Abildgaard, Nicolai, 227 Absolute Music, 281 Adorno, Theodor, 205

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Index

Abildgaard, Nicolai, 227 Balakirev, Mily, 126, 153, 160 absolute music, 281 Islamey, 156 Adorno, Theodor, 205, 212 Overture no. 2 on Russian Themes, 153 Aeschylus, 113, 193 later programmatic titles for, 156–157 Afanasyev, Aleksandr Nikolayevich, 237 Tamara, 154–156 Agawu, V. Koﬁ,12 ballad (ballade), 265–273 Agoult, Marie d’, 112 Ballanche, Pierre-Simon Ahna, Pauline de, 224 Essais de palingénésie sociale, 112 Alexander III, Tsar of Russia, 30 Ballets Russes, 280 Alkan, Charles-Valentin, 10, 161, 190 Bargiel, Woldemar, 136 Douze études dans les tons mineurs, op. Bartók, Béla, 24, 280 39, 190 Kossuth,30–32, 34, 224 Grand Duo Concertante, op. 21, 295 Baudelaire, Charles programmatic orientation of, 193 Le spleen de Paris, 277 Sonata, op. 33 (“The Four Ages”), 193 Baudissin, Count Wolf von, 50 II. “Quasi-Faust,” 190–192 Beach, Amy, 240, 248, 266 IV. “Prometheus Bound,” 193 Four Sketches, op. 15 Sonatina, op. 61, 190 “Dreaming,” 242–244 Altenburg, Detlef, 101 on American music, 245 Andersen, Hans Christian Symphony in E minor, op.32 (“Gaelic”), A Picture-Book without Pictures, 245 300–301 use of folk material in, 245 Antheil, George, 255 Beethoven, Ludwig van, 10, 56, 58, 68, 82, Arezzo, Guido d’, 131 84, 104, 135, 137, 138, 142, 151, Arras, Jean d’,64 154, 160, 166, 173, 185, 220, 222, Attila the Hun, 125, 126 239, 247, 250 Autran, Joseph, 108 An die ferne Geliebte, op. 98, 91 as compositional model, 24, 43, 57, Bach, Carl Philipp Emanuel, 10 82–83, 135–136 Symphony in D major, Wq 183/1, 18 Coriolan Overture, op. 62, 43–45, 57, Bach, Johann Sebastian, 58, 99, 104, 135, 295 138, 239 Die Geschöpfe des Prometheus, op. 43, 36 Baker, Theodor Egmont Overture, op. 84, 45–49, 54 Über die Musik der Nordamerikanischen Fidelio, op. 72, 41, 205 Wilden, 244 Overture to, 43

309

310 Index

Beethoven, Ludwig van (cont.) Violin Sonata no. 5 in F major, op. 24 Leonoré Overture no. 1, op. 138, 43 (“Spring”), 36 Leonoré Overture no. 2, op. 72a, 42 Wellingtons Sieg,op.91,23–24, 28, 29, 126 Leonoré Overture no. 3, op. 72b, Benoît, Camille, 262 42–43 Berlioz, Hector, 2, 3, 51, 68, 69–84, 100, Missa solemnis, op. 123, 37 129, 154, 161, 173, 195, 197, 214, “Namensfeier” (“Name-Day”) Overture, 239, 253, 273 op. 115, 40–41 as “Musician of the Future,” 135 overtures, 39–49 as critic, 81–84 Piano Concerto no. 3 in C minor, “On Imitation in Music,” 83–84 op. 37, 70 of Beethoven’s symphonies, 82–83 Piano Sonata no. 8 in C minor, op. 13 La damnation de Faust, 80, 81, 260 (“Pathétique”), 36 L’enfance du Christ,81 Piano Sonata no. 13 in E♭ major, Harold en Italie,76–79, 80, 83, 89, 206 op. 27, no. 1, 129 Huit scènes de Faust, 166 Piano Sonata no. 17 in D minor, King Lear Overture, 51 op. 31, no. 2 (“Tempest”), 284 Marche funèbre pour la dernière scène Piano Sonata no. 21 in C major, d’Hamlet,51 op. 53 (“Waldstein”), 42, 60 on musical representation, 83–84 Piano Sonata no. 23 in F minor, op. 57 Le retour à la vie,74 (“Appassionata”), 60, 189, 284 Roméo et Juliette,80–81, 83, 84, 287, 295 Piano Sonata no. 26 in E♭ major, op. 81a Symphonie fantastique, 19, 70–76, 80, (“Les adieux”), 36 89, 150, 159, 174, 224, 237, 260, Piano Sonata no. 30 in A♭ major, 268, 273 op. 110, 88 Fétis’s criticism of, 75 Piano Trio in D major, op. 70, no. 1 Mendelssohn’s criticism of, 75–76 (“Ghost”), 284 Schumann’s criticism of, 85, 98 programmatic ambivalence of, 49 Les Troyens,81 String Quartet no. 7 in F major, op. 59, Bernard, Émile, 262 no. 1 (“Razumovsky”), 252 Bertrand, Aloysius Symphony no. 1 in C major, op. 21, 82 Gaspard de la nuit, 193, 277, 278–279, 280 Symphony no. 2 in D major, op. 36, 82 Bierce, Ambrose Symphony no. 3 in E♭ major, op. 55 “An Occurrence at Owl Creek (“Eroica”), 36, 51, 53, 60, 70, 82, Bridge,” 63 205, 224 Boecklin, Arnold Symphony no. 4 in B♭ major, op. 60, 82 Die Toteninsel, 224 Symphony no. 5 in C minor, op. 67, 2, Boehe, Ernst 28, 47, 70, 82, 149 Aus Odysseus’ Fahrten,20–21 “fate” motive in, 60 Boito, Arrigo Symphony no. 6 in F major, op. 68 Meﬁstofele, 194 (“Pastoral”), 36, 70, 143, 237 Bonds, Mark Evan, 79 Berlioz on, 82–83 Borodin, Aleksandr, 153 Debussy on, 277 Prince Igor, 154, 157 Symphony no. 7 in A major, op. 92, 51, Symphony no. 2 in B minor, 157 70, 82, 205 Boston Six, The, 247–248 Symphony no. 9 in D minor, op. 125, 37, Boulanger, Lili, 161 58, 82, 107, 110, 134, 149, 174, Brahms, Johannes, 3, 10, 52, 136, 145, 151, 178, 281, 295 195, 238, 244, 247, 263 Violin Concerto in D major, op. 61, 70 Ballades, op. 10, 267

