CORNELL UNIVERSITY LIBRARY FROM The '^ar-nogie Corporation MOSIC .rj Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022246205 Cornell University Library ML 26.1619 1911 Report of the fourth congress of the Int 3 1924 022 246 205 INTERNATIONAL MUSICAL CONGRESS LONDON, 1911. UNDER THE PATRONAGE OF HIS MAJESTY THE KING. REPORT OF THE FOURTH CONGRESS 01'' THE Jntemational Musical Society LONDON, 29T11 MAY— 3RD JUNE, 191 1. London ; NOVELLO AND COMPANY, Limited. 1912. LONDON : NOVELLO AND COMPANY, LIMITED, PRINTERS. PREFACE. TN conformity with the International Musical Society's Eules 4 and 7 and Bye law 2, the Executive Committee of the London Congress have carried out the scheme of the Congress in communication with the Directory of the Society specified on page 414. The publication of this volume has been made at the expense of the Congress funds, under Resolution of the Executive Committee. No financial aid has been received from any Governmental or Municipal Authority, and the funds have been raised exclusively through the munificence of niunerous private individuals and of a few Musical Societies. It is noteworthy on the other hand that the Luncheon given by the Government at the House of Commons, as mentioned on page 50, constitutes the first time when a body of musicians, as such, has been entertained by the British Government. The undersigned is responsible for the editing of the volume, and is directed to renew the thanks of the Executive Committee to all those whose distinguished labours have contributed to the success of the undertaking. The contents of the volume, which explain themselves, are in all essential particulars similar to those of the Report Volume issued in connection with the Vienna Congress of 1909. CHARLES MACLEAN. CONTENTS. Congress Executive Committee . . Congress General Committee . . Lecture Sub-Committee . . Reception and Entertainment Sub-Committee Ladies' Sub-Committee . . List of Guarantors Delegates from Foreign Governments . . Delegates from Foreign Institutions . . Elected Vice-Presidents of the Congress Elected Chairmen and Deputy-Chairmen of the Lecture Sections . . List of Foreign Visitors . . Preliminaries and Mansion House Meeting (15 February, 1911) . . Programme of the Congress Week . . . . . . General Conditions observed Subscription-terms for attending Congress German Athenseum Club PAOI! 1 2 4 4 4 5 7 7 7 8 8 9 10 11 12 12 Introductory Business Meeting for settling procedure (29 May, 1911) 13 Reception by Messrs. Novello & Co., and Exhibition of books showing the history of Music-Printing (29 May) 13 Meeting of the Society's Governing Body (30 May) 14 Opening Ceremony (30 May) 14 Addresses from two Moscow Societies . . . . . . . . . . . . . . . . 19 Historical Chamber-concert (30 May) . . . . . . . . . . . . . . . . 20 Lyceum Club Ladies' Reception (30 May) 2.5 First Orchestral Concert (30 May) . . . . 25 Military Band Concert (31 May) 28 St. Paul's Cathedral, Special Service (31 May) 28 Reception by Lord Mayor and Lady Mayoress (31 May) 29 Reception by Grocers' Company (31 May) 31 Note on English viol-music . . . . . . . . . . . . . . 35 Sketch History of Grocers' Company . . . . . . . . . . . . . . . . 36 Choral Concert (1 June) . . . . . . . . . . . . . . . . . . , . 37 Second' Orchestral Concert (1 .June) . .. .. .. .. .. .. 40 Reception by " Daily Telegraph " (1 June) . . . . . . . . . . . . . . 41 Chamber Concert, living British composers i 2 June) . . . . . . . . . . 42 Westminster Catholic Cathedral, Special Si rvice (2 June) . . . . . . . . . . 43 Banquet (2 June) . . . . . . . . . . . . . . . . . . . . . . 40 General Meeting of Society's Members (3 June) . . . . . . . . . . . . 50 Government Luncheon (3 June) . . . . . . . . . . . . . . . . 50 Opera Performance (3 June) . . . . . . . . . . . . . . . . 50 Pianofortes supplied . . . . . . . . . . . . . . . . . . . . 57 Note regarding Musicians' Company . . . . . . . . . . . . . . . . 57 English Abstracts of all Congress Papers (Adler) Ditto (Andersson, Antcliffe) Ditto (Arnheim, Bernoulli, Bertha, Bewerunge) Ditto (Biehle, Calvocoressi) .... Ditto (Carillo, Cummings, Curling, Dent, Durant) Ditto (Bcorcheville, Ergo, Fedeli, Felber) Ditto (Flood) Ditto (Frere, Priedlander, Galpin, Gandillot) 52 53 54 55 56 57 58 59 * For alphabetical inclex see end of the Volume. VI CONTENTS. English Abstracts of all Congress Papers (Griveau, Guttler) Ditto (Hadow, Hammerich, Hennerberg) Ditto (Karlyle, Keel, Kolessa, Kraus) Ditto (Krohn, Launis, Laurencie, Lineff) Ditto (MeNaught, Maitland) Ditto (Mathias, Matthay, Meyer-Reinach, Menehaca) Ditto (Miiller, Norlind) . . Ditto (Opienski, Orlandini, Parry I Ditto (Piazzano, Prod'homme, Pruni^res) Ditto (Beyssehoot, Roda, Eootham, Sachs) . . Ditto (Sampaio, Sannemann, Scheurleer, SeifEert) .. Ditto (Sihleanu, Simon, Somigli, Sonneck) . . Ditto (Spiro, Spiro-Bombro, Springer) Ditto (Squire, Stanley, Stein, Summers) Ditto (Thelwall, Torrefranca, Weinmann, Wellesz, Willfort) Ditto (Woitinek, Wolf) - PAGE 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 Papers read in Full Meetings . . . . . . . . . . . . . . . . . . 76 Zur Periodisierung der Musikgeschiohte (Adler) . . . . . . . . . . . . 76 L'Inteinationalisme dans la Musique (Ecorcheville) . . . . . . . . . . . . 76 German Folk-songs, with reference to English and American Folk-songs (Friedlander) 77 The Meaning of Ugliness in Art (Parry) .. .. .. .. 77 English Influence in the Evolution of Music (Wolf) . . . . . . . . . . . . 83 Papers read in Lecture Section I (History), and Chairmen and Deputy-Chairmen thereof 90 The Introduction of Orchestral Music into Finland (Andersson) . . 90 Englische Suitenkomponisten des XVII. Jahrhunderts und ihre in Deutschland ersehienenen Sammlungen (Arnheim) Eine Handschrift mit rhythmisierten Meistersangermelodien (Bernoulli) Matthew Locke, Composer for the Church and Theatre (Cummings) Giuseppe Maria Buini (Dent) .. Key-relationship in Early Medieval Music (Frere). With musical examples Musical Relations between England and Denmark in the XVII Century (Hammerich) Einige Dokumente, den Abt Georg Joseph Vogler betreffend (Hennerberg). With two portraits Les Pastorales en musique au XVII™° si^cle en Prance avant Lully et leur influence sur I'Opera (Laurencie) Les premiers Operas polonaia et leur influence sur I'^poque de la jeunesse de Chopin (Opienski) .. La Musique et les Musioiens en 1848 (J.-G. Prod'homme) . . Notes sur les origines de I'ouverture fran^aise, 1640-1660 (Prunifires) Ciampi's "Bertoldo, Bertoldino e Cacasenno." A contribution to the history of Pasticcio (Sonneck) Who was " Benedictus " ? (Squire) Mitteilungen iiber eine in Jena aufgefundene mutmassliche Jugendsymphonie Beethovens (Stein) La Sonata Italiana per cembalo nella prima met4 del settecento e i concert! di Giovanni Platti, 1740 (Torrefranca) 93 99 100 100 114 129 134 139 146 149 149 152 152 158 158 Papers read in Lecture-Section II (Ethnology), and Chairmen and Deputy- Chairmen thereof . . . . . . . . . . . . . . . . . . . . 159 Violinists and Dance-Tunes among the Swedish population of Finland towards the middle of the XIX Century (Andersson). With musical examples .. .. 159 Die Musik in den Marchen und Mythen der verschiedenen Volker (Pelber) . . . . 167 Das Gesetz der Zahlenversohiebung in Marchen und Mythos und sein Einfluss auf die Skalenbildung (Felber) 178 Some Characteristics of British Folk-Song (Keel) . . . . . . 179 Ueber den rhythmischen Auf bau der ukrainisehen Volkslieder (Kolessa) . . . . . . 184 Vll CONTENTS. PAGE Ueber die Notwendigkeit einer einheitlichen Untersuchungsmethode der Volksmelodien (Launis) 185 Psalms and Religious Songs of Russian Sectarians in the Caucasus (Eugenie Lineff). With musical examples and two illustrations . . . . 187 Die polnischen Tanze au jserhalb Polens (Norlind) . . . . , . . . . . . . 201 Ueber eine ungedruekte Sammlung deustcher Volkslieder mit ihren Singweisen in der Altmark und im Magdeburgischen. aus Volksmunde gesammelt von Ludolf Parisius (Sannemann) . . . . . . . . . . . . . . . . . . 205 De la musique populaire dans les Pays Roumains (Sihleanu) 205 Papers read in Lecture-Section III. (Theory, Acoustics, and Esthetics), and Chairmen and Deputy-Chairmen thereof . . . . . . . . . . . . . . . . 206 Musical Form and the Symphonic Poem (Antcliiife) . . . . . . . . . . . . 206 Les " Rhapsodies Hongroises " de Franz Liszt (Bertha) .. .. .. .. .. 210 Psychophysiology the true road to necessary reforms in Musical ^Esthetics (Calvocoressi) 224 Des Causes et des Consequences du manque d'uuit6 dans plusieurs branches de la Science musicale (Ergo) . . . . . . . . . . . . . . . . . . 227 Sur le langage musical (Gandillot) . . . . . . . . . . . . . . . . 228 Le Sens et I'Expressiou de la Musique pure (Griveau) . . . . . . . . . . 238 Ueber die Methode der musikalischen Analyse (Krohn) . . . . . . . . 250 The Interpretation of Musical Ornaments (Fuller Maitl and.) With musical examples . . 259 Nouveau Systeme de Notation Musicale (Menchaca). With illustrations . . .. .. 267 Das 19-Tonsystem und eine dafiir passende Schrift (Sachs). With illustration . . 279 Mathematical Analysis of the Tempered Chromatic Scale (Thelwall) . . . . . . 281 Die Aussetzung des Basso Continuo in der italienischen Oper (Wellesz) . . . . . . 282 Papers read in Lecture-Section IV (Church Music), and Chairmen and Deputy-Chairmen thereof 286 The Metrical Cursus in the Antiphon melodies of the Mass (Bewerunge) . . . . . . 286 Theorie des Kirchenbaues vom Standpunkte des Kirohenmusikers (Biehle). With three illustrations . . . . . . . . . . . . . . . . . . . . . . 286 The Influence of Secular Idiom upon English Church Music (Hauuw) . . . . . . 303 Subjektivitat und Objektivitat in der katholischen Kirchenmusik (Mathias) . . . . a03 Prinzipielles zur katholischen Kirchenmusik (Miiller) . . . . . . . . . . .S03 Choir-Boy Training (Rootham). With musical examples .. .. .. .. .. 307 Zur Geschichte der Kirchenmusik im 17 und 18. Jahrhundert (Weinmann) . . . . 312 Papers read in Lecture- Section V (Musical Instruments), and Chairmen and Deputy- Chairmen thereof . . . . . . . . . . . . . . . . . . 313 Sur la necessite d'elever le niveau artistique de la Musique Militaire (CariUo) . . 313 Instruments en cuivre omnitoniques &, 6 pistons dependants (Durant) . . . . . . 314 The Origin of the Clarsech or Irish Harp (Galpin). With five illustrations .. .. 317 Italian Inventions for Instruments with a Keyboard (Kraus) . . . . . . 324 ' Principles of Pianoforte Teaching (Matthay) . . . . . . . . . . . . ... 326 Die englische Lautenmnsik zur Zeit Shakespeare's (Norlind) . . . . . . . . 331 II Dattilapero (Orlandini) 381 Le Fonotomo-Diviseur des Sons (Piazzano) . . . . . . . . 332 Les instruments de musique en Espagne au XIH'"" sidcle (Koda) . . . . . . . . 332 Harmonium Tessaradecatonique (Sampaio) . . . . . . . . . . . . 333 Iconography of Musical Instruments (Scheurleer) . . . . . . . . . . 334 Proposals for Improving Elementary •' Violin Methods, ' and Hints for Teaching the Violin to Children (Spiro-Rombro) 337 The Value of a Collection of Musical Instruments in Universities (Stanley) . . . . 341 An " Enoyclopffidio Method " of Pianoforte Teaching (Willfort). With musical examples . . . . . . . ■ ■ . • . . . . • • • . . . . 346 Ueber Guitarren-Tabulaturen (Wolf) 354 CONTENTS. PAGE Papers read in Lecture-Section VI (Bibliography, Organization, Contemporary Questions, &o.), and Chairmen and Deputy-Chairmen thereof . . . . . . . . . . 355 L' Insegnamento della Composizione negli Istituti Musioali (Pedeli) . . 355 Irish Musical Bibliography (Flood) 35'J Die Pantomime W. A. Mozarts und ihre Auiliihrung (Guttler) . . . . . . . . 363 International Voice-Training (Karlyle) . . . . . . . . . . . . . . . . 363 Introductory to " Tonic Sol-fa " (McNaught) . . .. .. .. .. .. 364 Vorschlage zur Herausgabe von Vokalmusik des XV. — XVII. Jahrhunderts (Mayer-Reinach) 365 De quelques reformes dans la notation des partitions dorchestre d'Edition dite " Populaire " (Reyssohoot) .. .. .. .. .. .. .. .. 366 Neuausgabe der englisohen Virginahnusik (Seiffert) . . . . . . . . . . . . 369 Generalkatalog der in englischen offentlichen und privaten Bibliotheken befindlichen alteren Musikalien bis 1800 (Seiffert) 369 Lute Music in Berlin Libraries (Alieja Simon) . . . . . . . . . . . . 370 Las mecanismes laryngiens et les timbres vooaux (Somigli). Tabulation .. .. 37ii Ueber eine Revision der Beethoven-Gesamtausgabe (Spiro) . . . . . . . . . . 372 Die jiingsten Fortschritte der Musikbibliographie (Springer) . . . . . . . . 377 Provincial Music Festivals in the United States (Stanley) . . . . . . . . . . 377 Musical Education in Australia, 1863-1911 (Summers) . . . . . . . 384 Ein neuer Schultafel-Apparat I'tir den GesangsKlassen Unterricht (Woitinek). With illustration . . . . . . . . . . . . . , . . . . . . . . 385 Congress Resolutions passed and International Committees recognized (Church- architecture, Bibliography. Corpus Soriptorum medii asvi. Iconography) . . . . 386 German translation of ditto . . . . . . . . . . . . . . . . . . 387 Reports presented by the different National Sections of the Society, by International Committees, and by the Directory. . .. .. .. .. .. ., .. 388 Bericht iiber die Landessektion Baden . . . . . . . . . . . , . . 388 Compte-rendu sur la Section Nationale, Belgique . . . . . . . . . . 389 Bericht iiber die Landessektion Danemark • . . . . . . . . . . . . . . 390 Report on the National Section, Great Britain and Ireland . . . . . . . . . . 391 Report on the Musical Association . . . . . . . . . . . , . . . . 394 Bericht iiber die Landessektion Niederlande . . . . . . . 396 Bericht iiber die Landessektion Norddeutschland . . . . . . . . . . 397 Bericht iiber die Landessektion Oesterreich-Ungarn . . . . . . . . . . . . 399 Compte-rendu sur la Section Nationale, Paris . . . . . . . . . . 40 1 Bericht iiber die Landessektion Sachsen-Thitringen . . . . . . . . . . 402 Bericht iiber die Landessektion Schweiz . . ... . . . . . . . , . . 402 Bericht iiber die Kommission des " Corpus Scriptorum de Musica nieuii aevi " . . 403 Bericht iiber die Bibliographische Kommission . . . . . . . . . . 404 Report of the Directory of the Society.. .. .. .. .. .. .. 404 German translation of ditto . . . . . . , . , . . . . . . . 405 Constitution of the Society Satzungen der Internationaleu Musikgesellschaft (Rules of the Society) . . English translation of ditto Besondere Bestimmungen (Bye-laws) . . English translation of ditto The National Sections and Local Branches of the Society, with all their Officer General Officers of the Society . . . . . . . . . . . . . . . . . . 414 406 40i; 4C8 410 410 411 Alphabetical Index of Names and Subjects . . . . . . . . . . . . . , 415 International Musical Congress OF THE International MiLsical Society. LONDON : MAY 29— JUNE 3, igii. Patron His Majesty The King. PEESIDENT The Right Hon. A. J. Balfour, M.P. EXECUTIVE COMMITTEE Chairman — *Sir Alexander C. Mackenzie. Deputy-Chairman— *Alfred H. Littleton, Esq. *Sir Hubert Parry, Bart., C.V.O. *Clifford B. Edgar, Esq. •Sir J. Frederick Bridge, M.V.O. Sir Ernest Clarke. Sir Homewood Crawford. Sir Edward Elgar. Sir George C. Martin, M.V.O. *Sir Charles Tilliers Stanford. Lt.-Colonel A. G. Balfour. *Granville Bantook, Esq. W. Willson Cobbett, Esq. E. Ernest Cooper, Esq. Dr. F. H. Cowen. *Dr. W. H. Cummings. *Edward J. Dent, Esq. 160, Wardour Street, Soho, W. HoNOBAKY Assisiant-Seobetaky — W. G. Botbery, Esq., 160, Wardour Street, Sobo, W. Honorary Treasurer— Charles E. Eube, Esq., 160, Wardour Street, Sobo, W. Bankers — The Union of London and Smith's Bank, Argyll Place, Eegent Street, W, *Dr. William Henry Hadow. *Geh. Hofrath Dr. 0. von Hase. H. V. Higgins, Esq. Rev. H. C. de Lafontaiue. Augustus Littleton, Esq. *J. A. Fuller Maitland, Esq. ♦Samuel Myerscough, Esq. ♦Dr. Frederick Nieoks. Percy Pitt, Esq. Dr. T. Lea Southgate. 'William Barclay Squire, Esq. Herbert Sullivan, Esq. Honorary Sborbtaeies — *Dr. Charles Maclean, "I *Dr. W. G. McNaught, / Members of the English Committee of the International Musical Society. GENEEAL COMMITTEE. His Grace The Duke of Aberoorn. Her Grace The Duchess of Abercorn. His, Grace The Duke of Norfolk. Her Grace The Duchess of Norfolk. Her Grace The Duchess of Sutherland. The Et. Hon. The Earl of Clonmell. The Bt. Hon. The Countess of Clonmell. The Bt. Hon. The Earl of Dysart. The Bt. Hon. The Earl Howe, G.C.V.O. The Et. Hon. The Earl of Londesborough, K.C.V.O. The Et. Hon. The Earl of Pembroke and Montgomery, G.C.V.O. The Bt. Hon. The Earl of Plymouth, C.B. The Et. Hon. Helen, Countess of Eadnor. The Bt. Hon. The Earl of Shaftesbury, K.C.V.O. The Et. Hon. Viscount Iveagh, K.P. The Et. Hon. Lord Arthur Hill. Muriel, Viscountess Helmsley. The Lady Arthur Hill. The Lady Mary Trefusis. The Et. Hon. Lord Alverstoue, G.C.M.G. The Et. Hon. Lord Burnham, K.C.V.O. The Et. Hon. Lord Howard de Waldeu. The Bt. Hon. Lord Ludlow. The Et. Hon. Lady Northcote. The Et. Hon. Lord Eedesdale, G.C.V.O., K.C.B. The Bt. Hon. Lord Strathcona and Mount Boyal, G.C.M.G., G.C.V.O. The Et. Hon. Lord and Lady Willingdon. His Grace The Archbishop of "Westminster. Baron Frederic d'Brlanger. The Hon. Alexander Nelson Hood, M.V.O. The Hon. Harry Lawson, M.P. The Bt. Hon. Sir Edgar Speyer, Bart. The Et. Hon. Charles Stuart Wortley, M.P. Sir Francis Champneys, Bart. Sir G. Anderson Critchett, Bart., C.V.O. Sir Alexander Henderson, Bart. Sir Hubert Parry, Bart., C.V.O. Sir Edward Poynter, Bart., P.E.A. Sir John Murray Scott, Bart., K.C.B. Sir Herbert Thompson, Bart. Sir JuUus Wernher, Bart. Sir George Alexander. Sir Squire Bancroft. Sir William E. Bigge. Sir J. Frederick Bridge, M.V.O. Sir Francis C. Burnand. Sir Vincent Caillard. Sir Charles Campbell. Sir Ernest Clarke. Sir Frederic H. Cowen. Sir Home wood Crawford. Professor Sir James Dewar, F.E.S. Sir George Donaldson. Sir Edward Elgar. Sir Luke Fildes, E.A. Sir William S. Gilbert. Sir Alexander B. W. Kennedy. Sir William Lancaster. Sir Alexander C. Mackenzie. Sir J. Herbert Marshall. Sir George C. Martin, M.V.O. Sir Gilbert Parker, M.P. Sir Arthur W. Pinero. Sir Charles Villiers Stanford. Sir H. Beerbohm Tree. Sir Ernest Waterlow, B.A. Sir Henry J. Wood. Philip Agnew, Esq. W. A. Aikin, Esq., M.D. Dr. H. P. Allen. G. E. P. Arkwright, Esq. Miss Marian Arkwright. B. Wm. Asch. Esq. Claudius J. Ash, Esq. W. H. Ash, Esq. Miss F. G. Attenborough. Henry Baily, Esq. Dr. E. C. Bairstow. J. Percy Baker, Esq. Lt.-Col'onel A. G. Balfour Granville Bantock, Esq. John Barker, Esq. Alfred H. Barley, Esq. John Francis Barnett, Esq. Marmaduke Barton, Esq. Captain Beaumont. Otto Beit, Esq. Miss G. Bell-Fletcher. Dr. E. M. Bellairs. Oliver D. Belsham, Esq. Dr. G. J. Bennett. Lionel Benson, Esq. Oscar Beringer, Esq. A. L. Birnstingl, Esq. James Boyton, Esq., M.P. E. B. Brandt, Esq. L. Breitmeyer, Esq. Professor J. C. Bridge. Professor Percy C. Buck. Andrew Carnegie, Esq. Miss Nellie Chaplin. Frederick Cleeves, Esq. John Coates, Esq. Oliver Fleet Cobb, Esq. W. Willson Cobbett, Esq. John C. CoUard, Esq. Edgar T. Cook, Esq. Alderman B. E. Cooper. F. Warre Cornish, Esq., Vice-Provost of Eton. C. T. D. Crews, Esq. Dr. W. H. Cummings. Charles Dack, Esq. C. J. Dale, Esq. Ben Davies, Esq. GENERAL COMMITTEE— continued. Dr. H. Wali'ord Davies. Edward J. Dent, Esq. F. A. W. Docker, Esq. George Drummond, Esq. T. P. Dunhill, Esq. Charlwood Duukley, Esq. ClifEord B. Edgar, Esq. Alfred J. Eyre, Esq. Colonel Alexander Pinlay. Mylea B. Foster, Esq. W. P. Fuller, Esq. W. J. Galloway, Esq. Eev. F. W. Galpin. Charles Gardner, Esq. Edward German, Esq. Alfred Gibson, Esq. Mrs. Frank W. Gibson (Eugenie Joachim). Dan Godfrey, Esq. L. G. Goetz, Esq. Mrs. L. G. Goetz. Dundas Grant, Esq., M.D., F.E.C.S. Dr. Alan Gray. Dr. W. H. Hadow. F. W. Hancock, Esq. Dr. Charles A. E. Harriss. Robert P. Hart, Esq. Geheimer Hofrath Dr. 0. von Hase. W. C. Herring, Esq. Walton Hickin, Esq. H. V. Higgins, Esq. Arthur Hinton, Esq. C. D. Hoblyn, Esq. A. C. Hunter, Esq. J. Henry lies, Esq. H. B. Irving, Esq. John W. Ivimey, Esq. Joseph Ivimey, Esq. Frederick Huth Jackson, Esq. Ernest Jacobs, Esq. J. D. Johnston, Esq. Miss Oswyn Jones. N. Kilbum, Esq. A. W. King, Esq. W. J. Kipps, Esq. Ernest Kiver, Esq. Hermann Klein, Esq. Eev. H. C. de Lafontaine. W. H. P. Leslie, Esq. Miss Matilda Levy. Harry E. Lewis, Esq. Alfred H. Littleton, Esq. Augustus Littleton, Esq. Dr. C. Harford Lloyd. Dr. Charles Maclean. Stewart Macpherson, Esq. J. A. Puller Maitland, Esq. Charles Manners, Esq. Tobias Matthay, Esq. J. H. Maunder, Esq. Dr. W. G. McNaught. P. Napier Miles, Esq. Eev. Dom Andr^ Mocquerau, O.S.B. Madame Fanny Moody (Mrs. Charles Manners). b2 Charles Morley, Esq. Howard Morley, Esq. Thomas Mountain, Esq. Samuel Myerscough, Esq. E. W. NichoUs, Esq. Dr. Frederick Niecks. W. A. Saxton Noble, Esq. Arthur O'Leary, Esq. J. Berwick Orgill, Esq. S. Ernest Palmer, Esq. Louis N. Parker, Esq. John Pattinson, Esq. Prank L. Pearson, Esq. Percy Pitt, Esq. Frank Pownall, Esq. Miss Alice Prendergast. Dr. J. G. Pringle. Mrs. Stansfield Prior. Cav. A. Eandegger. Dr. P. J. Eead. Dr. J. Varley Eoberts. Lieut. J. Mackenzie Eogan, M.V.O., Mus.Doc. Landon Eonald, Esq. W. G. Eothery, Esq. Alfred de Rothschild, Esq. T. Popplewell Eoyle, Esq. Charles E. Eube, Esq. C. A. Eudall, Esq. E. Kennerley Rumford, Esq. Miss Kathleen Sohlesinger. W. Montagu Scott, Esq. H. Granville Sharp, Esq. The Rev. Canon Edgar Sheppard, C.V.O., D.D. Dr. Fred. G. Shiun. Ven. W. M. Sinclair, Archdeacon of London. Colonel Somerville. Dr. T. Lea Southgate. Charlton Speer, Esq. Dr. W. H. Speer. Edward Speyer, Esq. W. Hugh Spottiswoode, Esq. W. Barclay Squire, Esq. Miss Stainer. Oscar W. Street, Esq. Herbert Sullivan, Esq. Sedley Taylor, Esq. Professor C. S. Terry. E. E. Terry, Esq. Geo. G. T. Treherne, Esq. Miss Josephine Troup. Hy. D. Trusoott, Esq. Albert Yisetti, Esq. Ludwig Wagner, Esq. Fred. Walker, Esq. Wm. Wallace, Esq. A. T. Walmisley, Esq. Dr. J. Warriner. John Westrope, Esq. C. P. Abdy Williams, Esq. Lieut. Albert Williams, M.V.O., Mus. Doc. Miss EUen Willmott. Mrs. Bdmond Wodehouse. Hugh Wyatt, Esq. LECTUEE SUB-COMMITTEE. Dr. W. H. Cummings {Chairman). William Barclay Squire, Esq. (Deputy-chairman). Edward J. Dent, Esq. Dr. Charles Maclean. J. A. Fuller Maitland, Esq. EECEPTION AND ENTEETAINMENT SUB-COMMITTEE. Augustus Littleton, Esq. {Ghairman) Sir Ernest Clarke. Lieut. -Col. A. G. Balfour. Herbert Sullivan, Esq. LADIES' SUB-COMMITTEE. Her Grace The Duchess of Abercorn. The Et. Hon. The Countess of Clonmell. The Et. Hon. Lady Northcote. The Et. Hon. Lady WiUingdon. Muriel Viscountess Helmsley. The Lady Arthur Hill. Lady Maud Parry. Lady Mackenzie. Mrs. Frank L. Pearson. Mrs. George Swinton. LIST OF GUARANTORS. otto Beit, Esq. The Et. Hon. Lord Strathoona and Mount Eoyal TheBt. Hon Sir Edgar Speyer, Bart. Eev. H. C. de Lafontaine Messrs. Novello & Co. Sir Julius Wernher, Bart. ... Incorporated Society of Musi- cians (London Section) ... Clifiord B. Edgar, Esq. The Worshipful Company of Musicians S. Ernest Palmer, Esq. The Et. Hon. The Earl of Plymouth, C.B The Et. Hon. The Earl of Shaftesbury, K.C.V.O. The Et. Hon. Lord Howard de Walden .. The Et. Hon. Lord Ludlow ... Baron Frederic d'Erlanger ... Sir Alexander Henderson, Bart Sir J. Murray Scott, Bart. K.C.B SirHubertParry, Bart., C. V.O. Sir George Donaldson Sir William Lancaster Sir Alexander C. Mackenzie... Proprietors of the " Daily Telegraph" The Worshipful Company of Goldsmiths... Trinity College of Music B. Wm. Asch, Esq W. H. Ash, Esq James Boyton, Esq., M.P. ... L. Breitmeyer, Esq. . Andrew Carnegie, Esq. Alderman E. E. Cooper C. D. T. Crews, Esq George Drummond, Esq. W. J. Galloway, Esq. Dr. Charles A. E. Harriss ... C. D. Hoblyn, Esq J. D. Johnston, Esq. ... London Symphony Orchestra Charles Morley, Esq Howard Morley, Esq E. W. Nieholls, Esq W. A. Saxton Noble, Esq. ... C.E. Rube, Esq Herbert Sullivan, Esq. The Et. Hon. Lady Northcote The Et. Hon. The Earl of Clonmell The Et. Hon. The Earl of Londesborough, K.C.V.O.... £ ,000 s. d. 500 500 500 500 400 210 200 105 105 100 100 100 100 100 100 100 100 100 100 100 100 100 100 100 100 100 100 (1 100 100 100 100 100 100 100 100 100 100 100 100 100 100 100 80 50 50 £7,500 £ s. d. Brought forward ... 7,500 The Et. Hon. The Earl of Pem- broke and Montgomery, G.C.V.O 50 TheEt. Hon. Viscount Iveagh, K.P 50 Sir Frederick Bridge, M.V.O. 50 Professor Sir James Dewar, F.E.S 50 Sir Williams. Gilbert ' ... 50 Sir Alexander B. Kennedy ... 50 C. J. Ash, Esq.' 50 E. E. Brandt, Esq 60 W. Willson Cobbett, Esq. ... 60 Frederick Huth Jackson, Esq. 50 Miss Matilda Levy 50 The Musical Association 50 Messrs. Norman & Beard, Ltd. 50 J. Berwick Orgill, Esq. 50 Miss Alice Prendergast 50 The Eoyal College of Organists 50 Edward Speyer, Esq.... , 60 Ludwig Wagner, Esq. 50 Colonel Alexander Finlay ... 40 The Et. Hon. The Earl Howe, G.C.V.O 25 The Et. Hon. Lord Alverstone, G.C.M.G 25 Sir Charles Campbell 25 Sir J. Herbert Marshall 25 Sir Henry J. Wood 25 Philip Agnew, Esq 25 G. E. P. Arkwright, Esq. ... 25 John C. Collard, Esq. 25 Dr. W. H. Cummings 25 W. P. Fuller, Esq 26 Edward German, Esq. 26 L. G. Goetz, Esq 25 Mrs. L. G. Goetz 25 Charles Manners, Esq. 25 Madame Fanny Moody (Mrs. Charles Manners) ... 25 Frank L. Pearson, Esq. 26 A. Eandegger, Esq 25 Charlton Speer, Esq 26 Albert Visetti, Esq 25 Hugh Wyatt, Esq 25 Sir Homewood Crawford 21 Eev. F. W. Galpin 21 Henry D. Truscott, Esq. 21 Sir Vincent Caillard 20 Dr. W. H. Hadow 20 Ernest Jacobs, Esq 20 Dr. Charles Maclean 20 Dr. W. G. McNaught 20 J. A. Fuller Maitland, Esq. ... 20 P. Napier Miles, Esq 20 W. Barclay Squire, Esq. 20 Carried forward £9,163 LIST OF GUAEANTOKS— contifiKCfi. £ s. d. £ s. d. Brought forward .. 9,163 Brought forward ... 9,674 The Hon. Alex. Nelson Hood, Harry E. Lewis, Esq. 5 5 C.V.O 10 10 Dr. Fred. G. Shinn 5 5 Sir Charles V. Stanford 10 10 Colonel Somerville 5 5 Lt. -Colonel A. G. Balfour 10 10 The Lady Mary Trefusis 5 John Barker, Esq. 10 10 Sir Francis Champueys, Bart. 5 Captain Beaumont 10 10 Sir Herbert Thompson, Bart. 5 Predk. Cleeves, Esq. ... 10 10 Miss Marian Arkwright 5 J. Henry lies, Esq. ... 10 10 Henry Baily, Esq 5 Joseph Ivimey, Esq. 10 10 Dr. B. C. Bairstow 5 Stewart Macpherson, Esq. 10 10 J. Percy Baker, Esq 5 Dr. J. G. Pringle 10 10 Dr. E. M. Bellairs 5 Dr. T. Lea Southgate... 10 10 A. L. Birnstingl, Esq. 5 W. Hugh Spottiswoode, Esq 10 10 Edgar T. Cook, Esq 5 George G. T. Treherne, Esq. 10 10 Dr. H. Walford Davies 5 Ered. Walker, Esq. ... 10 10 E. J. Dent, Esq 5 Dr. J. Warriuer 10 10 P. A. W. Docker, Esq. 5 Lieut. A. Williams, M.V.O., T. P. Dunhill, Esq 5 Mv is.D. 10 10 Charles Gardner, Esq. 5 The Et. Hon. The Earl of D ysart 10 Alfred Gibson, Esq. ... 5 Sir William E. Bigge ... 10 Mrs. Frank W. Gibson (Eugenie W. A. Aikin, Esq., M.D. 10 Joachim) ... 5 Dr. H.P.Allen 10 Eobert P. Hart, Esq 5 Miss P. G. Attenborough A. C. Hunter, Esq 5 (" Chrystabel ') 10 Miss Oswyn Jones 5 Alfred H. Barley, Esq. 10 N. Kilburn, Esq 5 Marmaduke Barton, Esq. 10 Ernest Kiver, Esq 5 Dr. G. J. Bennett 10 Hermann Klein, Esq. 5 Professor J. C. Bridge 10 Dr. C. Harford Lloyd 5 Professor Percy C. Buck 10 Tobias Matthay, Esq. 5 Dr. P. H. Cowen 10 J. H. Maunder, Esq. 5 Myles B. Foster, Esq. 10 John Pattinson , E sq . . . . 5 Dundas Grant, Esq., M.D., Frank Pownall, Esq 5 F.E.C.S 10 Mrs. Stansfield Prior 5 Dr. Alan Gray 10 Dr. P. J. Bead 5 P. W. Hanooek, Esq.... 10 Dr. J. Varley Eoberts 5 Arthur Hinton, Esq. ... 10 T. Popplewell Eoyle, Esq. ... 5 Thomas Mountain, Esq. 10 C. A. Eudall, Esq 5 Professor Fr. Niecks ... 10 Miss Kathleen Schlesinger ... 5 Arthur O'Leary, Esq. 10 H. Granville Sharp, Esq. ... 5 Louis N. Parker, Esq. 10 Dr. W. H. Speer 5 Landon Eonald, Esq. 10 Sedley Taylor, Esq 5 W. G. Bothery, Esq. 10 Wm. Wallace, Esq 5 E. Kennerley Eumford, Esq 10 A. T. Walmisley, Esq. 5 Miss Stainer 10 John Westrope, Esq. 5 Oscar W. Street, Esq. 10 C. P. Abdy Williams, Esq. ... 5 Professor C. S. Terry Miss E. Josephine Troup 10 10 u £9,894 15 Mrs. Edmond Wodehouse 10 Oscar Beringer, Esq. ... 5 5 DONATIONS. Miss Nellie Chaplin ... 5 5 John Coates, Esq. 5 5 Anonymous 75 Oliver Fleet Cobb, Esq. 5 5 Alfred de Bothschild, Esq. ... 52 10 C. J. Dale, Esq. 5 5 W. Montagu Scott, Esq. 10 Charlwood Dunkley, Esq. 5 5 TheEt. Hon. Charles Stuart Alfred J. Eyre, Esq. ... 5 5 Wortley, M.P 5 W. C. Herring, Esq. ... 5 5 Sir Arthur W. Pinero 5 Welton Hickin, Esq. ... 5 5 Oliver D. Belsham, Esq. 5 John W. Ivimey, Esq. 5 5 John Francis Bamett, Esq. ... 1 1 A. W. King, Esq. 5 5 Miss G. Bell-Pletcher 1 1 W. J. Kipps, Esq. 5 5 Charles Daok, Esq 1 1 £9,674 £10,050 8 DELEGATES FROM FOEEIGN GOVERNMENTS. Austria— Prof. Dr. Guido Adler. Hungary — Mons. Alexandre de Bertha. Bavaria — Prof. Dr. Adolf Sandberger. Denmark — Prof. Dr. Angul Hammerioh. France — Dr. Jules Ecorcheville. Greece — Mons. Michel Calvocoressi. Holland— Dr. D. F. Soheurleer. Italy— Prof essore Vito Fedeli, Maestro Giorgio Barini, and Maestro Alberto Visetti. Mexico — Don Julito Carrillo. Prussia— Geh. Begierungsrath Prof Dr. Hermann Kretzsehmar. Boumania— Prof. Stefan Sihlkanu. Eussia — Mons. Leon Auer, and Son Exo. Pierre Tsoh^r^missinofi. Saxony — Prof. Dr. Gustav Schreok. Spain — Seiior CeoUio de Boda. Sweden — Herr Bichard Andersson. United States of America — Mr. 0. G. Sonneok. Uruguay — Dr. Carlos N&y. DELEGATES FROM FOREIGN INSTITUTIONS. University of Michigan, Ann Arbor — Prof. Albert A. Stanley. Basel Allgemeine Musikgesellschaft — Mons. Louis La Eoche Burckhardt. Erlangen University — Prof. Dr Falokenberg. Lemberg Conservatorium — Direktor H. Mieczulaw Soltys. Lemberg " Kolo Muzyczne" — Prof. Ignaz Fuhrmann. Lund University— Dr. Tobias Norlind. McGill University— Prof . T. Wesley Mills. Kirchenohor-Verband der evang.-luther. Landeskirche, Saxony — Kirchenmusikdirektor Johannes Biehle. ELECTED VICE-PRESIDENTS OF THE CONGRESS. Prof. Dr. Guido Adler (Vienna). Maestro Giorgio Barini (Bome). Dr. Jules Ecorcheville (Paris). Prof. Dr. Angul Hammerich (Copenhagen). Geh. Eegierungarath Prof. Dr. Hermann Kretzachmar (Berlin). Mons. Louis La Eoche Burckhardt (Basel). Prof. Dr. Adolf Sandberger (Munich). Dr. D. F. Scheurleer (The Hague). Prof. Albert A. Stanley (Ann Arbor) . 8 ELECTED CHAIEMEN (FOEEIGN MEMBEES) AND DEPUTY-CHAIEMEN (ENGLISH MEMBEES) OF THE SECTIONS FOE EEADING PAPEES. Section I.— History : "A," Barini (Rome), de Eoda (Madrid), Sandberger (Munioli), Wolf (Berlin) ; " B," Dent, Frere. Section II.— Ethnology : " A," Ecoreheville (Paris), Priedlander (Berlin), Norlind (Lund); "B," Clarke, Shinn. Section III. — Theory, Acoustics and Aesthetics : "A," Calvocoressi (Paris), Eietsch (Prague); Torrefranca (RomeJ ; " B," Aikin, Liebich, Visetti. Section IV. — Church Music: "A," Mathias (Strasburg), Miiller (Paderborn), Sannemann, (Hettstadt), Stanley (Ann Arbor) ; "B," Baker, Bewerunge, Hadow. Section V. — Musical Instruments : "A," Fedeli (Rome), Hammerich (Copenhagen), Soheurleer (The Hague) ; "B," Cobbett, Galpin, Holland, Southgate. Section VI. — Bibliography, Organization, Contemporary Questions, &c. : " A," Hennerberg ( Stockholm) , Seiiiert (Berlin), Somigli (Chicago) , Sonneck (Washington) , Springer (Berlin) ; " B," Davey, Pitt, Squire. LIST OF FOEEIGN VISITOES. Prof. Guido Adler - Vienna Herr Otto Andersson Helsingfors Herr Rich. Andersson - Stockholm Fraulein A. Arnheim - Charlottenburg Praulein Betti Volkmar Arnheim Charlottenburg Prof. Leop. von Auer St. Petersburg Cav. Giorgio Barini - Rome Dr. M. Bauer - Frankfurt a/M Herr E. Behm Berlin Dr. E. Bernoulli Ziirioh M. Alex, de Bertha , Paris Herr Johannes Biehle - Bautzen M. Eugen Bogolowsky Moscow M. Ch. van den Borren - Brussels Herr Wolfgang Bruhn Berlin M. Michel Calvocoressi Paris Madame Calvocoressi Paris M. Julian Carillo Mexico M. A. P. Cesbron - Paris M. Jean Chantavoine Paris Dr. R. Chrysander and guest Bergedorf, Hamburg M. Sylvain Dupuis - - Brussels Dr. Jules Ecoreheville Paris Madame Ecoreheville - Paris Herr Eisner von Eisenhof Vienna Madame Eisner von Eisenhof ■ Vienna M. Emile Ergo - Antwerp-Berghem Prof. Rich. Falckenberg - Erlangeu Madame Rich. Falckenberg Eriangen Sig. Vito Fedeli Novara Dr. Erwin Felber Vienna Herr V. Fiedler - Moscow Herr Gregorio Fitelborg - Warsaw Herr Hugh Robert Fleischmann Vienna M. Louis Fleury Paris Dr. Ferruccio Foa Milan Madame Foa - Milan Prof. Max Friedlander Berlin Herr Iwan Frobe Berlin Prof. Ignaz Fuhrmann -Lemberg Madame M. Gallet - Paris Herr H. Siegfried Garfunkl Briinn Prof. Gmeiner Vienna M. Maurice Griveau Paris Dr. Leon Gruder Lemberg M. F. Guerillot - - Paris Herr Hermann Giittler Konigsberg Prof. Angul Hammerich - Copenhagen Prof. Fritz Hartvigson Copenhagen Herr C. F. Hennerberg Stockholm Herr Roger Henrichson Copenhagen Herr E. Hertzka - Vienna M. Holban Bucharest Frau von Holten Berlin Prof. Otto Kiukeldey Breslau Dr. Carl Koch - - Gorlitz Prof. Hermann Kretzschmar - BerHn Dr. Richard Kuhne - - Vienna Herr Armas Launis Helsingfors Madame Armas Launis Helsingfors 9 LIST OF FOREIGN YISITOES— continued. M. L. de la Laurencie M. Lefeuve Madame Lefeuve Dr. H. Leiohtentritt M. Lerolle Uadame Eugtoie Lineff - Miss Alice Loughnan Dr. Friedrioli Ludwig Frau Dr. Friedrich Ludwig Madame Henriette Lunz - M. Gaston Lyon Dr. Paul Marsop Dr. Charles Martens Eev. Dr. F. H. Mathias - Dr. Mayer-Eeinaeh - Frau Dr. Mayer-Eeinaoh 31. Angel Menchaca Frau Margaret Meyer-Norden M. Felix Michel - Prof. T. Wesley Mills Eev. Dr. Hermann Miiller M. A. Mutin - Herr E. Neruda Dr. Carlos Oliveira Nery- Frl. Hedwig Neumayer Dr. A. Nikisch Dr. Tobias Norlind Eev. Eudolf Nowowiejski M. Henri von Opienski Mile. Patinot - Dr. Patron Herr Franz Pazdirek Mile. Marie Louise Pereyra Dr. "Walter Pielke Madame Pogosky M. Henri Quittard M. Felix Eaugel il. P. H. Eaymond-Duval M. Dorsan van Eeysschoot Prof. Heinrich Eietsoh M. Max Eikoff Mile. Eoche - M. La Eoehe-Burokhardt M. Cecilio de Eoda Herr Paul Eunge Herr Curt Sachs Herr M. E. Sachs - Prof. Adolf Sandberger Paris Paris Paris Berlin Paris - Moscow - Boulogne s/M Strasburg Strasburg Moscow Paris Munich - Belgium Strasburg Kiel Kiel - Buenos- Ayres Berlin Paris Montreal Paderborn Paris Berlin - Uruguay Vienna - Leipzig Tomelilla - Lemberg Warsaw Paris - Salindre Vienna Paris Berlin Moscow Paris Paris Paris Ghent Prag-Smichow Paris Paris Basel Spain Colmar Berlin Munich Munich Eev. Pastor Sannemann Hettstadt Dr. D. F. Scheurleer The Hague Eev. D. Karl Schnabl Vienna Dr. Gustav Sohreck Leipzig Dr. Georg Sohiinemann Berlin Herr Schwalge Aachen Herr Schwers - Berlin Prof. Max Seiffert Berlin Mens. W. N. T. Sibmacher Zynen, Amsterdam Mons. Stefan Sihl6anu Bucharest Mr. W. A. de Silva- - Colombo Madame de Silva - Colombo Fraulein Alioja Simon Berlin Mr. Carlo Somigli - Chicago Mr. Oscar G. Sonneck Washington M. Stephau Spiess - Warsaw Dr. F. Spiro - Eome Frau F. Spiro-Eombro Eome Dr. Herm. Springer - Berlin Prof. Albert A. Stanley Ann Arbor Mrs. Albert A. Stanley Ann Arbor Dr. Fritz Stein Jena Di'. Eichard Stein Charlottenburg Dr. Eioh. Stohr Vienna Dr. Joseph Summers Perth, W. Australia Dr. Siiss Vienna Herr H. Suter Basel M. Ch. Szymanowski Warsaw Son Excellence Pierre de Tseheremissinoff Petersburg Madame Tilliaux-Tiger Paris Sig. Fausto Torrefranca - Turin Dr. Karl Waas Vienna M. Eug. Wagner Paris Madame Eug. Wagner Paris Herr G. A. Walter - Berhn Eev. Dr. Karl Weinmann Eegensburg Dr. Egon Wellesz - - Vienna Frau Dr. Egon Wellesz Vienna M. E. Stuart Willfort Paris Herr Nicolaus Winter Vienna Prof. Johannes Wolf Berlin Herr Victor Ernst Wolfi Berlin Dr. Werner Wolffheim Berlin Frau Dr. Werner Wolffheim Berlin Herr Fr. Wulff Lund Herr Astrid Yden Gothenburg PEELIMINAEIES AND MANSION HOUSE MEETING. At the Vienna Congress, held May 24 — 29, 1909, London was chosen as the place of the next Congress, and the date was left to be decided by the Directory of the Society. The committee of the Section of Great Britain and Ireland, established in 1899, proceeded to act as a Congress committee, after co-opting other members for this purpose. May, 1911, was eventually selected, and notified as the date of the Congress. The year 1910 was occupied in raising a guarantee-fund, and in making general preparations for concerts, entertainments, and the reading of papers. 10 PEE LIMINAEIE S —continued. A public meeting, -which had been postponed, first owing to the death, of the late King and secondly owing to the General Election, was held at the Mansion House on February 15, 1911, under the presidency of the Lord Mayor, Sir T. Vezey Strong, the object being to stimulate interest in the Congress. About 800 leading members of the musical profession and many persons of high rank and social distinction attended. The speakers were the Lord Mayor, Sir Alexander Mackenzie, the Earl of Plymouth, Lord Eedesdale, Sir Homewood Crawford, Mr. Charles E. Eube, Sir Hubert Parry, Dr. W. H. Cummings, and Sir Ernest Clarke. The Eesolution passed was confirmatory of the policy of the committee. A detailed report will be found at pp. 160-164, Musical Tillies, March, 1911. THE PROGRAMME OF THE WEEK. Monday afternoon, 29th May, 1911. At 3 p.m. At the University of London, Imperial Institute Eoad, South Kensington, S.W. Combined Meeting of members of the Congress Executive Committee, and of all local and foreign members of the Society attending the Congress. Election of foreign Vice-presidents. Election of Chairmen and Deputy- chairmen for Lecture Sections. (Attendance as here stated.) Monday afternoon, 29th May. At 4 p.m. At the University. Meeting of Chairmen and Deputy-chairmen of Lecture Sections for the preparation of Sectional time-tables. (Attendance as here stated.) Monday evening, 29th May. At 9 p.m. At the offices of the Congress, 160, Wardour Street, Soho, W. Eeception by Messrs. Novello. (Invitation.) Tuesday morning, SOtli May. At 10 a.m. At the University. Meeting of the Governing Body of the Society. (Attendance in the terms of Bye -law 6.) Tuesday morning, 80th May. 12 noon. At the University. Ceremony opening the Congress. Tuesday afternoon, 30th May. At 8 p.m. At Aeolian Hall, 135, Bond Street, W. Historical Chamber-Music Concert. Tuesday afternoon, 80th May. At 5 p.m. At Ladies' Lyceum Club, 128, Piccadilly, W. Eeception. (Invitation.) Tuesday evening, 30th May. At 8 p.m. At Queen's Hall, Langham Place, W. Orchestral concert. Works of living British composers. Wednesday morning, 31st May. At 10 a.m. At the University. Eeading of papers. Pull meeting, followed by Sectional meetings. Wednesday morning, 31st May. At 12 noon. In the University Great Hall. Military band concert. Wednesday afternoon, 31st May. At 8.15 p.m. Special Service at St. Paul's Cathedral. Old English music, English words. 11 PEOGBAMME OF THE WEF,K— continued. Wednesday afternoon, 31st May. 4—6 p.m. At the Mansion House. Eeception by the Lord Mayor and Lady Mayoress. Music. (Invitation.) Wednesday evening, 31st May. At 8.30 p.m. At Grocers' Hall, Prince's Street, EC. Reception by the Worshipful Company of Grocers. Music. (Invitation.) Thursday morning, 1st June. At 10 a.m. At the University. Reading of papers. Full meeting, followed by Sectional meetings. Thursday afternoon, 1st June. At 3 p.m. At Queen's Hall, Langham Place, W. Choral concert. For the most part, ancient music and unaccompanied. Thursday evening, 1st June. At 8 p.m. At Queen's Hall, Langham Place. Orchestral Concert. Works of living British composers. Thursday night, 1st June. At 11 p.m. At 141, Fleet Street. Reception by Proprietors of the Daily Telegraph. (Invitation.) Friday moraiag, 2nl June. At 10 a.m. At the University. Reading of papers. Full meeting, followed by Sectional meetings. Friday afternoon. 2nd June. At 2.30 p.m. At ^olian Hall, 135, Bond Street. Chamber-music concert. Works by living British composers. FHday afternoon, 2nd June. At 4.30 p.m. At Westminster Catholic Cathedral. Performance of old English church music, Latin words. Friday evening, 2nd June. At 7.30 p.m. At the Savoy Hotel, Strand. Banquet. (Invitation.) Saturday morning, 3rd June. At 10 a.m. At the University. Meeting of Sectional Chairmen and Deputy-chairmen. (Attendance as here stated.) Saturday morning, 3rd June. At 11.30 a.m. At the University. General Meeting of Members of the Society. (Open to all members.) Saturday afternoon, 3rd June. At 1 p.m. Government Luncheon at the House of Commons. (Invitation.) Saturday evening, 3rd June. At 8 p.m. At the Royal Opera House, Covent Garden. Operatic performance. (Free to all Foreign Visitors.) CONDITIONS OBSERVED. The Bibliographical Commission, and the Commission of the " Corpus scriptorum medii aevi de musica," of which official notice was taken at the Basel and Vienna Congresses respectively, were provided with opportunities for meeting at the University. 12 CONDITIONS— contmucd. At the meetings of the Governing Body, and at the General Meeting of Members, the official language was English. Foreign members could speak in their own language. Official interpreters were present. At Sectional meetings, the official language was as determined by the presiding Chairman. The powers and duties of the Sectional Chairmen, assisted by the Deputy- chairmen, were as follows. They were authorized to arrange the sequence of the papers, to control the length of the papers, illustrations, and discussions, and to regulate the terms of any Resolutions which might be passed. At the end of each sitting they were desired to cause a note to be made of its results. At the meeting of Saturday morning they were desired to prepare a very summary report on the operations of their several Sections, especially as to any Resolutions which might have been passed. Subject to previous inspection and approval by the President of the Society, such reports and Resolutions were brought up at the General Meeting of Members held later in the day, with a view to the Resolutions being passed in the name of the Society. Members only could read papers, or act as Chairmen or Deputy- chairmen of Sections. The Minutes of the General Meeting were, in accordance with Rule 7, drawn up and signed by the Chairman of the meeting and by 3 members present. The preparation and publication of a Congress Report was undertaken by the Congress Executive Committee. TERMS. ~ Foreign members of the Society paid no Congress-fee, and were admitted, with the ladies of their immediate family, free to every function named in the programme. Members of the Society resident in the United Kingdom paid a Congress- fee of 12s. 6d., in return for which they obtained a serial ticket entitling them to attend all functions not specially excepted or marked " invitation," and were invited to the latter as determined by the Executive Committee. For the Saturday opera-performance they could obtain seats at reduced prices in the case of boxes, stalls, and balcony. They could purchase a second and transferable serial ticket by paying a further sum of 12s. 6d. The public paid £1 Is. for a serial ticket. By courtesy of the "German Athensum " Club, 19, Stratford Place, all foreign visitors, other than ladies, were on application made temporary members of the Club. The Congress Office was situated at 160, Wardour Street, Soho, W., where information of all kinds was procurable. Written communications were to be addressed to " The Secretaries, London Congress, 160, Wardour Street, London, W." 13 INTRODUCTORY BUSINESS MEETING. At 3 p.m. on the first day of the Congress week, Monday, 29th May, 1911, in the Council Chamber of the University of London, Imperial Institute Eoad, South Kensington, a preliminary combined business meeting took place, con- sisting of members of the Congress Executive Committee, and of all local and foreign members of the Society attending the Congress who thought fit to take part in it. About 150 were present. The chair was taken by Sir Alexander Mackenzie. Nine Congress Vice-Presidents (foreign members) were elected ; the list is given on page 7. Twenty-two Chairmen (foreign members) and seventeen Deputy-Chairmen (English members) for taking immediate charge of the six Lecture Sections, were elected ; the list is given on page 8. At 4 p.m. the Chairmen and Deputy-Chairmen above-mentioned proceeded in their several Sections to prepare Sectional time-tables for papers to be read in concurrently- sitting Sections on the mornings of Wednesday, Thursday, and Friday, these papers having already been distributed to Sections by the Congress Committee. Irrespective of five papers for Full Meetings, seventy-seven Sectional papers were arranged for. RECEPTION BY MESSRS. NOVELLO & CO. At 9 p.m. on Monday evening, ,29th May, 1911, this Firm held a Reception, by invitation, at the of&ces of the Congress, 160, Wardour Street, Soho. Over 400 were present. During the evening the Band of the Royal Regiment of Artillery (Conductor, E. C. Stretton) performed a selection of miscellaneous pieces. The following glees were also sung : 1. Queen of the Valley 2. Beauties, have you seen a toy?... 3. Masked you hek eye op heavenly blue ? 4. I WISH TO tune my quivering lyre 5. By Celia's Akbour ... 6. Shades of the Heroes 7. Discord, dire sister 8. Th:? Sycamore Shade , Singer George May, Ernest Taylor, Wilfred Kearton, William Pell, Bertram Mills, George Stubbs. On this occasion were exhibited in cases (with annotated and illustrated catalogue) 100 Books showing the history of music-printing, from its commencement to the end of the 17th Century, the property of the Chairman of the Firm. J. W. Callcott 1766-1821. C. S. Evans 1778-1849. B. Spofforth 1770-1827. T. F. Walmisley 1783-1866. W. Horsley 1774-1858. T. S. Cooke 1782-1848. S. Webhe 1740-1816. J. Goss 1800-1880. 14 MEETING OP THE GOVERNING BODY (PRAESIDIUM) OF THE SOCIETY. This body met at 10 a m. on Tuesday, 30th May, 1911, in one of the Committee-rooms of the University of London. The proceedings were not public. OPENING CEEEMONY AT THE UNIVERSITY OF LONDON, IMPERIAL INSTITUTE ROAD, ON 30th may, at 12 O'CLOCK NOON. The Eight Hon. Arthur J. Baifour, M.P., presided, and there was a large attendance. Sir Alexander Mackenzie said : — Mr. Balfour, Members of the Society, Ladies and Gentlemen, in virtue of my Presidency I assume the privilege of speaking the first words on the occasion of this very happy event which has called us together, and brought to us so many distinguished and prominent Members of the International Musical Society from all parts of the world. These shall be words of warmest and most cordial welcome to London, not only on behalf of the British Section of the Society, but in the name of the musicians and music-lovers of this country who are proud to act as their hosts. (Hear, hear.) Before we enter upon the business of the first Musical Congress yet held in England, I would point to the gracious act of His Majesty The King in hecoming its Patron. It is a sign of goodwill towards our Congress, and an encouragement of every endeavour in its favour in which we all rejoice. A further mark of honour is paid to the Congress by Mr. Balfour in so amiably consenting to be its President. We all know how much this means in view of the arduous and unceasing duties which so constantly claim him. Let me also gratefully acknowledge the recognition which Earl Beauchamp, on behalf of His Majesty's Government, bestows on our united work. The Lord Mayor and Lady Mayoress, as well as the representative Worshipful Company of the City of London, the Grocers' Company, are showing an active interest, and along with many others, including the Royal Opera Syndicate, are taking a most generous share in contributing to the success of this International gathering. All this briefly to mark the fact that the greeting, coming as it does from all quarters, is as general as it is spontaneous. We are all looking forward in agreeable anticipation to the useful work which lies before us during the remainder of this week. Those who have had the time to study the plan of campaign will realise that serious occupation in scientific research has been tempered and lightened by much which we hope will assist in making the visit of our foreign members and friends a pleasurable and memorable one. Mr. Balfour, I now have a pleasant duty to perform. It is to present to you certain distinguished delegates who have been chosen by the Members of the Society in Council to act under you as Vice-Presidents of this Congress, and also the gentlemen who have the honour to represent their respective Governments at the Congress. These gentlemen having been presented. Me. Balfoue then delivered his eloquent address, without referring to any notes : — ■ Ladies and Gentlemen, I hope you will permit me to express not merely on my own behalf, but on behalf of all musicians and music-lovers in this country, our hearty welcome to our foreign friends, who have come here to adorn the first Musical Congress ever held in this country. I believe I am right in saying that the last Musical Congress was held at Vienna on the centenary of the death of Haydn, and that one of the Congresses preceding it was held at Leipsic on the occasion of the great Bach Festival. We, alas ! in this country cannot boast names like these ; nor are we in a position to celebrate the anniversary of men who in foreign countries have led the great art in which we are all interested. There was a time, indeed, when Britain bore its full share in the output of music, when we were not behind our Continental friends in our contributions to the art. I suppose w6 may say that without undue pride, as having represented the facts right down to the middle 15 OPENING CEREMONY— coH;(Hii«/. of the 17th Century, and perhaps even later, to the death of Puroell. Why, after that for a long period, we have to admit ourselves to have been, relatively speaking, barren in original production, I know not ; nor perhaps is it within the power of any historical investigator to say why in this century such and such a country excelled in this and that art, and why the period of splendid production has so often in the history of the world been followed by periods as long of comparative barrenness. The fact, however, I think all will admit, is as I have stated it ; and it is even possible to say — putting aside the overpowering personality of Handel, who can hardly be called an English musician, though so much of his art was produced in England, and may have been influenced by his English environment — it is unquestionably true to say, that the original production in the 18th Century and in much of the 19th Century of British musical art centred in the main round Church services in the great Cathedrals, where a school, if not of profound originality, at least of great merit, has never ceased to flourish. I think there are signs— I think there have long been signs, and much more than signs — that this state of things is not only coming to an end, but has come to an end. And I certainly can look back over the period of my own life and see how, year by year, more men of original productive capacity have come to the front in this country, until we can now, I thinkj look our Continental friends in the face and say" that England— Britain (your country and mine, Sir Alexander Mackenzie) has at last come into the process of taking its place among the great creative musical communities. It is fit, then, that at such a moment music-lovers from all parts of the world should come here and meet each other in conference. The value of such Conferences in all branches of learning and of art has long been recognised, and I see no reason why, in music, it should not be as fruitful of admirable results as it has proved itself in other departments. Indeed, when I look down the list of subjects which are going to be discussed, I do not think any member of the Congress will complain that the sphere of discussion is unduly limited. The history of the art, the theory of the art, matters (Esthetic, matter dealing with music as it was, with music as it is, with the evolution of the art, which of all the arts is at this moment showing itself more eager about the future than about the past, looking forward with a more confident belief to what it is going to be, and not merely casting, as some of the arts are apt to do, longing glances back into the historic past, appraising what has been done — music, I say, which is in this living and vital stage, is surely, of all the arts, the one in which those who take an interest in its future, as well as those who have a learned knowledge of its past, may meet together and exchange ideas. Indeed, I think from all points of view discussion about music, as well as the practice of music, and the creation of music, is well deserving the attention of those interested in {esthetic problems. I believe that it would be well worth while for all those who take a deep interest in that kind of problem for a moment to put aside all other arts and concentrate on music ; and for this reason, that we have got, through centuries of discussion on matters literary and artistic, into— I will not say, a jargon of criticism ; but we employ terms as if they were of universal validity in literature and other arts, having absolutely no meaning that I can see when applied to the art in which we are primarily interested. You may see such phrases as " romanticism," " classicism," " materialism," and " impressionism," scattered up and down programmes at concerts of good music ; but they really have no meaning and no relevance to musical art. They are borrowed from literature, and when they are applied outside the scheme of literature to the sestheties of music, they become, in my opinion, if not absolutely unmeaning, as nearly unmeaning as possible. For music has no element of copying Nature like art. It is not framed upon a study of Nature or man, as literature is ; it stands by itself, self-supporting, self-sufficing, not having to borrow either terminology or ideas from any of the sister arts. There is another most interesting peculiarity of music from the philosophic point of view, which is that of all the arts it seems to be more intimately connected with what I may call dry scientific facts. You can state in terms of mathematical physios certain very important truths with which music is intimately connected ; and at first sight it might seem, therefore, as if science was to give you some assistance in building up a theory of musical esthetics. I confess my own opinion is that that belief will prove to be illusory. The circumstance to which I have adverted is a moat interesting fact. It separates music from all the other arts and puts it on quite a separate basis. And although I do not believe that out of the mathematical theory of the scale or of the chords, or of the theory of harmony, you can ever deduce anything in the nature of a true musical testhetic, still, this intimate relation with mathematics and physics puts it upon entirely separate ground. I am afraid I have started off rather upon a hobby of my own which may interest very few of those who are listening to me — (cries of "No, no") — and I will revert to what is more properly the subject which has brought us here together, which is the interchange of social, scientific, and artistic ideas upon the great art of which so many I am addressing are distinguished representatives. 16 OPENING CEREMONY— continued. Leaving the philosopty of ffisthetics far on one side, and turning our gaze to what is, after all, the object of all art, the joy of human beings, surely we stand in these modern times at the head of all the other arts, and have advantages which none of them can pretend to. The painter of pictures, endow him with what genius you like, after all embodies his ideas upon a piece of canvas which, from the very nature of the case, can only be in one place at one time ; which can at one moment give pleasure to only a very limited number of human beings ; which cannot be moved without difficulty and without risk. Music is independent of space. You can have a symphony of Beethoven played in every musical centre of the world at the same time, if you have a sufficiency of musicians capable of rendering it. Time does not touch it. Neither does that other great barrier to the common artistic enjoyment of civilized nations, the difference of language, affect it. The translator of a masterpiece is not merely a copyist ; his personality is not merely interposed, like the personality of all copyists, between the spectator and the original producer. He is a copyist in a different medium from that in which the original was produced. To compare painting with language, you are compelling him to copy in tempera what was painted in oils, or to render as a drawing what was originally a coloured picture. No progress will make it possible for a masterpiece of one language to be in the same full sense a masterpiece in another. It must always be confined to the country of its birth, and in the main to those who have learned from infancy the language in which is it rendered. No such limitations attach to our art. All can understand it, whatever be their mother tongue. And now that the thoughts of so many of us are occupied in extending widely among the whole community the highest, the greatest and the best of pleasures, I am perfectly certain that of all the arts and of all the finer forms of imagination, that which chooses music as its means of expression is the one which has the greatest future among the masses of all nations. This gives not merely an artistic but a social significance to such work as this Congress is engaged upon. And all of you who meet together, drawn from far distant lands, to talk about your common interests, all these great objects, I am sure, you will succeed in greatly promoting; and I doubt not that when this Congress comes to an end we in this country shall have undoubtedly profited much by what we have learned from our foreign friends and teachers, and I hope they will go away from our midst not discontented with the warmth of the welcome which we desire to extend to them. Gehbimeath Prof. Hermann Kretzschmae (Berlin) said : — Ladies and Gentlemen, I have the honour to communicate to you the greetings from our German Government, and to express their best wishes for the success of this Congress. We are very much pleased that this Congress is held in Loudon. Musical art is much indebted to your glorious old country ; indebted for the spread of counterpoint ; indebted for valuable work in tiiie period of Queen Bess and of Shakespeare ; indebted for Purcell, and indebted not least for the hospitality and encouragement in later years offered to George Frederick Handel. It is very well, and I rejoice that the arrangements connected with this Congress will afford the foreign delegates an opportunity of hearing not only the best modern English music, but some of the great compositions of past times. We shall leave London and the Congress rich with new ideas, with new experiences, and full of thankful feeling to the Englishmen who invited us so kindly. Professor Guido Adleb (Vienna) said : — Ladies and Gentlemen, allow me to express my best thanks for my election as "Vice-President of this Congress, and also for the cordial way in which you are receiving me as a delegate of the Austrian Government. Which of us would not be always pleased to visit this hospitable country, where we find the highest culture and likewise the most marked development of character? Unquestionably this kingdom, with its long-established Parliamentary Government, is at the head of all civilized countries. Indeed, in music England now holds a position which is prominent, and that at certain times past she took a leading part is a fact known to everybody acquainted with the history of music. The manner in which music was cultivated in this country far back in the Middle Ages serves as a model for certain style-periods. A line of the most illustrious composers, stretching down from the earliest centuries to this day, has served to assure English music a high rank. I will mention only three names from the palmy days of music in England : Thomas Tallis, William Byrde, and — a name we have heard already twice — Henry Purcell (applause), composers able to hold their own with the greatest of all times. There is an immortal old English song, entitled to fame as a canon which even now on a spring day we can execute with as great devotion and hear with as much delight as when it was first produced at the beginning of the 13th Century. I allude to that delightful composition : " Sumer is icumen in." (Applause.) Its effect is as fresh in the present day as it was then, and so English music stands on a solid foundation. To the works of our 17 OPENING CEREMONY— continued. English contemporaries we will listen with reverent attention ; and I hope that the impression produced by them will be as favourable as that made upon all such persons as entered the English pavilion of fine arts at Eome, regarding which there is only one opinion, namely, that it contains some of the best work at present on exhibition in the City of the Seven Hills. On the Continent, the opportunities which we have of hearing the works of our English contemporaries are unfortunately all too few ; but recently in Vienna we had the pleasure of enjoying a fine cantata, "The Sun-God's return," by the esteemed President of our Society, Sir Alexander Mackenzie. Also the representatives of the modern science of music are indebted to their English colleagues. Particularly, in the analysis of musical form, English- men have been pioneers. The results of their researches regarding the most different periods are highly important ; and this is true of all musical pedagogy and didactics as employed in English schools of music, regarding which we owe so much to the management of Sir Alexander Mackenzie and Sir Hubert Parry. With what admirable reverence are the arrangements which existed at English Colleges in the Middle Ages preserved, and how valuable are the encyclopaedic works, the "Oxford History of Music," and Grove's " Dictionary of Music." We all wish the monuments of the English art to be published. It was only up to the first half of the last century that the Musical Antiquarian Society carried on their work. But it is impossible for me here to mention the names of all those Englishmen who, in recent years, have made valuable contributions to our knowledge. We stand shoulder to shoulder with you in making researches into the history of the tonal art, and rejoice to be able to walk with you in your own country, as well as at the opportunity for social intercourse. With our whole heart we thank you for all that you do for us ; and I beg in conclusion, to assure you that as long as memory lasts we shall never forget the English hospitality which renders participation in this first International Musical Congress so enjoyable to us all. (Applause.) Sir Hubebt Paery said : — Probably you can guess what is the pleasant privilege which has been accorded to me ; and you will agree with me that it is very much thrown into relief by the circumstances in which we stand in relation to our foreign visitors. I cannot help setting them before you as a groundwork for what I have got to say — which will not be much ; however, we must, I think, feel that we owe an enormous, a most spacious recognition — our appreciation of the wonderful hardihood of our foreign members of the International Congress, coming here in the spirit of generous enterprise to enquire if it is really true that at last there is some music in this country. (Laughter.) After all, they have got to come across those stormy seas first of all ; they have got to come to a country which they know quite well is always in a fog. They also come to a country where it is well known that people take their amusements so sadly that it is only quite recently that they have given up selling their wives at Smithfield ; and with all those dreadful things before them they have come to inquire into the state of music in a country which is generally reputed not to have any. I think that throws most powerfully into relief our obligations to Mr. Balfour for concerning himself with us at all. We are obliged to have a very good godfather. We must, after all, supply these generous foreigners who have come over in such an enterprising spirit with some kind of guarantee of our actual existence. Quite so. We must, at all events, supply them a name that they can possibly have heard of. (Laughter.) We know quite well that Mr. Balfour's name is known even to the savages of Tierra del Fuego (renewed laughter), and of course also to the penguins of the artistic Antarctic Circle. They regard him as a model of everything which should be honourable, wide-minded, patient, a mirror of most wonderful equanimity, cheerfulness, pleasantness and sweetness which makes us all love him. We could not be more lucky in our godfather, could we ? I should like to talk about things that our godfather has been saying, because some of them are most interesting to me. I will not be tempted, except by one thing — because it is so sympathetic to me. You will remember that Mr. Balfour talked about the relation of —you may say proximity of — scientific analysis to music. I do not think I am putting it quite correctly, but you will understand what I mean : the circumstance that all scientific facts seem to be in close neighbourhood when applied to music. I only have to point out, in expressing my entire sympathy with him on that subject, that the greatest scientist who ever dealt with music finished up his work with a paragraph in which he says :— " Though the mathematical mind and the musical mind seem to have some extraordinary points in common, there is nothing in the world in which they are really wider apart," and that so far from science being able to show the way to musicians, the business of science is to follow humbly in the wake of those who have got the genius to express themselves in their great art. What Mr. Balfour says, of course, is perfectly true : that the scientist may now come in and analyse, if he please, what we have been doing in this country as well as in that of others. A very good thing ; and we shall probably learn a great deal of wisdom from it, I hope, both from foreigners and 18 OPENING CEEEMONY— contmucd. ourselves ; and I hope everybody here will attend all the lectures, especially when they are given three or four at a time in the same room. I must now commend to you what I am sure will be a thing which is most dear : the recognition of the great debt we owe Mr. Balfour for coming here and becoming responsible for us, and the feeling that, after all, bis name being so well known as the supporter of everything sound, wholesome and honourable and distinguished — that our foreign friends if they are possibly bewildered by the sounds which are offered to them in the guise of music, will, by having such a godfather as Mr. Balfour, be assured that in spite of appearances we are not open to the charge of being insincere. Let us, therefore, offer our very warmest thanks to Mr. Balfoui^for generously coming here amid the tremendous tasks and responsibilities which he has to face, and looking exactly as if he had got nothing else to do, talking so delightfully about the things most interesting to us. (Loud and continued applause.) Mr. Balfour, responding, said : — Ladies and Gentlemen, I cannot permit this meeting to separate, after the kind way in which it has shown its appreciation of Sir Hubert Parry's speech, without one word of thanks from myself, but it shall only be a word. Sir Hubert and I were boys together at Eton. We have been firm friends ever since. Eton is now a long way, alas ! back in the past ; but I have watched with affectionate admiration his musical career, from the time he was the wonder of his boyish contemporaries at Eton as a musical genius to the time when he is, by universal recognition, among the foremost of living composers. (Applause.) I thank you most heartily for your kindness ; and before declaring this meeting terminated, let me say, as I have been requested to do, that to those who are interested in the history of the musical past, there is, I believe, a very remarkable collection of musical instruments to be seen at the South Kensington Museum, next door. Many of you probably are unaware of the fact. Some of you, perhaps, may be interested in hearing it. At all events, you will receive a warm •welcome if you care to go in and see the efforts of our predecessors in the art in fashioning -.those instruments by which alone the art can be made expressive. Ladies and Gentlemen,"! heartily thank you. De. W. H. Cummings said : — We are here to-day in a magnificent building— I do not refer to this portion of it, but •other parts are very fine indeed — and we are indebted to the Vice-Chancellor of this University for putting at the disposal of the Conference all the various rooms that we need, and they are many. I have, therefore, very great pleasure in proposing a hearty vote of thanks to him for ihe accommodation he has afforded us. The resolution having been carried, Dr. M. J. M. Hill (Vice-Chanoellor) in reply said : — It is a great honour and a great pleasure to have received this distinguished assembly in this building. I am sorry that we cannot afford you anything better than a temporary hall that was erected to receive Her late Majesty Queen Victoria, in 1887. I hope that in course of time, when we receive another Congress in which Mr. Balfour is interested, namely, the Philosophical Congress in 1915, that there will be a better building to place at the disposal of the Congress. The opening ceremony then terminated. 19 OPENING CEREMONY— cojiiinucd. The following two addresses from two Moscow Societies were presented at the opening ceremony : — (a)06mecTB0 „ My3HKajibHO-TeopeTHiecKaH-BH6jiioTeKa " HeAaBiio bo3- HHKinee st MocKBi h ^peeJ[■fe;^yIOI^ee He tojibko MysHKajttHo-HayiHHH, HO H odmifl MysHKaJEbHO-KyjEbTypHHS mijiH, nocH-naeit cboh ropaiia HpiiBiTCTBiH MeatjiyHapoHHOMy MysHitaitHOJiy Konrpeccy bi. JIOHROHi, ateiaei'L emy naoKOTBopnofi padoTK Ha no^si HCKycciBa, 6oJiie j^)yrHxi> HCKyccTB-b oSteaHHHion^aro OTHajieHHifiinia nauiH. [Translation from the Russian.) Our Society, the " Theoretical Music Library," recently established in Moscow, with the object not only of specially furthering the science of Music, but also of advancing general musical culture, sends its best congratulations and salutations to the London International Musical Congress, and wishes the International Musical Society a prosperous and profitable future in its labours on behalf of that art, which of all arts goes furthest to unite the most remote nations. President: (signed) M. KOORBATOP. Secretary : (signed) E. EOSENOW. Librarian : (signed) E. BOGOSLOVSKY. Moscow A May, 1911. (b) The remarkable activity of the International Musical Society, embracing as it does so many sides of musical knowledge, has amongst its aims also the study and simplification of Methods of Music-teaching, which in itself supplies a powerful motive for united efi"ort on the part of all nationalities. The Moscow "People's Conservatorium,'' which is the musical branch of the Moscow Society of University Extension, expresses the greatest sympathy for the work of the International Musical Society, best wishes for the success of its London Congress, and the sincerest desire for continuation of its important work for many and many years. The representatives of the C (Signed) EUGENIE LINEFP. Moscow People's Conservatorium^ (Signed) EUGEN BOGOSLOVSKY. at the London Congress, ( (Signed) Vi^RA LIEDLEE. London, 30th May, 1911. c2 20 HISTOEICAL CHAMBEE CONCEKT. (^OLIAN Hall, Tuesday Afternoon, 30th May, 1911, AT 3 O'CLOCK.) PEOGEAMME. Violins: — Miss Evelyn Huntek and Mr. Fkank Thistleton. Viol da Gamba and Violoncello : — Miss H^lene Dolmetsch. Harpsichord ; — Mr. J. A. Fuller Maitland. Madrigals by members of the Magpie Madrigal SociETr, conducted by Mr. Lionel Benson. PAET I.— THE ELIZABETHAN PERIOD. Fantasy for three-stringed instruments (originally viols) Orlando Gibbons (1583-1625). (From "Fantasies of Three Parts," published between 1606 and 1618.) Orlando Gibbons was the younger son of one of the Cambridge " Waits," or town- musicians, and was born there in 1583 ; in 1606 he took the degree of Mus. Bao. at Cambridge, and about five years later he seems to have composed the pieces for three Viols, of which the above is one of the best. About 1611 was brought out the wonderful set of Virginal pieces by Byrd, Bull, and Gibbons, called Parthenia, from which is taken the Fantasia for Virginals (see below). The actual date of the "Fantasies " is not as accurately known, but it is considered to be about the same time as Parthenia. The first set of madrigals, from which the first madrigal sung this day was taken, appeared in 1612, and the words of all are possibly by Sir Christopher Hatton. By 1619 Gibbons was appointed one of the King's musicians, and in 1622 accumulated the degrees of Mus. Bac. and Mus. Doc. at Oxford. He was commissioned to compose the music for the marriage of Charles I. with Henrietta Maria in 1625, and was commanded to be present at Canterbury. He died there on June 5, of an apoplectic seizure. Madrigals. " that the learned Poets " (5 parts) ... ... ... Orlando Gibbons. {From " The First Set of Madrigals and Motetts of 5 parts," London, 1612.) " Lullaby, my sweet little Baby " (5 parts) William Byrd (c. 1542-1628). (From "Psalmea, Sonets, and Songs of Sadnes and Pietie," London, 1688.) William Byrd, whose name stands very high in the roll of English musicians, was born about 1542, was a chorister of St. Paul's Cathedral, and was appointed organist of Lincoln Cathedral about 1563. It seems probable that he was a native of Lincoln. He became a member of the Chapel Eoyal in 1569, and shared with Tallis the honorary post of organist there. The two composers enjoyed for many years a monopoly of selling paper ruled for music. The set of " Psalmes, Sonnets and Songs," from which the above is taken, appeared in 1588. Byrd's contributions to the collection of Virginal Music called Farthenia (see above) were among the last compositions of his lifetime, as those of Gibbons were among his earliest. The two men's lives furnish an interesting commentary on the development of 21 HISTORICAL CHAMBEB CONCERT— continued. music in their time, for Byrd's earliest works are full of archaic severity, and by the end of Gibbons's life he had embraced the new art of monody, over which he. shows his mastery in the anthem: " This is the record of John." Byrd died on July 4, 1623, probably at Stondon Place, concerning which he had had a lawsuit lasting some years, the records of this furnishing us with the chief sources of authoritative information as to his life. It is clear from his Will that he was himself a Catholic, but he wrote music for both services. Catholic and Protestant. " Sweet honey-sucking bees " (5 parts) ... John Wilbye (fl. 1598-1614). (From " The Second Set of Madrigals to 3, 4, 5, and 6 parts." 1609.) Important as John Wilbye is in the history of English madrigals, it is strange that no record of his life exists save the very meagre data which may be found in the dedications, etc., of his works. Of these there are two sets of madrigals published in 1598 and 1609, and a madrigal contributed to "The Triumphs of Oriana" in 1601, as well as two motets contributed to Leighton's " Teares or Lamentacions," in 1614. Hakpsichoed Solos. " Gee from my ■window " ... ... John Munday (c. 1566-1630). (From the Fitzwilliam Virginal Book.) John Munday was the son of one of the Gentlemen of the Chapel Eoyal, and was organist of Eton College, succeeding Marbeck as one of the organists of St. George's Chapel, Windsor, about 15>*5. He published a set of " Songs and Psalmes " in 1594, contributed to " The Triumphs of Oriana," and died in 1630. " Fantasia of Foure Parts " ... ... ... Orlando Gibbons- (From Parthenia, see above.) " Mistrys Mine " ... ... ... ... ... William Byrd. (From the Fitzwilliam Virginal Book.) "Eosasolis" ... ... ... Gi7«s Farnafei/ (fl. 1580-1598). Giles Farnaby may have been a native of Truro, where a family of his name is well-known. He was living in London about 1580, took his Mus. Bac. degree at Oxford in 1592, and contributed to Este's " Whole Booke of Psalmes " in the same year. A book of "Canzonets to foure voyces" came out in 1598, from which date he is lost sight of. Pieces by him and his son Richard Farnaby are in the Fitzwilliam Virginal Book. "The King's Hunt" ... ... ... Jo/m BmZZ (c. 1562-1628). (From the Fitzwilliam Virginal Book.) John Bull was born, possibly in Somersetshire, about 1562, was educated in Queen Elizabeth's Chapel under Blitheman, and at the age of twenty was appointed organist of Hereford Cathedral; in 1585 he was admitted a member of the Chapel Eoyal, and from 1591 officiated there as organist. He took the degree of Mus. Doc. at Oxford in 1592, and was the first Gresham Professor, being appointed in 1596. In 1601, being in ill-health, he went abroad to recover, and travelled in France and Germany. Continental life attracted him so much that in 1613 he "went beyond the seas without licence," entering the service of the Archduke at Brussels, and being appointed in 1617 organist of Antwerp Cathedral. He died at Antwerp in 1628. 22 HISTORICAL CHAMBER CONCERX--con«im««d;. Madeigals. " yes, has any found a lad? " (5 parts) .. Thomas Tomkins (d. 1656). (From " Songs of 3, 4, 5, and 6 parts," London, 1622.) The composer of this fine madrigal was a son of the Rev. Thomas Tomkins, chanter of Gloucester Cathedral in the latter part of the 16th century, a contributor to " The Triumphs of Oriana." The son was a pupil of Byrd, was organist of Worcester Cathedral, and was appointed one of the organists of the Chapel Eoyal in 1621. At the coronation of Charles I. he received forty shillings for compositions commissioned for the occasion. There are many MS. works by him, and beside the collection of madrigals from which this work is taken, there was published in 1668 a collection of his church music, under the title of " Musica Deo Sacra et Ecclesise AnglicanEe." " Eest, sweet nymphs " (4 parts) ... Francis Pilkington (d. 1638). (From "The First Booke of Songs and Ayres of 4 parts," London, 1605.) Pilkington took the degree of Mus. Bac. at Oxford in 1595, and was a " singing-man " at Chester Cathedral in 1602. The collection of "Ayres" from which this is taken has an accompaniment in Tablature for the Lute or Orpherion with Viol da Gamba. He became a minor canon of Chester about 1612, published a " First Set of Madrigals " in 1613, and contributed to " The Triumphs of Oriana" a madrigal on the death of Elizabeth in which the refrain had naturally to be altered to suit the circumstances. He gave an anthem to Sir William Leighton"s " Teares or Lamentacions " in 1614, and in 1624 brought out his second set of Madrigals. He became Precentor of the Cathedral in 1623, and died in 1638. " Fair Phyllis " (4 parts) ... ... /o/m fam^r (fl. 1591-1601). (From " The First Set of English Madrigals to 4 Voyces," London, 1599.) Nothing is known of John Farmer's life, save only that he held the post of organist of Chiist Church Cathedral, Dublin, in 1595, was made a Vicar Choral in 1596, and lost his post in August, 1597, for being absent without leave. He went to London, where in 1599 was brought out his " First Set of English Madrigals." He contributed to " The Triumphs of Oriana," and before his departure from Dublin had published a treatise on counterpoint, of which the only extant copy is in the Bodleian Library. In 1592 he made important contributions to Este's " Whole Booke of Psalmes. " " On the plains " (5 parts) ... ... ... Thomas Weelkes (d. 1623). (From "Ballets and Madrigals to 5 Voyces," London, 1598.) As with so many of the great masters of the English Madrigal, Thomas Weelkes left few memorials behind him in the way of data for his life. In 1597 he published his book of " Madrigals to 3, 4, 6, and 6 Voyces." In 1598 the book from which the above is taken was published, and dedicated to his employer, Edward Darcye, Groom of the Privy Chamber. Two more books appeared in 1600. In the second of them he is described as " of the College at Winchester, organist." His contribution to "The Triumphs of Oriana" is the magnificent " As Vesta was fromLatmos hill descending." He took the degree of Mus. Bac. at Oxford in 1602. In 1608 appeared his "Ayres or Phantastick Spirites for three voices," in which he is described as a gentleman of the Chapel Eoyal, and organist of Chichester Cathedral. He died at the end of 1623, leaving a very large number of sacred compositions in MS., as well as some instrumental pieces. 23 HISTOEICAL CHAMBEE CONCERT— continued. PART II.— THE RESTORATION PERIOD, AND LATER. Sonata in C, for two violins, violoncello and harpsichord Henry Purcell (1658-1695). (From " Sonnata's of III. Parts," London, 1683.) Moderate (Canon by two-fold augmentation). Canzona {Allegro). Largo. Allegro. Harpsichord Solos. Ground in C minor ) tt t, „ Toccata in A J - - ^enry Purcell. Sonata for violin and harpsichord, in G minor ... ... Henry Purcell. (Edited from a MS. in the possession of Miss Willmott, by Sir Frederick Bridge.) Adagio. Allegro moderate. Largo. Vivace. Henry Purcell belonged to a family of musicians, and was probably born at West- minster, in 1658 or 1659. He was a chorister of the Chapel Eoyal under Captain Cooke, the master of the children. Pelham Humfrey succeeded Cooke in 1672, and it is supposed that Purcell learned from Humfrey the methods of composition which Humfrey had learned from LuUy during a visit to France. Some compositions which are supposed to date from his very early years are not at all certainly proved to be by him, such as the music to " Macbeth," generally called Locke's. In 1677 Purcell wrote an elegy on Locke, and in 1680 became organist of Westminster Abbey. In 1682 Purcell became organist of the Chapel Eoyal, and in the year after, the first of his printed compositions, the set of twelve sonatas from which the above is taken, appeared. A special interest attaches to the first piece in this part of the programme, as the twelve sonatas of three parts were an early experiment in the new manner of composition, being preceded by a number of "Fantasies," more or less in the fashion of the piece by Gibbons played at the begirming of the programme. The sonata shows a great advance in structural interest on Gibbons's work, and already it presents in rudimentary form a foretaste of the classical pattern, although in this as in Gibbons's Fantasy the movements are not separated from each other. An unconscious tribute to the striking originality of Purcell was paid in connection with the " Toccata " for harpsichord, the second of the harpsichord solos above, for it was published as a (doubtful) work of Sebastian Bach's in the edition of the Bach-Gesellsehaft (B.-G. xlii.), although it exists in MS. dating from before the date of Bach's birth. The works of Purcell embrace all branches of music, and a long succession of Birthday Odes for royal personages and for various musical celebrations shows how great was his versatility in sacred and secular music alike. Many of his so-called " operas " are merely incidental music to the plays of his time, and the longest of them, " King Arthur," contains in the musical numbers no hint of the dramatic action of the piece. One, however, for long supposed to be a work of his very early life, is a real opera in the truest sense ; " Dido and .Sineas " is as great a wonder if its true date is 1688 or 1690, as if the earlier date assumed formerly were supported by documentary evidence. Parts of it are as vividly dramatic as anything of Gluck. Purcell died on the eve of St. Cecilia's Day, Nov. 21, 1695, and was buried under the organ in Westminster Abbey. Divisions on a Ground for viol da gamba Christopher Simpson (d. 1669). (From " The Division Violist," London, 1659.) The facts of Christopher Simpson's life are very meagre, and we know next to nothing about him, except that he served in the Eoyalist army during the Civil Wars, and that he was employed as master for the viol da gamba to a certain Sir Robert BoUes, whose son was his 24 HISTOEICAL CHAMBEE CO'SCEB.T— continued. pupil on that instrument. The practice of " running divisions " upon a recurrent bass (" basso ostinato " or " ground-bass ") was very largely cultivated by the amateurs of the time, and they seem for the most part to have been performed extemporaneously, at least by the professional players ; for the amateurs, it may be supposed, the rich store of examples that Simpson published in the book from which this piece is taken were originally intended. Haepsichoed Solos. Lesson in B flat ... ... ... ... James Nares {1115-1783). Larghetto affettuoso. Allegro. Tempo di MinuHto. James Nares, born in 1715, was a chorister of the Chapel Eoyal, and was appointed in 1734 organist of York Minster. He succeeded Maurice Greene as organist of the Chapel Eoyal in 1756, died 1783, and was buried in St. Margaret's, Westminster. His church music is not of a very severe order, and he is at his best in his harpsichord lessons ; which are for the most part in short sonata-like form, having three movements of concise structure. Sonata in D minor ... ... TJiomas Augustine Arne (1710-1778). Andante. Largo, Siciliano. Fiiga. Allegro. Allegro. Arne, son of an upholsterer in Covent Garden, was born 1710. and was educated at Eton, being intended for the law. The call of music was too strong to be resisted, and parental opposition was overcome. In 1733 he re-set Addison's " opera " " Eosamond," and was a most successful composer from that time till his death in 1778. He wrote many compositions for the stage, added to the similar compositions of Purcell and others, and is remembered as the introducer of female voices into oratorio choruses, their first appearance (it is supposed) being in his oratorio " Judith." Sonata (Tkio) in D minor for two violins, violoncello, and harpsichord Williain Boyce (17101779). (Edited by Alfred Moffat.) Andante. Fuga. Allegro giitsto. Adagio, sostenuto. Allegro moderato. Boyce was a chorister of St. Paul's Cathedral, was then articled pupil to Maurice Greene, and was in 1736 appointed composer of the Chapel Eoyal. He conducted the Festivals of the Three Choiis from 1737 onwards, and held various organ appointments in London. These he gave up in about 1768. in consequence of increasing deafness, and he devoted himself thenceforward to collecting the finest examples of English church music, and thus fulfilling a scheme projected by Greene. The collection called " Cathedral Music " is in three volumes, and was issued from 1760 to 1778. Boyce died 1779. 25 LADIES' EECEPTION. This was held by the members of the Lyceum (Ladies') Club, 128, Piccadilly, at 5 p.m. on Tuesday, 30tli May, 1911, by invitation. Li the course of the afternoon Miss Margaret Morris gave a short account of the aims and methods of the Greek system of dancing, as recently reconstructed by Eaymond and Isadora Duncan. She gave her own dances illustrative of the following pieces: — Nocturne, Mendelssohn; Rigaudon, Grieg; "Diana as huntress," from " Diocletian," Purcell ; " Hall of the Mountain -king," Grieg. FIRST ORCHE STEAL CONCERT. (Queen's Hall, Langham Pl.\ce, Tuesday Evening, 30th May, 1911, at 8 o'Clock.) The Queen's Hall Orchestba. Director of Rehearsals ... ... ... Mr. Dan Godfrey. PEOGRAMME. ©oD Save tbe IRdig. Norfolk Rhapsody No 1. ... ... ... E. Vaughan Williams. (Conducted by the Composer.) This work is founded on five English folk-songs, collected during the past few years in Norfolk. Prelude to the '? Stabat Mater," Op. 96 ... C. Villiers Stanford. (Conducted by the Compobeb.) Largo. Allegro e Feroce. This movement (which is in the form of an overture) precedes, both in manner and in matter, a setting of the Latin Hymn for Solo Quartet, Chorus and Orchestra, and is intended to illustrate, as regards general atmosphere, the events which led up to the moment when the poem begins. " Ossian," Act n., Scene 2, of the Opera ... Frederick Corder. (First Performance. Conducted by the Composeb.) Lorna ... ... Miss Olive Turner. Fergus ... ... Mr. Cynlais Gibes. The opera from which this excerpt is taken was sketched to the order of Carl Bosa in 1888 after the performance of the composer's " Nordlca." The Libretto is by the Composer. 26 FIRST ORCHE STEAL COt^CEUT— continued. HuMOEESQUE (Scottisli EliapsocTy No. 3), Op. 74, " Tarn o' Shanter," written for the occasion Ale-randcr C. Mackenzie. (First Performance.) (Conducted by the CoiiPOSER.) " Of Brownyis and of Bogillis full is this Buke." {Gaicin Douglas.) The composer has given a musical illustration of Tam o' Shanter's weird adventure, so graphically described by Burns in his immortal poem, on that memorable night when ; — .... a child might understand, Tlie deil had business on his hand. (From "The Centenary Burns." Bij permission of Messrs. T. 0. A- A'. C. .Jack, Kdinlmr flh. 27 FIEST ORCHESTRAL CONCE'RT— continued. Symphonic Vakiations ... ... ... C. Hubert H. Parry. (Conducted by the Composes.) I. Theme and Variations, 1-11 (corresponding to first Allegro in Sonata) : — Maestoso energico — E minor and major. II. Variations, 13-18 (corresponding to Sclierzo) : — Allegro scherzando, vivace — C major. III. Variations, 19-22 (corresponding to slow movement) : — Largo appassionato — A minor. IV. Variations, 24-27b (corresponding to Finale) : — Vivace— 'E minor. Fi^-E Songs for Bakitone, from a Cycle called " The Long Journey," Op. 25 ... ... H. Walford Davies. (Conducted by the Composer.) Mr. Plunket Greene. I. Prologue. II. " Infant .Joy." III. " When Childher Pla:j." 'IV. " Sony of the Road." V. " Sioeet Content." Symphonic Poem ... " In a Balcony " ... A. von Ahn Carse. (Conducted by the Composer.) Based on the incidental music composed for a performance of Browning's play by the Royal Academy Musical Union on May 7th, 1904. ToNE-PoEM ... "Byron" ... Joseph Holbrooke. (Conducted by Mr. Dan Godfrey.) Illustrating the poem of that name by KE.iTS. 28 MILITAEY BAND CONCERT. (In the Laege Hall, Univeesity of London, Wednesday MoENiNG, 31st May, 1911, at 12 Noon.) The Full Band of His Majesty's Coldstream Guards. Conductor. — Lieutenant J. Mackenzie-Eogan, M.V.O., Mus. Doc, Hon. R.A.M. PEOGEAMME. Overttike " Les Vepres Siciliennes ' VoRSPiEL und Liebestod " Tristan und Isolde " Suite DE Ballet ... ... " Masaniello " ^' Benedictus " Hungarl\n Ehapsody No. 2 Finale from the Fourth Symphony The Coldstream March, (So& Save tbc iRiiig. Verdi. Wagner. Auber. Alexander C. Mackenzie. Liszt. Tschaikoivsky. SPECIAL SERVICE AT ST. PAUL'S CATHEDRAL. (Wednesday Afteenoon, 31st May, 1911, at 3.15 o'Clook.) OLD ENGLISH MUSIC, ENGLISH WORDS. Magnificat ) ... ... ... ... ... Orlando Gibbons in F Nunc dimittis J (1583-1625). Anthem ... Philippians iv. 4. " Eejoice in the Lord alviay"... Henry Pureell (1658-1695). AFTEB THE SERVICE. Anthem ... Psalm Ixxxvi. 1. " Bow Thine ear, Lord " ... William Byrd (c. 1542-1623). 29 EECEPTION BY THE LORD MAYOE AND LADY MAYORESS. (At the Mansion House, Wednesday Afternoon, 31st May, 1911, AT 4—6 O'CLOCK. Overture PEOGEAMME. " Egmont " The Orchestra. Beethoven. Song "Medje" Mr. Frederick Eanalow. Gounod. Gavotte The Orchestra. ... Bach. Songs / (a) " Care Selve " (Atalanta) \ (b) " La Pastorella " {Rodclinda) Miss Evangeline Florence. ..Handel. Veracini. Violin Concerto G minor, Op. 26 Vorspiel. Adagio. Miss Hilda Lett. Maj; Briich. Song Mon cceur s'ouvre a ta voix " , Miss Phyllis Lett. Saint-Sdens. Valse. ... "La Belle au bois dormant " The Orchestra. Tscha'ikowsky. Song ... Overture " Quand tu chantes " Miss Evangeline Florence. (Violin obbligato, Miss Hilda Lett.) " Fingal's Cave " The Orchestra. ...Gounod. Mendelssohn.. 30 BECEPTION, MANSION nOVS'E— continued. bONGS... Polka ... Valse... Violin Soli ... Songs... Overture f (ffl) " You, dear, and I " ... 1 (b) " The Billet-doux " ... T. Coningsby Clarke. ... Liza Lehmann. Mr. Frederick Ranalow. From Suite, Op. 39 ... Dvorak. " Song d'Automne " Joyce. The Orchestra. ' Menuet \ Mazurka Mozart. Wieniawski. Miss Hilda Lett. (a) " Down in the Forest " (b) "A Joyous Easter Hymn " . . . London Ronald. Old German. Miss Phyllis Lett. "lolanthe" / ...■Sullivan. The Orchestra. ARTISTS. Miss Evangeline Florence. Miss Phyllis Lett. Mr. Frederick Eanalow. Miss Hilda Lett (Violin). The Westminster Orchestral Society. Leader : Miss Dorothy Bridson. Conductor : Mr. Lennox Clayton. Accompanist : Miss Gwendoline Williams. 31 EECEPTION BY THE WOKSHIPFUL COMPANY OF GROCERS. (At Grocers' Hall, Princes Street, E.C, Wednesday Evening, 31st May, at 8.30 o'Clock.) OFFICERS OF THE WORSHIPFUL COMPANY OF GROCERS. Master : — W. J. Thompson, Esq. Wardens : — The Et. Hon. Sir Joseph Dimsdale, Bart., K.C.V.O. J. E. Drake, Esq. G. M. E. Layton, Esq. Clerk ;— E. V. Somebs-Smith, Esq. ARTISTS. Madame Kiekby Lunn. The Misses Elsie and Maby Short. Mr. Pbedebic Austin. Miss Edith Penville (FbUe). Mr. E. HowABD-JoNES {Pianoforte). The London Symphony Orchestra [Strings). Conductor : Mr. Arthur W. Payne, P.E.A.M. Accompanists : — Miss Nellie Fulcher and Mr. Haeold Brooke. 82 EECEPTION, GEOCEES' KALh— continued. PEOGRAMME. OvEEiuKE ... "Bonduca" ... Purcell (1658-1695). The Okchestea. The music which Purcell composed for Beaumont and Fletcher's Tragedy of " Bonduca," was one of the last of the long series of music-dramas which he wrote for the stage ; it was not produced until the year of his death. The " Overture in C " commences with a short Maestoso movement, followed by a simple subject in fugal style ; it concludes with a solemn Andante in the minor, in which, brief as it is, are found nevertheless some remarkable harmonies ; at the close a chromatic descent of the bass under an inverted pedal point will not escape notice. Song ... ... " Now Phoebus sinketh " (ComMs) .t(?-ne (1710-1778). Mr. Frederic Austin. (a) Almakd in F ... ... ... ... Bobert Johnson {154:0-162G). (6) CoEANTo in G minor ... ... ... John Bloiv {1648-1708). The Orchestra. Eobert Johnson, famous as a gifted lutenist. was one of the most prolific and active' composers of his time. Besides a number of melodious songs, he wrote music for dramas by Middleton, Shakespeare, and Ben Jonson, together with madrigals and courtly dance tunes. Johnson was in the service of Sir Thomas Kytson, of Hengrave Hall, Suffolk, and was. requisitioned to superintend the music which the Earl of Leicester provided for Queen Elizabeth at her notable visit to Kenilworth Castle in 1575. The " Almand in F " appears in the Virginal book preserved in the Fitzwilliam Museum at Cambridge ; its harmonies have been filled in,, and the piece has been scored for strings for this occasion. John Blow, one of the most famous organists of the Carolan and Jacobean period,, besides being Organist of Westminster Abbey was Master of the Choristers of the Chapel. Eoyal and of St. Paul's Cathedral. He wrote Masques, Odes, and a quantity of music in almost every style. Perhaps his most important work is "Amphion Anglicus," compositions, for one and more voices, with accompaniments for a theorboe-lute, or other instruments, and a figured bass. The " Coranto " has been arranged for strings ; it appeared in "AChoica Collection of Airs and Lessons, for the Harpsichord or Spiuett," 17U4. Pianoforte Soli ... (a) "Noel" ... Balfour Gardiner. (A) Toccata Study . . . Norman O'Neill. Mr. E. Howard- Jones. Duets, (a) " My dearest, my fairest " (Pawsawms t/ie Seirayer) ... Purcell. (b) " Two daughters of this aged stream " {King Arthur) ... Purcell. Miss Elsie Short and Miss Mary Short. Flute Soli (ifrom Suite in F) (a) " Valse Gracieuse " ... Edward Gerrnan. (A) " Gipsy Dance " ... Edward German. Miss Edith Penville. 33 EBCEPTION, GEOCEES' HALL -continued. The Months ... " May and June " .. Christopher Simpson (d. 1669). The Orchestra. Christopher Simpson, the. author of the famous "Compendium of Practical Musick," a text-book popular and many times reprinted during a hundred years after its first publication in 1665, was a distinguished player on the viol-da-gamba, notable as an executant as well as a theoretic musician. During the stormy period of the Eevolution, Simpson joined the Eoyalist forces and fought under the command of Cavendish Duke of Newcastle in 1643. He was particularly skilful in the art of Playing on a Ground, and his work " The Division Violist " appeared in many editions from 1669 to 1712 ; one issue was put forth in Latin. (See previous remarks at page 23.) The two pieces " May and June " are taken from a Suite, " The Months," the manuscript of which is in the Bodleian Library, Oxford. Song ... ... " L'esclave " ... ... ... Lalo. Madame Kihkby Lunn. Trio-Sonata in E flat, for two Violins and Pianoforte ... Thow as Augustine Arne (1710-1778). Mr. W. H. Eeed. Mr. W. H. Eayres. Mr. Harold Brooke. Despite the genius and undoubted gifts of the great Anglo-Saxon composer, not a few critics, headed by so distinguished an authority living at the time as Charles Burney, consider the secular music of Thomas Augustine Arne as in some respects superior to Handel's. His " Eosamund," produced in 1733, was the precursor of a long series of similar works. " Artaxerxes ' ' kept the stage for nearly 100 years. ' ' Alfred," in which occurs whatmaybe termed our second National Anthem, "Eule, Britannia," was performed in 1740. There is a freshness, native grace and charm about Arne's music that few except those who have dived into the music of the past are aware of. Arne also composed a considerable amount of serious instrumental music for various instruments, solo and concerted. His fulness of melody, purity of harmony, admirable form, and sustaining interest are well displayed in his string Trio-Sonata. It is taken from a set issued about 1760. Thanks to a fresh edition with the chords filled in for the pianoforte, recently published by Messrs. Novello, this admirable piece of old English chamber music is again available for use. (See previous remarks at page 24.) Overture ... " St. Cecilia's Day " William Boijce {1710-1179). The Orchestra. The name of Boyce is very familiar to those acquainted with our Cathedral music, not only for his contributions to that rich store of noble music, but for the great work which he did in collecting and issuing early English Church music in score. The " Overture " played here, a bright, straightforward piece of vigorous music, quite independent of any Handelian influence, is prefixed to an "Ode to St. Cecilia." The work was performed by the Philharmonic Society of Dublin at their Music-room in Pishamble Street in 1744. The manuscript is preserved at the Bodleian Library, Oxford. (See previous remarks at page 24.) Songs... ... (a) " Ethiopia Saluting the Colours " ... Charles Wood. (6) " Eleanore " ... ... Coleridge-Taylor. Mr. Frederic Austin. 34 EECEPTION, GROCERS' SAhlj- continued. Song ... ... " Maman, dites-moi " ... ... Weckerlin. Madame Kiekby Lunn. Pianoforte Solo ... ..."Waltzes"... ... ... BraJimn. Mr. E. Howard-Jones. Fancies, Nos. 7 and 8, in D (in 5 Parts) ... Pdchard Bering (1570-1630). The Orchestra. Richard Dering was born in Kent circa 1570 ; he studied in Rome, and on returning to England was appointed Organist to the Roman Catholic Chapel of Queen Henrietta, consort of Charles I. The "Fancies" played here differ considerably from the well-known Fantasias of Orlando Gibbons, pieces of austere contrapuntal music, seemingly without any very particular aim. Dering invents clear and definite subjects, usually three in each piece. These are assigned in turn to the five instruments. Although there is no development (as we under- stand the term to-day) , yet the motives are subjected to ingenious and sequential treatment, and bold harmonies are employed ; while between the thematic sections, small phrases of soft, sustained notes are introduced, suggestive of the coming change in the way of contrast which later music was to exhibit. The Fancies are taken from a set of Part-books made by Jenkins (temp. James I.) in the possession of our member, T. Lea Southgate, who has scored the music from the old notation. They were played at one of Sir Frederick Bridge's recent University of London Lectures, probably the first time for the last 290 years. An effort to revive the form has lately been made by our member, W. W. Cobbett, who has, through the Worshipful Company of Musicians, offered Prizes and Commissions for fresh English Phantasie Music, written in the idiom of to-day. The scheme has brought forth several excellent pieces of music by native composers. Duet ... ... ... " I know a bank " ... ...Horji (1786-1849). Miss Elsie Short and Miss Mary Short. lNSTRUMENTAL/(a) " Coronation " Music ... ... LocA« (1630-1677). Pieces \(i) Airs VIII. andlX. " The Double Dealer " Purcell (1658-1695). The Orchestra. . Matthew Locke, a chorister of Exeter Cathedral in 1640, early displayed his powers in writing music fresh in character and particularly melodious ; eventually he became Composer in Ordinary to King Charles II. He wrote the music for several Plays, Anthems, Consorts for Viols, Songs, and Lessons of all sorts. fj" j The work performed on this occasion is practically an example of early Coronation Music. It was played before King Charles II. on his progress through London from the Tower to Whitehall the day before his Coronation in 1661. It was evidently written for the cornets (zincken) and sackbuts (trombones), and may be regarded as an early example of concerted wind music. It has been adapted for playing on strings from a score in the British Museum. The music to the play of " The Double Dealer " was written in 1693, a year in which Purcell was very busy with composition. The Air in G minor is smooth, melodious music, while the following Vivace in B flat is trumpet-like in its strong accents and bright tone. 35 EEOEPTION, GEOCEES' KAhh— continued. NOTE. . In determining the music for performance on this occasion, an eifort was made to present pieces that might be regarded as typical of such early instrumental music as obtained in England during the period from the end of the sixteenth to the closing years of the eighteenth centuries. Apart from the popular music of the people, instrumental music may be said to have commenced with playing the sacred motetts and madrigals current in Elizabethan times, many of which bore on their title-pages the notification :—" Apt for Voices and Viols." Another feature prominent so far as the development of music for the keyboard instruments of the day was concerned, was the adaptation of popular songs and courtly dance measures for independent treatment. So successfully was this carried out, that there was gradually evolved the " Suite," i.e., a set of brief, somewhat elaborated dance pieces following one another. Conjoined to some influence derived from the old Eondo form, the Suite led to the Sonata and Symphony ; thus classic music came into birth. The earliest serious viol music in this country began with the " In Nomine's," written in 4, 5 or 6 parts. In all probability these pieces stood for an attempt on the part of their composers to provide for the viols some concerted string music of a contrapuntal nature, similar to that which the organist of the day gave forth when he " touched " the keys of his instrument, practically a voluntary extemporization on a well-known Plain-song or theme which the people heard in church. Hence the religious title, "InNomine." There are still extant, in manuscript, specimens of these early attempts by Byrd and other serious composers. The form was, to take the Plain-song, assign it to one of the instruments, setting it out in long holding notes, and around this weave moving passages, forming together severe contrapuntal harmony. The composers eventually emancipated themselves from ecclesiastical and academic trammels. Instead of the Plain-song theme, they invented subjects for themselves ; these formed the themes for treatment. Together with freedom came a measure of independence, the introduction of fresh harmonies, and a more general secular interest n the text of the music. The title "In Nomine" was dropped, and that of the "Pancie," or "Phantasy," took its place ; the pieces were still in one continuous movement until the time of John Jenkins, who in his later Fancies divided his music into sections, introducing fresh subjects in each division, and foreshadowing the rise of the Sonata with its separate and independent movements. The time at disposal did not permit of the presentation of an "In Nomine," or a complete "Suite.'' An interesting specimen of the early Fancie had already been heard on Tuesday in the performance of one of these compositions from the pen of Orlando Gibbons, organist to King Charles I. There were however played two remarkable examples written by Eiehard Dering. Concurrently with this composition of concerted string music for use in families possessing a " Chest of Viols" and performers, besides the ladies who played the Lute, a considerable number of pieces was provided for players on the Virginals, Clavichord and Spinet. For the most part they were couched in the developed dance forms, while fanciful titles were bestowed on some of the more independent pieces. It was a common practice of the time to make what are now termed "arrangements." Popular songs were turned into dances and vice versa. Very little was specially written for individual instruments. Adaptations wfere the rule. Composers, Purcell. (6. Scena, " Mad Bess " J (Orchestrated and Conducted by Sik Chakles Stanfokd.) Miss Muriel Foster. Second Symphony (in E flat), Op. 63 ... ... Edward Elgar. (Second Performance.) (Conducted by the Composer.) Elgar's first Symphony was produced in December, 1908 ; in November, 1910, was produced his Violin Concerto ; and there was here welcomed the second Symphony, in E flat, performed for the first time the week before, on the 24th of May, 1911, at the "London Festival." Song ... ... " Ona.Vfaj " {Hiawatha) ... S. Coleridge -Taylor. (Conducted by Mk. Dan Godfrey.) Mr. Ben Davies. OvBETUEE ... ... " The Wreckers " ... Ethel Smyth. (Conducted by the Composeb.) 41 SECOND ORCHESTRAL CONCERT— continued. a. Valse Gracieuse) » „ i-o-i •■!