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Caruso's Mustache Off
and Other Writings
about Music and Musicians

By Carl Van Vechten

Selected, edited and with a Preface by Bruce Kellner

Before Carl Van Vechten's later careers--as the first dance critic in America, as a best-selling novelist during the Jazz Age of the Twenties, as the leading white champion of African American arts and letters, and as a celebrity photographer--he was Assistant Music Critic for the New York Times (1906-13). Subsequently, he wrote seven volumes of lively and often audacious essays on musical subjects. 

He was first to offer serious assessments of the music of Igor Stravinsky, Erik Satie, George Gershwin, and the operas of Richard Stauss. He wrote the earliest study in America of the music of Spain. He was first to advocate musical scores for movies. He contended that ragtime and jazz were the only uniquely American music, at a time when they were dismissed or ignored by other critics. 

This collection gathers a broad sampling of Carl Van Vechten's work long out of print and heretofore uncollected, including Red, his own revisions of his writings about music that he wished to preserve. They have been edited with an introduction by Bruce Kellner, Successor Trustee for the Estate of Carl Van Vechten.


From the preface by Bruce Kellner
(Successor Trustee; Estate of Carl Van Vechten)

Carl Van Vechten’s (1880–1964) career included some perspicacious criticism at a time when somnolent audiences in America were paying little attention to the twentieth century and laboring to hang on to the nineteenth. Van Vechten’s early training in musical theory and as a pianist—he performed in public recitals on more than one occasion while he was attending the University of Chicago at the turn of the twentieth century—proved valuable. Also at that time, he became smitten with ragtime and early jazz through Chicago’s black stage shows and saloons...

During that early period in his career—in addition to his regular reviews of musical performances around the city—Van Vechten began holding extensive “Monday Interviews” with musicians and opera singers, a series of richly informative question and answer sessions, masquerading as genial conversations. The reigning divas and primo dons at that time were the popular equivalent of current rock and rap performers on stage, or fi lm and television stars with large followings of celebrity hunters who cling with equal vigor to accounts of private lives and public appearances. Later, these interviews served Van Vechten well for a book of biographical portraits of musicians, Interpreters and Interpretations (1917, revised as Interpreters, 1920, reprinted 1977).
He was on the staff of the New York Times for nearly seven years, including the 1908-1909 season during which he served as Paris correspondent. He resigned in 1913 to become drama critic for the New York Press. After that paper folded a year later, he served as editor of two literary journals, Trend and Rogue, and then began publishing annual volumes of musical criticism in the form of personal essays that were always luminously well-informed because of what he had nurtured into an encyclopedic musical background, historically solid, laced with ample anecdote, and even fun to read: Music After the Great War (1915), Music and Bad Manners (1916), Interpreters and Interpretations (1917), The Music of Spain (1918), The Merry-Go-Round (1918), and In the Garret (1919). Then, after producing a mammoth book about cats, The Tiger in the House (1920, never since out of print), he turned to fiction, publishing seven novels in hasty sequence: Peter Whiffle: His Life and Works (1922), The Blind Bow-Boy (1923), and Nigger Heaven (1926) were bestsellers, the latter informed by his long-standing fascination with African American music and theater. The Tattooed Countess (1924), Firecrackers (1925), Spider Boy (1928), and Parties (1930) all sold well. On the strength of their success, Van Vechten revised a number of essays from his earlier books for Red, devoted to musical subjects (1925), and Excavations, devoted to literary and biographical subjects (1926)...

His pioneering essays about African American blues, jazz, and spirituals from the mid-Twenties, written at a time when white auditors still paid little if any attention to black music, are astonishingly perceptive, having had their genesis at the turn of the century for Van Vechten when he fi rst began to champion black performers and music in Chicago and New York in his early newspaper work. These too, have provided ample material for a posthumous collection, which I edited as “Keep A-Inchin’ Along”: Selected Writings about Black Arts and Letters (1979).

