OSCAR BIE (continued 7)

It is noteworthy that in Schytte’s “Silhouettes,” or Variations on the same theme in the different styles of various Masters, he nowhere fails so badly as with Bach, who is marked by retardations in the middle voices, or with Beethoven, who is characterised by gloomy rhythm. The true path seems to have been lost. The line through Bach, Beethoven, Schumann, and Brahms, is the only safe line for the piano; and it is the line in music furthest removed from the opera. In those great natures, whether they knew it or not, was a strong repugnance to the opera; and Brahms, whose eulogists said he was the last of his race, will perhaps one day be viewed as the connecting link between the old and a new musical culture.

It is in chamber-music alone that we have the right to look for great triumphs in the immediate future; triumphs of which Klinger’s “Radierungen,” Brahms’s “Clarinet Quintet” or Smetana’s “Aus Meinem Leben,” are at once the anticipation and the guarantee.

It is for our children to see to it that the great traditions of the past are not forgotten; and that the building which it will fall to them to erect is not unworthy of its foundation.

Postscript

Prosniz’s “Handbuch der Klavier-litteratur,” which goes down to 1830, and the new edition of Weitzmann’s “History of Piano-playing and Piano-literature,” now in preparation, supply a complete apparatus of all the sources of information necessary to the student. Thus I have been able in this work, to the exclusion of all dryasdust references to authorities, to present the development of piano-literature from the point of view of culture and of human interest. For procuring the material which lies in the works themselves and contemporary writings, I am indebted to the labours of Dr Kopfermann, Director of The Royal Library of Music at Berlin. I am enabled to give the illustrations by the extreme kindness of Mr Otto Lessmann, the Baroness Wilhelm von Rothschild, Mr Nicolas Manskopf, Mr Edwin Bechstein, Mr de Wit, Madame Bülow, Madame Marie Fellinger, and others.

Errata

P. 43. The note on Agricola is a mistake. M. Agricola is of the early 16th century. Bach’s pupil was J. F. Agricola, for whom see p. 122, note.

P. 48. For “Tielman Sufato” read “Sufato Tielman.”

P. 63, line 2. For “brown” read “yellow.”

P. 63, line 2. For “dark grey” read “gris de Maure.”

P. 70, line 27. According to the latest investigations Scarlatti died in Naples in 1757; thus he must have returned from Spain to Italy. (Cf. “Gazette Musicale,” Napoli, 15th Sept. 1898.)

P. 114, line 19. For “Hezekiah’s” read “Gideon’s.”

Addendum

P. 16. Note. That one of the earliest indications of the 18th century suite is to be seen in the Elizabethan “Parthenia,” viz., in the association of Prelude, Pavan, Galliard.

Index of Names and Matters

Accompagnato—style, 95

Adam, L., 160, 186, 192

Agricola, M., 43 (see Erratum)

Alkan, 317

Ansorge, 301

Arcadelt, 8 note

Aria, 72

Arne, T. A., 38

Aston, 27

Attaignant, 42

Baake, 191

Bach, Friedemann, 138

Bach, John Christian, 94, 148, 159

Bach, John Sebastian, 91 ff.

Life, 93

His contrapuntal method, 94

Accompagnato, 95

Style of work, 96

Construction of his pieces, 96

Technique, 116

Clavier method, 118

Bach and the Hammer-clavier, 122

Original editions of, 102

Toccatas, 98

Symphonies and Inventions, 97

Fugues, 100

“Art of Fugue,” 103

Wohltemperiertes Klavier, 102, 112, 113, 116, 119

Chromatic Fantasia, 103

Other Fantasias, 109, 110

Partitas, 104

English Suites, 106

Overture in French Style, 120

Italian Concerto, 109

Preludes, 112

Programme-music, 114

Goldberg Variations, 117

Other mentions, 148, 163, 326

Bach, Philip Emanuel, 128 ff.

Life, 138

The “Versuch,” 139

“Manieren,” 140

Harmonies, 144

Melody, 144

Works, 143

Amalia-sonatas, 145

Barth, 306

“Bebung,” 20, 119

Bechstein, 310

Beethoven, 157 ff.

Reformer, 158

Tragedy in Music of, 169

Concertos, 170

Scherzi, 169

Forms, 171

Style of playing, 183

Sonatas in detail, 175 ff.

