oser, nevertheless,
gives them a descriptive title ("Hebrides," "Sakuntala"), 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 th