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EAGLES OVER THE SEA
1935–1942
 Eagles over the Sea
1935–1942
A History of Luftwaffe Maritime Operations

Lawrence Paterson
 This book is dedicated to Fast Eddie Clarke.
One of a kind.

Copyright © Lawrence Paterson 2019

First published in Great Britain in 2019 by
Seaforth Publishing,
A division of Pen & Sword Books Ltd,
47 Church Street,
Barnsley S70 2AS
www.seaforthpublishing.com
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library

ISBN 978 1 5267 4002 1 (HARDBACK)

ISBN 978 1 5267 4003 8 (EPUB)
ISBN 978 1 5267 4004 5 (KINDLE)

All rights reserved. No part of this publication may be reproduced or transmitted in

any form or by any means, electronic or mechanical, including photocopying,
recording, or any information storage and retrieval system, without prior
permission in writing of both the copyright owner and the above publisher.

The right of Lawrence Paterson to be identified as the author of this work has
been asserted by him in accordance with the Copyright, Designs and Patents Act
1988.

Pen & Sword Books Limited incorporates the imprints of Atlas, Archaeology,
Aviation, Discovery, Family History, Fiction, History, Maritime, Military, Military
Classics, Politics, Select, Transport, True Crime, Air World, Frontline Publishing, Leo
Cooper, Remember When, Seaforth Publishing, The Praetorian Press, Wharncliffe
Local History, Wharncliffe Transport, Wharncliffe True Crime and White Owl
Contents

Acknowledgements
Glossary

1 The War to End All Wars

The Birth of German Naval Aviation

2 Renaissance
The Rebirth of Germany’s Military

3 Early Lessons
The Spanish Civil War

4 War

5 Turning North and West

The Invasion of Norway and Western Europe

6 The End of the Beginning

The Atlantic Battleground

7 Blue Water, Grey Steel

The Mediterranean and Eastern Fronts

8 Torpedoes Los!
The Arctic and Malta Convoys and the Crimean Battle

Appendix
Main Aircraft of the Luftwaffe Maritime Forces 1935-1942

Notes
Bibliography
Acknowledgements

T HIS BOOK BEGAN LIFE as a single volume to tell the story of Luftwaffe
maritime operations. However, the more I delved into the story
the more I realised just how expansive was the topic I was trying to
cover. This is not just the story of the Kriegsmarine’s attempt at
creating a Fleet Air Arm, but also the metamorphosis of those units
and other more orthodox bomber formations that gravitated towards
specialising in maritime strikes using either torpedo, mine or bomb.
Likewise, the story cannot begin at 1939 and the outbreak of war.
Nor can it really be told from 1935 and the unveiling of both the
Luftwaffe and Kriegsmarine to the world, but a brief look as far back
as the First World War is necessary to give a sense of where the
entire impetus for German naval aviation began. Thus, one book
became two. This volume splits the story in late 1942, and will pick
up where I left off in the second volume to follow.
There are many people I would like to thank for help and support
during the researching and writing. First, my wife Anna Paterson,
who has enough work to do in her jobs as a professional proof
reader and editor without me hassling her for advice. My kids James
and Megan are always very supportive of whatever hare-brained
scheme I come up with next, as is my mother, Audrey ‘Mumbles’
Paterson and Don ‘Mr Mumbles’. That kind of familial support can
never be overstated.
I am also indebted to all at Seaforth Publishing, with their
constant hard work and willingness to let me get on with whatever
comes up. I have dealt with Rob Gardiner and Julian Mannering
since the days when they were Chatham Publishing, and have the
highest regard for everything that they do and the great books they
manage to create out of pages of jumbled manuscript.
This is my first foray into the world of the Luftwaffe, and it was
quite an eye-opener. As always, the more you learn the more you
realise you don’t know. As well as pages and pages of original
documents available through the National Archives of the UK and
USA and the Bundesarchiv in Germany, there is also a phenomenal
amount of knowledge freely shared by people on the internet, for
which I am very grateful. It is easy to sneer at internet sources, as
for every gem there is the equivalent lump of coal (if not more than
one), but it can be a very valuable resource for connecting with
people who have made the study of certain subjects one of their
life’s great passions. As with printed books, there is never any
replacement for your own independent verification, but it can be a
fantastic starting point, if not more. There are myriad forums
discussing the Luftwaffe and its role in the Second World War,
dealing with everything from strategic operations to the minutiae of
uniforms and decorations. Though I am often just a bystander in
many of these ‘conversations’, they have been both informative and
enlightening and push your deeper research in directions that may
not have seemed so obvious before. I will list some of the most
informative in the Bibliography, though the list will be by no means
complete.
Likewise, thank you to the many authors who have written
fascinating books about the Luftwaffe, without whom I would not
have known where to begin.
Glossary

ASW Anti-submarine warfare.