->• t,, ,^ b Saltaeelle )■ irom Symphonic Suite m D minor ... Edward German. (Conducted by the Composer.) This (the "Leeds " Suite), in its complete form, is as follows :— I. Prelude {Allegro moderato |). II. Valse Gracieuse {Allegretto %). III. Elegy {Andante |). IV. Saltarelle {Presto %). Symphokic Poem No. 6, "Villon" ... ... ... William Wallace. (Conducted by the Composek.) FranQoys Villon, the French poet of the 15th century, has been made known to English readers through the translations of ^winburne, Rossetti, and Payne, while Henley and R. L. Stevenson have recorded their impressions of his personality. In this work the composer aims at reflecting some of the moods that are met with in Villon's poems. EECEPTION BY THE ''DAILY TELEGBAPH." Shortly before midnight on Thursday, 1st June, 1911, members of the Congress concluded a long day's activities with a visit to the ofJ&ces of the Daily Telegraph. In the absence of Lord Burnham in the country, and of Colonel the Hon. Harry Lawson, M.P., -who was with his regiment, the Eoyal Bucks Hussars, in camp at Blenheim Park, the company, numbering some 250, were received in the advertisement hall by the Editor and members of the staff. The guests were conducted through the editorial rooms on the first floor, and the library and sub-editorial departments on the second and upper floors. The visitors had an opportunity of witnessing the manifold processes involved in the production of a twenty-four page issue of the Daily Telegraph. Having inspected the composing-room, which contains the largest installation of linotype machines of any single newspaper, they saw the locking-up of the last formes before these were transferred to the foundry. In the latter was seen the whole process of the making of the matrix and the production from it of as many plates of each page of the paper as are required for the several printing machines. Many of the guests evinced much interest in the autoplate machine, by which the stereo-plates, properly trimmed and planed exactly to scale, are automatically produced at the rate of three per minute each machine. Descending to the machine-room, the visitors saw the final stage of the mechanical processes by which a great daily journal is produced. A small orchestra was placed in the advertisement hall, and rendered a miscellaneous programme. The advertisement hall, and the rooms and corridors set apart for the reception of the visitors, were decorated with palms and flowers, and refreshments were served from eleven to one o'clock. 42 CHAMBEE MUSIC CONCEET. (^OLiAN Hall, Feiday Afternoon, 2nd June, 1911, at 2.30 O'CLOCK.) Idylls, Three Pieces for String Quartet ... ... Frank Bridge. I. — Adagio molto espressioo ; Allegretto moderato — Adagio. II. — Allegretto poco lento. III. — Adagio. The Wessely Quabtet (Messrs. Wessely, Spencer Dyke, Tomlinson and Patterson Parker). Sonata in D minor for Pianoforte. First movement ... Arnold Bax. Miss Myba Hess. r "A Sea-Spell" ... ... ... ... Hubert Bath. Songs j "Lilacs" ... ... ... ... Nonnan O'Neill. \ " Spring Twilight " ... ... ... Ernest Walker. Miss Grainger Kerr. (Accompanied by Miss Maejorie Adam.) String Quartet in A minor ... ... ... John B. McEwen. 1. — Allegro niarcato. II. — Andante quasi adagio. III. — Vivace. IV.— Allegro vivace. The Wessely Quartet. I Prelude in E flat ... ... Paul Corder. Pianoforte Solos < "Elves" ... ... ... Tobias Matthay. I " Danse Negre " ... ... Cyril Scott. Miss Myra Hess. Adagio from Suite for Viola and Pianoforte . . . Benjamin Dale. Mr. Lionel Tertis and The Composer. "Cradle Song" ... ... ... Arthur Uinton. Songs "Eldorado" ... .. ... ... Bichard Walthew. " Blow, blow, thou winter wind "... . .. Roger Quitter. Miss Grainger Kerr. (Accompanied by Miss Marjorie Adam.) Septet for Strings, Wind and Pianoforte ... ... York Bowan. The Wessely Quartet : Mr. C. Draper (Clarinet), Mr. Boesdorf (Horn), and The Composer. N.B. — The above-named works were all by living British Composers. 43 SPECIAL PERFOEMANCE AT WESTMINSTER CATHOLIC CATHEDRAL. (Friday Afternoon, 2nd June, 1911, at 4.30 o'Clock.) EARLY ENGLISH CHURCH MUSIC, LATIN WORDS. Motet (MS.) for five voices ... " vos omnes " ... ... Anon. This motet is scored from a set of part-books in the British Museum, of the time of Henry VIII. The grave sweetness of the music is suggestive of Tallis, but no composer's name is given. Motet for six voices ... " Quern vidistis pastores " Richard Bering (1570-1630). Richard Dering was a member of an ancient Kentish family. Like Peter Philips he was obliged to flee abroad at the Reformation, and took up his residence at once in the Netherlands. He published at Antwerp (1597) his " Cantiones Saeraj." He returned to Englandin 1610, and graduated as Mus. Bao. at Oxford. He appears as organist to the English nuns at Brussels in 1617. In 1618 he published his " Cantica Sacra" for six voices, and some Canzonets followed in 1620. After the marriage of Charles I. he became organist to Queen Henrietta Maria, who had her own private chapel where the Roman rite was followed. He wrote music in the monodic style, as well as some madrigals. Except to a few scholars he has remained unknpwn to Englishmen. Several of his motets have always been in use in Westminster Cathedral, but to Sir Frederick Bridge, in his " Gresham Lectures," is due the credit of reviving public interest in the composer and his works. The present motet is one of several edited by Sir Frederick Bridge. (See previous remarks at page 34 ) Agnus Dei, from a six-part Mass entitled "Eugebone" ... ... ... C/mstop/iej- Ti/e (c. 1498-c. 1572). From the name which Tye gave to his six-part Mass, it might be supposed that it was founded upon a theme taken from some hymn or plain-song in use in the church. It appears however that this was not the case. There was, it is true, an Antiphon, " Euge serve bone," which was used in the Sarum Breviary on festivals of confessors and bishops outside the Easter festival, and is also found in the Roman Breviary ; but (apart from the fact that the words of the Antiphon are " Euge serve bone " and not •' Euge bone ") the music to which it is set appears to be quite distinct from the theme on which Tye's Mass is based, this being probably a theme of his own invention. It is not known when Tye composed this Mass, but it has been suggested that it may have been written as his exercise, either for the degree of Bachelor of Music (1536) or Doctor of Music (1545) at Cambridge. On both occasions he was expected to write a Mass, as is shown by the Graces for the degrees. His " Euge bone " Mass is to be found in a set of six part-books, which is now preserved in the Bodleian Library, and has long been the principal treasure of the Oxford Music School collection. t. , i i At the Reformation, Tye (together with Merbecke and Testwood) became a Protestant. He took the Anglican orders of Deacon and Priest in the year 1560, and was presented to the living of Doddington-cum-Marche, in the Isle of Ely. Henceforth he lived the life of a country clergyman. Tye's music is characterized by easy melodic flow, more suggestive of the suave Italian school than of the rugged North. If his subjects lack the individuality of those of Byrd, he uses them skilfully, and obtains broad and rich effects by the skill with which he masses his voices. The first printed edition of this Mass was issued by our member, G. E. P. Arkwright. The edition used on this occasion is one prepared for church use by our member, R. R. Terry. 44 PEEFOEMANCE AT WESTMINSTEE CA.TKEDB.A1>— continued. Benedictus from a four-part Mass ... Thomas Tallis (o. 1515-1585). Tallis is a composer occupying the peculiar position of being a household word amongst Englishmen, while his music is almost- unknown to them. His skill as a contrapuntist is evidenced by his motet " Spem in alium non habui " in forty real parts. It was edited by A. H. Mann, of Cambridge, in 1888, and one or two performances of it are on record. To the average Englishman however he is only known by his "Eesponses'' and "Evening Hymn " in canon (one of his eight tunes in the eight modes with melody in the tenor contributed to Archbishop Parker's Psalter). A service in the Dorian mode and about half a dozen anthems (mostly adapted from the Latin) are in use in Anglican Cathedrals. But the bulk of his music (mostly to Latin words) still lies buried in museums and libraries. What has already found its way into print is by no means his best. His " Lamentations" for five voices are annually sung at Tenebrte in Westminster Cathedral. They are noble in conception and pathetic to a degree. The Mass from which this extract is taken is found in a set of MS. part-books in the British Museum. It was scored for Downside Abbey choir in 1898 by E. E. Terry, and has recently been published. A Lamentation (MS.) for five voices ... Robert White (c. 1580-1574), Eobert White shares the fate of many other renowned musicians of his time. His works are practically unknown to his countrymen of the present day. This neglect is the more remarkable seeing that his music shows him to be the equal of any of his contemporaries. He died twenty years before Palestrina and di Lasso, and could therefore have owed nothing to their influence. His " Lamentations " are sung annually at Westminster Cathedral at Tenebrs. He was held in the greatest esteem by his contemporaries. In the MS. part-books at Christ Church Library the copyist has written at the end of White's " Lamentations " : — Non ita mossta sonant plangentis verba prophetse, Quam sonat authoris musica moesta mei. White died of the plague (which also carried off three of his children) in 1574, and was buried at St. Margaret's, Westminster. The most complete biography of White is that by' G. E. P. Arkwright in the new edition of Grove's "Dictionary." The extract from the "Lamentations " which was here performed forms a small fraction of the entire work. Motet (MS.) for six voices ... " HfEC dies " ... William Byrd (o. 1542-1623). Byrd (see page 20) was a voluminous writer, and most of his music still remains in MS. He published two collections of " Cantiones Sacr«," three Masses, and two volumes of "Gradualia" (i.e., musical settings of the "Proper" of the Mass), besides much vocal music to English words. The Masses are all now in print, but the second volume of " Cantiones Sacrse " and both volumes of the " Gradualia " exist only in separate part-books, copies of which are in the British Museum and elsewhere. They have however been repeatedly performed in Westminster Cathedral from MS. scores. Byrd's Mass for five voices places him at once in the front rank of polyphonic composers of every country. As in the case of his contemporaries, much of his music was adapted after his death to English words, his two best-known anthems, " Bow Thine ear," and "Lord, turn Thy wrath," being adaptations of the motets " Civitas saneti tui " and " Ne irascaris " respectively. With the grave tenderness of Tallis, the smooth ease of Tye, and the pathos of Eobert White, he combined a more pronounced dramatic instinct. This motet (from Vol. II. of " Cantiones Sacrffi ") is the very embodiment of the jubilation of Easter. Mqtet (MS.) for four voices " Ave Eegina " ... ... William Byrd. This motet is from Vol. I of the " Gradualia " and is the Antiphon of Our Lady, from Compline on the feast of the Purification, to Maundy Thursday. 45 PERFORMAKCE AT WESTMINSTEE CATHEDRAL— coniinucd. Motet for five voices ... " Ave Maria " ... Robert Parsons (j). 1570). Little is known of Parsons, save that he entered the Chapel Eoyal in 1563, and was drowned in the Trent at Newark, January 19th, 1570. His music is to be found in MSS. in Christ Church Library, the British Museum and elsewhere. He must not be confounded with Eobert Parsons, a Vicar Choral of Exeter in 1634. Several mannerisms in this " Ave Maria " are suggestive of Tallis. The motet was edited from a British Museum MS. by R. R. Terry, and recently published. Motet (MS.) for five voices " arnica mea" Thomas Morley (1557-1603). Morley wrote but little church music. His title to fame rests on his madrigals and ballets. His contributions to the FitzwilHam Virginal book show his skill in instrumental composition. This motet is given (in parts) in his ''Plaine and easy Introduction to Musick." It is a charming setting of words from " The Canticle of Canticles." Motet (MS.) for five voices, " Alma Eedemptoris mater " Peter Philips (d. about 1633). Peter Philips (known also by his Latinised name of Petrus Philippus and his Italianised one of Pietro Filippo) was an Englishman, who, during the Reformation troubles, took up his residence on the Continent and became a priest. In the latter part of the 16th century he became Canon of Bethuue in French Flanders, and is known to have spent some time in Italy. On his return to Flanders he became an organist in the vice-regal Chapel of the Archduke and Duchess Albert and Isabella, governors of the Low Countries. In 1610 he was appointed a Canon of the collegiate church of St. Vincent at Soignies. He was an accom- plished madrigal writer, and is chiefly known in England by those compositions. He wrote much ecclesiastical music, which, like his madrigals, was published abroad. His style approximates more closely to that of the Flemish composers, of whom Sweelinok is a fair type, than to that of his English eontemporaries. Burney credits him with invention of the " fugue," the example in question being contained in the Fitzwilliam Virginal book. This motet is the Antiphon of Our Lady from Advent till Candlemas. It is contained in his " Cantiones Sacrse," one of the very few complete sets of part-books of which is in the Eoyal Library at Buckingham Palace. By permission of his late Majesty King Edward VII., a complete MS. score of the "Cantiones" was made by E. R. Terry, and the whole of the motets were subsequently performed in Westminster Cathedral. Philips does not often use plain- song subjects in his " Cantiones," but here may be noticed the words " Sumens illud ave " set to the same Gregorian notes as occur to the same words in the hymn "Ave Maris Stella." MoTEiforfive voices and organ, " Salvator mundi " ... Jb/mUZoio (1648-1708). John Blow was one of the first set of " Children of the Chapel Royal " on its re-establishment (with Henry Cooke as choirmaster) in 1660. He would appear to have begun composition as a choir-boy, in conjunction with his more distinguished fellow-chorister Pelham Humfrey. At the age of twenty-one he was appointed organist of Westminster Abbey, but was displaced in 1680 to make way for his pupil, Henry Purcell. On the death of Purcell in 1695, Blow was re-appointed to the post. Blow was a voluminous com- poser, but much of his music remains in MS. He is not exactly an " early " English composer. The present example however is so much superior to most of his published compositions, that it was thought well to include it in the programme. (See previous remarks at page 32.) Conductor - Dr. E. R. Tbrey. At the Organ Dr. G. F. Huntley. 46 BANQUET AT THE SAVOY HOTEL. (On Friday, 2nd June, at 8 o'Clock.) The Lord Mayor, the Eight Hon. Sir Thomas Vezey Strong, presided at this function, and there were about three hundred Ladies and Gentlemen present. The usual loyal toasts to The King and the members of the Eoyal Family having been drunk, the Lord Mayoe said : — I have now the honour of proposing another toast — the toast of Kings, Emperors, Presidents and Governments represented by all the delegates and visitors here assembled. It is a tribute of our respect, and with our sinoerest wishes that they may ever vie with each other in the gentle arts of peace alone. (Applause.) The toast having been drunk with much enthusiasm, the Lord Mayor continued : — I have heard it said that we in England take our pleasures sadly, but this company, at any rate, does not follow that lead. I propose now the next toast, the toast of the evening. It is : Continued success to the International Musical Society. (Cheers.) This is an Association, which embraces musical people from all parts of the civilised world. It excludes none, and welcomes all who are devoted to the art of music, and the British section of the Society is doing itself the honour of entertaining the present large and distinguished company as their guests. The International Musical Congress enjoys the patronage of His Majesty The King (Cheers) ; it has secured the services of that charming personality, Mr. A. J. Balfour (Cheers), as its President — a man who graces everything he touches, and adorns every movement with which he is associated. It possesses the advantage of having my friend Sir Alexander Mackenzie as President ; it enjoys the further distinction of having Mr. Alfred Littleton as Deputy Chairman of the Executive Committee of the Congress ; and comprises within the limits of its committee practically every well-known musical man in this country. If anything were wanted to add to its completeness, that was supplied when they secured Dr. Charles Maclean and Dr. W. G. MoNaught to act as honorary secretaries. There are many others associated with this movement that I should like to name, but may it be allowed to suffice if I say that the various assistants and that important personage, the treasurer, Mr. C. E. Bube, are all worthy associates of the gentlemen whom I have already named. If anything still remains to complete our satisfaction as to this interesting Congress, it is supplied by the fact that the Government of our country has for the first time in its history associated itself with such a gathering of musicians, and given to the movement the important sanction of official endorsement. (Cheers.) Under these circumstances, ladies and gentleman, I can with the greatest ease and sincerity most heartily congratulate all concerned in being associated with an unique occasion ; and in proposing this toast I assure all the delegates and visitors who are here assembled, and especially those who come from foreign countries, how much we appreciate the honour they confer upon music, and on England in particular as the host, and how much we have enjoyed the advantages of their Company and the contributions which they have made to the various discussions of the week. Having said so much — which I not inappropriately do, as I have the honour of holding a representative office — I can with all the influence which my ancient office affords add weight to the welcome of the people of London, and through London add the rest of our Empire, to all our foreign visitors here to-day. (Cheers.) I think it must be apparent to all that music is a fitting subject for international discussion. Music, like all arts, has no recognition of boundary, of parish, country, empire, or hemisphere. It is common to all people. If discord was introduced at the Tower of Babel, it is the high ambition of music to reduce that discord to harmony (Hear, hear) , and approach all nations with an international language tending to secure international amity. If I may suggest one more thought it is that music knows no class. It is the friend of the poorest man, it is indeed the chief solace of the poorest. (Cheers.) It is the privilege of the rich, it is the necessity of the poor (Cheers), and it is a blessing to all who drink of its sweetness. Happily in this country we are constantly and every day endeavouring to spread the influence of music, until at the present time no elementary school in the country is allowed to draw a grant from the Government that does not at least devote a certain amount 47 BANQUET— continued. of time to the teaching of the ennobling art of music. (Cheers.) We want to enlist not only the sympathies but the help of all who can spread the magic of music. We in England have been devoting our time to the special study of the promotion of friendship with all countries, and I conceive no agency, I can imagine no missioners more likely to secure success in the development of that desirable end than you — the missioners of music. Let our aim and our ambition be international harmony, and let us do all that we can towards that end, and not cease until we have accomplished by our own individual efforts that great object, and then we may pray that come it may, as come it will, when " Man to man the world o'er shall brithers be for a' that." (Loud cheers.) Sir Alexander Mackenzie said : — My Lord Mayor, my Lady Mayoress, my Lords, Ladies and Gentlemen, you will of course understand that it is the accident of office which bestows upon me the honour of replying in the name of this widespread Society to a toast which has been proposed by the Lord Mayor in such excellent and humorous, and, let me add, impressive terms. Coming as they do from the chief representative of the City of London, they are to us especially grateful and encouraging, and I beg to assure him of our hearty appreciation of his amiable and generous words. We are all devoted to the service of the art of music, and each one of us in our respective lands is working in the interest of music, and it is that cosmopolitan spirit and international intent which has been the means of once more drawing us so happily together. It is just that great underlying idea which has always appealed so very strongly to me, and which proves and declares that this Society is fulfilling its mission and achieving the great object of its existence. (Cheers.) We thank you, Sir, for your amiable and generous words, and I hope you may prove a real prophet in your wishes concerning our future. In my turn I also have a toast to propose, and I do not mind freely confessing that it has been weighing on my soul all day long, and I venture upon it with some diffidence because I rather fear that the subject of my toast, which is " The health of foreign visitors," might possibly, after the strenuous endeavours of this most exhilarating week, bear a somewhat more than usual significance, and might in fact induce even sympathetic inquiry. I felt uneasy until I had obtained some accurate knowledge of the real state of the feeling of our guests towards us at this juncture, which is practically the end of the Congress. (Laughter.) But I am enormously relieved to find that, judging by the amiable expression on their faces and by the noises they have made, and by such hurried scraps of conversation as I .have artfully contrived to hold, that I have very largely under-estimated their powers of endurance, and I certainly have not done anything like justice to their Spartan-Uke patience, which seems to be almost unlimited. You all know that mutual instruction is the avowed object, indeed one of the specific objects of our Society, and an insatiable and unslakeable thirst for knowledge is the chief characteristic of members. I fancy that in one important direction at least we certainly have done our very best to provide a good deal which must have been unfamiliar to the majority of our friends. You will perceive that I am gently and delicately approaching the subject of native music. (Cheers.) It is very gratifying to me that all this British music with which they have been regaled has had no more serious effect upon them than of producing in a few of the least robust a mild attack of home-sickness. (Laughter.) But whatever the effect or the result may have been I assure you our intentions have been strictly honourable. In fact, we have kept back a good deal which we might have let you hear. It would certainly have been easy for us to let you hear a great deal more of a similar kind if time had permitted. Our restraint was certainly not due to lack of material. But speaking more earnestly, a great many of the most worthy names which might have been included in our schemes have had to stand aside simply because there was no room for a great number of instrumentalists and singers in this country of whom we are justly proud. I take the safe opinion on musical history of my friend Sir Hubert Parry, who predicts that this country is going to be, as it was in the Elizabethan days, a nest of " song birds " — that I believe is his favourite expression. I follow at a very humble and respectful distance, and would inquire if it has not already become so ? " The sweet fowles that mak^n melody," as Chaucer says, are already very numerous, and of every variety in song and feather. There are those purely English nightingales and thrushes which warble so tenderly and tastefully. There are also those Celtic cocks that "craw" (Laughter) , and there are a great many other birds more difficult to classify. (Eenewed laughter.) You will admit then that we have a very large nestful in full concert, and Sir Hubert and I know a great many young " cheepers " who are trying to make their voices heard. After all, the casualties have been very few, and our friends seem, judging from appearances, to have survived it all. (Laughter.) Unbroken good humour still prevails, and I think I can present this toast to you in the customary more expansive and figurative sense. I have a very vivid memory of our meeting two years ago. 48 BmQVET— continued. In fact, it is never out of my mind, and I well recollect my part in the Conference with reference to the projected English Congress. The promise I made was this: That without attempting to vie with the brilliant artistic entertainments which, we had, in point of cordiality at least the reception by my colleagues here would not be one whit behind that which we received in the amiable city of Vienna. (Cheers.) The eminent and distin- guished guests who have honoured us by their presence have been truly and sincerely welcome (Cheers), and I would like to thank those upon whom the responsibilities for these- days have chiefly rested — and they were not small— for having risen to the occasion, and for the quick and ready response to our call, and to express our thanks for tKe generous support we have received from the lovers and upholders of music in London. It is entirely by their aid that we have been able to carry out the general scheme of the Conference. This, it may be said, is a matter which chiefly concerns ourselves and has no business here, but I think differently, because it very directly proves that this country has abated not one jot the warmth which it has extended throughout the centuries to music in this land. As for ourselves, our genial intercourse and the personal intimacy we have enjoyed during these days will be a pleasing and lasting memory. Old friendships have been cemented aod many new ones have been found and formed, and surely mutual understanding, reciprocity, and what is still better, good- will, will be the inevitable and natural result of this happy Congress. (Cheers.) And to conclude, in order that our friends may carry home with them a kindly remembrance of us, and, I trust, of our endeavours to make this Congress a not unsuccessful one — that is the burden of the toast which I know wiU be received with the greatest enthusiasm, I beg to couple with it the names of three distinguished representatives of foreign countries who will reply. They are : Professor Hermann Kretzschmar, of Berlin ; Professor Guido Adler, of Vienna ; and Dr. Jules Ecorcheville, of Paris. And now, ladies and gentlemen, I will ask you to drink the health of our foreign guests upstanding, and with all the enthusiasm at your command. Professor Hermann Kretzschmar said : — My Lord Mayor, my Lady Mayoress, my Lords, Ladies and Gentlemen : Our Congress is coming to its end, and the foreign members of this Society must prepare themselves for saying good-bye. This is rather a difficult matter, for to see England and to love England is one and the same thing. (Cheers.) Nobody can leave this marvellous country without a strong desire to return to it and stay here for ever. I do not intend to narrate the virtues and the charms of England, but among its characteristics there are three points wtiich impress themselves so deeply that I cannot avoid making mention of their excellence. The first is the greatness and the majesty of the British Empire, a majesty speaking to us by public monuments as well as by the whole-souled English life. The second point is the character of this Empire and the character of London, with its splendid contrasts, with its enormous traffic in the streets, and close by its parks with their wonderful trees. The third point is the human spirit of the London inhabitants, the spirit beginning with the kindness of the poor to animals, and culminating in the well-known hospitality, the hospitality which makes a stranger feel at home as soon as he arrives, and regards him as quite an old friend. From this Congress and from the hospitality we have derived the combined benefits of English art and English heart. I want to tell you how much we feel obliged to our English hosts. I beg to thank our Chairman of this evening, and to thank Mr. Balfour and our dearly loved President, Sir Alexander Mackenzie, and all the other members of the Committee of this Congress. (Cheers.) Professor Guido Adler said : i An old proverb tells us, " nemo propheta in patria." And yet I was able here at the commencement of the Congress to speak some prophetic words about the happy course which lay before our Festival. I said them in the University where I have during this week found a second home, because I indeed find myself anything but a stranger. Your artistic offerings, your social gatherings, have been so successful, so charming, that we your guests will return with the very best recollections to those homes where we again wjU cease to be prophets. If there may have been added to the harmony of our scientific discussions a few dissonances, it was— according to Sir Hubert Parry — only a necessity, because ugliness is but the corollary of beauty. We human beings cannot very well exist without a little clissonanoe. In any case these dissonances introduced themselves strictly according to the modern tendency in Art — they certainly were not prepared. But here, my dear English friends, they have all been resolved into sweet consonances. Let me heartily thank you for your amiability and hospitality. Believe me, these days in London will be remembered among the happiest of my 49 Bk^qVET— continued. life. Beautiful without the least aftertaste, or afterthought of anything unpleasant. May we meet again soon. And I lift my glass in a spirit of thankfulness to drink the health of the Executive Committee and the British Section, the President, and all its members, who have shown us much kindness and good-fellowship. Dr. Jules Eooecheville said : — I need hardly say that I would never have consented to speak on this occasion, after the toasts proposed by such eloquent orators, had I not been called upon to convey to you the official message of good-will from the French government and the sympathies of those of our colleagues who have unfortunately been prevented from crossing the Straits and taking part in our work. There is no country in which the progress of English music and of all the sciences that appertain to that art is followed with greater attention and interest than in France. Our musical researches often bring to mind the distant period when the English minstrels used to cause a sensation at the court of our Dukes of Burgundy. We have preserved the memory of your admirable luteuists and viol-players, who frequently brought us the elements of a new art. Quite recently there was founded in Paris the British Music Society, whose purpose is to reveal to us the work of your modern masters ; and, a few days ago, I attended a meeting organized by the Sooi6t6 des Amis de la musique, a meeting of English " virginalists," which the English ambassador, Sir Francis Bertie, was good enough to honour with his presence. Again, when we return to France, overwhelmed with kind attentions and lost in admiration of the sumptuous welcome that you have given us, we shall be inundated with questions, giving still further proof of the lively curiosity which our fellow-countrymen feel with respect to your art. What other reply shall we make, gentlemen, except that this all-too-short week has enabled us to recognise in English music the qualities which make the glory of England ? In the first place there is that mixture of races that give to the Islanders the poise of their character. Have we not seen represented in one and the same programme the Scotchman Sir Alexander Mackenzie, the Irishman Sir Charles Villiers Stanford, the Welshman Sir Hubert Parry, and the man from the midlands, the Anglo-Saxon Sir Edward Elgar. Moreover, — and this is a truly English characteristic — your music is wholesome. It avoids that perpetual sense of irritation with which Continental music is afflicted, that aggressiveness which at least in France gives the impression that our music is always, so to speak, levelled vindictively at someone ! Your art is that of a people of sporting habits, which pays more attention to its muscles than to its nerves. Finally, English music is essentially hospitable, and this is the feature which it carries best of all. Even in the 18th century you provided a splendid example of musical assimilation in giving to Handel the world-wide glory which he would never have won but for you. Now, we can say here, at a gathering of musical historians, that Handel's music is the music of all Europe, the music of every country, brought together by a powerful hand and welded by genius. The source of Handel is international ; but the perspective in which he is placed is English. It is in this matter of perspective that you excel. It is paramount in your arts as well as in your political life, and in your charming homes. May I permit myself to use an expression which my Lord Mayor will certainly understand, and say that English music is Free Trade music ? This zeal for the mingling and concentration of the most widely different elements is so much a part of your temperament that our labours at the Congress have given a quite unforeseen instance of it. Thanks to an ingenious disposition of space, we have been able to hold several meetings and to give several lectures simultaneously in the great hall of the University ; to our good Secretary, Dr. Charles Maclean, belongs the credit of having produced for the first time a model of what one might describe as " musicological polyphony " ! Permit me then, gentlemen, to unite in one and the same toast the music and the musical research of England, and to raise my glass in honour of that musical instinct which is peculiar to your country and which has earned our admiration in all its aspects. The few days of our visit will be preserved for ever in our minds as an ineffaceable memory. The Earl of Shaftesbury said :— So good and so wonderful is the record of the City of Loudon, in endeavouring in what- ever manner possible to give a lead, and a strong lead, in matters of national or international importance, that the general pubUc might very well be beguiled into taking everything that comes from the City of London and its Lord Mayor as a matter of course. But as long as the 50 BA.TSQV'ET— continued. Briton retains the characteristics of his race, I am confident that the people of this country will always be quick to recognise a favour conferred upon them, and will not be slow to extend their hospitality to their foreign visitors. To-night, at this all-important gathering on this unique occasion — unique because it marks the first gathering of the International Musical Congress in England — we would primarily desire to thank the Lord Mayor for his genial presence in the chair this evening. (Cheers.) I would add we most heartily desire to thank him cordially for his fine and eloquent speech. We should also desire to thank him for the interest which he has shown in the movement since its beginning, and ofifer also our most grateful thanks for the hospitality he offered us. I will therefore ask you to rise and drink the health of the Lord Mayor, who gives such dignity and lustre to his exalted office. The Lord Mayor replied : — My Lord, Ladies and Gentlemen, will you allow me to assure you of my own thanks and the thanks of my wife that you have so kindly accepted the toast proposed by the Earl of Shaftesbury, for whose kind words I am deeply indebted. It has been a great pleasure to my wife and myself to have had the honour of receiving, at our official residence, so many of the ladies and gentlemen attending this Congress. I thought that there my honour ended, but thanks to the liberality of all present, and to the generosity of the Executive Committee, I am happy to be here on this occasion to at least postpone the pain of parting. I hope this Congress will result in real advancement, for music is an international code, and if that be brought about or in any sense helped, then I venture to think that the time you have devoted to this Congress will have been time well spent, and that you will have engaged in mission work the best services of the devoted sons and daughters of Europe. Some day we hope to visit some of the countries here represented. We are anticipating going soon to the beautiful city of Vienna, and there we shall renew our acquaintance with some, and we shall desire to renew at the earliest opportunity our acquaintance with all. GENERAL MEETING OP MEMBERS OF THE SOCIETY. This took place at 11.30 a.m., on Saturday, 8rd June, 1911, in the large hall of the University of London, Sir Alexander Mackenzie in the chair. The proceedings were reported in the Monthly Journals for July and September, 1911. GOVERNMENT LUNCHEON AT THE HOUSE OP COMMONS. At 1 p.m. on Saturday, 3rd June, 1911, the British Government extended recognition to the ' Congress by entertaining the foreign members (gentlemen only), and a few accompanying members of the Congress Executive Committee, at luncheon at the House of Commons. The Eight Hon. Earl Beaucbamp, K.G.M.G., First Commissioner of Works, was in the chair, and had the kindness afterwards to conduct the party through both Houses of Parliament. OPERA PERPORMANCE AT COVEN T GARDEN. At 8 p.m. on Saturday evening, 3rd June, 1911, the Royal Opera Syndicate had the kindness to invite all foreign members. The opera performed was Verdi's " Rigoletto," the principal parts being taken by Madame Tetrazzini and Signor Sammarco. 51 PIANOFORTES he pianofortes req srously supplied f Street; W All the pianofortes required for the Congress in its different functions were generously supplied gratis by Messrs. Broadwood & Sons, Conduit NOTE EEGAEDING THE WORSHIPFUL COMPANY OF MUSICIANS. The oldest musical institution in the British Isles is the above-named Company of the City of London, and for the reason given in the last paragraph of this note, a, short description is here offered. The Company is one of the Guilds established for the protection of members in the exercise of their Art. The date of its first Eoyal Charter is 1469, bu); it is certain that long before this time there were brothers and sisters of the Fraternity of Minstrels. Like the other Guilds of the Middle Ages, the object of the confraternity was to prevent outsiders from competing with the members in the work or trade carried on. The Charter issued by King Edward IV. empowered his " beloved minstrels to examine, supervise, control, and correct all minstrels throughout the Kingdom, except those in the City of Chester." As far back as 1500, records show that complaints were from time to time made to the Lord Mayor and Aldermen of the " dy verse and many foreyn minstrells who exercise the scyence of Mynstrelsie within the Cytie and Lyberties thereof, to the great losse and hindrance of the gaines and profits of the poor mynstrells being fremen of the same Cytie." In 1604 the Crown was petitioned for a new Charter of Incorporation. This was granted by James I. on July 8th, and the Guild thus constituted was styled " The Master, Wardens and Commonalty of the Art or Science of the Musicians of London." Authority was accorded to make all necessary laws for the government of the Company, and power was granted for the Company to exercise rule in their craft within three miles of the City. This is the instrument which still governs the acts of the Company. The bye-laws were confirmed by the Lord Chancellor, Lord EUesmere, in 1606, and arms formally assigned by the Heralds' College. An important provision was that whereby the Master and Wardens may call before them " All persons as well free of the Fellowship as others, and examine approve and allow the said parties for their sufficiency and skill in music, disallowing those who are unfit." By an Act of Common Council of the Municipality, the Musicians' Company was authorized to exercise jurisdiction over dancing masters, and actions were not infrequently brought by the Court of the Company against foreigners and aliens — that is to say, musicians not free of the Guild — for practising their art within the City. Although the Musicians' Company no longer exercises the powers assigned to it in the direction of testing musicians and regulating performances within the City of London, it displays an active interest in music of to-day, whether in the teaching of the art, in performance, or in encouragement towards the composition of music. Thanks to the generosity of some of its members, the Company has established scholarships for promising students at the Guildhall School of Music. It annually gives medals to the most deserving pupils at the three great Schools of Music in London, and to the best student of the year at the Eoyal Schools for training in music for service in the Navy and Army. Prom time to time, the Court has offered for competition valuable prizes, and has also given commissions to writers for new pieces of music ; in the result, several important fresh musical compositions have been produced. The three-hundredth anniversary of the granting of the last Charter was observed in 1904, by holding a Loan Exhibition of ancient musical instruments, manuscripts, autograph scores, portraits, rare books, and other musical mementoes. The Exhibition was held at the Hall of the Worshipful Company of Fishmongers, and was kept open for a month. The scheme received the patronage of King Edward, and other distinguished persons, and was opened by His present Majesty King George V., then Prince of Wales, and attracted a large number of visitors. It was generally acknowledged that the fine collection surpassed any such exhibition previously held. A sumptuous illustrated descriptive catalogue has since been prepared and published. In connection with the Exhibition, a series of seventeen lectures was given dealing with various phases of the art, its history, the development of instruments, and so on. Some of the best known English musical experts and authorities undertook and carried out the comprehensive task assigned to them. These lectures, revised and illustrated with a large E 2 52 NOTE EEGAEDING COMPAJSTY OF MUSICIANS— continued. number of engravings of the beautiful old instruments exhibited, pieces of music played, and facsimiles from some of the rare books shown, have since been published in a volume, "English Music, 1604-1904;." The book has met with wide appreciation from students and amateurs of music, and has been adopted as a text-book by some of the Examining Institutions of Music. In June, 1905, Mr C. T. D. Crews, the then Master, caused to be presented at his own expense on the stage of the Guildhall School of Music, a performance of " The Golden Tree," a grand spectacular Masque of the date of 1613, furnished with characteristic music by Thomas Campion. Mr. Crews also presented on behalf of the Company a Saint Cecilia window to St. Paul's Cathedral ; and later he gave a bust of Orlando Gibbons, organist to King Charles I., to Westminster Abbey, which was unveiled in connection with a Special performance of the works of this composer in 1907. The Company is now arranging for a medalHon of Samuel Sebastian Wesley to be placed in the Abbey in memory of this distinguished composer of English Cathedral Music. Mention should be made of an extensive scheme projected by Mr. W. W. Cobbett, a, member of the Company, to revive the old English " Phantasie," casting the form in modern idiom and displaying the musical emotion of to-day. The result has been most successful. Several prizes have been awarded, and commissions have been given to young British composers. These have produced some excellent fresh music, which has found wide acceptance for chamber-music performance. The Musicians' Company, though old, is modern in thought and action, eager to afford all possible encouragement to our national composers of every type of music. The Master and Wardens are elected aimually by the Court ; this year's Master (1911) is Mr. Alfred H. Littleton, and the Wardens are Mr. Arthur F. Hill and Mr. W. P. Fuller. T. L. S. ENGLISH A.BSTKACTS OF CONGEESS PAPERS. (Alphabetically arranged under Aiithors' names.) Division of Music-history into Periods. ~- Paper in German (Full Meeting). By Prof. Dr. GUIDO ADLBE, 9, Lannergasse, Cottage, Vienna. Professor of Musical Eesearch in Vienna University ; President of the National Section Austria-Hungary, Int. Mus. Society. See p. 76. ABSTEACT. — The division of our western music into style-periods is in many ways doubtful and misleading^As regards historical periods, two points of view may be considered important and suitable to be brought into relation with one another : first, the development of music itself and its organic progress ; secondly its relation to culture, and in particular to the other arts — After two thousand years of labour, our music has attained a state of com- plete independence — It has faithfully fulfilled the duties, religious and secular, of its sisterly kinship with poetry— Historians of music, in dividing it into periods, have neglected this fact in the same way that historians of literature have done : but for reasons which lie deeper — On the other band the attempt has frequently been made to connect the periods of music with those of architecture, but in spite of the many analogies between them one ought not to carry this parallel too far — Moreover in the plastic arts the difierent periods are by no means clearly defined, e.g., the periods of the Eenaissanee and the Eococo — Caution is also necessary in drawing these parallels between the difierent arts because, as a matter of fact, the tendency of a period, while reflected in every form of mental activity, cannot manifest itself to the same degree in every art — An art is, in the nature of things, dependent on material and technique — Still, the principal sections in the main course of universal history do coincide with one another — The history of music need not break its connection with the defined limits of the Middle Ages, which lasted from the 4th to the 15th century — The 16th century brings on the one hand the crowning 58 ENGLISH ABSinAGTS— continued. point of the work in part-musio, which had been going on for centuries, viz., the " a cappella " song, on the other hand it brings to light all the germs which sprout and bud in the following years— The modern period may be said to begin before the year 1750, but with this date (and in that point the history of music coincides with universal history and with literary history in particular) the "most modern period" may be said to begin— At that period of new ideas, a new tendency may be seen in music also, in the development of which we are still at work — We must exercise caution with regard to sensational announcements as to contemporary works of art which are given forth to be the bases of new epochs in style — The history of music and its correct division into periods may serve as a welcome instrument for the testiiig of all such assertions. Intpoduction of Orchestral Music into Finland. Paper in English, in Section I. By OTTO ANDERSSON, 1, Skeppsredaregatan, Helsingfors. President of the Swedish Folklore Society. Secretary of the Local Branch Helsingfors, Int. Mus. Society. See p. 90. ABSTRACT. — Gustavus III. founded at Stockholm the Swedish Musical Academy in 1771, and the Swedish Opera in 1773— Finland was then politically a part of Sweden, and Abo (the capital town till 1819, and the University town till 1827, pronounce Obo) derived the benefits of the Swedish musical awakening— The Abo University Orchestra made the first concerted music from 1741 onwards — In 1773 the " Aurora League," under Henrik Gabriel Porthan, was divided into three sections, literary, scientific, and musical — In 1790 began the separate " Musical Society " of Abo, founded by Jacob Tengstrom, a flute-playing divine, along with Isak Nordberg — At the same time another cleric of Abo, Anders Chydenius, developed chamber-music — The Musical Society of Abo had, for the times, quite a full classical orchestra^ The first regular conductor was the violinist Erik Ferling, of Stockholm — The Society amassed on co-operative principles a famous musical library, still preserved — In 1794 another musical society was founded in Kuopia, in the heart of the central lakes. Violinists and Dance-tunes among the Swedish Population in Finland. Paper in English, in Section II. By OTTO ANDERSSON, as above. See p. 159. ABSTRACT.— The Swedish population of Finland is one-eighth of the whole, lying on the western and southern coasts and in the archipelago — They are a very musical race, and their popular music reached its zenith in the middle of the 19th century— In addition to folk-songs, such music included a special development of the untutored violin-playing shown at dances and festivities— The art was just passed on practically from master to apprentice ; and even trios of two violins and, violoncello were performed by ear by players who knew no notation— Violinists were very generally smiths by trade ; cf. Icelandic legend— The tunes played were naturally much modified by individuals, and hence arose an ingenuous species of variation-making— Modes and keys discussed— The Swedish singing and dancing games— The polka and minuet forms— The former analysed structurally— The survival of the latter to the present day— The waltz, especially of the Tyrolean type, reached the people early in the 19th century- Also the Kadrilj (quadrille), Engelska (English dance), and Skottska (sohottische)— The country violinists picked up many of the virtuoso tricks of trained violinists— The lecturer has noted 2,000 dance-tunes from 100 country violinists for the Swedish Literary Society of Finland, and there is at present an active renaissance in all these things. Musical Form and the Symphonic Poem. Paper m English, in Section III. By HERBERT ANTCLIFFE, 136, Crookesmoor Road, Sheffield. Musical Critic and Lecturer. See p. 206. ABSTRACT.— The varied use of the term "Symphonic Poem"— As fugue was the culmination of previous polyphonic music, and sonata of homophonic music, so the Symphonic Poem may be made a form for modern combination of these and of relation of music to other matters -"Theme-transformation" should not be the only distmguishmg characteristic— Relationship between tone-colour and musical form-The need of a new form or new basis of musical structure -Its possibility— Means available for its foundation- ihe breaking-up of the ground, with consequent loss and gain— The necessity of "recognisable design"— A definition— Terminology of musical form— Eternal necessities of form— Iho present strengthening and co-ordination of formal matters— " Rhythmic dissonances - Motto themes— Effect of classical forms on modern ideas— Some suggestions. 54 ENGLISH ABST'BA.CTS— continued. Eng-lish Suite-composers of the XVII. Century, and Collections of their Works which have appeared in Germany. Paper in English, in Section I. By Fraulein AMALIE AENHEIM, 182, Uhland- strasse, Charlottenburg, Berlin. Writer on Music. See p. 93. ABSTRACT. — English music and musicians are found about the year 1600 at many German Courts and in the most important commercial German towns — Through the agency of English comedians, who made use of short pieces of dance-music for theatrical per- formances, and as entr'actes, &c., these English forms became prevalent in Germany and influenced the German dances — The executive skill of the English violists was highly appreciated in Germany, and the English composers represented in German " collected works " were in most cases themselves eminent violists — Of such composer- virtuosos, William Brade and Thomas Simpson were the most eminent— Their influence on the development of the older German orchestra-suite was very important, and can be clearly followed during the first half of the 17th century till about 1630— Analysis of German suite-compositions by Valerius Otto, 1611, Conrad Hagius, 1616, and David Oberndorffer, 1620 — Manuscripts preserved in German libraries containing English dance-pieces — Lecture illustrated by a small string orchestra. A Manuscript containing' Rhythmical Meistersinger Melodies, Paper in German, in Section I. By Dr. Phil. E. BERNOULLI, 2, Schonberggasse, Zurich. University Lecturer. See p. 99. ABSTRACT.— Cgm. 4999, which was a subject of controversy in 1906 (Basel) and 1909 (Vienna), has since then been thoroughly examined by the lecturer — The result shows that one cannot speak of a single Codex, as Eunge implies, but that there are several rolls and leaves bound up together, each with quite a different manuscript style, and quite a different disposition of the text -There are also four different watermarks to be seen— The following division may be made : — {a) Pol. 1-10 (quinio) with musical notation in two columns. (6) Pol. 11, which originally stood without any melody-indication. (c) Fol. 12-18 (quaternio, with the last blank leaf missing) ; the " Found Primrose," by Peter Pfort, is here notated over the whole page. {d) The superscription of Pol. 12 is apparently by the hand of Zehenthoffer ; he himself writes and notates Fol. 19-26 (quaternio) in three columns throughout — It is true that the notation of Fol. 20 is very similar to that of Puschmann - But Fol. 12 [cf. Runge, Vienna Congress) has the signature 0, and in the original resolves itself smoothly into measure simply by the introduction of bars - Fol. 9 clearly shows the correction-mark, which Gerle incontestably explained in 1546 (Music and Tablature) in the chapter " The Mark signifies that the Song is Imperfect." To the same portion of Cgm. 4999 belongs the " Gekronte Ton " by Wild, to which the lecturer referred in 1906. The "Rhapsodies Hongroises" of Franz Liszt. Paper in French, in Section III. By ALEXANDRE DE BERTHA, 236 rue du faubourg St.-Honor6, Paris. Writer on Music. See p. 210. ABSTRACT. — Introduction— Genesis of Rhapsodies — Their number, their grouping, the cause which produces them — Liszt's book on the Bohemians (Tziganes)— Opinion of the author on its production - R6sum6 of the history of Hungarian music and its relation to the Tziganes— Analysis of Rhapsodies and history of the Eakoczy March- General character of Rhapsodies and the influence which they exercised on Liszt and other musicians — Chopin and Liszt — Opinion of Richard Wagner on Hungarian music — Conclusion. The Metrical Cursus in the Antiphon Melodies of the Mass. Paper in English, in Section IV. By Rev. H. BEWERUNGE, St. Patrick's College, Maynooth. Professor of Church Music; Secretary of the Local Branch Dublin, Int. Mus, Society. See p. 286. 55 ENGLISH AB8T:RkCTS— continued. ABSTRACT.— The existence of a metrical " cursus " in the Prayers of the Leonine and Gelasian Saeramentaries has been shown in " Paleographie Musicale," vol. 4. Herewith quoted from it the principal forms along with the number of final cadences corresponding to each in the two Saeramentaries ; — A. corde curramus ~ W — W VI 378 B. sorte partioipes 183 I. munere eongregentur - w - - w- 65 K. mentibus sentiamus w vy v/ *• w — 68 L. precibus adjuvemur WW— — w — 49 M. precibus consequamur 55 0. dona sentiamus 4 P. redditur exorantes 10 Q- serviat libertate www— — — 10 E. merita sufiragantur 9 S. veniam peccatorum 7, u. conferat oreaturam 13 z. larga protectio 95 ■287 ,.'•343 36 „^ 57 The existence of a metrical " cursus " in the melodies of the Preface and the Exultet has been hinted at in "Les Melodies Gregoriennes," ch. 15. The object of the present paper is to see whether any traces of this " cursus " are to be found in the antiphon melodies of the Mass. Apchiteeture in Protestant Churches from the standpoint of the Church Musician. Paper in German, in Section IV. By JOHANNES BIEHLE, 4 Wilhelmstrasse, Bautzen. Church music director. See p. 286. ABSTEACT. — This paper deplores the fact that in the construction of churches, questions of space and dimension are scarcely ever regulated by musical considerations — Detailed proof is ofiered to show that according to psychological laws, music is an indispens- able liturgical means in the formation of religious services, and an important factor in the diffusion of church life — It is also shown that upon the choir in particular, as a part of the congregation, devolves the far-reaching task of a religious mission — All this renders certain special conditions necessary in the construction of churches — The paper points out in detail the architectural principles and requirements which are involved, if advantageous and sufficiently spacious positions for organ, choir and orchestra are to be obtained, in con- junction with a suitable disposition of those taking part, and a profitable collaboration of all parties concerned. The results of these observations have led to the elaboration of an entirely new system of church-structure, which was displayed before the audience by means of a large-sized model. Psyehophysiology the True Road to Necessary Reforms in Musical .Esthetics. Paper in English, in Section III. By MICHEL D. CALVOCOEESSI, 164 rue de Courcelles, Paris. Musical Critic, Professor at the Ecole des Hautes Etudes Sociales. See p. 224. ABSTEACT.— The diversity of starting-points, plan, scope, data, and assertions to be found in actually existing books on musical sssthetics is calculated to disappoint and confuse — Music is said to be the only art which has no concrete starting-point, and no recognised connection with natural facts — If this assertion is proved inaccurate, a sound and genuine method may be arrived at -The researches of modern psyehophysiology tend to show that the physical basis of music, its concrete starting-point, is to be found in the human organism itself— The collaboration of writers on music with writers on psyehophysiology would supply the desirable missing link in musical sesthetica. 56 ENGLISH ASSTBA.CTS— continued. Necessity of Teaching Military Band Scoring in Conservatoires. Paper in French, in Section V. By JULIAN CARILLO, Mexico. Violinist. See p. 313. ABSTEAlCT. — Lecturer considered that no instruction in scoring was in any way complete without this, and that its omission from ordinary Conservatoire courses was a very blind policy from point of view of the composer — In most countries the military-band scorer picks up his knowledge anyhow. Matthew Locke, Composer for Church and Theatre. Paper in English, in Section I. By WILLIAM HAYMAN CUMMINGS, Mus. Doc, P.S.A., Sydoote, Eosendale Road, West Dulwich. Vice-President of the National Section, Great Britain and Ireland, Int. Mus. Society. President of the Musical Association (Kartellverein) . Late Principal of the Guildhall School of Music. See p. 100. ABSTRACT.— Birth at Exeter, 1630— Chorister in the Cathedral— Taught by William Wake and Edward Gibbons, 1630-1641— In London, 1646 -The Low Countries, 1648— London, 1650— Opera "The Siege of Rhodes," 1656— Composer to the King, 1660— Corona- tion music. Chapel Royal music, 1666—" Tempest'' music, 1667 — " Macbeth" music, 1672 — Opera "Psyche," 16^:i. — Illustrations sung by Winifred Marwood and Montague Borwell: Anthem, " When the Son of Man shall come " ; Motet, two voices, " Agnosoe O Christiane " : Selections from " Psyche." Cherubini as a Dramatic Composer. Paper in English, in Section I. By Rev. EDWARD CURLING, 20, Tideswell Road, Putney, S.W. ABSTRACT.— Lecturer quoted the tributes of Haydn, Beethoven, Boieldieu, Adam, M^hul, Berlioz, Spohr, Hummel, &c., supporting his thesis that Cherubini's powers have not of late been enough recognized — The " Medea ' ' was analysed in detail. Giuseppe Maria Buini. Paper in English, in Section I. By EDWARD J. DENT, M.A., Mus. Bac, King's College, Cambridge. Hon. Keeper of the Music, Pitzwilliam Museum. Member of the " English Committee " of the Int. Mus. Society. See p. 106. ABSTRACT. — Venetian Comic Opera generally supposed to have begun with the partnership of Galuppi and Goldoni — Who were their predecessors, and what influence did they exert upon them ? — Neapolitan and Roman comic operas performed at Venice before 1749 — Influence of Maroello's " Teatro alia Moda " — Buini and Bolognese dialect opera — The opera itself the favourite subject for caricature — Buini as manager — Agreement for lease of the Teatro Formagliari at Bologna (now in the Pitzwilliam Museum). Omnitonic Instruments with 6 Dependent Pistons. Paper in French, in Section V. By PELICIEN DURANT, 149 rue de la Victoire, Brussels. See p. 314. ABSTRACT. — The system consists in adding to the three ordinary descending pistons (tuned to 1 tone, J tone, and 2 tones), three ascending pistons capable of raising the instrument by a perfect fourth with the intermediary chromatic degrees — Horns in F or trumpets in F become thus at the same time instruments in B flat. To the 7 fundamentals of the ordinary 3-piston instruments, or of the 6-piston Sax instruments, are added 5 new fundamentals proceeding upwards— We thus obtain 12 funda- mentals and hence the designation "omnitonic" — The ordinary 3-piston instruments are rendered false by tie use of cross-fingerings (too sharp), and of thirds (5th and 10th harmonics, too flat) — Moreover the instruments which only possess 7 fundamentals are limited in the bass to F sharp nominal, sound 2. The advantages of the Durant system are : — (a) The enormous increase in the compass up and down— (6) The suppression of the gap between F sharp 2 and C 1 — (c) Very accurate fingerings and combinations of correction- (d) A great choice of fingerings to suit passages — (c) A very simple ordinary fingering, almost always single piston — (/) The fine timbre which distinguishes the instruments, 57 ENGLISH ABSTEACTS— contimwd. Internationalism in Music. Paper in French (Full Meeting). By Dr. JULES jiCORCHEVILLE, 7, CM Vaneau, Paris. President of the National Section Northern France (Paris), Int. Mus. Society. See p. 76. ABSTEACT. — Importance of true conceptions regarding "Internationalism" — Though the word has been lately coined, the idea is ancient — Western music has often displayed an international character, whether in early mediffival times (the Gregorian epoch), or in the 16th century (the Polyphonic period), or in the 17th century, when the classical Syniphony was supreme — On the other hand, the equilibrium and the progress of art would be illusory if, opposed to this force tending towards uniformity, there did not exist national and particularist influences — The conflict of the two forces constitutes an essential problem in aesthetic culture— History and psychology both teach us that, whereas nationalism and originality are based on spontaneity of feeling, internationalism is the result of intelligence and reflection — Thus the problem of internationalism in music resolves itself to-day into a kind of division of ssthetic labour — At the same moment when the artist is claiming the freest independence, the scientist appears on the scene proclaiming the necessity of an international entente of learning, with a view to emphasizing the permanence of artistic laws. Causes and Consequences of the Lack of Unity in several branches of Musical Science. Paper in French, in Section III. By EMILE EEGO, 26 rue Terlinck, Berchem, Antwerp. Writer on Music. See p. 227. ABSTEACT. — The causes examined — The consequences are a badly-organized method of teaching which leads to confusion of ideas — Proposals for arriving at unity. Composition-teaching in Musical Institutes. Paper in Italian, in Section VI. By Professor VITO FEDELI, Novara. Director of the " Civico Istituto Musicale Brera." See p. 355. ABSTEACT. — The actual standards and methods of the teaching of composition no longer correspond to the needs of the most progressive of the fine arts— A reform in the methods of teaching is necessary, to give the musician such a complete education as will enable him to solve the technico-sesthetic problems of modern evolution, and to tread new paths with success — Plan of reformed curriculum : Part I. (normal course) — Study of phenomena and technique (pure morphology) by a gradual historical process divided amongst the different years of the course — Parallelism between harmony and counterpoint, vocal and instrumental counterpoint— Composition by the pupils in imitation of classical models. Part 11. (higher course) — Specific sesthetic studies in each branch of art — Specialization of the instruction — Chamber and symphonic music ; religious and choral music ; dramatic music — Free application of forms corresponding to definite aesthetic and expressional ends — Course of musicology — Other methodizations of study. Music in the Fairy-tales and Myths of various Peoples. Paper in German, in Section II. By Dr. ERWIN FELBEE, 15 Arenbergring, Vienna. Music-historian. See p. 167. ABSTEACT. — The increasing interest which is taken in primitive music renders it desirable to study its assthetics more closely — To study the Ksthetics of any epooh, it is not sufiBcient merely to become acquainted with the works of that time, as these often possess a merely historical interest— We need also the opinions of writers and public of that day, for these will give us an index to the feelings aroused by the works — Still less can we obtain an idea of the aesthetic value of primitive music from acquaintance with works whose production is on the decreasCi which are full of foreign idioms, or which are rendered psychically false through the phonograph — In these cases the need is even more imperative to study the utterances as to the character and effect of the music which are preserved in their most primitive form in Fairy-tales and Myths — Phrases which, when allowance is made for variations, are found amongst the most different types of people, may, when they have been properly tested in a critical spirit, safely be regarded as the most ancient ingredients of musical aesthetics — A comparative analysis of musical motives, phrases, and their variants in Legend and Myth, was the main subject of this paper, 58 ENGLISH ABST-RkCra— continued. The Law of Mutation of numbers in Fairy-tale and Myth, and its influence on Scale -building-. Paper in "German, in Section II. By Dr. EEWIN JPELBEE. As above. See p. 178. ABSTEACT. — Mutation of numbers here is the substitution of other numbers for those which recur according to some fixed law in fairy-tales, myths, and popular beliefs. The motives, the stories, and the essential contents remain the same ; only the numbers change. As a matter of fact, comparative mythology proves that the older 9 has been replaced by a later 7, the older 3 by a later 12. For example, the week of 9 nights was followed by one of 7 days, and the 3 primitive labours of Hercules developed into 12. And so on. We find these identical figures occurring in the theory of music. The number 7 represents the diatonic scale, 9 the Old Persian scale, 12 the chromatic scale. But looking to other domains of thought, there are 7 colours of the spectrum, in place of which there are 9 colours in the popular beliefs of the isolated region of Iceland ; and a 9-fold scale of taste precedes the 7-fold scale (the 7 x^M"') °^ Theophrastus. If then musical numbers are found to be not isolated, but in accord with cosmic and universally prevailing numbers, we are led to the conclusion that these musical numbers may not be immutably fixed from the beginning, but may have been introduced into music from without through the influence of the figures. When the number 7 became prominent, the reign of the heptatonio scale in its most varied forms may have begun, to the displacement of the older scales ; and these forms would gradually in the course of thousands of years develop by means of natural selection into the consonance-scale. And this scale denotes a preliminary key-stone to the arch of scale- architecture, inasmuch as the theory of the 7 receives therein a subsequent musical justification through the actual presence of the heptatonic overtones. But the heptatonic scale is not as a matter of fact always based now on the principle of the over-tones, as is proved for example by the Siamese distance-scale. If then we apply to music, as in the other domains of thought, the law of the displacement of 9 by 7, we find that a 9-part scale precedes a 7-part scale, as may be proved for example by the Old Persian scales Irak, Zirafkand, and Buzurg. The 9-reed syrinx, the reed of which, according to Theophrastus, required 9 years to grow, and the 9-stringed lyre, would thus be older than the 7-reed flute of Pan and the 7-stringed lyre. Possibly we may succeed in explaining the pentatonic scale also from the standpoint of numerical law : e.g., in China, where the number 5 recurs constantly in weights and measures, and in the case of the 5 intestines, planets, colours, kinds of taste, elements, &a. Eeference may further be made to the reign of the number 12 (the chief gods, virgins, heavenly spheres, months, &c.), and to the 12 notes of the chromatic scale (1 x 12), with which the 22 srutis of the Hindoos are perhaps connected. If we conceive of the knowledge of the great and small whole-tones as belonging to a later period, we get 2-(-22 = 24=:2 x 12 srutis. This is hypothetical certainly, since in practice the Hindoo scale is heptatonio. But similarly the Perso-Arabian scale in 17 parts can, by pure hypothesis, be increased to 18 tones, 18 = 14x12. To trace the number 12 back to the primitive 3 is perhaps useless in the case of music ; since a scale consisting of 3 tones within the framework of the octave is hardly possible. Although for the practice of music these scanty comparisons and permutations of numbers may be of subordinate interest, yet they are of great importance for the theory of music, and particularly for the morphology of the scale. Irish Musical Bibliography. Paper in English, in Section VI. By WILLIAM H. GEATTAN FLOOD, Mus. Doc, Eosemount, Ennisoorthy, Ireland. Organist of Enuisoorthy Cathedral. See p. 359. ABSTEACT. — In the present paper the author gives for the first time a reasonably full bibliography of Irish music for nearly three centuries. A list is given of works or collections containing Irish melodies, wholly or partly, from the year 1619 ; and, in addition to the title, the date and place of publication are given chronologically. The first printed collection of Irish melodies is Wright's "Aria di Camere" in 1727, but from 1619 numerous foreign and English collections contained Irish airs, while D'Urfey's "Pills" (1698-1720) and the early ballad operas (1728-1731) abounded in Irish airs, as did also the various musical plays from 1760 to 1780. Turlogh O'Carolan's selections were made known in 1747, but previously many of them had been popularised in ballad operas and hymn tunes. Piper Jackson's collection appeared in 1774, while Geminiani also issued an Irish selection in 1747. Between 1778 and 1799 Aird's selections proved a quarry for Irish collectors, and in 1796 Bunting published his first volume of "Ancient Irish Music.'' The present approximate list may be accepted provisionally, until the subject is exhaustively treated. 59 ENGLISH ABSTB,A.GT8— continued. Key-relationship in Early Mediaeval Music. Paper in English, in Section I. By Rev. W. H. FEBEE, D.D., Superior of the Community of the Eesurreotion, Mirfield, Yorks. See p. 114. ABSTEACT. — Key-relationship has early roots : (a.) Melodically : How far found in modal system? (1.) Tonic and subdominant relation encouraged by the scale but not conspicuous— (2.) Major and Eelative Minor : seems available : Lydian and Dorian : but not utilized, though common later. Mixolydian and Phrygian : not really available nor used — (3.) Commonest relation is two scales a tone apart. In Dorian C alternates with D. In Mixolydian F with G. Early and continues. Survives in Folk-song— (4.) Tonic and Dominant: not Early. Approximation, but first signs in 9th century; Byzantine influence both Dorian and Mixolydian ; this form survives, though rarely in Folk-song — (b.) Hannoiiically : (1.) and (2.) develop mainly under harmonic influence — (3.) continues in early harmonized music; tends to disappear; late traces ; present value of this relation— (4.) developed slowly : e.a , early clausula pass into modern perfect cadence ; the tyranny of Plainsong Tenors and Melodic Ideas ; the emancipation through prevalence of harmonic considerations. German Folk-songs, with reference to English and American Folk-song's. Paper in EngUsh (Full Meeting). By Geh. Eeg. Eat MAX FEIEDLAENDEE, Ph.D., LL.D., 242 Kurfiirstendamm, Berlin. Professor in the University of Berlin, Secretary of the National Section North Germany, Int. Mus. Society. See p. 77. ABSTEACT. — Definition of the word " Folk-song " — Comparison of the genuine folk- song and the fictitious one — Examples : Popular songs of the day, music hall (rag-time) or otherwise — Shortlived popularity compared with the lasting beauty of the genuine folk-song — Such popular songs however not to be neglected, since they are often the degenerate children of noble parents— Musical examples of genuine folk-song with accompanying explanations — Further examples showing the influence of popular and even vulgar ditties on composers like Bach and Beethoven — Schumann's saying: "Beethoven transforms a commonplace phrase into a lofty cosmic utterance " — Power of the refrain in the folk-song of all nations — Examples comparing English and German folk-songs — Eelationship between the songs of both countries — Examples of migration of one single melody from century to century and from continent to continent, showing how sacred and secular have in turn borrowed from each other— Eare occurrence of the same melody in the folk-song of England and Germany — Examples— Period of polished artificiality in the 17th and 18th centuries — Eeaction made by the folk-song — All great composers owe much to this source. The Origin of the Clarseeh or Irish Harp. Paper in English, in Section V. By Rev. F. W. GALPIN, M.A., Hatfield Vicarage, Harlow, Essex. Fellow of the Linnsean Society. See p. 817. ABSTEACT. — The characteristic differences between Lyre and Harp— Ancient testimony to a Keltic stringed instrument — The Cruit or Chrotta — Was it a lyre or a harp? — Descriptions in early records— Illustrations in manuscripts and on Keltic crosses (8th to 10th cent.) — Ireland's contact with Greece and the Orient— The Great Cruit on the Ullard Cross. The Scandinavian Harp in Britain — Illustrations on early crosses of eastern Scotland- Popularity among English and Saxons — Close communication between England and Ireland from 6th century— Settlement of Northmen and Danes in Ireland (9th century) — Social intercourse with the Irish— The Ten Years' Peace (1002)— Eise of the Bardic Schools over the Monastic— Earliest illustrations of the Irish Harp (11th century) -The Clarseeh in western Scotland and in Italy— Peculiar characteristics of the instrument and the great skill of Irish Minstrels — The " Bunworth " Clarseeh exhibited. On the Language of Music. Paper in French, in Section III. By MAUEICE GANDILLOT, 172 rue de la Pompe, Paris. See p. 228. ABSTEACT.— Music has been compared to a language. This arises primarily from the fact that it often possesses an emotional meaning of its own, and always presents a kind of special logic, binding together the successive parts of the musical phrase — Definition of 60 ENGLISH ABSTRACTS- coniiBwed. this emotional meaning and special logic— Cause of the latter phenomenon both in our own European music, and in exotic tonalities differing most widely from ours — Consequences relative to musical laws or to the rules of musical notation which may be drawn from these observations — Liberty of evolution in musical art. Meaning and Expression of Pure Music. Paper in French, in Section III. By MAURICE GRIVEAU, 6 rue Fdrou, Paris. Librarian at the Library of St. -Genevieve. See p. 238. ABSTRACT. — The mystery of Music and its definition— Logical sense and sentimental expression of melodies without words — Pure music is not indefinable, but it is vague in its meaning — Method of determining its meaning and true expression — Music under its formal and graphic aspect — Melodic "design" — Longitudinal and transverse axes of the score- Theory of the Arabesque — Decorative music — Music under its " dynamic " aspect — Music describes movement under its different forms : mechanical, cosmic, vital, and mental — Music and gesture, feature-play — The choreographic and mimic type of music — Music and pendulary oscillation — Every melody may be considered as the graphic picture of a compound pendulum — Justification of the term tonal attraction — Music and language— It is the language of reasoned sentiment — Its grammar, metre and rhetoric — The seven parts of speech in music — Theory of vocal inflexion — How it can be reconciled with that of the Arabesque and that of gesture — Complete definition of music. Mozart's Pantomimes and their Performance. Paper in German, in Section VI.' By HERMANN GUTTLER, 17, Steindamm, Konigsberg. Musical Editor of the " Ostpreussisohe Zeitung." See p. 363. ABSTRACT. — To the less known types of music which were cultivated at one time or another by the many-sided genius of Mozart, belongs the composition of Pantomime-music, of which we possess some interesting examples. In the Ballet-pieces and Ritournelles of his earlier work in the Italian Opera, Mozart was already in touch with the mimic art, but so far he had not introduced depth of feeling into his dance-music to any noticeable extent. When later on in Vienna he was obliged to produce all kinds of dance-music for the Royal- Imperial Masquerades in his official capacity, he often introduced all kinds of poetic adornment and instrumental ornamentation. The Pantomime proper, which Mozart had probably met first in French and Italian models, caused him to turn his attention to this field of activity, as the occasion called for it. Some fragmentary music for a pantomime depicts, with a graceful touch, in the portions which have come down to us, the ordinary Harlequin and Columbine antics — Another score of Pantomime-music, found by Victor Wilder in the library of the Paris Grand Opera, entitled " Les petits riens," must contain portions from Mozart's pen, as we know from the letters of the youthful master, who was in Paris at the time, that he collaborated in this work. In spite of the decided unskilfulness of the author, whose name is indicated on the score, it is not always easy to detect the numbers by Mozart's hand, as is proved by the extract for the piano by Rend de Vilbac, his wrongly adopted Gigue finale, and certain poetical misinterpretations. The overture and thirteen of the pieces of dance-music by Mozart have often been staged [e.g., this very year, in London) since the discovery of the manuscript, without taking into account the original form which was the basis of the first production of the piece in Paris in 1778. As the scenarium of the Pantomime is lost, and the pieces by Mozart constitute only a portion of the complete score, the inconsequence of style which reigned up to that time is easily intelligible. Contemporary reports in the " Journal de Paris " tell us however quite clearly how the action of the Pantomime proceeded, so that a reconstruction of the piece, according to the original action, would be quite possible ; and, if limited to the pieces by Mozart, might well be utilized. In the opinion of the " Journal de Paris " the division of the work into three parts — a lyric-anacreontic part, a burlesque-comic scene, and an idyll, must be retained, which would be quite possible if some of the numbers of the score were changed round. The conclusion of the whole piece, very elusive in character, but much applauded in its time, would bear some alteration in keeping with the ideal character of Mozart's music. There follows a detailed description of the scenic reconstruction of the score, in accordance with which a performance has already taken place in Germany. The results were shown by the lecturer in an edition of the score. 61 ENGLISH ABSTEACTS— con«mMC(f. The Influence of Secular Idiom upon English Church Music. Paper in English, in Section IV. By WILLIAM HENBY HADOW, M.A., Mus. Doc. hon. oauaS,; Principal of Armstrong College, Newcastle-on-Tyne ; member of the "English Committee " of the Int. Mus. Society. See p. 303. ABSTEAGT.— The paper indicated the course of Church Music from Dunstable to the " Westron Wynde " Masses of Tye and Taverner. Then came the reforms of Cranmer, which unexpectedly prepared the way for the use of secular songs in psalmody : — e.g., the use of the tune " Greensleeves " as a hymn. Next followed the interrelation of sacred and secular idiom in the Madrigalian period, and the gradual change to more expressive treatment of the sacred text. After the Puritan period this developed into dramatic treatment of Anthems and Services at the Eestoration, further developed by the twin-growth of Opera and Oratorio. Under the best traditions this was maintained at a high level of artistic dignity {though artistic purity was sometimes sacrificed) ; but when English Church Music began to decay the secular influence proved to be a serious bane. At its worst this took shape in the Church Music of 1860-80, which was saturated with the style of the sentimental part-song. From 1880 onwards the improvement began, and has continued to the present day. The secular idiom is not banished ; it is even within certain definite limits encouraged ; but there has come a reaction against triviality and sensationalism, which augurs well for future progress. Musical Relations between England and Denmarlc in the XVII. Century. Paper in EngHsh, in Section I. By Prof. Dr. ANGUL HAMMEEICH, 18 St. Blichersvej, Copenhagen. Professor in the Copenhagen University ; President of the National Section Denmark, Int. Mus. Society. See p. 129 ABSTEAGT. — Musical relations between England and Denmark had already begun towards the close of the 16th century, when English composers, players, and musicians visited Denmark, performing before the King and his Court — Amongst these companies may be mentioned the one under William Kemp, the friend of Shakespeare, which appeared in 1586 at the castle of Kronborg, near Elsinore, this explaining the exact information of the Danish Castle shown by Shakespeare in " Hamlet " — In the 17th century these musical relations became still more active between the two countries, the reasons for such increased activity being partly musical, partly political — England stood at a climax of development in art at this period, attracting the attention and interest of all foreign countries by a luxuriant harvest, Uteraiy and musical— The political reasons were based upon the near family relations of the reigning houses of the two countries. King James I. having married Queen Anne, the sister of the Danish King— This King, Christian IV. of Denmark (1588-1648), was much interested in music — He patronized art of both native and foreign origin, and supported a large andin all points efficient " Capelle," that could compete with the best in the world — He also himself supported young Danish artists studying in foreign countries, often for a number of years at a time — Known generally throughout the world as an authority, he drew foreign talent to his "Gapelle" in Copenhagen, and thus many English composers and performers — Amongst the latter were the famous lute-player and composer, John Dowland, made immortal in a sonnet by Shakespeare — He was a member of the Danish Court Baud for eight years (from 1598-1606), on a salary equal to that paid to an Admiral of the Eealm — A number of his compositions were written in Denmark, e.g., two books of " Songs or Ayres for the Lute," and a part of his celebrated " LachrymsB or Seaven Teares-Pavans," dedicated to Queen Anne, the Danish King's sister — Of numerous other English musicians appointed to the Court Band of the Danish King may be specially mentioned : The gambist Daniel Norcome, 1599-1601 ; the lutist Thomas Cuttings, 1608-10 ; the composer and gambist William Brade, three times appointed, viz. . in 1594-96, 1599-1606, 1620-22 ; the violist John Stanley, 1620-21; the harpist Darby Scott, 1621-34; the violist Thomas Simpson 1622-25 ; the pipe and tambour player John Price, 1634— After the death of Christian IV. (1648), this relation between the two countries gradually ceased. Documents relating- to Abbe Georg Joseph Vogler. Paper in German, in Section I. By GAEL FEEDEIK HENNERBEEG, 17 Grefgatan, Stockholm. Court Organist ; Librarian at the Swedish Eoyal Academy of Music ; Vice-President of the Local Branch Stockholm, Int. Mus. Society. See p. 134. ABSTEAGT.— The history of the life of Abb6 G. J. Vogler is very little known during the period 1786-1799, when he lived in Sweden as conductor of the Eoyal Orchestra and teacher to the Crown Prince. The two most complete biographies of Vogler, namely, those by John Henry Mee, in Grove's " Dictionary of Music," and by von Schafhautl (" Abt G. J. Vogler," etc. Augsburg, 1888), give scanty information for the above-mentioned period. 62 ENGLISH ABSTRACTS— continued. This paper presented documents (partly consisting of compositions and letters in autograph, illustrations, <&c.), which are to be found in Swedish archives and Swedish literature, and hitherto unknown. International Voiee-training-. Paper in English, in Section VI. By C. E. KA.RLYLE, 84, Goldhurst Terrace, London, N.W. Teacher of Singing and Musical Critic, London Musical Repr. of "Kolnisohe Zeitung," " Signale der musikalischen Welt," " Stuttgarter Neue Musikzeitung," and "Eheinisohe Musikzeitung," and on the staff of "Star" and "Morning Leader." See p. 363. ABSTRACT. — The training of the voice as a matter of general human culture and of national importance — Nationalism and voice— Voice in speech and in song— Beauty and correctness— Musical qualities of languages — Language considered from the point of the voice trainer — National methods of training voice — The old Italian method, its principles, foundations and practical precepts — Tradition and historical research — The teaching of the bel canto of to-day — Ruling ideas and social conditions of the age and voice-training— Voice- training in relationship to musical style — The scientific and the artistic basis - Principles and methods— Nationalism in modern methods— The international standpoint - Ideals, criterions and standards. Some Characteristics of British Folk-song-. Paper in English, in Section II. By FREDERICK KEEL, 207, Castelnau, Barnes, S.W. Vocalist and Teacher of Singing, Editor of the "Folk-Song Society's Journal." See p. 179. ABSTRACT.— England : Tunes up to 16th century — Lyrical, narrative, and dancing tunes — Folk-songs in ballad operas — Neglect of modal tonality — M-odal tunes and pentatonic airs — Tunes spoilt through ignorance of modes —Vagueness of tonality — Irregular time- measures — Melodic outline and structure. Wales : Awakened interest in Folk-song — Difference in songs of North and South Wales— Penillion-singing, the two methods — First collection of Welsh Folk-songs — Influence of the harp on songs. Scotland : Early music on pentatonic scale — Other scales — Highland and Lowland music contrasted — The " Scottish snap " — Gaelic music — Folk-song in the Hebrides and the Isles. Ireland : Wealth of Folk-song — Its great variety and charm— Chief characteristics of time — Melodic structure — Dance tunes — Narrative airs. Rhythmical Construction of Folk-song's of the Ukraine (Little Russia). Paper in German, in Section II. By Prof. PHILARET KOLESSA, Lemberg. Professor at the Gymnasium. See p. 184. ABSTRACT. — The phrases and regular caesuras in the songs correspond to the pauses, rests and dead intervals, by means of which the phrases of the respective melodies are marked off from one another— Thus each phrase, provided as it is with a definite rhythmical structure and closely connected with a group of syllables in the text, has the appearance of a rhythmical motive, a musical syntactical foot, in which the number of note-values has to correspond to the number of syllables — Since then the melody of the first verse, in respect of rhythm and number of syllables, presents a definite form on which all the other verses of the song are fashioned, the principle of syllable-counting seems to be a distinguishing mark of the folk- songs of Ukraine— The verses of the text correspond to the groups in two and three parts, which arise from the combination of the rhythmical motives in the formation of the first and second symmetry, and also to many individual motives consisting generally of six or seven note-values each — Thus the verses acquire a structure of one, two or three parts as the case may be. Italian Inventions for Instruments with a Keyboard. Paper in English, in Section V. By BARON ALEXANDER KRAUS, Jun., 10 via dei Cerretani, Florence. Banker, Writer on Music. See p. 324. ABSTRACT.— Origin of dampers and pedals in the ancient "stops" of clavichords, spinets and harpsichords — Bartolommeo Cristofori da Padova's invention of the free-damper (1711) — Underdampers and overdampers— Pietro Prosperi's invention of the pedal of the spinet with sourdine (Siena, 1716), unknown hitherto — Wrong quotations in works on musical history about damper and pedal inventions. 63 ENGLISH ABSTRACTS— coHJidKcd. Historians copying one another — Bartolommeo Cristofori, the true inventor of the hammer action, invented also the system of shifting the Ijeyboard in pianofortes, in order to produce a diminution of intensity in the sound, by compelling the hammers to strike only one string, instead of two. Because of this contrivance, which nobody had noticed yet, Cristofori called his instrument " Gravicembalo col Piano e forte," and this was the true origin of the name Pianoforte. The Method of Musical Analysis. Paper in German, in Section HI. By Dr. ILMARI KEOHN, 3, Iso-Robertinkatu. Helsingfors, Teacher of Musical Theory and History in the University. President of the Local Branch Helsingfors, Int. Mus. Society. See p. 260. ABSTRACT. — I. Fundamental principle. The exact analysis of minor works of art — II. Threefold method of analysis : According to (A) metrical structure, (B) harmonic sequence, (C) thematic development —"A." Cognizance of the elementsof metre-foot (Fr, pied) and line (Kolon) at present obscured by the conventional idea of the " bar" — Different con- ceptions of 3-4 time — Mistaken application of the term " two-part " song form — Development of ancient periods in modern masterpieces. " B." Analysis of harmonic-sequence in conjunc- tion with period-endings, line- endings, and bar-foot liftings — Different representation of the three fundamental harmonies, TDS — Character of the harmonic movement between these three fundamental types — Character of the modulation in accordance with the different method of adjustment — Normal modulation introduced by means of common S harmonies — "C." Thematic unity is partially hidden : it is the duty of analysis to bring it to light — Different kinds of rhythmic and melodic theme-transformation — Characterization of the commencing theme— III. Specific characterization by means of tempo, agogics, dynamics and instrumentation, depending on rhythmic, harmonic and thematic parallels and contrast — IV. Relative worth of programmatic speculation ; objective value of exact musical analysis. The Necessity for a Uniform Method of Investig-ation of Popular Melodies. Paper in German, in Section II. By Magister ARMAS LAUNIS, Kilo, Helsingfors. See p. 185. ABSTRACT. — The uniformity of methods of investigation so essential for the com- parative study of popular music, might be promoted by the following means. First of all, there should be uniformity in the fundamental conceptions of music. The investigators should determine these, establish a consistent terminology, and devise systematic abbreviations, by means of which the various characteristics of the melodies might be briefly expressed. The investigations should oiler opportunity for comparison with other collections of popular melodies, by means of detailed particulars of melodies and groups of melodies. Pastorals in French Music of the XVII. Century, and their Influence on the Opera. Paper in French, in Section I. By LIONEL DE LA LAURENCIE, 20 Avenue Rapp, Paris. Vice-president of the National Section Northern France (Paris), Int. Mus. Society. See p. 139. ABSTRACT. — The Court-ballet and the Pastoral prepared the way for lyric tragedy -The various musical elements of the Opera are developed in the Ballet, but its poetics flow direct from those of the Pastoral— The dramatic Pastoral of the French imitators of Tasso, Guarini and Montemayor has the appearance of an opera without music, looking to its balanced dialogues and the character of the sentiments evoked — The Pastoral made its appearance in music in the course of the Ballet, under the form of preludes and dialogue scenes ; then the tragi-comedy and the spectacular pieces gradually became impregnated with music— The " Triomphe de I'Amour" by de Beys and La Guerre (1654) was the first pastoral set entire to music -Those of Cambert and LuUy heralded the advent of the opera which takes its subjects (Armide, Isis, Galath^e, Proserpine), its miraculous element, its amorous atmosphere, and the gallantry of its language, from the dramatic pastoral. Psalms and Chants of Russian Sectarians in the Caucasus. Paper in English, in Section II. By Madame EUGENIE LINEFF, Kuskoo-Tchouchlinka, near Moscow. Teacher of Singing. See p. 187. ABSTRACT.— Russian Sectarians in Caucasus— Hardship of their surroundings— Their amazing energy and capacity for work— Unremitting seeking for truth— Close connection between their religious conception and practical life— Brotherhood and equality of all men— 64 ENGLISH ABSTBkCIS— continued. Mutual assistance and entire absence of mendicants — Communal principles as oonsequenoe of the primitive Christian conception of life —Psalms and religious songs as a reverberation of their religious ideas — Musical significance of those psalms — Their melodies and the peculiar polyphonic treatment of the parts, resembling the Eussian peasant songs. (ft) Molocans in Tiflis. —Fiist acquaintance with these— Eeligious meeting in the house of prayer— Numerous congregations, mostly elderly people— Cleavage among the Old and New Molocans — Peculiarities of their singing— Family likeness of the chants and the peasant songs — Distinctive features of rhymed texts (peasant songs) and prose texts (psalms) — Peculiarities of musical periods in psalms and religious songs — Congregational meeting of New Molocans— The influence of Baptists— Preaching— Public penitence — Psalm-singing — Some typical New Molocans— Phonograph-records of psalm-singing— Musical peculiarities of the psalms. (6) Douklidbors. — First acquaintance —Territory of Doukhoboria — Village Orlovka and its inhabitants — Dounia Verigina, the wife of the Doukhobor leader, Peter Verigin— His son, Peter, and his family — Aliosha Vorobieff, spiritual brother of Verigin. Geographical and climatic conditions of Doukhoboria "Cold Mountains" — Total absence of trees and shrubs — Yet the Doukhobors are a well-to-do people— Their remarkable endurance for work and their cheerfulness — Celebrations of Peter and Paul's day, patron of Peter Verigin and date of commemoration of the burning of arms — The singing of psalms— Peculiarity and strangeness of their melodies — The ceremony of mutual brotherly kissing — Difficulties encountered with the recording of psahns. (c) The Community of New Israel. — " Eationalistic village " Nadejda (" Hope ") — First acquaintance with the members of the commuuity-r-First impressions — The Sunday congre- gation in prayer-house — The singing of Sion songs — Their melodies carry the influence of Eussian peasants' songs, baptistic chants, &c., with a peculiar polyphonic treatment — The words of the Sion songs are rhymed compositions put together in commemoration of some phase of life in the New Israel Community — In the Sion psalms are expressed the aspirations of the Community and sometimes the criticism of the existing conditions of life. The paper was illustrated by numerous phonograms and photographs taken during the journey. Five examples of the music are here shown, and one photographic group. Introductopy to "Tonic Sol-Fa." Paper in English, in Section VI. By WILLIAM GEAY McNAUGHT, Mus. Doc, F.E.A.M., Annandale, Woodside Park, North Finchley, London, N. Editor of "The Musical Times." Joint Secretary of the " English Committee," Int. Mus. Society, and of the Congress. See p. 364. ABSTEACT. — The problem is psychological — Temporary memory of absolute pitch is the basis of all musical perception — Speaking for the moment of melodic outline only, such memory is directed in detail to relationship with the last preceding note (interval-sense), and in group to relationship with all the previously sounded notes which are more or less distinctly remembered (key-sense) ; and the latter perception is the easier of the two to grasp — Key- sense has been symbolized for a thousand years, and the " Tonic Sol-Pa " notation is a last word in that direction — Therein the association of syllable and effect is the vital and suggestive nexus — The " Tonic Sol-Fa " notation leads up to the staff notation. The Interpretation of Musical Ornaments. Paper in English, in Section III. By J. A. FULLER MAITLAND, M.A., F.S.A., Borwick Hall, Carnforth, Lancashire. Late musical critic to " The Times," Member of the "English Committee" of the Int. Mus. Society. Seep. 259. ABSTEACT. — The conventional signs for musical ornamentation — Eeasons for their use — Explanation in different treatises — The " acciaccatura " of English organists — Bach's use of ornaments— Tiirk and the "Vorschlage" — Interpretation of various passages in Bach, Boccherini, Eossini, and Chopin — Modern practice contrasted with the tradition as explained by Tiirk and others — Eeasons for a return to the interpretation supported by tradition. 65 ENGLISH ABSTEACTS— continued. Subjectivity and Objectivity in Catholic Church Music. Paper in German, in Section IV. By Canonicus DDr. FRANZ XAVER MATHIAS, 2, Bruderhofgasse, Strassburg, Alsaoe. Rector of the Strassburg Seminary for Priests, and Teacher of Catholic Church Music at Strassburg University. See p. 303. ABSTRACT. — A one-sided interpretation of the idea Catholic Church Music often leads to the exclusive alliance of this idea with that of " objectivity." In its true essence and fullest scope. Catholic Church Music is " the participation of the musical world in the authoritatively ordered and formal devotion of man towards God, and of God towards man, as represented in the historic and mystic God-man (Christ and the Church respectively)." Now, just as this Divine service of Objectivity and Subjectivity in its entirety turns aside only that which is contrary to the Spirit of Christ and of his Church : from the former everything that is empty, colourless and lifeless, from the latter all caprice, all contrariness, everything that is meaningless, formless, or in bad taste, but on the other hand combines in one harmonious concord all the positive values of each — the greatness and sublimity of the former, the unity, fullness and warmth of life, the depth and strength of feeling of the latter — just so the musical part of it reveals a corresponding harmonious union of Sub- jectivity and Objectivity. Hence neither "Subjectivity" nor "Objectivity" is the watch- word of Catholic Church Music, but " Subjectivity and Objectivity in noble enlightenment and harmonious union." Principles of Pianoforte Teaching'. Paper in English, in Section V. By TOBIAS MATTHAY, 96, Wimpole Street, London, W. Professor at the Royal Academy of Music. See p. 326. ABSTRACT. — Regarded as suggestions to teachers, the subject was divided into: — (1) The difference between practice and mere strumming ; (2) The difference between teaching and cramming ; (3) How the pupil's mind can be brought upon his work ; (4) Correct ideas of time and shape ; (5) The element of rubato ; (6) The element of duration and pedalling. Proposals for Editing' Vocal Music of the XV.— XVII. Centuries. Paper in German, in Section VI. By Dr. ALBERT MAYER-REINACH, 62, Moltke- strasse, Kiel. Director of the Conservatorium. See p. 365. ABSTRACT. — Most of the editions of old vocal music which we possess fail to pay suflBcient attention to subtleties of rhythm within the individual parts. By means of division into bars, which are determined entirely according to a fixed duration of time (whether it be simple or compound time), they destroy the original character of the composition. Modern editors have attempted to overcome this difficulty by omitting the bar-strokes and replacing them by other signs, or by a non-simultaneous marking of the bars in the different voices in accordance with their respective rhythms. The latter method, whose chief exponent is Leiehtentritt, succeeds in making the score give a true picture of the rhythmic grouping of the individual parts. But these more recent editors do not take enough account of musical practice. In practice, at any rate in the case of a normally constituted choir, it is impossible to get on without regular recurring bars. Some means must therefore be found by which the bar-strokes may be retained, and at the same time the rhythmic values of the voices rendered clear. The author's efforts in this direction formed the subject of the present paper. A New Musical Notation or Stenography. Paper in French, in Section III. By ANGEL MBNCHACA, 183 Avenida Montes de Oca, Buenos Aires, Argentine Republic. Inventor. See p. 267. ABSTRACT. — This is a new notation or stenography, applied to the tones of music, on the assumption that those tones are twelve exact to the octave. The stenographic elements are as follows : — (a) A single horizontal line replaces the stave. (6) A sign like a large pear- shaped semibreve indicates, according to the way it leans, and according to its position above or below the horizontal line, this or that tone. The stalk end of the pear may point horizontally in two ways, to right or left ; or it may at an angle of 45° point in four directions ; this makes six clearly perceived variations. Situation above or below the horizontal line will double the number. The whole number will thus be twelve, one for each of the tones of the 66 ENGLISH KBSTBkCTS— continued. octave (douzaine). Author's descriptive names for the twelve tones are : — la, (se), si, do, (du), re, (ro), mi, fa, (je), sol, (nu). The names in brackets are his additions to the familiar diatonic Guidonian. (c) A short horizontal line indicates a rest, (d) A heavy dot indicates, according to its position in the circumference of the pear-shaped note-sign, or on the upper or lower surface of the short horizontal, the time-duration of the note or rest. A normal duration, with two longer and six shorter, are thus provided for ; total, nine, (e) A short and a high vertical line indicate, according to their position as attached to either end of the pear- shaped note-sign, the various pitch-octaves. The short vertical equals in size the greatest diameter of the pear-shaped note, and the high vertical is the double thereof. The short vertical, attached to either the stalk-end or the round (calyx) end of the pear, and pointing either up or down, gives four variations ; the high vertical as many more. With an unmarked medium, this gives nine octaves, which are the utmost known to music. Author's names for these octaves (douzaines) are : — sous-prof onde, profonde, grave, basse, centrale, haute, brillante, aigiie, sur-aigiie. ( f) Barring is done by punctuation, ig) There are one or two supplementary devices. As a vehicle for denoting melodies or single parts, this stenography is more compressed than stave-notation. Even for transcribing such a thing as a full pianoforte piece, it is as two to three in the space occupied. Th6 Government of the Argentine Bepublio has given its official sanction to the teaching of this method in training- schools, &c. Some points of principle relative to Catholic Church Music. Paper in German, in Section IV. By Prof. Dr. HERMANN MULLER, Paderborn, Westphalia. Professor of Theology, and President of the AUgemeiner Caoilienverein. See p. 303. ABSTRACT. — This paper deals primarily with the present development of Catholic Church Music in German-speaking countries. Attention is drawn to the importance to music of the Motu-Proprio of Pope Pius X. The traditional melodies of the Editio Vaticana constitute the main feature of interest in the cultivation of Gregorian plainsoug. The advantages of these melodies over the shortened melodies, whether from a scientific or an artistic point of view, are increasingly recognized. As regards mensural vocal church-music, we are well aware of the great importance of the classical polyphony of the Roman school of the 17th century. But modern music is capable of producing compositions of such excellence, such seriousness, and such value, as to be not unworthy of adaptation to liturgical purposes. Between the style of the classical polyphony of the 16th century and the theatrical Italian style of the 18th century, which is useless for ecclesiastical purposes, lies a wide field of musical activity which may be differently valued from an sesthetic, a practical, or a historic point of view ; which however, if it possesses artistic value and satisfies the requirements of the liturgy, cannot lightly be excluded from religious service. Polish Da'hces outside Poland. Paper in German, in Section II. By Dr. TOBIAS NORLIND, Tomelilla, Sweden, Teacher of History of Literature and Music in Lund University ; Rector of the Volkshochsohule, Tomelilla ; Secretary of the National Section Sweden, Int. Mus. Society. See p. 20. ABSTRACT. — To the Polish Dances which are known outside Poland belong primarily the "Polish dance" of the 17th century, the " Polonaise " and the " Mazurka." No unity of opinion exists as to the origin of these dances ; only one thing is universally admitted, that they represent quite different stages of development. In the opinion of the author all these dances belong to one common ground-type, viz., the Polish dance of the 16th century. Out of this ground-type were developed, on the one hand the Mazurka of the 17th century and the Polonaise of the 18th century, on the other hand the Swedish folk-dance, the Polska. Although the Polish dance was known in the 18th century as a popular dance in Germany as well as in Denmark, Norway, and Finland, yet it was cultivated principally in Sweden, and it is there that it gradually split up into three separate types :— (1) the Polska in dotted quavers (= Mazurka), (2) the semiquaver Polska {=: Polonaise), (3) the Triol- dances ( = No;:wegian " Springdans "). In order to illustrate more fully the development of the Polish dance, a musical supplement consisting of 65 dances was distributed among the audience. 