Bembo, Pietro, 77

Benedict, 191

Bennett, Sterndale, 268

Berger, Ludwig, 184, 191, 193

Berger, Wilhelm, 323

Bertini, 205

Besardus, 12

Bird, William, 27-31

Carman’s Whistle, 31

Bischoff, 307, 316

Blow, John, 38

Blüthner, 310

Böhner, 245

Bösendorfer, 310

Bononcini, 74

Borodin, 320

Borwick, 300

Brahms, 322

Brendel, Franz, 322

Breslaur, 304

Broadwood, 133, 169

Bülow, Hans von, 296

Bull, John, 32, 34, 36, 71 note

King’s Hunt, 35

Busoni, 301

Buxtehude, 92

Caccini, 75

Carissimi, 78

Carreño, Madame, 303

Cavalieri, 77

Cavalli, 75

Chabrier, 319

Chambonnières, 52

Chaminade, Cécile, 319

Chopin, 256 ff.

Etudes, 203, 263

Chopin and Hummel, 261

Life, 258

Works, 262

Playing, 257

Clavichord, the, 19, 20, 89, 91, 124

Clavicymbal, 23, 81

Clauss-Savardy, 293

Clementi, 190, 208

Group of his followers, 191, 193

Collard, 193

Compass of clavier, etc., 19-22, 24, 211

Concertos, 109, 151, 170, 319, etc.

Contests, musical, 91, 161, 163

Corelli, 78, 82

Counterpoint, 9, 79, 84, 85

Couperin, François, 53 ff.

Content of his pieces, 56

Forms, 55

L’art de toucher le clavécin, 63, 64

Couperin, Louise, 59

Couplet in Rondo, 55, 147 note

Cramer, 194, 210

Cristofori, 121, 122, 133

Cui, 320

Czerny, 190, 216

Da Capo, 84

D’Agoult, 276

D’Albert, Eugene, 307, 324

Dance

Old English, 18

First instrumental dances, 15, 42

French danseuses, 43 ff.

Oldest books of dances, 52

Old dance forms, 55

Allemand, etc.

Dandrieu, 49, 65

D’Anglebert, 40, 65

Dawson, 300

Diémer, 302, 309

D’Indy, Vincent, 319

Diruta, 24, 80

Döhler, 291, 293

Donizetti, 202

Dorn, H., 191

Dreyschock, 293

Dubois, 319

Dumont, 65

Dupont, 306

Durante, 89

Dussek, 159, 163 ff.

Duysen, 310

Eberl, 183, 190

Eckard, Joh., 48

Eckard (Paris), 160

Elizabeth, Queen, 3, 4

Elsner, 265

English Music, 6, 14, 16, 27-39, 38 note, 82 note

English relations to French music, 15, 41

Erard, 133

Ertmann, Baroness, 160

Essipoff, Madame, 293

Étude, 203 ff.

Fantasia, Old English, 16, 82 note, 101 note

Fantasia, Italian, 80

Fantasia, free, 145 F. senza tempo, 143

Farnaby, 37

Farrenc, 52

Fauré, 319

Field, 159, 193, 265

Fingering, in old times, 26, 81, 116

Fischer, 303

Fleischer, Oskar, 41

Fortbien, 133

Franck, C., 319

French Characteristic Pieces, 132, 148

Frescobaldi, 73, 79, 80, 92

Freund, 306

Friederici, 133

Friedheim, 301

Froberger, 92

Gabrieli, 15, 26, 79, 92

Gabrilowitsch, 301

Gade, 321

Galilei, Vincenzio, 77

Gallot, 51

Galuppi, 89

Gasparini, 70

Gaultier, 41, 50

Gelinek, 161, 183

General Bass (see Thorough Bass), 284

Germer, 307

Gibbons, 7, 16, 37

Glasounow, 320

Gorlier, 15

Graf Pianos, 182

Gravicymbel, 133

Greulich, 191

Grieg, 321

Guicciardi, Julia, 160

Hackebrett (dulcimer), 121

Handel, 74, 138

Hässler, 159

Hammer-klavier, 121, 312

Harpsichord, 22, 24, 78 note

Hartvigson, 300

Hasler, 92

Hasse, 14

Hausmann, 309

Haydn, 149, 159

Hebenstreit, 121, 122

Heller, Stephen, 318, 319

Henselt, 318

Herz, 201

Heymann, 301

Hiller, Ferdinand, 191, 317

Hofmann, Jos., 301

Hüllmandel, 192

Hummel, 190, 193, 211, 212 ff.

