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Cinema and the Wealth
of Nations
Media, Capital, and the Liberal
World System

Lee Grieveson

UNIVERSIT Y OF CALIFORNIA PRESS

 Praise for Cinema and the Wealth of Nations
“There are few books in film and media studies that can match the scope, erudi-
tion, explanatory ambition, and polemical edge of Lee Grieveson’s invaluable his-
tory of how corporations and government agencies deployed and fundamentally
shaped cinema (and other media) as an engine for and emblem of advanced lib-
eral capitalism.”
gregory a. waller, Provost Professor in the Media School, Indiana University

“Grieveson presents the definitive account of media’s primacy to our modern

world’s corporatized and imperiled commons. This is paradigm-shifting work
that lays bare for the first time—with lucidity, breadth of vision, and unparalleled
detail—the logic of liberal capitalism underwriting film’s and radio’s infrastruc-
tural history in Britain and the United States.”
priya jaikumar, Associate Professor, Department of Cinema and Media
Studies, University of Southern California

“Lee Grieveson’s cultural-materialist tour de force ruthlessly examines the global

history of movies and money, detailing the sordid global backstory behind the
uncertain and unequal balance between art and commerce. This rigorously
researched and deeply felt radical media study evinces a perceptive and thor-
oughgoing analysis of a medium that has from its outset served an exploitative
political economy.”
jon lewis, author of Hard-Boiled Hollywood: Crime and Punishment in Postwar
Los Angeles

“This book is a brilliant synthesis of biopolitical theory and concrete historical

research. Grieveson shows us how the imperial ambitions of the United States
materialize in the content and infrastructure of American media industries. His
lucid and persuasive prose dramatizes the centrality of media systems in evolving
conceptions of global governance and state power.”
anna mccarthy, Professor of Cinema Studies, New York University

“The interpenetration of the state, finance capitalism, and film is central to this
formidable book. I am awed by the volume of scholarship, the force of the analy-
sis, and the style of the narrative. This is a book that will open up a significant
subfield in film studies.”
colin maccabe, Distinguished Professor of English and Film, University
of Pittsburgh
“Cinema and the Wealth of Nations is an extremely important book that, in terms
of its potential influence on the field, is on a par with Georges Sadoul’s Histoire
générale du cinema (1946–1950) or The Classical Hollywood Cinema of Bordwell,
Thompson, and Staiger (1985). This is one of the most consequential books of film
history that I have ever read, and it is poised to ask us to deeply rethink the cur-
rent state of the field of film history as practiced in the Anglo-American context.”
mark lynn anderson, author of Twilight of the Idols: Hollywood and the
Human Sciences in 1920s America

“This is an immensely ambitious study of the role film and radio have played in
establishing the global economic dominance of the United States and the power
of its large corporations. It evokes and (invokes) the work of Perry Anderson,
Antonio Gramsci, Manuel Castells, and Immanuel Wallerstein and is surely the
most succcessful attempt in this century to write a big picture history of vertical
integration and corporate control of media production. We are all in Grieveson’s
debt for a landmark book that is certain to raise the level of scholarly discussion
and in an age of continuing consolidation in the media industry could not be
more timely.”
edward dimendberg, Professor of Humanities, University of
California, Irvine

“By combining perceptive film analyses and extensive archival research with an
astonishing command of scholarship in a range of disciplines and an intense pas-
sion for politics, Grieveson poses a serious challenge to film and media historians:
dig deeper, think bigger, be relevant!”
peter krämer, author of The New Hollywood: From Bonnie and Clyde to
Star Wars
Cinema and the Wealth of Nations
The publisher gratefully acknowledges the generous support of the
Ahmanson Foundation Humanities Endowment Fund of the
University of California Press Foundation.
Cinema and the Wealth
of Nations
Media, Capital, and the Liberal
World System

Lee Grieveson

UNIVERSIT Y OF CALIFORNIA PRESS

University of California Press, one of the most distinguished university
presses in the United States, enriches lives around the world by advancing
scholarship in the humanities, social sciences, and natural sciences. Its
activities are supported by the UC Press Foundation and by philanthropic
contributions from individuals and institutions. For more information,
visit www.ucpress.edu.

University of California Press

Oakland, California

© 2018 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Names: Grieveson, Lee, 1969- author.

