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Review
The code segments are nicely written and commented, and the explanations are
clear and simple. Excellent explanation of big-O, particularly O(n log n) for
quicksort. Introduces the idea of an interface, with a simple but very suitable data
structure, a bag. Walks through the creation of the interface, and then two
implementations of it. This is a great way to emphasize the difference between
interface and implementation, and to build on the previous chapter and explore
how implementation affects running time. Very readable, the chapter provides
clear, step-by-step tour of the topics.

Coding examples are great with the explanations. Good exercises that are within
the chapter. A good check on understanding the information.The exercises and
programming projects are well thought out.
About the Author
Kenneth A. Lambert is a Professor of Computer Science at Washington and Lee
University. He has taught courses in almost every subject area related to computer
science and has published several popular textbooks related to introductory
programming and data structures in C++, Java and Python. He is the co-creator of
the BreezySwing framework and is the creator of the breezypythongui framework.
Other documents randomly have
different content
name is that most exquisite piece which Liszt has made such fine
use of in his "Soirées de Vienne," and which may be regarded as the
predecessor, and the equal, of the noble waltzes of Chopin,
Rubinstein, Brahms and other modern composers. Indeed, these
Schubert waltzes contain the germs of most of the later
developments of the waltz for the piano.
In thus giving Schubert his due we do not detract from the merit of
the elder Strauss. He was of course far from having the genius of
Schubert, but he did a great work in transferring the Schubert spirit
to the orchestral and dance-waltz. For the first time people came to
cafés and dance halls to listen to music for its own sake instead of
regarding it merely as an aid to conversation and dancing. Strauss
not only had the gift of inventing original themes, he also had the
skill to clothe them in a charming orchestral garb. Great composers,
like Cherubini, Meyerbeer and Mendelssohn, recognized his talent,
and Wagner wrote in 1863 that "a single Strauss waltz surpasses in
grace, refinement and real musical substance, the majority of the
oft-laboriously-collected foreign products."
To quote Johann the younger once more on his father: "He has
borne the fame of German dance-music over the whole world, and
severe judges have not hesitated to acknowledge that his gay and
piquant rhythms bubbled from the pure fount of musical art. As a
conductor he had that indefinable quality which carried away the
performers, was communicated by them to the hearers, and made
their hearts and pulses beat faster." He was the first to introduce the
custom of giving a name to his dance music, and each of his pieces
—including one hundred and fifty waltzes, fourteen polkas, twenty-
eight galops, nineteen marches, and thirty-five quadrilles, has its
own title, either characteristically Viennese, or referring to his travels
or the emotions which a dance piece is apt to evoke, or purely
fanciful. The quadrille was imported by Strauss from Paris. His
marches are the least interesting of his compositions, and his
waltzes the most fascinating and meritorious, the polkas ranking
next.
In his early waltzes the elder Strauss often begins, like Schubert,
without an introduction and ends with a very short coda. Gradually,
however (though with exceptions), the introduction and coda
assume greater dimensions; but it remained for Johann the son to
show how greatly the musical and emotional value of the waltz can
be increased by elaborating the slow amorous introduction as well as
the coda, in which all the themes of the preceding numbers can
once more be brought forward and ingeniously developed or
combined. Schubert's last set of waltzes consists of a chain of twenty
links or parts. The elder Strauss has usually only five or six links in
his chain; and his son shows a tendency to decrease that number to
three or four separate parts, while giving the introduction the aspect
of a short overture, with several changes of tempo, often delightfully
fore-shadowing the waltz themes in a dreamy, passionate and tender
manner, as if interpreting the thoughts of the young lovers who
perchance are looking forward to their first embrace in the disguise
of a waltz. In the "Stories from the Vienna Forest" Waltzes, opus
325, the introduction covers more than two pages of the piano score
—one hundred and twenty bars, with four changes of tempo. The
first number consists of forty-four bars, whereas originally each
number consisted of eight or sixteen bars only; and the coda of one
hundred and fifty-seven bars. And that this waltz, like all his best
ones, is intended quite as much for the concert hall as for the ball
room is indicated by the signs for retarding or accelerating and by
the insertion of eighteen bars which are marked "to be omitted in
playing for a dance." I have noticed, however, that at Viennese
dances, when conductors, players, and dancers are simultaneously
entranced by the intoxicating Strauss music, there is a slight
tendency on the part of the couples to yield to the rubato or
capricious coquetry of movement which is natural to this music.
Such rubato dancing raises that art itself to a poetic height; but it is
perhaps vain to hope for it outside of a Viennese dance hall.
As the younger Johann's waltzes ceased to be a mere
accompaniment to dancing and assumed the function of interpreting
the thoughts and feelings of lovers as they are whirled along,
"imparadised in one another's arms," his harmonies became more
and more piquant and novel, his instrumentation more tender,
refined, dreamy and voluptuous. Berlioz, himself, in orchestrating
Weber's superb "Invitation to the Dance," has not shown greater
genius for instrumentation than Strauss the son has in his later
waltzes. It might be said that whereas Haydn, Mozart, and
Beethoven built up the symphony from dance forms, Strauss,
conversely, applied the symphonic resources of the orchestra to his
dance pieces. One can get no idea of their real charm at the piano;
but Americans have been fortunate in having had in Mr. Theodore
Thomas for many years such a sympathetic and animated
interpreter, who knew how to give them the true Strauss swing. Not
all of these waltzes are of equal value, and popularity is no test of
merit. Thus, the "Blue Danube" Waltz, of which over a million copies
have been sold, is really one of the poorest, just as Schubert's
Serenade is far from being his best song and the Wedding March
from being the gem of "Lohengrin." Their number is enormous—440
is the opus number of the "Gross-Wien" Walzer, the last one printed
up to the end of 1891.
When Strauss turned to composing operettas, there was great
consternation, because it was feared that the Carnival in Vienna and
elsewhere would have to dispense thereafter with its annual gifts
from his pen. These fears were unfounded; his operettas were so full
of waltz and polka buds and full-blown roses, that it was easy to pick
them for a concert-hall and ball-room bouquet; so that some of his
best recent dance pieces are taken from his operettas. Equally
unfounded were the fears that after devoting more than a quarter of
a century to the composition of dance music, Strauss would be
unable to win distinction as a dramatic writer. In his first operettas, it
is true, the libretto was little more than a peg to hang on waltzes,
polkas and marches; but gradually he emancipated himself more and
more from the simple saltatorial style, until, in "The Bat," the "Merry
War" and subsequent works, he created a new type of operetta, with
beautiful flowing, lyric melodies, and stirring dramatic ensembles.
True, the "Waltz King" is never quite able to disguise his character,
but in this very fact lie the originality and unique charm of the
Strauss operetta. It is a new style of stage play—the Austrian
operetta, a new "school" of comic opera; and in creating this,
Strauss placed himself far above his father and his brothers.
Millœcker would not have been possible but for Strauss, and Suppé
did not write his best works till after Strauss had shown the way.
That J. Strauss, the younger, wrote four hundred and forty pieces of
dance music has already been stated. The complete list of his
operettas is as follows: Indigo, 1871; The Carnival in Rome, 1873;
The Bat, 1874; Cagliostro, 1875; Prince Methusalem, 1877; Blind
Man's Buff, 1878; The Queen's Lace Handkerchief, 1880; The Merry
War, 1881; A Night in Venice, 1883; The Gypsy Baron, 1885;
Simplicius, 1887. In my opinion there is in these operettas more
good music than in the operettas of any other composer, but Strauss
has been less fortunate in his librettists than Offenbach and Sullivan,
and this has not only diminished the present popularity of his works
in some countries, but will prevent them from enjoying as long a life
as their truly prodigal wealth of new and charming melodies would
otherwise entitle them to. Moreover, few things are so short-lived as
operettas, and it is therefore probable that, to the next generation,
Strauss will be chiefly known as the "Waltz King," after all, partly by
the pieces which he wrote directly for the dance hall, and partly by
those which are culled from his dramatic works. He is still at work,
with greater ambition than ever, for his latest opus is a grand opera,
Ritter Pásmán, which had its first performance at the Imperial Opera
at Vienna on January 1, 1892. It is modelled partly on Wagner's
Meistersinger, and the Neue Zeitschrift für Musik finds in it the true
type of the comic opera of the future, "combining the esprit and
grace of French opéra comique with German depth of sentiment,
and that spontaneous melodiousness which is an Austrian specialty—
that flow of fresh and natural melody which we find in Schubert and
Haydn." Dr. Hanslick recommends the score as a model to students
of instrumentation.
JOHANN STRAUSS (Junior) LEADING ORCHESTRA IN 1853.
From lithograph published at the time.