Index 311

“Paganini” Variations, op. 35, 139 Chadwick, George Whiteﬁeld, 240 Variations, op. 9, 90 Aphrodite, 142 Brendel, Franz, 136, 144, 289 Symphonic Sketches, 245–247 Bronsart von Schellendorﬀ, Hans, 139 formal ambivalence of, 247 Brown, Jane K., 164 metric modulation in, 246–247 Bruckner, Anton, 249 Tam O’Shanter, 247 “Bruder Martin” (“Frère Jacques”), 205, Chambonnières, Jacques Champion de, 212–213 254 Brunetti, Gaetano character piece, 10–12, 86, 215 Symphony no. 33 in C minor and the salon, 189 (“The Maniac”), 286 ballad (ballade), 265–273 Bulgakov, Mikhail battle piece, 21–36, 249 Master and Margarita, 194 procession, 205–213, 297 Bülow, Hans von, 139, 151, 178, 196 songs without words, 87 Ballade in C♯ minor, op. 11, 267 Charles XII, King of Sweden, 114 Nirwana, 146–148 Charpentier, Gustave relationship with New German School, Impressions d’Italie, 275 147–148 Chateaubriand, François-René de, 71 Bürger, Gottfried August, 50 Chausson, Ernest, 262 Der wilde Jäger, 263, 267 Cherubini, Luigi, 39, 254 Lenore, 53, 148, 269 Chopin, Frédéric, 100, 103, 185, 243, 254 Busoni, Ferruccio, 161 Ballade no. 1 in G minor, op. 25, Doktor Faust, 194 266–267 Bussine, Romain, 262 Ballade no. 2 in F major, op. 38, 266–267 Byrd, William Variations on Mozart’s “Là ci darem la My Ladye Nevells Booke of Virginal mano,” op. 2, 84–85 Music Waltz in A♭ major, op. 42, 187 “The Battell,” 21 Cocteau, Jean, 1 Byron, George Gordon (Lord), 161 Collin, Heinrich Joseph von Cain, 147 Coriolan,43–45 Childe Harold’s Pilgrimage, 12, 76, 123 Conradi, August, 108 Don Juan, 199 Copland, Aaron, 255 Lament of Tasso, 120 Corder, Frederick, 189 Manfred, 69, 143 Cornelius, Peter, 138, 143, 151 Mazeppa, 114–115, 259 Couperin, François, 34, 254 Prometheus, 113 Pièces de clavecin,10 Cui, César, 153 Carpani, Giuseppe, 83 Czech National Revival, 233, 235 Carré, Michel Czerny, Carl, 117 Faust et Marguerite, 190 Casler, Lawrence, 4 Dahlhaus, Carl, 1, 298 Cazalis, Henri Dante (Alighieri) “Egalité, Fraternité,” 261–262 Divine Comedy, 82, 129–131, 291 Cervantes, Miguel de Daquin, Louis-Claude, 34 Don Quixote, 218 Dargomïzhsky, Aleksandr modernity of, 221 The Stone Guest, 157 reception of, 219 Daverio, John, 84 Tieck’s translation of, 219 Dawison, Bogumil, 53

