their poetical contents are to be sought in the associations aroused by the title.  Thus, in the instances cited, “Hebrides” suggests that the overture was designed by Mendelssohn to reflect the mood awakened in him by a visit to the Hebrides, more particularly to Fingal’s Cave (wherefore the overture is called the “Fingal’s Cave” overture in Germany)—­“Sakuntala” invites to a study of Kalidasa’s drama of that name as the repository of the sentiments which Goldmark undertook to express in his music.

[Sidenote:  Serenades.]

[Sidenote:  The Serenade in Shakespeare.]

A form which is variously employed, for solo instruments, small combinations, and full orchestra (though seldom with the complete modern apparatus), is the Serenade.  Historically, it is a contemporary of the old suites and the first symphonies, and like them it consists of a group of short pieces, so arranged as to form an agreeable contrast with each other, and yet convey a sense of organic unity.  The character of the various parts and their order grew out of the purpose for which the serenade was originated, which was that indicated by the name.  In the last century, and earlier, it was no uncommon thing for a lover to bring the tribute of a musical performance to his mistress, and it was not always a “woful ballad” sung to her eyebrow.  Frequently musicians were hired, and the tribute took the form of a nocturnal concert.  In Shakespeare’s “Two Gentlemen of Verona,” Proteus, prompting Thurio what to do to win Silvia’s love, says: 

    “Visit by night your lady’s chamber window
    With some sweet concert:  to their instruments
    Tune a deploring dump; the night’s dread silence
    Will well become such sweet complaining grievance.”

[Sidenote:  Out-of-doors music.]

[Sidenote:  Old forms.]

[Sidenote:  The “Dump."]

[Sidenote:  Beethoven’s Serenade, op. 8.]

It was for such purposes that the serenade was invented as an instrumental form.  Since they were to play out of doors, Sir Thurio’s musicians would have used wind instruments instead of viols, and the oldest serenades are composed for oboes and bassoons.  Clarinets and horns were subsequently added, and for such bands Mozart wrote serenades, some of which so closely approach the symphony that they have been published as symphonies.  A serenade in the olden time opened very properly with a march, to the strains of which we may imagine the musicians approaching the lady’s chamber window.  Then came a minuet to prepare her ear for the “deploring dump” which followed, the “dump” of Shakespeare’s day, like the “dumka” of ours (with which I am tempted to associate it etymologically), being a mournful piece of music most happily characterized by the poet as a “sweet complaining grievance.”  Then followed another piece in merry tempo and rhythm, then a second adagio, and the entertainment ended with an allegro, generally in march rhythm, to which we fancy the musicians departing.  The order is exemplified in Beethoven’s serenade for violin, viola, and violoncello, op. 8, which runs thus:  March; Adagio; Minuet; Adagio with episodic Scherzo; Polacca; Andante (variations), the opening march repeated.