Transcriber notes:
P. 247. Illustration, "Birthplace of Joseph Hayden in Rohrau",
keeping typo, but should read "Joseph Haydn".
P. 249. 'bouyant' changed to 'buoyant'.
P. 265. 'Hadyn' changed to 'Haydn', in 'Hadyn ever wrote'.
P. 279. 'antichamber' changed to 'antechamber'.
P. 279. 'pianoforte sonates', changed 'sonates' to 'sonatas'.
P. 283. 'finnished' changed to 'finished'.
P. 286. 'Bach motett', 'motett' changed to 'motet'.
P. 354. "Auguste jam Cœ estium", changed to "Auguste jam
Cœlestium".
P. 380. 'interruped' changed to 'interrupted'.
P. 395. Caption, Dec. 15th? 1826.

Music Transcriber Notes

P. 261. The autograph manuscript is difficult to read but appears
to track the second movement of Haydn's String Quartet in C
Major, Op. 76, with the "Austrian Hymn" theme and first variation
reversed. The transcription was made from a public domain score
of the quartet (available at the Petrucci Music Library,
http://imslp.org/wiki).
P. 426. The caption on this image erroneously gives the title of the
piece as "Farewell to the Forest," which is a different piece by
Mendelssohn ("Abschied vom Walde"). The piece in the image is
actually "The Hunter's Farewell," as indicated by the title in the
manuscript ("Jägers Abschied").
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