academy -of Music. In the last years of his life he suffered total blindness, notwithstanding -which fact he continued giving public performances at -<span class="pb" id="Page_146">146</span> -the organ, conducting his oratorios, and writing music. He died in London -on April 14, 1759 and was buried in Westminster Abbey.</p> -<p>Handel was a prolific composer of operas, oratorios, orchestral music, -concertos for solo instruments and orchestra, sonatas, compositions for -harpsichord, and chamber works. He was greatest in his religious music, -in the deservedly world-famous oratorio <i>Messiah</i>, and in such somewhat -less familiar but no less distinguished works as <i>Judas Maccabaeus</i>, <i>Samson</i>, -<i>Solomon</i>, and <i>Israel in Egypt</i>. His greatest music is on such a consistently -high spiritual plane, is filled with such grandeur of expression, -and reveals such extraordinary contrapuntal skill that it does not -easily lend itself to popular consumption. But one passage from the -<i>Messiah</i> is particularly famous, and especially popular with people -the world over; it is probably the most celebrated single piece of music -he ever wrote, and while originally for chorus and orchestra, is familiar -in innumerable transcriptions for orchestra or for band. It is the sublime -“Hallelujah Chorus,” about which the composer himself said -when he finished writing it: “I did think I did see all Heaven before -me, and the great God himself.” This grandiose choral passage, a -miracle of contrapuntal technique, is undoubtedly the climactic point -of the entire oratorio. When the <i>Messiah</i> was first heard in London on -March 23, 1743 (a little less than a year after its world première which -took place in Dublin, Ireland, on April 13, 1742) the awesome immensity -of this music made such an impression on King George II, in -the audience, that he rose spontaneously in his seat and remained -standing throughout the piece. The audience followed their king in -listening to the music in a standing position. Since then it has been a -custom in performances of <i>Messiah</i> for the audience to rise during the -singing of the “Hallelujah Chorus.”</p> -<p>The <i>Harmonious Blacksmith</i> is Handel’s best known composition -for the harpsichord. This is the fourth movement of a harpsichord suite, -No. 5 in E major, which the composer wrote in 1720; but most frequently -it is played apart from the rest of the movements as a self-sufficient -composition. The title <i>Harmonious Blacksmith</i> was created -not by the composer but by a publisher in Bath, England, when in -1822 he issued the fourth movement of the suite as a separate piece of -music. There happened to be in Bath a blacksmith who often sang this -Handel tune and who came to be known in that town as the “harmonious -blacksmith.” The Bath publisher recognized the popular appeal of -a title like “Harmonious Blacksmith” and decided to use it for this -music. The story that Handel conceived this tune while waiting in a -<span class="pb" id="Page_147">147</span> -blacksmith’s shop during a storm is, however, apocryphal. The <i>Harmonious -Blacksmith</i> begins with a simple two-part melody which then -undergoes five equally elementary variations.</p> -<p>The <i>Largo</i>, so familiar as an instrumental composition in various -transcriptions, is really an aria from one of Handel’s operas. It was a -tenor aria (“<i>Ombrai mai fu</i>”) from <i>Serse</i> (1738) in which is described -the beauty of the cool shade of a palm tree. In slower tempo it has -become, in its instrumental dress, a broad, stately melody of religious -character with the simple tempo marking of <i>Largo</i> as its title.</p> -<p>The <i>Water Music</i> (1717) is a suite for orchestra made up of charming -little dances, airs and fanfares written for a royal water pageant -held on the Thames River in London on July 19, 1717. A special barge -held the orchestra that performed this composition while the musicians -sailed slowly up and down the river. The king was so impressed by -Handel’s music that he asked it be repeated three times. In its original -form, this suite is made up of twenty pieces, but the version most often -heard today is an adaptation by Sir Hamilton Harty in which only six -movements appear: Overture, Air, Bourrée, Hornpipe, Air, and Fanfare.</p> -<h2 id="c84"><span class="small">Joseph <b id="g_Haydn">Haydn</b></span></h2> -<p>Franz Joseph Haydn was born in Rohrau, Austria, on -March 31, 1732. From 1740 to 1749 he was a member of the choir of -St. Stephen’s in Vienna, attending its school for a comprehensive musical -training. For several years after that he lived in Vienna, teaching -music, and completing various hack assignments, while pursuing serious -composition. In 1755 he was appointed by Baron Karl Josef Fuernberg -to write music for and direct the concerts at his palace; it was in this -office that Haydn wrote his first symphonies and string quartets as well -as many other orchestral and chamber-music works. From 1758 to 1760 -he was Kapellmeister to Count Ferdinand Maximilian Morzin. In -<span class="pb" id="Page_148">148</span> -1761 Haydn became second Kapellmeister to Prince Paul Anton Esterházy -at Eisenstadt, rising to the post of first Kapellmeister five years -after that. Haydn remained with the Esterházys until 1790, a period in -which he arrived at full maturity as a composer. His abundant symphonies, -quartets, sonatas and other compositions spread his fame -throughout the length and breadth of Europe. After leaving the employ -of the Esterházys, Haydn paid two visits to London, in 1791 and again -in 1794, where he directed orchestral concerts for which he wrote his -renowned <i>London</i> symphonies. At the dusk of his career, Haydn produced -two crowning masterworks in the field of choral music: the -oratorios <i>The Creation</i> (1798) and <i>The Seasons</i> (1801). Haydn died in -Vienna on May 31, 1809.</p> -<p>Haydn was an epochal figure during music’s classical era. He helped -to establish permanently the structures of the symphony, quartet, -sonata; to arrive at a fully realized homophonic style as opposed to the -contrapuntal idiom of the masters who preceded him; and to arrive at -new concepts of harmony, orchestration, and thematic development. -He helped pave the way for the giants who followed him, most notably -Mozart and Beethoven, who helped carry the classical era in music to -its full flowering. To his musical writing Haydn brought that charm, -grace, stateliness, beauty of lyricism that we associate with classicism, -and with it a most engaging sense of humor and at times even a remarkable -expressiveness. Most of Haydn’s music belongs to the serious concert -repertory. He did write some music intended for the masses—mainly -the Contredanses, German Dances and Minuets which, after -all, was the dance music of the Austrian people in Haydn’s time. -Haydn’s <i>German Dances</i> and Minuets are especially appealing. The -former was the forerunner of the waltz, but its melodies and rhythms -have a lusty peasant quality and an earthy vitality; the latter was the -graceful, sedate dance of the European court. Twelve of Haydn’s <i>German -Dances</i> and twelve of his Minuets (the latter called <i>Katherine -Menuetten</i>) were written in the closing years of his life and published -in 1794; they were intended for the court ball held at the Redoutensaal -in Vienna where they were introduced on November 25, 1792. The -<i>German Dances</i> here have sobriety and dignity, and are often filled with -Haydn’s remarkable innovations in melodic and harmonic writing; the -Minuets are consistently light and carefree in spirit.</p> -<p>The <i>Gypsy Rondo</i>—often heard in various transcriptions, including -one for violin and piano by Fritz Kreisler—comes from the Piano Trio -No. 1 in G major, op. 73, no. 2 (1795) where it is the concluding movement -<span class="pb" id="Page_149">149</span> -(Rondo all’ ongarese). It is in Hungarian style, vivacious in -rhythmic and melodic content; it is for this reason that Haydn himself -designated this music “in a gypsy style” and Kreisler’s transcription -bears the title of <i>Hungarian Rondo</i>.</p> -<p>Of Haydn’s more than one hundred symphonies the one occasionally -given by pop orchestras is a curiosity known as the <i>Toy Symphony</i>. -Actually we now know that Haydn never really wrote it, but it was -the work of either Mozart’s father, Leopold, or Haydn’s brother, -Michael. But it was long attributed to Joseph Haydn, and still is often -credited to him. This little symphony in C major, which is in three -short movements, was long believed to have been written by Haydn -during his visit to Berchtegaden, Bavaria, in 1788 where he became -interested in toy instruments. The symphony uses numerous toy instruments -(penny trumpet, quail call, rattle, cuckoo, whistle, little drum, -toy triangle, and so forth) together with three orthodox musical instruments, -two violins and a bass.</p> -<p>Joseph Haydn was also the composer of Austria’s national anthem, -“<i>Gott erhalte Franz den Kaiser</i>.” He was commissioned to do so in 1797 -by the Minister of the Interior to help stir the patriotic ardor of Austrians; -it was first performed in all Austrian theaters on the Emperor’s -birthday on February 12, 1797. The Emperor was deeply impressed by -the anthem. “You have expressed,” he said, “what is in every loyal -Austrian heart, and through your melody Austria will always be honored.” -Haydn himself used the same melody in one of his string quartets: -as the slow second movement in which it receives a series of variations. -It is for this reason that this quartet, in C major, op. 76, no. 3, -is popularly known as the <i>Emperor Quartet</i>.</p> -<h2 id="c85"><span class="small">Victor <b id="g_Herbert">Herbert</b></span></h2> -<p>Victor Herbert was born in Dublin, Ireland, on February -1, 1859. He received a sound musical training at the Stuttgart -Conservatory, following which he studied the cello privately with -<span class="pb" id="Page_150">150</span> -Bernhard Cossmann in Baden-Baden. For several years after that he -played the cello in many German and Austrian orchestras. His bow as -a composer took place with two ambitious works, a suite and a concerto, -both for cello and orchestra. They were introduced by the Stuttgart -Symphony (the composer as soloist) in 1883 and 1885 respectively. After -marrying the prima donna, Therese Foerster, in 1886, Herbert came to -the United States and played the cello in the Metropolitan Opera -orchestra, his wife having been engaged by that company. He soon -played the cello in other major American orchestras, besides conducting -symphonic concerts, concerts of light music, and performances at important -festivals. In 1893 he succeeded Patrick S. Gilmore as bandleader -of the famous 22nd Regiment Band, and from 1898 to 1904 he was -principal conductor of the Pittsburgh Symphony. After 1904 he was -the conductor of his own orchestra.</p> -<p>Herbert won world renown as a composer of operettas for which he -produced a wealth of melodies that have never lost their charm or -fascination for music lovers. His first produced operetta, <i>Prince -Ananias</i>, in 1894 was a failure. But one year later came <i>The Wizard -of the Nile</i>, the first of a long string of stage successes Herbert was henceforth -to enjoy. From then on, until the end of his life, Herbert remained -one of Broadway’s most productive and most significant composers. -Many of his operettas are now classics of the American musical -stage. Among these are: <i>The Fortune Teller</i> (1898), <i>Babes in Toyland</i> -(1903), <i>Mlle. Modiste</i> (1905), <i>The Red Mill</i> (1906) and <i>Naughty Marietta</i> -(1910). A facile composer with an extraordinary technique at orchestration -and harmonization, and a born melodist who had a seemingly -inexhaustible reservoir of beautiful tunes, Herbert was a giant -figure in American popular music and in the music for the American -popular theater. He died of a heart attack in New York City on May 26, -1924.</p> -<p>Victor Herbert produced a considerable amount of concert music—concertos, -symphonies, suites, overtures—most of which has passed out -of the more serious repertory. A few of these concert works have enough -emotional impact and melodic fascination to enjoy a permanent status -in the semi-classical repertory. Potpourris from the scores of his most -famous operettas—and orchestral transcriptions of individual songs -from these productions—are, of course, basic to any pop or semi-classical -orchestra repertory. For Herbert’s greatest songs from his operettas -are classics, “as pure in outline as the melodies of Schubert and -Mozart” according to Deems Taylor.</p> -<div class="pb" id="Page_151">151</div> -<p><i>Al Fresco</i> is mood music which opens the second act of the operetta, -<i>It Happened in Nordland</i> (1904). Herbert had previously written and -published it as a piano piece, using the pen-name of Frank Roland, in -order to test the appeal of this little composition. It did so well in this -version that Herbert finally decided to include it in his operetta where -it serves to depict a lively carnival scene.</p> -<p><i>The American Fantasia</i> (1898) is a brilliantly orchestrated and skilfully -contrived fantasy made up of favorite American national ballads -and songs. It is the composer’s stirring tribute to the country of his -adoption. The ballads and songs are heard in the following sequence: -“Hail Columbia,” “Swanee River,” “The Girl I Left Behind Me,” -“Dixie,” “Columbia the Gem of the Ocean.” This composition comes -to an exciting finish with “The Star-Spangled Banner” in a Wagnerian-type -orchestration.</p> -<p>The operetta <i>Babes in Toyland</i>, which opened in New York on -October 13, 1903, was an extravaganza inspired by the then-recent success -on Broadway of <i>The Wizard of Oz</i>. Herbert’s operetta drew its -characters from fairy tales, <i>Mother Goose</i>, and other children’s stories, -placing these characters in a rapid succession of breath-taking scenes of -spectacular beauty. The complicated plot concerned the escape of little -Jane and Alan from their miserly uncle to the garden of Contrary Mary. -They then come to Toyland where they meet the characters from fairy -tales and Mother Goose, and where toys are dominated by the wicked -Toymaker whom they finally bring to his destruction. Principal musical -numbers from this score include the delightful orchestral march, -“March of the Toys,” and the songs “Toyland” and “I Can’t Do the -Sum.”</p> -<p><i>Dagger Dance</i> is one of the most familiar pieces in the semi-classical -repertory in the melodic and rhythmic style of American-Indian music. -It comes from Herbert’s opera <i>Natoma</i>, whose première took place in -Philadelphia on February 25, 1911. This spirited Indian dance music -appears in the second act, at a climactic moment in which Natoma, challenged -to perform a dagger dance, does so; but during the performance -she stabs and kills the villain, Alvarado.</p> -<p><i>The Fortune Teller</i> whose New York première took place on September -26, 1898, is an operetta that starred Alice Neilsen in the dual -role of Musette, a gypsy fortune teller, and Irma, a ballet student. -Against a Hungarian setting, the play involves these two girls in love -affairs with a Hungarian Hussar and a gypsy musician. Hungarian characters -and a Hungarian background allowed Herbert to write music -<span class="pb" id="Page_152">152</span> -generously spiced with Hungarian and gypsy flavors, music exciting for -its sensual appeal. The most famous song from this score is “Gypsy -Love Song,” sometimes also known as “Slumber On, My Little Gypsy -Sweetheart,” sung by Sandor, the gypsy musician, in tribute to Musette.</p> -<p><i>Indian Summer: An American Idyll</i> (1919) is a tone picture of -Nature which Herbert wrote in two versions, for solo piano, and for -orchestra. Twelve years after the composer’s death, Gus Kahn wrote -lyrics for its main melody, and for fourteen weeks it was heard on the -radio Hit Parade, twice in the Number 1 position.</p> -<p><i>The Irish Rhapsody</i> for orchestra (1892) is one of several concert -works in which Herbert honored the country of his birth. This work is -built from several familiar Irish ballads found by the composer in -Thomas Moore’s <i>Irish Melodies</i>, published in 1807. “Believe Me if All -These Endearing Young Charms” comes immediately after a harp -cadenza. This is followed by a variation of “The Rocky Road to -Dublin,” “To Ladies’ Eyes,” “Thamma Hulla,” “Erin, Oh Erin,” and -“Rich and Rare Were the Gems She Wore.” An oboe cadenza then -serves as the transition to “St. Patrick’s Day.” The rhapsody ends with -“Garry Owen” set against “Erin, Oh Erin” in the bass.</p> -<p><i>Mlle. Modiste</i>, introduced in New York on December 25, 1905, is -the operetta in which Fritzi Scheff, once a member of the Metropolitan -Opera, became a star of the popular musical theater. This is also the -operetta in which she sang the waltz with which, for the rest of her life, -she became identified, “Kiss Me Again.” Fritzi Scheff was cast as Fifi, -an employee in a Parisian hat shop. Her lowly station precludes her -marriage to the man she loves, Capt. Etienne de Bouvray. An American -millionaire becomes interested in her, and provides her with the -funds to pursue her vocal studies. Fifi then becomes a famous opera -star, thereby achieving both the fame and the fortune she needs to gain -Capt. Etienne as a husband.</p> -<p>Early in this operetta, Fifi tries to demonstrate her talent as a singer -by performing a number called “If I Were On the Stage,” in which she -offers various types of songs, including a polonaise, a gavotte, and a -waltz. The waltz part was originally intended by Herbert as a caricature -of that kind of dreamy, sentimental music and consisted of the melody -of “Kiss Me Again” which he had written some time earlier, in 1903. -On opening night the audience liked this part of the number so well, -and was so noisy in its demonstration, that Herbert decided to feature -it separately and prominently in his operetta, had new sentimental -lyrics written for it, and called it “Kiss Me Again.” This, of course, is -<span class="pb" id="Page_153">153</span> -the most celebrated single number from this operetta, but several -others are equally appealing, notably one of Herbert’s finest marches, -“The Mascot of the Troop,” another waltz called “The Nightingale and -the Star,” and a humorous ditty, “I Want What I Want When I Want -It.”</p> -<p>The operetta, <i>Naughty Marietta</i>—first New York performance on -November 7, 1910—was set in New Orleans in 1780 when that city was -under Spanish rule. The noble lady, Marietta (starring the prima -donna, Emma Trentini) had come to New Orleans from Naples to -avoid an undesirable marriage. There she meets, falls in love with, and -after many stirring adventures wins, Captain Dick Warrington. A basic -element of this story is a melody—a fragment of which has come to the -heroine in a dream. Marietta promises her hand to anybody who could -give her the complete song of which this fragment is a part, and it is -Dick Warrington, of course, who is successful. This melody is one of -Herbert’s best loved, “Ah, Sweet Mystery of Life.” Other favorites -from <i>Naughty Marietta</i> are “I’m Falling in Love With Someone,” -“Italian Street Song,” the serenade “’Neath the Southern Moon,” and -the march, “Tramp, Tramp, Tramp.”</p> -<p><i>Pan Americana</i> (1901) is a composition for orchestra described by -Herbert as a “<i>morceau caractéristique</i>.” He wrote it for the Pan -American Exposition in Buffalo in 1901 (where President McKinley -was assassinated). The three sections are in three different popular -styles, the first in American-Indian, the second in ragtime, and the -third in Cuban or Spanish.</p> -<p><i>Punchinello</i> and <i>Yesterthoughts</i> (1900) are two evocative tone pictures -originally for piano from a suite of pieces describing the natural -beauties of scenes near or at Lake Placid, New York. Herbert orchestrated -both these numbers.</p> -<p><i>The Red Mill</i>, which came to New York on September 24, 1906, was -an operetta starring the comedy team of Fred Stone and David Montgomery -in a play set in Holland. They are two Americans stranded and -penniless at an inn called “The Sign of the Red Mill.” When they discover -that little Gretchen is in love with Capt. Doris van Damm and -refuses to marry the Governor to whom she is designated by her parents, -they come to her assistance. After numerous escapades and antics they -help her to win her true lover who, as it turns out, is the heir to an -immense fortune. The following are its principal musical episodes: the -main love duet, “The Isle of Our Dreams,”; “Moonbeams”; and the -comedy song, “Every Day Is Ladies’ Day for Me.”</p> -<div class="pb" id="Page_154">154</div> -<p>The <i>Suite of Serenades</i>, for orchestra (1924) was written for the same -Paul Whiteman concert of American music at Aeolian Hall on February -12, 1924 in which Gershwin’s <i>Rhapsody in Blue</i> was introduced. -This is a four movement suite which represented Herbert’s only -attempt to write directly for a jazz orchestra, and parts of it are characterized -by jazz scoring and syncopations. Herbert wrote a second -version of this suite for symphony orchestra. In the four movements the -composer skilfully simulates four national styles. The first is Spanish, -the second Chinese, the third Cuban, and the fourth Oriental.</p> -<p>Another familiar orchestral suite by Herbert is the <i>Suite Romantique</i> -(1901). Herbert’s vein for sentimental melody is here generously -tapped. The four movements are mood pictures named as follows: -“<i>Visions</i>,” “<i>Aubade</i>” (a beautiful solo for the cellos), “<i>Triomphe -d’amour</i>” (a glowing love duet), and “<i>Fête nuptiale</i>.”</p> -<p><i>The Woodland Fancies</i>, for orchestra (1901) also consist of four -evocative and pictorial mood pictures, this time inspired by the Adirondack -mountains where Herbert maintained a summer home and which -he dearly loved. Here the four movements are entitled: “Morning in -the Mountains,” “Forest Nymphs,” “Twilight,” and “Autumn Frolics.”</p> -<p>There are individual songs from several other Herbert operettas -that are part of the semi-classical repertory in orchestral transcriptions. -Among these are: “The Angelus” and the title song from <i>Sweethearts</i> -(1913); “I Love Thee, I Adore Thee” which recurs throughout <i>The -Serenade</i> (1897); “A Kiss in the Dark” from <i>Orange Blossoms</i> (1922); -“Star Light, Star Bright,” a delightful waltz from <i>The Wizard of the -Nile</i> (1895); and “Thine Alone” from the Irish operetta, <i>Eileen</i> (1917).</p> -<h2 id="c86"><span class="small">Ferdinand <b id="g_Herold">Hérold</b></span></h2> -<p>Louis Joseph Ferdinand Hérold was born in -Paris on January 28, 1791. He began to study music when he was -eleven. From 1805 to 1812 he attended the Paris Conservatory where -his teachers included Adam and Méhul. In 1812 he received the Prix -<span class="pb" id="Page_155">155</span> -de Rome. Following his three-year stay in Rome he settled in Naples -where he was pianist to Queen Caroline and had his first opera, <i>La -Gioventù di Enrico</i>, produced in 1815. After returning to his native -city he completed a new opera, <i>Charles de France</i>, which was successfully -produced in 1816 at the Opéra-Comique in Paris where, from -this time on, all his operas were given. Hérold wrote many serious -operas before turning to the field in which he earned his importance -and popularity, the opéra-comique. His first work in this genre was -<i>Marie</i> in 1826; his most successful, <i>Zampa</i>, in 1831. He also enjoyed a -triumph with his last opéra-comique, <i>Le Pré aux clercs</i>, produced in -1832. Hérold died of consumption in Paris on January 19, 1833 before -reaching his forty-second birthday.</p> -<p>About all that has survived from Hérold’s most famous opera, -<i>Zampa</i>, is its overture, a semi-classical favorite everywhere. <i>Zampa</i>—libretto -by Mélesville—was introduced at the Opéra-Comique in Paris -on May 3, 1831. The hero, Zampa, is the leader of a band of pirates who -invade an island. He meets Camille and compels her to desert her lover -and marry him. During the marriage festivities the pirate leader -mockingly tries to place a ring on the finger of a statue. The statue -suddenly comes to life and brings Zampa to his doom by drowning.</p> -<p>The overture opens with a robust subject for full orchestra (derived -from the pirates’ chorus of the first act). A brief pause separates this -section from a slower one in which timpani rolls and loud chords in the -wind precede a stately melody for wind instruments. After some development, -in which the mood becomes dramatic, two new subjects are -heard: the first is a sensitive melody for clarinet against plucked strings, -and the second is a soaring song for the violins.</p> -<h2 id="c87"><span class="small">Jenö <b id="g_Hubay">Hubay</b></span></h2> -<p>Jenö Hubay was born in Budapest, Hungary, on September -15, 1858. His father, a professor of the violin at the Budapest Conservatory, -gave him his first violin lessons. Jenö made his public debut -<span class="pb" id="Page_156">156</span> -as violinist when he was eleven, then completed his violin studies with -Joachim in Berlin and with Vieuxtemps in Belgium. In 1886 he was -appointed professor of the violin at the Budapest Conservatory, and -from 1919 to 1934 he was its director. Hubay was one of Europe’s most -eminent violinists, violin teachers, and performers of chamber music, -the last with the Hubay Quartet which he founded. He died in -Vienna on March 12, 1937.</p> -<p>Hubay was the composer of several operas, four symphonies, four -violin concertos, and many pieces for the violin. He was at his best -when he drew both his inspiration and materials from Hungarian folk -music. Perhaps his best known work is a set of fourteen pieces for -violin and orchestra collectively known as <i>Scènes de la Csárda</i>, or <i>Hungarian -Czardas Scenes</i>. The czardas is a popular Hungarian folk dance -in duple time characterized by quick syncopations, and exploiting alternating -slow and rapid passages. These <i>Scènes</i> are often presented as -orchestral compositions. The fourth, <i>Hejre Kati</i>, is the most popular of -the group, a piece of music electrifying for its rhythmic momentum. -The second, known as <i>Hungarian Rhapsody</i>, and the fifth, <i>Waves of -Balaton</i>, are also familiar. Besides their rhythmic vitality these compositions -are of interest for their sensual melodies, and dramatic contrasts -of tempo and mood.</p> -<p>From Hubay’s most famous opera, <i>The Violin Maker of Cremona</i>, -comes a sensitively lyrical “Intermezzo,” for orchestra. Hubay wrote -this one-act opera in 1894, and it was introduced in Budapest the same -year. The text by Francois Coppé and Henri Beauclair concerns a -violin-making contest in Ferrari, Italy, in which the prize is the beautiful -girl, Giannina. A hunchback, Filippo, makes the best violin, but he -generously permits Giannina to marry Sandro, the man she really loves. -A transcription of the “Intermezzo” for violin and piano is popular in -the repertory and bears the title of the opera. The Intermezzo had also -been adapted by Stoll as a composition for voice and orchestra under -the name “Lonely Night.”</p> -<div class="pb" id="Page_157">157</div> -<h2 id="c88"><span class="small">Engelbert <b id="g_Humperdinck">Humperdinck</b></span></h2> -<p>Engelbert Humperdinck was born in Sieburg, -Germany, on September 1, 1854. He attended the Cologne Conservatory -where his teachers included Hiller (who was the first to recognize -his talent), Jensen and Gernsheim. After winning the Mozart Scholarship -of Frankfort in 1876, Humperdinck continued his music study in -Munich with Franz Lachner and Rheinberger. In Munich he published -his first important composition, a <i>Humoreske</i> for orchestra (1880). In -1881, he received the Meyerbeer Prize and in 1897, the Mendelssohn -Prize, both for composition. Between 1885 and 1887 he was professor of -the Barcelona Conservatory in Spain and in 1890 he became professor -at Hoch’s Conservatory in Frankfort, and music critic of the <i>Frankfurter -Zeitung</i>. He achieved his greatest success as a composer with the -fairy opera, <i>Hansel and Gretel</i>, produced in Weimar in 1893. After -1896, Humperdinck devoted himself exclusively to composition, and -though he wrote several fine operas none was able to equal the popularity -of his fairy-opera. He died in Neustrelitz, Germany, on September -27, 1921.</p> -<p><i>Hansel and Gretel</i> scored a sensational success in its own day; and, -in ours, it is the only opera by which Humperdinck is remembered. -Following its première in Weimar, Germany, on December 23, 1893, -it was performed within a year in virtually every major German opera -house. In 1894 it came to London, and in 1895 to New York. The text -by Adelheid Wette (Humperdinck’s sister) is based on the Ludwig -Grimm fairy tale familiar to young and old throughout the world.</p> -<p>The overture, and two orchestral episodes, are often performed outside -the opera house. The Overture is made up of several melodies -from the opera beginning with the so-called “prayer melody,” a gentle -song for horns and bassoons. A rhythmic passage then describes the -spell effected by the witch on the children. After this comes the lovable -third-act melody in which the children are awakened by the dewman. -The happy dance of the children from the close of the opera leads back -to the opening prayer with which the overture comes to a gentle conclusion.</p> -<div class="pb" id="Page_158">158</div> -<p>The <i>Dream Pantomime</i> comes in the second act and is an orchestral -episode in which is described the descent of the fairies who provide a -protective ring around the children, alone and asleep in the deep forest. -The <i>Gingerbread Waltz</i> (<i>Knusperwalzer</i>) from Act 3 is the joyous music -expressing the children’s delight after they have succeeded in pushing -the witch inside the oven and burning her to a crisp.</p> -<p>Among Humperdinck’s many works for symphony orchestra one is -occasionally performed by semi-classical or pop orchestras. It is the -<i>Moorish Rhapsody</i> (1898) written for the Leeds Festival in England. -The first movement, “Tarifa—Elegy at Sunrise” reflects the sorrow of a -shepherd over the decay of the Moorish people. “Tangiers—A Night in -a Moorish Café” is a coffee-house scene highlighted by the sensual chant -of a café singer. The suite concludes with “Tetuan—A Rider in the -Desert,” depicting a desert ride with a view of Paradise in the distance. -To carry into his music an Oriental atmosphere, Humperdinck modeled -some of his principal themes after actual Moorish melodies, such -as the second theme of the first movement for English horn, and the -main melody for woodwind in the second movement.</p> -<h2 id="c89"><span class="small">Jacques <b id="g_Ibert">Ibert</b></span></h2> -<p>Jacques Ibert was born in Paris on August 15, 1890. He -attended the Paris Conservatory between 1911 and 1919, with a hiatus -of several years during World War I when he served in the French -Navy. In 1919 he won the Prix de Rome. While residing in the Italian -capital he wrote a symphonic work with which he scored his first major -success, the suite <i>Escales</i>, introduced in Paris in 1924. From 1937 to -1955 he was director of the Academy of Rome. During this period he -also served for a while as director of the combined management of the -Paris Opéra and Opéra-Comique.</p> -<p>Ibert has written many works in virtually every form, which have -<span class="pb" id="Page_159">159</span> -placed him in the front rank of contemporary French composers. -Many of these compositions are in a neo-classical idiom. Occasionally, -however, he has made a delightful excursion into satire. It is with one -of the latter works, the <i>Divertissement</i> for orchestra (1930) that he has -entered the semi-classical repertory, though to be sure this composition -is also frequently given at symphony concerts. The <i>Divertissement</i> -begins with a short Introduction in which the prevailing mood of levity -is first introduced. Then comes the “<i>Cortège</i>.” A few introductory -bars suggest two march themes, the first in strings, and the second in -trumpet. After that appears a loud quotation from Mendelssohn’s -“Wedding March” from his <i>A Midsummer Night’s Dream Suite</i>. The -“Nocturne” is a dreamy little melody which precedes a delightful -“Waltz” and a breezy “Parade.” The finale is in the style of an Offenbach -can-can, with the piano interpolating some impudent dissonant -harmonies.</p> -<h2 id="c90"><span class="small">Michael <b id="g_IppolitovIvanov">Ippolitov-Ivanov</b></span></h2> -<p>Michael Ippolitov-Ivanov was born in Gatchina, -Russia, on November 19, 1859. He was graduated from the -St. Petersburg Conservatory in 1882 where he was a pupil in composition -of Rimsky-Korsakov. From 1882 to 1893 he was associated with -the Tiflis Music School, first as teacher, then as director. In 1893 he -was appointed professor of composition at the Moscow Conservatory -on Tchaikovsky’s recommendation, and from 1906 to 1922 he served -as its director. He also distinguished himself as a conductor of opera -in Moscow. He died in that city on January 28, 1935.</p> -<p>Ippolitov-Ivanov’s best music profited from his intensive researches -into Caucasian folk music. His principal works have assimilated many -of the Oriental melodic and rhythmic idioms of songs and dances from -that region. His most popular work of all is the <i>Caucasian Sketches</i> for -orchestra, op. 10 (1895). The first movement, “In the Mountain Pass,” -<span class="pb" id="Page_160">160</span> -brings up the picture of a mountain scene. Horn calls are here used -prominently. “In the Village” opens with a cadenza for English horn -and proceeds to a beautiful melody for viola set against a persistent -⅜ rhythm. “In the Mosque” dispenses with the strings while describing -an impressive religious ceremony. The suite ends with the stirring -“March of the Sirdar,” a “sirdar” being an Oriental potentate.</p> -<h2 id="c91"><span class="small"><b id="g_Ivanovici">Ivanovici</b></span></h2> -<p>Neither Ivanovici’s first name nor details of his life are known. He was -born in Banat, Rumania, in 1848, distinguished himself as a bandleader -in his native country, and died in Bucharest on April 1, 1905. For his -band concerts he wrote many popular concert numbers. One of these -is the concert waltz, <i>The Waves of the Danube</i> (<i>Donauwellen</i>), written -in 1880, and achieving from the first phenomenal popularity throughout -Europe. The main waltz melody of this set of waltzes was expropriated -by Al Dubin and Dave Franklin for the American popular song -“The Anniversary Song,” (lyrics by Saul Chaplin), which was effectively -used in the motion picture <i>The Jolson Story</i> in 1946, sung on the -sound track by Jolson himself.</p> -<h2 id="c92"><span class="small">Armas <b id="g_Jarnefelt">Järnefelt</b></span></h2> -<p>Armas Järnefelt was born in Viborg, Finland, on August -14, 1869. He studied music in Helsingfors with Ferruccio Busoni -and Martin Wegelius; in Berlin with A. Becker; and in Paris with -<span class="pb" id="Page_161">161</span> -Massenet. Beginning with 1898, and for several years thereafter, he conducted -opera performances in Viborg and Helsingfors. In 1907 he -settled in Sweden where three years later he became a citizen. There -he became court composer and the conductor of the Royal Opera. After -returning to Helsingfors in 1932, he directed the Opera for four years -and the Helsingfors Municipal Theater for one. He also appeared as -guest conductor of many important Finnish orchestras, distinguishing -himself particularly in performances of music by Jean Sibelius (his -brother-in-law). In 1940, Järnefelt received the official title of Professor. -He died in Stockholm in June 1958.</p> -<p>Järnefelt wrote many works for orchestra, including suites, overtures, -and shorter works. One of the last is <i>Berceuse</i> for two clarinets, -one bassoon, two horns, violin solo and strings (1905), a moody and -sensitive piece of music. The romantic main melody appears in solo -violin after four introductory bars for muted strings.</p> -<p>His most popular composition is the <i>Praeludium</i> for chamber orchestra. -It opens with a three-measure introduction for plucked strings. -This is followed by a brisk march subject for oboe which is soon discussed -by other winds, and after that by the violins over a drone bass. -A passage for solo violin leads to the return of the march melody.</p> -<h2 id="c93"><span class="small">Dmitri <b id="g_Kabalevsky">Kabalevsky</b></span></h2> -<p>Dmitri Kabalevsky was born in St. Petersburg on December -30, 1904, and received his musical training in Moscow, at the -Scriabin Music School and the Moscow Conservatory. He was graduated -from the latter school in 1929, and in 1932 he was appointed instructor -there. His first success as composer came in 1931 with his first -symphony, commemorating the fifteenth anniversary of the Russian -revolution; this was followed in 1934 by his second symphony, which -enjoyed an even greater triumph both in and out of the Soviet Union. -<span class="pb" id="Page_162">162</span> -In 1939 Kabalevsky was elected a member of the Presidium of the -Organizing Committee of the Union of Soviet Composers; in 1940 he -was given the Order of Merit; and in 1946 he received the Stalin Prize -for the second string quartet. He has also written operas, concertos, -additional symphonies, and piano music.</p> -<p>A composer who has always been partial to the more conventional -means and techniques, and has relied heavily on broad and stately -melodies and subjective feelings, Kabalevsky has managed to produce -several compositions that have wide appeal. One is the sprightly <i>Colas -Breugnon Overture</i>. <i>Colas Breugnon</i> was an opera adapted by V. Bragin -from a novel by Romain Rolland; it was first performed in Leningrad -on February 22, 1938. The central character is a 16th-century craftsman—a -jovial man who enjoys life and has a spicy sense of humor and -a happy outlook on all things. The overture is essentially a study of that -man, consistently gay and sprightly. There are two main melodies, both -of them lively, and both derived from Burgundian folk songs.</p> -<p>Another popular work by Kabalevsky is <i>The Comedians</i>, op. 26 -(1938), an orchestral suite made up of selections from the incidental -music to a children’s play, <i>The Inventor and the Comedians</i>. The play -is about the varied and picaresque adventures of a group of wandering -performers in various towns and at public fairs. There are ten episodes -in the suite, each in a light, infectious style that makes for such easy -listening that this work is often given at children’s concerts. The ten -sections are: Prologue, Galop, March, Waltz, Pantomime, Intermezzo, -Little Lyrical Scene, Gavotte, Scherzo, and Epilogue.</p> -<h2 id="c94"><span class="small">Emmerich <b id="g_Kalman">Kálmán</b></span></h2> -<p>Emmerich Kálmán was born in Siófok, Hungary, on -October 24, 1882. He studied composition in Budapest. In 1904 one of -his symphonic compositions was performed by the Budapest Philharmonic, -<span class="pb" id="Page_163">163</span> -and in 1907 he received the Imperial Composition Prize. After -settling in Vienna he abandoned serious composition for light music. -From this time on he devoted himself to and distinguished himself in -writing tuneful operettas. His first success came in 1909 with <i>Ein -Herbstmanoever</i>, presented in New York as <i>The Gay Hussars</i>. Subsequent -operettas made him one of Europe’s leading composers for the -popular theaters. The most famous are: <i>Sari</i> (1912), <i>The Gypsy Princess</i> -(1915), <i>Countess Maritza</i> (1924) and <i>The Circus Princess</i> (1926). -In 1938 he left Vienna, and after a period in Paris, he came to the -United States where he remained until 1949. He completed his last -operetta, <i>The Arizona Lady</i>, a few days before his death in Paris, on -October 30, 1953; it was presented posthumously in Berne, Switzerland, -in 1954.</p> -<p>Kálmán’s forte in writing music for operettas was in combining the -charm, <i>Gemuetlichkeit</i> and sentiment of Viennese music in general, and -the Viennese waltz in particular, with the hot blood and sensual moods -of Hungarian gypsy songs and dances.</p> -<p><i>The Circus Princess</i> (<i>Die Zirkusprinzessin</i>)—first performed in Vienna -in 1926, and in New York in 1927—was set in St. Petersburg and -Vienna during the period immediately preceding World War I. When -Fedora rejects the love of Prince Sergius by insisting she would sooner -marry a circus performer, he seeks revenge by engaging a famous circus -performer to pose as a member of nobility and woo and win Fedora. -After their marriage, Fedora discovers the true identity of her husband, -and leaves him. But she soon comes to the realization she is really in -love with him and promises to come back if he in turn offers to give up -his profession—a profession she now despises not from snobbery but -because of fears for his safety. Two delightful waltz melodies—“<i>Leise -schwebt das Glueck vorueber</i>” “<i>Im Boudoir der schoensten Frau</i>”—and -an intriguing little melody that recurs throughout the operetta, -“<i>Zwei maerchenaugen</i>” are the principal selections from this operetta.</p> -<p><i>Countess Maritza</i> (<i>Die Graefin Mariza</i>) is Kálmán’s most popular -and successful operetta. It was first produced in Vienna in 1924, and in -New York in 1926. The setting is Hungary in 1922. An impoverished -count, Tassilo, finds employment on the estate of Countess Maritza -under the assumed name of Torok. He falls in love with her, but when -she learns of his real background she feels he is a fortune hunter interested -only in her wealth. About to leave the employ of the countess and -to bid her permanent farewell, Tassilo’s fortune suddenly takes a turn -for the better when his aunt, a Princess, comes to inform him that Tassilo -<span class="pb" id="Page_164">164</span> -is a wealthy man after all, due to her manipulations of his tangled -business affairs. Now convinced that he loves her for herself alone, the -Countess Maritza is only too happy to accept him as her husband.</p> -<p>This score contains some of Kálmán’s finest and most beguiling -music in a Hungarian-gypsy style. The most famous song is in this -sensual, heart-warming idiom: “Play Gypsies, Dance Gypsies” (“<i>Komm -Zigan, Komm Zigan, spiel mir was vor</i>”). This number begins with a -languorous, romantic melody that soon lapses into a dynamic Hungarian-gypsy -dance. Austrian waltz-music in a more sentimental manner -is found in three winning songs: “Give My Regards to the Lovely -Ladies of Fair Vienna” (“<i>Gruess mir die reizenden Frauen im schoenen -Wien</i>”), “I Would Like to Dance Once More” (“<i>Einmal moecht’ ich -wieder tanzen</i>”) and “Say, Yes!” (“<i>Sag ja, mein Lieb</i>”).</p> -<p><i>The Gypsy Princess</i> (<i>Die Csárdásfuerstin</i>) was first performed in -Vienna in 1915, and produced in New York in 1917 under the title of -<i>The Riviera Girl</i>. The heroine is Sylvia Varescu, a performer in a Budapest -cabaret, who is loved and pursued by Prince Edwin. But the -Prince’s father insists that he marry the Countess Stasi. Eventually the -father’s heart is softened and he becomes more tolerant towards having -Sylvia as a daughter-in-law when he is discreetly reminded that once -he, too, had been in love with a cabaret singer. The principal selections -from his score include two soaring waltz melodies: “<i>Machen -wir’s den Schwalben nach</i>” and “<i>Tausend kleine Engel singen hab -mich lieb</i>.” The score also includes a dynamic Czardas, and a pleasing -little tune in “<i>Ganz ohne Weiber geht die Chose nicht</i>.”</p> -<p><i>Sari</i> was introduced in New York in 1914. Pali is a gypsy violinist -who has grown old and is eclipsed at one of his own concerts by his -son, Laczi. Pali throws his beloved Stradivarius into the flames. Since -both father and son have fallen in love with the same girl, the older -man also renounces her. He wants Laczi to have her as well as his -musical success. A bountiful score includes such delights as “Love Has -Wings,” “Love’s Own Sweet Song,” “My Faithful Stradivari,” and -“Softly Through the Summer Night.”</p> -<div class="pb" id="Page_165">165</div> -<h2 id="c95"><span class="small"><b id="g_KelerBela">Kéler-Béla</b></span></h2> -<p>Kélér-Béla was born Albert von Keler in Bartfeld, Hungary, -on February 13, 1820. He studied law and worked as a farmer before -turning to music in his twenty-fifth year. After studying in Vienna with -Sechter and Schlesinger he played the violin in the orchestra of the -Theater-an-der-Wien. In 1854 he went to Berlin where he became conductor -of Gungl’s Orchestra. He was soon back in Vienna to take over -the direction of the famous Joseph Lanner Orchestra. From 1856 to -1863 he conducted an army band, and from 1863 to 1873 an orchestra -in Wiesbaden. He died in that city on November 20, 1882.</p> -<p>Kéler-Béla wrote about one hundred and thirty compositions in the -light Viennese style of Lanner and the two Johann Strausses. His works -include waltzes, galops, and marches, a representative example of each -being the waltz <i>Hoffnungssterne</i>, the <i>Hurrah-Sturm</i> galop, and the -<i>Friedrich-Karl</i> march.</p> -<p>His most popular work is the <i>Hungarian Comedy Overture</i> (<i>Lustspiel -Ouverture</i>). It opens in a stately manner with forceful chords and -a sustained melody in the woodwind. But the comedy aspect of this -overture is soon made evident with two lilting tunes for the woodwind, -separated by a dramatic episode for full orchestra. These two tunes -receive extended enlargement. The overture ends with a succession of -emphatic chords.</p> -<div class="pb" id="Page_166">166</div> -<h2 id="c96"><span class="small">Jerome <b id="g_Kern">Kern</b></span></h2> -<p>Jerome David Kern was born in New York City on -January 27, 1885. He first studied the piano with his mother. After -being graduated from Barringer High School in Newark, New Jersey, -he attended the New York College of Music where he was a pupil of -Alexander Lambert, Albert von Doenhoff, Paolo Gallico and Austen -Pearce. He received his apprenticeship as composer for the popular -theater in 1903 in London, where with P. G. Wodehouse as his lyricist -he wrote a topical song, “Mr. Chamberlain” that became a hit. After -returning to the United States he worked in Tin Pan Alley and immediately -became a prolific contributor of songs to the musical stage. In -1905 his song “How’d You Like to Spoon With Me?” was interpolated -into <i>The Earl and the Girl</i> and became an outstanding success. From -that time on, and up to the end of his life, he wrote over a thousand -songs for more than a hundred stage and screen productions, thereby -occupying an imperial position among American popular composers of -his generation. His most famous Broadway musicals were: <i>The Girl -from Utah</i> (1914), <i>Very Good, Eddie</i> (1915), <i>Oh, Boy!</i> (1917), <i>Leave it -to Jane</i> (1917), <i>Sally</i> (1920), <i>Sunny</i> (1925), <i>Show Boat</i> (1927), <i>The Cat -and the Fiddle</i> (1931), <i>Music in the Air</i> (1932), and <i>Roberta</i> (1933). -His most significant motion pictures were <i>Swingtime</i> with Fred Astaire -and Ginger Rogers, <i>You Were Never Lovelier</i> and <i>Cover Girl</i> both -with Rita Hayworth, and <i>Centennial Summer</i>. Over a dozen of his -songs sold more than two million copies of sheet music including “All -the Things You Are,” “They Didn’t Believe Me,” “Smoke Gets In -Your Eyes,” and “Look for the Silver Lining.” Two of his songs received -the Academy Award: “The Way You Look Tonight” from -<i>Swingtime</i> and “The Last Time I Saw Paris” interpolated into <i>Lady -Be Good</i>. Kern died in New York City on November 11, 1945.</p> -<p>Kern wrote two compositions for symphony orchestra which have -entered the semi-classical repertory even though they are also performed -by major symphony orchestras. These were his only ventures into the -world of music outside the popular theater. One was <i>Mark Twain: A</i> -<span class="pb" id="Page_167">167</span> -<i>Portrait for Orchestra</i> which he wrote on a commission from André -Kostelanetz, who introduced it with the Cincinnati Symphony in 1942. -This is a four movement suite inspired by the personality and life of -Kern’s favorite author, Mark Twain. The first movement, “Hannibal -Days,” describes a sleepy small town on a summer morning a century -ago. The cry “Steamboat comin’!” pierces the silence. The town suddenly -awakens. In the second movement, “Gorgeous Pilot House” -Mark Twain leaves home to become a pilot’s assistant on the Mississippi -steamboat; this period in Mark Twain’s life, which spans about nine -years, ends with the outbreak of the Civil War. In “Wandering Westward,” -Twain meets failure as a Nevada prospector, after which he -finally turns to journalism. The suite ends with “Mark in Eruption,” -tracing Twain’s triumphant career as a writer.</p> -<p>Kern’s second and only other symphonic work is <i>Scenario</i> in which -he drew his basic melodic materials from his greatest and best loved -musical production, <i>Show Boat</i>. Kern prepared <i>Scenario</i> at the behest -of Artur Rodzinski, conductor of the Cleveland Orchestra, who felt -that the music of <i>Show Boat</i> had sufficient artistic validity to justify its -use in a major symphonic work. Rodzinski introduced <i>Scenario</i> in -Cleveland with the Cleveland Orchestra in 1941, and since that time it -has been performed by most of the major American orchestras.</p> -<p>A discussion of <i>Show Boat</i> is essential before <i>Scenario</i> can be commented -upon. The libretto and lyrics are by Oscar Hammerstein II, -based on the famous novel by Edna Ferber. <i>Show Boat</i>, in a lavish -Florenz Ziegfeld production, was introduced in New York in 1927 and -was an instantaneous box-office and artistic triumph. It has, to be sure, -become a classic of the American stage, continually revived in all parts -of the country, three times adapted for motion pictures, and has been -given by an American opera company in its regular repertory. It -proved a revolution in the American musical theater by avoiding the -usual stilted routines and patterns of musical comedy—chorus girls, -production numbers, synthetic humor, set dances and so forth—and -arriving at an integrated musical play filled with authentic characterizations, -backgrounds, atmosphere and dramatic truth. The story opens -and closes on <i>Cotton Blossom</i>, a show boat traveling along the Mississippi -to give performances at stops along the river. The principal love -action involves Magnolia, daughter of Cap’n Andy (owner of the boat) -and the gambler, Gaylord Ravenal. They run off and get married, but -their happiness is short-lived. Magnolia, though pregnant, leaves her -irresponsible husband. After the birth of Magnolia’s daughter, Kim, -<span class="pb" id="Page_168">168</span> -the mother earns her living singing show boat songs in Chicago where -she is found by her father and brought back to <i>Cotton Blossom</i>. Eventually, -Magnolia and Ravenal are reconciled, and their daughter Kim becomes -the new star of the show boat.</p> -<p>The most famous songs from this incomparable Kern score are: -“Only Make Believe” and “Why Do I Love You?”, both of them love -duets of Magnolia and Ravenal; two poignant laments sung by the -half-caste Julie, a role in which Helen Morgan first attained stardom -as a torch-song performer, “Can’t Help Lovin’ That Man” and “Bill” -(the latter with lyrics by P. G. Wodehouse); and a hymn to the Mississippi -which has acquired virtually the status of an American folk song, -“Ol’ Man River.”</p> -<p><i>Scenario</i> makes extended use of these songs in an integrated piece of -music. It opens with a sensitive passage for muted strings and continues -with a theme for horn; both subjects are intended to portray the -Mississippi River and are the motto subjects of the entire work. The -main melody of this tone poem is “Ol’ Man River,” first given softly -by violas and bass clarinet. Other major songs of the musical play follow, -among them being “Only Make Believe” and “Why Do I Love -You?”, after which “Ol’ Man River” is heard for the last time.</p> -<p>Many of Kern’s more than a thousand popular songs are now classics -in the popular repertory. They are so fresh and spontaneous in their -lyricism, so inventive in the harmonic background, so filled with charm -and grace that their survival seems assured. Two symphonic compositions -by Robert Russell Bennett are constructed from one or more of -Kern’s best known songs. One is <i>Symphonic Study</i>, a tone poem introduced -in 1946 by the NBC Symphony under Frank Black. This work -presents several Kern songs in correct chronological sequence beginning -with “They Didn’t Believe Me.” After that come “Babes in the -Wood,” “The Siren’s Song,” “Left All Alone Again Blues,” “Who?”, -“Ol’ Man River,” “Smoke Gets In Your Eyes,” and “All the Things -You Are.” The second of Bennett’s symphonic compositions is the -<i>Variations on a Theme by Jerome Kern</i>, written in 1934 and soon -after that introduced in New York by a chamber orchestra conducted -by Bernard Herrmann. The theme here used for an effective series of -variations is “Once in a Blue Moon” from the Broadway musical -<i>Stepping Stones</i>.</p> -<div class="pb" id="Page_169">169</div> -<h2 id="c97"><span class="small">Albert <b id="g_Ketelby">Ketelby</b></span></h2> -<p>Albert William Ketelby was born in Birmingham, -England, in or about 1885. Precocious in music he completed a -piano sonata when he was only eleven. For six years he attended the -Trinity College of Music in London where he captured every possible -prize. When he was sixteen he became a church organist in Wimbledon, -and at twenty-one he conducted a theater orchestra in London. He later -distinguished himself as a conductor of some of London’s most important -theater orchestras, besides appearing as a guest conductor of many -of Europe’s major symphonic organizations, usually in performances -of his own works. For many years he was also the music director of the -Columbia Gramophone Company in England. He died at his home on -the Isle of Wight on November 26, 1959.</p> -<p>A facile composer with a fine sense for atmospheric colors and for -varied moods, Ketelby produced a few serious compositions among -which were a <i>Caprice</i> and a <i>Concerstueck</i> (each for piano and orchestra), -an overture and <i>Suite de Ballet</i> (both for orchestra) and a quintet -for piano and woodwind. He is, however, most famous for his lighter -compositions, two of which are known and heard the world over. <i>In a -Monastery Garden</i> opens with a gentle subject describing a lovely -garden populated by chirping birds. After that comes a religious -melody—a chant of monks in a modal style. <i>In a Persian Garden</i> is -effective for its skilful recreation of an exotic background through -Oriental-type melodies, harmonies, and brilliant orchestral colors. -Ketelby wrote several other compositions in an Oriental style, the best -of which is <i>In a Chinese Temple Garden</i>.</p> -<div class="pb" id="Page_170">170</div> -<h2 id="c98"><span class="small">Aram <b id="g_Khatchaturian">Khatchaturian</b></span></h2> -<p>Aram Khatchaturian was born in Tiflis, Russia, on -June 6, 1903. He was of Armenian extraction. He came to Moscow in -1920, and enrolled in the Gniessen School of Music. From 1929 to 1934 -he attended the Moscow Conservatory. He first achieved recognition as -a composer in 1935 with his first Symphony, and in 1937 he scored a -major success throughout the music world with his first piano concerto, -still a favorite in the modern concert repertory. As one of the leading -composers in the Soviet Union he has been the recipient of numerous -honors, including the Order of Lenin in 1939, and the Stalin Prize in -1940 and 1942. In 1954 he visited London where he led a concert of his -own music, and early in 1960 he toured Latin America.</p> -<p>Khatchaturian’s music owes a strong debt to the folk songs and -dances of Armenia and Transcaucasia. It is endowed with a sensitive -and at times exotic lyricism, a compulsive rhythmic strength, and a -strong feeling for the dramatic.</p> -<p>The most popular single piece of music by Khatchaturian comes from -his ballet, <i>Gayne</i> (or <i>Gayaneh</i>), first performed in Moscow on December -9, 1942, and the recipient of the Stalin Prize. The heroine of this -ballet is a member of a collective farm where her husband, Giko, proves -a traitor. He tries to set the farm afire. The farm is saved by a Red Commander -who falls in love with Gayne after Giko has been arrested.</p> -<p>Khatchaturian assembled thirteen numbers from his ballet score into -two suites for orchestra. It is one of these pieces that has achieved widespread -circulation: the “Saber Dance,” a composition whose impact -comes from its abrupt barbaric rhythms and vivid sonorities; midway, -relief from these rhythmic tensions comes from a broad folk song in -violas and cellos. “Saber Dance” has become popular in numerous -transcriptions, including an electrifying one for solo piano. In 1948 -Vic Schoen made a fox-trot arrangement that was frequently played in -the United States.</p> -<p>Two other excerpts from these <i>Gayne</i> suites are also familiar. -“Dance of the Rose Girls” presents a delightful Oriental melody in oboe -<span class="pb" id="Page_171">171</span> -and clarinet against a pronounced rhythm. “Lullaby” has a gentle swaying -motion in solo oboe against a decisive rhythm in harp and bassoon; -flutes take up this subject, after which the melody grows and expands -in full orchestra, and then subsides.</p> -<p><i>Masquerade</i> is another of Khatchaturian’s orchestral suites, this one -derived from his incidental music to a play by Mikhail Lermontov produced -in 1939. Each of the five numbers of this suite is appealing either -for sensitive and easily assimilable melodies or for rhythmic vitality. -Gentle lyricism, of an almost folk-song identity, characterizes the second -and third movements, a “Nocturne” and “Romance.” The first and the -last two movements are essentially rhythmic: “Waltz,” “Mazurka,” and -“Polka.”</p> -<h2 id="c99"><span class="small">George <b id="g_Kleinsinger">Kleinsinger</b></span></h2> -<p>George Kleinsinger was born in San Bernardino, -California, on February 13, 1914, and came to New York City in his -sixth year. He was trained for dentistry, and only after he had left -dental school did he concentrate on music. His first intensive period -of music study took place with Philip James and Marion Bauer at New -York University where he wrote an excellent cantata, <i>I Hear America -Singing</i>, performed publicly and on records by John Charles Thomas. -Kleinsinger then attended the Juilliard Graduate School on a composition -fellowship. In 1946 he scored a major success with <i>Tubby the -Tuba</i>. He later wrote several other works with humorous or satiric -content, often filled with unusual instrumental effects. Among these are -his <i>Brooklyn Baseball Cantata</i>; a concerto for harmonica and orchestra; -and the musical, <i>Archy and Mehitabel</i> (<i>Shinbone Alley</i>), which was -produced for records, on Broadway and over television. In a more serious -vein are a symphony and several concertos.</p> -<p><i>Tubby the Tuba</i>, for narrator and orchestra (1942) belongs in the -<span class="pb" id="Page_172">172</span> -class of Prokofiev’s <i>Peter and the Wolf</i>. It serves to familiarize children -with the instruments of the orchestra, but because of its wit and simple -melodies it also makes for wonderful entertainment. It tells the story -of a frustrated tuba who complains that he must always play uninteresting -“oompahs oompahs” while the violins are always assigned the most -beautiful tunes. In the end Tubby happily gets a wonderful melody of -his own to enjoy and play. All the characters in this tale are instruments -of the orchestra. In 1946 a recording of <i>Tubby the Tuba</i> sold over a -quarter of a million albums. Paramount made a movie of it, and major -orchestras throughout the country presented it both at children’s concerts -and in its regularly symphonic repertory.</p> -<h2 id="c100"><span class="small">Fritz <b id="g_Kreisler">Kreisler</b></span></h2> -<p>Fritz Kreisler, one of the greatest violin virtuosos of his -generation, was born in Vienna, Austria, on February 2, 1875. He was -a child prodigy at the violin. From 1882 to 1885 he attended the Vienna -Conservatory, a pupil of Leopold Auer, winning the gold medal for -violin playing. In 1887, as a pupil of Massart at the Paris Conservatory, -he was recipient of the Grand Prix. In 1888, he toured the United -States in joint concerts with the pianist, Moriz Rosenthal, making his -American debut in Boston on November 9. Upon returning to Vienna, -he suddenly decided to abandon music. For a while he studied medicine -at the Vienna Academy. After that he entered military service as an -officer in a Uhlan Regiment. The decision to return to the violin led -to a new period of intensive training from which he emerged in March -1899 with a recital in Berlin. From 1901 on until his retirement during -World War II he occupied a magistral place among the concert artists -of his time.</p> -<p>As a composer, Kreisler produced a violin concerto and a string quartet. -But his fame rests securely on an entire library of pieces for the -<span class="pb" id="Page_173">173</span> -violin now basic to that repertory and which are equally well loved in -transcriptions for orchestra. The curious thing about many of these -compositions is that for many years Kreisler presented them as the -genuine works of the old masters, works which he said he had discovered -in European libraries and monasteries, and which he had merely -adapted for the violin. He had recourse to this deception early in 1900 -as the expedient by which a still young and unknown violinist could get -his own music played more frequently, besides extending for his own -concerts the more or less limited territory of the existing violin repertory. -His deception proved much more successful than he had dared to -hope. Violinists everywhere asked him for copies of these pieces for -their own concerts. Publishers in Germany and New York sold these -“transcriptions” by the thousands. As the years passed it became increasingly -difficult for Kreisler to confess to the world that he had all -the while been palming off a colossal fraud. Then, in 1935, Olin -Downes, the music critic of the <i>New York Times</i>, tried to trace the -source of one of these compositions—Pugnani’s <i>Praeludium and Allegro</i>—now -a worldwide favorite with violinists. Downes first communicated -with Kreisler’s New York publishers who were suspiciously evasive. -After that Downes cabled Kreisler, then in Europe. It was only then -that the violinist revealed that this piece was entirely his, and so were -many others which he had been presenting so long as the music of -Vivaldi, Martini, Couperin, and Francoeur among others.</p> -<p>It was to be expected that musicians and critics should meet such a -confession with anger and denunciation. “We wish to apply the term -discreditable to the whole transaction from start to finish,” one American -music journal said editorially. In England, Ernest Newman was also -devastating in his attack. “It is as though Mr. Yeats published poems -under the name of Herrick or Spenser,” he said.</p> -<p>Yet, in retrospect, it is possible to suggest that musicians and critics -should not have been taken altogether by surprise. For one thing, as -Kreisler pointed out, numerous progressions and passages in all of these -compositions were in a style of a period much later than that of the -accredited composers, a fact that should have inspired at least a certain -amount of suspicion. Also, when Kreisler presented his own <i>Liebesfreud</i>, -<i>Liebesleid</i>, and <i>Schoen Rosmarin</i> as transcriptions of posthumous -pieces by Joseph Lanner in a Berlin recital, and was vigorously -assailed by a Berlin critic for daring to include such gems with “tripe” -like Kreisler’s own <i>Caprice Viennois</i>, Kreisler replied with a widely -published statement that those pieces of Lanner were of his own composition. -<span class="pb" id="Page_174">174</span> -The reasonable question should then have arisen that if the -three supposedly Lanner items were by Kreisler, how authentic were -the other pieces of old masters played by the virtuoso?</p> -<p>Besides all this, Kreisler himself provided a strong clue to the correct -authorship in the frontispiece of his published transcriptions. It read: -“The original manuscripts used for these transcriptions are the private -property of Mr. Fritz Kreisler and are now published for the first time; -they are, moreover, so freely treated that they constitute, in fact, original -works.”</p> -<p>The furor and commotion caused by the uncovering of this fraud -has long since died down. It has had no visible effect on Kreisler’s immense -popularity either as a violinist or composer. Since then, all this -music has been published and performed as Kreisler’s without losing -any of its worldwide appeal.</p> -<p>Among the compositions by Kreisler which he originally ascribed to -other masters in imitation of their styles were: <i>Andantino</i> (Martini); -<i>Aubade provençale</i> (Couperin); <i>Chanson Louis XIII et Pavane</i> (Couperin); -<i>Minuet</i> (Porpora); <i>Praeludium and Allegro</i> (Pugnani); <i>La -Précieuse</i> (Couperin); <i>Scherzo</i> (Dittersdorf), <i>Sicilienne et Rigaudon</i> -(Francoeur); <i>Tempo di minuetto</i> (Pugnani).</p> -<p>Perhaps the best loved pieces by Kreisler are those in the style of -Viennese folk songs and dances in which are caught all the grace and -Gemuetlichkeit of Viennese life and backgrounds. Some he originally -tried to pass off as the works of other composers, as was the case with -the already-mentioned <i>Liebesfreud</i>, <i>Liebesleid</i>, and <i>Schoen Rosmarin</i>, -attributed to Lanner. Some were outright transcriptions. <i>The Old Refrain</i> -is an adaptation of a song “<i>Du alter Stefanturm</i>” by Joseph Brandl -taken from his operetta, <i>Der liebe Augustin</i>, produced in Vienna in -1887. Still others were always offered as Kreisler’s own compositions and -are completely original with him: <i>Caprice Viennois</i>, for example, and -the <i>Marche miniature viennoise</i>.</p> -<p>Among other original Kreisler compositions which he always presented -as his own are the following: <i>La Gitana</i>, which simulates an -Arabian-Spanish song; <i>Polichinelle</i>, a serenade; <i>Rondino</i>, based on a -theme of Beethoven; <i>Shepherd’s Madrigal</i>; <i>Slavonic Fantasia</i>, based on -melodies of Dvořák; <i>Tambourin Chinois</i>; and <i>Toy Soldiers’ March</i>.</p> -<div class="pb" id="Page_175">175</div> -<h2 id="c101"><span class="small">Édouard <b id="g_Lalo">Lalo</b></span></h2> -<p>Édouard Lalo was born in Lille, France, on January 27, -1823. After receiving his musical training at Conservatories in Lille -and Paris, he became a member of the Armingaud-Jacquard Quartet, a -renowned French chamber-music ensemble. In 1848-1849 he published -some songs; in 1867 he received third prize in a national contest for his -opera, <i>Fiesque</i>; and in 1872 he was acclaimed for his <i>Divertimento</i>, for -orchestra, introduced in Paris. Two major works written for the noted -Spanish violinist, Pablo de Sarasate, added considerably to his reputation: -a violin concerto in 1872, and the celebrated <i>Symphonic espagnole</i>, -for violin and orchestra, two years after that. One of his last major -works was the opera, <i>Le Roi d’Ys</i>, introduced at the Opéra-Comique in -Paris on May 7, 1888. In that same year he was made Officer of the -Legion of Honor and sometime later he received the Prix Monbinne -from the Académie des Beaux-Arts. In the last years of his life he was -a victim of paralysis. He died in Paris on April 22, 1892.</p> -<p>A composer of the highest principles and aristocratic style, Lalo is -essentially a composer for cultivated tastes. One of his works, however, -makes for easy listening. It is the <i>Norwegian Rhapsody</i> (<i>Rapsodie norvégienne</i>), -for orchestra (1875). There are two sections. The first begins -slowly and sedately, its main melody appearing in the strings. Here -the tempo soon quickens and a sprightly passage ensues. The second part -of the rhapsody, ushered in by a stout theme for trumpets, is vigorous -music throughout.</p> -<div class="pb" id="Page_176">176</div> -<h2 id="c102"><span class="small">Josef <b id="g_Lanner">Lanner</b></span></h2> -<p>Josef Lanner, the first of the great waltz kings of Vienna, -was born in the Austrian capital on April 12, 1801. When he was twelve -he played the violin in the band of Michael Pamer, a popular Viennese -composer of that day. In 1818 Lanner formed a trio which played in -smaller cafés and at the Prater. In 1819 the trio grew into a quartet -with the addition of the older Johann Strauss (father of the composer of -<i>The Blue Danube</i>), then only fifteen years old. Soon afterwards, the -quartet was expanded into a quintet. By 1824, Lanner’s ensemble was -a full-sized orchestra popular throughout Vienna, heard in such famous -café houses as the <i>Goldenen Rebbuhn</i>, and the <i>Gruenen Jager</i>, as well -as at leading balls and other gala social events in Vienna. The call for -Lanner’s music was so insistent that to meet the demand it soon became -necessary to create two orchestras; one led by Lanner, and the other by -the elder Strauss. Lanner remained an idol of Vienna until his death, -which took place in Oberdoebling, near Vienna, on April 14, 1843.</p> -<p>For his various ensembles and orchestras Lanner produced a wealth -of popular Viennese music: quadrilles, polkas, galops, marches, and -more than a hundred waltzes. It is in the last department that Lanner -was most important, for he was one of the first composers to carry the -waltz to its artistic fulfillment. With composers from Mozart to Schubert, -the waltz was only a three-part song form with a trio. Johann -Hummel and Karl Maria von Weber suggested a more spacious design -by assembling several different waltz tunes into a single integrated composition. -Lanner extended this form further. He prefaced each series -of waltzes with an introduction in which the theme of the main melody -was often suggested; after the waltz melodies had been presented, Lanner -brought his composition to completion with a coda which served -as a kind of summation of some of the ideas previously stated. Between -the introduction and the coda came the succession of lilting, lovable, -heart-warming waltz-melodies so remarkable for their grace, elegance, -freshness and poignancy that Lanner has sometimes been described -as “the Mozart of the dance.” Nevertheless, Lanner always emphasized -<span class="pb" id="Page_177">177</span> -soaring lyricism where the elder Strauss was more partial to rhythm. -The Viennese used to say: “With Lanner, it’s ‘Pray dance, I beg you.’ -With Strauss it’s ‘You must dance, I command you!’”</p> -<p>The form which Lanner finally crystallized, and the style with which -his waltz music unfolded, were adopted by the two Johann Strausses, -father and son, who were destined to bring this type of Viennese music -to its ultimate development. Thus Lanner was the opening chapter of -a musical epoch. He was the dawn of Vienna’s golden age of waltz -music.</p> -<p>Lanner’s most famous waltz is <i>Die Schoenbrunner</i>, op. 200, his swan -song. Other outstanding Lanner waltzes are: <i>Die Pesther</i>, op. 93, <i>Die -Werber</i>, op. 103, <i>Hofballtaenze</i>, op. 161, <i>Die Romantiker</i>, op. 167, and -<i>Abendsterne</i>, op. 180. “With Lanner,” wrote H. E. Jacob, “the romantic -epoch began for the waltz, and the flower-gardens and green leaves -of Spring penetrated into the ballroom. Lanner’s compositions are unsophisticated -and unpretentious, but his waltzes could no more be commonplace -than could a flower.”</p> -<h2 id="c103"><span class="small">Charles <b id="g_Lecocq">Lecocq</b></span></h2> -<p>Charles Lecocq was born in Paris on June 3, 1832. For -four years he attended the Paris Conservatory where, as a pupil of -Bazin and Halévy, he received prizes in harmony and fugue. For a -while he earned his living teaching the piano and writing church music. -In 1857 he shared with Bizet the first prize in a competition for one-act -operettas sponsored by Offenbach. This winning work, <i>Le Docteur -miracle</i>, was successfully introduced in Paris that year. After that -Lecocq wrote several light operas which were failures, before he enjoyed -a major success with <i>Fleur de thé</i> in 1868, first in Paris and subsequently -in England and Germany. His greatest successes came with -two crowning works in the French light-opera repertory: <i>La Fille de</i> -<span class="pb" id="Page_178">178</span> -<i>Mme. Angot</i> in 1872, and <i>Giroflé-Girofla</i>, in 1874. Between 1874 and -1900 he wrote over thirty more operettas. He died in Paris on October -24, 1918 after enjoying for almost half a century a place of signal honor -among France’s composers for the popular theater.</p> -<p>Lecocq is remembered today mainly for <i>La Fille de Mme. Angot</i> and -<i>Giroflé-Girofla</i>. The first of these was introduced in Brussels on December -4, 1872. In Paris, where it was given on February 23, 1873, it enjoyed -the formidable run of more than five hundred consecutive performances. -The book—by Siraudin, Clairville and Koning—was set in -Paris during the French Revolution. Clairette, daughter of Mme. -Angot, must marry the barber Pomponnet even though she loves the -poet, Pitou. To avoid an undesirable marriage, even at the risk of arrest, -Clairette sings a daring song by Pitou about an illicit affair between -Mlle. Lange (reputed a favorite of Barras, head of the Directory) and a -young lover. When Pitou proves fickle, and is discovered in the boudoir -of Mlle. Lange, Clairette stands ready to forget him completely and to -take Pomponnet as her husband.</p> -<p>The sprightly overture, filled with vivacious tunes and dramatized -by energetic rhythms, is a favorite of semi-classical orchestras. So are -several dances from the operetta, including an electrifying Can-Can, -and a sweeping <i>Grand Valse</i> with which the second act comes to an exciting -close. The main vocal excerpts are Pomponnet’s passionate -avowal of Clairette’s innocence, “<i>Elle est tellement innocente</i>” and the -duet of Mlle. Lange and Clairette, “<i>Jours fortunés de notre enfance</i>” -both from Act 2.</p> -<p><i>Giroflé-Girofla</i>—book by Vanloo and Leterrier—was introduced in -Brussels on March 21, 1874. Giroflé and Girofla are twin sisters. Giroflé -is pressured by her parents to marry the banker, Marasquin; Girofla is -in love with an impoverished fire-eating Moor, Mourzouk. When Girofla -is secretly abducted by pirates, the Moor comes to her home demanding -to see her, only to mistake Giroflé for Girofla. The complicated situation -ensuing becomes resolved only after Girofla is rescued and -brought back home.</p> -<p>The most frequently heard excerpts from this gay score are the -Pirates’ Chorus, “<i>Parmi les choses</i>”; the rousing drinking song, “<i>Le -Punche scintille</i>”; the ballad, “<i>Lorsque la journée est finie</i>”; and the -love duet, “<i>O Ciel!</i>”</p> -<div class="pb" id="Page_179">179</div> -<h2 id="c104"><span class="small">Ernesto <b id="g_Lecuona">Lecuona</b></span></h2> -<p>Ernesto Lecuona was born in Havana, Cuba, on August -7, 1896. As a boy of eleven he published his first piece of music—an American -two step still popular with some Cuban bands. While attending the -National Conservatory in Cuba, from which he was graduated in 1911 -with a gold medal in piano playing, he earned his living as a pianist in -cafés and movie theaters. In 1917 he paid the first of several visits to the -United States, at that time making some records and giving a piano -recital. He then made concert tours throughout America and Europe -playing the piano and conducting semi-classical and popular orchestras. -His performances were largely responsible for popularizing in America -both the conga and the rumba in the 1920’s. He also made some successful -appearances at the Capitol Theater, in New York, where he introduced -his own music, including such outstanding successes as <i>Malagueña</i>, -<i>Andalucía</i>, and <i>Siboney</i> (the last originally entitled <i>Canto -Siboney</i>, which became an American popular-song hit in 1929). These -and similar pieces made Lecuona one of the most successful exponents -of Latin-American melodies and dance rhythms in the United States. -Lecuona has written over five hundred songs, forty operettas, and -numerous compositions both for orchestra and for piano solo.