B.d.U. Befehlshaber der U-Boote, Commander-in-Chief,
submarines.
B-Dienst Beobachtungsdienst des feindlichen Funkerverkehrs,
Kriegsmarine radio monitoring and cryptographic
intelligence service.
Bordflieger Shipboard air units, or, alternatively, the pilot of such an
aircraft.
OKH Oberkommando des Heeres, Army High Command.
OKL Oberkommando der Luftwaffe, Air Force High Command.
Properly established during February 1944, previously
designated the Oberbefehlshaber der Luftwaffe (Ob.d.L.:
C-in-C Luftwaffe).
OKM Oberkommando der Kriegsmarine, Naval High Command.
OKW Oberkommando der Wehrmacht, Armed Forces High
Command.
Fliegerdivison Early-war subdivision of a Fliegerkorps. Kept in use for
certain specialised formation.
Fliegerführer Theatre air commander, e.g. Fliegerführer Atlantik.
Fliegerkorps Largest operational level subdivision of Luftflotte.
Numbered consecutively with Roman Numerals, e.g.
IX.Fliegerkorps.
F.d.Luft Führer der Seeluftstreitkräfte, Commander of maritime
combat aviation.
F.d.U Führer der U-boote, early-war designation for Commander
submarines.
Geschwader Luftwaffe equivalent to an RAF Group or a USAAF Wing.
Gruppe Luftwaffe equivalent to an RAF Wing or a USAAF Group
(plural Gruppen)
Kampfgruppe Independent bomber formation of Gruppe size.
Kette Flight of three aircraft.
Kommandeur Commander of a unit, particularly in Luftwaffe use for
Gruppe commander.
Kommodore In the Luftwaffe a Geschwader commander, not an actual
rank.
Küstenflieger Luftwaffe equivalent to the Fleet Air Arm.
Luftwaffe German Air Force from 1935 onwards. The term
‘operational Luftwaffe’ is used here to separate orthodox
Luftwaffe units from the Küstenflieger and other naval
flying units.
Luftflotte Luftwaffe Air Fleet equivalent to an American numbered
Air Force. Numbered consecutively with Arabic numerals,
e.g. Luftflotte 4.
Luftmine Air-dropped mine.
Kriegsmarine German Navy between 1935 and 1945.
Marinegruppen-kommando Regional command of Kriegsmarine security forces such
as minesweeping, submarine hunters, patrol boats and so
on, e.g. Marinegruppen- kommando West. Abbreviated to
‘MGK’.
Oberbefehlshaber Commander-in-Chief, Luftwaffe, the military post
der Luftwaffe held by Hermann Göring.
Reichsmarine Pre-war German Navy, renamed Kriegsmarine in 1935.
RLM Reichsluftfahrtministerium, Reich Air Ministry; civilian
office headed by Hermann Göring.
Staffel Roughly the Luftwaffe equivalent to an Allied Squadron
(plural Staffeln)
Staffelkapitän Squadron Commander, abbreviated to ‘Staka’.

Equivalent Rank Table

Royal Air Force/

Luftwaffe Kriegsmarine US Army Air
Force

Generalfeldmarschall Grossadmiral Marshal of the Air

(GFM) Force/General of
 the Army

Generaloberst Air Chief Marshal/

Generaladmiral
(Genobst) General

General der Flieger Air Marshal/

Admiral
(Gen.der Flg) Lieutenant General

Generalleutnant Air Vice-Marshal/

Konteradmiral
(Genlt) Major General

Generalmajor Air Commodore/

Vizeadmiral
(Genmaj.) Brigadier General

Group Captain/
Oberst (Obst.) Kapitän zur See
Colonel

Oberstleutnant Wing Commander/

Fregattenkapitän
(Obstlt.) Lieutenant Colonel

Squadron Leader/
Major (Maj.) Korvettenkapitän (K.K.)
Major

Kapitänleutnant Flight Lieutenant/

Hauptmann (Hptm.)
(Kaptlt.) Captain

Oberleutnant zur See Flying Officer/First

Oberleutnant (Oblt.)
(Oblt.z.S) Lieutenant

Leutnant zur See Pilot Officer/Second

Leutnant (Lt.)
(Lt.z.S.) Lieutenant

Stabsfeldwebel Warrant Officer/

Stabsoberfeldwebel
(Stabsfw.) Master Sergeant

Oberfeldwebel Flight Sergeant/

Stabsfeldwebel
(Obfw.) Technical Sergeant
 Sergeant/Staff
Feldwebel (Fw.) Feldwebel
Sergeant

Officer Cadet/Flight
Fähnrich (Fhr.) Fänrich zur See
Cadet

Unterfeldwebel
Obermaat Corporal/Sergeant
(Ufw.)