Title: Cinema and the wealth of nations : media, capital, and the liberal
world system / Lee Grieveson.
Description: Oakland, California : University of California Press, [2017] |
Includes bibliographical references and index. | Identifiers: lccn
2017019642 (print) | lccn 2017022858 (ebook) | isbn 9780520965348
(ebook) | isbn 9780520291683 (cloth : alk. paper) | isbn 9780520291690
(pbk. : alk. paper)
Subjects: lcsh: Motion pictures—Political aspects—United States. |
Industrial films—United States. | Motion pictures in propaganda—
United States. | Motion pictures and globalization. | Capitalism and mass
media.
Classification: lcc pn1995.9.p6 (ebook) | lcc pn1995.9.p6 g75 2017
(print) | ddc 791.43/6581—dc23
LC record available at https://lccn.loc.gov/2017019642

Manufactured in the United States of America

27 26 25 24 23 22 21 20 19 18
10 9 8 7 6 5 4 3 2 1
 For Lora, and the future, with love
In memory of Barbara, Campbell, Ken, Moyra, Susan, and Vallie
This page intentionally left blank
 contents

List of Illustrations ix
Acknowledgments xi

1. The Silver Screen and the Gold Standard 1

2. The Panama Caper 21
3. Empire of Liberty 37
4. Liberty Bonds 68
5. The State of Extension 83
6. The Work of Film in the Age of Fordist Mechanization 117
7. The Pan-American Road to Happiness and Friendship 142
8. Highways of Empire 158
9. League of Corporations 195
10. The Silver Chains of Mimesis 214
11. The Golden Harvest of the Silver Screen 247
12. Welfare Media 287
13. The World of Tomorrow—Today! 313

Notes 337
Sources and Bibliography 415
Index 455
This page intentionally left blank
 illustrations

1. Cover, Use of Motion Pictures in Agricultural Extension Work 23

2. Advertisement for Ford Educational Weekly 27
3. Free public screening, The Story of the Bureau of Commercial
Economics 30
4. Washington Monument, film screening, The Story of the Bureau of
Commercial Economics 31
5. Panama Pacific Exposition poster, 1915 34
6. Still from The Bond, a Liberty Loan Appeal 77
7. Logo for the Committee on Americanism 109
8. Advertisement for the YMCA’s film program 115
9. Ford machinery used in motion picture production 122
10. Ford workers editing film 123
11. Still from Uncle Sam and the Bolsheviki 135
12. Cover from Ford Educational Library catalog 136
13. Title card from The Road to Happiness 148
14. Still from The Right Spirit 168
15. Conservative Party mobile cinema van 170
16. Mobile cinema van 187
17. Still from Cargo from Jamaica 191
18. Still from Cargo from Jamaica 191
19. Psychogalvonometer 238
20. Graph showing rise in cinema theater investments, 1924–26 248

ix
x Illustrations

21. Halsey, Stuart Co. summary on motion picture bond investment 250
22. Chart of global film distribution 259
23. Title card from Your Town 310
24. Poster, New York World’s Fair, 1939 314
25. Ford Exposition Booklet 317
 acknowled gments

I have been researching and writing this book for longer than I care to remember.
Or indeed can. I got debts that no honest man can pay . . . I offer here but a small
down payment on the interest. But a crucial one, because what I have written
about and how I have written about it have been profoundly shaped by a lot of
people, some of whom I know personally, and am lucky enough to count as family
and friends, and some of whom I know only through reading or watching their
work. The book that follows would not have been written without them. Latterly, I
have come to think of it as a little like the city I work in: a hub through which peo-
ple, histories, conversations, ideas, and experiences pass. I shall start with the hap-
piest and most profound of these shaping experiences, my partner, Lora, to whom
this book is dedicated with love—not least because it simply would not have hap-
pened in the way it did without the conversations we have had and the life we have
built and lived, happily, together. I have tried to live up to the challenge and the
ideals and ethics that Lora embodies and that emerge from her own experiences
and commitment to community, family, and forms of civic service. I am grateful
for each day we are together; none of them passes without laughter, fun, and myr-
iad acts of kindness and love. Commitment to kindness, generosity, and forms of
communal and civic service are integral to the lives of so many of my extended
family, stretching from my mum, Barbara (a nurse); to Vanessa, my friend and
generous coparent to our loves, Lauren and Riley (also a nurse); to Vanessa’s
remarkable mum, Moyra (a former nurse); to Lora’s lovely mum, Sarah, and her
partner, Kathy (both former school teachers, among other things); and beyond
that to Lora’s grandmother Vallie. I am blessed to have had the guidance of this
long line of smart, tough, kind, generous women and to count them all as family.