</p> -<p>From a piano suite entitled <i>Andalucía</i> come two of Lecuona’s best -known instrumental compositions. The first is also called <i>Andalucía</i>, a -haunting South American melody set against a compulsive rhythm. It -was made into an American popular song in 1955.</p> -<p>Another movement from <i>Andalucía</i> is even more familiar: the -<i>Malagueña</i>. Since its publication as a piano solo in 1929, <i>Malagueña</i> -has sold annually over a hundred thousand copies of sheet music each -year; it has become a favorite of concert pianists; it is also often performed -by salon and pop orchestras everywhere in orchestral transcriptions; -and it has been adapted into a popular song, “At the Crossroads.” -It is in three sections, the first being in the malagueña rhythm dynamically -projected in slowing expanding sonorities; a contrast comes in the -middle part with a poignant Latin-American melody.</p> -<p><i>Andalucía</i>, the single movement and not the suite as a whole, has -<span class="pb" id="Page_180">180</span> -been given a brilliant orchestral dress by Morton Gould who has also -orchestrated two outstandingly popular Lecuona songs. One is “La -Comparasa,” a picture of a traditional parade during the Carnival season -in which Negroes and muleteers play their native instruments and -sing their sensual songs. The other is “Gitanerias,” haunting gypsy -music.</p> -<h2 id="c105"><span class="small">Franz <b id="g_Lehar">Lehár</b></span></h2> -<p>Franz Lehár was born in Komorn, Hungary, on April 30, -1870. His father, a bandmaster, was his first music teacher. When Franz -was twelve, he entered the Prague Conservatory where he remained six -years specializing in the violin with Bennewitz and theory with Foerster. -His studies were completed in 1888, after which he played the -violin in the orchestra of the Eberfeld Opera. He subsequently became -an assistant bandleader of his father’s ensemble and a director of -Austria’s foremost Marine bands. In 1896 he realized his first success as -a composer of operettas with <i>Kukuschka</i>, produced in Leipzig. In 1902 -he became conductor of the Theater-an-der-Wien, in Vienna, home of -operettas. There, in the same year, he had produced <i>Viennese Women</i> -(<i>Wiener Frauen</i>). The operetta after that was <i>The Gypsy</i> (<i>Der Rastelbinder</i>), -seen in 1902 in one of Vienna’s other theaters. With <i>The Merry -Widow</i> (<i>Die lustige Witwe</i>), seen in 1905, Lehár achieved a triumph of -such magnitude that from then on he was one of Austria’s most celebrated -operetta composers (and one of the wealthiest) since Johann -Strauss II. He wrote about thirty more operettas (three of them in the -single year of 1909-1910). The most famous were <i>The Count of Luxembourg</i> -(<i>Der Graf von Luxemburg</i>) in 1909; <i>Gypsy Love</i> (<i>Zigeunerliebe</i>) -in 1910; <i>Frasquita</i> in 1922; <i>Paganini</i> in 1925; <i>The Tsarevitch</i> -(<i>Der Zarewitsch</i>) in 1927; and <i>The Land of Smiles</i> (<i>Das Land des -Laechelns</i>) in 1929. During World War II Lehár lived in seclusion at -his villa in Bad Ischl, Austria. After the war he became embittered by -<span class="pb" id="Page_181">181</span> -the widely publicized accusation that he had been pro Nazi, arising no -doubt from the well-known fact that <i>The Merry Widow</i> was Hitler’s -favorite operetta. What was forgotten in this attack against Lehár was -the fact that his wife had been classified by Nazis as non-Aryan and that -on one occasion both and he and his wife were subjected by the Gestapo -to house arrest. Lehár died in Bad Ischl, Austria, on October 24, 1948. -He is one of the few composers to outlive the copyrights of some of his -most famous works.</p> -<p>Lehár’s popularity in the early part of this century gave the Viennese -operetta a new lease on life at a time when its heyday was believed -over. It was through the influence of Lehár’s immense popularity and -success that composers like Oscar Straus, Emmerich Kálmán, and Leo -Fall began writing their own operettas. Lehár’s best stage works have -been described as “dance operettas” because of the emphasis placed on -dance music, the waltz specifically. The dance usually becomes the -climax, the focal point, of the production. Stan Czech further points -out that Lehár’s waltzes are “slower and sweeter than those of Johann -Strauss, were definite prototypes of the modern slow waltz, and their -Slav atmosphere gave them an exciting and individual character.”</p> -<p><i>The Count of Luxembourg</i> (<i>Der Graf von Luxemburg</i>)—text by -Willner and Robert Bodanzky—was first given in Vienna on November -12, 1909. This operetta opens in an artist’s studio in Paris where René, -the impoverished Count of Luxembourg, is offered five hundred thousand -francs by Prince Basil if René is willing to marry the singer Angele -and let her share his title. The reason for this peculiar arrangement -is that the Prince is himself in love with Angele, wants to marry her, -but prefers that his wife have a title. After they get married, René and -Angele discover they are in love with each other, a fact which eventually -the Prince is willing to accept since he is ordered by the Czar to -marry a legitimate Countess. As in most Lehár’s operettas, the high -musical moment comes with a waltz—the infectious duet of René and -Angele, “<i>Bist du’s, lachendes Glueck</i>,” which is also extremely popular -in orchestral adaptations. Other appealing numbers are the second act -duet, “<i>Lieber Freund, man greift nicht</i>” and the tenor aria, “<i>Maedel -klein, Maedel fein</i>.”</p> -<p><i>Frasquita</i>, produced in Vienna on May 12, 1922, is remembered -most often for one of Lehár’s most beautiful vocal numbers, the nostalgic -and romantic <i>Frasquita Serenade</i>, “<i>Hab ein blaues Himmelbett</i>.” -Fritz Kreisler made a fine transcription for violin and piano, and Sigmund -Spaeth provided the melody with American lyrics.</p> -<div class="pb" id="Page_182">182</div> -<p><i>Gypsy Love</i> (<i>Zigeunerliebe</i>), had its world première in Vienna on -January 8, 1910. The librettists (Willner and Bodanzky) provided a -romantic storybook setting of Rumania, and a romantic central character -in the form of the gypsy violinist, Jozsi. Zorika is ineluctably -drawn to Jozsi though she is actually betrothed to his half-brother, -Jonel. In a dream, she gets a foretaste of what her life would be with -one so irresponsible and fickle as a gypsy violinist, with the result that -she is more than happy to marry Jonel. The main waltz melody (one -of Lehár’s greatest) is “<i>Nur der Liebe macht uns jung</i>” and the most -infectious Hungarian tune is Jozsi’s soaring entrance gypsy melody to -the accompaniment of his violin, “<i>Ich bin ein Zigeunerkind</i>.”</p> -<p>From <i>The Land of Smiles</i> (<i>Das Land des Laechelns</i>) comes what is -probably the best loved and most widely sung of all of Lehár’s vocal -numbers, “Dein ist mein ganzes Herz” (“Thine Is My Heart Alone”) -which opened not in Vienna but in Berlin, on October 10, 1929. This -was actually a new version of an old Lehár operetta, originally called -<i>The Yellow Jacket</i> (<i>Die gelbe Jacke</i>) which had been introduced in -Vienna in 1923. The romantic plot of both operettas involved a -Chinese diplomat, Prince Sou-Chong, and Lisa, daughter of an Austrian -Count. They marry and settle in Peking in whose strange setting, Lisa’s -love for the Prince soon turns to hate. With great magnanimity—even -though this is in violation of ancient Chinese traditions and customs—he -allows Lisa to leave him and return home.</p> -<p>In <i>The Yellow Jacket</i>, “Thine Is My Heart Alone” is sung by Lisa, -and at that time this number made little impression. The famous tenor, -Richard Tauber, fell in love with it, and performed it so extensively -in his recitals everywhere that he and the song became inextricably identified. -When Lehár revised his operetta and renamed it <i>The Land of -Smiles</i>, he cast the song “Thine Is My Heart Alone” as a major second-act -aria for Prince Sou-Chong, Richard Tauber playing the part of the -Prince. <i>The Land of Smiles</i> was a personal triumph for Tauber who -appeared in it over 2,500 times all over the world. “Thine Is My Heart -Alone” became with him something of a theme song. He rarely gave a -concert anywhere without singing it either on the program itself or as -an encore. When <i>The Land of Smiles</i> was given in New York City in -1946, with Tauber as the star, the operetta was renamed <i>Yours Is My -Heart</i>; in this production Tauber sang the song four times in four different -languages, French, Italian, German, and English.</p> -<p>There can be little question but that <i>The Merry Widow</i> (<i>Die lustige -Witwe</i>) is one of the most famous operettas ever written. It was a sensation -<span class="pb" id="Page_183">183</span> -when first performed, in Vienna on December 28, 1905. It came -both to London and New York in 1907, a major success in both places. -In Buenos Aires it was performed simultaneously in five theaters in five -different languages. Since 1907 there was hardly a time when <i>The Merry -Widow</i> was not being performed in some part of the world. It has enjoyed -in excess of six thousand performances, a thousand of these in -Vienna alone. On several occasions it has been adapted for the screen.</p> -<p>Victor Léon and Leo Stein wrote the text. This is the usual operetta -material involving a beautiful heiress from a mythical kingdom. She is -Sonia from Marsovia, who is leading a gay life in Paris. Beautiful and -wealthy, she is inevitably sought out by the most handsome men of -Paris. The government of Marsovia is eager to get her to marry one of -its native sons, the dashing Prince Danilo, thereby keeping her fortune -at home. As she conducts her vivacious night life she is zealously -watched over by the Marsovian Ambassador, Baron Popoff, who never -loses an opportunity to further the interests of Danilo. Eventually, -Sonia has had her fling and is ready to settle down with the Prince.</p> -<p>The <i>Merry Widow Waltz</i>, “<i>S’fluestern Geigen, Lippen schweigen</i>,” -an eye-filling climax to the third act, is not only the most popular excerpt -from this operetta but also one of the most celebrated waltzes -ever written. A secondary waltz, “Vilia” is also highly beguiling, while -a third musical favorite from this score is “<i>Da geh’ ich zu Maxim</i>” -(“<i>The Girl at Maxim’s</i>”).</p> -<p>What is one of Lehár’s best waltzes, second in popularity only to that -of <i>The Merry Widow</i>, does not come from any operetta. It is the <i>Gold -and Silver Waltzes</i> (<i>Gold und Silber Waelzer</i>), op. 79 which he wrote as -a concert number.</p> -<h2 id="c106"><span class="small">Ruggiero <b id="g_Leoncavallo">Leoncavallo</b></span></h2> -<p>Ruggiero Leoncavallo was born in Naples, Italy, -on March 8, 1858. He was graduated from the Bologna Conservatory, -then spent several years traveling. He finally came to Paris where he -<span class="pb" id="Page_184">184</span> -earned his living playing the piano, singing, and writing music-hall -songs. The powerful Italian publisher, Ricordi, commissioned him to -write a trilogy of operas set in the Renaissance. Leoncavallo completed -the first of these operas, <i>I Medici</i>, but it proved too expensive to mount -and was shelved. This experience convinced him that he ought to write -an opera of slighter dimensions, one which would not cost too much to -produce, and which would be in the realistic style (“<i>Verismo</i>”) just -made so popular by Mascagni’s <i>Cavalleria Rusticana</i>. In four months’ -time, Leoncavallo completed <i>Pagliacci</i>, the opera through which his -name survives. It received a triumphant première in Milan in 1892, -with Toscanini conducting. Though Leoncavallo wrote many operas -after that he never wrote one as good or as popular as the one that made -him world famous. Only one of these later operas has retained interest, -<i>Zaza</i>, introduced in 1900. A third opera, <i>La Bohème</i>, was well received -when introduced in Venice in 1897, but was soon thrown into complete -obscurity by a rival opera on the same subject, that of Puccini. In -1906 Leoncavallo toured the United States in performances of <i>Pagliacci</i>. -The failures of his last operas made him a bitter, broken man in -the last years of his life. He died in Montecatini, Italy, on August 9, -1919.</p> -<p>The composer prepared his own libretto for <i>Pagliacci</i>, a play within -a play. A troupe of strolling players headed by Canio arrives for performances -in a Calabrian village. Canio’s wife, Nedda, falls in love with -Silvio, one of the villagers, and she in turn is being pursued by the -pathetic clown of the troupe, Tonio. Through Tonio, Canio discovers -his wife has been unfaithful to him, but fails to learn the identity of -his rival. At the troupe’s evening performance—and in a play that -closely resembles the actual happenings within the company—Canio -kills Nedda when she fails to tell him who her lover is. But Silvio, in the -audience, reveals himself by rushing on the stage to help Nedda. There -Canio kills him.</p> -<p>Many of the selections from this opera are famous, but the most -famous of all is the tenor aria, in which Canio speaks his immense grief -on discovering that his wife has a lover, “<i>Vesti la giubba</i>.”</p> -<p>The other familiar excerpts include the baritone prologue, “<i>Si può</i>,” -in which Tonio explains to his audience that the incidents in the play -about to be presented are true to life and that the players are not performers -but human beings; Nedda’s delightful ballatella, “The Bird -Song” (“<i>Stridono lassù</i>”) where she tries to forget about Tonio’s initial -response of jealousy by watching and describing the casual and carefree -<span class="pb" id="Page_185">185</span> -flight of birds overhead; the “Harlequin’s Serenade” in the play within -the play sequence in the second act, “<i>O Columbina!</i>”; and a melodious -orchestral Intermezzo which separates the first and second acts, music -which hints darkly at impending tragedy through a poignant recall of -Tonio’s prologue.</p> -<h2 id="c107"><span class="small">Anatol <b id="g_Liadov">Liadov</b></span></h2> -<p>Anatol Liadov was born in St. Petersburg, Russia, on -May 10, 1855, the son and grandson of eminent Russian conductors. He -was a pupil of Rimsky-Korsakov at the St. Petersburg Conservatory, but -was so derelict about attending classes that in 1876 he was expelled. -Reinstated two years later he now became fired with both ambition and -industry, proved a brilliant student, and was graduated with highest -honors. He was then appointed teacher of theory there, eventually becoming -a renowned professor, a post he retained until the end of his -life. He died in Novgorod, Russia, on August 28, 1914.</p> -<p>Liadov was at his best in his fairy tales for orchestra (<i>The Enchanted -Lake</i>, <i>Baba Yaga</i> and <i>Kikimora</i>); in songs; and in smaller pieces for the -piano. He was a student of Russian folk music of which he made numerous -adaptations, and whose styles and idioms percolated into many of -his compositions.</p> -<p>The <i>Eight Russian Folksongs</i>, a suite for orchestra, op. 58 (1906) is -one of Liadov’s adaptations. There are eight movements. In the first, -“Religious Chant,” the main song is that chanted by children in religious -processions; it is heard in English horn and bassoons. This is followed -by “Christmas Carol,” its main theme presented by oboes and -clarinets. “Plaintive Melody” is a village song, and “I Danced With a -Mosquito,” a humorous scherzo in which muted strings simulated buzzing -mosquitoes. The fifth movement is “Legend of the Birds” where the -bird song is presented by the woodwind. “Cradle Song” is a tender -<span class="pb" id="Page_186">186</span> -melody for strings. This is followed by a lively rhythmic section, -“Round Dance.” The suite ends with the “Village Dance Song,” music -that usually accompanies the crowning of the May Queen.</p> -<p>Liadov is also the composer of a delightful trifle called <i>The Music -Box</i> in which the delicate little tune is the kind that lends itself gratefully -to the tinkle of a music box. Liadov wrote this piece for the piano, -op. 32, but it is better known in orchestral transcriptions.</p> -<h2 id="c108"><span class="small">Paul <b id="g_Lincke">Lincke</b></span></h2> -<p>Paul Lincke was born in Berlin, Germany, on November 7, -1866. After completing his music study he played the violin and bassoon -in numerous theater orchestras. He later distinguished himself -as a theater conductor. In 1897 he had his first operetta produced in -Berlin. Thereafter he wrote many operettas, all originally given in -Berlin; he became one of the foremost exponents of the light musical -theater in Germany of his time. The most famous were <i>Frau Luna</i> -(1899), <i>Fraeulein Loreley</i> (1900), <i>Lysistrata</i> (1902), <i>Prinzessin Rosine</i> -(1905), and <i>Casanova</i> (1914). His last operetta was <i>Ein Liebestraum</i>, -produced in Hamburg in 1940. From 1918 to 1920 he was conductor -at the Folies-Bergère in Paris. He died in Klausthal-Zellernfeld, Germany, -on September 3, 1946.</p> -<p>His most famous composition is a song from <i>Lysistrata</i> (1902): “The -Glow Worm” (“<i>Gluehwuermchen</i>”), which achieved phenomenal popularity -throughout the world independent of the operetta. It is still -famous both as a vocal composition and in orchestral transcriptions. -A new vocal version, with amusing lyrics by Johnny Mercer, was published -and popularized in the United States in 1952.</p> -<div class="pb" id="Page_187">187</div> -<h2 id="c109"><span class="small">Franz <b id="g_Liszt">Liszt</b></span></h2> -<p>Franz Liszt was born in Raiding, Hungary, on October 22, -1811. A prodigy pianist who made an impressive debut in Hungary -when he was nine, Liszt was financed by several Hungarian noblemen -to study the piano with Czerny in Vienna. In 1822, Liszt made a sensational -debut in that city, and in 1824, after a period of additional study -in Paris, an equally momentous appearance in the French capital. For -the next three years Liszt concertized throughout Europe, becoming an -idol of music audiences everywhere. Then, in 1827, he decided to -abandon music for what he regarded as nobler pursuits. He devoted -himself in turn to religion, politics, literature, and philosophy without -finding the satisfaction he sought. Then, in 1830, he went back to -music. For about two years he worked industriously on his piano technique, -reassuming an imperial position among the virtuosos of his generation -beginning with 1833. He combined profound musicianship and -a phenomenal technique with such a flair for showmanship and self-aggrandizement, -that it can be said that the modern piano virtuoso -(both in the best and worst sense of that term) was born with him.</p> -<p>In 1848, Liszt came to Weimar to fulfill duties as Kapellmeister to -the Grand Duke. The eleven-year period of this office represented -music-making of the highest order, as Liszt devoted himself to presenting -the foremost operatic and symphonic music in the best possible -performances. He was indefatigable in propagandizing the music of -the avant-garde composers of his day, reviving Wagner’s <i>Tannhaeuser</i> -and presenting the world première of that master’s <i>Lohengrin</i> at a time -when Wagner was in disrepute in Germany because of his revolutionary -activities.</p> -<p>Finding himself incapable of maintaining the high standards he had -set, and disturbed by the prevailing antagonism to his espousal of new -music, Liszt left Weimar in 1859. Once again he sought refuge in a -career outside music. In 1865 he submitted to the tonsure and entered -the Third Order of St. Francis of Assisi as abbé. But music was not -abandoned. He taught the piano to gifted pupils who came to him from -<span class="pb" id="Page_188">188</span> -all parts of the world; and he wrote an abundant amount of music, -mainly for the piano. He died in Bayreuth, Bavaria, on July 31, 1886, -still at the height of his powers and fame as composer, pianist and -teacher.</p> -<p>Liszt left a vast repertory of music, including tone poems, symphonies, -piano concertos, songs, and a library of works for the piano. At -his best he was a great innovator, and a creator of vast dramatic and -poetic concepts. At worst, he was a showman shamelessly wooing his -public with superficial effects and trivial material. Most of his works -belong to the concert hall, but some of it has enormous popular appeal -as salon music.</p> -<p>The most famous of the latter is the <i>Hungarian Rhapsody No. 2</i> in -C-sharp minor (1847), originally for piano solo but subsequently orchestrated -by the composer himself. This was one of nineteen compositions -in which Liszt developed the form of the rhapsody and helped to -make it popular; which he filled with strong national feelings and the -individual traits of Hungarian folk music. One of the features of all -these rhapsodies is their dynamic alternation of slow and sensual music -(called <i>lassan</i>) with fast, dramatic, exciting passages (called <i>friskan</i>). -The second <i>Hungarian Rhapsody</i> opens with a <i>lassan</i>, a slow, stately -declamation. Then, after a clarinet cadenza, the <i>friskan</i> appears, a -spirited melody for violins and woodwind. After that fast and slow passages, -soft and loud dynamics, and rapidly changing meters and rhythm -help to generate excitement and create drama. The drama and the excitement -of this music never seem to lose their impact however many -times this rhapsody is listened to.</p> -<p>Of Liszt’s twelve tone poems for orchestra the most famous is <i>Les -Préludes</i> (1850). The tone poem, or symphonic poem, is Liszt’s creation -in an attempt to bring to orchestral music the pictorial, dramatic -and programmatic qualities of Wagner’s music dramas. Thus Liszt -conceived a one-movement composition, flexible in form, in which -a story is told, picture described, or poem interpreted. The inspiration -for <i>Les Préludes</i> is the <i>Méditations poétiques</i> of Lamartine, from -which several lines are quoted in the published score to provide the -music with its program:</p> -<p>“What is life but a series of Preludes to that unknown song of which -death strikes the first solemn note? Love is the magic dawn of every -existence; but where is the life in which the first enjoyment of bliss is -not dispelled by some tempest; its illusions scattered by some fatal -breath; its altar consumed as by a thunderbolt? What soul, this cruelly -<span class="pb" id="Page_189">189</span> -hurt, but seeks to repose with its memories in the sweet calm of pastoral -life? Yet no man is content to resign himself for long to the mild, beneficent -charms of Nature, and when the trumpet gives the alarm he -hastens to the post of danger, on whatever field he may be called to -fight, so that once more he may find in action full consciousness of -himself and the possession of all his powers.”</p> -<p><i>Les Préludes</i> opens with a dignified subject in the basses which is -subjected to considerable change and amplification before the main -melody is introduced. This melody is an elegiac song expressing the -happiness of love; its first entrance comes in four horns, strings, and -harp. The music is carried to a climactic point, after which a frenetic -mood is projected. Plaintively the oboe recalls the main melody; a -country dance tune is offered by the horn; and the main melody reappears -with opulent treatment. Another section of storm and stress -follows before the final majestic statement of the main melody.</p> -<p>Of Liszt’s voluminous writings for the piano, one composition above -all others has won favor throughout the music world as a tender, and -sentimental expression of love. It is the <i>Liebestraum</i>, “Love’s Dream.” -Liszt actually wrote three <i>Liebesträume</i>, but it is the third of this set—in -A-flat major (1850)—which is considered when we speak or hear of -the <i>Liebestraum</i>. All of these three piano compositions are adaptations -of songs by the same composer; the third <i>Liebestraum</i> originated as -“<i>O Lieb’, so lang du lieben kannst</i>,” words by Freiligrath.</p> -<h2 id="c110"><span class="small">Frederick <b id="g_Loewe">Loewe</b></span></h2> -<p>Frederick Loewe was born in Vienna, Austria, on June -10, 1904. A musical prodigy, he began to study the piano when he was -five; started composition at seven; at thirteen made a successful appearance -as pianist with the Berlin Symphony; and at fifteen was the composer -of a hit song, “Katrina,” that sold over a million copies of sheet -<span class="pb" id="Page_190">190</span> -music in Europe. He received a thorough musical training from Busoni, -Eugène d’Albert, and Emil Nikolaus Rezniček, winning the Hollander -Medal for piano playing in 1923. One year after that he came to the -United States. Unable to make any progress in his musical career, he -spent the next decade traveling around the country and filling all sorts -of odd jobs. He punched cattle, mined gold, served as a riding instructor, -and even boxed professionally. Eventually he came back to New -York where he found a job in a Greenwich Village café playing the -piano. In 1938 four of his songs were heard in a Broadway musical, -<i>Great Lady</i>, a failure. A meeting with Alan Jay Lerner, a young lyricist -and librettist, brought him a gifted collaborator. They wrote a musical -comedy that was produced by a stock company in Detroit, and another -called <i>What’s Up</i> that was seen on Broadway. Their first major success -came with the Broadway musical, <i>Brigadoon</i>, in 1947. <i>My Fair Lady</i>, in -1956, was one of the greatest successes of the Broadway theater. They -also helped make entertainment history further by writing songs for the -motion picture musical, <i>Gigi</i>, the first to win nine Academy Awards, -including one for Lerner and Loewe for the title song. In 1960, Lerner -and Loewe wrote the Broadway musical <i>Camelot</i> based on King Arthur -and the Knights of the Round Table.</p> -<p><i>Brigadoon</i> was a whimsical Scottish fantasy which came to Broadway -on March 13, 1947, book and lyrics by Lerner. Brigadoon is a mythical -town in Scotland which comes to life for a single day once every hundred -years. Two American tourists happen to come to Brigadoon during -its one day of existence. They become a part of its quaint life, and -one of them falls in love with a Scottish lass. The musical highlights -include a song that became a hit in 1947, “Almost Like Being In Love,” -and several that have a charming Scottish flavor, including “Come to -Me, Bend to Me,” “The Heather on the Hill,” and “I’ll Come Home -With Bonnie Jean.”</p> -<p><i>My Fair Lady</i>, produced on March 15, 1956, was Lerner’s adaptation -for the popular musical theater of Bernard Shaw’s <i>Pygmalion</i>. Eliza -Doolittle, an ignorant flower girl and daughter of a cockney, is transformed -by the phonetician, Professor Henry Higgins, into a cultivated -lady who is successfully palmed off upon high English society as a -duchess. Higgins falls in love with her and, though a long confirmed -bachelor, finds he can no longer live without her. <i>My Fair Lady</i> became -one of the most highly acclaimed musical productions of recent -memory; Brooks Atkinson called it “one of the best musicals of the -century.” It achieved a fabulous Broadway run and was brought by -<span class="pb" id="Page_191">191</span> -many touring countries to all parts of the civilized world, including the -Soviet Union. It captured one third of the honors annually conferred -on the theater by the Antoinette Perry Awards. The original-cast recording -sold over three million discs. The principal numbers from -Loewe’s captivating score include three romantic songs, two of the Hit -Parade variety (“I Could Have Danced All Night” and “On the Street -Where You Live”) and the third, “I’ve Grown Accustomed to Her -Face”; two atmospheric numbers that evoke musically the place and -setting of the play, “The Ascot Gavotte” and “The Embassy Waltz”; -and the two cockney ditties of Eliza’s father, “Get Me to the Church On -Time” and “With a Little Bit of Luck.”</p> -<h2 id="c111"><span class="small">Albert <b id="g_Lortzing">Lortzing</b></span></h2> -<p>Gustav Albert Lortzing was born in Berlin on -October 23, 1801. His parents were actors compelled to lead an itinerant -life which made it impossible for Albert to obtain any systematic -education. His mother taught him music, the study of which he later -continued briefly in Berlin with Rungenhagen. His first effort at composition -consisted of some songs, but in 1824 he completed his first -opera, <i>Ali Pascha von Janina</i>. From 1833 to 1844 he was employed as -a tenor at the Municipal Theater in Leipzig, for which he wrote the -comic opera <i>Die beiden Schuetzen</i>, successfully produced in 1837. He -achieved his greatest success the same year with the comic opera, <i>Zar -und Zimmermann</i>, which within a few years’ time became a favorite -among theater audiences throughout Europe. His later operettas included -<i>Der Wildschuetz</i> (<i>The Poacher</i>) in 1842 and <i>Der Waffenschmied</i> -(<i>The Armourer</i>) in 1846, while one of his finest romantic operas was -<i>Undine</i> in 1845. Lortzing also filled several engagements as conductor -of operas and operettas in Leipzig, Vienna and Berlin, and as an opera -impresario. He died in Berlin on January 21, 1851, one day after his -<span class="pb" id="Page_192">192</span> -last opera, <i>Die Opernprobe</i> (<i>The Opera Rehearsal</i>) was introduced in -Frankfort.</p> -<p>Lortzing was one of the earliest and most successful exponents of -German national comic opera; and <i>Czar and the Carpenter</i> (<i>Zar und -Zimmermann</i>) was his masterwork. It was first produced in Leipzig on -December 22, 1837. The music is consistently light and tuneful, frequently -in the style of German folk songs. The libretto, by the composer, -is a delightful comedy based on an actual historic episode: the escapade -of Peter the Great of Russia in Holland where he worked as a carpenter. -In the Lortzing comic opera, Peter the Great is a carpenter on a ship at -Saardam where he meets a compatriot, also named Peter, who is a deserter. -Temporarily they become rivals for the affection of Mary. After -the arrival of the Ambassadors from France and England to seek out the -Emperor, the latter quietly departs for his homeland, leaving behind -him both money and an official pardon for the other Peter. The gay -spirit of the comic opera as a whole is magically caught not only in its -vivacious overture, but in several familiar excerpts. The most notable -are: the Burgomaster’s comic entrance song, “<i>O sancta justa</i>”; in the second -act, the Wedding Chorus, and the French Ambassador’s beautiful -air, “<i>Lebe wohl, mein flandrisch’ Maedchen</i>”; in the third act the vigorous -<i>Clog Dance</i> (<i>Holzschutanz</i>), and the very famous air of Czar Peter, -“<i>Sonst spielt’ ich mit Zepter</i>.”</p> -<h2 id="c112"><span class="small">Alexandre <b id="g_Luigini">Luigini</b></span></h2> -<p>Alexandre Luigini was born in Lyons, France, on -March 9, 1850. He was the son of the distinguished conductor of the -Théâtre-Italien in Paris. After attending the Paris Conservatory—where -he was a pupil of Massenet and Massart among others—the younger -Luigini played the violin in his father’s orchestra. In 1870 he began a -successful career as ballet composer with <i>Le Rêve de Nicette</i>, given in -<span class="pb" id="Page_193">193</span> -Lyons. His greatest success came with the <i>Ballet Égyptien</i>, first seen in -Lyons in 1875. For twenty years Luigini was the conductor of the Grand -Theater in Lyons and professor of harmony at the Lyons Conservatory. -Until the end of his life he was the conductor of the Opéra-Comique in -Paris. He died in Paris on July 29, 1906.</p> -<p>An orchestral suite derived from some of the most attractive pages of -the <i>Ballet Égyptien</i> score is a favorite of bands and salon orchestras -everywhere. This is music striking for its Oriental-type melodies and -harmonies, and for its colorful orchestral hues. The first two movements -are particularly popular. The first begins with a strong and -stately theme, but midway comes a gayer section in an exotic Oriental -style. The second movement highlights a capricious subject for the -woodwind, once again in a recognizable Oriental style.</p> -<h2 id="c113"><span class="small">Hans Christian <b id="g_Lumbye">Lumbye</b></span></h2> -<p>Hans Christian Lumbye was born in Copenhagen, -Denmark on May 2, 1810. As a young man he played in military bands. -He then formed an orchestra of his own which achieved extraordinary -fame throughout Copenhagen (specifically at the Tivoli) with light -musical programs. For these concerts Lumbye produced a library of -light music: waltzes, galops, polkas, marches, and so forth. This music -is so filled with infectious tunes and pulsating rhythms—and they are so -light in heart and spirit—that they have won for their composer the -sobriquet of “The Johann Strauss of the North” and the status of Denmark’s -foremost creator of semi-classical music. He died in Copenhagen -on March 20, 1874.</p> -<p>Lumbye’s dance pieces are played wherever there is a salon, pop or -café-house orchestra. Among his best waltzes are <i>Amelie</i>, <i>Hesperus</i>, and -<i>Sophie</i>. Other successful Lumbye compositions are the <i>Columbine -Mazurka</i>, the <i>Champagne Galop</i>, <i>Concert Polka</i>, <i>Dream Pictures</i>, <i>An</i> -<span class="pb" id="Page_194">194</span> -<i>Evening at the Tivoli</i>, <i>King Frederick VII Homage March</i>, and the -<i>Railway Galop</i>.</p> -<h2 id="c114"><span class="small">Edward <b id="g_Macdowell">MacDowell</b></span></h2> -<p>Edward Alexander Macdowell, one of -America’s most significant 19th-century composers, was born in New -York City on December 18, 1861. After preliminary music study with -private teachers, he attended the Paris Conservatory from 1876 to 1878, -and the Frankfort Conservatory in Germany from 1879 to 1881. Maintaining -his home in Germany, MacDowell joined the faculty of the -Darmstadt Conservatory in 1881, and in 1882 he made an official bow -as a composer by introducing his first piano concerto in Zurich, and his -<i>Modern Suite</i> for piano in Germany. He returned to the United States -in 1888, settling in Boston where a year later the Boston Symphony -under Gericke introduced his now-famous Second Piano Concerto, the -composer appearing as soloist. From then on, most of his important -symphonic works were introduced by the Boston Symphony, placing -him in the vanguard of American composers of that period. In 1896 -he filled the first chair of music created at Columbia University in New -York; at that time he was described as “the greatest musical genius -America has produced.” MacDowell resigned in 1904 after sharp differences -with the trustees of the University over the way a music department -should be run. The bitterness and frustrations suffered by MacDowell -during this altercation with the University undermined and -finally broke his always delicate health. His brain tissues became -affected. From 1905 on he was a victim of insanity, spending his time -in an innocent, childlike state, until his death in New York City on -January 23, 1908. Shortly after his death the MacDowell Memorial -Association was founded to establish a retreat for American creative -artists on MacDowell’s summer residence in Peterborough, New Hampshire, -which MacDowell’s widow had deeded to the Association.</p> -<div class="pb" id="Page_195">195</div> -<p>A composer whose artistic roots lay deep in the soil of German -Romanticism, MacDowell was a composer who filled his writing with -noble poetic sentiments and the most sensitive emotions. His sense of -style and his feeling for structure were the last words in elegance, and -his lyricism and harmonic language were ever ingratiatingly inviting to -the ear.</p> -<p>The <i>Indian Suite</i>, op. 48 (1892) is the second of MacDowell’s suites -for orchestra. It is one of several works in which MacDowell uses -melodic and rhythmic material of the American Indian, blending this -idiom with his usual sensitive and poetic style. This is one of MacDowell’s -most popular works for orchestra. The first movement, “Legend,” -has a slow introduction in which the main melody is given by -three unaccompanied horns in unison. The melody is taken over by -other instruments and developed. Here the material comes from a -sacred ceremony of Iroquois Indians. The second movement is “Love -Song,” whose principal subject is immediately given by the woodwind; -this melody is derived from the music of Iowa Indians. “War Time” -follows, a movement dominated by a melody to which Indians of the -Atlantic Coast ascribed supernatural origin. This melody is heard in the -first sixteen measures in two unison unaccompanied flutes. A subsidiary -section follows. “Dirge,” the fourth movement, is a woman’s -song of mourning for an absent son, come from the Kiowa Indians. -The mournful melody is heard in muted violins. The suite ends with -“Village Festival,” in which two light and vivacious melodies from the -Iroquois Indians are presented; the first is a woman’s dance, and the -second a war song.</p> -<p>The most familiar pieces of music written by MacDowell—<i>To a -Water Lily</i> and <i>To a Wild Rose</i>—come from the <i>Woodland Sketches</i>, -op. 51 (1896), a suite for solo piano made up of ten sections, each a descriptive -poem in tones. In this suite MacDowell became one of the -first American composers to interpret the beauty of American scenes -and countrysides in delicate melodies. Both <i>To a Water Lily</i> and <i>To a -Wild Rose</i> are exquisite tone pictures of Nature, and both have enjoyed -numerous transcriptions. The other eight movements of the -<i>Woodland Sketches</i> are: <i>Will o’ the Wisp</i>, <i>At an Old Trysting Place</i>, -<i>In Autumn</i>, <i>From an Old Indian Lodge</i>, <i>From Uncle Remus</i>, <i>A Deserted -Farm</i>, <i>By a Meadow Brook</i>, and <i>Told at Sunset</i>.</p> -<div class="pb" id="Page_196">196</div> -<h2 id="c115"><span class="small">Albert Hay <b id="g_Malotte">Malotte</b></span></h2> -<p>Albert Hay Malotte was born in Philadelphia, Pennsylvania, -on May 19, 1895. The son of a choirmaster, he himself was a -boy chorister, at the St. James Episcopal Church in his native city. After -his music studies were completed in Paris and London, he served as -organist in Chicago and London. In 1927 he opened a school for organists -in Los Angeles, but when sound came to the screen he gave up the -school to write music for the films. He subsequently joined the music -staff at the Walt Disney studio, creating music for several of Disney’s -animated cartoons, including <i>Ferdinand the Bull</i>. He has written ballets, -choral music, and songs, besides scores for motion pictures, having -received early in his career as composer important advice, guidance -and encouragement from Victor Herbert.</p> -<p>Malotte is most famous for his song, “The Lord’s Prayer,” published -in 1935, and since become a favorite of concert singers everywhere. Its -deep religious sentiment, and the exciting dramatic thrust of its concluding -measures, have an inescapable impact on audiences.</p> -<h2 id="c116"><span class="small">Gabriel <b id="g_Marie">Marie</b></span></h2> -<p>Gabriel Marie was born in Paris, France, on January 8, -1852. After completing his music study at the Paris Conservatory he -served for six years as chorusmaster of the Lamoureux Orchestra. Between -1887 and 1894 he conducted the concerts of the Société nationale -<span class="pb" id="Page_197">197</span> -de musique. He later led the orchestral performances in Bordeaux and -Marseilles, and during the summers at the Vichy Casino. He was traveling -in Spain when he died there suddenly on August 29, 1928.</p> -<p>Marie was a successful composer of light music for orchestra. The one -composition which has survived is <i>La Cinquantaine</i>, a sentimental -piece for orchestra which is also famous in adaptations for violin and -piano, or cello and piano. Marie described this work as an “air in the -old style.” It is in three-part song form. The first and third parts consist -of a light, delicate little air; the middle section is in a slower and -statelier style.</p> -<h2 id="c117"><span class="small"><b id="g_Martini">Martini</b> il Tedesco</span></h2> -<p>Jean Paul Égide Martini—sometimes called -“Il Tedesco” or “The German” to distinguish him from Padre Martini -the famous 18th century Italian composer and theorist—was born in -Freistadt, in the Palatinate, on September 1, 1741. His real name is -Schwarzendorf. After completing the study of the organ and serving for -a while as church organist, he won a prize for a military march for the -Swiss Guard. For many years he was an officer of a Hussar regiment. -During this military service he completed an opera, <i>L’Amoureux de -quinze ans</i> (successfully introduced in Paris in 1771) and a considerable -amount of band music. After leaving the army, he served as music -director for the Prince of Condé and the Comte d’Artois; as conductor -at the Théâtre Feydeau in Paris; and as Inspector and teacher of composition -at the Paris Conservatory. He died in Paris on February 10, -1816.</p> -<p>The composer of twelve operas, some church music and many songs, -Martini is today remembered for a single song—the eloquent and tender -love melody, “<i>Plaisir d’amour</i>,” written originally for voice and harp, -and arranged by Berlioz for voice and orchestra. Since Berlioz’ time it -<span class="pb" id="Page_198">198</span> -has enjoyed numerous instrumental adaptations. Effective use of the -song, as recurring theme music, was made in the American motion picture -starring Irene Dunne and Charles Boyer, <i>Love Affair</i> (1939).</p> -<h2 id="c118"><span class="small">Pietro <b id="g_Mascagni">Mascagni</b></span></h2> -<p>Pietro Mascagni was born in Leghorn, Italy, on December -7, 1863. He studied music with private teachers in Leghorn, then -for several years attended the Milan Conservatory. In 1884 he was -appointed conductor of the municipal band in Cerignola. Meanwhile in -1880 he had completed his first opera, <i>Pinotta</i>. Success as composer came -later in 1890 with the world première of the opera, <i>Cavalleria Rusticana</i> -in Rome. A sensation when first introduced, <i>Cavalleria Rusticana</i> made -the rounds of the world capitals to enjoy a triumph experienced by -few operas before or since. Mascagni wrote many operas after that. -Though he enjoyed varying degrees of success with <i>L’Amico Fritz</i> in -1891 and <i>Iris</i> in 1898, he never again duplicated the acclaim given -<i>Cavalleria Rusticana</i>; and it is still the only one of his operas performed -in the world’s foremost opera houses. As he himself once said sadly: “It -is a pity I wrote <i>Cavalleria</i> first. I was crowned before I became king.” -Mascagni made many tours as a conductor. He visited the United States -in 1902 in performances of several of his operas, and South America in -1911. In 1929 he succeeded Toscanini as musical director of La Scala in -Milan. Identifying himself closely with the Fascist regime—even to the -point of writing an opera, <i>Nerone</i>, glorifying Mussolini—Mascagni was -subjected to considerable abuse and attack after World War II. He -was deprived of his property and other assets. The last year of his life -was lived in poverty and disrepute in a small hotel room in Rome, -where he died on August 2, 1945.</p> -<p><i>Cavalleria Rusticana</i> is a one-act opera, libretto by Giovanni Targioni-Tozzetti -and Guido Menasci based on a short story by Giovanni -<span class="pb" id="Page_199">199</span> -Verga. The setting is Sicily in the latter part of the 19th century. -Turiddu, a soldier, is in love with Lola, wife of Alfio, a teamster. But -he has also conducted an illicit affair with Santuzza. When Turiddu -rudely rejects Santuzza, she finds revenge by revealing to Alfio the love -intrigue existing between Lola and Turiddu. In the duel that follows -Alfio kills Turiddu.</p> -<p>The most celebrated single excerpt from the opera is the melodious -Intermezzo for orchestra which accompanies the departing townspeople -as they leave church after the Easter services. This music is radiant -with the holiness and serenity of the Easter holiday.</p> -<p>Other popular excerpts include the lovely Siciliana, “<i>O Lola bianca</i>,” -a tenor aria which is sung offstage and breaks into the middle of the -opening orchestral prelude; this is a serenade by Turiddu to Lola, sung -to harp accompaniment. Santuzza’s passionate aria, “<i>Voi lo sapete</i>” is -the one in which she first discloses to Alfio that his wife and Turiddu -are lovers. Turiddu’s deeply emotional aria, “<i>Addio alla madre</i>” is his -poignant farewell to his mother just before he engages in the duel in -which he meets his doom.</p> -<h2 id="c119"><span class="small">Jules <b id="g_Massenet">Massenet</b></span></h2> -<p>Jules Massenet was born in Montaud in the Loire region -of France on May 12, 1842. He entered the Paris Conservatory when -he was nine, subsequently winning prizes in fugue and piano playing -and, in 1863, the Prix de Rome. Four years later his first opera, <i>La -Grand’ Tante</i>, was produced in Paris. During the Franco-Prussian War -he was a member of the National Guard. After the war, he achieved -recognition as a composer with his incidental music to <i>Les Érynnies</i>, an -oratorio <i>Marie Magdaleine</i>, and an opera <i>Le Roi de Lahore</i>. In 1878 -he was elected to the Académie des Beaux-Arts, the youngest man ever -to receive this honor, and was appointed professor of composition at -<span class="pb" id="Page_200">200</span> -the Paris Conservatory. He held the latter post until his death with outstanding -distinction. His most significant operas appeared between -1880 and 1900, and included <i>Hérodiade</i> (1881), <i>Manon</i> (1884), <i>Le Cid</i> -(1885), <i>Werther</i> (1892), <i>Thaïs</i> (1894) and <i>Sapho</i> (1897). He died in -Paris on August 13, 1912.</p> -<p>A style that had lyrical charm, tender feelings, and poetic content -placed Massenet with the foremost French composers for the lyric -theater. The same qualities are found to a large degree in his instrumental -compositions, and endow them with their immense audience -appeal. He had a vein of tenderness that was his uniquely, often contrasting -this with striking passion and intensity. A master of many different -moods and emotions, he was able to convey them in music that -is suave and polished in the best French tradition.</p> -<p><i>Alsatian Scenes</i> (<i>Scènes alsaciennes</i>) is one of Massenet’s most popular -orchestral compositions. It is the seventh of his suites for orchestra and -was written in 1881. For each of its four movements the composer provided -an explicit program. About the first movement, “Sunday Morning” -(“<i>Dimanche matin</i>”) the composer writes: “I recall with particular -delight the Alsatian village Sunday morning at the hour of divine service; -the streets deserted, the houses empty except for the elderly ones -who sun themselves before their doors. The church is full, and the -sacred hymns are heard at intervals in passing.” “The Tavern” (“<i>Au -cabaret</i>”) is described as the happy meeting place of his friends “with -its little windows framed with lead, garlanded with hops and roses.... -‘Ho, Schmidt, some wine!’ And the songs of the forest rangers -going to shooting matches. Oh, the joyous life and the gay companions!” -“Under the Linden Trees” (“<i>Sous les tilleuls</i>”) depicts pictorially “the -edge of the fields on a Sunday afternoon, the long avenue of linden -trees, in the shadow of which, hand in hand, quietly talks a pair of -lovers.” The suite ends with “Sunday Evening” (“<i>Dimanche soir: Air -alsacien, Retraite française</i>”). “In the market place, what noise, what -movement! Everyone at the doorsteps, groups of young gallants in the -streets, and dances which embody in rhythm the songs of the country. -Eight o’clock! The noise of the drums, the blare of the trumpets—’tis -the retreat! The French retreat! And when in the distance the sound of -the drum died down, the women called their children in the street, the -old men relighted their big old pipes, and to the sounds of violins the -dance is joyously recommenced in smaller circles, with couples closer.”</p> -<p>The ballet music for <i>Le Cid</i> is strikingly appealing for its exotic -melodies and lambent orchestral colors. This opera, text by Louis Gallet -<span class="pb" id="Page_201">201</span> -and Edouard Blau, is based on Corneille’s tragedy; its première performance -took place in Paris on November 30, 1885. The setting is -12th century Burgos, in Spain, where Rodrigo called Le Cid, or The -Conqueror, kills Chimène’s father in a duel. She seeks vengeance but -is unable to carry it out because she has fallen in love with him. The -ballet music appears in the second scene of the second act. A public -square is alive and colorful with dancing crowds, and six dances are -performed in rapid succession, some with melodic and rhythmic material -derived by Massenet from Spanish folk sources. These are the -dances: “<i>Castillane</i>,” a highly rhythmic dance found in the Castille region -of Spain; “<i>Andalouse</i>,” a sinuous, gypsy-like dance from Andalusia; -“<i>Aragonaise</i>,” a dance popular in the Aragon district; “<i>Aubade</i>,” -a gentle lyrical section; “<i>Catalane</i>,” a dance popular in Catalonia; -“<i>Madrilène</i>,” a two-part dance from Madrid, the first quiet and introspective, -the second dynamic; and “<i>Navarraise</i>,” a dance from Navarre.</p> -<p>The popular “<i>Élégie</i>,” a plangent melody muted in its grief, comes -from the incidental music to <i>Les Érynnies</i> with which Massenet first -won acclaim in 1873. The play, by Charles Marie Leconte based on -Aeschylus, was produced with Massenet’s music at the Odéon in Paris. -Here the “<i>Élégie</i>” appeared as “<i>Invocation</i>,” scored for string orchestra. -Later on Massenet arranged this section for cello and piano, and it was -upon this occasion that he renamed the piece <i>Élégie</i>. It was later on also -transcribed for violin and piano, and adapted into a song with lyrics by -E. Gallet.</p> -<p>Three other sections from <i>Les Érynnies</i> have almost as much emotional -appeal as the <i>Élégie</i>, but in varied moods. The “Entr’acte” is a -passionate song for unison violins over a disturbed accompaniment. -“Grecian Dance” begins with a vivacious dance tune for two flutes in -thirds. A slow dialogue ensues between oboes and clarinets, in which -the main subject has an Oriental identity. A fast section brings this -movement to a close. “<i>Scène religieuse</i>” is a graceful, at times solemn, -minuet in which a solo cello provides the main melody.</p> -<p>The famous opera <i>Manon</i> (1884) has two delightful dance episodes -that are particularly well known, a gavotte and a minuet. <i>Manon</i> was -based on the famous tale of Abbé Prévost, <i>L’Histoire du chevalier des -Grieux et de Manon Lescaut</i>, adapted by Henri Meilhac and Philippe -Gille. Its setting is France in the 18th century, and in the spirit of that -place and time Massenet recreated two old-world dances, both of them -appearing in the first scene of the third act, during a festival-day celebration -in Paris. Before the curtain goes up, the graceful music of the -<span class="pb" id="Page_202">202</span> -minuet is heard in the orchestra as an entr’acte. After the rise of the curtain, -and the appearance of Manon, she expresses her hedonistic philosophy -of life in a gavotte (“<i>Obéissons quand leur voix appelle</i>”). This -gavotte is often heard in an exclusively instrumental arrangement.</p> -<p>The <i>Phèdre Overture</i> (1876) is another of Massenet’s frequently performed -orchestral compositions. The music closely follows the action -of the Racine tragedy, in which Phedre—daughter of King Minos and -wife of Theseus—falls in love with Theseus’ son, Hippolytus, who fails -to respond to her passion. The overture begins in a gloomy mood, forecasting -ominously the imminent tragedy awaiting Phedre and Hippolytus. -Phedre’s grief over her unreciprocated love is suggested by a -passionate subject for clarinet; a second equally passionate melody -brings us the picture of Hippolytus sent to his doom by an irate father. -Violins in unison now bring us a rapturous melody speaking of Phedre’s -love, while a fiery dramatic section that follows tells of the doom awaiting -Hippolytus at the hands of Neptune.</p> -<p><i>Picturesque Scenes</i> (<i>Scènes pittoresques</i>) is the fourth of Massenet’s -suites for orchestra, completed in 1873. There are four short, tuneful -sections: “March” (“<i>Marche</i>”), “Air de Ballet,” “Angelus” and “Bohemian -Festival” (“<i>Fête bohème</i>”). The religious music of the third movement, -“Angelus,” with its solemn tolling of bells, is the most popular -section of this suite, frequently performed separately from the other -movements.</p> -<p>Second only to the “<i>Élégie</i>” in popularity among Massenet’s best-loved -melodies is the “Meditation” which comes from the opera <i>Thaïs</i>. -This excerpt is an orchestral entr’acte with violin obbligato heard just -before the first scene of the second act. The opera, libretto by Louis -Gallet based on the novel of Anatole France, describes the degradation -of Athanaël, a Cenobite monk, because of his unholy passion for Thaïs, -a courtesan. The radiant music of the “Meditation” describes Thaïs’ -renunciation of a life of pleasure for one of the spirit.</p> -<div class="pb" id="Page_203">203</div> -<h2 id="c120"><span class="small">Robert <b id="g_Mcbride">McBride</b></span></h2> -<p>Robert Guyn McBride was born in Tucson, Arizona, -on February 20, 1911. As a boy he learned to play the clarinet and saxophone. -He later played both instruments in various dance orchestras. -In 1933 he was graduated from the University of Arizona, and a year -after that received there his Master’s degree. Having studied the oboe in -college, he played that instrument with the Tucson Symphony for several -years. Then, after additional study of the piano, composition and -voice, he joined the music faculty of Bennington College in Vermont -in 1935, holding this post eleven years. During this period he received a -Guggenheim Fellowship. In 1942, the American Academy of Arts and -Letters awarded him a prize for creating a “new idiom in American -music.” McBride has made successful use of jazz, popular and folk elements -in serious chamber-music and orchestral compositions.</p> -<p>The <i>Mexican Rhapsody</i> (1936) is one of McBride’s best known works -for orchestra. He wrote it in Arizona while studying at the University. -It was first presented in Tucson in a two-piano arrangement, then in its -definitive orchestral version, and finally as a choreographic presentation. -McBride here makes a colorful and freshly conceived presentation -of four Mexican folk songs familiar to many: “<i>El Rancho Grande</i>,” -“<i>Jarabe</i>” (or “Hat Dance”), “<i>Cuatro Milpas</i>,” and “<i>La Cucaracha</i>.”</p> -<p>McBride has written several interesting compositions in a jazz style. -One of the best is the <i>Strawberry Jam</i> (1942). This is a caricature of a -jazzband jam session, but with the utilization of modern harmonies and -symphonic orchestration. <i>Stuff in G</i>, for orchestra (1942), is in the racy, -tuneful style of Tin Pan Alley, while <i>Swing Stuff</i> (1941) brings to the -symphonic orchestra the improvisational devices and techniques and -the beat of Swing music.</p> -<div class="pb" id="Page_204">204</div> -<h2 id="c121"><span class="small">Harl <b id="g_Mcdonald">McDonald</b></span></h2> -<p>Harl Mcdonald was born in Boulder, Colorado, on July -27, 1899. His music study took place in Redlands, California and at the -University of Southern California. The winning of prizes from the -American Federation of Music Clubs for two orchestral works enabled -him to go to Europe and attend the Leipzig Conservatory. In Germany, -his symphonic fantasy, <i>Mojave</i>, was successfully introduced by the Berlin -State Opera Orchestra. After returning to the United States he was -appointed in 1926 to the music faculty of the University of Pennsylvania, -where he later became professor of music, and finally head of the -music department. At the University he conducted various choral -groups which appeared with the Philadelphia Orchestra. From 1939 -until his death he was manager of the Philadelphia Orchestra, which -introduced many of his orchestral compositions. McDonald wrote four -symphonies, a two-piano concerto, a violin concerto, and various suites -and tone poems for orchestra. He died in Princeton, New Jersey, on -March 30, 1955.</p> -<p>The <i>Children’s Symphony</i> was a work intended to teach children -something about symphonic form through melodies they knew and -loved. The form of the symphony is adhered to—in the presentation of -two themes, their development, and recapitulation. Simple and unsophisticated, -this symphony makes ideal listening for children, but -there is enough charm here to provide considerable enjoyment to older -people as well. In the first movement, McDonald uses for his two main -themes, “London Bridge” and “Baa Baa Black Sheep.” In the second -movement we hear “Little Bo Peep” and “Oh, Dear, What Can the -Matter Be?”; in the third, “Farmer in the Dell” and “Jingle Bells”; -and in the finale, “Honey Bee” and “Snow Is Falling On My Garden.”</p> -<p><i>Rhumba</i>, for symphony orchestra, is the third movement of McDonald’s -Symphony No. 2 (1935). But this movement (which in the -symphony displaces the conventional scherzo) is so popular that it is -often played apart from the rest of the work. The symphony itself was -inspired by the turbulent 1930’s, with its labor conflicts, breadlines, -unemployment, and depression. <i>Rhumba</i> injected a gay note into these -<span class="pb" id="Page_205">205</span> -somber proceedings, attempting to interpret “the passionate search -after good times and diversions, and the restless pursuit of intoxicated -pleasures,” as the composer explained. McDonald goes on to say that -he here used the rumba rhythm because he liked it and because it -seemed to him to be the pulse of those times.</p> -<h2 id="c122"><span class="small">Felix <b id="g_Mendelssohn">Mendelssohn</b></span></h2> -<p>Felix Mendelssohn-bartholdy was born in -Hamburg, Germany, on February 3, 1809. His grandfather was the -famous philosopher, Moses Mendelssohn; his father, a successful -banker. Both were of Jewish origin. When Felix was still a boy, however, -his immediate family was converted to Protestantism, the occasion -upon which they added the name of “Bartholdy” to their own to distinguish -them from the other members of their family. A pupil of -Ludwig Berger and Karl Friedrich Zelter, Felix was extraordinarily -precocious in music. When he was seven and a half he made a successful -appearance as pianist in Berlin; by the time he was twelve he had -already written operas and symphonies; and in his seventeenth year he -produced an unqualified masterwork in the <i>Overture to A Midsummer -Night’s Dream</i>. In 1827, one of his operas was produced in Berlin, but -by that time he had already completed thirteen symphonies and a -library of chamber music as well.</p> -<p>In 1829, Mendelssohn conducted in Berlin the first performance of -Bach’s <i>Passion According to St. Matthew</i> to be given since Bach’s own -day. This concert became a powerful influence in reviving interest in -Bach’s music, which at that time had been languishing in both neglect -and obscurity. A few weeks after Mendelssohn had directed a repeat -performance, he made his first trip to England where he led the première -of a new symphony and was made honorary member of the Royal -Philharmonic. A tour of Scotland that followed immediately was the -inspiration for his overture, <i>Fingal’s Cave</i>.</p> -<div class="pb" id="Page_206">206</div> -<p>In 1833, Mendelssohn served as musical director of the city of Duesseldorf. -He held this post only six months. Much more significant was -his engagement as the principal conductor of the Gewandhaus Orchestra -in Leipzig in 1835 which, during the five years of his leadership, was -elevated to a position of first importance among the world’s symphony -orchestras.</p> -<p>In 1841, Mendelssohn became head of the music department of a -projected Academy of Arts in Berlin. This appointment did not prevent -him from visiting England where he was received with an adulation -accorded to no foreign musician since Handel. Returning to Berlin -he found that the Academy of Arts project had been abandoned. -He was now made Kapellmeister to the King, an honorary post allowing -him complete freedom of activity and movement. During the next -few years he conducted concerts of the Gewandhaus Orchestra, and -paid two more highly successful visits to England. He was also instrumental -in helping to found the Leipzig Conservatory in 1843. Always -of delicate health and sensibilities, Mendelssohn collapsed at the news -that his beloved sister, Fanny, died in 1847. He died in Leipzig soon -after that, on November 4, 1847.</p> -<p>The finest qualities of German Romantic music can be found in -Mendelssohn. He had the Romantic’s partiality for fantasy and the -supernatural, together with the lightness of touch with which to create -such worlds through music. He had the Romantic’s gift for translating -natural scenes, landscapes and lyric poetry into sensitive tone pictures. -He had a most winning lyricism and graceful harmonic and orchestral -gift, and he never lacked the ability to charm and enchant his listeners -with the most tender and lovable musical expression. Other composers -may have written profounder or more emotionally stirring music than -Mendelssohn; but no one could be more ingratiating, sensitive, or -refined. Some of Mendelssohn’s serious symphonic works are so full of -the most wonderful melodies and beguiling moods that they have the -universal appeal of semi-classics.</p> -<p>The concert overture, <i>Fingal’s Cave</i>, or as it is also sometimes known, -<i>Hebrides Overture</i>, op. 26 (1832) was inspired by the composer’s visit -to the Scottish Highlands in 1830. The opening theme in lower strings -and bassoons suggests the roll of the waves at the mouth of a cave, a -melody that came to the composer while visiting the caves of Staffa. -This idea is developed, then a second beautiful melody unfolds in cellos -and bassoons.</p> -<p>The orchestral suite, <i>A Midsummer Night’s Dream</i>, op. 61 is derived -<span class="pb" id="Page_207">207</span> -from the incidental music comprising thirteen numbers which Mendelssohn -wrote for a Potsdam production of the Shakespeare comedy in -1843; the Overture, however, was a fruit of the composer’s youth, having -been written in 1826. The magic world of fairies and elves which -Mendelssohn projected so delicately in his youthful overture is preserved -in many of the numbers he wrote seventeen years later. The -Overture, op. 21, is initiated with four sensitive chords, and proceeds -with fleeting, diaphanous music for strings with which we are suddenly -plunged in fairyland. The main thematic material to follow comprises -a haunting song for horn, a romantic episode for woodwind and strings, -and a sprightly fairy dance for strings.</p> -<p>Three other musical sections from this incidental music, and basic to -the orchestral suite, are famous. The “Nocturne” is a broad, moody -song for horns. The “Scherzo”—like the Overture—is a picture of the -world of fairies, gnomes and elves, though in a more energetic and -spirited vein. The “Wedding March” is now one of the most frequently -played pieces of wedding music, second in popularity only to Wagner’s -wedding music from <i>Lohengrin</i>; it first became popular as wedding -music at the nuptials of the English Princess in London in 1858. A -trumpet fanfare leads to the dignified march melody which is twice -alternated with melodious trio sections.</p> -<p>“On Wings of Song” (“<i>Auf Fluegeln des Gesanges</i>”), op. 34, no. 2 -(1834) is Mendelssohn’s best-known song, a melody of incomparable -loveliness and serenity. The poem is by Heine. Franz Liszt transcribed it -for piano; Joseph Achron for violin and piano; Lionel Tertis for viola -and piano. It has also enjoyed various orchestral transcriptions.</p> -<p><i>Ruy Blas</i>, op. 95 (1839)—like <i>Fingal’s Cave</i>—is a concert overture for -orchestra; here the inspiration is the drama of Victor Hugo. Four -solemn bars for wind instruments lead to the principal subject, first -violins and flutes; clarinets, bassoons, and cellos later offer the second -contrasting staccato theme.</p> -<p>The <i>Spinning Song</i> and the <i>Spring Song</i> are both instrumental -favorites, and both come from the <i>Songs Without Words</i> (<i>Lieder ohne -Worte</i>), for solo piano. The form of “song without words” is a creation -of Mendelssohn: a brief composition of such essentially lyric character -that it is virtually a “song” for the piano. Mendelssohn wrote forty-eight -such pieces gathered in eight books. The <i>Spinning Song</i> in C -major appears in op. 67 as the fourth number (1844). This is a tender -melody placed against a rhythmic background suggesting the whirring -of a spinning wheel. The <i>Spring Song</i> in A major is surely one of the -<span class="pb" id="Page_208">208</span> -most familiar tonal pictures of the vernal season to be found in the -semi-classical literature; it appears in op. 62 (1842) as the concluding -number. Both the <i>Spinning Song</i> and <i>Spring Song</i> appear in all kinds -and varieties of transcriptions.</p> -<p>The stirring <i>War March of the Priests</i> is a number from the incidental -music for Racine’s drama, <i>Athalie</i>, op. 74 (1843); this incidental -music was first performed with the Racine play in Berlin in 1845.</p> -<h2 id="c123"><span class="small">Giacomo <b id="g_Meyerbeer">Meyerbeer</b></span></h2> -<p>Giacomo Meyerbeer was born in Berlin, Germany, on -September 5, 1791. His name, at birth, was Jakob Liebmann Beer. -When Meyer, a rich relative, left him a legacy, he decided to change his -name to Meyerbeer; some years later upon initiating a career as composer -of Italian operas he Italianized his name. His music study took -place with Clementi, Zelter, Anselm Weber and Vogler, the last of -whom encouraged him to write his first opera, <i>Jephtha’s Vow</i> (<i>Jephtha’s -Geluebde</i>), a failure when first performed in Munich in 1812. A second -opera, performed in Stuttgart, was also a failure; Meyerbeer now seriously -entertained the thought of abandoning composition altogether. -The noted Viennese composer and teacher, Antonio Salieri, however, -convinced him what he needed was more study. This took place in Italy -where for several years Meyerbeer assimilated Italian traditions of -opera. His first endeavor in this style was <i>Romilda e Costanza</i>, a success -when introduced in Padua in 1817. During the next few years Meyerbeer -wrote several more operas, some of them on commission, and became -one of Italy’s most highly regarded composers for the stage. In -1826, Meyerbeer settled in Paris where association with composers like -Cherubini and Halévy, made him impatient with the kind of operas he -had thus far created. In 1831, with <i>Robert le Diable</i>, he entered upon a -new artistic phase in which Italian methods, procedures and traditions -<span class="pb" id="Page_209">209</span> -were discarded in favor of the French. <i>Robert le Diable</i>, produced at -the Opera on November 21, 1831 was a sensation. Meyerbeer continued -writing operas in the French style for the remainder of his life. These -are the operas by which he is most often represented in the world’s -opera theaters: <i>Les Huguenots</i> (1836), <i>Le Prophète</i> (1849), and <i>L’Africaine</i> -(1865). Meyerbeer died in Paris on May 2, 1864.</p> -<p>Meyerbeer was an exponent of drama in the grand style, his finest -operas being filled with big climactic scenes, elaborate stage effects, and -eye-filling visual displays. But he also had a pronounced dramatic gift, -one which evoked from Wagner the highest admiration; and a pronounced -expressiveness of lyricism.</p> -<p><i>L’Africaine</i> (<i>The African</i>) is Meyerbeer’s last opera, and many regarded -it as his best. He completed it in 1864 just before his death, and -its world première at the Paris Opera took place posthumously on -April 28, 1865. The text, by Eugène Scribe, is set in Lisbon and Madagascar -in the 15th century. The main action concerns the love of Selika, -an African queen, for the Portuguese explorer, Vasco da Gama; Da -Gama in turn is loved by Inez, daughter of Don Diego. Selika offers -the explorer a secret route to the land of which she is queen, Madagascar, -and with which Da Gama becomes enraptured. But when Inez -appears, he abandons Selika for her, and leaves the magic island. Heartbroken, -Selika kills herself by breathing the deadly fragrance of a -manchineel tree.</p> -<p>The opera’s most popular excerpt is Vasco da Gama’s rapturous tenor -aria from the fourth act in which he describes the beauty of Madagascar, -“<i>O Paradis</i>.” Another vocal favorite is the baritone ballad of -Nelusko, slave of Selika, “<i>Adamastor, roi des vagues profondes</i>”; as he -steers the ship bearing Selika and Vasco da Gama to Madagascar he sings -of Adamastor, monarch of the sea, who sends ships to their doom on -treacherous reefs.</p> -<p>The <i>Coronation March</i> (<i>Marche du couronnement</i>)—music of pomp -and circumstance—comes from the opera <i>Le Prophète</i>, first performed -at the Paris Opéra on April 16, 1849. Eugène Scribe’s libretto is based -on an actual historical episode in 16th century Holland centered around -the Anabaptist uprising, with John of Leyden, leader of the Anabaptists, -as the principal character. In Act four, scene two, John is being -crowned king outside the Muenster Cathedral. As a magnificent royal -procession enters the Cathedral, the music of the <i>Coronation March</i> -matches in splendor and grandeur the visual majesty of this scene. Another -popular musical excerpt for orchestra from this opera is Prelude -<span class="pb" id="Page_210">210</span> -to Act 3, a colorful and rhythmic Quadrille that leads into the opening -scene of that act, providing the lively musical background for a ballet -and ice-carnival skating scene. Liszt made a technically brilliant transcription -for the piano of this Quadrille music.</p> -<p><i>Les Huguenots</i> (<i>The Huguenots</i>) was first performed at the Paris -Opéra on February 29, 1836, the year it was completed; the libretto was -by Eugène Scribe and Émile Deschamps. In 16th century Touraine and -Paris, Raoul, a Huguenot nobleman, has saved the life of Valentine, -daughter of the Catholic leader, St. Bris. She falls in love with Raoul, -but the latter repudiates her, believing her to be the mistress of Count -de Nevers. When he discovers he has been mistaken, Raoul risks his -life to see her. During this visit he overhears a Catholic plot to massacre -the Huguenots. After Raoul and Valentine get married, they are both -murdered in the massacre—Valentine by her own father.</p> -<p>The Overture to <i>Les Huguenots</i> is built almost entirely from the -melody of the famous Lutheran chorale, <i>Ein’ feste Burg</i>, which in the -opera itself served as the musical symbol for militant Protestantism. -The outstanding individual excerpts from the opera include Raoul’s -beautiful romance from Act 1 describing the woman he has saved, -“<i>Plus blanche que la blanche hermine</i>”; the rhapsodic description in -the second act of the Touraine countryside by Marguerite de Valois, -betrothed to Henry IV of Navarre, “<i>O beau pays de la Touraine</i>”; and -in the fourth act the stirring “Benediction of the Swords,” (“<i>Gloire au -grand Dieu vengeur</i>”) with which the Catholics are blessed by three -monks on the eve of their holy war against the Huguenots.</p> -<p>The exciting <i>Torch Dance</i>, No. 1, in B-flat is not from one of Meyerbeer’s -operas. It was written in 1846 for the wedding of the King of -Bavaria, and originally was scored for brass band. It is now most frequently -heard in orchestral adaptations. Meyerbeer subsequently wrote -two other <i>Torch Dances</i>: the second in 1850 for the wedding of Princess -Charlotte of Prussia, and the third in 1853 for the wedding of -Princess Anne of Prussia.</p> -<div class="pb" id="Page_211">211</div> -<h2 id="c124"><span class="small">Karl <b id="g_Milloecker">Milloecker</b></span></h2> -<p>Karl Milloecker was born in Vienna, Austria, on May -29, 1842. His father, a jeweler, wanted him to enter the family business, -but from his childhood on, Karl was drawn to music. After studying -music with private teachers, he attended the Conservatory of the -Gesellschaft der Musikfreunde. Meanwhile, in his sixteenth year, he -supported himself by playing the flute in a theater orchestra. When his -music study ended, he became conductor of a theater in Graz in 1864; -there his first operetta was produced one year later. In 1866 he was back -in Vienna, and from 1869 to 1883 he was principal conductor at the -Theater-an-der-Wien where most of his famous operettas were produced -including <i>Countess Du Barry</i> (<i>Graefin DuBarry</i>) in 1879, <i>The -Beggar Student</i> (<i>Der Bettelstudent</i>) in 1882, <i>Gasparone</i> in 1884, and -<i>Poor Jonathan</i> (<i>Der arme Jonathan</i>) in 1890. Milloecker died in Baden, -near Vienna, on December 31, 1899.</p> -<p>Milloecker’s most famous operetta is <i>The Beggar Student</i> (<i>Der Bettelstudent</i>), -which was first produced at the Theater-an-der-Wien in -Vienna on December 6, 1882, and after that enjoyed highly successful -performances at the Casino Theater in New York in 1883, and the -Alhambra in London in 1884. The scene is Cracow, Poland; the time, -1704. General Ollendorf, spurned by Laura, evolves an elaborate plot -to avenge himself. He finances the impoverished student, Symon, -dresses him up as a lord, and sends him off to woo and win Laura. Only -after the wedding does the General reveal the fact that Symon is a beggar. -Just as disgrace faces the young man, he becomes involved in a -successful maneuver to restore the rejected Polish king to his throne. -Thus he acquires wealth and a title, and is welcomed with pride and -love by Laura and her mother. Potpourris and selections from this tuneful -operetta always include the principal waltz melody which comes as -a first act finale, “<i>Ach ich hab’ sie ja nur auf die Schulter gekuesst</i>.” -Other delightful excerpts include Symon’s mazurka, “<i>Ich knuepfte -manche zarte Bande</i>,” his lament “<i>Ich hab’ kein Geld</i>,” and the second -act duet of Symon and Laura, “<i>Ich setz den Fall</i>.”</p> -<div class="pb" id="Page_212">212</div> -<h2 id="c125"><span class="small">Moritz <b id="g_Moszkowski">Moszkowski</b></span></h2> -<p>Moritz Moszkowski was born in Breslau, Germany, -on August 23, 1854. He received his musical training at three leading -German Conservatories: the Dresden Conservatory, the Stern Conservatory -and Kullak Academy in Berlin. He began a career as pianist -in 1873, touring Europe with outstanding success. He also achieved -recognition as a teacher of the piano at the Kullak Academy. In 1897, -he went into retirement in Paris where he lived for the remainder of -his life. In 1899 he was elected a member of the Berlin Academy. Towards -the end of his life his financial resources were completely depleted, -and his fame as composer, pianist, and teacher had long been -eclipsed. He died in poverty and obscurity in Paris on March 4, 1925.