312 Index

Debussy, Claude, 24, 126, 157, 243, 248, Poetické nálady (Poetic Mood Pictures), 255, 266, 275–277, 300, 302 op. 85, 237 as critic, 277 programmatic prefaces of, 237–238 Berceuse héroïque,34 Rusalka, 239 disdain for musical labels, 277 String Quartet no. 12 in F major, op. 96 En blanc et noir,34–36 (“American”), 244 Jeux, 280 Suite in A major, op. 98, 244 La mer, 248 Symphony no. 9 in E minor, op. 95 compositional history of, 275 (“From the New World”), 237, “Noël pour les enfants qui n’ont plus de 244, 245 maison,” 34 Die Waldtaube, op. 110, 237 on musical imagination, 276–277 Der Wassermann, op. 107, 237 Prélude à l’après-midi d’un faune, 275 Dwight, John Sullivan, 240 Preludes, 34, 275–276 programmatic ambivalence of, Eberl, Anton, 284 275–276 Eckermann, Johann Peter, 164 Des Knaben Wunderhorn, 163 Erben, Karel Jaromír Diaghilev, Sergei, 1 Kytice z pověti národních (A Garland of “Dies Irae,” 74, 165 National Myths), 237 Dittersdorf, Carl Ditters von, 127 Erkel, Ferenc, 32 Il combattimento dell’umane passioni,21 Eschenburg, Johann Joachim, 50 “Ovid” Symphonies, 7, 12–21 No. 4 in F major, 13–18 Fauré, Gabriel, 262, 266 No. 5 in D major, 18 Fétis, François-Joseph, 75 Dohnányi, Ernő Fibich, Zdeněk Symphony in D minor, 31 Bouře, 142 Draeseke, Felix, 138, 139, 146, 150 Field, John, 103 Fata morgana, op. 13, 4 Foote, Arthur, 240 Dukas, Paul Fourcand, Louis de, 263 L’apprenti sorcier, 266 Francis I, Emperor of Austria, 40 La péri, 280 Francis II, Holy Roman Emperor. See Duparc, Henri, 253, 262 Francis I, Emperor of Austria Lénore, 269–272 Franck, César, 253, 255, 262–268 parallel forms in, 271–272 Les béatitudes, 263 program for, 270, 301–302 Le chasseur maudit, 263, 267–268 Dussek, Jan Ladislav program for, 267 The Suﬀerings of the Queen of France, op. Les djinns, 4, 263 23, 296 Les éolides, 265–266 Dvořák, Antonín, 252, 300 Prélude, choral et fugue, 263 and American music, 244–245 programmatic style of, 263 Čert a Káča (The Devil and Kate), Psyché, 263 239 Rédemption, 263 Das goldene Spinnrad, op. 109, 237 students of, 262–263, 301 “Husitská” Overture, 237 Symphony in D minor, 263 Die Mittagshexe, op. 108, 238–239 Franz, Robert, 103 theatricality of, 239 Freiligrath, Ferdinand Nature, Life, and Love, opp. 91–93, “Hamlet,” 285 237 Friedrich, Caspar David, 227

Index 313

Gade, Niels, 6, 178 Grey, Thomas, 56, 63, 66, 228 Hamlet Overture, op. 37, 54 Grieg, Edvard, 231, 252, 266 Geisler, Paul Lyriske stykker (Lyric Pieces), 10 Der Rattenfänger von Hameln, 217 Griﬀes, Charles, 248, 255 Till Eulenspiegel, 215–217 Grillparzer, Franz, 64 criticism of, 217 Des Meeres und der Liebe Wellen,97 Gelbart, Matthew, 228 Grimm, Julius Otto, 145 Gellert, Christian Fürchtegott, 217 Grimm’s Fairy Tales, 237 Genelli, Giovanni, 130 Grofé, Ferde, 248 Gérard, François, 227 Guizot, François, 50 Gershwin, George, 248 Gutenberg, Johannes, 64 Girodet, Anne-Louis, 227 Girtin, Thomas, 227 Habeneck, François-Antoine, 70, 76 Glazunov, Aleksandr, 157 Hadley, Henry, 248 Stenka Razine, 159, 294 Lucifer, 261 Glinka, Mikhail, 154, 160 Handel, George Frideric, 135 importance for New Russian School, 153 Messiah, 205 Kamarinskaya, 153 Hanslick, Eduard, 1, 28, 151 A Life for the Tsar, 152 as critic Ruslan and Lyudmila, 152 of Liszt’s Les Préludes, 109–110 Gluck, Christoph Willibald (Ritter von), of Spohr’s Fourth Symphony, 28 102, 137, 254 of the New German School, 138 Alceste,39 Vom Musikalisch-Schönen, 137–138 Orfeo ed Euridice, 111–112, 134 Hauptmann, Moritz, 151 Goethe, Johann Wolfgang von, 50, 53, Haydn, Joseph, 58, 138, 142, 151 64, 99 as programmatic composer, 8 Egmont,45–46, 47 The Creation,83 Faust, 6, 69, 129, 151, 161–194, 214, 302 Die sieben letzten Worte unseres Erlösers central themes of, 163–165 am Kreuze,7 compositional history of, 163 Symphony no. 100 in G major instrumental music on, 167–190 (“Military”), 9 Mikhaylov’s translation of, 178 Heine, Heinrich, 100 music in, 165–166 Heller, Stephen, 93, 189 Nerval’s translation of, 70, 173 Henselt, Adolf von, 266 “Glückliche Fahrt,” 59 12 Études caractéristiques, op. 2, 10–11 Hermann und Dorothea,90 No. 4, “Si oiseau étais, à toi je “Meeresstille,” 59 volerais,” 11 Prometheus, 113 Hepokoski, James, 2, 47, 218 Torquato Tasso, 120, 122–123 Herder, Johann Gottfried, 49, 99 Wilhelm Meisters Lehrjahre,50 Der entfesselte Prometheus, 113–114 Gogol, Nikolai, 252 Herz, Henri, 185 Gottschalk, Louis Moreau, 189, 266 Hesiod, 113 Gounod, Charles Theogony, 113 Faust, 190 Hindemith, Paul, 280 Gregoir, Joseph Hirschfeld, Robert, 238 Faust (d’après Goethe), 185–190 Historia von D. Johann Fausten, audience for, 189 161–162 criticism of, 189 Hoﬀmann, E.T.A., 1, 49, 71, 90, 93