xi
xii Acknowledgments

Plenty of other people have helped along the way. Peter Kramer read every
word of this book. It was characteristically generous of him to do so, and the book
is immeasurably better for it. Peter is simply one of the most brilliant people I have
ever known. Recently our conversations have circled around questions of the use-
fulness of scholarship, and by one measure the book that follows is an attempt to
think further about that question, often with Peter’s voice in my head and his com-
ments on the manuscript as my guide. (The book was also shaped along these lines
through conversations with Lora about the usefulness of the work we can do.)
Peter is my acid test: if I can partly persuade him, I figure I am somewhat right. I
believe I can count some victories in that, if also some losses (yes, I am too top-
down, too categorical, and the list goes on); but the victories with Peter are pre-
cious because he is properly, genuinely, brilliant. Generous with it, too – his is not
the scholarship of personal gain, of prestige and ambition, of petty state and insti-
tutionally mandated “excellence” but rather of curiosity and the attempt to think
about complicated ideas by building on and engaging with the work of others.
If parts of this book were hashed out on the phone with Peter, large parts of it
took shape on Kay Dickinson’s sofa, in various states. Kay took me to Cairo with
her a few years ago. I have learned a great deal about the world outside of texts
from Kay, as well as about the necessity and possibility of a politicized media stud-
ies. The book that follows was profoundly informed by that learning and injunc-
tion. I have some catching up to do, as I always do with Kay, but I am learning from
her example. I miss her sofa, and laughter, now located mostly in Canada. Recently
I have benefited from time spent on Mark Betz’s sofa, and I have rehearsed parts of
what follows in dialogue with Mark late into the night. Betz is smart, and trench-
ant, about a lot of things, and wickedly funny too (author of perhaps the best
joke in the book that follows: it is short, and you will have to look for it in an end-
note, but it is worth it). Betz, Kay, and Peter all have a radical commitment to
pedagogy and to turning knowledge into something that can be useful. I have tried
to learn.
Partway through the researching and writing of this book, I became codirector,
with Colin MacCabe, of a large Arts and Humanities Research Council Resource
Enhancement grant for a project on British colonial cinema. (The principal results
can be found at www.colonialfilm.org.) I did so because of my commitment to
explicating and making available cinema produced in the service of empire but
equally for the opportunity to work again alongside Colin. The experience pro-
foundly shaped my thinking (and this book, which was not “this” book before our
collaboration). I still regularly recall one small conversation with Colin that took
place on the balcony of an apartment he was staying at in Hyderabad, in which he
simply dismissed some of my angst and arguments by explaining that we are try-
ing to get as close to the truth as we can. Colin’s generosity was why I was in India
at all, another profoundly transformative exchange (after Cairo), and this generos-
 acknowledgments xiii

ity is one of Colin’s defining characteristics. Our project succeeded in large part
because of our good fortune in hiring Tom Rice to carry out large parts of the
research and organization. Tom was a PhD student of mine but quickly became
simply a friend and then a trusted colleague. I learned a great deal about British
colonial cinema—which features in this book—from Tom. I have greatly valued
his friendship these past years. Crucial to that colonial team also was Francis
Gooding, a former student of Colin’s and a brilliant thinker. F. G. is now a close
friend and coconspirator on various things.
Outside of the (dis-)United Kingdom, my close friend Haidee Wasson has been
a regular source of support and inspiration. Haidee and I have edited two books
together, and I have learned a great deal from her scholarship and commitment to
the highest standards of professionalism. She has also taught me much about
building institutions and disciplines that are ethical and useful. Because of Haidee,
I have gotten to know Charles Acland better and have learned much about the eth-
ics of scholarship and pedagogy as a result. I owe debts to countless other friends,
who have helped in ways large and small: David Rodowick for myriad acts of kind-
ness, advice, support; to Jon Lewis for our developing email dialogue and friend-
ship, which switches from football to cinema to life to politics easily (plus Jon’s
brilliant wife, Martha, who so generously stepped in at the last minute to help with
the artwork for this book); Gregory Waller not only for the considerable example
of his scholarship but for his generosity and support, which have meant a lot to me
over the years; Laura Mulvey for the fun, friendship, and adventure of coteaching
a class together; Rebecca Barden for friendship, laughter, and solidarity; Shelley
Stamp for being such a generous friend over the years (on which more below);
Priya Jaikumar for the pleasures of becoming her friend and for all that I learn
through talking with her; Angelique Richardson for being funny and a good
friend; and Noah Angell for (among other things) fun and thought-provoking
adventures with the pen. Many other people have asked questions, have made
comments, and have kindly invited me to talk and share some of this research.
This likely not inclusive list includes, in no particular order, Charlie Musser, Joshua
Malitsky, J. D. Connor, Charlie Keil, Marissa Moorman, Peter Stanfield, Madhava
Prasad, Brian Larkin, Masha Salazkina, Enrique Fibula, Tom Gunning, Luca Cam-
inati, Eric Smoodin, Ravi Vasudevan, Giorgio Bertellini, Lisa Parks, Eithne Quinn,
Anna McCarthy, Martin Lefebvre, Jon Burrows, David Francis Phillips, Connie
Balides, S. V. Srinivas, David Trotter, Shakuntala Banaji, Roberta Pearson, Margot
Brill, William Uricchio, David Nye, J. E. Smyth, Martin Stollery, Richard Butsch,
Lydia Papadimitriou, Scott Anthony, Paul McDonald, Timothy Corrigan, Chris
O’Rourke, Jacqueline Maingard, Richard Osborne, David Forgacs, Philip Rosen,
Ronald Walter Greene, Zoë Druik, Simon Potter, Vinzenz Hediger, Emma San-
don, Yvonne Zimmermann, Marina Dahlquist, Brian Jacobson, and Pierluigi
Ercoli. Stefan Lemasson, Jonathan Brill, and Noah Angell generously helped with
xiv Acknowledgments