</p> -<p>Though he wrote operas, ballets, suites, concertos and a symphony, -Moszkowski was at his best—and is most famous today—for his lighter -music in a Spanish idiom. Typical of his music in this style were the -rhythmic <i>Bolero</i>, op. 12, no. 5, for piano solo; the languorous and -haunting <i>Guitarre</i>, op. 45, no. 2, for piano solo (transcribed by Pablo -de Sarasate for violin and piano); and the dashing <i>Malagueña</i>, from the -opera <i>Boabdil</i>.</p> -<p>But his most celebrated compositions are the delightful <i>Spanish -Dances</i>, opp. 12, and 65, two books of pieces for piano solo or piano duo, -which have been arranged for orchestra. The most popular are the first -in C major, the second in G minor, and the fifth (a bolero) in D major. -While none of these dances can be accepted as authentic Spanish music—actually -they are only a German Romantic’s conception of what -Spanish music is—they make most effective use of Spanish dance -rhythms.</p> -<div class="pb" id="Page_213">213</div> -<h2 id="c126"><span class="small">Wolfgang Amadeus <b id="g_Mozart">Mozart</b></span></h2> -<p>Wolfgang Amadeus Mozart was born in Salzburg, -Austria, on January 27, 1756. The son of Leopold, Kapellmeister -at the court of the Salzburg Archbishop, Wolfgang Amadeus disclosed -his remarkable musical powers at a tender age. He began composition -at the age of five, completed a piano sonata at seven, and a symphony at -eight. Taught the harpsichord, also very early in his childhood, he revealed -such phenomenal abilities at improvisation and sight reading -that he was the wonder and awe of all who came into contact with him. -His ambitious father exhibited this formidable prodigy for several years -before the crowned heads of Europe; and wherever he appeared the -child was acclaimed. Goethe said: “A phenomenon like that of Mozart -remains an inexplicable thing.” In Milan in 1770 he was commissioned -to write an opera <i>Mitridate, rè di Ponto</i>, successfully performed that -year. In Bologna he became the only musician under the age of twenty -to be elected a member of the renowned Accademia Filarmonica. And -in Rome he provided dramatic evidence of his extraordinary natural -gifts by putting down on paper the entire complex score of Allegri’s -<i>Miserere</i> after a single hearing.</p> -<p>As he outgrew childhood he ripened as a composer, gaining all the -time in both technical and creative powers. But he was a prodigy no -more, and though he was rapidly becoming one of the most profound -and original musicians in Europe he was unable to attract the adulation -and excitement that had once been his. Between 1772 and 1777, as an -employee in the musical establishment of the Salzburg Archbishop, he -was treated like a menial servant. The remarkable music he was writing -all the time passed unnoticed. Finally, in 1782, he made a permanent -break with the Archbishop and established his home in Vienna where -he lived for the remainder of his life. Though he received some important -commissions, and enjoyed several triumphs for his operas, he did -not fare any too well in Vienna either. He had to wait several years for -a court appointment, and when it finally came in 1787 he was deplorably -underpaid. Thus he lived in poverty, often dependent for food -<span class="pb" id="Page_214">214</span> -and other necessities of life on the generosity of his friends. And yet -the masterworks kept coming in every conceivable medium—operas, -symphonies, sonatas, quartets, concertos, choral music and so forth. A -few people in Vienna were aware of his prodigious achievements, and -one of these was Joseph Haydn who called him “the greatest composer -I know either personally or by name.” During the last years of his life -Mozart was harassed not only by poverty but also by severe illness. Yet -his last year was one of his most productive, yielding his last three symphonies, -the <i>Requiem</i>, the opera <i>The Magic Flute</i> (<i>Die Zauberfloete</i>), -the <i>Ave Verum</i>, and a remarkable piano concerto and string quintet. -He died in Vienna on December 5, 1791 and was buried in a pauper’s -grave with no tombstone or cross for identification.</p> -<p>Through his genius every form of music was endowed with new grandeur, -nobility of expression and richness of thought. He was a technician -second to none; a bold innovator; a creator capable of plumbing -the profoundest depths of emotion and the most exalted heights of -spirituality. Yet he could also be simple and charming and graceful, in -music remarkably overflowing with the most engaging melodies conceived -by man, and characterized by the most exquisite taste and the -most consummate craftsmanship. Thus Mozart’s lighter moods in music -are often also endowed with extraordinary creative resources and original -invention; yet they never lose their capacity to delight audiences -at first contact.</p> -<p>The music Mozart wrote directly for popular consumption were the -hundred or so <i>Dances</i> for orchestra: <i>Country Dances</i>, <i>German Dances</i>, -<i>Minuets</i>. The greatest number of these consist of the <i>German Dances</i>. -These are lively melodies in eight-measure phrases and with forceful -peasant rhythms. Some of the best <i>German Dances</i> are those in which -Mozart utilized unusual orchestral resources or instruments to suggest -extra-musical sounds. <i>The Sleighride</i> (<i>Die Schlittenfahrt</i>), K. 605, in -C major, simulates the sound of sleigh bells in the middle trio section, -sounded in the tones A-F-E-C. <i>The Organgrinder</i> (<i>Der Leiermann</i>), -K. 602, imitates the sound of a hurdy-gurdy. In <i>The Canary</i> (<i>Der -Kanarienvogel</i>), K. 571, flutes reproduce the chirping of birds.</p> -<p>The <i>Country Dance</i>, or <i>Contretanze</i>, is sometimes regarded as the -first modern dance, forerunner of the quadrille. Structurally and stylistically -these are very much like <i>German Dances</i> with a peasant-like -vitality and earthiness. Here, too, Mozart sometimes realistically imitates -non-musical sounds as in <i>The Thunder Storm</i> (<i>Das Donnerwetter</i>), -K. 534, in which the role of the timpani suggests peals of thunder.</p> -<div class="pb" id="Page_215">215</div> -<p>Mozart’s most popular Minuet—indeed, it is probably one of the -most popular minuets ever written—comes from his opera <i>Don Giovanni</i>, -libretto by Lorenzo da Ponte, and first performed in Prague in -1787. The hero of this opera is, to be sure, the Spanish nobleman of the -17th century whose escapades and licentious life finally bring him to -doom at the hands of the statue of the Commandant come to life to -consign him to the fires of hell. The Minuet appears in the fifth scene -of the first act. Don Giovanni is the gracious host of a party held in his -palace, and there the guests dance a courtly minuet while Don himself -is making amatory overtures to Zerlina.</p> -<p>In a lighter mood, also, is the <i>Eine kleine Nachtmusik</i> (<i>A Little -Night Music</i>), K. 525, a serenade for string orchestra (1787). This work -is consistently tuneful, gracious, charming. The first movement has two -lilting little melodies, which are presented and recapitulated with no -formal development to speak of. The second movement is a Romance, -or Romanza, a poetic song contrasted by two vigorous sections; the -main thought of this movement is then repeated between each of these -two vigorous parts. After that comes a formal minuet, and the work -ends with a brisk and sprightly rondo.</p> -<p>Mozart’s popular <i>Turkish March</i>—in the pseudo Turkish style so -popular in Vienna in his day—comes out of his piano Sonata in A major, -K. 331 (1778), where it appears as the last movement. This march is -extremely popular in orchestral transcription.</p> -<h2 id="c127"><span class="small">Modest <b id="g_Mussorgsky">Mussorgsky</b></span></h2> -<p>Modest Mussorgsky was born in Karevo, Russia, on -March 21, 1839. When he was thirteen he entered the cadet school of -the Imperial Guard in St. Petersburg, from which he was graduated -to join the Guard regiment. In 1857 he met and befriended several -important Russian musicians (including Balakirev and Stassov) under -<span class="pb" id="Page_216">216</span> -whose stimulus he decided to leave the army and become a composer. -Until now his musical education had been sporadic, having consisted -of little more than some piano lessons with his mother and a private -teacher. He now began an intensive period of study with Balakirev, -under whose guidance he completed a <i>Scherzo</i> for orchestra which was -performed in St. Petersburg in 1860, as well as some piano music and the -fragments of a symphony. Associating himself with Balakirev, Rimsky-Korsakov, -Borodin, and Cui he now became a passionate advocate of -musical nationalism, becoming the fifth member of a new school of -Russian music henceforth identified as “The Mighty Five” or “The -Russian Five.” In 1863, with serfdom abolished in Russia, he lost the -outside financial resources he had thus far enjoyed as the son of a landowner. -To support himself he worked for four years as a clerk in the -Ministry of Communications; in 1869 he found employment in the -forestry department. During this period music had to be relegated to -the position of an avocation, but composition was not abandoned. He -completed the first of his masterworks, the orchestral tone poem, <i>A -Night on the Bald Mountain</i>, in 1866. A lifelong victim of nervous disorders, -melancholia and subsequently of alcoholism, his health soon began -to deteriorate alarmingly; but despite this fact he was able to complete -several works of crowning significance in 1874 including his folk -opera, <i>Boris Godunov</i>, and his <i>Pictures at an Exhibition</i>, for piano. -After 1874 his moral and physical disintegration became complete; towards -the last months of his life he gave indications of losing his mind. -He died in St. Petersburg on March 28, 1881.</p> -<p>As one of the most forceful and original members of the “Russian -Five” Mussorgsky’s greatest works certainly do not lend themselves to -popular distribution. His writing is too individual in its melodic and -harmonic construction; and his works show too great a tendency towards -musical realism to make for palatable digest. However, several of the -folk dances in his operas are strikingly effective for their rhythmic -pulse and national colors and are by no means as elusive in their appeal -as the rest of his production.</p> -<p>Mussorgsky’s masterwork is his mighty folk opera, <i>Boris Godunov</i>, -where we encounter one such delightful dance episode, the Polonaise. -<i>Boris Godunov</i>, libretto by the composer based on a Pushkin drama, -traces the career of the Czar from the years 1598 to 1605, from his -coronation to his insanity and death. The Polonaise occurs in the first -scene of the third act. At the palace of a Polish landowner, handsomely -costumed guests perform this festive courtly dance in the adjoining -<span class="pb" id="Page_217">217</span> -garden. The première of <i>Boris Godunov</i> took place in St. Petersburg -on February 8, 1874.</p> -<p>Two orchestral dances can also be found in another of Mussorgky’s -folk operas, <i>The Fair at Sorochinsk</i>, which was not introduced until -October 26, 1917, in St. Petersburg. The libretto was by the composer -based on Gogol’s story, <i>Evenings on a Farm Near Dikanka</i>. Tcherevik, -a peasant, wants his daughter to marry Pritzko, whereas the peasant’s -wife is partial to the pastor’s son. However, when the pastor’s son compromises -the peasant’s wife she realizes that Pritzko is, after all, the right -man for her daughter. In the third act of this opera comes the lively -<i>Hopak</i>, or <i>Gopak</i>, a folk dance with two beats to a measure.</p> -<p>Folk dances of a completely different nature—more oriental and -exotic than the previously discussed Russian variety—will be found in -<i>Khovanschina</i>, a musical drama with libretto by the composer and -Stassov; this opera was first given, in an amateur performance, in St. -Petersburg on February 21, 1886. Here the setting is Moscow during -the reign of Peter the Great, and the plot revolves around the efforts of -a band of radicals known as the Streltsy who try to overthrow the Czar. -Prince Ivan Khovantsky, who is in league with the Streltsy, is murdered -by assassins, and the insurrection is suppressed. But before the -leaders of the Streltsy can destroy themselves they are given an official -pardon by the Czar. A high moment in this opera comes with the -<i>Dances of the Persian Slaves</i>, which takes place in the first scene of the -fourth act. At the country house of Khovantsky, the Prince is being -entertained by an elaborate spectacle, the main attraction of which is -the sinuous, Corybantic dancing of the Persian slaves.</p> -<p>Almost as popular as these Persian dances are the Prelude to the first -act and an entr’acte between the first and second scenes from this opera; -these two episodes for orchestra are highly atmospheric, graphic in the -pictures of Russian landscapes. The first act Prelude has been named -by the composer, <i>Dawn on the Moskava River</i>. This is a subtle tone -picture made up of a folk melody and five variations. The entr’acte -offers another kind of landscape, this time a bleak one describing the -vast, lonely plains of Siberia.</p> -<div class="pb" id="Page_218">218</div> -<h2 id="c128"><span class="small">Ethelbert <b id="g_Nevin">Nevin</b></span></h2> -<p>Ethelbert Woodbridge Nevin was born in -Edgeworth, Pennsylvania, on November 25, 1862. A precocious child -in music, he wrote his first piano piece when he was eleven. A year later -he wrote and had published a song that became exceedingly popular, -“Good Night, Good Night Beloved.” After studying music with private -teachers, he went to Berlin in 1884, studying for two years with Hans -von Buelow and Karl Klindworth. He returned to the United States -in 1886. Soon after that he made his formal American concert debut as -pianist with a program on which he included some of his own compositions. -By 1890 he decided to give up his career as a virtuoso and to -concentrate on being a composer. In 1891 he completed <i>Water Scenes</i>, -a suite for the piano in which will be found one of the most popular -piano pieces by an American, “Narcissus.” In 1892 and again 1895 -Nevin traveled extensively through Europe and Morocco. In 1897 he -settled in New York City where he wrote one of the best-selling art -songs by an American, “The Rosary.” In 1900 Nevin went to live in -New Haven. During the last year of his life he was a victim of depressions -which he tried to alleviate through excessive drinking. He died of -an apoplectic stroke in New Haven, Connecticut, on February 17, 1901.</p> -<p>“Mighty Lak a Rose” and “The Rosary” are Nevin’s two most -famous art songs; they are also among the most popular art songs written -in America. “Mighty Lak a Rose” was one of Nevin’s last compositions, -written during the closing months of his life. He never lived to -see the song published and become popular. The song is a setting of a -poem by Frank L. Stanton, and is described by John Trasker Howard -(Nevin’s biographer) as “probably the simplest of all his songs ... -[with] a freshness and whimsical tenderness that make its appeal direct -and forceful.”</p> -<p>“The Rosary,” words by R. C. Rogers, was an even greater success. -From 1898 to 1928 it sold over two and a half million copies of sheet -music. When Nevin had finished writing this song in 1898, he invited -the singer Francis Rogers to dinner, after which he handed him a -<span class="pb" id="Page_219">219</span> -scribbled piece of music paper. “Here is a song I just composed,” he -told Rogers. “I want you to sing it at your concert next week.” Rogers -deciphered the notes as best he could while Nevin played the accompaniment -from memory. The little audience listening to this first informal -presentation of “The Rosary” was enthusiastic, but one of its -members insisted it would be impossible for Rogers to memorize the -song in time for the concert the following week. The guest bet Nevin -a champagne supper for all present that the song would not be on -Rogers’ program. He lost the bet. The following week, on February 15, -1898, Rogers introduced the song at the Madison Square Concert Hall.</p> -<p>The <i>Water Scenes</i>, suite for piano, op. 13 is remembered principally -because one of its movements is “Narcissus,” often considered one of -the most popular compositions ever written in this country. Nevin himself -provided information about the origin of “Narcissus.” “I remembered -vaguely that there was once a Grecian lad who had something to -do with the water and who was called Narcissus. I rummaged about my -old mythology and read the story over again. The theme, or rather both -themes, came as I read. I went directly to my desk and wrote out the -whole composition. Afterwards, I rewrote it and revised it a little. The -next morning I sent it to my publishers. Until the proofs came back to -me I never tried it on the piano. I left almost immediately for Europe -and was surprised when a publisher wrote to me of the astonishing sale -of the piece.” During Nevin’s lifetime, the piece sold over 125,000 -copies of sheet music, and was heard throughout America both in its -original piano version (a favorite repertory number of piano students -and budding piano virtuosos) and in transcriptions. It went on to circle -the globe. As Vance Thompson wrote: “It was thrummed and whistled -half around the world. It was played in Cairo as in New York and -Paris; it was played by orchestras, on church organs, and on the mouth -harps of Klondike miners; it became a mode, almost a mania.”</p> -<p>The other movements of <i>Water Scenes</i> are: “Barcarolle,” “Dragon -Fly,” “Water Nymph,” “At Twilight,” and “Ophelia.” Each is a sensitive -piece of tone painting, as lyrical and as unashamedly sentimental -as the beloved “Narcissus.”</p> -<div class="pb" id="Page_220">220</div> -<h2 id="c129"><span class="small">Otto <b id="g_Nicolai">Nicolai</b></span></h2> -<p>Otto Nicolai was born in Koenigsberg, Germany, on June -9, 1810. After completing his music study with Zelter and Bernhard -Klein, he came to Paris in 1830 where he remained three years. In Berlin -he completed several works for orchestra, and some for chorus. In -1834 he went to Italy where he was organist in the Prussian Embassy at -Rome and became interested in opera. From 1837 to 1838 he was principal -conductor at the Kaerthnerthor Theater in Vienna. Then he returned -to Italy to devote himself to the writing of operas, the first of -which, <i>Rosmonda d’Inghilterra</i> was a failure when produced in Turin -in 1838. His second opera, however, was a major success when first -given in Turin in 1840: <i>Il Templario</i> based on Sir Walter Scott’s -<i>Ivanhoe</i>; it was produced in Naples and Vienna. In 1841 Nicolai came -to Vienna to serve for six years as Kapellmeister to the court. During -this period, in 1842, he helped to found the renowned Vienna Philharmonic -Orchestra. In 1847 he came to Berlin to become conductor of the -Domchor. It was here that he completed the work upon which his reputation -rests, the comic opera, <i>The Merry Wives of Windsor</i> (<i>Die lustigen -Weiber von Windsor</i>). He died in Berlin of an apoplectic stroke on -May 11, 1849, only two months after the première performance of his -famous comic opera.</p> -<p><i>The Merry Wives of Windsor</i> (<i>Die lustigen Weiber von Windsor</i>) is -Nicolai’s only opera to survive; and its overture is his only work for -orchestra which retains its popularity. The opera received a highly successful -première in Berlin on March 8, 1849. Its libretto, by Hermann -Salomon Mosenthal, is based on Shakespeare’s comedy and follows that -play with only minor modifications. Falstaff’s cronies (Bardolph, Pistol -and Nym) are omitted; only slight reference is made to the love of -Anne and Fenton; and considerable attention is paid to Falstaff’s -comical amatory overtures to Mistresses Ford and Page.</p> -<p>The overture opens with a slow introduction in which a flowing -melody is given against a high G in the violins. This melody is repeated -by several different sections of the orchestra, then treated in imitation. -<span class="pb" id="Page_221">221</span> -The main part of the overture is made up of two vivacious melodies, -the second of which, in the violins, is intended to depict Mistress Page. -The development of both themes is in a gay mood, with a robust passage -in F minor representing Falstaff. The overture concludes with an -animated coda.</p> -<p>From the opera itself come three melodious vocal selections, prominent -in all orchestral potpourris: Falstaff’s drinking song, a long time -favorite of German bassos, “<i>Als Bueblein klein</i>”; Fenton’s serenade to -Anne Page, “<i>Horch, die Lerche singt in Haim</i>”; and Mistress Page’s -third-act ballad of Herne the Hunter.</p> -<h2 id="c130"><span class="small">Siegfried <b id="g_Ochs">Ochs</b></span></h2> -<p>Siegfried Ochs was born in Frankfort on the Main, Germany, -on April 19, 1858. While studying medicine, he attended the -Berlin High School for Music. Then deciding upon music as a life’s -career, he continued his music study with private teachers and became -a protégé of Hans von Buelow. In 1882 he founded the Philharmonic -Choir of Berlin, one of Germany’s most celebrated choral groups. He -remained its conductor even after it merged with the chorus of the -Berlin High School for Music in 1920. Ochs died in Berlin on February -6, 1929.</p> -<p>Ochs wrote several comic operas, song cycles, and some choral music. -A semi-classical favorite is the set of orchestral variations on the well-known -German folk song, “<i>Kommt ein Vogel</i>.” These variations are -each in the style of a famous composer—Bach, Mozart, Beethoven, -Wagner, Johann Strauss II, and so on; and each variation shows a remarkable -skill, and a winning wit, in mimicking the individual creative -mannerisms and idiosyncrasies of each composer.</p> -<div class="pb" id="Page_222">222</div> -<h2 id="c131"><span class="small">Jacques <b id="g_Offenbach">Offenbach</b></span></h2> -<p>Jacques Offenbach was born Jacques Oberst in Cologne, -Germany, on June 20, 1819; his father was a cantor in one of the -city synagogues. After attending the Paris Conservatory, Offenbach -played the cello in the orchestra of the Opéra-Comique. Then, in 1849 -he became conductor at the Théâtre Français. In 1850 he achieved his -initial success as a composer with the song, “<i>Chanson de Fortunio</i>” interpolated -into a production of the Alfred de Musset drama, <i>Chandelier</i>. -Three years later his first operetta, <i>Pepito</i>, was produced at the -Théâtre des Variétés. Between 1855 and 1866 he directed his own theater -where operettas were given, Les Bouffes Parisiens, which opened -on July 5, 1855 with a performance of one of his own works, <i>Les Deux -aveugles</i>. For his theater Offenbach wrote many operettas including his -masterwork in that genre, <i>Orpheus in the Underworld</i>, in 1858. After -closing down the Bouffes Parisiens, Offenbach went to Germany and -Austria where he had produced several more of his operettas. But in -1864 he was back in Paris. The première of <i>La Belle Hélène</i> at the -Variétés that year enjoyed a spectacular success. Among his later operettas -were <i>La Vie parisienne</i> (1866), <i>La Grande Duchesse de Gérolstein</i> -(1867), and <i>La Périchole</i> (1868). In 1877 he toured the United States, -an account of which was issued in America in 1957 under the title of -<i>Orpheus in America</i>. Towards the end of his life Offenbach devoted -himself to the writing of his one and only grand opera, <i>The Tales of -Hoffmann</i> (<i>Les Contes d’Hoffmann</i>). He did not live to see it performed. -He died in Paris on October 5, 1880, about half a year before -the première of his opera at the Opéra-Comique on February 10, 1881.</p> -<p>Offenbach was the genius of the opéra-bouffe, or French operetta. -His music never lacked spontaneity or gaiety, sparkle or engaging -lyricism. His writing had the warmth of laughter, the sting of satire, -and the caress of sincere and heartfelt emotion. His lovable melodies -woo and win the listener. The lightness of his touch and the freshness -of his humor give voice to the joy of good living. Like his celebrated -Viennese contemporary, Johann Strauss II, Offenbach is a giant figure -<span class="pb" id="Page_223">223</span> -in semi-classical music. To the lighter musical repertory he brings the -invention and imagination of a master.</p> -<p>The <i>Apache Dance</i> is the dashing music that invariably accompanies -a performance of French Apache dances, though there are few that -know Offenbach wrote it. Actually, the <i>Apache Dance</i> is an adaptation -of the main melody of a waltz (“<i>Valse des Papillons</i>”) from Offenbach’s -comic opera, <i>Le Roi Carotte</i> (1872).</p> -<p><i>La Belle Hélène</i> (<i>Fair Helen</i>), first performed in Paris on December -17, 1864, draws material for laughter and satire from mythology. Henri -Meilhac and Ludovic Halévy prepared the text which is based on the -love of Paris and Helen that led to the Trojan war. But this story is told -with tongue-in-cheek frivolity, and the life of the Greeks is gaily -parodied. One of the most familiar musical excerpts from <i>La Belle -Hélène</i> is whirling Can-Can music—the Can-Can being the voluptuous -French dance which first became popular in Paris in 1830 and which -contributed to the quadrille high kicks, skirt-lifting and other suggestive -and at times vulgar movements. (Offenbach also wrote brilliant -Can-Can music for <i>Orpheus in the Underworld</i>, <i>Barbe-Bleue</i>, and -<i>La Vie parisienne</i>.) Other delightful episodes from this operetta are -Helen’s invocation with chorus, “<i>Amours divins</i>,” and her highly lyrical -airs, “<i>On me nomme Hélène</i>,” “<i>Un mari Sage</i>,” and “<i>La vrai! je ne suis -pas coupable</i>.”</p> -<p>The Galop is almost as much a specialty with Offenbach as the Can-Can. -This is a spirited, highly rhythmic dance of German origin introduced -in Paris in 1829. Two of Offenbach’s best known Galops appear -respectively in <i>La Grande Duchess de Gérolstein</i> (1867) and <i>Geneviève -de Brabant</i> (1859).</p> -<p>It is perhaps not generally known that the famous “Marine’s Hymn” -familiar to all Americans as “From the Halls of Montezuma” also comes -out of <i>Geneviève de Brabant</i>. The Hymn was copyrighted by the -Marine Corps in 1919. It is known that the lyric was written in 1847 by -an unidentified Marine. The melody was taken from one of the airs in -Offenbach’s operetta, <i>Geneviève de Brabant</i>.</p> -<p><i>Orpheus in the Underworld</i> (<i>Orphée aux enfers</i>) is Offenbach’s masterwork, -first produced in Paris on October 21, 1858. This delightful -comic opera, with book by Hector Crémieux and Ludovic Halévy, is -a satire on the Olympian gods in general, and specifically on the legend -of Orpheus and Eurydice. <i>Orpheus in the Underworld</i> was not at first -successful since audiences did not seem to find much mirth in a satire -on Olympian gods. But when a powerful French critic, Jules Janin, -<span class="pb" id="Page_224">224</span> -violently attacked it as a “profanation of holy and glorious antiquity,” -the curiosity of Parisians was aroused, and the crowds began swarming -into the theater. Suddenly <i>Orpheus in the Underworld</i> became a vogue; -it was the thing to see and discuss; its music (particularly the waltzes, -galops, and quadrilles) were everywhere played. The operetta had a -run of 227 performances.</p> -<p>The Overture is a perennial favorite of salon and pop orchestras -throughout the world. It opens briskly, then progresses to the first subject, -a light and gay tune for strings. The heart of the overture is the -second main melody, a sentimental song first heard in solo violin, and -later repeated by full orchestra.</p> -<p>The Can-Can music in <i>Orpheus in the Underworld</i> is also famous. -Much of its effect is due to the fact that Offenbach presented the can-can -immediately after a stately minuet in order to emphasize the contrast -between two periods in French history. A contemporary described -this Can-Can music as follows: “This famous dance ... has carried -away our entire generation as would a tempestuous whirlwind. Already -the first sounds of the furiously playing instruments seem to indicate -the call to a whole world to awake and plunge into the wild dance. -These rhythms appear to have the intention of shocking all the resigned, -all the defeated, out of their lethargy and, by the physical and -moral upheaval which they arouse, to throw the whole fabric of society -into confusion.”</p> -<p><i>The Tales of Hoffmann</i> (<i>Les Contes d’Hoffmann</i>) is Offenbach’s only -serious opera; but even here we encounter some semi-classical favorites. -This opera, one of the glories of the French lyric theater, was based on -stories by E. T. A. Hoffmann, adapted into a libretto by Jules Barbier -and Michel Carré. It concerns the three tragic loves of the poet Hoffmann: -Olympia, a mechanical doll; Giulietta, who is captive to a -magician; and Antonia, a victim of consumption.</p> -<p>The “Barcarolle” from this opera is surely one of the most popular -selections from the world of opera. It opens the second act. Outside -Giulietta’s palace in Venice, Hoffmann hears the strains of this music -sung by his friend Nicklausse and Giulietta as they praise the beauty of -the Venetian night. Harp arpeggios suggest the lapping of the Venetian -waters in the canal, providing a soothing background to one of the most -radiant melodies in French music. It is interesting to remark that Offenbach -did not write this melody directly for this opera. He had previously -used it in 1864 as a ghost song for an opera-ballet, <i>Die Rheinnixen</i>.</p> -<div class="pb" id="Page_225">225</div> -<p>Two dance episodes from <i>The Tales of Hoffmann</i> are also frequently -performed outside the opera house. One is the infectious waltz which -rises to a dramatic climax in the first act. To this music Hoffmann -dances with the mechanical doll, Olympia, with whom he is in love. -The second is an enchanting little Minuet, used as entr’acte music between -the first and second acts.</p> -<p>A collation of some of Offenbach’s most famous melodies from various -operettas can be found in <i>La Gaieté parisienne</i>, an orchestral suite -adapted from a score by Manuel Rosenthal to a famous contemporary -ballet. This one-act ballet, with choreography by Leonide Massine and -scenario by Comte Étienne de Beaumont, was introduced in Monte -Carlo by the Ballet Russe in 1938. The setting is a fashionable Parisian -restaurant of the 19th century; and the dance offers a colorful picture of -Parisian life and mores of that period, climaxed by a stunning Can-Can. -Musical episodes are used from <i>Orpheus in the Underworld</i>, <i>La -Périchole</i>, <i>La Vie parisienne</i>, and several other Offenbach opéra-bouffes. -Beloved Offenbach melodies from various opéra-bouffes were adapted -for the score of a Broadway musical produced in 1961, <i>The Happiest -Girl in the World</i>.</p> -<h2 id="c132"><span class="small">Ignace Jan <b id="g_Paderewski">Paderewski</b></span></h2> -<p>Ignace Jan Paderewski, one of the world’s foremost -piano virtuosos and one of Poland’s most renowned statesmen, was born -in Kurylówka, Podolia, on November 18, 1860. A child prodigy, he was -given piano lessons from his third year on. Several patrons arranged to -send him to the Warsaw Conservatory, from which he was graduated in -1878. Between 1881 and 1883 he studied composition and orchestration -in Berlin, and from 1884 to 1887 piano with Leschetizky in Vienna. -Paderewski’s first major success as a pianist came in Vienna in 1889, a -concert that was the beginning of a virtuoso career extending for about -<span class="pb" id="Page_226">226</span> -half a century and carrying him triumphantly to all parts of the world. -In 1919 he temporarily withdrew from music to become the first Premier -of the Polish Republic, but about a year later he resumed concert -work. He made his American debut in New York in 1891, and his -last American tour took place in 1939. During the early part of World -War II he returned to political activity as President of the Parliament -of the Polish Government in Exile. He died in New York on June 29, -1941. By order of President Roosevelt he was given a state burial in -Arlington National Cemetery.</p> -<p>Paderewski produced many ambitious compositions, some in the -style of Polish folk music; these included the opera <i>Manru</i>, a symphony, -piano concerto, the <i>Polish Fantasy</i> for piano and orchestra and numerous -shorter compositions for the piano. Ironically it is not for one of his -ambitious works that he is most often recalled as a composer, but -through a slight piece: the <i>Minuet</i> in G, or <i>Menuet à l’antique</i>, a graceful, -well-mannered composition in an 18th-century style. This is one of -the three most popular minuets ever written, the other two being by -Mozart and Beethoven. Paderewski originally wrote it for the piano; it -is the first of six pieces collectively entitled <i>Humoresques de concert</i>, -op. 14. Fritz Kreisler transcribed it for violin and piano; Gaspar Cassadó -for cello and piano. It has, of course, been frequently adapted for -orchestra.</p> -<h2 id="c133"><span class="small">Gabriel <b id="g_Pierne">Pierné</b></span></h2> -<p>Gabriel Pierné was born in Metz, France, on August 16, -1863. He attended the Paris Conservatory for eleven years, a pupil of -Massenet and César Franck. He won numerous awards there including -the Prix de Rome in 1882. After returning from Rome, he succeeded -Franck as organist of the Ste. Clothilde Church in Paris, retaining this -post until 1898. From 1903 until 1932 he was, first the assistant, and -from 1910 on the principal, conductor of the Colonne Orchestra. He -combined his long and fruitful career as conductor with that of composer, -<span class="pb" id="Page_227">227</span> -producing a vast library of music in virtually every form, including -operas, oratorios, ballets, symphonic and chamber music. He -achieved renown with the oratorio <i>The Children’s Crusade</i> (<i>La Croisade -des enfants</i>), introduced in 1905 and soon after that winner of the -City of Paris Award. Another major success came with the ballet, <i>Cydalise -and the Satyr</i> in 1923. A conservative composer, Pierné utilized -traditional forms with distinction, and filled them with beautiful -lyricism, well-sounding harmonies, and a poetic speech. In 1925 Pierné -was elected member of the Académie des Beaux-Arts. He died in -Ploujean, France, on July 17, 1937.</p> -<p>The <i>Entrance of the Little Fauns</i> (<i>Marche des petites faunes</i>) is a -whimsical little march for orchestra from the ballet, <i>Cydalise and the -Satyr</i> (<i>Cydalise et le chèvre-pied</i>), introduced at the Paris Opéra on -January 15, 1923. A saucy tune for muted trumpet is juxtaposed against -the wail of piccolos; all the while an incisive rhythm is projected not -only by the snare drum and tambourine but also by the violinists tapping -the wood of their bows on the strings. Within the ballet this march -accompanies the appearance of a group of small fauns, led by their -teacher, an old satyr, as they enter school to learn pan pipes.</p> -<p>The <i>March of the Little Lead Soldiers</i> (<i>Marche des petits soldats de -plomb</i>) originated as a piano piece in the <i>Album pour mes petits amis</i>, -op. 14 (1887), but was subsequently orchestrated by the composer. It -opens with a muted trumpet call. A snare drum then establishes the -rhythm and sets the stage for the appearance of the main march melody -in solo flute.</p> -<h2 id="c134"><span class="small">Jean-Robert <b id="g_Planquette">Planquette</b></span></h2> -<p>Jean-Robert Planquette was born in Paris on -July 31, 1848. He attended the Paris Conservatory after which he supported -himself by writing popular songs and chansonettes for Parisian -<i>café-concerts</i>. He started writing operettas in 1874, and achieved world -fame with <i>The Chimes of Normandy</i> in 1877. He wrote many more -<span class="pb" id="Page_228">228</span> -operettas after that, the most successful being <i>Rip Van Winkle</i> (1882), -<i>Nell Gwynne</i> (1884) and <i>Mam’zelle Quat’Sous</i> (1897). He died in Paris -on January 28, 1903.</p> -<p><i>The Chimes of Normandy</i> (<i>Les Cloches de Corneville</i>) is one of the -most famous French operettas of all time, and it is still occasionally revived. -Introduced in Paris at the Folies Dramatiques on April 19, 1877, -its success was so immediate and permanent that within a decade it had -been given over a thousand times in Paris alone. It was first seen in -New York in 1877, and in London in 1888, major successes in both -places. The book by Clairville and Gabet presents the life of fishing -and peasant folk in Normandy during the regime of Louis XV. Germaine -is in love with the fisherman, Jean, but finds opposition in her -miserly old uncle, Gaspard, who has other plans for her. To escape her -uncle, Germaine finds employment with Henri, a Marquis, who has -suddenly returned to his native village to take up residence in the family -castle rumored to be haunted. The mystery of the haunted castle is -cleared up when the discovery is made that Gaspard has used it to hide -his gold; and the bells of the castle begin to ring out loud and clear -again. Gaspard, after a brief siege with insanity, is made to sanction the -marriage of Germaine and Jean at a magnificent festival honoring the -Marquis; at the same time it is suddenly uncovered that Germaine is in -reality a Marchioness.</p> -<p>This is an operetta overflowing with ear-caressing melodies. The -most famous are Germaine’s bell song, “<i>Nous avons, hélas, perdu d’excellence -maîtres</i>”; the Marquis’ lilting waltz-rondo, “<i>Même sans consulter -mon coeur</i>”; and Serpolette’s cider song, “<i>La Pomme est un fruit -plein de sève</i>.”</p> -<h2 id="c135"><span class="small">Eduard <b id="g_Poldini">Poldini</b></span></h2> -<p>Eduard Poldini was born in Budapest, Hungary, on June -13, 1869. His music study took place at the Vienna Conservatory. Poldini -subsequently established his home in Vevey, Switzerland, where -<span class="pb" id="Page_229">229</span> -he devoted himself to composition. His most significant works are for -the stage—both comic and serious operas that include <i>The Vagabond -and the Princess</i> (1903) and <i>The Carnival Marriage</i> (1924). He was -also a prolific composer of salon pieces for the piano, familiar to piano -studies throughout the world. In 1935 Poldini received the Order of -the Hungarian Cross and in 1948 the Hungarian Pro Arte Prize. He -died in Vevey, Switzerland on June 29, 1957.</p> -<p><i>Poupée valsante</i> (<i>Dancing Doll</i>) is Poldini’s best known composition, -a fleet, graceful melody contrasted by a sentimental counter-subject. -The composer wrote it for solo piano. Fritz Kreisler adapted it for -violin and piano, and Frank La Forge for voice and orchestra. It has -also often been transcribed for orchestra.</p> -<h2 id="c136"><span class="small">Manuel <b id="g_Ponce">Ponce</b></span></h2> -<p>Manuel Maria Ponce was born in Fresnillo, Mexico, -on December 8, 1882. His main music study took place in Europe -where he arrived in 1905: composition with Enrico Bossi in Bologna; -piano with Martin Krause in Berlin. After returning to Mexico he -gave a concert of his own compositions in 1912. For several years he -taught the piano at the National Conservatory in Mexico City, and -from 1917 to 1919 he was the conductor of the National Symphony -Orchestra there. During World War I he lived in Havana and New -York. After the war he went to Paris for an additional period of study -with Paul Dukas. From 1933 to 1938 he was professor of folklore at the -University of Mexico. In 1941 he toured South America, and in 1947 -he was the recipient of the first annual Mexican Arts and Sciences -Award established by the President of Mexico. He died in Mexico City -on April 24, 1948.</p> -<p>Ponce was a modernist who filled his orchestral compositions with -the most advanced resources of modern harmony, counterpoint and -<span class="pb" id="Page_230">230</span> -rhythm. But in his songs he possessed a spontaneous and ingratiating -lyricism, often of a national Mexican identity. It is one of these that has -made him famous in semi-classical literature: “<i>Estrellita</i>” (“Little Star”), -a song with such a strong Spanish personality of melody and rhythm that -it was long believed to be a folk song. Ponce first published it in 1914 -but it did not become universally popular until 1923 when it was issued -in a new arrangement (by Frank La Forge) and translated into English.</p> -<h2 id="c137"><span class="small">Amilcare <b id="g_Ponchielli">Ponchielli</b></span></h2> -<p>Amilcare Ponchielli was born in Paderno Fasolaro, -Italy, on August 31, 1834. For nine years he attended the Milan Conservatory -where he wrote an operetta in collaboration with three other -students. Following the termination of his studies, he became organist -in Cremona, and after that a bandmaster in Piacenza. His first opera, -<i>I Promessi sposi</i>, was introduced in Cremona in 1856, but it did not -become successful until sixteen years later when a revised version -helped to open the Teatro dal Verme in Milan. World renown came -to Ponchielli with <i>La Gioconda</i>, first given at La Scala in Milan in 1876. -Though Ponchielli wrote many other operas after that he never again -managed to reach the high artistic level of this masterwork, nor to repeat -its world success. From 1883 until his death he was professor of -composition at the Milan Conservatory. He died in Milan, Italy, on -January 16, 1886.</p> -<p>What is undoubtedly Ponchielli’s most famous orchestral composition, -“The Dance of the Hours” (“<i>Danza della ore</i>”) comes from his -masterwork, the opera <i>La Gioconda</i>. This opera—first performed in -Milan on April 8, 1876—was based on Victor Hugo’s drama, <i>Angelo, -tyran de Padoue</i>, adapted by Arrigo Boïto. The setting is 17th century -Venice, and the principal action involves the tragic love triangle of -Alvise, his wife Laura, and her beloved, Enzo.</p> -<div class="pb" id="Page_231">231</div> -<p>“The Dance of the Hours” comes in the second scene of the third -act. Alvise is entertaining his guests at a sumptuous ball in his palace, -the highlight of which is a magnificent ballet, intended to symbolize -the victory of right over wrong. The dancers in groups of six come out -impersonating the hours of dawn, day, evening, and night. The music -begins with a slight murmur, shimmering sounds passing through the -violins and woodwind. Dawn appears. The music is carried to a dramatic -climax with a strong rhythmic pulse as the day unfolds. When the -music achieves mellowness and tenderness, the softness of evening -touches the stage; and with the coming of night the music acquires a -somber character. At midnight, the music is reduced to a sigh. The harp -presents some arpeggios, and a broad melody unfolds. The mood then -becomes excitable as all the twenty-four hours plunge into a spirited -dance, as light conquers darkness.</p> -<p>The most familiar vocal excerpts from this opera are La Cieca’s -romanza from the first act, “<i>A te questo rosario</i>”; Barnaba’s fisherman’s -barcarolle (“<i>Pescator, affonda l’esca</i>”) and Enzo’s idyll to the beauty of -the night (“<i>Cielo e mar</i>”) from the second act; and La Gioconda’s dramatic -narrative in which she plans to destroy herself (“<i>Suicidio</i>”).</p> -<h2 id="c138"><span class="small">Cole <b id="g_Porter">Porter</b></span></h2> -<p>Cole Porter was born in Peru, Indiana, on June 9, 1893 to -an immensely wealthy family. Precocious in music, he began studying -the violin when he was six, and at eleven had one of his compositions -published. He pursued his academic studies at the Worcester Academy -in Massachusetts and at Yale; music study took place at the School of -Music at Harvard and subsequently in Paris with Vincent d’Indy at the -Schola Cantorum. At Yale he participated in all its musical activities -and wrote two football songs still favorites there, “Yale Bull Dog” and -“Bingo Eli Yale.” In 1916 he wrote the music for his first Broadway -<span class="pb" id="Page_232">232</span> -musical comedy, <i>See America First</i>, a failure. During the next few years -he was a member of the French desert troops in North Africa, while -during World War I he taught French gunnery to American troops at -Fontainebleau. Just after the close of the war he contributed some songs -to <i>Hitchy Koo</i> of 1918, and in 1924 five more songs to the <i>Greenwich -Village Follies</i>, both of them Broadway productions. Success first came -in 1928 with his music for <i>Paris</i> which included “Let’s Do It” and -“Let’s Misbehave.” For the next quarter of a century and more he was -one of Broadway’s most successful composers. His greatest stage hits -came with <i>Fifty Million Frenchmen</i> (1929), <i>The Gay Divorce</i> (1932), -<i>Anything Goes</i> (1934), <i>Leave It to Me</i> (1938), <i>Panama Hattie</i> (1940), -<i>Let’s Face It</i> (1941), <i>Kiss Me Kate</i> (1948), <i>Can-Can</i> (1953) and <i>Silk -Stockings</i> (1955). From these and other stage productions came some of -America’s best loved popular songs, for which Porter wrote not merely -the music but also the brilliant lyrics: “Night and Day,” “Begin the -Beguine,” “Love for Sale,” “You Do Something to Me,” “My Heart -Belongs to Daddy,” and so forth. He was also a significant composer for -motion pictures, his most successful songs for the screen including “I’ve -Got You Under My Skin,” “In the Still of the Night,” “You’d Be So -Nice to Come Home To,” “Don’t Fence Me In,” and “True Love.”</p> -<p>The most successful of all the Cole Porter musical comedies was -<i>Kiss Me Kate</i> which began a Broadway run of over one thousand performances -on December 30, 1948, then went on to be a triumph in -Vienna, Austria, where it became the greatest box-office success in the -history of the Volksoper where it was given. In Poland it was the first -American music performed in that country. The text by Bella and -Sam Spewack was based partly on Shakespeare’s <i>Taming of the -Shrew</i>, but it was really a play within a play. A touring company is -performing the Shakespeare comedy in Baltimore, Maryland. The -musical comedy moves freely from scenes of that production to the -backstage complications in the private lives of its principal performers. -In the end, the amatory problems of the two stars are resolved within -a performance of the Shakespeare comedy. This was not only Cole -Porter’s most successful musical comedy but also the finest of his scores. -Never before (or since) was he so prolix with song hits in a single production; -never before was his style so varied. The repertory of semi-classical -music has been enriched by a symphonic treatment given the -best of these melodies by Robert Russell Bennett. Bennett’s symphonic -presentation of <i>Kiss Me Kate</i> opens with “Wunderbar,” a tongue-in-cheek -parody of a sentimental Viennese waltz. It continues with the -<span class="pb" id="Page_233">233</span> -sprightly measures of “Another Openin’, Another Show,” and after that -come the plangent, purple moods of “Were Thine That Special Face,” -“I Sing of Love,” and the show’s principal love song, “So In Love.”</p> -<h2 id="c139"><span class="small">Serge <b id="g_Prokofiev">Prokofiev</b></span></h2> -<p>Serge Prokofiev was born in Sontzovka, Russia, on April -23, 1891. He was extraordinarily precocious in music. After receiving -some training at the piano from his mother, he completed the writing -of an opera by the time he was ten. Preliminary music study took place -with Glière. In his thirteenth year he entered the Moscow Conservatory -where he was a pupil of Rimsky-Korsakov and Liadov among others -and from which he was graduated with the Rubinstein Prize for his -first piano concerto. His advanced musical thinking was already evident -in his first major work for orchestra, <i>The Scythian Suite</i>, introduced -in St. Petersburg in 1916. He continued to develop his own -personality, formulating his highly individual style and creative idiosyncrasies -in works like the ballet <i>Chout</i>, the first violin concerto, and -the <i>Classical Symphony</i>, all written during the era of World War I. In -1918 he toured the United States, making his American debut with a -New York piano recital on November 20. While in the United States -he was commissioned to write the opera <i>The Love for Three Oranges</i> -for the Chicago Opera. From 1919 to 1933 Prokofiev made his home in -Paris, but in 1933 he returned to his native land to stay there for the -rest of his life. Though he was honored in the Soviet Union as one of -its great creative figures—and was the recipient of the Stalin Prize for -his monumental Seventh Piano Sonata inspired by World War II—he -did not escape censure in 1948 when the Central Committee of the -Communist Party denounced Soviet composers for their partiality towards -experimentation, modernism and cerebralism, in their musical -works. Nevertheless, Prokofiev soon recovered his high estate in Soviet -<span class="pb" id="Page_234">234</span> -music; in 1951 he received the Stalin Prize again, this time for his -oratorio <i>On Guard for Peace</i> and the symphonic suite, <i>Winter Bonfire</i>. -His sixtieth birthday, that year, was celebrated throughout the country -with concerts and broadcasts. Prokofiev died of a cerebral hemorrhage -in Moscow on March 5, 1953.</p> -<p>Prokofiev was one of the giants of 20th-century music. His seven -symphonies, five piano concertos, nine piano sonatas, the opera <i>War -and Peace</i>, ballets, chamber music, piano compositions and various -shorter orchestral works are among the most significant contributions -made in our time to music. The highly personal way of writing melodies, -his unusual progressions, his harmonic vocabulary are all present -in the few lighter and simpler works with which he made a significant -contribution to the contemporary repertory of semi-classics.</p> -<p>The <i>March</i> so familiar to radio listeners throughout the United -States as the theme music for the program “The F.B.I. in Peace and -War” comes from the opera <i>The Love for Three Oranges</i> (1921). The -libretto by the composer based on a tale of Carlo Gozzi is a charming -fantasy in which a prince saves himself from death through gloom by -means of laughter, and who then goes at once to rescue a princess from -her prison in an orange. The march occurs in the second act where an -effort is being made to get the Prince to laugh, for which purpose a -festival is being arranged. The march music is played as the court -jester drags the reluctant Prince to these festivities. The quixotic skips -in the melody, the grotesquerie of the musical style, and the pert discords -are all typical of Prokofiev’s creative manner.</p> -<p><i>Peter and the Wolf</i>, a “symphonic fairy tale” for narrator and orchestra -op. 67 (1936) was intended by the composer to teach children the -instruments of the orchestra. But the music is so consistently delightful -for its sprightly lyricism and wit that it has proved a favorite at symphony -and semi-classical concerts. The story here being told is about a -lad named Peter who turns a deaf ear to his grandfather’s warning and -goes out into the meadow. There a wolf has frightened, in turn, a cat, -bird, and duck. But Peter is not afraid of him. He captures the wolf, -ties him up with a rope and takes him to the zoo.</p> -<p>The composition opens with the following explanation by the narrator: -“Each character in the tale is represented by a different instrument -in the orchestra: the bird by a flute; the duck by an oboe; the -cat by a clarinet in the low register; grandpapa by the bassoon; the wolf -by three French horns; Peter by the string quartet; and the hunter’s -rifle shots by the kettledrums and bass drums.” Then, as the story of -<span class="pb" id="Page_235">235</span> -Peter and the wolf unfolds, little melodies appear and reappear, each -identifying some character in the story. Peter’s theme is a lyrical folk -song with a puckish personality for strings. Vivid and realistic little -tunes represent the cat, bird, and duck, each tune providing an amusing -insight into the personality of each of these animals.</p> -<p><i>Summer Day</i>, opp. 65a and 65b (1935) is another of the composer’s -compositions for children which makes for delightful listening. It -started out as a suite of twelve easy piano pieces for children called -<i>Music for Children</i>. Later on the composer orchestrated seven of these -sections and called the new work <i>Summer Day</i>. In the first movement, -“Morning,” a whimsical little tune is heard in first flute against a contrapuntal -background by other woodwinds, strings, and bass drum. -Midway a secondary melody is given by bassoons, horns and cellos. -“Tag,” the familiar child’s game, is represented in a tripping melody -for violins and flutes; the music grows increasingly rhythmic in the -intermediary section. In the “Waltz,” a saucy waltz tune with an unusual -syncopated construction is presented by the violins, interrupted -by exclamations from the woodwind with typical Prokofiev octave -leaps. “Regrets” opens with a tender melody for cellos, but is soon taken -over by oboes, and then the violins. This melody is then varied by -violins and clarinets. “March” offers the main march melody in clarinets -and oboes. “Evening” highlights a gentle song by solo flute, soon -joined by the clarinet. As the violins take over the melody the pensive -mood is maintained. The concluding movement, “Moonlit Meadows” -is dominated by a melody for solo flute.</p> -<h2 id="c140"><span class="small">Giacomo <b id="g_Puccini">Puccini</b></span></h2> -<p>Giacomo Puccini was born in Lucca, Italy, on December -22, 1858, to a family which for several generations had produced professional -musicians. As a boy, Giacomo attended the Istituto Musicale -<span class="pb" id="Page_236">236</span> -in his native city, played the organ in the local church, and wrote two -choral compositions. A subsidy from Queen Margherita enabled him -to continue his music study at the Milan Conservatory with Bazzini -and Ponchielli. The latter encouraged Puccini to write for the stage. -Puccini’s first dramatic work was a one-act opera, <i>Le Villi</i>, given successfully -in Milan in 1884, and soon thereafter performed at La Scala. -On a commission from the publisher, Ricordi, Puccini wrote a second -opera that was a failure. But the third, <i>Manon Lescaut</i>—introduced in -Turin in 1893—was a triumph and permanently established Puccini’s -fame. He now moved rapidly to a position of first importance in Italian -opera with three successive master-works: <i>La Bohème</i> (1896), <i>Tosca</i> -(1900) and <i>Madama Butterfly</i> (1904). Puccini paid his first visit to the -United States in 1907 to supervise the American première of the last-named -opera; he returned in 1910 to attend the world première of -<i>The Girl from the Golden West</i> which had been commissioned by the -Metropolitan Opera. Puccini’s subsequent operas were: <i>La Rondine</i> -(1917), <i>Il Trittico</i>, a trilogy of three one-act operas (1918), and <i>Turandot</i> -(1924), the last of which was left unfinished but was completed by -Franco Alfano. Operated on for cancer of the throat, in Brussels, Puccini -died of a heart attack in that city on November 29, 1924.</p> -<p>Though Puccini was an exponent of “Verismo,” a movement in -Italian opera which emphasized everyday subjects treated realistically, -he poured into his operas such a wealth of sentiment, tenderness, -sweetness of lyricism, and elegance of style that their emotional appeal -is universal, and he has become the best loved opera composer of the -20th century. Selections from his three most popular operas are basic -to the repertory of any semi-classical or “pop” orchestra.</p> -<p><i>La Bohème</i> was based on Murger’s famous novel, <i>Scènes de la vie de -Bohème</i> adapted into an opera libretto by Giacosa and Illica. When -first introduced (Turin, February 1, 1896) the opera encountered an -apathetic audience and hostile critics. It had no big scenes, no telling -climaxes, and most of its effects were too subtle emotionally to have an -instantaneous appeal. But the third performance—in Palermo in 1896—received -an ovation. From that time on it never failed to move opera -audiences with its deeply moving pathos and its vivid depiction of the -daily problems and conflicts of a group of Bohemians in mid 19th-century -Paris. The central theme is the love affair of the poet, Rodolfo, and -a seamstress, Mimi. This love was filled with storm and stress, and -ended tragically with Mimi’s death of consumption in Rodolfo’s attic. -The following are some of the episodes heard most often in potpourris -<span class="pb" id="Page_237">237</span> -or fantasies of this opera: Rodolfo’s celebrated narrative in the first -act, “<i>Che gelida manina</i>,” in which he tells Mimi about his life as a -poet; Mimi’s aria that follows this narrative immediately, “<i>Mi chiamano -Mimi</i>,” where she tells Rodolfo of her poignant need for flowers and -the warmth of springtime; the first act love duet of Mimi and Rodolfo, -“<i>O soave fanciulla</i>”; Musetta’s coquettish second-act waltz, “<i>Quando -m’en vo’ soletta</i>,” sung outside Café Momus in the Latin Quarter on -Christmas Eve, informing her admirers (specifically Marcello the -painter), how men are always attracted to her; Rodolfo’s poignant recollection -of his one time happiness with Mimi, “<i>O, Mimi, tu più</i>” in the -fourth act; and Mimi’s death music that ends the opera.</p> -<p><i>Madama Butterfly</i>—libretto by Illica and Giacosa based on David -Belasco’s play of the same name, which in turn came from John -Luther’s short story—was first performed in Milan on February 17, -1904 when it was a fiasco. There was such pandemonium during that -performance that Puccini had to rush on the stage and entreat the audience -to be quiet so that the opera might continue. Undoubtedly, some -of Puccini’s enemies had a hand in instigating this scandal, but the -opera itself was not one able to win immediate favor. The exotic setting -of Japan, the unorthodox love affair involving an American sailor and -a geisha girl ending in tragedy for the girl, and the provocatively different -kind of music (sometimes Oriental, sometimes modern) written -to conform to the setting and the characters—all this was not calculated -to appeal to Italian opera lovers. But three months after the première -the opera was repeated (with some vital revisions by the composer). -This time neither the play nor the music proved shocking, and the -audience fell under the spell of enchantment which that sensitive opera -cast all about it. From then on, the opera has been a favorite around -the world.</p> -<p>The most celebrated single excerpt from the opera is unquestionably -Madame Butterfly’s poignant aria, her expression of belief that her -American lover, so long absent from Japan with his fleet, would some -day return to her: “<i>Un bel di</i>.” Other popular episodes include the -passionate love music of Madame Butterfly and the American lieutenant -with which the first act ends, “<i>Viene la sera</i>”; the flower duet of the -second act between Madame Butterfly and her servant in which the -heroine excitedly decorates her home with cherry blossoms upon learning -that her lover is back with his fleet (“<i>Scuoti quella fronda di -ciliegio</i>”); the American lieutenant’s tender farewell to Madame Butterfly -and the scene of their love idyl from the third act (“<i>Addio fiorito</i> -<span class="pb" id="Page_238">238</span> -<i>asil</i>”); and Madame Butterfly’s tender farewell to her daughter before -committing suicide (“<i>Tu, tu piccolo iddio</i>”).</p> -<p><i>Tosca</i>—based on the famous French drama of the same name by -Sardou, the libretto by Giacosa and Illica—was introduced in Rome on -January 14, 1900. It was a blood and thunder drama set in Rome at the -turn of the 19th century; the dramatic episodes involved murder, horror, -suicide, sadism. The heroine, Floria Tosca, is an opera singer in -love with a painter, Mario Cavaradossi; she, in turn, is being pursued -by Scarpia, the chief of police. To save her lover’s life, she stands ready -to give herself to Scarpia. The latter, nonetheless, is responsible for -Cavaradossi’s execution. Scarpia is murdered by Tosca, who then commits -suicide.</p> -<p>Two tenor arias by Cavaradossi are lyrical highlights of this opera. -The first is “<i>Recondita armonia</i>,” in the first act, in which the painter -rhapsodizes over the beauty of his beloved Tosca; the second, “<i>E lucevan -le stelle</i>,” comes in the last act as Cavaradossi prepares himself for -his death by bidding farewell to his memory of Tosca. The third important -aria from this opera is that of Tosca, “<i>Vissi d’arte</i>,” a monologue -in which she reflects on how cruel life had been to one who has -devoted herself always to art, prayer, and love. In addition to these -three arias, the opera score also boasts some wonderful love music, that -of Cavaradossi and Tosca (“<i>Non la sospiri la nostra casetta</i>”) and the -first act stately church music (“<i>Te Deum</i>”).</p> -<h2 id="c141"><span class="small">Sergei <b id="g_Rachmaninoff">Rachmaninoff</b></span></h2> -<p>Sergei Rachmaninoff was born in Oneg, Novgorod, -Russia, on April 1, 1873. He attended the St. Petersburg Conservatory -for three years, and his musical training ended at the Moscow Conservatory -in 1892 when he received a gold medal for a one-act opera, <i>Aleko</i>. -In that same year he also wrote the Prelude in C-sharp minor with -<span class="pb" id="Page_239">239</span> -which he became world famous. His first piano concerto and his first -symphony, however, were dismal failures. In 1901 he scored a triumph -with his Second Piano Concerto which, since then, has been not only -the composer’s most celebrated composition in a large form but also -one of the best loved and most frequently performed piano concertos of -the 20th century. Rachmaninoff combined his success as composer with -that as piano virtuoso. Beginning with 1900 he toured the world of -music achieving recognition everywhere as one of the most renowned -concert artists of his generation. The first of his many tours of America -took place in 1909. He also distinguished himself as a conductor, first at -the Bolshoi Theater between 1904 and 1906, and later with the Moscow -Philharmonic. As a composer he enhanced his reputation with a remarkable -second symphony, two more piano concertos, and sundry -works for orchestra. He was a traditionalist who preferred working -within the structures and with the techniques handed down to him -by Tchaikovsky. Like Tchaikovsky whom he admired and emulated, -he wore his heart on his sleeve, ever preferring to make his music the -vehicle for profoundly felt emotions. His broad rhapsodic style makes -his greatest music an ever stirring emotional experience. In 1917 Rachmaninoff -left Russia for good, establishing his permanent home first in -Lucerne, Switzerland, and in 1935 in the United States. All the while -he continued to tour the world as concert pianist. His last years were -spent in Beverly Hills, California, where he died on March 28, 1943.</p> -<p>The Prelude in C-sharp minor, op. 3, no. 2 (1892) is Rachmaninoff’s -most popular composition; the transcriptions and adaptations it has received -are of infinite variety. He wrote it when he was nineteen and -instantaneously the piece traveled around the globe. Unfortunately, -the composer never profited commercially from this formidable success, -having sold the composition outright for a pittance. The Prelude opens -in a solemn mood with a theme sounding like the tolling of bells, or -the grim pronouncement by some implacable fate. The second theme -is agitated and restless, but before the composition ends the solemn first -theme recurs. Numerous efforts have been made to provide this dramatic -music with a program, including one which interpreted it in -terms of the burning of Moscow in 1812.</p> -<p>The Prelude in G minor, op. 23, no. 5, for piano (1904), is almost as -famous. The opening subject has the character of a brisk military -march, while the contrasting second theme is nostalgic and reflective.</p> -<p>The <i>Vocalise</i>, op. 34, no. 14 (1912) is one of the composer’s best -known vocal compositions. This is a wordless song—a melody sung only -<span class="pb" id="Page_240">240</span> -on vowels, a “vocalise” being actually a vocal exercise. Rachmaninoff -himself transcribed this work for orchestra, a version perhaps better -known than the original vocal one. Many other musicians have made -sundry other transcriptions, including one for piano, and others for -solo instruments and piano.</p> -<h2 id="c142"><span class="small">Joachim <b id="g_Raff">Raff</b></span></h2> -<p>Joseph Joachim Raff was born in Lachen, on the Lake -of Zurich, Switzerland, on May 27, 1822. He was mostly self-taught in -music, while pursuing the career of schoolmaster. Some of his early -compositions were published through Mendelssohn’s influence, a development -that finally encouraged Raff to give up schoolteaching and -devote himself completely to music. An intimate association with Liszt -led to the première of an opera, <i>King Alfred</i>, in Weimar in 1851. In -1863, his symphony, <i>An das Vaterland</i>, received first prize from the -Vienna Gesellschaft der Musikfreunde. From 1877 until his death he -was director of Hoch’s Conservatory in Frankfort, Germany. He died -in that city on June 25, 1882.</p> -<p>A prolific composer of symphonies, concertos, overtures, quartets, -sonatas and sundry other works, Raff was a major figure in the German -Romantic movement, highly regarded by his contemporaries, but -forgotten since his death. Only some of his minor pieces are remembered. -The most popular is the <i>Cavatina</i> in A-flat major, op. 85, no. 3, -for violin and piano, a perennial favorite with violin students and -young violinists, and no less familiar in various orchestral adaptations. -A “cavatina” is a composition for an instrument with the lyric character -of a song. Raff’s broad and expressive melody has an almost religious -stateliness.</p> -<p>Another popular Raff composition in a smaller dimension is the -picturesque piano piece, <i>La Fileuse</i> (<i>The Spinner</i>), op. 157, no. 2, in -which the movement of the spinning wheel is graphically reproduced.</p> -<div class="pb" id="Page_241">241</div> -<h2 id="c143"><span class="small">Maurice <b id="g_Ravel">Ravel</b></span></h2> -<p>Maurice Ravel was born in Ciboure, France, on March 7, -1875. After studying music with private teachers in Paris he entered the -Paris Conservatory in 1889, remaining there fifteen years, and proving -himself a brilliant (if at times an iconoclastic) student. While still at -the Conservatory his <i>Menuet antique</i> for piano was published, and -<i>Les Sites auriculaires</i> for two pianos was performed. By the time he left -the Conservatory he was already a composer of considerable stature, -having completed two remarkable compositions for the piano—<i>Pavane -pour une Infante défunte</i> and <i>Jeux d’eau</i>, both introduced in 1902—and -an unqualified masterwork, the String Quartet, first performed in -1904. The fact that a composer of such attainments had four times -failed to win the Prix de Rome created such a scandal in Paris that the -director of the Paris Conservatory, Théodore Dubois, was compelled to -resign. But Ravel’s frustrations from failing to win the Prix de Rome -did not affect the quality of his music. In the succeeding years he produced -a succession of masterworks: the ballet <i>Daphnis and Chloe</i>, its -première by the Ballet Russe de Monte Carlo in Paris on June 8, 1912; -the <i>Spanish Rhapsody</i> (<i>Rapsodie espagnole</i>) for orchestra; the suite -<i>Miroirs</i>, for piano. During World War I, Ravel served at the front in -an ambulance corps. After the war, he withdrew to his villa in Montfort -l’Amaury where he lived in comparative seclusion, devoted mainly to -creative work. Nevertheless, in 1928, he toured the United States, -making his American debut in Boston with the Boston Symphony on -January 12, 1929; Ravel died in Paris on December 28, 1937, following -an unsuccessful operation on the brain.</p> -<p>One of the most significant of Impressionists after Debussy, Ravel -was the creator of music that is highly sensitive in its moods, elegant in -style, exquisite in detail, and usually endowed with the most stunning -effects of instrumentation, rhythm, and harmony. Some of his best-known -works derive their inspiration and material from Spanish -sources. It is one of these that is probably his most popular orchestral -composition, and one of the most popular of the 20th century, the -<span class="pb" id="Page_242">242</span> -<i>Bolero</i>. A “bolero” is a Spanish dance in ¾ time accompanied by clicking -castanets. Ravel wrote his <i>Bolero</i> in 1928 as ballet music for Ida -Rubinstein who introduced it in Paris on November 22, 1928. But -<i>Bolero</i> has since then separated itself from the dance to become a concert -hall favorite. When Toscanini directed the American première in -1929 it created a sensation, and set into motion a wave of popularity for -this exciting music achieved by few contemporary works. It was performed -by every major American orchestra, was heard in theaters and -over radio, was reproduced simultaneously on six different recordings. -It was transcribed for every possible combination of instruments (including -a jazz band); the word “Bolero” was used as the title of a motion -picture. Such immense appeal is not difficult to explain. The rhythmic -and instrumental virtuosity of this music has an immediate kinaesthetic -effect. The composition derives its immense impact from sonority and -changing orchestral colors. The bolero melody has two sections, the -first heard initially is the flute, then clarinet; the second is given by the -bassoon, and then the clarinet. This two-part melody is repeated -throughout the composition against a compelling rhythm of a side -drum, all the while gradually growing in dynamics and continually -changing its colors chameleon-like through varied instrumentation. -A monumental climax is finally realized, as the bolero melody is proclaimed -by the full orchestra.</p> -<p>Another highly popular Ravel composition has a far different personality—the -<i>Pavane pour une Infante défunte</i> (<i>Pavane for a Dead -Infante</i>). Where the appeal of the <i>Bolero</i> is strong, direct, immediate -and on the surface, that of the Pavane is subtle, elusive, sensitive. A -Pavane is a stately court dance (usually in three sections and in ⁴/₄ time) -popular in France. Ravel’s <i>Pavane</i> is an elegy for the death of a Spanish -princess. Ravel wrote this composition for piano (1899) but he later -transcribed it for orchestra. An American popular song was adapted -from this haunting melody in 1939, entitled “The Lamp Is Low.”</p> -<div class="pb" id="Page_243">243</div> -<h2 id="c144"><span class="small">Emil von <b id="g_Reznicek">Rezniček</b></span></h2> -<p>Emil Von Rezniček was born in Vienna, Austria, on May -4, 1860, the son of a princess and an Austrian field marshal. For a time -he studied law, but then devoted himself completely to music study, -mainly at the Leipzig Conservatory. From 1896 to 1899 he was the conductor -of several theater orchestras in Germany, Austria, and Switzerland. -In 1902 he settled in Berlin where he founded and for several -years conducted an annual series of orchestral concerts. Subsequently -he was the conductor of the Warsaw Opera and from 1909 to 1911 of -the Komische Oper in Berlin. He also pursued a highly successful -career as teacher, principally at the Scharwenka Conservatory in Berlin -and from 1920 to 1926 at the Berlin High School of Music. He went -into retirement in 1929, and died in Berlin on August 2, 1945.</p> -<p>Rezniček was the composer of several operas, five symphonies, three -tone poems and various other compositions. His greatest success came -with the comic opera, <i>Donna Diana</i>, introduced in Prague on December -16, 1894, and soon thereafter heard in forty-three European opera -houses. The opera—libretto by the composer based on a Spanish comedy -by Moreto y Cabana—is consistently light and frothy. Carlos is in pursuit -of Princess Diana, and to effect her surrender he feigns he is madly -in love with her. Princess Diana plays a game of her own. Coyly she -eludes him after seeming to fall victim to his wiles. In the end they -both discover they are very much in love with each other.</p> -<p>The opera is almost never heard any longer, but the witty overture -is a favorite throughout the world; it is the only piece of music by the -composer that is still often performed today. A sustained introduction -leads into the jolly first theme—a fast, light little melody that sets the -prevailing mood of frivolity. The heart of the overture is an expressive -melody shared by basses and oboe. It grows in passion and intensity as -other sections of the orchestra develop it. When this melody comes to a -climax, the passionate mood is suddenly dissipated, and the frivolous -first theme of the overture returns to restore a mood of reckless gaiety.</p> -<div class="pb" id="Page_244">244</div> -<h2 id="c145"><span class="small">Nikolai <b id="g_RimskyKorsakov">Rimsky-Korsakov</b></span></h2> -<p>Nikolai Rimsky-Korsakov was born in Tikhvin, -Russia, on March 18, 1844. Trained for a naval career, he was graduated -from the Naval School in St. Petersburg in 1862, after which he -embarked on a two-and-a-half-year cruise as naval officer. From earliest -boyhood he had been passionately interested in music, especially the -folk operas of Glinka and Russian ecclesiastical music. When he was -seventeen, he was encouraged by Balakirev to essay composition. After -returning to Russia in 1864, Rimsky-Korsakov associated himself with -the national Russian school then being realized by Balakirev and Mussorgsky -among others, and completed his first symphony, introduced -in St. Petersburg in 1865. He plunged more deeply into musical activity -after that by completing several ambitious works of national character, -including the <i>Antar Symphony</i> and an opera, <i>The Maid of Pskov</i>. In -1873 he was relieved by the government of all his naval duties and -allowed to devote himself completely to music. At that time the special -post of Inspector of Military Orchestras was created for him. He soon -distinguished himself as a conductor of the Free Music Society in -St. Petersburg and as professor of composition and orchestration at -the St. Petersburg Conservatory. He did not neglect composition, producing -many significant operas and orchestral works. In his music he -remained faithful to national ideals by filling his music with melodies -patterned after Russian folk songs, harmonies derived from the modes -of Russian church music, and rhythms simulating those of Russian folk -dances. To all his writing he brought an extraordinary technical skill -in structure, orchestration and harmony. He died of a heart attack in -Liubensk, Russia, on June 21, 1908.</p> -<p>The exotic personality and harmonic and instrumental brilliance of -Eastern music are often encountered in Rimsky-Korsakov. They are -found in two extremely popular excerpts from his opera <i>Le Coq d’or</i> -(<i>The Golden Cockerel</i>): “Bridal Procession” and “Hymn to the Sun.”</p> -<p><i>Le Coq d’or</i> is a fantasy-opera, introduced in Moscow on October 7, -1909; the libretto, by Vladimir Bielsky, is based on a tale by Pushkin. -<span class="pb" id="Page_245">245</span> -A golden cockerel with the talent of prophecy is presented to King -Dodon by his astrologer. In time the cockerel accurately prophesies -the doom of both the astrologer and the King.</p> -<p>The oriental, languorous “Hymn to the Sun” (“<i>Salut à toi soleil</i>”) -appears in the second act, a salute by the beautiful Queen of Shemaka. -After the Queen has captured the love of King Dodon with this song, -they marry. There are many transcriptions of this beautiful melody, -including one for violin and piano by Kreisler and for cello and piano -by Julius Klengel.