314 Index

Hoﬀmann, E.T.A. (cont.) Jones, Timothy, 254 Fantasiestücke in Callot’s Manier, 88, Jungmann, Josef, 233 205 Hokusai, Katsushika Kajanus, Robert The Great Wave oﬀ Kanagawa, 275 Aino, 248 Holmès, Augusta, 255 Kullervo’s Funeral March, 248 Irlande, 245 Kalevala, The, 248–249, 250, 251 Homer, 161 Karl August, Grand Duke of Saxe-Weimar- Iliad,82 Eisenach, 101 Honegger, Arthur Karłowicz, Mieczysław, 225, 252 Symphonie liturgique, 107 Kaulbach, Wilhelm von, 125 Huber, Hans, 224 Keats, John Hugo, Victor, 100, 263 “Lamia,” 240, 242 “A celle qui est voilée,” 243 Klingemann, Karl, 227 “Après une lecture de Dante,” 129–130 Koch, Heinrich Christoph, 12, 21 “Ce qu’on entend sur la montagne,” on programmatic symphonies, 7–8 105–106 Kocžwara, František Cromwell,50 The Battle of Prague,22–23 “Les djinns,” 263–265 Köhler, Louis, 111 Mary Tudor,50 Kossuth, Lajos, 31 Les Orientales, 117 Koussevitzky, Serge, 34 Voix intèrieures, 267 Kramer, Lawrence, 63 Hummel, Johann Nepomuk, 58, 99 Kreutzer, Conradin Melusine,64 d’Indy, Vincent, 255, 262 Kuhnau, Johann as analyst of Franck’s music, 264 “Biblical” Sonata no. 1 in C major, 21 Diptyque méditerranéen, 273 Kullak, Theodor La forêt enchantée, 272–273 Lenore, op. 81, 267 environmental depiction in, 273 Jour d’été à la montagne, 273 Lamartine, Alphonse de on program music, 273–275 “Bénédiction de Dieu dans la solitude,” Le poème des rivages, 273 132 Symphonie sur un chant montagnard “Les Préludes,” 108–109 français, 273 Lascoux, Antoine, 262 Ingres, Jean-Auguste-Dominique, 228 Leikin, Anatole, 108 Ives, Charles, 33, 248, 255 Lenau, Nikolaus Don Juan, 199 Jaëll, Alfred, 189 Faust, 193, 208, 211 Janáček, Leoš Lermontov, Mikhail Taras Bulba, 252 “Tamara,” 154 Janequin, Clément Lessing, Gotthold Ephraim, 49 La bataille,21 Lisle, Leconte de, 263 Jean Paul, 91, 92 “Les éolides” (“The Æolides”), 266 Flegeljahre, 91, 92 Liszt, Franz, 2, 3, 13, 20, 24, 32, 52, 68, 75, Siebenkäs, 205 76, 81, 99–127, 154, 161, 189, Titan, 205 190, 193, 194, 195, 196, 197, 214, Joachim, Joseph, 139, 145–146 215, 217, 222, 238, 239, 240, 241, Hamlet Overture, op. 4, 51–53 243, 249, 254, 263, 266, 271, 275

Index 315

Album d’un voyageur (Album of a Hunnenschlacht, 114, 125–127, 232 Traveler), 100–101 Die Ideale, 201, 208 and thematic transformation, 156 Mazeppa, 114–119, 232 Années de pèlerinage,99 compositional history of, 117–118 “Au bord d’une source,” 12 Debussy on, 277 “Au lac de Wallenstadt,” 11 Saint-Saëns on, 258–259 “Dante” Sonata, 129, 201 “Mephisto” Waltz, 159, 193, 212, 260 “Sposalizio,” 124 musical reception in France, 255 “Vallée d’Obermann,” 123 Der nächtliche Zug, 208–211, 212 as critic Orpheus, 111–112 Berlioz und seine “Harold- debt to Ballanche in, 112 Symphonie,” 103–104 relation to Gluck’s Orfeo ed Euridice, of Schumann’s piano music, 103 111–112 on the overture, 102–103 “Paganini” Études, 99 as Hungarian composer, 229 Piano Sonata in B minor, 99, 114, 129, Ce qu’on entend sur la montagne,105–107 193 Consolations,10 Les Préludes, 108–111, 120, 129, 131, “Dante” Symphony, 99, 114, 125, 149, 201, 215 129–135, 138, 204, 205 compositional history of, 108 compositional plans for, 132 form of, 110–111 form of, 131 programmatic use of fugue by, 134 programmatic contrasts in, 132–134 Prometheus, 114, 120 relation to Dante’s Divine Comedy, St. François de Paule “Marchant sur les 129–131 Flots,” 124 tritone in, 131–132 students of, 139–150 whole-tone scale in, 134 support of Wagner by, 101–103, 173 Don Sanche, 103 Tasso, 119–123, 232 Faust Symphony, 99, 114, 138, 149, 159, historical anachronism in, 121–122 173–177, 201, 240, 268 Totentanz, 159 compositional history of, 173, 177 “Transcendental” Études, 99, 277 Pohl’s analysis of, 174–177 No. 7, “Eroica,” 224 Wagner’s impression of, 177 use of archetypes by, 298 Festklänge, 127 use of plainchant by, 132–134, 209, Hamlet,53–54 211 Harmonies poétiques et religieuses Venezia e Napoli, 121 (1835), 108 Von der Wiege bis zum Grabe, 124 Harmonies poétiques et religieuses Lockwood, Lewis, 49 (1853), 99 Loeﬄer, Charles Martin, 248 “Bénédiction de Dieu dans la La villanelle du diable, 260 solitude,” 132 Loewe, Carl Héroïde funèbre, 127 Mazeppa, op. 27, 115–116 Heroischer Marsch in ungarischem Stil, Logier, Johann Bernhard 229 The Battle of Trafalgar,22 Historische ungarische Bildnisse, 124 Louis, Rudolf, 195 Hungaria, 31, 159, 229–231, 250, 299 Lully, Jean-Baptiste, 254 Hungarian music in, 229–230 Phaéton, 258 title of, 230–231 Luther, Martin, 102 “Hungarian” Rhapsodies, 31, 231 “Ein’ feste Burg ist unser Gott,” 63 No. 2 in C♯ minor, 32 Lyadov, Anatoly, 280