Unteroffizier (Uffz.) Maat Corporal/Corporal

Hauptgefreiter Senior Aircraftman/

Matrosenhauptgefreiter
(Hptgfre.) Private First Class

Leading
Obergefreiter
Matrosenobergefreiter Aircraftman/Private
(Ogfre.)
First Class

Aircraftman 1st
Gefreiter (Gfr.) Matrosengefreiter Class/Private First
Class

Aircraftman 2nd
Flieger (Flg.) Matrose
Class/Private

Luftwaffe Operational Organisation

 Tactical Level Luftwaffe Organisational Notes

Though local circumstances could dictate modification to existing unit

structure, the general form of a Luftwaffe Geschwader was as follows:
Geschwader: The largest homogeneous Luftwaffe flying unit roughly
the equivalent of an RAF Group or a USAAF Wing. Comprising three
‘Gruppen’, the Geschwader was named according to its purpose and its
individual identity suffixed by Arabic numerals, such as KG 26.
Amongst the most common identification prefixes within this work are:
Fighters: JG (Jagdgeschwader), day fighter single-engine aircraft such
as the Bf 109.
Heavy Fighters: ZG (Zerstörergeschwader), day fighter twin-engine
aircraft such as the Bf 110.
Bombers: KG (Kampfgeschwader), heavy or medium bombers such as
the He 111.
Dive-bombers: StG (Sturzkampfgeschwader), typically Ju 87 Stukas
during the early years of the war.
Advanced Training: LG (Lehrgeschwader), often each Gruppe of a
different aircraft type.
The Geschwader was commanded by a Geschwaderkommodore,
typically of rank between Oberstleutnant or Major. He would have a
small staff and a Stabschwarm (staff flight) of perhaps four aircraft,
including one belonging to the Geschwaderkommodore.

Gruppe: The basic autonomous Luftwaffe flying unit, roughly

equivalent to an RAF Wing or a USAAF Group. Typically comprising a
Stabschwarm (staff flight) and three Staffeln commanded by a
Gruppenkommandeur, who could be a Major or Hauptmann. He would
have a small staff including administration, operations, medical and
technical officers. Each Gruppe was identified with a roman numeral
(e.g. II.Gruppe of 26th Bomber Geschwader would be II./KG 26). The
exception to this rule were those Gruppen acting in autonomous
specialised maritime of reconnaissance roles, such as the
Küstenfliegergruppen (coastal maritime aircraft) Aufklärungsgruppen
(F) (The ‘F’ designates ‘Fernaufklärungsgruppen’, meaning ‘long-range
reconnaissance’), Bordfliegergruppen (aircraft carried aboard surface
ships), Seeaufklärungsgruppen (maritime reconnaissance) and
Trägergruppen (carrier aircraft), which were designated using Arabic
numerals.
Staffel: Roughly the equivalent to an Allied Squadron, comprising
from nine to twelve aircraft and commanded by a Staffelkapitän
(abbreviated to ‘Staka’) generally of a rank between Hauptmann and
Leutnant as the most junior example. The Staffeln were numbered
consecutively within the Geschwader with Arabic numerals (e.g. third
Staffel of 26th Bomber Geschwader would be 3./KG 26) therefore it
would always be possible to identify the first three Staffeln as
belonging to I Gruppe, Staffeln 4-6 to II Gruppe, and so on. Each
Staffel generally comprised three Ketten of three aircraft each, and
associated ground crew.

Luftwaffe aircraft identification codes

Luftwaffe aircraft markings are a multifaceted and intricate subject

that involves symbols and colour codes each denoting a unit or
position within the command structure. The system evolved
continuously until 24 October 1939, when a compact four-character
code was introduced. This is simply an introduction to the adopted
four-character numbering system used to identify all aircraft, except
for Jagdgeschwader, which had a separate complex system and are
outside the scope of this study. The code is divided, with an alpha-
numeric pair of characters to the left of the Balkankreuz (straight-sided
cross) that adorned Luftwaffe aircraft, and two letters to the right. The
two letters to the left indicated the parent Geschwader (or Gruppe) to
which the aircraft belonged. To the right of the Balkankreuz the
numeral, usually colour-coded, was the individual aircraft number, and
the letter indicated the Staffel.
Four-digit Staffel letters: Geschwader Stab.: A