</p> -<p>The third act of this opera opens with the brilliant music of the -“Bridal Procession.” The royal entourage passes with pomp and ceremony -through the city accompanied by the cheers of the surrounding -crowds.</p> -<p>In the vital “Dance of the Tumblers” or “Dance of the Buffoons” -for orchestra, Rimsky-Korsakov skilfully employs folk rhythms. This -dance comes from the composer’s folk opera, <i>The Snow Maiden</i> (<i>Snegourochka</i>). -The third act opens with a gay Arcadian festival celebrated -by the Berendey peasants during which this gay and exciting folk dance -is performed.</p> -<p>The pictorial, realistic “Flight of the Bumble Bee” is an excerpt -from still another of Rimsky-Korsakov’s operas, <i>The Legend of Tsar -Saltan</i>. This is an orchestral interlude in the third act describing -tonally, and with remarkable realism, the buzzing course of a bee. This -piece retains its vivid pictorialism even in transcriptions, notably that -for solo piano by Rachmaninoff, and for violin and piano by Arthur -Hartmann.</p> -<p>The “Hindu Chant” or “The Song of India” is also an operatic excerpt, -this time from <i>Sadko</i>. It appears at the close of the second tableau -of the second act. Sadko is the host to three merchants from foreign -lands. He invites each to tell him about his homeland, one of whom is -a Hindu who proceeds in an Oriental melody to speak of the magic and -mystery of India.</p> -<p>The <i>Russian Easter Overture</i> (<i>La Grand pâque russe</i>), for orchestra, -op. 36 (1888) was one of the fruits of the composer’s lifelong fascination -for Russian church music. The principal thematic material of the overture -comes from a collection of canticles known as the <i>Obikhod</i> from -the Russian Orthodox Church. Two of these canticles are heard in the -solemn introduction, a section which the composer said represented the -“Holy Sepulcher that had shone with ineffable light at the moment of -the Resurrection.” The first is given loudly by strings and clarinets, the -<span class="pb" id="Page_246">246</span> -second quietly by violins and violas accompanied by woodwind, harps, -and pizzicato basses. A brief cadenza for solo violin is the transition to -the main body of the overture where the two canticles from the introduction -are amplified and developed. A brilliant coda leads to the conclusion -of the work where the second of the two melodies is given for -the last time by trombones and strings.</p> -<p>Rimsky-Korsakov’s most famous work for orchestra is the symphonic -suite, <i>Scheherazade</i>, op. 35 (1888). Nowhere is his remarkable gift at -pictorial writing, at translating a literary program into tones, more in -evidence than here. This music describes episodes from the <i>Arabian -Nights</i> in four movements which are unified by the recurrence of two -musical motives. The first is that of the Sultan, a forceful, majestic -statement for unison brass, woodwinds and strings; the second is a -tender melody in triplets for strings depicting the lovely Scheherazade. -The Sultan theme opens the first movement, entitled “The Sea and -Sinbad’s Ship.” After quiet chords for the brass, the Scheherazade melody -is heard in solo violin accompanied by harp arpeggios. The music -later becomes highly dramatic as Sinbad’s ship, represented by a flute -solo, is buffeted about by an angry sea, the latter portrayed by rapid -arpeggio figures. The poignant Scheherazade motive in solo violin introduces -the second movement, “The Tale of the Kalendar.” The tale -is spun in a haunting song for bassoon, dramatically contrasted by a -dynamic rhythmic section for full orchestra. The third movement, -“The Young Prince and the Princess” is a tender love dialogue between -violins and clarinets. After a recall of the Scheherazade melody there -appears the finale: “The Festival at Bagdad; The Sea, The Ship -Founders on the Rock.” A brief recall of the Sinbad theme brings on an -electrifying picture of a festival in Bagdad. The gay proceedings, however, -are interrupted by a grim shipwreck scene, vividly depicted by the -exciting music. This dramatic episode passes, and the suite ends with a -final statement of the Scheherazade theme.</p> -<p>The <i>Spanish Caprice</i> (<i>Capriccio espagnol</i>), for orchestra, op. 34 (1887) -is one of the composer’s rare attempts at exploiting the folk music of a -country other than his own. There are five parts. The first is a morning -song, or “Alborada,” in which two main subjects of Spanish identity -are given by the full orchestra. This is followed by “Variations.” A -Spanish melody is here subjected to five brief variations. In the third -part, the Alborada music returns in a changed tonality and orchestration. -The fourth movement is entitled “Scene and Gypsy Dance” and -<span class="pb" id="Page_247">247</span> -consists of five cadenzas. The Capriccio ends with “<i>Fandango asturiano</i>,” -in which a dance melody for trombones is succeeded by a contrasting -subject in the woodwinds. A last recall of the main Alborada theme -of the first movement brings the work to its conclusion.</p> -<h2 id="c146"><span class="small">Richard <b id="g_Rodgers">Rodgers</b></span></h2> -<p>Richard Rodgers was born in Hammels Station, near -Arverne, Long Island, on June 28, 1902. As a child he began studying -the piano and attending the popular musical theater. He wrote his first -songs in 1916, a score for an amateur musical in 1917, and in 1919 -created the music for the Columbia Varsity Show, the first freshman -ever to do so. Meanwhile he had initiated a collaborative arrangement -with the lyricist, Lorenz Hart, that lasted almost a quarter of a century. -Their first song to reach the Broadway theater was “Any Old Place -With You” in <i>A Lonely Romeo</i> in 1919. Their first Broadway musical -was <i>The Poor Little Ritz Girl</i> in 1920, and their first success came with -<i>The Garrick Gaieties</i> in 1925 where the song, “Manhattan,” was introduced. -For the next twenty years, Rodgers and Hart—frequently with -Herbert Fields as librettist—dominated the musical stage with some of -the most original and freshly conceived musical productions of that -period: <i>Dearest Enemy</i> (1925), <i>The Girl Friend</i> (1926), <i>Peggy-Ann</i> -(1926), <i>A Connecticut Yankee</i> (1927), <i>On Your Toes</i> (1936), <i>Babes in -Arms</i> (1937), <i>I’d Rather Be Right</i> (1937), <i>I Married an Angel</i> (1938), -<i>The Boys from Syracuse</i> (1938), and <i>Pal Joey</i> (1940). From these and -other productions came hundreds of songs some of which have since -become classics in American popular music. The best of these were -“Here In My Arms,” “Blue Room,” “My Heart Stood Still,” “My -Romance,” “The Most Beautiful Girl in the World,” “There’s a Small -Hotel,” “Where or When,” “My Funny Valentine,” “Spring Is Here,” -“Falling in Love With Love,” “I Could Write a Book” and “Bewitched, -Bothered and Bewildered.”</p> -<p><i>By Jupiter</i>, in 1942, was the last of the Rodgers and Hart musicals. -<span class="pb" id="Page_248">248</span> -Hart’s physical and moral disintegration made it necessary for Rodgers -to seek out a new collaborator. He found him in Oscar Hammerstein -II, with whom Rodgers embarked on a new and even greater career as -composer for the theater. Their first collaboration was <i>Oklahoma!</i> in -1943, an unprecedented box-office triumph, and a production that -revolutionized the musical stage by crystallizing the concept and procedures -of the musical play as opposed to the musical comedy. After -that Rodgers and Hammerstein brought to the stage such classics as -<i>Carousel</i>, <i>South Pacific</i>, and <i>The King and I</i>. Other Rodgers and Hammerstein -productions were <i>Allegro</i> (1947), <i>Me and Juliet</i> (1953), <i>Pipe -Dream</i> (1955), <i>The Flower Drum Song</i> (1958) and <i>The Sound of -Music</i> (1959). Among the most famous songs by Rodgers from these -productions—besides those from musical plays discussed below—were -“A Fellow Needs a Girl,” “No Other Love,” “Everybody’s Got a Home -But Me,” “All at Once You Love Her,” “I Enjoy Being a Girl,” “Do, -Re, Mi,” “The Sound of Music” and “Climb Every Mountain.” The -collaboration of Rodgers and Hammerstein ended in 1960 with the -death of the lyricist.</p> -<p><i>Oklahoma!</i>, <i>Carousel</i>, <i>South Pacific</i>, and <i>The King and I</i> have become -enduring monuments in the American theater. They are continually -revived, have been adapted for motion pictures, and are perpetually -represented at semi-classical concerts and on records. In whatever -form they appear they never fail to excite and inspire audiences. -It is in these productions that Rodgers has reached the highest creative -altitudes of his career, with music of such expressive lyricism, dramatic -impact, consummate technical skill, and pervading charm and grace -that its survival in American music seems assured. Robert Russell Bennett -has made skilful orchestral adaptations of the basic melodic material -from each of these musical plays, and it is most usually these -adaptations that are most frequently performed by pop and semi-classical -orchestras.</p> -<p><i>Carousel</i> is the second of the Rodgers and Hammerstein masterworks, -succeeding <i>Oklahoma!</i> by about two years. It is one of the most -radiant ornaments of our musical stage. Oscar Hammerstein II here -adapted Ferenc Molnar’s play, <i>Liliom</i>, with changes in setting, time, -and some basic alterations of plot. In the musical version the action -takes place in New England in 1873. Billy Bigelow, a barker in an -amusement park, falls in love and marries Julie Jordan. A charming -but irresponsible young man, Billy decides to get some money in a -holdup, when he learns his wife is pregnant. Caught, Billy eludes -<span class="pb" id="Page_249">249</span> -arrest by committing suicide. After a brief stay in Purgatory, Billy is -permitted to return to earth for a single day to achieve redemption, the -price for his admission to Heaven. On earth, he meets his daughter. -Through her love, understanding and forgiveness he achieves his redemption. -Thus the musical ends in a happy glow of love and compassion -whereas Molnar’s original play ended on the tragic note of -frustration.</p> -<p><i>Carousel</i> opened in New York on April 19, 1945. John Chapman -described it as “one of the finest musical plays I have ever seen, and I -shall remember it always.” It received the Drama Critics Award and -eight Donaldson Awards. Since then it has often been revived besides -being adapted for the screen; in 1958 it was presented at the World’s -Fair in Brussels.</p> -<p>The heartwarming glow that pervades the play in Hammerstein’s -moving dialogue and lyrics was magically caught in the score, which -begins with an extended waltz sequence for orchestra. In the play -this music is heard under the opening scene which represents an -amusement park dominated by a gay carousel. This waltz music is a -self-sufficient composition that can be, and often is, played independently -of the other excerpts. The other main musical episodes include -the love duet of Billy and Julie, “If I Loved You”; Billy’s eloquent and -extended narrative, “Soliloquy,” when he learns he is about to become -a father; the spiritual “You’ll Never Walk Alone”; the ebullient -“June Is Bustin’ Out All Over”; two vigorous choral episodes, “Blow -High, Blow Low” and “This Was a Real Nice Clambake.”</p> -<p><i>The King and I</i>, presented on March 29, 1951, was adapted by Oscar -Hammerstein II from Margaret Landon’s novel <i>Anna and the King of -Siam</i> (which had already been made into a successful non-musical motion -picture starring Rex Harrison and Irene Dunne). Anna, played in -the musical by Gertrude Lawrence, is an English schoolmistress come -to Siam to teach Western culture to the royal princes and princesses. -Her own strong will and Western independence comes into sharp conflict -with the king, an Eastern despot enacted by Yul Brynner. But -they are nonetheless drawn to each other, partly through curiosity, -partly through admiration. Naturally, since they are of different social -stations and cultures, a love interest is out of the question, but they -are ineluctably drawn to each other, particularly after Anna has managed -to save a critical political situation in Siam through her ingenuity. -The king dies just before the final curtain; Anna remains on as a -teacher of the children she has come to love.</p> -<div class="pb" id="Page_250">250</div> -<p>Part of the attraction of Rodgers’ music is its subtle Oriental flavoring. -In the music—as in text, settings and costuming—<i>The King and I</i> -is a picture of an “East of frank and unashamed romance,” as Richard -Watts, Jr., said, “seen through the eyes of ... theatrical artists of rare -taste and creative power.” The Oriental element is particularly pronounced -in the orchestral excerpt, “The March of the Royal Siamese -Children,” with its exotic syncopated structure and orchestration. Other -popular excerpts from this score include Anna’s lilting “I Whistle a -Happy Tune”; her poignant ballad “Hello, Young Lovers”; Anna’s -duet with the king, “Shall We Dance?”; her amiable conversation with -the children, “Getting to Know You”; the King’s narrative, “A Puzzlement”; -also two sensitive and atmospheric duets by the two Siamese -lovers, Tuptim and Lun Tha, “We Kiss in the Shadow” and “I Have -Dreamed.”</p> -<p><i>Oklahoma!</i>, the first of the Rodgers and Hammerstein musical plays—which -opened on March 31, 1943—made stage history. Its run of 2,248 -performances was the longest run of any Broadway musical up to then; -a national company toured for ten years. It was successfully produced -in Europe, Africa, and Australia. But beyond being a box-office triumph -of incomparable magnitude, it was also an artistic event of the first -importance. This was musical comedy no more, but a vital folk play -rich in dramatic content, and authentic in characterization and background. -The play upon which it was based was Lynn Riggs’ folk play, -<i>Green Grow the Lilacs</i>, adapted by Oscar Hammerstein II. In making -his adaptation, Hammerstein had to sidestep long accepted formulas -and clichés of the American musical stage to meet the demands of -Riggs’ play. Chorus-girl routines made way for American ballet conceived -by Agnes De Mille. Set comedy routines were replaced by a -humor which rose naturally from text and characters. Each musical incident -was basic to the movement of the dramatic action. Even the plot -was unorthodox for our musical theater. At the turn of the present -century in West-Indian country, Laurey and Curly are in love, but are -kept apart by their respective diffidence and a false sense of hostility. An -ugly, lecherous character, Jud Fry, pursues Laurey. Laurey and Curly -finally declare their love for each other. At their wedding Jud arrives -inebriated, attacks Curly with a knife, and becomes its fatal victim -when he accidentally falls upon the blade during a brawl. A hastily improvised -trial exonerates Curly of murder and permits him and his -bride to set off on their honeymoon for a land that some day will get the -name of Oklahoma.</p> -<div class="pb" id="Page_251">251</div> -<p>The play opens at once with its best musical foot forward, a simple -song, “Oh, What a Beautiful Mornin’,” which has the personality of -American folk music. It is sung offstage by Curly. After that the principal -musical episodes include the love song of Curly and Laurey, “People -Will Say We’re in Love”; several songs with a strong American -national identity, including “Kansas City,” “The Farmer and the Cowman,” -“The Surrey With the Fringe on Top,” and the title number; -and two highly expressive numbers, “Out of My Dreams” and “Many a -New Day.”</p> -<p><i>Slaughter on Tenth Avenue</i> is one of Rodgers’ most famous orchestral -compositions, and one of the finest achievements of the school of -symphonic-jazz writing. This music was used for a ballet sequence in -the Rodgers and Hart musical, <i>On Your Toes</i>, first produced in 1936. -Since <i>On Your Toes</i> dwelled in the world of ballet, with dancers as -principal characters, ballet episodes played an important part in the -unfolding of the story; these episodes were conceived by George Balanchine. -The play reaches a dramatic climax with a jazz ballet, a satire -on gangsters, entitled <i>Slaughter on Tenth Avenue</i>. This is a description -of the pursuit by gangsters of a hoofer and his girl. Caught up in a Tenth -Avenue café, the gangsters murder the girl and are about to kill the -hoofer when the police come to his rescue. Rodgers’ music for the -ballet is an extended and integrated symphonic-jazz composition which -has won its way into the permanent repertory of semi-classical music. -It is constructed from two main melodic ideas. The first is an impudent -little jazz tune, and the second is a rich and luscious jazz melody for -strings.</p> -<p><i>South Pacific</i>, produced on April 7, 1949, was both commercially and -artistically of the magnitude of <i>Oklahoma!</i> Its Broadway run of 1,925 -performances was only 325 less than that of its epoch-making predecessor. -In many other respects <i>South Pacific</i> outdid <i>Oklahoma!</i>: In the -overall box-office grossage; in sale of sheet music and records; in the -capture of prizes (including the Pulitzer Prize for drama, seven Antoinette -Perry and nine Donaldson awards). The book was adapted by -Oscar Hammerstein II and Joshua Logan from <i>Tales of the South -Pacific</i>, a series of short stories about American troops in the Pacific -during World War II. In the adaptation two love plots are emphasized. -The first involves the French planter, Emile de Becque, and the American -ensign, Nellie Forbush; the other engages Liat, a Tonkinese girl, -and Lieutenant Cable. The first ends happily, but only after complications -brought on by the discovery on Nellie’s part that Emile was once -<span class="pb" id="Page_252">252</span> -married to a Polynesian and is the father of two Eurasian children. The -other love affair has a tragic ending, since Lieutenant Cable dies on a -mission. With Ezio Pinza as De Becque and Mary Martin as Nellie, -<i>South Pacific</i> was “a show of rare enchantment,” as Howard Barnes reported, -“novel in texture and treatment, rich in dramatic substance, -and eloquent in song.” Among its prominent musical numbers are De -Becque and Nellie’s love song, “Some Enchanted Evening”; De -Becque’s lament “This Nearly Was Mine”; Cable’s love song “Younger -Than Springtime”; three songs by Nellie, “I’m Gonna Wash That Man -Right Outa My Hair,” “A Cockeyed Optimist,” and “I’m in Love with -a Wonderful Guy”; two exotic numbers by the Tonkinese Bloody Mary, -“Happy Talk” and “Bali Ha’i”; and a spirited and humorous choral -number by the Marines, “There Is Nothing Like a Dame.”</p> -<p><i>Victory at Sea</i> is a nine-movement suite for symphony orchestra -adapted by Robert Russell Bennett from the extended musical score -for a series of documentary films on naval operations during World -War II. These films were presented over NBC television in 1952 and -received both the Sylvania and the George Foster Peabody Awards. -Much of the acclaim accorded to these remarkable films belonged to -Rodgers’ background music which, as Otis L. Guernsey said, “suggested -courage, self-sacrifice and the indomitable spirit of the free man.” -A <i>New Yorker</i> critic described Rodgers’ music as a “seemingly endless -creation, now martial, now tender, now tuneful, now dissonant ... memorable -and tremendously moving.”</p> -<p>The first movement, “The Song of the High Seas,” is a picture of -ships menaced by Nazi U-boats on the seas during the early part of -World War II. They finally get involved in battle. “The Pacific Boils -Over” describes the beauty of Hawaii at peace in a melody suggesting -Hawaiian song and dance. War comes, and this idyllic mood is shattered. -A broad melody for strings ending in forceful chords tells about -the tragedy of Pearl Harbor and the grim business of repairing the -damage inflicted upon it by the Japanese. The third movement is one -of the most famous in the suite, often performed independently of the -other sections. It is stirring and dramatic march music of symphonic -dimensions entitled “Guadalcanal March.” This is followed by “D -Day,” its principal melody a broad, strong subject for brass telling of -the gradual build-up of men and materials for the invasion of Fortress -Europe. The fifth movement, “Hard Work and Horseplay” provides -the lighter side of war. American soldiers find relief from grim realities -in mischievous escapades and playtime. “Theme of the Fast Carrier” -<span class="pb" id="Page_253">253</span> -brings up the picture of a battle scene and ends with moving funeral -music. In “Beneath the Southern Cross” we get an infectious tango -melody which Rodgers later borrowed for his hit song, “No Other -Love,” for the Rodgers and Hammerstein musical play, <i>Me and Juliet</i>. -“Mare Nostrum” recalls the harsh realities of war, first by presenting a -serene Mediterranean scene, and then showing how it is torn and violated -by the fierce naval attack on North Africa, Sicily, Salerno, and -Anzio. The suite ends on a note of triumph with “Victory at Sea.” A -hymn of thanksgiving is sounded. Then we hear reminders of the -“Guadalcanal March” and the seductive tango melody from “Beneath -the Southern Cross.” This tango is soon transformed into a rousing -song of joy and triumph with which the suite comes to a magnificent -culmination.</p> -<h2 id="c147"><span class="small">Sigmund <b id="g_Romberg">Romberg</b></span></h2> -<p>Sigmund Romberg was born in Szeged, Hungary, on -July 29, 1887. His boyhood and early manhood were spent in Vienna -where he studied engineering and fulfilled his military service with -the 19th Hungarian Infantry stationed in that city. In Vienna, Romberg’s -lifelong interest in and talent for music found a favorable climate. -He heard concerts, haunted the city’s leading music salons, was a devotee -of Viennese operettas at the Theater-an-der-Wien. Vienna’s influence -led him to abandon all thoughts of becoming an engineer. In -1909 he came to the United States where he led salon orchestras in -various restaurants and published his first popular songs. In 1912 he was -engaged as staff composer for the Shuberts, for whose many and varied -Broadway productions Romberg supplied all the music. Within a three-year -period he wrote the scores for eighteen musicals, one of which was -his first operetta in a European style, <i>The Blue Paradise</i> (1915) for -which he created his first outstanding song hit, “<i>Auf Wiedersehen</i>.” -Though he continued writing music for many musical comedies, revues -<span class="pb" id="Page_254">254</span> -and extravaganzas—including some starring Al Jolson at the Winter -Garden—it was in the field of the operetta that Romberg achieved significance -in American popular music. His musical roots were so deeply -embedded in the soil of Vienna that only in writing music for operettas -in the manner and procedures of Vienna did he succeed in producing -a lyricism that ran the gamut from sweetness and sentimentality to -gaiety, masculine vigor and charm. His most successful operettas, which -are discussed below, have never lost their capacity to enchant audiences -however many times they are revived.</p> -<p>Romberg began writing music for motion pictures in 1930 with -<i>Viennese Nights</i>. Out of one of his many scores for the screen came -the poignant ballad, “When I Grow Too Old to Dream.” His last huge -success on Broadway was achieved not with an operetta but with an -American musical comedy with American backgrounds, settings and -characters—and songs in a pronounced American idiom. It was <i>Up in -Central Park</i> in 1945. His last musical comedy was <i>The Girl in Pink -Tights</i> produced on Broadway posthumously in 1954. Romberg died -in New York City on November 9, 1951. Three years after his death -his screen biography, <i>Deep in My Heart</i>, was released, with José Ferrer -playing the part of the composer.</p> -<p><i>Blossom Time</i> was first produced on Broadway on September 29, -1921 and proved so successful that to meet the demand for tickets a -second company was formed to perform it at a nearby theater. There -were also four national companies running simultaneously. This musical -was derived from the successful German operetta, <i>Das drei Maederlhaus</i>, -adapted by Dorothy Donnelly. The central character is the -beloved Viennese composer of the early 19th century, Franz Schubert, -and the plot is built around the composer’s supposed frustrated love for -Mitzi, who, in turn, falls in love with Schubert’s best friend. The composer’s -anguish in losing her makes it impossible for him to finish the -symphony he was writing for her—and it remains forever unfinished. -This tragic episode, however, has no basis in biographical fact and is -entirely the figment of a fertile operetta librettist’s imagination.</p> -<p>Romberg’s most famous songs were all based on Schubert’s own -melodies, and one became a hit of major proportions: “Song of Love” -based on the beautiful main theme from the first movement of the -<i>Unfinished Symphony</i>. Other popular selections include “Tell Me -Daisy,” “Lonely Hearts,” “Serenade” and “Three Little Maids”—all -possessed of that charm, grace and <i>Gemuetlichkeit</i> which we always -associate with the city of Vienna and its popular music.</p> -<div class="pb" id="Page_255">255</div> -<p><i>The Desert Song</i>, produced on November 30, 1926, had for its background -the colorful setting of French Morocco. There Margot Bonvalet -is in love with the Governor’s son but is being pursued by the bandit -chief, The Red Shadow. In the end it turns out that the Governor’s son -and The Red Shadow are one and the same person. The principal -musical excerpts include the romantic duet of Margot and The Red -Shadow, “Blue Heaven”; the rapturous love song of The Red Shadow, -“One Alone”; and two virile episodes, “Sabre Song” and “French -Marching Song.”</p> -<p>Unlike most Romberg operettas, <i>Maytime</i>, presented on August 16, -1917, did not have a foreign or exotic setting. The action takes place -in Gramercy Park, New York, between 1840 and 1900. However, the -tragic frustrations of the love affair of Ottilie and Richard belong inevitably -in the make-believe world of the operetta. Ottilie is forced to -marry a distant relative. Many years later, Ottilie’s granddaughter and -Richard’s grandson find each other, fall in love, and fulfil the happiness -denied their grandparents. The most important musical number in this -play is the sweet and sentimental waltz, “Will You Remember?”, which -is repeated several times during the course of the action. Other numbers -include “Jump Jim Crow,” “It’s a Windy Day” and “Dancing Will -Keep You Young.”</p> -<p><i>The New Moon</i>—which came to Broadway on September 19, 1928—was -described by its authors (Oscar Hammerstein II, Frank Mandel, -and Laurence Schwab) as a “romantic musical comedy.” Its hero is a -historical character, Robert Mission, an 18th-century French aristocrat -who has come to New Orleans as a political fugitive. In the operetta -he is a bondservant to Monsieur Beaunoir, with whose daughter, -Marianne, he is in love. When the French police arrive to take him back -to Paris for trial, Marianne boards his ship upon which a mutiny erupts -on the high seas. The victorious bondservants now take possession of a -small island off the coast of Florida where they set up their own government -with Robert as leader, who then takes Marianne as his wife. -This opulent score yields one of Romberg’s most beautiful love songs, -“Lover Come Back to Me,” but it is significant to point out that its -main melody was expropriated by Romberg from a piano piece by -Tchaikovsky. Other delightful musical excerpts from this tuneful -operetta include the tender ballads “Softly as in a Morning Sunrise,” -“One Kiss” and “Wanting You,” and the stirring male chorus, “Stout-Hearted -Men.”</p> -<p><i>The Student Prince</i>, like <i>Blossom Time</i>, was based on a successful -<span class="pb" id="Page_256">256</span> -German operetta, <i>Old Heidelberg</i>, once again adapted for the American -stage by Dorothy Donnelly. Its first performance took place on -December 2, 1924. It has become one of the best loved operettas of the -American theater; there is hardly a time when it is not revived somewhere -in the United States. The setting is the romantic German University -town of Heidelberg in 1860. Prince Karl Franz falls in love with -Kathie, a waitress at the local inn. Their romance, however, is doomed -to frustration, since the Prince must renounce her to marry a Princess. -Romberg’s music is a veritable cornucopia of melodic riches, including -as it does the love duet of Kathie and the Prince, “Deep in My Heart,” -the Prince’s love song “Serenade,” and with them, “Golden Days” and -a vibrant male chorus, “Drinking Song.”</p> -<h2 id="c148"><span class="small">David <b id="g_Rose">Rose</b></span></h2> -<p>David Rose was born in London, England, on June 15, 1910. -His family came to the United States in 1914, settling in Chicago where -Rose received his musical training at the Chicago Musical College. -After working for radio and as pianist of the Ted Fiorito Orchestra, -Rose came to Hollywood in 1938 where he became music director of -the Mutual Broadcasting network. During World War II he served as -musical director of, and composer for, <i>Winged Victory</i>, the Air Corps -production by Moss Hart. After the war, Rose became outstandingly -successful as musical director for leading radio and television programs -(including the first Fred Astaire television show for which he received -an “Emmy” Award), and as a composer of background music for many -motion pictures. He has also appeared extensively in America and -Europe as guest conductor of symphony orchestras.</p> -<p>Rose is the composer of several instrumental compositions in a popular -style that have achieved considerable popularity. Indeed, it was -with one of these that he first became famous as a composer. This was -<span class="pb" id="Page_257">257</span> -the <i>Holiday for Strings</i>, written and published in 1943, a three-part -composition in which the flanking sections make effective use of -plucked strings while the middle part is of lyrical character. <i>Holiday for -Strings</i> received over a dozen different recordings and sold several million -records. Fifteen years later, Rose wrote another charming composition -in a similar vein, <i>Holiday for Trombones</i> in which virtuosity -is contrasted with lyricism. Other instrumental works by Rose outstanding -for either melodic or rhythmic interest are <i>Big Ben</i>, <i>Dance -of the Spanish Onion</i>, <i>Escapade</i>, and <i>Our Waltz</i>.</p> -<h2 id="c149"><span class="small">Gioacchino <b id="g_Rossini">Rossini</b></span></h2> -<p>Gioacchino Rossini was born in Pesaro, Italy, on February -29, 1792. He received his musical training at the Liceo Musicale -in Bologna. In 1810 he wrote his first opera, <i>La Cambiale di matrimonio</i>, -produced in Venice. Success came in 1812 with his third opera, -<i>La Pietra del paragone</i>, given at La Scala in Milan. <i>Tancredi</i> and -<i>L’Italiana in Algeri</i>, performed in Venice in 1813, further added to his -fame and helped make him an adulated opera composer at the age of -twenty-one. In 1815 Rossini was appointed director of two opera companies -in Naples for which he wrote several successful operas. But his -masterwork, which came during this period, was not written for Naples -but for Rome: <i>The Barber of Seville</i> introduced in the Italian capital -in 1816. In 1822 Rossini visited Vienna where he became the man of -the hour. In 1824 he came to Paris to assume the post of director of -the Théâtre des Italiens. Among the operas written for Paris was <i>William -Tell</i>, introduced at the Paris Opéra in 1829. Though Rossini was -now at the height of his fame and creative power—and though he lived -another thirty-nine years—he never wrote another work for the stage. -He continued living in Paris, a dominant figure in its social and cultural -life. His home was the gathering place for the intellectual élite of -<span class="pb" id="Page_258">258</span> -the city, the scene of festive entertainments. He died of a heart attack -in Paris on November 13, 1868.</p> -<p>Rossini was the genius of Italian comic opera (<i>opera buffa</i>). His -melodies are filled with laughter and gaiety; his harmonies and rhythms -sparkle with wit and the joy of life. He was at his best when he brought -to his writing an infallible instinct for comedy, burlesque, and mockery. -But he was also capable of a lyricism filled with poetry and infused -with heartfelt sentiments. He was, moreover, a master of orchestral -effect—especially in his dramatic use of the extended <i>crescendo</i>—and -highly skilled in contrasting his moods through rapid alternation of -fast and slow passages. He was also a daring innovator in his instrumentation.</p> -<p>He is a giant in opera, but with his infectious moods and endless -fund of melodies he is also a crowning master in semi-classical music. -His masterwork, <i>The Barber of Seville</i> (<i>Il Barbiere di Siviglia</i>) is as -popular with salon orchestras through its merry overture and main selections -as it is in the opera house. <i>The Barber of Seville</i> is based on two -plays by Beaumarchais, <i>Le Barbier de Séville</i> and <i>Le Mariage de Figaro</i>, -adapted by Cesare Sterbini. It is a vivacious comedy in which Count -Almaviva, in love with Rosina (ward of Doctor Bartolo who is in love -with her himself) tries to penetrate Bartolo’s household by assuming -various disguises. The Count and Rosina plan to elope, but Rosina -reneges when Bartolo convinces her that the Count is unfaithful to her. -Eventually, Rosina discovers that Bartolo has deceived her. She marries -the Count, and Bartolo finds consolation in the fact that the Count is -willing to renounce Rosina’s dowry in his favor.</p> -<p>When this work was first performed in Rome on February 20, 1816 -it was a dismal failure. This was largely due to a carefully organized -uproar in the theater by admirers of another famous Italian composer, -Paisiello, who had previously written an opera on the same subject. A -sloppy performance did not help matters either. The furor in the auditorium -was so great that it was impossible at times to hear the singers; -and Rossini was in the end greeted with hisses and catcalls. But the second -performance told a far different story. The singing and staging now -went off much more smoothly, and Rossini’s enemies were no longer -present to do their damage. Consequently the opera was acclaimed. -Five years later, a tour of the opera throughout Italy established its -fame and popularity on a solid and permanent basis.</p> -<p>The deservedly famous overture is so much in the carefree and ebullient -spirit of the opera as a whole—and so felicitously sets the tone for -<span class="pb" id="Page_259">259</span> -what is soon to follow on the stage—that it comes as a shock to discover -that it was not written for this work. Rossini had actually created it for -an earlier opera, and then used it several times more for various other -stage works, tragedies as well as comedies. The overture opens with a -slow introduction in which the violins offer a graceful tune. A transition -of four chords leads to the main body in which strings doubled by -the piccolo offer a spicy little melody. The same infectious gaiety is to -be found in the second theme which is first given by oboe and clarinet. -A dramatic crescendo now leads into the development of both themes, -and the overture ends with a vivacious coda.</p> -<p>Besides the overture, some of the principal melodies from this opera -are frequently given in various orchestral potpourris and fantasias: -Count Almaviva’s beautiful serenade, “<i>Ecco ridente in cielo</i>” and -Figaro’s patter song, “<i>Largo al factotum</i>” from the first act; in the second -act, Rosina’s coloratura aria, “<i>Una voce poco fa</i>” and Basilio’s denunciation -of slander in “<i>La Calunnia</i>”; and in the third act, Basilio’s -unctuous greeting “<i>Pace e gioia sia con voi</i>” and Figaro’s advice to the -lovers to get married in haste and silence, “<i>Zitti, zitti, piano, piano</i>.”</p> -<p><i>La Gazza ladra</i> (<i>The Thieving Magpie</i>), first produced at La Scala on -May 31, 1817, is also a light comedy; libretto by Giovanni Gherardini, -based on a French play. The central character is a servant girl falsely -accused of having stolen a silver spoon; she is exonerated when the -spoon is found in a magpie’s nest just as the girl is about to be punished -at the scaffold. The overture begins with an attention-arresting roll on -the snare drum. This is followed by a brisk, march-like melody for full -orchestra. In the main section, the principal themes consist of a sensitive -little tune for strings and a pert melody for strings and woodwind.</p> -<p><i>L’Italiana in Algeri</i> (<i>The Italian Lady in Algiers</i>) is, on the other -hand, a serious opera. It was first produced in Venice on May 22, 1813, -libretto by Angelo Anelli. In Algiers, Lindoro and Isabella are in love, -but their romance is complicated by the fact that Isabella is sought -after by the Mustafa. The lovers manage to effect their escape while -the Mustafa is involved in complicated rites serving as his initiation -into a secret society. The solemn opening of the overture has for its -main thought a beautiful song for oboe. A crescendo then carries the -overture to its principal section in which two lively melodies are heard, -the first for woodwind, and the second for oboe.</p> -<p><i>La Scala di seta</i> (<i>The Silken Ladder</i>) is an opera buffa which had its -first performance in Venice on May 9, 1812. The libretto by Gaetano -Rossi was based on a French farce involving a young girl who tries -<span class="pb" id="Page_260">260</span> -desperately to keep secret from her jealous guardian her marriage to the -man she loves. A brief and electrifying opening for strings in the overture -brings on a sentimental duet for flute and oboe. Two principal subjects -in the main body of the overture include a gay and sprightly -melody for strings, echoed by oboe, and a tender theme for flute and -clarinet accompanied by strings.</p> -<p><i>Semiramide</i>—introduced in Venice on February 3, 1823—is a serious -opera based on Voltaire with libretto by Gaetano Rossi. Semiramis is -the Queen of Babylon who is driven by her love for Asur to murder -her husband. Her later love life is complicated when she discovers that -the object of her passion, a Scythian, is actually her son. Semiramis is -killed by a dagger which Asur directs at her Scythian son; Semiramis’ -son then murders Asur and assumes the throne. The overture opens -dramatically with a gradual crescendo at the end of which comes a slow -and solemn melody for four horns, soon taken over by woodwind against -plucked strings. A short transition in the woodwind brings on a return -of the opening crescendo measures. We now come to the main part of -the overture in which the first theme is for strings, and the second for -the woodwind.</p> -<p>The most famous of all Rossini’s overtures, more celebrated even -than that for <i>The Barber of Seville</i>, is the one for the tragic opera -<i>William Tell</i> (<i>Guillaume Tell</i>). This is perhaps the most popular opera -overture ever written. It is much more than merely the preface to a -stage work but is in itself an elaborate, eloquent tone poem, rich in -dramatic as well as musical interest, and vivid in its pictorial and programmatic -writing.</p> -<p><i>William Tell</i>, which had its première in Paris on August 3, 1829, is -based on the drama of Friedrich Schiller, the libretto adaptation being -made by Étienne de Jouy and Hippolyte Bis. The hero is, of course, the -Swiss patriot who triumphs over the tyrant Gessler and helps bring -about the liberation of his country.</p> -<p>In the early measures of the overture we get a picture of sunrise over -the Swiss mountains, its beautiful melody presented by cellos and -basses. A dramatic episode for full orchestra then depicts an Alpine -storm. When it subsides we get a pastoral scene of rare loveliness evoked -by a poignant Swiss melody on the English horn. Trumpet fanfares then -bring on the stirring march music which, in our time and country, has -been borrowed by radio for the theme melody of “The Lone Ranger.” -The overture ends triumphantly in telling of William Tell’s victory -over tyranny and oppression.</p> -<div class="pb" id="Page_261">261</div> -<p>The contemporary British composer, Benjamin Britten, has assembled -various melodies by Rossini into two delightful suites for orchestra. -<i>Soirées musicales</i> (1936) is made up of five compositions by Rossini—from -<i>William Tell</i> and from several pieces from a piano suite entitled -<i>Péchés de vieillesse</i>. The five movements are marked; I. March; II. Canzonetta; -III. Tyrolese; IV. Bolero; V. Tarantella. <i>Matinées musicales</i> -(1941) also gets its material from <i>William Tell</i> and the piano suite. -Here the movements are: I. March; II. Nocturne; III. Waltz; IV. Pantomime; -V. Moto Perpetuo.</p> -<h2 id="c150"><span class="small">Anton <b id="g_Rubinstein">Rubinstein</b></span></h2> -<p>Anton Rubinstein was born in Viakhvatinetz, Russia, -on November 28, 1829. He studied the piano with Alexandre Villoing -after which, in 1839 he came to Paris with his teacher, deeply impressing -Chopin and Liszt with his performances. Between 1841 and 1843 -Rubinstein made a concert tour of Europe, but his career as a world-famous -virtuoso did not begin until 1854 when his formidable technique -and musicianship aroused the enthusiasm of Western Europe. -After that he made many tours of the world, his reputation as pianist -second only to that of Liszt; his first American appearance took place -in 1872-1873 when he gave more than two hundred concerts. He also -distinguished himself as conductor of the Russian Musical Society, and -as director of the St. Petersburg Conservatory which he helped found -in 1862. He was one of the most highly honored musicians in Russia -of his generation. He resigned his post as director of the Conservatory -in 1891, and on November 20, 1894 he died in St. Petersburg.</p> -<p>Rubinstein was an extraordinarily prolific composer, his works including -many operas, symphonies, concertos, overtures, tone poems, -chamber music together with a library of music for solo piano. About -all that has survived from his larger works is his Fourth Piano Concerto -which is flooded with Romantic ardor and is often in the recognizable -style of Mendelssohn. Beyond this concerto, only a few of his smaller -<span class="pb" id="Page_262">262</span> -pieces for piano are still heard, so delightful in their melodic content -and so charming in mood and atmosphere that they have lost little of -their universal appeal.</p> -<p><i>Kamenoi-Ostrow</i>, though best known as a composition for orchestra, -originated as a piece for the piano. Actually the name <i>Kamenoi-Ostrow</i> -belongs to a suite of twenty-four compositions for solo piano, op. 10. -But the twenty-second number has become so popular independent of -the suite, and in so many different guises, that its original title (“<i>Rêve -angelique</i>”) has virtually been forgotten and it is almost always referred -to now by the name of its suite. Kamenoi-Ostrow is a Russian town in -which the Grand Duchess Helena maintained a summer palace. Rubinstein -was its chamber virtuoso from 1848 on for a few years, and while -there he wrote his piano suite, naming it after the Grand Duchess’ -residence. The solemn melody and its equally affecting countermelody -have an almost religious character, emphasized in orchestral transcription -by a background of tolling bells. Victor Herbert made an effective -orchestral adaptation.</p> -<p>The <i>Melody in F</i> is one of the most popular piano pieces ever -written. It is found in the first of <i>Two Melodies</i>, for solo piano, op. 3, -but is most often heard in orchestral transcription, or adaptations for -solo instrument and piano. The vernal freshness of its spontaneous -lyricism has made it particularly appropriate describing Springtime; -indeed, verses about Spring have been written for this melody.</p> -<p>The <i>Romance in E-flat major</i> is almost as well known as the <i>Melody -in F</i>. This sentimental melody—filled with Russian pathos, yearning -and dark brooding—is the first number in a set of six pieces for solo -piano collectively entitled <i>Soirées de St. Petersbourg</i>, op. 44.</p> -<h2 id="c151"><span class="small">Camille <b id="g_SaintSaens">Saint-Saëns</b></span></h2> -<p>Camille Saint-saëns was born in Paris on October 9, -1835. He was extraordinarily precocious. After some piano instruction -from his aunt he gave a remarkable concert in Paris in his ninth year -<span class="pb" id="Page_263">263</span> -A comprehensive period of study followed at the Paris Conservatory -where he won several prizes, though never the Prix de Rome. In 1852 -he received a prize for <i>Ode à Sainte Cécile</i>, and in 1853 the première -of his first symphony attracted considerable praise. From 1858 to 1877 -he was the organist of the Madeleine Church in Paris, a position in -which he achieved renown as a performer on the organ. From 1861 to -1865 he was an eminent teacher of the piano at the École Niedermeyer, -and in 1871 he helped organize the distinguished Société Nationale in -Paris devoted to the introduction of new music by French composers. -From 1877 his principal activity was composition in which, as in all the -other areas in which he had been engaged, he soon became an outstanding -figure. He was made Chevalier of the Legion of Honor in -1868; Officer in 1884; Grand Officer in 1900; and in 1913 the highest -rank in the Legion of Honor, the Grand-Croix. He became a member -of the Institut de France in 1881. Saint-Saëns paid his first visit to the -United States in 1906, and made his first tour of South America in 1916 -when he was eighty-one. He remained active until the end of his long -life, appearing as pianist and conductor in a Saint-Saëns festival in -Greece in 1920, and performing a concert of his own music in Dieppe a -year later. He was vacationing in Algiers when he died there on December -16, 1921.</p> -<p>Though Saint-Saëns lived well into the 20th century and was witness -to the radical departures in musical composition taking place all about -him, he remained a conservative to the end of his days. He was, from -a technical point of view, a master. There is no field of musical composition -which he did not cultivate with the most consummate skill and -the best possible taste. He was gifted not merely with a fine lyrical gift -but also at other times with passion, intensity, and a sardonic wit. He -wrote numerous compositions in a light style, but many of his most -serious efforts are readily assimilable at first hearing and readily fall -into the category of semi-classics.</p> -<p><i>The Carnival of Animals</i> (<i>Le Carnaval des animaux</i>), for two pianos -and orchestra (1886) finds the composer in a gay mood. This is witty, -ironic and at times satiric music. The composer regarded the writing -of this work as a lark, thought so little of the composition that he did -not permit a public performance or a publication during his lifetime. -Nevertheless it is one of the composer’s most infectious compositions, -one that never fails to enchant audiences young and old. It was described -by the composer as “a grand zoological fantasy,” and its fourteen sections -represent pictures of various animals. The suite begins with a -<span class="pb" id="Page_264">264</span> -march (“Introduction and Royal March of the Lion,” “<i>L’Introduction -et marche royale du lion</i>”). After a brief fanfare, sprightly march music -is heard. We can readily guess who is at the head of the parade by the -lion’s roar simulated by the orchestra. After this we are given a picture -of a hen through the cackle in piano and strings, and of a cock through -a clarinet call (“Hens and Cocks,” “<i>Poules et coqs</i>”). This is followed -by music for two unaccompanied pianos intended to depict “Mules” -(“<i>Hémiones</i>”). Actually this portion was planned by the composer as a -satire on pianists who insist on playing everything in a strict rhythm -and unchanging dynamics. In the fourth movement, “Tortoises” (“<i>Tortues</i>”), -two amusing quotations are interpolated from Offenbach’s -<i>Orpheus in the Underworld</i>. A cumbersome melody in a stately rhythm -then introduces us to the “Elephant” (“<i>L’Eléphant</i>”). In this part the -composer’s fine feeling for paradox and incongruity asserts itself in contrasting -a ponderous theme with a graceful waltz tune. In the halting -music of the next movement, “Kangaroos” (“<i>Kangourous</i>”), the composer -aims his satirical barbs not on these graceless animals but upon -concert audiences who insist on talking throughout a performance. -“Aquarium” consists of a sensitive melody for flute and violin against -piano arpeggio figures. In “Personages With Long Ears” (“<i>Personnages à -longues oreilles</i>”) donkeys are represented by a melody with leaping -intervals. The “Cuckoo in the Woods” (“<i>Le Coucou au fonds des bois</i>”) -consists of a melody for clarinet. “Aviary” (“<i>Volière</i>”) reproduces the -flight and singing of birds. “Pianists” (“<i>Pianistes</i>”), the composer feels, -belongs to the animal kingdom; the attempt by embryo pianists to -master his scales is here described amusingly. “Fossils” (“<i>Fossiles</i>”) -quotes four popular themes from the classics: from Rossini’s <i>The -Barber of Seville</i>, Saint-Saëns’ <i>Danse macabre</i>, and two French folk -songs. Satire and wit are replaced by the most sensitive lyricism and -winning sentiment in the thirteenth movement, a section so famous -that it is most often heard apart from the rest of the suite, and in many -different versions and arrangements. This is the movement of “The -Swan” (“<i>Le Cygne</i>”), a beautiful melody for the cello in which the -stately movement of the swan in the water is interpreted. A dance inspired -by this music was made world famous by Anna Pavlova. The -suite ends with the return of all the preceding characters in a section -entitled “Finale.” In the present-day concert hall, it is sometimes the -practice to present <i>The Carnival of Animals</i> with an appropriate -superimposed commentary in verse by Ogden Nash preceding each -section.</p> -<div class="pb" id="Page_265">265</div> -<p><i>Danse macabre</i>, tone poem for orchestra, op. 40 (1874) is a musical -interpretation of a poem by Henri Cazalis. The composition opens -with a brief sequence in the harp suggesting that the hour of midnight -has struck. Death tunes his violin and almost at once there begins a -demoniac dance, its abandoned theme first presented by the flute. Another -equally frenetic dance tune is given by Death, the xylophone -simulating the rattle of bones. In the midst of the orgy the solemn refrain -of the “Dies Irae” is sounded. Dawn is announced by the crowing -of a cock. The wild dance dies down and the dancers disappear in the -mist.</p> -<p><i>The Deluge</i> (<i>Le Déluge</i>), op. 45 (1876), is an orchestral prelude to -a Biblical poem, text by Louis Gillet. The inspiration for this music -comes from a passage in the <i>Genesis</i>: “And God repented of having -created the world.” Solemn chords preface a fugal passage built from -a theme in violas. After this a beautiful melody for solo violin unfolds -symbolizing humanity in its original state of purity.</p> -<p>The <i>Havanaise</i>, op. 83 (1887) is a popular composition for violin and -piano which makes effective use of a languorous Spanish melody set -against the habanera rhythm. “Havanaise” is the French term for -“Habanera,” a popular Spanish dance in slow ²/₄ time said to have -originated in Cuba.</p> -<p><i>Henry VIII</i>, an opera, is remembered for its effective ballet music. -The opera, with libretto by Leonce Detroyat and Armand Sylvestre was -first performed at the Paris Opéra on March 5, 1883. Since its setting -is England during the Tudor Period, the popular ballet music is restrained, -sensitive and graceful. It is heard in the second act during a -festival given by the King of Richmond to honor the Papal Legate. -Much of the material for these dances was acquired by the composer -from a collection of Scottish and Irish tunes and dances provided him -by the wife of one of his librettists. The Ballet Music is made up of -five sections. The first is a restrained Introduction. Then comes “The -Entry of the Clans.” This music, it is amusing to remark, is English -rather than Scottish in style because the composer confused the English -Dee with the Scottish river of the same name and decided to use the -English melody “The Miller of the Dee.” The third movement is a -“Scotch Idyll,” this time a bright Scottish tune in the oboe. The Ballet -Music continues with a “Gypsy Dance” in which a Hungarian-type -melody for English horn is followed by brisker music whose main subject -is offered by the violins. The suite concludes with “Gigue and -Finale.”</p> -<div class="pb" id="Page_266">266</div> -<p>The <i>Introduction and Rondo Capriccioso</i>, op. 28 (1863) is for violin -and orchestra. The main theme of the Introduction is found in the -solo violin in the second measure, accompanied by the strings. A forceful -chord for full orchestra brings on the Rondo Capriccioso section, -whose main melody is presented by the solo violin. The solo instrument -later on also introduces a contrasting second theme. After some -embellishment of both ideas, the orchestra loudly interpolates a third -subject which is repeated by the solo violin. All this material is amplified, -often with brilliant virtuoso passages in the violin. A climactic -point is reached when the first theme of the Rondo Capriccioso is pronounced -by the orchestra against broken chords in the violin. This composition -concludes with a coda marked by virtuoso passages for the solo -instrument.</p> -<p>The <i>Marche heroïque</i>, for orchestra, op. 34 (1871) was originally -written for two solo pianos but later the same year orchestrated by the -composer himself. The composition is dedicated to one of Saint-Saëns’ -friends, the painter Alexandre Regnault, who served in the French -army and was killed during the Franco-Prussian War. This music has -a seven-bar introduction following which the principal march subject -is given by the woodwind accompanied by plucked strings. In the middle -trio section a contrasting theme is offered by the trombone against -an accompanying figure taken from the earlier march melody. The -march music returns in the closing section, but more vigorously than -heretofore. The composition ends with a powerful coda.</p> -<p><i>Le Rouet d’Omphale</i> (<i>Omphale’s Spinning Wheel</i>), is an orchestral -tone poem, op. 31 (1871), based on an old legend. Hercules is the slave -of the Lydian queen. He disguises himself as a woman and is put to the -task of spinning. The whirr of the spinning wheel is simulated by the -violins at the beginning of the composition. The abused Hercules is -then represented by a somber subject for the bass. Soon the whirr returns -in an increased tempo to point up Hercules’ return to the business -of spinning.</p> -<p>The composer’s most famous opera, <i>Samson and Delilah</i>, is represented -on semi-classical programs with its colorful, exciting <i>Bacchanale</i>. -The opera was first performed in Weimar in 1877, its libretto (by Ferdinand -Lemaire) based on the famous Biblical story. The Bacchanale -comes towards the end of the opera, the second scene of the third act. -At the Temple of Dagon, the Philistines are celebrating their victory -over Samson and the Hebrews with wild revelry in front of a statue of -their god. A part of these festivities consists of a bacchanale to wild -<span class="pb" id="Page_267">267</span> -music Semitic in melodic content, orgiastic in tone colors, and barbaric -in rhythms. The most celebrated vocal selection from this opera is -Delilah’s seductive song to Samson, “My Heart at Thy Sweet Voice” -(“<i>Mon coeur s’ouvre à ta voix</i>”).</p> -<p>The <i>Suite algérienne</i>, for orchestra, op. 60, is a set of four “picturesque -impressions of a voyage to Algeria,” in the composer’s own -description. The opening movement is a prelude. The sea is here depicted -in a swelling figure while brief snatches of melody suggest some -of the sights of Algiers as seen from aboard ship. “Moorish Rhapsody” -(“<i>Rapsodie mauresque</i>”) is made up of three sections. The first and last -are brilliant in sonority and tonal colors, while the middle one is an -Oriental song. “An Evening Dream at Blidah” (“<i>Rêverie du soir</i>”) is a -dreamy nocturne picturing a famous Algerian fortress. The most popular -movement of the suite is the last one, a rousing “French Military -March” (“<i>Marche militaire française</i>”)—vigorous, at times even majestic, -music representing the composer’s delight and sense of security in -coming upon a French garrison.</p> -<h2 id="c152"><span class="small">Pablo de <b id="g_Sarasate">Sarasate</b></span></h2> -<p>Pablo de Sarasate was born in Pamplona, Spain, on -March 10, 1844. As a child prodigy violinist he made his debut in Spain -when he was six, and soon thereafter toured the country. In 1859 he -completed with honors a three-year period of violin study at the Paris -Conservatory. He was only fifteen when he initiated a worldwide career -as virtuoso which continued until the end of his life and placed him -with the foremost violinists of his generation. In his concerts he featured -prominently his own arrangements and fantasias of opera arias -as well as his original compositions in all of which he could exhibit his -phenomenal technique. Some of his compositions are now staples in the -violin repertory. They include the <i>Gypsy Airs</i> (<i>Zigeuenerweisen</i>), <i>Caprice -Basque</i>, <i>Jota aragonesa</i>, <i>Zapatadeo</i>, and the <i>Spanish Dances</i>.</p> -<div class="pb" id="Page_268">268</div> -<p>The <i>Gypsy Airs</i> is a fantasia made up of haunting gypsy tunes and -dance rhythms. The heart of the composition comes midway with a sad -gypsy song which finds contrast in the electrifying dance melodies and -rhythms that follow immediately.</p> -<p>Sarasate produced four sets of <i>Spanish Dances</i>, opp. 21, 22, 23, and -26, all for violin and piano. The identifiable Spanish melodies and -rhythms of folk dances are here exploited most effectively. The most -famous of these is the <i>Malagueña</i>, a broad and sensual gypsy melody followed -by a rhythmic section in which the clicking of castanets is simulated.</p> -<h2 id="c153"><span class="small">Franz <b id="g_Schubert">Schubert</b></span></h2> -<p>Franz Peter Schubert was born in Vienna, Austria, -on January 31, 1797. He was extraordinarily precocious in music and -was early trained to play the violin, viola and organ. From 1808 to -1813 he attended the Imperial Chapel School where he received a -thorough musical background while preparing to be a chorister in the -Chapel Choir. He showed such remarkable and natural gifts for music -that one of his teachers, the renowned Antonio Salieri, did not hesitate -to call him a “genius.” When the breaking of his voice compelled him -to leave the school in 1813, Schubert was encouraged by his father, a -schoolmaster, to enter the field of education. For two years, from 1814 -on, Schubert taught in the school owned and directed by his father. -During this period he demonstrated phenomenal fertility as a composer -by producing operas, symphonies, masses, sonatas, string quartets, piano -pieces, and almost 150 songs including his first masterpiece, <i>The -Erlking</i> (<i>Der Erlkoenig</i>). After 1817, Schubert devoted himself completely -to composition. He remained singularly productive even though -recognition failed to come. Few of his works were either published or -performed—and those that were heard proved dismal failures. He managed -<span class="pb" id="Page_269">269</span> -to survive these difficult years only through the kindness and generosity -of his intimate friends who loved him and were in awe of his -genius. Combined with the frustration in failing to attract public notice -with his music—and the humiliation of living on the bounty of friends—was -the further tragedy of sickness brought on by a venereal disease. -A concert of his works in Vienna on March 26, 1828 seemed to promise -a turn in his fortunes. But it came too late. He died in Vienna on -November 19, 1828—still an unrecognized composer. So completely -obscure was his reputation that for many years some of his crowning -master works lay forgotten and neglected in closets of friends and associates, -none of whom seemed to realize that they were in the possession -of treasures.</p> -<p>Schubert was undoubtedly one of the greatest creators of song the -world has known. His almost five hundred art songs (<i>Lieder</i>) is an inexhaustible -source of some of the most beautiful, most expressive, most -poetic melodies ever put down on paper. He created beauty as easily -as he breathed. The most inspired musical thoughts came to him so -spontaneously that he was always reaching for quill and paper to get -them down—whether at his home, or at the houses of his friends, in -restaurants, café-houses, and even while walking through the country. -“The striking characteristics of Schubert’s best songs,” wrote Philip -Hale, “are spontaneous, haunting melody, a natural birthright mastery -over modulation, a singular good fortune in finding the one inevitable -phrase for the prevailing sentiment of the poem, and in finding the -fitting descriptive figure for salient detail. His best songs have an atmosphere -which cannot be passed unnoticed, which cannot be misunderstood.” -But far and beyond his natural gift at lyricism was his genius in -translating the slightest nuances and suggestions of a line of poetry into -tones. It is for this very reason that he is often described as the father of -the <i>Lied</i>, or art song.</p> -<p>Because Schubert’s melodies come from the heart and go to the heart -they have been staples in semi-classical literature by way of orchestral -transcription. Thus though they are as lofty and as noble a musical -expression as can be found anywhere, Schubert’s songs have such universality -that they are as popular as they are inspired. These are a few -of the Schubert songs that have profited from instrumental adaptations:</p> -<p>“<i>Am Meer</i>” (“By the Sea”), poem by Heinrich Heine. This stately -melody seems to catch some of the vastness and mystery of the sea. This -is the twelfth song from the song cycle <i>Schwanengesang</i> (1828).</p> -<p>“<i>An die Musik</i>” (“To Music”), poem by Franz von Schober (1817). -<span class="pb" id="Page_270">270</span> -The glowing melody has caught the composer’s wonder and awe at the -magic of music.</p> -<p>“<i>Auf dem Wasser zu singen</i>” (“To Be Sung on the Water”) poem by -Stolberg. This gay, heartfelt tune expresses the composer’s delight in -floating on the water.</p> -<p>“<i>Ave Maria</i>,” based on a poem by Sir Walter Scott (1825). This is -a melody of exalted spiritual character touched with serenity and radiance. -August Wilhelmj’s transcription for violin and piano is a staple in -the violin repertory.</p> -<p>“<i>Du bist die Ruh’</i>” (“You are Peace”), poem by Rueckert. An atmosphere -of serenity is magically created by a melody of wondrous beauty.</p> -<p>“<i>Der Erlkoenig</i>” (“The Erlking”), poem by Goethe (1815). This is -one of Schubert’s most dramatic songs, describing the death of a child -at the hands of the Erlking, symbol of death.</p> -<p>“<i>Die Forelle</i>” (“The Trout”), poem by Schubert (1817). This gay -tune gives a lively picture of a trout leaping happily in and out of the -water. Schubert used this melody for a set of variations in his piano -quintet in A major, op. 114 (1819).</p> -<p>“<i>Gretchen am Spinnrade</i>” (“Marguerite at the Spinning Wheel”), -poem by Goethe (1814). Against an accompaniment suggesting the -whirr of the spinning wheel, comes Marguerite’s haunting song as she -thinks of her loved one.</p> -<p>“Hark, Hark, the Lark” (“<i>Horch, Horch, die Lerch</i>”), poem by -Shakespeare (1826). The melody reflects the light-hearted mood of the -famous Shakespeare verse from <i>Cymbeline</i>.</p> -<p>“<i>Der Lindenbaum</i>” (“The Linden Tree”), poem by Mueller is a -poignant poem of unhappy love. It is the fifth song in the cycle <i>Die -Winterreise</i> (1827).</p> -<p>“<i>Staendchen</i>” (“Serenade”), poem by Rellstab. This is probably one -of the most famous love songs ever written. It is the fourth song in the -cycle <i>Schwanengesang</i> (1828).</p> -<p>“<i>Der Tod und das Maedchen</i>” (“Death and the Maiden”), poem by -Claudius (1817). This dramatic song consists of a dialogue between a -young girl and Death, the words of death appearing in a solemn melody -while that of the girl in a breathless entreaty. Schubert used this melody -for a set of variations in his string quartet in D minor (1824).</p> -<p>Like Beethoven and Mozart Schubert wrote a considerable amount -of popular dance music for solo piano, and also for orchestra: German -Dances, Laendler, and Waltzes. All have a vigorous peasant rhythm and -with melodies reminiscent of Austrian folk music. Schubert’s waltzes -<span class="pb" id="Page_271">271</span> -are of particular interest since he was one of the first composers to -unite several different waltz tunes into a single integrated composition. -The Schubert waltzes, each a delight, are found in <i>Valses sentimentales</i>, -op. 50 (1825) and <i>Valses nobles</i>, op. 77 (1827). Liszt adapted nine of the -more popular of these waltz melodies in <i>Soirées de Vienne</i> for solo -piano. The 20th-century French Impressionist composer, Maurice -Ravel, was inspired by these Schubert waltzes to write in 1910 the -<i>Valses nobles et sentimentales</i> in two versions, for solo piano, and for -orchestra.</p> -<p><i>Marche militaire</i> (<i>Militaermarsch</i>) is a popular little march in D -major originally for piano four hands, the first of a set of three marches -gathered in op. 41. This is one of Schubert’s most popular instrumental -numbers. Karl Tausig transcribed it for solo piano, and it has received -many other adaptations including several for orchestra, in which form -it is undoubtedly best known.</p> -<p><i>Moment Musical</i> is a brief composition for the piano. It is in song -form and of an improvisational character, and is a <i>genre</i> of instrumental -composition created and made famous by Schubert. He wrote many -such pieces, but the one always considered when this form is designated -is No. 3 in F minor, a graceful and lovable melody, the very essence of -Viennese <i>Gemuetlichkeit</i>, although it is subtitled “Russian Air” (<i>Air -Russe</i>). Fritz Kreisler transcribed it for violin and piano and it is, to be -sure, familiar in orchestral adaptations including one by Stokowski, as -well as versions for cello and piano, string quartet, clarinet quartet, four -pianos, and so forth.</p> -<p>The incidental music to <i>Rosamunde</i> (1823) includes an often played -overture and another of Schubert’s universally loved instrumental numbers, -the <i>Ballet Music</i>. When <i>Rosamunde</i> was introduced in Vienna on -December 20, 1823 it was a failure, but this was due more to the insipid -play of Helmina von Chézy than to Schubert’s music. The overture -heard upon that occasion is not the overture now known as <i>Rosamunde</i>. -The latter is one which Schubert had written for an earlier -operetta, <i>Die Zauberharfe</i>. A dignified introduction is dominated by -a soaring melody for oboe and clarinet. The tempo changes, and a brisk -little melody is given by the violins; a contrast is offered by a lyric subject -for the woodwind.</p> -<p>The Entr’acte No. 2 in B-flat major from <i>Rosamunde</i> is one of -Schubert’s most inspired melodies, whose beauty tempted H. L. -Mencken once to point to it as the proof that God existed. Schubert -himself was fond of the melody for he used it twice more, in his String -<span class="pb" id="Page_272">272</span> -Quartet in A minor (1824) and for a piano Impromptu in B-flat major -(1827).</p> -<p>There are two musical episodes in <i>Rosamunde</i> designated as <i>Ballet -Music</i>. The famous one is the second in G major, a melody so sparkling, -infectious and graceful—and so full of the joy of life—that once again -like the <i>Moment Musical</i> in F minor it embodies the best of what today -we characterize as Viennese. Fritz Kreisler’s transcription for violin -and piano is famous.</p> -<h2 id="c154"><span class="small">Robert <b id="g_Schumann">Schumann</b></span></h2> -<p>Robert Schumann was born in Zwickau, Germany, on -June 8, 1810. Though he demonstrated an unusual gift for music from -earliest childhood he was directed by his father to law. While attending -the Leipzig Conservatory in 1828 he studied the piano with Friedrich -Wieck. In 1829, in Heidelberg, where he had come to continue his law -study, he completed the first of his works to get published, the <i>Abegg -Variations</i> for piano. He returned to Leipzig in 1829, having come to -the decision to make music and not law his lifework, and plunged intensively -into study. His ambition was to become a great virtuoso of -the piano. In his efforts to master his technique he so abused his hands -that a slight paralysis set in, putting to rest all hopes of a career as -pianist. He now decided on composition. After an additional period of -study with Heinrich Dorn, he completed his first major work, the -<i>Paganini Etudes</i> for piano, and started work on his first symphony. He -became active in the musical life of Leipzig by helping found and editing -the <i>Neue Zeitschrift fuer Musik</i>, which became a powerful medium -for fighting for the highest ideals in music. He also formed a musical -society called the <i>Davidsbuendler</i> made up of idealistic young musicians -who attacked false values and philistinism in music. All the while -his creative life was unfolding richly. He wrote two unqualified masterworks -<span class="pb" id="Page_273">273</span> -for piano between 1833 and 1835, the <i>Carnaval</i> and the <i>Études -symphoniques</i>. In 1840 Schumann married Clara Wieck, daughter of -his one-time piano teacher. Their love affair had been of more than -five years’ duration, but Clara’s father was stubbornly opposed to their -marriage and put every possible obstacle in their way. Schumann finally -had to seek the sanction of the law courts before his marriage could be -consummated. He now entered upon his most productive period as -composer, completing four symphonies, three string quartets, a piano -quartet, numerous songs, a piano concerto among other works. In -1843, he helped found the Leipzig Conservatory where for a while he -taught the piano, and between 1850 and 1853 he was municipal music -director for the city of Duesseldorf. After 1853 there took place a startling -deterioration of his nervous system, bringing on melancholia, -lapses of memory, and finally insanity. The last two years of his life -were spent in an asylum at Endenich, Germany, where he died on July -29, 1856.</p> -<p>Schumann was a giant in German Romantic music. His works -abound with the most captivating lyricism, heartfelt emotion, subtle -moods, and an unrestricted imagination. There is not much in this -wonderful literature that falls naturally within the category of semi-classics—only -three piano pieces familiar in transcriptions, and a song.</p> -<p><i>Abendlied</i> (<i>Evening Song</i>), a gentle mood picture in the composer’s -most rewarding Romantic vein, comes from <i>Twelve Four-Hand Pieces -for Younger and Older Children</i>, op. 85 (1849) where it is the final -number.</p> -<p>“<i>Die beiden Grenadiere</i>” (<i>The Two Grenadiers</i>) op. 49, no. 1 (1840) -is probably the most familiar of Schumann’s many songs. The poem is -by Heine. The music describes with telling effect the reaction of two -French grenadiers on learning that their Emperor Napoleon has been -captured. The song reaches a powerful climax with a quotation from -the <i>Marseillaise</i>.</p> -<p>The <i>Traeumerei</i> (<i>Dreaming</i>) is the seventh number in a set of thirteen -piano pieces collectively entitled <i>Scenes from Childhood</i> (<i>Kinderscenen</i>), -op. 15, (1838). Like the <i>Abendlied</i>, it is an atmospheric piece, -perhaps one of the most popular compositions by Schumann.</p> -<p><i>Wild Horseman</i> (<i>Wilder Reiter</i>) can be found in the <i>Album for -the Young</i> (<i>Album fuer die Jugend</i>), op. 68, no. 3 (1848). It was made -into an American popular song in the early 1950’s by Johnny Burke.</p> -<div class="pb" id="Page_274">274</div> -<h2 id="c155"><span class="small">Cyril <b id="g_Scott">Scott</b></span></h2> -<p>Cyril Meir Scott was born in Oxton, England, on September -27, 1879. His musical training took place at Hoch’s Conservatory -in Frankfort, Germany, and privately with Ivan Knorr. He went -to live in Liverpool in 1898 where he taught piano and devoted himself -to composition. Performances of several orchestral and chamber-music -works at the turn of the century helped establish his reputation. He also -distinguished himself as a concert pianist with performances throughout -Europe and a tour of America in 1921. Though frequently a composer -with <i>avant-garde</i> tendencies—one of the first English composers -to use the most advanced techniques of modern music—Scott is most -famous for his short pieces for the piano which have been extensively -performed in transcription. His writing is mainly impressionistic, with -a subtle feeling for sensitive atmosphere and moods. The best of these -miniatures, each a delicate tone picture, are: <i>Danse nègre</i> (<i>Negro -Dance</i>), op. 58, no. 3 (1908); and <i>Lotus Land</i>, op. 47, no. 1 (1905). The -latter was transcribed for violin and piano by Kreisler and for orchestra -by Kostelanetz.</p> -<h2 id="c156"><span class="small">Jean <b id="g_Sibelius">Sibelius</b></span></h2> -<p>Jean Sibelius was born in Tavastehus, Finland, on December -8, 1865. Though he early revealed a pronounced gift for music he -planned a career in law. After a year at the University of Helsinki he -finally decided upon music. From 1886 to 1889 he attended the Helsinki -<span class="pb" id="Page_275">275</span> -Conservatory where one of his teachers was Ferruccio Busoni, -after which he studied in Berlin with Albert Becker and in Vienna with -Robert Fuchs and Karl Goldmark. He was back in his native land in -1891, and one year after that conducted in Helsinki the première of his -first work in a national style, <i>Kullervo</i>. From then on, he continued -producing works with a pronounced national identity with which he -became not only one of Finland’s leading creative figures in music but -also its prime musical spokesman. In 1897 he was given the first government -grant ever bestowed on a musician which enabled him to give -up his teaching activities for composition. He now produced some of -his greatest music, including most of his symphonies. In 1914 he paid -his only visit to the United States, directing a concert of his works in -Norfolk, Connecticut. After World War I, he toured Europe several -times. Then from 1924 on he lived in comparative seclusion at his home -in Järvenpää, which attracted admirers from all parts of the world. -Sibelius wrote nothing after 1929, but by then his place in the world’s -music was secure as one of the foremost symphonists since Brahms. In -Finland he assumed the status of a national hero. He died at his home -in Järvenpää on September 20, 1957.</p> -<p>Some of the compositions by Sibelius enjoying popularity as semi-classics -are in the post-Romantic German style which he had assumed -early in his career; only one or two are in the national idiom for which -he is so famous.</p> -<p>In the former category belongs a slight, sentimental piece called -<i>Canzonetta</i>, for string orchestra, op. 62a (1911). As its name implies it -is a small and simple instrumental song for muted strings, deeply emotional -in feeling, at times with deeply somber colorations.