Hünten, 201

Hurdy-gurdy, 21

Ibach, 310

Improvisation, 161, 162 (Mozart), 198

In Bach’s time, 130

In 1800, 161, 198, 211

Irmler, 310

Isaac, 92

Italian Forms, 78-80

Chamber Music, 78

Jadin, 192

Jaell, 293

Janko, 308

Jannequin, 48, 49, 50, 61

Jedliczka, 306

Jensen, Adolf, 322

Joseffy, 306

Judenkunig, 11

Kalkbrenner, 190, 192, 198, 218

Kaps, 310

Karr, 201

“Kenner und Liebhaber,” 143

Keyboard, 24 note

Kienzl, 323, 324

Kirchner, 318

Kirnberger, 131

Kittl, 191

Kjerulf, 322

Klauwell, 304

Klavier (see Pianoforte), 18, 21, 23, 121

“Klavierlehrer,” paper, 305

Kleeberg, 293

Klengel, 193

Klindworth, 306

Knabe, 310

Koch, 315

Köhler, 189

Kontski, 190, 201

Kozeluch, 190, 210

Krebs, 145

Kuhnau, 92

“Quacksalver,” 129

“Biblical Stories,” 119

Kullak, Ad., 306

Kullak, Franz, 306

Kullak, Th., 191, 304, 306

Lacombe, 319

Lasso, Orlando, 26, 37

Le Begue, 65

Lebert, 306

Leschetizki, 308

Liadoff, 320

Lipawsky, 161

Liszt, 193, 264, 271, 287 ff.

Locatelli, 82

Loeilly, 65

Löschhorn, 191

Logier, 190

Louis Ferdinand, Prince, 164

Lully, 44

Lütschg, 301

Lute in Middle Ages, 11, 77

Madrigal, 8, 15, 37 note

Marcello, 76

Marchand, 91

Marius, 122

Marpurg, 130

M’Dowell, 322

Mela, Domenico des, 314

Mendelssohn, 152, 198, 249 ff., 250 note

Menter, Sophie, 293

Merulo, 79 and note

Meyerbeer, 194

Monochord, 19, 42 note, 77

Monteverde, 79

Moore, Graham, 322

Morley, Thomas, 37

Mortier de Fontaine, 293

Moscheles 152, 196, 198, 221

Moskowski, 306, 325 f.

Mozart, 151

Mozart and the piano, 135

Clavier concerts, 151

Sonatas, 153 ff.

Miscellaneous, 161

Müller, A. E., 190

Mulliner Book, 27

Munday, John, 36, 93

Mussorgsky, 320

Naprawnik, 320

Neitzel, 316

Octave, “short”, 24 note

Opera, Italian, 13, 74 ff.

Operatic Fantasias, 200

Organ, in Middle Ages, 10 ff.

Ornamentations, 12, 20, 34, 41, 57 and note, 83 and note

In Bull and Byrd, 29

Couperin, 57

Bach, 108

P. E. Bach, 140 ff.

End of 18th cent., 150

Oury, Madame, 191

Pachelbel, 92

Pachmann, 301

Paderewski, 301, 324

Paganini, 207, 282

Pape, 133

Paradies, 89

“Parthenia” (also see Addendum, p. 328), 16

Pasquini, 70, 81

Pauer, Ernst, 191

Paul, Oskar, 18

Pedal, 136, 188, (156, picture)

With Dussek, 164

Adam, 186

Hummel, 186

Pedal Clavier, 120

Penna, Lorenzo, 24

Peri, 75, 79

Periodicals, musical, 131

Phillipps, Peter, 37 and note

Pianoforte

Modern factories, 309 ff.

History of the instrument, 121, 122, 136

Viennese and English mechanism, 134, 136, 190

Socially, 134, 303

As furniture, 313 f.