ISBN: 9781595690708

Language: English

Subject/Keywords: Nonfiction, Music, History, American, United States, Musicians, Singers, Opera, Concert, Orchestra

Pages: 366

Book Type: 5.5 x 8.5 in, Perfect Bound

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Table of Contents:

Preface (Bruce Kellner)

I Selected early newspaper writings

Caruso’s Mustache Off 3
(New York Times, 8 December 1906)

Baby Checked at Opera 4
(New York Times, circa February 1907)

The New Music Cult in France 5
(New York Times, 16 May 1909)

Sergei Rachmaninoff 10
(New York Times, 21 November 1909 and 8 January 1910)

The Girl of the Golden West by Giacomo Puccini and David Belasco 13
(New York Times, 18 November and 5 December 1910)


II Essays heretofore uncollected

Music After the Great War 21
(Music After the Great War, 1915)

Music for Museums 33
(Music After the Great War, 1915)

Music and Bad Manners 41
(Music and Bad Manners, 1916)

A New Principle in Music 58
(Music and Bad Manners, 1916)

Music and Supermusic 63
(The Merry-Go-Round, 1918)

Music and Cooking 70
(The Merry-Go-Round, 1918)


III Composers

Igor Strawinsky: A New Composer 87
(Music After the Great War, 1915)

Léo Delibes 104
(Musical Quarterly, October 1922)

Sir Arthur Sullivan 111
(In the Garret, 1919)

Erik Satie 125
(Interpreters and Interpretations, 1917)

Isaac Albéniz 138
(In the Garret, 1919)

George Gershwin 158
(Vanity Fair, March 1925)


IV Interpreters

Story of my Operatic Career 167
(ghostwritten for Luisa Tetrazzini, Cosmopolitan, June 1908)

Olive Fremstad 173
(Interpreters, 1920)

Feodor Chaliapin 188
(Interpreters, 1920)

Mary Garden 198
(Interpreters, 1920)

Enrico Caruso 218
(Die Zeit, from the Yiddish translation by Nathan Belkin, 7 August 1921)

Marguerite d’Alvarez 227

(Musical Courier, 22 April 1920; The Reviewer, 1922;
Saturday Review, 26 February 1955)

Fritzi Scheff 232
(Saturday Review, 29 May 1954)


V Essays from Red

Why Music Is Unpopular 239
(Interpreters and Interpretations, 1917)

The Great American Composer 247
(Interpreters and Interpretations, 1917)

Music for the Movies 259
(Music and Bad Manners, 1916)

Importance of Electrical Picture Concerts 266
(Interpreters and Interpretations, 1917)

Music for Program Notes 272
(The Wave, February 1922)

The New Art of the Singer 281
(The Merry-Go-Round, 1918)

On the Relative Difficulties of Depicting Heaven and Hell in Music 295
(In the Garret,1919)

On the Rewriting of Masterpieces 307
(In the Garret, 1919)

On Hearing What You Want When You Want It 324
(Musical Quarterly, October 1921)

Cordite for Concerts 331
(The Smart Set, October 1921)

From A Valedictory, pp. ix-xv, xvii 338

Index

Carl Van Vechten was a notorious name-dropper and title-dropper; only those of substantive consideration in these essays, however, are indexed. A single reference to Hans Pfitzner – “Hans Pfitzner is another name on which we need not linger,” for instance—hardly justifies space in an index. Nor do the titles of operas and orchestral compositions referred to only in passing. — BK

“After the Ball” (“At the Ball”) – 158, 248, 249
Albéniz, Isaac – IV, 138-171, 271, 356,
Aldrich, Richard – I, II, 158,
“Alexander’s Ragtime Band” (Berlin) – 32, 172, 247, 253, 262
Amato, Pasquale – 14, 15, 16, 17, 237
Anfossi, Pasquale – 81
Aphrodite (Erlanger) – 199, 205, 206. 208
Apthorp, W.F. – 80, 284, 303
Ariane et Barbe-Bleue (Dukas) – 26, 27, 252, 276, 307, 328
Armide (Gluck) – 14, 34, 68, 174, 176, 190, 195, 182, 183, 184, 187, 221, 330
Arnould, Sophie – 283
Arnoulx, Fiar (Cathedral of Riez) – 298

