Index

“absolute” music, 26, 191

Adams, John, 17

Adamowski String Quartet, 147

Aesthetics; philosophy of, 30, 203, 204, 208, 293, 381; doctrine of artistic supremacy, 30, 115; of romantic period, 291; “subjectivism”, 403. (See also under Taste)

Ahner, Henry, 101

Alexander, Arthur, 177

Alfven, Hugo, 143

Allgemeine Musikalische Zeitung, 201, 203.

Altschuler, Modest, 37

America: musical life in colonial, 16, 17; other arts in early, 17, 18; Puritans, 17; early centers of culture, 18, 32; concert life in Boston, 19, 32; concert life in Philadelphia, 19; early programs, 19, 20; grounded on European culture, 21; influx of European artists, 22; 18th century musical life, 32, 210.

American music: in repertoire, 69, 95, 112, 120, 144, 149, 160, 164; American Festivals, 177, 250, 259; nativist movement, 266-270; jazz, 271, 272; definition of, 271, 273.

American Orchestral Association (ye* National Orchestral Association).

American Society of Composers, 351

American Symphony Orchestra League, 36

Antheil, George, percentage in repertoire, 188

Apthorp, William, 204, 326, 365

Arne, Thomas, 123, 210

Atterberg, Kurt, 143, 237

Auber, Daniel, 99

Audience, 352; relation to artist, 288; eighteenth century, 288, 289, 326; nineteenth century, 289, 290, 353; size of, 352; deportment of, 132, 353-355; reaction, 356-359.

Augenmusik, 219

Auric, Georges, 272

Austro-German music: in repertoire, 67, 99, 112, 121, 136, 149, 172; reasons for dominance, 258, 259

Bach, J. C. (“London”), 20

Bach, Karl Philipp Emanuel, 8, 26, 123

Bach, Johann Sebastian, 7, 15, 17, 65, 68, 13, 135, 143, 164, 200; Bach revival, 201-204; transcriptions, 207, 208; trend line, 209; percentage in repertoire, 135, 188, 206, 209; St. Matthew Passion, 15, 201, 202, 203, 209, 327; Well Tempered Clavier, 202, 205; Toccata in F, 205; Inventions, 205; Β Minor Mass, 202; Suite in Ό, 205; Passacaglia, 205, 209; Chaconne, 205; Fantasia and Fugue, G minor, ick)\ Suite No. 2, 209; No* 3, 209; Brandenburg concerto, No. 209, 377; Christmas Oratorio, 209;

Balatka, Hans, 101, 300

Baltimore Symphony, 176

Bantock, Granville, 77, 208

Barber, Samuel, 96, 144, 278; percentage in repertoire, 188, 277

Barbirolli, John, 48, 61, 170, 208, 247, 264

Barrere, Georges, 262

Bartok, Bela, 160, 232, 273; percentage in repertoire, 188, 227; Concerto for Orchestra, 233

Beach, Mrs. Η. H.A., 95

Beecham, Sir Thomas, 25, 156, 199

Beethoven, Ludwig van, 7, 8, 19, 64, 66, 68, 113, 135, 143, 149, 154, 160; appreciated in his day, 183; trend line, 184; factors in decline, 184, 185; stability of, 186; cycles, 187, 198; percentage in repertoire, 64, 65, 67, 112, 121, 149, 159, 172, 184, 187, 188, 206; Symphony No. 1, 376; Symphony” No. 2, 39, 144, 377; Symphony No. 3, 39, 186, 376; Symphony No. 4, 376; Symphony No. $, 84, 85, 184, 186, 376; Symphony No. 6, 376; Symphony No. 7, 20, 186, 376; Symphony No. 8, -$j6’ _fSSymphony No. 9, 183, 186, 187, 377; Mass in C, 145; Battle Symphony, 20, 186; Concerto for Piano, No. 376; Violin Concerto, 376; Overtures,Leonore No. 3, Egmont, Coriolanus, 376; Fidelio, 377; C072-certos for Piano, No. 3 and 4, 377

Bellini, Vincenzo, 25

Bennett, Robert Russell, 272

Bendy, John, 123

Berezowski, Nicholas, 96, 274, 278; percentage in repertoire, 277

Berg, Alban, 273

Bergmann, Carl, 33, 48, 64, 101, 189, 192, 196, 239

Berkshire Festival, 94

Berlin Philharmonic orchestra, 23

Berlioz, Hector, 8, 25, 26, 41, 68, 76, 77, 121, 149, 160, 238, 262, 312, 313; percentage in repertoire, 65, 188, 206, 235, 238,Symphonie Fantastique, 238, 376; Damnation of Faust, 238; Romeo and Juliet, 238; Harold in Italy, 238; Overture,Carnaval Romain, 238, 376; Rakozcy March, 365; UArt du chef (Γorchestre, 313; Treatise on conducting, 303, 313

Bernstein, Leonard, 37, 234

Billings, William, 17, 20; Psalm Singer,

Bilse, Benjamin, 23, 111

Birge, Edward, 178

Bloch, Ernest, 68, 77, 96, 144, 160, 164, 249, 250, 274, 278; percentage in repertoire, 188, 250, 277; America, 249; Concerto Grosso, 250; Schelomo, 250; Israel Symphony, 250; Three Jewish Poems, 250

Boccherini, Luigi, 264

Bodansky, Artur, 55, 141

Boessenroth, 143, 208

Boi’eldieu, Francois, 99

Bollinger, Samuel, 149

Borodin, Alexander, 143, 263; percentage in repertoire, 206

Borowski, Felix, 107; percentage in repertoire, 277

Boston Symphony Orchestra, 21, 23, 78; founding, 78-80; under Henschel, 81; Gericke’s reforms, 83; Under Nikisch, 84-87; Muck; 88, 89; financial reorganization, 90; strike, 91; Koussevitzky, 92-95; unionization, 93; repertoire, 95 fî; 154; 161

Boulanger, Nadia, 75, 222, 231

Bour, Felix, 343

Braga, 265

Brahms, Johannes, 64, 66, 68, 99, 113, 121, 135, 143, 160, 187; trend line, 189, 190, 363; percentage in repertoire, 65, 99, 149, 159, 172, 188, 190, 206; Serenade No. 2, 189; Symphony No. i, 189, 190, 376; Symphony No. 2, 190, 376; Symphony No. 3, 190, 376; Symphony No. 4, Academic Festival Overture, 190, 376; Variations on a Theme by Haydn, 190, 376; Concertos for Piano, No. 1 and 2, 190,Violin Concerto, 190, 376; Hungarian Dances, 190

Brand, George, 115

Brand, Michael, 115

Brant, Henry, percentage in repertoire, 277

Bremer, Alexander, 345

Bremner, James, 123

Bristow, George, 266, 267, 268, 269; Dramatic Overture, Columbus, 369

Britten, Benjamin, 247, 284; percentage in repertoire, 188

Brodsky, Adolf, 73, 343

Brooks, Ernest, 135

Bruch, Max, percentage in repertoire, 206

Bruckner, Anton, 68, 77, 224; trend line, 225; percentage in repertoire, 188, 206, 216; Symphonies No. 1, 2, 3,4, 5, 6, 7,8, % 224, 225