Pianos de luxe, 315

Piano and Opera, 201, 326

Piano and Orchestra, 150, 199

Prices of pianos, 135, 137, 316

Piano instruction, 190, 304

Conservatoriums, 305

Hammerclavier, invention of, 121

“Cottage” Piano, 314 (156, 312, 313, pictures)

Pièce Croisée, 58, 61

Pixis, 187, 191

Plaidy, 189, 306

Planté, 301

Pleyel, 133, 159

Pleyel, Madame, 191

Pollini, 191

Porpora, 89

Pradher, 192

Programme-Music, old, 49, 92, 93, 132

Proksch, 191

Prosniz, 28, 328

Purcell, 82 note

Raff, 323

Raif, 306

Rameau, 65, 66, 86, 92

Reading, the Monk of, 15

Rebel, 45

Registers or “stops” of Clavier, 23

Reincke, 92

Reisenauer, 301

Repetition, principle of, 72

Rheinberger, 323

Richardson, Ferdinand, 37

Riemann, 307

Ries, 191

Rimsky-Korsakoff, 320

Risler, 190, 301

Romantic School, 224

Rondo, Old French, 147 note

In Philip Emm. Bach, 147

In Beethoven, 174

Rondo and Sonata, 145

Rosellen, 201

Rosenhain, 293

Rosenthal, 301

Rossi, Michael Angelo, 82

Rubinstein, Anton, 294 ff.

Rubinstein, Nicolas, 300

Ruckers, 23, 137, 314

Rudolf, Archduke, 191

Rudorff, 306

Rust, F. W., 163

Saint-Saëns, 319

Sand, George, 260

Sauer, 301

Scarlatti, Alessandro, 76, 88

Scarlatti, Domenico, 69 ff.

Sonatas, 86

Technique, 88, 89

Cat’s Fugue, 89

Scharwenka, Xaver and Philip, 306, 324

Schiedmayer, 310

Schmitt, Aloys, 191, 192

Schobert, 160

Scholz, Bernhard, 306

Schröter, 122

Schubert, 225

Miscellaneous, 226

“Wanderer” Fantasia, 226

Op. 78, 227

Impromptus and “Moments,” 228, 229

Schulhoff, 191

Schumann, 231

Schumann and Schubert, 229 ff.

Jean Paul, 232

Bach, 243

E. T. A. Hoffmann, 245

Life, 236

Clara, 236, 237

“Zeitschrift,” 238

Works, 231 ff., 238 ff.

Miscellaneous, 249

Schwarz, Max, 306

Schytte, 322, 326

Senfl, 92

Shakespeare and Music, 5, 6, 7

Silbermann, 122, 134, 137

Siloti, 301

Sinding, 322

Sonata

Sonata “da camera” and “da chiesa,” 78 note, 84

Old Italian, 86

Scarlatti, 86 and note

Kuhnau, 92

Sonata and Suite, 107

18th century, 110

Sonata and Rondo, 145

Philip Emm. Bach, 143 ff.

Haydn, 150

Mozart, 153

Beethoven, 170 ff.

Spath, 135

Spinet, 6, 24, 90

Spitta, 102, 116

Starck, 306

Stavenhagen, 301

Steibelt, 162

Stein, 137

Steinway, 310

Stenhammer, 322

Sterkel, 210

Strauss, Richard, 323

Streicher, 134

Streicher, Nanette, 160

Sucher, 303

Suite, (see Dance) 106, etc., and see Addendum

Suspensions in Couperin, 57

Sweelinck, virginal pieces, 26, 37

Swietens, Van, 163

Szalit, Paula, 301

Tadema, Alma, 315

Tallis, 27, 32

Taubert, 191

Tausig, 300, 306

Technique, (see under), 187-190, 209

Couperin, 64

Ph. Emm. Bach, 143

Fingering, 116

Keyboard, etc., 24, 26

Tedesco, 191

Temperament, equal and unequal, 101 note, 102

Thalberg, 197

Thilo, 307

Thoroughbass, 78, 79

Thumb, technique of, 139 ff.

Tielmann, Sufato, 48

Tinctoris, 14

Tischer, 128

Titles of drawing-room pieces, 59, 200

Titles (allegorical, etc.) of old pieces, 42, 51, 59 ff.

Tomaschek, 191

Tschaïkowski, 319

Türk, D. G., 185

Turini, the elder, 86

Turini, the younger, 89

Variations, Old English, 33, etc.

Venetian instrumental music, 13, 26

Viadana, 78

Viennese musical life, 160

Villoing, 190 (line 8; omitted)

Vinci, L., 76

Virdung, 20

Virgil, 307

Virginal, 6, 18, 81

Virginal Books, 15, 16, 27, 28

Virtuoso and Teacher, 64, 192, 305

Life of, 193.