the artwork at the last minute. Our competitive environment does not always fos-
ter collegiality, but all of these people have been generous and kind.
I am grateful also to audiences at the following institutions: Concordia Univer-
sity; University of Nottingham; Harvard University; University of Essex; Univer-
sity of Stockholm; Indiana University; University College London; University of
Sussex; University of Manchester; University of Pennsylvania; Liverpool John
Moores University; Birkbeck College, University of London; University of St.
Andrews; University of Cork; University of Nottingham in Malaysia; University of
Warwick; University of Cambridge; English and Foreign Language University,
Hyderabad; University of Kent; University of Bristol; Frankfurt University; and the
University of Pittsburgh. I have learned a great deal from many other scholars,
whom I have never met, as the notes to this book make clear. I should like to state
here that this book simply would not be what it is without the scholarship and
thinking of (in no particular order) Noam Chomsky, Stuart Ewen, Robert McChes-
ney, Emily Rosenberg, David Harvey, Michel Foucault, Giovanni Arrighi, Eric
Hobsbawm, Janet Wasko, Perry Anderson, C. B. Macpherson, Immanuel Waller-
stein, Toby Miller, Abderrahmane Sissako, Howard Zinn, Oliver Zunz, and Adam
Curtis, among many others.
I am enormously grateful to the University of California Press for publishing
this book at this length. I owe a huge debt of gratitude to Mary Francis for solicit-
ing this book for the press, for sticking with me over the years it took to research
and write it, as well as for conversations that helped shape it. Mary solicited two
very smart and helpful peer-review reports on the book. One of the readers identi-
fied himself as Mark Lynn Anderson, a scholar whose work I have long admired.
Mark wrote a wonderfully supportive but rightly challenging review that asked me
to think hard about what alliances could be made in the formulation of my ideas.
(Echoing also my friend Kay.) It was a very useful lesson, which helped me reframe
parts of the book. Mark also kindly shared with me some of his own archival find-
ings, which were important as I researched and wrote the chapter on the Holly-
wood studio system. Once again this is an example of collegiality and solidarity,
for which I am greatly thankful. Raina Polivka came on board after Mary moved
on to the University of Michigan Press and has been a calm and greatly supportive
editor, as she confidently ushered the book into the final stages of completion and
production. Raina sent the very long first draft to Shelley Stamp to read and com-
ment on and help shorten. Shelley has long been a friend and inspiration (she was
also a reader on my first book for the press, a fortuitous—for me—circularity).
Shelley made it clear that the book needed to be simpler, sharper, and a better
guide for the readers of this complex history. Raina echoed this critique, and I
returned to the book for the final round of significant revisions with these injunc-
tions in mind. The book has been immeasurably improved because of their advice.
Put another way: if it seems long and wordy now, you should have read the version
10 Chapter One