Buck, Dudley, 276

Biilow, Hans von, 23, 44, 300; virtuoso conductor, 314, 319

Burney, Charles, 8, 26, 27, 287, 328

Busby, Thomas, 27

Busch, Fritz, 24, 75

Caillet, 208

Cameron, Basil, 49, 156

Cardozo, Benjamin, on mutability of norms, 405

Carillo, Julian, 135

Carpenter, John Alden, 96, 160, 278; percentage in repertoire, 277

Caruso, Enrico, 52

Carvalho, Eleazor de, 265

Casadesus, Robert, percentage in repertoire, 188

Casals, Pablo, 147

Casella, Alfredo, 264

Castelnuovo-Tedesco, Mario, 68

Chabrier, Emmanuel, 160

Chadwick, George, 95, 112, 120, 149, 274, 276, 278; percentage in repertoire, 277

Chasins, Abram, 69; Flirtation in a

Chinese Garden, 69; Farade, 69

Chausson, Ernest, 160; Symphony in Β flat, 377

Chavez, Carlos, 94, 160, 173, 265, 284

Cherubini, Maria Luigi, 7, 99, 198; percentage in repertoire, 206

Chicago Civic Orchestra, 109

Chicago Symphony Orchestra, 101, founding of, 101-103; guarantors, 103; early difficulties, 104, 105; under Thomas, 102-107; under Stock 107-110; union problem, 109; Chicago Civic Orchestra, 109; repertoire, 110-113

Children’s Concerts, 147, 162, 166, 170, 373; conductors of, 373

Chopin, Frederic, 361; percentage in repertoire, 206. Concerto for Piano No. 1, 377; Concerto for Piano No. 2, 361

Choral Societies, 27, relation to symphony, 29; 114, 187; Apollo Club, 28; Arion Society, 28, 70; Euterpian Society, 21; “Filharmonix” Choral Society, 136; Handel and Haydn Society, 20, 28, 77; Liederkranz, 28; Mannerchors, 28; St. Louis Choral-Symphony Society, 28

Cimarosa, Domenico, 7

Cincinnati College of Music, 114, 116

Cincinnati Symphony Orchestra, early history, 113, 114; founding, 115; financial problems, 116, 117; Auditorium, 120; repertoire, 120-122

City Center Orchestra, 37

Cleveland Orchestra, beginnings, 161; Musical Arts Association, 161; founding, 162; Severance Hall, 163; conductors, 162, 163; repertoire, 164

Coates, Albert, 74,77, 141, 170, 248

Cole, V., percentage in repertoire, 277

Colonne, Edouard, 50

Composer: great, appreciated in his day, 183, 236; problems of con-‘. temporary composer, 284, 285; as craftsman, 289

Composers: life spans in repertoire, 182 ίϊ.; most pre-eminent: Beethoven, 183-187; Brahms, 187-190; Wagner, 190-195; Tschâikowsky, 196-198; Mozart, 198-200; Bach, 200-209; with stable popularity: Haydn, 210-212; Handel, 212-214; Weber, 214; Gluck, 215; ascending phases: Strauss, 215-219; Sibelius, 219-222; Franck, 222; Stravinsky, 222-223; Debussy, 223; Bruckner, 224-225; Rachmaninoff, 225; Shostakovitch, 226-228; Mahler, 228-229; Prokofieff, 229, 230; Schoenberg, 230; Copland, 231; Vaughan Williams, 231; Hindemith, 232; Milhaud, 232; Bartok, 232; Schuman, 233; Walton, 233; Ives, 233; descending phase: Schumann, 234; Shubert, 235-237; Berlioz, 237, 238; Liszt, 239, 240; Rubinstein, 240, 241; full life cycle of: Dvorak, 242; Saint-Saens, 243; Grieg, 245; Smetana, 245; MacDowell, “245; Rimsky-Korsakoff, 246; Elgar, 247; D’Indy, 248; Glazounoff, 248; Scriabin, 249; Respighi, 249; Bloch, 249; Falla, 250; Harris, 250; “forgotten”: 64, 250-252. (See also under name of composer)

Composing for the future, 10, 285

Concert, function of, 100, 292

Concertgebouw, 55, 158

Concert halls: Ν. Y. Academy of Music, 43, 71; Carnegie Hall, 45, 197; Metropolitan Opera House, 43; Symphony Hall, 88; Chicago Auditorium, 103; Orchestra Hall, 105; Cincinnati Music Hall, 115, 120; Philadelphia Academy of Music, 124; Northrup Auditorium, 137; Kiel Municipal Auditorium, 148; War Memorial Opera House, 157; Severance Hall, 163; Philharmonic Auditorium, 170; Constitution Hall, 181

Concert Series, 371, necessity for, 371, 372; “public rehearsal,” 296, 372; children’s series, 373; “pop” concerts, 359, 373; decline of “pop” concerts, 374; Sunday concerts, 374

Concerts Golschmann, 148

Concerts Koussevitzky, 92

Concerts Spirituels, 15, 358, 369

Concert System, origins of, 14; patronage, church and noble, 14; earliest public concert, 15; early series, 15, 16; early American series, 20

Conducting: history of, 310; romantic school of, 66, 313, 314, 318; Liszt-Wagner-Biilow-Nikisch school, 72, 83, 86, 313; conservative, 106, 107; psychological effect of gestures, 131; batonless, 132, 142, 169, 318; without score, 319; Mendelssohnian tradition, 83, 315, 316; fashions in, 325, 326

Conductor: virtuoso, 83, 311; as plaţform lecturer, 132, 319; function of, 313; as interpreter, 313, 322; position of, 315; prestige of, 315; increasing authority of, 316; demand for adequate rehearsals, 317; arbiter of taste, 318, 397; as recreator, 323; as educator, 362

Conductorless orchestra, 320, 321

Conductors: operatic, 24; primarily orchestral, 24; German, 261; salaries of, 57, 81, 115, 118, 127, 133, 145, 153, 166; Ν. Y. Philharmonic, 44, 45, 50, 51, 53, 56 61, 62, 63; Ν. Y. Symphony Society, 69, 72; Boston, 82, 83, 87, 88, 91, 92, 94; Chicago, 102, 107; Cincinnati, 113, 115, 117, 118, 119; Philadelphia, 125, 127, 133; Minneapolis, 136, 141, 142; St. Louis, 146, 147, 148; San Francisco, 152, 154, 155, 158; Cleveland, 162, 163; Los Angeles, 167, 169, 170, 172; Detroit, 175; Baltimore, 176; Rochester, 177; Indianapolis, 178; Washington, D. C., 180, 181. (See also name of individual conductor)

Converse, Frederick S., 95, 112, 149, 276, percentage in repertoire, 277

Cooley, Carleton, 164

Copland, Aaron, 76, 77, 96, 231, 278; percentage in repertoire, 188, 227, 231, 277. Symphony for Organ and Orchestra, 231; A Lincoln Portrait, 231; Billy the Kid, 231; Quiet City, 231; Appalachian Spring, 231

Copley, John Singleton, 17

Corelli, Arcangelo, 123, 212

Costa, Michael, 302, 305, 310, 312

Cowell, Henry, percentage in repertoire, 277

Crawford, Thomas, 18

Creston, Paul, 69, 278; percentage in repertoire, 188, 277

Czech music, 65, 66, 259

Damrosch, Leopold, 22, 40, 44, 45, 48, 55, 69; competition with Thomas, 71, 189; romantic conductor, 72

Damrosch, Walter, 24, 47, 48, 55, 141, 151, 231, 250, 263, 271, 273, 319, 320; criticism of, 72; friend of philanthropists, 73; tours, 73, 74; contribution to cause of music, 74; retirement, 75, 77; showmanship, 76

Dasch, George, 108

Debussy, Claude, 68, 76, 121, 143, 160, 223, 262; percentage in repertoire, 172, 188, 206, 216; Nuages et Fetes, 162, 377; Nocturnes, 223; VApresmidi d’un Faune, 223, 376; Iberia, 223, 376; La Mer, 223, 376

Defauw, Desire, 48, no DeKoven, Reginald, 180

DeLamarter, Eric, 108, 109; percentage in repertoire, 277.

