ies of celestial Jerusalem. Religious dramas of Roswitha.
Laura Guidiccioni's first oratorio text. Music by Cavalieri. At
Santa Maria della Vallicella. Orchestra behind the scene.
Description. Carissimi, "father of oratorio and cantata."
Alessandro Scarlatti. Another Alessandro. Dr. Parry's opinion. "San
Giovanni Battista" and famous air. Tradition about Stradella. What
recent writers say. Handel and the "Messiah." Bach and the "Passion
Music." "The Creation" and Haydn. Beethoven's "Mount of Olives."
Mendelssohn, in "St. Paul" and "Elijah." Oratorios of Liszt and
Gounod. Next step in the evolution.

Symphony and Symphonic Poem 247

That adventurous spirit, Monteverde. Charm in exploring resources of
instrumentation. Operatic overture. Forge of genius. Dance of
obscure origin. Craving for individual expression. Touch of
authority by Corelli. Cardinal Ottoboni's palace. Symphony, a sonata
for orchestra. Purcell, Scarlatti, Sammartini and the Bachs.
Monophonic style. Contrasting movements. German critic on early
sonata. Further explanation. Meaning of symphony. Haydn with
Esterhazy orchestra. Father of the symphony. Mozart. Beethoven.
Schubert. Schumann. Mendelssohn. Berlioz, the musical heretic. His
"fixed idea" and programme music. Liszt and symphonic poem.
Saint-Saens. Tschaikowsky and Russian spirit. Sinding. Grieg. Gade.
Brahms and absolute music.

Preface

We cannot gain experience by being brought into contact with the
experiences of others, nor can we know music by reading about it. Only
by taking it into our hearts and homes, by admitting it to our intimate
companionship, can we approach a knowledge of the art that has enriched
so many lives, even though it has never yet completely fulfilled its
function. At the same time, every music lover is helped to new ideas,
inspired to fresh efforts, by suggestions and statements from those who
have themselves had deep experiences in their search for the inner
sanctuary of the Temple of Art.

Musicians have been too much inclined to treat their art as something to
be exclusively appropriated by a favored class of men and women, and are
themselves greatly to blame for its mistaken isolation. True, music has
its privileged class. To this belongs the mind of creative genius that
can formulate in tones the universal passions, the eternal ve