Quite clearly, then, liberal political-economic theory and practice were consti-
tutively shaped by capitalist logics, as Marx observed in his critique of classical
political economy and as others have forcefully argued subsequently.32 Smith pro-
posed that individuals seek to maximize their self-interest and that their efforts
should be mostly unfettered by state regulation. The liberal revolution thus broke
with hitherto largely dominant traditions in thought and practice that viewed
people as fundamentally social beings, instead defining “man” as an autonomous
being whose own selfhood was a form of property. (The male pronoun is indicative
of the inherently gendered conception of the individual within liberalism.) What
political scientist C. B. Macpherson has called “possessive individualism” was at
the core of liberalism and was premised on assumptions about the workings and
legitimation of a capitalist market society.33 The concept of the individual in the
political theory of possessive individualism was formed, Macpherson argues, from
capitalist conceptions of property as private and exclusive, according to which
ownership was effectively imagined as constitutive of individuality.34 John Locke,
for example, another significant early liberal philosopher, used the metaphor of
property for all rights, and both Locke and Smith proposed that the principal role
of the state was enforcing contracts and protecting property rights.35 Even further,
this emergent liberal praxis imagined property rights as the freedom to exclude
others and the power of unlimited appropriation, thereby clearly registering the
formative impact of capitalist logics on liberal conceptions and practices of gov-
ernment and economic management. The law also upheld this position. Property
rights could have been imagined differently, as the right not to be excluded from
something that was held in common or as the limitation of excessive wealth, but
this would have deviated from the principles of capitalism to safeguard property as
a right that would enable surpluses of capital and indeed the inequality of posses-
sion in society.36 One simple conclusion that can be drawn from this analysis is
that the “human nature” that Smith and other early liberal political economists
imagined to be manifested in the market system was historical. Marx made this
argument forcefully in his critique of what he took to be the ahistoricism of Smith’s
political economy and its tendency to take the capitalist economy as an enactment
of the laws of nature, when in fact they were a product and manifestation of the
actual emergence of the social relations of capitalist production. I take the broader
conclusion to be that an emergent and then dominant liberal political economy
was shaped by, indeed built from, capitalist market logics and related conceptions
of the possessive, self-interested, and accumulative subject.
I shall leave this sketch of liberal philosophy there, and return to substantiate it
further in chapter 3, because I want to quickly outline the broad historical param-
eters and consequences of the liberal revolution across the long nineteenth cen-
tury, which began with the publication of The Wealth of Nations and the US Dec-
laration of Independence in 1776 and ended with WWI. I am doing so to clarify
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K. Ferd. Pohl: Joseph Haydn, 2 vols. (1875-1882).

Hugo Riemann: Geschichte der Musik seit Beethoven (1901).

Hugo Riemann: Handbuch der Musikgeschichte, vol. II. (3 parts,

Leipzig, 1911-13).

Hugo Riemann: Zur Geschichte der deutschen Suite

(Sammelbände of the I. M.-G., IV. 4, 1905).

Heinrich Reimann: Johannes Brahms (1897; 4th ed. 1911).

Heinrich Reimann: Robert Schumann (1887).

Karl Reinecke: Die Beethovenschen Klaviersonaten (1899; 4th

ed. 1905).
Wilhelm Ritter: Smetana (1907).

Arnold Schering: Geschichte des Instrumentalkonzerts

(Leipzig, 1903; new ed., 1905).

Anton Schindler: Biographie Ludwig van Beethovens (1840;

rev. by A. Kalischer, 1909).

J. P. Seiffert: Geschichte der Klaviermusik (Leipzig, 1899).

Philipp Spitta: Johann Sebastian Bach, 2 vols. (Leipzig, 1873,

1880).

Alexander Wheelock Thayer: Ludwig van Beethovens Leben,

5 vols., 1866 (1901), 1872 (1910), 1879 (1911), 1907, 1908;
completed and revised by H. Deiters and H. Riemann.

Karl Thrane: Friedrich Kuhlau (1886).

Joseph von Wasielewski: Das Violoncell und seine Geschichte

(Leipzig, 1889; 2nd ed., 1911).

Joseph von Wasielewski: Die Violine im 17. Jahrhundert und die

Anfänge der Instrumentalkomposition (1874).

Joseph von Wasielewski: Die Violine und ihre Meister (Leipzig,

1869; 5th edition, 1911).

Joseph von Wasielewski: Geschichte der Instrumentalmusik im

sechzehnten Jahrhundert (1878).

Joseph von Wasielewski: Robert Schumann (1858, 4th ed.,

1906).

Karl Friedrich Weitzman: Geschichte des Klavierspiels und der

Klavierliteratur (1879).