</p> -<p><i>Finlandia</i>, for symphony orchestra, op. 26 (1900) is one of Sibelius’ -earliest national compositions, and to this day it is the most famous. -Both in and out of Finland this music is as much an eloquent voice for -its country as its national anthem. One can go even further and say -that more people in the world know the melodies of <i>Finlandia</i> than -the Finnish anthem. So stirring are its themes, so identifiably Finnish -in personality and color, that for a long time it was believed Sibelius -had utilized national folk tunes; but the music is entirely Sibelius’. It -opens with a proud exclamation in the brass. After this comes a sensitive -melody for the woodwind, and a prayer-like song for the strings. -The music now enters a dramatic phase with stormy passages. But there -soon arrives the most famous melody in the entire work, a beautiful -supplication sounded first by the woodwind and then by the strings. -<span class="pb" id="Page_276">276</span> -A forceful climax ensues with a strong statement which seems to be -speaking in loud and ringing tones of the determination of the people -to stay free.</p> -<p>Performances of <i>Finlandia</i> played a prominent role in the political -history of Finland. When performed in its first version, in 1899, it was -used to help raise funds for a Press Pension fight against the suppression -of free speech and press by the Russians. Within the next two years -(following a radical revision of the music in 1900) the work was given -under various titles: In France it was first performed as <i>Suomi</i> and then -as <i>La Patrie</i>; in Germany, as <i>Vaterland</i>. In Finland the music proved so -inflammatory in arousing national ardor that Russia suppressed its performances -in that country, while permitting it to be played in the Empire -so long as the title <i>Impromptu</i> was used. When, in 1905, Russia -made far-reaching political concessions to Finland, Sibelius’ tone poem -was once again permitted performances. For the next twelve years it became -the national expression of a people stubbornly fighting for its -independence. Performances kept alive the national fire to such an -extent that it has been said that they did more to promote the cause of -Finland’s freedom than all the propaganda of speeches and pamphlets.</p> -<p>When the Soviets invaded Finland in the first stages of World War II, -<i>Finlandia</i> once again acquired political importance. In the free world, -particularly in the United States, the music was used to speak for the -spirit of a people refusing to accept oppression and defeat.</p> -<p>Another piece of stirring national music that has become a lighter -classic comes out of the <i>Karelia Suite</i> for orchestra, op. 11 (1893), the -<i>Alla Marcia</i> section. This work was written for a historical pageant presented -by the students of Viborg University and consists of an overture, -two melodious sections (<i>Intermezzo</i> and <i>Ballade</i>) and the <i>Alla marcia</i>, -march music of dramatic surge and sweep, in which effective use is -made of abrupt key changes.</p> -<p>Sibelius wrote several delightful <i>Romances</i> in the German-Romantic -idiom of his early <i>Canzonetta</i>. One of these was originally for solo -piano, in D-flat major, op. 24, no. 9 (1903); another for violin and -piano, F major, op. 78, no. 2 (1915). The former has become popular in -transcriptions for salon orchestra; the latter, for violin and orchestra, -and cello and piano. Perhaps the most famous of Sibelius’ <i>Romances</i> is -that in C major, for string orchestra, Op. 42 (1903). It begins with an -unorthodox opening, unusual in harmonic structure and varied in inflections, -but its principal melody—a soulful song—is in the traditional -idiom of an uninhibited Romanticist.</p> -<div class="pb" id="Page_277">277</div> -<p>The best known of Sibelius’ Romantic compositions, a universal -favorite with salon orchestras, is the <i>Valse Triste</i>, for orchestra, op. 44 -(1903). This is a section from the incidental music for <i>Kuolema</i>, a play -by Sibelius’ brother-in-law, Arvid Jaernefelt; but it is the only one -from this score to get published. This slow and lugubrious melody, -bathed in sentimentality, is a literal musical interpretation of the following -program, translated by Rosa Newmarch: “It is night. The son who -has been watching by the bedside of his sick mother has fallen asleep -from sheer weariness. Gradually a ruddy light is reflected through the -room; there is a sound of distant music; the glow and the music steal -nearer until the strains of a valse melody float distinctly to our ears. The -sleeping mother awakens, rises from her bed, and, in her long white -garment which takes the semblance of a ball dress, begins to move -slowly and silently to and fro. She waves her hands and beckons in time -to the music, as though she were summoning a crowd of invisible guests. -And now they appear, these strange visionary couples, turning and -gliding to an unearthly valse rhythm. The dying woman mingles with -the dancers, she strives to make them look into her eyes, but the shadowy -guests one and all avoid her glance. Then she seems to sink exhausted -on her couch, and the music breaks off. But presently she -gathers all her strength and invokes the dance once again with more -energetic gestures than before. Back come the shadowy dancers, gyrating -in a wild, mad rhythm. The weird gaiety reaches a climax; there is -a knock at the door, which flies wide open; the mother utters a despairing -cry; the spectral guests vanish; the music dies away. Death stands -on the threshold.”</p> -<h2 id="c157"><span class="small">Christian <b id="g_Sinding">Sinding</b></span></h2> -<p>Christian Sinding was born in Kongsberg, Norway, -on January 11, 1856. After attending the Leipzig Conservatory from -1877 to 1881 he settled in Oslo as a teacher of the piano. His first published -<span class="pb" id="Page_278">278</span> -composition was a piano quintet in 1884, and in 1885 he directed -a concert of his own music in Oslo. Though he wrote in large forms, -including symphonies, concertos, suites, tone poems and various chamber-music -compositions, he is best known for his smaller pieces for the -piano. In 1890 he received an annual subsidy from his government to -enable him to devote himself completely to composition. One of Norway’s -most significant composers, he was given a handsome life pension -in 1915, and in 1916 an additional government gift of 30,000 crowns. In -1921-1922 he visited the United States when he served for one season -as a member of the faculty of the Eastman School of Music. He died in -Oslo on December 3, 1941.</p> -<p>His smaller pieces for the piano include etudes, waltzes, caprices, intermezzos -and various descriptive compositions. It is by one of the last -that he is most often remembered, a favorite of young pianists throughout -the world, and of salon and pop orchestras in instrumental adaptations. -This is the ever-popular <i>Rustle of Spring</i> (<i>Fruehlingsrauschen</i>), -probably the most popular piece of music describing the vernal season. -This is the second of <i>Six Pieces</i>, for solo piano, Op. 32 (1896). The rustle -can be found in the accompaniment, against which moves a soft, sentimental -song filled with all the magic of Nature’s rebirth at springtime. -In this same suite, a second number of markedly contrasting nature, has -also become familiar—the first number, played in a vigorous and picaresque -style, the <i>Marche grotesque</i>.</p> -<h2 id="c158"><span class="small">Leone <b id="g_Sinigaglia">Sinigaglia</b></span></h2> -<p>Leone Sinigaglia was born in Turin, Italy, on August -14, 1868. His preliminary music study took place at the Liceo Musicale -of his native city and was completed with Mandyczewski in Vienna and -Dvořák in Prague. The latter encouraged him to write music in a -national Italian idiom. It was in this style that he created his earliest -<span class="pb" id="Page_279">279</span> -significant compositions, the first being <i>Danze piemontesi</i>, introduced -in Turin in 1905, Toscanini conducting. Later works included <i>Rapsodia -piemontese</i> for violin and orchestra; <i>Piemonte</i>, for orchestra; a -violin concerto; and various works for chamber music groups, solo instruments -and orchestra. He died in Turin on May 16, 1944.</p> -<p>His best known and most frequently played composition is a gay, -infectious little concert overture, <i>Le Baruffe chiozzotte</i> (<i>The Quarrels -of the People of Chiozzo)</i>, op. 32 (1907). It was inspired by the Goldoni -comedy of the same name which offers an amusing picture of life in the -little town of Chiozzo. There Lucietto and Tita are in love, quarrel, -and become reconciled through the ministrations of the magistrate. A -loud theme for full orchestra provides the overture with a boisterous -beginning. A passing tender thought then comes as contrast. After some -elaboration of these ideas, a delightful folk song is heard first in the -oboe, and then in violins. The tempo now quickens, the mood becomes -restless, and the music grows sprightly. An amusing little episode now -appears in woodwind and violins after which the folk song and the -loud opening theme are recalled.</p> -<p><i>Piemonte</i>, a suite for orchestra, op. 36 is a charming four-movement -composition in which the folk melodies and dances of Piedmont are -prominently used. The first movement, “Over Woods and Fields,” -opens with a folk tune, which the composer repeats in the finale. Two -other delightful ideas follow: the first in the horn, repeated by the -cellos; the second in muted first violins. In the second movement, “A -Rustic Dance,” the principal Piedmont dance tune is heard in solo -violin and oboe; a second subject occurs after the development of the -first in lower strings and woodwind. The heart of the third movement, -“In the Sacred Mountain,” is a folk song first offered by the horns, -accompanied by cellos and double basses. The suite ends with a picture -of a festival, “Piedmontese Carnival,” its two vigorous ideas heard respectively -in full orchestra, and in trumpet and first violins.</p> -<div class="pb" id="Page_280">280</div> -<h2 id="c159"><span class="small">Bedřich <b id="g_Smetana">Smetana</b></span></h2> -<p>Bedřich Smetana was born in Leitomischl, Bohemia, on -March 2, 1824. Though he was interested in music from childhood on, -he received little training until his nineteenth year when he came to -Prague and studied with Josef Proksch. For several years after the completion -of his music study he worked as teacher of music for Count Leopold -Thun. He soon became active in the musical life of his country; -in 1848 he was a significant force in the creation of Prague’s first music -school. In 1849, Smetana was appointed pianist to Ferdinand I, the -former Emperor of Austria residing in Prague. From 1856 to 1861 -Smetana lived in Gothenburg, Sweden, where he was active as conductor, -teacher, and pianist. After returning to his native land in 1861 he -became one of its dominant musical figures. He served as director of the -music school, conducted a chorus, wrote music criticisms, founded and -directed a drama school, and organized the Society of Artists. He also -wrote a succession of major works in which the cause of Bohemian -nationalism was espoused so vigorously and imaginatively that Smetana -has since become recognized as the father of Bohemian national music. -His most significant works are the folk opera, <i>The Bartered Bride</i>, and -a cycle of orchestral tone poems collectively entitled <i>My Country</i> (<i>Má -Vlast</i>). Smetana was stricken by deafness in 1874, despite which he continued -creating important works, among them being operas and an -autobiographical string quartet called <i>From My Life</i> (<i>Aus meinem -Leben</i>). Total deafness was supplemented by insanity in 1883 which -necessitated confinement in an asylum in Prague where he died on -May 12, 1884.</p> -<p>The rich folk melodies and pulsating folk rhythms of native dance -music overflow in Smetana’s music, providing it with much of its -vitality and popular interest. Smetana’s gift at writing music in the -style, idiom, and techniques of Bohemian folk dances is evident in -many of his compositions, but nowhere more successfully than in his -delightful folk comic opera, <i>The Bartered Bride</i> (<i>Prodaná nevešta</i>). -This little opera, first performed in Prague on May 30, 1866, is the -<span class="pb" id="Page_281">281</span> -foundation on which Bohemian national music rests securely. It is a -gay, lively picture of life in a small Bohemian village. The principal -action involves the efforts of the village matchmaker to get Marie married -to Wenzel, a dim-witted, stuttering son of the town’s wealthy landowner. -But Marie is in love with Hans who, as it turns out, is also the -son of the same landowner, though by a previous marriage. Through -trickery, Hans manages to win Marie, though for a while matters become -complicated when Marie is led to believe that Hans has deserted -her.</p> -<p>In its first version, <i>The Bartered Bride</i> was presented as a play (by -Karel Sabina) with incidental music by Smetana. Realizing that this -work had operatic possibilities, Smetana amplified and revised his score, -and wrote recitatives for the spoken dialogue. In this new extended -form the opera was heard in Vienna in 1892 and was a sensation; from -then on, and to the present time, it has remained one of the most -lovable comic operas ever written.</p> -<p>There are three colorful and dynamic folk dances in this opera which -contribute powerfully to the overall national identity, but whose impact -on audiences is by no means lost when heard apart from the stage -action. “The Dance of the Comedians” appears in the third act, when -a circus troupe appears in the village square and entertains villagers -with a spirited dance. The “Furiant”—a fiery type of Bohemian dance -with marked cross rhythms—comes in the second act when villagers -enter the local inn and perform a Corybantic dance. The “Polka,” a -favorite Bohemian dance, comes as an exciting finish to the first act as -local residents give vent to their holiday spirits during a festival in the -village square.</p> -<p>The effervescent overture which precedes the first act is as popular -as the dances. The merry first theme is given by strings and woodwind -in unison against strong chords in brasses and timpani. This subject is -simplified, at times in a fugal style, and is brought to a climax before a -second short subject is stated by the oboe. Still a third charming folk -tune appears, in violins and cellos, before the first main subject is recalled -and developed. The coda, based on this first theme, carries the -overture to a lively conclusion. Gustav Mahler, the eminent music -director of the Vienna Royal Opera which gave this opera its first major -success outside Bohemia, felt this overture was so much in the spirit of -the entire work, and so basic to its overall mood and structure, that he -preferred using it before the second act so that latecomers into the -opera house might not miss it.</p> -<div class="pb" id="Page_282">282</div> -<p>Smetana’s most famous work for orchestra comes from his cycle of -six national tone poems entitled <i>My Country</i> (<i>Má Vlast</i>), which he -wrote between 1874 and 1879 in a tonal tribute to his native land. Each -of the tone poems is a picture of a different facet of Bohemian life, -geography, and background. The most famous composition of this set -is <i>The Moldau</i> (<i>Vltava</i>), a portrait of the famous Bohemian river. This -is a literal tonal representation of the following descriptive program -interpolated by the composer in his published score:</p> -<p>“Two springs gush forth in the shade of the Bohemian forest, the -one warm and spouting, the other cold and tranquil. Their waves, gayly -rushing onward over their rocky beds, unite and glisten in the rays of -the morning sun. The forest brook, fast hurrying on, becomes the river -Vltava, which, flowing ever on through Bohemia’s valleys, grows to be -a mighty stream; it flows through thick woods in which the joyous noise -of the hunt and the notes of the hunter’s horn are heard ever nearer and -nearer; it flows through grass-grown pastures and lowlands where a -wedding feast is celebrated with song and dancing. At night the wood -and water nymphs revel in its shining waves, in which many fortresses -and castles are reflected as witnesses of the past glory of knighthood and -the vanished warlike fame of bygone ages. At St. John Rapids the -stream rushes on, winding in and out through the cataracts, and hews -out a path for itself with its foaming waves through the rocky chasm -into the broad river bed in which it flows on in majestic repose toward -Prague, welcomed by time-honored Vysehrad, whereupon it vanishes in -the far distance from the poet’s gaze.”</p> -<p>The rippling flow of the river Moldau is portrayed by fast figures in -the strings, the background for a broad and sensual folk song representing -the river itself heard in violins and woodwind. Hunting calls are -sounded by the horns, after which a lusty peasant dance erupts from the -full orchestra. Nymphs and naiads disport to the strains of a brief figure -in the woodwind. A transition by the wind brings back the beautiful -Moldau song. A climax is built up, after which the setting becomes once -again serene. The Moldau continues its serene course towards Prague.</p> -<div class="pb" id="Page_283">283</div> -<h2 id="c160"><span class="small">John Philip <b id="g_Sousa">Sousa</b></span></h2> -<p>John Philip Sousa, America’s foremost composer of -march music, was born in Washington, D. C., on November 6, 1854. -The son of a trombone player in the United States Marine Band, John -Philip early received music instruction, mainly the violin from John -Esputa. When he was about thirteen, John enlisted in the Marine Corps -where he played in its band for two years. For several years after that -he played the violin in and conducted the orchestras of various theaters; -in the summer of 1877 he played in an orchestra conducted by Jacques -Offenbach at the Philadelphia Centennial Exposition. Between 1880 -and 1892 he was the musical director of the Marine Band. It was during -this period that he wrote his first famous marches. In 1892 he formed a -band of his own with which he toured Europe and America for many -years, and with which he gave more than a thousand concerts. His most -popular marches (together with his best transcriptions for band of -national ballads and patriotic airs) were always the highlights of his -concerts. Besides the marches, Sousa wrote the music for numerous -comic operas, the most famous being <i>El Capitan</i> (1896) and <i>The Bride -Elect</i> (1898). In 1918 Sousa and his band were heard in the Hippodrome -extravaganza, <i>Everything</i>. He published his autobiography, -<i>Marching Along</i>, in 1928, and died in Reading, Pennsylvania, on -March 6, 1932.</p> -<p>In the closing years of the 19th century, and in the first part of the -20th, America was undergoing expansion in many directions: art, science, -literature, commerce, finance, world affairs. Hand in hand with -this development and growth came an aroused patriotism and an expanding -chauvinism. Sousa’s marches were the voice of this new and -intense national consciousness.</p> -<p>As Sigmund Spaeth has pointed out, most of Sousa’s famous marches -follow a similar pattern, beginning with “an arresting introduction, -then using a light, skipping rhythm for his first melody, going from -that into a broader tune,” then progressing to the principal march -melody. A massive climax is finally realized with new, vibrant colors -<span class="pb" id="Page_284">284</span> -being realized in the main march melody through striking new combinations -of instruments.</p> -<p>The following are some of Sousa’s most popular marches:</p> -<p><i>El Capitan</i> (1896) was adapted from a choral passage from the comic -opera of the same name. This music was played aboard Admiral -Dewey’s flagship, <i>Olympia</i>, when it steamed down Manila Bay for -battle during the Spanish-American War. And it was again heard, this -time performed by Sousa’s own band, when Dewey was welcomed as a -conquering hero in New York on September 30, 1900.</p> -<p><i>King Cotton</i> (1895) was written on the occasion of the engagement -of the Sousa Band at the Cotton States Exposition. <i>Semper Fideles</i> -(1888) was Sousa’s first famous composition in march tempo, and to this -day it is still one of his best known marches, a perennial favorite with -parades of all kinds. Since Sousa sold this march outright for $35.00 he -never capitalized on its immense popularity.</p> -<p>Sousa’s masterpiece—and probably one of the most famous marches -ever written—was the <i>Stars and Stripes Forever</i>, completed on April 26, -1897. In 1897 Sousa was a tourist in Italy when he heard the news that -his friend and manager had died in the United States. Sousa decided -to return home. Aboard the <i>Teutonic</i> a march melody kept haunting -him. As soon as he came home he put the melody down on paper, and -it became the principal subject of “The Stars and Stripes Forever.” -This principal melody achieves an unforgettable climax in the march -when it is proudly thundered by the full orchestra to figurations in the -piccolo.</p> -<p><i>The Thunderer</i> and <i>The Washington Post March</i> were written in -1889. The latter was commissioned by the <i>Washington Post</i> for the ceremonies -attending the presentation of prizes in a student essay contest.</p> -<p>Among Sousa’s other marches are <i>The Bride Elect</i> (1897) from the -comic opera of the same name; <i>The Fairest of the Fair</i> (1908); <i>Hands -Across the Sea</i> (1899); <i>Invincible Eagle</i> (1901); and <i>Saber and Spurs</i> -(1915) dedicated to the United States Cavalry.</p> -<p>It was long maintained that Sousa was the composer of the famous -hymn of the Artillery branch of the United States armed services, “The -Caisson Song.” Sousa played this march in his own brilliant new band -arrangement at a Liberty Loan Drive at the Hippodrome, in New York, -in 1918. For some time thereafter Sousa was credited as being the composer. -But further research revealed the fact that the words and music -had been written in 1908 by Edmund L. Gruber, then a lieutenant with -the 5th Artillery in the Philippines.</p> -<div class="pb" id="Page_285">285</div> -<h2 id="c161"><span class="small">Oley <b id="g_Speaks">Speaks</b></span></h2> -<p>Oley Speaks was born in Canal Winchester, Ohio, on June -28, 1874. He received his musical training, principally in voice, from -various teachers including Armour Galloway and Emma Thursby. He -then filled the post of baritone soloist at churches in Cleveland, Ohio, -and New York City, including the St. Thomas Church in New York -from 1901 to 1906. He also filled numerous engagements in song recitals -and performances of oratorios. He died in New York City on August 27, -1948.</p> -<p>Speaks was the composer of more than 250 published art songs which -have placed him in a front rank among American song composers. -Three have become outstandingly popular; there is hardly a male -singer anywhere who has not sung such all-time favorites as “Morning,” -“On the Road to Mandalay” and “Sylvia,” each of which is among -the most widely circulated and most frequently heard art songs by an -American. “Morning,” words by Frank L. Stanton, was published in -1910. Where “Morning” is lyrical, “On the Road to Mandalay” (published -in 1907) is dramatic, a setting of the famous poem by Rudyard -Kipling. The persistent rhythmic background suggesting drum beats, -and the effective key change from verse to chorus, have an inescapable -effect on listeners. “Sylvia,” poem by Clinton Scollard, published in -1914, is in a sentimental mood, and like “Morning” reveals the composer’s -marked gift for sensitive lyricism.</p> -<div class="pb" id="Page_286">286</div> -<h2 id="c162"><span class="small">Robert <b id="g_Stolz">Stolz</b></span></h2> -<p>Robert Stolz was born in Graz, Austria, on August 25, -1882. His parents were musical, his father being a successful conductor -and teacher, and his mother a concert pianist. Robert’s music study -took place first with his father, then with Robert Fuchs in Vienna and -Humperdinck in Berlin. In 1901 he assumed his first post as conductor, -at an opera house in Brunn. When he was twenty-five he was appointed -conductor of the Theater-an-der-Wien in Vienna where he remained -twelve years, directing most of the masterworks in the field of Austrian -and German operettas. His own career as composer of operettas had begun -in 1903 with <i>Schoen Lorchen</i> produced in Salzburg. Since then -Stolz has written music for about sixty operettas, scores for more than -eighty films, and a thousand songs in all. His music is in the light, graceful, -ebullient style that has characterized Viennese operetta music since -the time of Johann Strauss II. His most famous operettas are: <i>Die lustigen -Weiber von Wien</i> (1909), <i>Die Gluecksmaedel</i> (1910), <i>Die Tanzgraefin</i> -(1921), <i>Peppina</i> (1931), <i>Zwei Herzen in dreiviertel Takt</i> (1933), -<i>Fruehling im Prater</i> (1949) and <i>Karneval in Wien</i> (1950). In 1938 Stolz -came to the United States where for several years he worked in Hollywood. -After the end of World War II he returned to Vienna, remaining -active as a composer not only in that city but also in Berlin and London.</p> -<p>Stolz’ most famous song is “<i>Im Prater bluehn wieder die Baeume</i>” -(“In the Prater the Trees Are Again Blooming”), a glowing hymn not -only to a district in Vienna famous for its frolic and amusement but -even more so to the city of Vienna itself.</p> -<p>A waltz from his operetta, <i>Two Hearts in Three-Quarter Time</i> -(<i>Zwei Herzen in dreiviertel Takt</i>) is perhaps one of the most celebrated -pieces in three-quarter time written in Vienna since Lehár, and it is -loved the world over. This operetta originated in 1931 as a German -motion-picture which won accolades around the world for its charm -and freshness, for which Stolz wrote a score that included his famous -waltz. It was then adapted for the stage by Paul Knepler and J. M. Willeminsky -and introduced in Zurich, Switzerland, in 1933. This delightful -text concerns the trials and tribulations of producing an operetta. -<span class="pb" id="Page_287">287</span> -That operetta is accepted for production on the condition that a good -waltz melody is written for it, and the composer Toni Hofer gets his -inspiration for that tune from lovely Hedi, the young sister of the librettist. -This waltz, of course, is the title number, which, in its lilt and -buoyancy and Viennese love of life, is in the best tradition of Viennese -popular music.</p> -<h2 id="c163"><span class="small">Oscar <b id="g_Straus">Straus</b></span></h2> -<p>Oscar Straus was no relation to any of the famous Viennese -Strausses; nevertheless in the writing of light, gay music in waltz tempo -and spirited melodies for the operetta stage he was certainly their spiritual -brother. He was born in Vienna on March 6, 1870, and studied -music with private teachers in Vienna and Berlin, including Max -Bruch. In 1901 he settled in Berlin where he became conductor at a -famous cabaret, <i>Ueberbrettl</i>, for whose productions of farces he wrote -a number of scores. Soon after that he turned to writing operettas, becoming -world famous with <i>The Waltz Dream</i> in 1907 and <i>The Chocolate -Soldier</i> in 1908, both introduced in Vienna. He wrote about thirty -operettas after that, many heard with outstanding success in the music -centers of the world. The best of these were <i>Der letzte Walzer</i> (1920), -<i>Die Teresina</i> (1921), <i>Drei Walzer</i> (1935), and <i>Bozena</i> (1952). He was at -his best writing waltz melodies but he was also skilful in interpolating -satirical elements into his musical writing through the exploitation of -ragtime, jazz, and the shimmy. Straus lived in Berlin until 1927, and -for a decade after that he made his home in Vienna and Paris. In 1939 -he became a French citizen, and from 1940 to 1948 he lived in the -United States, filling some assignments in Hollywood. He returned to -his native land in 1948, and died at Bad Ischl, Austria, on January 11, -1954.</p> -<p><i>The Chocolate Soldier</i> (<i>Der tapfere Soldat</i>) was the operetta adaptation -of Bernard Shaw’s comedy, <i>Arms and the Man</i>, by R. Bernauer and -L. Jacobsen. Its première took place in Vienna on November 14, 1908, -<span class="pb" id="Page_288">288</span> -with the first American performance taking place a year later at the -Casino Theater in New York. The setting is Serbia in 1885 where the -hero, Lieutenant Bumerli, gains the nickname of “chocolate soldier” -because of a sweet tooth. While escaping from the enemy, he finds -refuge in the bedroom of Nadina, daughter of Colonel Popoff. Nadina -becomes the instrument by means of which the lieutenant is now able -to effect his escape, disguised in the coat of Colonel Popolf. But before -the final curtain Bumerli and Nadina also become lovers.</p> -<p>The waltz, “My Hero,” (“<i>Komm, Komm, Held meiner Traeume</i>”) -Nadina’s waltz of love to the chocolate soldier, is the most celebrated -excerpt from this operetta. Other familiar pages include the lovely first -act duet of Nadina and Bumerli, “Sympathy”; the little orchestral -march in the second act, a satirical take off on military pomp and circumstance; -and Nadina’s “Letter Song” in the third act.</p> -<p><i>A Waltz Dream</i> (<i>Ein Walzertraum</i>), book by Felix Doermann and -Leopold Jacobsen, was introduced in Vienna on March 2, 1907, and in -New York in April 1908. Lieutenant Niki of the Austrian army is -ordered by the Austrian Emperor to marry Princess Helen, but he falls -in love with Frantzi, a violinist in a girl’s orchestra. This love affair becomes -frustrated when Niki must return to Vienna to become Prince -Consort.</p> -<p>The main musical selection from this operetta is the title number, a -waltz which first appears as a duet between Niki and a fellow officer in -the first act, then recurs throughout the operetta, and finally brings it to -a close. Two sprightly march excerpts, from the second and third acts -respectively, and the duet, “Piccolo, piccolo, tsin, tsin, tsin” are also -popular.</p> -<h2 id="c164"><span class="small"><b id="g_EduardStrauss">Eduard Strauss</b></span></h2> -<p>Eduard Strauss, the younger brother of Johann Strauss II, -was born in Vienna on March 15, 1835. He studied music in Vienna -with G. Preyer following which he made his café-house debut in 1862 -<span class="pb" id="Page_289">289</span> -by conducting his father’s orchestra at the Dianasaal. He continued to -lead his father’s orchestra at the Volksgarten and Musikverein as well as -at various leading café-houses in Vienna. He also made many tours, including -two of the United States in 1892 and 1901. In 1902 he dissolved -the musical organization which his father had founded three-quarters -of a century earlier and which all that time had dominated the musical -life of Vienna. Besides conducting this orchestra, he also substituted -from time to time for his famous brother, Johann Strauss II, and in -1870 he succeeded him as conductor of the court balls. Eduard Strauss -died in Vienna on December 28, 1916.</p> -<p>Eduard wrote over three hundred popular instrumental compositions -in the style of his celebrated brother but without ever equalling -his remarkable creative freshness and originality. But there is a good -deal of pleasurable listening in Eduard’s waltzes and polkas. In the -former category belongs the <i>Doctrinen</i> (<i>Faith</i>) Waltzes, op. 79; in the -latter, the gay <i>Bahn Frei</i> (<i>Fast Track</i>) Polka, op. 45. In collaboration -with his two brothers, Johann and Josef, Eduard wrote the <i>Trifolienwalzer</i> -and the <i>Schuetzenquadrille</i>.</p> -<h2 id="c165"><span class="small"><b id="g_JohannStraussI">Johann Strauss I</b></span></h2> -<p>Johann Strauss I was one of the two waltz kings of -Vienna bearing that name. The more famous one, the composer of -“The Blue Danube” was the son. But the father was also one of -Vienna’s most popular composers and café-house conductors. He was -born in Vienna on March 14, 1804, and as a boy he studied both the -violin and harmony. His love for music, combined with the decision of -his parents to make him a bookbinder, led him to run away from home. -When he was fifteen he joined Michael Pamer’s orchestra which played -at the Sperl café; another of its members was Josef Lanner, soon also -to become a major figure in Vienna’s musical life. As Lanner’s star rose, -<span class="pb" id="Page_290">290</span> -so did Johann Strauss’. First Strauss played in the Lanner Quartet at the -<i>Goldenen Rebbuhn</i> and other cafés; after that he was a member of the -Lanner Orchestra which appeared in Vienna’s leading cafés. When -Lanner’s mounting success made it necessary for him to create two -orchestras, he selected Johann Strauss to conduct one of them. Then, in -1826, Johann Strauss formed an orchestra of his own which made its -debut at the Bock Café. For the next two decades he was the idol of -Vienna, Lanner’s only rival. By 1830 he had two hundred musicians -under him. His major successes as a café-house conductor came at the -Sperl and the Redoutensaal. But his fame spread far beyond Vienna. In -1833 he toured all Austria, and in 1834 he appeared in Berlin. After -that he performed in all the major European capitals, achieving formidable -successes in London and Paris. Meanwhile, in 1833, he had become -bandmaster of the first Vienna militia regiment, one of the highest -honors a performer of light music could achieve in Austria. In -1845 he was appointed conductor of the Viennese court balls. He died -in Vienna on September 25, 1849.</p> -<p>Like Lanner, Strauss wrote a considerable amount of dance and café-house -music, over 250 compositions. His first composition was the -<i>Taeuberlwalzer</i>, named after the café <i>Zwei Tauben</i> where he was then -appearing. After that he wrote waltzes, galops, polkas, quadrilles, cotillons, -contredanses, and marches—which Vienna came to love for their -rhythmic vitality and appealing lyricism. People in Vienna used to say -that the waltzes of the first Johann Strauss were <i>made</i> for dancing because -their rhythmic pulse excited the heart and made feet restless.</p> -<p>Not much of the father Strauss’ library of music has survived. The -exceptions are the following waltzes: <i>Caecilien</i>, <i>Donaulieder</i>, the <i>Kettenbruecken</i>, -and the <i>Lorelei Rheinsklaenge</i>. To the waltz, the older -Johann Strauss brought a symphonic dimension it had heretofore not -known, particularly in his spacious introductions of which the thirty-bar -prelude of the <i>Lorelei Rheinsklaenge</i> is an outstanding example. -He also carried over to the waltz a variety of mood and feeling and a -lightness of touch new for this peasant dance. “This demon of the -ancient Viennese folk spirit,” wrote Richard Wagner after hearing -Strauss perform one of his own waltzes in Vienna, “trembled at the beginning -of a new waltz like a python preparing to spring, and it was -more the ecstasy produced by the music than the drinks among the enchanted -audience that stimulated that magical first violin to almost -dangerous flights.”</p> -<p>Of his other music the most famous is the <i>Radetzky March</i>. Count -<span class="pb" id="Page_291">291</span> -Radetzky was an Austrian military hero, victor over the Italians in -1848-1849. In honor of his Italian triumphs and suppression of the -Italian nationalist movement, Strauss wrote the spirited, sharply accented -march in 1848 which almost at once became the musical symbol -of Hapsburg Vienna and Austrian military power. The following programmatic -interpretation of this music by H. E. Jacob is of interest: -“Drunk with triumph, the Generalissimo’s battalions hurl themselves -down into Lombardy. They are close on the heels of the fleeing troops -of King Albert, the King of Sardinia. And then comes a new phase of -the march to accompany the victorious troops. A different sun shines -down on this, a memory of Vienna, a lingering trace of the feel of girls’ -arms; scraps of a dance song with a backward glance at three-quarter -time. But on they go, still forward. There are no more shots, there is -laughter. The trio follows. The ... superdominant ... hoisted as -if it were a flag.... Finally comes the return of the principal theme -with the laurels and gaiety of victory.”</p> -<h2 id="c166"><span class="small"><b id="g_JohannStraussIi">Johann Strauss II</b></span></h2> -<p>Johann Strauss II, son of the first Johann Strauss, was -born in Vienna on October 25, 1825. Though he showed an unmistakable -bent for music from his childhood on, he was forbidden by his -father to study music or to indulge in any musical activity whatsoever. -The young Johann Strauss, encouraged by his mother, was forced to -study the violin surreptitiously with a member of his father’s orchestra. -Only after the father had deserted his family, to set up another home -with his mistress, did young Johann begin to devote himself completely -and openly to music. After studying the violin with Kohlmann and -counterpoint with Joseph Drechsler, he made his debut as a café-house -conductor and composer at Dommayer’s Casino in Hietzing, near -Vienna, on October 15, 1844. The event was widely publicized and -<span class="pb" id="Page_292">292</span> -dramatized in Vienna, since the son was appearing as a rival to his -father. For this momentous debut, the son wrote the first of his waltzes—the -<i>Gunstwerber</i> and the <i>Sinngedichte</i>—which aroused immense enthusiasm. -He had to repeat the last-named waltz so many times that the -people in the café lost count. “Ah, these Viennese,” reported the editor -of <i>The Wanderer</i>. “A new waltz player, a piece of world history. Good -night, Lanner. Good evening, Father Strauss. Good morning, Son -Strauss.” The father had not attended this performance, but learned of -his son’s triumph from one of his cronies.</p> -<p>Thus a new waltz king had arisen in Vienna. His reign continued -until the end of the century. For fifty years Johann Strauss II stood -alone and unequalled as the musical idol of Vienna. His performances -were the talk of the town. His own music was on everyone’s lips. After -the death of father Strauss in 1849, he combined members of the older -man’s orchestra with his own, and toured all of Europe with the augmented -ensemble. From 1863 to 1870 he was conductor of the Viennese -balls, a post once held by his father. In 1872 he made sensational appearances -in Boston and New York. All the while he was writing some of -the most famous waltzes ever written, as well as quadrilles and polkas -and other dance pieces. And in 1871, with the première in Vienna of -<i>Indigo</i> he entered upon a new field, that of the operetta, in which once -again he was to become a dominating figure. He was admired not -merely by the masses but also by some of the greatest musicians of his -generation—Brahms, Wagner, Verdi, Hans von Buelow, Offenbach, -Goldmark, Gounod, all of whom expressed their admiration for his -music in no uncertain terms. In 1894, Vienna celebrated the 50th anniversary -of his debut with a week of festive performances; congratulations -poured into Vienna from all parts of the civilized world. He died -five years after that—in Vienna on June 3, 1899—and was buried near -Schubert, Beethoven, and Brahms.</p> -<p>It is perhaps singularly fitting that Johann Strauss should have died -in 1899. A century was coming to an end, and with it an entire epoch. -This is what one court official meant when he said that “Emperor Francis -Joseph reigned until the death of Johann Strauss.” History, with its -cold precision, may accurately record that the reign of Francis Joseph -actually terminated in 1916. But its heyday had passed with the 19th -century. The spirit of old Vienna, imperial Vienna of the Hapsburgs, -the Vienna that had been inspiration for song and story, died with -Johann Strauss. After 1900, Vienna was only a shadow of its former -self, and was made prostrate by World War I.</p> -<div class="pb" id="Page_293">293</div> -<p>If the epoch of “old Vienna” died with Johann Strauss, it was also -born with him. After 1825, the social and intellectual climate in the -imperial city changed perceptibly. The people, always gay, now gave -themselves up to frivolity. For this, political conditions had been responsible. -The autocratic rule of Francis I brought on tyranny, repression, -and an army of spies and informers. As a result, the Viennese went -in for diversions that were safe from a political point of view: flirtation, -gossip, dancing. They were partial to light musical plays and novels. -Thus, an attitude born out of expediency, became, with the passing of -time, an inextricable part of everyday life in Vienna.</p> -<p>Of the many light-hearted pleasures in which the Viennese indulged -none was dearer to them than dancing. It has been recorded that one -out of every four in Vienna danced regularly. They danced the polka, -and the quadrille; but most of all they danced the waltz.</p> -<p>Johann Strauss II was the genius of the Viennese waltz. More than -anybody before him or since he lifted the popular dance to such artistic -importance that his greatest waltzes are often performed at symphony -concerts by the world’s greatest orchestras under the foremost conductors. -Inexhaustible was his invention; richly inventive, his harmonic -writing; subtle and varied his gift at orchestration; fresh and personal -his lyricism; aristocratic his structure. To the noted 20th century German -critic, Paul Bekker, the Strauss waltz contained “more melodies -than a symphony of Beethoven, and the aggregate of Straussian melodies -is surely greater than the aggregate of Beethoven’s.”</p> -<p>Actually the waltz form used by Strauss is basically that of Lanner -and of Strauss’ own father. A slow symphonic introduction opens the -waltz. This is followed by a series of waltz melodies (usually five in -number). A symphonic coda serves both as a kind of summation and as -a conclusion. But here the similarity with the past ends. This form -received from the younger Strauss new dimension, new amplification. -His introductions are sometimes like tone poems. The waltz melodies -are incomparably rich in thought and feeling, varied in mood and style. -A new concept of thematic developments enters waltz writing with -Strauss. And his codas, as his introductions, are symphonic creations -built with consummate skill from previously stated ideas, or fragments -of these ideas. No wonder, then, that the waltzes of Johann Strauss have -been described as “symphonies for dancing.”</p> -<p>The following are the most popular of the Johann Strauss waltzes:</p> -<p><i>Acceleration</i> (<i>Accelerationen</i>), op. 234, as the title indicates, derives -its effect from the gradual acceleration in tempo in the main waltz -<span class="pb" id="Page_294">294</span> -melody. Strauss had promised to write a waltz for a ball at the Sofiensaal -but failed to deliver his manuscript even at the zero hour. Reminded -of his promise, he sat down at a restaurant table on the night of the ball -and hurriedly wrote off the complete <i>Acceleration Waltz</i> on the back -of a menu card, and soon thereafter conducted the première performance.</p> -<p><i>Artist’s Life</i> (<i>Kuenstlerleben</i>), op. 316, opens in a tender mood. A -transition is provided by an alternation of soft and loud passages, after -which the first waltz melody erupts zestfully as a tonal expression of the -lighthearted gaiety of an artist’s life. A similar mood is projected by -the other waltz melodies.</p> -<p><i>The Blue Danube</i> (<i>An der schoenen blauen Donau</i>), op. 314, is perhaps -the most famous waltz ever written, and one of the greatest. It is -now a familiar tale how Brahms, while autographing a fan of Strauss’ -wife, scribbled a few bars of this waltz and wrote underneath, “alas, not -by Brahms.” Strauss wrote <i>The Blue Danube</i> at the request of John -Herbeck, conductor of the Vienna Men’s Singing Society; thus the -original version of the waltz is for chorus and orchestra, the text being -a poem by Karl Beck in praise of Vienna and the Danube. Strauss wrote -this waltz in 1867, and it was introduced on February 15 of the same -year at the Dianasaal by Strauss’ orchestra, supplemented by Herbeck’s -singing society. The audience was so enthusiastic that it stood on the -seats and thundered for numerous repetitions. In the Spring of 1867, -Strauss introduced his waltz to Paris at the International Exposition -where it was a sensation. A tremendous ovation also greeted it when -Strauss performed it for the first time in London, at Covent Garden in -1869. When Johann Strauss made his American debut, in Boston in -1872, he conducted <i>The Blue Danube</i> with an orchestra numbering a -thousand instruments and a chorus of a thousand voices! Copies of the -music were soon in demand in far-off cities of Asia and Australia. The -publisher, Spina, was so deluged by orders he had to have a hundred -new copper plates made from which to print over a million copies.</p> -<p>It is not difficult to see why this waltz is so popular. It is an eloquent -voice of the “charm, elegance, vivacity, and sophistication” of 19th century -Vienna—so much so that it is second only to Haydn’s Austrian -National Anthem as the musical symbol of Austria.</p> -<p><i>Emperor Waltz</i> (<i>Kaiserwalz</i>), op. 437, was written in 1888 to celebrate -the 40th anniversary of the reign of Franz Joseph I. This is one -of Strauss’ most beautiful waltzes. A slow introduction spanning seventy-four -bars that has delicacy and grace, and is of a stately march-like -<span class="pb" id="Page_295">295</span> -character, is Viennese to its very marrow. A suggestion of the main waltz -tune then appears quickly but is just as quickly dismissed by a loud return -of the main introductory subject. Trombones lead to a brief -silence. After some preparation, a waltz melody of rare majesty finally -unfolds in the strings. If this wonderful waltz melody can be said to -represent the Emperor himself then the delightful waltz tunes that follow—some -of almost peasant character—can be said to speak for the joy -of the Austrian people in honoring their beloved monarch. An elaborate -coda then comes as the crown to the whole composition.</p> -<p><i>Morning Journals</i> (<i>Morgenblaetter</i>), op. 279, was written for a Viennese -press club, the Concordia. Offenbach had previously written for -that club a set of waltzes entitled “<i>Evening Journals</i>.” Strauss decided -to name his music <i>Morning Journals</i>. The Offenbach composition is today -remembered only because it provided the stimulus for Strauss’ title. -But Strauss’ music remains—the four waltzes in his freshest and most -infectious lyric vein, and its introduction highlighted by a melody of -folk song simplicity.</p> -<p><i>Roses from the South</i> (<i>Rosen aus dem Sueden</i>), op. 388, is a potpourri -of the best waltz tunes (each a delight) from one of the composer’s -lesser operettas, <i>Spitzentuch der Koenigen</i> (<i>The Queen’s Lace Handkerchief</i>). -The “south” in the title refers to Spain, the background of -the operetta, but there is nothing Spanish to this unmistakably Viennese -music.</p> -<p><i>Tales from the Vienna Woods</i> (<i>G’schichten aus dem Wiener Wald</i>), -op. 325—performed for the first time by the Strauss orchestra at the -<i>Neue Welt</i> café in 1868—is a bucolic picture of Nature’s beauty in the -forests skirting Vienna. The beauty of Nature is suggested in the stately -introduction with its open fifths and its serene melody for cello followed -by a flute cadenza. All the loveliness of the Vienna woods is then -represented by a waltz melody (originally scored for zither, but now -most often presented by strings), a loveliness that is carried on with -incomparable grace and charm by the ensuing waltz tunes.</p> -<p><i>Vienna Blood</i> (<i>Wiener Blut</i>), op. 354, like so many other Strauss -waltzes, is a hymn of praise to Strauss’ native cities; but where other -waltzes are light and carefree, this one is more often moody, dreamy, -and at times sensual. After the introduction come four waltz melodies, -the first full of fire and the last one touched with sentimentality. The -second and third waltz tunes are interesting for their rhythmic vitality -and marked syncopations.</p> -<p><i>Voices of Spring</i> (<i>Fruehlingstimmen</i>), op. 410—dedicated to the renowned -<span class="pb" id="Page_296">296</span> -Viennese pianist, Albert Gruenfeld—is (like the <i>Tales from -the Vienna Woods</i>) an exuberant picture of the vernal season, the joy -and thrill that the rebirth of Nature always provides to the Viennese.</p> -<p><i>Wine, Woman and Song</i> (<i>Wein, Weib und Gesang</i>), op. 333, opens -with an eloquent mood picture that is virtually an independent composition, -even though it offers suggestions of later melodies. This is a -spacious ninety-one bar introduction that serves as an eloquent peroration -to the four waltz melodies that follow—each graceful, vivacious, -and at times tender and contemplative. Richard Wagner, upon hearing -Anton Seidl conduct this music, was so moved by it that at one point -he seized the baton from Seidl’s hand and conducted the rest of the -piece himself.</p> -<p>Strauss wrote other dance music besides waltzes. He was equally successful -in bringing his wonderful melodic invention, fine rhythmic -sense, and beautiful instrumentation to the Polka, the native Bohemian -dance in duple quick time and in a lively mood. The best of the Strauss -polkas are: <i>Annen-Polka</i>, op. 117; <i>Electrophor Polka</i>, op. 297 dedicated -to the students of a Vienna technical school, its effect derived from its -breathless tempo and forceful dynamics; <i>Explosions Polka</i>, op. 43, written -when Strauss was only twenty-two and characterized by sudden brief -crescendos; <i>Pizzicato Polka</i>, written in collaboration with the composer’s -brother Josef, and, as the name indicates, an exercise in plucked -strings; and the capricious <i>Tritsch-Tratsch</i> (or <i>Chit-Chat</i>) <i>Polka</i>, op. -214.</p> -<p>Of Strauss’ other instrumental compositions, the best known is a -lively excursion in velocity called <i>Perpetual Motion</i>, op. 257, which the -composer himself described as a “musical jest.”</p> -<p>Beyond being Vienna’s waltz king, Johann Strauss II was also one of -its greatest composers of operettas. Indeed, if a vote were to be cast for -the greatest favorite among all Vienna operettas the chances are the -choice would fall on Strauss’ <i>Die Fledermaus</i> (<i>The Bat</i>), first produced -in Vienna on April 5, 1874, book by Carl Haffner and Richard Genée -based on a French play by Meilhac and Halévy. This work is not -only a classic of the light theater, but even a staple in the repertory -of the world’s major opera houses. It is a piece of dramatic intrigue -filled with clever, bright and at times risqué humor, as well as irony and -gaiety. The plot, in line with operetta tradition, involves a love intrigue: -between Rosalinda, wife of Baron von Eisenstein, and Alfred. -The Baron is sought by the police for some slight indiscretion, and -when they come to the Baron’s home and find Alfred there, they mistake -<span class="pb" id="Page_297">297</span> -him for the Baron and arrest him. Upon discovering he is supposed -to be in jail, the Baron decides to take full advantage of his liberty by -attending a masked ball at Prince Orlovsky’s palace and making advances -there to the lovely women. But one of the masked women with -whom he flirts is his own wife. Eventually, the identity of both is uncovered, -to the embarrassment of the Baron, and this merry escapade -ends when the Baron is compelled to spend his time in jail.</p> -<p>The overture is a classic, recreating the effervescent mood that prevails -throughout the operetta. It is made up of some of the principal -melodies of the opera: Rosalinda’s lament, “<i>So muss allein ich bleiben</i>” -first heard in the woodwind; the chorus, “<i>O je, o je, wie ruhrt mich -dies</i>” in the strings; and most important of all, the main waltz of the -operetta and the climax of the second act, also in the strings.</p> -<p>Other delightful episodes frequently presented in instrumental versions -include the lovely drinking song, “<i>Trinke, Liebchen, trinke -schnell</i>”; the laughing song of the maid, Adele, “<i>Mein Herr Marquis</i>”; -the blood-warming czardas of the “Hungarian countess” who is actually -Rosalinda in disguise, “<i>Klaenge der Heimat</i>”; the stirring hymn to -champagne, “<i>Die Majistaet wird anerkannt</i>”; and the buoyant waltz, -“<i>Du und du</i>.”</p> -<p><i>The Gypsy Baron</i> (<i>Die Ziguenerbaron</i>) is almost as popular as <i>Die -Fledermaus</i>. This is an operetta with libretto by Ignaz Schnitzer, introduced -in Vienna on October 24, 1885. Sandór Barinkay returns to his -ancestral home after having left it as a child. He finds it swarming with -gypsies who have made it their home, and he falls in love with one of -them, Saffi.</p> -<p>The overture is made up of material from the concerted finales, beginning -with the entrance of the gypsies in the first finale; continuing -with Saffi’s celebrated gypsy air, “<i>So elend und treu</i>”; and culminating -with the celebrated waltz music of the second act, the <i>Schatz</i>, or <i>Treasure</i>, -waltzes.</p> -<p>Other familiar excerpts include Sandór’s exuberant aria with chorus -from the first act “<i>Ja, das alles auf Ehr</i>,” probably the most celebrated -vocal excerpt from the entire operetta; and the <i>Entry March</i> (<i>Einzugmarsch</i>) -from the third act—for chorus and orchestra in the operetta, -but often given by salon ensembles in an orchestral version.</p> -<div class="pb" id="Page_298">298</div> -<h2 id="c167"><span class="small"><b id="g_JosefStrauss">Josef Strauss</b></span></h2> -<p>Josef Strauss, like Eduard, is a younger brother of Johann -Strauss II, and son of Johann Strauss I. He was born in Vienna on -August 22, 1827. He was an extremely talented young man not only in -music but even as architect and inventor. Of more serious and sober -disposition than either of his two brothers, he long regarded café-house -music condescendingly, his musical preference being for the classics. -His famous brother, Johann Strauss II, needing someone to help him -direct his orchestra, finally prevailed on Josef to turn to café-house -music. Josef made his debut as café-house conductor and composer -simultaneously on July 23, 1853, his first waltz being <i>Die Ersten</i>. After -that he often substituted for brother Johann in directing the latter’s -orchestra in Vienna and on extended tours of Europe and Russia. Josef -died in Vienna on July 21, 1870.</p> -<p>Josef Strauss wrote almost three hundred dance compositions. -Though certainly less inspired than his brother, Johann, he was also far -more important than Eduard. Josef’s best waltzes have much of the -lyrical invention, and the harmonic and instrumental invention of -those by Johann Strauss II. Perhaps his greatest waltz is the <i>Dorfschwalben -aus Oesterreich</i> (<i>Swallows from Austria</i>), op. 164, a nature portrait -often interrupted by the chirping of birds. Here Josef’s outpouring of -the most sensitive lyricism and delicate moods is hardly less wondrous -than that of Johann Strauss II. H. E. Jacob went so far as to say that -“since Schubert’s death there has been no such melody. It is in the realm -of the Impromptus and Moments Musicaux. It breathes the sweet blue -from which the swallows come.”</p> -<p>Another Josef Strauss classic in three-quarter time is <i>Sphaerenklaenge</i> -(<i>Music of the Spheres</i>), op. 285, equally remarkable for its spontaneous -flow of unforgettable waltz tunes. Among Strauss’ other delightful -waltzes are the <i>Aquarellen</i>, op. 258; <i>Delirien</i>, op. 212; <i>Dynamiden</i>, op. -173; <i>Marienklaenge</i>, op. 214. A theme from <i>Dynamiden</i> waltzes was -used by Richard Strauss in his famous opera <i>Der Rosenkavalier</i>.</p> -<p>In collaboration with his brother, Johann, Josef wrote the famous -<span class="pb" id="Page_299">299</span> -<i>Pizzicato Polka</i> and several other pieces including the <i>Monstrequadrille</i> -and <i>Vaterlandischer March</i>. With Johann and Eduard he wrote the -<i>Schuetzenquadrille</i> and the <i>Trifolienwalzer</i>.</p> -<h2 id="c168"><span class="small">Sir Arthur <b id="g_Sullivan">Sullivan</b></span></h2> -<p>Sir Arthur Seymour Sullivan—musical half -of the comic-opera team of Gilbert and Sullivan—was born in London, -England, on May 13, 1842. The son of a bandmaster, Sullivan was appointed -to the Chapel Royal School in 1854. One year after that his first -published composition appeared, an anthem. In 1856 he was the first -recipient of the recently instituted Mendelssohn Award which entitled -him to attend the Royal Academy of Music where he studied under -Sterndale Bennett and Goss. From 1858 to 1861 he attended the Leipzig -Conservatory. After returning to London in 1862, he achieved recognition -as a serious composer with several ambitious compositions including -the <i>Irish Symphony</i>, a cello concerto, a cantata, and an oratorio. -Meanwhile, in 1866, he had become professor of composition at the -Royal Academy, and in 1867 he completed his first score in a light style, -the comic opera <i>Cox and Box</i>, libretto by F. C. Burnand, which enjoyed -a successful engagement in London.</p> -<p>In 1871, a singer introduced Sullivan to W. S. Gilbert, a one-time -attorney who had attracted some interest in London as the writer of -burlesques. An enterprising impresario, John Hollingshead of the -Gaiety Theater, then was responsible for getting Gilbert and Sullivan -to work on their first operetta. This was <i>Thespis</i>, produced in London -in 1871, and a failure. It was several years before librettist and composer -worked together again. When they did it was for a new impresario, -Richard D’Oyly Carte, for whom they wrote a one-act comic opera, -<i>Trial by Jury</i>, a curtain raiser to a French operetta which Carte was producing -in London on March 25, 1875. <i>Trial by Jury</i>—a stinging satire -on court trials revolving around a breach of promise suit—inaugurates -<span class="pb" id="Page_300">300</span> -the epoch of Gilbert and Sullivan. D’Oyly Carte now commissioned -Gilbert and Sullivan to create a new full length comic opera for a company -he had recently formed. The new light opera company made a -successful bow with <i>The Sorcerer</i>, on November 17, 1877. <i>Pinafore</i>, a -year later on May 25, 1878, made Gilbert and Sullivan a vogue and a -passion both in London and in New York. In 1879 Gilbert and Sullivan -came to the United States where on December 31 they introduced a new -comic opera, <i>The Pirates of Penzance</i>, that took the country by storm. -Upon returning to London, Gilbert and Sullivan opened a new theater -built for them by D’Oyly Carte—the Savoy—with <i>Patience</i>, a tumultuous -success on April 25, 1881. After that came <i>Iolanthe</i> (1882), <i>Princess -Ida</i> (1884), <i>The Mikado</i> (1885), the <i>Yeomen of the Guard</i> (1888) -and <i>The Gondoliers</i> (1889).</p> -<p>Gilbert and Sullivan came to the parting of the ways in 1890, the -final rift precipitated by a silly argument over the cost of a carpet for -the Savoy Theater. But the differences between them had long been -deep rooted. An attempt to revive the partnership was made in 1893 -with <i>Utopia Limited</i>, and again with <i>The Grand Duke</i> in 1896. Both -comic operas were failures.</p> -<p>After 1893, Sullivan wrote a grand opera, <i>Ivanhoe</i>, and several -operetta scores to librettists other than Sullivan. None of these were -successful. During the last years of his life he suffered from deterioration -of his health, and was almost always in acute pain. He died in London -on November 22, 1900. Gilbert died eleven years after that.</p> -<p>Of Sullivan’s other achievements in the field of music mention must -be made of his importance as a conductor of the concerts of the London -Philharmonic from 1885 to 1887, and of the Leeds Festival from 1880 -to 1898. Between 1876 and 1881 he was principal of, and professor of -composition at, the National Training School for Music. In recognition -of his high estate in English music, he was the recipient of many honors. -In 1878 he was made Chevalier of the Legion of Honor, and in 1883 he -was knighted by Queen Victoria.</p> -<p>It is irony fitting for a Gilbert and Sullivan comic opera that the -music on which Sullivan lavished his most fastidious attention and of -which he was most proud has been completely forgotten (except for -one or two minor exceptions). But the music upon which he looked -with such condescension and self apology is that which has made him -an immortal—in the theater if not in the concert world. For where Sullivan -was heavy-handed, pretentious, and often stilted in his oratorios, -serious operas, and orchestral compositions, he was consistently vital, -<span class="pb" id="Page_301">301</span> -fresh, personal, and vivacious in his lighter music. In setting Gilbert’s -lyrics to music, Sullivan was always capable of finding the musical <i>mot -juste</i> to catch every nuance of Gilbert’s wit and satire. So neatly, even -inevitably, does the music fit the words that it is often difficult to think -of one without the other. Like Gilbert, Sullivan was a master of parody -and satire; he liked particularly to mock at the pretensions of grand -opera, oratorio, and the sentimental ballad, pretensions of which he -himself was a victim when he endeavored to work in those fields. Like -Gilbert, he had a pen that raced with lightning velocity in the writing -of patter music to patter verses. Sullivan, moreover, had a reservoir of -melodies seemingly inexhaustible—gay tunes, mocking tunes, and tunes -filled with telling sentiment—and he was able to adapt the fullest resources -of his remarkable gift at harmony, rhythm and orchestration to -the manifold demands of the stage. He was no man’s imitator. Without -having recourse to experimentation or unorthodox styles and techniques, -his style and manners were so uniquely his that, as T. F. Dunhill -has said, “his art is always recognizable.... The Sullivan touch is -unmistakable and can be felt instantly.”</p> -<p>Of the universality of the Gilbert and Sullivan comic operas, Isaac -Goldberg wrote: “They [Gilbert and Sullivan] were not the rebels of -an era, yet as surely they were not the apologists. Their light laughter -carried a pleasant danger of its own that, without being the laughter of -a Figaro, helped before the advent of a Shaw to keep the atmosphere -clear. Transition figures they were, in an age of transition, caught between -the personal independence of the artist and the social imperatives -of their station. They did not cross over into the new day, though -they served as a footbridge for others. Darwin gave them ... only a -song for <i>Princess Ida</i>, their melodious answer to the revolt of woman -against a perfumed slavery; Swinburne and Wilde ... characters for -<i>Patience</i>. They chided personal foibles, and only indirectly social -abuses. They were, after all, moralists not sociologists. It was in their -natures; it was of their position. Yet something vital in them lives beyond -their time. From their era of caste, of smug rectitude, of sanctimoniousness, -they still speak to an age that knows neither corset nor -petticoat, that votes with its women, and finds Freud insufficiently -aphrodisiac. Perhaps it is because they chide individuals and not institutions -that their work, so admirably held in solution by Sullivan’s -music, has lived through the most critical epoch in modern history since -the French Revolution. For, underneath the cataclysmic changes of history -remain the foibles that make us the fit laughter of the gods.”</p> -<div class="pb" id="Page_302">302</div> -<p>Overtures to and potpourris from the principal Gilbert and Sullivan -comic operas are integral to the repertory of salon and pop orchestras -everywhere. In all cases, the overture is made up of the opera’s main -melodies, and in most cases these overtures were written by others.</p> -<p><i>The Gondoliers</i> was the last of the Gilbert and Sullivan comic operas -to survive in the permanent repertory. It was produced on December 7, -1889. After the operatic pretension of the <i>Yeomen of the Guard</i> which -had preceded it, <i>The Gondoliers</i> represented a welcome return by the -authors to the world of paradox, absurdity, and confusion. It has aptly -been described as a “farce of errors.” The setting is Venice in the middle -of the 18th century. The Duke and Duchess of Plaza-Toro come to -Venice accompanied by their daughter, Casilda, and a drummer boy, -Luiz, who loves her. In her childhood, Casilda had married the infant -heir to the throne of Barataria. This heir had then been stolen and entrusted -to the care of a gondolier who raised him as one of his two sons. -In time the gondolier himself has forgotten which of his two boys is of -royal blood. To complicate matters even further, the two gondolier -boys, Marco and Giuseppe, are married. Thus it seems impossible to -solve the problem as to who really is the heir to Barataria’s throne and -by the same token Gasilda’s husband. But when this problem is finally -unscrambled it turns out that the heir is neither Marco nor Giuseppe, -but none other than Luiz.</p> -<p>The following are the principal selections from <i>The Gondoliers</i>: -Antonio’s song, “For the Merriest Fellows Are We”; the duet of Marco -and Giuseppe, “We’re Called Gondolieri”; the autobiographical chant -of the Duke of Plaza-Toro, “The Duke of Plaza-Toro”; the duet of -Casilda and Luiz, “There Was a Time”; the song of the Grand Inquisitor, -“I Stole the Prince”; Tessa’s song, “When a Merry Maiden Marries”; -the duet of Marco and Giuseppe, “For Everyone Who Feels Inclined”; -Giuseppe’s patter song, “Rising Early in the Morning”; -Marco’s serenade, “Take a Pair of Sparkling Eyes”; and the song of -the Duchess, “On the Day that I was Wedded.”</p> -<p><i>Iolanthe</i>, introduced on November 25, 1882, carried Gilbert’s love -of paradox, confusion and absurdity into the fairy kingdom. To Isaac -Goldberg, this comic opera, both as words and as music is “a peer among -its kind. It is surprisingly complete. It is, indeed, of Gilbert and of Sullivan, -all compact. The Gilbertian conflict between reality and fantasy -is mirrored in details great and small—in scene, costume, in line, in gesture.... -It would be difficult to find among the remaining thirteen -comic operas one that reveals the collaborators playing so neatly into -<span class="pb" id="Page_303">303</span> -each other’s hands—responding so closely to the conscious and unconscious -demands of the reciprocal personality.” The heroine, Iolanthe, -is a fairy who has married a mortal and thus has been banished to the -bottom of a stream by the Queen of her kingdom. But the Queen -eventually forgives Iolanthe. Upon returning to her fairy kingdom, -Iolanthe discovers she is the mother of a son, Strephon, who is half fairy -and half mortal; and Strephon is in love with the mortal, Phyllis, who, -in turn, is being pursued not only by her guardian, the Lord Chancellor, -but even by the entire House of Peers. When Phyllis finds Strephon -with Iolanthe she suspects him of infidelity, since she has no idea that -Iolanthe is Strephon’s mother. Immediately she begins to bestow her -kindly glances upon two members of the House of Peers. Summoned for -help, Iolanthe reveals that Strephon is, indeed, her son, and that his -father is none other than the Lord Chancellor. By this time the other -fairies of the kingdom have succumbed to the charms and appeal of the -Peers. Iolanthe is saved from a second punishment when the Lord -Chancellor helps change fairy law to read that any fairy <i>not</i> marrying a -mortal is subject to death.</p> -<p>Leading numbers from <i>Iolanthe</i> include the following: the opening -chorus of the fairies, “Tripping Hither, Tripping Thither”; Strephon’s -song, “Good Morrow, good Mother”; the love duet of Phyllis and -Strephon, “Thou the Tree and I the Flower”; Entrance, chorus, and -march of the Peers, “Loudly Let the Trumpet Bray” followed immediately -by the Lord Chancellor’s monologue, “The Law is the True -Embodiment”; the Lord Chancellor’s personal credo, “When I Went -to the Bar”; the song of Willis, the sentry, “When All Night Long a -Chap Remains”; Lord Mount Arrat’s chauvinistic hymn, “When Britain -Really Ruled the Waves”; the Fairy Queen’s song, “Oh, Foolish -Fay”; the Lord Chancellor’s patter song about a nightmare, “When -You’re Lying Awake”; the trio of the Lord Chancellor, Mount Ararat -and Tolloler, “If You Go In”; Strephon’s song, “Fold Your Flapping -Wings”; and the finale, “Soon as We May.”</p> -<p><i>The Mikado</i> was a sensation when first performed in London on -March 14, 1885; and with many it is still the favorite of all Gilbert and -Sullivan comic operas. By 1900, it had received over one thousand performances -in London and five thousand in the United States. Since -then these figures have multiplied. It has been adapted for motion pictures, -and in New York it has been given in two different jazz versions -(<i>The Hot Mikado</i> and <i>Swing Mikado</i>). In 1960 it was presented over -television with Groucho Marx as the Lord High Executioner.</p> -<div class="pb" id="Page_304">304</div> -<p>In its own day much of its appeal was due to its exotic setting of -Japan and strange Japanese characters. Such a novelty for the English -stage was the strong spice that endowed the play with much of its succulent -flavor. Gilbert’s inspiration had been a miniature Japanese village -set up in the Knightsbridge section of London which aroused and -stimulated the interest of the English people in all things Japanese. Gilbert -was one of those who became fascinated by this Oriental exhibit, -and his fascination led him to conceive a comic opera with a Japanese -background.</p> -<p>But while the Japanese are certainly no longer curiosities in the theater—have, -indeed, become a vogue on Broadway since the end of World -War II—<i>The Mikado</i> has never lost its tremendous popularity. For -<i>The Mikado</i> represents Gilbert and Sullivan at their creative peak. -The whimsical characters, absurd situations, the savage malice of the -wit and satire, and the strange and paradoxical deviations of the plot -find Gilbert at the height of his whimsical imagination and skill; and at -every turn, Sullivan was there with music that captured every subtle -echo of Gilbert’s fancy.</p> -<p>The thought of having to marry the unattractive Katisha proves so -distasteful to Nanki-Poo, son of the Mikado, that he puts on the disguise -of a wandering minstrel and flees. After coming to the town of -Titipu, he meets and falls in love with Yum-Yum who, in turn, is being -sought after by her own guardian, Ko-Ko, the Lord High Executioner. -The Lord High Executioner faces a major problem. The ruler of Japan -has sent a message to Titipu stating that since no execution has taken -place there for many years the office of Lord High Executioner will be -abolished if somebody is not executed shortly. When Ko-Ko discovers -that Nanki-Poo is about to commit suicide, rather than live without -Yum-Yum, he finds a solution to his own problem. Ko-Ko is willing to -allow Nanki-Poo to marry Yum-Yum and live with her for a month if -at the end of that time he allows himself to be beheaded. The wedding -takes place, but before the beheading can be consummated the Mikado -arrives on the scene with Katisha. Only then is the discovery made in -Titipu that Nanki-Poo is the Mikado’s son and that anyone responsible -for his death must boil in oil. The news that Nanki-Poo is alive saves -Ko-Ko from this terrible fate; but he soon confronts another in the -form of Katisha, whom he must now marry to compensate her for her -loss of Nanki-Poo.</p> -<p>Many of the excerpts from <i>The Mikado</i> are known to anyone who -has ever heard or whistled a tune. These are the most significant: the -<span class="pb" id="Page_305">305</span> -opening chorus of the Japanese nobles, “If You Want to Know Who -We Are”; Nanki-Poo’s self-introductory ballad, “A Wandering Minstrel -I”; Pish-Tush’s description of the Mikado’s decree against flirtation, -“Our Great Mikado”; Ko-Ko’s famous patter song, “I’ve Got a -Little List”; the song of Yum-Yum’s companions, “Three Little Maids”; -the affecting duet of Nanki-Poo and Yum-Yum, “Were You Not to Ko-Ko -Plighted”; Yum-Yum’s radiant song, “The Sun Whose Rays”; Ko-Ko’s -allegorical song, “Tit Willow”; the madrigal of Yum-Yum, Pitti -Sing, Nanki-Poo and Pish Tush, “Brightly Dawns Our Wedding Day”; -the sprightly trio of Yum-Yum, Nanki-Poo and Ko-Ko, “Here’s a How-de-do”; -the song of the Mikado, “My Object All Sublime”; the duet of -Nanki-Poo and Ko-Ko, “The Flowers That Bloom in the Spring.”</p> -<p><i>Patience</i> in 1881 directed its well aimed satirical pricks and barbs at -the pre-Raphaelite movement in England with its fetish for simplicity -and naturalness; and with equal accuracy at poets and esthetes like -Oscar Wilde and Algernon Swinburne, leaders of an esthetic movement -that encouraged postures, poses, and pretenses. Twenty maidens are -turned into esthetes through their common love for the “fleshly poet” -Bunthorne. Because of this love they hold in disdain their former sweethearts, -the officers of the Heavy Dragoon. Bunthorne, however, is in -love with the simple, unselfish milkmaid Patience, who dotes after the -idyllic poet of heavenly beauty, Grosvenor. Since Patience is unselfish -she cannot hope to win Grosvenor’s love, for to be loved by one so -beautiful is the most selfish thing in the world. She decides to accept -Bunthorne. Now the twenty love-sick maidens fall in love with Grosvenor -and through his influence abandon estheticism for simplicity. Unaware -of this new direction in their loved ones, the Dragoons desert -their uniforms for esthetic garb, substitute their former practical everyday -behavior for extravagant postures and poses. Weary of the demands -made upon him by the doting maids, Grosvenor (with a push from -Bunthorne) becomes commonplace. But, unfortunately for Bunthorne, -since it is no longer selfish to be loved by a commonplace man, Patience -returns to Grosvenor. The maidens, now interested in the commonplace, -can now return to their Dragoons. But poor Bunthorne is left -alone with nothing but a lily in his hand to console him.</p> -<p>The following are the principal selections from <i>Patience</i>: the opening -female chorus, “Twenty Lovesick Maidens We”; Patience’s simple -query about the nature of love, “I Cannot Tell What This Love May -Be”; the chorus of the Dragoons, “The Soldiers of Our Queen” followed -immediately by the Colonel’s patter song, “If You Want a Receipt”; -<span class="pb" id="Page_306">306</span> -Bunthorne’s recipe for success in the business of being an -esthete, “If You’re Anxious For to Shine”; Grosvenor’s duet with Patience, -“Prithee, Pretty Maiden”; Jane’s soliloquy, “Silvered is the -Raven Hair” with which the second act opens; Grosvenor’s fable to the -lovesick maidens, “The Magnet and the Churn”; Patience’s ballad, -“Love is a Plaintive Song”; and the gay duet of Bunthorne and Grosvenor, -“When I Go Out of Doors.”</p> -<p><i>Pinafore</i> was the first of the successful Gilbert and Sullivan comic -operas in which we encounter that strange topsy-turvy world over -which Gilbert and Sullivan ruled; that we confront the accidents, coincidences, -paradoxes, and mishaps that beset its hapless inhabitants. -<i>Pinafore</i> is a devastating satire on the Admiralty in general and William -H. Smith, its First Lord, in particular. But it also makes a mockery -of social position. Ralph Rackstraw, a humble seaman, is in love with -Josephine, daughter of Captain Corcoran, commanding officer of the -<i>H.M.S. Pinafore</i>. But the first Lord of the Admiralty, Sir Joseph Porter, -is also in love with her. Since Josephine’s father would never consent -to have his daughter marry one so lowly as Ralph, the lovers decide to -elope. But the plans are overheard by the seaman, Dick Deadeye, who -reports them to the Captain with the result that Ralph is put in irons. -An impasse is thus reached until Little Buttercup, a “Portsmouth -Bumboat woman,” reveals an incident of the distant past. Entrusted -the care of two infants she mixed them up with the result that the -lowly born child, Corcoran, was mistaken for the one of high station -and was thus able to rise to the station of Captain; but the child of high -station believed to have been of lowly origin, Ralph, had been forced -to become a seaman. By order of Sir Joseph, Ralph now becomes the -master of the ship and can claim Josephine as his bride. The proud -Captain, now reduced to a seaman, must content himself with Little -Buttercup.