67 ENGLISH ABSTRACTS— contimicd. English Music for the Lute in the time of Shaltespeape, Paper in German, in Section V. By Dr. TOBIAS NOELIND. As above. Seep. 331. ABSTEACT.— English music for the lute arrived at a state of independence just about the same time that virginal-musio attained a European reputation at the end of the 16th century. Continental lute-music reached its highest point about the year 1600 with Besardus, Laurenoinus, Diomedes, etc. But the very popularity of virginal-music in England constituted a cause why lute music had to strive so hard for its independence. It is for the same reason that we know so little now about lute-music of that time in England, whereas the virginal-music of the same epoch is renowned all over the world. But it would be wrong to ignore or despise the English lute-music of that time. The lute stands high, not only as an independent instrument, but more especially as an instrument of accompaniment for vocal music. In the fantasies for the lute, it often allies itself closely as regards technique with virginal-music, but as an instrument of accompaniment for solo- singing it succeeds in getting at what is essential in a surprising degree. As the songs which were sung to an accompaniment on the lute were generally composed by the best English poets, the lute became the most important mediator between a highly-reputed poetic and a highly-reputed musical art. The first Polish Operas and their influence on the period of Chopin's Youth. Paper in French, in Section I. By HENRYK OPIENSKI, 53 Wilcza, Warsaw. Opera Conductor. See p. 146. ABSTRACT. — The Italian Opera has existed in Poland (at the royal court of Warsaw) since the year 1633. but it was the poetical and literary movement of the end of the 18th century (1778) which created the national Polish Opera, interesting both for its own character and for its direct relations with the period of Chopin's youth. The character of the earliest Polish operas (the authors were M. Kamienski, 1734-1821, and J. Stefani, 1764-1829) is German as regards style, " opera buffa " and " opera comique " as regards class. But the new and original element was the employment of popular themes, the subjects for which were taken from peasant life. The ideas of Kamienski and Stefani were taken up again at the beginning of the 19th century by Chopin's teacher J. Eisner, and by Ch. Kurpinski, who together created the first historical Polish operas. At this time the national opera became the most perfect expression of musical art in Poland, and that is why J. Eisner could not understand how it was possible for his gifted pupil Chopin not to become a composer of operas. Chopin was familiar from his childhood with Krakoviaks, Mazurkas and Polonaises in the national opera ; and this inevitably contributed to the formation of his ideas on national music, which he succeeded in developing with all the force of his genius. A Patent Fingrer-stretcher. Paper in Italian, in Section V. By ICILIO ORLANDINI, 2, Via Puccini, Pistoja. Inventor. Seep. 331. ABSTRACT. -The mode of using the apparatus is as follows. Place the palm of one hand on the cushion and insert the five fingers within the small rings. Then work the lever with the other hand, pressing the handle from top to bottom. To obtain the maximum amount of dilatation, advance the fingers (as far as possible) beyond the second articulation, and after having worked the lever several times, bring it to a stop at its extremity by means of the hook attached. These gymnastics, useful to all students of any musical instrument whatever, help to give elasticity and independence to the fingers, and a great and ever- increasing vigour to the hand. The Meaning of Ug-liness in Art. Paper in English (Full Meeting). By Sir C. HUBERT H. PARRY, Bart., C.V.O., M.A., Mus. Doc, D.C.L., LL.D., Highnam Court, Gloucester ; Director of the Royal College of Music, London; member of the '-English Committee," Int. Mus. Society. See p. 77. ABSTRACT.— Disagreeable things have to be discussed. They amply repay discussion. It often happens that they prove not to be disagreeable on better acquaintance. Things which were once regarded as too ugly to be endured are the most familiar of our present day experiences. Nearly all the prohibitions in artistic theory are based upon the assumption r 2 68 ENGLISH ABSTRACTS— contimtetZ. that ugly things should not be allowed. This view has so frequently proved to be unsound that many people either infer that ugly things do not really exist, or that they are among the most valuable assets in the panoply of aspiring genius. In either case inferences are liable to go too far. Breaking rules is often a, very healthy occupation ; but it requires discrimination, because those who break them in haste often find out too late that they have broken the wrong ones. A vast number of things are thought to be ugly merely because they are not understood. Until their relation to the context is perceived, they produce a disagreeable impression. The type of things which are physically disagreeable often prove to be quite pleasant wheii the mind explains them. The real oriterions have to be sought for in the range of mental perception. The ugly things which are offensive are such as the mind perceives to be ugly in intention ; such things as are utterly out of gear with context, and are not there for an artistic purpose but for other reasons. It generally resolves itself into being something in the wrong place. Commercialism puts everything artistic in the wrong place, because it does not employ creative instinct, but trades on the ignorance of the multitude and supplies them with wholesale shams in stock patterns. Specialization in education tends to narrow the outlook, and to over-emphasise the intrinsic at the expense of the relative. The highest object of education is to develop the mind to the perception of relations. Specialization without the higher phase of education makes people forget that there are millions of aspects of every different thing ; and to lose sense of the countless associatory suggestions which minister to the poetry and interest of things. The effects of the various influences of the time are manifested in conflicting views. To some people ugliness in art seems to be a sort of contagious evil which should be repressed. But mere artificial regulations of the kind commonly make the perversities thrive all the more. The ardour for experiment in all departments of thought and action is reflected in art. The conventions which are utterly dead and obstructive are getting broken up by degrees ; and while they are being broken up there must be some disorder and ugliness. There are some uglinesses which are adorable and some which are revolting. The regulations of respectability have too often banned the former and given free rein to the latter. But it seems to be a general rule that things which are sound survive and things which are unsound disintegrate. Uglinesses are something like bacilli. The wholesome kinds are more likely to exterminate the unwholesome kinds, if they are given fair opportunity. The right to be healthily ugly is one which everyone who has any personal convictions is bound to insist upon. A Mechanical Tuner for Equal Temperament. Paper in French, in Section V. By Cav. Uff . GEEEMIA PIAZZANO, 38, Via Mazzini, Turin. Juventor. See p. 332. ABSTEACT. — The instrument exhibited has thirteen strings, which are to be tuned by the operator to a dead unison. Then a transverse diagonal fret, which runs from the top of the left-hand string to the exact middle of the right-hand string, is to be adjusted by three screws. As the transverse diagonal fret presses on all the intermediate strings, it follows that the whole apparatus exhibits an octave of strings mathematically divided according to equal temperament. The tuner of a keyed instrument has merely to tune by the sounds thus given. Music and Musicians in Paris in 1848. Paper in French, in Section I. By J, G. PEOD'HOMME, 9 rue Lauriston, Paris, Secretary of the National Section Northern Prance (Paris), Int. Mus. Society. See p. 149. ABSTEACT. — In this paper the writer examined the different musical institutions of Paris in 1848 and the following years until the Second Empire : — Conservatoire, Op6ra, Th^atre-Italien, Th^atre-Lyrique — Enumerated the musical manifestations which accom- panied the Revolution of 1848, and the " songs of circumstance " which were composed or published at that time — Passed in review most of the musicians who became celebrated at that epoch — The paper concluded vrith an extensive musical bibliography. Notes on the Origin of the French Overture. Paper in French, in Section I. By HENEY PEUNIEEES, 51 rue de Bourgogne, Paris. Professor at the Ecole des Hautes l^tudes Sociales. See p. 149. ABSTEACT. — The French Overture is composed essentially of two parts : the first, with a solemn and jerked rhythm, is in common time and ends on the dominant ; the second, lively and springing, begins with points of imitation and returns to the tonic. Sometimes the Overture comes to a grave conclusion in common time. This classic type of Overture 69 ENGLISH KBSTBKCTa— continued. seems to have been created by Lully. Practically, what Lully did was to substitute the Italian fugato for the second movement of the primitive French Overture, which was written in compact harmonies. It is possible to follow all the phases of this evolution in the manuscript-collections of ballets written between 1640 and 1660. After a first interesting attempt in the ballet " L'Amour Malade," Lully introduced " Alcidiaue " (1659) with an Overture in regular form. He continued to work at perfecting his invention during the following years, and wrote a masterpiece of its kind for the ballet of " Xerxes " in 1660. Reform in the Notation of Orchestral Scores in " Popular " Editions. Paper in French, in Section VI. By DOESAN VAN REYSSCHOOT, 32, rue de la Valine, Ghent. Professor of Harmony and Counterpoint in the Ghent Conservatoire. See p. 366. ABSTRACT. — The question of orchestra-scores for so-called "popular" editions demands reform in the notation as follows, if the scores are to become more completely accessible to the only readers for whom they are intended : — (1) Exclusive use of the two ordinary clefs — (2) A more reasonable arrangement of the instruments according to the family to which each belongs and the tessitura which it therein occupies — (3) Notation of the real sound according to its tessitura (suppression of the conventional notation in the upper and lower octaves) — (4) Notation in the real tone of the piece, for instruments called " transposing instruments " — (5) Maintenance throughout the whole work, or at any rate in its main portions, of all the score-signatures which the orchestration renders necessary. Justification of these modifications. Musical Instruments in Spain in the XIII. Century. Paper in French, in Section V. By CECILIO DE EODA, 40 Huertas, Madrid. Director of the Madrid Conservatoire, Member of the Spanish Academy of Fine Arts. See p. 332. ABSTRACT. — Musical instruments in the Codex de las Cantigas of King Alfonso X. at the end of the 13th century — Miniatures — Musical instruments in the poem, "LibrodeBuen Amor," by Arcipreste de Hita, towards the middle of the 14th century — A large number of instruments shown in the Codex Alfonso are at present date in use among the Arabs of North Morocco — Arabian and European instruments. Choir-Boy Training-. Paper in English, in Section IV. By CYRIL B. ROOTHAM, M.A., Mus. Doc, 4, Huntingdon Road, Cambridge. Organist and Director of Music, St. John's College, Cambridge. See p. 307. ABSTRACT. — Important subject, since it concerns future speaking and singing voices of thousands of the population — Choirmasters should be able themselves to sing, and should have musical speaking voices — Selection of boys for choir — Value of developing local talent — Boys in any one choir should vary in age (8-16 years)— Daily training ; position of boys in practice-room and at service-time — Importance of regular training — Different methods of production — ^Best results achieved by using exercises which begin on highest notes — Forward production — Training of little use unless results embrace ff as well as pp singing, effective crescendos and diminuendos — All vowels and consonants should be sung naturally, as in good speaking — Remedies for forced production and flat singing — " Breaking " period of the boy's voice — Paramount importance of ceasing to sing before the treble voice actually gives way, and puberty supervenes— Illustrations : — Exercises and solo work. A System for dividing the Octave into 19 notes, with Appropriate Notation. Paper in German, in Section III. By Prof. MELCHIOR ERNST SACHS, 7, Elisabeth- strasse, Munich. Professor in the Munich Royal Academy of Music. See p. 279. ABSTRACT. — Development from 3- to 5- to 7- to 12- to 19-note system— Names of the 19 notes and number of vibrations of each— The 19 major and minor triads are purer than in the 12-note system— Music for the 12-note system can be played readily in the 19-note system ; the small differences in pitch are negligible — The 19-uote system gives increased facility for musical expression — 'The lecturer played pieces in both systems on a harmonium (which exhibited) tuned to the 19-note system — The proposed notation is graphic, and shows with great clearness the pitch, duration and strength of the notes — Horizontal red and blue 5-line systems alternate ; each has room for 19 notes — The note is indicated by a horizontal stroke, the thickness of which shows the degree of force — Duration is indicated by faint perpendicular lines. 70 ENGLISH ABSTBACTS-co)i!(nw«d. Tessaradeeatonic Harmonium. Paper in French, in Section V. By JOSE PEREIRA DE SAMPAIO, 414, Rua de Bomjardino, Oporto, Portugal. Inventor. See p. 333. ABSTRACT. — This apparatus (a harmonium of two octaves with seven white and seven black keys) was explained by the inventor, first in a treatise entitled " Thfeorie exacte et notation finale de la musique," then in a printed letter. In the tessaradeoatonie harmonium the sharp of a note is strictly equal to the flat of the following note. Therein the diatonic scale is rendered, not by the series of the white notes but by that of the black notes. Another harmonium, for practical use, is under construction. An unppinted collection of German Popular Songs, with their Melodies, collected from oral tradition in the Altmark and Mag'deburg' districts by Ludolf Parisius. Paper in German, in Section II. By Dr. FRIEDRICH SANNEMANN, Hettstedt. Pastor. See p. 205. ABSTRACT. — In the year 1879, in the eighteenth annual report of the Altmark Society for Patriotic History at Salzwedel, Ludolf Parisius gave to the public 21 songs with notes and melodies, and published them in a separate edition. The larger collection, hitherto unprinted, covers 730 quarto pages in the MS., without melodies. Two hundred and eighty-one popular songs in the text and over 150 melodies are herewith presented. The existing literature relating to the popular songs, along with the text-variants according to the several places where they were found, is dealt with in notes. The collection contains 15 religious poems, 46 ballads, 91 love-songs, 56 soldier-songs, 31 hunting-songs and songs for various classes, 42 songs of diverse nature, and in the appendix a large number of proverbs taken from peasant life, rules for health, superstition of all kinds, counting-rhymes for children's games, &c. As regards the value at which this great collection should be assessed it is significant that the Prussian Ministry of Public Worship has promised a suitable contribution to the cost of printing when the collection goes to press. Iconography of Musical Instruments. Paper in Bnghsh, in Section V. By Dr. D. F. SCHEURIjEER, 53, Laan van Meerdervoort, The Hague. Banker, President of the National Section Holland, Int. Mus. Society. See p. 334. ABSTRACT. — The great importance of a study of the representations of musical instruments on pictures, sculptures, coins, vases, &a., has often been recognised by different scholars. Attempts have been made to get descriptions of what is extant in certain collections, but they have only given small fragments and have been treated from different points of view, and they thus lack unity of system. Consequent on this paper, an international committee has been appointed for the purpose of preparing a general, and as far as possible complete, inventory ; see Monthly Journal for July, 1911, page 292. New editions of English Virginal-music. Paper in German, in Section VI. By Prof. Dr. MAX SEIPFERT, 28 Gobenstrasse, Berhn. Teacher at the Berlin Royal High School for Music. One of the editors of the Int. Mus. Society. See p. 369. ABSTRACT. — Further editing of individual manuscript-originals is from a scientific point of view neither desirable nor profitable. The need for critical complete editions of the chief masters of English virginal-music, such as Bull, Gibbons, etc., for which we have ample original material both in England and on the Continent, is much more urgent. General Catalogue of Musical Documents prior to the year 1800 contained in Public and Private Libraries in England. Paper in German, in Section VL By Prof. Dr. MAX SEIFFERT. As above. Seep. 369. ABSTRACT. — On behalf of the Historical Commission for the publication of Memorials of German Music an investigation has been undertaken of all the public and private libraries and archives in Berlin, with a view to ascertain and catalogue the 71 ENGLISH ABSTB,ACTS— continued. amount o£ musical material prior to the year 1800 contained therein. It seemed to the author to be a matter of the first importance that a similar proceeding should be undertaken in England in some way under the auspices of the Society. The British Museum has made a monumental beginning in this direction, and it is to be hoped that the scheme may find favour amongst the authorities of other libraries and amongst various patrons of musical art. Popular Music in Roumanian Countries. Paper in French, in Section II. By Prof. Dr. STEFAN SIHLBANU. 12, Str. Cozma, Bucharest. Prof essor at the University. Formerly Inspector-General of Education, and Director- General of Theatres in Roumania. See p. 205. ABSTRACT.— The author displayed the general character of Roumanian popular music, in which the minor key with its melancholy note predominates. This is the case in the lyric Songs (doinas), the lamentations, and the patriotic songs. He then proceeded to speak of dance-music, in which the slow and grave movement of the hora exists side by side with the quick, agitated accents of the s^rba, Catuta, CrS,ul, and other dances in which the cheerful, noisy note predominates. The musical structure of some well-known melodies or popular airs was then studied, and their original character was demonstrated. Illustration on the pianoforte by the author. There followed a sketch of Roumanian music in the difierent countries inhabited by Roumanians, both in independent Roumania and the provinces belonging to Austria, Hungary, and Russia. Accompanying musical texts were distributed. Lute Music in Berlin Libraries. Paper in English, in Section VI. By Fraulein ALICJA SIMON, 70, Augsburgerstrasse, Berhn. Writer on Music. See p. 370. ABSTRACT. — The object of this paper was to present in a short form (originally intended for the Lute Music Commission) a survey of works for the lute contained in several important musical collections of Berlin. The libraries in question embrace : — 1. The Kgl. Bibliothek— A report on the contents of the Berlin Royal Library was presented at Vienna at the last Congress —The London paper added a supplement of works recently brought to light in the old Berlin collection, and included a separate report on the recently acquired Tappert library. 2. The Kgl. Hochschule fur Musik. 3. The Kgl. Sammlung alter Instrumente. 4. The Kupferstich Kabinett— Further, the valuable private collection of — 5. Dr. Werner Wolffheim, Grunewald-Berlin. The report drew attention to the chief points of interest connected with this Berlin lute music, a more complete and detailed account of which may be found in the lecturer's contribution to the General Catalogue deposited with the Lute Music Commission in Paris. Laryngal Mechanism and Vocal Sound-Quality. Paper in French, in Section VI. By CARLO SOMIGLI, 162, North Avenue, Chicago. Teacher of Singing. See p. 370. ABSTRACT.— The author introduced a very careful and complete tabulation— (a) of the laryngal mechanisms, normal and abnormal, and (6) of the qualities of sound emitted thereby in singing. Ciampi's "Bertoldo, Bertoldino e Cacasenno." A contribution to the history of Pasticcio. Paper in English, in Section I. By 0. G. SONNECK, Chief of the Division of Music, Libirary of Congress, Washington, D.C. See p. 152. ABSTRACT.- A history of pasticcio is needed for an absolutely clear history of opera and operatic life in olden times. A comparison of several of the earliest librettos of Ciampi's once so popular "Bertoldo in [alia] Corte," rect^ "Bertoldo, Bertoldino e Cacasenno," illustrates this thesis strikingly. For instance, of the twenty-five arias sung at Ferrara, 1755, only eight appear among the thirty-three of Goldoni's librettos as composed by Ciampi for Venice, 1749. All the others were either interpolations from other operas or were made to order. Obviously therefore caution is necessary when basing historical or ffisthetio estimates of old Italian operas on one libretto or on one score preserved under the 72 ENGLISH ABSTRACTS— continued. name of one composer. This pasticcio tendency is noticeable even in the first operas, but it did not become systematic until the 18th century, when it was, as the author believes, a logical and unavoidable by-product of the sorittura system. The second (but not here given) part of the study deals with the relationship between Ciampi's opera and Favart's "Ninette a la cour." The comparison strengthens the above thesis still further, as such parodies were but peculiarly French contributions to the operatic genre of pasticcio. — See the Society's Quarterly Magazine, XII., 525, July, 1911. Plea for a Revision of the Complete Edition of Beethoven's Works. Paper in German, in Section VI. By Dr. FEIEDEICH SPIEO, 16, Via di Villa Patrizi, Borne. President of the " SocietJL Internazionale per la diffusione della Musica da Camera." See p. 372. ABSTEAGT. — The complete edition of Beethoven's Works was an epoch-making event in its time, but it no longer suffices for modern needs. We require absolute completeness and accuracy. We must have everything that Beethoven wrote in notes, and everything just as he wrote it. We are still without the arrangement for 4 hands, which he himself made, of the Fugue Op. 133, the Song-scherzo for Count Zmeskall and Frau Milder-Hauptmann, whole numbers from the first-form setting of "Fidelio," and much else. In the 9th Symphony the characteristic change which Beethoven made in Schiller's words is wanting, also a whole bar in the alteration of the Diabelli-Variations. In Sonata Op. 106 there is a false bass, and many other mistakes bave been printed. The titles also ought to be printed according to the Beethoven manuscripts. They are often eloquent, and reveal special intentions, e.g., in the Kreutzer-Sonata. Each work ought to be preceded by a short notice as to date of com- position, present resting-place of the manuscript, and the most important variants. The opinions of contemporaries should be quoted. Proposals for Improving Elementary "Yiolin-methods," and Hints for Teaehing the Violin to Children. Paper in English, in Section V. By Signora ASSIA SPIEO-EOMBEO, 16 Via di Villa Patrizi, Eome. First Violin of the Quartett of the " Sooieta Internazionale per la diffusione della Musica da Camera." See p. 337. ABSTEACT. — Our present methods are not melodious enough for young children. We must try to make them more so. Nor are the exercises sufficiently preparatory ; the teacher should be able to make a preparatory exercise for each child independently of the school-book. The teacher should be able to interest the child's mind by means of children's popular songs. Teaching is carried on at present according to a scheme, and not according to a real method. The teacher must understand the difference between the real method in the practical system, and a method which develops into a mere scheme with unhappy results. Children should have more lessons in the early stages of their study. The aim must be a musical, not a mechanical, technique. The child should learn to play at sight from the very first, and should be taught to sing any given melody as well as play it. The Most Recent Advances in Musical Bibliography. Paper in German, in Section VI. By Dr. HEEMANN SPEINGEE, 22, Tempelhofer- strasse, Schoneberg, Berlin. Librarian, Music Department of the Berlin Eoyal Library. Secretary Local Branch Berlin, Int. Mus. Society. See p. 377. ABSTEACT. — Main headings : — A summary of the situation as regards musical bibliography — Critical review of the most important work done in this connection in different countries — Eeport on the work of the "Bibliographical Commission" inaugurated in 1906 — The term "bibliography" may easily be read as narrowing too much the scope of the work. To make a record of the whole body of musical literature is indeed a worthy aim, but it is not the only one. Musical iconography, for instance, which has lately become a subject of attention, comes under this heading. The work of national cataloguing, which is the first step to be undertaken, has been promoted in different ways in different countries. It has been for some time apparent that a collection and publication of addenda and corrigenda for Eitner's Quellen-Lexicon constitutes a pressing need. The Berlin bibliographical centre has now made all the arrangements for breaking ground in this task (see Monthly Journal for December, 1911, page 80a). In collecting material it is not only the cataloguing of literature which must be held in view, but biography must also find its place. In fact, the work to be done under this head includes not only musical bibliography in the strict sense of the word, but also the whole field of research and documentation regarding the authorities for musical history. 73 ENGLISH ABSTRACTS— consmued. Who was " Benedictus " ? Paper in English iii Section I. By WILLIAM BARCLAY SQUIRE, M.A., F.S.A., F.R.G.S., British Museum, London, W.C. Member of the "English Committee" of the Int. Mus. Society. See p. 152. ABSTRACT. — Difficulty of distinguishing between 16th century composers of that name— The notices of Burney and Gerber were not incorrect — With Kiesewetter and F^tis the confusion began — Summary of further notices — Analysis of evidence, and production of new points in evidence — Conclusion : There were three musicians, (i.) Benedictus de Opitiis, who settled in England, (ii.) Benedictus Appenzelder, (iii.) Benedictus Ducis. Riemann conjectures that (i.) and (iii.) might be the same, but this cannot be so. The Value of a Collection of Musical Instruments in Universities. Paper in English, in Section V. By Prof. ALBERT A. STANLEY, M.A., Ann Arbor, Michigan. Professor of Music in the Urflversity, Michigan, and Director of the University School of Music. See p. 341. ABSTRACT. — Through comparative study of instruments many sides of a student's nature are brought into requisition. Its interest lies under three heads : scientific, sociological, and artistic- i.e., decorative. The value of a collection is particularly obvious in the case of the type of University found on the western shores of the Atlantic. The Provincial May Festivals in the United States. Paper in English, in Section VI. By Prof. ALBERT A. STANLEY. As above. See p. 377. ABSTRACT. —The evolution of the Music Festival in the United States is somewhat unique, for it follows the lines of certain social and political practices incidental to the system of government. The early singing school was a great initial force. The ramifications of this Festival movement can only be appreciated by statistics. Six regularly established orchestras, each with a quartett of competent soloists, will have travelled in 1911, April to June, over a section bounded by the Atlantic and Pacific Oceans, the Gulf of Mexico, and Canada. To do this they will have covered 50,000 miles, and given concerts in nearly 200 cities, some Festivals ranging from two to four days in length. Analysis of programmes given this year and comparison of programmes given in previous years, at different parts of the country. Comparative statistics of representative choruses bearing on the balance of the parts, &c. Also tables of statistics, maps, and programmes. A youthful Symphony by Beethoven discovered at Jena. Paper in German, in Section I. By Prof. Dr. FRITZ STEIN, 7 Lutherplatz, Jena. University Music-director. President Local Branch Jena, Int. Mus. Society. See p. 158. ABSTRACT.— Discovery of the parts of a Symphony in C major dating from the end of the 18th century in the records of the Academic Concerts, Jena (founded 1769) — Biblio- graphical details — Importance to be attached to the annotations occurring in two of the parts : par Louis van Beethoven, and Symphonic von Bethoven (sic ) respectively — Musical relations between Bonn and Jena — Beethoven had already attempted symphonic music before his First Symphony — Evidence of this fact — Analysis of the work — Influence of the Mannheim Symphonies on instrumentation and the thematic work — Evident indebtedness to Mozart- Traces of Haydn — Distinct stamp of Beethoven's work to be found in the Introduction, in passages of the first and last movements, in the Trio, and above all in the beautiful Coda of the Adagio — In all probability this Symphony, which is still valuable from a musical point of view, may be affirmed to be the youthful work of Beethoven, composed in the last Bonn . period ; or possibly in the first Vienna period — Lecturer played the work on the pianoforte. Musical Education in Australia, 1863-1911. Paper in English, in Section VI. By JOSEPH SUMMERS, Mus. Doc. 340, Bulwer Street, Perth, Western Australia. Organist. See p. 384. ABSTRACT.— Work at the Universities of Melbourne and Adelaide— Foreign Examiners— Danger of excessive desire to gain "marks" or other rewards— Climatic advantages and physical development obtainable in Australia. ■ 74 ENGLISH ABSTRACTS— continued. Mathematical Analysis of the Tempered Chromatic Scale. Paper in English, in Section III. By WALTER HAMPDEN THELWALL, 35, Nevern Place, Earl's Court, S.W., Member of the Institution of Civil Engineers. Seep. 281. ABSTEACT. — Musical acoustics is the only science which at present takes as its basis a series of fictions, and ignores the facts. The basis of modern music is the tempered chromatic scale, as asserted positively by musicians like Berlioz, Spohr, and Parry, and by men of science like Helmholtz. This scale has however never been subject to mathematical analysis in detail. The lecturer's aim was to remedy this state of things and induce acousticians to adopt the tempered scale as their basis. A large number of successions and combinations of musical sounds are analysed in the paper. The Italian " Sonata per Cembalo." Paper in Italian, in Section I. By FAUSTO TOEREFEANCA, 132, Principe Umberto, Eome. Editor of the "Eivista Musicale Italiana," Turin. See p. 158. ABSTRACT. — The origin of the modern instrumental style is attributed to the influence either of Ph. E. Bach or of Stamitz. Both opinions are erroneous. The style began before 1740, with the Venetian cembalists, and was connected first with the concerto of Vivaldi, Valentini, Ac, then successively with the Mannheimer, Schobert, Chr. Bach, and Mozart. The lecturer has discovered a very rich literature for the cembalo, in which Galuppi and Eutini are conspicuous ; but still more so a hitherto unknown composer, Giovanni Platti (at Wiirzburg, in 1740)— Four eoncerti unknown until Schering's time were produced in confirmation of this new historical fact— Modernity of style, amplitude of forms, rhythmic and harmonic characteristics, render them the most important productions of the epoch, especially as they precede Ph. E. Bach and Graupner in point of time. History of Chureh-music in the XVII. and XVIII. Centuries. Paper in German, in Section IV. By Dr. KARL WEINMANN, Eatisbon, Bavaria, Director of the Church Music-school. See p. 312. ABSTEACT. — At the third Congress of the Society, held at Vienna, in 1909, a resolution was passed voting that a scientific investigation, based on originals of instrumental Church- music at the turn of the 17th century, constituted a pressing need of the present day. Although the main contents of the Proske Library atEatisbon consist in valuable MSS. of the early-classical ■ ' a cappella ' ' style, it does however possess some works belonging to the period above-mentioned. The result of investigation as to the adaptability of the same for liturgical purposes, along with the question of possible future publication, formed the subject of this paper. The Basso Continuo in Italian Opera. Paper in German, in Section III. By Dr. EGON WELLESZ, 10 Eeitlegasse, Vienna. Secretary of the Local Branch Vienna, Int. Mus. Society. See p. 282. ABSTEACT. — Importance of basso continuo for the art of the 17th and 18th centuries. The basso continuo must be adapted to the style of the time in which the work was written. The classic rules of pure accompaniment can only be departed from in the last period of the basso continuo. There are two methods of application. In chamber music a subtle contrapuntal execution is required. In dramatic music the basso continuo can cover whole groups of instruments, with full harmony chords. Cases on the border line. — Special difficulty in the application of basso continuo during the early period of opera, on account of the scores being pure "sketches." Necessity therefrom arising for the separation of didactic and practical editions for the period 1600-1650. — Main points in treatment — (1) No anachronisms of style — (2) Basso continuo never to dominate the other parts— (3) Individual treatment of each separate case in the spirit of the work to which it belongs. An "Encyclopaedic Method" of Pianoforte Teaching. Paper in English, in Section V. By EGON STUAET WILLFOET, 15 rue Monge, Paris. See p. 346. ABSTEACT.— In view of the fact that the pianoforte is, or ought to be, the universal interpreter of all kinds of musical conception, our present system of teaching the instrument is totally inadequate. Some training is needed that will cultivate simultaneously a historical, a theoretical and a technical knowledge. To gain the time necessary for acquiring this threefold knowledge, the somewhat unpractical technical process of present day methods 75 ENGLISH ABSTBACTS— cojittmicd. needs to be revised, and the subjects of study should be entirely composed of historic pieces of great musical eharm and value, starting from the very origins of secular music. As an example of the revised technical process was given a summarv of the author's chapter on Scales. A New BlacklDoard Apparatus for Teaching Vocal Classes. Paper in German, in Section VI. By JULIUS WOITINEK, 18, Gartenstrasse, Posen, Teacher. See p. 385. ABSTEACT. — The invention exhibited has the same general idea as the Bussian calculating apparatus designed to help blackboard-teaching of arithmetic in class, in that it is an apparatus attached to the blackboard, operated by the teacher, and giving results visible to the eye. But in this case not only the eye, but the ear also, is appealed to, which constitutes the speciality of the invention. A choirmaster with blackboard and pointer teaching a class to read from notation, or to master the elements of music, cannot simultaneously use an ordinary harmonium to help the class by indicating the sounds. Here a sort of vertical harmonium is hooked on to the side of the blackboard itself ; it is blown by the teacher's foot just as he stands, and either he or one of the class can when wanted depress such and such a key, which sounds such and such a reed-note. But the keys are really large-sized flange-tablets arranged like a ladder, and bearing conspicuously the names of their respective notes. Furthermore, they lie over a large-sized, five-fined painted stave, a prolongation of which can be made by chalk on to the blackboard itself. There are fifteen of these tablets, giving two octaves, G to G, at seven " natural " notes to the octave, with the top-final — A turn of the flange by a button sharpens four of the notes, and flattens three. Thus the following variants are available i—GJ, AJ?, B?, C|:, Dj, E;?, f| This gives the power of displaying all tonalities from E major (four sharps) to E flat (three flats). Again, the flange-tablets are so ingeniously constructed, that in the case of any of these tonalities they show visually where the greater interval (tone) and where the lesser interval (semitone) lies in the scale. The teacher has at hand in such an apparatus a ready means for illustrating by sound and sight numberless attributes of the scale and notation. It will be noted that the invention is an adjunct to the ordinary stave-notation. English Influence in the Evolution of Music. Paper in English (Full Meeting). By Prof. Dr. JOHANNES WOLF, 9 lUstrasse, Friedenau, Berlin. Professor in the Berlin University. President of the Local Branch Berlin, Int. Mus. Society. See p. 83. ABSTEACT. — History testifies to the large part which the English have had in the development of musiCj and shows them at all periods in the van of progress both in matters of theory and practice. English and Irish influence on the Continent may be traced as far back as the earliest hymn-music, which was faithfully conserved in the British Isles in its Gregorian form. England has taken a conspicuous share in part-music. The harmonic conception of music was introduced into Continental music by means of the English devices of ' ' faburden ' and •' gymel. " In the development of the mensural theory also the English have distinguished themselves, as is shown by such names as John of Garlandia, Walter Odington, Amerus, William of Duncestre, Trowell, K. de Handle, and Hanboys. In instrumental music the importance of the English influence is very great. The organ- music of the 14th century, the virginal-music of the 16th, the viol-music of the 17th, represent brilliant periods in the history of English composition. English productions in the form of madrigals, unison-songs, the catch and the glee were also of a brilliant order. The "Beggar's Opera" was not without influence on the German vaudeville, and English choral music played a part in the creations of the German masters Handel, Haydn, and Beethoven. In short, England's share in the up-building of musical history is very important. Guitar-tablatures. Paper in German, in Section V. By Prof. Dr. JOHANNES WOLF. As above. See p. 354. ABSTEACT. — The guitar, which is probably of Arabian origin, acquired great import- ance in house-music from the end of the 16th century onwards. The Italian lute-tablature, with different arrangements of the strings, at first sufficed for the literature of guitar-music. When however fret-playing became general, fret-tablatures were invented. We have to distinguish between the Italian fret-tablature by letters of Montesardo and his imitators, and the Spanish fret-tablature by figures of Bripneo, Eibayaz and others. The rhythms were indicated by the position of the strokes indicating the attack, or with the assistance of mensural notes. In advanced guitar-music the fret-letters occur somewhat in conjunction with the Italian lute-tablature. The transposition of the frets is shown by means of numbers attached to the letters. By the end of the 18th century, tablature was abandoned in favour of the modern method of notation, 76 Papers Read in Full Meetings. Zup Periodisiepung dep Musikgesehiehte. By Prof. Dr. GUIDO ABLER, 9, Lannergasse, Cottage, Vienna. Professor of Musical Eesearch at the Vienna University. President of the National Section Austria, Int. Mus. Society. (For English abstract, see p. 52.) AUSZUG. — Die Einteilung unserer abendlandisehen Musik in Stilperioden ist vielfach schwankend und unklar. Bei der historiachen Periodisierung konnen zwei Gesichtspankte massgebend sein, die miteinander in Belation zu bringen sind : vorerst die Eigenent- wicklung der Tonkunst und ihr organisober Fortgang, zweitens ihr Zusammenhang mit der Kultur, insbesondere mit den anderen Kunsten. Unsere Musik hat sieh in zweitausend- jahriger Arbeit zu voUer Selbstandigkeit erhoben. Sie hat die Pflichten ihres sohwesterlichen Verhaltnisses zur Dichtkunst geistlicher und weltlioher Art treulich erfiillt. Die Musikhistoriker haben bei der Periodisierung ebensoweuig darauf Eiioksioht genommen, wie die Literarhistoriker — aus tiefer liegenden Griinden. Dagegen wurde wiederholt der Versuoh gemacht, die Perioden der Tonkunst in Parallele zu setzen mit denen der Arehitektur. Trotz der Analogieen, die zwischen beiden Kiinstenbestehen, darf man in dem Verfolg dieser Parallele nioht zu weit geheu. Zudem sind auch in den bildenden Kunsten einzelne Perioden nicht klar bestimmt, so die der Eenaissance und des Barocoo. Bei dem Versuche der Parallelisierung der Stilperioden der versohiedenen Eiinste ist auch deshalb Vorsicht geboten, weil wohl jede Zeitstromung in jedweder Geistesbetatigung sich offenbart, allein nicht in jeder Kunst in gleicher Weise sich zur Geltung zu bringen vermag. Jede Kunst ist Ton Material, Tecbnik und ihren Bigenbedingungen abhangig. Im grossen Zuge der Universalgesohichte stimmen gleich wohl die Haupteinschnitte iiberein. Die Musikhistorie hat keinen Grund, von der gefesteten Abgrenzung des Mittelalters, das vom 4. bis zum 15. Jahrhundert reicht, abzuweichen. Das 16. Jahrhundert bringt einerseits die Kronung der Jahrhunderte wahrenden Arbeit der Mehrstimmigkeit im A-Capellagesang, andererseits fordert es alle Keime zu Tage, deren Spriesseu und Treiben die folgende Zeit erfiillt. Die Neuzeit beginnt nioht erst mit 1750, wohl aber kann in Uebereinstimmung mit der Universal- geschichte und der Literaturgeschichte im besonderen mit diesem Zeitpunkt die Eroffnung der " Neuesten Zeit " angesetzt werden. Da tritt mit der neuen Weltanschauung auch in der Musik eine neue Eichtung auf , an deren Ausbau noch heute gearbeitet wird. Gegeniiber den Sensationsmeldungen iiber Kunstwerke unserer Zeit, die als Grundpfeiler neuer Stilepoohen bezeichnet werden, miissen wir Zuriiokhaltung beobachten. Die Musikgeschiohte und ihre richtige Periodisierung konnen dabei als willkommene Handhabe fur die Prufung soleher Behauptungen dienen. (The paper has appeared in book form, published by Breitkopf & Hartel.) L'lntepnationaUsme dans la Musique. By Dr. JULES ECOECHEVILLE, 7 Cite Vaneau, Paris. President of the National Section Northern France (Paris), Int. Mus. Society. (For English abstract, see p. 57.) Rl5;SUMK. — 11 n'est pas d'id^es qui doivent int&esser de plus pr^s notre Sooiete que ee concept d'internationalisme, dont s'inspire toute notre ceuvre, et qui permet au Congr^s actuellement r^uni k Londres, de grouper des artistes et des savants de tons les pays. Le mot est assez recent, mais I'id^e est anoienne. La musique Oecidentale a bien souvent montr6 nettement ce caraot^re international. Soit dans le haut moyen-^ge, a r^poque gr^gorienne; soit au XVIois sieele, dans la p6riode polyphonique ; soit encore au XVIII ""^ siicle, lorsque triomphe la symphonie classique. 77 PAPEES IN FULL MEETmGH— continued (Ecorcheville) . Mais I'equilibre et le progres de I'art seraient illusoires, si en face de cette forca d'uniformite, ne se manifeatait des influences nationales et particularistes. L'antinomie de ces deux energies oonstitue un problems essentiel de notre culture esth^tique. L'histoire et la psychologie d^moutrent que Tinternationalisme relive de I'intelligenoe et de la reflexion, tandis que le nationalisme et I'originalit^ s'appuient sur la spontaneity du sentiment. Or, retat present de la musique, oil se remarque un parti pris d'originalit^ farouche chez les artistes, nous montre d'un autre o6t4, une tendance k constituer la science exp^ri- mentale, rationuelle et imiverselle des ph^nomfenes musioaux. Le probl^me de I'inter- nationalisme en musique ae resout done aujourd'hui par une sorte de division du travail esthetique. Au moment oi I'artiste se voit reconnaitre tous les droits a la plus extreme singularite, apparalt le savant pour proclamer la n^c^ssite d'une entente Internationale de I'erudition, o'est-a-dire pour d^gager la permanence des lois de I'art. Ainsi se foude la Society Internationale de Musique, et telle est la neoeasite interieure a laquelle elle correspond. Lea devoirs, lea droits, et I'avenir de notre Soci^te doivent s'imposer a ces n^eessit^s historiques. German Folk-Song-s, with pefepence to Eng-lish and American Folk-song>s. By Geh. Eeg. Eat MAX FEIEDLANDER, Ph. D., LL.D., 242 Kurfiirstendamm, Berlin. Professor in the University of Berlin. Secretary of the National Section North Germany, Int. Mus. Society. (For abstract, see p. 59. The lecturer furnished his own vocal illustrations.) The Meaning* of Ugliness in Art. By Sir C. HUBEET H. PAEEY, Barfc., C.V.O., M.A., Mus. Doc, D.C.L., LL.D., Highnam Court, Gloucester ; Director of the Eoyal College of Music, London ; member of the " English Committee," Int. Mus. Society. (For abstract, aee p. 67.) Ugliness is a disagreeable word, but we do not therefore consider it unfit to be discussed. It is only people who have given up being personally alive, who avoid things because they are disagreeable. To people who have any fund of energy they are rather inviting than otherwise, as they are apt to arouse the combative instincts ; and liberal minds also feel that all progress is made by facing things which are disagreeable and finding out what they really mean, and accepting them if they can be of service. Every advance in Art has been made by accepting something which has been condemned as ugly by recognised artistic authorities. It is not so very long ago that such simple things as major thirds and major sixths were regarded as unpleasant. It was in quite recent times that many unprepared discords were thought so venomously ugly that the wildest revolutionary would hardly venture to use the mildest of them. It was not long ago that augmented fourths were regarded as so offensive that they were commonly associated with the father of lies ; and now we even have proposals to abolish the subtly elastic and varied scale which grew up in the course of centuries, and substitute a scale of fewer notes which consists mainly of an artificial monotony of these very intervals. It was even in more recent times that consecutive fifths were regarded as so ugly that a self-respecting composer suffered tortures of shame if he had used them inadvertently — and 78 PAPERS IN PULL MEETmGS— continued {Parry). consecutive seconds and sevenths were regarded as so vile as to be almost unthinkable. Yet all these things are now among the most familiar features of our daily musical life. When people came to realise that so many things that were once held offensive had come to be accepted as time went on, it was not far to go to infer that ugliness was desirable for itself. Such a discovery was a great encouragement to the spirit of adventure ; and the lookers-on were provided with novel experiences very cheaply ; while at the same time they assured themselves that inasmuch as all the greatest and most individual composers had been violently abused in their lifetime for breaking supposed rules, therefore everyone who breaks rules must be a great and courageous genius ; and so in latter days it comes about that it requires more courage and firmness not to break rules than to break them. There probably has never been any time in history when men have so ostentatiously and eagerly broken rules wholesale as the present ; and there never was a time when the breaking of rules was so welcomed and so likely to win public favour. Indeed, a large part of the every-day public has been led to believe that not breaking rules is a proof of ineptitude. We may sympathise cordially with the impulse of aspiring youth to break rules. It is most natural and healthy to feel an vmgovernable impulse to do anything which one is dogmatically told not to do. In fact, if rules were not broken there would not be any progress in either social things or artistic things ; and we should be buried mountains deep in huge piles of dead conventions. But it so happens that humanity works in the same fashion at the laws of nature. When something has to be effected it does it so wholesale that it cannot do good in any one direction without doing harm somewhere else. The advance is merely the balance between the good actually achieved and some inevitable evils which result from humanity's having overlooked something which was entailed in the operations for the desired end. This is very clearly illustrated in the present situation in connection with ugliness ; and it is desirable to get behind the merely superficial appearances and distinguish between the objections to them which are futile and those that are well grounded. People are always finding out that things reputed ugly prove not to be so on better acquaintance. But what does this better acquaintance consist of ? The truth obviously is that many things which appear ugly only do so because they are not understood. It is by their context men shall know them — the truth of their relation to their surroundings. It must occur to people who think about such things that they have often had the experience of genuinely new music which has repelled them at first because so much of it seemed positively ug'y — and that when they knew it better and got more into touch with it, what appeared to be oifensive in the ugliness passed away, and the uglinesses became among the most welcome features in the works implicated — because they were the proofs of original invention and thought. The composer has in such a case shown us something we did not know before. He has enhanced our range of artistic perception and added to the interest of existence. And what we thought to be uglinesses prove themselves to be the pledges of the service the composer has done us. And precisely the same experience must have happened to readers of really genuine poetry. The test of the value of a man's work is whether it really enlarges the lives of his fellow men and makes them more worth living. Judged from this standpoint ugliness would seem to be one of the most beneficent provisions of nature. It is an incitement to attention, to grapple with something that may reward thinking about. The complacency of a work which sedulously avoids everything that might be described as ugly is soporific and soothing, but it does 79 PAPERS IN FULL MEEimGS— (continued) (Parry). not enlarge men's lives much. It only ministers to the feeling of being comfortable. It is much better to realise tbat ugliness can be compatible with beauty ; and that things which may appear ugly from one point of view may be beautiful from another. But if we acknowledge that things are generally ugly only because we do not understand them, it is still possible that there may be things which are not only apparently ugly, but really so — that there are uglinesses which are positive and not merely contingent. And in this connection it is as well to point out that it is not the least use trying to force meanings on words which are not in common acceptance. Philosophers who devote themselves, as a preliminary, to trying to induce people to understand that they use words in their wrong significances, too often have to have monuments put up to commemorate works which they have not had time to begin. It is not worth while to discuss the aptness or cogency of the term " ugliness " as it is commonly used in disparagement of works of art which are not agreeable to the persons who use the word. We can possibly see our way without that. But we must recognise that there are several ways of classifying uglinesses. And one of them is into ugliness of the letter and ugliness of the spirit — ugliness in the manner of saying and in the thing said. And in this con- nection we must recall that music has changed its character and sphere comparatively recently. As long as it was a self-contained Art which had no reference to things divine or human outside itself, the range of discords and intervals of melody and of harmonic progressions was very limited, and anything which transgressed certain well-known conventions was ruled out as ugly and unbefitting. But when music became more and more the interpreter of human emotions, and of feeling and passion and of human dramatic situations, men could not do without avast number of dissonances and jarring passages which seemed essential to the adequate expression of such things. Of such liberty Monteverde was the pioneer: and showed his determination, in his younger and more venturesome days, not to be debarred from using anything, however harsh and ungainly, which seemed appropriate and necessary to his purposes, and his pupil Cavalli followed in his steps. But after a while this venturesomeness was set back for a considerable time by the attitude of the complacent patrons of Opera, who did not want truthful interpretations of moving human situations, but merely pleasant entertainments ; and composers gave up that kind of liberty because they wanted profitable patronage and not Art. It was in a quarter not patronized by such folk that the expansion of Art in the direction of wholesome and fruitful ugliness was sought ; and of such expansion John Sebastian Bach was the greatest prototype. None of the conventional prohibitions concerned him in the least. But he did not seek ugliness for itself, nor for any base motive, but pointed out by implication that most of the things which were debarred on the grounds of ugliness were not ugly at all in a disagreeable sense, but only ugly when they. were not understood. The result was natural. A few people who were under the spell of his astonishing artistic personality more or less felt the Tightness of his attitude. But as soon as he was gone the world dispensed with him. No one dared to follow in bis steps for nearly a hundred years, and it is only in quite recent times that men have grown to understand and find that his venturesomeness was amply justified. Here again the feeling of ugliness which people thought they suffered from, was merely the result of not understanding. It is very suggestive that this pause should have taken place twice — once after Monteverde and once 80 PAPEES IN FULL MEETINGS— contimtcd (Parry). after J. S. Bach. And the reason chimes with our thesis. For it obviously was that the human mind was as yet insufficiently developed to understand what seemed to be iigly. In Bach's case too it was the composer who had the greatest depth of feeling and the widest scope of expression who was considered to be a dry, mechanical, bewigged old speculator in filtile and unprofitable ingenuities. But long afterwards men found out better, and became more and more thankful for the things which had appeared ugly through lack of under- standing ; and which enlarged their lives and the possibilities of artistic experience when they got to understand. The expanded field, which the relation to things human afforded, gave room to justify many things which would have seemed and indeed really been ugly in abstract Art. And Bach's attitude illuminates all the tendencies of Art in the romantic period, and all the wild developments which followed its comparatively tranquil initiatives. Men say now that you cannot debar anything which expresses the subject the composer has in his mind. But in reality it is only a change of plane. Though nothing may be illegitimate as far as the letter is concerned, there may be much that is objectionable in the purpose for which it is used and the spirit which is expressed by it. There are things which offend physically and things that offend spiritually. The things which offend physically can pass away, but not the offences which come from falseness of intention or inadequacy of execution. If we are not prepared to condemn Monteverde and Purcell and Bach for doing ugly things, the plea that things are inadmissible merely because they are ugly seems to break down. And people may argue that the same applies to the ugliness of our own time. But then comes the question, are not Monteverde and Purcell and Bach sometimes intrinsically ugly ? And if we find it is so, the same may be likely with some of our own wild and heedless experiments. Monteverde and Purcell and Bach suffered from the lack of artistic methods in some directions, and they committed the same kind of uglinesses that composers commit in the present day when they speculate beyond the range of what they are sure of, and do things which are out of gear with the standard of their Art. Bach sometimes committed uglinesses when he persisted in treating the human voice as an instrument, and gave it things to do that were so nearly impracticable as to cause pain to those who witness the efforts of singers to cope with them. He committed ugliness when for lack of considera- tion he made certain aggressive instruments go on sounding in an accompani- ment till they cause positive pain to the hearers. But he rarely coramitted uglinesses in instrumental music, because he was more sure of his ground. And in such examples we find a clue. Some fortunate person hit upon the happy definition of dirt as matter in the wrong place. It seems likely enough that really repulsive ugliness is of the same nature as dirt. It is artistic matter in the wrong place. We should realise this directly for ourselves, if any of us who had any sense of style heard Palestrina's, or Vittoria's, or Marenzio's, or Orlando Gibbons's music amplified by modern unprepared discords and chromatic passages to bring them within the comprehension of those who have no artistic intelligence. We should feel it if we heard Mozart's Symphonies brought up to date with combinations of alien tonalties, and simultaneous sounding of major and minor chords. We should feel it if Beethoven's Symphonies were brought up to date and amplified in a manner which would throw the exquisite balance and proportion of his greatest works utterly out of gear. The attitude of mind which is induced in hearers who are worthy of great masterpieces of the past when they submit themselves to their spell, would cause them to regard as offensively hideous the things which would be inconceivable to the minds which produced those masterpieces. 81 PAPEES IN FULL MEETINGS— coniinMcd (Parnj). The things which would have seemed ugly to the composers themselves would for the time being seem ugly and offensive also to them. And attempts to make great works of Art palatable to people who have no artistic understanding and no sense of elevation or greatness by introducing popular treatment, similarly destroys the finer aspects which appeal to the initiated, and makes the manipulations objectionable. It is a question of style, and of the influences which corrupt it. The reason why the atrocities of style are becoming more and more universal and aggressive is, that commercialism and the desire for being taken notice of try ' to accommodate artistic products to the largest number. The mental training of the largest number has not been such as to qualify them to distinguish the finest qualities of Art. Therefore the commercial object is to modify artistic products so as to attract promiscuous and indiscriminate appetites. And the question is — How do they do it ? Commercial dealers in Art and their accomplices cannot modify Art-products by higher artistic processes. It is not in their province or in their capacity. There is no alternative then. All the modifications which commercial influence makes in Art-work is in the direction of shams. Some of us may remember Ruskin's violent attack upon what is called wood-graining. Wood-graining is the painting of one kind of wood to make it look like another. It is the fruit of entire artistic incapacity and of the desire for cheapness— a purely commercial device. As Ruskin pointed out, all woods have their own ways of being effective in domestic architecture, and their own possibilities of treatment. And the lack of artistic sense which shirks the simple artistic problem for cheapness attains results which are merely ugly and offensive. But this is only a type of the universal shams of commercial Art-supply ; and there are many thousands of ways in which it is manifested in all arts whether of domestic furniture, architecture, paintings, sculpture or music. They pass muster as long as they are not understood, but as soon as they are understood they become repulsive. So there comes to be a new classification of ugliness — into those which cease to be offensive when they are understood, and those which become more and more offensive the better they are understood. The first kind becomes more and more welcome the better it is Icnown, and the latter the more detestable. The enormous expansion of methods and resources of Art in the past quarter-of-a-century has increased the possibilities of trespass in the range of ugliness. And we must look for the solution of the problem in the spirit in which the thing which strikes us as ugly is used. If a man uses what at first sight seems an ugliness with obvious sincere and wholesome intention, his sincerity may make his ugliness not only pardonable but attractive — like the clumsinesses of some speaker whose mind is full of matter and who cannot get it out without a struggle. It becomes part of his personality. He does not use ugliness to attract attention or get an advertise- ment, but because he cannot get what he has in his mind said without. But if he pours out insane uproar all about nothing, and purposely scarifies men's minds with violent, aggressive, or senseless procedures, and seeks out noises which have the sense and offensiveness of foul odours in order to get notice taken of himself, or notoriety, or mere profit, the uglinesses are manifestly in the wrong place, and are therefore offensive. They are in the wrong place when they are not put where they are with artistic intention, but on a baser impulse. But these things are only to be discovered by development of understanding — and development of ixnderstanding is the business of education. And 82 PAPERS IH PULL MEETINGS— continued {Parry). education has various phases, and some of them are not favourable to the development of understanding of things in general, but only of things within a limited range. Owing to practical needs, education of late tends to specialization ; and even to specialization within specialization. And the danger of specialization is to narrow the outlook. Every specialist knows what is false and bad and cheap in his own branch, but is often at a loss in any other department. And the risk is accentuated by the fact that it is the easiest part of education to teach individual special subjects, and the most difficult and much the most important part is to develop the mind and the perception of relations. A man may be a very good specialist and a very bad judge of anything outside his own subject. And the effect of too much concentration being bestowed upon details is to produce an attitude of mind which is altogether unfavourable to Art and poetry and literature of a high order. Because Art is the perception of relations, and greatness in these things consists essentially in inviting the recognition of the thousands of different aspects in which things may appear, and the manifold human associations which are called up by the skill of the poet or musician : by forms of melody, types of harmonic progression, by phraseology and colour, and even some phases of form and method. One of the most ominous features of the present phase of democracy is that so many people who belong to the classes which till now have had no outlook beyond the bare struggle for existence are incapable of coming into touch with the range of thought which is a necessary foundation of real greatness. Many things which should afford suggestions of emotional phases of centuries of preceding generations of human beings, leave them quite blank. The door has not been opened ; and, unfortunately, mere specialization tends to keep it even more firmly shut. Attention can only be attracted by cheap devices such as make physical appeals, by startling explosions, and violent and aggressive effects of harmony. The mind is led to welcome the wrong kinds of ugliness, not those which may be dispelled by intelligence, but such as can be accepted by habit. On the other hand, it must not be forgotten that splendid service is being done by the ardour for abolishing worn-out conventions, the dead obstructive matter which is worse than mere ugliness. Art progresses by the elimination of such obstruction ; but the great progressive movements always have curious effects which are characteristic and suggestive ; and the effect of the breaking up of conventions in recent times is quaintly appropriate. For anyone can discern that enormous numbers of people with limited understanding of Art take great delight in mere iridescence. And the connection of iridescence with the breaking up of anything is obviously very apt. For iridescence is generally the result of decomposition — and decomposition is generally accompanied by a good deal of gas. There is undeniably an enormous amount of gas about nowadays, and people who are only concerned with Art in a superficial manner have apparently lost sight of the fact that gas, even when used as an illuminant, is not the best method of illumination. It is not nearly so pure as the kinds of light which have more atmospheric origin — and it has a way of leaving dirt behind it — which is ugly. The gas which results from decomposition is not even useful for illumination. It is only a natural concomitant of iridescence, and attracts the undeveloped mind because it constantly suggests novelty. But it also follows from the inevitable conditions of things that such novelties are quickly evanescent. The great consolation in all the bewilderments of conditions which seem antagonistic to art, literature and drama is that things which are solid, sound and genuine, have lasting qualities, and the artificial uglinesses which are merely devised for unworthy purposes, and to attract the 83 PAPEES IN FULL MEETINGS— coreiinued {Wolf). attention of crude and undeveloped minds, either rapidly disintegrate or become even more hopelessly conventional than the conventions which were, at least originally, founded on a reasonable basis. The end of the matter is that the uglinesses which are objectionable are such as are false in intention, the make- shifts of incapacity, the fruits of misconceptions and of purposes not genuinely artistic. They are matter in the wrong place, because their relation to their context adds nothing to their significance. But there are uglinesses which are infinitely significant. Such delightful uglinesses and irregularities as express honestly the personalities of the men who produce them— uglinesses without which all the savour of Art would be gone. And these uglinesses are like the bacilli which exterminate the poisonous bacilli. For it is by the sincerity of personality, which expresses itself honestly in such uglinesses, that the noisome pretence of ugliness with a base motive at the bottom of it gets expelled from the scheme of things Musical. No doubt this sounds rather like an invitation to men to seek out uglinesses and make them wilfully. But if they were sought out they would be false. The situation clears itself. The attempt to be ugly merely for the sake of being ugly would at once make the ugliness offensive. It would show either a lack of understanding or of honesty. And the lack of either of them is sufficient to prevent such uglinesses being among those that are welcome. The presence of the offensive kinds of ugliness in Art is the penalty society pays for treating Art as negligible. It is the fruit of lack of understanding. Whatever people who are devoid of artistic sense may say, mankind cannot do without Art ; and it often takes its revenge remorselessly for being slighted. Mankind is mirrored in his Arts in his baser as well as his finer qualities. The uglinesses which represent fine qualities are welcome, and the uglinesses which represent incompetence, insincerity, stupidity, cunning, greediness, narrow-mindedness, and such unfortunate obliquities reveal to us things we could very willingly do without — though we are quite aware that we never shall. English Influence in the Evolution of Music. By Prof. Dr. JOHANNES WOLF, 9, Illstrasse, Friedenau, Berlin. Professor in the Berhn University. President of the Local Branch Berlin, Int. Mus. Society. (For English abstract, see p. 75.) AUSZUG. — Die Geschiehte beweist den grossen Anteil der Bnglander am Ausbau der Musik und zeigt sie in den versohiedensten Perioden an der Spitze der Bntwieklung als Theoretiker und als Praktiker. Sehon im kirchliohen Gesange, der in dem Inselreioh in der Fassung Gregors im friihen Mittelalter tren bewahrt wird, beweist sich der englisohe und irisohe Einfluss auf dem Kontinent. Besonders beteiligt ist England an der Mehrstimmigkeit ; die harmonische Auffassung der Musik wird durcb die englisohen Teohniken des Fauxbourdon und des Gymel in die festlandisohe Musik hineingetragen. Auoh an der Ausbildung der Mensuraltheorie haben die Englander wesentlichen Anteil, wie sohon die Namen Job. de Garlandia, Walter Odington, Amerus, W. de Duuoastre, Trowell, B. de Handlo, Hanboys darthun. Gross ist die Bedeutung des englischen Einflusses in der Instrumentalmusik. Die Orgelmusik des 14., die Virginalmusik des 16., die Violenmusik des 17. Jahrhuuderts stellen Glanzperioden des englischen Schaffens dar. Hervorragend waren auch Englands Leistungen in den Formen des Madrigals, des einstimmigen Liedes, des Catch und des Glee. Die " Beggar's Opera " bleibt nicht ohne Einfluss auf das deutsche Bingspiel. Bedeutsam wurde die englisohe Chormusik fiir das Sehaffen deutscher Meister : Handel, Haydn, Beethoven. Hervorragend ist der Anteil Englands an dem Ausbau der Musikgeschichte, G 2 84 PAPERS IN FULL MEETINGS— coHtinMed {Wolf). One often hears the opinion that the English are not endowed with musical talent. But does not history prove the contrary ? Do we not, in our researches, recognize the great share taken by the English in the evolution of music ? In different periods of the growth of our art we see the English at its head as theorists and as practical workers. Their influence begins in the earliest times. I will not speak about the music of the bards, scops and gleomen. But scarcely had Gregory the Great sent Saint Augustine with copies of the reformed liturgy and with monks to convert the Saxons, than the ascendency of English church-music became manifest. Here they preserved the traditional liturgical chants in full purity, and when the Anglo-Saxon monks under Winfrid went forth to christianize the Germans, they implanted these Gregorian songs along with the liturgy. Who does not know the remarkable work of the Irish monks in different parts of the Continent (I only recall to notice the names of Colman, Virgilius, Columbanus, Fridolin, Arbogast, and Trudpert), or of Saint Gall, who established the monastery which took his name and gained a high musical reputation in the Middle Ages ? And further I may add the name of Marcellus, to whom we owe the musical education of those two monks whose works proclaimed the high repute of St. Gallen in art and literature. We may remember also the sequences of Notker and the tropes of Tuotilo. Great was the reputation of English church-music abroad and in its own country. The monasteries of Canterbury, Westminster, Worcester, and York became seminaries of musical information. There was a flourishing practice and theory, and many a cleric went out to spread the glory of English art on the Continent. The Irish monk, Alcuin, who lived at the court of Charlemagne, is the first who informs us about the ecclesiastical tunes or modes in Occidental church-music. The first perspicuous report on the organum, that rude form of ancient polyphonic style, comes in the 9th century from the British Isles, viz., from the Irish philosopher, Scotus Erigena ; and an English theorist of the end of the 11th century, John Cotton, shows the organum in its highest perfection shortly before transformation into the descant. It is a known fact that Wales had a great share in the evolution of the polyphonic style. The report of Giraldus Cambrensis on music in Wales, Northumberland and Yorkshire is of the greatest interest historically, and shows that both in the one and in the other part of England songs for two and more voices were so popular that even the children joined without difficulty in this manner of singing. But Giraldus is not the only witness of such a practice. Ailred in his " Speculum caritatis " and John of Salisbury prove the same fact. It is not probable that the organum was the form of such singing. On the contrary, one may suppose that faberden and gymel, with their sixths and thirds, were already to be met with at that time, for the popular carols and songs in honour of the Virgin and of Christ, preserved in loth century manuscripts at Oxford and Cambridge, bear the marks of an old practice. In these songs we find some of the first manifestations of the harmonic style which penetrated from England into almost all compositions from the end of the 14th century onwards. Even if the first theoretical documents on faburden and gymel, the treatises of Power, Chilston and Guilelmus Monachus, belong to the 15th century, the practice is by far older and can be traced already in the 14th century. It was through this new style that an ars nova arose and took possession of the whole Occident. John of Dunstable was the name by which the glory of English music was borne throughout the world. If we read the works of the greatest Belgian theorist of the end of the 16th century, John Tinctoris, we 85 PAPEES IN FULL MEETINGS— coHimucd (Wolf). learn that "novae artis fons et origo apud Angiicos, quorum caput Dunstaple exstitit, fuisse perhibetur." And Martin le Franc in his " Champion des Dames," Franchinug Gafurius in his " Practica musicae," and Hothby in his " Dialogus," all prove the high reputation of English art and especially of Dunstable's work. But he is not the only composer of consideration. If we look at the 15th century manuscripts of Bologna, Modena, Trent, Oxford and other libraries, everywhere we find abundance of English masters whose compositions are of interest. I may name Benet, Lionel Power, Walter Lambe, Gervasius de Anglia, Egidius AngHcus, Hothby and many others. It was with full right that in 1416 the departing King Sigismund of Hungaria could call to the English : Farewell, with glorious victory, Blessed England, full of melody. Have we not the same impression, if we read Chaucer's Canterbury Tales and Shakespeare's Plays ? Music pours in the Middle Ages from all the veins of the English people, and is property both of rich and poor. In particular the form of the catch seems to have been early cultivated on English ground. Already in the first half of the 13th century we meet with a specimen of such perfection that we can only wonder at the high state of musical technique. No other nation has at the same period produced a composition comparable to the double canon " Sumer is icumen in." Perhaps this round or catch was a popular form of singing since the 11th and 12th centuries, for we find John of Garlandia referring that form to the "cantilenae vulgares " (the popular songs). In either case we know that the catch gained a high consideration in England in olden times, and especially after the 15th century. It is true that then the importance of English music pales in comparison with the grand works of the Belgian school. Yet it would be unjust not to acknowledge the great influence of English art from the end of the 14th century, and especially under Henry V. However, not only in style, but also in notation, musicians are indebted to the English of the Middle Ages. Let us shortly consider the evolution of mensurable music. Scarcely had the first theoretical document, the " Discantus positio vulgaris," produced the earliest notices about the progress in writing measured music, when the English work began. John of Garlandia, educated at Oxford, and Paris, the musical centre of that time, gave the musical notation so clear an expression that the reformer Franco had only to fix the laws of mensurable notation. And after John of Garlandia came a long train of important English theorists who all advanced theoretical doctrine by stipulating the smaller values of the notes, and thus paving the way for the period of the ars nova. I need only recall Pseudo-Aristoteles about 1240, an English Anonymus who studied at Paris and wrote his treatise after 1272, Amerus, who composed his " Practica artis musicae " in 1271, Walter Odington, who lived at the same time, John of Garlandia the younger, W. de Doncastre Robert Trowel, and Robert de Handlo, who composed his "Eegulae " in 1326. Twenty-five years later an English author, perhaps Simon Tunstede, gives the clearest representation of the mensurable theory ; and the most important work of that time, the " Speculum musicae," in which musical esthetics have found a splendid expression, seems to be of English origin, and to be the work of the Norman, John of Muris, who taught at Oxford. It would be carrying coals to Newcastle if I mentioned how prominent was the Enghsh share in the evolution of theory subsequently. Let me only recall 86 PAPERS IN FULL MEETINGS— coreiinued (Wolf). the names of John Torksey, Eichard Cutell, Thomas Walsingham, Theinred of Dover, John of Tewkesbury, Lionel Power, and Chilston ; and especially of John Hothby, who was equally great as theologian and as musician, and who achieved such a high reputation by his activity at Lucca that in 1486 his king called him back to his native country. And in later times Morley, Playford, Simpson, Mace, Butler, Salmon, and Lock ought not to be forgotten. If we study the literature of the English in the Middle Ages we find frequent mention of all kinds of musical instruments, above all of the harp, the crwth and the organ. No sooner had the organ been brought from Constantinople to the court of Pepin than it was also to be found in England. Already in the 10th century three gigantic instruments in Winchester, Malmesbury and Eomsey are known. We see Saint Dunstan furnish many churches with these kingly instruments, and within two centuries the organ was in common use. No wonder that the art of organ-playing early shows a high degree of perfection, and that about the middle of the 14th century the first document of an organ tablature, equal to the writing of the later German Conrad Hauman, comes from this country ! It is therefore with better right that we speak of an English organ tablature than of a German one, of which the earliest traces are only to be met more than one hundred years later. Surely organ-playing has prepared the English for other keyboard instruments. Does not Guillaume de Machault already mention the " eschaqueil d'Angleterre " ? But they were also clever on other instruments. We know from Chaucer that in his time everybody, the monk and the nun, the miller and the apprentice, sang, and played on different instruments, on flute, bagpipe, rebible and gittern, and we hear from Martin le Franc that the English instrumentalists enjoyed a high reputation in Burgundy in the period of Dufay and Binchois. In the 16th century the great English instrumental and vocal period begins. The reign of Queen Elizabeth is the golden age of English music. We know the praise of Erasmus, who said that the English challenged the prerogative of being the most accomplished in music of any people. More than thirty years before Buus, Willaert and Bendusi, who began the evolution of Italian clavier music at Venice, England had an excellent composer for the virginals in Hughe Ashton. So early as 1510 his compositions show that element highly developed which demands our peculiar consideration in the English virginal music — the variation, especially of song's and dances. The researches of historians have established the great influence that this technique of the English virginalists produced on the art of the Continent, at first on the music of the Netherlands. John Bull and Peter Philips, two excellent masters, were those who interposed ; Jan Pieter Sweelinck was their docile disciple, and his school was of the greatest importance for Northern Germany, through his pupils Scheldt, Scheidemann, Praetorius, Schildt and Siefern. This English virginal music seems to be original ; the works of Byrd, Bull, Orlando Gibbons, Morley, Farnaby, and later of Purcell, are worthy of our greatest attention. In these small musical pictures we are surprised at the richness of fancy, the delicacy of the ornaments, the character of the melodic line, and often the audacity of the harmony. Just in harmonic relation, we cannot but admire the art of Bull, especially in his first hexachord fancy, which may be compared with Bach's grand art in the "Well-tempered Clavier." In general, here we find the fundaments of clavier technique. Also at this time, in the reign of Queen Elizabeth, another instrviment was in common use — the lute. Its performance was part of a good education. Everybody must be able to improvise his lute-part. In the drawing-rooms of the rich, in the barber's shop, everywhere you could find this instrument beside 87 PAPERS IN FULL MEETINGS— conifeiwtZ {Wolf). the cittern and virginal. There was also no lack of composers. But however much the performance and compositions of John Dowland, Antony Holborne, and others, became known on the Continent, a great influence on the English art of lute-playing seems not to have taken place. The English viol-playing, on the other hand, became of the greatest importance for the Continent, especially for Germany. No doubt the impulse had come from Italy and France, where, at the end of the 13th century, Johannes de Grocheo sings the praise of a viol instrument ; but its highest culture is due to England, which had already in the 16th century one of the most famous viol-makers, named Aldred, and which in the 17th century had produced the best instruction-books of Playford, Butler, Christopher Simpson, Thomas Mace and others. It was with the English comedians that, about the end of the 16th century, English violists came over to Germany. Need I repeat the names of Richard Machin, "Walter, Eowe, Valentin Flood, John Price, and John Stanley, who lived at Cassel, Berlin, Danzig and Dresden, to show the influence of the EngUsh viol-music on the Continent ? The most important of all English viohsts were William Brade and Thomas Simpson, whose works appeared from 1607 to 1621. Hamburg, Gottorp, Copenhagen, Berlin and Cassel were the centres of this English instrumental art, with Peter Philips, Jacob Harding, Robert Bateman, Antony Holborne, John Dowland, Edward Johnson, and other considerable representatives. It is very interesting to see how English works excite the fancy of German composers, how English pavans are followed by German gaUiards of John Stephan from Liineburg, of Jacob Schultze from Hamburg, of Christian Engelmann from Leipsic, of John Grabbe from Weissenfels, and of others. Great was the English viol-art on the Continent and great at home, as prove the works of Cooper, William Lawes, John Jenkins, Christopher Simpson, Dr. Colman, Benjamin Rogers, and Matthew Lock. It was with good reason that in his " Division- Viol," of the year 1689, Christopher Simpson wrote the proud words, " no nation is to be compared with the English in the matter of instrumental music." About 1656 the time of the viol was over, and the triumphs of the violin began. Yet still at the end of the 17th century we hear of German instrumentalists who travelled to England to learn the playing of the viol, which had acquired great importance as a bass instrument. The great period of English instrumental practice was also the golden age of vocal music. Let us only touch the characteristic forms. It is true that the madrigal is not an original fruit of the tree of English art, and has not enjoyed a long life in the British Isles ; and yet the specimens of Morley, Dowland, Weelkes, Benet and Gibbons belong to the best that has been ever created in this form, and are, after a life of three hundred years, as fresh as in their first days. There is, for instance, not any madrigal better known than the " Fire, fire " of Morley. A great part of these songs have become the property of the German choirs. But soon the madrigals had to give way to the catches and glees, which were sung at home, in the workshop, in the tavern, and in the club. All great English masters since the 17th century cultivated this form, not to forget the greatest of them, Henry Purcell ; and German composers like Handel and Haydn did not disdain to contribute to it. Not without profit for the evolution of music were the canzonets of Morley, and the songs and airs of Robert Jones, Rosseter and Campion, " set forth to be sung to the Lute, Orpherian and Base Violl," most interesting in relation to the accompanied song for one voice. We know how much the songs 88 PAPEES IN FULL MEETmG8— continued {Wolf). for solo-voices are indebted to lute-music. I only mention the lute-books of Petrucci and Attaignant. These songs of Eosseter and Campion may, in their strophic form, be compared with the airs of Heinrich Albert which appeared thirty years later. It is certain that this author was influenced by French and Polish tunes, and perhaps he had also gained some acquaintance with the English songs. In the second half of the 17th century, and especially under Charles II., the invasion of foreign musicians increased ; French and Italian instrumentalists, and later dramatic singers, overran the whole country, and were preferred to the native musicians. It was already in 1653 that Henry Lawes wrote the words : "Wise men have observed our generation so giddy, that whatsoever is native, be it never so excellent, must lose its taste, because they have lost theirs." English music succumbed to the influence of other nations. Purcell calls it " a forward child, which gives hope of what it may be hereafter in England, when the masters of it shall find more encouragement. 'Tis now learning Italian, which is its best master, and studying a little of the French air to give it somewhat more of gayety and fashion." But after Henry Purcell, one of the greatest musicians of the world, no great talent appeared which obtained for its country a dominant position in the concert of musical nations. There is no lack of musicians, but lack of leading masters. The nation kept its great love of music. The best musicians of the world— singers, players and composers — were received with open arms, and thus England had already in these calm times advanced the evolution of music. Once, in the beginning of the 18th century, the original English art sought to break foreign fetters. Efforts were made to create a second English opera period. After other experiments, in opposition to the Italian opera, the " Beggar's Opera " of Gay and Pepusch arose, a satirical work full of wit and spirit which, with its imitations, pointed the way for the first German " Singspiele'' of Standfuss. Still another important point must not to be overlooked. Since the Middle Ages the chorus has occupied a striking position in English popular music. Shall I mention the report of Giraldus Cambrensis ? Look at the carols of the 15th century, and we find these solo-songs finished by a chorus. English popular compositions in other manuscripts show the same peculiarity, and down to modern times many English and Scotch songs bear similar features. As the vocal miisic since the period of Tye, Tallis and Byrd proves, England must have had good choirs, especially in the . time of Henry Purcell. His grand choruses for the anniversary of Saint Cecilia, the festival day of musicians, would not have been conceived had Henry Purcell not had the certainty of good execution by well- trained choirs. These magnificent chorus compositions have surely not failed in their influence on Handel, the master of the chorus. And when he was dead and his centenary approached, hundreds of singers and instrumentalists joined to vanquish under his sign. These gigantic choirs became common both in England and, by English influence, on the Continent, not only for Purcell and Handel, but also for Bach and others, and inspired composers to gigantic works.' Important has been the influence of English melodies. I refer only to " God save the King," and recall the Scotch songs which inspired the fancy of German composers like Haydn, Beethoven, Weber, Hummel and Pleyel. Powerful also was the local impression of the^ country — for instance, the singular beauties of Scotland which inspired in Mendelssohn his magnificent " Hebrides " Overture. In short, progress, direct and indirect, wherever we meet English music ; progress also in writing history. From the time of the Anonymus who crossed 89 PAPEES IN FULL MEETINGS— coirfinKcti {Wolf). the sea about 1272 to study the evolution of music at Paris, down to Burney, Hawkins, Stainer, Wooldridge, Parry, Nieclts, Barclay Squire and others, the English are in the first rank of musical historians. We hear in these days the musical emanations of many periods of English history, and we are ravished. A nation which is so rich in beautiful music and which has advanced the evolution of music in the way that the English have done, belongs to the elect. It is true that in the last two centuries other nations have occupied the leading position, but at some time or other, and perhaps soon, the call will sound again : English musicians to the front. We know the English love of music, we know their work in the past and in the present, and with full conviction and joy we join in the poet's words : " Blessed England, full of melody." 90 Papers Kead in the different Lecture Sections. Section I.— History. Sectional Chairmen : Cav. Giorgio Baeini (Rome), Sefior Cecilio de Eoda (Madrid), Prof. Dr. Adolf Sandbeeger (Munich), Prof. Dr. Johannes Wolf (Berlin). Sectional Vice- Chairmen : Edwaed J. Dent, Esq. (Cambridge), Eev. Dr. W. H. Feeee (Mirfield). The Intpoduetion of Opchestral Music into Finland. By OTTO ANDERSSON, 1 Skeppsredaregatan, Helsingfors. President of the Swedish Folklore Society. (For abstract, see p. 53.) Towards the end of the 18th century a tide of imaginative conception swept over Scandinavia, in many respects multiplying the possibilities for the development of musical art and increasing the interest in its cultivation. Music had long been enjoying the protection of the throne of Sweden, and in the royal orchestra a series of foreign conductors had worked actively for a more general knowledge of the musical compositions of the time. The development of music in Sweden was laid upon a solid basis, when the Swedish Musical Academy (1771) and the Opera (1773) were founded by King Gustavus III., that enthusiastic admirer and protector of music and literature. Finland, being at that time a part of Sweden, came within the influence of the awakening movement, and it is from this period, including the last two decades of the 18th century, that we may date the introduction of orchestral music into our own country. Abo, the capital and University town, was to be the cradle of the musical art of Finland. The earliest attempts at orchestral music are to be found at the Abo University, which in 1741 welcomed its first conductor, K. P. Lenning. On solemn occasions some music had to be given. Nevertheless, during the conductorship of Lenning, until 1788, very little music of value was heard at the University. The orchestra was very small. Once twelve students of music only are mentioned ; and what is worse, even these would not follow the baton of their conductor. People repeatedly complained that the conductor never performed good music, and in 1780 the latter was constrained to admit that there was only one musician in his orchestra. However, music had found interested adherents in a certain literary society, called the Aurora League, well known in the history of Finland. In 1773 this Society was divided into three sections — a literary, a scientific and a musical ; the last of which met once a week, and gave concerts from time to time, to which the public were admitted on payment. 91 PAPERS IN SECTION I (HISTORY)— continued {Andersson). As we know that the Aurora League was presided over by Finland's greatest savant and one of the most eminent in the whole of Scandinavia at that time, Henrik Gabriel Porthan, and that persons of the highest musical talent were elected as members, we may suppose that music was taken seriously. Unfortunately we have no particulars about the activity of the Aurora League in musical matters, and we only know that some concerts were given. Some years later the activity of the League totally ceased. But interest was awakened. In the eighties of the 18th century a larger Society is mentioned, which probably consisted of tliose members of the former Aurora League who had given concerts in the townl In 1790 the musical interests took shape in a stable organization, called the Musical Society of Abo, the activities of which were to be of fundamental importance for the musical life of Finland. A characteristic feature of the time is the fact that this Society was founded by the professor of Divinity, Jacob Tengstrom, who later was the first archbishop of Finland, together with a lecturer, Isak Nordberg. Tengstrom was a skilful flute-player. He probably learned this art from another person, equally renowned in the history of Finland, the political-economist and clergyman, Anders Chydenius, who in the seventies of the same century instituted a small orchestra in his rectory (probably for chamber-music). I have mentioned literary men, scholars and officials as participating in the development of orchestral music. And men of this kind for a long time formed the majority of the active members of the Musical Society. Among them were professors, students, merchants, military men, and common burghers. Two eveningfs a week, the enthusiastic amateurs assembled for musical rehearsals in a hired hall, and there, sitting round a table sparsely lighted-up by tallow-candles, which from time to time had to be snuffed with the snuffer lying close by, studied their classics, scarcely realising the far- reaching importance of their work. The Wednesday evenings were spent in reading new musical literature, and on Saturdays, from four p.m. till late in the evening, some of the new pieces were performed before music-loving members of the Society. A few of the assistant musicians were paid a fixed salary, principally the oboists, clarinettists, horn-blowers and drummers. At larger concerts some- times a number of military bandsmen assisted. The Society generally paid the musicians in money ; but often also in kind — once with clothes, another time with boots, &c. As to the size of the orchestra we have no certain information, but according to undated documents, most likely going back to its first year, it. was, for the performance of symphonies, composed as follows : four first and four second violins, two violas, three bass-instruments, two first and two second flutes, two (?) oboes, two clarinets, two horns, one bassoon, and two kettle-drums and other drums. Thus the orchestra was filled satisfactorily, and it appears from contemporary evidence that these amateurs, and especially the violinists and flautists, were possessed of adequate technical skill. The success of the performances however primarily depended on the conductor. The founder of the Society had early realised this fact, and, seeing that there was no competent person to be found in the town, sent for the famous violinist at the royal orchestra in Stockholm, Erik Ferhng. Ferling was a very gifted artist — according to contemporary statements he might have become the most eminent violinist whom Sweden ever possessed, if he had not. been repressed by poverty. He became at any rate very popular. 92 PAPERS IN SECTION I {HISTOBY)— continued {Andersson) . And that he did his work satisfactorily, we may assume from the fact that the highly educated and exacting amateurs retained him as conductor for eighteen years — until the dissolution of the Society in the very year of his death, 1808. One of the most important tasks for the Society was to procure instruments and scores for the orchestra. But this was heset by difficulty, communication being at that time very little developed, and the postal service between Sweden and Finland over the Aland sea being very slow. As an example of these difficulties I may mention the following. In the autumn of 1790, Tengstrom sent a letter to a friend of his in Stockholm asking him to get a couple of horns ; in April, the next year, he got an answer informing him that the horns were to be had that very summer for forty Dutch ducats from Jacobi, the best manufacturer of musical instruments in Dresden. Similarly, when musical literature was ordered from abroad, years sometimes passed before the articles arrived. Even during the first year however the Society was able to collect a goodly library, owing to the rules which prescribed that every practising member must transfer his musical literature to the Society, though still maintaining fully his right of possession, which was carefully noted down on the inventories. In 1792 the library is mentioned as the largest in the whole kingdom of Sweden. The musical Uterature of the Society, which for the most part has come down to the present day, supplies reliable information about the repertoire, and this is of all the more importance, as no programmes from the first years are extant. Thus we find that the most eminent of the contemporary composers were represented at the concerts : Bach, Cherubini, Dalayrac, Gluck, Gyrowez, Haydn, Handel, Krause, Mehul, Mozart, Naumann, Pauer, Pleyel, Eode, Uttini, Vogler, &c. Amongst the symphonists, the names of Haydn and Pleyel predominate. Besides these, symphonic works of Davaux, Hoffmeister, Neubauer, Pichl, Eosetti, Schmitt, Schmittbauer, Stamitz, Vanhal, Winter, &c., were performed. The programmes also included pieces of chamber-music, especially quartets and trios, in which Ferling himself played the first violin. The library contains an extraordinarily rich literature of that kind, showing that the members were in possession of great collections of chamber-music, which they transferred to the Society. There are quartets of Adam, J. A. Boccherini, Cambrini, Davaux, Giuliani, Giordani, Graf, Lorenziti, Eaimondi, Schwindl, Schutz, &c. There are also trios, duos, sonatas, and serenades by more or less known composers ; Ferling also appeared at the concerts as a soloist, playing the music of Viotti, Paganini, Giornovichi, LoUi, &c. Besides the above-mentioned Wednesday and Saturday concerts intended for the members of the Society, " free " concerts were given, to which members were allowed to invite ladies. Women were never admitted to the ordinary meetings of the Society. Owing to an old prejudice, women were also forbidden to appear in public as singers or for other musical performances. This prejudice was overcome in 1795, when the female parts in the Passion music of Pergolese, which was performed yearly on Good Friday, were taken by eight young ladies. This event excited very lively comment in letters and newspapers, and the poet F. M. Franzen published a poem in honour of the ladies who sang at the concert. There was another kind of concert for which the public had to purchase their tickets. These concerts were given for the benefit of the Society itself, and, once a year at least, for the benefit of persons in reduced circumstances. 