Dello Joio, Norman, percentage in repertoire, 277

Delius, Frederick, 247, 264

De Sabata, Victor, 68

Detroit Symphony, 175

Devrient, Eduard, 201, 203, 315

Diaghileff Ballet, 119, 158, 160

Diamond, David, 278; percentage in repertoire, 188, 277

D’Indy, Vincent, 68, 76, 113, 121, 247, 248; percentage in repertoire, 188; lstar, 247; Medea suite, 247; Symphony on a French Mountain Air, 248; Symphony No. 2, 248; Wallenstein’s Ca?np, 248

Dobrowen, Issay, 156

Donizetti, Gaetano, 25; percentage in repertoire, 206

Dorati, Antal, 49; conductor Minneapolis Symphony, 142

Doremus, R. Ogden, 43

Dubensky, Arcady, 77

Dukas, Paul, 377

Dukelsky, Vladimir, percentage in repertoire, 277

Dvořák, Antonin, 65, 66, 77, 149, 159, 16o, 242; percentage in repertoire, 66, 67, 68, 172, 188, 206, 242, 244; Symphony No. 66, 242, 376; Slavonic Rhapsodies, 77, 242; Scherzo Capriccioso, 242; Carnival Overture, 242; Cello Concerto, 242, 377

Dwight, John S., 97, 293 Dwighfs Journal of Music, 44, 79, 354

Eichheim, Henry, 160, 164, 278; percentage in repertoire, 277

Eisfeld, Theodore, 48, 65, 311

Elgar, Sir Edward, 68, 69, 77, 208, 247, 264; percentage in repertoire, 188, 247; Dream of Gerontius, 247; Enigma Variations, 247, 377; Introduction and Allegro for Strings, 247; Violin Concerto, 247; Pomp and Circumstance, 247; Cockaigne Overture, 247

Elkus, Albert, 160

Elman, Mischa, 351

Elson, L. C., 83, 99

El well, Herbert, 164

Emerson, Ralph Waldo, 269, 294

Emery, Mrs. Thomas J., 120

Enesco, Georges, 377; Roumanian Rhapsody No., 1, 377

Ernestinoff, Alexander, 178

Ernst, Alfred, 146

Falla, Manuel de, 68, 250; percentage in repertoire, 188, 250; El Amor brujo, 250; The Three-Cornered Hat, 250, 276; La Vida breve, 250; Nights in the Gardens of Spain, 250

Farrar, Geraldine, 52

Farwell, Arthur, percentage in repertoire, 277

Fay, Amy, 313

Fernandez, 265

Fesca, Friedrich Ernst, 7

Fiedler, Max, 48, 88, 100

Financing of orchestras: philanthropic support, 35, 47; pattern of, 78; plutocratic, 35, 166, 334; private enterprise, 35, 331; public taxation, 134, 156, 158, 176, 179, 338; cooperative plan, 35, 329, 330, 331, 341; endowments, 335, 330, deficit financing, 336, 337; public subsidy, 340; systems of, 329. (See also history of each orchestra) Finck, Henry T., 195, 293, 355, 362

Fischer, Emil, 65

Fontainebleau, American Conservatory, 74, 222

Foote, Arthur, 95, 120, 149, 274, 276

Foss, Lukas, percentage in repertoire, 277 ^

Fradkin, Frederic, 91

Franck, Cesar, 25, 68, 76, 121, 149, 172, 222, 262; percentage in repertoire, 188, 20ό, 216, 222; Symphony in D minor, 222, 376; Symphonic Variations, 222

French music, 76, 100, 112, 121, 147, 160, 164, 172, 259; reputation of woodwinds, 261; percentage in repertoire, 262 Fry, William Henry, 122, 266, 267, 268, 269

Fuleihan, Anis, 274, 278; percentage in repertoire, 277

Furtwängler, Wilhelm, 23, 60, 61, 75, 327

Gabrilowitsch, Ossip, 75, 118,141, conductor Detroit Symphony, 175

Gade, Niels, 99, 252; percentage in repertoire, 206; Symphony No. 1, 252; Symphony No. 4, 252

Gadski, Johanna, 52

Ganz, Rudolph, 49; conductor St. Louis Symphony, 147; 158

Garden, Mary, 52

Gatti-Casazza, Giulio, 52 Gebrauchsmusik, 232

Geminiani, Francesco, 123

Gericke, Wilhelm, 24, 48; conductor of Boston Symphony, 82, 87, 99, 189, 300

Germania orchestra, 32, 79, 124, 144, 192

German immigration, 115; source of competition, 342

Gershwin, George, 69, 76, 77, 173, 271, 278; percentage in repertoire, 188, 277; Rhapsody in Blue, 271, 272; An American in Paris, 271; Second Rhapsody, 271

Gewandhaus Orchestra, 7, 16, 23, 38, 63, 205, 300; seating plan, 301

Ghione, Franco, 175

Gilbert, Henry, 276

Gilchrist, W. W., 125

Gillespie, Mrs. E. D., 125

Gilfis, Don, percentage in repertoire, 277

GlazounofF, Alexander, 66, 68, 112, 248, 262; percentage in repertoire, 188, 206; Violin Concerto, 248; Symphonies No. 4, 6, 248; Symphonic Poem,Stenka Razine, 248

Gleason, Frederick Grant, 274

Glinka, Michael, 66, 263

Gluck, Christoph Willibald, 8, 19, 26, 68, 215; percentage in repertoire, 188, 206, 215; Alceste, 215; Iphigenia in Aulis, 215; Ballet Suite (Mottl), 215

Goldmark, Karl, 68, 135, 160; percentage in repertoire, 206, 244

Goldschmidt, Hugo, 323

Golschmann, Vladimir, 24, 48, 74, 77; conductor St. Louis Symphony, 148

Gomez, 265

Goossens, Eugene, 24, 48, 74, 77; conductor Cincinnati Symphony, 119; conductor Rochester Philharmonic, 177; 247, 264, 278; percentage in repertoire, 277

Gould, Morton, 69, 278; percentage in repertoire, 188, 277

Gounod, Charles, 145; Redemption, 145

Gossec, Francois, 210

Grainger, Percy, 156, 245; percentage in repertoire, 277

Graupner, Gottlieb, 20, 78, 211; orchestra of, 20, 32

Great Britain, music of, 122, 247, 259, 264

Greenough, Horatio, 18

Gretry, Andre, 210

Grieg, Edvard, 143, 245; percentage in repertoire, 188, 206, 244•,Peer Gynt Suite, 148; Piano Concerto, 245

GrifFes, Charles T., 144, 278; percentage in repertoire, 277

Gruenberg, Louis, 278; percentage in repertoire, 277

Guarnieri, Camargo, 173, 265

Gyrowetz, Adalbert, 20, 32, 210

Habeneck, Francois, 24, 25, 26, 38, 312

Hadley, Henry K., 48, 77, 118, 149; conductor San Francisco Symphony, 152; percentage in repertoire, 277; In Bohemia, 154; Midsummer High Jinks, 154