</p> -<p><i>Pinafore</i> was a sensation when introduced in London in 1878, enjoying -seven hundred consecutive performances. But it proved even more -sensational in the United States, following its première there at the -Boston Museum on November 25 of the same year. Ninety different -companies presented this comic opera throughout the country in that -first season, with five different companies operating simultaneously in -New York. <i>Pinafore</i> was given by colored groups, children’s groups, and -religious groups. It was widely parodied. Some of its catch phrases -(“What never? No never!” and “For he himself has said it”) entered -American <i>argot</i>.</p> -<div class="pb" id="Page_307">307</div> -<p>As a bountiful source of popular melodies, the score of <i>Pinafore</i> is -second only in importance to that of <i>The Mikado</i>. Here are the main -ones: the opening chorus of the sailors, “We Sail the Ocean Blue”; -Buttercup’s forthright self-introduction, “I’m Called Little Buttercup”; -Ralph’s madrigal, “The Nightingale,” and ballad, “A Maiden Fair to -See”; the Captain’s colloquy with his crew, “I Am the Captain of the -<i>Pinafore</i>”; Josephine’s poignant ballad, “Sorry Her Lot”; Sir Joseph’s -exchange with his sisters, cousins, and aunts, “I am the Monarch of the -Sea,” and his autobiographical, “When I Was a Lad”; the Captain’s sad -reflection, “Fair Moon to Thee I Sing”; the choral episode, “Carefully -on Tip-Toe Stealing” followed by the tongue-in-the-cheek paean to -England and Englishmen, “He Is an Englishman.”</p> -<p><i>The Pirates of Penzance</i> was the only Gilbert and Sullivan comic -opera to receive its world première outside England. This took place -in New York at the Fifth Avenue Theater in 1879. (There was a single -hastily prepared performance in Paignton, England, on December 30, -1879 but this is not regarded as an official première.) The reason why -<i>The Pirates</i> was introduced in New York was due to the presence there -of its authors. Numerous pirated versions of <i>Pinafore</i> were then being -given throughout the United States in about a hundred theaters, and -Gilbert and Sullivan decided to come to America for the dual purpose -of exploring the conditions under which they might protect their copyright -and to offer an authorized version of their opera. In coming to the -United States, they brought with them the manuscript of their new -work, <i>The Pirates of Penzance</i>, and arranged to have its première take -place in New York.</p> -<p><i>The Pirates of Penzance</i> is a blood relative of <i>Pinafore</i>. Where <i>Pinafore</i> -made fun of the British Navy, <i>The Pirates</i> concentrates on the -British Army and constabulary. In <i>Pinafore</i> two babies are mixed up in -the cradle for a confusion of their identities; in <i>The Pirates</i> it is the -future professions of babies which are confounded in the cradle. In -<i>Pinafore</i> the secret is divulged by Buttercup, in <i>The Pirates</i> by Ruth. -<i>Pinafore</i> boasts a female chorus of cousins, sisters and aunts while <i>The -Pirates</i> has a female chorus made up of the Major General’s daughters.</p> -<p>The hero is young Frederic, apprenticed to a band of pirates by his -nurse Ruth, who mistakes the word “pilot” for “pirate.” Frederic falls -in love with Mabel, one of the many daughters of Major General Stanley -and looks forward eagerly to his freedom from his apprenticeship -to the pirate band, which arrives on his twenty-first birthday. But Frederic -discovers that since he was born on leap year the year of his freedom—his -<span class="pb" id="Page_308">308</span> -twenty-first <i>birthday</i>—is many, many years off; that by the -calendar he is still only a little boy of five. As a pirate he must join his -confederates in exterminating Mabel’s father and the constables attending -him. But all turns out happily when the pirates actually prove to -be ex-noblemen, and are thus found highly acceptable as husbands for -the daughters of Major General Stanley. The Major General is also -in favor of the union of Mabel and Frederic.</p> -<p>The following are the leading musical selections: the opening chorus -of the pirates, “Pour, Oh Pour, the Pirate Sherry”; the Pirate king’s -hymn to his profession, “For I am a Pirate King”; the chorus of the -Major General’s daughters, “Climbing Over Rocky Mountain”; Frederic’s -plaintive plea for a lover, “Oh, Is There Not One Maiden -Breast”; the Major General’s autobiographical patter song, “I Am the -Very Pattern of a Modern Major General”; the rousing chorus of the -constabulary, “When the Foeman Bares His Steel”; the tripping trio of -Ruth, Fred and the Pirate King on discovering Fred is only a child of -five, “A Paradox, a Most Ingenious Paradox”; Mabel’s haunting ballad, -“Oh, Leave Me Not to Pine”; the Police Sergeant’s commentary -on his profession, “When a Felon’s Not Engaged in His Employment”; -the Pirates’ chorus, “Come Friends Who Plough the Sea,” a melody -expropriated by an American, Theodore Morse, for the lyric “Hail, -Hail the Gang’s All Here”; and the General’s idyllic ballad, “Sighing -Softly To the River.”</p> -<p><i>Ruddigore</i>, a travesty on melodrama, was first performed on January -22, 1887. Because the Murgatroyd family has persecuted witches, an -evil spirit had fated it to commit a crime a day. Ruthven Murgatroyd -tries to flee from this curse by assuming the identity of simple Robin -Oakapple. He meets and falls in love with Rose who is being sought -after by Ruthven’s foster brother, Richard. Since Ruthven as Robin -Oakapple has the upper hand with Rose, Richard avenges himself -by revealing the fact that his brother is really a member of the Murgatroyd -family and like all of them is the victim of the ancient family -curse. Back in his ancestral home, Ruthven must fulfil his quota of -crimes, a job he bungles so badly that his ancestors suddenly come alive -out of the picture frames on the wall, to condemn him. But after numerous -convolutions of typically Gilbertian logic and reasoning, the curse -is broken and Ruthven can live happily with his beloved Rose.</p> -<p>From <i>Ruddigore</i> come the following familiar sections: the opening -chorus of the bridesmaids, “Fair Is Rose as the Bright May Day”; -Hannah’s legend, “Sir Rupert Murgatroyd”; Rose’s ballad, “If Somebody -<span class="pb" id="Page_309">309</span> -There Chanced to Be”; the extended duet of Robin and Rose, -“I Know a Youth Who Loves a Little Maid”; Richard’s ballad, “I -Shipped, D’ye See, in a Revenue Sloop”; Robin’s song, “My Boy You -May Take it From Me”; the chorus of the bridesmaids, “Hail the Bride -of Seventeen Summers” followed by Rose’s madrigal, “Where the Buds -Are Blossoming”; the duet of Robin and Adam, “I Once Was As Meek -as a New Born Lamb”; Rose’s ballad, “In Bygone Days”; the chorus -of the family portraits, “Painted Emblems of a Race”; Sir Roderic’s -patter song, “When the Night Wind Howls”; and Hannah’s ballad, -“There Grew a Little Flower.”</p> -<p><i>The Sorcerer</i>, the first successful Gilbert and Sullivan comic opera, -was introduced in 1877. Alexis, in love with Aline, wishes to spread -around the blessings of love. For this purpose he enlists the cooperation -of John Wellington Wells, the creator of a love brew. In an effort to -perpetuate Aline’s love for him, Alexis has her drink this potion, only -to discover that his beloved has fallen for the vicar, Dr. Daly, he being -the first man she sees after drinking the draught. Since Alexis is not -the only one to suffer from this now-general epidemic of loving, a serious -effort must be made to offset the effects of this magic: a human sacrifice. -Naturally that sacrifice becomes none other than John Wellington -Wells who is driven to self immolation before things can once again be -set normal.</p> -<p>The music of <i>The Sorcerer</i> is not so well known as that of the other -famous comic operas, but it does contain several Gilbert and Sullivan -delights. Among them are: the song with which Wells introduces himself -and his black art, “Oh! My Name Is John Wellington Wells,” the -first of the Gilbert and Sullivan patter songs; the vicar’s haunting ballad, -“Time Was When Love and I Were Well Acquainted”; and the -romantic duet of Aline and Alexis, “It Is Not Love.”</p> -<p>In the <i>Yeomen of the Guard</i>, produced on October 3, 1888, the topsy-turvy -world of Gilbert and Sullivan is temporarily sidestepped for another -of operatic pretensions. Of all the Gilbert and Sullivan plays this -one comes closest to resembling an opera. The immediate stimulus for -the writing of the text came to Gilbert from an advertisement in a railway -station depicting a Beefeater. Out of this acorn grew the oak of -Gilbert’s play in which Colonel Charles Fairfax is falsely accused by -his kinsman, Poltwhistle, of sorcery. For this he must be condemned to -death in the Tower of London. Since Fairfax is not married, his fortune -will pass on to his accuser. But Charles thwarts such evil designs by -marrying Elsie Maynard, a strolling player—if only for an hour. Then -<span class="pb" id="Page_310">310</span> -he manages to escape from the Tower disguised as a yeoman of the -guard. When the execution is to take place there is no victim. Eventually, -a reprieve enables Charles to live permanently with Elsie.</p> -<p>The most important selections from the <i>Yeomen of the Guard</i> are: -Phoebe’s song with which the opera opens, “When Maiden Loves”; the -chorus of the yeomen, “In the Autumn of Our Life”; Fairfax’ ballad, -“Is Life a Boon?”; the extended duet of Point and Elsie, “I Have a Song -to Sing, O”; Phoebe’s ballad, “Were I Thy Bride”; Point’s patter song, -“Oh, a Private Buffoon Is a Light-Hearted Loon”; the quartet of Elsie, -Fairfax, Dame Carruthers and Meryll, “Strange Adventure”; the trio of -Fairfax, Elsie and Phoebe, “A Man Who Would Woo a Fair Maid”; the -quartet of Elsie, Fairfax, Phoebe and Point, “When a Wooer Goes -a-Wooing”; and the finale, “Oh, Thoughtless Crew.”</p> -<p>Besides his music for the comic operas there exists a vast repertory of -serious music by Sullivan. Of this hardly more than two songs have -retained their popularity. One is “The Lost Chord,” lyric by Adelaide -Proctor, written by Sullivan in December 1876 at the deathbed of his -brother, Fred. From Charles Willeby we get an account of how this -deeply moving piece of music came into being: “For nearly three weeks -he watched by his bedside night and day. One night—the end was not -very far off then—while his sick brother had for a time fallen into a -peaceful sleep, and he was sitting as usual by the bedside, he chanced -to come across some verses by Adelaide Proctor with which he had -some five years previously been struck. He had then tried to set them -to music, but without satisfaction to himself. Now in the stillness of the -night he read them over again, and almost as he did so, he conceived -their musical equivalent. A stray sheet of music paper was at hand, and -he began to write. Slowly the music took shape, until, becoming quite -absorbed in it, he determined to finish the song. Even if in the cold -light of day it were to prove worthless, it would at least have helped to -while away the hours of watching. So he worked on at it. As he progressed, -he felt sure this was what he had sought for, and failed to find -on the occasion of his first attempt to set the words. In a short time it -was complete and not long after in the publisher’s hands. Thus was -written ‘The Lost Chord,’ perhaps the most successful song of modern -times.”</p> -<p>“Onward Christian Soldiers,” words by Sabine Baring-Gould, is the -most celebrated of Sullivan’s more than fifty religious hymns. It is effective -not merely for its religious mood but also for its martial spirit. -“The music,” says Isaac Goldberg, “has the tread of armies in it, and a -<span class="pb" id="Page_311">311</span> -broad diatonic stride.” Sullivan wrote it in 1873 upon being appointed -editor of the <i>Hymnal</i>, a collection of hymns published by Novello for -the Society for the Promotion of Christian Knowledge and the Hymnary.</p> -<h2 id="c169"><span class="small">Franz von <b id="g_Suppe">Suppé</b></span></h2> -<p>Franz von Suppé was born Francesco Suppé-Demelli in -Spalato, Yugoslavia, on April 18, 1819. He played the flute at eleven, -at thirteen started the study of harmony, and at fifteen completed a -Mass. Nevertheless, for a while he entertained the idea of becoming -either a physician or a teacher of Italian. When he finally decided upon -music as a profession he attended the Vienna Conservatory. After serving -an apprenticeship as conductor of operettas in Pressburg and Baden, -he was appointed principal conductor at Theater-an-der-Wien in -Vienna. In 1862 he assumed a similar post with the Karlstheater, and -from 1865 until his death at the Leopoldstadttheater. While absorbing -the influence and traditions of the opéra-bouffe of Offenbach, he began -writing operettas of his own in a style uniquely his, setting and -establishing many of the traditions and clichés which would henceforth -identify the Viennese operetta. He had an unusual gift for light, caressing -tunes, a gay and infectious spirit, and a direct emotional appeal. -His first operetta was <i>Jung lustig in alter traurig</i> in 1841. Success came -with his incidental music to <i>Poet and Peasant</i> (<i>Dichter und Bauer</i>), -introduced on August 24, 1846; its overture is still his best known composition -and a classic in the musical literature in a lighter vein. A succession -of popular operettas, over twenty-five in number, made him one -of Europe’s most celebrated composers for the stage. His most famous -operettas were: <i>Das Maedchen vom Lande</i> (1847), <i>Die schoene Galatea</i>, -or <i>Beautiful Galathea</i> (1865), <i>Leichte Cavallerie</i>, or <i>Light Cavalry</i> -(1866), <i>Fatinitza</i> (1876), <i>Boccaccio</i> (1879), and <i>Donna Juanita</i> (1880). -Suppé died in Vienna on May 21, 1895.</p> -<div class="pb" id="Page_312">312</div> -<p>The overture to <i>The Beautiful Galathea</i> (<i>Die schoene Galatea</i>) opens -with brisk music. Horns and woodwind lead into an extended portrayal -of exaltated character by strings. Once again horns and woodwind appear, -this time providing a transition to a caressing melody that soon develops -into a fulsome song. After a theatrical passage, the overture’s main -melody is heard in the strings, with harmonies filled in by the woodwind; -this is a graceful dance tune which, towards the end of the overture, -is repeated with harmonic and tonal amplitude by the full -orchestra.</p> -<p>The <i>Light Cavalry</i> Overture (<i>Leichte Cavallerie</i>) is, as its name indicates, -stirring music of martial character. Horn calls and forceful chords -in full orchestra provide at once the military character of this music. -A vivacious tune for the violins follows this forceful introduction after -which comes the brisk melody for woodwind followed by the full orchestra -that has made this overture so famous; the gallop of the cavalry -is here simulated in a brisk rhythm. The agitation is dissipated by a -sensitive transition in strings and clarinet to a spacious melody in strings -in a sensual Hungarian style. The brisk military music and the open -horning calls then give the overture a dynamic conclusion.</p> -<p><i>Morning, Noon and Night in Vienna</i> (<i>Ein Morgen, ein Mittag, ein -Abend in Wien</i>) is one of the composer’s famous concert overtures. A -dramatic introduction—with forceful chords in full orchestra—leads to -a beautiful and fully realized song for solo cello against plucked strings, -one of Suppé’s most inspired flights of melody. The song ended, the -dramatic opening is recalled to serve as a transition to two buoyant and -graceful Viennese tunes in the strings, the second repeated vigorously -and amplified by full orchestra. The overture ends in a robust rather -than lyrical vein.</p> -<p>The <i>Pique Dame</i> (<i>Queen of Spades</i>) Overture begins with a murmuring -passage for strings that grows in volume and changes character before -an expressive melody unfolds in lower strings against an accompanying -figure borrowed from the opening passage. A vigorous interlude -of strong chords and a vigorous pronouncement by the brass lead -into the most famous theme of the composition, a vivacious and jaunty -melody for strings and woodwind. This subject is developed at some -length before a melodic episode is offered by the lower strings as a -preface to a soft, idyllic interlude for the woodwind. The conclusion -of the overture is in a vigorous manner with an energetic restatement -of earlier thematic material.</p> -<p>Of all the Suppé overtures, whether for the stage or the concert hall, -<span class="pb" id="Page_313">313</span> -the most famous undoubtedly is the <i>Poet and Peasant</i> (<i>Dichter und -Bauer</i>). After a stately introduction there arrives a gentle song for the -strings. This is succeeded by a more robust theme. The main melody -of the overture is a pulsating melody in ⅜ time. Indicative of the enormous -popularity of this overture in all parts of the world is that it has -been adapted for almost sixty different combinations of instruments.</p> -<h2 id="c170"><span class="small">Johan <b id="g_Svendsen">Svendsen</b></span></h2> -<p>Johan Svendsen was born in Oslo, Norway, on September -30, 1840. The son of a bandmaster, he dabbled in music for many years -before receiving formal instruction. When he was twenty-three he -embarked for the first time on a comprehensive musical education by -attending the Leipzig Conservatory where he was a pupil of Ferdinand -David, Reinecke, and others. After that he toured Europe as a concert -violinist and lived for a while in Paris where he played in theater -orchestras. In 1870 he visited the United States where he married an -American woman whom he had originally met in Paris. Following his -return to his native land he was the conductor of the Christiana Musical -Association from 1872 to 1877 and again from 1880 to 1883. In 1883 he -settled in Copenhagen where for sixteen years he was court conductor, -and part of that time conductor at the Royal Theater as well. As a composer -Svendsen distinguished himself with major works for orchestra -in a pronounced Norwegian style, the most famous being four Norwegian -Rhapsodies and the <i>Carnaval des artistes norvégiens</i>, in all of -which Norwegian folk melodies are used extensively. He also produced -many works not of a national identity, among which were symphonies, -concertos, chamber-music works, and the highly popular <i>Carnival in -Paris</i>, for orchestra. Svendsen died in Copenhagen on June 14, 1911.</p> -<p><i>The Carnival in Paris</i> (<i>Carnaval à Paris</i>), for orchestra, op. 9 (1873) -is one of Svendsen’s best-known works, even though it is not in his -<span class="pb" id="Page_314">314</span> -characteristic Norwegian style. His early manhood in Paris had been -one of the composer’s happiest experiences in life, and some of that joy -and feeling of excitement is found in this music describing a Mardi -Gras in Paris. The full orchestra enters after a swelling trumpet tone -over drum rolls. There is then heard an exchange among the wind instruments -and a quickening of the tempo to lead into the first main -theme, a delicate subject for flutes and clarinets. This theme is twice -repeated after which the music becomes stormy. Divided violins then -bring on the second theme, which like the first is quiet and gentle. In -the development, in which much is made of the first subject, there are -effective frequent alternations of tempo. A rhapsodic section, with a -subject for divided strings, followed by extended drum rolls and calls -for muted horns, precede the concluding section.</p> -<h2 id="c171"><span class="small">Deems <b id="g_Taylor">Taylor</b></span></h2> -<p>Joseph Deems Taylor was born in New York City on -December 22, 1885. He received his academic education in New York, -at the Friends School, Ethical Culture School, and New York University. -All the while he studied music with private teachers. Following his -graduation from college, Taylor appeared in vaudeville, worked for -several magazines, and from 1921 to 1925 was the music critic of the -New York <i>World</i>. He first distinguished himself as a composer in 1919 -with the orchestral suite, <i>Through the Looking Glass</i>. In 1925 he resigned -from the <i>World</i> to concentrate on composition. In the next half -dozen years he completed two operas, each successfully performed at -the Metropolitan Opera: <i>The King’s Henchman</i> (with libretto by Edna -St. Vincent Millay) in 1927, and <i>Peter Ibbetson</i> in 1931. Since 1927, -Taylor has followed several careers besides that of one of America’s -most important serious composers. He was editor of <i>Musical America</i>, -music critic for the <i>New York American</i>, master of ceremonies on radio -<span class="pb" id="Page_315">315</span> -and television, program annotator, intermission commentator for broadcasts -of opera and orchestral music, and author of several best-selling -books on music. A highly sophisticated composer with a consummate -technical skill, Taylor’s works are not for popular consumption. But -he did write one composition in a popular style, <i>Circus Day</i>; and a second -of his works, <i>Through the Looking Glass</i>, while intended for symphonic -concerts, has enough wit and charm to fall gracefully into the -semi-classical category.</p> -<p><i>Circus Day</i> is a fantasy for orchestra, op. 18 (1925) written on commission -from Paul Whiteman and his Orchestra. When Whiteman and -his orchestra introduced it that year, the work was orchestrated by -Ferde Grofé, but since then Taylor has prepared his own symphonic -adaptation. Subtitled “eight pictures from memory” this fantasy strives -“to convey one’s early impressions of a day at the circus.” The composer -has provided his own program notes for the eight movements. The first, -entitled “Street Parade,” describes the circus parade as it “passes on -down the street.” “The playing of the band grows fainter and dies away -in the distance.” “The Big Tops” tells in musical terms about “peanuts, -popcorn, pink lemonade, bawling side-show barkers.” This is followed -by “Bareback Riders.” “As the ringmaster cracks his whip, the riders -perform the miraculous feats ... that make horseback riders the -objects of such awe and admiration.” The fourth movement is in three -parts. The first is devoted to “The Lion’s Cage.” “The roar of the lions -is blood curdling, but they go through their tricks with no damage -to any of us.” The second speaks about “The Dog and the Monkey -Circus.” “Into the ring dash a whole kennel full of small dogs guised as -race horses, ridden by monkeys dressed as jockeys.” In the third, we get -a picture of “The Waltzing Elephants.” “The great beasts solemnly -waltz to a tune that is a pachydermous version of the theme of the bareback -riders.” In the fifth movement, “Tight-Rope Walker,” the performer -“balances his parasol; he pirouettes and slips and slides as he -makes his perilous way along the taut wire.” “The Jugglers,” in the -sixth movement, “juggle little balls and big ones, knives, dishes, hats, -lighted candles....” Even the orchestra is seized by the contagion and -finally juggles its main theme, keeping three versions of it in the air. In -“Clowns,” two of them “come out to play us a tune.... Finally, after -a furious argument, the entire clown band manages to play the tune -through, amid applause.” The finale, the composer goes on to explain, -“might better be called ‘Looking Back.’ For the circus is over, and we -are back at home, trying to tell a slightly inattentive family what we -<span class="pb" id="Page_316">316</span> -saw and heard. The helpful orchestra evokes recollections of jugglers, -clowns, bareback riders, tight-rope walkers, trained animals.”</p> -<p><i>Through the Looking Glass</i>, a suite for orchestra (1919) is a musical -setting of episodes from Lewis Carroll’s delightful tale of the same -name. Taylor’s suite is in four movements, for which he has provided -his own program. The first movement, “Dedication; The Garden of -Live Flowers,” consists of “a simple song theme, briefly developed,” -which leads immediately to the brisk music of “The Garden of Live -Flowers.” In the second movement, “Jabberwocky,” the theme of the -frightful beast, the Jabberwock, “is first announced by the full orchestra. -The clarinet then begins the tale [with] the battle with the monsters -recounted in a short and rather repellant fugue.” The third movement, -“Looking Glass Insects” tells of “the vociferous <i>diptera</i> that made such -an impression on Alice—the Bee-elephant, the Gnat, the Rockinghorse -fly, and the Bread-and-butter fly.” The last movement, “The White -Knight” has two themes. “The first is a sort of instrumental prance, -being the knight’s own conception of himself as a slashing daredevil. -The second is bland, mellifluous, a little sentimental—much more like -the knight as he really was.”</p> -<h2 id="c172"><span class="small">Peter Ilitch <b id="g_Tchaikovsky">Tchaikovsky</b></span></h2> -<p>Peter Ilitch Tchaikovsky was born in Votkinsk, -Russia, on May 7, 1840. Serious music study began comparatively -late, since he prepared for a career in law and then for three years -served as clerk in the Ministry of Justice. He had, however, revealed -unusual sensitivity for music from earliest childhood, and had received -some training on the piano from the time he was five. Intensive music -study, however, did not begin until 1861 when he became a pupil of -Nicholas Zaremba, and it was completed at the St. Petersburg Conservatory. -His professional career began in 1865, the year in which he was -appointed professor of harmony at the newly founded Moscow Conservatory. -<span class="pb" id="Page_317">317</span> -This was also the year when one of his compositions was -performed for the first time: <i>Characteristic Dances</i>, for orchestra, introduced -by Johann Strauss II in Pavlovsk, Russia. Tchaikovsky’s first -symphony was introduced in Moscow in 1868; his first opera, <i>The -Voivoda</i>, in Moscow in 1869; and his first masterwork—the orchestral -fantasy <i>Romeo and Juliet</i>—in Moscow in 1870. During the next half -dozen years he reached maturity as composer with the completion of -his second and third symphonies, first two string quartets, famous Piano -Concerto No. 1, and the orchestral fantasy, <i>Francesca da Rimini</i>.</p> -<p>In 1877, Tchaikovsky embarked precipitously on a disastrous marriage -with Antonina Miliukova. He did not love her, but was flattered -by her adoration of his music. In all probability he regarded this marriage -as a convenient cloak with which to conceal his sexual aberration -which was already causing some talk in Moscow and of which he was -heartily ashamed. In any event, this marriage proved a nightmare from -the beginning. Always hypersensitive, he now became a victim of mental -torment which led him to try suicide. Failing that, he fled from his -wife to find refuge in his brother’s house where he collapsed physically. -For a year after that he traveled about aimlessly in Europe.</p> -<p>This strange relationship with his wife was followed by another one, -even more curious and unorthodox, with the woman whom he admired -and loved above all others. She was the wealthy patroness and widow, -Nadezhda von Meck, with whom he maintained a friendship lasting -thirteen years. But during all that time he never once met her personally, -their friendship being developed through an exchange of often -tender at times even passionate letters. She had written him to speak -of her admiration for his music and he had replied in gratitude. Before -long, she endowed him with a generous annual subsidy to allow him -full freedom to write music. From then on, they wrote each other frequently, -with Tchaikovsky often baring his heart and soul. The reason -why they never met was that Mme. von Meck had firmly established -that condition for the continuation of their friendship and her financial -generosity. Why this strange request was made, and why she adhered to -it so tenaciously, has never been adequately explained. She may have -been influenced by their different stations in life, or by her excessive -devotion to her children, or even by a knowledge of the composer’s -sexual deviation.</p> -<p>Now financially independent—and strengthened by the kindness, affection -and sympathy of his patroness—Tchaikovsky entered upon one of -his richest creative periods by producing one masterwork after another: -<span class="pb" id="Page_318">318</span> -the fourth and fifth symphonies, the opera, <i>Eugene Onegin</i>; the violin -concerto; the <i>Capriccio italien</i>, for orchestra; a library of wonderful -songs. Inevitably he now assumed a rank of first importance in Russian -music. In 1884 he was honored by the Czar with the Order of St. Vladimir, -and in 1888 a life pension was conferred upon him by the Russian -government.</p> -<p>In 1890, while traveling in the Caucasus, Tchaikovsky heard from -Mme. von Meck that she had recently suffered financial reverses and -was compelled to terminate her subsidy. The composer replied that he -was no longer in need of her financial help but that he hoped their -friendship might continue. To this, and to all subsequent letters by -Tchaikovsky, Mme. von Meck remained silent. Upon returning to Moscow, -Tchaikovsky discovered that his patroness was in no financial difficulties -whatsoever, but had used this as an excuse to terminate a relationship -of which she had grown weary. The loss of his dearest friend, -and the specious reason given for the termination of their relationship, -was an overwhelming blow, one largely responsible for the fits of -melancholia into which Tchaikovsky lapsed so frequently from this -time on.</p> -<p>In 1891, Tchaikovsky paid his only visit to the United States where -he helped open Carnegie Hall in New York by directing a performance -of his own <i>Overture 1812</i>. After returning to Russia, he became so -morbid, and succumbed so helplessly to fits of despair, that at times he -thought he was losing his mind. In such a mood he wrote his last symphony, -the <i>Pathétique</i>, one of the most tragic utterances in all music; -there is good reason to believe that when Tchaikovsky wrote this music -he was creating his own requiem. He died in St. Petersburg on November -6, 1893, a victim of cholera contracted when he drank a glass of -boiled water during an epidemic.</p> -<p>The qualities in his major serious works that made Tchaikovsky one -of the best loved and most frequently performed composers in the -world are also the traits that bring his lesser works into the permanent -semi-classical repertory: an endless fund of beautiful melody; an affecting -sentiment that at times lapses into sentimentality; a lack of inhibitions -in voicing his deepest emotions and most personal thoughts.</p> -<p>The <i>Andante Cantabile</i> is a gentle, melancholy song in three-part -form which comes from one of the composer’s string quartets, in D -major, op. 11 (1871). This is the second movement of the quartet, and -the reason why this work as a whole is still occasionally performed. This -famous melody, however, is not original with the composer, but a -<span class="pb" id="Page_319">319</span> -quotation of a Russian folk song, “Vanya Sat on the Divan,” which the -composer heard a baker sing in Kamenka, Russia. Tchaikovsky himself -adapted this music for orchestra. In 1941, this melody was adapted into -the American popular song, “On the Isle of May.”</p> -<p><i>Chanson Triste</i> is another of the composer’s soft, gentle melodies that -is filled with sentiment. This is the second of twelve children’s pieces for -the piano “of moderate difficulty,” op. 40 (1876-1877).</p> -<p><i>Humoresque</i>, op. 10, no. 2 (1871)—a “humoresque” being an instrumental -composition in a whimsical vein—finds Tchaikovsky in a less -familiar attitude, that of grotesquerie. This sprightly little tune is -almost as celebrated as the very popular <i>Humoresque</i> of Dvořák; and -like that of Dvořák, it originated as a composition for the piano, a companion -to a <i>Nocturne</i> which it follows. Fritz Kreisler made a fine transcription -for violin and piano, while Stokowski was one of several to -adapt it for orchestra.</p> -<p>The <i>Marche Slav</i>, for orchestra, op. 31 (1876) was intended for a -benefit concert in St. Petersburg for Serbian soldiers wounded in the -war with Turkey. At that performance, the work aroused a “whole -storm of patriotic enthusiasm,” as the composer himself reported. The -work opens with a broad Slavic march melody which Tchaikovsky borrowed -from a Serbian folk song. The middle trio section is made up of -two other folk tunes. The composition ends with a triumphant restatement -of the opening march melody, now speaking for the victory of the -Serbs over the Turks.</p> -<p>The <i>Melodie</i>, in E-flat major, op. 42, no. 3 (1878) is a simple and -haunting little song that originated as a piece for violin and piano. It -appears in a set of three such pieces entitled <i>Souvenir d’un lieu cher</i>, -of which it is the closing number. This melody was used in 1941 for the -American popular song, “The Things I Love.”</p> -<p><i>The Months</i>, op. 37b (1876) is a suite for piano out of which come -several compositions exceedingly popular in transcriptions. Each movement -of this suite is devoted to a month of the year. The sixth movement -is <i>June</i>, a little barcarolle, or Venetian boat song. The tenth, for -October, is <i>Autumn Song</i>, a gentle melody lightly touched by sadness. -The eleventh, for November, is by contrast a lively piece entitled -<i>Troika en Traneaux</i>, or <i>The Troika</i>.</p> -<p>“None But the Lonely Heart” is one of Tchaikovsky’s most famous -songs, a melancholy setting of Goethe’s poem. This is the last of a set of -six songs, op. 16 (1872) which is extensively performed in transcriptions -of all sorts.</p> -<div class="pb" id="Page_320">320</div> -<p>The <i>Nutcracker Suite</i>, or <i>Casse-Noisette</i>, op. 71a (1892) is a suite for -orchestra adapted from a ballet score. The ballet (introduced in St. -Petersburg in 1892) tells about a nutcracker, received as a Christmas -gift by a little girl, which in her dreams becomes a handsome prince. -He leads toys into battle against mice, and conducts the little girl to -Jam Mountain, Arabia, where she is delighted with all kinds of games -and dances. Those accustomed to associate the name of Tchaikovsky -with lugubrious music will find this suite a revelation, for it is filled -with the most enchanting moods, and is consistently light of heart and -spirit. The highly popular suite for orchestra is made up of eight little -movements. “Miniature Overture” is built from two lively tunes. The -main subject of the “March” is a pert melody for clarinet, horn, and -two trumpets; the trio section consists of a vivacious staccato melody -for the woodwind and strings. “The Dance of the Sugarplum Fairy” is -a sensitive melody for the celesta, the “Trepak” is a vigorous, rhythmic -Russian dance, the “Arabian Dance” is an exotic melody for the clarinet, -and the “Chinese Dance” an Oriental subject for flute and piccolo. -The two last movements are the “Dance of the Flutes” in which a sensitive -melody for flutes is contrasted by a more robust section for trumpets, -and the “Waltz of the Flowers,” where the waltz tune in horns and -then in clarinets is followed by two more important ideas, the first in -the strings, and the second in flutes and oboe.</p> -<p>The <i>Overture 1812</i> is a concert overture for orchestra, op. 49 (1880) -commissioned for the consecration of a temple built as a memorial to -Napoleon’s defeat in Russia in 1812. This overture was intended by the -composer to describe the historic events of Napoleon’s invasion of and -flight from Russia. An introductory section quotes the well-known -Russian hymn, “God Preserve Thy People.” In the main body of the -overture, the Battle of Borodino is dramatically depicted, the two opposing -armies represented by quotations from the <i>Marseillaise</i> and the -Russian national anthem. A climax is reached with a triumphant restatement -of the Russian national anthem.</p> -<p>The <i>Polonaise</i> is one of two celebrated dance episodes in the opera -<i>Eugene Onegin</i>. (The other is the Waltz discussed below.) This three-act -opera is based on a poem by Pushkin, adapted by Konstantin Shilovsky -and the composer himself, and was introduced in Moscow on March -29, 1879. The setting is St. Petersburg in or about 1815, and its central -theme concerns the frustrated love affair of Eugene Onegin and Tatiana. -The brilliant music of the Polonaise is heard in the first scene of -Act 3. In the palace of Prince Gremin there takes place a reception -<span class="pb" id="Page_321">321</span> -during which the guests dance to the vital strains of this courtly Polish -dance, its vigor derived from sharp syncopations and accents on the -half beat.</p> -<p><i>Romance</i>, in F minor, op. 5 (1868) is a composition for piano written -by the composer when he believed himself in love with the singer, -Désirée Artôt, to whom the piece is dedicated. This music gives voice -to a romantic ardor.</p> -<p>The <i>Sérénade mélancolique</i> in B-flat minor, op. 26 (1875) is a work -for violin and orchestra. As the title indicates it is a sentimental rather -than romantic effusion. Here a brief subject leads to a soaring three-part -song for the violin.</p> -<p><i>Serenade for Strings</i>, in C major, op. 48 (1880) is particularly famous -for its second and third movements. The second is a Waltz, perhaps the -most popular of this composer’s many well loved waltzes. This is a -graceful, even elegant, dance movement, the waltz of the Parisian salon -rather than the more vital and earthy dance of Vienna. Such a light-hearted -mood is instantly dispelled by the gloom of the third movement, -an eloquent <i>Elegy</i>, in which the sorrow is all the more poignant -because it is so subdued and restrained.</p> -<p>Solitude, op. 73, no. 6 (1893)—sometimes known as Again as Before—is -a song set to a poem by D. M. Rathaus. This is the last of a set of -six songs. Stokowski made an effective arrangement for orchestra.</p> -<p><i>Song Without Words</i> (<i>Chanson sans paroles</i>), in F major is the third -of a set of three pieces for the piano collectively entitled <i>Souvenir de -Hapsal</i>, op. 2 (1867). This tender melody is far more familiar in transcriptions -than it is in its original version.</p> -<p>Tchaikovsky wrote three Suites for orchestra. From two of these come -movements which must be counted with the composer’s most popular -works. The Suite No. 1 in D minor, op. 43 (1880) is famous for its -fourth movement, a <i>Marche Miniature</i>. The inclusion of this section -into the suite was something of an afterthought with the composer, -since it was interpolated into the work only after it had been published, -placed as a fourth movement between an intermezzo and a scherzo. -This march is in the grotesque, fantastic style of the piano <i>Humoresque</i>. -The main subject is heard in the piccolo against plucked-string accompaniment. -A transitory episode in strings and bells leads to a development -of this melody.</p> -<p>The third movement from this same suite, <i>Intermezzo</i>, has two main -melodies: the first appears in first violins, violas, bassoons and flute; the -second, in cellos and bassoon. The coda is based on the first theme.</p> -<div class="pb" id="Page_322">322</div> -<p>The suite No. 3 in G major, op. 55 (1884) is a four-movement work of -which the second is particularly celebrated. This is a <i>Valse mélancolique</i> -for full orchestra, highly expressive and emotional music in the -composer’s identifiable sentimental style.</p> -<p>There are several other waltzes by Tchaikovsky familiar to all lovers -of light music. The <i>Valse sentimentale</i>, op. 51, no. 6 comes from a set -of six pieces for the piano (1882) where it is the final number. The -opera <i>Eugene Onegin</i> (commented upon above for its Polonaise) is also -the source of a remarkable waltz episode. This music, the essence of -aristocratic style and elegance, appears in the first scene of the second -act. Tatiana’s birthday is celebrated with a festive party during which -the guests dance to its infectious strains. Two other famous Tchaikovsky -waltzes come from his famous ballets—<i>Sleeping Beauty</i> and <i>Swan -Lake</i>. In the orchestral suite derived from the score of <i>Sleeping Beauty</i>, -the waltz appears as the fourth and concluding movement and consists -of a lilting melody for strings which is carried to an overpowering -climax. The <i>Swan Lake</i> consists of thirty-three numbers, various combinations -of its most popular sections serving as orchestral suites for -concert performance. The suave waltz music serves in the ballet for a -dance of the swans at the lakeside in the second act.</p> -<h2 id="c173"><span class="small">Ambroise <b id="g_Thomas">Thomas</b></span></h2> -<p>Ambroise Thomas was born in Metz, France, on August -5, 1811. Between 1828 and 1832 he attended the Paris Conservatory -where he won numerous prizes including the Prix de Rome. After his -three-year stay in Rome, where he wrote some orchestral and chamber -music, he returned to Paris in 1836 and devoted himself to writing -operas. The first was <i>La double échelle</i>, produced at the Opéra-Comique -in 1837. His first success was realized in 1843 with <i>Mina</i>, and -in 1866 the opera by which he is remembered, <i>Mignon</i>, was triumphantly -<span class="pb" id="Page_323">323</span> -introduced at the Opéra-Comique. Later operas included <i>Hamlet</i> -(1868) and <i>Françoise de Rimini</i> (1882). In 1851, Thomas was elected -member of the French Academy. In 1871 he was appointed director of -the Paris Conservatory, and in 1894 he was the recipient of the Grand -Cross of the Legion of Honor. He died in Paris on February 12, 1896.</p> -<p><i>Mignon</i> represents the French lyric theater at its best, with its graceful -melodies, charming moods, and courtly grace of style. Its world première -took place at the Opéra-Comique on November 17, 1866. In less -than a century it was given over two thousand performances by that -company besides becoming a staple in the repertory of opera houses the -world over. The opera is based on Goethe’s novel, <i>Wilhelm Meister</i>, -adapted by Michel Carré and Jules Barbier. Mignon is a gypsy girl purchased -by Wilhelm Meister. She falls in love with him and is heartbroken -to discover how he is attracted to the actress, Philine. She tells -the demented Lothario of her sorrow and of her wish that Meister’s -castle be burned to the ground. Lothario then proceeds to set Meister’s -castle aflame. Mignon, caught therein, is saved by Meister and then -gently nursed back to health. Meister now realizes he is in love with her -and her alone. When the demented Lothario regains his sanity we learn -that Mignon is in actuality his daughter and that the castle he has -burned is not Meister’s but his own.</p> -<p>Parts of this opera are better known than the whole, and through -these parts <i>Mignon</i> remains deservedly popular on semi-classical programs. -The Overture makes extended use of two of the opera’s main -melodies. The first is “<i>Connais-tu le pays</i>,” (“<i>Knowest Thou the -Land?</i>”), Mignon’s poignant first-act aria in which she recalls her childhood -in some distant land; the melody is given in the wind instruments -after a brief introduction. The second aria is Philine’s polonaise, “<i>Je -suis Titania</i>” (“<i>I am Titania</i>”) from the second scene of the second act.</p> -<p>Another delightful orchestral episode from this opera is a suave, -graceful little gavotte heard as entr’acte music just before the rise of the -second-act curtain.</p> -<p>The <i>Raymond</i> Overture is even more popular than that to <i>Mignon</i>. -<i>Raymond</i> was first performed at the Opéra-Comique on June 5, 1851. -The overture opens with a spirited section punctuated with dashing -chords. A serene transition, highlighted by a passage for solo cello, brings -on a light, tuneful air in the violins against sharply accented plucked -strings; a graceful countermelody for the woodwind follows. This appealing -material is repeated at some length with embellishments and -amplifications until a new thought is asserted: a brisk, march-like -<span class="pb" id="Page_324">324</span> -melody that slowly gains in sonority and tempo until a climactic point -is reached in which this march melody is forcefully given by the full -orchestra. The strings then offer a sentimental melody by way of temporary -relief. But the overture ends in a dramatic and spirited mood -with a finale statement of the march tune.</p> -<h2 id="c174"><span class="small">Enrico <b id="g_Toselli">Toselli</b></span></h2> -<p>Enrico Toselli was born in Florence, Italy, on March 13, -1883. After studying with Sgambati and Martucci, Toselli toured -Italy as a concert pianist. But he achieved renown not on the concert -stage but with the writing of several romantic songs. One of these is the -“<i>Serenata</i>,” No. 1, op. 6, through which his name survives. He also wrote -some orchestral music and an operetta, <i>La Principessa bizzarra</i> (1913) -whose libretto was the work of the former Crown Princess Luisa of -Saxony whom he married in 1907 thereby creating an international -sensation. Toselli died in Florence, Italy, on January 15, 1926.</p> -<p>The “<i>Serenata</i>” (“<i>Rimpianto</i>”) with Italian words by Alfred Silvestri -and English lyrics by Sigmund Spaeth was published in the United States -in 1923. This romantic, sentimental, Italian melody, as well loved in -this country as in Europe, was for many years used by Gertrude Berg -as the theme music for her radio and television program, <i>The Goldbergs</i>. -It was also used as the theme music for an early talking picture, -<i>The Magic Flame</i>, in which Ronald Colman and Vilma Banky were -starred.</p> -<div class="pb" id="Page_325">325</div> -<h2 id="c175"><span class="small">Sir Paolo <b id="g_Tosti">Tosti</b></span></h2> -<p>Sir Francesco Paolo Tosti, one of Italy’s best -known song composers, was born in Ortona sul Mare, Abruzzi, Italy, on -April 9, 1846. His musical education took place at the Royal College -of San Pietro a Maiella in Naples. He left Naples in 1869 after serving -for a while as teacher of music. Returning to his native city he now -initiated his career as a composer of songs. Though a few of these early -efforts became popular he failed for a long time to find a publisher. -Success first came to him in Rome at a song recital in which he featured -some of his own compositions. He scored an even greater success as -singer-composer in London in 1875. He now settled permanently in -London, serving as a singing master to the royal family, and as professor -of singing at the Royal Academy of Music. In 1908 he was knighted. In -1913 he returned to his native land. He died in Rome on December 2, -1916.</p> -<p>Tosti had a remarkable lyric gift that was Italian to its very core in -the ease, fluidity, and singableness of his melodies. This talent was combined -with an elegant style and a sincere emotion. His best songs are -among the most popular to emerge from Italy. The most famous and -the most moving emotionally is without question “<i>Addio</i>” (“Goodbye, -Forever”). Almost as popular and appealing are “<i>Ideale</i>” (“My Ideal”), -“<i>Marechiare</i>,” “<i>Mattinata</i>,” “<i>Segreto</i>,” “<i>La Serenata</i>,” and “<i>Vorrei -morire</i>.”</p> -<div class="pb" id="Page_326">326</div> -<h2 id="c176"><span class="small">Giuseppe <b id="g_Verdi">Verdi</b></span></h2> -<p>Giuseppe Verdi, the greatest of the Italian opera composers, -was born in Le Roncole, Italy, on October 10, 1813. He demonstrated -such unmistakable gifts for music in his boyhood that his townspeople -created a fund to send him to the Milan Conservatory. In 1832 -he appeared in Milan. Finding he was too old to gain admission to the -Conservatory, he studied composition privately with Vincenzo Lavigna. -For several years Verdi lived in Busseto where he conducted the Philharmonic -Society and wrote his first opera, <i>Oberto</i>, produced in Milan -in 1839. Now settled in Milan, he continued writing operas, achieving -his first major success with <i>Nabucco</i> in 1842. During the next eight -years he solidified his position as one of Italy’s best loved opera composers -with several important works among which were <i>Ernani</i> (1844), -<i>Macbeth</i> (1847) and <i>Luisa Miller</i> (1849). A new era began for Verdi in -1851 with <i>Rigoletto</i>, an era in which he became Italy’s greatest master -of opera, and one of the foremost in the world. <i>Il Trovatore</i> and <i>La -Traviata</i> came in 1853, to be followed by <i>I Vespri Siciliani</i> (1855), -<i>Simone Boccanegra</i> (1857), <i>Un ballo in maschera</i> (1859), <i>La Forza del -destino</i> (1862), and <i>Aida</i> (1871). Now a man of considerable wealth (as -well as fame), Verdi bought a farm in Sant’ Agata where he henceforth -spent his summers; after the completion of <i>Aida</i>, he lived there most of -the time in comparative seclusion, tending to his crops, gardens, and -live stock. When Cavour initiated the first Italian parliament, Verdi -was elected deputy. But Verdi never liked politics, and soon withdrew -from the political arena; however, in 1874, he accepted the honorary -appointment of Senator from the King.</p> -<p>As a composer, Verdi remained silent for about fifteen years after -<i>Aida</i>. By the time the world became reconciled to the fact that Verdi’s -life work was over, he emerged from this long period of withdrawal to -produce two operas now generally regarded as his crowning achievements: -<i>Otello</i> (1887) and <i>Falstaff</i> (1893). During the last years of his -life, Verdi lived in a Milan hotel. His sight and hearing began to deteriorate, -<span class="pb" id="Page_327">327</span> -and just before his death—in Milan on January 27, 1901—he -suffered a paralytic stroke. His death was mourned by the entire nation. -A quarter of a million mourners crowded the streets to watch his bier -pass for its burial in the oratory of the Musicians Home in Milan—accompanied -by the stately music of a chorus from <i>Nabucco</i>, conducted -by Toscanini.</p> -<p>Verdi’s profound knowledge of the theater and his strong dramatic -sense, combined with his virtually incomparable Italian lyricism, made -him one of the greatest composers for the musical theater of all time. -But it is his lyricism—with all its infinite charm and variety—that makes -so much of his writing so popular to so many in such widely scattered -areas of the world. Selections from his most famous operas are favorites -even with many who have never seen them on the stage, because their -emotional appeal is inescapable.</p> -<p><i>Aida</i> is an opera filled not only with some of the most wonderful -melodies to be found in Italian opera but also with scenes of pomp, -ceremony, with exotic attractions, and with episodes dynamic with dramatic -interest. This was the opera that brought Verdi’s second creative -period to a rich culmination; and it is unquestionably one of the composer’s -masterworks. He wrote it on a commission from the Egyptian -Khedive for ceremonies commemorating the opening of the Suez Canal. -However, Verdi took so long to complete his opera that it was not performed -in Cairo until about two years after the canal had been opened, -on December 24, 1871. The libretto—by Antonio Ghislanzoni—was -based on a plot by Mariette Bey. Radames, captain of the Egyptian -guard, is in love with Aida, the Ethiopian slave of Amneris. The latter, -daughter of the King of Egypt, is herself in love with Radames. When -an invading Ethiopian force comes to threaten Egypt, Radames becomes -the commander of the army and proves himself a hero. Lavish -festivities and ceremonies celebrate his victorious return, during which -the king of Egypt offers him the hand of Amneris as reward. But -Radames is still in love with Aida. Since Aida is actually the daughter -of the Ethiopian king, she manages to extract from Radames the secret -maneuvers of the Egyptian army, information enabling the Ethiopian -army to destroy the Egyptians. For this treachery, Radames is buried -alive; and Aida, still in love with him, comes within his tomb to die -with him.</p> -<p>The brief overture opens with a tender melody in violins suggesting -Aida. After an effective development we hear a somber and brooding -motive of the Priests of Isis, which soon receives contrapuntal treatment. -<span class="pb" id="Page_328">328</span> -The Aida motive is dramatized, brought to a magnificent climax, -then allowed to subside.</p> -<p>The Ballet Music is famous for its brilliant harmonic and orchestral -colors, exotic melodies, and pulsating rhythms. In Act 2, Scene 1 there -takes place the <i>Dance of the Moorish Slaves</i>, an oriental dance performed -before Amneris by the Moorish boys. The <i>Ballabile</i> is another -oriental dance which appears in Act 2, Scene 2, performed by the dancing -girls during the celebration attending the arrival of the triumphant -Egyptian army headed by Radames. In this scene there is also heard the -stirring strains of the <i>Grand March</i>. This march begins softly but soon -gathers its strength and erupts with full force as the king, his attendants, -the Priests, the standard bearers, Amneris and her slaves appear in a brilliant -procession. The people raise a cry of praise to the king and their -Gods in “<i>Gloria all’ Egitto</i>.” After this comes the dramatic march music -to which the Egyptian troops, with Radames at their head, enter triumphantly -into the square and file proudly before their king.</p> -<p>Of the vocal excerpts the most famous is undoubtedly Radames’ -ecstatic song of love to Aida in the first act, first scene, “<i>Celeste Aida</i>,” -surely one of the most famous tenor arias in all opera. Two principal -arias for soprano are by Aida. The first is her exultant prayer that -Radames come back victorious from the war, “<i>Ritorna vincitor</i>” in -Act 1, Scene 1; the other, “<i>O Patria mia</i>,” in Act 3, is her poignant -recollection of her beloved homeland in Ethiopia. Amneris’ moving -aria in Act 2, Scene 1, “<i>Vieni amor mio</i>” where she thinks about her -beloved Radames, and the concluding scene of the opera in which -Radames and Aida bid the world farewell, “<i>O terra, addio</i>” are also -famous.</p> -<p><i>La Forza del destino</i> (<i>The Force of Destiny</i>) has a popular overture. -This opera was first performed in St. Petersburg, Russia on November -10, 1862—libretto by Francesco Piave based on a play by the Duke de -Riva. Leonora, daughter of the Marquis of Calatrava, is in love with -Don Alvaro, a nobleman of Inca origin. When they plan elopement, -Leonora’s father intervenes and is accidentally killed in the ensuing -brawl. Leonora’s brother, Don Carlo, swears to avenge this death by -killing Don Alvaro. On the field of battle, Don Alvaro saves Don -Carlo’s life. Not recognizing Don Alvaro as his sworn enemy, Don Carlo -pledges eternal friendship; but upon discovering Don Alvaro’s true -identity, he challenges him to a duel in which Don Carlo is wounded. -Aware that he has brought doom to two people closest and dearest to -his beloved Leonora, Don Alvaro seeks sanctuary in a monastery where -<span class="pb" id="Page_329">329</span> -many years later he is found by Don Carlo. In the sword duel that follows, -Don Alvaro kills Don Carlo, whose last act is to plunge a fatal -knife into his sister’s heart.</p> -<p>A trumpet blast, creating an ominous air of doom, opens the overture. -An air in a minor key then leads to a gentle song for strings; this -is Leonora’s prayer for help and protection to the Virgin in the second -scene of the second act, “<i>Madre pietosa</i>.” A light pastoral tune, depicting -the Italian countryside in the third act, is now heard. Leonora’s -song of prayer is now forcefully repeated by the full orchestra, after -which the overture ends robustly.</p> -<p><i>Rigoletto</i>, introduced in Venice on March 11, 1851, is based on the -Victor Hugo play, <i>Le Roi s’amuse</i> adapted by Francesco Piave. Rigoletto -is the hunchbacked jester to the Duke of Mantua who jealously -guards his daughter, Gilda, from the world outside their home. Disguised -as a student, the Duke woos Gilda and wins her love. Since the -Duke’s courtiers hate the jester, they conspire to abduct Gilda and -bring her to the ducal court to become the Duke’s mistress. Distraught -at this turn of affairs, the jester vows to kill the Duke and hires a professional -assassin to perform this evil deed. But since his own sister loves -the Duke, the assassin decides to spare him and to kill a stranger instead. -The stranger proves to be none other than Gilda, disguised as a -man for a projected flight to Verona. The body is placed in a sack for -delivery to Rigoletto who, before he can get rid of the body, discovers -that it is that of his beloved daughter.</p> -<p>The following are the best loved and most widely performed excerpts -from this tuneful opera: the Ballata, “<i>Questa o quella</i>” from the first -act in which the Duke flippantly talks of love and his many conquests; -the graceful Minuet to which the courtiers dance during a party at the -Ducal palace in the same act; Gilda’s famous coloratura aria, “<i>Caro -nome</i>” from the second act, in which she dreams about the “student” -with whom she has fallen in love; the light and capricious aria of the -Duke, “<i>La donna è mobile</i>” from the third act, in which the Duke -mockingly comments on fickle womanhood, and one of the most celebrated -tenor arias in the repertory; the quartet “<i>Bella figlia dell’ -amore</i>”—as celebrated an ensemble number as “<i>La donna è mobile</i>” is -as an aria—in which each of the four principal characters of the opera -(Gilda, Rigoletto, the Duke, and Maddalena) speaks of his or her inner -turmoil, doubts, and hatreds in the third act.</p> -<p><i>La Traviata</i> (<i>The Lost One</i>) is Francesco Maria Piave’s adaptation of -Alexandre Dumas’ celebrated romance, <i>La Dame aux camélias</i>. Its -<span class="pb" id="Page_330">330</span> -central theme is the tragic tale of the courtesan, Violetta, who falls in -love with and is loved by Alfredo Germont. After they live together for -a blissful period, Alfredo’s father is instrumental in breaking up the -affair by convincing Violetta she must give up her lover for his own -good. She does so by feigning she has grown tired of him. Only too late -does Alfredo learn the truth; when he returns to Violetta, she is dying -of tuberculosis.</p> -<p>The première of <i>La Traviata</i> in Venice on March 6, 1853 was a dismal -failure. The public reacted unfavorably to a play it regarded -immoral, and to the sight of a healthy prima donna seemingly wasting -away with tuberculosis; it also resented the fact that the opera was given -in contemporary dress. At a revival, a year later in Venice, the opera was -performed in costume and settings of an earlier period. Profiting further -from a carefully prepared presentation, the opera now cast a spell -on its audience. From this point on, <i>La Traviata</i> went on to conquer -the opera world to become one of the most popular operas ever written.</p> -<p>The orchestral preludes to the first and third act are celebrated. The -Prelude to Act 1 begins softly and slowly with a poignant melody suggesting -Violetta’s fatal sickness; this is followed by a broad, rich song -for the strings describing Violetta’s expression of love for Alfredo. The -Prelude to Act 3 also begins with the sad, slow melody speaking of -Violetta’s illness. The music then becomes expressive and tender to -point up the tragedy of her life; this prelude ends with a succession of -broken phrases as Violetta’s life slowly ebbs away.</p> -<p>The following are the principal vocal selections from <i>La Traviata</i>: -the opening drinking song, or Brindisi (“<i>Libiamo, libiamo</i>”); Violetta’s -world-famous aria, “<i>Ah, fors è lui</i>” in which she reveals her love for -Alfredo followed immediately by her determination to remain free and -pleasure-loving (“<i>Sempre libera</i>”) also in the first act; Alfredo’s expression -of joy that Violetta has come to live with him, “<i>De’ miei bollenti -spiriti</i>” and the elder Germont’s recollection of his happy home in the -Provence, “<i>Di Provenza il mar</i>” from the second act; Violetta’s pathetic -farewell to the world, “<i>Addio del passato</i>,” and Alfredo’s promise to the -dying Violetta to return together to their happy home near Paris, -“<i>Parigi, o cara</i>” from the fourth act.</p> -<p><i>Il Trovatore</i> (<i>The Troubadours</i>) is so full of familiar melodies that, -like a play of Shakespeare, it appears to be replete with “quotations.” -It was first performed in Rome on January 19, 1853. The libretto by -Salvatore Commarno, based on a play by Antonio Garcia Gutiérrez, is -complicated to a point of obscurity, and filled with coincidences and -<span class="pb" id="Page_331">331</span> -improbabilities; but this did not prevent Verdi from creating one of -his most melodious scores, an inexhaustible reservoir of unforgettable -arias and ensemble numbers. The story involves Count di Luna in a -frustrated love affair with Leonora; his rival is Manrico, an officer of a -rival army with whom Leonora is in love. The gypsy Azucena convinces -Manrico, her foster son, that Count di Luna had been responsible for -the death of Manrico’s father, and incites him on to avenge that murder. -Later in the play, Azucena and Manrico are captured by Di Luna’s -army. To help free Manrico, Leonora promises to marry the Count. -Rather than pay this price, Leonora takes poison and dies at Manrico’s -feet. Manrico is now sentenced to be executed. After his death, Azucena, -half-crazed, reveals that Manrico is really Count di Luna’s half -brother.</p> -<p>The long list of favorite selections from <i>Il Trovatore</i> includes the following: -Manrico’s beautiful serenade to Leonora in Act 1, Scene 2, -“<i>Deserto sulla terra</i>”; Leonora’s poignant recollections of a mysterious -admirer in the second scene, “<i>Tacea la notte placida</i>”; the ever popular -<i>Anvil Chorus</i> of the gypsies with which the second act opens, “<i>Vedi! le -fosche</i>”; Azucena’s stirring recollection of the time long past when her -mother had been burned as a witch, “<i>Stride la vampa</i>,” and Count di -Luna’s expression of love for Leonora, “<i>Il balen</i>” also in the second act; -in the third act, Manrico’s dramatic aria, “<i>Di quella pira</i>” and the -rousing soldier’s chorus of Manrico’s troops, “<i>Squilli, echeggi la tromba -guerriera</i>”; Leonora’s prayer for her beloved Manrico “<i>D’amor sull’ ali -rosee</i>” followed immediately by the world-famous <i>Miserere</i> (“<i>Ah, che -la morte ognora</i>”), a choral chant asking pity and salvation from the -prisoners, all in the first scene of the fourth act; and the poignant duet -of Manrico and Azucena in the final scene, a fervent, glowing hope that -some day they can return to their beloved mountain country in peace -and love, “<i>Ai nostri monti</i>.”</p> -<p>While <i>I Vespri siciliani</i>, or <i>Les Vêpres siciliennes</i> (<i>Sicilian Vespers</i>) -is one of Verdi’s less familiar operas, its overture is one of his most successful. -The opera-libretto by Eugène Scribe and Charles Duveyrier—was -first performed at the Paris Opéra on June 13, 1855. Its setting is -13th-century Sicily where the peasants rise in revolt against the occupying -French. The overture is constructed from some basic melodies -from the opera. The first <i>Allegro</i> theme speaks of the massacre of the -French garrison. A second melody—a beautiful lyrical passage <i>pianissimo</i> -against tremolos—is taken from the farewell scene of the hero and -the heroine who are about to die.</p> -<div class="pb" id="Page_332">332</div> -<h2 id="c177"><span class="small">Richard <b id="g_Wagner">Wagner</b></span></h2> -<p>Wilhelm Richard Wagner, genius of the music -drama, was born in Leipzig, Germany, on May 22, 1813. In his academic -studies (at the Kreuzschule in Dresden, the Nikolaischule in Leipzig, -and the University of Leipzig) he was an indifferent, lazy, and irresponsible -student. But his intensity and seriousness of purpose where music -was concerned were evident from the beginning. He studied theory by -memorizing a textbook and then by receiving some formal instruction -from Theodor Weinlig. In short order he completed an overture and a -symphony that received performances between 1832 and 1833; in 1834 -he completed his first opera, <i>Die Feen</i>, never performed in his lifetime. -In 1834 he was appointed conductor of the Magdeburg Opera where, -two years later, his second opera, <i>Das Liebesverbot</i>, was introduced. Between -1837 and 1838 he conducted opera in Riga. Involvement in debts -caused his dismissal from this post and compelled him to flee to Paris, -where he arrived in 1839. There he lived for three years in extreme -poverty, completing two important operas, <i>Rienzi</i> in 1840, and <i>The -Flying Dutchman</i> in 1841. His first major successes came with the first -of these operas, introduced at the Dresden Opera on October 20, 1842. -This triumph brought Wagner in 1843 an appointment as Kapellmeister -of the Dresden Opera which he held with considerable esteem -for six years. During this period he completed two more operas: <i>Tannhaeuser</i>, -introduced in Dresden in 1845, and <i>Lohengrin</i>, first performed -in Weimar under Liszt’s direction, in 1850.</p> -<p>As a member of a radical political organization, the Vaterlandsverein, -Wagner became involved in the revolutionary movements that swept -across Europe in 1848-1849. To avoid arrest, he had to flee from -Saxony. He came to Weimar where he was warmly welcomed by Liszt -who from then on became one of his staunchest champions. After that -Wagner set up a permanent abode in Zurich. He now began to clarify -and expound his new theories on opera. He saw opera as a drama with -music, a synthesis of many arts; he was impatient with the old clichés -and formulas to which opera had so long been enslaved, such as formal -<span class="pb" id="Page_333">333</span> -ballets, recitatives and arias, production scenes, and so forth. And he -put his theories into practice with a monumental project embracing -four dramas, collectively entitled <i>The Nibelung Ring</i> (<i>Der Ring des -Nibelungen</i>) for which, as had always been his practice, he wrote the -text as well as the music; the four dramas were entitled <i>The Rhinegold</i> -(<i>Das Rheingold</i>), <i>The Valkyries</i> (<i>Die Walkuere</i>), <i>Siegfried</i>, and <i>The -Twilight of the Gods</i> (<i>Goetterdaemmerung</i>). It took him a quarter of a -century to complete this epic. But during this period he was able to -complete several other important music dramas, including <i>Tristan and -Isolde</i> in 1859 and <i>The Mastersingers</i> (<i>Die Meistersinger</i>) in 1867.</p> -<p>In 1862, Wagner was pardoned for his radical activities of 1849 and -permitted to return to Saxony. There he found a powerful patron in -Ludwig II, king of Bavaria, under whose auspices premières of Wagner’s -mighty music dramas were given in Munich beginning with <i>Tristan -and Isolde</i> in 1865. In 1876 there came into being one of Wagner’s -most cherished dreams, a festival theater built in Bayreuth, Bavaria, -according to his own specifications, where his music dramas could be -presented in the style and manner Wagner dictated. This festival -opened in August 1876 with the first performance anywhere of the -entire <i>Ring</i> cycle. Since then Bayreuth has been a shrine of Wagnerian -music drama to which music lovers of the world congregate during the -summer months. Wagner’s last music drama was the religious consecrational -play, <i>Parsifal</i>, first performed in Bayreuth on July 26, 1882. Wagner -died in Venice on February 13, 1883, and was buried in the garden -of his home, Wahnfried, in Bayreuth.</p> -<p>Of his turbulent personal life which involved him in numerous and -often complex love affairs, mention need here be made only of his -relations with Cosima, daughter of Liszt, and wife of Hans von Buelow. -Wagner and Cosima fell in love while the latter was still von Buelow’s -wife. They had two illegitimate children before they set up a home of -their own at Lake Lucerne; and one more (Siegfried) before they were -married on August 25, 1870.</p> -<p>Wagner’s creative career divides itself into two phases. In the first he -was the composer of operas in more or less a traditional style. To the -accepted formulas of operatic writing, however, he brought a new -dimension—immense musical and dramatic power and invention. In -the second phase he was the prophet of a new order in music, the creator -of the music drama. It is from the works of his first phase that salon or -pop orchestras derive selections that have become universal favorites—sometimes -overtures, sometimes excerpts. For these earlier works -<span class="pb" id="Page_334">334</span> -abound with such a wonderful fund of melody, emotion, expressiveness -and dramatic interest that they have become popular even with those -operagoers to whose tastes the later Wagner is perhaps too subtle, complex, -elusive, or garrulous.</p> -<p>From <i>The Flying Dutchman</i> (<i>Der fliegende Hollaender</i>) comes a -dramatic overture. This opera—text by the composer based on an old -legend adapted by Heinrich Heine—was first performed at the Dresden -Opera on January 2, 1843. “The Flying Dutchman” is a ship on which -the Dutchman must sail until he achieves redemption through the love -of a faithful woman. Only once in every seven years is he permitted to -go ashore to find that love. He finally achieves his redemption through -Senta. They both meet their final doom together in a raging sea which -swallows up the ship.</p> -<p>Turbulent music, intended to describe a storm at sea, opens the overture. -We then hear the theme of the Dutchman in the horns and bassoons. -The stormy music returns and subsides as a motive from Senta’s -beautiful second-act ballad, “<i>Traft ihr das Schiff</i>” is presented. This -motive brings up the image of Senta herself. A vigorous sailors’ chorus -is followed by a return of the Senta motive in full orchestra.</p> -<p>Three selections from <i>The Flying Dutchman</i> are of particular appeal: -Senta’s spinning song, “<i>Summ und brumm</i>” and her famous ballad, -both from the second act; and the chorus of the sailors in the third -act, a rousing chantey, “<i>Steuermann! lass die Wacht</i>.”</p> -<p><i>Lohengrin</i> was Wagner’s last “opera.” After that he confined himself -to music dramas. He completed it in 1848. After its première in Weimar -on August 28, 1850 it became one of the most successful operas in Germany -of that period. The text, by the composer, was adapted from -medieval legends. Lohengrin is a knight of the Holy Grail who becomes -Elsa’s champion against Telramund when Elsa is unjustly accused of -having murdered Gottfried. Lohengrin arrives on a swan and extracts -from Elsa the promise that she must never try to uncover his true identity. -After defeating Telramund, Lohengrin marries Elsa who, provoked -by Telramund’s wife, cannot stifle her curiosity about her husband’s -background and source. He finally must reveal to her that he is -a knight of the Holy Grail. Having made that revelation he must leave -her forever.</p> -<p>The two familiar orchestral preludes, from the first and third acts, -are opposites in mood, texture, and dynamics. The Prelude to Act 1 -has spiritual content, a portrait of a heavenly vision wherein the Holy -Grail is carried by angels. The main theme is heard quietly in the upper -<span class="pb" id="Page_335">335</span> -registers of the violins, then repeated by other instruments. This theme -is developed into a <i>crescendo</i> and culminates in an exultant statement -by trumpets and trombones. Now the theme is given in a <i>decrescendo</i>, -and the prelude ebbs away <i>pianissimo</i>, once again in the strings in the -upper register.</p> -<p>The Prelude to Act 3 is more robust in character, since it depicts the -joy of Elsa and Lohengrin on the eve of their wedding. A forceful melody -is pronounced by the full orchestra, succeeded by a second strong -theme for the cellos, horns, bassoons in unison; a march-like episode -for the wind instruments follows.</p> -<p>What is probably the most famous wedding march ever written comes -out of <i>Lohengrin</i>. Its strains are heard after the rise of the curtain for -Act 3, Scene 1, as a procession enters the bridal chamber. The chorus -hymns a blessing to the marriage couple (“<i>Treulich gefuert</i>”). From -one side ladies conduct Elsa, while from the other the King and his -men lead Lohengrin. The two processions then meet midstage and -Elsa joins Lohengrin to be blessed by the King. The two columns of -the procession then refile and march out of the two sides of the stage.</p> -<p><i>The Mastersingers</i> (<i>Die Meistersinger</i>), while written after Wagner -had set forth on his operatic revolution, is the only one of his music -dramas with a recognizable operatic ritual: big arias, huge production -numbers, even dances. For <i>The Mastersingers</i> is a comedy, the only -one Wagner ever wrote. For purposes of comedy some of the traditions -of opera still prove useful to Wagner, even if fused with techniques, -approaches and esthetics of the music drama. Wagner completed <i>The -Mastersingers</i> in 1867—eight years after <i>Tristan and Isolde</i> and more -than a decade following the first two dramas of the <i>Ring</i> cycle. The -first performance took place in Munich on June 21, 1868. The libretto, -by the composer, was set in Nuremberg in the middle 16th century, and -its plot revolves around a song contest conducted by the Mastersingers, -its winner to receive the hand of lovely Eva, daughter of the cobbler-philosopher, -Hans Sachs. Walther von Stolzing, a knight, and Beckmesser, -a contemptible town clerk, are the main rivals for Eva. At a -magnificent ceremony at the banks of the Pognitz River the contestants -sing their offerings. It is Walther’s eloquent “Prize Song” that emerges -victorious.</p> -<p>This “Prize Song” (“<i>Morgenlich leuchtend</i>”) is one of Wagner’s most -famous melodies, the pivot upon which the entire opera gravitates. It is -first heard in the first scene of the third act, where Walther comes to tell -Hans Sachs of a song come to him in a dream. The song is repeated in -<span class="pb" id="Page_336">336</span> -the closing scene of the opera during the actual contest. This “Prize -Song” is used by Wagner symbolically. Its victory over the dull and -stilted creation of Beckmesser represents the triumph of inspiration -and freedom of expression over hackneyed rules and procedures. August -Wilhelmj made a famous transcription of the “Prize Song” for -violin and piano.</p> -<p><i>Rienzi</i>, an early Wagner opera, is today remembered primarily for -its overture. But in its own day it was extremely popular. Immediately -after its première performance in Dresden on October 20, 1842, <i>Rienzi</i> -made Wagner’s name known throughout all of Germany for the first -time, appearing in the repertory of virtually every major German opera -house at the time. The novel from which the composer derived his -libretto is that of Bulwer-Lytton. The central character, Rienzi, is a -Roman ruler of the 14th century who meets his destruction at the hands -of his enemies who set the Capitol aflame in which Rienzi perishes. -Trumpet calls in the opening measures of the overture lead to a slow -section in which is prominent an affecting melody for strings, Rienzi’s -prayer for the Roman people. In the main section of the overture, the -first main theme is the battle hymn of the first act (in the brass) set -against Rienzi’s prayer-melody. The opening slow section returns and -is succeeded by the stirring music from the first act finale. In the coda, -the battle-hymn music is powerfully projected for the last time.