93 PAPERS IN SECTION I (HISTORY)— conthmed {Arnheim). The anniversary of the Society was celebrated on the 24th of January, the birthday of King Gustavus III. The programme of the festivals included, in addition to pieces of music which were often composed for the occasion, a set discourse. These discourses afford remarkable evidence of the idea which people then had of the importance of music. TengstrOm lectured on " The influence of music on thought and custom," the poet Franzen on " The pleasures of melancholy, when excited by music," Magister Hartman on "The medicinal use of music," the University lecturer Cleve on " The influence of music on morality," the lecturer and poet Choreus on "Women's right of judgment with regard to the beautiful." During a period of nearly two decades these discourses continued, insisting with remarkable energy on the same theme, the ffisthetio and moral effect of music. During the first year of the activity of the Musical Society of Abo, the gates were wide opened, so to speak, for musical art in Finland. A lively interest in music was to be noticed. People flocked to the concerts and thus learned to understand and to appreciate good music. The musical life of Abo extended its influence to other towns. Thus as early as 1794 a musical society was founded at Kuopio, in the heart of Finland. I do not here give a complete account of the vicissitudes of the Musical Society of Abo during the whole first period of its activity until 1808, when Ferling died aijd the war came which separated Finland from Sweden. I have confined myself to giving a short survey of the introduction of orchestral music into the land of a thousand lakes. The fair blossoming of Finland's music to-day bears witness to the love and devotion with which the soil was at first prepared and to the fostering care bestowed upon the growth of the plant. Eng^lische Suitenkomponisten des XVII. Jahrhundepts und ihre in Deutschland erschienenen Samm- lung;en. By Fraulein AMALIE AENHEIM, 182 Uhlandstrasse, Charlottenburg, Berlin. Writer on Music. (For English abstract, see p. 54.) AUSZUG. — Englische Musik und englische Musiker finden sich urn 1600 an vielen deutschen Ftirstenhofen und in den angesehehen Handelsstadten. Duroh die englisohen Comodianten, die fiir theatralische Aufziige, Zwisohenspiele u.s.w., liaufig kurze Tanzstiioke verwendeten, fauden diese Formen audi in Deutschland Verbreitung und beeinflussten die deutschen Tanze. Neben den Tanzfolgen, die urspriinglich nur aus Vor- und Naohtanz, einem getragenen Stiick im geraden und einemlebhaften Satz imungeraden Taktbestanden, finden sich " Auffzug," " Mascarata," u.s.w., und zu der Pavane und Galliarde gesellt sich die AUmande, die im 16. Jahrhundert als Tanzlied naoh England gekommen war und nun im 17. Jahrhundert durch englische Componisten wieder von dort heriiberkam. Durch die Kunstfertigkeit der englischen Violenspieler, die sich in Deutschland der grossteu Schatzung und Beliebtheit erfreuten, war es erklarlich, dass man der Verwendung von Streichinstrumenten ein besonderes Interesse entgegenbrachte. Fast auf alien Samm- lungen aus der ersten Halfte des 17. ^ahrhunderts, die englische Musik enthalten, findet man " auf allerley Instrumenten, und in Sonderheit auf Fiolen zu gebrauchen," und die englisohen Componisten, die in den deutschen Sammlungen vertreten sind, waren vorwiegend selbst bedeutende Violenspieler. Die Stiicke sind meist fiinfstimmig, die Intrada oder Pavane, die einen getragenen, feierlichen Charakter hat, wird von Zeitgenossen angefiihrt, wenn man die " englische Art " naher erklaren will. Von den englisohen Componisten, die durch eigne Sammlungen und Werke in Deutsch- land vertreten sind, verlangen William Brade und Thomas Simpson die eingehendste Behandlung. Beide, bedeutende und interessante Personliohkeiten sind in bezug auf ihre 94 PAPERS IN SECTION I (HISTORY)— contumeti {Arnheim). Lebenssohicksale in Deutsehland wie auch auf ihre Werke noch nioht ausf iihrliclier bearbeitet worden. Ihr Einfluss auf die Entwiokluug der alteren deutsche.n Orcliestersuite ist sehr wiohtig gewesen und lasst sioh wahrend der ersten Halfte des 17. Jahrhunderts bis circa 1630 deutlich verfolgen. Brade's und Simpson's Werke befinden sich auf den Bibliotheken zu Wolfenbiittel, Hamburg, Liegnitz, Breslau, u.s.w. Sie sind auf deutschem Boden entstanden, sind deutschen Fiirsten gewidmet und enthalten auch ein Stiick deutscher Musikgeschichte, da sie, z. B., in Simpson's " Taffel- Consort," neben englischen auch deutsohe Meister, die sie jedenfalls besonders schatzten, in die Sammlungen aufgenommen haben. Brade ist auch in den Sammelwerken von Fiillsaek und Hildebrand enthalten, die Paduanen und Galliarden von Dowland, Holborne, Mons, Harding, Johnson, u.s.w., und norddeutsche Zeitgenossen vereinigen. Haufig hat die zusammenhangende Paduane und Galliarde nioht denselben Componisten, und es haben sich enghsohe und deutsche Meister zusammengetan und dasselbe Motiv als Paduane und Galliarde bearbeitet. Von deutschen Suitenwerken waren die im Jahre 1611 erschienenen Tanzstiicke von Valerius Otto heranzuziehen, der seine " neuen Paduanen, Galliarden, Intraden und Currenten, naoh englisoher und franzosischer Art " componiert haben will. Die Sammlung von Conrad Hagius 1616 enthalt auch einige englisohe Stiicke, ebenso die " AUegrezza musicale" von David Oberndorffer, 1620 gedruckt, der sein Werk " alien in Europa hin und wider zerstreweten Componisten, Organisten und allerhand musikalischen Instrumentisten " gewidmet hat. In Berlin, Cassel, Breslau erhaltene Manuskripte, die englische Tanzstiicke enthalten, vervollstandigen das Bild des englischen Einflusses auf Deutsehland im 17. Jahrhundert. Es ist bekannt, dass die englischen Komodianten, die in der letzten Halfte des 16. und im Beginn des 17. Jahrhunderts nach Deutscliiand lieriiberkamen, uiclit niir allein die Entwickelung des deutschen Theaters stark beeinflusst haben. Den englischen Schauspielern hatten sich au jh englische Musiker angeschlossen, die sich vorwiegeud als Violenspieler fiihrende Stellungen an vieJen deutschen Fiirstenhofen und in den angesehenen Stadten eroberten. Zu theatralischen Aufziigeu der englischen Stiicke, zu Zwischenspielen, u.s.w., ■wurden haufig kurze Tanzstucke verwendet, die auch in Deutsehland Verbreitung fanden, sehr beliebt wurden und auf Form und Inhalt der deutschen Tanz- stiicke nicht ohne Wirkung blieben. Wahrend bis zu den letzten Jahrzehnten des 16. Jahrhunderts in der Lautenmusik und in der Instrumentalmusik das italienisch-spanische Element das allein herrschende ist, macht sich nun gerade in der weltlichen Instrumentalmusik, im Tanz, der englische Einfluss geltend. Zu der Pavane und Galliarde, zu der erweiterten Suite der Italiener, zu der Verwendung von Vor- und Nachtanz der Deutschen gesellt sich " Mascarata," " Auffzug " uad andere direkt dem theatralischen Gebrauch entstammende Namen fiir balletartige Tanzstucke. "Englisch Dantz " als Empfehlung fiir eine besonders beliebte Musik, Bearbeitung englischer Tanzlieder zu Instrumentalsatzen findet man haufig in Sammlungen jener Zeit. Die Kunstfertigkeit der englischen Violenspieler, die sich in Deutsehland grosser Schatzung und Beliebtheit erfreuten machte es erklarlich, dass man der Verwendung von Streichinstrumenten fiir diese Stiicke ein besonderes Interesse entgegenbrachte. Auch wurde durcli die englischen Komodianten bei der Auffiihrung ihrer Komodien und Siugspiele die Instrumentalmusik in geschlossene Eaume getragen. Bis dahin war sie vorwiegend als Tanz im Freien, bei grossen Festlichkeiten, Hochzeiten, u.s.w., ausgefiihrt worden. Dafiir geniigten meist Blasinstrumente, zu der Begleitung der Tanzlieder oft nur Pfeifen, Trommeln, u.s.w. Als ein Teil der theatralischen Auffiihrungen wurde nun auch der Instrumentalmusik eine kiinstlerische Ausgestaltung zu Teil, und die englischen Violenspieler waren vielleicht eine der ersten, die die chorige Verwertung dieser Instrumente in der Tanzmusik und damit in der Gesellsehafts- uud Hausmusik in Deutsehland einbiirgerten. Eine zusammenfassende Abhandlung iiber alle Violen- und Lautenspieler (denn auch als diese hatten die Englander bedeutenden Euf), die damals 95 PAPERS IN SECTION I (HISTORY)— continued {Arnheim). nach Deutscbland kamen und oft genug hier ihr Leben verbrachten, aucb iiber ibre erbaltenen Weike ist nocb nicbt vorbanden. Die tbeatergescbicbtlicben und die rein bistorisoben Forscbungen sind, mit Ausnabme einiger verstreuter Mitteilungen m neuen musikbistoriscben Werken, bisber die einzigen, die vereinzelt Aufscbluss iibei- diese Epocbe biingen. * Daber soil beute versucbt werden, soweit es die Zeit erlaubt, vom musikbistoriscben Standpunkt aus ein kurzes, zusammengedrangtes Bild vou dem Einfluss engliscber Musik in Deutscbland auf dem Gebiete der Suitenmusik, der Entwicklung derselben zu einer Kunstform der Instrumentalmusik zu geben. Aus einer Sammlung von Tanzstiicken, die 1555 in Breslau erscbienen war, konnen wir entnebmen, dass scbon um diese Zeit unter " Viel feiner, Lieblicber Stuck | lein Spaniscber, Welscber, Frantzosiscber composition unci tentz "t sicb aucb engliscbe Tanze befanden. In der Vorrede beisst es, dass die Tanze " so artlicb gesetzet sind," dass sie nicbt nur als Tanz-, sondern aucb als Kammermusik dienen soUen. Es sind dies vielleicbt die ersten gedruckten deutscben Sammlnngen von Instrumentaltanzen, in die engliscbe Tanzstiicke aufgenommen sind, ein Beweis, dass sicb diese scbon vor 1555 in Deutscbland einer gewissen Beriibmtbeit erfreuten. Von 1556 an finden sicb in Norddeutscbland mebr oder minder ausfiibrlicbe Aufzeicbnungen iiber die Anwesenbeit engliscber Fiedler, Pfeifer und anderer Instrumentisten, die dann zu Beginn des 17. Jabrbunderts aucb in Siiddeutscbland nacbzuweisen sind. Wir sind meist iiber die Zabl der Instrumentisten, die mit den Komodianten- banden nacb Deutscbland beriiberkamen, genau unterricbtet, teilweise aucb iiber die Namen derselben, unter denen sicb mancber bedeutende, durcb seine Kompositionen bekannte Musiker befand. Von den engliscben Komponisten sind es bekanntlicb zuerst Tbomas Morley und Jobn Dowland, deren Tanze zu Instrumentalstiicken benutzt wurden. 1604 veroffentlicbt Valentin Haussraann " Neue Intraden mit 6 und 5 Stimmen | auff Instrumenten | furnemblicb auf Fiolen zu gebraucben. Nacb disen sind etlicbe Engliscbe Paduanen und Galliarden anderer Composition zu finden." Haussmanns engliscbe Paduanen und Galliarden sind obne Angabe von Autorennaraen. Es ware interessant, festzustellen, aus welcben Sammlungen Haussmann gescbopft bat, oder worauf sicb der Ausdruck " anderer Composition " beziebt. Von den zwolf engliscben Paduanen siud zwei, von den vier Galliarden eine neu gedruckt.| Bei der Galliarde wird der Cantus von der "Violin," die Quinta vox von einem " Cornetto " ausgefiibrt. In dem Vorwort des im gleicben Jabre 1604 berausgegebeneu Werkes "Neue fiinfstimmige Paduane und Galliarde auf Instrumenten | fiirnemblicb auff Fiolen lieblicb zu gebraucben " erzablt HauRsmann, dass er diese Stiicke " meistentbeils vor dieser zeit zu Hamburg den Instrumenten daselbst gesetzt | wiewol nicbt zu dem Ende | dass sie solten publiciret werden. Weil aber etlicbe gute Preunde vermeinet | das biemit aucb andern | sonderlich den Fiolisten mocbte gedienet sein " babe er sicb zum drucken entscblossen. Da wir wissen, dass sicb in Hamburg in jener Zeit bedeutende engliscbe Violisten und Komponisten aufbielten, ist engliscber Einfluss in Form und Inbalt der Tanzstiicke bestimmt nacbzuweisen. * In einer grosseren Abhandlung werde ieh demnachst iiber die einschlagige Literatur wie auch iiber das hier behandelte Thema ausfiihrlioh berichten. f Viel feiner Lieblicher Stuck- | lein, Spanischer,We)scher, Engliseber, Frantzosiseb- | er composition vnd tentz, Uber drey hundert | mit Sechsen, Fiinffen vnd Vieren auff alle In- | strument dienstlich | mit sonderm fleis | zusammen bracht | vor nie in Druck kommen. | Gedruckt in Breslau durch Crispinum Soharffenberg. i Denkmaler deutsoher Tonkunat. Bd. XVI., 1904, No. 7, 10 u. IV. S. 152 ff. 96 PAPERS IN SECTION I [niSTORY)- continued (Arnheim). 1607 evschient in Hamburg eine Sammlung von Zacharias Fiillsaekund Christian Hildebrand, -" eines Ehrenw. Raths der loblichen Stadt Hamburg bestellten Instrumentisten." Die Paduanen und Galliarden sind, wie die Herausgeber betonen, franzosischen, polnischen, deutschen und englischen Ursprungs. Sie haben " keinen Fleiss, Miihe und Unkosten gesparet, bis sie diese Stiicke in ziemlicher Anzahl von vornebmen, kunstreichen Autoren erlangt und bekommen baben.'' Auch haben sie " mit Beliebung und Bewilligung deroselbigten etlichen Authoren zum Anfange nur etliche wenige Paduanen und Galliarden 5 voeum auss gehen lassen | dess Fiirbabens | nachmals andere Paduanen und Galliarden | nebenst vielen Intraden und Canzouen 5 und 6 vocum trucken zu lassen | hoffend | dass darmit auch erfalirenen Musicanten merklich konne gedienet werden." Dieser Vorsatz ■wurde dann zwei Ja"hre spater im " Ander Tail | ausserlesener lieblicher Paduanen " ausgefiihrt. Der Herausgeber Christian Hildebrand betont wieder, dass er " was fiir besondere FrantZosische | Englische | Polnische und Teutsche Stiicke zu bekommen gewesen," sich zu verschaffen versucht hat. Wieder werden die Autoren " vornehm und kunstreich " genannt und hervorgehoben, dass der Protektor, Herzog Heinrich Julius zu Braun- schweig und Liineburg, " ansehentliche | stadtliche | erfahrene | wolgeiibte Musikanten | von Englischen | Frantzosen | Italienern und Teutschen . , . mit grossen Unkosten gehalten und noch halte. . . ." Dass der Herausgeber nicht selbst als Komponist bei der Sammlung beteiligt ist, zeigt folgender Widmungsvers : — Hierin die Arbeit ist nicht mein | Sol auch nioht davor ghalten seyn : Sondem ioh hab auss Lieb und Gunst So ioh trag zu der Music Kunst Und dieselben Liebhabern all | Zu einem Dienst und Wolgefall : Vieler beriimbter Componisten | Auch Musicanten und Organisten | Ihr Arbeit mit Fleiss coUigirt | Durch offnen Druck nun publicirt | Und damit woUen Die begabe | Die Lust und Lieb zur Music habe. Die beiden Sammelwerke von Fiillsack und Hildebrand sind fiir die Entwicklung der alteren deutschen Orchestersuite wiehtig und bediirfen eigentlich einer ganz ausfiihrlichen Besprechung. Auch ist es interessant, festzustellen.welche englischen Instrumental-Componisten zu den "vornebmen und kunstreichen Autoren " in den Jahren 1607 und 1609 gerechnet wurden und wie diese sich auf dem Festlande eined grossen Ansehens unter den deutschen Musikanten erfreu't haben miissen. Am haufigsten ist in der Sammlung von 1607 Wilhelm Brade vertreten. Ausser ihm findet sich Antony Holborne mit zwei sehr gut klingenden Paduanen und Galliarden, Edward Johnson mit einer Paduane zu der Johann Sommer aus demselben Motiv eine Galliarde schreibt, Jacob Harding, der eine Paduane Sommers in eine Galliarde verwandelt. Der Componist einer Paduane und Galliarde ist der bedeutende Musiker Peter Philipps, bekannt durch seine zahlreichen Stiicke in dem Fitz- william Virginal Book, dessen Name meist latinisiert oder italianisiert wird. Der zweite Teil der Hildebrand- Sammlung aus dem Jahre 1609 bringt von Englandern nur eine Paduane und Galliarde von Brade und zwei Galliarden von Robert Batemann zu Paduanen des ausserordentlich interessanten Liineburger Johann Stephan, dessen Leben und Werke noch nicht eingehend behandelt worden sind. 97 PAPEES IN SECTION I (HISTOEY)— continued {Arnheim). • Das Jahr 1609 macht nun mit einem Suitenwerk von " Paduanen | Galliarden, Canzonen, AUemand und Goran ten | so zuvor niemals in Truck kommen | " von W. Brade selbst bekannt, wodurch zu erklaren, dass er in der im selben Jalire erschienenen Sammlung von Hildebrandt so schwach vertreten ist. Auch Brade betont in der Vorrede an den Herzog Johann Adolf, " Herzogen zu Schlesswigk j Holstein | Grafen zu Oldenburg und Delmenhorst," dass diese Stiicke nooh nicht gedruckt worden sind. " Nebenst anderer fiirtrefflicher Autoren " habe er Brade's eigene Compositionen " mit fiirstlicher Zunei- gung angehoret, und audi darob ein gnediges Gefallen getragen." Brade zeigt sich in diesem Werk schon als Meister in seinem Facli. Seine Suiten sind durchaus kiinstlerisch zusammengestellt, sie bestehen aus zwei und drei Teilen, der Paduane und Galliarde gesellt sich eine " Allemand " oder " Corante " zu. Die Canzonen verwenden Variationsform, alle Stiicke dieser Sammlung sind als Kammermusik, nicht nur fiir den Tanz gedacht. Dasselbe gilt von den sechsstimmigen Paduanen und Galliarden, die 1614 erschienen und dem Markgrafen von Brandenburg Johann Sigismund gewidmet sind. Hier ist die Variationslbrm und der motivische Zusammenhang von Paduane und GaUiarde noch starker entwickelt. Ganz anders im Charakter und besonders interessant ist eine Sammlung " newe ausserlesene liebliche Branden, Intraden und Mascharaden," die 1617 in Liibeck veroffenthcht wurde. Auch diese Stiicke erscheinen zum ersten Male im Druck und zeigen deutlich, dass sie als Zwischenaktsmusik und Balletmusik fiir die englischen Comodien benutzt worden sind. Auch einige Stiicke von Eobert Batemann und Eobert Johnson haben sich unter die AufzUge, Intraden, u.s.w., eingeschlichen. Zwei der Tanze "ein schottisch Tanz " und die "Tiirkische Intrada " werden hier vorgefiihrt und zeigen Brade als Komponisten zum Tanzen bestimmter Stiicke, im Vergleich zu einer dreisatzigen Suite aus dem Jahre 1609.* Die sogenannte Tiirkische Intrada ist jedenfalls in der beriihmten " Comodie von Constan- tinopel," der tiirkischen Triumph -Comodie, benutzt worden, von der Churfiirstliche Eescripte unter Johann Sigismund im Jahre 1612 Wunderdinge berichten und bei der 14 Instrumentisten " aufgewartet " haben. Viel ware noch iiber Brade's Leben und seine Werke zu sagen, die im Zusammenhang noch nicht bearbeitet worden sind. Sein Aufenthalt in Copenhagen, Berlin, Hamburg ist bekannt, ebenso seine Tatigkeit als Violist bei Herzog Johann Adolf von Holstein-Gottorp und als "fiirstlich Magdeburg, verordneter Capell- meister " in Halle. Durch ein in der Commerzbibliothek zu Hamburg befindliches Leichencarmen wissen wir, dass er im 70. Jahre seines Lebens, am 26. Pebruar 1630, in Hamburg gestorben ist und 1560 geboren war.f Er muss also nach seinem Aufenthalt in Copenhagen von 1622 an wieder in Hamburg gewesen sein. Alle neuen musikhistorisohen Arbeiten, die Brade behandeln, haben seinen Tod nicht erwiihnt und einen Aufsatz Otto Riidigers im 17. Bande der Mitteilungen des Vereins fiir Hamburger Geschichte iibergangen.:|: Die Beliebtheit Brade'scher Tanze bezeugt auch Pastor Johann Zeidler's " Budissini'sche Brandstelle, " in Dresden 1634 erschienen, der ein Trostlied " Frommer Gott sieh doch an " angehangt ist, das " nicht nach der Zahl der * Die zur Erlauterung dienenden " ein schottisch Tanz " und die " Tiirkische Intrada " finden sich in Brade's Sammlung von 1617 als No. XVI. und XX. Die zu Gehor gebrachte Suite besteht aus Paduana, Galliard und Allemand und bildet No. III. der Sammlung von 1609. Die Tanze wurden in der Besetzung I. u. II. Violiuo, I. u. II. Bratsche, Violoncello u. Basso, unter Leitung von Herrn Dr. Hugo Leiohtentritt ausgeffihrt. t H. 297. 4». J 0. Eiidiger, William Brade's Tod und seine Trauergedichte darauf. Jahrgang XVII. d. Mitteilungen Mr Hambnrgiache Geschichte. S. 279 u. S. 313. H 98 PAPERS IN SECTION I (RlSTOnY)— continued (Arnlieim). Syllaben, sondern auf die solione und kunstreielie Melodey des Pilgerimtantzes William Brades, Englisohen vornehmen Musici, gericlitet ist." * Der Pilgerimtantz befindet sich als No. 43 in derselben Sammlung wie die Tiirkische Intrada aus dem Jahre 1617. Noeh 1627, als Brade schon ein Mann von 67 Jahren war, singt Friderici in dem Amuletum Musicum f von ihm. Als Strophe 9 in dem fiinfstimmigen " Musick ist doch ein edle Kunst I wer Sie nur recht erfahret " heisst es : — Ein Tanzlein Hase maclien thut | Gro, Stade | artig klingen Weidmann maoht den Studenten mutli Stephns, Jep Ian sich feiu singen. Brade, Fiilsack | auff Saitenspiel | Kiinstliche Sachen maohen Pranok Quodlibeter machen will So hat man was zu lachen. Einige von Brade's Stiicken aus der Sammlung von 1617, der Corn- wall'sche Aufzug, der Abscheidt, der Satyrentantz, u.s.w., hat David Oberndorffer 1620 in die Allegrezza musicale aufgenommen, die dieser " Allen in Europa hin und wieder zerstreweten Componisten, Organisten und allerhand musik- alischen Instrumentisten " widmet. Ein handschriftlicher Sammelband der Bibliothek Berlin | enthalt eine Canzone Brade's, audi werden sich sicherlich handsehriffclich noch mehr Spuren von Brade's Werken auffinden lassen. 1621 erschienen von Brade noch fiinfstimmige "neue lustige Volten, Couranten, Balletten, auch allerley arth | newer Frantzosischer Tantze." Der Herausgeber, Martin Guth, Buchhandler zu Colin an der Spree, berichtet in der Vorrede, dass "der Kunstreiche Herr Wilhelm Brade diese nachgesetzten Masqueraden, Volten, Couranten und Intraden theils fiir sich Komponiert, theils aus den newen und besten (doch nie zum Druck gebrachten) Authoribus mit fleiss zusammen colligiret." Schon im Jahre 1621 zeigt sich an Brade selbst, wie der englische Einfiuss in der Suitenmusik zuriicktritt und franzosischen Einwirkungen den Platz raumt. Auch Thomas Simpson wiirde wie Brade eine ganz ausfiihrliche Behandlung verdienen. Sein Lebensgang ist noeh nicht geniigend erforscht. Wir wissen von seinem Aufenthalt am Hofe des Grafen Ernst zu Schauenburg, von dem Johann Eist in seinen Monatsgesprachen berichtet und ihn einen Gambisten uennt, "der herrliche Sachen machte." § Ehrengedichte in seinen Werken charakterisieren sein Verhaltnis zu beriihmten Musikern, wie z. B. zu Michael Pratorius. Seine drei, in Deutschland im Jahre 1610, 1617 und 1621, erschienenen Sammlungen enthalten auch Stiicke von deutschen Componisten neben engUschen Zeitgenossen, ausserdem auch Programmusik, wie das hier zu Gehor zu bringende Ballet "La mia Salome," || das sich auch in dem schon erwahnten Berliner handschriftlichen Sammelband findet. Simpson's * Vgl. Joh. Bolte. Die Singspiele der englisohen Komodianten .... Hamburg und Leipzig, 1893. S. 3.ff. f Amuletum Musicum Contra Melancholiam oder Schones Wolriechendes Biesem- Knopfflein | wieder Sehwermiitige Cornelianisehe Gedanken | und MelanohoUsche Traurig- keit I Junger | Frischer | Gesunder Hertzen Mit 5 Stimmen componiret von M. Daniele Friderici, Cant. Eost. Eostook .... 1627. No. XXX. I No. 4145. 5 Stimmblatter. No. III. Canzon W. Bradens. § Alfred Einstein, Zur deutschen Literatur fiir Viola da Gamba und 16. und 17. Jahrg. Leipzig, 1905. S. 24. II Illustration. No XVIII aus Thomas Simpson, Opus neuer Paduanen, Galliarden, Intraden . . Hamburg, 1617. 99 PAPERS IN SECTION I (RISTOB.Y)— continued (Bernoulli). Tanzstiicke zeigen im Vergleich mit Brade melir franzosisch-italienisclien Einfluss. Sclion die Namen Ricercare, Canzone, u.s.w., deuten mehr auf Kunst- musik, als auf Tanzmusik, docli erscheint Brade iu seiner Compositionstatigkeit vielseitiger. Englische Tanzstiicke lassen sich noch in verschiedenen deutschen Samm- lungen nachweisen. So bringt ein handscliriftlicher Sammelband in Cassel,* der zahlreiche Werke des bekannten Landgrafen von Hessen-Cassel, Moritz des Gelehrten, enthiilt, eine ganze Anzahl von Pavanen und Galliarden, die eng- lischen Ursprungs sind. Namentlich die englischen Bavins klingen sehr gut, unter denen sich auoh viele programmatisclie Namen. wie z. B. " The shooting of the guns pavin," the " Solemne pavin," u.s.w., finden. Hier wird die sogenannte Contraversic-Pavin gespielt werden.t Zum Schluss sei nocli eine Sammlung von Valerius Otto aus dem Jahre 1611| erwahnt, der sich riihmt, unter seinen Suiten auch solche auf enghsche Art komponiert zu haben. Die hier gespielte Paduana§ ist ein Beispiel, wie englische Kunst sich mit deutscher vereinigt hat. Eine Handsehpift mit phythmisiepten Meistepsang-ep- melodien. By Dr. Phil. E. BEENOULLI, 2 Sohonberggasse, Zurich. University Lecturer. (For English abstract, see p. 54.) Cgm. 4999, welcher schon 1906 (Basel) und 1909 (Wien) Gegenstand der Kontroverse war, ist von mir seither niiher untersuchtworden. Es ergab sich, dass man nicht, wie Runge glauben lasst, schlechtweg von eiuem Codex sprechen kann. Vielmehr sind mehrere Convolute und Blatter jetzt zusammengebunden, die einen ganz verschiedenen handschriftlichen Duktus, ganz verschiedene Textdisposition zeigen. Auch vier verschiedene Wasserzeiohen sind zu bemerken. Zusammen gehoren : — 1. Fol. 1-10 (Quinio) mit einer Notenschrift in zwei Kolumnen ; 2. Fol. 11, urspriinglich fiir sich, ohne Melodieaufzeichnuug ; 3. Fol. 12-18 (Quaternio, dessen letztes unbeschriebenes Blatt fehlt) ; die ". Gefunden Bchliisselweis " — Handschrift von Peter Pfort — ist hier iiber die ganze Seite hiniibernotiert. 4. Von Zehenthoffer riihrt anscheinend her die Ueberschrift von fol. 12 ; er selbst schreibt und notiert fol. 19-26 (Quaternio) durchwegs in 3 Kolumnen. Zwar : fol. 20 steht Puschmanns Notation nahe. Aber fol. 12 (s. Eunge, Wienerkongress) hat = Vorzeichnung und geht im Original unter Einfiigung nur von Taktstrichen glatt im geraden Takt auf. Fol. 9 vollends zeigt das Korrekturzeichen, das Gerle 1546 (Musica und Tabulatur) unzweideutig erklart im Abschnitt : " Das Zeichen bedeut den Gesang Imperfect." Zum gleichen Bestandteil von Cgm. 4999 gehort der von mir 1906 angefiihrte " Gekronte Ton " von Wild. * Cassel Msorpt. Musica practica. 4. 72. f Illustration. No. 75. J Newe Paduanen, Galliarden, Intraden und Currenten nach Englisoher und Frantzosisoher Art . . . § Illustration. Paduana. No. XII. h2 100 PAPERS IN SECTION I (BISTOBY)— continued (Cmnmings). Matthew Locke, Composep for the Church and Theatre. By WILLIAM HAYMAN CUMMINGS, Mus. Doc, P.S.A., Sydcote, Rosendale Eoad, West Dulwich. Vice-President of the National Section Great Britain and Ireland, Int. Mus. Society. President of the Musical Association (Kartellverein). Late Principal of the Guildhall School of Music. (For abstract, see p. 56.) Locke was born at Exeter about the year 1630, and commenced his musical career as a chorister in the Cathedral of that city. Two notable memorials of his activity as a chorister-boy still exist ; they are to be seen on one of the inner walls of the grand old organ screen. The first, in large and conspicuous characters, reads, " Matthew Lock 1638 " ; the second is " M. L. 1641." These autograph inscriptions are deeply cut in the stone. A few years ago the fine old organ, built by Loosemore early in the 17th century, was removed from the screen for renovation and repair. I was very familiar with the ancient tradition that Locke had endeavoured to immortalize his name in the manner described ; I therefore took the opportunity to search for the memorials, and, having found them, I took rubbings of both. They are important as indisputable evidence of Locke's association with Exeter Cathedral, and also suggest that he must have been a pupil of the organist, and thereby had ready access to the organ screen. There were two able musicians at Exeter Cathedral in 1638 and 1641, both of whom shared in the education and development of Locke's musical talent. The organist was William Wake, a musician almost unknown ; he is not mentioned in Dr. Burny's history, and only incidentally in Hawkins's history and Grove's Dictionary. I have discovered some interesting particulars concerning Wake : he was engaged in a musical capacity in Exeter Cathedral from the year 1615, and after seventy-two years' service died on the 6th of May, 1687, and was honourably buried in the Cathedral ; he was then eighty-eight years of age, and held the appointment of sub- chanter. Locke also had the advantage of instruction from the Eev. Edward Gibbons, a member of the renowned musical family, and younger brother of the great Orlando Gibbons. Edward was born at Cambridge about 1570, and graduated Bachelor in Music at the University. In July, 1592, he became Bachelor in Music in the University of Oxford. He was successively organist and master of the choristers of King's College, Cambridge, and Bristol Cathedral, where he was also a priest-vicar. In 1609 he removed to Exeter, and was appointed priest- vicar in the Cathedral, and probably instructor in vocal music of the choristers. An anthem, composed by him in 1611, stills exists in manuscript in the British Museum library. The organ was silenced, and the Cathedral service suppressed, at Exeter in the year 1644, when Locke, in common with the whole musical establishment, was turned adrift. His master, the Eev. Edward Gibbons, was an ardent Eoyalist, and proved the sincerity of his principles by a gift of £1,000 to King Charles, to assist him in his contest against his rebellious subjects. Tradition says that, in consequence. Gibbons and his children were driven from their home into beggary. Be that as it may, doubtless Gibbons, with his generous nature, would exert himself to befriend his pupil Locke, who in the year of dismissal would have been aged about fourteen. Two years later we find him in London. There are two interesting manuscripts in the British Museum which establish the fact. They are as follows (the archaic spelling is faithfully copied) : — " Captain Fauconbridge, my humbell desire Unto you is that you will be pleased to deliver unto my worthie friend M' Matthew Lock such munnies as the Eight Honorable the Committee of His Maj^ Councill lately allotted to me 101 PAPERS IN SECTION I (HISTORY)— comtinucd (Cummings). in the last booke of payments as Groome of His Maj' great horse stabell, and my hand shall be your sufficient discharge. " Nov. 3, 1646. John Knight." Appended to the above order is the following receipt : — " Receaved by mee Matthew Locke for the use of John Knight Groom of the stable the summe of five pounds by warrant dated November 1646 I say rec". . Matth. Locke." It wiU be noted here that Locke added the letter " e " to his name, and hereafter he continued the practice. What Locke was doing in London in 1646 and 1647 we cannot discover ; possibly he may have been employed in some private way by the Eoyalists, for in 1648 he went to the Continent, perhaps as a messenger conveying letters or other documents. Whilst abroad he did not neglect his musical studies, as is proved by a manuscript collection he wrote of compositions by Italian authors. This bears Locke's autograph inscription, " A Collection of Songs when I was in the Low Countries 1648," and includes works by Sabbatino, Eovetta, Costanzo and others. During his sojourn abroad he came under the notice of Prince Charles, and afterwards was rewarded for his loyalty. In 1651 Locke was again in England, busy in the pursuit of his art ; one of the fruits of his diligence was the composition of the " Little Consort of Three parts made at the request of M' William Wake for his SchoUars." The autograph manuscript is preserved in the British Museum, where also is to be seen the duetts he composed for Two Bass Viols in 1652. In 1653 he was associated with Christopher Gibbons, son of Orlando, in the composition of music for a Masque entitled " Cupid and Death." The libretto was written by James Shirley, and it was represented before the Portuguese Ambassador on the 26th of March of the above-named year. A repetition performance of the Masque was held in the Military Ground on Leicester Fields in 1659. We find no records of Locke during the years 1654-55, but in 1656 he pubUshed the " Little Consort of three Parts," before mentioned, with the following title : — " Matthew Locke, His Little Consort of three Parts, containing Pavans, Ayres, Corants, and Sarabands, for Viols or Violins : In two several Varieties ; The first 20 are for two Trebles and a Basse ; The last 20 are for Treble, Tenor and Basse. London, printed by W. Godbid for John Planford, and are to be sold at his Shop in the Inner Temple in Fleet Street, 1656." The preface to the work is very characteristic of Locke's pugnacious nature, and is therefore worthy of quotation : — " T.o the Lovers and Practitioners of Consort Musick. At the importunity of an intimate friend and great Master in Musick (who being straitned in time and hindered from satisfying his own desires for the encouragement of his scholars,) I first undertook this kind of composition ; wherein I have endeavoured to comply with the Hands, Ears, and patience of young beginners, making the Ayre familiar, the Parts formal, and all facile and short. Which I mention, not to deter those of better judgment from perusing them (for they also in the conexion of harmony will I hope meet with satisfaction), but to assure you there is scarcely anything in them that, with a little practise, may not be masterd by the meanest hand ; to which you will find the care in printing of Tyes, Holds, Slorrs, and barring the Measures, a great advantage. But for such as either fear or Scorn to see or hear with content any but their owne Thick- scuU'd or Fantastical concertos they are desired to forbear Censuring, or dar'd 102 PAPERS IN SECTION I (HISTORY)— contijiuef? (Cummings). (observing the designe) to mend them. And for those Mountebanks of wit, who think it necessary to disparage all they meet with of their owne Country-mens', because there have been and are some excellent things done by Strangers, I shall make bold to tell them, (and I hope my known experience in the science will inforce them to confess me a competent judge) that I never yet saw any Porain Instrumental Composition, (a few French Corants excepted) worthy an English man's Transcribing. I have now done ; onley shall desire, in the performance of this Consort, you will do yourselves and me the right to play plain, not tearing them in pieces with division (an old custome of our Countrey Pidlers, and now under the title of Alamode endeavoured to be introduced) which if you please to observe, I shall take it as a motive for the rendering you somewhat hereafter worthy your better acceptance. Matthew Locke." In the year 1656 Locke took part in the composition and performance of the celebrated stage-piece " The Siege of Ehodes." He composed the music for the fourth Act, and enacted the part of the Admiral at its first representation, which was given " at the backpart of Eutland-House in the upper end of Aldersgate Street London." The libretto was written by Sir William Davenant, who published it in August, 1656, with an interesting address " To the Reader " ; from which we learn many particulars concerning this remarkable innovation on the established regulations for public entertainments. It must be remembered that stage plays and stage performances had been absolutely prohibited during the Commonwealth ; but by special favour Cromwell, the Protector, and the Lord-keeper Whitelock, permitted Davenant to open a small theatre behind Eutland House for the purpose of exhibiting " Entertainments in Declamation and Music after the Manner of the Ancients." Dr. Burney, who was only acquainted with the 1673 edition of the book of the " Siege of Rhodes," speaks of it with some disparagement. The first edition, 1656, is in my possession, and from it we discover that the room in which the performances took place was very small, and that owing to lack of space on the stage only five scenes could be utilized, and they were limited to a height of eleven feet ; moreover, as the stage was only fifteen feet deep, the number of performers was obliged to be small, and even then the narrow space made it difficult to allow a passage for the fleet of Solyma, for his army, the Island of Rhodes, the siege of the city, &c., and Davenant concludes with the observation, " I fear you will think we invite you to such a contracted Trifle as that of the Csesars carv'd upon a nut." The scenes, he says, were excellently painted by Mr. John Web and the " Musick was compos't both Vocal and Instrumental by the most transcendant of England in that Art, and perhaps not unequal to the best masters abroad, but being Recitative, therefore unpractis'd here ; though of great reputation amongst other nations, the very attempt of it is an obligation to our own." It is worthy of note that Mrs. Edward Coleman, who represented lanthe in the " Siege of Rhodes," was the first woman ever permitted to act on the public stage in England. Pepys, the diarist, makes two references to her. In January, 1663, he says he saw the "Beggar's Bush" acted at the theatre, and then, for the first time, saw a woman (Mrs. Coleman) come upon the stage. At a later date he speaks of Mrs. Coleman's sweet voice and fine singing. None of the music of the " Siege of Ehodes " can now be found, but as the seven principal performers were all professional musicians, it would seem that they delivered their lines with a singing voice, breaking into recitative " and air accompanied * Evelyn, on January 9, 1662, saw acted the " Second part of the ' Siege of Rhodes' in recitative Musiq." 103 PAPEKS IN SECTION 1 (HISTORY) -con«i««cd (Cummings). by instruments, harpsichord and viols. The instrumental music was composed by Dr. Charles Coleman (husband of the singer) and Mr. George Hudson, and perfornied on six mstruments, probably a "chest of viols." The singing actors included Captain Henry Cook, who also composed the music for two acts Mr. Gregory Thorndell, Mr. Edward Coleman, Mr. Matthew Locke, Mr. Henry Purcell, father of the famous composer, and Mr. John Harding. All of the before-named afterwards became members of Charles II.'s musical estabhshment. The music of the first and fifth Acts was composed by Henry Lawes. There are various and numerous indications in the libretto for the employment of instrumental music, and also for choruses, some for soldiers, women, men and women combined, chorus of wives, &c. We find an interesting record of Locke in Pepys' Diary, February 21, 1659 : — " After dinner I back to Westminster Hall with Mr. Crewe in his coach. Here I met with Mr. Lock and Pursell, masters of musique, and with them to the Coffee-house, into a room next the water by ourselves where we spent an hour or two, till Captain Taylor came and told us that the House had voted the gates of the City to be made up again, and the members of the City that are in prison to be set at liberty ; and that the Sir G. Booth's case to be brought into the House to-morrow. Here we had variety of brave Italian and Spanish songs, and a Canon for eight voices, which Mr. Lock had lately made on these words, ' Domine salvum fac Eegem,' an admirable thing. Here out of the window it was a most pleasant sight to see the City from one end to the other with a glory about it, so high was the Hght of the bonfires, and so thick round the City ; and the beUs rang everywhere." We may surmise that Locke had acquired some of the "brave Italian and Spanish songs " during his sojourn in the Low Countries ; and he had reason to compose the "Domine salvum fac Eegem," hoping that when the King came to enjoy his own he would not forget the faithful musician. Charles returned, and in 1660, on June 16, Matthew Locke was appointed "composer in the private musick in the place of John Coperario," with a reward of £40 per annum ; shortly afterwards he was awarded £16 2s. 6d. for livery, and was made composer for the violins— "a new place." On April 12, 1662, he was noted to receive a livery to attend in the Chappell and Westminster Hall at His Majesty's Coronation, in the capacity of composer. Some of the instrumental music Locke composed for the Coronation of Charles II. is preserved in his own handwriting in a volume which it is said he presented to the King. My own library contains a set of part-books with Locke's autograph music which also belonged to King Charles, and bear the Eoyal Arms. " The King's Musick " * contains many interesting entries of payment to Locke in the shape of New Year's gifts ; horse hire to attend His Majesty at Windsor and Hampton Court ; rent for a music-room for practice ; lodging as organist. A fine composition of Locke's is a duet, "Agnosce Christiane '' for soprano and bass. The original autograph manuscript is in the British Museum, but the work was published by Playford in three separate part-books. This motett was probably performed in the Chapel of Queen Catherine at Somerset House. There are nine other Latin pieces of a similar kind. Locke composed at least thirty-two anthems and one service for the Chapel Eoyal. A noteworthy specimen of his skill is the anthem " When the Son of Man shall come," which * " The King's Musick: a transcript of records relating to music and musicians (1640-1900).' Compiled and edited by the Bev. H. Cart de Lafontaine, M.A. (London: Novello&Co., Ltd. 1909.) 104 PAPERS IN SECTION I {HISTOHY)— continued (Cvmmings). is written for bass solo-voice and five-part chorus, with accompaniment for string quartet. These are remarkable for their contrapuntal variety and freedom ; the voice-parts are extremely striking, melodious, and original. A special feature is the frequent change and alternation of quadruple and triple time. In connection with Locke's work as a composer for the church, reference must be made to a remarkable publication of his entitled " Modern Church Musick pre-accused, censured, and obstructed in its performance before his Majesty, April 1, 1666, vindicated by the author. Matt Lock, composer in ordinary to his Majesty." The preface is printed at length in Sir John Hawkins's history; it is somewhat tedious and involved. Locke suggests that jealousy and ill-will brought about a disastrous performance of the responses to the Ten Command- ments which he had composed, contrary to the usual custom, with a variation in the melodies and harmony of each setting. Hawkins says that though they all differed they were in the key of F major. I am afraid he had not examined the music. I have copied the original, and the first, second, third, sixth, eighth, and tenth are in F major, but the other four are in various keys — D minor, C major, and B flat major. There are some crudities and some false accents, but taken as a whole the composition is very excellent. I can however well imagine that, sung as probably it was without rehearsal, from single parts, the result was far from satisfactory. The worthy amateur Pepys, in his Diary, September 1, 1667, made the following entry : " Lord's Day. Felling, Howe, and I and my boy singing of Lock's responses to the Ten Commandments which he hath set very finely, and was a good while since sung before the King and spoiled in the performance which occasioned his printing them for his vindication, and are excellent good." As a composer for the theatre Locke deserves a very high place. Reference has already been made to his association with the " Siege of Ehodes," and although that entertainment was carried out under exceptional difficulties, yet the experience Locke gained, both as composer and actor, must have been of very great value to him. There can be no doubt that he supplied certain music for a performance of "Macbeth"; some instrumental pieces of his for that revival still exist, including a " jigg," "saraband," and " ayre." These were published in 1666 and 1680, but no vocal music for " Macbeth " composed by Locke can be found. In 1750 Dr. Boyce published music for "Macbeth," to which he attached Locke's name ; but an intimate study of it, and of authentic music by Locke, makes it quite impossible to accept Boyce's ascription. There is no affinity in style with any of Locke's compositions. In 1667 Locke was engaged to compose instrumental music for a new version of Shakespeare's " Tempest," as arranged by Dryden and Davenant. The vocal music was composed by Humphries. Locke's music, published in 1675, consists of six pieces, noteworthy for special indications for expressive performance. We find the following in the score : " Soft ; louder by degrees ; violent ; soft and slower by degrees." This seems to be the earliest indication in English music of crescendo and diminuendo. Italian terms were not then in use; the earliest discoverable is in Locke's " Melothesia," published in 1673, where we find " rit supr a'S." Locke's various successes in connection with the stage brought him the commission to collaborate with Shadwell in the production of the tragedy " Psyche." This was first performed at the Duke of York's Theatre in February, 1673. The names of the actors and singers have not been recorded, but the celebrated Betterton was stage-manager, and was well supplied with 105 PAPERS IN SECTION I (RISTOUY)— continued {Cummingfi). splendid new scenes, machines, dresses and French dancers ; the cost of the scenes was over £800. The work was performed eight times and " proved very beneficial for the company, though not quite so lucrative as the ' Tempest.' " Shadwell published the book of " Psyche " in 1675, with a dedication to Prince James Duke of Monmouth, and an interesting preface in which he offers an apology for having written the play in rhyme, which, he says, was to make it " proper for musick," an art of which he claims to have a good knowledge, having been bred to a performance of it in his youth. He writes : " I chalked out the way to the composer (in all but the song of Furies and Devils in the fifth Act,) having design'd which line I would have sung by One, which by Two, which by Three, which by four voices, etc., and what manner of Humour I would have in all the Vocal Musick, and by his excellent composition, that long known, able and approved Master of Musick, M"^ Lock (composer to His Majesty and Organist to the Queen) has done me a great deal of right ; though I believe, the unskilful in musick, will not like the more solemn part of it, as the musick in the Temple of Apollo, and the song of the Despairing lovers, in the Second Act ; both of which are proper and admirable in their kinds, and are recom- mended to the judgement of able musicians : for those who are not so, there are light and airy things to please them." In the author's directions to the composer we find prescribed " A symphony of Eecorders and soft music " ; then, " Voices, Flajolets, Violins, Cornets, Sackbuts, Hoa-boys, all joyn in Chorus " ; " Chorus of Apollo's followers with FlageUets and Eecorders " ; " Chorus of 3 trebles to the Eecorder, Organ and Harpsicals " ; " Chorus to Trumpets, Kettle-drums, Flutes and Warlike Musick." Locke published his score of the music in 1675, and he also dedicated it to the Duke of Monmouth. We learn that the Duke was a frequent attendant at the rehearsals and performances of the work. The title reads " The English Opera or the Vocal Musick in Psyche with the Instrumental thereon intermix'd. To which are adjoyned The Instrumental Musick in the Tempest, by Matthew Lock, composer in ordinary to His Majesty, and organist to the Queen." He prints a long preface, written in a querulous strain, in which he says he expects "to fall under the lash of some soft headed, or hard hearted composer" for calling his work an Opera, which, he says, " is a word borrowed from the Italian, and includes Ballad, Counterpoint, Eecitative, Fugue, Canon and Chromatic music, which variety was never in Court or Theatre till now presented to this Nation." He also defends the extreme compass of some of the voice-parts, and also certain extravagances in the harmony. At the end of the preface there is an important note to the following effect : " The Errata's in this impression, which are not many, the Printer desires pardon for, it being his first attempt in this kind ; and hopes if it fall into ingenious hands they'l correct them." The apology was greatly needed ; it would be difficult to find a music-score with more errors ; they abound, and in many cases it is almost impossible to discover what notes the composer intended. Much of the music is admirable both in melody and harmony, the latter in several places evincing a freshness and variety far in advance of the period in which it was composed. The first Act opens with a melodious solo for a bass voice (Pan), followed by a Chorus of Nymphs ; this is succeeded by a piece which the composer calls " a song of Echo's planted at distances within the scene." This movement is a chorus for mixed voices, in which the end of each line is echoed twice, piano and pianissimo, at distant points on the stage, the singers being concealed by the trees of the wood scene. The design is excellent and must have produced a novel and 106 PAPEES IN SECTION I (BISTOBY)— continued (Dent). charming effect. Time will not permit a reference to the various numbers in detail ; suffice it to say there are stately recitatives, lively airs, and effective choruses. The printed score gives the instrumental string parts only, with a figured bass ; but it is quite certain that in the performances under the composer's direction wind instruments were freely em-ployed. For instance, a song and dance performed in the principal street of the city, near a triumphal arch, is directed in the score to be accompanied by kettledrums, wind instruments, violins, &c. These parts are not printed ; for the most part there is merely a figured bass, and only in two places small notes seem to indicate a grand wind tutti. The choruses are generally composed for Treble, Alto, Tenor, and Bass voices in four-part harmony ; there are, however, a few in six-part harmony. Shadwell's libretto is of inordinate length, filling seventy-one printed pages, but Locke set only one-fifth of the lines to music ; the larger portion was therefore spoken dialogue, and was not accurately described as opera on the Italian method. " Psyche " appears to have been Locke's last composition for the theatre, and it is a matter of regret that his complete manuscript of the score cannot be found. The design of the work is so excellent that we must deplore we have only the imperfect printed copy to refer to. Two years after the publication of " Psyche," in August, 1677, Locke died in the precincts of the Savoy Palace, and was buried in the chapel, but no record of him in his place of sepulture exists. Giuseppe Mapia Buini. By EDWAED J. DENT, M.A., Mus. Bac, King's College, Cambridge. Hon. Keeper of the Music, Fitzwilliam Museum. Member of the " English Committee " of the Int. Mus. Society. I (For abstract, see p. 56.) In two papers contributed to the Sammelbande (XI., 543 and XII., 42) I attempted to trace the development of ensembles and finales in Italian opera from Scarlatti to Logroscino. I had intended to devote a third paper to the works of Piccinni and Galuppi, but have hitherto been unable to do so for want of sufficient material on which to form judgments. In considering the finales of Galuppi I was struck by the very marked difference of form and style between them and those of the Neapolitan school, a difference which seemed hardly reconcilable with the common statement that Galuppi, after hearing successful performances of Neapolitan comic operas in Venice, proceeded to write a series of operas in imitation of them. Roughly speaking, the statement will do fairly well as a one-line summary of the facts for such " students " as are not sufficiently interested in the subject to give consideration to the actual music of this period. But it is worth while trying to find out whether Galuppi did merely imitate the Neapolitans, or whether other influences may not have been at work upon him. The main difficulty that confronts us is that the musical material is extraordinarily scanty. I have already printed a list of such comic-opera scores of the period as are extant, and it will be seen from this that not only is the total number very small, but there is not a single Venetian comic 107 TAPEES IN SECTION I (mSTOB,Y)— continued (D,:iit). opera before Galuppi of which the music has survived. Fortunately, however, we have a very full record of the non-musical side of these early Venetian operas, and the Biblioteoa Marciana at Venice possesses a very large collection of libretti. It seems fairly clear from such details as are quoted in Taddeo Wiel's " I teatri musicali veneziani del settecento " (Venice, 1897) that Venice did possess its own school of musical humorists independently of those whom it imported from Naples. Thus there appeared in 1705 " II Dafni, tragedia satirica in musica" at the Teatro S. Giovanni Crisostomo, libretto by Girolamo Prigimelica Eoberti, author of Alessandro Scarlatti's two Venetian operas, music by C. F. Pollarolo. which was followed by " Anfitrione, tragicomedia per musica," libretto by Apostolo Zono and Pietro Pariati, music by Gasparini, Teatro S. Cassiano, 1707, and a few others of the same class. It is perhaps spreading the net rather too wide to include these works among comic operas, as we call them now, since they belonged more to the class of " Favola bosohereccia," like Scarlatti's " II Figlio delle Selve." In 1717 three more definitely comic operas appeared at the Teatro S. Fantino — "L'Ambizione castigata, comi-drama in musica," libretto by Francesco Mazzari, composer unknown ; " Chi la fa 1' aspetta, drama comico in musica," libretto by Francesco Passerini, music by Girolamo Polani ; and " Bertoldo, drama tragicomico," libretto by Passerini, music by Girolamo Bassani ; and in the following year " II vecchio deluso, drama comico in musica," libretto by Passerini, composer unknown. It must be pointed out too that most of the serious operas of this date were provided with comic intermezzi, or at least with comic ballets. For a detailed list of operas the reader must consult Wiel's book; the important thing to note is that Venice did not apparently make the acquaintance of comic opera in its Neapolitan form until 1743, when " Orazio, opera bernesca in musica "was produced, with music by Latilla and Pergolesi, at the Teatre S. Moise. This was probably more or less of a pasticcio. After this date several operas by Latilla and Rinaldo di Capua were given at Venice. But the Venetians had not given up laughter for the preceding two decades. There had appeared in 1719 a new composer, who was indeed imported from Bologna, but very soon established himself in favour at Venice. This was Giuseppe Maria Buini, who collaborated with Fortunato Chelleri in an opera called " La pace per amore," produced at the Teatro S. Fantino ; he had also produced by himself a serious opera, " La caduta di Gelone," at the Teatro S. Angeloin the same year. The information available about Buini (he is also called Buina and Bovina) is extremely scanty. Not a single note of his music appears to have survived anywhere. Giovanni Fantuzzi (" Notizie degli scrittori bolognesi," Bologna, 1781) tells us that he was of humble origin, and possessed of considerable literary as well as musical facility. The year of his birth is unknown, but we may suppose him to have been born somewhere about 1695. His first opera appears to have been " Armidaabbandonata," produced in 1716 at Bologna (Teatro Formagliari) and revived at Venice in 1720 as " Armida delusa " ; of this he wrote both words and music. It was followed by "L' ipocondriaco " (1717) and " II mago deluso dalla magia " (1718) at the same theatre ; in 1719 he produced the two operas at Venice mentioned above, followed by "II Filindo " (1720), " Gli inganni fortunati" (1720), and " Cleofile " (1721), all three given at the Teatro S. Moise. In 1721 he married Cecilia Belisani, a singer who appeared in several of his operas. Returning to Bologna he transferred himself to the Teatro Marsigli- Eossi for "Amore e Maesta ossia I'Arsace "and. " La Pithonessa sul monte Olimpo " in 1722. In 1723 he was one of the lessees of Teatro Formagliari, as 108 PAPERS IN SECTION I (HISTORY)— cOHtmued (Dent). appears from a document now in the Fitzwilliam Museum at Cambridge. Here he produced " La ninfa riconosciuta " in 1723, and " La Vendetta disarmata dair Amore" in 1724. The Teatro FormagUari was at that time one of the largest and best-designed theatres in Bologna ; it was much frequented by the Young Pretender during his residence in that city. Buini seems to have been an enterprising manager, as the production of Alessandro Scarlatti's " Marco Attilio Regolo " there in October, 1724, is recorded to have attracted a crowd of fashionable spectators from a great distance. In 1724 Buini produced another opera of his own, " Cleonice," and in 1725 "La pace per amore." The following year saw him at Venice again producing '• Le Frenesie d'Amore," of which he wrote both words and music ; it was sufficiently successful to be repeated the following year. We may note that Galuppi made his debut as an opera composer in 1728. Buini seems to have divided the remainder of his life between Bologna and Venice. " Albumazar " came out in 1727 at both places; " Malmosor, tragichissimo dramma (fatto ad imitazione del Eutz- wansead) per musica" at Bologna in 1728; followed by "Chi non fa non falla " (Bologna, 1729, Venice, 1732), " La maschera levata al vizio " (Bologna, 1730, revived in 1735 as "Ilfilosofoipocrita"), " Fidarsi e bene, ma non fidarsi e meglio " (Venice, 1731), " Artanagamemnone " (Venice, 1731), and " L'Ortolana contessa " (Venice, 17821. He had also been as far south as Fano (near Pesaro on the Adriatic) to produce an opera in 1731 ; it met with great enthusiasm, which he describes in a letter to Ubaldo Zanetti, an eccentric apothecary at Bologna with whom he was intimate. The six letters of Buini, which Zanetti bequeathed to the Bologna University Library, and the copy of a lease in the Fitzwilliam Museum, are the only personal documents relating to the composer which I have been able to discover. After 1732 we lose sight of him until in May, 1739, his death took place at Alessandria dellaPaglia. One of his librettos at least survived him — " La Zanina maga per amore," with music by various composers, was given at Venice in 1742. Of Buini's personality one can judge only from the scanty evidence of the letters and the character of his libretti. The letters do not tell us much. Three are merely friendly expressions of good wishes for Christmas ; the fourth describes the success of his opera at Fano ; the fifth, probably dating from his last years, deals with prescriptions and mineral waters, and gives the reader the impression that Buini had to spend a good deal of money on medicine ; the sixth is a hurried note asking for various things in connection with his wife's confinement. It is as a librettist that Buini well deserves to be remembered. The comic operas of the first half of the 18th century produced at Venice may be roughly grouped in three classes : (1) pastorals (I can find no better English equivalent of " dramma sativico" or" favola boscherecoia"), a form of entertain- ment that seems to have been more cultivated at Eome than elsewhere, being essentially literary and artificial; (2) parodies of grand opera and what we should now call revues or extravaganzas ; and (3) comic operas, as we now understand the term, the subjects of which are in the great majority of cases taken from theatrical life. Buini has left us a few examples of the second group, but most of his comedies belong to the third, and it is this presentation of the coulisses to the public that is markedly characteristic of Venetian as opposed to Neapolitan comic opera. It is true that there are a certain number of operatic allusions in the Neapolitan libretti, as I have pointed out elsewhere, but they are generally of a purely incidental character, whereas the Venetians seem to have enjoyed seeing the main plot turn on the absurdities of a prima donna and her admirers. 109 PAPERS IN SECTION I (RmTOnY)— continued (Dent). No doubt this was largely due to the publication of Marcello'e well-known " Teatro alia Moda." Thus in 1732 a certain Antonio Gori, under the anagram of Goanto Einio, wrote music to " Le Metamorfosi odiamorose in birba trionfale nelle gare delle terre amanti, dramma per musica," dedicated to " Madama la Moda," with a preface in which the author says that he has done his best to follow the instructions given by the " non mai abbastanza lodato e venerato autore [i.e., Marcello], nel suo libro intitolato II Teatro alia Moda." I confess myself entirely unable to make head or tail of this libretto, which appears to be something in the manner of a rente. Another opera of 1732, Buini's " Chi non fa non falla," shows the influence of Marcello in a more intelligible form. It is a spirited comedy of operatic life : we have Lispina, the singer, and her mother, Sempiterna, both from Bologna, with a servant, Mamolo, of the same city, Baron Seccagine, the protector of Lispina, Alipio, " musico," in love with the same lady, and Saltobello, the impresario. It is curious that although the opera was performed at Venice the greater part of the dialogue is in the dialect of Bologna. The Baron appears to be a German, or at any rate a foreigner, who, at the end of the play, takes Alipio and Lispina into his service and pays everybody's debts all round. Alipio is well contrasted with the others by his exaggerated ]\Ietastasian language. It will be remembered that there is a great deal of Bologna dialect in the " Teatro alia Moda," from which we see that that tongue must have been quite familiar in the Venetian province. It may be pointed out that this is not altogether unreasonable, since the Venetian and Bolognese types of dialects extend respectively to the northern and southern banks of the river Po. " La Zanina maga per amore " (1742) is an amusing parody of the grand style. Zanina, the comic heroine, is a Bolognese, and talks her native language. Being deserted by Fidalbo, she attempts to hang herself on a tree ; the tree turns into a flaming statue, which offers her a magic wand. This ends the first Act. We may find the originals of such baroque absurdities in some of Scarlatti's early operas. Zanina reappears later as a German witch and also as a Turk. There is a succession of ludicrous transformations and scenes representing characters bewitched, with parodistic allusions to "II Pastor Fido." Finally, Zanina returns disguised as Tugnett (i.e., Antonio), her own brother, and demands satisfaction from Fidalbo ; she then reveals herself, and on his accepting her throws away her magic wand. There are also some serious characters who talk exaggerated Aixadian — if I may be permitted thus to denominate the affected style of the academic poetasters at this time— with the exception of Armano, the comic father of the serious heroine, who attempts to converse in the proper manner but cannot keep it up. The Venetian comic opera is on the whole much more spirited and generally alive than the Neapolitan, at any rate for this period, when Neapolitan comic opera was principally represented by Bernardo Sabdumene, whom Scherillo justly stigmatizes as decadent. The difference is in all probability partly due to the fact that Venetian operas were written for more democratic audiences, not for Spanish viceroys and their favourites, so that satire was encouraged instead of being suppressed. When the Neapolitan operas did come to Venice, they were to some extent modified. History has shown over and over again that comic opera begins with satire and soon degenerates into sentimentality, and the Venetians may well have been attracted by the sentimental character of the decadent Neapolitan type of musical comedy. The mixture of Neapolitan and Venetian taste is curiously exhibited by " Orazio," performed at Venice in 1748 with music by Pietro Auletta. It had been given in 1743 with music by Latilla and Pergolesi, and so was probably more or less 110 PAPEBS IN SECTION I {BISTOHY)— continued {Dent). of a pasticcio. The main idea of the plot is distinctly Neapolitan : the heroine, Giacomina, elopes from Leghorn with Orazio, is captured by pirates, and eventually falls into the hands of Lamberto, maestro di cappella. But the numerous theatrical episodes are Venetian in manner, and very entertaining. The opera begins with that favourite device of a music-lesson, and there is a fine musical soliloquy for Lamberto : — " AUor ohe stamper6 le mie cantate, Da lor si scorger^ la vera norma Del contrapunto, e come lo sia non men Maestro di Cappella, Che barbaro Matematico, A difterenza di color che appena Imparar su prinoipj Do, re, mi, fa, sol, la, Che baldanzosi al Cimbalo Siedono con tremenda maesta! " The most ridiculous character is Colagianni, the Neapolitan impresario, who is a mixture of ignorance, effrontery and bad manners. His ideas on his occupation are summed up in his aria : — " ' Na Canterina, E gli Impresari Quand' & vezzosa. Pud fa arrichir ; Spiritosina, Che a preoipizio E graziosa : Gl' innamorati Se non ha voce, Solo per quella Se non intuona, Sono appaltati, fe sempre buona ^ li Palohetti Per li teatri, Corrono a empir." After he has left the stage, Lamberto and Mariuocio sum him up in a delightfully quiet piece of humorous dialogue : Lamberto. — E molto allegro questo Ser Colagianni. Mariuccio. — Ed ha tratti cortesi. Lamberto. — Un sol difetto io ci oonosoo. Mariuccio.— 'Ei ^? Lamberto.— Far ohe presuma troppo e nulla fappia. Mariuccio.- Quest' e vizio comune degli Impresarj. The second Act, it may be noted, ends with a very elaborate ensemble, in which a Serenata composed by Lamberto is performed. Tlie parts are brought by Sgorbio, the copyist, corrected in a hurry, and distributed to the singers, who read them at sight ; Colagianni naturally makes a great mess of his. Of Southern composers the favourites at Venice seem to have been Latilla and Rinaldo di Capua, whose comic operas were frequently performed in the years that elapsed between the dea.th of Buini and the rise of Galuppi. But their infiaence was probably musical only and not dramatic or literary. The Venetian burlesques and extravaganzas still went on, as we see from Buini's " Zanina maga per amore " and "II Trojano schernito " by Giuseppe Imer (1743), a ludicrous parody of Metastasio's immortal " Didone abbandonata " quite in the manner of Offenbach. It is evident too that the pasticcio was becoming popular in Venice, and was an art-form (!) not entirely confined to London. Wiel mentions several operas with the heading "Musica da diversi," and the type of libretto that turned on life behind the scenes of the opera- house might easily have degenerated into a skeleton plot in which impresarios, singers, mothers and milordi might become the Harlequins and Pantaloons of a new Commedia delV arte, extemporizing their dialogue, and dragging in all the favourite songs of the day. It was the genius of Goldoni and Galuppi that Ill PAPERS IN SECTION I (HISTORY)— continued {Dent). saved the situation, and although we cannot now say how much the latter was indebted for his musical style to Buini, there is at least considerable ground for supposing that forgotten buffoon from Bologna to have had some influence on the libretti of Goldoni. AppeniU.f. Letters of Buini to Ubaldo Zanetti, Bologna. I. Fano H 21 Lug°- 731. SiG. Ubaldo Erv""", — Non ho mancato recapitare la sua a chi era diretta avendo aspettato ritorni da Jesi dove era andato ed eccola servita di quanto mi ha comandato : Le nuove della nostr' opera sono ottime mentre p grazia di Dio tutto iucontra a meraviglia non potendo specificare 1' indicibile applauso, che ne raporta, e ben che le due 6 tre prime recite parvero scarse di concorso ma rimettono col esservene persin troppo mentre non ostante che il teatro sia grande a gran stento vi capisce tutto il popolo che vi concorre, e ci6 non le facci meraviglia, mentre sappi che tutta la citt4 6 appaltata p sempre, e questi ogni sera sarano cinquecento e seicento persone che infalibilm'' vi sono agiunte poi a questi trecento quattro cento forestieri fano un Numero che puo riempire qual si voglia Teatro, ed eccole con sincerity le nuove. La Cecilia mia consorte la riverisce cosi fa la Gentile, et io dichiarandomi pronto a suoi comandi mi dico Di V. S. 111. Riv'" Dev. Obbl"-° Giuseppe M. Buini. II. SiGNOR Ubaldo mio Eiv™, — Volendo io dimattina cominciare a prenderele acque La prego mandarmi p il Lavare la p"'"^ ricetta e fiaschi 15 in acqua di Nocera, e p che non voglio che questo conto s'aggiunga all' altro che tengo con V. S. si paghera tenendosi il suo avere p la robba sud" p la quale la prego di usarmi la gentilezza possibile e p tal effetto le mando una mezza doppia di Eoma che vale £8 : 15. e mi mandera il resto e quanto altro mi occorrera p tale mia bibita le mander6 sempre il denaro riserbandomi a soddisfare 1' altro conto quanto p™" e riverendola anche p parte della mia consorte e tutti di casa mi dico suo Dev"" Sew" Giuseppe M. Buini. III. E pregato il Sig Ubaldo a mandare una manteca p il latte delle Mamelle che deve servire per la Cecilia che e di parto. questa manteca mi supongo gik sapr^ che si fa con la cera Vergine e I'oglio di mandorle dolci ; questa si desidera averla questa sera essendovene il bisogno e p fine e riverito Divotam'". Dal suo serv'^ Giuseppe M. Buini. Lease of the Teatro Formagliari at Bologna to G. M. Buini and others : — L. D. Adi 8 : Marzo 1723. Per la presente privata Scrittura, quale vogliono le parti infras'= che abbia forza di publico, e giurato Instromento roborato con le clausole generali, necessarie, et opportune si dichiara, come Till™ Sig"'^ : Co : Alessandro Formaliari agente per se, et i nome de' Sig": Co: Lattanzio e Girolamo suoi 112 PAPEES IN SECTION I [BIST OB,Y)— continued (Dent). Pr""' da, aifitta, et alluoga a' Sig'' : Giuseppe Bovina, Giuseppe Alberti, Andrea Eaita, e Domenico Monari, il Teatro di Casa Formaliari per rapreseutarvi opera in Musica, e con le seguenti condizioni : Cio^ che la presente Locazione principi doppo la Festa della Nativity di Nfo Sig"^' dell' anno corrente, e che termini 1' ultimo giorno del Carnevale avennire dell' anno 1724, e non piu oltre, perche cosi S.* Item ch^ li Sig" : Conduttori sud' : paghino per affito del d° : Teatro, e per d° : tempo lire trecento q'' : cioe la met^ avanti di sottoscrivere la presente scrittura, e 1' altra met^ doppo seguite alcune recite, e non in altro modo, ne in altra forma. Ite li Sig": Conduttori si obligano di lasciar entrare ogni sera che si reciter^ li Sig" Co : Formaliari Locatori, e lore Servitori senza Biglietti, e di piiidare per una sol volta a' medesmi Sig"^' Locatori settanta biglietti compagni di quelli che si dispensarono la sera medesima, e mai diflferenti per valersene sud' : Sigr' : a loro piacimento, come le parer^, e piaceri, e che siano tenuti detti Sig" Conduttori darli in quelle sere, et in quel numero, che £i sud" : Sig" : Locatori piacera dimandarli sino a tanto che sia compita la somma de' sud' : settanta biglietti. Item li Sig" : Locatori si riserbano il solito Palchetto nel primo Ordine Nobile, e 1' altro Ponticello fuori d' ordine nel Proscenio per valersene a loro piacimento S. Item per capo separate il Sig'" : Co : Alessandro soprad" : agente come sopra d^ a' soprad' : Sig" : Conduttori la facolta di sublocare detto Teatro ad altre persone per recitare Comedie con condizione pero, che le sudette persone siano honesto, e si rendino note da' Sig": Conduttori a' Sig''': Locatori, acci6 le rieschino grate, et acette non volendo essi, che si recitino Comedie rustiche : Col patto ancora se avanti il mese di Novembre venturo fosse dimandato il Teatro per recitare Opere in Musica, quando li Sig" : Conduttori vogliono rapresentare le medesime debbono dar luogo a' medesimi, e cedere il Teatro agli altri, perche cosi S. In tal caso 1' affitto sara regolato, come ora si conviene per le Opere in Musica, cioe di lire trecento q" : pagabili nel modo sopra descritto, variandosi solo ne' biglietti, che dove per le Opere in Musica li Slid' : Sig" : Conduttori si obligano dare n° : settanta biglietti per una sol volta, nelle Comedie, od' Opere recitative si obligano dare ogni sera, che si rapresenter^ qualche cosa nel Teatro, 6 sia Opera recitativa, 6 Comedia, o altro sempre dodici biglietti de' medesimi, che dispensarono agl' altri, e non mai differenti. Ite li Sig'' : Conduttori sud' ; si obligano di non lasciar entrare in d° : Teatro Torcie accese, eccettuato alii Sig": Superiori, che in tal caso li sia permesso lasciar entrare solo quelle che sarano in loro servizio. Ite li Sig": Conduttori sud': si obligano di non introdurre abusi di sorte alcuna in d°: Teatro; ma in caso di qualche inconveniente, che fosse per succedere di ricorrere a' Sig'': Locatori, a', quali spetta di provedere alii medesimi. Ite, che detti Sig" : Conduttori possono valersi di tutte le Scene, et altre robbe che sono in detto Teatro per far Opere in Musica ; ma non possino asportare fuori d' esso la minima cosa, e bisognandoli qualche cosa di nuovo debbano farsi fare tutto a sue spese, senza che li Sig'' : Locatori siano mai tenuti a bonificarli cosa alcuna anche in minima parte, perche cosi S. e non potraiio valersi d' altra persona per dispensare Ponti, Scranne, e Bonzole, die del * The curious sign resembling an S appears to signify e stato sempre, or something of the kind. 113 PAl'EKS IX SECTION I (HliiTOliY}—{wnti„uetl) (Dent). Sig": Pieti-0 Farina Custpde del d°: Teatro, coriispoudendogli quelle, die assieme connestano. Si diphiara per ultimo, clie quando per mancanza delli ^^•V Conduttori, e nqn per impedimento del superiore non si continuassero le recite, li medesimi siano obligati a pagare sud": affitto, et il valore de' soprad': bigbetti, e cosi die in tempo delle recite nascesse impedimento per parte del Supenore si debba raguagliare 1' affitto :\ proporzione delle recite fatte : e cosi se 11 Superiore medesimo non accordasse la licenza di rapresentare sud'= : opere si obliga il Sig"' : Co : Alessandro soprad" : di restituire a' medesimi Sig" : Conduttori le lii-e centocinq>iaiita cbe al presente le sborsano. In fede di che anno sottoscritto la presente sotto I'obligazioue de' loro beni pj-eseuti, e futuri anco in forma della Rev''" Camera Ap"™ alia presenza degl' infras"' Testimonj. Alessandro Formaliari i\ iiomo proprio, e de' Sig" : miei Pr'^'" affermo e prometto q'" di sopra. lo Giuseppe M": Buini aff""" lo Giuseppe Albert! aft"'" lo And" : Raita aff'"" lo Domenico Mouari affermo cro + gie di pietro vintoroli quale fu presente quanto di sopra lo Pietro Farina fui presente e vide fare sodeta grogie. The notable features of the agreement are the number of free tickets to the lessors included in the rent, and the ingenious arrangement whereby opera was given precedence over any other form of entertainment. It must also be added that Buini has claims to literary distinction apart from his opera libretti. Ho published in 1736 a work entitled "L'Dsgrazi d'Bertuldin dalla Zena miss' in rima da Gioseft' ]\Iari Buini Accademic dal Tridell''' d'Bulogna. Con lo Osservazioni, e Spiegazioni del Vocabili, 6 termini Bolognesi del Conservatore della Societa de' Signori Filopatrij di Bologna." The date of publication appears in the imprimatur, as does also the publisher, Costantino Pisarri of Bologna. The book is a poem in six cantos in the Bologna dialect based on a story by Giulio Cesare Croce called " Le disgrazie di Bartolino dalla Zena." It has no connection with the more famous Bertoldo and Bertoldino of the same author. It is not for me to judge of its merits as dialect literature ; but the book is of very great value to the modern student, since the notes of the Conservatore della Societii de' Signori Filopatrij di Bologna, besides being extremely entertaining, provide explanations of a large number of Bolognese words and phrases. Another work of a similar kind is attributed to Buini : " Al Trionf di Mudnis i)r' una Segia tolta ai Bulgnis Poema ridicol traspurta in lingua bulgneisa da un' Accademich dal Tridell. In Modna, per j' Ered d' Bertelmi Sulian Stampadur Ducal. Con Licenzia di Superiur. 1767." The preface is signed G. B. The work is a translation of Tassoni's " La Secchia Rapita " into the dialect of Bologna. * Tridell = tritello = crusca. 114 PAPERS IN SECTION I (HISTORY)— loHdHMd {Frere}. Key-pelationship in Early Medieval Music. By Rev. W. H. FEERE, D.D., Superior of , the Community of the Resurrection, Mirfield, Yorks. (For abstract, see p. 59.) Key-relationship is a modern idea, but it has its roots far back in musical history. The first traces of it are to be seen in the days previous to harmony, and under the ancient modal system. This system varied greatly from the modern scale, being at once more rich, and less flexible : yet it admitted some ideas of relationship between dift'erent tonalities, and those are analogous in many ways to modern key-relationship. The several modes, constituted as they are each differently one from another, naturally lend themselves to different kinds of modal- relationship, some more to one kind and some more to another. Five of these kinds may be distinguished and briefly discussed, as they have an important bearing on the subsequent history of the art of music. (i.) The diatonic system of medieval music had inherited from the Greeks two alternative series of notes in the upper part of the diatonic scale ; and by this means there was available for use a B flat as well as a B natural. This suggests at once that we are likely to find a Tonic and Subdominant relation in the modes which derive from this Greek scale ; but in point of fact this is not a common relation to find actually in use in early modal melodies. In the early medieval music commonly called the Gregorian chant, the B flat was used rather as an accidental than as a means for modulation. Moreover, it must be remembered that the modal system admitted no scale e ■ > ■ 3 ' j^ ^M-V :^S=V Int. Lex do mi ni . . . sa- pi - en- ci -am praestanspar-vu - lis. (iii.) While two such common key-relationships as those already mentioned are for the most part inconspicuous in early medieval music, the commonest piece of key-relationship at that date is one that has almost entirely disappeared from modern use. The medieval musician, when he wished for tonal contrast, regarded any two modes that lay separated from one another by a whole tone as being the two which could be most suitably contrasted. He descended from the scale in which his melody properly lay, to the scale a tone below. This feature is found to occur in three out of the four ancient tonalities, namely, the Dorian, the Phrygian, and the Mixolydian. It could not, of course, be found in the case of the fourth, the Lydian tonality of F, because the mode below it is separated from it only by a semitone, not by a whole tone. This form of key-relationship is so common that it would be possible to multiply instances of it endlessly. In the Dorian mode, side by side with the tonic cadences on D there are constant cadences on C ; and there is constant alternation of the major triad of C with the minor triad of the mode itself. The device is almost as commonly used in the Mixolydian tonality. It is rarer in the Phrygian tonality ; but there are sufficient instances to show that it was admissible and utilised there. The first examples — Tonic and Sub-Tonic. Ex. 3 (a). Antiphon ending (I.). :^=^ . . . o per a ta est in me. Ex. 3 (b). Antiplion, " Ab oriente" (VIII.). ■ n % iv aur - um, si cut Re - gi mag - no ; &c. 117 PAPERS IN SECTION I (RmtOBY)— continued (Frere). are from simple antiphons of the first and the eighth mode respectively. The third example- Ex. 3 ic). Co., •■ Unam petii " (VII.). = jr ^-^A / ;^p=^ . hanc qui from a Communion, gives the P chord very fuUybefore closing in G. But here again the clearest instances to quote are the characteristic phrases which are used to decorate a formal close. These formulse are utilised in each of the two contrasted positions, so that in the one case they bring a close on the final of the mode and, in the other case, a close on the note a whole tone below it. In many species of composition, particularly in the responds, this alternation between tonic closes in D and sub-tonic closes in C, or again between tonic closes in G and sub-tonic closes in F, is one of the commonest and most attractive of features. Two Mixolydian examples will make the usage clear : — fix. 3 (d). Co., "Introibo" (Vlll.). jH i P A gP » , ^ ^ 3^ lu ven tu tem me Ex. 3 (<) :^ Introit, " Oculi mei " (VII.). It ^ £=B: -M-V- , . res - pi - ce in me et mi - se - re re me e z ^^7—. ; . ■ n Ji fC J- . . 11 r«i i4 V ■'M^^iH- -1- w '■' ^ A ■ quo - ni am u - m cus et pau per sum e go. This device survived in all early music. When the first irruption of folk- song into classical plainsong took place, by the composition in the 13th century of non-liturgical melodies, such as those called C'otiductus, or of others still more secular in character, this same device is again in evidence : — Ex. 3 (//. Conductus, " Ut non ponam." v » ■ ■ ^ — 11 . — j , . . Et CO Ian - tes cu - li - cem, Glu - ti • unt ca - me - lum. In the folk-song of later days it again had an established place ; and the device still reigns in that sphere, though it has disappeared from the sphere of ordinary 118 PAPEBS IN SECTION I (HISTORY)— coniMMted {Frm). art music. There, are many English folk-songs which owe all their charm to the juxtaposition of two scales a tone apart — Ex. 3 {g). 'Henry Martin.' i m ■A — U=i: zt= — ^— -H- s= :i- -<*^ In mer-ry Scot- land, in mer - ry Scot land there m ES^dE=^: -^^ liv ed bro-thers three. They all did cast lotsvvhich of |ig ^a^^ ~^i^-^ ■e— h S^=3E them should go a- robbing upon the salt sea. Ex. 3 (h). ^ = " How old are you my fair pret- ty maid, how i =*E =^= ;p^E^ old are you my hon - ey ?" She . . an-swer'd me quite Efe fe cheer ful ly ' O ' I'm sev en teen come S3E Sun - day. "With my ;ru - dum- day, Fol the did-dle dol, i =g Fol the dol the did - die dum the day. and in Irish dance music and folk-song music the same characteristic is even more common. (iv.) The tonic and dominant relationship which plays so large a part in later harmonized music is not very conspicuous in early melodic days. The only real opportunity afforded for it by the modal system was in the Lydian tonality, for there the scale of could be used to alternate with the scale of F, while a B natural was available for use in, the former and a B flat for use in 119 PAPERS IN SECTION I (mSTOnY)— continued (Frere). the latter. Instances of this alternation are not difficult to find, and they are fairly conspicuous ; but they are not many in number. See Example 4 (a) as an example, in which a familiar formula, occurring in each position, points the contrast : — Ex. 4 (a). ToNTC AND Dominant. Introit, " Verba mea " (V.). 1^ , J ^»>» fl ^^ . . . cla - mo - rem me et de us Another form of the tonic and dominant relationship may be seen in the ^lixoljTlian tonality, but it is not a pure form. There is a difference in the fact that for this mode there is no leading note available. Still, in spite of that fact, there is a real tonic and dominant contrast between the passages that close on the G final and the contrasted passages that close on D (the fifth above) in the Misolydian mode. A considerable number of these may be found in the early and classical plainsong ; one example will suffice — Ex. 4 (b). Antiphon (VII.— VIII.). 4- -r- -^ A. Fi- li, quid fe-cis-ti nobis sic ? . . . Quid est quod me que-re - ba - tis ? &a which is specially clear, because the contrast is used to indicate the dialogue between our Lord and His parents when they found Him in the Temple. This and similar passages pointed out the way for future developments ; but the possibilities ol this contrast were never systematically worked out until the time came for the composition of the sequence melodies in the 9th bentury, probably under Byzantine influence. Here this contrast was made quite formal and quite normal. The earlier part of the most typical of these melodies (which are Mixolydian) has all its closes in G ; a middle section has its closes on the D above, and a return is made to the G for the final close. Thus the central section of the composition ranges a fifth higher than the beginning and the ending. Our example gives the opening section and the middle section : — Ex. 4 (c). Sequence Melody, " Muss" (VII.— VIII.j. :t=K :^i^ Sec. 1 V.> ^'* a ■ I 1 1^^ ^'♦"^^vr-^ &c. The writers of the sequence melodies adopted this plan also in the case of; Dorian melodies. In fact they used hardly any tonalities but these two, perhaps because they were the only two which offered to them the opportunity for this 120 PAPERS IN SECTION I (HISTORY)— con«Jm(prf (Frere). their favourite devi6e. The device survived in later music. The Conductnn and other secular melodies of the 13th century exhibit it, and it is found surviving to a limited extent in some of the folk-music of later days. The following carol has a melody which exhibits a somewhat similar contrast, though its words seem not to fit the tune : — Ex. 4 (rf). Carol. i t =3^ :ar I.ul ■ lay my child and wepe no more, slepe i -^- i: =^ 33tZ23= and be now styll ; 6 King of blis Thy Fa - der ^ IQI ZC ;j=fr - i > > i %r P' =^ ^ ^•qf^i Do-mi ne tempus be - ne pla - ci - ti de tu I have dealt so far only with melody ; indeed, I have not sufficient competence to pursue the subject as I should wish to do through the development of early harmonized music. But I will try at least to indicate fsome noteworthy points as to the survival of these ancient melodic ideas of key- relationship in the primitive stages of the evolution of harmony. In the first period of harmony, that of the most rudimentary orj/ana, the duplum, or second voice, followed almost slavishly the original melody, and added nothing to its characteristics so far as key-relationship is concerned. In the later and more developed organa the original melody served very often as little more than a changing drone, above which one or more voices executed music which must have been more like jodelling than ordinary singing. In neither of these periods, therefore, do we expect to find anything to throw fresh light on the persistence of the old melodic key-relationships in the new harmonized, music. It is different when we come to the Conductus and the Motet in its earlier forms. Here part-writing really comes into being. (Headings i. and ii., above.) The relationship of tonic and subdominant begins to develop further ; and that of major and relative minor, already inherent in many melodies, is made clearer than before by the harmonization. The same is true of the contrast between major and relative minor. There are cases, however, in which the harmonization obscures the melodic key-relationship ; e.g., the Dorian Conductus " Eclipsim patitur," when it is harmonized, is robbed 122 PAPEES IN SECTION I {HISTOUY)— continued (Frerc). of its close in the relative major, for when the melody rises to the F, the added part descends to D, thus excluding the Lj'dian and preserving the Dorian flavour : — Ex.6. Conductus, " Eclipsim patitur." z-i'-j ■ — *T-F=n-1- m-'=f=^iE^^- — e> — — 1 * — J=S^ — ts 1 — 1 1 — 1 — Ra - di C F |- us ho di e, — ^ ^ rr^i Ff^^^ ^F^ Both these forms of key-relationship have developed continually ever since with the progress of harmony : they are familiar, and need no further description. Notice, however, before passing on to the other key-relationships which wo are studying, that we have found here our first instance of a case in which the harmonization alters the natural melodic closes and goes against the key- relationship of the melody. If such a thing is possible in a Conductus, still more does it become possible with the development of the Motet. The harmonization of Conductus melodies usually follows fairly closely the character of the tenor. When the time came that the Motet was evolved from the Organa, there was much more liberty. The tenor soon came to be used as a series of notes quite regardless of its own original rhythm or tonality. It was made to fall into new rhythmical shapes, and no attention was paid to the mode of the composition from which the group of notes forming the tenor was, somewhat arbitrarily, extracted. Above it there were written other melodies, one, two, or three in number, which often had very small reference to the tenor. The composer's object was to produce attractive melodies for his upper parts rather than to make them exactly consonant with the tenor or with one another. The result is often a series of dissonances, which till recently would have seemed to us barbarous ; but in these latter days our composers have been reverting to the methods of the 13th century, and are combining their melodies without being particular as to dissonance ; and we are learning to approve. In some cases it seems as though the melodies or one of them was an independent folk-song or something of that nature : and then its connection with the tenor is more distant than ever. In such circumstances as these it is difficult to discover from the compositions any clear ideas of key relationship. The difficulties may be exemplified by the Motet " Qui Servare Puberem : — Ex. 7 {«). Motet, ''Qui Servare." i =t lEE^t=£ -.*-•- s i :?== =P=P- :t Qui ser- va i ^=F^ =P2- re pu - ber -em, va gam clau- de !!!::=£: 23te _pif.: 123 PAPEES IN SECTION I (HISTORY)— fo,!ftH«f(J (Frere). mJ ' 1 — ^— ^ =p= 5^^E -^^^E^ stu det, la vat la ter - em i -F-- i rr-t-t- •73"'= fn- Me^^ q=4=^: 'fJ*^ >n - - j r-fs- DEC ^^ li tus col er e . . tunc la - bor at, i :&3=:^pi £^ -^-5:^:o_ :^=:t: :B^ =^ i -(= ?z: B ^ -tS>— P- :?3:z=ip=pi cum ira - plor - at vi as vi - per - ae : i r &:^: P!- i -p= ^^ W \~i ^^^ i =P2= § ■P=-G»- No - vit e nim car ce - rem . . vin cla sol ve i =1= ^=a i ?E^E i E^ -t=^ EE ^ fe dus et char • ac te - rem fir :^^=±z - r - 124 PAPEES IN SECTION I (HISTORY)— coiiHwiicrf (Frere). m -^ -s~»- ^ i m ZfS- =p= n ma turn fran =r-= — !— ge no - va sem - per :?2r i ^=F= -F-« 1 — E^ » p i fei^ ^ SEE fal le - re, no vo gau - det ve te - rem a m ^ i =5=P= :?=c i *=3= ? :?2:3 mi - cum pel le re. i Here the tenor is a piece of the gradual Sederunt : it is of the fifth mode, but the portion utiUzed closes in C, not in F. The original form of the extract is given in Example 7 {h) '. — Ex. 7 {b). -h*^ -^ -g ^. u. r 1 ♦ \ f-yj — «g =£S=ei: -o- - I ! I :p=i- iM:p= r I I if" I I I -r?^ ! "i 4- -*- -^ E glCIg^ H ^=N= -^-:- "r~! I i P -^^ -^- ^=i=F -•- . -*- There were still two longer dances of very common occurrence and' containing a great number of figures, namely, kadrilj and purpuri. Engelska (English) and Schottis or skottska (Scottish) also occur, but they were later- 165 PAPEES IX SECTION II (ETHNOLOGY)— eo«i!m!i«J {Anderssoii). on almost -wholly supplanted by the polska, which towards the end of the century became predominant at the dancing parties. The Schottis, which as early as in Bach's time seems to have been used as a peasant dance in Germany,* was once very popular. Of the Schottis tunes, which have been noted down in great numbers, I give the following specimen : — 8. Evert Silander, 183i, Aland. ibsbd ^-^^^=pl~^^=^S i -m-m -a-n tz^ -#—#—•- i 1- 3^:^^ :^t =»=ic: nn-i - =1=3= s^ ^*^ ^ffc? m -_?_«- :» — p- PS=P= EfEfEfEtES I I "^^^ m 9. .Johan Petter Eagvals, 1858, Osterbotten. -m-P- -te=P^~ E^ :«zzp: n — ^iari n- 3Ei=^ S^ =?=H«=t5=F :^^=^ .i „ . m mq i ^=* itztzit 3: tt tiiz^^iih:?! -^zf=3tzi3 i 1=^ 1=i: g •_^_«_ ^ it±*- '^a^dS. The English occurred in several variations : fyra man engelska (four men English), nie man engelska (nine men English), &c. The melodies are exceedingly interesting, and, owing to their lively character, very popular. F. JI. Biihme: "GesehichtedesTanzes in Deutschland." Leipsic, Breitkopf it Hiirtel. 1866. 166 PAPEKS IN SECTION II {ETHNOLOGY)— continued [Andersson). 10. Jonas Roj, 1832, Osterbotten. s It U3= ^^ li -p-*- ^J S ^=i=i^ ^s ^a ^ -^^ ii^ -!•"* S^E^ ^ 3*=*I ^ -^ :=ij: 11. Adolf Wikstrom, 1847, Kimito. i SlE^SS q=q=: ^==F *i:i3ii Many of the special efiects of trained violinists, such as harmonies and pizzicatos, &c., are often accurately and skilfullj' used by the countrj' violinists above described. In a polslia, for instance, the song of the swans is expressed by the notes D, G, H, harmonic on the G-string. In another, three pizzicatos represent " three jolly fellows from the limping village." Sometimes the tunes form a kind of programme music, affording a specimen of the art of characterization. As themes for this kind of music we find quarrels between wife and husband, incidents in the calling home of cattle from the pasture, &c. ' The dance-tunes of the Swedish country population in Finland have been collected and noted down during a long succession of years by the Swedish Literary Society in Finland. For this Society I have noted down about 2,000 dance-tunes from 100 violinists. During the last few years collections of phonograph records have also been made, which are kept in the archives of the Society of Brage, This Society is itself actively working for the revival of instrumental music among the Swedes of Finland, particularly by arranging competitions for playing and by publications. Finally, it seems a period of renaissance has now commenced, both for good violin music and for those excellent old dance-tunes which once were not far from being extirpated by the accordion and other vulgar instruments. 167 PAPERS IN SECTION II (ETHNOLOGY)— eoJitiniierf [Feller). Die Musik in den Marchen und Mythen der ver- schiedenen Volkep. By Dr. ERWIN FELBER, 15 Arenbergring, Vienna. Writer on musical history. (For English abstract, see p. 57.) AUSZUG. — Das steigende Interesse an primitiver Musik lasst es als wiinschenswert erscheinen, audi ihrer Aesthetik niiher zu treten. Zum Studium der Aesthetik irgend einer Epoche geniigt es nicht, ihre Werke kennen zu lernen, die vielfach nur historisches Interesse haben, wir beniitigen auch die Urteile von zeitgenossischen Schriftstellern und Laien, die die Werke audi geftihlsraassig erfassten. Umsoweniger geniigt zur aesthe- tischen Wiirdigung der primitiven Musik die Kenntnis der Schopfungen deren Zahl im Abnehmen, mit fremden Idiomen durchsetzt, durch den Phonographen psychisdi verfiilscht ist. Hier ist man umsomelir au£ die .Vusserungen fiber das Wesen und die AVirkung der Musik augewiesen, die sich am urspriinglichsten in Marehen und Mythos erhalten. Motive, die sich, von Varianten abgesehen, bei verschiedensten Volkern finden, konnen wir, mit kritischem Geiste gepriift, als alteste Bestandteile musikalischer Aesthetik feststellen. Eine vergleicbende Analyse von musikalisehen Motiven und deren Varianten in Mythos und Miirchen ist Gegenstand dieses Eeferates. Wenn wir in das grosse Land des Mythos und IMiirchens eindringen, das uns schon als Kindern so lockend und grauenvoll erschien, so nehmen wir mit Erstaunen wahr, dass wir einer relativ geringen Anzahl von Motiven gegeniiberstehen, die in feinen Schattieriingen und alien mogliohen Auspril- gungen bei den verschiedensten Volkern wiederkehren. Diese merkwiirdige Erscheinung der annahernd gleichen Motivbildung bei ^'6lkern von verscbiedenster physischer Beschaffenheit und geistiger ^'eranlagung erkliirt sich aus der Tatsache, dass der Mythos und sein jiingeres Geschwister das Miirchen, beide aus der gleichen Quelle schopfen, beide der Beobachtung Personifikation und symbolisehenDeutung der astralen Phanomene entsprungen sind. Die neuesten Ergebnisse der Mythologie fiihren den Mythos direkt auf den Mond zuriick, auf seine verschiedenen Gestalten im Wachsen und Abnehmen, auf sein Liebesverhiiltnis zur Sonne, auf die Bilder, die in ihm zeitweilig auftauchen und wieder verschwinden. Erst in zweiter Linie sind Gewitter, Traumvision und Dilmonismus von Einfluss auf die Mythenbildung, die lokalen Verhaltnisse wirken moditizierend ein. die Moglichkeit der Mythenwanderung darf bei der Erkljirung eines Motivs nicht iibersehen werden. Unter den stiindig wiederkehrenden Motiven finden sich nun auch einige, die fiir die Musikwissenschaft von Interesse sind, wir erfahren hier die Losung, welche die Frage nach dem Wesen der Musik im ^'olksbe\vusstsein gefundeu hat, wir erhalten hier Aufschliisse iiber den Ursprung, den Zwecjjf und die Wirkung der Musik, die wiu als willkommene Erweiterungder Psychologie und Aesthetik unserer Wisseuschaft begriissen diirfen. Bei der Beantwortung dieser Fragen nach dem Wesen der Musik, miissen wir uns zunachst einige andere Fragen aufwerfen, die das Kriterium fiir die Verwendbarkeit eines Motives bilden. Und zwar : ist das Motiv echt musikalisch oder ist die Musik erst nachtriiglich mit einem Motiv verquickt worden oder bietet sie gar nur ein Ersatzstiick fiir einenfriiher ausgeschiedeneu, nicht musikalisehen Bestandteil. Urspriinglich musikalisch ist z. B. das Motiv von Zauberinstrumenten : Geigen, Pfeifen, die den Horer unwiderstehhch zum Tanzeoder zur Nachfolge zwingen, Avie die Glockchen in der " ZauberfliJte " oder das Horn im " Oberon." Eine nur nachtragliche Ausschmiickung bedeutet, wie uns die Vergleichung lehrt, das Musikalische im Orpheus oder Arionmythus. Die Tatsache, dass Orpheus in die Unterwelt eindringt, um seine tote Gattin Eurydike zuriick zu gewinnen, 168 PAPERS IN SECTION 11 {ETH'SO'LOGY) -continued {Felb^r). hat uiuhts mit ilusik zu tun. Das damit vevbundene Motiv, class Orpheus niit seinem Gesang selbst den finsteni Gott der Unterwelt ergieift, ist erst spiiter hinzugetreten. Audi Izanagi in Japan folgt der Gattin in die Unterwelt und sie willigt ein, zuriickzukehren, unter der Bedingung, dass er sich nicht umsehe. Der Gott entzlindet jedoch mit seinem Kamme Licht, d.h. er bertihrt sie und verliert sie darauf. In der Siidsee will ein Mann seine Frau aus der Totenwelt zuriickholen, aber sie weicht ihm aus, indem sie immer neue Gestalten von Vogeln annimmt. Urwasi liebt den Pururavas unter der Bedingung, dass sie ihn nie nackt sehe. Durch die List der Gandharven, die das Schaf und die zwei Widder vom Lager der Liebenden rauben und den dariiber entsetzt vom Bette , aufspringenden Pururavas durch einen Blitzstrahl grell beleuchten, ^ieht sie iini doch und muss nun scheiden. Es ist immer die Bedingung, die Gattin nicht anzusehen, nicht anzuriihren, das Gefiiss in dem sie verschlossen, nicht zu offnen. Die Feuerentziindung ist der Sonnenaufgaiig, durch den die zur Naclitzeit eng vereinigten Welteltern Himmel und Erde gleiehsam getrennt werdeu.. Verwandt damit ist audi, dass Lohengrin scheiden muss, da Elsa seinen Namen und seine Art erfahren will. Audi im Arionmythus ist die Musik nichts Wesentliches. Arion wird von den Matrosen am Leben bedroht, da spielt er nocli ein letztesmal auf seiner Kythara springt dann ins Meer und wird von einem Delphine auf dessen Eiicken aus Land getragen. Man ist hier versudit das ])ost hoe — Saitenspiel und Kettung durch den Delphin in ein propter hoc umzudeuten. Tatsilchlich findet sich dieser Mythus ohne Musik bei alien mogiichen Volliern. Aut'Magadaskar- soll Easoanor, der Sohn eines milchtigen Konigs, heiraten, weist dies jedoch zuriick, da er die Frau eines weit iiberm Meer regierenden Piirsten liebt. I'^r lasst nun fiir die Meerfahrt Boote bauen, sein Vater sie wieder verbrennen, um ihn an seinem Vorhaben zu hinderu. Da stiirzt sich der Konigssohn in die Elut, um sdiwimmend das feme Gestade zu erreichen, ein Walfisch nimmt ihn auf den Eiicken, tragt in in 3 Monaten an das erselmte Ziel, er gewinnt die Geliebte und erreicht mit ihr im Boote die Heimat. Im schwedischen Miirchen wird der Jiingling von einem Walfisch durch das Nordmeer in das Land der ewigeii Jugend getragen. Dasselbe Motiv tindet sich auch in den Miidchen- angelmythen Japans, Indonesiens, Laplands. Oft gelangt man auch mit Hilfe des Fisches in das Jenseits. Orpheus und Arionmythus wilren also Beispiele fiir eine " nachtrilgliche " musikalische Ausschmiickung. Nun gibt es audi Miirchen, in denen die Musik an die Stelle eines iilteren Motives tritt oder dessen Variante bildet. So wenn sich z. B. die Tochter vom heimkebrendeii Vater ein singendes, klingendes Loweniidierchen — Lerche — erbittet, in einer anderen Fassung wieder ein Nusszweiglein oder eine Eose oder eine goldene, eine singende Eose oder 3 Eosen auf einem Stiel. Damit verwandt ist vielleicht auch der sprediende und tanzende Apfelbaum, der singende, der goldene, der lachende Apfel im neugriechischen Miirdien. Im griechischen Miirchen Sonne, Mond und Morgenstern wiinscht sich ein Madchen, einen Zweig, der Musik macht. Hire y.wei Briider erwerben ihn durch Totung der zwei Drachenwiichter, aus dem Zweige wurde ein Baum, der flotete ohne Unteiiass und trug jeden Morgen eine' Sdiiissel voll Edelsteine. In letzter Linie sind alle diese Baume Varianten vom "singenden klingenden Weltenbaum," der wieder mit dem " singendeii Memnon " verwandt ist. Wenn wir nun auf die Wirkungen der Musik iibergehen, so ist die hiiufigste und natiirlidiste die Bewegung. Zuniichst die seelische, aber auch korperliche Bewegung, die sich bis zum rasendsten Tanze steigert. Nicht nur 169 PAPERS I.N SECTION II (ETHNOLOQY)-co)if/»Hf,; {Felbcr). Menscheii tanzen, sondem auch Tiere unci selbst Steine. Orpheus lockt mit seiner Lyra Tiere, Biiume unci Pelsen herbei. Den Eagas — indisclien Melodie- Typen— Maliedas und Parbutis gehorchen Menscben und Tiere und auch die unbelebte Natur konnen sie in Bewegung setzen . Der musilikundige Diener Quai des chinesischen Kaisers Tschun, angebhch 2300 vor Christus, riilnnte sich, dass wenn er sein King ertonen lasse, sich die Tiere vor ihm versammelten und vor Freude bebten. Der persiscbe Derwisch im Papageienbuche, dessen Laute die ^'enus und dessen Pauke die Sonne isfc, singt so ungestiim, dass derErde Tenipel und was in ihr leht, davon erbebt und sich hewegt. Im finischen Epos Kalevala spielt Weinemoinen die Kanthele und alle lebenden Wesen in Luft, Erde und Wasser eilen herbei um seinem Spiele y.u lauschen. Allen treten Tranen in die Augen und seine eigenen Tranen rollen ins Wasser, wo sie in bliiuliche Perlen verwandelt werden. Uer Siinger Horant in der Gudrunsage lesselt nicht nur Menscben, Gesunde wie Kranke, sondern auch die "SA'aldtiere verlassen ihrc Weicle, die Wiirmer im Grase, die Fische im Wasser verlassen ihre Bahn. Die Waldweiber in der Schweizersage singen so schon, dass dariiber die ^^'aldtiere sehweigen. Dieselbo "Wirkung erzielen die sehonen I-'rauen, die sich auf den Waldwiesen unweit Brugg im Aargau einen Lustgarten angelegt batten. Der Musik der Wachletejungfrauen mtissen selbst kleine Kinder blindlings folgen und im schwedischen Lied spielen bezaubernde Sanger die Biude vom Baum, die Hindin aus dem Wald, das Kind aus der Mutter, das Augo aus dem Nacken. Das armenische ]Marchen kennt einen Piiesen, der so bezaubernd die Schalmei spielt, dass Menschen und Tiere, Berge und Wiilder zu tanzen anfangen. JIau erinnert sich an den singenden Simson. Selbst der Kcinig, der sich weigert, dem Eiesen seine Tocliter zur Frau zu geben. muss seinen Wunsch erfullen, um nur vom Tanze ablassen zu konnen. Audi der starke Hans ist eine Art Simson. Er besitzt die Korperkraft des ilim verwandten Herakles und singt so schon, dass das Madchen wie von Sinnen kommt. Der Linde-Geiger am Euckfelde geigt so ergreifend, dass sich der Wiirlinger Bauer besinnungslos tanzt und darauf der beste Tanzer im Lande wird. Der nordisclie Strom Karl hat elf Weisen, von denen man zehn singen darf. Die elfte gehort dem Nachtgeist, bei deren Ton beginnt alles zu tanzen. In dem Grimmschen Miirchen werden der Wolf, der Fuchs und das Hiislein durch das Gefidel des wunderlichen Spielmanns in die Falle gelookt. Auch die Indianer besitzen einen solchen Schlaukopf. Ein Tanzmeister verspricht den Ihiten, sie einen Tanz zu lehren, den jetzt die Seelen im Himmel tanzten, nur miissten sie die Augen schliessen ; inzwischen schliigt er eine nach der andern mit dem Kniippel tot und steckt sie in den Sack. Nur ein kleiner Teil merkt schliesslich den Betrug und kommt lebend davon. Im diinischen Milrelien .Tungfer Lene von Sonder- waud blast die Frau eine Pfeife, da kommen die Vogel von alien Enden der Welt herangeschwirrt, sie stosst nochmals in die Pfeife, da kommt der grosse Adler herangesaust und gebraust. In einem anderen diinischen Miirchen — des Konigs Kapital — setzt der Bursche die Hirtenpfeife an den Mund, da kommt das Ungeheuer mit den zwolf Kopfen, das die zwolf .lungfrauen verschlingen will, er beriihrt es mit dem Schwerte und da zerplatzt es. Amphions Lyra zieht die Steine herbei, die sich durch seinen Gesang architektonisch gliedern und zur Mauer Thebens zusammenwachsen. Eine Art Gegenstiick dazu scheint es mir, wenn nach drei Posaunenstossen die Mauer •lerichos in Triimmer sinken, was freilich auch durch die Wuclit der Stosse erklart werden kann. In Grimm'schen Miirchen. " der Eanzen, das Hiitlein und das Hornlein " besitzt letzteres die Fiihigkeit, dass alle Mauern und Festungswerke, endlich alle Stiidte und Dorfer iiber Haufen fallen, wenn darauf geblasen wird. Mit Hilfe des Hornleins wiirde ein armer Bursohe Konig iiber das ganze Eeich. 170 PAPERS IN SECTION II (ETHNOLOGY)— coiitmiied (Felber). ■ Bekannt ist das Grimm'sclie Miirchen vom Juden im Dornbuscli mit seinen manigfaltigen Yarianteu . Der Jude ist Wuotan , entstanden durch etymologisclie Umdeutung von Wut in Jud. Ein guteu Knecht erbalt von einem kleinen ililnnlein zum Loline fiir seine Gutmiitigkeit drei Gaben : ein Vogeli'ohr mit dem man unfelilbar zielt, sine Fidel nacb der alias tauzen mnss und die ]''ilhigkeifc, dass ibm niemand eine Bitte absclilagen konne. Er liisst nnn den Juden, dei- im Dornbusche den erlegten ^'ogel sucht wie rasend tanzen, deshalb soil er an den Galgen konimen, da spielt er neuerdings anf, woranf alle mithiipfeu und der Eicliter ihm in seiner Todesangst das Leben sclienkt. An Stelle der Juden kann auoh ein klosterentlaufener Moncli treten. Ein armer Hirte erhiilt — Volksmiirchen aus Frankreicli in den Jabrbiichern liir romaniscbe Literatur V., 1-25, 1863 — -von einer giitigen Fee eine Flote, nacb deren Klang alle tanzen mlissen. Da liisst er den verliassten Maire tanzen, der im Dornbuscli einen geschossenen "\'ogel suobt. Zur Strafe dafiir soil er gehiingt werden, da bliist er, scbon auf der Leiter, nocb einmal und dadurcli gelingt ihm die EettuDg. Audi bier begegnen wir dem Zauberiustrument, dem Tanz im Dornbuscli und der Errettung vom Galgen. Eine Variante findet sicli audi in den finnischen Miirclien bei Sebreck. Ein Junge will trotz des Verbotes seines Vaters ein Birkhuhn scbiessen, dieses flfittert immer weiter und fiibrt ihn immer tiefer in den Wald. Hier rettet er einem von Wolfen verfolgen Unhold das Leben, dieser liidt ibn in sein Haus und iiberreicbt ibm zum Abscbied eine Stute und als Draufgabe noch eine Kantbele (zitherahnlich) eine Fidel und eine Flote mit den Worten : Solltest du irgend einmal in Gefalir geraten, so spiele die Kantbele, ersclieint keine Hilfe, so streicbe die Fidel, kommt audi da noch keine Hilfe, so blase die Flote, dann erbaltst du gewiss Beistand. Du.rch den Eat der Stute wird er des Konigs Stallbursclie, mit ibrer Hilfe vollbringt er verscbiedene Taten, zu denen er durch die Verleumdung des alten Stallbursclieii gezwungen -wird. Trotzdem soil er gehiingt werdeii, da er dem Konig angeblidi iiacli dem Leben tracbtet. Da bittet er urn die Gunst, noch einmal auf der Kanthele spielen zu diirfen. Alle beginnen zu tanzen, so dass die Hinriclitung auf den niicbsten Tag verschoben wird. Diesmal spielt er auf der Fidel, der Erfolg ist der gleiclie. Am dritten Tage bliist er auf der Flote, der Konig muss mittauzen, der alte Unhold ersclieint, liisst d€n Galgen in die Luft fliegen, den Konig hinterdrein und der Jiingling wird sein Nachfolger. Im walachischen ^liirdien Bakala (Sammhiiig Hahn) ■wiinscht sich der dumme Bruder nichts weiter als eine Flote, nacli deren Klang alle Menschen, Wiilder und Bei'ge tanzen. Diese erhiilt er auch, um damit allerlei Schaberiiaek zu treiben. Im diiniscben Milrchen " Die Wunschdose " will Hans eine Fidel, nacb deren Ton aUe tanzen miissten. Er erhiilt sie, alle tanzen darnach, audi seine Schafe und so ist er lebenslang vergniigt und leidet niemals Not. Im finnischen Epos Kalevalda steigen Sonne und Mond vom Himmel herab, um dem Spiele des Gottes Weinemeune zu lausehen. Bei den Wenden (Wendi'sche Volkssage und Gebriluche aus dem Spreewald von Schulenburg) verkauft ein Bauernjunge einem Lumpensammler drei von seinen sechs Ferkeln fiir eine Holzpfeife, nacb deren Ton die Schweine tanzen. Ein vornehmes Friiulein sieht nun die tanzenden Scliweinlein und moclite genie audi so eines liaben. Da aber eines allein nicht tanzen will, kauft sie noch das zweite und das dritte und erhiilt als Draufgabe die Pfeife. Als Preis zahlt sie zuerst 100, dann 200, dann 800 Taler und muss jedesmal die Eocke holier raffen. Da nimmt der Junge an ilir ein besonderes Kemizeichen wahr. Spiiter verheisst sie demjenigen Hire Hand, der dieses Kennzeiehen erriit. Der arme Junge weiss es natiirlich und erhiilt nun das reiclie Friiulein. Auch in den diiniscben Volksmiirchen von Grundtwig finden sich die tanzenden Ferkelchen. Die Frau zieht cine kleine Flote hervor 171 PAPEKS IN SECTION II (ETHNOLOGY)— coHdJtmii (Feller). niid beginnt auf cliesei- zu spieleii, da tanzen die drei roten Ferkelclien und wedeln mit den Sehwilnzen, class es eine ^vahl■e Frende ist ihnen zuzuschanen. In den deutschen Milrcben von Wolf bringt ein anner Geiger dnrcli drei tanzenden Ferkelclien eine Prinzessin zinn Lacben, die nocli nie in ilirem Leben gelaeht bat. Der Kiuiig bat desbalb ibre Hand demjenigen ziigesagt, der sie zum Lacben bringt und so gewinnt sie der arme Geiger zur Frau. Auch im Pentamerone findet sich dieses Motiv. Da hatte ein Hirte eine Pfeife, auf deren Euf alle Wildscbweine borcben und geborchen mussten. Die folgsamen Tiere begegnen uns aucb in Zingerles Kinder- und Hausmiircben aus Tirol. Ein Knabe befreit einen Riesen, der durcb die Hinterlist der Menscben in eine Grube gefallen und mit Zauberstricken gebunden war. Zum Danke dafiir giebt ibm der Eiese zwolf Bilren, zwolf Pferde und eine Zauberbarfe. " Wenn du auf derselben spielst, werden dir die Tiere willig folgen und dir nachgeben wie Lilmmer." Durcb den Eat des Riesen erscblilgt er drei andere Eiesen und beiratet dann die Konigstocbter, die sicli in den wunderbaren Spielmann verliebt hat. Aucb in den albanesiscben ]\Iiirclien verliebt sich die Prinzessin in einen armen Burscben, der wunderscbon Guitarre spielt. Audi im Eattenfiiuger findet sicli das Motiv, dass man dem Spiele eines Musikinstrumentes unbedingt folgen miisse. Docb ist dies vielleicht niclit musikaliscli sondern nur symboliscb zu deuteii, als eine Personifikatioii der eigenen Scliuld, des bosen Gewissens. Im franzosiscben Dorfe Draiisy les Nouis gab es 1240 eine solclie Menge Eatten und Miiuse, dass sie unvertilgbar erscbieneii. Der beriilimte ilagier Angioniiii bedaiig sicli einen bestimmten Lobn aus, nabm dann einen kleinen Diimon und ein Biicblein, tat eine Besclnvorung und das Getier folgte ibm ins Wasser und ertrank. Da man ibm aber das Versprecben nicbt liielt, blies er in ein kleines Horn, dann folgte ibm jedes Haustier und alles Gefliigel und er fiibrte sie ausser Land. — In Hammeln in Niedersacbsen bliist der Rattenfiinger auf der Pfeife und die Tiere folgen ibm in den Fluss. Da aber der versprocbene Lobn nicbt eingebalten wird, ersebeiut er am niicbsten Tage als .liiger mit roten Hute, seinen Zaubertonen folgen alle Kinder und er fiibrt sie fiir immer in den Berg. — Ein iilinlicbes Miircben borte AVilh. von Humboldt bei den Basken und ein letzter literariscber Ausklang davon ist die Rattenmamsel in " Klein Eyolf." In dei' Goscbener Alp gab es Kroten und Scblangen, die in alle Hiiuser drangen. Da nabm ein faliriger Schiller ein Pfeifleiii und tat drei Pfiffe, dann fiibrte er das Getier eine Stundi- weit hinaus und verbot ibm, je wieder in die Alp zuriickzukehren. Eine Tirolersage liisst den Zauberer pfeifen, woranf alle Scblangen ins Feuer kriecben. — Ein isliindischer Zauberpfeifer liisst auf dem Dudelsack eine neue Weise ertonen, das Volk drebt sicli im Tanze und folgt ibm in den Berg, aus dem man noch heute die Zaubertone des Tanzes horen konne. Audi sonst erklingt Gesang und Tanz aus den Bergen z. B. aus dem Horselberg in Thiiringen, noch biiufiger vom Grunde der Seen. Zum Teil isfc es christianisierte Anscliauung ; es sind die Glocken von versunkenen Stiidten, die berauftonen, wie von Vineta. Zum Teil sind es Nixen und Wassergeister, welclie auch ans Ufer liommen, und durcb ihren Gesang die Menschen an sieb locken und in den feuchten Tod zieben. Die Phantasie ist bier angeregt durcb den Blick ins Wasser und das Eausclien der Wellen. " Halb zog es ibn, halb sank er bin, und ward nie melir gesehen." AmPlauensee in Meklenburg hatte einst ein ruhmreieher Fiirst seine Hofbaltung. Da liess ein ibm feindliclier Zauberer sein Schloss und alle Pradit im See versinken. Lange Jahre entstieg am St. -Johannistage eine schone scbmerzerfiillte Jungfrau, die Tocbter des Fiirsten, um 12 Uhr mittags dem See, spann auf dem Schlossberge Flachs und besang in ergreifenden Weisen die frtihere Herrlichkeit ibres "Suiters, um um 172 PAPERS IX SECTION II (ETHNOLOGY) -coHfiiiHfiZ (Fclher). 