Bach, Johann Sebastian – 8, 21, 33, 34, 35, 36, 38, 39, 64, 66, 71, 111, 140, 161, 227, 245, 269
Balakierev (Balakierew, Balakiereff), Miley – 90, 101, 278
Balfe, Michael – 65, 79, 112, 117, 327
Beethoven, Ludwig von – 5, 8, 21, 22, 33, 35, 36, 38, 39, 41, 55, 63, 64, 65, 66, 68, 70, 71, 81, 82, 96, 102, 112, 138, 140, 158, 161, 239, 241, 243, 245, 249, 250, 254, 260, 261, 262, 266, 267, 268, 269, 270, 276, 277, 278, 284, 302, 309, 311, 324, 326, 336, 339
Bégué, Bernard – 74
Belasco, David – B, 13, 15, 16, 222, 223, 322
Belincioni, Gemma – 185
Bellini, Vincenzo – 23, 63, 64, 111, 207, 283, 285
Berlin, Irving – IV, 28, 36, 64, 159, 247, 253, 254, 256, 323,
Berlioz, Hector – 9, 34, 35, 43, 44, 65, 117, 215, 241, 278, 287, 303, 318, 319, 325, 326, 328, 330
Birth of a Nation, The (film); see: Fall of a Nation, The
Blackburn, Vernon – 244
Bonci, Alessandro – 45, 286
Bonvecchiati’s (restaurant) – 74
Boris Godunov (Godunoff) (Mussorgsky) – 29, 30, 71, 87, 88, 92, 93, 103, 192, 196, 226, 314, 315, 316, 317, 322, 325
Borodine, Alexander – 87, 88, 101, 102, 192, 271
Brahms, Johannes – 5, 8, 21, 36, 39, 51, 64, 140, 161, 243, 266, 268, 277, 290, 314, 315, 334, 335, 339
Brenon, Algernon St. John – see St. John-Brenon, Algernon
Bruckner, Anton – 25
Bülow, Hans Guido Von – 23, 51, 144

Calvé, Emma – 175, 199, 216, 289
Calvocoressi, Michel D. – 90, 91, 92, 97, 315, 317
Campanari, Leandro – 45, 52, 77, 233
Campanini, Cleofonte – 168
Campanini, Italo – 221
Carreño, Teresa – 72
Caruso, Enrico – B, C, III, IV, V, 3, 6, 14, 15, 16, 17, 47, 170, 184, 218-226
Catalani, Angelica – 27, 281
Cézanne, Paul – 21
Chadwick, George W. – 247, 254, 271
Chaplin, Charlie – 260, 268, 272
Charpentier, Marc – 26, 27, 145, 200, 202, 203
Chausson, Ernest – 26, 60, 145
Children’s Corner (Debussy) – 8, 33
Chopin, Frederick – 36, 41, 48, 63, 65, 128, 135, 138, 140, 149, 152, 161, 292, 309, 325, 334, 339
Chorley, H. Fothergill – 42, 81, 187, 284
Confrey, Zez – 267, 341
Conried, Heinrich – 77, 175, 188, 189, 319
Coppélia (Delibes) – 104, 107, 108, 110, 326
Cox, J.E. – 83, 114
Crowest, Frederick – 78
Cui, César – 110, 115

