Оглавление
Gustav Kobbé. How to Appreciate Music
How to Appreciate Music
Table of Contents
The King of Instruments
Music Under One’s Fingers
Melody and Accompaniment on One Instrument
Music’s Debt to the Pianoforte
Its Lowly Origin
A Poet’s Advice to His Musical Daughter
The Clavichord
The Harpsichord
Piano and Forte
All Depends on the Player
Decorations That Do Not Beautify
II
BACH’S SERVICE TO MUSIC
Bach in Modern Music
Harmony and Counterpoint
What a Fugue Is
The Fugue and the Virtuoso
What Counterpoint Lacks
The Mission of the Player
Music as a Science
Science versus Feeling
That “Ear for Music.”
Bach and the Weather Bureau
The Bacon, Not the Shakespeare, of Music
What Wagner Learned from Bach
The Language of an Epoch
Bach in the Recital Hall
Rubinstein and the “Triple Concerto.”
“The Well-Tempered Clavichord.”
A King’s Tribute to Bach
III
FROM FUGUE TO SONATA
Three Periods of Musical Development
Rise of the Melodic School
Scarlatti’s Importance as Composer and Virtuoso
Rise of the Amateur
Changes in Musical Taste
Beethoven and the Epoch of the Sonata
Beethoven’s Slow Development
The Passing of the Sonata
Orchestral Instead of Pianistic
IV
DAWN OF THE ROMANTIC PERIOD
What a Sonata Is
How Beethoven Enlarged the Form
His “Moonlight Sonata.”
Striving for Freedom
The Beethoven Periods
Sonatas Now Old-fashioned
The First Romantic Composers
Schubert’s Pianoforte Music
Mendelssohn’s “Songs Without Words.”
V
CHOPIN, THE POET OF THE PIANOFORTE
Tempo Rubato
The Soul of the Pianoforte
A Clear Melodic Line
The Études
Vigor, Passion, and Impetus
The Préludes
Nocturnes
Chopin and Poe
Waltzes and Mazurkas
Liszt on the Mazurkas
Other Works
A Noble from Head to Foot
VI
SCHUMANN, THE “INTIMATE”
Poet, Bourgeois, and Philosopher
“Carnaval” and “Kreisleriana.”
Thoughts of His Clara
VII
LISZT, THE GIANT AMONG VIRTUOSOS
Kissed by Beethoven
Episode with Countess D’Agoult
The Don Juan Fantasie
Giant Strides in Virtuosity
Sonata, Concertos and Rhapsodies
How Liszt Played
VIII
WITH PADEREWSKI—A MODERN PIANIST ON TOUR
The “Piano Doctor.”
Pianofortes on Their Travels
“Thawing Out” a Pianoforte
HOW TO APPRECIATE AN ORCHESTRAL CONCERT
IX
DEVELOPMENT OF THE ORCHESTRA
Primitive Orchestral Efforts
Beethoven and the Modern Orchestra
How He Developed Orchestral Resources
Beethoven and Wagner
Berlioz, an Orchestral Juggler
Wagner, Greatest of Orchestral Composers
How Wagner Produces His Effects
X
INSTRUMENTS OF THE ORCHESTRA
The Prima Donna of the Orchestra
Viola, Violoncello and Double Bass
Dividing the String Band
A Passage in “Die Walküre.”
The Woodwind
The English Horn in “Tristan.”
Brass Instruments
Richard Strauss’s Tribute to the Horn
XI
CONCERNING SYMPHONIES
Esthetic Purpose of the Symphony
Seems to Hamper Modern Composers
The Naive Symphonists
Beethoven to the Fore
Schubert’s Genius
XII
RICHARD STRAUSS AND HIS MUSIC
Originator of the Tone Poem
Not a Juggler with the Orchestra
Not Mere Bulk and Noise
Life and Truth
Literally Tone Dramas
An Intellectual Force in Music
Tribute to Wagner
Richard Straussiana
XIII
A NOTE ON CHAMBER MUSIC
HOW TO APPRECIATE VOCAL MUSIC
XIV
SONGS AND SONG COMPOSERS
Too Poor to Buy Music Paper
How the “Erlking” was Composed
Finck on Schubert
Schumann’s Individuality
Phases of Franz’s Genius
Self-Critical
Brahms a Thinker in Music
Grieg’s Originality
Liszt’s Genius for Song
XV
ORATORIO
An Incongruous Art-Form
Primitive Efforts
Bach’s “Passion Music.”
Rockstro on Händel
Mendelssohn’s Oratorios
XVI
OPERA AND MUSIC-DRAMA
Reforms by Gluck
Comparative Popularity of Certain Operas
Wagner’s Music-Dramas
Wagner a Melodist
Leading Motives not Mere Labels