1 ITlir wiecler zu versinken. Audi im Wilden See bei Wildbad an der Badischen Grenze kann man die Seefriiulein singen lioren. Anf dem Nonnensee erklingt um 12 Uhr mittags Gesang, Tanz und Gloekengeliiute und ebenso um Ii^ the fine Scottish air known as " The twa sisters o' Binnorie " * it occurs at the end of the song with fine effect. This is a splendid specimen of the folk-song — half declamatory, half lyrical, with a big compass. 183 PAPERS IN SECTION II (ETHNOLOGY)— con(«mfd {Keel). The Highland Gaelic folk-music shows a greater variety of mood, and is decidedly more primitive in structure, expressing itself in a very direct manner, and at times being somewhat barbaric in character. The earliest Gaelic music seems devoid of rhythm, and the further North one goes, the more formless it seems to become. The Hebrides and the Isles have their characteristic music, which is wild and irregular, but it certainly seems to deliver its message, in spite of its vagueness. The airs do not always consist of phrases of twos and fours, two alternating with three and four with five quite frequently. The Orkney Islanders have tunes of a rather distinctive character. They are fond of tunes which omit one degree of the scale ; there are many examples of these hexatonic airs, such as the " Hymn of Praise" and " Farewell." Our knowledge of Hebridean music cannot be said to be very complete yet — ^a good deal more must be done before fixed theories can be formulated. It certainly seems very primitive, and stiU there are actually men who act as Bards, composing words and music, so that in out-of-the-way places folk-music is kept alive in the very same way as has been done for centuries. A Hebridean air, which is illustrative of the ■\vildness and semi-barbarity of its music, is called "An Fhideag airgid" (The silver whistle),* and is to be found in "Songs of the Hebrides," by the Secretary of our Edinburgh Local Branch, Mrs. Kennedy Eraser. Irish Folk-Song. — Two of the great names connected with Irish folk-song — Bunting and Petrie —disagree as to the chief source of the songs. Bunting says that the purest folk-airs come from the harpists and other instrumentalists; while Petrie says they are from the ballad singers. Whatever the source, there is a great wealth of the songs. Irish music was pre-eminent iu Europe as early as we have records. It was certainly the school of music for the Celts of Great Britain during the Middle Ages, and Ireland kept alive her native minstrelsy until it sank under the continuous conflict of Saxon and Gael. The folk-music of Ireland possesses such striking characteristics that, when a few of its tunes have been heard, it seems almost unnecessary to point them out. Some few things it has in common with all the Celtic music. The earliest examples show, like the Scottish, the influence of the pentatonic scale, some examples being entirely built on that scale. There are also many modal tunes — Dorian, Mixolydian, and iEolian — while some collectors find a curious mixture of modes and scales which involve the use of quarter-tones. There is, however, one thing upon which practically all musicians agree, and that is that for absolute beauty of melody the Irish folk-music is the finest in existence. As Ernest Walker says, "it ranges with wonderful ease over tlie whole gamut of human emotion, from the cradle to the battlefield, and is unsurpassed in poetical and artistic charm. The best Irish folk-tunes are gems of absolutely flawless lustre, and it is very rare to meet one entirely lacking in character." Even to play the tunes alone without any sort of words gives a feeling of pleasing content with the music, as one notes its instinctive feeling for charm and dignity. What is generally pointed out as a decided characteristic of Irish folk-music is the reiteration of the key-note at the end of a phrase— it certainly occurs more in Irish folk-song than in any other, but there are also a good many examples of it in English folk-song. The reiteration is not always, however, on the tonic of the key. In the familiar and peaceful tune, " My love 's an arbutus," " it occurs on the dominant. There are some modal tunes showing the same feature. " Remember the glories of Brian the Brave " is an jEolian example. Almost all Irish melodies consist of sixteen bars, divided into fours ; they never get very complicated, and the rhythm remains firm. Other forms have five-bar phrases, such as " At the mid-hour of night," 184 PAPERS IN SECTION II (ETHNOLOGY)— contmucd (Kolessa). and "Have you been at Carrick " * has four sections of five bars. "Have you been at Carrick" shows unmistakable signs of antiquity. It also has the skirl towards the end of the song that was mentioned as a feature of some old Celtic melodies. A v ry interesting song is " The flight of the Earls,"* or "The Boys of Wexford," for it has been pointed out that this is a sort of miniature epitome of Sonata form, and it is quite within the bounds of possibility that this form first occurred in Irish folk -music. A great many airs are in simple triple time, and a large number in g time, while I and j^^ occur with tolerable frequency. The dance-tunes of Ireland are numerous, and give rise to much of the native accent in song. They have among them the reel, the double and single jig, and the hornpipe ; each with its characteristic measure. The hop-jig was a | time almost peculiar to Ireland. There is a class of airs called by Petrie " Narrative airs." They have a characteristic which marks them off with great distinction from other songs of the same time-measure — triple time. In the three-crotchet values of each bar, the middle one is almost alwa-ys a single crotchet,- whilst the first and third, though they sometimes vary, are generally two quavers. An example is " The ugly thief," * taken from Joj'ce's Book of " Irish Folk-music and Songs." I bring this paper to a close by mentioning " Emer's lament for Cucullain," * in my opinion one of the most beautiful folk-songs in existence. * During the course of the paper all the songs thus marked were sung in illustration — mnst of them by the lecturer, the remainder by Miss Margaret Layton. At the end of the Welsh portion of the paper, Mrs. Mary Davies, Hon. Sec. of the Welsh Folk-Song Society, sang a fine air which she had recently noted down in Wales. Uebep den phythmisehen Aufbau dep ukpainisehen (kleinpussischen) Volksliedep. By Prof. PHILARET KOLESSA, 7, Golombgasse, Lemberg, Galicia. Professor at the Eoyal Gymnasium. (For English abstract, see p. 62.) • AUSZUG.^Den Pausen, Euhepunkten und toten Intervallen, durch welche die Phrasen der Liedermelodien von einander gesondert werden, entsprechen die Sinnespausen und regelmassigen Casuren in den betreilenden Texten. Demnach erscheint eine jede Phrase, niit einer festen vhythmischen Struktur ausgestattet und mit einer Silbengruppe des Textes eng verbuuden, als ein rhythmisches Motiv, eine musikalisch-syntaktische Einheit, in welcher die Zahl der Notenwerte der Silbenzahl entsprechen muss. Indemnun dieJMelodie der erstsh Strophe in rhythitiischer Beziehung^md in Anbetracht der Silbenzshl eine feste Form, in welche alle Verse des Liedes abgegossen werden, bildet, so erscheint das silbenzahlende Prinzip als ein charakteristisches Merkmal der ukrainischen Volksrhythmik. Den zwei- und dreiteiligen Gruppen, welche durch Verbindung der rhythmischen Motive bei der Bildung der ersten und zweiten Symmetrie entstehen, wie auch manchen einzelnen, meistens aus je sechs oder sieben Notenwerten bestehenden Motiven entsprechen die Verse des Textes, welche demnach einen einheitlichen, einen zwei- und dreiteiligen Aufbau auf weisen konnen. Die Folge der Wortaccente, welche (die Eeimaccente ausgenommen) oft mit den rhythmischen Aocenten nicht zusammenf allenj-ist ziemlich frei und ergibt keine regelmassigen Versfiisse. 185 PAPEES IN SECTION II (ETHNOLOGY)— continued {Launis). Uebep die Notwendig^keit einep einheitlichen Unter- suchung'smethode der Volksmelodien. By Dr. AEMAS LAUNIS, Alberga, Helsingfors. (For English abstract, see p. 63.) AUSZUG. — Die fiir die vergleiohende Volksmelodienforsohung iiberaus notwendige Einheitlichkeit der Untersuehungsmethode diirfte durch folgende Vorsehlage in den driugeridsten Punkten gefordert werden : — 1. Die Forscher miissten die musikalischen Grundbegriffe bestimmen, konsequente Benennungeu fiir sie feststellen, und systematische Verkiirzungszeiohen erfinden, wodurch man verschiedene Eigensehaften der Melodien kurz ausdriioken konnte. 2. Die Untersuchungen miissten Gelegenheit zum Vergleichen mit anderen Volksmelodiensammlungen dureh detaillierte Angaben iiber Melodien und Melodiengruppen darbieten. Bei der Untersuchung der estniscb-finnisclien Runenmelodien, wobei die Art und Verbreitung derselben wie aucb ihre moglicbe Verwandtscbaft mit den Melodien der Nacbbarvolker in Augensobein genommen ist, bin ich zu einer Prage gekommen, die wiobtig genug scheint um in der allerniicbsten Zukunft entscbieden zu werden. Es gilt das Zustandekommen einer einheitlicben, die gleicbe Ricbtung verfolgendeu Untersuchungsmetbode bei der Erforscbung der Volksmelodien. Eine solcbe Methode giebt es nocb nicbt und so weit es mir bewusst ist, sind aucb keine Vorscblage in dieser Hinsicbt gemaeht worden. Docb ist dieselbe unumganglicb notwendig besonders bei der biologiseben Untersucbung der Volksmelodien. Aucb in den anderen Wissenschaften ■werden bestimmte Prinzipien ins Auge gefasst, nacb welcben allseitig gearbeitet wird ; ebenso wird aucb in der Metbode die notige Gleicbartigkeit angestrebt, wenigstens in den Fallen, wo vergleicbende Forscbuug erfordert wird. Wenn man liber die Wicbtigkeit dieser Frage aucb iibereinstimmeu wiirde, so konnten docb Zweifel entstehen iiber die Mogliehkeit einer solchen Unter- sucbungsmetbode, die bei der Bebaudlung der verscbiedenartigsten Melodien- sammlungen anwendbar ware. Es ist ja wabr, dass eine solcbe Metbode kaum zu erfinden ware, wenn man die kleinsten Einzelbeiten mit in Betracbt zieben miisste. Aber so weit wird man wobl nicbt zu geben brauchen ; ausserdem bieten ja aucb die ibrer Art nach ganz verschiedenen Volksmelodien dem Vergleicb keine Anbaltspunkte. Das wicbtigste ware, dass von den gleicb- artigen Sammlungen eine jede in entsprecbender Art untersucbt wiirde, aber andererseits aucb, dass in alien dergleicben Untersuchungen ein einbeitlicber Grundzug sieh geltend macben konnte, dem eine jede Spezialuntersucbung moglich nabe zu kommen hatte. Wie wiirde man aber zu einer einbeitlicben und allgemeingiiltigen Untersiicbungsmethode gelangen ? Fiirs erste miisste Einbeitlicbkeit in den musikaliscben Grundbegriffen erlangt werden. Wie bekannt scbwanken dieselben in der jetzigen Teorie oft in iiberrascbendem Masse. So z. B. wenn man ,von einer Zeile oder Periode spricht, kann man niemals bestimmt, olme vorbergeliende Bezeicbnung, wissen, welcberlei musikalischen Abschnitt man in diesem oder jenem Fall gemeint bat. Ausser dem allgemeinen Scbwanken der Begriffe gibt es eine bedeutende Anzabl soldier Grundbegriffe, besonders der allerelementarsten, die iiberbaupt nie bestimmt worden sind, oder deren Bestimmung in einzelnen Vorscbliigen entbalten sind, die nicbt allgemein zur Anwendung gelangt sind, obwobl sie dieselbe audi verdient batten. Die Forscher der Volksmelodien miissten also diese Grundelemente bestimmen, fiir 186 PAPERS IN SECTION II (ETHNOLOGY)— conJinuei {Launis). sie konsequente Benennungen feststellen und zugleich audi einige systematische Verkiirzungszeichen erfinden, wodurcli man verschiedene Eigenschaften der Melodien ganz kurz, z. B. mit Buchstaben und Ziffern ausdriicken konnte. Zweitens miissten die Untersuchungen in solcher Form geschrieben werden, dass sie anderen Forschern moglichst viel Gelegenlieit zum Vergleichen mit anderen Volksmelodiensammlungen bieten konnten. Sie miissten nicht ausschliesslich fertige Eesultate enthalten, sondern gleichzeitig audi detaillierte Angaben iiber die Melodien und Melodiengruppen bieten, dabei moglichst viele verschiedene Seiten der Melodien in Betracht nehmend. Von einer solchen vielleicht kleinlich scheinenden Darstellung hat der andere Forscher oft mehr Nutzen, als von der allgemeinen Charakterisierung vieler soiist wolil interessanten Ziige die zu den Grundeigenscliaften der Melodien gehoren. Wenn einmal derartige Untersuchungen erschienen sind, miissten die spateren Forscher versucben so viel wie moglioh auf dem Grunde der Vorganger weiter zu bauen, aus ilinen zu schopfen, was sie fiir das Beste halten, und die Untersuchungsmethode weiter zu eiitwickeln. Um das Studium der Werke zu erleichtern ist es selbstverstandlich, dass dieselben nur in den in der Musik- wissenscliaft am meisten angewandten Sprachen, d. h. deutsch, franzosisch oder englisch soUten ausgegeben werden. Meinerseits habe ich schon den Vorsclilag einer diesbeziiglicheii Unter- suchungsmethode in meinem Buche, "Ueber Art, Entstehung und Verbreitung der estnisch-finnischen Eunenmelodien " (Helsingfots, 1910) vorgebracht. In diesem Werke sind die Melodien in rhythmische Tjrpen gruppiert nach der Taktfusszahl der Zeilen (welclie Begriffe im Werke genauer definiert sind). Jeder Typus wird von verschiedenen Seiten untersucht, wobei die Melodik und E liythmik, die geographische Verbreitung, das Verhaltnis des Textes zur Melodie, sowie audi die anderen besonderen Eigenschaften des Typus in Augenschein genommen werden. Dabei werden diese Eigenschaften der Melodien durch irgendwelche bestimmte Abkiirzungszeidien ausgedriickt, die in der Einleitung des Werkes erklart sind. Die Hauptziige der Typen und ihre gegenseitige Verwandtschaft werden in den Uebersicliten nach jedem Typus angegeben. Die eigentlichen wissenschaftlichen Eesultate, die den Zweck der Unter- suchung ausmachen, sind zum Schluss in einer gesonderten Abteilung vorgefiihrt, da sie in der Verbindung mit der Untersuchungsabteilung storend gRwesen waren, falls maai dieselbe zu irgendeiner anderartigen vergleichenden Arbeit anwenden wollte, wobei audi andere Standpunkte als die vom Verfasser beriihrten in Frage kommen konnteii. Ich unterlasse hierbei die weitlaufigere Auseinandersetzung der von mir angewandten Methode, die jeder Interessierte aus dem Werke selbst genauer eisehen kann, und schliesse mit dem Wunsehe, dass diese wichtige Frage das Interesse der Volksmelodienforsdier anregen mochte, so dass man beim nachsten Kongresse der Internationalen Musikgesellschaft schon eine gute Strecke weitergekommen sein werde. 187 PAPEES IN SECTION II {ETmiOhOQY)— continued {Linef). Psalms and Relig'ious Song^s of Russian Sectarians in the Caucasus. By Madame EUGENIE LINEFF, Kuskovo-TohoucLlinka, near Moscow. Teacher of Singing. (For abstract, see p. 63.) My views upon the study of Folk-song have been stated in my two books on "Peasant songs of Great Eussia," published by the Academy of Science in St. Petersburg, and in my paper, " Ueber neue Methoden des Folklores 'in Eussland," read at the last Congress of the International Musical Society in Vienna. In studying the subject it is important to devote great attention to the social conditions under which the folk-song takes birth, to the psychological moment at which it arises, and to the way in which it continues to live in the memory of following generations ; for folk-songs are a true mirror of the life of the people. That is why it is necessary to examine not only the musical side of the song, but also the surroundings in which the song lives. The principal motive of my journey to the Caucasus was the desire to investigate the religious singing of the " Spiritual Christians," as the Eussian sectarians call themselves. The desire arose during my continual work of collecting lay folk-songs, which reflect in such a wonderful and pecuUar musical form the life of the people. These songs embrace aU the events of peasant life, from birth to death, and accurately represent national melodies. It seemed to me more than probable that with the sectarians, who were free from any foreign influence, and who repudiated any connection with the formal orthodox church (for a long time under the influence of Greek, Italian, and partly German religious music), a close tie would exist between tlie religious singing of the people and the folk-song proper. This idea tempted me to visit the Caucasus, which is tlie principal place of banishment and at the same time a place of refuge for Eussian sectarians. I was quite conscious of the difficulties of the task. During my long journeys taken for the purpose of collecting peasant songs I found that dealing with the sectarians was a most delicate matter. Their reserved character, their distrustfulness of strange people, can be easily understood, if we remember what they suffered during centuries of persecution for their ideas. It seemed impossible to win the confidence of those austere, stern people, — as I imagined them to be, — and induce them to confide to a stranger their most sacred religious feelings. Still less probable seemed the idea of inducing them to sing- before a phonograph their revered chants and psalms. Such were my ideas before my acquaintance with the Molokans, the Doochobors and the community of New Israel. But these ideas changed greatly when I learned to know them better. Although these three communities differ considerably from one another, and although each represents an independent body, yet they have one common aim, viz., to realise on earth the Kingdom of God and to follow the ideal of the first Christian communities. They call themselves " Spiritual Christians," and they worship God " in spirit and truth " ; understanding this in a practical sense of the word, and realising in daily life the purity, brotherhood and equality of all men. They help each other in every possible way. There are no paupers in their communities, and they live on communal principles as regards land ownership and cultivation of land, at the same time giving full freedom to the individual household. Their religious 188 PAPERS IN SECTION II (ETHNOLOGY)— contJKiicd (Lineff). ideas do not exist in the abstract, as is often the case, but serve as a guide and a beacon for practical life. The psalms and chants of the " Spiritual Christians " reflect the social ideas of their teaching. They have mostly a polyphonic structure, and are sung by the whole community. Psalms are based on the Gospel ; chants are a kind of religious poetry. Tlte Molokam. — Upon arriving at Tiflis I made acquaintance with the Molokans through the droshky drivers, who mostly belong to the sect. I called on some of the elders, and was invited to service on the following Sunday at their prayer-house in Pesky — a part of Tiflis occupied by the Molokans. On the day appointed we formed a party and entered a large hall, with a long table in the centre and benches along the walls. Men stood on one side and women on the other. In the costumes of both sexes dark colours prevailed. The heads of the women were covered with black silk-lace scarves. Old people formed the majority of the congregation. Each psalm or prayer was started by the " presbyter "—one of the selected brothers, the eldest and the most esteemed of the congregation. He read aloud the first words of the psalm, and one of the brethren intoned a prayer. The others thereupon took up the melody and raised it by an interval of a 4th or of a 5th, ajid then they divided into two parts. The women joined in later, and in their turn sang in two parts, and sometimes in unison. The result was an interesting and peculiar counterpoint. The relation with the Russian folk-song was felt very strongly, but the parts here moved more closely ; and the cautious manner in which the high parts moved within the compass of two or three degrees lent to these psalms a peculiar, stern character. Everybody sang with enthusiasm and with a serious, concentrated expression ; the women sang with their mouths half screened by their hands, and therefore their voices sounded shrill ; but on the whole the choir sounded beautifully, was full of colour, and bore that expressive conviction which is inherent to folk improvisation. The temple, without the least adornment, with no gold, silver, precious stones or rich stuffs, with no burning of expensive incense, made a deep impression. Its magnificence did not consist in the showy richness of the place, but in sincere religious disposition. There was something patriarchal in this assembly. "I do not see any young people," I remarked to my neighbour. " The young people have their service in their own prayer-house," she answered. Only later did I fully understand the meaning of that answer, as it is a sore point with the old Molokans. After the service I was invited to the house of some of the principal members of the community. I explained the object of my visit. They had a long conference, and at last decided to accept my offer and have the psalms recorded and published. The next day, about nine in the evening, the best singers and their wives assembled. We worked until one o'clock at night. After closer acquaintance with the singing of the Molokans, I came to the conclusion that it deserves a very close study as a precious sample of old religious folk-singing. The text of the psalms is taken exclusively from Holy Scripture — the Gospels, the Old Testament, and the Epistles of the Apostles. The melodies of the psalms are transmitted from father to son. The singing of psalms begins from childhood. I heard boys and girls of five and six years joining the choir of the elders, and keeping their parts with wonderful precision and independence. The singing is very broad and melodious. Under the influence of the dignified, flowing style arises a deep religious feeling, not ascetic or gloomy, but gladsome, full of life. Very remarkable is the form of the musical period. The text of the psalms is not rhymed, and this necessitates a very long musical period, quite as long as the corresponding verse. The 189 PAPERS IN SECTION 11 (ETHNOLOGY)— coNtJimed {Linrff). working-out of sucli broad melody, which passes into a complicated design of free-voice parts, necessitates a very gradual crescendo and a complete absorption of the singers in the musical and ideal contents of the psalm. Yoitmj Moloham. — The community of the young Molokans accepts only the four books of the Gospels. In order to become a member of tlie community it is not considered sufficient to be born amongst the Molokans ; they demand a. new spiritual baptism, a conscious entry into the community, confession of sins, purification by public confession, and re-union with Christ. The young Molokans sing not only many of the old psalms of their fathers, but also a good many that are new. Sometimes they take lay-melodies and adapt them to the words of the psalms. Many of their psalms are borrowed by them from the sect of the Baptists, with whom they have some points in common. But baptism by water of the Baptist sect is here replaced by spiritual baptism. The ,Qld Molokans, who do not approve of this schism in their own cornmunity, caU the younger party " Dry Baptists." The young Molokans offered of their own accord to record their psalms by phonograph, and made every effort to sing them to perfection. Still I thought that the melodies and motion of the parts of the old Molokans had more characteristic beauty than those of the younger party. Here the influence of "Baptism"' took off the originality, and therefore lessened the strength of expression, although the voices were fresh and beautiful. Herewith are shown three examples of Molokan psalms : No. 1, sung by the Old Molokans of Tiflis, No. 2 sung by the Young Molokans, and No. 3 sung by the Molokans of Vladikavkas, The last was recorded on my way through Vladikavkas on the home journey. Nos. 1 and 3 may serve as specimens of ancient Molokan singing. The first was sung by two of the best singers of the community — Michael Pigoreff and his wife Theodosia. Michael Pigorefl' read the first verse, then both sang in seeming unison, which however was worked out later in an original contrapuntal design. The sectarians believe that the broad melody must flow, so to speak, "uninterruptedly" — the psalm must be " endless." In order to get this result the various singers take breath at diE^re»t -moments. The~th3td pSWfei was afing'in a-siB&lar way. At 'the beginning the first verse was intoned, then two men's voices, partly in unison and partly in counterpoint, sang the psalm. No. 2, sung by young Molokans. — the "Dry Baptists "—shows an influence partly of the orthodox church music and partly of Baptist music. It has little in it that is original, although it was beautifully performed, expressing a deep religious feeling. IIcajlOMi) 148. Psalm cxlviii. Music Example NO. 1. Soprano. i TiFws. Old Molokans. Singers : Michael and Theodosia. Pigoreff. g^F== 3E E^E i^- Bass.' Xsa ^a^^^EE^e -^-0- Vo 5 ^F=^-f Xsa S lEE^^E 190 PAPERS IN SECTION II (ETUJUOLOGY)— continued (Lineff). $ See . ^ =pc -V"^ — tS>-^ i^^E =*=s= ^ -•— p= t^ EESEa^ =£t aa. -f— i-^— •— ^- 4;. S5 To £E= -P2- E^EE^ISE^E^ ^Vp. F^>^ ^: £t± ^31 ^^fcfi L^^ ^^iE Mi * To cno na, To cno jia i ^3E^ :p=P=:p:: &e£^EeE^EE^e^^ = 4- I L>^ crb He, 6e -•- -•- -^- -•- (e) c^, XBa gE F4 i ^^b -»-^~m. -m- ^ ^^^ E?^ ^1^ fie (e) CT., XBa ^^=P^ — f^T \ \ r= rw=-T— _,.<:r:Zp_ -f — -f- ^^--Ss i^^:^: — t — — / — 1 — 1 — 1 — 1 — (H) ^- 1 -\ 1 -\ 1 — Te "'■*=' — 1 — E — m- — ^^ — 10, 1 — 4 xea ^^^- — 1? ■ fr ^^1 — — F 1— -''— ^^£=1 is .. fl f^n^" zb^S 11 4z ^ESEE To - cno -ca_ Si =^ 1 I £tz=!2=tz 2SESE S To - cno sa, sa, To -^- -*-■ -"^^S^ --P- LtEEES To ii^ E^SSiEt #=^t=:pz|t ?-5^-EP^^fE itid=tiz=t=t ja ci He fie (e) ei,, ISe -J=J ■-*- r f 3^1 E^^££ -•-^ -a-^n- ■•^-F-»-_ sa fie (e) ci, 191 $ PAPEES IN SECTION II (ETHNOLOGY)— continued (Lineff). P=-J^^ =l=t -^ le =P=t ^ ro Wh BbllU - HHSrb. -m- ^^ ^£& E^ le E ro BT> Bum Translation. Praise ye the Lord. Praise ye the Lord from the heavens : praise Him in the heights. nca»lOMl> 117. Psalm exvii. Music Example |V|o. 2. i -^ mm A- Tii'Lis. Young Molokaris. I I I -^ ^= ^^ II. III. IV. Boc-xBa-.iHli -■ Te --f=B To - cno - sa Bc4 na po _fd_ 4^ HBI, ^^fc# EE eIi It— c $ -J^=t- -r^ 4 ^- '& ^-- ^-- ^ E|=g- -1 — I — — >— "^ :^a=iE -\/-r 1 — I- ITpo-Cjia-BJiafi - le To cue - ja Bct n;ie Me ^^^^ IZffl2Z =(: EEEE i -I — I- i 4 ^- E^^IE ^ =g:: =§- — r — r H 6o Be - .iH Ka mh - aocib To ^S :^^^=t =t=t=^ Eg^§=i — I — f — I— cno aa KT. HaMT>. I .£2. -^ -fgj- 192 PAPERS IN SECTION II {EIR'SOhOGY)— continued {Lineff). $ :rX :«=f: Et3 l5-J^ ^^^*=p=p[iE5 lie - TH - Ha E I I I I ro npe - fiu Ba ext BO BCtXTi. I S^te IPC less: *^^^==^E i Repeated three times. H I I 1 -J 1 ^- t^^^^lEE!^^ w -^- 1 — \ — r-^ -h 1 — r ^^ O.ia-Ba Te - 64, To cno - sii, c.ia :|=St=i^= ^ -JL -J- -P= Te fit. praise the Lord, all ye nations : praise Him, all ye people. For His merciful kindness is great towards us : and the truth of the Lord endureth for ever. Praise ye the Lord. Heaia 40, 28. Isaiah-xI., xxviii. Music Example |s|o. 3. Molokans of Vladikavkas. i te£^ fi: S3E ?ES i& ^ jS* -Gt--- Pa (a) 3Bi Tu He 3Ha II. I^eS ;i^« :?-^-j ! M - i=^ ^^ eiub, ^^^^ ^^ i*ii»= BIE* :i=t: i fc^5= tfe =&1^: "£EI35 ^E^£^ pas Bt Tbi - ne maa^, hto ^^rj^=g ^T'rJ ~grr^^mz pas Bt Th 193 PAPERS IN SECTION II (ETHNOLOGY)— con(m««d {Lineff). Bin Eibifl Foe no;tb BOIT) ^m iP^g: * W~i ^ i EEHS Ej^gJ^ gi =CC ^#4 1 ^ 1 i^"l-^ — 1 p^ — 1 1~ /Ts PHB uiift KOH - ^--=^ i;w, KOH - i;u 3eM \ — Q il - JIH. /7\ ((*)': b W-^ 1 " 1 m a — 'm^=^- -h- < a zi^ — 1 ^'=^-^~^ 1 ranslatiun. Hast thou not known ? Hast thou not heard, that the everlasting God, the Lord, the Creator of the ends of the earth, fainteth not, neither is weary ? There is no searching of His understanding. The illustration " A " now exhibited [not here reproduced] represents a group of Molokan singers of Tiflis, belonging to the old (orthodox) community. The illustration " B " [not here reproduced] shows a group of singers belonging to the community of young Molokans. This last photograph was taken in the Tiflis Zoological Gardens, where, in the afternoon, we had a delightful tea- party under the large palm trees. The whole evening was spent in singing psalms and chants. The illustration " C " [not here reproduced] represents a group of Molokan singers of Vladikavkas, with whom I made acquaintance on my way back to Russia by the Military-Georgian Eoad. The Doochohors. — After a hundred miles of beautiful mountain scenery from Borjom, near Tiflis, to Achalkalaki, the aspect of the road from the latter to Doochoborie changes suddenly.* There is not a trace of tree or shrub to be seen. In many places along the brooks and small rivers which intersect the plain in several directions masses of stone, thrown as if by a giant hand, call to mind the legend of the devil scattering in his wrath stones and mountains upon earth. The desolate nature of the place shows into what a desert the Doochohors were banished for their persistence in following the precept of the Bible, " Thou shalt not kill," because this was the principal reason of their banishment. The word " Doochobor " means " spirit - wrestler." The Doochohors refuse to serve as soldiers, but as Russia has general conscription every young man is called on to serve his term of soldiership. • On my way back from Doochoborie to Achalkalaki, a panoramic photograph was taken of the plain surrounding this little town of about 2,000 inhabitants. The half-tone engraving, " D," now exhibited [not here reproduced] conveys a fair idea of the landscape. 194 PAPEES IN SECTION II (ETHNOLOGY)-con«injied (Lineff). In Doochoborie I put up in the village of Orlovka. It is a large hamlet of wide streets, with low stone houses under flat roofs covered with green grass. The enclosures of the courtyards are also of stone. There is not a single tree or bush in the whole place. In the middle of Orlovka there is a large two- storied house with a red, iron-covered roof, belonging to P. P. Verigin, son of the well-known leader of the Doochobors in Canada, P. V. Verigin. When we arrived at the house of Verigin the master happened to be away. I was admitted to a neat, sunny room of faultless cleanliness. The painted floor shone like a mirror. A carved bedstead, with snow-white blankets, stood in one corner of the room. A goodly heap of cushions with lace covers gave it an elegant appearance ; the furniture was substantial and comfortable. Verigin's mother, to whom I presented letters written by mutual friends, received me very kindly and made me welcome. The Doochobors make a very agTeeable impression — tall men with thoughtful faces, kind eyes and quiet manners. Doochobor women wear bright-coloured dresses and embroidery on their black velvet jackets, similar to those worn by women of Little Russia. The men wear half cosack and half Little Eussia costume, with a military-looking cap. In comparison with the natives, Armenians and Tartars, who dress in machine-made stuffs of dark colours, the Doochobors in their hand-made clothes and white shirts with coloured embroidery have a joyful, holiday appearance, in spite of their sunburnt faces and hardened hands, which tell of constant work and daily struggle with the severe climatic conditions. During the three summer months they have to sow and to reap their harvest, as very often cold fogs and frosts destroy the crops. In this part of the Caucasus— the (Mokrie Gory) "Wet Mountains "— only oats and barley can ripen, wheat but occasionally. By the time the crops are cut near Achaltsich, they are still quite green in Doochoborie, and not above one foot high. This peculiarity of the climate will be better understood when we remember that the Doochoborie is part of a plateau nearly 7,000 feet above the level of the sea. Their wonderful capacity for work, and especially their perfect communal organisation, allow the Doochobors to live well, never knowing want. The poorest among them possess not less than two cows, but many have fourteen or sixteen, and as many horses. They sell horses and cattle, and supply milk to the rich Armenian cheese-makers. The Doochobors never lose heart. Banishment and all sorts of persecution they accept as necessary means for spreading their ideas. Conviction gives them strength to suffer. I arrived at Orlovka on the eve of the principal festival of the Doochobors, which took place on June 29, the day of St. Peter and Paul. It was the name-day of Peter Verigin, and the commemoration -day of the refusal of this sect to serve in the army, and of the burning of weapons by the Doochobor soldiers, an act for which they had to suffer so much afterwards. Early in the morning, the majority of the population of the four hamlets — Orlovka, Bogdanovka, Efimovka, and Tambovka — started in their furgons (large vans drawn by two horses) in holiday attire, singing psalms. The procession made its way to the sacred cave, where Lukeria Vassilievna Kalmikova, for a long time a leader of the Doochobors, had passed her days of religious meditation. Her memory is revered, as all her life was given up for the good of the Doochobors. The surroundings of the sacred cave are wild but picturesque. A small brook runs near the rocky mountain in which the "cave" is fashioned. Masses of stone are thrown everywhere, and the whole is covered with patches of long grass and flowers. The half-tone engravings (E, F and G) now exhibited [" G " only here reproduced] represent groups of Doochobors in their picturesque costumes, respectively, (1) on the high cliff 195 PAPERS IN SECTION II {ETHNOLOGY)— coiUmued (Lineff). near the cave, (2) in front of its entrance, and (B) on the height opposite the cave. During the festival I saw for the hrst time the ceremony of brotherly kissing— a custom which is repeated by the Doochobors at every prayer or service, in imitation of the ancient Christians. The singing began with " the eight beatitudes." An elderly woman with a strong voice commenced the verse with deep feeling', and then it was taken up by the whole congregation. The strict smging, the earnest faces, the pecuHar, impassioned steadiness of a deep religious sentiment, made an impression not to be resisted. Sometimes one could hear sobs in the vibrating sounds of the melody. Yet a hidden power was also felt m the tune. iLLUSTliATION "G." — A GuOUP Oi DOOCHOBOEK. When the prayer was over the people began to move. The whole mass divided into two rows, men and women opposite each other. A new psalm was started, and the ceremony of kissing began. The first two men of the row grasped each other's hands as a token of spiritual bond, and, having shaken hands three times, gave each other a brotherly kiss; then they bowed to one another, and made a bow to the women standing opposite. The next pair did the same, and so they continued to the last pair of the row. Then the women proceeded and performed the same ceremony throughout. During the ceremony o 2 196 PAPERS IN SECTION II (ETHNOLOGY)— coretmu«d {Lineff). the singing of psalms was continued by the whole community ; when it was over, the ground was covered with beautiful white felts brought from the furgons, and several pieces of hand-made linen cloth were spread over them. Plates and eatables were brought out and put on the improvised tables, and a good many samovars appeared. Tea was now poured out, upon which an elder intoned a psalm, and the whole community took it up. Thus the meal began. On our way to the sacred cave in the morning, the young people who drove us in their van had sung chants and psalms. The same was done when we returned to Orlovka. It was arranged that the next day we should begin to record the psalms. When, however, on the following day I went in the evening to the appointed house, I guessed by the altered disposition of the singers, the host, and the crowds in the streets, that something had happened. It appeared that several elders did not approve of the recording of their psalms by the phonograph, and the young people, in spite of their desire to sing, did not feel inclined to oppose the wishes of the elders. So the recording could not take place. All next day passed in negotiations and doubts. The singers were anxious to have their songs recorded, the elders obstinately withheld their consent. At one time I thought that all my journey from Moscow (over 2,000 miles one way) would come to nothing with regard to the Doochobors' singing ; but as luck would have it, the chief, P. P. Verigin, arrived during the night. After my explanation he took great interest in my idea, persuaded the elders to give their consent,;- helped me in every possible way to do my work, and sang-himself with the best group of singers. The woodcut " H " now exhibited [not here reproduced] shows Verigin's family in a group. The psalms were so long that several cylinders were required to record one psalm, so that I had to get another phonograph to do the recording without interruption. In all I recorded about thirty psalms and chants of Doochoboria. The Doochobor psalms, which are based on the Gospels, are exceedingly interesting by virtue of their melodic and polyphonic* construction. Moreover they are of a sombre character compared with the singing of the^Molokans. The melody of the Doochobor psalms does not flow like the melody of a folk-song or like a Molokan tune. Owing to the slowness of the tempo, the custom of the Doochobor singers is to spread one syllable over several sounds, and to give a pecuHar accentuation to the most expressive words. This is done by the Doochobors very forcibly. The performance rises from piano to an immense crescendo, as the singing of the psalm . progresses. The text of the Doochobor psalms is only partly taken from Holy Scripture. Their psalms are composed by several generations of Doocliobors, and- are sung from memory ; no written or printed copies were allowed up to the present century. Their life, fuU of persecution, is reflected in the sombre character of their singing. The number of the Doochobor psalms is very great and reaches, so they say, up to several thousands. New psalms are still composed, as a reflection of various events of their life. This first attempt of recording their psalms by a phonograph must be considered as an introduction to a large work of collecting Doochobor psalms. As, just stated, the Doochobor psalms are exceedingly long, one verse alone taking not less than from two to three cylinders for recording. Consequently an attempt to present a Doochobor psahn in a short paper like the present appears impracticable. As an example of Doochobor singing can be given the music of a quasi -religious chant (No. 4) to the words : " Are ye doves, are ye the grey ones ? " Music Example NO. 4 Solo. 197 PAPEES IN SECTION II (ETHNOLOGY)— comJimaed (Lineff). A Chant op the Doochobors. " Ahe ye. Doves? " Choie. II. S X iriz n X X w rf 3 f=^^ I I 1. A Bu ro-jiy (in, i gg^^ ^ \ — \_*_ w =d= isiz r=r •9x1., fla MM - He i SE 3=^B iE r^=a dH, I fta r 2. A Bbl de - 1^ =^^ HH -o- BH 6i jiH e? S^S^ s -4= — si- I I ^1 r I I III 9x^, i ja Mbi He jie /■7\ fie BH, j;a ubi He ^j=i 3^ m it 3=!l =r=F ^=T 3X1., i^ re Jiu, fii i i 5^ =^ ^ 331 JIU aa ap -s>- xaH ^1 r I r :ct -^ dec Hofl sew HOC s- KH. Are ye doves, Are ye the grey ones? We are not doves, We are not the grey ones. Are ye swans. Are ye the white ones ? We are no swans, We are not the white ones. We are angels. We are archangels, From heaven-land We are the messengers. Translation. We are sent by the Lord Over all the world. All the wide world. Where did ye fly? Where did ye pass? What did ye see. What have ye heard? We have seen. We have heard How the soul parted with the body, Parted and took leave. 198 PAPERS IN SECTION II (ETHNOLOGY)— conftjiMcd {Lineff). The Community of New Israel. — My next journey was to the station of Akstafa, on the Transcaucasian Eailway line, between Tiflis and Bakoo, where I made the acquaintance of the rationahstic sect of New Israel. The members of this community are partly peasants and partly " half -intellectuals," as they call themselves. They are all of Eussian origin. The village of New Israel is situated only at about a mile distance from the above-mentioned railway station. The settlement is about two years old, and is still in its formation stage, but with good prospects of expansion by acquiring further land for new settlers of the same community. Most of the members of " New Israel" come from the district of Kouban, where there still remains a large number of brethren awaiting the opportunity to leave for the Caucasus. Amongst them are very intelligent and devoted leaders of the sect ; the brothers Loubkoff, Lesin and others. The " New Israel " sect is really a revival of the sect " Old Israel," but in a more perfect form. It is a religion of love and reason, and its moral aim is also the realisation of the Kingdom of God on earth. Like Molokans and Doochobors they have a communal organization of land and work. The process of recording the religious songs was here quite easy, as every one sympathised with my work and did his best to help the cause, regardless of the urgent work in the iields, it being harvest-time. I was able to record over forty " Songs of Zion," as they call their chants. The polyphonic treatment of the songs is very interesting and is improvised by the singers themselves. An illustration of one of the Sion songs is given in Music Example No. 5. HmepH BH CioHCKia Oh, ye Daughters of Zion. Music Example No, 5. Moderato. HoBug Mapamib New Israel, Akstafa. SOPEANO Alto. ^^^^^^^^ ^m 3^ 1. Bme - pH BBi 01 - OH - okI - a, ame - pn bu 01 U^^t-mdK'^s^ M s OH CKl p=1= ICfc Bh npe-Kpao hu - a. 2. Pa 3yM - hh ^^ =1= SE i± i i 199 PAPERS IN SECTION II (ETHNOLOGY)— confint/ed (Lineff). i p B-isp Hu j\0A ry cbo my. 3. Boa - pa jiyfl ^-Q: ^ 353 ;(me pH Oi - Ha, bo3 pa - nyft - Tecb, nme - ph Oio - na S :^ s^ i^ N-JV ^ ^ ^ ^=^ :^^^F^^^^ -t Kt BaMT) XpHCTOCT. rpa - jexrb. Cpe jh BacT> ecxb }H - HH - i;a, cpe 3^ :1= •=z3tz: lei: J ^- ^^^^ ^^^^E^ ?^^ ies2z ::!= ^- — r- JH BaCt eCTb H3 w pan - HH n;a, Amept Ha pa h jia. =4:: 1=1= Eg: '^ Translation. Oh, ye daughters of Zion, Ye beautiful ones, '}• Wise and pure of heart, Loyal to your duty : Rejoice, daughters of Zion ! Christ is coming to you. There is a chosen one A daughter of Israel. Exhibit "I" [not here reproduced] is a view of the village Nadejda. Exhibit " K " [not here reproduced] is a portrait of Loubkoff, the leader of the New Israel. " L " shows a group of New Israel members of Akstafa. General Conclusions. — The recording of psalms by phonograph is a new departure. Until now lay melodies only were recorded. Although the psalm melodies remind us of the folk-song, being based on natural major and minor diatonic scales, they have their own characteristic features; and, above all, a long musical period which depends entirely on the prose-text of the psalms, and therefore cannot be symmetrical. Exception must be 200 PAPEKS IN SECTION II (ETHNOLOGY)-<-onfnn' ...X- ,,.-•" Fig. B. i»' Le graphique suivant fournit la transition entre Toscillation mecanique et " muette " du pendule — et I'oscillation melodique (ideale et sonore) qui — le langage et la notation musicale en temoignent — se developpe, aux yeux de notre esprit, en ligne continue (fonction du temps, representee par un schema commun a I'espace). Fig. C. C'est, vous le voyez, la traduction libre, mais exacte, de I'inflexion geometrique par une inflexion melodique correspondante. Or, la gamme ainsi obtenue devient tres precieuse — je ne dis pas aux pianistes, — mais aux musiciens philosophes qui cherchent une base ferme k I'interpretation du jeu melodique, a ce qu'on appelle la " dynamique musicale." Effectivement, dans les quintes sup^rieure et inferieure qui forment les limites de cette gamme (ou melodie-type), on retrouve les " points potentiels " de I'oscillation pendulaire. Ici, ce sont des limites egalement bien ddfinies, — non pour I'oreiUe, assur^ment, mais pour ce sens math^matique intuitif qui pose, en de9^ comme au-del&, de la tonique, des bornes a la tension. "'' De I'un * Nous devons ajouter, pour ^viter tout malenteudu ; 4 la tension relative, et proportionelle. Quelque soit, en effet, la base tonale, le centre qu'adopte, pour s'^quilibrer, le sens musical, — ce syst^me d'^quilibre est toujours contenu dans les bornes d'une octave, puisqu'en de<;a comme au-dela de toute gamme, le nombre 2, le nombre exactement double (ou J) de vibrations, cr^e un nouveau syst^me d'^quilibre, superieur ou inKrieur au premier, et qui lui est absolmnent similaire. Or, dans ces bornes fatales de I'ootave, c'est, la quinte, rdpondant au rapport de vibrations 3|2, qui forme la limite extreme de tension, paroe qu'elle represents pour notre sens intime, le point de contrasts maximum. Ceux qui m^oounaissent la rigueur de oea limitations, et pr^tendent renverser ce qu'ils appellent des barri&res faotioes, confondent les vecteurs d'Hamilton aveo les scalaires, et semblent ignorer que, dans I'appr^ciation d'un ensemble, I'eaprit substitue, d'instinot, & I'infinit^ des representations, — les representations les plus differentes possibles entre elles. — (Voir Ch. Henry, passim.) R 2 244 PAPERS IN SECTION III (TUEOBY)— continued {Grivemi). comme de I'aiitre de ces " potentiels sonores," la m^lodie-gamme " se detend," soit en redescendant, soit en remontant, sur cette "tonique," qui represente le point d'^quilibre stable, ou " point-mort." Si ce dernier est couramment depass6 par I'^lan m^lodique, c'est en vertu d'une vitesse acquise analogue k celle que vous venez de voir dans le fil a plomb, et qui regenere I'energie " degradee." L'analogie, d'ailleurs, se sentient jusqu'au bout : cette diminution graduelle de I'amplitude qui resserrait les oscillations toujours davantage, jusqu'au z^ro, — ne la retrouvez-vous point {h I'etat d'episode) en la decroissance de I'ambitus ? Car la m^lodie peut se tendre h des " potentiels " moins eleves, tels les intervalles de quarte, de tierce, ou meme de seconde. Elle exprime alors un degr6 d'energie de plus en plus faible. Vous touchez la du doigt. Messieurs, le premier anneau de la ehaine, dont le dernier, I'anneau terminal, porte (permettez cette metapbore), la clef de toute signification, et de toute expression musicals. II n'y a presque rien a changer dans la terminologie m^canique. Voyez, par exemple, ce mot d'energie. 11 s'applique aussi bien au domaine moral qu'au materiel, — au " sentiment " d'un morceau de musique, qu'^ la manifestation d'une force aveugle, k son action sur la matiere inerte. Cela vient en definitive, de ce que I'esprit, justement, pour se manifester a son tour, a besoin d'un moyen materiel ; or, si complexe et perfectionne que soit celui-ci, son jeu reste soumis aux lois physiques. Ainsi la pesanteur, qui regie I'essor du pendule, se retrouve dans la vie, sous le nom d'attraction, pour determiner la reproduction des cellules, inspirer la genese' des formes organiques ; et ce terme se retrouve j usque dans le vocabulaire passionnel. Vous eonstatez que les musiciens I'emploient couramment, et d'instinct, pour designer cette force mysterieuse qui fait tendre plus ou moins ^nergiquement tous les degres de la gamme vers la note de repos : la " tonique " (ou note tonale). Cette force, n'est-il pas vrai ? — vous parait, a present, moins mysterieuse; au moins, ses origines profondes vous sont decelees. Et, dans les cadences alternativement " suspensives "— et "resolutives," qui sont le nerf du discours musical, vous reeonnaitrez les phases de tension et de detente du fil k plomb. En disant cela, je ne rabaisse point la musique au niveau de la m^canique ; mais c'est la mecanique, au contraire, que je hausse jusqu'^ I'art musical. Vous venez de voir la melodie, sous sa forme ei6mentaire et rigide, la gamme, adopter les allures du mouvement oscillatoire classique, et suivre ses lois. Dans ses formes plus libres, expressives, et vraiment artistiques, elle ne cesse pas, la melodie, d'obeir k ces memes lois d'attraction, d'impulsion, de tension et de detente altern6es, de vitesse acquise. Seulement, elle ne le fait plus d'une fa9on " periodique," mais "episodique" ; et meme, le plus souvent, avec tant d'apparente fantaisie, qu'elle ne parait plus soumise a des lois, et prend des airs d'ind6pendance absolue. Ces formes m^lodiques soi-disant libres, et si variees, elles sont, pour nous, generalement expressives. Mais de quoi ? Qu'est-ce done qu'elles expriment au juste ? Nul n'a pu jusqu'^ present le determiner ; les interpretations que Ton hasarde sont toujours, ou trop generales, et flottantes, ou trop particulieres, et contingentes. Je crois apporter ici quelque precision, en faisant voir en ces melodies libres, expressives, d' " esthetiques deformations de la gamme." Est-ce que les attitudes les plus gracieuses et les plus touchantes ne naissent point d'un " derangement harmonieux," si j'ose dire, du jeu mecanique de nos membres ? 245 PAPERS IN SECTION III (THEORY)— contimted (Griveau). Alors, comme la garame elle-m§me r^pond k la periods osciUatoire simple (pendulaire), tout dessin melodique qui en varie le contour uni, I'accidente, devra corresppndre k la pdriode d'un pendule compose. Soit un pendule de ce genre : il est constitu6 par un fil portant, en chapelet, plusieurs plombs superposes. Je mets cet appareil en branle ; son mouvement total sera, n'est-il pas vrai ? la r6sultante de eeux des diff6rents tron9ons qui le composent ; — et si je developpe son trac6 d'apr^s les procddfe ordinaires, j'obtiendrai forc^ment une courbe au profil festonn^. Me basant ici sur le th^or^me de Fourier*, je crois pouvoir considerer I'onde melodique, en son artistique complexite, comme form^e, th^oriquement, d'ondes composantes au contour uni, qui seraient ici des gammas d'un ambitus plus restreint. Que representeraient done ces melodies partielles, pendulaires? Les Elements premiers du " travail mecanique," ou de la erise passionelle. Co'inci- dentes en leurs phases, elles s'ajouteraient, pour relever le profil total ; opposant leurs courbures, au eontraire, elles aplaniraient, par interference, ce profil ; ainsi la melodie, assimilable k la vibration, serait plus ou moins riche en " harmoniques," plus ou moins " timbree."f (5.) — La Muxique, reprhentatirc du Mouvement sous tontes ses formes. Vous prevoyez la fecondite de ce point de vue pour I'esthdtique musicale. Que si le trace simpliste de la gamme represente un mouvement rigide, aveugle, indefini, comme le va et vient du pendule, le trac6 complexe et plus ou moins accidente des melodies nous deroulera le tableau, — sch6matique, bien entendu, de mouvements d^finis, sp6ciaux, et de toute esp^ce. Je dis " schematique," en songeant que ces mouvements du monde ext^rieur passent, pour etre sentis, et musicalement exprimes, par la fili^re de notre syst^me nerveux, et de notre faculty mentale d'abstraction. La restriction faite, on peut soutenir qu'une melodie, par son trac6, se rapproehe plus ou moins de tel ou tel mouvement connu, naturel ou artificiel, industriel ou d'art, — cosmique, vital ou physionomique. Ainsi la musique, en g^n^ral, est representative de toutes sortes de ph^nomenes, — et chaque individu mdlodique, en particulier, peut se ramener k quelque geste materiel, de vie, ou de pensee, qu'il ^voque en ses traits les plus essentiels, — et sans I'image de son substratum. L'aspect myst^rieux d'une melodie, justement, vient de ce qu'elle exprime I'esp^ce de mobilite sans designer I'espece de mobile. De Ik I'amphibologie, preoccupante seulement pour ceux qui s'obstinent, et bien vainement, k trouver, sous les formes sonores, des contingences.| Eh ! qu'importe, en definitive ? Au concert, avons-nous done souci des genres, des esp^ces ? Ce rythme bien scande, persistant, retrace-t-il la forge, ou la grange k I'aire battue des fi^aux ? Ces arp^ges ascendantes et descendantes figurent- elles des vagues, ou le tangage des navires que ces vagues bercent ? Ce trille est-il un frisson de feuillage, un frdmissement, ou bien un rire ? * Voir Helmholtz : " Thdorie physiologique de la Musi'iue " (traduction Gu^roult), 1868. Paris, Masson, p. 44. t Cf . le terme d' " aigu," qui s'applique au sentiment comme aux angles d'une ligne flexueuse. t Lire, i ce propos, I'ingdnieuse fantaisie d'Edouard Ourliao, intitulee " Maitre Stranz " (dang sonrecueil de Nouvelles). 246 PAPEES IN SECTION III (TnEOB.Y)— continued (Gnveau). Une ame vraiment musicienne ne se pose point la question ; elle jouit de tous ces tableaux sous un angle inconnu du peintre et du poete, h I'^tat abstrait, et comme d'un jeu d'idees g6n6rales. Ajoutons eeci : I'Art sonore, qui ne laisse pas distinguer les objets les uns des autres, ne separe point davantage, dans une action, le sens propre et le sens figur^. L'auditeur est incapable de determiner si tel ou tel passage symphonique reprdsente le tourbillonnement d'un flot, ou d'une foule ; le jaiUissement d'une source, ou d'une pens6e ; I'dpanouissement d'une fleur, d'une gerbe d'artiflce, ou d'un sentiment ; une chasse, ou la poursuite d'un probleme.* En I'absence d'un programme qui fixe, bien artificiellement d'ailleurs, et arbitrairement, la pens6e, les seuls ^claircissements qu'on puisse attendre sont I'association d'idees et I'onomatopee musicale (harmonie imitative). Vous allez voir, dans le parallele que nous allons esquisser de la musique et du langage, s'il n'est pas possible, sans rien forcer, d'obtenir plus de precision. Auparavant, on peut resumer tout ce cote de la question en disant, avec Mr. Jean d'Udine,f que la Musique est une traduction sonore du geste. II faut seulement attribuer a ce mot de geste le sens le plus etendu (geste physique ou m^canique ; geste vital ; geste " dynamique " comme la marche, le saut, le jet, le coup ; et geste " expressif " ou significatif, tel que le salut, le hocbement de tete, le croisement de bras, le rire et le sanglot). Et, de plus, on devra " subjectiver " tous ces gestes exterieurs, per9us par les yeux, se les reprdsenter comme " dig^r^s," pour ainsi dire, par le musicien, passant par la filiere de son systeme nerveux, et de son ame. Un morceau de musique, tout aussi bien qu'un paysage, est " un 6tat d'ame," en definitive. Or, puisque tout etat d'ame (sentiment, idee — ou simple representation) se traduit par la parole, et que celle-ci prend pour instrument ce " geste sonore " qu'est la voix — nous voici tout naturellement amenes k reconnaltre dans la musique un langage. (6.) — La Musique et le Langage. Ce nouvel aspect de I'Art musical a et^ mis en relief, de la maniere la plus saisissante, par votre compatriote Herbert Spencer. A ses yeux (et e'est la fa9on la plus direete d'envisager cet Art), la m^lodie n'est pas autre chose que le "chant" de la parole, amplifie, pr6cis6 dans son rythme, ses inflexions, et comme on dit aujourd'hui : " stylish." Cette theorie de Spencer est, en somme, la justification d'une formule courante : " La Musique est la langue du sentiment." Vous allez voir que cette formule a besoin d'etre complet^e par les mots suivants : " du sentiment bien ordonne, logique, et souvent tout intellectuel." De cette maniere, I'art d'un Beethoven se trouvera, a son tour, justifie. * Ce qui distingue, musicalement, la nature vivante de I'agent, de sa nature inerte, et la nature psychique de I'aote, de sa nature purement physique, c'est, me parait-il, le degre d'achfevement, ou de diffirenciation du "motif." Ce dernier, lorsqu'il n'est que rythmique, analytique encore, et fait de progressions, de gammes, ou de sequences similaires, repr^sente plut6t le fait materiel et ooneret (jet liquide, " fluctuation " au sens littoral, conflit d'^Uments), taudis qu'organise, comme enferm^ dans un tour m^lodique, le motif musical exprimera plutot le fait abstrait, moral, et prendra le sens mistaphorique (jaillissement d'une passion, ou d'une pens^e, fluctuation d'4me, conflit intellectuel ou sentimental). C'est qu'alors il perd plus ou moins la oaractSre aveugle, strict et fatal des phtoom^nes, et prenant, pour ainsi dire, un pli de conscience et de volenti, se rapproche du geste humain, et de la parole. f Voir le livre tr^s-remarquable de Jean d'Udine, intitule " I'Art et le geste." (Aloan). 247 PAPERS IN SECTION III (THEOEY)— conttnucfJ (Griveau). Remarquez ici le libre-dchange de termes qui s'op^re, spontan^ment, entre musique et litt^rature. N'entendez-vous pas dire, tous les jours : le discours melodique, une phrase de hautbois ou de cor, I'exorde ou la p6roraison d'une symphonie, la ponctuation musieale, un dialogue d'instruments, une replique ? Ne juge-t-on point le morceau de concert obscur ou lumineux, logique ou d^cousu, d'un tour eloquent, spirituel, ou bien insignifiant, " sans id^e " ? Oa a pu comparer le quatuor classique k quelque conversation bien conduite : une question — e'est le motif initial, est pos6e, " mise sur le tapis," source de developpements 6tendus qu'alimentent la fantaisie, I'erudition, le d^sir de convaincre— ou de briller. La th^se appelle la contradiction, I'antith^se. Le sujet, qui paraissait simple et ferme, s'ouvre, se ramifie ; des contre-sujets le compliquent ; des episodes I'entrecoupent, des digressions le font d^vier ; des " conduits," des transitions, le ramenent. La discussion, tantot altern^e et tantot " melee," s'eleve ou s'abaisse de ton ; elle s'exaspere, puis s'apaise ; et finalement, le theme du d^but, ayant subi I'^preuve de tant d'analyses, d'objections, de contradictions, reparait pur, definitif, incontestable. C'est la synthese. D6ja, par sa forme toute exterieure et sonore, sa phon^tique, le langage conventionnel que nous parlons se rapproche du processus musical ; c'est ce qu'on nomme I'accent (ethnique, ou bien oratoire) ; c'est I'immense variety d'inflexions logiques ou passionnelles * ; e'est aussi I'interjection, I'onomatopde, et ce que j'ai baptist du nom de " musicalisme " (mironton, ton-ton, mirontaine ; landerirette ; tra-la-la, etc.). Mais I'analogie la plus importante, — et la moins connue, se trouve dans le fond meme, et dans les Elements id^ologiques, c'est-a-dire sur le terrain de la " morphologic grammaticale " et de la "syntaxe."t A proprement parler, la langue musieale n'a rien qui corresponde aux mots, h, ce que les grammairiens appellent " les dix parties du discours." Cependant, dans une suite d'articles parus jadis en la "Rivista musieale italiana," if j'ai pu faire entrevoir, sous la trame sonore d'une m^lodie, comme un reflet (ou, si vous preferez, comme une ombre) de ces choses precises et bien limit^es que sont le verbe, I'adjectif, I'adverbe, I'article, le pronom, la proposition, la conjonction et I'interjection. Seul, le substantif ne trouve pas ici d'Oquivalent. Nous I'avons dit plus haut ; la musique exprime le genre de mobility, mais ne d6signe point I'esp^ce de mobile. Si, en eifet, le discours musical trahit I'existence abstraite du verbe par des cadences " imperatives," " indicatives," ou " conditionnelles," ou par tels tours de phrase qui sentent I'optatif, s'il exprime la modality d'une action par la nature des accords, sortes d'adverbes de mani^re, ou par des flexions diverses d'un meme theme melodique, — il n'a guere de ressources pour designer, meme indirectement, le sujet, I'auteur meme de cette action. Oui, la langue * Les inflexions logiques, moins oonnues, m^riteraient d'etre plus ^tudi^es. C'est r^l^vation, ou I'abaissement de la voix pour exprimer, instinctivement, une difference de niveau, — son allure vive, — ou trainante, pour traduire la rapidity, ou la lenteur du temps, dun ph^uomtee, — son circuit hesitant pour d^finir, aveo ou sans paroles, I'incertitude. t M. Elie Poir^e, dans un article rteent (S.I.M., Eevue musieale 15 Mai 1911), ^crit ceci : " Ce que le poete dit en quelques ligues, le musicien le d^veloppe symphoniquement en une immense phrase, d^passant de beaucoup les dimensions des plus longues pModes du discours ; mais la phrase poetique et la phrase musieale peuvent Mre rapproch^es ; elles ont la m6me origine psyohique, aveo une syntaxe et des proc^dis d'applieation differents." Pour la m^thode d'analyse des melodies, la plus parfaite qu'on ait encore trouv^e, je renvoie aux " Essais de technique et d'esth^tique musieale," par Elie Poir^e, en deux series, ohez Fromont, &, Paris, et k Londres, chez Schott (1898 et 1902). C'est un ouvrage de premiere importance. t Voir : tome I., fasc. 4, annde 1894 ; tome III. , faso. 1, annde 1896 ; tome IV., fasc. 2 et 4, annte 1897. 248 PAPERS IN SECTION III (THEORY)— core«™?tC(Z (Gnvemt). musicale est sans substantif, paree qu'elle est " insubstantielle ; " et cependant, une 6tude patiente, et faite de plus pr^s, nous permettrait sans doute, en bien des cas, de distinguer I'esp^ce du sujet anonyme, son " genre " (sexe) et son nombre. Et comment eela ? — ^De la maniere que nous reeonnaissons, au seul son de la voix ou bien aux jeux d'ombre ou d'etoffe, si le personnage que cache un rideau est un homme ou une femme, un enfant ou un vieillard, — un etre humain ou quelque animal de telle ou telle cat^gorie ; si e'est un etre isole, ou bien un groupe. Mais le terrain le plus ferme oii puisse s'exercer le parallele entre les deux langues, c'est la syntaxe. Car si le motif, en soi, ne repond pas au mot,— la " phrase " musicale, suite de motifs enchaines, imite la periode litt6raire; et meme le morceau symphonique, dans son ensemble, reproduit les phases du diseours. II faut noter ceei, que la melodie elassique, dans sa structure, se rapproche plut6t des formes archaiques de notre langue ; c'est qu'elle en est encore au stade analytique, un peu eomme la podsie, d'ailleurs. Je vous rappelle ces vers de Malherbe : — " C'est Dieu qui nous fait vivre, C'est Dieu qu'il faut aimer." En prose, — et dans le style moderne, on 6crirait plut6t, d'un seul tenant : " II faut aimer Dieu, qui nous fait vivre." tour plus serre, synth4tique et savant, mais moins ing^nu, moins touchant. Or la phrase de Haydn, de Mozart, ou de Beethoven, si touchante et si d^licieusement ingenue (genuine) nous prodigue ce proc^d^ de repetition, cette parity symetrique des deux membres antecedents, tandis que les "consequents " seuls varient. C'est I'image du " radical," constante linguistique, et des " flexions," les variables. Eemarquons ici que, de ces deux flexions sonores difterentes, la seconde est conclusive, I'autre etant " suspensive " — ce qui rend les deux cadences, ainsi dependantes I'une de I'autre, homologues du determinant — et du determine dS la phrase litteraire. D'autres fois, la repetition du debut, dans le style poetique, ne comporte pas de lien logique, et n'est qu'un procede de simple insistance (anaphore). Ainsi dans 1' " Andromaque" de Eaeine : — " Faut-il'que mes soupirs vous demandent sa vie ? Fant-il qu'en sa faveur j'embrasse vos genoux? " Cette insistance de la pens^e, qui ne craint pas de se redire, est ici toute passionnelle ; il n'est done pas surprenant de la retrouver k chaque pas, dans le langage par excellence de la passion, en la melodie. II existe d'ailleurs, dans le repertoire, une tres grande varidte de coupes melodiques. Je suis persuade que toutes, plus ou moins analytiques ou synthetiques, a segments homonomes — ou h^teronomes, comme chez les organismes vivants, peuvent se rapporter h quelque type de phrase Uttdraire, ou de periode oratoire. On voit que si Fart du langage, au moins dans ses formes primitives et poetiques, " musicalise," — I'art musical, de son cote, par son Evolution vers le plus complexe, tend k fusionner ses segments, k les diffdrencier ; il " litt^ralise." Mais un trait d'union plus strict encore entre les deux langues, est la logique de la phrase ou proposition. Plus rigoureuse que la syntaxe meme, elle enchaine trois termes consecutifs qui, dans le langage usuel, s'appellent these, antith^se, synthase, et prennent, en musique, les noms de motif initial ou direct, de motif inverse, et de reprise. Cela pent s'exprimer, sch6matiquement, par une onde entiere suivie d'une moitie d'ondei 249 PAPEES IN SECTION III (TUEOHY)— continued {Griveau). Forc4 d'abr^er, Messieurs, cette 6tude d6j&, trop longue, je ne saurais entrer ici dans des explications pourtant bien utiles. Qu'il vous suffise de constater que le schema de I'oscillation pendulaire, auquel nous voici revenus, s' applique non seulement k la dynamique des formes sonores, mais encore k celle des id^es que ces formes repr^sentent. Vous le voyez, la musique est plus qu'une langue " sentimentale " ; c'est aussi bien une langue logique. Et sa logique n'est si eonforme h, celle du langage que nous parlons, — que parce qu'elle est un cas particulier de cette logique g^n^rale, universelle, qui r6git toutes choses, . les id6es comme les mouvements vitaux, les gestes expressifs comme les 61ans purement m6caniques. Et c'est ce qui concilie, sans fausse condescendance, et naturellement, les trois theories dont chacune envisage un c6t6 de I'art musical, — et n'en explique que ce c6t6 : celle de Hanslick ou de 1' " arabesque," ceUe de Jean d'Udine, ou du " geste sonore " ; enfin celle de votre compatriote H. Spencer, ou de " I'inflexion vocale ampUfiee." La voix, prototype des instruments et source immediate de toute musique pure, instrumentale, — mais n'est-elle pas. un geste larynge profond et subtil, qui vient parfaire I'oeuvre de tous les autres, et donner, si je puis m'exprimer ainsi, le dernier " coup de pinceau " au tableau de I'expression mimique et physionomique ? Et le geste superficiel, k son tour, n'est-il pas un fait mecanique k destination ideale ? Mais il y a plus. Toute forme perceptible k la vue etant, en somme, un mouvement arrete, fix6 dans I'espace, ou qui se fixe dans la m^moire, on voit que 1' " arabesque " melodique se pr^sente aux yeux de I'esprit (influence, peut-etre, aussi par la notation) comme le trace, plus ou moins eurytbmique et d^coratif en soi, du geste sonore et vocal. (7.) — Eclaircissernent du 2Iijstere de V E.rpratnon Mnsicale. Le mystere du sens rationnel et de I'expression, dans un langage aussi peu definissable que la musique, n'est done pas special k cet Art ; il s'^tend au geste, au jeu de physionomie, meme k I'aspect des formes et des attitudes inorganiques. Si vous me demandez ce que traduit au juste I'andante de telle symphonie, je repondrai k cette question par une autre : — Qu'est-ce que la pens6e peut saisir de precis, vous dirai-je, dans I'attitude et la physionomie de la joconde ? A plus forte raison, pourrez-vous jamais " raconter " la serie de motifs d'une frise ornementale, une bande de guipure, ou meme les figures de feuilles et de fleurs vivantes que cette frise ou cette guipure reproduit ? Ainsi le probl^me de I'expression plane sur tous les arts, comme du reste sur toutes les manifestations du " beau " dans la Nature. Mais, il faut I'avouer, il s'^tend de preference sur la musique ; et cela, parce que la musique, au moyen des symboles sonores, est apte k reprdsenter tous les genres de ph^nom^nes. Or c'est justement cette immense capacity d'expression qui nous laisse pendtrer son secret, et fournit la clef du mystere. En effet, nous prdsentant des images de tout, elle ne nous prdsente que des images sommaires, " schdmatiques," des images simplifiees par I'abstraction mentale, et juste assez significatives pour atteindre cette partie profonde de I'esprit qui se satisfait pleinement avec les id6es g6nerales. Edsumant la chose d'un mot, je dirai que le plaisir musical est " une sensation centrale." Pour etre integral et parfait, il exige un effort pour ainsi parler " encyclopMique," un effort prodigieux de synthese. Le gdnie crdateur le realise, en ramenant sur le plan sonore, auditif, les plus beaux traits disperses sur les plans visuel, olfactif, et tactile ; et le gout, k son tour, op^re passivement, chez I'auditeur, cette esp^ee de " polarisation." 250 PAPERS IN SECTION III (THEOEY)— confmuec? {Krohn). Pour arriver a une definition de la musique, integrate, " definitive," but et terme de cette etude, il ne reste plus qu'fi rappeler le caractere " subjectif " de son expression ; car vous savez deja qu'elle ne peint pas le ciel, les eaux, ou les arbres, ou les traits d'une physionomie, les gestes d'un etre anim6, — mais bien " I'etat d'ame oii ces choses nous mettent " : — a la condition qu'on ne restreigne pas ee mot d'etat d'ame aux pures Amotions sentimentales, et qu'on I'dtende aux " representations." Alors on pourra definir, avec securite, la musique : " une transcription sonore id^ale, et systematisee, de tous les mouvements secrets provoques en nous, soit par la perception du monde exterieur, — soit par celle de nos propres ^tats, physiologiques ou psychiques." Joubert a eerit cette phrase admirable : " Les idees claires servent a parler, mais ce sont les idees sourdes qui menent la vie." Or la musique, justement, note ces " idees sourdes " ; elle les 6nonce au moyen du meme son dont use la parole, mais qui, pour la parole, n'est qu'un v6hicule conventionnel ; elle leur donne un lien fictif, artistique, et les revet d'une figure qui nous seduit, parce que nous y reeonnaissons, d'instinct, notre nature idealisee. Langage a la fois primitif et transcendental, antecedent k la parole, elle exprime, par cela meme, ce que celle-ei ne peut rendre ; et lorsque la langue superficielle se declare impuissante a traduire un sentiment, et se rejette sur des mots tels qu'indicible, inexprimable, indescriptible, — c'est au tour de la langue profonde de s'y appliquer. Meme, suivant les opinions de H. Spencer et de Eichter, I'art musical irait plus loin : jusqu'a reveiller des sentiments inconnus, a nous parler " de choses que nous n'avons pas vues, et ne verrons jamais," au moins ici bas. Ce dernier trait ^largit encore le champ deja si vaste de la musique : ce n'est plus seulement le souvenir de Ten de9a ; c'est I'intuition, aussi, d'un " au-del^." Uebep die Methode dep musikalischen Analyse. By Dr. ILMAEI KROHN, 3, Iso-Eobertinkatu, Helsingfors. Teacher of Musical Theory and History in the University. President of the Local Branch Helsingfors, Int. Mus. Society. (For English abstract, see p. 63.) AUSZUG. I. — Die Analyse soil nioht nur die Hauptziige und einzelne charakteriatische Punkte erlautern, sondern sie hat alle elementaren Einzelheiten genau festzustellen und mit einander zu vergleichen. Die exakte Analyse kiinstlerisch wertvoller kleiner Tonstilcke ist die beste Schulung zur Bewaltigung der grosseren Meisterwerke. II. — Dreifache Analyse gemass : — (A) dem metrischen Ban, (B) der Harmoniefolge, (C) der motivischen Entwicklung. (A) — Die ersten metrischen Grundelemente, der Taktfuss (pied) und die Zeile (Kolon, membre de phrase) sind durch die iibliohe Notirungsweise und den konventionellen Begriff des " Taktes" verdunkelt.* Hilfsmittel zum Erkennen der Taktfiisse : — (1) Vergleich mit den Tragern der harmonischen Bewegung, (2) 4-hebige Normalform der Zeile, (3) Vergleich mit den Versfiissen des Textes (in Vokalkompositionen) . * Vgl. des Verfassers : " Eeform der Taktbezeichnung," ni, Eongress der I.M.G. 251 PAPEES IN SECTION III {TK^OHY)— continued (Krohn). Verschiedene Aiiffaiisung des %-Talites: — Ein Taktfuss (Walzer), Zwei Taktfiisse (Mazurka), Drei Taktfiisse (Polonaise). Zur Erkenntnis der Zeilen dient die melodisehe Gestaltung, insbesondere die Wiederholung rythmischer oder melodisoher Gruppen. Unterscheidung von von der Normalperiode : II. III. IrrtUmliche Bezeichnung von | :||: I I-// als "zweiteilige Liedlorm ■ ' 4/ 4' Die reicher entwlokelten Gestaltungen der griisseren Eormen kommen alle auch in kleineren Tonstiioken vor, wenn auch nur "in nuoe": 2-3-hebige und 5-6-hebige Zeilen (neben den 4-hebigen), stichische (" gangartige ") und mesodische (" umspannende ") Perioden (neben den palinodischen, "gepaarten "). (B) — Zu beachten die Harmoniefolge :— (1) der Periodenschltisse, (2) der Zeilenschliisse innerhalb der Perioden, (3) der Taktfusshebungen innerhalb der Zeilen. Die verschiedenen Harmonien lauter Umgestaltungen der drei Grnndakkorde, Subd. Ton. Dom., duroh: — (1) Umkehrung, (2) Alteration, (3) Zusatz dissonirender Tone, (4) Auslassung harmonieeigener Tone, (5) Vertretung mit entspreohenden Akkorden der Paralleltonart (6) verschiedene Kombinationen von 1-5. Gharakter der harmonischen Bewegung : T— D Anregung, Spannung, T — S zuriickgreifende, abwartende Stimmung, q~T f Wiederkehr ins normale, niichterne, [T— ] S— D [— T] normale Fiille der Kraftentfaltung, — D — S — nioht normal, iiberrasehend, pathetisoh, humoristiseh. In der Modulation ist das Verhaltnis der verwandten Tonarten ahnlich, wie dasjenige der Grundharmonien und ihrer Umgestaltungen innerhalb der Tonart. Verschiedener Gharakter der Modulation je naob der Vermittlung durch : — (1) gemeinsame S-Harmonie mit kadenzartiger Weiterfiihrung, normal, entschieden, befriedigend, (2) sonstige Umdeutung einer gemeinsamen Harmonie, nnentsohieden, der Weiterfiihrung duroh S-Harmonie und Kadenz bediirftig, (3) Uebergang ohne gemeinsame Harmonie, nioht iiberzeugend, weiter drangend. 252 PAPERS IN SECTION III {TBEOB.Y)— continued (Krohn). (C) — Die Analyse des motivischen Zusammenhanges griindet sioh auf die der Metrik und der Harmouik. Die motivisehe Einheitliehkeit der Tonstiicke ist oft weit voUstandiger, als es beim ersten Blick den Ansohein hat. Die Analyse hat Zeile fiir Zeile die verborgensten Faden aufzudecken. Rythmische Veriinderung der Motive durch : — (1) Teilung, Zusammenziehung einzelner Tone, (2) Erweiterung, Verkleinerung der Tondauer, (3) Abbrechen, HinZufiigen von Tongruppen, (4) Versohiebung der Hebungen. Melodische Umwandlung durch : — (1) Versetzung, (2) TJmkehrung, (3) Erweiterung oder Verengerung einzelner Tonschritte, (4) Auslassung oder Einfugung von "Nebentonen." Charakterisirung des anfdnglichen Motivs inbezug auf : — (1) rjthmisohe Teilung der Taktfiisse, (2) Vorkcmmeu von Auftakt, Bindung, pathetisoher Akzente, Staccato, Pausen, Koloratur, (3) Ambitus, (4) njelodische Linie, auf- oder abwarts, schrittweise oder mit Sprungen, (5) tonale Funktion der " Haupttone." III. — Spezielle Charakterisirung durch : Tempo, Agogik, Dynamik, Instrumentation, vielfaeh durch die Notwendigkeit bedingt, rythmische, harmoniscjie und motivisehe Parallelen und Gegensatze klar hervorzuheben. IV. — Belativer Wert programmatischer Spekulation, objektive Geltung exakter musikaUscher Analyse. Auf die pedagogische Bedeutung der musikalischen Analyse ist in der letzten Zeit vielfaeh hingewiesen worden, und manche theoretische Werke behandeln eingehend verschiedene analytische Fragen. Schaut man aber auf die eigentliche analytische Litteratur, so begegnet man oft geistreichen und von tiefen musikalischen Kenntnissen zeugenden Beschreibungen hervorragender Tonwerke, wie Sonaten, Sinfonien u.s.f., worin aber vorzugsweise nur die Hauptlinien sowie einzelne besonders charakteristische Punkte der Komposition eingehend besprochen sind. Fiir den Durchschnittsleser weniger leicht geniessbar, aber fiir die exakte Erkenntnis der Werke erspriesslicher wiirde es sein, die Analyse mit genauester Feststellung aller elementarer Einzelheiten auszufiihren, mogen sie Eythmus, Melodik, Harmonik oder Klangfarbe betreffen. Freilich wiirden in solchem Falle stattUche Bande entstehen, die zu bewaltigen von seiten der Verfasser wie der Leser eine miihevoUe und peinlich genaue Arbeit erfordern wiirde. Es lasst sich auch fragen, ob nicht eine derartige allseitige Analyse grosserer Werke zunachst ein zu gewagtes Unternehmen sei, ehe die dazu notige Koutine und Methode durch Versuche geringeren Umfanges geniigend herangebildet ist. In gewisser Hinsicht sind ausserdem fiirs erste die vokalen Kompositionen den instrumentalen voranzustellen, nicht nur wegen etwaiger spezieller Sehluss- folgerungen iiber den Gemiitsinhalt des Tonstiickes, sondern vielmehr deswegen, weil manche elementare Einzelheiten sich im Anschluss an die entsprechenden Elemente des komponirten Textes leichter und sicherer in ihrem Tatbestand feststellen lassen. Es seien also in erster Linie einfache Lieder zur Analyse anempfohlen, dann aber auch kurze Instrumentalstiicke, insbesondere mit charakteristischen Ueberschriften versehene, in jedem Fall aber nur solche Kompositionen, die kiinstlerischen Wert besitzen. Durch das Studium der vollgewichtigen Kleinkunst wird fiir das exakte Verstandnis der grossen Meisterwerke ein sicherer Grund gelegt. 253 PAPERS IN SECTION III (THEORY)— confuted (Krohn). In praktischer Hinsicht ist es ratsam, die Analyse eines Stiickes unter dreierlei Gesichtspunkten gesondert auszufiihren. Zuerst ware der metrische Bau, dann die Harmoniefolge und schliesslich die motivische Entwicklung einer durchgangigen Betrachtung zu unterziehen. In jeder der genannten Beziehungen ware aber von vornherein festzustellen, welche Verhaltnisse der Tone als die normalen und selbstverstandlichen zu gelten batten, um alsdann jede Abweiebung davon in dem ibr eigenen Cbarakter zu erfassen und das Gebeimnis der speziellen musikaUscben Wirkung des Stiickes naber zu belauscben. Vom metriscben Bau einer Komposition gilt es zuniicbst die grund- legenden Elemente klarzulegen. Es sind dies vor allem : der Taktfuss (pied*) und die Zeile (Kolon, membre de pbrase*). Die grosseren musikaliscben Abscbnitte (Perioden u.s.w.) sind meistens miibelos erkennbar ; das Feststellen der beiden erstgenannten rytbmiscben Einbeiten ist aber vielfacb durcb die iibUche Art der Notirung, sowie durcb den konventionellen und irrefiibrenden Begriff des " Taktes " erscbwert.f In den meisten Fallen bestebt allerdirigs der notirte Takt regelmassig aus zwei Takfiissen, und es mag ratsam sein, bei der Analyse von dieser Voraussetzung auszugeben und nur wegen triftiger Griinde sie bei Seite zu lassen. Solcbe Griinde konnen aber jederzeit fiir sicb Geltung erfordern. So betragt z. B. der f-Takt beim Walzer nur einen Taktfuss, bei der Mazurka aber zwei und bei der Polonaise drei Taktfiisse, bei gleicber Notirung. Man bat sicb aucb davor zu biiten, etwaige synkopirte oder andere nur gelegentlicbe Akzente mit den regelmiissigen Hebungen der Taktfiisse zu vermengen ; solcbe sind stets in ibrer besonderen Eigenart zu erkennen, indem sie durcb gelegentlicbes Hervorbeben an und fiir sicb akzent- loser oder scbwacb akzentuirter Tone dem Eytbmus einen mebr oder weniger patbetiscben Ausdruek verleiben. In dieser Hinsicbt irrefiibrenden Anscbau- ungen kann man nocb in Werken neuesten Datums begegnen. Fiir das Erkennen der Taktfiisse in zweifelbaften Fallen bieten sicb folgende Hilfsmittel dar : — 1. Die Folge derjenigen Akkorde, die als Trager der barmoniscben Bewegung anzuseben sind, 2. die durcb verscbiedene Auffassung des Taktfusses sicb beraus- steUende Liinge der Zeilen, 3. in Vokalkompositionen der Vergleieb mit den Versfiissen des Textes. In der Harmoniefolge unterscbeiden sicb eben durcb das Verbaltnis zum Eytbmus diejenigen Akkorde, die der Bewegung, als Stiitzpunkte dienen, von denen, die bloss " durcbgebende " Bedeutung baben. In diesem Sinne konnte man die Akkorde als " Hauptkliinge " und " Nebenklange" bezeicbnen. Nun ist es inbezug auf den Eytbmus als das normale anzuseben, dass jedem Taktfuss ein Hauptklang entspriebt. Nur bin und wieder kommen zwei Hauptklange auf einen Taktfuss, wodurcb derselbe ein besonderes patbetiscbes Gewicbt erbiilt, indem der zweite Hauptklang dem akzentlosen Telle des Taktfusses den Cbarakter einer barmoniscben Synkope verleibt. Weit ofter kommt das Gegenteil vor, dass namlicb ein Hauptklang sein Gebiet iiber zwei * J. Combarieu ;, Th^orie du rythme, 1897. Paris. 1 t-Vgl. des Verfassers : " Reform der Taktbezeichnung," III. Kongress derlnternationalen MusikgeseUsohaft (1909). 254 PAPERS IN SECTION HI (THEORY)— continued {Krohn). oder mehrere Taktfiisse erstreckt, wodureh ein besonderer Eindruck von Kuhe Oder verhaltener Kraft erzielt wird. Ein Gemisch beider Wirkungen kommt zum Ausdruck, wenn der Hauptklang eines Taktfusses noch einen Teil, z. B. die Halfte, des folgenden Taktfusses beherrscht, so dass der neue Hauptklang gleichsam verspatet auf dem eigentlich akzentlosen Teile des Taktfusses eintritt. Es ist jedenfalls nicht ohne Belang, auf derartige Verbal tnisse zwiscben Harmonik und Eytbmik acht zu geben. In geeigneten Fallen kann es gescbehen, dass dadurch an irgend einem Punkte des Tonstiickes fiir die Brkenntnis der allgemeinen Taktfusseinteilung desselben der Ausscblag gegeben wird. Die Art der Zeilen wird durcb verscbiedenartige Auffassung der Taktfiisse in der Weise beeinilusst, dass die Anzabl der Taktfiisse in den Zeilen sicb demgemiiss verscbieden berausstellt. Die normale Form der Zeile ist die 4-hebige, wovon die iibrigen Formen durcb Verkiirzung (2-3-bebig) oder Erweiterung (6-6-bebig) abzuleiten sind, und zwar in dem Sinne, dass der jeweilige musikaliscbe Ausdruck dem Verbaltnis soleber Zeilen zu ibrer Normalform zu entsprechen bat. In gewobnlicben Fallen ware also diejenige Taktfusseinteilung vorzuzieben, wodureh auf die meisten Zeilen je vier Taktfiisse berauskommen wiirden. In keinem Fall aber soUte man mebr als 6 Taktfiisse in einer Zeile annebmen. In dieser Hinsicbt diirfte man die uralte antike Auffassung respektiren konnen. Es kommt allerdings zuweilen vor, dass zwei Stimmen oder Gruppen von Stimmen gleicbzeitig verscbieden- artige Taktfiisse aufweisen ; die gewobnlicbste Art dieser Erscbeinung ist, dass z. B. in der Melodiestimme die Taktfiisse doppelt so lang aufzufassen sind, wie in der Begleitungsfigur. In solcben Fallen kann der Anschein einer 8-bebigen Zeile entsteben. Eine andere Art von Zweideutigkeit kommt in Betracht, wenn ein neuer Abscbnitt des Tonstiicks mit doppelt erweiterten oder um die Halfte verkiirzten Taktfiissen gemeint ist, aber die Notirung der Takteinteilung sicb gleicb bleibt. Im J-Takt treten gewobnlicb Taktfiisse verscbiedener Lange auf, regelmassig alternirend oder wenigstens stets zu gleicb langen Taktfusspaaren (J + f oder f + i) sicb verbindend, unter einander im Verbaltnis von 1 : 2. Die der antiken Tbeorie entnommenen " 6-zeitigen " Taktfiisse (jonicus) sind wobl sicberlicb fiir derartige Taktfusspaare anzuseben, was aucb dadurch bestatigt wird, dass die Zeilen meistens deren nicbt etwa vier, sondern nur je zwei enthalten. Ebenso ist der antike 5-teilige Takt als Taktfusspaar mit ungleicben, oft aucb regelmassig alternirenden Taktfiissen, im Verbaltnis von 2 : 3, zu versteben. Die grosste Scbwierigkeit bieten aber solche Zeilengruppen, in denen zwei oder drei Zeilen sicb melodiseh eng an einander fiigen (mit einem Phrasirungsbogen zu bezeicbnen), aber sich doch in rytbmiscber Hinsicbt von einander insofern abbeben, dass jede Zeile ibren eigenen, den anderen nicbt untergeordneten Hauptakzent entbalt. Bei Instrumentalkompositionen muss man sicb mit den genannten Hilfs- mitteln begniigen und im iibrigen dem guten gesunden Gescbmack vertrauen, wobei freilicb nicbt zu vermeiden ist, dass in mancben Fallen die Subjektivitat der personlichen Anscbauungen zu verscbiedenen neben einander berecbtigten Deutungen fiibren kann, da die Tonsetzer es selten fiir notig gehalten baben, ibre autoritative Auffassung der Taktfiisse und Zeilen deutlicb anzugeben. Man wird ausserdem die Erfabrung macben, dass man von Zeit zu Zeit die eigenen Analysen zu revidiren bat, indem der durcb die Uebung gescbarfte Blick und die nabere Vertrautbeit mit den Kompositionen mancbe bis dabin iibersebene oder zu oberflacblicb und scbablonenbaft bebandelte Einzelziige erkennen lasst, die fiir die Auffassung in unerwarteter Weise von Bedeutung sein konnen. 255 PAPEES IN SECTION III (THEORY)— coretinwd (Krohn). In vokalen Werken tritt als weiteres Hilfsmittel noch das Verhaltnis zum Text dazu. Vielfach, wenn auch nicht immer, deckt sich der musikalische Taktfuss mit dem poetischen Versfuss ; und wenn ein Prosatext komponirt ist, kommt ein entsprechendes Verhaltnis zu der Akzentuation der natiirlichen Deklamation in Betracht. Fiir das Erkennen der musikalischen Zeilen ist vor allem die melodische Gestaltung von Bedeutung. Die Wiederholung einer Tonfolge in ahnlicher oder veranderter Form weist meistens auf einander koordinirte Zeilen bin. In dieser Weise ist z. B. die neben dem streng regelmassigen 4^hebigen Bau nicht ungewohnliche Gruppirung von je zwei 2-hebigen Zeilen mit darauf folgender 4;-hebiger Zeile leicht von jener zu unterscheiden. Wie die Normalform der Zeile die 4-hebige ist, so bestebt die normale Periode aus vier Zeilen, und zwar abgeteilt in zwei Zeilenpaare. Doeh kommen schon in Tonstiicken kleineren Umfanges wesentliche Abweichungen hiervon reichlicb vor, besonders in der Mittelperiode der Liedform. Ueberaus gelaufig ist die Verkiirzung um die Halfte sowohl der II. als der III. Periode, so dass beide zusammen die gleiche Lange cnthalten, wie die I. Periode allein fiir sich ; diese Form wird oft falschlicb als eine " zweiteilige " Liedform bezeicbnet, worunter man aber eigentlich nur eine wiederholte Periode (mit oder ohne durchgreifendere Veranderungen) versteben soUte. In grosseren Tonwerken erfordert die Analyse der Zeilen und Perioden nicht wenig Umsicht, unter sorgfaltigem Vergleicben des gesammten motivischen Materials ; vor allem aber wird die Erfahrung bestatigen, dass dazu meistens auch ein ruhiges Ausreifenlassen der empfangenen musikalischen Eindriicke gehort, ehe eine endgiiltig befriedigende Losung der Aufgabe erreicht wird. Jedenfalls ist es wicbtig, mit der musikalischen Bedeutung der reicheren und mannigfacheren Gestaltungen, die das Wesen der grosseren Kompositionsformen ausmachen, zuerst bei den kleineren Pormen sich vertraut zu machen, wo sie allerdings in weit geringerem Maasse und in beschriinkteren Verhiiltnissen, aber doch immer mit den besonderen Charakterniiancen auftreten, die durch die jeweilige Art der Abweicbung von der Normalgestaltung bedingt sind. Die 2-3-hebigen, sowie die 5-6-hebigen Zeilen trifft man neben den iiblichen 4-bebigen auch in kleineren Tonstiicken ofter an, als man im allgemeinen wahnen mocbte; ebenfalls lernt man in denselben, wenigstens " in nuce," die verschiedenen Arten der Zusammensetzung der Perioden kennen : neben der allgemein gebrauchlichen " gepaarten " (palinodischen, z. B. ^^)1 ), tritt auch die " gang 4) 4v artige " (stichische, z. B. 4( ), unddie "umspannende" (mesodische, z. B. 2) ), 4) ij in ibren einfacheren Erscheinungsformen auf. In den aller grossziigigsten kompositorischen Gestaltungen verbirgt sich aber schliesslich nichts anderes, als eine unbegrenzte Moglichkeit von Kombinationen, Anhiiufungen und Weiter- fiihrungen der genannten grundlegenden Elemente des metrischen Gefiiges. Andererseits ist es iiberaus wichtig, durch exakte Analyse diese Seite der musikalischen Formgebung allseitig zu beleuchten, weil das Geheimnis der kiinstlerischen Wirkung sich nicht zum wenigsten gerade hierin erfassen liisst. 256 PAPERS IN SECTION III (TH-EOBY)— continued (Krohn). Was die Analyse der Harmoniefolgen betrifi't, so ist es nach dem obigen einleuchtend, dass sie in engem Anschluss an das metrische Gefiige der Tonstiicke zu erfolgen hat. Es mogen demgemiiss zunachst die Schluss- kadenzen der Perioden einander gegeniibergestellt werden, darauf innerhalb jeder Periode die Zeilenschliisse und schliesslich innerhalb jeder Zeile die den Taktfiissen entsprechenden Hauptklange. In jeder dieser Kategorien lasst sich der Gang der Gefiihlsbewegung, wie sie in den Harmonien verfcreten ist, klar verfolgen, wenn alle diesbeziiglichen Klange auf die drei Grundharmonien : S (iv.), T (i.), D (v.) zuriiekgefiihrt werden. Vom zentralen Tonikaklang oder dessen Vertretung ausgehend, entwickelt sich die Bewegung entweder normalerweise vorwarts (D), Interesse und Spannung erregend, oder auch riickwarts (S), in beschauliche und ruhig abwartende Stimmung sich senkend. Die entgegengesetzte Bewegung (D — T oder S — T) vertritt die Wiederkehr ins normale, niichterne. Die unvermittelte Bewegung zwischen den beiden Gegenpolen, S und D, oder deren Vertretern, erfolgt in natiirlieher, selbstverstandlicher Weise in der Eichtung S — D, aus der abwartenden zur driingenden Stimmung, eine gewisse Piille der Kraftentfaltung hervorrufend, insbesondere wenn sie mit der sog. " voUen " Kadenz verbunden ist (T — S — [T] — D — T). Die entgegengesetzte Bewegung, in der Eichtung D — S, hat dagegen stets den Charakter des aussergewohnlichen ; sie wirkt feierlich erhaben oder humoristisch iiberraschend. Je nachdem wie die Art der harmonischen Bewegung die Kadenzen beherrscht oder in den einzelnen Zeilen sich entwickelt, treten die gegenseitigen Verhiiltnisse der verschiedenen Abschnitte der Komposition in lebendiger Weise zu Tage, so dass man die Anschwellungen, Hohepunkte und Senkungen des musikalischen Ausdrucks daraufhin leicht folgerichtig iiberblicken kann. So kommt auch jede Abweichung vom nliehternen normalen Gang der Harmoniefolgen in ihrer Eigenart zu entsprechender Geltung. Als letztes fiir die harmonische Analyse bleibt noch, die Art der " durchgehenden," die Hauptklange durch fliessende Stimmfiihrung mit einander verbindenden Harmonien auf ihren Charakter hin zu priifen, insofern er durch das Verhiiltnis derselben zu den beiderseitigen Hauptkliingen sich erhellt. Besondere Beachtung erfordern stets diejenigen Punkte, wo bei Wiederholung oder Wiedereintritt eines Motivs die harmonische Behandlung derselben irgendwelche auch nur geringe Veriinderungen erfahren hat. Die Analyse hat es nicht zu verschmahen, bis in das kleinste Detail durchzudringen ; durch die Summe der dabei gemachten Beobachtungen konnen Einblicke gewonnen werden, die die Miihe reichlich lohnen. In welcher Weise aber die verschiedenen Abarten der drei Grundharmonien sich zu denselben verhalten, diirfte wohl als allgemein bekannt vorausgesetzt werden. Der VoUstiindigkeit halber mogen die Hauptarten der dabei in Prage kommenden technischen Manipulationen Erwiihnung finden : 1 . Umkehrung, 2. Alteration, 3. Zusatz harmoniefremder Tone, 4. Auslassung harmonieeigener Tone, 5. Vertretung durch die entsprechenden Akkorde der Paralleltonart, sowie schliesslich die fast endlosen Verkettungen aller dieser Umgestaltungen unter einander. Aehnlich, wie die Harmonien einer Tonart unter sich, verhalten sich auch bei etwaiger ModuMion die nachstverwandten Tonarten zu einander. Dabei ist die spezielle Art der Modulation in Betracht zu ziehen, die durch die verschiedenen Wege der Vermittlung veranlasst wird. Die normale, entscheidende und voll befriedigende Modulation wird durch einen gemeinsamen Akkord im S-Charakter (leitereigen oder alterirt), eingeleitet und durch 257 PAPEES IN SECTION III (TU^OBY)— continued {Krohn). kadenzartige Harmoniefolge zum Abschluss gebracht. Gesehieht die Vermitt- lunpr durch sonstige Umdeutung eines gemeinsamen Akkordes, bleibt die Modulation zunachst unentsehieden, bis eine mit der S-Harmonie der neuen Tonart eingeleitete Kadenz sie zu iiberzeugender Wirkung weiterfiihrt. Modulationen, die noeh unvermittelter eintreten, haben scbwer sioh festzusetzen, und driingen weiter zu neuer Modulation ; durch mehrere derartige Modulationen naeh einander verliert sich leicht das Empfinden irgendwelcher spezieller Richtung der Modulation und es verbleibt bios der allgemeine Eindruck des Modulirens iiberhaupt. Durch die bei der Klarlegung des metrischen Gefiiges und der Harmonie- folge gewonnenen Eesultate ist das Erforschen des motivischen Zusammen- hanges bedeutend erleichtert. Der Blick ist vertraut mit den festen Umrissen, in denen sich die individuelle musikalische Entwicklung abspielt. Manohe einzelne, in der Harmonik und Eythmik zusammenstimmende oder einander erganzende Beobaehtungen sind gemacht worden, wodurch die entsprechenden Erseheinungen des motivischen Lebens sofort in ein klar verstandliches Licht geraten. Der motivische Zusammenhang eines Tonstiickes ist oft ein viel innigerer, als es bei einer oberflachlichen Betrachtung den Anschein hat. Es ist iiberraschend, in wie durchdringender Weise die Einheit der kiinstlerischen Konzeption auf die Gestaltung auch der unscheinbareren Faktoren ihren Stempel gedriickt hat. Es gilt aUerdings bei der Analyse Zeile fiir Zeile die einander entsprechenden rythmischen und melodischen Wendungen genau zu verfolgen und alle dabei vorkommenden Veranderungen auf ihre musikalische Wirkung und logische Veranlassung hin zu erfassen. In rythmischer Hinsicht ist dabei folgendes in Betracht zu ziehen : 1. die Teilung oder Zusammenziehung einzelner Tone, 2. die Erweiterung oder Verkiirzung der Tondauer des ganzen Motivs oder einzelner Teile desselben, 3. das Abbrechen oder Zufiigen von Tongruppen, 4. das Verschieben der melodischen Tonfolge inbezug auf die rythmischen Hebungen, sodass die akzentuirten und akzentlosen Tone ihren Charakter gegenseitig vertauschen. In melodischer Hinsicht zieht sich die Aufmerksamkeit : 1. auf die Versetzung des Motivs oder einzelner Teile desselben um irgend ein Intervall auf warts oder abwarts, 2. auf die Umkehrung jedes einzelnen Tonschrittes oder etlicher derselben, 3. auf die Erweiterung oder Verengerung einzelner Tonschritte um eine oder mehrere Tonstufen, 4. auf die Auslassung oder Einfiigung verbindender oder sonst vermittelnder Tone. Ausser den genannten Veranderungen, denen die Motive im Verlauf der Komposition ausgesetzt sind, ist es nicht ohne Belang, auch den anfanglichen rythmischen und melodischen Charakter der Motive von vorn herein genau festzusteUen. Dabei ist folgendes einzeln und ausfiihrlich zu erlautern : 1. die Art der rythmischen Teilung der Taktfiisse und die Polge der verschieden geteilten Taktfiisse in der Zeile, 2. das Vorkommen unterschiedlicher rythmischer Sonderheiten, wie Auftakt, Synkopen und andere gelegentliche pathetische Akzente,Bindungen akzentuirter Tone mit einander. Staccato oder Pausen mitten in der Zeile, Verzierungen oder andere koloraturartige Tongange in Melodie oder Begleitung, 3. der melodische Ambitus der Tonfolgen, 4. die Art der melodischen Linie, wie sie sich auf- oder abwarts, schritt- oder sprungweise bewegt, 6. die tonale Funktion der Haupttone, die das melodische Gefiige zusammenhalten und durch ihre Art den Charakter der ganzen Zeile beeinflussen 258 PAPEES IN SECTION III {TKEOBY)— continued {KroJin). Schliesslieh sei noch auf spezielle Charakterisirung durch das Tempo, die dynamisehen und agogischen Niiancen und die Instrumentation hingewiesen ; dieselben sind vielfach durch die Notwendigkeit bedingt, rythmische, harmonische und motivische Parallelen oder Gegensatze klar hervorzuheben und stehen jedenfalls mit den verschiedenen Erscheinungs formen der genannten Elemente in innigsten Weehselbeziehungen. Ohne sich irgendwie auf programmatische Spekulation einzulassen, liisst sieh doch durch genaues Beobachten aller Einzelheiten des Tongefiiges feststellen, an welchen Punkten der Komposition eine Anhiiufung verschiedener elementarer Faktoren von ahnhcher, aktiver oder passiver Art sich vorfindet, und wo dagegen ein Gleichgewicht gegensatzlicher Elemente oder ein Ueberwiegen des einen oder anderen vorhanden ist. Es ist nicht zu leugnen, dass auf diesem Wege hochst beaehtenswerte Anhaltspunkte fiir ein objektives Erfassen der im Tonstiick sich abspiegelnden Gefiihlsbewegung, sowie fiir eine demgemasse kiinstlerische Wiedergabe zu erringen sind. An Vokalkompositionen und mit Ueberschriften versehenen Instrumental- stiieken lassen sich iiberdies auch interessante Parallelen zwischen dem angegebenen gedanklichen Inhalt und den vom Tonsetzer angewendeten musikalischen Ausdrucksmitteln ziehen. Es liegt dabei die Versuehung nahe, auf Grund der so gewonnenen Routine auch die sogenannte "absolute " Musik iihnlichen Untersuchungen zu unterziehen, und so ware man wieder gliicklich an der Grenze der langst verponten " Erklarungen " der Tonwerke angelangt. Diese Grenze gegen iibergrosse Zudringlichkeit zu behaupten, bleibt den Psychologen und Aesthetikern unbenommen. Indessen wird es doch niemand verargt sein konnen, seine Phantasiegebilde durch das Studium von Musik- werken befruchten zu lassen, wenn man nur ehrlich die gezogenen Parallelen als Erzeugnis der eigenen subjektiven Schopferkraft vorhalt. Wenn dieselben an sich poetisch-kiinstlerischen Gehalt besitzen und im librigen liickenlos und konsequent sich an das musikalisch gegebene halten, konnen sie einen relativen Wert erlangen, als Hilfsmittel zur Erschliessung des rein musikalischen Zusam- menhanges der Komposition, und der ausfiihrenden Kunst somit als Anregung gute Dienste leisten. Indem aber dergleichen spekulative Ergiisse stets nur subjektiven und relativen Wert beanspruchen diirfen, kann dagegen die als Untergrund derselben zu leistende Analyse wenigstens zum grossten Telle in objektiv giiltiger Weise ausgearbeitet warden. So gehandhabt diirfte sie sich zu einem wertvollen Mittel im musikalischen Unterricht entwickeln, und zwar nicht nur auf dem Gebiete der schaffenden und ausfiihrenden Kunst, sondern auch zur Beforderung des echten Kunstverstandnisses und kiinstlerischen Geniessens. Einige Winke fiir die praktische Ausfiihrung einer zweckmassigen Analyse zu geben, hat die vorliegende Erorterung anzustreben versucht. 259 PAPEBS IN SECTION III (THEORYj-coMMnMcd (Maitland). The Intepppetation of Musical Opnaments. By J. A. PULLER MAITLAND, M.A., F.S.A., Berwick Hall, Carnforth, Lancashire. Late musical critic to " The Times." Member of the " English Committee " of the Int. Mus. Society. (For abstract, see p. 64.) The revival of public interest in the music of old times is of course a most healthy sign of musical development ; and we may justly claim to have the music presented to us with what approximation may be possible to the conditions of its original performance. Now that the keyed instruments which preceded the pianoforte are occasionally to be heard in concerts, it is far more desirable than it was that we should ascertain as fully as possible what was the meaning which the composers of different schools attached to the signs for the ornamental passages on which so much of their effect depended. Why, it may be asked, did they not write out their ornaments in full, as they wished them to be performed ? There are several reasons for this, one of the most obvious being the labour to the transcriber ; another was the not unnatural wish to guard the art of music and the profession of teacher by some small " mysteries of the craft " which only a proficient could explain after he had been definitely initiated into the musical profession. There is a yet more powerful reason in this fact, that the practice of the composers ran, as it always does, far ahead of the theoretical science which could explain certain dissonances that were obviously dehghtful to the hearer and interesting to the executant. These dissonances, upon which the music seems naturally to dwell, were not referable to any harmonic scheme as then understood, and it was felt to be better to express by a conventional sign the fact that they stood outside the harmonic scheme. This is especially true with regard to the most important ornament of all, and the one which is most generally misunder- stood in the present day, the " appoggiatura," to which I must direct your attention more closely later on. The other signs for ornaments, from the single or double diagonal lines above the notes used by the Elizabethan Virginal composers, to the crowd "of marks used by the French and German writers immediately before Bach, are not really difficult to explain, and at each period we are happily provided with a guide on the subject in some treatise or other by a contemporary of the composers in whose works the marks occur. Unfortunately, we are left without such a guide in the earliest signs I have mentioned, but there seems to be no doubt that the double strokes indicate either a mordent or a " pralltriller " — probably the former — and that the single stroke stands for an appoggiatura — single or double — coming from below the principal note. One of the chief difficulties in regard to ornaments is that at different periods people have used the technical terms in different senses. It is stated by some authorities, though on what grounds I do not know, that the word "mordent" was at one time used for what is generally called the " pralltriller " — that is, of an ornament in which the auxiliary note is above ihe principal. Of course all the recognized writers on the subject apply the word " mordent " to the sign with a little vertical stroke differentiating it from the sign for the " pralltriller." Happily all the existing treatises were most ably summarised by Dannreuther in his " Primer of Ornamentation," and it is not necessary to dwell at length on the interpretation of these older signs, since in this book it is made fully clear what they all mean. It is in the case of the appoggiatura that the greatest confusion reigns, and it is the more curious that it should be so, since of all the ornaments this one has lingered s2 260 PAPEES IN SECTION III (TIlEOB.Y)-contimted (Maitland). longest in practical music, and the difference between a correct and an incorrect performance of it is enormous. Its conventional sign is of course a small note preceding one of the ordinary size. The " acciaccatura," represented by a small note with a stroke through it, has an assured place in notation, for the thing which it expresses could not possibly be expressed without it. The " crushing " of a note into the chord it precedes is one of the most obvious of ornamental devices, and one of the few on which little difference of opinion can arise. But very often editors and publishers have not been sufficiently careful to distinguish between the small note with a stroke through it and the small note without a stroke, so that many editions of the classics exist in which it is almost impossible to tell which ornament of the two is meant till we refer to the original or to some facsimile reprint. The "acciaccatura" remained in use in England in one very odd way, and I am told that it may still occasionally be heard in country churches. The desire of overcoming the lack of rhythmic definiteness inherent in the organ led to the indication of the starting-point of a chord by the introduction of the note immediately below the bass note as an acciaccatura, so that one used to hear effects like this : — $ =g= V --gr- V Pll tct —^ — -^ — ^ ^ — I ^- ^• If the study of ornaments and their interpretation were only in order to restore the practical performance of the older music, it could well be left to a few specialists who might be trusted to preserve the tradition ; but as Mr. Dannreuther well says in his preface to the book I have mentioned, " Several of the ornaments occur in daily practice, and the entire number cannot be ignored, were it only for the fact that Sebastian Bach makes extensive use of so many." It is not only because of Bach's supreme position in music that this is said, but because it is precisely in Bach's music that modern editors and interpreters have, as I think, strayed farthest from the composer's intentions.* The student of Bach meets at a very early stage of his studies with a number of apparently contradictory ways of expressing these ornaments, which now are written out in full, now expressed by the conventional signs, and sometimes implied, not expressed at all. It has been suggested by Spitta that Bach's practice in this connection differed according to the class of performers for whom he was writing. In his church cantatas, for the most part, the recitatives close with the written notes exactly as they are to be sung ; in some exceptional cases the usual convention has to be observed and the cadence performed as if it were in Handel, the last note but one being written as if it were identical with the last note, though it is evident that the upper note is to be taken there. Even here his practice is not uniform, nor does he always make things clear even to the church singers. But as a rule he does, and in writing for the secular singers * Since this paper was read, I have seen a recent finely-printed selection of arias from Bach's church cantatas, published by an eminent German firm, in which everyone of the ornaments is wrongly interpreted, and in the very number of the "Musical Times" in which this paper was first printed, there appears, in a preface to a new edition of the St. Matthew Passion, a solution of a famous problem for which there is no sort of documentary evidence. 