You will find frequent mentions of such four-digit codes within the text
to identify various aircraft, written thus: M2+SL. In this particular case
the letters denote aircraft ‘S’ of 3.Staffel (‘L’) belonging to
Küstenfliegergruppe 106 (M2). Below is relevant unit two-digit coding
(used from October 1939) for the units mentioned within this book:
1./BFl.Gr. 196: T3
5./BFl.Grp.196: 6W KG 26: 1H
KG 30: 4D
KG 40: F8
KG 54: B3
KG 77: 3Z
KG 100: 6N
KGr. 126: 1T (also used by aircraft of III./KG 26 between January 1942
and February 1943)
Kü.Fl.Gr. 106: M2
Kü.Fl.Gr. 306: K6 (shared with Kü.Fl.Gr. 406, to which it was attached)
Kü.Fl.Gr. 406: K6
Kü.Fl.Gr. 506 and KGr. 506: S4 (originally M7) Kü.Fl.Gr. 606 and KGr.
606: 7T (originally 8L) Kü.Fl.Gr. 706: 6I
Kü.Fl.Gr. 806 and KGr.806: M7 Kü.Fl.Gr. 906: 8L
Küstenfliegerstaffel Krim: 6M LG1: L1
Minensuchgruppe der Luftwaffe: 3K (‘Mausi’ aircraft) SAGr. 125: 7R
SAGr. 126: D1
2.Seenotstaffel: N7
3.Seenotstaffel: M6
5.Seenotstaffel: P7
6.Seenotstaffel: K3
7.Seenotstaffel: J9
8.Seenotstaffel: M1
10.Seenotstaffel: 5W
Trägergruppe 186: J9
Transozeanstaffel and KG.z.b.V 108: P5
Italian turbine-powered steamer Ausonia, which had been under
construction in Hamburg’s Blohm & Voss shipyard at the outbreak of
war. Conversion plans were drawn up by Lt.z.S.dR Jürgen Reimpell
of 1.Seeflieger Abteilung, his final design proposals being completed
by 1918. The ship was to carry two 82m hangar decks for wheeled
aircraft and a third 128m hangar deck for seaplanes, all mounted
above the existing structural deck. The flight deck itself was 128.5m
long and 18.7m wide, and the ship was designed to carry either
thirteen fixed-wing or nineteen folding-wing seaplanes, along with a
maximum of ten wheeled aircraft. Ausonia could carry up to ten
fighter aircraft and a combination of fifteen to twenty bombers and
torpedo-floatplanes, but she was never completed. With the
emphasis placed on U-boat construction, the final building drive of
the Imperial Navy was never to reach fruition, as the war ended in
November 1918, with Bolshevik revolution within the Kaiser’s Navy.
Of 2,138 naval aircraft fielded between 1914 and 1918, 1,166
were lost. The years of war yielded many ‘aces’ within the Marine
Flieger Abteilungen, including three winners of the coveted Pour le
Mérite: Theo Osterkamp with thirty-two victories, Gotthard
Sachsenberg with thirty-one and Friedrich Christiansen with
thirteen.4 However, the armistice did not see the end of their fighting
as Sachsenberg was approached in January 1919 by General von der
Goltz while demobilising the Marinegeschwader with a request to
form a volunteer air unit that could serve in support of the ‘Iron
Division’, composed of Freikorps troops and the remnants of the
German 8th Army in the Baltics. Within weeks, Sachsenberg had
recruited many former colleagues and formed Kampfgeschwader
Sachsenberg, officially designated Fliegerabteilung Ost.
Sachsenberg’s unit was despatched by German Defence Secretary
Gustav Noske to join the fighting against Russian Bolshevik forces
encroaching on German interests within the Baltic states. The Inter-
Allied Commission of Control had insisted in the armistice agreement
that German troops remain in the Baltic countries to prevent the
region from being reoccupied by the Red Army, though the true
Another random document with
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 LITERATURE FOR VOLUME VII

In English

H. Abele: The Violin and Its History (1905).

E. Heron-Allen: De Fidiculis Bibliographia, 2 vols. (London,

1890-94).

Charles Burney: The Present State of Music in France and Italy

(London, 1771).

Charles Burney: The Present State of Music in Germany, the

Netherlands and United Provinces, 2 vols. (1773).

Charles Burney: General History of Music, 4 vols. (1776-89).

Henry Fothergill Chorley: Music and Manners in France and

North-Germany, 3 vols. (London, 1843).

Henry Davey: History of English Music (London, 1895).

J. W. Davidson: An Essay on the Works of Fr. Chopin (London,

1849).