316 Index

Macdonald, Hugh, 190 Mälzel, Johann Nepomuk, 23 MacDowell, Edward, 231, 240–245, 248 Mann, Thomas criticism of Dvořák, 244–245 Doktor Faustus, 194 Hamlet, Ophelia: Zwei Gedichte, op. 22, Manso, Giovan Battista, 120 56, 240 Marais, Marin Lamia, op. 29, 240–242 “Le Tableau de l’Opération de la New England Idyls, op. 62, 244 Taille,” 3 Piano Sonata no. 2 in G minor, op. 50 Marlowe, Christopher (Sonata Eroica), 224 The Tragical History of the Life and Piano Sonata no. 3 in D minor, op. 57 Death of Dr. Faustus, 162 (“Norse”), 242 Marx, Adolf Bernhard, 58, 148 Piano Sonata no. 4 in E minor, op. 59 Moses,58 (“Keltic”), 242 sonata theory of, 67 Suite no. 2, op. 48 (“Indian”), 244 Ueber Malerei in der Tonkunst, Two Fragments after the Song of Roland, 58–59 240 Massenet, Jules, 253 use of “American” music by, 244–245 Mauclair, Camille, 275 Macpherson, James, 227 Mayer, Emilie “Magniﬁcat,” 132–134 Faust Overture, op. 46, 181–184 Mahler, Gustav, 161 criticism of, 182 Des Knaben Wunderhorn, 214 Mazepa (Mazeppa), Ivan, 114 Lieder eines fahrenden Gesellen McClary, Susan, 2 “Die zwei blauen Augen von meinem Melnikov, Pavel Schatz,” 205 In the Forests, 294 “Ging heut’ Morgens über’s Feld,” 204 Mendelssohn, Fanny, 58 program music of, 214 Mendelssohn, Felix, 3, 52, 56–67, 93, 100, Symphony no. 1 in D major (“Titan”), 104, 135, 138, 145, 148, 154, 178, 203–205 190, 215 compositional history of, 203–204 6 Preludes and Fugues, op. 35 III. Feierlich und gemessen, ohne zu programmatic use of fugue schleppen (funeral march), in, 298 212–213 criticism of Berlioz’s Symphonie musical references beyond Mahler’s fantastique,75–76 music, 205 Die erste Walpurgisnacht, op. 60, 159 use of earlier compositional material Fantasy, op. 28, 228 in, 204–205 “Frage,” 285 Symphony no. 2 in C minor “Hebrides” Overture, op. 26, 63, 156, (“Resurrection”), 214 227–228 Symphony no. 3 in D, 214 as musical landscape painting, 228 Symphony no. 4 in G major, 214 as “Scottish” music, 228 Symphony no. 5, 214 compositional history of, 227 Symphony no. 6 in A minor (“Tragic”), 214 Lieder ohne Worte, 10, 81 Symphony no. 7, 214 Meeresstille und glückliche Fahrt, op. 27, Symphony no. 8 in E♭ major, 214 58–63 Symphony no. 9, 214 connection of poems in, 61–62 Symphony no. 10 (incomplete), 298 use of motive in, 60–61 Mallarmé, Stéphane, 277 A Midsummer Night’s Dream Overture, “L’Après-midi d’un faune,” 275 op. 21, 56–57, 63

Index 317

Octet, op. 20, 63 Napoleon Bonaparte, 23, 30, 41, 253 on musical expression, 62, 81 Napoleon III, 253 Overture to The Fairy Tale of the Nattiez, Jean-Jacques, 2 Beautiful Melusine, op. 32, 67 Nerval, Gérard de, 70, 173 form and gender in, 67 New German School, 3, 5, 196, 204, 214, literary sources for, 64 215, 242 Piano Sonata in E major, op. 6, 63 as model, 152 String Quartet no. 1 in E♭ major, compositional principles of, 150 op. 12, 63 criticism by, 138 String Quartet no. 2 in A minor, criticism of, 144–145 op. 13, 63 deﬁnition, 136 Symphony no. 2 in B♭ major, op. 52 New Russian School, 152–160, 231 (“Lobgesang”), 64, 150 as modeled on New German School, 152 Symphony no. 3 in A minor, op. 56 characteristics of, 153, 154 (“Scottish”), 228 criticism from abroad of, 159–160 Symphony no. 4 in A major, op. 90 Nicholas II, Tsar of Russia, 249 (“Italian”), 149, 211 Niecks, Frederick, 4 II. Andante con moto, 206 Nietzsche, Friedrich, 215 title of, 297 Novák, Vítězslav, 252 Symphony no. 5 in D major, op. 107 In the Tatras, op. 26, 300 (“Reformation”), 63–64, 150 Pan, op. 43, 300 Meyerbeer, Giacomo, 254 Toman and the Wood Nymph,op.40,300 Robert le diable, 295 Von ewiger Sehnsucht, op. 33, 300 Mickiewicz, Adam, 267 Mihalovich, Ödön, 32, 151 Oehlenschläger, Adam, 232 Mikhaylov, Mikhail, 178 Ofterdingen, Heinrich von, 215 Moelling, Theodore Orrey, Leslie, 4 Battle of Richmond,23 Ossian, 227–228, 229 Monet, Claude, 277 Ovid, 161 Moore, Thomas, 71 Metamorphoses, 12, 257, 258, 259 Morozov, Nikita, 194 Moscheles, Ignaz Paganini, Niccolò, 80 12 “Characteristic” Studies, op. 95, 86 Paine, John Knowles, 240 Mosonyi, Mihály, 32, 299 as advocate of American music, 239 Mozart, Wolfgang Amadeus, 39, 74, 102, As You Like It Overture, 240 103, 138, 239 The Tempest Overture, 142, 240 Don Giovanni, K527, 199, 220 Palacký, František, 233 Requiem, K626, 51 “Pange lingua gloriosi corporis String Quartet no. 17 in B♭ major, K458 mysterium,” 209, 211 (“Hunt”), 9 “Pange lingua gloriosi proelium Musaeus (Grammaticus), 97 certaminis,” 126 Musorgsky, Modest, 126, 153 Parker, Horatio, 240, 248 Boris Godunov, 154 Peter the Great, Tsar of Russia, 114 Night on Bald Mountain Pfeiﬀer, Carl 1867 Version (St. John’s Night on Bald “Die Weihe der Töne,” 24–28 Mountain), 157–158 Pierson, Henry Hugo 1886 Version, 158–159 Macbeth, 296 program for, 159 Romeo and Juliet, 296