261 PAPEBS IN SECTION III (THEOEY)— continued {Maitland). and players he uses the signs which they would most readily understand. But yet the ordinary appoggiatura is used in the conventional way throughout both sacred and secular works, and it is this which has puzzled so many well-meaning editors, who have as yet hit upon no regular method of interpreting its value. It can hardly be denied that the best possible authority on the practice of Bach's own time is Daniel Gottlob Turk, although his " Klavierschule oder Anweisung zum Klavierspielen fiir Lehrer und Lernende, mit kritischen Anmerkungen " did not appear until 1789, nearly forty years after Bach's death. Carl Philipp Emanuel Bach stood too near to his father's time to explain quite unmistakably the signs which were in ordinary use in his day, since every one understood them ; but Tvirk embodies the practice of Bach's time with that of later composers, and gives us the clearest idea of what was in common use a little while before him. His account of the long appoggiatura, or long " Vorschlag," is admirably clear, although Dannreuther is right when he says that Tiirk's explanations "cannot be strictly appUed to compositions anterior to the time of C. P. E. Bach." The long Vorschlag consists of a small note placed before a large one, and generally of the next lower denomination than the principal note, i.e., minim before a semibreve, quaver before a crotchet, &c. 'The undisputed fact that this ornament occupies half the time of the principal note has led some later writers to suppose that the apparent value of the small note is in all cases to be deducted from the principal note, so that a " Vorschlag " or appoggiatura which represents a quaver before a minim will be of shorter duration than one which represents a crotchet in the same position. These modern interpreters leave out of account the all-important use of the appoggiatura before dotted notes, for Tiirk's rule is quite clear that in that case the small note robs the principal note of two-thirds of its value, so that whether in triple or duple time the principal note has to be contented with only one-third of its nominal value. This use of the " Vorschlag " is ignored by almost aU modern editors and interpreters, yet there are many eases in Bach's works where the strict interpretation according to Turk's rule would give a great additional grace to the music, and in all cases it would remove from it that jerky impression which is undoubtedly produced when the sign is ignored or interpreted according to the apparent value of the auxiliary note. The commonest form in which the appoggiatura occurs is in a group consisting of a quaver followed by two semiquavers and preceded by a little semiquaver. A great many musicians know that when this occurs it is to be played as a group of four even semiquavers, T^ith a slight stress on the first of the group. There can be no doubt at all that in Boccherini's Violoncello sonata in A, a well-known passage in the Allegro which stands in the ordinary printed editions as ft ^ EB: h. ^faiiiS should really be played with a long appoggiatura as The error here is of course due to the misprint of the appoggiatura as if it were an acciaccatura. A curious thing occurs as late as the overture to Rossini's 262 PAPEES IN SECTION III (TBJEOUY)— continued (Uaitland). " Barbiere di Siviglia," where a similar group of notes on its first occurrence is printed in the orchestral parts in the conventional manner as a small semiquaver before a group consisting of a quaver and two semiquavers : — ^ *^^ i 1 h — I h- i t=t=^ but at the second occurrence of the phrase the same group is written out in the way in which we should write it in the present day : — 1*1 ft:^^rrT =f=f '*-m^^ is ^ I have been told, by no less eminent an authority than the late W. S. Eockstro, that in his time it was universally understood that the groups were to be played exactly in the same way, and that the conventional notation was simply adopted in the first instance as a kind of acknowledgment of the obvious fact that the appoggiatura note made an unpermitted discord if it were taken as a real note. The fact that Casals is accustomed to play the passage quoted from Boccherini with the short appoggiatura at its first occurrence and with the long one at the second, may indicate that he uses some edition in which the convention just referred to is embodied. Eockstro used to maintain, too, that the custom of writing the appoggiatura in this conventional way went on to much later days than one would think ; and that Chopin's Prelude in B flat should be played with a long appoggiatura, thus : — m It it -1©-^- One would not like to force this interpretation upon modern pianists, but if editors and others would approach the older music without their present conviction that the written note is to be interpreted as it would be in the present day, we should get a far more flowing effect in many things by Bach and other masters. There is a not uncommon objection to this traditional method of interpretation, based on the curious progressions that sometimes result, or where there are two appoggiaturas at once. For example, in the very difficult number in the St. Matthew Passion, the duet and chorus " So ist mein Jesus nun gefangen" (My Saviour Jesus now is taken), some of the appoggiaturas, if interpreted according to Turk's rule, do undoubtedly give very curious progressions, and it has therefore become customary to give them in a kind of compromise between the long and short " Vorschliige," sometimes allowing them no more than the length of an aeciaccatura. Now, to say nothing of the ugly, jerky effect that this produces, can anyone who realises the wonderful efi'ect of the quiet solo voices contrasted with the exclamations of the choir hesitate to prefer an interpretation which makes for greater smoothness ? If we desire to defend this interpretation, we must remember that the appoggiatura notes are entirely free from harmonic rules, and it did not really matter in the time of Bach whether such notes made even consecutive fifths with some other parts or not." The application of this same rule to thousands of other instances * The introduction of a syncopated moTsmeut into the phrase referred to (see " Musical Times," October, 1911, pp. 644, 5) is quite unauthorized. 26g PAPERS IN SECTION III {TH.EOB,Y)—eontinued (MaitlamJ). is a fascinating employment for the lovers of Bach, and it is one which may he recommended very specially to conductors and editors. I once had a talk to Dannreuther about the ornaments in the aria of Bach's " Goldberg " Variations, in which he had hesitated to apply Turk's rule in its full meaning. When I played him the aria in accordance with that rule, he was so struck that he suggested bringing out a new edition of the Variations in order to explain in great detail how the air was to be played. The usual text of the aria and the interpretation according to Tiirk's rule are given below. Aria con Yariazioni. m^^=^^^^ ^Kovw s: =^ ^B- ac?at @t?T - ^_A. r r-i ji. 4=^ 5E P^ ^ C/*«v 1 ^-^ fc Uw ?f.» '^^¥^^ ^^ = ,^=M^ -^^-, i>g- ^ ,tf^--g f ^ r tij : f:p:pj=zp r=7Fff ^EE ^^ =i f=^"=^^ ¥W^- 264 PAPEES IN SECTION III {TWEOHY)— continued {Maitland). ^ ^=j^4^^ l ^e^ ^^k-r -i-j- zM=J=Mz ^^. -*—»- ^^ ?2= =F= ^m ffl^a ^ ^S^^jteffi ^^ ^ ^artgcg^ L=^^i^: r r, r^ ^^ 1^ -j-j- :isl=* -P§^ ^r=r=n^ rj "C^'7 ^^^p^^^ ^^^^ -F — •- -#- -3^^-i- =f=Ft -i — I 1- The Aria according to Turk's System of Interpretation. L-^lA Ji. fct 265 PAPEES IN SECTION III (TK^ORY)— continued (Maitland). ife^Tffh H ;n:=fcf^^-r-n.^fef = if ■ '^ »^^_M LJ 1 1 1 1 1 1 1 1 ti^S^^-^ -" r ■-^=P ^ 4f^:=^.g=^ iL ^^^^^^i k=i^ f=^f=^^-p=tp 0-=-- 1 N*- ^W=F ^^^ » r r v^ V ^ I v> I ^ -;- P i«— p- * In this instance the strict interpretation of Tiirk's rule has been modified as, according to the letter of that rule, the C sharp would bear the strong accent on the third beat of the bar, and the pplnt of the apppg'giatura would be lost. The above reading may be justified by the assuniption that the demisemiquaver C sharp, to which the crotchet is tied, is regarded as too' short to bear the stress; of which examples are to be found in bars five alod six of the second part of the aria, where the crotchet, tied to a semiquaver, loses virtually its entire value to the appoggiatura before it. 266 PAPEBS IN SECTION III {TUEOHY)— continued {Maitland). i 1-^3^3 S: -i-^J-J -^ =*=5t= § ^ ^^ -F— •- ^ ■^T S • d ^n =*=*=i Lj— *- ^f=?== i^i ff^^JE^g^J^ ^ J I I J7 ^ U-^ ?=P=fCi^ -^ "^ PI =3:i=^1 ?lf ^ez: f- i ■^ *^* ^ J * i - 3=^= z*z*: :P=? itz»= jt-J #_ I I i- i ^- » — ^- »i- =F=iS= ^3=^= ■«zS3*: ig^Ei -fS--- ''^^xrr i * 11 1! ^— ■ - =^ -F^=P ^=P 1^^^ -=1 =1- ^ =*=i= -P •- 267 PAPEBS IN SECTION III (THEORY)— couttotcd {Slencluica). ^ p^M^ ^^ ^ ^ s ^ :#J(^ EB= r I do not wish to enforce my own opinions, or those of my masters and friends, upon modern students, but only to beg the moderns to compare the effect of the two interpretations, and to see if they do not agree with me that the conventional way (putting aside its high historical authority) is not also the most effective in the true sense. Nouveau Systeme de Notation Musicale. By ANGEL MENCHACA, 183, Avenida Monies de Oca, Buenos Aires, Argentine Eepublic. Inventor. (For English abstract, see p. 65.) RESUME. — Avantages du nouveau systeme. 1. II etablit un alphabet de douze notes, comme I'exige I'art musical qui a pour base douze sons. — 2. II emploie beaucoup moins de signes ; il supprime la portee (pentagramme), les lignes suppl^mentaires, ies espaces, les sept clefs ; les dieses, les bemols et b^carres simples ou doubles ; les octaves poiut^es ; les liaisons ; le point, le double, le triple, le quadruple point ; les indications de mesure et presque toute la serie d'indications relatives aux mouvements. — 3. II s'^erit sur une seule ligue, oe qui r^duit h deux les trente et quelques positions du systdme actuellement usit^ et ee qui facilite consid^rablement la lecture. — 4. H donne aux ^l^ments constitutifs de la musique des types unitaires qui servent de mesure et de termes de comparaison invariables. — 5. Le nom, la hauteur et la dur^e de tons les sons s'expriment de mani^re fixe, sans le secours de signes auxiliaires ind^pendants. — 6. II divise I'^chelle g^n^rale en douzaines ce qui permet de determiner la position de n'importe quelle note rapidement et avec precision. — 7. La notation est une et exactement identique pour toutes les voix et pour tous les instruments, ce qui ^vite la confusion qui exige aujourd'hui I'emploi de diff^rentes clefs. — 8. Disparition de toute difficult^ pour la transposition d'un ton dans un autre. — 9. Les intervalles sont toujours justes et suppriment le tableau oompliqu^ des intervalles chromatiques et diatoniques; majeures et mineures, etc., etc. — 10. La precision et la clart^ dans la mani^re de compter les intervalles, r^duit k des termes fixes la formation des accords et simplifie consid^rablement I'^tude de rharmonie et de la composition. — 11. Toutes les tehelles du systfeme actuel (dont certaines, qui sont pourtant les m^mes ont des noms et des armatures difEerentes) se reduisent k trois series, dont la structure est subordonn^e k trois formules invariables et tr^s simples. — 12. Toutes les mesures sont remplac^es par I'unique mesure de temps qui est le veritable element g^n^rateur du rythme et des mouvements. — 13. Suppression de la division monotone, routini^re et inutile des oopipositions musicales en petites fractions d'^gale dur^e ; ^tablisse- ment de -regies de ponctuatibn et d'accentuation rationnelles qui permet de fixer les contours de la phrase mflodique comme cela existe pour le langage ^crit. — ^14. Disparition des inter- pretations donteuses des mouvements, par I'attribution des dur^es r^elles k, tons les sons. 268 PAPERS IN SECTION III THEOK!)— continued {Menchaca). Le systeme musical Menchaca est un organisme complet, sans le moindre rapport avec les systemes connus jusqu'^ ce jour : c'est une creation artistiqtie originals, sur des bases scientifiques entierement nouvelles, exactement adaptees k la nature humaine. Abolissant completement les theories erron^es et la graphique compliquee de la seculaire port^e (pentagramme), il ouvre les plus vastes horizons sur I'etude de la musique, qui est la branche la plus ^tendue parmi les beaux-arts ; il met a la disposition des compositeurs des moyens plus larges, plus simples, plus souples et plus precis pour I'expression de leurs conceptions melodiques et harmoniques. Ce systeme, entierement ■ original, ^tablit pour la premiere fois les trois conditions qui determinent le son : le nombre, la gravite et la duree, auxquels correspondent trois Elements graphiques : La figure ^^ qui represente les sons d'une maniere fixe et invariable, suivant la direction de son sommet ; La perpendiculaire courte | , ou longue qui exprime la gravite du son, la douzaine a laquelle il appartient, la place qu'il occupe dans I'echelle generate. Le point • qui determine la duree. Unites. Ce systeme repose ' sur trois unites essentielles qui n'ont jamais ete employees ni meme connues jusqu'a ce jour. 1. Unite graphique : un seul signe pour tous les sons, facilitant la lecture sans fatigue pour la m^moire. 2. Unite de dur6e : la seeonde, qui permet, avec ses multiples et sous- multiples, d'exprimer et de mesurer n'importe quelle fraction de temps, simplifie la theorie et reduit pratiquement toutes les mesures a une seule, avec I'unique mesure unitaire, etablissant £i ■ la fois I'origine veritable du mouvement et du rythme, comme effet de la combinaison des dur6es et des accents. 3. Unite d'intervalle qui constate scientifiquement les differences de gravite entre un son et un aatre, donne les ' f ormules intervallaires inalterables des accords et ramene a des limites exactes I'^tude de I'harmonie. Alphabet musical. Le nouveau systeme a pour base une conception toute nouvelle : I'alphabet musical, c'est-a-dire I'ensemble des douze Elements acoustiques simples, ' des douze sons fondamentaux constituant la source in^puisable des combinaisons musicales. . Ces douze sons sont tous egalement naturels, independants, ayant une physionomie propre, et on leur donne, pour les.distinguer, un nom et une representation graphique invariables. • Cette premiere base, indispensable k tout systeme d'ecriture scientifique supprime les difees, bemols'et becarres simples et doubles qui n'existent pas dans la nature et qui, loin de la rendre intelligible, la travestissent et la rendent incomprehensible. •269 PAPEES IN SECTION III (TUEOB.Y) —continued (Menchaca). Les dieses et les b^mols sont, parmi toutes les theories et ^eritures musicales connues, les plus fS,clieusement conventionnels. Qu'on le sache bien : les sons ne s'61^vent pas, pas plus que ne s'abaissent des tons, demi-tons, quarts de tons ou neuvi^mes de tons ; d'abord, parce que chaque son est ou n'est pas — il a une existence physique qui ne peut se modifier. Si ses vibrations augmentent ou diminuent en nombre ou en amplitude, ce n est plus le meme son, mais un autre son, absolument different du pr6c6dent. Une m61odie, un chant quelconque, ne se produit que par la juxtaposition de sons independants qui se suce^dent avec plus ou moins de rapidity, de meme que les vues d'un film cin6matographique, pleines de vie et de mouvement ne sont que I'eft'et d'une succession rapide d'images isol^es. Le syst^me Menchaca a r^solu le probl^me de I'unit^ graphique. II emploie ce seul signe^ o qui a la propriety d'etre un et multiple a la fois en ce que, tournant sur lui-meme, il change la direction de sa pointe et prend diverses positions dont les differences sont tr^s faciles k distinguer. Ce signe plac6 dans deux rangs au-dessus ou au-dessous d'une seule ligne, suffit k repr^senter de mani^re fixe et permaaente les douze sons constitutifs de I'art musical et supprime par consequent la portee (pentagramme) ainsi que les lignes et espaces suppldmentaires. Et si nous donnons un nom A. chaque son pour le designer et le reconnaitre, voil&. form6 1' Alphabet musical. Alphabet Musical. ^M / Oi 3 eini 5 Xo 7 A a ,7e?// L'alphabet musical, ou les douze signes qui representent les sons musicaux, est form6 par deux rangs, I'un inferieur ou impair : o c^ c:; o ^ o & 1.1 I'autre sup^rieur ou pair : 270 PAPERS IN SECTION III (TS-EOBY)— continued {Menchaca). Echelle generale. Cette douzaine de sons ne suifit pas. L'art musical exige d'autres successions similaires, ascendantes ou descendantes, c'est-a-dire de plus en plus aigues ou de plus en plus graves. Le nouveau syst^me classe et denomme chacune de ces douzaines : — remarquez qu'il ne s'agit pas d'octaves. Ces douzaines, au nombre de neuf, constituent I'^chelle g6n6rale. EUes se distinguent par une perpendiculaire qui repr^sente la gravity du son, suivant qu'elle est de la longueur du plus grand diametre du signe (~^ ou du double de cette longueur, dirigee vers le haut au vers le bas, placde ^ droite ou a gauche de la figure. En partant de la plus grave, les douzaines se denomment ainsi : sous profonde, profonde, grave, basse, centrale, haute, brilliante, aigue et suraigue. Les notes de la douzaine centrale n'entrainent aucune modification. Exemple : Celles qui appartiennent aux dovizaines ascendantes comportent une perpendiculaire dirigee vers le haut. Exemple : Dans les douzaines descendantes la perpendiculaire se trace en sens inverse. Exemple : Cela permet de determiner de maniere tres exacte la hauteur ou la gravite de n'importe quel son dans des limites plus etendues que celles dont l'art musical peut avoir besoin, sans le secours de clefs. La suppression des clefs a r inappreciable avantage d'unifier la notation c'est-^-dire de la rendre exactement pareille pour les deux mains ^ I'orgue ou au piano et aussi pour toutes les voix et tous les instruments. On peut juger par cela seul quelles 6normes difficultes de lecture, quels efforts de travail on epargne avec le nouveau syst^me, aux executants, compositeurs et chefs d'orchestre t 271 PAPEBS IN SECTION III (THEOEY)— contmi((!(i (Menchaca). DurSe. Le point est I'^l^ment graphique qui exprime la dur6e du son et la seconde I'unit^ qui sert de base pour la mesure de toutes les dur^es. Les notes non marquees d'un point durent une seconde, un temps, et par cela meme prennent le nom de temporales. Exemple : o Ce qui, dans le systeme de la portee (pentagramme) equivaut ; a on a i in t Si B troisi6me ligne de la portee. La diese second espace de la portee, clef de sol en seconde ligne, clef de sol en seconde ligne, noire ou seminime ; ou noire ou seminime. Notez que ces noires n'ont en reality aucune dur^e propre, si elle n'est indiqu6e par une notation m^tronomique. II y a deux multiples : longue et double. Exemple : ^^ O i sib ronde ^ ? eCoudcM O o6>c>c>oc>o o 273 PAPEES IN SECTION III (TnEOKi)— continued (Menchaca). Intercalles. La-th6citie i&tervallaire est eritieremeht nouvelle et avant tout scientifique. EUe enseigne et demontre : Que I'intervalle n'est pas une distance entre un son et un autre, mais une difference de gravity, de nombre et d' amplitude de vibrations. Que les intervalles sont toujours exacts et constitues precisement par I'ensemble de sons possibles qui sont latents, et pour ainsi dire en puissance, entre les douze sons qui forment I'echelle soumise k la loi d'harmonie successive reclamee par la conformation physiologique de nos organes percepteurs. Que les intervalles etant en r^alite le n^ant, le vide interm^diaire, la passivite de sons non crees parce qu'inutiles, ils ne peuvent etre ni harmoniques, ni melodiques, ni diatoniques, ni chromatiques, ni susceptibles d'etre augmentes ou diminu6s en majeures ou mineures. Je n'ai pas pu m'expliquer comment, jusqu'a ce jour, on n'a jamais vu qu'une 2"', 3"^, 4""^, 7"'^ etc., cesse d'etre ce qu'elle est, si on I'augmente ou la diminue. Si Ton objecte que les termes de majeure, mineure, augmente, diminue, sont conventionnels, je dis qu'il est incorrect, impropre, contradictoire, et meme d'une lamentable pauvrete d'expression d' employer comme termes conventionnels, des mots d'une signification tris nette dans le langage usuel, et pis encore, dans une science que sa precision fait qualifier d'exacte. Le nouveau systeme cree I'unite d'intervaUe, c'est-sl-dire la difference de gravite entre deux sons immediatement voisins dans Tecbelle. En reality il n'y a pas deux intervalles egaux, parce que k ijiegure que les sons deviennent plus aigus I'amplitude de leurs vibrations diminue tandis que leur nombre augmente. Mais pour faciliter le calcul, dans I'etude de I'harmonie, de la composition ou de I'entonom^trie (solf^ge chante) le degre — improprement appel6 demi-ton — represente une valeur typique, uniforme, de veritable equivalence pour Toreille, et d'ailleurs la diminution d' amplitude du son se trouve compensee par une plus grande rapidite vibratoire, et vice versa. Entre la et se il y a un degre, entre la et si, deux degres, entre la et do trois degres, etc. Cette theorie intervallaire, enti^rement nouvelle, est basee sur la nature. Ce n'est pas autre chose que la realite mise en evidence. Les intervalles sont toujours exacts, d'un nombre fixe de degres. Tout accord, tout assemblage de sons, aura toujours des relations intervallaires identiques, quelle que puisse etre la tonalite dans laquelle il se produit. C'en est fini desormais avec I'inextricable tableau des intervalles, des majeures, mineures, augmentees, diminu^es, superaugment6es, sous-diminuees, diatoniques, chromatiques, harmoniques, melodiques et nuUes ! Tonalite. La theorie des tonalites est aussi claire, aussi limpide que possible, sans qu'il soit n^cessaire, pour la mettre en oeuvre, de I'encombrant attirail de sept clefs renforcees de sept bemols et de sept dieses, simples ou doubles. La tonality est une pure abstraction : c'est la gravite ou la hauteur moyenne d'une succession de sons. Toutes les tonalites procMent de I'dchelle g^ndrale, improprement appel^e chromatique. Chaque son sert de point de depart pour la formation d'une tonalite. II y a done uniquement douze tonalites. Ces tonalites, selon I'ordre de succession des sons qui les forment, ont jusqu'^. present trois modalites differentes, soit des series, qui se distinguent par leur ordre numerique et remplacent les " echelles ou gammes diatoniques majeures, les mineures harmoniques et les mineures melodiques." 274 PAPERS IN SECTION III {THEOnY)— continued {Menchaca). Les series ont huit sons, commeneent dans la tonique, finissent a la seuiblable ou tonique de la douzaine qui suit immediatement at ses intervalles comprennent douze degres. Les premieres series se forment avec trois notes d'un rang, quatre de I'autre et la semblable. Exemple : 1''^ serie de la. Z4 ^ .^ (V V) /^ O A£^ I™ serie de sc. Vfifrn^ux ^T — ^WZA* Systeme de la portee (pentagramme). Eehelle diatonique de la majeur : m J = 60. ^ W^?^ Echelle diatonique de si bemol majeur ^ J =60. ^ Autre exemple : Systeme Menebaca : 1" de cIdii.. A ^ o b> ^ jjQn*, vff d ^ ^ ^ e^- Systeme de la portee (pentagramme). Echelle diatonique de la mineur harmonique : ^=60. 3 ^ -I Echelle diatonique de si bemol mineur harmonique : ^ J= fe&E 60. r^= ^3^ ^ ^=^= Les troisiemes series se forment avec deux notes d'un rang, cinq de I'autre et la semblable, montant et descendant trois, trois et deux. Exemple : CUceTid %" serie de la. Qs n "^ O O o>^. ' ' ■ ■ ■ k ^ ^ ^ o.o.p, -' ^ ' O, o,^^ 3, 'e^xea T 2 276 PAPERS IN SECTION III (lUBOB.Y)— continued {Menchaca). Systeme de la port^e (pentagramme). Echelle diatonique de la bemol mineur melodiqtie : i # = 60. descen. .i=^ 3* serie de se. doK.C'ntiC o O 3t ^ O P ' cy> \^^ P'O. b>. b> = *f jg*. '^' <^ o js. 'T" ' ' p^ ^' a '- ' ■/! Echelle diatonique de si bemol mineur melodique : # = 60. ascen. descen. ^P^-- ^^ 1=i ^==t i^"i^ 3^Et !e^s^^^ %m ^v J.— •- L'enonciation des tonalites se simplifie de maniere notable. Au lieu de : echelle diatonique de mi bemol (ou re diese) majeur, on dit : 1 '^ de ro ; au lieu de : " echelle diatonique de fa diese (ou sol b6mol mineur, harmonique ou melodique)," on dit : 2= ou 3' de fe. Les 48 echelles du systeme de la portee (pentagramme) rendus si difficiles par les diff6rents emplois des dieses et bemols dans la clef, se trouvent reduites aux 36 series qui existent reellement, trois pour chaque tonalite, et il s'en degage des regies tres claires que meme les enfants en bas age peuvent apprendre en une seule le9on. Mouvcment. Le mouvement — la plus grande force d'exteriorisation, celle qui caraeterise le mieux I'expression des sentiments ou etats d'ame dans I'art musical — n'est autre chose, scientifiquement, que le produit de la combinaison de la duree des sons. Jusqu'a ce jour on a commis la lourde erreur de prendre I'effet pour la cause, de subordonner les durees au mouvement par I'indication de termes vagues : adagio, andante, presto, etc., mettant ainsi en contradiction la theorie et la pratique. Par exemple, une blanche vaut quatre croches et logiquement un morceau ecrit avec ces dernieres devrait etre quatre fois plus rapide qu'ecrit avec les blanches. Cependant si les blanches se reglent par un presto et les croches par un lento, les premieres dureront moins que les secondes. Le metro- nome lui-meme ne parvient pas a supprimer la difficulte, parce qu'il n'a pas comme regulateur une unite de duree.* * Voir la neuvi^me lecjon de montraite " Nouveau systdme th^orique et graphique de la musique." 277 PAPEES IN SECTION III (THEORY)— contiHued {Menchaca). Mon systeme supprime, comme inutile et antiscientifique, toute la nomenclature des mouvements, car ces termes " largo, andante, andantino, allegro, moderato, etc.," sent des vocables sans precision, sujets k interpretation, dont la valeur differe suivant le temperament particulier de chacun. Les mouvements sont un effet des durees et leur loi invariable est qu'ils sont d'autant plus lents ou d'autant plus rapides que les sons sont plus larges ou plus brefs. Qu'on donne k chaque son la dur6e qui lui correspond et le mouvement naitra tout seul. Les indications ne sont admissibles qu'en ce qui concerne la couleur, I'expression, laissant toute latitude k I'interprete de manifester son gout, son style personnel, mais le mouvement doit etre precisement celui que I'auteur a voulu etablir. Ri/tlimc. Le rythme est la reglementation, la symetrie du mouvement. Dans les mouvements desordonnfe il n'y a pas de rythme : il apparait des que ces mouve- ments se plient aux regies harmoniques. Le rythme est au mouvement ce qu'est I'ornement a la ligne. Le rythme en general existe en dehors de la musique, mais la musique ne saurait exister sans le rythme. Le rythme pourrait s'exprimer graphiquement par des combinaisons de lignes, suivant des formes connues ou completement capricieuses qui seraient comme une vague esquisse de I'ame secrete de la musique. De meme qu'il peut concevoir des airs nouveaux, I'artiste, le compositeur inspire, peut creer des rythmes nouveaux. Le rythme caract^rise I'idee melodique, il est comme le nerf de la sonodiction (dire avec le son) ; il lui donne de I'elegance, de la force de la legerete ; il la rend vive, gaie ou volupteuse. La duree diverse des sons engendre les mouvements ; le rythme les regie et les accentue. Mesiire. La mesure est la mensuration exacte du temps, c'est-a-dire de la duree des sons musicaux. Battre la mesure c'est donner a chaque note la valeur quantitative qui lui correspond. Eousseau a remene k trois toutes les mesures connues : deux, trois et quatre temps. Mon systeme est plus simple encore : il les remplace toutes par I'unique mesure de I'unite de temps : la seconde. Prenons, par exemple, une phrase musicale de douze temps : avec le systeme de la portee (pentagramme), elle peut se diviser en trois mesures de quatre temps, en quatre de trois temps, en six de deux temps, en deux de six temps. Avec mon systeme on arrive au meme resultat en mesurant seulement I'unite, ce qui supprime toutes les inutiles divisions en fractions egales. Les notes qui doivent etre accentuees, s'aceentuent isolemeait, comme les lettres dans la parole. N'oublions pas que la mesure est seulement un " precede pour mensurer la duree des sons " et que I'accentuation et la distribution des pauses et silences, qui mettent en relief les contours de I'idee melodique, sont choses distinctes et independantes. Je remplace les barres separatives des mesures par des signes divers correspondant k virgule, point et virgule, deux points, point final, point d'interrogation, point d'exclamation, etc., qui donnent a la phrase musicale la meme precision et la meme clarte que la ponctuation dans le langage dcrit. Dans la dixieme legon de mon traite " Nouveau systeme theorique et graphique de la musique," on trouvera des explications completes sur cette importante question. 278 PAPEES IN SECTION III (TREORY)— continued (Menchaca). Notes simnltanees ornements, etc. Ce que j'ai deja dit de mon systeme permet de s'en former una opinion generale, d'en constater 1' originality et de se rendre compte qu'il opere une veritable revolution en musique. Les notes simultanees s'ecrivent en abrege : un meme signe en contient jusqu'a cinq, ee qui rend la lecture tres facile, et le systeme se complete par i'emploi de signes sp^ciaux indispensables a toute ecriture. J'ai remplace le metronome de Maelzel, base sur la minute, par un autre plus clair ayant pour base la seconde. La theorie intervallaire rend claire et precise la formation des accords et simplifie d'autant I'etude de la composition. Le noHveaii clavier. Dans le clavier pour piano que j'ai imaging, j'ai cherche k adapter la partie externe de I'instrument, qui est en relation directe avec I'executant, a la qualite propre de sa partie interieure, c'est-a-dire a la nature de la corde, generatrice du son. Une corde tendue et vibrante nous servira d'exemple. Les sons se produisent en elle a niesure qui les extremes de tension se rapprochent en succession ininterrompue et separes par intervalles Equivalents qui, bien que n'etant pas egaux, paraissent I'etre a notre oreille. Ces differences de gravite et non pas de distance uniformes entre les sons qui forment I'ecbelle (loi de I'harmonie successive) nous donnent la mesure de I'unite d'intervalle determines par la nature meme. C'est done I'echelle de douze sons, I'echelle type, generatrice de toute serie et de toute combinaison musicale, qui doit servir de base au clavier, et non pas la succession partielle de sept sons, improprement appelee echelle de do naturel majeur. Mon innovation consiste a alterner les touches sans solution de continuite, en formant deux rangees identiques, I'une inferieure, I'autre superieure : une toucbe blanche et une touche noire invariablement. Cette modification, si simple en apparence, modifie radicalement le doigte et la technique du piano, qu'elle simplifie et facilite. Entre autres avantages, que I'etude et la pratique rendront plus evidents, je citerai les suivants : 1. L'echelle (chromatique) s'obtient avec plus de regularite et de surete, avec deux, trois ou quatre doigts indistinctement ; 2. Les trente-six series s'obtiennent uniquement avec six doigtes ; 3. La transposition d'un ton a un autre n'offre plus aucune difiiculte ; 4. Extreme facilite de lecture de la nouvelle notation, car les notes inscrites en dessous de la ligne correspondent toujours aux touches blanches et celles inscrites au-dessus correspondent toujours aux touches noires. Enfin, mon clavier est plus riche en combinaisons que le clavier commun, car tout ce que Ton obtient sur celui-ci s'obtient avec plus de facilite encore sur le nouveau clavier. Or, la reciproque n'est pas vraie, ce qui est concluant. Je crois que lorsque le nouveau clavier sera r6pandu et experiments par de v^ritables virtuoses, il donnera lieu a de considerables ameliorations dans le mecanisme. II permettra d'ecrire et de vaincre de grandes difficultes, d'obtenir des effets inconnus qu'on ne peut realiser avec le clavier actuel et I'art du pianiste y gagnera beaucoup en vari6te, en originalite et en Eclat. * * Le systeme Menohaoa est enseigne aotaellement dans quatre eooles normales, dans sept eeoles primaires de la province de Buenos Ayres et dans cinq ecoles privees. II est suivi pai plus de 5,000 el^ves de Buenos Ayres, Montevideo, La Plata, Quilmfes, Avellaneda, Lomas de Zamora et Almirante Brown. o .g pR a 3 tc a 9 o a H ^ „ a < a p a o 279 PAPERS IN SECTION III (THEORY)— conttntied (Sachu). Das tempepiepte 19-Tonsystem und eine dafup passende Schpift. By Prof. M. E. SACHS, 7, Elisabethstrasse,- Munich. Professor in the Munich Eoyal Academy of Music. (For English abetract see p. 69.) AUSZUG. — Entwicklung vom 3- zum 5- zum 7- zum 12- und 19-Tonsystem — Namen der 19 Tone und ihre Schwingungszahlen — Die 19 Dur- und Molldreiklange sind reiner als im 12-Tonsystem — Musik fiir's 12-TonsyBtem ist im 19-Tonsystem gut spielbar ; die kleinen Untersohiede in der Tonhohe .storen nicht — Das 19-Tonsystem bringt eine grosse Bereicherung der musikalischen Ausdrucksmittel — Auf einem im 19-Torisystem gestimmten Harmonium (siehe gegeniiber liegende Illustration) spielt der Vortragende einige Stiicke im 12- und im 19-Tonsystem. — Die Tonsohrift ist graphisoh und zeigt in anschaulichster Weise die Tonhohe, die Tondauer und die Tonstarke — Wagrechte rote und blaue 5-Liniensysteme wechseln ab ; jedes hat Raum fiir 19 Tone— Das Tonzeiohen ist ein wagrechter Strioh, dessen Dicke die Tonstarke angibt — Durch schwache seukrechte Linien wird die Tondauer bestimmt. Unter Tonsystem versteht man die Anzahl der Tone, welche zwischen einem Grundton und seiner Oktave gebraucht werden. Die Tonsysteme haben sich im Lauf der Zeit allmiilig erweitert, d. h. die Anzahl der Tone hat sich vermehrt. Ueber die Anfange der Entwicklung fehlen alle historischen Nachrichten ; doch ist es nicht schwer, sich die Entstehung der einfachsten Systeme nach den Gesetzen der Klangerscheinung vorzustellen. Die Entstehung des Drei- Piinf- und Siebentonsystems. Uebergang zu dem temperierten Zwolftonsystem. Tonschrift aus dem Siebentonsystem fiir das Zwolftonsystem beibehalten. Hohe Entwicklung der Musik durch das Zwolftonsystem und voile Ausniitzung desselben von den Komponisten der neuesten Zeit. Wie aus der Verbindung des Fiinf- und Siebentonsystems das Zwolfton- system entstand, so entsteht im weiteren Verlauf der Entwicklung aus der Verbindung des Sieben- und Zwolftonsystems das Neunzehntonsystem, welches auch ein temperirtes sein muss, bei welchen die Tonabstiinde ganz gleich sind. _ Benennung der 19 Tone. Die Schwingungszahlen der Tone von a bis a im Sieben-, Zwolf- und Neunzehntonsystem zur Vergleichung auf einigen Papiertafeln dargestellt. Grossere Reinheit der Dur- und Molldreiklange im Neunzehntonsystem gegeniiber dem Zwolftonsystem. Trotz kleiner Untersohiede in der Tonhohe lasst sich die im Sieben- und im Zwolftonsystem geschriebene Musik auch im Neunzehntonsystem ohne Storung fiir das Ohr spielen. Die tonalen Beziehungen der Tone des 19-Tonsystems werden von jedem Ton aus in Ziffern, beziehungsweise Zahlen angegeben : 1 ist die Tonika, 6 die MoUterz, 7 die Durterz, 12 ist die reine Quinte, 16 die kleine Septime, 22 die grosse None, u.s.w. Im IQ-Tonsystem lassen sich viele neue Tonverbindungen bilden, welche im 12-Tonsystem nicht vorkommen, die also eine Bereicherung der Ausdrucksmittel fiir die Tonkunst bilden. Das Ohr ist bildsam und wird sich an die anfangs fremd klingenden Verbindungen gewohnen, wie es sich von den Akkorden der diatonischen Leiter schon ziemlich an die Akkorde der chromatisehen Leiter gewohnt hat. Fiir eine Anzahl von Intervallen des 12-Tonsystems, welche in der Benennung und Beziehung verschieden, aber in der Tonhohe gleich sind, hat das 19-Tonsystem zwei verschiedene Tone, durch welche die Beziehungen 280 PAPERS IN SECTION III (THBOBY) -continued (Sachs). deutlich in der Praxis unterschieden werden ; solche Intervalle sind : Kleine Sekunde und iibermassige Prime, grosse Sekunde und verminderte Terz, grosse Terz und verminderte Quart, u.s.w. Der Umstand, dass vier kleine Terzen (6) iiber einander eine Stufe iiber die Oktave (20), sowie drei grosse Terzen (7) iiber einander eine Stufe unter die Oktave (20) treffen ist eine Eigentiimlichkeit des 19-Tonsystems, die zu allerlei neuen Zusammenklangen fiihrt. DieVerbindungder 19 Dreiklangein Quinten(12)- und Quarten (9)- sehritten klingt so natiirlicli, dass das Ohr kaum merkt, dass es 19 statt 12 sind. Ebenso natiirlich klingt die Verbindung in grossen (7)- und kleinen (6) Terzenschritten und in grossen (4) Sekundenschritten. Nach einem Dominant- Dreiklang oder Septakkord (12) gibt es im 19-Ton- system dreierlei Trugschllisse, niimlich zum MoUdreiklang (15), zum Durdreiklang (14) und zum Durdreiklang (13). Der letzte ist im 12-Tonsystem nicbt moglieh. Das Harmonium hat nur 4 Oktaven Umfang von A bis a ; nach einigen im 12-Tonsystem geschriebenen Stiicken, werde ich solche spielen, die im 19-Tonsystem komponirt sind, um dessen Besonderheiten einigermassen ins Licht zu stellen (15-20 Minuten). Die Tonschrift soil die Tonbewegungen in moglichst anschaulieher Weise darstellen ; dies ist mogUch durch die graphische ^ Darstellung, ■ bei welcher Tonhohe, Tondauer und Tonstarke deutlich hervortreten. Das Tonzeichen ist ein wagrechter Strich. Ein System von 5 wagrechten Parallellinien hat Eaum fiir 19 Tone. 5 blaue und 5 rote Linien wechseln bei Verbindung mehrerer Liniensysteme ab ; auf ihnen heben sich die schwarzen Tonzeichen gut ab. Auf dem Eaum von einer Linie bis zur nachsten haben 4 Tonzeichen Platz. Das erste steht auf der Linie, das zweite iiber der Linie, das dritte zwischen beiden Linien in der Mitte, das vierte unter der nachsten Linie. In den Eaum zwischen den blauen und roten Linien warden nur zwei Tonzeichen geschrieben. Die gleichen Tone haben in jeder Tonregion (Oktave) den gleichen Platz ; a steht immer auf der ersten (untersten) Linie. IStatt der Schliissel werden in romisehen Ziffern die Tonregionen vorgezeichnet ; I. gilt fiir A bis Gis, II. fiir A bis Gis, III. fiir A bis gis, IV. fiir a bis gis, V. fiir a bis gis, u.s.w. Bei mehreren verbundenen Systemen geniigt eine Vorzeichnung im mittleren System, durch welche die andern mitbestimmt werden. Die wagrechten roten und blauen Linien werden bei der neuen Tonschrift durch schwache senkrechte Linien durchschnitten, welche zur Angabe der Tondauer dienen. Fiir einen Taktschlag dienen je nach dem Zeitmass 1-4 oder auch mehr senkrechte Zwischenraume ; die Taktteile werden durch schwache senkrechte Striche durch die 2 mittleren Zwischen- raume der wagrechten Linien abgegrenzt, die Takte durch senkrechte Striche, welche durch die verbundenen Liniensysteme laufen. Im Eaum fiir einen Takt sind die kleineren Tonwerte mit genau entsprechender Lange der Tonzeichen anzugeben. Pausenzeichen sind unnotig. Bei Staccato werden die Tonzeichen so viel kiirzer gemacht als im Wert fehlen soil. Das Tempo oder Zeitmass wird iiber dem Liniensystem in romisehen Ziffern vorgezeichnet in 7 Hauptstufen : I. ausserst langsam (1^ Sekunden), II. sehr langsam (1^ Sekunden), III. langsam (1 Sekunde), IV. miissig (I Sekunde), V. sehnell (f Sekunde), VI. sehr schnell (J Sekunde), VII. ausserst schneU (i Sekunde). Durch Zwischenstufen lassen sich die 7 auf 19 vermehren z. B. L-IL, II.-L, IL-III., III.-II., u.s.w. Der Takt wird hinter dem Zeitmass durch eine arabische Ziffer bezeichnet ; eine Bezeichnung der Taktart z. B. |, J, f , A ist nicht notwendig ; dagegen ist die Zusammensetzung grosser Takte oft angezeigt z. B. 12 = 4 x 3 oder = 3x4. 281 PAPERS IN SECTION III (THEORY)— coHtraued {Thelwall). Die Tonart wird ebenfalls iiber dem Liniensystem vorgezeichnet hinter dem Takt. Der Name der Tonika in grossen Buchstaben bezeichnet die Durtonart, in kleinen Buchstaben die Molltonart. Die graphische Tonschrift beseitigt einen grossen Widerspruch, der in der jetzigen Tonschrift oft zu Tag tritt, namhch dass ganz kurze Noten sich dem Auge so aufdringHch machen und so viel Baum einnehmen, dass die langen z. B. halbe und ganze Noten fast ganz dagegen verschwinden. Die Tonstarke wird durch die Dicke der Tonzeichen angegeben ; vp, p, mf, f, und ff, lassen sich bei vorsichtigem Schreiben, noch leichter aber beim Druck wohl unterscheiden. Im vielstimmigen Satz lassen sich die Haupt- stimmen dadurch leicht kenntlich machen, wodurch sin sinngemiisser Vortrag sehr erleichtert wird. (Auf einigen Papiertafeln werden Proben der neuen Tonschrift zur genauern Ansieht vorgelegt.) Wie steht es mit der Musiktheorie im 19-Tonsystem ? Fiir dasselbe gelten die gleichen Gesetze, welche ich in meinem Tor mehr als 30 Jahren aufgestellten Tonartensystem dargelegt habe. Die Scheidung zwischen den barmonischen d.h. ruhenden und den melodischen d. h. zu den ruhenden strebenden Bestandteilen der Tonart gilt auch fiir das Neunzehntonsystem, nur ist die Zahl der melodischen Bestandteile viel grosser, als im ZwoMtonsystem. Eine weitere Ausfiihraing dieser Sache iiberschreitet den Eahmen meines heutigen Vortrags; vielleicht bietet die nachste Versammlung der Internationalen Musikgesellschaft Gelegenheit dazu. Zum Vortrag kamen ausser Tonleiteru und Akkorden : — Stiicke im V2-Tonsystem. 1. J. S. Bach : Praludium in C dur. 2. Choral : " Vom Himmel hoch da komm ich her." 3. M. E. Sachs : Aus " Kains Sehuld und ihre Siihne." Ausdem 1. Teil: "Kain": " Ich kann es nicht ergriinden.'' Aus dem 7. Teil : " Ahasvers Erlosung." Chor. : " Bins sind wir in Liebe." Stiicke im 19-Tonsystem. 4. M. E. Sachs : Kleine Stiicke, in denen einige im 12-Tonsystem nicht mogliche melodische und harmonische Verbindungen des neuen Tonsystems vorkommen. Mathematical Analysis of the Tempered Chromatic Scale. By WALTEE HAMPDEN THELWALL, 35, Nevern Place, Earl's Court, S.W. Member of the Institution of Civil Engineers. (For abstract, see p. 74.) 282 PAPEES IN SECTION III (TH^OB^Y)— continued (Wellesz). Die Aussetzung^ des Basso Continuo in der italie- nischen Opep. By Dr. EGON WELLESZ, 10 Eeitlegasse, Vienna. Secretary of the Local Branch Vienna, Int. Mus. Society. (For English abstract, see p. 74.) AUSZUG — Bedeutung des Basso Continuo fur die Kunst des 17. und 18. Jahrhunderts. Der Basso Continuo muss dem Stil der Zeit des Werkes angepasst sein ; nur in der letzten Periode des Basso Continuo darf von den Klassiker-Eegeln des reinen Satzes ausgegangen werden. Zwei Arten der Aussetzung : Bei Kammermusik subtile kontrapuuktische Ausfiihrung, bei dramatischer Musik (Opem) wird er ganzen Gruppen von Instrumenten iibertragen, daher harmonisch fiillende Accorde.— Grenzfalle. Besondere Sehwierigkeit bei Aussetzung des Basso Continuo fiir die erste Zeit der Oper, da die Partituren nur skizzenhaft sind ; daher Notwendigkeit der Trennung der didaktisohen und praktischen Editionen fiir die Zeit von 1600-1650. Hauptsatze fiir die Bearbeitung : 1. Keine Stil-Anachronismen ; 2. Der Basso Continuo darf nie uber die andern Stimmen dominieren ; 3. Individuelle Behandlung jedes Einzel-Falles aus dem Geist des Kunstwerkes. Die Frage, in.welcher Weise man der Basso Continuo in den Werken des 17. und 18. Jahrhunderts auszusetzen hat, ist in den Mittelpunkt der Bearbeitungsfragen geriickt und nimmt eine umso grossere Wichtigkeit ein, je mehr Werke dem praktischen Gebrauche erschlossen werden. Es stellt sich immer mehr die Erkenntnis ein, dass man auch im Continuo sich bemiihen miisse, den Stil des Werkes zum Ausdrucke zu bringen, so dass gewisse harmonische und kontrapunktische Unebeheiten, sofern sie fiir das Werk charakteristisch sind, nachgeahmt werden diirfen, wenn es gilt, die Einheitlichkeit der Schreibweise zu wahren. So stellt Leichtentritt in der beim vorigen Kongresse in Wien gehaltenen Eede iiber Vortragspraxis des 17. Jahrhunderts mit Eecht den Satz auf, dass man die Werke der Florentiner Monodisten bis auf Monteverde nicht ohne genaue Kenntnis eines Marenzio, Monteverde und Gesualdo da Venosa verstehen konne. Nun birgt diese Harmonik fiir das allein an klassicher Musik geschulte Ohr manche Hiirte (man denke nur an die Beispiele fiir Orgelmanieren, die G. Diruta im Tran- silvano gibt) ; woUte man diese durch den Continuo mildern und abblenden, so Avlirde das Werk in dieser Bearbeitung historisch unrichtig sein, indem ein historisches Prinzip in das Werk hineingetragen wvirde, das erst hundert Jahre spiiter sich Geltungzu schaffen begann. Damit ware eine Bresche in die bisher so vielfach geiibte Aussetzungstechnik geschlagen, welche nur nach den von den Klassikern aufgestellten Regeln des reinen Satzes ausging, der eben nur fiir die letzte Zeit des Continuo (von circa 1725 an) massgebend ist. Gerade das Beobachten der klassischen Harmonik als eines feststehenden Canons hat lange Zeit hindurch den Blick fiir die Eigenarten der Harmonik dea 17. Jahrhunderts verschleiert und zu den vielen verkehrten Anschauungen gefiihrt, die heute erst mit Miihe aus den ^lusikgeschichten eliminiert werden, wie z. B. die absprechende Kritik Ambros iiber Gesualdo da Venosa, die sich durch alle nachfolgenden Werke zieht, und der erst Leichtentritt entgegengetreten ist. Eine Wandlung in der Bearbeitungs- praxis hat sich erst seit dem Augenblicke fiihlbar gemaoht als man den Anfiingen der Instrumentalmusik eine erhohte Bedeutung zuzumessen 283 PAPERS IN SECTION III (THEOEY)— continued (Wellesz). begann und ziir Edierung von Lautentabulaturen geschritten wurde. Denn in diesen spiegelt sich das harmonische Empfinden ihrer Zeit klar wieder und speziell die Uebertragungen von Vokalwerken bieten die eindeutige Losung von Problemen der Accidentienfrage. Innerhalb der Bearbeitung des Basso Continue kann man zwei deutlich getrennte parallele Gruppen unterscheiden, den Basso Continuo fiir die dramatische, und den fiir die iibrige Instrumentalmusik. Wahrend der fiir die Kammermusik bestimmte Basso Continuo meist nur auf einem oder zwei Cembali mit Begleitung eines tiefen Streicbinstruments oder einer Basslaute ausgefiihrt wurde, und daher eine subtile Ausarbeitung erforderte, musste der fiir grosse Raume bestimmte Basso Continuo der dramatischen Musik, der meist einer ganzen Gruppe von Instrumenten iibertragen war, dementsprecbend massig und breitfliessend gebalten sein und hatte vor allem die Aufgabe, in das Stimmengewebe ein festes Akkordgeriist einzuschieben. Wahrend daher beim erstern mehr auf das kontrapunktische Gefiige wert zu legen ist, hat man beim letztern auf mogiichste harmonische Fiillung zu achten. Selbstverstandlich werden aueh in den Opern Stellen vorkommen, die nur kontrapunktisch zu losen sind, wie z. B. in der Oper " Costanza e Portezza " von Fux, bei deren Bearbeitung die Hauptschwierigkeit darin lag, den haufigen schroffen Wechsel von polyphoner und harmoniseher Schreibart in der Bearbeitung richtig zum Ausdruck zu bringen, d.h. das Charakteristische daran nicht zu verwischen, aber auch nicht unnotig zu unterstreichen. " Costanza e Fortezza " ist stilistisch kein reines Werk ; es steht an der Grenze des polyphonen und harmonischen Stiles und dieser Umstand erfordert auch eine getrennte Losuug des Contintio. Die Chore und Szenen mit vollem Orchester erfordern eine kraftige Stiitze durch alle Contiuuoinstrumente wahrend die individuell gehaltenen Soloarien eine foinere Ausarbeitung brauchen. Von einer besondern Schwierigkeit ist die Aussetzung des Basso Continuo in der Anfangszeit der Oper, vor allem in der vehetianischen Oper. Denn hier gibt die Partitur kein vollstandiges Bild des Orchesters und der Stimmen sondern notiert mit stenographischer Kiirze bloss die wichtigsten Stimmen und Einsiitze. Diese Manuscripte verdienen nicht den Namen Partituren sondern sollten Partiturskizzen heissen. Hier greift die Tatigkeit des Bearbeiters fiir die Praxis so tief in das Wesen des Kunstwerks, dass es fast unmoglich ist eine befriedigende Losung zu geben, ohne dabei die philologische Treue des Originals zu storen. Da liegt vor allem die Gefahr nahe, dass die Pablikationen in dem AugenbUcke veralten, wo die Forschung in Bezug auf die Continuofrage einen andern Standpunkt einnimmt, wie es ja heute bereits mit den Publikationen Eitners geschehen ist. Deahalb sollte bei Publikationen aus dieser Zeit das Original stets philologisch getreu wiedergegeben werden und dann in einem getrennten Teil eine Bearbeitung fiir den praktischen Gebrauch geboten werden, wobei die Publikation nicht bei einer blossen Cembaloaussetzung stehen bleibe, sondern auch Orchesterstimmen dort ergiinzt werden miissen, wo sie in der Partiturskizze nur angedeutet sind. In den Codices Contarini finden sich namlicb hiiufig bei Arien iiber der Singstimme vier leere Linien und nur beim Anfang ist ein Takt in alien Stimmen ausgeschrieben, und dann mit einem Zeichen angedeutet, dass die Bewegung in iihnlicher Weise fortzusetzen ist. Hiitten wir die voUstiindigen Stimmen zu einer dieser Opern, so wiirden wir sehen, wie in den Stimmen, die wahrscheinlich nach einem andern Partiturexemplar hergestellt waren, diese Stellen ausgeschrieben sind. Da uns aber dieses Material mangelt, hat der Bearbeiter die Stimmen zu erganzen und ausserdem die Stelle fiir die Continuoinstrumente auszusetzen. Wollte man in der bisherigen Weise alle diese Zusatze in dem Exemplar machen, 284 PAPEBS IN SECTION III (THEORY)— continued (Wellesz). welches vor allem zum Studium dient, so wiire es fiir den Studierenden sehr schwer, Original und Bearbeitung zu trennen, selbst wenn beide durch verschiedene Typen gekennzeichnet sind. Ich stehe diesbeziiglich in Uebereinstimmung mit Gaetano Cesari aus Mailand mit dem ich alls Moglichkeiten einer derartigen Bearbeitung durchgesprochen habe und der dieses Prinzip in der neuen Gesamtausgabe von Monteverde durchfiihren will. Dass ausser dem Cembalo eine Eeihe anderer Instruments mitgewirkt haben, ist ja durch die verschiedensten Instrumentalverzerchnisse hinlangUch bekannt ; unsicher ist, ob alle diese Instrumente akkordlich fiillten oder auch Verdoppelungen von gegebenen Orchesterstimmen waren, denn aus der Vorrede zu den " Intermedien," z. B. geht hervor, dass selbst die drei vorgeschriebenen Organi di legno nicht akkordlich mitwirkten sondern zwei im Unisonogingen und die dritte in der tiefern Oktave. Und diese Praxis scheint auch bei Lauten und Harfen bis zur Mitte der 17. Jahrhunderts geherrseht zu haben, d. h. bis zu der Suprematie der Streicher im Orchester. Die Notwendigkeit einer zweifachen Edition schwindet in dem Augenblick, wo die Komponisten deutliche Instrumentenvorschriften maehen und alle Orchesterstimmen ausschreiben. Hier geaiigt die Aussetzung eines Cembalos-Parts, der dann den iibrigen Lauten Harfen und dem zweiten Cembalo vorgelegt wird und je nach der Technik dieser Instrumente mehr oder minder voUstandig ausgefiihrt werden soil. Hiebei moge eher das zweite Cembalo wegbleiben, als dass man auf den wichtigen Klang der tiefen Lauteninstrumente verzichten woUe, die sich bis gegen 1740 in alien siiddeutschen Orchestern fanden. Nur in jenen Opern, die auf der spatern neapohtanischen Schule basieren, kann man auf die Zupfinstrumente verzichten und sich mit dem Cembalo begniigen. Es ist aber aus den Musikverzeichnissen der einzelnen Kapellen zu ersehen, dass selbst zu einer Zeit wo der neapolitanische Geschmak allgemein herrschte, immer noch Harfen und Lauten als Erganzung des Cembalo genommen wurden, und dieses selbst, langer, als man bisher annahm, in Gebrauch war. In der Zeit des Niederganges der Continue Praxis hat sich die Aussetzung des Cembalo in der Oper in den bescheidensten Grenzen zu halten und bloss ein Akkordgerippe zu bieten, da auch die Selbstandigkeit der Mittelstimmen aufgehort hatte und die ganze Aufmerksamkeit der Ausgestaltung der Melodie zugewendet wurde. Zum Schlusse sei noch auf zwei harmonische Formeln aufmerksam gemacht, die eine spezialistischere Behandlung erfordern als dies im allgemeinen geschieht, es sind dies die " Kadenzen " und die " Vorhalte.'' Wahrend in den ersten Zeiten der Oper vollstandige Kadenzen auch bei den Nebenziisuren der Melodien vorkommen, hat man fiir Werke der spatern Zeit zu achten, die Kadenzen, immer mehr hinauszuriicken, selbst wenn sie in der Struktur der Melodie angedeut'et sind. Wir haben es hier mit einem Prozess zu tun, der auch heute noch nicht vollig abgeschlossen ist, wenn er auch von einer Kiinstlergruppe den Vertretern der Atonalitat radikal gelost wurde. In der iibrigen — tonalen — Musik sehen wir aber seit dem Beginne der Monodie eine stete Erweiterung der unter einem Melodienbogen umspannten Harmoniefolgen die immer starker in ein logisches Verhaltnis zu einander gebracht werden. Je genauer man sich mit dieser Zeit befasst, desto grossere Unterschiede wird man in der Art der Kadenzierung bemerken, und finden, dass jeder Komponist seine eigenen standigen Formeln hat, die der Bearbeiter zu studieren und vor allem im Recitativ und bei Basso Arien anzuwenden hat. 285 PAPEES IN SECTION III (THEOEY)— continued (Wellesz). Ein ebenso grosses Augenmerk ist der richtigen Behandlung der Vorhalte zuzuwenden. Der Vorhalt entstand aus dem Bestreben die Spannung eines Melodieabschnittes noch iiber seine natiirliche Grenze hinauszudehnen und diese Spannung wird im Laufe der Zeit imjner mai:ka»ter und kaastr-uktiyfir. Von Italien seinen A.usgang nehmjnd wird der Vorhalt in der Wiener vorklassischen Zeit ausgebildet und von den Mannheimern zur Manier erhoben. Die Wiener Klassiker veredeln ihn und die Romantiker bilden ihn zu ihrer wichtigsten dramatischen Formel um. In der Zeit von 1650-1750 hat die Vorhalttechnik mannigfache Wandlungen durehgemacht die am Original sorgfaltig studiert werden miissen und dann in der Bearbeitung nach- zuformen sind. Es ergibt sich demnach als Hauptsatz fiir die Editionstechnik, dass jedes Kunstwerk eine indivuelle Aussetzung des Continuo erfordert, deren Kenntnis man aus dem Stile und den spezifischen Eigenheiten des Kunstwerkes heraus gewinnt. Der Erfindungskraft des Bearbeiters sind keine Grenzen gesetzt insofern sich der Continuo noch den gegebenen Stimmen unterordnet; jedes Dominieren des Continuo iiber die Begleitstimmen ist unstatthaft. Jede moderne Harmonie oder Setzweise ist zu vermeiden. Der Continuo hat ein Spiegelbild des Stiles der Komposition zu sein, zu der er geschrieben ist. Diese Grundsatze sehen wir immer mehr Geltung gewinnen, und die friiher geiibte personliche, virtuosenhafte Interpretation verdrangen, durch die z.B. Bulow manches Unheil angerichtet hat. Ich glaube aber, dass es nicht unnotig war, sie hier einmal -zusammen zu fassen und genau zu prezisieren. 286 Section IV— Church Music. Sectional Chaii-men : Canonicus DDr. Feanz Xaver Mathias (Strassburg) , Prof. Dr. Hermann Mlllek (Paderborn), Pastor Dr. Fkiedeich Sannemann (Hettstedt), Prof. Albert A. Stanley (Ann Arbor). Sectional Yice-Chairmeti : J. Percy Baker, Esq. (London), Eev. H. Bewerunge (Maynooth), Dr. W. H. Hadow (Newcastle-on-Tyne). The Metpieal Cupsus in the Antiphon melodies of the Mass. By Rev. H. BEWEEUNGE, St. Patrick's College, Maynooth. Professor of Church Music ; Secretary of the Local Branch Dublin, Int. Mus. Society. (For English abstract, see p. 54.) Full text in English in the "Irish Theological Quarterly," July, 1911 (Gill & Son, Dublin). Full text in German in the " Caoilienvereinsorgan," July, 1911 (Pustet, Eatisbon). Condensed paper in English in Int. Mus. Society's Monthly Journal, XII., 227, June, 1911. Theopie des Kipchenbaues vom Standpunkte des Kipchenmusikeps. By JOHANNES BIEHLE, 4 Wilhelmstrasse, Bautzen. Church music- director. (For English abstract, see p. 35.) AUSZUG. — Der Zweok dieser Arbeit ist der, anzukampfen gegen dietief zu beklagende Tatsaohe, dass bei Kirchenbauten fast ausnahmslos die raumliohen Vorbedingungen nicht in dem ausreichenden Masse geschaffen warden, wie sie die Kirchenmusik zur Erfiillung der ihr zukommenden Aufgaben voraussetzen muss. In ausfiihrlicher Entwicklung wird nachgewiesen, dass nach den Gesetzen der Psychologic die Toukunst fiir die gottesdienstliche Ausgestaltung ein unentbehrUches liturgisches Mittel, fiir die Ausbreitung des kirehlichen Lebens aber ein wesentlioher Faktor und dass insbesondere dem Kirchenchore, als einem Telle der Gemeinde, die weitgehende Aufgabe einer kirehlichen Mission zuzuweisen ist. Dadurch erwachsen fiir den Kirchenbau besondere Verpflichtungen. Welohe Grundsatze und Forderungen baulioher Art fiir die Hand des Architekten aufzustellen sind, um zweokmassig angelegte und ausreichend grosse Eaume fiir Orgel, Cher und Orchester zu schaffen und stets eine sachgemiisse Aufstellung der Mitwirkenden und ein vorteilhaftes Zusammenwirken aller Teile zu gewahrleisten, bildet dann den Gegenstaud der weiteren ausfiihrlichen Darlegungen. Die Ergebnisse aller dieser Erwagungen haben zur Aufstellung eines neuen Kirchenbausystemes gefiihrt, das im Auditorium duroh ein grosses Modell dargestellt werden wird. 287 PAPEES IN SECTION IV (CHURCH MUSIC)— continued (Biehle). Die Aufgabe einer Theorie des Kirchenbaues vom Standpunkte des Kirchen- musikers ist die, alle die Unterlagen zu bieten und die Gesichtspunkte aufzustellen, die bei Projektierung einer Kirche oder bei derem Umbaue von dem Architekten zu beriicksichtigen sind, wenn die raumlichen Vorbedingungen gesohaffen werden sollen, die die Kirchenrausik erfiillt sehen muss, um auch ihrerseits den ihr zukommenden Aufgaben gerecht werden zu konnen. In diesem Zusammenhange ist der Begriff der Kirchenmusik im weitesten Sinne zu verstehen und hat alles zu umfassen, was in der Kirche singt und klingt. Auszuscheiden dagegen haben selbstverstandlich alle die Fragen iiber die anzuwendenden Mittel der Architektur und der Konstruktion. Die Notwendigkeit der Aufstellung einer solehen Theorie bedarf keiner besonderen Beweisfiihrung, denn die Unzulanglichkeit des Kirchenbaues nach der musikalisch akustischen Seite wird allgemein beklagt. Da, wo sie nicht voll empfunden wird, bestehen entweder iiber die Verwendung und iiber die Ziele der Musik in der Kirche noch einseitige Anschauungen, — dann bedarf es noch der Klarung der kirchenmusikalischen Aufgaben, — oder man iindet sich aus- alter Gewohnheit mit einem Zustande ab, dessen Abanderung und Besserung. fiir nicht ausfiihrbar gehalten wird. Fiir die verfehlte Ausfiihrung der Bauten ist durchaus nicht der Architekt verantwortlich zu machen, wie es in der Eegel geschieht ; denn die Architektur ist wohl imstande, alle an sie gestellten Aufgaben, die sich in verniinftigen Grenzen halten, auszufiihren. Die Schuld ist im allgemeinen dem Umstande zuzuschreiben, dass eingehende Erwiigungen iiber die zu befriedigenden Bediirfnisse vor einem Kirchenbaue kaum gepflogen werden, der Bauherr nur allgemeine Gesichtspunkte in dem Bauprogramme aufstellt, alles weitere aber- der Planung des Architekten iiberlasst. Die raumliche Eingliederung der kirchlichen Musik gehort aber nicht zu dem Spezialstudium des Architekten. Wenn nun zum ersten Male der Versuch unternommen wird, eine Theorie des Kirchenbaues vom Standpunkte des Kirchenmusikers aufzustellen, so wird naturgemass die Begriindung der abzuleitenden Forderungen und die Einfiihrung in diese einen breiteren Raum einzunehmen haben. Vor allem sind die Grenzlinien des Verwendungsbereiches der kirchlichen Musik im Gottesdienste- und im Gotteshause zu ziehen. Massgebend hierbei sind die Gesetze der Liturgik, die wiederum wurzeln in der Dogmatik. Die Liturgik ist bekanntlich die Theorie, die uns in den Stand setzt, die kultischen Aufgaben zu erfiiUen. Das Ziel des Kultus ist die Erbauung der Gemeinde und die Erbauung ist die Forderung der Gemeinde- glieder in der Frommigkeit, deren hochster Grad die dauernde Gemeinschaft mit Gott darstellt. Das Sehnen und Verlangen nach einer solehen Gemeinschaft wiirde eine mittlere Stufe der Frommigkeit erkennen lassen, wahrend die Erkenntnis, einem solehen Zustande noch nicht zugeniigen, den untersten Grad darstellt. Die Aufgabe der Erbauung ist es nun, die zu Erbauenden von einer niederen Stufe der Frommigkeit zu einer hoheren zu erheben, und zwar durch die Darstellung der hoheren Stufe. Fiir diese Einwirkung miissen aber die zu Beeinfiussenden empfanglich gemacht werden, durch Erwecken von Gefiihlen und von Stimmungen, die sich weiter zu Willensimpulsen verdichten sollen. Mit der Einfiihrung der Begrifife der Stimmung und des Gefiihles haben wir aber bereits ein Gebiet betreten, das fiir die erzieherischen Aufgaben der Erbauung von hochstem Werte ist, das Gebiet der Psychologie. Die moderne Padagogik baut sich bekanntlich voUstandig auf der Psychologie auf ; die Theologie hat aber diese junge Wissenschaft fiir ihre erzieherischen Aufgaben eigentiimlicherweise weniger verwertet. 288 PAPERS IN SECTION IV (CHURCH M.VSIG)— continued (BieMe). Wenn nun die Erbauung die Aufgabe hat, dureh Auslosung von Stini- mungen und Willensimpulsen ein erliohtes Seelenleben hervorzurufen, so lehrt die Psycbologie, dass ein erhohtes Seelenleben sich am leichtesten ausdriicken und am besten auf 'andere tibettragen lasst mit den Mitteln der Kunst. Auch der liturgisohe Aufbau eines Gottesdienstes soil daher ein abgeschlossenes Kunstwerk darstellen, und die dabei angewandten liturgischen Pormen sind als Kunstformen iistbetische Eindriicke, die durchaus nicht, wie irrtiimlich geschieht, lediglich vom rein theologiscben Standpunkte zu beurteilen sind, sondern vom Standpunkte der Seelenlehre und der Aesthetik. Die eminente Bedeutung der Psycbologie fiir die Religion liegt doch darin, dass sie in die Tiefe des Menschen eindringt, die Regungen der Seele belauscht und die inneren Bediirfnisse des Menschen erkennt. Von fein empfindenden Theologen ist selbstverstandlich dieser innere Zusammenhang und auch der Anteil der Kunst an diesen Vorgangen von jeher erkannt wordea. Die Psycbologie hat aber diese Beziehungen zuerst gesetz- massig festgelegt. Da nun unter den Kiinsten die Gesangskunst die einzige ist, die infolge ihrer Verbindung mit den Textworten in den Gang des Kultus handelnd einzugreifen vermag und diese somit der Religion gegeniiber die erste Stellung einnimmt, so ist jetzt der Grund gefunden, auf dem die Kirchenmusik gesetz- massige Aufgaben bei der Mitarbeit an der Erbauung vorgezeichnet findet. Die Grenzlinien dieses Verwendungsgebietes der Tonkunst zu ziehen, wiirde nun die erste Aufgabe unserer Erwagungen sein miissen. Indessen soil bei dem nur im beschriinkten Masse fiir diese Veroffentlichung zu Gebote stehenden Raume auf die ausfiihrlichen Darlegungen in der vom Kirch&nchorverba,nde des Konigsreichs Sachsen herausgegebenen Schrift : Johannes Biehle, " Prote- stantischer Kirchenbau und Evangelische Kirchenmusik" (1908) verwiesen werden. In dieser Schrift, die iibrigens den Ausgangspunkt fiir die vorliegende Arbeit bildet, wird in langerer Entwicklung der Nachweis gefiihrt, dass ein grosser leistungsfahiger Kirchensangerchor, der mit seinem Mitgliederbestande in alien gesellschaftlichen Schichten der Gemeinde wurzelt und also aus erwachsenen Gemeindegliedern besteht, ein unentbehrlicher Faktor im Kultus der Kirche, im Leben der Gemeinde und in der Erfiillung volkserzieherischer Aufgaben ist. Daraus erwachst aber nun die Forderung, dass der protestantische Kirchenbau alle die raumlichen Vorbedingungen zu schaffen hat, die zur Erfiillung dieser Aufgaben unerliisslich sind. Wie die Architektur ihre schonsten Gebaude fiir die Kirche bauen, wie der Maler die Motive zu den herrlichsten Gemalden dem religiosen Leben entnehmen soil, so soUen auch die ■erhabensten musikalischen Schopfungen, die unsere christlichen Stoffe wahrhaft vertiefen, der Kirche gehoren, in dieser gehort und nicht in den Konzert- und Tanz-Saal verwiesen werden. Von alien Seiten soil die Kunst auf den grossen Mittelpunkt unseres Daseins hinweisen. Hat die Kirche die Kunst in dieser Weise dienstbar gemacht, so beherrscht sie damit auch das weltliche Leben, so verhindert sie die Verweltlichung der Kunst, und dieses Heft darf sich die Kirche nicht aus den Handen nehmen lassen. Nach diesen Vorerhebungen und Ergebnissen ist uns jetzt wohl die Berechtigung zur Aufstellung ausgedehnterer baulicher Forderungen gegeben. Wir beginnen unsere Feststellungen mit dem Einbaue der Orgel und treffen damit einen der wundesten Punkte des Kirchenbauwesens vom Standpunkte der Kirchenmusik ; denn von jeher befinden sich Orgelbauer und Orgelsachverstandige im Kampfe mit den zweckwidrigen Massnahmen des Architekten. Wie viele, oft sehr kostbare Kunstwerke des Orgelbauers wurden 289 PAPERS IN SECTION IV (CHUECH MJJ SIC) -continned (Bielite). in ihrem Werte schwer gesehadigt, weil sie bei ihrem Einbaue in dem Kirchenraume mfolge unzureichender Eaumbemessung in eine Zwangsjacke gebracht werden mussten, oder weil der Architekt eine Aufstellung verlangte, die der inneren Natur dieses Instrumentes zuwider lief. Diese Missstande sind geradezu traditionell, sehr zu bedauern und eigentlieh unerkliirlich. Seitens der Orgelwelt wird nun hiiufig die Massnahme empfohlen, bereits vor Projektierung einer Kirche den Orgelbauer fiir das zukiinftige Werk zu Eate zu ziehen. Dieser Vorschlag wird aber nur in wenigen Fallen praktisch durchfiihrbar sein. Denn das bei Kirchenbauten iibliche Verfahren liisst sich aus technischen und aus Griinden der Verwaltung kaum umformen und nimmt in der Kegel den Verlauf, dass durch ein Preisausschreiben ein Wettbewerb veranstaltet wird, der dann zur Wahl eines Projektes fiihrt. Infolge der hierbei langwierigen Verhandlungen ist dann in der Eegel die Zeit soweit vorgeschritten, dass eine beschleunigte Inangri£fnahme des ausseren Baues geboten erscheint. Jetzt erst findet sich die Musse zu den Beratungen iiber die innere Ausgestaltung der Kirche. Beziiglich der Orgel wird ebenfalls in der Eegel das Verfahren eines Wettbewerbes eingeleitet, das giinstigenfalls dann beendet ist, wenn die Kirche unter Dach ist. In diesem Stadium weist der Architekt die Abiinderung erkennbar gewordener Mangel unter Hinweis auf architektonische Schwierigkeiten erklarlicher Weise ab. Die Kirchenvorstiinde bescheiden sich mit diesem Einwande, indem sie das Schicksal ihrer Orgel, die doch ein Lebenselement bedeutet, fiir unwich tiger halten. Somit scheint der Zustand, an dem unsere Orgel verhaltnisse kranken, unabiinderlich zu sein. Und doch ist seine Beseitigung auf dem Wege sehr wohl moglich, dass dem Architekten schon bei der Projektierung der Kirche genauere, allgemein giltige Unterlagen fiir die richtige Eaumbemessung gegeben werden. Die Grosse einer Orgel nach der klanglichen Seite ist durch folgende Faktoren bestimmt : 1. durch das Fassungsvermogen, also durch die Sitzplatzzahl, 2. durch den Eauminhalt der Kirche und 3, durch die besonderen Wiinsche der Gemeinde. Die Sitzplatzzahl wird von der den Kirchenbau ausschreibenden Gemeinde bestimmt ; den Inhalt des Kirchen- raumes stellt der entwerfende Architekt fest. Beide Faktoren ergeben bereits Verhaltnisse, die theoretisch die minimale Grosse einer Orgel festlegen. Die bauende Gemeinde hiitte nun auf Grund einer verhaltnismassig einfachen Entschliessung das Bauprogramm durch die Angabe zu erganzen, wie weit sie bei der spater zu errichtenden Orgel iiber diese minimalen Verhaltnisse hinauszugehen gedenkt. — Selbstverstiindlich ist auch nach oben eine Grenze gezogen, da zu grosse Tonmassen in einem gegebenen Eaume lastig wirken. Die Beziehungen dieser Faktoren untereinander und zu der Orgel sind uns zwar zur Zeit noch nicht so bekannt, dass die erforderliche Klangstarke der Orgel rein rechnerisch gefunden werden konnte. Indes stehen uns in dieser Hinsicht ausreichende Erfahrungen zur Seite, dass sie Unterlagen zur Aufstellung von Normen fiir die Hand des Architekten geben konnen. Es wiirde jetzt an dieser Stelle zu weit fiihren, diese Normen zu entwickeln, und wir miissen uns jetzt auf die Skizzierung des Verfahrens beschranken. Aber nehmen wir an, dass auf Grund eines reichen Erfahrungsmaterials und auf dem Wege der Vereinbarung allgemein geltende Grundsatze zur Berechnung der minimalen Klangstarke einer Orgel zu einem gegebenen Eaume tabellarisch aufgestellt sind, so kann auch die Grosse der Orgelkammer ermittelt und in Form einer Tabelle bestimmt werden. Die minimale Hohe des auf diesem Wege gefunden Eaumes ist dann durch die grosste Pfeife gegeben, die minimale Grundflache durch die Anzahl der Manuale und durch die Zahl der Stimmen 290 PAPERS IN SECTION IV (CHUECH MVSIC)— continued {Biehle). auf jeder Lade. Innerhalb dieser Grenzen ware dem Arehitekten die Bewegungsfreiheit zu liberlassen, den Eaum mehr in der Hohe oder in der Breite auszubilden, Jedenfalls wird sich dann der Orgelbauer in dem Baume immer einzurichten wissen, weil er seine Hauptbedingungen erfiillt sieht. An die Einhaltung der vorgeschriebenen Grossen wiirde der Architekt bei der Planung einer Kircbe streng gebunden sein, sodass ein Entwurf, der gegen diese Vorschriften verstosst, als teehnisch fehlerhaft ebenso zuriickzuweisen ware, wie ein solcher, der z. B. den Vorschriften iiber die Anlage von Treppen und Zugangen nicht entspricht. Wenn hier von minimalen Massen gesprocben wird, so sollen darunter nicht die knappsten, gerade noch passierbaren verstanden werden. Die in den Tabellen einzustellenden Grossen werden so zu bemessen sein, dass niemals die Gefahr einer zu spiirlicben Eaumbeschaffung besteht. Um aber solche Vorschriften aufstellen zu konnen, werden wir uns in Zukunft in der Bestimmung des Klangwertes der Orgel einer grosseren Klarheit befleissigen miissen. Ein Bild von der Klangstarke einer Orgel pfiegen wir durch eine Disposition zu geben. Eine solche vermittelt wohl dem Pachmanne eine Vorstellung von der Wirkung einer Orgel, sie ist aber fiir den Nichtfach- mann und insbesondere fiir den Arehitekten eine unhandliche Form. Die Bezeichnung des Klangwertes durch einfache Angabe der Anzahl der Stimmen, wie es iiblicher Weise geschieht, ist eine durchaus unzureichende ; denn es kommen dann nicht die iibrigen klingenden Einrichtungen, wie Oktavkoppeln, Spielkoppeln, Transmissionen, gemischte Stimmen, eventuell Hochdruck- stimmen zum Ausdruck. Ich habe daher in einer von dem Sachsischen Landeskonsistorium eingeforderten Denkschrift vorgeschlagen, den Klangwert der Orgeln nach Einheiten zu bestimmen. Dieses Verfahren geht von der Tatsache aus, dass alle klingenden, einfachen Stimmen der Orgel in ihrer Stiirkewirkung derart abgestuft sind, dass sie in eine fortlaufende Starkeskala geordnet werden konnen, ahnlicb, wie es bereits von seiten des Orgelbauers auf dem EoUschweller geschieht. Die mittelste Stimme in dieser Eeihe wiirde dann den Darchsehnittsstarkegrad der ganzen Reihe darstellen. Wenn auch bei den verschieden grossen Orgeln infolge der verschiedenen Anzahl der Register diese Starkeskala auch eine verschiedene Differenzierung des ganzen Starkeumfanges aufweisen wird, so werden doch die in ihrer Mitte liegenden Durchschnittsstimmen theoretisch untereinander gieich stark sein miissen. Die allerdings in der Praxis vorkommenden Abweichungen sind auf die Eigenart des einzelnen Orgelbauers, seine Mensuration und Intonation zuriickzufiihren. Aber es stiinde nichts im Wege, eine solche Durchsehnittsstimme als eine Normal-Einheit festzulegen, sei es durch Konstruktion einer Normalpfeife, die alien Orgelbauern zuganglioh gemacbt und vorgeschrieben wird, oder durch zahlenmassig genaue Festlegung der Masse fiir die Mensuration und der Eigenart. Damit wiirde den Orgelbauern durchaus nicht ein Erschwernis oder eine Beengung in ihrer weiteren Anlage des ganzen Pfeifenwerkes auferlegt werden. Aber es wiirde zunachst ein einheitliches Grundmass fiir die Bewertung des Klanges einer Orgel gefunden sein. Da nun in jeder dieser Starkeskalen iiber der Normalstimme ebensoviel Stimmen liegen als unter ihr, so werden die stiirkeren Register die scbwacheren in ihrer "Wirkung ausgleichen und man wird zunachst jedes einfache Register gieich der in der Mitte liegenden Durchsehnittsstimme setzen konnen. Bei Hochdruckstimmen wiirde aber je nach dem angewendeten Drucke ein Mehrfaches dieser Einheit einzustellen sein. Zur Bestimmung des Wertes einer gemischten Stimme fiihren folgende einfache Erwagungen : 291 PAPERS IN SECTION IV (CHURCH M.V81C)— continued (Biehle). Den Klang einer gemischten Stimme kann man bekanntlich dadurch nachahmen, dass man auf einer einfachen Stimme einen Akkord erklingen lasst, der der Chormisehung der Mixtur entspricht. Eine solche Vergleichs- stimme von gleicher Stiirke der Mixtur wird in der Eegel oberhalb unserer Normalstimme liegen, und zwar ihr um so naher, je milder die Intonation der Mixtur ist. Dadurch haben wir ein Mittel gefunden, die Eigenart der Orgel- bauer im Bau der Mixturen zu kennzeichnen. Jedenfalls wird eine gemischte Stimme mit mindestens ebensoviel Einheiten zu bewerten sein, als sie Chore hat. Die Oktavkoppeln verdoppeln die Zahl der khngenden Pfeifen. Theoretisch wiirde also eine von einer Oktavkoppel getroffene Stimme doppelt zu bewerten sein. Indessen sind die Koppeln haufig nioht vollstiindig ausgebaut, d. h. die Verdoppelungen sind an den ausseren Grenzen nicht durchgefiihrt. Ausserdem treffen im vierstimmigen Satze die Koppeln vielfach gegenseitig oder mit anderen bereits gegriflenen Tonen zusammen. Bei der Unteroktavkoppel ist zu beachten, dass sie wohl den Orgelton siittigt, aber nicht durchdringender und weittragender gestaltet. Auf Grund dieser Erscheinungen kann die Oberoktavkoppel nur mit 2/3, die Unteroktavkoppel nur mit 1/3 Einheiten mal der Zahl der von ihr gekoppelten Stimmen eingestellt werden. Die Summe der durch diese Rechnung gefundenen Gesamt-Einheiten einer Orgel wiirde aber noch mehrfach zu modifizieren sein. Bei einer grossen Orgel treten in der Disposition eine erhebliche Zahl kleiner, sogenannter Solostimmen auf. Die Zweckmiissigkeit vieler schwacher Stimmen ist mit Recht bezweifelt worden, jedenfalls wird der Einheitswert einer Orgel durch sie herabgedrlickt. Weiter ist bei der Anhiiufung von mehreren tausend Pfeifen in einem verhaltnismassig kleinen, auch abgeschlossenen Raume eine teilweise Absorption des Tones durch Interferenz unvermeidlich. Diese Erscheinung ist bekannt, aber nicht so eingehend untersucht, dass zuverliissige Zahlen angenommen werden konnen. Immerhin mlissen aber die Einfliisse bei der Bewertung des Klanges einer Orgel durch einen zu schatzenden Abzug von der Gesamtsumme der Einheiten berlicksichtigt werden, indem in die Bereehnungsformel eine Variants mit steigender Progression eingefiigt wird. Weiter ware noch ein Abzug bei solchen Orgeln, deren Tonentwicklung durch die ungiinstige Lage der Urgelkammer wesentlich gehemmt ist, vorzusehen, und endlich ware der Einfluss der Raumakustik zu beriicksichtigen. Das hier vorgeschlagene Verfahren ist zunachst von mir an drei Orgeln versucht, von einer Kommission nachgepriift und dann von fiinfundzwanzig Organisten in den verschiedenen Teilen Sachsens nach einer herausgegebenen Anweisung selbstiindig ausgefiihrt worden. Dabei hat sich die Zweckmassigkeit und die Durchflihrbarkeit dieser Methode ergeben. Bemerkenswert war dabei die Erscheinung, dass die Mehrzahl der bearbeiteten FilUe als Durchschnitts- stimme die Hohlflote oder eine verwandte Stimme ergab. Es wiirde also diese Stimme voraussichtlich als die Normal- oder Einheitsstimme in Frage kommen. Jedenfalls ergibt sich aus der hier gefundenen Uebereinstimmung, dass die aufgestellte Theorie der Durchschnittsstimme tatsachlich in der Praxis, wenn auch unbewusst, vorhanden ist, und sich nur deren weitere Formulierung und Einfiihrung erforderlich macht. Der Vorteil, der das neue Verfahren empfiehlt, ist der, den Klangwert einer jeden Orgel von beliebiger Struktur anstatt durch eine schwer zu iibersehende Disposition, nun durch eine Zahl ausdriicken zu konnen. Damit ist nicht nur die Voraussetzung zur Aufstellung baulicher Anweisungen geschaffen, sondern auch ein bisher ganzlich fehlender Vergleichswert mit anderen Tonkorpern, wie Siingerchoren und Orchestern eingefiihrt. Wir haben Orgeln, die infolge raum- akustischer Eigenart des Aufstellungsortes einen besonderen Gesamtcharakter 292 PAPERS IN SECTION IV (CHUBCH MUSIC)— contmucd {Biehle). erhalten mussten. Bei diesen Orgeln ist dann das Gleichgewicht unserer Stiirkeskala verschoben, d. h. es wird entweder die Registerreihe iiber oder die unter der Normalstimme iiberwiegen. Auch diese Abweichung, wie jede andere Eigentiimlichkeit eines Orgelwerkes, kann die Methods der Einheitenbewertung kennzeichnen. Ueberhaupt wird eine scharfere Cbarakterisierung und eine deutliehere Ausdrucksweise bei der Verstiindigung iiber Orgelwerke gegeniiber der bisherigen Unsicherheit erreicht werden. Auf Grund eines reichen Materiales, das ich den freundlichen Bemiihungen der Herren Hoforgelbaumeister Walcker u. C. in Ludwigsburg und Gebr. Jehmlich in Dresden verdanke, konnte die Tabelle des Anhanges zur Grossen- bestimmung der Orgelkammern aufgestellt werden. Der Hinweis darauf, dass dureh die Einfiihrung einer Einbeit nun aucb ein Vergleicbswert zu anderen Tonkorpern gefunden worden ist, in dem z.B. die durcbschnittlicbe Starke einer Singstimme oder eines Orcbesterinstrumentes damit verglichen werden kann, fiihrt mich nun auf die Anlage der Sanger- und Orcbester-Emporen . Auf der Hauptversammlung des Siicbsiscben Landeskirchenchorverbandes 1908 in Chemnitz hatte ich in dem bereits oben angefiihrten Eeferate liber " Protestantiscber Kirchenbau und evangelische Kirchenmusik " in ausfiihrlicber Entwicklung auf die bestehenden Missstiinde im Kirebenbaue aufmerksam gemacbt. Dadurch war das Siichsiscbe Landeskonsistorium angeregt worden, in die Erwiigung der Frage einzutreten, welche Polgerungen fiir die Praxis des Kirchenbaues seitens des Kircbenregimentes nunmebr zu ziehen seien. So erbielt ich von dem Landeskonsistorium die Aufforderung, mich dariiber zu iiussern, ob sich aus der Stimmenzahl einer Orgel ein Massstab ableiten liesse fiir die Zahl der Sanger und Musiker, fiir die Eaum beschafft werden muss. Diese Frage wurde dann im Laufe der sich ankniipfenden Erorterungen dahin erweitert : " Liesse sich zwischen der Sitzplatzzahl fiir die Gemeinde einerseits und der Orgelgrosse und der Chor- und der Orchester- Starke andrerseits ein Verhaltnis festlegen ? " Damit war nun der Kern der ganzen Kirchenbaufrage vom Standpunkte der Kirchenmusik getroffen worden, und mit einer solchen Prazision der Fragestelhmg war bisher noeh kein Kirchenregiment einem Zustande entgegengetreten, der allgemein als ein Notstand im gesamten Kirebenbaue bezeichnet werden muss. Zur Beantwortung der vorgelegten Fragen waren nun eine Eeihe von Untersuchungen erforderhch, die sich auf Beobachtungen akustischer Art und auf die Aufstellung von Normen fiir die bauliche Anlage der Sangeremporen erstreckten und iiber die heute kurz berichtet werden soil. Zunlichst haben mehrfache vergleichende Untersuchungen ergeben, dass einem vierstimmigen gemischten Chore von zehn Siingern bereits drei Einheiten der Orgel klanglieh die Wage halten, und dass ferner zur Choralbegleitung einer Gemeinde von 1000 Stimmen dreissig Orgeleinheiten ausreichen. Da nun ferner iiber die Beziehungen von Chor und Orchester bestimmte Erfahrungen vorliegen, nach denen auf zehn Sanger drei Musiker zu rechnen sind, so lassen sich jetzt schon die hauptsachlichsten Abmessungen des Kirchenraumes in einer handlichen Gleichung in der Weise ausdriicken, dass auf hundert Gemeindesitzpliitze zehn Platze^ fiir Sanger, drei Platze fiir Musiker und drei bis vier Orgeleinheiten zu rechnen sind. Aber wohlgemerkt, diese drei bis vier Orgeleinheiten reichen nur zur Begieitung des Choralgesanges, nicht aber zur selbstandigen Verweudung der Orgel im Gottesdienste und im Kirchenkonzerte aus. Fiir diesen Zweck wird man vier bis fiinf Einheiten einstellen miissen. 293 PAPERS IN SECTION IV (CHURCH MVSIC)— continued (BieltU). Wenn auch diese Formel auf dem Wege der Vereinbarung noch modifiziert und festgelegt werden muss, so wird doch jetzt schon der praktische Vorzug dieser Methode erkennbar sein ; denn wir sind nun in der Lage, fiir die Projektierung einer Kirche, insbesondere iiber die Anlage der Siingerempore Abmessungen mit einer solchen Genauigkeit vorzuschreiben, wie sie dem Architekten nur erwiinscht sein kann. Fiir die Anlage der Siingeremporen sind zuniichst einige allgemeine Gesiehtspunkte vorauszuschicken. Chor und Orchester haben stets eine solche Aufstellung zu erhalten, dass die musikalische Fliblung unter den Mitwirkenden gesicbert bleibt. Es diirfen daber Sanger und Musiker weder auseinandergedebnt und zerstreut, nocb in den zusammengehorigen Gruppen zerteilt aufgestellt werden. Andrerseits ist zu vermeiden, die Mitwirkenden derart zusammenzudrangen, dass die Instrumentalisten in ihrer Bewegung und die Sanger im freien Atmen und im Halten der Noten behindert sind. Steben die Sangerreiben zu dicbt bintereinander, so kann als Folge der Interferenz und der Dampfung die voile Kraft des Cbores nicbt zur Entfaltung kommen. Es ist daber aus akustiscben Griinden ein bestimmter Tiefenabstand von etwa 75 cm einzubalten. Diese Massnabme ist wicbtig, wird aber vielfach liberseben. Wahrend die zweite Siingerreibe nocb zwiscben den Kopfen der ersten Keihe bindurcb singen kann, ist fiir je zwei weitere Beiben eine Stufenerbobung um Kopfdurchmesser, also um 20-25 cm notwendig. Eatsam ist jedocb die Ueberhobung einer jeden Eeibe um mindestens 10 cm. Diese Steigung wird aber in vielen Fallen nicbt ausreicben, wenn gleicbzeitig der freie Blick nacb dem Altare gewonnen werden soil. Fiir jeden Sanger ist eine Breite von 50 cm und somit eine Flacbe von 0,37 qm (50 x 75 cm) vorzuseben. Bei einem Musiker kann man bei sebr gescbickter Flacbeneinteilung im Durcbscbnitt mit einer Breite von 75 cm und einer Tiefe von 1 m = 0,75 qm auskommen. Es erfordern demnacb je zebn Sanger mit den dazugeborigen drei Musikern eine Flacbe' von 6 qm. Eine Kircbe fiir 1000 Besucber muss demnacb eine Siingerempore von etwa 60 qm Flacbe erbalten. Diese Gesamtfliicbe bat nun die Gestalt eines Recbteckes zu erbalten, dessen Breite zur Tiefe sicb etwa wie 4 : 3 verbalt. Der biervon auf die Sanger entfallende Teil ist mit leicbtgebauten, aucb versetzbaren Bankreiben zu verseben, deren Sitze aufklappbar und deren Eiicklebnen so auszubilden sind, dass sie der nacbstfolgenden Eeibe eine Auflage fiir Noten und Gesangbiicber bieten. In der Mitte dieser Bankreiben ist jedocb ein Gang von 1,5 m Breite von vorn nacb binten freizulassen zur Aufstellung von Streicbinstru- menten. Die iibrigen Musiker erbalten ibren Platz binter den Sangerreiben. An dieser Stelle mocbte auch dem Irrtume begegnet werden, die Banke beengten die Cboraufstellung. Um den geforderten Tiefenabstand von 75 cm unter den Sangerreiben zu sicbern, sind Bankreiben unentbebrlicb : Sie vergrossern bei leicbter Bauart durebaus nicbt diesen Abstand, ermoglicben aber eine festgeordnete und iibersicbtlicbe Aufstellung der Mitwirkenden. WoUte man die Anlage baulieb voUkommen gestalten, so wiirde den ansteigenden Stufen eine gebogene, d.b. vom Dirigenten bezw. vom Altare aus eine konkave Linie zu geben sein, um den Sangern den Blick nacb dem Dirigenten zu erleicbtern. Indessen wiegt dieser Vorteil die durcb die Scbweifung der Stufen und der Banke entstebenden, unverhaltnismiissig boben Kosten nicbt auf und kann aucb durcb eine zweckmixssige Anordnung des Dirigentenstandes erreicbt werden. 294 PAPERS IN SECTION IV (CHURCH MVSIG)— continued (BieliU). Der Dirigent muss etwa 1 m vor der ersten Siingerreihe stehen, damit die Sanger an den ausseren Enden der Eeihen noch an den Kopfen der Nachbarn vorbei seine Bewegungen sehen konnen. Die Hohe seines Trittes ist abhangig von der Zahl der Sangerreihen und von deren Steigung. Um schon beim Neiibaue die richtige Hohe zu treffen, ist ein Querschnitt der ganzen Aufstellung mit den Augenpunkten der Mitwirkenden und deren Sehlinien nach dem Dirigenten und nach dem Altare, wie as aus der beigegebenen Zeichnung ersichtlich ist, zu entwerfen. Fiir den Dirigentenstand, einschliesslich der Stufen ist eine Pliiche von 1,25 qm zu rechnen. Somit waren dem Architekten alle die Unterlagen geboten, die ihn vor Fehlgriffen in der Raumbemessung und in der Raumverteilung bewahren. Eine nach diesen Grundsatzen entworfene Sangerempore wird nun wesentlich grosser ausfallen als bisher iibhch und als es die gewohnlichen sonntiiglichen Bediirfnisse erfordern. Um aber einem Vorwurfe der Platzverschwendung besonders in den Fallen zu begegnen, wo in der betreffenden Kirchgemeinde die musikalisehen Verhiiltnisse noch wenig entwickelt sind, ist auf den Grundrissen des Anhanges ein Vorschlag unterbreitet, wonach die Sangerempore auch den Gemeindebesuchern nutzbar gemacht wird. Es ist hier die Orgel, wie iiblich, an der Westseite stehend angenommen und ihr unsere grosse breite Sangerempore vorgelagert. Der in unmittelbarer Niihe der Orgel und des Spieltisches gelegene hintere Teil der Empore ist dem kleinen, sonntiigliehen liturgischen Chore vorbehalten und durch besondere Schranken abgetrennt. Der_ grossere vorgelagerte Teil der Empore ist aber durch Oeffnung der Tiiren der Benutzung der Gemeindeglieder freigegeben. Gerade diese Pliitze werden als die wertvoUsten in der Kirche sehr beliebt sein und gern benutzt werden. Diese ausserordentlich giinstige Ausnutzbarkeit des Raumes wird sogar dahin fiihren, den Raum noch grosser zu gestalten, als die Reehnung nach unserer Formel ergibt, denn eine in dieser Weise angelegte Sangerempore behalt auch dann ihren vollen Wert, wenn in der Gemeinde ein Siingerehor nicht mehr bestehen sollte. Ein besonderer Abschnitt ist nun noch der Stellung des Spieltisches zu widmen. Der Einbau des Spieltisches in eine Nische des Orgelprospektes ist auch heute noch allgemein iiblich. Bei dem rein mechanischen Systeme fiihrte die freiere Stellung des Spieltisches zu umstiindlichen Winkelfiihrungen der Traktur, die der Orgelbauer angstlich vermeiden musste. Aber auch das pneumatische System hat trotz der einfachen Uebertragung der Tastenbewegung durch Rohrleitungen den Spieltisch aus seiner Zwangslage nicht zu befreien vermocht. Die Erkenntnis der nicht befriedigenden Arbeitsweise dieser Traktur suchte die Rohrleitungen moglichst kurz zu halten. Es diirfte nun der Nachweis liberraschen, dass die alte Stellung des Spieltisches in jeder Beziehung verkehrt und trotz der kiirzeren Eohrleitung die Ursache von weiteren, erheblichen Verzogerungen ist. Zur exakten Beantwortung der ganzen Frage babe ich iiber die pneu- matischen Systeme und die Stellung des Spieltisches eingehende Untersuchungen im Physikalischen Institute der Technischen Hochschule zu Dresden angestellt. Das hierbei aufgedeckte reichhaltige Material hat zu sehr bemerkenswerten Ergebnissen gefiihrt, die iiber die Wirkungsweise der pneumatischen Apparate, iiber das Verhalten der Luft in Rohrleitungen, iiber die Natur des Tastenfalles beim schnellen Spiele, ferner iiber das Wesen einer " Verzogerung " im praktischen Sinne neue Aufschliisse geben und unsere bisherigen Anschauungen in wesentlichen Teilen berichtigen. Die Resultate sind als " Theorie der pneumatischen Orgeltraktur und die Stellung des Spieltisches," von der 295 PAPERS IN SECTION lY (CHURCH MUSIC)— continued {Biehle). Internationalen Musik-Gesellschaft ''' veroffentlicht worden und diirften der Orgelwelt fiir die weitere Entwicklung des Orgelbaues viele Anregungen geben. Aus dieser Arbeit kommen bei der Entscheidung der Frage iiber die Stellung des Spieltisches insbesondere zwei Ergebnisse in Betracht. Die bei den Untersuchungen angestellten genauesten Messungen haben ergeben, dass die Portpflanzung eines Luftimpulses, wie er in den Rohrleitungen unserer pneumatiselien Systeme erfolgt, in der Zeit von 0,005 Sekunden 1 m betragt. Ferner wurden Untersuchungen angestellt, um fiir den Begriff " Verzogerung " vom Standpunkte der musikalisehen Praxis eine Definition zu finden. Hierbei wurde ein Zeitwert von 0,022 Sekunden als die Zeitschwelle gefunden, unter der Verzogerungen von unserem Ohre nicht mehr wahrgenommen werden konnen. Diese beiden Aufschliisse werden uns jetzt bei der Erwagung iiber die Stellung des Spieltisches sehr wertvoU sein. Zuniichst ist sicher und auch unbestritten, dass dem Spieler von der versteekten Nische im Orgelprospekte aus die Beurteilung seines eigenen Spieles nicht in dem Masse moglich ist, als es das musikalische Zusammenwirken mehrere Faktoren erfordert. Vielmehr ist es eine allbekannte Erfahrung, dass eine wirklich mustergiltige Begleitung durch die Orgel nur dann zu erreichen ist, vsrenn die Orgelstiirke in einer besonderen Probe zuvor vom Standpunkte eines Dritten genau abgewogen wurde. Vorausgesetzt muss aber dabei werden, dass bei der Auffiihrung die veriinderten akustischen Verhaltnisse oder neue Intentionen des Vortragenden die Berechnung nicht iiber den Haufen werfen. Die hiiufigen Missgriffe in der Registratur bei Auffiihrungen beweisen das auch. Diese Schwierigkeit wird aber nicht unwesentlich vergrossert, wenn der Orgel- prospekt mit seiner ersten Etage den Spieler iiberdacht ; dann haben wir die akustische Komplikation, dass der Organist den Orgelton weniger direkt, sondern mehr als Reflex von den Wiinden mit emer entspreehenden Verzogerung hort. Solche Zustande sind fiir den Spieler eine Qual, falls er dafiir ein Empfinden hat, noch mehr aber fiir die Mitwirkenden, einschliesslich der Gemeinde. Es muss aber weiter auf die Hemmungen und Erschwernisse aufnierksam gemacht werden, die die Stellung des Solisten und der Chorknaben Riicken gegen Riicken zum Organisten zur Folge hat. Als Begleiter und Dirigent suche ich, stets zu einem Solisten eine solche Stellung zu gewinnen, dass der von ihm ausgehende Ton , mich direkt, mindestens aber von der Seite trifft. Singt er aber von mir abgewendet, so erscheint der Ton nicht von seinem Standorte, sondern von einem entfernteren zu kommen. In der Tat hort man dann einen indirekten und verzogerten Ton. Nehmen wir nun eine Orgel- empore von 4 m Tiefe an, so ergibt sich fiir den Organisten bei einer Fort- pflanzungszeit des Schalles von 0,003 Sekunden auf einen Meter eine Verzogerung von zuniichst 0,012 Sekunden ; der erschwerende Umstand der Stellung Riicken gegen Riicken wird aber in Wirklichkeit diesen Zeitraum verdoppeln, also auf 0,024 Sekunden erhohen. Damit ware unsere Zeitschwelle iiberschritten, was mit meinen Erfahrungen aus der Praxis voUig iibereinstimmt. Auch die Beurteilung und die Fiihrung des Gemeindegesanges bleiben bei der versteekten Stellung eine unsichere. Die von den verschiedenen Teilen der Kirche ausgehenden Tongruppen des Gemeindegesanges kann man sich in einem Schwerpunkte zu einer Gesamtwirkung vereinigt denken. Nehmen wir vom Standpunkte des Organisten die denkbar giinstigste Lage dieses Schwerpunktes vorn an der Briistung unserer gedachten Orgelempore an, so haben wir auch hier mit einer gleichen Verzogerung zu rechnen. * Siehe Sammelbande, XIII. Jahrgang, Heft I. — Sonderdruck b. Breitkopf u. Hartel. 296 PAPERS IN SECTION IV (CHUECH MVSIC)— continued (Biehle). Jetzt woUen wir uns die Stellung des Spieltisches vorn an der Briistung und zwar reohtwinklig zu dieser denken neben dem Schwerpunkte des Gemeindegesanges und dem Standpunkte der Chorknaben oder des Solisten. Dann ist zwar die pneumatische Eohrleitung um 4 m zu verliingern, mit dieser Verlangerung aber eine Verzogerung von nur 0,022 Sekunden verbunden. Es wird also gegeniiber der Gemeinde oder dem Solisten immer noch eine Besehleunigung und dann ausserden noch der ausserordentlieh wertvolle Vorteil erzielt, dass jetzt der Spieler die Mundbewegungen des Solisten oder z. B. die Bogenbewegungen des Violinspielers mit den Augen verfolgen kann. Ein iihnlicher Vorzug entsteht auch in seinem Verhaltnisse zu dem Gemeindegesange. Er erhalt einen viel klareren Eindruck und kann zur wirkungsvoUeren Piihrung des Gemeindegesanges seine Massnahmen schlagfertig treffen. Zwar wird der Organist an seinem neuen Standpunkte eine grossere Verzogerung der Orgel spiiren, aber die anderen Beteiligten : Gemeinde, Chor, Solisten werden sich zuverliissiger begieitet fiihlen. Aus alledem ergibt sich auch von selbst, dass der liturgische Verkehr zwischen dem Geistlichen und dem Organisten an Sicherheit gewinnt. AUerdings wird die grosse Entfernung von Altar und Orgelempore an der Westseite ein Erschwernis bleiben, das den Gedanken nahelegt, riiumlich eine engere Verbindung der Beteiligten anzustreben. AUe diese Erwagungen haben mich nun zur Aufstellung eines neuen Kirchenbausystemes gefiihrt, das eine vollig veranderte Einteilung des Kirchenraumes bringt, wie es das beim Vortrage ausgestellte Modell und die Abbildungen des Anhanges darstellen. Bei der hier vorgeschlagenen Anordnung sind in der Tat alle bisherigen Mangel vermieden, alle Vorteile aber, die man in liturgischer und kirchenmusikalischer Hinsicht zu stellen berechtigt ist, vereinigt. Denn : 1. Der Organist erhalt an einem freistehenden Spieltische einen geradezu idealen Platz, von der er die ganze Kirche einschliesslich des Altarplatzes iibersehen, auch wahrend seines Orgelspieles, alle Vorgiinge auf dem Altarplatze bei den Liturgien, Trauungen, Kommunionen u.s.w. aus unmittelbarer Niihe verfolgen und stets erkennen kann, wie zahlreich die Gemeinde anwesend ist. 2. Chorknaben und Organist sehen und horen sich gegenseitig, ein Vorzug, der nur bei diesem Systeme moglich, aber aus disziplinellen Griinden und fiir die Fiihrung des Choral- und liturgisehen Gesanges von grosstem Werte ist. 3. Dasselbe giinstige Verhaltnis besteht auch zwischen Chorknaben und Organisten einerseits und der Gemeinde andererseits. Die Gemeinde singt dem Organisten entgegen, infolgedessen kann er den erforderlichen Starkegrad seiner Orgel genauer abwagen als bisher. 4. Ein ahnlicher Vorteil liegt auch in der Begleitung von Sologesangen. Der Solist kann jetzt vorn an der Briistung neben dem Spieltische stehen, der Spieler dessen Vortrag genauer beurteilen und dementsprechend begleiten. Vom Spieltische aus kann auch erforderlichen Falles ein Chorgesang von einer Person begieitet und geleitet werden, wie iiberhaupt nur bei diesem Systeme ein vollkommenes Zusammenwirken von Chor, Orehester, Orgel, Dirigenten und Solisten moglich ist, z. B. bei den Werken von Bach und Handel. 5. Trotz aUedem bleibt der Spieltisch in einer solchen Nahe zur Orgel, dass liingere pneumatische Leitungen vermieden sind. 6. Im Gegensatz zur Einheitskirche nach dem Wiesbadener Programme erscheint der Kirehenchor bei diesem Systeme als ein Teil der Gemeinde, nimmt aber die am wenigsten begehrten Platze auf der Seitenempore ein, wahrend an der Westseite, seinem f riiheren Platze, nun eine tief e geraumige Empore f rei geworden ist. Die Ausniitzung des Kirchenraumes ist jetzt eine weit vorteilhaftere. 297 PAPEBS IN SECTION IV (CHURCH UVSIC)— continued (BeihU). 7. Die ringformige Gruppierung der drei im Gottesdienste in Wechsel- wirkung zu einander stehenden Hauptfaktoren : Geistlicher, Chor, Gemeinde, ist dem tiiglichen Leben abgesehen und entspricht der' Stellung von drei Personen, die ein Gespriich mit einander flihren woUen. Jeder Teil sieht und singt dem anderen entgegen. 8. Die seitliche Stellung der Orgel konnte vielleicht dem an die strenge Symmetrie unserer Kirchen gewohnten Auge storend erseheinen. In Wirklich- keit fiihrt sie aber zu einer reizvolleren, malerischen Gestaltung des Kirchen- innern, die ja bekanntlich im modeinen Kirchenbaue angestrebt wird. 9. Mit der engen Zusammenlegung von Altarraum, Chorraum, Orgel- kammer, Sakristei, auch Garderobe, Uebungszimmer und Stimmzimmer ergibt sicb der nicht zu unterscbiitzende Vorteil einer schnellen, bequemen und personlicben Verstandigung zwischen dem Geistlicben, dem Kantor, Organisten und den Siingern. Diese Eiiume lassen sich auch im Interesse der ausseren Ordnung von der Gemeinde abschliessen und mit einem gemeinscbaftlichen, nur den Beteiligten vorbehaltenen Eingange versehen. Damit soUen die theoretiscben Erwiigungen iiber die kircbenmusikalische Seite des Kircbenbaues ibren Abscbluss finden. Zum Schluss sind noch einige Gesichtspunkte iiber die Eaumakustik zu geben. Die Eaumakustik konnte bisjetzt noch nicht zu einer abgeschlossenen Wis- senschaft ausgestaltet werden ; sie ist vorliiufig noch ein Problem. Wir haben keine Methode, um eine projektierte Eaumform im voraus im akustischen Sinne zu beurteilen und auch keine, um bei akustisch fehlerhaften Eiiumen die Febler- quellen nachzuweisen. Dagegen stehen uns Erfahrungen und Beobachtungen zu Gebote, mit denen wir prophylaktiseli gegen grobe Verstosse wirken konnen. Eein pliysikalisch betrachtet, kommen hier die akustischen Erscheinungen der Eesonanz, der Eeflektion, der Deflektion, der Interferenz, der Konzentratiou und der Bildung von Maxima und Mmima in Betracht. Die Eesonanz unterstiitzt die Tonbildung und ist daher mit alien Mitteln zu fordern. Die Eeflejction und die Bildung des Nachhalles ist schiidlich und durch Deflektion, durch Zerstreuung zu bekiimpfen. Eine weitere Ursache der ungleiclimassigen Schallwirkung sind die Erscheinungen der Interferenz, die zu einer Aufhebung oder Schwachung des Tones, und die Konzentration oder Sammlung der Schallwellen, die weiter zu den periodisch im Eaume auftretenden Maxima und Minima fiihren. Wir haben weder Mittel, die Verteilung dieser Erscheinungen im Eaume objektiv nachzuweisen, noch die Moglichkeit, auf mathematischem Wege durch eine zweckdienliche Gestaltung des Eaumes deren Auftreten zu verhindern. Dagegen besitzen wir wohl die Kenntnisse, durch geeignete Ausbildung der Umfassungen des Eaumes die Ausbreitung der Eesonanz zu unterstiitzen und die Eeflektion zu unterdriicken. In dieser Beziehung sind die Bemiihungen der deutschen Architekten Langhans, Sturmhofel, Orth und Dolmetsch von grossem Erfolge gewesen. Sie haben z. B. gezeigt, dass die Anbringung von Holraumen, wie sie das Eisenbetonverfahren leicht ermoglicht, an den Decken iiber der Orgel und dem Chore, durch Verkleidung der Wiinde mit Holz zu einer weichtonenden Verstiirkung des Schalles fiihrt, ferner auch, dass das gesproohene Wort des Eedners sich gleiehmassiger fortpflanzt, wenn nicht nur die Briistuug der Kanzel hohlwandig aus Holz angefertigt ist, sondern diese durch eine Holzriickwandung mit dem Holzfussboden in leitender Verbindung steht. Fiir eine gleichmiissige Ausbreitung der Sprache in mehr horizontaler Eichtung ist die Ausbildung der Unteransicht des Kanzeldeckels in Kegelform und die Abschragung der Briistung von grosater Wichtigkeit. 298 PAPERS IN SECTION IV (CHURCH MVSIO) -continued (Bielile). Um die Bildung von Naclihall und des Eclios einzuschriinken, sind die Umfassungen so zu gestalten, dass die iSchallmassen zerstreut und dadurcli abgetotet werden. Hier sind ebeufalls Ortli und Dolmetscli bahnbrechend gewesen und haben auf die Bedeutung der coirespondierenden Fliichen und auf deren Bebandliing aufmerksam gemacht. Obne auf das Bauteehniscbe niiber einzugehen, sei nur darauf hingewiesen, dass ein grosser Teil der Scbuld an den vorwiegend schlecbten akustischen Zustiinden unserer Kirchen die iibertrieben hohen Decken sind. Namentlich begiinstigen hobe gewolbte Decken die Bildung der stehenden Wellen ; die giinstigsten Verbaltnisse baben immer niedrig gehaltene, horizontale Decken gezeigt. Eunde Saulen zerstreuen den Scball besser als quadratiscbe ; weiter hat sich die Grundrissgestaltung des ganzen Raumes in Form eines langlicben Rechteckes mit Querschiff stets vorteilhafter erwiesen, als der Zentralbau mit kreisformigem oder polygonalem Grundrisse. Die Stellung der Kanzel an der Ecke des Triumpfbogens ist immer feblerbaft, well dann stets im Altarraume ein Naehhall entsteht. Bei alien symetrisch gehaltenen Kirchen ist die achsiale Stellung der Kanzel und zwar an der parabolisch ausgebildeten Eiickwand eines nicht tiefen Altarplatzes die gegebene. Das wicbtigste Mittel fiir die Scballzerstreuung liegt in der Obenfliichen- beliandlung. Alle Fliichen der Umfassungen, von denen der Ausgang eines storenden Reflexes zu befiirchten ist, sind uneben zu gestalten. Dieser Grundsatz lasst sich in verschiedener Form durchfiihren. Zuniichst sind die Wand- und Deckenflachen durch stark vorspringende Simse, Pilaster, Lysenen, Dienste, durch Grate, Gurte, Rippen zu gliedern ; die fiillenden Fliichen sind aber durch Auftragen von Stippputz oder Spritzwurf oder Rauputz, dem man durch Zusatz von Asbest oder Bimssand noch schalldiimpfender gestalten kann, oder durch Ausziehen von Riefen und durch Kannelieren rau zu gestalten. Das wirksamste uns zu Gebote stehende Mittel ist eine Erfindung des bekannten Architekten Dolmetscli ; es ist eine Art Korktapete, -dadurch hergestellt, dass auf Leinewand mit einem breiartigen Bindemittel Korkkorner aufgetragen sind, die neben hoher schalldiimpfender Fahigkeit die Eigenschaft besitzt, sich leicht an die Wandfiachen anzuscbmiegen. Der Korkschrot liisst sich audi erforderlichen Falles direkt auf die Wandfiachen auftragen. Das Verfahren ist bereits seit Jaliren stets mit bestem Erfolge angewendet worden und hat den grossen Vorzug der Wohlfeilheit gegeniiber den sehr teuren Korkplatten. Diese Korktapete ist auch unverbrennlich und sauber und daher jeder Stoffverkleidung vorzuziehen. Ueber den Wirkungsgrad auderer Dampfungsmittel sind ebenfalls Beobachtungen angestellt worden, die aber weniger von praktischer Bedeutung sind, well die Korktapete ein souveranes Mittel bleibt. Am Schlusse dieser Darlegungen moclite noch eine Mahnung Platz finden fiir alle, die nicht nur an dem Kirchengebiiude, sondern auch am kirchlichen Leben bauen. Der Zweck der Untersuchungen denen vsrir jetzt gefolgt sind, war der gewesen, dazu beizutragen, dass bei dem kultischen Baue die Zweckmassigkeit in alien Teilen zur Durchfiihrung komme. Aber wir wollen uns biiten zu glauben, dass mit der Zweckmassigkeit das hochste Ziel erreicht sei. Nicht theoretische Grundsiitze, nicht agendarische Vorschriften und liturgische Normen werden uns in den Stand setzen, dem, was wir bauen, auch den rechten Inhalt zu geben. Bbenso wie uns Kirchenmusikern immer vor dem Bewusstsein stehen muss, dass wir die Kunst nur als ein dienendes Glied gebrauchen solleu, dass wir immer an uns selbst arbeiten miissen, um unser 299 PAPERS IN SECTION lY (CHURCH MUSIC)— coiHinKed (liiehle). Denken und Haudeln in voile Haimonie zu bringen mit dem, was wir mit unserer Kunst darstelleu soUen. So mag audi der Baukiiusfcler durch eigene lebendige Anteilnahme mit dem Glaubensleben innerlicli verwaelisen, um aus diesem Grunde heraus ein Kultusgebaude waclisen lassen zu konneu, in welchem Geist von dem Geiste der Gemeinscliaft redet. Das sei die vornehmste Theorie des Kirclienbaues. •ANHANG. I. — Tabelle zur Bestimmung dee Grosse von Orgelkammern. E = Eiubeiten, auf je 15 Einbeiten sind 40 cbm. zu rechnen. E. Raum- inhalt. cbm Hohe. m Breite. m Tiefe. m 15 40 3,5—4,5 2,8—3,3 2,0—2,5 80 80 4,5-5,5 3,5—5,0 3 4 45 120 4,5—6 4 —6 3 —5 60 160 5 —7 5 —7 3 —6 75 200 6 —8 5 —9 3 —7 90 240 6 —9 6 —10 8,5—7 105 280 7 —9 7 —11 4 —7 soo TAPERS IN SECTION lY (CHURCH MVHlC)—rniil!iiiu'd (r.iehh'). II. — Grunduiss der Modellkiuche. (Entwui'f, ZeielmuDo- unci Aiifei'tiguug des Modclles voin Referenten.) 1 links : Sakristei, dariiber Patronatsloge, rechts : Sakristei, dariiber Orgelkammer. 2 links ; Sitzungszimmer, dariiber Empore, rechts: Garderobe- und Stimmzimmer dariiber Siingerempore. 3 Altar. 4 Kanzel. .5 links : Taufstein, reclits : Lesepult. 6 Orgelspieltisch. 7 Dirigentenstand. 8 Haal fiir Versanimlungen, Unterricht und Cborproben, dariiber grosse Empore. 'J Versenkbare Wand. 301 rAl'EliS IN SECTION lY (CHUIiCII MVHlC)—niiiliiiiird (llielih). 111. — Blick in ijas Innekk ijes j\Ioii]';JjLes. (ZwL'i Seitemviinile siml eiitJ'ornt.) 302 TAPELS IN SECTION IV (CHUECH JIUSIC)— roH/i'iiHcJ {Tlirlilc IV. SaENGEEEMPOEE dee IMoDELEKIECHE. 303 PAPEKS IN SECTION IV (CHUECH M.VSIC)—coiUi7med (Hadow, Mathias, MillUr). The Influence of Secular Idiom upon English Church Music. By WILLIAM HENRY HADOW, M.A., Mus. Doc. Iwn. cama, Principal of Armstrong College, Newcastle-on-Tyne; Member of the "English Committee " of the Int. Mus. Society. (For abstract, see p. 61.) Sutajektivitat und Objektivitat in der katholischen Kirchenmusik. By Canonicus DDr. FRANZ XAVER MATHIAS, 2, Bruderhofgasse, Strassburg, Alsace. Rector of the Strassburg Seminary for Priests, and Teacher of Catholic Church Music at Strassburg University. (For English abstract, see p. 65. Pull German text, 12 pages, in " Kirchenmusikaliscbes Jahrbuoh " for 1911, Pustet, Batisbon.) AUSZUG. — Eine einseitige Bestimmung des BegriSs Katbolische Kirchenmusik gibt oft Anlass zu einer ausschliesslichen Verbindung dieses Begriffs mit dem Begriffe Objektivitat. — li In ihrem eigentlichen Wesen und vollen Umfang ist die katbolische Kirchenmusik " die Teilnahme der Tonwelt an der gesetzlich festgelegten formellen Hingabe des Mensohen an Gott und Gottes an den Menschen im ' Historischen ' (Christus) und ' Mystisehen ' (Kirohe) Gottmenschen."