D’Alvarez, Marguerite – C, IV, 227-231, 333, 336
D’Indy, Vincent – 9, 27, 131, 140, 145, 246, 267, 271, 324
Damrosch, Walter – 74, 266, 270, 327
Debussy, Claude – 5, 6, 7, 8, 9, 21, 22, 26, 28, 33, 39, 52, 58, 59, 67, 68, 87, 92, 102, 107, 112, 126, 127, 128, 134, 140, 145, 158, 206, 207, 208, 227, 228, 230, 245, 248, 255, 271, 273, 278, 305, 324, 325, 330, 331, 336, 339
Delibes, Léo – C, IV, 104-110, 177, 232
Delna, Marie – 46, 313
Derain, André – 21
Destinn, Emmy – 14, 15, 17, 73, 223, 293
Diaghilev (Diaghilew, Diaghileff), Serge – II, 60, 61, 87, 97, 192, 321
Die Walküre (Wagner) – 53, 92, 232, 234, 244, 25, 295, 320
Dillingham,Charles – 247
Don Giovanni (Mozart) – 83, 184, 188, 232
Donaldson, Walter – 253
Donizetti, Gaetaneo – 23, 111, 118, 124, 283, 285
Ducasse, Roger – 26
Duchamp, Marcel – 21
Dukas, Paul – 26, 87, 128, 252, 271, 272, 276, 277, 287, 328
Dussek, Franz – 82, 141

Eames, Emma – 46, 199, 216
Ein Heldenleben (Strauss) – 22, 54, 272, 276, 279, 336
Elektra (Strauss) – III, 22, 24, 252, 293, 296
Elgar, Sir Edward – 28, 112, 244, 252, 270, 272, 337
Emerson, Ralph Waldo – 243, 258
“Everybody’s Doing It” (Berlin) – 159, 249, 256

Fall of a Nation, The (film), ie. Birth of a Nation, The – 264
Fanelli, Ernest – 26
Farrar, Geraldine – 47, 175, 177, 198, 216, 222, 264, 273, 323, 338
Faust (various composeers) – 168, 188, 189, 191, 192, 199, 213, 214, 221, 225, 269, 300, 302, 303, 304, 305, 306, 313, 318
Février, Henri Louis – 27
Finck, H. T. – 63, 64, 67, 68, 72, 244, 279, 282, 284
Fitzgerald, Percy – 113
Foote, Arthur – 247
Foster, Stephen Collins – 248
Fox, John Jr. – 234
Franck, César – 22, 71, 107, 125, 145, 242, 271, 278, 304, 305, 324
Franz, Robert – 63, 65, 254, 281, 291
Fremstad, Olive – C, IV, 74, 173-187, 193, 198, 199, 290
Froehlich, Bianca – 185

Galli-Curci, Amelita – 286, 287, 293, 333
Gatti-Casazza, Giulio – 13, 183, 184, 328
Gauthier, Eva – 159, 160, 253, 273, 341
Gay, Maria – 45, 175
Gershwin, George – C, IV, 158-164, 231, 253, 256, 341
Gilbert, Henry F. – 255
Gilbert, W. S. – 112, 114, 115, 119, 154, 289
Gilman, Lawrence – 244
Girl of the Golden West, The (Puccini) – B, 13-17, 27, 222, 223
Gleizes, Albert – 21, 49
Glinka, Michail – 88
Gluck, Christoph – 14, 35, 66, 67, 81, 111, 184, 213, 221, 227, 270, 290, 297, 298, 313, 320, 325, 331
Golden Cockerel, The (Rimsky-Korsakoff) – 321, 322
Goldmark, Karl – 23
Gondoliers, The (Gilbert and Sullivan) – 115, 18, 119, 124
Götterdämmerung (Wagner) – 173, 174, 179, 270, 278, 314
Grainger, Percy – 28, 67, 245, 256, 273, 274
Granados, Enrique – 28, 155
Grau, Maurice – 77
Grisi, Giuditta – 79
Grove, Sir George – 82, 101, 113, 139, 141
Guilbert, Yvette – 128

H. M. S. Pinafore (Gilbert and Sullivan) – 115, 117, 118, 119, 120, 121, 122, 123
Hadley, Henry – 29, 247, 254, 271, 302
Hale, Philip – 68, 132, 216, 243, 265, 300, 324
Hammerstein, Oscar – 4, 171, 213, 308, 309
Handbuch der Harmonielehre (Schoenberg) – 25
Handel, George Frideric – 64, 82, 83, 111, 112, 113, 239, 282, 283, 286, 288, 325
Hanslick, Eduard – 115, 116, 117, 286
“Hello, Frisco” – 62, 247
“Hello, Ma Baby” – 248
Henderson, J. T. – 68, 193, 279, 294
Herbert, Victor – 73, 212, 233, 264, 273
Hertz, Alfred – 40, 73, 89
Heyner, Herbert – 197
Hill, Edward Burlington – 96, 99
Hirsch, Louis A. – 247, 249, 253, 254, 256, 269
Hofman, Josef – 48, 325
Holbrooke, Josef – 28, 29
Homer, Louise – 54, 178, 313
Homerische Welt (Bungert) – 23
Humperdinck, Englebert – 24, 63, 296
Huneker, James – I, 40, 68, 72, 73, 78, 128, 132, 136, 244, 303, 317, 324, 340