Karl von Winterfeld: Johannes Gabieli und sein Zeitalter

(1843).

In French

H. Barbedette: Chopin, essai de critique musicale (1861).

H. Barbedette: F. Schubert (1865).

H. Barbedette: Stephen Heller (1876).

Michel Brenet: La jeunesse de Rameau (Paris, 1903).

M. D. Calvocoressi: Liszt (1911).

Arthur Coquard: César Franck (Paris, 1891).

François Joseph Fétis: Biographie universelle des musiciens, 8

vols. (1837-1844, 2 ed. 1860-1865); Suppl. by A. Pougin, 2 vols.
(1878-1880).

Hugues Imbert: Profils de musiciens (1888).

Vincent d’Indy: César Franck (1906).

Vincent d’Indy: Beethoven (1911).

H. M. Lavoix: Histoire de l’instrumentation depuis le seizième

siècle jusqu’a nos jours (Paris, 1878).

Antoine François Marmontel: Les pianists célèbres (1878).

Antoine François Marmontel: Histoire du piano (1885).

L. Picquot: La vie et les œuvres de Luigi Boccherini (1851).

André Pirro: Louis Marchand (Sammelbände of the I. M.-G., VI.

1, 1904).

André Pirro: J. S. Bach (Paris, 1906).

Arthur Pougin: Notice sur Rode (1874).

Romain Rolland: Beethoven (1907).

Albert Schweitzer: J. S. Bach, le musicien poète (Paris, 1905).

T. de Wyzewa and G. de Saint-Foix: W. A. Mozart, 2 vols.

(1912).

In Italian
H. Gardano: Musica di XIII autori illustri (1576).

Luigi Torchi: La musica istromentale in Italia nei secoli 16º 17º e

18º (Rivista musicale, IV-VIII, 1898-1901).

In Spanish

F. Gascue: Historia de la sonata (S. Sebastián, 1910).

 INDEX FOR VOLUME VII

Abel, 591.

Absolute music, 312.

Accentuation (in syncopated rhythm), 220f.

Accompaniment figures (in pianoforte music), 181, 198;

(Mendelssohn), 213f;
(Schumann), 222, 231;
(Brahms), 240;
(Chopin), 268f, 270, 272;
(Liszt), 306f;
(Heller), 321;
(Scriabin), 338;
(in string quartet), 564.
See also Alberti bass; Basso ostinato; Tum-Tum bass.

Acrostics in music, 218.

After-sounds (in pianoforte music), 356, 357, 363.

Agrémens, 35, 59, 128.

Agricola, 374.

Air and Variations, 26.

Alard, 447, 452.

Albéniz, Isaac, 339.

Albergati, 391.

[d’]Albert, Eugen, 324, 330.

Alberti, Domenico, 48, 97, 107f, 139.

Alberti bass, 110ff, 120, 178, 242, 268.

Albinoni, Tommaso, 399, 422.

Alkan, Charles-Valentin, 342ff.

Allegri, G., 475.

Allemande, 23, 25.

Amateurs, 209.

Amati, Andrea, 375.

America, Herz’ travels in, 285.

André, 425.

Anet, Batiste, 406.

Angelico (Fra), 373.

Anglaise, 76.

[d’]Anglebert, 36, 396f.

Antoniotti, Giorgio, 591.

Aquinas, Thomas, 371.

Arabs, 369.

Arcadelt, 10.

Arensky, Anton, 333.

Aria, 26, 69.

Aria form, 77, 102, 103.

Arpeggios, 20, 448;

(in violin playing), 415.

Arrangements. See Transcriptions.

Attaignant, 469.

Auer, Leopold, 464, 465.

Augengläser, 512.

[L’]Augier, 43, 100.

Austrian National Hymn, 496.

Bach, Carl Philipp Emanuel, 35, 59, 86, 96, 98, 99, 100, 113, 116ff,
132, 417, 490;
(quoted on the pianist’s art), 133.

Sonata in D major, 118.

Bach, Johann Christian, 86, 97, 112, 113, 114, 116, 117ff, 491, 498.
Bach, Johann Sebastian, 8, 28, 30, 41, 42, 63ff, 95, 99, 128f, 131,
134, 207, 267f, 305, 367, 421ff, 428, 484;
(in rel. to fugue and suite), 70ff;
(in rel. to concerto, etc.), 81;
(influence on Chopin), 254f;
(popularization of), 300.
Well-tempered Clavichord, 64, 71, 81.
Italian concerto, 67, 82, 95.
English suite in G minor, 67.
Partitas, 75, 79.
English suites, 75f.
French suites, 75f.
Preludes, 80.
Toccatas, 81.
Fantasias, 81.
Goldberg Variations, 83, 85.
Musikalisches Opfer, 84.
Kunst der Fuge, 84.
Violin solo sonatas, 422.
Chaconne for violin alone, 423.
Sonatas for Harpsichord and Violin, 423.
Concertos for one or two violins, 423f.
Violoncello suites, 591.