— II. Wie nun dieser ganze Gottesdienst von Objektivitat und Subjektivitat nur das dem Geiste Christi und seiner Kirche Widersprechende, — von letzterer alle Willkiihr, alles Verkehrte, Bedeutungs-, Form- und Geschmacklose, von ersterer alles Inhaltsleere, Farb- und Leblose-abweist, vonbeiden aber alle positivenWerte— von letzterer Lebenseinheit, Lebensfiille und Lebenswarme. Gefuhlstiefe und Gefiihlsstarke, von ersterer Grosse und Erhabenheit beibehalt und zu harmonisoher Einheit verkniipft, so weist auoh sein musikalischer Anteil eine entsprechende harmonische Vereinigung von Subjektivitat und Objektivitat auf. — Weder "Hie Subjektivitat" noch " Hie Objektivitat " ist demnach die Losung der katholischen Kirchenmusik, sondern "Hie Subjektivitat und Objektivitat in edler Abklarung und harmonischer Verbindung." Prinzipielles zur katholischen Kirchenmusik. By Prof. Dr. HERMANN MULLER, Paderborn, Westphaha. Professor of Theology, and President of the AUgemeiner Ciicilienverein. (For English abstract, see p. 66.) AUSZUG. — Der Vortrag beriioksichtigt zunachst die gegenwartige Entwicklung der katholischen Kirchenmusik in den Landern deutscher Zunge — Ks wird die Bedeutung des Motuproprio des Papstes Pius X. fur die Tonkunst hervorgehoben. — In der Pflege des gregorianischen Chorals stehen die traditionellen Melodien der Editio Vaticana im Vordergrund des Interesses. — Ihre Vorteile vor den gekiirzten Melodien naoh der wissen- sohaftlichen wie naoh der kiinstlerisohen Seite werden mehr und mehr anerkannt. — In Bezug auf die mensurierte kirchliche Vokalmusik sind wir uns der hohen Bedeutung der klassisohen 304 PAPERS IN SECTION IV (CHURCH MUSIC)— continued (MUlUr). Polyphonie der romisohen Schule des 16. Jalirhunderts wohl bewusst. Aber auch die moderne Musik ist fahig, Kompositionen von solcher Giite, solchem Ernste und solcher Wiirde zu bieten, dass sie der liturgisehen Yerweudung nioht unwiirdig sind. Zwischen dem Stil der klassisehen Polyphonie des 16. Jahrhunderts und dem kirchlich nioht verwendbaren theatrahsohen italienischen Stil des 18. Jahrhunderts liegt ein weites Gebiet musikalischer Betatigung, das naoh der asthetisohen, praktischen und historischen Seite versohieden bewertet werden kann, das aber, wenn es im tibrigen Kunstwert zeigt und die liturgisehen Gesetze wahrt, vom Gottesdienste nioht ohne weiteres ausgeschlossen werden darf . Es sind nur einige wenige Satze, die ich Ihnen als einen kleinen Beitrag zur prinzipiellen Beurteilung der katholischen Kirchenmusik hier vorlegen mochte. Ich wiirde dankbar sein, wenn diese illustre Versammlung Anlass nehmen wollte, den einen oder anderen Gedanken zum Gegenstand eingehenderer Erorterungen zu machen. Bei der Auswahl der Satze leitete mich — das sage ich oifen — eine gewisse Eiicksichtnahme auf die Entwicklung der kathohschen Kirchenmusik, die heute in den Landern deutscher Zunge zu Tage tritt. Am Caecihentage 1903 hat Papst Pius X. sein bekanntes Motuproprio iiber die hi. Musik herausgegeben. Die principii generah (" allgemeine Grundsatze ") dieses auch fiir die Geschichte der Tonkunst an sich bedeatsamen Aktenstiickes betonen an allererster Stelle die Beziehung der Kirchenmusik zur Liturgie. Die hi. Musik, sagt der Papst, sei ein integrierender Bestandteil der feierlichen Liturgie (parte integrante della solenne liturgia). Das ist die Grundlage, auf der der Papst seine Anweisung aufbaut, seine " istruzione," der er ausdriicklich Gesetzeskraft zuschreibt und die er als Eechtskodex der Kirchenmusik angesehen wissen will. Indess nicht diese " liturgische " Seite der Angelegenheit ist es zunachst, die vor das Forum des internationalen Musikkongresses gehort. Wohl aber diirfen wir auch hier in Interesse der Tonkunst an sich unserer Freude dariiber Ausdruck geben, dass das von Pius X., dem obersten Liturgen der katholischen Kirohe, veroffentlichte kirchenmusikalische Eeformprogramm naoh den Worten Edgar Tinels nicht bless den tiichtigen Kenner der Liturgie zeigt, sondern auch einen Musiker, der in der Kunst gut Bescheid weiss. Und es ist eine gliickliche Fiigung, dass wir, indem wir im Sinne der liturgisehen Bestimmungen der obersten kirchlichen Behorde flir die gottesdienstliche Musik arbeiten, gleichzeitig das berechtigte Bewusstsein in uns tragen diirfen, dadurch fiir unseren Teil mitzuwirken an einer gedeihlichen Entwicklung der Tonkunst als solcher, Unter den verschiedenen Gattungen der Kirchenmusik stellt das Motuproprio den gregorianischen Gesang in den Vordergrund des Interesses. Es ist kein Zweifel, dass sich durch die papstliche Initiative, niiherhin durch die vatikanische Choralausgabe die Liebe zu diesem prachtigen Erbstiick der musikalischen Kunst landauf landab wesentlich verstiirkt und vertieft hat. Man wird es iiberall verstehen, dass den Freunden der Medicaea der Abschied von einer Ausgabe, nach der sie jahre- und jahrzehntelang gesungen batten und die ihnen von der kirchlichen Autoritat eindringlich empfohlen worden war, nicht leicht wurde. Aber es beginnt die Einsicht immer allgemeiner zu werden, dass die traditionellen Gesangsweisen vor den gekiirzten erhebliche Vorteile sowohl in wissenschaftlioher wie in kiinstlerischer Beziehung haben. Und so werden allerorten in stets fortschreitender Entwicklung die Faden wieder gekniipft, die auch in den deutschen Landen die heutige liturgische Musik eben durch die traditionellen Melodien mit der ehrwiirdigen Gesangspraxis vergangener Jahrhunderte verbinden. In diesem Zusammenhange erinnere ich gerne an die gemeinsame Konferenz der Diozesanpriisides, Eeferenten und Mitglieder der wissenschaftlichen Kommission des Allgemeinen Geecilienvereins, die am 28. und 29. Dezember 1910 in Frankfurt a.M. tagte. Im Anschluss an ein Eeferat des Universitatsprofessors Dr. Peter Wagner wurde damals ein 305 PAPERS IN SECTION IV (CHURCH MUSIC)— continued (Muller). intimerer Choralkursus mit hoherer wissenschaftlicher Tendenz (neben den mehr praktischen Diozesankursen) in ofiBzieller Eesolution als erstrebenswert bezel chnet und seine Abhaltung fiir 1912 ins Auge gefasst. Ferner heisst es unter den Konferenzbeschliissen : " Choralwissenscbaftlicbe Bestrebungen verdienen warmste Unterstiitzung. Es soUen jiingere Krafte zu gediegenem Studium veranlasst, und, soweit es die Verhaltnisse ermoglichen, durch Stipendien, Avisschreibung von Preisarbeiten u. a. geeignete Massnahmen gefordert werden." Ich bin sicber, dass die Internationale Musikgesellschaft von derartigen Bestrebungen, die zweifellos der Kunst ebenso sehr dienen als der Liturgie, mit Befriedigung Kenntnis nebmen wird. Was die mensurierte kircbliche Vokalmusik alterer und neuerer Zeit angeht, so ist es bekannt, dass das Motuproprio von 1903 " die klassische Polypbonie, besonders die der romisehen Scbule, welcbe im 16. Jabrhundert ibre bochste VoUendung durch Pierluigi da Palestrina erreichte," mit besonderen Lobspriichen feiert. Aber Pius X. liisst ausdriicklicb weiterhin die " neuere Musik " in den Kircben zu, weil und insoweit aucb die Kompositionen von solcher Giite, solcbem Ernste und solcher Wiirde bietet, dass sie der liturgischen Verwendung nicbt unwiirdig sind ; allerdings soU man darauf acbten, dass die modernen IMusikwerke nicbts Profanes entbalten, von Theater-Reminiszenzen frei sind und aucb in der iiusseren Form nicbt nacb profanen Stiicken gebildet sind. Der " tbeatraliscbe Stil, der im vorigen Jabrbundert zumal in Italien verbreitet war," erscbeint dfem Motuproprio gemiiss als am wenigsten geeignet zur gottesdienstlicben Verwendung. Mit diesen Satzen ist uns katbolischen deutschen Kirchenmusikern, die wir grosstenteils im Caecilienverein organisiert sind, die Eichtung gegeben. Der Caecilienverein— icb lege Wert darauf, das an dieser Stelle autbentisch zu erklaren — der Caecilienverein ist keine Partei und keine Scbule. Wir diirfen und werden uns nie das Eecbt anmassen, die nacb den Stilregeln der alten klassiscben Scbule gearbeiteten Werke, wenn anders sie wirklicb kiinstleriscben Gebalt haben, prinzipiell als weniger geeignet zur kirchlichen Verwendung zu bezeichen, sie prinzipiell als veraltet und iiberlebt anzuseben. Wir werden ihnen im Gegenteil dort, wo die notwendigen Voraussetzungen ihres kiinstleriscben Verstiindnisses und ibrer wlirdigen Auffiibrung gegeben sind, den vom Papst zugebilligten Ebrenrang freudig zuerkennen, und, scbon im Interesse der Kunst, die Forderung der ibrer Pflege dienenden a cappella-Cbore uns angelegen sein lassen. Anderseits balten wir uns in keiner Weise fiir befugt, Kompositionen neueren Stils, die sieb durcb ernste, wiirdige Haltung und durch kiinstleriscben Wert fiir die gottesdienstlicbe Verwendung empfehlen und die im iibrigen den liturgiscben Gesetzen nicbt widersprecben, prinzipiell von der Kircbe auszuscbliessen. Der Vorwurf der " Unkircblicbkeit " ist scbwer und brennt tief. Man darf ihn nicbt erbeben, obne ibn zwingend beweisen zu konnen. Auf dem grossen unermesslicb weiten Gebiete, das sicb zwiscben der strengen Polypbonie der klassiscben Vokalperiode einerseits und dem " theatralischen " Stil anderseits ausdebnt, bat kiinstleriscber Sinn und fromme Begeisterung fiir Gottesbaus und Gottesdienst mancbes Tonstiick geschaffen, das nacb Inhalt und Form wirklicb " nicbts Profanes " enthiilt und " an die im Tbeater iiblicben Motive " aucb nicbt von weitem anklingt. Der Aestbetiker mag diese Scbopfungen verscbieden bewerten. Der Praktiker mag sie unter diesem oder jenem Gesicbtspunkte loben oder tadeln. Der Historiker mag ibre Stellung in der Musik- und Kulturgeschicbte untersucben und sie auf ibren " Ewigkeitswert " probieren und priifen. Die Kircbe, die " stets den Fortscbritt der Kiinste anerkannte und begiinstigte," weist sie vom Tempel Gottes nicbt hinweg, wofern ecbte, lautere Kunst aus ihnen zum Menschenberzen redet und 306 PAPERS m SECTION IV (CHUECH U\J SIC)— cantinued {Muller). wofern sie die liturgischen Gesetze gewissenhaft wahren. Es ware ein Irrtum anzunehmen, der den weitaus grossten Teil der katholischen deutschen Kirchenmusiker umschliessende Caecilienverein wolle papstlicher sein als der Papst. Im Anfange der caecilianischen Bewegung war es angebracht, die liturgische Gesetzmassigkeit mehr — wenn auch nicht ausschliesslich — zu betonen. Wenn das " liturgische Gewissen " hinreichend geweckt ist, wird es vielleicht Zeit sein, allmahlich mehr — wenn auch nicht ausschUesshch — die inneren kiinstlerischen Quahtiiten der flir die Kirche bestimmten Tonschopfungen kriiftiger zu fordern. In diesen Opportunitatsfragen haben die wechselnden Zeitumstande und andere Verhaltnisse ein entscheidendes Gewicht. Aber der Verein als solcher ist sich bewusst, dass er in beiden Eiicksichten seinen starken Eiickhalt an der durch die Kirche gegebenen Norm hat. Er beansprucht weder nach der einen noch naeh der anderen Seite eine selbstandige Autoritat. Er will weder die Alleinberechtigung einer bestimmten Kunstrichtung noch die Uniformierung durch gewisse liturgische Schulmeinungen. Er respektiert in beiden Beziehungen das Mass von Eecht und Freiheit, das die kirchliche Autoritat wie den verschiedenen Kunstrichtungen und Kunstepochen, so den verschiedenen liturgischen Gebrauchen und Gewohnheiten der einzelnen Nationen und Gegenden zubilligt und zulasst. Auf der bereits erwiihnten Frankfurter Konferenz wurden beziiglich der mehrstimmigen kirchlichen Gesangsmusik und beziiglich der Instrumentalmusik einige Leitsatze aufgestellt, bei deren Formulierung Peter Griesbacher, Dr. Karl Weinmann und Vinzenz Goller besonders beteiligt waren. In diesen Leitsatzen wird ausgesprochen, dass der klassische Stil als anerkanntes Ideal allzeit hochzuhalten und zu pflegen sei ; der Verein erkenne jedoch die voile kirchliche Berechtigung eines modernen Stiles auf einer dem Palestrinastil gegeniiber harmonisch breiteren Grundlage an und stehe beziiglich der musikalischen Ausdrucksmittel fiir die mehrstimmige unbegleitete kirchliche Gesangsmusik ganz auf dem Boden des Motuproprio von 1903 ; der instru- mentalen Kirchenmusik lasse er dort, wo die kiinstlerischen Voraussetzungen vorhanden sind, im Sinne des Motuproprio sein voiles Interesse und voile Pflege angedeihen. Es wiirde hier ein Wort beigefiigt werden konnen iiber das Kirchenlied in der Volkssprache und iiber das Orgelspiel. Beide Punkte haben gewiss fiir die Praxis der Kirchenmusik grosse Bedeutung. Da ihrer jedoch im Motuproprio unter den Gattungen der Kirchenmusik nicht ausdriicklich Erwahnung geschieht, begniige ich mich mit den eben gemachten Ausfiihrungen. Wo iibrigens die Kirchenmusik im Geiste der erorterten Prinzipien gehegt und gepflegt und gefordert wird, braucht die ernste Tonkunst weder um das Kirchenlied in der Volkssprache noch um das kirchliche Orgelspiel in Sorge zu sein. 307 PAPERS IN SECTION IV (CHURCH MUSIC)— continued (Rootham). Choip-Boy Training. By CYRIL BRADLEY ROOTHAM, M.A., Mus. Doc, 4, Huntingdon Road, Cambridge. Organist and Director of Music, St. John's College, Cambridge. (For abstract, see p. 69.) There can be no doubt of the importance of this subject. Quite apart from the unquestionable charm of the sound of boys' -voices, when they are well trained, every thinking person will realise that in the hands of hundreds of trainers of boy-choirs up and down the country lies the future success or ruin of many thousands of the next generation of men's voices. Reference is here made not only to the singing-voice, but also to the speaking-voice ; for there is no doubt that bad training or lack of training is responsible for many of the unmusical speaking- voices as well as singing-voices which we hear every day. As a first point it is to be noticed that the choirmaster ought to be able himself to sing, musically and efficiently. He need not be a great solo singer, but he should understand voice-production, and be able to illustrate his views to his choir in a practical manner. An organist should not be a choirmaster, unless he understand singing at least as well as he knows the use of the organ ; for the human voice is far more delicate and more expressive than a pipe-organ. And incidentally it may be remarked that composers of choral works and conductors of choral bodies should also have studied thoroughly the technique of the human voice. In the British Islands for many years there have been choir-schools attached to most of the cathedrals and collegiate chapels, and to many of the more important churches. These schools provide of course for the general education of their scholars ; though the boys whom they educate are chosen in the first instance for the excellence of their voices and for their musical ability. The majority of such boys benefit in various ways in after life from the vocal and general musical training which they have thus received ; a fair number become solo singers or organists and choirmasters. In this way a good tradition can be handed on from generation to generation. The great majority of the choristers who are thus trained come from what are called the lower middle-classes. Some people maintain that the best results can be achieved only with boys of so-called gentle birth. My own experience, such as it is, has been rather the reverse. At any rate, two things are certain : good results are attained only by systematic training on sound lines ; and good voices and musical intelligence are gifts of Nature which know nothing of class distinctions. Of course a famous choir school, if it be richly endowed, can select the best boys from all over the country ; just as a rich football club can command the services of the best professional players to represent their county or their district. But those choirmasters (and they are many) who produce good results from purely local material gain at once the maximum of personal satisfaction and the knowledge that they are helping the musical needs of their district. Certainly a village produces fewer boys than a large town ; but then the village church is the cathedral of its neighbourhood, and should be treated as such. Year by year village schools are being provided with more competent teachers, who are instructed by the Board of Education that the singing-hour is at least as important as any other hour of study. Only let this ideal be acted up to by the church authorities, and the choirmaster would have no difficulty in getting time enough during the week to make his choristers efficient singers for the Sunday services. But the necessary enthusiasm, patience, and knowledge must not be lacking. 308 PAPEES IN SECTION IV (CHUECH MV SIC)— continued (Rootham). There will be, then, vocal material enough for an efl&cient choirmaster in practically any church in the country. He should be able to procure, say, fourteen trebles, able to sing a simple service well. For the more ornate cathedral service a larger selection of voices and more training will be required. While the question of demand and supply in the matter of boys' voices is being discussed, let not the error be made of supposing that all boys have musical voices. A singing-teacher of considerable notoriety said recently that everybody should be able to sing, and cited the analogy of birds. But can all birds sing ? Are even the so-called singing-birds all possessed of equally good voices? I have heard thrushes singing very badly. Similarly, some boys have poor voices ; others cannot sing at all. And that introduces the important point of the selection of boys for a church choir. It is well to choose quite young boys of eight or nine, sometimes ten years of age, before they have had many opportunities of acquiring bad vocal habits. At the same time it is advisable to have the choristers collectively as much as possible of varying ages, so as to minimise the risk of losing several boys of about the same age at the same time, in consequence of their voices "breaking," — that is, the appearance of the adult voice supervening on the treble voice. In choosing a boy for a choir, one should of course think of his voice first ; but other considerations are important. Does he seem intelligent ? Can he instantly and accurately reproduce notes of varying pitch and tonality as they are sounded on a pianoforte ? These two considerations should receive careful attention ; for even a beautiful voice is of little use unless the owner have a quick ear and an intelligent brain, even at the age of eight or nine. The voices which will most repay the choirmaster's training are those (not necessarily of great volume) which are clear and even from middle C or D to (say) the top A. Those voices are to be avoided which betray a bad " break " about D (4th line in the treble clef), also those which are strong in the lower register and weak in the upper. Furthermore, it is well to find out at once if there be any indication of enlarged tonsils or adenoid growths. As regards procedure in the practice-room. The boys should not actually sing for more than about forty minutes at any one practice. If the time taken be an hour, there should be intervals of rest, during which the theoretical side of the music may be discussed. But above all the boys should not be compelled to stand too long at a time ; they will get tired, cramped, and listless, and bad and careless singing will be the result. As to their positions, the usual plan, both at practice and at service time, is to have the senior boy on each side of the choir at one end of the line, the next senior boy by his side, and so on ; the youngest and least-trained boy being furthest from the eldest and most experienced. The idea, no doubt, is that in service time the head boys shall be nearest to the congregation, and so be heard best. I myself adopt a different plan with my own boys (fourteen choristers and six probationers, the latter practising with the choristers, and so preparing themselves to be drafted into the choir when vacancies occur). At service-time the senior boy on each side of the choir (seven a side) is placed in the middle ; on either side of him stand the two youngest and least experienced boys ; at each end of the line stand those who are second and third in seniority, and next to them are the two remaining boys of intermediate age and experience. Thus the youngest boys have one more highly-trained on either their right or their left ; and, as small boys are very imitative, one can attain in this way both efficiency and a good tradition of singing more easily than by the other and usual method, which produces the maximum of efficiency at one end of the line and the minimum at the other. In the practice-room the probationers are placed (three a side) next to the most 309 PAPERS IN SECTION IV (CHUECH MUSIC)— continued (Rootham). senior boys. I call my three eldest boys on each side " seniors," and the other four " juniors." The juniors often are made to sing for a while by themselves. All choristers, senior and junior, are called upon to sing small bits of solo or verse-parts by themselves ; every boy thereby gets accustomed as early as possible to hearing his own voice alone, and thus gains confidence without delay. Also the questionable system of having only one or two senior boys to sing all the solo parts is thus obviated. The boys should stand (or perhaps sit on high stools, but with their feet on the ground) in an easy and natural position, and no part of the body should at any time be in a tense or rigid condition. As in violin or pianoforte playing, for instance, ease of posture should be an essential feature. Kegularity of training, especially in the matter of well-chosen vocal exercises, is of the first importance. If the music to be practised in any one week should take more time than the choirmaster suspected, it were far better to leave the service or anthem to take care of itself, and not to encroach on the valuable fifteen minutes or so of vocal exercises which should be the chief feature of every practice. Reference is here made of course to choirs which can read well at sight. All the boys should beat the time. This custom is of the greatest use in teaching boys time-values and rhythm. A pianoforte, and not a harmonium, should be used in the practice-room for accompanying purposes. The pianoforte should be preferably either of the miniature " cottage " or of the " grand " type, so that the choirmaster can see his boys easily over the top of the instrument. A harmonium is a dismal and pernicious instrument, and certainly a bad medium for the accompaniment of boys' voices. Its nasal tone is Uable to be imitated by the choristers, and it has not the means of " percussion " possessed by a pianoforte, or even a modern organ, so necessary to mark the varying rhythms of the music to be sung. The actual vocal training now falls to be considered. Of course, no one can sing well, boy or adult, unless he is taught to breathe properly. Without due command of the breath, good phrasing is impossible. Therefore during all the vocal exercises, the choirmaster should be sure that each boy is taking breath in the appointed places only. The senior boys may perhaps be depended on, not only to manage this for themselves, but also to see that the junior boys next to them are doing their part. A test of good breathing for, say, fourteen boys, is that they should collectively be able to produce a crescendo followed by a diminuendo on one long, sustained note ; the diminuendo is especially difficult. This exercise is of great practical value : Slowly. i Next arises the choirmaster's most serious problem — the production of good, even tone throughout the whole range of the boy's voice. Every trainer of boys' voices knows that about C or D (3rd space and 4th line of the treble stave) there is likely to appear the "break," or division, in the voice, and that this "break," in nine cases out of ten, will be accentuated by bad methods of singing or by entire lack of training. That part of the voice which lies below the " break " is called chest register ; the upper part is called head register. To blend these two into one even compass without any sign of the " break," is perhaps the most difficult part of the choirmaster's work. The danger is that the lower part of the voice will become strong and harsh, while the upper notes (the most beautiful part of the boy's voice) will then become weak, or perhaps will fade away altogether. Extreme examples of this can be 810 PAPERS IN SECTION IV (CHURCH MUSIC)— continued (Eootham). found in any of our streets — the familiar newspaper boy has a magnificently strident chest register, but his head register is non-existent from the singing point of view. His case illustrates what can be effected in the human voice by constant shouting. To obviate this danger, choirmasters resort to various devices. Some develop the chest voice to the full, as well as the head voice. This method is hazardous. There is always the danger of the break appearing, and the lower part of the boy's voice becomes somewhat coarse. The effect is palliated if one listens to the voices at a distance in a large and resonant building ; but the tone at close quarters is hardly pleasant. Others cut the Gordian knot, and never allow their boys to develop any full tone at all. This method shuns the difficulty, and the voices never " ring," even in loud passages, on their high notes. Other choir-trainers again, realising that on certain vowel sounds the chest voice cannot be forced, use these " closed " sounds for all the exercises. Others go even further ; when words are being sung, they substitute these closed vowel sounds at all times for other vowel sounds which might induce the chest tone to be too prominent. This often makes nonsense of the words, and produces permanently a weak, "smothered" effect, which is unnatural and irritating. Boys' voices are really effective only when their words are plainly heard. Vowels, as well as consonants, should be both clear and natural. I myself believe that the head register should be fully developed, and should be carried down into the chest register ; the chest register should not be forced upwards to meet the head voice. For that reason, the exercises which I use almost invariably begin on the highest notes, and the boys are taught to send the tone forward, behind the front teeth, so that the small resonance cavities in the front part of the head are brought fully into requisition to reinforce the sound. For beginners especially 1 insist on soft singing, using the vowel sound " ah " on the high notes, and relapsing imperceptibly into " oo " as the voice descends into the lower or chest register. The following illustrative exercises "a" to "j" are selected from many others. They may be sung slowly or quickly, according to the experience and breath-control of the choristers. They are " patterns," and should be used in sequential form in different keys. The position of the tongue, by the by, should be observed. It should lie fiat in the mouth. Bad tone is often produced solely by the rising of the tongue, which then interferes with the clear emission of tone from the mouth cavity : — 4 — ^^ ^ {a) I^ P-» -•-*- i ii) =P= (-)ii| 3 =p=r=«==i>=p: =t^ s * s i-# ,t=l=H *-*-*-v - {d) $ -I — *-i — ^3z -pCTl — P- -0-\ — »-»-P-a-^P* — 1-- 311 PAPEES IN SECTION IV (CHUECH UV8IG)— continued (Rootham). (/) (e) ^-f=i , 1 1^ - etc. -z r— 1 — t:; — b ?^ §-r-\ ^ "* =^ — ^~ -N t|^ 1^^-^*- Zip* 1=^ (!?) t^pctaniK-i (».S^^^ ^gf m ■w-zi^^ ■•"^- ^— =^— -r = -— T f T Tl ^ S^ ' [---l-3=^y^=t ,^d^=a <^'> ^^E [The exercises were here sung as an illustration by fourteen choristers.] The lines have been indicated on which one may endeavour to cure or obviate one of the two chief troubles which the choirmaster has to surmount — the forcing of the chest-tone and its consequent evils. The other most serious difficulty is flat singing. It is assumed first that no boy is allowed in a choir who has a defective musical ear — that is to say, every boy must be able to detect the flat singing when it is pointed out to him. The rest is a matter of knowledge and due care. The chief causes of loss of pitch are : — forcing the tone, physical weariness, ill-health, and laziness. All these causes are, or should be, temporary, and so may be cured. The remedy for forced tone has already been spoken about ; for the rest, the choirmaster must see that his boys are in good health and are not overworked. As to laziness, boys are seldom lazy if their work be interesting and varied. It should be the choirmaster's care to see that these latter conditions are not overlooked — for a dull and perfunctory practice will bring its own reward.. It sometimes happens however that flat singing persists in spite of the most anxious efforts of the choirmaster. As final remedies are suggested soft and sustained singing on single notes, and recitation on a monotone. These must be persisted in until the cure is effected, but of course the boys must be made to feel that they are responsible factors in the situation. In due time a boy's voice will "break" — that is to say, puberty will assert itself, and the vocal apparatus will undergo the greatest possible change. As soon as a boy's voice shows signs of " breaking," he should at once and entirely cease to sing, until his man's voice unmistakably asserts itself. The period of change may last only a month or two, it may be extended over a year or even 312 PAPERS IN SECTION IV (CHURCH MUSIC)— continued (Rootham). over a longer period. It is a temptation to some choirmasters to keep on boys during the " breaking " period. They are usually the oldest and most experienced choristers, and not infrequently their voices are exceptionally brilliant at such a time. But, as remarked just now, the boy's future singing voice and speaking- voice are at stake. His treble voice, at the most, wiU last but eight or nine years, whereas his adult voice has to serve him for the rest of his life. The symptoms of " breaking " are easily detected. Either the lower or the upper notes begin to disappear ; or particular notes, formerly clear and true, become uncertain and wavering ; or occasionally the voice will " crack " and fly off, usually on a high note. A day or two will suffice to determine if the phenomenon be merely a cold ; if not, at all costs, the boy in question should be superseded, and should at once rest his singing-voice entirely, and his speaking- voice as much as possible, until the adult voice appear in its due strength and proper quality. A few words may be said about part-singing for treble voices. As regards part-singing for boys, it is advisable to let them sing only music in which the parts have each about the same compass. This comprises catches and rounds (" Sumer is y cumin' in " will be an admirable example of the latter), and works written for five or more mixed voices, of which the two upper parts are for trebles. Numerous examples of these occur in the madrigals and motets of the 16th and 17th centuries, and in anthems of the 17th, 18th and 19th centuries. In most of these the two treble parts " cross " freely— that is to say, both sets of trebles sing music of about the same pitch and compass. On the other hand, music written in two or more parts for trebles only, where the lower part or parts each remain at a lower pitch than the upper, is to be deprecated. A boy should always be using every part of his compass. To make some boys therefore sing for any length of time a part which keeps their voices in the lower or chest register only, is to encourage " forcing " of that register. Also, as before remarked, every choirmaster is aware that the upper notes are the best and most characteristic part of a boy's voice. [As illustrations were here sung, first, a solo from Handel's " Samson," "Let the bright seraphim," for fourteen boys in unison ; and, secondly, the very ancient " rota " or " round," " Sumer isy cumin' in," for six voices, the four upper parts being sung by the trebles (three or four to a part.] These remarks on an important branch of musical training have been necessarily in the nature of a sketch rather than a treatise. It must be remarked in- conclusion that only practical experience can teach the successful solution of the difficulties of choir-boy training. Zup Gesehiehte der Kipchenmusik im 17. und 18. Jahphundert. By Dr. KAEL WEINMANN, Eatisbon, Bavaria. Director of the Church Music-school. (For English abstract, see p. 74.) AUSZUG. — Auf dem III. Kongress der I. M. G. in Wien 1909 wurde eine Resolution gefasst, die " eine wissensehaftliche Untersuchung der instrumentalen Kirchenmusik um die Wende des 17. Jahrhunderts nach den Quellen als eine dringende Aufgabe der Gegenwart" bezeichnet. Obwohl der Hauptreichtum der Proskeschen Musikbibliothek in Regensburg in den Schatzen des altklassischen A cappella-Stils besteht, so besitzt sie doch auch Werke, welche der obigen Zeitperiode angehoren. Das Priifungs-Ergebnis, inbezug auf die liturgische Verwendbarkeit derselben, und weiterhin die Frage einer eventuellen Publikation bildete den Inhalt dieses Beitrages. 313 Section V.— Musical Instruments. Sectional Chairmen: Prof. Vito Fedeli (Novara), Prof. Dr. Angul Hammeeich (Copenhagen), Dr. D. F. Scheueleer (The Hague). Sectional V ice-Chairmen : W. Willson Cobbett, Esq. (London), Eev. F. W. Galpin (Harlow), Theodoee Holland, Esq. (Wimbledon), Dr. T. Lea SouTHGATE (London). Sup la n^cessite d'^lever le niveau artistique de la Muslque Militaire. By JULIAN CARILLO, Mexico. Violinist. {For English abstract, see p. 56.) Je prends la liberty de communiquer quelques breves reflexions sur la n^cessite qui s'impose de relever le niveau artistique des musiques militaires, trop n6ghge par les artistes ; et de rendre obligatoire, pour les ^l^ves de composition de Conservatoires, de la vieille Europe comme de la jeune Amerique, I'enseignement de I'art d'ecrire pour la musique militaire, art bien plus facile que celui d'ecrire pour I'orchestre symphonique. On dit que Michel Angelo se plaisait aux corrections de details, parcequ'il etait persuade que la presence de ces petites choses eloigne la perfection, et qu';\ son avis la perfection n'6tait pas une petite chose. Je prendrai exemple sui I'illustre auteur du " Moise," et appellerai attention sur une de ces petites fautes qui dans la musique donne les plus regrettables r^sultats. La musique militaire, qui ne peut pas se flatter d'avoir ete honor6e d'une bien grande attention des maitres illustres, tache avec la plus grande timidite de s'adapter quelques compositions de son frere aine I'orchestre, et il resulte que maintes fois ces adaptations ne parviennent pas k I'embellir. Assurement les compositeurs de nos jours devraient ecrire pour la musique militaire quelques oeuvres plus dignes d'elle. Et c'est un devoir pour les Conservatoires, tant de I'Europe que de 1' Amerique, d'apprendre aux Aleves de composition ce dont ils ont besoin pour savoir ecrire pour musique militaire. II est triste de voir que des musiciens tres competents, qui composent assez bien, qui font de beUes instrumentations pour I'orchestre, sont incapables d'instrumenter pour la musique militaire, et vont demander le concours de musiciens qui leur sont inf6rieurs. Et ce n'est pas un tr^s grand honneur pour les 6coles de musique, de voir que les musiciens qui dcrivent correctement pour la musique militaire ont acquis cet art presque toujours en-dehors des Conservatoires. II m'est arriv6, en demandant k des forts musiciens pourquoi n'ecrivaient-ils pas pour la musique militaire, d'entendre pour r^ponse, qu'il y avait 6norm6ment de transpositions et que les instruments qui composent I'orchestre militaire offraient une tres grande difficulte au point de vue de I'ecriture. Dans I'instrumentation pour la musique 'militaire, on n'a pas besoin de toutes les transpositions qui sont necessaires dans I'orchestre symphonique. Dans celui-ci nous nous servons presque toujours de toutes les clefs, car nous avons des instruments en Do-Re'7-Re-Mit'-Mi-Fa-Sol-La-Si?, etc. ; dans la musique militaire on en a seulement en Sii'-Do-Ee^-Mi^-Fa (quelques-fois). Oii sont les instruments en Re ? Ou sont ceux en Mi ? Oii sont ceux en Sol ? 814 PAPEES IN SECTION V (INSTRUMENTS)— continwcci {Durant). Oil sont ceux en La ? Et apr^s ceci, peut-on dire encore qu'on a besoin dans la musique militaire d'une plus grande quantite de transpositions que dans I'orchestre ? Une fois demontre que les transpositions sont plus nombreuses dans I'orchestre que dans la musique militaire, nous analyserons si les instruments qui la composent sont plus difficiles k traiter que ceux de I'orchestre. L'orchestre, comme nous le savons tous, a un tres grand nombre d'instru- ments a doubles cordes, les violons, les altos et les violoncelles. Avons-nous dans la musique militaire un seul instrument k doubles cordes ? Quel de tous les instruments de la musique militaire peut avoir la tres grande difficult^ des violons, avec ces coups d'archet, ces pizzicati et ces cordes doubles, triples, et quadruples? Et, il y a encore plus, quel est I'instrument dans la musique militaire, qui puisse etre compart par sa difficult^ aux harpes dans I'orchestre, avec ces jeux de pedales si compliques, lesquels, d'avis des sp6cialistes, les musiciens les plus c61^bres n'ont pu parvenir toujours a traiter correctement ? Et du cote pratique, sera-t-il necessaire de parler de la facilite qu' auraient les eleves de composition pour faire entendre leurs oeuvres, si on pense qu'il est plus facile de trouver une demi-douzaine de bonnes musiques militaires qu'un seul orchestre ? Combien de compositeurs qui n'ont pu parvenir ei faire entendre leurs compositions a I'orchestre, auraient pu les fairs jouer facilement dans des musiques militaires, s'ils les avaient pu instrumenter pour celles-ci ? Si Ton rend obligatoire dans les Conservatoires I'etude de I'instrumentation pour la musique militaire, on parviendra d'abord a rendre plus complete I'education des jeunes compositeurs, et ensuite a etablir une base pour I'enrichissement du repertoire de la musique militaire oii figureront desormais des compositions dignes d'elle. Instpuments en euivre omnitoniques £l 6 pistons dependants. By PELICIEN DUEANT, 149, rue de la Victoire, Brussels. (For English abstract, see p. 56.) EESUME. — Le systfeme consiste 4 ajouter aux trois pistons descendants ordinaires (acoord^s k 1 ton, J ton et 2 tons), trois pistons ascendants, haussant I'instrument d'une quarte juste avec les degr^s chromatiques intermediaires. Un cor en fa ou une trompette en fa est en meme temps un instrument en si'iy. Aux sept fondamentales des instruments ordinaires k trois pistons ou des instruments k six pistons du systfeme Sax, viennent s'ajouter cinq fondamentales nouvelles, vers le haut. Nous obtenons douze fondamentales doi\ la denomination d'instruments omnitoniques. Les instruments ordinaires a trois pistons sont faux par I'emploi des doigt^s combines (trop haut) et des tierces (5me et lOme harmoniques trop bas). De plus ces instruments ne disposant que de sept fondamentales sont limit^s dans le grave du fajt nominal son 2. Les avautages de notre systfeme sont : 1. L'augmentation ^norme de I'^tendue dans le haut et le grave. 2. La suppression de la lacune entre le fait 2 et I'ut 1. 3. Des doigt^s tr^s justes et des combinaisons de correction. 4. Uu grand choix de doigt^s k approprier aux traits. 5. Uu doigl^-courant tr^s simple (prfesque toujours un seul piston). L'invention que nous proposons consiste dans I'adoption de six pistons ou cylindres dependants dont trois descendants et trois ascendants. Le premier, le second et le troisieme pistons sont descendants, respectivement d'un ton, un demi-ton et deux tons ; le quatrieme piston est ascendant d'un ton sur la colonne d'air vide (employee sans piston), le cinquieme est ascendant de un ton sur le quatrieme et en combinaison avec lui, le sixieme ascendant de un demi-ton sur les quatrieme et cinquieme rdunis et en combinaison avec eux. Les quatrieme, cinquieme et sixieme coulisses font done partie de I'instrument quand leurs pistons restent leves. 315 PAPEES IN SECTION V (INSTRUMENTS)— coniraMcd (Durant). L'instrument ainsi construit est omnitonique, c'est h dire qu'il donne douze fondamentales distinctes se succ^dant r^guli^rement par demi-tons sur I'espace d'une octave ; ces douze fondamentales sont justes par les doigt^s suivants enum^res dans I'ordre chromatique descendant : — Positions. Pistons Employes. Premiere ... ... ... 4, 5 " Seconde Troisieme QuatriSme Cinqui^me Sixieme Septieme Huitieme Neuvieme Dixieme fondamentales nouvelles. ... 4,5. ... 4,6. ... 4. ... 2,4. ... (vide). ... 2. ... 1. ... l,2,3,4,5,6,aulieudel,2. ... 3 Onzi^me ... ... ... ... 1, 2, 3, 4, au lieu de 2, 3. Douzi^me ... ... ... ... 1, 2, 3, 6, au lieu de 1, 3. A la rigueur on peut employer une treizieme position avec les pistons 1, 2, 3 ; cette position donne un fa nominal grave trop haut. Voici d'ailleurs le tableau des longueurs de tube resultant de ces divers doigt^s pour un cor dont la colonne d'air k vide serait en f a : — Pistons LONOUEUE Longueur Remabques Quant a la Positions. Sons Heels. Employes. EXIGEE. Obtenub. Justesse. Premiere ... si b^mol 4,5,6 2950 2950 exact. Deuxieme . . . la 4,5 3126 3126 exact. Troisieme ... la bemol 4, 6 3313 3333 l^g^rement trop bas, pratiquement juste. Quatrieme ... sol 4 3509 3509 exact. Cinqui^me ... sol b6mol 2,4 3718 3744 l^g^rement trop bas, pratiquement juste. Sixieme fa 3939 3939 exact. Septieme . . . mi 2 4174 4174 exact. Huitieme . . . mi bemol 1 4422 4422 exact. Neuvieme . . . r6 1,2,3 4,5,6 4685 4692 exact (7 millim. sur 4685 sont insaisissa- bles. Dixieme v6 b6mol 3 4963 4963 exact. Onzieme ut 1, 2, 3, 4 5258 5251 exact (7 millim. sur 5258 sont insaisissa- bles. Douzieme ... si 1, 2, 3, 6 5571 5505 un peu trop haut mais beaucoup plus juste que la position cor- respondante de tous les instruments k trois pistons : 6cart de 66 millim. sur 5 m. 571 au lieu de 168 millin. Nous ne mentionnons pas la treizieme position du si b^mol grave avec pistons 123 qui serait beaucoup trop haute. 316 PAPERS IN SECTION V (INSTRUMENTS)— conJinu«(« (Durant). Si nous negligeons, a bon droit, des ecarts de sept millimetres sur de tres grandes longueurs, nous constatons que nous avons ainsi neuf fondamentales rigoureusement justes ; trois autres sont pratiquement tres justes. Les tableaux precedents n'indiquent nullement un doigte chromatique permanent. lis contiennent I'enum^ration des douze families tonales de rinstrument. Nous verrons plus loin que Ton pent en extraire un doigte pratique tr^s simple. Les avantages entierement nouveaux de notre systeme sont les suivants : — 1. Nous echappons au defaut de justesse des doigtes combines bien que nos pistons soient dependants done combinables. C'est que : (a) La longueur des coulisses ascendantes est calcul^e en vue de la combinaison et le resultat de leur superposition est rigoureusement exact. (6) Les pistons ascendants fournissent des corrections aux doigtes descendants combines ou bien des combinaisons nouvelles de compensation. 2. L'instrument est capable d'utiliser les fondamentales profondes et les fondamentales aigues selon la nature du trait a executer. Un cor en fa est en meme temps un cor en si bemol aigu. De plus ee cor en fa est muni de fondamentales profondes tr6s justes. Nous rehabilitons I'ancienne trompette en fa en prociirant sur le meme instrument, la suppleance automatique d'une trompette en si bemol dans les cas difficiles de I'aigu ; un trombone tenor devient en meme temps un trombone alto, un bugle contient un petit bugle, un tuba basse en fa contient un tuba en si b^mol et cela par le simple jeu des pistons, sans formalite ni deplacement de l'instrument ni adaptation de ton de rechange. 3. L'instrument n'est pas afflige de la lacune babituelle dans le grave. Arriv6 au fa dieze 2 nominal il retrouve le son 1 de sa fondamentale la plus aigue qui est justement un fa becarre nominal. L'instrument descend ainsi chromatiquement sans interruption, jusqu'au fa dieze nominal son 1, soit pour un tuba basse en fa jusqu'au si r6el qui se trouve une octave en dessous du si grave du basson ordinaire. Ce resultat a une importance considerable pour les instruments de basse. 4. La tessiture est enorme a la fois dans I'aigu et dans le grave, facilitee par les cbangements enormes dans la longueur des tubes. Notre trombone en sib — miP, outre qu'il monte comme un trombone alto, descend chromatiquement jusqu'^ I'ut nominal grave. 5. Les doigtes peuvent etre bases en ordre principal sur les fondamentales et quintes, harmoniques rigoureusement justes, a I'exclusion des tierces trop basses. 6. Choix considerable des doigtes et des moyens de realisation. Les douze fondamentales et leurs douze quintes donnent dej^ vingt-quatre doigtes pour les douze sons chromatiques d'une octave. Au point de vue de la richesse des combinaisons, montrons encore que l'instrument peut etre employe successivement comme douze instruments simples avec leurs ressources naturelles, notamment pour les arpeges majeures en traits rapides. 7. A cause de la justesse du systeme un doigte adopte pour une octave peut etre gard6 aux octaves superieures. D'ou dconomie de travail dans I'etude des traits- formules rapides, telles que gammes majeures et mineures, gammes, chromatiques, &c. L'instrumentiste pourra adopter un doigte-type pour traits rapides dans toute I'^tendue de l'instrument et surtout du cor ou de la trompette en fa. SI si? la lair sol soil? faut naturellement se et 5° 2me ^rae 2™et 4™ servir des doigtes 317 PAPEBS IN SECTION V (INSTBUMENTS)— comMnjfed {Galpin). Voici le doigte-type que nous recommandons £1 cause de sa grande justesse et de la facility resultant de I'emploi presque general d'un seul piston par position (nous notons les sons r^els pour un instrument en fa) : — fa ... . (vide). mi 2""^ piston. mil? 1=' re ... ... 4™° rei? S""' ut Dans le grave et I'extreme grave, il de fondamentales. 8. Les instruments meme a long tube seront d'un poids leger. Leur supplement de poids n'est que des trois pistons nouveaux. Quant aux coulisses ascendantes elles ne constituent pas une ajoute, elles font partie de la colonne d'air. 9. Tous les pistons etant perces au maximum de trois trous seront plus etanches et plus faciles a construire que les pistons du systeme a pistons independants perces de quatre trous. 10. Outre ses doigtes entierement nouveaux et ses ressources toutes speciales, I'instrument contient en lui le systeme ordinaire k trois pistons avec abaissement de deux tons au troisieme. Pendant la periode de transition consacree a I'etude du systeme, I'artiste n'est done pas paralyse par un doigte totalement inconnu ; il lui suffit de pratiquer provisoirement le doigte de nos tubas ordinaires (1 ton, un demi-ton, deux tons). Mais il aura soin d'abandonner ensuite ce doigte defectueux. The Opig"in of the Clapsech op Ipish Happ. By Eev. F. W. GALPIN, M.A., Hatfield Vicarage, Harlow, Essex. Fellow of the Linnsean Society. (For abstract see p. 59.) Of ancient stringed instruments there are, we may roughly say, two broad types ; in one the strings are stretched across a sound-box and lie parallel with it — this we may call the " lyre " type, though including, for our present purpose, the various forms of psaltery and guitar ; in the other the strings are attached to the upper board of the sound-box and rise vertically from it — this is the " harp " type. It is most important to bear in mind these two marked differences and characteristics of the lyre and harp, for they form the basis of our present inquiry. The earliest notices which we have of the musical instruments of the Kelts, the former inhabitants of the British Isles, occur in the writings of Greek and Eoman historians. To pass over the allusions to their horns and trumpets, Diodorus Siculus, who lived just before the Christian era, in his Historical Library (Book V., ch. 2) informs us that among these Kelts were to be found certain musical composers called Bards, who, singing to the accompaniment of instruments like lyres (rais Xipatg b^ioitov) now lauded their fellows with hymns of praise, now cursed them with strains of invective. Ammianus also, who 318 PAPERS IN SECTION V (INSTRUMENTS) -coiK/Hiiffi {Galpin). wrote 400 years later, says that these same Bards sang the deeds of their illustrious men to the sweet strains of the lyre [iltilcihii.'i hjrac nuiduUs). Two hundred years after, Venantius Fortunatus, Bishop of Poictiers, gives us the name of this Bardic instrument; "let the Briton," he writes, " sing to^ the Chrotta " ; and under this Latin form we recognise the title given by the Kelts to their national iustrument, so frequently mentioned in their old writings (such as the Seanchus Mor of the 5th century), namely, the " crot " or " cruit." Thus far all is clear, and would have remained so had not later writers, by the loose application of inappropriate terms and a confused idea of the important structural differences already mentioned, ])ersisted in calling this early British instrument a harp. Nowhere do we find it so described by those who saw and heard it. Gi'eek aud Roman writers tell us it was a form of lyre ; Keltic records describe it as quadrangular, which the harp is not ; Fir.. 1. Small Ckot, Castledekkot. 8th Cext. Venantius carefuUy distinguishes it from tlie harp, which he says was the instrument of the barbarians; and Professor O'Curry, the greatest Irish savant of the last century, with a perfect knowledge of the ancient Keltic writings and poems, definitely states that the old Irish cruit was a lyre. Furthermore, after a careful survey of the illustrations still extant in manuscripts and on Keltic crosses from the 8th to the 10th centuries, there appears to be nothing which gives countenance to the erroneous and misleading use of the word harp, as representing the form of the crot or cruit of those early days. I willingly admit that, after the triangular harp had been adopted by the Irish minstrels, it was often called cruit as well as olarsech : m the same way as in our own days the violin is known amongst the Welsh peasantry as the " orwth," though there is little resemblance between it and the earlier instrument. But we are speaking of the centuries before 1000 a.d., and literature, drawing, and sculpture combine to represent the crot as a b/rc, in its smaller form identical with the " rotta," so frequently depicted in Continental manuscripts, and the " rote," used m 319 PAPERS IN SECTION V (INSTRUMENTS)— ra)i(iHH«; (Galpin). England during the Middle Ages. A good illustration is to be seen on the North Cross at Castledermot (co. Kildare) of the 8th century. The size of the instrument was about eighteen niches long bj' thirteen inches in width : it had five strings (Fig. 1). We shall probabl}' be told that this small lyre-shaped crot was an ecclesiastical instrument, and that it is for this reason it appears in the manuscripts and on the crosses ; that side by side with it was the harp, the instrument of the warrior and the banquet hall. But there is nothing in the old records to support such a theory ; in fact, such a distinction in usage was impossible in the days when kings were priests and priests were soldiers. Again, however, wo are met with the objection that in incidents referred to the 7th and 8tli centuries we read of a sukiU crot and a laiyc crot, and of their playing together. It is doubf.fnl, of course, how far such allusions made Laiiok Crot, Ullakd. 9th Cent. by writers of a much later time reflect the actual practices of bygone centuries ; but at a slightly later date we are not without illustrations of these two kinds of crot, for the sculptured crosses of the 9tli and 10th centuries give reliable examples. For our present p)urpose we will take the famous oarvmg on the 9th century cross at UUard (co. Kdkennyj— famous because Edward Bunting, having received a rough sketch of the instrument, displayed it in his " Ancient Music^of Ireland" (1840) as the first specimen of "a harp without a fore- pillar" hitherto discovered out of Egypt, and therefore suggestive of a close affinity between the Irish people and the land of the Pharaohs. Later writers have taken the assertion and illustration as truth, and though it is due to Fii. Hortense Panum to say that in her interesting article on the " Harp and Lyre in Northern Europe " (Int. Musical Society's Quarterly Magazine, VII., 1, October, 1905) she has hesitated to accept the statement, she has after all but 'given us, in an incorrect engraving, an idea of what the instrument is. I realized that only a personal inspection, with rubbings and photographs, could clear up so important a matter, and accordingly the June of 1909 found me at UUard, and the doubtful points were soon settled. The instrument 320 PAPEES IN SECTION V (INSTRUMENTS)— coniinued (Galpin). depicted represents a large quadrangular crot (Fig. 2) — the original having been probably about three feet in height by about one foot eight inches in its ■widest part— )(ii/i the usual fore-pillar or support, though the stone is in part decayed. There were apparently six strings ; these were fixed to the bottom of the frame and, passing over a long bridge resting on a sound-box which only partially covered the back of the instrument, -were attached to pegs or pins placed in the upper curve or headpiece. The illustration is taken from a photograph of a careful rubbing on linen. Similar crots are represented on old crosses at Duiske Abbey, three miles from Ullard, at Castledermot (S. Cross), Kells (8. Cross), and Clonmacnoise (W. Cross), and in Scotland on the Great Cross (St. Martin's Cross) at lona. Instruments of like character, but slightly different in outline, are illustrated on the Crosses of Monasterboice and Durrow, and also in an Irish manuscript (Brit. Mus. Vit. F. XI.) of the 9th century. But none of these instruments are harps, they are all of the lyre type ; and if I were asked from whence they were derived, I should be inclined to attribute their appearance in Ireland to the close contact which existed between that country and the East in the 8th and 9th centuries, Greek priests finding refuge there and Irish laymen and ecclesiastics exploring the historic soil of Asia Minor, Egypt, and the Holy Land. For these forms of lyre approach more closely the shape and structure of the upright psaltery, which was a common instrument in the countries bordering on the eastern shores of the Mediterranean. So far, then (i.e., up to the year 1000 a.d.), we have no proof at present of the use of the triangular or true harp by the Irish people : the Keltic lyre and its affinities were the national instruments. The harp, though probably known, was not recognised, for the simple reason that it was not Keltic. The appearance of the harp in Britain coincides with the coming of the Angle, Saxon, and Northman to our shores ; though whether these sea-rovers, who were excellent carpenters as well, had added the fore-pillar which henceforth distinguishes their harp from that of Eastern nations we cannot tell, and to pursue the subject further is beyond our present purpose. Enough for us that in the earliest English epic, Beowulf of the 6th century, which relates the glorious deeds of Scandinavian heroes, the harp is frequently mentioned ; and it is needless to repeat the constant allusions in the yet later literature of our country to show the popularity of the instrument. It was to be found everywhere, in the camp, and at the feast ; the harper was welcomed by all and allowed a liberty of action that was often turned to strategic purposes. It is of greater interest to our present inquiry to observe that at the same time as the Kelt was carving on his crosses the lyre-shaped crot, large or small, the Englishman, as a true son of Scandinavia, Christian thougli he was, was adorning similar works of piety with representations of his beloved harp. It is to the eastern side of Scotland that we go for illustration, for there was found the stone on which the sculptor could work. These East-coast crosses, as at Aldbar (8th to 9th century), Nigg (9th to 10th century), Dupplin and Monifieth (10th to 11th century) show us onli) the triangular instrument, and it is known that at each of these places the English or Angles formed early settlements. On the other hand, it is not iTutil the 13th or 14th centuries that on the west coast of Scotland we find the true harp depicted in a similar way — as at lona, in St. Oran's Chapel, and on a column of the cathedral ; also at Keills, in Argyll. The Nigg harp is illustrated in Fig. 3. I have already said that the harp was probably not unknown in Ireland before the year 1000 a.d., though it was not recognised by the Irish minstrels. As early as the 6th century the communication between England and Ireland 321 TAPEES IN SECTION V (INSTRUMENTS)—™,,/;,,,,,,? (Galinn). was close ; the educational facilities found in the Irisli monasteries and the advanced state of learnini^' which they had voached gave opportunities of culture to an ambitious Englishman of which he readily availed himself. To take a single instance : in the 7tli and 8th centuries there were so many Haxon students at Armagh that a tliird of the city was called the '• Trian Saxon," or "the Saxon third " ; a statement which shows not only the popularity of the Irish schools, but that tlie Saxon and English, as foreigners, were settled in a distinct district of the city, as were tlie Jews in many a modia='val town of later days. That some of these English students should not have brought with them the harp is out of the question ; but it had no attraction for Irish priest or Keltic bard. Harp 9th Ce\t. With the onward march of time, however, the instrument was forced into a prominence which was bound to command attention. Appearing first as marauders and pirates, Northman, Scandinavian and Dane — to whom the instrument had been for centuries a treasured possession — at last fixed their settlements on Irish soil and, in the 9th century at Dublin, Waterford and Limerick, established kingdoms which defied the attempts of Irisli warriors to annihilate. Recognising their fate, foes, when not actually fighting, agreed to live together as friends, and frequent were the marriages between Danish chieftains and Irish princesses. The banqueting hall reverberated with the strains of the harp, and the Northman's minstrel rapidly became the rival of tlie Keltic crot-player. In this and in other ways the " English harp " (as Gerbert terms it) was popularised among the Irish, and all the more readily because, during the 10th century, the influence of the clergy and monastic schools, with their affection for the past, was diminishing, 322 PAPEES IN SECTION V (INSTRUMENTS)— coBfimieci {Galpin). whilst the national poets and singers, with their attendant musicians, were receiving greater honours as they recounted the more turbulent phases of human life, and gloried in the deeds of battle and of pillage which were all too frequent. Yet it needed only the strong hand of one of the greatest of Irish chieftains, generally known as Brian Boru, a thorough musician if we may trust tradition, to weld into one the more discordant elements which existed among his own people as well as among the settlers ; and when, in the year 1002, he assumed the kingship of Ireland, a ten-years' peace ensued, the longest known for centuries, in which art and industry alike could flourish. It was at this time, I consider, that the harp, owing to the brilliancy of its tone, which the Irish name " Clarsech " suggests, definitely displaced the less Pig. 4. Clabsech, Tein. Coll., Dublin. 13th Cent. resonant lyre-shaped crot for all heroic and festive purposes. The earliest illustration we have of the instrument in Ireland occurs on the west front of Ardmore Cathedral, co. Waterford, which was built in the 12th century, though possibly the series of sculptures, in which the harp is portrayed, may be a century earlier (see " Journal Soc. Ant. Ireland," vol. 33). The fact that it first occurs amongst a Danish Christian community, closely connected with England and the English Church, is suggestive. Of the beautiful and characteristic example on the famous Shrine of St. Mogue or Moedoc, in the Dublin National Museum, I hesitate to say much ; the workmanship of the shrine has been attributed to the 9th century, owing to the long hair of the female figures represented on one of the ancient metal plates attached to its side ; but the ornamental work still affixed to 323 PAPERS IN SECTION V (INSTRUMENTS)-™h?,-hh«7 (Galpin). one end of the shrine, and in wliich the harp appears, seems on close inspection to be of later date, certainly not earlier than the 11th century, though the figure of the harpist has been made to correspond more or less with those on^ the metal plates. The reliquary of 8t. Patrick's tooth, on which another fine example of the instrument appears, was made iu l;-576 ; and one ol the latest illustrations of the instrument in sculpture is to bo seen ou an Ftg. 5. Clarsech, Gali'In Collection. 1734. altar tomb of the 15tli century at Jerpoint Abbey, co. Kilkenny. As already stated, the clarsech, or Irish harp, appears in Western Scotland on stonework of the 1.3th and 14th centuries, having been introduced by Irish settlers, whilst Dante (c. 1300) informs us that the Irish harp had been introduced into Italy in his day, with which country Ireland had long been in ecclesiastical contact. If, however, we deny to the Iri.sh minstrels the honour of the invention of the harp, with which some patriots would credit them, we must nevertheless acknowledge the skill which they brought to its practice, and the peculiar y2 324 PAPERS IN SECTION V (mSTB,VME^TS)— continued {Kraus). improvements which they made in its construction. The English, or Northern harp, was strung with twisted horsehair or with sinews, but the Irisli musician had been accustomed on his crot to use metal strings of drawn wire, either of "findruinne" (a sort of brass) or of silver. With metal strings he therefore strung his clarsech and obtained a brilliancy and resonance unknown on the gut-stringed harp ; to resist the tension of the wire strings he strengthened the framework of the instrument and increased the depth and size of the sound- board. The oldest Irish clarsech extant (Fig. 4) — now in Trinity College, Dublin, though it is not so ancient as the days of Brian Boru, to whom it has been ascribed — shows us, however, the great difference between the Irish instrument of the early 13th century and the small light-framed harps depicted in English manuscripts of the same date. Little is it to be wondered at that the performances of the Irish minstrels on such instruments excited the admiration and wonder of all who heard them ; " their skill is beyond comparison superior to that of aiiy nation I have seen," writes Giraldus Cambrensis at the end of the 12th century; "the modulation is not slow and solemn as in the instruments of Britain to which we are accustomed, but the sounds are rapid and precipitate yet at the same time sweet and pleasing. It is wonderful how in such headlong rapidity of the fingers the musical proportions are preserved, and by their art kept faultless throughout." So the clarsech became the national emblem of Ireland, and found a place in the 13th century on her coinage and insignia. The twenty-nine strings, plucked with the pointed nail, were gradually increased to thirty-eight or even more, and the sweep of the graceful harmonic curve was extended until, in the 17th and early 18th centuries, the clarsech stood pre-eminent among diatonic barps for beauty of design as well as richness of tone. The Bunworth harp (Fig. 5), which was made by John Kelly in the year 1734 for the Rev. Charles Bunworth, and is now the property of the present writer, shows that even though the original which suggested the clarsech was English, the elaboration of the instrument was undoubtedly Irish, and the result an instrument unique in the history of Musical Art. Italian Inventions for Instruments with a Keyboard. By Baron ALEXANDER ERAUS, Jun., 10, Via dei Cerretani, Florence. Banker, Writer on Music. (For abstract, see p. 62.) Several inventions concerning stringed musical instruments with a keyboard, made by Italians, have been wrongly attributed to foreigners, in the different works upon the history of the pianoforte or of instruments in general, written by well-known musicologues ; who have copied one another, without taking the trouble to ascertain the exactness and truth of the affirmed matters. I beg therefore to set out here, as briefly as possible, the true facts which I have been able to deduce from instruments belonging to my own collection ; and at the same time to explain the true origin of the name of the pianoforte, up to this moment probably unknown to my eminent colleagues. 325 PAPEES IN SECTION V (INSTRUMENTS)— conttmed (Kraus). The dampers and the pedals of the pianoforte had their origin in the stops of the ancient clavichords, spinets and harpsichords. We all know that not only in clavichords (instruments with tangents, called by the Germans "bundfrei "), but also in manichords (also called by the Germans " rjiit Bunden," and wrongly " spinette sordine " by Italians — the spinet being an instrument with quill- plectra, and not with tangents), the fixed damper consisted of a woollen riband, interwoven among the strings on the side of the hitch-pins ; or of a soft cloth strip, which was glued upon a narrow wooden beam placed at a distance of about a centimetre above the strings, and which formed the hypotenuse of a triangular frame against which the strings were compelled to strike by the tangents being thus damped. In spinets and harpsichords the damper was represented by a small piece of cloth set in a slit at the upper end of the jack, which, touching the string, damped it when pushed up or down. The effect of sostenuto in the compositions for the harpsichord of the first half of the 18th century could be obtained by keeping down the key ; as the damper acted only when the 'jack fell down, the string continued to vibrate whilst the jack was kept raised. The invention of the fnv damper has been attributed to the German Lenker, of Rudolstadt ; but the late A. J. Hipkins, connected with the house of Broadwood & Sons, examined with me the Cristofori action, which is still in my collection, and agreed with me in ascribing the invention of the free-damper to Cristofori ; although there are still some Professors of Universities who not only will not acknowledge this part of Cristofori's invention, but also continue to doubt whether Cristofori is the inventor of the hammer action or not, without giving any good reason in support of their assertion. In some pianofortes — for instance in those of Cristofori's first model (1711), in Schroeter's (1721), in Erard's (1823), and in many others-i-the independent damper is an "under-damper," because placed beneath the strings; whilst in the subsequent Cristofori models, in Mason's (1725), and in those of many other makers, it is an " over-damper," being placed above the strings. By means of those stops which acted upon the combs of the jack, augmenta- tion and diminution of sonority could be produced in spinets and harpsichords ; whilst with some other stops, provided with bands of leather, of cloth or of soft wool, the quality of sound could be modified, thus producing the effect of a lute, angelic voice, bassoon, &c., such as can very often be met with in old square pianofortes. In the beginning of 1700, Pietro Prosperi, spinet-maker of Siena, invented the spinet sourdine-pedal, which acted upon the keyboard, raising it on the back side by means of a simple wire, and thus modifying the blow of the jacks, a principle later on applied to upright pianofortes by diminishing the blow of the hammer by means of the " piano " pedal. I had in my collection a spinet by this maker, dated 1716, and restored by Ristori ; and the keyed-instrument connoisseur, Cesare Ponsicchi, examined it with me and was himself struck by the ingeniousness and simplicity of the invention. The number of pedals and of knee-levers (genouilleres) introduced in harpsichords in place of the stops, increased later on owing to the sub-division of the stops into two parts (bass and -treble) ; and even more when the makers attempted to obtain effects of crescendo and diminuendo by raising and lowering the cover, as in Kirkman's harpsichords, or by gradually opening a shutter as in Tchudi's or Longman & Broderip's instruments with " Venetian Swell." The same happened to pedals in square and grand pianofortes, so that one may find in old pianofortes, especially Viennese, as many as eight different pedals. 326 PAPERS IN SECTION V (INSTEUMENTS)— continiifd (Matthay). We read in most histories of the pianoforte a statement which has been repeated by all those who write books only from books, viz., that John Andreas Stein, of Augsburg (1775), invented the shiftinfj "piano" pedal and added to this a contrivance of a lever pressed by the knee, with another for the " forte '' stop, lifting the dampers off the strings ; likewise a citation of Mozart's letter dated October 17, 1777, in which he sympathises with this new mechanism, which does not compel the player to raise his hands from the keyboard when he chooses to use the "piano" or the "forte" stop. John Broadwood patented (1783) in England his " sourdine " and his " forte " pedal, the latter acting upon the dampers, and unreasonably called " forte "-pedal, though employed also in passages to be performed pianissimo ! In 1794, Sebastien Erard patented in England his soft-pedal, shifting the hammers by means of a beam, so that they could be removed from three to two strings and even to one (see passages with "una corda" in works of Beethoven and his contemporaries). Early in the 19th century we find in English grand pianofortes the soft pedal divided into two parts (bass and treble), and in recent years pianoforte makers have attempted to introduce into their instruments some new pedals, like Pleyel's tonal pedal, by which the player may strengthen the sound of some tones through the whole keyboard, or some others imitating the harpsi- chord, the lute, or any other instrument, but modern pianofortes have generally kept to their usual old soft and "forte" pedals, the only victorious survivors after so long a struggle. From the foregoing paragraph one might believe that at least the soft pedal of the grand pianoforte is not due to an Italian inventor, but it is otherwise. Bartolommeo Cristofori da Padova, the true inventor of the hammer action, invented also as early as 1725 — but as nobody up to this moment has observed — the system of shifting the keyboard in pianofortes, in order to produce a diminution of intensity in the sound, by compelling the hammer to strike only one string instead of two (Cristofori's pianofortes being bichords) ; and it was essentially because of this contrivance of shifting the keyboard that Cristofori called his instrument " Gravicembalo col piano e forte," and this was the true origin of the name " pianoforte." Principles of Pianoforte Teaching. By TOBIAS MATTHAY, 96, Wimpole Street, London, W. Professor at the Eoyal Academy of Music. (For abstract, see p. 65.) Si.v important points for Pianoforte Teachers. — The pursuit implied by the term pianoforte-teaching is so enormously complex tha,t at first glance it seems hopeless to try to cover the ground in one discourse. All that one can do is to select some of the more salient points where the young teacher (and often the old one also) is apt to fail. It is therefore understood that no attempt is here made to deal exhaustively with the subject. I have selected the following points : (1) the difference between practice and mere strumming ; (2) the difference between teaching and cramming ; (3) how the pupil's mind can be concentrated upon his work ; (4) correct ideas of time and shape ; (5) the element of rubato ; and (6) the element of duration and pedalling. 327 PAPEES IN SECTION V (INSTRUMENTS)— coratmHed (Matthay). What is good teaclmuj ! — It will be impossible to make clear even these particular essentials of teaching without first taking a preliminary cursory glance at the whole problem of teaching. To begin with, we cannot, accurately speaking, " teach " anyone anything, in the- sense of being able directly to lodge any knowledge of ours in another mind. We can only stimulate another mind to wish to learn, and place before that other mind the things desirable to be learned. "We cannot teach others, but we can help them to learn. Here we come at once to one of the special points to be discussed, the difference between good teaching and bad teaching. Good teaching consists, not in trying to make the pupil "do things" so that it may seem like playing, but in trying to make him think so that it may really be playing. In the first case we try to turn out an automaton, but in the second case we prompt the pupil to be a living intelligent being. Pupils usually do not realise that it is they who have to make the effort to learn ; but that is the first thing to make plain to them. True, there are "direct" and empiric methods of teaching, but such directness can only refer to the method of placing things before a pupil. Work is often brought back worse than at the preceding lesson, owing to practice having been purely automatic. Often this is the pupil's fault, but more often still the teacher's, owing to his not having shown the pupil how to apply his brains during practice. The necessitji of Attention. — Practice should not consist in trying to "make the piece go better," but in trying to make oneself see it better — understand it better musically and technically. This implies a constant process of analysis during practice —musical analysis and technical analysis. This means that we must really listen, both outwardly and inwardly. Nothing is more fatal musically than omitting to do this. To try to draw without looking at the paper is no worse than trying to play without careful aural attention. This is where " ear-training " comes in. But ear-training should always mean training the mind to observe and analyse pitch and time so as to understand music better, and should never be conducted without that immediate purpose in view. There can be no real practice or real lesson without insistence all the time on such real ear-training. All this implies the closest possible attention during the practice hour. Such close attention, in conjunction with a keen imagination, is the distinguishing feature between the work of the talented and of the untalented person. One can therefore raise one's status, musically, simply by insisting on close attention to what one is doing, and more important still, to what one should be doing, musically and technically. Such persistent use of the judgment and imagination is not only required from the pupil, but also from the teacher. As teachers, our powers must be applied, analytically, in a two-fold direction. First we must analyse the music we wish to teach, its structure and its feeling ; and secondly we must analyse the pupil's doings, comparing them with this ideal which we have formed, so that we can diagnose exactly where the pupil fails, and why he fails. Such analysis comes under four headings : — (a) we must analyse what the pupil is actually doing ; (bj we must analyse the faults thereby perceived ; (c) we must analyse why the pupil is making those faults ; and (d) we must analyse the pupil's attitude of mind, so that we may know how to treat him. The use and misuse of E.vaynple. — Teachers must learn to explain every point, and must besides educate themselves as musicians and as actual performers, so as to be able to demonstrate the various points by actual example when necessary. Example by itself however has been shown to be useless, as its tendency is here again to turn the pupil into " an automatic ape " ; example should 328 PAPEES IN SECTION V (INSTRUMENTS)— co««mtte(i (Matthay). always be accompanied by full explanation as to sbape and feeling — the purpose of the means of expression applied. [The opening bars of Schumann's " Warum" were here played, and it was shown how an inexperienced pupil would turn this into a laughable parody unless such explanations were given.] Enthusiasm. — Unless the teacher can all the time show himself really interested in Tiis work, he cannot expect his pupils to' give the truly exhausting attention required if reaUy good work is to be accomplished. And enthusiasm will grow in us, if we but try our best all the time. Enthusiasm however wiU not suffice by itself. The teacher must not only be willing to help, but must know how to do so, otherwise his work will after all prove a failure. Cramming v. the Cultivation of Judgment and of hnagination. — The wrong attitude is to try to make the pupil directly imitate the musical effects, the " points," &c., which the teacher's musical sense tells him are required, but without explaining the why and wherefore. Thus he turns his pupil into a mere responsive automaton, a Trilby to his Svengali. This is sheer "cramming," and can have no abiding influence educationally. The right attitude is to insist on the pupil trying to see for himself all the time to the best of his capacity, musically and technically. One must force him to use his own judgment and imagination, so that these may prompt him all the time ; and one must guide that judgment and imagination all the time, so that right seeing and thinking are learned. In the first case one teaches the pupil to play without thinking, whereas in the second case one teaches him to play because he is thinking, and is thinking rightly. Two main points are " Krii-rcsistance ' and the " Time-spot." — To bring the pupil's mind on his work, one must insist on two main points. One must teach him to attend, in the first place, to " key-resistance," and in the second place to " time-spot," and by this means one ensures musical attention. By attention to "key-resistance" is meant a constant attention to the obstruction which the key offers before and during its descent. As this resistance varies with every difference in the tone which one is making, one can thus judge (and by this means onl}') what force to appl}', so that one may obtain the tone musically desired. Attention to "time-spot" means this: One must realise that all music implies progression, and one must use one's inward ear and one's outer physical ear to determine where in the musical progression each and every sound is precisely due. One must make clear to the pupil that sounds have no musical significance whatever unless they are made to suggest progression ; there must always be a sense of progression, or movement towards definite landmarks— a growth with a definite purpose, a rhythmical and emotional purpose. This principle of progression applies equally to the smallest segments of music and to the largest — whether we deal with a progression merely of three notes, a complete phrase, or a whole movement. And no child should ever be allowed to touch the pianoforte without being at once shown how this principle of progression onwards, towards cadences, &c., applies everywhere. [The Lecturer illustrated all these points and went into full detail ; he also said that he had pointed out the importance of this idea of progression and " scanning " of the music in his " First Principles " (Advice to Teachers), but that the passage was often passed by without ■ its being noticed — that it applied during every minute of one's teaching life. He pointed out, further, that only by strict attention to this principle of progression could one ensure the correction of "sloppiness" in passage- work, and learn to play the notes in between the pulses accurately and musically. — This matter was illustrated, as also the fact that octave passages, &c. 329 PAPERS IN SECTION V (INSTRUMENTS)— conJiraued (Matthay). divided between the two hands, still depended on the same mental principle, unless indeed the student had not learned the right ways of technique, had not mastered the "act of resting," when he would here fail owing to his being unable to express himself properly. It was pointed out that to keep this principle of progression in view while playing a long extended movement is indeed the hardest task a player has to deal with ; and that success here depends mainly on an accurate memory of the proportionate importance of all the component progressions of the piece— and upon a constant self-control in executing the musical picture thus to be realised as a perfect whole.] Continuitii and Rubato. — To enable one to render a piece continuous in performance, the tempo must be continuous, although it also depends on a correct laying out of tone-values and of the emotional stress. It is to be remembered that a new tempo means a new piece — a new train of thought — and that each change of tempo needs a new adjustment of the listener's attention. Constantly recurring ritardandos and aeeellerandos, unless on a large scale, are therefore fatal to continuity. But we cannot express ourselves adequately without time-inflections, hence the necessity of rubato. Eubato is requisite in all music, although some of the older masters require it less than do our modern composers. Rubato should be taught even to children — real rubato, not playing out of time. [Illustrations given, specially chosen to prove their necessity even in Beethoven and Bach, although rubato required subtle application in these masters.] Rubato may extend over a few notes only, or over whole phrases. Rubato is of two distinct kinds : — (a) where, for the sake of emphasising a note or several notes, we delay the time, and must then make good the time by hastening the subsequent notes so as to return to the pulse at the crisis of the phrase, &c. ; and (b) where, for the sake of the agitato effect, we begin by hastening the phrase, and must then delay the subsequent notes so as again to bring us back to the pulse at the chief syllable of the phrase — near its end. These two forms can be combined even during the course of a single phrase, and often are. In all cases is it of primary importance to determine exactly where we must return to the pulse, and also to determine the origin of the rubato — whether caused in the first instance by a retardation or by an accellera- tion. The actual degree and curve of the time-swerve must however be left to the fancy of the moment, and the effects must never be applied so as to become noticeable as such. [These points were made clear by the lecturer, by means of short excerpts, showing for instance how impossible a Chopin Nocturne would be without rubato.] The next point [likewise illustrated by examples, the allegretto from the " Moonlight " Sonata, &c., being played] is to prove how a rubato will serve to make clear the climax of a phrase in spite of a diminuendo. The most striking emphasis we can give to any note is its coincidence with the pulse after that has been swerved from during a rubato. [It was here shown by examples from Chopin, &c., how rubato is required to depict all agitated feelings — whereas, to give the effect of decision, calmness, truculence, &c., we must avoid rubato for the moment.] In passages consisting of notes of contrasting length, the tendency must be to emphasise these differences by giving proportionately more time to the longer notes and less to the shorter ones ; and incidentally the teacher will find that the same rule applies with regard to tone-variety, the tone varying somewhat in accordance with the length of the notes. [The. Bach Prelude in F sharp was played to demonstrate both, these facts.] . A somewhat related tonal effect is 330 PAPEES IN SECTION V (INSTBUMENTS)— coreJireucd {Matthay). required when we continue a phrase after a long note or rest — we must re-start the continuation with far less tone than was given to the last long note, other- wise we shall have the effect of a new phrase there. 2 owe Contrasts. — [Illustration.] The importance of rubato does not diminish the importance of tone-contrasts and contrasts of duration ; but the absence of both these last is also often overlooked by the teacher. Although made miserable by their absence in the pupil's performances, owing to his not noticing the real reason of his discomfort, the teacher fails to make the slight effort necessary to remedy these things. Most of the failure does not arise from paucity of tone, but from the absence of low tints. Most students in fact never get near a pianissimo, and accompaniments are always played far too loudly. [Exemplified by a few bars from the opening of the " Moonlight " Sonata, it being pointed out that the difference between the good and the bad rendering is attributable solely to the " cutting away " of tone in the first instance.] Students also invariably play the beginnings of phrases far too high up in tone — hence their failure to show the climaxes. With regard to the actual teaching of the wherewithal of tone-contrasts — the teaching of touch, the rationale of the processes of producing tone, duration and agility — there can of course be no teaching worthy of the name unless these things are throughout most fully explained and made clear to the pupil. Pedallinri. — Pedalling is mostly so much overlooked that even artists' performances are often no better than a child's daubs. It is pitiable to see the amount of care sometimes bestowed on making the fingers execute good phrasing, duration and colouring, when in the meantime the whole effect is obliterated by the right foot. The fault can in most cases be traced again to absolute non- attention to the actual sounds coming from the pianoforte — playing being so often too much regarded as a mere muscular exercise instead of the making of musical sounds for a musical purpose. We have to learn to syncopate the pedal in legato and in legatissimo, and further to learn the values of incomplete tenuti, the cutting short of sustained effects on a pulse, and half-pedalling effects. [Illustrated by excerpts from Chopin, Beethoven, Brahms, Liszt and Schumann.] We must always remember that music depends not solely on our fingers but also in addition on our right foot. Sincere Art. — To conclude. Musical art is always on the wrong path unless it is employed to depict things felt and experienced. To be sincere, art must always be used for the purpose of expressing mood or feeling. But it does not foUow that by making this endeavour we shall succeed, although we shall be working in the right direction. Also there is the question as to the appropriateness of the moods chosen to be expressed. In the true basis of inusic — pulse, rhythm, progression — we can find the reason of its great power over the emotions, this basis bringing it into intimate union with all the vital manifestations of Nature, and with the ultimate hidden facts of the universe and infinitude itself. [The above is a summary of the lecture delivered.] 331 PAPEKS IN SECTION V {INSTEUMENTS)-con«(«ue(Z {NorUnd, Orlandini). Die eng^lische Lautenmusik zup Zeit Shakespeare's. By Dr. TOBIAS NOELIND, TomeliUa. Sweden. Teacher of History of Literature and Music in Lund University ; Eector of the Volkshoch- schule, TomeliUa ; Secretary of the National Section Sweden, Int. Mus. Society. (For English abstract, see p. 67.) AUSZUG.— Die englische Lautenmusik erlangt ihre Selbstandigkeit zu derselben Zeit als die Virginalmusik am Ende des 16. Jabrhunderts europaische Bertibrntheit bekommt. — Etwa 1600 bat die kontinentale Lautenmusik ihre Hauptbliite mit Besardus, Laurenoinus, Diomedes, u.s.w. — Gerade weU in England die Virginalmusik so beliebt war, hatte die Lautenmusik so sobwer um ihre Selbstandigkeit zu kampfen. — Daraus erklart es sich, dasswir jetzt so wenig von der Lautenmusik dieser Zeit in England wissen, wahrend die gleichzeitige Virginalmusik Weltberubmtheit erhalten hat.— Doch ist es sebr unriobtig die damalige englische Lautenmusik gering zu scbatzen. — Nicht nur als selbstandiges Instrument sondern vor aUem als Akkompagnements-Instrument zum Gesang steht sie sehr bocb. — In den Lautenfautasien schmiegt sie sich teohnisoh oft der Virginalmusik an, als Akkompagnements- Instrument zum Sologesang, aber verstebt sie in einer ganz erstaunlioben Weise das Wesentliche zu treffen. — Da die gesungeuen Lieder mit Lautenakkompagnement meist von den besten Dichtern Englands verfasst wareu, wurde die Laute der -wicbtigste Vermittler zwischen einer hochstehenden Dichtkunst und hocbstehenden Tonkunst. II Dattilapepo. By ICILIO OELANDINI, 2 Via Puccini, Pistoja. Inventor. (For English abstract, see p. 67.) SINOPSI. — Scopo del Dattilapero.— Utility dell' uso di questo strumento per sviluppare 6 mantenere I'agilit^ delle dita. — Vantaggi speciali per Violinisti e Pianisti. Tenuto conto che in tutti i tempi i piu distinti Pianisti e Violinisti hanno con mezzi meccanici (dei quali ognuno ha custodito gelosamente il segreto) ottenuto dei risultati meravigliosi per sviluppare e mantenere 1' agilita e I'elasticita deUe dita, aumentandone in pari tempo la forza, io mi sono studiato d'immaginare un apparecchio meccanieo, che pur essendo di facilissima applicazione, corrispondesse all' intento ; ed oggi sono in grado di presentare il mio Dattilapero. Con cinque principali forcelle, nelle quali si introducono le dita (una sesta forcella serve per il poUice, nell' alternare una mano all' altra) e mediante la pressione su di un tasto, operante sopra delle leve interne, si possono gradata- mente ed a volontS. dilatare, sia tutte le dita contemporaneamente, sia disposte in varie combinazioni ed a distanze differenti. Non occorre far rilevare il vantaggio grandissimo che dall' uso del Dattilapero possono ritrarre i suonatori di strumenti da arco per i passi a grandi distanze, negli accordi in posizione lata etc. In quanto ai Pianisti e ovvio il far risaltare la grande facility, con la quale si possano eseguire passi della massima difficolt^ da chi abbia, mediante il Dattilapero, ottenuto una straordinaria estensione ed elasticity delle dita. Nelle occasioni frequenti in chi viaggi, specialmente per professione, etrovasi nella impossibility di esercitarsi sul proprio instrumento, il Dattilapero diventa indispensabile, non cagiona incomodo alcuno, ne disturba i vicini, 332 PAPEES IN SECTION V (INSTRUMENTS)— conijnued (Piazzano, Roda). Modo di Hcrrerd delV AppareccUo. — Si ponga la palma di una mano sul cuscinetto, si introducano le 5 dita entro le forcelle e coll' altra mano si faccia agire la leva, premendo il tasto dall' alto in basso. Per raggiungere il massimo grade di dilatazione si inoltrino le dita (per quanto e possibile) oltre la seconda articolazione, e dope avere varie volte manovrato la leva, la si arresti alia sua estremita per mezzo dell' annesso gancio. Tale ginnastica, utile a tutti gli studiosi di qualunque istrumento musicale, serve a fare acquistare la elasticity, la indipendenza delle dita ed un maggiore invigorimento progressivo delle mani. Si consiglia di servirsi del Dattilapero, prima di cominciare lo studio dell' istrumento. Le Fonotomo— Diviseup des Sons. By Cav. Uff. GEREMIA PIAZZANO, 38, Via Mazzini, Turin. Inventor. (For English abstract, see p. 68.) RESUME.— Qa'est-ce que le "Fonotomo" et son but ?—L'exaote repartition des sons qui composent I'ootave, dans les instruments k son fixe, savoir : pianos, harmoniums, orgues, etc., tandis, qu'elle forme un des points les plus importants de I'art musical, a toujours ^te I'objet de nombreuses etudes et de recherches, dans le but de reussir k la former sur une base plus sure que le syst^me des simples inductions, dont on s'est servi jusqu'a present. On n'a jamais obtenu cependant un r^sultat pratique. Pour qu'un systSme quelconque puisse servir pratiquement, il doit se presenter d'une fa<;on simple, facile, leste et exacte ; de cette fapon seulement on obtient la veritable utility. A cette lacune vise S.pourvoirle "Fonotomo." Mode d'emploi. — Les treize cordes, dont se compose le petit instrument, doivent toutes s'accorder k I'unisson parfait, par exemple en treize " la " ; operation qui on pent dire est k la port^e de tout le monde, mime des amateurs. Cela fait, on n'a qu'4 serrer les trois vis qui sont au-dessus de la touche principale mobile, qui de I'extremit^ de la premiere corde enti^re a gauche s'^tend, en sappuyant transversalement sur les autres, jusqu'au point ou se trouve juste le milieu de la dernite ^ droite; eomme cette derni^re corde de droite, par les lois phoniques, doit n^cessairement donner I'octave de la premiere, il en resultera une gradation soignee de sons, la plus math^matique ; en d'autres termes on obtiendra la repartition la plus exacte. Aprls, on doit reproduire sur une octave du milieu de I'instrument cette repartition , et sur cette base bien sure, accorder k des octaves justes tout le reste du clavier. Avantages. — Le "Fonotomo" est un objet commode, trfes utile et relativement bon marche. Les accordeurs, par ce moyen, economiseront sans doute beaucoup de temps et de fatigue, car il ne leur reste plus qu'k reproduire sur I'instrument, qu'ils doivent accorder, la repartition dl]^ prepar^e sur le " Fonotomo " meme. Partioulierement dans les pays ou il est tres difficile d'avoir des accordeurs, qui que ce soit, qui ait un peu de bon sens musical et de patience, pourra accorder son piano, ce qui n'^tait pas effectuable jusqu'a present, juste- ment a cause da manque d'une base sure, k laquelle pouvoir se conformer, afin d'obtenir I'exacte division des sons. Les instruments de musique en Espag-ne au XIII™« si^cle. By CECILIO DE RODA, 40, Huertas, Madrid. Director of the Madrid Conservatoire, Member of the Spanish Academy of Fine Arts. (For English abstract, see p. 69.) RESUME. — Les instruments de musique au Codex de la Cantigas du Eoi Alfonso X., a la fin du XIII™^ sitele : les miniatures — Les instruments de musique dans le polme "Libro de Buen Amor," del'ArciprestedeHita, vers le milieu duXIV™=sifecle — Un grand nombre des instruments du Codex d'Alfonso X. sont employes actuellement pour les arabes du nord du Maroc. Les instruments arabes et les instruments europeens. 333 PAPERS IN SECTION V (INSTRUMENTS)— con(m«e 37.62 19.00 15.87 30.29 Philharmonie, Berlin ... 40.12 32.60 11.76 15.88 Huddersfield 26.00 26.00 21.66 23.00 "Magpie" 33.53 25.60 17.07 24.39 The vicissitudes in a series of years may even be worth recording : — Choeus No. I. Date. Soprano. Alto. Tenor. Bass. Total. 1880 170 149 97 112 528 1886 176 146 93 118 538 1894 192 140 74 109 515 1896 190 153 82 106 531 1899 135 107 63 85 390 1903 128 107 45 77 357 991 802 454 607 2,854 Percentage. Date. Soprano. Alto. Tenor. Bass. 1880 1886 1894 82.21 83.02 35.93 28.21 2T.39 28.81 18.44 17.44 15.44 21 21 2223 'Best average 19 92 ^™ °"® ^'®^''" 1896 35.77 28.81 15.42 19.96 1899 34.85 27.43 16.12 21.78 1908 85.56 29.97 12.60 21.56 34.68 27.75 15.95 21.28 Average per cent, 383 PAPERS IN SECTION VI (MISCELLANEOUS)— cont/)med {Stanl> Chorus No. II. Date. Soprano. Alto. Tenor. Bass. Total, 1900 138 129 54 88 409 1902 174 142 57 93 466 1904 166 136 46 75 423 1906 187 113 43 61 354 1908 102 101 43 54 300 1910 138 107 38 52 335 855 728 281 423 2,287 Percentage. Date. Soprano. Alto. Tenor. Bass. 1900 33.74 31.05 13.20 21.24 1902 37.33 29.18 12.21 19.97 1904 39.24 32.12 10.87 17.70 1906 38.42 81.92 11.58 17.20, Best average by years. 1908 34.00 33.66 14.33 18.00 15.51 1910 41.07 31.94 11.34 37.38 31.84 12.28 18.10 Average per cent, Chorus No. III. Date. Soprano. Alto. Tenor. Bass. Total. 1900 96 62 36 67 261 1902 99 57 41 67 264 1904 101 64 43 86 294 1906 89 63 40 74 266 1908 102 66 38 84 290 1910 114 60 48 81 803 601 372 246 459 1,678 Percentage. Date. Soprano. Alto. Tenor. Bass. 1900 36.74 23.75 13.52 25.31 1902 34.50 21.20 15.58 25.00 1904 84.85 21.42 14.62 29.49 p. 1906 33.45 28.65 15.08 27.89 ^^'^ ^'^'^''^^^ 1908 35.17 22.41 13.10 28.27 ^^^"^ y®*^* 1910 27.62 19.00 15.87 30,29 35.81 22.10 14.00 24.87 The following figures are for two typical composite Festival choruses : — (A) A Festival of many years' standing, in which are choruses drawn from cities, towns, and villages in a certain State. Twenty-one choruses, ranging from 201, the largest, to 13, the smallest, gave a total of 1,851 singers, distributed as follows : — 628 sopranos, 342 altos, 167 tenors, and 219 basses, 384 PAPERS IN SECTION VI (5IISCELLANE0US)— conHnufd {Summers, iroitincl;). with the foUowmg averages :—■ i6.ll, 25.31, 12.84, 15.46. The best averages per cent, in any chorus were 30.76, 30.76, 15.38, 23.47. The average size of these Societies is 48.04. There are but three over one hundred in number. The highest averages in the largest of these were 40.79, 26.31, 15.42, 16.41. (B) Auotlier chorus, made up of 559 singers, drawn from several neighbouring towns. 142 first sopranos, 75 second sopranos, 72 first altos, 82 second altos, 39 first tenors, 36 second tenors, 68 first basses, 45 second basses (217, 154, 75, 113). Averages : 38.80, 27.58, 13.41, 20.21, Musical Edueation in Australia, 1863 1911. By JOSEPH SUMMERS, Mus. Doc, 340, Bulwer Street, Perth, Western Australia. Organist. (For abstract, see p. 73.) (Illustration to the paper next following.) 385 PAPERS IN SECTION VI (MISCELLANEOUS) -confimwd (Woitinek). Ein neuep Schultafel-Apparat fur den Gesang^s- Klassen Unteppicht. By JULIUS WOITINEK, 18 Gartenstrasse, Posen. Teacher. (For English abstract, see p. 75.) AUSZUG. — Diese Erfindung diirfte als Auschauungsmittel fiir das Singen naoh Noten in der Schule ungefahr dieselbe Grundlage wie die Russische Rechenmaschine fiir den Rechenuuterrioht bieten. Sie kann an jeder Schultafel bequem angebraoht werden und gestattet eiue gesohickte Verbindung des duroh Zungenstimmen erzeugten Tones mit der Note, also der wirklichen Anschauung mit der graphischen Darstellung des Tones. Auf dem leiterartig gebauten Apparate liegen Druokplatten, welche Zungenstimmen, und zwar die Tougrundstufen von G bis G zum Auslosen bringen. Neben den Druckplatten fiir die Tone E G H D F sind wagerecht fiinf weisse Marken angebraoht. Die Verlangerungen der letzteren als Zeiohnung auf der Notentafel ergibt das Notensystem. Die Umlegung jeder Platte nach oben ergibt die Erhohuug (j^), wobei sofort der fiir das Auge erhohte Ton auch fiir das Ohr als erhoht zur Auslosung gelangt ; Umlegung der Flatten nach unten in gleicher Weise sofort die Erniedrigung (b). In Betracht kommt die Darstellung der Tonarten C bis E und C bis Es-dur, welche fiir den Sohulgesang ausreichen. Doch ist damit die Brauchbarkeit des Apparates nicht erschopft. Der leiterahnliche Aufbau des Apparates zeigt das Steigen der Tone fiir Auge und Ohr zugleich an — mit alien in Betracht kommenden Erhohungen und Erniedrigungen. Ebenso bietet sich das Verhaltnis der Tone innerhalb der Tonleiter jedesmal in anschaulicher Weise raumlich dar, indem die dritte und vierte, siebente und achte Stufe — die Halbtonintervalle jeder Durtonleiter— dicht nebenein- ander liegen. Dem Ohre konnen diese Verhaltnisse sofort iibermittelt werden. Ebenso stellen sich die samtlich gebrauchliohen Intervalle im Zusammenklange und unter ihrer naturgemassen Zerlegung in ganze und halbe, der Tonleiter entnommenen Tone dar. AUea Zuvorgesagte gilt auch ftir die Darstellung des Quinten- und Quartenzirkels mit samtliohen sichergebenden chromatischen Veranderungen. Mit Leichtigkeit konnen die Schiiler alle diese Verhaltnisse am Apparate selbst auffinden und darstellen, so dass hier von einem Erfassen, Erleben des Tones und des Tonverhaltnisses innerhalb einer Tonleiter und von einem Erarbeiten des Tonsystems und der ihm zugrunde liegenden Tongesetze, wie sie sich in dem Quinten- und Quartenzirkel darstellen, sehr wohl gesprochen werden kann. In dem steten, einheitlichen Zusammenfallen der Anschauung fiir das Auge und das Ohr mit der graphischen Darstellung besteht die Eigenart des oben beschriebenen Apparats. [The apparatus is manufactured, and is on sale at the office of the " Poaener Lehrer Zeitung," Lissa, Prussia. Price £5 10s. With box, 15s. extra.] 2 c 386 Congress Eesolutions Passed and International Committees Recognized. On report from Lecture-Section IV (Church Music), the General Meeting passed a resolution "holding it to be necessary that certain rales of construction should he laid down for the use of architects planning church buildings, in order that conditions of space requisite for the purposes of church music may always be secured." On report from Lecture -Section VI. (Bibliography, Organization, Contemporary questions, &c.), the General Meeting passed a resolution " considering it desirable that a thorough survey of the musical libraries in Great Britain and Ireland should be undertaken, in continuation of Mr. Barclay Squire's valuable article, ' Libraries and Collections of Music, Europe,' in the second edition of Grove's Dictionary ; that not only public collections but also, and more particularly, private collections should be examined, and that the results should be published in a suitable musical periodical." The General Meeting of members held at the conclusion of the Basel Congress, September 25th and 27th, 1906, took notice of the formation of a standing Bibliographical Committee, composed of members of the International Musical Society, and having for its object the continuation of the work of Eitner's Quellen-Lexikon (see the Monthly Journal, viii., November 3rd, 1906). This committee consists at the present date of Ecorcheville (Paris), Von Hase (Leipzig), Kopfermann (Berlin), De la Laurencie (Paris), Mantuani (Vienna), Norlind (Lund), Schulz (Munich), Schwartz (Leipzig), Sonneck (Washington), Springer (Berlin), Squire (London), Tiersot (Paris), Wolffheim (Berlin) ; with office at the Royal Library, Berlin, and librarian Dr. Hermann Springer as managing member. The committee, having met twice at the present Congress (see report below), presented the following resolution to the General Meeting : — " DieBibliographische Kommission der I.M.G. erachtet Herrn Dr. Springer's u.a. Unfcemehmen Musikgeschichtliche Quellennachweise als eine Moglichkeit ■einer praktischen Verwirklichung der Wiener Beschliisse. Sie hat beschlossen, en H erausgebern das gesammelte und noch einlaufende amtliche Material der Kommission unter den vereinbarten Bedingungen zur Veroffentlichung zu iiberweisen." The same General Meeting at Basel took notice of a movement for oompiling a " Corpus Scriptorum de Musica medii sevi " ; ibid. On May 23rd and 24th, 1909, at Vienna, a standing International Committee was formed, with regulations ; c/. pages 687-690, Vienna Congress Report. (For the officers at the present date see report below.) A Conference was held at Munich on September 15th, 1910. Another was held in the London University Buildings on May 29th, 1911. During the present Congress a standing International Committee was formed for promoting the study of Musical Iconogra,phy, consisting at the present date of Ecorcheville (Paris), Galpin (Harlow), Hammerich ^Copenhagen), Leichtentritt (Berlin), Scheurleer (The Hague), Stanley (Ann Arbor), Wellesz (Vienna). 387 EESOLUTIONS AND INTEBNATIONAL COMMITTEES— conJiraued. (Uebersetzung.) Au£ den Bericht der Kongress-Sektion IV. (Kirchenmusik) fasste die Hauptversammlung einen Beschluss, indem "sie die Aufstelluug baulioher Normen fur die Hand des Kirchenbauenden Arehitekten fiir notwendig erkliirte, damit beim Kirohenbau stets die raumlichen Vorbedingungen geschaffen werden, die zur Erfiillung der kirchenmusikalischen Aufgabeu erforderlioh sind." Au£ den Bericht der Kongress-Sekfcion VI. (Bibliographie, Organisation, Zeitgenossische Fragen, u.s.w.) fasste die Hauptversammlung einen Beschluss, indem " sie es fiir wiinsehenswert hielt, dass eine vollstandige Uebersicht der musikalisohen Bibliotheken in Grossbritannien und Irland, in Fortsetzung des Barclay Squire'schen wertvoUenArtikels 'Libraries and Collections of Music, Europe,' in der zweiten Ausgabe des Grove's Dictionary, unternommen werden sollte ; dass nicht nur oSentliche Sammlungen, sondern auch und ganz besonders, Privatsammlungen untersuoht werden sollten; und dass die Resultate in einer passenden musikalischen periodischen Publikation veroffentlioht werden." Die am Sohlusse des 25. bis 27. September 1906 des Easier Kongresses abgehaltene Hauptversammlung nahm Notiz von der Bildung einer standigen Bibliographischen Kom- missioD, welohe aus Mitgliedern der I.M.G. bestand und die Fortsetzung der Arbeit des Eitner'schen Quellen Lexikons im Auge hatte; s. Z. VIH, 3 November 1906. Diese Kom- mlssion besteht z. Z. aus Bcorcheville (Paris), von Hase (Leipzig), Kopfermann (Berlin), De la Laurencie (Paris), Mantuani (Wien), Norlind (Lund), Schulz (Miinchen), Schwartz (Leipzig), Sonneck (Washington), Springer (Berlin), Squire (London), Tiersot (Paris), Wolffheim (Berlin) ; mit Bureau in der Koniglichen Bibliothek, Berlin und Bibliothekar Dr. Hermann Springer als geschaftsfiihrendes Mitglied. Die Kommission traf in London zweimal zusammen (s. den beigelegten Bericht), und uuterbreitete der Hauptversammlung der Gesellschaft folgenden Beschluss: "Die Bibliographisohe Kommission der I.M.G. eraohtet Herrn Dr. Springer's u. a. XJnternehmen Musikgeschichtliche Quellennachweise als eine Moglichkeit einer praktischen Verwirklichung der Wiener Beschliisse. Sie hat bescblossen, den Herausgebern das gesammelte und noch einlauf ende Material der Kommission unter den vereinbarten Bedingungen zur Verofientlichung zu iiberweisen." Dieselbe Hauptversammlung in Basel nahm Notiz einer Bewegung, um ein "Corpus Soriptorum de Musica medii sevi " zu verfassen ; ibid. Am 23. und 24. Mai 1909 wurdedafur in Wien eine standige Kommission mit Satzungen gebildet; s. S. 687-690 des Wiener Kongresa-Berieht-Bandes. Fiir die Beamten siehe beigelegten Bericht. Am 15. September 1910 wurde in Miinchen eine Konferenz abgehalten. Am 29. Mai 1911 wurde im Londoner Universitatsgebaude noch eine abgehalten. Wahrend des Londoner Kongresses wurde eine standige Kommission zum Studium der musikalischen Ikonographie gebildet. Sie besteht z. Z. aus Ecorcheville (Paris), Galpin (Harlow), Hammerich (Kopenhagen), Leichtentritt (Berlin), Scheurleer (Haag), Stanley (Ann Arbor), Wellesz (Wien). 388 Reports Presented by the Different National Sections of the Society, by International Committees, and by the Directory. BEEICHT tJBEE DIE LANDESSEKTION BADEN. Die Ortsgruppe Heidelberg der Internatienalen Musikgesellschaft hat sich auf Anregung des III. (Wiener) Kongresses den Ausbau der badischen Sektion angelegen sein lassen. Zu diesem Zwecke hat der Vorsitzende der Heidelberger Ortsgruppe am 19. November 1910 in Karlsruhe und am 22. November 1910 in Mannheim je einen Vortrag mit Illustrationen am Klavier abgehalten und zur Grlindung von Ortsgruppen in den genannten Stiidten aufgefordert. In Karlsruhe konstituierte sich die Ortsgruppe mit 7 ordentlichen und 11 ausserordentlichen Mitgliedern. In Mannheim versuchte der von mir zum Vorsitz gebetene Diiektor der Hoclischule flir Musik, Herr K. Zuschneid, noch personhch durch schriftliohe Werbung nachzuhelfen. Er bezeichnete unterm 20. April 1911 in einer Zuschrift an mich, das Eesultat als ein " klagliches." Aber es ist ihm doch wesentlich mit zu danken, dass die Ortsgr. Mannheim mit 11 ordentlichen und 10 ausserordentlichen Mitgliedern ins Leben getreten ist. Es scheint jedoeh, dass es notig ist, dass die beiden Ortsgruppen fiir die niichste Zeit von Heidelberg aus, quasi mit " pastoriert " werden ; wenigstens wurde von den beiden Ortsgruppen darum ersucht. Ja, Mannheim machte den Vorschlag, dass es mit in der Ortsgruppe Heidelberg aufgehe. Dieses erscheint als eine allzu pessimistische Au£fassung. Ich habe das Zutrauen zu der bisherigen Leitung der Mannlieimer Ortsgruppe, dass sie das Pfliinzchen zu kraftiger Entwicklung bringen werde. Allerdings ist sehr zu beklagen, dass die massgebenden Herren KoUegen von der musikalischen Praxis an beiden Orten vorlaufig keinerlei Interesse an der von der I.M.G. vertretenen kiinstlerischen Materia zeigen, sondern es vorziehen, "ex faustibus " auf den Programmen ihrer Konzerte manchmal recht anfechtbare " Musikgeschichte " dem Publikum zu verabreichen. Und es konnte doch sehr zum Vorteil der Musikpflege, namentlich auch der alten Meister gereichen, wenn der nicht selten " grauen " Theorie der Musik- gelehrten die lebensvoll sich aussernde Praxis der Kapellmeister zur Seite trate (um damit die aussersten Pole der Musikpflege zu bezeichnen).