“I’ll Build a Stairway to Paradise” (Gershwin) – 163, 253
Iberia (Albéniz) – 139, 140, 144, 146, 147, 148, 152, 153, 154, 155, 342
Iberia (Debussy) – 27, 67
Isle of the Dead, The (Rachmaninoff) – 11
Istel, Edgar – 23, 24, 279

James, Henry – 340
Jean-Aubry, G. – 127, 128, 139, 141, 142, 145, 146, 147
Johnson, Edward – 235

Karsavina, Tamara – 61, 89, 99
Kellog, Clara Louise – 79
Kelly, Michael – 76, 81, 298
Kern, Jerome – 63, 253, 272
Khovanchina (Mussoursky) – 30, 31, 87, 102, 192, 196
“Kitten on the Keys” (Confrey) – 253, 341
Korngold, Erich von – 25, 32, 271
Krehbiel, H. E. – 72, 73, 98, 244, 250, 279, 310, 311
Kretzschmer, Edmund – 23

L’Amore dei tre re (Montemezzi) – 39, 325
L’Apprenti-sorcier, see Sorcerer’s Apprentice, The
L’Après-midi d’un faune (Debussy) – 6, 9, 26, 58, 98, 273, 278, 330, 334
Lakmé (Delibes) – 106, 108, 109, 212, 290, 293
Le Prophète (Meyerbeer) – 28, 219, 225, 230
Le sacre du printemps, see Rite of the Spring, The
Leblanc, Georgette – 208
Legend of Joseph, The (Strauss) – 24, 87, 89, 90, 93, 107, 296
Lehmann, Lilli – 73, 186, 289
Lewis, Mr. and Mrs. Robert – 4
Louise (Charpentier) – 27, 83, 199, 200, 210, 202, 203, 205, 206, 230, 269, 292
Loy, Mina – 134, 257
Lumley, Benjamin – 77, 321

MacDowell, Edward – 29, 64, 158, 239, 241, 247, 254
Maeterlinck, Maurice – 96, 206, 209
Mahler, Gustav – 25, 34, 38, 58, 66, 310, 311, 319
Malibran, Maria – 78, 79, 172, 216, 312
Mapleson, J. H. – 75, 76, 312
Mara, Gertrud – 42, 43
Marco, Maria – 290
Mario, Giuseppe – 219, 286
Massenet, Jules – 6, 27, 66, 71, 108, 125, 126, 192, 196, 199, 204, 207, 213, 214, 215, 270, 301
Matisse, Henri – 25
Mazarin, Mariette – 293
Melba, Nellie – 73, 74, 216, 286, 287, 289, 290, 293
Mencken, H. L. – 72, 329, 340
Messiah, The (Handel) – 43, 156, 297
Meyerbeer, Giacomo – 28, 35, 66, 74, 111, 169, 286, 331
Mikado, The (Gilbert and Sullivan) – 115, 117, 119, 221, 223, 234, 312
Milhaud, Darius – 137, 339
Moeller, Philip – 65, 224
Money-Coutts, Francis – 149, 151
Monna Vanna – 27, 199, 209, 255, 293
Montagu-Nathan, M. – 99, 100, 316
Moore, George – 30, 90, 125, 215, 216, 244, 307
Mozart, Wolfgang Amadeus – 22, 24, 33, 34, 35, 37, 63, 64, 65, 66, 67, 77, 111, 138, 140, 158, 192, 243, 245, 255, 261, 266, 271, 283, 290, 309, 311, 320, 324, 325, 333, 335
Muir, Lewis F. – 247
Murphy, Agnes G. – 73
Musical Quarterly, The – C, D, 23, 127, 231, 244, 302

