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How to Appreciate Music

By Gustav Kobbé

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Table of Contents

HOW TO APPRECIATE MUSIC
CONTENTS
TABLE OF CONTENTS
LIST OF ILLUSTRATIONS
INTRODUCTION
HOW TO APPRECIATE A PIANOFORTE RECITAL
I
- THE PIANOFORTE
  - 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.
- 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.
- 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.
- 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.”
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Reforms by Gluck.
- Comparative Popularity of Certain Operas.
- Wagner’s Music-Dramas.
- Wagner a Melodist.
- Leading Motives not Mere Labels.

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