Bach, Wilhelm Friedemann, 128.

Baillot, Pierre Marie François de, 412, 431, 433, 434.

Balakireff, Mily, 330, 331, 338.

Islamey Fantasy, 330.

Balance, 49.

Balakireff, 555.

Ballades, 17;
 (Chopin), 256.

Balletti, 377, 470, 473.

Baltasarini. See Beaujoyeaulx.

Balzac (cited), 282.

Banchieri, Adriano, 471.

Barbella, Emanuele, 404.

Barcarolle (Chopin), 256.

Barthélémon, H., 410.

Baryton, 590f.

Basle, 372.

Bassani, Giovanni Battista, 389f, 480.

Bassedance, 470.

Bassoon (in chamber music), 598, 604.

Basso ostinato, 387.

Batiste. See Anet, Batiste.

Bäuerl, Paul, 473.

Beach, Mrs. H. H. A., 340.

Beaujoyeaulx, 376f.

Beaulieu, 376.
Bebung, 3.

Becker, Diedrich, 473.

Beethoven, 89, 98, 100f, 112, 116, 123, 131f,

136, 154ff, 158ff, 175, 193, 206, 207, 253f, 267, 367, 432, 433,
451ff, 509ff, 534, 575f, 592f, 599f, 602;
(compared to Haydn and Mozart), 133;
(pianoforte playing), 160f;
(popularization of), 300;
(transcriptions), 306.
Pianoforte sonatas, 154ff, 159ff, 168ff.
Piano sonata in C-sharp minor (op. 27, No. 2), 169f.
Piano sonata in A-flat (op. 110), 171f.
Bagatelles (piano), 173.
Piano Concerto in G major, 173.
Piano concerto in E-flat major (Emperor), 173.
Diabelli Variations, 173.
Early Violin Sonatas, 454f.
Violin sonata in G (op. 96), 456.
Violin concerto, 456f.
Six string quartets (op. 18), 510ff.
String quintet in C major (op. 29), 512.
‘Russian’ string quartets (op. 59), 513ff.
String quartets (op. 74 and 95), 517.
String quartet (op. 127), 520ff.
String quartet in A minor (op. 132), 523ff.
String quartet in B-flat major (op. 130), 527ff.
String quartets in C-sharp minor, 528ff.
String quartet in F major (op. 135), 531ff.
Trio, op. 70, 575f.
Trio, op. 97, 576.
Violoncello sonata in F (op. 5), 592f.
Violoncello sonata in A (op. 69), 593f.
Violoncello sonata in G (op. 5), 593.
Violoncello sonata (op. 102), 594f.
 Variations on air from ‘Magic Flute,’ 595.
Trio for piano, flute and bassoon, 599f.
Septet, op. 20, 602.

Bekker, Paul, 512.

Belgian school of violin playing, 447.

Bellini, 286.

Benda, Carl, 416.

Benda, Franz, 413, 414f, 417, 420, 428.

Benda, Georg, 414.

Benda, Hans Georg, 414.

Benda, Johann, 414.

Benda, Joseph, 414.

Bennett, William Sterndale, 217.

Bériot, Charles Auguste de, 446, 448.

Berlioz, 207, 342;

(transcriptions), 306.

Bernadotte, General, 432, 455.

Bernardi, 390.

Berthaume, Isidore, 410.

Biber, Heinrich Ignaz Franz [von], 391f, 412, 422.

‘Biblical Sonatas,’ 27.

Biblical subjects, 27, 311.

Bie, [Dr.] Oskar (cited), 199, 322, 344.

Biffi, 108.

Binary form, 45, 49, 102, 103, 105.

Bini, Pasqualini, 403.

Bizet, 462.

Boccaccio, 373.

Boccherini, Luigi, 404, 487ff, 491, 591.

Boehm, Joseph, 445.

Bohemia, 556, 586.

Bohm (organist), 16.

Bononcini, 390, 478.

Borodine, 330, 553, 554f.

String quartet in A, 554.

Borri, 390.

Bourrées, 26.