Hale, Philip, 85, 87, 251, 362, 371

Hallé, Sir Charles, 25

Hammerstein Opera Company, 52

Hamilton, Harley, 165

Handel, George Frederick, 7,16,17,19, 68,212; choral works, 213; transcriptions, 213; trend line, 213, 214, 264; percentage in repertoire, 188, 214; Almira, 16; Rinaldo, 16; Messiah, 19, 142, 143, 145, 212, 213; Water Music, 213, 376; Concerto Grosso No. u, 213

Hanslick, Eduard, 7, 22, 224, 354

Hanson, Howard, 67, 77, 94, 96, 160, 177, 278; percentage in repertoire, 188, 277; Symphony No. 2, 67

Harpsichord, 326

Harris, Roy, 96, 144, 250, 278; percentage in repertoire, 277; Six Symphonies,, 250

Harty, Hamilton, 213

Harvard Musical Association, 20, 79

Hausserman, percentage in repertoire, 277

Haydn, Franz Joseph, 7, 8, 17, 20, 32, 68, 121, 123, 152, 198, 210; trend line, 211; percentage in repertoire, 188, 206, 211; Creation, 142; Emperor Quartet, 152; Symphonies: No. η3 (La Chasse), 211; No. 8$ (La Reine), 211; No. 94 (Surprise), 211; No. 100 (Military), 211; No. 88 G major, 212, 376; No. 101 (Clock), 212; No. 102, 104, 92, 95, 97, 99> 212; Toy Symphony, 212

Haydn, J. Emmett, 156

Hayes, Catherine, 150

Hegel, Georg Wilhelm, 30, 204

Hegner, Anton, 343

Heiden, Bernhard, 175

Hekking, Anton, 73

Henschel, Georg, 48, 65; conductor of Boston Symphony, 81, 82; repertoire of, 98, 99; 189; 302, 303; Overture, 81

Herbert, Victor, 118, 120, 174

Herold, Rudolph, 151

Herrmann, Bernard, percentage in repertoire, 277

Hertz, Alfred, 24, 49; conductor San Francisco Symphony, 154; 171

Herz, Henri, 150

Hill, Edward Burlingame, 77,149; percentage in repertoire, 277

Hill, Ralph, 134

Hill, Ureli C., 48, 251

Hindemith, Paul, 160, 173, 232, 273, 284; percentage in repertoire, 188, 227, 232; Mathis der Mahler, 230, 232

Hinrichs, Gustave, 151

Histories of Music, 7

History of music as performance, 8, 9

Hoffman, Richard, 300, 316

Hoffmann, Ε. Τ. Α., 199

Hofmann, Josef, percentage in repertoire, 277

Hoist, Gustav, 77; Egdon Heath, 77

Homeier, Louis, 151

Homer, Louise, 52

Honegger, Arthur, 76, 160, 208, 284; percentage in repertoire, 188, 206

Hopkinson, Francis, 20, 122

Hubermann, Bronislaw, 60

Hummel, Johann Nepomuk, 7, 64, 252; percentage in repertoire, 206; Septet, 252; Piano Concerto in Β minor, 252

Ibert, Jacques, 284; percentage in repertoire, 188

Indianapolis Symphony Orchestra, 177-179

Instrumental music, rise of, 27, 29; French interest in, 25

Interpretation: authentic, 324, 327; “intent of composer,” 323, 324, 327

Israel Philharmonic, 60

Italian music, 69, 259, 263, 264

Iturbi, Jose, conductor Rochester Philharmonic, 177

Ives, Charles, 233; Three Places in New England, 234; Symphonies No. 2 and 3, 234

Jacobi, Frederick, 160; percentage in repertoire, 277

James, William, 293

Janssen, Werner, 221

Jazz, 77, 232, 271; influence on European composers, 272

Johnson, H. Earle, 5

Johnson, Thor, 48; conductor Cincinnati Symphony, 119

Judson, Arthur, 55, 349

Jullien, Louis Antoine, 33

Jullien orchestra, 33, 123

Kabalevsky, Dmitri, 284

Kalliwoda, Johann, 64, 252; percent age in repertoire, 206; Fifth Symphony, 252

Kant, Immanuel, 30 Kapellmeister, 14, 53, 310 Kapellmeistermusik, 128, 228

Keffer, Edward I., 126

Kelley, Edgar Stillman, 160; percentage in repertoire, 277

Khachaturian, Aram, 284; percentage in repertoire, 188, 206

Kindler, Hans, conductor National Symphony, 180

Klemperer, Otto, 49, 74, 77, conductor Los Angeles Philharmonic, 169, 173; 174

Kneisel, Franz, 82

Kodaly, Zoltan, 68

Kolar, Victor, 175

Kotzwara, Franz, 19; Battle of Prague, 19

Koussevitzky, Serge, 20, 24, 48, 221, 226, 249, 250, 271; conductor Boston Symphony, 92; European career, 92; criticism of, 93; Berkshire Festival, 94; farewell to Boston, 95; on function of symphony concerts, 100

Kozeluh, Leopold, 210

Krehbiel, Henry Edward, 52, 85, 106, 371

Kreisler, Fritz, 261

Krenek, Ernest, 272; Jonny spielt auf, 272

Kroeger, E. R., 149

Krueger, Karl, 175

Kubelik, Rafael, 48, no Kunwald, Ernst, 48; conductor Cincinnati Symphony, 117

Lalo, Victor Antoine Edouard, percentage in repertoire, 206; Symphonic Espagnole, 377

Lamoureux, Charles, 356

Latin American music, 173, 264, 265

La Violette, Wesley, 160

Lehmann, Lilli, 65

Leinsdorf, Eric, 24, 49; conductor Cleveland Orchestra, 16j; conductor Rochester Philharmonic, 177; Lind, Jenny, 22, 123, 150

Lindpaintner, Peter Joseph von, 64, 252; percentage in repertoire, 206

Listemann, Bernhard, 82

Liszt, Franz, 20, 44, 64, 68, 152, 239; percentage in repertoire, 65, 66, 67, 121, 172, 188, 206, 235,>39; Les Preludes, 152; Hungarian Rhapsodies, 239; Faust Symphony, 239; Piâno Concertos No. 1 and 2, 239

Loder, 48

LoefHer, Charles Martin, 69, 96, 149, 162, 164, 274, 278; percentage in repertoire, 277

London Philharmonic, 25, 63; with Nikisch, 87; 198

Longy, Georges, 262

Lopatnikov, Nicolai, percentage in repertoire, 277

Los Angeles Philharmonic Orchestra, forerunners, 165; Los Angeles Symphony Society, 165; founding of, 167; philanthropic support, 168; Hollywood Bowl concerts, 168; Auditorium, 170; competition with Hollywood, 171; repertoire, 172, 173

Lully, Jean Baptiste, 312

MacDonald, Harl, 278

MacDowell, Edward, 95, 112, 120, 149, 245, 246, 251, 274, 278, 364; percentage in repertoire, 206, 244, 246, 277; Piano Concerto No. 2, 245, 246; Indian Suite, 246; Suite in A minor, 246

Mahler, Gustav, 21, 24, 48; conductor Ν. Y. Philharmonic, 51; difficulties in his regime, 52; 66, 68, 128, 160, 164, 172, 173, 227, 228; trend line, 229; percentage in repertoire, 188, 206, 229; Symphony No. 8, 128, 129, 229; Das Lied von der Erde, 228; Symphony No. 1, 377