Natoma (Herbert) – 199, 200, 212, 213
Newman, Ernest – I, 68, 71, 127, 133, 137, 140, 148, 150, 151, 154, 164, 241, 244, 252, 303, 304, 327, 340
Nightingale, The (Stravinsky) – 32, 37, 40, 58, 59, 89, 90, 93, 94, 95, 97, 98, 117, 163, 226, 285, 293
Nijinsky, Vaslav – II, IV, 53, 89, 98, 211, 278, 279
Nordica, Lillian – 176, 186, 216

Oberon (Weber) – 65, 123, 270, 272, 302, 311, 314, 318, 319, 320, 321, 322
Ornstein, Leo – 25, 33, 37, 49, 67, 104, 271, 299, 335

Pachmann, Vladimir de – 47, 48, 136
Paderewski, Ignace Jan – 55, 233
Parade (Satie) – 132
Parker, Horatio – 63, 247, 254
Parsifal (Wagner) – 6, 24, 41, 68, 89, 180, 181, 244, 249, 270, 314
Pasta, Giuditta – 42, 187, 213, 283, 312, 326
Patience (Gilbert and Sullivan) – 28, 115, 116, 121, 123
Patti, Adelina – 72, 109, 217, 219, 286, 287, 294, 312, 313, 333
Pedrell, Felipe – 139, 143, 228
Pelléas et Mélisande (Debussy) – 5, 8, 27, 58, 59, 92, 103, 145, 206, 207, 208, 230, 244, 276, 293
Petrouchka (Stravinsky) – 37, 58, 59, 62, 71, 89, 97, 99, 100, 107, 250, 252, 271
Picabia, Francis – 21
Picasso, Pablo – 21, 127, 132, 133
Pierné, Gabriel – 26, 52, 53, 202, 269
Pinafore, see H. M. S. Pinafore
Pirates of Penzance, The (Gilbert and Sullivan) – 114, 115
Pogliani’s (restaurant) – 74, 75
Prince Igor (Borodin) – 87, 192, 196, 315
Puccini, Giacomo – B, 3, 13, 14, 15, 17, 25, 27, 40, 63, 64, 74, 111, 112, 123, 135, 200, 222, 254, 327
Rachmaninoff (Rachmaninow), Sergei – B, 10, 11, 12, 192
Ravel, Maurice – 26, 27, 33, 87, 97, 102, 107, 112, 127, 130, 131, 140, 159, 239, 217, 315, 328
Reger, Max – 25, 34, 37, 65, 66
Renoir, Jean – 21, 125, 329
Rhapsody in Blue (Gershwin) – 159, 160, 161, 163, 164, 255, 256
Rimsky-Korsakoff (Rimsky-Korsakow), Nikolai – 31, 61, 87, 88, 93, 95, 96, 97, 101, 102, 103, 112, 192, 195, 252, 267, 270, 274, 301, 315, 316, 317, 318, 321
Rite of Spring, The (Stravinsky) – IV, 29, 32, 37, 53, 58, 88, 97, 98, 133
Rooy, Anton Van – 53
Rossini, Giacomo – 64, 67, 70, 80, 81, 111, 193, 283, 285, 287, 312, 321, 326
Rubinstein, Anton – 48, 63, 88, 95, 102, 139, 143, 144, 192, 226, 244, 252, 270, 292, 300, 301
Runciman, John – 22, 68, 90, 102, 244
Russell, Lillian – 76