Bowen, York, 598.

Bowing (violin), 403, 416, 431;

('cello), 591.
Brahms, 53, 168, 193, 238ff, 271, 273, 321, 367, 442, 451, 459f,
543ff, 578f, 579, 583ff, 587, 596f;
(influence), 335.
Pianoforte sonatas, 240.
Piano sonata in C major, 240f.
Piano sonata in F-sharp minor, 241.
Piano sonata in F minor, 241.
Paganini Variations (piano), 242f.
Ballades (piano), 242.
Variations on a Theme of Handel (piano), 243.
Capriccios, 244ff.
Rhapsodies (piano), 245f.
Intermezzos (piano), 246.
Piano concertos, 247f.
Violin sonatas, 459f.
Violin concerto, 460.
String sextet, 543ff.
String quartet in B-flat major (op. 67), 546.
String quartet in A minor (op. 51, No. 2), 546.
Trios in C major and C minor, 578f.
Clarinet Trio, 579.
Horn trio, 579.
Pianoforte quartets (op. 25 and 26), 583.
Pianoforte quartet (op. 70), 584.
Pianoforte quintet in F minor (op. 34), 584f.
Cello sonata, 596f.

Branle, 470.

Brentano, Maximilian, 575.

Briegel, K., 473.

Britton, Thomas, 481.

Broadwood, Thomas, 158.

Brodsky, Adolf, 464.

Bruch, Max, 452, 465.

Scottish Fantasia, 465.
Violin concertos, 465.

Bruhns, Nikolaus, 422.

Brussels, 448.

Bull, John, 19, 32.

Bull, Ole, 452.

Bülow, Hans von, 44, 332, 342.

Buonaparte, Lucien, 487.

Buoni, 390.

Buononcini. See Bononcini.

Burlesca, 79.

Burney, Charles, 43;

(cited), 48, 108, 394, 408, 415.

Buxtehude, 16.

Byrd, William, 19.

Byron, 318.

C
Caccia, 10.

Caccini, 474.

Cadences, 14.

Cadenza (in pianoforte concerto), 152f;

(in chamber music), 581.

Caluta à la Spagnola, 470.

Cambridge, 18.

Campion, Jacques (Chambonnières), 27.

Canavasso, A., 591.

Cannabich, Christian, 413, 418, 420.

Canon, 473.

Cantata (origin of name), 10.

Cantata da camera, 474.

Canzon a suonare (canzon da sonare), 93, 470.

Canzona, 11f, 472.

Caprice, 79.

Capriccio, 11.

Carissimi, 6.

Carlist Wars, 465.

Carnaro, Cardinal, 402.

Carneval de Venise (Le), 434, 440, 445.

Cartier, J. B., 407, 412, 428.

Casino Paganini, 437.

Cassation (quartet), 489.

Castiglione, 377.

Castor and Pollux (Abbé Vogler), 184, 185.

Catches, 473.

Cavalli, 6.

'Cello. See Violoncello.

Cembalo. See Clavicembalo; also Harpsichord.

Chabrier, Emanuel, 353, 366.

Chaconne, 83.

Chadwick, George W., 589.

Chamber music, 16;

(16th-17th cent.), 467ff;
(origin of term), 467, footnote;
(for wind instruments), 598.
See also Trio; String quartet; String quintet; Pianoforte quartet;
Pianoforte quintet; Sextet; Septet; Violin sonata; Violoncello
sonata; Wind instruments, etc.

Chamber sonatas, 94.

Chambonnières (Campion), 27, 32, 33, 104.

Chaminade, Cécile, 342.

Chanson, 9, 10, 11, 92.

Charelli, 478.

Charlatanism, 435.

Charles XI, 375.

Chausson, Ernest, (string quartet), 552;

(pianoforte quartet), 589.

Cherubini, 411;
(string quartet), 535.

Chess-board, 3.

Chopin, 55, 132, 207, 250ff, 284, 305, 333, 342, 367, 428;
(opinion of Mendelssohn), 217;
(as character, in Schumann’s ‘Carnaval’), 227;
(popularization), 300;
(transcriptions of songs of), 306;
(transcription of ‘The Maiden’s Wish’), 307;
(influence on Russian composers), 329;
(influence), 335;
(influence in France), 341;
(compared to Paganini), 439.
Pianoforte sonatas, 257ff.
Barcarolle, 263.
Fantasia in F minor, 263.
Mazurkas, 281f.
Nocturnes, 281.
Pianoforte concerto, 263.