Malipiero, G. Francesco, 264 Manifesto of German Intellectuals, 217

Mannheim orchestra, 26

Marschner, Heinrich August, 7

Martini, Giovanni Battista, 123

Martinu, Bohuslav, percentage; in repertoire, 188

Martucci, Giuseppe, 68

Mason, Lowell, 274

Mason, Daniel Gregory, percentage in repertoire, 277; 278

Mason, R. Osgood, 39

Mason, William, 95

Matinee concerts, origin of, 296

McCormack, John, 52

Méhul, Étienne Nicolas, 7

Meiningen orchestra, 23, 300, 314

Melba, Nellie, 52 melos, 85, 86, 313

Mendelssohn, Felix, 7, 64, 68, 83, 99; Bach revival, 201, 205, 239, 240, 301, 305, 310, 313, 354; percentage in repertoire, 65, 172, 188, 206, 235, 239, 240 Elijah, 142; FingaVs Cave Overture, 85, 314; Sy?nphony No. 3, 239, 377; Symphony No. 4, 239, 377; Midsummer Nighfs Dream, 239, 377; Concerto for Violin, 239, 376; Lovely Melusine, 239

Mengelberg, Willem, 48,50, 55,74,107

Mennin, Peter, percentage in repertoire, 277

Menotti, Gian Carlo, percentage in repertoire, 277, 278

Menuhin, Yehudi, 234, 247

Mero, Yolanda, percentage in repertoire, 277

Messager, Andr‚, 262

Messiaen, Olivier, percentage in repertoire, 188

Metropolitan Opera, 52

Meyerbeer, Giacomo, percentage in repertoire, 206

Miaskowsky, Nicolas, 112, 135, 263; percentage in repertoire, 188; Fifth Symphony, 112; Sixth Symphony, 112; Symphony No. 21, 113

Mignone, Francisco, 173, 265

Milhaud, Darius, 76, 160, 232, 272, 284; percentage in repertoire, 188, 227; Suite Proven gale j 232

Miller, Owen, 342

Minneapolis Symphony Orchestra, founding of, 136; Auditorium, 137; Minneapolis Orchestral Association, 137; children’s concerts, “highway”, 138; relation with University, 139; financial arrangement, 139; Sunday popular concerts, 143; repertoire, 142

Mitchell, Howard, conductor National Symphony, 181

Mitropoulos, Dimitri, 24, 48, 49, 63, 208; conductor Minneapolis Symphony, 142, 143

Monteux, Pierre, 24, 48, 49, 262; conductor Boston Symphony, 91, 100; conductor San Francisco Symphony, 158; repertoire of, 160

Moore, Douglas, percentage in repertoire, 277

Morris, William, 294 v Moscheles, Ignaz, 7

Mottl, Felix, 107, 364

Moussorgsky, Modest, 68, 263; Pictures at an Exhibition, 377; Prelude to Khovantchina, 377

Mozart, Wolfgang Α., 7, 8, 15, 17, 68, i2i, 123, 135; trend line, 199, 200; percentage in repertoire, 188, 198, 200, 206; Symphonies: G minor (Κ $$o), 199, 200, 376; C major (Κ SSO, 1.99, 20°> 37ό”> E flat maiot (Κ 543), i99, 200> 376; D major (Κ5, 8j), 199, 200, 376; C major (K 338), 200; D major (K $04), 200; Κ 20i, 200; Κ 42 2oo; Κ 200 y 200; Κ 183, 2oo; Eine kleine Nachtmusik, 200; Overtures to the operas, 200; Serenades, 200, Piano concertos, 200; Violin concertos, 200; Idomeneo, 287

Muck, Karl, 20, 24, 48; with Boston Symphony, 88, 89; 154

Munch, Charles, 48; conductor Boston Symphony, 94

Munich orchestra, 23

Musard, Orchestra, 123

Music: Social history of, 8; function of, 30, 286, 292, 297

Music history as performance, 9 Musical Courier, 130

Musical forms, historical continuity of, 8, 238

Musicians’ Union, Boston strike, 91; Chicago problem, 109; Washington problem, 180, sources of friction, 341; origins of, 341, 342; Am. Fed. of Musicians, 342; Alien Contract Labor Law, 342; Musical Mutual Protective Union, 343; “six-months” rule, 343; strike against Damrosch, 344; local autonomy, 346; regulations, 347; increased power, 348; Boston open shop, 349; strike and unionization of Boston, 350; recordings and radio, 351

Nationalism, 203, 214, 253; folkmusic, 254; influence in repertoire, 253, 255, 257; definition of, 256; American nativist movement, 266-270

National Orchestral Association, 109

National Symphony Orchestra (Washington, E). C.), 179-181

National Symphony of New York: 54, 55; merger with N. Y. Philharmonic, 55

Naumann, Johann Gottlieb, 7

Neuendorff, Adolph, 45, 48, 70 Neue Zeitschrift für Musik, Der, 7

New York Philharmonic Society, 21, 27; founding of, 37-42; cooperative organization, 40; instrumentation, 40; vocal music in, 42; programmatic interpretations, 42; social support, 43; competition with opera, 44, 52; competition of Thomas orchestra, 44; decline, 45, 46; attempt at reorganization, 47; guest conductors, 50; abandonment of cooperative organization, 51; endowments, 53; revival of public interest, 54; merger with National Symphony and Symphony Society, 56; initial program (1842), 361

New York Philharmonic-Symphony Society, 56; Centennial year, 62; guest conductors, 63; in Roxy theatre, 63; soloist policy, 65; analysis of repertoire, 63-68; 303, 351

New York Symphony Society, 44, 54, 69-77, as competitor of Philharmonic, 55; merger with Philharmonic, 56; founding of, 71; tours, 73, 74, 161; repertoire, 76, 77

Nichols, George Ward, 114

Nicolai, Otto, 39, 99; Merry Wives of Windsor, 39

Nikisch, Arthur, 20, 23, 48, conductor Boston Symphony, 83-86; European career, 87; 189, 224,225,300, 319, 323

Nordica, Lillian, 52 norm of “fair” competition, 271

Oberhoffer, Emil, 40, 49, 136, 169; conductor of Minneapolis Symphony, 140, 143

Onslow, George, 7

Opera, prestige in Europe, 24, 25, 26

Orchestra: quality of American, 21; shares prestige with opera in Europe, 23; function of, 286; criteria of “permanent” orchestra, 36; “permanent,” 73, 80; civic asset, 294, 295; as fashionable event, 295; financial structure of (see Financing of Orchesta)

Orchestral Compositions: titles of (see Composers); playing time of, 13, 365; quality of, 13

Orchestras:see name of orchestra (as Boston Symphony, etc.); major orchestras, 11, 37; minor orchestras, 37; community orchestras, 37

Orchestre National of Paris, 94

Ormandy, Eugene, 24, 48, 49, 208; Musical Director of Philadelphia Orchestra, 133; conductor of Minneapolis Symphony, 141, 142, 143

Ornstein, Leo, 135

Otten, Joseph, 145

Oxford Music Room, 16

Paderewski, Ignace Jan, 22

Paganini, Niccolo, 20, 300; Moto Per-petuo, 300

Paine, John Knowles, 95, 112, 274, 276

Palestrina, 15

Paray, Paul, 119

Parker, Horatio W., 120, 274

Pater, Walter, 294

Patti, Adelina, 123

Paur, Emil, 46, 48, 66; conductor Boston Symphony, 87, 100; conductor Pittsburgh Symphony, 174, 189, 241, 300