</p> -<p><i>Tannhaeuser</i> boasts many popular selections beyond its very famous -overture. The opera was first performed in Dresden on October 19, -1845. The libretto is by the composer. Tannhaeuser is a minstrel-knight -who has grown weary of the carnal delights on the Hill of Venus -and longs for his own world. By invoking the name of the Virgin Mary, -in whom he places his trust, Tannhaeuser is transported to a valley near -the Wartburg Castle, where he is recognized and welcomed back by -Wolfram, a companion minstrel-knight. Joyously, Tannhaeuser returns -with Wolfram to the Hall of the Minstrels in the Wartburg Castle to -find that his beloved Elisabeth is still in love with him. But only he who -can come out triumphant in a song contest on the subject of love can -win Elisabeth. The song Tannhaeuser presents, glorifying sensual pleasure, -horrifies the audience. Contrite, Tannhaeuser offers to atone for -his sins by joining pilgrims to Rome and seeking absolution from the -Pope. Elisabeth promises to pray for his soul. After several months have -passed, Elisabeth is awaiting the return of the Roman pilgrims, and -Wolfram beseeches heaven to guide Elisabeth and protect her. Suddenly -Tannhaeuser—haggard and decrepit—makes his appearance. He confesses -<span class="pb" id="Page_337">337</span> -to Wolfram that his soul will not be redeemed until the staff in -the Pope’s hands sprouts leaves. Only after Elisabeth has died of grief -in despair of ever seeing Tannhaeuser again, do the tidings come from -Rome that the Pope’s staff has, indeed, blossomed with foliage.</p> -<p>The Overture is built from some of the principal melodies of the -opera; in a sense it traces the main events of the story. The religious -chant of the Pilgrims (in clarinets, bassoons and horns) is heard at once. -This is followed by music suggesting Tannhaeuser’s repentance, a -touching melody for strings. After both these ideas have been discussed -we hear in the strings the voluptuous music of Venusberg, a picture of -the carnal life led by Tannhaeuser with Venus on Venus Hill. The -music is brought to a compelling climax with a loud statement of Tannhaeuser’s -passionate hymn to carnal love with which he so horrified the -minstrel-knights at Wartburg Castle. The chant of the pilgrims, which -had opened the overture, also brings it to conclusion.</p> -<p>The Prelude to Act 3 is solemn music that bears the title, “Tannhaeuser’s -Pilgrimage.” Two themes are set forth at once, that of Tannhaeuser’s -repentance, and that suggesting Elisabeth’s intercession. -Tannhaeuser’s suffering is then portrayed by a poignant melody for -strings. Suggestions of the Pilgrim’s Chorus and a motive known as -“Heavenly Grace” are then offered. The prelude ends quietly and -sensitively, as Tannhaeuser at long last achieves salvation.</p> -<p>The sensual, even lascivious, music of the <i>Bacchanale</i> in the opening -scene (recreating the revelry enjoyed by Tannhaeuser and Venus -on Venus Hill) is often performed in conjunction with the Overture, -sometimes independently. Another orchestral episode extremely popular -is the stately <i>March</i> of the second act with which the minstrel-knights -of the Wartburg file into the Castle, followed by the nobles, -ladies, and attendants, as they chant the strains of “<i>Freudig begruessen -wir die edle Halle</i>.”</p> -<p>The most popular vocal excerpt from <i>Tannhaeuser</i> is Wolfram’s -“Ode to the Evening Star” (“<i>O du mein holder Abendstern</i>”) in the last -act. This atmospheric music, a hymn to the mystery and beauty of the -night, is Wolfram’s prayer to the evening star that it guide and protect -Elisabeth. Elisabeth’s second-act song of praise to the Hall of Wartburg -Castle in which she speaks of her joy in learning of Tannhaeuser’s return -(“<i>Dich, teure Halle</i>”) and her eloquent third-act prayer for Tannhaeuser’s -forgiveness (“<i>Allmaecht’ge Jungfrau</i>”) are also deservedly -celebrated for their affecting lyricism.</p> -<p>Wagner did not write much music not intended for the stage. Of this -<span class="pb" id="Page_338">338</span> -meager repertory one or two items deserve attention in the semi-classical -repertory. One is “<i>Traeume</i>” (“Dreams”) a song often heard in -transcriptions, particularly for orchestra. This is one of five poems by -Mathilde Wesendonck which Wagner set to music in 1857-1858, and it -appears as the last song of the cycle. This gentle nocturne derives some -of its melody from the famous love-duet of the second act of <i>Tristan -and Isolde</i> (“<i>O sink hernieder, Nacht der Liebe</i>”) but the overall effect -of the song is one of gentle revery rather than sensual love. Wagner -himself arranged “<i>Traeume</i>” for small orchestra. On Mathilde Wesendonck’s -birthday on December 23, 1857, he conducted eighteen musicians -in a performance of the song under Mathilde’s window.</p> -<p>The <i>Kaiser March</i> was another of Wagner’s compositions not intended -for the stage. He wrote it in 1871 to celebrate Germany’s victory -over France. A proud, exultant theme is first offered by the full -orchestra. A transition in the brasses and timpani brings on a second -theme of contrasting character in the woodwind. There follows a brief -statement of Martin Luther’s famous chorale, “<i>Ein feste Burg</i>.” After -dramatic music depicting the fever of battle, the Luther chorale is repeated -triumphantly by the brasses. The first theme returns loudly in -full orchestra after a fanfare to end the march.</p> -<h2 id="c178"><span class="small">Emil <b id="g_Waldteufel">Waldteufel</b></span></h2> -<p>Emil Waldteufel, waltz-king of France, was born in -Strasbourg on December 9, 1837. His father, a professor of music at -the Strasbourg Conservatory, gave him his first music instruction. After -that Emil attended the Paris Conservatory, but he never completed his -course of study there, leaving the schoolroom to take on a job with a -piano manufacturer. He published his first waltzes at his own expense -in 1860, <i>Joies et peines</i> and <i>Manola</i>. The latter so enchanted the Prince -of Wales that he willingly accepted the dedication of Waldteufel’s next -<span class="pb" id="Page_339">339</span> -waltz, <i>Bien aimé</i>, a fact that played no small part in establishing Waldteufel’s -reputation in England. Waldteufel now decided to sidestep all -other activities to concentrate on the writing of waltz music. In short -order he became the idol of Paris in the same way that Johann Strauss II -was of Vienna. For a period, Waldteufel’s fame throughout Europe was -second only to that of the Viennese waltz king. Waldteufel made many -tours of the European capitals conducting his own compositions, scoring -triumphs in Covent Garden in 1885, and in Berlin in 1889. In 1865 -he became chamber musician to the Empress Eugénie and director of -the court balls. He died in Paris on February 16, 1915.</p> -<p>Waldteufel published over 250 waltzes. A comparison with Johann -Strauss is perhaps inevitable. The French waltz king never equalled -Strauss’ remarkable melodic invention, original approaches in harmony -and orchestration, and overall inspiration. Most of Waldteufel’s waltzes -are functional pieces, and make far better dance music than concert -music. But a handful of his waltzes are classics, and deservedly so. They -are buoyant and inviting in their spirit, aristocratic in style, spontaneous -in expression. Waldteufel’s most famous waltzes include the following: -<i>España</i>, op. 236, which utilizes for its waltz melodies the basic -themes from Chabrier’s rhapsody of the same name; and <i>The Skaters</i> -(<i>Les Patineurs</i>), op. 183, in which the main elegant melody has the -lightness of foot and the mobility of motion of facile figure skaters. -Other popular Waldteufel waltzes include the <i>Acclamations</i>, op. 223; -<i>Dolores</i>, op. 170; <i>Estudiantina</i>, op. 191; <i>Mon rêve</i>, op. 151; <i>Les Sirènes</i>, -op. 154; <i>Toujours ou jamais</i>, op. 156; and <i>Violettes</i>, op. 148.</p> -<h2 id="c179"><span class="small">Karl Maria von <b id="g_Weber">Weber</b></span></h2> -<p>Karl Maria von Weber was born in Eutin, Oldenburg, -Germany, on November 18, 1786. His father, who played the -violin in small theaters, was determined to make his son a musical -prodigy, subjecting him from childhood on to severe discipline, and to -<span class="pb" id="Page_340">340</span> -intensive study with Karl’s stepbrother, J. P. Heuschkel and Michael -Haydn. Weber made public appearances as pianist in early boyhood. -His first opera was written when he was only thirteen, and at fourteen -his second opera was performed in Chemnitz, Freiberg, and Vienna. An -even more comprehensive period of study than heretofore followed in -Munich with Abbé Vogler. After that, in 1804, Weber was appointed -conductor of the Breslau City Theater. In 1806 he became Musik Intendant -to the Duke of Wuerttemberg, and in 1807 private secretary -and music master to Duke Ludwig in Stuttgart. From 1813 to 1816 he -was the music director of German Opera in Prague and in 1817 musical -director of German Opera in Dresden. It was in this last post that he -created the first of his unqualified masterworks, the opera <i>Der Freischuetz</i>, -introduced with phenomenal success in Berlin on June 18, -1821. It was with this work that German Romantic opera was born, -grounded in Germanic nationalism, filled with the German love for the -legendary and the supernatural, and characterized by its use of German -landscapes and backgrounds. Weber wrote two more masterworks with -which his high station in opera was solidified: <i>Euryanthe</i>, introduced in -Vienna on October 25, 1823, and <i>Oberon</i>, first heard in London, on -April 12, 1826. In London, attending the première of the latter opera, -Weber succumbed to his last sickness on June 5, 1826. His body was -transferred to Dresden where it was buried to special ceremonies at -which Wagner delivered the eulogy.</p> -<p>Weber’s monumental contributions to opera in general, and German -opera, in particular, do not fall within the scope of this volume; neither -do the three masterworks with which he gained immortality. In music -in a lighter vein he was most significant for being one of the first to -create waltz music within an extended structure. The most popular of -these compositions was the <i>Invitation to the Dance</i> (<i>Aufforderung zum -Tanz</i>), written in 1819 as a “rondo brilliant” in D-flat major, for piano -solo. It has since become celebrated in several orchestral transcriptions, -notably those by Berlioz and Felix Weingartner. This work is one of -the first in music history in which several different waltz tunes are combined -into a single cohesive composition, preceded by an introduction -and concluding with an epilogue. The introduction consists of a subdued, -well-mannered melody, simulating the request to a lady by a -young man for a dance, and the acceptance. Several waltz melodies follow, -to which this couple dance. The epilogue consists of a return of the -introduction, this time with the gentleman thanking the lady for having -danced with him.</p> -<div class="pb" id="Page_341">341</div> -<p>The <i>Jubilee Overture</i> (<i>Jubel</i>), op. 59, for orchestra is another of -Weber’s more popular creations, this time in a stirring style. He wrote -it in 1818 on the occasion of the 50th anniversary of the ascension to -the throne by the King of Saxony. A slow introduction leads to the -main body of the overture in which the main theme is forcefully stated -by the full orchestra. By contrast there later appears a light-hearted -tune, soon given considerable prominence in the development section. -When both ideas have been repeated, a climax is reached with a statement -of the English anthem, “God Save the King” in the wind instruments -accompanied by the strings.</p> -<h2 id="c180"><span class="small">Kurt <b id="g_Weill">Weill</b></span></h2> -<p>Kurt Weill was born in Dessau, Germany, on March 2, 1900. -A comprehensive musical training took place first with private teachers -in Dessau, then at the Berlin High School of Music, and finally for -three years with Ferruccio Busoni. Weill started out as a composer of -avant-garde music performed at several important German festivals. -His first opera, <i>The Protagonist</i>, with a text by Georg Kaiser, was produced -in 1926. From this point on Weill continued writing operas in -which the texts were realistic or satiric, and the music filled with popular -idioms, sometimes even those of jazz. The most important were <i>The -Royal Palace</i> in 1927; <i>The Three-Penny Opera</i>, a sensation when first -produced in 1928; <i>The Czar Has Himself Photographed</i>, also in 1928; -and <i>The Rise and Fall of Mahagonny</i>, in 1930, one of whose numbers, -“The Alabamy Song,” was a leading song hit in Germany that year. -With these works Weill became one of the leading exponents of the -cultural movements then sweeping across Germany under the banners -of <i>Zeitkunst</i> (Contemporary Art) and <i>Gebrauchsmusik</i> (Functional -Music). In the fall of 1935, Weill established permanent residence in -the United States, becoming an American citizen in 1943. He soon -<span class="pb" id="Page_342">342</span> -assumed a position of first importance in the Broadway theater by virtue -of a succession of outstanding musicals: <i>Johnny Johnson</i> (1936); -<i>Knickerbocker Holiday</i> (1938) in which Walter Huston starred as Peter -Stuyvesant and out of which came one of Weill’s most popular musical -numbers, “September Song”; Moss Hart’s musical about psychoanalysis -and the dream life, <i>Lady in the Dark</i> (1941) in which Gertrude Lawrence -was starred; <i>One Touch of Venus</i> (1943), with Mary Martin; -<i>Street Scene</i> (1947), a trenchant musical play based on Elmer Rice’s -realistic drama of New York; <i>Love Life</i> (1948), book and lyrics by Alan -Jay Lerner, its main musical number being another all-time Weill song -favorite, “Green-Up Time”; and <i>Lost in the Stars</i> (1949), a powerful -musical drama adapted from Alon Paton’s novel, <i>Cry, the Beloved -Country</i>. Weill died in New York City on April 3, 1950.</p> -<p><i>The Three-Penny Opera</i> (<i>Die Dreigroschenoper</i>) is one of the most -important musical productions of the post-World War I era in Europe; -and since its premiere it has lost little of its initial popularity. This -musical play (or opera, if you will) was based on the historic 18th-century -ballad opera of John Gay, <i>The Beggar’s Opera</i>. The text was rewritten -and modernized by Berthold Brecht, in whose hands the comic -opera became a brilliant, though often bitter, satire of Germany in the -late 1920’s, with penetrating satirical comments on crime and corruption -in this post-war era. Weill’s opera was introduced in Berlin on -August 31, 1928 and scored a sensation with few parallels in contemporary -German theater. Over one hundred theaters gave it four thousand -performances throughout Germany in its initial year. It was made -into a motion-picture by G. W. Pabst (the first of several screen adaptations). -It was introduced in the leading theatrical centers of the world; -the American première—in New York on April 13, 1933—was, however, -a dismal failure. It has since been revived frequently in all parts of the -civilized world. An off-Broadway presentation in 1954—with a new -modernized text by Marc Blitzstein, but with the Weill music untouched—made -history by accumulating a run of more than five years; -a national company was then formed to tour the country in 1960. During -this long Broadway run, the principal musical number, “Moritat” -(or “Mack the Knife”) became an American hit song on two different -occasions. In 1955 it was given over twenty different recordings and was -often represented on the Hit Parade; revived in 1959 by Bobby Darin, -it sold over a million discs.</p> -<p>Weill’s score is a mixture of opera and musical comedy, of European -stage traditions and American idioms. It opens with a blues and concludes -<span class="pb" id="Page_343">343</span> -with a mock chorale, while in between these opposite poles there -can be heard a shimmy, a canon in fox-trot, popular tunes, formal ballads, -light airs, choruses, and ensemble numbers. The style ranges -freely from Tin Pan Alley clichés to atonality, from mock romanticism -to dissonance. Each number was basic to the plot; principal numbers -often became penetrating psychological commentaries on the characters -who presented them. “Moritat” (or “Mack the Knife”) is the main -musical number. But several others are also of outstanding interest -including “Love Song” (“<i>Liebeslied</i>”), “The Ballad of Pleasant Living” -(“<i>Ballade vom angenehmen Leben</i>”), the Canon-Song, <i>Barbarasong</i>, -and the Bully’s Ballad (“<i>Zuhaelterballade</i>”).</p> -<h2 id="c181"><span class="small">Jaromir <b id="g_Weinberger">Weinberger</b></span></h2> -<p>Jaromir Weinberger was born in Prague, Czechoslovakia, -on January 8, 1896. After completing his music study at the -Prague Conservatory, and privately with Max Reger in Berlin, he came -to the United States in 1922, teaching for one season at the Ithaca Conservatory -in Ithaca, New York. Following his return to Europe he held -various posts as teacher and conductor. He achieved international renown -as a composer with a Bohemian folk opera, <i>Schwanda, der Dudelsackpfeifer</i> -first performed in Prague on April 27, 1927, then successfully -heard throughout Europe and in the United States. Weinberger -wrote many operas after that, and a considerable amount of orchestral -music. Up to 1937 his home was in Prague, but since 1939 he has lived -in the United States. One of his most successful works for orchestra was -introduced in the United States soon after his arrival, <i>Under the -Spreading Chestnut Tree</i>.</p> -<p>Among the numerous works by Weinberger are two that can be said -to have a more popular appeal than the others. One is in an American -idiom and manner which Weinberger assumed for many of his major -<span class="pb" id="Page_344">344</span> -works after coming to this country; the other is in the Bohemian style -with which he first became famous.</p> -<p>That in the American style and spirit (but technically in a fugue -idiom) is a delightful treatment of the popular American tune by Dan -Emmett, “Dixie.” “Dixie” had originated as a minstrel-show tune, being -written by Emmett as a “walk-around” (or closing number) for a -minstrel-show production at the Bryant Theater in New York in November -1859. It became an immediate favorite with minstrel troupes -throughout the country. During the Civil War it became the Southland’s -favorite battle hymn, despite the fact that it was the work of a -Northerner. The charge at Gettysburg by General George Pickett was -made to the strains of this music. After the surrender at Appomattox, -President Lincoln invited a band outside the White House to play the -tune for him maintaining that since the North had conquered the -Southern army it had also gained its favorite song as a spoils of war. In -1940 Weinberger wrote the <i>Prelude and Fugue on Dixie</i> for symphony -orchestra. The prelude devotes itself to a simple statement of the melody, -after which comes the lively fugal treatment of its main theme. -The treatment is throughout so skilful and musical that we never feel -any sense of contradiction in the use of a popular minstrel-show tune -within a soundly classical structure and through soundly classical -means.</p> -<p>Out of the composer’s most famous opera, <i>Schwanda, der Dudelsackpfeifer</i> -(<i>Schwanda, the Bagpipeplayer</i>) comes a <i>Polka and Fugue</i> for -orchestra that is undoubtedly the most familiar excerpt from the opera. -The vivacious <i>Polka</i>—which has a lusty peasant vitality in its marked -accentuations—comes from Act 2, Scene 2; the fugue (whose main -theme is suggested in the polka) is used in the opera’s closing scene. Just -before the end of the fugue, the polka melody is heard again, set contrapuntally -against the fugue tune in a powerful climax in which the -full orchestra, as well as an organ, is utilized.</p> -<div class="pb" id="Page_345">345</div> -<h2 id="c182"><span class="small">Henri <b id="g_Wieniawski">Wieniawski</b></span></h2> -<p>Henri Wieniawski was born in Lublin, Poland, on July -10, 1835. When he was eight he entered the Paris Conservatory, from -which he was graduated three years later with first prize in violin-playing, -the first time this institution conferred such an honor on one so -young. Sensational appearances as child prodigy followed throughout -Europe. After an additional period of study at the Paris Conservatory -between 1849 and 1850, he initiated his career as a mature performer, -and as one of the world’s foremost violinists, with performances in -Europe and Russia. In 1872 he toured the United States with the -pianist, Anton Rubinstein. Meanwhile, in 1859, he was appointed solo -violinist to the Czar of Russia, and from 1862 to 1867 he was professor -of the violin at the St. Petersburg Conservatory. In 1874 he succeeded -Vieuxtemps as professor of the violin at the Brussels Conservatory -where he remained fourteen years. He suffered a heart attack while -performing in Berlin in 1878, and died in Moscow on March 31, 1880.</p> -<p>Wieniawski produced a rich repertory of music for the violin which -is still performed extensively. This includes the famous Concerto in -D minor and many smaller compositions. Among the latter can be -found pieces which have become favorites with salon orchestra in transcription. -These, like other major works by the composer, are characterized -by broad and expressive melodies and brilliant technical effects.</p> -<p>The <i>Kujawiak</i>, in A minor, op. 3 is a brilliant rhythmic number—a -spirited mazurka which derives its name from the fact that it has come -out of the Kuawy district of Poland. The <i>Légende</i>, op. 17, on the other -hand, is outstanding for its sentimental lyricism. This piece is an eloquent -song, originally for violin and orchestra, that seems to be telling -a romantic tale. The <i>Polonaise brillante</i>, in D major, op. 4, like the -<i>Kujawiak</i>, is a successful attempt to incorporate within a concert work -the characteristics of a popular Polish dance. This composition is -appealing for its sharp accentuations on the half beat, syncopations, -and brilliant passage work. The <i>Souvenirs of Moscow</i> (<i>Souvenirs de -Moscou</i>), op. 6, is a fantasia on famous Russian airs, the most important -of which is “The Red Sarafin.”</p> -<div class="pb" id="Page_346">346</div> -<h2 id="c183"><span class="small">Ralph <b id="g_VaughanWilliams">Vaughan Williams</b></span></h2> -<p>Ralph Vaughan Williams was born in Down -Ampney, England, on October 12, 1872. After attending the Royal -College of Music, he studied composition privately with Max Bruch in -Berlin. In 1901 he was appointed organist of the St. Barnabas Church -in London. For the next few years he devoted himself mainly to -church music. His interest in the English folk songs of the Tudor -period, first stimulated in 1904, proved for him a decisive turning point. -Besides dedicating himself henceforth to intensive research in English -folk music (much of which he helped to revive from neglect and obscurity -through his editions and adaptations) he found a new direction -as composer: in the writing of music with a national identity, music -absorbing the melodic, harmonic and modal techniques—at times even -the actual material—of these old songs and dances. This new trend first -became evident in 1907 with his <i>Norfolk Rhapsodies</i>. After an additional -period of study with Maurice Ravel in Paris, Vaughan Williams -embarked upon the writing of his first major works which included the -famous <i>Fantasia on a Theme by Thomas Tallis</i>, <i>London Symphony</i>, -and the opera <i>Hugh the Drover</i>. Subsequent works in all fields of composition -placed him with the masters of 20th-century music. These -compositions included symphonies, operas, concertos, fantasias, choral -and chamber music. For more than thirty years, Vaughan Williams -taught composition at the Royal College of Music in London; from -1920 to 1928 he was the conductor of the Bach Choir, also in that city. -He paid two visits to the United States, the first time in 1922 to direct -some of his works at a music festival in Connecticut, and the second -time a decade later to lecture at Bryn Mawr College. He received the -Order of Merit in 1935 and the Albert medal of the Royal Society of -Arts in 1955. He died in London on August 26, 1958.</p> -<p>Only a meagre number of Vaughan Williams’ compositions have -popular appeal. One of these is the <i>Fantasia on Greensleeves</i>, for orchestra. -“Greensleeves” is an old English folk song dating from the early -16th century, and mentioned in Shakespeare’s <i>The Merry Wives of</i> -<span class="pb" id="Page_347">347</span> -<i>Windsor</i>. In the 17th century it became the party song of the Cavaliers. -Americans know it best through a popular-song adaptation in 1957. -Vaughan Williams’ delightful fantasia appears as an orchestral interlude -in his opera <i>Sir John in Love</i> (1929), based on <i>The Merry Wives of -Windsor</i>. A brief episode for flute leads to “Greensleeves,” which is -harmonized opulently for strings. Two brief variations follow. Then -the opening flute episode is recalled as is the folk song itself—the main -melody in lower strings with embellishments in the upper ones.</p> -<p><i>The March of the Kitchen Utensils</i> is an amusing little episode for -orchestra, part of the incidental music prepared by the composer for -a production of Aristophanes’ <i>The Wasps</i> in Cambridge in 1909. This -march opens with a humorous little theme for the wind instruments in -the impish style of Prokofiev. The theme is taken over by the strings. -The middle section is much more in the identifiable national style of -Vaughan Williams with a melody that resembles an old English folk -dance.</p> -<h2 id="c184"><span class="small">Jacques <b id="g_Wolfe">Wolfe</b></span></h2> -<p>Jacques Wolfe, composer of songs in the style of Negro -Spirituals familiar in the repertory of most American baritones, was -born in Botoshan, Rumania on April 29, 1896. He was trained as a -pianist at the Institute of Musical Art. While serving in the army during -World War I, a member of the 50th Infantry Band, he was stationed -in North Carolina where he first came into contact with Negro folk -songs. This made such a profound impression on him that he devoted -himself to research in this field. After the war he made many appearances -on the concert stage both as a solo performer and as an accompanist. -For several years he was also a teacher of music at New York -City high schools.</p> -<p>Wolfe’s two best known songs in the style of Negro folk songs appeared -<span class="pb" id="Page_348">348</span> -in 1928. One is “De Glory Road,” words by Clement Wood, a -work of such extraordinary fervor and dramatic character that it has -proved a sure-fire number with concert baritones throughout the -country, and notably with Lawrence Tibbett with whom it was a particular -favorite. The other was “Short’nin’ Bread,” to Wolfe’s own -words. The latter in all probability is not original with Wolfe but an -adaptation of one of the melodies he discovered in North Carolina. -Several Negro composers have been credited with being its composer; -one of them was Reese d’Pres who is said to have written the melody -in or about 1905.</p> -<p>Among Wolfe’s other familiar songs are “God’s World,” “Goin’ to -Hebb’n” and “Hallelujah Rhythm.”</p> -<h2 id="c185"><span class="small">Ermanno <b id="g_WolfFerrari">Wolf-Ferrari</b></span></h2> -<p>Ermanno Wolf-Ferrari was born in Venice, Italy, -on January 12, 1876. Originally planning to make art his career he went -to Rome, but while there became so fascinated by opera that then and -there he decided to become a musician. He completed his musical training -in Munich in 1895 with Josef Rheinberger. In 1899 he returned to -his native city where his first major work—an oratorio, <i>La Sulamite</i>—was -successfully performed. His first opera, <i>Cenerentola</i> (<i>Cinderella</i>) -was introduced in Venice in 1900. His first comic opera (or opera buffa) -came to Munich in 1903: <i>Le Donne Curiose</i>. He achieved world renown -with still another comic opera, <i>The Secret of Suzanne</i>, first performed -in Munich in 1909. This distinguished achievement was followed -by an equally significant achievement in a serious vein, the -grand opera, <i>The Jewels of the Madonna</i>, first heard in Berlin in 1911. -One year later Wolf-Ferrari paid his first visit to the United States to -attend in Chicago the American première of <i>The Jewels of the Madonna</i>. -He wrote many operas after that, both in a comic and serious -<span class="pb" id="Page_349">349</span> -style, but his fame still rests securely on <i>The Secret of Suzanne</i> and <i>The -Jewels of the Madonna</i>. From 1902 to 1912 he was director of the -Benedetto Marcello Conservatory in Venice. He died in that city on -January 21, 1948.</p> -<p>From <i>The Jewels of the Madonna</i> (<i>I Gioielli della Madonna</i>) have -come several familiar orchestral episodes. This tragedy—libretto by the -composer with verses by Carlo Zangarini and Enrico Golisciani—was -successfully introduced in Berlin on December 23, 1911. Rafaele, leader -of the Camorrists, and Gennaro, a blacksmith, are rivals for the love of -Maliela. After Rafaele appears to have won Maliela’s love, Gennaro -wins her away from his rival by stealing for her the jewels decorating -the image of the Madonna. Maliela confesses to Rafaele and other -Camorrists about this theft, then rushes off into a raging sea to meet her -death. After Gennaro has returned the jewels to the Madonna, he -plunges a dagger into his own breast.</p> -<p>Two melodious intermezzos for orchestra are often played by salon -and pop orchestras. The first comes between the first and second acts -and is in a languorous mood. The second, heard between the second and -third acts, opens with a light subject and continues with a broadly -lyrical episode. A third popular orchestral excerpt from this opera is the -dramatic “Dance of the Camorristi” during a revel in the Camorristi -hideout in the opening of the third act.</p> -<p>As an opera <i>The Secret of Suzanne</i> (<i>Il Segreto di Susanna</i>) is a trifle. -The libretto by Enrico Golisciani concerns a terrible secret harbored -by the heroine, Suzanne: she is addicted to smoking. Since her husband -finds cigarette butts in their house he suspects her of entertaining a -lover during his absence. Spying on her through the window, one day, -he learns about his wife’s secret to his infinite relief, and does not hesitate -to join her in a smoke. Light, breezy, infectious, and unpretentious, -this little opera has been a favorite with operagoers everywhere since -its world première in Munich on December 4, 1909.</p> -<p>The overture is as gay and as capricious as this merry tale. It begins -vivaciously with the main theme in first violins and the woodwind. -After this idea has been elaborated upon, a second melody is heard in -the flute and clarinet accompanied by strings. The two melodies are -soon merged contrapuntally, with the first theme heard in woodwinds -and trumpet and the second in the strings.</p> -<div class="pb" id="Page_350">350</div> -<h2 id="c186"><span class="small">Sebastián <b id="g_Yradier">Yradier</b></span></h2> -<p>Sebastián Yradier was born in Sauciego, Álava, Spain -on January 20, 1809. Little is known of his career beyond the fact that -his music instruction took place with private teachers; that in 1851 he -was appointed singing master to the Empress Eugénie in Paris; and that -for a period he lived in Cuba. He died in Vitoria, Spain, on December -6, 1865. He was a successful composer of Spanish songs. The most -famous is “<i>La Paloma</i>,” which is in the habanera rhythm, its melody in -the sensual, sinuous style of a flamenco song. “<i>El Arreglito</i>,” also a -habanera, was borrowed by Bizet for his opera <i>Carmen</i> where it re-emerges -as the world-famous “Habanera”; Bizet made only minor -changes in the melody while retaining Yradier’s tonality and accompaniment. -A third popular Yradier song, in a style similar to “<i>La Paloma</i>,” -is “<i>Ay Chiquita!</i>”</p> -<h2 id="c187"><span class="small">Carl <b id="g_Zeller">Zeller</b></span></h2> -<p>Carl Zeller was born in St. Peter-in-der-Au, Austria on July -19, 1842. Music, the study of which he had pursued since boyhood with -private teachers, was an avocation. He earned his living as an official in -the Ministry of Education in Austria. Nevertheless, he managed to -write many operettas, two of which were among the most successful -written in Austria during his time. Among his first works for the stage -were <i>Joconde</i> (1876), <i>Die Carbonari</i> (1880), and <i>Der Vagabund</i> (1886). -<span class="pb" id="Page_351">351</span> -His first major success came with <i>Der Vogelhaendler</i> in 1886, still a -great favorite on the Continent. The second of his operetta classics, -<i>Der Obersteiger</i>, was introduced in 1894. A later successful, though less -well known, operetta, <i>Der Kellermeister</i>, was produced posthumously -in 1901. Zeller died in Baden near Vienna on August 17, 1898.</p> -<p><i>Der Obersteiger</i> (<i>The Master Miner</i>)—book by M. West and L. Held—received -its première in Vienna on January 5, 1894. The setting is a -salt-mining district of Austria in or about 1840. Martin instigates a -strike among the miners, for which he is deprived of his job. To support -himself he organizes a band of musicians from among the miners -and tours the country. Eventually Martin returns to his mining town -where he finally manages to regain his job and to win Nelly, with -whom he has always been in love. The most popular song in the operetta -is Martin’s air with chorus, “<i>Wo sie war, die Muellerin</i>,” and its -most delightful waltz is “<i>Trauet nie dem blossen schein</i>.”</p> -<p><i>Der Vogelhaendler</i> (<i>The Bird-Seller</i>), once again with a book by -M. West and L. Held, was first heard in Vienna on January 10, 1891; -but in 1933 it was presented in a new version in Munich adapted by -Quedenfelt, Brugmann and Bauckner. In the Rhine Palatinate in the -18th century, Adam, a wandering bird-seller, is in love with Christel, -but she refuses to consider marriage unless he gets a permanent job. -He gets that job on the estate of the Elector Palatine at which point -Christel is all too willing to give up a projected marriage with Count -Stanislaus for the sake of her beloved Adam. The lovable melodies from -this operetta—in the best traditions of Suppé and Johann Strauss II—have -made it a favorite not only in Germany and Austria, but also -throughout the rest of Europe, in North and South America, and in -South Africa. Among the musical highlights of this operetta are the -waltz “<i>Schau mir nur recht ins Gesicht</i>”; the “Nightingale Song” (“<i>Wie -mein Ahn’l zwanzig Jahr</i>”); the pert march tune “<i>Kaempfe nie mit -Frau’n</i>”; and Christel’s sprightly air, “<i>Ich bin die Christel von der -Post</i>.”</p> -<div class="pb" id="Page_352">352</div> -<h2 id="c188"><span class="small">Karl Michael <b id="g_Ziehrer">Ziehrer</b></span></h2> -<p>Karl Michael Ziehrer, beloved Viennese composer -of waltzes and operettas, was born in Vienna on May 2, 1843. He was -completely self-taught in music. In 1863 he formed a café-house orchestra -with which he toured Austria and Germany, often featuring his -own dance pieces and marches. He later expanded this orchestra into -an ensemble numbering fifty players with which he gave a series of successful -concerts of semi-classical music in Vienna. In 1907 he became -music director of the court balls. After World War I he suffered extreme -poverty, his personal fortune having been lost with the collapse -of the Hapsburg monarchy. He died in want and obscurity in Vienna -on November 14, 1922.</p> -<p>Ziehrer wrote more than five hundred popular pieces for orchestra, -including numerous marches and waltzes. His waltzes were particularly -favored, many of these in the style of Johann Strauss II. Some are still -extensively played. Probably the most famous of all his waltzes is -Wiener Maedchen (“Vienna Maidens”), which must rank with Lehár’s -“Merry Widow Waltz” as one of the most popular such dances produced -in Vienna since the time of Johann Strauss II. Its first melody -sounds like a Schubert Laendler, with the peasant vigor of its rhythm -and its robust tune; but the main subject is a soaring waltz in the finest -traditions of Viennese café-house music. The following are other -famous Ziehrer waltzes: “<i>Alt Wien</i>” (“Old Vienna”), “<i>Faschingskinder</i>” -(“Carnival Children”), and “<i>Wiener Buerger</i>” (“Viennese Citizens”), -all three of which come closest among his works in assuming the structural -outlines and the melodic identity of the Johann Strauss waltz -classics. Also popular are the “<i>Donauwalzer</i>” (“Waltzes from the Danube”) -and “<i>Evatochter</i>” (“Daughter of Eve”).</p> -<p>Ziehrer’s most famous operetta is <i>Die Landestreicher</i> (<i>The Vagabonds</i>)—book -by L. Krenn and C. Lindau, first performed in Vienna on -July 26, 1899. In upper Bavaria two tramps—Fliederbusch and his wife -Bertha—manage to live by their wits. Disguised respectively as Prince -Gilka and a dancer they visit a famous resort hotel and are involved in -<span class="pb" id="Page_353">353</span> -numerous adventures. By managing to retrieve a supposedly valuable -lost necklace for the Prince they finally win his favor and enter his -service. Of particular interest is the captivating waltz at the end of the -first act, “<i>Sei gepriesen, du lauschige Nacht</i>.”</p> -<p>From several of Ziehrer’s other operettas there come other delightful -waltzes, notably “<i>Samt und Seide</i>” from <i>Der Fremdenfuehrer</i> (1902) -and “<i>Hereinspaziert</i>” from <i>Der Schatzmeister</i> (1904).</p> -<div class="pb" id="Page_355">355</div> -<h2 id="c189"><span class="small">An Alphabetical Listing of the Lighter Classics in Music</span></h2> -<dl class="undent"><dt>“<i>Abendlied</i>” (<a class="gloss" href="#g_Schumann">Schumann</a>)</dt> -<dt><i>Abendsterne</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt><i>Acceleration Waltzes</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Acclamations</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>“<i>Ach, ich hab’ sie ja nur die Schulter gekuesst</i>” (<a class="gloss" href="#g_Milloecker">Milloecker</a>), see <i>The Beggar Student</i></dt> -<dt><i>Adagio pathétique</i> (<a class="gloss" href="#g_Godard">Godard</a>)</dt> -<dt>“<i>Addio</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt>“<i>Addio all madre</i>” (<a class="gloss" href="#g_Mascagni">Mascagni</a>), see <i>Cavalleria Rusticana</i></dt> -<dt>“<i>Addio del passato</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt>“<i>Addio fiorito asil</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Madama Butterfly</i></dt> -<dt><i>Adoration</i> (<a class="gloss" href="#g_Borowski">Borowski</a>)</dt> -<dt><i>L’Africaine</i>: Selections (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>)</dt> -<dt><i>Agnus Dei</i> (<a class="gloss" href="#g_Bizet">Bizet</a>)</dt> -<dt>“<i>Ah! che la morte ognora</i>,” or “<i>Miserere</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“<i>Ah, fors è lui</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt>“<i>Ah Sweet Mystery of Life</i>” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Naughty Marietta</i></dt> -<dt><i>Aida</i>: Overture, Ballet Music, and Selections (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt>“<i>Ai nostri monti</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>) see <i>Il Trovatore</i></dt> -<dt><i>Air</i>, or <i>Air on the G String</i> (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt><i>Al fresco</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“<i>Allia marcia</i>” (<a class="gloss" href="#g_Sibelius">Sibelius</a>), see <i>Karelia Suite</i></dt> -<dt>“<i>Allmaecht’ge Jungfrau</i>,” or “Elisabeth’s Prayer” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>Tannhaeuser</i></dt> -<dt>Alley Tunes (<a class="gloss" href="#g_Guion">Guion</a>)</dt> -<dt>“Almost Like Being in Love” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>Brigadoon</i></dt> -<dt><i>Alsatian Scenes</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“<i>Als Bueblein klein</i>” (<a class="gloss" href="#g_Nicolai">Nicolai</a>), see <i>The Merry Wives of Windsor</i></dt> -<dt><i>Alt Wien</i> (<a class="gloss" href="#g_Godowsky">Godowsky</a>)</dt> -<dt><i>Alt Wien</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Amelia</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>American Fantasia</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>American Salute</i>: “When Johnny Comes Marching Home” (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt><i>American Suite</i> (<a class="gloss" href="#g_Cadman">Cadman</a>)</dt> -<dt><i>American Symphonette No. 2</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt>“<i>Am Meer</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>An American in Paris</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Andalucia</i> (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt><i>Andaluza</i> (<a class="gloss" href="#g_Granados">Granados</a>), see <i>Spanish Dances</i></dt> -<dt><i>Andante cantabile</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Andante religioso</i> (<a class="gloss" href="#g_Halvorsen">Halvorsen</a>)</dt> -<dt><i>Andantino</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>An der schoenen blauen Donau</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>The Blue Danube</i></dt> -<dt>“<i>An die Musik</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt>“The Angelus” (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>Anitra’s Dance</i> (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Peer Gynt Suite</i>, No. 1</dt> -<dt><i>Annen-Polka</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Anvil Chorus</i> (<a class="gloss" href="#g_Verdi">Verdi</a>), see “<i>Vedi, le fosche notturne spoglie</i>,” <i>Il Trovatore</i></dt> -<dt><i>Apache Dance</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt>“<i>Après un rêve</i>” (<a class="gloss" href="#g_Faure">Fauré</a>)</dt> -<dt><i>Aquarellen</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt> -<dt><i>Arabian Dance</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt><i>Arkansas Traveler</i> (<a class="gloss" href="#g_Guion">Guion</a>)</dt> -<dt><i>L’Arlésienne</i>, Suite Nos. 1 and 2 (<a class="gloss" href="#g_Bizet">Bizet</a>)</dt> -<dt>“<i>El Arreglito</i>” (<a class="gloss" href="#g_Yradier">Yradier</a>)</dt> -<dt><i>Artist’s Life</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Ascot Gavotte</i> (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt><i>Ase’s Death</i> (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Peer Gynt Suite</i>, No. 1</dt> -<dt class="pb" id="Page_356">356</dt> -<dt><i>As You Like It</i>: Dances (<a class="gloss" href="#g_German">German</a>)</dt> -<dt>“At Dawning” (<a class="gloss" href="#g_Cadman">Cadman</a>)</dt> -<dt>“<i>A te questo rosario</i>” (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>), see <i>La Gioconda</i></dt> -<dt><i>Aubade provençale</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt>“<i>Auf dem Wasser zu singen</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Aufforderung zum Tanz</i> (<a class="gloss" href="#g_Weber">Weber</a>), see <i>Invitation to the Dance</i></dt> -<dt>“<i>Auf Fluegeln des Gesanges</i>” (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>), see “On Wings of Song”</dt> -<dt>“<i>Au mont Venus</i>” (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>La Belle Hélène</i></dt> -<dt>Austrian National Anthem (<a class="gloss" href="#g_Haydn">Haydn</a>), see “<i>Gott erhalte Franz den Kaiser</i>”</dt> -<dt><i>Autumn Song</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>The Months</i></dt> -<dt>“<i>Ave Maria</i>” (<a class="gloss" href="#g_Gounod">Gounod</a>)</dt> -<dt>“<i>Ave Maria</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt>“<i>Ay Chiquita</i>” (<a class="gloss" href="#g_Yradier">Yradier</a>)</dt></dl> -<dl class="undent"><dt><i>Babes in Toyland</i>: Selections (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>Bacchanale, from <i>The Queen of Sheba</i> (<a class="gloss" href="#g_KarlGoldmark">Karl Goldmark</a>)</dt> -<dt>Bacchanale, from <i>Samson and Delilah</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>Bacchanale, from <i>Tannhaeuser</i> (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Bahn-Frei Polka</i> (<a class="gloss" href="#g_EduardStrauss">Eduard Strauss</a>)</dt> -<dt>“Bali H’ai” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt><i>Ballabile</i> (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt>“<i>Ballade vom angenehmen Leben</i>” (<a class="gloss" href="#g_Weill">Weill</a>), see “The Ballad of Pleasant Living,” <i>The Three-Penny Opera</i></dt> -<dt>“Ballad of Herne the Hunter” (<a class="gloss" href="#g_Nicolai">Nicolai</a>), see <i>The Merry Wives of Windsor</i></dt> -<dt>“The Ballad of Pleasant Living” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>Ballatella</i>, or “Bird Song” (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see “<i>Stridono lassu</i>” <i>Pagliacci</i></dt> -<dt><i>Ballet Égyptien</i> (<a class="gloss" href="#g_Luigini">Luigini</a>)</dt> -<dt>Ballet Music from <i>Rosamunde</i> (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Ballet Suite</i> (Gluck-Mottl), see <a class="gloss" href="#g_Gluck">Gluck</a></dt> -<dt><i>The Banjo</i> (<a class="gloss" href="#g_Gottschalk">Gottschalk</a>)</dt> -<dt><i>Barbara-Song</i> (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>The Barber of Seville</i>: Overture and Selections (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt><i>Barcarolle</i> from <i>The Tales of Hoffmann</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt><i>Bartered Bride</i>: Overture and Selections (<a class="gloss" href="#g_Smetana">Smetana</a>)</dt> -<dt><i>Le Baruffe Chiozzotte</i>, Overture (<a class="gloss" href="#g_Sinigaglia">Sinigaglia</a>)</dt> -<dt><i>The Bat</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Die Fledermaus</i></dt> -<dt><i>Bavarian Dances</i> (<a class="gloss" href="#g_Elgar">Elgar</a>)</dt> -<dt>“Beautiful Dreamer” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>Beautiful Galathea</i>, Overture (<a class="gloss" href="#g_Suppe">Suppé</a>)</dt> -<dt>“<i>Die beiden Grenadiere</i>” (<a class="gloss" href="#g_Schumann">Schumann</a>)</dt> -<dt><i>The Beggar Student</i>: Selections (<a class="gloss" href="#g_Milloecker">Milloecker</a>)</dt> -<dt>“<i>Bella figlia dell’ amore</i>,” Quartet (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Rigoletto</i></dt> -<dt><i>La Belle Hélène</i>: Selections (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt><i>Berceuse</i> from <i>Jocelyn</i> (<a class="gloss" href="#g_Godard">Godard</a>)</dt> -<dt><i>Berceuse</i> (<a class="gloss" href="#g_Jarnefelt">Järnefelt</a>)</dt> -<dt>“Bess, You Is My Woman Now” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt><i>Der Bettelstudent</i> (<a class="gloss" href="#g_Milloecker">Milloecker</a>), see <i>The Beggar Student</i></dt> -<dt><i>Big Ben</i> (<a class="gloss" href="#g_Rose">Rose</a>)</dt> -<dt>“Bill” (<a class="gloss" href="#g_Kern">Kern</a>), see <i>Show Boat</i></dt> -<dt><i>Bird Song</i>, “<i>Stridono lassu</i>” (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see <i>Pagliacci</i></dt> -<dt>“<i>Bist du’s, lachendes Glueck</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Count of Luxembourg</i></dt> -<dt><i>Black, Brown and Beige</i> (<a class="gloss" href="#g_Ellington">Ellington</a>)</dt> -<dt><i>The Black Domino</i>: Overture (<a class="gloss" href="#g_Auber">Auber</a>)</dt> -<dt>“Blow High, Blow Low” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt><i>The Blue Danube</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“Blue Heaven” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The Desert Song</i></dt> -<dt><i>Blue Tango</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>La Bohème</i>: Selections (<a class="gloss" href="#g_Puccini">Puccini</a>)</dt> -<dt><i>The Bohemian Girl</i>: Selections (<a class="gloss" href="#g_Balfe">Balfe</a>)</dt> -<dt><i>Bolero</i> (<a class="gloss" href="#g_Moszkowski">Moszkowski</a>)</dt> -<dt><i>Bolero</i> (<a class="gloss" href="#g_Ravel">Ravel</a>)</dt> -<dt><i>Boris Godunov</i>: Polonaise (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>)</dt> -<dt><i>Bridal Procession</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Le Coq d’or</i></dt> -<dt><i>Brigadoon</i>: Selections (<a class="gloss" href="#g_Loewe">Loewe</a>)</dt> -<dt><i>Brigg Fair</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt>“Brightly Dawns Our Wedding Day” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>Brindisi</i> (<a class="gloss" href="#g_Verdi">Verdi</a>), see “<i>Libiamo, Libiamo</i>,” <i>La Traviata</i></dt> -<dt><i>Bugler’s Holiday</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt>“The Bully’s Ballad” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt></dl> -<dl class="undent"><dt><i>Caecilien</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Cakewalk</i> (Gottschalk-Kay), see <a class="gloss" href="#g_Gottschalk">Gottschalk</a></dt> -<dt><i>Caliph of Bagdad</i>: Overture (<a class="gloss" href="#g_Boieldieu">Boieldieu</a>)</dt> -<dt>“<i>La Calunnia</i>” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt>“Camptown Races” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>The Canary</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt>Can-Can (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>La Belle Hélène</i>, <i>Orpheus in the Underworld</i></dt> -<dt>“Canon Song” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt>“Can’t Help Lovin’ That Man” (<a class="gloss" href="#g_Kern">Kern</a>), see <i>Show Boat</i></dt> -<dt>“<i>Cantique Noël</i>” (<a class="gloss" href="#g_Adam">Adam</a>)</dt> -<dt>“<i>Canto Siboney</i>” (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt><i>Canzonetta</i> (<a class="gloss" href="#g_Sibelius">Sibelius</a>)</dt> -<dt class="pb" id="Page_357">357</dt> -<dt><i>Capriccio espagnol</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Spanish Caprice</i></dt> -<dt><i>Caprice Basque</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Caprice Viennois</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt>“Card Song” (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt>“Carefully on Tip-Toe Stealing” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt><i>Carmen</i>: Preludes and Selections (<a class="gloss" href="#g_Bizet">Bizet</a>)</dt> -<dt><i>Carnaval à Paris</i> (<a class="gloss" href="#g_Svendsen">Svendsen</a>), see <i>Carnival in Paris</i></dt> -<dt><i>Carnival of Animals</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt><i>Carnival Overture</i> (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt>“<i>Caro nome</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Rigoletto</i></dt> -<dt><i>Carousel</i>: Selections (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt><i>Carousel Waltz</i> (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt><i>Casse-noisette</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt>“<i>Casta diva</i>” (<a class="gloss" href="#g_Bellini">Bellini</a>), see <i>Norma</i></dt> -<dt><i>Catalonia</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt><i>Catfish Row</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt><i>Cavalleria Rusticana</i>: Selections (<a class="gloss" href="#g_Mascagni">Mascagni</a>)</dt> -<dt><i>Caucasian Sketches</i> (<a class="gloss" href="#g_IppolitovIvanov">Ippolitov-Ivanov</a>)</dt> -<dt><i>Cavatina</i> (<a class="gloss" href="#g_Raff">Raff</a>)</dt> -<dt>“<i>Celeste Aida</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt><i>Central Park</i> (<a class="gloss" href="#g_Goldman">Goldman</a>)</dt> -<dt><i>Champagne Galop</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>Chanson bohème</i> (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt><i>Chanson Louis XIII et Pavane</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Chanson sans paroles</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Song Without Words</i></dt> -<dt><i>Chanson triste</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“<i>Che gelida manina</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt><i>Children’s Corner</i> (<a class="gloss" href="#g_Debussy">Debussy</a>)</dt> -<dt><i>Children’s Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>As You Like It</i></dt> -<dt><i>Children’s Games</i> (<a class="gloss" href="#g_Bizet">Bizet</a>)</dt> -<dt><i>Children’s March</i> (<a class="gloss" href="#g_Goldman">Goldman</a>)</dt> -<dt><i>Children’s March</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt><i>Children’s Symphony</i> (<a class="gloss" href="#g_Mcdonald">McDonald</a>)</dt> -<dt><i>Chimes of Normandy</i>: Selections (<a class="gloss" href="#g_Planquette">Planquette</a>)</dt> -<dt><i>The Chocolate Soldier</i>: Selections (<a class="gloss" href="#g_Straus">Straus</a>)</dt> -<dt>“Chorus of Swords” (<a class="gloss" href="#g_Gounod">Gounod</a>), see <i>Faust</i></dt> -<dt><i>Christmas Festival</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>Le Cid</i>: Ballet Music (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“Cider Song” (<a class="gloss" href="#g_Planquette">Planquette</a>), see <i>The Chimes of Normandy</i></dt> -<dt>“<i>Cielo e mar</i>” (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>), see <i>La Gioconda</i></dt> -<dt><i>Circus Day</i> (<a class="gloss" href="#g_Taylor">Taylor</a>)</dt> -<dt><i>Clair de lune</i> (<a class="gloss" href="#g_Debussy">Debussy</a>)</dt> -<dt>“Climbing Over Rocky Mountain” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt><i>Les Cloches de Corneville</i> (<a class="gloss" href="#g_Planquette">Planquette</a>), see <i>The Chimes of Normandy</i></dt> -<dt><i>Clog Dance</i> (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt> -<dt><i>Cockaigne Overture</i> (<a class="gloss" href="#g_Elgar">Elgar</a>)</dt> -<dt>“Cockeyed Optimist” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt><i>Colas Breugnon</i>: Overture (<a class="gloss" href="#g_Kabalevsky">Kabalevsky</a>)</dt> -<dt><i>The Comedians</i> (<a class="gloss" href="#g_Kabalevsky">Kabalevsky</a>)</dt> -<dt><i>Comedy Overture on Negro Themes</i> (<a class="gloss" href="#g_Gilbert">Gilbert</a>)</dt> -<dt>“Come Friends Who Plough the Sea” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“Come, Sweet Death” (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt>“<i>La Comparasa</i>” (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt>“Come to Me, Bend to Me” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>Brigadoon</i></dt> -<dt><i>Concert Polka</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt>Concerto in F (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt>“<i>Connais-tu le pays?</i>” (<a class="gloss" href="#g_Thomas">Thomas</a>) see <i>Mignon</i></dt> -<dt><i>Les Contes d’Hoffmann</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>Tales of Hoffmann</i></dt> -<dt><i>Contredanses</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>Contretaenze</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>Country Dances</i></dt> -<dt><i>Conversation Piece</i>: Selections (<a class="gloss" href="#g_Coward">Coward</a>)</dt> -<dt><i>Coppélia</i>: Suite (<a class="gloss" href="#g_Delibes">Delibes</a>)</dt> -<dt><i>Le Coq d’or</i>: <i>Bridal Procession</i>, <i>Hymn to the Sun</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>La Coquette</i> (<a class="gloss" href="#g_Borowski">Borowski</a>)</dt> -<dt><i>Córdoba</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt><i>Cornish Rhapsody</i> (<a class="gloss" href="#g_Bath">Bath</a>)</dt> -<dt><i>Coronation March</i> (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>), see <i>Le Prophète</i></dt> -<dt><i>El Corpus en Seville</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>), see <i>Fête-Dieu à Seville</i></dt> -<dt><i>Cottilon</i> (<a class="gloss" href="#g_Benjamin">Benjamin</a>)</dt> -<dt><i>Countess Maritza</i>: Selections (<a class="gloss" href="#g_Kalman">Kálmán</a>)</dt> -<dt><i>The Count of Luxembourg:</i> Selections (<a class="gloss" href="#g_Lehar">Lehár</a>)</dt> -<dt><i>Country Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>Henry VIII</i></dt> -<dt><i>Country Dances</i> (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt><i>Country Gardens</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt><i>Cowboy Rhapsody</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt>“Cradle Song” (<a class="gloss" href="#g_Brahms">Brahms</a>)</dt> -<dt><i>The Crown Jewels</i>: Overture (<a class="gloss" href="#g_Auber">Auber</a>)</dt> -<dt><i>Cuban Overture</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Le Cygne</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>), see <i>The Swan</i>, <i>Carnival of Animals</i></dt> -<dt><i>Czar and Carpenter</i>: Selections (<a class="gloss" href="#g_Lortzing">Lortzing</a>)</dt> -<dt><i>Czardas</i> (<a class="gloss" href="#g_Delibes">Delibes</a>), see <i>Coppélia</i></dt> -<dt><i>Die Czardasfuerstin</i> (<a class="gloss" href="#g_Kalman">Kálmán</a>), see <i>The Gypsy Princess</i></dt> -<dt><i>Czar und Zimmermann</i> (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt></dl> -<dl class="undent"><dt><i>Dagger Dance</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“<i>Da geh’ ich zu Maxim</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt><i>La Dame blanche</i>: Overture (<a class="gloss" href="#g_Boieldieu">Boieldieu</a>)</dt> -<dt class="pb" id="Page_358">358</dt> -<dt><i>Damnation of Faust</i>: Selections (<a class="gloss" href="#g_Berlioz">Berlioz</a>)</dt> -<dt>“<i>D’amor sull’ ali rosee</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt><i>Dance in Place Congo</i> (<a class="gloss" href="#g_Gilbert">Gilbert</a>)</dt> -<dt><i>Dance of the Blessed Spirits</i> (<a class="gloss" href="#g_Gluck">Gluck</a>)</dt> -<dt><i>Dance of the Buffoons</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>Dance of the Camorristi</i> (<a class="gloss" href="#g_WolfFerrari">Wolf-Ferrari</a>), see <i>The Jewels of the Madonna</i></dt> -<dt><i>Dance of the Chinese Girls</i> (<a class="gloss" href="#g_Gliere">Glière</a>), see <i>The Red Poppy</i></dt> -<dt><i>Dance of the Comedians</i> (<a class="gloss" href="#g_Smetana">Smetana</a>), see <i>The Bartered Bride</i></dt> -<dt><i>Dance of the Flutes</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt><i>Dance of the Moorish Slaves</i> (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt><i>Dance of the Rose Girls</i> (<a class="gloss" href="#g_Khatchaturian">Khatchaturian</a>), see <i>Gayane</i></dt> -<dt><i>Dance of the Spanish Onion</i> (<a class="gloss" href="#g_Rose">Rose</a>)</dt> -<dt><i>Dance of the Sugarplum Fairy</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt><i>Dance of the Sylphs</i> (<a class="gloss" href="#g_Berlioz">Berlioz</a>), see <i>Damnation of Faust</i></dt> -<dt><i>Dance of the Tumblers</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Dance of the Buffoons</i></dt> -<dt><i>Dance of the Waves</i> (<a class="gloss" href="#g_Catalani">Catalani</a>), see <i>The Loreley</i></dt> -<dt><i>Dance of the Wheat</i> (<a class="gloss" href="#g_Ginastera">Ginastera</a>), see Dances from <i>Estancia</i></dt> -<dt><i>Dancers of Mardi Gras</i> (<a class="gloss" href="#g_Cadman">Cadman</a>)</dt> -<dt>Dances from <i>Estancia</i>: <i>Dance of the Wheat</i> (<a class="gloss" href="#g_Ginastera">Ginastera</a>)</dt> -<dt>“Dancing Will Keep You Young” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Maytime</i></dt> -<dt><i>Danse macabre</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt><i>Danse nègre</i> (<a class="gloss" href="#g_Scott">Scott</a>)</dt> -<dt><i>Danza della ore</i> (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>), see <i>Dance of the Hours</i>, <i>La Gioconda</i></dt> -<dt><i>Daughter of the Regiment</i>: Overture (<a class="gloss" href="#g_Donizetti">Donizetti</a>)</dt> -<dt>“Dawn of Love” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Firefly</i></dt> -<dt>“Death and the Maiden” (<a class="gloss" href="#g_Schubert">Schubert</a>), see “<i>Der Tod und das Maedchen</i>”</dt> -<dt>“Deep in My Heart” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The Student Prince</i></dt> -<dt>“De Glory Road” (<a class="gloss" href="#g_Wolfe">Wolfe</a>)</dt> -<dt>“<i>Dein ist mein ganzes Herz</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Land of Smiles</i></dt> -<dt><i>Delirien</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt> -<dt><i>The Deluge</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>“<i>De’ miei bollenti spiriti</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Rigoletto</i></dt> -<dt>“<i>Deserto sulla terra</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt><i>The Desert Song</i>: Selections (<a class="gloss" href="#g_Romberg">Romberg</a>)</dt> -<dt><i>Deutsche Taenze</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>), see <i>German Dances</i></dt> -<dt><i>Deutsche Taenze</i> (<a class="gloss" href="#g_Mozart">Mozart</a>) see <i>German Dances</i></dt> -<dt><i>Les Diamants de la couronne</i> (<a class="gloss" href="#g_Auber">Auber</a>), see <i>The Crown Jewels</i></dt> -<dt><i>Dichter und Bauer</i>, <i>Overture</i> (<a class="gloss" href="#g_Suppe">Suppé</a>), see <i>Poet and Peasant</i></dt> -<dt>“<i>Dich teurer Halle</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>Tannhaeuser</i></dt> -<dt>“<i>Di Provenza il mar</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt>“<i>Di quella pira</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“<i>Dis moi Venus</i>” (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>La Belle Hélène</i></dt> -<dt><i>Divertissement</i> (<a class="gloss" href="#g_Ibert">Ibert</a>)</dt> -<dt><i>Doctrinen</i> (<a class="gloss" href="#g_EduardStrauss">Eduard Strauss</a>)</dt> -<dt><i>Dolly</i> (<a class="gloss" href="#g_Faure">Fauré</a>)</dt> -<dt><i>Dolores</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt><i>Le Domino noir</i> (<a class="gloss" href="#g_Auber">Auber</a>), see <i>The Black Domino</i></dt> -<dt><i>Donaulieder</i> (<a class="gloss" href="#g_JohannStraussI">Johann Strauss I</a>)</dt> -<dt>“Donkey Serenade” (<a class="gloss" href="#g_Friml">Friml</a>)</dt> -<dt><i>Donna Diana</i>: Overture (<a class="gloss" href="#g_Reznicek">Rezniček</a>)</dt> -<dt>“<i>La donne è mobile</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>) see <i>Rigoletto</i></dt> -<dt><i>Donnerwetter</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>Country Dances</i></dt> -<dt><i>Don Pasquale</i>: Overture (<a class="gloss" href="#g_Donizetti">Donizetti</a>)</dt> -<dt><i>Dorfschwalben aus Oesterreich</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt> -<dt><i>Dream Pantomime</i> (<a class="gloss" href="#g_Humperdinck">Humperdinck</a>), see <i>Hansel and Gretel</i></dt> -<dt><i>Dream Pictures</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>Die Dreigroschenoper</i> (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt>“Drinking Song” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The Student Prince</i></dt> -<dt>“<i>Du bist die Ruh</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt>“The Duke of Plaza-Toro” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt>“<i>Du and Du</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Die Fledermaus</i></dt> -<dt><i>Dynamiden</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt></dl> -<dl class="undent"><dt>“<i>Ecco ridente in cielo</i>” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt><i>Eight Russian Folk Songs</i> (<a class="gloss" href="#g_Liadov">Liadov</a>)</dt> -<dt><i>Ein Morgen, ein Mittag, ein Abend in Wien</i> (<a class="gloss" href="#g_Suppe">Suppé</a>), see <i>Morning, Noon and Night in Vienna</i></dt> -<dt><i>Einzugmarsch</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>The Gypsy Baron</i></dt> -<dt><i>El Capitan</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt><i>Electrophor-Polka</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Élégie</i> (<a class="gloss" href="#g_Massenet">Massenet</a>), see <i>Les Érynnies</i></dt> -<dt><i>Elegy</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Serenade for Strings</i></dt> -<dt><i>L’Elisir d’amore</i>: Selections (<a class="gloss" href="#g_Donizetti">Donizetti</a>)</dt> -<dt>“Elisabeth’s Prayer” (<a class="gloss" href="#g_Wagner">Wagner</a>), see “<i>Allmacht’ge Jungfrau</i>,” <i>Tannhaeuser</i></dt> -<dt class="pb" id="Page_359">359</dt> -<dt>“<i>E lucevan le stelle</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Tosca</i></dt> -<dt><i>Embassy Waltz</i> (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt><i>Emperor Waltz</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>En bateau</i> (<a class="gloss" href="#g_Debussy">Debussy</a>), see <i>Petite suite</i></dt> -<dt>“The End of a Perfect Day” (<a class="gloss" href="#g_Bond">Bond</a>)</dt> -<dt>“Entry March” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>The Gypsy Baron</i></dt> -<dt>“<i>Der Erlkoenig</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Les Érynnies</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt><i>Escapade</i> (<a class="gloss" href="#g_Rose">Rose</a>)</dt> -<dt><i>España</i> (<a class="gloss" href="#g_Chabrier">Chabrier</a>)</dt> -<dt><i>España</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>“<i>Estrellita</i>” (<a class="gloss" href="#g_Ponce">Ponce</a>)</dt> -<dt><i>Estudianta</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>Etudes (<a class="gloss" href="#g_Chopin">Chopin</a>), see also <i>Revolutionary Etude</i></dt> -<dt><i>Evatochter</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Evening in the Tivoli</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt>“<i>Evening Song</i>” (<a class="gloss" href="#g_Schumann">Schumann</a>), see “<i>Abendlied</i>”</dt> -<dt><i>Explosions Polka</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt></dl> -<dl class="undent"><dt><i>Facsimile</i>: Suite (<a class="gloss" href="#g_Bernstein">Bernstein</a>)</dt> -<dt><i>The Fair at Sorochinsk</i>: Hopak (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>)</dt> -<dt>“Fair Is the Rose as the Bright May Day” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“Fair Moon to Thee I Sing” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt><i>Family Album</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt><i>Fancy Free</i>: Suite (<a class="gloss" href="#g_Bernstein">Bernstein</a>)</dt> -<dt><i>Fantasia and Fugue on Oh, Susanna</i> (<a class="gloss" href="#g_Caillet">Caillet</a>)</dt> -<dt><i>Fantasia on Greensleeves</i> (<a class="gloss" href="#g_VaughanWilliams">Vaughan Williams</a>)</dt> -<dt>Fantaisie-Impromptu in C-sharp minor (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt>“The Farmer and the Cowman” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Faschingskinder</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Faust</i>: Selections (<a class="gloss" href="#g_Gounod">Gounod</a>)</dt> -<dt><i>Fête-Dieu à Seville</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt><i>Fiddle Faddle</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>La Fileuse</i> (<a class="gloss" href="#g_Raff">Raff</a>)</dt> -<dt><i>La Fille aux cheveux de lin</i> (<a class="gloss" href="#g_Debussy">Debussy</a>), see <i>The Girl With the Flaxen Hair</i></dt> -<dt><i>La Fille de Mme. Angot</i>: Selections (<a class="gloss" href="#g_Lecocq">Lecocq</a>)</dt> -<dt><i>Fingal’s Cave</i>, or <i>Hebrides</i>, Overture (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt><i>Finlandia</i> (<a class="gloss" href="#g_Sibelius">Sibelius</a>)</dt> -<dt><i>The Firefly</i>: Selections (<a class="gloss" href="#g_Friml">Friml</a>)</dt> -<dt><i>Die Fledermaus</i>: Overture, Selections (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Der fliegende Hollaender</i> (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>The Flying Dutchman</i></dt> -<dt><i>Flight of the Bumble Bee</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt>“Flower Song” (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt>“The Flowers that Bloom in the Spring” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>The Flying Dutchman</i>: Overture, Selections (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt>“Fold Your Flapping Wings” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“<i>Die Forelle</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt>“For I am a Pirate King” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“For Everyone Who Feels Inclined” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt>“For He is an Englishman” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“For the Merriest Fellows are We” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt><i>Fortune Teller</i>: Selections (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>La Forza del destino</i>: Overture (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt><i>Four Centuries</i> (<a class="gloss" href="#g_Coates">Coates</a>)</dt> -<dt><i>Fra Diavolo</i>: Selections (<a class="gloss" href="#g_Auber">Auber</a>)</dt> -<dt><i>Frasquita Serenade</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“French Marching Song” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The Desert Song</i></dt> -<dt><i>French Military March</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>), see <i>Suite algérienne</i></dt> -<dt>“<i>Freudig begruessen</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>Tannhaeuser</i></dt> -<dt><i>Friedrich-Karl March</i> (<a class="gloss" href="#g_KelerBela">Kéler-Béla</a>)</dt> -<dt>“From the Land of the Sky-Blue Water” (<a class="gloss" href="#g_Cadman">Cadman</a>)</dt> -<dt><i>From the Middle Ages</i> (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt><i>Fruehlingsrauschen</i> (<a class="gloss" href="#g_Sinding">Sinding</a>), see <i>Rustle of Spring</i></dt> -<dt><i>Fruehlingsstimmen</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Voices of Spring</i></dt> -<dt><i>Funeral March</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Furiant</i> (<a class="gloss" href="#g_Smetana">Smetana</a>) see <i>The Bartered Bride</i></dt></dl> -<dl class="undent"><dt><i>La Gaieté parisienne</i> (Offenbach-Rosenthal), see <a class="gloss" href="#g_Offenbach">Offenbach</a></dt> -<dt>Galops (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>La Grand Duchesse de Gerolstein</i></dt> -<dt><i>Gavotte</i> (<a class="gloss" href="#g_Gossec">Gossec</a>)</dt> -<dt><i>Gavotte</i> (<a class="gloss" href="#g_Thomas">Thomas</a>), see <i>Mignon</i></dt> -<dt><i>Gayane</i>: Suite (<a class="gloss" href="#g_Khatchaturian">Khatchaturian</a>)</dt> -<dt><i>La Gazza ladra</i>: Overture (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt><i>German Dances</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>German Dances</i> (<a class="gloss" href="#g_Haydn">Haydn</a>)</dt> -<dt><i>German Dances</i> (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt><i>German Dances</i> (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt>“Get Me to the Church on Time” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt>“Getting to Know You” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt>“Giannina Mia” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Firefly</i></dt> -<dt><i>Gingerbread Waltz</i> (<a class="gloss" href="#g_Humperdinck">Humperdinck</a>), see <i>Hansel and Gretel</i></dt> -<dt class="pb" id="Page_360">360</dt> -<dt><i>La Gioconda</i>: Selections (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>)</dt> -<dt>“The Girl at Maxim’s” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt><i>The Girl With the Flaxen Hair</i> (<a class="gloss" href="#g_Debussy">Debussy</a>)</dt> -<dt><i>Giroflé-Girofla</i>: Selections (<a class="gloss" href="#g_Lecocq">Lecocq</a>)</dt> -<dt><i>Giselle</i>: Suite (<a class="gloss" href="#g_Adam">Adam</a>)</dt> -<dt><i>La Gitana</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Gitanerias</i> (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt>“<i>Gloire au grand Dieu vengeur</i>” (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>), see <i>Les Huguenots</i></dt> -<dt>“<i>Gloria all’ Egitto</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt>“The Glow-Worm” (<a class="gloss" href="#g_Lincke">Lincke</a>)</dt> -<dt>“<i>Gluewuermchen</i>” (<a class="gloss" href="#g_Lincke">Lincke</a>), see “The Glow-Worm”</dt> -<dt>“God’s World” (<a class="gloss" href="#g_Wolfe">Wolfe</a>)</dt> -<dt>“Goin’ to Heaven” (<a class="gloss" href="#g_Wolfe">Wolfe</a>)</dt> -<dt><i>Gold and Silver Waltzes</i> (<a class="gloss" href="#g_Lehar">Lehár</a>)</dt> -<dt><i>Golliwogg’s Cakewalk</i> (<a class="gloss" href="#g_Debussy">Debussy</a>), see <i>Children’s Corner</i></dt> -<dt><i>The Gondoliers</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt>“Goodbye, Forever” (<a class="gloss" href="#g_Tosti">Tosti</a>), see “<i>Addio</i>”</dt> -<dt>“Good Morning, Good Mother” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>Gopak, from <i>The Fair at Sorochinsk</i> (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>), see Hopak</dt> -<dt>“<i>Gott erhalte Franz den Kaiser</i>,” Austrian national anthem (<a class="gloss" href="#g_Haydn">Haydn</a>)</dt> -<dt><i>Grafin Mariza</i> (<a class="gloss" href="#g_Kalman">Kálmán</a>), see <i>Countess Maritza</i></dt> -<dt><i>Der Graf von Luxemburg</i> (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Count of Luxembourg</i></dt> -<dt><i>Grand Canyon Suite</i> (<a class="gloss" href="#g_Grofe">Grofé</a>)</dt> -<dt>Grand March, from <i>Aida</i> (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt><i>La Grand Pâque Russe</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Russian Easter Overture</i></dt> -<dt><i>Greensleeves</i> (<a class="gloss" href="#g_VaughanWilliams">Vaughan Williams</a>), see <i>Fantasia on Greensleeves</i></dt> -<dt>“<i>Gretchen am Spinnrade</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>G’schichten aus dem Wiener Wald</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Tales from the Vienna Woods</i></dt> -<dt><i>Guadalcanal March</i> (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Victory at Sea</i></dt> -<dt><i>Guillaume Tell</i> (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>William Tell</i></dt> -<dt><i>Guitarre</i> (<a class="gloss" href="#g_Moszkowski">Moszkowski</a>)</dt> -<dt><i>Gypsy Airs</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Gypsy Baron</i>: Selections (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Gypsy Love</i>: Selections (<a class="gloss" href="#g_Lehar">Lehár</a>)</dt> -<dt>“Gypsy Love Song” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>The Fortune Teller</i></dt> -<dt><i>Gypsy Princess</i>: Selections (<a class="gloss" href="#g_Kalman">Kálmán</a>)</dt> -<dt><i>Gypsy Rondo</i> (<a class="gloss" href="#g_Haydn">Haydn</a>)</dt></dl> -<dl class="undent"><dt>Habanera (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt>“<i>Hab ein blaues Himmelbett</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Frasquita Serenade</i></dt> -<dt>“Hail the Bride of Seventeen Summers” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>Handel in the Strand</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt>“Hallelujah Chorus” from <i>Messiah</i> (<a class="gloss" href="#g_Handel">Handel</a>)</dt> -<dt><i>Hansel and Gretel</i>: Overture and Selections (<a class="gloss" href="#g_Humperdinck">Humperdinck</a>)</dt> -<dt>“Happy Talk” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt>“Hark, Hark, the Lark” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Harlequin Serenade</i> (<a class="gloss" href="#g_Drigo">Drigo</a>), see <i>Serenade</i></dt> -<dt><i>Harlequin Serenade</i> (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see “<i>O, Columbina!