See also:

• FRANZ, ROBERT (1815-1892)

FRANZ See also:

• FRANZ LISZT (1811-1886)

LISZT (1811-1886)  , Hungarian pianist and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 22nd of See also:

• OCTOBER

October 18,1, at Raiding, in See also:

• HUNGARY
• HUNGARY (Hungarian Magyarorszdg)

Hungary . His See also:

• APPEAL

appeal to musicians was made in a threefold capacity, and we have, therefore, to See also:

• DEAL

deal with See also:

• LISZT, FRANZ (1811-1886)

Liszt the unrivalled See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte virtuoso (1830-1848); Liszt the conductor of the "See also:

• MUSIC

music of the future " at See also:

• WEIMAR

Weimar, the teacher of Tausig, Billow and a See also:

• HOST

host of lesser pianists, the eloquent writer on music and musicians, the See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion of See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz and See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner (1848-1861); and Liszt the prolific composer, who for. some five-and-See also:

• THIRTY

thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

psalms and oratorios (1847-1882) . As virtuoso he held his own for the entire See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period during which he See also:

• CHOSE (Fr. for " thing ")

chose to appear in public; but the militant conductor and See also:

• PROPHET (Irpo4i ri7s)

prophet of Wagner had a hard See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of it, and the composer's See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place is still in dispute . Liszt's See also:

• FATHER

father, a clerk to the See also:

• AGENT (from Lat. agere, to act)

agent of the Esterhazy estates and an See also:

• AMATEUR (Lat. amator, lover)

amateur musician of some attainment, was Hungarian by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth and ancestry, his See also:

• MOTHER

mother an See also:

• AUSTRIAN

Austrian-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German . The boy's gifts attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of certain Hungarian magnates, who furnished 600 gulden annually for some years to enable him to study music at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna and See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . At Vienna he had lessons in pianoforte playing from Carl See also:

• CZERNY, KARL (1791–1857)

Czerny of " Velocity " fame, and from See also:

• SALIERI, ANTONIO (1750-1825)

Salieri in See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony and See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of scores . In his See also:

• ELEVENTH

eleventh See also:

• YEAR

year he began to See also:

• PLAY

play in public there, Wagner's Tannhaicser, Der fiiegende Hollander, Das Liebesmahl der Apostel, and See also:

• FINE

Fine See also:

• FAUST, or FAUSTUS

Faust See also:

• OVERTURE (Fr. ouverture, opening)

Overture, Berlioz's Benvenuto See also:

• CELLINI, BENVENUTO (1500-1571)

Cellini, the Symphonic Fantastique, Harold en See also:

• ITALIC

Italic, Romeo et Juliette, La Damnation de Faust, and L'Enfance du See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ—the last two conducted by the composer—See also:

• SCHUMANN, ROBERT ALEXANDER (1810-1856)

Schumann's Genoveva, See also:

• PARADISE (Gr. lrap6BEwos)

Paradise and the See also:

• PERI, JACOPO (1561–16 ?)

Peri, the music to See also:

• MANFRED (c. 1232–1266)

Manfred and to Faust, See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber's Euryanthe, See also:

• SCHUBERT, FRANZ PETER (1797-1828)

Schubert's Alfonso and Estrella, See also:

• RAFF, JOSEPH JOACHIM (1822-1882)

Raff's See also:

• KONIG, KARL RUDOLPH (1832-1901)

Konig See also:

• ALFRED

Alfred, See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius's Der See also:

• BARBIER, ANTOINE ALEXANDRE (1765–1825)
• BARBIER, HENRI AUGUSTE (1805-1882)
• BARBIER, LOUIS

Barbier von Baghdad and many more . It was Liszt's See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit to recommend novelties to the public by explanatory articles or essays, which were written in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French (some for the See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal See also:

• DES

des debats and the See also:

• GAZETTE

Gazette musicale of Paris) and translated for the See also:

• JOURNALS

journals of Weimar and See also:

• LEIPZIG

Leipzig—thus his two masterpieces of sympathetic See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, the essays See also:

• LOHENGRIN

Lohengrin et Tannhduser a Weimar and Harold en Italic, found many readers and proved very effective . They are now included, together with articles on Schumann and Schubert, and the elaborate and rather high-flown essays on See also:

• CHOPIN, FREDERIC FRANCOIS (1810-1849)

Chopin and Des Bohemiens et de leur musique en Hongrie (the latter certainly, and the former probably, written in collaboration with Madame de See also:

• WITTGENSTEIN, LUDWIG ADOLF PETER, COUNT

Wittgenstein), in his Gesammelte Schri ften (6 vols., Leipzig) . The compositions belonging to the period of his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at Weimar comprise two pianoforte concertos, in E See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat and in A, the " Todtentanz," the " See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

Concerto pat hetique " for two pianos, the See also:

• SOLO, OR SOLO WHIST

solo See also:

• SONATA (From Ital. sonare, to sound)

sonata " An See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert Schumann," sundry " Etudes," fifteen " Rhapsodies Hongroises," twelve orchestral " Poemes symphoniques," " Eine Faust Symphonie," and " Eine Symphonic zu See also:

• DANTE

Dante's ` Divina See also:

• CORN (a common Teutonic word; cf. Lat. granum, seed, grain)
• CORN (fromm Lat. corms, horn)

Corn-See also:

• MEDIA

media,' " the " 13th See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

Psalm " for See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor solo, See also:

• CHORUS (Gr. xopbs)Z

chorus and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, the choruses to See also:

• HERDER, JOHANN GOTTFRIED VON (1744-1803)

Herder's dramatic scenes " See also:

• PROMETHEUS

Prometheus," and the " Missa solennis " known as the " Graner Fest Messe." Liszt retired to See also:

• ROME
• ROME (Roma)

Rome in 1861, and joined the Franciscan See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in 1865.1 From 1869 onwards See also:

• ABBE (Serbo-Croatian Rai))

Abbe Liszt divided his time between Rome and Weimar, where during the summer months he received pupils—gratis as formerly—and, from 1876 up to his See also:

• DEATH

death at See also:

• BAYREUTH, or BAIREUTH

Bayreuth on the 31st of See also:

• JULY

July 1886, he also taught for several months every year at the Hungarian See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire of See also:

• BUDAPEST

Budapest . About Liszt's pianoforte, technique in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil on See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart, a little See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach and See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, a See also:

• GOOD, JOHN MASON (1764-1827)

good deal of See also:

• CLEMENTI, MUZIO (c. 1751-1832)

Clementi and See also:

• HUMMEL, JOHANN NEPOMUK (1778-1837)

Hummel, and a good deal of his (Czerny's) own See also:

• WORK

work . Classicism in the shape of solid, respectable Hummel on the one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, and Carl Czerny, a trifle flippant, perhaps, and inclined to appeal to the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, on the other, these gave the musical parentage of See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Liszt .

Then appears the Parisian Incroyable and See also:

• GRAND

grand seigneur— " See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur Lits," as the Parisians called him . Later, we find him imitating See also:

• PAGANINI, NICOLO (1784-1840)

Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz . Thus gradually was formed the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style—whose command of the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument was supreme, and who played like an inspired poet . Liszt's See also:

• STRANGE, SIR ROBERT (1721-1792)

strange musical nature was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long in maturing its fruits . At the pianoforte his achievements culminate in the two books of studies, twice rewritten, and finally published in 1852 as Etudes d'See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution transcendante, the Etudes de See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert and the Paganini Studies; the two concertos and the Todtentanz, the Sonata in B See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor, the Hungarian Rhapsodies and the fine transcriptions of Beethoven's symphonies (the 9th for two pianofortes as well as solo), and of Berlioz's Symphonic fantastique, and the See also:

• SYMPHONY

symphony, Harold en Italic . In his orchestral pieces of Liszt appears—next to Berlioz—as the most conspicuous and most thorough-going representative of See also:

• PROGRAMME, or PROGRAM

programme music, i.e. instrumental music expressly contrived to illustrate in detail some poem or some See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of ideas or pictures . It was Liszt's aim to bring about a See also:

• DIRECT

direct See also:

• ALLIANCE

alliance or amalgamation of instrumental music with See also:

• POETRY

poetry . To effect this he made use of the means of musical expression for .purposes of See also:

• ILLUSTRATION

illustration, and relied on points of support outside the See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale of music proper . There is always danger of failure when an See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt is thus made It is understood that, in point of fact, the Princess Wittgenstein was determined to marry Liszt; and as neither he nor her See also:

• FAMILY

family wished their connexion to take this See also:

• FORM (Lat. forma)

form, See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• HOHENLOHE

Hohenlohe quietly had him ordained.—[En . E.B.].to connect instrumental music with conceptions not in themselves musical, for the order of the ideas that serve as a programme is See also:

• APT

apt to interfere with the order which the musical exposition naturally assumes—and the result in most cases is but an See also:

• AMALGAM

amalgam of irreconcilable materials . In pieces such as Liszt's " Poemes symphoniques," Ce qu'on entend sur la montagne (1848-1856), after a poem by See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo, and See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Ideale (1853-1857), after a poem by See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller, the hearer is bewildered by a See also:

• SERIES (a Latin word from serere, to join)

series of startling orchestral effects which succeed one another apparently without See also:

• RHYME

rhyme or See also:

• REASON (Lat. ratio, through French raison)

reason . The music does not See also:

• CON

con-form to any sufficiently definite musical See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan—it is hardly intelligible as music without reference to the programme .