Peale, Charles Sprague, 17

People’s Philharmonic Orchestra, 154

Pergolesi, Giovanni Battista, 212

Persichetti, Vincent, percentage in repertoire, 277

Petri, Egon, 321

Petrillo, James C., 94, 108, 342, 351

Philadelphia Orchestra, 54; Quaker traditions, 122; Musical Fund Society, 123; Academy of Music, 124; founding, 124; Philadelphia Symphony Society, 125; Orchestral Association, 125; Woman’s Committee, 125; protests against European personnel, 126; tax support, 134; tours, 134; analysis of repertoire, 134-136

Philharmonic Society of London, 38

Philanthropists, 35, 47, 103, 113, 335, 349; Mrs. Leonora Wood Armsby, 157, 335; Edward Bok, 35, 126, 334; Robert S. Brookings, 145, 334; Andrew Carnegie, 47, 51, 71, 73, 174; Elbert L. Carpenter, 137, 334, 335, 349; William A. Clark, 35, 165; WiL• liam Andrews Clark, Jr., 165, 166, 167, 168, 334, 335; Ε. B. Dane, 90, 334; Cora Dow, 335; George Eastman, 177; Charles Norman Fay, 102, 334; Marshall Field, 102, 349; Η. H. Flagler, 35, 54, 56, 73, 334, 349; Hamill, 349; Henry Higginson, 35, 78, 80, 90, 334; Mrs. Victoria Hoover, 120; Mrs. Adella Prentiss Hughes, 161, 335, 349; A. D. Juilliard, 349; Otto Kahn, 349; A. Lewisohn, 54; Mrs. Maria Nicholas Longworth, 113, 120, 335; Clarence Mackay, 35, 54, 56; J. P. Morgan, 51, 71, 73; Joseph Pulitzer, 51, 53, 67, 335; Η. H. Reichhold, 175; John D. Rockefeller, 50, 71, 73; J. L. Severance, 336; Mrs. George R. Sheldon, 51; Mrs. Caroline Estes Smith, 349; Henry Steinway, 71; William Steinway, 34; Mr. and Mrs. Charles P. Taft, 334, 335; Mrs. William Howard Taft, 115; W. K. Vanderbilt, 71, 73; Alexander van Rensselaer, 126, 349; Frances A. Wister, 126

Philidor, Andre, 15

Pick-Mangiagalli, Riccardo, 208

Pinto, 265

Piston, Walter, 278; percentage in repertoire, 188, 277

Pittsburgh Symphony Orchestra, 174

Pizzetti, Ildebrando, 68, 264

Pleyel, Ignaz, 20, 210

Pohlig, Karl, 48; conductor Philadelphia Orchestra, 127; 134

Poulenc, Francis, percentage in repertoire, 188

Powell, John, 77; percentage in repertoire, 277

Powell, Maud, 222

Powers, Hiram, 18

Program: 360; “tutti-frutti,” 19, 198; choral, 199, 236; cycles, 67, 221, 224, 229; principles of, 360; variety in, 361; fragmentation of symphony, 361; position of symphony in, 363; “genre,” 68, 120, 135, 363, 364; all-American, 364; protest against ail-American, 364; key-relations in, 365; limiting factors, 365; encores, 366; “box-office” numbers, 367; opera in concert form, 367; soloists, 368; American premieres, 77, 136

Program notes, history of, 369; types of, 369, 370, 371

ProkofiefF, Serge, 68, 100, 113, 128, 150, 160, 172, 229, 262, 263, 284; percentage in repertoire, 188, 206, 229; Pas d’acier, 128; Classical Symphony, 229, 377; Symphony No. 377; Love of Three Oranges, 229; Scythian Suite, 230; Peter and the Wolf, 230

Promenade Concerts, 25

Purceii, Henry, 69, 212

Rabaud, Henri, 48, 262; with Boston Symphony, 91, 100

Rachmaninoff, Serge, 68, 76, 77, 136, 143, 147, 149, 164, 172, 173, 273; percentage in repertoire, 188, 216, 225; Piano Concerto No. 2, 225, 376; Piano Concerto No. 77, 225, 263, 377; Symphony No. 2, 225, 377; Rhapsody on a Theme by Paganini, 225, 376

Radio, relation to orchestra, 4; union, 351; NBC orchestra, 37

Raff, Joseph Joachim, 77, 99, 251; Im Walde, 251; Symphony No. 5, 251

Rapee, Erno, 229

Ravel, Maurice, 68, 69, 76, 143, 160, 262, 272; percentage in repertoire, 188, 227; Bolero, 69, 377; Daphnis et Chloe, 376; La Valse, 376; Rhapsodie Espagnole, 376; Alborada del Gracioso, 377

Recordings, relation to orchestra, 4; union, 351

Reichardt, Friedrich, 358, 369

Reinagle, Alexander, 20, 122, 123

Reiner, Fritz, 24, 48; conductor Cincinnati Symphony, 118; conductor Pittsburgh Symphony, 174

Remenyi, Edouard, 65

Repertoire: analysis of (see names of individual orchestras); composer’s percentage in, (see composer’s name; see also repertoire of each orchestra); reservoir of, 10; as basis for measure, 11, 13; changing, 12; survival of, 12; American compared with European, 20; basically German, 23; opera in, 164; effect of World War I on (see World War I); balanced, 65, iii, 143, 172, 173; “experimental,” 135, 144; geographical factors in, 220, 279; personal factors in, 225, 229, 279; social factors in, 220, 225, 229, 279; social factors in, 220, 225, 226, 241; nationalities in, 259 if. (see also under each nationality); American composer in, 274-278; American percentage in, 276; contemporary American composers in, 280, 282; contemporary foreign composers in, 280, 282; competition of American and foreign composers, 281; popularization of, 296; definition of “standard,” 375; standard list of, 376, 377

Respighi, Ottorino, 68, 143, 160, 208, 249, 264; percentage in repertoire, 188; Pines of Rome, 249, 377; Fountains of Rome, 249

Revueltas, S., 265

Richter, Hans, 24, 25, 87, 107, 319

Righini, Vincenzo, 7

Rimsky-Korsakoff, Nicholas, 66, 68, 135, 164, 246, 262; percentage in repertoire, 135, 188, 246; Spanish Caprice, 246; Russian Easter Overture, 246, 377; Scheherazade, 246

Ritter, F. L., 115; Music in America, 115

Rivé, Julia, 65

Rochester Philharmonic, 177

Rodzinski, Artur, 48,49, 226; builder of orchestras, 62; conductor Chicago Symphony, no; conductor Cleveland, 163, 164; conductor Los Angeles, 169

Rogers, Bernard, percentage in repertoire, 277

Rosenthal, Manuel, percentage in repertoire, 188

Rossini, Gioacchino, 7, 25, 68, 198, 264; percentage in repertoire, 206; William Tell Overture, 148

Rothwell, Walter, 49, 118, 140; conductor Los Angeles Philharmonic, 167, 168, 172

Rousseau, Jean Jacques, 26* 305

Roussel, Albert, 68

Royal Opera of Covent Garden, 25

Rubinstein, Anton, 22, 65, 66, 77, 240, 241, 262, 369; percentage in repertoire, 65, 206, 235, 241; Ocean Symphony, 241; Piano Concerto No. 3, 241, 369; Piano Concerto No. 4, 241

Rubinstein, Beryl, 164

Ruskin, John, 294

Russian Symphony, 37, 249

Russo-Soviet Union, music of, 66, 100, 121, 149, 164, 172, 259, 262, 263; percentage in repertoire, 262