318 Index

Plutarch subject–object confusion in, 278–280 Parallel Lives, 43, 284 Piano Trio in A minor, 4 Pohl, Richard, 138 Reger, Max, 195 as critic Vier Tondichtungen nach Arnold of Gounod’s Faust, 190 Böcklin, op. 128, 224 of Liszt’s Faust Symphony, 174–177 Reichardt, Johann Friedrich, 58 program music. See also individual Reiman, Erika, 91 composer entries Reinicke, Carl, 266 after First World War, 280 Rellstab, Ludwig, 92 before Beethoven, 3, 7–9, 12–21 Respighi, Ottorino, 157 controversy over, 75–76, 85, 98, Richter, Jean Paul. See Jean Paul 103–104, 109–110, 138, 150–151, Rietz, Julius 159–160, 174–177, 214–215, “Hero und Leander” Overture, op. 11, 254–255, 258–259, 277 97–98 features of, 2, 9–12 Rimsky-Korsakov, Nikolai, 153, 156 folk material and, 30, 67, 152–160, 205, Antar, 154 211, 217, 245 as editor of New Russian Music, 157–159 narrative in, 2, 265–273 Sadko, 156 national music and, 252 Symphony no. 2, 154 overture and, 43 Ringoltingen, Thüring von, 64 painting and, 4, 58–59, 124–127, 228 Ritter, Alexander, 112, 139, 143, 196 titles in, 21 Ritter, Carl Ein Leben im Tode, 146 De Quincey, Thomas, 71 Rizner, Jozsef The Bridal Dance of Tolna, 230 Rabaud, Henri Rodgers, Stephen, 75 La procession nocturne, 297 Ropartz, Guy Rachmaninov, Sergei, 224 Symphony no. 3 in E major, 107 Piano Sonata no. 1 in D minor, op. 28 Rosetti, Antonio aborted Faustian program for, 194 Telemachus Symphony, 7, 8 Radziwiłł, Prince Antoni Henryk Rossini, Gioachino, 58, 102, 142, Faust Compositionen, 184 190, 254 Raﬀ, Joachim, 6, 139, 148–150, 178, 240, Guillaume Tell Overture, 222 241 Otello, 291 Ein’ feste Burg ist unser Gott Overture, Rubinstein, Anton, 190, 194 op. 127, 150 Don Quixote, 219–220, 221 Orchestral-Prelude to Shakespeare’s criticism of, 220 “Macbeth,” 196–198 unorthodox structure of, 220 program music of, 148 Eroïca, op. 110, 224 Symphony no. 3 in F major, op. 153 (“Im “Faust.” Ein musikalisches Walde”), 148 Charakterbild, op. 68, 178–181 Symphony no. 5 in E major, op. 177 compositional history of, 178 (Lenore), 148–150, 269 debt to Beethoven’s Ninth Symphony Rameau, Jean-Philippe, 34, 254 in, 179 Raphael, 124 through-composition of, 179–181 Ratner, Leonard G., 9 Ivan the Terrible [Ivan IV], 293 Ravel, Maurice, 33, 157, 255 on Russian music, 152–153 Daphnis et Chloé, 280 Symphony no. 2 in C major, op. 42 Gaspard de la nuit, 193, 277–280 (“Ocean”), 154, 156