Sacrifice to the Spring, The; see Rite of Spring, The –
Sadko (Rimsky-Korsakoff) – 31, 226, 252
Saint-Saëns, Camille – 6, 107, 109, 125, 260, 270, 278
Salieri, Antonio – 81, 192
Salome (Strauss) – III, 24, 26, 27, 174, 176, 181, 185, 187, 200, 209, 210, 211, 212, 213, 279, 293
Saltus, Edgar – 73, 327
Sanborn, Pitts – 188, 193
Santley, Charles – 75, 80, 84
Sapho (Massenet) – 199, 214, 215, 230
Satie, Erik – C, III, IV, V, 26, 67, 104, 125-137, 256, 328, 339
Savinio, Alberto – 48, 49
Scheff, Fritzi – C, IV, 52, 200, 232-236
Schelling, Ernest – 247, 271
Schmitt, Florent – 26, 27
Schoenberg, Arnold – 21, 22, 25, 32, 33, 37, 40, 60, 67, 68, 92, 159, 242, 253, 271
Scotti, Antonio – 3, 232, 289
Scriabine (Scriabin), Alexander – 31, 33, 34, 37, 335
Segal, Vivienne – 162
Sembrich, Marcella – 34, 45, 52, 72, 216, 233, 287, 289, 290, 293, 294, 313
Shield, William – 82
Siegfried (Wagner) – 83, 93, 176, 179, 232, 233, 278, 285, 286, 335
Sinfonia Domestica (Strauss) – 279, 336
Socrate (Satie) – 133
Songs and Song Writers (Finck) – 282
Sontag, Henrietta – 213
Sorcerer’s Apprentice, The (L’Apprenti-sorcier) (Dukas) – 272, 277
St. John-Brenon, Algernon – 45, 77
Stage Door Canteen – 235
Stein, Leo – 21
Strauss, Richard – 14, 21, 22, 24, 25, 34, 37, 52, 54, 58, 59, 67, 70, 87, 88, 90, 95, 103, 112, 120, 182, 211, 251, 252, 254, 256, 261, 264, 265, 278, 279, 285, 287, 296, 314, 325, 336, 339
Strauss, Johann – 64, 270, 279, 334, 339
Stravinsky, Igor – III, IV, V, 68, 104, 112, 132, 133, 164, 250, 252, 256, 265, 272, 287, 305, 315, 339, 341
Suarès, André – 105
Sullivan, Sir Arthur – C, IV, 28, 81, 111-124, 154, 260
Sylvia (Delibes) – 107, 108, 110
Szymanowski, Karol – 22, 29, 32

Tamagno, Francesco – 170, 221
Tartini, Giuseppe – 298, 299
Thaïs (Massenet) – 65, 129, 199, 204, 212, 217, 292
Thomas, Theodore – 73, 268, 339
Toscanini, Arturo – 14, 15, 16, 17, 46, 47, 74, 89, 184, 328
Tschaikovsky (Tschaikowsky), Peter Illych – 12, 21, 22, 30, 88, 102, 160, 239, 267, 270, 272, 273, 301, 326
Turgenev (Turgienev), Ivan – 29, 30, 179, 188, 255

“Under the Bamboo Tree” (Cole and Johnson) – 158, 249

Verdi, Giuseppe – 27, 70, 111, 116, 118, 272, 328
Vuillermoz, Emile – 97, 106, 109

Wagner, Cosima Liszt – 23
Wagner, Richard – 8, 14, 21, 22, 23, 24, 26, 39, 31, 34, 35, 41, 46, 53, 58, 63, 66, 70, 77, 91, 93, 103, 111, 114, 116, 117, 129, 130, 151, 158, 174, 178, 181, 183, 196, 221, 232, 234, 244, 262, 266, 268, 270, 278, 281, 284, 287, 290, 302, 303, 314, 320, 322, 325, 327, 330, 331, 339, 341
“Waiting for the Robert E. Lee” – 159, 247, 249, 258
Weber, Carl Maria von – 40, 67, 112, 123, 140, 141, 164, 280, 284, 302, 318, 319, 320
Whiteman, Paul – 159, 160, 161, 253, 255, 341
Wolf, Hugo – 49
Wolf-Ferrari – 24, 297

Yeomen of the Guard (Gilbert and Sullivan) – 115, 117, 124

Zandonai, Riccardo – 27, 28, 39, 267