Edward Dickinson: The Study of the History of Music (New York,

1905).

Henry T. Finck: Chopin and Other Essays (New York, 1889).

J. A. Fuller-Maitland: Schumann (1884).

J. A. Fuller-Maitland: Brahms (London, 1911).

Grove’s Dictionary of Music and Musicians, 4 vols. (1879-89); 2nd

ed., revised by Fuller-Maitland, 5 vols. (1904-9).
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(London, 1897).

G. Hart: The Violin and Its Music (1881).

John Hawkins: A General History of the Science and Practice of

Music (London, 1776).

James Huneker: Chopin, the Man and His Music (New York,
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H. E. Krehbiel: The Pianoforte and Its Music (New York, 1901).

Leighton: Tears or Lamentations, Musical Ayres, etc. (1614).

Edward MacDowell: Critical and Historical Essays (New York,

1913).

Oxford History of Music, 6 vols. (Oxford, 1901, 1905, 1902, 1902,

1904, 1905).

I. Playford: An Introduction to the Skill of Musick, etc. (1683).

I. Playford: Apollo’s Banquet, etc. (1669).

Waldo Selden Pratt: The History of Music (New York, 1907).

John South Shedlock: The Pianoforte Sonata, Its Origin and

Development (1875).

Christian Simpson: The Division Violinist (1659).

John Stainer: Early Bodleian Music; Dufay and His

Contemporaries (London, 1898).

Stoeving: The Violin (1904).

In German

H. Abele: Konrad Paumann (1912).

Hermann Abert: Robert Schumann (Berlin, 2nd ed., 1910).

Wilhelm Altmann: Kammermusiklitteratur-Verzeichnis [from
1841] (1910).

A. W. Ambros: Geschichte der Musik, 4 vols. (new ed. by H.

Leichentritt, Leipzig, 1909).

Selman Bagge: Die Geschichtliche Entwickelung der Sonate

(Leipzig, 1880).

Karl Ferdinand Becker: Die Hausmusik in Deutschland im 16.,

17. u. 18. Jahrhundert (Leipzig, 1840).

Franz J. J. Beier: Froberger (Leipzig, 1884).

Paul Bekker: Beethoven (Berlin, 1912).

N. D. Bernstein: Anton Rubinstein (Leipzig, 1911).

Karl Hermann Bitter: Johann Sebastian Bach, 4 vols. (2nd ed.,

1881).

Karl Hermann Bitter: K. Ph. Em. und W. Friedemann Bach und

deren Brüder, 2 vols. (Leipzig, 1868).

Gerhard von Breuning: Aus dem Schwarzpanierhause (1874;

new ed. by Kalischer, 1907).

Hugo Daffner: Die Entwickelung des Klavierkonzerts bis Mozart

(1908).

Hermann Deiters: Johannes Brahms (Leipzig, 1880; 2nd part,

1898. In Waldersees Sammlung musikalischer Vorträge).

Alfred Einstein: Zur deutschen Literatur für Viola da Gamba im

16. und 17. Jahrhundert (Beiheft of the I. M.-G., II. 1, 1905).

Immanuel Faisst: Beiträge zur Geschichte der Klaviersonate

(Mayence, 1846. In Dehns Cäcilia).

I. N. Forkel: Allgemeine Litteratur der Musik (1792).

Dagmar Gade: Niels W. Gade. Aufzeichnungen und Briefe

(Basel, 1894).

August Göllerich: Franz Liszt (1908).

Otto Jahn: W. A. Mozart, 4 vols. (1856-1859); 4th ed. by H.
Deiters, 2 vols. (1905-1907).

Joseph Joachim: Briefe von und an Joseph Joachim (ed. by J. J.

and A. Moser) vol. I [1842-1857] (1911).

Max Kalbeck: Johannes Brahms, 3 vols. (1904-1911).

Otto Kauwell: Geschichte der Sonate (1899).

Ludwig Köchel: Chronologisch-thematisches Verzeichnis der

Tonwerke W. A. Mozarts (1862; 2nd ed. by P. Graf Waldersee,
1905).

Leopold Mozart: Violinschule (1750).

Richard Münnich: Johann Kuhnau (Leipzig, 1902).

Karl Nef: Zur Geschichte der deutschen Instrumentalmusik in

der zweiten Hälfte des 17. Jahrhunderts (Beiheft of the I. M.-G., I.
5, 1902).

Walter Niemann: Die Musik Skandinaviens (1906).

Walter Niemann (with Schjelderup): Grieg (1908).

Ludwig Nohl: Beethoven, 3 vols. (1864-1877).

Oskar Paul: Geschichte des Klaviers (1868).

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.