Index 319

St. Elisabeth of Hungary, 102 “Gretchen am Spinnrade,” D118, 165 Saint-Saëns, Camille, 3, 20, 151, 197, 253, Impromptu in G♭ major, D899, no. 3, 244 255–263, 271, 275 “Die junge Nonne,” D828, 189 Africa, op. 89, 29 “Meeresstille,” D216, 59 Carnival of the Animals, 262 Schulz-Beuthen, Heinrich, 224 Danse macabre, op. 40, 159, 260–262, Schumann, Clara, 93, 103, 145 265 as inspiration for Robert Schumann’s programmatic depoliticization in, music, 90 261–262 Quatre pièces caractéristiques, op. 5, 90 “Danse macabre” (song), 261 Soirées musicales, op. 6, 93 Havanaise, op. 83, 29 Schumann, Robert, 3, 51, 67, 68, 69–70, on Berlioz, 69 104, 135, 145, 148, 161, 173, 185, on Liszt, 255, 258–259 189, 195, 247 Orient et Occident, op. 25, 29 “Abegg” Variations, op. 1, 90, 92 Phaéton, op. 39, 257–260, 265, 273 as critic, 26, 84–88 formal clarity of, 259–260 of Berlioz’s Symphonie fantastique, Piano Concerto no. 5 in F major, op. 103 85, 98 (“Egyptian”), 29 of Chopin’s Variations on Mozart’s programmatic orientation of, 257 “Là ci darem la mano,” 84–85 Le rouet d’Omphale, op. 31, 257, 282 of Moscheles’s12“Characteristic” Samson et Dalila, op. 47, 255 Studies, 86 Suite Algérienne, op. 60, 29 of Rietz’s “Hero und Leander” Symphony no. 1 in E♭ major, op. 2, 255 Overture, 97–98 Samson, Jim, 117 of Schaeffer’s Songs Without Satie, Erik, 190 Words,87 Parade,1 of Spohr’s Fourth Symphony, 86–87 Schaeffer, Julius, 134, 136 of the “Music of the Future,” 135–136 Songs Without Words, op. 4, 87 Carnaval, op. 9 Scheffel, Joseph Viktor von “Florestan,” 91 Der Trompeter von Säkkingen, 204 Davidsbündlertänze, op. 6, 90, 93–97 Scheffer, Ary, 181 as composed by Florestan and Schiller, Friedrich, 50, 53, 59, 82, 99 Eusebius, 93 Die Braut von Messina,90 progressive tonality of, 95–97 “Der Flüchtling,” 12 “Du bist wie eine Blume,” op. 25, Wallenstein, 232 no. 24, 186 Schindler, Anton, 2 Fantasiestücke, op. 12, 205 Schlegel, August Wilhelm, 50, 54 No. 5, “In der Nacht,” 97 Schlegel, Friedrich, 92, 93, 219, 284 Fantasy in C major, op. 17, 91 Schnittke, Alfred, 161 Hamlet sketches, 51 Schoenberg, Arnold, 33, 280 Impromptus, op. 5, 90 Fünf Orchesterstücke, 224 Julius Caesar Overture, op. 128, 51 Pelleas und Melisande, 224 Kreisleriana, op. 16, 89, 205 Scholz, Bernhard, 145 “Mondnacht,” op. 39, no. 5, 186 Schopenhauer, Arthur, 146, 196 Novelletten, op. 21, 90 Die Welt als Wille und Vorstellung, 173, Papillons, op. 2, 92 200 Das Paradies und die Peri, op. 50, 88 Schrödter, Adolf, 217 Piano Sonata no. 1 in F♯ minor, op. 11, Schubert, Franz, 161, 166 88, 90

320 Index

Schumann, Robert (cont.) Pohjola’s Daughter, 250 Symphony in G minor, WoO 29 En Saga (A Saga), 250 (“Zwickau”), 88 Skogsrået (The Wood Nymph), 250 Symphony no. 3 in E♭ major, op. 97, Tapiola, 250 206–208, 211–212 Simrock, Karl, 217 Schwind, Moritz von Skryabin, Aleksandr, 280 Wie die Tiere den Jäger begraben, Smetana, Bedřich, 4, 231, 252 212–213 The Bartered Bride, 233 Scott, Walter, 71 The Brandenburgers in Bohemia, 233 Seaton, Douglass, 63 Dalibor, 233 Seebach Marie, 53 Hakon Jarl, 232–233 Senkovsky, Osip, 154 Libuše, 233 Servais, Adrien François, 185 Liszt as model for, 232 Seyfried, Ignaz von, 283 Má vlast, 233–237, 252 Shakespeare, William, 161, 240 and the Czech National Revival, A Midsummer Night’s Dream,82 235–237 Coriolanus, 43, 284 program for, 233–234 Hamlet,6,49–55, 69, 70, 82, 196 Richard III, 232 A.W. Schlegel’s translation of, 54 Wallenstein’s Lager, 232 Bürger’s translation of, 50 Smithson, Harriet, 70 instrumental music on, 51–55 Société Nationale de Musique (National Julius Caesar,90 Society of Music), 3, 253–254, Macbeth, 6, 196, 198–199 262–263 Schiller’s translation of, 50, 198 Souchay, Marc André, 81 Othello,82 Spies, Johann, 161 Richard III, 232 Spohr, Louis, 24, 58, 135 Romantic cult of, 49–51 Faust,68 Romeo and Juliet, 82, 196 Symphony no. 4 in F major, op. 86 (“Die Goethe’s translation of, 50 Weihe der Töne”), 24–28, 86–87 The Tempest,74 as misreading of poetic source, 26–27 Twelfth Night,82 Hanslick’s criticism of, 28 Shelley, Mary Symphony no. 6 in G major, op. 116, 25 Frankenstein; or, The Modern Symphony no. 7 in C major, op. 121, 25, Prometheus, 113 107 Sibelius, Jean, 125, 225, 231, 248–252 Symphony no. 9 in B minor, op. 143, 25 Aallottaret (The Oceanides), 248 Stasov, Vladimir, 153 as national composer, 252 Steinle, Eduard Jakob von, 124 Finlandia, 157, 248–252 Strachwitz, Moritz von, 139 as political metaphor, 249–250 Strauss, Franz, 195 compositional history of, 249 Strauss, Richard, 2, 24, 127, 139, 144, Kullervo, 248 195–203, 248 Lemminkäinen Suite, 250–252 Eine Alpensinfonie, 224 compositional history of, 300 Also sprach Zarathustra, 31, 107, 214, Lemminkäinen’s Return, 249 221 The Swan of Tuonela, 250–252 fugue in, 215 preface to, 251 and the New German School, 196, 201, Luonnotar, 250 214 Nightride and Sunrise, 300 Aus Italien, 196