Safonoff, Vassily, 48, 50, 66 y

St. Louis Philharmonic Society, 145

St. Louis Symphony Society, 144; forerunners to, 144, 145; origin in St. Louis Choral Society, 145; St. Louis Musical Union, 146; organization as St. Louis Symphony, 146; Sunday “pops,” 146, 147; children’s concerts, 147; Municipal Auditorium, 148; financial support of, 148; repertoire, 149, 150. St. Paul Symphony Orchestra, 140

St. Petersburg Philharmonic Society of, 15

Saint-Saëns, Camille, 25, 68, 99, 100, 121, 160, 172, 243, 244, 262; percentage in repertoire, 121, 149, 188, 243; Symphony No. 3, 244; Cello concerto, 244; Violin Concerto, 244; Piano Concerto No. 2, 244; Piano Concerto No. 244; Danse Macabre, Hymn to California, 244

Sainte-Beuve, Charles Augustin, 196

Salieri, Antonio, 7

Salomon-Haydn concerts, 16, 211

Salzedo, Carlos, percentage in repertoire, 277

Sari Francisco Symphony, 150; founding, 152; financing, 152; early obstacles, 153; popular concerts, 155; municipal tax, 156; revitalization, 157; War Memorial, 157; forum, 158; Youth concerts, 158; lack of summer activity, 159; repertoire, 159, 160

Scandinavian music, 143, 359

Scarlatti, Domenico, 264

Schaefer, Ferdinand, 178

Scheel, Fritz, 36, 48, 125, 134, 151

Schelling, Ernest, 67, 68, 158, 278; percentage in repertoire, 277; Impressions of an Artist’s Life, 67

Schneevoigt, Georg, 49; conductor Los Angeles Philharmonic, 169, 172

Schneider, Karl, 178

Schoenberg, Arnold, 68, 77, 128, 132, 208, 230, 273; percentage in repertoire, 188, 227; Five Orchestral Pieces, 132, 230, 359; Gurrelieder, 128; Verklarte Nacht, 230

Scholes, Percy, 10

Schopenhauer, Arthur, 30

Schradiek, Henry, 115

Schreiber, Ottmar, 23

Schubert, Franz, 68, 99; Centennial, 172, 235; trend line, 236; percentage in repertoire, 65, 172, 188, 206, 235, 236; Symphony in C major, 236; Symphony No. 7, 237, 376; Symphony No. 8, 237, 377; Symphony No. 5, 237; Symphony in E, 237

Schuman, William, 233, 278; percentage in repertoire, 188, 227, 277; American Festival Overture, 233

Schumann, Clara, 20

Schumann, Robert, 7, 8, 68, 121, 145, 204, 234, 252, 316; percentage in repertoire, 65, 188, 206, 234, 235; Trâumerei, 102; Manfred Overture, 234; Concerto for Piano, 234, 276; Violin Concerto, 234; Symphonies No. i, 84, 377; No. 2, 3,, 4, 377

Scriabin, Alexander, 66, 68, 76, 100, 249, 263; Reverie, 249; Symphony No. i, 249; Symphony No. 5, 249; Symphony No. 4, 249; Prometheus, a Poem of Fire, 249

Seating Plan: 298 ff.; performers standing, 300; seated, 301; Leipzig Gewandhaus, 301; principles of, 301, 303; early Ν. Y. Philharmonic, 303; London Philharmonic, 302, 305; Berlioz plan basic, 303; Boston Symphony, 302; division of celli and basses, 305; Stokowski reforms, 130, 307; position of celli, 307

Seidl, Anton, 24, 45, 48, 65, 115

Sembrich, Marcella, 52

Serkin, Rudolph, 94

Sevitzky, Fabien, conductor Indianapolis Symphony, 178

Sgambati, Giovanni, 264

Shapero, H. S. percentage in repertoire, 277

Shaw, George Bernard, 355, 358

Shepherd, Arthur, 164; percentage in repertoire, 277

Shostakovitch, Dmitri, 68, 100, 113, 135, 150, 164, 173, 226, 227; trend line, 228, 262, 263, 284; percentageTn repertoire, 206, 216; Symphony No. i, 226, 377; Symphony No. f, 226, 376; Symphonies No. 6, 7, 8, 9, 226

Sibelius, Jan, 68, 77, 100, 113, 121, 135, 136, 143, 160, 172; trend line, 220, 221; American visit, 220; violin concerto, 222; percentage in repertoire, 121, 188, 206, 216, 221; Tapiola, 77; Symphony No. 2, 220, 377; Valse Triste, 220; Finlandia, 220; The Oceanides, 220; Symphony No. 5, 221, 377; Symphony No. j, 377

Siloti, Alexander, 208

Siqueira, 265

Slonimsky, N., 234

Smetana, Bedrich, 245; percentage in repertoire, 188, 244, 245; The Bartered Bride, 245, 377; The Moldau, 245, 356, 377; First String Quartet, 245

Smith, David Stanley, 149

Sobolewski, Eduard de, 145

Societe des Concerts du Conservatoire, 24, 38, 63

Sokoloff, Nicolai, 49, 154, 161; conductor Cleveland Orchestra, 162, 163

Sonneck, Oscar G., 5

Sontag, Henrietta, 123

Sowerby, Leo, percentage in repertoire, 277, 278

Spalding, Albert, 77

Spohr, Ludwig, 7, 251, 310, 314; percentage in repertoire, 206, 251; Violinschule, 251; Symphony No. 4, 251; Jessonda, 251; Violin Concerto No. 8, 251

Spontini, Gasparo Luigi, 7

Stamitz, Johann, 20, 123, 210

Stamm, A. J., 165

Stewart, Reginald, 176

Still, William Grant, percentage in repertoire, 277; 278

Stock, Frederick, 24, 48; conductor Chicago Orchestra, 107-110; 208; percentage in repertoire, 277; March and Hymn to Democracy, 108

Stokowski, Leopold, 24, 37, 48, 54, 63; conductor Cincinnati, 117; as innovator, 127, 130•, personality, 128; conductor Philadelphia Orchestra, 127; genius for publicity, 129; salary, 132; Bach transcriptions, 135, 208; experimental repertoire, 135; 170, 221, 226, 307, 319, 320

Stransky, Josef, 24, 48; conductor of Ν. Y. Philharmonic, 53, 54, 55; 66, 194, 239, 245, 200

Strauss, Johann, 144; Wiener-Walzer, r44

Strauss, Richard, 8, 50, 63, 65, 68, 77, 106, 112, 121, 135, 136, 143, 164, 199, 215, 216; visit to America, 217, 218, 219, 260; percentage in repertoire, 67, 121, 172, 188, 206, 215, 216; Macbeth, 77; Guntram, 77; Ein Heldenleben, 106, 180; Till Eulenspiegel, 112, 180, 218, 376; Symphony in F minor, 112, 218; Salome, 154, 219; Der Rosenkav alter, 154, 219, 377; Death and Transfiguration, 218, 376; Don Juan, 218, 376; Alp ens ymphonie, 219; Don Quixote, 376; Symphonia Domestica, 219; Elektra y 2 219

Stravinsky, Igor, 68, 100, 113, 118, 119, 128, 132, 135, 143, 160, 164, 172, 173, 222, 262, 263, 272, 273; percentage in repertoire, 188, 216, 222; Sacre du Printemps, 100, 118, 132, 227; The Fire Bird, 222, 376; Petrouchka, 222, 377; Oedipus Rex, 128

Stringham, Edwin, percentage in repertoire, 277

Strong, George, percentage in repertoire, 277

Strube, Gustav, 149, 176

Stuart, Gilbert, 17

Summer Concerts, 141, 159, 171, 350

Svendsen, Johân, 143

Symphony: significance as musical form, 29; aesthetic philosophy of, 30; reasons for ascendancy, 31

