me within the scheme of this volume. During
the past two centuries it has been variously applied to songs, like those
of the early Italian school; to ballads, like those of the early English
composers; to concert arias, like those of Mozart, Beethoven, and
Mendelssohn; to short operettas, dramatic scenas, cycles of ballads, and
even to oratorios, whose subjects are more or less dramatic. It is
believed, however, that the most important of the modern cantatas are
included in the volume, and with them will be found several works, such
as the "Damnation of Faust" and the "Romeo and Juliet" vocal symphony and
others, which, though not in the strict cantata form, are nevertheless
compositions belonging to the concert-stage for voices and orchestra,
performed without scenery, costumes, or stage accessories.

The author has paid particular attention to cantatas by American
composers, and has selected for description and analysis those which in
his estimation rank the highest in musical merit. It would be manifestly
impossible to include in a volume of the present size all the
compositions by Americans which have been called cantatas, for their
number is well-nigh "legion." Those have been selected which are
creditable to American musical scholarship and are making a name for
American music. It is possible some have been omitted which fulfil these
conditions; if so, it is only because they have not come within the
author's observation. The Appendix has been a work of great care, labor,
and research, and wherever it was practicable the date of each cantata
was verified.

Like its two predecessors, the "Standard Cantatas" has been prepared for
the general public, which has not the time or opportunity to investigate
such matters, rather than for musicians, who are presumed to be familiar
with them. On this account the text is made as untechnical as possible,
and description takes the place of criticism. The work is intended to
answer the purpose of a handbook and guide which shall acquaint the
reader with the principal facts and accomplishments in this very
interesting form of composition. The favor so generously accorded to the
"Standard Operas" and "Standard Oratorios" leads the author to hope that
this volume will also be welcome to music-lovers, and will find a place
by the side of its companions in their libraries.

G. P. U.

Chicago, September, 1887.