Index 321

compositional independence of, 214–215 Symphony no. 2 in C minor, op. 17 depictive virtuosity of, 221–222 (“Little Russian”), 252 Don Juan, 199–200 Symphony no. 4 in F minor, op. Don Quixote, 111, 214, 220–222, 224 36, 281 Guntram, 203, 214 Telemann, Georg Philipp Ein Heldenleben, 31, 215, 223–224 Ouverture Burlesque de Quixotte, autobiographical content in, 224 218–219 Macbeth, 196, 198–199, 200 Thalberg, Sigismond, 254, 266 Symphonia Domestica, 224 Tieck, Ludwig, 50, 64, 219 Till Eulenspiegel, 214, 217–218 Todd, R. Larry, 63 formal ambiguity of, 217–218 topic (topos), 215 program for, 218 as interpretive cue, 12 Tod und Verklärung, 200–203, 250 definition of, 9 debt to Wagner in, 200–201 types of, 9, 10, 11, 22, 41, 102, 121–122, Lisztian apotheosis of, 201–202 142, 260 Stravinsky, Igor, 33, 157, 161 Tourneur, Pierre Le, 50 Feu d’artifice, 280 Traini, Francesco The Firebird, 280 Triumph of Death, 124 Octet, 280 Turner, J.M.W., 77 on expression in music, 1, 280 Petrushka, 280 Uhland, Ludwig The Rite of Spring, 160, 280 Harald, 272–273 Scherzo fantastique, 280 Uhlig, Theodor, 172 Suk, Josef, 225 Pohádka (Fairy Tale), 252 Vande Moortele, Steven, 296 Pohádka léta (Summer’s Tale), 252 “Verbum supernum prodiens,” 192 Symphonic Poems from Czech History, Verdi, Giuseppe 252 Otello, 239 symphonic poem Viardot-Garcia, Pauline, 103 definition of, 103, 263 Villon, François in France, 254–255 “Ballade contre les ennemis de la overture and, 39, 102–103 France,” 34 Virgil, 82 Taneyev, Aleksandr Aeneid,81 Hamlet Overture, op. 31, 56 Vivaldi, Antonio, 142 Taruskin, Richard, 228 Le quattro stagioni,3 Tasso, Torquato Vogel, Bernhard, 217 Gerusalemme liberata, 120 Voltaire Tausig, Carl, 139–143, 190 Histoire de Charles XII, Roi de Das Geisterschiff, 139–143, 267 Suède, 114 planned programmatic compositions by, Vörösmarty, Mihály 143 “To Franz Liszt,” 229, 230 Tägliche Studien, 139 Taylor, Benedict, 64 Wagner, Cosima, 121, 147 Tchaikovsky, Pyotr Ilyich, 24, 220 Wagner, Richard, 49, 51, 99, 113, 129, 173, “1812” Overture, op. 49, 30 194, 196, 215, 239, 249, 263, 268, Eugene Onegin, 154 281 Hamlet Overture-Fantasy, op. and the music drama, 136–137 67a, 56 Art and Revolution, 136

322 Index

Wagner, Richard (cont.) Tristan und Isolde, 81, 139, 147, 173, 195, The Artwork of the Future, 136 200, 205, 215, 253, 270 as critic Walter, Bruno, 214 of Berlioz’s Roméo et Juliette, 287 Wasielewski, Wilhelm Joseph von, 206 of Liszt’s Faust Symphony, 177 Weber, Carl Maria von, 10, 39, 58, 74 as “Musician of the Future,” 135 Der Freischütz, 51, 67, 189, 268, 273, as threat to French music, 253 295 Faust Overture, 167–173, 174, 178 Weldon, Peter compositional history of, 167 The Battle of Baylen,23 formal ambiguity of, 167–170 Wellington, Arthur, Duke of, 23 redemptive love in, 171–173 Wenceslaus I, Duke of Bohemia, 235 Der ﬂiegende Holländer, 142, 167 Wheeldon, Marianne, 34 Lohengrin, 102, 120, 149, 177 Wieck, Clara. See Schumann, Clara Die Meistersinger von Nürnberg, 147 Wieland, Christoph Martin, 50 on the overture, 39, 43 Wilms, Johann Wilhelm Opera and Drama, 137, 173 Die Schlacht von Waterloo,23 Parsifal, 177, 205 Wolf, Hugo, 150–151 Rienzi, 253 as advocate for Liszt, 150–151 Der Ring des Nibelungen,81 Penthesilea, 151 compositional history of, 173 Wolﬀ, Julius Die Walküre Till Eulenspiegel redivivus: Ein “Walkürenritt,” 271 Schelmlied, 216 Siegfried “Waldesrauschen,” 273 Zichy, Mihály Tannhäuser, 101–102, 106, 177, 253 Du berceau jusq’au cercueil, 4, 124

Cambridge Introductions to Music

“Cambridge University Press is to be congratulated for formulating the idea of an ‘Introductions to Music’ series.” Nicholas Jones, The Musical Times Each book in this series focuses on a topic fundamental to the study of music at undergraduate and graduate level. The introductions will also appeal to readers who want to broaden their understanding of the music they enjoy. c Contain textboxes which highlight and summarize key information c Provide helpful guidance on specialized musical terminology c Thorough guides to further reading assist the reader in investigating the topic in more depth

Books in the series Music Sketches Friedemann Sallis Program Music Jonathan Kregor Electronic Music Nicholas Collins, Margaret Schedel, and Scott Wilson Gregorian Chant David Hiley Music Technology Julio D’Escrivan Opera Robert Cannon Postmodernism in Music Kenneth Gloag Serialism Arnold Whittall The Sonata Thomas Schmidt-Beste The Song Cycle Laura Tunbridge