^Im iibrigen : In Mannheim wurde den Mitgliedern der Ortsgruppe eine Einladung zu einem " Hauskonzert der Hochschule fiir Musik " dargeboten (8. Pebr. 1911). Ich glaube, mit einem weiteren zu den vielen Konzerten wird den Zwecken der I.M.G. vpenig gedient sein. Ohne ein musikgeschichtliches Eeferat wird es bei den Versammlungen der Ortsgruppen nicht abgehen konnen. In Karlsruhe wartet man noch auf Unterstiitzung von Heidelberg (die ihm im Sommersemester gegeben werden soil). In Heidelberg hielt Herr Univ.-Mus.-Dir. Prof. Dr. Fritz Stein aus Jena einen Vortrag "Bilder aus der Musikgeschichte Heidelbergs" (3. April 1911), woriiber in Nr. 7 der " Zeitschrift der I.M.G. " berichtet ist. Nachtrag. — Die Herren K. Zuschneid in Mannheim und K. Malsch in Karlsruhe haben mittlerweile nach Leipzig (nicht mir) gemeldet, dass sie den Vorsitz bei ihrer Ortsgruppe aufgeben. Ich werde versuchen, mit dem Einimpfen der Bazillen " Korporationsgeist " und " Energie," auch " Selbstlosigkeit " nachzuhelfen. Generalmusikdirektor Dr. Philipp Wolfbum. Heidelberg. Vorsitzender der Landessektion Baden. 389 KEPOETS OF NATIONAL SECTIONS, Ei;c.—coiiUimed (Baden). COMPTE-RENDU SUR LA SECTION NATIONALE, BBLGIQUE. La Section Beige de la Societe Internationale Musicale se trouve actuelle- ment dans le deuxi^me annee de son existence. C'est k I'initiative du comite central de Leipzig, et du comity de la Section de Paris, represents par sou trdsorier M. Ecorclieville, que la section, dont I'existence avait ete jusqu'alors purement nominale, entra dans sa pSriode d'activite. Par uue circulaire en date du 12 octobre 1909, le soussigne reunit les quelques adherents beiges de la S.I.M. et d'autres personnes susceptibles de s'interesser au mouvement musicologique. C'est au cours de cette reunion que furent prises les principales mesures destinies a assurer le fonctionnement de la section. Le comite fut constitue comme suit : President, M. Edg. Tinel ; vice-president, MM. Al. Beon et Baron Buifin ; secretaire, M. E. Closson ; secretaire-adjoint, M. Ch. van den Borren ; tresorier, M. H. Taubert. M. Al. B6on voulut bien mettre h, la disposition du groupe, pour ses seances, les locaux de la salle Erard. On decida egalement de choisir, comme organe, le " Guide musicale " de Bruxelles. M. le Dr. G. Dwelshauvers, de LiSge, annon9a la constitution dans cette ville, d'une " societe liegeoise de musicologie," qui fonctionnera comme un Groupe Local (Ortsgruppe). Le comite, reuni quelques jours apr^s, elabora les statuts de la section, qui furent imprimes et distribues aux membres. La premiere seance publique eut lieu £1, la salle Erard le 17 Janvier 1910. Elle comportait une conference de M. van den Borren sur les origines du drame musical et 1' "Orfeo" de Monteverde, suivie d'une audition musicale de fragments de 1' " Orfeo," preparSe par M. D. Demest, et k laquelle prirent part M™" Demest et Ricbir, MM. Houx et Vanderschriek, et M. Minet, claveciniste. La deuxieme seance, donnee le 20 avril, consistait en une conference du soussigne sur J. B. Loeillet et la musique instrumentale en Belgique au XVIP siecle, suivie d'une audition d'oeuvres de musique de cbambre de Loeillet harmonisees par M. Al. Beon et executees par M"' Beon, claveciniste, MM. Boone, flutiste, Delfosse, gambiste, Van Bever, hautboiste et Van Hout, violiste. A I'occasion de I'Exposition retrospective de I'Art beige au XVIP siecle, ouverte k Bruxelles concurremment avec I'Exposition universelle, I'administra- tion des Beaux-Arts cliargea le comite de la section de I'organisation de seances de musique aucienne dans les locaux de I'exposition. Le comite chargea M. Al. Beon et le soussigne d'organiser, par delegation, les dites seances. Celles-ci, qui furent au nombre de quinze, obtinrent le plus vif succ^s. Les programmes, dont une liste recapitulative fut publiee dans le "Guide musical" du 9 octobre 1910, reunissaient des specimens de la musique vocale et instrumentale du XVI" et du XVII" siecle. Enfin, la moderation des artistes executants, le devouement de M""^ Beon, qui, comme claveciniste et comme organiste, participa a titre gracieux k toutes les seances, permirent de realiser, sur les subsides accordSs par le gouvernement pour I'organisation, un benefice appreciable, qui venait fort opportunement alimenter la caisse de la section. La deuxieme annee sociale s'est ouverte par la reunion statutaire du 2 novembre 1910, qui a ete suivie de trois seances de musique moderne, donnSes les 13 deeembre 1910, 19 Janvier 1911 et 5 avril 1911, et consacrSes respectivement aux ceuvres de MM. Paul Dupin, Ch. Tournemire et J. Mouquet. Une seance historique, consacrSe aux origines de I'oratorio, a eu lieu en mai 1911. Elle comportait une conference de M. Ch. Martens, musicoiogue a 390 EEPOETS OF NATIONAL SECTIONS, Btc— continued {Belgium). Louvain, suivie d'une audition de morceaux de Cavalliere, Carissimi, Schiitz, Dumont, etc., chantes per M""'' de Madre, M. Vanderborght, at autres ; cette partie musicale avait ete organises par M"' Beauck-Birner, professeur de chant a Bruxelles L'organisatiou de seances de musique moderne ne repond pas tout a fait an but historique et scientifique de la S.I.M., mais il a fallu y recourir a cause des conditions toutes speciales dans lesquelles se trouve la jeune section beige. Celle-ci, qui compte actuellement vingt-neuf membres actifs et neuf membres auditeurs, doit se d6velopper dans un milieu des plus ingrats, caracterise par I'absence de toute tradition musicologique, par TindifFerence generale des artistes et du public. Si la Belgique a produit des musico- logues de premiere valeur tels que Gevaert, Fetis, Van der Straeten, De Coussemaker, etc., il importe de se rendre compte que ces liommes ont opere isolement, qu'ils se sont formes eux-memes et qu'en somme une ecole musico- logique beige n'existe pas. De meme, ceux qui se livrent actuellement k cette science sont en tres petit nombre en Belgique, et la plupart voient leur activite entravee par des occupations piofessionnelles. On se rend compte combieu il est difficile, dans ces circonstances, d'assurer dans le pays le fonctionnement regulier d'un organisme tel que la S.I.M., dans le sens prevu par les fondatenrs. II est possible iet meme probable que cette situation s'ameliorera dans I'avenir, mais nous craignons que cet avenir ne soit encore eloigne. D'ici la, la section beige, dont I'activite se limite au groups de Bruxelles ct aux reunions de la Soci^te liegeoise de musicologie, menera une existence assez precaire. En terminant, nous tenons a rendre hommage au vice-president M. Al. Beon, qui apporta a la section I'appoint d'un nom connu et unanimement considere dans notre monde artistique, ainsi que celui de ses relations etendues et de son experience d'organisateur, et nous offrit enfin une hospitalite qui, tout en nous evitant des frais considerables, assurait a elle seule le bon renom artistique de notre association. E. Closson, Bruxelles. Secretaire de la Section Natiorjale, Belgique. BEEICHT UBER DIE LANDESSEKTION' DANEMAEK. Die Landessektion Danemark und zugleieli die Ortsgruppe Kopenhagen wurde im September 1899 durch folgende gegriindet : Dr. Will. Behrend, Konservatoriumsprofessor J. D. Bondesen, Prof. Dr. A. Hammerich, Opern- lepetitor S. Levysohn, Prof. Otto Mailing, Kgl. Kapellmeister Fr. Eung, Vizepolizeidirektor Dr. V. C. Ravn, Justizsekretar Dr. C. Thrane. Als Vorstand wurde erwahlt : Professor Dr. Angul Hammerich, erster Vorsitzender ; Vizepolizeidirektor Dr. V. C. Eavn, zweiter Vorsitzender ; Dr. Will. Behrend, Sekretar ; Konservatoriumsprofessor J. D. Bondesen, Kassierer. 1901 trat der letztgenannte wegen Abreise als Kassierer zuriick. In seine Stelle wurde Opernrepetitor S. Levyson erwahlt. 1905 starb der zweite Vorsitzende, Dr. V. C. Eavn. Seine Stellung wurde nicht neu beset.zt. In den verflossenen Jahren wurden folgende Voitrage gehalten : Chr. Barnekow : J. G. Naumann als Hofkapellmeister in Kopenhagen. Dr. William Behrend : 1. Anton Bruckner. 2. Guido Adler's Buch iiber Richard Wagner. 3. Felix Mendelssohn-Bartholdy. 4. Die Entwicklung des Liedes im 18. und 19. Jahrhundert. Dr. Louis Bob4 : Der danische Hofkapellmeister J. A. P. Schulz. Chr. Geisler : Fanny Hensel, Mendelssohn's Schwester. 391 KEPORTS OF NATIONAL SKCTIONS, Eic.—contiimecl (Demmrl:). Prof. Dr. Angul Hammerioh : 1. Studien fiber islandisehe Musik. 2. Die Flote als Natur- instrument und Kulturinstrument. H. Hindsberg : Daa moderne Pianoforte. Prof. Dr. Finnur Jonsson : Das Harfenspiel der nordischen Skalden. Th. Laub : Die Musikgesohiohte und die italienisohen Komponisten des 17. Jahrhunderts. Hortense Panum ; Die Laute und die Lautenmusik des 16. bis 18. Jahrhunderts. Justizsekretar Dr. Carl Thrane : 1. Die Militarmusik Danemarks in 18. Jahrh. 2. Giuseppe Sarti in Kopenhagen. 3. Johann d. a (1726—1793.) Dr. Hjalmar Thuren : Der Volksgesang auf den Paroern. Dr. Will. Thalbitzer und Hj. Thuren : Ostgronlandische Musik. Prof. Dr. Angul Hammerich, Kopenhagen. Vorsitzender der Landessektion, Daiiemark. EEPORT ON THE NATIONAL SECTION, GEEAT BRITAIN AND IRELAND. 1. This" Section was founded immediately after the formation of the Society, at a meeting of persons interested, which was convened by Prof. Ebenezer Prout and Mr. W. Barclay Squire, held in Broadwoods' Rooms, London, on November 24th, 1899, and attended by Sir Hubert Parry, Bart, (in the chair), Prof. H. E. Wooldridge, Dr. Charles Maclean, Messrs. C. A. Barry, J. S. Curwen, Otto Goldsehmidt, A. J. Hipkins, Alfred H. Littleton, J. A. Fuller Maitland, J. S. Shedlock, and W. Barclay Squire. 2. Rule 4 and Bye-laws 6 and 7 of tlie Society provide that for purposes of the central administration of the Society only one person in each National Section, the " Vorsitzender " of the same, is recognised as representing the Section, the aggregate of such Vorsitzender forming the Governing Body (Prasidium) of the Society. But Rule 3, sentence iii., provides that, consistently with this arrangement, the several National Sections can frame their own internal administrative organization. In this country there was accordingly appointed a President (Vorsitzender), and for his assistance a Vice-President, two Hon. Secretaries, a Treasurer and Committee, members unhmited in number ; the whole under the short title of the " English Committee of the International Musical Society." The Presidents to date have been : 1899-1906, Sir Hubert Parry, Bart. ; from 1906 (when Sir Hubert Parry resigned in consequence of ill-health) to date, Sir Alexander Mackenzie. The Vice-Presidents have been : 1899-1907, Mr. Otto Goldsehmidt ; from 1907 (when Mr. Goldsehmidt died) to date. Dr. W. H. Cummings. The joint Hon. Secretaries have been : 1899-1906, Mr. W. Barclay Squire and Dr. Charles Maclean ; from 1906 (when Mr. Squire resigned) to date, Dr. Charles Maclean and Dr. W. G. McN aught. The Treasurers have been : 1899 to date, Messrs. Breitkopf & Hiirtel, London. The present members of the Committee other than officers are : Sir Hubert Parry, Bart., Sir Frederick Bridge, Sir Charles Stanford, Professors Granville Bantock and Frederick Niecks, Messrs. E. J. Dent, Clifford B. Edgar, W. H. Hadow, Alfred H. Littleton, J. A. Fuller Maitland, S. Myerscough, and W. Barclay Squire. 3. The operative and practical bodies of the International Musical Society are the Local Branches (Ortsgruppen) of Rule 3, which lie within the jurisdic- tion of the National Sections, are attached to particular towns as centres, and have for their object to hold periodic meetings for reading papers, &c., and thus 392 EEPOETS OF NATIONAL SECTIONS, F,ic.— continued (Great Britain and Ireland). (in conjunction with the central co-operative and polyglot publications) to promote the vitality of the Society. It is precisely these functions as to meetings and the co-ordination of musical research which were performed in London for twenty-five years before the formation of the International Musical Society, by the English " Musical Association for the investigation and discussion of subjects connected with the art and science of music,'' an institution firmly established in the English musical world, holding eight meetings a year, and publishing a yearly volume of Proceedings. It was considered both undesirable and impracticable to attempt to hold rival meetings in London for discussing identically the same class of subjects, and it was consequently decided to make an alliance with the Musical Association on the basis of the " Kartellverein " clause of Rule 3, sentence ii. As members of the Musical Association would under such circumstances have but small inducement to join the International Musical Society other than the receipt of the publications of the latter, special terms of subscription were (with the permission of the publishers, who had already made a general contract with the Society) given to those members of the Association who joined the Society. This left it open to others outside of the Association to join the Society on the usual terms. The agreement with the Musical Association was comprised in letter from the then President of the International Musical Society dated January 10th, 1900, in letter from the Association Council dated February 14th, 1900, and in Eesolution of the " English Committee " dated February 20th, 1900, and is still in force. On its side, the Association agreed that the words "in connection with the Internationale Musikgesellscliaft " should be added to the title of the Association on all its publications and prospectuses, and that it would, for purposes of the Gesellschaft, act as an Ortsgruppe for the City and County of London, " the Association having the rights and obligations attached to that position and undertaking to promote the interests of the I.M.G. as far as lies in its power," with some subsidiary clauses. The present officers of the Musical Association are : President, Dr. W. H. Cummings ; Secretary, Mr. J. Percy Baker ; Treasurer, Mr. Arthur M. Fox ; 11 Vice-Presidents ; 10 Ordinary Members of Council. 4. The following figures show the results of the arrangement with the Mxisical Association. At the end of the first season, in 1900, there were : — I.M.G. English membeis from the Association 73; I.M.G. English members outside of the Association, 17 ; total, 90. In 1901 the corresponding figures were 104, 16, 120. In 1903 they were 113, 50, 163. In 1909 they were 110, 67, 177. At the present date (May, 1911) they are 108, 102, 210. As a matter of fact, just about half of the members of the Association have joined the International Society in each of the last eleven years, while the number of I.M.G. English members outside the Association has gone tip from 17 to 102. The " English Committee " is conscious of the drawback involved in not being able to hold meetings in London outside the Association, and' some measures for interesting members other than those in the Association are under consideration. 5. On October 2nd, 1905, the Irish members were grouped under a Dublin Local Branch (Ortsgruppe). Chairman till his death in 1907, Dr. James Culwick ; subsequently Mr. S. Myerscough. Secretary to date, Eev. H. Bewerunge. On December 2nd, 1905, the Scottish members were grouped under an Edinburgh Local Branch. Chairman to date. Prof. Frederick Niecks ; Secretary to date, Mrs. Kennedy Eraser. It is hoped to inaugurate a Local Branch shortly in the Midlands. 393 EEPORTS OF NATIONAL SECTIONS, T^ic—contimied {Great Britain and Ireland). 6. While the "English Committee" has not been in a position so far to institute any separate local meetings, it has been very active in the last eleven years as a deliberative and advisory body. The following are among the chief points in which it has intervened, with the results — most of these matters being concerned with making the publications really, and not nominally, international : — (u) Though the preliminary circulars of the Society made it clear that the Magazine and Journal were to be polyglot in four languages, —in the sense of each country contributing in its own language, and the languages standing side by side, — yet no systematic steps were taken at first to develop contributions other than German. In 1900, at the end of the first season, the percentage of the languages in the two publications combined was German 94%, French 3%, English 3%, Italian nil. In 1901, at the end of the second season, owing to the efforts and representations of the Committee, English reading-matter had risen to 26%. In 1904, at the reconstruction of the Society, it was formally agreed by the Prasidiums-Vorstand (letter from the same dated April 9th, 1904) that 25% of the space in the Magazine and 25% of the reading-matter space in the Journal should always be reserved for the English language. This agreement has to date been maintained and acted upon, if not in each separate number yet in the aggregate within each separate year. (b) In 1902 the Committee pointed out that the yearly "General Index" related almost exclusively to the German matter. This has been remedied. From 1903 onwards the index-slips for the English portion of the publications have been prepared in this country, and then incorporated. (c) To make the publications more acceptable outside Germany, the Committee in 1903 recommended an English title and contents for this country, and a French ditto for France. This has been carried out. (d) In December, 1903, the Committee urged the necessity, based on four years' experience, of having in each principal non-German country, or for each non-German language, a " Corresponding Member," charged with the duty of acting as literary agent for the collection of material from that country or for that language, and its transmission to the central editorial office or offices. That policy was accepted at the first meeting of the newly-constituted Governing Body (Prasidium) held at Leipzig, on October 1st, 1904 (Head "A," 4, of Minutes), and confirmed in letter from the Directory, dated November 1st, 1904. It was again approved at the Governing Body meeting held on September 25th, 1906, at Basel. " Corresponding Members " have been provided for by Bye-law 3. The policy has been carried out in practice for the last nine years in this country, where, in accordance with English journalistic usage, the " Corresponding Member" is called "English Editor." (e) In consideration of the fact that German is little read in this country, and in mitigation of the language-difficulty necessarily involved in the polyglot system, an " English Sheet" containing short English abstracts from the foreign (chiefly German) matter in the Journal was for two years printed privately in this country, and circulated as an inset with each number of the Journal. From November, 1905, onwards the publishers were good enough, in excess of their contract, to undertake to issue four pages of this publication with each number of the Journal. At the Governing Body meeting of September 25, 1906, at Basel, this was accepted as a valuable adjunct to the polyglot system of the Society. From June, 1908, onwards the title has been changed to "International Musical Supplement." (/) While concurring in the arrangements of the New Rules of 1904 on the purely administrative side, the Committee pointed out several times between 1904 and 1909 that the arrangements of 1904 were ill-considered on the editorial side. The former central editorial office had been abolished, and nothing substituted except a " Eedaktions- kommission ' ' consisting of three members scattered in three countries . Such a body, which could never actually meet, and was not even organized within itself for the reception and conduct of business, could not exercise control or direct policy in any of the many difficult current points constantly arising in connection with dual and complicated publications such as those of the I.M.G. A plan for combining the executive authority of the Prasidiums-Vorstand with the deliberative powers of the Eedaktionskommission, and so making the latter body practically effective, was prepared for the Vienna Congress of 1909. As however the existing members of the Eedaktionskommission did not desire a change, the- plan was not carried to a division. (g) In January, 1904, and subsequently, the Committee Urged the importance of maintaining the more modern side of the publications, in accordance with the official definition in the Journal of Novelnber, 1899," the 'Socieity's- prospectus of May, '1901, 394 BEPOETS OF NATIONAL SECTIONS, 'Etc.— contimied {Great Britain and Ireland). current entries in books of reference, and Eule 2 (i.) and (ii.), as to the distinction between the Magazine and the Journal. The representations of the Committee have had some effect, and would probably have had more if there had been an operative central editorial authority. (7i) In 1907 many meetings of the Committee were given up to discussion of the situation caused by the French Section having in January, 1907, instituted in the name of the I.M.G. a French sectional publication, which was in size and contents the parallel of the Society's Magazine and Journal combined, but was not available to non-French members. The Committee pointed out several times that, however excellent such publication might be in itself, this proceeding, taken in the name of the Society, must inevitably withdraw French matter from the polyglot publications, and was thus a secession from the co-operative principle which was the basis of the Society's existence. During 1907 French, the chief international language, almost disappeared from the Society's Journal. In partial solution of this problem it was agreed on December 14th, 1907 (letter from the French Section), that the central editors should have the power to use any matter which might appear in the French sectional organ without citation, and as if it had been contributed direct to the central organs. The same arrangement had already three years before been made with the Musical Association, on the mere grounds of reciprocity of benefits. See Monthly Journal, XI., 69, December, 1909. (i) After co-opting pro hac vice various eminent personages, the "English Committee " undertook in 1909 the conduct of the present Congress, under the title of the "Executive Committee of the London Congress." 7. A report from the Musical Association, as Ortsgruppe London, is appended. Dr. Chables Maclean. Dr. W. G. McNaught. Joint Hon. Secretaries of the National Section London. Great Britain and Ireland. EEPORT ON THE MUSICAL ASSOCIATION. The " Musical Association for the investigation and discussion of subjects connected with the art and science of Music " was projected in Oxford by Sir John Stainer, then organist of Magdalen College. Two years after he came to London as organist of St. Paul's, he put the scheme into effect, with the help of Messrs. Adams, Airy, Baillie-Hamilton , Banister, Barnby, Barnett, Barry, Benedict, Benson, Berger.Best, Bishop, Bosanquet, Bridge, Chappell, Clay, Cooper, Cummings, Dannreuther, Davison, Ellis, Elvey, Engel, Gadsby, Garcia, Goldschmidt, Goss, Grove, Helmore, Higgs, Hopkins, Holmes, Hueffer, HuUah, Leslie, Littleton, Lloyd, Macfarren, Mackeson, McNaught, Martin, Marshall, Metzler, Monk, Monro, Oakeley, Osborne, Ouseley, Parratt, Pauer, Pole, Pontigny, Prendergast, Prout, Eandegger, Eosa, Eudall, Salaman, Schira, Soutbgate, Spottiswoode, Stanford, Statham, Steggall, Stephens, Stewart, Stone, Sullivan, Taylor, Troutbeck, Turle, Tyndall, Welch, Wheatstone, Wylde, and others. The foundation dates officially from May 29th, 1874. The first general business meeting of members was held on August 4th, 1874. The first lecture-meeting was on November 2nd, 1874. On December 13th, 1875, Dr. W. Pole was deputed to draft a detailed constitution for the Association, which was subsequently passed. Trustees for funds began from the year 1881. On February 13th, 1900, the members resolved to add to their title the words, "In connection with the Internationale Musikgesellschaft " ; the connection involving obligations on both sides. The Presidents have been as follows : — From August 4th, 1874, till his death on April 6th, 1889, Sir Frederick A. Gore Ouseley, Bart. ; from October 28th, 1889, till his death on March 31st, 1901, Sir John Stainer ; from November 12th, 1901, till November 3rd, 1908, Sir Hubert PaiTy, Bart. From November 3rd, 1908, till date. Dr. William Hayman Cummings. The subjects that have been dealt with include : Acoustics, Aesthetics. Biography, Construction and history of various instruments. National music, Personal notices, Philosophy, Physiology of music. Practical music and analysis, Schools of Music, Science, etc., etc. 'There have been altogether over 300 papers read. Analysis shows that about half relate to historical or antiquarian subjects, and half to con- temporary subjects. An alphabetical index to all the papers from the beginning (by authors 395 EEPOETS OF NATIONAL SECTIONS, ETC.-contiimed {Slusical Aanociation). and by subjects) is inserted quinquennia lly in the Proceedings Volume ; the last index will be found in Volume XXXV., 1908-1909. The publishers of the Proceedings volumes have been : till 1877, Messrs. Chappell & Co.; till 1887, Messrs, Stanley Lucas, Weber & Co.; till date, Messrs. Novello & Co. The following is a list of the lecturers, with the number of lectures delivered by each severally (if more than one) down to May, 1911. The lecture-meetings are usually held in the afternoon on the third Tuesday in every month, from November to June, inclusive :— W. Grylls Adams ; W. A. Aikin ; H. P. Allen ; H. Antclifie ; George A. Audsley (3) ; J. Baillie-Hamilton (2) ; Henry C. Banister (5) ; John Francis Barnett W. A. Barrett; C. A. Barry; Henry Bassett; E. Algernon Baughan ; Emil Behnke (3) E. H. Bellairs ; Shelford Bidwell ; W. J. Birkbeek ; David James Blaikley (7) ; John E Borland (2); E. H. M. Bosanquet (6) ; Eustace J. Breakspeare (4) ; Sir Frederick Bridge , Joseph C. Bridge ; H. B. Briggs ; Lucy E . Broadwood ; Lennox Browne ; Eev. Marmaduke E.Browne (2); Jane M. E. Brownlow (2) ; Percy C. Buck; George BuUen ; J. S. Bumpus ; G. N. Carozzi ; Thomas Casson ; William Chappell ; Somers Clarke ; G. G. Cleather ; Gerard F. Cobb (2); W. Willson Cobbett ; Eev. Francis L. Cohen; Frederick Corder; Edwin J. Crow ; James C. Culwick ; W. H. Cummings (12) ; J. Spencer Curwen (2) ; Henry Davey (2) ; Capt. C. E. Day ; Emily E. Daymond ; Edward J. Dent (2) ; Janet Dodge ; Thomas F. Dunhill ; Clifford B. Edgar ; F. G. Edwards ; Alexander J. Ellis (2) ; Miriam Ellis ; W. Ashton Ellis; Gustav Ernest; Edwin Evans; Eev. W. H. Frere; Charles J. Frost; Henry F. Frost; Eev. F. W. Galpin (2) ; W. H. Gill; Francis E. Gladstone; Joseph Goddard (3) ; Sir George Grove ; Ilona de Gyory ; Eev. W. J. Habens ; W. H. Hadow ; J. Treadway Hanson ; H.A.Harding; Arthur Havergal ; James Hefternau ; Eev. Thomas Hehnore ; James Higgs (2) ; Henry Hiles ; Arthur Hill (2) ; A. J. Hipkins ; E. Howard-Jones ; Mrs. Watts Hughes; John HuUah ; Frederick Iliffe; Edgar F. Jacques i2) ; A. Kastner ; F. Kidson ; F. Korbay ; F. St. John Lacy ; George Ernest Lake ; Eev. Henry C. de Lafontaine (3) ; George Langley ; Ludwig Latte ; E. Markham Lee ; Sir George Macfarren (3) ; Eev. Chas. Mackeson; Charles Maclean (4) ; W. G. McNaught (2); J. A. Fuller Maitland; James E. Matthew (2) ; Eev. J. H. Mee; W. H. Monk (2i ; Walter Morrow ; E. W. Naylor (3) ; Eosa Newmarch (5); Louis Nicole; F. Niecks (3); Arthur O'Leary ; Norman O'Neill: George Alexander Osborne (4); Eev. Sir F. A. Gore Ouseley, Bart. (4); Louis N. Parker; Sir C. Hubert Parry, Bart. ; Annie W. Patterson; E. J. Payne; Charles W. Pearce (4) ; Frederick Penna (2) ; F. T. Piggott ; Towry Piper ; William Pole (2) ; Victor de Pontigny ; Ferdinand Praeger (3) ; Waldo Selden Pratt ; Arthur H. D. Prendergast ; Eidley Prentice ; Oliveria Prescott ; Ebenezer Prout (4) ; Louis B. Prout ; Lord Eayleigh (3) ; Alfred Ehodes (2) A. Madeley Eichardson ; Cyril B. Eoothani (2) ; Algernon Eose ; K. M. Boss ; J. F. Eowbotham Charles Kensington Salaman (3) ; Charles Santley ; C. G. Saunde.rs ; Frank J. Sawyer (4) C. Kennedy Scott ; W. de Manby Sergison ; W. Shakespeare ; G. Bernard Shaw ; James S Shedlock (5) ; Frederick G. Shinn (2) ; W. Macdonald Smith (2) ; A. Somervell -, Thomas Lea Southgate (7); William Spottiswoode ; Sir John Stainer (7); J. F. E. Stainer; H. Standish ; W. W. Starmer (4) ; H. Heathcote Statham (2) ; A. Orlando Steed (2) ; Charles Edward Stephens (2); W. H. Stone (3) ; Stephen S. Stratton (2) ; Thomas Strevens; John Taylor ; Sedley Taylor ; E. E. Terry ; Donald F. Tovey ; W. J. Treutler ; T. H. Yorke Trotter (2) ; Edmund H. Turpin ; James Turpin ; Eev. 0. J. Vignoles ; Charles Vincent ; Albert Visetti ; Ernest Walker ; William Wallace ; John C. Ward ; John W. Warman (2) ; Henry Watson; F. Gilbert Webb (3); C. Welch (2); John E. West; Herbert Westerby (2); C. F. Abdy Williams (3); A. C. White; F. Meadows White; Edmund Whomes ; F. Cunningham Woods (2) : Eev. G. E. Woodward ; Tom S. Wottou ; Walter Wyatt. J. Peecy Baker, London. Secretary of the Musical Association. 396 EEPOBTS OP NATIONAL SECTIONS, Etc.— continued {Holland). BEEICHT UBER DIE LANDESSEKTION NIEDEELANDE. Ill den Niederlandeii wild die I.M.G. vertreten von der Vereeniging voor Noord-Nederlands Muziekgeschiedenis, unter Protektorat Ihrer Majestiit der Konigin. Die Vereeniging besteht seit 1868 und gibt jahrlich ein altes Musikwerk heraiis, das, wie ilire Zeitsclnifl, den Mitgliedern unentgeltlioh zugesandt wird. In erster Linie wird darauf geaclitet, wissenschaflliche Arbeit zu liefern; da es jedoch erwiinsclit ist, auch bessere Dilettanteii als Mitglieder heranzuziehen, und das Interesse fiir alte Musik nur allmiihlich gehoben werden kann, sind audi moderne Bearbeitungen von alten Tanzen und Liedern in die Serie der Ausgaben aufgenommen. Neben diesen Ausgaben hat die Vereeniging die Monumentalausgabe der Werke J. P. Sweelinok's (Prof. Dr. M. Seiffert) durchgefiihrt. Das gleiche geschieht jetzt fiir Jakob Obrecht (Prof. Dr. J. Wolf). Auch bibliogra,phisch war sie tatig, indeni sie ein Eepertorium der sehr ausgedehnten uiederlandischen Literatur geistlicber und weltlicher Liederbiicher, sowie Verzeicbnisse der jetzt in den Niederlanden erscheinenden Musikalien erscheinen liess. In der letzten Generalversammluiig ist eine Satzungsanderung in bezug auf die Emennung neuer Mitglieder bescblossen worden. Zugleicli ist einem lange gebegten Wunsch zufolge eine Aenderung des Namens vollzogen worden. Da die Gesellschaft sicli nicht beschrankeu will auf Nord-Niedeiland, sondern sicli befassen will mit alien Landern, wo Niederlandisch gesprochen wird oder welche friiher zu den Niederlanden gehorteii, wird fortan der Vereiii den Namen tragen : " Vereeniging voor Nederlandsclie Muziekgeschiedenis." Das Arbeitsfeld wird dadurch wesentlich ausgedehnt. Der Vorstand besteht jetzt aus den Herren : Dr. D. F. Scheurleer, Haag, Vers. ; Dan. De Lange, Amsterdam, Untervors. ; Dr. E. D. Pijzel, Amsterdam, Schriftfiihrer ; Dr. A. de Stoppelaar, lia^a,g, Schatzmeister ; Ant. Averkamp, Amsterdam; S. van Milligen, Amsterdam; E. W. Moes, Amsterdam; Julius ESntgen, Amsterdam ; Prof. Dr. Max Seiffert, Berlin ; J. A. Sikemeier, Eotterdam. Ausgaben der " Vereeniging voor Nederlandsohe Muziekgeschiedenis." Drei Jahrbiicher " Bouwsteenen " 1869-1881, im Anschluss daran 10 Bande " Tijdschrift " 1885 ff.— Katalog der Bibliothek, 1895.— J. P. N. Land, Das Lautenbueh des Thysius, 1889.— D. F. Scheurleer, " Ecelesiasticus " oder die Spriiche des Jesus Sirach von Jan Fruytiers 1565. — J. W. Ensohed^, Joach. Hess, Dispositionen niederlandiseher Orgelwerke. — Bibliographie niederlandiseher Musikalien. 1908 ff. Neuausgaben alterer Musikwerke : Gesamtausgabe der Werke J. P. Sweelinck's, herausgegeben von Max Seiffert, 12 Bande. — Gesamtausgabe der Werke Jac. Obreoht's herausgegeben von Joh. Wolf, im Erscheinen begriflen. — Einzelne Werke von Svreelinck, Schuyt, Wanning, Obrecht, Huygens, Eeinken, van Noordt, Boskoop, Tollius, Schenk, Locatelli, Valerius, Hurlebusoh. — Einzelne Hefte altniederliindisoher Volkslieder, Tanze, Boerenliedjes, Marsche. Nahere Infoi-matioiien erteilt der Sekretar der Vereeniging, Dr. E. D. Pijzel, Amsterdam, Heerengracht 141. Dr. D. P. ScHEUEiiEEE. Prof. Dr. Max Seiffert. Der Vorstand der Landessektion Niederlande. Den Haag und Berlin. 397 EEPORTS OF NATIONAL SECTIONS, 'Etc.— continued {North Germany). BERICHT tJBER DIE LANDESSEKTION NOEDDEUTSCHLAND. Das Wirken der Sektion Norddeutschland fand seinen sichtbaren Ausdruck in der Vereinstatigkeit der Ortsgruppe Berlin, deren Neugriindung anf ihre Initiative bin, in der konstituierenden Versammlung vom 21. Mai 1905 nnter Zugrundelegung neuer Statuten erfolgte. Die Leitung des Vereins libernahm ein neungliedriger Vorstand, an dessen Spitze in den beiden ersten Jahren Herr Direktor Prof. Georg Schumann und seit Juni 1907 Herr Prof. Dr. Johannes Wolf trat. Zum Ehrenvorsitzenden wurde am 29. Juni 1907 Herr Geh. Eegierungsrat Prof. Dr. Hermann Kretzschmar gewiihlt. Der Arbeitsplan, welcber von diesem auf dem ersten Kongress zu Leipzig fiir die Ortsgruppen aufgestellt worden war, wurde fiir die Tatigkeit des Berliner Zweigvereins die Richtschnur : Vortriige, kritische Referate und historische Musikauffiihrungen bilden den Gegenstand der 8-10 ordentlichen Jahressit- zungen. Eine Aufstellung der Vortrage wird am besten fiir das Streben sprechen, alle Zweige der Musikwissensohaft zu pflegen und die Kenntnis der Praxis verschiedener Zeiten und Volker den Mitgliedern zu vermitteln. Besonderen Dank verdient das uneigenniitzige Eintreten von Kiinstlern von der Trefflichkeit einer Wanda Landowska, eines Georg Walter, eines Anton Witek, eines Rudolf Melzer, eines Dr. James Simon, u. a. fiir die Ziele der I.M.G. Die Aufstellung bietet aber audi zugleicli einen Beleg fiir das internationale Leben, welches sicli in der Berliner Ortsgruppe abspielt, indem Vertreter Englands, Frankreichs, Finnlands, Hollands und Norwegens zu Worte gekommen sind. V0RTKA.GS1'LAN. 1905. 21. Juni. Prof. Dr. Max Friedlaender : Beethoven's Jugendzeit. 26. Nov. Prof. Dr. Max Seiffert : Fr. W. Zaehow als Lehrer Handel's. 10. Dez. Geh. Eegierungsrat Prof. Dr. Carl Stumpf mit seinen Assistenten : Demonstration der akustischen Einrichtungen des psyohologisohen Instituts und Erlauterung seiner Apparate. 1906. 21. Jan. Prof. Dr. Friedrich Zelle : Forsohungen zur altesten deutschen Oper. Dr. James Simon : Ueber den Stand der Chopinforsohung. 25. Febr. Prof. Dr. Hermann Kretzschmar : Mozart und die Geschiohte der Oper. 25. Marz. Dr. Johannes Wolf: Heinrich Isaac als weltlicher Komponist. 29. April. Prof. Dr. Max Dessoir : Ueber kiinstlerisohe Gesiohtspunkte fiir die Vortragsordnung von Musikwerken. 20. Mai. Dr. Erich von Hornbostel: Ueber tunesische Melodien. • Dr. Otto Abraham : Indianer-Melodien aus British Columbia. . Dr. Hugo Leichtentritt fiihrte auf " italienisehe Gesangsmusik aus der Zeit ] urn 1600." 24, Juni. Frl. Georgy Calmus : Die musikalisoh-parodistische Seite der Beggar's Opera von Gay und Pepusoh. 24. Nov. Dr. Georg Miinzer : Die Melodien der Meistersinger. 15. Dez. Edward J. Dent (Cambridge) : Leonardo Leo. 1907. 12. Jan. Dr. Eiohard Hohenemser t Der Streit um die musikasthetisohen Anschauungen Hansliek's. Dr. Alfred Guttmann : Eichard Strauss als Liederkomponist. 9 Febr. Frl. Georgy Calmus : Die ersten deutschen Singspiele von Standfuss und Hiller. 9. Marz. Frl. Amalie Arnheim : Die Parodien der franzosisohen Opern des 18. Jabrhunderts. 20. April. Prof. Dr. Max Seiffert : Die Verzierung der Sologesilnge in Handel's Messias. 8. Juni. Prof. Dr. Max Friedlaender : Goethe's Gedichte in zeitgenossischen Kompositionen. 15. Juni. Dr. Erich von Hornbostel: Musikethnologische Studien bei den Pawnee- Indianern. 398 EEPORTS OF NATIONAL SECTIONS, 'Etc.— continued {North Germany). 1907. 15 Juni. Dr. Hugo Leichteutritt fiihrte Motetten des 16. Jahrhundeits auf. 2. Nov. Prof. Dr. Max Friedlaender : Die Herausgabe musikalischer Kunstwerke. Anton Witek : Mozart, Konzert VII. 7. Dez. Dr. Hugo Goldschmidt : Monteverdi's Eitorno d'Ulisse. Dr. Joseph Kromolicki mit dem Kirchenchor von St. Michael : Geistliche und weltliche Chormusik des 16. Jahrhunderts. Dr. James Simon : Alte Klaviermusik. 1908. 25. Jan. Prof. Dr. Johannes Bolte : Die Bella musioalia von Sebastiani, Sartorius- Laurenberg und Beer. Dr. James Simon : Ueber Weingartner's Ratschlage fur Auffiihrung der Symphonien Beethoven's. Alte Kammermusik. 15. Pebr. Madame Wanda Landowska (Paris) : Alte Clavecin-Mtisik, 21. Marz. Prof. Dr. Max Seiffert: Handel's Verhaltnis zu Ton werken alterer deutsoher Meister. 2. Mai. Otto Andersson (Helsingfors) : Das sohwedische Volkslied in Finnland. 30. Mai. Ernst Kosehny : Die Volkslieder der polnisohen Bewohner Oberschlesiens. Erich Fischer : Biemann's Handbuch der Musikgesehichte II., 1. Dr. James Simon : Polnische Klaviermusik. 27. Juni. Dr. E. v. Hornbostel : Indonesische Volksmusik. 2. Juli. George Walter : Bachkonzert. 7. Nov. Dr. Hermann Springer : Venezianische Liedmusik des 18. Jahrhunderts. 1909. 29. Jan. Kudolf Melzer ; Corelli, Guignon, Dall' Abaco, Biber. Dr. James Simon : Handel, J. S. Bach. 13. Febr. Prof. Dr. Johannes Wolf : Mittelalterliche Musikverhaltnisse. Frl. Langbein, Dr. Kinkeldey ; Gesange aus Astarto von Bononoini und II Maestro di Musica von Pergolese. 27. Febr. Dr. Werner Wolffheim : W. A. Mozart Sohn und sein handschriftliohes Eeisetagebuch 1819-21. Kgl. Kammermusiker Plass fiihrte 11 Satze aus den Suiten Melchior Franck's auf. 8. Mai. Dr. Leopold Schmidt : Musikkritik. Frl. M. V. Eeichenbach sang Lieder aus Sperontes' Singender Muse an der Pleisse. Dr. James Simon spielte Couperin. 15. Mai. Dr. Eichard Hohenemser : Das grossrussische Volkslied. 12. Juni. Kammermusik: G. F. Handel und Leopold Mozart. Erlauterungen von Prof. Dr. Max Seiffert. 28. Okt. Prof. William Wolf : Grundziige einer Geschichte der Synagogalmusik nebst Hypothesen fiber alteste Musiksysteme. 7. Dez. Geh. Eegierungsrat Prof. Dr. Carl Stumpf : Die Anfange der Musik. 17. Dez. Neue Berliner Kammermusik-Vereinigung : Dall' Abaco, Chr. Porster, Joh. Stamitz, Asplmayr, K. Ph. Em. Bach. 1910. 29. Jan. Max Schneider : Musikalische Praxis der Bachzeit (I.). 26. Febr. Dr. Curt Sachs : Die erste Bliitezeit der brandenburgisoheu Hofmusik. R. Melzer : Biber, Telemann. 2. Mai. Christ. Leden (Norwegen) : Musikethnologische Gronlandexpedition. Eudolf Melzer u. Frl. Lotte Kaufmann : Hiillmandel, Bodinus, Joh. Stamitz, Telemann, Biber, A. Dornel, Ph. E. Bach, A. Fischer. 25. Juni. Max Schneider : Die musikalische Praxis der Bachzeit (II.). 18. Juli. Prof. Dr. Johannes Wolf : Kritisohe Darstelluug der Beck-Aubryschen Kontroverse iiber die modale Interpretation der Troubadours- und Trouv^res-Melodien. 12. Nov. George Walter : Gesangsmusik des 17. und 18. Jahrhunderts (Monteverdi Caceini, Cesti, Caldara, Morley, Purcell, H. Schiitz, J. S. Bach). 28. Nov. Geh. Eegierungsrat Prof. Dr. Carl Stumpf : Konsonanz und Dissonanz. 17. Dez. Alte Weihnachtsmusik von Gertraut Langbein, Else Hennig, Eudolf Melzer, Dr. Georg Schiinemann, Dr. James Simon, Dr. Hermann Springer. 1911. 20. Jan. Edward J. Dent (Cambridge) : Der Amfipamaso des Orazio Vecchi. Dr. Hugo Leichtentritt fiihrte Chore aus dem Amfipamaso auf. 17. Febr. Diskussionsabend. 4. Marz. Sauitatsrat Dr. Walter Pielke : Ueber die Eegister der menschlichen Stimme und Bericht iiber experimentelle Untersuchungen der sogenannten Deckung gesungener Vokale (mit Demonstrationen). Prof. Dr. Gutzmann iiber seine Untersuchungsmethode der Tonkurven. 399 EEPORTS OF NATIONAL SECTIONS, mc— continued {Amtria-Hunnary). 1911. 17. Marz. Lektor Dr. Hermann F. Wirth : Das niederliindische Volkslied, mit musikaEschen Erliiuterungen unter Leitung von Cornelis Dokkum und Max Schneider: I. Das Lied im 1-5. Jahrh., II. Instrumentalsatze des 16. u. 17. Jahrha., III. Das volklaufige Lied vom 16. bis zum 19. Jahrh., IV. Tanzlieder des 17. u. 18. Jahrhs., V. Volkslieder des 19. Jahrhs. Die Zabl der Mitglieder ist nur wenig gestiegen und betriigt gegenwartig 62. Hinzugesellt sich ein grosser Kreis von Preunden, die gem an den Veranstaltungen der Ortsgruppe teilnehmen. Diese hat in dem musikwissen- schaftlichen Seminar der Universitat dank dem Entgegenkommen seines Leiters ein tref&iches Lokal gefunden. Fiir besondere Gelegenlieiten stellte Herr Gebeimrat Stumpf aucb stets das ihm unterstehende Psychologische Institut der Universitat ziir Verfiigimg. Ein besonderes Auf bllihen des Vereinslebens war im letzten Jalire niolit zu verkennen, und es bestebt die Hoffnung, dass die praktiscben Musiker, welcbe der I.M.G. in Deutscbland fremder gegeniiberstehen, allmabUch den Segen der Vereinigung erkennen und die auf Hebung der musikalisehen Bildung und Vertiefung des musikalisehen Lebens geriehteten Ziele zu den ihrigen machen. Das Band der Sektion mit der Ortsgruppe istjiingst durcb die Bestimmung vom 14. Januar 1911, dass der jeweilige Vorsitzende der Ortsgruppe Sitz und Stimme in der Sektion haben soUe, nocb enger gekniipft worden. Prof. Dr. Johannes Wolf. Im Auftrage des Vorstandes der Landessektion Norddeutschland. Berlin. BEEICHT tJBER DIE LANDESSEKTION OSTERREICH-UNGAEN. Die Tatigkeit der Landessektion Oesterreicb-Ungarn findet ihren Ausdruck bauptsachlicb in der Tatigkeit der Wiener Ortsgruppe, die bis vor kurzem die einzige in Oesterreicb-Ungarn war und daher haufig Gaste aus den Hauptstadten des Reiches beberbergen konnte. Seit einiger Zeit hat sich in Prag unter dem Vorsitze des Universitatsprofessors Dr. Heinricb Rietsch eine Ortsgruppe konstituiert, die bereits 60 Mitglieder zahlt ; in dem laufenden Jabre wurde auf Anregung von Prof. Franz Moissl in Graz eine Ortsgruppe gebildet ; die Interessen der ungariscben Musikwissenschaft werden durch die Budapester Ortsgruppe unter dem Vorsitze von Ministerialrat Direktor Edm. v. Mihalovich vertreten. Die konstituierende Generalversammlung der Ortsgruppe Wien der Inter- nationalen Musikgesellschaft fand am 26. Oktober 1899 statt. Zum Vor- sitzenden wurde der Prasident der Landessektion Oesterreich, Herr Professor Dr. Guido Adler gewahlt, zum Stellvertreter Dr. Karl Navratil, zum Schrift- fiihrer Professor Oswald KoUer, zum Kassenwart Dr. Robert Hirschfeld, zu Ausschussmitgliedern die Herren Professor H. Gradener, Max Kalbeck und Frau Kitty von Escherich. Im Jabre 1905 erfuhr der Verein eine Anderung in der Leitung, durch den Eiicktritt des Vorstandes und durch eine Anderung bzw. Erweiterung der Statuten. Herr Professor Dr. Guido Adler behielt die Stelle eine Prasidenten der Landessektion, zum Vorsitzenden der Orts- gruppe wurde Dr. Erwin Luntz gewahlt, zum Stellvertreter Dr. Hugo Botstiber, zum Schriftfiihrer Dr. Johannes Winkelmann, zum Kassenwart Dr. Adolf Koczirz, zu Beisitzern Dr. Max Graf und Dr. Elsa Bienenfeld. Im Jabre 400 EEPOETS OF NATIONAL SECTIONS, ^To.—contimied (Anstria-Hiingary). 1910 iibernahm Herr Dr. Botstiber die Leitung der. Ortsgruppe, Herr Dr. Erwin Luntz wurde Stellvertreter, Dr. Egon Wellesz Schriftfiihrer, Dr. Adolf Koczirz Kassierer, Professor Eusebius Mandyczewski, Professor Karl Prohaska und Professor Habock Beisitzer. Auch die Tatigkeit der Ortsgruppe konnte durch das rege Interesse der Mitglieder, die im Jahre 1911-12 sich auf 110 beliefen, erweitert werden und neben den Vortragen der Auffiihrung historischer Werke ein breiterer Eaum gegonnt werden. Von hervorragenden Kiinstlern, die bei Veranstaltungen unserer Ortsgruppe mitwirkten, seien u. a. hervorgehoben : Madame Wanda Landowska (Cembalo), Pablo Casals ('Cello), Professor Arnold Rose (Violine), Professor Paul Griimmer ('Cello), Madame Cahier (Alt), ferner die unermiidlicben Leistungen des Frauenchores von Frau Professor Albine Mandyczewski. 1899. 26. Okt. Konstituierende Generalversammlung. 16. Nov. Dr. Karl Navratil : Die Variation. 1900. 5. Febr. Dr. Bobert Hirschfeld : Vergleichende Kunstforschung. Prof. Adolf Prossnitz : Klaviervortrage alterer Musik. 26. Febr. H. Josef Stritzko : Moderner Notendruck und -stich. 27. Marz. H. Alfred Sohnerioh; Kirchenmusikalische Beform in Wien. 28. Mai. DomA.M.Klafsky : Die Kirchenmusikalische Frage in Wien. Anschliessend erlauternde Gesangsvortrage. 21. Nov. Dr. Karl Navratil : Musikalische Lehranstalten . 18. Dez. Prof. Dr. Heinrich Eietsch (Prag) : Programmusisk. Anschliessend Klavier- vortrage durch Prof. A. Prossnitz. 1901. 11. Jan. Dr. Hugo botstiber : Cimarosa in Wien (zum 100. Todestage). Anschliessend Arien und Kammerduette Cimarosa's. 25. Febr. Dr. Felix Eosental : Musik als Eindruck. 11. Miirz. Demonsttationen tiber reingestimmte Tasteninstrumente. 18. Nov. Dr. Egon von Komorzynski : Die Entstehung des Textfes der " Zauberflote." 14. Dez. Prof . Dr. Franz Marschner : Das Rein-Bhythmische und seine Bedeutung fiir die musikalische Form. 1902. 25. Jan. u. 22 Febr : H. Cyrill Hynais : Vorsohlage zur Hebung der musik- theoretischen Studien in neuerer Zeit. 5. April. Heinrich Geissler: Die Tonic Sol-Fa-Methode. 11. Nov. Prof. Oswald KoUer : Ueber die Musik der Minnesiinger. 9. Dez. Dr. Alfred Sohnerich : Die Inszenierung des Mozart'sohen " Don Juan." 1903. 18. Febr. Prof. Oswald KoUer : Die instrumentale Begleitung des Minnegesanges. 26. Marz. Dr. Hugo Botstiber : Shakespeare und die Musik seiner Zeit. Anschliessend Klaviervortrage aus dem Fitzwilliam Virginal Book und Chore von Dowland, Bennet, Tallis und Morley. 14. Dez. Dr Karl Weigl : Em. Forster und seine Beziehungen zu Beethoven. 1904. 6. Febr. Dr. Elsa Bienenfeld : Das Quodlibet des XVI. Jahrhunderts. 12. Marz. Hoforganist Anton Seydler (Graz) : Harmonisohe Elemente in der einstim- migen Musik. 26. Nov. Dr. Gustav Donath : Plorian Gassmann. 13. Dez. Dr. Adolf Koczirz : Lautenmusik und osterr. Lautenspieler bis 1550. 1905. 20. Febr. Dr. Max Graf : Die Musikbildung der Benaissanee. 25 Marz. Dr. Erich von Hornbostel : Probleme der vergleiohenden Musik- wissenschaft. 5. Mai. Dr Erwin Luntz : Ueber die Anfange des Instrumentalkonzerts. 7. Nov. DiskusSionsabend : Die sinfonische Musik seit Brahms u. Bruckner. 1906. 20. Jan. Dr. Elsa Bienenfeld: Musikalische Schlachtengemalde. 28. Jan. Mozartfeier. 8 Vortrage in versohiedenen Bezirken Wiens durch : Dr. Elsa Bienenfeld, Dr. Hugo Botstiber, Dr Max Graf, Dr. Adolf Koczirz, Prof. Koller, Dr. Erwin Luntz, Dr Johannes Winkelmann,H.W6gerer, mit anschliessenden Musik vortragen. 27. Okt. Dr. Alexander Pilcz suppl. Vorstand d. I. psychiatr. Universitatsklinik Wien : Psyehiatrie und Musik 26. Nov. Prof. Oswald Koller : Eeferat iiber den Basler Kongress. Ausfiihrung von Kammermusikwerken von Bach und Handel. 3. Dez. Prof. Dr. Guido Adler : Musikalische Kulturprobleme unsever Zeit. 401 EEPOBTS OF NATIONAL SECTIONS, Etc.— continued {Paris). 1907. 24. Jan Schriftsteller Eiohard Specht: Moderne Opernregie. 19, 20. Miirz. Major Joaoh. Steiner : 2 DemonBtrationsvortrage fiber Polytonik. 22. Juni. Historischer Gitarreuabend. Vortrag : Dr Adolf Koczirz. Aufiiihrung : Kapellmeister Josef Krempl. 3. Dez. Historisches Konzert im grossen Musikvereinssaale. Auffuhrung von Werken osterreich. Kaiser usw. 1908. 2-5. Febr. Dr. Oskar Kappelmaoher : Brahms und Wagner. 4. Marz. Hans Krenn : Die letzte Konsequenz in der Tousohrift und Musiktheorie. 24. Marz. Prof. Franz Habook: Die Entwicklung der physiologischen Gesangs- methoden. 10. April. Dr. Erich v. Hornbostel (Berlin) Musikleben bei den Pawnee-Indianern. 11. Mai. Dr. Karl Horwitz : Josef Starzer. Auffuhrung zweier Divertissement! J. Starzer's. 12. Mai. Historisches Konzert unter Leitung von Dr. Karl Horwitz ; G. M. Monn, Sinfonie und Senate ; M. Sehlozer, Partita ; Josef Haydn, Sinfonie in Gdur. 1909. 13. Marz. Josef Gregor : Die Epigenesie des Kunstwerks. 25-29. Mai. Haydn-Zentenarfeier und III. Kongress der Internationalen Musik- gesellsohaft. (Festgottesdienst, 4 historisohe Konzerte, Festvorstellung in der Hofoper. Vortrage.) 1910. 9. Jan. Pablo Casals : Violonoellkompositionen von Bach und Beethoven. 28. Febr. Josef Gregor : Die Prinzipien der angewandten Dramaturgie der Oper. 18. April. Bach-Abend (Mitwirkende : Mad. Wanda Landowska, Mad. Cahier, Arnold Eos6 [Violinel). 3. Mai. Dr. Max Graf: Zur Entstehungsgeschichte von Wagner's "Fliegendem Hollander." Ausohliessend Collegium musicum. 23. Mai. 'Dr. Egon Wellesz : Giov. Battista Pergolese. Ansohliessend Aufiiihrung von Werken Pergolese's (Stabat mater, Triosonaten) . 22. Nov Friedemann Bach-Abend. Gedenkrede von Prof. Eusebius Mandyczewski ; Anschliessend Auffuhrung von Werken Friedemann Bach's. 9. Dez. Prof. Diettrioh : Japanische Musik. 15. Dez. Julius Major (Budapest) : Ein neues Tonsystem. 1911. 10. Jan. Dr. Erwin Felber: Die Wurzeln der primitiven Musik. Es ist aus dieser Programmiibersicht zu ersehen, dass die Orfcsgruppe bestrebt ist, jeweilige Gedenktage (Mozart, Haydn, Cimarosa, Pergolese, Fried. Bach) zum Anlasse zu nehmen, um dem Publikum duroh instruktive Vortrage iind die Auffuhrung einiger oharakteristischer Werke ein mogUchst genaues Bild der Personlichkeit der Kiinstler zu geben. Die Mischung von Vortrag mit nachtraglichem Collegium musicum hat sioh als eine gliickliche erwiesen, und hat zur Folge, dass die Veranstaltungen der Ortsgruppe von einem zahheichen Piiblikum von Mitgliedern und deren Freunden besucht werden. Dr. Egon Wellesz, Im Auftrag des Vorsifczenden der Landestektion Oesterreich-Ungarii. Wien. COMPTE-EENDU SUE LA SECTION NATIONALE, PAEIS. [The Section de Paris sent in a Eeport in 1909 giving a retrospective account of its administration to that date (see in extenso at Journal XI., 69, December, 1909), and the same was taken as the basis for thfe present serifes of reports. Under these circumstances it was not thought necessary to invite the Section de Paris to send in a new report.] 2d 402 EEPOETS OF NATIONAL SECTIONS, mc.—contimted {Saxony ■Thunngia). BEKICHT tJBER DIE LANDESSEKTION SACHSEN-THURINGEN. Die das Konigreich Sacbsen, die Thuringischen Staaten, die Provinz Sachsen und das Herzogtum Anhalt umfassende Landessektion Sachsen- Thiiringen der Internationalen Musikgesellschaft, die im April 1909 neue Satzungen aufgestellt hatte, hielt am 19. November 1910 in Dresden ihre satzmigsmilssige Jahresversammlung ab. Sie ging einem Friedemann Bach- Abend der Ortsgruppe Dresden voraus und wurde von dem 2. Vorsitzenden Professor Richard Buchmayer geleitet. Unter Punk't 1 der Tagesordnung Tvurde Universitatsmusikdirektor Prof. Dr. Stein in Jena an Stelle des verstorbenen Hofrat Dr. Aloys Obrist in den Vorstand gewahlt, so dass dieser sich gegenwartig wie folgt zusammensetzt ; Prof. Dr. Hugo Eiemann, Leipzig, 1, Vorsitzender. Prof. Biohard Buchmayer, Dresden, 2, Vorsitzender. Prof. Dr. Arthur Priifer, Leipzig, Sohriftfiihrer. Prof. Dr. Hermann Abert, Halle a. S. Prof. Dr. Fritz Stein, Jena. Die im Gebiet der Sektion bestehenden Ortsgxuppen Leipzig und Dresden hatten eine lebhafte Tatigkeit entfaltet. Die Ortsgruppe Leipzig hat in einer Generalversammlung vom 6. Juli 1909 ihre Satzungen neu beraten. Ausser dieser Generalversammlung hielt die Ortsgruppe unter ihrem riihrigen 1. Vorsitzenden Professor Dr. Arthur Priifer seifr dem Wiener Kongresse der I.M.G. 10 Sitzungen ab, in denen in Form von historischen Vortragen und Konzerten reiche Arbeit geleistet wurde. Die noch junge Ortsgruppe Dresden, iiber deren im Miirz 1909 erfolgte Begriindung beim Wiener Kongresse beriehtet werden konnte, hat sich in der kurzen Zeit ihres Bestehens unter ihrem Vorsitzenden Oberregierungsrat Dr. Ermisch und durch die aufopfernde Tatigkeit ihres Schriftfiihrers Dr. Rudolf Wustmann ausserordentlieh entwiokelt. Sie zahlt zurzeit weit iiber 100 Mitglieder, woven allerdings nur ein Fiinftel gleichzeitig der Haupt- gesellschaft als ordentliche Mitglieder angehoren. Die Ortsgruppe hat bisher neun Sitzungen in Gestalt von Vortragen, Diskussionen und Konzerten von grossem musikwissenschaftlichen Literesse veranstaltet, darunter die Erstauf- fiihrung des von Dr. Schering aufgefundenen Weihnaohtsoratoriums von Schiitz. Ueber die Sitzungen der beiden Ortsgruppen wurde jeweilig in der Zeitschrift der I.M.G. ausfiihrlich referiert. Prof. Dr. Hugo Riemann. Vorsitzender der Landessektion Sachsen-Thiiringen. Leipzig. BERICHT UBER DIE LANDESSEKTION SCHWEIZ. Die in der Schweiz wohnenden Mitglieder der I.M.G. waren im ersten Jahrzehnt des Bestehens der Gesellschaft nur in loser Form zu einer Landes- sektion vereinigt. Um einen festeren Verband zu griinden, versammelten sie sich bei Gelegenheit des schweizerischen Tonkiinstlerfestes zu Winterthur am 26. Juni 1909. Es wurde ein nach dem Muster deutscher Landessektionen entworfener Entwurf von Satzungen durchberaten und gutgeheissen, dieser dann auch durch auf schriftlichem Weg vorgenommene Abstimmung endgiiltig angenommen. Der Vorstand wurde bestellt aus den Herren Kapellmeister Hermann Suter (Basel), Prasident ; Prof. Dr. Karl Nef (Basel), Schriftfiihrer ; Max Boiler (Basel) , Kassierer ; Prof. Dr. Ed. Radecke (Winterthur) , Beisitzer ; und 403 REPOETS OF NATIONAL SECTIONS, Etc.— continued {Switzerland}. Willy Sohmid (Neuchatel), Beisitzer. Bei der satzungsgemass vorgenommenen Neuwahl im September 1910 warden die Genannten wieder gewiihlt, da Herr Schmid seinen Eiicktritt erklarte, dieser auf dem Wege der Kooptation durch Herrn Privatdozent Dr. Ed. Bernoulli (Ziirich) ersetzt. Als erste Sektionsaufgabe wurde die Erstellung einer schweizerischen musikalisohen Bibliographie beschlossen ; dureli Erlass eines Zirkulars an die schweizerischen Bibliothekea ist der erste Sohritt dazu bereits getan. Im iibrigen sieht die Sektion ihre Hauptaufgabe zunaohst in der Forderung der von ihr begriindeten, auf der Universitiitsbibliothek in Basel deponierten Schweizerischen Musikbibliothek. Eine selbsttatige Ortsgruppe hat sich bis jetzt nur in Basel entwickelt, iiber ihre historischen Musikauffiihrungen wurde jeweilen in der " Zeitschrift " bericlitet. Prof. Dr. Kakl Nef. Sohriftfiihrer der Landessektion Schweiz. Basel. BEEICHT tJBER DIE KOMMISSION DES " CORPUS SCRIPTOEUM DE MUSICA MEDII AEVI." Die " Corpus Scriptorum "-Kommission besteht aus folgenden Mitgliedern : Vorstand. I. Vorsitzendei- : Prof. Dr. Guido Adler (Wien). It. Vorsitzender : Prof. Dr. Peter Wagner (Freiburg i. Sohweiz). 1. Sohriftfiihrer: Prof. Dr. Johannes Wolf (Berlin). 2. Sohriftfiihrer: Prof. Dr. Heinrich Eietsch (Prag). 3. Sohriftfiihrer: Dr. Thalberg (Wien). Landesvertretungen. Amerika : 0. G. Sonneok (Washington). Danemark : Prof. Dr. Angul Hammerioh (Kopenhagen). Deutsohland : Geh. Regierungsrat Prof. Dr. Hermann Kretzsohmar (Berlin), Excellenz Freiherr Dr. R. von Lilienoron (Coblenz), Prof. Dr. Adolf Sandberger (Miinchen), Prof. Dr. Johannes Wolf (Berlin). England : W. Barclay Squire (London), Edward J. Dent (Cambridge). Frankreich: Dr.- Jules Eooroheville (Paris), Am^d^e Gastou6 (Paris), Charles Malherbe (Paris). Holland: Dr. D. F. Soheurleer (s'Gravenhage). Italien : Rev. Abbate Amelli (Monte Cassino), Prof. Gasperini (Parma). Osterreioh : Prof. Dr. Guido Adler (Wien), Direktor Dr. Mantuani (Laibaoh). Schweden : Dr. Tobias Norlind (Lund, Tomelilla). Sohweiz : Prof. Dr. Adolf Thiirlings (Bern), Prof. Dr. Peter Wagner (Freiburg). Spanien : Dir. Dr. Cecilio de Roda. Gruppenleiter. Dom Mocquereau (Eyde) . Dom Blanohard (Eyde). Padre Amelli (Monte Cassino). Prof. Dr. Hermann MuUer (Paderborn). Dr. Franz Xaver Mathiaa (Straasburg i. E.I. Prof. Dr. Friedrieh Ludwig (Strassburg i. E.). Dr. Jules Eooroheville (Paris). Prof. Dr. Johannes Wolf (Berlin). Prof. Dr. Hermann Abert (Halle). Prof Dr. Heinrich Eietsch (Prag). Prof. Dr. Theodor Kroyer (Miinchen). Berlin. Prof. Dr. Johannes Wolf. 2d2 404 REPOETS OF NATIONAL SECTIONS, 'Eic— continued {Commissions). BEEICHT iJBER DIE BIBLIOGRAPHISCHE KOMMISSION. Die Bibliographische Kommission hat wahrend der Tagung des Londoner Kongresses zwei Sitzungen, am 1. und am 2. Juni 1911 abgehalten. Anwesend die Herren : Ecorcheville (Paris), Norlind (Lund), Sonneck (Washington), Springer (Berlin), Squire (London), Wolffheim (BerHn). Der Vorsitzende, H. Springer, erstattete Bericht iiber die Arbeiten der letzten zwei Jahre und legte das eingegangene Material der von ihm im Auftrage der Kommission unternommenen Bnquete iiber die " Anschaffungs- fonds fiir Musikalien und Biicher iiber Musik in den offentlichen Bibliothekeu der einzelnen Lander " vor, welches einer weiteren VervoUstandigung und Bearbeitung bedarf. In Ausfiihrung der Resolution des Wiener Kongresses (vgl. Wiener Kongressbericht S. 77/78) hat die bibliographische Zentralstelle in Berlin sine Sammlung von biobibliographischem Material als Nachtrage und Verbesserungen zu Eitner's Quellenlexikon in die Wage geleitet. Ein von Springer unter Mitwirkung von M. Schneider und W. Wolffheim herausgegebener Probedruck einer Publikation solchen Quellenmaterials wurde vorgelegt. Die Kommission begriisste dieses Unternehmen als eine Moglichkeit zur praktisohen Verwirklichung der Wiener Eesolutionen, und besohloss, unter Billigung des Planes einer privaten periodischen Veroffent- lichung durch die Herausgeber, diesen das gesammelte und weiter eingehende offizielle Material der Kommission zur Publikation zur Verfiigung zu stellen. Herr Ecorcheville regte an, zur Erlauterung der Bezeichnung " Musik- geschichtliche Quellennachweise " einen international verstandlichen Titel flir die Publikation zu wiihlen : es wurde der Titel "Miscellanea musicae biobibliographica " in Aussicht genommen. Berlin. Dr. Hebmann Springer. REPOET OP THE DIRECTORY OP THE SOCIETY. In accordance with practice, the Directory offers to members a brief report on the period between the last Congress and the present, i.e., from May, 1909, to May, 1911. The period has seen a very remarkable increase of membership, as the following figures, taken from the last five official censuses, will show : — In October, 1902, there were 756 members. In August, 1906, there were 767 members, or an increase in 4 years of 11 only. In March, 1907, there were 791 members, or an increase in 7 months of 24. In August, 1909, there were 839 members, or an increase in 2-| years of 48. In May, 1911, i.e., to-day, there are 1,028 members, showing an increase of 189 in 1 year and 7 months. Since the very early days the membership has never advanced so rapidly as this. The 1,028 members are divided by countries as follows : — Germany 330, England 210, France 117, America 114, Austria-Hungary 83, Switzerland 31, Russia 29, Belgium 31, Italy 19, Sweden 17, Denmark 14, Holland 12, Finland 10, Asia 4, Roumania 2, Australia 2, Africa 1, Spain 1, Portugal 1 —total 1,028. 405 EEPOETS OP NATIONAL SECTIONS, E-ic.—co)itinued {Directory). The 1,028 members are divided by language spoken approximately as follows :— German 429, English 330, French 152, Italian 20,' Miscellaneous (Danish, Dutch, Finnish. Hungarian, Portuguese, Eoumanian, Eussian, Spanish, Swedish) 97 — total 1,028. As working bodies for holding meetings of members, 7 new Local Branches have constituted themselves under the rules : Ann Arbor, Budapest, Heidelberg, Helsingfors, Karlsruhe, Mannheim, Stockholm. The further formation of Local Branches is greatly to be desired. For administrative purposes one new National Section, that of " South France," has been erected by the Governing Body, its headquarters being at Nlmes in the Gard. The formation of a ilussian National Section is under consideration. The present Directory was re-elected on October 1, 1910, for a period not exceeding two years. Sir Alexander Mackenzie, Dr. Oskae v. Hase, Dr. Charles Maclean, President. Treasured. Secretary. {Uebersetzung.) Der Gewohnheit gemass bietet der Prasidiums-Vorstand den Mitgliedern einen kurzen Berieht iiber den Zeitraum zwischen dem letzten und dem gegenwartigen Kongresse, d.h. vom Mai 1909 bis Mai 1911. Der Zeitraum hat eine bemerkenswerte Vermehrung der Mitgliedsehaft aufgewiesen, wie folgende aus den letzten 5 offiziellen Mitgliedsverzeichnissen entnommenen Zahlen zeigen werden : Im Oktober 1902, 756 Mitglieder. Im August 1906, 767 Mitglieder, also in 4 Jahren nur 11 mehr. Im Marz 1907, 791 Mitglieder, also in 7 Monaten 24 mehr. Im August 1909, 839 Mitglieder, oder in 2^ Jahren 48 mehr. Im Mai 1911, d.h. heute, sind es 1,028 Mitglieder, was eine Vermehrung von 189 in einem Jahr und 7 Monaten ergibt. Eine so rasche Vermehrung wie die ebengenannte hat vom ersten Anfange der Gesellschaft an nie stattgefunden. Nach Landern verteilen sich die 1,028 Mitglieder folgendermassen : Deutsohlaud 330, England 210, Eraukreich 117, Amerika 114, Osterreich-Ungam 83, Schweiz 31, Eussland 29, Belgien 31, Italien 19, Schweden 17, Danemark 14, Niederlande 12, Finnland 10, Asien 4, Eumanien 2, Australien 2, Afrika 1, Spanien 1, Portugal 1. Insgesamt 1,028. Der Spraohe naoh verteilen sich die 1,028 Mitglieder ungefahr wie folgt : Deutsoh 429, Englisch 330, Eranzosisch 152, Italienisch 20, Gemiseht (Danisoh, Finnisch, HoUandisoh, Portugiesisoh, Eumanisch, Eussisch, Spanisch, Schwedisch, Ungarisch) 97. Insgesamt 1,028. Als tatige Korperschaften zur Abhaltung von Zusammenkiinften der Mitglieder haben sich satzungsgemass 7 neue Ortsgruppen gebildet: Ann Arbor, Budapest, Heidelberg, Helsingsfors, Karlsruhe, Mannheim, Stockholm. Die weitere Bildung von Ortsgruppen ist hochst wiinschenswert. Zu administrativen Zwecken hat das Presidium eine neue Landessektion, " Siid- Frankreich," mit dem Sitz in Nimes, Provinz Gard, gegriindet. Die Griindung einer russischen Landessektion wird in Erwagung gezogen. Der gegenwartige Vorstand des Prasidiums wurde am 1. Oktober 1910 fiir eine Amtsperiode, die 2 Jahre nicht ubersohreitet, wieder gewahlt. 406 Constitution of the Society (Internationale Musikgesellschaft). EULES OF THE SOCIETY. (Satzungen der Internationalen Musikgesellsoliaft. Beschlossen in der Hauptversammlung vom 30. September 1904 und vom 29. Mai 1909.) 1. Name, Zivech, Sitz, Rechtsfdhigkeit. — Die Gesellschaft fiihrt den Namen " Internationale Musikgesellschaft." Der Zweck der I.M.G. ist, der musikwissenschaftlichen Forschung und damit der Vertiefung des musikalischen Lebens durcli Austausch der wissenscliaftlichen Errungenscliaften im inter- nationalen Verkehre zu dienen. Sie sohliesst zu diesem Ziele die Vertreter und Freunde der Musikwissenscliaft in festen Verbanden zusammen. Die Gesellschaft hat ihren Sitz in Leipzig und durch Eintragung in das Vereins- register des Konigiichen Amtsgerichts Leipzig Eechtsfahigkeit erlangt. 2. Mittei zur Durckfi'ihrung des Gesellschaftszweckes. — Zur Durch- fiihrung des Zweckes der I. M. G. dienen : — (A) Publikationen, (B) Versammlungen. Die Publikationen sind : — (1) Die Vierteljahrsschrift der " Sammelbande," die fiir Arbeiten streng ■vvissenschaftliohen Inhaltes bestimmt ist ; (2) die Monatsbefte der " Zeitschrift," die liber das Vereinsleben der I.M.G. und die Fortschritte der Musikwissenscliaft und deren Einwirkung auf das Musikleben der Gegenwart zu berichten haben, ohne mit den bestehenden Musikzeitschriften in Wettbewerb zu treten, und ; (3) die zwanglosen selbstandigen " Beibefte,"die grossere Monographien bringen. Zulassig sind Veroffentlichungen in deutscher, englischer, franzosischer und italienischer Sprache. Versammlungen bestehen aus Zusammenkiinften von Ortsgruppen und Landessektionen und allgemeinen Kongressen. 3. Organisation. — Die I.M.G. beruht auf dem Zusammenschlusse von Ortsgruppen und Landessektionen. Sie ist berechtigt, mit Vereinigungen, die ahnlichen Bestrebungen dienen, in ein freies Kartellverhaltnis zu treten. Ortsgruppen und Landessektionen regeln ihre Tatigkeit und Verwaltung selbstandig. AUe Inhaber von Vereinsamtern werden auf hochstens je zwei Jahre gewahlt. Wiederwahl ist zulassig. Das Vereinsjahr beginnt am 1. Oktober. 4. Priisidium, Vorstand. — Das Prasidium, das aus den Vorstanden der Landessektionen besteht, hat die Oberaufsicht viber die gesamte Tatigkeit der I.M.G., insbesondere iiber Publikationen und Kongresse. Das Prasidium wahlt zu seiner Vertretung eiuen Voi sitzenden, einen Schatzmeister und einen Schriftfiihrer, die beiden letzteren aus seiner Mitte oder aus den iibrigen Mitgliedern der I.M.G., die durch diese Walil Mitglieder des Prasidiums werden. Diese aus drei Mitgliedern bestehende Vertretung des Presidiums bildet den Vorstand der Gesellschaft im Sinne des Gesetzes. Die Wahl des ersten Vorstandes erfolgt durch die Mitgliederversammlung, in der die Satzungen festgestellt werden. 407 CONSTITUTION OF THE SOGIKTY— continued. 5. Geschaftsordnung.—'Dev Vorsitzende halt die Prasidialmitglieder iiber alle Angelegenheiten der I.M.G. auf dem Lauf.nden und entscheidet dringliche Falle selbstandig. Sitzungen des Prasidiums sind bei den Kongressen, thunlichst alle zwei Jahre, abzuhalten. Der Sohriftfiihrer hat die Beschliisse des Prasidiums auszufiihren. Der Schatzmeister legt dem Prasidium alljahrlioh Eechnung ab. Das Prasidium setzt fiir seine Tatigkeit eine Geschaftsordnung fest und gibt sie bekannt. 6. Puhlikationen.— Als Herausgeber der Sammelbande, der Zeitschrift und der Beihefte zeichnet die I.M.G. Das Prasidium wahlt eine dreigliedrige Eedaktionskommission. Diese ernennt einen oder mehrere Eedakteure, die ihr fiir die EedaktionsftLhrung verantwortlicli sind und auf dem Titel der Sammelbande und der Zeitschrift als solche genannt werden. Die Kommission ist Beschwerdeinstanz. 7. Versammlungen. — Neben den Versammlungen der Ortsgruppen und Landessektionen werden alle Mitglieder der I.M.G. vom Prasidium zu Hauptversammlungen oder Kongressen einberufen. Sie sind Antragen, Vortragen und Verhandlungen in erster Linie gewidmet ; es konnen aber auch Auffiihrungen alter Tonwerke oder solcher aus neuer Zeit, sofern sie musikwissenschaftliches Interesse bieten, damit verbunden ■werden; Die Zeit der Einberufung dieser Versammlungen oder Kongresse ist dem Prasidium anheimgegeben, doch soUen sie moglichst alle drei Jahre stattfinden. Die Einberufung selbst hat durch eine mindestens 2 Monate vorher zu erlassende Anzeige in der " Zeitschrift der Internationalen Musikgesellschaft " unter Angabe der Tagesordnung zu erfolgen. Die Hauptversammlungen ^Yerden vom Vorsitzenden oder einem anderen Mitgliede des Prasidiums geleitet. Ueber jede Hau;ptversammlung ist ein ProtokoU aufzunehmen, das vom Leiter der Versammlung, vom ProtokoUfiihrer und von drei Teilnehmern zu unterzeichnen ist. 8. Stimmreclit. — Bei alien AUgemeinbeschliissen steht den Mitgliedern des Prasidiums, sowie den Delegierten derjenigen Ortsgruppen, die mindestens sieben voUberechtigte Mitglieder zahlen, je eine Stimme zu. Ebenso steht je eine Stimme den Delegierten von sieben ausserhalb von Ortsgruppen stehenden Mitgliedern zu. 9. Mituiiedschaft. — Der I.M.G. kann jedermann beitreten, der volljahrig ist und sich als Mitglied meldet. Ueber die Aufnahme des Angemeldeten entscheidet der Vorstand, Die vollberechtigten Mitglieder der I.M.G. liaben auf Teilnahme an alien Veranstaltungen der I.M.G. Anspruch. Sie haben bei einem Jahresbeitrage vom M 20, — das Eecht auf unentgeltliche Lieferung der " Sammelbande " und der " Zeitschrift," sowie auf Bezug der "Beihefte" zu ermassigtem Preise. Die Ortsgruppen und Landessektionen konnen neben solehen Mitgliedern, die zugleich voUberechtigte Mitglieder der I.M.G. sind, auch andere Mitglieder haben, iiber deren Einreihung in die Ortsgruppe oder Sektion deren Satzungen entscheiden. Diese Mitglieder sind nieht wahlbar zu den Aemtern der Zentralverwaltungen der I.M.G. Der Austritt eines Mitghedes aus der Gesellschaft kann nur fur den Sehluss eines Vereinsjahres erklart werden. Die Mitgliedschaft erlischt, wenn zwei Jahresbeitrage trotz erfolgter Mahnung unberichtigt gelassen worden sind. 10. Satziingsdiiderungen. — Die Satzungen konnen nur auf Antrag des Prasidiums oder dreier Landessektionen von einer internationalen Hauptversammlung mit zweidrittel Stimmenmehrheit der anwesenden Stimmberechtigten abgeandert werden. Ein von Landessektionen gestellter Antrag auf Satzungsanderung muss mindestens drei Monate vor der Hauptversammlung dem Prasidium eingereicht werden. 408 CONSTITUTION OF THE SOCIETY.— continued. 11. Auflosunq der (Jesellscliaft. — Die Auflosung der Gesellschaft kann nur auf Antra g des Prasidiums oder dreier Landessektionen von einer internationalen Hauptversammlung mit dreiviertel Stimmenmehrheit der anwesenden Stimmberechtigten beschlossen werden. Bei Antrag auf Auflosung der Gesellschaft ist friihestens binnen vier Wochen, spatestens binnen drei Monaten zu diesem Zweeke eine Hauptversammlung einzuberufen. Im Falle der Auflosung bleibt den Ortsgruppen und Landessektionen das Verfiigungsrecht iiber ihr Vermogen. Ueber etwaiges Gesamtvermogen der I.M.G. ist gleiehzeitig mit der Beschlussfassung iiber die Auflosung der I.M.G. zu einem Zweeke internationaler Musikforschung zu verfiigen. [TranalatioH.) 1. Name, Aim, Headquarters, Legalization. — The Society is called the "International Musical Society." The aim of the I. M.S. is to aid musical research, and to add depth to musical life, by the exchange of the results of research between different countries. It binds together in close union for this purpose the representatives and friends of musical learning. The Society has its headquarters in Leipzig, and has been legalized by entry in the Eegister of Societies in the Eoyal Provincial Court, Leipzig. 2. Method of carrying out the aim of the Society. — The aim of the I.M.S. is carried out by (a) Publications ; (6) Assemblies, (a) The publications are (1) The "Quarterly Magazine," which is intended for writings of strictly scientific value; (2) The "Monthly Journal," which records the associated proceedings of the I. M.S., as also the progress of musical knowledge and its influence on the musical life of the present day, while entering into no competition with existing musical newspapers ; (3) The optionally-purchased independent Supplement-volumes, which present a larger description of monographs, (b) Assemblies consist of Meetings held by National Sections and Local Branches, and of General Congresses. 3. Organization. — The I.M.S. consists of the totality of the Local Branches and National Sections. It may enter into reciprocal alliance with Associations which subserve similar objects. Local Branches and National Sections regulate their own working and management. Officers of the I.M.S. will be elected for a maximum of two years. Ee-election is admissible. The working year of the Society begins October 1st. 4. Governing Body and its Directory. — The I.M.S. is administered by a Governing Body, consisting of the Heads of the National Sections. The Governing Body has charge of the collective working of the I.M.S., especially of the Publications and of the Congresses. The Governing Body elects for its representation a President, a Treasurer, and a Secretary ; the two last either from its own number or from among the other members of the I.M.S., v?ho by such election become members of the Governing Body. This representative portion of the Governing Body, composed of three persons, constitutes the Directory of the Society for the purposes of the Law. The choice of the first Directory takes place at the General Members' Assembly at vfhich the Rules are passed. 5. Conduct of Business by the Governing Body. — The President keeps the members of the Governing Body currently acquainted with all business of the I.M.S., and settles urgent cases himself. Sittings of the; Governing Body take place at the Congresses, if possible every two years. The Secretary carries out 409 CONSTITUTION OF THE SOCIETY -continued. the decisions of the Governing Body. The Treasurer renders an account yearly to the Governing Body. The Governing Body makes business Bye-laws for its own working, and promulgates the same. 6. Publications. — The I.M.S. stands as the responsible issuer of the Magazine, Journal and Supplement-volumes. The Governing Body elects an Editorial Committee of three persons. This appoints one or more editors, who are responsible to it for the editing, and are specified as editors on the title-page of the Magazine and Journal. The Committee settles disputed points. 7. Meetings.— Apart fi-om the meetings held by Local Branches and National Sections, all members of the I.M.S. are invited by the Governing Body to the General Assemblies and the Congresses. The latter are devoted primarily to Motions of resolution, Lectures, and Transactions ; but there can also be associated therewith Performances of ancient compositions, or of such modern works as have a musico-scientific interest. It rests with the Governing Body to decide the dates for which General Assemblies and Congresses are to be called, but such should take place as far as possible every three years. The summons itself must take the form of a Notification, published in the Journal of the Society at least two months beforehand, and accompanied by an Agenda-list. General Assemblies are presided over by the President of the Society or by some other member of the Governing Body. Minutes should be drawn up for every General Assembly, these being signed by the Chairman of the meeting, the writer of the Minutes, and three members who were present. 8. Flight of Voting. —For the purpose of Eesolutions at General Assemblies, every member of the Governing Body, and every delegate of a Local Branch containing at least seven fuU-members, has one vote. Similarly the delegate from among any seven members not included in a Local Branch has one vote. 9. 2Ieinbei-ship. — Anyone can belong to the I.M.S. who is of age and who enters himself as a member. Decisions as to admission rest with the Directory. Full members of the I.M.S. have the right of participation in all functions of the I.M.S. They have, for a yearly subscription of £1, the right of free delivery of the Magazine and Journal, with optional purchase of the Supplement-volumes at a reduced price. Local Branches and National Sections can, apart from the full members of the I.M.S., have other members, whose registration in the Local Branch or National Section is provided for by their own rules. Such last-named members are not eligible as officers of the central administration of the I.M.S. A member can resign the Society at tlie end of the working year only. Membership lapses if two years' subscription remains unpaid after due warning. 10. Alteration of the Rules. — The Rules can only be altered, on the proposal of the Governing Body or of three National Sections, by an International General Assembly, with a two-thirds majority of the authorised voters present. A proposal for altering the Eules made by National Sections must be sent in to the Governing Body at least three months before the General Assembly. 11. Dissolution of the Society. — The Dissolution of the Society can only be resolved on, on the proposal of the Governing Body or of three National Sections, by an International General Assembly, with a three-fourths majority of the authorized voters present. On a proposal for dissolving the Society, a General Assembly is to be called for the consideration of the same not earlier than four weeks, and not later than three months, thereafter. In the event of the Society being dissolved, the Local Branches and National Sections have the disposition of their own property. Any general property of the I.M.S. will be disposed of, simultaneously with the Resolution for dissolving the Society, in favour of some object of international musical research. 410 CONSTITUTION OF THE SOCIETY— continued. BYE-LAWS OF THE SOCIETY. Besondere Bestimmungen fiber das Prasidium der Intemationalen Muaikgesellsohaft. Beaohlossen in der Prasidialsitzung vom 1. Oktober 1904 und vom 25. Mai 1909.) 1. Das Prasidium der I.M.G. bestelit aus der Gesamtheit der deutschen und auslandischen Sektionsvorstande. Diese sind die Vertreter der in je eineni Lande vorhandenen Mitgiieder der Gesellschaft und werden alle zwei Jahre (am 30. September) von den Ortsgrupjjen des Landes, oder wo solche fehlen, von der Landesgruppe durch Stimmenmehrheit gewiihlt. In besonderem Falle, z. B in einem Lande, worin ein Kartellvereiu ist, kann das Prasidium besondere Bestimmungen fiir Bildung und Wahl des Sektionsvorstandes treffen. 2. Aufgabe des Priisidiums ist : die Gesellschaft nach aussen zu vertreten und ihre innere Tiltigkeit zu leiten und zu beraten. Insbesondere liat es die Kongresse der I.M.G. vorzubereiten und fiir ungestorten Portgang der Publika- tionen einziistehen. 3. Ueber jede wiclitigere Angelegenbeit, die vor die Oeffentliclikeit gebracht werden soil, sind samtliche Mitgiieder des Presidiums zu lioren, die laufenden Gescliafte besorgt der aus Vorsitzendem, Schriftfiihrer und Scbatzmeister gebildete Vorstand (siehe § 4 der Satzungen der I.M.G.). Fiir die Publika- tionen wird eine dreigliedrige Kedaktionskommission abgesondert. Korrespon- dierende Mitgiieder fiir die verschiedenen Lander werden auf Vorseblag der betreffenden Sektion vom Prasidium ernannt. 4. Am Ende jeden Geschaftsjabres (30. September) erbalten die Sektions- vorstande durch den Schriftfiihrer liber die Hauptvorgange in der Gesellschaft einen Gesamtbericht, fiir den der Vorsitzende verantwortlich ist. Die Sektions- vorstande schicken dem Vorsitzenden am Schluss des Monats August Sektionsbericlite ein. 5. Auch zu jeder andern Zeit konnen die Mitgiieder des Prasidiums Mitteilungen und Antrage an den Vorsitzenden bringen, die unter Umstanden von diesem zur Abstimmung zu geben sind. 6. Gemeinsame Sitzungen des Prasidiums finden bei den Kongressen statt, konnen aber in driugenden Fallen auch ausser der Zeit beantragt und angesetzt werden. In den Sitzungen des Prasidiums sind stimmberechtigt die Vorsitzenden der Landessektionen, und bei ihrer Verhinderung deren bevoU- machtigte Stellvertreter. Im Palle einer Gleichheit der Stimmen kann der Vorsitzende der Sitzung eine entscheidende Stimme geben. Das Prasidium kann andere Mitgiieder zu seinen Sitzungen hinzuziehen, um an den Beratungen, aber ohne Stimmberechtigung, teilzunehmen. 7. Bei schriftlichen Beschllissen und Wahlen des Prasidiums ausserhalb der gemeinsamen Sitzungen sind die Stimmen der Vorsitzenden der Landes- sektionen einzuholen. (Ti-anslution.) 1. The Governing Body of the I. M.S. consists of the aggregate of the Heads of the German and non-German National Sections. These represent the members belonging to their respective countries, and are elected every two years (on September 30th) by the Local Branches lying within the coimtry, or, failing them, by a majority of votes among the members in that country. In any special case, as for instance in a country where there is an Allied Association, the Governing Body can make special regulations for election of the Head of the said National Section. 411 CONSTITUTION OF THE SOCmTY— continued. 2. The business of the Governing Body is to represent the Society without, and to conduct and advise upon its operations within. It has in particular to make arrangements for the Congresses of the I.M.S., and to see that the publications proceed regularly. 3. All members of the Governing Body should be apprised collectively of any important matter which calls for publicity ; while the Directory, consisting of President, Secretary, and Treasurer (see No. 4 of the Eules of the I.M.S.), conducts current business. A three-member Editorial Committee is appointed for the publications. Corresponding Members are appointed by the Governing Body on the nomination of the National Section concerned. 4. At the end of each working year (September 30th) the Heads of National Sections receive from the Secretary a report on the principal affairs for which the President is responsible. The Heads of National Sections send a Sectional report to the President at the end of August. 5. Members of the Governing Body can also at any time make communications or proposals to the President, and these can according to circumstances be put by him to the vote. 6. Sittings of the Governing Body take place ordinarily at the Congresses, but can on emergency be applied for and convened at other times. At the sittings of the Governing Body those who have a vote are the Presidents of the several National Sections if they are present, and their individual representatives bearing their written authorization if they are absent. In the event of an equality of votes, the Chairman of the meeting has a casting-vote. The Governing Body can, if it pleases, admit to its meetings members other than the Sectional Presidents, but such other persons cannot vote. 7. In the case of decisions to be arrived at by the Governing Body, or elections to be made by it, in correspondence and apart from meetings, a vote is to be collected from each President of a National Section. NATIONAL SECTIONS AND LOCAL BEANCHES OF THE SOCIETY. (Landessektionen und Ortagruppen der Internationalen Musikgesellschaft.) Belgique : Prdsident (Vorsitzender) Dr. Edgar Tinel, Directeur du Conservatoire Eoyal 16 Place du Petit-Sablon, Bruxellea.— Secretaire, Ernest Closson, Conservateur du Mus^e du Conservatoire Eoyal, 47 Avenue Ducpetiaux, Bruxelles. — Tr^sorier, Hans Taubert, de la maison Breitkopf & Hartel, 68 Rue Coudenberg (Montagne de la Cour), Bruxelles. tBBnxELLES : President, Dr. Edg. Tinel,— !!"• Vice-President, Alex. Bdon, 6 rue Lambremont.— Sii Vice President, Baron Buffln, 17 rue Caroly,— Secretaire, E. Closson,— Secretaire-adjoint, Ch. van den Borren, 65 rue Stanley Uccle.— IWsorier, Hans Taubert. Danemakk : Professor Dr. Angul Hammerich, Vorsitzendep, Kopenhagen F., St. Bliohersvej 18. — Bureauchef Dr. William Behrend, Sohriftliihrer, Kopenhagen V., Amicisvej 2111. — Operarepetitor iS. Levysohn, Kassierer, Kopenhagen B., Oestn Boulevard 38. tKoPENHAGEN : Professor Dr. A. Hammerich, Vorsitzender.— Dr. William Behrend, Schriftfahrer S. Levysohn, Kassierer. 412 CONSTITUTION OF THE SOCIETY— continued. Deutschland, und zwar in Baden: General Musikdirektor, Professor Dr. Philipp Wolfrum, Vorsitzender, Heidelberg, Universitat. tHEiDELBERG : Generalmusikdirektor Professor Dr. Philipp Wolfrum, Vorsitzender. — Professor Dr. Max Freiherr von Waldberg, Stellvertretender Vorsitzender.— Universitats-MusikaBSistentHeimann Poppen, Schriftfiihrer und Kassenwart.— Dr. Ernst Lobstein, Stellvertretender Sehriftfahrer und Kassenwart. tKARLSKDHE : Karl Malsch, Buchdruckereibesitzer, Vorsitzender. tMANNHEiM : Karl Zuschneid, Direktor der Hochschule fur Musik, Vorsitzender. Bayebn : Professor Dr. Adolf Sandberger, Vorsitzender, Miinchen, Prinzregentenstr. 48. tMtlNOHEN : Professor Dr. Adolf Sandberger, Vorsitzender. — Professor Dr. Theodor Kroyer, Klenzestrasse 51, Schriftfiihrer. NoKDDEDTscHLAND : Geh. Eegierungsrat Professor Dr. Hermann Kretzsohmar Vorsitzender, Sohlachtensee bei Berlin,Villa Klara.— Geb. Eegierungsrat Professor Dr Max Friedlander, Schriftfuhrer, Berlin, Kurfiirstendamm 242.— Wirkl. GeheimerEat D. Dr. Eoohus Freiherr von Lilienoron, Berlin N., Am Kupfergraben 7. —Professor Dr. Max Seiffert, Berlin W., Gobenatrasse 28.— Geh. Eegierungsrat Professor Dr. Carl Stumpf, Berlin, Augsburger Strasse 45.— Professor Dr. Johannes Wolf, Priedenau, lUstr. 9. ■tBEELiN : Geh Regierungsrat Professor Dr. Hermann Kretzschmar, Ehrenvorsitzender.— Professor Dr. Johannes Wolf, 1. Vorsitzender.— Geh. Regierungsrat Professor Dr. Max Priedliinder, 2. Vorsitzender.- Kgl. Bibliothekar Dr. Hermann Springer, Schoneberg, Tempelhoferstrasse 22, 1. Schriftfiihrer.— Dr. Erich M. von Hornbostel, Wilmersdorf, E;aiserallee 180, 2. Schriftfuhrer.— Dr. W. Wolftlieim, Kassenwart.— Bibliothekar Max Schneider, Musikwart.— Direktor Professor Dr. Albert Kopfermann, Dr. H. Leichtentritt, Professor Dr. Max Seiffert, Direktor Professor Dr. Friedrich Zelle, Beisitzer. Sddwestdeutschland : Dr. M. Bauer, Vorsitzender, Frankfurt a. M., Mendelssobn- strasse 56HI.- Professor Dr. Friedrich Ludwig, in Strassburg i. E., Eupprechtsau Mengesstrasse 10. tFKANKFUKT a. M. I Dr. Theodor Gerold, Furstenbergerstrasse 216, 1. Vorsitzender.— Dr. M. Bauer, 2. Vorsitzender.— Albert Dessoff, Schriftfiihrer.- Moriz Sondheim, i. Fa. Joseph Baer & Co., Antiquariat, Kassierer. — Dr. Fr. Limbert, Beethovenstrasse 5 a, Beisitzer. Sachsen-Thdeingen : Professor Dr. Hugo Eiemann, Vorsitzender, Leipzig, Keilstr. Ill- — Professor Dr. Arthur Priifer, Schriftfiihrer, Leipzig, Sehwagrichenstr. 6. — Professor Eichard Buohmayer, Dresden, Werderstrasse 23.— Professor Dr. Hermann Abert, Halle a. S., Eeichardtstrasse 3.— Professor Dr. Fritz Stein, Universitatsmusik- direktor, Jena. tDRESDEN : Geh. Regierungsrat Dr. Ermisch, Direktor der Kgl. Bibliothek, 1. Vorsitzender.- Professor Richard Buchmayer, 2. Vorsitzender.— Dr. Rudolf Wustmann, Dresden-Btthlau, Konig- Albert-AUee 11, 1. Schriftfiihrer.— Bibliotheksassistent Arno Eeichert, 2 Schriftfiihrer.— Hofmusikalienhandler H. Bock, Pragerstrasse 9, Kassenwart — Professor Otto Richter, Kantor der Kreuzschule, und Kantor und Organist Johannes Kotzschke, Beisitzer. tJENA: Professor Dr. Fritz Stein, Vorsitzender.— Professor Albert Leitzmann, Schriftfuhrer.— Dr. Wilhelm Brunings, Kassierer. tLEIPZia : Privatdozent Dr. Arnold Sobering, Kronprinzstrasse 17, Vorsitzender.- Max linger, Liebigstrasse 9"- 1. Schriftfiihrer.— Musikalienhandler Richard Linnemann, DSrrienstrasse 13, Kassierer. France, savoir Section de Pabis : President (Vorsitzender), Dr. J. Ecoroheville, 7 Cit^ Vaneau, Paris. — Vice-President, L. de La Laurencie, 20 Avenue Eapp. — Secretaire, J.-G. Prod'homme, 9 Eue Lauriston. — Tresorier, A. Mutin, 15 Avenue du Maine.' — Archiviste, P. Landormy, 91 Eue du Cherche-Midi. — Membres: A. Bosohot, L. Laloy, H. Quittard, E. Wagner. France meeidional : President (Vorsitzender), Chr. L'Hopital, Inspecteur d'Acad^mie du Gard, 14 rue Guillemette, Nlmes (Gard). — Secretaire, M. Caillaba, capitaine au 40^ regiment d'infanterie, 48 Boulevard Sergent Triaire, Nimes. — Tresorier, Etienne Gervais, 28 rue des Grenadiers, Montpellier (Herault). Geeat Beitain and Ireland : President (Vorsitzender), Sir Alexander Mackenzie, Eoyal Academy of Music, London. — Vice-President, Dr. W. H. Cummings, Sydoote, West Dulwioh.— Secretaries, Dr. Charles Maclean, 61, Drayton Gardens, London, S.W. and Dr. W. G. McNaught, Woodside Park, N. Finchley. — Treasurers, Breitkopf & Hartel, 54, Great Marlborough Street, London, W. — Members, Sir Hubert Parry, Bart., Sir Frederick Bridge, Sir Charles Stanford, Messrs. Bantock, Dent, Edgar, Hadow, Littleton, Maitland, Myerscough, Niecks, Squire. ■tDTJBLIN : President, S. Myerscough.— Secretary, Rev. H. Bewerunge, St. Patrick's College, Maynooth. tEMNBDKGH : President, Professor Fr. Niecks.— Secretary, Mrs. Kennedy Eraser, 96a, George Street, Edinburgh. ttONDON: Musical Association (" Kartellverein "), President, Dr. W. H. Cummings. — Secretary, J. Percy Baker, 12, Longley Road, Tooting Graveney. 413 CONSTITUTION OF THE SOCIETY— continued. Italia : Assooiazione dei musioologi Italiani (" Kartellverein "), Presidente (Vorsitzender), Professors Guido Gasperini, Biblioteoa Keale, Parma. NiEDEBLANDE : Dr. D. F. Scheurleer, Vopsitzender, den Haag, Laan van Meerdervoort.— Professor Dr. Max Seiffert, Berlin W., Gobenstrasse 28. Oesterkeioh-Ungabn, und zwai- in Oesteereich: Prof. Dr. Guido Adler, Vorsitzender, Wien XIX/I, Cottage, Lannergasse 9. tPRAQ: Professor Dr. Heinrich Rietach, Vorsitzender.— Hudolf Freiherr Prochazka, Stellver- tretender Vorsitzender.— Professor Dr. Josef Daninger, Kaasenwart.— Paul Nettl, Schriftftthrer.— Dr. Gerliard von Keussler, Beirat. tWiEN: Dr. Hugo Botstiber, III. Lothringerstrasse 14, Vorsitzender.— Dr. Erwin Luntz, XIII/2 Aineissasse 18, Stellvertretender Vorsitzender.— Dr. Egon Wellesz, XIX. Eeitlilegasse 10, Schriftfuhrer.— Dr. Adolf Koczirz, XVIII, Schumanngasse 48, Kassierer.— Professor Franz HabSek Pr-ofessor Dr. Eusebius Mandyozewski und Professor Karl Prohasak, Beisitzer. Ungarn : tBUBAPEST: Prasident: llinisterialrat Direktor Edm. v. Mihalovich.— Prasident-Stellvertreter : Professor Victor Bitter v. Herzfeld und Professor JenB Hubay.— Sekretare: Professor Dr. Qizs, Jloluar und Komponist und Schriftsteller Aurel Kern.— SchriftfUhrer: Professi^r Albert Sikl6s.— Kassierer: Rudolf Lcderer.— Bibliothekar : Professor Johann Oswald. RnsSLAjJD : In Bildung begriffen. +Hels:ngfors : Dr. Ilmari Krobn, 1. Vorsitzender.— Mag. Heikki Klemetti, 2. Vorsitzender.— Otto Andersson, Schriftfuhrer. - FraiileinPaulaaf Heurlin,Kassiererin.— Dr.GostaEuchell.Bibliothekar.- Dr. Armas Launis und Freiherr Axel von Kothen, Suppleanten. tWARSOHAU : Heinrich von Opienski, Wilcza 63, 1. Vorsitzender.— Professor JI. .Surzynski, Bibliothekar, samtlich in Warschau.— Propst Dr. J. Surzynski in Kosten (bei Posen), Prasident honoris causa.— Ausserdem die Herren : Direktor B. Donianiewski, L. Zahorowski, Professor Roman Statkowski, J. Rosenzweig und Professor Szopski, Professor Heinrich Melcer ; samtlich in Warschau. ScHWEDEN : C. Claudius, Vorsitzender, Malmo. — Dr. Tobias Norlind, Schriftfiiirer, Tomelilla. +iI.4LMo-LuND : Fabrikant C. Claudius, Vorsitzender. — Domorganist Preben Nodenuann, Schatzraeister. fSTOCKHOLSi : Kgl. erster Hofkapellmeister Conrad Nordquist, Ehrenvorsitzender. — Dr. Karl Valentin, Sekretar der Kgl. Musikakademie, 1. A'orsitzender. — C. F. Hennerberg, Hoforganist und Bibliothekar der Kgl. Musikakademie, Grevgatan 17, 2. Vorsitzender. — Ansgar Roth, Erster Assistent der Sterawarte, Kgl. Observatorium, 1. Schriftfuhrer. - Olallo Morales, Tonsetzer, 2. Schriftfuhrer.— Oscar Sandberg, Musifcdirektor und Kantor der Oscarskirche, Schatzmeister. — Richard Andersson, Harald Andr6, Musikschriftsteller, Gustav Hagg, Lehrer am Kgl. Musikkonservatoi'ium, Patrik Vretblad, Musikdirektor und Organist an der Oscarskirche, Beisitzer. ScHWEiz : Kapellmeister Hermann Suter, Basel, Vorsitzender. — Professor Dr. Karl Nef , Basel, Sohriftfiihrer. — Max Boiler, Basel, Kassierer. — Professor Dr. E. Badeoke, Winterthur, und Dr. E. Bernoulli, Ziirich, Beisitzer. tBASEL : Munsterorganist Ad. Hamm, Bachletten 18, Vorsitzender. — Professor Dr. Karl Nef Schriftfuhrer.— Max Boiler, Kassierer. — Oberbibliothekar Dr. C. Chr. Bernoulli und Professor Dr. A. Bertholet. Spanien : (Vorsitzender), Aoad^mioo Professore Felipe Pedrell, Barcelona, Arag6n 282. United States of America : President (Vorsitzender), Professor Waldo S. Pratt, Hartford, Conn. — Vice-President, Dean P. C. Lutkin, Evanstone (111.) — Secretary, Professor Leo E. Lewis, Tufts College, Mass. — Financial Secretary, Professor Bossetter G. Cole, Chicago (111.), 1363, High Park Boulevard; Treasurers, Breitkopf & Hartel, New York, 24, West 20"' Street.— Member-at-large of Executive Committee, Professor George C. Gow, Vassar College, Poughkeepsie, N. Y., College Ave. fANN Arbor, Detroit : Professor Albert A Stanley, Univereity of Michigan, Ann Arbor, President. — Llewellyn L. Ren wick, 64, Connecticut Ave., Detroit, Secretary.- Edwin Hughes, 25, Adelaide Street, Detroit, Treasurer. Note. — The Governing Body consists of the 17 Vorsitzender of the 17 National Sections (indicated above by the word Vorsitzender in black type), with the Treasurer and Secretary next named. The Governing Body appoints to represent it, in the terms of Bule 4, a Directory of 3 persons, viz. : a President, a Treasurer, and a Secretary. The entries shown in smallest type, t being also prefixed, are the 22 Local Branches lying within the 17 National Sections. (Uebersetzung).— DasPrasidium besteht aus den 17 (durch das Wort Vorsitzender in fettem Drucke angezeigten) Voraitzenden der Landessektionen nebst hernaeh erwahntem Schatzmeister sowie Sohriftfiihrer. Zu seiner Vertretung wahlt das Prasidium laut Satzung 4 einen Vorstand von drei Persouen, d.h. einen Vorsitzenden, einen Schatzsmeister und einen Schriftfuhrer. Die klein gedruokten mit f angezeichneten Eintragungen zeigen die 22 innerhalb der 17 Landessektionen liegenden Ortsgruppen an. 414 CONSTITUTIOK OF THE SOCIETY— cora^mite^e. GENEEAL OFFICERS OP THE SOCIETY. DiEECTOEY (Prasidiums-Vorstand). Sir Alexander Mackenzie, Eoyal Academy of Music, London, President. Geheimer Hofrat Dr. Oscar von Hase, Niirnbergerstrasse 36, Leipzig, Treasurer. Dr. Charles Maclean, 61, Drayton Gardens, London, S.W., Secretary. Eedaktionskommission. Professor Dr. Guide Adler, Lannergasse 9, Cottage, Vienna. Professor Dr. Adolf Sandberger, Prinzregentenstrasse 48, Munich. Geh. Regierungsrat Professor Dr. Carl Stumpf, Augsburgerstrasse 45, Berlin. Editors. Professor Dr. Max Seiffert, Gobenstrasse 28, Berlin. Dr. Alfred Heuss, Dorfstrasse 23, Gaschwitz b. Leipzig. English Editok. Dr. Charles Maclean, 61, Drayton Gardens, London, S.W. 415 ALPHABETICAL INDEX. PAGE PAGE Aberoorn, Duke of 2 Asch, B. W ..2,5 Abercoru, Duchess of .. 2, 4 Ash, Claudius J ..2,5 Abert, Eermann . . "402 408, 412 Ash, W. H . . 2, 5 Abo .. 90 Ashton, Hughe . . . . 86 Abraham, Otto . . .. 396 Assistant-Secretary of Congress . . 1 Abstracts of Papers 52 Association, Musical 5, 56, 100, 892, 394, 412. Acciaccatura 64, 260 Associazione dei musicologi Italiani . . 413 Acoustics . . .. 206 Attenborough, Florence . . ..2,6 Adedura albardana .. 833 Auber 28 Adelaide . . .. 73 Auer, L. von •.. 7,8 Adler, Guido 7, 8. 16, 48, 52 ,76, 399, Aurora League . . 53, 9J 400, 403 413, 414 Austin, Frederic . . 81, 33 yEolianHall .. 20 Australia 73, 384 Esthetics, musical . . 15, 5S ', 60, 206, 224 Austria-Hungary, National Section 399, 418 Agnew, Philip ..2,5 Ave Eegina (Byrd) . . 44 Agnosce Christiane . . 56, 108 Averkamp, Ant . . 896 Aikin, W. A. . . '. 2, 6, 8, 395 Ayres or Phautastick Spirites . . 22 Alcidiane . . 69, 149 Alcock, W. G .. 87 Bach, J. S 29, 88 Alcuin .. 84 Baden, National Section 388, 412 Aldbar .. 320 Baer, Joseph . . 412 Alexander, Sir George . . 2 Baily, Henry ..2,6 Alfred, Ame's .. 83 Bairstow, E". C ..2,6 Allen, H. P ..2,6 Baker, J. Percy 2, 6, 8, 2 36, 392, 395, 412 AUgemeiner Cacilienverein 66, 303 Balcony, In a (Carse) . . . . 27 Altmark 70, 205 Balfour, A. G .. 1,2,4,6 Alverstone, Lord . . .. 2,5 Balfour, Arthur J. 14,17,18 Amelli, Abbate .. 403 Ballets . . 22, 60, 150 America, United States . . .. 413 Bancroft, Sir Squire 2 Amerus 75, 88 Bankers 1 Amuletum Musicum .. 98 " Banquet . . 46 Afiafil .. 883 Bantoek, Granville 1.2,891,412 Analysis, Musical .. 250 Baptists, Russian . . 189 Ancient Irish music .. 58 Bards . . 59, 84, 318 Andersson, Otto . . 8, 53, 90 159 898, 418 Barini, Giorgio . . 7, 8, 90 Andersson, Bichard 7, 8, 413 Barker, John . . 2, 6 Andre, Harald .. 413 Barley. Alfred H. .. 2,6 Anellenkunde .. 877 Barnekow, Chr . . 390 Anglia, Gervasius de . . .. 85 Barnett, John Francis . . 2, 6, 895 Anglicus, Egidius .. 85 Barry, C. A 391, 395 Ann Arbor Local Branch 405, 418 Barton, Marmaduke . . 2, 6 Anonymous donor 6 Basel Local Branch . . 413 Anteliffe, Herbert . 53 206. 395 Basso Continuo . . 74, 282 Antiphon melodies .. 286 Basso Ostinato . . . . 24 Antiquarian Society, Musical .. 17 Bateman, Eobert . . 87 Appoggiatura .. 259 Bath, Hubert . . 42 Arabesque . . .. 60 Bauer, M. . . 8, 412 Architecture in churches 55, 286 Bavaria, National Section . . 412 Ardmore . . .. 322 Bax, Arnold . . 42 Argentine Bepublic 65, 267 Beauchamp, Earl 14, 50 Arkwright, G. B. P. 2,5, 6, 43, 44 Beaumont, Alexander S. .. 2,6 Arkwright, Marian .. 2,6 Beethoven Gesamtausgabe . . 372 Armstrong College 61, 308 Beethoven "Jena" Symphon y .. 73, 158 Ame, Thomas Augustine '. 24, 32, 83 Beggar's Opera . . 75, 83 Arnheim, Amalie 8,5 t, 98, 897 Behrend, William 390, 411 Artaxerxes, Ame's .. 88 Behm, E. . . 8 As Vesta was (Weelkes) 22,39 Beihefte, The Society's . . . . 408 416 INDEX. Beit, Otto ..2,5 Belgium, National Section . . 389, 411 Bell, W. H. . . 40 Bellairs, E. M .. 2,6 Bell-Fletcher, Miss G. . . ..2,6 Belsham, Oliver D. . . 2, 6 Benedictus (composer) . .. 73, 152, 153 Benet . . 85 Bennett, George J. . . 2, 6 Benson, Lionel . . . . 2, 20 B^on, Alexandre . . 389, 411 Beringer, Oscar . . ..2,6 Berlin Local Branch ..412 Berlin Royal High Schoo 1 .. ..70 Berlin Boyal Library 71,72 Berlin University . . 75, 83 BernouUi, C. Chr. . . 413 Bernoulli. E. 8, 54, 99, 403, 413 Bertha, Alexandre de . . . 7, 8, 54, 210 Bertholet, A ..413 Bertoldo, Bertoldino e Cacasenno 71, 152 Besardus . . .. 67 Bethlehem, U.S.A. . . 380 Bewerunge, Eev. H. 8, 54, 286, 392, 412 Bibliographical Commissi on . . 11, 72, 404 Bibliography 355, 386, 404 Bibliotheken . . 369 Biehle, Johannes. . ..7, P, 55, 286 Bienenfeld, Elsa . . . . 400 Bigge, Sir William E. .. ..2,6 Bihari, Jean ..216 Birnstingl, A. L.. . ..2,6 Blackboard apparatus . . 75, 385 Blow, John 32, 45 Boas, Franz . . 342 Bob^, Louis . . 390 Bock, H .. 412 Bogoslovsky, Eugen .. 8, 19 Boiler, Max . . 402 Bologna . . 56 Bolte, Job. . . 398 Bondesen. J. G. . . . . 390 Bonduca (Purcell) 32 Borehgrevinok, Melohior . . 131 Borren, Ch. van den . . 8, 389, 411 Borsdorf . . . . 42 Boru, Brian . . 322 Boschot, A. ..412 Botstiber, Hugo . . 399, 400, 413 Bovina . . 107 Bow Thine ear (Byrd) . . . . 44 Bowen, York 42 Boyee, William . . 24, 33 Boyton, James . . 5 Brade, Christian . . . . 132 Brade, William . . 54,61,87,93, 132 Brage, Society of . . 165 Brandt, E. E ..2,5 Breitkopf & Hartel 391 411,412,413 Breitmeyer, L .. 2.5 Brera . . 355 Bridge, Frank . . 42 Bridge, Joseph C. 2, 6, 395 Bridge, Sir Frederick 1, 5 , 5, 23, 34, 43, 391, 395, 412 Bridson, Dorothy PAGE . . 30 British composers, living . . 42 British folk-song 62, 179 British Museum . . . . 369 Broadwood & Sons 51, 326 Broadwood, Lucy 179, 395 Brooke, Harold . . 31, 33 Bruch, Max . . 29 Bruhn, Wolfgang 8 Brunings, Wilhelm . . 412 Brussels Local Branch . . 412 Bucharest . . . . 205 Buchmayer, Eichard 402, 412 Buchstaben-Grifitabulai ur . . 354 Buck, Percy C. . . 2, 6, 395 Buda-Pesth Loea! Branch 405, 413 Buffin, Baron 389, 411 Buini, Giuseppe Maria . . 56, 106 Bull, John .. 21 Bundfrei . . 325 Bunting . . .. 58 Bunworth Clarsech 59, 324 Burckhardt, Louis La Eoche 7 Burnand, Sir Francis . . 2 Burnham, Lord . . 2 Burns .. 26 Business Meeting commencing Congress 13 Buzurg (Persian scale) . . .. 58 Bye-laws of the Society . . . . 410 Byrd, William . . . . 16, 20, 21, 28, 44 Byron (Holbrooke) .. 27 Caillaba, Captain . . 412 Caillard, Sir Vincent .. 2,5 Callcott, J. W 13 Calmus, Georgy . . . . 397 Calvocoressi, Michel . , 7, 8, 55, 206, 224 Cambrensis, Giraldus 84, 324 Campbell, Sir Francis J,, LL.D .. 2, 5 Campion, Thomas 52, 87 Camp-meetings, American . . 378 Caiio . . 333 Cantica Sacra .. 43 Cantiones Saerte . . 43, 44 Carlsruhe Local Branch 388, 405, 412 Carnegie, Andrew . . 2, 5 Carrillo, Julian . . . 7, 8, 56, 313 Carse, A. von Ahn .. 27 Casals, Pablo . . 401 Castledermot . . 320 Catalogues (Seiffert) .. 70 Catch 83 Cathedral music . . 15, 24 Catholic church music . . . 65, 66, 303 Catuta (Eoumanian dance) .. 71 Caucasus 63, 187 Ceremony opening Congress .. 14 Cesbron, A. P. 8 Chairmen (Committees, &c.) . . 1, 8, 10, 13 Chamber concerts 20, 42 Champneys, Sir Francis 2, 5, 6 Chantavoine, Jean 8 Chapel Eoyal children . . .. 45 Chaplin, Nellie . . • .. 2,6 417 INDEX. PAGE . . 56 .. 35 .. 45 69, 307 67, 146 .. 37 69, 307 ,. 882 59, 318 Cherubini . . Chest of Viols . . Children of Chapel Boyal Choir-boy training Chopin and Polish opera Choral concert Choristers Choruses, Composition of Chrotta Chrysander, E Chrystabel (Attenborough) Church architecture Church music, 17th century Church music, Early English Chybinski, A. Chydenius, Anders Ciampi Cincinnati Festival City Companies and Guilds Civico Istituto Musicale Brera Clarke, Sir Ernest . . 1, Clarke, T. Coningsby . . Clarsech . . Claudius, C. Clavichord Clayton, Lennox . . Cleeves, Frederick Clefs Clonmacnoise Clonmell, Countess of . . Clonmell, Earl of Closson, Ernest . . Ooates, John Cobb, Oliver Fleet Cobbett, W. Willson 1, 2, 5, 8, 34 Codex de las Cantigas . . Cold Mountains . . Coldstream Guards Cdle, Eossetter G. Coleman, Mrs Coleridge-Taylor, S. Collard, John C Committee, General Congress Committees, International Scientific 386, 403, 404 Community of the Eesurrection . . 59 Company of Musicians, City . . . . 51 Compendium of Practical 'Musick . . 33 Composition-teaching . . . . . . 57 Conditions of Congress . . . . . . 11 Congresses. Administration of 408, 409, 411 Conservatoires . . . . . . 56, 149 Constitution of the Society . . . . 406 Contarini . . . . . . . . . . 334 Contemporary questions (lecture section) 355 Conventions in America. . .. .. 378 Cook, Edgar T 2,6 Cooke, Capt. (Chapel Boyal) . . 23, 45, 130 Cooke, T.S 13 Cooper, Alderman E. Ernest .. 1, 2, 5 Cooper, John (Coperario) . . . . 87 Copenhagen Local Branch . . 390, 411 Copenhagen University .. . . 61, 129 Corder, Frederick 25,395 Corder, Paul 42 55, 286 74, 286 28,43 .. 202 53, 91 71, 152 .. 379 .. 86 .. 57 4, 8, 10, 159 .. 80 59, 317 .. 413 .. 35 .. 30 .. 2,6 .. 366 .. 320 .. 2,4 .. 2,5 390, 411 ..2,6 .. 2, 6 , 52, 318, 395 ,. 69 .. 64 ,. 28 ,. 413 ,. 102 33,40 .. 2,5 2 Cornets (Zincken) Cornish, F. Warre Coronation music Corpus Scriptorum Corresponding Members Cotton, John Coulisses (pistons) Court-ballets Coussemaker Coward, Henry . . Cowen, Sir Frederic CrSul (dance) Crawford, Sir Homewood Crews, C. T. D Cristofori, Bartolommeo Critchett, Sir G. Anderson Crosses, Monumental Crwth Csardas Culwick, James . . Cummings, W. H. 1, 2, 4, 100,391, Cupid and Death . . Curling, Eev. E Curwen, J. S. Cutell. Eichard .. Cuttings, Thomas PAGE 34 2 34 . . 11, 886, 403 893 84 314 63 385 37 . . 1, 2, 6, 40 . . 71 .. 1,2,5,10 2, 5, 52 . . 68, 325, 326 2 . . 320 59, 86, 318, 820 . . 216 &92, 895 5, 10, 18, 56, 895, 392, 394, 412 . . 101 . . 56 391, 895 . . 86 61, 182 Dack, Charles . . 2, 6 Daily Telegraph, newspaper . . . . 5, 41 Dale, Benjamin . . . . . . . . 42 Dale, C. J. 2, 6 Damper, p.f 325 Dance-tunes . . . . . . . . 53 Dandeleu . . 334 Danemark, Landessektion . . 890, 411 Daninger, Josef 413 Dannreuther, Edward . . . . . . 259 Dattilapero 331 Davey, Henry 8, 355, 395 David, F^licien . . . . . . . . 209 Davies, Ben . . . . . . ..2,6 Davies, H. Walford . . . . 3, 6, 27 Davies, Mary 184 Deering, Eichard . . , . . . 84, 43 Delegates to Congress . . . . . . 7 Denkmaler deutscher Tonkunst . . 369 Denmark and England (Hammerich) . . 129 Denmark, National Section . . 390, 411 Dent, Edward J. 1, 3, 4, 6, 8, 56, 90, 106, 391, 395, 897, 403, 412 Deputy-chairmen (lecture sections) 8, 10, 13 d'Erlanger, Baron Frederic . . . . 2, 5 Dessoff, Albert 412 Dessoir, Max D'Este Dewar, Sir James Dido and Jijneas (Furcell) Dimsdale, Joseph Directory report . . Division violist . . . . 397 . . 384 .. 2,5 .. 23 .. 31 . . 404 23, 87 Divisions on a ground . . . . . . 28 Docker, F. A. W 3,6 Doctor musioae in Italy . . . . i . . 357 418 . INDEX. Do'ina PAGE . . . 71 Dtelmetsch, H^Itoe .. 20 Domaniewski. B .. 413 Donaldson, Sir George . . ..2,5 Donations to .Congress . . 6 Douglas, Gawin .. 26 Donkhobors 64, 193 Douzajnes (octaves). .. 66 Dover, Theinred of .. 86 Dowland, John . 61, 87, 130 Drake, J. B. . 31 Diamma satirioo . . 108 Draper, C. , .. 42 Dresden Locaj. Branch . . . . 412 Drummond, George .. 3,5 Dublin Local.Branch . . 412 Ducis, Benedictus . . . . i. .. 153 Duiske Abbey 320 Dulzaina . . , . . 333 Duncan, Isadora . . 25 Dunoastre, W. de . . . , 75, 83 Dunhill, Thomas F. 3, 6, 395 Dunkley, Charlwood .. 3,6 Dunstable, John of ..61,84 Dupplin . . . 320 Dupuis,, Sylvain . . ... 8 Durant, Felicien .. 56, 314 Durrow . . 320 Dwelshauvers . . 389 Dysart, Earl of .. 2,6 Early English church music- . 28, 43 Eayres, W. H .. 33 EcorcKeville, Jules 7, 8, 49, 57, 76, 159, 386, 403, 404, 412 Ecorcheville, Madame . . . . . . 8 Edgar, Clifford B. 1, 3, 5, 391, 395, 412 Edinburgh Local Branch . . . . 412 Editio.Vaticana 66,303 Editions, Popular 366 Editors, Society's . . . . . . 414 Egidius Anglicus . . . . 85 Eisenhof, Eisner von . . . . . . 8 Eitner.'s Quellen-Lexicon . 72, 377, 386, 404 Blgar, Sir Edward . . 1,2, 40, 49, 209 Elizabethan period . , . . . . . . 20 Elsinore 61, 129 Eisner, Joseph 67, 147, 148 Engelska . 53 England in the evolution of music 75, 83 Englisoh Dantz 94 English church music. Early . . 28, 43 English Committee of the Society 1, 56, 67, 73, 77, 412 English editor 393, 414 English folk-song . . 179 English in the Society's publications . . 393 English lute-music . . . . . . 67 English suite-composers . . . . 54 English virginal music . . . . . . 369 Enniscorthy 98,359 Enschede, J. W 396 Equal temperament ... . . . . 68 Erard, S^bastien 326 PAGE Ergo, Emile .. 8,57,227 Erigena Scotus 84 Ermiseh Esterhazy Este's " Whole Booke of Psahnes ' Ethnology (lecture section), Eton Euchell Gosta Euge bone (Tye) .... Evolution of .music, England and Executive Committee of Congress Exhibition of. old music-printing Byre, Alfred J. 402, 412 . 215 . 21 . 159 . 18 . 413 . 43 75, 83 1 . 13 . 3, 6 8, 5.7, 58, Fair Phyllis Fairy-tales.. Falckeuberg,, Eich. Fantasies . . Farmer, John Farnaby, Giles Favart Favola bosohereccia Fedeli,,Vito Fees, Congress FelbeE,.Erwin Fell, William Ferling, Erik Festival-circuits, American Festivals of the Three Choirs Fiedler, V Fildes, Sir Luke . . ... Finger-stretcher . . ... Finland Finlay, Col. Alexander .. Fire, fire," my heart (Morley) Fitelborg, Gregorio Fitzwilliam Museum Fitzwilliam Virginal. Book Fleisohmann, Hugh Robert Fleury, Louis Flood, Valentin . . Flood, W. H. Grattan . . Florence, Evangeline Foa, Ferruceio Folk-song . . Fonotomo . . Foreign Governments, etc Foreign visitors . . Foster, Muriel Foster, Myles B Fox, Arthur M France, N. and S., National Sections 401, 405, 412 Frankfort Local Branch 412 Franzte, F. M. . , Eraser, Marjory Kennedy Fraternity of Minstrels . . Fraternity of St. Anthony French overtures . . French sectional publication Frere, Eev. W. H. Friedlander, Max. 59, .. 22 57, 167 .. 7,8 23,34 .. 22 .. 21 72, 132 .. 108 57, 313, 355 12 167, 178,401 .. 13 53,91 .. 379 .. 24 8 2 ,. 67 53, 90, 159 .. 3,5 .. 39 8 56, 108 21.45 8 8 .. 87 58, 359 .. 30 8 62, 179, 187 . . 332 7 8 .. 40 2,3, 6 392 Frismuth collection Frobe,.Iwan. 392, 412 .. 51 .. 36 .. 68 .. 394 56. 90, 114, 395 8, 59, 77, 159, 397, 412 342 8 419 INDEX. Ti 1- ^ , PAGE Funrmann, Ighacz , .. 7,8 Fulcher, Nellie ' ' 31 Full meetings for Congress papers 13, 76 Puller, W. P 3, 5, 52 Gaelic music 62, 183 Gafurius, Pranchinus ' 85 Gallet, M 8 Galloway, W. J ..3,5 Galpin, Eev. P. W. 3, 5, 8, 59, 813, 317, 335, 386, 395