Virtuosos playing together, 198

Virtuosos and Concerts, 299

Vivaldi, 82

Volkmann, 318

Volkslied in Masses and Motets, 8

Vollweiler, 191

Wagner (instruments), 137

Wallace, 299

Wanhal-Vanhall, 190

Weber, Dionysius, 191

Weber, C. M., 206, 218

Weitzmann, 28, 328

Wendling, 309

Westermayer, 310

Widor, 319

Willaert, 79

Wilmers, 191

Wölffl, 161, 183, 190

Wolfsohn, 300

Wüllner, 306

Zimmermann, 317

Zumpe, 133

List of Full-page Engravings

PAGE

Title-page. Portrait of Franz Liszt. Pastel by F. von Lenbach, of the year 1881, in the possession of Madame Cosima Wagner in Bayreuth Frontispiece

Young scholar and his wife. Painting by Gonzales (1614-1684), in the Royal Gallery at Cassel 8

Lady at the clavier. Painting by Dirk Hals, ✝ 1656, in the Rijksmuseum at Amsterdam 14

Le Maître de Musique, painting by Jan Steen, 1626-1679, in the National Gallery, London 44

Concert. Painting by Gerard Terborch, 1617-1681, in the Royal Museum at Berlin 56

J. Ph. Rameau. Engraving by J. G. Sturm (Nürnberg, 1742-1793) 62

A clavier lesson. Painting by an unknown Dutch Master, 17th century, in the Royal Gallery at Dresden 78

Domenico Scarlatti. Lithograph by Anon 86

J. S. Bach. Bust by Carl Seffner. Modelled on the actual skull. After His, J. S. Bach (Vogel, Leipsic) 100

Facsimile of title-page of Bach’s Manuscript of the Wohltemperiertes Klavier, in the Royal Musikbibliothek, Berlin 110

George Frederick Handel, engraved by Thomson 136

Joseph Haydn, engraved by Quenedey 148

W. A. Mozart, engraved in 1793 by C. Kohl (1754-1807) 150

Mozart at the age of seven with his father and sister. Engraved 1764, by J. B. Delafosse (b. 1721) after L. C. de Carmontelle (✝ about 1790) 154

L. van Beethoven. Lithograph by C. Fischer, after the original portrait of 1817, by A. Kloeber (1793-1864) 168

J. N. Hummel. Engraved by Fr. Wrenk (1766-1830), after the portrait by Catherine von Escherich (beginning of 19th century) 210

Franz Schubert. Lithograph of 1846, by J. Kriehuber (1801-1876) 228

Robert Schumann. Engraving by M. Lämmel 236

Chopin. Anonymous Lithograph, after portrait by Ary Scheffer (1795-1858) 256

Thalberg. Lithograph of 1835 by Staub 276

Liszt at Weimar, 1884, from a Photograph 290

Eugene d’Albert, portrait by H. Katsch 298

Johannes Brahms. Photograph from life by Marie Fellinger, Vienna 322

List of other Illustrations and Facsimiles

PAGE

Guido of Arezzo and his protector, Bishop Theodal, playing on a Monochord 1

Orlando Gibbons. After Grignon’s engraving in Hawkins 7

Title-page of the first English engraved Clavier Music, 1611 17

From the Weimar “Wunderbuch,” a Clavichord of about 1440 20

From the Weimar “Wunderbuch,” Primitive Spinet, of about 1440 21

A Concerted Performance 25

Page from “Parthenia,” the first English engraved Clavier Music, 1611 29

John Bull, at the age of 26 33

Henry Purcell, 1658-1695 36

The so-called “Hand” of Guido of Arezzo 38

D’Anglebert, Chamber Musician to Louis XIV., after Mignard 40

François Couperin, “Le Grand” 54

Portrait of Louis Marchand 66

Rameau, out walking 67

Old engraving after Wagniger’s design 68

Adrian Willaert, of Venice 72

Frescobaldi 73

Virginal in shape of a work-box 81

The same opened 81

The instrument taken out 81

Italian cembalo, from a monastery, of the 18th century 83

Old engraving representing Scarlatti playing a Harpsichord with two rows of keys 85

An Octave Spinet 90

German Clavichord, 17th century, “gebunden” 91

Konrad Pau(l)mann, the first German writer for keyed instruments 95

Skull of Sebastian Bach 98

The Fifteenth Sinfonia of John Sebastian Bach, from the Royal Musikbibliothek, Berlin 105

