Copyright, 1915, by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Rights Reserved] PREFATORY NOTE The editor has not attempted to give within the limits of this single volume a detailed history of the development of both pianoforte and chamber music. He has emphasized but very little the historical development of either branch of music, and he has not pretended to discuss exhaustively all the music which might be comprehended under the two broad titles. The chapters on pianoforte music are intended to show how the great masters adapted themselves to the exigencies of the instrument, and in what manner they furthered the development of the difficult technique of writing for it. Also, because the piano may be successfully treated in various ways, and because it lends itself to the expression of widely diverse moods, there is in these chapters some discussion of the great masterpieces of pianoforte literature in detail. The arrangement of material is perhaps not usual. What little has been said about the development of the piano, for example, has been said in connection with Beethoven, who was the first to avail himself fully of the advantages the piano offered over the harpsichord. A discussion, or rather an analysis, of the pianoforte style has been put in the chapter on Chopin, who is even today the one outstanding master of it. In the part of the book dealing with chamber music the material has been somewhat arbitrarily arranged according to combinations of instruments. The string quartets, the pianoforte trios, quartets, and quintets, the sonatas for violin and piano, and other combinations have been treated separately. The selection of some works for a more or less detailed discussion, and the omission of even the mention of others, will undoubtedly seem unjustifiable to some; but the editor trusts at least that those he has chosen for discussion may illumine somewhat the general progress of chamber music from the time of Haydn to the present day. For the chapters on violin music before Corelli and the beginnings of chamber music we are indebted to Mr. Edward Kilenyi, whose initials appear at the end of these chapters. LELAND HALL INTRODUCTION