Symphony Orchestra: priority of in America, 23; as symbol of culture, 30; rise in America, 31-35; “symphonic soirees,” 31; forms of organization, 35, 40 (see also under history of each orchestra) Szell, Georg, 24, 49; conductor Cleveland Orchestra, 163, 245

Szigeti, Joseph, 94

Tailleferre, Germaine, 160

Taktschlăger, 42

Talley, Marion, 351

Tandler, Adolf, 166

Tansman, Alexandre, 208, 272, 284; percentage in repertoire, 188

Taste: factors in formation of, 3, 9, 29, 397, 398; in Leipzig, 7; character of before 1800, 10; church factor, 14, 202; changing 63, 96, 202, 203, 384, 394; popular, 287; concept of beauty, 380; variety of, 381; art vs. science, 382; critics’ influence, 383; beauty as experience, 384, 388, 389; “spirit of the age,” 8; meaning of, 387; criticism of “spirit of the age” concept, 385, 386; specific tonal habits, 388; satiety of, 390; conductor as missionary of, 391; norms of, 392; a folkway, 392, 393; aesthetic taste, social nature of, 394; stability of norms, 395; cultural inheritance, 395, 396; conductor’s influence on, 397, 398; and Technology, 399, 400; meanings of “good” taste, 400, 401; good taste a social norm, 402; conditioning of, 403

Taste trends, 4, national trend, 13; political factors, 203, 220, 225, 243, 289, 290; geographical factors, 220; personal factors, 193, 225, 229, 242; social factors, 10, 193, 202, 204, 211, 220, 289, 290; trend lines, 184, 187, 193, 196, 199, 209, 2ii, 213, 214, 215, 221, 222, 223, 225, 228,229, 231, 234, 236, 238, 239, 240, 241, 242, 243, 248

Tavares, 265

Taylor, Deems, 77, 278; percentage in repertoire, 277

Tetrazzini, Luisa, 52

Thomas, Theodore, 22, 24, 27; founded Thomas orchestra, 34; first modern American conductor, 34, 40, 65; Director Ν. Y. Philharmonic, 45, 50, 87; conductor Chicago Orchestra, 102; failures, 102; personality, 104, 114; progressive repertoire, 106; Cincinnati Music Festivals, 113; 151, 239, 273

Thomas Orchestra, competitor of Ν. Y. Philharmonic, 44; model for other orchestras, 79; “highway” 101, 125, 138, 144, 161, 193; seating arrangement, 79

Thompson, Randall, percentage in repertoire, 188, 277, 278

Thomson, Virgil, percentage in repertoire, 188, 277, 278

Thunder, Henry Gordon, 124

Timm, Henry C., 48

Tommasini, Vincenzo, 68, 264

Toscanini, Arturo, 24, 37, 48, conductor Metropolitan opera, 52;• traits of, 56; debut with Ν. Y. Philharmonic, 57; appeal, 57, 58; repertoire of, 58; farewell concert, 59, 60; 67, 226

Tovey, Donald, 383

Transcriptions: of Bach, 135, 205, 208; aesthetic philosophy of, 135, 208

Trumbull, John, 17

Tschaikowsky, Peter Ilich, 64, 65, 68, 77, 107, 121, 135, 136, 143, 149, 152, 160, 164, 188, 196, 262, 263; visit to America, 197; trend line, 197; premiere in U. S., 197; percentage in repertoire, 66, 67, 121, 136, 172, 188, 196, 197, 206; Symphony No. 4,, 197, 376; Symphony No. 197, 376; Symphony No. 6, 66, 77, 107, 152, 197, 376; Concerto for Piano No. 1, 197, 376; Concerto for Violin, 197, 376; Romeo and Juliet, 196, 197, 376; Francesca da Rimini, 197, 377•, Marc he Slave, 198; Nutcracker Suite, 198; Overture 1812, 198; Eugene One gin, 367

Vaughan Williams, Ralph, 68, 77, 231, 247, 269; percentage in repertoire, 188, 227; London Symphony, 231; Fantasia on a Theme by Thomas Tallis, 231, 377

Verbrugghen, Henri, 49; conductor Minneapolis Symphony, 141

Van der Stucken, Frank, 48; conductor Cincinnati Symphony, 115, 116; Americanism of, 120, 249

Vanhal, Jan, 210

Varesé, Edgar, 54, 135

Verdi, Giuseppe, 25, 68; percentage in repertoire, 206

Vienna Philharmonic, 23, 63, 331

Vienna Royal Opera Orchestra, 39

Vieuxtemps, Henri, 118; percentage in repertoire, 206

Villa-Lobos, Heitor, 160, 173, 265; Choros No. 8, 359

Vivaldi, Antonio, 68, 264

Vocal music, early prestige of, 26; persistence of, 26, 27, 28

Vogler, Georg Joseph, 7

Wagenaar, Bernard, 67, 274, 278; Symphony No. 2, 67

Wagner, Richard, 8, 26, 41, 44, 64, 65, 68; in Boston, 96, 97, 104, 121, 135, 143, 149, 152, 160, 190; anti-Wagner, 192; essentially symphonic composer, 191; first American performances, 192, 193; trend line, 193; romanticism of, 194; percentage in repertoire, 66, 67, 112, 136, 159, 172, 188, 193, 206; Die Μeistersinger, 152, 376; Parsifal, 154, 194, 377; Tannhăuser, 192, 194, 377; Flying Dutchman, 193, 377; Die Walkiire, 194; Siegfried Idyll, 195, 377; Tristan, 230, 356, 376; Faust Overture, 195; Centennial March, 195; Über das Dirigieren, 313

Wallenstein, Alfred, 49, conductor Los Angeles Philharmonic, 170, 173

Walter, Bruno, 24, 74, 77, 94, 141, 169, 199, 205

Walton, William, 233, 247, 264, 284; percentage in repertoire, 188, 206, 277; Fagade, 233; Portsmouth Point, 233; Belshazzar’s Feast, 233

Ward, R., percentage in repertoire, 277

Weber, Joseph N., 342

Weber, Karl Maria von, 7, 8, 26, 68, 214, 310; percentage in repertoire, 188, 206, 214; Der Freischiitz, 39, 214, 376; Conzertstuck, 214; Invitation to the Dance, 214; Ober on, 214, 376; Euryanthe, 214, 376

Webern, Anton von, 359; Symphonie, 359

Weinberger, Jaromir, 143, 284; Schwanda, 143

Weiner, Lazar, 208

Weingartner, Felix, 50, 107 Weltanschauung, 253

West, Benjamin, 17

Wetzler, Hans, 69, 278; percentage in repertoire, 277; Basque Venus, 69

Whiteman, Paul, 271, 272

Whithorne, Emerson, percentage in repertoire, 277; 278

Whiting, Thomas, 276

Wieniawski, Henri, 65, 118

Wilhelmj, August, 65

Willhartitz, Adolf, 165

Willis, Richard Storrs, 269

Women as orchestra members, 309, 310

Wood, Sir Henry, 25, 50, 208, 307, 309

World War I, 89, 100, 108, 154, 163, 186, 193, 194, 215, 243, 248, 260, 261

Youth Orchestra, 134

Ysaye, Eugene, 48; conductor Cincinnati Symphony, 118, 262

Zach, Max, 49; conductor St. Louis Symphony, 147

Zelter, Friederich, 204, 207

Zerrahn, Carl, 79

Zimbalist, Efrem, 94, percentage in repertoire, 277; 351