Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Excepting Beethoven, none have illustrated the power of rhythm so well as Schumann. He often imparts a strange and entirely novel significance to commonplace or familiar phrases by syncopated notes, by putting the emphasis on the weak part of the bar, or by accents so marked as to give the impression of a simultaneous combination of triple and common time. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ With respect to music, Berlioz is the typical name of the renaissance of 1830; but Liszt, on whom the French school exercised so strong an influence, may be associated with him. So far were these composers and their countless followers borne by the revolutionary impulse, that they did not shrink at times from a total rejection of the old traditional forms in their instrumental music; but it cannot be said that very valuable results were obtained by their hardihood. They chose indeed romantic subjects for musical representation, as Weber and Schumann had done, but there the resemblance ceased. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ To sum up, in conclusion, our obligations to the romantic school, we must acknowledge that they saved music from the danger with which it was at one time threatened of being treated as an exact but dry and cold science; that they gave it a freer and more elastic form; that they developed the capabilities and technique of various instruments; that being themselves always filled with a deep reverence for their own art they rescued from unmerited neglect some of the finest works of earlier composers ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ But while we cannot acquit the younger romanticists of the charge of an excessive realism, which too readily sacrificed artistic beauty to originality and vivid representation, nor deny the frequent obscurity and incoherence of their compositions, we are unable to acquiesce in the imputation so often fastened upon them that their romanticism was merely the veil of ignorance, and that they violated rules because they knew no better. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ We may however designate one of the greatest living composers as one of the greatest living romanticists; and it is no disparagement to the individuality of Johannes Brahms to say that he is in many respects the disciple of Schubert and Schumann. The romanticism of such productions as the beautiful romances from Tieck's 'Magelone' (op. 33) or the cantata 'Rinaldo' (op. 50) is of course visible at a glance, but Brahms's romanticism generally lies too deep to be discovered without attentive and sympathetic study. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ ROMANTIC is a term which, with its antithesis Classical, has been borrowed by music from literature. But so delicate and incorporeal are the qualities of composition which both words describe in their application to music, and so arbitrary has been their use by different writers, that neither word is susceptible of very precise definition. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ It was not until after the appearance of the works of Carl Maria von Weber, who lived in close relation with the romantic school of literature, and who drew his inspirations from their writings, that critics began to speak of a 'romantic school of music.' Beethoven had by this time been accepted as classical, but in addition to Weber himself, Schubert, and afterwards Mendelssohn, Schumann, and Chopin were all held to be representatives of the romantic school. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ And worthy of all praise is her thorough appreciation of the importance of the words of songs, an appreciation attested alike by the excellence of the poetry she sets to music, and by her own careful attention to the metre and accents of the verse. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ To men thus predisposed, it was a relief and delight to live in an ideal world as remote as possible from the real one. Some took refuge in mediæval legends, where no border divided the natural from the supernatural, where the transition from the one to the other was as delicate and yet as real as that in the passage quoted from Beethoven's Overture, and where nothing could be incongruous or improbable ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ The reader will thus understand why, in Reichardt's opinion, Bach, Handel and Gluck were classical, but Haydn and Mozart romantic; why later critics, in presence of the fuller romanticism of Beethoven, placed Haydn and Mozart among the classical composers; and why Beethoven himself, in his turn, was declared to be classical. The propriety of applying the term Romantic to operas whose subjects are taken from romantic literature, or to songs where music is set to romantic words, will not be questioned. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ It was equally natural that the creations of minds withdrawn from contact with the actual world and wrapt in the folds of their own fancies, should vividly reflect the moods and phases of feeling out of which they sprang—that they should be, in short, intensely subjective. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ None have known, as he knew, how to elicit almost human sounds from a single instrument—as for instance, in the well-known passage for the horn in the second movement of the C major Symphony, of which Schumann said that 'it seems to have come to us from another world.' Many glorious passages might be pointed out in this Symphony, the romanticism of which it would be difficult to surpass ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ And in this respect he is inferior only to Beethoven, of whose 'romantic humour' he so often speaks in his 'Gesammelte Schriften.' The romantic bias of Schumann's mind was not less evident in his treatment of Oriental subjects. The colouring of his 'Paradise and the Peri,' and of his 'Oriental Pictures' (Bilder aus Osten) , is vividly local. And of his songs we may cite the 'Waldesgespräch' (Op. 39, No. 3) as an example of the purest essence of romance. Full as the poem is in itself of romantic feeling and expression, the music interprets the words, rather than the words interpret the music. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ As a rule, he is more concerned to satisfy the judgment than kindle the imagination, more anxious to move the heart than please the ear. Close observation will often find an adequate reason and justification for seeming harshnesses in Brahms's works, and reflective familiarity with them will, in the same way, surely discover the genuine romantic spirit in passages where its presence would wholly escape the unpractised eye and ear. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Notice of the modern German composers on whom the stamp of Schumann is so unmistakeable, would lead us too far. Wagner we pass by, because he can hardly be counted among the followers of the romantic school, and we could not, within the limits of this article, show the points wherein he differs from former romanticists; but mention is made under Orchestration of some of the beautiful and truly romantic effects which he knows how to produce in his instrumentation. [See also Opera and Wagner.] ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ It is as a song-writer that Miss White is known; her songs are often graceful, melodious, well-written, and well-adapted to the voice. Among the most popular of them are 'Absent yet Present,' 'The devout lover,' 'Ye Cupids,' and 'When passion's trance.' Her best songs are to words by Herrick and Shelley. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Adam (A. C.) , i. 27b; Conservatoire de Mus., i. 392b; Gr. Prix de Rome, i. 618b; Saint-Saëns, iii. 215b; Salvayre, iii. 222b; Silas, iii. 493a; Delibes, iv. 610b; Franck (C. A. J.) , iv. 639b; Salvayre, iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Vox Humana, iv. 340b; Organ, ii. 584a, etc. Vroye, A. de, iv. 341a. Vroye, T. de, iv. 341a. Vuillaume, iv. 341a; iv. 813b; Rosin, iii. 162b; Stradivari, iii. 730a; Vidal (L. A.) , iv. 261b; Violin, iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Mus. Antiqua, ii. 411a; Mus. Antiquarian Soc., ii. 416b; Mus. Lib., ii. 419b, etc.; Mus. Soc. of London, ii. 432a; Mus. School, Oxford, ii. 437a; Nota Cambita, ii. 466b; Ouseley, ii. 617b; Parthenia, ii. 653a; Part Mus., ii. 656b; Portman, iii. 19a; Prince de la Moskowa, iii. 31a, etc.; Sanctus, iii. 224b; Schools of Comp., iii. 276b; Service, iii. 472a, etc.; Smart (Sir G.) iii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Musical World; Mus. Periodicals, ii. 427a; Organists, Coll. of, iv. 735b. Musicians' Company of the City of London, ii. 432b. Music printing and Publishing, ii. 433a; iv. 727a; Artaria, i. 95b; Attaignant, i. 100b; Ballard, i. 129b; Barre (A.) , i. 142b; Berg (A.) , i. 230a; Boosey & Co., i. 260b; Breitkopf and Härtel, i. 272a, etc.; Chappell & Co., i. 339b; Cocks & Co., 375b; Cramer & Co., i. 414b; Diabelli, i. 442a; Este (T.) , i. 495b; Ewer & Co., ii. 482b; Fournier, i. a; Gando (N.) , i. 581a; Gardane, i. 582b; Haslinger, i. 693b; Hoffmeister, i. 742b; Kistner, ii. 62a ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Bourgeois (L.) , iv. 560a; Franc (G. le.) , iv. 638b. Dourlen; Gr. Prix de Rome, i. 618b; Vaucorbeil, iv. 230b. Dowland, J., i. 460a; iv. 618a; Chappell & Co., i. 339b; Este (T.) , i. 495b; Hymn, i. 762b; Ionian Mode, ii. 18a; Leighton, ii. 114a; Madrigal, ii. 191a; Marenzio, ii. 216a; Micrologus, ii. 328a; Mus. Antiqua, ii. 411a; Mus. Antiquarian Soc., ii. 416b; Mus. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Bourgeois (L.) , i. 263b; Briard (E.) , i. 275a; Granjon (R.) , i. 619a; Imperfect, i. 767a; Key and Keyboard, ii. 53a; Ledger Lines, ii. 111a; Ligature, ii. 136b; Lute, ii. 177a; Micrologus, ii. 327a; Mus. Mensurata, ii. 416a; Mus. printing, ii. 433b, etc.; Organum, ii. 609a; Perne, ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Josquin Després, ii. 40b; Le Jeune, ii. 119b; Magnificat, ii. 196a; Mass, ii. 228b; Mel (R. del) , ii. 248a; Missa Brevis, ii. 338a; Mus. Lib., ii. 423b; Nanini (G. M.) , ii. 443b; Palestrina, ii. 635b, etc.; Schools of Comp., iii. 264a, etc.; Song, iii. 592b; Tylman Susato, iv. 197b; Alfieri (Abbate) , iv. 520b; Bourgeois (L.) , iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Reading (J.) , iii. 79b; Richardson (V.) , iii. 127b; Robinson (J.) , iii. 139b; Round, iii. 180b; Schools of Comp., iii. 282b, etc.; Service, iii. 472b, etc.; Song, iii. 603b; Specimens, Crotch's, iii. 650a; Suite, iii. 756a; Symphony, iv. 11b; Te Deum, iv. 68b; Turner (W.) , iv. 195a; Tudway, iv. 199a; Variations, iv. 219a; Voices, iv. 334b; Burney, iv. 571a. Bluethner, J. F., i. 250a ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Musette, ii. 410b; Mus. Lib. ii. 418b, etc.; Mus. printing, ii. 436b; Musikalisches Opfer, ii. 438a; Niederrheinische Musikfeste, ii. 456a; Non Nobis, ii. 464a; Nottebohm, ii. 479a; Oboe, ii. 488a; Oboe d'amore, ii. 489a; Oboe di caccia, ii. 489a; Oratorio, ii. 540b, etc.; Orchestra, ii. 563a, etc.; Orchestration, ii. 567b; Organ, ii. 586a; Overture, ii. 623b; Partie, ii. 656a; Passacaglia ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Milder-hauptmann, P. A., ii. 330a; Mendelssohn, ii. 255b; Opera, ii. 520a; Schubert, iii. 335b; Spontini, iii. 672b, etc.; Weber, iv. 423b. Mildner; Violin-playing, iv. 289; Wiener, iv. 455a. Military Drum ii. 331a. (See Drum, i. 465b.) Military Music; Neithardt (A.) , ii. 451a; Oboe, ii. 486a; Saxhorn, iii. 233b; Wind-band, iv. 470a; Gilmore, iv. 647a. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Ancient Concerts, i. 64b; Balfe, i. 126b; Glover (C. W.) , i. 600a; Lachnith, ii. 82b; Melodists' Club, ii. 249a; Rainforth (Eliz.) , iii. 67b; Reeves (Sims) , iii. 92b; Song, iii. 607a; Templeton, iv. 81b; Vauxhall Gardens, iv. 234a; Vocal Soc., iv. 320b; Williams (Sisters) , iv. 459b; Tree, iv. 800b. Coombe, W. F., i. 398a. Coombs, J. M., i. 398b; Field (H.) , i. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ L'Homme armé, ii. 126b; Madrigal, ii. 188a; Mass ii. 226b; Mus. Ficta, ii. 412b; Plain Song, ii. 763a; Schools of Comp., iii. 259b, etc.; Subject, iii. 747b, etc.; Tonal fugue, iv. 140a. Cantor, iv. 578a; Leipzig, ii. 114b; Mendelssohn, ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Ophicleide, ii. 531b. Regibo, A. B. M., iii. 93b; Ruckers, iii. 194b, etc.; Mus. Instruments, iv. 723a. Regis, Joh.; L'homme armé, ii. 127a; Madrigal, ii. 188a; Schools of Comp., iii. 260a; Sistine Chapel, iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Carey, H., i. 309a; iv. 579a; Clark (R.) , i. 365a; God save the King, i. 605b; Hymn, i. 763a; Jahrbücher, etc., ii. 30b; Mus. Lib., ii. 421b; R. Soc. of Musicians of Gr. Brit., iii. 187a; Song, iii. 606b. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Strict Counterpoint, iii. 740b; Subject, iii. 750a; Suite, iii. 755a; Turini, iv. 190b; Tudway, iv. 198a; Villanella, iv. 264b; Violin-playing, iv. 287a; Virginal Mus., iv. 308a, etc.; Vocal Scores, iv. 320a; White (Rob.) ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Eng. Opera, i. 489a; God save the King, i. 606a; Halévy, i. 645a, note; Judith, ii. 44a; Klavier Mus., Alte, ii. 63b; Lowe (T.) , ii. 170a; Madrigal Soc., ii. 193b; Manzuoli, ii 208a; Mountier, ii. 377b; Mus. Lib., ii. 420b; Olimpiade, ii. 496b; Opera, ii. 523b; Oratorio, ii. 549a; Pantomime, ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Este (T.) , i. 496a; Hawkins, i. 700b; Leighton, ii. 114b; Madrigal, ii. 191a, etc.; Mus. Antiquarian Soc., ii. 416b; Oriana, ii. 611a; Part-Mus., ii. 656b; Schools of Comp., iii. 277a; Transposition of Modes, iv. 161b; Vocal Scores, iv. 320a. Wild, F., iv. 456a; iv. 817a; Ander, i. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Thomas (A. Goring) , iv. 103b. Nageli, J. G., ii. 442a; iv. 727a; Beethoven, i. 182a; Mus. Lib., ii. 427a; Song, iii. 623a; Weber, iv. 395a; Life let us cherish, iv. 701a. Nænia, ii. 442b; iv. 727a; Motet, ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Mus. Soc. of London, ii. 431b; Nachspiel, ii. 442a; Part-Song, ii. 659a; Purcell Soc., iii. 53a; Royal Academy of Mus., iii. 185a; Schools of Comp., iii. 306a; Service, iii. 474a; Song, iii. 608a; Spark, iii. 648a; Voluntary, iv. 339b; Lambeth (H.) , iv. 696a; Nixon (H. C.) , iv. 731b. Smart, Mrs. H.; Masson (Eliz.) ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Accompaniment, i. 24b; Arnold (S.) , i. 86b; Attwood, i. 101a; Glee Club, i. 599a; Mus. Lib., ii. 422b; Oxford, ii. 624b; Page, ii. 632b; Smart (Sir G.) , iii. 537a. Durand, A. F., i. 470b; Violin-playing, iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Sistine Choir, iii. 521a, note; Sketches, iii. 533a; Sivori, iii. 534b; Slur, iii. 537a; Smart (Sir G. T.) , iii. 537b; Soc. of British Mus., iii. 544b; Soldatenliebschaft, iii. 545b; Son and Stranger, iii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Frottole, i. 566a; Madrigal, ii. 190b; Schools of Comp., iii. 264b, etc.; Song, iii. 586b; Tromboncino, iv. 176a; Dance Rhythm, iv. 606a; Part-books, iv. 739b. Fruttiers, J., i. 566a; L’Homme armé, ii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ God Save the King, i. 605a; iv. 650a; Ashley (J.) , i. 98b; Battle of Prague, i. 156b; Beethoven, i. 184a; Bull, i. 282b; Carey, i. 310b; Clark (R.) , i. 365a; Heil Dir im Siegerkranz, i. 725a; Part Mus., ii. 656b. Göldel, J.; Quodlibet, iii. 62b. Göpfert; Koch (H. C.) , iv. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Ballad, i. 129a; God save the King, i. 605b; Madrigal Soc., ii. 194a; Mus. Association, ii. 417a; Mus. Periodicals, ii. 427a; Pop. Ancient Eng. Mus., iii. 6a; Purcell Soc., iii. 53a; Schools of Comp., iii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Ferrabosco, A., jun., i. 512b; English Opera, i. 488b; Este (T.) , i. 496a; Leighton (Sir W.) , ii. 114b; Masque, ii. 225b; Song, iii. 602a; Burney, iv. 570b. Ferrabosco, D. M.; Palestrina ii. 636a; Sistine Choir, iii. ”
Adela Harriet Sophia Wodehouse, A Dictionary of Music and Musicians (1900)
“ Jupiter, ii. 46b; Kirchen Cantaten, ii. 60b; Mendelssohn, ii. 305a; Minuet, ii. 334a, etc.; Mozart, ii. 400a, etc.; Overture, ii. 618b, etc.; Relation, iii. 105b; Ritornello, iii. 137a, etc.; Scherzo, iii. 246a, etc.; Schools of Comp., iii. 289b; Schubert, iii. 361b, etc.; Schumann, iii. 412b; Subject, iii. 752b; Variations, iv. 217b, etc.; Working-out, iv. 486b, etc.; Dance Rhythm, iv. 607b. Symphony Concerts, iv. 798b. ”