</i>”, <i>Pagliacci</i></dt> -<dt><i>Harmonica Player</i> (<a class="gloss" href="#g_Guion">Guion</a>), see <i>Alley Tunes</i></dt> -<dt><i>Harmonious Blacksmith</i> (<a class="gloss" href="#g_Handel">Handel</a>)</dt> -<dt><i>Havanaise</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>“The Heart Bowed Down” (<a class="gloss" href="#g_Balfe">Balfe</a>), see <i>The Bohemian Girl</i></dt> -<dt>“Heather on the Hill” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>Brigadoon</i></dt> -<dt><i>Hebrew Melody</i> (<a class="gloss" href="#g_Achron">Achron</a>)</dt> -<dt><i>Hebrides Overture</i>, (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>), see <i>Fingal’s Cave</i></dt> -<dt><i>Hejre Kati</i> (<a class="gloss" href="#g_Hubay">Hubay</a>), see <i>Hungarian Czardas Scenes</i></dt> -<dt>“Hello, Young Lovers” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt><i>Henry VIII</i>: Dances (<a class="gloss" href="#g_German">German</a>)</dt> -<dt><i>Henry VIII</i>: Ballet Music (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>“<i>Hereinspaziert</i>” from <i>Der Schatzmeister</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt>“Here’s a How-de-do” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>Heroic Polonaise</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Hesperus</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>Hindu Chant</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>His Lullaby</i> (<a class="gloss" href="#g_Bond">Bond</a>)</dt> -<dt><i>Hoffballtanz</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt><i>Hoffnungssterne</i> (<a class="gloss" href="#g_KelerBela">Kéler-Béla</a>)</dt> -<dt><i>Holberg Suite</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt><i>Holiday for Strings</i> (<a class="gloss" href="#g_Rose">Rose</a>)</dt> -<dt><i>Holiday for Trombones</i> (<a class="gloss" href="#g_Rose">Rose</a>)</dt> -<dt><i>Holiday Suite</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt><i>Holzschutanz</i> (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Clog Dance</i>, <i>Czar and Carpenter</i></dt> -<dt>“Home on the Range” (<a class="gloss" href="#g_Guion">Guion</a>)</dt> -<dt>Hopak, from <i>The Fair at Sorochinsk</i> (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>)</dt> -<dt><i>Hora staccato</i> (<a class="gloss" href="#g_Dinicu">Dinicu</a>)</dt> -<dt>“<i>Horch, horche die Lerche</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>), see “Hark, Hark, the Lark”</dt> -<dt><i>Horse and Buggy</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>Hudson River Suite</i> (<a class="gloss" href="#g_Grofe">Grofé</a>)</dt> -<dt><i>Les Huguenots</i>: Overture, Selections (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>)</dt> -<dt><i>Humoresque</i> (<a class="gloss" href="#g_Dvorak">Dvořák</a>)</dt> -<dt><i>Humoresque</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Hungarian Comedy Overture</i> (<a class="gloss" href="#g_KelerBela">Kéler-Béla</a>)</dt> -<dt><i>Hungarian Czardas Scenes</i> (<a class="gloss" href="#g_Hubay">Hubay</a>)</dt> -<dt class="pb" id="Page_361">361</dt> -<dt><i>Hungarian Dances</i> (<a class="gloss" href="#g_Brahms">Brahms</a>)</dt> -<dt><i>Hungarian Rhapsody</i> (<a class="gloss" href="#g_Hubay">Hubay</a>), see <i>Hungarian Czardas Scenes</i></dt> -<dt><i>Hungarian Rhapsody No. 2</i> (<a class="gloss" href="#g_Liszt">Liszt</a>)</dt> -<dt><i>Hurrah-Sturm</i> (<a class="gloss" href="#g_KelerBela">Kéler-Béla</a>)</dt> -<dt>“Hymn to the Sun” (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Le Coq d’or</i></dt></dl> -<dl class="undent"><dt>“I Am the Captain of the Pinafore” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“I Am the Monarch of the Sea” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“I Am Titania” (<a class="gloss" href="#g_Thomas">Thomas</a>), see “<i>Je suis Titania</i>,” <i>Mignon</i></dt> -<dt>“I Am the Very Pattern of a Modern Major General” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“I Cannot Tell What This Love May Be” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“<i>Ich bin die Christel von der Post</i>” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Vogelhaendler</i></dt> -<dt>“<i>Ich bin ein Zigeuenerkind</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Gypsy Love</i></dt> -<dt>“<i>Ich hab’ kein Geld</i>” (<a class="gloss" href="#g_Milloecker">Milloecker</a>), see <i>The Beggar Student</i></dt> -<dt>“<i>Ich knuepfte manche zarte Bande</i>” (<a class="gloss" href="#g_Milloecker">Milloecker</a>), see <i>The Beggar Student</i></dt> -<dt>“<i>Ich setz den Fall</i>” (<a class="gloss" href="#g_Milloecker">Milloecker</a>), see <i>The Beggar Student</i></dt> -<dt>“I Could Have Danced All Night” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt>“<i>Ideale</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt>“I Dream’d I Dwelt in Marble Halls” (<a class="gloss" href="#g_Balfe">Balfe</a>), see <i>The Bohemian Girl</i></dt> -<dt>“If I Loved You” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt>“If Somebody There Chanced to Be” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“If You Go In” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“If You’re Anxious For to Shine” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“If You Want a Receipt” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“If You Want to Know Who We Are” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“I Got Plenty of Nuttin’” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt>“I Have a Song to Sing, O” (<a class="gloss" href="#g_Sullivan">Sullivan</a>) see <i>Yeomen of the Guard</i></dt> -<dt>“I Have Dreamed” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt>“I Know a Youth Who Loves a Little Maid” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“<i>Il balen</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“I’ll Follow My Secret Heart” (<a class="gloss" href="#g_Coward">Coward</a>), see <i>Conversation Piece</i></dt> -<dt>“I Love You” (Wright and Forrest), see <i>Song of Norway</i>, <a class="gloss" href="#g_Grieg">Grieg</a></dt> -<dt>“I Love You, Porgy,” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt>“I Love You, Truly” (<a class="gloss" href="#g_Coward">Coward</a>), see <i>Bitter Sweet</i></dt> -<dt>“I’m Called Little Buttercup” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“I’m Falling in Love With Someone” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Naughty Marietta</i></dt> -<dt>“I’m Gonna Wash That Man Right Outa My Hair” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt>“I’m in Love with a Wonderful Guy” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt>“<i>Im Prater bluehn wieder die Baeume</i>” (<a class="gloss" href="#g_Stolz">Stolz</a>)</dt> -<dt><i>Impressions of Italy</i> (<a class="gloss" href="#g_Charpentier">Charpentier</a>)</dt> -<dt><i>In a Chinese Garden</i> (<a class="gloss" href="#g_Ketelby">Ketelby</a>)</dt> -<dt><i>In a Monastery Garden</i> (<a class="gloss" href="#g_Ketelby">Ketelby</a>)</dt> -<dt><i>In a Persian Garden</i> (<a class="gloss" href="#g_Ketelby">Ketelby</a>)</dt> -<dt><i>In Autumn</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt>“In Bygone Days” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>Indian Lament</i> (<a class="gloss" href="#g_Dvorak">Dvořák</a>)</dt> -<dt>“Indian Love Call” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>Rose Marie</i></dt> -<dt><i>Indian Sketches</i> (<a class="gloss" href="#g_Gilbert">Gilbert</a>)</dt> -<dt><i>Indian Summer</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>In Spring</i> (<a class="gloss" href="#g_KarlGoldmark">Karl Goldmark</a>)</dt> -<dt><i>Intermezzo</i>, from <i>Cavalleria Rusticana</i> (<a class="gloss" href="#g_Mascagni">Mascagni</a>)</dt> -<dt><i>Intermezzo</i>, from <i>Goyescas</i> (<a class="gloss" href="#g_Granados">Granados</a>)</dt> -<dt><i>Intermezzo</i>, from <i>Pagliacci</i> (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>)</dt> -<dt><i>Intermezzo</i>, from <i>The Violin Maker</i> (<a class="gloss" href="#g_Hubay">Hubay</a>)</dt> -<dt><i>Intermezzo</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see Suite for Orchestra, No. 1</dt> -<dt><i>Intermezzos</i> from <i>The Jewels of the Madonna</i> (<a class="gloss" href="#g_WolfFerrari">Wolf-Ferrari</a>)</dt> -<dt><i>Interplay</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt>“In the Autumn of Our Life” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt><i>In the Hall of the Mountain King</i> (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Peer Gynt Suite</i>, No. 1</dt> -<dt><i>In the South</i> (<a class="gloss" href="#g_Elgar">Elgar</a>)</dt> -<dt><i>In the Steppes of Central Asia</i> (<a class="gloss" href="#g_Borodin">Borodin</a>)</dt> -<dt><i>Introduction and Rondo Capriccioso</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt><i>Invitation to the Dance</i> (<a class="gloss" href="#g_Weber">Weber</a>)</dt> -<dt><i>Iolanthe</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt>“I Once Was as Meek as a New Born Lamb” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>Irish Rhapsody</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>Irish Suite</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>Irish Tune from County Derry</i>: “Londonderry Air” (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt>“I Shipped, D’ye See, in a Revenue Sloop” (<a class="gloss" href="#g_Sullivan">Sullivan</a>) see <i>Ruddigore</i></dt> -<dt>“Isle of Dreams” (<a class="gloss" href="#g_Herbert">Herbert</a>) see <i>The Red Mill</i></dt> -<dt class="pb" id="Page_362">362</dt> -<dt>“Is Love a Boon?” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“I Stole the Princess” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt>“It Ain’t Necessarily So” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt><i>L’Italiana in Algeri</i>: Overture (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt>“Italian Street Song” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Naughty Marietta</i></dt> -<dt>“It is Not Love” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Sorcerer</i></dt> -<dt>“It’s a Windy Day on the Battery” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Maytime</i></dt> -<dt>“I’ve Done My Work” (<a class="gloss" href="#g_Bond">Bond</a>)</dt> -<dt>“I’ve Got a Little List” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“I’ve Grown Accustomed to Her Face” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt>“I Whistle a Happy Tune” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt></dl> -<dl class="undent"><dt>“<i>Ja, das alles auf Ehr</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Gypsy Baron</i></dt> -<dt><i>Jamaican Rumba</i> (<a class="gloss" href="#g_Benjamin">Benjamin</a>)</dt> -<dt><i>Jazz Legato</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>Jazz Pizzicato</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt>“Jeanie With the Light Brown Hair” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>Jesu, Joy of Man’s Desiring</i> (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt>“<i>Je suis Titania</i>” (<a class="gloss" href="#g_Thomas">Thomas</a>), see <i>Mignon</i></dt> -<dt><i>Jeux d’enfants</i> (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Children’s Games</i></dt> -<dt>“Jewel Song” (<a class="gloss" href="#g_Gounod">Gounod</a>), see <i>Faust</i></dt> -<dt><i>Jewels of the Madonna</i>: Intermezzo, Dance of the Camorristi (<a class="gloss" href="#g_WolfFerrari">Wolf-Ferrari</a>)</dt> -<dt><i>Jewels from Cartier</i> (<a class="gloss" href="#g_Alter">Alter</a>)</dt> -<dt><i>Jota aragonesa</i> (<a class="gloss" href="#g_Glinka">Glinka</a>)</dt> -<dt><i>Jota aragonesa</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Joyeuse marche</i> (<a class="gloss" href="#g_Chabrier">Chabrier</a>)</dt> -<dt><i>Jubilee</i> (<a class="gloss" href="#g_Chadwick">Chadwick</a>)</dt> -<dt><i>Jubilee Overture</i> (<a class="gloss" href="#g_Weber">Weber</a>)</dt> -<dt>“Jump Jim Crow” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Maytime</i></dt> -<dt><i>June</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>The Months</i></dt> -<dt>“June Is Bustin’ Out All Over” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt>“Just a Wearyin’ for You” (<a class="gloss" href="#g_Bond">Bond</a>)</dt></dl> -<dl class="undent"><dt>“<i>Kaempfe nie mit Frauen</i>” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Vogelhaendler</i></dt> -<dt><i>Kaiser March</i> (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Kaiserwaltz</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Emperor Waltz</i></dt> -<dt><i>Kamarinskaya</i> (<a class="gloss" href="#g_Glinka">Glinka</a>)</dt> -<dt><i>Kamenoi-Ostrow</i> (<a class="gloss" href="#g_Rubinstein">Rubinstein</a>)</dt> -<dt><i>Der Kanarienvogel</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt>“Kansas City” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Karelia Suite</i> (<a class="gloss" href="#g_Sibelius">Sibelius</a>)</dt> -<dt><i>Katharine Menuetten</i> (<a class="gloss" href="#g_Haydn">Haydn</a>), see <i>Minutes</i></dt> -<dt><i>King Frederick VII Homage March</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>La Kermesse</i> (<a class="gloss" href="#g_Gounod">Gounod</a>), see <i>Faust</i></dt> -<dt><i>Kettenbruecken</i> (<a class="gloss" href="#g_JohannStraussI">Johann Strauss I</a>)</dt> -<dt><i>Khovantschina</i>: Dances of Persian Slaves, Prelude to Act 1, and Entr’acte (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>)</dt> -<dt><i>The King and I</i>: Selections (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt><i>King Cotton</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt>“Kiss Me Again” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Mlle. Modiste</i></dt> -<dt><i>Kiss Me Kate</i>: Selections (<a class="gloss" href="#g_Porter">Porter</a>)</dt> -<dt>“<i>Klaenge der Heimat</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Die Fledermaus</i></dt> -<dt><i>Eine kleine Nachtmusik</i> (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt><i>Knightsbridge March</i> (<a class="gloss" href="#g_Coates">Coates</a>), see <i>London Suite</i></dt> -<dt>“Knowest Thou the Land” (<a class="gloss" href="#g_Thomas">Thomas</a>), see “<i>Connais-tu le pays?</i>”, <i>Mignon</i></dt> -<dt>“<i>Komm, komm, Held meiner Traeume</i>” (<a class="gloss" href="#g_Straus">Straus</a>), see “My Hero,” <i>The Chocolate Soldier</i></dt> -<dt><i>Komm suesser Tod</i> (<a class="gloss" href="#g_Bach">Bach</a>), see <i>Come, Sweet Death</i></dt> -<dt><i>Kommt ein Vogel</i>, Variations (<a class="gloss" href="#g_Ochs">Ochs</a>)</dt></dl> -<dl class="undent"><dt><i>Das Land des Laechelns</i> (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Land of Smiles</i></dt> -<dt><i>The Land of Smiles</i>: Selections (<a class="gloss" href="#g_Lehar">Lehár</a>)</dt> -<dt><i>Die Landestreicher</i>: Selections (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Laendler</i> (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Largo</i>, from the <i>New World Symphony</i> (<a class="gloss" href="#g_Dvorak">Dvořák</a>)</dt> -<dt><i>Largo</i>, from <i>Xerxes</i> (<a class="gloss" href="#g_Handel">Handel</a>)</dt> -<dt>“Largo al factotum” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt><i>Latin-American Symphonette</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt>“Laughing Song” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see “<i>Mein Herr, Marquis,</i>” <i>Die Fledermaus</i></dt> -<dt>“The Law is the True Embodiment” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“<i>Lebe wohl, mein flandrisch’ Maedchen</i>” (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt> -<dt><i>Légende</i> (<a class="gloss" href="#g_Wieniawski">Wieniawski</a>)</dt> -<dt><i>Leichte Cavallerie</i> Overture (<a class="gloss" href="#g_Suppe">Suppé</a>), see <i>Light Cavalry</i></dt> -<dt><i>Der Leiermann</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt><i>Les Préludes</i> (<a class="gloss" href="#g_Liszt">Liszt</a>)</dt> -<dt>“Letter Song” (<a class="gloss" href="#g_Straus">Straus</a>), see <i>The Chocolate Soldier</i></dt> -<dt>“<i>Libiamo, libiamo</i>,” or “<i>Brindisi</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt>“<i>Lieber Freund, man greift nicht</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Count of Luxembourg</i></dt> -<dt><i>Liebesfreud</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Liebesleid</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt class="pb" id="Page_363">363</dt> -<dt>“<i>Liebeslied</i>” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>Liebestraum</i> (<a class="gloss" href="#g_Liszt">Liszt</a>)</dt> -<dt><i>A Life for the Tsar</i>: Overture, Mazurka and Waltz (<a class="gloss" href="#g_Glinka">Glinka</a>)</dt> -<dt>“Life’s Garden” (<a class="gloss" href="#g_Bond">Bond</a>)</dt> -<dt><i>Light Cavalry Overture</i> (<a class="gloss" href="#g_Suppe">Suppé</a>)</dt> -<dt>“<i>Der Lindenbaum</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Lohengrin</i>: Prelude to Acts 1 and 3, Wedding March (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>London Suite</i> (<a class="gloss" href="#g_Coates">Coates</a>)</dt> -<dt>“Londonderry Air (<a class="gloss" href="#g_Grainger">Grainger</a>),” see <i>Irish Tune from County Derry</i></dt> -<dt>“Lonely Hearts” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Blossom Time</i></dt> -<dt>“The Lord’s Prayer” (<a class="gloss" href="#g_Malotte">Malotte</a>)</dt> -<dt><i>Lorelei Rheinsklaenge</i> (<a class="gloss" href="#g_JohannStraussI">Johann Strauss I</a>)</dt> -<dt>“The Lost Chord” (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Lotus Land</i> (<a class="gloss" href="#g_Scott">Scott</a>)</dt> -<dt>“Loudly Let the Trumpet Bray” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt><i>Love for Three Oranges</i>: March (<a class="gloss" href="#g_Prokofiev">Prokofiev</a>)</dt> -<dt>“Love is a Firefly” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Firefly</i></dt> -<dt>“Love is a Plaintive Song” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“Lover Come Back to Me” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The New Moon</i></dt> -<dt>“Love Song” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>Lucia di Lammermoor</i>: Selections (<a class="gloss" href="#g_Donizetti">Donizetti</a>)</dt> -<dt><i>Lullaby</i> (<a class="gloss" href="#g_Khatchaturian">Khatchaturian</a>), see <i>Gayane</i></dt> -<dt><i>Die lustige Witwe</i> (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt><i>Lyric Suite</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt></dl> -<dl class="undent"><dt>“Mack the Knife” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>Madama Butterfly</i>: Selections (<a class="gloss" href="#g_Puccini">Puccini</a>)</dt> -<dt>“<i>Madre pietosa</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Forza del destino</i></dt> -<dt>“Mad Scene” (<a class="gloss" href="#g_Donizetti">Donizetti</a>), see <i>Lucia di Lammermoor</i></dt> -<dt>“<i>Maedel klein, Maedel fein</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Count of Luxembourg</i></dt> -<dt>“The Magnet and the Churn” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“A Maiden Fair to See” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“<i>Die Majistaet wird anerkannt</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Die Fledermaus</i></dt> -<dt><i>Malambo</i> (<a class="gloss" href="#g_Ginastera">Ginastera</a>), see Dances from <i>Estancia</i></dt> -<dt><i>Malagueña</i> (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt><i>Malagueña</i>, from <i>Boabdil</i> (<a class="gloss" href="#g_Moszkowski">Moszkowski</a>)</dt> -<dt><i>Malagueña</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Manhattan Masquerade</i> (<a class="gloss" href="#g_Alter">Alter</a>)</dt> -<dt><i>Manhattan Moonlight</i> (<a class="gloss" href="#g_Alter">Alter</a>)</dt> -<dt><i>Manhattan Serenade</i> (<a class="gloss" href="#g_Alter">Alter</a>)</dt> -<dt>Manon: Gavotte, Minuet (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“A Man Who Would Woo a Fair Maid” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“Many a New Day” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt>March, from <i>Tannhaeuser</i> (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>March of the Gladiators</i> (<a class="gloss" href="#g_Fucik">Fučík</a>)</dt> -<dt><i>March of the Little Fauns</i> (<a class="gloss" href="#g_Pierne">Pierné</a>)</dt> -<dt><i>March of the Little Lead Soldiers</i> (<a class="gloss" href="#g_Pierne">Pierné</a>)</dt> -<dt><i>March of the Royal Siamese Children</i> (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt><i>March of the Smugglers</i> (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt>March of the Toys (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Babes in Toyland</i></dt> -<dt><i>Marche miniature</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Suite for Orchestra, No. 1</i></dt> -<dt><i>Marche Slav</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“<i>Marechiare</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt><i>Marienklaenge</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt> -<dt><i>Mark Twain: A Portrait for Orchestra</i> (<a class="gloss" href="#g_Kern">Kern</a>)</dt> -<dt><i>Masaniello</i> (<a class="gloss" href="#g_Auber">Auber</a>), see <i>The Mute of Portici</i></dt> -<dt><i>Masquerade</i> (<a class="gloss" href="#g_Khatchaturian">Khatchaturian</a>)</dt> -<dt>“Massa’s in De Cold, Cold Ground” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>The Mastersingers</i>: “Prize Song” (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Matinées musicales</i> (Rossini-Britten), see <a class="gloss" href="#g_Rossini">Rossini</a></dt> -<dt>“<i>Mattinata</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt><i>Maytime</i>: Selections (<a class="gloss" href="#g_Romberg">Romberg</a>)</dt> -<dt><i>Mazurka</i> (<a class="gloss" href="#g_Delibes">Delibes</a>), see <i>Coppélia</i></dt> -<dt><i>Mazurka</i> (<a class="gloss" href="#g_Glinka">Glinka</a>), see <i>A Life for the Tsar</i></dt> -<dt>Mazurkas (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Meditation</i>, from <i>Thaïs</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“<i>Mein Herr, Marquis</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Die Fledermaus</i></dt> -<dt><i>Die Meistersinger</i> (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>The Mastersingers</i></dt> -<dt><i>Mélodie</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Melody in F</i> (<a class="gloss" href="#g_Rubinstein">Rubinstein</a>)</dt> -<dt><i>Menuet à l’antique</i> (<a class="gloss" href="#g_Paderewski">Paderewski</a>), see <i>Minuet</i></dt> -<dt><i>Merrie England</i>: Selections (<a class="gloss" href="#g_German">German</a>)</dt> -<dt><i>Merrymaker’s Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>Nell Gwynn</i></dt> -<dt><i>The Merry Widow</i>: Selections (<a class="gloss" href="#g_Lehar">Lehár</a>)</dt> -<dt><i>The Merry Widow Waltz</i>: “<i>S’fuersten Geigen</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt><i>The Merry Wives of Windsor</i>: Overture, Selections (<a class="gloss" href="#g_Nicolai">Nicolai</a>)</dt> -<dt><i>Mexican Rhapsody</i> (<a class="gloss" href="#g_Mcbride">McBride</a>)</dt> -<dt>“<i>Mi chiamano Mimi</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt><i>Midsommarvaka</i> (<a class="gloss" href="#g_Alfven">Alfvén</a>), see <i>Midsummer Vigil</i></dt> -<dt><i>A Midsummer Night’s Dream</i>, Suite (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt class="pb" id="Page_364">364</dt> -<dt><i>Midsummer Vigil</i> (<a class="gloss" href="#g_Alfven">Alfvén</a>)</dt> -<dt>“Mighty Lak’ a Rose” (<a class="gloss" href="#g_Nevin">Nevin</a>)</dt> -<dt><i>Mignon</i>: Overture, Selections (<a class="gloss" href="#g_Thomas">Thomas</a>)</dt> -<dt><i>The Mikado</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Military Polonaise</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Miniature Overture</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt><i>Minstrel Show</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt><i>Minuet in G</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>Minuet</i> (<a class="gloss" href="#g_Boccherini">Boccherini</a>)</dt> -<dt><i>Minuet</i> (<a class="gloss" href="#g_Bolzoni">Bolzoni</a>)</dt> -<dt><i>Minuet</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Minuet</i>, from <i>Don Giovanni</i> (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt><i>Minuet</i>, from <i>The Tales of Hoffmann</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt><i>Minuet</i> (<a class="gloss" href="#g_Paderewski">Paderewski</a>)</dt> -<dt><i>Minuet</i>, from <i>Rigoletto</i> (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt><i>Minuet of the Will’o-the-Wisp</i> (<a class="gloss" href="#g_Berlioz">Berlioz</a>), see <i>The Damnation of Faust</i></dt> -<dt>Minuets (<a class="gloss" href="#g_Haydn">Haydn</a>)</dt> -<dt>Minuets (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt><i>Minute Waltz</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Mlle. Modiste</i>: Selections (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>Mireille</i>: Overture (<a class="gloss" href="#g_Gounod">Gounod</a>)</dt> -<dt>“<i>Miserere</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see “<i>Ah, che la morte ognora</i>,” <i>Il Trovatore</i></dt> -<dt><i>Mississippi Suite</i> (<a class="gloss" href="#g_Grofe">Grofé</a>)</dt> -<dt><i>The Moldau</i>, or <i>Vltava</i> (<a class="gloss" href="#g_Smetana">Smetana</a>)</dt> -<dt><i>Molly on the Shore</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt>“<i>Mon coeur s’ouvre à ta voix</i>” (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>), see <i>Samson and Delilah</i></dt> -<dt><i>Mon rêve</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt><i>The Months</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“Moonbeams” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>The Red Mill</i></dt> -<dt><i>Moonlight Sonata</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>Moorish Rhapsody</i> (<a class="gloss" href="#g_Humperdinck">Humperdinck</a>)</dt> -<dt><i>Morgenblaetter</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Morning Journals</i></dt> -<dt>“<i>Morgenlich leuchtend</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see “Prize Song,” <i>The Mastersingers</i></dt> -<dt>“Moritat” (<a class="gloss" href="#g_Weill">Weill</a>), see <i>The Three-Penny Opera</i></dt> -<dt><i>Morning</i> (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Peer Gynt</i>, Suite No. 1</dt> -<dt>“Morning” (<a class="gloss" href="#g_Speaks">Speaks</a>)</dt> -<dt><i>Morning Journals</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Morning, Noon, and Night in Vienna</i> (<a class="gloss" href="#g_Suppe">Suppé</a>)</dt> -<dt><i>Morris Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>Henry VIII</i></dt> -<dt><i>La Muette de Portici</i> (<a class="gloss" href="#g_Auber">Auber</a>), see <i>The Mute of Portici</i></dt> -<dt><i>Musetta’s Waltz</i> (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt><i>The Music Box</i> (<a class="gloss" href="#g_Liadov">Liadov</a>)</dt> -<dt><i>Music of the Spheres</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>), see <i>Sphaerenklaenge</i></dt> -<dt><i>The Mute of Portici</i>: Overture (<a class="gloss" href="#g_Auber">Auber</a>)</dt> -<dt>“My Boy You May Take it From Me” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>My Fair Lady</i>: Selections (<a class="gloss" href="#g_Loewe">Loewe</a>)</dt> -<dt>“My Heart at Your Sweet Voice” (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>), see <i>Samson and Delilah</i></dt> -<dt>“My Hero” (<a class="gloss" href="#g_Straus">Straus</a>), see <i>The Chocolate Soldier</i></dt> -<dt>“My Ideal” (<a class="gloss" href="#g_Tosti">Tosti</a>), see “<i>Ideale</i>”</dt> -<dt>“My Man’s Gone Now” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt>“My Object All Sublime” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“My Old Kentucky Home” (<a class="gloss" href="#g_Foster">Foster</a>)</dt></dl> -<dl class="undent"><dt><i>Naïla Waltz</i> (<a class="gloss" href="#g_Delibes">Delibes</a>)</dt> -<dt><i>Narcissus</i>, from <i>Water Scenes</i> (<a class="gloss" href="#g_Nevin">Nevin</a>)</dt> -<dt><i>Naughty Marietta</i>: Selections (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>Navarra</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt>“’Neath the Southern Moon” (<a class="gloss" href="#g_Herbert">Herbert</a>), see <i>Naughty Marietta</i></dt> -<dt><i>Negro Heaven</i> (<a class="gloss" href="#g_Cesana">Cesana</a>)</dt> -<dt><i>Negro Rhapsody</i> (<a class="gloss" href="#g_RubinGoldmark">Rubin Goldmark</a>)</dt> -<dt><i>Nell Gwynn</i>: Dances (<a class="gloss" href="#g_German">German</a>)</dt> -<dt><i>New Moon</i>: Selections (<a class="gloss" href="#g_Romberg">Romberg</a>)</dt> -<dt>“The Nightingale” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“The Nightingale Song” (<a class="gloss" href="#g_Zeller">Zeller</a>), see “<i>Wie mein Ahn’l zwanzig Jahr</i>,” <i>Der Vogelhaendler</i></dt> -<dt><i>Nocturne</i> (<a class="gloss" href="#g_Borodin">Borodin</a>)</dt> -<dt><i>Nocturne in E-flat</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Nocturne</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>), see <i>A Midsummer Night’s Dream</i>, Suite</dt> -<dt>“<i>Noël</i>,” or “<i>Cantique de Noël</i>” (<a class="gloss" href="#g_Adam">Adam</a>)</dt> -<dt>“None But the Lonely Heart” (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“<i>Non la sospiri la nostra casetta</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Tosca</i></dt> -<dt><i>Norma</i>: Overture, “<i>Casta Diva</i>” (<a class="gloss" href="#g_Bellini">Bellini</a>)</dt> -<dt><i>North American Square Dances</i> (<a class="gloss" href="#g_Benjamin">Benjamin</a>)</dt> -<dt><i>Norwegian Dances</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt><i>Norwegian Rhapsody</i> (<a class="gloss" href="#g_Lalo">Lalo</a>)</dt> -<dt><i>Nutcracker Suite</i>, or <i>Casse-noisette</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt></dl> -<dl class="undent"><dt>“<i>O beau pays de la Touraine</i>” (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>), see <i>Les Huguenots</i></dt> -<dt>“<i>Obéissons quand leur voix appelle</i>” (<a class="gloss" href="#g_Massenet">Massenet</a>), see <i>Manon</i></dt> -<dt><i>Der Obersteiger</i>: Selections (<a class="gloss" href="#g_Zeller">Zeller</a>)</dt> -<dt>“<i>O, Columbina!</i>,” Harlequin’s Serenade (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), <i>Pagliacci</i></dt> -<dt>“Ode to the Evening Star” (<a class="gloss" href="#g_Wagner">Wagner</a>), see “<i>O du, mein holder Abendstern</i>,” <i>Tannhaeuser</i></dt> -<dt><i>Of Thee I Sing</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt>“Oh Foolish Fay” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“Oh, Is There Not One Maiden Breast?” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“Oh a Private Buffoon is a Light-Hearted Loon” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt class="pb" id="Page_365">365</dt> -<dt>“Oh, Leave Me Not to Pine” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“Oh My Name is John Wellington Wells” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Sorcerer</i></dt> -<dt>“Oh, Susanna!” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt>“Oh, Thoughtless Crew” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“Oh, What a Beautiful Mornin’” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Oklahoma!</i>: Selections (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt>“Ol’ Black Joe” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt>“Old Folks at Home,” or “Swanee River” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>The Old Refrain</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt>“Ol’ Man River” (<a class="gloss" href="#g_Kern">Kern</a>), see <i>Show Boat</i></dt> -<dt>“<i>O Lola Bianca</i>” (<a class="gloss" href="#g_Mascagni">Mascagni</a>), see <i>Cavalleria Rusticana</i></dt> -<dt>“<i>O Mimi, tu più</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt><i>Omphale’s Spinning Wheel</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>), see <i>Le Rouet d’Omphale</i></dt> -<dt>“One Kiss” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The New Moon</i></dt> -<dt>“Only a Rose” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Vagabond King</i></dt> -<dt>“Only Make Believe” (<a class="gloss" href="#g_Kern">Kern</a>), see <i>Show Boat</i></dt> -<dt>“On the Day that I Was Wedded” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt><i>On the Campus</i> (<a class="gloss" href="#g_Goldman">Goldman</a>)</dt> -<dt><i>On the Farm</i> (<a class="gloss" href="#g_Goldman">Goldman</a>)</dt> -<dt><i>On the Mall</i> (<a class="gloss" href="#g_Goldman">Goldman</a>)</dt> -<dt>“On the Road to Mandalay” (<a class="gloss" href="#g_Speaks">Speaks</a>)</dt> -<dt>“On the Street Where You Live” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt><i>On the Trail</i> (<a class="gloss" href="#g_Grofe">Grofé</a>), see <i>Grand Canyon Suite</i></dt> -<dt>“Onward Christian Soldiers” (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt>“On Wings of Song” (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt>“<i>O Patria mia</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt>“<i>O Paradiso!</i>” (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>), see <i>L’Africaine</i></dt> -<dt><i>The Organgrinder</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt><i>Orientale</i> (<a class="gloss" href="#g_Cui">Cui</a>)</dt> -<dt><i>Orphée aux enfers</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>Orpheus in the Underworld</i></dt> -<dt><i>Orpheus in the Underworld</i>: Selections (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt>“<i>O Sancta justa</i>” (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt> -<dt>“<i>O soave fanciulla</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt>“<i>O terra addio</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt>“Our Great Mikado” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“Out of My Dreams” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Ouverture solennelle</i> (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt><i>Overture 1812</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt></dl> -<dl class="undent"><dt>“<i>Pace e gioia sia con voi</i>” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt><i>Pagliacci</i>: Selections (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>)</dt> -<dt>“Painted Emblems of a Race” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“<i>La Paloma</i>” (<a class="gloss" href="#g_Yradier">Yradier</a>)</dt> -<dt><i>Pan-Americana</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“A Paradox, a Most Ingenious Paradox” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“<i>Parigi, o cara</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt><i>Passacaglia on Green Bushes</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt><i>Pastoral Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>Henry VIII</i></dt> -<dt><i>Patience</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Les Patineurs</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>), see <i>The Skaters</i></dt> -<dt><i>La Patrie</i> (<a class="gloss" href="#g_Bizet">Bizet</a>)</dt> -<dt><i>Pavane</i> (<a class="gloss" href="#g_Faure">Fauré</a>)</dt> -<dt><i>Pavane</i> (<a class="gloss" href="#g_German">German</a>), see <i>Romeo and Juliet</i></dt> -<dt><i>Pavane</i> (<a class="gloss" href="#g_Gould">Gould</a>), see <i>American Symphonette No. 2</i></dt> -<dt><i>Pavane pour une Infante défunte</i> (<a class="gloss" href="#g_Ravel">Ravel</a>)</dt> -<dt><i>Peer Gynt</i>, Suites Nos. 1 and 2 (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt>“People Will Say We’re in Love” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Perpetual Motion</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“<i>Pescator, affond a l’esca</i>” (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>), see <i>La Gioconda</i></dt> -<dt><i>Die Pesther</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt><i>Peter and the Wolf</i> (<a class="gloss" href="#g_Prokofiev">Prokofiev</a>)</dt> -<dt><i>Petite suite</i> (<a class="gloss" href="#g_Debussy">Debussy</a>)</dt> -<dt><i>Phèdre Overture</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“<i>Piccolo, piccolo, tsin, tsin, tsin</i>” (<a class="gloss" href="#g_Straus">Straus</a>), see <i>A Waltz Dream</i></dt> -<dt><i>Picturesque Scenes</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt><i>Piemonte</i> (<a class="gloss" href="#g_Sinigaglia">Sinigaglia</a>)</dt> -<dt><i>Pinafore</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Pique Dame Overture</i> (<a class="gloss" href="#g_Suppe">Suppé</a>)</dt> -<dt><i>Pirates of Penzance</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Pizzicato Polka</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“<i>Plaisir d’amour</i>” (<a class="gloss" href="#g_Martini">Martini</a>)</dt> -<dt>“Play Gypsies, Dance Gypsies” (<a class="gloss" href="#g_Kalman">Kálmán</a>), see <i>Countess Maritza</i></dt> -<dt><i>Plink, Plank, Plunk</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt>“<i>Plus blanche que la blanche hermine</i>” (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>) see <i>Les Huguenots</i></dt> -<dt><i>Poet and Peasant Overture</i> (<a class="gloss" href="#g_Suppe">Suppé</a>)</dt> -<dt><i>Polichinelle</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Polka</i> (<a class="gloss" href="#g_Smetana">Smetana</a>), see <i>The Bartered Bride</i></dt> -<dt><i>Polka and Fugue</i>, from <i>Schwanda</i> (<a class="gloss" href="#g_Weinberger">Weinberger</a>)</dt> -<dt><i>Polonaise</i>, from Boris Godunov (<a class="gloss" href="#g_Mussorgsky">Mussorgsky</a>)</dt> -<dt><i>Polonaise</i>, from Eugene Onegin (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Polonaises</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt class="pb" id="Page_366">366</dt> -<dt><i>Polonaise brilliante</i> (<a class="gloss" href="#g_Wieniawski">Wieniawski</a>)</dt> -<dt><i>Polovtsian Dances</i>, from <i>Prince Igor</i> (<a class="gloss" href="#g_Borodin">Borodin</a>)</dt> -<dt><i>Pomp and Circumstance</i> (<a class="gloss" href="#g_Elgar">Elgar</a>)</dt> -<dt><i>Pop Goes the Weasel</i> (<a class="gloss" href="#g_Caillet">Caillet</a>)</dt> -<dt><i>Porgy and Bess</i>: Selections (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Portrait of a Frontier Town</i> (<a class="gloss" href="#g_Gillis">Gillis</a>)</dt> -<dt><i>Poupée valsante</i> (<a class="gloss" href="#g_Poldini">Poldini</a>)</dt> -<dt>“Pour, Oh, Pour the Pirate Sherry” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt><i>Praeludium</i> (<a class="gloss" href="#g_Jarnefelt">Järnefelt</a>)</dt> -<dt><i>Praeludium and Allegro</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Praise Be to God</i> (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt><i>La Précieuse</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Prelude in E major</i> (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt><i>Prelude in A major</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Prelude and Fugue on Dixie</i> (<a class="gloss" href="#g_Weinberger">Weinberger</a>)</dt> -<dt><i>Prelude and Waltz</i> (<a class="gloss" href="#g_Addinsell">Addinsell</a>)</dt> -<dt>Preludes (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt>Preludes (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt>Preludes (<a class="gloss" href="#g_Rachmaninoff">Rachmaninoff</a>)</dt> -<dt>“Prithee, Pretty Maiden” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“Prize Song” from <i>The Mastersingers</i> (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Le Prophète</i>: Coronation March, Prelude to Act 3 (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>)</dt> -<dt><i>Punchinello</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“A Puzzlement” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt></dl> -<dl class="undent"><dt>“<i>Quando m’en vo’ soletto</i>,” Musetta’s Waltz (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>La Bohème</i></dt> -<dt>Quartet, from <i>Rigoletto</i> (<a class="gloss" href="#g_Verdi">Verdi</a>), see “<i>Bella figlia dell’ amore</i>”</dt> -<dt><i>Queen of Spades Overture</i> (<a class="gloss" href="#g_Suppe">Suppé</a>), see <i>Pique Dame Overture</i></dt> -<dt>“<i>Questa o quella</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Rigoletto</i></dt></dl> -<dl class="undent"><dt><i>Radetzky March</i> (<a class="gloss" href="#g_JohannStraussI">Johann Strauss I</a>)</dt> -<dt><i>Railway Galop</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt><i>Raindrop Etude</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Rakóczy March</i> (<a class="gloss" href="#g_Berlioz">Berlioz</a>), see <i>The Damnation of Faust</i></dt> -<dt><i>Raymond Overture</i> (<a class="gloss" href="#g_Thomas">Thomas</a>)</dt> -<dt><i>Raymonda</i>: Suite (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt>“<i>Recondita armonia</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Tosca</i></dt> -<dt><i>The Red Mill</i>: Selections (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>The Red Poppy</i>: Selections (<a class="gloss" href="#g_Gliere">Glière</a>)</dt> -<dt><i>Rêve angelique</i> (<a class="gloss" href="#g_Rubinstein">Rubinstein</a>), see <i>Kamenoi-Ostrow</i></dt> -<dt><i>Rêverie</i> (<a class="gloss" href="#g_Debussy">Debussy</a>)</dt> -<dt><i>Revolutionary Etude</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Rhapsody in Blue</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Rienzi</i>: Overture (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Rigoletto</i>: Selections (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt>“<i>Rimpianto</i>” (<a class="gloss" href="#g_Toselli">Toselli</a>), see “<i>Serenata</i>”</dt> -<dt>“Rising Early in the Morning” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Gondoliers</i></dt> -<dt>“<i>Ritorna vincitor</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt><i>Ritual Fire Dance</i> (<a class="gloss" href="#g_Falla">Falla</a>)</dt> -<dt><i>Le Roi l’a dit</i>: Overture (<a class="gloss" href="#g_Delibes">Delibes</a>)</dt> -<dt><i>Romance</i> (<a class="gloss" href="#g_Drdla">Drdla</a>)</dt> -<dt>Romances (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>Romance in E-flat</i> (<a class="gloss" href="#g_Rubinstein">Rubinstein</a>)</dt> -<dt><i>Romance in F minor</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>Romances (<a class="gloss" href="#g_Sibelius">Sibelius</a>)</dt> -<dt><i>Die Romantiker</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt><i>Romeo and Juliet</i>: Waltz (<a class="gloss" href="#g_Gounod">Gounod</a>)</dt> -<dt><i>Rondalla aragonesa</i> (<a class="gloss" href="#g_Granados">Granados</a>), see <i>Spanish Dances</i></dt> -<dt><i>Rondino</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt>“The Rosary” (<a class="gloss" href="#g_Nevin">Nevin</a>)</dt> -<dt><i>Rosamunde</i>: Overture, Ballet Music (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Rose Marie</i>: Selections (<a class="gloss" href="#g_Friml">Friml</a>)</dt> -<dt><i>Rosen aus dem Sueden</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Roses from the South</i></dt> -<dt>“Roses are in Bloom” (<a class="gloss" href="#g_Bond">Bond</a>)</dt> -<dt><i>Roses from the South</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Le Rouet d’Omphale</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt><i>Ruddigore</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt><i>Rumanian Rhapsodies</i>, Nos. 1 and 2 (<a class="gloss" href="#g_Enesco">Enesco</a>)</dt> -<dt><i>Rumba</i> (<a class="gloss" href="#g_Mcdonald">McDonald</a>)</dt> -<dt><i>Ruslan and Ludmilla</i>: Overture (<a class="gloss" href="#g_Glinka">Glinka</a>)</dt> -<dt><i>Russian Easter Overture</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>Russian Sailors’ Dance</i> (<a class="gloss" href="#g_Gliere">Glière</a>), see <i>The Red Poppy</i></dt> -<dt><i>Rustle of Spring</i> (<a class="gloss" href="#g_Sinding">Sinding</a>)</dt> -<dt><i>Rustic Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>As You Like It</i></dt> -<dt><i>Rustic March</i> (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Lyric Suite</i></dt> -<dt><i>Rustic Wedding Symphony</i> (<a class="gloss" href="#g_KarlGoldmark">Karl Goldmark</a>)</dt> -<dt><i>Ruy Blas Overture</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt></dl> -<dl class="undent"><dt><i>Saber Dance</i> (<a class="gloss" href="#g_Khatchaturian">Khatchaturian</a>), see <i>Gayane</i></dt> -<dt>“Saber Song” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Desert Song</i></dt> -<dt>“Sailors’ Chorus” (<a class="gloss" href="#g_Wagner">Wagner</a>), see “<i>Steuermann! lass die Wacht</i>,” <i>The Flying Dutchman</i></dt> -<dt><i>Sakuntala Overture</i> (<a class="gloss" href="#g_KarlGoldmark">Karl Goldmark</a>)</dt> -<dt><i>Salut d’amour</i> (<a class="gloss" href="#g_Elgar">Elgar</a>)</dt> -<dt><i>Samson and Delilah</i>: Selections (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>“<i>Samt und seide</i>” from <i>Der Fremdenfuehrer</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Saraband</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>Sari</i>: Selections (<a class="gloss" href="#g_Kalman">Kálmán</a>)</dt> -<dt><i>La Scala di Seta</i>: Overture (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt><i>Scarf Dance</i> (<a class="gloss" href="#g_Chaminade">Chaminade</a>)</dt> -<dt><i>Scenario</i> (<a class="gloss" href="#g_Kern">Kern</a>)</dt> -<dt><i>Scènes alsaciennes</i> (<a class="gloss" href="#g_Massenet">Massenet</a>), see <i>Alsatian Scenes</i></dt> -<dt><i>Scènes de ballet</i> (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt class="pb" id="Page_367">367</dt> -<dt><i>Scènes pittoresques</i> (<a class="gloss" href="#g_Massenet">Massenet</a>), see <i>Picturesque Scenes</i></dt> -<dt>“<i>Schafe koennen sicher weiden</i>” (<a class="gloss" href="#g_Bach">Bach</a>), see <i>The Wise Virgins</i></dt> -<dt><i>Schatz</i>, Waltzes (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Gypsy Baron</i></dt> -<dt>“<i>Schau mir nur recht ins Gesicht</i>” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Vogelhaendler</i></dt> -<dt><i>Scheherazade</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>Scherzo</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Scherzo</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>), see <i>A Midsummer Night’s Dream</i>, Suite</dt> -<dt><i>Die Schlittenfahrt</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt><i>Die Schoenbrunner</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt><i>Die schoene Galatea</i> (<a class="gloss" href="#g_Suppe">Suppé</a>), see <i>The Beautiful Galathea</i></dt> -<dt><i>Schoen Rosmarin</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>School of Dancing</i> (Boccherini-Françaix), see <a class="gloss" href="#g_Boccherini">Boccherini</a></dt> -<dt><i>Scuola di Ballo</i> (Boccherini-Françaix), see <i>School of Dancing</i>, <a class="gloss" href="#g_Boccherini">Boccherini</a></dt> -<dt>“<i>Scuoti quella fronda di ciliegio</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Madama Butterfly</i></dt> -<dt><i>The Seasons</i>: Suite (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt><i>Second Rhapsody</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Secrets of Suzanne</i>: Overture (<a class="gloss" href="#g_WolfFerrari">Wolf-Ferrari</a>)</dt> -<dt>“<i>Segreto</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt>“<i>Seguidille</i>” (<a class="gloss" href="#g_Bizet">Bizet</a>), see <i>Carmen</i></dt> -<dt>“<i>Sei gepreissen, du lauschige Nacht</i>” (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>), see <i>Die Landestreicher</i></dt> -<dt>“<i>Sei nicht bos, es kann nicht sein</i>” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Obersteiger</i></dt> -<dt><i>Semiramide</i>: Overture (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt><i>Semper fideles</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt>“<i>Sempre libera</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>La Traviata</i></dt> -<dt><i>Serenade</i> (<a class="gloss" href="#g_Drigo">Drigo</a>)</dt> -<dt><i>Serenade in A</i> (<a class="gloss" href="#g_Drdla">Drdla</a>)</dt> -<dt><i>Serenade</i> (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Blossom Time</i>, <i>The Student Prince</i></dt> -<dt><i>Serenade</i> (<a class="gloss" href="#g_Schubert">Schubert</a>), see <i>Staendchen</i></dt> -<dt><i>Sérénade espagnole</i> (<a class="gloss" href="#g_Chaminade">Chaminade</a>)</dt> -<dt><i>Serenade for Strings</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Sérénade mélancolique</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Serenata</i>, “<i>Rimpianot</i>” (<a class="gloss" href="#g_Toselli">Toselli</a>)</dt> -<dt><i>La Serenata</i> (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt> -<dt><i>Sevillañas</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt>Sextet from Lucia di Lammermoor (<a class="gloss" href="#g_Donizetti">Donizetti</a>), see “<i>Chi mi frena</i>”</dt> -<dt>“<i>S’fuersten Geigen, Lippen schweigen</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt>“Shall We Dance?” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt><i>Shepherd’s Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>Henry VIII</i></dt> -<dt><i>Shepherd’s Hey</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt> -<dt><i>Shepherd’s Madrigal</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt>“Shepherd’s Song” (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>La Belle Hélène</i></dt> -<dt>“Short’nin’ Bread” (<a class="gloss" href="#g_Wolfe">Wolfe</a>)</dt> -<dt><i>Show Boat</i>: Selections (<a class="gloss" href="#g_Kern">Kern</a>)</dt> -<dt>“<i>Siboney</i>,” or “<i>Canto Siboney</i>” (<a class="gloss" href="#g_Lecuona">Lecuona</a>)</dt> -<dt><i>Siciliano</i> (<a class="gloss" href="#g_Bach">Bach</a>)</dt> -<dt><i>Sicilienne</i> (<a class="gloss" href="#g_Faure">Fauré</a>)</dt> -<dt><i>Sicilienne et Rigaudon</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Side Street in Gotham</i> (<a class="gloss" href="#g_Alter">Alter</a>)</dt> -<dt>“Sighing Softly to the River” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt><i>Si j’etais roi</i> (<a class="gloss" href="#g_Adam">Adam</a>), see <i>If I Were King</i></dt> -<dt>“Silvered is the Raven Hair” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“<i>Si può</i>” (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see <i>Pagliacci</i></dt> -<dt><i>Les Sirènes</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>“Sir Rupert Murgatroyd” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>The Skaters</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt><i>Slaughter on Tenth Avenue</i> (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt><i>Slavonic Dances</i> (<a class="gloss" href="#g_Dvorak">Dvořák</a>)</dt> -<dt><i>Slavonic Fantasia</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Sleigh Bells</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt><i>The Sleighride</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>German Dances</i></dt> -<dt>“<i>So elend und treu</i>” (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Gypsy Baron</i></dt> -<dt>“Softly as in a Morning Sunrise” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The New Moon</i></dt> -<dt><i>Soirées de Vienne</i> (Schubert-Liszt), see <a class="gloss" href="#g_Schubert">Schubert</a></dt> -<dt><i>Soirées musicales</i> (Rossini-Britten), see <a class="gloss" href="#g_Rossini">Rossini</a></dt> -<dt>“So in Love” (<a class="gloss" href="#g_Porter">Porter</a>), see <i>Kiss Me Kate</i></dt> -<dt>“Soldiers’ Chorus” (<a class="gloss" href="#g_Gounod">Gounod</a>), see <i>Faust</i></dt> -<dt>“Soldiers’ Chorus” (<a class="gloss" href="#g_Verdi">Verdi</a>), see “<i>Squilli, echeggi la tromba guerriera</i>,” <i>Il Trovatore</i></dt> -<dt><i>Solitude</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“Solveig’s Song” (<a class="gloss" href="#g_Grieg">Grieg</a>), see <i>Peer Gynt</i>, Suite No. 2</dt> -<dt>“Some Enchanted Evening” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt><i>Song of India</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>), see <i>Hindu Chant</i></dt> -<dt>“Song of Love” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Blossom Time</i></dt> -<dt><i>Song of Norway</i> (Wright and Forrest), see <a class="gloss" href="#g_Grieg">Grieg</a></dt> -<dt>“Song of the Vagabond” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Vagabond King</i></dt> -<dt><i>Song Without Words, Chanson sans paroles</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>“Songs My Mother Taught Me” (<a class="gloss" href="#g_Dvorak">Dvořák</a>)</dt> -<dt>“<i>Sonst spielt ich mit Zepter</i>” (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt> -<dt class="pb" id="Page_368">368</dt> -<dt>“Soon as We May” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt><i>Sophie</i> (<a class="gloss" href="#g_Lumbye">Lumbye</a>)</dt> -<dt>“Sorry Her Lot” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt><i>South Pacific</i>: Selections (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt><i>Southern Nights</i> (<a class="gloss" href="#g_Guion">Guion</a>)</dt> -<dt><i>Souvenir</i> (<a class="gloss" href="#g_Drdla">Drdla</a>)</dt> -<dt><i>Souvenirs of Moscow</i> (<a class="gloss" href="#g_Wieniawski">Wieniawski</a>)</dt> -<dt><i>Spanish Caprice</i> (<a class="gloss" href="#g_RimskyKorsakov">Rimsky-Korsakov</a>)</dt> -<dt><i>Spanish Dance No. 1</i> (<a class="gloss" href="#g_Falla">Falla</a>)</dt> -<dt><i>Spanish Dances</i> (<a class="gloss" href="#g_Granados">Granados</a>)</dt> -<dt><i>Spanish Dances</i> (<a class="gloss" href="#g_Moszkowski">Moszkowski</a>)</dt> -<dt><i>Spanish Dances</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Sphaerenklaenge</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>)</dt> -<dt><i>Spinning Song</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt><i>Spring Song</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt>“<i>Squilli, echeggi la tromba guerriera</i>,” or “Soldiers’ Chorus” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“<i>Staendchen</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Stars and Stripes Forever</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt><i>Stephen Foster Suite</i> (<a class="gloss" href="#g_Dubensky">Dubensky</a>)</dt> -<dt>“<i>Steuermann! lass die Wacht</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>The Flying Dutchman</i></dt> -<dt>“Stout-Hearted Men” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The New Moon</i></dt> -<dt>“Strange Adventure” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“Strange Music” (Wright and Forrest), see <i>Song of Norway</i>, <a class="gloss" href="#g_Grieg">Grieg</a></dt> -<dt>“<i>Stride la vampa</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“<i>Stridono lassu</i>,” “Bird Song” (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see <i>Pagliacci</i></dt> -<dt>“Strike Up the Band” (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Student Prince</i>: Selections (<a class="gloss" href="#g_Romberg">Romberg</a>)</dt> -<dt><i>Stuff in G</i> (<a class="gloss" href="#g_Mcbride">McBride</a>)</dt> -<dt>“<i>Suicidio!</i>” (<a class="gloss" href="#g_Ponchielli">Ponchielli</a>), see <i>La Gioconda</i></dt> -<dt><i>Suite algérienne</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>Suite for Orchestra, Nos. 1 and 3 (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Suite of Serenades</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt><i>Suite pastorale</i> (<a class="gloss" href="#g_Chabrier">Chabrier</a>)</dt> -<dt><i>Suite romantique</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“<i>Summ und brumm</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>The Flying Dutchman</i></dt> -<dt><i>Summer Day</i> (<a class="gloss" href="#g_Prokofiev">Prokofiev</a>)</dt> -<dt>“Summertime” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt>“The Sun Whose Rays” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“The Surrey With the Fringe on Top” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Oklahoma!</i></dt> -<dt><i>Swallows from Austria</i> (<a class="gloss" href="#g_JosefStrauss">Josef Strauss</a>), see <i>Dorfschwalben aus Oesterreich</i></dt> -<dt><i>The Swan</i> (<a class="gloss" href="#g_SaintSaens">Saint-Saëns</a>)</dt> -<dt>“Swanee River,” or “Old Folks at Home” (<a class="gloss" href="#g_Foster">Foster</a>)</dt> -<dt><i>Swing Sextet</i> (<a class="gloss" href="#g_Cesana">Cesana</a>)</dt> -<dt><i>Swing Stuff</i> (<a class="gloss" href="#g_Mcbride">McBride</a>)</dt> -<dt><i>Les Sylphides</i> (Chopin-Rosenthal), see <a class="gloss" href="#g_Chopin">Chopin</a></dt> -<dt><i>Sylvia</i>: Suite (<a class="gloss" href="#g_Delibes">Delibes</a>)</dt> -<dt>“Sylvia” (<a class="gloss" href="#g_Speaks">Speaks</a>)</dt> -<dt>“Sympathy” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Firefly</i></dt> -<dt>“Sympathy” (<a class="gloss" href="#g_Straus">Straus</a>), see <i>The Chocolate Soldier</i></dt> -<dt><i>Symphonic Picture</i> (Gershwin-Bennett), see <i>Porgy and Bess</i>, <a class="gloss" href="#g_Gershwin">Gershwin</a></dt> -<dt><i>Symphony in D</i>, “Dodgers” (<a class="gloss" href="#g_Bennett">Bennett</a>)</dt> -<dt><i>Symphony No. 5½</i> (<a class="gloss" href="#g_Gillis">Gillis</a>)</dt> -<dt><i>Syncopated Clock</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt></dl> -<dl class="undent"><dt>“<i>Tacea la notte placide</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt>“Take a Pair of Sparkling Eyes” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Gondoliers</i></dt> -<dt><i>Tales from the Vienna Woods</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt><i>Tales of Hoffmann</i>: Barcarolle, Minuet, and Waltz (<a class="gloss" href="#g_Offenbach">Offenbach</a>)</dt> -<dt><i>Tambourin Chinois</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Tango in D major</i> (<a class="gloss" href="#g_Albeniz">Albéniz</a>)</dt> -<dt><i>Tannhaeuser</i>: Overture, Selections (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt><i>Tannhaeuser’s Pilgrimage</i> (<a class="gloss" href="#g_Wagner">Wagner</a>), see Prelude to Act 3, <i>Tannhaeuser</i></dt> -<dt><i>Te Deum</i> (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Tosca</i></dt> -<dt>“Tell Me Daisy” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>Blossom Time</i></dt> -<dt><i>Tempo di minuetto</i> (<a class="gloss" href="#g_Kreisler">Kreisler</a>)</dt> -<dt><i>Thaïs: Meditations</i> (<a class="gloss" href="#g_Massenet">Massenet</a>)</dt> -<dt>“Then You’ll Remember Me” (<a class="gloss" href="#g_Balfe">Balfe</a>), see <i>The Bohemian Girl</i></dt> -<dt>“There Grew a Little Flower” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“There Is Nothing Like a Dame” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt>“There’s a Boat That’s Leavin’ Soon for New York” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt>“There Was a Time” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Gondoliers</i></dt> -<dt>“Thine Alone” (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“Thine Is My Heart Alone” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Land of Smiles</i></dt> -<dt>“This is a Real Nice Clambake” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt>“Thou the Tree, and I the Flower” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt><i>The Three Bears</i> (<a class="gloss" href="#g_Coates">Coates</a>)</dt> -<dt><i>The Three Elizabeths</i> (<a class="gloss" href="#g_Coates">Coates</a>)</dt> -<dt>“Three Little Maids” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>The Three-Penny Opera</i>: Selections (<a class="gloss" href="#g_Weill">Weill</a>)</dt> -<dt><i>The Thunderer</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt class="pb" id="Page_369">369</dt> -<dt><i>The Thunderstorm</i> (<a class="gloss" href="#g_Mozart">Mozart</a>), see <i>Country Dances</i></dt> -<dt>“This Nearly Was Mine” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt>“Time Was When Love and I Were Acquainted” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Sorcerer</i></dt> -<dt>“Tit Willow” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>To a Water Lily</i> (<a class="gloss" href="#g_Macdowell">MacDowell</a>)</dt> -<dt><i>To a Wild Rose</i> (<a class="gloss" href="#g_Macdowell">MacDowell</a>)</dt> -<dt>“<i>Der Tod und das Maedchen</i>” (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Torch Dance No. 1</i> (<a class="gloss" href="#g_Meyerbeer">Meyerbeer</a>)</dt> -<dt><i>Toujours ou jamais</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>“<i>Traeume</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>)</dt> -<dt>“<i>Traft ihr Das Schiff</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>The Flying Dutchman</i></dt> -<dt>“<i>Trauet nie dem Blossen schein</i>” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Obersteiger</i></dt> -<dt><i>La Traviata</i>: Prelude to Acts 1 and 3, Selections (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt><i>Trepak</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt>“The Trout” (<a class="gloss" href="#g_Schubert">Schubert</a>), see “<i>Die Forelle</i>”</dt> -<dt><i>Triumphant Entry of the Boyars</i> (<a class="gloss" href="#g_Halvorsen">Halvorsen</a>)</dt> -<dt><i>Troïka</i>, or <i>Troïka en Traneaux</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>The Months</i></dt> -<dt><i>Il Trovatore</i>: Selections (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt><i>The Trumpeter’s Holiday</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt>“The Two Grenadiers” (<a class="gloss" href="#g_Schumann">Schumann</a>), see “<i>Die beiden Grenadiere</i>”</dt> -<dt><i>Through the Looking Glass</i> (<a class="gloss" href="#g_Taylor">Taylor</a>)</dt> -<dt>“<i>Treulich gefuert</i>” (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>Lohengrin</i></dt> -<dt><i>Tubby the Tuba</i> (<a class="gloss" href="#g_Kleinsinger">Kleinsinger</a>)</dt> -<dt><i>Turkey in the Straw</i> (<a class="gloss" href="#g_Guion">Guion</a>)</dt> -<dt><i>Turkish March</i> (<a class="gloss" href="#g_Beethoven">Beethoven</a>)</dt> -<dt><i>Turkish March</i> (<a class="gloss" href="#g_Mozart">Mozart</a>)</dt> -<dt>“Tu, tu piccolo idio” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Madama Butterfly</i></dt> -<dt>“Twenty Lovesick Maidens We” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt><i>Two Elegiac Melodies</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt>“Two Hearts in Three-Quarters Time” (<a class="gloss" href="#g_Stolz">Stolz</a>)</dt> -<dt><i>Two Northern Melodies</i> (<a class="gloss" href="#g_Grieg">Grieg</a>)</dt> -<dt><i>The Typewriter</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt></dl> -<dl class="undent"><dt>“<i>Un bel di</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Madama Butterfly</i></dt> -<dt>“<i>Una furtiva lagrima</i>” (<a class="gloss" href="#g_Donizetti">Donizetti</a>), see <i>L’Elisir d’amore</i></dt> -<dt>“<i>Una voce poco fa</i>” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt>“<i>Un nenn’ mein Lieb’ dich</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Gypsy Love</i></dt></dl> -<dl class="undent"><dt><i>The Vagabond King</i>: Selections (<a class="gloss" href="#g_Friml">Friml</a>)</dt> -<dt><i>Valse bluette</i> (<a class="gloss" href="#g_Drigo">Drigo</a>)</dt> -<dt><i>Valse de concert</i>, Nos. 1 and 2 (<a class="gloss" href="#g_Glazunov">Glazunov</a>)</dt> -<dt><i>Valse de la poupée</i> (<a class="gloss" href="#g_Delibes">Delibes</a>), see <i>Coppélia</i></dt> -<dt><i>Valse mélancolique</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see Suite for Orchestra, No. 3</dt> -<dt><i>Valses nobles</i> (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Valses sentimentales</i> (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Valse triste</i> (<a class="gloss" href="#g_Sibelius">Sibelius</a>)</dt> -<dt><i>Valsette</i> (<a class="gloss" href="#g_Borowski">Borowski</a>)</dt> -<dt><i>Variations on I Got Rhythm</i> (<a class="gloss" href="#g_Gershwin">Gershwin</a>)</dt> -<dt><i>Variations on Kommt ein Vogel</i> (<a class="gloss" href="#g_Ochs">Ochs</a>)</dt> -<dt><i>Variations on a Theme by Jerome Kern</i> (Kern-Bennett), see <a class="gloss" href="#g_Kern">Kern</a></dt> -<dt>“<i>Vedi! le fosche</i>” or “Anvil Chorus” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Il Trovatore</i></dt> -<dt><i>I Vespri siciliani</i>, or <i>Les Vêpres siciliennes</i>: Overture (<a class="gloss" href="#g_Verdi">Verdi</a>)</dt> -<dt>“<i>Vesti la giubba</i>” (<a class="gloss" href="#g_Leoncavallo">Leoncavallo</a>), see <i>Pagliacci</i></dt> -<dt><i>Victory at Sea</i> (<a class="gloss" href="#g_Rodgers">Rodgers</a>)</dt> -<dt>“<i>Viene la sera</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Madama Butterfly</i></dt> -<dt>“<i>Vieni amor mio</i>” (<a class="gloss" href="#g_Verdi">Verdi</a>), see <i>Aida</i></dt> -<dt><i>Vienna Blood</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“<i>Vilia</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>The Merry Widow</i></dt> -<dt><i>Violetta</i> (<a class="gloss" href="#g_Waldteufel">Waldteufel</a>)</dt> -<dt>“<i>Vissi d’arte</i>” (<a class="gloss" href="#g_Puccini">Puccini</a>), see <i>Tosca</i></dt> -<dt><i>Vltava</i> (<a class="gloss" href="#g_Smetana">Smetana</a>), see <i>The Moldau</i></dt> -<dt><i>Vocalise</i> (<a class="gloss" href="#g_Rachmaninoff">Rachmaninoff</a>)</dt> -<dt><i>Der Vogelhaendler</i>: Selections (<a class="gloss" href="#g_Zeller">Zeller</a>)</dt> -<dt><i>Voices of Spring</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“<i>Voi lo sapete</i>” (<a class="gloss" href="#g_Mascagni">Mascagni</a>), see <i>Cavalleria Rusticana</i></dt> -<dt>“<i>Vorrei morire</i>” (<a class="gloss" href="#g_Tosti">Tosti</a>)</dt></dl> -<dl class="undent"><dt><i>Walpurgis Night</i>, Ballet Music (<a class="gloss" href="#g_Gounod">Gounod</a>), see <i>Faust</i></dt> -<dt><i>Waltz in A-flat</i> (<a class="gloss" href="#g_Brahms">Brahms</a>)</dt> -<dt><i>Waltz in C-sharp minor</i> (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt><i>Waltz</i> (<a class="gloss" href="#g_Glinka">Glinka</a>), see <i>A Life for the Tsar</i></dt> -<dt><i>Waltz</i> (<a class="gloss" href="#g_Offenbach">Offenbach</a>), see <i>Tales of Hoffmann</i></dt> -<dt><i>Waltz</i>, from <i>Eugene Onegin</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Waltz</i>, from <i>Serenade for Strings</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Waltz</i>, from <i>Sleeping Beauty</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt><i>Waltz</i>, from <i>Swan Lake</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>)</dt> -<dt>Waltzes (<a class="gloss" href="#g_Chopin">Chopin</a>)</dt> -<dt>Waltzes (<a class="gloss" href="#g_Schubert">Schubert</a>)</dt> -<dt><i>Waltz of the Flowers</i>, from <i>Loreley</i> (<a class="gloss" href="#g_Catalani">Catalani</a>)</dt> -<dt><i>Waltz of the Flowers</i> (<a class="gloss" href="#g_Tchaikovsky">Tchaikovsky</a>), see <i>Nutcracker Suite</i></dt> -<dt><i>A Waltz Dream</i>: Selections (<a class="gloss" href="#g_Straus">Straus</a>)</dt> -<dt>“<i>Waltz Huguette</i>” (<a class="gloss" href="#g_Friml">Friml</a>), see <i>The Vagabond King</i></dt> -<dt><i>Ein Walzertraum</i> (<a class="gloss" href="#g_Straus">Straus</a>), see <i>A Waltz Dream</i></dt> -<dt><i>The Waltzing Cat</i> (<a class="gloss" href="#g_Anderson">Anderson</a>)</dt> -<dt class="pb" id="Page_370">370</dt> -<dt>“Wanting You” (<a class="gloss" href="#g_Romberg">Romberg</a>), see <i>The New Moon</i></dt> -<dt>“A Wandering Minstrel I” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt><i>War March of the Priests</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>)</dt> -<dt><i>Warsaw Concerto</i> (<a class="gloss" href="#g_Addinsell">Addinsell</a>)</dt> -<dt><i>Washington Post</i> (<a class="gloss" href="#g_Sousa">Sousa</a>)</dt> -<dt><i>Water Music</i> (<a class="gloss" href="#g_Handel">Handel</a>)</dt> -<dt><i>Water Scenes</i> (<a class="gloss" href="#g_Nevin">Nevin</a>)</dt> -<dt><i>Waves of the Balaton</i> (<a class="gloss" href="#g_Hubay">Hubay</a>), see <i>Hungarian Czardas Scenes</i></dt> -<dt><i>Waves of the Danube</i> (<a class="gloss" href="#g_Ivanovici">Ivanovici</a>)</dt> -<dt><i>Wedding March</i> (<a class="gloss" href="#g_Mendelssohn">Mendelssohn</a>), see <i>A Midsummer Night’s Dream</i>, Suite</dt> -<dt><i>Wedding March</i> (<a class="gloss" href="#g_Wagner">Wagner</a>), see <i>Lohengrin</i></dt> -<dt><i>Wein, Weib, Gesang</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Wine, Women, and Song</i></dt> -<dt>“<i>Im weissen Roessl</i>” (<a class="gloss" href="#g_Benatzky">Benatzky</a>), see <i>The White Horse Inn</i></dt> -<dt>“We Kiss in the Shadow” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>The King and I</i></dt> -<dt><i>Welsh Rhapsody</i> (<a class="gloss" href="#g_German">German</a>)</dt> -<dt><i>Die Werber</i> (<a class="gloss" href="#g_Lanner">Lanner</a>)</dt> -<dt>“We’re Called Gondolieri” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt>“Were I Thy Bride” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“Were Thine That Special Face” (<a class="gloss" href="#g_Porter">Porter</a>), see <i>Kiss Me Kate</i></dt> -<dt>“Were You Not to Ko-Ko Plighted” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Mikado</i></dt> -<dt>“We Sail the Ocean Blue” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“What God Hath Done Is Rightly Done” (<a class="gloss" href="#g_Bach">Bach</a>), see <i>The Wise Virgins</i></dt> -<dt>“When a Felon’s Not Engaged in his Employment” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“When All Night Long a Chap Remains” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“When a Maiden Loves” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“When a Merry Maiden Marries” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>The Gondoliers</i></dt> -<dt>“When a Wooer Goes a-Wooing” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Yeomen of the Guard</i></dt> -<dt>“When Britain Really Ruled the Waves” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“When I Go Out of Doors” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Patience</i></dt> -<dt>“When I Was a Lad” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pinafore</i></dt> -<dt>“When I Went to the Bar” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Iolanthe</i></dt> -<dt>“When Johnny Comes Marching Home” (<a class="gloss" href="#g_Gould">Gould</a>), see <i>The American Salute</i></dt> -<dt>“When the Foeman Bares His Steel” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Pirates of Penzance</i></dt> -<dt>“When the Night Wind Howls” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt>“Where the Buds are Blossoming” (<a class="gloss" href="#g_Sullivan">Sullivan</a>), see <i>Ruddigore</i></dt> -<dt><i>The White Horse Inn</i>: Selections (<a class="gloss" href="#g_Stolz">Stolz</a>)</dt> -<dt>“<i>Wiegenlied</i>” (<a class="gloss" href="#g_Brahms">Brahms</a>), see “Cradle Song”</dt> -<dt>“<i>Wie mein Ahn’l zwanzig Jahr</i>,” the “Nightingale Song” (<a class="gloss" href="#g_Zeller">Zeller</a>), see <i>Der Vogelhaendler</i></dt> -<dt><i>Wiener Buerger</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Wiener Maedchen</i> (<a class="gloss" href="#g_Ziehrer">Ziehrer</a>)</dt> -<dt><i>Wild Horsemen</i> (<a class="gloss" href="#g_Schumann">Schumann</a>)</dt> -<dt><i>William Tell</i>: Overture (<a class="gloss" href="#g_Rossini">Rossini</a>)</dt> -<dt><i>Wine, Women and Song</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>)</dt> -<dt>“Wintergreen for President” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Of Thee I Sing</i></dt> -<dt><i>The Wise Virgins</i> (Bach-Walton), see <a class="gloss" href="#g_Bach">Bach</a></dt> -<dt>“With a Little Bit of Luck” (<a class="gloss" href="#g_Loewe">Loewe</a>), see <i>My Fair Lady</i></dt> -<dt>“A Woman is a Sometime Thing” (<a class="gloss" href="#g_Gershwin">Gershwin</a>), see <i>Porgy and Bess</i></dt> -<dt><i>Woodland Dance</i> (<a class="gloss" href="#g_German">German</a>), see <i>As You Like It</i></dt> -<dt><i>Woodland Fancies</i> (<a class="gloss" href="#g_Herbert">Herbert</a>)</dt> -<dt>“<i>Wunderbar</i>” (<a class="gloss" href="#g_Porter">Porter</a>), see <i>Kiss Me Kate</i></dt> -<dt>“Why Do I Love You?” (<a class="gloss" href="#g_Kern">Kern</a>), see <i>Show Boat</i></dt></dl> -<dl class="undent"><dt><i>Yankee Doodle Went to Town</i> (<a class="gloss" href="#g_Gould">Gould</a>)</dt> -<dt><i>Yeomen of the Guard</i>: Selections (<a class="gloss" href="#g_Sullivan">Sullivan</a>)</dt> -<dt>“You’ll Never Walk Alone” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>Carousel</i></dt> -<dt>“Younger than Springtime” (<a class="gloss" href="#g_Rodgers">Rodgers</a>), see <i>South Pacific</i></dt> -<dt><i>Youthful Suite</i> (<a class="gloss" href="#g_Grainger">Grainger</a>)</dt></dl> -<dl class="undent"><dt><i>Zampa</i>: Overture (<a class="gloss" href="#g_Herold">Hérold</a>)</dt> -<dt><i>Zapatadeo</i> (<a class="gloss" href="#g_Sarasate">Sarasate</a>)</dt> -<dt><i>Zar und Zimmermann</i> (<a class="gloss" href="#g_Lortzing">Lortzing</a>), see <i>Czar and Carpenter</i></dt> -<dt>“<i>Zigeuener</i>” (<a class="gloss" href="#g_Coward">Coward</a>), see <i>Bitter Sweet</i></dt> -<dt><i>Zigeunerbaron</i> (<a class="gloss" href="#g_JohannStraussIi">Johann Strauss II</a>), see <i>Gypsy Baron</i></dt> -<dt><i>Zigeuenerliebe</i> (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Gypsy Love</i></dt> -<dt><i>Die Zirkusprinzessin</i> (<a class="gloss" href="#g_Kalman">Kálmán</a>), see <i>The Circus Princess</i></dt> -<dt>“<i>Zitti, Zitti, piano, piano</i>” (<a class="gloss" href="#g_Rossini">Rossini</a>), see <i>The Barber of Seville</i></dt> -<dt>“<i>Zorike, kehre zurueck</i>” (<a class="gloss" href="#g_Lehar">Lehár</a>), see <i>Gypsy Love</i></dt> -<dt>“<i>Zuhaelterballade</i>” (<a class="gloss" href="#g_Weill">Weill</a>), see “The Bully’s Ballad,” <i>The Three-Penny Opera</i></dt> -<dt>“<i>Zwei Herzen in drei-viertel Takt</i>” (<a class="gloss" href="#g_Stolz">Stolz</a>), see <i>Two Hearts in Three-Quarter Time</i></dt></dl> -<hr class="dwide" /> -<h3 id="c190">Ewen’s -<br />LIGHTER CLASSICS -<br />IN MUSIC</h3> -<p class="center">by DAVID EWEN</p> -<p>In one brilliant volume, David Ewen -offers a classic in musical literature. Here -are the treasured semi-classical works of -two continents—enduring, always alive—analyzed -by a famed authority, acclaimed -as “music’s interpreter to the American -people.” A must for the music lover <span class="smaller">THE -LIGHTER CLASSICS IN MUSIC</span> is the first -reference book of its kind in any language.</p> -<p>Here is the music of Victor Herbert, -Eric Coates, Jacques Offenbach, Johann -Strauss and Franz Lehár. This is the music -of the salon, café-house, pop concert, and -operetta theatre.</p> -<p><span class="smaller">THE LIGHTER CLASSICS IN MUSIC</span> is also -the story of the spontaneity and creative -invention of popular contemporary composers; -Duke Ellington (“Black, Brown, -and Beige”), Morton Gould (“Yankee -Doodle Went To Town”), George Gershwin. -These favorites are universally loved; -their long life-span is assured.</p> -<p>There is still a third story—a story of -the genius of classical masters who have -produced works whose popular interest -and subtle freshness compels an immediate -emotional impact. Beethoven, -Mozart, Haydn, Brahms, Chopin, Schubert—all -have brought forth wonderlands -of sound to delight the senses.</p> -<p>The author needs no introduction to -music afficionados. <span class="smaller">MUSIC FOR MILLIONS</span> -went through six printings in as many -years. A revised, up-dated edition, <span class="smaller">EWEN’S -MUSICAL MASTERWORKS</span>, was soon demanded -and brought about. On the whimsical -side, illustrator A. Birnbaum and -Mr. Ewen put their heads together and -came up with <span class="smaller">LISTEN TO THE MOCKING -WORDS</span>, a medley of anecdotes about -music and musicians.</p> -<p>Now Mr. Ewen turns a brilliant musical -literacy and easy, non-pompous style -exclusively to the lighter classics. Here are -the lives of 187 composers; over 1000 -perceptive analyses of musical masterpieces -in the lighter style prefaced by -biographical sketches. An easy-to-use alphabetical -listing of the lighter classics -makes it easy to get the specific information -you need.</p> -<p><span class="smaller">THE LIGHTER CLASSICS IN MUSIC</span> is an -enduring book to be cherished by the concertgoer, -record collector, musician, instructor, -historian—all music lovers who -know the universal sounds of music in the -lighter style.</p> -<h2 id="trnotes">Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos; did not modernize spelling.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in <i>italics</i> is delimited by _underscores_.</li> -</ul> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE LIGHTER CLASSICS IN MUSIC ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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