Liszt's masterpiece in orchestral music is the Dante Symphony (1847-18J5), the subject of which was particularly well suited to his temperament, and offered good chances for the display of his See also:

• PECULIAR

peculiar See also:

• POWERS, HIRAM (1805-1873)

powers as a master of instrumental effect . By the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of it ranks the Faust Symphony (1854-1857), in which the moods of See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's characters—Faust, Gretchen and See also:

• MEPHISTOPHELES

Mephistopheles—are depicted in three instrumental movements, with a chorus of male voices, supplying a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of comment, by way of See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close . The method of presentation in both symphonies is by means of representative themes (Leitmotif), and their See also:

• COMBINATION (Lat. combinare, to combine)

combination and interaction . Incidents of the poem or the play are illustrated or alluded to as may be convenient, and the exigencies of musical form are not unfrequently disregarded for the See also:

• SAKE

sake of See also:

• SPECIAL

special effects . Of the twelve Poemes symphoniques, Orphee is the most consistent from a musical point of view, and is exquisitely scored . Melodious, effective, readily intelligible, with a dash of the See also:

• COMMONPLACE

commonplace, See also:

• LES

Les Preludes, See also:

• TASSO, TORQUATO (1544-1595)

Tasso, Mazeppa and Fest-Klange bid for popularity . In these pieces, as in almost every See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of his, in lieu of See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody Liszt offers fragments of melody—touching and beautiful, it may be, or passionate, or tinged with triviality; in lieu of a rational See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution of centres of harmony in accordance with some definite plan, he presents See also:

• CLEVER

clever combinations of chords and ingenious modulations from point to point; in lieu of musical See also:

• LOGIC (Xoy1K7, sc. rixvrt, the art of reasoning)

logic and consistency of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, he is content with rhapsodical improvisation . The See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of persistence seems wanting . The musical growth is spoilt, the development of the themes is stopped, or prevented, by some reference to extraneous ideas . Everywhere the programme stands in the way . In much of Liszt's vocal music, particularly in the songs and choral pieces written to German words, an annoying discrepancy is See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt to exist between the true See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound of the words and the musical accents . The music is generally emotional, the expression direct and passionate; there is no lack of melodic See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm and originality, yet the See also:

• TOTAL

total effect is frequently disappointing .

In the choral See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of the five masses, and in the oratorios Die Heilige Elisabeth and Christus, the rarity of fugal polyphony acts as a See also:

• DRAWBACK

drawback . Its almost See also:

• COMPLETE

complete See also:

• ABSENCE (Lat. absentia)

absence in some of these See also:

• WORKS

works makes for monotony and produces a sense of dullness, which may not be inherent in all the details of the music, but is none the less distinctly See also:

• PRESENT

present . Omitting trifles and all publications that have been cancelled, the following See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of compositions may be taken as fairly comprehensive — , Pianoforte Pieces.—Etudes d'execution transcendante; Etudes de concert; Zwei Etuden, Waldesrauschen, Gnomentanz; Ab Irato; Paganini Studies; Annees de Pelerinage, 3 sets; Harmonies poetiques at religieuses, 1-10; Consolations, 1-6; See also:

• AVE, or FIRN

Ave Maria in E; Sonata in B minor; Konzert-Solo in E minor; See also:

• SCHERZO (Italian for " a joke ")

Scherzo and Marsch; Ballades, I . II.; Polonaises, I . II.; See also:

• APPARITIONS

Apparitions, 1-3; See also:

• BERCEUSE (Fr. for a " lullaby," from berceau, a cradle)

Berceuse; Valse See also:

• IMPROMPTU (from in promptu, on the spur of the moment)

impromptu; See also:

• MAZURKA (Polish for a woman of the province of Mazovia)

Mazurka brillant; 3 Caprices Valses; Galop chromatique; Mephisto-Walzer, I.,II.,III. and See also:

• POLKA (either from the Czech pulka, half, with an allusion to the short steps characteristic of the dance, or from the Polish Polka, feminine of Polak, a Pole)

Polka; Zwei Legenden, " Die Vogelpredigt," " Der heilige Franciscus auf den Wogen schreitend "; " Der Weihnachtsbaum," 1-12; Sarabande and See also:

• CHACONNE (Span. chacona)

Chaconne (" Almira ") ; Elegies, I., II. and III.; La lugubre Gondola; Dem Andenken See also:

• PETOFI, ALEXANDER (1823—1849)

Petofi's; Mosonyi's Grabgeleit; See also:

• ROMANCE

Romance oubliee; Valses oubliees, 1-3; Liebestraume, I-3 (originally songs); Hexameron; Rhapsodies Hongroises, 1-18 . Pieces for Two Pianos.—Concerto pathetique (identical with the Konzert-Solo in E minor); Dante symphony; Faust symphony; Poemes symphoniques, 1-12 ; Beethoven's 9th symphony . Pianoforte with Orchestra.—Concertos I. in E flat, II. in A; Todtentanz; Fantasie ueber Motif aus Beethoven's " Ruinen von Athen "; Fantasie ueber Ungarische See also:

• NATIONAL

National Melodien; Schubert's See also:

• FANTASIA (Italian for " fantasy," a causing to be seen, from Greek, 4aivew, to show)

Fantasia in C; Weber's See also:

• POLACCA

Polacca in E . 16 782 Fantaisies de Concert for Piano Solo.--See also:

• DON
• DON (anc. Tanais)

Don Juan; Norma; Sonnambula; f I'uritani; See also:

• LUCIA (or LucY), ST

Lucia, I., II.; Lucrezia, I., II.; La Juive; Robert le Diable; Les See also:

• HUGUENOTS

Huguenots; Le Prophchtc, 1-4 . Paraphrases, See also:

• AUBER, DANIEL FRANCOIS ESPRIT (1782-1871)

Auber, Tarantella di bravura (See also:

• MASANIELLO

Masaniello) ; See also:

• VERDI, GIUSEPPE FORTUNINO FRANCESCO (1813-1901)

Verdi, Rigoletto, Ernani, II Trovatore; Mendelssohn, " Hochzcitsmarsch and Elfenreigen "; See also:

• GOUNOD, CHARLES FRANCOIS (1818--1893)

Gounod, Valse de Faust, Les Adieux de Romeo et Juliette; Tschaikowsky, See also:

• POLONAISE (i.e. Polish, in French)

Polonaise; Dargomiyski, Tarantelle; Cui, Tarantella; See also:

• SAINT (lat. sanctus, " holy ")

Saint-Saens, Danse See also:

• MACABRE

macabre; Schubert, Soirees de See also:

• VIENNE
• VIENNE, COUNCIL OF

Vienne, Valses caprices, 1-9 . Transcriptions.—Beethoven's Nine Symphonies; Berlioz's " Symphonic fantastique," " Harold en Italic "; See also:

• BENEDICTION (Lat. benedictio, from benedicere, to bless)

Benediction et Scrment (13envenuto Cellini) ; Danse des Sylphes (Damnation de Faust) ; Weber's overtures, Her Freischiitz, Euryanthe, See also:

• OBERON (Fr. Alberon, Auberon, Ger. Alberich, i.e. rich, Goth. reiks, " ruler "—cf. Lat. rex—and O.H. and M.H. Ger. pl. elbi, elbe, " elves," pl. alp)

Oberon, See also:

• JUBILEE (or JUBILE), YEAR OF

Jubilee; Beethoven's and Hummel's Septets; Schubert's Divertissement a la Hongroise; Beethoven's Concertos in C minor, G and E flat (orchestra for a second piano); Wagner's See also:

• TANNHAUSER, or TANHUSER

Tannhauser overture, See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march, romance, chorus of pilgrims; Lohengrin, Festzug and Brautlied, Elsa's Brautgang, Elsa's Traum, Lohengrin's Verweiss an Elsa; Fliegender Hollander, Spinnlied; See also:

• RIENZI, COLA DI (c. 1313–1354)

Rienzi, Gebet; Rheingold, Walhalla See also:

• MEISTERSINGER (Ger. for " master-singer ")

Meistersinger, " Am stillen See also:

• HERD (a word common to Teutonic languages; the O. Eng. form was heord; cf. Ger. Herde, Swed. and Dan. hjord; the Sans. ca'rdhas, which shows the pre-Teutonic form, means a troop)

Herd "; See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan, Isolde's Liebestod; Chopin's six Chants Polonais; See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer's Schillermarsch ; Bach's six See also:

• ORGAN

organ Preludes and Fugues; Prelude and See also:

• FUGUE (Lat. fuga, flight)

Fugue in G minor; Beethoven, See also:

• ADELAIDE
• ADELAIDE (Ger. Adelheid) (931-999)

Adelaide; 6 See also:

• MISCELLANEOUS

miscellaneous and 6 Geistliche Liedcr; Liederkrcis; See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini's Les Soirees musicales; Schubert, 59 songs; Schumann, 13 songs; Mendelssohn, 8 songs; Robert See also:

• FRANZ, ROBERT (1815-1892)

Franz, 13 songs . Organ Pieces.—Missa See also:

• PRO

pro organo; Fantasia and Fugue, " Ad nos, ad salutarem undam "; B-A-C-H Fugue; See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

Variations on Bach's Basso continuo, " Weinen, Klagen "; Bach's Introduction and Fugue, " Ich hatte viel Bekummerniss "; Bach's Choral Fugue, " Lob and Ehre "; See also:

• NICOLAI, CHRISTOPH FRIEDRICH (1733-1811)

Nicolai's Kirchliche Festouvertiire, Ein feste See also:

• BURG

Burg "; See also:

• ALLEGRI, GREGORIO

Allegri's See also:

• MISERERE (the imperative of Lat. misereri, to have mercy or pity)

Miserere; Mozart's Ave Verum; See also:

• ARCADELT, or ARCHADELT, JACOB (c. 1514—c. 1556)

Arcadelt's Ave Maria; See also:

• LASSO (LASSOS), ORLANDO (c. 1530-1594)
• LASSO (Span. lazo, snare, ultimately from Lat. laqueus, cf. " lace ")

Lasso's See also:

• REGINA

Regina Coeli . Orchestral Pieces.—Eine Symphonic zu Dante's " Divina Corn-media "; Eine Faust Symphonic; Poemes symphoniqucs: I .

" Ce qu'on entend sur la montagne "; 2 . Tasso; 3 . Les Preludes; 4 . Orphee; 5 . Promethce; 6 . Mazeppa; 7 . Fest-Klange; 8 . HeroIde funebre; 9 . Hungaria; to . See also:

• HAMLET

Hamlet; 11 . Ilunnenschlacht; 12 . Die Ideate; Zwei Episoden aus See also:

• LENAU, NIKOLAUS

Lenau's Faust: I .

Der nachtliche See also:

• ZUG
• ZUG (Fr. Zoug)
• ZUG, LAKE OF

Zug, II . Der Tanz in der Dorfschenke; See also:

• MARCHES, THE (It. Le Marche)

Marches, See also:

• RAKOCZY

Rakoczy, Goethe, Huldigung, Vom Fels zum See also:

• MOOR

Moor " (for a military See also:

• BAND

band); Ungarischer, Heroischer and Sturmmarsch; Le Triomphe funebre du Tassc; " Von der \Viege bis zum Grab "; six Hungarian rhapsodies; four marches; four songs, and Die Allmacht, by Schubert . Vocal Music.—Oratorios: " Die Legende von der Heiligen Elisabeth," " Christus," " See also:

• STANISLAUS

Stanislaus " (unfinished) . Masses: Missa solennis for the inauguration of the See also:

• CATHEDRAL

cathedral at Gran; Ungarische Kr6nungs-messe; Missa choralis (with organ); Missa and See also:

• REQUIEM

Requiem for male voices (with organ); Psalms, 13, 137, 23 and 18; 12 Kirchen-Chor-Gesfinge (with organ) . Cantatas: Prometheus-chore; " Beethoven See also:

• CANTATA (Italian for a song or story set to music)

Cantata "; " An die Kunstler "; Die Glocken des Strassburger i\lunsters; 12 Chore See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Mannergesang; Songs, 8 books; Scena, Jeanne d'Arc au bfcher . Melodramatic Pieces for Declamation, with Pianoforte See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

Accompaniment.—Leonore (See also:

• BURGER, GOTTFRIED AUGUST (1748-1794)

Burger); Der traurige Monch (Lenau); Des todten Dichter's Liebe (See also:

• JOKAI, MAURUS (1825-1904)

Jokai); Der blinde See also:

• SANGER, JOHN (1816–1889)

Sanger (See also:

• TOLSTOY, LEO (1828-1910)
• TOLSTOY, PETR ANDREEVICH, COUNT (1645–1729)

Tolstoy) . See also:

• EDITIONS

Editions, See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

Text and Variants.—Beethoven's Sonatas; Weber's Concertsttick and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus, Valses and Moments musicaux . See also L . Ramaun, Fr . Liszt als K2instler and Mensch (188o–1894) ; E . Dannreuther, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford Mist. of Music,vol. vi.(1905) . (E .