John Mattheson, at the age of 37 115

Pedal-clavichord 120

“Bundfrei” Clavichord 124

Philip Emanuel Bach 126

F. W. Marpurg, Theoretician and Clavier Teacher. 1718-1795 130

Streicher’s Pianoforte and Concert Saloon 135

Mary Coswey with the Orphica 146

Beginning of Mozart’s A minor Sonata 153

Upright Hammer-clavier, called the “Giraffe” 156

Beethoven at the age of 31 157

Dussek (portrait) 165

Cast of Beethoven’s living face, 1812 167

Specimen from Beethoven’s A flat major Sonata, Op. 26 173

Lyser’s Sketch of Beethoven 176

Beethoven’s last Grand Piano, by Graf, Vienna 182

Viennese pianoforte players about 1800. Eberl, Gelinek, Wölffl 183

The Brothers Pixis. 1800 187

Ludwig Berger. Pupil of Clementi 191

John Field, 1782-1837. Steel engraving by C. Mayer 193

Marcelline Czartoryska, née Princess Radziwill 194

Prince Louis Ferdinand 195

Marie Charlotte Antoine Josephe, Countess of Questenberg 197

Clementi (portrait) 208

Hummel in his later years 213

A Canonic Impromptu, by J. N. Hummel 215

Czerny. Lithograph by Kriehuber, 1833 217

Carl Maria von Weber. Lithograph by Eichens, after Vogel, 1825 219

Moscheles in his youth 220

Moscheles, later, 1859 221

Parisian and London Pianists at the beginning of the 19th century. L. Adam, Kalkbrenner, Cramer 223

Waltz by Schubert 224

Clara Schumann, née Wieck 239

Louis Böhner, the original of Hoffmann’s Kreisler 246

The last piece in Schumann’s “Kreisleriana,” main movement 247

Head of Mendelssohn, after Hildebrand 251

George Sand, in man’s dress 259

Chopin’s Hand. From a marble in the National Museum at Budapest 270

An afternoon with Liszt. Kriehuber, Berlioz, Czerny, Liszt, the violinist Ernst 271

Photograph of Liszt, taken in Budapest 271

Title-page of Hofmeister’s Edition of Liszt’s Op. 1. 273

Liszt in his youth 275

After Dantan’s Caricature of Thalberg 276

After Dantan’s Caricature of Liszt 277

Facsimile of Liszt’s Hungarian Storm-March 279

The “jeune école” of Parisian Pianists 280

Liszt in his youth 281

Cartoon representing Liszt and his Works. 1842 283

“General” Bass surprised and overcome in his fortress by Liszt 284

Liszt and Stavenhagen 285

Plaster Cast of Liszt’s Hand 287

Liszt lying in state 288

Music-room in the “Altenburg” at Weimar 289

Döhler. Lithograph by Mittag 291

Sophie Menter in her youth 292

Clotilde Kleeberg, 1888 292

Madame de Belleville 293

Carl Filtsch 293

Rubinstein at twelve 294

Hans von Bülow 295

Last Portrait of Rubinstein 296

Bülow on his deathbed 297

Reinecke in his youth 298

Carl Tausig 299

Paula Szalit 300

Eduard Risler 301

Josef Hofmann 302

Madame Carreño 303

Ferruscio B. Busoni 305

Hand of Eugene d’Albert 307

J. G. Paderewski 311

Upright Hammerclavier 312

Bechstein Cottage piano 313

Bechstein Grand Piano de luxe 315

Joachim Raff 317

Stephen Heller 318

Ferdinand Hiller 318

Adolf Henselt 318

Tschaïkowski 319

Richard Strauss 320

Philip Scharwenka 321

Dr Wilhelm Kienzl 323

Maurice Moskowski 325

TURNBULL AND SPEARS, PRINTERS, EDINBURGH.

Transcriber’s Note:

This book was written in a period when many words and names had not become standardized in their spelling. Words may have multiple spelling variations or inconsistent use of diacriticals and hyphenation in the text. These have been left unchanged. Dialect, obsolete and alternative spellings were left unchanged.

Obvious printing errors, such as letters in the wrong order, backwards, upside down, missing or partially printed, were corrected. Unprinted punctuation and final stops missing at the end of abbreviations and sentences were added.

Footnotes were numbered in order and moved to the end of the chapter in which the related anchors occur. Footnote [4] has two anchors.

Changes:

Phantasie to Fantasie

obligato to obbligato